The Sanskrit Drama in its Origin, Development, Theory & Practice c10.s6.8

c10.s6.8

Many of these peculiarities mark also the Māgadhī, which appears in two slightly varied forms, the first in the *Pratijñāyaugandharāyaṇa* and the *Cārudatta*, the second in the *Bālacarita* and the *Pañcarātra*; in the two latter we have *ṣ* and *o* for the *ś* and *e* of the former. As in Aṣvaghoṣa there is no trace of obedience to the rules of the grammarians which require *ṣṭ* for Sanskrit *ṣṭh* or *ṣṭ*, *śc* for *cch*, *sk* or *hk* for *kṣ*. For ‘I’ we find *ahake*, which is an intermediate stage between Aṣvaghoṣa's *ahakaṃ* and the later *hage*. *ny* becomes *ṇṇ*, not *ññ*, and the use of *y* to denote a dropped consonant is not carried out.