The History of Indian Literature c9.57

c9.57

∗ With various kinds of musical accompaniment, according to the Váj. Saṃh. xxx., where we meet with quite a number of musicians and dancers, as well as with the name Sailúsha itself, which, at a later time, at all events, belongs specially to actors; see *I. Str.*, i. 76, 83. According to the scholium on Káty., xxii. 4. 3, by those “*vrátyagaṇasya* *ye sampádayeyuḥ*, ” as the text has it, we have to understand specially teachers of dancing, music, and singing. “In the man who dances and sings, women take delight,” Śat., iii. 2. 4. 6. [^asterisk]: * The two rules in question, iv. 3. 110, 111, according to the Calcutta scholiast, are not explained in the Bháshya of Patamjali; possibly, therefore, they may not be Páṇini’s at all, but posterior to the time of Patamjali. [The *Śailálino naṭáḥ* are mentioned in the Bháshya to iv. 2. 66; in the Anupada-sútra, the *Śailálinaḥ* are cited as a ritual school; see *I. St.*, xiii. 429.]