The Sanskrit Drama in its Origin, Development, Theory & Practice c24.2

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.