N

[Contents]NNandṇin the Prākrits,86,87,88,121.Nacca,43.Naṭa, actor,25,28,31,36,45,49,50,52,67.Naṭasūtras, in Pāṇini,31,290.Naṭī, actress,51,66,361.Narkuṭaka, metre,203.Nartaka, dances,28,29,50.Narmagarbha, development of affection,327.Narman, pleasantry,326.Narmasuhṛd, boon companion,188,311.Narmasphañja, outburst of affection,327.Narmasphoṭa, manifestation of affection,327.Navagrahacarita, by Ghanaçyāma,345, n.2.Navasāhasān̄kacarita, by Padmagupta,293.Nāgaraka, character of,285;speech of,334.Nāgānanda, by Harṣa,62,85,170,174,175,180,278,284,286,300,305,311,326,339, n.1,342,344, n.2,371, n.2.Nāṭaka, a type of drama,28,29,95,244–56,278,279,296,297,345,352,353.Nāṭakacandrikā, by Rūpa Gosvāmin,294.Nāṭakālaṁkāra, dramatic ornaments,330,331.Nāṭikā, type of drama,62,63,71,233,234,256,257,279,280,298,305,325,349,350,353.Nāṭī, type of drama,349.Nāṭya, drama,296.Nāṭyapradīpa, by Sundaramiçra,294.Nāṭyarāsaka, a ballet,351.Nāṭyaçāstra,12,36,42,51,65,69,75, n.1,81,84,95,110,141,244,267,289–92,293,294,295,304,312,315,320,323,324,326,328,330,331,334,335,336,340,341,343,347,348,349,352,355,358,362,364,367,369.Nāṭyācārya, professor,360.Nāṭyālaṁkāra, dramatic ornaments,329,330.Nāndī, benediction at beginning of play,85,111,126,182,204,239,265,266,267,339,342,343,369;pronounced behind the scenes in theBhāṇa, theVyāyoga,344;thePren̄khaṇaorPrekṣaṇa,351.Nāyaka, hero,84,85,305–7.Nāyikā, heroine,308–10.Nālikā, enigma,329.Nikkhanta, in Açvaghoṣa,89.Nidarçanā, a figure,125.Niyatāpti, fourth stage of development in drama,297.Nirussāsaṁ, in Açvaghoṣa,88.Nirbhayabhīma, by Rāmacandra,266.Nirmuṇḍa, eunuch,313.Nirvahaṇa, conclusion, as last juncture,299.Nirveda, indifference, as basis of sentiment,324.Nṛt, dance, origin ofNaṭa,57.Nṛtu, dancer,25, n.7.Nṛtta, dance,25, n.7,296.Nṛtya, pantomime,275,296.Nepathya, as form of sentiment,315, n.1,368.Nepathyagṛha, tiring room,54,359,360.[399]Nepathyokti, a voice from behind the scene,303.Nevaccha(Ṇevaccha), Prākrit equivalent ofNepathya,54.Naipāṭhya, alleged origin ofNepathya,54.Naiṣadhānanda, by Kṣemīçvara,240,241.Ny, altered toññin Açvaghoṣa’s Prākrit, toññorṇṇin Bhāsa;toṇṇin Kālidāsa,88,121;toññin theMudrārākṣasa,212.

