The Sanskrit Drama in its Origin, Development, Theory & Practice c23: English Index
The Sanskrit Drama in its Origin, Development, Theory & Practice c23
- Language
- English
English Index
c23.1
Abhayadatta, in the *Mudrārākṣasa*, 206. Abhayadeva, king (A. D. 1229-32), 254. Abhayakumāra, minister of Creṇika, 260. Abhayapāla, king, 254. Abhimanyu, son of Arjuna, 96, 97, 117, 213. Abhinavagupta, writer on poetics, 103, 220, 291, 294, 318, 319, 320, 338, 342, 343, 344. Abhirāma, commentator on the *Çakuntalā*, 154. Ābhiras, a people, 129, 335, 337, n. 1. Abrupt dialogue (*udghātya*), 328, 341. Abrupt remark (*gaṇḍa*), 329. Abuse, in ritual, as one source of drama, 24, 25. Achievements of the Sanskrit drama, 276-88. Active, for middle, and vice versa, in Bhāsa, 120. Actors and Actresses, 360-4; number of, 66, 110, 345, 346, 347; opening dialogue of, 340; feelings aroused in, 316, 320, 321, 324, 355; see also *Granthikas*, *Caubhikas*, *Çailūṣa*. Acts, 60, 61, 301, 305, 345-51. Address, conventional modes of, 314; as evidence of date of dramatic origin, 69-71. Ādisūra, of Bengal, 212. Ādityasena, of Magadha (A. D. 671), 212. Adultery, as an allegorical character, 255. Advaita form of Viṣṇu doctrine, 251, 252. Aerial car, journeys in an, 190, 229, 233, 246, 255. Agastya, a seer, dialogues of, in the *Ṛgveda*, 14. Aghoraghaṇṭa, a priest, 188, 313, 328. Agni, god of fire, dialogue of, with the gods, 21; saves Avimāraka, 101; saves Sītā, 105. Agnimitra, a prince, hero of the *Mālavikāgnimitra*, 147-9, 165, 364. Agnivarṇa, a prince, 364. Agon, dramatic contest, essential to drama, 45. Aihole inscription (A. D. 634), mentions Kālidāsa, 146. Aischylos, 75, n. 2, 196, 197. Ajayapāla, king (A. D. 1173-6), 258.
c23.2
Ajitāpīḍa (A. D. 813-50), king of Kashmir, 291. Ājīvika, in drama, 85. Akālajalada, grandfather of Rājaçekhara, 231. Akṣa, son of Rāvaṇa, 246. Alakā, a city, 190, 194. Alexander of Macedonia, his love of drama, 59. Alexandria, as source of Greek influence on India, 60. Alkestis, dramatic silence of, compared with that of Sītā, 110. Allegorical drama, Buddhist, 83, 84; later, 251-6. Allegorical personages, in Bhāsa, 112. Alliteration, 238, 331; a characteristic of the Gauḍa style, 332. Ammāl Ācārya, author of the *Vasantatilaka*, 263. Aṇahilapāṭaka, 269, and see Aṇhilvāḍ. Ānandarāya, author of the *Jīvānandana*, 253. Ānandavardhana, writer on poetics, 212, 220, 294. Aṅgaṅaharṣa Mātrarāja, author of *Tāpasavalsarājacarita*, 220. Aṅgamañjarī, a hetaera, 263. Aṅgaçekhara, a Viṭa, 264. Aṅgasenā, a hetaera, 361. Anasūyā, friend of Çakuntalā, 153, 158. Anayasindhu, an evil king, 261, 262. Andhrabhṛtyas, dynasty, 129. Andhraja, speech, 337, n. 1. Andhras, a people, 335, 336; colour of, 366. Aṅgada, envoy to Rāvaṇa, 119, 190, 247, 269. Aṅgas, a people, colour of, 366. Anger (*krodha*), as basis of sentiment, 323. Aṇhilvāḍ, literary activity at court of, 243; and see Aṇahilapāṭaka. Anticipatory scene (*aṅkamukha*), 302. Antigone, of Sophokles, possibly known in India, 59, n. 2. Antigone, a character impossible in Sanskrit drama, 278. Apabhraṅça, 89, 122, 151, 175, 187, 336, n. 1, 350. Apatouria, 38.
c23.3
Apsarases, divine nymphs, 17, 40, 48, 96, 100, 112, 114, 265, 303, 339, n. 3, 352, 367. Āraṇyakā or Āraṇyikā, heroine of the Priyadarçikā, 173, 174, 176, 362. Arhants, views of, on the path of salvation, 183. Ariṣṭa, a demon killed by Kṛṣṇa, 99, 106. Arisiṅha, author of the Sukṛtasaṃkīrtana, 248, n. 7. Aristotle, 39, 64, 279, n. 1, 287, 337, n. 2, 354, n. 1, 355. Arjuna, a demon, 99. Arjuna, a Pāṇḍava, 48, 96, 97, 213, 214, 215, 218, 265, 266, 268, 320, 329. Arjunavarman, Paramāra of Dhārā (A. D. 1211), 256. Arrian, notes Indian love for song and dance, 44, n. 2. Ars Amoris, of Ovid, 285. Arsenic, used for pigments, 369. Art of Bhāsa, 105-10; Mṛcchakaṭikā, 134; Kālidāsa, 155-60; Harṣa, 175-7; Mahendravikramavarman, 182, 183; Bhavabhūti, 192-6; Viçākhadatta, 208, 209; Bhaṭṭa Nārāyaṇ, 214, 215; Yaçovarman, 222, 223; Murāri, 229, 230; Rājaçekhara, 235, 236; Jayadeva, 246; Kṛṣnamiçra, 253. Arundhati, in the Uttararāmacarita, 192. Āryabhaṭa, astronomer (A.D. 499), 146. Āryaka, in the Mṛcchakaṭikā, 64, 129, 130, 132, 133, 135. Aryan, conquers Çūdra, in the Mahāvrata ritual, 24. Açokadatta, and the Rākṣasas, 193, n. 2. Açokan dialect, compared with that of Açvaghoṣa, 86, 87. Açvaghoṣa, dramatist, 43, 58, 70, 72, 74, 77, 80-90, 93, 94, 95, 158, 161, 251, 292, 311, 336. Açvajit and Çāriputra, 81. Asajjāti, a comic Brahmin, 261. Ascetics, how addressed, 314; appropriate to a Prahasana, 348. Asides, 304. Aspirates, reduced in Bhāsa, but not in Açvaghoṣa, to h, 121. Astonishment (vismaya), as the basis of the sentiment of wonder, 323. Astrologers, where placed in the auditorium, 370. Asura Maya, magic craftsman, 52. Asuras, demons, 41, 267. Atharvan, dialogue of, 15. Ātreya, the Vidūṣaka of Jīmūtavāhana, 177. Ātreyi, an ascetic, 191. Audience, 369-71, and see Spectators. Auditorium, 359, 370.
c23.4
Aulularia, form of name, 64. Auçinārī, wife of Purūravas, 156. Authenticity of Bhāsa's dramas (very ineffectively attacked in BSOS. III. i. 107 ff.), 91-3. Avadhūta, see Kṛṣṇa. Avalokitā, pupil of Kāmandaki, 193, 303, 362 Avanibhājana, epithet of Mahendravikramavarman, 182. Avanti, use of Bhūtabhāṣā in, 287. Avantisundari, wife of Rājaçekhara, 232, 288. Avantivarman (A.D. 855-83) of Kashmir, patron of poets, 204, 220. Ayogavas, actors ranked as, 363. Āyus, son of Urvaçī, 62, 151, 156, 157.
c23.5
Bābhravya, chamberlain of Vatsa, 171, 173. Bāhlika, or Bālhika, a people, colour of, 366. Bakchai, of Euripides, 59. Baktria, Greek rule in, 57. Baladeva, 48. Bāla-Vālmiki, sobriquet of Murāri, 225. Bali, binding of, performed in a dramatic manner, 32, 36, n. 1. Ballet, 48, 275, 351. Bāṇa, the Asura, 242, 243. Bāṇa, writer (A.D. 629), 29, 76, 91, 171, 182, n. 3, 366. Bāṇa, see Vāmana Bhaṭṭa Bāṇa. Bandhura, a go-between, 262. Barbaras, speech of, 336; excluded from theatres, 370. Barygaza, Bharukacchā, as port through which Greek influence came, 60. Battles, in the drama, 347, 351. Baudhāyana, censures actors, 363. Bearer of fans, where placed in the auditorium, 370. Benediction, see Nāndī and Bharatavākya. Bengal, Sanskrit used in, 287. Bengālī recension, of the Vikramorvaçī, 151; the Çakuntalā, 154, 155; the Veṇīsaṃhāra, 219. Bernhardt, Sarah, 322, n. 2. Bhādānakas, use of Apabhraṃça by, 287. Bhadravati, elephant, 108. Bhāgurāyaṇa, in the Mudrārākṣasa, 205, 235. Bhariyāvānanda, a magician, 234. Bhāmaha, writer on poetics, 102. Bhānudatta, views on sentiment, 319. Bhānumatī, queen of Duryodhana, 213, 215, 219, 300. Bharata, alleged author of the Nāṭyaçāstra, 12, 41, 150, 191, 343, 344, 349, 362, 364. Bharata, brother of Rāma, 189, 224.
