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, alias of Ratnāvalī, 172, 173, 303, 304, 325, 326.
Sahadeva, a Pāṇḍava, 213.
Sajjalaka, a thief, 104.
Salii, 20.
Sāmarāja Dīkṣita, author of the Dhūrtanartaka, 262, 263;
of the Çrīdāmacarita, 247.
Saṁgrāmasiṅha, a prince, 249.
Samiddhārthaka, in the Mudrārākṣasa, 208.
Sāṁkṛtyāyanī, confidante of Vāsavadattā, 173, 175. [389]
Saṁsthāna, in the Cārudatta, 104.
Saṁsthānaka, in the Mṛcchakaṭikā, 131, 132, 133, 134, 136, 140.
Saṁtuṣṭa, a Vidūṣaka, 313.
Samudragupta, Gupta Emperor, horse sacrifice of, 149.
Sānchi, Kathakas on relief at, 30.
Sañjaya, in the Veṇīsaṁhāra, 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 see Hāla.
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.
Sāyaṇa, commentator on the Ṛgveda, 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 the Mudrārākṣasa, 205, 208.
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.
Skandagupta, Emperor, 144.
Slaughter, as an allegorical character, 255.
Slaves (ceṭa), speech of, 87, 141, 336;
in the Prakaraṇa, 346;
as hero and heroine in the Prasthāna, 351.
Softening of hard letters, in Prākrit, 86, 87, 88, 89, 121.
Somadatta, a Nāyaka, 84.
Somadeva, author of the Lalitavigraharājanāṭaka, 243, 248.
Somaçarman, in Cambodia, 29.
Someçvara, Kīrtikaumudī, 248, n. 7.
Somila, see Saumilla.
Song, in relation to the drama, 12, 16, 20, 25, 44, 49, 50, 160, 338, 350, 351.
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 the Vikramorvaçī, 151;
the Çakuntalā, 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.
Stages of the development of the action (avasthā), 297–9.
Stanzas, see Lyric 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;
Bhaṭṭa Nārāyaṇa, 215–19;
Yaçovarman, 221–3;
Murāri, 230, 231;
Rājaçekhara, 236–9;
Kṣemīçvara, 240;
theoretical views of qualities of, 331–3, 334;
see also Gauḍa style, Vaidarbha style.
Styles, dramatic (vṛtti), doctrine of the, 326–9.
Subhadrā, taken away by Arjuna, 268.
Subjunctures, in the episode, 299.
Subrahmaṇya Kavi, author of part of the Mahāvīracarita, 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 the Nāṭyapradīpa, 294.
Sundering of lovers, 323.
Supernatural, 159, 192, and see Wonder.
Surānanda, an ancestor of Rājaçekhara, 231.
Surāṣṭra, speeches used in, 287.
Susa, people of, knew Greek 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.
Swinging, 313;
description of, 234, 238.
Synonyms, free use of, 283.