HOM ATT (8) KALAMULASASATRA SERIES (8) General Editor Kapila Vatsyayan if INDIRA GANDHI NATIONAL CENTRE FOR THE ARTS. NEW DELHI and -MOTILAL BANARSIDASS PUBLISHERS PVT. LTD, DELHIFirst Published 1962 (© tadira Gandhi National Cente forthe Arts a storage orttat _Avigha reserved. No part ofthe publication maybe reproduce in any eee I ut itn permioon of te pubes Brhaddesi of Published by 4 Matafiga Muni INDIRA GANDHI NATIONAL CENTRE FOR THE ARTS: Sri Matafiga Mui Canal Visa, anpat, New Dei 110 001 infaneciaion with MOTILAL BANARSIDASS PUBLISHERS PVT. LTD. Bungaiow Read, Jawahar Nagar, Delhi! 10007 Edited by ! Prem Lata Sharma ‘Asistedby ; Anil Bihari Beohar ISBN :81-208-1080-9(0) " '81-208-1031-7(Val.1) t / Price: 275.00(Vol.1) au Shr Jainendra Press ‘AAS, Naraina Industrial Area, Phases ‘New Dethi-110 028, a 3 Y . wDedicated to the memory of Prof. P.L. Vaidya My Guru in Textual Criticism.FOREWORD “The eighth in the series of the Kaldmalaiastra, research and publication programme of the Indira Gandhi National Centre for the Arts is the Brhaddeft. ‘As the name suggests, it is extensive and comprehensive. This is rightly ‘considered the most important text on music after the Na(yatastra and Dattlam. In the Foreword to Matrdlakianam and Dattilam 1 had drawn attention to the importance of Matrdlaksanam as embodying and manifesting musical structures of the Sama-Veda. Dattilam is the first autonomous text of music which ‘enunciates a theory of sound, structure and composition quite distinct from the ‘Natyatastra tradition. ‘The Chapters of the Nalyaséstra dealing with music have posed many complex problems of editing and translation. While the Indira Gandhi National Centre for the Arts will publish this seminal text, it will take some time, Brhaddeff, without doubt, is the next most important text between the Natyaféstra and Datilam on the one hand and the fully evolved text, namely, the Suigita Ratndkara on the other hand. Tn the case of Dattlam the editor had to rely on one manuscript. In case of Brhaddeit the editing job is even more hazardous because the text has had to be reconstructed from excerpts by later writers. This task is challenging and requires mastery of the skills of collation and editing of a very high order. Dr. P.L. Sharma, the editor of this Volume who has devoted a life-time in unravelling the mysteries of the textual corpus in relation to the unbroken traditions and the practice of Indian music has assiduously reconstructed this text on the basis of the citations, has provided annotations, explanations and, naturally, ranslation. The work is being presented in three Volumes. The first ‘wo will present the text with a translation, notes and annotation, The third will beon the critique of the textin its totality with glossary, indices, appendices, etc. “There has been only one printed edition of this text so far, ie. Trivandrum Sanskrit Series in 1928. The present editor has considered that edition and has ‘corrected the errors and many mutilations and confusions in that edition. in the context of music, one of the most common and fundamental ques which is asked is: “Did the Nayasdstra mention the Ragas ?". “When did Ragas emerge?”. In critical literature there has been a vast body of discussions on the subject and, naturally, scholars have taken pains to state that the Néfyatdstra makes scanty mention of the Ragas. The source of musical structure and ition, both of Hindustani and Carnatic music, has to be traced back to the Brahaddest. tis the Brhaddest which for the first time makes a distinction ‘between Jatis, Marchands and Raga. The author deals, at some length, with the forms and the characteristics of the seven pure Grama Ragas. Since this is the firm foundation of the system of Indian music, the text assumes greatBRHADDEST importance for any systematic study of the development melodic importa y sy ty development of the melodi ‘The Brhaddett is an important text also because it anticipates the Safigita Ratndtara by many centuties through relating the ‘understanding of bedy system, especially, physiology and articulation of sound. In this respect, Brhaddefi makes explicit mention ofthe principles of the Natyafastra which were conly implicit. Also, stylistically, it moves away from the prescriptive nature of the Nayaséstra, even the Dattlam and adopts instead a Bhasya or a dialogue form. The erudite editor will dhrow light on all these aspects in her critique. I ‘would like to thank her for having devoted her valuable time for editing such a complex snd incemplene text ba te wo enrich the Kaldmdlatsne Serie New Dethi 121.92 Kapila Vatsyayan INTRODUCTION Brhaddest and more so its Puranic author Mataiga Muni have been well known in Saiigilaiastra for more than one millenium. The text has been profusely quoted in texts of Saigliatdsira upto the 17th century, But for two o three centuries it had gone into oblivion. There was no access to it in the nineteenth century and the first quarter of the present century, until Pt. K. ‘Sambasiva Sastri edited and published it in the Anantaiayana Granthdvall No. 94 CTrivandrum Sanskrit Series) in 1928. The following excerpts from his introduction would throw light on the MSS retrieved by him. “ would add, before concluding, that the present work though incomplete has been published on account of its rare merit and that the manuscript of this work was Travancore’s contribution to the exhibition held at the All India Conference of Scholars and Artists at Indore in 1921. “The edition of the work s based on two palm-leaf manuscriptsin Malayalam ‘characters obtained from the poonjar Raja, North Travancore. One of these tnanuscripts marked as ka is exceedingly worn out; itis about four centuries old land wanting in the first leaf as well as four leaves from the 4st. The other manuscript marked as Wha is fragmentary, ending with a portion of the Jitigrakarana*. “AThe work ends abruptly saying eat wufeeds ame Fred wa (p. 154) and so we conclude that there are subsequent parts of the text yet to be discovered.” “The text, available to Pt. K. Sambasiva Sastri, is incomplete and it has not been possible to discover another manuscript in the last seventy years, that ‘could accord access to the complete text. in 1980 I suggested to my student Sri Anil Bihari Beohar to take up acritical study of Brhaddest including reconstruction of the text on the basis of citations Orreferences available in various texts from Abhinava-Bharatf of Abhinavagupta to Rage-Vibodha of Somanstha. He took up this subject for his doctoral research land started collecting and collating citations and references. As his supervisor, T continued to struggle and grapple with the problems of reconstruction of the text on the basis of the material collected by him, in collation with the ‘Trivandrum edition. Sri Beohar was awarded the Ph.D. degree in 1986. Almost immediately after this Dr. Kapila Vatsyayan, Member Secretary of the Indira Gandhi National Centre for the Arts, New Delhi, conceived the publication of a series of Kaldmalasastra (Fundamental Texts on the Arts). It was decided that So far as Sangitasastra was concerned, Dattilam and Brhaddest should be in the first priority. "We have recorded the read “Trivandrum edition referring tothem as MS A of these two MSS on the testimony of the (4 MS B for ha and tha respectively.Eo BRHADDES! ‘The text-reconstruction carried out by me during 1980-85 has now been thoroughly revised and the work of English translation, textual notes and annotations was taken up by me in 1988. ‘This work is being presented in three volumes, the first one covering the first chapter dealing with the following topics: 1. Dest, 2 Nada, 8. Srui, 4. Svara, 5. Gréma-mirchané, 6. Varna-alaikra, and 7. Pada-git. ‘The second volume will include the chapters on Jati, Raga, Bhasa and Prabandha (text, translation and notes). ‘The third volume will contain a comprehensive critique of the text and its contents, authorship, date, style, earlier authorities etc., exhaustive glossary, word:index, loka- index, bibliography and textual appendices. ‘The scheme of the presentation of textual material is as follows: Almost all available reading variants have been noticed alongwith the reconstructed text in small types below the word or syllable concerned. Unless ‘otherwise indicated, the source of the variants is the Trivandrum edition; wherever the source is different, numbers have been incorporated in the text or in the variants as the case may be; corresponding notes have been included in Patha-vimaria(\extual notes). Words or sentences added to the printed edition have been putin square brackets [ ] In verse-numbers the Trivandrum edition has been followed, but there have been some modifications because- () some ‘éryd’ verses have been treated as prose in the edition and they have been restored to the sequence of verses, (ii) some verses have not been treated as citations in the edition, whereas they have now been identified as citations and hence they are not numbered as forming part of the text and (i) sometimes regrouping of verses has been done according to the context. The prose portions have been split context-wise and have been numbered as ‘anucchedas, comparable to paragraphs. This will facilitate reference and retrieval. ‘The diagrams of samuddin, anuvddin and vivddin svaras were extremely confused in the edition, they have been reconstructed according to the description in the text. Interpretative and explanatory material has been presented under Vimaria (annotations) according to numbers indicated in the translation. These are pointwise explanations, The totality of each concept will be reviewed in the glossary and the whole text in its totality will be reviewed in the Critique. Thus some overlapping will be inevitable, but they will facilitate an understanding of the subject-matter. Speaking of overlappings, it was not possible to maintain a watertight compartmentalisation between textual notes and annotations, because the reconstruction of text cannot be dissociated from the content or ‘meaning and the work of explanation or interpretation cannot be dissociated from the reconstructed text. Even 30, the division is useful and logical. INTRODUCTION wut the translation. It has been my attempt to bring the original to we eres is favour and nuances if i this acempt the idiom of the English language has been violated, 1 owe an apology. My only submission would be that this is not a transcreation of creative literature, this is a presentation of ‘scientific literature in a different language. Hence the criteria Pf judgement should be different from those applied to translation of creative Thr rs nesoudeeransnedbecte hata via impose rough equivalents have generally been given in paranthesis and fan equivalent has been found adequate, the original word has been given in paranthesis in order to help the reader in indentifying the equivalence, ; Seo eplnea wo Dr_ An Bikan Beobar, Lecturer in Musicology, Indira KalaSangitaVishwavidyalaya,Khairagarh(M.P.) has been acknolwedged in the tile page. Once again, I acknowledge with affection his labour and patience ‘with the onerous task undertaken by him. To Dr. Kapila Vatsyayan, I owe a deep debt of gratitude for her constant inspiration and encouragement. My incere apologies are due to her for the delay in completing this work, caus by both personal and professional reatons, To Dr. Bettina Baumer, Hony- Co-ordinator, Kaldkofa office of 1.G.N.C.A. in Varanasi, goes my heartfelt gratitude for her constant support, bth moral and material. My younger sister $e: Urmila Sharma has provided valuable assistance in reading the proofs; 1 express my loving gratitude to her. My affectionate thanks go to Dr. N: Remnanathan, Reader, Department of Music, Madras University, my former student, for going through the first half of the press-copy (upto the section on igrima-mizchand) in 1988, while 1 was at Khairagarh. ; T thank Dr. C.B, Pandey, Editor, and Dr, (Smt.) Advaitavadini Kaul, Asstt. Eaitor, for seeing the book through the Press. ‘Vasanta Faficami Magha Sukla 5, V.S. 2048 Feburary8, 1992CONTENTS Foreword by Kapila Vatsyayan Introduction Abbreviations Brhaddesi of Sri Mataiiga Muni re ‘Translation “The dest nature of Dhvani ‘The definition of desi and margu Section IL: Nada “The glory origin, definition and kinds of Nada Section HL: Sruti ‘The definition of Srutiand its numeration Five alternatives in the relationship between sruti and svara ‘The demonstration of visual representation of srutis by Maxdala-prastira Section IV : Svara The laksana of svara ‘The fourfoldness of svaras according to kinds beginning with vadin “The samuddi-mandala in sadjagréma “The anuvddi-mandala in sadjagrama “The vividi-mandala in sodjagréma ‘The vivddi-mandala in madhyama-grama ‘The sevenfold combination of svaras according to the types beginning with arcika The etymology of svara-names The castes of svaras ‘The drawing out of svara signs as contained in dgama Assignment of community, colour and the like to svaras Section V : Grama-mirchand The treatment of grdma ‘The treatment of mirchand ‘Miirchand-mandala ‘The distinction between Miirchand and tina ‘The yajia-names of tinas ‘The performance of tanas The marchand of twelve svaras mn VIL: Varpas and Alaikaras The Varnas The Alaihiras Sec xi Boervsece Seea SBRHADDESI | ‘The treatment of Alaiskéras according to Bharata'sopinion 105 | ‘Ana Sam Vi Aniipa Saigita Vildsa of Bhava Bhayja f Section VII: Pada-gti "3 i atha-Vimaria (Textual Notes) 131 | ABBREVIATIONS i Section I (Des iat ! Secion I ad) ee i Section IIT (Sra) 1 Secon 1V (Sar) ae Abkiahi Alin Bhi, Abinsraguptacommentaryon Nebo ; ion V (Grama-mirchand) istraG.O'S., Barodaedition H Section VI (Varndlainkéra) fai \ Anu. ‘Anuccheda, comparable to paragraph ! Section VII (Pada-gitis) 144 ‘And SamR_— Aniipa Sahgita Raindkara of Bhava Bhaya | Vinee (hanaaion) 7 Ast ‘stato Pa Section I (Nade) 47 Bhako — Bharala Kelaof MR. Kavi | een ees 150 BD Brhaddetof Mataiga uni \ Section IV (Svara) ; is Bebop Bhadarerete Voom Section V (Grama-mirchond) 7 ee csc eee ez DA Dhrupad Annual H tion VII (Pada-giis) 189 Dau Dattilam Ed. PUK. Sambasiva Sastr, editor of Bade, published in ' | “Anantasayana Sanskrit Granthévali No. 94 (Trivandrum ' ‘Sanskrit Series) in 1928 Gobh Simp Gobhila Smrti IMJ Indian Music Journal i Kala ‘Kalanidhi commentary of Kallinatha on Saigita-Ratndkara { KausUp Kausitaki Upanisad Lit Mark Pur Mat Pur i ! MBh | MimSa —-Mimamud Sitra | Nasi Naradiya-Sitsa . | NS ‘Napa Séstra, G.0 S., Baroda edition, unless otherwise indicated Natya Séstra, Chaukhambha, Varanasi edition ‘Natya Sastra, Kavya-Malaedition. Painini-Sih Prem Lata Sharma Printed text of Brhaddett, Trivandrum edition ‘Raga Vibodha of Somanatha Saigita Cidamaniof Jagadekamalla Saigita-Samaya-Séra of Parsvadeva ‘Saiigita Ratndhara of Sarfigadeva Adyar edition) ‘Sangiardja of Rand Kumbha Vol.ii BRHADDESI Sudha ‘Suhatara Commentary of SimhabhipalaonSaigia- Vik Vabopodia of Bhartrhari Note: Names of secondary sources and sources referred to only once have not been abbreviated sttragafrcttar BRHADDESI + OF SRIMATANGA MUNI (Volume 1)cm) [ wriser: J [ &h-weery ] [wa earaatiory | (om wae] ready aig seat Ged FA ee 2a 8 sas AREA (peer | Te Te RT ARS BPM NZ (90 we} ay akg Wit wa ae TET | anions AR We A ATER 1131 2a we ery Ha TARA A: PUTT: It 2 era Dame ah faeget weer arrRagRAT 1401 fey argegen gRT feet AE | eSaATEI TTOAAARTTAT 116 1 sere Renee ied aA Sarat 3a FU: WHET TIAA: ERT: 11011 The Great’ rise on Dest Music ‘Composed by Sf Matafiga Muni ([Chapter-1] I [ Section on def } [ The Deffnature of Dhvani } {Thus spoke Matatga! ] Tn various regions (dhvani or manifest sound) spontaneously becomes pleasant? to living beings? and starting with them (itis aso pleasant) to the people and kings. This dhvani* that arises from region to region is called deft (born in or proceeding from various deias or regions). (1, 2b) [Lompiter's statement] Hearing the words of Matafga, the Muni (sage) Narada spoke (thus). (2 cd) [ Thus Spoke Narada } 'O great Muni : but then, how did the dei (regional or spatial) nature of dhvond come about, in spite ofits being formless? You should tell me the realty (regarding this). (8) ‘Thasspoke Manga ‘Because of the perception of dhvani being according to deia® (direction) (and) because of its (dhvanis) being the follower of the sthna? (location in the human body). .....? (4) From that (2) (arises) bind from that (bindu) (arises) nda? from that (nada) (arise) matrds!# in this order of succession. (5) Vargas (letters and syllables) are born of maths, matyhés are known to be twofold by way of svara (vowel) and wyaijana (consonant). Here (in this Sdstra tm discipline!) (the totality of lewers and syllables in their unmanifest and manifest forms) is called the light of the world. (6) (The aggregation of consonants) beginning with 'N’ and ending with “Aj is properly sounded (with vowels) in the peoples’ language'* or regional language land hence svaras are duly spoken of (as such); the Svaras (musical notes) beginning with sadja' are different (from vowels). (7)BRHADDES! amet 7 way wifey ate 1 aa, Rafat sor fret TAC wearers arenagil aq 1 venta og at 3 am: RE: 11g wt a wigintate a we gh weg AA are GrarrERREAR 120 Ta aR Ae: AAT THAT | sae afte wa TREE ee abril: va Sm eae er RT| ORR ART HE WAY RTT 12 cae fe set ererareram Brier ooeey Rega: 11¢ 3 waft era [Barre ] aera’: RTARTA 1 ra eagTI Rea UAE eT ™ Prerataars anita ffi wat Vay tay areal a a AE WAR Rn amen [Marana a8 Bet REG 1] TRANSLATION 5 ‘The state of being consonant (vyaiijanatua) is common to all the (seven) groups (of consonants) beginning with the group of ‘t’. Vyaiijana'*attains the State of Siva simply on account of (ts) manifestation through Sakti sara). (8) Varnas (letters and sillables) are known as such because they delineate the whole world through the own form’? (svariipa) of pada (word) and wahya'® (sentence) and through the conveying of the meaning of sentence. (9) ‘This pada is always known by the wise to be preceded by syllable (varna) i.e. the former presupposes the latter, The sentence, on the other hand, is a ‘combination of hriyé® (action, verb) and Kéraka® (instrumental in bringing about the action denoted by a verb) (and) is made up of words. (10) From the wélya (sentence) (arises) the mahdudhya® (lit. big or great sentence) and in succession (arise) the Vedas with their afigas® (anciliary disciplines) ; all those are manifested from dhvani. From there (Vedas) is the origin of Gandharva™ (music). (11) Dvani® isthe ultimate origin (yoni, — lit. womb) ; dhvant & the cause of everything. The whole vorld of immobile and mobile (beings) is encompassed by dhvani. (12) Dhvani is sid to be twofold according to (its) division into manifest and unmanifest (states). Being manifest on account of the obtaining of varas* it (dhoani has reached ie countenance (beginning) of def. (13) ‘Thus ends the origin of desi. [ The definition of daft and mags 1 ‘That which is sung by women, children, cowherds and kings® out of their ‘own will with love (and pleasure) in their own (respective) regions is called deft Amusic). (14) ‘This margo® (course) (of dei) is known to be twofold viz. that which is niboddha (structured, lit. bound) and that which is anibaddha (lit unbound, relatively less structured). That which is structured through lépa (melodic elaboration) etc. is called marga® (lit. path), but the one devoid of dlépa ete. is called def. (15, 16ab).BRHADDES! Weer eet ae sfeaifae: aoe eater se Bea sea eG vq We Raf WE WERTH | (rer ween, seat, aM, ene | er waaenht AERA «170 11 Fae fen at a aa fen eo: 1 Fe fen Fe TI BG nec FRet: BR FEI ARN BAA 1 eet FRET TI URTTTET FEAT RG 11 TRE FET: BM SEITE a BRE ‘wm ae: I: ITT AERA? 1 - aigrreRtiTe: WETTAT | TRIER wd sun egies are + wa Faq cpreemraged & vale: Wawa: 1 oh wets get val areatgeo errs GI weed wT | ‘TRANSLATION 7 ‘This deif should be known in this way by the experts in gita (music, lit. song). (16ed) ‘Thus I have spoken about the origin and definition of deii* (16 ef) ‘Thus ends the definition of defi. I [ Section on Nada } [ The glory, origin, definition and kinds of nada | Now, I speak about the principal definition of ndda (17) ‘There is no gila? (song, music) without dda, there are no svaras (musical notes) without nada, there is no nytia’ (dance) without nada, hence the world* is of the essence of nada. (18) Brahmas is known to be of the form of ndda (ndda-ripa), Janardanat (Visnu) is of the form of nada, Pard Sakti? is of the form of néda (and) Mahesvara is of the form of néda® (19) “That which is spoken of as the location (Sthdna) of Brahma and which is known as brahma-granthi,? pr seated in it, vahni'! (Gre) arises from rina, néda is born of the combination of vahni (fire) and méruta (ai). “From néda is formed bindu't and from ndda all vdimaya' (whatever is iad of speech of language) (is born)". ‘hiss the opinion of some (authorities). “The air arising from the location of kanda,!