[Contents]CCāhamāna, 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 theMudrārākṣasa,62,205ff.,341,344.Caṇḍabhārgava, curse of,125.Caṇḍālas,99,133,336, n.1,337.Caṇḍālī,99.Candanadāsa, in theMudrārākṣasa,205ff.Candanaka, Prākrit used by,141.Caṇḍapāla, a king,234.Candra, Candraka, or Candaka, dramatist,168–70.Candradāsa, an author,168.Candragupta, in theMudrārākṣasa,205ff.,341.Candragupta II, probable patron of Kālidāsa,146.Candraketu, prince of Cakora,129.Candraketu, rival of Lava,191,200.Candraçekhara, commentator on theÇakuntalā,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 theCārudatta,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.[376]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 ofn, in Açvaghoṣa’s Prākrits,86,87,88,121.Cerebrals, other thanṇ, produce strength of style,332.Ceylon, king of, father of Ratnāvalī,171.Challenge (utthāpaka),327.Chamberlain (kañcukin),313;appropriate to thePrahasana,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 theSamavakāra,346.Chess,256.Child, mode of address of,314, n.2.Chinese stage,360, note2.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 thePrahasanasandBhāṇas,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 theḌima,347;thePren̄khaṇa,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 seeNāṭaka,Nāṭikā, andPrakaraṇa.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,315ff.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 theMṛcchakaṭikā,139,140.Courteous, hero,307.Courtesans,seeHetaerae.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).[377]
[Contents]CCāhamāna, 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 theMudrārākṣasa,62,205ff.,341,344.Caṇḍabhārgava, curse of,125.Caṇḍālas,99,133,336, n.1,337.Caṇḍālī,99.Candanadāsa, in theMudrārākṣasa,205ff.Candanaka, Prākrit used by,141.Caṇḍapāla, a king,234.Candra, Candraka, or Candaka, dramatist,168–70.Candradāsa, an author,168.Candragupta, in theMudrārākṣasa,205ff.,341.Candragupta II, probable patron of Kālidāsa,146.Candraketu, prince of Cakora,129.Candraketu, rival of Lava,191,200.Candraçekhara, commentator on theÇakuntalā,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 theCārudatta,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.[376]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 ofn, in Açvaghoṣa’s Prākrits,86,87,88,121.Cerebrals, other thanṇ, produce strength of style,332.Ceylon, king of, father of Ratnāvalī,171.Challenge (utthāpaka),327.Chamberlain (kañcukin),313;appropriate to thePrahasana,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 theSamavakāra,346.Chess,256.Child, mode of address of,314, n.2.Chinese stage,360, note2.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 thePrahasanasandBhāṇas,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 theḌima,347;thePren̄khaṇa,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 seeNāṭaka,Nāṭikā, andPrakaraṇa.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,315ff.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 theMṛcchakaṭikā,139,140.Courteous, hero,307.Courtesans,seeHetaerae.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).[377]
[Contents]CCāhamāna, 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 theMudrārākṣasa,62,205ff.,341,344.Caṇḍabhārgava, curse of,125.Caṇḍālas,99,133,336, n.1,337.Caṇḍālī,99.Candanadāsa, in theMudrārākṣasa,205ff.Candanaka, Prākrit used by,141.Caṇḍapāla, a king,234.Candra, Candraka, or Candaka, dramatist,168–70.Candradāsa, an author,168.Candragupta, in theMudrārākṣasa,205ff.,341.Candragupta II, probable patron of Kālidāsa,146.Candraketu, prince of Cakora,129.Candraketu, rival of Lava,191,200.Candraçekhara, commentator on theÇakuntalā,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 theCārudatta,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.[376]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 ofn, in Açvaghoṣa’s Prākrits,86,87,88,121.Cerebrals, other thanṇ, produce strength of style,332.Ceylon, king of, father of Ratnāvalī,171.Challenge (utthāpaka),327.Chamberlain (kañcukin),313;appropriate to thePrahasana,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 theSamavakāra,346.Chess,256.Child, mode of address of,314, n.2.Chinese stage,360, note2.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 thePrahasanasandBhāṇas,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 theḌima,347;thePren̄khaṇa,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 seeNāṭaka,Nāṭikā, andPrakaraṇa.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,315ff.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 theMṛcchakaṭikā,139,140.Courteous, hero,307.Courtesans,seeHetaerae.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).[377]
