divisions of slow, medium, and quick; the three pauses are rendered in proper order with the "gopuchchha" first; the three modes of playing are fully shown in the slow and quick accompaniments.[1]
Girl (affectionately).
O princess, you have been playing for a long time. How is it that your fingers are not tired?
Malayavatí (reproachfully).
Girl, how should my fingers be weary, when playing before the goddess?
Girl.
O princess, in my opinion there is little use in playing before this cruel one, who, up to this time, shows no favour to you; though you have been so long a time conciliating her with due observances, which come hard on a young girl.
Vidúshaka.
It is only a girl after all. Why should we not look?
Jímútaváhana.
What harm would there be in so doing! Women may be looked at without sin. Yet, perhaps, if she
- ↑ Here again there is difficulty from the continual reference to musical technicalities, and the translation is only conjectural. The yati-trayam occurs in the Márkandeya Purána, xxiii. 54. I have corrected the reading in the fourth line from tattwodyánugatás to tattwaughánugatás, from Daśa-rúpa, p. 178, where the passage is quoted; tattwa is "slow," ogha "quick" time.
