Studies in the History of Sanskrit Poetics v1.c5.5

v1.c5.5

son ii 110), whom Aufrecht is inclined to identify with Nandin quoted by Vātsyāyana (I.1.8); but the name Nandikeśvara is given in Rati-rahasya (ABod 218a, Schmidt Ind. Erotik 1911 pp. 46, 59). The work on histrionic art, attributed to Nandikeśvara, is known as Abhinaya-darpaṇa (ed. Poona 1874. MSS: IOC 3028, 3090; Oppert i 16, 950, 2503, 7264, ii 450, 2205, 5473; Burnell 436; ŚgS ii 304; WRAS 109; Madras Cat. 12980-85). Nandikeśvara is better known as an authority on music, and is cited as one of his sources by Śārṅgadeva (13th century) in his Saṃgīta-ratnākara (I. 1. 17) and by his commentator Kallinātha p. 47. Works on music attributed to Nandikeśvara are: Nandikeśvaranate Tilādhyāya in Weber 1729, and Bharatārṇava Āndhra-ṭīkā-sahita (Madras Cat. 13006-08), supposed to be a condensed version of Nandikeśvara's work by Sumati, treating of dramatic gestures and tāla. This probably explains why the last chapter in the existing version of Bharata's Nāṭya-śāstra (ed. Kāvyamālā) is designated nandi-bharata-saṃgīta-pustaka. The other names mentioned by Rājaśekhara cannot be connected with works, actual or traditional, on Poetics or kindred topics. Curiously enough, an Alaṃkāra-sūtra, consisting of 75 sūtras, is ascribed to Vātsyāyana himself in Hultzsch 269.