NS&AB Ch28 HemaR

1
Nāṭyaśāstra and Abhinvabhāratī Commentary

Saṃskṛta Text along with the English translation
of the 28th Chapter
by
Hema Ramanathan
(hemaramanathan49@gmail.com)
www.musicresearch.in
May 2006
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Translation based on the saṃskṛta text of
Nāṭyaśāstra of Bharatamuni
With the Commentary of Abhinavabhāratī
by Abhinavguptācārya
Chapters 28-37 (vol. IV)
Edited by
Late M.Ramakrishna Kavi
and
J.S.Pade
Oriental Institute
Baroda
1964
2
N¡¶ya¿¡stra with Abhinavabh¡rat¢ Commentary

Text and Translation.
Note
Tra nsl at i n g Abh i nav ab hāra t ī (AB) i s no t eas y, as Abh i na vag up t a' s l ang ua g e
i s not si m pl e . Be si d es , t he G ae kwad ' s O rien t al S eri es (G O S) ed n. con t ai n s
ma ny i n st a nc es o f i n co mp l et e s en t en ces (ap a rt f ro m t h e i nc om pl e t e se nt en ce s
exp l ai n i ng t he o ri gi n al , ph ras e by p hras e), words h an g i ng l oo se wi t h i n
sen t en ces , f au l t y p un ct u a t i on , sp el l i ng, gaps i nd i c at ed by ' . . . .', a nd s om e
i nt erp ol a t i on s.
The text and translation of Nāṭyaśāstra (NS) have been italicised. Please ignore the footnote
numbers in the first ten verses. The GOS edn. has not been followed fully in paragraphing AB, or
in connecting it to the NS text.
1. I ha ve q ues t i o ned t he f ul l st o ps i n t he GO S ed n. i n s om e pl a ce s wi t h ' | (? )' ,

an d h ave sh i f t ed t he f ul l s t op s e l se wh ere , wi t h ' (|)' . I h av e su gg est e d
f ul l st o ps a t so me p l ac es wher e t h ey see m t o be ne ed e d, b ut hav e n ot be e n
gi ven i n t h e G O S ed n. , wit h ' (|)'.
2. I ha ve us ed r ou n d brac ke t s f or i nd i ca t i ng t he m at t e r whi ch ha s n ot be e n
ex pl i ci tl y m ent i one d i n t h e t ex t , but i s ne ed e d t o m ak e t he t ra ns l at i o n mo re
rea da b l e, a nd t he d es cri p t i on mo re i n t el li gi bl e.
3. Brac ke t s of t h i s t yp e ' < >' c on t ai n t h e w ord s i n t he ori gi na l , t o re l at e t h e
t ran sl a t i on mo re e asi l y t o t he ori gi nal .
4. I n m an y p l ac es t he t ra nsl at i o n m ay n ot s oun d st ri ct l y co rre ct , b ut ha d t o b e
f ram ed t hu s, t o co nve y wh at s eem ed t o b e t he se ns e of t he o ri gi n al .
5. I ha ve k e p t wi t hi n s qua re bra ck et s m y u nd e rst an di n g of d i f f i cu l t po rt i ons of
AB.
6. M y o wn ob se rv at i ons on NS or AB, a re i n i tal i cs , wi t hi n sq ua re bra ck et s .
7. The diacritical marks may appear strange, in the case of ē and ō. But since they are needed
for these sounds in the South Indian languages, they have been devised by CDAC. I have
retained them.
Hema Ramanathan
3
Chapter Twentyeight of N¡¶ya¿¡stram

With Abhinavabh¡rat¢
**+iÉ& {É®Æ ú MÉä ª ÉÉÊvÉEòÉ®ú&**

¨ÉvªÉ¨Éº´É®ú¨ÉÖ ¶ ÉÎxiÉ ªÉuù ¶ ÉÉzÉÉnù ¹ É]Â õ E ò¨ÉÖ Ê nù i ÉÆ ¸ÉÖ Ê iÉGò¨ÉÉiÉÂ *
ºÉÉä % Ê{É ªÉÊuù ± ÉÊºÉiÉÆ Eò±ÉÉi¨ÉEÆ ò iÉÆ xÉ¨ÉÉÊ¨É Ê¶ÉÊ¶É®ú É Æ ¶ ÉÖ ¨ Éhb÷ x É¨ÉÂ **
ll After th at the subject of Music <g® y¡dhik¡ra> ll

[The commencing verse of salutation is not very intelligible. But
the purport seems to be that the svara, madhyama, determines the birth
/ name of the (other) six tones, in the sequence of ¿rutis. Madhyama
seems to be adorning / inspiring Him (áiva), Who is creation / art /
fragmenter of time, adorned by the (crescent) moon.]
[The verse of salutation in AB, in each ch apter, conceives of
Abhinava's Deity with attributes in the form of the topics dealt with. In
this chapter, commencing th e treatment of music, aptly, tone <svara>
and duration <kal¡> have been brought into the description of áiva. In
the K¡¿m¢ra áai va philosopy (which is the subject of Abhinavagupta's
major writings), the consort, áakti, of áiva, seems to be further
qualifi ed as Kal¡, engaged in creation. The moon adorns ái va's crown,
again, as a kal¡, a fraction of its full orb.]
+ÉiÉÉä t 1 Ê´ÉÊvÉÊ¨Énù É xÉÓ 2 ´ÉIªÉÉ¨É& 3 * iÉtlÉÉ 4 -

iÉiÉÆ SÉè ´ ÉÉ´ÉxÉrÆ ù 1 SÉ PÉxÉÆ 2 ºÉÖ Ê ¹É®ú ¨ Éä ´ É 3 SÉ *
SÉiÉÖ Ì ´ÉvÉÆ iÉÖ Ê´ÉYÉä ª É¨ÉÉiÉÉä t Æ 4 ±ÉIÉhÉÉÎx´ÉiÉ¨ÉÂ **1**
Now we shall speak of the regulation (ordered employment) of (musical)
instruments (in N¡¶ya).That is as follows -
One should know that instruments are, by definition, kept together
<lakÀa¸¡nvitaÆ>, in four classes - tatam (stringed), avanaddh am
(covered), ghanam (solid) an d suÀiram (pipe / holed), and no more
(classes are needed) <®va>. (1)
or
A sound knowl edge of all the four cl asses of instrument - tatam
(stringed), avanaddham (covered), ghan am (solid) and suÀiram (pipe /
4
holed), has to be gained [by th e student of n¡¶ya¿¡stra], complete with

the details of their form and function <lakÀa¸¡nvitam>. (1)
+ÉiÉÉä t ÉxÉÉÆ Ê´ÉEò±{ÉxÉÊ¨ÉiªÉÖ H Æ ò {ÉÚ ´ ÉÉÇ v ªÉÉªÉºÉ¨ÉÉ{iÉÉè , iÉä x É ºÉRÂ ó MÉËiÉ EòiÉÖ È
¹É¹`öÉvªÉÉªÉ{ÉÊ`öiÉ¨ÉÊ{É ¶±ÉÉä E Æ ò {ÉÖ x É& {É`öÊiÉ - iÉiÉÆ SÉè ´ Éä i ªÉÉÊnù *
The connection with the previous chapter, which has ended with
(th e promise to sp eak on) 'the choice of instruments', is sought to be
kept, by repeating the verse which has already been read in the sixth
chapter, namely, 'tatam caiva' etc. (N S,VI,27cd-28ab, GOS edn.)
xÉxÉÚ q ä ù ¶ Éä (6-10) " ÊºÉÊrù & º´É®úÉºiÉlÉÉiÉÉä t Æ MÉÉxÉÆ ®úRÂ ó MÉÆ SÉ ºÉÆ O É½þ & " <iªÉÖ H ò¨ÉÂ *
But in the enumeration of topics, siddhi (success in performance),

svaras (musical notes), ¡t°dyam (instrument performance), g¡n am
(singing), ra´gam (stagecraft) and sa´graha (their brief outline), are
named (in that order). (NS,VI,6-10, GOS edn.)
[Abhin ava now explains why the order of enumeration of the topics to
be dealt with, has not been followed now. In ch. VI, svara has b een
placed first int he list, followed by instruments <¡t°dya> and song
<g¡na>. H e goes to much trouble to explain that dealing with music
under the heading 'instrument', and commencing th e description with
stringed instruments, is justified.]
iÉiÉÆ SÉ xÉ]õÉxÉÉÆ ®úÉ¨ÉÉÊnù Ê ´É¶Éä ¹ É°ü{ÉiÉªÉÉ ¶ÉRÂ ó CªÉ¨ÉÉxÉÉxÉÉÆ iÉx¨ÉªÉÒ¦ÉÉ´É|ÉiªÉÚ ½ -
¦ÉÚ i ÉÉ¶ÉªÉÊxÉ´ÉÉ®ú h ÉÉªÉ 'xÉÉlÉÉä ´ÉxÉÆ Ê´É¶ÉÊiÉ' <iªÉÉÊnù x ÉÉ, iÉÉ±ÉÉÆ ¶ ÉÉä % Ê{É |ÉªÉÉä M ÉÆ ºÉÚ j ÉEò±{ÉiÉ ªÉÉ
ºÉ¨ÉÒEÖ ò ´ÉÇ x ÉÂ º´É¡ò±É\SÉ º´É|Éä I ÉEò¾þ n ù ª ÉÆ iÉjÉè ´ ÉÉxÉÖ º ªÉÚ i ÉÆ ºÉÆ ´ ÉÉnù ª ÉxÉÂ ´Éè ¹ É¨ªÉÆ
ÊiÉ®úÉä n ù v ÉiºÉÉ¨ªÉ\SÉ ®ú É MÉÊxÉ¤ÉxvÉxÉÆ ®úºÉÆ |ÉÊiÉ {É®ú¨É¨ÉRÂ ó MÉ¨ÉÂ *
[The next few senten ces are not very intelligible, but th e subject
seems to be the role played by music in achieving the end of n¡¶ya,
i.e., the delightful presentation of emotion. Melody removes the
obstacles preventing the identification of the actor with th e
character, su ch as R¡ma, in lines, such as, 'the lord enters the forest'
etc. (Probably tun es containing such texts were popular, and
immediatel y conveyed the verbal sense t o the audience, even when not
sung.) T¡la fun ctions like the thread which holds together the
performance, and thereby its target, the spectator's mind, so that his
5
distinct identity is lost, and he is in a state of sympathy, ready to follow

the emotion. So music plays an important part in the accomplish ment
of rasa.]
iÉjÉ º´É®úÉÆ ¶ Éä iÉiÉºÉÖ Ê ¹É®ú ª ÉÉä ¯ û{ÉªÉÉä M É&* iÉÉè Ê½þ º´É®ú º ªÉ {É®ú¨ÉÉlÉÈ ®úÊHò±ÉIÉhÉÆ
Ê´ÉiÉ®úiÉ&* MÉÉiÉÞ Þ h ÉÉÆ Ê½þ ´ÉÉC{ÉÉ¯û¹ªÉÉÊnnù É ä ¹ É¶ÉiÉÉä { É½þ i ÉÉxÉÉÆ º´É®ú º iÉxjÉÒ´Éä h ÉÖ º ´É®ä ú hÉ ºÉÖ º ´É ®úiÉÉÆ
xÉÒªÉiÉä , º´É¦ÉÉ´ÉiÉ B´É iÉx¨ÉÉvÉÖ ª ÉÉÇ i ÉÂ * ´ÉÉRÂ ó ¨ÉÉvÉÖ ª ÉÈ ªÉÉ´Érù Ò xÉÆ iÉnù É ½þ É ªÉÈ ¨ÉvÉÖ ® Æ ú ÊxÉ®úÉä Ê {ÉiÉÆ
¨ÉÉvÉÖ ª ÉÇ ¨ É¦ªÉÉºÉÉnù É ½þ ® ä ú ªÉÖ & * iÉiÉÉxÉÖ ¤ Érù i ´ÉÉiº´É®úºªÉ xÉ xªÉÚ x ÉÉÊvÉEò¦ÉÉ´ÉÉ¶ÉRÂ ó EòÉ EòÉÊSÉiÉÂ , i ÉjÉ
¨ÉÚ Ð SUôiÉÉªÉÉÆ ´ÉÒhÉÉªÉÉ¨ÉÊ¶ÉÊIÉiÉä x ÉÉ{ªÉÊ¦É½þ x ÉxÉä x É º´É®úk´ÉÉä { É±É¨¦É&* xÉi´Éä ´ ÉÆ ´ÉÆ ¶ É <ÊiÉ
iÉiÉÉiÉÉä t ºªÉè ´ É |ÉÉvÉÉxªÉ¨ÉÂ * +iÉ B´É ´ÉÒhÉÉ ¶ÉÉ®úÒÊ®ú E òÒ SÉè ´ ÉÉSÉÉªÉê Ì xÉÌnù ¹ ]õÉ " nù É ®ú ´ ÉÒ
MÉÉjÉ´ÉÒhÉÉ SÉ " <ÊiÉ* iÉlÉÉ SÉ |ÉÊiÉË¤É¤ÉÆ ´ÉÒhÉä Ê iÉ ´ªÉ´É½þ É ®ú&* <½þ É Ê{É {ÉÚ ´ ÉÈ ´Éè h ÉÉ B´É º´É®ú É
=Êqù ¶ ªÉxiÉä nÂ ù ´ ªÉÊvÉ¹`öÉxÉÉ& º´É®ú É ´Éè h ÉÉ& ¶ÉÉ®úÒ®úÉ¶SÉä Ê iÉ*
In this, string and wind instruments serve the melodic part

<svar¡Æ¿a> [of music]. For, these two stand foremost in providing /
effecting pure delight <rakti>, which is the ultimate end of melody.
Voices which are beset with a hundred ills like harshness of diction, are
carried to euphony by the melody of stringed and wind instruments,
which is, by nature, sweet. When sweetnes is lacking in the voice, it
can be brought in. [The rest of th e sentence is not clear, but th e idea
seems to be that, the sweet sound (of instruments) can b e
superimposed on the voice. The instru ments can bring sweetness to
the music while repeating / accompanying the singing.] Since svaras
are fixed on the strings, they cannot be sounded lower or higher than
their proper position. H ence, on a tuned v¢¸¡, even an untrain ed hand
can strike the right svaras. This is not the case with the flute [which
cannot sound the svaras properly at the hands of a novi ce]. So the
string instruments are kept first [among the instruments of music]. That
is why the teachers have conceived of (the voi ce as) the body v¢¸¡,
while speaking of 'th e wooden v¢¸¡ and body v¢¸¡'. And the v¢¸¡,
too, is commonly spoken of as the image [of the musical apparatus of
the body.] H ere, too, the svaras of the v¢¸¡ are going to be mentioned
first in the (forthcoming) statement, "Svaras have two seats, v¢¸¡ and
body." (NS,XXVIII,22, GOS edn.)
[We find Abhinava shifting from the first position taken, namely,
that string and wind instruments are better suited than the voice, for
6
providing melody, to the admission that flutes are not as readily tun eful
as v¢¸¡s.]
MÉÉxvÉ´Éæ % Ê{É |ÉªÉÉä H Ö ò & ¡ò±ÉÊ¨ÉÊiÉ iÉnù x ÉÖ º ÉÉ®ä ú hÉ ¶ÉÉ®ú Ò ®ú|ÉÉvÉÉxªÉÆ ¡ò±Éä nù Ì ¶ÉiÉ¨ÉÂ * MÉÉxÉä
iÉÖ ¸ÉÉä i ÉÞ ¡ ò±É®úÊHò|ÉvÉÉxÉiÉä Ê iÉ MÉÉxÉºªÉ ={ÉEò®ú h ÉÒEÞ ò iÉÉä ¨ÉÖ Ê xÉxÉÉ*
In g¡ndharva, th e fruit belongs to the practitioner, and in view of

this end, his voice / physical equipment is the principal [performer, and
is not an aid serving some other end]. In g¡na, since the delight yielded
to the listener is the primary end, singing / voice b ecomes an
implement, according to the sage.
[By 'pray°kt¡' all the performers involved in g¡ ndh arva are

meant, singers, as well as, players on instruments. The difference
between g¡ndharva and g¡na lies in the purpose they serve. While th e
former is music for its own sake, the latter is the music which assists
the effective performance of n¡¶ya.]
iÉÉ±É¦ÉÉMÉä iÉÖ PÉxÉÉ´ÉxÉrù ª ÉÉä Ì xÉ´Éä ¶ É& * {Énù É Æ ¶ Éä wÉÖ ´ ÉÉvªÉÉªÉºªÉÉä { ÉªÉÉä M É& *
The ghana and avanaddha classes of instrument participate in the

time-regulation aspect <t¡labh¡ga> (of music). As for the verbal
aspect <pad¡Æ¿a>, the chapter on dhruv¡s (speaks of) its purpose.
[AB anticipates the definition of g¡ndhararva as svara-t¡la-pada,

in allotting their execution to the different classes of instrument/
context.]
xÉ SÉè i ÉnÂ ù M ÉÉxvÉ´ÉÇ º ÉÉ®úÉÊ¦É¹ªÉxnù i ´É¨ÉxÉä x É ÊxÉÌ¨ÉiÉ¨ÉÂ * ºÉÉ¨É¦ªÉÉä MÉÒiÉÊ¨ÉÊiÉ Ê½þ

{ÉÉ®ú¨{ÉªÉæ h É ºÉÉ¨É´Éä n ù É ä n Â ù ¦ ÉÚ i ÉÆ xÉ ¥ÉÀMÉÒiÉ|É¦É´Éi´ÉÉnÂ ù M ÉÒiÉºªÉ ºÉÉ¨ÉEòÉ®úhÉi´É¨ÉÖ H Æ ò * iÉä x É
|ÉlÉ¨ÉÆ VÉÉiªÉÉÊnù ± ÉIÉhÉÆ ÊxÉ°üÊ{ÉiÉ¨ÉÂ *
+iÉºiÉiÉÉiÉÉä t ºªÉè ´ É |ÉlÉ¨É¨ÉÊ¦ÉvÉÉxÉÆ , º´É®úÉhÉÉÊ¨ÉÊiÉ iÉjÉè ´ É º´É®ú ± ÉÉ¦É <iªÉÖ H ò¨ÉÂ *
iÉä ¹ ÉÉÆ iÉÖ {ÉÞ l ÉMÉÖ q ä ù ¶ Éä |ÉªÉÉä V ÉxÉ¨ÉxiÉ®ú É ±ÉÉ{ÉºÉÆ O É½þ É ä xÉÉ¨É EòÉC´ÉvªÉÉªÉ B¹ÉÉÆ {ÉÚ ´ ÉÇ ¨ ÉÖ Ê nù i ÉÉ xÉÉ¨Éä ´ É*
ËEò SÉ ..... pÚ ù { ÉÊ¨ÉiªÉÉiÉÉä t ºªÉè ´ É º´É°ü{ÉÆ ´ÉÉSªÉÊ¨ÉÊiÉ xÉ Eònù É ÊSÉnù º ÉÆ M ÉÊiÉ&*
[The next two sentences are not very clear. But the sense intended seems to be
that, all that comes within the fold of music, is not covered in this analysis. Although
the tradition of deriving g¢ta (song) from s¡mans makes it 's¡mav®da-born', since it
has originated (immediately) from brahmag¢ta (g¡ndharva?), its s¡ma origin will not be
7
elaborated on.] So topics such as j¡ti [relating to g¡ndharva / current practice] will
be first taken up for description.
The string instrument class has been placed fir st in the
enumeration, as it is in these, that svaras (tones) attain their tonality /
euphon y (relevant to music). These (svaras) have already b een
enumerated in another set of topics, relating to dialogue, in the K¡ku
chapter, where they serve a different purpose. [Some words are missing
in the following sentence. But the purport seems to be - there is no
impropriety in basing the treatment of music on the description of
musical in struments.]
±ÉIÉhÉÉÎx´ÉiÉÊ¨ÉÊiÉ iÉnù x ªÉºªÉ ÊxÉ®ú É ºÉÉnù x ÉÖ Ê SÉiÉºªÉÉÊ{É ´ÉÉtÉxiÉ®ú º ªÉ iÉº¨ÉÉ±±ÉIÉhÉÆ