c23.6
Bharata, son of Duḥṣanta, 154, 157. Bhārata tribe, 30. Bhāravi, poet, 265, 284. Bharhut sculptures, dance represented on, 350, n. 2. Bhartṛhari, poet, 366; celebrated in the Bhartṛharinirveda, 248. Bhartṛmeṇtha, 232. Bhāsa, dramatist, 42, 51, 66, 70, 73, 74, 87, 91–126, 147, 161, 185, 187, n. 2, 243, 270, 286, 292; 300, 301, n. 4, 305, 311, 335, 336, 341, 342, 346, 347, 353, 354, 371, n. 2. Bhāskaradatta, a Mahārāja, 204. Bhāskara Kavi, author of the Ummatta-rāghava, 268. Bhāṭ, reciters, 30. Bhaṭṭa Gopāla, grandfather of Bhavabhūti, 186. Bhaṭṭa Lollaṭa, doctrine of sentiment, 316. Bhaṭṭa Nārāyaṇa, author of the Veṇīsaṃhāra, 83, 212–19. Bhaṭṭanatha Svamin, on date of Murāri, 225. Bhaṭṭa Nāyaka, writer on poetics, 291, 317, 318, 320, 321. Bhavabhūti, dramatist, 42, 139, 161, 186–203, 209, 217, 225, 226, 227, 232, 239, 247, 257, 271, 281, 284, 297, 301, 311, 343, n. 1, 352, 353, 364. Bhīma, a Pāṇḍava, 95, 96, 97, 109, 213, 214, 215, 216, 218, 266, 304, 329, 340. Bhīmadeva II, the Cālukya, 256. Bhīmaṭa, author of Svapnadaçānana, 239. Bhīmeçvara, procession of the god, 248. Bhīṣma, preceptor of the Kauravas, 97. Bhoja (11th cent.), writer on poetics (JRAS. 1923, p. 545 ff.), 143, 325, n. 1, 331. Bhujaṅgaçekhara, a Viṭa, 263, 264. Bhūrivasu, a minister, 187. Bhūas, honoured in the preliminaries of the drama, 340. Bhuvanapāla, minister of Saṃgrāmasiṃha, 249. Bidyāpati Ṭhākur, Maithilī dramatist, 243. Bilhaṇa, author of the Karṇasundarī, 256. Bimbisāra, king of Magadha, 43. Bloch, Th., on the Greek origin of the Indian theatre, 67. Bourgeois Comedy, see Prakaraṇa and Prakaraṇikā. Boy, suggested marriage to, as a motif, 234, 235, 256. Bṛhannalā, a eunuch, 335. Brahmā, as creator of the Nāṭyaçāstra, 12, 13, 41. Brahmadeva, of Raypur, 270. Brahmin and hetaera, dialogue of, 39, 73. Brahminical supremacy, in Bhāsa, 110; in Kālidāsa, 160; in Bhavabhūti, 197; theory of life, 281. Brahmin, 81, 276, 277, 281, 282, 283, 306; as the Viḍūṣaka, 310, 311; address of, 314; as hero of the Prakaraṇa, 346; the Ҫilpaka, 351; seats for, 359; colour of, 366; where placed in the auditorium, 370. Brajbhāshā, 41. Breach of alliance (saṃghātya), 327. Buddha, the, 81, 82, 87, 179; statues of the, 58; as a dramatic character, 306. Buddhaiakṣitā, in the Mālatīmādhava, 198. Buddhism, disapproved, 252, 253. Buddhist monk, 135; nun, 193, 335. Buddhists, and the drama, 42, 44, 174, 175, 284; addressed as Bhadanta, 314.
c23.7
Cāhamāna, Visaladeva Vigraharāja, 248. Caitanya, the saint, 247, 294. Cakkyars, or Cākyārs, performance of plays by, 371, n. 1. Cakora, Candraketu, prince of, 129. Cakrasvāmin, festival of, 266. Calm, as a character, 254; hero, 305, 306. Calm (çānta), sentiment, 324, 332, 351. Cambay, 248, 249. Cāmuṇḍā, the goddess, 188, 234. Cāṇakya, in the Mudrārākṣasa, 62, 205 ff., 341, 344. Caṇḍabhārgava, curse of, 125. Caṇḍālas, 99, 133, 336, n. 1, 337. Caṇḍālī, 99. Candanadāsa, in the Mudrārākṣasa, 205 ff. Candanaka, Prākṛit used by, 141. Caṇḍapāla, a king, 234. Candra, Candraka, or Candaka, dramatist, 168–70. Candradāsa, an author, 168. Candragupta, in the Mudrārākṣasa, 205 ff., 341. Candragupta II, probable patron of Kālidāsa, 146. Candraketu, prince of Cakora, 129. Candraketu, rival of Lava, 191, 200. Caṇḍaçekhara, commentator on the Ҫakuṇtalā, 154. Candravarman, of Lāṭa, 234, 235. Caṇḍrāvatī, 247, 265. Cāṇūra, slain by Kṛṣṇa, 48, 100, 110. Captivi, of Plautus, 64. Cāṭāyaṇa, a Viḍūṣaka, 235, 300. Cārudatta, hero of the Cārudatta, 104, 116, 131, 132, 133, 134, 135, 136, 137–40, 306. Cārvāka, atheist, philosopher, 214, 252. Caryatides, possibly imitated in the Indian theatre, 355. Caṣṭana, a Kṣatrapa, 69.
c23.8
Caste system, denounced by Açvaghoṣa, 80. Causative, and simple verbal forms, confused in Bhāsa, 120, 121. Cave, mountain, similarity of theatre to, 358. Cedi era, 129. Cerebral sibilants, produce strength of style, 332. Cerebralization of *n*, in Açvaghoṣa's Prākṛits, 86, 87, 88, 121. Cerebrals, other than *n*, produce strength of style, 332. Ceylon, king of, father of Ratnāvalī, 171. Challenge (*utthāpaka*), 327. Chamberlain (*kañcukin*), 313; appropriate to the *Prahasana*, 348. Change of action (*parivartaka*), 327. Character drawing, 282; in Bhāsa, 110; *Mṛcchakaṭikā*, 134, 135, 137; Kālidāsa, 155-9; Harṣa, 176, 177; Bhavabhūti, 193, 194; Viçākhadatta, 208, 209; Bhaṭṭa Nārāyaṇa, 215; Rājaçekhara, 235. Characters in the drama, 305-14, 355. Characteristics of the Sanskrit drama, 276-88. Charcoal burners, speech of, 337. Cheating (*chala*), 329; in the *Samavakāra*, 346. Chess, 256. Child, mode of address of, 314, n. 2. Chinese stage, 360, note 2. *Cistellaria*, form of name, 64. Citramāya (Citramāyu), friend of Rāma, 223. Citraratha, associated with Indra, 190, 194. Clay elephants, children play with, 320. Clearness, of style, 331, 332. Coarseness of the *Prahasanas* and *Bhāṇas*, 264. Cock-fights, 263, 285. Colour of curtain, 359; dress of actors, 366; participators in dramatic performances, 35, 36, 37, 366; sentiments, 324; Indra's banner, 369; pillars of the auditorium, 359. Combats, in the *Ḍima*, 347; the *Preṅkhaṇa*, 351. Comedy, Greek, origin of, 39, n. 2; influence of, on Sanskrit drama, 58-66. Comedy, Sanskrit drama deficient in higher forms of, 280, 354, and see *Nāṭaka*, *Nāṭikā*, and *Prakaraṇa*. Comic dialogue (*prapañca*), 328. Comic (*hāsya*) sentiment, 323, 324, 347, 348, 351. Compassion, as a character, 254. Compensatory lengthening of a vowel, with reduction of consonant groups, in Bhāsa, 121. Competitions for poets, 286. Compound letters, produce strength of style, 332. Compounds, 217, 274, 332, 333; irregular forms in Bhāsa, 121. Conclusion (*nirvahaṇa*) as fifth juncture of the drama, 299. Concubinage, as an allegorical character, 255. Confiscation of property of persons dying without heirs, 253. Conflict in character, un-known to Indian drama, 278, 279. Confusion, as an allegorical character, 251, 252, 254, 255. Conjunct consonants, produce strength of style, 332. Conscience, struggle of, unknown in Sanskrit drama, 279. Consequents (*anubhāva*), in dramatic theory, 315 ff. Construction, immediate, of an object by artificial means (*saṃkṣipti*), 327. Contemplation, as an allegorical character, 252. Contentment, as an allegorical character, 252. Contest, as essential element of the drama, 45, 278. Continuance (*avalagita*), 328. Continuation scene (*aṅkāvatāra*), 302. Contractions, irregular, in Bhāsa's Sanskrit, 120. Cora Indians, dramatic ritual of, 18, 19. Corpse, revival of, as dramatic motif, 259. Cosmopolitan character, ascribed to the *Mṛcchakaṭikā*, 139, 140. Courteous, hero, 307. Courtesans, see *Hetaerae*. Courtiers, where placed in the auditorium, 370. Courts, as patrons of the drama, 285, 362. Crassus, Iason and the head of, 59. Creation of object by magic (*vastūtthāpana*), 327. Creeper, Urvaçī transformed into a, 150, 151, 156. Critique of life, lacking in Sanskrit drama, 160, 195, 196, 197, 280, 281, 354. Cult, as an allegorical character, 252. Curse, as a dramatic motif, 125, 153, 157, 158. Curtain of theatre, 61, 67, 68, 113, n. 1; colour of, 359 (cf. Elizabethan curtain, with colours varying as in India according to subject, GIL. iii. 177, n. 1).
