Part 2 — ENGLISH INDEX
Reading edition
A
Abhayadatta, in the Mudrārākṣasa, 206.
Abhayadeva, king (A.D. 1229–32), 254.
Abhayakumāra, minister of Çreṇika, 260.
Abhayapāla, king, 254.
Abhimanyu, son of Arjuna, 96, 97, 117, 213.
Abhinavagupta, writer on poetics, 103, 220, 291, 294, 318, 319, 320, 338, 342, 343, 344.
Abhirāma, commentator on the Çakuntalā, 154.
Ābhīras, a people, 129, 335, 337, n. 1.
Abrupt dialogue (udghātya), 328, 341.
Abrupt remark (gaṇḍa), 329.
Abuse, in ritual, as one source of drama, 24, 25.
Achievements of the Sanskrit drama, 276–88.
Active, for middle, and vice versa, in Bhāsa, 120.
Actors and Actresses, 360–4; number of, 66, 110, 345, 346, 347; opening dialogue of, 340; feelings aroused in, 316, 320, 321, 324, 355; see also Granthikas, Çaubhikas, Çailūṣa.
Acts, 60, 61, 301, 305, 345–51.
Address, conventional modes of, 314; as evidence of date of dramatic origin, 69–71.
Ādisūra, of Bengal, 212.
Ādityasena, of Magadha (A.D. 671), 212.
Adultery, as an allegorical character, 255.
Advaita form of Viṣṇu doctrine, 251, 252.
Aerial car, journeys in an, 190, 229, 233, 246, 255.
Agastya, a seer, dialogues of, in the Ṛgveda, 14.
Aghoraghaṇṭa, a priest, 188, 313, 328.
Agni, god of fire, dialogue of, with the gods, 21; saves Avimāraka, 101; saves Sītā, 105.
Agnimitra, a prince, hero of the Mālavikāgnimitra, 147–9, 165, 364.
Agnivarṇa, a prince, 364.
Agon, dramatic contest, essential to drama, 45.
Aihole inscription (A.D. 634), mentions Kālidāsa, 146.
Aischylos, 75, n. 2, 196, 197.
Ajayapāla, king (A.D. 1173–6), 258.
Ajitāpīḍa (A.D. 813–50), king of Kashmir, 291.
Ājīvika, in drama, 85.
Akālajalada, grandfather of Rājaçekhara, 231.
Akṣa, son of Rāvaṇa, 246.
Alakā, a city, 190, 194.
Alexander of Macedonia, his love of drama, 59.
Alexandria, as source of Greek influence on India, 60.
Alkestis, dramatic silence of, compared with that of Sītā, 110.
Allegorical drama, Buddhist, 83, 84; later, 251–6.
Allegorical personages, in Bhāsa, 112.
Alliteration, 238, 331; a characteristic of the Gauḍa style, 332.
Ammāl Ācārya, author of the Vasantatilaka, 263.
Aṇahilapāṭaka, 269, and see Aṇhilvāḍ.
Ānandarāya, author of the Jīvānandana, 253.
Ānandavardhana, writer on poetics, 212, 220, 294.
Anan̄gaharṣa Mātrarāja, author of Tāpasavatsarājacarita, 220.
Anan̄gamañjarī, a hetaera, 263.
Anan̄gaçekhara, a Viṭa, 264.
Anan̄gasenā, a hetaera, 361.
Anasūyā, friend of Çakuntalā, 153, 158.
Anayasindhu, an evil king, 261, 262.
Andhrabhṛtyas, dynasty, 129.
Andhraja, speech, 337, n. 1.
Andhras, a people, 335, 336; colour of, 366.
An̄gada, envoy to Rāvaṇa, 119, 190, 247, 269.
An̄gas, a people, colour of, 366.
Anger (krodha), as basis of sentiment, 323.
Aṇhilvāḍ, literary activity at court of, 243; and see Aṇahilapāṭaka.
Anticipatory scene (an̄kamukha), 302.
Antigone, of Sophokles, possibly known in India, 59, n. 2.
Antigone, a character impossible in Sanskrit drama, 278.
Apabhraṅça, 89, 122, 151, 175, 187, 336, n. 1, 350.
Apatouria, 38.
Apsarases, divine nymphs, 17, 40, 48, 96, 100, 112, 114, 265, 303, 339, n. 3, 352, 367.
Āraṇyakā or Āraṇyikā, heroine of the Priyadarçikā, 173, 174, 176, 362.
Arhants, views of, on the path of salvation, 183.
Ariṣṭa, a demon killed by Kṛṣṇa, 99, 106.
Arisiṅha, author of the Sukṛtasaṁkīrtana, 248, n. 7.
Arjuna, a demon, 99.
Arjuna, a Pāṇḍava, 48, 96, 97, 213, 214, 215, 218, 265, 266, 268, 320, 329.
Arjunavarman, Paramāra of Dhārā (A.D. 1211), 256.
Arrian, notes Indian love for song and dance, 44, n. 2.
Ars Amoris, of Ovid, 285.
Arsenic, used for pigments, 369.
Art of Bhāsa, 105–10; Mṛcchakaṭikā, 134; Kālidāsa, 155–60; Harṣa, 175–7; Mahendravikramavarman, 182, 183; Bhavabhūti, 192–6; Viçākhadatta, 208, 209; Bhaṭṭa Nārāyaṇa, 214, 215; Yaçovarman, 222, 223; Murāri, 229, 230; Rājaçekhara, 235, 236; Jayadeva, 246; Kṛṣṇamiçra, 253.
Arundhatī, in the Uttararāmacarita, 192.
Āryabhaṭa, astronomer (A.D. 499), 146.
Āryaka, in the Mṛcchakaṭikā, 64, 129, 130, 132, 133, 135.
Aryan, conquers Çūdra, in the Mahāvrata ritual, 24.
Açokadatta, and the Rākṣasas, 193, n. 2.
Açokan dialect, compared with that of Açvaghoṣa, 86, 87.
Açvaghoṣa, dramatist, 43, 58, 70, 72, 74, 77, 80–90, 93, 94, 95, 158, 161, 251, 292, 311, 336.
Açvajit and Çāriputra, 81.
Asajjāti, a comic Brahmin, 261.
Ascetics, how addressed, 314; appropriate to a Prahasana, 348.
Asides, 304.
Aspirates, reduced in Bhāsa, but not in Açvaghoṣa, to h, 121.
Astonishment (vismaya), as the basis of the sentiment of wonder, 323.
Astrologers, where placed in the auditorium, 370.
Asura Maya, magic craftsman, 52.
Asuras, demons, 41, 267.
Atharvan, dialogue of, 15.
Ātreya, the Vidūṣaka of Jīmūtavāhana, 177.
Ātreyī, an ascetic, 191.
Audience, 369–71, and see Spectators.
Auditorium, 359, 370.
Aulularia, form of name, 64.
Auçīnarī, wife of Purūravas, 156.
Authenticity of Bhāsa’s dramas (very ineffectively attacked in BSOS. III. i. 107 ff.), 91–3.
Avadhūta, see Kṛṣṇa.
Avalokitā, pupil of Kāmandakī, 193, 303, 362.
Avanibhājana, epithet of Mahendravikramavarman, 182.
Avantī, use of Bhūtabhāṣā in, 287.
Avantisundarī, wife of Rājaçekhara, 232, 288.
Avantivarman (A.D. 855–83) of Kashmir, patron of poets, 204, 220.
Āyogavas, actors ranked as, 363.
Āyus, son of Urvaçī, 62, 151, 156, 157.
B
Bābhravya, chamberlain of Vatsa, 171, 173.
Bāhlika, or Bālhika, a people, colour of, 366.
Bakchai, of Euripides, 59.
Baktria, Greek rule in, 57.
Baladeva, 48.
Bāla-Vālmīki, sobriquet of Murāri, 225.
Bali, binding of, performed in a dramatic manner, 32, 36, n. 1.
Ballet, 48, 275, 351.
Bāṇa, the Asura, 242, 243.
Bāṇa, writer (A.D. 625), 29, 76, 91, 171, 182, n. 3, 366.
Bāṇa, see Vāmana Bhaṭṭa Bāṇa.
Bandhurā, a go-between, 262.
Barbaras, speech of, 336; excluded from theatres, 370.
Barygaza, Bharukacchā, as port through which Greek influence came, 60.
Battles, in the drama, 347, 351.
Baudhāyana, censures actors, 363.
Bearer of fans, where placed in the auditorium, 370.
Benediction, see Nāndī and Bharatavākya.
Bengal, Sanskrit used in, 287.
Bengālī recension, of the Vikramorvaçī, 151; the Çakuntalā, 154, 155; the Veṇīsaṁhāra, 219.
Bernhardt, Sarah, 322, n. 2.
Bhādānakas, use of Apabhraṅça by, 287.
Bhadravatī, elephant, 108.
Bhāgurāyaṇa, in the Mudrārākṣasa, 205, 235.
Bhairavānanda, a magician, 234.
Bhāmaha, writer on poetics, 102.
Bhānudatta, views on sentiment, 319.
Bhānumatī, queen of Duryodhana, 213, 215, 219, 300.
Bharata, alleged author of the Nāṭyaçāstra, 12, 41, 150, 191, 343, 344, 349, 362, 364.
Bharata, brother of Rāma, 189, 224.
Bharata, son of Duḥṣanta, 154, 157.
Bhārata tribe, 30.
Bhāravi, poet, 265, 284.
Bharhut sculptures, dance represented on, 350, n. 2.
Bhartṛhari, poet, 366; celebrated in the Bhartṛharinirveda, 248.
Bhartṛmeṇṭha, 232.
Bhāsa, dramatist, 42, 51, 66, 70, 73, 74, 87, 91–126, 147, 161, 185, 187, n. 2, 243, 270, 286, 292, 300, 301, n. 4, 305, 311, 335, 336, 341, 342, 346, 347, 353, 354, 371, n. 2.
Bhāskaradatta, a Mahārāja, 204.
Bhāskara Kavi, author of the Unmattarāghava, 268.
Bhāṭ, reciters, 30.
Bhaṭṭa Gopāla, grandfather of Bhavabhūti, 186.
Bhaṭṭa Lollaṭa, doctrine of sentiment, 316.
Bhaṭṭa Nārāyaṇa, author of the Veṇīsaṁhāra, 83, 212–19.
Bhattanatha Svamin, on date of Murāri, 225.
Bhaṭṭa Nāyaka, writer on poetics, 291, 317, 318, 320, 321.
Bhavabhūti, dramatist, 42, 139, 161, 186–203, 209, 217, 225, 226, 227, 232, 239, 247, 257, 271, 281, 284, 297, 301, 311, 343, n. 1, 352, 353, 364.
Bhīma, a Pāṇḍava, 95, 96, 97, 109, 213, 214, 215, 216, 218, 266, 304, 329, 340.
Bhīmadeva II, the Cālukya, 256.
Bhīmaṭa, author of Svapnadaçānana, 239.
Bhīmeçvara, procession of the god, 248.
Bhīṣma, preceptor of the Kauravas, 97.
Bhoja (11th cent.), writer on poetics (JRAS. 1923, p. 545 ff.), 143, 325, n. 1, 331.
Bhujan̄gaçekhara, a Viṭa, 263, 264.
Bhūrivasu, a minister, 187.
Bhūtas, honoured in the preliminaries of the drama, 340.
Bhuvanapāla, minister of Saṁgrāmasiṅha, 249.
Bidyāpati Ṭhākur, Maithilī dramatist, 243.
Bilhaṇa, author of the Karṇasundarī, 256.
Bimbisāra, king of Magadha, 43.
Bloch, Th., on the Greek origin of the Indian theatre, 67.
Bourgeois Comedy, see Prakaraṇa and Prakaraṇikā.
Boy, suggested marriage to, as a motif, 234, 235, 256.
Bṛhannalā, a eunuch, 335.
Brahmā, as creator of the Nāṭyaçāstra, 12, 13, 41.
Brahmadeva, of Raypur, 270.
Brahmin and hetaera, dialogue of, 39, 73.
Brahminical supremacy, in Bhāsa, 110; in Kālidāsa, 160; in Bhavabhūti, 197; theory of life, 281.
Brahmin, 81, 276, 277, 281, 282, 283, 306; as the Vidūṣaka, 310, 311; address of, 314; as hero of the Prakaraṇa, 346; the Çilpaka, 351; seats for, 359; colour of, 366; where placed in the auditorium, 370.
