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प्रकाराः

दत्तपदीयं द्विप्रकारा सुकरा दुष्करा चेति । एतौ प्रकारौ सुयोज्या दुर्ज्योज्या चेत्यपि शक्यौ वक्तुम् । असौ तावदत्राभिप्रायः ।

सुकरदत्तपदी - यदि दत्तानि पदानि निर्दिष्टे विषये भाषायां च सुखेन योजयितुं शक्यानि तर्हि सा सुकरदत्तपदी । यथा वर, कर, चिर, सुर चेति । एषां पदानां संस्कृतपद्ये निवेशो नितान्तं सुशकः । तदाकारकाणां शब्दानां संस्कृते सहजतया उपलभ्यत्वात् ।

Ḍima – A ḍima is based on prakhyāta-vastu, i.e., a popular story. It is filled with supernatural and magical elements; eclipses and wars also come as a part of this genre of play. Radura is the primary rasa. The play is completely devoid of śānta, hāsya, and śṛṅgāra rasas. A ḍima typically consists of four aṅkas; connecting segments such as the viṣkambhaka and praveśaka are absent.

Thoughts on the Three Matas

It has become common practice among us — notably among Brahmins — and especially among those who think they have understood the essence of a mata, to argue whether it is Dvaita, Advaita or Viśiṣṭādvaita, when they are faced with the prospect of understanding philosophical texts such as the Gītā or the Upaniṣads. When I translated Vedic texts such as the Puruṣa-sūkta into Kannada, many people would ask me this same question. I would reply in one of the following two ways :

Nāṭaka, prakaraṇa, bhāṇa, prahasana, ḍima, vyāyoga, samavakāra, vīthi, aṅka, and īhāmṛga – these constitute the ten rūpakas, i.e., the ten different genres of Sanskrit drama. The following are their main features as per the Nāṭyaśāstra and Sāhitya-darpaṇa.