The Sanskrit Drama in its Origin, Development, Theory & Practice c23.38

c23.38

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.