[134] For a general reference see Pañcarātra, i. 1. In a Jain drama like the Moharājaparājaya, the benediction is addressed to the three Tīrthakaras; in the Nāgānanda to the Buddha. [↑]
[135] N. xviii. 10 ff.; DR. iii. 1–34; SD. 278, 433, 510; R. iii. 130 ff. [↑]
[136] Ghanaçyāma’s Navagrahacarita has three acts; Madhusūdana’s Jānakīpariṇaya (A.D. 1705) has four. [↑]
[137] N. xviii. 41 ff.; DR. iii. 35–8; SD. 511 f.; R. iii. 214–18, who gives Kāmadatta as the name of a hetaera drama. [↑]
[138] N. xviii. 57–70; xix. 43 f.; DR. iii. 56–61; SD. 515 f.; R. iii. 249–64. [↑]
[139] N. xviii. 72–6; xix. 44 f.; DR. iii. 66–8; SD. 518; R. iii. 284–8 (type Māyākuran̄gikā). [↑]
[140] N. xviii. 78–82; xix. 43 f.; DR. iii. 51–3; SD. 517; R. iii. 280–4 (type Vīrabhadravijṛmbhaṇa). [↑]
[141] N. xviii. 83–5; xix. 44 f.; DR. iii. 54 f.; SD. 514; R. iii. 229–32 (type Dhanaṁjayajaya). [↑]
[142] N. xviii. 86–9; xix. 45 f.; DR. iii. 64 f.; SD. 519; R. iii. 224–8 (type Karuṇākandala) who differs. [↑]
[143] N. xviii. 93–8; xix. 45 f.; DR. iii. 49 f.; SD. 534–8; R. iii. 268–79 (type Ānandakoça). [↑]