2 Cf. Peterson, Subhāṣitāvali, pp. 38 f.; Keith, Indian Logic, pp. 33 f. The verses common to the play and the Mahānāṭaka are clearly not evidence of prior date, despite Lévi, TI. ii. 48; Konow, ID. p. 88. He is later than Murāri; Hall’s (DR. p. 36 n.) suggested reference to Jayadeva in comm. on DR. ii. 10 is incorrect. He is known to R. (c. A.D. 1330), iii. 171 f., and the Çārn̄gadharapaddhati. ↑
20 Ed. Gaekwad’s Oriental Series, no. x, 1920. On the merits of Vastupāla see also Arisiṅha’s Sukṛtasaṁkīrtana and Someçvara’s Kīrtikaumudī. ↑
21 Usually Sin̄ghaṇa or Siṅhaṇa. Cf. Bhandarkar, Report (1907), pp. 15 ff., who equates Mīlacchrīkāra with Shamsu-d-din (1210–35). ↑
22 We hear of a Rājarājanāṭaka performed annually in a temple of Çiva by order of the Cola Rājarāja I of Tanjore in the eleventh century, but of its content we know nothing; H. Krishna Sastri in Ridgeway’s Dramas, &c., p. 204. ↑
26 Ed. Bombay, 1898; trs. J. Taylor, Bombay, 1893. Cf. J. W. Boissevain, Prabodhacandrodaya, Leiden, 1905. ↑
27 Ed. Kāñcī, 1914; trs. K. Narayanacharya and D. Raghunathaswamy Iyengar, vol. i. Srirangam, 1917. ↑
29 Ed. KM. 1893. Another imitation is the Amṛtodaya of Gokulanātha, Haraprasād, Report (1901), p. 17. ↑
30 Ed. KM. 1891. For the author of the Vidyāpariṇayana (Vedakavi, nominally Ānandarāya) see KM. xliv. Pref. p. 9. ↑
35 Ed. KM. 1895. The late Mṛgān̄kalekhā of Viçvanātha son of Trimaladeva, is summarized in Wilson, ii. 390 f. ↑
36 Hultzsch, Reports, no. 2142. He wrote a Nāṭaka, a Bhāṇa, a Prahasana, and the Ḍamaruka in ten Alaṁkāras; Madras Catal. xxi. 8403 ff. ↑
71 Bikaner Catal., p. 251. It is trs., Gray, JAOS. xxxii. 59 ff. The play borrows from the Bālarāmāyaṇa (ix. 58 f. = verses 52 f.), and the Mahānāṭaka. ↑
74 For the slightly different legend of Madhusūdana—current in Bengal—see SBAW. 1916, pp. 704 ff. The number of verses varies greatly in the manuscripts. The apparent citation by name in DR. comm. ii. 1 is only in some manuscripts. ↑
75 Lüders’s attempt to read, in Madhusūdana’s recension only, saubhyāḥ, shadow players, is clearly absurd; ZDMG. lxxiv. 142, n. 3. ↑
79 The Swāng, unlike the play, is metrical throughout; R. C. Temple, Legends of the Panjab, I. viii, 121. ↑