xÉ EÞ ò iÉÊ¨ÉiªÉÉ½þ * ªÉº¨ÉÉÊnù n ù ¨ Éä ´ ÉÆ Ê´ÉYÉä ª ÉÆ - BiÉx¨ÉvªÉ B´É ºÉ´ÉÇ ¨ ÉxiÉ¦ÉÇ ´ ÉÊiÉ, iÉnä ù i Énù R Â ó MÉi´ÉÆ
ËEòÊSÉtÉÊiÉ, ËEòÊSÉi{ÉÖ x É®úxªÉÎº¨ÉxÉÂ ºÉÊiÉ iÉnÖ ù { ÉªÉÉäÊ MÉ* iÉlÉÉÊ½þ
{ÉÉ]õÉÊnù { ÉÖ ¹ Eò®ú´ÉÉtºªÉè ´ ÉÉRÂ ó MÉÉ-nù x ªÉjÉ b÷ É ä ¨ ¤ÉÒ¶SÉÉ]Ö õ E òÉnù Ò xÉÉÆ xÉÉÎºiÉ* +xªÉzÉÉ]õ¬Éä { ÉªÉÉä Ê MÉ
¨ÉÉVÉÇ x ÉÉ¨ÉÉMÉÉÇ x ÉÖ ª ÉÉiÉ& º´É®ú´ÉhÉÇ - ºÉÆ ¤ ÉÉä v Éä x ÉÉiªÉxiÉ´ªÉ\VÉEòi´ÉÉªÉÉä M ÉÉVV´ÉÉ±ÉÉ{É]Â õ ] õ¡ò±ÉEò-
´ÉÉnù É nù { Éä . .....´É¨ÉÉVªÉÇ ¨ ÉªÉ& ºÉ´ÉÈ Ê½þ SÉiÉÖ Ì ´ÉvÉºªÉä ½ è þ ´ ÉÉä H òºªÉ
ËEòÊSÉnÆ ù ¶ É¨ÉxÉÖ º É®ä ú nä ù i Éi|ÉEÞ ò iªÉä ¦ ªÉÉä ´Éä Ê iÉ ¨ÉxiÉ´ªÉ&*
By 'lakÀa¸¡nvitaÆ' (in the verse, th e sage means that) all that falls
outside th at (lakÀa¸a = specifications spelt out) will be excluded. Hence
instruments which are not fit (for n¡¶ya / g¡ndharva) will not be
described. By this is meant - Under these (four classes) all
(instruments) are logically included. But while some are part of this
(n¡¶ya / g¡ndharva), some are found in other sph eres and are of u se
there. [The next few sentences are not cl ear, but the purport seems to
be that p¡¶a etc. (drum syllables ? / pa¶a, an instrument?) belong to
the playing of drum / drum class, and are not used in other contexts
like ·°mb¢ (dance) and c¡¶u (pleasing speech) (in n¡¶ya?). Only those
(syllables) which are effected by the mode of playing involving rubbing
/ stroking, can serve n¡¶ya. Other percussion instru ments / effects
such as jv¡l¡, pa¶¶aphalaka / pa¶¶a and phalaka, which are h arsh
sounding (lit. consonants) cannot provide suitable accompaniment to
the undulation of tone, call ing etc. (involving vowels / tones, in n¡¶ya).
All the four kinds (of instrument) named here have to be made use of
judiciously, depending upon the situation (in n¡¶ya).] (1)
8
[In the sixth ch apter, AB on the same verse, elaborates th e

phrase 'lakÀa¸¡nvitam' in the following manner. "Everything else, such
as mallaka, pa¶a, phalaka, jv¡l¡mukha / jv¡l¡ etc., pakÀav¡dya /
accompanying instruments, belonging to common practice <laukika>,
has been kept out of this enu meration. This will be thrown ligh t on at
the end. .... Not all th e numerous kinds of skin -co vered instruments
satisfy the description / criteria, to be spelt out (in a later chapter)."
(The term ¡t°dyam is expl ained as) "'¡t£dyat®' means 'is beaten /
struck'."]
--------------------------------------------------------------------------------
iÉiÉÆ iÉxjÉÒEÞ ò iÉÆ 1 YÉä ª É¨É´ÉxÉrÆ ù 2 iÉÖ {ÉÉè ¹ Eò®ú¨ÉÂ *

PÉxÉÆ 3 iÉÉ±ÉºiÉÖ Ê´ÉYÉä ª ÉÆ 4 ºÉÖ Ê ¹É®Æ ú 5 ´ÉÆ ¶ É 6 =SªÉiÉä 7 **2**
(By) 'tatam' (the class) formed by the string instruments should
be comprehended, and (by) 'avanaddham' (the class) of drums. (By)
'ghanam' t¡la (cymbals) should be understood. (By) 'suÀiram' the
bamboo flute is meant (lit. the bamboo flute is called suÀiram). (2)
SÉÉiÉÖ Ì ´ÉvªÉÆ {ÉÚ ´ ÉÉæ H ò¨Éä ´ É º¨ÉÉ®úªÉÊiÉ iÉiÉÆ iÉxjÉÒEÞ ò iÉÊ¨ÉiªÉÉÊnù * iÉxjÉÒhÉÉÆ (EÞ ò iÉÆ
iÉiÉ¨ÉÂ ) SÉÉ¨ÉÇ ¤ ÉxvÉi´ÉÉnù ´ ÉxÉrù¨ÉÂ * ¨ÉÚ Ì iÉEòÉÊ`öxªÉä x É PÉxÉÆ iÉnù x ÉÖ º ÉÉ®ä ú hÉ
®úºÉ¦ÉÉ´ÉÉä { ÉªÉÉä Ê MÉÊ´ÉÊ¶É¹]-õ ´ ÉhÉÇ u ù É ®ä ú h É SÉ xÉÉä { ÉªÉÖ V ªÉiÉ <ÊiÉ ºÉÉ¨ªÉ¨ÉÉjÉÉä { ÉªÉÉä Ê MÉi´ÉÉkÉÉ±É
<iªÉÖ H Æ ò PÉxÉ¨ÉÂ * ºÉÖ Ê ¹É®úÊ¨ÉÊiÉ {ÉÉ`ä ö +ÉiÉÉä t É{Éä I ÉÆ xÉ{ÉÖ Æ º ÉEÆ , Ê´É¶Éä ¹ ªÉÉ{Éä I ÉªÉÉ iÉi{ÉÖ Ê ±±ÉRÂó MÉä x É
Eä ò ÊSÉi{É`öÎxiÉ*
With 'tatam tantr¢k¤tam' etc. (the sage) recalls the definition of

the four classes (of instrument) wh ich h e has already given.
(NS,VI,28cd-29ab) (Tatam is made) of strings. Avanaddham is so called
because it is skin-bound. Because of its dense form (with no hollow,
the third class of instrument is) 'ghanam'. Since it cannot be
employed to follow and assist the rasa or bh¡va (of the situation) with
varied syllables (like the drums), but serves only one fun ction, namely,
that of regulating / synchronising (the flow of music / th e various
elements of the performan ce), ghanam is (simply) called ' t¡la'. The
reading 'suÀiram' is in the neuter gender, in keeping with ' ¡t°dyam'.
But some read it (as suÀiraÅ) in the masculine gender of that (word,
vaÆ¿a,) which it qualifies.
9
[In the sixth chapter version of this verse, all the four words,
ghana, t¡la, su¿ira and vaÆ¿a, are in the masculine gender, in the GOS
edn. And no variant readings h ave been mentioned there. And AB does
not offer any comment.
While Bharata has identified th e four classes of instrument with

the in struments which chiefly constitute them, Abhinava seems to be
distinguishing each type of instrument on the basis of its structure and
function.]
ºÉÖ Ê ¹É®úºªÉ º´É®úÉi¨ÉEòi´Éä % Ê{É iÉnù x ÉxiÉ®Æ ú iÉºªÉÉxÉÊ¦ÉvÉÉxÉÊ¨ÉÊiÉ SÉä z É, ´ÉÒhÉÉªÉÉ B´É
º´É®ú¦ÉÉMÉä |ÉÉvÉÉxªÉÉiÉÂ * vÉÉiÉÖ ´ ÉÉt¶Éä ¹ É¶ÉÖ ¹ Eò|ÉEÞ ò ÊiÉEòi´ÉÉSSÉÉ´ÉxÉrù º ªÉ iÉx¨ÉÉxÉÉä { ÉEòÉÊ®úi´ÉÉ -
SSÉ PÉxÉºªÉ, ´ÉÒhÉä ´ É ºÉÖ Ê ¹É®úºªÉ iÉiÉ B´ÉÉxÉÖ | É´Éä ¶ É&**
If it is pointed out, "Even though suÀira is a melody instrument, it
has not been named after that (tata class)", (the answer is) "No. Since
v¢¸¡ i s th e prime instrument con cerned with melody [it represents this
aspect adequately]." The ¿uÀka (non-speech nature) which
characterises (the sounds) produ ced by dh¡tu playing (on v¢¸¡), is th e
nature of avanaddha (sounds, too), and brings that next into the list,
followed by ghana, which provides th e measure for it. And, suÀira falls
into the same category as v¢¸¡, i.e., tata. (2)
[In the sixth chapter, AB on the same verse, gives th e following

explanation. "'PauÀkaram' is the term (applied to the drums), as th e
god (Sv¡ti, who had gone to the lotus pond for water), inspired by the
sound of (rain water splashing on) lotuses <puÀkara>, (fashioned
drums and) made the skin covering the sounding drum-head in the
shape of lotus leaves. 'Ghana' is so called because it is beaten
<hanyate> for regulating / synchronising the duration fractions (of th e
music / all the parts of the performance). Bronze cymbals etc.
<k¡Æsyat¡l¡di> are all referred to as t¡la, as their sole office is t¡la,
and th ey are not capable of producing tones and syllables [whi ch can
enhan ce the emotion of the situation in n¡¶ya]. Th e ' ®va' (after 'vaÆ¿a'
in the verse) rules out k¡hala and oth er (blown instruments)."]
[The '®va' occurs in the verse in the sixth chapter. Now in the
twentyeighth ch apter, the reading in most of the editions is 'ucyat®'.
10
Only the K¡vyam¡l¡ edn. reads '®va ca' in this chapter, too. All the
mss. from Nepal, too, have this reading.
AB seems to be pointing out the identification of the instrument

with the fun ction, in the case of ghana, by drawing attention to the
common term 't¡la', applied to all t¡la-maintaining in struments, such
as the bronze cymbals. And the reason seems to be that they all serve
only one function, namely, providing the time measure to all the
components of a performance, and are not meant for varied
expressive usag e, like th e different melody instruments and drums.]
--------------------------------------------------------------------------------
|ÉªÉÉä M ÉÎºjÉÊ´ÉvÉÉä 1 Áä ¹ ÉÉÆ 2 Ê´ÉYÉä ª ÉÉä xÉÉ]õ E òÉ¸ÉªÉ& 3 *

iÉiÉ¶SÉè ´ ÉÉ´ÉxÉrù ¶ SÉ 4 iÉlÉÉ xÉÉ]õ¬EÞ ò iÉÉä % {É®ú& 5 **3**
iÉiÉ& 1 EÖ ò iÉ{ÉÊ´ÉxªÉÉºÉÉä 2 MÉÉªÉxÉ& 3 ºÉ{ÉÊ®úOÉ½þ & 4 *
´Éè { ÉÎ\SÉEòÉä 5 ´Éè Ê hÉEò¶SÉ 6 ´ÉÆ ¶ É´ÉÉnù º iÉlÉè ´ É 7 SÉ **4**
These (four classes of instruments) function / combine
<pray°ga>, along with the actors (lit. in the context of drama), in three
units - tatam (providing melody) and avanaddham (providing rhythm),
the other (third unit) n¡¶yak¤ta (providing enactment). (3)
The providers of melody <tata> grouped into one unit

<kutapaviny¡sa> are - the singer clasping (the t¡la) in his hands, the
player on vipaµc¢ and the player on v¢¸¡, the flautist and others in the
same line. (4 )
iÉiÉºiÉÖ iÉjÉ SÉiÉÖ Ì ´ÉvÉÉiÉÉä t ¨ÉÖ { É®ú\VÉEò¨ÉÂ * ={É®ú\VÉxÉÒªÉi´ÉÉ [ ºi´É? ] Ê¦ÉxÉªÉ <ÊiÉ
iÉªÉÉä ® ä ú E òºÉÊzÉ´Éä ¶ ÉÉi¨ÉEò& ºÉ¨ÉÚ ½ þ & EòiÉÇ ´ ªÉ&* iÉjÉ SÉiÉÖ Ì ´ÉvÉ¨É{ªÉÉiÉÉä t Æ º´É®ú i ÉÉ±É|ÉÉvÉÉxªÉÉnÂ ù
Îuù Ê ´ÉvÉÆ EÞ ò iÉÆ iÉiÉ¨É´ÉxÉrÆ ù SÉä Ê iÉ* ºÉÖ Ê ¹É®úPÉxÉªÉÉä & Gò¨Éä h É iÉnù R Â ó MÉi´ÉÉnù Ê ¦ÉxÉªÉä x É SÉ {ÉÉjÉ´ÉMÉÇ
+ÉÊIÉ{iÉ <ÊiÉ jÉªÉ& ºÉ¨ÉÚ ½ þ É & EÖ ò iÉ{É¶É¤nù ´ ÉÉSªÉÉ&* EÖ ò iÉÆ ¶É¤nÆ ù {ÉÉÊiÉ, EÖ Æ ò SÉ ®ú R Â ó MÉÆ
iÉ{ÉiªÉÖ V V´É±ÉªÉÊiÉ (´ÉÉ)**
So all the four kinds of instrument aid in enhancing the appeal /

effect (of n¡¶ya). That (part of n¡¶ya) which is aided thus, is abhinaya
(enactment). These two (the aids and the principal part) have to be
grouped into units, each with a single basis. The four kinds of
instruments have been conceptually divided into two groups, tata and
11
avan addha, on the basis of the relative importance of melody and time
measure in each. SuÀira and ghana are members of tata and
avan addha, respectively, and abhinaya calls for the group of actors /
dancers. H ence three groups are named by the term ' kutapa'. (Kutapa)
fosters / protects <p¡ti> expression <kutam = ¿abdam>. Or (kutapa)
warms up / brightens <tapati> the stage <kum = ra´gam>.
[Anbhinava prepares the ground for the description of t he three

kutapas engaged in the performance of n¡¶ya, which Bharata is going to
take up in th e following verses, with a long introduction.]
iÉnä ù i Énù É ½þ |ÉªÉÉä M ÉÎºjÉÊ´ÉvÉÉä Áä ¹ ÉÉÊ¨ÉÊiÉ * B¹ÉÉÆ SÉiÉÖ h ÉÉÇ ¨ ÉÉiÉÉä t ÉxÉÉÆ xÉÉ]õEòÉ¸ÉªÉÉä
xÉÉ]õ E òMÉiÉ{ÉÉjÉ´ÉMÉÇ º ÉÊ½þ i ÉÎºjÉ|ÉEòÉ®ú& |ÉEò¹Éæ h É ªÉÉä M É& ºÉ¨ÉÚ ½ þ Ò ¦ÉÉ´É&, ªÉiÉ& º´ÉªÉÆ uù É è ºÉ¨ÉÚ ½ þ Éè
xÉÉ]õ ¬ Éä { ÉªÉÉä M ÉÒ {ÉÉjÉ´ÉMÉÉÇ i ¨ÉÉ SÉ iÉÞ i ÉÒªÉ& * iÉnù É ½þ xÉÉ]õ ¬ EÞ ò iÉÉä % {É®ú <ÊiÉ *
So (going to the subject of kutapa), (the sage makes the next

statement) pray°gastrividh° hy®À¡Æ.... Of these <®À¡Æ>, i.e., of the
four classes of instruments, in the context of drama < n¡¶ak¡¿raya>,
i.e., in the company of actors / dancers playing roles in the drama , the
right combination <prakarÀ®¸a y°g aÅ>, i.e., grouping, results in three
units. Since there are already two groups (formed by th e instruments),
the group of actors makes the third. So the group of actors has b een
referred to as 'the other' <n¡¶yak¤t° aparaÅ>.
[Bh arata has spoken of four classes of instruments and three

modes of their functioning in n¡¶aka. Abhinava h as to bridge the gap
between the musical instruments and the enactment of n¡¶ya, which
requires other performers, besides the musicians. And, beginning from
the number, four, qualifying the groups of musical instruments, h e h as
to arrive at the number, three, qualifying the groups responsible for the
various aspects of n¡¶ya. H e first of all groups th e instruments under
two heads, so that the third task, namely, enactment, can be brought
in. The term 'n¡¶ak¡¿raya' has to be stretched to yield the sense of
'actors'. And he analyses the term 'pray°ga' into its nominal base and
prefix, to arrive at the notion of combination / grouping, so that the
formation of kutapa can be introdu ced.]
12
ªÉtÊ{É iÉxÉxÉÉ´É½þ x ÉxÉºÉÉè Ê ¹ÉªÉÇ Ê xÉ¤Érù i ´Éä x É ºÉÆ E òÒhÉÇ i ´ÉÉÊnù iÉlÉÉ{ªÉä E òÉä { ÉªÉÉä M ÉEÞ ò iÉÉä
´ªÉ{Énä ù ¶ É&* iÉxÉxÉä x É Ê½þ º´É®ú | ÉÉvÉÉxªÉÆ , iÉSSÉ xÉ {ÉÖ ¹ Eò®ú É nù ´ É½þ x ÉxÉä x É ´ÉhÉÉÇ x ÉÖ º ´ÉÉ®ú &
ºÉ¨É(xÉ)iÉxjªÉÉnù É è * B´É¨ÉxªÉjÉÉÊ{É ´ÉÉSªÉ¨ÉÂ *
Although stretching / pulling and striking, and blocking holes

(involved in the playing of string instruments, and flutes) make (th e
composition of th e tata kutapa) mixed, the designation (tata) is
applicable indirectly (to the flutes and voice too), as they all perform
one function (of providing melody). In the pulling (of the string) melody
is the first object, and th at is not the case / is not possible with the
beating of dru ms, who se object is the production of syllables. [So
the object of the avanaddh a kutapa is distinct from that of the tata
kutapa.] In the same way (its distinct identity) can be explained in the
case of the other (n¡¶ya kutapa), too.
iÉjÉ iÉiÉÉÊ¦ÉvÉÉxÉ& EÖ ò iÉ{É& ÊGòªÉiÉÉÆ ºÉ¨ÉÚ ½ þ <iªÉÉ½þ iÉiÉ&EÖ ò iÉ{ÉÊ´ÉxªÉÉºÉ <iªÉÉÊnù *

{ÉÊ®ú O É½þ É ä MÉÉªÉEòºªÉ iÉtlÉÉ .... EòÉÆ º ªÉiÉÉÊ±ÉEòÉ½þ º iÉÉ, Ê´É{É\SÉÒ +{ÉÚ h ÉÇ i ÉxjÉÒEòÉ
EòÉä h É´ÉÉnù x ÉÒªÉÉ, ´ÉÒhÉÉi´Éä E òË´É¶ÉÊiÉiÉxjÉÒEòÉ* SÉEòÉ®úÉnù x ªÉÉºÉÉÆ ´ÉÒhÉÉxÉÉÆ ºÉÆ O É½þ & * iÉlÉè ´ É
SÉä Ê iÉ +{É®úºÉÖ Ê ¹É®ú{ÉÊ®úOÉ½þ&*
To instruct "Form the group for the kutapa named 'tata'", (the
sage makes the next statement) 'tataÅkutapaviny¡sa" etc. 'Parigraha'
is the singer's ....- that is as follows ....... holding the bronze
cymbals in his hands. Vipaµc¢ does not have the full complement of
strings. It is played with a k°¸a. V¢¸¡, of course, has twentyone
strings. The 'and <ca>' in the verse means that oth er v¢¸¡s are also
included in the group. The phrase 'ta thaiva ca' means th at other
kinds of wind instruments < suÀira> are included. (3 -4)
['Parigraha' seems to quaintly refer to the cymbals clasped in

the singer's hands. This seems to be a more reasonable interpretation
of 'parigraha' than the word 'bh¡ry¡' given within brackets in the
GOS edn., obviousl y, by th e editor. The word is 'g¡yakasya', and th e
'd' after 'h ast¡' is missing, in the GOML ms.
The reading 'vaÆ¿av¡daka ®va ca', provided by other sources
would be in keeping with the sixth chapter version of verse 2 of this
chapter. AB has interpreted that verse as proscribing other wind
13
instruments such as k¡hala in n¡¶ya. But here he says other wind

instruments are included, by taking the reading 'tathaiva ca'. ]
--------------------------------------------------------------------------------
¨ÉÉnÇ ù Î RÂ ó MÉEò& {ÉÉhÉÊ´ÉEòºiÉlÉÉ nù É nÇ ù Ê ®ú E òÉä % {É®ú& 1 *

