[43] xii. p. 178. Drama is alluded to in Divyāvadāna, pp. 357, 360, 361. [↑]
[44] Schiefner, IS. iii. 483, Indian Tales, pp. 236 ff. [↑]
[46] E. Schlagintweit, Buddhism in Tibet, p. 233; JASB. 1865, p. 71. Ridgeway’s Dramas, &c., ignores Tibet. For similar Chinese performances, see Annales Guimet, xii. 416 f. [↑]
[47] Āyāraṁga Sutta, ii. 11. 14; Rājapraçnīya, IS. xvi. 385. The love of the Indians for song and dance is recorded by Greek tradition; Arrian, Anabasis, vi. 2. [↑]
[48] Unfortunately the date of this change of view is uncertain. No early Jain drama is certainly recorded. A number of mediaeval works have recently been printed; see E. Hultzsch, ZDMG. lxxv. 59 ff. [↑]
[49] JA. sér. 9, xix. 95 ff. If this had been the case, one would have found references freely to the literature in Hāla, where only v. 344 alludes to the Pūrvaran̄ga of the Nāṭaka (raiṇāḍaapuvvaraṁgassa). [↑]
[50] The Origin of Tragedy (1910); Dramas and Dramatic Dances of non-European Races (1915); JRAS. 1916, pp. 821 ff.; Keith, JRAS. 1916, pp. 335 ff.; 1917, pp. 140 ff. G. Norwood (Greek Tragedy, pp. 2 f.) rejects Ridgeway’s view for Greece, and see Keith, JRAS. 1912, pp. 411 ff. [↑]
[51] Drama, &c., p. 129 asserts this as the view of ‘the best authorities’; very wisely he does not refer to these amazing authorities. Cf. E. Arbman, Rudra (Uppsala, 1922); Keith, Indian Mythology, pp. 81 ff. [↑]