Part 2 — SANSKRIT INDEX
Reading edition
A
Agni Purāṇa, 295, 349.
An̄ka, act, 301.
An̄ka, one act play, 268, 295, 296, 347, 348.
An̄kamukha, anticipatory scene, 302.
An̄kāvatāra, continuation scene, 302.
Ajjukā, style of a hetaera, 314.
Atijagatī, metre, appropriate to lively dialogue, 331.
Atidhṛti, metre, appropriate to the pathetic sentiment, 331.
Atibala, outvying, 329.
Attāṇaṁ, in Bhāsa for attāṇaaṁ, 122.
Atharvaveda, 12, 15.
Adaṇḍāraho, in Açvaghoṣa, 88.
Adbhuta, wonder, as a sentiment, 324.
Adbhutadarpaṇa, by Mahādeva, 246, 247.
Adbhutārṇava, by Kavibhūṣaṇa, 345.
Adhikāra, attainment of hero’s purpose, 297.
Adhibala, outvying, 329.
Anargharāghava, by Murāri, 226–31, 344, n. 1, 362.
Anukūla, loyal (hero), 307.
Anukṛti, mimesis, 355, and see Avasthānukṛti.
Anucārikā, king’s attendant, 312.
Anubhāvas, consequents of sentiments, 315.
Anuçāsana Parvan, allusion to drama in, 28.
Anuṣṭubh, metre, 346.
Antarasandhi, nature of, 302, 303.
Anyā, anyastrī, heroine as wife of another, 308.
Apaṭī, curtain, 61, 359.
Aparavaktra, metre, 166.
Apavāritam, confidentially, 304.
Abhijñāna, recognition, as motif, 62.
Abhijñānaçakuntalā, (drama) of Çakuntalā (recognised) by a token of recognition, see Çakuntalā.
Abhidhā, power of denotation, 317.
Abhinavabhāratī, by Abhinavagupta, 291.
Abhivyakti, revelation of sentiment, 317.
Abhiṣekanāṭaka, by Bhāsa, 94, 101, 105, 110, 111, 113, 114, 115.
Abhisārikā, type of heroine, 309.
Amātya, minister, 312.
Amṛtodaya, by Gokulanātha, 253, n. 3, 343.
Ambā, style of a go-between, 314.
Ammābhāṇa, by Varadācārya, 263.
Amhāaṁ, 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.
Arthāntaranyāsa, a figure, 125.
Arthopakṣepaka, scenes of introduction, 301, 302.
Ardha-Māgadhī, a Prākrit, 74, 87, 122, 141, 219, 336.
Arh, epenthetic vowel in Prākrit of Açvaghoṣa, 88.
Alaṁkāras, poetic figures, 330, 331; see also Nāṭakālaṁkāra and Nāṭyālaṁkāra.
Alaukika, sentiment as supernatural, 319.
Avataraṇa, entry of performers, 339, and see Ran̄gāvataraṇa.
Avadānaçataka, 43.
Avantikā, a Prākrit, 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.
Ahakaṁ, ahake, in Açvaghoṣa, 86; ahake in Bhāsa, 122.
Ā
Ākāçabhāṣita, a voice in the air, 303, 348.
Ākhyāna, theory of certain Vedic hymns, 21–3.
Ākhyāyikā, romance, 76.
Ān̄gikābhinaya, expression by gesture, 367, 368.
Āṇi, āni, and ā in neuter plural of a-stems, 87, 122.
Ātmagatam, aside, 304.
Ādhikārika, principal (action), 297.
Ānandamañjarī, by Ghanaçyāma, 257.
Ābhīrī, speech, 337.
Āma, in assertions in Bhāsa, 120.
Āmukha, introduction, 328, 340.
Āyāraṁga Sutta, 44, n. 2.
Āyukta, attendants, 312.
Āyuṣmant, as style of the king, 314.
Ārabhaṭī, violent (manner), 326, 327, 328.
Ārambha, voice testing by chorus, 339.
Ārambha, first stage of development in drama, 297.
Ārttha, in Açvaghoṣa for artha, 85.
Āryaputra (ajjaüttā), style of a husband, 314.
Āryā (ajjā), style of a wife, 314.
Āryā, metre, 124, 142, 167, 181, 185, 203, 212, 258; appropriate to the erotic sentiment, 331.
Ālambana, fundamental determinants of sentiment, 315.
Āvantī, a Prākrit, 141, 333.
Āçcaryamañjarī, by Çaktibhadra (BSOS. III. i. 116 f.), 371, n. 2.
Āçrāvaṇā, trying of instruments, 339.
Āsīna, a kind of recitation, 338.
Āhi, as instrumental in Açvaghoṣa’s Prākrit, 87.
I
Itihāsa, 12; Prof. Pischel’s theory of the, 21.
Indravajrā, metre, 142, 181, 185, 272.
Iyaṁ, in Açvaghoṣa, 88.
Ī
Īhāmṛga, 266, 267, 295, 296, 346, 347, 353.
U
Uktapratyukta, a duet, 338.
Ucca, used by Kālidāsa, 146.
Utkṛti, metre, appropriate to scenes of violence, 331.
Uttamottaka, a kind of song, 338.
Uttararāmacarita, by Bhavabhūti, 66, 139, 190–2, 194, 196, 199, 202, 203, 225, 303, 329, 344.
Utthāpaka, challenge, 327.
Utpatti, production of sentiment, 317.
Utpādya, invented (plot), 296.
Utsāha, energy, as basis of sentiment, 323.
Utsṛṣṭikān̄ka, a kind of drama, 347, 348, 363.
Udayanacarita, 327, 365.
Udātta, exalted (hero), 305, 306.
Udāttarāghava, by Māyurāja, 221, 223, 297.
Udāratā vacasām, claimed by Bhavabhūti, 196.
Udāratva, elevation of style, 331.
Udghātya, abrupt dialogue, 328; in the prologue, 341.
Uddīpana, excitant determinants, 315.
Uddhata, haughty (hero), 305, 306, and see Dhīroddhata.
Unmattaka, disguise of, adopted by Yaugandharāyaṇa, 108, 184, 185.
Unmattarāghava, by Bhāskara Kavi, 268.
Upagīti, metre, 123.
Upajāti, metre, 123, 142, 166, 203, 212.
Upanāgarikā, style, 332, 333.
Upaniṣad, Theology, 251, 252.
Upapati, adulterer, 307, n. 1.
Upapatti, use of argument, 330.
Uparūpaka, minor dramatic forms, 268, 269, 349–51.
Upasthāyika, eunuch, 313.
Ummadantījātaka, alleged dramatic character of, 43, n. 1.
Ullāpya, a form of drama, 351.
Uṣṇih, metre, 346.
