1. Bibiliography of Sanskrit Drama Williams Jackson

UNIVERSAL LIBRARY OU_168350 LIBRARY UNIVERSAL

A BIBLIOGRAPHY

OF THE

SANSKRIT DRAMA

COLUMBIA UNIVERSITY

INDO-IRANIAN SERIES

EDITED BY

A. V. WILLIAMS JACKSON

PROFESSOR OF INDO-IRANIAN LANGUAGES IN COLUMBIA UNIVERSIJY

VOLUME III

New York THE COLUMBIA UNIVERSITY PRESS THE MACMILLAN COMPANY, AGENTS 66 FIFTH AVENUE

1906

All rights reserved

A BIBLIOGRAPHY

OF THE

SANSKRIT DRAMA

WITH AN

INTRODUCTORY SKETCH OF

THE DRAMATIC LITERATURE OF INDIA

BY

MONTGOMERY SCHUYLER, JR., A.M.

SFCRETARY OF LEGATION AND CONSUL-GENERAL OF THE UNITED STATES TO SIAM SOMETIME FELLOW IN INDO-IRANIAN LANGUAGES IN COLUMBIA UNIVERSIJY

1754 COLUMBIA UNIVERSITY 1893 PRESS

IN.LITTERIS.LIBERTAS

New York

THE COLUMBIA UNIVERSITY PRESS THE MACMILLAN COMPANY, AGENTS 66 FIFTH AVENUE

1906

All rights reserved

COPYRIGHT 1906, BY

THE MACMILLAN COMPANY

Set up and electrotyped. Published April, 1906

PRESS OF THE NEW ERA PRINTING COMPANY LANCASTER PA.

TO

PROFESSOR A. V. WILLIAMS JACKSON

MY FRIEND AND TEACHER

To make future editions of the bibliograpny more nearly complete and accurate, all persons observing errors or omissions are requested to communicate them to the editor of this series, A. V. Williams Jackson, Columbia University, New York, who will gratefully acknowledge all such assistance.

vi

PREFACE

It has long been desirable that students of Sanskrit literature should have as complete a catalogue as possible of all Hindu authors and their writings, in order that they might be able to tell at a glance how many manuscripts of each work are known, how many editions and translations have been made, and what has been written concerning them. It is the purpose of the present volume to fill this need for the Sanskrit drama. The material here pre- sented has been collected for several years, but unforeseen circum- stances have delayed the publication long beyond the time origi- nally proposed, although some portions of the work have already appeared in print.1 In a book of this character it is practically impossible to secure absolute completeness, and this is especially true of lists of manu- scripts, since new catalogues of collections both in India and in Europe are constantly being published.2 Many titles of earlier editions and of the older ancillary literature, morcover, were acces- sible to me only in catalogues of various descriptions, frequently compiled with scant regard to bibliographical accuracy and by no means complete. The conditions under which I labored precluded the possibility of access to all the actual manuscripts and cditions, and I was therefore obliged to cite a large number of entries at second or even at third hand. Absolute fidelity to the original titles has consequently been denied me, and-a far more serious matter -it has only too often proved impossible for me to secure the pagination and other details of very practical import for Sans- kritists. Even when the volumes were at hand, however, I did

1 In JAOS. 22 (1901), pp. 237-248; 23 (1902), pp. 93-103; 25 (1904), pp. 189-196 ; Verhandlungen des 13. internationalen Orientalisten-Kongresses (1902), Leiden, 1904, pp. 33-37. ' In fact, IIz. 3 and IO. 7 were received while the volume was passing through the press, and the references to these were added in the proofs by Mr. Haas. vii

viii PREFACE

not think it necessary to reproduce all the padding with which native scholars adorn their title-pages, so that a long entry has frequently been abridged in the following pages to the simple phrase ' edited with notes by . The arrangement of names and titles follows the order of the English alphabet, and no separate positions have been assigned to the vowels and consonants distinguished by diacritical marks. Heavy-faced type is used for the names of playwrights, ordinary Roman type for the names of plays. Plays are inserted under the author's name, when it is known, and cross-references are given under the titles of his various works. Anonymous plays are listed under the names by which they are known. Some titles, although identical with those of works by known authors, have had to be recorded in like manner as anonymous, merely because the neces- sary data for a determination of their authorship were not avail- able. For the same reason no exact statement as to the number of extant dramas can be made at the present time. Such honorific designations as 'Srī,' 'Kavi,' 'Bhatta,' ' Paņdita,' and 'Raja' have usually been omitted, unless they form a part of the name as commonly known or are necessary to avoid confusion with some other playwright of the same appellative. Editions and translations are arranged as far as possible in chrono- logical order, critical works are classified alphabetically by authors. Volumes containing both text and translation are listed under text editions, and critical essays and notes are not separately recorded under critical works when included in editions of the text or in translations. Criticism relating entirely to a single author or play is catalogued under that author or play, but general books and papers are separately listed before the main body of the bibliography. A reference such as ' Amrtodaya, A I. p. 29' indicates that Aufrecht in his Catalogus Catalogorum has listed on that page one manuscript of a play called Amrto- daya. When more than one manuscript is referred to, the num- ber is given. In the case of commentaries the number of manu- scripts is also stated. Thus 'Com. 5, by Jagaddhara 2' indi- cates that there are five manuscripts of unspecified or anonymous

PREFACE ix

commentaries and two manuscripts of a commentary by Jagad- dhara. In this way each entry shows the number of extant manu- scripts of the work and of the various commentaries on it, if such exist. Some entries from Part 7 of the India Office Cata- logue, however, duplicate those already given by Aufrecht from the Catalogue of the Mackenzie Collection; these were added because the early catalogue of Wilson gives no adequate descrip- tion of the manuscripts, and because it seemed desirable to include all material not given by Aufrecht. The same is true of the Catalogue of Two Collections in the India Office Library, by Tawney and Thomas, which includes manuscripts recorded by Aufrecht from an old list by Sir William Jones. An introduc- tory sketch of the Sanskrit drama has been incorporated in the volume, in order that students may have a convenient epitome of the whole subject readily accessible to them. For the manuscripts listed in this bibliography I have relied in the main on the marvelously accurate and learned Catalogus Catalogorum of Aufrecht, although I have supplemented it by such catalogues as have appeared subsequently. For many titles of editions of plays and records of literature on the drama of India I am indebted to the bibliographies of Gildemeister and Zenker and to the Catalogue of Sanskrit books in the British Museum, although my richest source has naturally been the Orientalische Bibliographie. Antiquarian catalogues, especially those of Har- rassowitz (Leipzig) and Luzac (London), have also been consulted with advantage. My thanks are due to the librarians of the Royal Libraries of Copenhagen and Stockholm for information in regard to certain publications, while through the kindness of Professor Serge Oldenburg of St. Petersburg I had access to the large collections of the Russian Academy of Sciences and the Oriental Seminar of the University of St. Petersburg, and certain queries were answered for me by Professor Carl Cappeller of Jena. My friend and former fellow-student, Dr. Louis H. Gray, placed his library at my disposal and gave me several additions and suggestions, while both he and Mrs. Gray most generously aided in the correction of

x PREFACE

the proofs. The main part of this toilsome revision, however, which my absence from America compelled me to forego, has been most kindly undertaken for me by Mr. George C. O. Haas, Fellow in Indo-Iranian in Columbia University, who has also added the new material from Hultzsch's Reports and the India Office Catalogue, and made many corrections and improvements. To my friend and teacher, Professor A. V. Williams Jackson, who, from the inception of the book to its completion, has grudged neither time nor pains to aid me, my deepest gratitude is due for his inspiration and assistance. MONTGOMERY SCHUYLER, JR. UNITED STATES LEGATION, BANGKOK, SIAM, November 1, 1905.

CONTENTS

INTRODUCTORY SKETCH OF THE SANSKRIT DRAMA PAGE I

GENERAL WORKS ON THE SANSKRIT DRAMA :

1. Hindu Works on Dramatics 16

2. Works of General Criticism 18

3. Chapters in Histories of Sanskrit Literature 22

4. Collected Translations of Sanskrit Dramas 22

NAMES OF AUTHORS AND TITLES OF THEIR WORKS. 24

APPENDIX I. SOME DRAMAS IN THE MODERN VERNACULARS 98

APPENDIX II. CLASSIFICATION OF THE DRAMAS. IOI

.xi

INTRODUCTORY SKETCH OF THE SANSKRIT DRAMA

It is now more than a hundred years since Sir William Jones gave the Western world its first knowledge of the dramatic liter- ature of the Hindus by the publication, in 1789, of a translation of the Sakuntalā of Kālidāsa. From that time on, the labors of Sanskritists have gradually made accessible most of the chief works of the Sanskrit drama, and a large number of editions, translations, and commentaries are now available for the general student of literature. The earliest manifestations of a dramatic idea in India are to be found in the hymns of the Rig Veda. Certain of these hymns

Origin. are in the form of dialogues between various per- sonages of the Vedic pantheon, such as Yama and Yami, Sarama and the Panis, while the myth of King Purū- ravas and the nymph Urvasi is the foundation for one of the plays of India's greatest dramatist. The lack of accurate data precludes our knowing much about the origin of the drama in India, but it is probable that it had its beginning in a combination of these hymns in dramatic form and in the religious dances, in which certain pantomimic features came to be conventionalized and stereotyped in later times until we get the classical Sanskrit drama. This theory is borne out by the fact that in Sanskrit the words for play (nātaka) and actor (nata) are from the root nat which is the Prakrit form of the Sanskrit nrt 'to dance.' The native Hindu account of the origin of the drama was that it came down from heaven as a fully developed art invented by the divine sage Bharata. This theory, however satisfying to the Hindu mind, cannot be accepted by modern scholarship, and we are forced to presuppose a development from the religious to the dramatic, as outlined above, which is not essentially different from that found in Greece. The earlier stages, which were con- I

2 INTRODUCTION

nected with religious festivals, and especially with the worship of Krsna-Vișnu, were not unlike the early primitive Christian mys- tery-plays of the Middle Ages in Europe. Whatever may have been its beginnings, it is certain that the drama flourished in India, and had a high development. The

Character. earlier plays as we know them had considerable freedom of choice of subject and treatment and they can be described, for the most part, as melodramas or tragi- comedies. Primarily their elements are mixed : gravity and gaiety, despair and joy, terror and love-all are combined in the same play. Tragedy, in our sense of the term, there is none, for every drama must have a happy ending. As, according to the rules, death cannot be represented on the stage, it follows that one great source of inspiration for European tragedy is entirely eliminated. The usual subject for dramatic treatment is love, and according to the rank or social position of the hero and heroine the play is placed in one or another of the ten chief (rūpaka) or eighteen minor (uparūpaka) divisions of the drama recognized by the Hindu text-books.1 The trials and tribulations of the lovers, relieved by the rather clumsy attempts at wit of the vidū- saka, or court jester, the plotting of the vita, or parasite, and the efforts of the rival wives to establish themselves in the favor of their lords and masters, with the incidents of every day life in the harem and court, constitute the plot of the play. The laments of the hero to his confidant, the jester, serve to introduce lyrical stanzas descriptive of the beauties of nature, the wiles and graces of woman, and the tender passion which fills the hero's heart for some fair maiden or celestial nymph. According to the Sanskrit treatises on dramatic art the subject of a nātaka is to be taken from some famous legend, and its hero must be high-minded and

1 Although the drama is so carefully subdivided by the rhetorical text-books, not all of these divisions are represented in the extant literature (see Appendix II). The precise character of many of the plays here recorded, however, could not be deter- mined, as most manuscript cataloguers fail to distinguish the various varieties and use the word ' nataka' in the general sense of 'drama.' It is to be hoped that future cataloguers will examine the plays with more care and so record them that we may get a better idea of the comparative popularity of the different forms of drama.

INTRODUCTION 3

of noble birth, sprung from a race of gods or kings.1 The expres- sion of all feelings is allowed, but preponderance is to be given to love and heroism. There must be not less than five, nor more than ten, acts of mingled prose and verse. The Sanskrit tongue itself, as the learned or court language, is spoken by gods, Brahmans, heroes, kings, and men of good birth and position in general. Women and the lower classes of men speak various dialects of the Prakrit language, the old vernacular tongue of India. Among the Prakrits the most important is the Saura- senī, the form usually found in the dramas, the Mahārāstri being confined to the poetical stanzas.2 The rules for distinguish- ing the various individual kinds of characters are all care- fully classified and divided ; so far does this subdividing go that no less than three hundred and eighty-four types of heroine are given. In practice, of course, this is never carried out, but it must be acknowledged that the great defect of the Sanskrit drama is that in general it is too conventional, with the result that origi- nality and life are sacrificed for a hackneyed arrangement and a stereotyped manipulation of threadbare sentiments and action. In the invention of plots the dramatists show little fertility of imagination; on the other hand cleverness is certainly clearly shown in the way in which the details of the Plots and Dramatis plot are worked out and the development of the Personae. intrigue is presented. In the majority of cases the plot is somewhat as follows : the hero, who is usually a king or a prince and already has one or more wives, at the opening of the play suddenly becomes enamored of the charms of some girl or nymph. Although she is equally in love with him she is too bashful and modest to let her passion be observed. Hope and fear alternately cheer and dismay both hero and heroine. She confides in some girl friend, he in the jester, who is always a brahman, but a person of slow intelligence whose uncouth attempts at wit seem often lacking in every element of humor. The jester,

1 NŚ. 19.117; SD. 277 ; DR. 3 1, 34. ºSee Pischel, Grammatik der Prakrit-Sprachen, § 30; NS. 17.31-44 ; SD. 432; DR. 2.59, 60.

4 INTRODUCTION

moreover, is a glutton, greedy for money, and, as is to be expected, an inveterate gossip, always on the watch for some fresh bit of news. One of the most curious features of the Sanskrit drama, fostered as it was by the court society of India, which was almost always under the control of brahman priests, is that this figure of a degraded and besotted brahman should be allowed to appear as a typical stage-figure. In an article written some years ago' I advanced the theory that such a seeming inconsistency might be due to the fact that the drama had its origin in the re- ligious dances and ceremonies of the common people, who were of course largely non-brahmanic, and was therefore an outgrowth of the many popular religions of India rather than a development of pure brahmanism. In this way the conventional figures, hav- ing become in the course of time crystallized into permanent types, were retained when the folk-drama became popular at court, and thus even brahman authors did not hesitate to perpetuate the type, though really derogatory to their class. Other stock char- acters in the plays are the parasite (vita), ministers, Buddhist monks and nuns, servants of the harem, dwarfs, mutes, and the female attendants of the king. For the technical divisions of a drama and the development of the plot there are carefully elaborated rules, but of the actual scenic arrangement of a play, the manner of producing it, and the Technical Divisions assignment of the roles we know comparatively and Arrangement little. Plays seem to have been usually pre- of a Play. sented at the spring festival. A drama always opens with a nandi, or benediction, usually addressed to Siva, for the prosperity of the audience, by the sūtradhara, or director. This director must have been very accomplished and versatile, for the rules say that among other things he must know music, technical treatises, dialects, the art of managing, works on poetry, rhetoric, acting, industrial arts, metre, astronomy, geog- raphy, history, and the genealogies of royal families. He was to have a good memory, and to be honest, intelligent, dignified, and ' The origin of the Vidüsaka and the employment of this character in the plays of Harsadeva, in JAOS. 20 (1899), pp. 338-340.

INTRODUCTION 5

noble. According to the text-books he had two associates: the sthapaka and the pariparsvika.1 It is probable that in the actual practice of the theatre the duties assigned by the treatises to the sthapaka were all performed by the sutradhara.2 At the end of the nandi there is a dialogue between the manager and some actor complimenting the audience on their critical ability and ending by introducing one of the characters of the play, after which the action goes on with regular divisions into acts and scenes. Scenes are marked by the exit of one person and the entrance of another, as on the Classical and the French stage, and the stage is never left empty until the end of the act. Be- tween the acts a connecting scene called viskambhaka is often introduced, in which occurrences that have taken place since the preceding act are explained. The theory of the unity of time, place, and action, which played so important a part in the Greek drama, appears in rather a modified form in India. The time of the action is supposed to be the same as that occupied in the performance, or else to fall within twenty-four hours. But this rule is not always observed, and we find in the Uttararāmacarita of Bhavabhuti a lapse of twelve years between the first and second acts. Unity of place is not strictly observed, and journeys are often made, sometimes even through the air in celestial cars. As to the stage-setting and decoration very little is yet known. Special buildings for the presentation of plays are described in the

Theatre and Scenery. Nātyaśāstra,3 but it is probable that dramas were usually given in a hall (samgīta-śālā ' concert- room') of the palace. Behind the stage, which occupied a quarter of the whole hall,4 was a curtain divided in the middle, and behind that again was the greenroom (nepathya) whence the actors came on the stage. The greenroom had an entrance from the outside 'separate from the entrance for the audience.'5 Scenery and 1 DR. 3. 3 ; SD. 283. º But Lanman believes with Konow that the Karpūramanjarl of Rajasekhara shows the sthapaka in action. See the edition and translation of the play by Konow and Lanman, pp. 196, 223, note 8. 3NS. 2. 1 seq. See also Bloch, ZDMG. 58 (1904), pp. 455-457. 4NS. 2. 37. 5 NŚ. 2. 85.

6 INTRODUCTION

decoration were apparently very simple and much was left to the imagination. Elaborate directions for gestures, pantomime, and clothing are given. Thrones, seats, chariots, weapons, and armor were employed, and some sort of mechanical contrivances were perhaps not unknown. We must infer, however, from the fre- quent use of the word nātayitvā, 'having gesticulated,' nātayati, 'mimics, acts as if doing,' as a stage direction, that pantomime and gesticulation were largely resorted to for filling out the de- ficiencies of the staging. The age of the Sanskrit drama may roughly be given as extending from 400 to 1100 A.D. This period does not, of course, include the earliest efforts at dramatic Age of the Drama of India. composition, nor take in a large number of late and inferior plays. Very little is known of the earliest dramatists before Kālidāsa, and none of their compositions excepting scattered verses are extant. For example, the poets Bhāsa, Rāmila, Somila (or Saumillaka), and the Kaviputras were well known and popular playwrights among the Hindus of Kāli- dasa's time, but our knowledge of them is practically confined to their names.1 Most students of the Sanskrit drama are of the opinion that the Mrcchakatika, or ' Clay Cart,' of Sudraka is the oldest extant

Śudraka's Sanskrit play. The arguments in favor of this

Mrcchakatika. view are based upon the state of civilization shown in the play, the general style of the drama and the richness and diversity of the Prakrit dialects employed in its composition. Some scholars, however, whose researches in the Hindu drama entitle them to speak with great authority upon this subject, believe that the play is not earlier than the sixth cen- tury of our era, or approximately of the same period as Kālidāsa's dramas. I must confess, nevertheless, that I find myself among the number of those that are inclined to consider it of much earlier date. The question of the authorship of the Mrcchakatika is also still under discussion. In the prologue the play is stated 1 See the prologue to Kalidasa's Malavikagnimitra, and F. Hall in JASBe. 28 (1859), p. 28 seq., and in the introduction to his Vasavadatta, pp. 14-15.

INTRODUCTION 7

to be the production of King Sūdraka, but not all kings are authors, and it is thought that in this case, as probably in others, the real author, like a wise courtier, may have attributed his work to his royal master in order to gain favor. Many of the rulers of ancient India delighted in playing the part of patrons of art and literature; Sūdraka may well have been one of these. Professor Pischel, after a careful study of the ma- terial, thinks that the real author was a poet named Dandin. However that may be, there is no question that the Mrcchakatika is in many respects the most human of all the Sanskrit plays. There is something strikingly Shaksperian in the skilful drawing of the characters, the energy and life of the large number of per- sonages in the play, and in the directness and clearness of the plot itself. It is a ten-act prakarana, or comedy of middle-class life, and the scene is laid in the city of Ujjain. The subject of the plot is the love and marriage of Carudatta, a brahman merchant reduced to poverty by his generosity, and Vasantasenā, a rich courtesan. In the third act there is a long and humorous ac- count of a burglary in which stealing is treated as an art or science provided with rules and conventional procedure. The chief value of the Mrcchakatikā, aside from its interest as a drama, lies in the graphic picture it presents of a very interesting phase of everyday life in ancient India. The elaborate description of the heroine's palace in the fourth act gives us a glimpse of what was considered luxury in those days. The name ' Clay Cart' is taken from an episode in the sixth act, which leads to the finding of the heroine's jewels in the terra cotta cart of the hero's little son and to their use as circumstantial evidence in a trial. This complicates the plot until all is resolved in the denouement. The greatest name in Sanskrit literature is that of Kālidāsa who lived at the court of Ujjain, probably about the first half of the sixth century of our era, although his date is Kalidāsa. not settled and the question is still a mooted one. He is the author of three plays, Sakuntala, Vikramor- vasi, and Malavikagnimitra. The first two of these compositions reach the highest level attained by the Hindu dramatists and

8 INTRODUCTION

win for their author a place among the greater poets of the world. Their richness of fancy and appreciation of nature, added to the beauty of poetic technique and choice of language, have never been equaled in India, and bear favorable comparison with the dramas of any nation. The play of Sakuntala has been known in Europe since its translation by Sir William Jones in 1789, by which work that great Orientalist really introduced Sanskrit poetry to the West and started the study of Hindu literature. The play is a nātaka, or heroic comedy, of seven acts, and its plot is drawn from the first book of the Mahabharata. The subject of the drama is the love of King Duşyanta for Sakuntalā, their separation by acci- dent, and their ultimate reunion in the presence of their son after the lapse of some years. The importance of this play lies not only in the fact that it is the most perfect Sanskrit drama extant, but also in the fact that its great literary merit, as was evident from Sir William's translation, aroused a widespread interest in the literature of India throughout Europe. It was enthusiastically received by the followers of the Romantic School and exercised a genuine influence upon them. Jones's English version was soon rendered into other languages, and independent translations from the original Sanskrit have since been made into almost all the tongues of Europe, so that I am able to record versions and adaptations of the play in English, German, French, Italian, Spanish, Dutch, Danish, Swedish, Icelandic, Russian, Polish, Hungarian, and Bohemian. Kālidāsa's other important play is the Vikramorvasi. It was first translated into English into 1827 by Horace Hayman Wil- son, a scholar who devoted a great part of his life to the study of the Sanskrit drama, and whose 'Select Specimens of the Theatre of the Hindus' is a standard work even to-day. Later investigations have rendered some of his views antiquated, but his book remained for years the only work upon the Sanskrit drama as a whole, until the appearance, in 1890, of Sylvain Lévi's admirable and scholarly treatise, Le Theâtre indien, a work indis- pensable to students. The plot of the Vikramorvasi is briefly as

INTRODUCTION 9

follows: King Purūravas rescues the nymph Urvasi, who has been carried away by the demons, and his heroism wins her love. The lovers become separated by accident, but after various vicissitudes are reunited in the presence of their son when the latter is about twelve years old. The third play of Kālidasa, entitled Malavikagnimitra, or 'King Agnimitra's Love for Mālavikā,'is a conventional drama of harem intrigue at the court, and is decidedly inferior to the author's other two plays. So marked is this inferiority that some scholars have even gone so far as to question its right to bear Kālidāsa's name. We now come to an interesting group of three plays ascribed to Harsadeva, king of northern India, which have been the object

Harsadeva. of much discussion. As in the case of the Mrcchakațikā, it is probable that they were the work of some poet who, to curry favor, ascribed their authorship to that famous patron of art and literature, Harsadeva. These three plays are Ratnāvalī, Priyadarsikā, and Nagānanda. The first two are dramas of harem intrigue and court life, composed, it is true, upon conventional lines, but showing some ingenuity in the manipulation of plot and the invention of incident. In the Ratnāvalī, or ' Jewel Necklace,' the subject is the story of the loves of Vatsa, or Udayana, king of Kauśāmbī, and Sāgarikā, an attendant of his wife, queen Vasavadatta, who ultimately is discov- ered, by a necklace she wears, to be Ratnāvali, princess of Ceylon, who had been shipwrecked and had found her way to Vatsa's court. The characters are clearly defined and not mere puppets, as in the case of some dramas. The poetical part is rather con- ventional, but there are several pretty lines descriptive of natural scenery, moonrise, and the like. The drama Priyadarsikā, named after its heroine, is much the same sort of play, but not so good. The lack of a good critical edition and English translation of this play has made it difficult for students, but this lack is soon to be overcome, and a translation by G. K. S. Nariman, with an intro- ductory memoir from the pen of Professor Jackson, will soon be ready. The third play, Nagananda, 'Joy of the Serpents,' is in some respects quite unique. It is a highly-colored melodrama with a

IO INTRODUCTION

pronounced Buddhistic tendency, as Buddha is invoked in the nandi, and the hero himself is a Buddhist. In this respect the Nagā- nanda stands alone among the extant Sanskrit plays, although we know that there were other Buddhist dramas which have not been preserved. Such was the Lokananda of Candragomin, of which there is a Tibetan translation. The Nagarāja and Sānti- carita are, perhaps, imitations of the Nagānanda or even identical with it. In the Avadānasataka (75) there is a record of the representation of a Buddhist drama, according to Oldenburg.1 Several Jain plays are also known.2 The dramatist Bhavabhuti, who lived during the first half of the eighth century, was a native of Vidarbha, the Province of

Bhavabhūti. Berar, in south-central India, and he wrote under the protection of king Yasovarman of Kanauj. He is the author of three plays, the Mālatīmadhava, Mahāvīra- carita, and Uttararāmacarita, which are distinguished by great poetic beauty and feeling, exquisite verse, polished style, but little humor or wit (the jester being absent from all), and only moderate dramatic power. They are, perhaps, dramatic poems rather than dramas. Bhavabhuti's home in the mountain re- gions of south-central India doubtless gave him a love of the grand and titanic aspects of nature instead of the mild and gentle phases described by the other Hindu authors. His characters have much grace and tenderness and also possess energy and life. His most popular play is the ten act prakarana, or melo- drama, Malatī-mādhava, the scene of which is laid in Ujjain. It is the story of the love of Malati, daughter of a cabinet minister, and Madhava, a young student. This charming play is often called the Romeo and Juliet of India, but it has a happy ending, as all Sanskrit plays must have. The whole drama is a succes- sion of contrasted situations, first of love and then of the weird incantations of the terrible priestess of Durga, scenes which are used to heighten the dramatic effect as well as to contribute to

1In Zapiski Vostočnago Otděleniya Imp. Russkago Arkheologičeskago Obščestva, 4 (1890), pp. 393-394 º See Lévi p. 324.

