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to mean the play and the word r奴paka has come to stand for the play. While Bharata used the word r奴pa alone, Abhinavagupta used both the words, r奴pa and r奴paka to mean, 'The play'. Bharata named the chapter dealing with the types of plays as Dasar奴pa (ten types of plays), but Dhananjaya named his work on the ten types of plays as Da艣ar奴paka. All creative works are classified as 艣ravya (the auditory) and d峁浥泍a (the visual). While the visual can be enjoyed when it is acted on the stage also, the auditory can only be appreciated when read or heard. The d峁泂yakavyas (the plays-visual) have been further classified depending on the supremacy of word or music. When the word rules, it is called a R奴paka (a major play) and when music and dance predominate, it is called Upar奴paka (a minor play). In the r奴pakas, dance and song have no specific purpose to achieve, while the story and dialogue, establishing the characters and a message are important. 45 Bhrata has classified r奴pakas into ten depending on the text
and added one more, the N膩峁璱ka. The ten forms are N膩taka, Prakara峁嘺,
Anka, Vy膩y艒ga Bh膩峁嘺, Samavak膩ra, Vidhi, Prahasana, Dima and
Ih膩m峁沢a. N膩峁璱k膩 is a derivative of the two forms, N膩峁璦ka and Prakara峁嘺
and so the later authors mentioned it as a Janyarupaka, the derived play.
N膩峁璦ka, Prakara峁嘺, Bh膩峁嘺, Vidhi, Anka and Prahasana are the plays of
delicate type while the rest are virile.