Ū
Ūrubhan̄ga, by Bhāsa, 38, 94, 96, 106, 114, 278, 300, 354.
Ṛ
Ṛgveda, 12, 13, 15, 17, 18, 20, 21, 22, 23, 26.
Ṛtusaṁhāra, by Kālidāsa, 147, n. 3.
E
E, as masculine nominative of a-stems, in Açvaghoṣa, 86, 87.
Ekāvalī, by Vidyādhara, 293.
Ekka, in Bhāsa’s Prākrit, 122.
Edisa, in Açvaghoṣa’s Prākrit, 89.
Evva, evvaṁ, in Bhāsa’s Prākrit, 121.
AI
Ai, interjection, in Açvaghoṣa’s Prākrit, 88.
Aitareya Brāhmaṇa, 77; tale of Çunaḥçepa, 22.
Aindrajālika, juggler, 55.
O
Ojas, strength, 331.
Oḍrī, speech, 337.
AU
Audārya, nobility, as a quality of the hero, 307.
Aupacchandasika, metre, 142, 166, 203, 212, 219.
K
Ka, suffix, lengthening of vowel before, 87.
Kaṅsavadha, 37, 38.
Kaṅsavadha, by Çeṣakṛṣṇa, 247.
Kacci, in Bhāsa’s Prākrit, 122.
Kañcukin, chamberlain, 313.
Kaṭhinā, style, 332, n. 2.
Kathakas, reciters, 29, 30.
Kathā, tale, 76, 258.
Kathāsaritsāgara, by Somadeva, 52, 129, 134, 192, 193.
Kathodghāta, form of prologue, 340.
Kadua, not in Bhāsa, 122.
Kapphiṇābhyudaya, poem by Çivasvāmin, 220, n. 2.
Kariya, gerund of kṛ in Açvaghoṣa, 88.
Karuṇa, pathos, as a sentiment, 323, 325.
Karuṇākandala, 343, n. 1.
Karotha, anomalous strong form in Açvaghoṣa, 88.
Karṇabhāra, by Bhāsa, 87, 96, 106, 122, 336.
Karṇasundarī, by Bilhaṇa, 256, 369.
Karpūrcaritra, by Vatsarāja, 265.
Karpūramañjarī, by Rājaçekhara, 232, 233, 234, 235, 239, 342, 350.
Kalahāntaritā, type of heroine, 309.
Kaleti, in Açvaghoṣa, 87.
Kādambarī, by Bāṇa, 129.
Kānti, beauty of style, 331.
Kāmandakīya Nītiçāstra, 291, n. 2.
Kāmaçāstra, by Vātsyāyana, 284, 285, 334, 335.
Kārya, dénouement, 298.
Kāla, equivalent to Horā, 146.
Kālanā, in Açvaghoṣa, 86.
Kāvya, as influencing drama, 283, 284.
Kāvya, a type of drama, 351.
Kāvyanirṇaya, by Dhanika, 293.
Kāvyaprakāça, by Mammaṭa, 171, 295, n. 1.
Kāvyamīmāṅsā, by Rājaçekhara, 232, 271, 287, 288.
Kāvyādarça, by Daṇḍin, 104.
Kāçikā Vṛtti, cites Candra’s grammar, 168.
Kāçirājñe, irregular compounds in Bhāsa, 121.
Kirātārjunīya, by Bhāravi, 194.
Kirātārjunīya, by Vatsarāja, 265.
Kilakiñcita, hysteria, 310.
Kiçça, in Açvaghoṣa, 86.
Kissa, in Bhāsa, 122.
Kīrti, fame, 84.
Kīrtikaumudī, by Someçvara, 248, n. 7.
Kīrtimañjarī, an allegorical character, 254.
Kuṭila, metre, 346.
Kuṭṭanīmata, by Dāmodaragupta, 171.
Kuṭṭamita, pretended anger, 310.
Kundamālā, 341.
Kumāra, prince royal, 312.
Kumārasambhava, by Kālidāsa, 75, 146, 147, 167, 284, 285, 312, 352.
Kuçīlava, actor, 31, 360, 363.
Kṛṣṇavijaya, by Ven̄kaṭavarada, 267.
Kṛṣṇābhyudaya, by Lokanātha Bhaṭṭa, 268.
Kaiçikī (‘of the Kaiçikas’, Lévi, TI, i. 333), graceful (manner), 326, 327.
Komalā, style, 333.
Komudagandha, 86.
Kauṭilīya Arthaçāstra, 102, 291, n. 2, 334, 364.
Kautukaratnākara, written under Lakṣmaṇa Māṇikyadeva, 263.
Kautukasarvasva, by Gopīnātha Cakravartin, 262.
Kaumudīmitrāṇanda, by Rāmacandra, 225, 258, 259.
Krimi, Buddhist irregularity for kṛmi, 86.
Krodha, anger, as basis of sentiment, 323.
Kṣ, treatment of, in various Prākrits, 86, 88, 122, 212.
Kṣobha, agitation of mind, 320.
KH
Khaṇḍacūlikā, nature of, 302, n. 1.
Khaṇḍitā, enraged (heroine), 309.
Khu, after vowels in place of kkhu, in Açvaghoṣa, 89.
G
Gaüḍavaha, by Vākpati, 187.
Gan̄gadāsapratāpavilāsa, by Gan̄gādhara, 251.
Gacchia, and gadua in Bhāsa, 122.
Gaḍu, obscure term, 35.
Gaṇḍa, abrupt remark, 329.
Gaṇhadi, in Bhāsa for geṇhadi in Açvaghoṣa, 122.
Gambhīratā, depth, 226.
Garbha, third juncture, 299.
Garbhān̄ka, embryo act, 303.
Gahītaṁ, in Açvaghoṣa, 89.
Gāmbhīrya, impassivity, as quality of the hero, 307.
Gītagovinda, by Jayadeva, 17, 40, 239, 272, 339, n. 1.
Gīti, metre, 142, 203.
Guṇa, excellencies, theory of, 331, 332, 333, 334.
Gṛhya, irregular form in Bhāsa, 121.
Gai, sing, used of Sāmaveda, 20.
Gopālakelicandrikā, by Rāmakṛṣṇa, 272–4.
Goṣṭhī, a type of drama, 351.
Granthikas, reciters, 32–5, 38, 39, 45, 272.
Granthin, owner of a book, 35, n. 2.
C
Cakravāka, grief at separation from his mate, 169.
Caṇḍakauçika, by Kṣemīçvara, 239, 240, 281.
Candakinnarajātaka, alleged dramatic character of, 43, n. 1.
Cāṇḍālī, a Prākrit, 141, 142, 337.
Cāraṇa, actor, 360.
Cārī, a dance, 340.
Cārudatta, by Bhāsa, 64, 65, 67, 85, 92, 93, 103, 104, 107, 116, 122, 128, 130, 182, 311, 313, 346, 363.