c23.9
Dadhittha, a monkey, 233. Daityas, propitiated in the preliminaries of the drama, 339, n. 3. Dakṣiṇāvartanātha, commentator on the Meghadūta, 145. Dāmodara, 99, and see Kṛṣṇa. Dāmodaragupta, author of the Kuṭṭanīmata, 171, 362, 368. Dāmodaramiçra, redactor of the Mahānāṭaka, 270. Dānavas, demons, 267, 339, n. 3, 366. Dance, 12, 15, 16, 25, 26, 42, 44, 45, 50, 57, 58, 112, 160, 291, 296, 338, 350, 351. Daṇḍin, author, 104, 129, 193, 221, 330, 363. Dantivarman, dubious name of a king, 204. Danturā, a go-between, 261. Daçapura, use of Bhūtabhāṣā in, 287. Daçaratha, a king, 100, 101, 189, 226, 228, 232, 245. Daçāha festival, 42. Date of Bhāsa's dramas, 93-5. Dead, worship of, and drama, 46, 47. Death on the stage, 105, 110, 140, 292, 354. Deccan, colour of people of the, 366; dramatic performances in the, 363. Deceitful hero, 307. Decline of the drama, causes of, 242-4. Demi-gods, as heroes of the Dima, 347 Demons, as heroes of the Dima, 347, and see Daityas, Dānavas, Rākṣasas. Dénouement (kārya), as an element of the plot, 298; wonder appropriate in the, 325. Desire, as a character, 251. Determinants (vibhāva), in dramatic theory, 315 ff. Deus ex machina, Gaurī as, 175, 176. Devaji, father of Rāmakṛṣṇa, 274. Devakī, mother of Kṛṣṇa, 40, 98. Devanāgarī recension, of the Çakuntalā, 154, 155; the Vikramorvaçī, 151; the Veṇīsaṃhāra, 219. Devapāla of Mālava, 249. Devarāta, a minister, 187. Devasomā, a damsel attached to a Çaiva mendicant, 182, 185. Deva Sūri, Jain sage, 259, 260. Development (garbha), third juncture of the drama, 299. Development of affection (narmagarbha), 327. Devil, in mediaeval mystery plays, 24, 39. Devotion, as a sentiment, 325, n. 1. Dhanadeva, father of Yaçaḥpāla, 254, 260. Dhanamjaya, writer on poetics, 292, 321, 345, 328, 329, 340, 347.
c23.10
Dhānaṃjaya, in a Buddhist drama, 84. Dhaneçvara, father of Jyotiṛçvara, 261. Dhanika, writer on poetics, 220, 223, 271, 293, 350, 366. Dhanika Paṇḍita, 293. Dhārāvarṣa, prince of Candrāvatī, 247, 265. Dhāriṇī, a queen, 148, 149, 155, 159, 163, 165. Dhāvaka, misreading for Bhāsa, 171. Dhirasiṃha, father of Jyotiṛçvara, 261. Dhīreçvara, family, 261. Dialogue (saṃlāpa), 327. Dialogues of the Veda, alleged dramatic character of the, 13-23. Digambara Jainism, 252. Diggers of underground passages, speech of (cf. JRAS. 1923, p. 591), 88, 336. Dignāga, alleged enemy of Kālidāsa, 145. Dionysos, Greek god, 66. Dionysos, Indian, i.e. Çiva, 42, n. 1. Dionysos Melanaigis, 38. Discrimination, as a character, 251, 252, 254, 255. Disguise, of girl as boy, as motif, 234, 235. Disguise, assumed on the stage, 303. Disgust (jugupsā), as the basis of the sentiment of horror, 323. Dithyramb, and drama, 39. Division into acts, 60, 61. Division of sentiment, not allowed in the drama, 278, 279. Doors of the stage, number of, 360. Double consonant, with short vowel, in place of single consonant and long vowel, 121. Double entendre, 304. Dṛḍhavarman, uncle of Vāsavadattā, 173, 174, 360. Dhṛṣṭadyumna, slays Droṇa, 213. Dhṛtarāṣṭra, a king, 96, 106, 117, 214, 216, 218. Double letters, produce strength of style, 332. Dramatic elements in Vedic ritual, 23-7. Dramilas, speech of, 337, n. 1, and see Draviḍas. Draupadī, wife of the Pāṇḍavas, 63, 97, 212, 213, 214, 218, 233, 265, 266, 270. Draviḍas, speech of, 336, 337; colour of, 366. Dream, as motif, 303; truthful in early hours of morning, 234. Dress of actors, 366. Drinking, as an allegorical character, 255. Droṇa, preceptor of the Kauravas, 97, 213. Drop, or expansion (bindu), as an element of the plot, 298.
c23.11
Duhika, variant of Durduka, 231. Duḥśāsana, 212, 214, 216. Duḥṣanta (Duṣyanta), a king, hero of the Śakuntalā, 152-5, 297, 341, 365. Dumb actors, 53, 273. Dundubhi, 228. Durācāra, a pupil, 261. Duration of acts of certain dramas, 346, 351. Durduka, father of Rājaśekhara, 231. Durgāpūjā, festival in Bengal, 262. Durmukha, in the Uttararāmacarita, 190, 329. Durvāsas, an ascetic, 153, 158, 268, 298. Duryodhana, chief of the Kauravas, 38, n. 2, 96, 97, 106, 110, 111, 114, 212, 214, 215, 216, 218, 266, 278, 300, 304, 309, 329, 354. Duty, as superior to private interest, in Kālidāsa, 153, 154.
c23.12
Eclecticism of classical age of Sanskrit literature, 284. Egoism, as a character, 252. Ekbatana, Greek artistes at, 59. Elements of the plot (arthaprakṛti), 298, 299. Elephant, artificial, to contain men, 327; terrifies people in the street, 264. Elephants, escape of, as dramatic motif, 193, 257. Elision of consonants, not in Aṣvaghoṣa, 86; in Bhāsa, 121; with compensatory lengthening, 121. Emotion (bhāva), 277, 278, 296, 316-26. Energy (utsāha), as basis of heroic sentiment, 323. Enigma (nālikā), 329. Epics, and the drama, 27, 28-31, 42, 45, 47, 49, 58, 63, 75, 76, 281, 282, 297, original form of, 21-3. Epidicus, of Plautus, 64. Episode (patākā), 297, 298, 299. Equivoke, as dramatic motif, 304. Erotic (śṛṅgāra), sentiment, 278, 323, 324, 346, 347, 349, 350, 351; metre and style appropriate to, 331, 332. Eunuchs, 313; in the Prahasana, 348. Euripides, 59, 196, 197, 279, n. 1, 282. Exalted, hero, 305, 306. Excitement, sentiment of, 265. Exegesis, as an allegorical character, 252. Expansion (bindu), as element of the plot, 298, 346.
c23.13
Fainting, as a dramatic motif, 192, 224, 228. Faith, as a character, 252; as a sentiment, 325, n. 1. Faith in Viṣṇu, as a character, 253. Falsity, as a character, 252.
