[Contents]SSadānanda,Vedāntasāra, syncretism in,318, n.2.Sādhuhiṅsika, a chief of police,262.Saffron, in Kashmir,144.Sāgara, and the rivers,245,246.Sāgarikā,aliasof Ratnāvalī,172,173,303,304,325,326.Sahadeva, a Pāṇḍava,213.Sajjalaka, a thief,104.Salii,20.Sāmarāja Dīkṣita, author of theDhūrtanartaka,262,263;of theÇrīdāmacarita,247.Sāmba,48,49.Saṁgrāmasiṅha, a prince,249.Samiddhārthaka, in theMudrārākṣasa,208.Sāṁkṛtyāyanī, confidante of Vāsavadattā,173,175.[389]Sampāti,189,194.Saṁsthāna, in theCārudatta,104.Saṁsthānaka, in theMṛcchakaṭikā,131,132,133,134,136,140.Saṁtuṣṭa, aVidūṣaka,313.Samudragupta, Gupta Emperor, horse sacrifice of,149.Sānchi,Kathakason relief at,30.Sañjaya, in theVeṇīsaṁhāra,214,217.Sanskrit, Çakas and,69–72;of Açvaghoṣa,85,86;Kālidāsa,166;Harṣa,181;Kṛṣṇamiçra,243,244;Yaçaḥpāla,255;and Prākrit,243,244,255,273,282,283,287,333,335,336.Saramā and the Paṇis, legend of,14,19,21.Sāraṇa, a spy,229.Sārasvata school of grammarians,145, n.2.Sarayū, river,245.Sātavāhana,129,333,and seeHāla.Satyabhāmā, in the Kṛṣṇa legend,48.Satyācāra, a Brahmin,262.Saudāminī, pupil of Kāmandakī,62,188,193.Saumilla, Somila, a dramatist,91,127,129,147.Sauvīra, king,101,102.Sāyaṇa, commentator on theṚgveda,15,268.Scenes of introduction (arthopakṣepaka),301,302.Schroeder, Prof. L. von, theory of origins of drama,16–21.Secular origin of the drama,49–57.Self-sacrifice in Harṣa,177,278;in Bhavabhūti,195.Senex, of Greco-Roman comedy,65.Sense, figures of (arthālaṁkāra),331.Sentiment, produced by drama,12,296,314–26,334,335,366,368;in relation to types of drama,346–51;in connexion with the qualities of style,332;blending of,169.Servants (ceṭa), speech of,87,141,336;kind of names of,313.Servus currens, of Greco-Roman drama,65.Seven vices, banished,255.Shadow plays, and dramatic origins,53–7;269,270,351.Shakespeare of India, Kālidāsa as,160.Shameless, hero,307.Shamsu-d-din, probable original of Hammīra,249, n.1.Shaw, Bernard, stage directions in plays of,366.Sibilants, treatment of, in Açvaghoṣa,86,87,88;in Bhāsa,122;in Bhaṭṭa Nārāyaṇa,219.Siddhārthaka, in theMudrārākṣasa,205,208.Siddhas,178,179.Similes,330,331.Simple, and causative verbal forms, confused, in Bhāsa,120,121.Simplicity of Indian theatrical apparatus,50,358–60.Siṅha, lord of Lāṭa,249.Siṅhana (Sin̄ghaṇa, Siṅhaṇa), the Yādava,249.Siṅhaviṣṇuvarman, a Pallava king,182.Siparium, in Roman mime,67.Sītā, wife of Rāma,30,42,52,63,100,101,105,110,115,119,189,190,191,192,194,195,197,199,218,219,224,227,228,229,233,243,244,270,271,279,281,303,328,329.Sītābengā cave,54,67,89.Skandagupta, Emperor,144.Slaughter, as an allegorical character,255.Slaves (ceṭa), speech of,87,141,336;in thePrakaraṇa,346;as hero and heroine in thePrasthāna,351.Softening of hard letters, in Prākrit,86,87,88,89,121.Soma rite,30,51.Somadatta, aNāyaka,84.Somadeva, author of theLalitavigraharājanāṭaka,243,248.Somaçarman, in Cambodia,29.Someçvara,Kīrtikaumudī,248, n.7.Somila,seeSaumilla.Somism,252,253.Song, in relation to the drama,12,16,20,25,44,49,50,160,338,350,351.Sophokles,59,197.Sorrow (çoka), as the basis of the pathetic sentiment,323.Sound, figures of (çabdālaṁkāras),331.Sound effects, in Bhavabhūti,202,203;Bhaṭṭa Nārāyaṇa,218;Murāri,230;Rājaçekhara,236.South Indian recension, of theVikramorvaçī,151;theÇakuntalā,154,155.Spectators,35–7,369–71;relation to actors,316,317,318,320,321,322.Spirit, as an allegorical character,251.Stage,359;matters excluded from representation on,300,301.Stage directions,86,113,364,366.Stage properties,365,366.Stages of the development of the action (avasthā),297–9.Stanzas,seeLyric Stanzas.Sthāvaraka, servant of Saṁsthānaka,141.Strength (ojas), of style,331.Struggle of conscience, unknown in the Sanskrit drama,279.Style, of Bhāsa,114–20;Mṛcchakaṭikā,[390]136–9;Kālidāsa,160–5;Harṣa,177–81;Mahendravikramavarman,185;Bhavabhūti,196–203;Viçākhadatta,209–11;BhaṭṭaNārāyaṇa,215–19;Yaçovarman,221–3;Murāri,230,231;Rājaçekhara,236–9;Kṣemīçvara,240;theoretical