Citrabhārata, by Kṣemendra, 247.
Cūlikā, nature of, 302.
Ceṭa, servants, 312; speech of, 336.
Caitanyacandrodaya, by Kavikarṇapūra, 133, n. 6, 253, 344, 353.
Cch, in Māgadhī as çc, 122, 212.
CH
Chaḍḍ, in Açvaghoṣa, 88.
Chaddantajātaka, alleged dramatic character of, 43, n. 1.
Chala, cheating, 329.
Chalana, deception, 222.
Chalitarāma, 223, 224, 246, 329.
Chāyā, Sanskrit version of Prākrit, 337.
Chāyānāṭaka, shadow drama, 55–7, 269, 276.
Chāyānāṭya, shadow drama, 55, 269.
J
Jagatī, metre, appropriate to lively dialogue, 331.
Janāntikam, in private conversation, 304.
Jarjara, banner (of Indra), 41, 369.
Javanikā, see Yavanikā.
Javanikāntara, name of acts in the Saṭṭaka, 350.
Jātakas, 22, 23, n. 1.
Jānakīpariṇaya, by Rāmabhadra Dīkṣita, 246, 344, 361.
Jāmitra, diameter, used by Kālidāsa, 146.
Jāyājīva, one who lives on (the beauty) of his wife, 55.
Jīvānandana, by Ānandarāya, 253.
Jugupsā, disgust, as basis of sentiment, 323.
Jovvana, in Bhāsa’s Prākrit, 121.
Jñ, treatment of, in Prākrit, 88, 121.
Jñānadarpaṇa, mirror of knowledge, as a character, 254.
Ṭ
Ṭakkī or Ṭākkī, a Prākrit, 141, 337.
Ḍ
Ḍamaruka, by Ghanaçyāma, 257, n. 2.
Ḍim, alleged root, 347.
Ḍima, 266, 267, 292, 295, 296, 347, 353.
Ḍillīsāmrājya, by Lakṣmaṇa Sūri, 251.
ḌH
Ḍhakkī, a Prākrit, 141, 337.
Ṇ
Ṇ, and n in the Prākrits, 86, 87, 88, 121; as affecting the quality of style, 332.
Ṇevaccha, see Nevaccha.
Ṇy, altered to ññ or ṇṇ in Bhāsa, 121.
T
T normally retained in Açvaghoṣa’s Prākrits, 89.
Tapatīsaṁvaraṇa, by Kulaçekharavarman, 247, 342, n. 2.
Tamas, element of dullness, 318.
Taran̄gadatta, a Prakaraṇa, 225, 346.
Tava, in Açvaghoṣa, 88.
Tāṇḍava, dance, 12, 42, 241, 338, 339.
Tāta, as style of address, 314.
Tāpasavatsarājacarita, by Anan̄gaharṣa Mātrarāja, 220.
Tiraskaraṇī or Tiraskariṇī, curtain, 359.
Tumhākaṁ, in Açvaghoṣa, 89.
Tulyadharma, irregular compound in Bhāsa, 121.
Tuvaṁ, in Açvaghoṣa, 88.
Tejas, honour as a quality of the hero, 307.
Toṭaka, see Troṭaka.
Trigata, various senses of, 111, n. 2, 328, 340.
Trigūḍha, a kind of song, 338.
Tripuradāha, by Vatsarāja, 267, 347.
Trimūḍhaka, a kind of song, 338.
Troṭaka, a type of drama, 151, 350, 351.
TH
Theragāthā (866 ff.), alleged dramatic character of, 43, n. 1.
Therīgāthā, 43, n. 1, 54.
D
Dakṣiṇa, courteous (hero), 307.
Daṇḍaka, metre, 123, 187, n. 2, 203.
Dambha, falsity, as a character, 252.
Daridracārudatta, 104, 306, and see Cārudatta.
Darç, in Bhāsa’s Prākrit, 122.
Daçakumāracarita, by Daṇḍin, 55, 129, 133, 363.
Daçarūpa, by Daṇḍin, 71, 169, 221, 223, 292, 293, 294, 304, 315, 319, 320, 330, 334, 335, 336, 341, 342, 348, 349.
Daçarūpāvaloka, by Dhanaṁjaya, 346.
Dākṣiṇātyā, a Prākrit, 141, 166, 336.
Dānakelikaumudī, by Rūpa Gosvāmin, 268.
Dāni, dāṇi, Prākrit forms, 88, 89.
Dikpālastuti, praise of the world guardians, 369.
Digvijaya, conquest of the earth, of Raghu, 144.
Dissadi, in Açvaghoṣa, 89; dīsadi, in Bhāsa, 121.
Dīpaka, a figure of speech, 331.
Dīptarasa, sentiment of excitement, 265.
Dīvyant, gamblers, speech of, 141, 336.
Duguṇa, irregular form in Açvaghoṣa, 88.
Durmallikā, a form of drama, 351.
Duṣṭa, a character in Buddhist drama, 74, 84; Prākrit of, 86.
Duhitṛkā, puppet, 53.
Dūta, messenger, 311, 312.
Dūtaghaṭotkaca, by Bhāsa, 94, 97, 98, 106, 107.
Dūtavākya, by Bhāsa, 73, 94, 106, 111, 270.
Dūtān̄gada, by Dhanaṁjaya, 55, 56, 269, 270.
Deva, as style of the king, 314.
Devī, queen, 312.
Devva, in Bhāsa’s Prākrit, 122.
Deçabhāṣā, vernacular, when used, 334.
Doṣa, defects of style, 332.
Dy, represented in Açvaghoṣa by yy, 88.
Drāviḍī, speech, 337.
Drutavilambita, metre, 123, 160, 181, 203, 219.
Druti, melting, as a mental condition, 320.
Dvigūḍhaka, harmonious song, 338.
Dvipadās, music, 339.
Dvimūḍhaka, a kind of song, 338.
DH
Dhanaṁjayajaya, 347, n. 2.
Dhanaṁjayavijaya, by Kāñcana Paṇḍita, 266.
Dharmaçarmābhyudaya, by Haricandra, 75, n. 3.
Dharmābhyudaya, by Meghaprabhācārya, 55, 269.
Dhārakas, expounders of epic, 29.
Dhīra, noble, as characteristic of heroes, 305, 306.
Dhīralalita, type of hero, 305, 306.
Dhīraçānta, type of hero, 305, 306.
Dhīrodātta, type of hero, 305, 306.
Dhīroddhata, type of hero, 305, 306, 307, 347; of enemy of hero, 307, 308.
Dhūrtanartaka, by Sāmarāja Dīkṣita, 262, 263.
Dhūrtas, gamblers or rogues, speech of, 141, 336.