[Contents]NNandṇin the Prākrits,86,87,88,121.Nacca,43.Naṭa, actor,25,28,31,36,45,49,50,52,67.Naṭasūtras, in Pāṇini,31,290.Naṭī, actress,51,66,361.Narkuṭaka, metre,203.Nartaka, dances,28,29,50.Narmagarbha, development of affection,327.Narman, pleasantry,326.Narmasuhṛd, boon companion,188,311.Narmasphañja, outburst of affection,327.Narmasphoṭa, manifestation of affection,327.Navagrahacarita, by Ghanaçyāma,345, n.2.Navasāhasān̄kacarita, by Padmagupta,293.Nāgaraka, character of,285;speech of,334.Nāgānanda, by Harṣa,62,85,170,174,175,180,278,284,286,300,305,311,326,339, n.1,342,344, n.2,371, n.2.Nāṭaka, a type of drama,28,29,95,244–56,278,279,296,297,345,352,353.Nāṭakacandrikā, by Rūpa Gosvāmin,294.Nāṭakālaṁkāra, dramatic ornaments,330,331.Nāṭikā, type of drama,62,63,71,233,234,256,257,279,280,298,305,325,349,350,353.Nāṭī, type of drama,349.Nāṭya, drama,296.Nāṭyapradīpa, by Sundaramiçra,294.Nāṭyarāsaka, a ballet,351.Nāṭyaçāstra,12,36,42,51,65,69,75, n.1,81,84,95,110,141,244,267,289–92,293,294,295,304,312,315,320,323,324,326,328,330,331,334,335,336,340,341,343,347,348,349,352,355,358,362,364,367,369.Nāṭyācārya, professor,360.Nāṭyālaṁkāra, dramatic ornaments,329,330.Nāndī, benediction at beginning of play,85,111,126,182,204,239,265,266,267,339,342,343,369;pronounced behind the scenes in theBhāṇa, theVyāyoga,344;thePren̄khaṇaorPrekṣaṇa,351.Nāyaka, hero,84,85,305–7.Nāyikā, heroine,308–10.Nālikā, enigma,329.Nikkhanta, in Açvaghoṣa,89.Nidarçanā, a figure,125.Niyatāpti, fourth stage of development in drama,297.Nirussāsaṁ, in Açvaghoṣa,88.Nirbhayabhīma, by Rāmacandra,266.Nirmuṇḍa, eunuch,313.Nirvahaṇa, conclusion, as last juncture,299.Nirveda, indifference, as basis of sentiment,324.Nṛt, dance, origin ofNaṭa,57.Nṛtu, dancer,25, n.7.Nṛtta, dance,25, n.7,296.Nṛtya, pantomime,275,296.Nepathya, as form of sentiment,315, n.1,368.Nepathyagṛha, tiring room,54,359,360.[399]Nepathyokti, a voice from behind the scene,303.Nevaccha(Ṇevaccha), Prākrit equivalent ofNepathya,54.Naipāṭhya, alleged origin ofNepathya,54.Naiṣadhānanda, by Kṣemīçvara,240,241.Ny, altered toññin Açvaghoṣa’s Prākrit, toññorṇṇin Bhāsa;toṇṇin Kālidāsa,88,121;toññin theMudrārākṣasa,212.