* (and) moving about up and down, produces the intense course of ndda.” So say others.BRHADDES! FRR IM TMG ERA Fe: | 1 are fredisd wit waa non me varisd aaah: wa ava TRAIT ARIST FH RLU yet aa qeanh Ga we 1 wren fe VAATATTATG 1 22 = ee pint gett g Fe waft get “aA rer Sheer Arete 13 ut areteaA TL [ fe-sreeorR (9 qhewm, ater =] eel q ree aint = fafrey 9g sat ea a fin (| ) RTS: sient opoas Qa aaferree: erated wert: afer: ax 1 te, Cat) spre A Bee a ASAT A = = ita ARAL 1 seM—serRt aeRteaTaTRAIT Segre Frwy eafmftectneMMTT ET tte x rear WeUSREssagnfaToNTAMTT Svar “su Seon ea (7) ‘TRANSLATION ° The letter ‘na’ is spoken of as prina (air) and the letter ‘da’ is known as fire; this is spoken of by me as the meaning of the dual!S verbal component (pada) of néida.(20) This (word) ndda is (derived) from the dhélu (root) nadati (to make inarticulate sound) and it is fivefold viz. sikyma' (subtle), atisikyma (very subile), oyakia (distinct) avyakia (indistinct) and Aytrima (artificial). (21) ‘The siityma (subtle) ndda dwells in the guhd'? (lit. cave, secret place) the ‘atisiksma (very subtle) one in the heart, the distinct one in the throat, the indistinct one in the alu (lit. palate, but here cerebrum) and the artificial one in the region of the mouth; thus should the fivefold (ndda) be known by the wise. (22, 23ab) ‘Thus I have spoken about the beautiful origin of ndda, (28 cd) ‘Thus ends the origin of ndda, Il (The section on éruti) { The definition of ui and is numeration } "Now I shall speak ofthe ascertainment of fru from the root ‘iru’ meaning hearing, with the suffix ‘kin’; the word ‘iruti’ should be formed (grammatically) by those who are knowledgeable in the ‘word’ (grammat), (this is) sddhana (formation) according to ‘harman’! (object). (24) (Anu. 1) ‘That which is heard (is known as) fruti That is one or many. Out of (these ‘two possi the first one) is that érufi is only one. That is (explained) thus — there? in the beginning on account of the combination of the dehdgni (lit. bodily fire, battery of energy) and air, the sound propelled by the effort of the prurusa? (dtman), attacking the akaié (space) above the navel, ascending in many ways, in steps of a ladder like smoke, according to the will of the air, appears to be different by way of being composed of four suis etc. through being comprised of the inherent pratyaya (assured consciousness) of filing up (with air). This is my opinion,10 BRHADDEST CE) arntefin: sre (at yp eet ae Fem Yo CU) ara nC gy) yaever apie wey > eURTOS-f eae cm) a ag fey — CRRRTETETAR wae ARR wr Sais fan an aaenframr: 1 Vite Foagereang Fert wa fps 1 lara aR erTET FE A aA: 0% 21 ‘efeq carer Fafa gl vera 1 Prater & Pe ae Se ai BA ‘TRANSLATION n (Anu. 2) ‘Others, on the other hand, accept frutis to be twofold. How? Because of the division into svara -(Jruti) and antara - (Sruti. And thus has said Visvavasu— “Sound itself is known as Sr on account of being perceived by the sense of hearing. And that (drut, though one, is twofold according to it division into pera and ontara. The seven (svaras) are sung in the gitis (songs) with definite or specific locations (in terms) of érulis, hence sruis are known as being contined in svaras by the knowledgeable ones in rut, The srutis situated in the intervals of suaras are known as anlaronutis* And the aifvarya® (importance), fof these (antara-iruis) is there on account of the division according to hnya* (performance) and grama.” (Anu. 3) ‘Some accept threefold fruti_on account of its relation with three sthinas? Others accept druti to be threefold on account of the vaigunya*(Faultiness?) of indria (organs). And faultiness of indrya is threefoldviz. sahaja (inborn), dojaja (born of some defect or of disorder in the three humours) and ‘ebhighitgja (born of accident). (Anu. 4) ‘Others, on the other hand, accept fourfold sruti® divided according to ite, pitt," kapha!tand sannipata (admixture of the three). ‘And thus has said Tumburu— “The high voice that is rida, (lit. dry) is known as vétaja by the wise. “ 20nd, ae, aq afer THT Ted eet aeserTER ATG 2g ater = agatioweet a— WL afe wagranit ] argenteroserg n [aw] apr we EERE: ey we wife! waft) eHET ET dae: ager dara em war wpaRPT »[ aa | We TR ERT dee sae dace TE Ter wiry 6 a wafe) TOMEI ETH: FEE ORT GT FE mf A wT af WORE ETT ETM MEET ere mont women da: ESTE WE waft ] | “TRANSLATION 7 (Anu. 23) “Anuvdditua (the state of being anuvddin) occurs by the state of being one Grutiless (i. pairs of svaras where one of the constituents is less than the other by one Srutiare anuvddins). But what is that anuvdditva? ‘The expositorhood of the rdgatua of rga brought about by the samuidin is indeed anuvéditua. ‘The anuwidimandalais thus - ‘Thusends the anuvddimandala, (in sadingréoa } (Anu. 24) ‘The uset? of anuvddins is thus - sadja in the place of ryabha and reabha in the place of sadja, remaining in its own form, does not destroy jati or raga. Dhaivata, being used in the place of paricama and paiicama being used in the place of dhaivata may not become the destroyer of jati and rége. Dhaivata being lused in the place of jadja and adja being used in the place of dhaivata does not become the destroyer of jétiand raga. Rsabha being used in the place of paiicama and paricama being used in the place of rrabha does not destroy jati and riga. Rsabha in the place of madhyama and madhyama in the place of rsabha; similarly, madhyama being used in the place of dhaivata and dhaivata in the place of madhyama does not destroy jati and raga.BRHADDES! Cag 24] er Tatu Te ees ag fread ar? arf: coeeuay waranty, aefarrmret Frakeay) faked ae ee Wat [ ag ] fears 1 Cy eq) Sein AERA AIPAC STAT PATRI JET TEST seo TET WL Sac Aree: A A TE We [aw] ert mem ae vacated WRAL wa ae pastel ile oll Wa | TERR ETEP: freer eee Fae gy eet ‘TRANSLATION 9 (Anu.25) ‘Now, upon anuudditua being applicable to géndhira and niydda on account of their being less by one sruti,vivdditua has been spoken of on account of the Snterval of two (érutis) (pertaining to them). What is that vivdditoa indeed? Vivaditee is indeed the state of being the destroyer of the state of vddin, jamvidin and anuvadin of the raga (concerned) attained by the svaras (qualified as) védin and the like. The viuddemandalais thus - s | l \ ' | I ai da: _| L—— ge | ! pa “Thus ends the vivid mandala | in sadjagrama }- (Anu. 26) “The use of the vivddins* is thus — géndhdra being used in the place of rnabha and pabla being used in the place of gindhdra brings about the loss of Jui and. rigo. Ngéda being used in the place of diaivata and diaivata being ‘ised in the place of nigdda brings about the loss of jati and rdga “Thus it is for sadjagrima. ‘Now the state of being vddin, samoddin, anuvddin and vivddis in madiyamagrama, Out of them, védins are the seven suaras beginning with smadhyama. Those ending at ninth and thirteenth (Jrutis) are samuddins ‘Kauvedins are 30 on account of being less by one éruti The svaras having an interval of two (éruts) are vivddins,BRHADDES! rommm® aeweet [en] — woud f a & a [ wom] ventas TH “TRANSLATION a ‘The vidi mandalain madhyamorgrémais thus- ma pa dha ni sa ri ga. ‘The samuédi-mandala in madhyamagrima is thus- ‘The anuvidémandala in madhyamorgrdma is thusBRHADDESI \ am featearss wa | | | | | | ' ! rororeog fy [ snfintiier wafteracim: ] Cg xe] eel waferacies mmf Fea anée, nae mL RR aE, eG Ta! AL oe “aR neta atery aA & tee: reer A Te wea sen: finda & ‘we Geet Referer piel tacny atge of wafirta wa: wget Faq wopt warts fateh siege” ] ; [ erentrefr: ] af wo eo wee: uefa! wR ete aga wt SRRSIRS: TE WafAAa 44 11 “TRANSLATION “3 ‘The vivddi-mandala in madhyama:grima is thus — ma | ' I l I | ana) — i ——- = S — [The sevenfold combination of svaras according to the types beginning with pac (Anu. 28) "Now the names of the sevenfold combination of svaras are being spoken of - arcitas® githiba.® sémika? svariniara.® auduva.® gidava' and sampirea” ‘Narada has said s0- hike, simiko, svaréntara, auguva, ;2dava and the seventh is sampiirpa. That which (involves) the use of one svara is called drake. Gitta Should be known as being comprised of two suaras, the (combination of) three sooras itself is sdmika. The use of four svarasis spoken of as svardntara. Auduva is ‘with five (svaras), sddava is with six suaras and sampiirea is known with seven {(svaras) by the designers (yokirs) of gta * (music).” “Arcika, gal [ The etymology of swarenames “The producer of six svaras, or the one produced by six svaras, or that which isborn of six avgasis called adja. (65)“ ‘BRHADDES! rena eal NRT: FR hie ar fore font EA HEH aOR RARE: KRISTA 14K 11 a Une ere a TIP: | RR REIT WET: RE TERT It ere fae at finiit WTA | TSR WA HM WRT NGS 1 sheared dinieemard daa BR 1 ma) Ese eM Tess Sat wa 1149 11 oe erst ware daa eer Frade ea: WH FURR HAA NIEO ML ( sot wearer ] {3 8] af ag Fd wa waa af fore? ge mt arpa Aha reat Tah a1 WT TE BAR: — CSRRERRRaSTeRToTEpRHT eT 1 TA an aa TERR aT aE aT et | ( =oree ] pga fanfeagh afi wt ‘eh feet Sah Bh TT 2G [ armen wage ] antes 9 war aqrORaUTRT SATA ATS THAT I 7 TRANSLATION 6 (That which) reaches the heart quickly from the other (svara) is known as ‘nabha, Just as the big bull seated (or standing) among the female gos (cows) looks splendid, similar is this svara rsabha™ born in the svaregréma (gamut). (56, 57 ab) ‘That which holds the gindtmika vdk (musical vak) is named as gindhdra’® (67 ed) ‘Madhyama_svara is known to be so because of being the middle one among, swaras.% Paficama is that which measures the elaboration of svaras*? (58) nit is paticama (fifth) in number in the order of pajha (lit. reading aloud or recitation, here enumeration). Dhivn is one who has got dhi (buddhi, intellect), the one related to him (dhivén) is dhaivatas# (69) Or Itis known as dhaivata because itis held on the sixth sthdna (location). (60 ab) ‘The place of dhaivatais in the laléja (forehead), this is the meaning.” ‘Niséda is known as such because all the svarasrest upon it (60 cd) (Anu. 29) But why is the rule that there are (only) seven svaras? It is being said (answered) « (This rule is there) in the same way as (jn the human body) seven dhétus alone beginning with rasa®! are to be accepted in accordance with their being dependent on seven dhatust® (minerals). Similarly said Susruta - Toak (lit. skin, here serum), blood, flesh, fat, bone, marrow and semen, these are dhatus. Similarly, swaras are only seven on account of being dependent on or dwelling in seven cakras‘ or seven duipast (lit. islands). [ The castes of svares ] “The svaras (comprised of four frutis are brahmanas'* the ones (comprised of three ruts are kyatriyas$* the ones with two érutis should be known as vaityas® and the antara-svaras are éidras® @n [The drawing out of soara signs as contained in agama ] Having acquired the eight groups® beginning with tara and ending with Je-4a, one should draw out® the heptad of svaras (their abbreviated names i.e. ‘olfa-syllables) combined with letters and matrés (vowelendings). (62)6 BRHADDESI wren qd 7 atdrmaTA a GST 113 11 yy wean fed yard) fed 9 et fae sq gaqieyi Reema shen qt RoE Sac Rat Fred TTT sea & wie aa sree ora ee Far TL CHT 1 saw Morar srarernitd wt eae REY a Sa TTA HS RTA II G9 11 waren air aqd weg PVeTATNTS TY ACTA NGC 1 SRR A TET = TERUMRTTT GARETT NES 1 ane: TRS eI TAT vefefa | [ exert gremiefinia: | EL wee Para 1190 11 RATATAT: TENT | feng: eset TE: fre veframmnpedh egret | Sa FI re Te: a Fre! 19z RETIRE TET AER IEE TAEDA TPE REM EAFTE 1103 1 ‘TRANSLATION a ‘The third (I/we) of the eighth (group viz.) combined with the Harta (@)" is the intial svara that the knowledgeable one in sara should draw out with al effort 63) The second (letter) of the seventh (group viz. “7, combined with kimatija, (viz. ‘a'),72 know (that) as the second svara arising out of the brahmasthdna (brahmagranthi). (6) ‘The third (letier) of the second group (viz.“g)) combined with Vinu - bia, (viz.‘a’),one should always draw out (this) svara’ which is attractive among the various svaras (65) ‘The last (letter) of the sixth group, (viz. ‘m') combined with the (viz. ‘a’) know it as madhyama, the indestructible (and) best among svaras. (66) ‘The first one of the same (sixth group, viz ‘p') combined with the first one (via, ‘a’), know that as the beautiful svara, associated with the number (five) of yoma (space) and born of the offha (lip) sthdna.™® 67) ‘The fourth (letter) of the fifth group (viz. ‘dk") combined with the initial one (viz. ‘a’), one should draw out that excellent svara born of two bows.”” (68) ‘The last (letter) of the fifth group (viz. ‘n') differentiated by the end that is other than akira (viz. “7) ‘out of the brakma-sthdna” (cerebral aperture) is combined vith ‘high’ sound. 69) ‘Thus, this much has been shown as the svaroddhdra (analysis of svaronames) contained in agama (70ab) { Auignment of community, colour and the like to saat] Now I shall speak of the assignment of community, colour and the like (to vara). (70ed) (0) Kul-Vania, Sedje, gindhira and madhyama are born in the Kula ® (community) of gods, this svara paiicama is born in the lineage (vamia)* of manes (pitroana). a” ‘The two maras riabha and dhaivata are born in the lineage of ryis. The niydda born in the community of demons, is called ‘ni. (7) Gi) Colours. Sadja is of the colour® of the lowspetal, rrabha is of the colour of parrot, is goldenhued, madhyama is (white) like kunda (jasminum multi- (73)“ BRHADDES! worry Wg For daeneg dat ‘re: waist ITAA WO coagarey tad FE META aAREATE | rere wha MeTRIHS LATE 194 Tore remy dae wT POR WRAY TAT TARA 9G 01 satin ae TE ETH EMIT Ste att wend fap HET: AT 1011 Wa wo et aA ARIAT daawa Provera fit qo ACNE? sseeapRTa: aa wt maT rit war Fah AAG Tes 1 Trans faery aefet Feet TA eae ade dre WATT CO rogied TE ETE fier FT! a ARNE PER FA FET: AT NCE A aoe fire FOR: WHE HE! at ayaa dag aafiain “a Pereq aye fae adaftes 22 0 ey frarhageary frei meRaqer gar that = wiraruc eH a TRANSLATION, . 0 Pasicama is hyyna (black), dhaivata is yellow-coloured, this nisdda is multi- coloured, (thus) should be known the colours of svaras. (74) (it) Devatds. ‘The daivata'® (presiding deity) of sadja is Brahma, rrabha is with the daivata vahni (Fire), géndhdra has Bharati as its deva, madhyamais with Hara as daivata. (75) Peicama is with Satayajia (Indra sits daivaa), dhaivatais with Gano néyaka (as its daivata), nigédo, on the other hand, has Bhanu (Sun) as its deva; thus are the devaié™ of svaras, (76) (iv) Singers (seer). ‘The svara sadja is sung (‘seen")* by Agni (fire), ryabha is revealed by Brahma, géndhara is sung by Soma (moon), madhyama sara (is revealed) by Visnu. am On the other hand, the svara pavicama is sung by the mahdtman (great souled) Narada, the svaras dhaivata and nigéda are ‘sung’ by Tumburu. (78) (©) Rasas “The two svaras madhyama and paiicama should be ‘made'™ (used) in the wo (rasas) hasya and srigira, the two (svaras) gagja and ryabha should be known in vira, raudra and adbhuta rasas. (79) Géndhéra and nigéda should be ‘done’ in harupa rasa. Dhaivata should also bbe ‘done’ (used) in bibhotsa and bhayénaka. (80) (i) Sthinas Sadja arises from the throat," rabha is known (to arise) from the cerebrum, ssindhare from the nose, madkyama suara from the chest. @n Paficama svara is arisen from the throat, O glorious one! dhaivata, on the ‘other hand, is born of the palateregion (tdludela). Nigida, on the other hand, should be known to be born of all the joints (sandhis). (62) ‘Thus one should know the svaras born in the ocean of gita (melody, music), arisen out of the mouth of Mahadeva and placed in the ‘path’ of desi®® 3) [ Thus ends the section on svara |BRHADDES! V [ aeRRirarem [ % 20] ara fea oem 9 wa oT wala 7 wengead om a ae RAUCW I sire — vaggafeat aret acageenfengat ic 4 11 er efi: wd ew aaa AE oe westing a orn wa fred arafeaf cq 1 * weprnamrah | a oat fet fea Trae anal BAY ASH aA WR I We: ao TAA: | Bett aot ah weer nce [a4 ae] sett 9 erecta Sree a “ (ye) Fd Eon IEE? Tea—seOReA anal TERT: | sMERO 4 RAPTURE eras ag ae — Sap TEMPER: | Be Baan Fe eT "+ ‘Sritateeinhe yer Fe Aa ~ Tpaeda f FeI TH APE ICR ae “TRANSLATION st \V (the Section on Grima-miirchand) [The treatment of gréma ] (Anu. 30) "Then, what is spoken of by the word grima? How many gramasare there? From where is grdma born? And what is its objective? (84) Itis being answered. ‘The wo grdmas stand for a group! composed of svara, ruti and the like. (85) [Just as all members of families live together, (similarly) grima® is known as that by all the people where there is an abiding settlement. (86) “Two grimas named adja and madiyama are definitely wellknown, Nirada speaks of gindhdra (gréma), but that is not ‘sung’ (used) by the mortals. (67) ‘Soaras are born of Sémaveda,* grima is born of svaras, and these (gramas) are known to be two? characterised by (the names) sadja and madhyama. (88) (Anu. 31) "The objective is thus-the systematistion® of svara, fru, mirchand, tina, jth {and) réga is indeed the objective. ‘But why are the grimas named afier the svaras sadja and madhyama? It is being answered, Because of (cher) uncommonness the grdmas are named after them, And the uncommonness is on account of their being born of devakula? (the community of gods). ‘The same has been said by Narada~ *Sadja, géndhérat and madhyama are born of devakule. Brahma, Vignu and Mahesvara should be known as their presiding deities.” Out of the two grimas which one is known to be prominent ? From the statement by the muni (Bharata ?), the prominence of sadjo-(grima)? is known. 