Dhūrtasamāgama, by Jyotirīçvara Kaviçekhara, 261.
Dhṛti, firmness, as an allegorical character, 84, 268.
Dhṛtir yavanikāyāḥ, the holding apart of the curtain, 360.
Dhṛṣṭa, shameless (hero), 307.
Dhruvās, in music, 339.
Dhvajamaha, banner festival (of Indra), 41.
Dhvanyāloka, by Ānandavardhana, 294.
N
N and ṇ in the Prākrits, 86, 87, 88, 121.
Nacca, 43.
Naṭa, actor, 25, 28, 31, 36, 45, 49, 50, 52, 67.
Naṭasūtras, in Pāṇini, 31, 290.
Naṭī, actress, 51, 66, 361.
Narkuṭaka, metre, 203.
Nartaka, dances, 28, 29, 50.
Narmagarbha, development of affection, 327.
Narman, pleasantry, 326.
Narmasuhṛd, boon companion, 188, 311.
Narmasphañja, outburst of affection, 327.
Narmasphoṭa, manifestation of affection, 327.
Navagrahacarita, by Ghanaçyāma, 345, n. 2.
Navasāhasān̄kacarita, by Padmagupta, 293.
Nāgaraka, character of, 285; speech of, 334.
Nāgānanda, by Harṣa, 62, 85, 170, 174, 175, 180, 278, 284, 286, 300, 305, 311, 326, 339, n. 1, 342, 344, n. 2, 371, n. 2.
Nāṭaka, a type of drama, 28, 29, 95, 244–56, 278, 279, 296, 297, 345, 352, 353.
Nāṭakacandrikā, by Rūpa Gosvāmin, 294.
Nāṭakālaṁkāra, dramatic ornaments, 330, 331.
Nāṭikā, type of drama, 62, 63, 71, 233, 234, 256, 257, 279, 280, 298, 305, 325, 349, 350, 353.
Nāṭī, type of drama, 349.
Nāṭya, drama, 296.
Nāṭyapradīpa, by Sundaramiçra, 294.
Nāṭyarāsaka, a ballet, 351.
Nāṭyaçāstra, 12, 36, 42, 51, 65, 69, 75, n. 1, 81, 84, 95, 110, 141, 244, 267, 289–92, 293, 294, 295, 304, 312, 315, 320, 323, 324, 326, 328, 330, 331, 334, 335, 336, 340, 341, 343, 347, 348, 349, 352, 355, 358, 362, 364, 367, 369.
Nāṭyācārya, professor, 360.
Nāṭyālaṁkāra, dramatic ornaments, 329, 330.
Nāndī, benediction at beginning of play, 85, 111, 126, 182, 204, 239, 265, 266, 267, 339, 342, 343, 369; pronounced behind the scenes in the Bhāṇa, the Vyāyoga, 344; the Pren̄khaṇa or Prekṣaṇa, 351.
Nāyaka, hero, 84, 85, 305–7.
Nāyikā, heroine, 308–10.
Nālikā, enigma, 329.
Nikkhanta, in Açvaghoṣa, 89.
Nidarçanā, a figure, 125.
Niyatāpti, fourth stage of development in drama, 297.
Nirussāsaṁ, in Açvaghoṣa, 88.
Nirbhayabhīma, by Rāmacandra, 266.
Nirmuṇḍa, eunuch, 313.
Nirvahaṇa, conclusion, as last juncture, 299.
Nirveda, indifference, as basis of sentiment, 324.
Nṛt, dance, origin of Naṭa, 57.
Nṛtu, dancer, 25, n. 7.
Nṛtta, dance, 25, n. 7, 296.
Nṛtya, pantomime, 275, 296.
Nepathya, as form of sentiment, 315, n. 1, 368.
Nepathyagṛha, tiring room, 54, 359, 360.
Nepathyokti, a voice from behind the scene, 303.
Nevaccha (Ṇevaccha), Prākrit equivalent of Nepathya, 54.
Naipāṭhya, alleged origin of Nepathya, 54.
Naiṣadhānanda, by Kṣemīçvara, 240, 241.
Ny, altered to ññ in Açvaghoṣa’s Prākrit, to ññ or ṇṇ in Bhāsa; to ṇṇ in Kālidāsa, 88, 121; to ññ in the Mudrārākṣasa, 212.
P
Pañcarātra (ed., with trans. by W. G. Urdhwareshe, Indore, 1920), by Bhāsa, 94, 110, 112, 119, 122, 123, 335, 344, n. 2, 346.
Paṭī, curtain, 61, 389.
Patākā, episode, 297; subjunctures of, 290.
Patākāsthānaka, pro-episode, 303, 304.
Padas, number of, in prologue, 344.
Padhānasutta, alleged dramatic character of, 43, n. 1.
Pabbajjāsutta, alleged dramatic character of, 43, n. 1.
Parivartaka, change of action, 327.
Paruṣā, style, 333.
Palinata, in Açvaghoṣa for pariṇata, 87.
Pāñcālī, (puppet) from Pañcāla, 53.
Pāṭhakas, repeaters of epic passages, 29.
Pāṇḍavānanda, 224.
Pāṇḍavābhyudaya, by Vyāsa Çrīrāmadeva, 270.
Pātra, character, 310.
Pādavākyapramāṇajña, sense of, 186.
Pāripārçvika, attendant, 85, 340.
Pārvatīpariṇaya, by Vāmana Bhaṭṭa Bāṇa, 221, 239, 247, 300.
Pīṭhamarda, companion of the hero, 308, 334, 351.
Pīṭhamardikā, confidante of the heroine, 308.
Puttalī, Puttalikā, puppet, 53.
Putraka, puppet, 269.
Putrikā, puppet, 53.
Pupphā, in Açvaghoṣa, 87.
Puruva, in Bhāsa for pūrva, 122.
Purusa, in Bhāsa, 122.
Puṣpagaṇḍikā, a kind of song, 338.
Puṣpadūṣitaka, a Prakaraṇa, 225, 346.
Puṣpabhūṣita, a Prakaraṇa, 225, 346.
Puṣpitāgrā, 123, 142, 166, 203, 212, 219.
Pusta, stage properties, 365.
Pūrvaran̄ga, preliminaries of drama, 292, 341, 342.
Pṛthivī, in the Uttararāmacarita, 192.
Pṛthvī, metre, 123, 167, 181, 203, 238.
Pekkhā, spectacle, 43.
Paiçācī, a Prākrit, 102, 287, 335, 336.
Prakaraṇa, a type of drama, 82, 102, 187, 225, 248, 257–61, 264, 280, 296, 306, 345, 346, 353.
Prakaraṇikā, a type of drama, 349, n. 4, 350.
Prakarī, incident, 297.
Prakhyāta, traditional (plot), 296.
Pragalbhā, bold (heroine), 308.
