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The Sanskrit drama

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About This Book

A scholarly study traces the origins, development, theory, and practice of classical Indian drama written in Sanskrit and Prākrit, examining ritual and Vedic antecedents, the Nāṭyaśāstra’s account of divine origin, and debates prompted by newly discovered early fragments. It analyzes major dramatists and representative plays through the first millennium, outlines technical principles of poetics and stagecraft—such as rasa, characterization, metre, and performance conventions—and distinguishes theoretical prescriptions from later imitative works. The author confines discussion to literary-dramatic traditions, omitting vernacular theatre, and emphasizes how textual confusion in sources complicates but also illuminates understanding of classical dramatic art.

[Contents]

N

Nāgas, pair of kings, 43;
destroyed by Garuḍa, 174, 175, 179.

Nāgīs, how shown on the stage, 367.

Nahapāna, a Western Kṣatrapa, 69.

Naiyāyika view of sentiment, 316.

Nakhakuṭṭa, a theorist, 341.

Nakula, a Pāṇḍava, 214.

Nala and Damayantī, 63, 240.

Nalakūbara, 49.

Nallā Kavi, author of the Çṛn̄gārasarvasva, 263, 264.

Names of the Acts of a drama, 305;
the drama, 345, 346;
the characters, 85, 313, 355.

Nanda, the cowherd, 98.

Nandana, in the Mālatīmādhava, 188, 193.

Nandas, a dynasty, 205.

Nandikeçvara, Abhinayadarpaṇa by, 338, 367, n. 1.

Nārada, a sage, 48, 98, 100, 101, 110, 126, 151.

Narasiṅha, of Vijayanagara, 261.

Narasiṅha II, of Orissa, 293.

Narasiṅha, author of the Çivanārāyaṇabhañjamahodaya, 257.

Nārāyaṇa, father of Kāñcana Paṇḍita, 266.

Nārāyaṇa, 97, 98, and see Kṛṣṇa and Viṣṇu.

Narendravardhana, father of Anan̄gaharṣa Mātrarāja, 220.

Narration, in lieu of action dialogue, 194.

Narrative verses, 270, 271, 273, 351.

Nature, described in the drama, Mṛcchakaṭikā, 138, 139;
Kālidāsa, 159;
Bhavabhūti, 195.

Navamālikā, in the Nāgānanda, 177.

Nema Bhārgava, a seer, 14.

Neuter plural of a-nouns, in Açvaghoṣa’s and Bhāsa’s Prākrit, 87, 122.

Neuter rôles, 313.

New Comedy, alleged influence on Indian drama, 60–7.

Nicula, alleged friend of Kālidāsa, 145.

Nīlakaṇṭha, alters the last scene of the Mṛcchakaṭikā, 135, 369, n. 2.

Nīlakaṇṭha, on the shadow play, 55, 56.

Nipuṇaka, in the Mudrārākṣasa, 205, 208;
in the Hammīramadamardana, 249.

Nipuṇikā, 328.

Nirbhaya, or Nirbhara, pupil of Rājaçekhara, 232.

Noble, hero as always, 305.

Nominative singular, of a-stems, in e and o, in Açvaghoṣa, 86, 87, 88;
in Bhaṭṭa Nārāyaṇa, 219.

Northern Thrace, dramatic performance in, 38.

Number, of Acts in a drama, 305, 345–51;
actors, 66, 87, 110, 345, 346, 347, 351.