+´ÉxÉrù Ê ´ÉvÉÉ´Éä ¹ É 2 EÖ ò iÉ{É& ºÉ¨ÉÖ n ù É ¾þ i É& 3 **5**
In the regulation of avanaddh a (in n¡¶ya), the kutapa has been
prescribed (to be formed by) the players on m¤da´ga, pa¸ava and
dardara. (5)
+lÉÉ´ÉxÉrù ® ú É Ê¶É¨ÉÉ½þ ¨ÉÉnÇ ù Î RÂ ó MÉEò <iªÉÉÊnù * ¨ÉÞ n ù R Â ó MÉÉxÉÒÊiÉ {ÉÖ ¹ Eò®úÉÊhÉ,

{ÉhÉ´ÉÉä % xiÉ-ºiÉxjÉÒEòÉä ½Ö þ b Ö ÷ R Â ó EòÉEòÉ®ú&* nù n Ö Ç ù ® ú É ä ¨É½þ É PÉ]õÉEòÉ®ú & * iÉlÉè ´ É SÉä Ê iÉ
´ÉSÉxÉÉx¨ÉnÇ ù ± ÉEò®ú ] õ É Ên-ù º ÉÆ O É½þ&* EòÉÆ º ªÉiÉÉÊ±ÉEòÉºiÉÖ MÉÒiÉ´ÉÉtªÉÉä & ºÉÉ¨ªÉÉ{ÉÉnù x ÉÉlÉÉÇ & ,
iÉiÉEÖ ò iÉ{É B´É ªÉÖ H òÉ&**
Then (the sag e) names the members of the avanaddha group -

the player on m¤da´g a <m¡rda´gika> etc. M¤da´gas are drums
<puÀkara>. Pa¸ava h as strings within, and is in th e shape of a
hu·u´ka. Dardura has the shape of a large pot. Th e phrase 'tathaiva
ca' means that mardala and kara¶a are also included. The bronze
cymbals are employed to bring about regular flow / syn chrony in the
execution of melody <g¢ta> and rhythm <v¡dya>, and are included in
the tatakutapa itself [held in the sing er's hands]. (5)
[But the phrase 'tath aiva ca' does not occur in the verse, in the
GOS edn., and is not availabl e as a variant reading.
I n this context, 'v¡dya' as contrasted with 'g¢ta', refers to th e
contribution of the drums, which abstract the rhythmic ordering of
durations in music.]
--------------------------------------------------------------------------------
=kÉ¨ÉÉvÉ¨É¨ÉvªÉÉÊ¦ÉºiÉlÉÉ 1 |ÉEÞ ò ÊiÉÊ¦ÉªÉÖ Ç i É& 2 *

EÖ ò iÉ{ÉÉä xÉÉ]õ¬ªÉÉä M Éä 3 iÉÖ xÉÉxÉÉnä ù ¶ ÉºÉ¨ÉÉ¸ÉªÉ& 4 **6**
The n¡¶ya-kutapa is composed of superior, inferior and middle
level personalities [i.e., actors personating them], who can take
positions at different regions [of the stage, unlike the tata and
14
avan addha kutapas, which are stationed at a fixed place in the

theatre]. (6)
+lÉ xÉÉ]õ ¬ EÖ ò iÉ{É¨ÉÉ½þ =kÉ¨ÉÉvÉ¨É¨ÉvªÉÉÊ¦ÉÊ®úÊiÉ* =kÉ¨ÉÉÊnù | ÉªÉÉä H ò´ªÉÉä Ê SÉiÉ&

{ÉÉjÉºÉ¨ÉÚ ½ þ <iªÉlÉÇ & * iÉÖ & {ÉÚ ´ ÉÇ i ÉÉä Ê´É¶Éä ¹ É&, iÉiÉÉ´ÉxÉrù ª ÉÉä & EÖ ò iÉ{ÉªÉÉä Ì xÉªÉiÉnä ù ¶ ÉiÉÉ
{ÉÖ ¹ Eò®úÉvªÉÉªÉä ´ÉIªÉiÉä * xÉÉ]õ ¬ EÖ ò iÉ{ÉºªÉ iÉÖ |ÉªÉÉä M Éä ¨ÉÉ¦ÉÚ n ù ´ ªÉ´ÉÊvÉÊ®ú Ê iÉ ºÉÊzÉÊvÉ¨ÉÉjÉ¨ÉÖ { Éª ÉÉä Ê MÉ
xÉ iÉÖ nä ù ¶ ÉÊxÉªÉ¨É&* iÉnù É ½þ xÉÉxÉÉnä ù ¶ Éä Ê iÉ* |É´ÉÞ k ªÉÖ { ÉªÉÉä M ÉÉä % xÉä x É EòÊlÉiÉ <iªÉ{É®ä ú **
Then he describes th e group of actors <n¡¶yakutapa> (enacting

personalities) of superior, low and middle <uttam¡dhamamadhy¡bhiÅ>
(levels). This means that the troupe of actors must be fit / equipped for
donning the roles of superior and other characters. The 'tu' (in the
verse) is to distinguish (this group, in the matter of lo cation,) from the
previou s (tata and avanaddha groups). We shall see in the PuÀkara
chapter, that the tata and avanaddha kutpas have their location fixed (in
the theatre). [They are seated / stationed at th eir allotted places and
do not move about the stage.] But the n¡¶yakutapa must not b e
restricted in its enactment (of the play, to a fixed location). Th e
presence (of its memb ers) in the vicinity (of the stage), is enough for
its functioning, and no fixed position (is possible on the stage, for this
n¡¶yakutapa). H ence (the sage) speaks of different places
<'n¡n¡d®¿a'> (occupied by the actors on the stage). Others take this
phrase to refer to the employment (of this kutapa) in the service of
prav¤tti (representing the various regional ways of speech and
behaviour, peculiar to different characters). (6)
[The reading 'pratyupay°g°' in the GOS edn., has to be

replaced by the variant 'prav¤tyupay°g°', available in the GOML ms.]
--------------------------------------------------------------------------------
B´ÉÆ MÉÉxÉÆ 1 SÉ ´ÉÉtÆ 2 SÉ xÉÉ]õ¬Æ 3 SÉ Ê´ÉÊ´ÉvÉÉ¸ÉªÉ¨ÉÂ * 4

+±ÉÉiÉSÉGò|ÉÊiÉ¨ÉÆ EòiÉÇ ´ ªÉÆ xÉÉ]õ¬ªÉÉä H Þ ò Ê¦É& 5 **7**
Melody, drumming and enactment, which rest on different bases
(in performance and perception), must(, however,) be fashioned (fused)
like the (glowing) ring created by a (swiftly turned) firebrand, by the
directors of n¡¶ya. (7)
15
xÉx´Éä i Éä jÉªÉ& ºÉ¨ÉÚ ½ þ É & ËEò {É®úº{É®ú¨ÉxÉ{Éä I ÉÉ B´É, xÉä i ªÉÉ½þ B´ÉÆ MÉÉxÉÆ SÉ ´ÉÉtÆ SÉä Ê iÉ*
jÉªÉÉä % {ªÉä i Éä ºÉ¨ÉÚ ½ þ É BEòÒ¦ÉÉ´ÉÆ xÉä ª ÉÉ <ÊiÉ ªÉÉ´ÉiÉÂ , xÉ {ÉÖ x É®ä ú EòÉä MÉÉªÉEòÉä ¨ÉÉnÇ ù Î RÂ ó MÉEò
=kÉ¨É{ÉÉjÉÊ¨ÉiªÉÉÊnù x ÉÉ {ÉÖ ¯ û¹ÉÉ B´É nù Ì ¶ÉiÉÉ&*
Now the qu estion may arise - Are these three groups / members of
these three groups independent of each other? No, (they are not).
(Tthe sage) explains this (in the next statement,) ' ®vam g¡naÆ ca
v¡dyaÆ ca'. All the three groups must become on e (severally and
collectively). So the men serving (n¡¶ya) are not indicat ed in isolation /
haphazardly, by (enumerating) 'on e singer, dru mmer, actor of superior
part, etc.'
[By 'g¡nam', 'v¡dyam' etc., which are in singular number and

neuter gender, th e unified functioning of each kutapa is shown.]
xÉxÉÖ MÉÉxÉÉnù Ò xªÉÉ¶ÉRÂ ó CªÉÉ½þ Ê´ÉÊ´ÉvÉÉ +É¸ÉªÉÉ ªÉºªÉä Ê iÉ* xÉÊ½þ |ÉªÉÉä C jÉxÉ{Éä I Éi´ÉÆ
MÉÉxÉÉnù Ò xÉÉÆ ´Énù Ê iÉ* =HÆ ò SÉ ...... ªÉixÉÊ¨ÉÊiÉ ºÉÆ { ÉÉtÊ¨ÉÊiÉ ªÉÉ´ÉiÉÂ * iÉº¨ÉÉnù j É ªÉixÉ
<iªÉä i Énä ù ´ ÉÉ½þ * ªÉº¨ÉÉÎù u ù Ê ´ÉvÉÉ¸ÉªÉÆ Ê¦ÉzÉä Î xpù ª ÉOÉÉÁÊ´ÉÊ´ÉvÉÊGòªÉÉ°ü{ÉÆ , iÉº¨ÉÉtixÉä x ÉÉºªÉè E òiÉÉ
iÉiºÉÆ { ÉÉtÉ, ªÉä x Éè E ò¤ÉÖ Ê rù Ê ´É¹ÉªÉiÉÉ ºÉÉ¨ÉÉÊVÉEòºªÉ MÉSUä ô iÉÂ * +±ÉÉiÉiÉä V É&EòhÉÉä Ê½þ xÉ ´ÉºiÉÖ i ÉÉä
ªÉÖ M É{Énù x Éä E ònä ù ¶ ÉºÉÆ ¤ ÉxvÉÒ, ±ÉÉPÉ´ÉªÉixÉä x É iÉÖ iÉlÉÉiÉlÉÉ ºÉÉ¨ªÉ¨ÉÉ{ÉÉÊnù i É¨ÉÂ * B´ÉÆ |ÉªÉÉä M ÉÉä % Ê{É
iÉlÉÉÊ{É xÉè E òÊGòªÉÉi¨ÉÉ ºÉÉ¨ªÉÉ{ÉÉnù x ÉÉªÉ....... ixÉä x É iÉÖ iÉlÉÉ ºÉ¨{ÉÉÊnù i É <iªÉä i Énù É ½þ
+±ÉÉiÉSÉGò|ÉÊiÉ¨ÉÊ¨ÉÊiÉ*
Anticipating the doubt "Are g¡na etc. (which are discrete products,
amen able to unification?", the sage) says 'whi ch have different bases
<vividh¡ ¡¿ray¡>' [and thereby brings in their agents]. He does not
speak of g¡n a etc. without relating them to t heir performers. [The next
senten ce is broken, but the purport seems to be - An effort is required,
on the part of the performers, to bring about the oneness of the
various elements.] Therefore, to show that (th eir) effort is needed
here, he says this. As it (n¡¶ya) rests on various supports
<vividh¡¿rayam>, i.e., is grasped by different organs of perception,
and takes shape in a variety of activities, effort mu st be made to
achieve unity, so that it focusses the attention of the viewer. The
flame of a firebrand is, in reality, never at several places at the same
time; it is only through skilled handling that the homog eneous effect
[of a ring of fire] is created. Similarly the performance (of n¡¶ya) do es
16
not involve a single activity...... for achieving the oneness of effect,

effort is needed. (The sage) expresses this with the example of the
firebrand <al¡tacakrapratimam>.
xÉxÉÖ ºÉÉ¨ÉÉxªÉÉÊ¦ÉxÉªÉä% vªÉÉªÉä BiÉnÖ ù H Æ ò , ºÉiªÉÆ iÉk´ÉÊ¦ÉxÉªÉÊ´É¹ÉªÉÆ , <nÆ ù iÉÖ

MÉÒiÉ´ÉÉtxÉÉ]õ¬ÉxÉÉÆ {É®úº{É®úºªÉ Ê´É¹ÉªÉ¨ÉÂ *
But this (effort at unity) has already been mentioned in the chapter
on S¡m¡nya-abhin aya. True, but there it h ad to do with abhinaya
(enactment); here it has to do with the mutual relation between g¢ta
(melody), v¡dya (rhythm) and n¡¶ya (dance / acting).
[AB explains the unity to be achieved in abhinaya, with the

example of the firebrand, in the chapter on s¡m¡nya-abhinaya.
(NS,XXII,74-75, GOS edn.)]
xÉxÉÖ Eòº¨ÉÉiÉÂ jÉú ª ÉÉä ®úÉ¶ÉªÉ& EÞ ò iÉÉ&, <iªÉÉ¶ÉRÂ ó EòÉ¨ÉxÉä x Éè ´ ÉÉ{ÉºÉÉ®úªÉÊi É B´ÉÆ MÉÉxÉÆ SÉä Ê iÉ*
xÉÉ]õ ¬ Æ iÉÉ´ÉnÖ ù { É®ú\VÉxÉÒªÉ¨ÉÂ * ºÉÉ¨ÉÉxªÉÉÊ¦ÉxÉªÉä % Ê¦ÉxÉªÉ¤É±ÉÉnä ù E òi´ÉÆ xÉÒiÉ BEòÉä ®ú É Ê¶ÉÊ®ú Ê iÉ
xÉÉjÉ Ê´É´ÉÉnù & * º´É®ú M ÉiÉ®ú É Ê¶É¶SÉÉxªÉÉä x ªÉºÉÆ Ê ¨ÉÊ±ÉiÉÉä % ±ÉÉiÉSÉGò´ÉiÉÂ EòÉªÉÇ & *
Ê´ÉÊ´ÉvÉÉ¸ÉªÉÉä % Ê{É ´ÉÒhÉÉ´ÉÆ ¶ ÉMÉÉjÉÉÊnù M ÉiÉÉä % Ê{É ´ÉÉtÊ´ÉÊvÉ®ä ú EòÒ¦ÉÉ´ÉÆ xÉä ª É <ÊiÉ jÉªÉÉhÉÉ¨É{ªÉlÉ
OÉÉºÉÒEò®úhÉÊ¨ÉÊiÉ ªÉÖ H ò¨ÉÖ H ò¨ÉÂ *
The doubt "Why have [all the] three groups been taken up [here,
when we are dealing with th e subject of music?"] is removed by this
very [act of keeping them together] in 'Thus melody and <®vaÆ
g¡naÆ ca>...'. N¡¶yam is [the main core] to be adorned / aided [by
the other elements]. In the enactment (of th e drama), one group
functions in unity, under the powerful influence of acting [which
dissolves the actors' identities]. There is no dispute regarding this.
[But] the group responsible for melody has to be unified (with effort),
like the turn ed firebrand. So, for effecting unity in the operation of the
orchestra, which rests on many (kinds of instruments) - v¢¸¡, flute and
voice, and then, for drawing all the three [participants in n¡¶ya, into
one whole], the prescription [covering all the three parts of the
performance, along with the example] has been aptly expressed.
17
xÉx´Éä ´ ÉÆ ®ú É Ê¶ÉjÉªÉä % Îº¨ÉzÉä E òÒ¦ÉÚ i Éä |ÉªÉÉä M ÉºÉ¨ªÉCi´ÉÉ{ÉÊiÉiÉ±ÉIÉhÉÉ ÊºÉÊrù ¦ ÉÇ ´ ÉÊiÉ, iÉlÉÉ SÉ

MÉÒiÉ´ÉÉtnù É ä ¹ ÉÉ +Ê{É ÊºÉÊrù Ê ´ÉPÉÉiÉEòÉ =HòÉ&* iÉiÉ¶SÉ ÊºÉÊrù º ´É°ü{ÉÆ MÉä ª ÉÉÊvÉEòÉ®úºªÉ
{É¶SÉÉuù H ò´ªÉ¨ÉÂ *
+iÉ B´É Ê½þ ºÉÊiÉ MÉÒiÉ´ÉÉtxÉÉ]õ ¬ EÞ ò iÉÉ ÊºÉÊrù Ê ®ú i ªÉÖ H ä ò ÊiÉ ËEò |ÉvÉÉxÉÆ ÊE ò¨ÉRÂ ó MÉÊ¨ÉÊiÉ
¦ÉÉMÉä ºÉÆ ¶ ÉªªÉiÉä * {ÉÚ ´ ÉÇ ¨ Éä ´ É iÉÖ ÊºÉÊrù Ê xÉ°ü{ÉhÉä Ê½þ iÉÉ´ÉiÉÂ |ÉªÉÉä M Éi´ÉÊ¨ÉÊiÉ {ÉÊ®úYÉÉiÉ¨ÉÂ *
iÉºªÉÉä { É®ú\VÉxÉÒªÉiÉÉä H òÉ ¦É´ÉÊiÉ, ¨ÉvªÉÉ´ÉÎºlÉiÉä x É SÉ ÊºÉÊrù Ê xÉ°ü{ÉhÉä
+ÉEòÉÎRÂó IÉ´ÉnÖ ù { É®ú\VÉEò-´ÉMÉÉæ % Ê{É º{ÉÞ ¹ ]õ B´É ¦É´ÉÊiÉ*
But, when the three groups have to function as on e, the criterion /

goal called siddhi (success), which go verns the proper performance [of
n¡¶ya,] and which is fallen short of, if there are faults in melod y and
rhythm [apart from the shortcomings in enactment ], should have been
taken up for elucidation after the treatment of Music. [But the subject of
siddhi has already been dealt with in an earlier chapter.]
[The next passage presents some difficulties of reading and

construction, but the purport seems to be - If that had been done, and
siddhi had been considered equally as the task of melody, rhythm and
enactment, doubt would have arisen as to which of these is primary,
and which a subordinate aid, while demarcating [th e roles of the three
parts of n¡¶ya]. In the (chapter) spelling out siddhi, we have learnt that
the performance (i.e., n¡¶ya) stands first [determining the practi ces to
be adopted or eschewed in all its parts.] As this (n¡¶ya) h as b een
identified as the central core needing embellishment, th e class of
embellish ments has already been hinted at, and so they can be taken
to have been touched upon, already, in the treatment of siddhi.
[In the last sentence of th e above paragraph, the GOML ms. reads
'sp¤À¶a' and not 'spaÀ¶a'.]
+xªÉä iÉÖ ¨ÉxªÉxiÉä - MÉÒiÉÉiÉÉä t Ê´É½þ Ò xÉÉnù Ê {É |ÉªÉÉä M ÉÉi{É`ö¬¨ÉÉxÉÉnù Ê {É nù ¶ É°ü{ÉEòÉnÂ ù