Pracaṇḍapāṇḍava, see Bālabhārata.
Pracchedaka, a kind of song, 338.
Pratāpa, valour, as a character, 254.
Pratāparudrakalyāṇa, by Vidyānātha, 248.
Pratāparudrīya, by Vidyānātha, 293.
Pratijñāyaugandharāyaṇa, by Bhāsa, 93, 94, 95, 108, 110, 113, 114, 118, 119, 122, 130, 185, n. 2, 335, n. 3, 371, n. 2.
Pratināyaka, the enemy of the hero, 307, 308.
Pratimānāṭaka, by Bhāsa, 94, 100, 101, 105, 117, 124, 125.
Pratimukha, second juncture, 298, 299.
Pratisīrā, curtain, 359.
Pratīgṛhīta, irregular form in Açvaghoṣa, 86.
Pratīti, apprehension of sentiment, 317.
Pratīhārī, door-keeper, 313.
Pratyāyati, irregular form in Bhāsa, 121.
Prathamakalpa, misunderstood term, 112, n. 2.
Pratyāhāra, beat of drum to begin performance, 339.
Pradyumnābhyudaya, by Ravivarman, 247, 344.
Pradveṣam, Buddhist irregularity for pradoṣam, 86.
Prapañca, comic dialogue, 328.
Prabuddharauhiṇeya, by Rāmabhadra Muni, 259, 260.
Prabodha, knowledge, as a character, 251.
Prabodhacandrodaya, by Kṛṣṇamiçra, 55, 84, 112, 243, 251–3, 286, 325, n. 1, 344.
Prayatna, second stage of development of drama, 297.
Prayogātiçaya, form of prologue, 340.
Prarocanā, part of preliminaries, 328, 340, 341, 343; pronounced behind the scenes, 351.
Pravṛttaka, form of prologue, 340.
Praveçaka, introductory scene, 110, 301, 302.
Prasannarāghava, by Jayadeva, 109, 151, 226, 244–6, 271.
Prasāda, clearness, 331.
Prastāvanā, prologue, 111, 328, 340.
Prasthāna, a form of drama, 351.
Praharṣiṇī, metre, 167, 181, 203, 212, 219.
Prahasana, farce, 182–5, 260–3, 280, 296, 309, 348.
Prācyā, a Prākrit, 88, 141, 336.
Prāḍvivāka, judge, 312.
Prāptyāçā, third stage of development of drama, 297.
Prāçnika, critic, 370.
Prāsan̄gika, incidental (action), 297.
Priyadarçikā, by Harṣa, 170, 171, 173, 174, 175, 303, 325, 328, 340, 350, 362, 364, 369.
Prekṣaka, spectator, 369, 370.
Prekṣaṇa, a form of drama, 351.
Prekṣaṇaka, a form of drama, 268.
Pren̄khaṇa, a form of drama, 351.
Proṣitapriyā, type of heroine, 309.
Prauḍhatva, of style, claimed by Bhavabhūti, 196.
PH
Phalāgama, attainment of end in drama, 298.
B
Bakulavīthī, 349.
Bambhaṇa, in Açvaghoṣa, 86.
Bāḍham, indicating assent, in Bhāsa, 120.
Bālacarita (ed. and trs. by H. Weller, Leipzig, 1922), by Bhāsa, 38, 94, 98–100, 104, 106, 112, 122, 247.
Bālabhārata, or Pracaṇḍapāṇḍava, by Rājaçekhara, 232, 233.
Bālarāmāyaṇa, by Rājaçekhara, 52, 151, 232, 268, 269, n. 2, 303, 337, 360, 365.
Bālhīkā (Bāhlīkā), speech of Khasas, 336, 337.
Bindu, second element of the plot, 298.
Bibboka, affected indifference, 310.
Bīja, first element of the plot, 298.
Bībhatsa, horror, as a sentiment, 319, 324.
Buddhacarita, by Açvaghoṣa, 80, 81, 82.
Buddhi, wisdom, 84.
Bṛhatkathā, by Guṇāḍhya, 52, 102, 133, 174; why written in Paiçācī, 335.
BH
Bhakti, trust (in Viṣṇu), as a character, 252, 253.
Bhagavant, as style of address, 314.
Bhagavāṁ, Buddhist irregularity for bhagavān, 86.
Bhaṭṭa, as style of the king, 314.
Bhaṭṭā, vocative of bhartṛ in Açvaghoṣa, 88.
Bhaṭṭidālaka, style of princes of the blood, 84, and see Bhartṛdāraka.
Bhaṭṭinī, style of the queen, 314.
Bhaṇ, conjugated in the 9th class, 88.
Bhadradatta, as style of Çakas, 314.
Bhadramukha, title in dramas, 69, 71, 314.
Bhaya, terror, as basis of sentiment, 323.
Bhayānaka, fear, as a sentiment, 319, 324.
Bharatavākya, at close of the drama, 82, 83, 111, 265.
Bhartṛdāraka, style of princes of the blood, 314, and see Bhaṭṭidālaka.
Bhartṛdārikā, style of a princess, 314.
Bhartṛharinirveda, by Harihara, 248.
Bhavatī (Prākrit, bhodi), as style of the queen and her ladies, 314.
Bhavāṁ, as nominative in Açvaghoṣa, 88.
Bhāgavata Purāṇa, 100, 272, 274.
Bhāṇa, monologue, 263, 264, 280, 296, 311, 344, 348.
Bhāṇikā, 268, 351.
Bhārata, a rhapsode or comedian, 29, 30.
Bhāratī, verbal (manner), 326, 328, 329, 344; in the Bhāṇa, 348.
Bhāratīya Nāṭyaçāstra, see Nāṭyaçāstra.
Bhāva, emotion, 296, 309, 316, 319.
Bhāva, mode of address, 361.
Bhāvaka, man of taste, 318, n. 3.
Bhāvakatva, power of realization, 317.
Bhāsanāṭakacakra, 92, n. 2.
Bhikkhunīsaṁyutta, alleged dramatic character of, 43, n. 1.
Bhīmavikramavyāyoga, by Mokṣāditya, 266.
Bhuktivāda, doctrine of the enjoyment of sentiment, 318.
Bhujan̄gaprayāta, metre, 123.
Bhuṁjitaye, in Açvaghoṣa, 87.
Bhuvanābhyudaya, by Çan̄kuka, 291.
Bhūtabhāṣā, use of, 287.
Bhairavānanda, by Maṇika, 248.
Bhoginī, concubine, 312.
Bhojakatva, power of enjoyment, 317.
Bhojacarita, by Vedāntavāgīça, 345.
Bhrūkuṅsa, man playing female part, 36, 362.
M
Makkaṭaho, dubious form in Açvaghoṣa, 89.
Mati, reason, as a character, 251, 252.