[Contents]NNandṇin the Prākrits,86,87,88,121.Nacca,43.Naṭa, actor,25,28,31,36,45,49,50,52,67.Naṭasūtras, in Pāṇini,31,290.Naṭī, actress,51,66,361.Narkuṭaka, metre,203.Nartaka, dances,28,29,50.Narmagarbha, development of affection,327.Narman, pleasantry,326.Narmasuhṛd, boon companion,188,311.Narmasphañja, outburst of affection,327.Narmasphoṭa, manifestation of affection,327.Navagrahacarita, by Ghanaçyāma,345, n.2.Navasāhasān̄kacarita, by Padmagupta,293.Nāgaraka, character of,285;speech of,334.Nāgānanda, by Harṣa,62,85,170,174,175,180,278,284,286,300,305,311,326,339, n.1,342,344, n.2,371, n.2.Nāṭaka, a type of drama,28,29,95,244–56,278,279,296,297,345,352,353.Nāṭakacandrikā, by Rūpa Gosvāmin,294.Nāṭakālaṁkāra, dramatic ornaments,330,331.Nāṭikā, type of drama,62,63,71,233,234,256,257,279,280,298,305,325,349,350,353.Nāṭī, type of drama,349.Nāṭya, drama,296.Nāṭyapradīpa, by Sundaramiçra,294.Nāṭyarāsaka, a ballet,351.Nāṭyaçāstra,12,36,42,51,65,69,75, n.1,81,84,95,110,141,244,267,289–92,293,294,295,304,312,315,320,323,324,326,328,330,331,334,335,336,340,341,343,347,348,349,352,355,358,362,364,367,369.Nāṭyācārya, professor,360.Nāṭyālaṁkāra, dramatic ornaments,329,330.Nāndī, benediction at beginning of play,85,111,126,182,204,239,265,266,267,339,342,343,369;pronounced behind the scenes in theBhāṇa, theVyāyoga,344;thePren̄khaṇaorPrekṣaṇa,351.Nāyaka, hero,84,85,305–7.Nāyikā, heroine,308–10.Nālikā, enigma,329.Nikkhanta, in Açvaghoṣa,89.Nidarçanā, a figure,125.Niyatāpti, fourth stage of development in drama,297.Nirussāsaṁ, in Açvaghoṣa,88.Nirbhayabhīma, by Rāmacandra,266.Nirmuṇḍa, eunuch,313.Nirvahaṇa, conclusion, as last juncture,299.Nirveda, indifference, as basis of sentiment,324.Nṛt, dance, origin ofNaṭa,57.Nṛtu, dancer,25, n.7.Nṛtta, dance,25, n.7,296.Nṛtya, pantomime,275,296.Nepathya, as form of sentiment,315, n.1,368.Nepathyagṛha, tiring room,54,359,360.[399]Nepathyokti, a voice from behind the scene,303.Nevaccha(Ṇevaccha), Prākrit equivalent ofNepathya,54.Naipāṭhya, alleged origin ofNepathya,54.Naiṣadhānanda, by Kṣemīçvara,240,241.Ny, altered toññin Açvaghoṣa’s Prākrit, toññorṇṇin Bhāsa;toṇṇin Kālidāsa,88,121;toññin theMudrārākṣasa,212.

[Contents]NNandṇin the Prākrits,86,87,88,121.Nacca,43.Naṭa, actor,25,28,31,36,45,49,50,52,67.Naṭasūtras, in Pāṇini,31,290.Naṭī, actress,51,66,361.Narkuṭaka, metre,203.Nartaka, dances,28,29,50.Narmagarbha, development of affection,327.Narman, pleasantry,326.Narmasuhṛd, boon companion,188,311.Narmasphañja, outburst of affection,327.Narmasphoṭa, manifestation of affection,327.Navagrahacarita, by Ghanaçyāma,345, n.2.Navasāhasān̄kacarita, by Padmagupta,293.Nāgaraka, character of,285;speech of,334.Nāgānanda, by Harṣa,62,85,170,174,175,180,278,284,286,300,305,311,326,339, n.1,342,344, n.2,371, n.2.Nāṭaka, a type of drama,28,29,95,244–56,278,279,296,297,345,352,353.Nāṭakacandrikā, by Rūpa Gosvāmin,294.Nāṭakālaṁkāra, dramatic ornaments,330,331.Nāṭikā, type of drama,62,63,71,233,234,256,257,279,280,298,305,325,349,350,353.Nāṭī, type of drama,349.Nāṭya, drama,296.Nāṭyapradīpa, by Sundaramiçra,294.Nāṭyarāsaka, a ballet,351.Nāṭyaçāstra,12,36,42,51,65,69,75, n.1,81,84,95,110,141,244,267,289–92,293,294,295,304,312,315,320,323,324,326,328,330,331,334,335,336,340,341,343,347,348,349,352,355,358,362,364,367,369.Nāṭyācārya, professor,360.Nāṭyālaṁkāra, dramatic ornaments,329,330.Nāndī, benediction at beginning of play,85,111,126,182,204,239,265,266,267,339,342,343,369;pronounced behind the scenes in theBhāṇa, theVyāyoga,344;thePren̄khaṇaorPrekṣaṇa,351.Nāyaka, hero,84,85,305–7.Nāyikā, heroine,308–10.Nālikā, enigma,329.Nikkhanta, in Açvaghoṣa,89.Nidarçanā, a figure,125.Niyatāpti, fourth stage of development in drama,297.Nirussāsaṁ, in Açvaghoṣa,88.Nirbhayabhīma, by Rāmacandra,266.Nirmuṇḍa, eunuch,313.Nirvahaṇa, conclusion, as last juncture,299.Nirveda, indifference, as basis of sentiment,324.Nṛt, dance, origin ofNaṭa,57.Nṛtu, dancer,25, n.7.Nṛtta, dance,25, n.7,296.Nṛtya, pantomime,275,296.Nepathya, as form of sentiment,315, n.1,368.Nepathyagṛha, tiring room,54,359,360.[399]Nepathyokti, a voice from behind the scene,303.Nevaccha(Ṇevaccha), Prākrit equivalent ofNepathya,54.Naipāṭhya, alleged origin ofNepathya,54.Naiṣadhānanda, by Kṣemīçvara,240,241.Ny, altered toññin Açvaghoṣa’s Prākrit, toññorṇṇin Bhāsa;toṇṇin Kālidāsa,88,121;toññin theMudrārākṣasa,212.

