The Sanskrit Drama in its Origin, Development, Theory & Practice c24.48

c24.48

*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.