P
Padmacandra, father of Yaçaçcandra, [260].
Padmagupta, cited by Dhanika, [293].
Padmāvatī, a heroine, [103], [107], [113], [125], [220].
Padmāvatī, place, [186].
Pahlavas, colour of, [366].
Painting, of actors’ faces, [37], [366].
Pālaka, king of Ujjayinī, [129], [133].
Palatal sibilants, produce strength of style, [332].
Pañcāla, music of speech of, [287].
Pañcālas, colour of, [366].
Pāṇḍavas, [95], [96], [97], [266], [270].
Panegyrists, where placed in the auditorium, [370].
Pāṇini, the drama in, [31];
his position in grammatical literature, [290].
Paṇis and Saramā, dialogue of, [14], [19], [21].
Pantomime, [58], [258], [275], [351], and see Naṭa.
Pāpācāra, a bad king, [263].
Paramardideva, of Kālañjara, [265].
Paraçurāma, [96], [189], [194], [228], [233], [245], [271], [302], [319], [323], [327].
Parasite, in Greco-Roman drama, [65];
in Indian drama, see Viṭa.
Pariyātra, use of Bhūtabhāṣā in, [287].
Paronomasia, [238].
Pārçva, a Tīrthakara, [254].
Parthians, invaders of India, [60], and see Pahlava.
Partnership, of actor and singer, [363].
Parvateça, a king, [205] f. [[386]]
Pārvatī, the goddess, [300], [338], [352];
and the Lāsya dance, [12].
Paçumeḍhra, a student, [227].
Pāçupata, a monk in the Mattavilāsa, [184].
Pāçupatas, a Çaiva sect, [42].
Patañjali (B.C. 150), the grammarian, [32]–5, [52], [71], [72], [77], [98].
Pathak, Prof. K. B., on date of Kālidāsa, [144].
Pathos, in Mṛcchakaṭikā, [136];
in Kālidāsa, [159], [161];
in Bhavabhūti, [193], [195];
as a sentiment, [319], [323], [324], [325], [348];
metre and style appropriate to, [331], [332].
Patience, as an allegorical character, [252].
Pause (vimarça), the fourth juncture of the drama, [299].
Persians, alleged to have knowledge of Greek tragedy, [59].
Phallic dances, as sources of drama, [16].
Phallic orgies, [41].
Philostratos, life of Apollonios of Tyana, [59].
Physicians, where placed in the auditorium, [370].
Picture, as dramatic motive, see Portrait.
Piety, as an allegorical figure, [252].
Pigments, mingling of, [369].
Pillars, as marking off places in the auditorium, [359].
Piçācas, demons, hair of, [366].
Pischel, Prof. Richard, theory of Itihāsa, [21];
suggestion as to origin of the drama in the puppet play, [52]–6;
on the authorship of the Mṛcchakaṭikā, [128];
on Bhāsa and the Sthāpaka, [342].
Pity, as a character, [252].
Plautus, [64].
Play within a play, [303];
in the Priyadarçikā, [173];
the Uttararāmacarita, [191], [192];
the Bālarāmāyaṇa, [233].
Pleasantry (narman), as part of the graceful manner, [326].
Pleasure, as connected with the primitive drama, [50];
as a characteristic of the classical period of the Sanskrit drama, [284];
supernatural character of aesthetic, [318], [319], [320], [321].
Plot, [277], [296]–305, [355].
Plutarch, on drama in Parthia, [59].
Poetics, [169] and Part III.
Poets, where placed in the auditorium, [370].
Police officials (nāgaraka), speech of, [141], [336].
Polity, as an allegorical character, [254].
Portraits, as dramatic device, [154], [174], [257], [303], [326].
Poverty, evils of, [137].
Pṛthu, father of Viçākhadatta, [204].
Pṛthvīdhara, on Prākrits of the Mṛcchakaṭikā, [141].
Practice of drama, influenced by theory, [352]–4.
Pradyota Mahāsena, [102], [130].
Prahasta, ally of Rāvaṇa, [246].
Prahlādanadeva, author of the Pārthaparākrama, [83], n. [1], [247], [264], [265], [341], n. [1].
Prākrits, [40], [46], [50], [58], [243], [273], [275], [287], [301], [302], [311], [333], [336]–8;
evidence of, as to origin of drama, [72]–5;
of Açvaghoṣa, [86]–9;
Bhāsa, [121], [122];
Mṛcchakaṭikā, [140]–2;
Kālidāsa, [161], [166];
Harṣa, [181];
Mahendravikramavarman, [185];
Bhavabhūti, [203];
Viçākhadatta, [211], [212];
Bhaṭṭa Nārāyaṇa, [219];
Rājaçekhara, [236];
Kṣemīçvara, [240];
Yaçaḥpāla, [256].
Prākrit drama. [65], [66], [69]–72, [236], [257];
translation of Prākrit passages into Sanskrit, [337].
Prākrit Kāvya, later than Sanskrit Kāvya, [71], [77].
Prākrit stanzas, [253].
Pralamba, a demon, [48], [99].
Pramodaka, in the Mudrārākṣasa, [206].
Pratāparudra, of Warangal, [293].
Pratiṣṭhāna, [129].
Preliminaries, of the drama, [51], [66], [111], [339]–44, [368], [369].
Previous birth, influence on ability to write poems, [288].
Privation, as an aspect of love, [323].
Priyadarçikā, a heroine, [173], [174].
Priyaṁvadā, friend of Çakuntalā, [153], [159].
Problems of life, ignored in Sanskrit drama, [160], [195], [196], [197], [280], [281], [354].
Progression (pratimukha), as the second juncture, [298], [299].
Prologue, [66], [111], [114], [239], [339]–44, [369].
Pronominal forms, in Açvaghoṣa’s and Bhāsa’s Prākrits, [87], [122].
Propitiation (prarocanā), [328].
Prose, [23], [50], [51], [58], [73], [76], [202], [337];
narrative style, [273];
simple in the Nāṭaka, [345].
Protagonist, compared to Sūtradhāra, [66].
Proverbial phrases, affected by Bhāsa, [120].
Public, dramas and, the, [370], [371].
Pulindas, a people, colour of, [366].
Puṇyaketu, a character, [254], [255].
Puppet play, relation to drama, [52], [53].
Purūravas, a hero, [14], [22], [62], [149], [151], [156], [157], [233]. [[387]]
Puruṣamedha, [25].
Puruṣottama, name confused with that of Purūravas, [150];
celebrated, [240].
Puṣpaka, car, [101].
Puṣyagupta, described as a Rāṣṭriya, [69].
Puṣyamitra, a king, [149].
Pūtanā, demoness killed by Kṛṣṇa, [99].