N

Nandṇin the Prākrits,86,87,88,121.Nacca,43.Naṭa, actor,25,28,31,36,45,49,50,52,67.Naṭasūtras, in Pāṇini,31,290.Naṭī, actress,51,66,361.Narkuṭaka, metre,203.Nartaka, dances,28,29,50.Narmagarbha, development of affection,327.Narman, pleasantry,326.Narmasuhṛd, boon companion,188,311.Narmasphañja, outburst of affection,327.Narmasphoṭa, manifestation of affection,327.Navagrahacarita, by Ghanaçyāma,345, n.2.Navasāhasān̄kacarita, by Padmagupta,293.Nāgaraka, character of,285;speech of,334.Nāgānanda, by Harṣa,62,85,170,174,175,180,278,284,286,300,305,311,326,339, n.1,342,344, n.2,371, n.2.Nāṭaka, a type of drama,28,29,95,244–56,278,279,296,297,345,352,353.Nāṭakacandrikā, by Rūpa Gosvāmin,294.Nāṭakālaṁkāra, dramatic ornaments,330,331.Nāṭikā, type of drama,62,63,71,233,234,256,257,279,280,298,305,325,349,350,353.Nāṭī, type of drama,349.Nāṭya, drama,296.Nāṭyapradīpa, by Sundaramiçra,294.Nāṭyarāsaka, a ballet,351.Nāṭyaçāstra,12,36,42,51,65,69,75, n.1,81,84,95,110,141,244,267,289–92,293,294,295,304,312,315,320,323,324,326,328,330,331,334,335,336,340,341,343,347,348,349,352,355,358,362,364,367,369.Nāṭyācārya, professor,360.Nāṭyālaṁkāra, dramatic ornaments,329,330.Nāndī, benediction at beginning of play,85,111,126,182,204,239,265,266,267,339,342,343,369;pronounced behind the scenes in theBhāṇa, theVyāyoga,344;thePren̄khaṇaorPrekṣaṇa,351.Nāyaka, hero,84,85,305–7.Nāyikā, heroine,308–10.Nālikā, enigma,329.Nikkhanta, in Açvaghoṣa,89.Nidarçanā, a figure,125.Niyatāpti, fourth stage of development in drama,297.Nirussāsaṁ, in Açvaghoṣa,88.Nirbhayabhīma, by Rāmacandra,266.Nirmuṇḍa, eunuch,313.Nirvahaṇa, conclusion, as last juncture,299.Nirveda, indifference, as basis of sentiment,324.Nṛt, dance, origin ofNaṭa,57.Nṛtu, dancer,25, n.7.Nṛtta, dance,25, n.7,296.Nṛtya, pantomime,275,296.Nepathya, as form of sentiment,315, n.1,368.Nepathyagṛha, tiring room,54,359,360.[399]Nepathyokti, a voice from behind the scene,303.Nevaccha(Ṇevaccha), Prākrit equivalent ofNepathya,54.Naipāṭhya, alleged origin ofNepathya,54.Naiṣadhānanda, by Kṣemīçvara,240,241.Ny, altered toññin Açvaghoṣa’s Prākrit, toññorṇṇin Bhāsa;toṇṇin Kālidāsa,88,121;toññin theMudrārākṣasa,212.

