[Contents]PPadmacandra, 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 seeNaṭa.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, seeViṭa.Pariyātra, use ofBhūtabhāṣāin,287.Paronomasia,238.Pārçva, a Tīrthakara,254.Parthians, invaders of India,60,and seePahlava.Partnership, of actor and singer,363.Parvateça, a king,205f.[386]Pārvatī, the goddess,300,338,352;and theLāsyadance,12.Paçumeḍhra, a student,227.Pāçupata, a monk in theMattavilāsa,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, inMṛcchakaṭikā,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,seePortrait.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 ofItihāsa,21;suggestion as to origin of the drama in the puppet play,52–6;on the authorship of theMṛcchakaṭikā,128;on Bhāsa and theSthāpaka,342.Pity, as a character,252.Plautus,64.Play within a play,303;in thePriyadarçikā,173;theUttararāmacarita,191,192;theBālarāmāyaṇa,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,169and Part III.Poets,whereplaced 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 theMṛcchakaṭikā,141.Practice of drama, influenced by theory,352–4.Pradyota Mahāsena,102,130.Pradyumna,48,49.Prahasta, ally of Rāvaṇa,246.Prahlādanadeva, author of thePārthaparākrama,83, n.1,247,264,265,341, n.1.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 theMudrārākṣasa,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 theNāṭaka,345.Protagonist, compared toSūtradhāra,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.[387]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.
[Contents]PPadmacandra, 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 seeNaṭa.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, seeViṭa.Pariyātra, use ofBhūtabhāṣāin,287.Paronomasia,238.Pārçva, a Tīrthakara,254.Parthians, invaders of India,60,and seePahlava.Partnership, of actor and singer,363.Parvateça, a king,205f.[386]Pārvatī, the goddess,300,338,352;and theLāsyadance,12.Paçumeḍhra, a student,227.Pāçupata, a monk in theMattavilāsa,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, inMṛcchakaṭikā,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,seePortrait.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 ofItihāsa,21;suggestion as to origin of the drama in the puppet play,52–6;on the authorship of theMṛcchakaṭikā,128;on Bhāsa and theSthāpaka,342.Pity, as a character,252.Plautus,64.Play within a play,303;in thePriyadarçikā,173;theUttararāmacarita,191,192;theBālarāmāyaṇa,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,169and Part III.Poets,whereplaced 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 theMṛcchakaṭikā,141.Practice of drama, influenced by theory,352–4.Pradyota Mahāsena,102,130.Pradyumna,48,49.Prahasta, ally of Rāvaṇa,246.Prahlādanadeva, author of thePārthaparākrama,83, n.1,247,264,265,341, n.1.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 theMudrārākṣasa,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 theNāṭaka,345.Protagonist, compared toSūtradhāra,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.[387]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.
[Contents]PPadmacandra, 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 seeNaṭa.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, seeViṭa.Pariyātra, use ofBhūtabhāṣāin,287.Paronomasia,238.Pārçva, a Tīrthakara,254.Parthians, invaders of India,60,and seePahlava.Partnership, of actor and singer,363.Parvateça, a king,205f.[386]Pārvatī, the goddess,300,338,352;and theLāsyadance,12.Paçumeḍhra, a student,227.Pāçupata, a monk in theMattavilāsa,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, inMṛcchakaṭikā,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,seePortrait.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 ofItihāsa,21;suggestion as to origin of the drama in the puppet play,52–6;on the authorship of theMṛcchakaṭikā,128;on Bhāsa and theSthāpaka,342.Pity, as a character,252.Plautus,64.Play within a play,303;in thePriyadarçikā,173;theUttararāmacarita,191,192;theBālarāmāyaṇa,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,169and Part III.Poets,whereplaced 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 theMṛcchakaṭikā,141.Practice of drama, influenced by theory,352–4.Pradyota Mahāsena,102,130.Pradyumna,48,49.Prahasta, ally of Rāvaṇa,246.Prahlādanadeva, author of thePārthaparākrama,83, n.1,247,264,265,341, n.1.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 theMudrārākṣasa,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 theNāṭaka,345.Protagonist, compared toSūtradhāra,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.[387]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.