views of qualities of,331–3,334;see alsoGauḍa style, Vaidarbha style.Styles, dramatic (vṛtti), doctrine of the,326–9.Subandhu, author,76,91.Subhadrā, taken away by Arjuna,268.Subhaṭa, dramatist,55,269.Subjunctures, in the episode,299.Subrahmaṇya Kavi, author of part of theMahāvīracarita,192.Subterranean passages, referred to,206,234.Sudarçanā, wife of the king of Kāçi,101,110.Sudeṣṇā, wife of Virāṭa,63.Suggestion, in poetry,276,277,318,322;in Kālidāsa as opposed to Bhavabhūti,161.Sugrīva, brother of Vālin,100,105,190,194,228,229,245,246,297,308,327.Suicide, motif,107.Sumeru, description of,229.Sumitrā, mother of Jayadeva,242.Sundaramiçra, author of theNāṭyapradīpa,294.Sundering of lovers,323.Supernatural,159,192,and seeWonder.Surānanda, an ancestor of Rājaçekhara,231.Surāṣṭra, speeches used in,287.Susa, people of,knewGreek dramas,59.Susaṁgatā, confidante of Ratnāvalī,172,176,303,325,326.Sūtas, slain by Bhīma,97, n.1.Suvarṇākṣī, mother of Açvaghoṣa,80.Suvarṇaçekhara, on the Ganges,257.Suvega, a spy,249.Svayambhū, creator of the pigments,369.Swāng of North-West India,273.Sweetness of style,331,332.Swinging,313;description of,234,238.Synonyms, free use of,283.
[Contents]SSadānanda,Vedāntasāra, syncretism in,318, n.2.Sādhuhiṅsika, a chief of police,262.Saffron, in Kashmir,144.Sāgara, and the rivers,245,246.Sāgarikā,aliasof Ratnāvalī,172,173,303,304,325,326.Sahadeva, a Pāṇḍava,213.Sajjalaka, a thief,104.Salii,20.Sāmarāja Dīkṣita, author of theDhūrtanartaka,262,263;of theÇrīdāmacarita,247.Sāmba,48,49.Saṁgrāmasiṅha, a prince,249.Samiddhārthaka, in theMudrārākṣasa,208.Sāṁkṛtyāyanī, confidante of Vāsavadattā,173,175.[389]Sampāti,189,194.Saṁsthāna, in theCārudatta,104.Saṁsthānaka, in theMṛcchakaṭikā,131,132,133,134,136,140.Saṁtuṣṭa, aVidūṣaka,313.Samudragupta, Gupta Emperor, horse sacrifice of,149.Sānchi,Kathakason relief at,30.Sañjaya, in theVeṇīsaṁhāra,214,217.Sanskrit, Çakas and,69–72;of Açvaghoṣa,85,86;Kālidāsa,166;Harṣa,181;Kṛṣṇamiçra,243,244;Yaçaḥpāla,255;and Prākrit,243,244,255,273,282,283,287,333,335,336.Saramā and the Paṇis, legend of,14,19,21.Sāraṇa, a spy,229.Sārasvata school of grammarians,145, n.2.Sarayū, river,245.Sātavāhana,129,333,and seeHāla.Satyabhāmā, in the Kṛṣṇa legend,48.Satyācāra, a Brahmin,262.Saudāminī, pupil of Kāmandakī,62,188,193.Saumilla, Somila, a dramatist,91,127,129,147.Sauvīra, king,101,102.Sāyaṇa, commentator on theṚgveda,15,268.Scenes of introduction (arthopakṣepaka),301,302.Schroeder, Prof. L. von, theory of origins of drama,16–21.Secular origin of the drama,49–57.Self-sacrifice in Harṣa,177,278;in Bhavabhūti,195.Senex, of Greco-Roman comedy,65.Sense, figures of (arthālaṁkāra),331.Sentiment, produced by drama,12,296,314–26,334,335,366,368;in relation to types of drama,346–51;in connexion with the qualities of style,332;blending of,169.Servants (ceṭa), speech of,87,141,336;kind of names of,313.Servus currens, of Greco-Roman drama,65.Seven vices, banished,255.Shadow plays, and dramatic origins,53–7;269,270,351.Shakespeare of India, Kālidāsa as,160.Shameless, hero,307.Shamsu-d-din, probable original of Hammīra,249, n.1.Shaw, Bernard, stage directions in plays of,366.Sibilants, treatment of, in Açvaghoṣa,86,87,88;in Bhāsa,122;in Bhaṭṭa Nārāyaṇa,219.Siddhārthaka, in theMudrārākṣasa,205,208.Siddhas,178,179.Similes,330,331.Simple, and causative verbal forms, confused, in Bhāsa,120,121.Simplicity of Indian theatrical apparatus,50,358–60.Siṅha, lord of Lāṭa,249.Siṅhana (Sin̄ghaṇa, Siṅhaṇa), the Yādava,249.Siṅhaviṣṇuvarman, a Pallava king,182.Siparium, in Roman mime,67.Sītā, wife of Rāma,30,42,52,63,100,101,105,110,115,119,189,190,191,192,194,195,197,199,218,219,224,227,228,229,233,243,244,270,271,279,281,303,328,329.Sītābengā cave,54,67,89.Skandagupta, Emperor,144.Slaughter, as