INTRODUCTION II

the plot. In the fifth act the scene is laid in the field where the bodies of the dead are burned. The two other plays of Bhavabhūti form a history of the deeds of the hero Rama, and are based on the epic poem Rāmāyana. I shall omit a detailed description of these. The next dramatist, Rajasekhara, who lived about the year 900 A. D., is the author of four plays which have come down to

Rājasekhara. us. Two of them are much like the comedies of Harsadeva in construction and subject. These two are the Viddhaśalabhanjika, or 'The Lady of the Statue' and the Karpūramanjarī, or 'Camphor Cluster.' They are both dramas of harem and court life. The chief interest of the Karpūramañ- jari, which has been admirably edited in the Harvard Oriental Series by Dr. Sten Konow with a translation by Professor Lan- man, consists in the fact that it renders accessible the only extant example of the kind of drama called sattaka. The sattaka is nearly the same as the nātika, or minor heroic comedy, except that it is composed entirely in Prakrit. Of the Viddhasālabhañ- jika I had hoped to publish a translation, upon which I was en- gaged, but the pressure of other duties has prevented me, and the work has now been done by my friend and fellow-student, Dr. Louis H. Gray. One of the few historic plays of India is the Mudrārāksasa by Visākhadatta.' The scene of this elaborate drama is laid in the

Visakhadatta. city of Pätaliputra during the reign of Candra- gupta, or shortly after the invasion of India by Alexander. The time of composition of the play, however, is probably to be placed about the year 1000 A.D. The plot deals with the story of the founding of a new dynasty by Can- dragupta who had deposed the former ruler. The latter's minister Rākșasa refuses to recognize the new monarch. Can- dragupta's minister tries to win Rākșasa over to his own political plans, which are well conceived, and he at last succeeds. The drama gives us a remarkable picture of the political conditions of the time in which the author has placed its action, centuries before his own.

I2 INTRODUCTION

The Venīsamhara, or ' Binding of the Braid,' by the playwright Nārāyana Bhatta, is a six-act drama based on the incident of the Mahabharata in which the Pandu wife Draupadī is Narayana Bhatta. dragged by the hair into the assembly and out- rageously exposed before the Kurus. The play is written in exact accordance with the rules of text-books and largely for that reason it has always been a favorite in India. An admirable but less known drama is the Candakausiku by Ksemīśvara, whose date is uncertain. This play presents a

Ksemīsvara. vivid picture of the workings of a curse uttered by the angry priest Kausika against an upright king who had innocently offended him. The king forfeits his realm and loses his wife and child, the latter by death and his con- sort by her being sold into slavery. Though tried to the utmost, the Job-like patience of the righteous monarch never fails, and in the end he has his wife, his son, and his kingdom restored to him by divine intervention, so that all ends in happiness. In the eleventh century was composed a dramatic monstrosity, the huge Mahānātaka, ascribed to Hanuman, the monkey-king.

The Mahanātaka. It has fourteen acts in one recension and ten in the other, and thus violates the rule which re- quires that no drama shall exceed ten acts in length. It is quite without interest to students of literature except as a curiosity. The tenth and eleventh centuries in India witnessed a renewed interest in the dramatic art, and to that time belong many other

Krsnamiśra. plays which must be omitted here on account of ... lack of space. One, however, which must be mentioned is the Prabodhacandrodaya, or ' Rise of the Moon of Intellect,' an allegorical drama by the poet Krsnamisra. The characters in this play, as in the old English Moralities, are sym- bolical figures and personified abstract ideas, and it is indeed re- markable that with such subject matter the author should have succeeded in producing a drama of so much real merit. The plot is as follows : The wicked King Error is the ruler of the city of Benares. He is surrounded by his followers, the Follies and Vices, while the good King Reason and his followers, Religion

INTRODUCTION I3

and the Virtues, have been sent into exile. In accordance with a prophecy, Reason will at some time marry Revelation, and the fruit of that union will be True Knowledge, who will overthrow the power of King Error. The plot recounts the vicissitudes of the struggle and the final triumph of good. The Samkalpasūryodaya of Venkatanātha and the Caitanya- candrodaya of Kavikarnapūra who wrote about the middle of the sixteenth century are obvious imitations of the Prabodhacandro- daya and have as dramatis personae almost the same characters. Of the later history of the Sanskrit drama it is not necessary to write at length. It has had a continuous existence from the

Later Plays. period of the greatest works down to the present time.1 The later plays, although written in exact accordance with the rules of Hindu dramaturgy, are for the most part lacking in interest and action. 1 Wilson in 1827 gave the names of 60 Sanskrit plays, Lévi in 1890 was able to increase the number of titles known to 372, and the present bibliography lists over 500 separate productions.

ABBREVIATIONS AI, A2, A3. = Aufrecht, T., Catalogus Catalogorum. Pts. I, 2, 3. Leipzig, 1896-1903. Cat. Mack. Coll. = The Mackenzie Collection. A descriptive catalogue of the Oriental Manuscripts, by H. H. Wilson, 2° ed., Madras, 1882. CBMMS. = Catalogue of the Sanskrit Manuscripts in the British Museum, Cecil Bendall. London, 1902. CS. = Sanskrit Manuscripts in the Calcutta Sanskrit College, by Sāstrī and Gui, no. 18, Cal- cutta, 1903. DR. = Daśarūpa, edited by F. Hall, Calcutta, 1865. Ep. Ind. = Epigraphia Indica. Garbe = Verzeichniss der indischen Handschriften der königlichen Universität zu Tübingen, von Richard Garbe, Tübingen, 1899. Hz.3. = Reports on Sanskrit Manuscripts in Southern India, by E. Hultzsch, no. 3, Madras, 1905. IA. = Indian Antiquary. JA. = Journal Asiatique. JAOS. = Journal of the American Oriental Society. JASBe. = Journal of the Asiatic Society of Bengal. JRAS. = Journal of the Royal Asiatic Society. JRASBo. = Journal of the Royal Asiatic Society, Bom- bay Branch. L. = Lévi, Sylvain, Le Théâtre indien, Paris, 1890. NŚ. = Nāțyaśāstra, edited by Sivadatta and Parab, Bombay, 1894. Cf. also the edition of

RS. Grosset, Paris, 1898. = Rasārņavasudhākara by Singabhūpāla. [A list of works mentioned in this is given in SRep. p. 10 ] 14

Bhavabhūti 27

Telang, K. T. The Pārvatīpariņaya of Bāņa. In IA. 3 (1874), pp. 219-221.

Bāņa Bhațța Sarvacarita A I. p. 701. Bhagavadabjaka quoted in Rucipati's commentary on the Anargharāghava of Murāri (ed. of Durgāprasāda and Parab, p. 7). Bhagavadajjukā prahasana mentioned in RS. Bhagavantarāya Rāghavābhyudaya A 2. p. 117. Bhāgavata Krsņakavi Śarmișthāyayāti A I. p. 638. Bhaimīpariņaya A I. p. 416 = 9 Mss. and I Com. Bhaimīpariņaya see Ratnakheța, Śațhakopācārya, and Veń- kațācārya. Bhairavaprādurbhāva L. app. p. 78. Bhānumātīpariņaya (?) L. app. p. 78 (but cf. A I. p. 405). Bhānuprabandha see Venkateśa. Bharadvāja Kāleyakutūhala prahasana A I. p. 396. Idem Kāleyakutūhala. Poona, 1882, pp. 32. In Kāvyeti- hāsasamgraha, 5, nos. 2-5. Bharatarāja see Hastimallasena. Bhartrharinirveda see Harihara. Bhartrmentha, a Kashmirian playwright of the sixth century (cf. A I. p. 397). Bhāsa Svapnavāsavadattā, mentioned in prologue to Māla- vikāgnimitra of Kālidāsa. Cf. F. Hall, Fragments of three early Hindu dramatists, in JASBe. 28 (1859), pp. 28-30. Bhāskara Unmattarāghava A I. p. 66. Idem Unmattarāghava. A drama in prose and verse in one act, on the story of Rama. Bombay, 1889, pp. 3 + 16. Kāvyamālā, no. 17. [Reprinted from an edition published in Palamanair by S. S. Sāstri.] Bhatța Nārāyaņa see Nārāyaņa.

Bhavabhüti (end of seventh century). Mahavīracarita. Manuscripts. A I. p. 443 = 29 Mss. and 3

28 Bhavabhūti

Com. ; by Ātmārāma I, by Vīrarāghava I; A 2. pp. 102, 217 =7 Mss. and Com. by Vīrarāghava 2; CS. 242; Hz. 3. 1575; IO. 7. 4135, 4136. Analyzed by Wilson, 2, pp. 323-334. Text Editions. Mahaviracarita, or the history of Rama, edited by F. H. Trithen. London, 1848, pp. 4 + 147. Mahavīracarita. Edited by T. Tarkavācaspati with occasional glosses. Calcutta, 1857, pp. 2 + 120. Mahāvīracarita. Edited with notes by J. Vidyāsāgara. Cal- cutta, 1873, pp. 142. Mahavīracarita. Edited by Anundoram Borooah, with a Sanskrit commentary and a Sanskrit-English glossary. Calcutta and London, 1877, pp. 13 + 310. Mahavīracarita, edited with various readings and notes in San- skrit by S. G. Jyotishi. Poona, 1887, pp. 135 + 29. Mahavīracarita, with the commentary of Viraraghava, edited by T. R. Ratnam Aiyar, S. Rangachariar, and K. P. Parab. I° ed., Bombay, 1892, pp. 260; 2° ed., 1901, pp. 260. Mahaviracarita, a Sanskrit drama, with the commentaries of Lakşmaņa Sūri. New ed., Madras, 1904, pp. 270. Translations. Mahaviracarita. The Adventures of the Great Hero Rama. An Indian Drama in seven acts. Translated into English prose from the Sanskrit by John Pickford. London, 1871, pp. 16 + 172. Reprinted 1892, pp. 20 + 172. Mālatīmādhava prakaraņa. Manuscripts. A I. p. 453 = 62 Mss. and Com. by Jagaddhara II, by Tripurāri Sūri 10, by Mānānka 3, by Raghava Bhatta I, a condensed version by Maithila Sarman I ; A 2. p. 104 = 7 Mss. and Com. by Jagaddhara I, by Tripurāri I, by Nārāyaņa I, Prākrtachāyā I; CS. 243, 244; IO. 7. 4125, 4126, 4127, 4128, 4129, 4130; TT. 61; Com. by Jagaddhara, SCBen. 430, IO. 7. 4130, 4131, 4132; Com. by Mānānka, IO. 7. 4130, 4133; condensed version by Maithila Sarman, IO. 7. 4134. Text Editions. Malatīmadhava, with a commentary of the. Prākrit passages. Calcutta, 1830, pp. 175.

Bhavabhūti 29

Malatimadhavae fabulae actus primus cum variis lectionibus edidit C. Lassen. Bonn, 1832, pp. 48. Mālatīmādhava, with a translation of the Prakrit passages, edited by K. C. Dutt. Calcutta, 1866, pp. 148. Mālatīmādhava, with the commentary of Jagaddhara, edited with notes, critical and explanatory, by R. G. Bhandarkar. Bom- bay, 1876, pp. 399 + 76. Bombay Sanskrit Series, no. 15. Mālatīmādhava, edited with a commentary by J. Vidyāsāgara. Calcutta, 1876, pp. 185. Mālatīmadhava, with the commentary of Tripurārisūri called Bhāvapradīpika, in Telugu. Madras, 1883, pp. 176 + 128. Mālatīmādhava. Sațīka. Part I. Calcutta, 1886, pp. 60. Mlatīmādhava, with the commentary of Jagaddhara, edited with an interpretation of the Prakrit passages by Bhuvanacandra Vasāka. Calcutta, 1886, pp. 317. Mālatīmadhava, with the commentaries of Tripurari and Jagad- dhara, edited by M. R. Telang. 1° ed., Bombay, 1892, pp. 402; 2° ed., 1900, pp. 402. Translations. A. English. Malati and Madhava, or the Stolen Marriage, translated by Wilson, 2, pp. I-123. B. French. Madhava et Malati. Drame traduit du sanscrit et du pracrit par G. Strehly, précédé d'une préface par A. Ber- gaigne. Paris, 1885, pp. 12 + 274. Bibl. Orient. Elzévir., no. 42. C. German. Malatimadhava, ein indisches drama von Bha- vabhuti. Zum ersten Male aus dem Original ins Deutsche übersetzt von Ludwig Fritze. Leipzig, 1883, pp. 125. D. Dutch. Malati en Madhava. Een indisch drama vertaald en verkort door P. A. S. van Limburg Brouwer. In Tijdspiegel, 1871, i, 418. E. Bengali. Malatee Mudhaba, a comedy of Bhubabhootee. Translated into Bengalee from the original Sanskrit, by K. P. Sing. Calcutta, 1859. F. Marathi. Mālatīmadhava. Translated into Marathi by K. S. Rajvade and revised by Chiplonkar. Bombay, 1861, pp. 152.

30 Bhavabhūti

Uttararāmacarita. Manuscripts. A I.p. 63 = 67 Mss. and 3 Com .; Bhāvārthadīpika I, by Nārāyaņa 7, by Rāghavācārya 3, by Vīrarāghava I; A 2. p. 190 = 2 Mss. and Com. by Nārāyaņa I; A 3. p. 14= 5 Mss. and Com. by Abhirāma I; CS. 219; Hz. 3. 1607; Com. by Ghanaśyāma, Hz. 3. 1600; Com. by Nārāyaņa, CS. 220, SCBen. 81, IO. 7. 4137. Text Editions. Uttararamacarita, with a commentary explanatory of the Prakrit passages. Calcutta, 1831, pp. 132. Uttararāmacarita. Edited, at the request of [and with a pref- ace by] E. B. Cowell, by Premacandra Tarkabagisa. With a short commentary. Calcutta, 1862, pp. 181. Uttararämacarita, edited with commentary by Tarakumara Ca- kravarti. With a preface by B. P. Majumdar. Calcutta, 1870, pp. 208. Uttararamacarita. Edited with Sanskrit notes by Isvaracandra Vidyāsāgara. 3° ed. (?), Calcutta, 1876, pp. 15 + 246. Uttararāmacarita, with a commentary called Bhāvabodhi by Ramacandra Budhendra. Madras, 1881. [In Grantha characters.] Uttararāmacarita, with extracts from two Sanskrit commen- taries and notes in English by K. B. Mande. Poona, 1881, pp. 75 + 17. Uttararāmacarita. Edited by J. Vidyāsāgara. 1° ed., Calcutta, 1881; 2° ed., 1889, pp. 268. Uttararāmacarita, edited with copious Sanskrit and English notes by S. G. Bhanap. 1° ed., Bombay, 1888, pp. 212; 2° ed., 1893, pp. 218. Uttararämacarita, with Sanskrit commentary by Pandit B. S. Ghate, together with a close English translation and notes by V. S. Patvardhan. Nagpur, 1895, 12 + 192 + 47. Uttararamacarita. With the commentary of Viraraghava. Edited by T. R. Ratnam Aiyar and K. P. Parab. I° ed., Bombay, 1899, pp. 174; 2° ed., 1903, pp. 174 .. Uttararāmacarita. Sanskrit text with a commentary by Laksmaņa Sūri. Kumbhakonam, 1900, pp. 209. Translations. A. English. Uttararamacarita. Translated by Wilson, I, pp. 275-384.

Bilhaņa 31

Uttararāmacarita, a literal translation from the original Sans- krit by H. Mukhopadhyaya. Calcutta, 1871, pp. 84. Uttararamacarita. Translated into English by C. H. Tawney. I° ed., Calcutta, 1871, pp. 81; 2° ed., 1874, pp. IOI. Uttararamacarita. An English Translation by K. K. Bhatta- charya. Calcutta, 1891, pp. 142. B. French. Le Denouement de l'histoire de Rama, Outtara Rama Charita, drame de Bhavabhouti, traduit avec une intro- duction sur la vie et les oeuvres de ce poète par F. Nève. Brussels and Paris, 1880. C. Hindi. Uttar Ram Carita, by L. Sita Rāma. Allahabad, 1899, pp. 96. Our Ancient Theatre, no. 2. D. Tamil. Kusulava nataka by Binadhitten, a translation of the Uttararāmacarita, Cat. Mack. Coll. p. 218. General Criticism of Bhavabhūti. Borooah, Anundoram. Bha- vabhuti and his Place in Sanskrit Literature. Calcutta, 1878, pp. 64. Banerjea, K. M. Bhavabhūti in English Garb. In IA. I (1872), pp. 143-147. Bhandarkar, R. G. Bhavabhūti's Quotation from the Rāmāyaņa. In IA. I (1873), pp. 123. Schuyler, Montgomery, Jr. A Bibliography of the Plays of Bhavabhūti and of Krsņamiśra. In JAOS. 25 (1904), pp. 189-196.

Bhāvanāpurușottama see Śrīnivāsātirātrayājin .. Bhikșāțana (?) A I. p. 412. Bhīmața Kaliñjarapati wrote five plays (A I. p. 413), one of which was Svapnadaśānana. / Bhīmavikrama see Moksāditya. Bhojarājasaccarita or Bhojasaccarita see Vedāntavāgīśa. Bhūbhatța Angada A I. p. 4. Bilhana, son of Jyesthakalasa, (middle of the eleventh cen- tury; mentioned in the Rājatarangiņī, 7. 938) Karņa- sundarī nāțikā A I. p. 82 = 3 Mss. Idem Karņasundarī, a drama in four acts. Edited by Durgā-

32 Bilhana

prasāda and Parab. Bombay, 1888, pp. 6 + 56. Kāvya- mālā, no. 7. Idem Karņasundarī, translated into Marathi by V. Śāstri. Bombay, 1891. Bindumādhava Kampanīpratāpamaņdana, a short drama. Poona, 1881-82, pp. 26. In Kāvyetihāsasamgraha, 4, no. 12; 5, no. I. Bindumatī durmallikā mentioned in SD. 553. Bṛhannāțaka, probably the Mahānāțaka, A I. p. 376. Brhatsābhadraka prahasana mentioned in RS.

C

Caitanyacandrodaya see Kavikarņapūra. Caņdakauśika see Kșemīśvara. Caņdīvilāsa see Rudraśarman. Candrābhișeka A I. p. 182 = TT. 64. Candragomin (7th century) Lokānanda L. app. p. 80. There is a Tibetan translation, according to Lévi, app. p. 56. Candraka, a playwright mentioned in Rājatarangiņī 2. 16. Candrakalā see Nārāyaņa Kavi and Viśvanātha Kavirāja. Candrakalāpariņaya see Nrsimha Kavi. Candraprabhā nāțikā A I. p. 181 = 3 Mss .; A 2. p. 199. Candrarekhāvidyādhara A I. p. 181. Candrasekhara, father of Viśvanātha, author of the Sāhitya- darpaņa, Pușpamālā quoted in SD. 282. Candraśekhara Rāyaguru, son of Gopinātha, Madhurāni- ruddha, a drama in eight acts, A I. p. 426; CS. 241. Analyzed by Wilson, 2, pp. 396-399. Idem Mathurānāțaka A I. p. 422, probably the same. Candraśekharavilāsa see Shahji. Candravilāsa see Gangādhara. Chalitarāma A I. p. 192. Chața Yati (16th century) Vāsantikāpariņaya A I. p. 566. Chāyānāțaka see Vițțhala. Citrabhārata see Kșemendra. Citrayajña see Vaidyanātha Vācaspati.

Dharma Pandita 33

Cittavrttikalyāņa see Nallādīkșita. * Cokkanātha, son of Tippa (beginning of 18th century), Kān- timatīpariņaya A I. p. 92. Idem Rasavilāsa bhāņa A 2. p. 116. Cola see Varadācārya. Cūdāmaņināțaka A I. p. 189. Cūdāmaņi Srngārasarvasva bhāņa quoted in his Kāvya- darpaņa (cf. A 2. p. 158). Cūdāmaņi Dīkșita Anandarāghava (a drama, A 2. p. 189) A I. p. 48 = 6 Mss. Idem Kamalinīkalahamsa A I. p. 81 = 12 Mss .; A 2. pp. 15, 191 ; A 3. p. 18; Hz. 3. 1580. Idem Rukmiņīkalyāņa A I. p. 527 = 4 Mss. and 2 Com .; A 2. p. 123.

D

Dādima Bhațța Lingadurbheda A I. p. 544 (cf. L. app.

Dāmacarita or Śrīdāmacarita see Sāmarāja Dīkșita. p. 80).

Damaruka see Ghanaśyāma. Dāmodara Kamsavadha A I. p. 77. Dāmodara Miśra (redactor of the older recension of the Mahānāțaka of Hanuman) Vāņībhūșaņa. Edited by Śivadatta and Parab. Bombay, 1895, pp. 7 + 53. Kāv- yamālā, no. 53. Dānakeli see Rūpa Gosvāmin. Dānakelikaumudī see Mahādeva and Rūpa Gosvāmin. Daņdin see Uddaņdin. Devadurgati see Rammoy. Devīmahādeva ullāpya mentioned in SD. 545. Dhanamjayavijaya (?) SCBen. 266. Dhanamjayavijaya see Kāncanācārya and Yaśodhana. Dharmagupta, son of Ramadāsa, wrote in 1360, Rāmānka nāțikā A I. p. 268. Dharma Pandita or Dharmasūri, son of Parvateśvara, Na-

34 Dharma Pandita

rakāsuravijaya vyāyoga (also called Narakāsuravadha, Narakāsuradhvaņsa, or Narakadhvamsa) A I. p. 277 = 8 Mss .; A 2. p. 60 = 5 Mss; IO. 7. 4185. Idem Narakāsuravijaya vyāyoga. 2° ed., Madras, 1884,

Dharmarāja Sabhāpativilāsa A I. p. 696. pp. 166.

Dharmavijaya see Sukla Bhūdeva. Dhūrta (= Dhūrtasamāgama) see Jyotirīśvara. Dhūrtacarita prahasana mentioned in SD. 536. Dhūrtanartaka see Sāmarāja. Dhūrtasamāgama see Jyotirīśvara. Dhūrtavidambana see Maheśvara. Dindima Kavi Somavallīyogananda prahasana A I. p. 736 = 2 Mss. Idem Somavallīyogānanda. Edited by S. P. V. Ran- ganadhasvami Ayyavaralugaru. Vizagapatam, 1895. Grandha Pradarśani, fasc. I-2. Draupadīpariņaya see Krsna Sūri. Drgbhavat Nīlāpariņaya A I. p. 302 (cf. L. app. p. 76). Dūtāngada see Subhața.

G

Gairvanivijaya see Bāla Kavi. Gangādhara (14th century) Candravilāsa A 2. p. 36. Idem Gangādāsapratāpavilāsa or Pratāpavilāsa IO. 7. 4-194 (Analyzed). Idem Rāghavābhyudaya A I. p. 500 = 2 Mss. Gangāvataraņa A 3. p. 30. Gaurīdigambara see Sankara Miśra. Ghanaśyāma, son of Mahādeva, (cf. E. Hultzsch, in Hz. 3. pp. ix-xi) Ānandasundarī satțaka Hz. 3. 2142. Idem Damaruka. Com. by Candraśekhara, son of Ghana- śyāma, Hz. 3. 1674. Idem Kumāravijaya A 3. p 38; Hz. 3. 1682. Idem Madanasamjīvana Hz. 3. 1679. Idem Navagrahacarita Hz. 3. 1571.