Brajbhāshā, 41.
Breach of alliance (saṁghātya), 327.
Buddha, the, 81, 82, 87, 179; statues of the, 58; as a dramatic character, 306.
Buddharakṣitā, in the Mālatīmādhava, 198.
Buddhism, disapproved, 252, 253.
Buddhist monk, 135; nun, 193, 335.
Buddhists, and the drama, 42, 44, 174, 175, 284; addressed as Bhadanta, 314.
C
Cāhamāna, Vīsaladeva Vigraharāja, 248.
Caitanya, the saint, 247, 294.
Cakkyars, or Cākyārs, performance of plays by, 371, n. 1.
Cakora, Candraketu, prince of, 129.
Cakrasvāmin, festival of, 266.
Calm, as a character, 254; hero, 305, 306.
Calm (çānta), sentiment, 324, 332, 351.
Cambay, 248, 249.
Cāmuṇḍā, the goddess, 188, 234.
Cāṇakya, in the Mudrārākṣasa, 62, 205 ff., 341, 344.
Caṇḍabhārgava, curse of, 125.
Caṇḍālas, 99, 133, 336, n. 1, 337.
Caṇḍālī, 99.
Candanadāsa, in the Mudrārākṣasa, 205 ff.
Candanaka, Prākrit used by, 141.
Caṇḍapāla, a king, 234.
Candra, Candraka, or Candaka, dramatist, 168–70.
Candradāsa, an author, 168.
Candragupta, in the Mudrārākṣasa, 205 ff., 341.
Candragupta II, probable patron of Kālidāsa, 146.
Candraketu, prince of Cakora, 129.
Candraketu, rival of Lava, 191, 200.
Candraçekhara, commentator on the Çakuntalā, 154.
Candravarman, of Lāṭa, 234, 235.
Candrāvatī, 247, 265.
Cāṇūra, slain by Kṛṣṇa, 48, 100, 110.
Captivi, of Plautus, 64.
Cārāyaṇa, a Vidūṣaka, 235, 300.
Cārudatta, hero of the Cārudatta, 104, 116, 131, 132, 133, 134, 135, 136, 137–40, 306.
Cārvāka, atheist, philosopher, 214, 252.
Caryatides, possibly imitated in the Indian theatre, 355.
Caṣṭana, a Kṣatrapa, 69.
Caste system, denounced by Açvaghoṣa, 80.
Causative, and simple verbal forms, confused in Bhāsa, 120, 121.
Cave, mountain, similarity of theatre to, 358.
Cedi era, 129.
Cerebral sibilants, produce strength of style, 332.
Cerebralization of n, in Açvaghoṣa’s Prākrits, 86, 87, 88, 121.
Cerebrals, other than ṇ, produce strength of style, 332.
Ceylon, king of, father of Ratnāvalī, 171.
Challenge (utthāpaka), 327.
Chamberlain (kañcukin), 313; appropriate to the Prahasana, 348.
Change of action (parivartaka), 327.
Character drawing, 282; in Bhāsa, 110; Mṛcchakaṭikā, 134, 135, 137; Kālidāsa, 155–9; Harṣa, 176, 177; Bhavabhūti, 193, 194; Viçākhadatta, 208, 209; Bhaṭṭa Nārāyaṇa, 215; Rājaçekhara, 235.
Characters in the drama, 305–14, 355.
Characteristics of the Sanskrit drama, 276–88.
Charcoal burners, speech of, 337.
Cheating (chala), 329; in the Samavakāra, 346.
Chess, 256.
Child, mode of address of, 314, n. 2.
Chinese stage, 360, note 2.
Cistellaria, form of name, 64.
Citramāya (Citramāyu), friend of Rāma, 223.
Citraratha, associated with Indra, 190, 194.
Clay elephants, children play with, 320.
Clearness, of style, 331, 332.
Coarseness of the Prahasanas and Bhāṇas, 264.
Cock-fights, 263, 285.
Colour of curtain, 359; dress of actors, 366; participators in dramatic performances, 35, 36, 37, 366; sentiments, 324; Indra’s banner, 369; pillars of the auditorium, 359.
Combats, in the Ḍima, 347; the Pren̄khaṇa, 351.
Comedy, Greek, origin of, 39, n. 2; influence of, on Sanskrit drama, 58–66.
Comedy, Sanskrit drama deficient in higher forms of, 280, 354, and see Nāṭaka, Nāṭikā, and Prakaraṇa.
Comic dialogue (prapañca), 328.
Comic (hāsya) sentiment, 323, 324, 347, 348. 351.
Compassion, as a character, 254.
Compensatory lengthening of a vowel, with reduction of consonant groups, in Bhāsa, 121.
Competitions for poets, 286.
Compound letters, produce strength of style, 332.
Compounds, 217, 274, 332, 333; irregular forms in Bhāsa, 121.
Conclusion (nirvahaṇa) as fifth juncture of the drama, 299.
Concubinage, as an allegorical character, 255.
Confiscation of property of persons dying without heirs, 253.
Conflict in character, un-known to Indian drama, 278, 279.
Confusion, as an allegorical character, 251, 252, 254, 255.
Conjunct consonants, produce strength of style, 332.
Conscience, struggle of, unknown in Sanskrit drama, 279.
Consequents (anubhāva), in dramatic theory, 315 ff.
Construction, immediate, of an object by artificial means (saṁkṣipti), 327.
Contemplation, as an allegorical character, 252.
Contentment, as an allegorical character, 252.
Contest, as essential element of the drama, 45, 278.
Continuance (avalagita), 328.
Continuation scene (an̄kāvatāra), 302.
Contractions, irregular, in Bhāsa’s Sanskrit, 120.
Cora Indians, dramatic ritual of, 18, 19.
Corpse, revival of, as dramatic motif, 259.
Cosmopolitan character, ascribed to the Mṛcchakaṭikā, 139, 140.
Courteous, hero, 307.
Courtesans, see Hetaerae.
Courtiers, where placed in the auditorium, 370.
Courts, as patrons of the drama, 285, 362.
Crassus, Iason and the head of, 59.
Creation of object by magic (vastūtthāpana), 327.
Creeper, Urvaçī transformed into a, 150, 151, 156.
Critique of life, lacking in Sanskrit drama, 160, 195, 196, 197, 280, 281, 354.
Cult, as an allegorical character, 252.
Curse, as a dramatic motif, 125, 153, 157, 158.
Curtain of theatre, 61, 67, 68, 113, n. 1; colour of, 359 (cf. Elizabethan curtain, with colours varying as in India according to subject, GIL. iii. 177, n. 1).
D
Dadhittha, a monkey, 233.
Daityas, propitiated in the preliminaries of the drama, 339, n. 3.
Dakṣiṇāvartanātha, commentator on the Meghadūta, 145.
Dāmodara, 99, and see Kṛṣṇa.
Dāmodaragupta, author of the Kuṭṭanīmata, 171, 362, 368.
Dāmodaramiçra, redactor of the Mahānāṭaka, 270.
Dānavas, demons, 267, 339, n. 3, 366.
Dance, 12, 15, 16, 25, 26, 42, 44, 45, 50, 57, 58, 112, 160, 291, 296, 338, 350, 351.
Daṇḍin, author, 104, 129, 193, 221, 330, 363.
Dantivarman, dubious name of a king, 204.
Danturā, a go-between, 261.
Daçapura, use of Bhūtabhāṣā in, 287.
Daçaratha, a king, 100, 101, 189, 226, 228, 232, 245.
Daçārha festival, 42.
Date of Bhāsa’s dramas, 93–5.
Dead, worship of, and drama, 46, 47.
Death on the stage, 105, 110, 140, 292, 354.
Deccan, colour of people of the, 366; dramatic performances in the, 363.
Deceitful hero, 307.
Decline of the drama, causes of, 242–4.
Demi-gods, as heroes of the Ḍima, 347.
Demons, as heroes of the Ḍima, 347, and see Daityas, Dānavas, Rākṣasas.
Dénouement (kārya), as an element of the plot, 298; wonder appropriate in the, 325.
Desire, as a character, 251.
Determinants (vibhāva), in dramatic theory, 315 ff.
Deus ex machina, Gaurī as, 175, 176.
Devajī, father of Rāmakṛṣṇa, 274.
Devakī, mother of Kṛṣṇa, 40, 98.
Devanāgarī recension, of the Çakuntalā, 154, 155; the Vikramorvaçī, 151; the Veṇīsaṁhāra, 219.
Devapāla of Mālava, 249.
Devarāta, a minister, 187.
Devasomā, a damsel attached to a Çaiva mendicant, 182, 185.
Deva Sūri, Jain sage, 259, 260.
Development (garbha), third juncture of the drama, 299.
Development of affection (narmagarbha), 327.
Devil, in mediaeval mystery plays, 24, 39.
Devotion, as a sentiment, 325, n. 1.
Dhanadeva, father of Yaçaḥpāla, 254, 260.
Dhanaṁjaya, writer on poetics, 292, 321, 325, 328, 329, 340, 347.
Dhānaṁjaya, in a Buddhist drama, 84.
Dhaneçvara, father of Jyotirīçvara, 261.
Dhanika, writer on poetics, 220, 223, 271, 293, 350, 366.
Dhanika Paṇḍita, 293.
Dhārāvarṣa, prince of Candrāvatī, 247, 265.
Dhāriṇī, a queen, 148, 149, 155, 159, 163, 165.
Dhāvaka, misreading for Bhāsa, 171.
Dhīrasiṅha, father of Jyotirīçvara, 261.
Dhīreçvara, family, 261.
Dialogue (saṁlāpa), 327.
Dialogues of the Veda, alleged dramatic character of the, 13–23.
Digambara Jainism, 252.
Diggers of underground passages, speech of (cf. JRAS. 1923, p. 591), 88, 336.
Dignāga, alleged enemy of Kālidāsa, 145.
Dionysos, Greek god, 66.
Dionysos, Indian, i.e. Çiva, 42, n. 1.
Dionysos Melanaigis, 38.
Discrimination, as a character, 251, 252, 254, 255.
Disguise, of girl as boy, as motif, 234, 235.
Disguise, assumed on the stage, 303.
Disgust (jugupsā), as the basis of the sentiment of horror, 323.
Dithyramb, and drama, 39.
Division into acts, 60, 61.
Division of sentiment, not allowed in the drama, 278, 279.
Doors of the stage, number of, 360.
Double consonant, with short vowel, in place of single consonant and long vowel, 121.
Double entendre, 304.
Dṛḍhavarman, uncle of Vāsavadattā, 173, 174, 360.
Dhṛṣṭadyumna, slays Droṇa, 213.
Dhṛtarāṣṭra, a king, 96, 106, 117, 214, 216, 218.
Double letters, produce strength of style, 332.
Dramatic elements in Vedic ritual, 23–7.
Dramilas, speech of the, 337, n. 1, and see Draviḍas.
Draupadī, wife of the Pāṇḍavas, 63, 97, 212, 213, 214, 218, 233, 265, 266, 270.
Draviḍas, speech of, 336, 337; colour of, 366.
Dream, as motif, 303; truthful in early hours of morning, 234.
Dress of actors, 366.
Drinking, as an allegorical character, 255.
Droṇa, preceptor of the Kauravas, 97, 213.
Drop, or expansion (bindu), as an element of the plot, 298.
Duhika, variant of Durduka, 231.
Duḥçāsana, 212, 214, 216.
Duḥṣanta (Duṣyanta), a king, hero of the Çakuntalā, 152–5, 297, 341, 365.
Dumb actors, 53, 273.
Dundubhi, 228.
Durācāra, a pupil, 261.
Duration of acts of certain dramas, 346, 351.
Durduka, father of Rājaçekhara, 231.
Durgāpūjā, festival in Bengal, 262.
Durmukha, in the Uttararāmacarita, 190, 329.
Durvāsas, an ascetic, 153, 158, 268, 298.
Duryodhana, chief of the Kauravas, 38, n. 2, 96, 97, 106, 110, 111, 114, 212, 214, 215, 216, 218, 266, 278, 300, 304, 309, 329, 354.
Duty, as superior to private interest, in Kālidāsa, 153, 154.
E
Eclecticism of classical age of Sanskrit literature, 284.
Egoism, as a character, 252.
Ekbatana, Greek artistes at, 59.
Elements of the plot (arthaprakṛti), 298, 299.
Elephant, artificial, to contain men, 327; terrifies people in the street, 264.
