121:, and suggested possible readings for the dialogues in question which made sense in the context in which they were uttered, but couldn't justify their claims and lost it. His findings were criticised by others at the time for being speculative, but even most of Hultzsch's critics accepted that the language must have been a Dravidian language.
80:. As Chariton, her brother and the fool are discussing their escape, a group of Indian women returning from a hunt encounter them. The jester defends the Greeks with his farts. He asks Chariton to steal items from the temple, but she refuses arguing that robbery would make the gods angry. On the brother's suggestion, the Greeks serve
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One of the most interesting features of the skit is the appearance of a number of characters who speak dialogues in an unknown language. This part was included as amusing gibberish for the contemporary audience, who did not understand it. The language may partly or wholly represent an ancient Indian
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to the Indian king and his subjects, intoxicating them. The characters, including the king, then perform a dance for the moon goddess. The Greeks then discuss tying up the king, who has tripped over (as suggested by loud drums at the end of the music). The end of the play is lost, but the Greeks
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Chariton, a beautiful Greek girl, is captured by (or sold to) the king of a coastal kingdom in India. The king keeps her at the temple of the moon goddess (as a temple girl or a priestess). A Greek search party, including her brother and a jester, arrives to rescue her, after crossing the
63:. The play's character makes it almost a burlesque, representing a type of drama which was prior to the play's discovery not known in antiquity. The manuscript contains signs at various points which are almost certainly instructions to play percussion instruments and, possibly, the
55:. Charition (Χαριτίων), the protagonist, is a Greek girl held captive at a temple in India (like Iphigenia), and her brother comes to her rescue. The Greeks escape by getting the Indian king drunk, an element possibly borrowed from
144:, which contains a form of Kannada much earlier than the forms known at the time Hultzsch wrote his article, confirms many of his theories on the evolution of the language and might therefore add support to his readings.
36:. The manuscript, which is possibly incomplete, is untitled, and the play's name comes from the name of its protagonist. It is approximately dated to the 2nd century CE, and the play was probably performed in
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67:, a Greek double-piped reed instrument, which suggests that the use of music in Greek mime was much more extensive than was earlier thought.
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According to the Indian scholars
Shivaprasad Rai (1985) and U. Padmanabha Upadhyaya (1996), the Indian language used in the play is
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136:'s explanation of the locale of the story and Shastri's analysis of the language of the play suggest it is a form of
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Thattunkal
Zachariah Mani. "Charition Drama: The Origin of Christianity in Kerala". In John Chathanatt (ed.).
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Adventures with
Iphigenia in Tauris: A Cultural History of Euripides' Black Sea Tragedy
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Salomon, Richard (1991). "Epigraphic
Remains of Indian Traders in Egypt".
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Greek and Roman Actors: Aspects of an
Ancient Profession
117:, claimed that the words represented an ancient form of
105:Shortly after the papyrus' modern publication, Dr.
353:(1904), "Remarks on a papyrus from Oxyrhynchus,"
231:Demons and Dancers: Performance in Late Antiquity
438:. Oxford: Oxford University Press. p. 133.
234:. Harvard University Press. pp. 108, 129.
505:Encyclopedia of Indian Religions: Christianity
305:(2002), "The singing actors of antiquity," in
465:. Rashtrakavi Govind Pai Samshodhana Kendra.
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261:. Cambridge University Press. p. 288.
255:Tim Whitmarsh & Stuart Thomson (2013).
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24:play, in fact more properly to be called a
43:The play alludes to earlier texts such as
507:. Dordrecht: Springer. pp. 208–218.
313:, Cambridge University Press, Cambridge.
372:Journal of the American Oriental Society
258:The Romance between Greece and the East
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550:Bactrian and Indian Hellenistic period
32:rather than a mime, which is found in
489:Ancient Indian and Indo-Greek Theatre
411:. Abhinav Publications. p. 260.
94:dialect, as some words seem to be of
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355:Journal of the Royal Asiatic Society
408:History of Indian theatre, Volume 1
405:Varadpande, Manohar Laxman (1987).
486:Manohar Laxman Varadpande (2014).
140:. The subsequent discovery of the
40:, where the manuscript was found.
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459:U. Padmanabha Upadhyaya (1996).
340:. London Heinemann. p. 337.
174:Encyclopedia of Indian Religions
113:who had a strong command of the
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513:10.1007/978-94-024-2241-2_14
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202:Cambridge University Press
530:A translation of the mime
194:Timothy J. Moore (2012).
89:Indian language dialogues
281:Daniélou, Alain (1985),
309:& Edith Hall, ed.,
34:Papyrus Oxyrhynchus 413
492:. Abhinav. p. 98.
169:Sanskrit and Malayalam
85:escape to their ship.
337:Greek literary papyri
545:Ancient Greek plays
432:Edith Hall (2013).
160:(which lies in the
142:Halmidi inscription
115:Dravidian languages
46:Iphigenia in Tauris
285:, Fayard, Paris.
283:Histoire de l'Inde
228:Ruth Webb (2008).
462:Coastal Karnataka
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418:978-81-7017-221-5
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332:D.L. Page
321:. Page 5.
162:Tulu Nadu
96:Dravidian
30:burlesque
164:region).
102:origin.
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