¦É´ÉÊiÉ ÊºÉÊrù Ê ®úiªÉxÉä x É ºÉÚ Ê SÉiÉÊ¨ÉÊiÉ* iÉkÉÖ xÉ ºÉ¨ªÉÊMÉ´É, iÉÉ´ÉiÉÒ Á{ÉÊ®ú{ÉÚ h ÉÇ i ÉÉ xÉÉ]õ¬ºªÉ,
{ÉÊ®ú{ÉÚ h ÉÈ SÉ ºÉ´ÉÉÇ x ÉÖ O ÉÉÊ½þ xÉÉ]õ¬º´É°ü{É¨ÉÊ¦ÉÊvÉÎiºÉiÉÆ ¨ÉÖ x Éä & * iÉjÉ SÉ MÉÒiÉ´ÉÉtªÉÉä ® ä ú ´ É
|ÉÉvÉÉxªÉÊ¨ÉiªÉ´ÉÉä S ÉÉ¨É*
But others take this (treatment of siddhi before taking up the topic
of music) to mean that th e mere reading / enatment in speech of
18
da¿ar£pakas can achieve siddhi, even without the aid of son g and
instrument. But that is not proper, because n¡¶ya will then lack
wholeness. And the sage intended n¡¶ya to have a full, rounded
form, so that it may appeal to all. And in that (form) we h ave already
pointed out the importan ce of g¢ta and v¡dya.
ËEò SÉè ´ ÉÆ ºÉÊiÉ ÊºÉnÂ ù v ªÉvªÉÉªÉä MÉÒiÉ´ÉÉt´Éè ¹ É¨ªÉÉÊnù ÊEò¨ÉlÉÇ ¨ ÉÖ S ªÉiÉä , |ÉÉHòxÉ B´É
ºÉ¨ÉÉvÉÉxÉ¨ÉÉMÉÉæ ªÉÖ H ò&* ={É®ú\VÉEòÉä { ÉEÞ ò iÉºªÉ xÉÉ]õ ¬ ºªÉ xÉÉ]õ¬iÉä Ê iÉ
¦Éä t i´ÉÉkÉi{É¶SÉÉnÖ ù { ÉÉkÉ¨ÉÂ * MÉÉxÉÆ i´ÉÉnù É è iÉSUä ô ¹É¦ÉÚ i ÉÆ iÉÖ ¨ÉvªÉä ´ÉÉtÊ¨ÉÊiÉ Gò¨É&*
xÉÉ]õ ¬ ÉxÉÖ º ÉÉ®ä ú hÉ xÉ jªÉ¸ÉSÉiÉÖ ® ú¸É -Ê´ÉÊxÉhÉÇ ª ÉÉä Ê´ÉÊxÉªÉÉä M ÉÉä , +Ê{É iÉÖ MÉÉxÉÉxÉÖ º ÉÉ®ä ú hÉä Ê iÉ
MÉÉxÉ¨ÉÖ { É®ú\VÉEò¨ÉÊ{É ºÉzÉÉ]õ¬Æ ´ªÉ´É-ºlÉÉ{ÉªÉnä ù ´ ÉÉä { É®ú\VÉªÉiÉÒÊiÉ ªÉÖ H ò B¹É B´É Gò¨É& <ÊiÉ
]õÒEòÉEòÉ®ú&*
[The n ext sentence is not very clear, but we gather that the
importance of g¢ta and v¡dya to a full presentation of n¡¶ya, is
supported by the mention of the faults to be avoided in these, already
in the Siddhi chapter. And (in the present chapter,) in order to
distinguish the proper form of n¡¶ya, as the form supported by (these)
embellish ments, n¡¶ya has been placed after these (in the enumeration
of the kutapas - tata-kutapa, avanaddha-kutapa and n¡¶ya-kutapa).]
G¡na has been kept first in the list, and v¡dya, which is the remaining
(part of music), in the middle. According to the ¶¢k¡k¡ra, th e
determin ation of the three (groups combining to present n¡¶ya?) and
the distribution of four modes (of performance to instruments?) is not
in accordance with n¡¶ya, but follows g¡na. And this order of
enumeration is proper, because, although it is an aid, g¡na executes
its task of embellish ment, even as it establishes [the course of] n¡¶ya.
[The ¶¢k¡k¡ra's con ception of n¡¶ya seems to be on the lines of

an opera. Several changes hav e had to be made in the above passage,
on the basis of the BHU ms. For instan ce, there is a 'na' after
'n¡¶y¡nus¡r®¸a', and the word 'viniy°g°' after 'vinir¸ayaÅ'. And
'kramaÅ' replaces 'ra´ga'.]
iÉnä ù i ÉzÉ Ê´Énù É ¨É&* xÉÊ½þ xÉÉ]õ¬¨ÉxÉÉÊ¸ÉiªÉ ËEòÊSÉnù Ê {É |É´ÉiÉÇ i Éä * MÉÉxÉºªÉÉÊ{É

xÉÉ]õ ¬ ÉxÉÖ º ÉÉ®ä ú hÉÉä { ÉªÉÉä M ÉÉÊnù Ê iÉ MÉiªÉvªÉÉªÉÊnù ¶ Éè ´ É jªÉ¸ÉÉÊnù ´ ªÉ´ÉºlÉÉ ¦Éä n ù É Ênù i ªÉÉºiÉÉ¨ÉÂ * *
19
But this is not acceptable to us. No event finds place (in n¡¶ya)
which is not dictated by n¡¶ya. [The next sentence is not very clear.
But th e purport seems to be that, the employment of music is in
accordance with n¡¶ya, and so the (division / prescription in) triads
etc. (of music), is guided by n¡¶ya, just as it is directed in th e chapter
on Gati.] (7)
[The prescription of various gatis (roughly, gaits), is based on the

three l evels of ch aracters - superior, middle level and inferior, and on
other classifications. (NS,ch. XII, GOS edn.)]
--------------------------------------------------------------------------------
ªÉkÉÖ 1 iÉxjÉÒEÞ ò iÉÆ 2 |ÉÉä H Æ ò xÉÉxÉÉiÉÉä t ºÉ¨ÉÉ¸ÉªÉ¨ÉÂ 3 *

MÉÉxvÉ´ÉÇ Ê ¨ÉÊiÉ iÉVYÉä ª ÉÆ 4 º´É®úiÉÉ±É{Énù É i¨ÉEò¨ÉÂ 5 **8**
That [part of n¡¶ya] which has been described as accomplished
on string instruments, and supported by various instruments, is called
g¡ndharva. It is, at once, tonal arti culation, measured duration and
verbal text. (8)
iÉjÉ iÉiÉÉiÉÉä t º´É°ü{ÉÆ |ÉvÉÉxÉ´Énù Ê ¦ÉvÉÉiÉÖ Æ {ÉÒ`ö¤ÉxvÉÆ Eò®úÉä Ê iÉ ªÉkÉÖ iÉxjÉÒEÞ ò iÉÆ
|ÉÉä H òÊ¨ÉÊiÉ* Ê´É{É\SÉÒ´ÉÒhÉÉÊnù ¦ Éä n ù É xÉÉÆ xÉÉxÉÉiÉÉä t iÉä Ê iÉ ]õÒEòÉEòÉ®ú&* iÉnùªÉÖ H ò¨ÉÂ * ºÉÉ¨ÉÉxªÉä x É
iÉxjÉÒEÞ ò iÉi´Éä x É ºÉ´ÉÇ º ÉÆ O É½ä þ iÉnù x ÉÖ H òºÉ¨Éi´ÉÉnù º ªÉÉlÉÇ º ªÉ iÉº¨ÉÉnä ù i Énä ù ´ ÉÊ¨ÉiªÉº¨ÉiºÉ¨|Énù É ªÉ&*
Preparing the ground for describing the structure of th e tata

instruments first, as the most important, (the sage makes the next
statement,) "that which has been described as the product of string
instruments <yattu tantr¢k¤taÆ pr°ktam>..". Th e ¶¢k¡k¡ra takes the
vipaµc¢, v¢¸¡ and its varieties (alone) to be referred to as 'various
instruments'. That is not correct. Since, by 'composed of string
instruments', others which do not answer to this description are also
compreh ended, in the complete list (of melody instruments), the same
interpreation has to be made h ere. This is our practice.
xÉÉxÉÉiÉÉä t ÊxÉ°ü{ÉhÉºÉ¨ÉÉ¸ÉªÉÆ ªÉºªÉ, iÉÉÊxÉ Ê½þ iÉnÂ ù M ÉiÉÆ °ü{É¨ÉÖ { ÉEòÉ®úiÉªÉÉ +É¸ÉªÉxiÉä ,
iÉä x É iÉnä ù ´ É |ÉvÉÉxÉÆ iÉSSÉ MÉÉxvÉ´ÉÇ Ê ¨ÉÊiÉ*
That which depends on various instruments for its manifestation,

possesses the form on which they, in turn, rest, as tools [serving its
20
expression]. So that is principal [in the functioning of tatakutapa], and

that is called music <g¡ndharva>.
MÉÉxvÉ´ÉÉæ Ê¨ÉÊiÉ¨ÉÉÇ x ÉÆ ´ÉiÉÇ x É¨ÉxiÉ¦ÉÉÇ ´ ÉÉä ªÉºªÉ MÉÉxvÉ´Éæ iÉnù x iÉ±ÉÔxÉÊ¨ÉÊiÉ ªÉÉ´ÉiÉÂ * Gò¨É
<iªÉÉ½þ º´É®úiÉÉ±É{Énù ± ÉIÉhÉÆ Ê½þ iÉnÂ ù M ÉÉxvÉ´ÉÇ ¨ ÉÂ , B´ÉÆ ¦ ÉÚ i ÉGò¨É¨Éä ´ É
(º´É®úÉi¨ÉEòi´ÉÉnä ù ´ ÉÉiÉÉä t ÉxiÉ-®ú É hÉÉ¨ÉÖ { ÉEòÉªÉÈ xÉ ´ÉÉnù E òÉä ´ÉÒhÉÉÆ iÉ¨Éä ´ ÉÆ ) º´É®ú É tÉi¨É¨ÉÂ * B´ÉÆ
iÉiÉ¨ÉvªÉ B´É MÉÉªÉEòÉä MÉÊhÉiÉ& ºÉ{ÉÊ®úOÉ½þ & * <½þ SÉè i Énù l ÉÇ ¨ Éä ´ É iÉxjÉÒEÞ ò iÉÊ¨ÉiªÉÖ H Æ ò
iÉxjÉÒ|ÉvÉÉxÉÊ¨ÉiªÉlÉÇ & * MÉÉxvÉ´ÉÇ ¶ ÉÉºjÉÆ SÉ |É¨ÉÉhÉ¨ÉºªÉä Ê iÉ MÉÉxvÉ´ÉÇ Ê ¨ÉÊiÉ**
[AB goes on to interpret 'g¡ndharvamiti ' as one word, qualifying

the music employed in n¡¶ya.] As its limits / boundaries are th at of
g¡ndharva, it (music employed in n¡¶ya) functions within the sphere of
g¡ndharva, and so it falls within g¡ndharva. Th e features of
g¡ndharva have been enumerated in the order (of their importance), as
svara, t¡la and pada. So melody <svara> comes first in this
enumeration. [The GOML ms. has some more words in this sentence,
which seem to mean that, it is due to their melodic nature, that other
instruments (apart from the singer) can serve as its tools.] Thus the
singer, along with (the cymbals in) his clasp, is counted among the
tata(v¡dya)s. It is in this sense th at the phrase 't antr¢k¤tam' has been
employed. And it only means that string instruments are the most
prominent [providers of music in n¡¶ya]. And since the system of
g¡ndharva pro vides its limits / authority, [the music in n¡¶ya] is
'bounded by g¡ndh arva' <g¡ndharva-miti>. (8)
[Abhinava does not want to accord the name g¡ndharva to the

music employed in n¡¶ya. He wish es to keep this music, which he calls
g¡na, and which is guided by the needs of n¡¶ya, apart fro m g¡ndh arva.
He goes to great trouble to interpret Bharata's word s, in support of
this distinction.]
--------------------------------------------------------------------------------
+iªÉlÉÇ Ê ¨É¹]Æ õ 1 nä ù ´ ÉÉxÉÉÆ iÉlÉÉ 2 |ÉÒÊiÉEò®Æ ú 3 {ÉÖ x É& 4 *

MÉxvÉ´ÉÉÇ h ÉÉÆ SÉ 5 ªÉº¨ÉÉÊrù 6 iÉº¨ÉÉnÂ ù M ÉÉxvÉ´ÉÇ ¨ ÉÖ S ªÉiÉä 7 **9**
As the gods are very fond of it, and as it affords pleasure /
fulfilment to the gandh arvas (celestial musicians), it is termed
g¡ndharva. (9)
21
ºÉÉ¨É¦ªÉÉä MÉÒiÉÊ¨ÉÊiÉ EòÊlÉiÉÆ ºÉÉ¨ÉÉÊxÉ SÉÉjÉ EòÉ®úhÉEòÉ®úhÉÉÊxÉ* MÉÉxvÉ´ÉÈ Ê½þ

ºÉÉ¨É¦ªÉºiÉº¨ÉÉnÂ ù ¦ É´ÉÆ MÉÉxÉÆ xÉ iÉÖ ± ªÉä , º´É®úÉtÉi¨ÉEòi´Éä MÉÉxÉÆ MÉÉxvÉ´Éæ % xiÉ¦ÉÚ Ç i ÉÊ¨ÉÊiÉ EòÉ
¦ÉÉ¹ÉÉ*
Ê´É{ÉªÉÇ ª ÉÉä % Ê{É Eòº¨ÉÉzÉ ¦É´ÉÊiÉ, iÉÉnù É i¨ªÉ¨Éä ´ É ´ÉÉ EòlÉÆ xÉ ºªÉÉÊnù i ªÉÉ¶ÉRÂ ó EòÉÆ
¶É¨ÉÊªÉiÉÖ ¨ ÉÉ½þ +iªÉlÉÇ Ê ¨É¹]Æ õ nä ù ´ ÉÉxÉÉÊ¨ÉÊiÉ* +xÉä x ÉÉxÉÉÊnù i ´ÉÆ ºÉÚ Ê SÉiÉ¨ÉÂ * nä ù ´ ÉÉ Ê½þ EòlÉÊ¨É¹]Æ õ
Ê´ÉVÉÁÖ & * iÉlÉä Ê iÉ iÉä x É nä ù ´ ÉiÉÉ{ÉÊ®úiÉÉä ¹ Éuù É ®ä ú hÉ |ÉÒËiÉ nù n ù É iÉÒiªÉoù ¹ ]õ¡ò±Éi´ÉÆ nù Ì ¶ÉiÉ¨ÉÂ *
It is well known that g¢tam (song) has its origin in s¡mans. And here
(in n¡¶ya) s¡mans are the causes of its cause. As g¡ndharva is from
s¡mans, and g¡na arises from it, th ey are not on par. In consisting of
svara and other features, g¡na unquestionably falls within g¡ndharva.
[But] wh y is not the reverse possible? [C annot g¡ndharva

come from g¡na? ] Or why cannot the two be identical? In order to
allay this doubt, (the sage) says, "It is very dear to the gods ...
<atyarthamiÀ¶aÆ d®v¡n¡m..>" By th is th e beginninglessness (of
g¡ndharva) is indicated. For, how can the gods ever p art from that
which is dear to th em? And 'in this manner < tath¡>' means that, by
this, by pleasing th e gods, (g¡ndharva) brings pl easure / fulfilment
(to the practitioner). Thereby it is shown that the fruit (of g¡ndharva is
not material, but) is beyond physical perception.
[AB is elaborating the distinction between g¡ndharva and g¡na,

which has already been made while explaining the importan ce of
instruments in providing music in n¡¶ya, and entrenched by describing
g¡na as 'g¡ndharvamiti'.]
ªÉº¨ÉÉiÉÂ ªÉpÚ ù { ÉÉSSÉ nä ù ´ ÉÉxÉÉ¨ÉÒ·É®úÉhÉÉÊ¨ÉÎxpù ª É¨ÉxÉººÉÆ ´ Éä n ù x É|É¦ÉÞ i ÉÒxÉÉÆ ,

+ÉiÉÉä t ¨ÉÉxÉi´Éä x É ´ªÉ´É½þ É ®ä ú hÉ MÉSUôiÉÉxÉä x Éä Ê iÉ nä ù ´ Éù ´ ÉÉtÉxÉÉÆ , +iªÉlÉÇ ¨ ÉlÉÉÇ Ê iÉGò¨Éä h É
¤ÉÉÁ¶É¤nù É Ênù Ê ´É¹ÉªÉ¡ò±É¨ÉxÉä x É ...Ê¨É¹]õ Ê ¨ÉSUôÉªÉVÉxÉÆ SÉ {É®úºÉÆ Ê ´ÉiºÉÆ M ÉÊiÉ±ÉÉ¦É±ÉI ÉhÉ-
¨ÉÖ { É±ÉIÉhÉ¨É, iÉlÉÉ iÉä x É |ÉEòÉ®ä ú h É |ÉiÉÒiÉä ® ú{É´ÉMÉÉæ Ê SÉiÉÉxÉxnù º ´É¦ÉÉ´ÉÊ´É¶Éä ¹ Éä h ÉÉ´ÉvÉÇ E ò -
Ê¨ÉiªÉ{É´ÉMÉÇ ¡ ò±Éi´ÉÆ nù Ì ¶ÉiÉ¨ÉÂ * iÉlÉÉÊiÉGòÉxiÉÆ vÉxÉÉÊnù Ê xÉ®ú{Éä I ÉÆ SÉä n Æ ù nä ù ´ ÉÉxÉÉÆ ªÉVÉxÉÆ ªÉlÉ É
{ÉÖ ® úÉhÉªÉÉä M ÉÉÊnù ¦ ªÉÉä % ÊvÉEòÉ |ÉÒÊiÉMÉÉÇ x vÉ´ÉÉÇ - SUÆ ô Eò®úºªÉä Ê iÉ* MÉxvÉ´ÉÉÇ h ÉÉÊ¨ÉÊiÉ |ÉªÉÉä C jÉÖ { É-
±ÉIÉhÉÆ , iÉä x É ÁiªÉxiÉÆ ºÉÆ Ê ´Éi|É´Éä ¶ É±ÉÉ¦Éä x É iÉÖ MÉÉiÉÖ & ¡ò±ÉªÉÉä M ÉÉä MÉxvÉ´ÉÇ i ´ÉÉiÉÂ * iÉnù É ½þ -
22
ºÉEÞ ò i|ÉªÉÖ H òÉÊ{É Ê½þ xÉxnù ª ÉxiÉÒ ªÉlÉÉÊ´ÉÊvÉ ¥ÉÀ½þ h ÉÆ {ÉÖ x ÉÉÊiÉ " <ÊiÉ
|ÉªÉÉä H Þ ò MÉiÉ¨ÉjÉ ¨ÉÖ J ªÉÆ ¡ò±É¨ÉÂ *
[The next passage is not very intelligible, but the purport seems to
be that, the gods are the benevolent masters of th e organs of
perception and action, mind and feeling, and the application of these
(organs) to g¡ndharva makes them divine instrument s. The phrase
'atyartham' means that the fruit gained by g¡ndh arva goes beyond
material measure and expression in words. All this symbolically
expresses th e attainment of a transcendental state, and the fostering
of this experience by its blissful nature, accomplished by g¡ndh arva.
Thereby, apavarga (final release from the cycle of births) is indicated as
its fruit.] This form of worship, which can be offered to the gods,
without using materials like wealth, is far superior to others. It is said
that áa´kara is far more pleased with music than with the recitation of
epics (about Him) or the practice of self-discipline (to attain Him). 'Of
gandharvas <gandharv¡¸¡m>' symbolically refers to the practitioner of
music, for, in the attainment of supreme bliss, the fruit falling to the
lot of the singer exceeds even th e state of being a gandharva.
It has been said -

"Sung but once, in the right manner, Nandayant¢ j¡ti absolves (the
singer) of the sin of killing an enlightened person. "
Thus the chief fruit (of g¡ndh arva) goes to the performer.
xÉxÉÖ MÉÉxÉÊ¨É´É ¨ÉÖJªÉiÉªÉÉ ¸ÉÉäiÉÞÊxÉ¹`Æö iÉäxÉ MÉxvÉ´ÉÉÇhÉÉÆ |ÉÒÊiÉ´ÉvÉÇxÉÊ¨ÉÊiÉ ºÉ¨¤ÉxvÉ&* iÉlÉÉÊ{É SÉ