Elephants, escape of, as dramatic motif, 193, 257.
Elision of consonants, not in Açvaghoṣa, 86; in Bhāsa, 121; with compensatory lengthening, 121.
Emotion (bhāva), 277, 278, 296, 316–26.
Energy (utsāha), as basis of heroic sentiment, 323.
Enigma (nālikā), 329.
Epics, and the drama, 27, 28–31, 42, 45, 47, 49, 58, 63, 75, 76, 281, 282, 297; original form of, 21–3.
Epidicus, of Plautus, 64.
Episode (patākā), 297, 298, 299.
Equivoke, as dramatic motif, 304.
Erotic (çṛn̄gāra), sentiment, 278, 323, 324, 346, 347, 349, 350, 351; metre and style appropriate to, 331, 332.
Eunuchs, 313; in the Prahasana, 348.
Euripides, 59, 196, 197, 279, n. 1, 282.
Exalted, hero, 305, 306.
Excitement, sentiment of, 265.
Exegesis, as an allegorical character, 252.
Expansion (bindu), as element of the plot, 298, 346.
F
Fainting, as a dramatic motif, 192, 224, 228.
Faith, as a character, 252; as a sentiment, 325, n. 1.
Faith in Viṣṇu, as a character, 253.
Falsity, as a character, 252.
Farce (prahasana), 182–5, 260–3, 280, 296, 309, 348.
Fate, 140, 277, 278.
Fear, sentiment of, 319, 324, 325.
Festivals, occasions of performance of dramas, 362.
Fifth manner, existence of, denied, 328, n. 1.
Fifth Veda, nature of the, 12, 13.
Fighting (sampheṭa), 328.
Figures of speech, 116, 117, 211, 330, 331, 333, 334.
Fire, imaginary, as a dramatic motif, 103, 173.
Fleet, Dr. J. F., theory of origin of Cedi era, 129.
Flesh-eating, as an allegorical character, 255.
Flesh-offering, to the ghouls of the cemetery, 188.
Forest dwellers, speech of, 347.
Fortune of the City, as an allegorical character, 255.
French borrowings from the classics, 68.
Friendship, in Bhavabhūti, 195, 196; sentiment of, 325, n. 1.
Frog hymn (RV. vii. 103), 19.
Funeral games, and the origin of drama, 47.
Fury, sentiment of, 320, 323, 324, 347; metre and style appropriate to, 331, 332.
G
Gamblers (dīvyant), language of, 141, 336.
Gambler’s hymn (RV. x. 24), 19.
Gambling, as an allegorical character, 255.
Gaṇadāsa, a dancing-master, 148.
Gandhāra, art of, relation to Greek art, 58.
Gāndhārī, wife of Dhṛtarāṣṭra, 214.
Gandharvas, 17, 23, 40, 100, 112, 339, n. 3; dress of, 366.
Gaṇeça, propitiated in the preliminaries of the drama, 369.
Gan̄gā, river-goddess, 190, 191, 192, 245.
Gan̄gādhara, author of the Gan̄gadāsapratāpavilāsa, 251.
Garland, see Vīthī.
Garland of Fame, an allegorical character, 254.
Garuḍa, 79, 100, 175, 179.
Gātrasevaka, in the Pratijñāyaugandharāyaṇa, 108.
Gauḍa, or Gauḍī, style, 202, 331, 335.
Gaurī, the goddess, 174, 175, 176, 278.
Gautama, the Vidūṣaka of Agnimitra, 148, 155.
Gay, hero, 305.
Gazelle, magic, in the Rāma legend, 221.
Gedrosians, knew Greek drama, 59.
Geldner, Prof. K., theory of dialogue hymns in Veda, 22, 23.
General (senāpati), exalted hero, 306, 312.
Gentleness, as an allegorical character, 254.
Germ (bīja), as an element of the plot, 298.
Gesture, 279, 338, n. 1, 364, 365, 367.
Ghanaçyāma, author of the Ānandamañjarī, 257.
Ghaṭikāçata, see Kṛṣṇa.
Ghaṭotkaca, son of Bhīma and Hiḍimbā, 95, 106, 109, 111, 213.
Gobaṁ°, a character, 85; Prākrit used by, 86, 87.
Godāvarī, river goddess, as a character, 245.
Gods, as heroes of the Ḍima, 347; in the Samavakāra, 346; dress of, 366; characteristics of, 260.
Goethe, views of, on Kālidāsa, 160, 280.
Goha, in the Mṛcchakaṭikā, 136.
Gokulanātha, author of the Amṛtodaya, 253, n. 3, 343.
Good Conduct, as an allegorical character, 254.
Gopāla, father of Āryaka, 129.
Gopāla, patron of Kṛṣṇamiçra, 251.
Gopīnātha Cakravartin, author of the Kautukasarvasva, 262.
Gopīs, cowherdesses, loved by Kṛṣṇa, 40, 274.
Gorī Īsapa, a Mahomedan, 250.
Graceful (kaiçikī) manner, 326, 327, 346, 347, 349, 350.
Graces, of the heroine, 310.
Grammarians, evidence of, as to drama, 31–6.
Grammatical, peculiarities, in Sanskrit, 85, 86; in Prākrit, 86–9, 121, 122.
Grandeur, 195, 196.
Great Dionysia, plays produced at, 66.
Greece, absence in the main of female dramatists, 288.
Greek astrology, known to Kālidāsa, 146.
Greek drama, compared with Indian, 276, 277, 279, n. 2, 280, 281, 311; origin of, 37–39; stage for, 360.
Greek influence on the Sanskrit drama, 57–68, 355, 356.
Guards, present in the auditorium, 370.
Guha, a forest chief, 228.
Guha, son of Çiva, 170.
Guhasena, of Valabhī, 275.
Guhyakas, propitiated in the preliminaries, 339, n. 3.
Guildsmen, or rich merchants (çreṣṭhin), language of, 87, 141, 336.
Guṇabhara, epithet of Mahendravikramavarman, 182.
Guṇāḍhya, author of the Bṛhatkathā, 52, 102.
Guptas, dynasty, 60, 144, 281, 334; of Magadha, 212.
H
Hair, how worn on the stage, 366, 367.
Hāla, or Sātavāhana, 74, 76; refers to drama, 45, n. 1.
Hamartia, Aristotelian doctrine of, 279, n. 1.
Hammīra, a Mahomedan invader, 248, 249, 250.
Haṅsavatī, a queen of Duḥṣanta, 158, 160.
Hanumant, 63, 111, 113, 190, 227, 245, 246, 266, 269.
Happy ending, necessary in drama, 38, n. 2, 140, 278, 354.
Hara, the god, 240, 241.
Haradatta, on Mahābhāṣya, 34.
Harem life, effect on drama, 65, 280.
Haribrahmadeva, of Raypur, 270.
Hāricandra, a poet, 91.
Harihara, author of the Bhartṛharinirveda, 248.
Harihara, brother of Mādhava, 268.
Hariçcandra, tale of, 240.
Harisiṅha, of Simraon, 261.
Harlequin, origin of the character of the, 39.
Harṣa, dramatist, of Kanyakubja (A.D. 606–48), 42, 85, 103, 155, 170–81, 204, 239, 256, 278, 284, 303, 305, 311, 325, 355, n. 3, 368.
Harṣa, Candella, king of Jejākabhukti, 239.
Harshness, as an allegorical character, 255.
Hastigiri, lord of, 268.
Haughty, hero, 305, 306, 307, 347; enemy of the hero, 307, 308.
Hemacandra, Jain author, 225, 243, 254, 255, 258, 260, 273, 275.
Hemakūṭa, place of abode of Mārīca, 154.
Hemān̄gada, a Vidyādhara, 229.
Hemān̄gī, a heroine, 263.
Herakleidai, of Euripides, known in India, 59.
Heresy, as a character, 252.
Heretics, parodied in the Prahasana, 348; excluded from spectacles, 370.
Hero, in Sanskrit drama, 305–7, 323; should be on stage during each Act, 140, 301; appropriate to several types of drama, 345–51.
Heroic comedy, see Nāṭaka and Nāṭikā.
Heroic (vīra) sentiment, 320, 323, 346; metre and style appropriate to, 331, 332.
Heroine, in New Comedy, 62; in Sanskrit drama, 308–10; in different types of play, 346–8, 350, 351.
Heroism, 165, 168, 177, 195, 211, 278.
Hertel, Prof. J., theory of the origin of the drama, 16–18.
Hetaera drama, Buddhist, 84, 85.
Hetaerae, 62, 133, 313, 334, 335, 346; form of names of, 313.
Hiḍimbā, wife of Bhīma, 95, 96, 106, 109, 213.
Hillebrandt, Prof. A., view of origin of drama, 25, 35, 36, n. 1, 39, 49, 50, 51, 52, 53.
Hindi, vernacular drama in, 243.
Hindu revival under the Guptas, 60.
Hippolytos, of Euripides, 279, n. 1.
Historical drama, 248–51.
Hiuan-Tsang, 170, 284.
Hoernle, Dr. A. F. R., theory as to identity of Vikramāditya, 144.
Holi festival, 41.
Horrible, descriptions of the, 192, 223.
Horror, sentiment of, 319, 320, 324, 325; metre and style appropriate to, 331, 332.
Horse sacrifice, ritual abuse in, 25; of Agnimitra and Samudragupta, 149.
Hultzsch, Prof. E., on date of Murāri, 225, 259.
Human sacrifice, as motif, 259.
Humorous speech (vyāhāra), 329.
Humour, 136, 159, 160, 177, 192, 211.
Hūṇas, 144, 145, 168.
Hunters, speech of, 347.
Hunting, miseries of, 152, 160.
Huth, G., views on date of Kālidāsa, 145, n. 1; on order of his poems, 167.
I
Iason, actor, 59.
Idealism of Sanskrit drama, 276.
Illuminator (dīpaka), a figure of speech, 331.
Imitation, of Açvaghoṣa (Buddhacarita, xiii. 60), by Bhāsa, 118. of Bhāsa, by Kālidāsa, 124–6; by Bhavabhūti, 187, n. 2; in the Mṛcchakaṭikā, 131, 140. of Kālidāsa, by Harṣa, 175, 176; by Bhavabhūti, 193. of the Mṛcchakaṭikā (wrongly questioned in JRAS., 1923, p. 592), by Viçākhadatta, 208.
Incident (prakarī), 297, 298, 299.
Incoherent talk (asatpralāpa), 329.
Indian philosophy, the product of the Brahmins, 276.
Individuality, of characterization, not aimed at in Sanskrit drama, 282, 353.
Indra, dialogues introducing, 14, 15, 19; monologue of drunken, 18, 19; referred to, 267, 303.
Indra’s banner, origin of drama in festival of, 41, 369.
Indra III, Rāṣṭrakūṭa, 239.
Infinitive, form of, in Açvaghoṣa, 87.
Internal junctures, see Antarasandhi.
Interval of time, between Acts, 301.
Intoxication (mada), as a dramatic motif, 303.
Introduction (āmukha), 328.
Invention of the poet, when allowed, 277, 296, 297, 346, 348, 349.
Ionian, equivalent to Greek, and also used more widely, 61.
Irāvatī, a queen, in the Mālavikāgnimitra, 148, 149, 155, 157.
Irony, in Bhāsa, 119; in Bhavabhūti, 192, n. 1, 194.
Irregularities of Sanskrit, in Açvaghoṣa, 85, 86; in Bhāsa, 120, 121.
Īçvarasena, an Ābhīra prince, 129.
I-Tsing, 168, 171.
J
Jagadīçvara, author of the Hāsyārṇava, 261, 262.
Jagajjyotirmalla, Haragaurīvivāha by, 76, n. 2, 247, 248.
Jagannātha, writer on poetics, 325.
Jain Māhārāṣṭrī, 256.
Jaina allegorical drama, 253–6.
Jainism, 252, 253–6.
Jains, and drama, 45, 46, 253–6, 286.
Jāmbavant, a bear, 227, 228, 229.
Janaka, of Videha, 189, 190, 202, 223, 227, 228, 245, 271.
Jan̄gamas, criticism of the, 263.
Jantuketu, a doctor, 261.
Jarta, victory of, over Hūṇas, 168.
Jaṭāyu, a vulture, 100, 189, 194, 228, 229, 245.
Jātūkarṇī, mother of Bhavabhūti, 186.
Javan drama, 57.
Jayadeva, author of the Gītagovinda, 40, 272.