an allegorical character,255.Slaves (ceṭa), speech of,87,141,336;in thePrakaraṇa,346;as hero and heroine in thePrasthāna,351.Softening of hard letters, in Prākrit,86,87,88,89,121.Soma rite,30,51.Somadatta, aNāyaka,84.Somadeva, author of theLalitavigraharājanāṭaka,243,248.Somaçarman, in Cambodia,29.Someçvara,Kīrtikaumudī,248, n.7.Somila,seeSaumilla.Somism,252,253.Song, in relation to the drama,12,16,20,25,44,49,50,160,338,350,351.Sophokles,59,197.Sorrow (çoka), as the basis of the pathetic sentiment,323.Sound, figures of (çabdālaṁkāras),331.Sound effects, in Bhavabhūti,202,203;Bhaṭṭa Nārāyaṇa,218;Murāri,230;Rājaçekhara,236.South Indian recension, of theVikramorvaçī,151;theÇakuntalā,154,155.Spectators,35–7,369–71;relation to actors,316,317,318,320,321,322.Spirit, as an allegorical character,251.Stage,359;matters excluded from representation on,300,301.Stage directions,86,113,364,366.Stage properties,365,366.Stages of the development of the action (avasthā),297–9.Stanzas,seeLyric Stanzas.Sthāvaraka, servant of Saṁsthānaka,141.Strength (ojas), of style,331.Struggle of conscience, unknown in the Sanskrit drama,279.Style, of Bhāsa,114–20;Mṛcchakaṭikā,[390]136–9;Kālidāsa,160–5;Harṣa,177–81;Mahendravikramavarman,185;Bhavabhūti,196–203;Viçākhadatta,209–11;BhaṭṭaNārāyaṇa,215–19;Yaçovarman,221–3;Murāri,230,231;Rājaçekhara,236–9;Kṣemīçvara,240;theoretical views of qualities of,331–3,334;see alsoGauḍa style, Vaidarbha style.Styles, dramatic (vṛtti), doctrine of the,326–9.Subandhu, author,76,91.Subhadrā, taken away by Arjuna,268.Subhaṭa, dramatist,55,269.Subjunctures, in the episode,299.Subrahmaṇya Kavi, author of part of theMahāvīracarita,192.Subterranean passages, referred to,206,234.Sudarçanā, wife of the king of Kāçi,101,110.Sudeṣṇā, wife of Virāṭa,63.Suggestion, in poetry,276,277,318,322;in Kālidāsa as opposed to Bhavabhūti,161.Sugrīva, brother of Vālin,100,105,190,194,228,229,245,246,297,308,327.Suicide, motif,107.Sumeru, description of,229.Sumitrā, mother of Jayadeva,242.Sundaramiçra, author of theNāṭyapradīpa,294.Sundering of lovers,323.Supernatural,159,192,and seeWonder.Surānanda, an ancestor of Rājaçekhara,231.Surāṣṭra, speeches used in,287.Susa, people of,knewGreek dramas,59.Susaṁgatā, confidante of Ratnāvalī,172,176,303,325,326.Sūtas, slain by Bhīma,97, n.1.Suvarṇākṣī, mother of Açvaghoṣa,80.Suvarṇaçekhara, on the Ganges,257.Suvega, a spy,249.Svayambhū, creator of the pigments,369.Swāng of North-West India,273.Sweetness of style,331,332.Swinging,313;description of,234,238.Synonyms, free use of,283.
[Contents]SSadānanda,Vedāntasāra, syncretism in,318, n.2.Sādhuhiṅsika, a chief of police,262.Saffron, in Kashmir,144.Sāgara, and the rivers,245,246.Sāgarikā,aliasof Ratnāvalī,172,173,303,304,325,326.Sahadeva, a Pāṇḍava,213.Sajjalaka, a thief,104.Salii,20.Sāmarāja Dīkṣita, author of theDhūrtanartaka,262,263;of theÇrīdāmacarita,247.Sāmba,48,49.Saṁgrāmasiṅha, a prince,249.Samiddhārthaka, in theMudrārākṣasa,208.Sāṁkṛtyāyanī, confidante of Vāsavadattā,173,175.[389]Sampāti,189,194.Saṁsthāna, in theCārudatta,104.Saṁsthānaka, in theMṛcchakaṭikā,131,132,133,134,136,140.Saṁtuṣṭa, aVidūṣaka,313.Samudragupta, Gupta Emperor, horse sacrifice of,149.Sānchi,Kathakason relief at,30.Sañjaya, in theVeṇīsaṁhāra,214,217.Sanskrit, Çakas and,69–72;of Açvaghoṣa,85,86;Kālidāsa,166;Harṣa,181;Kṛṣṇamiçra,243,244;Yaçaḥpāla,255;and Prākrit,243,244,255,273,282,283,287,333,335,336.Saramā and the Paṇis, legend of,14,19,21.Sāraṇa, a spy,229.Sārasvata school of grammarians,145, n.2.Sarayū, river,245.Sātavāhana,129,333,and seeHāla.Satyabhāmā, in the Kṛṣṇa legend,48.Satyācāra, a Brahmin,262.Saudāminī, pupil of Kāmandakī,62,188,193.Saumilla, Somila, a dramatist,91,127,129,147.Sauvīra, king,101,102.Sāyaṇa, commentator on theṚgveda,15,268.Scenes of introduction (arthopakṣepaka),301,302.Schroeder, Prof. L. von, theory