Hanuman 35

Idem Pracaņdarāhūdaya. Com., Hz. 3. 1675. Girvānendra, son of Nīlakaņțha Dīkșita, Sṛngārakośa bhāņa, mentioned in preface to Patañjalicarita in Kāvyamālā, no. 5I, p. 22. Gītadigambara see Vamśamaņi. Godāpariņaya see Keśavanātha. Godāvarīpariņaya A I. p. 159. Probably the same as the Godāpariņaya. Gokulanātha Amrtodaya A I. p. 29; A 3. p. 7. Idem Amrtodaya nāțaka, edited by Sivadatta and Parab. Bombay, 1897, pp. 5 + 73. Kāvyamālā, no. 59. Idem Madālasā A 2. p. 97 = I Ms. and I Com. Gopāla Bhațța Sānandagovinda A I. p. 707 (cf. L. app. p. 81). Gopāladāsa Pārijātaharaņa A I. p. 335 = 2 Mss. Gopālalīlārņava see Govinda. Gopālarāya Śrīrangarāja bhāņa A 2. p. 160 = 2 Mss. Idem Śṛngāramañjarī bhāņa A 2. p. 158. Gopīcandana A I. p. 163. Gopīnātha Paņdita Kautukasarvasva prahasana A I. p. 131 = TT. 63; A 3. p. 28. Analyzed by Wilson, 2, pp. 410- 412, and by Cappeller in Gurupūjākaumudī, Festgabe für Weber, Leipzig, 1896, pp. 59-62. Goșayātrā see Șitalacandra. Govardhana, a playwright, DR. intr. p. 30 n. Govinda Gopālalīlārņava bhāņa A I. p. 163. Idem Vinatānanda vyāyoga A I. p. 576. Govinda Kavibhūsaņa Samrddhamādhava A 3. p. 36. Govindavallabha A I. p. 169. Gundarāma Miśrabhāņa L. app. p. 78. Gururāmakavi Subhadrādhanamjaya A I. p. 728 = 9 Mss.

H

Hanuman.

Mahānāțaka. This play exists in two recensions, an older one by Damodara, explained by Mohanadasa, and a more recent one by Madhusūdana.

36 Hanuman

Manuscripts. A I. p. 438 = 54 Mss. and 2 Com .; by Can- draśekhara I, by Nārāyaņa I, by Balabhadra 4, by Mohana- dāsa II; A 2. pp. 100, 216 = 7 Mss. and Com. by Balabhadra I, by Mohanadāsa 4; CBMMS. 264, 265; IO. 7. 4145, 4146, 4147, 4148, 4149, 4150; TT. 59; Com. by Mohanadāsa, IO. 7. 4149; Com. by Candra- śekhara, IO. 7. 4150. There was a Ms. in the posses- sion of Sir Monier Williams. Analyzed by Wilson, 2, pp. 363-373. Sītāsvayamvara from the Mahānāțaka A I. p. 723. Text Editions. Mahanataka. [An edition in Bengali characters, published before 1840. For the editor cf. JA. 3° series, 13 (1842), p. 510, and Gildemeister, Bibl. Sans., p. 95.] Mahānāțaka. A dramatic history of King Rama. Translated into English and edited by K. K. Bahadur. Calcutta, 1840, 2 pts., pp. 108 + 117. Mahānāțaka. Drama on the deeds of Rama ascribed to Hanu- man. Edited in the Bengali version by Iśvaracandra and Kālīnātha. Calcutta, 1844, pp. 229. Hanuman-Nāțaka in Dāmodara's recension. With Mohanadasa's commentary. 1° ed., Bombay, 1860, pp. 107; 2° ed., 1886, pp. 241. Hanuman Nataka. The story of the Rāmāyana dramatized in Damodara's version and divided into 14 acts. With Mo- hanadāsa's commentary. I° ed., Bombay, 1863, pp. 122; 2° ed., 1864, pp. 93. Mahānātaka by Hanuman, edited by R. Śiromaņi with a short commentary of his own. Calcutta, 1870, pp. 2 + 176. Mahānāțaka in 9 acts. Compiled by Madhusūdana. Edited by J. Vidyāsāgara. I° ed., Calcutta, 1878, pp. 127; 2° ed., 1890, pp. 450. Mahanataka, with a commentary by Misra Mohana. Bombay, 1886, pp. 241. Translations. Mahanatak. In Sanskrit and Bengali, drama- tized (?) by Ramgāti Kabiratna. 1° ed., Calcutta, 1849; 2° ed., 1851, pp. 229.

Harşadeva 37

Mahānāțaka. Translated into English by Raja Kali Krishna. Calcutta, no date. Hanuman nātaka, translated into Hindustani. Lahore, 1877, pp. 192. Haracāpāropaņa A I. p. 754. Haragaurīvivāha see Jagajjyotirmalla. Harakeli see Vigraharājadeva. Hari (Ācārya) Jānakīgītā A 3. p. 44. Haridāsa Harivilāsa bhāņa A 2. p. 183. Idem Purañjana A I. p. 339. Haridūta chāyānāțaka A I. p. 757. Analyzed by Lévi, p. 242. Harihara, a Maithila, Bhartrharinirveda A I. p. 397. Idem Bhartrharinirveda. Edited by Durgāprasāda and Parab. I° ed., Bombay, 1892, pp. 3 + 28; 2° ed., 1900. Kāvya- mālā, no. 29. Idem The Bhartrharinirveda of Harihara, now first trans- lated from the Sanskrit and Prakrit by Louis H. Gray. In JAOS. 25 (1904), pp. 197-230. Idem Bhartrharinirveda. Analyzed in The Nīti and Vairagya Śatakas of Bhartrhari, by Gopi Nath, Bombay, 1896, pp. 19-24. Idem Prabhāvatīpariņaya A I. p. 354. Hariharānusaraņayātrā see Nrsimha Bhațța. Harijīvana Miśra Vijayapārijāta A I. p. 570. Hariścandrayaśaścandracandrikā A I. p. 761. J Harivilasa see Haridāsa.

Harşadeva.

Nāgānanda nāțaka. Manuscripts. A I. p. 283 = 16 Mss. and I Com .; by Ātmārāma I ; A 2. p. 61 = 3 Mss ; A 3. p. 61 = 3 Mss. ; Hz. 3. 1610; IO. 7. 4161. Cf. also the preface to Boyd's edition of the Nāgānanda. Text Editions. Nagananda. A Sanskrit Drama by Dhāvaka. Calcutta, 1864.

38 Harşadeva

Nāgānanda, a Sanskrit drama in five acts. Edited by M. Ghosha and K. Bhattācarya. Calcutta, 1864, pp. 74 + 19. Nāgānanda, with a Marathi translation. Edited with a preface in Marathi by K. S. Chipaļūņakar. Bombay, 1865, pp. 2 + 206. Nāgānanda. Edited by J. Vidyāsāgara. I° ed., Calcutta, 1873; 2° ed., 1886, pp. 138. Nāgānanda. Edited with a commentary by N. C. Kaviratna and N. C. Śiromaņi. Calcutta, 1886. Nāgananda. Text with notes by Pandit N. C. Vidyaratna and with translations into English and Bengali by a Professor of the Presidency College. Calcutta, 1887, pp. 324. Nagananda, a Sanskrit Drama by King Sri-Harsha. Edited with copious Sanskrit and English notes by S. G. Bhanap. Bom- bay, 1892, pp. 18 + 91 + 40. Nāgananda, edited with an introduction and notes by G. B. Brahme and S. M. Paranjape. Poona, 1893, pp. 27 + 105

Translations. A. English. Nagananda, or the Joy of the Snake World, a Buddhist Drama in Five Acts. Translated into English Prose, with explanatory notes, from the San- skrit of Sri-Harsha-Deva by Palmer Boyd. With an Intro- duction by Professor Cowell. London, 1872, pp. 14 + 99. B. French. Nāgananda. La Joie des Serpents, drame boud- dhique traduit du Sanskrit et du Präkrit par Abel Bergaigne. Paris, 1879, pp. 16 + 44- Bibl. Orient. Elzévir., no. 27. C. Italian. Amori di Indiani. L'atto secondo del drama di Dhāvaka che è detto Nāgānanda o la Allegria de' serpenti. Da Emilio Teza. Pisa, pp. 16. Nāgānanda, o il Giubilo dei Serpenti. Traduzione di Francesco Cimmino. Palermo, 1903, pp. 63 + 167. Criticism. Beal, S. The Nagananda, a Buddhist drama. In The Academy, Sept. 29, 1883, vol. 24, pp. 217-218. Cimmino, Francesco. Sul Dramma Nāgānanda, o il Giubilo dei Serpenti. In Atti della Reale Accademia di Archeologia, Lettere e Belle Arti (di Napoli), 22 (1902), pp. 155-182.

Harşadeva 39

Cimmino, Francesco. Une communication sur le drame Nāgā- nanda. In Verh. des 13. intern. Orientalisten-Kongr. (1902), Leiden, 1904, pp. 31-32.

Priyadarsikā nāțikā. Manuscripts. A I. p. 364 = 11 Mss. ; A 3. p. 78; Hz. 3. 1609. Text Editions. Priyadarsika. Without place or date (about 1870), pp. 56. Priyadarsikā. A drama in four acts by Śri Harsha. Edited with notes by J. Vidyāsagara. Calcutta, 1874, pp. 61. Priyadarsikā. Edited by V. D. Gadre with English notes and Prākrita Chāyā. Bombay, 1884, pp. 94. Translation. Priyadarsikā, pièce en quatre actes, traduite par G. Strehly. Précédée d'un prologue et d'une introduction. Paris, 1888, pp. 88. Bibl. Orient. Elzévir., no. 58. Criticism. Cimmino, Francesco. Il terzo atto del dramma indiano Priyadarçikā. In Atti dell' Accademia Pontaniana, 3I (1902), pp. I-18.

Ratnāvalī nāțikā. Manuscripts. A I. p. 492 = 37 Mss. and I Com .; by Bhimasena 2, translation of the Prākrit passages by Mudgaladeva I; A 2. p. 115 = 8 Mss. and Com. by Govinda 2, Prākrtachāyā 2; CBMMS. 275; CS. 257; Hz. 3. 1608 ; IO. 7. 4159, 4160; TT. 65; Com., SCBen. 290. Text Editions. Ratnavali. With a commentary explanatory of the Prakrit passages. Calcutta, 1832, pp. 106. Ratnāvalī. Edited with a translation of the Prakrit passages into Sanskrit by Tārānatha Sarman. Calcutta, 1864, pp. 66. Ratnāvalī. By Srīharșadeva. Text. Bombay, 1868, pp. 74. Ratnāvalī. Edited by N. C. M. Vidyaratna. With notes ex- planatory of the difficult passages. Calcutta, 1871, pp. 4 + 122. Ratnāvalī, edited with a commentary by J. Vidyāsāgara. Cal- cutta, 1876, pp. 124. Ratnāvalī, herausgegeben von C. Cappeller, in O. von Böhtlingk, Sanskrit Chrestomathie, St. Petersburg, 1877, . 290-329.

40 Harşadeva

Ratnāvalī, edited with notes by N. B. Godabole and K. P. Parab. I° ed., Bombay, 1882, pp. 102; 2° ed., 1890, pp. II2. Ratnāvalī, edited by K. P. Parab and V. S. Jośī. Bombay, 1888, pp. 81. Ratnävalī, published with Siddhanta Bindu by V. S. Aiyar. Kum- bhakonam, 1893, pp. 212. Advaitamañjarī Series, no. 3. Ratnavali, with the commentary of Govinda, edited by K. P. Parab. Bombay, 1895. Ratnāvalī. Text with a commentary by K. N. Nyāyapañcānana. Calcutta, 1900, pp. 198. Ratnavoli, edited by Sris Chandra Chakravarti. Containing the text, a Sanskrit commentary, English and Bengali transla- tions, etc. Dacca (Bengal), 1902, pp. 387. Translations. A. English. Ratnavali, or the Necklace. Translated by Wilson, 2, pp. 255-319. B. German. Ratnavali, oder die Perlenschnur, zum ersten Male ins Deutsche übersetzt von Ludwig Fritze. Chemnitz, 1878. In his Indisches Theater, vol. 2. C. Swedish. Ratnavali, eller Parlbandet. Från Sanskrit öf- versatt af H. Andersson. Wexio, 1892, pp. 76. D. Italian. Ratnāvalī, o la Collana di Perle, dramma indiano, tradotto per la prima volta in italiano da Francesco Cim- mino. Naples, 1894, pp. 199. E. Bengali. Ratnabali. Translated from the Sanskrit into Bengali by Nilmani Pal. Calcutta, no date. F. Marathi. Lalitawatsaraj, a Marathi translation of the Ratnavali of Çriharsadeva, by V. S. Islampurkar. Bom- bay, 1889, pp. 115 + 109. G. Canarese. Rathnavali, a tale in Canarese founded on Sriharsa Dava's [sic] Sanskrit drama. Bangalore, 1884, pp. 44. Criticism. Bühler, Georg. On the Authorship of the Ratnāvalī. In IA. 2 (1873), pp. 127-128. Hall, F. [References to the Ratnāvali.] In the preface to his Vāsavadattā, Calcutta, 1859, pp. 15-18.

Hṛdayavinoda 41

Meyer, J. J. Dāmodaragupta's Kuțțanīmatam (Lehren einer Kup- plerin). Leipzig, 1903, pp. 143-144. [Description of the performance of part of the first act of the Ratnavali. The text was printed in Kāvyamālā, part 3 (1887), pp. 32-111]. Vidyabhusan, S. C. Date of the Ratnāvali. In Maha-Bodhi, I2. General Criticism of Harsadeva. Beames, John. Chand's men- tion of Śri Harsha. In IA. 2 (1873), p. 240. Jackson, A. V. Williams. Time Analysis of Sanskrit Plays. Sec- ond Series. The Dramas of Harsha. In JAOS. 21 (1900),

Pischel, R. Ādhyarāja. In Nachr. der König. Ges. der Wiss. pp. 88-108.

zu Göttingen, Philol .- Hist. Klasse, 1901, pp. 485-487. Ram Das Sen. Chand'smention of Sri Harsha. In IA. 2 (1873), p. 240, and 3 (1874), p. 31. Schuyler, Montgomery, Jr. The Origin of the Vidūsaka, and the employment of this character in the plays of Harsadeva. In JAOS. 20 (1899), pp. 338-340. Schuyler, Montgomery, Jr. A Bibliography of the Plays attrib- uted to Harsadeva. In Verh. des 13. intern. Orientalisten- Kongr. (1902), Leiden, 1904, pp. 33-37. Telang, K. T. Kālidāsa, Srī Harsha, and Chand. In IA. 3 (1874), pp. 81-83. Telang, K. T. Kālidāsa and Śrī Harsha. In IA. 4 (1875), pp. 84-85.

Harşanātha Śarman Ușāharaņa. A modern copy in the hands of Mr. Grierson. Hastimalla, a Jain, Añjanāpavanamjaya L. app. p. 73. Hastimallasena, a Jain, Arjunarāja A I. p. 30. Idem Bharataraja A I. p. 396. Idem Maithilīpariņaya A I. p. 468. Idem Megheśvara A I. p. 466. Hāsyacūdāmaņi sce Vatsarāja. Hāsyaratnākara mentioned in DR. intr. p. 3C. Hāsyārņava see Jagadīśvara. Hrdavavinnda we Kavi Pandita

42 Indirāpariņaya

I

Indirāpariņaya A I. p. 58. Indirāpariņaya see Vīrarāghava. Indumatīpariņaya A I. p. 59.

J Jagadīśvara Hāsyārņava prahasana A I. p. 766 = 9 Mss. and Com. by Mahendranātha I; A 2. p. 237 ; A 3. p. 158; IO. 7. 4191, 4192, 4193 (with an English translation) ; TT. 62. Analyzed by Wilson, 2, pp. 408-409. Idem Hāsyārņava. [An edition published in 1835; cf. Aufrecht, Cat. Codd. Sanscr. Bibl. Bodl., Oxford, 1864.] Idem Hāsyārnava. The verse of the original Sanskrit comedy with a Bengali translation of the whole work. Calcutta, 1840, pp. 116. Idem Hāsyarņava, ed. C. Cappeller. [Jena, 1883], pp. 28. [Autographed.] Jagajjyotirmalla (wrote in 1629) Haragaurīvivāha L. app. p. 82. Jaganmohana L. app. p. 75. Jagannātha, son of Pītāmbara, Atandracandrika A I. p. 6 = 2 Mss .; A 2. pp. 2, 186. Jagannātha Paņdita Anańgavijaya bhāņa A I. p. 12; Hz. 3. 1776. Idem Ratimanmatha Hz. 3. 1604. Idem Vasumatīpariņaya A I. p. 557: Jagannāthavallabha see Rāmānanda. Jaitrajaivātrka sce Nārāyaņa Sāstrin. Jāmadagnyajaya, a vyāyoga or subject of a vyāyoga men- tioned in DR. 3. 55. Jāmbavatīkalyāņa see Krsnarāya. Jānakīgītā see Hari. Jānakīpariņaya A I. p. 206 = 2 Mss. Jānakīpariņaya see Nārāyaņa Bhatța, Rāmabhadra Dīkșita, and Sītārāma.

Jyotirīśvara 43

Jānakīrāghava quoted in SD. 371, and by Rāmanātha in his Trikāņdaviveka. Jātavedas Pūrņapurușārthacandra A I. p. 343 ; A 2. p. 76. Jayadeva, son of Mahādeva. Prasannaraghava. Manuscripts. A I. p. 359 = 46 Mss. and I Com. ; A 2. pp. 81, 211 = 7 Mss. and Com. by Raghunan- dana I; CS. 237, 238 ; Hz. 3. 1576; IO. 7. 4158. Text Editions. The Prasannaraghava. Edited by G. D. Śāstri. Benares, 1868, pp. 165. Prasannarāghava. Edited by J. Vidyāsāgara. Calcutta, 1872, pp. 168. Prasannarāghava. Edited by R. S. Vavilla. 1° ed., Madras, 1874, pp. 126; 2° ed., 1882, pp. 82 ; 3° ed., 1890, pp. 82. Prasannaraghava. Edited by K. P. Parab. Bombay, 1893, pp. 146. Prasannarāghava. Edited with introduction and notes by S. R. Khopakar, with the commentary of Vyankatacarya. Bom- bay, 1894, pp. 412. Prasannaraghava. Edited with introduction and notes by S. M. Paranjape and N. S. Panse. Poona, 1894, 2 pts., pp. 209 + 106. Jayanta Bhatța Șaņmata A 3. p. 43. Jīvānanda A I. p. 208.' Jīvānanda Jyotirvid Mangalanāțaka, an original mytho- logical play in nine acts, on the greatness of Devi, in Sanskrit and Hindi. Benares, 1887, pp. 137. Jīvānandana see Ānandarāya. Jīvanmuktikalyāņa see Mallāsomayājin and Nallādīkșita. Jīvarāma Yājñika Murārivijaya CS. 250. Jivavibudha (before the second half of the seventeenth cen- tury) Nalānanda A I. p. 280. Jñanasūryodaya see Vadicandra.

Jyotirīśvara Kavisekhara, son of Dhiresvara, (second half of fifteenth century). Dhūrtasamāgama prahasana A I. p. 272 = 8 Mss .; A 2. pp.

44 Jyotirīśvara

59 = 2 Mss .; SCBen. 288; IO. 7. 4201. Analyzed by Wilson, 2, p. 408. Text Editions. Dhūrtasamāgama, herausgegeben von Carl Cap- peller. [Jena, 1883], pp. 16. [Autographed.] Dhūrtasamāgama, comoedia e cod. Parisiensi Sanskrite cum annotationibus edidit Chr. Lassen. In Anthologia Sanscri- tica, Bonn, 1838, pp. 68-96, 116-130. Translations. A. French. Dhūrtasamāgama, pièce de théâtre hindou, traduite du Sanscrit par Ch. Schoebel. Without place or date, pp. 24. B. Italian. Dhūrtasamāgama, ossia il congresso de' bricconi. Farsa di Giotirisvaro. In Teatro scelto indiano tradotto dal Sanscrito da Antonio Marazzi, vol. 2, Milan, 1874, pp. 189-231. [Published originally in the Giornale Napolitano di Filosofia e Lettere, Aug .- Sept., 1872.]

K

Kādamba Rāmakrsņa Aditikuņdalāharaņa A 2. p. 2 = 2 Mss. Kādambarīrāma, a playwright, A I. p. 92. Kalānanda see Rāmacandra Kavi. Kalāvatīkāmarūpa A I. p. 84. Kāleyakutūhala see Bharadvāja.

Kālidāsa.

Mālavikāgnimitra. Manuscripts. A I. pp. 453-454 = 40 Mss. and 3 Com .; by Kātayavema 2, by Vīrarāghava I ; A 2. pp. 104, 217 = 4 Mss. and Com. by Kātayavema 2, by Nīlakaņțha 2; A 3. p. 98 = 3 Mss .; CS. 245, 246; Hz. 3. 1574 ; IO. 7. 4122; TT. 67. Analyzed by Wilson, 2, p. 345. Text Editions. Mālavikāgnimitra. Textum primus edidit et vari- etatem scripturae adjecit O. F. Tullberg. Vol. I, Bonn, 1840, pp. 9 + 108. Mālavikāgnimitra. Bombay, 1868, pp. 4 + 89. Mālavikāgnimitra. Edited with notes by S. P. Pandit. 1° ed.,

Kālidāsa 45

Bombay, 1869, pp. 39 + 164; 2° ed., with the commentary of Kāțayavema, 1889, pp. 35 + 230. Bombay Sanskrit Series, no. 6. Mālavikāgnimitra. Edited with Notes by T. Tarkavācaspati. 1° ed., Calcutta, 1870, pp. 165. 2° ed., 1887, pp. 148. Mālavikāgnimitra. Mit kritischen und erklärenden Anmerkungen herausgegeben von F. Bollensen. Leipzig, 1879. Mālavikāgnimitra, with the commentary named Kumāragirirājīya of Kāțayavema. Vizagapatam, 1884, pp. 133. Mālavikāgnimitra. Edited with an original commentary by Mrityuñjaya Nişsanka. Madras, 1885, pp. 262. Mālavikāgnimitra. Little Conjevaram, 1886, pp. 64. Mālavikagnimitra. Sanskrit text with full notes in English by M. C. Sadagopachariar. Bombay, 1889. Mālavikāgnimitra, edited with the commentary of Kātayavema and with explanatory English notes by K. P. Parab. Bom- bay, 1890, pp. 153. Mālavikāgnimitra. Edited with the commentary of Kātayavema. Bombay, 1891, pp. I12. Mālavikāgnimitra. With the commentary of Kātayavema. Edited with explanatory English notes. Bombay, 1891, pp. 158. Mālavikāgnimitra, with the commentary of Kātayavema and several others embodied therein, edited with critical notes and translation by S. S. Ayyar. Poona, 1896, pp. 303. Mālavikāgnimitra, edited with a close English translation by S. B. Bhagvat. Poona, 1897, pp. 126. Mālavikāgnimitra. Edited with a commentary, notes, and trans- lation by M. C. Satakopācāri. Kumbhakonam, 1900, pp. I52. Translations. A. English. Mālavikāgnimitra, translated into English prose by C. H. Tawney. 1° ed., Calcutta, 1875, pp. 93; 2° ed., 1891, pp. 121. Mālavikāgnimitra, translated into English prose by G. R. Nan- dargikar. Poona, 1879, pp. 53. B. French. Malavika et Agnimitra. Traduit pour la première

46 Kālidāsa

fois en français par P. E. Foucaux. Paris, 1877, pp. II + 118. Bibl. Orient. Elzévir., no. 14. Mālavikāgnimitra. Agnimitra et Mālavikā, comédie en cinq actes et un prologue, mêlée de prose et de vers, traduite du san- scrit et du pracrit par Victor Henry. Paris, 1889, pp. 12 + IIO. (Extr. des Mém. de la Soc. des Sciences de Lille.) C. German. Mālavikā und Agnimitra, ein Drama des Kāli- däsa in fünf Akten, zum ersten Male übersetzt von Albrecht Weber. Berlin, 1856, pp. 48 + 107. Malavika und Agnimitra, metrisch übersetzt von Ludwig Fritze. Leipzig, 1881, pp. 74. Mālavikāgnimitra. Prinzessin Zofe. Ein indisches Lustspiel in vier Aufzügen nebst einem Vorspiel, frei für die deutsche Bühne bearbeitet von Leopold von Schroeder. Munich, 1902, pp. 8 + 70. D. Dutch. Danseres en Koning. Malavika en Agnimitra. Tooneelstuk uit het Sanskret vertaald door J. van der Vliet. Haarlem, 1882, pp. 132. E. Swedish. Mālavikā. Ett indiskt skådespel. Från Sanskrit öfversatt af H. Edgren. Malmo, 1877. F. Danish. Kongen og Danserinden. Lystspil i fem Akter. Oversat af E Brandes. Med tegninger af C. Thomsen. Copenhagen, 1874. G. Italian. Malavica ed Agnimitro. Dramma in cinque atti. In Teatro scelto indiano, tradotto dal Sanscrito da Antonio Marazzi, vol. I, Milan, 1871, pp. 301-417. Mālavikāgnimitra. Dramma indiano tradotto in italiano da Fran- cesco Cimmino. Naples, 1897, pp. II + 126. H. Bohemian. Mālavikā a Agnimitra. Preložil Zubatý. Prague, 1893, pp. 102. Sbornik světové poesie, no. 16. I. Bengali. Mālavikāgnimitra, translated in Bengali by S. M. Tagore. Calcutta, 1877. J. Marathi. Raja Agnimitra, a Marathi translation of the Mālavikāgnimitra by V. S. Islampurkar. Bombay, 1889,

Malavikagnimitra. Translated into Marathi by Rão S. N. G. pp. 204.