c23.14
Farce (prahasana), 182-5, 260-3, 280, 296, 309, 348. Fate, 140, 277, 278. Fear, sentiment of, 319, 324, 325. Festivals, occasions of performance of dramas, 362. Fifth manner, existence of, denied, 328, n. 1. Fifth Veda, nature of the, 12, 13 Fighting (sampheṭa), 328. Figures of speech, 116, 117, 211, 330, 331, 333, 334. Fire, imaginary, as a dramatic motif, 103, 173. Fleet, Dr. J. F., theory of origin of Cedi era, 129. Flesh-eating, as an allegorical character, 255. Flesh-offering, to the ghouls of the cemetery, 188. Forest dwellers, speech of, 347. Fortune of the City, as an allegorical character, 255. French borrowings from the classics, 68. Friendship, in Bhavabhūti, 195, 196; sentiment of, 325, n. 1. Frog hymn (RV. vii. 103), 19. Funeral games, and the origin of drama, 47. Fury, sentiment of, 320, 323, 324, 347; metre and style appropriate to, 331, 332.
c23.15
Gamblers (dyūyant), language of, 141, 336. Gambler's hymn (RV. x. 24), 19. Gambling, as an allegorical character, 255. Gaṇadāsa, a dancing-master, 148. Gandhāra, art of, relation to Greek art, 58. Gāndhārī, wife of Dhṛtarāṣṭra, 214. Gandharvas, 17, 23, 40, 100, 112, 339, n. 3; dress of, 366. Gaṇeṣa, propitiated in the preliminaries of the drama, 369. Gaṅgā, river-goddess, 190, 191, 192, 245. Gaṅgādhara, author of the Gaṅgadāsa-pratāpavilāsa, 251. Garland, see Vīthi. Garland of Fame, an allegorical character, 254. Garuḍa, 79, 100, 175, 179. Gātrasevaka, in the Pratijñāyaugandharāyaṇa, 108. Gauḍa, or Gauḍī, style, 202, 331, 335. Gaurī, the goddess, 174, 175, 176, 278. Gautama, the Viḍūṣaka of Agnimitra, 148, 155. Gay, hero, 305.
c23.16
Gazelle, magic, in the Rāma legend, 221. Gedrosians, knew Greek drama, 59. Geldner, Prof. K., theory of dialogue hymns in Veda, 22, 23. General (senāpati), exalted hero, 306, 312. Gentleness, as an allegorical character, 254. Germ (bīja), as an element of the plot, 298. Gesture, 279, 338, n. 1, 364, 365, 367. Ghanaśyāma, author of the Ananda-mañjarī, 257. Ghaṭikācaṭa, see Kṛṣṇa. Ghaṭotkaca, son of Bhīma and Hiḍimbā, 95, 106, 109, 111, 213. Gobaṃ°, a character, 85; Prākṛit used by, 86, 87. Godāvarī, river goddess, as a character, 245. Gods, as heroes of the Dima, 347; in the Samavakāra, 346; dress of, 366; characteristics of, 260. Goethe, views of, on Kālidāsa, 160, 280. Goha, in the Mṛcchakaṭikā, 136. Gokulanātha, author of the Amṛtodaya, 253, n. 3, 343. Good Conduct, as an allegorical character, 254. Gopāla, father of Āryaka, 129. Gopāla, patron of Kṛṣṇamiçra, 251. Gopīnātha Cakravartin, author of the Kautukasarvasva, 262. Gopīs, cowherdesses, loved by Kṛṣṇa, 40, 274. Gori Īsapa, a Mahomedan, 250. Graceful (kaiçikī) manner, 326, 327, 346, 347, 349, 350. Graces, of the heroine, 310. Grammarians, evidence of, as to drama, 31-6. Grammatical, peculiarities, in Sanskrit, 85, 86; in Prākṛit, 86-9, 121, 122. Grandeur, 195, 196. Great Dionysia, plays produced at, 66. Greece, absence in the main of female dramatists, 288. Greek astrology, known to Kālidāsa, 146. Greek drama, compared with Indian, 276, 277, 279, n. 2, 280, 281, 311; origin of, 37-39; stage for, 360. Greek influence on the Sanskrit drama, 57-68, 355, 356. Guards, present in the auditorium, 370. Guha, a forest chief, 228. Guha, son of Çiva, 170. Guhasena, of Valabhī, 275. Guhyakas, propitiated in the preliminaries, 339, n. 3. Guildsmen, or rich merchants (çreṣṭhin), language of, 87, 141, 336.
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Guṇabhara, epithet of Mahendravikramavarman, 182. Guṇāḍhya, author of the Bṛhatkathā, 52, 102. Guptas, dynasty, 60, 144, 281, 334; of Magadha, 212.
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Hair, how worn on the stage, 366, 367. Hāla, or Sātavāhana, 74, 76; refers to drama, 45, n. 1. Hamartia, Aristotelian doctrine of, 279, n. 1. Hammīra, a Mahomedan invader, 248, 249, 250. Haṃsavatī, a queen of Duḥṣanta, 158, 160. Hanumant, 63, 111, 113, 190, 227, 245, 246, 266, 269. Happy ending, necessary in drama, 38, n. 2, 140, 278, 354. Hara, the god, 240, 241. Haradatta, on Mahābhāṣya, 34. Harem life, effect on drama, 65, 280. Haribrahmadeva, of Kaypur, 270. Hāricandra, a poet, 91. Harihara, author of the Bhartṛharinirveda, 248. Harihara, brother of Mādhava, 268. Hariçcandra, tale of, 240. Harisiṃha, of Simraon, 261. Harlequin, origin of the character of the, 39. Harṣa, dramatist, of Kanyakubja (A.D. 606-48), 42, 85, 103, 155, 170-81, 204, 239, 256, 278, 284, 303, 305, 311, 325, 355, n. 3, 368. Harṣa, Candella, king of Jejākabhukti, 239. Harshness, as an allegorical character, 255. Hastigiri, lord of, 268. Haughty, hero, 305, 306, 307, 347; enemy of the hero, 307, 308. Hemacandra, Jain author, 225, 243, 254, 255, 258, 260, 273, 275. Hemakūṭa, place of abode of Mārica, 154. Hemāṅgada, a Vidyādhara, 229. Hemāṅgī, a heroine, 263. Herakleidai, of Euripides, known in India, 59. Heresy, as a character, 252. Heretics, parodied in the Prahasana, 348; excluded from spectacles, 370. Hero, in Sanskrit drama, 305-7, 323; should be on stage during each Act, 140, 301; appropriate to several types of drama, 345-51. Heroic comedy, see Nāṭaka and Nāṭikā. Heroic (vīra) sentiment, 320, 323, 346;
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metre and style appropriate to, 331, 332. Heroine, in New Comedy, 62; in Sanskrit drama, 308-10; in different types of play, 346-8, 350, 351. Heroism, 165, 168, 177, 195, 211, 278. Hertel, Prof. J., theory of the origin of the drama, 16-18. Hetaera drama, Buddhist, 84, 85. Hetaerae, 62, 133, 313, 334, 335, 346; form of names of, 313. Hiḍimbā, wife of Bhīma, 95, 96, 106, 109, 213. Hillebrandt, Prof. A., view of origin of drama, 25, 35, 36, n. 1, 39, 49, 50, 51, 52, 53. Hindi, vernacular drama in, 243. Hindu revival under the Guptas, 60. Hippolytos, of Euripides, 279, n. 1. Historical drama, 248-51. Hiuen Tsang, 170, 284. Hoernle, Dr. A. F. R., theory as to identity of Vikramāditya, 144. Holi festival, 41. Horrible, descriptions of the, 192, 223. Horror, sentiment of, 319, 320, 324, 325; metre and style appropriate to, 331, 332. Horse sacrifice, ritual abuse in, 25; of Agnimitra and Samudragupta, 149. Hultzsch, Prof. E., on date of Murāri, 225, 259. Human sacrifice, as motif, 259. Humorous speech (vyāhāra), 329. Humour, 136, 159, 160, 177, 192, 211. Hūṇas, 144, 145, 168. Hunters, speech of, 347. Hunting, miseries of, 152, 160. Huth, G., views on date of Kālidāsa, 145, n. 1; on order of his poems, 167.
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Iason, actor, 59. Idealism of Sanskrit drama, 276. Illuminator (dīpaka), a figure of speech, 331. Imitation, of Aṣvaghoṣa (Buddhacarita, xiii. 60), by Bhāsa, 118. of Bhāsa, by Kālidāsa, 124-6; by Bhavabhūti, 187, n. 2; in the Mṛcchakaṭikā, 131, 140. of Kālidāsa, by Harṣa, 175, 176; by Bhavabhūti, 193. of the Mṛcchakaṭikā (wrongly questioned in JRAS., 1923, p. 592), by Viçākhadatta, 208. Incident (prakarī), 297, 298, 299. Incoherent talk (asatpralāpa), 329. Indian philosophy, the product of the Brahmins, 276. Individuality, of characterization, not aimed at in Sanskrit drama, 282, 353.
