The Sanskrit Drama in Its Origin, Development, Theory & Practice

Voorkant
Motilal Banarsidass Publ., 1992 - 405 pagina's
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Inhoudsopgave

THK ORIGIN OF THE SANSKRIT DRAMA
12
PostVedic Literature and the Origin of the Drama
28
Acvaghosa and the Buddhist Drama
80
Bhasa
90
The Precursors of Kalidasa and Cudraka i The Precursors of Kalidasa
127
The Authorship and Age of the Mrcchakatika
128
The Mrcchakatika
131
The Prakrits
140
The Three Plays
187
Bhavabhutis Dramatic Art and Style
192
The Language and the Metres
203
Vic akhadatta and Bhatta Narayana 1 The Date of Vicakhadatta
204
The Mudraraksasa 75 181 182 186 187 192 203 204 205 3 The Language and the Metres of the Mudraraksasa
211
The Date of Bhatta Narayana
212
The Language and the Metres of the Venisarhhara
219
Murari Rajacekhara their Predecessors and Successors 1 The Predecessors of Murari
220

The Metres
142
Kalidasa i The Date of Kalidasa
143
The Three Dramas of Kalidasa
147
Kalidasas Dramatic Art
155
The Style
160
The Language and the Metres
166
Candra Harsa and Mahendravikramavarman 1 Candra or Candraka
168
The Authorship of the Dramas ascribed to Harsa
170
The Three Dramas
171
Harsas Art and Style
176
The Language and the Metres of Harsas Dramas
181
Mahendravikramavarman
182
Bhavabhuti
185
The Date of Bhavabhuti
186
Murari
222
The Anargharighava 4 The Date of Rajacekhara
232
The Dramas of Rajacekhara
238
Bhimata and Ksemlcvara
240
The Decline of the Sanskrit Drama
242
The Characteristics and Achievement of the Sanskrit
276
The Theory of the Dramatic
290
The Indian Theatre
358
220
373
225
374
239
375
Sanskrit Index
394
Copyright

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Pagina 15 - If we suppose that this dialogue was repeated at sacrifices in honour of the Maruts, or that possibly it was acted by two parties, one representing Indra, the other the Maruts and their followers, then the two verses in the beginning and the three at the end ought to be placed in the mouth of the actual sacrificer, whoever he was.
Pagina 23 - When we leave out of account the enigmatic dialogues of the Rgveda, we can see that the Vedic ritual contained within itself the germs of drama, as is the case with practically every form of primitive worship. The ritual did not consist merely of the singing of songs or recitations in honour to the Gods ; it involved a complex round of ceremonies in some of which there was undoubtedly present the element of dramatic representation

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