[114] Jacobi, GN. 1911, pp. 962 f.; 1912, p. 841 f. [↑]
[115] Jacobi, Bhavisattakaha, pp. 74, 76. Cf. Haranchandra Chakladar, Vātsyāyana (1921). [↑]
[116] N. xvii. 31 ff.; DR. ii. 58–61; SD. 432; R. iii. 299–305. [↑]
[117] Including, of course, persons assuming such rôles, e.g. in the Pratijñāyaugandharāyaṇa and Mudrārākṣasa. For the use of Sanskrit by women, usually in verse, as by Vasantasenā in the Mṛcchakaṭikā, and by inferior characters, see Pischel, Prākrit Grammatik, pp. 31 f. [↑]
[118] R. iii. 300 assigns it as Prākṛta to low persons and Jains. He assigns Apabhraṅça to Caṇḍālas, Yavanas, &c., but admits that others give Māgadhī, &c. [↑]
[119] Grierson, JRAS. 1918, pp. 489 ff. Cf. R. i. 297 which has seven; Çabara, Dramiḷa, Andhraja, Çakāra, Abhīra, Caṇḍāla, foresters. [↑]
[120] Contrast the Aristotelian doctrine as to the use of the lyric choruses; Poetics, 1456 a 25 ff.; G. Norwood, Greek Tragedy, pp. 75–80; Haigh, The Tragic Drama of the Greeks, ch. v, § 6. [↑]
[121] xviii. 117–29; DR. iii. 47 f.; SD. 504–9. On gesture see the Abhinayadarpaṇa of Nandikeçvara, trs. Cambridge, Mass., 1917. R. iii. 236–48 gives other details of the Lāsya from the Çṛn̄gāramañjarī; dialect is allowed in the Saindhava. He follows N. in having Trimūḍhaka as expressing male emotions in smooth words, and has Dvimūḍhaka. [↑]
[122] Lévi, TI. ii. 18 f. For N. xxviii see J. Grosset, Contribution à l’étude de la musique hindoue, Paris, 1888. The hints as to musical accompaniment in Vikramorvaçī iv. and the Gītagovinda are unfortunately largely unintelligible. Cf. also Çivarāma on Nāgānanda, i. 15. [↑]