¸ÉÚªÉ¨ÉÉhÉÆ |ÉÒÊiÉ´ÉvÉÇxÉÊ¨ÉiªÉä´É¨ÉxÉÉÊnùi´ÉÉqÞù¹]õÉoù¹]õ¡ò±Éi´ÉÉSSÉ |ÉvÉÉxÉÆ MÉÉxvÉ´ÉÈ* MÉxvÉ´ÉÉÇhÉÉÊ¨ÉnÆù |ÉªÉÉäVªÉÊ¨ÉÊiÉ
´ªÉÖi{ÉkªÉÉ, B´ÉÆ näù´ÉÉxÉÉÊ¨É¹]Æõ |ÉÒÊiÉEÞònÂùMÉxvÉ´ÉÉÇhÉÉÆ MÉÉxvÉ´ÉÇÊ¨ÉÊiÉ ºÉ¨¤ÉxvÉ&* iÉº¨ÉÉSSÉ |ÉÒÊiÉ¨Éä´É Ê´É¶Éä¹ÉähÉ
´ÉvÉÇªÉÊiÉ ªÉkÉnÂùMÉÉxÉÊ¨ÉiªÉvªÉÉ½þÉ®ú&* MÉÉxÉÆ Ê½þ Eäò´É±ÉÆ |ÉÒÊiÉEòÉ±Éä SÉ iÉäxÉ iÉÉnùÉi¨ªÉÆ iÉÉ´ÉnùªÉÖHò¨ÉÂ* xÉ SÉ
¨É½þÉ¡ò±ÉºªÉÉxÉÉnäù& º´ÉiÉ& ¡ò±Éä EòÎ±{ÉiÉä iÉnùxiÉ¦ÉÉÇ´É <ÊiÉ Ê´É{ÉªÉÇªÉÉä%Ê{É ÊxÉ®úºiÉ&* ºÉ SÉÉªÉÆ MÉÉxvÉ´ÉÇÊ´É´ÉäEòÉä
wÉÖ´ÉÉvªÉÉªÉä xÉÞkÉä(´ÉÞÞkÉä?)%º¨ÉÉÊ¦ÉnÇù¶ÉÇÊªÉ¹ªÉiÉä* <½þ <´É iÉÖ nùÌ¶ÉiÉÉä ´ÉÉSÉÉäªÉÖCiªÉxÉÊ¦É-YÉÉxÉ¨ÉvÉÖxÉè´É Ê½þ ºÉÆ¨ÉÉä½äþ
½äþiÉÖ& ºªÉÉÊnùÊiÉ*
[th e next passag e is not very intelligible. The purport seems to be

that, even though g¡ndharva and g¡na are both aimed at the listener
23
and are both sources of pleasure, they are not identical, as th ey differ
in their goals. Nor can g¡ndh arva be brought within g¡na. The following
is a rough, inadequate translation. -
But g¡na whi ch is ai med at the li stener, can th ereby gi ve

pleasure to the singers <gandh arv¡¸¡m>; so it is also related (to
celestial music?). Even then, in being h eard and in fostering pleasure,
because of its timelessness, and the no n-material n ature of its fruit, (as
distinguished from) the tangible fruit of g¡na, g¡ndharva i s primary /
superior. Its name 'g¡ndharva' is derived from 'being emp loyed by
gandharvas', and its rel ation (to divinity) is through its pleasing the
gods and the fulfilment it brings to its practitioners <gandharva>. From
this it follows that, that (music) which specifically adds to (mortal)
pleasure, is g¡na. G¡na lasts only as long as th e pleasure (it provides).
Hence their identity is not possible. The reversing of their rel ation
[making g¡ndharva part of g¡n a] is also to be rejected, for, that which
is beginningless and results in the highest fruit, cannot be brough t
within the fold of that which is fashioned by oneself, for a (specific)
fruit. The right understanding of g¡ndharva will be advanced further in
the chapter on Dhruv¡, while dealing with n¤tta (v¤tta?). The next
senten ce is not clear, but the purport seems to be - H ere, the
distinction between th e two h as been mentioned, as, otherwise, ther e
may be confusion.]
+iªÉlÉÇ Ê ¨É¹]Æ õ nä ù ´ ÉÉxÉÉÊ¨ÉiªÉxÉä x É MÉÉÆ ´ÉÉSÉÆ vÉÉ®úªÉiÉÒÊiÉ MÉÉxvÉ´ÉÈ ,

MÉxvÉ´ÉÉÇ h ÉÉÊ¨Énù Ê ¨ÉÊiÉ SÉ* ªÉlÉÉ½þ Ê´É¶ÉÉÊJÉ±ÉÉSÉÉªÉÇ & - " {ÉÖ ® ú É º´ÉMÉæ |ÉxÉ¹]õÉÆ nä ù ´ Éä ¦ ªÉ& " <ÊiÉ
iÉÊzÉ´ÉÇ S ÉxÉä x Éè ´ É nù Ì ¶ÉiÉ¨ÉÂ *
The phrase 'very dear to the gods' <atyarthamiÀ¶aÆ d®v¡n¡m> can

be interpreted thus - As it bears / sustains <dh¡rayati> Speech
<g¡Æ>, it is g¡ndharvam. And it belongs to gandharvas
<gandharv¡¸¡m>. The account (of the origin of g¡ndharva) by sage
Vi¿¡khila, "Long ago it was lost to the gods in heaven...", is brought
to view by this word analysis. ['G¡ndharva' has been explained with the
story of the loss of V¡k (Speech) and its restoration by music, to the
gods.]
24
|ÉÒÊiÉ´ÉvÉÇ x ÉÊ¨ÉÊiÉ SÉ xÉÉ®únù Ò ªÉÊxÉ´ÉÇ S ÉxÉÆ ºÉÚ Ê SÉiÉ¨ÉÂ * MÉä Ê iÉ MÉä ª ÉÆ Ê´ÉnÖ ù & vÉä Ê iÉ vÉÉiÉÖ &
|É´ÉÉnù V ÉÊ¨ÉÊiÉ, ´ÉÉCªÉºªÉ ... ºÉÆ Y Éä Ê iÉ, ®ä ú ¡òºiÉÖ ´ÉÉtºªÉÉä { É±ÉIÉhÉÆ EòÉEÖ ò |É´ÉÉnù x ÉÊ¨ÉÊiÉ ´ÉÉ*
iÉnä ù ´ ÉÆ ÊxÉ´ÉÉÇ S ÉxÉÉi{ÉªÉÉÇ ª Éä h É ¶±ÉÉä E ò <ÊiÉ ]õÒEòÉEòÉ®ú&* +jÉ iÉÖ xÉ Eò®úÉä i ÉÖ ´ªÉÉJªÉÉiÉ B´É*
iÉº¨ÉÉnÖ ù { ÉÉvªÉÉªÉè Ê ®ú n ù ¨ ÉÖ H ò¨ÉÂ *
By 'fostering pleasure <pr¢tivardhanam>' the interpretation

offered by N¡rada (of 'g¡ndharva') is i ndicated. [But the word used in
the verse is 'pr¢tikaram'.]
"'Ga' stands for 'g®yam' (to be sung); 'dha' stands for 'dh¡tu'
which results from the proper playing (on instrument); ...... for
[condensing?] the sentence in the name; 'r' stands for v¡dya, or the
effective playing of speech tone." [The ¶¢k¡k¡ra seems to consider this
letter by letter analysis of the word, as providing an alternative
interpretation to the verse. The next sentence is not clear.] Therefore
my teacher cites this [second interpretation of 'g¡ndharva'?]. (9)
[Abhinava h as supplemented the description of g¡ndharva as a

prized possession of the gods, with the story of the loss of Speech and
its restoration in the form of Music. Now h e is elaborating on the
practice of g¡ndh arva, in song and instrument, with the explan ation
offered by N¡rada. Abhinava's teacher seems to have preferred this
analysis of the word g¡ndharva, to the first, which relies on the myth of
the origin of music.
The version found in N¡rad¢ya¿ikÀ¡ differs slightly from th e
above. And the explanation is not very cl ear in AB.]
--------------------------------------------------------------------------------
+ºªÉ 1 ªÉÉä Ê xÉ¦ÉÇ ´ Éä n Â ù M ÉÉxÉÆ 2 ´ÉÒhÉÉ ´ÉÆ ¶ ÉºiÉlÉè ´ É SÉ *

BiÉä ¹ ÉÉÆ SÉè ´ É ´ÉIªÉÉÊ¨É Ê´ÉËvÉ 3 º´É®úºÉ¨ÉÖ Î ilÉiÉ¨ÉÂ 4 **10**
Its source of production (lit. womb) could be singing (voice), v¢¸¡
and, likewise, the bamboo flute. I shall spell out the mode of functioning
proper to them all, only in relation to melody (lit. arising from tone).
(10)
[Bh arata seems to be saying, that, he will be taking up only the
tonal aspect of music, while prescribing the part to be pl ayed by th e
tatakutapa in n¡¶ya.]
25
xÉÎx´ÉnÆ ù MÉÉxvÉ´ÉÈ EÖ ò iÉ =nÂ ù ¦ ÉÚ i ÉÆ , MÉÉxÉºªÉ SÉ ºÉÉ¨É½ä þ i ÉÖ E òi´ÉÉiEòlÉÆ {ÉÚ ´ ÉÇ ¨ ÉÖ H ò¨ÉÂ * ËEò SÉ

MÉÉxÉºªÉè ´ ÉÉä { ÉªÉÉä M ÉÉ±±ÉIÉhÉÆ ´ÉHò´ªÉÆ xÉ iÉÖ MÉÉxvÉ´ÉÇ º ªÉä Ê iÉ ¶ÉRÂ ó EòÉÆ ¶É¨ÉÊªÉiÉÖ ¨ ÉÉ½þ +ºªÉ
ªÉÉä Ê xÉ¦ÉÇ ´ Éä n Â ù M ÉÉxÉÊ¨ÉiªÉÉÊnù * +ºªÉ MÉÉxvÉ´ÉÇ º ªÉ* MÉÉxÉÊ¨ÉÊiÉ ºÉÉ¨ÉªÉÉä Ê xÉMÉÒÊiÉ¹ÉÖ ºÉ¨ÉÉJªÉÉ*
´ÉÒhÉä Ê iÉ ¨É½þ É µÉiÉÉä { ÉªÉÉä Ê MÉxÉÒ +Éè n Ö ù ¨ ¤É®úÒ; ´ÉÆ ¶ É <ÊiÉ xÉÉ®únù É Ênù M ÉÖ ¯ ûºÉÆ i ÉÉxÉÉxÉÖ ª ÉÉªÉÒÊiÉ
MÉÉxvÉ´ÉÇ º ªÉ |É¦É´É&*
But where h as this g¡ndharva originated? How is it that it

(g¡ndharva) has been described before tracing th e origin of g¡n a to
s¡ma? And moreover, it is g¡na that is employed [in n¡¶ya], and so its
description must be taken up (directly), not that of g¡ndharva. To allay
this doubt, (the sage) says, "Its source could be singing < asya
y°nirbhav®dg¡nam>....etc." 'Its <asya>' means 'g¡ndharva's'.
'Singing' <g¡nam> means the manner of singing s¡mans. 'V¢¸¡' refers
to the audumbar¢ (v¢¸¡) employed in the rendering of (the s¡man,
called?) 'mah¡ vrata'. 'VaÆ¿a' refers to the preservation of g¡ndharva
by disciples in th e line <vaÆ¿a> of N¡rada etc. (sages propagating
music).
[G¡ndharva is sought to be linked fancifully with S¡mav®da,

stretching the senses of the words in the verse. The origin of music in
S¡mav®da h as been told by Bharata, in the story of the fi fth v®da,
namely, n¡¶ya. But the origin of music in S¡mav® da does not mean th e
historical origin of g¡ndharva in s¡man singing. The raising and
lowering of ton e, and th e dragging of durations b eyond those found in
normal speech or recitation, which characterise s¡man rendering, ar e
also the logical bases of articulation in music. But the tonal and
temporal expression in musi c, is even further removed from recitation,
and has developed to a high level of co mplexity. And its object is
perceptual delight. It is futile to trace all the tones and all th e
arrangements of duration found in music, to s¡man singing.]
ËEò SÉ, MÉÉxÉ´ÉÒhÉÉ´ÉÆ ¶ ÉÉnù ª ÉÉä % ªÉÆ iÉiÉEÖ ò iÉ{É¦Éä n ù É ä ´ÉHò´ªÉi´Éä x ÉÉä { ÉGòÉxiÉ&, ºÉ B´ÉÉºªÉ
MÉÉxvÉ´ÉÇ º ªÉ ªÉÉä Ê xÉ½æ þ i ÉÖ & , <½þ É Ê¦ÉvÉÉºªÉ¨ÉÉxÉi´É <ÊiÉ ¶ Éä ¹ É&* iÉiÉEÖ ò iÉ{ÉÉä { ÉªÉÉä Ê MÉi´ÉÉÊnù ½ þ
MÉÉxvÉ´ÉÇ ¨ ÉÊ¦ÉvÉÉºªÉiÉ <ÊiÉ ªÉÉ´ÉiÉÂ *
26
Moreover, the tatakutap a composed of g¡na, v¢¸¡, vaÆ¿a etc.,

which has begun to be described - the same is th e source / cause of
g¡ndharva; so (g¡ndh arva) mu st come in for description. As the
tatakutapa makes use of it, g¡ndharva will be taken up for description.
¥ÉÀMÉÒiÉä ±ÉÉä E ò|É´ÉÉ½þ Ê ºÉrÆ ù |ÉMÉÒiÉ MÉÉiÉÞ M Éä ª É¨Éä ´ É |ÉºÉÚ Ê iÉ½ä þ i ÉÖ Ê ®ú Ê iÉ ¶±ÉÉä E òÉlÉÇ º ªÉ
iÉÉi{ÉªÉÇ Ê ¨ÉiªÉxªÉä *
According to others, th e verse is inten ded to con vey the sense,

that, following the established course of popular practice, in
brahmag¢ta [g¡ndharva?], too, the source of production is singing with
the voice. [It does not have to be traced to s¡mag¡na, but can be
related to popular singing.]
]õÒEòÉEÞ ò kÉÖ MÉÉxÉÆ |ÉvÉÉxÉÆ iÉnÖ ù { ÉEòÉ®úEòÉè ´ÉÒhÉÉ´ÉÆ ¶ ÉÉÊ´ÉÊiÉ* MÉÖ h É|ÉvÉÉxÉiÉÉÊxÉhÉÇ ª ÉÉä % ºªÉ
iÉÉi{ÉªÉÈ ´ªÉÉJªÉÉxÉÉpù l ÉxiÉ®Æ ú MÉÉªÉjÉÒ¨ÉjÉ MÉÉªÉxiÉÒiªÉä i ÉiºÉ¨ÉlÉÇ x Éä iÉÖ ªÉÉä ¨É½þ É xÉÂ ºÉÆ ® ú¨¦É&
]õÒEòÉEòÉ®ä ú h É EÞ ò iÉ& ºÉ |ÉEÞ ò iÉÉä { ÉªÉÉä M É´Éè E ò±ªÉÉnù x Éä E òÉlÉÇ i ´Éä x É MÉÉªÉiÉä & ={ÉSÉÉ®úÉ¸ÉªÉä h É
ºÉÖ º É¨ÉlÉÇ i ´ÉÉÎiºÉEòiÉÉSÉ´ÉÇ h É|ÉÉªÉ&* +lÉ MÉÒÊiÉ®ä ú ´ É iÉnù É ºÉÉ¨ÉÉxªÉÊ´É¶Éä ¹ É¦ÉÉ´É& º´É®ú É ÊxÉÊiÉ
º´ÉÉvÉÉ®ú¦ÉÚ i É{Énù ´ ªÉ´ÉSUä ô nù E Æ ò ´ÉSÉxÉ¨ÉÂ " º´Éä |ÉÊiÉ¹`Æ ö MÉMÉxÉ " Ê¨ÉÊiÉ´ÉiÉÂ * ¨Éxnù º ªÉ xÉ±Éi´Éä % Ê{É
iÉi|ÉÊ¨ÉiÉÆ º´É®ú ´ ÉÉSÉEòi´ÉÆ iÉnÂ ù M ÉÒiªÉÉvÉÉ®ä ú ÊxÉ¹`öi´ÉÆ SÉä Ê iÉ iÉjÉÉ{ªÉnù É ä ¹ É&* xÉ SÉÉxÉä x É |ÉEÞ ò iÉÆ
ËEòÊSÉnÖ ù H òÊ¨ÉiªÉ±É¨ÉÂ * *
The ¶¢k¡k¡ra takes the verse to mean th at singing is primary, and

v¢¸¡ and flute are its assistants, and thereby, to lay down the principal
position of singing. [The following few sentences are unintelligible.
Abhinava seems to be rejecting as a wasteful exercise, the ¶¢k¡k¡ra's
contrived attempt to explain th e primacy of singing in music.]
xÉxÉÖ ªÉnÖ ù H Æ ò MÉÉxvÉ´ÉÈ EòlÉÆ iÉºªÉ MÉÉxÉÉnù É ´ÉÖ { ÉªÉÉä M É <iªÉ É½þ BiÉä ¹ ÉÉÆ SÉä Ê iÉ * SÉÉä % {ªÉlÉæ
* iÉlÉä Ê iÉ {ÉÚ ´ ÉÉÇ ® ú¤vÉÉiºÉ¨¤ÉvªÉiÉä * iÉä x É Ê½þ MÉÉxvÉ´ÉÇ | ÉEòÉ®ä ú h Éè ¹ ÉÉÆ ¦ÉÉ´ÉÉnù Ò xÉÉÆ º´É®ú º É¨ÉÖ Î ilÉiÉÆ
º´É®ú Ê ´É¹ÉªÉ¨Éä ´ É Ê´ÉËvÉ ´ÉIªÉä xÉ i´ÉxªÉ¨ÉÂ * *
Now, that which has been described as g¡ndharva, how is it to be

employed in g¡n a etc.? (To answer this question, the sage) says, "and
their <®t®À¡Æ ca>..." Th e 'ca' here is in the sense of 'api' ('all [three,
g¡na, v¢¸¡ and vaÆ¿a]'). 'Tath¡' [®va? There is no tath¡ here! ]
connects this statement with what has gone before [i.e., the definition
of g¡ndharva as svara, t¡la and pada]. By this (the sage expresses his
27
intention) "In accordance with g¡ndharva, I shall set down rules