[Contents]CCāhamāna, 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 theMudrārākṣasa,62,205ff.,341,344.Caṇḍabhārgava, curse of,125.Caṇḍālas,99,133,336, n.1,337.Caṇḍālī,99.Candanadāsa, in theMudrārākṣasa,205ff.Candanaka, Prākrit used by,141.Caṇḍapāla, a king,234.Candra, Candraka, or Candaka, dramatist,168–70.Candradāsa, an author,168.Candragupta, in theMudrārākṣasa,205ff.,341.Candragupta II, probable patron of Kālidāsa,146.Candraketu, prince of Cakora,129.Candraketu, rival of Lava,191,200.Candraçekhara, commentator on theÇakuntalā,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 theCārudatta,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.[376]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 ofn, in Açvaghoṣa’s Prākrits,86,87,88,121.Cerebrals, other thanṇ, produce strength of style,332.Ceylon, king of, father of Ratnāvalī,171.Challenge (utthāpaka),327.Chamberlain (kañcukin),313;appropriate to thePrahasana,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 theSamavakāra,346.Chess,256.Child, mode of address of,314, n.2.Chinese stage,360, note2.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 thePrahasanasandBhāṇas,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 theḌima,347;thePren̄khaṇa,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 seeNāṭaka,Nāṭikā, andPrakaraṇa.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,315ff.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 theMṛcchakaṭikā,139,140.Courteous, hero,307.Courtesans,seeHetaerae.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).[377]
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 theMudrārākṣasa,62,205ff.,341,344.Caṇḍabhārgava, curse of,125.Caṇḍālas,99,133,336, n.1,337.Caṇḍālī,99.Candanadāsa, in theMudrārākṣasa,205ff.Candanaka, Prākrit used by,141.Caṇḍapāla, a king,234.Candra, Candraka, or Candaka, dramatist,168–70.Candradāsa, an author,168.Candragupta, in theMudrārākṣasa,205ff.,341.Candragupta II, probable patron of Kālidāsa,146.Candraketu, prince of Cakora,129.Candraketu, rival of Lava,191,200.Candraçekhara, commentator on theÇakuntalā,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 theCārudatta,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.[376]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 ofn, in Açvaghoṣa’s Prākrits,86,87,88,121.Cerebrals, other thanṇ, produce strength of style,332.Ceylon, king of, father of Ratnāvalī,171.Challenge (utthāpaka),327.Chamberlain (kañcukin),313;appropriate to thePrahasana,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 theSamavakāra,346.Chess,256.Child, mode of address of,314, n.2.Chinese stage,360, note2.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 thePrahasanasandBhāṇas,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 theḌima,347;thePren̄khaṇa,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 seeNāṭaka,Nāṭikā, andPrakaraṇa.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,315ff.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 theMṛcchakaṭikā,139,140.Courteous, hero,307.Courtesans,seeHetaerae.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).[377]
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 theMudrārākṣasa,62,205ff.,341,344.
Caṇḍabhārgava, curse of,125.
Caṇḍālas,99,133,336, n.1,337.
Caṇḍālī,99.
Candanadāsa, in theMudrārākṣasa,205ff.
Candanaka, Prākrit used by,141.
Caṇḍapāla, a king,234.
Candra, Candraka, or Candaka, dramatist,168–70.
Candradāsa, an author,168.
Candragupta, in theMudrārākṣasa,205ff.,341.
Candragupta II, probable patron of Kālidāsa,146.
Candraketu, prince of Cakora,129.
Candraketu, rival of Lava,191,200.
Candraçekhara, commentator on theÇakuntalā,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 theCārudatta,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.[376]
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 ofn, in Açvaghoṣa’s Prākrits,86,87,88,121.
Cerebrals, other thanṇ, produce strength of style,332.
Ceylon, king of, father of Ratnāvalī,171.
Challenge (utthāpaka),327.
Chamberlain (kañcukin),313;appropriate to thePrahasana,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 theSamavakāra,346.
Chess,256.
Child, mode of address of,314, n.2.
Chinese stage,360, note2.
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 thePrahasanasandBhāṇas,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 theḌima,347;thePren̄khaṇa,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 seeNāṭaka,Nāṭikā, andPrakaraṇa.
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,315ff.
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 theMṛcchakaṭikā,139,140.
Courteous, hero,307.
Courtesans,seeHetaerae.
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).[377]