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The Sanskrit drama

Chapter 108: G
By Arthur Berriedale Keith
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About This Book

A scholarly study traces the origins, development, theory, and practice of classical Indian drama written in Sanskrit and Prākrit, examining ritual and Vedic antecedents, the Nāṭyaśāstra’s account of divine origin, and debates prompted by newly discovered early fragments. It analyzes major dramatists and representative plays through the first millennium, outlines technical principles of poetics and stagecraft—such as rasa, characterization, metre, and performance conventions—and distinguishes theoretical prescriptions from later imitative works. The author confines discussion to literary-dramatic traditions, omitting vernacular theatre, and emphasizes how textual confusion in sources complicates but also illuminates understanding of classical dramatic art.

[Contents]

G

Gamblers (dīvyant), language of, 141, 336.

Gambler’s hymn (RV. x. 24), 19.

Gambling, as an allegorical character, 255.

Gaṇadāsa, a dancing-master, 148.

Gandhāra, art of, relation to Greek art, 58.

Gāndhārī, wife of Dhṛtarāṣṭra, 214.

Gandharvas, 17, 23, 40, 100, 112, 339, n. 3;
dress of, 366.

Gaṇeça, propitiated in the preliminaries of the drama, 369.

Gan̄gā, river-goddess, 190, 191, 192, 245.

Gan̄gādhara, author of the Gan̄gadāsapratāpavilāsa, 251.

Garland, see Vīthī.

Garland of Fame, an allegorical character, 254.

Garuḍa, 79, 100, 175, 179.

Gātrasevaka, in the Pratijñāyaugandharāyaṇa, 108.

Gauḍa, or Gauḍī, style, 202, 331, 335.

Gaurī, the goddess, 174, 175, 176, 278.

Gautama, the Vidūṣaka of Agnimitra, 148, 155.

Gay, hero, 305. [379]

Gazelle, magic, in the Rāma legend, 221.

Gedrosians, knew Greek drama, 59.

Geldner, Prof. K., theory of dialogue hymns in Veda, 22, 23.

General (senāpati), exalted hero, 306, 312.

Gentleness, as an allegorical character, 254.

Germ (bīja), as an element of the plot, 298.

Gesture, 279, 338, n. 1, 364, 365, 367.

Ghanaçyāma, author of the Ānandamañjarī, 257.

Ghaṭikāçata, see Kṛṣṇa.

Ghaṭotkaca, son of Bhīma and Hiḍimbā, 95, 106, 109, 111, 213.

Gobaṁ°, a character, 85;
Prākrit used by, 86, 87.

Godāvarī, river goddess, as a character, 245.

Gods, as heroes of the Ḍima, 347;
in the Samavakāra, 346;
dress of, 366;
characteristics of, 260.

Goethe, views of, on Kālidāsa, 160, 280.

Goha, in the Mṛcchakaṭikā, 136.

Gokulanātha, author of the Amṛtodaya, 253, n. 3, 343.

Good Conduct, as an allegorical character, 254.

Gopāla, father of Āryaka, 129.

Gopāla, patron of Kṛṣṇamiçra, 251.

Gopīnātha Cakravartin, author of the Kautukasarvasva, 262.

Gopīs, cowherdesses, loved by Kṛṣṇa, 40, 274.

Gorī Īsapa, a Mahomedan, 250.

Graceful (kaiçikī) manner, 326, 327, 346, 347, 349, 350.

Graces, of the heroine, 310.

Grammarians, evidence of, as to drama, 31–6.

Grammatical, peculiarities, in Sanskrit, 85, 86;
in Prākrit, 86–9, 121, 122.

Grandeur, 195, 196.

Great Dionysia, plays produced at, 66.

Greece, absence in the main of female dramatists, 288.

Greek astrology, known to Kālidāsa, 146.

Greek drama, compared with Indian, 276, 277, 279, n. 2, 280, 281, 311;
origin of, 37–39;
stage for, 360.

Greek influence on the Sanskrit drama, 57–68, 355, 356.

Guards, present in the auditorium, 370.

Guha, a forest chief, 228.

Guha, son of Çiva, 170.

Guhasena, of Valabhī, 275.

Guhyakas, propitiated in the preliminaries, 339, n. 3.

Guildsmen, or rich merchants (çreṣṭhin), language of, 87, 141, 336.

Guṇabhara, epithet of Mahendravikramavarman, 182.

Guṇāḍhya, author of the Bṛhatkathā, 52, 102.

Guptas, dynasty, 60, 144, 281, 334;
of Magadha, 212.