The Sanskrit Drama in its Origin, Development, Theory & Practice c24: Sanskrit Index

The Sanskrit Drama in its Origin, Development, Theory & Practice c24

Language: English

Sanskrit Index

c24.1

*Agni Purāṇa*, 295, 349. *Aṅka*, act, 301. *Aṅka*, one act play, 268, 295, 296, 347, 348. *Aṅkamukha*, anticipatory scene, 302. *Aṅkāvatāra*, continuation scene, 302. *Ajjukā*, style of a hetaera, 314. *Atijagatī*, metre, appropriate to lively dialogue, 331. *Atidhṛti*, metre, appropriate to the pathetic sentiment, 331. *Atibala*, outvying, 329. *Attāṇaṃ*, in Bhāsa for *attāṇaṃ*, 122. *Atharvaveda*, 12, 15. *Adaṇḍāraho*, in Aṣvaghoṣa, 88. *Adbhuta*, wonder, as a sentiment, 324. *Adbhutaḍarpaṇa*, by Mahādeva, 246, 247. *Adbhutarṇava*, by Kavibhūṣaṇa, 345. *Adhikāra*, attainment of hero's purpose, 297. *Adhibala*, outvying, 329. *Anargharāghava* by Murāri, 226-31, 344, n. 1, 362. *Anukūla*, loyal (hero), 307. *Anukṛti*, mimesis, 355, and see *Avasthānukṛti*. *Anucārikā*, king's attendant, 312. *Anubhāvas*, consequents of sentiments, 315. *Anuśāsana Parvan*, allusion to drama in, 28. *Anuṣṭubh*, metre, 346. *Antarasandhi*, nature of, 302, 303. *Anyā, anyastrī*, heroine as wife of another, 308. *Apaṭi*, curtain, 61, 359. *Aparavaktra*, metre, 166. *Apavāritam*, confidentially, 304. *Abhijñāna*, recognition, as motif, 62. *Abhijñānaśakuntala*, (drama) of Çakuntalā (recognized) by a token of recognition, see *Çakuntalā*. *Abhidhā*, power of denotation, 317. *Abhinayadarpaṇa*, by Nandikeçvara, 338, n. 1, 367, n 1. *Abhinavabhāratī*, by Abhinavagupta, 291. *Abhirāmarāghava*, 329, n. 1, 344, n. 1. *Abhivyakti*, revelation of sentiment, 317. *Abhiṣekanāṭaka*, by Bhāsa, 94, 101, 105, 110, 111, 113, 114, 115. *Abhisārikā*, type of heroine, 309.

c24.2

*Amātya*, minister, 312. *Amṛtodaya*, by Gokulanātha, 253, n. 3, 343. *Ambā*, style of a go-between, 314. *Ammābhāṇa*, by Varadācārya, 263. *Amhāaṃ*, genitive plural in Bhāsa, 122. *Amhe*, in Kālidāsa, 122. *Ayoga*, privation, as form of the erotic sentiment, 323. *Ayyābhāṇa*, by Rāmabhadra Dīkṣita, 263. *Arthaprakṛti*, elements of the plot, 298, 299. *Arthavyakti*, precision of exposition, 331. *Arthaśāstra*, Kauṭilīya, 102, 291, n. 2, 334, 364; whether known by Kālidāsa, 167, n. 6. *Arthāntaranyāsa*, a figure, 125. *Arthopakṣepaka*, scenes of introduction, 301, 302. *Ardha-Māgadhī*, a Prākṛit, 74, 87, 122, 141, 219, 336. *Arh*, epenthetic vowel in Prākṛit of Aṣvaghoṣa, 88. *Alaṃkāras*, poetic figures, 330, 331; see also *Nāṭakālaṃkāra* and *Nāṭyālaṃkāra*. *Alaukika*, sentiment as supernatural, 319. *Avataraṇa*, entry of performers, 339, and see *Raṅgāvataraṇa*. *Avadānaśataka*, 43. *Avantikā*, a Prākṛit, 141. *Avapāta*, disturbance, 328, 346. *Avalagita*, continuance, 328. *Avaloka*, Dhanika's commentary on the *Daçarūpa*, 293. *Avasthā*, stage of development of the action of the drama, 297-9. *Avasthānukṛti*, as nature of drama, 295. *Avasyandita*, re-interpretation, 329. *Avimāraka*, by Bhāsa, 94, 101, 102, 107, 108, 109, 112, 113, 125, 313. *Açoka*, tree, 159, 222, 234, 238. *Açvattha*, tree, 96, 213, 214, 215, 217. *Aṣṭādhyāyī*, careful preservation of the, 290. *Asatpralāpa*, incoherent talk, 329. *Ahakaṃ, ahake*, in Aṣvaghoṣa, 86; *ahake* in Bhāsa, 122. *Ākāśabhāṣita*, a voice in the air, 303, 348. *Ākhyāna*, theory of certain Vedic hymns, 21-3.

c24.3

*Akhyāyikā*, romance, 76. *Aṅgikābhinaya*, expression by gesture, 367, 368. *Aṇi*, *āni*, and *ā* in neuter plural of a-stems, 87, 122. *Atmagatam*, aside, 304. *Adhikārika*, principal (action), 297. *Anandakoça*, a farce, 260, n. 3, 348, n. 1. *Anandamañjarī*, by Ghanaçyāma, 257. *Abhīrī*, speech, 337. *Ama*, in assertions in Bhāsa, 120. *Amukha*, introduction, 328, 340. *Ayāramga Sutta*, 44, n. 2. *Ayukta*, attendants, 312. *Ayuṣmant*, as style of the king, 314. *Arabhaṭī*, violent (manner), 326, 327, 328. *Arambha*, voice testing by chorus, 339. *Ārambha*, first stage of development in drama, 297. *Arttha*, in Açvaghoṣa for *artha*, 85. *Aryaputra* (*ajjautta*), style of a husband, 314. *Aryā* (*ajjā*), style of a wife, 314. *Aryā*, metre, 124, 142, 167, 181, 185, 203, 212, 258; appropriate to the erotic sentiment, 331. *Alambana*, fundamental determinants of sentiment, 315. *Avanti*, a Prākṛit, 141, 333. *Açcaryamañjarī*, by Çaktibhadra (BSOS. III. i. 116 f.), 371, n. 2. *Açrāvaṇā*, trying of instruments, 339. *Asīna*, a kind of recitation, 338. *Ahi*, as instrumental in Açvaghoṣa's Prākṛit, 87.

c24.4

*Itihāsa*, 12; Prof. Pischel's theory of the, 21. *Indravajrā*, metre, 142, 181, 185, 272. *Iyam*, in Açvaghoṣa, 88. *Ihāmṛga*, 266, 267, 295, 296, 346, 347, 353.

c24.5

*Uktapratyukta*, a duet, 338. *Ucca*, used by Kālidāsa, 146. *Utkṛti*, metre, appropriate to scenes of violence, 331. *Uttamottaka*, a kind of song, 338. *Uttararāmacarita*, by Bhavabhūti, 66, 139, 190-2, 194, 196, 199, 202, 203, 225, 303, 329, 344. *Utthāpaka*, challenge, 327. *Utpatti*, production of sentiment, 317. *Utpādya*, invented (plot), 296. *Utsāha*, energy, as basis of sentiment, 323. *Utsṛṣṭikāṅka*, a kind of drama, 347, 348, 363. *Udayana* arita, 327, 365. *Udātta*, exalted (hero), 305, 306.