Rāje. Bombay, 1895, pp. 156.

Kālidāsa 47

Sangīta Mālavikāgnimitra Nātak, or the drama of Mālavikā and Agnimitra in musical verse. Translated into Marathi by B. G. Varde. Bombay, 1895, pp. 136. K. Hindi. Mālavikāgnimitra. Translated from Sanskrit into Hindi by Sīta Rāma. Cawnpore, 1899, pp. 70. L. Gujarati. Mālavikāgnimitra. Translated into Gujarati by R. Udayarama. Bombay, 1870, pp. 109. Criticism. Annotations on Sanskrit Classics. The Mālavikg- nimitra. In The Sanskrit Reader (Samskrtapāțhāvalī), Bom- bay, 1884, vol. 2, pt. 4, pp. 48. Bollensen, Friedrich. Beiträge zur Erklärung der Mālavikā. In ZDMG. 13 (1859), pp. 480-490. Cappeller, Carl. Observationes ad Kālidāsae Mālavikāgnimitram. Königsberg, no date, pp. 33. Cimmino, Francesco. Alcune osservazioni sul dramma Mālavi- kāgnimitra. In Atti dell' Accademia Pontaniana, 33 (1904), pp. I-16. Haag, Friedrich. Zur Texteskritik und Erklärung von Kāli- dāsa's Mālavikāgnimitra. Erster Teil. Auszug aus dem Progr. der Kantonsschule pro 1871-72. Frauenfeld, 1872. Schuyler, Montgomery, Jr. Bibliography of Kālidāsa's Mālavikāg- nimitra and Vikramorvasī. In JAOS. 23 (1902), pp. 93-I01. Vliet, J. van der. Mālavikā-Mañjulikā. In Bijdrage voor de taal- land- en volkenkunde van Nederlandsch Indie, 6. vol- greeks, 5 (= 49), p. 169-170.) [On resemblances between the Mālavikāgnimitra and the Kathāsaritsāgara.] Weber, Albrecht. Zur Erklärung der Mālavika. In ZDMG. 14 (1860), p. 261.

Śakuntalā. Manuscripts. A I. p. 23 = 88 Mss. and 4 Com .; by Abhirāma 2, by Kāțayavema 6, by Krșnanātha Pañ- cānana I, by Candraekhara 2, by Damaruvallabha I, by Nārāyana 3, by Rāghava 4, by Rāmabhadra I, by Sankara I, by Śrīnivāsa 2; A 2. p. 5 = 6 Mss. and 3 Com .; by Can- draśekhara I, by Rāghava 2; A 2. p. 187 = 4 Mss. and 4 Com .; by Rāghava I, by Vemabhūpāla; A 3. p. 6 = 16

48 Kālidāsa

Mss. and I Com .; by Abhirāma 2, by Kāțayavema 2, by Rāghava 2, by Šrīnivāsa 4, Prākrtachāyā 2; CBMMS. 263; Hz. 3. 1756; IO. 7. 4110, 4I11, 4112, 4113, 4114, 4115, 4116; TT. 60; Com. by Nārāyaņa, SCBen. 295; Com. by Candraśekhara, IO. 7. 4117, 4118; Com. by Ghanaśyāma, Hz. 3. 1656; Com., SCBen. 981, IO. 7. 4119. Text Editions. Sakuntala. Calcutta, 1761. [First printed edition. ] La Reconoissance de Sacountala, drame sanscrit et prakrit de Calidasa, publié sur un manuscript unique de la Biblio- thèque du Roi, accompagné d'une traduction française, de notes philologiques, critiques et littéraires, par A. L. Chézy. I° ed., Paris, 1830. 2° ed., 1832. Abhijñānasakuntalā. With the commentary of Premacandra. Calcutta, 1839, pp. 159. [In Bengali characters.] Śakuntalā. Neue Ausgabe in lateinischen Typen. (?) Abhijñānaśakuntalā. Gauriya recension. Edited by P. C. Tar- kavāgīśa. I° ed., Calcutta, 1839, pp. 159; 2° ed., 1860, pp. 170. Reprinted with additional notes by R. S. Tarka- ratna, Calcutta, 1864, pp. 190. Kālidāsa's Ring-Çakuntalā. Herausgegeben, übersetzt und mit Anmerkungen versehen von O. Böhtlingk. Bonn, 1842, large ed .; 1846, small ed. [Devanāgarī recension.] Śakuntalā Recognized by the Ring, a Sanskrit drama in seven acts. The Devanagari recension of the text, with literal English translations of all the metrical passages and notes by M. Williams. 1° ed., Hertford, 1853; 2° ed., Oxford, 1876. Abhijñānaśakuntalā. Bombay, 1861. Abhijñāna Śakuntalam. Edited with notes by J. Tarkālamkāra and K. Tarkaratna and with a preface in Bengali by V. Ma- jumdār. Calcutta, 1869, pp. 232. In Majumdār's Series. Śakuntalā. Edited by Jaganmohana Sarman and Kedāranātha. Calcutta, 1869. Abhijñāna Śakuntalā. Edited with a commentary by D. V. Panta. Calcutta, 1871, pp. 2 + 236.

Kālidāsa 49

Sacuntala annulo recognita, fabula scenica Cālidāsi. Textum recensionis devanagaricae recognovit atque glossario sans- critico et pracritico instruxit Carolus Burkhard. Breslau, 1872, pp. 12 + 112 + 227. Abhijñānaśakuntalā, with Śrīnivāsācārya's commentary, called Śakuntalāvayākhya. Edited by S. Tiruvenkațācārya and V. Rāmakrsņamācārya. Madras, 1874, pp. 6 + 320. Śakuntalā. The Bengali Recension. With critical notes. Ed- ited by R. Pischel. 1° ed., Kiel, 1877, pp. 1I + 210; 2° ed., 1886, pp. 1I + 210. Abhijñānaśakuntalā. Edited with notes and explanations by Iśvaracandra Vidyāsāgara. 1° ed., Calcutta, 1880, pp. 262; 2° ed., 1887, pp. 293; 3° ed., 1889, pp. 256. Śakuntalā, with a commentary by Śrīnivāsācārya. Madras, 1880,

Śakuntalā. With the commentary of Srīnivāsa Chārlu. Mad- pp. 6 + 326.

ras, 1882, pp. 320. Abhijñānaśakuntalā, with the commentary of Rāghavabhatta. Edited with English notes by N. B. Godabole and K. P. Parab. I° ed., Bombay, 1883, pp. 331; 2° ed., 1889 (?) ; 3° ed., 1891, pp. 374. Abhijñāna-Sakuntalā, with the commentary of Rāghavabhatta. Edited by N. B. Godabole and K. P. Parab. 1° ed., Bom- bay, 1883, pp. 167; 2° ed., 1886, pp. 267; 3° ed., 1895,

Śakuntalā, with a commentary by P. Venkatacharia. Madras, pp. 267.

1883, pp. 345. Śakuntalā. Edited with notes and full explanations by K. N. Nyāyapañcānana. I° ed., Calcutta, no date, pp. 335 ; 2° ed., 1888, pp. 2 + 337. Abhijñānaśakuntalā. Bombay, no date, pp. 50. Śakuntalānāțaka. Bombay, no date, pp. 98. Abhijñānaśakuntalā. Edited with a close English translation and various readings by P. N. Patankar. 1° ed., Poona, 1889, pp. 473 ; 2° ed., 1902, pp. 358. Abhijñanasakuntalam. In Bengali, English, and Sanskrit.

50 Kālidāsa

Edited by B. B. Gosvämi. With notes and English and Bengali translations. Calcutta, 1895, pp. 464. Abhijñānasakuntalā. With the commentary of Rāghavabhatta. Edited with an English translation, notes, and various read- ings by M. R. Kale. 1° ed., Bombay, 1898, pp. 397; 2° ed., 1902, pp. 397. Abhijñanasakuntalā, with an introduction, glossary, English and Bengali translations and various readings. Edited by N. C. Vidyāratna. Calcutta, 1901, pp. 770. Abhijñānaśakuntalā. Acts I-5. Text, commentary, introduc- tion, notes, and translation by T. E. Śrīnivāsācāriar and B. S. K. Aiyar. Kumbhakonam, 1901, pp. 178 + 135. Śakuntalā, or the Fatal Ring; a drama by Kālidāsa, to which is added Meghadūta, and Bhagavadgīta. Edited with an in- troduction by T. Holme. London, 1902, pp. 240. Translations. A. English. Sacountala, or the Fatal Ring, translated from the original Sanskrit and Prakrit [by Sir William Jones]. 1° ed., Calcutta, 1789, pp. 184; 2° ed., London, 1790; 3° ed., London, 1792; 4° ed., Edinburgh, 1796, pp. 161. Reprinted at Calcutta, 1855; London, 1870; Calcutta, 1887, 1899, pp. 74. Sakuntala, or the Lost Ring. Translated by M. Williams. 1° ed., Hertford, 1853; 2° ed., 1855; 3° ed., 1856; 4° ed., London, 1872 ; 5° ed., 1887; 6° ed., 1890. Śakuntala, translated by Monier Williams, edited by B. V. N. Kirtikar. Bombay, 1885, pp. 98. [An abridgment of Wil- liams's version.] Śakoontala, or the Lost Ring. Translated by Monier Wil- liams. New York, 1885. Śakuntalā. An English translation by Krsņa Kamal Bhațțācārya. Calcutta, 1891, pp. 134. Shakuntala, or the Recovered Ring. Translated by A. H. Edgren. New York, 1894, pp. 198. Sakuntalā. Translation by Kālīpāda Mukerjee. In his Notes on Sakuntalā, Calcutta, 1895.

Kālidāsa 5I

A literal English translation of Abhijñana Sakuntala with an intro- duction by T. R. Ratnam Aiyar. Madras, 1896, pp. 84. Śakuntalā. Translated by Kalikes Banerji. Nadia (Bengal), 1901, pp. 166. Śakuntalā. Translated by J. G. Jennings. Allahabad, 1902, pp.

Śakuntalā: Idylls of Ancient Ind. By R. Vasudeva Row. 217.

Madras, 1903, pp. 6 + 94. [An attempt to render into idyllic poetry the subject of Kālidāsa's drama.] Śakuntalā. Translated by A. M. Wright. Springfield, Mass., U. S. A., 1904, pp. 84. B. French. Sacontala, ou l'anneau fatal, drame traduit de la langue sanscrit en Anglais, par Sir W. Jones, et de l'Anglais en Français par le citoyen A. Bruguière; avec des notes des traducteurs. Paris, 1803. Gautier, Théophile. Sacountala, Ballet-Pantomime en deux actes tiré du drame de Calidasa. Musique de Reyer. Paris, 1859. Fauche, Hippolyte. Oeuvres choisies de Kālidāsa. Śakuntalā. Paris, 1865. La Reconnaissance de Sakountala, drame en sept actes de Kāli- dāsa, traduit du Sanskrit par P. E. Foucaux. 1° ed., Paris, 1867, pp. 24 + 188 ; 2° ed., 1874. Sacountala. Traduite par Abel Bergaigne et P. Lehugeur. Paris, 1884, pp. 1I + 195. L'anneau de Çakuntalā, comédie héroique. Traduite par A. Fer- dinand Herold. Paris, 1896, pp. 161. C. German. Sakontala, oder der Entscheidende Ring. Aus den Ursprachen Sanskrit und Prakrit ins Englische und aus diesem ins Deutsche übersetzt mit Erläuterungen von G. Forster. 1° ed., Mainz and Leipzig, 1791, pp. 40 + 366; 2° ed., Frankfurt-am-Main, 1803, pp. 44 + 267. Reprinted at Heidelberg, 1820, pp. 44 + 268, and at Leipzig, 1879, pp. 136. Sakontala, oder der verhängnissvolle Ring; indisches Drama des Kalidas in sechs Aufzügen. Metrisch für die Bühne bear- beitet von Wilhelm Gerhard. Leipzig, 1820, pp. 16 + 190.

52 Kālidāsa

Sakuntala, oder der Erkennungsring, übersetzt von B. Hirzel. I° ed., Zürich, 1833, pp. 29 + 155; 2° ed., 1849. Śakuntalā von Höppl. 1854. [Free translation of the text.] Śakuntala, ein indisches Schauspiel von Kalidasa, aus dem Sans- krit und Prakrit übersetzt und erläutert von Ernest Meier. In Die klassischen Dichtungen der Inder, 2. Theil, Stutt- gart, 1847-54. Reprinted in Bibliothek ausländischer Klas- siker, no. 58 : 1° ed., Hildburgshausen, 1867; 2° ed., Leip-

Śakuntala, indisches Schauspiel von Kalidasa, metrisch übersetzt zig, 1874.

von Edmund Lobedanz. I° ed., Leipzig, 1854, pp. 8 + 164; 2° ed., 1867; 3° ed., 1867, pp. 6+ 164; 4° ed., 1871; 6° ed., 1878; 7° ed., 1884. Aus F. Rückert's Nachlass. Leipzig, 1867 and 1876. [Con- tains a translation of the Śakuntalā.] Śakuntala, frei nach Kalidasa's altindischem Drama von A. Frei- herrn von Wolzogen. Schwerin, 1869; Bühnenausgabe, Leipzig, 1879 (?), pp. 76. Sakuntala. Metrisch frei bearbeitet von Arthur. Dresden, 1871. Sakuntala. Für die deutschen Bühnen bearbeitet von A. Donsdorf. Wien, 1876, pp. 72. Çakuntala, von Fr. Bodenstedt. Leipzig, 1887. [A romantic epic based on Kalidasa's drama; cf. A. F. J. Remy, The Influence of India and Persia on the Poetry of Germany, New York, 1901, pp. 69-71.] Śakuntala. Metrisch übersetzt von Ludwig Fritze. In his In- disches Theater, vol. 2, Chemnitz, 1877-79. Śakuntala. Dichtung von Carl Wittkowsky. Musik von Ph. Scharwenka. Berlin, 1883, pp. 44. Ballet in zwei Akten und fünf Bildern. Nach Kalidasa's Dichtung. Musik von S. Bachrich, in Scene gesetzt von Carl Telle. Vienna, 1884, pp. 16. Śakuntalā. Deutsch von Hermann Camillo Kellner. Leipzig, 1890, pp. III. Śakuntalā. Indisches Schauspiel. Frei bearbeitet von G. Schmilinsky. Dresden, 1900, pp. 106.

Kālidāsa 53

Sakuntalā. Ein indisches Spiel. In deutscher Bühnenfassung von Max Möller. Berlin, 1902, pp. 7 + 117. Śakuntalā. Romantisches Märchendrama in fünf Akten und einem Vorspiel, frei nach Kālidāsa für die deutschen Bühnen bearbeitet von Leopold von Schroeder. Munich, 1903, pp. 14+ 73. D. Dutch. Sakontala, of de beslissende ring. Indisch schou- spel. Mit opheld van G. Forster. Vertaald van E. M. Post. Haarlem, 1792. Sakuntalā, of het Herkenningsteeken : Indisch tooneelspel in 7 bedrijven van Kalidasa. Uit het Sanskrit vertaald door H. Kern. Haarlem, 1862. E. Swedish. Sakuntala; ett Indiskt dramatiskt Poem af Kalidas, öfversatt från Sanskrit på Engelska af W. Jones, och efter denne samt G. Forsters tyska tolkning på svenska af J. Ekelund. Stockholm, 1821, pp. 222. Schakuntalā, eller den Förlorade Ringen. Ett indiskt skådespel af Kālidāsa från Sanskrit öfversatt och förklaradt af H. Edgren. Stockholm, 1875, pp. 184. F. Danish. Sacontala eller den uheldige Ring, et indiansk Drama af Calidas; oversat af Original-Sprogene Sanscrit og Präcrit i Engelsk; og heraf i Dansk med en Inleidning tel den danske Oversattelse. Copenhagen, 1793, pp. 71 + 230. [The translator was Hans West.] Sakuntala, Skuespel i syv Optrin oversat og forklaret af Martin Hammerich. 1° ed., Copenhagen, 1845, pp. 16 + 139; 2° ed., 1858, pp. 170; 3° ed., 1879. G. Icelandic. Sakuntalā. Translated by Dr. Steingrin Thoratainsohn. H. Italian.1 Sacontala, ossia L'Anello Fatale. Dramma tra- dotto dalla lingua orientale Sanskrit nell' idioma inglese dal Sig. W. Jones, indi dall' inglese in francese dal Sig. A. Bruguière, ultimamente dal francese in italiano da L. Doria. Con note. Darmstadt, 1815, pp. 15 + 214. 1 There is also an unpublished Italian version of the Sakuntala by Michele Ker- baker. See F. Cimmino, Il Tipo comico del "Vidūshaka" nell' antico dramma indiano, Naples, 1893, p. 2. n. I.

54 Kālidāsa

Sacuntala riconosciuta per mezzo dell' anello. Dramma in sette atti. In Teatro scelto indiano, tradotto dal Sanscrito da Antonio Marazzi, vol. I, Milan, 1871, pp. 9-176. La Sacuntala di Calidasa, tradotta dal Sanscrito da O. Perini. Verona, 1873. In Versioni Indiane. Sakuntala, dramma lirico da Alfredo Baccelli. Rome, 1888. I. Spanish. Sakuntala, drama del poeta indio Kalidasa. Ver- sion directa del sanskrit por F. Garcia Ayuso. Madrid, 1875. In Biblioteca Sanskrita. J. Russian. Šakuntalā, inděiskaya drama. Perevod s Sans- kritskago Alex. Putyata. Moscow, 1879. Sakuntala, Sanskritskaya drama v 7 děistviyakh. St. Petersburg. Desevaya Biblioteka, A. S. Suvorina, no. 252. Śakuntalā. Drama v 7 děistviyakh. Perevod N. Volostskago. Vologda, 1890, pp. 179. K. Polish. Sakontala czyli pierścień przeznaczenia: dramat indyjski w vii aktach z prologiem ze Sanskryckiego z rekopismu, wydal Hrabia J. Grabowski. (Objaśnienia przez J. Forstera.) Warsaw, 1861. L. Hungarian. Sakuntala. Translated by F. Karoly. Buda- pest, 1887. M. Bohemian. Sakontalo: drama Indicke od Kalidasy. Preložil C. Vyprpio. In Poesie Svetova, pt. 6, 1873, pp. 200. N. Bengali. Śakuntalā, adapted from the Sanskrit drama of Kālidāsa by I. C. Vidyasagar. Calcutta, 1885. Abhijnana Sakuntala. Translated into Bengali by J. N. Tagore. Calcutta, 1899, pp. 146. O. Marathi. Shakuntala recognized by the ring. With a translation into Marathi by K. S. Rajvade. Bombay, 1869, pp. 1I + 267. Śakuntalā with paraphrases in Sanskrit and in Marathi. Dhar- war, 1882. In the Kāvyanāțakādarśa. Sangita Shakuntala Natak. Poona, 1887, pp. 176. P. Hindi. Sakuntalā. Translated into Hindi. Critically edited with notes by Frederic Pincott. Text of K. L. Sinh. I° ed., London, 1876, pp. 12 + 139. 2° ed., 1890.

Kālidāsa 55

Q. Hindustani. Sakuntalā translated into Hindustani from a Hindi version by Kazim 'Ali Jawan. Lucknow, 1875,

R. Tamil. Sakuntala. Traduction de la Version tamoule [by pp. 31.

Rāmacandra or Rājanallūr] par Gérard Devèze. In Revue de Linguistique, 19 (1886), pp. 269-292, 361-380; 20 (1887), pp. 68-78, 114-129, 257-272, 352-376; 21 (1888),

S. Telugu. Sakuntalā. A new version in Telugu prose and pp. 48-53.

verse by D. S. Pantulu. Madras, 1898, pp. 122. Criticism. Notes on Sakuntalā. In Bengali, English, and Sanskrit. Calcutta, 1895, pp. 323. Berchet, Giovanni. Saggio sul dramma indiano la Sacontala, ossia l'Anello Fatale, di Calidasa. Milan (?), 1818. [In the Conciliatore under pseudonym of Grisostomo.] Böhtlingk, Otto von. Einige Nachträge zu meiner Ausgabe der Ring-Çakuntalā. In Bulletin de la classe des sciences his- toriques, philosophiques et politiques de l'Académie de St. Petersbourg, 2, p. 119. Bollensen, Fr. Die Recensionen der Sakuntala. In Nachrichten der Gesellschaft der Wissenschaften zu Göttingen, June 23, 1880. Borooah, Anundoram. A Companion to the Sanskrit-reading Undergraduates of Calcutta University. Part 4, on the Abhijñāna Sakuntalā of Kālidāsa. Calcutta, 1878, pp. 6+ 58. Burkhard, C. Die Kaçmīrer Çakuntala-Handschrift. Vienna, 1884, pp. 163. Burkhard, C. Lectiones codicis Çākuntali Bikānīrensis. Vienna, 1882, pp. 16. Progr. d. Franz-Josephs Gymn. Burkhard, C. Flexiones Pracriticae quas editioni suae Sācuntali pro supplemento adjecit. Breslau, 1874, pp. 9 + 41. Chézy, A. L. Notes et corrections supplémentaires pour l'édition in 4° du drame indien de Calidāsa intitulé La Reconaissance de Sacountala donnée en 1830. Paris, 1831, pp. 49. Cappeller, C. [Review of the editions of the Sakuntala by Pischel and Williams, and of the translations by Rückert and Fritzel in Jenaer Literaturzeitung, 1877, Art. 117.

56 Kālidāsa

Gilchrist, J. B. Sukoontala Natuk; being an Appendix to the English and Hindoostanee Dialogues in the Universal Char- acter. London, 1826, pp. 20 + 104. Gubernatis, A. de. Sacountalā et Griselda. In Verh. des 13. in- tern. Orientalisten-Kongr. (1902), Leiden, 1904, pp. 21-24. Hamaker, H. A. Over de Sakontala van Calidas. In Mnemosyne, 2 (1823), p. 213. Hedrström, O. F. Om Sakuntala. Upsala, 1875. Kālīpāda Mukerjee. Notes on Sakuntalā. I. Notes; 2. Trans- lation; 3. Appendices. Calcutta, 1895, pp. 325. Müller, B. Kālidāsa's Çakuntalā und ihre Quelle. Breslau, I874, pp. 20. [Programm.] Pischel, R. De Kālidāsae Çākuntali recensionibus (Particula prima). Breslau, 1870, pp. 67. Pischel, R. Die Recensionen der Çakuntalā. Eine Antwort an Herrn Prof. A. Weber. Breslau, 1875, pp. 27. Rabe, C. De Calidasae Sacuntala. Breslau, 1845, pp. 35. Ryder, Arthur W. Krsnanatha's Commentary on the Bengal Re- cension of the Çakuntalā. In JAOS. 23 (1902), pp. 79-83. Sarkār, Vihārī Lāl. Sakuntala-Rahasya. The true import of the Sakuntalā. Calcutta, 1896, pp. 144. [In Bengali.] Schuyler, Montgomery, Jr. The Editions and Translations of' Sakuntalā. In JAOS. 22 (1901), pp. 237-248. Weber, A. Die Recensionen der Çakuntala. In Indische Studien, 14 (1876), pp. 35-69, 161-311. Wilson, H. H. Sur un drame indien; extrait du Calcutta Annual Register, et traduit par M. Dondey-Dupré fils. In JA. 1° series, vol. I0 (1827), pp. 174-179.