Nandṇin the Prākrits,86,87,88,121.

Nacca,43.

Naá¹­a, actor,25,28,31,36,45,49,50,52,67.

Naṭasūtras, in Pāṇini,31,290.

Naá¹­Ä«, actress,51,66,361.

Narkuá¹­aka, metre,203.

Nartaka, dances,28,29,50.

Narmagarbha, development of affection,327.

Narman, pleasantry,326.

Narmasuhá¹›d, boon companion,188,311.

Narmasphañja, outburst of affection,327.

Narmasphoá¹­a, manifestation of affection,327.

Navagrahacarita, by Ghanaçyāma,345, n.2.

Navasāhasān̄kacarita, by Padmagupta,293.

Nāgaraka, character of,285;speech of,334.

Nāgānanda, by Harṣa,62,85,170,174,175,180,278,284,286,300,305,311,326,339, n.1,342,344, n.2,371, n.2.

Nāṭaka, a type of drama,28,29,95,244–56,278,279,296,297,345,352,353.

Nāṭakacandrikā, by Rūpa Gosvāmin,294.

Nāṭakālaṁkāra, dramatic ornaments,330,331.

Nāṭikā, type of drama,62,63,71,233,234,256,257,279,280,298,305,325,349,350,353.

Nāṭī, type of drama,349.

Nāṭya, drama,296.

Nāṭyapradīpa, by Sundaramiçra,294.

Nāṭyarāsaka, a ballet,351.

Nāṭyaçāstra,12,36,42,51,65,69,75, n.1,81,84,95,110,141,244,267,289–92,293,294,295,304,312,315,320,323,324,326,328,330,331,334,335,336,340,341,343,347,348,349,352,355,358,362,364,367,369.

Nāṭyācārya, professor,360.

Nāṭyālaṁkāra, dramatic ornaments,329,330.

Nāndī, benediction at beginning of play,85,111,126,182,204,239,265,266,267,339,342,343,369;pronounced behind the scenes in theBhāṇa, theVyāyoga,344;thePren̄khaṇaorPrekṣaṇa,351.

Nāyaka, hero,84,85,305–7.

Nāyikā, heroine,308–10.

Nālikā, enigma,329.

Nikkhanta, in Açvaghoṣa,89.

Nidarçanā, a figure,125.

Niyatāpti, fourth stage of development in drama,297.

Nirussāsaṁ, in Açvaghoṣa,88.

Nirbhayabhīma, by Rāmacandra,266.

Nirmuṇḍa, eunuch,313.

Nirvahaṇa, conclusion, as last juncture,299.

Nirveda, indifference, as basis of sentiment,324.

Ná¹›t, dance, origin ofNaá¹­a,57.

Ná¹›tu, dancer,25, n.7.

Ná¹›tta, dance,25, n.7,296.

Ná¹›tya, pantomime,275,296.

Nepathya, as form of sentiment,315, n.1,368.

Nepathyagá¹›ha, tiring room,54,359,360.[399]

Nepathyokti, a voice from behind the scene,303.

Nevaccha(Ṇevaccha), Prākrit equivalent ofNepathya,54.

Naipāṭhya, alleged origin ofNepathya,54.

Naiṣadhānanda, by Kṣemīçvara,240,241.

Ny, altered toññin Açvaghoṣa’s Prākrit, toññorṇṇin Bhāsa;toṇṇin Kālidāsa,88,121;toññin theMudrārākṣasa,212.

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