of origins of drama,16–21.Secular origin of the drama,49–57.Self-sacrifice in Harṣa,177,278;in Bhavabhūti,195.Senex, of Greco-Roman comedy,65.Sense, figures of (arthālaṁkāra),331.Sentiment, produced by drama,12,296,314–26,334,335,366,368;in relation to types of drama,346–51;in connexion with the qualities of style,332;blending of,169.Servants (ceṭa), speech of,87,141,336;kind of names of,313.Servus currens, of Greco-Roman drama,65.Seven vices, banished,255.Shadow plays, and dramatic origins,53–7;269,270,351.Shakespeare of India, Kālidāsa as,160.Shameless, hero,307.Shamsu-d-din, probable original of Hammīra,249, n.1.Shaw, Bernard, stage directions in plays of,366.Sibilants, treatment of, in Açvaghoṣa,86,87,88;in Bhāsa,122;in Bhaṭṭa Nārāyaṇa,219.Siddhārthaka, in theMudrārākṣasa,205,208.Siddhas,178,179.Similes,330,331.Simple, and causative verbal forms, confused, in Bhāsa,120,121.Simplicity of Indian theatrical apparatus,50,358–60.Siṅha, lord of Lāṭa,249.Siṅhana (Sin̄ghaṇa, Siṅhaṇa), the Yādava,249.Siṅhaviṣṇuvarman, a Pallava king,182.Siparium, in Roman mime,67.Sītā, wife of Rāma,30,42,52,63,100,101,105,110,115,119,189,190,191,192,194,195,197,199,218,219,224,227,228,229,233,243,244,270,271,279,281,303,328,329.Sītābengā cave,54,67,89.Skandagupta, Emperor,144.Slaughter, as an allegorical character,255.Slaves (ceṭa), speech of,87,141,336;in thePrakaraṇa,346;as hero and heroine in thePrasthāna,351.Softening of hard letters, in Prākrit,86,87,88,89,121.Soma rite,30,51.Somadatta, aNāyaka,84.Somadeva, author of theLalitavigraharājanāṭaka,243,248.Somaçarman, in Cambodia,29.Someçvara,Kīrtikaumudī,248, n.7.Somila,seeSaumilla.Somism,252,253.Song, in relation to the drama,12,16,20,25,44,49,50,160,338,350,351.Sophokles,59,197.Sorrow (çoka), as the basis of the pathetic sentiment,323.Sound, figures of (çabdālaṁkāras),331.Sound effects, in Bhavabhūti,202,203;Bhaṭṭa Nārāyaṇa,218;Murāri,230;Rājaçekhara,236.South Indian recension, of theVikramorvaçī,151;theÇakuntalā,154,155.Spectators,35–7,369–71;relation to actors,316,317,318,320,321,322.Spirit, as an allegorical character,251.Stage,359;matters excluded from representation on,300,301.Stage directions,86,113,364,366.Stage properties,365,366.Stages of the development of the action (avasthā),297–9.Stanzas,seeLyric Stanzas.Sthāvaraka, servant of Saṁsthānaka,141.Strength (ojas), of style,331.Struggle of conscience, unknown in the Sanskrit drama,279.Style, of Bhāsa,114–20;Mṛcchakaṭikā,[390]136–9;Kālidāsa,160–5;Harṣa,177–81;Mahendravikramavarman,185;Bhavabhūti,196–203;Viçākhadatta,209–11;BhaṭṭaNārāyaṇa,215–19;Yaçovarman,221–3;Murāri,230,231;Rājaçekhara,236–9;Kṣemīçvara,240;theoretical views of qualities of,331–3,334;see alsoGauḍa style, Vaidarbha style.Styles, dramatic (vṛtti), doctrine of the,326–9.Subandhu, author,76,91.Subhadrā, taken away by Arjuna,268.Subhaṭa, dramatist,55,269.Subjunctures, in the episode,299.Subrahmaṇya Kavi, author of part of theMahāvīracarita,192.Subterranean passages, referred to,206,234.Sudarçanā, wife of the king of Kāçi,101,110.Sudeṣṇā, wife of Virāṭa,63.Suggestion, in poetry,276,277,318,322;in Kālidāsa as opposed to Bhavabhūti,161.Sugrīva, brother of Vālin,100,105,190,194,228,229,245,246,297,308,327.Suicide, motif,107.Sumeru, description of,229.Sumitrā, mother of Jayadeva,242.Sundaramiçra, author of theNāṭyapradīpa,294.Sundering of lovers,323.Supernatural,159,192,and seeWonder.Surānanda, an ancestor of Rājaçekhara,231.Surāṣṭra, speeches used in,287.Susa, people of,knewGreek dramas,59.Susaṁgatā, confidante of Ratnāvalī,172,176,303,325,326.Sūtas, slain by Bhīma,97, n.1.Suvarṇākṣī, mother of Açvaghoṣa,80.Suvarṇaçekhara, on the Ganges,257.Suvega, a spy,249.Svayambhū, creator of the pigments,369.Swāng of North-West India,273.Sweetness of style,331,332.Swinging,313;description of,234,238.Synonyms, free use of,283.