Vikramorvaśī troțaka. Manuscripts. A I. p. 569 = 50 Mss. and 2 Com. ; by Abbayācaraņa I, by Kāțayavema 2, by Raň- ganātha 3, by Rāmamaya I; A 2. p. 134 = 7 Mss. and Com. by Kāțayavema I, by Ranganātha 3; A 3. p. 120 = 2 Mss. and Com. by Kāțayavema I ; Hz. 3. 1774; IO. 7. 4120; TT. 66; Com. by Kātayavema, Hz. 3 1755 ; Com. by Ranganātha, IO. 7. 4121.

Kālidāsa 57

Text Editions. Vikramorvasī. With a commentary explanatory of the Prakrit passages. Calcutta, 1830, pp. 122. Urvasia, Fabula Calidasi. Textum sancritum edidit, interpre- tationem latinam et notas illustrantes adjecit Robertus Lenz. Berlin, 1833, pp. 25 + 238. Vikramorvaśī, das ist, Urwasi, der Preis der Tapferkeit, ein Drama Kalidasa's, in fünf Akten. Herausgegeben, über- setzt und erläutert von F. Bollensen. St .. Petersburg, 1846, pp 17 + 608 + 88. Vikramorvasī. Edited by M. Monier Williams. Hertford, 1849. [Prākrit passages in Sanskrit only.] Vikramorvaśī. Edited with a commentary of the Prākrit pas- sages. Bombay, 1859, pp. 119. Vikramorvasī. Edited by R. Tarkaratna. Calcutta, 1868. Vikramorvaśī. Edited with notes by R. Sarman. Calcutta, 1869, pp. 2 + 155. Vikramorvaśī. Calcutta, 1870, pp. 67. [Prākrit passages in Sanskrit only.] Vikramorvaśī. Edited with the commentary of Tāranatha Sar- man by J. Vidyāsāgara. Calcutta, 1873, pp. 184. Vikramorvaśīyam, herausgegeben nach drāvidischen Handschriften von R. Pischel. In Monatsb. der Königl. Akad. der Wiss. zu Berlin, 1875 (1876), pp. 609-670. Vikramorvaśīyam. Edited with English notes by S. P. Pandit. I° ed., Bombay, 1879, pp. 12 + 162; 2° ed., 1889, pp. 310; 3° ed., 1901. Bombay Sanskrit Series, no. 16. Vikramorvaśī. Little Conjevaram, 1883, pp. 60. Vikramorvaśī, with interpretation of the Prākrit passages. Viza- gapatam, 1883, pp. 118. Vikramorvaśī, with a commentary. Edited by P. C. N. Charya. Vizagapatam, 1883, pp. 180. Vikramorvaśī, with commentary. Madras, 1884, pp. 24. Vikramorvasīya, with the commentary of Ranganatha. Edited by K. P. Parab and M. R. Telang. 1° ed., Bombay, 1888, pp. 148; 2° ed., 1889, pp. 310. Vikramorvasiyam. The Student's Practical Edition with Sanskrit

58 Kālidāsa

Text, English Translation, and Notes by G. B. Vaidya. Bombay, 1894, pp. 12 + 96 + 216. Vikramorvaśī. Edited with an elucidary commentary in Sanskrit by M. R. Kale. Bombay, 1895, pp. 173. Vikramorvaśīya with the commentary Arthaprakāikā. Edited with an English translation, critical and explanatory notes, and various readings by M. R. Kale. 1° ed., Bombay, 1898, pp. 374; 2° ed., 1903, pp. 374. Vikramorvasīyam. With Sanskrit text, English translations, copious notes, and an elaborate introduction, by K. B. Parānjpe. Bombay, 1898, pp. 264. Translations. A. English. Vikrama and Urvasi, or the Hero and the Nymph. Translated by Wilson, I, pp. 183-274. Vikramorvaśī. Translated into English prose by E. B. Cowell. Hertford, 1851. Vikramorvaśī. Translated into English lyrical verse by Brajen- dranath De. Canto I. In Calcutta Review, Oct. 1884, pp. 440-442. Urvasie. In English poetry by Aurobind Ghose. Bombay, 1899, pp. 39. B. French. Vikramorvaçi. Ourvaçi donnée pour prix de l'heroisme. Drame traduit du Sanscrit par P. E. Foucaux. 1° ed., Paris, 1861, pp. 96; 2° ed., 1879, pp. 137. Bibl. Orient. Elzévir., no. 26. C. German. Urwasi, der Preis der Tapferkeit. Ein indisches Schauspiel. Aus dem Sanskrit und Prākrit übersetzt von K. G. A. Hoefer. Berlin, 1837, pp. 8 + 100. Urwasi und der Held. Indisches Melodram von Kalidasa, dem Dichter der Sakuntala. Aus dem Sanskrit und Prākrit metrisch übersetzt von B. Hirzel. Frauenfeld, 1838, pp. 30 + 164. Urvasi. Deutsch metrisch bearbeitet von E. Lobedanz. 1° ed., Leipzig, 1861, pp. 14 + 115; 3° ed., 1884. Urvasi, ein indisches Schauspiel von Kalidasa, metrisch übersetzt von Ludwig Fritze. Leipzig, 1880, pp. 80. D. Swedish. Vikramorvaçi. Öfversatt och förklaradt af C. J. Bergstedt. Stockholm, 1846.

Kālidāsa 59

Vikramorvaci. Öfversatt af A. J. Callin. Helsingborg, 1866. E. Italian. Vikramorvasi, dramma tradotto di Francesco Cim- mino. Turin, 1890, pp. 79. F. Spanish. Vikramorvasi, drama del poeta indio Kalidasa. Version directa del Sanskrit por F. Garcia Ayuso. Madrid, 1874, pp. 136. In Biblioteca Sanskrita. G. Bohemian. Urvasi. Drama v pěti jednáních od Kalidasy. Emanuel Fait. Prague, 1890, pp. 10. [Program of the Czech Realgymnasium.] H. Bengali. Vikramorvaśī, translated into Bengali by K. Singh. Calcutta, 1857. I. Gujarati. Vikramorvaśī. Translated into Gujarati by R. Udayarāma. Bombay, 1868. Vikramorvashīya. A Sanskrit drama in 5 acts translated into Gujarati prose and verse with critical, explanatory, and mythological notes, and a complete life of the poet, by K. G. Bhatt. Bombay, 1898, pp. 258. Criticism. Lenz, Robert. Apparatus criticus ad Urvasiam fab- ulam Calidasi, quem tamquam suae eius libri editionis ap- pendicem Londinii conscripsit. Berlin, 1834, pp. 36.

Collected Works of Kālidasa. Oeuvres complètes de Kālidāsa traduites du sanscrit en français pour la première fois par Hippolyte Fauche. Paris, 1859-60, 2 vols. Teatro scelto indiano, tradotto dal Sanscrito da Antonio Marazzi. Vol. I. Teatro di Calidasa. Milan, 1871, pp. 429. Mahākavi Kālidāser Granthāvalī. Edited by N. K. Basu. Cal- cutta, 1892. Mahākavi Kālidāser Granthavali. The works of the great poet Kālidāsa. Edited by U. N. Mukherji. 2° ed., Calcutta, 1896, pp. 1356. Works of Kalidasa. Translated into English. Calcutta, 1901, 2 vols.

General Criticism of Kalidāsa. Bendall, Cecil. Kālidāsa in Ceylon. In JRAS. N.S. 20 (1888), p. 440. Bhau Daji. On the Sanscrit Poet Kālidāsa. In JRASBo. 6

60 Kālidāsa

Grierson, G. A. Are Kalidasa's Heroes monogamists? In JASBe. 46 (1877), pp. 39-40. Grierson, G. A. Some Further Notes on Kālidāsa. Calcutta, 1879, pp. 46. Grierson, G. A. Some Further Notes on Kālidāsa. In JASBe. 48 (1879), pp. 32-48. Harris, Ch. An Investigation of some of Kālidasa's Views. Evansville, Ohio, 1884, pp. 58. Huth, G. Die Zeit des Kālidāsa. Mit einem Anhang: Zur Chronologie der Werke des Kālidāsa. Berlin, 1890, pp. 68. Jackson, A. V. Williams. Kālidāsa. In Warner's Library of the World's Best Literature, vol. 15. New York, 1897. Jackson, A. V. Williams. Time Analysis of Sanskrit Plays, I. The Dramas of Kalidasa. In JAOS. 20 (1899), pp. 341- 359. Jackson, A. V. Williams. Notes from India, I. A legend of Kālidāsa preserved at Ujjain. In JAOS. 22 (1901), pp. 331- 332. Jacobi, H. The Date of Kālidāsa. In IA. 19 (1890), p. 285. Leonard, G. S. Further Proofs of the Polygamy of Kālidāsa's Heroes. In JASBe. 46 (1877), pp. 160-163. Liebich, B. Das Datum Candragomin's und Kalidasa's. In Jahresbericht der Schlesischen Gesellschaft für vaterländische Kultur, Orient-sprachwiss. Sektion. Breslau, 1903, pp. II. Nève, F. Calidasa dans les raffinements de sa culture. Paris, 1864. Pischel, R. Neue Bruchstücke des Sanskritkanons der Buddhisten aus Idykutšari, Chinesisch-Turkestān, mit drei Tafeln. In Sitzungsb. der kgl. Preuss. Akad. der Wiss. 39 (1904), pp. 1138-1145. [A fragment quoted p. 1144 connects Kālidāsa with the court of King Bhoja. Cf. Kielhorn in The Acad- emy, June 16, 1894, vol. 45, pp. 498-499.] Pathak, K. B. On the date of Kālidāsa. In JRASBo. 19 (1895), pp. 35-43. Prannāth Pandit. Morals of Kālidāsa. In JASBe. 45 (1876), pp. 352-367.

Kāntimatīpariņaya 61

Summer, Mary. Les héroines de Kalidasa et celles de Shake- speare. Paris, 1879. Bibl. Orient. Elzévir., no. 24. J. E. Seneviratne. The life of Kalidas. Colombo, 1901, pp. 5 + 35. R. V. Tullu. Traditionary Account of Kalidasa. In IA. 7 (1878), pp. 115-117.

Kālidāsa Prahasananāțaka. Madras, 1883, pp. 30. Kālidāsaprahasana A I. p. 99. See also Kāśīdāsaprahasana. Kalikeļiprahasana (vaikrta) mentioned in RS. Kalyāņīpariņaya A I. p. 86 = 2 Mss. Kāmadattā bhāņikā mentioned in SD. 556. Kāmadatta dhūrtaprakaraņa mentioned in RS. Kāmākșīpariņaya A I. p. 94. Kamalākaņțhīrava see Nārāyaņa. Kamalāvilāsa see Šivanārāyaņadāsa. Kamalinīkalahaņsa see Cūdāmaņi Dīksita. Kāmavilāsa see Venkappa. Kampanīpratāpamaņdana see Bindumādhava. Kamsavadha see Dāmodara and Seșakrsņa. Kanakavallīpariņaya A I. p. 78. Kanakāvatīmādhava śilpaka mentioned in SD. 551. Kāñcanācārya Dhanamjayavijaya vyāyoga A I. p. 266 = 14 Mss .; A 2. p. 57; A 3. p. 58 = I Ms. and Com. by Rāmakrșņa I; CS. 226. Analyzed by Wilson, 2, p. 374. Idem Dhanamjayavijaya, a comedy in one act by Kāñ- cana Acārya. Bombay, 1856, pp. I0. Idem Dhanamjayavijaya. Edited by T. Tarkavacaspati. I° ed., Calcutta, 1857, pp. 26; 2° ed., 1871, pp. 36. Idem Dhanamjayavijaya. Mysore, 1880, pp. 26. Idem Dhanamjayavijaya. Edited by Sivadatta and Parab. Bombay, 1895, pp. 3 + 20. Kāvyamālā, no. 54. Kandarpadarpaņa see Srīkaņțha and Venkața Kavi. Kandarpakeli prahasana mentioned in SD. 534-535. Kāntimatīpariņaya see Cokkanātha.

62 Kanyāmādhava

Kanyāmādhava A I. p. 79. Karņasundarī see Bilhaņa. Karpūramañjarī see Rājasekha Karuņakandaļa mentioned in RS. Kāśīdāsaprahasana A I. p. 104. See also Kālidāsaprahasana. Kāsīpati Mukundānanda bhāņa A I. p. 459 = 15 Mss .; A 2. pp. 106, 217 = 3 Mss .; A 3. p. 99; IO. 7. 4195. Idem Mukundānanda. Edited by Modaka and Sane. Poona, 1878. In Kāvyetihāsasamgraha, I, pts. 1-5. Idem Mukundānanda. A monologue drama on the adven- tures of a loose character. Madras, 1882, pp. 78. Idem Mukundānanda. Edited by Durgāprasāda and Parab. Bombay, 1889, pp. 3 + 74. Kāvyamālā, no. 16. Kāśyapa Abhinavakālidāsa Sṛngārakośa bhāņa A I. p. 660. Kaumudīsudhākara see Tarkālamkāra. Kausika Nallābudha Śṛngārasarvasva bhāņa A I. p. 661. Idem Sṛngārasarvasva. Edited by Durgāprasāda and Parab. Bombay, 1902, pp. 5 + 38. Kāvyamālā, no. 78. Kautukaratnākara prahasana A I. p. 131; A 2. p. 25 = IO. 7. 4197. Analyzed by Cappeller in Gurupūjākaumudī, Festgabe für Weber, Leipzig, 1896, pp. 62-63. Kautukasarvasva see Gopīnātha. Kavibhūșaņa Adbhutārņava A 3. p. 2. Kavikarņapūra (born in 1525) Caitanyacandrodaya A I. p. 190 = 3 Mss. ; A 2. p. 200; A 3. p. 41 ; CS. 225 ; SCBen. 796. Idem Chaitanya Chandroday Natak. In Sanskrit and Ben- gali. Calcutta, 1853, pp. 490. Idem Caitanyacandrodaya, or the incarnation of Caitanya, a drama in ten acts. With a comment explanatory of the Prākrita passages by Viśvanātha Śāstri. Edited by R Mitra. Calcutta, 1854. In Bibl. Indica. Idem Caitanyacandrodaya. Edited with a commentary by J. Vidyāsāgara. Calcutta, 1885, pp. 452. Kavi Paņdita Hrdayavinoda prahasana A 2. p. 237. Kaviputra, a dramatist, mentioned in the prologue of the Māla.

Krsnamiśra 63

vikāgnimitra of Kālidāsa. Kavisekhara see Jyotirīśvara. Kavīsvara Madhavānala A I. p. 450. PR r . 118 Kavitārkikasiņha Rukmiņīpariņaya A 2. p. 123. Keliraivataka hallīśa mentioned in SD. 555. Keralābharaņa see Rāmacandra Dīkșita. Keśavacarita mentioned in the Nāțakacandrikā. Kesavanātha Godāpariņaya A I. p. 159 = 5 Mss. Kimpaca A I. p. 106. Krīdārasātala śrīgadita mentioned in SD. 550. Krşņa or Krsņakavi see Seakrsņa. Krşņabhakticandrikā see Anantadeva. Krsņābhyudaya see Lokanātha. Krsnadatta Maithila (first part of 17th century) Kuvalayāś- vīya A I. p. 113. Idem Purañjanacarita A I. p. 339. Idem Sāndrakutūhala prahasana A I. p. 707 .. Krsnakavīndra (perhaps the same as Sesakrsna, cf. A I. p. 117) Satyabhāmāvilāsa or Satyabhāmāpariņaya A I. p. 689. Krsņakavisekhara (wrote before 1643) Kuvalayavatī nāțikā A 3. p. 25 = IO. 7. 4184. Krsņakutūhala see Madhusūdana Sarasvatī. Krsņalīlā see Vaidyanātha. Krsņalīlātarangiņī see Nārāyaņatīrtha. Krsnamacari R. Vāsantikāsvapna. An adaptation of Shake- speare's Midsummer Night's Dream. A Sanskrit drama in five acts. Kumbhakonam, 1892, pp. 15 + 71.

Krsnamiśra (2d half of 1Ith century), son of Vişnu, wrote for King Kīrtivarmadeva. Prabodhacandrodaya. Manuscripts. A I. p. 352= 75 Mss. and 9 Com .; by Appayya Dīkşita 3, by Gaņeśa I, by Mathurānātha I, by Maheśvara I, by Rāmadāsa 14, by Rudradeva 2, by Sadatman I ; A 2. pp. 78, 211 = 15 Mss. and 2 Com .; by Gaņeśa 2, by Rāmadāsa 4, by Subrah- maņya 2, by Govinda I; A 3. p. 75 = 20 Mss. and Com.

64 Krsņamiśra

by Gaņeśa 2, by Devarāja I, by Rāmadāsa 8; SCBen. 693; Weber 1357 (in Bhasa); Hz. 3. 1578; IO. 7. 4138, 4139, 4140, 4141, 4143; TT. 68; Com. by Ghanaśyāma, Hz. 3. 1583 ; Com. by Ganeśa, IO. 7. 4143; Com. by Govinda, IO. 7. 4144 ; Com. by Rāmadāsa, IO. 7. 4139, 4140, 4141, 4142, 4143; Com., SCBen. 693. Text Editions. Prabodhacandrodaya, with a Comi ....... y by Maheśvara Nyāyālaņkāra. Edited by Bhavānīcaraņa Śarman. Calcutta, 1832, pp. 54. [In Bengali characters.] Prabodhacandrodaya. Sanscrite cum scholiis et variis lectionibus edidit H. Brockhaus. Leipzig, 1835-1845, pp. 8 + 254. [Contains the commentaries of Ramadasa and Mahesvara Nyāyālaņkāra.] Prabodhacandrodaya, with the commentary of Nyayālamkāra. Calcutta, 1838. Prabodhacandrodaya. Poona, 1851. Prabodhacandrodaya, with the commentary of Nyāyālamkara. Edited by J. Vidyāsāgara. Calcutta, 1874, pp. 135. Prabodhacandrodaya. With Rāmadasa's commentary called Prakāśa. Edited by S. Tiruvenkațācārya. Madras, 1876, pp. 3 + 166. Prabodhacandrodaya, with Rāmadāsa's Prakāśa, revised by Tryambaka Gondhalekhara. 2° ed., Poona, 1881, pp. 136. Prabodhacandrodaya, with the commentary Prakāśa. Madras, 1884, pp. 166. Prabodhacandrodaya, edited with a commentary by R. V. Dīkşit. Poona, 1886, pp. 178. Prabodhacandrodaya. Edited by Adyānāth Vidyābhūșan. Shibpur, 1894, pp. 168. Prabodhacandrodaya. With a commentary by Maheśvara Nyā- yālaņkāra, edited by Pandit H. Sāstri. Calcutta, 1895,

Prabodhacandrodaya with the commentary Candrikā. Bombay, pp. 161.

1898, pp. 251. Translations. A. English. Prabodha Candrodaya, or Rise of the Moon of Intellect, a spiritual drama, and Atma Bodha,

Krsnamiśra 65

or the Knowledge of the Spirit. Translated from the Sans- krit by J. Taylor, M.D. 1° ed., Bombay, 1812; 2° ed., Calcutta, 1854, pp. 13 + 125; 3° ed., Bombay, 1893, pp. 18 + 74. Prabodhacandrodaya. Translated by Gangādhar Nyāyaratna. Calcutta, 1852. [English translation ?] B. French. Le Lever de la lune de la connaissance. Tra- duction de la Prabodhacandrodaya sanscrite par S. Devèze. In Revue de Ling. 32 (1899), pp. 230-246; 33 (1900), pp. 67-86, 223-239; 34 (1901), pp. 240-254; 35 (1902), pp. 27-40, 195-211; 36 (1903), pp. 139-159, 226-245. C. German. Prabod'h Chandro'daya, das ist, der Aufgang des Mondes der Erkenntniss, ein allegorisches Drama. Nach der englischen Übersetzung des Dr. J. Taylor von J. G. Rhode. In Beiträge zur Alterthumskunde mit besonderer Rücksicht auf das Morgenland, Berlin, 1820, 2, pp. 41-99. [First three acts.] Prabodhacandrodaya. Die Geburt des Begriffs. Ein theo- logisch-philosophiches Drama, zum ersten Male ins Deutsch übersetzt; mit einem Vorwort eingeführt von K. Rosen- kranz. Königsberg, 1842, pp. 25 + 183. [Translated by Th. Goldstücker; published without his name.] Prabodhacandrodaya, oder der Erkenntnissmondaufgang. Phi- losophisches Drama. Nebst Kalidasa, Meghadūta. Metrisch übersetzt von B. Hirzel. Zürich, 1846. D. Dutch. De Maan der Kennis. Theologisch-metaphysisch Drama. Vertaald door P. A. S. van Limburg Brouwer. Amsterdam, 1869. E. Russian. Toryestvo světloi mysli. Drama v šest aktakh. Perevod s Sanskritskago. Moscow, 1847, pp. 20 + 194. Moskovski naučny i literaturny sbornik, vol. 18. F. Bengali. Atmatattvakaumudi, being a paraphrase of the Prabodhacandrodaya in Bengali, by K. Tarkapañcānana, G. Gangādhar and R. Siromaņi. Calcutta, 1822, pp. 194, with the verses of the original in Sanskrit; 2° ed., 1855, pp. 190; 3° ed., 1861, pp. 168.

66 Krsņamiśra

Prabodh Chandroday. Translated from Sanskrit by Gangadhar Nyayaratna. Calcutta, 1852. [Bengali translation?] G. Hindustani. Tahdil-i makāl, also called Ta'wīo-i īmān. Translated by Āka Hasan. Gujranwala, 1871, pp. 60. Criticism. Schuyler, Montgomery, Jr. A Bibliography of the Plays of Bhavabhūti and of Krsnamisra. In JAOS. 25 (1904), pp. 189-196.

Krsņamiśra Vīravijaya īhāmrga A I. p. 595. Krsnānanda Vācaspati Antar Vyākaraņa Nāțyaparisișta. A drama embodying grammar. Calcutta, 1894-1896, 2 pts., pp. 131 + 303. Krsnānanda Bhatțācārya Nāțyaparisișta, i. e., an appendix to dramatic literature. Lessons in Sanskrit grammar dis- guised in the form of a dramatic entertainment. With two commentaries. Calcutta, 1840, pp. 152. Idem Nāțyaparisista. A grammatical commentary containing discussions on the subject of Sanskrit inflexion. Cal- cutta, 1855, pp. 125. Krsnanātha Sarvabhaumabhattācārya Ānandalatikā IO. 7. 4203. Krsņarāya (16th century) Jāmbavatīkalyāņa A I. p. 206. Krsna Sūri Draupadīpariņaya A 2. p. 57. Kṛtārthamādhava see Rāmamāņika. Krtyarāvaņa quoted in SD. 423. Kșemacandrabodha A I. p. 134. Kşemendra Vyāsadāsa (1 1th century) Citrabhārata mentioned in his Aucityavicāracarcā 31 and Kavikaņțhābharaņa 5. I. Idem Lalitaratnamālā mentioned in his Aucityavicāracarcā 21.

Kșemīśvara. Caņdakausika. Manuscripts. A I. p. 175 = 16 Mss .; A 2. p. 35 = 4 Mss .; A 3. p. 38; CS. 222, 223; Hz. 3. 2020. Text Editions. Candakausika, i. e., the Fierceness of Kauśika. A drama in five acts. Bombay, 1860, pp. 23.

Lakşmaņamāņikyadeva 67

Candakausika. Edited with a commentary and translation of the Prakrit passages by J. Tarkālamkāra. Calcutta, 1867, pp. 5 + 113. Chanda Kousika. A Drama by Arya Kshemishwara, edited with a commentary by J. Vidyāsāgara. Calcutta, 1884, pp. 138. Translation. Kausika's Zorn. Ein indisches Drama von Ksche- misvara. Zum ersten Mal und metrisch übersetzt von Lud- wig Fritze. Leipzig, 1882, pp. 85. Criticism. Cimmino, Francesco. Studii sul teatro indiano. 2. Sul dramma Caņdakausika. In Rendiconto dell' Accademia di Archeologia, Lettere e Belle Arti (di Napoli), 19 (1905), pp. 31-76. R Gochel Zum Ervrti thal ubsrstat um luswis Fritre, fc Naisadhananda A I. p. 306 = 2 Mss., but cf. A I. p. 134.

Kulapatyanka quoted in SD. 473. This may be only an act of a play. Kumaranarendrasāha Muditamadālasa A I. p. 461. Kumāratātaya Pārijāta A I. p. 335. Kumāravijaya see Ghanaśyāma. Kumbha quoted in SD. 476. Kumudacandra see Yaśaścandra. Kundamālā quoted in SD. 291. Kuņdamālā see Nāgayya. Kuśakumudvatīya see Atirātrayājin. Kuśalavavijaya see Venkața Krsņa Dīksita. Kusumabāņavilāsa bhāņa A I. p. 113. Kusumaśekharavijaya īhāmrga mentioned in SD. 518. Kuvalayāśvacarita see Laksmaņamāņikya. Kuvalayāśvamadālasa see Vamśamaņi. Kuvalayāśvīya see Krsnadatta. Kuvalayavatī see Krsnakavisekhara.