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Indra, dialogues introducing, 14, 15, 19; monologue of drunken, 18, 19; referred to, 267, 303. Indra's banner, origin of drama in festival of, 41, 369. Indra III, Rāṣṭrakūṭa, 239. Infinitive, form of, in Aṣvaghoṣa, 87. Internal junctures, see Antarasandhi. Interval of time, between Acts, 301. Intoxication (mada), as a dramatic motif, 303. Introduction (āmukha), 328. Invention of the poet, when allowed, 277, 296, 297, 346, 348, 349. Ionian, equivalent to Greek, and also used more widely, 61. Irāvatī, a queen, in the Mālavikāgnimitra, 148, 149, 155, 157. Irony, in Bhāsa, 119; in Bhavabhūti, 192, n. 1, 194. Irregularities of Sanskrit, in Aṣvaghoṣa, 85, 86; in Bhāsa, 120, 121. Içvarasena, an Ābhīra prince, 129. I-Tsing, 168, 171.
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Jagadīçvara, author of the Hāsyārṇava, 261, 262. Jagajjyotirmalla, Haragaurīvivāha by, 76, n. 2, 247, 248. Jagannātha, writer on poetics, 325. Jain Māhārāṣṭrī, 256. Jaina allegorical drama, 253-6. Jainism, 252, 253-6. Jains, and drama, 45, 46, 253-6, 286. Jāmbavant, a bear, 227, 228, 229. Janaka, of Videha, 189, 190, 202, 223, 227, 228, 245, 271. Jaṅgamas, criticism of the, 263. Jantuketu, a doctor, 261. Jarta, victory of, over Hūṇas, 168. Jaṭāyu, a vulture, 100, 189, 194, 228, 229, 245. Jātūkarṇī, mother of Bhavabhūti, 186. Javan drama, 57. Jayadeva, author of the Gītagovinda, 40, 272. Jayadeva, author of the Prasannarāghava, 226, 242, 244-6, 271, 363. Jayadratha, of Sindhu, 96, 213, 215. Jayakeçin, the Karṇāṭa, 256. Jayantasiṅha, son of Vastupāla, 248. Jayaprabha Sūri, teacher of Rāmabhadra Muni, 259. Jayasiṅha Sūri, author of the Hammīramadamardana, 248-50. Jayatala, king of Mewār, 249. Jayataladevi, wife of Vīradhavala, 250. Jayāpīḍa (A.D. 779-813), of Kashmir, 171, 368. Jester, see Vidūṣaka. Jhāṁkīs, of Bombay and Mathurā, 33.
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Jīmūtavāhana, hero of the Nāgānanda, 174, 175, 177, 179, 305, 306, 323, 326. Jinaṃnaṇdana, author of the Kumārapālaprabandha, 256. J vasiddhi, in the Mudrārākṣasa, 205, 207. Jñānanidhi, teacher of Bhavabhūti, 186. Jñānaraṇi, a Bhāgavata, 263. Jogīmārā cave, 54, 86, 89. Jones, Sir William, 160. Judgement, as a character, 251, 252. Juncture (sandhi), 298-300, 346-51. Jyotirīçvara Kaviçekhara, author of the Dhūrtasamāgama, 261.
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Kabandha, headless demon, 228. Kādī, or Kadī, Mīlacchrīkāra's preceptor, 250. Kaikeyī, wife of Daçaratha, 100, 101, 189, 227, 228. Kaiyaṭa, on the Mahābhāṣya 33. Kalacuris, a royal house, 226, 232. Kalahaṅsa, in the Mālatīmādhava, 193, 313. Kalakaṇṭha, friend of Māruta, 257. Kālapriya, probably Mahākāla, the deity of Ujjayinī, 186. Kalhaṇa, historian, 129, 168, 220. Kālidāsa, dramatist, 42, 58, 65, 76, 91, 93, 115, 120, 124-6, 127, 129, 139, 143-67, 196, 197, 239, 243, 256, 275, 280, 281, 284, 291, 292, 297, 309, 311, 334, 343, n. 1, 352, 353, 355, n. 3, 364. Kaliṅga, king, enemy of Vatsa, 173, 174. Kaliṅgas, colour of, 366. Kaliṅjarapati, Bhīmaṭa described as, 239. Kaliph of Baghdad, 250. Kalivatsala, a licentious king, 262. Kālīya, a demon foe of Kṛṣṇa, 99, 106. Kāma, worship of, 172. Kāmandakī, in the Mālatīmādhava, 187, 188, 193, 302, 361, 362. Kanalakalā, a heroine, 264. Kanakalekhā, a princess saved by Mantragupta, 193, n. 2. Kanarese words, found in a Greek comedy, 60, n. 2. Kāñcana Paṇḍita, author of the Dhanamjayavijaya, 266. Kāñcī, described in the Mattavilāsa, 183. Kaniṣka, king, 58, 70, 72. Kaṃsa, uncle of Kṛṣṇa, 32, 33, 34, 35, 36, 37, 38, 40, 45, 48, 73, 98, 99, 116. Kaṇva, foster-father of Çakuntalā, 152, 153, 302, 303, 325. Kapālakuṇḍalā, a sorceress, 188. Kāpālika, in the Mitrānaṇda, 259; endeavours to sacrifice Madanamañjarī, 193. n. 2. Kāpālikas, 313.
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Kapālin, in the Mattavilāsa, 182, 184. Kapittha, a monkey, 233. Karṇa, ally of the Kauravas, 96, 106, 115, 213, 214, 215. Karṇa, king of Cedi, 251. Karṇadeva Trailokyamalla, of Aṇhilvāḍ, 256. Karṇapūraka, slave of Vasantasenā, 141. Karṇasundarī, a princess, 256. Karṇisuta, text-book by, on gambling, 134. Karpaṭa, an authority on thieves' practice, 182. Karpūramañjarī, a princess, 234, 235. Kārtyāyaṇī, a deity, 99. Kācı, colour of people of, 366. Kāçipati Kavirāja, author of the Mukundananda, 264. Kāçmiri, recension of the Çakuntalā, 154. Kashmir, dramatic exhibitions in, 371; pronunciation of Sanskrit in, 287; Hūṇas in, 144. Kāṭayavema, commentator on Kālidāsa, 151, 154. Kātyāyana, the grammarian, 31. Kaumudī, heroine of the Kaumudīmitrānaṇda, 258, 259. Kauṇḍinya, in the Çāriputraprakaraṇa, 82. Kauravas, 265, 302. Kauçalyā, mother of Rāma, 191, 195. Kauçāmbī, scene of the Ratnāvalī, 171. Kauçikī, in the Mālavikāgnimitra, 148, 155, 156, 162, 165, 308. Kavikarnapūra, author of the Caitanyacandrodaya, 84, 85, 353. Kaviputra, or Kaviputrau, dramatists, 91, 127, 128, 147. Kavirāja, an ancestor of Rājaçekhara, 231. Kāvya, Sanskrit, 71, 75, 76; style, 115, 283, 284. Keepers of drink shops, speech of, 88, 336. Keçava, 48. Keçin, a demon foe of Kṛṣṇa, 99. Keyūravaṛṣa, Yuvarāja, of Tripurī, 232. Khāravela of Kaliṅga, 89. Kharpara Khāna, a Mahomedan, 250. Khasas, a people, speech of, 337. Kicaka, death of, 63, 97. Killing of animals forbidden by Kumārapāla, 253. Kings, as patrons of literature, 286; of actors, 362; as heroes of the drama, 345, 347, 350, 366. Kirātas, 312; colour of, 366; speech of, 336. Kirtivarman, of Jejākabhukti, 251. Kolāhalapura, city of uproar, 263. Komudagandha, a Vidūṣaka, 84.