69)s BeHADDES! eRe at “Bh ah opt is goa ay (aaa) aq ed aa hy vet a fei th wager wean affine RT TATA | (a) wae: went ets eee ee en fp TA aE wha at EM area fe fom Fectenfeat wie TO TERRE) TA Yen wet fepafntem af seat a woh oer aa GAA Rl TAREE [ ef arafreqory ( sehr Prewry J Ca a] Terirarmre ya: Fara Ay year TAA [ +] aa gh? el a sigh Fa? TARR AE at ‘seem: 02 a “TRANSLATION 38 ‘This has been said— “Two grimas named sadja and madhyama are wellknown in the world.” (Anu. 38) ‘But why are there only two gréma® It is being answered; here two grdmas have been formulated on account of (musical) performance being rooted in the usage of two svaras." The suaras have attained the state of grima through jatis and srutis”"* (Anu. 34) “Through the jatis” means through éuddhas and vikytas (both types of jas) and through érutis, Hence the svaras that are there in the Suddhd and vik ats, on account of disruption’ in their Sruts,(theit) slight augmentation'*and diminution and mixing up," (these) svaras have attained the state of grima, adja (grama) is born of the suddhé+(jats) and madhyama (grima) of the vikyds and from the two (types of jatis) are born saikimds (ts). From them (fats) is ‘born rdga” On account of the change" of grima the change in the jai and raga occurs. [Thus ends the treatment of grima }. [ The treatment of Marchand } (Anu. 35) Now the milrchands that befit the occasion or context are being spoken of. But what is the etymology of the word mirchand and what is its lakyana (definition)? It is being answered. The etymology of *mirchand’ is thus - (the root) mich stands for moha (loss of consciousness, stupefaction, infatuation) and samucchriya'® (increase, growth). ‘That through which réga® (colour, delightfulness) grows or increases.is called mirchand. (90)— | artgrrateani SATE! | pera fe faded og rent 1g | Cam a] a Tia Rien—wesopin Teme aft) TH weep weft yet, wea, ayer, we ART Se wea waht wai imam tym) FRET GE ~ sf’ a TETCOT me | [aa a] edt Rp wr ae ETT were Aart TTR a: ITT a a Ter ag wag fer ERT un) ‘fehqed carreras FSR: 1192 U1 [a4 2c] wr ee e: AT TSATA fetqein af eras rae) TET feeeaa-tem Wt vem THEFT et RETA WH aagreniraragéT Ba HITE eRe fate TRANSLATION 35 The heptad of svaras (that functions) through ascent and descent in respective order; should be known by the adept ones as being spoken of by the ‘word miirchand. @y (Anu. 36] ‘That murchand again is twofold — one composed of seven svaras and the ‘other of twelve suaras Out of these the mirchand of seven svaras is fourfold™ — pia (it, complete, here with all the seven svaras), avd Chexatanic), (pentatonic) and sédhdrand (with sédhérana svaras). Out of them ‘pind is that which is sung with seven svaras, that which is sung with six svarasis ‘devi, that which is sang with five svaras is aufuvité, that which is sung with ‘kékali and antara svaras,is sidhévand. (Anu. 37) Now the marchand-mapdala is being spoken of. In this (mandala) for airchands of seven. svaras in each grima there are fortynine svaras and (the same number off squares (hayphakas), on account of the process that follows 2 set path or order. ‘That is thus— Fortynine squares filled® with svaras, have, indeed, to be made with eight horizontal and vertical lines. (2) (Anu. 8) ‘There (in the mandala) are seven (miirchands) beginning with® sa - ni - dha = pa - ma- ga iin sadjagrima and seven beginning with ma ga - ri - sa - ni - dha pain madhyamagrima. Suaras have to be ‘made’ (lle) (in the squares) in thehorzona and vera (order)-That shut wi = dh - p= ma 6 sa is (the order) in gadjagréma. Ga - ri - sa - ni - dha ~ pa - ma is (the order) in madkyamagrama, ‘Thus there are the fourteen sampiimd (complete) mirchands of the two ganas, sa ni = sa87 “TRANSLATION BRHADDESI ee ecsedad dadgess nied ucaeda wea fear i i i y 3 a & | ha] pa dha| pa | ma i imapdalain jljogrima dha] pa [ma va [ni [aha a a ‘dha| pa | ma | ga | ri wa [ni |dhal pa | ma |g 1a [ni |aha|pa |ma| ga ni [dha] pa [ma [ga [vi hal pa | ma | go |r [pa | ma | ge |r sa [ni | dhal pa |ma| ea [a Thusisthe ae aera ni [ata pa | ma | ge [ri al pa | ma [ee | pe [ma feo |r ie va | ni |dhal pa Thusis the mirchand-mapdala in madkyama-grima. a a 1 & a ft a a 7 alale q a alal|lft)alf a a ajalt a} ft fla a a ajalt|a| fla fe] al fla fa] ala a = a 7 1 ea GA a ala ala a} ft « al fla fil ala fa a q ala} tt) al miata aj] a] fla flal mle Rl a] fla a 1 aR EAne. ..__ 38 BRHADDES! [aw] Ta mapantaaragA yar AEE fT eer ret ar ar aa steers wafeat ooh BRT = aa ter dar STE TWIG 3 at ae Fan TRE Ra vente, = fata wer aFERTNEY werent fata we BEAT Bet FC Ta TTT (184 1 at aisha ara efeontiar® 1 - a wat Aa ETI ATG E orem [ 9) TS waft a aie heh daa ae Ze aA TATUNG et TT HrenT MEATS: | el wraeaty aTesgaTaA gc 1 eR WE Fat sgt ae wer aatgtrt Spee Fags 1 (#3 vo] ERO waht wa Aa wea! Ae wi Tee! ARR FARE | Cag xt] val vent apa af TEM a Ga Wen wet, wet & sens, wen Wen Wy fet wer weighay! word weet Bet ee ETT AT WrNeaNg Hel Toh Hea 11 E00 ‘TRANSLATION 59 [Anu . 39) ‘Thus have been spoken of the fourteen complete miirchands of both the grimas. Now their names are being mentioned. In (ke. beginning with) sadja is utlaramandrd, in nigéda is known rajani, in haivata is known uitard (ullardyata) and Sudhasadjais in pavicama. (98) ‘Matsari (matsarikt@) should be known in madiyama and afvakrintikd in ‘gindhéra and with rrabha should be known abhirudgatd.# the seventh one. (4) Thus are to be known the seven miirchands subsisting in sadja-grima. Hereafter I shall speak of the miirchanas of madhyamagrima, (95) with madhyama and harindivikd (harindivd) is in gindhdra and ‘alopanati would be the miirchand with raabha itself. (96) Suddhamadhyd, on the other hand, could be in yadja and in niga isl (is) nang (marg), Pourec so be known in dhaivata and hryakdin patcama. (97) Thus the mirchands of madhyamagrima have been spoken of by me. Now I shall speak of the sédaud (hexatonic) and audavd (pentatonic) michanas. (98) $idava is to be known as having six swaras and audavé is to be known with five svaras and the etymology of sdauds and auguuilds is being spoken of. (99) (Anu. 40) ‘Those six svaras that protect (the performance) are (known as) sédava svaras, their use (in performance) is (called) sédava. Falling under the téraka ‘5270, it (sddava) is (combined with) itac protyoya™ (suffix) (and thus ‘sidavisd is formed). (Anu. 41) ‘The dkdia (space) in which the udus* (stars) move, that dhdiais (known) as ‘auduva. By that (the word auguva) the number five is indicated. (Akdéa) is the fifth mahdbhite, auguvita is that in which the number (five) of that (dké‘a) exists ‘Sddava is that which has six svaras, its layana (description) is sevenfold and it is to be known as being numbered forty-nine,» by the knowledgeable ones in ita (lit. song ie. music). (100)BRHADDES! woweacigfid Toa eM! FAH woafron we fe ararchigeeTA tO | (3) grnrranPret: Teenie: area | mEbemratea MEET a [awd wake gfeerefahs AT Weert refi si wafeeqarraenartgfiad arate» pafeegarerramigiid wade am ranbech ET, denice spared fegtenat var fers a fae woamcbafagiraratgeear waft ego 1202 tI a Seertogen fegfoersat fede [ a] om ar SPRATT WaT WY AOA 203 1 amrerat ea (7) {a4 x] Terie seater aaah og ae (sqrt) x face fe Ax tani afix faa vax tara waa x ta maya x ft Ranwahix Teer | “TRANSLATION “ ‘Audaivita is with five svaras, its lakgana (description) is fivefold, it is numbered thirty-five, as explained by the dedryas (weachers). (101) (Anu. 42) ‘With (the omission of) sadja, ryabka, poficama and nigida the sédava (mirchands) of sadjagrdma (come into being). Those devoid of yagja rabha and ‘pindhéra are yidaves in madhyamagrima (Anu. 43) ‘The state of auduvita (comes into being) on account of the omission of {owo) somvadins™ because ofthis statement the general rule is thatthe state of ‘cufuvita is attained through wo samuddin svaras, Sometimes the state of ‘euuvita comes into being with (the omission of) two% anuuddin svaras, this is also a general rule. Sometimes the state of ansuddin does come into existence with (the omission) of paicamayabha in jadjegrdma (and) that of dhaivata- rabha in madhyama gréma, ‘The auduvitas in sadjagrima are devoid of paiicama-sadj2, two (svaras) that are comprised of two érutis (each) (viz. gandhdra and nijéda) and paricama- athe. (102) ‘The pentatonic ténas in madhyama-grama are verily devoid of dhaivatoyabha ‘and two (svaras) comprised of two éruts each) (viz. nigéda and gindhara). (108) (Anu. 44) ‘Naw he (the author) demonstrates this very (description) with prastéra.* ‘That is thus in sagjargrémo— X ri ga ma pa dha ni ni X ri ga ma pa dha dhe ni X ri ga ma po po dha ni X ri ga ma ma pa dha ni X vi go ga ma pa dha ni X ri vi ga ma pa dha ni X (Tanas) devoid of sagja.BRHADDES! axaage fmaxmaga amaxang wahaxaa aveafmaxa awavehax xUaTE ha sewed [ataaxatt fatiaxg afmataax xafataaq axafata aaxamak faaxaia wordt | ] atuagex xataga axwtaag yaxatay Wyaxwta waqaxat Ruavaxg rarer 1 RT Tea [xtaaxah) fxtaaxe afixft4a4x [xafix faq wxefxt7 Wax Exe RAK ERX wd ] 33 a8 gaa Baa PERE ‘TRANSLATION ni sa RERE BEREEE a #2. Bees ererorerees ABTA gaa8 BEEE aaaaa3 RBBB BEEE 228 8. REEBESE 96 Oe Be Oe FREEE Bebe Be BOE BEERBESSE “aaaee gees Hoe be BEREE 22.8. epeperersaeen aaaaaa 2229a gaa 6 pa dha ni pa dha pa (Ténas) devoid of rabha. X dha ni X dha x (Ténas) devoid of paricama. pa dha X pa dha pa (Ténas) devoid of nigéida, ‘Thus end the sédava [ sénas} X dha ni xX dha ixBRHADDEST atx wvax [xatxage] ax Wx ay Texan a ayexatx [xavexat] RxAVEXT axa x af fax dA Ke afaxanx [xaftaxaa] axahax 7 aaxa hax [xvaxafa] [ am ] sont ayaa x ty ware hix kt Raave x [xftaaief) Axia amxtaay ywatx tia after: | wehgar ae | arahax7 aaah ax [ xuavefia] axmaia UXT amaxaay wehaxTs ‘feet PERE » aa8 8 ga8 Dee eB ‘After this (the tdnas) in madhya ni sa dha ni sa pa dha ni sa aaa De De be eo EEEEE EEEEE be bee OS OS “TRANSLATION 6 BeERBE BREE be de be Be CS sa aX aan: REE EE x 233833, oe oe (Tanas) devoid of niga. dha ni dha BBBBs ge88 dee (Tiinas) devoid of parr. Thus end the auguva (ténas). (Thusis the) total (of dinasin sagjargrima). a grima, pa dha ni X ri go gama pa dha ni X ri gama pa dha ni X goma pa dha ni gma pa dha gama pa gma (Ténas) devoid of sadia. ma pa dha ni sa X go gama pa dha ni sa X gama pa dha ni so gama pa dhe ni gama pa dha gma po go ma (Tanai) devoid of ri.BRHADDESt ayem ERK [ xavahat] Rxwveha wexavet fatxae amatx ay cde [xf re 1] WUxhaxa THIK MAX [xaaaxfia] AxaAax Max TAT [xfiaxaag) Uxfaxay aftr: Apaxetx [ xavaxat] RX ATEXA aRxATAXK [xatxava] axaexay waxatx® frien: | wettgfae: 1 [ serrate: ] Caw) ang Ware: Fe Tua qUrrarniataiecatifies femfea: | Urea aod pat am aa a WA Mages y WATT si aq Fy? [ vartgadgerym: wenger | “TRANSLATION oa ma pa dha ni soi X X ma pa dha ni sa ri ri X ma pa dha ni sa sari X ma po dha ni ni sai X ma po dha dha ni sai X ma fo pa dha ni sari X ma (Ténas) devoid of ga. [Thusend the sédava (ténas) } ma paX ni sa X go gona pa X ni sa X X guma pa X ni so wa X gama paX ni ni sa X gama pa X X miso X gama po paX ni saX game (Ténas) devoid of dhori. ma pa dha X sai X X ma pa dha X sa ri ri X ma pa dha X sa sari X ma pa dha X X sari X ma pa dha dha X sari X ma po pa dha X sai X ma (Tinas) devoid of niga. ‘Thus end the aufuita (¥énas) [The distinction between mirchand and tina } (Anu. 45) But what is the difference between mirchand and tina?! is being answered - there is no difference between the artha (content) of mirhand and sna, thus (said) Vigakhila; and this is incoherent, because the distinction betweenBRHADDES! qatge, corearignin wat Fe erst, teat [ aert aoe ] SE TT a SRI afrretiseatasrh arataise trees Peters WHIT FTE IO I NRE TERETE 1 nftaegg vagdent twat aga | hee frag aga VTE T0411 % uae emigrant araR TRH ropa a Wears ramnH rafefteAPATE 1 2OG 1 certo Tat Wat wangrarssarrmnfr seagiatsa oieasser: semenrtatrerera | fiw, ae are Mma fem safe FATEH IT rah wR We PrmregrreTeReTAY 1 1a TSM crear aera: 11 TR caniateh wing GA 2 [ sorters nem 1 J sneer: Te: aE AMATI HOC Ht cea oe PETE wa Rome wpa ‘TRANSLATION « ‘mirchand and téna has been expounded in the recaptulatory verse (somgraha- loka) 37 How is that (the difference)? The group of svaras that is arranged in the ascending and descending order is spoken of as mirchand, whereas tdna is ‘with the ascending order, this isthe distinction.** {The Yaitonames of Ténas] Now the yajfonames™ of tinas are being spoken of— Agnizfoma, atyagnisfoma, vajapeya, then sodaii, pundarika, ajvamedha and sjasiya isthe seventh one. aoa “Thusare the names of sédava tdnas devoid of yadja. Svivaty, bakusauvarne, gosave, mahévrata, vifoaji, brakmayafia as well prajapatya. (105) “Thus end the names of sidave tinas devoid of raha. Abvakrénta, rathakrinta as well as visnubrdnta, siryakrinta, gajakrinta, balibhit (and) nagayajia. 108) ‘Thus end the names of sédava tdnas devoid of paricama, (Céturmasya and then the one named samsthd, fastra and ukthaka, sautnimani, cing and the seventh one is wdbhidyiga. ao7) ‘Thus end the names of sadava ténas devoid of nisdda. Thusend the names of wwentycight édava ténasin gadjagrima. Sivit, ondhaséviri and sarvatohadra,{ the exons (place, path, movement) of ddityas, the ayana of cows | the ayana of snakes is the sixth one and the ayana ‘of haupapas (demons) is the seventh one. 108)‘BRHADDES! afahe Tamer wy: AA oameOTe SARTASAA WAAI 208 1 mee wR eer ‘adeaefinnt Gen aie: after: AGRA TA TRAGATAT Ng 20 nono 0 mR ART 0 eR CHAN: TERA 1 1 Rapa ATSATA TTA We pets et ee Te ra captors Mesh eet we apnoea aftarchisa weir are & otter 1 Ate b areata aPrerer sea RT FE kA A wat we aranPreegrarrT erage ot oR fe Sate wake ToareraMRRTN Ea Wee voanddtrerrarenht WOR SRT aftghieerrTEET Enea ‘TRANSLATION n ‘Thus end names ofthe tdnas devoid of jagjain madhyamagrima, ‘Agnii, dvddataha, upamiu and soma itself, afvopratigraha, bari and also abhyudaye. (109) ‘Thus end the names of tdnas devoid of ryabha. ‘Sarvasvadaksina, dilgé, soma, the one named samidha, suahdhara, taniinapat and then godohana. ao) ‘Thus end the names of ténas devoid of géndhdra. ‘Thus end the wenty;one names of sédava ‘énas in madhyamagrima, ‘Thus end the names of forty-nine (jéava) Jdnas seated in the two grimas. 14a, rurusamedha, ena, vajra and ips, aigirdh and the one named kata are the audava (Wénas) in sadjagréma, ay ‘Thus end the names of ténas devoid of adja and paticama, ‘Agnisfoma and then daria, nandi, paurmamdsita, afve-pratigraha, ritri and saubharakais known. aay ‘Thus end the names of tdnas devoid of gindhara and nigéda. Soubhigyatyt, Karri, Sntikyt, pustiyt and vainatqa is definitely there (and then), wcaijana and vai. ais) ‘Thus end the name of ténas that are devoid of paticama and rabha. “Thus end the rwentyone names of aufavite ténasin gadjagrima,n BRHADDES detenighe ae wales 1 = a ae rear tedisat faogarA ue ey IL ee mm daeniotgfeeT ‘tea: ss aertenRS SCTE | re PSSST, Srey aR sme SEEK waft meme Frrtgfacarrarn 1 ae om atgfmerramnh WaT (Ctepamntrent wahtertgfararrni ) [ a ve] wrnnfrrtgie: wahng waa) isa tghrcrs fatten StoenerrerraRRCA FAA [ a vo J wert werergaT ay Sag —areTrERt franc dategaretarnia [ : ] mercrggar Sy veer pe? omaha Te ‘ = mrerarya Tera Wee Twa rent TR AAA 11224 [ sear wee: J [ a ve J satet mnt si: ari a Aae? vet - eR ‘vive vate Prior an ver ERT ETT TET a Oy iota forks dea eee ae aq! a = "TRANSLATION 2 ‘Trailelyamohana, vie, kandarpabalatitana, faikhacida, gajacchdya, raudra and vigquvikrama, ay ‘Thusend the names of audava tinas devoid of dhaivaiaand prabhain madhyama- grima. Bhairava, kémada and avabhytho, asfakapalaks, svisfahrt, vayaikira and the seventh is known as mokjada, sy [Thus end the names of eufuvita tanas devoid of ni and go in madhyama- gina. | “Thus end the fourteen names of auguvita tdnasin madhyamagrama. [ Thus end the thiryive names of aufuvéta tinas seated in the two grémas.] (Anu. 46) "The euduvita (Wdnas) of both the grdmas are thirtyfive. The sagava and ‘euuva ({dnas) of both the grémas taken together are eithtyfour tanas, (Anu. 47) Now in order to explain sédhdvanadyté mirchands he (dhe author) has said = sadhinona svaras are gindhra and nijada. Sédhirond mirhands are those that ‘begin with them® (géndhdra and nisada in their sédhdrana states as antara and ‘Aéhali) and they are included in the same (imiirchands of gandhara and nisdda). How? The sadhérapatd (commonness) of mirchands with tinas is implied in or already expressed through ‘aidkdrana’ (the term forming part of the name of the fourth type of murchand vz. sadharapakr). ‘And thus I have spoken of the fourfold marchands a6, [The performance of ténas'] (Anu. 48) How should the performance of these tdnas be made, if this be asked, it is being answered. The performance"! of Hina is twofold viz, with pravela (lit centering) and nigraka (lit restraint). Proveia is the viprakarga (augmentation) of yadja that is lower and has to be omitted ie. it (sadja) is made to attain (the position of) raabha. Thus is the fravela through vjrakara. With mardava (Ut. softening) itis thus: the sme" BRHADDESI A Rave a rd di amr eda aE Frater ehyeD et era fatter frerrcery eft fd ya) Cae Ae ( % ve] TRI RATRRARTATASHEME TA ob eicarR TiRR d ving waa a7 TT mT fl aa Ag RT: = coffe onfra cea saul freer wa aera romeigremenéa ogre ay aR — “aetna fear ae vam saat eaprangranetentig Fg” ee ( afr ae ] [ aq 40 ] ay fg ag een es GRE TH ee a Tt fe wearer yf wa A ate ar yeMg— mE "am war ented walt watery ya? OM om Dee eet (2) wemrafeatientead | wrgey - remamete [ai] year-Fited waraientirarI fg ig a ‘TRANSLATION 6 adja which is higher than aigéda (is subjected to) mardava o loosening ie. it is made to attain (the position off nigéda; thus is the twofold praveiai.e. the act ‘of the lower or higher svara being made to ‘enter’ or merge into the higher or lower svara respectively: ‘Nigraha is, on the other hand, the omission or ‘non-touching’ of the immediate svara. The performance or usage is thus- 54 sé gar, pa pa mari ‘Similarly has said Bharata - There is twofold Ariyé (lit. performance) of ¢éna on the string (in the vind); via. praveia (lit. entering) and ‘nigraha’ (lit, restraint). Out of these (Qo), praveia (.akes place) on account of the prakerga (augmentation) of the lower svara of by the mérdava (lowering) of the higher svara, And nigraha is ‘non-touching’.” Dattila has also said - “There is twofold bri (action or performance) of tna on the string; viz. ‘on account of praveia and nigraha. Prova isthe similarity (rather identity) of sound; nigraha on the other hand, is ‘non-touching’.” { Dattilam 36) (Anu, 50) ‘But itis said in the prescription of kdku®® that svaras are (to be) performed in the three sthinas (registers). Out of them which heptad of svaras should be retorted to for making mirchand? Those who harbour a doubt like this, he (the “’uthor) has said unto them - for the sake of the demonstration of mandra (low) and tra (high) the mivchands are indicated in (lit. with) the middle hepead. purport. th aigraha (acceptance in totality) or paryograha‘® (non-acceptance in totality ‘pardal acceptance), the mirchands are indicated in the madhyama svara of the vind.6 BRHADDES! Caaard aq Tomasi Wate feat aR wer fey nee RRR? FRR SRT HTH BAA aT oa sade te oe et ER teh STE — anrdq [me ee] vq wedge feet awe aT aI? arta pirate) mar Te ef: — Te FAS TRA AT eater ™ reearratreae aA TTETAG a ( are av ] [ae aa) remy Fema weet yaa aE aT fever = wie Ste, wrt amt fe) we, A Re SRT GR Fe, ARI Fe { a av] me I Fanpetggerdta aha orraagA! TSAR Prerurendtegeny 1, Cae 44] I a ee “TRANSLATION n (Anu. 51) ‘But ifthe indication of mirchands is done with the middle heptad, then why hhas it been said to be (done) with madhyama_svara ? Truly has this been said. ‘The use of singular number is in relation with the jas (species) of sara, The purport is that the ‘mirchand should be made in the kanfhya sara (the tonal Tange of the voice). The inclusion of the adjective vaina (pertaining to vied) (for svara) is in order to encompass the sthdna (register or range) that could not be destribed in the body (human voice). (Anu. 52) Bt when the (process of) sddavita and auguvita is being undertaken, then ddoes the recognition of the (original) mirchand exist or does it not exist ? The recognition of the (original) mirchand is certainly there. Similarly has said Dattila- when the tana is made in this manner (by omission of the prescribed svoras), the knowledgeable one should ascertain, by counting the perishable (omitted) (sare), that this mirchand is thismanieth.” (Anu. 58) But when adja is omitted in the first and seventh mirchand, both take an Identical form viz. rigomapadha-ni, there the distinction (between the two) is not evident ‘True, there is no difference. If the components are counted, there surely is a difference; the difference is created by mandra and tara." (Anu. 54) “This distinction of mirchand and tna has been spoken of merely for the sake of the convenience of the and the listener. The objective of tana has also been said to be for the sake of the attainment of the three registers. (Anu. 55) ‘But mirchends are useful in jatis and ragos, hence their treatment is justified, where are the tdnas to be used ? It is being answered. The tanas are useful for the sake of bringing out the difference between jéfis and rages of both the igimas (i.e. between those of one gréma and the other). Or, the use of nats for the sake of the demonstration of the number of nagfa (lit lost) and udditta (it. enumerated) (varieties of sénas).