L Laghuvyāsa Vrttivallabha A i. p. 541. Laksmaņamāņikya Kuvalayāśvacarita A 3. p. 25. Lakşmaņamāņikyadeva Vikhyātavijaya A 3. p. 120.

68 Lakşmīnṛsiņhakavi

Lakşmīnrsiņha Kavi Anangasarvasva bhāņa A I. p. 12. Lakşmīsvayaņvara see Srīnivāsa Catușkavīndradāsa. > Lalitamādhava SCBen. 799 (with Com.) Lalitamādhava see Rūpa Gosvāmin. Lalitaratnamālā see Kșemendra. Lalitavigraharāja see Somadeva. Lambodara prahasana A I. p. 542. Lațakamelaka see Sankhadhara. Lavalīpariņaya see Appāśāstrin. Līlāmadhukara bhāņa mentioned in SD. 513. Lingadurbheda see Dādima. Lingaguņțamarāma Sṛngārarasodaya miśrabhāņa A I. p. 661. Lokānanda see Candragomin. Lokanātha Bhațța Krsņābhyudaya prekșaņaka A I. p. 124.

M

Madālasa see Rāma Bhațța. Madālasā see Gokulanātha. Madālasāpariņaya A I. p. 426. Madanabhūșaņa bhāņa A I. p. 425. Madanagopālavilāsa see Rāma Kavi. Madanamañjarī see Viļinātha. Madanasamjīvana see Ghanaśyāma. Mādhava Bhațța Subhadrāharaņa. A Śrīgadita, or short drama in one act, on the story of Subhadrā, wife of Arjuna. Edited by Durgāprasāda and Parab. Bombay, 1888, pp. 3 + 20. Kāvyamālā, no. 9. Mādhavānala A I. p. 450 = 2 Mss. Madhavanala see Anandadhara and Kavīsvara. Mādhavī vīthika mentioned in RS. Madhumālatī A I. p. 426. Madhumathanavijaya quoted in Kāvyāloka, p. 152 (A 2.

Madhurāniruddha see Candrasekhara Rāyaguru. p. 97).

Madhusūdana redactor of the more recent version of the Mahānāțaka of Hanuman.

Mālamangalabhāņa 69

Madhusūdana Sarasvatī Krsņakutūhala A I. p. 119 = 3 Mss Idem Vişņukutūhala mentioned in DR. intr. p. 30. [Per- haps a mistake for the preceding.] Mahādeva, son of Krsņasūri, Adbhutadarpaņa A I. p. 8 = 3 Mss. Idem Adbhutadarpaņa. Edited by Durgāprasāda and Parab. Bombay, 1896, pp. 3 + 124 + 4. Kāvyamālā, no. 55. Mahādeva Kavīšācārya Sarasvatī Dānakelikaumudī bhāņikā A I. p. 249. Mahādeva Sāstrin Unmattarāghava A I. p. 66. Mahādeva see also Maheśvara. Mahānāțaka see Hanuman. Mahavīracarita see Bhavabhūti. Mahavīrananda or Vīrananda mentioned in RS. and in DR. intr. p. 30. Maheśa Paņdita Svarņamuktāvivāda IO. 7. 4202. Idem Svarņamuktāvivāda. Bombay. In Kāvyetihāsasam- graha, vol. IO. Maheśvara or Mahādeva Dhūrtavidambana prahasana A I. p. 272. Māheśvara Sabhā A I. p. 696. Maheśvarānanda mentioned in RS. Maheśvarātmaja Sankaralāla Sāvitrīcarita chāyānāțaka. An original play in seven acts, on the myth of Sāvitrī, daughter of Aśvapati. Bombay, 1882, pp. 14 + 324. Mahisamangala bhāņa. A short drama on an incident occurring in a village called Mahisamangala, apparently written by an inhabitant of the place. With a commen- tary. Palghat, 1890, pp. 84. Maikela Madhresūdanadatta Sarmiņistha. 2° ed., Calcutta, 1854 (1270 A. H.), pp. 84. Maithilīpariņaya see Hastimallasena. Maithilīya see Nārāyaņa Sāstrin. Makhin see Anandarāya Makhin. Mālamańgalabhāņa (by Mālamangala?) A I. p. 453.

70 Mālamaṅgalabhāņa

Mālamangalabhāņa. A short dramatic monologue in verse. Olavakod, 1887, pp. 40. Mālatīmādhava see Bhavabhūti. Mālavikāgnimitra see Kālidāsa. Mallasena see Hastimallasena. Mallāsomayājin or Somayājin Jīvanmuktikalyāņa A I. p. 207. Mallikāmāruta see Uddaņdin. Mangala sce Jīvānanda Jyotirvid. Manika (end of 14th century) Abhinavarāghavānanda L. app. p. 73. Mañjulanaișadha see Paravastu. Manmathonmathana see Rama. Mantrānga A I. p. 431 = 2 Mss. Mantrin Yasapāla see Yasaņpāla. Maratakavallīpariņaya see Śrīnivāsadāsa. Mathurādāsa Vrsabhānujā nāțikā A I. p. 599 = 4 Mss .; A 2. p. 143. Idem Vrsabhanuja. A drama in four. acts. Edited by B. Tripāțhi. Benares, 1867-1869. In The Pandit, old series, vols. 2, 4. Idem Vrsabhānujā. Edited by Sivadatta and Parab. Bom- bay, 1895, pp. 3 + 60. Kāvyamālā, no. 46. Mathurānāțaka see Candraśekhara Rāyaguru. Mātrarāja Anangaharșa (9th century ?) Tāpasavatsarāja A I. p. 228 ; A 2. p. 48. Māyākāpālika saņlāpaka mentioned in SD. 549. Māyākurangikā īhāmrga mentioned in RS. Māyurāja Udāttarāghava mentioned by Dhanika on DR. 2.54 3. 3, 22. Megheśvara see Hastimallasena. Menakāhita rāsaka mentioned in SD. 548. Meņțha see Bhartrmeņțha. Miśrabhāņa see Gundarāma. Mithyācāra see Vaidyanātha. Mithyājñānakhaņdana or Mithyājñānavidambana see Ra- vidāsa. Moha rājaparājaya see Yasahpāla.

Murāri 71

Mokşāditya Bhīmavikrama vyāyoga (composed in 1328) CBMMS. 273. Mṛcchakațikā see Sūdraka. Mrgānkalekhā see Viśvanātha. Mṛkșā L. app. p. 79. Muditamadālasa see Kumāranarendrasāha. Muditarāghava see Bālakrsņa. Mudrārākșasa see Višākhadatta. Muktācarita A 2. p. 217 = 2 Mss. Muktipariņaya see Sundaradeva. Mukundānanda see Kāśīpati. Mukuțatāditaka see Bāņa Bhațța. Muņdita see Sivajyotirvid.

Murāri. Anargharaghava. Manuscripts. A I. p. 15 = 68 Mss. and II Com .; by Tripurāri I, by Dhaneśvara 2, by Naracandra 3, by Rucipati 4, by Visnu 3, by Haradatta I, by Harihara 6; verses from it 2; A 2. p. 186 = I Ms. and Com. by Ruci- pati I, by Visņu I ; A 3. p. 4 = 14 Mss. and Com. by Rucipati 7, by Lakşmīdhara I, by Vișņu 2, by Harihara I; CS. 214, 215, 216; CBMMS. 256; SCBen. 436; Hz. 3. 1601; IO. 7. 4151, 4152, 4153, 4154, 4155 ; Com. by Rāmānan- dāśrama, Hz. 3. 1602; by Harihara, Hz. 3. 1603; by Ruci- pati, CS. 217, 218, Hz. 3. 2019, IO. 7. 4156, 4157. Analyzed by Wilson, 2, pp. 375-383. Text Editions. Anargharaghava. Edited with occasional notes by P. Tarkavāgīśa. Calcutta, 1860, pp. 242. Anargharaghava. Madras, 1870, pp. 114. Anargharāghava. Edited by J. Vidyāsāgara. Calcutta, 1875, pp. 178. Anargharaghava. With the commentary of Rucipati. Edited by Durgāprasāda and Parab. I° ed., Bombay, 1887, pp. 3 + 321 ; 2° ed., 1894, pp. 3 + 321. Kāvyamālā, no. 5. Anargharaghava. Sanskrit text, edited with a commentary by Lakşmaņa Sūri. Tañjanagara, 1900, pp. 345.

72 Murārivijaya

Murārivijaya see Jīvarāma and Šeșakrsņa.

N Nāgānanda see Harșadeva. Nāgarāja A I. p. 283. Nāgayya Kuņdamālā A I. p. 109. Nagnabhūpatigraha A I. p. 274. Naișadhānanda see Kșemīśvara. Nalabhūmipālarūpaka A I. p. 280. Nalacaritra see Nīlakaņțha Dīkșita. Nalānanda see Jīvavibudha. Nalavilasa see Ramacandra. Nallādīkșita Cittavrttikalyāņa A I. p. 186. Idem Jīvanmuktikalyāņa A I. p. 207. Nandighoșavijaya see Sivanārāyaņadāsa. Narakāsuravijaya, Narakāsuravadha, Narakāsuradhvamsa, or Narakadhvamsa see Dharma Pandita. Narasiņha Miśra Sivanārāyaņabhañjamahodaya A 3. p. 134. Nārāyaņa Kamalākanthīrava A I. p. 79. . Nārāyaņa Bhatța Jānakīpariņaya A I. p. 206.

Nārāyaņa Bhațța. Veņīsamhāra or Veņīsamvaraņa. Manuscripts. A I. p. 603 = 40 Mss. and 2 Com .; by Jagaddhara 4; A 2. pp. 144, 227 = 3 Mss. and Com. by Jagaddhara 3; A 3. p. 126= 7 Mss .; CBMMS. 276; SCBen. 995; Hz. 3. 2017; IO. 7. 4171, 4172; TT. 58; Com. by Jagaddhara, IO. 7. 4173. An- alyzed by Wilson, 2, pp. 335-344. Text Editions. Veņīsamhara. Edited with a preface in English by Muktārām Vidyābāgish. Calcutta, 1855, pp. 21 + 124. Veņīsaņhāra. Poona, 1856, pp. 69. Veņīsamhāra. Edited with J. Tarkālamkāra's commentary. Calcutta, 1867, pp. 252. Veņīsamhāra. Edited with a commentary by T. Tarkavācaspati. Calcutta, 1868, pp. 10 + 262. Another ed., 1893, pp. 192.

Nārāyaņīvilāsa 73

Veņīsamhara. With the commentary of C. R. Tivari. Benares, I868. Veņīsamhāra. Edited with notes and explanations by K. N. Tarkaratna. Calcutta, 1870, pp. 272. In Majumdār's Series. Veņīsamhāra. Die Ehrenrettung der Königin. Kritisch mit Einleitung und Noten herausgegeben von J. Grill. Leipzig, 1871. Veņīsamhāra with the commentary of Tarkavacaspati. Edited by J. Vidyāsāgara. Rev. ed., Calcutta, 1875, pp. 205; another ed., 1886. Veņīsaņhāra. Edited by Tirumalatātācārya. Mysore, 1889, pp. 209. Veņīsamhära. Edited with the commentary of Jagaddhara, two prefatory notes by L. R. Vaidya, and English notes by N. B. Godabole. Poona, 1895, pp. 324. Venīsamhara. Edited by B. T. and S. T. Dravid. Poona, 1896, pp. 272. Veņīsamhāra. Edited by K. P. Parab and K. R. Mādgāvkar. Bombay, 1898, pp. 218. Veņīsamhāra. Sanskrit text with a commentary by Lakșmaņa- sūri. Cennanagar, no date, pp. 195. Translation. Veņīsamhāra, a Sanskrit drama, done into English by S. M. Tagore. Calcutta, 1880.

Nārāyaņa Kavi Candrakalā A I. p. 179. Nārāyaņa Sastrin Jaitrajaivatrka. The Victorious Moon. An original play in seven acts. Chilambaram, 1888, pp. 68. Idem Maithiliya, a drama on the life of Sita at Maithila; in ten acts. Madras, 1884, pp. 118. Idem Sarmişthāvijaya. A drama in four acts on the legend of Śarmişthā and Yayāti. Madras, 1884, pp. 72. Idem Sūramayūra. An original drama in seven acts. Chilambaram, 1888, pp. 57. Nārāyaņatīrtha Krsņalīlātarangiņī A I. p. 123. Nārāyaņavilāsa A 2. p. 63. Nārāyaņīvilāsa A I. p. 294.

74 Nārāyaņīvilāsa

Nārāyaņīvilāsa see Virūpāksa. Narmavatī nāțyarāsaka mentioned in SD. 543. Națakamelaka prahasana mentioned in SD. III, 207, 537. .See also Lațakamelaka. Nāțavāța see Yadunandana. . Nāțyaparisisța see Krsņānanda. Navagrahacarita see Ghanaśyāma. Navamālikā A 2. p. 61. Navamālikā see Viśveśvara. Nayacandra Rambhāmañjarī nāțikā A I. p. 493 = 2 Mss. and I Com. Idem Rambhāmañjarī. Edited by R. D. Šāstri. Bombay, 1890, pp. 86. Nīlakaņțha Dīkșita Nalacaritra A I. p. 280; A 2. p. 60. Nīlāpariņaya see Drgbhavat. Nirbhayabhīma see Rāmacandra Mahākavi. Nirdoșadaśaratha cf. L. app. p. 76. Nrsimha Šṛňgārastabaka bhāņa A I. p. 661. Nrsimha Bhatța Hariharānusaraņayātrā A I. p. 763. Nrsimha Kavi Candrakalāpariņaya or Candrakalākalyāņa A 3. p. 38.

P

Palāņdumaņdana prahasana A I. p. 330. Pañcabāņavijaya see Rangācārya. Pañcabāņavilāsa bhāņa A I. p. 315. Pañcāyudhaprapañca see Trivikrama. Pāņdavābhyudaya see Rāmađeva. Pāņdavānanda quoted by Dhanika on DR. 3. 12. Paravastu Venkațaranga (beginning of nineteenth century) Mañjulanaișadha nāțaka. Printed in Granthapradarśinī (A 3. p. 90). Pārijāta see Kumāratātaya. Pārijātaharaņa see Gopāladāsa and Umāpatidhara. Pārthaparākrama see Yuvarāja. Pārvatīpariņaya see Bāņa Bhațța.

Rāghavābhyudaya 75

Pārvatīsvayamvara A I. p. 336. Pāșaņdavidambana prahasana cf. A I. p. 336. Payodhimathana prahasana mentioned in RS. Periyappā Sṛngāramañjarīsāharājīya A 2. p. 158. Peru Sūri Vasumangalā A 2. p. 131. Prabhāvatīpariņaya see Harihara and Viśvanātha Kavirāja. Prabhāvatīpradyumna see Rāmakrsna. Prabodhacandrodaya see Krsnamiśra. Pracaņdabhairava see Sađāsiva. Pracaņdagaruda vyāyoga A 2. p. 77. Pracaņdapāņdava see Rājaśekhara. Pracaņdarāhūdaya see Ghanaśyāma. Pradyumna, a poet and playwright, A I. p. 352. Pradyumnābhyudaya A I. p. 352. Pradyumnānanda see Venkațācārya. Pradyumnavijaya see Sankara Dīkșita. Prahasana A I. p. 360 = 4 Mss .; A 3. p. 77. Prahasana see Kālidāsa. Prahlādacarita mentioned in DR. intr. p. 30. Pramāņādarśa see Šukleśvara. Prasannacaņdikā A I. p. 359. Prasannarāghava see Jayadeva. Pratāparudrakalyāņa see Vidyānātha. Pratāpavilāsa see Gangādhara. Priyadarsikā see Harșadeva. Purañjana see Haridāsa. Purañjanacarita see Krsnadatta. Pūrņapurușārthacandra see Jātavedas. Purușottama Dīkșita Revatīhālānta A I. p. 534. Puşpabhūșita prakaraņa mentioned in SD. 5II. Pușpadūșitaka prakaraņa mentioned by Dhanika on DR. 3 38. Pușpamālā see Candrasekhara.

R Rādhāmādhava A 2. p. 220 = 2 Mss. Rāghavābhyudaya quoted in SD. 498.

76 Rāghavābhyudaya

Rāghavābhyudaya see Bhagavantarāya, Gangādhara, Rāma- candra, and Venkațeśvara. Rāghavānanda, a dramatist, quoted in SD. 120. Raghunāthācārya Subhadrāpariņaya A I. p. 728 = 2 Mss. Raghunāthavilāsa see Yajñanārāyaņa. Raghuvilāsa (Raghuvilāpa) see Rāmacandra. Raivatamadanikā goșțhī mentioned in SD. 541. Rājacūdāmaņi see Cūdāmaņi.

Rājaśekhara, son of Durduka, also called Rajanīvallabha (A I. p. 777). Bālabhārata see Pracaņdapāņdava. Bālarāmāyaņa mahānāțaka. Manuscripts. A I. p. 372 = 13 Mss. and I Com. ; Hz. 3. 1572. Text Editions. Bālarāmāyaņa. Edited by G. D. Sāstri. Benares, 1869, pp. 324. In The Pandit, old series, 3, nos. 25-35. Bālarāmāyaņa, edited with a commentary by J. Vidyāsāgara. Calcutta, 1884, pp. 103. Bālarāmāyana. Sanskrit text with a commentary by Lakșmaņa Sūri. Tanjanagara, 1899, pp. 198. Karpūramañjarī satțaka. Manuscripts. A I. p. 82 = 22 Mss. and 5 Com .; by Kāmarāja I, by Krsņasūnu I, by Dharma- dāsa I, by Pītāmbara 2 (cf. A I. p. 491), by Vāsudeva 2; A 2. pp. 15, 191 = 5 Mss. and Com. by Dharmacandra I, by Vasudeva 3; A 3. p. 18 = 7 Mss. and I Com .; IO. 7. 4162, 4163. See also Konow and Lanman's edition, pp. xxiii-xxvi. Text Editions. Karpūramañjarī. Edited by Vāmanācārya. Benares, 1872-1873. In The Pandit, old series, 7, nos. 73-76. Karpūramañjarī. Benares, 1883. Karpūramañjarī, with the commentary of Vāsudeva. Edited by Durgāprasāda and Parab. Bombay, 1887, pp. 121. In Kāvyamālā, no. 4. Karpūramañjarī. Edited with a full commentary by J. Vidyāsā- gara. Calcutta, 1889, pp. 160.

Rājaśekhara 77

Karpūramañjarī. A Lucky Wife. Composed from Prakrita or Maharashtri dialect. By V. S. Islampurkar. Bombay, 1890. Karpūramañjarī. A drama by the Indian poet Rajaśekhara (about 900 A. D.), critically edited in the original Prakrit with a glossarial index and an essay on the life and writings of the poet by Sten Konow and translated into English by C. R. Lanman. Cambridge, Mass., 1901, pp. 26 + 289. Harvard Oriental Series, vol. 4. Criticism. Cimmino, Francesco. Studii sul teatro indiano. I. Sul dramma Karpūramañjarī. In Rendiconto dell' Acca- demia di Archeologia, Lettere e Belle Arti (di Napoli), 19 (1905), pp. 1-30.

Pracandapāņdava or Bālabhārata. Manuscripts. A I. p. 348 = 4 Mss. Analyzed by Wilson, 2, pp. 361-362. Text Editions. Pracandapāndava, zum ersten Male herausgegeben von Carl Cappeller. Strassburg, 1885, pp. 9 + 50. Bālabhārata. Edited by Durgāprasāda and Parab. Bombay, I887, pp. 36. In Kāvyamālā, no. 4.

Viddhaśālabhañjikā nāțikā. Manuscripts. A I. p. 573 = 9 Mss. and Com. by Nārāyaņa I ; A 2. p. 135 = 4 Mss. and Com. by Nārāyaņa 2; A 3. p. 121 = 3 Mss. and Com. by Ghana- śyāma I; Com. by Ghanaśyāma, Hz. 3. 1677; Com. by Sundarī and Kamalā (wives of Ghanaśyāma), Hz. 3. 1676. Analyzed by Wilson, 2, pp. 354-360. Text Editions. Viddhaśālabhañjikā. Edited by Vāmanācārya. Benares, 1872-1873. In The Pandit, old series, 6-7, nos. 65-73. Biddhashala Bhanjika, with a commentary by Satyabrata Samas- rami. Edited by J. Vidyāsāgara. Calcutta, 1873, pp. 99. Biddhashalabhanjika. Edited with a commentary by J. Vidyā- sāgara. Calcutta, 1883, pp. 150. Viddhaśālabhañjikā, with the commentary of Nārāyaņa, edited with explanatory and critical notes, various readings, and a glossary by B. R. Arte. To which is added the Rtusam- hāra of Kālidāsa. Poona, 1886, pp. 156 + 48.

78 Rājaśekhara

Translation. The Viddhasālabhañjikā of Rājasekhara, now first translated from the Sanskrit and Prakrit by Louis H. Gray. In JAOS. 27 (1906). [In press.]

General Criticism of Rajasekhara. Apte, V. S. Rājasekhara, his Life and Writings. Poona, 1886, pp. 54. Fleet, J. F. The Date of the Poet Rajasekhara. In IA. 16 (1887), pp. 175-178. Kielhorn, F. On the Date of Rājasekhara. In Ep. Ind. I (1889), pp. 162-179.

Rājimatiprabodha see Yaśaścandra. Rāma Manmathonmathana dima A 2. p. 99. Rāmabhadra Śrngāratarangiņī bhāņa A I. p. 660. Rāmabhadra Dīksita, called Cokkanātha, (17th century). Jānakīpariņaya A I. p. 206 = 51 Mss .; A 2. p. 42 = 2 Mss. Idem Jānakīpariņaya, a drama in seven acts on the Sītā legend. With a Marathi translation by G. S. L. Tryam- bakar, and with an appendix containing a Sanskrit version of the Prakrit passages. Bombay, 1866, pp. 479 + 20. Idem Jānakīpariņaya. Madras, 1883, pp. 155. Idem Śrngāratilaka bhāņa A I. p. 660 = 6 Mss. and Com. by Ramacandra I. Idem Sṛngāratilaka bhāņa. Edited by Śivadatta and Parab. Bombay, 1894, pp. 5 + 58. Kāvyamālā, no. 44. Rāma Bhațța Madālasa A I. p. 426. Called Ujjīvitamadālasa in DR. intr. p. 30. Rāmabhinanda mentioned in SD. 308. See also Rāmā- nanda. Rāmābhyudaya see Rāmadeva and Yasovarman. Ramacandra Nalavilāsa A 3. p. 60. Idem Rāghavābhyudaya A 3. p. 107. Idem Raghuvilāsa A 3. p. 104; (Raghuvilāpa) A I. p. 487. Idem Yādavābhyudaya A 3. p. 102.

Rāmāńka 79

Rāmacandra Sarasakavikulānanda bhāņa A I. p. 699. Rāmacandra Satya Hariscandra Nāțaka. Edited in Sanskrit by B. R. Arte and S. V. Puranik. Bombay, 1898, pp. 61. Rāmacandra (wrote before 1588) Vāsantikā nāțikā A I. p. 556 (Vasantikā); A 3. p. 120 = IO. 7. 4186 (not 4136). Rāmacandra Dīkșita Keralābharaņa bhāņa A I. p. 125 = 2 Mss. Ramacandra Kavi (end of 18th. century) Aindavananda A I. p. 76. Idem Kalānanda A I. p. 84. Rāmacandra Mahākavi Nirbhayabhīma vyāyoga A I. p. 298. Rāmacandra see also Rāmavarman. Rāmacandranāțaka A I. p. 513. Ramacarita A I. p. 514. Rāmadeva or Vyāsa Srī Rāmadeva (15th century) Pāņda- vābhyudaya chāyānāțaka A 3. p. 161 = IO. 7. 4187 (copied in 1471) ; L. app. p. 77. Idem Rāmābhyudaya chāyānātaka A 2. pp. 122, 221; CBMMS. 272. Cf. Bendall in JRAS. 1898, p. 231. Idem Subhadrāpariņaya chāyānāțaka A I. p. 728; CBMMS. 271. Rāma Kavi Madanagopālavilāsa bhāņa A I. p. 425; A 2.

