, the nāndī (=dramatic prologue) and the bharatavākya (=dramatic epilogue), therefore, all share certain similarities with each other. As these texts take place in their corresponding literature and bear a purposeful resemblance to an āśis in a Vedic

Thai society in the 1990s - the 2000s was a dramatical period in economic, politic, and culture. It is leading to transform the concept of female ghosts and non-humans in novels at these times. In this sense, this change can be inferred to a number

. Then the wedding had been held. This play-within-a-play had its own ending as stated in Sahityadarpana. The influence of play-within-a-play upon the principal plays was to emphasize dramatic action in context of plot development. On the other hand, in the context

the adverbs maa, and maa, dramatically increase in the present-day usage. The usage of the adverbs pay and maa continuously increase over time. There is a tendency to increase as a result of grammaticalization which is continuous and not yet incomplete.

" plays: dramatic emotion and Noh emotion.

, a popular form of the Hindu dramatic art. Others which deserve more attention are Hun (marionette), Nang Yai and other court entertainments such as Rabeng, Mong Khrum, Kula-ti-mai, etc. Researches in those said above which constitute a part

literary works have dramatically developed from his earlier works and his literature development has a great influence on the change in Thai literature community in terms of developing content and style to differentiate themselves from traditional

to bring the aesthetic experience to the audience and make them feel impress and appreciate with the performance. Summarily, Khon is the dramatic works that has to punctiliously created and produced for the splendid of all elements.

. Between the 1940 and the 1980s, Thai Society witnessed dramatic social changes which shaped conceptions, hopes, emotions and feelings of men and women, as well as their familial relationships.

) the composition of denouement like dramatic theory. A study of the rhetoric or figures of speech in Kumārasambhava was found that the literature consists of beauty with Alankaras (figures of speech) that were divided into 2 types: 1) Arthālankāra (figures