concerning melody <svarasamutthitam> alone, and no other (matter),
for these (sources of musi c), in relation to emotions etc." (10)
--------------------------------------------------------------------------------
MÉÉxvÉ´ÉÈ ÊjÉÊ´ÉvÉÆ Ê´ÉtÉiº´É®úiÉÉ±É{Énù É i¨ÉEò¨ÉÂ *
ÊjÉÊ´ÉvÉºªÉÉÊ{É ´ÉIªÉÉÊ¨É ±ÉIÉhÉÆ Eò¨ÉÇ SÉè ´ É Ê½þ **11**
G¡ndharva, which is of the n ature of svara (melody), t¡la
(measured duration) and pada (verbal text), must be comprehended on
these three bases <trividham>. I shall speak of all three, in terms of
verbal description <lakÀa¸am> and (instructions on their) execution
<karma>. (11)
EòÉä % xªÉÉä º iÉÒiªÉÉ¶ÉRÂó CªÉÉ½þ MÉÉxvÉ´ÉÈ ÊjÉÊ´ÉvÉÆ Ê´ÉtÉÊnù Ê iÉ* ÊjÉ¦ªÉ& º´É®ú É Ênù ¦ ªÉÉä Ê´ÉvÉÉ
Ê´ÉvÉÉxÉÆ ªÉºªÉ* +ÉÊ¸ÉiÉ´ÉÉSÉÒ Ê´ÉvÉÉ¶É¤nù <ÊiÉ ÊSÉ®ú x iÉxÉÉ&* xÉ i´ÉjÉÊ´ÉvÉÉ¶É¤nù & (+jÉ
Ê´ÉvÉÉ-) |ÉEòÉ®ú É lÉÇ & * B´ÉÆ Ê½þ ºÉÊiÉ {ÉÞ l ÉC{ÉÞ l ÉMMÉÉxvÉ´ÉÇ ´ ªÉ´É½þ É ®ú É ä ¦É´Éä i ÉÂ * xÉ SÉè ´ ÉÆ , iÉlÉÉ SÉ
Ê´É¶ÉÉÊJÉ±ÉÉSÉÉªÉÇ & " º´É®ú { Énù i ÉÉ±ÉºÉ¨É´ÉÉªÉä " iÉÖ MÉÉxvÉ´ÉÇ ¨ ÉÂ <ÊiÉ* +Éi¨ÉOÉ½þ h Éä x Éè ¹ ÉÉÆ
Ê¨É¸ÉÒ¦ÉÉ´É&* {ÉnÆ ù ºªÉÉiEòÉ®ú h É¨É´ÉvÉÉxÉÆ ºÉÚ S ÉªÉÊiÉ* BiÉnä ù ´ ÉªÉÖ H Æ ò (B´É ªÉÖ H Æ ò ) , xÉÊ½þ
º´É®ú i ÉÉ±É{Énù i ÉÖ ± ªÉiÉªÉÉ, <nÆ ù (-iÉÖ ± ªÉiÉªÉÉ <nÆ ù ?) ¦ÉÉMÉÊxÉÊ´É¹]õ¨É´ÉvÉÉxÉÆ ¦ÉÉÊiÉ, ªÉä x É
ºÉ¨ÉÚ ½ þ ¨ ÉvªÉä MÉhªÉä i É* <ÊiÉ EòiÉÇ ´ ªÉÉä { ÉªÉÉä Ê MÉ (<ÊiÉEòiÉÇ ´ ªÉ- ?) Ê½þ iÉkÉjÉ (iÉiÉÂ * iÉjÉ ?)
Ê¨É¸ÉÒ¦ÉÉ´É& |ÉvÉÉxÉMÉÖ h É¦ÉÉ´Éä xÉè ´ É(¦ÉÉ´Éä x Éè ´ É) ¦É´ÉÊiÉ* iÉjÉ {ÉÚ ´ ÉÇ Ê xÉ{ÉÉiÉÉnä ù ´ É |ÉÉvÉÉxªÉÆ
ºÉÚ S ÉªÉÊiÉ* iÉä x É º´É®ú É & |ÉvÉÉxÉÆ , iÉÉ±ÉÉä x ÉÉ¨ÉÉi¨ÉÉ (iÉÉ±ÉÉä xÉÉ¨É +Éi¨ÉÉ?)
iÉiºÉÉ¨ªÉä x ÉÉä { ÉEòÉ®úEò&, "iÉ±É |ÉÊiÉ¹`öÉEò®úhÉä " <ÊiÉ iÉÉ±É B´Éè i Énù É ½þ * iÉiÉÉä % Ê{É nÚ ù ® Æ ú {ÉnÆ ù
{Énù ¶ É¤nä ù x Éè ´ É iÉºªÉÉvÉÉ®úiÉÉ±ÉÉ¦É&* iÉnÖ ù H Æ ò nù Ê kÉ±ÉÉSÉÉªÉæ h É- "{Énù º lÉ& º´É®úºÉÆ P ÉÉiÉºiÉÉ±Éä x É
ºÉÖ Ê ¨ÉiÉ&" (I-3) <ÊiÉ(*) iÉä x É {Énù i ÉÉ±ÉÉ ªÉÉoù ¶ ÉÉ MÉÉxvÉ´Éæ h É (MÉÉxvÉ´Éæ ) iÉÉoù ¶ ÉÉ MÉÉxÉä
º´É®ú i É B´É iÉÖ ¦ÉÚ ª ÉºÉÉ iÉiÉÉä { ÉªÉÉä M ÉÒÊiÉ iÉÉi{ÉªÉÇ ¨ ÉÂ * +´ÉvÉÉxÉÆ ªÉÉä M É°ü{ÉÆ iÉSSÉÉjÉ xÉÉä { ÉªÉÉä Ê MÉ*
{ÉÊ®ú´ÉiÉÇ E ä ò ¹´É´ÉxÉrä ù - {ÉÚ ´ ÉÇ ® ú R Â ó MÉä , iÉjÉ Ê½þ nä ù ´ ÉiÉÉ{ÉÊ®úiÉÉä ¹ ÉÉnä ù ´ É ÊºÉÊrù & *(,) iÉnä ù i ÉnÖ ù H Æ ò -
MÉÒÊiÉYÉÉä ªÉÊnù ªÉÉä M Éä x É xÉÉ{xÉÉä Ê iÉ {É®ú ¨ ÉÆ {Énù ¨ ÉÂ *
¯ûpù º ªÉÉxÉÖ S É®ú É ä ¦ÉÚ i ´ÉÉ iÉä x Éè ´ É ºÉ½þ ¨ÉÉä n ù i Éä ** <ÊiÉ Eä ò ÊSÉiÉÂ *
iÉºªÉÉlÉÇ º ªÉ +¶É¤nù i ´ÉÉnù ´ ÉvÉÉxÉÉÊuù x ÉÉ EÖ ò jÉÉÊ{É ÊºÉrä ù ® ú ª ÉÉä M ÉÉiÉÂ *
But, what else (besides melody) is there (in g¡ndharva)?

Anticipating this doubt, (the sage) says "g¡ndharva with its three bases
must be known <g¡ndharvaÆ trividhaÆ vidy¡t>" etc. Its (lit. whose)
regulation / ordering is done, with respect to the three - svara etc.
28
(svara, t¡la and pada). According to the ancients, the word 'vidh¡'
denotes 'b ased'. H ere, in this context, (too,) the word 'vidh¡' does not
mean manner / kind / type. For, if that were so, g¡ndharva would be
executed in (three) separate / unrelated acti vities. And this is not so. As
Vi¿¡khil¡c¡rya has pointed out, "Only in the congruence of svara, t¡la
and pada (do we have) g¡ndharva." The use of (the word) ' ¡tma' is for
the purpose of indicating their integral on eness. (The term) padam
indicates an instrument, a receptacl e <avadh¡nam> (for holding
melody). This is the proper interpretation, and not the equal distribution
(of g¡ndharva) into three compartments, svara, t¡la and pada, which
can be considered as a collection, in which (pad am) can be counted
singly <ga¸y® ta>. It (the word '¡tma') has been employed to indicat e
the proper mode (of integration). The integration (of the three elements)
is in keeping with the primacy (of one) and the secondary role (of the
other two). H ere (the sage) shows the primacy (of one) merely by
keeping it first (in the enumeration). So svara is primary; the element
named t¡la aids its measured / even flow <s¡mya>. 'Tala' is employed
in the sense of 'making stable'. So t¡la has been assign ed this function
(in g¡ndharva). Even more distant is pada (from svara). In pada (word),
it (music) merely finds a support. Th at has been expressed as follows by
Dattil¡c¡rya - (G¡ndharva is) the close-knit combination of svaras,
which rests on a verbal text and is well-bounded by t¡la. (I-3) Hence,
they (t¡la and pada) must serve the expression of svara, on the melody
instruments, in g¡na, as much as th ey do in g¡ndh arva. The
avadh¡nam of y°g a is not meant here. (The word avadh¡nam does not
mean the oneness of consciousness needed in the practice of y°ga,
which excludes expressions su ch as music.) For, in the (description of
the) performance of parivartakas on the percussion inst ruments in the
p£rvara´ga, in which the pleasure of the gods is the sole aim, (i.e., in
g¡ndharva,) it has been said,
"Even if he cannot practise y°ga to attain liberation, the master
of music can be a follower of Rudra and enjoy bliss in his company."
Some say this.
[The next sentence seems to be incomplete. But the purport

seems to be - As its sense / content / aim cannot be put into words,
29
and as, without a receptacle / basis, nothing can be actualised....

(g¡ndharva needs a verbal text for expression).]
±ÉIÉhÉÆ SÉiÉÖ & ¸ÉÖ i ªÉÉÊnù º ´É°ü{É¨ÉÂ * Eò¨Éæ Ê iÉ ªÉÉä V ÉxÉÉÎi¨ÉEòÉ ÊGòªÉÉ OÉ½þ É Æ ¶ ÉÉÊnù ° ü{ÉiÉªÉÉ,
ªÉiÉÉä VÉÉiªÉÉÊnù ª ÉÉä M ÉÉä n Â ù ¦ É´ÉºiÉjÉ,
By lakÀa¸am, th e four-¿ruti and other forms (of svaras) are

meant. By karma, the activity of fashioning (the melody) is meant, by
(svaras playing the roles of) graha, aÆ¿a etc., resulting in j¡tis and
other (melodic) structures. (11)
-------------------------------------------------------------------
nÂ ù ´ ªÉÊvÉ¹`öÉxÉÉ& º´É®ú É ´Éè h ÉÉ& ¶ÉÉ®ú Ò ®úÉ¶SÉ |ÉEòÒÌiÉiÉÉ& *

BiÉä ¹ ÉÉÆ ºÉÆ | É´ÉIªÉÉÊ¨É Ê´ÉvÉÉxÉÆ ±ÉIÉhÉÉÎx´ÉiÉ¨ÉÂ **12**
Svaras are known to rest on two sources - v¢¸¡ and voice <¿¡r¢ra>.
I sh all elucidate th eir regulation in accordance with the specifications
(to which g¡ndh arva must conform) <lakÀa¸¡nvitam>. (12)
[Taking up the primary stuff of g¡ndharva, namely svara, Bharata

declares that svara is expressed on the v¢¸¡s and the apparatus of the
human body. He sets out to systematically describe melody in rel ation
to both these sources, by anal ysing it into units and features, on the
basis of practice.]
iÉi(iÉ?)EÖ ò iÉ{ÉºªÉ ºÉÉi¨ÉEòi´Éä % Ê{É ®ú R Â ó MÉ¦ÉÉMÉºªÉ MÉÉxÉ´ÉÞ k ÉÉxiÉi´ÉÆ ªÉuù Ò hÉÉ¶É®úÒ® -

ú ´ ÉÆ ¶ ÉÉxÉÉ¨ÉÉ®ú É ä ½ þ h É¨É´É®úÉä ½ þ h ÉÆ SÉ* |ÉÉhÉÉÊ¦É½þ x ÉxÉä x Éè ´ É Ê½þ iÉÒµÉÉiÉÒµÉä h É ¶É®úÒ®ú <´É ´ÉÆ ¶ Éä % Ê {É
º´É®ú Ê xÉ¹{ÉÊkÉ&* ´ÉÒhÉÉªÉÉxiÉÖ +Énù ¶ Éæ ´ÉÉ¨Énù Ê IÉhÉÊ´É{ÉªÉÉÇ º É´ÉkÉÉ®ú¨Éxpù Ê ´É{ÉªÉÉÇ º É <iªÉÉ¶ÉªÉä x ÉÉ½þ
nÂ ù ´ ªÉÊvÉ¹`öÉxÉÉ& º´É®ú É ´Éè h ÉÉ& ¶ÉÉ®ú Ò ®ú É ¶SÉä Ê iÉ* ´Éè h ÉÉxÉÉÆ |ÉÉvÉÉxªÉÉi{ÉÚ ´ ÉÇ ¨ ÉÖ q ä ù ¶ É&* nù Ì ¶ÉiÉÆ SÉ
iÉÊuù v ÉÉxÉÊ¨ÉÊiÉ ºÉÆ { ÉÉnù x É¨ÉÂ * ±ÉIÉhÉä x É MÉÉxvÉ´ÉÇ ± ÉIÉhÉä x ÉÉxÉÖ M ÉiÉ¨ÉÂ * *12**
With respect to the tatakutapa which is present on stage, too, the

production of mu sic is to be explained, as v¢¸¡, voice and flute (differ)
in ascent and descent. Svaras are produced on the flute just as they are
on the voice, by h ard and soft blowings of breath. On v¢¸¡, however,
the t¡ra-mandra (higher and lower registers) are reversed like th e
reversal of left and right on a mirror. Intending (to make this distin ction,
the sage) says, "Sva ras have two base s - v¢¸¡ and body." As the v¢¸¡
svaras are primary, they come first in the enumeration. ...' Vidh¡nam'
30
mean s 'securing / accomplishing' (the svaras). By lakÀa¸a (is meant)

'according to the specifications set down for g¡ndharva'. (12)
--------------------------------------------------------------
º´É®ú É OÉÉ¨ÉÉè ¨ÉÚ S UÇ ô xÉÉ¶SÉ iÉÉxÉÉ& ºlÉÉxÉÉÊxÉ ´ÉÞ k ÉªÉ& *

¶ÉÖ ¹ EÆ ò ºÉÉvÉÉ®úhÉä ´ÉhÉÉÇ Á±ÉRÂ ó EòÉ®ú É ¶SÉ vÉÉiÉ´É& **13**
¸ÉÖ i ÉªÉÉä ªÉiÉªÉ¶SÉè ´ É ÊxÉiªÉÆ º´É®úMÉiÉÉi¨ÉEòÉ& *
nù É ®ú´ªÉÉÆ ºÉ¨É´ÉÉªÉºiÉÖ ´ÉÒhÉÉªÉÉÆ ºÉ¨ÉÖ n ù É ¾þ i É& **14**
º´É®ú É OÉÉ¨ÉÉ´É±ÉRÂ ó EòÉ®úÉ ´ÉhÉÉÇ & ºlÉÉxÉÉÊxÉ VÉÉiÉªÉ& *
ºÉÉvÉÉ®ú h Éä SÉ ¶ÉÉ®ú Ò ªÉÉÈ ´ÉÒhÉÉªÉÉ¨Éä ´ É ºÉÆ O É½þ & **15**
Svaras, (the two) gr¡mas, m£rcch an¡s, t¡nas, the sth¡n as,
v¤ttis, ¿uÀka, (the two) s¡dh¡ra¸as, var¸as, ala´k¡ras, dh¡tus, ¿rutis,
yatis - this is the list of melod y-related topics spoken of, in connection
with the wooden v¢¸¡. (13 -14)
Svaras, (the two) gr¡mas, ala´k¡ras, var¸as, sth¡n as, j¡tis, and
(th e two) s¡dh¡ra¸as - this is the list of topics (dealt with) in connection
with the bodily v¢¸¡.
(15)
iÉjÉ ´Éè h ÉÉxÉÉÆ º´É®ú É hÉÉÆ |ÉEòÉ®úÉxÉÖ Ê qù ¶ ÉÊiÉ º´É®ú É OÉÉ¨ÉÉÊ´ÉiªÉÉÊnù * ºÉÆ Ê IÉ{ªÉÉ´ÉMÉ¨ÉÉä
ªÉiÉ& <ÊiÉ ºÉ¨É´ÉÉªÉ =qä ù ¶ É&* ºÉ SÉ º´É®úMÉiÉ&, º´É®ú Ê ´É¹ÉªÉ +Éi¨ÉÉ ªÉºªÉ
´ªÉºiÉºÉ¨ÉºiÉÉÊnù ° ü{ÉÆ Ê½þ º´É®ú É hÉÉ¨Éä ´ Éä ¹ ]õ¨ÉÖ Ê qù ¹ ]õ¨ÉÂ * nù É ¯ûhÉÉä % {ÉiªÉÆ ´ÉÒhÉÉ ´ÉÉOÉÚ { ÉÉ
¦ÉMÉ´ÉiÉÒÊiÉ nù É ®ú ´ ÉÒ* iÉä x É iÉjÉ xÉ ...... |ÉiªÉªÉ&* "nù É ¯ûhÉÉä ÁºÉÉè VÉÉiÉÉ ´ÉÉEÂ ò
BiÉ........º¨É* MÉÉÆ |ÉxÉ¹]õ É "Ê¨ÉiªÉÉÊnù x ÉÉ Ê´É¶ÉÉÊJÉ±ÉÉSÉÉªÉÇ & |ÉÉnù Ò où ¶ ÉiÉÂ * iÉnù É vÉÉ®ú i ´ÉÉSSÉ
EòÉ¹`ö¨ÉªÉÉä % Ê{É ºÉÊzÉ´Éä ¶ ÉÉä ´ÉÒhÉä i ªÉÖ S ªÉiÉä * B´ÉÆ ¶É®ú Ò ®ä ú ´ÉÒhÉÉ ´ÉÉOÉÚ { ÉÉ Ê½þ ºÉ® úº´ÉiÉÒ ´ÉÒhÉÉ
¶É¤nä ù x ÉÉä S ªÉiÉä *
There, with 'svar¡ gr¡mau' etc. (the sa ge) enumerates the topi cs
related to the svaras produced on the v¢¸¡s. As on e gets a summary
understanding (of the subject from this), samav¡ya means udd®¿a
(brief, comprehensive enumeration of topics). That (enumeration)
pertains to melody <svara>. That el ement (of g¡ndharva) whose stuff is
svara, is to be studi ed analytically and synthetically, and so all the
topics related to svara are enu mer ated. The v¢¸¡ born of wood <d¡ru>
31
is th e form taken by the goddess 'V¡k' ('Expression'); this is 'd¡rav¢'

(v¢¸¡).
[The next few sentences are broken and are not clear. But
Abhinava seems to be alluding to the story told by Vi¿¡khil¡c¡rya, of
the disappearance of V¡k from Heaven , and her taking refuge in the
trees.] Since it supports (V¡k), even th ough it is wooden, it is called
v¢¸¡. Similarly, the v¢¸¡ (tonal apparatus) in the body, which manifests
V¡k <v¡gr£p¡> is referred to as sarasvat¢ (¿¡r¢r¢?) v ¢¸¡. [Or, in the
body, v¢¸¡ takes the form of voice <v¡gr£p¡>, for (the apparatus of)
Speech is called v¢¸¡.]
¨ÉÚ S UÇ ô xÉÉ .....¶ÉÉ®úÒªÉÉÈ nù É ®ú ´ ªÉÉÆ SÉ iÉÖ ± ªÉÉ ¨ÉÚ S UÇ ô xÉÉ* iÉÉxÉÆ iÉÖ ¶ÉÉ®ú Ò ªÉÉÈ ºÉÆ ¦ É´Énù Ê {É
xÉ |ÉªÉÉä M ÉÉ½Ç þ ¨ ÉºÉÖ J ÉÉ´É½þ i ´ÉÉiÉÂ * +¦ªÉÉºÉÉlÉÈ SÉ iÉi|ÉªÉÉä M Éä ¹ ´ÉxªÉÚ x ÉÉÊvÉEò´Éè h Éº´É®ú´É¶Éä x Éè ´ É
iÉÎiºÉrä ù & * +iÉ B´É ¶ÉÉ®úÒ®úº´É®ú|ÉªÉÉä M ÉÉ¶ÉHòÉä % Ê{É ¾þ n ù ª ÉÉ{ÉÊ®úMÉÞ ½ þ Ò iÉ& º´É®ú Ê ´É¶Éä ¹ É& ¶ÉCxÉÉä Ê iÉ
´Éè h Éº´É®ú É xÉÂ |ÉªÉÉä H Ö ò ¨ÉÂ * ´ÉÞ k ÉªÉ¶SÉ vÉÉiÉÚ x ÉÉ¨ÉÂ * ¶ÉÖ ¹ EòºªÉ ´ÉÉxÉÖ O ÉÉ½þ E ò +ÉvÉÉ®ú & ,
vÉÉiÉÖ ¶ ÉÖ ¹ Eò|ÉªÉÉä M ÉºªÉ ´ÉÒhÉÉªÉÉ¨Éä ´ É ºÉÖ J ÉÉ´É½þ & * iÉiÉÉä (vÉÉiÉÖ Ê ¦É& ¶ÉÉ®úÒ®ú º ´É®ú) ={ÉVÉÒ´ªÉiÉä *
(iÉkÉÖ ) +±ÉRÂ ó EòÉ®-ú V ÉÉiÉÊ¨ÉÊiÉ ´ÉIªÉiÉä * ¸ÉÖ i ÉªÉ¶SÉ ´ÉÒhÉÉªÉÉ¨Éä ´ ÉÉä { ÉªÉÉä Ê MÉxªÉ&,
ºÉÉ®ú h ÉÉªÉÉºiÉxjªÉÖ i Eò¹ÉÇ h ÉÉ{É-Eò¹ÉÇ h ÉºªÉ iÉx¨ÉÚ ± Éi´ÉÉSSÉ* iÉlÉÉ SÉ
´ÉÒhÉè ¯ û{É»ÉÖ Ê iÉ............ºÉÆ J ªÉÉ±ÉÉ¦Éä |É¨ÉÉhÉi´Éä x É ´ÉIªÉiÉä * +iÉ B´É ´ÉÒhÉä ´ ÉÒxÉÆ ( ?)
ºÉ¨ÉºiÉºªÉ º´É®úMÉiÉºªÉ |ÉEòÉ®úºªÉÉ¦ªÉÉºÉä |ÉªÉÉä M Éä SÉÉä { ÉªÉÉä Ê MÉxÉº... ** 13 -15** *
[*Th e last line of this comment has been taken to the next verse.]
M£rcchan¡.......... M£rcchan¡ is the same on (both v¢¸¡s) -

bodily and wooden. T¡na is possible on the bodily (v¢¸¡), but this is not
fit for performan ce as it is not pleasant to the ear. (T¡na is suited for
performance on the wooden v¢¸¡), as it is ideal for exercise, and can be
sounded accurately in performances, avoiding falling and rising of pitch,
only on the v¢¸¡. That is why a musician who cannot sound the svaras
right on the voice, because his mind cannot control the distinctions to
be made in tone, can demonstrate them on v¢¸¡s. V¤ttis belong to
dh¡tus. (Dh¡tu) is (the receptacle) holding ¿uÀka, supporting it. Dh¡tu
¿uÀka playing is pleasant on the v¢¸¡ alone. So (the dh¡tus) depend (on
svara of the voice [v¢¸¡?]). (That [var¸a?]) will be explained, as
pertinent to ala´k¡ra. árutis can be demonstrated on v¢¸¡ alone, as
they emerge in the process of s¡ra¸¡, involving the tightening and
32
loosening of strings. [The next sentence is incomplete and not very

clear, but the purport seems to be - ¿ruti will be explained as the
measure (of svaras), while showing the total number (namely,
twentytwo, of ¿rutis).] [The next sentence seems to mean - all the
topics connected with melody can be treated in connection with v¢¸¡ -
those relating to practice and those to performance.] (13 -15)
[Abhinava expl ains the two enumerations of the topics connected
with melody, on e relevant to the wooden v¢¸¡, and th e other to the
voice / bodily v¢¸¡. Some are common to both sources of production,
but some are peculiar to the v¢¸¡. The mention of j¡ti in the s econd list
alone, has not been explained. Probably, since j¡ti stands for a cluster
of melodies, regardless of the technique of execution, and since it is
exemplified mainly by songs, it has been placed in the list pertaining to
vocal music.]
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´ªÉ\VÉxÉÉÊxÉ º´É®ú É ´ÉhÉÉÇ & ºÉxvÉªÉÉä % lÉ Ê´É¦ÉHòªÉ& *

xÉÉ¨ÉÉJªÉÉiÉÉä { ÉºÉMÉÉÇ ¶ SÉ ÊxÉ{ÉÉiÉÉºiÉÊrù i ÉÉ& EÞ ò iÉ& **16**
Uôxnù É ä Ê ´ÉÊvÉ®ú±ÉRÂ ó EòÉ®úÉ YÉä ª É& {Énù M ÉiÉÉä Ê´ÉÊvÉ& *
ÊxÉ¤ÉrÆ ù SÉÉÊxÉ¤ÉrÆ ù SÉ Êuù Ê ´ÉvÉÆ iÉi{ÉnÆ ù º¨ÉÞ i É¨ÉÂ **17**
Consonants, vowels, syllables, letter junctions, noun and verb
endings, nouns, verbs, preposition-affixes, particles, noun affixes and
verb affixes yielding secondary nouns,
rules governing metre, embellishments of ver bal expression - all
these pertain to th e verbal text <pada>. And that pada has been
prescribed in two forms - bound and not bound. (16 -17)
* iÉjÉ ºÉÆ G òÉxiÉºªÉ SÉÉ¯ûi´ÉÉiº´ÉiÉ& ¶É¤nù É i¨ÉEÆ ò {Énù ¨ ÉÊ{É*[?] iÉiºlÉÊ¨ÉiªÉÊ¦É|ÉÉªÉä h É

