A
An̄ka, act, 301.
An̄ka, one act play, 268, 295, 296, 347, 348.
An̄kamukha, anticipatory scene, 302.
An̄kāvatāra, continuation scene, 302.
Ajjukā, style of a hetaera, 314.
Atijagatī, metre, appropriate to lively dialogue, 331.
Atidhṛti, metre, appropriate to the pathetic sentiment, 331.
Atibala, outvying, 329.
Attāṇaṁ, in Bhāsa for attāṇaaṁ, 122.
Adaṇḍāraho, in Açvaghoṣa, 88.
Adbhuta, wonder, as a sentiment, 324.
Adbhutadarpaṇa, by Mahādeva, 246, 247.
Adbhutārṇava, by Kavibhūṣaṇa, 345.
Adhikāra, attainment of hero’s purpose, 297.
Adhibala, outvying, 329.
Anargharāghava, by Murāri, 226–31, 344, n. 1, 362.
Anukūla, loyal (hero), 307.
Anukṛti, mimesis, 355, and see Avasthānukṛti.
Anucārikā, king’s attendant, 312.
Anubhāvas, consequents of sentiments, 315.
Anuçāsana Parvan, allusion to drama in, 28.
Anuṣṭubh, metre, 346.
Antarasandhi, nature of, 302, 303.
Anyā, anyastrī, heroine as wife of another, 308.
Aparavaktra, metre, 166.
Apavāritam, confidentially, 304.
Abhijñāna, recognition, as motif, 62.
Abhijñānaçakuntalā, (drama) of Çakuntalā (recognised) by a token of recognition, see Çakuntalā.
Abhidhā, power of denotation, 317.
Abhinayadarpaṇa, by Nandikeçvara, 338, n. 1, 367, n. 1.
Abhinavabhāratī, by Abhinavagupta, 291.
Abhirāmarāghava, 329, n. 1, 344, n. 1.
Abhivyakti, revelation of sentiment, 317.
Abhiṣekanāṭaka, by Bhāsa, 94, 101, 105, 110, 111, 113, 114, 115.
Abhisārikā, type of heroine, 309.
Amātya, minister, 312.
Amṛtodaya, by Gokulanātha, 253, n. 3, 343.
Ambā, style of a go-between, 314.
Ammābhāṇa, by Varadācārya, 263.
Amhāaṁ, genitive plural in Bhāsa, 122.
Amhe, in Kālidāsa, 122.
Ayoga, privation, as form of the erotic sentiment, 323.
Ayyābhāṇa, by Rāmabhadra Dīkṣita, 263.
Arthaprakṛti, elements of the plot, 298, 299.
Arthavyakti, precision of exposition, 331.
Arthaçāstra, Kauṭilīya, 102, 291, n. 2, 334, 364;
whether known by Kālidāsa, 167, n. 6.
Arthāntaranyāsa, a figure, 125.
Arthopakṣepaka, scenes of introduction, 301, 302.
Ardha-Māgadhī, a Prākrit, 74, 87, 122, 141, 219, 336.
Arh, epenthetic vowel in Prākrit of Açvaghoṣa, 88.
Alaṁkāras, poetic figures, 330, 331;
see also Nāṭakālaṁkāra and Nāṭyālaṁkāra.
Alaukika, sentiment as supernatural, 319.
Avataraṇa, entry of performers, 339, and see Ran̄gāvataraṇa.
Avadānaçataka, 43.
Avantikā, a Prākrit, 141.
Avapāta, disturbance, 328, 346.
Avalagita, continuance, 328.
Avaloka, Dhanika’s commentary on the Daçarūpa, 293.
Avasthā, stage of development of the action of the drama, 297–9.
Avasthānukṛti, as nature of drama, 295.
Avasyandita, re-interpretation, 329.
Avimāraka, by Bhāsa, 94, 101, 102, 107, 108, 109, 112, 113, 125, 313.
Açoka, tree, 159, 222, 234, 238.
Açvattha, tree, 96, 213, 214, 215, 217.
Aṣṭādhyāyī, careful preservation of the, 290.
Asatpralāpa, incoherent talk, 329.