#”[BRHADDES! [am ue] Rear TENA wor aA eee RRR erqk wa gM waters der! me wena MMA TOISETI” i Gs | rsa Rey Mec yeaa EAS! Ta ™ ae — [eres at ae GEE APRN ATM Re RSE | cd afer x0 ] [ a yo ] er prio seat gat wae Pai grits & ea wea aT aT Pate Wy wa AL Te] - fa erragtatata: ow agent: weafigar we feats Fee Res wet wage Wat wa-AleaR wa fe aR wafigaht Tome wena waPT [ mp 4¢ ] TA wagater = eRlefical «6 Goeagah Rea Aa oi ange manent wai) vet a GER TR HR EET whee ee Ae BS sport ees re ate EL eRe TRANSLATION * 1. 56) (arte Kijetdnarare five thousand and thiry-threein total. Datla has aso sid “The pia (complete ic. heptatonic) (nas) are five thousand and chirty three in each grime, now they speak about the method of their numeration or caleulation.” ( Datitam 39] Here the calculation is (thus) — the earlier téna-prayoga®! (number of tanas) is multiplied by the later or next tdna-prayoga®* (number of svaras constituting the tna). Similarly has sald Dattita - one should multiply the earlier (numbers) (with the later number of the ‘waras of a tana), taken without any omission, the resulting number would be constituted of kramas®® (original order or combinations) and utkromas* {changed order or permutations) (of the later Le. last number of the series}: ‘ut ofthis (aggregate number obtained by mulplication) the hramas (lénas in the original order) are equal to the muliplicator® (gunahdra or gunaka i. the fast number of the series) and the remainder will be the number of wihramas (permutations)*. [Anu 57] Now he (the author) speaks about the process of multiplication—one should multiply the number one (of the) earlier one ice. of the first tdna of one swara with the number two (of the) later (na of two svaras) and the result is two itself. Those two multiplied by three (the number of svarasin the next tana) become six. Those [ six ] multiplied by four (the number of svaras in the next tana) become twenty-four. That (group of) twentyfour multiplied by five (the umber of svaras in the next tna) becomes one hundred and twenty. This (group off one hundred and twenty, multiplied by six (the number of svarasin the next fdna) becomes seven hundred and twenty. The (seven hundred and twenty) multiplied by seven (the number of svarasin the next tdna) become five thousand and forty. (Anu. 58] ‘Out of these (5040), subtracting the seven that are made up of krama (original order), the kifa-ténas (permutations) born of the use of seven svaras are five thousand and thirtythree. ‘The prasirais thus - Olt of them (seven svaras) the svara sogia has only one order as sa. rea (added to jadja) has only one krama (original order) as sa - ré the second is the ejutlrema (reverse order) as ri ~ sa, Gindhira (added to sa - 1) has one0 BRHADDES! re over oe [on | wo A aE Fear er A RIE TT wm) We RoR attri we) HeetaeMeTERA- Seem | consis, watt wn, nm, Seek safer a moma A ARE SEAR TREAT Fee eae aha fifa waldatniata! Go oware aorias wo ora qidan- ReprgEIAR MataaRaRniara we aor, wa warart yak yAlanlata, fear fematins mt wef damn ata: EE TRA: BRT eromafearat veins ftueafine [wet] waft, freer wera ferent waar freee aftr: Fh fem REL Rumer ve TT Rieter waa, fren womRERIOT ~wenferoe wal [ % 48 ] wRaktet BOM AAU NEUReTR EAA ITAA ae ce rent monet NE (9H) aT Cm) Fearreeiig a gaufinyfgedly im gfenig: wala ventati es [ a 40] ee wrt wie 8 [oe] eng, ear Argo rafal, eee ee fe [x] “TRANSLATION a rama as sa - ri - ga. Vyulkramas (permutations) are five beginning with go - ri vita ga - sar, ga sa( ri ~ sa ga,] sa - go - ri — thusare the five Iritatanas formed by wyuthrama ( permutation or change of order ). Thus there are six tinas of géndhara (alongwith the preceding two svaras viz. sa - 7). ‘Similarly, there is only one krama (original order) of madiyama (added to the preceding three svaras) as sa ~ ri ~ ga - ma; there are twentyhree wtlramas beginning with ma - ga - ri - sa, Thatisthus- ma - ge - ri- So, ma- go sa tema -1i- ga - sa ma- i sa- ga, ma>se- ga-r, masa - Ti - go thus are the six ddnas beginning with modiyama, formed by vyutkrama, Similarly, there are six ldnas, each beginning with gindhare, rabha and sagja and taken together they are twenty four, Similarly, there is only one krama (original order) of paiicama (along with its four preceding svaras). Te hijacénas beginning with pa - ma - ga - ri - sa (formed by) wyurama_ are one hundred and nineteen. That is thus sa « ri = gama pa, pa - ma - ga - ri - sa. Each one of pa - ma - ga - ri - sa has fwenty-four (varieties beginning with it), taken together they become one hundred and twenty. Similarly, dhaivata has one krama (original order along with its preceding five svaras) as sa - ri - ga - ma - pa - dhe, dha - pa - ma - (pa - 71 4a, thisis the vyulhrama (reverse order). Each one of dha - ea = ma - ga - ri ~ sa becomes { one hundred } and twenty (through kijaddnas); taken ogether (the hife-inas) become seven hundred and twenty. Similarly, there is ‘only one hrama of nisdde (alongwith its six preceding svaras) as sa - ri - ga - ‘ma = pa - dha - ni. Ni dha - pa - ma ~ ga - ri - sa isthe vyuthrama, Each fone of ni - dha - pa - ma - ga - ri - sa becomes seven hundred and wenty (through Aife-énas); taken together they become five thousand and forty. (Anu. 59) "Thus the tdna-vidhdra (performance of ténas) of svaras is found on the {(vipds having) sixtysix sings or hundred strings. The measurements of these two (vinds) are middle and the like (?)57. Here the demonstration of these ia tdnas has not been made on these (vind) in order to avoid a digression; by this ‘order itself, it (the demonstration) should be understood by the wise ones on their own. (Anu. 60) “The objective of these (danas has been said to be for the sake of the attainment of { sthdnas (registers) J. Sthdnas (registers) are said to be three inBRHADDES! woahifinicarerarafigeniia agften ran set aT: wer | [ wreneropia | Weel 9g seen META 11g 2 om sat [ ae 42] wremetia fa: sae! area seared foo eft vit " I SS vent a TE feet EA 3 fears (7) curetant format geierearerrsat ~ AR eaeTAA, THO AT: A: RAY Fr Ble [HI] eran yet oft [ae] were Tem [ ‘afermmatraforay | eT { [ t fk wo “TRANSLATION as the hdku-vidhi (prescription about Kaku) (in Néjyasdstra 2); considered separately, one should know them as sixty-six for the sake of (the sthdnas) vnundra and the like, Hence whatever is sung is only for the sake of establishing, the arrangement of mandra (low) and sara (high) through the sounds of the yoice that are particularised by medium sounds i. that belong to the medium category Thave spoken of the fourfold miirchands composed of seven svaras { The mirchané of twelve svaras ] [Now I shall speak about the mirchands (composed) of twelve svaras. (117) (Anu. 61) ‘Because the treatment of mirchands has been said to be for the sake of obtaining the three sthénas and it has also been said that this (treatment) is for the sake of establishing mandra and téra, the miirchands should be observed as being composed of twelve svaras during performance. Similarly has said Kohala - The order (of svaras) should always be arranged by the wise according to latyya (practice) for the sake of the accomplishment of ja, riga and the like, after having established the murchand."*t Nandikeivara has also said— “The miirchands should be known by the wise to be composed of twelve svaras (each) for the sake ofthe accomplishment of ji, bhdsa and the like and for the sake of the establishment of téra (high), mandra (low) and the like." (Anu. 62) “Although dedryas (teachers) have propounded mirchands of seven svaas, yet ainchands have been used only with ovelve svara, for the sake of obtaining the three athdnas otherwise the usage 7H -ma in cokya (iuddha) yédava could not hhave been there and if this were the case, that réga could not be formulated. “The unage of ga - ma ~ dha ~ ni in S64j2ji could not be seated in téra and mandra. The performance of other régas would also be destructive (of their proper form). Hence the mirchands beginning with so - ni = ga - ma = he mi begin with dha ~ ni - 2a - i - ga ~ ma - pa (when they are formed ‘with twelve svara). That is thus —# Utaramandré (1) Rajani (2) Uuaréyatd (8) Suddhayodia (4) Matsariht (5)BRHADDESI marimar | aera [ & ) wufratrmtat 1 afreg = [ © ] wet wT [Pome ree sean NT spay eran 1 wae frame wise [t ] afemrmbrfemn gion [2] Remvstraemma Fiat [3] Tetra | yer (*] mmfrefomatia ai [4] waarmee [ afefommtrain gat [e] ue Re [ et oer, | Vi ( artery | [= at ] ae 1 yerhet aurea wa fei ‘waftaton a TASS TETAAH eC [ap oJ] mq wieea feet? wines aeafinhats wa wa I agrETeMRCREE Fat aah aniPang wa a 3 ak erga) aa USA ANAT, HEATLY ATT eA wa wderatien tee aa A CPT RE TTA | * wert [Bat] aw ed wom eee napadhaniserigamapadhenisa padha-ni ydhanisori _Abhirudgaté (7) ‘Thus end (the mirchands with twelve svaras) in gadjagrima. (Anu. 68) ‘in madhyamagréma also, itis the same; the mirchands beginning with mape- dhanisoriga begin with nisarigemepadha (when they are formed with 12 fuaras), During the performance of riga, mirchonds should be known to be Compoted of twelve svaras. They should be known to be included in the ‘miirchands of sadjagrama (?). padha-nisar dhanisarigamapadhanisariga. — Hryaké (7) “Thus end (the miirchands with twelve svaras) in madhyamagrma, [Thus ends the section on grimamiirchand } ‘VI [Section on Varpas and Alothdras) [The Vorgar 1 [After this (now) are demonstrated the vargas! (patterns of melodic movernent) that are verily four only; viz. stayin (steady), saicirin (ci (circulatory), “rokin (ascending) and avorokin (descending). as) (Anu. 64) Contention) what is spoken of by the word varna? (Answer) The 2ct of singing! is spoken of by the word varna. Where svaras are equal and sy Unmmpeded® the gila® (melodic rendering) born out of chem, chat isthe saentmator of varga (unit of melodic movement) in a given pada (textual ‘Bat, chat vargas called sthdyn (steady), Jus a8 ssdsis inthe #2 (at) and méndmdnd in the madhyamé (jat).* BRHADDESI (Hp a) en are — ere BATT) eA Fret [ a) att OFF Fritanig WRT | [me e6 ] wa Far ee orga Gere: ATT aT woah ore 9) amen aaa Sree eG wor feo eT HM TAT TE ATT Rm at fon ar aft we aa eft art ot a et Teh Reet ™ = Wt RECHRRSTRRERRTETE | aaiigha wr wha BI YI A Waag Waa ETE AT 120 aya Kt er eT TE RE AE TTT =" 3 73 APT om oe rm ARR en eT CRTC: qs a7) Perera ae CET _Undtceregnfeerrre eT: * * ‘ api anfeq fatar setrarefrea us [am a te] [ am ev ] et owihot? vet aa SO aided nae Raa HARA AERA sea Ta whet Profs mar wget wan aU: ae Ware wen act ot er -” om? am 4 ear wth areL_aT oH aT oT ST a AR RR 7 A wen Firat wet) whe TRMTTERR — “TRANSLATION 8 When in the gita (melodic rendering) the svaras_move (to and fro) in ‘mutual? (directions) along with the last one* (of the preceding phrase forming the beginning of the succeeding phrase), or two by two, that is known as the savicirin® (circulatory) varga. ais) (Anu. 65) Just asin malavakaiithassd sonipa pani nipa nis sidhorié pani niné in various (phrases) like this, on account of mutual movement (the safcérin vane is formed). (Anu. 66) ‘Where the svaras of the gita ascend one by one or with intervening gaps, that yorpe is called drokin (ascending). Just as in malavapaiicama ~ pasa, ‘Dhart soma nipa mapa mopadha mémd pasiri sisana mapa rigs sé dhani part Ghar thant nini piri mama dhani padhani riripd — thus on account of sertual® (gapless) ascent of with a gap of one or two svaras the drohin (ascending) vara (comes into being). Where the svaras descend in one order alone, that is called avarohin with ‘equal’ (gapless) svaras (or) with gaps. (120) ‘pina mamaga gage mana mari ini i pima mame papa pops po naman int dhedha papa pama gogé rin ninidhd popé— thus is avarokin varya on rrount af mutual’ (gapless) descent or with a gap of one or two suaras Hence it has been said - Uinese varnas ought to be known for the sake of the structuring!) Of alanadras and the Uke, as being born of svaras produced by the human body" (and) adorned by repetition! (inthe) Unree registers.” (NS XXIX. 17) (Anu. 67) How is varna brought about? It is being answered. When the svaras stretch the syllable due to the demand’* of melodic rendering through (their) ine ness, circulatory movement, ascent (and) descent, then vara (pattern of melodic movement) is effected. ‘Jus as, in Saji Gat) the sthiyin (steady) varna (is illustrated bby) sdsasa' Seidvin (circulatory varza) is these, as in dhaivati (jt) — dha” dha nidha pada mi mi mi md. Arohin (ascending varna) (is illustrated) in siandayantt pecigigd ef gf pa pa dhopa md, dha dhd dhd dha dha ni sani midhes PS Dé pa Ba pa pap Avaroin (descending vara is (hasta) there tue (ss ‘handayand) with svaras that are equal (gapless) or are having gaps — pa pa a pip pa pa pa, ahd ni ma pi gd 8 od e2 Fee eseraes obtain also in the wooden’? (vind), just as they are88 BRHADDES WITTTTT TATA ATT MMM MMT ----] ee emma hee etc tora ioe vadortiont: reeds [ ag ] wig fduewnd tte bad [ om. 0 Fe] [ sf amt] [ aerergre ] Uwe ec] eet GhigremmreTgrT aE waeaTE Fara eres feet [as 2 a ] Serr creer a SeAETE ue) Rt eT ‘afte: ving, car erate oueRTeNReReeTEGpT ae ca) THemigetga yore we ARNT Ta eAR FAT erga ITETE | SATAN 2A & see [ae ee] + were ane wera (g) vam (3) WARE (3) WEARET Ce) seen: (4) WH (G) fry (wo) PrgTRTE (c) Ay (8) were (e) (eo) wae: (ee) Ve (82) Sah: (ka) Te [ we] (ey) FRRERA: (24) FETE (26) FA i mmietice a as) safes: (ee) Sree: (3) HH (RO) Fropfore (Re) BA: (2) VE Cam) ‘TRANSLATION cy (manifested) inthe bodily (vind). That is why it has been said tha just as these {oamas) exist (in the bodily ving), similarly do they bring (themselves) into tffect (on the wooden vind); this meaning is inherent in the mention of Sarira™ (bodily) svaras (in the verse of NS quoted above). So has been said - These four varras should be known as the constructors of melodic rendering. (NS XXIX, 19ab) [ Thus end the vamas ] {The Alapkaras } (Anu. 68) ‘Now the wellknown thirtythree™ alaidras are being described by name and application. What is spoken of through the word alaiAdra and what is its crymology? It is being answered. Ornament® is being spoken of by the word laihava Just as a man or wonran adorned with a bracelet on the forearm, tniddle-arm and the like, bears beauty (becomes beautiful), that subsists in varnas (and is) adorned by these alas frasannédi and the like, becomes delightful to the performers and listeners aend the etymology is like this—the root ‘du rit in the meaning of doing or tnaking bears the prefix alam (sufficient or adequate) and (he word) alaihira (derived thereby) means that which makes something sufficient or adequate. ‘This word alaikdra has the end-uffix ghai (Anu. 69) “The names of alaitkdras are being said (1) Prasannadi (having prasanna OF ‘mandra i.e. lower svaras in the beginning), (2) prasanndnda (having the lower Joeras in the end), (3) prasannddyante (having the lower svaras in the beginning ‘and end), (4) prasannamadiya (having the lower svaras inthe middle, (5) sama (equal), (6) bindu (lit. dot or anuswdra, nasal sound marked by a dot above the tine), (1) Niurttapravtta. (one whose setting forth has been withheld), (8): Venu (the bamboo flute), (9) Kampita (the shaken one), (10) Kuharita (with 2 cavity for hole) (11) Recila (the purged or emptied one, or a specific pace of a horse) (12) Preithola. (the swinging one) (18) Téramandraprasanna (having high and low svaras) (14) Mandrataraprasanna (having low, high and low svaras) (15) Prastéra (permutation or extension), (16) Prasida (clarity or brightness or graciousness) (17) Udvahita (held upwards or lifted up) (18) Upelolaks constantly moving or restless) (19) Krama (a specif order or sequence), (20) Nishijita (the cooed one), (21) Hrddamdna (the thundering or roaring or sounding one), (22) Raijita (the coloured or delighted one) (28) Avariaka {ihe rotating one), (24) Parivarata (moving to and fro, changing), (25)- BRHADDES! (a) wae: (y) fears: (24) Uae (RR) saree: (Rs) Wea: (Re) Ver (28) FATE (90) BRUNETTE: (92) fyT: 7g) (a2) Sere (32) Trrenirae ° [ ap vo ] eritemergre Fea) TENT TREN [a ] Aone mm ae ore gaa Te yemaheet) me fom AT oT Aa ft seme) Cel Cam vt] areoaateri [ommmeiet ] ge) met —arheramerentta a [2] [ % 8] em: vee, me Re TREAT! aI eT Tenme Me) waa ma mee saa | fe favaak La v2] a Wt Ae wT aT, A FRAME | Ta wae gaa ee we oa Te A eh sem [ ¥] 7m awe [ a wv ] aris aqmaf: wate: aE Tg wah WET TARE are a eri GRE HWE! aT eee [ ee ] itis woh: Merete we! Te eH wT fe aH [ A] Sem gr fe A EO [a] “TRANSLATION a Uighasjta (rubbed, pressed or shaken upwards) (26) AAsiptaka (thrown down) (2D) Sempradana (the act of giving or bestowing), (28) Masia (laughter), 29) Hunkéra (the "hum’ sound) (80) Sandhipracchédana (covering the joint or juncware) (31) Vidhula (shaken off) (32) Udgita (sung, celebrated) (85) Gatravarna (the colour of the body) (Anu. 70) ‘Now the definition of these alaikdrasis being given (said). That is thus—the gradual ascent beginning from ‘low’ upto the starting point of “high is (known iE) prasannddi 2” By the word mandra® is denoted the low sound. As- 16 wi ge ind pi dh ni od” ‘Thus is (ends) prasannaii. o (Anu. 71) Beginning from téra% (high) and (reaching) upto mandra (low) is prosannénia, As=s2% ni dd pi md gd ri sd, Thusis (ends) rasanndnia @ (Anu. 72) ‘Where there is ‘low’ in the beginning and end and ‘high’ in the middle, thats prasannddyanta, As sé ri gi md pd dhé ni 3d,3 0d ni did pa md gi wh sd. Thus is (ends) prasannddyanta, ®) (Anu. 73) ‘Where there is ‘low’ in the middle and ‘high’ in the beginning and end, thats prasannamadiya. As- sé ni dhd pi md gi ri sd, od ot gil md pa dha ni sd Thus is (ends) prasannamadhya, “ “The pronunciation (sounding) of the seven svaras with a similar sound! fn the three registers is sama, This is being said. (A svara) should be made (Gounded) in the three registers with the same number of Sruts as it is (consonant) svares, That is as - sama. sapa ridha_gani (dhus), When the grime changes (to madhyamagrima, then) sama, ripa, gani - thus is the speci (suructure of pairs). Thus is (ends) sama. 6)2 BRHADDES! [aH oy) | fede Ramet fern Tee Ge Tor a acer a eA BERT HE SOTERA, Ay im-alal aga m frei ro] j [am vg ] WR Bea fedka fariateaen [ —q ) seektqrentagonret | wa et wt [ xR] fm | [8] aor) [ am wo ] amicartetgri wa Ay | Ta—atrTMRT PATS 1 | XC 967) [wa] ag le] [ ap ve) aes aA ofa: ET Hvar A a AQ) & ‘attmmafra [eft ) ae [3] wm [ a ve ] Tarra fragt: Fa Pree: galt) wM—afvrmete [ a ] = ed [eo] [a co] ‘Trem ryt: were Pret Ae 1 [ wer - ] aferrmafen [ ft ] Are 1) Cap cr] Rh wig VR weEMTTAGiNTe Fete | wT = “TRANSLATION. 