c24.6

*Udāttarāghava*, by Māyurāja, 221, 223, 297. *Udāratā vacasām*, claimed by Bhavabhūti, 196. *Udāratva*, elevation of style, 331. *Udghātya*, abrupt dialogue, 328; in the prologue, 341. *Uddīpana*, excitant determinants, 315. *Uddhata*, haughty (hero), 305, 306, and see *Dhīroddhatta*. *Unmattaka*, disguise of, adopted by Yaugandharāyaṇa, 108, 184, 185. *Unmattarāghava*, by Bhāskara Kavi, 268. *Upagīti*, metre, 123. *Upajāti*, metre, 123, 142, 166, 203, 212. *Upanāgarikā*, style, 332, 333. *Upanisad*, Theology, 251, 252. *Upapati*, adulterer, 307, n. 1. *Upapatti*, use of argument, 330. *Uparūpaka*, minor dramatic forms, 268, 269, 349-51. *Upasthāyika*, eunuch, 313. *Ummadantijātaka*, alleged dramatic character of, 43, n. 1. *Ullāpya*, a form of drama, 351. *Uṣṇih*, metre, 346. *Ūrubhaṅga*, by Bhāsa, 38, 94, 96, 106, 114, 278, 300, 354.

c24.7

*Ṛgveda*, 12, 13, 15, 17, 18, 20, 21, 22, 23, 26. *Ṛtusaṃhāra*, by Kālidāsa, 147, n. 3.

c24.8

*E*, as masculine nominative of a-stems, in Açvaghoṣa, 86, 87. *Ekāvalī*, by Vidyādhara, 293. *Ekka*, in Bhāsa's Prākṛit, 122. *Edisa*, in Bhāsa's Prākṛit, 89. *Evva*, *evvaṃ*, in Bhāsa's Prākṛit, 121.

c24.9

*Ai*, interjection, in Açvaghoṣa's Prākṛit, 88. *Aitareya Brāhmaṇa*, 77; tale of Çunaḥçepa, 22. *Aindrajālika*, juggler, 55.

c24.10

*Ojas*, strength, 331. *Oḍrī*, speech, 337.

c24.11

*Audārya*, nobility, as a quality of the hero, 307. *Aupacchandasika*, metre, 142, 166, 203, 212, 219.

c24.12

*Ka*, suffix, lengthening of vowel before, 87. *Kaṃsavadha*, 37, 38. *Kaṃsavadha*, by Çeṣakṛṣṇa, 247. *Kacci*, in Bhāsa's Prākṛit, 122. *Kañcukin*, chamberlain, 313. *Kaṭhinā*, style, 332, n. 2.

c24.13

*Kathakas*, reciters, 29, 30. *Kathā*, tale, 76, 258. *Kathāsaritsāgara*, by Somadeva, 52, 129, 134, 192, 193. *Kathodghāta*, form of prologue, 340. *Kadua*, not in Bhāsa, 122. *Kappiṇābhyudaya*, poem by Çivasvāmin, 220, n. 2. *Kariya*, gerund of *kr* in Açvaghoṣa, 88. *Karuṇa*, pathos, as a sentiment, 323, 325. *Karuṇākandala*, 343, n. 1. *Karotha*, anomalous strong form in Açvaghoṣa, 88. *Karṇabhāra*, by Bhāsa, 87, 96, 106, 122, 336. *Karṇasundarī*, by Bilhaṇa, 256, 369. *Karpūracarita*, by Vatsarāja, 265. *Karpūramañjarī*, by Rājaçekhara, 232, 233, 234, 235, 239, 342, 350. *Kalahāntaritā*, type of heroine, 309. *Kaleti*, in Açvaghoṣa, 87. *Kālanā*, in Açvaghoṣa, 86. *Kāvya*, as influencing drama, 283, 284. *Kāvya*, a type of drama, 351. *Kāvyanirṇaya*, by Dhanika, 293 *Kāvyaprakāça*, by Mammaṭa, 171, 295, n. 1. *Kāvyamīmānsā*, by Rājaçekhara, 232, 271, 287, 288. *Kāvyādarça*, by Daṇḍin, 104. *Kāçikā Vṛtti*, cites Candra's grammar, 168. *Kāçirājñe*, irregular compounds in Bhāsa, 121. *Kirātārjunīya*, by Bhāravi, 194. *Kirātārjunīya*, by Vatsarāja, 265. *Kilakiñcita*, hysteria, 310 *Kiçca*, in Açvaghoṣa, 86. *Kissa*, in Bhāsa, 122. *Kīrti*, fame, 84. *Kīrtikaumudī*, by Someçvara, 248, n. 7. *Kīrtimañjarī*, an allegorical character, 254. *Kuṭila*, metre, 346. *Kuṭṭanīmata*, by Dāmodaragupta, 171. *Kuṭṭamita*, pretended anger, 310. *Kuṇḍamālā*, 341. *Kumāra*, prince royal, 312. *Kumārasambhava*, by Kālidāsa, 75, 146, 147, 167, 284, 285, 312, 352. *Kuçilava*, actor, 31, 360, 363. *Kṛṣṇavijaya*, by Veṅkaṭavarada, 267. *Kṛṣṇābhyudaya*, by Lokanātha Bhaṭṭa, 268.

c24.14

Kaiçikī ('of the Kaiçikas', Lévi, TI, i. 333), graceful (manner), 326, 327. *Komalā*, style, 333. *Komudagandha*, 86. *Kauṭilīya Arthaçāstra*, 102, 291, n. 2, 334, 364. *Kautukaratnākara*, written under Lakṣmaṇa Māṇikyadeva, 263. *Kautukasarvasva*, by Gopīnātha Cakravartin, 262. *Kaumudimitrānaṇda*, by Rāmacandra, 225, 258, 259. *Krimi*, Buddhist irregularity for *kṛmi*, 86. *Krodha*, anger, as basis of sentiment, 323. *Kṣ*, treatment of, in various Prākṛits, 86, 88, 122, 212. *Kṣobha*, agitation of mind, 320. *Khaṇḍacūlikā*, nature of, 302, n. 1. *Khaṇḍitā*, enraged (heroine), 309. *Khu*, after vowels in place of *kkhu*, in Açvaghoṣa, 89.

c24.15

*Gauḍavaha*, by Vākpati, 187. *Gaṅgādāsapratāpavilāsa*, by Gaṅgādhara, 251. *Gacchia*, and *gadua* in Bhāsa, 122. *Gaḍu*, obscure term, 35. *Gaṇḍa*, abrupt remark, 329. *Gaṇhadi*, in Bhāsa for *geṇhadi* in Açvaghoṣa, 122. *Gambhīratā*, depth, 226. *Garbha*, third juncture, 299. *Garbhāṅka*, embryo act, 303. *Gahitam*, in Açvaghoṣa, 89. *Gāmbhīrya*, impassivity, as quality of the hero, 307. *Gītagovinda*, by Jayadeva, 17, 40, 239, 272, 339, n. 1. *Gīti*, metre, 142, 203. *Guṇa*, excellencies, theory of, 331, 332, 333, 334. *Gṛhya*, irregular form in Bhāsa, 121. *Gai*, sing, used of *Sāmaveda*, 20. *Gopālakelicandrikā*, by Rāmakṛṣṇa, 272-4. *Goṣṭhī*, a type of drama, 351. *Granthikas*, reciters, 32-5, 38, 39, 45, 272. *Granthin*, owner of a book, 35, n. 2.

c24.16

*Cakravāka*, grief at separation from his mate, 169. *Caṇḍakauçika*, by Kṣemiçvara, 239, 240, 281. *Caṇḍakinnarajātaka*, alleged dramatic character of, 43, n. 1. *Cāṇḍālī*, a Prākṛit, 141, 142, 337. *Cāraṇa*, actor, 360. *Cārī*, a dance, 340.

c24.17

*Cārudatta*, by Bhāsa, 64, 65, 67, 85, 92, 93, 103, 104, 107, 116, 122, 128, 130, 182, 311, 313, 346, 363. *Citrabharata*, by Kṣemendra, 247. *Citrayajña*, by Vaidyanātha Vācaspati Bhaṭṭācārya, 274, n. 1, 371, n. 2. *Cūlikā*, nature of, 302. *Ceṭa*, servants, 312; speech of, 336. *Caitanyacandrodaya*, by Kavikarṇapūra, 133, n. 6, 253, 344, 353. *Cch*, in Māgadhī as *cc*, 122, 212. *Chaḍḍ*, in Aṣvaghoṣa, 88. *Chaddantajātaka*, alleged dramatic character of, 43, n. 1. *Chala*, cheating, 329. *Chalana*, deception, 222. *Chalitarāma*, 223, 224, 246, 329. *Chāyā*, Sanskrit version of Prākṛit, 337. *Chāyānāṭaka*, shadow drama, 55-7, 269, 276. *Chāyānāṭya*, shadow drama, 55, 269.

