The Sanskrit Drama in its Origin, Development, Theory & Practice c23.50

c23.50

Siddhārthaka, in the Mudrārākṣasa, 205, 208. Siddhas, 178, 179. Similes, 330, 331. Simple, and causative verbal forms, confused, in Bhāsa, 120, 121. Simplicity of Indian theatrical apparatus, 50, 358-60. Siṃha, lord of Lāṭa, 249. Siṃhana (Siṃhaṇa, Siṃhaṇa), the Yādava, 249. Siṃhaviṣṇuvarman, a Pallava king, 182. Siparium, in Roman mime, 67. Sītā, wife of Rāma, 30, 42, 53, 63, 100, 101, 105, 110, 115, 119, 189, 190, 191, 192, 194, 195, 197, 199, 218, 219, 224, 227, 228, 229, 233, 243, 244, 270, 271, 279, 281, 303, 328, 329. Sītābengā cave, 54, 67, 89. Skandagupta, Emperor, 144. Slaughter, as an allegorical character, 255. Slaves (ceṭa), speech of, 87, 141, 336; in the Prakaraṇa, 346; as hero and heroine in the Prasthāna, 351. Softening of hard letters, in Prākṛit, 86, 87, 88, 89, 121. Soma rite, 30, 51. Somadatta, a Nāyaka, 84. Somadeva, author of the Lalitavigraharāja-nāṭaka, 243, 248. Somaçarman, in Cambodia, 29. Someçvara, Kīrtikaumudī, 248, n. 7. Somila, see Saumilla. Somism, 252, 253. Song, in relation to the drama, 12, 16, 20, 25, 44, 49, 50, 160, 338, 350, 351. Sophokles, 59, 197. Sorrow (çoka), as the basis of the pathetic sentiment, 323. Sound, figures of (çabdālaṃkāras), 331. Sound effects, in Bhavabhūti, 202, 203; Bhaṭṭa Nārāyaṇa, 218; Murāri, 230; Rājaçekhara, 236. South Indian recension, of the Vikramorvaçī, 151; the Çakuntalā, 154, 155. Spectators, 35-7, 369-71; relation to actors, 316, 317, 318, 320, 321, 322. Spirit, as an allegorical character, 251. Stage, 359; matters excluded from representation on, 300, 301. Stage directions, 86, 113, 364, 366. Stage properties, 365, 366. Stages of the development of the action (avasthā), 297-9. Stanzas, see Lyric Stanzas. Sthāvaraka, servant of Saṃsthānaka, 141. Strength (ojas), of style, 331. Struggle of conscience, unknown in the Sanskrit drama, 279. Style, of Bhāsa, 114-20; Mṛcchakaṭikā, 136-9; Kālidāsa, 160-5; Harṣa, 177-81; Mahendravikramavarman, 185; Bhavabhūti, 196-203; Viçākhadatta, 209-11; Bhaṭṭa Nārāyaṇa, 215-19; Yaçovarman, 221-3; Murāri, 230, 231; Rājaçekhara, 236-9; Kṣemiçvara, 240; theoretical views of qualities of, 331-3, 334; see also Gauḍa style, Vaidarbha style. Styles, dramatic (*vṛtti*), doctrine of the, 326-9. Subandhu, author, 76, 91. Subhadrā, taken away by Arjuna, 268. Subhaṭa, dramatist, 55, 269. Subjunctures, in the episode, 299. Subrahmaṇya Kavi, author of part of the *Mahāviracarita*, 192. Subterranean passages, referred to, 206, 234. Sudarçanā, wife of the king of Kāçi, 101, 110. Sudeṣṇā, wife of Virāṭa, 63. Suggestion, in poetry, 276, 277, 318, 322; in Kālidāsa as opposed to Bhavabhūti, 161. Sugrīva, brother of Vālin, 100, 105, 190, 194, 228, 229, 245, 246, 297, 308, 327. Suicide, motif, 107. Sumeru, description of, 229. Sumitrā, mother of Jayadeva, 242. Sundaramiçra, author of the *Nāṭyapradīpa*, 294. Sundering of lovers, 323. Supernatural, 159, 192, and see Wonder. Surānanda, an ancestor of Rājaçekhara, 231. Surāṣṭra, speeches used in, 287. Susa, people of, know Greek dramas, 59. Susamgatā, confidante of Ratnāvalī, 172, 176, 303, 325, 326. Sūtas, slain by Bhīma, 97, n. 1. Suvarṇākṣī, mother of Açvaghoṣa, 80. Suvarṇaçekhara, on the Ganges, 257. Suvega, a spy, 249. Svayambhū, creator of the pigments, 369. Svāng of North-West India, 273. Sweetness of style, 331, 332. Swinging, 313; description of, 234, 238. Synonyms, free use of, 283.