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].