c24.18

*Jagatī*, metre, appropriate to lively dialogue, 331. *Janāntikam*, in private conversation, 304. *Jarjara*, banner (of Indra), 41, 369. *Javanikā*, see *Yavanikā*. *Javanikāntara*, name of acts in the Saṭaka, 350. *Jātakas*, 22, 23, n. 1. *Jānakipariṇaya*, by Rāmabhadra Dīkṣita, 246, 344, 361. *Jāmitra*, diameter, used by Kālidāsa, 146. *Jāyājīva*, one who lives on (the beauty) of his wife, 55. *Jīvānandana*, by Ānandarāya, 253. *Jugupsā*, disgust, as basis of sentiment, 323. *Jovvana*, in Bhāsa’s Prākṛit, 121. *Jñ*, treatment of, in Prākṛit, 88, 121. *Jñānadarpaṇa*, mirror of knowledge, as a character, 254.

c24.19

*Ṭakki* or *Ṭākkī*, a Prākṛit, 141, 337.

c24.20

*Ḍamaruka*, by Ghanaśyāma, 257, n. 2. *Ḍim*, alleged root, 347. *Ḍima*, 266, 267, 292, 295, 296, 347, 353. *Ḍillīsamrājya*, by Lakṣmaṇa Sūri, 251. *Ḍhakkī*, a Prākṛit, 141, 337.

c24.21

*Ṇ*, and *n* in the Prākṛits, 86, 87, 88, 121; as affecting the quality of style, 332. *Nevaccha*, see *Nevaccha*. *Ṇy*, altered to *ññ* or *ṇṇ* in Bhāsa, 121.

c24.22

*T* normally retained in Aṣvaghoṣa’s Prākṛits, 89. *Tapatisaṃvaraṇa*, by Kulaśekharavarman, 247, 342, n. 2.

c24.23

*Tamas*, element of dullness, 318. *Taraṅgadatta*, a Prakaraṇa, 225, 346. *Tava*, in Aṣvaghoṣa, 88. *Tāṇḍava*, dance, 12, 42, 241, 338, 339. *Tāta*, as style of address, 314. *Tāpasavatsarājacarita*, by Anaṅgaharṣa Mātrarāja, 220. *Tiraskaraṇī* or *Tiraskariṇī*, curtain, 359. *Tumhākaṃ*, in Aṣvaghoṣa, 89. *Tulyadharma*, irregular compound in Bhāsa, 121. *Tuvam*, in Aṣvaghoṣa, 88. *Tejas*, honour as a quality of the hero, 307. *Toṭaka*, see *Troṭaka*. *Trigaṭa*, various senses of, 111, n. 2, 328, 340. *Trigūḍha*, a kind of song, 338. *Tripuradāha*, by Vatsarāja, 267, 347. *Trimūḍhaka*, a kind of song, 338. *Troṭaka*, a type of drama, 151, 350, 351. *Theragāthā* (866 ff.), alleged dramatic character of, 43, n. 1. *Therīgāthā*, 43, n. 1, 54.

c24.24

*Dakṣiṇa*, courteous (hero), 307. *Daṇḍaka*, metre, 123, 187, n. 2, 203. *Dambha*, falsity, as a character, 252. *Daridracārudatta*, 104, 306, and see *Cārudatta*. *Darç*, in Bhāsa’s Prākṛit, 122. *Daśakumāracarita*, by Daṇḍin, 55, 129, 133, 363. *Daśarūpa*, by Daṇḍin, 71, 169, 221, 223, 292, 293, 294, 304, 315, 319, 320, 330, 334, 335, 336, 341, 342, 348, 349. *Daśarūpāvaloka*, by Dhanaṃjaya, 346. *Dākṣiṇātyā*, a Prākṛit, 141, 166, 336. *Dānakelikaumudī*, by Rūpa Gosvāmin, 268. *Dāni*, *dāni*, Prākṛit forms, 88, 89. *Dikpālastuti*, praise of the world guardians, 369. *Digvijaya*, conquest of the earth, of Raghu, 144. *Dissadi*, in Aṣvaghoṣa, 89; *dīsadi*, in Bhāsa, 121. *Dīpaka*, a figure of speech, 331. *Dīptarasa*, sentiment of excitement, 265. *Divyant*, gamblers, speech of, 141, 336. *Duguṇa*, irregular form in Aṣvaghoṣa, 88. *Durmallikā*, a form of drama, 351. *Duṣṭa*, a character in Buddhist drama, 74, 84; Prākṛit of, 86. *Duhitṛkā*, puppet, 53. *Dūta*, messenger, 311, 312. *Dūtaghaṭotkaca*, by Bhāsa, 94, 97, 98, 106, 107. *Dūtavākya*, by Bhāsa, 73, 94, 106, 111, 270.

c24.25

*Dūtāṅgada*, by Dhanaṃjaya, 55, 56, 269, 270. *Deva*, as style of the king, 314. *Devī* queen, 312. *Devva*, in Bhāsa's Prākṛit, 122. *Deçabhāṣā*, vernacular, when used, 334. *Doṣa*, defects of style, 332. *Dy*, represented in Açvaghoṣa by *yy*, 88. *Drāviḍi*, speech, 337. *Drutavilambita*, metre, 123, 160, 181, 203, 219. *Druti*, melting, as a mental condition, 320. *Dvi-gūḍhaka*, harmonious song, 338. *Dvipadās*, music, 339. *Dvimūḍhaka*, a kind of song, 338. *Dhanaṃjayajaya*, 347, n. 2. *Dhanaṃjayavijaya*, by Kāñcana Paṇḍita, 266. *Dharmaçarmābhyudaya*, by Haricandra, 75, n. 3. *Dharmābhyudaya*, by Meghaprabhācārya, 55, 269. *Dhārakas*, expounders of epic, 29. *Dhīra*, noble, as characteristic of heroes, 305, 306. *Dhīralalita*, type of hero, 305, 306. *Dhīraçānta*, type of hero, 305, 306. *Dhīrodātta*, type of hero, 305, 306. *Dhīroddhata*, type of hero, 305, 306, 307, 347; of enemy of hero, 307, 308. *Dhūrtanartaka*, by Sāmarāja Dīkṣita, 262, 263. *Dhūrtas*, gamblers or rogues, speech of, 141, 336 *Dhūrtasamāgama*, by Jyotirīçvara Kaviçekhara, 261. *Dhṛti*, firmness, as an allegorical character, 84, 268. *Dhṛtir yavanikāyāḥ*, the holding apart of the curtain, 360. *Dhṛṣṭa*, shameless (hero), 307. *Dhruvās*, in music, 339. *Dhvajamaha*, banner festival (of Indra), 41. *Dhvanyāloka*, by Ānandavardhana, 294.

