The Sanskrit Drama in its Origin, Development, Theory & Practice c24.3

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.