The Sanskrit Drama in its Origin, Development, Theory & Practice c24.35

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.