3 (Anu. 75) ‘Where, having “stayed! (stopped) for a long time at one suara in the form of adja and the like, having touched the octave™ (ra) of that like fire and having stayed there for one (short) time-unit (kali, suddenly the “low” (svara) ipveached, that is bindu, AS~ 32% sa - sd. Thus is (ends) bindu. (6) (Anu. 76) Having touched (a svara) for the interval account of the pronunciation of (svaras) in the reverse order ‘alankara) named nivrttapravytia (comes into being). As - sa sd nivyttapravrta. {of one ald (time-unit), on of bindu, (the 44, thus ends mM (Anu. 77) Venu is with seven kalés (phrases) in the order of ascent and descent, like tridita "(playful way?) sarigamapadhani nidhapamagarisa, Thus is (ends) vem. ® (Anu 78) ‘On account of the shake of (svara having) three Jrutis in the lower heptad, kampita (is formed), that is composed of three kalds (time-units). As - sarigamapadhanisa,# thus is (ends) kampita ® (Anu. 79) ‘On account of the shake of (svera having) three érutis* in the middle heptad Auharita (is formed), that is composed of three kalds. As - sarigamapadhanisa“ Thus is (ends) kuharita . (10) (Anu. 80) ‘On account of the shake of (svara having) three srutis in the higher heptad, recita (is formed), that is composed of three kalds. As - sarigamapadhanisa’® Thus is (ends) recta, ay (anu. 81) Preikholita is with fourteen kalds* (phrases) on account of ‘going’ (ascent) and ‘coming’ (descent) of (groups of) two or more svaras, in equal temporal“ BRHADDES! vate fer fin afew a wT TH Eas af fr fia wt [ af] Semtet Cel (ap cz ] ween ww a eC Te RR FA [ w ] TORE waveform femme amu wef) | OAT AIT Te er FF AES HAT HOTT! Leal] # La ca] ra Wem at oe aa BATTER | (wT - |] z = vearmfte ferme Pree HRP) SUTRA arecpeand Fier SR GIA [w]e a - waa nee [wt] ALOT [ed = [ cv] fren Fee eater ww eaidaRAT BET fe am, xt 0) spree [de] eee [are] ara ET] wor (2) were 1 [ ae ] atta aternita [afta | atommamita aerate -aftrufmrarantte afommufrefremmita oma afita fem TA aE TET efits frre [ xf) see [ead [amp cy] wean-fara: yar: Ta seaeare serfs: ( 7 ) ahha afraaiia wh [ a] saufe afemmTutrE " " a aRerEraTa aPemniiomrarre aremfeTarTTarT | Oo a TRANSLATION, 8 ‘units (eamahal).As~ sari rise, riga gar, gama maga, mapa pame, padha dhape, ‘thani nidha, nisa sani'Thus is (ends) prentholia. (12) (Anu. 82) ‘Where, having gone to the fourth or fith svara from the amo" (beginning point of a given phrase), the lower (point) is again reached (returned to), that [iréramandra-prasanne.% As—sarigamapasa, rigamapadhari, gamapadhaniga, ‘napodhanisama® Or, having gone to the higher (svara) from the lower one, the ower point is again suddenly reached (returned to), that is téramandra- prasanna. as) (anu. 83) Having suddenly reached the higher (svara) from the lower one, on account of gradual descent tothe lower (inital war) mandratér-prasanna (comes into being). AS = sapemagarsa, ridhapamager, garidhapamage, masanidhapema. Or, having pronounced the higher (ocuve) sara after the lower svar, through gradual descent the low (svar) itself is reached, that is mandrotioprasanna. As Scranidhapamagoris,® Thus s (ends) mandraléraprasanna, ay (Anu. 84) "Prastara has two forms (obtaining in) the sthdyin (steady) and drohin (ascending) (varna). Out of them, in the shayin®! (varya), one svara gradually acends ‘high’ from itself and descends low’; and inthe Grokin (area), prasira {is formed) by a svara that ascends ‘high’ from ‘low’ and descends. As sarirsa, sarigagarisa, isa, ‘sarigamapapamagarisa, sarigamapadh magarisc ‘sarigamapadhaninidhapamagarisa, tarigamopadhanisa® sanidhapamagarisa; Or, saririsa, rigagai, gamamaga, ‘napapama, pedhadhape, dhaninidha, nisasoni. Thus is (ends) prastéra «sy (Anu. 85) Praxida is the opposite of prastéra. As -saninisa, _sanidhadhanisa, sanidhapapodhanisa, sanidhopamamapadhaniss, sanidhapamogagamapodhaniza,* HADES! aera roa sme wom we fen Ree [wh bal [ee] [we ce] Tat we feat oevecmertgrtmatgredenigs: 1 [ aa ] iw & Se feo on mE oe aA Pre WA far gH aM aR Re [ A | Senge | Lew] [am ev ] aia poate | mear—aftalt foe ee HT ERT saat freien etre Fras ee sa AIT aR feat ( fa] aeetem [ee] Lm ce] afore yagi eae ETT Serer haben a eo SA or e ATeTOR ‘wetter [A] fret) [ aa ] atta afore aferemite ee x Fe ROE Se AA Ta we [ar ~ ) aaa [ft ] are [el [am ce] ant it oh ft care ESI TIT TRIE agers CHRRTTte ER | [aT - ] wm eR ae AE UA oe [ft Pregire: ] [20] “TRANSLATION, * sanidhapamagaririgamapadhanisa, sanidhapamagarisasarigamapadhanisa. Or, saninisa, nidhadhani, dhapapadha, pamamapa, magogama gaririga risasori. Thus is (ends) prasada. a6) (Anu. 86) (Pairs of) (wo svaras each moving to and fro in the order of ascent’ and descent and forming units of two kalés (phrases) each (form) ududhita. As sari tiga, gama mapa, padha dhani, nisa sani,% nidha dhape, pama mage, gar, risa, Thus is (ends) udodhita. ay dhani dhani, isa nisa, sani sani, nidha nidha, dhapa dhapa, pama pama, maga mage, gari gari, risa risa. Thus is (ends) upalolaka. as) (Anu. 88) “There, krama is that, where having reached the sthayin'® (steady) svara after ascending in the svaras in successive order beginning with one, without any gap, varas are pronounced in the order of prastéra, increasing one by one (in successive phrases). This is not different from prastara, being identical in form. ‘As - saririsa, sarigagarisa, sarigamamogarisa, sarigamapapamagarisa, sarigamopadhadhapamagarisa, i sarigamapadhanisa * sanidhopamagarisa. Or, having ascended to the antara (gendhdra) and in the same order having ascended to the kikali (niyéda) the thayi-svara (steady note) is reached, that is krama. As- sagant-nigasa. Thus is (ends) krama. a9) (Anw. 89) ‘Nigkijita is (formed) on having ascended (in the order of) firstthird, then second-fourth and others also in the same order. In the opinion of Kohala nigkijita is (formed) by ascent with a gap of one suara (each time). As -1ag0 ima gopa madha pani dhasa. Thus is (ends) wighija, 20)% BRHADDESt [ <0] arrRTRtER | Pragen armen RAG RRR a wea wa we, fe fe fw, em om a, eT Tm, aE ae i oe Te a [ af ] reas [eel [yp se] ATA BFA fear GA erseC anf t x (92) & Premrscinderrtg® wes [wet =] ven, fer, TT ay, wor fre, ver aft [ aft) eam La] [ap ae] arterteranel gard weRA HAO HIST Tah | emt, TH eke erga epee ede ree [a] ew? [ap sa] ( wet freee] pret owl yf wat at yt pre [A] ary Preeti aye ETAT! AE WE BG aa atgeterat Fart wa aRRICT WeeRMTARAEL! rere: em 4 wet (7) ea ee eee a8 ” form, ware aftr aft afta 1 Le] (3 ev] eat Gos args eee weer econo rt | to ee ET “TRANSLATION ” (Anu, 90) ‘On account of descent from high with a gap of one (svara each time) with three repetitions, (and) on account of the formation of three kalés* (dimewunits land phrase-units each time), with all the (svaras) hrddamana (is formed). As - ‘adhe’ radha sadha, nipa nipa nipa, dhama dhama dhama, page poge pose, ‘mari mari mari, gosa gaia gasa. Thus s (ends) hridamana. ay (Anu. 91) (Where) after ascending (one) svara without a gap and after staying (stopping) there for two kal! the svara ascends for half a Aalé(timesunit) with 2 gap (of one svara) and again descends for half a hald without a gap, that is raijla, AS - sari mage, riga pamd, gama dhapa, mapa nidhe, padhé sani ‘Thusis (ends) raijita, (22) (Anu. 92) ‘After pronouncing eight svaras in ascent and descent, at the end of the prounciation of the initial svara, dvartaka is composed of eight kalds* (time nits and phrases). Or, sage gapa pani dhasa® sadha nipa paga gosa. Thus is (ends) évartaka. es) (Anu. 98) Having ascended three svaras without a gap, again, transgressing the fourth (vara) anc reaching the fifth (svara), again descending three svaras without 9p, transgressing the fourth svar, one should reach sadja, the initial vara (of the first phrase) through ascent and descent with eight kelds (phrases). Suiary, beginning from high the ascent and descent of all the svaras (has to be formulated). Parivariaka’ is composed of sintcen phrases in total. That it bnown as ohddie in the loka (common usage). Ax sarigepa pamagasa, igonadha dhapameri, ganapani nidhopaga, mapadhasa® sanidhana, sanidhama TRepedhasa, nidhapaga gemapani, dhopamari rigamadho, pamagese serigoma “Thus (ends) parvartaka. ea) (anu. 94) “Through the order of ascent with one halé (timeunit) in {of) two svaras, omitting the third svara, in the ascending order itself, attacking the two svaras above (and) descent in this very order, ascending (and descending) the100 BRHADDESI weafe | [ aa - ) afr cata, forme soni, waeft free, wah =. mom a ahr, woata aPan safe, fret mela, aeft forte, waite = om # & # @ ves, sae ( oA] See 1%] sammmrar) (wa - ) ang fern gy wen qn y wrh afr yee Pet yer yw yy ae wear Cee] Le se] weg wo = ) wat vied wea aoa Ma FM (3) temerrentgish tera ef feeemseres afte! [ae -] vam wften, fet wd, wren, mer fram, afte Jerr, after wT vere, feet me, em sree, Ine fern, ART TAT, cafe Wee: | are. BT ATE, fe GQ, TAT eT, A Fre, 7 aire afm, etre ae cee, fret wei, oem ween, dl for, after afeon, ater a WHE [zw] [ a ev ] wren fewonitn gearatet: [wa -] ar we fee, fer we a, Te aan, wu fafa 99, WA wa ug, vera we 9 fra, fa A af, a ee ee [re] aa Se2oou Lm se] wey ete aqme a -Gimaewe GEE! [za -] ‘afoot, foo an, aT aM, ATT ENT, TE Fre, eT “TRANSLATION wor remaining svaras, udghafla is composed of eighteen als (phrases)..AS - ‘cnimapa pomavism, ngopadha dhapagar, gamadhaninidhamaga, mapanisat ‘anipama,, padhanisa; sanipana mapanise, nidhanoge gomadhani, dhapogart Ngemadha,pomariva sarimapa, magoria. Thus is (ends) udghafila. (28) (Anu. 95) “ibiptaka (is formed) with the measure of Aalds (\imenits) starting with one-kalzunit® (and extending) upto six-alé- unit with three svaras in the ascending order (in each phrase). As - sarigd nu, rigand mu, gamapd mu, ‘mapadhd nu, padhani nu, dhanisil# nu, sanidhd nu, nidhopé mu, dhapand nu, jpamagé nu, magari nu, garisé nu. Thusis (ends) diptaka. (26) (Anu. 96) ‘Leaving the immediate (svara) after the first one and going (forward) in two svaras and on account of descent in the same order in the ekakala® (one time-unit form) (and) also (the same pattern) in ehakala in descent, thus is the sampradéna in dvikala® (with two-unit phrases) that is composed of twenty-two halis (phrases). As- sagamd marisé, rimapa pagar, gopadha dhamagé, madhani ‘nipand, panisd sadhapa, dhanisd; sadhapa panisé, nipamd madhani, dhamoga gepadhé, pagari rimapé, marist sagamd, garisd. Thus is (ends) sampradéna” ‘panisd senipé, dhanisd; sadhapa podhasd, nipama mopar pogortrigapa, marisé sarind, gorsd, Thusis (ends) sompradina, (27) (Anu. 97) "Hasta is on account of laughter"? (or sport) in the dvikala™ (composed of dual units) combination. AS - soga mama rsa, rima pops gari, gape dhadhe ‘nage, madha nini pama, pani sasa dhopa, dhanisé?* sadha papa isa, nipa ‘mama dhani, dhama gage podhe, poga riri mapa, mari sasa gomd, gorsd. Thus is (ends) hasita, G8) (Anu. 98) Like asia, through the ascent (and descent) of three svaras, oF the ascent (and descent) of four svaras, both ways husthdra is ehakala% (with oneunittoe BRHADDES! wim, oor fem, Heer emer, Tet Gam, for and, aio af: arai— aforn Hnita, ferry game, Tam ern, AoUfT frame, qe fen, waht fava, mE sam, feos samt, afer wn [efi] wera FET! [ewe] [am ee] AR Fe ee Tee FETTER eat = aqeareng WEEE ‘wre (>) (am - ] af af af aft, fer fro fr fe, og eg oo, a, HT AT AT AM, aE AR ae aR, few few few fea fea fea fee fea, ae ae ae ate, we wt wt et fer fin fo aT A, TH, "HR mR RR OW a ey ay ay, Pre fe fhe Pre, ohooh of oh am ah af aft [ we wrsearet | | [20] fa ta fe ( %% too ] fag [an - aaa a fe, KKK waae ttt TATA AAAA MITT aM dae 8 fe w11T aT T GTN oma ah Cat ) fag Cael [ay tor] aRRarreeate whe: 1 (wa =] we Ae aa wT aft Te & ( ) oer Ca) ‘TRANSLATION tos phrase). As- sarigd garis, rigamd magar, gamapa pamagi, mapadha dhapamd, padhani nidhapé, dhanisd™ sanidhd, padhani nidhapi, mapadhd dhapand, ganapd pamagé, rigané magori, srigd garid. Or, sarigana magarsa, rigamapa panogari, gamapadha dhopamaga, mapadhani nidhapama, padhanisa” sonidhape, mapadhani nidhapama, gomspadha dhapamaga, rigumapa pamagor, sarigama magarisa. Thus is (ends) huihéra in eighteen halé (phrases). (29) (Anu, 99) From the high (sadja), ater going to the seventh (svara viz. nigéda), again coming back there itself (on sagja), through the pronouncement of two svaras in the descending order, on making four kalds (units in each phrase), sandhipracchédana (is formed). As~ sani sani sani soni, nidha nidha nidha nridha, dhapa dhapa dhopa dhapa, poma pana pama pama, maga maga maga maga, gari gari gari gan, risa risa risa risa; risa risa risa risa, gari gari gari g2r, maga maga maga maga, pama pama pama pama, dhapa dhapa dhapa dhapa, nidha nidha nidha nidha,” sani sani sani sani, Thus is (ends) sandhipracchédana 0) (Anu. 100) Having pronounced the amia_svara™ (initial note) four times, after that with the fast pronunciation of two immediate svaras, with gradual (successive) ascent, ckakala (single-phrased) vidhuta (is formed) As~ sa sa sa sa rigo, ri ri 7i ri gama, ga ga ga ga mapa, ma ma ma ma padha, pa pa pa pa dhani, dha dha dha dha nisa, Thus is (ends) vidhuta, en (Anu. 101) Udgita (is formed) on account of the descent from high with the gap of one vara (in each phrase) in (successive) order. As sodha nipa dhama page mari ‘g0sa. Thus is ends udgite. (82)14 BRHADDESI [a 202] Ferg we [ 7) at ae freceentigg ot at a a [2] a mf = eae sammie Fea aah wa Teme are [am - ) vata fifi ae, weft maw, ASE YAR, TT AH TT, ey at FR, er FEE MT Lal [ wemtarergrrecmry | “after a fear A RNR ET maar vac acrenferarrd: WER eH Wen: HAI: GAA WH AI em TAO Wet VAAL UNA? Ht Ferre yarers eenftraoferTaT | Rt ot Fen BA ERT sree: 1223 aie a ra Woarcar yE: Afaraiche arms fag: TexbfrreTaT g Te eR FETE ] Fee Sas eae EG . % rade: qoad aft water | SREY fase ERE AAT: 1 2RE froghrars att ee fg 1 SeArereesstird faeptatett Taegu ihe BR: WHET: WPATORTTTET | mM) Wea: gaara aieheh wee tRC I a “TRANSLATION 105 (Asn, 102) Like fuikéra one should ascend (with) three solfa syllables without a gap (and) in a combined! (manner), thence two lower svaras (forming two phrase- units each) should be made (pronounced) with shake and verily in combination with another (next) kala? (phrase-unit). Thus is gétravarna, because of the combination or formulation of ekakala"® svaras (forming temporal units of one Aalé or matrd cach). As-dhanisa nini dhadha, padhani dhadha pope, mapadha papa mama, gamapa mama goge, rigama gaga ‘iri, sariga iri sasa. Thus is (ends) gétravara, (33) {[ The treatment of Alaikéras according to Bharata's opinion } | shall now speak of the vargas in which the charming alaitkaras are ‘seated’ (formed), according to the prescription of Bharata. ri Prasannédi, prasanndnta, prasannédyanta, similarly prasannamadhya, sama, recta itself, prastéra and praséda are based on the sthayivara, These alarikaras should be known according to their respective definition. (122, 128) ‘After this, please understand (the alaiskéras) born of the saiidrin (varna), a they are again and again being described (tit. glorified). Mandratéraprasanna, bindu, pretkolita, tdramandraprasanna, nivrtapravrtia, kuhara, ven, raiijit, upololaka, Gvartaka, pardvarta, Thus are the eleven charming alaikéras born of the savicdrin (varna). (124-126) Nigkijita, kuhara, haste, bindu itself, pretkholita, ahyipla, vidhula, udvahita, hridaména, sampradana, —_sandhipraccl , prasannddi and prosanndnta—(these) thirteen are (based) on the drohin (varna). (127, 128)106 BRHADDES! fagaps armies aiicigentest ay: 1 ” = oAS TERT PTAA HERS a rate saa fg SORA Vereerers wer WARPATIT 301 aaa wea « prabisaergr: wants AE eae Tl Tene aes saciita CO) * aaTRTaRira edaohre: SPT NE FTN ty * WHET FT ATER GAA a A we gailaer ccafenizaniongng 33 1 ay % erat | OR Om +a fe whekg gam we m(?) et asa fig TY fterdo eae cd ee 0) 6[ 8 gant witty a sat eageTe 1] AM weattee gy HrafeaTaRE: ATE 11g a4 HT a Teuigen fe yar weatdettiqn ye mete ire fe fat GE el UL ATTEN IGT cert) asa sitio weafa ies ami Fret ™ a watteriga at worse AAMT Ne BE Ht “TRANSLATION 107 Vidhutam, gitravarna, udgita, udvahita and venu, all these five alaikéras should be known in the avarohin (vara). 229) Prasannédi, prasannénta, bindu, kampita, recita, preikholita, (éramandra,* mandratdra, sama, sannivyttopravrita, upalolaka, venuka, all these twelve ‘alaikdras are said to be based on all the varpas. (180, 181) Mandra, madhya and tara, avalokitaiself, the apaviganamed, and trms— (these) are aid to belong toall the vamax (132) These alaikiras should be known by the wise to be subsistent in the seven (gitaka)® forms. All of these are not desirable in the dirwvds because of the excessive ‘stretching’ of syllables (of the text). 