[Contents]SSadānanda,Vedāntasāra, syncretism in,318, n.2.Sādhuhiṅsika, a chief of police,262.Saffron, in Kashmir,144.Sāgara, and the rivers,245,246.Sāgarikā,aliasof Ratnāvalī,172,173,303,304,325,326.Sahadeva, a Pāṇḍava,213.Sajjalaka, a thief,104.Salii,20.Sāmarāja Dīkṣita, author of theDhūrtanartaka,262,263;of theÇrīdāmacarita,247.Sāmba,48,49.Saṁgrāmasiṅha, a prince,249.Samiddhārthaka, in theMudrārākṣasa,208.Sāṁkṛtyāyanī, confidante of Vāsavadattā,173,175.[389]Sampāti,189,194.Saṁsthāna, in theCārudatta,104.Saṁsthānaka, in theMṛcchakaṭikā,131,132,133,134,136,140.Saṁtuṣṭa, aVidūṣaka,313.Samudragupta, Gupta Emperor, horse sacrifice of,149.Sānchi,Kathakason relief at,30.Sañjaya, in theVeṇīsaṁhāra,214,217.Sanskrit, Çakas and,69–72;of Açvaghoṣa,85,86;Kālidāsa,166;Harṣa,181;Kṛṣṇamiçra,243,244;Yaçaḥpāla,255;and Prākrit,243,244,255,273,282,283,287,333,335,336.Saramā and the Paṇis, legend of,14,19,21.Sāraṇa, a spy,229.Sārasvata school of grammarians,145, n.2.Sarayū, river,245.Sātavāhana,129,333,and seeHāla.Satyabhāmā, in the Kṛṣṇa legend,48.Satyācāra, a Brahmin,262.Saudāminī, pupil of Kāmandakī,62,188,193.Saumilla, Somila, a dramatist,91,127,129,147.Sauvīra, king,101,102.Sāyaṇa, commentator on theṚgveda,15,268.Scenes of introduction (arthopakṣepaka),301,302.Schroeder, Prof. L. von, theory of origins of drama,16–21.Secular origin of the drama,49–57.Self-sacrifice in Harṣa,177,278;in Bhavabhūti,195.Senex, of Greco-Roman comedy,65.Sense, figures of (arthālaṁkāra),331.Sentiment, produced by drama,12,296,314–26,334,335,366,368;in relation to types of drama,346–51;in connexion with the qualities of style,332;blending of,169.Servants (ceṭa), speech of,87,141,336;kind of names of,313.Servus currens, of Greco-Roman drama,65.Seven vices, banished,255.Shadow plays, and dramatic origins,53–7;269,270,351.Shakespeare of India, Kālidāsa as,160.Shameless, hero,307.Shamsu-d-din, probable original of Hammīra,249, n.1.Shaw, Bernard, stage directions in plays of,366.Sibilants, treatment of, in Açvaghoṣa,86,87,88;in Bhāsa,122;in Bhaṭṭa Nārāyaṇa,219.Siddhārthaka, in theMudrārākṣasa,205,208.Siddhas,178,179.Similes,330,331.Simple, and causative verbal forms, confused, in Bhāsa,120,121.Simplicity of Indian theatrical apparatus,50,358–60.Siṅha, lord of Lāṭa,249.Siṅhana (Sin̄ghaṇa, Siṅhaṇa), the Yādava,249.Siṅhaviṣṇuvarman, a Pallava king,182.Siparium, in Roman mime,67.Sītā, wife of Rāma,30,42,52,63,100,101,105,110,115,119,189,190,191,192,194,195,197,199,218,219,224,227,228,229,233,243,244,270,271,279,281,303,328,329.Sītābengā cave,54,67,89.Skandagupta, Emperor,144.Slaughter, as an allegorical character,255.Slaves (ceṭa), speech of,87,141,336;in thePrakaraṇa,346;as hero and heroine in thePrasthāna,351.Softening of hard letters, in Prākrit,86,87,88,89,121.Soma rite,30,51.Somadatta, aNāyaka,84.Somadeva, author of theLalitavigraharājanāṭaka,243,248.Somaçarman, in Cambodia,29.Someçvara,Kīrtikaumudī,248, n.7.Somila,seeSaumilla.Somism,252,253.Song, in relation to the drama,12,16,20,25,44,49,50,160,338,350,351.Sophokles,59,197.Sorrow (çoka), as the basis of the pathetic sentiment,323.Sound, figures of (çabdālaṁkāras),331.Sound effects, in Bhavabhūti,202,203;Bhaṭṭa Nārāyaṇa,218;Murāri,230;Rājaçekhara,236.South Indian recension, of theVikramorvaçī,151;theÇakuntalā,154,155.Spectators,35–7,369–71;relation to actors,316,317,318,320,321,322.Spirit, as an allegorical character,251.Stage,359;matters excluded from representation on,300,301.Stage directions,86,113,364,366.Stage properties,365,366.Stages of the development of the action (avasthā),297–9.Stanzas,seeLyric Stanzas.Sthāvaraka, servant of Saṁsthānaka,141.Strength (ojas), of style,331.Struggle of conscience, unknown in the Sanskrit drama,279.Style, of Bhāsa,114–20;Mṛcchakaṭikā,[390]136–9;Kālidāsa,160–5;Harṣa,177–81;Mahendravikramavarman,185;Bhavabhūti,196–203;Viçākhadatta,209–11;BhaṭṭaNārāyaṇa,215–19;Yaçovarman,221–3;Murāri,230,231;Rājaçekhara,236–9;Kṣemīçvara,240;theoretical