Matta, in Bhāsa, later metta, 122.
Mattavilāsa, by Mahendravikramavarman, 93, 182–5.
Matsya Purāṇa, 156.
Mada, intoxication, as an internal juncture, 303.
Madd, in Açvaghoṣa, 88, 89.
Madhyamavyāyoga, by Bhāsa, 94, 106, 111, 123.
Madhyā, partly experienced (heroine), 308.
Mantrān̄kanāṭaka, Act III of the Pratijñāyaugandharāyaṇa, 371, n. 2.
Mantrin, minister, 312.
Mandākrāntā, metre, 166, 203, 212.
Manmathonmathana, by Rāma, 267, 347.
Mallikāmāruta, by Uddaṇḍin or Uddaṇḍanātha, 221, 257, 258.
Mahattarā, duenna, 313.
Mahājanakajātaka, alleged dramatic character of, 43, n. 1.
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.
Mahāyānaçraddhotpāda, by Açvaghoṣa, 80.
Mahāvaṅsa, 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 Prākrit, 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.
Māyākuran̄gikā, a specimen of the Īhāmṛga, 346, n. 2.
Mārasaṁyutta, alleged dramatic character of, 43, n. 1.
Mārṣa, 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.
Mālinī, metre, 123, 142, 166, 181, 185, 203, 212, 219, 272.
Māhārāṣṭrī, a Prākrit, 70, 73, 89, 130, 141, 146, 166, 181, 211, 212, 236, 240, 256, 335, 336, 337.
Mithyājñānaviḍambana, 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.
Mukundānanda, by Kāçīpati 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 Yaçaçcandra, 260.
Mṛgān̄kalekhā, by Viçvanātha, son of Trimaladeva, 257, n. 1.
Mṛcchakaṭikā (for an implausible conjecture as to date (7th or 8th cent.) and author, see J. Carpentier, JRAS., 1923, pp. 597 ff.), 62, 63, 64, 65, 66, 67, 69, 70, 74, 77, 82, 84, 92, 93, 104, 107, 123, n. 3, 128–42, 153, 161, 192, 193, 280, 286, 305, 309, 311, 314, n. 2, 335, n. 3, 336, 337, 346, 363, 365, 369, n. 2.
Mṛdava, turning of evil into good, 329.
Meghadūta, by Kālidāsa, 76, 145, 167; imitated by Bhavabhūti, 193.
Moṭṭāyita, manifestations of affection, 310.
Moha, confusion, as a character, 251, 252.
Mohamudgara, 239.
Y
Y retained in Açvaghoṣa’s Prākrits, 88; altered to j in Bhāsa, 121.
Yajurveda, 12, 25, 26.
Yamaka, alliteration, 331.
Yavanikā (Prākrit, Javanikā), refers to material of curtain, 61, 68, 359, 360.
Yudh, as a masculine noun, in Bhāsa, 121.
Yuvarāja, style of, in drama, 71.
Yeva, in Açvaghoṣa’s Prākrit, after long vowels, 87.
Yogamāyā, as a character, 274.
Yogaçāstra, by Hemacandra, 255.
Yogin, adept, 316.
Yodha, soldier, speech of, 141, 336.
R
R and l in the Prākrits, 86, 87, 88, 122, 212, 219; as affecting the quality of style, 332.
Raghuvaṅça, by Kālidāsa, 75, 144, 162, 352.
Ran̄gadvāra, part of preliminaries, 340, 342.
Ran̄gāvataraṇa, appearing on the stage, 55.
Rajas, element of passion, 318.
Rati, love, as basis of sentiment, 323.
Ratnāvalī, by Harṣa, 55, 62, 103, 170, 171, 173, 175, 180, 221, 298, 299, 304, 325, 328, 340, 350, 361, 362, 368.
Rathoddhatā, metre, 167, 203.
Rasa, sentiment, 296, 314–26.
Rasataran̄giṇī, by Bhānudatta, 319.
Rasārṇavasudhākara, by Çin̄ga Bhūpāla, 294.
Rasika, men of taste, 318, n. 3.
Rājaputras, speech of, 87, 141, 336.
Rājapraçniya, 44, n. 2.
Rājarājanāṭaka, 251, n. 1.
Rājaçrī, the kingly fortune, personified, 99, 112.
Rājyaçrī, the royal fortune, 255.
Rāmānanda, 343, n. 1.
Rāmābhyudaya, by Vyāsa Çrīrāmadeva, 270.
Rāmāyaṇa, by Vālmīki, 28, 29, 30, 42, 48, 50, 63, 76, 101, 105, 114, 150, n. 1.
Rāṣṭriya, as title in dramas, 69, 71.
Rāsa, a dance, 274.
Rāsamaṇḍala, 40.
Rukmiṇīpariṇaya, by Rāmavarman, 247.
Rukmiṇīharaṇa, by Vatsarāja, 266, 267.
Rasasadana, a Bhāṇa, 264.
Rucirā, metre, 166, 185, 212.
Rudantī, irregular form in Bhāsa, 121.
Rūpa, in Açoka’s edict, 54; object of vision, source of Rūpaka, 296.
Rūpaka, generic name of the drama as a spectacle, 296, 345.
Rūpadakkha, meaning of, 54.
Rūpājīva, epithet of actors, 363.
Rūpopajīvana, sense of, 54.
Rūpopajīvin, one who lives on the beauty (of his wife), 55.
Raudra, fury as a sentiment, 323, 354.
Raudratā, harshness, as a character, 255.
Ry becomes yy in Açvaghoṣa and Bhāsa, jj in Kālidāsa, 122; but jj in Açvaghoṣa’s Māgadhī, 86; in Bhaṭṭa Nārāyaṇa, 219.
L
L and r in the Prākrits, 86, 87, 88, 122, 212, 219.
Lakṣaṇa, beauties of the drama, 329, 330.
Lajjā, allegorical character, 268.
Laṭakamelaka, by Çan̄khadhara, 5; Kavirāja, 260, 261, 348.
Lalita, light-hearted (hero), 305.
Lalitamādhava, by Rūpa Gosvāmin, 247.
Lalitavigraharājanāṭaka, by Somadeva, 243, 248.
Lalitavistara, allusion to the drama in, 43.
Lāsya, dance, 12, 42, 338, 348.
Līlāmadhukara, a Bhāṇa, 348.
Lūpadakkha, meaning of, 54.
Laukika, sentiment as natural, 319.
V
Vaaṁ, vayaṁ, ‘we’, in Açvaghoṣa’s and Bhāsa’s Prākrits, 89, 122.
Vaṅçasthā, metre, 123, 142, 166, 185, 203, 212.
Vaṅkṣū, Oxus, 144, n. 5.
Vajrasūcī, by Açvaghoṣa, 80.