c24.26

*N* and *ṇ* in the Prākṛits, 86, 87, 88, 121. *Nacca*, 43. *Naṭa*, actor, 25, 28, 31, 36, 45, 49, 50, 52, 67. *Naṭasūtras*, in Pāṇini, 31, 290. *Naṭī*, actress, 51, 66, 361. *Narkuṭaka*, metre, 203. *Nartaka*, dances, 28, 29, 50. *Narmagarbha*, development of affection, 327. *Narman*, pleasantry, 326. *Narmasuhrd*, boon companion, 188, 311. *Narmasphañja*, outburst of affection, 327

c24.27

*Narmasphoṭa*, manifestation of affection, 327. *Navagrahacarita*, by Ghanaçyāma, 345, n. 2. *Navasāhasāṅkacarita*, by Padmagupta, 293. *Nāgaraka*, character of, 285; speech of, 334. *Nāgānanda*, by Harṣa, 62, 85, 170, 174, 175, 180, 278, 284, 286, 300, 305, 311, 326, 339, n. 1, 342, 344, n. 2, 371, n. 2. *Nāṭaka*, a type of drama, 28, 29, 95, 244-56, 278, 279, 296, 297, 345, 352, 353. *Nāṭakacandrikā*, by Rūpa Gosvāmin, 294. *Nāṭakālaṃkāra*, dramatic ornaments, 330, 331. *Nāṭikā*, a type of drama, 62, 63, 71, 233, 234, 256, 257, 279, 280, 298, 305, 325, 349, 350, 353. *Nāṭī*, a type of drama, 349. *Nāṭya*, drama, 296. *Nāṭyapradīpa*, by Sundaramiçra, 294. *Nāṭyarāsaka*, a ballet, 351. *Nāṭyaçāstra*, 12, 36, 42, 51, 65, 69, 75, n. 1, 81, 84, 95, 110, 141, 244, 267, 289-92, 293, 294, 295, 304, 312, 315, 320, 323, 324, 326, 328, 330, 331, 334, 335, 336, 340, 341, 343, 347, 348, 349, 352, 355, 358, 362, 364, 367, 369. *Nāṭyālaṃkāra*, dramatic ornaments, 329, 330. *Nāndī*, benediction at beginning of play, 85, 111, 126, 182, 204, 239, 265, 266, 267, 339, 342, 343, 369; pronounced behind the scenes in the *Bhāṇa*, the *Vyāyoga*, 344; the *Preṅkhaṇa* or *Prekṣaṇa*, 351. *Nāyaka*, hero, 84, 85, 305-7. *Nāyikā*, heroine, 308-10. *Nālikā*, enigma, 329. *Nikkhanta*, in Açvaghoṣa, 89. *Nidarçanā*, a figure, 125. *Niyatāpti*, fourth stage of development in drama, 297. *Nirussāsam*, in Açvaghoṣa, 88. *Nirbhayabhīma*, by Rāmacandra, 266. *Nirmunda*, eunuch, 313. *Nirvahaṇa*, conclusion, as last juncture, 299. *Nirveda*, indifference, as basis of sentiment, 324. *Nṛt*, dance, origin of *Naṭa*, 57. *Nṛtu*, dancer, 25, n. 7. *Nṛtta*, dance, 25, n. 7, 296. *Nṛtya*, pantomime, 275, 296. *Nepathya*, as form of sentiment, 315, n. 1, 368. *Nepathyagṛha*, tiring room, 54, 359, 360.

c24.28

*Nepathyokti*, a voice from behind the scene, 303. *Nevaccha (Nevaccha)*, Prākṛit equivalent of *Nepathya*, 54. *Naipāthya*, alleged origin of *Nepathya*, 54. *Naiṣadhānanda*, by Kṣemīçvara, 240, 241. *Ny*, altered to *ññ* in Açvaghoṣa's Prākṛit, to *ññ* or *ṇṇ* in Bhāsa; to *ṇṇ* in Kālidāsa, 88, 121; to *ññ* in the *Mudrārākṣasa*, 212.

c24.29

*Pañcarātra* (ed., with trans. by W. G. Urdhwareshe, Indore, 1920), by Bhāsa, 94, 110, 112, 119, 122, 123, 335, 344, n. 2, 346. *Paṭi*, curtain, 61, 389. *Paṭākā*, episode, 297; subjunctures of, 290. *Paṭākāsthānaka*, pro-episode, 303, 304. *Padas*, number of, in prologue, 344. *Padhānasutta*, alleged dramatic character of, 43, n. 1. *Pabbajāsutta*, alleged dramatic character of, 43, n. 1. *Parivartaka*, change of action, 327. *Paruṣā*, style, 333. *Palinata*, in Açvaghoṣa for *pariṇata*, 87. *Pāñcālī*, (puppet) from Pāñcāla, 53. *Pāṭhakas*, repeaters of epic passages, 29. *Pāṇḍavānanda*, 224. *Pāṇḍavābhyudaya*, by VyāsaÇrīrāmadeva, 270. *Pātra*, character, 310. *Pādavākyapramāṇajña*, sense of, 186. *Pāripārçvika*, attendant, 85, 340. *Pārthaparākrama*, by Prahlādana, 83, n. 1, 247, 264, 265, 341, n. 1. *Pārvatīpariṇaya*, by Vāmana Bhaṭṭa Bāṇa, 221, 239, 247, 300. *Pīṭhamarda*, companion of the hero, 308, 334, 351. *Pīṭhamardikā*, confidante of the heroine, 308. *Puṭṭali, Puṭṭalikā*, puppet, 53. *Putraka*, puppet, 269. *Puṭrikā*, puppet, 53. *Pupphā*, in Açvaghoṣa, 87. *Puruva*, in Bhāsa for *pūrva*, 122. *Purusa*, in Bhāsa, 122. *Puṣpagaṇḍikā*, a kind of song, 338. *Puṣpadūsitaka*, a Prakaraṇa, 225, 346. *Puṣpabhūṣita*, a Prakaraṇa, 225, 346. *Puṣpitāgrā*, 123, 142, 166, 203, 212, 219. *Pusta*, stage properties, 365. *Pūrvaraṅga*, preliminaries of drama, 292, 341, 342. *Pṛthivī*, in the *Uttararāmacarita*, 192. *Pṛthvī*, metre, 123, 167, 181, 203, 238. *Pekkhā*, spectacle, 43. *Paiçācī*, a Prākṛit, 102, 287, 335, 336.

c24.30

*Prakaraṇa*, a type of drama, 82, 102, 187, 225, 248, 257-61, 264, 280, 296, 306, 345, 346, 353. *Prakaraṇikā*, a type of drama, 349, n. 4, 350. *Prakarī*, incident, 297. *Prakhyāta*, traditional (plot), 296. *Pragalbhā*, bold (heroine), 308. *Pracaṇḍapāṇḍava*, see *Bālabhārata*. *Pracchedaka*, a kind of song, 338. *Pratāpa*, valour, as a character, 254. *Pratāparudrakalyāṇa*, by Vidyānātha, 248. *Pratāparudrīya*, by Vidyānātha, 293. *Pratijñāyaugandharāyaṇa*, by Bhāsa, 92, 94, 95, 108, 110, 113, 114, 118, 119, 122, 130, 185, n. 2, 335, n. 3, 371, n. 2. *Pratināyaka*, the enemy of the hero, 307, 308. *Pratimānāṭaka*, by Bhāsa, 94, 100, 101, 105, 117, 124, 125. *Pratimukha*, second juncture, 298, 299. *Pratisīrā*, curtain, 359. *Pratigṛhīta*, irregular form in Açvaghoṣa, 86. *Pratīti*, apprehension of sentiment, 317. *Pratihārī*, door-keeper, 313. *Pratyāyati*, irregular form in Bhāsa, 121. *Prathamakalpa*, misunderstood term, 112, n. 2. *Pratyāhāra*, beat of drum to begin performance, 339. *Pradyumnābhyudaya*, by Ravivarman, 247, 344. *Pradveṣam*, Buddhist irregularity for *pradoṣam*, 86. *Prapañca*, comic dialogue, 328. *Prabuddharauhineya*, by Rāmabhadra Muni, 259, 260. *Prabodha*, knowledge, as a character, 251. *Prabodhacandrodaya*, by Kṛṣṇamiçra, 55, 84, 112, 243, 251-3, 286, 325, n. 1, 344. *Prayatna*, second stage of development of drama, 297. *Prayogātiçaya*, form of prologue, 340. *Prarocanā*, part of preliminaries, 328, 340, 341, 343; pronounced behind the scenes, 351. *Pravṛttaka*, form of prologue, 340. *Praveçaka*, introductory scene, 110, 301, 302. *Prasannarāghava*, by Jayadeva, 109, 151, 226, 244-6, 271. *Prasāda*, clearness, 331. *Prastāvanā*, prologue, 111, 328, 340. *Prasthāna*, a form of drama, 351. *Praharṣiṇī*, metre, 167, 181, 203, 212, 219.

