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].