Vat, nominative of stems in, 87.
Vatsa, as style of address, 314.
Vannīkāhi, in Açvaghoṣa, 87.
Vayasya, as style of address, 314.
Vara, frequent use of, in Bhāsa, 120.
Varṇānyatva, change of colour or difference of colour, 35.
Varṣadhara, eunuch, 313.
Vasantatilaka, metre, 123, 142, 166, 181, 185, 203, 212, 219, 236, 240, 246, 253, 258, 272.
Vasantatilaka, by Varadācārya, 263.
Vastu, plot, 296–305.
Vastūtthāpana, creation of an object, 327.
Vācika (sentiment), produced by words, 315, n. 1.
Vācikābhinaya, expression by words, 367.
Vāsakasajjā (heroine), in full dress, 309.
Vāsantikasvapna, by R. Kṛṣṇamachari, 251.
Vāsavadattā, by Subandhu, 76.
Vikāsa, expansion of the mind, 320.
Vikramorvaçī, by Kālidāsa, 62, 66, 124, 126, 146, 147, 149–52, 156, 157, 159, 160, 167, 193, 233, 268, 275, 278, 328, 329, 339, n. 1, 342, 343, 350.
Vikrāntaçūdraka, a drama, 129, n. 4.
Vikṣepa, movement to and fro of the mind as connected with sentiment, 320.
Vijayaçrī, by Madana Bālasarasvatī, 256.
Viṭa, parasite, 65, 132, 135, 136, 177, 193, 263, 311, 326, 334, 346, 356.
Vidagdhamādhava, by Rūpa Gosvāmin, 247.
Vidūṣaka, jester, 28, 39, 40, 50, 51, 52, 53, 56, 62, 65, 66, 67, 73, 81, 82, 84, 107, 108, 133, 141, 156, 158, 159, 160, 176, 177, 234, 235, 237, 254, 263, 264, 270, 299, 310, 311, 313, 314, 326, 328, 334, 340, 351, 361.
Vidyā, as a character, 251, 252.
Vidyāpariṇayana, by Vedakavi, 253.
Vidyunmālā, metre, 142.
Viddhaçālabhañjikā, by Rājaçekhara, 232, 234, 235, 300.
Viprayoga, sundering, as form of the erotic sentiment, 323.
Vipralabdhā, deceived (heroine), 309.
Vipralambha, sundering, as form of erotic sentiment, 323.
Vibhāva, determinants of sentiment, 315.
Vibhāṣās, conventional dialects used in drama, 337.
Vimadda, in Açvaghoṣa for vimarda, 89.
Vimarça, fourth juncture of the plot, 299.
Vimoktukāma, irregular form in Bhāsa, 121.
Viya, in Açvaghoṣa, 88.
Virahotkaṇṭhitā, type of heroine, 309.
Vilāsa, vivacity as quality of the hero, 307.
Vilāsikā, a form of drama, 351.
Viveka, discrimination, 251, 252.
Vivekacandra, as allegorical character, 254.
Viṣkambha or Viṣkambhaka, introductory scene, 110, 301, 302.
Viṣṇu Purāṇa, 100.
Visūkadassana, spectacle, 43.
Vistara, expansion of the mind, 320.
Vismaya, astonishment, as basis of sentiment, 323.
Vījanti, irregular form in Bhāsa, 120.
Vītarāgastuti, by Hemacandra, 255.
Vīthī, ‘garland’, 295, 296, 328, 329, 348, 349, 353.
Vīra, heroism as a sentiment, 323.
Vīrabhadravijṛmbhaṇa, 328, n. 3.
Vīravijaya, by Kṛṣṇamiçra, 267.
Vṛttis, dramatic styles, 326–9.
Vṛddhi, sense of, 36, n. 1.
Vṛṣabhānujā, by Mathurādāsa, 257.
Veṇīsaṁhāra, by Bhaṭṭa Nārāyaṇa, 83, 212–9, 300, 304, 326, 328, 340, 344, n. 1, 353, 361.
Vetālapañcaviṅçati, 129, 174.
Vedāntasāra, by Sadānanda, 318, n. 2.
Veṣṭita, stage costumes, 365.
Vaitālīya, metre, 123, 167.
Vaiçika, connoisseur of hetaerae, 307, n. 1.
Vaiçvadevī, metre, 123, 142.
Vyaktiviveka, by Mahiman Bhaṭṭa, 294.
Vyañjanā, the doctrine of suggestion, 318.
Vyabhicārin, transitory (feelings), 315.
Vyājima, kind of stage properties, 365.
Vyāmiçraka, possible reference to plays, 29.
Vyāyoga, a type of drama, 95, 96, 247, 264–6, 296, 344, 347, 353.
Vyutpatti, aesthetic equipment, 318.
Vyūḍhoras, irregular compound in Bhāsa, 121.
Ç
Ç, for s in Māgadhī, 86, 122, 212.
Çaṅs, recite, used of Ṛgveda, 20.
Çakāra, miles gloriosus, 65, 69, 134, 166, 311, 336.
Çakuntalā, by Kālidāsa, 62, 66, 70, 124, 139, 147, 152–5, 157–9, 160, 161, 167, 272, 278, 281, 297, 298, 299, 302, 303, 304, 311, 325, 329, 340, 344, 365.
Çakvarī, metre, appropriate to the pathetic sentiment, 331.
Çaṭha, deceitful (hero), 307.
Çatapatha Brāhmaṇa, tale of Purūravas in, 22.
Çarmiṣṭhāyayāti, by Kṛṣṇa Kavi, 268.
Çākārī, a Prākrit, 141, 142, 166, 337.
Çānta, calm (hero), 305, 306; sentiment, 324.
Çānti Parvan, allusion to drama in, 28.
Çābarī, a Prākrit, 337.
Çāradātilaka, by Çan̄kara, 263, 348.
Çāradvatīputraprakaraṇa or Çāriputraprakaraṇa, by Açvaghoṣa, 80, 83, 85, 346.
Çārdūlavikrīḍita, metre, 123, 142, 166, 181, 185, 203, 212, 219, 232, 236, 240, 253, 258, 272.
Çālabhañjikā, statue, 234.
Çālinī, metre, 123, 168, 181, 203.
Çikṣāpada, moral rules of the Buddhists, 184.
Çikhariṇī, metre, 123, 142, 166, 181, 203, 212, 219, 240, 246.
Çilpaka, a form of drama, 351.
Çivanārāyaṇabhañjamahodaya, by Narasiṅha, 257.
Çiṣyalekhā, by Candra, 168.
Çuddha, type of Viṣkambhaka, 301.
Çūdrakavadha, a Parikathā, 129, n. 4.
Çṛn̄gāra, love as a sentiment, 323.
Çṛn̄gāratilaka, by Rāmabhadra Dīkṣita, 263.