c24.31

*Prahasana*, farce, 182-5, 260-3, 280, 296, 309, 348. *Prācyā*, a Prākṛit, 88, 141, 336. *Prāḍvivāka*, judge, 312. *Prāptyāśā*, third stage of development of drama, 297. *Prācṇika*, critic, 370. *Prāsaṅgika*, incidental (action), 297. *Priyadarśikā*, by Harṣa, 170, 171, 173, 174, 175, 303, 325, 328, 340, 350, 362, 364, 369. *Prekṣaka*, spectator, 369, 370. *Prekṣaṇa*, a form of drama, 351. *Prekṣaṇaka*, a form of drama, 268. *Preṅkhaṇa*, a form of drama, 351. *Proṣitapriyā*, type of heroine, 309. *Prauḍhatva*, of style, claimed by Bhavabhūti, 196. *Phalāgama*, attainment of end in drama, 298.

c24.32

*Bakulavīthī*, 349. *Bambhaṇa*, in Aṣvaghoṣa, 86. *Bādham*, indicating assent, in Bhāsa, 120. *Bālacarita* (ed. and trs. by H. Weller, Leipzig, 1922), by Bhāsa, 38, 94, 98-100, 104, 106, 112, 122, 247. *Bālabhārata*, or *Pracaṇḍapāṇḍava*, by Rājaśekhara, 232, 233. *Bālarāmāyaṇa*, by Rājaśekhara, 52, 151, 232, 268, n 2, 303, 337, 360, 365. *Bālhikā* (*Bāhlīkā*), speech of Khasas, 336, 337. *Bindu*, second element of the plot, 298. *Bibboka*, affected indifference, 310. *Bīja*, first element of the plot, 298. *Bībhatsa*, horror, as a sentiment, 319, 324. *Buddhacarita*, by Aṣvaghoṣa, 80, 81, 82. *Buddhi*, wisdom, 84. *Bṛhatkathā*, by Guṇāḍhya, 52, 102, 133, 174; why written in Paiśācī, 335. *Bhakti*, trust (in Viṣṇu), as a character, 252, 253. *Bhagavant*, as style of address, 314. *Bhagavām*, Buddhist irregularity for *bhagavān*, 86. *Bhaṭṭa*, as style of the king, 314. *Bhaṭṭā*, vocative of *bhartṛ* in Aṣvaghoṣa, 88. *Bhaṭṭidālaka*, style of princes of the blood, 84, and see *Bhartṛdāraka*. *Bhaṭṭinī*, style of the queen, 314. *Bhan*, conjugated in the 9th class, 88. *Bhadradatta*, as style of Ḍakas, 314. *Bhadramukha*, title in dramas, 69, 71, 314. *Bhaya*, terror, as basis of sentiment, 323. *Bhayānaka*, fear, as a sentiment, 319, 324. *Bharatavākya*, at close of the drama, 82, 83, 111, 265.

c24.33

*Bhartṛdāraka*, style of princes of the blood, 314, and see *Bhaṭṭidālaka*. *Bhartṛdārikā*, style of a princess, 314. *Bhartṛharinirveda*, by Harihara, 248. *Bhavatī* (Prākṛit, *bhodī*), as style of the queen and her ladies, 314. *Bhavām*, as nominative in Aṣvaghoṣa, 88. *Bhāgavata Purāṇa*, 100, 272, 274. *Bhāṇa*, monologue, 263, 264, 280, 296, 311, 344, 348. *Bhāṇikā*, 268, 351. *Bhārata*, a rhapsode or comedian, 29, 30. *Bhāratī*, verbal (manner), 326, 328, 329, 344; in the *Bhāṇa*, 348. *Bhāratīya Nāṭyaśāstra*, see *Nāṭyaśāstra*. *Bhāva*, emotion, 296, 309, 316, 319. *Bhāva*, mode of address, 361. *Bhāvaka*, man of taste, 318, n. 3. *Bhāvakatva*, power of realization, 317. *Bhāsanāṭakacakra*, 92, n. 2. *Bhikkhusaṃyutta*, alleged dramatic character of, 43, n. 1. *Bhīmavikramavyāyoga*, by Mokṣāditya, 266. *Bhuktivāda*, doctrine of the enjoyment of sentiment, 318. *Bhujangaprayāta*, metre, 123. *Bhumjitaye*, in Aṣvaghoṣa, 87. *Bhuvanābhyudaya*, by Caṇkuka, 291. *Bhūtabhāṣā*, use of, 287. *Bhairavānanda*, by Maṇika, 248. *Bhoginī*, concubine, 312. *Bhojakatva*, power of enjoyment, 317. *Bhojacarita*, by Vedāntavāgīśa, 345. *Bhrūkuṅsa*, man playing female part, 36, 362.

c24.34

*Makkaṭaho*, dubious form in Aṣvaghoṣa, 89. *Mati*, reason, as a character, 251, 252. *Matta*, in Bhāsa, later *metta*, 122. *Mattavilāsa*, by Mahendravikramavarman, 93, 182-5. *Matsya Purāṇa*, 156. *Mada*, intoxication, as an internal juncture, 303. *Madd*, in Aṣvaghoṣa, 88, 89. *Madhyamavyāyoga*, by Bhāsa, 94, 106, 111, 123. *Madhyā*, partly experienced (heroine), 308. *Mantrāṅkanāṭaka*, Act III of the *Pratijñāyaugandharāyaṇa*, 371, n. 2. *Mantrin*, minister, 312. *Mandākrāntā*, metre, 166, 203, 212. *Manmathonmathana*, by Rāma, 267, 347. *Mallikāmāruta*, by Uddaṇḍin or Uddaṇḍanātha, 221, 257, 258. *Mahattarā*, duenna, 313. *Mahājanakajātaka*, alleged dramatic character of, 43, n. 1.

c24.35

*Mahādevī*, chief queen, 312. *Mahānāṭaka*, type of drama, 232, 345. *Mahānāṭaka* or *Hanumannāṭaka*, 56, 151, 244, n. 2, 246, 270-2, 273, 345. *Mahābhārata*, 52, 54, 95, n. 2, 97, 105, 157, 247, 253, 265, 281. *Mahābhāṣya*, 28, 36, 45, 48, 49, 53, 56, 57, 58, 71, 362, 363; evidence of, as to existence of the drama, 31-3. *Mahāyānaśraddhotpāda*, by Açvaghoṣa, 80. *Mahāvaṃsa*, 44. *Mahāvīracarita*, by Bhavabhūti, 187, 188, 192, 193, 194, 203, 228, 229, 297, 302, 306, 325, 326, 327, 344, n. 1, 353. *Mā*, with the gerund, in Bhāsa, 122. *Māgadhī*, a Prākṛit, 70, 74, 86, 87, 88, 122, 141, 142, 166, 185, 211, 212, 219, 256, 287, 336. *Mādhurya*, grace as a quality of the hero, 307. *Mādhurya*, sweetness of style, 331. *Māyākuraṅgikā*, a specimen of the *Ihāmṛga*, 346, n. 2. *Mārasaṃyutta*, alleged dramatic character of, 43, n. 1. *Mārsa*, as mode of address, 361. *Mālatīmādhava*, by Bhavabhūti, 62, 66, 82, 131, 151, 186, 187, 188, 192, 193, 199, 203, 257, 280, 302, 306, 308, 311, 313, 326, 338, 343, n. 1, 344, 349, 353, 361, 369. *Mālavikā*, a specimen of the *Vīthī*, 349. *Mālavikāgnimitra*, by Kālidāsa, 42, 124, 127, 147-9, 155, 156, 159, 160, 164, 167, 175, 302, 303, 327, 329, 343, n. 1, 349, 350. *Mālā*, statement in succession, 330. *Mālini*, metre, 123, 142, 166, 181, 185, 203, 212, 219, 272. *Māhārāṣṭrī*, a Prākṛit, 70, 73, 89, 130, 141, 146, 166, 181, 211, 212, 236, 240, 256, 335, 336, 337. *Mithyājñanaviḍambana*, by Ravidāsa, 345. *Mithyādṛṣṭi*, heresy, as a character, 252. *Milindapañha*, 54. *Miçra*, combined (plot), 296. *Miçrā*, style, 332, n. 2. *Mukuṭatāḍitaka*, by Bāṇa, 182, n. 3. *Mukuṇdānanda*, by Kācipati Kavirāja, 264. *Mukha*, first juncture of the plot, 298. *Mugdhā*, inexperienced (heroine), 308. *Mudrārākṣasa*, (the drama of) Rākṣasa and his seal-ring, by Viçākhadatta, 62, 66, 205-12, 327, 335, n. 3, 341, 342, 344, 352. *Mudritakumudacandra*, (the drama of) Kumudacandra put to silence, by Yacaçcandra, 260.