Jayadeva, author of the Prasannarāghava, 226, 242, 244–6, 271, 363.
Jayadratha, of Sindhu, 96, 213, 215.
Jayakeçin, the Karṇāṭa, 256.
Jayantasiṅha, son of Vastupāla, 248.
Jayaprabha Sūri, teacher of Rāmabhadra Muni, 259.
Jayasiṅha Sūri, author of the Hammīramadamardana, 248–50.
Jayatala, king of Mewār, 249.
Jayataladevī, wife of Vīradhavala, 250.
Jayāpīḍa (A.D. 779–813), of Kashmir, 171, 368.
Jester, see Vidūṣaka.
Jhāṁkīs, of Bombay and Mathurā, 33.
Jīmūtavāhana, hero of the Nāgānanda, 174, 175, 177, 179, 305, 306, 323, 326.
Jinamaṇḍana, author of the Kumārapālaprabandha, 256.
Jīvasiddhi, in the Mudrārākṣasa, 205, 207.
Jñānanidhi, teacher of Bhavabhūti, 186.
Jñānarāçi, a Bhāgavata, 263.
Jogīmārā cave, 54, 86, 89.
Jones, Sir William, 160.
Judgement, as a character, 251, 252.
Juncture (sandhi), 298–300, 346–51.
Jyotirīçvara Kaviçekhara, author of the Dhūrtasamāgama, 261.
K
Kabandha, headless demon, 228.
Kādī, or Kadī, Mīlacchrīkāra’s preceptor, 250.
Kaikeyī, wife of Daçaratha, 100, 101, 189, 227, 228.
Kaiyaṭa, on the Mahābhāṣya, 33.
Kalacuris, a royal house, 226, 232.
Kalahaṅsa, in the Mālatīmādhava, 193, 313.
Kalakaṇṭha, friend of Māruta, 257.
Kālapriya, probably Mahākāla, the deity of Ujjayinī, 186.
Kalhaṇa, historian, 129, 168, 220.
Kālidāsa, dramatist, 42, 58, 65, 76, 91, 93, 115, 120, 124–6, 127, 129, 139, 143–67, 196, 197, 239, 243, 256, 275, 280, 281, 284, 291, 292, 297, 309, 311, 334, 343, n. 1, 352, 353, 355, n. 3, 364.
Kalin̄ga, king, enemy of Vatsa, 173, 174.
Kalin̄gas, colour of, 366.
Kaliñjarapati, Bhīmaṭa described as, 239.
Kaliph of Baghdad, 250.
Kalivatsala, a licentious king, 262.
Kāliya, a demon foe of Kṛṣṇa, 99, 106.
Kāma, worship of, 172.
Kāmandakī, in the Mālatīmādhava, 187, 188, 193, 302, 361, 362.
Kanakalatā, a heroine, 264.
Kanakalekhā, a princess saved by Mantragupta, 193, n. 2.
Kanarese words, found in a Greek comedy, 60, n. 2.
Kāñcana Paṇḍita, author of the Dhanaṁjayavijaya, 266.
Kāñcī, described in the Mattavilāsa, 183.
Kaniṣka, king, 58, 70, 72.
Kaṅsa, uncle of Kṛṣṇa, 32, 33, 34, 35, 36, 37, 38, 40, 45, 48, 73, 98, 99, 116.
Kaṇva, foster-father of Çakuntalā, 152, 153, 302, 303, 325.
Kapālakuṇḍalā, a sorceress, 188.
Kāpālika, in the Mitrāṇanda, 259; endeavours to sacrifice Madanamañjarī, 193 n. 2.
Kāpālikas, 313.
Kapālin, in the Mattavilāsa, 182, 184.
Kapittha, a monkey, 233.
Karṇa, ally of the Kauravas, 96, 106, 115, 213, 214, 215.
Karṇa, king of Cedi, 251.
Karṇadeva Trailokyamalla, of Aṇhilvāḍ, 256.
Karṇapūraka, slave of Vasantasenā, 141.
Karṇasundarī, a princess, 256.
Karṇīsuta, text-book by, on gambling, 134.
Karpaṭa, an authority on thieves’ practice, 182.
Karpūramañjarī, a princess, 234, 235.
Kārtyāyanī, a deity, 99.
Kāçi, colour of people of, 366.
Kāçīpati Kavirāja, author of the Mukundānanda, 264.
Kāçmīrī, recension of the Çakuntalā, 154.
Kashmir, dramatic exhibitions in, 371; pronunciation of Sanskrit in, 287; Hūṇas in, 144.
Kāṭayavema, commentator on Kālidāsa, 151, 154.
Kātyāyana, the grammarian, 31.
Kaumudī, heroine of the Kaumudīmitrāṇanda, 258, 259.
Kauṇḍinya, in the Çāriputraprakaraṇa, 82.
Kauravas, 265, 302.
Kauçalyā, mother of Rāma, 191, 195.
Kauçāmbī, scene of the Ratnāvalī, 171.
Kauçikī, in the Mālavikāgnimitra, 148, 155, 156, 162, 165, 308.
Kavikarṇapūra, author of the Caitanyacandrodaya, 84, 85, 353.
Kaviputra, or Kaviputrau, dramatists, 91, 127, 128, 147.
Kavirāja, an ancestor of Rājaçekhara, 231.
Kāvya, Sanskrit, 71, 75, 76; style, 115, 283, 284.
Keepers of drink shops, speech of, 88, 336.
Keçava, 48.
Keçin, a demon foe of Kṛṣṇa, 99.
Keyūravarṣa, Yuvarāja, of Tripurī, 232.
Khāravela of Kalin̄ga, 89.
Kharpara Khāna, a Mahomedan, 250.
Khasas, a people, speech of, 337.
Kīcaka, death of, 63, 97.
Killing of animals forbidden by Kumārapāla, 253.
Kings, as patrons of literature, 286; of actors, 362; as heroes of the drama, 345, 347, 350, 366.
Kirātas, 312; colour of, 366; speech of, 336.
Kīrtivarman, king of Jejākabhukti, 251.
Kolāhalapura, city of uproar, 263.
Komudagandha, a Vidūṣaka, 84.
Konow, Professor Sten, theory of origin of drama, 25, 49, 54; various views of, 66, 81, 92, 94, 95, 129, 130, 141, 204, 225.
Kordax, 42, n. 1.
Korybantes, 20.
Kosala, king, enemy of Vatsa, 172, 177, 178.
Kosalas, a people, colour of, 366.
Koṭilin̄ga, Yuvarāja of, 264.
Kouretes, 20.
Kṛpa, ally of the Kauravas, 213, 214.
Kṛpāsundarī, a princess, 254, 255.
Kṛçāçvins, followers of Kṛçāçva, 31.
Kṛṣṇa, 17, 26, 32, 35, 36, 37, 38, 40, 41, 42, 45, 48, 49, 50, 73, 83, 97, 98–100, 106, 107, 110, 130, 213, 215, 247, 257, 264, 266, 267, 270, 272, 274, and see Vāsudeva and Viṣṇu.
Kṛṣṇa Avadhūta Ghaṭikāçata Mahākavi, author of the Sarvavinodanāṭaka, 267.
Kṛṣṇa Kavi, author of the Çarmiṣṭhāyayāti, 268.
Kṛṣṇamachari, R., author of the Vāsantikasvapna, 251.
Kṛṣṇamiçra, author of the Prabodhacandrodaya, 84, 85, 112, 251–3, 353.
Kṛṣṇamiçra, author of the Vīravijaya, 267.
Kṛṣṇa Sūri, father of Mahādeva, 246.
Krakucchanda, a Buddha, 43.
Kṣatriya, 66, 81, 276; colour of, 366; seats for, 359.
Kṣemendra, of Kashmir, 236, 240, 247, 371.
Kṣemīçvara, or Kṣemendra, dramatist, 239–41.
Kulaçekharavarman, author of the Tapatīsaṁvaraṇa and Subhadrādhanaṁjaya, 247, 371, n. 2.
Kumāra, the god, 267; grove of, 150.
Kumāradāsa of Ceylon, alleged connexion with Kālidāsa, 143.
Kumāragiri, king of Koṇḍavīḍu, 151.
Kumārapāla, Caulukya, king of Gujarāt, 253, 254, 258.
Kumāravihāra, at Thārāpadra, 254.
Kumārila, alleged to be a teacher of Bhavabhūti, 186.
Kumbhakarṇa, son of Rāvaṇa, 228, 233, 246.
Kumbhīlaka, servant of Vasantasenā, 141.
Kumudacandra, a Digambara teacher, 260.
Kumudikā, a hetaera, 133.
Kuntibhoja, a king, 101, 109.
Kuran̄gī, a princess, 101, 109.
Kurus, 96, 97, 106.
Kuça, son of Rāma, 30, 31, 191, 192.
Kuçalaka, a spy, 249.
Kuṣana, Kuṣāṇa, dynasty, 59.
Kuvalayā, an actress, 43.
Kuvalayamālā, princess of Kuntala, 234, 235.
L
Ladies, of the harem, where placed in the auditorium, 370; see also Heroines and Hetaerae.
Lagidai, rule of, in Alexandria, 60.
Lakṣmaṇa, brother of Rāma, 42, 100, 105, 115, 119, 189, 190, 223, 226, 227, 228, 229, 245, 246, 269, 271, 303.
Lakṣmaṇa Māṇikyadeva, patron of, author of the Kautukaratnākara, 263.
Lakṣmaṇa Sūri, author of the Ḍillīsāmrājya, 251.
Lakṣmī, the goddess, 268, 274.
Lakṣmīpati, a prince, 258, 259.
Laments, of women, permitted in the An̄ka, 348.
Language, of Açvaghoṣa, 85–9; Bhāsa, 120–2; Mṛcchakaṭikā, 140–2; Kālidāsa, 166; Harṣa, 181; Mahendravikramavarman, 185; Bhavabhūti, 203; Viçākhadatta, 211, 212; Bhaṭṭa Nārāyaṇa, 219; Rājaçekhara, 236.
Lan̄kā, mythical home of Rāvaṇa, not Ceylon, 190, 194.
Lāṭa, use of Prākrit in, 287.
Lava, son of Rāma, 31, 191, 192, 194, 195, 223, 224.
Lāvaṇyasiṅha, son of Tejaḥpāla, 249.
Legendary origin of the dramatic art, 12, 13; of the theory of drama, 290.
Legends, altered in the drama, 297, 346, 348.
Letter, as a dramatic motif, 63, 303.
Lévi, Prof. S., Théâtre indien of, 5; theory of origin of the drama, 15; views on the origin of the Vidūṣaka, 66; the Çakas and the drama, 69–72; other references to, 128, 208.
Life, lack of criticism on, 160, 195, 196, 197, 280, 281, 354.
Light-hearted, hero, 305.
Lion throne, royal box, 370.
Literary antecedents of, and influences on, the Sanskrit drama, 75–7.
Literary drama, 56, 273.
Lokanātha Bhaṭṭa, author of the Kṛṣṇābhyudaya, 268.
Lopāmudrā, legend of, 14, 19.
Loss of memory, as a dramatic motif, 153, 297.
Love, as a character, 151.
Love, as a dramatic motif, 278, 285, 286, 310; as basis of sentiment, 323, 324; in Bhāsa, 107; Mṛcchakaṭikā, 130, 138; Kālidāsa, 159; Candaka, 169; Harṣa, 180; Bhavabhūti, 196, 198, 199; Bhaṭṭa Nārāyaṇa, 219; Rājaçekhara, 238.
Lovers, kinds of men, and women, 307–9.
Low moral character of actors, 55, 363.
Loyal, hero, 307.
Lüders, Prof. Heinrich, theory of origin of the drama, 33, 34, 35, 53, 272, n. 1.
Lyric choruses, Aristotle’s view as to, 337, n. 2.
Lyric stanzas, in the drama, 279, 281, 282, and see Verse.
M
Madana Bālasarasvatī, author of the Pārijātamañjarī, 256.
Madanamālā, a hetaera, 134.
Madanamañjarī, and a Kāpālika, 193, n. 2; a hetaera, 261.
Madanavatī, a female character, 260.
Madanikā, in the Mṛcchakaṭikā, 135.
Madayantikā, in the Mālatīmādhava, 188, 193.
Mādhava, author of the Subhadrāharaṇa, 268, 342, 357.
Mādhava, hero of the Mālatīmādhava, 62, 139, 187 ff., 306, 308.
