his own experience of often taking it in his lap for tuning. He shows the special care taken by the Yaksa's wife and the Siddhas in wiping off the wet string of their lutes. 13 This is really a very minute yet most important point with regard to the stringed instruments. Only a practical instrumentalist or a musician is expected to show so much care of his instrument. (C) DANCING. 7. As Nātya is closely connected with music, I include it in this category in the sense of gesticulation. His know- ledge of the principles of nịtya and nātya none can dispute. In the Malavikāgnimitra it is clearly seen how masterly his study of that art was. He gives us, by using many technical terms, the most graphic description of the positions of Mālavikā in the course of, and after, her dance, In Vikramorvashiya IV, he uses many technical terms relating to the Prākrta songs, their rhythm, as also to the dancing and stage directions connected with them; e. g. प्रावशिकी, आक्षिप्तिका, द्विपदी, जम्भलिका, खण्डधारा, चर्चरी, खण्डक, खुरक, पाट, वामक, कुटिलिका, मल्लघटी, अर्धद्विचतुरस्त्रक, चतुरस्रक, कुलिमा, मन्दघटी, स्थानक, गलितक, etc. Also in the Raghuvamsha, Kumārasambhava and Meghadita he gives us very १ 13 उत्सङ्गे वा मलिनवसने सौम्य निक्षिप्य वीणाम् मद्गोत्राय विरचिदपदं गेयमुद्गातुकामा । तन्त्रीमार्द्रा नयनसलिलैः सारयित्वा कथंचित् भूयोभूयः स्वयमपि कृता मूर्च्छनां विस्मरन्ती ॥--मेघ० II. 26.. सिद्धद्वन्द्वैर्जलकणभयाद्वीणिभिर्मुक्तमार्गः ।-मेघ. I. 48. ..