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Konow, Professor Sten, theory of origin of drama, 25, 49, 54; various views of, 66, 81, 92, 94, 95, 129, 130, 141, 204, 225. Kordax, 42, n. 1. Korybantes, 20. Kosala, king, enemy of Vatsa, 172, 177, 178. Kosalas, a people, colour of, 366. Koṭiliṅga, Yuvarāja of, 264. Kouretes, 20. Kṛpa, ally of the Kauravas, 213, 214. Kṛpāsundarī, a princess, 254, 255. Kṛcācvins, followers of Kṛcācva, 31. Kṛṣṇa, 17, 26, 32, 35, 36, 37, 38, 40, 41, 42, 45, 48, 49, 50, 73, 83, 97, 98-100, 106, 107, 110, 130, 213, 215, 247, 257, 264, 266, 267, 270, 272, 274, and see Vāsudeva and Viṣṇu. Kṛṣṇa Avadhūta Ghaṭikācaṭa Mahākavi, author of the Sarvavinodanāṭaka, 267. Kṛṣṇa Kavi, author of the Carmiṣṭhāyāti, 268. Kṛṣṇamachari, R., author of the Vāsantikasvapna, 251. Kṛṣṇamiçra, author of the Prabodhacandrodaya, 84, 85, 112, 251-3, 353. Kṛṣṇamiçra, author of the Viravijaya, 267. Kṛṣṇa Sūri, father of Mahādeva, 246. Krakucchanda, a Buddha, 43. Kṣatriya, 66, 81, 276; colour of, 366; seats for, 359. Kṣemendra, of Kashmir, 236, 240, 247, 371. Kṣemiçvara, or Kṣemendra, dramatist, 239-41. Kulaçekharavarman, author of the Tapa-tisamvarana and Subhadrādhanamjaya, 247, 371, n. 2. Kumāra, the god, 267; grove of, 150. Kumāradāsa of Ceylon, alleged connexion with Kālidāsa, 143. Kumāragiri, king of Koṇḍavīḍu, 151. Kumārapāla, Caulukya, king of Gujarāt, 253, 254, 258. Kumāravihāra, at Thārāpadra, 254. Kumārila, alleged to be a teacher of Bhavabhūti, 186. Kumbhakarṇa, son of Rāvaṇa, 228, 233, 246. Kumbhīlaka, servant of Vasantasenā, 141. Kumudacandra, a Digambara teacher, 260. Kumudikā, a hetaera, 133. Kuntibhoja, a king, 101, 109. Kuraṅgī, a princess, 101, 109. Kurus, 96, 97, 106. Kuça, son of Rāma, 30, 31, 191, 192. Kuçalaka, a spy, 249. Kuṣaṇa, Kuṣāṇa, dynasty, 59.
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Kuvalayā, an actress, 43. Kuvalayamālā, princess of Kuntala, 234, 235.
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Ladies, of the harem, where placed in the auditorium, 370; see also Heroines and Hetaerae. Lagidai, rule of, in Alexandria, 60. Lakṣmaṇa, brother of Rāma, 42, 100, 105, 115, 119, 189, 190, 223, 226, 227, 228, 229, 245, 246, 269, 271, 303. Lakṣmaṇa Māṇikyadeva, patron of, author of the Kautukaratnākara, 263. Lakṣmaṇa Sūri, author of the Dillīsāmrājya, 251. Lakṣmī, the goddess, 268, 274. Lakṣmīpati, a prince, 258, 259. Laments, of women, permitted in the Aṅka, 348. Language, of Açvaghoṣa, 85-9; Bhāsa, 120-2; Mṛcchakaṭikā, 140-2; Kālidāsa, 166; Harṣa, 181; Mahendravikramavarman, 185; Bhavabhūti, 203; Viçakhadatta, 211, 212; Bhaṭṭa Nārāyaṇa, 219; Rājaçekhara, 236. Laṅkā, mythical home of Rāvaṇa, not Ceylon, 190, 194. Lāṭa, use of Prākṛit in, 287. Lava, son of Rāma, 31, 191, 192, 194, 195, 223, 224. Lāvanyasiṅha, son of Tejaḥpāla, 249. Legendary origin of the dramatic art, 12, 13; of the theory of drama, 290. Legends, altered in the drama, 297, 346, 348. Letter, as a dramatic motif, 63, 303. Lévi, Prof. S., Théâtre indien of, 5; theory of origin of the drama, 15; views on the origin of the Vidūṣaka, 66; the Çakas and the drama, 69-72; other references to, 128, 208. Life, lack of criticism on, 160, 195, 196, 197, 280, 281, 354. Light-hearted, hero, 305. Lion throne, royal box, 370. Literary antecedents of, and influences on, the Sanskrit drama, 75-7. Literary drama, 56, 273. Lokanātha Bhaṭṭa, author of the Kṛṣṇābhyudaya, 268. Lopāmudrā, legend of, 14, 19. Loss of memory, as a dramatic motif, 153, 297. Love, as a character, 151. Love, as a dramatic motif, 278, 285, 286, 310; as basis of sentiment, 323, 324; in Bhāsa, 107; Mṛcchakaṭikā, 130, 138; Kālidāsa, 159; Candaka, 169; Harṣa, 180; Bhavabhūti, 196, 198, 199; Bhaṭṭa Nārāyaṇa, 219; Rājaçekhara, 238.
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Lovers, kinds of men, and women, 307-9. Low moral character of actors, 55, 363. Loyal, hero, 307. Lüders, Prof. Heinrich, theory of origin of the drama, 33, 34, 35, 53, 272, n. 1. Lyric choruses, Aristotle's view as to, 337, n. 2. Lyric stanzas, in the drama, 279, 281, 282, and see Verse.
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Madana Bālasarasvatī, author of the Pārijātamañjarī, 256. Madanamālā, a hetaera, 134. Madanaamañjarī, and a Kāpālika, 193, n. 2; a hetaera, 261. Madanavatī, a female character, 260. Madanikā, in the Mṛcchakaṭikā, 135. Madayantikā, in the Mālatīmādhava, 188, 193. Mādhava, author of the Subhadrāharaṇa, 268, 342, 357. Mādhava, hero of the Mālatīmādhava, 62, 139, 187 ff., 306, 308. Mādhavasena, a prince, 147. Madhuka, a seer, 99. Madhusūdana, redactor of the Mahānāṭaka, 270, 271, n. 1, 272. Madhyama, in the Madhyamavyāyoga, 96. Madness, of Purūravas, as a dramatic motif, 150. Magadhavatī, a hetaera, 84. Māgha, poet (date, Jacobi, SBAW., 1923, p. 214), 284. Magic, 111, 234. Magic arts, in the Ratnāvalī, 172, 173; in the Priyadarśikā, 174; in the Nāgānanda, 175. Magic gazelle, in the Rāma legend, 221. Magic ring, conferring invisibility, 101, 112. Magicians, tricks of, 112, 172, 173, 176, 234. Mahādeva, author of the Adbhutadarpaṇa, 246, 247. Mahādeva, father of Jayadeva, 244. Mahākāla, deity of Ujjayinī, 186. Mahākavi, ancestor of Bhavabhūti, 186. Mahānindaka, a holy man, 262. Mahārāja Bhāskaradatta, father of Viṣakhadatta, 204. Mahārāṇa Meru, of Raypur, 270. Māhārāṣṭrī lyric, 146. Mahāsena, Pradyota, 102, 130. Mahāvīra, speech of, 87; idol of, 254. Mahāvrata rite, relation of, to drama, 21, 24, 26, 37, 39, 45, 51, 73, 112. Mahāyāna school, 80; Greek influence on the, 58. Mahāyātrika, a comic astrologer, 262. Mahendrapāla, of Mahodaya, 232.
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Mahendravikramavarman, an author, 93, 182-5. Maheçvara, father of Caṅkaralāla, 270. Mahiman Bhaṭṭa, writer on poetics, 294, 322. Mahīpāla, of Mahodaya, 232. Māhiṣas, colour of, 366. Māhiṣmatī, capital of the Kalacuris, 226. Mahomedan influence on decadence of Hindu drama, 242, 371. Maitreya, a character in the Kaumudīmitrānanda, 259. Maitreya, Cārudatta's Viḍūṣaka, 139. Makaranda, in the Mālatīmādhava, 188, 193, 308, 338. Makaranda, friend of Mitrānanda, 259. Mālatī, in the Mālatīmādhava, 187 ff., 308. Mālava era, 144. Mālavikā, heroine of the Mālavikāgnimitra, 62, 63, 148, 149, 158, n. 1, 159, 165, 309. Malayaketu, in the Mudrārākṣasa, 205 f. Malayavatī, heroine of the Nāgānanda, 174, 306. Mallikā, heroine of the Mallikāmāruta, 257, 258. Mallinātha, commentator on Kālidāsa, 145. Mālyavant, minister of Rāvaṇa, 189, 190, 194, 227, 228, 229, 233, 246. Mammaṭa, writer on poetics, 171, 295, 323, 324. Man about town, 285. Man of taste, 318, 368, 370. Mandākinī, a magician, 257, 258. Maṇḍaleçvara Bhaṭṭa, father of Mādhava, 268. Mandara, Mount, 98. Mandārikā, a friend of a Viṭa, 264. Mandārikā, a servant, 313. Mandasor Praçasti (A.D. 473), imitates Kālidāsa, 146. Mandodarī, wife of Rāvaṇa, 190, 246. Maṇicūḍa, legend of, 168. Manifestation of affection (narmasphoṭa), 327. Maṇika, author of the Bhairavānanda, 248. Maṅkha, poet, 75, n. 3, 225, 259. Manners or styles (vṛttis), 12, 331, 332; in relation to types of dramas, 346-51. Manoramā, an attendant in the Priyadarśikā, 174, 362. Manovatī, acts part of Rambhā, 49. Mantharā, a slave woman, 189, 227, 228. Mantragupta, and Kanakalekhā, 193, n. 2. Manu, censures actors, 363. Māra, enemy of the Buddha, 180, 284. Mārica, in the Ҫakuntalā, 126, 154, 158; in the Rāma legend, 271.