3s) The stretching of the syllables of diruvds is not lauded. Syena or bindu oF whichever others are (involved with stretching and) counterstretching, they should not be used (lit. done’) in the performance of dhruvés according to their own measure (of extension). (134, 136ab) In the performance of dhruués, ascending svaras should be used. (185ed) Because dhruvd that is formed in accordance with the (desired) meaning, has to be made the communicator of meaning, in dhruvds the adequate sparseness or thinness of varnas (patterns of melodic movement) should again bbe brought about (lit. made). 136) ‘Those that go into usage here (in dhruuds), understand those varnas alankiras based on the respective varnas). I shall speak out the definition these (alazikiras based on varnas) excepting the sthéy-vamsa® — (137)BRHADDES! raat Gea wy vem a FAT amectoafia Wt yercofinttat ea 1 Cre) ETA: FRAT AAT TEA (me) Fea HA I THAIGTIGT: 112 38 It dara wh tm fawinah ee fargerdt a ITY FRE YOU RUG AES A TAT TATE | « a ieee weg WH Bap WAN UIE ma) Ser: Se eI FHT FAP! * ws Peat FEN TA WATT eas fren [ ¢) rr [ q ) ceehrares: fire QQ) wen renga wet TUT Hg} (a7) ofaq orice 8 y ae whic! BeeraET a PA URE: BRE ewe] a TARTAR Toms aT wee Hy TORREY a AT eq = eT FO WA FA ATH Tt aR) WHARGAEY Set GREG gee I ‘iene RRTORES FATE FRAT FE Cam) of eneg fig we see FE EAU HI] = TRANSLATION 109 ‘That which is gradually ‘brightened’ (made ‘higher’ is prasannddi (low in the beginning). Pronounced in the reverse™ order i itself is called prasanndna, (138) Prasannédyanta is so desired (named) on account of there being ‘low'-ness in the beginning and end. Pratannamadhya is so-called or so-named because of there being ‘low’-ness in the middle. (139) Sama should be known (as such) on account of the equality of all (svar) and it also stays or stops on one suara alone. Bindu comes back after having touched the ‘high’ composed of one kala! (mitr) 140) ‘And nivpttapravyta comes (back) after touching the ‘low’ (svara). And that which is with a sporting laya (roughly tempo) is called venu. (14) Kampita is known as such on account of shake in the chestregion (low svaras) for three halds® (time-units). Kuhara is born (on account of) ‘obstructed air in the throat (middle svaras). In the same way, recta is situated in the head (cerebrum) with shake in three kali (Gime-units) (142, 148 ab). Preikholita is that which sets forth in ‘going’ (ascent) and ‘coming* (descem). (143 ed) ‘That which is the svara of the throat below (the cerebrum) is called tara, that which is seated in the chest is mandra, in the cerebrum is said to be sératara, «say ‘The octave (téra) fourth or fifth which comes (down) in successive order should be known by the wise as tdramandraprasanna subsisting in the ‘low’ (mandra). (45) Omitting the subsequent (svaras) (and) gradually reaching the dra (high) from low should be known by the wise as mandraidraprasanna on account of ascent. (146) Gradually increasing by one svara (in each step) should be known to be named prastéra. Prasiéra may become prasida when it is gradually held back (ie. comes down). aa0 BRHADDES! erent et ft fracgniedt fer | aneerrat RCPRAT FATMA exe It tet Sem wate we RIERA FORT | Te ot a Tea I A [w) RH AE ees ca a ty HTRG VaR EC AA «a 0) frophecrtanised ae YRARETETE 11240 RAPA Y Waa fer | ard te xl TU TEKS TOG HAE TIT UGE frparearereerete (7) aq ey THRE TOBA YE fA anfearertd GA THAT ST! UR a am oA areioragy Hy wraiey THR | atemratgan Suri atta tt ah Pree: TTT FE | — qo Fawacumage [ss] AT a eH oh afieg 3 erie wart oa TOF | oa pe a wEgeT weatstoee Fa UGK et wet edit qa ee GRD Fa | a RRR TUT A TERT FRAT RE I = aoe 5550 aafercreferas: lo aE FATA: | ™ sO velerapaes (7) REE EI FET aT AE EK ‘TRANSLATION m1 Ududhita is dvikala® (with tworunit phrases), (it) moves (in) two gapless svaras (forming each phrase-unit), ascends by one kala % (phrase-unit and time- unit) (and) again descends (lit. clarifies) by one ald. (14a) Udwahita self may become the one named upalolaka, when (its units are) repeated twice, That should be known as krama, which moves to one, two or three svarasin successive order. (49) “That which (moves to) each svara with one gap, having ascended (a svara) with one gap, should be known by the wise asthe alaidra named nishijita, (150) In combination with this (the above) ordér (the alaitkara) that moves with the gap of one svara (in descent) in dvikala® (form i.e. tworunit phrase and two time-units for each phrase) (and) is followed by two or six (svaras?)®” (and) is similar in ascent, is Aradamdna. ast) ‘After thisis rajita which is half a kald (time-unit) in ascent and again the same in descent, after having stayed on two (consecutive) svaras without a gap for ovo kalés (time-units). 52) Fvartaha comes into being in four (consecutive) svaras without a gap with the act of ascent (and) descent, or also in (svars) with a gap of one (each) 2° ass) (Or) évartaka should be made by the experts with eight kalds (phrases and LUme-units)** without a gap, similarly (in) four halde with a gap (of one each); it is (named thus viz. dvartaka) on accout of duptti (repetetion oF rotation)" 54) Having ascended three svaras, parivarta omits another (fourth) svara and in nivyti (lit holding back, here descent) again with pardvrtt (lt. interchange or reversion, here the change in the omitted svara in descent which is the fourth again in descending order), itis composed of eight kalds (phrases).!** 158) Udghatfta is always that in which there is an omitted svara after two svaras become past (have been pronounced) and which is ekakala 156) Tisiptake should be made with three svaras in each kal; its measure of kali is sixfold. The lower one is ehakala' and the other (higher) is gafhala (with six ald). as?)‘BRHADDES! afreroagh: oq WA FATA: 1 ‘eee ORR TE WA: WRN RKC I fee fave ae efiratroanie we BARR Be crt wee wiarts GaaT ey <1 rey afta Pretrageteatt | sary (7) TA ate TERT a fa uRgoN RITES FAA Bd GET Ae errr wivbeh fae Enq wera AT tet mm art wager [J] 7 aR fet aE ® TRAIT A AYA Y_ ULE I ” & ARR FI FRARIASTIET AA | mate FATS FAY TITER EGR err (7) Teeter BT TT | ® dt eemrt ara gee ture RC aufergrited fat arrach way | arte Sepa A TEKH Herero [ — Fa- ) Huet wae: = pce iO 1 ¢68 1 ta, wat seat Fair GR a acto Tap Req sere I Setsergre AGH (3 ] TER uegeH “TRANSLATION us Samprodéna is said here to be in the order of a gap after each svara® (itis) like dksipta, with svaras that approach or reach another!® kalé (time-unit) in due course."@7 58) ilar to Hasita (is known as such as it) is pronounced in a manner si laughter; itis dvikala*# and pronounced twice, it should be known like dkyiplaka by the wise, being made up of gapless svaras. (159) (That which) ascends in gapless svaras like Aasifa with three or four svaras {im each phrase) in ekakala'® (form), should be known as one named huihira. (160) Sendhipracchédana is indeed with upwardt!®"throw’ in a (specific) order; itis catujhala'" (with four kalés) (and) comes back in two svaras after ascending another sthina (register). as) In the beginning, after having pronounced a pada'!? (syllabic unit) where there is a short vamia"'3 (2) composed of two svaras and (which) ascends in one ald (phrase) without a gap that is vidhuta, (162) In the beginning it is drohin; (like) prastara where there is descent according to definite measure (pramdna}!™ that i said to be udgita alaihdra. (16s) ‘One should ascend (in) gapless svaras like Awikdra in the other two halds (phrases) there are two svaras each that are shaking!" and then there are (wo lower svaras _ (64) “Thus should be known gétravama in the prescription (vidh) of varga and alsikira, With akdrailé and okdra other long sjlables should also be combined. (65) “Thus has been indicated the prescription about alatkarana (ornamentation or the act of ‘making adequate’) pertaining to the alaihira of gita (melodic tendering). The giti_ musical rendering should be ornamented with these without conflicting with the varsa.!!7 (166) ‘One should ‘do (use) an alanikéra at the.proper place; one should not tie the kdici (ornament for the waist) on the bosom, There could be many ‘dlahkras, they should not be used without varna.!# as7)4 BRHADDEST fit Tort forte a wT OT | srrerepaa TE Heer RA URS I weiter ier 2g Asa sie HARE eget fri (2) [ ¥y v0a] a FAT aT ETE a wformatra, Fame [ ¢ ) ‘ararantten wftrrmafra, Se [ ¥ ] wea T TA a (4) Tews ak wl aaa, fe [¢] WR (2) T wa a, fgmge [ wv] we aformratt frame, ay: [ ¢ | aformmutre, Bert [ < ] ‘aemmatta, Fert [20 ] = © afermmatran, ie: (tt) woe forma waren AAET fa were etifrn frame, Tart [22] ae ‘TRANSLATION ns Giti (musical rendering) without alankéra is like a night without the moon, a river without water, a creeper without flowers (and) a woman without ‘ornaments.t!® ‘Thus have been described these thirty-three alaiaras by me. Those that have not been indicated here, they should also be understood. (169) (Anu. 103) ‘Thus are the prastéras (notational representations) in (svares) beginning with gagja.i0 sarigamapadhanisa,!*! prasannédi a sanidhopamogarisa'% prasannénia ® sarigamapadhanisa'® nidhapamagarse, prasannddyanta “ sanidhapamagarisa™™ scrigamapadhanisa,prasarnamadhyama (4) sd ri gi ma pa dha ni si! sama ® sé 54" 34, bindu 6) 8 sé 500 nivyltapravytia am sarigamapadhaninidhapamagarisa, ep @) serigamapadhanisa!™ kampita ® sarigamapadhanisa® kuharita (10) serigemapadhanisa.® recta ay settd eent oninagi mapipami pethidhpi, dhaninidhi ™ wions sorigemapase _rigamopadhari ——ganopadhaniga © mapadhanisama, taramandraprasanna as) fopamagoriaridhapamageri —gonidhapamaga—masanidhapama, ‘St smandratdraprasanna ay16 BRHADDESt afte [a] fora witoMte wn Romana woruRfarne ater afro, FTE [th] a ‘aire afroatia aerate aT a [ aheremreqafe aoa aiemmfommatra abrir ( a ) format, ware: [ te | aft for wa ag ce oft fra af fer wa TH wT me few, wonfee: [ ve ] afar fiat TR A FETE ofraft frafa aerah frat ery TATE FR afta fafa, = wr fea an mr of oe, Prop | 0 ] ~ mame fof omer ver Ha wrare, BA [ We) ww Qa Oman TT AT aT mom far on aftr fe [ 22) fcrrratran) aerate) made: [ 23] aforrrrre | forrmaraft) wats) TERRE | a a 4 [afro ] freer) eeafeforer oo ow waren, sade [ 2x ) -woW ‘TRANSLATION uy saririsa sarigagariso sarigamamagarisa sarigamopapa-magarisa sarigama- padhadhapamagarisa sarigamapadhaninidhapamagarisa serigamapadhonisa'* sanidhapamogarisa, prastira a5) saninisa' sanidhadhanisa sanidhapapadhanisa sanidhapamamapadhanisa sanidhapamagagamapadhanisa sanidhapamogaririgamapadhanisa sanidhapamagarisasarigamapadhanisa, prasé a sari riga gama mapa padha dhani nisa™ sani nidha dhopa pama maga gait isa, udoahitah . an sarisari rigariga go mapamapa padhapadha dhanidhani nisanisa % sanisani nidhanidha dhapadhapa pamapama magamaga gorigari risarisa, wupalolakal (a8) savrisa sarigogarisa sarigamamagerisasarigamapapamagarise sarigamapadha- ‘hapamagerisa sarigomopadhaninidhapamagarisa sarigamapadhanisa'*"-sanidhape rmogorisa, bramah as) saga via gopa madha pani dhosa'™ nigkijitah 0) sadhasadha™ nipanipa dhamadhama pogopoga marimari gosagasa, a sarigar guage gamopama mapaibopa padhanidhe dhanisanit® och @ sarigamapadhanisa™! sanidhapamagarisa, Gvartako) @) sarigapapamagasa rigamadhadhopamari —__gamapaninidhapaga ' rapadhsasnipana nidhopagagonapeni dhopanariigamadha ponogusscrigypa perivariakah emns BRHADDES! ‘aformafta fermi mafia rrerm aemaMPre Premera amnfiferma wattwatn See [ 24] feo ferme aT) mY aN aR way fa eT om ati ae sare [2] aan afta fest Ey TET RT sah Fron aren eI! eT FET VFR ‘fecon arty ee are ae fer ‘after erm ata) WR: [ 2 ] . 7 wim afta ferg mMREE VEL [ weitere | SRE AAT GT TATA | aa AE yam ORs [ FARA] ugvON pert are Sem fatten areal 1 weanfear Fen Sa IAAT FT uO sfabigen mn aie aT viene eT anderen & fata cela 12163 11 ‘went fata aden | Ferre fase TeaRAAP AT 11293 11 [ aq tov ] ‘ant at eT A (aR aT Ae, A A uy aot arn 1 aah > me [ a, et HN akira, & ark ferent) Fennieniet 1 wa, ‘faa Aare oe fetar shrine 1 anes fawe Sen she: wenn WW ugown a sarigi rigomé gamapi mapadha podhani dhanisi™ sanidhd nidhapa. dhopama pamagi mogari garisa, dksipiakah 26) sagamé marisa rimapa pogari gopedhd dhamagd madhani nipama panisie adhapa dhanisi sadhapé panisé nipand madhani dhamagi gopadhd rimapd marisd sagamé garisd, sampradénam en) ‘sagama marisa rimapa pagar. VU (Section on Pada - giti 1 (0! most venerable muni I have duly spoken of the alaikiras, Now I shall speak about gii? which is associated with chandas? and akjara® (sillable). (70) ‘The first one should be known as magadhi, and the second one is ‘aerdhamigadhi, the third one is sambhavitd and the fourth one is known as prt. any ‘The giti which is ‘returned to" (repeated) thrice, that giti is known as sigadhi. That (git) which is completed? in half the time (of magadhi) should be known as ardhamégadhi (lit. halfmagadhi). a7) ‘And sambhdvité should be known to be composed of gure (lit. heavy, here Jong) sjllables. And the one called prihuld should be known to be composed of lagi (lt light, here short) sllables. a7) (Anu, 104) ‘in daksinat mérga? (lit. path) (operates) the prikuld. git in vartika® marge sambhavitd® (git) and in citva'® manga magodhi git, There are eight matrds in Galsina manga, four matrds in vértika marge and two matrés in cia marga in the order of the use of halds!" In the citra marge and etokala tala, magadhi gti should be known; in the aria manga (and) duikala tala sambhévilé giishould be known. (174)120 BRHADDES! ‘feet gaat shen Her TERA | Gr aa afta fet aren at ge uty [ % t04 ) fa tees we ant fearing ae fen oe a eragiberiing, et yer Ta ARs: iPr el CAL, 7m) tM (7) feqeittigen 3 Pek aieg ar ft. * fa: magaga Ya vel adarniy 26g fe wefan Tepe Gye eA AY [=] urn ae amt [ = ] adarnd ( . « wean [ Te [ Ca to] aR: eT SRAM di: 1 aif] TE HR Fy (3 tow] rater arin er 1 aan afer wh aft, Sn wen seh ge wT | aT aegi® (7) gam athe pon safema Praiar 1 (a) = ‘after var aT AHA BAT tw ee "TRANSLATION 1a In the daksina (mérga) and catuskala téla prihulé giti should be known. With this prescription itself the gits should be sung by the wise. (175) (Anu. 105) In the cira (marga) the tla is ekakala itself, on account ofthe use of twor smitré (units). In the vérika (marge) the tla is ditala'® itself, on account of the use of four-métrd (units) Inthe datsiea (mérgo) the tila is catuhala' itself con account of the use of eight-métnd (units) In citra (mdrgo) magadhi gi (operates), itis with two gurus and is (also) composed of laghu (one short) and (one) pluta's (three mdtréunit); (it is) twice retreated; ardhamégadhi is (completed) in half ofthat.” (176) Sambhivitd is guru'® in vptti (manga) and prihulé is laghu'? in daksina (mirga). am (Anu. 106) ‘In Vartika (argo) there is samagraha® in daksina (mérgo), there is atta™ it. future) graha. Alt. past)graka, in ctra manga there is andgata® (Anu. 107) Tin the margas the use of matnés® has been said. As-daksind, veti and etré (are the mangas). ‘The matrds (to be used in them) are eight, four and two (respectively). As = dhruvahd, sarpini, kyynd, vartini and then visayjitd, viksiptd and patdkd and ‘atta is known to be the eighth one. 78)BRHADDES! a Ga awed way weet aM Faq ee meer Fem eet ae att ERT ees 1 (arm) cd rafter again fren pean Haq 1 ae are] Steir Ha Ate yf WAT? ECON (atm) Mah aie (7) Eo WA Fa TORT Teetebersees See) GAT AE ect H [ a oc ] = veteran «gmt siiramaramarrrer yea ore Ser gon Ye, me fe 7 [ % voz] ert gerd aah orp faatirgs aR =m “sore (Aiea - ] aReninemranet wart art O17) Fane eH EC) (2) wae wea wer aft, Gt ae, gataME, MN - ate sae ae Ger weve ae, wane, wear TRANSLATION wes COurt* of these, dhruvd is the sounded one, sarpini moves to the left (side of the performer) a is ‘gone’ (moved) to the right (side of the performer), and vartini is moved downwards, visagjild is moved outwards (farther from the performer); vikyipid is curved or bent, and paidkd moves ‘upwards, (and) patitd reaches (touches) the ground. (179, 180) Dhruvaké and sarpini (are used) in ctra (manga), in vértika (mérga) the next two viz. kygnd and padmini® are also (used). In dakyina (argo) (all the) eight matrés are known (to be used). ast) (Anu, 108) Daksind, vptti® and citrd - these three itis are understood according to the predominance of ‘song’ (melody, of both ‘song’ and instrument) and of Instrument, (respectively). Having the predominance of ‘song’ is dakyind wrt, having the predominance of both is vrti uit, (and) having the predominance of instrument is itrd ort. (Anu. 109) ‘Now he (the author) explains the changing® predominance (of different temporal components in urtis) brought about by papi It has been said — ‘The predominances of slat git, laya,% yati* (and) marga become ‘manifestors® (rather manifest) according to their own (form) in these (vt) In citra (manga) there is sama yati, druta (Fast) laya.” uparipai™ magadhi gi and ogha%® is the limb (avayava). In variika (margo) there is sroogaté yas, madhya laya, samapani, sambhivitd giti and onugata® is the limb. Similarly, in dahgina (imérgo) is gopucchd yatiM vilambita® (lit. prolonged, here slow) Jaye, evapdni prtbuld giti and tatty is the limb. (Anu. 110) “The vidya. (presentation on instruments) should be done with sama, atita and andgata, grahas. Out of them, in citré (pit there is andgata graha tn vrti (ort) there is sama graha, in dakgind vyti there is afta graka. The combinationBRHADDES! ferment we [et we, sft rome: am vrowivreres Faryad armed waftunfiret evaoret wa- ] arehe [at] ware: ( wrarea cafe (2) seh: whavdres | wear FarTqecasaa wht area: Weare | wa [ eeerat ] aed arm ifafdetacorra Ga | a rere ant eT Aeler FT TESA, wT TERT “eet ( ge | st (se dey fe aR’, ve a Tener AORTA EET = a ann wenn: Wer wemm (7) sei trou ara afer [ aA] AA a a we Eat acetone EH ( at] | (a eet] TERRE vats few eae wa [ TEs AMA, | = ‘te amd Ae (wa) wen HT WAT TT niPregit— (arf - ) western wer g [ after } fe weaker wen AR Rye aA [a sh fe eae We ] yyaearen eer waft fareaptghaferagiemine | er Rafi ve thar gem Fat wt, a = fraig farts, ar fetal at eam a 7 wat (9) afrar se W aRA ae, THR Bat te ‘TRANSLATION 15 or arrangement of the taking up of instrumental rendering in four halés before the (beginning) of the performance of ‘song’ (gia) is called uparipanis# ‘The combination or arrangement of the taking up of instrumental rendering alongwith of at once (after) (the beginning of) the performance of ‘song’ is called samapéni, The ‘taking up' of instrumental rendering on the expiry of four halds ater the (beginning of) performance of ‘song’ is called adhah pari. In the context of daksind (urtt) the giti named magadhi is seen in the reverse” order. That is thus - when the giti begun in dakyina mérga is performed in citra’! marge, then the prihuld. gi is known as mdgadhi (gis) in ‘nti (opti). When the giti begun in urti-marga is used in citra manga, then that sambhévitdgiti is given the name mégadhi (\hat is) arranged in the order of twice ‘return or twice ‘repetition’. ‘The performance is just in datyina (manga), virtika (mango) and ctra ndrga. In the order of dudpa™ and the like (the duration of kald) is eight fold, fourfold and twofold (ic. eight matrs, four matrésand two mats). (Anu. 