V
Vaaṁ, vayaṁ, ‘we’, in Açvaghoṣa’s and Bhāsa’s Prākrits, 89, 122.
Vaṅçasthā, metre, 123, 142, 166, 185, 203, 212.
Vajrasūcī, by Açvaghoṣa, 80.
Vat, nominative of stems in, 87.
Vatsa, as style of address, 314.
Vannīkāhi, in Açvaghoṣa, 87.
Vayasya, as style of address, 314.
Vara, frequent use of, in Bhāsa, 120.
Varṇānyatva, change of colour or difference of colour, 35.
Varṣadhara, eunuch, 313.
Vasantatilaka, metre, 123, 142, 166, 181, 185, 203, 212, 219, 236, 240, 246, 253, 258, 272.
Vasantatilaka, by Varadācārya, 263.
Vastu, plot, 296–305.
Vastūtthāpana, creation of an object, 327.
Vācika (sentiment), produced by words, 315, n. 1.
Vācikābhinaya, expression by words, 367.
Vāsakasajjā (heroine), in full dress, 309.
Vāsantikasvapna, by R. Kṛṣṇamachari, 251.
Vāsavadattā, by Subandhu, 76.
Vikāsa, expansion of the mind, 320.
Vikramorvaçī, by Kālidāsa, 62, 66, 124, 126, 146, 147, 149–52, 156, 157, 159, 160, 167, 193, 233, 268, 275, 278, 328, 329, 339, n. 1, 342, 343, 350.
Vikrāntaçūdraka, a drama, 129, n. 4.
Vikṣepa, movement to and fro of the mind as connected with sentiment, 320.
Vijayaçrī, by Madana Bālasarasvatī, 256.
Viṭa, parasite, 65, 132, 135, 136, 177, 193, 263, 311, 326, 334, 346, 356.
Vidagdhamādhava, by Rūpa Gosvāmin, 247.
Vidūṣaka, jester, 28, 39, 40, 50, 51, 52, 53, 56, 62, 65, 66, 67, 73, 81, 82, 84, 107, 108, 133, 141, 156, 158, 159, 160, 176, 177, 234, 235, 237, 254, 263, 264, 270, 299, 310, 311, 313, 314, 326, 328, 334, 340, 351, 361.
Vidyā, as a character, 251, 252.
Vidyāpariṇayana, by Vedakavi, 253.
Vidyunmālā, metre, 142.
Viddhaçālabhañjikā, by Rājaçekhara, 232, 234, 235, 300.
Viprayoga, sundering, as form of the erotic sentiment, 323.
Vipralabdhā, deceived (heroine), 309.
Vipralambha, sundering, as form of erotic sentiment, 323.
Vibhāva, determinants of sentiment, 315.
Vibhāṣās, conventional dialects used in drama, 337.
Vimadda, in Açvaghoṣa for vimarda, 89.
Vimarça, fourth juncture of the plot, 299.
Vimoktukāma, irregular form in Bhāsa, 121.
Viya, in Açvaghoṣa, 88.
Virahotkaṇṭhitā, type of heroine, 309.
Vilāsa, vivacity as quality of the hero, 307.
Vilāsikā, a form of drama, 351.
Viveka, discrimination, 251, 252.
Vivekacandra, as allegorical character, 254.
Viṣkambha or Viṣkambhaka, introductory scene, 110, 301, 302. [403]
Viṣṇu Purāṇa, 100.
Visūkadassana, spectacle, 43.
Vistara, expansion of the mind, 320.
Vismaya, astonishment, as basis of sentiment, 323.
Vījanti, irregular form in Bhāsa, 120.
Vītarāgastuti, by Hemacandra, 255.
Vīthī, ‘garland’, 295, 296, 328, 329, 348, 349, 353.
Vīra, heroism as a sentiment, 323.
Vīrabhadravijṛmbhaṇa, 328, n. 3.
Vīravijaya, by Kṛṣṇamiçra, 267.
Vṛttis, dramatic styles, 326–9.
Vṛṣabhānujā, by Mathurādāsa, 257.
Veṇīsaṁhāra, by Bhaṭṭa Nārāyaṇa, 83, 212–9, 300, 304, 326, 328, 340, 344, n. 1, 353, 361.
Vedāntasāra, by Sadānanda, 318, n. 2.
Veṣṭita, stage costumes, 365.
Vaiçika, connoisseur of hetaerae, 307, n. 1.
Vyaktiviveka, by Mahiman Bhaṭṭa, 294.
Vyañjanā, the doctrine of suggestion, 318.
Vyabhicārin, transitory (feelings), 315.
Vyājima, kind of stage properties, 365.
Vyāmiçraka, possible reference to plays, 29.
Vyāyoga, a type of drama, 95, 96, 247, 264–6, 296, 344, 347, 353.
Vyutpatti, aesthetic equipment, 318.
Vyūḍhoras, irregular compound in Bhāsa, 121.