**13-15**[?] B´ÉÆ Ê´ÉÊ¶É¹]õ & º´É®úiÉÉ±Éä x É ¨Éä ª É <iªÉÉ¶ÉªÉä x É SÉ {Énù M ÉiÉ¨ÉÖ Ê qù ¶ ÉÊiÉ*
iÉÉ±ÉMÉiÉÆ {ÉÞ l ÉCEÞ ò iªÉ ´ªÉ\VÉxÉÉxÉÒiªÉÉÊnù * ´ªÉ\VÉxÉÉÊxÉ - +VZÉ±ÉÂ ° ü{ÉÉÊhÉ ={ÉÉnä ù ª Éi´Éä x ÉÉjÉ
YÉä ª ÉÉÊxÉ* {Énù V ÉÉiÉä x É º´É®ú | ÉªÉÉä M ÉÉä ´ªÉ´ÉºÉÒªÉä i ÉÉIÉ®úvÉ¨ÉÇ i ´ÉÉiº´É®úºªÉ*
[* The last line of the commentary on the previous two verses in

the GOS edn. has been brought here, and the punctuation altered.]
33
(The music) which is carried (by the verbal text), should be

beautiful, and so the verbal text <pada> which consists of words, (and
is beautiful) in its own right, too, shoul d lie within that <tatstham> -
(13-15[?]) with this view (the sage) enumerates the topics (of
g¡ndharva) relating to pada, keeping in mind that it is subject to tonal
and temporal boundaries. Reserving th e material proper to t¡la (for later
consideration), (he speaks of th e constituents of pada) with
"Vyaµjanas....." etc. 'Vyaµjan¡ni' mea ns those forms of vowels and
consonants <ac h al> that are suitable (for music and dramatic
situations). [The n ext sentence is not clear, but the purport seems to be
that tones rest on syll ables, and so tonal articulation depends on
syllables.]
+xªÉä i ´ÉÉ½Ö þ & - ´ªÉ\VÉxÉÉxÉÒÊiÉ tÉä i ÉEòÉÊxÉ ÊxÉ{ÉÉiÉÉ MÉÞ Á xiÉä ZÉh]Ö õ Ê ¨ÉiªÉÉÊnù *
+EòÉ®úÉnù ª ÉºiÉÖ {ÉÉÊhÉEòÉºÉÖ ®úHòMÉÉxvÉÉªÉÉÇ Ê nù V ÉÉÊiÉ¹ÉÖ SÉ où ¶ ªÉ¨É ÉxÉÉ& º´É®ú É & +SÉ& ´ÉhÉÉÇ &
+VZÉ±ºÉ¨ÉÖ n ù É ªÉÉ&, ºÉxvÉªÉ& ºÉÆ Ê ½þ i ÉÉEòÉªÉÉÇ Ê hÉ* Ê´É¦ÉHòªÉ& ºÉÖ Î {iÉRó&, ={ÉºÉMÉÉÇ ¶ SÉ |ÉÉnù ª É&
ÊxÉ{ÉÉiÉ&.... ½ä þ ª ÉÉ& {É¯û¹É|ÉÉªÉÉ&* +xªÉä iÉÚ { ÉÉnä ù ª ÉÊ´É¦ÉÉMÉä x É YÉä ª ÉÉ&, +±ÉÆ E òÉ®ú É ={É¨ÉÉ-
´Éä º É®úÉnù ª É&* +ÊxÉ¤Érù Ê ¨ÉÊiÉ MÉtÆ {ÉÞ l ÉMÉlÉÈ ´ÉÉ iÉÊuù { É®ú Ò iÉÆ ÊxÉ¤Érù ¨ ÉÂ * BiÉSSÉ º¨ÉÞ i ÉÆ
´ÉÉÊSÉEòÉÊ¦ÉxÉªÉ B´ÉÉºªÉ ´ªÉ\VÉxÉÉÊnù ¦ Éä n ù º ªÉÉä H òi´ÉÉÊnù Ê iÉ ¦ÉÉ´É&* ªÉtxÉÖ H Æ ò EÖ ò ±É ´ÉÉ º¨É®úi´ÉÆ
´ÉÉ Ê´É¦ÉÉ´É <iªÉÉÊnù SÉ iÉtlÉÉ´ÉºÉ®Æ ú ´ÉIªÉiÉä *
Others say - 'Vyaµjan¡ni' mean s expressions, and refers to the

fixed consonants <nip¡t¡>, such as 'jha¸¶um'. The 'a' etc. observed in
(th e songs called) p¡¸ik¡s and the j¡tis such as raktag¡ndh¡r¢, are th e
vowels <svaras> referred to as 'ac'. ' Var¸as' are the combinations /
entire collection of vowels and conson ants. By 'sandhis' the operation
of conjunction (of letters) is meant. 'Vibhaktis' refers to noun and verb
endings. 'Upasargas' are 'pra' etc. 'Nip¡ta' ...... those which are h arsh
have to be discarded. The other items (taddhita, k¤t) have to be chosen
with discrimination. Ala´k¡ras are upam¡, v®sara etc. By
'anibaddham' is meant prose or free verse. Its opposite is ' nibaddham'.
By 'this has been prescribed <sm¤tam>', the description of vyaµj an a
etc. in the treatment of v¡cik¡bhinaya (speech enactment), which h as
already been done, is being recalled. [The next sentence is not clear,
but the purport seems to be - If something has not b een spelt out, .....
it will be clarified in the relevant contexts. (16-17)
34
[We find that some topics, su ch as, the rules of metre, have not
been commented on, but Abhinava promises to speak of whatever h as
been left out here, in the relevant context.]
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wÉÖ ´ Éºi´ÉÉ´ÉÉ{ÉÊxÉ¹GòÉ¨ÉÉè Ê´ÉIÉä { ÉÉä % lÉ |É´Éä ¶ ÉxÉ¨ÉÂ *

¶É¨ªÉÉ iÉÉ±É& ºÉÊzÉ{ÉÉiÉ& {ÉÊ®ú´ÉiÉÇ & ºÉ´ÉºiÉÖ E ò& **18**
¨ÉÉjÉÉ |ÉEò®úhÉÉRÂ ó MÉÉÊxÉ Ê´Énù É ®ú Ò ªÉiÉªÉÉä ±ÉªÉÉ& *
MÉÒiÉªÉÉä % ´ÉªÉ´ÉÉ ¨ÉÉMÉÉÇ & {ÉÉnù ¨ ÉÉMÉÉÇ & [¦ÉÉMÉÉ&?] ºÉ{ÉÉhÉªÉ& **19**
<iªÉä E òË´É¶ÉÊiÉÊ´ÉvÉÆ YÉä ª ÉÆ iÉÉ±ÉMÉiÉÆ ¤ÉÖ v Éè & *
MÉÉxvÉ´ÉÇ º ÉÆ O É½þ É ä Áä ¹ É Ê´ÉºiÉ®Æ ú iÉÖ ÊxÉ¤ÉÉä v ÉiÉ **20**
Dhruva, ¡v¡pa, niÀkr¡ma, vikÀ® pa, prav®¿anam, ¿amy¡, t¡la,
sannip¡ta, parivarta along with vastu , m¡tr¡, prakara¸a (g¢takas),
a´gas, vid¡r¢, yatis, layas, g¢tis, avayavas, m¡rgas,
p¡dam¡rga[bh¡ga]s, along with p¡¸is - these are the twentyone topi cs
relevant to t¡la, to be mastered by th e scholars.
These are the contents of g¡ndharva. Now listen to a detailed
exposition of these. (18-20)
wÉÖ ´ ÉÎºi´ÉiªÉÉÊnù x ÉÉ iÉÉ±ÉMÉiÉ¨ÉÖ Ê qù ¶ ªÉ MÉÉxvÉ´ÉÇ º ÉÆ O É½þ É ä Áä ¹ É <iªÉxiÉä x ÉÉä q ä ù ¶ ÉjÉªÉ-

¨Éä E òÊ´É¹ÉªÉÒEò®úÉä Ê iÉ* +jÉ SÉ |ÉEò®ú h É¶É¤nä ù x É ¨Épù E òÉtÖ H òÊ´ÉºiÉ®ú Ê ¨ÉÊiÉ
±ÉIÉhÉ{É®ú Ò IÉÉi¨ÉEò¨ÉÂ * ÊxÉ¤ÉÉä v ÉiÉä i ªÉxÉä x ÉÉä ½ þ É {ÉÉä ½ þ E òÉè ¶ É±É¶ÉÉÊ±ÉxÉÒ ¤ÉÖ Ê rù ® ú j É ¦É´ÉiÉÉ¨ÉÖ{ ÉªÉÖ V ªÉiÉ
<ÊiÉ nù ¶ ÉÇ ª ÉzÉÖ q ä ù ¶ ÉGò¨ÉÉä ±ÉIÉhÉÉnù É è ¨ÉªÉÉ xÉÉoù i É <ÊiÉ* iÉlÉÉÊ½þ - OÉÉ¨ÉÉxÉxiÉ®Æ ú ¸ÉÖ Ê iÉ&,
ºlÉÉxÉÉxÉxiÉ®Æ ú ºÉÉvÉÉ®ú h Éä VÉÉËiÉ SÉ ±ÉIÉÊªÉ¹ªÉÊiÉ xÉ SÉè ¹ É =qä ù ¶ ÉºiÉ´ÉÉä q ä ù ¶ ÉÉä xÉÉ¨ÉÉÊ{É
xÉÉxÉÖ º ÉÞ i É&* =qä ù ¶ Éä iÉÖ |ÉªÉÉä V ÉxÉÆ xÉ ±ÉIÉhÉÉ´ÉEòÉ¶ÉÊ´ÉiÉ®úhÉ¨ÉÂ * +jÉÉÊ{É iÉÖ ´ªÉÖ i {ÉkªÉÉ
+xªÉÉºÉÉÆ ºÉÖ J Éä x É Ê´ÉÊvÉºÉÉvÉÉ®úhÉ¨ÉÉjÉÊ¨ÉÊiÉ iÉä x É º´É®úÉnù Ò xÉÉ¨ÉÖ q ä ù ¶ ÉGò¨Éä h ÉÉiÉxjÉi´ÉÆ
ªÉnÂ ù ´ ªÉÉJªÉÉiÉÆ ]õÒEòÉEòÉ®ä ú h É iÉx¨Éxnù ¡ ò±Éi´ÉÆ ¶ÉCªÉÆ nÚ ù ¹ ÉhÉ¨ÉÎ¶±É¹]Æ õ SÉ* iÉlÉÉÊ{É º´É®ä ú ¹ÉÖ
ºÉiºÉÖ OÉÉ¨ÉÉè iÉnù É ¸ÉªÉÉ ¨ÉÚ S UÇ ô xÉÉ iÉÉxÉÉ <ÊiÉ ªÉÖ H ò¨ÉÂ * ªÉkÉÖ ºlÉÉxÉÉxÉÉÆ iÉnù x ÉxiÉ®ú ¨ ÉÊ¦ÉvÉÉxÉä
EòÉ®ú h ÉÆ ÊxÉ°üÊ{ÉiÉ¨ÉÂ * xÉ ºlÉÉxÉÆ º´É®úºªÉ º´É®úÉ{ÉÉä ½ þ E òÉ®úÒ ÊEòxiÉÖ iÉÉ®ú É Ênù º ÉÆ Y ÉÉ¨ÉÉjÉä . .....
ªÉÊnù iÉjÉ ºlÉÉxÉä ÊxÉ¹{ÉkªÉÉ iÉlÉÉ ºÉÆ Y ÉÉ* iÉÌ½þ iÉÉ®ú¨Éxp -
ù ¨ ÉvªÉ¨É´ªÉÊiÉÊ®ú H òº´É®úº´É°ü{ÉÉ¦ÉÉ´ÉÉiº´É°ü{ÉÉä { ÉEòÉ®ú i ´É¨Éä ´ É EòÊlÉiÉÆ ºªÉÉzÉ´Éä Ê iÉ ÊxÉ¤ÉxvÉxÉä
EÞ ò iÉÆ ºªÉÉiÉÂ * ¶ÉÖ ¹ EòÉxÉxiÉ®Æ ú ºÉÉvÉÉ®úhÉ¨ÉÖ Ê qù ¹ ]Æ õ , ¶ÉÖ ¹ Eò.... ÌiÉi´ÉJªÉÉ{ÉxÉÉªÉä i ªÉÊ{É xÉ
ÊEòÎ\SÉiÉÂ * xÉ Ê½þ EòÉEò±ªÉxiÉ®ú ª ÉÉä & ¶ÉÖ ¹ E B´É |ÉªÉÉä M ÉÉä % ±{ÉÊxÉ¹ÉÉnù M ÉÉxvÉÉ®úÉÊnù V ÉÉÊiÉ¹ÉÖ
iÉÊuù Ê xÉªÉÉä M ÉÉiÉÂ * VÉÉÊiÉºÉÉvÉÉ®ú h ÉÆ iÉÖ VÉÉiÉÒxÉÉÆ ËEòÊSÉnè ù E òÉOªÉÆ ¨ ÉxªÉxiÉä * ºÉoù ¶ ÉÆ
35
°ü{ÉÊ¨ÉiªÉºªÉÉÊ{É Eò& ¶ÉÖ ¹ Eä ò %´ÉºÉ®ú&* ¸ÉÖ i ªÉ{Éä Ê IÉhÉ& º´É®úÉ& iÉÎiEò¨ÉEòÉhbä ÷ iÉÉ =Êqù ¹ ]õ É <ÊiÉ
SÉÉä n ù Ê ªÉi´ÉÉ ªÉi|ÉiªÉÖ H Æ ò ¶ÉÉ®ú Ò ®úÉ{Éä I ÉªÉè ´ É iÉÖ xÉ nù É ®ú ´ ªÉÉÆ iÉä º´É®úÉ <ÊiÉ iÉnù º ÉÆ M ÉiÉ|ÉÉªÉ¨ÉÂ *
BiÉÉ´ÉiÉÉ Ê½þ nù É ®ú´ªÉÉÆ xÉÉÎºiÉ ¸ÉÖ i ªÉÖ { ÉªÉÉä M É <iªÉÖ H ò¨ÉÂ * iÉÏiEò iÉÉÊ¦É¯ûÊqù ¹ ]õÉÊ¦É&
OÉÉ¨ÉÊ´É¦ÉÉMÉÉªÉ iÉÉ <ÊiÉ SÉä k ÉiºÉÊ´ÉvÉ B´ÉÉä q ä ù ¶ ªÉÉ <iªÉ±É¨ÉÂ * iÉzÉÉjÉ Gò¨ÉºÉ¨ÉlÉÇ x Éä x É
|ÉªÉÊºÉiÉ´ªÉ& **18-20**
With dhruva etc. (the sage) enumerates the topics falling under
t¡la. At the end he con cludes, "These are the contents of g¡ndharva
<g¡ndharvasa´grah° hy®Àa>", bringing the three lists under one head(,
namely, g¡ndh arva). 'Prakara¸a' can be looked up in the description of
madraka etc. By 'Learn!<nib°dhata>' the sage means, "You must
employ your powers of reasoning and reflection (in following what I am
saying)." H e means ("You will realise that) my order of enu meration h as
not been maintained in taking up the topics for description." For
instan ce, ¿ruti will be described after g r¡ma, and th e two s¡dh¡ra¸ as
and j¡ti will be described after sth¡n a. (One may obj ect -) This order is
not in keeping with the order of enumeration of the topics. But the
purpose of enumeration of topics is not the mere indication of the order
in which they will be taken up for description. [The next sentence is not
very clear, but the purport seems to be - the ¶¢k¡k¡ra's interpretation
of th e udd®¿a as the orderly enumeration of the topics to be dealt with,
and his effort to expl ain why th e order in which the topics, svara etc.,
have been taken up, does not match the udd®¿a, are a wasteful and
irrelevant exercise.] Even then, with th e svaras having been set down,
it is appropriate that the gr¡m as which house them / depend on them,
and the m£rcchan¡s and t¡nas, are next described. The sth¡nas which
are next in the list (are taken up much later) and the reason is shown in
naming them (in the description of the features of j¡tis). [The next few
senten ces are broken and not very clear. But the purport seems to be -
Sth¡na has nothing to do with the movement / displacement <ap°ha>
of svaras, but is useful in merely n amin g t¡ra etc. (regions). ....Then,
as svaras have no form in dissociation from t¡ra (upper), mandra
(lower) and madhyama (middle regions), the role (of sth¡nas) lies merely
in serving the form (of svaras), and wh ether they ought to have b een
described or not, should h ave been determined in the nibandh an a
(commentary? by the ¶¢k¡k¡ra?).] S¡dh¡ra¸a has b een listed after
¿uÀka (in the enumeration of topics), ¿uÀka............ For k¡kal¢ and
36
antara (s¡dh¡ra¸a svaras) are not employed in ¿uÀka (played on v¢¸¡),

