S
Sadānanda, Vedāntasāra, syncretism in, [318], n. [2].
Sādhuhiṅsika, a chief of police, [262].
Saffron, in Kashmir, [144].
Sāgara, and the rivers, [245], [246].
Sāgarikā, alias of Ratnāvalī, [172], [173], [303], [304], [325], [326].
Sahadeva, a Pāṇḍava, [213].
Sajjalaka, a thief, [104].
Salii, [20].
Sāmarāja Dīkṣita, author of the Dhūrtanartaka, [262], [263];
of the Çrīdāmacarita, [247].
Saṁgrāmasiṅha, a prince, [249].
Samiddhārthaka, in the Mudrārākṣasa, [208].
Sāṁkṛtyāyanī, confidante of Vāsavadattā, [173], [175]. [[389]]
Saṁsthāna, in the Cārudatta, [104].
Saṁsthānaka, in the Mṛcchakaṭikā, [131], [132], [133], [134], [136], [140].
Saṁtuṣṭa, a Vidūṣaka, [313].
Samudragupta, Gupta Emperor, horse sacrifice of, [149].
Sānchi, Kathakas on relief at, [30].
Sañjaya, in the Veṇīsaṁhāra, [214], [217].
Sanskrit, Çakas and, [69]–72;
of Açvaghoṣa, [85], [86];
Kālidāsa, [166];
Harṣa, [181];
Kṛṣṇamiçra, [243], [244];
Yaçaḥpāla, [255];
and Prākrit, [243], [244], [255], [273], [282], [283], [287], [333], [335], [336].
Saramā and the Paṇis, legend of, [14], [19], [21].
Sāraṇa, a spy, [229].
Sārasvata school of grammarians, [145], n. [2].
Sarayū, river, [245].
Sātavāhana, [129], [333], and see Hāla.
Satyabhāmā, in the Kṛṣṇa legend, [48].
Satyācāra, a Brahmin, [262].
Saudāminī, pupil of Kāmandakī, [62], [188], [193].
Saumilla, Somila, a dramatist, [91], [127], [129], [147].
Sāyaṇa, commentator on the Ṛgveda, [15], [268].
Scenes of introduction (arthopakṣepaka), [301], [302].
Schroeder, Prof. L. von, theory of origins of drama, [16]–21.
Secular origin of the drama, [49]–57.
Self-sacrifice in Harṣa, [177], [278];
in Bhavabhūti, [195].
Senex, of Greco-Roman comedy, [65].
Sense, figures of (arthālaṁkāra), [331].
Sentiment, produced by drama, [12], [296], [314]–26, [334], [335], [366], [368];
in relation to types of drama, [346]–51;
in connexion with the qualities of style, [332];
blending of, [169].
Servants (ceṭa), speech of, [87], [141], [336];
kind of names of, [313].
Servus currens, of Greco-Roman drama, [65].
Seven vices, banished, [255].
Shadow plays, and dramatic origins, [53]–7; [269], [270], [351].
Shakespeare of India, Kālidāsa as, [160].
Shameless, hero, [307].
Shamsu-d-din, probable original of Hammīra, [249], n. [1].
Shaw, Bernard, stage directions in plays of, [366].
Sibilants, treatment of, in Açvaghoṣa, [86], [87], [88];
in Bhāsa, [122];
in Bhaṭṭa Nārāyaṇa, [219].
Siddhārthaka, in the Mudrārākṣasa, [205], [208].
Simple, and causative verbal forms, confused, in Bhāsa, [120], [121].
Simplicity of Indian theatrical apparatus, [50], [358]–60.
Siṅha, lord of Lāṭa, [249].
Siṅhana (Sin̄ghaṇa, Siṅhaṇa), the Yādava, [249].
Siṅhaviṣṇuvarman, a Pallava king, [182].
Siparium, in Roman mime, [67].
Sītā, wife of Rāma, [30], [42], [52], [63], [100], [101], [105], [110], [115], [119], [189], [190], [191], [192], [194], [195], [197], [199], [218], [219], [224], [227], [228], [229], [233], [243], [244], [270], [271], [279], [281], [303], [328], [329].