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Mārkaṇḍeya, Prākrit grammarian, 336. Marriage, celebrated by painting scene of it, 102, 203. Māruta, hero of the Mallikāmāruta, 257, 258. Maruts and Indra, dialogue of, 14, 19, 20. Mārwār, use of Apabhraṃśa in, 287. Masks, possible use of, 365, n. 1. Mātali, charioteer of Indra, 154, 157, 160, 303, 325. Mataṅga, enemy of Jīmūtavāhana, 178. Māthura, in the Mṛcchakaṭikā, 135. Mathurā, as home of drama, 41, 70, 74. Mathurādāsa, author of the Vṛṣabhānuja, 257. Mātṛgupta, a poet, 291, n. 2, 232, 315, n. 1, 360. Mātrarāja, see Aṅgaṅgaharṣa. Matrona, of Greco-Roman drama, 65. Mattavilāsa, epithet of Mahendravikramavarman, 182. Matters unfit for stage representation, 300, 301. Maudgalyāyana, a disciple of the Buddha, 81, 84. Maukhari king, Avantivarman, 204. Max Müller, theory of origin of the drama, 15. May-day merriment, in England, 41. Māyurāja, author of Udāttarāghava, 221, 223, 297. Māyurāja, variant of Māyurāja, 221, n. 1. Megasthenes, refers to the Kordax, 42, n. 1. Meghanāda, son of Rāvaṇa, 190, 229, 246. Meghaprabhācārya, dramatist, 55, 269. Mekhalā, a maidservant, 235. Melanthos, legend of, 37, 38. Men, play women's parts, 36, 362. Menakā, mother of Çakuntalā, 152. Menander, comedy of, 60. Menander, king, conquests of, 59, 60. Mercenary soldiers, reflected in figure of Çakāra, 66. Merchants, or guildsmen, speech of, 87, 141, 336; form of names, 313; as heroes of the Prakaraṇa, 346; the Prakaraṇikā, 348. Meru, Mahārāṇa of Raypur, 270. Message, as dramatic device, 303. Messenger, of hero, 311, 312; of heroine, 313. Metre, influence of lyrics on, 77; of Açvaghoṣa, 89, 90; Bhāsa, 123, 124; Mṛcchakaṭikā, 142; Kālidāsa, 167, 168; Harṣa, 181; Mahendravikramavarman, 185; Bhavabhūti, 203; Viçākhadatta, 212; Bhaṭṭa Nārāyaṇ, 219; Rājaçekhara, 234, 236, 238; Kṣemiçvara, 240; Jayadeva, 246; Kṛṣṇamiçra, 253; Uddaṇḍin, 258; use of, in accord with sentiments, 331; in the Samavakāra, 346. Mewār, defeat of Jayatala of, by the Mahomedans, 249, 250. Middle, for active, in Bhāsa, 120. Midsummer Night's Dream, Sanskrit version of, 251. Milacchrīkāra, a Mahomedan, 250. Mildness (mṛdava), 329. Miles gloriosus, of Greco-Roman drama, 65; Rāvaṇa as a, 105. Military spectacle, see Vyāyoga. Mīmānsā view of sentiment, 316. Mime, Greek, alleged influence of, on Indian drama, 67, 68. Mimes, in India, 49, 57. Mimesis, Aristotelian doctrine of, 355. Mimetic art, 12, 296. Mind, movements of, as related to the sentiments, 320. Minister, appropriate hero for a Prakaraṇa, 306, 346; how addressed, 314; where placed in the auditorium, 370. Mirror of knowledge, an allegorical character, 254. Mirth (hāsa), as the basis of the comic sentiment, 323. Mise-en-scène, 364-9. Mitrāṇanda, hero of the Kaumudīmitrānanda, 258, 259. Mitāvasu, prince of the Siddhas, 174, 175, 178. Miyāṇalladevī, a princess, 256. Mlecchas, 249, 312. Mohanadāsa, commentator on the Mahānāṭaka, 270. Mōkos, compared with Viḍūṣaka, 67. Mokṣāditya, author of the Bhīmavikramavyāyoga, 266. Monkey, escape of, as a dramatic motif, 175. Monmohan Chakravarti, on date of Kālidāsa, 144. Monologue, see Bhāṇa. Moon of Discrimination, an allegorical character, 254. Mṛgāṅkalekhā, a hetaera, 262. Mṛgāṅkāvalī, a princess, 234, 235. Mṛgarājalakṣman, 212. Mudgala hymn (RV. x. 102), 18. Muhammad II, of Gujarāt, 251. Muktāpīḍa Lalitāditya, of Kashmir, defeats Yaçovarman of Kanyakubja, 186. Mūlanāçaka, a barber, 261. Munisuvrata, temple of, 248. Muñja (A.D. 974-95), a king, of Dhārā, 292, 293. Muralā, a river, 191. Murāri, author of the Anargharāghava, 225-31, 242, 244, 259, 271, 352.
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Mureçvara, a Çaiva ascetic, 262, 263. Muṣṭika, slain by Kṛṣṇa, 100, 110. Music, 16, 25, 44, 49, 50, 291, 292, 339, 350, 351, 352. Mystery of things, in Bhavabhūti, 195.
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Nāgas, pair of kings, 43; destroyed by Garuḍa, 174, 175, 179. Nāgīs, how shown on the stage, 367. Nahapāna, a Western Kṣatrapa, 69. Naiyāyika view of sentiment, 316. Nakhakuṭṭa, a theorist, 341. Nakula, a Pāṇḍava, 214. Nala and Damayantī, 63, 240. Nalakūbara, 49 Nallā Kavi, author of the Ṣṛṅgārasarvasva, 263, 264. Names of the Acts of a drama, 305; the drama, 345, 346; the characters, 85, 313, 355. Nanda, the cowherd, 98. Nandana, in the Mālatīmādhava, 188, 193. Nandas, a dynasty, 205. Nandikeçvara, Abhinayadarpaṇa by, 338, 367, n. 1. Nārada, a sage, 48, 98, 100, 101, 110, 126, 151. Narasiṃha, of Vijayanagara, 261. Narasiṃha II, of Orissa, 293. Narasiṃha, author of the Ṣivanārāyaṇabhañjamahodaya, 257. Nārāyaṇa, father of Kāñcana Paṇḍita, 266. Nārāyaṇa, 97, 98, and see Kṛṣṇa and Viṣṇu. Narendravardhana, father of Anaṅgaharṣa Mātrarāja, 220. Narration, in lieu of action dialogue, 194. Narrative verses, 270, 271, 273, 351. Nature, described in the drama, Mṛcchakaṭikā, 138, 139; Kālidāsa, 159; Bhavabhūti, 195. Navamālikā, in the Nāgānanda, 177. Nema Bhārgava, a seer, 14. Neuter plural of a-nouns, in Aṣvaghoṣa's and Bhāsa's Prākṛt, 87, 122. Neuter rôles, 313. New Comedy, alleged influence on Indian drama, 60-7. Nicula, alleged friend of Kālidāsa, 145. Nīlakaṇṭha, alters the last scene of the Mṛcchakaṭikā, 135, 369, n. 2. Nīlakaṇṭha, on the shadow play, 55, 56. Nipuṇaka, in the Mudrārākṣasa, 205, 208; in the Hammīramadamardana, 249. Nipuṇikā, 328. Nirbhaya, or Nirbhara, pupil of Rājacekhara, 232. Noble, hero as always, 305.
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Nominative singular, of a-stems, in e and o, in Aṣvaghoṣa, 86, 87, 88; in Bhaṭṭa Nārāyaṇa, 219. Northern Thrace, dramatic performance in, 38. Number, of Acts in a drama, 305, 345-51; actors, 66, 87, 110, 345, 346, 347, 351.
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Officers, of the Court, 312; where placed in the auditorium, 370. Officials, high, as exalted heroes, 306. Oldenberg, Prof. H, theory of Ākhyāna, 21-3. Omission of consonants in Prākṛt, 86, 87, 88, 121. Opening (mukha), as a juncture, 298, 299. Opera, Haragaurīvivāha, 76, n. 2. Ornaments, worn by the actors, 367. Orodes of Parthia, Greek drama at Court of, 59. Outburst of affection (narmasphañja), 327. Outvying (ati-, or adhi-bala), 329. Oxus, Hūṇas on the, 144.