views of qualities of,331–3,334;see alsoGauḍa style, Vaidarbha style.Styles, dramatic (vṛtti), doctrine of the,326–9.Subandhu, author,76,91.Subhadrā, taken away by Arjuna,268.Subhaṭa, dramatist,55,269.Subjunctures, in the episode,299.Subrahmaṇya Kavi, author of part of theMahāvīracarita,192.Subterranean passages, referred to,206,234.Sudarçanā, wife of the king of Kāçi,101,110.Sudeṣṇā, wife of Virāṭa,63.Suggestion, in poetry,276,277,318,322;in Kālidāsa as opposed to Bhavabhūti,161.Sugrīva, brother of Vālin,100,105,190,194,228,229,245,246,297,308,327.Suicide, motif,107.Sumeru, description of,229.Sumitrā, mother of Jayadeva,242.Sundaramiçra, author of theNāṭyapradīpa,294.Sundering of lovers,323.Supernatural,159,192,and seeWonder.Surānanda, an ancestor of Rājaçekhara,231.Surāṣṭra, speeches used in,287.Susa, people of,knewGreek dramas,59.Susaṁgatā, confidante of Ratnāvalī,172,176,303,325,326.Sūtas, slain by Bhīma,97, n.1.Suvarṇākṣī, mother of Açvaghoṣa,80.Suvarṇaçekhara, on the Ganges,257.Suvega, a spy,249.Svayambhū, creator of the pigments,369.Swāng of North-West India,273.Sweetness of style,331,332.Swinging,313;description of,234,238.Synonyms, free use of,283.
S
Sadānanda,Vedāntasāra, syncretism in,318, n.2.Sādhuhiṅsika, a chief of police,262.Saffron, in Kashmir,144.Sāgara, and the rivers,245,246.Sāgarikā,aliasof Ratnāvalī,172,173,303,304,325,326.Sahadeva, a Pāṇḍava,213.Sajjalaka, a thief,104.Salii,20.Sāmarāja Dīkṣita, author of theDhūrtanartaka,262,263;of theÇrīdāmacarita,247.Sāmba,48,49.Saṁgrāmasiṅha, a prince,249.Samiddhārthaka, in theMudrārākṣasa,208.Sāṁkṛtyāyanī, confidante of Vāsavadattā,173,175.[389]Sampāti,189,194.Saṁsthāna, in theCārudatta,104.Saṁsthānaka, in theMṛcchakaṭikā,131,132,133,134,136,140.Saṁtuṣṭa, aVidūṣaka,313.Samudragupta, Gupta Emperor, horse sacrifice of,149.Sānchi,Kathakason relief at,30.Sañjaya, in theVeṇīsaṁhāra,214,217.Sanskrit, Çakas and,69–72;of Açvaghoṣa,85,86;Kālidāsa,166;Harṣa,181;Kṛṣṇamiçra,243,244;Yaçaḥpāla,255;and Prākrit,243,244,255,273,282,283,287,333,335,336.Saramā and the Paṇis, legend of,14,19,21.Sāraṇa, a spy,229.Sārasvata school of grammarians,145, n.2.Sarayū, river,245.Sātavāhana,129,333,and seeHāla.Satyabhāmā, in the Kṛṣṇa legend,48.Satyācāra, a Brahmin,262.Saudāminī, pupil of Kāmandakī,62,188,193.Saumilla, Somila, a dramatist,91,127,129,147.Sauvīra, king,101,102.Sāyaṇa, commentator on theṚgveda,15,268.Scenes of introduction (arthopakṣepaka),301,302.Schroeder, Prof. L. von, theory of origins of drama,16–21.Secular origin of the drama,49–57.Self-sacrifice in Harṣa,177,278;in Bhavabhūti,195.Senex, of Greco-Roman comedy,65.Sense, figures of (arthālaṁkāra),331.Sentiment, produced by drama,12,296,314–26,334,335,366,368;in relation to types of drama,346–51;in connexion with the qualities of style,332;blending of,169.Servants (ceṭa), speech of,87,141,336;kind of names of,313.Servus currens, of Greco-Roman drama,65.Seven vices, banished,255.Shadow plays, and dramatic origins,53–7;269,270,351.Shakespeare of India, Kālidāsa as,160.Shameless, hero,307.Shamsu-d-din, probable original of Hammīra,249, n.1.Shaw, Bernard, stage directions in plays of,366.Sibilants, treatment of, in Açvaghoṣa,86,87,88;in Bhāsa,122;in Bhaṭṭa Nārāyaṇa,219.Siddhārthaka, in theMudrārākṣasa,205,208.Siddhas,178,179.Similes,330,331.Simple, and causative verbal forms, confused, in Bhāsa,120,121.Simplicity of Indian theatrical apparatus,50,358–60.Siṅha, lord of Lāṭa,249.Siṅhana (Sin̄ghaṇa, Siṅhaṇa), the Yādava,249.Siṅhaviṣṇuvarman, a Pallava king,182.Siparium, in Roman mime,67.Sītā, wife of Rāma,30,42,52,63,100,101,105,110,115,119,189,190,191,192,194,195,197,199,218,219,224,227,228,229,233,243,244,270,271,279,281,303,328,329.Sītābengā cave,54,67,89.Skandagupta, Emperor,144.Slaughter, as