Sītābengā cave, [54], [67], [89].
Skandagupta, Emperor, [144].
Slaughter, as an allegorical character, [255].
Slaves (ceṭa), speech of, [87], [141], [336];
in the Prakaraṇa, [346];
as hero and heroine in the Prasthāna, [351].
Softening of hard letters, in Prākrit, [86], [87], [88], [89], [121].
Somadatta, a Nāyaka, [84].
Somadeva, author of the Lalitavigraharājanāṭaka, [243], [248].
Somaçarman, in Cambodia, [29].
Someçvara, Kīrtikaumudī, [248], n. [a]7].
Somila, see Saumilla.
Song, in relation to the drama, [12], [16], [20], [25], [44], [49], [50], [160], [338], [350], [351].
Sorrow (çoka), as the basis of the pathetic sentiment, [323].
Sound, figures of (çabdālaṁkāras), [331].
Sound effects, in Bhavabhūti, [202], [203];
Bhaṭṭa Nārāyaṇa, [218];
Murāri, [230];
Rājaçekhara, [236].
South Indian recension, of the Vikramorvaçī, [151];
the Çakuntalā, [154], [155].
Spectators, [35]–7, [369]–71;
relation to actors, [316], [317], [318], [320], [321], [322].
Spirit, as an allegorical character, [251].
Stage, [359];
matters excluded from representation on, [300], [301].
Stage directions, [86], [113], [364], [366].
Stage properties, [365], [366].
Stages of the development of the action (avasthā), [297]–9.
Stanzas, see Lyric Stanzas.
Sthāvaraka, servant of Saṁsthānaka, [141].
Strength (ojas), of style, [331].
Struggle of conscience, unknown in the Sanskrit drama, [279].
Style, of Bhāsa, [114]–20;
Mṛcchakaṭikā, [[390]][136]–9;
Kālidāsa, [160]–5;
Harṣa, [177]–81;
Mahendravikramavarman, [185];
Bhavabhūti, [196]–203;
Viçākhadatta, [209]–11;
Bhaṭṭa Nārāyaṇa, [215]–19;
Yaçovarman, [221]–3;
Murāri, [230], [231];
Rājaçekhara, [236]–9;
Kṣemīçvara, [240];
theoretical views of qualities of, [331]–3, [334];
see also Gauḍa style, Vaidarbha style.
Styles, dramatic (vṛtti), doctrine of the, [326]–9.
Subhadrā, taken away by Arjuna, [268].
Subhaṭa, dramatist, [55], [269].
Subjunctures, in the episode, [299].
Subrahmaṇya Kavi, author of part of the Mahāvīracarita, [192].
Subterranean passages, referred to, [206], [234].
Sudarçanā, wife of the king of Kāçi, [101], [110].
Sudeṣṇā, wife of Virāṭa, [63].
Suggestion, in poetry, [276], [277], [318], [322];
in Kālidāsa as opposed to Bhavabhūti, [161].
Sugrīva, brother of Vālin, [100], [105], [190], [194], [228], [229], [245], [246], [297], [308], [327].
Suicide, motif, [107].
Sumeru, description of, [229].
Sumitrā, mother of Jayadeva, [242].
Sundaramiçra, author of the Nāṭyapradīpa, [294].
Sundering of lovers, [323].
Supernatural, [159], [192], and see Wonder.
Surānanda, an ancestor of Rājaçekhara, [231].
Surāṣṭra, speeches used in, [287].
Susa, people of, knew Greek dramas, [59].
Susaṁgatā, confidante of Ratnāvalī, [172], [176], [303], [325], [326].
Sūtas, slain by Bhīma, [97], n. [1].
Suvarṇākṣī, mother of Açvaghoṣa, [80].
Suvarṇaçekhara, on the Ganges, [257].
Suvega, a spy, [249].
Svayambhū, creator of the pigments, [369].
Swāng of North-West India, [273].
Sweetness of style, [331], [332].
Swinging, [313];
description of, [234], [238].
Synonyms, free use of, [283].