I
Iason, actor, [59].
Idealism of Sanskrit drama, [276].
Illuminator (dīpaka), a figure of speech, [331].
Imitation, of Açvaghoṣa (Buddhacarita, xiii. [60]), by Bhāsa, [118].
of Bhāsa, by Kālidāsa, [124]–6;
by Bhavabhūti, [187], n. [2];
in the Mṛcchakaṭikā, [131], [140].
of Kālidāsa, by Harṣa, [175], [176];
by Bhavabhūti, [193].
of the Mṛcchakaṭikā (wrongly questioned in JRAS., 1923, p. 592), by Viçākhadatta, [208].
Incident (prakarī), [297], [298], [299].
Incoherent talk (asatpralāpa), [329].
Indian philosophy, the product of the Brahmins, [276].
Individuality, of characterization, not aimed at in Sanskrit drama, [282], [353].
Indra, dialogues introducing, [14], [15], [19];
monologue of drunken, [18], [19];
referred to, [267], [303].
Indra’s banner, origin of drama in festival of, [41], [369].
Indra III, Rāṣṭrakūṭa, [239].
Infinitive, form of, in Açvaghoṣa, [87].
Internal junctures, see Antarasandhi.
Interval of time, between Acts, [301].
Intoxication (mada), as a dramatic motif, [303].
Introduction (āmukha), [328].
Invention of the poet, when allowed, [277], [296], [297], [346], [348], [349].
Ionian, equivalent to Greek, and also used more widely, [61].
Irāvatī, a queen, in the Mālavikāgnimitra, [148], [149], [155], [157].
Irony, in Bhāsa, [119];
in Bhavabhūti, [192], n. [1], [194].
Irregularities of Sanskrit, in Açvaghoṣa, [85], [86];
in Bhāsa, [120], [121].
Īçvarasena, an Ābhīra prince, [129].