Mādhavasena, a prince, 147.
Madhuka, a seer, 99.
Madhusūdana, redactor of the Mahānāṭaka, 270, 271, n. 1, 272.
Madhyama, in the Madhyamavyāyoga, 96.
Madness, of Purūravas, as a dramatic motif, 150.
Magadhavatī, a hetaera, 84.
Māgha, poet (date, Jacobi, SBAW., 1923, p. 214), 284.
Magic, 111, 234.
Magic arts, in the Ratnāvalī, 172, 173; in the Priyadarçikā, 174; in the Nāgānanda, 175.
Magic gazelle, in the Rāma legend, 221.
Magic ring, conferring invisibility, 101, 112.
Magicians, tricks of, 112, 172, 173, 176, 234.
Mahādeva, author of the Adbhutadarpaṇa, 246, 247.
Mahādeva, father of Jayadeva, 244.
Mahākāla, deity of Ujjayinī, 186.
Mahākavi, ancestor of Bhavabhūti, 186.
Mahānindaka, a holy man, 262.
Mahārāja Bhāskaradatta, father of Viçākhadatta, 204.
Mahārāṇa Meru, of Raypur, 270.
Māhārāṣṭrī lyric, 146.
Mahāsena, Pradyota, 102, 130.
Mahāvīra, speech of, 87; idol of, 254.
Mahāvrata rite, relation of, to drama, 21, 24, 26, 37, 39, 45, 51, 73, 112.
Mahāyāna school, 80; Greek influence on the, 58.
Mahāyātrika, a comic astrologer, 262.
Mahendrapāla, of Mahodaya, 232.
Mahendravikramavarman, an author, 93, 182–5.
Maheçvara, father of Çan̄karalāla, 270.
Mahiman Bhaṭṭa, writer on poetics, 294, 322.
Mahīpāla, of Mahodaya, 232.
Māhiṣas, colour of, 366.
Māhiṣmatī, capital of the Kalacuris, 226.
Mahomedan influence on decadence of Hindu drama, 242, 371.
Maitreya, a character in the Kaumudīmitrāṇanda, 259.
Maitreya, Cārudatta’s Vidūṣaka, 139.
Makaranda, in the Mālatīmādhava, 188, 193, 308, 338.
Makaranda, friend of Mitrāṇanda, 259.
Mālatī, in the Mālatīmādhava, 187 ff., 308.
Mālava era, 144.
Mālavikā, heroine of the Mālavikāgnimitra, 62, 63, 148, 149, 158, n. 1, 159, 165, 309.
Malayaketu, in the Mudrārākṣasa, 205 f.
Malayavatī, heroine of the Nāgānanda, 174, 306.
Mallikā, heroine of the Mallikāmāruta, 257, 258.
Mallinātha, commentator on Kālidāsa, 145.
Mālyavant, minister of Rāvaṇa, 189, 190, 194, 227, 228, 229, 233, 246.
Mammaṭa, writer on poetics, 171, 295, 323, 324.
Man about town, 285.
Man of taste, 318, 368, 370.
Mandākinī, a magician, 257, 258.
Maṇḍaleçvara Bhaṭṭa, father of Mādhava, 268.
Mandara, Mount, 98.
Mandārikā, a friend of a Viṭa, 264.
Mandārikā, a servant, 313.
Mandasor Praçasti (A.D. 473), imitates Kālidāsa, 146.
Mandodarī, wife of Rāvaṇa, 190, 246.
Maṇicūḍa, legend of, 168.
Manifestation of affection (narmasphoṭa), 327.
Maṇika, author of the Bhairavānanda, 248.
Man̄kha, poet, 75, n. 3, 225, 259.
Manners or styles (vṛttis), 12, 331, 332; in relation to types of dramas, 346–51.
Manoramā, an attendant in the Priyadarçikā, 174, 362.
Manovatī, acts part of Rambhā, 49.
Mantharā, a slave woman, 189, 227, 228.
Mantragupta, and Kanakalekhā, 193, n. 2.
Manu, censures actors, 363.
Māra, enemy of the Buddha, 180, 284.
Mārīca, in the Çakuntalā, 126, 154, 158; in the Rāma legend, 271.
Mārkaṇḍeya, Prākrit grammarian, 336.
Marriage, celebrated by painting scene of it, 102, 203.
Māruta, hero of the Mallikāmāruta, 257, 258.
Maruts and Indra, dialogue of, 14, 19, 20.
Mārwār, use of Apabhraṅça in, 287.
Masks, possible use of, 365, n. 1.
Mātali, charioteer of Indra, 154, 157, 160, 303, 325.
Matan̄ga, enemy of Jīmūtavāhana, 178.
Māthura, in the Mṛcchakaṭikā, 135.
Mathurā, as home of drama, 41, 70, 74.
Mathurādāsa, author of the Vṛṣabhānujā, 257.
Mātrarāja, see Anan̄gaharṣa.
Matrona, of Greco-Roman drama, 65.
Mattavilāsa, epithet of Mahendravikramavarman, 182.
Matters unfit for stage representation, 300, 301.
Maudgalyāyana, a disciple of the Buddha, 81, 84.
Maukhari king, Avantivarman, 204.
Max Müller, theory of origin of the drama, 15.
May-day merriment, in England, 41.
Māyurāja, author of Udāttarāghava, 221, 223, 297.
Māyūrāja, variant of Māyurāja, 221, n. 1.
Megasthenes, refers to the Kordax, 42, n. 1.
Meghanāda, son of Rāvaṇa, 190, 229, 246.
Meghaprabhācārya, dramatist, 55, 269.
Mekhalā, a maidservant, 235.
Melanthos, legend of, 37, 38.
Men, play women’s parts, 36, 362.
Menakā, mother of Çakuntalā, 152.
Menander, comedy of, 60.
Menander, king, conquests of, 59, 60.
Mercenary soldiers, reflected in figure of Çakāra, 66.
Merchants, or guildsmen, speech of, 87, 141, 336; form of names, 313; as heroes of the Prakaraṇa, 346; the Prakaraṇikā, 348.
Meru, Mahārāṇa of Raypur, 270.
Message, as dramatic device, 303.
Messenger, of hero, 311, 312; of heroine, 313.
Metre, influence of lyrics on, 77; of Açvaghoṣa, 89, 90; Bhāsa, 123, 124; Mṛcchakaṭikā, 142; Kālidāsa, 167, 168; Harṣa, 181; Mahendravikramavarman, 185; Bhavabhūti, 203; Viçākhadatta, 212; Bhaṭṭa Nārāyaṇa, 219; Rājaçekhara, 234, 236, 238; Kṣemīçvara, 240; Jayadeva, 246; Kṛṣṇamiçra, 253; Uddaṇḍin, 258; use of, in accord with sentiments, 331; in the Samavakāra, 346.
Mewār, defeat of Jayatala of, by the Mahomedans, 249, 250.
Middle, for active, in Bhāsa, 120.
Midsummer Night’s Dream, Sanskrit version of, 251.
Mīlacchrīkāra, a Mahomedan, 250.
Mildness (mṛdava), 329.
Miles gloriosus, of Greco-Roman drama, 65; Rāvaṇa as a, 105.
Military spectacle, see Vyāyoga.
Mīmāṅsā view of sentiment, 316.
Mime, Greek, alleged influence of, on Indian drama, 67, 68.
Mimes, in India, 49, 57.
Mimesis, Aristotelian doctrine of, 355.
Mimetic art, 12, 296.
Mind, movements of, as related to the sentiments, 320.
Minister, appropriate hero for a Prakaraṇa, 306, 346; how addressed, 314; where placed in the auditorium, 370.
Mirror of knowledge, an allegorical character, 254.
Mirth (hāsa), as the basis of the comic sentiment, 323.
Mise-en-scène, 364–9.
Mitrāṇanda, hero of the Kaumudīmitrāṇanda, 258, 259.
Mitrāvasu, prince of the Siddhas, 174, 175, 178.
Miyāṇalladevī, a princess, 256.
Mlecchas, 249, 312.
Mohanadāsa, commentator on the Mahānāṭaka, 270.
Mōkos, compared with Vidūṣaka, 67.
Mokṣāditya, author of the Bhīmavikramavyāyoga, 266.
Monkey, escape of, as a dramatic motif, 175.
Monmohan Chakravarti, on date of Kālidāsa, 144.
Monologue, see Bhāṇa.
Moon of Discrimination, an allegorical character, 254.
Mṛgān̄kalekhā, a hetaera, 262.
Mṛgān̄kāvalī, a princess, 234, 235.
Mṛgarājalakṣman, 212.
Mudgala hymn (RV. x. 102), 18.
Muhammad II, of Gujarāt, 251.
Muktāpīḍa Lalitāditya, of Kashmir, defeats Yaçovarman of Kanyakubja, 186.
Mūlanāçaka, a barber, 261.
Munisuvrata, temple of, 248.
Muñja (A.D. 974–95), a king, of Dhārā, 292, 293.
Muralā, a river, 191.
Murāri, author of the Anargharāghava, 225–31, 242, 244, 259, 271, 352.
Mureçvara, a Çaiva ascetic, 262, 263.
Muṣṭika, slain by Kṛṣṇa, 100, 110.
Music, 16, 25, 44, 49, 50, 291, 292, 339, 350, 351, 352.
Mystery of things, in Bhavabhūti, 195.
N
Nāgas, pair of kings, 43; destroyed by Garuḍa, 174, 175, 179.
Nāgīs, how shown on the stage, 367.
Nahapāna, a Western Kṣatrapa, 69.
Naiyāyika view of sentiment, 316.
Nakhakuṭṭa, a theorist, 341.
Nakula, a Pāṇḍava, 214.
Nala and Damayantī, 63, 240.
Nalakūbara, 49.
Nallā Kavi, author of the Çṛn̄gārasarvasva, 263, 264.
Names of the Acts of a drama, 305; the drama, 345, 346; the characters, 85, 313, 355.
Nanda, the cowherd, 98.
Nandana, in the Mālatīmādhava, 188, 193.
Nandas, a dynasty, 205.
Nandikeçvara, Abhinayadarpaṇa by, 338, 367, n. 1.
Nārada, a sage, 48, 98, 100, 101, 110, 126, 151.
Narasiṅha, of Vijayanagara, 261.
Narasiṅha II, of Orissa, 293.
Narasiṅha, author of the Çivanārāyaṇabhañjamahodaya, 257.
Nārāyaṇa, father of Kāñcana Paṇḍita, 266.
Nārāyaṇa, 97, 98, and see Kṛṣṇa and Viṣṇu.
Narendravardhana, father of Anan̄gaharṣa Mātrarāja, 220.
Narration, in lieu of action dialogue, 194.
Narrative verses, 270, 271, 273, 351.
Nature, described in the drama, Mṛcchakaṭikā, 138, 139; Kālidāsa, 159; Bhavabhūti, 195.
Navamālikā, in the Nāgānanda, 177.
Nema Bhārgava, a seer, 14.
Neuter plural of a-nouns, in Açvaghoṣa’s and Bhāsa’s Prākrit, 87, 122.
Neuter rôles, 313.
New Comedy, alleged influence on Indian drama, 60–7.
Nicula, alleged friend of Kālidāsa, 145.
Nīlakaṇṭha, alters the last scene of the Mṛcchakaṭikā, 135, 369, n. 2.
Nīlakaṇṭha, on the shadow play, 55, 56.
Nipuṇaka, in the Mudrārākṣasa, 205, 208; in the Hammīramadamardana, 249.
Nipuṇikā, 328.
Nirbhaya, or Nirbhara, pupil of Rājaçekhara, 232.
Noble, hero as always, 305.
Nominative singular, of a-stems, in e and o, in Açvaghoṣa, 86, 87, 88; in Bhaṭṭa Nārāyaṇa, 219.
Northern Thrace, dramatic performance in, 38.
Number, of Acts in a drama, 305, 345–51; actors, 66, 87, 110, 345, 346, 347, 351.
O
Officers, of the Court, 312; where placed in the auditorium, 370.
Officials, high, as exalted heroes, 306.
Oldenberg, Prof. H., theory of Ākhyāna, 21–3.
Omission of consonants in Prākrit, 86, 87, 88, 121.
Opening (mukha), as a juncture, 298, 299.
Opera, Haragaurīvivāha, 76, n. 2.
Ornaments, worn by the actors, 367.
Orodes of Parthia, Greek drama at Court of, 59.
Outburst of affection (narmasphañja), 327.