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Padmacandra, father of Yaçaçcandra, 260. Padmagupta, cited by Dhanika, 293. Padmāvatī, a heroine, 103, 107, 113, 125, 220. Padmāvatī, place, 186. Pahlavas, colour of, 366. Painting, of actors' faces, 37, 366. Pālaka, king of Ujjayinī, 129, 133. Palatal sibilants, produce strength of style, 332. Pāli, 87, 89. Pañcāla, music of speech of, 287. Pāñcāla style, 332, 335. Pāñcālas, colour of, 366. Pāṇḍavas, 95, 96, 97, 266, 270. Panegyrists, where placed in the auditorium, 370. Pāṇini, the drama in, 31; his position in grammatical literature, 290. Paṇis and Saramā, dialogue of, 14, 19, 21. Pantomime, 58, 258, 275, 351, and see Naṭa. Pāpācāra, a bad king, 263. Paramardideva, of Kālañjara, 265. Paraçurāma, 96, 189, 194, 228, 233, 245, 271, 302, 319, 323, 327 Parasite, in Greco-Roman drama, 65; in Indian drama, see Viṭa. Pariyātra, use of Bhūtabhāṣā in, 287. Paronomasia, 238. Pārçva, a Tīrthakara, 254. Parthians, invaders of India, 60, and see Pahlava. Partnership, of actor and singer, 363. Parvateça, a king, 205 f.
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Pārvatī, the goddess, 300, 338, 352; and the Lāsya dance, 12. Paçumedhra, a student, 227. Pāçupata, a monk in the Mattavilāsa, 184. Pāçupatas, a Çaiva sect, 42. Patañjali (B.C. 150), the grammarian, 32-5, 52, 71, 72, 77, 98. Pathak, Prof. K. B., on date of Kālidāsa, 144. Pathos, in Mṛcchakaṭika, 136; in Kālidāsa, 159, 161; in Bhavabhūti, 193, 195; as a sentiment, 319, 323, 324, 325, 348; metre and style appropriate to, 331, 332. Patience, as an allegorical character, 252. Pause (vimarça), the fourth juncture of the drama, 299. Persians, alleged to have knowledge of Greek tragedy, 59. Phallic dances, as sources of drama, 16. Phallic deities, 16, 21. Phallic orgies, 41. Philostratos, life of Apollonios of Tyana, 59. Physicians, where placed in the auditorium, 370. Picture, as dramatic motive, see Portrait. Piety, as an allegorical figure, 252. Pigments, mingling of, 369. Pillars, as marking off places in the auditorium, 359. Piçācas, demons, hair of, 366. Pischel, Prof. Richard, theory of Itihāsa, 21; suggestion as to origin of the drama in the puppet play, 52-6; on the authorship of the Mṛcchakaṭika, 128; on Bhāsa and the Sthāpaka, 342. Pity, as a character, 252. Plautus, 64. Play within a play, 303; in the Priyadarçikā, 173; the Uttararāmacarita, 191, 192; the Bālarāmāyaṇa, 233. Pleasantry (narman), as part of the graceful manner, 326. Pleasure, as connected with the primitive drama, 50; as a characteristic of the classical period of the Sanskrit drama, 284; supernatural character of aesthetic, 318, 319, 320, 321. Plot, 277, 296-305, 355. Plutarch, on drama in Parthia, 59. Poetics, 169 and Part III. Poets, when placed in the auditorium, 370. Police officials (nāgaraka), speech of, 141, 336. Polity, as an allegorical character, 254. Portraits, as dramatic device, 154, 174, 257, 303, 326. Poverty, evils of, 137.
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Pṛthu, father of Viçākhadatta, 204. Pṛthvidhara, on Prākṛits of the Mṛcchakaṭikā, 141. Practice of drama, influenced by theory, 352-4. Pradyota Mahāsena, 102, 130. Pradyumna, 48, 49. Prahasta, ally of Rāvaṇa, 246. Prahlādanadeva, author of the Pārthaparākrama, 83, n. 1, 247, 264, 265, 341, n. 1. Prākṛits, 40, 46, 50, 58, 243, 273, 275, 287, 301, 302, 311, 333, 336-8; evidence of, as to origin of drama, 72-5; of Açvaghoṣa, 86-9; Bhāsa, 121, 122, Mṛcchakaṭikā, 140-2; Kālidāsa, 161, 166; Harṣa, 181; Mahendravikramavarman, 185; Bhavabhūti, 203; Viçākhadatta, 211, 212; Bhaṭṭa Nārāyaṇa, 219; Rājaçekhara, 236; Kṣemīçvara, 240; Yaçaḥpāla, 256. Prākṛit drama, 65, 66, 69-72, 236, 257; translation of Prākṛit passages into Sanskrit, 337. Prākṛit Kāvya, later than Sanskrit Kāvya, 71, 77. Prākṛit stanzas, 253. Pralamba, a demon, 48, 99. Pramodaka, in the Mudrārākṣasa, 206. Pratāparudra, of Warangal, 293. Pratiṣṭhāna, 129. Preliminaries, of the drama, 51, 66, 111, 339-44, 368, 369. Previous birth, influence on ability to write poems, 288. Privation, as an aspect of love, 323. Priyadarçikā, a heroine, 173, 174. Priyamvadā, friend of Çakuntalā, 153, 159. Problems of life, ignored in Sanskrit drama, 160, 195, 196, 197, 280, 281, 354. Progression (pratimukha), as the second juncture, 298, 299. Prologue, 66, 111, 114, 239, 339-44, 369. Pronominal forms, in Açvaghoṣa's and Bhāsa's Prākṛits, 87, 122. Propitiation (prarocanā), 328. Prose, 23, 50, 51, 58, 73, 76, 202, 337; narrative style, 273; simple in the Nāṭaka, 345. Protagonist, compared to Sūtradhāra, 66. Proverbial phrases, affected by Bhāsa, 120. Proverbs, 211, 236. Public, dramas and, the, 370, 371. Pulindas, a people, colour of, 366. Punyaketu, a character, 254, 255. Puppet play, relation to drama, 52, 53. Purūravas, a hero, 14, 22, 62, 149, 151, 156, 157, 233.
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Puruṣamedha, 25. Puruṣottama, name confused with that of Purūravas, 150; celebrated, 240. Puṣpaka, car, 101. Puṣyagupta, described as a Rāṣṭriya, 69. Puṣyamtia, a king, 149. Pūtanā, demoness killed by Kṛṣṇa, 99.
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Qualities, of words, theory of, 321, 332, 333, 334. Queen, character of the, 312.
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Ṛṣabha, a Tīrthakara, 254, 259. Ṛṣis, hypocritical objections of, to vice, 262. Ṛṣyaśṛṅga, tale of, 48.
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Radanikā, servant of Cārudatta, 141. Rādhā, beloved of Kṛṣṇa, 40, 100, 247, 257, 272, 274. Radī, Milacchrikāra's preceptor, 250. Rāghavabhaṭṭa, commentator on the Cakuntalā, 154. Raghu, Digvijaya of, 144. Rājacala, 294. Rājarāja I, of Tanjore, 251, n. 1. Rājaçekhara, dramatist and critic, 52, 91, 103, 155, 225, 231-9, 242, 243, 244, 246, 256, 271, 287, 288, 300, 301, 337, 341, 350, 360, 363. Rājaçekhara, the younger, 129. Rājasinha, 93. Rājendralālamitra, referred to, 269. Rājputs, Rājaputras, language of, 87, 141, 336. Rākṣasa, hero of the Mudrārākṣasa, 62, 205 ff., 352. Rākṣasas, or Rakṣases, demons, 48, 223, 258; dress of, 366. Rāma, 30, 42, 47, 63, 100, 101, 105, 111, 116, 119, 189, 190, 191, 192, 194, 195, 197, 199, 223, 224, 227, 228, 229, 233, 245, 246, 247, 269, 271, 279, 281, 282, 297, 303, 305, 307, 308, 316, 317, 323, 327, 328, 329. Rāma, author of the Manmathonmathana, 267, 347. Rāmabhadra Dīkṣita, author of the Jānapariṇaya, 246; the Çṛṅgāratilaka, 263. Rāmabhadra Muni, author of the Prabuddharauhineya, 259, 260. Rāmacandra, dramatist, 225, 258, 259. Rāmakṛṣṇa, author of the Gopālakelicandrikā, 272-4. Rāmānuja, philosopher, 274. Rāmavarman, author of the Rukmiṇīpariṇaya, 247. Rambhā, a nymph, 49.
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