Rāmakrsņa Sūri, son of Āhlāda, Prabhāvatīpradyumna A 2. p. 97.

p. 79 = 2 Mss. Rāmamāņika Kavirāja Krtārthamādhava A 3. p. 25. Rāmananda mentioned in Rucipati's commentary on the Anargarāghava of Murāri (ed. of Durgāprasāda and Parab, p. 70). Same as Rāmābhinanda. Rāmānanda Rāya (end of 15th century) Jagannathavallabha ' A I. p. 196 = 2 Mss .; A 2. p. 200; A 3. p. 43. Idem Jagannāthavallabha. A dramatic poem on the adven- tures of Krsna at Vrndavan, with a Bengali translation by R. Vidyāratna. 2° ed. Murshidabad, 1882, pp. 116. Rāmanāțaka A I. p. 515 = 3 Mss .; A 2. p. 121. Rāmānka see Dharmagupta.

80 Rāmānuja

Rāmānuja Kavi Vivekavijaya A 2. p. 137. Rāmasukavisekhara Śṛngārarasodaya miśrabhāņa A 2. p. 158. Rāmavarman Yuvarāja or Rāmacandra (1755-1787) Ruk- miņīpariņaya A I. p. 527 = 2 Mss. Idem Rukmiņīpariņaya. Edited by Sivadatta and Parab. Bombay, 1894, pp. 3 + 52. Kāvyamālā, no. 40. Idem Śṛngārasudhākara bhāņa mentioned in Kāvyamālā, no. 40, p. I (A 2. p. 158). Rāmāyaņanāțaka see Someśvaradeva. Rambhāmañjarī sec Nayacandra. Rāmila, a playwright. Cf. F. Hall, Fragments of three early Hindu dramatists, in JASBe. 28 (1859), pp. 28-30. Rāmmoy Vidyābhūsana Devadurgatī prahasana. Calcutta, 1884, pp. 14. Rāmodaya see Srīvatsalāñchana. Rangācārya Pañcabāņavijaya bhāņa A I. p. 315 = 7 Mss. Idem Pañcabānavijaya, or the conquest of the love-god, a bhāna or dramatic monologue. Edited by V. R. Cārlu. I° ed., Madras, 1882, pp. 48; 2° ed., 1886, pp. 46. Rangadatta mentioned in SD. 512. See also Tarangadatta. Ranganātha Srngāraśrngāțaka bhāņa A 2. p. 158. Ranganātha (?) A I. p. 488. Rasasadana see Yuvarāja. Rasavilāsa see Cokkanātha. Rasikajanarasollāsa see Venkața. Rasikāmrta see Sankara Nārāyaņa. Rasikarañjana see Śrīnivāsācārya. Rasollāsa see Śrīnivāsa Vedāntācārya. Ratimanmatha see Jagannātha Pandita. Ratnaketūdaya A I. p. 489 = 2 Mss. Ratnakheța Dīkșita Bhaimīpariņaya A I. p. 416 = 2 Mss. Ratnāvalī see Harșađeva. Ravidāsa Mithyājñānavidambana or Mithyājñānakhaņdana A I. p. 455 = 3 Mss .; A 2. p. 105 = 2 Mss .; A 3. p. 98 = 2 Mss .; IO. 7. 4200 (Analyzed).

Rūpa Gosvāmin 81

Idem Mithyajnanavidambana. Revatīhālānța see Purușottama. Calcutta, 1885, pp. 25.

Rudracandradeva or Rudradeva Ușārāgodaya nāțikā A I. p. 71 = 6 Mss. and I Com .; IO. 7. 4174. Analyzed by R. Mitra, Notices of Sanskrit Manuscripts, 3, p. 192. Idem Yayaticarita A I. p. 473 = 2 Mss. Analyzed by Wilson, 2, pp. 388-389. Rudraśarman Tripāțhin Candīvilāsa or Caņdīcarita A I. p; 177 = 5 Mss. (with Com. by the author). Rukmiņī see Sarasvatīnivāsa. Rukmiņīharaņa see Seșacintāmaņi. Rukmiņīkalyāņa sec Cūāmaņi Dīkșita. Rukmiņīpariņaya see Kavitārkikasimha, Rāmavarman, and Varada Kavi. Rüpa Gosvāmin (end of 15th century) Danakeli or Dānakeli- kaumudī bhāņikā A I. p. 249 = 2 Mss. and I Com .; A 2. pp. 53, 205 = 2 Mss. and Com. by Jīvagosvāmin I. A 3. p. 54 = 3 Mss. and Com. by Raghunāthadāsa I. Idem Dānakelikaumudī, a play founded on Vaisnava legends, with a commentary by Jiva Gosvämin, and a Bengali trans- lation by R. Vidyāratna. In Vaișņavadharmaprakāśikā, parts 1-6, Murshidabad (Berhampur), 1881. Idein Lalitamadhava A I. p. 542 = 4 Mss. ; A 2. p. 128; A 3. p. IIE = 2 Mss. and Com. by Narayaņa I ; IO. 7. 4179. Idem Vidagdhamadhava (composed in 1533) A I. p. 572 = 9 Mss. and I Com .; A 2. pp. 135, 225 = 3 Mss. and I Com .; A 3. p. 121 = 4 Mss. and I Com .; IO. 7. 4177, 4178. Analyzed by Wilson, 2, pp. 393-394. Idem Vidagdhamadhava, a Vaisnava play, with a commen- tary by V. Cakravarti and a Bengali prose translation by R. Vidyāratna. In Vaișņavadharmaprakāsikā, parts 7-17, Murshidabad (Berhampur), 1882. Idem Vidagdhamādhava. Edited by Sāstrī and Parab. Bombay, 1903, pp. 3 + 219 + 6. Kāvyamālā, no. 81.

82 Sabhā

Sabha see Māhesvara. Sabhāpativilāsa see. Dharmarāja. Sadāsiva Pracaņdabhairava vyāyoga A I. p. 348. Śakuntalā see Kālidāsa. Sāmarāja Dīkşita, son of Narahari Dīkşita, Dhūrtanartaka A I. p. 272 = 2 Mss. Analyzed by Wilson, 2, p. 407. Idem Srīdāmacarita or Dāmacarita (written in 1681) A I. p. 250; A 2. p. 160; A 3. p. 54. Analyzed by Wilson, 2, pp. 404-406. Sāmavata see Ambikādatta. Samayasāra see Amrtacandra. Samkalpasūryodaya A I. p. 683 = 33 Mss. and I Com .; A 2. p. 163 = I Ms. and I Com .; A 3. p. 142 = 4 Mss. and I Com. Samkalpasūryodaya see Venkațanātha. Samrddhamādhava see Govinda Kavibhūșaņa. Samudrama(n)thana samavakāra or subject of a samavakāra mentioned in SD. 516 and by Dhanika on DR. 3. 61. Samvaraņa A I. p. 681. Sānandagovinda A I. p. 707. Sānandagovinda see Gopāla Bhațța. Sāndrakutūhala see Krsnadatta. Śankara Śāradātilaka bhāņa A I. p. 642= 3 Mss .; A 3. p. 133. Analyzed by Wilson, 2, pp. 384-387. Sankaradeva Vidagdhamādhava A 2. p. 135. Śankara Dīkşita (latter half of eighteenth century), son of Bālakrsņa, Pradyumnavijaya A I. p. 352= 3 Mss. Analyzed by Wilson, 2, pp. 402-403. Śankara Miśra Gaurīdigambara A 3. p. 37. Śankara Nārāyaņa Rasikāmrta A 3. p. 106. Śankhadhara Lațakamelaka prahasana A I. p. 542 = 3 Mss .; A 2. pp. 128, 223 = 5 Mss .; A 3. p. 115. Idem Lațakamelaka. Edited by Durgāprasāda and Parab. Bombay, 1889, pp. 3 + 30. Kāvyamālā, no. 20. Șaņmata sce Jayanta.

Śeşakrsņa 83

Śanticaritra, a Buddhist play, cf. L. app. p. 81. Śāntirasa see Vaikuņțhapurī. Śāradānanda bhāņa A 2. p. 152. Śāradātilaka see Sankara. Sarasakavikulānanda see Rāmacandra. Sārasvatādarśa see Appāśāstrin. Sarasvatīnivāsa Rukmiņīnāțaka A I. p. 527. Śarmipistha see Maikela. Šarmișțhāvijaya see Nārāyaņa Šāstrin. Śarmișțhāyayāti utsrsțikānka mentioned in SD. 519. Śarmișțhāyayāti see Bhāgavata. Śārngadhara Sārngadharīya A I. p. 643 = 2 Mss. Sarvacarita see Bāņa Bhațța. Šațhakopācārya Bhaimīpariņaya A 2. p. 95. Satsangavijaya see Vaidyanātha. Satyabhāmāvilāsa see Krsņakavīndra. Satyahariścandra see Rāmacandra. Saugandhikāharaņa vyāyoga A I. p. 737; mentioned in SD. 514. Saugandhikāharaņa see Viśvanātha. Saugandhikāpariņaya A I. p. 737. Saumillaka see Somila. Saumyasomābhidha see Srīnivāsa. Sāvitrīcarita see Maheśvarātmaja. Seșacintāmaņi (wrote before 1675), son of Rukmiņīharaņa A I. p. 527 = 2 Mss .; CBMMS. 274. Idem Strijñan Dipak. A metrical translation into Gujarati of the Rukmiņīharaņa. Bombay, 1873, pp. 296. Śeşakrsna, also called Krsna or Krsnakavi (end of the 16th century), son of Nrsimha or Narasimha, Kamsavadha A I. p. 77 = 14 Mss. and 4 Com .; A 2. p. 15; A 3. p. 17 = 2 Mss .; SCBen. 299; Hz. 3. 2080; IO. 7. 4175, 4176. Analyzed by Wilson, 2, pp. 400-402. Idem Kamsavadha. Edited by Durgāprasāda and Parab Bombay, 1888, pp. 3 + 80. Kāvyamālā, no. 6. Idem Murārivijaya A I. p. 462 = 3 Mss .; A 2. p. 106.

84. Sevantikāpariņaya

Sevantikāpariņaya A I. p. 734 = 3 Mss. Shahji, king of Tanjore (1684-1711), Candraśekharavilāsa A I. p. 182. Şitalacandra Vidyābhūșaņa Goșayātrā. A play in ten acts on the story of Duryodhana. Calcutta, 1885, pp. 4 + 41. Sītānanda see Tātārya. Sītārāghava A I. p. 723. Sītārāma Jānakīpariņaya A I. p. 206. Sītāsvayamvara see Hanuman. Sītāvivāha A I. p. 723. Śivabhaktānanda A I. p. 650. Śivajyotirvid Muņdita prahasana A I. p. 461 = 2 Mss. Śivanārāyaņabhañjamahodaya see Narasiņha. Sivanārāyaņadāsa Nandighoșavijaya or Kamalāvilāsa A I. p. 276 ; A 3. p. 161 = IO. 7. 4190. Sivanātha Sarman, a playwright. Cf. A. W. Ryder in JAOS. 23 (1902), p. 79. Sivasvāmin (second half of the 9th century) a playright of Kashmir (L. app. p. 87). Somadeva Lalitavigraharājanāțaka. A portion was edited by Kielhorn in IA. 20 (1891), pp. 201-212. Somavallīyogānanda see Aruņagirinātha and Ņiņdima. Somayājin see Mallāsomayājin. Someśvaradeva Rāmāyaņanāțaka A I. p. 524 = 2 Mss. Somila, a playwright. Cf. F. Hall, Fragments of three early Hindu dramatists, in JASBe. 28 (1859), pp. 28-30. Śrīdāmacarita see Sāmarāja. Śrīkaņțha Kandarpadarpaņa Hz. 3. 1683. Śrīnivāsa Saumyasomābhidha, a modern drama in four acts. Chilambaram, 1887, pp. 80. Śrīnivāsācārya Sudarśanavijaya A I. p. 724. Śrīnivāsācārya Ușāpariņaya A I. p. 71. Śrīnivāsācārya Rasikarañjana bhāņa. Mysore, 1885, pp. 60. Śrīnivāsa Catușkavīndradāsa, son of Rāmānujasarvakratu, Lakşmīsvayamvara A I. p. 540; A 3. p. 114. Śrīnivāsadāsa Maratakavallīpariņaya A I. p. 433 = 2 Mss.

Subhața 85

Šrīnivāsātirātrayājin Bhāvanāpurușottama A I. p. 407 = 2 Mss. Śrīnivāsa Vedāntācārya Rasollāsa bhāņa A I. p. 498. Śrīrangarāja see Gopālarāya. Śrīvatsalāñchana Rāmodaya A I. p. 526. Śṛngārabhūșaņa see Vāmana. Śṛngāracandrikā bhāņa A 2. p. 157. Śṛngāradīpaka see Venkațādhvarin. Śṛngārajīvana bhāņa A I. p. 660. Sṛngārakośa see Girvānendra and Kāśyapa. Śṛngāramañjarī see Gopālarāya and Viśveśvara. Śṛngāramañjarīśāharājīya see Periyappā. Śṛngārarasodaya see Lingaguņțamarāma and Rāmasukavi- śekhara. Srngārasarvasva see Cūdāmaņi, Kauśika, and Svāmimiśra. Sṛngāraśṛngāțaka see Ranganātha. Sṛgārastabaka see Nrsiņha. Śṛngārasudhākara see Rāmavarman. Srngāratarangiņī see Rāmabhadra and Venkațācārya. Śrngāratilaka prasthāna mentioned in SD. 544. Śgāratilaka see Rāmabhadra Dīkșita. Śṛngāravāpikā see Viśvanātha Bhațța. Stambhitarambha troțaka mentioned in SD. 540. Subhadrādhanamjaya sce Gururāmakavi. Subhadrāharaņa A I. p. 728 = 2 Mss. and I Com. Subhadrāharaņa see Mādhava Bhațța. Subhadrāpariņaya A I. p. 728. Subhadrāpariņaya see Raghunāthācārya and Rāmadeva. Subhadrāvijaya A I. p. 728. Subhagānanda prahasana A I. p. 727. Subhața Dūtāngada chāyānāțaka A I. p. 257 = 6 Mss .; A 2. pp. 55, 205 = 5 Mss .; A 3. p. 55; CBMMS. 269; IO. 7. 4188. Another recension, also attributed to Subhața, IO. 7. 4189. Analyzed by Wilson, 2, p. 390, and by Aufrecht, Cat. Codd. Sanscr. Bibl. Bodl., Oxford, 1864, p. 139.

86 Subhața

Idem Dūtāngada. Edited by Durgāprasāda and Parab. I° ed., Bombay, 1891, pp. 3 + 15; 2° ed., 1900, pp. 3 + 15. Kāvyamālā, no. 28. Subrahmaņya Kavi Vijayendirāpariņaya A 2. p. 135. Sudarśanavijaya see Šrīnivāsācārya.

Śūdraka. Mrcchakațikā prakaraņa. Manuscripts. A I. p. 465 = 12 Mss. and 2 Com .; by Ganapati I, by Prthvīdhara 5, by Rāma- mayaśarman I, by Lallādīkșita I (made for Wilson); A 2. p. 107 = 2 Mss. and Com. by Prthvīdhara I, by Lallādīkșita I ; CS. 252, 253, 254; IO. 7. 4123, 4124; Com. by Lal- lādīkșita, CS. 251; Com. by Prthvīdhara, CS. 255. Text Editions. Mrcchakatika, with a commentary explanatory of the Prākrit passages. Calcutta, 1829, pp. 2 + 343. Mṛcchakațikā, id est, Curriculum Figlinum Sūdrakae regis. Fabula sanskrite edidit A. F. Stenzler. Bonn, 1847, pp. 8 + 332. Mrcchakațikā, edited with a commentary by Rāmamayaśarman and a preface in Bengali by V. Majumdar. Calcutta, 1870, pp. 386. In Majumdār's Series. Mṛcchakațikā, edited with a commentary by J. Vidyāsāgara. I° ed., Calcutta, 1881, pp. 425; 2° ed., 1891, pp. 351 ; 3° ed., 1898, pp. 355. Mrcchakațika, with the commentaries of Lallādīksita and Prthvī- dhara and various readings. Edited by N. B. Godabole. Bombay, 1896, pp. 594. Mrcchakatika, with the commentary of Prthvidhara. Edited by K. P. Parab. Bombay, 1900, pp. 294. Translations. A. English. The Mrcchakati, or the Toy- Cart. Translated by Wilson, I, pp. I-182. The Little Clay Cart [Mrcchakațika], a Hindu drama attributed to King Shūdraka, translated from the original Sanskrit and Präkrits into English prose and verse by Arthur W. Ryder. Cambridge, Mass., 1905, pp. 30 + 177. Harvard Oriental Series, vol. 9.

Śūdraka 87

B. French. Le Chariot d'Enfant. Drame en vers, en cinq actes et sept tableaux. Traduction par MM. Méry et G. de Nerval. Paris, 1850. Mcchakațikā. Le petit chariot d'argile, drame en dix actes, par H. Fauche. In Une tétrade, ou drame, hymne, roman et poème, traduite pour la première fois du sanscrit en français, vol. I, Paris, 1861. Le Chariot de Terre Cuite. Drame sanscrit attribué au roi Çūdraka, traduit et annoté des scolies de Lallā Dīkshita, par. Paul Regnaud. Paris, 1876-1877, 4 vols. Bibl. Orient. Elzévir., nos. 6-9. C. German. Mrkkhakațikā, das ist, das irdene Wägelchen, ein dem König Çüdraka zugeschriebenes Schauspiel. Über- setzt von Otto Böhtlingk. St. Petersburg, 1877, pp. 4 + 213. Mrcchakatika, metrisch übersetzt von Ludwig Fritze. In his Indisches Theater, vol. 3, Schloss-Chemnitz, 1879. Vasantasenā; Drama, mit freier Benutzung der Dichtung des altindischen Königs Sudraka, von Emil Pohl. Stuttgart, 1893, pp. 128. Vasantasenā, oder das irdene Wägelchen. Freie Übersetzung von Michael Haberlandt. Leipzig, 1893, pp. 20 + 214. Vasantasenã, oder das irdene Wägelchen. Ein indisches Schau- spiel in zehn Aufzügen von König Çüdraka. Deutsch von Hermann Camillo Kellner. 1° ed., Leipzig, 1893, pp. 200; 2° ed., 1894, pp. 199. D. Dutch. Het Leemen Wagentje, Indisch Tooneelspel, uit Sanskrt en Prakrt in het Nederlandsch vertaald door J. Ph. Vogel. Amsterdam, 1897, pp. 15 + 216. E. Swedish. Vasantasena. Indiskt drama i 5 akter. Fritt after Emil Pohls tyska bearbetning. Stockholm, 1894, pp. I19. Mrcchakațikā. Den lilla lervagnen. Ett indiskt skådespel öfversatt av Hilding Andersson. Lund, 1899, pp. 133. F. Danish. Mrcchakatikā. Lervognen. Et indisk Skuespil. Oversat af E. Brandes. Copenhagen, 1870. G. Italian. Introduzione alla versione del Mrcchakațikā

88 Sūdraka

(opera di Çüdraka) da Michele Kerbaker. Florence, 1872. [With translation of first act.] Mrcchakațikā, versione italiana di Michele Kerbaker. Published in part in the Rivista Europea, Florence, Dec. 1869, and in the Giornale Napolitano, new series, 9 (1884), pp. 1-83. H. Russian. Vasantasenā, drevnaya inděiskaya drama. Pere- vod s sanskritskago C. Kossoviča. In Moskvityanin, Mos- cow, 1849. Criticism. Boltz, A. Vasantasen und die Hetären im indischen Drama; Das Vedavolk in seinen Gesamtverhältnissen: Zwei Vorträge. Darmstadt, 1894, pp. 56 [='EMác, 5 (Leiden, 1894), pp. 279-305]. Cappeller, C. Zur Mrcchakațikā. In Festgruss an O. von Böhtlingk, Stuttgart, 1888, pp. 20-22. Chattopādhyāya, N. Three Lectures : The Reminiscences of the German University Life, The True Theosophist, and The Mricchakatikam, or the Toy Cart. Bombay, 1895, pp. 89. Chattopādhyāya, N. Mrcchakațikā, or the Toy-Cart of King Śūdraka. A study. Mysore, 1902, pp. 10 + 82. Kellner, H. C. Einleitende Bemerkungen zu dem indischen Drama Mrcchakațikā. Zwickau, 1872, pp. 28. In Jahresb. d. Gymnasiums zu Zwickau. Lévi, Sylvain. Le théâtre indien à Paris. In Revue de Paris, 1895, pp. 818-829. [On the production of Barrucand's French version at Paris.] Nyayaratna, M. On the Authorship of the Mrcchakatika. In Proc. of the Asiatic Soc. of Bengal, 1887, pp. 193-200. Pavolini, P. E. Il Carretto d'Argilla. Conferenza. In Rassegna Nazionale, 24 (Florence, 1902), pp. 586-610. Ryder, A. W. The Clay Cart. In Boston Transcript, Nov. 21, 1903. [Includes selected passages in translation.] Wilson, H. H. Sur un drame indien; extrait du Ca cutta An- nual Register, et traduit par M. Dondey-Dupré fils. In JA. I° series,, 10 (1827), pp. 174-188, 193-209. Windisch, E. Über das Drama Mrcchakatikā und die Krsņa- legende. In Bericht der phil .- hist. Cl. der Kön. Sächs. Gesells. der Wiss., 4 (1885), pp. 439-479.

Tripuradāha 89

Śukla Bhūdeva (16th century) Dharmavijaya A I. p. 269 = 9 Mss. and Com. by Bhavānīśańkara 7; A 2. pp. 58, 206 = 2 Mss. and I Com .; A 3. p. 58; IO. 7. 4182, 4183; Com. by Bhavānīśankara, IO. 7. 4183. Idem Dharmavijaya. Bombay, 1889. In Grantharatna- mālā 3. Sukleśvara Pramāņādarsa mentioned in DR. intr. p. 30. Sulocanāvivāha (?) L. app. p. 82. Sumatijitāmitramalladeva, king of Bhātgāon, Aśvamedha A 3. p. 8. Sundaradeva, son of Govinda, Muktipariņaya A I. p. 459 = 2 Mss. Sundaradeva Vinodaranga prahasana A I. p. 577. Sundara Kavi Anangamangala bhāņa cf. A I. p. 12. Sundara Miśra Abhirāmamaņi (composed in 1599) A I. p. 26 = 2 Mss. Analyzed by Wilson, 2, p. 395. Sundara Rāja Vaidarbhīvasudeva, a drama in five acts, on the legend of Rukmiņī and Krsna. Kailāsapura (Tinne- velli), 1888, pp. 6 + 112. Sūramayūra see Nārāyaņa Sāstrin. Svāmimiśra or Svāmisāstrin Śrngārasarvasva A I. p. 661; A 2. p. 158. Svānubhūtyabhidha see Anantarāma. Svapnadaśānana see Bhīmața. Svapnavāsavadattā see Bhāsa. Svarņamuktāvivāda see Maheśa.

T Tāpasavatsarāja see Mātrarāja. Tarangadatta prakaraņa mentioned by Dhanika on DR. 3. 38. See also Rangadatta. Tarkālaņkāra Mahāmahopādhyāya Kaumudīsudhākara pra- karaņa. Calcutta, 1888, pp. 6 + 217. Tātārya Sītānanda A I. p. 723. Tripuradāha dima or subject of a dima mentioned in Bharata, 4: 9, and on Bharata's authority in SD. 517 and by Dhanika on DR. 3. 53.

90 Tripurāri

Tripurāri A I. p. 237. Trivikrama Paņdita Pañcāyudhaprapañca bhāņa A I. p. 317 = 5 Mss .; A 2. p. 209. Tumburunāțaka mentioned in the Samgītadāmodara (L. app. p. 76). U Udāttarāghava mentioned in SD. 283, 420, and by Hema- candra (A I. p. 65). Probably the same work as the Udāttarāghava of Māyurāja. Udāttarāghava see Māyurāja. Udayanacarita mentioned in DR. 2. 53 and SD. 422. Uddandin (not earlier than the 15th century) Mallikāmāruta prakaraņa A I. p. 434 = 5 Mss. Idem Mallikāmāruta. With the commentary of Ranganāthā- cārya. Edited by J. Vidyāsāgara. Calcutta, 1878, pp. 4 + 338. Ujjīvitamadālasa see Rāma Bhațța. Umāpatidhara (12th century) Pārijātaharaņa A I. p. 335. Unmatta sce Venkațeśa Kavi. Unmattarāghava see Bhāskara and Mahādeva Śāstrin. Ușāharaņa see Harșanātha. Uşāpariņaya see Šrīnivāsācārya. Uşārāgodaya see Rudracandradeva. Uttararāmacarita see Bhavabhūti.

v Vādicandra Sūri, a Jain, Jñānasūryodaya A I. p. 210. Vadhyasilā quoted in SD. 482. Vaidarbhīvasudeva see Sundara Rāja. Vaidyanātha Krsnalīlā nāțikā A I. p. 123; A 2. pp. 24, 195; CS. 221. Vaidyanātha Mithyācāra prahasana cf. A I. p. 455. Vaidyanātha Satsangavijaya A I. p. 690 = 2 Mss. Vaidyanātha Vācaspati Citrayajña A I. p. 187; CS. 224. Analyzed by Wilson, 2, pp. 412-415. Vaikuņțhapurī Sāntirasa A 2. p. 152.

