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All the dramas are the imitations of mental states of the people. Hence it is said (顿补艣补谤奴辫补办补, I.7a): 膩vasthanuk峁泃i岣� 苍腻峁璦(m (苍腻峁璦kam).

What differentiates them are the Vastu (plot), 狈别迟腻 (lead and other principal characters) and Rasa (Sentiment) (D.R. I.11a):

vastu net膩 谤补蝉补岣� 迟别峁Ｄ佱箖 产丑别诲补办补岣� ||

Bharata defines 狈腻峁璦办补 as鈥攁 play having well-known plot; the 狈腻测补办补 being a celebrated person of exalted nature (耻诲腻迟迟补), or royal lineage and should have divine protection; also, the 狈腻测补办补 should be portrayed as having divine powers and successful in all his endeavours; the play should have suitable number of acts and scenes (狈.艢. XVIII.10-11):

prakhy膩tavastuvi峁�aya峁� prakhy膩tod膩ttan膩yaka峁� caiva |
r膩jar峁�iva峁兣泍acarita峁� tathaiva divy膩艣rayopetam ||
苍腻苍腻 vibh奴tibhiryutam峁沝dhivil膩s膩dibhirgu峁嘺i艣caiva |
腻峁卥补辫谤补惫别艣补办腻岣峢测补峁� bhavati hi tan苍腻峁璦ka峁� 苍腻尘补 ||

Again, the 狈腻峁璦办补, as it depicts the 狈腻测补办补鈥檚 joy and sorrows, should be replete with various rasas and 产丑腻惫补蝉 that bring out the pyschological undercurrents of the plot (狈.艢. XVIII.12):

n峁沺at墨n膩峁� yaccarita峁� 苍腻苍腻rasabh膩vace峁ａ弓ita峁� 产补丑耻诲丑腻 |
sukhadu岣�khotpattik峁泃a峁� bhavati hi tan苍腻峁璦ka峁� 苍腻尘补 ||

In addition, a 狈腻峁璦办补 should come to a close with scenes involving adbhuta rasa (狈.艢. XVIII.43cd):

nirvaha峁噀 kartavyo 苍颈迟测补峁� hi raso'dbhutastajj峁�ai岣� ||

Hence, the 狈腻峁璦办补 should be structured with all the four 惫峁泃迟颈蝉 (碍补颈艣颈办墨, 厂腻迟迟惫补迟墨, 膧谤补产丑补峁��� and 叠丑腻谤补迟墨), suitable to the varieties of situation delinated in it (狈.艢. XVIII.7):

箩峁�e测补峁� 辫谤补办补谤补峁嘺峁� caiva tath膩 苍腻峁璦kameva ca |
sarvav峁泃tivini峁�panna峁� 苍腻苍腻bandhasam膩艣rayam ||

From the above definitions it can be understood that鈥�

(i) the vastu of a 狈腻峁璦办补 should be well-known;
(ii) the 狈腻测补办补 should be a 耻诲腻迟迟补n膩yaka with divine pretection and success in his endeavours; and
(iii) the 狈腻峁璦办补 shall be constructed with all rasas and 产丑腻惫补蝉 and hence all 惫峁泃迟颈蝉 get employed.

Further, the Vastu of a play is developed on the one side in relation to theme and on the other side in relation to action鈥�

(i) The five 础谤迟丑补辫谤补办峁泃颈蝉^[1] that help in the fulfillment of the theme of a drama 补谤别鈥�叠墨箩补 (the seed of the plot), Bindu (part of the story that recalls the main plot), 笔补迟腻办腻 (as incident, that helps the principal plot), 笔谤补办补谤墨 (an independent, episode, that serves the purpose of the principal plot) and 碍腻谤测补 (final achievement of the goal of the principal plot)

(ii) The actions of a drama in achieving the final results by five stages called 础惫补蝉迟丑腻蝉^[2] 补谤别鈥�

1. 笔谤腻谤补尘产丑补 [辫谤腻谤补尘产丑补岣�] (beginning of the drama that sets the action of the plot moving); 笔谤补测补迟苍补岣� (the activities developed for the attainment of the plot);
2. 笔谤腻辫迟颈 [辫谤腻辫迟颈岣�] (possibility of final goal being achieved);
3. 狈颈测补迟腻辫迟颈 [苍颈测补迟腻辫迟颈岣�] (achievment of the goal being a certainty) and
4. 笔丑补濒补辫谤腻辫迟颈 [phala辫谤腻辫迟颈岣�] (the intended goal is entirely and actually achieved).

Footnotes and references:

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[1]:

狈.艢. XIX. 21: b墨ja 产颈苍诲耻岣� pat膩k膩 ca prakar墨 k膩ryameva ca | 膩rthaprak峁泃aya岣� pa峁�ca j峁Ｄ乼v膩 yojy膩 yath膩vidhi ||

[2]:

狈.艢. XIX. 7cd-8:
tasy膩nup奴rcy膩 vij峁�ey膩岣� pa峁�c膩vastha岣� prayokt峁沚hi岣� ||
pr膩rambha艣ca prayatna艣ca tath膩 pr膩pte艣ca 蝉补峁僢丑补惫补岣� |
苍颈测补迟腻 ca phala辫谤腻辫迟颈岣� phalayoga艣va pa峁�cama岣� ||