नाट्यशास्त्रम् (प्रथम भाग - अभिनवभारती एवं हिन्दी टीका सहित)

82 THE NATYASASTRA [ V. 38-

Nārada pacifies the gods.

38-41. Hearing these words of the gods Nārada replied, "Let the Nirgīta dependent on the music of stringed instruments be not stopped, and this (nirgīta) combined with the Upohana and accompanied by the music of stringed instruments will have seven forms. Enraptured (lit. bound down) by this Nirgīta the Daityas and the Rākṣasas will not be provoked and they will not create any obstruction [of the performance]."

41-42. This is the called Nirgīta to satisfy the vanity of the Daityas while in honour of the gods it is called the Bahirgīta.

42-44. This is to be played by experts in the Citravīṇā¹ with metallic strings, and the performance should contain light and heavy syllables (akṣara)² and have Varṇas³ and Alaṃkāras⁴. It is called the Nirgīta because in it there is sung a combination of sounds carrying no sense, and to satisfy the jealousy of the gods it is called the Bahirgīta".

The gods are pleased with the Nirgīta (Bahirgīta).

44-45. The reason behind the Nirgīta in its seven forms as well as the Utthāpana and the like, will now be given.

45-54. The Pratyāhāra pleases the Rākṣasas (Yātudhāna) and the Pannagas, while the Apsarasas are delighted with the Avataraṇa. The Gandharvas are pleased when the Ārambha is performed, and in the performance of the Āśrāvaṇā the Daityas take delight. The Vaktrapāṇi pleases the Dānavas and in the Parighaṭṭanā the hosts of Rākṣasas are [again] pleased. By the Saṃghoṭanā Guhyakas are satisfied, while the Mārgāsārita the pleases Yakṣas. When

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37-38 (B.37b-38, G.36b-37). 38-41 (B.39-41, G.38-40).
41-42 (B.42, G.41).
42-44 (B.43-44, G.42-43). ¹ citravīṇā—nāṭyoparañjanārthā yā vīṇā; a kind of vīṇā suitable for being played during the performance of a drama. ² Syllables like ghṛt and dṛṅ are heavy, and syllables like ma, ta, ka, ta are light. ³ See NŚ. (C.) XXIX. 19-23.
⁴ See NŚ. (C.) XXIX. 24-75. 44-45 (B.45, G.44),
45-54 (B.54b-55, 46-53, G.45-53)..