C
Cāhamāna, Vīsaladeva Vigraharāja, [248].
Caitanya, the saint, [247], [294].
Cakkyars, or Cākyārs, performance of plays by, [371], n. [1].
Cakora, Candraketu, prince of, [129].
Cakrasvāmin, festival of, [266].
Calm, as a character, [254];
hero, [305], [306].
Calm (çānta), sentiment, [324], [332], [351].
Cāmuṇḍā, the goddess, [188], [234].
Cāṇakya, in the Mudrārākṣasa, [62], [205] ff., [341], [344].
Caṇḍabhārgava, curse of, [125].
Caṇḍālas, [99], [133], [336], n. [1], [337].
Caṇḍālī, [99].
Candanadāsa, in the Mudrārākṣasa, [205] ff.
Candanaka, Prākrit used by, [141].
Caṇḍapāla, a king, [234].
Candra, Candraka, or Candaka, dramatist, [168]–70.
Candradāsa, an author, [168].
Candragupta, in the Mudrārākṣasa, [205] ff., [341].
Candragupta II, probable patron of Kālidāsa, [146].
Candraketu, prince of Cakora, [129].
Candraketu, rival of Lava, [191], [200].
Candraçekhara, commentator on the Çakuntalā, [154].
Candravarman, of Lāṭa, [234], [235].
Cāṇūra, slain by Kṛṣṇa, [48], [100], [110].
Captivi, of Plautus, [64].
Cārāyaṇa, a Vidūṣaka, [235], [300].
Cārudatta, hero of the Cārudatta, [104], [116], [131], [132], [133], [134], [135], [136], [137]–40, [306].
Cārvāka, atheist, philosopher, [214], [252].
Caryatides, possibly imitated in the Indian theatre, [355].
Caṣṭana, a Kṣatrapa, [69]. [[376]]
Caste system, denounced by Açvaghoṣa, [80].
Causative, and simple verbal forms, confused in Bhāsa, [120], [121].
Cave, mountain, similarity of theatre to, [358].
Cedi era, [129].
Cerebral sibilants, produce strength of style, [332].
Cerebralization of n, in Açvaghoṣa’s Prākrits, [86], [87], [88], [121].
Cerebrals, other than ṇ, produce strength of style, [332].
Ceylon, king of, father of Ratnāvalī, [171].
Challenge (utthāpaka), [327].
Chamberlain (kañcukin), [313];
appropriate to the Prahasana, [348].
Change of action (parivartaka), [327].
Character drawing, [282];
in Bhāsa, [110];
Mṛcchakaṭikā, [134], [135], [137];
Kālidāsa, [155]–9;
Harṣa, [176], [177];
Bhavabhūti, [193], [194];
Viçākhadatta, [208], [209];
Bhaṭṭa Nārāyaṇa, [215];
Rājaçekhara, [235].
Characters in the drama, [305]–14, [355].
Characteristics of the Sanskrit drama, [276]–88.
Charcoal burners, speech of, [337].
Cheating (chala), [329];
in the Samavakāra, [346].
Chess, [256].
Child, mode of address of, [314], n. [2].
Chinese stage, [360], note [2].
Cistellaria, form of name, [64].
Citramāya (Citramāyu), friend of Rāma, [223].
Citraratha, associated with Indra, [190], [194].
Clay elephants, children play with, [320].
Clearness, of style, [331], [332].
Coarseness of the Prahasanas and Bhāṇas, [264].
Colour of curtain, [359];
dress of actors, [366];
participators in dramatic performances, [35], [36], [37], [366];
sentiments, [324];
Indra’s banner, [369];
pillars of the auditorium, [359].
Combats, in the Ḍima, [347];
the Pren̄khaṇa, [351].
Comedy, Greek, origin of, [39], n. [2];
influence of, on Sanskrit drama, [58]–66.
Comedy, Sanskrit drama deficient in higher forms of, [280], [354], and see Nāṭaka, Nāṭikā, and Prakaraṇa.
Comic dialogue (prapañca), [328].
Comic (hāsya) sentiment, [323], [324], [347], [348]. [351].
Compassion, as a character, [254].
Compensatory lengthening of a vowel, with reduction of consonant groups, in Bhāsa, [121].
Competitions for poets, [286].
Compound letters, produce strength of style, [332].
Compounds, [217], [274], [332], [333];
irregular forms in Bhāsa, [121].
Conclusion (nirvahaṇa) as fifth juncture of the drama, [299].
Concubinage, as an allegorical character, [255].
Confiscation of property of persons dying without heirs, [253].
Conflict in character, un-known to Indian drama, [278], [279].
Confusion, as an allegorical character, [251], [252], [254], [255].
Conjunct consonants, produce strength of style, [332].
Conscience, struggle of, unknown in Sanskrit drama, [279].
Consequents (anubhāva), in dramatic theory, [315] ff.
Construction, immediate, of an object by artificial means (saṁkṣipti), [327].
Contemplation, as an allegorical character, [252].
Contentment, as an allegorical character, [252].
Contest, as essential element of the drama, [45], [278].
Continuance (avalagita), [328].
Continuation scene (an̄kāvatāra), [302].
Contractions, irregular, in Bhāsa’s Sanskrit, [120].
Cora Indians, dramatic ritual of, [18], [19].
Corpse, revival of, as dramatic motif, [259].
Cosmopolitan character, ascribed to the Mṛcchakaṭikā, [139], [140].
Courteous, hero, [307].
Courtesans, see Hetaerae.
Courtiers, where placed in the auditorium, [370].
Courts, as patrons of the drama, [285], [362].
Crassus, Iason and the head of, [59].
Creation of object by magic (vastūtthāpana), [327].
Creeper, Urvaçī transformed into a, [150], [151], [156].
Critique of life, lacking in Sanskrit drama, [160], [195], [196], [197], [280], [281], [354].
Cult, as an allegorical character, [252].
Curse, as a dramatic motif, [125], [153], [157], [158].
Curtain of theatre, [61], [67], [68], [113], n. [1];
colour of, [359] (cf. Elizabethan curtain, with colours varying as in India according to subject, GIL. iii. 177, n. 1). [[377]]