an allegorical character,255.Slaves (ceṭa), speech of,87,141,336;in thePrakaraṇa,346;as hero and heroine in thePrasthāna,351.Softening of hard letters, in Prākrit,86,87,88,89,121.Soma rite,30,51.Somadatta, aNāyaka,84.Somadeva, author of theLalitavigraharājanāṭaka,243,248.Somaçarman, in Cambodia,29.Someçvara,Kīrtikaumudī,248, n.7.Somila,seeSaumilla.Somism,252,253.Song, in relation to the drama,12,16,20,25,44,49,50,160,338,350,351.Sophokles,59,197.Sorrow (çoka), as the basis of the pathetic sentiment,323.Sound, figures of (çabdālaṁkāras),331.Sound effects, in Bhavabhūti,202,203;Bhaṭṭa Nārāyaṇa,218;Murāri,230;Rājaçekhara,236.South Indian recension, of theVikramorvaçī,151;theÇakuntalā,154,155.Spectators,35–7,369–71;relation to actors,316,317,318,320,321,322.Spirit, as an allegorical character,251.Stage,359;matters excluded from representation on,300,301.Stage directions,86,113,364,366.Stage properties,365,366.Stages of the development of the action (avasthā),297–9.Stanzas,seeLyric Stanzas.Sthāvaraka, servant of Saṁsthānaka,141.Strength (ojas), of style,331.Struggle of conscience, unknown in the Sanskrit drama,279.Style, of Bhāsa,114–20;Mṛcchakaṭikā,[390]136–9;Kālidāsa,160–5;Harṣa,177–81;Mahendravikramavarman,185;Bhavabhūti,196–203;Viçākhadatta,209–11;BhaṭṭaNārāyaṇa,215–19;Yaçovarman,221–3;Murāri,230,231;Rājaçekhara,236–9;Kṣemīçvara,240;theoretical views of qualities of,331–3,334;see alsoGauḍa style, Vaidarbha style.Styles, dramatic (vṛtti), doctrine of the,326–9.Subandhu, author,76,91.Subhadrā, taken away by Arjuna,268.Subhaṭa, dramatist,55,269.Subjunctures, in the episode,299.Subrahmaṇya Kavi, author of part of theMahāvīracarita,192.Subterranean passages, referred to,206,234.Sudarçanā, wife of the king of Kāçi,101,110.Sudeṣṇā, wife of Virāṭa,63.Suggestion, in poetry,276,277,318,322;in Kālidāsa as opposed to Bhavabhūti,161.Sugrīva, brother of Vālin,100,105,190,194,228,229,245,246,297,308,327.Suicide, motif,107.Sumeru, description of,229.Sumitrā, mother of Jayadeva,242.Sundaramiçra, author of theNāṭyapradīpa,294.Sundering of lovers,323.Supernatural,159,192,and seeWonder.Surānanda, an ancestor of Rājaçekhara,231.Surāṣṭra, speeches used in,287.Susa, people of,knewGreek dramas,59.Susaṁgatā, confidante of Ratnāvalī,172,176,303,325,326.Sūtas, slain by Bhīma,97, n.1.Suvarṇākṣī, mother of Açvaghoṣa,80.Suvarṇaçekhara, on the Ganges,257.Suvega, a spy,249.Svayambhū, creator of the pigments,369.Swāng of North-West India,273.Sweetness of style,331,332.Swinging,313;description of,234,238.Synonyms, free use of,283.
Sadānanda,Vedāntasāra, syncretism in,318, n.2.
Sādhuhiṅsika, a chief of police,262.
Saffron, in Kashmir,144.
Sāgara, and the rivers,245,246.
Sāgarikā,aliasof Ratnāvalī,172,173,303,304,325,326.
Sahadeva, a Pāṇḍava,213.
Sajjalaka, a thief,104.
Salii,20.
Sāmarāja Dīkṣita, author of theDhūrtanartaka,262,263;of theÇrīdāmacarita,247.
Sāmba,48,49.
Saṁgrāmasiṅha, a prince,249.
Samiddhārthaka, in theMudrārākṣasa,208.
Sāṁkṛtyāyanī, confidante of Vāsavadattā,173,175.[389]
Sampāti,189,194.
Saṁsthāna, in theCārudatta,104.
Saṁsthānaka, in theMṛcchakaṭikā,131,132,133,134,136,140.
Saṁtuṣṭa, aVidūṣaka,313.
Samudragupta, Gupta Emperor, horse sacrifice of,149.
Sānchi,Kathakason relief at,30.
Sañjaya, in theVeṇīsaṁhāra,214,217.
Sanskrit, Çakas and,69–72;of Açvaghoṣa,85,86;Kālidāsa,166;Harṣa,181;Kṛṣṇamiçra,243,244;Yaçaḥpāla,255;and Prākrit,243,244,255,273,282,283,287,333,335,336.
Saramā and the Paṇis, legend of,14,19,21.
Sāraṇa, a spy,229.
Sārasvata school of grammarians,145, n.2.
Sarayū, river,245.
Sātavāhana,129,333,and seeHāla.
Satyabhāmā, in the Kṛṣṇa legend,48.
Satyācāra, a Brahmin,262.
Saudāminī, pupil of Kāmandakī,62,188,193.
Saumilla, Somila, a dramatist,91,127,129,147.
Sauvīra, king,101,102.
Sāyaṇa, commentator on theṚgveda,15,268.
Scenes of introduction (arthopakṣepaka),301,302.
