Note 146 — III DRAMATIC THEORY XIII THE THEORY OF THE DRAMATIC ART

The later theory as seen in Viçvanātha146 adds descriptions of eighteen minor forms of drama, Uparūpakas, which represent refinements on the original scheme. Needless to say, though omitted in the Nāṭyaçāstra, quotations are found ascribing to Bharata the doctrine, though he mentions in them but fifteen with several variations of name;147 the Agni Purāṇa148 mentions eighteen with some variants of name, while a verse cited by Dhanika149 names seven forms of mimetic dramas, which it classes in conjunction with the Bhāṇa. The age of these divisions is, therefore, uncertain; the Daçarūpa condescends to mention only the Nāṭikā, but obviously knows of the existence of others, confining its scope to the main forms, as its title indicates.