the definition adds, the situations must be such as to produce pleasure or pain, that is, they must be tinged with emotion. It is the presence of these ancillaries which distinguishes the drama from an ordinary poem; a poem appeals to the ear only, a drama is also a spectacle to delight the eyes; hence the term Rūpa or Rūpaka as applied generically to the drama, for Rūpa primarily denotes the object of vision, though the Indian tradition gives the artificial explanation that Rūpaka denotes a drama because the actors are credited with different parts.
Further light is shown on the nature of drama (nāṭya) by the discrimination of it from dance (nṛtta) and mimetic art (nṛtya), which united with song and speech serve to make up the drama.[1] The dance is based on time and rhythm; the mimetic art is concerned with representing the feelings or emotions (bhāva), while the essence of the drama is the sentiment (rasa) which it evokes in the spectator, a fact which places it on a higher level than either of its handmaidens. But there may be dramas in which these auxiliaries take first place, and on this fact is based a distinction between the primary forms, Rūpakas, in which the poetry is the dominant element and the secondary forms, Uparūpakas. Of Rūpakas ten are distinguished, Nāṭțaka, Prakaraṇa, Bhāṇa, Prahasana, Ḍima, Vyāyoga, Samavakāra, Vīthī, An̄ka, and Īhāmṛga, which vary in regard to subject-matter (vastu), hero or heroine, and sentiment.
3. The Subject-Matter and the Plot
The scene of the plot must be laid in India, and the period must be one of the three ages succeeding the Golden Age, for pleasure and pain, essential elements as we have seen in the drama, cannot be experienced elsewhere than in Bhāratavarṣa, and even there they do not exist in the age of happiness unalloyed.[2] Otherwise the choice is free; the poet may take an incident familiar from tradition (prakhyāta), or may invent his plot (utpādya) or may combine both forms (miçra). But, if he follows a current legend, it is necessary that he shall not ruin the effect of it by incongruous invention; he must confine his ingenuity to episodes, for otherwise the audience will be painfully disturbed