Vāsantikāpariņaya 91

Vajramukuțīvilāsa A I. p. 548 = 3 Mss. Vakratuņdagaņanāyaka prakaraņa A I. p. 547. Vakulamālinīpariņaya (?) L. app. p. 80. Vallīpariņaya see Vīrarāghava. Vāmana Bhațța Bāņa Srngārabhūșaņa bhāņa A I. p. 661 = 6 Mss. ; A 2. p. 158 = 3 Mss .; A 3. p. 137. Idem Sṛngārabhūșaņa. Published in Granthapradarśanī (A 3. p. 137). Idem Srngārabhūșaņa, a dramatic entertainment in one act. Edited by Rāmakrsņa Ācārya. Madras, 1873, pp. 30. Idem Sṛngārabhūșaņa. Edited by Sivadatta and Parab. Bombay, 1896, pp. 3 + 19. Kāvyamālā, no. 58. Vamsamaņi, a Maithila, son of Rāmacandra, Gītadigambara A 3. p. 33. Vanamāli Miśra Adbhutarāghava A 3. p. 2. Vāņībhūșaņa see Dāmodara Miśra. Varada Anangajīvana or Anangasamjīvana bhāņa A I. p. 12 = 4 Mss. Varadācārya Ambāla bhāņa A I. p. 29. Varadācārya Anangabrahmavidyāvilāsa bhāņa cf. A I. p. 549. Varadācārya Cola bhāņa A 2. p. 200. Varadācārya Vasantatilaka bhāņa A I. p. 556 = 34 Mss .; A 2. pp. 131, 224 = 4 Mss .; A 3. p. 118; Hz. 3. 1.577; IO. 7. 4198, 4199. Idem Vasantatilaka. Edited by D. V. Sarman. Calcutta, 1868, pp. 63. Idem Vasantatilaka. Edited by J. Vidyāsāgara. Calcutta, 1872, pp. 47. Varadācārya Yatirājavijaya or Vedāntavilāsa A I. p. 471 = 5 Mss. and I Com. Varada Kavi Rukmiņīpariņaya A I. p. 527. Vasantabhūșaņa bhāņa (?) L. app. p. 80; but cf. A I. p. 556. Vasantatilaka see Varadācārya. Vāsantikā (Vasantikā) see Rāmacandra. Vāsantikāpariņaya A I. p. 566 = 3 Mss .; A 2. p. 133.

92 Vāsantikāpariņaya

Vāsantikāpariņaya see Chața Yati. Vāsantikāsvapna see Krsnamacari. Vasumangalā see Peru Sūri. Vasumatīcitrasenāvilāsa A I. p. 557 = 2 Mss. Vasumatīcitrasenāvilāsa see Appayya. Vasumatīpariņaya see Jagannātha Paņdita. Vatsarāja Hāsyacūdāmaņi prahasana A I. p. 766. Vațucaritra (?) L. app. p. 80. Vedakavisvāmin Vidyāpariņaya A I. p. 574= 4 Mss. [This author is said to be the same as Ānandarāya (A 2. p. 136).] Vedāntavāgīša Bhațțācārya Bhojarājasaccarita or Bhojasac- carita A I. p. 418; A 3. p. 90. Vedāntavilāsa see Ammāl and Varadācārya. Veņīsamhāra or Veņīsamvaraņa see Nārāyana Bhațța. Venkappa Kāmavilāsa bhāņa A I. p. 93. Venkața, son of Vedāntadeśika, Rasikajanarasollāsa bhāņa A 3. p. 106. Venkațācārya Bhaimīpariņaya A I. p. 416. Venkatācārya, of Surapura, Srngāratarangiņī A I. p. 660 = 2 Mss. Venkațācārya or Venkatādhvarin (also called Araśanipāla) Pradyumnānanda bhāņa A I. p. 352 = 3 Mss .; A 2. p. 78. Venkațādhvarin Śṛngāradīpaka bhāņa A I. p. 661. Venkața Kavi, of Kāñcīpura, Kandarpadarpa(ņa) bhāņa A I. p. 79. Venkața Krsņa Dīksita, son of Venkațādri, Kuśalavavijaya A 2. p. 23. Venkațanātha Samkalpasūryodaya A I. p. 683 = 3 Mss. and I Com .; by Ahobala 2, by Kauśikakulatilaka I, by Nārāyaņa I, by Rāmānuja 1 ; A 2. pp. 163, 232 = 3 Mss. and Com. by Ahobala I. Idem Samkalpasūryodaya, with notes by V. Desikar. Con- jevaram, 1883, pp. 372. Idem Samkalpasūryodaya. With a commentary by Śrīnivāsa

Vinatānanda 93

Tātayārya and Saila Tātayārya. The text edited by Krsņa Tātayācārya. Conjevaram, 1883, pp. 17 + 371. Venkațeśa Bhānuprabandha prahasana A I. p. 405. Venkațeśa see Venkațeśvara. Venkațeśa Kavi Unmatta prahasana A I. p. 66 = 2 Mss. Venkațeśvara Raghavābhyudaya A I. p. 500. Venkateśvara Veńkațeśa prahasana A I. p. 602. Vibhīșaņanirbhartsanānka quoted in SD. 477. Vidagdhamādhava SCBen. 795, 978 (both with Com.). Vidagdhamādhava see Rūpa Gosvāmin and Sankaradeva. Viddhaśālabhañjikā see Rājaśekhara. Vidyānātha Upādhyāya Pratāparudrakalyāņa cf. A I. p. 349, L. p. 19. Vidyānidhi Atandracandrika A I. p. 6. Vidyāpariņaya A I. p. 574. Vidyāpariņaya see Ānandarāya and Vedakavisvāmin. Vigraharājadeva, king of Sākambharī, Harakeli (composed in 1153) cf. F. Kielhorn in IA. 19 (1890), p. 215; 20 (189I), pp. 201-212. Idem, cf. Kielhorn, F., Sanskrit plays of the King Vigrahara- jadeva of Sākambharī, partly preserved as inscriptions at Ajmere. In Trübner's Record, 2 (1891), pp. 65-66. Idem, cf. Kielhorn, F., Bruchstücke des Lalita-Vigraharāja Nāțaka. In Gott. Nachr. 13 (1893), pp. 552-570. Vijayapārijāta see Harijīvana. Vijayendirāpariņaya see Subrahmaņya. Vikhyātavijaya see Laksmaņamāņikyadeva. Vikramacandrikā A I. p. 569. Vikramorvaśī see Kālidāsa. Vikrāntabhīma mentioned by Hemacandra (A I. p. 569). Vikrāntaśūdraka mentioned in the Sarasvatīkaņțhābharaņa, p. 378. Vilakșakurupati cf. L. app. p. 80. Vilāsavatī nāțyarāsaka mentioned in SD. 543. Viļinātha Kavi Madanamañjarī A I. p. 425. Vinatānanda see Govinda.

94 Vindumatī

Vindumatī see Bindumatī. Vinodaranga see Sundaradeva. Vīrabhadravijrmbhaņa dima mentioned in RS. and in DR. intr. p. 30. Vīrānanda see Mahāvīrānanda. Vīrarāghava, son of Śrīśailasūri, Indirāpariņaya Hz. 3. 1749. Vīrarāghava, son of Īsvara, Vallīpariņaya A 3. p. 118. Vīravijaya see Krsņamiśra. Virūpāksa (circa 1350), son of Bukta, Nārāyaņīvilāsa A 3. p. 63.

Viśākhadatta.

Mudrārākșasa nāțaka. Manuscripts. A I. p. 461 = 43 Mss. and 6 Com .; by Dhundhirāja (composed in 1714) 8, by Maheśvara I, by Vateśvara 4 ; A 2. pp. 106, 218 = 9 Mss. and Com. by Graheśvara I, by Dhuņdhirāja 2, Prākrtachāyā by Keśavopā- dhyāya I; A 3. p. 99 = 15 Mss. and Com. by Abhirāma I, by Graheśvara I, by Dhuņdhirāja 4; CS. 247, 248, 249; Garbe 188; SCBen. 980; IO. 7. 4165, 4166, 4167, 4168, 4169; Com. by Dhundhiraja, SCBen. 980, Hz. 3. 1666; Com. by Graheśvara, IO. 7. 4170. There is also a prose version by Ananta Pandita, according to A I. p. 461. Text Editions. Mudrārākșasa, a drama in seven acts. With a commentary explanatory of the Prakrit passages. Calcutta, 1831, pp. 157. Mudrārākșasa. Edited with notes by T. Tarkavācaspati. Cal- cutta, 1870, pp. 2 + 231. In Majumdār's Series. Mudrāraksasa. With the commentary of Dhundhiraja, part I. Edited by D. V. Panta. Calcutta, 1873. Mudrārāksasa. Edited with a commentary by J. Vidyāsāgara. Calcutta, 1881, pp. 218. Mudārarkșasa. With a commentary by hundhiraja. Mysore, 1883, pp. 183. Mudrāraksasa. With the commentary of Dhundhiraja, edited by K. T. Telang. 1° ed., Bombay, 1884, pp. 54 + 283 + 63; 2° ed., 1893, pp. 375; 3° ed., 1900, pp. 378. Bombay

Viśākhadatta 95

Sanskrit Series, no. 27. [Cf. also the review by A. Hille- brandt, in ZDMG. 39 (1885), pp. 107-132.] Mudrārākșasa. Edited by K. H. Dhruva. Ahmedabad, 1900, pp. 340. Mudrārakșasa. Edited with the commentary of Dhundhiraja and an English translation, critical notes, and various readings, by M. R. Kale. Bombay, 1900, pp. 8 + 347. Translations. A. English. Mudrarakșasa, or the Signet of the Minister. Translated by Wilson, 2, pp. 125-254. B. French. Le Sceau de Rakchasa. Drame traduit sur la dernière édition par V. Henry. Paris, 1888, pp. 16 + 237. Collection Orientale, no. 2. C. German. Mudrarakschasa, oder des Kanzlers Siegelring. Aus dem Sanskrit zum ersten Male und metrisch ins Deutsche übersetzt von Ludwig Fritze. Leipzig, 1886, pp. 133. D. Italian. Mudrāraxasa, ossia Il Ministro Rassaso vittima del suo sigillo. In Teatro Scelto indiano, tradotto da An- tonio Marazzi, vol. 2, Milan, 1874, pp. I-187. E. Marathi. Mudrārakșasa. Translated into Marathi by K. S. Rajvade, revised by K. S. Chiplonkar, edited by S. P. Pandit. Bombay, 1867, pp. 144. F. Gujarati. Mudrārākșasa. Translated into Gujarati by K. H. Dhruva. Bombay, 1889, pp. 240. Criticism. Mudrārākșasakathāsāra, a poem in 354 stanzas, com- posed by Ravikartana Sūri to assist readers of the Mudrā- rākșasa. With a brief commentary by Rājagopāla of Madura. Madras, 1882, pp. 22. Mudrārākșasakathāsāra A I. p. 461 = 2 Mss .; A 2. p. 106. Dhruva, K. H. The Age of Visakhadatta. In WZKM. 5 (1891), pp. 25-35. Haag, Friedrich. Beitrage zum Verstāndniss von Visākhadatta's Mudrārāxasa, mit besonderer Berücksichtigung des Codex Parisinus, part 1. Burgdorf, 1886, pp. 12 + 19. Jacobi, Hermann. On Viśākhadatta. In WZKM. 2 (1888), pp. 212-216.

96 Vişņukutūhala

Vișņukutūhala see Madhusūdana Sarasvatī. Viśvanātha, son of Trimaladeva, Mrgānkalekhā nāțikā A I. p. 465 ; CS. 256. Analyzed by Wilson, 2, pp. 391-392. Viśvanātha Saugandhikāharaņa. Edited by Durgāprasāda and Parab. Bombay, 1902, pp. 3 + 37. Kāvyamālā, no. 74. Viśvanātha Bhațța, son of Mahādeva, Śṛngāravāpikā nāțikā A I. p. 661; A 2. p. 158; IO. 7. 4196 (Analyzed). Viśvanātha Kavirāja, author of the Sāhityadarpaņa, Candra- kalā nāțikā quoted in SD. 447, 465. Idem Prabhāvatīpariņaya quoted in SD. 99, 346, 446, 484, 526, 530. Viśveśvara, son of Lakşmīdhara, Navamālikā mentioned in Kāvyamālā, part 8 (1891), p. 52. * Idem Sṛngāramañjarī sațțaka A 2. p. 158. Vițțhala Chāyānāțaka A I. p. 193. Vivekavijaya see Rāmānuja. Vrsabhānujā see Mathurādāsa. Vrttivallabha see Laghuvyāsa. Vyāsa Moksāditya see Moksāditya. Vyāsa Śrī Rāmadeva see Rāmadeva.

Yādavābhyudaya see Rāmacandra. Yādavodaya kāvya mentioned in SD. 546. Yadunandana, son of Vāsudeva Cayani, Nāțavāța prahasana. Edited in Sanskrit and Präkrit. Bombay, 1887. In Gran- tharatnamālā, vol. 2, nos. IO-II. Yajñanārāyaņa Raghunāthavilāsa A I. p. 486. Yaśaścandra, a Jain, Kumudacandra A I. p. III. Idem Rājimatiprabodha cf. L. app. p. 79. Yaśaņpāla Moharājaparājaya A I. p. 468 = 4 Mss .; A 3. p. IOI. Yaśodhana Dhanamjayavijaya vyāyoga A I. p. 266 = 2 Mss. Yaovarman (end of seventh century) Rāmābhyudaya nāțaka

Yuvarāja 97

mentioned in SD. 427 and DR. I. 42. Cf. ZDMG. 36 (1882), p. 521. Yatirājavijaya see Varadācārya. Yayaticarita sce Rudracandradeva. Yayātivijaya quoted in SD. 440. Yogānanda see Aruņagirinātha and Diņdima. Yuvarāja Prahlāđana Pārthaparākrama A I. p. 335 = 3 Mss. Idcm Rasasadana bhana, edited by Sivadatta and Parab. Bombay, 1893, pp. 3 + 65. Kāvyamālā, no. 37.

APPENDIX I

SOME DRAMAS IN THE MODERN VERNACULARS. Amānat. Indarsabhā, Neuindisches Singspiel in lithograph- ischem Originaltext, mit Übersetzung und Erklärungen, sowie einer Einleitung über das hindustanische Drama, von F. Rosen. Leipzig, 1892, pp. 102 + 64. Kégl, A. Amánat és a hindusztáni dráma. In Egyetemes philologiai közlöny, 1894, pp. 38-51. [On the Indarsabhā of Amānat.] Aryotkarşaka vyāyoga. The regenerator of the Aryas. 1° ed., Surat, 1873, pp. 68; 2° ed., 1888, pp. 68. [In Gujarati.] Baldeo, K. Bhartrhari Rāj Tyāj Nāțak. The drama of Bhartri- hari's abdication of the throne. In English (?). Lucknow, 1898. Bhadranjan. A Hindu drama by a native. No place or date. Candrahasa, or, the Lord of the Fair Forger. A Hindu Drama. Mangalore, 1882, pp. 6 + 80. Dalpatram Dahyabhai. Kavitavilāsa. Ahmedabad, 1870. [In Gujarati.] Gupta, G. C. Kirti Bilāsa. Bengali drama in five acts. Cal- cutta, no date, pp. 70. Hariścandra nāțakaya, edited by W. G. M. J. de Silva, Colombo, 1901, pp. 104. Manamohana. Sātī nāțaka. Benares, 1886, pp. 182. Rāmabhadra. Lalitakuvalayāśva națaka (composed in 1665). Kat. d. Bibl. d. Deutschen Morg. Gesell. 2. p. 6. Rāmabhadrasarman. Hariścandranrtya. Kat. d. Bibl. d. Deut- schen Morg. Gesell. 2. p. 5. Rāmabhadrasarman. Das Hariçcandranrityam. Ein altnepale- sisches Tanzspiel. Mit einer grammatischen Einleitung herausgegeben von August Conrady. Leipzig, 1891, pp. 12 + 45. 98

MODERN VERNACULAR DRAMAS 99

Ramacandra. The Satya Harischandra Nātaka. Edited by B. R. Arte and S. V. Puranik. Bombay, 1898, pp. 61. Rāmākrsņa Varman. Padmāvatī nāțaka. Benares, 1886, pp. 107. Rāmakrsņa Varman. Krșņakumārī nāțaka. Benares, 1899, pp. 156. Śrīmadgītādarśana, or, a Dramatized Version of the Bhagvatgītā (sic). Edited by A. V. Barve. Bombay, 1903, pp. 48. [In Marathi. ] Tarkālaņkar, R. C. Kantuk Garbasva Nāțak. Bengali drama. Calcutta, 1830. Udayran, R. Premrayane Carumati. Bombay, 1876. [In Gujarati.] Umedcand, C. Okha Haran Natak, or, the drama of the elope- ment of Okha or Usha. Ahmedabad, 1883, pp. 66. [In Gujarati. ] Vamśamaņi (wrote in Nepal in 1628). Kuvalayāśvamadālasa. Kat. d. Bibl. d. Deutschen Morg. Gesell. 2. p. 7.

Criticism.

Chattopādhyāya, N. The Yātrās, or the popular dramas of Ben- gal. London, 1882. Chattopādhyāya, N. Die Yātrās, oder die Volksschauspiele Bengalens. In his Indische Essays, Zürich, 1883, pp. 1-56. Dennath, G. Bengali Language. In Calcutta Review, 98 (1893), pp. 104-131. [Contains an account of dramas in Bengali.] Dhruva, H. H. The Rise of the Drama in Modern India. With an Appendix. In Transactions of the 9. Intern. Congr. of Orientalists, London, 1893, vol. I, pp. 297-314. Estrey, Count Meyners de. L'Art dramatique dans l'Inde .. In Annales de l'extrême Orient, 8 (1885-1886), pp. 289-293. Haberlandt, M. Das moderne indische Drama. In Öm, 18, pp. 118-I21. Minayev, I. Narodnyya dramatičeskiya predstavleniya v praz- dnik Kholi v Almorě. In Zapiski Vostočnago Otděleniya

100 MODERN VERNACULAR DRAMAS

Imp. Russkago Arkheologičeskago Obščestva, 5 (1891), pp. 290-291. Oman, J. C. At the Play : The New Indian Theatre. In his In- . dian Life, London, 1889, pp. 183-199. Roberts, Sydney. The Kama mystery; a study in comparative dramatics. In Contemporary Review, 115 (1902), pp. I-9. Vallet de Viriville, A. Études sur le théatre indien : Stékiare Vassapou. 1845.

APPENDIX II

CLASSIFICATION OF THE DRAMAS

A complete classification of the extant dramas according to the divisions (rūpakas) and subdivisions (uparūpakas) recognized in Indian dramaturgical treatises cannot be made at the present time, because, as pointed out above (p. 3, n. I), the meagre details of the manuscript catalogues and the ambiguous use of the term nāțaka leave the precise character of many plays still in doubt. Those dramas whose character is definitely known, however, are here grouped under their respective classes, and plays known only by name have also been included, but distinguished from those actually in existence by a prefixed asterisk (*). The authorship of the plays has not been indicated, even in cases where there is more than one work of the same name, as this and other details can easily be ascertained from the corresponding entries in the main body of the work. Owing to the difficulties of classification pointed out above, very few dramas could with certainty be defined as nāțakas in the narrower sense. In the list there have been included certain others (distinguished by interrogation-points) that seem, for one reason or another, to belong to this group, but cannot be definitely assigned to it at the present time. In spite of these additions, the pro- portion of plays of this class is much larger than would seem to be indicated by the meagre list here given, and an examination of the large number of dramas vaguely designated as nātakas would unquestionably disclose many additional productions of this variety. bhāņa Ambāla Anaṅgamaṅgala Ānandatilaka Anangasarvasva Anangabrahmavidyāvilāsa Anangavijaya Anańgajīvana Cola IOI

I02 CLASSIFICATION OF THE DRAMAS

Gopālalīlārņava Rasollāsa Harivilāsa Sāradānanda Kāmavilāsa Śāradātilaka Kandarpadarpaņa Sarasakavikulānanda Keralābharaņa Śrīrańgarāja Kusumabāņavilāsa Śṛgārabhūșaņa Līlāmadhukara Śgāracandrikā Madanabhūșaņa Śṛňgāradīpaka * Madanagopālavilāsa , Śṛgārajīvana Mahișamangala Śṛńgārakośa Mālamangalabhāņa Śṛňgāramañjarī Miśrabhāņa Sngārasarvasva Mukundānanda Śṛngāraśṛngāțakį Pañcabāņavijaya Śṛgārastabaka .

Pañcabāņavilāsa Sṛngārasudhākara Pañcāyudhaprapañca Śṛngāratarangiņī Pradyumnānanda Śgāratilaka Rasasadana Śṛngārarasodaya (miśrabhāņa) Rasavilāsa Vasantabhūșaņa (?) Rasikajanarasollāsa Vasantatilaka Rasikarañjana bhāņikā Dānakelikaumudī * Kāmadattā

chāyānāțaka Chāyānāțaka Rāmābhyudaya Dūtāṅgada Sāvitrīcarita Haridūta Subhadrāpariņaya Pāņdavābhyudaya ḍima Manmathonmathana * Vrabhadravijṛmbhaņa Tripuradāha durmallikā Bindumatī goșṭhī Raivatamadanikā

CLASSIFICATION OF THE DRAMAS I03

hallīśa

• Keliraivataka

īhāmrga

• Kusumaśekharavijaya Vīravijaya * Māyākuragikā

kāvya * Yādavodaya

nāțaka

Abhijñānaśakuntalā Mudrārākșasa Amrtodaya Nāgānanda Bālarāmāyaņa (mahānāțaka) Pārvatīpariņaya Caitanyacandrodaya Prasannarāghava Caņdakauśika Rāmābhyudaya (?) Jñānasūryodaya (?) Rāmacandranāțaka (?) Lalitavigraharājanāțaka (?) Rāmanāțaka (?) Mahānāțaka (mahānāțaka) Rāmāyaņanāțaka (?) Mahāvīracarita Rukmiņīnāțaka (?) Mańgala Satyahariścandra Mañjulanaișadha (?) * Tumburunāțaka (?) Mathurānāțaka (?) Uttararāmacarita

See the introductory remarks on p. IOI.

nāțikā

• Candrakalā Rambhāmañjarī Candraprabhā Ratnāvalī Karņasundarī Śṛňgāravāpikā Krsnalīlā Uşārāgodaya Kuvalayavatī Vasantikā Mṛgāṅkalekhā Viddhaśālabhañjikā Priyadarśikā Vṛsabhānujā Rāmāṅka

nāțyarāsaka

• Narmavatī * Vilāsavatī

104 CLASSIFICATION OF THE DRAMAS

prahasana 'Adbhutarańga Kautukasarvasva Ānandakośa Lambodara Bĥagavadajjukā Lațakamelaka Bhānuprabandha Mithyācāra Bṛhatsābhadraka Muņdita Devadurgatī Națakamelaka Dhūrtacarita Nāțavāța Dhūrtasamāgama Palāņdumaņdana Dhūrtavidambana Pāșaņdavidambana Hāsyacūḍāmaņi Payodhimathana Hāsyārņava Prahasana Hrdayavinoda Sāndrakutūhala Kāleyakutūhala Somavallīyogānanda Kālidāsaprahasana Subhagānanda Kalikeļiprahasana Unmatta Kandarpakeli Veńkateśa Kāśīdāsaprahasana Vinodarańga Kautukaratnākara Yogānanda

prakaraņa Kāmadatta (dhūrtaprakaraņa) * Pușpabhūșita Kaumudīsudhākara * Puşpadūșitaka Mālatīmādhava * Tarangadatta Mallikāmāruta Vakratuņdagaņanāyaka Mṛcchakațikā prasthāna Śṛňgāratilaka preksaņaka Krsnābhyudaya prenkhana Bālivadha

rāsaka Menakāhita

CLASSIFICATION OF THE DRAMAS 105

samavakāra * Samudrama(n)thana

• Māyākāpālika saņlāpaka

sațțaka Ānandasundarī Śṛńgāramañjarī Ķarpūramañjarī śilpaka * Kanakāvatīmādhava

śrīgadita * Krīdārasātala Subhadrāharaņa

troțaka * Stambhitarambha Vikramorvaśī

ullāpya * Devīmahādeva

utsrsțikānka * Śarmişthāyayāti vīthikā * Mādhavī

vyāyoga

Bhīmavikrama Pracaņdabhairava Dhanamjayavijaya Pracaņdagaruda * Jāmadagnyajaya Saugandhikāharaņa Narakāsuravijaya Vinatānanda Nirbhayabhīma