Outvying (ati-, or adhi-bala), 329.
Oxus, Hūṇas on the, 144.
P
Padmacandra, father of Yaçaçcandra, 260.
Padmagupta, cited by Dhanika, 293.
Padmāvatī, a heroine, 103, 107, 113, 125, 220.
Padmāvatī, place, 186.
Pahlavas, colour of, 366.
Painting, of actors’ faces, 37, 366.
Pālaka, king of Ujjayinī, 129, 133.
Palatal sibilants, produce strength of style, 332.
Pāli, 87, 89.
Pañcāla, music of speech of, 287.
Pañcāla style, 332, 335.
Pañcālas, colour of, 366.
Pāṇḍavas, 95, 96, 97, 266, 270.
Panegyrists, where placed in the auditorium, 370.
Pāṇini, the drama in, 31; his position in grammatical literature, 290.
Paṇis and Saramā, dialogue of, 14, 19, 21.
Pantomime, 58, 258, 275, 351, and see Naṭa.
Pāpācāra, a bad king, 263.
Paramardideva, of Kālañjara, 265.
Paraçurāma, 96, 189, 194, 228, 233, 245, 271, 302, 319, 323, 327.
Parasite, in Greco-Roman drama, 65; in Indian drama, see Viṭa.
Pariyātra, use of Bhūtabhāṣā in, 287.
Paronomasia, 238.
Pārçva, a Tīrthakara, 254.
Parthians, invaders of India, 60, and see Pahlava.
Partnership, of actor and singer, 363.
Parvateça, a king, 205 f.
Pārvatī, the goddess, 300, 338, 352; and the Lāsya dance, 12.
Paçumeḍhra, a student, 227.
Pāçupata, a monk in the Mattavilāsa, 184.
Pāçupatas, a Çaiva sect, 42.
Patañjali (B.C. 150), the grammarian, 32–5, 52, 71, 72, 77, 98.
Pathak, Prof. K. B., on date of Kālidāsa, 144.
Pathos, in Mṛcchakaṭikā, 136; in Kālidāsa, 159, 161; in Bhavabhūti, 193, 195; as a sentiment, 319, 323, 324, 325, 348; metre and style appropriate to, 331, 332.
Patience, as an allegorical character, 252.
Pause (vimarça), the fourth juncture of the drama, 299.
Persians, alleged to have knowledge of Greek tragedy, 59.
Phallic dances, as sources of drama, 16.
Phallic deities, 16, 21.
Phallic orgies, 41.
Philostratos, life of Apollonios of Tyana, 59.
Physicians, where placed in the auditorium, 370.
Picture, as dramatic motive, see Portrait.
Piety, as an allegorical figure, 252.
Pigments, mingling of, 369.
Pillars, as marking off places in the auditorium, 359.
Piçācas, demons, hair of, 366.
Pischel, Prof. Richard, theory of Itihāsa, 21; suggestion as to origin of the drama in the puppet play, 52–6; on the authorship of the Mṛcchakaṭikā, 128; on Bhāsa and the Sthāpaka, 342.
Pity, as a character, 252.
Plautus, 64.
Play within a play, 303; in the Priyadarçikā, 173; the Uttararāmacarita, 191, 192; the Bālarāmāyaṇa, 233.
Pleasantry (narman), as part of the graceful manner, 326.
Pleasure, as connected with the primitive drama, 50; as a characteristic of the classical period of the Sanskrit drama, 284; supernatural character of aesthetic, 318, 319, 320, 321.
Plot, 277, 296–305, 355.
Plutarch, on drama in Parthia, 59.
Poetics, 169 and Part III.
Poets, where placed in the auditorium, 370.
Police officials (nāgaraka), speech of, 141, 336.
Polity, as an allegorical character, 254.
Portraits, as dramatic device, 154, 174, 257, 303, 326.
Poverty, evils of, 137.
Pṛthu, father of Viçākhadatta, 204.
Pṛthvīdhara, on Prākrits of the Mṛcchakaṭikā, 141.
Practice of drama, influenced by theory, 352–4.
Pradyota Mahāsena, 102, 130.
Pradyumna, 48, 49.
Prahasta, ally of Rāvaṇa, 246.
Prākrits, 40, 46, 50, 58, 243, 273, 275, 287, 301, 302, 311, 333, 336–8; evidence of, as to origin of drama, 72–5; of Açvaghoṣa, 86–9; Bhāsa, 121, 122; Mṛcchakaṭikā, 140–2; Kālidāsa, 161, 166; Harṣa, 181; Mahendravikramavarman, 185; Bhavabhūti, 203; Viçākhadatta, 211, 212; Bhaṭṭa Nārāyaṇa, 219; Rājaçekhara, 236; Kṣemīçvara, 240; Yaçaḥpāla, 256.
Prākrit drama. 65, 66, 69–72, 236, 257; translation of Prākrit passages into Sanskrit, 337.
Prākrit Kāvya, later than Sanskrit Kāvya, 71, 77.
Prākrit stanzas, 253.
Pralamba, a demon, 48, 99.
Pramodaka, in the Mudrārākṣasa, 206.
Pratāparudra, of Warangal, 293.
Pratiṣṭhāna, 129.
Preliminaries, of the drama, 51, 66, 111, 339–44, 368, 369.
Previous birth, influence on ability to write poems, 288.
Privation, as an aspect of love, 323.
Priyadarçikā, a heroine, 173, 174.
Priyaṁvadā, friend of Çakuntalā, 153, 159.
Problems of life, ignored in Sanskrit drama, 160, 195, 196, 197, 280, 281, 354.
Progression (pratimukha), as the second juncture, 298, 299.
Prologue, 66, 111, 114, 239, 339–44, 369.
Pronominal forms, in Açvaghoṣa’s and Bhāsa’s Prākrits, 87, 122.
Propitiation (prarocanā), 328.
Prose, 23, 50, 51, 58, 73, 76, 202, 337; narrative style, 273; simple in the Nāṭaka, 345.
Protagonist, compared to Sūtradhāra, 66.
Proverbial phrases, affected by Bhāsa, 120.
Proverbs, 211, 236.
Public, dramas and, the, 370, 371.
Pulindas, a people, colour of, 366.
Puṇyaketu, a character, 254, 255.
Puppet play, relation to drama, 52, 53.
Purūravas, a hero, 14, 22, 62, 149, 151, 156, 157, 233.
Puruṣamedha, 25.
Puruṣottama, name confused with that of Purūravas, 150; celebrated, 240.
Puṣpaka, car, 101.
Puṣyagupta, described as a Rāṣṭriya, 69.
Puṣyamitra, a king, 149.
Pūtanā, demoness killed by Kṛṣṇa, 99.
Q
Qualities, of words, theory of, 321, 332, 333, 334.
Queen, character of the, 312.
Ṛ
Ṛṣabha, a Tīrthakara, 254, 259.
Ṛṣis, hypocritical objections of, to vice, 262.
Ṛṣyaçṛn̄ga, tale of, 48.
R
Radanikā, servant of Cārudatta, 141.
Rādhā, beloved of Kṛṣṇa, 40, 100, 247, 257, 272, 274.
Radī, Mīlacchrīkāra’s preceptor, 250.
Rāghavabhaṭṭa, commentator on the Çakuntalā, 154.
Raghu, Digvijaya of, 144.
Rājācala, 294.
Rājarāja I, of Tanjore, 251, n. 1.
Rājaçekhara, dramatist and critic, 52, 91, 103, 155, 225, 231–9, 242, 243, 244, 246, 256, 271, 287, 288, 300, 301, 337, 341, 350, 360, 363.
Rājaçekhara, the younger, 129.
Rājasiṅha, 93.
Rājendralālamitra, referred to, 269.
Rājputs, Rājaputras, language of, 87, 141, 336.
Rākṣasa, hero of the Mudrārākṣasa, 62, 205 ff., 352.
Rākṣasas, or Rakṣases, demons, 48, 223, 258; dress of, 366.
Rāma, 30, 42, 47, 63, 100, 101, 105, 111, 116, 119, 189, 190, 191, 192, 194, 195, 197, 199, 223, 224, 227, 228, 229, 233, 245, 246, 247, 269, 271, 279, 281, 282, 297, 303, 305, 307, 308, 316, 317, 323, 327, 328, 329.
Rāma, author of the Manmathonmathana, 267, 347.
Rāmabhadra Dīkṣita, author of the Jānakīpariṇaya, 246; the Çṛn̄gāratilaka, 263.
Rāmabhadra Muni, author of the Prabuddharauhiṇeya, 259, 260.
Rāmacandra, dramatist, 225, 258, 259.
Rāmakṛṣṇa, author of the Gopālakelicandrikā, 272–4.
Rāmānuja, philosopher, 274.
Rāmavarman, author of the Rukmiṇīpariṇaya, 247.
Rambhā, a nymph, 49.
Rāmeçvara, grandfather of Jyotirīçvara, 261.
Rāmila, dramatist, 127, 129.
Ram-fights, 263, 285.
Rām-Līlā festival, 42.
Raṇajambuka, a comic general, 262.
Raṇamalladeva, of Raypur, 270.
Ran̄ganātha, commentator on the Vikramorvaçī, 151.
Rantivarman, v. l., for Avantivarman, 204.
Ratnacūḍa, a Vidyādhara, 229.
Ratnākara, a poet, 220, 225; perhaps imitated by Viçākhadatta, 204.
Ratnāvalī, princess of Ceylon, 63, 298, 299, and see Sāgarikā.
Rauhiṇeya, hero of the Prabuddharauhiṇeya, 260.
Rāvaṇa, 49, 52, 100, 101, 105, 111, 116, 189, 190, 194, 227, 233, 242, 245, 246, 247, 269, 271, 279, 297, 306, 307, 327.
Ravidāsa (before A.D. 1812), Mithyājñānaviḍambana, 345.
Ravivarman (born A.D. 1266), Pradyumnābhyudaya, 344.
Reason, a character, 251, 252.
Recensions of the Mālavikāgnimitra, 147, n. 2; of the Çakuntalā, 154, 155; of the Vikramorvaçī, 151; of the Veṇīsaṁhāra, 212, n. 3.
Recitation, as opposed to singing, 12, 20, 27, 337, 338.
Reciters, where placed in the auditorium, 370.
Recognition, in Greek and Indian drama, 62, 63.
Reed, banner of Indra, 369.
Reich, Prof. E., theory of mime, 67, 68.
Reinterpretation (avasyandita), 329.
Religion and the drama, 36–49, 339, 340, 369.
Repartee (vākkelī), 329.
Representation, of the drama, 364–9.
Revata, 48.
Rhyme, 239.
Ridgeway, Prof. Sir William, theory of origin of drama, 46, 47.
Ring, motif of lost, in the Çakuntalā, 62, 153; magic, 101, 112.
Ritual cathartic cursing, and Greek comedy, 39, n. 2.
Rogue, peculiarly appropriate to the Prakaraṇa, 346; the Prahasana, 348.
Rohasena, son of Cārudatta, 132, 137, 141.
Rohiṇī, beloved of the Moon, 237.
Roman borrowing from Greece, 68; drama, 60, 64.
Royal Fortune, as an allegorical character, 99, 112, 255.
Rudens, of Plautus, 63.
Rudra, the god, 17, and see Çiva.
Rudradāman (A.D. 151), use of Sanskrit in inscriptions of, 69.
Rudrasena, use of word Bhadramukha by, 69, 71.
Rudrasiṅha, a Kṣatrapa, 94, 95.
Rudraṭa, writer on poetics, 299.
Rukmin, enemy of Kṛṣṇa, 267.
Rukmiṇī, bride of Kṛṣṇa, 247, 266, 267.
Rukmiṇī, mother of Yaçaḥpāla, 254.
Rumaṇvant, a general, 108, 172, 177, 220.
Rūpa Gosvāmin, author of the Dānakelikaumudī, 268; of the Vidagdhamādhava, and the Lalitamādhava, 247, 294.
Ç
Çabaras, speech of, 337.
Çailālins, followers of Çilālin, 31.
Çaiva dramas, 253.
Çaivas, criticism of, 263.
Çākambharī, in Sapādalakṣa, 260.
Çakas, and Sanskrit drama, 60, 69–72; defeated by a Vikramāditya, 143; mode of address in the drama, 314; speech of, 337; colour of, 366.
Çakaṭa, a demon, 99.
Çakaṭadāsa, in the Mudrārākṣasa, 205 f.
