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ance of narrative poems is preserved in several regions of India till today. See Raghavan, Bhoja's śưngāraprakāša, pp.
619-620, 812–813. 10. Caupannamah āpurisacariya, pp. 17-27. 11. Shah, 1982. 12. Raghavan, 1963, p. 585. 13. Kansara, 1970, pp. 552-553. 14. Raghavan, 1963, p. 889. 15. Raghavan, 1963, pp. 545 ff. 16. Raghavan has given information only from the Rājapraśniya,
which refers to dance types only. See Raghavan, 1963, pp.
572-74. 17. Kuvalayamālā, p. 150. 18. Raghavan, 1963, pp. 546. 547, ff. 566-572, Bhayani, 1969. 19. Kohala is of course known to have been the earliest authority
on the minor dramatic types, and quotations from his work occur in dramaturgical literature, but that work is lost. See
Raghavan, 1963, pp. 535-536. 20. Byhatkathākoša, 57, v. 105-106. 21. Bhayani, 1985; Bhayani and Shah, 1987, p. 224 (where the
female attendants of Princess Kanakavati are described as engaged in the rehearsal of the Chatraka performance : chat
taya-payoga-gaņaņa-vāvada). 22. Kathākośaprakarana, p. 41. 23. Krisnamachariar. pp. 820-822; Raghavan, 1963, p. 586. 24. Kuvalayamālā, p. 16. The editor has misunderstood this as a
reference to some authority on warfare. He has also noted
Višākhila as an author. 25, Kuvalayamálā, p. 123. 26. Mahāpurāņa, I i 9. 27. Bhayani, 1983 (B).