c24.36

*Mrgānkalekhā*, by Viçvanātha, son of Trimaladeva, 257, n. 1. *Mṛcchakaṭikā* (for an implausible conjecture as to date (7th or 8th cent.) and author, see J. Carpentier, JRAS., 1923, pp. 597 ff.), 62, 63, 64, 65, 66, 67, 69, 70, 74, 77, 82, 84, 92, 93, 104, 107, 123, n. 3, 128-42, 153, 161, 192, 193, 280, 286, 305, 309, 311, 314, n. 2, 335, n. 3, 336, 337, 346, 363, 365, 369, n. 2. *Mṛdava*, turning of evil into good, 329. *Meghadūta*, by Kālidāsa, 76, 145, 167; imitated by Bhavabhūti, 193. *Moṭṭāyita*, manifestations of affection, 310. *Moha*, confusion, as a character, 251, 252. *Mohamudgara*, 239. *Moharājaparājaya*, by Yaçaḥpāla, 84, n. 1, 253-6, 344, n. 2.

c24.37

*N* retained in Açvaghoṣa's Prākṛits, 88; altered to *j* in Bhāsa, 121. *Yajurveda*, 12, 25, 26. *Yamaka*, alliteration, 331. *Yavanikā* (Prākṛit, *Javanikā*), refers to material of curtain, 61, 68, 359, 360. *Yudh*, as a masculine noun, in Bhāsa, 121. *Yuvarāja*, style of, in drama, 71. *Yeva*, in Açvaghoṣa's Prākṛit, after long vowels, 87. *Yogamāyā*, as a character, 274. *Yogaçāstra*, by Hemacandra, 255. *Yogin*, adept, 316. *Yodha*, soldier, speech of, 141, 336.

c24.38

*R* and *l* in the Prākṛits, 86, 87, 88, 122, 212, 219; as affecting the quality of style, 332. *Raghuvaṃça*, by Kālidāsa, 75, 144, 162, 352. *Raṅgadvāra*, part of preliminaries, 340, 342. *Raṅgāvataraṇa*, appearing on the stage, 55. *Rajas*, element of passion, 318. *Rati*, love, as basis of sentiment, 323. *Ratnāvalī*, by Harṣa, 55, 62, 103, 170, 171, 173, 175, 180, 221, 298, 299, 304, 325, 328, 340, 350, 361, 362, 368. *Rathoddhatā*, metre, 167, 203. *Rasa*, sentiment, 296, 314-26. *Rasataraṅgiṇī*, by Bhānudatta, 319. *Rasārṇavasudhākara*, by Ciṅga Bhūpāla, 294. *Rasika*, men of taste, 318, n. 3. *Rājaputras*, speech of, 87, 141, 336. *Rājapraçnīya*, 44, n. 2. *Rājarājanaṭaka*, 251, n. 1. *Rājaçrī*, the kingly fortune, personified 99, 112.

c24.39

*Rājyaçrī*, the royal fortune, 255. *Rāmānanda*, 343, n. 1. *Rāmābhyudaya*, by Vyāsa Çrīrāmadeva, 270. *Rāmāyaṇa*, by Vālmīki, 28, 29, 30, 42, 48, 50, 63, 76, 101, 105, 114, 150, n. 1. *Rāṣṭriya*, as title in dramas, 69, 71. *Rāsa*, a dance, 274. *Rāsamandala*, 40. *Rukmiṇīpariṇaya*, by Rāmavarman, 247. *Rukmiṇīharaṇa*, by Vatsarāja, 266, 267. *Rasadana*, a *Bhāṇa*, 264. *Rucirā*, metre, 166, 185, 212. *Rudantī*, irregular form in Bhāsa, 121. *Rūpa*, in Açoka's edict, 54; object of vision, source of *Rūpaka*, 296. *Rūpaka*, generic name of the drama as a spectacle, 296, 345. *Rūpadakkha*, meaning of, 54. *Rūpājīva*, epithet of actors, 363. *Rūpopajīvana*, sense of, 54. *Rūpopajīvin*, one who lives on the beauty (of his wife), 55. *Raudra*, fury as a sentiment, 323, 354. *Raudratā*, harshness, as a character, 255. *Ry* becomes *yy* in Açvaghoṣa and Bhāsa, 122; but *jj* in Açvaghoṣa's *Māgadhī*, 86; in Bhaṭṭa Nārāyaṇa, 219.

c24.40

*L* and *r* in the Prākrits, 86, 87, 88, 122, 212, 219. *Lakṣaṇa*, beauties of the drama, 329, 330. *Lajjā*, allegorical character, 268. *Laṭakamelaka*, by Caṅkhadhara, 5; Kavirāja, 260, 261, 348. *Lalita*, light-hearted (hero), 305. *Lalitamādhava*, by Rūpa Gosvāmin, 247. *Lalitavigraharājanaṭaka*, by Somadeva, 243, 248. *Lalitavistara*, allusion to the drama in, 43. *Lāsya*, dance, 12, 42, 338, 348. *Līlāmadhukara*, a *Bhāṇa*, 348. *Lūpadakkha*, meaning of, 54. *Laukika*, sentiment as natural, 319.

c24.41

*Vaam, vayam*, ‘we’, in Açvaghoṣa's and Bhāsa's Prākrits, 89, 122. *Vaṃcasthā*, metre, 123, 142, 166, 185, 203, 212. *Vaṅsū*, Oxus, 144, n. 5. *Vajrasūcī*, by Açvaghoṣa, 80. *Vat*, nominative of stems in, 87. *Vatsa*, as style of address, 314. *Vannīkāhi*, in Açvaghoṣa, 87. *Vayasya*, as style of address, 314. *Vara*, frequent use of, in Bhāsa, 120. *Varṇanyatva*, change of colour or difference of colour, 35.

c24.42

*Varṣadhara*, eunuch, 313. *Vasantatilaka*, metre, 123, 142, 166, 181, 185, 203, 212, 219, 236, 240, 246, 253, 258, 272. *Vasantatilaka*, by Varadācārya, 263. *Vastu*, plot, 296-305. *Vastūthāpana*, creation of an object, 327. *Vācika* (sentiment), produced by words, 315, n. 1. *Vācikābhinaya*, expression by words, 367. *Vāsakasajjā* (heroine), in full dress, 309. *Vāsantikasvapna*, by R. Kṛṣṇamachari, 251. *Vāsavadattā*, by Subandhu, 76. *Vikāsa*, expansion of the mind, 320. *Vikramorvaçī*, by Kālidāsa, 62, 66, 124, 126, 146, 147, 149-52, 156, 157, 159, 160, 167, 193, 233, 268, 275, 278, 328, 329, 339, n. 1, 342, 343, 350. *Vikrāntacūḍraka*, a drama, 129, n. 4. *Vikṣepa*, movement to and fro of the mind as connected with sentiment, 320. *Vijayacrī*, by Madana Bālasarasvatī, 256. *Viṭa*, parasite, 65, 132, 135, 136, 177, 193, 263, 311, 326, 334, 346, 356. *Vidagdhamādhava*, by Rūpa Gosvāmin, 247. *Viḍūṣaka*, jester, 28, 39, 40, 50, 51, 52, 53, 56, 62, 65, 66, 67, 73, 81, 82, 84, 107, 108, 133, 141, 156, 158, 159, 160, 176, 177, 234, 235, 237, 254, 263, 264, 270, 299, 310, 311, 313, 314, 326, 328, 334, 340, 351, 361. *Vidyā*, as a character, 251, 252. *Vidyāpariṇayana*, by Vedakavi, 253. *Vidyunmālā*, metre, 142. *Viddhaçālabhañjikā*, by Rājaçekhara, 232, 234, 235, 300. *Viprayoga*, sundering, as form of the erotic sentiment, 323. *Vipralabdhā*, deceived (heroine), 309. *Vipralambha*, sundering, as form of erotic sentiment, 323. *Vibhāva*, determinants of sentiment, 315. *Vibhāṣās*, conventional dialects used in drama, 337. *Vimadda*, in Açvaghoṣa for *vimarda*, 89. *Vimarça*, fourth juncture of the plot, 299. *Vimoktukāma*, irregular form in Bhāsa, 121. *Viya*, in Açvaghoṣa, 88. *Virahoṭkaṇṭhitā*, type of heroine, 309. *Vilāsa*, vivacity as quality of the hero, 307. *Vilāsikā*, a form of drama, 351. *Viveka*, discrimination, 251, 252. *Vivekacandra*, as allegorical character, 254. *Viṣkambha* or *Viṣkambhaka*, introductory scene, 110, 301, 302.