Çakti, female energy of Çiva, 42.
Çakuntalā, an Apsaras, 152–5, 193, 297, 298, 299, 303.
Çākyabhikṣu, in the Mattavilāsa, 183.
Çālivāhana, 129, and see Sātavāhana.
Çalya, king of the Madras, ally of the Kauravas, 96, 115.
Çambūka, a Çūdra, 191.
Çan̄kara, author of the Çāradātilaka, 263.
Çan̄kara, commentator on the Çakuntalā, 154.
Çan̄karalāla, author of the Sāvitrīcarita, 270.
Çan̄karavarman (A.D. 883–902), of Kashmir, 291.
Çan̄khacūḍa, a snake, 175, 177.
Çan̄khadhara Kavirāja, author of the Laṭakamelaka, 260, 261.
Çan̄kuka, a writer on poetics, 291, 316.
Çan̄kukarṇa, in the Abhiṣekanāṭaka, 111.
Çāntā, and Ṛṣyaçṛn̄ga, 48.
Çāradvata, a hermit, 159.
Çāriputra, 81, 82, 84.
Çārn̄garava, a hermit, 159.
Çarvilaka, a thief in the Mṛcchakaṭikā, 64, 114, 131, 132, 135.
Çātakarṇis, use of Prākrit by the, 69.
Çatānanda, friend of Janaka, 189, 227, 245.
Çaunaka, views as to character of certain Vedic hymns, 15.
Çauṣkala, envoy of Rāvaṇa, 227.
Çekharaka, the Viṭa of Jīmūtavāhana, 177.
Çeṣakṛṣṇa, author of the Kaṅsavadha, 247.
Çīghraka, a spy, 250.
Çīlavatī, mother of Rājaçekhara, 231.
Çin̄ga Bhūpāla, author of the Rasārṇavasudhākara, 294.
Çiçupāla, of Cedi, 266, 267.
Çiva, 12, 17, 26, 41, 42, 47, 66, 183, 189, 227, 233, 241, 250, 267, 271, 284, 300, 338, 352.
Çivā, wife of Çiva, 241.
Çivadatta, an Ābhīra prince, 129.
Çivasvāmin, dramatist and poet, 220.
Çobhāvatī, capital of Çūdraka, 43, 129.
Çramaṇa, in the Çāriputraprakaraṇa, 82.
Çramaṇaka, guise adopted by Rumaṇvant, 108.
Çravaṇā, an ascetic, 228.
Çreṇika, of Magadha, 260.
Çrī, celebrated, 240.
Çrīkaṇṭha Nīlakaṇṭha, or Bhavabhūti, 186.
Çrīrāmadeva, Vyāsa, dramatist, 269, 270.
Çrīvardhamānaka, father of Murāri, 225.
Çūdra, a seller of Soma, 24; struggle with Aryan in the Mahāvrata, 24.
Çūdraka, alleged author of the Mṛcchakaṭikā, 42, 51, 129–42.
Çūdras, Nāṭyaçāstra shared by, 12; colour of, 366; seats for, 359, 370; referred to, 37, 73, 98, 99, 363.
Çuka, a spy, 229.
Çukra, in the Tripuradāha, 267.
Çunaḥçepa, tale of, 22; a student, 227.
Çun̄ga dynasty, 149.
Çūra, minister of Avantivarman, 204.
Çūrasenas, colour of, 366.
Çūrpaṇakhā, enemy of Rāma, 189, 194, 227, 233.
S
Sadānanda, Vedāntasāra, syncretism in, 318, n. 2.
Sādhuhiṅsika, a chief of police, 262.
Saffron, in Kashmir, 144.
Sāgara, and the rivers, 245, 246.
Sāgarikā, alias of Ratnāvalī, 172, 173, 303, 304, 325, 326.
Sahadeva, a Pāṇḍava, 213.
Sajjalaka, a thief, 104.
Salii, 20.
Sāmarāja Dīkṣita, author of the Dhūrtanartaka, 262, 263; of the Çrīdāmacarita, 247.
Sāmba, 48, 49.
Saṁgrāmasiṅha, a prince, 249.
Samiddhārthaka, in the Mudrārākṣasa, 208.
Sāṁkṛtyāyanī, confidante of Vāsavadattā, 173, 175.
Sampāti, 189, 194.
Saṁsthāna, in the Cārudatta, 104.
Saṁsthānaka, in the Mṛcchakaṭikā, 131, 132, 133, 134, 136, 140.
Saṁtuṣṭa, a Vidūṣaka, 313.
Samudragupta, Gupta Emperor, horse sacrifice of, 149.
Sānchi, Kathakas on relief at, 30.
Sañjaya, in the Veṇīsaṁhāra, 214, 217.
Sanskrit, Çakas and, 69–72; of Açvaghoṣa, 85, 86; Kālidāsa, 166; Harṣa, 181; Kṛṣṇamiçra, 243, 244; Yaçaḥpāla, 255; and Prākrit, 243, 244, 255, 273, 282, 283, 287, 333, 335, 336.
Saramā and the Paṇis, legend of, 14, 19, 21.
Sāraṇa, a spy, 229.
Sārasvata school of grammarians, 145, n. 2.
Sarayū, river, 245.
Sātavāhana, 129, 333, and see Hāla.
Satyabhāmā, in the Kṛṣṇa legend, 48.
Satyācāra, a Brahmin, 262.
Saudāminī, pupil of Kāmandakī, 62, 188, 193.
Saumilla, Somila, a dramatist, 91, 127, 129, 147.
Sauvīra, king, 101, 102.
Sāyaṇa, commentator on the Ṛgveda, 15, 268.
Scenes of introduction (arthopakṣepaka), 301, 302.
Schroeder, Prof. L. von, theory of origins of drama, 16–21.
Secular origin of the drama, 49–57.
Self-sacrifice in Harṣa, 177, 278; in Bhavabhūti, 195.
Senex, of Greco-Roman comedy, 65.
Sense, figures of (arthālaṁkāra), 331.
Sentiment, produced by drama, 12, 296, 314–26, 334, 335, 366, 368; in relation to types of drama, 346–51; in connexion with the qualities of style, 332; blending of, 169.
Servants (ceṭa), speech of, 87, 141, 336; kind of names of, 313.
Servus currens, of Greco-Roman drama, 65.
Seven vices, banished, 255.
Shadow plays, and dramatic origins, 53–7; 269, 270, 351.
Shakespeare of India, Kālidāsa as, 160.
Shameless, hero, 307.
Shamsu-d-din, probable original of Hammīra, 249, n. 1.
Shaw, Bernard, stage directions in plays of, 366.
Sibilants, treatment of, in Açvaghoṣa, 86, 87, 88; in Bhāsa, 122; in Bhaṭṭa Nārāyaṇa, 219.
Siddhārthaka, in the Mudrārākṣasa, 205, 208.
Siddhas, 178, 179.
Similes, 330, 331.
Simple, and causative verbal forms, confused, in Bhāsa, 120, 121.
Simplicity of Indian theatrical apparatus, 50, 358–60.
Siṅha, lord of Lāṭa, 249.
Siṅhana (Sin̄ghaṇa, Siṅhaṇa), the Yādava, 249.
Siṅhaviṣṇuvarman, a Pallava king, 182.
Siparium, in Roman mime, 67.
Sītā, wife of Rāma, 30, 42, 52, 63, 100, 101, 105, 110, 115, 119, 189, 190, 191, 192, 194, 195, 197, 199, 218, 219, 224, 227, 228, 229, 233, 243, 244, 270, 271, 279, 281, 303, 328, 329.
Sītābengā cave, 54, 67, 89.
Skandagupta, Emperor, 144.
Slaughter, as an allegorical character, 255.
Slaves (ceṭa), speech of, 87, 141, 336; in the Prakaraṇa, 346; as hero and heroine in the Prasthāna, 351.
Softening of hard letters, in Prākrit, 86, 87, 88, 89, 121.
Soma rite, 30, 51.
Somadatta, a Nāyaka, 84.
Somadeva, author of the Lalitavigraharājanāṭaka, 243, 248.
Somaçarman, in Cambodia, 29.
Someçvara, Kīrtikaumudī, 248, n. 7.
Somila, see Saumilla.
Somism, 252, 253.
Song, in relation to the drama, 12, 16, 20, 25, 44, 49, 50, 160, 338, 350, 351.
Sophokles, 59, 197.
Sorrow (çoka), as the basis of the pathetic sentiment, 323.
Sound, figures of (çabdālaṁkāras), 331.
Sound effects, in Bhavabhūti, 202, 203; Bhaṭṭa Nārāyaṇa, 218; Murāri, 230; Rājaçekhara, 236.
South Indian recension, of the Vikramorvaçī, 151; the Çakuntalā, 154, 155.
Spectators, 35–7, 369–71; relation to actors, 316, 317, 318, 320, 321, 322.
Spirit, as an allegorical character, 251.
Stage, 359; matters excluded from representation on, 300, 301.
Stage directions, 86, 113, 364, 366.
Stage properties, 365, 366.
Stages of the development of the action (avasthā), 297–9.
Stanzas, see Lyric Stanzas.
Sthāvaraka, servant of Saṁsthānaka, 141.
Strength (ojas), of style, 331.
Struggle of conscience, unknown in the Sanskrit drama, 279.
Style, of Bhāsa, 114–20; Mṛcchakaṭikā, 136–9; Kālidāsa, 160–5; Harṣa, 177–81; Mahendravikramavarman, 185; Bhavabhūti, 196–203; Viçākhadatta, 209–11; Bhaṭṭa Nārāyaṇa, 215–19; Yaçovarman, 221–3; Murāri, 230, 231; Rājaçekhara, 236–9; Kṣemīçvara, 240; theoretical views of qualities of, 331–3, 334; see also Gauḍa style, Vaidarbha style.
Styles, dramatic (vṛtti), doctrine of the, 326–9.
Subandhu, author, 76, 91.
Subhadrā, taken away by Arjuna, 268.
Subhaṭa, dramatist, 55, 269.
Subjunctures, in the episode, 299.
Subrahmaṇya Kavi, author of part of the Mahāvīracarita, 192.
Subterranean passages, referred to, 206, 234.
Sudarçanā, wife of the king of Kāçi, 101, 110.
Sudeṣṇā, wife of Virāṭa, 63.
Suggestion, in poetry, 276, 277, 318, 322; in Kālidāsa as opposed to Bhavabhūti, 161.
Sugrīva, brother of Vālin, 100, 105, 190, 194, 228, 229, 245, 246, 297, 308, 327.
Suicide, motif, 107.
Sumeru, description of, 229.
Sumitrā, mother of Jayadeva, 242.
Sundaramiçra, author of the Nāṭyapradīpa, 294.
Sundering of lovers, 323.
Supernatural, 159, 192, and see Wonder.
Surānanda, an ancestor of Rājaçekhara, 231.
Surāṣṭra, speeches used in, 287.
Susa, people of, knew Greek dramas, 59.
Susaṁgatā, confidante of Ratnāvalī, 172, 176, 303, 325, 326.
Sūtas, slain by Bhīma, 97, n. 1.
Suvarṇākṣī, mother of Açvaghoṣa, 80.
Suvarṇaçekhara, on the Ganges, 257.
Suvega, a spy, 249.
Svayambhū, creator of the pigments, 369.
Swāng of North-West India, 273.
Sweetness of style, 331, 332.
Swinging, 313; description of, 234, 238.
Synonyms, free use of, 283.
T
Tāḍakā, a demoness, 227.
Ṭakkas, use of Apabhraṅça by, 287.
Tales, close connexion of, with the drama, 76, 258, and see Kathāsaritsāgara.
Tamasā, river, goddess, as a dramatic character, 191, 202.
Tantras, 42.
Tantumatī, mother of Murāri, 225.
Tārā, wife of Vālin, 105.
Tarala, an ancestor of Rājaçekhara, 231.
Tārkṣya, 267.
Tears, of the auditor, 321, 368.
Technique, of Açvaghoṣa, 82–5; Bhāsa, 110–14; Kālidāsa, 126, 160; Yaçovarman, 222, 223; Rājaçekhara, 239; Prahlādanadeva, 265; certain irregular dramas, 270–5; according to the writers on theory, 296–305.
Tejaḥpāla, brother of Vastupāla, 248, 249, 250.
Ten qualities of style, 331, 332.
Ten stages of love, 323.
Ten types of drama, 345–9.
