WeRead Powered by ReaderPub
The Sanskrit drama cover

The Sanskrit drama

Chapter 123: T
By Arthur Berriedale Keith
Open in WeRead

Explore more books like this:

History - OtherPlays/Films/Dramas

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]

T

Tāḍakā, a demoness, 227.

Ṭakkas, use of Apabhraṅça by, 287.

Tales, close connexion of, with the drama, 76, 258, and see Kathāsaritsāgara.

Tamasā, river, goddess, as a dramatic character, 191, 202.

Tantras, 42.

Tantumatī, mother of Murāri, 225.

Tārā, wife of Vālin, 105.

Tarala, an ancestor of Rājaçekhara, 231.

Tārkṣya, 267.

Tears, of the auditor, 321, 368.

Technique, of Açvaghoṣa, 82–5;
Bhāsa, 110–14;
Kālidāsa, 126, 160;
Yaçovarman, 222, 223;
Rājaçekhara, 239;
Prahlādanadeva, 265;
certain irregular dramas, 270–5;
according to the writers on theory, 296–305.

Tejaḥpāla, brother of Vastupāla, 248, 249, 250.

Ten qualities of style, 331, 332.

Ten stages of love, 323.

Ten types of drama, 345–9.

Terror (bhaya), as the basis of the sentiment of terror, 323.

Terror, sentiment of, 192, 278, 324, 325, 332.

Thārāpadra, 254.

Theatre, buildings, 67, 358–60.

Theft, as an allegorical character, 255.

Theories of the Secular Origin of the Drama, 49–57.

Theory of the drama, 290–351;
influence of, on dramatic practice, 352–4;
possible influence of Aristotle on, 355, 356.

Tibet, drama in, 44.

Tiger, escape of, as dramatic motif, 188, 193.

Time, of performance of plays, 369;
unity of, 64, 65, 301, 355.

Tīrthakaras, invocation of the, 254.

Ṭodar Mall, Akbar’s minister, 247.

Tradition, as the fifth Veda, 12, 13.

Traditional account of the origin of Sanskrit drama, 12, 13;
of dramatic theory, 290.

Tragedy, 38, n. 2, 278, 280, 345, 354.

Trailokyavarmadeva, of Kālañjara, 266.

Transitory (vyabhicārin), feelings, 315.

Transmigration, as explaining sensibility to poetry, 322.

Transverse, curtain, 113, n. 1, 359.

Travaṇas, speech of people of, 287.

Triads, Bhāsa’s fondness for, 111.

Tribhuvanapāla, of Aṇahilapāṭaka, 269.

Triple explanation (trigata), 328.

Tukkojī, 257.

Tumultuous action or disturbance (avapāta), 328, 346.

Tun̄gabhadrā, river, as a dramatic character, 245.

Tuñjina, of Kashmir, patron of Candraka, 168.

Turfan, fragments of Buddhist dramas, 80.

Twelve stages of love, 323, n. 2.

Types of drama, 345–51. [391]

Typical, not individual, characters, found in Sanskrit drama, 282, 353.