1) “Thus is being said - in citra (marga), the kali is composed of two métrds. ‘Magadhi is seated in that marga; the same magadhi_giti, when used with sambhavita git, is (then) called by the name (word) vrtti manga made up of four matras (for each ald). When the magodhi giti seated in vrti' mérga called by the name (word) sambhavitd becomes double in eight métré-(unit)s, then itis given the name (word) Prihuld in dakyipa marge. ‘Mégadhi is with three ‘returns’ (each time) (and hence) itis to be ‘thrice returned’. As having sung the pada (word) devam (and) having accomplished the first kalé* with vilambita laya (slow tempo ) when one sings the second kala in madhyama laya (medium tempo) with ‘devam’ alongwith the pada “farvap', and there also (in the third kald) one accomplishes the third kalé in ruta laya (fast tempo) with the two padas ‘devam Jarvay! alongwith the pada “vande ; thus isthe filling of three holds.BRHADDESI wat Geet 2 waif vaste ae fe TeraAigeT oats wd a fraigaia Farmer 21 a — Be areTEER (7 mama (= 4) ma HH (tan 4] aR AE TR RT [aw a 2] [ aq eee] wiga | ay fefigal wel yA! = aie vemaroninetaniareh | aw wenifigaent ~ Be ot safrgint apleea: 1 aa aMate cement srgferedt om x owe Fa saat WAL AGA aT waReUPH (2m) | x z am aerate weafaan, AEE 25 TYAN, mm (7) [RT FS PBATAT a seu wR anf] [ a tt2] Taine Al apie caer HENS = wamint wfaft— efit ar, aiff anfitwrend aft efm— [anf - sgt aren akismniiteraril qannirah aerkge weey) fran gar ee ete seen) end! TRANSLATION 127 md md sé 58 (Amu. 112) ‘Migadhi is (known as such) because ofits origin in the magedha_ deja (south Bihar). Others read magadhito be ‘twice returned’ (or "owice repeated). ‘Ardhamégadhi is (called so) because of there being the state of half “pada’ 5 thus the ‘ardha? (half, forming part of the name ardhamagadhi) is related to ‘pada’. In the repetition of half a pada the verbal meaning should not be construed as the determining factor (hetu) in ‘moving forward’ (pravrt).or aeceptance, and ‘returning’ (nivyt) or rejection; because in Simaveda that is predominantly musical, the verbal meaning is not cared for inthe repetitions. It hhas been said - the word jatavedasam (fire) that is repetitive, here (in the context of this word), sambhdvtd (git) ends at the word veda,*" the prthuld git, ‘on the other hand, is based on the predominance of laghu (short syllables); ‘on account of the profusion of the grouping (gréma) of padas (syllabic units) it is called prthulé (lit. broad or large). (Anu. 113) In the three mazgas in the prescription about git, the use of Jaya should be seen to be ninefold. He (the author) shows the use of laya as-datyina marge, wirtika manga and citra’mérga, thus are the three layas in the ‘operation's (pravyti) of dakyina snérga. Variiha manga, ctra manga and dhruva mérgo, thus are the three layas in the operation of vpttimarge. Citra marge, dhruvamdrga and Sinyandrga, thus are the three layas in the operation of citrammdrga. Thus has been propounded in the chapter on gitis. As in the daksina” marge there are four gurus (long ‘units) two gurus and one guru. In vartika manga there are two gurus, one gure ‘and one lagi. In ctra (manga) there is one gum, one laghu and one druta (half + matré unit).BRHADDESt ‘ft eam steamy aT [ aft War a, Oe, GT TE! ARH at Te, we, Wag! ) fa SE, Gay, wT! om Ler fe wie aE PI eR] ee meer ( afar Fer YR wea ya WG |] feren wag Far FA RT gy aR tea srenrn ¥ feta wEREM utc om (ef veto 27] ( 3 yeniseq: ] “TRANSLATION 129 (The duration of one temporal unit) in dhruva (mérga) isthe double of that in Sanya (mango), in citra (marga) itis the double of that in dhruva (manga), in ‘ntti (marga) itis the double of that in citra (mérgo), and in dakyina (manga) itis the double of that in (uti ~ manga). 382) “The ald is composed of half a matrd in fimya-mérga, of one métrdin dhruva- anirga of two mids in cia marga, of four mats in viride még, and it has been sid by the knowledgeable ones to be of eight mats in dakyiea (mings). (Thus end the pada - gis) (188, 184) {Thus ends the padogiti} [ Thus ends the first chapter ]Patha-Vimarsa (TEXTUAL NOTES ) Chapter 1 Section I ( Defi) 1. The ed. has stated that the firs folio is missing in the MSS. 2 Divani having been used in singular number, the plural number of the pronoun Yat"( that ) viz. Yesém" has been changed to singular viz. Yasya’ and ‘ii” being combined with ‘tana’ the consequent gap of two syllables has been filled ‘up with ‘salam’ ( truth, reality as an adverb )- ‘3. The two compounds in this line, according to the Pa. are adjectives of ‘ahvani’in the ablative case, but that presents difficulties in interpretation ‘dhani’ in the genitive case and the two compounds in the ablative case, without being adjectives of dhvani, standing for the two reasons for the spatial ‘or regional nature of dhvani, this seems to be appropriate and adequate for bringing out the intended meaning. Accordingly the reading of the two compounds has been modified, by making them abstract nouns. 44. The text seems to be broken here; at least one or one-half of a verse seems to be missing, because in the next line bindu is said to arise from that (? ) which is not avall indicated. 5, Reading suggested by the ed. in the place of ‘waryute’ of MSS. 6. The context is that of the consonants being ‘sounded’ with vowels, thence adi {letters beginning with the vowel a ) has been changed to ‘kddi’ so that only consonants are referred to. 7. The modification is based on the reading found in Bha Ko, p. 948; ‘varga’ stands for the ‘groups' of consonants here and is a betier reading than '&. ‘Yat’ has been used here as an indeclinable, meaning ‘because’. 9. Reading suggested by the ed. in RA Vi p. 10, it has been given preference over Pi, because sdnurdgepa is not idiomatic. 11. The word defi is used here as an ikdndnta (ending with short ) word in feminine gender. 12, MS B as recorded by the ed. 18. Pus the correction is based on Grr. in RA Vi, p. 10. 14. This extra line is found in the C. ip 10. 15, MS Bas recorded by the ed.se BRHADDEST Section II ( Nada) 1. MS B as recorded by the ed. 2.Gx.in SRI Sudha, p. 28. 3. Sam S Si, p. 26, 4.Cx.in SRI Sudha, p. 23. 5. PL does not treat these two verses and the next one as a cited passage; they are teated as part of the text, but ii heat” and ‘iganye vadandi does indicate that they are citations. 6. Cx without the mention of Matafga's name, in § RI Sudha, p. 28. 7 Px. confuses the text here as - SeeereR! fe ww Geta ay yaRtarReNT whe FEAT Feet b and c here are, really speaking, b and ¢ : ave oeeace ly ib and c of verse 21; hence they hi ‘8. Cr.in$ RI Sudha, p. 65, without the mention of Matafiga’s name. 9, 10. Cx. in ibid, p. 66. i Mek. rere sm gM ee es sede mera wer A: | fh TE cup! Leek, adage poms getsgere fee eee eget at Ce petsfimmen ( oa) A wet rap: fife BR Fern gern ae (Samp $85, p. 28) : (See note 16 under annotations ). 18, 14.Gr in SRI Sudha, p. 65. Section III ( Sruti ) 1.Grin §RI Sudha, p. 68 and Kala, p.70. 12 ibid. ‘Karma-Sédhana’ of Cr. in ibid, has been given preference over “thévesidhana’of Px because the whole treatment of érui in our text deals with ivasan object of hearing and not as an act of hearing. 3,4.Gr. in SRIKali, p. 70. Bick mmererermiimy Tee eaftenitemn ee vt eerrsstgeenfpyerenten wares: irae Tee ht TH | (Sam $84, p.57) 6. Gx in SRI Sudha, p. 68 and Kala, p. 70. PATHAVIMARSA 133 7, Text of the whole sentence reconstructed on the basis of Cur. ( according to note 6). 8 Gxt in SRI Sudha, p. 68. 9, 10, Cut in $ RI Kala, p. 70. AN, ef, en germ lt fet en reefer gfe 1 am aft og Reena 1 (SRajl, 1.1.31 4, 82) 12,13, 14, 15, 16. Carin SRI Kala, p. 70. 17, Gx in SRI Sudha, p. 68 and Kala, p. 7 18. Cx in ibid. ( Sudha ) p. 68. 19.ch. are fags tal wg afer a RETTHTA (Daw 9 4, 10) p. 68, Kal, p. 71 and text of Sam S Sa p. 5. Gan in SRI Kala, p. 71. Vaisvarya has not been accepted because it stands for a musical defect viz. being out of tune, “esurd’in common parlance, 23, 24. Gr. in S RI Kala, p. 71. 25. Car in ibid. 26. Gr. in ibid. 27. Gx. in ibid. 28, Gar. in Ana Sam Vi, p. 27. 29. Gx. in S RI Kala, p. 71. 80. Cr. in ibid., p. 72, adds the following so faras the enumeration of nine srutis goes afier this which is redundant 31. Gx. inibid. $32, This line has been accepted as part of the citation from NS by Kallinatha (8 R1 Kala, p72) and the ed. who has put it within quotation marks; but it does not form part of the text of NS. 38. Caxr in SRI Kala, p. 72. 34, Cr in ibid. Although there is no substantial difference between yathd’ and ‘tha’, tatha" appears to be more idiomatic. '85. Grin ibid. and Sudha, p. 68. ‘36, Portion added from Gr. in $ Rf Sudha, p. 74. 37. Cx in SRI Sudha, p. 74. 38. Readings suggested by the ed. in the place of ‘nam’ and ‘e” of MS readings: thus praménam éruteh’ would mean ‘that is the measure of érviy CGheresslaiprandndsrutih’, the reading accepted by us means ‘rut is of thatse ‘BRHADDESI ‘measure’, Since’this reading is corroborated by C.r. and is equally valid, it has been given preference over that suggested by the ed. 39. Reading of MS B as recorded by the ed. 49. ibid. ‘Eka’ has been given preference over ‘am because it specifically ‘mentions the measure ofthe lowering of the vind. 44, ibid, Pe. is grammatically incorrect. 45, Reading suggested by the ed. 46, Pt. is extremely confused here. 47. ef. NS XXVIII, p. 20. 8. Peis confused from here; the reference tothe third lowering i totaly omint 49. Cer in SRI Kala, p, 72 and Ani Sam R, p. 4. 530,51. Cr inibid. aa 52, Cx in And Sam R, p. 4. 53. Gr. in SRI Kala, p.72. Pe, store 7earT) 54. Kiyantah Ps. 55. Cin SRI Kala, p. 72. 56. Ca in Ani Sam Rp. 4 Reading of MS B as recorded by the ed. and Cr. in Sam $ Sa, p. 8, 58, Bha Ko, p. 768. ” “ve 59, Cx in Sam S Sa, p. 9 and $ R I Sudha, p. 85. 60. Cr. in Sam $i, p.9. Z 61. Gx. in SRI Sudha, p. 88. 62. Gx in ibid. 68, 64, 65. Cx. in Sam S Sa, p. 9; §R I Sudha, p. 88 and Bha Ko, p. 756. 66. Gx. in ibid, and Bha Ko, p. 755. i: , 67. Bha Ko,p. 755. 68. Cr. in Sam $a, p. 9 and § R 1 Sudha, p. 88. 69. Bha Ko, p. 756. , 70. Csr. in $ RI Sudha, p. 88, 171. Bha Ko, p. 756. 72. Cx. in SRI Sudha, p. 88 and Bha Ko, p. 758. 173. Cx. in ibid, ( minus Bha Ko ). 14. Cain ibid, p. 84. 75, Bha Kop. 756, 76. MS B reading as recorded by the ed. 77. Bha Ko, p. 755, 74. Grin SR ESudha, p. 84. ‘79. MS B reading as recorded by the ed. PATHAVIMARSA 135 £80. Bha Ko, p. 755. 81. Suggested by the ed. in the place of ju’ 82. Bha Ko, p. 75. 88. Gar. in Sam $i, p. 10. ‘84. Bha Ko, p. 756 85, 86. Cr in $ RI Sudha, p. 64. 87, Cx. in Sam Sa, p. 10. 88, Reading suggested by the ed. £89, MS B reading as recorded by the ed. Section IV ( Svara ) 1,2,3.Gar in $ RI Sudha, p. 84. 4. Bha Ko, p. 754, 5. Gr. in Sam $8, p. 10. . 6. Bha Ko, p. 754. 7. Added by the ed. . ‘Nada’ of the MSS has been replaced with pada’ because ‘ndda’ cannot be said to be the associate of svar it is only the subtle or undifferentiated form of svara, The association of pada with svara has been explained in the annotations. _ . “smi snu*could be taihas been mosied, as twlamit’ because ‘lami hraw'could construed as standing for alaikyti or alaikéra, whereas tdlamiti is neither {grammatically correct, nor does it fit into the context. An alternative reading Colle alah (ef Sam $ Sp. 11) meaning hat sera is measured with tala, but even then ‘tau’ would pose a problem. 9. cf 3a irmirorENTN SIEM “rirrviafefr va TR: (SRI Kala, p. 82) 1o-The use offi person s notable here TI-MS reading a secorded by thee Cain RI Hal p92 18 Added accordance with Cini and Sud p98. 14 Reading spgeted by the ea (1?) te Grin SR ids, p38 16. ha Kop Tad geen 17, Portion ‘added according to SR I Sudha, p. 94. 18. Ed. suggests rabhasya. 19, Ed. suggests dhaivatanya. 20. MS A reading as recorded by the ed. ; 21, MSS reading, reconstructed by the ed. as Yadanu’,136 BRHADDES! 22. Cx. in $ RI Sudha, p. 94. 28, Added according to Grr. in SR1 Sudha, p. 94 24, Portion added according to Gar. in SR I Sudha, p. 95. 25. Pt. adds paricama’ before ‘yabhah which is unwarranted. 26. PA. combines sapta-svardhetc.and that has led to a misunderstanding among scholars to the effect that Matariga has accepted the ‘samudda’ of seven- Sruti interval in addition to that of nine and thirteen-iruti interval. ( cf. IMJ, No. 11:12, p. 57, article by P.L.S. on Mataiga’s Brhaddesi ). Actually sapia is related to ‘wardh’ hence a fullstop has been added after sapla and that clears the whole confusion. 27. The ed. states that the text is broken here; the missing portion has been taken by us from $ R I Sudha, p. 121. +28. Missing portion ( verse 55-60 ) taken from Grr. in $ RI Kala, p. 79-81. ‘The cited verses are interspersed by Kallinatha with prose sentences of his own, ‘but they have been omitted by us. 29. Cx. in SRI Kala, p. 81. ‘80, Sam $S4, p. 14 and Cr. in SRI Kala, p. 81. 31. This portion is missing in the MSS, it has been paraphrased in $ R I Kala, 81 and cited in ibid, Sudha, p. 97, SQef. ° ware wat de) fl eft 1 ot tras tet oR BEE 1 (Sam Mak 1.29) 88. Gx. in $ RI Sudha, p. 97 and Sam Ci, p. 71. 34.Grr in SRI Sudha, p. 98, 835, Reading suggested by the ed. $6. Cur in SRI Sudha, p. 98. 87.Cs in Samp Co, p. 72. 38. Gr. in SRI Sudha, p. 98. 39.6. wee womge Sea TAR EAT A a Were fg (Sap Mak L146) 40, After this Pa. has the following halfverse — peafemrat ot weet we ‘This is redundant and misplaced because verse 61 d has already spoken of ‘atali and antara svaras being Sidra and this line does not fit into the context afier verse 72; hence it has been omitted by us. 1,2 and Gillaihira, p. 50. 1418 ng hugged y the enue place of Bi of MSS. Bock, METH COIR He 1 WRURTE SO ATI PATHAVIMARSA 17 core spa deh Oe SY eo FUE ANTE ( Sam Mak ILL47, 48) Itis notable that Santa rasa has been included here and bhaydnaka has been omitted; thus the number of rasas enumerated is only ight and not nine, as stated in the last foot. 46, MS B reading as recorded by the ed. Section V ( Gréma-miirchand ) Leck We aR feiretrreceng TR rptermmecrera ERAS | (Abhi Bhd on NS XXVIII, p. 42) 2.Gr in SRI Sudha, p. 102. ‘8. Grin S R1 Sudha, p. 101 has been accepted because Yyovasihilah’ is an adjectival form which is not matched by a noun that could be qualified by it, but ‘yyavasthdih'is an abstract noun that fits the sentence. 45. Cr. in SRI Sudha, p. 108. 6. This verse is not found in the text of Na Si. 7.Cx.in SRI Sudha, p. 101. 8. Pt., modified according to C.r. in ibid. 9, Garin $ RI Kala, p. 99 in the name of Muni ( Bharata ), but this line is ‘not found in the text of NS. In Pt. this line has not been treated as a citation, ‘but as a part of the text, because quotation marks are not given. 10. This line forms part of the text of NS ( XVIII, 5 ab ). Hence itis wreated by usasa citation. 11. Pi. includes * sadbhih * after ‘uuddhabhib, but that has no relevance to the context and has, therefore, been omitted by us. ; 12, Gr. in § RI Sudha, p, 105 adds the following halfverse, paraphrasing the tion regarding the etymology of milrchand — Prose-por “ ; 13, 14. Cx.in$ RISudha, p. 114. 15. Px. adds tiryat” after ‘sarah’ but that is redundant. 16. Pa. adds ‘indhud” after ‘ma’ ‘wo goin a 1 indiud is the name found in NS, S R etc. ‘Harindhoaya’is the form of the instrumental case; but this case is not relevant to the context “The Pa. is utterly confused, mutilated and in disorder after ths ine upto the end of Anu. 41; it has been reconstructed according to the context, mainly by rearranging the order.130 BRHADDESI 19, This sentence has been repeated in the MSS; the ed. has put it in paranthesis with a sign of interrogation. 20. MS A reading as recorded by the ed. 21. Verses 102 and 103 are both in the dryé metre, but they have been treated 28 prose in the Pi. 22, Pk gives the fist two sets of hexatonic tdnasin the descending order like nidhapamagari etc. These have been changed by us into the ascending order; the crosses indicating the omitted svaras have also been added by us for the sake of elariry 28.cf. (a) 7 wu Remar sre, Teh 1 antec: rem aiqet ‘ary tg we Be : (Sam $ $4, p. 18) Cb) Of Rea as IRI eg McgME veA, aa TATE wh oy me erg: meg eRe 7 To) aR: COR Beh, amearie wee He (RAVi, p31) 24, Cx in $ RI Sudha, p. 114, 25. Cx. in Bha Koy, 502. 26. Cx. (asin no. 24). 27. Gr. in Bha Ko, p. 502 adds ‘Sha 28. Cur in SRI Sudha, p. 114 reads- 2 wu Rh 7 TE 29, Portion added from Sam $ $3, p. 18; SR Sudha, p. 114 and Ra Vi, p. in the beginning of the sentence. modified on the basis of 1. PA adds ‘warasyife’ after this, but i is totally out of context. ‘$2,83,34. Our reconstruction is based on SR I, 4. 74, 85. Our reconstruction is based on S. Raj If, 1.1.457. The chart illustrating these ‘das in S. Raj I, p. 188 reads ‘balabhrt” and ‘ndgayakga’ S R 1.4.76 reads ‘balabhinndgapakyakah '36,37,88. Our reconstruction is based on SR I, 4.77. 39.SR1,4.77. 40,41,42. Our reconstruction is based on $ R I, 48. ibid, verse 80 44, Reconstruction based on $ RI, 4.82 and S, Rj 1, 1.1.465, 45,46, Reconstruction based on R I, 4. 88 and S. Raj Il, 1.1.467. 47. Reading in S R I, 4.84 and S. Raj Ii, 1.1.468. 48. ibid. 49. Reconstruction based on ibid. 50, Reconstruction based on $R I, 4.88 and S, Rij Il, 1.1.469. 79. PATHA VIMARSA 139 51. Asabove, S R I, 4.86 and S. Raj as above. 5254. ibid, verse 87 and S. Raj verse 472 155.59. ibid, verse 88 and S. Raj verse 473-74, 60. Cx. in $ R I Kala, p. 108. Px. has been given preference by us because ‘vibra’ of Cx. does not seem to be necessary or justified in the context of ‘sadhéranakyta’ which itself signifies a vilytd state. : 61. Reconstruction based on the consideration that ‘sddhérana’ could reasonably confirm ‘kina-sddhdranaia’ and not Yénaasddhdranata’, - ‘62, Pit omits ‘zt’ it has been added by us according to Cx. in SRI Sudha, p. n7. because that is nearer the PL. 7. Ca. in ibid. See See pects woth ete tat ft trom, cena anny ait Ee Prevemet cada ffcteery, Freveraie = (Cx. in $ RI Kala, p. 111) 68. cf, (i) Froweqacearctcaniseent: 1 satreg maw HE MMT RT ay BM ST HEC fam were rm et PUGET) aK Be CRT TRTETER POET | (Gx. in SRI Sudha, p. 117) (iy Prrgeceren ere, see WE Ne GE =e we eT te set mere! Pare an (Cx. in SRI Kala, p. 111) 69. cf. (i) fof atrar wean serge! oH sae AEC ( FeeTAT ) i 1 edeprigwentan fT int » Gi) fafeeneenptinn Tear veh Pog eH NT TRH CRT TN ‘Penge: (1NS Chau. pp 820,21 ) 70, Reading in Dattilam 86. The Pa. is utterly confused from here upto Anu. 54; it has been rearranged in proper order. 11. ‘Kéripidhane’ of Pt. does not make any sense. Brahaspasi has suggested ‘sdrividhane’ ascribing the meaning ‘in the prescription of frets’ in the pl ‘han’ ( vide SaigitaGintémani, p. 107 ). But this suggestion does not offer a reasonable explanation of ‘iiyukiam’ ( thus has been said ), The reading ‘hakuvidhane’ suggested by us offers an explanation of the above phrase by implying an inherent reference to NS XVII, p. 887 and verse 106 where haku is said to arise from or be used in the three sthdnas (it. locations, risers) fo fy eee gH TT a] wet moras fe ae, ART 1 “a (Abhi Bhs on NS XXVIIL, p.27) ‘Thus our reading ‘kékuvidhdne’ is corroborated by Abhi Bhi.Mo BRHADDES! 