9 (P. 7 b1; H. 7 b1).
- rūpakaṃ tat samāropād.
‘It [is called] Representation (rūpaka) because of the assumption [of parts by actors].’
Notes. As noted by Lévi, pt. 2, p. 5, the word rūpaka, although merely a variant of the preceding rūpa, is referred by native theorists to the causative form (ropayati) of the root ruh. It is therefore explained here by a compound derivative of the causative, samāropa.
‖ SD. 273. Cf. Lévi, p. 29.
10 (P. 7 b2; H. 7 b2).
- rūpakaṃ tat samāropād. daśadhaiva rasāśrayam.
‘It is tenfold, and is based on the Sentiments.’
Notes. With regard to the employment of the different varieties of Sentiment (rasa) in a drama see DR. 3. 36–38.
‖ Pratāpar. 3. 1, p. 100 (rasāśraya).
11 (P. 8; H. 8).
- nāṭakaṃ saprakaraṇam bhāṇaḥ prahasanaṃ ḍimaḥ
vyāyogasamavakārau vīthyaṅkehāmṛgā iti.
‘[The ten chief varieties of drama are]: the Nāṭaka, the Prakaraṇa, the Bhāṇa, the Prahasana, the Ḍima, the Vyāyoga, the Samavakāra, the Vīthī, the Aṅka (=Utsṛṣṭikāṅka), and the Ihāmṛga.’
Com. ḍombī śrīgad° [quotation from some treatise; see Lévi, p. 146 and cf. Hem. Kāvyān. 8, p. 327].
Notes. No mention is here made of the minor forms of drama (cf. Lévi, p. 145); but one of them, the nāṭikā, receives special consideration at DR. 3. 46–52.—This section is quoted at Pratāpar. 3. 2.
‖ Bh. 18. 2, 3 a; SD. 275; AP. 337. 1–4; Hem. Kāvyān. 8, p. 317, 327; Vāgbh. Kāvyān. 1, p. 16; Pratāpar. 3. 2. Cf. Lévi, p. 30.
Pantomime and Dancing as Accessories
12 (P. 9 a1; H. 9 a1).
- anyad bhāvāśrayaṃ nṛtyaṃ.