Schroeder, Prof. L. von, theory of origins of drama,16–21.
Secular origin of the drama,49–57.
Self-sacrifice in Harṣa,177,278;in Bhavabhūti,195.
Senex, of Greco-Roman comedy,65.
Sense, figures of (arthālaṁkāra),331.
Sentiment, produced by drama,12,296,314–26,334,335,366,368;in relation to types of drama,346–51;in connexion with the qualities of style,332;blending of,169.
Servants (ceṭa), speech of,87,141,336;kind of names of,313.
Servus currens, of Greco-Roman drama,65.
Seven vices, banished,255.
Shadow plays, and dramatic origins,53–7;269,270,351.
Shakespeare of India, Kālidāsa as,160.
Shameless, hero,307.
Shamsu-d-din, probable original of Hammīra,249, n.1.
Shaw, Bernard, stage directions in plays of,366.
Sibilants, treatment of, in Açvaghoṣa,86,87,88;in Bhāsa,122;in Bhaṭṭa Nārāyaṇa,219.
Siddhārthaka, in theMudrārākṣasa,205,208.
Siddhas,178,179.
Similes,330,331.
Simple, and causative verbal forms, confused, in Bhāsa,120,121.
Simplicity of Indian theatrical apparatus,50,358–60.
Siṅha, lord of Lāṭa,249.
Siṅhana (Sin̄ghaṇa, Siṅhaṇa), the Yādava,249.
Siṅhaviṣṇuvarman, a Pallava king,182.
Siparium, in Roman mime,67.
Sītā, wife of Rāma,30,42,52,63,100,101,105,110,115,119,189,190,191,192,194,195,197,199,218,219,224,227,228,229,233,243,244,270,271,279,281,303,328,329.
Sītābengā cave,54,67,89.
Skandagupta, Emperor,144.
Slaughter, as an allegorical character,255.
Slaves (ceṭa), speech of,87,141,336;in thePrakaraṇa,346;as hero and heroine in thePrasthāna,351.
Softening of hard letters, in Prākrit,86,87,88,89,121.
Soma rite,30,51.
Somadatta, aNāyaka,84.
Somadeva, author of theLalitavigraharājanāṭaka,243,248.
Somaçarman, in Cambodia,29.
Someçvara,Kīrtikaumudī,248, n.7.
Somila,seeSaumilla.
Somism,252,253.
Song, in relation to the drama,12,16,20,25,44,49,50,160,338,350,351.
Sophokles,59,197.
Sorrow (çoka), as the basis of the pathetic sentiment,323.
Sound, figures of (çabdālaṁkāras),331.
Sound effects, in Bhavabhūti,202,203;Bhaṭṭa Nārāyaṇa,218;Murāri,230;Rājaçekhara,236.
South Indian recension, of theVikramorvaçī,151;theÇakuntalā,154,155.
Spectators,35–7,369–71;relation to actors,316,317,318,320,321,322.
Spirit, as an allegorical character,251.
Stage,359;matters excluded from representation on,300,301.
Stage directions,86,113,364,366.
Stage properties,365,366.
Stages of the development of the action (avasthā),297–9.
Stanzas,seeLyric Stanzas.
Sthāvaraka, servant of Saṁsthānaka,141.
Strength (ojas), of style,331.
Struggle of conscience, unknown in the Sanskrit drama,279.
Style, of Bhāsa,114–20;Mṛcchakaṭikā,[390]136–9;Kālidāsa,160–5;Harṣa,177–81;Mahendravikramavarman,185;Bhavabhūti,196–203;Viçākhadatta,209–11;BhaṭṭaNārāyaṇa,215–19;Yaçovarman,221–3;Murāri,230,231;Rājaçekhara,236–9;Kṣemīçvara,240;theoretical views of qualities of,331–3,334;see alsoGauḍa style, Vaidarbha style.
Styles, dramatic (vṛtti), doctrine of the,326–9.
Subandhu, author,76,91.
Subhadrā, taken away by Arjuna,268.
Subhaṭa, dramatist,55,269.
Subjunctures, in the episode,299.
Subrahmaṇya Kavi, author of part of theMahāvīracarita,192.
Subterranean passages, referred to,206,234.
Sudarçanā, wife of the king of Kāçi,101,110.
Sudeṣṇā, wife of Virāṭa,63.
Suggestion, in poetry,276,277,318,322;in Kālidāsa as opposed to Bhavabhūti,161.
Sugrīva, brother of Vālin,100,105,190,194,228,229,245,246,297,308,327.
Suicide, motif,107.
Sumeru, description of,229.
Sumitrā, mother of Jayadeva,242.
Sundaramiçra, author of theNāṭyapradīpa,294.
Sundering of lovers,323.
Supernatural,159,192,and seeWonder.
Surānanda, an ancestor of Rājaçekhara,231.
Surāṣṭra, speeches used in,287.
Susa, people of,knewGreek dramas,59.
Susaṁgatā, confidante of Ratnāvalī,172,176,303,325,326.
Sūtas, slain by Bhīma,97, n.1.
Suvarṇākṣī, mother of Açvaghoṣa,80.
Suvarṇaçekhara, on the Ganges,257.
Suvega, a spy,249.
Svayambhū, creator of the pigments,369.
Swāng of North-West India,273.
Sweetness of style,331,332.
Swinging,313;description of,234,238.
Synonyms, free use of,283.