नाट्यशास्त्रम् (प्रथम भाग - अभिनवभारती एवं हिन्दी टीका सहित)

.V. 37 ] THE PRELIMINARIES OF A PLAY 81

31-32. Now when songs in seven forms¹ and in Citra² and Dakṣiṇa³ Mārgas together with the Upohana⁴ and the Nirgīta⁵ were started by musical experts like Nārada in praise of gods, all the gods and the Dānavas, in the assembly were made to hear the Nirgīta⁶ performed with proper tempo and time beat⁷.

Daityas and Rākṣasas provoked to jealousy

33-34. Now on hearing these happy songs praising the gods, the Daityas and the Rākṣasas were all provoked to jealousy.

34-36. Under these circumstances they pondered [over the matter] and said to one another : "We are glad to hear (lit. accept) this Nirgīta in accompaniment of the instrumental music, (and not the songs) in seven forms¹ about the exploits of the gods, which they were pleased to hear ; we shall hear the Nirgīta only and shall always be pleased with it. Then these Daityas [and Rākṣasas] pleased with the Nirgīta urged for its repeated performance".

The gods approach Nārada to stop the Nirgīta.

37-38. This enraged the gods who said to Nārada, "These Dānavas and Rākṣasas are pleased with the Nirgīta only [and do not want anything else i.e. songs]. Hence we wish this performance (of the Nirgīta) to come to an end. What do you think of this ?"

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30-31 (B.31, G.30).
31-32 (B.32-33, G.31-32). ¹ Seven forms means the types of tālas. See NŚ. (C.) XXXI. 497 ff. ² See (C.) XXXI. 414.
³ See (C.) XXXI. 412. ⁴ See (C.) XXXI. 234 ff.
⁵ Another name for bahirgīta. See below 33-42.
⁶ nirgīta—instrumental music.
⁷ For different aspects of the tāla see NŚ. (C.) XXVIII. 15-16 and (C.) XXXI. 33-34 (B.34, G.33).
34-36 (B.35-37a, G.34-36a). ¹ The seven forms—On this Ag. (1. p. 224) says : धातुरक्षणोभिविबाहुल्विविशेषसंयोजना रेचकखराः रक्षणया षडङ्गविशेषस्य कर्मण चतुष्टय पृथग्भूता विस्तारव्यञ्जनाविद्धकरणसंज्ञाधातुवाद्यं समभिव्यक्त्यर्थं.

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