c24.43

Visnu Purāṇa, 100. Visūkadassana, spectacle, 43. Vistara, expansion of the mind, 320. Vismaya, astonishment, as basis of sentiment, 323. Vijanti, irregular form in Bhāsa, 120. Vitarāgastuti, by Hemacandra, 255. Vīthi, ‘garland’, 295, 296, 328, 329, 348, 349, 353. Vīra, heroism as a sentiment, 323. Vīrabhadravijṛmbhaṇa, 328, n. 3. Vīravijaya, by Kṛṣṇamiçra, 267. Vṛttis, dramatic styles, 326-9. Vṛddhi, sense of, 36, n. 1. Vṛṣabhānujā, by Mathurādāsa, 257. Veṇīsaṃhāra, by Bhaṭṭa Nārāyaṇa, 83, 212-9, 300, 304, 326, 328, 340, 344, n. 1, 353, 361. Vetālapañcaviṃçati, 129, 174. Vedāntasāra, by Sadānanda, 318, n. 2. Veṣṭita, stage costumes, 365. Vaitālīya, metre, 123, 167. Vaiçika, connoisseur of hetaerae, 307, n. 1. Vaiçadevī, metre, 123, 142. Vyaktiviveka, by Mahiman Bhaṭṭa, 294. Vyañjanā, the doctrine of suggestion, 318. Vyabhicārin, transitory (feelings), 315. Vyājima, kind of stage properties, 365. Vyāmiçraka, possible reference to plays, 29. Vyāyoga, a type of drama, 95, 96, 247, 264-6, 296, 344, 347, 353. Vyutpatti, aesthetic equipment, 318. Vyūḍhoras, irregular compound in Bhāsa, 121.

c24.44

Ç, for s in Māgadhī, 86, 122, 212. Çañs, recite, used of Ṛgveda, 20. Çakāra, miles gloriosus, 65, 69, 134, 166, 311, 336. Çakuntalā, by Kālidāsa, 62, 66, 70, 124, 139, 147, 152-5, 157-9, 160, 161, 167, 272, 278, 281, 297, 298, 299, 302, 303, 304, 311, 325, 329, 340, 344, 365. Çakvari, metre, appropriate to the pathetic sentiment, 331. Çatha, deceitful (hero), 307. Çatapatha Brāhmaṇa, tale of Purūravas in, 22. Çarmiṣṭhāyayati, by Kṛṣṇa Kavi, 268. Çākārī, a Prākṛt, 141, 142, 166, 337. Çānta, calm (hero), 305, 306; sentiment, 324. Çānti Parvan, allusion to drama in, 28. Çabarī, a Prākṛt, 337. Çaradātilaka, by Çañkara, 263, 348. Çaradvatputraprakaraṇa or Çariputra-prakaraṇa, by Açvaghoṣa, 80, 83, 85, 346. Çārdūlavikrīḍita, metre, 123, 142, 166, 181, 185, 203, 212, 219, 232, 236, 240, 253, 258, 272. Çālabhañjikā, statue, 234. Çālinī, metre, 123, 168, 181, 203. Çikṣāpada, moral rules of the Buddhists, 184. Çikhariṇī, metre, 123, 142, 166, 181, 203, 212, 219, 240, 246. Çilpaka, a form of drama, 351. Çīvanārāyaṇabhañjamahodaya, by Narasiṃha, 257. Çiyalekhā, by Candra, 168. Çuddha, type of Viṣkambhaka, 301. Çūdrakavadha, a Parikathā, 129, n. 4. Çṛṅgāra, love as a sentiment, 323. Çṛṅgāratilaka, by Rāmabhadra Dīkṣita, 263. Çṛṅgārabhūṣaṇa, by Vāmana Bhaṭṭa Bāṇa, 263. Çṛṅgāramañjarī a Bhāṇa, 263, n. 2. Çṛṅgāramañjarī, a Saṭṭaka, by Viçveçvara, 257. Çṛṅgāramañjarī, cited in the Rasārṇavasudhākara, 338, n. 1. Çṛṅgārasarvasva, by Nallā Kavi, 263, 264. Çṛṇvam, in Açvaghoṣa for çṛṇvan (çṛṇvam), 86. Çailāli Brāhmaṇa, 31. Çailūṣa, actor, 25, 360. Çoka, sorrow, as basis of sentiment, 323. Çobhanikas, actors, 32-5. Çobhā, brilliance as quality of the hero, 307. Çobhā, distinction of poem, 334. Çaubhikas, kind of actors, 32-5, 45, 53, 55, 273, 360. Çaurasenī, a Prākṛt, 41, 70, 73, 74, 88, 89, 141, 166, 181, 185, 203, 211, 212, 219, 236, 240, 335, 336, 367. Çyāma, dark colour of the erotic sentiment, 324. Çraddhā, faith, as a character, 252. Çrīkaṇṭhacarita, by Maṅkha, 75, n. 3, 225. Çrīgadita, a type of drama, 268, 351. Çrīdāmacarita, by Sāmarāja Dīkṣita, 247. Çreṣṭhin, guildsmen, or rich merchants, speech of, 87, 141, 336. Çleṣa, flow of style, 331. Çloka, metre, 123, 142, 166, 181, 185, 203, 212, 219, 236, 240, 246, 272.

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Ṣṭ and ṣṭh, treatment of, in Prākṛt, 86, 122, 212.

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S, alone preserved in certain Prākṛts, 87, 88, 122. Saṃlāpa, dialogue, 327. Saṃlāpaka, a form of drama, 351. Saṃkalpasūryodaya, by Veṅkaṭanātha, 253.

