The Sanskrit Drama in its Origin, Development, Theory & Practice c24.27

c24.27

*Narmasphoṭa*, manifestation of affection, 327. *Navagrahacarita*, by Ghanaçyāma, 345, n. 2. *Navasāhasāṅkacarita*, 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. *Nāṭakālaṃkāra*, dramatic ornaments, 330, 331. *Nāṭikā*, a type of drama, 62, 63, 71, 233, 234, 256, 257, 279, 280, 298, 305, 325, 349, 350, 353. *Nāṭī*, a 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. *Nāṭyālaṃkāra*, 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 the *Bhāṇa*, the *Vyāyoga*, 344; the *Preṅkhaṇa* or *Prekṣaṇa*, 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. *Nirussāsam*, in Açvaghoṣa, 88. *Nirbhayabhīma*, by Rāmacandra, 266. *Nirmunda*, eunuch, 313. *Nirvahaṇa*, conclusion, as last juncture, 299. *Nirveda*, indifference, as basis of sentiment, 324. *Nṛt*, dance, origin of *Naṭa*, 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.