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.
Cāmuṇḍā, the goddess, 188, 234.
Cāṇakya, in the Mudrārākṣasa, 62, 205 ff., 341, 344.
Caṇḍabhārgava, curse of, 125.
Caṇḍālas, 99, 133, 336, n. 1, 337.
Caṇḍālī, 99.
Candanadāsa, in the Mudrārākṣasa, 205 ff.
Candanaka, Prākrit used by, 141.
Caṇḍapāla, a king, 234.
Candra, Candraka, or Candaka, dramatist, 168–70.
Candradāsa, an author, 168.
Candragupta, in the Mudrārākṣasa, 205 ff., 341.
Candragupta II, probable patron of Kālidāsa, 146.
Candraketu, prince of Cakora, 129.
Candraketu, rival of Lava, 191, 200.
Candraçekhara, commentator on the Çakuntalā, 154.
Candravarman, of Lāṭa, 234, 235.
Cāṇūra, slain by Kṛṣṇa, 48, 100, 110.
Captivi, of Plautus, 64.
Cārāyaṇa, a Vidūṣaka, 235, 300.
Cārudatta, hero of the Cārudatta, 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 of n, in Açvaghoṣa’s Prākrits, 86, 87, 88, 121.
Cerebrals, other than ṇ, produce strength of style, 332.
Ceylon, king of, father of Ratnāvalī, 171.
Challenge (utthāpaka), 327.
Chamberlain (kañcukin), 313;
appropriate to the Prahasana, 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 the Samavakāra, 346.
Chess, 256.
Child, mode of address of, 314, n. 2.
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 the Prahasanas and Bhāṇas, 264.
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 the Ḍima, 347;
the Pren̄khaṇa, 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 see Nāṭaka, Nāṭikā, and Prakaraṇa.
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, 315 ff.
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 the Mṛcchakaṭikā, 139, 140.
Courteous, hero, 307.
Courtesans, see Hetaerae.
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).
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