Nandi in Theory

Summary

This scholarly paper analyses the concept of nandi, the benedictory verse or verses that preface Sanskrit dramas. The earliest description appears in Bharata’s Natyasastra, which states that a nandi should express blessings, consist of eight padas (lines), be poetically striking and composed of auspicious wordsfile:///home/oai/share/split_articles/Nandi_in_Theory_359-369.pdf. It should honour gods, Brahmanas and kings and be accompanied by two attendants who repeat ‘evam astu’ at the end of each pada. Later in the chapter Bharata allows either eight or twelve padas. The author surveys subsequent dramaturgical treatises in chronological order. The Adibharata adds salutations, requires that the verse hint at the plot, and permits eight or ten padas. Badarayana and Bhasa treat nandi as obligatory. Matrguta, as cited by later commentators, follows the Adibharata. The Agnipurana lists nandi among the twenty‑two divisions of drama and includes salutations to elders and Brahmanas. Abhinavagupta’s commentary on the Natyasastra clarifies technical terms and emphasises that the nandi should be recited daily; he adds that it should honour the guest of honour and that Vedic sanction underlies the practicefile:///home/oai/share/split_articles/Nandi_in_Theory_359-369.pdf#:~:text=Abhinava%20cxpl%E2%80%98ains%20%E0%A4%B5%E0%A5%87%E0%A4%A6%E0%A4%A8%E0%A4%BF%E0%A4%B0%E0%A5%8D%E0%A4%AE%E0%A4%BF%E0%A4%A4%20of%20Bharata,eight%20padas%20and%20also%20add. Other works expand or modify these requirements. Dasarupaka says the nandi must please the audience and that the manager introduces it. Natyadarpana adds the requirement of an even number of padas, praises of merit, and the removal of obstacles. The Prataparudriya and Rasarnava‑sudhakara enumerate possible numbers of padas—eight, twelve, eighteen or more—and specify that the nandi should contain synonyms of ‘moon’ or ‘Chandra’ and foreshadow the plot. Sabdityadarpana includes words signifying auspicious objects such as conch and lotus. Raghavabhatta’s commentaries cite definitions from many sources and stress that the nandi may be composed by a poet or stage manager and must please the audience. Natyalocana requires flower offerings to connoisseurs in addition to the usual characteristics. Through this comparative survey the article demonstrates that while authors differ on details such as the number of lines or specific imagery, all agree that the nandi is an auspicious invocation intended to bless the performance, honour deities and dignitaries, delight the audience and sometimes hint at the theme. The paper calls for further study of how these prescriptions were applied in practice and how regional variations evolved.