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.
Pañcāla, music of speech of, 287.
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 see Naṭa.
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, see Viṭa.
Pariyātra, use of Bhūtabhāṣā in, 287.
Paronomasia, 238.
Pārçva, a Tīrthakara, 254.
Parthians, invaders of India, 60, and see Pahlava.
Partnership, of actor and singer, 363.
Parvateça, a king, 205 f. [386]
Pārvatī, the goddess, 300, 338, 352;
and the Lāsya dance, 12.
Paçumeḍhra, a student, 227.
Pāçupata, a monk in the Mattavilāsa, 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, in Mṛcchakaṭikā, 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 orgies, 41.
Philostratos, life of Apollonios of Tyana, 59.
Physicians, where placed in the auditorium, 370.
Picture, as dramatic motive, see Portrait.
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 of Itihāsa, 21;
suggestion as to origin of the drama in the puppet play, 52–6;
on the authorship of the Mṛcchakaṭikā, 128;
on Bhāsa and the Sthāpaka, 342.
Pity, as a character, 252.
Plautus, 64.
Play within a play, 303;
in the Priyadarçikā, 173;
the Uttararāmacarita, 191, 192;
the Bālarāmāyaṇa, 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.
Plutarch, on drama in Parthia, 59.
Poetics, 169 and Part III.
Poets, where placed 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 the Mṛcchakaṭikā, 141.
Practice of drama, influenced by theory, 352–4.
Prahasta, ally of Rāvaṇa, 246.
Prahlādanadeva, author of the Pārthaparākrama, 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.
Pramodaka, in the Mudrārākṣasa, 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 the Nāṭaka, 345.
Protagonist, compared to Sūtradhāra, 66.
Proverbial phrases, affected by Bhāsa, 120.
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.