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*Saṃkīrṇa*, mixed form of *Viṣkambhaka*, 302. *Saṃkṛti*, metre, appropriate to lively dialogue, 331. *Saṃkṣipti*, construction of object, 327. *Saṃgamamaṇi*, stone of reunion, 62. *Saṃgītadāmodara*, unites ornaments and beauties, 330, n. 1. *Saṃghātya*, breach of alliance, 327. *Saciva*, as style of a minister, 314. *Saṭṭaka*, a type of drama, 233, 350. *Sattva*, element of goodness or truth, 318. *Saddharmapuṇḍarīka*, dramatic form of the, 43. *Sandhi*, junctures of the plot, 298-300. *Sandhima*, kind of stage properties, 365. *Sandhyantara*, divisions of junctures, 303. *Sabhāpati*, patron of the drama, 370. *Samajja* or *Samāja*, form of entertainment, 43, 85. *Samatā*, homogeneity of style, 331. *Samavakāra*, a type of drama, 97, 225, 266, 267, 268, 291, 346, 353. *Samāja*, 85, and see *Samajja*. *Samādhi*, metaphorical language, 331. *Samācvasitum*, irregular form in Bhāsa, 121. *Samudramathana*, by Vatsarāja, 267, 268. *Samudramanthana*, a *Samavakāra*, 225. *Sampheta*, fighting, 328. *Sambhog*, union, as part of erotic sentiment, 323. *Sarvacarita*, by Bāṇa, 182, n. 3. *Sarvarājñaḥ*, irregular compound in Bhāsa, 121. *Sarvavinodanātaka*, by Kṛṣṇa Avadhūta Ghaṭikācata Mahākavi, 267. *Sassirīkaṃ*, for *saçrīkaṃ*, in Açvaghoṣa, 88. *Sahṛdaya*, man of taste, 318. *Sāttvatī*, correctly *Sātvatī*, grand (manner), 326, 327. *Sāttvika*, of excellencies of hero, 307. *Sāttvika*, class of consequents, 315. *Sāttvikābhinaya*, nature of, 367, 368. *Sāḍika*, dance, 350, n. 2. *Sātvatī* (‘of the Satvants’, cf. Lévi, TI. i, 332), grand (manner), 326, 327. *Sādhāraṇī*, courtesan, 309. *Sādhāraṇī kṛti*, generic power of poetry, 321. *Sādhu*, style of address, 314. *Sāmaveda*, 12, 15, 20, 26. *Sāvitrīcarita*, by Caṅkaralāla, 270. *Sāhityadarpaṇa*, by Viçvanātha, 71, 225, 268, 294, 295, 336, 342. *Siddhāntakaumudī*, cites Rājaçekhara for grammar, 230. *Sukumāratā*, softness of style, 331. *Sukṛtasaṃkīrtana*, by Arisiṃha, 248, n. 7.

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*Sugṛhitanāman*, as title in dramas, 69, 71. *Sugṛtābhidha*, as style of address, 71, 314. *Sudhanāvadāna*, 150, n. 1, 156, n. 1. *Suparṇādhyāya*, character of the, 17, 21. *Subuddhi*, a female character, 267. *Subhadrādhanamjaya*, by Kulaçekharavarman, 247, 342, n. 2. *Subhadrāpariṇayana*, by Vyāsa Çrīrāmadeva, 270. *Subhadrāharaṇa*, by Mādhava, 268, 342, 351. *Subhāṣitāvali*, 168, 209. *Surada*, for *surata*, an isolated form, in Açvaghoṣa, 89. *Surā*, origin of, 183. *Suvadanā*, metre, 123, 212. *Sūcaka*, part undertaken by the, 273, 274. *Sūtradhāra*, 51, 52, 56, 65, 66, 91, 92, 126, 232, 248, 254, 265, 266, 267, 273, 339, 340, 341, 342, 343, 344, 360, 361, 362, 363, 365. *Sūtrālaṃkāra*, by Açvaghoṣa, 80, 81. *Senāpati*, general, 306, 312. *Saindhava*, a kind of song, 338. *Sobhiya*, Prākṛt for *Çaubhika*, 55. *Somaṭā*, gentleness, as a character, 254. *Saugandhikāharaṇa*, by Viçvanātha, 266. *Saundarananda*, by Açvaghoṣa, 80, 81. *Saubhya*, misreading for *Saumya*, 272, n. 1. *Saumya*, as style of address, 314. *Skanda Purāṇa*, 129. *Sthāpaka*, 36, n. 1, 52, 56, 126, 239, 265, 266, 267, 340, 341, 342, 343, 344, 361. *Sthāpanā*, prologue, 111, 112, 182, 340, 342, n. 1. *Sthāyinī*, concubine, 312. *Sthāyibhāva*, dominant emotion, 315, 320. *Sthitapāthya*, standing recitation, 338. *Sthairya*, steadfastness as a quality of the hero, 307. *Snātaka*, as a character, 313. *Sragdharā*, metre, 123, 142, 167, 181, 185, 203, 212, 219, 232, 236, 246, 272. *Sravati*, irregular form in Bhāsa, 120. *Svāgatam*, aside, 304. *Svapnadaçānana*, by Bhīmaṭa, 239. *Svapnavāsavadattā*, by Bhāsa, 91, 92, 94, 95, 103, 107, 113, 117, 118, 119, 123, 125, 187, n. 2. *Svabhāvokti*, vivid description, 161. *Svā*, svīyā, heroine as wife, 308. *Svādhinapatikā*, absolute mistress, 309. *Svābhāvika*, natural (sentiment), 315, n. 1. *Svāmin*, as style of the Crown Prince, 69, 71, 314. *Svāminī*, style of the queen, 314. *Svāminī*, favourite, 312.

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*Haṇho*, as term of address, 314. *Hake, hago*, in Aṣvaghoṣa, 86. *Haṅgho*, in Aṣvaghoṣa, 86. *Hañjā* (voc., *Hañje*), as term of address, 314. *Haṇḍe*, as term of address, 314. *Hanumannāṭaka*, see *Mahānāṭaka*, 271. *Hammīramadamardana*, by Jayasiṃha Sūri, 248-50. *Hayagrīvavadha*, epic by Bhartṛmeṇṭha, 232. *Harakelināṭaka*, by Viśāladeva Vigraharāja, 247. *Haragaurīvivāha*, by Jagajjyotirmalla, 76, n. 2, 247, 248.

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*Hariṇī*, metre, 123, 142, 166, 181, 203, 212. *Haridūta*, 56, 270. *Harivaṃśa*, 28, 47, 48, 100. *Harṣacarita*, by Bāṇa, 76, 129, 170, 364. *Halā*, as term of address, 314. *Halliṣa*, a type of drama, 351. *Halliṣaka*, dance, 99. *Hāva*, awakening of love, 309. *Hāsa*, mirth, as basis of sentiment, 323. *Hāsya*, the comic sentiment, 323. *Hāsyacūḍāmaṇi*, by Vatsarāja, 265. *Hāsyārṇava*, by Jagadīśvara, 261, 262, 314, n. 3. *Horā*, or *Kāla*, 146.

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PRINTED IN GREAT BRITAIN AT THE UNIVERSITY PRESS, OXFORD BY VIVIAN RIDLER PRINTER TO THE UNIVERSITY

c24.52

The *fraternities* of the Middle Ages, which were so numerous and so varied in their objects, were not all of the same origin. Some were religious, some social, some charitable, and some industrial. The religious guilds, or *gilds*, as they were often called, were associations of laymen for the purpose of performing religious duties, such as the maintenance of a chaplain, the celebration of masses, or the support of a hospital. The social guilds were formed for the purpose of mutual aid and good fellowship, and often included in their objects the relief of the poor, the sick, and the aged. The charitable guilds were established for the purpose of supporting hospitals, almshouses, and other institutions of mercy. The industrial guilds, or *craft guilds*, were associations of men engaged in the same trade or industry, and were formed for the purpose of regulating the trade, protecting the interests of the members, and maintaining the quality of their work.

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The craft guilds, which became so powerful in the later Middle Ages, were the successors of the earlier *collegia* of the Roman Empire. The *collegia* were associations of artisans and tradesmen, which were recognized by the state and had a legal existence. When the Roman Empire fell, these associations were largely destroyed, but the idea of association for mutual protection and the regulation of trade survived. In the early Middle Ages, the *gilds* began to reappear, and by the twelfth century they were firmly established in many of the cities of Europe.

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The craft guilds were organized on a democratic basis, and every member had a voice in the management of the guild's affairs. The officers were elected by the members, and the rules and regulations were made by the guild as a whole. The guilds had the power to fix prices, to regulate the hours of labor, and to determine the conditions of apprenticeship. They also had the power to punish members who violated the rules, and to expel those who were guilty of serious offenses. The guilds were thus a powerful force in the economic life of the Middle Ages, and they played an important part in the development of the modern industrial system.

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The decline of the craft guilds began in the sixteenth century, when the rise of the factory system and the growth of international trade made it difficult for the small, local guilds to compete with the larger and more efficient industrial organizations. The guilds were also weakened by the growth of the power of the state, which began to regulate trade and industry directly, and by the rise of the capitalist class, which sought to break the power of the guilds and to establish a system of free competition. By the end of the eighteenth century, the craft guilds had largely disappeared, but their influence lived on in the trade unions and other labor organizations of the modern world.