काव्यालङ्कार (आचार्य भामह - भारतीय काव्यशास्त्र एवं अलङ्कार-सिद्धान्त मूल महाग्रन्थ सटीक)

22 BHĀMAHĀLAṄKĀRA
of that Mahākāvya and through the intermediate
stages the final result is brought about viz., Nala’s
triumph over the gods at Damayantī’s svayaṁvara.
नाटकं द्विपदीशम्यारासकस्कन्धकादि यत् ।
उक्तं तदभिनेयार्थमुक्तोऽन्यैस्तस्य विस्तरः ॥ २४ ॥
24. Poetry that is fit to be staged comprises
Nāṭaka, Dvipadī, Śamyā, Rāsaka, Skandhaka and
the like. It is elaborately dealt with by others.
24. What is अभिनेयार्थ ? It is literature that can
be presented on the stage, a drama and the like.
This will fall under the purview of दृश्यकाव्य-literature
that can be seen on the stage as distinguished
from श्रव्यकाव्य—that which can only be heard or read.
Literature that can be presented on the stage is also
called रूपकं, of which नाटकं is the principal type. द्विपदी,
शम्या, रासक and स्कन्धक seem to be varieties of literature
presentable on the stage. They are now obscure.
उक्तोऽन्यैस्तस्य विस्तरः Bharata and other proficients in dra-
maturgy have elaborately dealt with it. The idea
is that the author does not propose to go into its de-
tails. Daśarūpaka of later origin is the most popu-
lar work of dramaturgy which holds the field.
For particulars about द्विपदी, शम्या, रासक and स्कन्धक,
see the following extracts from Bharatakośa edited: