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The Sanskrit drama

Chapter 132: Ā
By Arthur Berriedale Keith
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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]

Ā

Ākāçabhāṣita, a voice in the air, 303, 348.

Ākhyāna, theory of certain Vedic hymns, 21–3. [395]

Ākhyāyikā, romance, 76.

Ān̄gikābhinaya, expression by gesture, 367, 368.

Āṇi, āni, and ā in neuter plural of a-stems, 87, 122.

Ātmagatam, aside, 304.

Ādhikārika, principal (action), 297.

Ānandakoça, a farce, 260, n. 3, 348, n. 1.

Ānandamañjarī, by Ghanaçyāma, 257.

Ābhīrī, speech, 337.

Āma, in assertions in Bhāsa, 120.

Āmukha, introduction, 328, 340.

Āyāraṁga Sutta, 44, n. 2.

Āyukta, attendants, 312.

Āyuṣmant, as style of the king, 314.

Ārabhaṭī, violent (manner), 326, 327, 328.

Ārambha, voice testing by chorus, 339.

Ārambha, first stage of development in drama, 297.

Ārttha, in Açvaghoṣa for artha, 85.

Āryaputra (ajjaüttā), style of a husband, 314.

Āryā (ajjā), style of a wife, 314.

Āryā, metre, 124, 142, 167, 181, 185, 203, 212, 258;
appropriate to the erotic sentiment, 331.

Ālambana, fundamental determinants of sentiment, 315.

Āvantī, a Prākrit, 141, 333.

Āçcaryamañjarī, by Çaktibhadra (BSOS. III. i. 116 f.), 371, n. 2.

Āçrāvaṇā, trying of instruments, 339.

Āsīna, a kind of recitation, 338.

Āhi, as instrumental in Açvaghoṣa’s Prākrit, 87.