Terror (bhaya), as the basis of the sentiment of terror, 323.
Terror, sentiment of, 192, 278, 324, 325, 332.
Thārāpadra, 254.
Theatre, buildings, 67, 358–60.
Theft, as an allegorical character, 255.
Theories of the Secular Origin of the Drama, 49–57.
Theory of the drama, 290–351; influence of, on dramatic practice, 352–4; possible influence of Aristotle on, 355, 356.
Tibet, drama in, 44.
Tiger, escape of, as dramatic motif, 188, 193.
Time, of performance of plays, 369; unity of, 64, 65, 301, 355.
Tīrthakaras, invocation of the, 254.
Ṭodar Mall, Akbar’s minister, 247.
Tradition, as the fifth Veda, 12, 13.
Traditional account of the origin of Sanskrit drama, 12, 13; of dramatic theory, 290.
Tragedy, 38, n. 2, 278, 280, 345, 354.
Trailokyavarmadeva, of Kālañjara, 266.
Transitory (vyabhicārin), feelings, 315.
Transmigration, as explaining sensibility to poetry, 322.
Transverse, curtain, 113, n. 1, 359.
Travaṇas, speech of people of, 287.
Triads, Bhāsa’s fondness for, 111.
Tribhuvanapāla, of Aṇahilapāṭaka, 269.
Triple explanation (trigata), 328.
Tukkojī, 257.
Tumultuous action or disturbance (avapāta), 328, 346.
Tun̄gabhadrā, river, as a dramatic character, 245.
Tuñjina, of Kashmir, patron of Candraka, 168.
Turfan, fragments of Buddhist dramas, 80.
Twelve stages of love, 323, n. 2.
Types of drama, 345–51.
Typical, not individual, characters, found in Sanskrit drama, 282, 353.
U
Udayana, 94, 102, 103, 107, 108, 125, 327, and see Vatsa.
Uddaṇḍanātha or Uddaṇḍin, author of the Mallikāmāruta, 221, 257, 258.
Uḍras, a people, colour of, 366.
Udumbaras, family of Bhavabhūti, 186.
Ugrasena, king, 100.
Ujjayinī, importance of, in Indian history, 60; for Sanskrit drama, 70, 71, 74, 94; speech used in, 70, 336.
Umā, dance in honour of, 340.
Umvekācārya, alleged identity of, with Bhavabhūti, 186.
Union of lovers, 323.
Unities, dramatic, of subject, 297–300; of time, 64, 65, 301, 355; of place, 355.
Uragas, snakes, clothing of, 366.
Ūrmilā, daughter of Janaka, 189.
Urvaçī, a nymph, 14, 114, 149–51, 156, 362, 364.
Uṣavadāta (A.D. 124), 69.
Utpaladeva, alias Muñja, 293.
Uttarā, a princess, 265, 266.
V
Vaibhāra, mount, 260.
Vaidarbha style, 161, 331, 332.
Vairantya, capital of Kuntibhoja, 109.
Vairodhaka, in the Mudrārākṣasa, 206.
Vaiçya, 37, 38, 73, 363; colour of, 366; seats of, 359; in the Mahāvrata rite, 24.
Vaiṣṇavas, 263.
Vajranābha, in the Kṛṣṇa legend, 48, 49.
Vajravarman, an aboriginal prince, 259.
Vākpati, author of the Gaüḍavaha, 91, 92, 187.
Vālin, a monkey king, 100, 105, 110, 114, 119, 189, 190, 194, 228, 229, 245, 297, 306, 327.
Vallabhadeva, commentator on the Meghadūta, 145.
Vālmīki, author of the Rāmāyaṇa, 114, 191, 192, 232, 303.
Valour, as an allegorical character, 254.
Vāmadeva, a seer, 14, 226.
Vāmana, a writer on poetics, 92, 102, 103, 104, 145, 330, 332.
Vāmana Bhaṭṭa Bāṇa, author of the Pārvatīpariṇaya, 221, 247, 263, 264.
Van̄gas, a people, colour of, 366.
Varadācārya, author of the Vasantatilaka, 263.
Varāhamihira, date of, 144.
Vardhamāna, capital of Çūdraka, 129.
Vardhamānaka, servant of Cārudatta, 141.
Vardhamāna Svāmin, 260.
Varuṇa and Indra, dialogue of, 15, 21.
Vasantācārya, son of Dhanika Paṇḍita, 293.
Vasantasenā, heroine of the Mṛcchakaṭikā, 104, 131, 132, 133, 134, 135, 136, 139, 140, 309, 313, 335, n. 3, 363.
Vāsantī, in the Uttararāmacarita, 191, 200.
Vāsava, 83, n. 1, 265, and see Indra.
Vāsavadattā, queen of Udayana, 102, 107, 108, 109, 113, 119, 125, 171–4, 176, 220, 235, 303, 304.
Vasiṣṭha, a sage, 189, 229, 302; dialogue of, in the Ṛgveda, 14, 17.
Vassal princes, where placed in the auditorium, 370.
Vasubandhu, the Buddhist philosopher, 145, 146.
Vasubhūti, a minister, 171, 173.
Vasudeva, 40, 98, 99, 214, 264.
Vāsudeva, 32, 34, and see Kṛṣṇa.
Vasukra, dialogue with Indra, 14.
Vasulakṣmī, a princess, in the Mālavikāgnimitra, 148.
Vasumatī, a queen of Duḥṣanta, 158.
Vasumitra, of the Çun̄ga dynasty, defeats the Yavanas, 149; favours actors, 364.
Vastupāla, minister of Vīradhavala of Gujarāt, 248, 249, 250.
Vaṭeçvaradatta, the feudatory (sāmanta), grandfather of Viçākhadatta, 204.
Vatsa, or Udayana, 102, 108, 171–4, 176, 220, 235, 298, 303, 304, 305, 307, 309, 327, 361, 362, 364.
Vatsabhaṭṭi, imitates Kālidāsa, 146.
Vatsarāja, dramatist, 265, 266, 301.
Vātsyāyana, author of the Kāmaçāstra, 332, 335.
Veda, the fifth, 12, 13.
Vedakavi, author of the Vidyāpariṇayana, 253, n. 4.
Vedānta, in the Prabodhacandrodaya, 251–3.
Vedāntavāgīça, Bhojacarita, 345.
Vedic ritual, dramatic elements in the, 23–7.
Vegetation ritual, and drama, 45.
Vema, prince of Koṇḍavīḍu, 247.
Ven̄kaṭanātha, author of the Saṁkalpasūryodaya, 253.
Ven̄kaṭavarada, author of the Kṛṣṇavijaya, 267.
Verbal (bhāratī) manner, 326, 328, 329, 344; in the Bhāṇa, 348.
Vernaculars, use of, 243, 334.
Vernacular drama, 243.
Verse, in drama, 23, 56, 58, 73, 76, 90, 279, 281, 282, 337.
Vibhīṣaṇa, brother of Rāvaṇa, 190, 229, 246, 327.
Vidiçā, 147.
Vidyādhara, writer on poetics, 293, 294, 295, 325.
Vidyādharamalla, hero of the Viddhaçālabhañjikā, 234, 235.
Vidyādharas, 111, n. 3, 174, 191, 245, 256.
Vidyādharīs, wear jewels on the stage, 367.
Vidyānātha, author of the Pratāparudrīya, 248, 293, 295.
Vidyāraṇya, perhaps Sāyaṇa, 268.
Vigraharāja, see Vīsaladeva.
Vijayakoṣṭha, or Vijayaprakoṣṭha, ancestor of Kṣemīçvara, 240.
Vijayasena, general of Vatsa, 173.
Vijñānavāda school, 80.
Vikramāditya, 130, 143.
Vikramasiṅha, a prince, 133.
Vilāsaçekhara, a Viṭa, 263.
Vinayavasu, a chamberlain of Dṛḍhavarman, 173.
Vindhyaketu, a prince, 173.
Violent (ārabhaṭī) manner, 326, 327, 328.
Virādhaka, in the Mudrārākṣasa, 206, 208.
Vīradhavala, king of Gujarāt, 248, 249, 256.
Vīraka, a policeman, 141.
Virāṭa, a king, 97, 265, 266.
Viçākhadatta, dramatist (date as a younger contemporary of Kālidāsa supported, but inconclusively, by J. Charpentier, JRAS., 1923, pp. 585 ff.), 204–12, 218, 253.
Viçvāmitra, a sage, 189, 190, 226, 227, 240, 245, 281, 302; father of Çakuntalā, 152; dialogue of, with the rivers in the Ṛgveda, 14, 17, 20.
Viçvanagara, a mendicant, 261.
Viçvanātha, author of the Mṛgān̄kalekhā, 257, n. 1.
Viçvanātha, author of the Sāhityadarpaṇa, 220, 223, 294, 295, 302, 310, 321, 322, 325, 328, 329, 341, 342, 343, 347, 348, 349, 350.
Viçvanātha, author of the Saugandhikāharaṇa (not, as Winternitz, GIL. iii. 248, suggests, the writer on poetics, who does not cite the work as his), 266.
Viçvantara, legend of, 168.
Viçveçvara, author of the Çṛn̄gāramañjarī, 257.
Viṣṇu, 12, 17, 26, 98, 105, 106, 112, 268, 284, 354.
Viṣṇu, censure of actors, 363.
Viṣṇu, father of Dhanaṁjaya and Dhanika, 292, 293.
Vīsaladeva Vigraharāja, 248; author of the Harakelināṭaka, 247.
Visions of the dying, 114.
Vocative of a stems in ā, in Bhaṭṭa Nārāyaṇa, 219; ṛ stems in ā, in Açvaghoṣa, 88.
Voice in the air, 303; in the Bhāṇa, 348.
Vṛndā, or Lakṣmī, 274.
Vṛndā, wood, 99.
Vṛṣākapi, comparison of, with the Vidūṣaka, 51, n. 1.
Vṛṣākapi, hymn, 14, 18.
Vṛṣṇis, Kṛṣṇa born in the family of the, 98.
Vyāsa, Çrīrāmadeva, dramatist, 269, 270.
W
Warriors (yodha), speech of, 141, 336.
Watchers, speech of, 88, 336.
Weber, Prof. Albrecht, as to origin of drama, 32, 33, 57.
Western Kṣatrapas, alleged influence of, on drama, 69–72.
Wife, characteristics of a, 308, 309.
Windisch, Prof. E., theory of epic, 21; on Greek origin of the drama, 57–64; on the plot of the Mṛcchakaṭikā, 130.
Winternitz, Prof. M., 33, n. 1.
Woman, disguised as a boy, 234, 235, 256; using Sanskrit as comic, 334; may use it in various cases, 335.
Women, as poets, 287, 288; as spectators, of the drama, 370.
Women’s apartments, speech of those living in, 88, 336.
Women’s rôles, played sometimes by men, 362.
Wonder, sentiment of, 278, 324.
Wood-workers, speech of, 337.
Words, qualities of, 321, 332, 333, 334.
Worship of the dead, alleged origin of drama in the, 46, 47.
X
Xanthos, legend of, 37, 38.
Y
Yādavas, drama among the, 48, 49.
Yajñasena, a prince, 147.
Yakṣas, 266, 339, n. 3; dress of, 366; hair of, 367.
Yakṣīs, carry jewels, 367.
Yama and Yamī, dialogue of, 13, 14, 19, 20.
Yamala and Arjuna, demons, 99.
Yamunā, 245.
Yaçaḥpāla, author of the Moharājaparājaya, 254–6.
Yaçaçcandra, author of the Mudritakumudacandra, 260.
Yaçodā, wife of Nanda, 98.
Yaçodharman, conqueror of the Hūṇas, 144.
Yaçovarman, of Kanyakubja, as a dramatist, 186, 187, 220, 221, 222.
Yāska, 15.
Yātrās, 16, 17, 40, 51, 272.
Yaugandharāyaṇa, 102, 103, 107, 108, 113, 171, 173, 220, 235, 240, 262.
Yavanas, 356, 366; defeated by Vasumitra, 149; Apabhraṅça assigned to, 336, n. 1; see also Yavananīs.
Yavanīs, in king’s harem, 61, 62.
Yāyāvara family, 231.
Yudhājit, uncle of Bharata, 189.
Yudhiṣṭhira, oldest of the Pāṇḍavas, 83, 214, 215, 308.
Yugādideva, the Tīrthakara Ṛṣabha, 259.
Z
Zēlotypos, compared with Çakāra, 67.