Çṛn̄gārabhūṣaṇa, by Vāmana Bhaṭṭa Bāṇa, 263.
Çṛn̄gāramañjarī, a Bhāṇa, 263, n. 2.
Çṛn̄gāramañjarī, a Saṭṭaka, by Viçveçvara, 257.
Çṛn̄gāramañjarī, cited in the Rasārṇavasudhākara, 338, n. 1.
Çṛn̄gārasarvasva, by Nallā Kavi, 263, 264.
Çṛṇvam, in Açvaghoṣa for çṛṇvan (çṛṇvaṁ), 86.
Çailāli Brāhmaṇa, 31.
Çailūṣa, actor, 25, 360.
Çoka, sorrow, as basis of sentiment, 323.
Çobhanikas, actors, 32–5.
Çobhā, brilliance as quality of the hero, 307.
Çobhā, distinction of poem, 334.
Çaubhikas, kind of actors, 32–5, 45, 53, 55, 273, 360.
Çaurasenī, a Prākrit, 41, 70, 73, 74, 88, 89, 141, 166, 181, 185, 203, 211, 212, 219, 236, 240, 335, 336, 367.
Çyāma, dark colour of the erotic sentiment, 324.
Çraddhā, faith, as a character, 252.
Çrīkaṇṭhacarita, by Man̄kha, 75, n. 3, 225.
Çrīgadita, a type of drama, 268, 351.
Çrīdāmacarita, by Sāmarāja Dīkṣita, 247.
Çreṣṭhin, guildsmen, or rich merchants, speech of, 87, 141, 336.
Çleṣa, flow of style, 331.
Çloka, metre, 123, 142, 166, 181, 185, 203, 212, 219, 236, 240, 246, 272.
Ṣ
Ṣṭ and ṣṭh, treatment of, in Prākrit, 86, 122, 212.
S
S, alone preserved in certain Prākrits, 87, 88, 122.
Saṁlāpa, dialogue, 327.
Saṁlāpaka, a form of drama, 351.
Saṁkalpasūryodaya, by Ven̄kaṭanātha, 253.
Saṁkīrṇa, mixed form of Viṣkambhaka, 302.
Saṁkṛti, metre, appropriate to lively dialogue, 331.
Saṁkṣipti, construction of object, 327.
Saṁgamamaṇi, stone of reunion, 62.
Saṁgītadāmodara, unites ornaments and beauties, 330, n. 1.
Saṁghātya, breach of alliance, 327.
Saciva, as style of a minister, 314.
Saṭṭaka, a type of drama, 233, 350.
Sattva, element of goodness or truth, 318.
Saddharmapuṇḍarīka, dramatic form of the, 43.
Sandhi, junctures of the plot, 298–300.
Sandhima, kind of stage properties, 365.
Sandhyantara, divisions of junctures, 303.
Sabhāpati, patron of the drama, 370.
Samajja or Samāja, form of entertainment, 43, 85.
Samatā, homogeneity of style, 331.
Samavakāra, a type of drama, 97, 225, 266, 267, 268, 291, 346, 353.
Samāja, 85, and see Samajja.
Samādhi, metaphorical language, 331.
Samāçvāsitum, irregular form in Bhāsa, 121.
Samudramathana, by Vatsarāja, 267, 268.
Samudramanthana, a Samavakāra, 225.
Sampheṭa, fighting, 328.
Sambhoga, union, as part of erotic sentiment, 323.
Sarvacarita, by Bāṇa, 182, n. 3.
Sarvarājñaḥ, irregular compound in Bhāsa, 121.
Sarvavinodanāṭaka, by Kṛṣṇa Avadhūta Ghaṭikāçata Mahākavi, 267.
Sassirīkaṁ, for saçrīkam, in Açvaghoṣa, 88.
Sahṛdaya, man of taste, 318.
Sāttvatī, correctly Sātvatī, grand (manner), 326, 327.
Sāttvika, of excellencies of hero, 307.
Sāttvika, class of consequents, 315.
Sāttvikābhinaya, nature of, 367, 368.
Sāḍika, dance, 350, n. 2.
Sātvatī (‘of the Satvants’, cf. Lévi, TI. i. 332), grand (manner), 326, 327.
Sādhāraṇī, courtesan, 309.
Sādhāraṇī kṛti, generic power of poetry, 321.
Sādhu, style of address, 314.
Sāmaveda, 12, 15, 20, 26.
Sāvitrīcarita, by Çan̄karalāla, 270.
Sāhityadarpaṇa, by Viçvanātha, 71, 225, 268, 294, 295, 336, 342.
Siddhāntakaumudī, cites Rājaçekhara for grammar, 230.
Sukumāratā, softness of style, 331.
Sukṛtasaṁkīrtana, by Arisiṅha, 248, n. 7.
Sugṛhītanāman, as title in dramas, 69, 71.
Sugṛhītābhidha, as style of address, 71, 314.
Suparṇādhyāya, character of the, 17, 21.
Subuddhi, a female character, 267.
Subhadrādhanaṁjaya, 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.
Sūtrālaṁkāra, by Açvaghoṣa, 80, 81.
Senāpati, general, 306, 312.
Saindhava, a kind of song, 338.
Sobhiya, Prākrit for Çaubhika, 55.
Somatā, 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.
Sthitapāṭhya, 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.
Svagatam, aside, 304.
Svapnadoçānana, 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, sviyā, heroine as wife, 308.
Svādhīnapatikā, 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.
H
Haṅho, as term of address, 314.
Hake, hago, in Açvaghoṣa, 86.
Han̄gho, in Açvaghoṣa, 86.
Hañjā (voc., Hañje), as term of address, 314.
Haṇḍe, as term of address, 314.
Hanumannāḷaka, see Mahānāṭaka, 271.
Hammīramadamardana, by Jayasiṅha Sūri, 248–50.
Hayagrīvavadha, epic by Bhartṛmeṇṭha, 232.
Harakelināṭaka, by Vīsaladeva Vigraharāja, 247.
Haragaurīvivāha, by Jagajjyotirmalla, 76, n. 2, 247, 248.
Hariṇī, metre, 123, 142, 166, 181, 203, 212.
Haridūta, 56, 270.
Harivaṅça, 28, 47, 48, 100.
Harṣacarita, by Bāṇa, 76, 129, 170, 364.
Halā, as term of address, 314.
Hallīça, a type of drama, 351.
Hallīçaka, dance, 99.
Hāva, awakening of love, 309.
Hāsa, mirth, as basis of sentiment, 323.
Hāsya, the comic sentiment, 323.
Hāsyacūḍāmaṇi, by Vatsarāja, 265.
Hāsyārṇava, by Jagadīçvara, 261, 262, 314, n. 3.
Horā, or Kāla, 146.
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