[Contents]PPadmacandra, 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 seeNaṭa.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, seeViṭa.Pariyātra, use ofBhūtabhāṣāin,287.Paronomasia,238.Pārçva, a Tīrthakara,254.Parthians, invaders of India,60,and seePahlava.Partnership, of actor and singer,363.Parvateça, a king,205f.[386]Pārvatī, the goddess,300,338,352;and theLāsyadance,12.Paçumeḍhra, a student,227.Pāçupata, a monk in theMattavilāsa,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, inMṛcchakaṭikā,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,seePortrait.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 ofItihāsa,21;suggestion as to origin of the drama in the puppet play,52–6;on the authorship of theMṛcchakaṭikā,128;on Bhāsa and theSthāpaka,342.Pity, as a character,252.Plautus,64.Play within a play,303;in thePriyadarçikā,173;theUttararāmacarita,191,192;theBālarāmāyaṇa,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,169and Part III.Poets,whereplaced 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 theMṛcchakaṭikā,141.Practice of drama, influenced by theory,352–4.Pradyota Mahāsena,102,130.Pradyumna,48,49.Prahasta, ally of Rāvaṇa,246.Prahlādanadeva, author of thePārthaparākrama,83, n.1,247,264,265,341, n.1.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 theMudrārākṣasa,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 theNāṭaka,345.Protagonist, compared toSūtradhāra,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.[387]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.
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 seeNaṭa.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, seeViṭa.Pariyātra, use ofBhūtabhāṣāin,287.Paronomasia,238.Pārçva, a Tīrthakara,254.Parthians, invaders of India,60,and seePahlava.Partnership, of actor and singer,363.Parvateça, a king,205f.[386]Pārvatī, the goddess,300,338,352;and theLāsyadance,12.Paçumeḍhra, a student,227.Pāçupata, a monk in theMattavilāsa,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, inMṛcchakaṭikā,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,seePortrait.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 ofItihāsa,21;suggestion as to origin of the drama in the puppet play,52–6;on the authorship of theMṛcchakaṭikā,128;on Bhāsa and theSthāpaka,342.Pity, as a character,252.Plautus,64.Play within a play,303;in thePriyadarçikā,173;theUttararāmacarita,191,192;theBālarāmāyaṇa,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,169and Part III.Poets,whereplaced 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 theMṛcchakaṭikā,141.Practice of drama, influenced by theory,352–4.Pradyota Mahāsena,102,130.Pradyumna,48,49.Prahasta, ally of Rāvaṇa,246.Prahlādanadeva, author of thePārthaparākrama,83, n.1,247,264,265,341, n.1.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 theMudrārākṣasa,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 theNāṭaka,345.Protagonist, compared toSūtradhāra,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.[387]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.
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 seeNaṭa.
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, seeViṭa.
Pariyātra, use ofBhūtabhāṣāin,287.
Paronomasia,238.
Pārçva, a Tīrthakara,254.
Parthians, invaders of India,60,and seePahlava.
Partnership, of actor and singer,363.
Parvateça, a king,205f.[386]
Pārvatī, the goddess,300,338,352;and theLāsyadance,12.
Paçumeḍhra, a student,227.
Pāçupata, a monk in theMattavilāsa,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, inMṛcchakaṭikā,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,seePortrait.
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 ofItihāsa,21;suggestion as to origin of the drama in the puppet play,52–6;on the authorship of theMṛcchakaṭikā,128;on Bhāsa and theSthāpaka,342.
Pity, as a character,252.
Plautus,64.
Play within a play,303;in thePriyadarçikā,173;theUttararāmacarita,191,192;theBālarāmāyaṇa,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,169and Part III.
Poets,whereplaced 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 theMṛcchakaṭikā,141.
Practice of drama, influenced by theory,352–4.
Pradyota Mahāsena,102,130.
Pradyumna,48,49.
Prahasta, ally of Rāvaṇa,246.
Prahlādanadeva, author of thePārthaparākrama,83, n.1,247,264,265,341, n.1.
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 theMudrārākṣasa,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 theNāṭaka,345.
Protagonist, compared toSūtradhāra,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.[387]
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.