The Īhāmṛga, [735] of which no old example is known, owes its name, according to the Daçarūpāvaloka to the fact that in it a maiden as hard to attain as a gazelle (mṛga) is sought after (īhā). The subject is one partly derived from legend and partly the poet’s imagination; in special, if the legend relates the death of a great man, this result must be avoided. The essence of the drama is that some one seeks to deprive the hero, who on one view may be divine or human, on another divine only, of a heavenly maiden; the result is a conflict of wills, but actual fighting is to be avoided by artifice. The hero and his rival must both be of the noble and haughty type; the latter must do wrong in error. Only the first two and the last junctures are allowed, and the graceful style is excluded. There are four acts, but Viçvanātha mentions a view which allows one act only and makes the hero a god, or six rivals for a divine maiden’s hand. The Ḍima [736] is also little known, though the Nāṭyaçāstra cites a Tripuradāha as a specimen. Its subject is to be legendary; there is to be no pause juncture. The heroes are sixteen gods, demi-gods, and demons, all of the haughty type; magic, sorcery, combats, eclipses of the sun and moon are in place. The erotic and comic sentiments are excluded, that of fury is predominant. There are four acts without introductory scenes of any kind, but the late Manmathonmathana of Rāma has them. The graceful manner is forbidden. It is clear that the type is described on the basis of inadequate material; it may represent a popular form of entertainment which did not attain full recognition. The origin of the name is unknown, for no root ḍim, to wound, is found in the language, though Dhanika asserts its existence. The Vyāyoga [737] is, as its name suggests, a military spectacle. Its subject must be legendary, its hero a god or royal sage, but Dhanaṁjaya allows a man. It is in one act, the action not extending over a day, and it is filled with strife and battle, the intervention of women as the cause of battle being excluded. The first two and last junctures alone are permitted, the erotic and comic sentiments are barred, and the graceful manner. The type is old, for it is found in Bhāsa and revives later. The Act or Isolated Act (An̄ka, Utsṛṣṭikān̄ka) [738] is a single-act piece, whose longer style serves to discriminate it from an act of a normal drama. Its subject is taken from legend, but may be developed by the poet; the first and last junctures alone are permitted. The hero should be human, of the common folk, according to the later theory. The sentiment should be the pathetic, and the style the verbal. The laments of women should accompany the description of battles and fights, but these should not take place on the stage. Viçvanātha gives the Çarmiṣṭhāyayāti as an example, but the type is not represented by any early play.