72,78Cx. in SR Kala, p. 104. 74. Px our reconstruction is nearer Pi. 75. ci) mete | ier BN er RUTTER FO. TH (NS Chau, p. 821 ) (Gi) nome 4 atte: nl wa entree Pa i (NS XXVIII, p.27) 28, te ‘76. Reconstruction based on Abhi Bhi on NS XXVIII, egret wr) rm (ats) Feet Brahaspati has interpreted ‘Aaraye’ as the ‘fundamental note’ that is constantly heard in the drone. But ‘kanya’ seems to be more appropriate, ‘because kapha (lit. throat) is the location of the middle register in the human i ing of Datilam 37. 78. ch i) 4 aE em ETAL EEA KeouFTeG ea oT fee wed ea fa, coy RTA Ba fee (Grr in $ RU Sudha, p. 117) Gi) Ay om we sh TERR flouTeT wet FHA foe Hee peck a ( Abhi Bhi on XXVILL, p. 28 ) 70.6. Gi) 9 rap RARER eA, ere (NS XVII, p.27) i) sap! rR TEAL RT| (NS Chau, p. $21) ‘Néndtwam’ ( variety )is associated with mirchand in NS, but in BrD the reading mirchandtindnyatuam suggests a distinction between mirchand and ‘téna and it sin consonance with the preceding discussion in Anu. 45. 80. Gr. in $ RI Sudha, p. 117. 81. fey aeemeane are (0 eA) De Cm) oe vies, ee Be Cpr) vet, eee eg AE) AO FETAL (Abhi Bha XXVIIL, p. 29) ( Readings suggested in paranthesis ours ). 2h, WHER IT TNT eiecrar MRP (S. Raji, 11.424) 88, Reconstruction In the whole verse based on the reading in Dattlam 39, 84. ibid, Dattlam 40. 85. Reading suggested by the ed. 86. Pt isuterly confused here. oh, wie ee wor 9 fied geome Af oy (NS Chau, p. 321) 88. ‘Shana’ added on the basis of NS XXVIII, p. 27. PATHAVIMARSA ut 89. cf, aifrees wight wet weeks, wikefenn wane waa (Abhi Bhi XXVIU, p. 31) 9091. Gx. in SRI Sudha, p. 110. 92. cf se gen Se RATER aR send ao org TT (Sam $88, p. 43) “This verse alo bears comparison with verse 90 of our text. 93. Reconstruction based on Gr. in Bha Ko, p. 289. 94. wa enfefa: Fam - Bha Ko, p. 289. 95. § RI Sudha, p. 110 cites the notation and names of miirchands starting the series with sar-gemapadheniserigemapa. Section VI ( Varndlankara ) 1. MS B reading recorded by the ed. 2. This dryd verse has been treated as prose in Pi. 53. Pt. adds drohantityédi (? ) which is redundant. 4.Bha Ko, p. 796 reads ‘tamananiaragak; but that means gapless ( svara ), whereas the preceding prose portion says that a gap of one or two suaras is permissible in the drokin varna. We have, therefore, reconstructed the reading 45 samaicintaragah which would mean equal ( without gap ) and with gap. Such, mceRCaRNETENTTAT | er mete tern Se (NS 00K, 17) 6. Cx in SRI Sudha, p. 154. 7,8, Reconstruction based on ibid. ee Gx. in $R1Sudha, p. 154- ‘erartcrmergaty sj Semaserrere: ett 11. Reconstruction based on Bha Ko, p. $97. 12, The short solfacyllables here have been changed to long with a view to bring about uniformity in the illustrations of the two preceding and one succeeding alabkiras since there is no specific prescription about the temporal dimension. 18. Pt. adds ‘namu’ before Yatra’, which is redundant, because no contention isintended here, 14. Pt. adds another ‘ti’ after rasannamadhyoh which is superfluous. 15. ‘Madhyamagrame’ of Pt. has been replaced with gramabhede, because ‘gadjagréma’ has not been mentioned in the preceding illustration. It is therene BRHADDESI ‘only by implication. It was considered better to mention the “ ima’ father than he xpi mention of madhyamagrina, be Ted "16, Shake on svaras composed of three érutis each has beén spoken of i Nips Aine cf NEXOX, There the Sd dats (the eo weras made up of ures frutiseach ) have been sido be played with shaking fngers, AD Bd on NS XXVIM 21 alo peas of sake on sors composed of three érutis both in the Vedic and non-Vedic traditions. In the description of alaikaras NS XXIX, 48 speaks of shake for three Aalés in the Anita alti and this description seems also to apply wo rca and huhara renoned in the same verse Abhnaagupia comments tha halé here, sands fra new ofl thee owaons the reading ‘di hasbeen change "In the description of the next two ‘alatharas" Pt. alo reads 17,18,19. Pt. is extremely confused here and hence i remelyc vence it has not been . Breads afer he ot ee eee MOEN Mo awegee geen ee eh ha aT corer wr meer Mies GEERT brary e Torentongaet oreEU ORT (7)1 = eerrmegcren PACT re wu TURE wa oe rattan were wat (U7 1) SHR rotary eM ONE A erate PREAH eIRA® (7) BaREERe GOaGRH RRA — sSNA: " meee ( eet7 ) Srumreig: ee fi ‘This portion is totally out of context and bears eviden as : 1c to extre io the MSS. The enumeration of seven sthdnas inthe lst sentence of this portion is, however, interesting. sora 21,22. Pt is utterly confuseckand hence has not been noticed. pana ) ates: fe have added ‘ca’ ( and ) after ‘avarohdt’ in accordance with Sanskrit 24, Pt is extremely confused and hence has not i 24.Bs extremely id hence has not been noticed. 7H) eR 7A) ETT ART RMN mont ET ‘ ‘ illustration has been repeated twice. 26. We have changed the 7 6. We have changed the long solfi-syllables here to sh dsripon ofthis laren he eat that hc asa tbe ade (in phrase ). Six short sylables would make three long units ( gurus ) and one {guru is equal to one kalé asa standard unit, 27, Reading of MS B as noticed by the ed. 28, Pe. Catu (riba ). PATHAVIMARSA Ms 29, MS B reading as noticed by the ed. 90. cf. sted einanget et ‘emcee Gem Fg AT (SRIL15) 431, This is a single-unit phrase included, perhaps, in order to bring about a sense of completion on the high gadja; similarly at the end ‘magarisa’ would serve the same purpose by ending on the low sadja. '32, ‘“dhanisa’ here and ‘gerisa’at the end seem to have been includes order to bring about a sense of completion; it is notable that these two are Single-unit phrases, as distinct from the wiple-unit phrases in the rest of the illustration. 38. Pt. is confused and contains long solfe-syllables. 84, Pi. adds ‘nandyai frat’ which does not seem to have any relevance, because nandayant is well known as the name of a jati, 95. Pi. reads- Sadreergeentewrvien: ( 7 ) Reconstruction has been made by us on grammatical and cont considerations. '36, This line has been added from NS XXIX, 88 ab, variant recension. 87. Pu e( ha ) ( detda ) Sa. 38. Px reads omenea wet a (7) 39, Pi. reads ‘vidhrio’ the ed. notes that vidhula has been read earlier in the text, NS XXIX, 26, variant recension and NS Chau XXIX, 37 read vidhumo’ We have accepted ‘vidhuta’ because ofits first occurrence and also because it makes sense a8 shaken of “0, Nailgdn’ of PA has been reconstructed according 10 NS XXIX, 26, Pt {s grammatically incorrect; itis further confused as - eet a en (7) 41,42. NS XXIX, 26 reads ‘“rutivarga’, but Abhi Bhd on the same reads atiprakarya; ‘ali''s a beter reading than iruti because éruti does not seem to fit into the context and excessive stretching is avowedly undesirable in dhruvds. ‘43, Variant reading noted in G.O'S. edition. 44. Pi. reads unfgerretey Gert (7) 45. This line has been added by us from NS XXIX, 28. 46. Pa reads prayo ( ne7ge)- 47, N8 XXIX, 80 ab also reads ‘prayoge’ but it has been modified as ‘prayogom’ according to Sanskrit idiom; the Yatra’ of Px. has been changed to Jetra on the bass ofthe reading in NS, ibid. 48. This verse has been added from NS XXIX, 50 ed and 51 ab, variant recension. “49. Ths line has been added from NS XXIX, 58 ed, variant recension. 50. MS B reads ‘prasddayati; as noticed by the ed. 51. Reading of NS XXIX, 55 d, variant recension. 52, Reconstruction based on ibid. 58d. extual“ BRHADDESI 58, ibid. 61 b reads yadvrttau’ ‘Niort’ has been used elsewhere in our text for ‘descent’, here it fits the context, whereas Pi. and NS readings do not do s0; hence we have made this reconstruction. 54,55. Reconstruction based on NS XXIX, 61d, and 62 d, variant recension, respectively. '56. Pt breaks here, Section VII ( Padagitis ) 1. cf. NSXXIX,44-48 and the variant recension of this chapter, 75:78. Ref, age ( fe) sien ar Ae mM AT sale ae + fai gatrmsi (NS XXIX, 47) ‘efeten a wifes ey sade er fer germ (NS XXIX, 77, variant recension ) is confused at this point, 2s follows ~ 7 it ne fret a ein ue (>) sos fen dsr eae (mp 2) Ar eR IE By been a oe mn Ce > fain) aederiepe fen eds eae (7) Sere war Sen mares sea i st are ( reafen = fein pbarantera The ed. has suggested that the verse beginning with ‘alatkdra’ should recede the prose sentence beginning with ‘daksine’ Since this prose sentence Fecurs after a few lines at the proper place, it has been omitted by us here. 8. ‘Kald’has been replaced with ‘mdtri” according to the context. 4. MS B reading recorded by the editor - tdlakramena’ Pk. ‘lapmogekramna’ We have reconstructed tla as ‘ald’ according to the two verscs that immediately follow this prose sentence. 5,6. MS B reading recorded by the ed. Te. srereien amber) a ‘we felgen ms ce Witn ant amar ef, \ferrnirrcdamnisais We 1 (SR 1 Kal, p. 288) PATHAVIMARSA Ms, 8, MS A reading recorded by the ed. - vik a’ ‘9. SRV, 12 reads padmini 10. MS B reading recorded by the ed.- ‘bavartté’ 11. MS B reading recorded by the ed. - anita’ 12. cf. SRV, 1214, 18. 8RV, 15cd, 1Gab prescribes the first wo mats in the citramarg, the first two and the fast two ie. seventh and eighth ( not the third and fourth as in our text) in wértika mirga and of course all the eight in daksina mérga. 14, The text is utterly confused and mutilated at this point as — ‘teen Sot fe Fy Ga Fen et Heteeteetee pei mormteh (>) eel et t+ Wha afore (3) gE (er Wt fet che fees i (7D ‘sremasetrean sitforenterurtion ‘wamparn fe fake (7) SrosuMT flow: 1 ‘The above verses have been dropped by us because (i) they almost repeat the content of verses 180-82 and (ii) whatever seems to be new in them is not found in any other text to form the basis of reconstruction. The prose portion hhas been reconstructed on the basis of NS XXIX, 71 and Abhi Bha. 15. This line has been reconstructed on the basis of NS XXIX, variant recension, p. 188, 34. 16cm ae Le aeRO HM srtseme aeITR 1 afaETURT 1 (Bha Ko, p. 481) 17. Bu repeats ‘anand 18, Pe. has been reconstructed as ‘abhitynam’ meaning ‘at once’ as itis nearest to the available reading and also fits the context as an alternative ( smnonym ) of ‘saman’ ie, together. 19. The reading of P.t. ‘védyaprayoga’ has been replaced with ‘wédyagrahayoga’, because this reading recurs in the following sentence and is more appropriate because of the incorporation of ‘graha’. 20. repeats ‘vande iti padadvayena’, ck. RRL 1 TRA we ie see feign feist win we fii eat A eft sea aA ere A tS Al SRT FART AT NEA er frafgafy wa qe ta ed we warrasereay fafrgftafinty oe iterator wt: 1 my mer APT | ‘(Abhi Bha, NS XXIX, p. 98) 22. Pi reads-sasa - masama maririniM6 BRHADDES! 28, Reconstruction based on Gr. in $ RI Kala, p. 288 and readin, Bhi on NS XXIX, 47, p.98. , ane 24, Sabdah' has been added in order to justify the adjective ‘évytydima wi . din djective ‘duttyaima that in masculine gender; otherwise (padam’ would have been more appropriate. 5. Reconstruction based on Grr. in SRI Kala, p. 285. sent Po Fed vera (1) fore iit bas been dropped as it makes no 27. Pt reads “vdrtite dakgine iti (?)* Vimaréa ( ANNOTATIONS ) Chapter I Section I ( Defi ) 1. Upto verse 18 a dialogue between Mataniga and Narada is explicit; accordingly, Matafga has been identified here as the first speaker, to whom Narada responds. The name of Matanga appears only once again in the beginning of the Prabondha chapter ( verse 361 cd ) where Matatga is said to address anonymous munis 2. Since the quality of pleasantness in sound is mentioned here, it could be ‘conjectured that musical sound is being referred to, although later ( verse 13 ) ‘Gat has been identified with sjlabic sound. Tonal sound ( ndda ) has not been separately mentioned in this section, except in verse 7 where the svaras ( sadja tte ) of music have been said to be different from svaras (vowel ) i language. 3 Yantu’ means living being, including the human beings, but since ‘people’ and ‘kings’ are separately mentioned here, jantu could be taken to stand for sub-human creatures. ‘4. The manifest form or level of sound is referred to here and its spatial or regional aspect is being emphasised in the context of ‘deif ( pertaining 0 deia, i.e space of region or location ), ‘5. Dhvani at the metaphysical level is beyond space and time, it is all- pervasive ( vydpata) and eternal ( niga). How could it be said to be related to {kia (space or region or location )? Tiss the question. 6. Sound at the manifest level is perceived according to its direction ( up, down, right, left etc. ) in relation to the listener. 7). Sthana stands for location of sound in the human body. Five such locations are identified; viz. the navel, chest, throat, palate or cerebrum and mouth, the first and the last being omitted in music. The vital air is propelled from the seat of energy in the body known 25 brahmagranthi and ait travels upward it touches the various locations, producing low and high sounds. This is the purport of sound being the ‘follower’ of hina 8,2, 10. In Tantra the concentrated form of energy is identified with bindw (it. point or drop ) and the flowing form of energy is called ndda. At the aural level bindu manifests as the ‘anusvdva ( nasal sound marked with a dot on the line ) and néda as tones and vowels ( combined with consonants ) without specification and atthe visual level bindu is the point and néda could bear the “analogy of rebhd (line ) without specific form. Méirkds (lit. mothers ) are the Sable and unmanifest forms of letters of the alphabet; thus they are the fnatrices of all squndorms, they could be said to stand for the subtle level of individualised specific leters. These three and the manifest form of méiyhas viz, Sarr nsue BRHADDES! vario—all the four have been identified with specific stages in the order of creation in Tantras. (Also see note 12 in the next section on néda ) |. The primary meaning of varza is colour. At the aural level varpa stands both for leter and syllable i. itis the primary unit of language. 12, “This' stra or discipline means Saigitaidsira, the édstra_of music and ‘anira. The author has tied to combine the two here. Although in music néda (tonal sound ) predominates, yet varma_( syllabic sound ) cannot be totaly excluded. Similarly, in language, varna ( syllabic sound ) predominates, but néda (tone ) cannot be totally absent, because when a varsa is pronounced, its total aural form does embody the qualities or attributes of tone viz. pitch, loudness, timbre ( of the producing medium ) and duration. When vara and its matrix math is said to be the ‘light of the world’, the idea would be that sound is the origin of all manifest forms. This sound is a totality of vama and ‘néda, although only vara is explicily mentioned here. The author has thus established a common source of language and music and that source is the “ight of the world’. 18, The root suri’ means ‘to sound’. “Suara’is derived from this root; the seven groups of consonants beginning with °K’ are as follows - (1) hadi (2) edi @) fadi (4) uadi (5) pidi (6) yadi (7) sédi, Actually the total number of these ‘groups is eight, when the group of vowels known as ddi is also included as the firs one. Here it has been excluded because the context is that of the ‘consonants being ‘sounded’ with the help or support of suaras ( vowels ), 14. Deiabhigd it. means regional language. ‘Bhasa’ is conventionally used for the language of the common people. Laukita ( classical ) Sanskrit is called ‘hégd_as compared! to Vedic Sanskrit and regional languages have been known as bhdsd as compared to Sanskrit, Here both Sanskrit and regional languages seem to be implied. 15, Although musical notes and vowels bear one and the same name svara, they are mutually distinct and this distinction has been rightly hinted at here, butt has not been made explicit. I will, however, be pertinent to mention here that the common word for vowel and musical note implies an inherent unity between the two which could thus be described, Both in language and music, it is the vowel and not the consonant that bears the pitch, duration etc. of a ‘gilable. Patafjali in the Bhdya_ (commentary ) on Panini ( Asté 1, 2.29 ) has discussed this point at length. The consonant vanishes immediately and if it extended, this extension rests solely on the vowel. In music, the strokes on instruments are identified with consonants but their extension always rests on vowels combined with the consonants concerned. In voice also the pitch intervals are reproduced with the help of vowels that may or may not be ‘combined with consonants. It is the vowel that carries the pitch, loudness etc. of ' musical note, but the same is reflected in the consonant like the ‘red flower being reflected in the floor made of erystal’ ( Pataijali ) ‘VIMARSA “9 i ical note, Abhinavagupta has distinction between vowel and musical note, nd ean re nao oe tote; this wil be dealt with under the definition of sera in our te. 16. In language vyasijana, consonant (lit. the act oF insrument of mank ‘on ) is the phonetic unit that bring about specificity, but it can tation te pes nom ec ope ce Fre a (me carer) that lend the state of Siva 10 vaijona (ef: Gindharve, Tani TX 1? and Garland of Late, p, 260 ). The underlying iden i that Sta obzin His wate ‘only from the association with Sakti, otherwise in is like (adead | oo) Seay ie ented sth hdr (the vowel"). (cf ciation from Sokisgm yma Pt.V,p.5) of word and jaripa_( lit. own form ) means the phonetic form of word and 17 SesPe, ftrence mening, Te whole wri being «manfexaton sm i ce et ee eee ‘heaning, delineates or ‘pains’ the world because this form itself isa stage ‘manifestation dion that in itself is the basis of further eer 22. nce meaningti! 18. The sentence is the basic semantic unit, the : : when it forms part of a sentence. Thisis the point of view of grammar ( vydkensea ‘which is mentioned here. wich combines the is de! ini ( Aga I, 4.14 ) as that whic Weel econ earners sae casa eunie iho, sincera Winn about the action denoted by verb ( Monier Williams ), Karaka is ret mint (case) a (ac ce, Te mtn “eh men er, oy crs [tatoo nouns wo eachother, but not the rlaon ofa noun and 2 * (Monier Williams ) ee, wie sentence is formed with das that have sup oF ta slic os bin with nouns and verbs respectively, standing, in turn, for hima and rb ‘22, Mahdudkya has four primary connotations as fo cee {@) An aggregation of sentences where the apprehension of the meaning of the Individual components (sentences ) leads to the apprehension ofthe 124 meaning of the aggregate, just as in the aggregate of five compon spyoudiye used for inference. This isthe view of mydya. "(b) An aggregate of sentences where one sentence i are secondary. This isthe view of Mimdmsd. (@) A sentence that expresses deep philosophi cof Vednta where sentences like lattvamasi ( thou rakman ) etc. are accepted as mahi-udhyas, - a (d) A simple aggregate of sentences as ‘in Raméyana, Mahdbhdrata or any lierarpcomposition. primary and the others ical meaning. This is the view ie That) sham brabmdsr’ (1