I
Iason, actor, 59.
Idealism of Sanskrit drama, 276.
Illuminator (dīpaka), a figure of speech, 331.
Imitation, of Açvaghoṣa (Buddhacarita, xiii. 60), by Bhāsa, 118.
of Bhāsa, by Kālidāsa, 124–6;
by Bhavabhūti, 187, n. 2;
in the Mṛcchakaṭikā, 131, 140.
of Kālidāsa, by Harṣa, 175, 176;
by Bhavabhūti, 193.
of the Mṛcchakaṭikā (wrongly questioned in JRAS., 1923, p. 592), by Viçākhadatta, 208.
Incident (prakarī), 297, 298, 299.
Incoherent talk (asatpralāpa), 329.
Indian philosophy, the product of the Brahmins, 276.
Individuality, of characterization, not aimed at in Sanskrit drama, 282, 353.
Indra, dialogues introducing, 14, 15, 19;
monologue of drunken, 18, 19;
referred to, 267, 303.
Indra’s banner, origin of drama in festival of, 41, 369.
Indra III, Rāṣṭrakūṭa, 239.
Infinitive, form of, in Açvaghoṣa, 87.
Internal junctures, see Antarasandhi.
Interval of time, between Acts, 301.
Intoxication (mada), as a dramatic motif, 303.
Introduction (āmukha), 328.
Invention of the poet, when allowed, 277, 296, 297, 346, 348, 349.
Ionian, equivalent to Greek, and also used more widely, 61.
Irāvatī, a queen, in the Mālavikāgnimitra, 148, 149, 155, 157.
Irony, in Bhāsa, 119;
in Bhavabhūti, 192, n. 1, 194.
Irregularities of Sanskrit, in Açvaghoṣa, 85, 86;
in Bhāsa, 120, 121.
Īçvarasena, an Ābhīra prince, 129.