The Sanskrit Drama in its Origin, Development, Theory & Practice c23.52

c23.52

Tārā, wife of Vālin, 105. Tarala, an ancestor of Rājaçekhara, 231. Tārkṣya, 267. Tears, of the auditor, 321, 368. Technique, of Açvaghoṣa, 82-5; Bhāsa, 110-14; Kālidāsa, 126, 160; Yaçovarman, 222, 223; Rājaçekhara, 239; Prahlādanadeva, 265; certain irregular dramas, 270-5; according to the writers on theory, 296-305. Tejaḥpāla, brother of Vastupāla, 248, 249, 250. Ten qualities of style, 331, 332. Ten stages of love, 323. Ten types of drama, 345-9. Terror (*bhaya*), as the basis of the sentiment of terror, 323. Terror, sentiment of, 192, 278, 324, 325, 332. Thārāpadra, 254. Theatre, buildings, 67, 358-60. Theft, as an allegorical character, 255. Theories of the Secular Origin of the Drama, 49-57. Theory of the drama, 290-351; influence of, on dramatic practice, 352-4; possible influence of Aristotle on, 355, 356. Tibet, drama in, 44. Tiger, escape of, as dramatic motif, 188, 193. Time, of performance of plays, 369; unity of, 64, 65, 301, 355. Tīrthakaras, invocation of the, 254. Todar Mall, Akbar's minister, 247. Tradition, as the fifth Veda, 12, 13. Traditional account of the origin of Sanskrit drama, 12, 13; of dramatic theory, 290. Tragedy, 38, n. 2, 278, 280, 345, 354. Trailokyavarmadeva, of Kālañjara, 266. Transitory (*vyabhicārin*), feelings, 315. Transmigration, as explaining sensibility to poetry, 322. Transverse, curtain, 113, n. 1, 359. Travaṇas, speech of people of, 287. Triads, Bhāsa's fondness for, 111. Tribhuvanapāla, of Aṇahilapāṭaka, 269. Triple explanation (*trigaṭa*), 328. Tukkoji, 257. Tumultuous action or disturbance (*avapāta*), 328, 346. Tuṅgabhadrā, river, as a dramatic character, 245. Tuñjina, of Kashmir, patron of Candrāka, 168. Turfan, fragments of Buddhist dramas, 80. Twelve stages of love, 323, n. 2.