On the other hand, the reference in the Mahābhārata to Kāmanda ( = Kāmandaka) (Shantiparvan, 123, 11) should place the text before completion of the growth of the Great Epic.
[3] It is possible to fix a terminus ante quem of the 7th century CE for the text, since the 7th-century poet Bhavabhuti refers to a Kamandaka who is described as proficient in the art of diplomacy.
It is based on the Arthasastra of Kautilya and deals with various social elements such as theories of social order, structure of the state, obligations of the ruler, governmental organization, principles and policies of the government, interstate relationships, ethics of envoys and spies, application of different political expedients, varieties of battle arrays, attitude towards morality, and so forth.
[5] Nitisara shares several common aspects with Arthasastra including mastering of control over the senses including practicing of ahimsa; maintaining balance among dharma, artha and kama; emphasizing the importance of knowledge and intelligence; the seven prakrits and twelve vijigisus in a circle of kings or mandala theory; six measures of foreign policy; the upayas in which there is no war mongering and use of force as the last resort; issues of disasters (vysanas) that may afflict the constituent elements (prakrits) and how to overcome them prior to the execution of a policy; duties of diplomats and intelligence gathering; and aspects of war and use of power by sticking to the priorities of mantra-shakti (counsel or diplomacy), prabhav-shakti (economic and military power), and utsah-shakti (leadership).
[6] Nitisara differs from Arthasastra in that the former focuses on valour and the military qualities of the ruler, whereas the latter was dependent on deliverance of kingly duties.