[Contents]AAgni 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 forattāṇaaṁ,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 seeAvasthānukṛti.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, seeÇakuntalā.Abhidhā, power of denotation,317.Abhinayadarpaṇa, by Nandikeçvara,338, n.1,367, n.1.Abhinavabhāratī, by Abhinavagupta,291.Abhirāmarāghava,329, n.1,344, n.1.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.Arthaçāstra,Kauṭilīya,102,291, n.2,334,364;whether known by Kālidāsa,167, n.6.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 alsoNāṭakālaṁkāraandNāṭyālaṁkāra.Alaukika, sentiment as supernatural,319.Avataraṇa, entry of performers,339, and seeRan̄gāvataraṇa.Avadānaçataka,43.Avantikā, a Prākrit,141.Avapāta, disturbance,328,346.Avalagita, continuance,328.Avaloka, Dhanika’s commentary on theDaçarūpa,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;ahakein Bhāsa,122.
[Contents]AAgni 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 forattāṇaaṁ,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 seeAvasthānukṛti.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, seeÇakuntalā.Abhidhā, power of denotation,317.Abhinayadarpaṇa, by Nandikeçvara,338, n.1,367, n.1.Abhinavabhāratī, by Abhinavagupta,291.Abhirāmarāghava,329, n.1,344, n.1.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.Arthaçāstra,Kauṭilīya,102,291, n.2,334,364;whether known by Kālidāsa,167, n.6.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 alsoNāṭakālaṁkāraandNāṭyālaṁkāra.Alaukika, sentiment as supernatural,319.Avataraṇa, entry of performers,339, and seeRan̄gāvataraṇa.Avadānaçataka,43.Avantikā, a Prākrit,141.Avapāta, disturbance,328,346.Avalagita, continuance,328.Avaloka, Dhanika’s commentary on theDaçarūpa,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;ahakein Bhāsa,122.
[Contents]AAgni 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 forattāṇaaṁ,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 seeAvasthānukṛti.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, seeÇakuntalā.Abhidhā, power of denotation,317.Abhinayadarpaṇa, by Nandikeçvara,338, n.1,367, n.1.Abhinavabhāratī, by Abhinavagupta,291.Abhirāmarāghava,329, n.1,344, n.1.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.Arthaçāstra,Kauṭilīya,102,291, n.2,334,364;whether known by Kālidāsa,167, n.6.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 alsoNāṭakālaṁkāraandNāṭyālaṁkāra.Alaukika, sentiment as supernatural,319.Avataraṇa, entry of performers,339, and seeRan̄gāvataraṇa.Avadānaçataka,43.Avantikā, a Prākrit,141.Avapāta, disturbance,328,346.Avalagita, continuance,328.Avaloka, Dhanika’s commentary on theDaçarūpa,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;ahakein Bhāsa,122.
[Contents]AAgni 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 forattāṇaaṁ,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 seeAvasthānukṛti.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, seeÇakuntalā.Abhidhā, power of denotation,317.Abhinayadarpaṇa, by Nandikeçvara,338, n.1,367, n.1.Abhinavabhāratī, by Abhinavagupta,291.Abhirāmarāghava,329, n.1,344, n.1.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.Arthaçāstra,Kauṭilīya,102,291, n.2,334,364;whether known by Kālidāsa,167, n.6.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 alsoNāṭakālaṁkāraandNāṭyālaṁkāra.Alaukika, sentiment as supernatural,319.Avataraṇa, entry of performers,339, and seeRan̄gāvataraṇa.Avadānaçataka,43.Avantikā, a Prākrit,141.Avapāta, disturbance,328,346.Avalagita, continuance,328.Avaloka, Dhanika’s commentary on theDaçarūpa,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;ahakein Bhāsa,122.
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 forattāṇaaṁ,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 seeAvasthānukṛti.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, seeÇakuntalā.Abhidhā, power of denotation,317.Abhinayadarpaṇa, by Nandikeçvara,338, n.1,367, n.1.Abhinavabhāratī, by Abhinavagupta,291.Abhirāmarāghava,329, n.1,344, n.1.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.Arthaçāstra,Kauṭilīya,102,291, n.2,334,364;whether known by Kālidāsa,167, n.6.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 alsoNāṭakālaṁkāraandNāṭyālaṁkāra.Alaukika, sentiment as supernatural,319.Avataraṇa, entry of performers,339, and seeRan̄gāvataraṇa.Avadānaçataka,43.Avantikā, a Prākrit,141.Avapāta, disturbance,328,346.Avalagita, continuance,328.Avaloka, Dhanika’s commentary on theDaçarūpa,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;ahakein Bhāsa,122.
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 forattāṇaaṁ,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 seeAvasthānukṛti.
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, seeÇakuntalā.
Abhidhā, power of denotation,317.
Abhinayadarpaṇa, by Nandikeçvara,338, n.1,367, n.1.
Abhinavabhāratī, by Abhinavagupta,291.
Abhirāmarāghava,329, n.1,344, n.1.
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.
Arthaçāstra,Kauṭilīya,102,291, n.2,334,364;whether known by Kālidāsa,167, n.6.
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 alsoNāṭakālaṁkāraandNāṭyālaṁkāra.
Alaukika, sentiment as supernatural,319.
Avataraṇa, entry of performers,339, and seeRan̄gāvataraṇa.
Avadānaçataka,43.
Avantikā, a Prākrit,141.
Avapāta, disturbance,328,346.
Avalagita, continuance,328.
Avaloka, Dhanika’s commentary on theDaçarūpa,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;ahakein Bhāsa,122.