as they are applied in the j¡tis (sung melodies) whi ch have sparse
occurrence of niÀ¡da and g¡ndh¡ra. As for j¡ti-s¡dh¡ra¸ a, it is
conceived of as a measure of similarity / identity. If it (s¡dh¡ra¸a) is
interpreted merely as the similarity of form, even then, wh ere is the
place for it in ¿uÀka? Raising the question, "How are svar as, which ar e
in need of ¿rutis, counted in the list, without any (¿ruti) basis?", and
supplying the answer, "these svaras have reference to the voice and not
to the wooden (v¢¸¡)", is not logical at all. This amounts to saying that
on the wooden (v¢¸¡, too?) ¿rutis are of no use. If the conjecture is
advanced, "Is the mention of these (¿rutis) for th e sake of
distinguishing between the gr¡mas?", then it can be suggested that
they should be kept in the right place (next to the gr¡mas). So no effort
need be made (by the ¶¢k¡k¡ra) to justify th e order (in which the topics
have been taken up for description). (18-20)
iÉjÉ º´É®úÉ& -
¹ÉbÂ ÷ V É¶SÉ @ñ¹É¦É¶SÉè ´ É MÉÉxvÉÉ®ú É ä ¨ÉvªÉ¨ÉºiÉlÉÉ *
{É\SÉ¨ÉÉä vÉè ´ ÉiÉ¶SÉè ´ É ÊxÉ¹ÉÉnù & ºÉ{iÉ SÉ º´É®úÉ& * **21**
Now for the svaras -
âa·ja, ¤Àabh a and only g¡ndh¡ra, madhyama, then paµcama and
only dh aivata, and niÀ¡da - are the seven svaras. (21)
[*The GOS edn. reads ºÉ{iÉ¨ÉÉä % lÉ ÊxÉ¹ÉÉnù ´ ÉÉxÉÂ . The variant

reading selected seems to be more suitable.]
iÉjÉ º´É®úÉx´ÉHÖ ò ¨ÉÉ½þ iÉjÉ º´É®ú É <ÊiÉ* iÉä ¹ ÉÚ Ê qù ¹ ]ä õ ¹ÉÖ ¨ÉvªÉä º´É®úÉ =SªÉxiÉ <ÊiÉ ¶Éä ¹ É&* xÉ
[ º´ÉÞ ¶ É¤nù É ä ] ....´ÉÉä { ÉiÉÉ{ÉªÉÉä & º´É®ú +ÉIÉä { É <iªÉxÉªÉÉä & º´É®ú ¶ É¤nù & , iÉä x É ¶É¤nù º ´É¦ÉÉ´ÉÉÆ
ÊSÉkÉ´ÉÞ Ê kÉ¨ÉvªÉºlÉiÉÉ°ü{Éº´ÉÉºlªÉÉ´ÉºlÉÉ{ÉÊ®úiªÉÉVÉxÉä x ÉÉä { ÉiÉÉ{ ÉªÉxiÉÉä ¾þ t iÉÉÊiÉ¶ÉªÉ´É¶ÉÉiÉÂ
º´ÉiÉÉ¨ÉÉÊIÉ{ÉxiÉ& º´ÉÊ´É¹ÉªÉä +Ê¦ÉvÉÉxÉÆ EÖ ò ´ÉÇ i É& º´É®úÉ <iªÉÖ H òÉ&* ´ÉhÉÇ º ÉÉ¨ªÉÉnù Ê {É
ÊxÉ¯ûÊHò¨ÉÉ½Ö þ & * º´ÉªÉÆ º´Éä ¹ ´Éä ´ É VÉÉÊiÉ®ú É MÉ¦ÉÉ¹ÉÉ¦Éä n ä ù ¹ ÉÖ ®úÉVÉxiÉ <ÊiÉ º´É®ú É &*
Now, (the sage) takes up the topic of
svaras with "Now for the svaras < tatra
svar¡Å >...." This means, "Of the topics enumerated,
svaras will be explained now." [The next senten ce is broken, but the
37
intent seems to be to arrive at the meaning of the word 'svara' through

derivation. One root seems to be 'sv¤', used in the senses, ¿abda (to
sound), upat¡pa (to warm / melt). The other root seems to be 'svara',
used in the sense of ¡kÀ®pa (suffu sing / capturing). ] By their extreme
delightfulness, occupying the mind, they (svaras) make it lose its
identity and autonomy, and melt it to assume their n ature, which is
pu re sound, naming it with their own names
(i.e., making the mind take the form and name
of tones). Hence they are called svaras. Some
interpret svara on the basis of its closeness
to syllables / letters, too. Svaras are also
so called as they function opti mally (lit. shin e) in their
own j¡ti, r¡ga and bh¡À¡ contexts. [Tones reach their full beauty in
melodies, not in independent existen ce.]
+lÉ º´É®è ú ÌxÉªÉiÉ¨ÉÉxÉxiÉªÉÈ tÉä i ÉªÉÊiÉ @ñ¹É¦É <ÊiÉ* BiÉnù xÉxiÉ®ú¨Éä ´ É ¶É¤nù º iÉÖ
ÊxÉEò]õMÉÉxvÉÉ®ú .........+xiÉ®ú É Ê¦ÉvÉÉxÉ¦Éä n ù É xiÉ®ú º É¨¦É´ÉÉnù j É ¦Éä n ù É ä xÉÉºiªÉä ´ É @ñ¹É¦É <ÊiÉ
nù ¶ ÉÇ ª ÉÊiÉ* EòÉEò±ªÉxiÉ®úº´É®ú´É¶ÉÉkÉÖ EòlÉÆ Ê SÉnÂ ù ¦ É´ÉiÉÒÊiÉ SÉ ¶É¤n( @ñ¹É¦É)ù ¶ SÉè ´ É¶SÉ,
vÉè ´ ÉiÉ¶SÉè ´ Éä i ªÉjÉÉÊ{É ÊxÉ{ÉÉiÉÉè ªÉÉä V ªÉÉè * BiÉSSÉ º´É®úºÉÉvÉÉ®ú h ÉÊ¨ÉÊiÉ iÉnù Ê ¦ÉvÉÉxÉÉ´ÉºÉ®ä ú
iÉÊzÉnù ¶ ÉÇ Ê ªÉ¹ªÉÉ¨É&*
Then he shows the fixed sequen ce i mplied in the concept of

svaras, by naming ¤Àabha (next). The next sound is the g¡ndh¡ra
proximate to it. Even though the antara g¡ndh¡ra is a possi bility, it
does not effect any change in the ¤Àabha. This is shown (in the
enumeration). But sometimes, because of the operation of k¡kal¢ and
antara, th e (other) tones (lit. sounds) d o occur, (and to rule out their
place in the set of seven svaras), the particl es 'ca ®va' follow '¤ÀabhaÅ'
and 'dhaivataÅ'. This (k¡kal¢ / antara phenomenon) will be shown to
constitute svaras¡dh¡ra¸am, when we come to the treatment of that
topic.
iÉjÉÉxiÉ®úÉ±É¸ÉÖÊiÉ¹ÉÖ ÊxÉªÉiÉºÉÆJªÉÉ(?)EòÉºÉÖ <Ç¹ÉtÉä ´ÉÉªÉÖxÉÉ º{É¶ÉÇºiÉx¨ÉÊ½þ¨xÉÉ ªÉ& º´É®ú&

¸ÉÖÊiÉºlÉÉxÉä ÎºxÉMvÉi´É®úHòi´É±ÉIÉhÉÉä vÉ¨ÉÇ& iÉºªÉÉ¸ÉªÉ¦ÉÚiÉÉªÉÉ& ¸ÉÖiÉä¯û{É®ú\VÉEò& ºÉ B´É º´É®ú <ÊiÉ
38
EäòÊSÉiÉÂ* ¹ÉbÂ÷VÉ(?)¸ÉÖÊiÉ®äú´ÉäiªÉ{É®ä, ºÉ¨ÉÚ½þ <iªÉäEäò* ´ÉªÉÆ iÉÖ

¸ÉÖÊiÉºlÉÉxÉÉÊ¦ÉPÉÉiÉ|É¦É´É¶É¤n|É¦ÉÉÊ´ÉiÉÉä%xÉÖ®úhÉxÉÉi¨ÉÉ ÎºxÉMvÉ¨ÉvÉÖ®ú& ¶É¤nù B´É º´É®ú <ÊiÉ ´ÉIªÉÉ¨É&*
According to so me, svara is th e smooth, attractive quality

produced at its ¿ruti location, by the g entle stiking of air at the ¿rutis of
fixed number, l ying in the interval, which embellishes the ¿riuti on
which it is located. [The reading is obviously corrupt in the next
senten ce, but the purport seems to be - According to some, Àa·ja (a
svara?) arises from (a single?) ¿ruti, but others attribute it to a group (of
¿rutis).] But we shall sho w that svara is the smooth, sweet sound, which
arises from the sound struck at th e (appropriate) ¿ruti, in the form of
resonance.
+jÉ xÉÉ®ú n ù É tÉ xÉÉ¨ÉÊxÉ´ÉÇ S ÉxÉ¨ÉEòÉ¹ÉÖ Ç & --

" xÉÉºÉÉÆ Eòh`ö¨ÉÖ ® ú º iÉÉ±ÉÖ Ê VÉ¼´ÉÉÆ nù x iÉÉÆ ¶ SÉ ºÉÆ Ê ¸ÉiÉ&*
¹ÉbÂ ÷ ¦ ªÉºiÉVVÉÉªÉiÉä ªÉº¨ÉÉkÉº¨ÉÉiÉÂ ¹ÉbÂ ÷ V É " <iªÉÉÊnù (1-57)
iÉnù x ÉÖ { ÉªÉÉä M ÉÉx¨ÉÖ Ê xÉxÉÉ xÉ º´ÉÒEÞ ò iÉ¨ÉÂ * ´ÉÒhÉÉªÉÉÆ SÉ iÉlÉÉ ¦ÉÉ´ÉÉ¦ÉÉ´ÉÉä ( ´Éä ? )%Ê{É ¹ÉbÂ ÷ V ÉÉÊnù-
nù ¶ ÉÇ x ÉÉiÉÂ * ªÉkÉÖ Eä ò ÊSÉi|ÉÊiÉºÉ¨ÉÉnù v ÉiÉä - ´ÉÒhÉÉªÉÉ& |ÉÊiÉÊ¤É¨¤Éi´ÉÉkÉjÉ ºÉ¨ÉÉxÉä Î xpù ª ÉOÉÉÁÉä ªÉ&
¶ÉÉ®ú Ò ®úº´É®ú º É¨ÉÚ ½ þ º iÉ¨Éä ´ É |ÉÊiÉÊ¤É¨¤É¨É{ÉÇ Ê ªÉiÉÖ ¨ É½Ç þ i ÉÒÊiÉ, iÉnù i ªÉxiÉ¨ÉºÉÉ¨|ÉiÉ¨ÉÂ * ´ÉÒhÉÉ Ê½þ
nä ù ½ þ º ªÉ |ÉÊiÉÊ¤É¨¤ÉÊ¨ÉÊiÉ Eä ò ªÉÆ ¦ÉÉ¹ÉÉ, xÉ Ê½þ nù { ÉÇ h ÉºÉÆ G òÉxiÉ|ÉÊiÉÊ¤É¨¤É -
¶É®ú Ò ®ú|ÉÊiÉSUôxnù E òºÉoù ¶ ÉÒ ´ÉÒhÉÉ ´ÉÒhÉä i ªÉÖ { ÉÉ±É¨¦É&* xÉ SÉ ¨ÉÖ E Ö ò ®ú´Éqä ù ½ þ º ªÉ
|ÉÊiÉÊ¤É¨¤ÉxÉºlÉÉxÉÆ , xÉ Ê½þ º´É®úºªÉ ´ÉÒhÉÉªÉÉÆ º´É®ä ú h Éè E ä ò Îxpù ª ÉOÉÉÁi´ÉÉªÉÉä M ÉÉiÉÂ * xÉ¦ÉºÉÒ´É SÉ
iÉjÉ |ÉÊiÉ¸ÉÖ i ªÉÉi¨ÉxÉ& ¶É¤nù | ÉÊiÉÊ¤É¨¤ÉºªÉÉºÉÆ G ò¨ÉhÉÉiÉÂ * xÉ SÉ ´ÉÒhÉÉº´É®ä ú ¶ÉÉ®úÒ®úº´É®Æ ú
|ÉÊiÉÊ¤É¨¤É¨É{ÉÇ ª ÉiÉÒÊiÉ où ¹ ]õ ¨ ÉÂ , uù ª ÉÉä & º´É®úªÉÉä ® úxÉÖ { É±É¨¦ÉÉiÉÂ * ¶ÉÉ®ú Ò ®º´É®úÉ¦ÉÉ´Éä % Ê{É
´Éè h Éº´É®ú | É´ÉÞ k Éä & ¶ÉÉ®úÒ®úº´É®ú& ´Éè h Éº´É®ú|ÉÊiÉÊ¤É¨¤ÉÊ¨ÉiªÉºÉnä ù ´ É {ÉÞ l ÉC|ÉªÉixÉÊxÉ¹{ÉÉt¨ÉÂ * B´ÉÆ
Ê½þ ÊxÉªÉÊ¨ÉiÉ{ÉÒÊb÷ i ÉÆ jªÉRÂ ó MÉÖ Ê ±ÉºÉ¨ÉÊ¦ÉPÉÉiÉÉä Î ilÉiÉ¶É¤nù É xÉxiÉ®ú º ÉÆ ¦ É´ÉÉpù h ÉxÉÉi¨ÉÉ º´É®ú&* iÉj É
xÉ SÉ iÉjÉ xÉÉºÉÉÊnù E òÉ®ú h É¹É]Â õ Eò¨ÉºiÉÒiªÉÖH ä ò |ÉÊiÉÊ¤É¨¤Éi´ÉÉä k É®ú Ò Eò®úhÉ¨ÉºÉnä ù ´ É,
Eä ò ´É±É¨ÉÉè k É®ú É vÉªÉÇ - Ê´É{ÉªÉÉÇ º ÉÉiÉÂ * º´ÉMÉiÉ¶É®úÒ®úº´É®úÉxÉÖ º ÉÉ®ä ú hÉ SÉ ºÉÉ®ú h ÉÉä { ÉªÉÉä Ê MÉxÉ
=iEò¹ÉÉÇ { ÉEò¹ÉÇ h ÉºÉÆ ¦ É´ÉÉiÉÂ |ÉÊiÉÊ¤É¨¤Éi´É¨ÉÖ H ò¨ÉÂ *
In this context, N¡rada and others h ave explained the names (of the
svaras), by analysing them into their parts.
"As it is born of t he six places on which it rests,

namely, the nose, throat, chest, palate, tongue and teeth, Àa·ja (six -
born) acquires its name." and so on. (1-57)
39
As this explanation is not useful (in the

conception of svara in music), the sage does
not accept it. For , on the v¢¸¡, too, ..... which does not
have (th ese parts,) Àa·ja etc. are observed. Th e retort by some, that th e
v¢¸¡ is the reflection (of the human body), and so the svaras produ ced
by the group of organs in the body can be presented by the reflection,
is not logical at all. No doubt v¢¸¡ is the image of the human body,
but, on the v¢¸¡, the one-to-one correspondence between the body
and its refection on a mirror, does not obtain. For the v¢¸¡ does not
reflect the body like a mirror, nor is the same, single organ involved in
the production of svara on it. Like the echo produced in the sky, there
is no reflection of the voiced svara in the form of echo in the v¢¸¡
svara, for both are not available in one effort. When the voiced svara is
absent and the svara is being produce d on the v¢¸¡, no voiced svara
arises as a reflection of the v¢¸¡ svara, as both need different efforts of
production. On the v¢¸¡, with controlled striking, the sound arising
from the strokes by three fingers, which attains resonance, is svara.
And when th e absence of the six agents, nose etc. (on th e v¢¸¡) is
admitted, identifying the reflection in "going higher (on the keyboard of
the v¢¸¡)", merely on the basis of the reversal of upper and lower (on
the v¢¸¡, compared to the head -throat-chest order), is not logical. The
reflection (of the body apparatus in th e v¢¸¡) has been spoken of, only
because the svaras conceived on the voice, are adopted by the v¢¸¡,
and the tightening / going up and loosening of / going down stri ngs
which serve s¡ra¸¡ (establishing the distinct scal ar position of tones),
are in accordance with these (svaras, first expressed by the voice).
ºÉ{iÉ <ÊiÉ ´ÉSÉºÉÉ EòÉEò±ªÉxiÉ®º´É®ú É è xÉ {ÉÞ l ÉCº´É®úÉÊ´ÉÊiÉ nù ¶ ÉÇ ª ÉÊiÉ* ºÉ{iÉ º´É®ú É

<ÊiÉ SÉ ºÉÆ ¦ É´É´É¶ÉÉÊnù Ê iÉ SÉ ´ÉIªÉÉ¨É&* +xªÉä iÉÖ "iÉiºÉÊ´ÉiÉÖ ´ ÉÇ ® ä ú hªÉÆ ' <ÊiÉ ºÉ{iÉ´ÉhÉÉÇ "ÊxÉ
MÉ Ê®ú vÉ ¨É {É ºÉ' º´É®è ú ¥ÉÇ À hÉÉ {ÉÚ ´ ÉÇ ¨ ÉÖ n ù Ò Ê®ú i ÉÉ <ÊiÉ ºÉÉ{iÉº´ÉªÉæ % Ê¦É|ÉÉªÉ¨ÉÉSÉIÉiÉä *
ÊxÉhÉæ ¹ ªÉÉ¨É¶SÉè i É¨ÉÂ *
By the word 'seven <sapta >', (the sage) shows that

k¡kal¢ and ant ara svaras are not independent svaras. We shall sho w
that th e svaras are seven, on the basis of the possibility of their
emergence. Others express the view that Brahm¡ first uttered th e seven
40
syllables of 'tatsaviturvar®¸yam' in the seven svaras 'ni ga ri dha ma pa

sa'. We shall examine this presently.
+jÉ Eä ò ÊSÉiÉÂ SÉÉä t Æ |ÉÊiÉ ºÉ¨ÉÉnù v ªÉÖ & - ¸ÉÖ Ê iÉGò¨ÉÉÊ¦É´ªÉRÂ ó MªÉÉ& º´É®úÉ <ÊiÉ ¸ÉÖ i ÉªÉ
B´ÉÉnù É è ´ÉÉSªÉÉ <ÊiÉ SÉÉä t ¨ÉÂ , iÉjÉÉä k É®Æ ú - ¦É´Éä n ä ù ´ ÉÆ , ªÉÊnù v´ÉÊxÉxÉÉnù º ÉÆ Ê YÉiÉÉ& ¸ÉÖ i ÉªÉ B´É
ÊxÉªÉiÉ¸ÉÖ i ªÉxiÉ®ú i ´Éä x É MÉÞ Á ¨ÉÉhÉÉ º´É®ú É (<ÊiÉ)* xÉ Áä ´ ÉÆ , ¸ÉÖ i ÉªÉÉä ÁÖ S SÉxÉÒSÉiÉªÉÉ +Ê{É
º´É®ú É ¸ÉªÉÉ B´É |ÉiÉÒªÉxiÉä * ªÉlÉÉ ¦É]Â õ ]õ ¨ ÉÉiÉÞ M ÉÖ { iÉ& -
(VÉÉªÉiÉä ) ºÉ½þ V Éä x Éè ´ É ºÉ¨ÉºiÉ& ¸ÉÖ Ê iÉÊ´ÉºiÉ®ú & *
º´É®ú É ÊvÉ¹`öÉxÉiÉÉä ªÉÉÊiÉ ¸ÉÉä j É{ÉÒªÉÚ ¹ ÉºÉÉ®ú i ÉÉ¨ÉÂ * *<ÊiÉ**
Here, some put forward this argument, "As svaras are

expressed in the order of ¿rutis, should not the ¿rutis be first spoken of
(before svaras)?" The answer could be in the affirmative, if ¿rutis
themselves, technically naming dhvani / n¡da (in music), wer e to be
grasped as svaras, separated by definite (numbers of) ¿rutis. But this is
not so. For, ¿rutis themselves are apprehended, as higher or lower, in
their svara contexts alone. As Bha¶¶a M¡t¤gupta has put it,
"The entire range of ¿rutis naturally becomes the essence of

nectar to the ear, when it rests on the basis
of svara."
¸ÉÖ i Éä ® ä ú ´É SÉ º´É®úi´Éä SÉiÉÖ l ÉÇ º ´É®(¸ÉÖ Ê iÉ?)ú°ü{ÉÉä { É±ÉÊIÉiÉÉä ªÉ& ¹ÉúbÂ ÷ VÉOÉÉ¨Éä {É \SÉ¨É& ºÉ
¨ÉvªÉ¨ÉOÉÉ¨Éä ªÉÊnù iÉÞ i ÉÒªÉ& ¸ÉÖ Ê iÉ°ü{ÉºiÉnù É ºÉ {É\SÉ¨Éº´É®ú <ÊiÉ EòlÉÆ , xÉ Ê½þ iÉÞ i ÉÒªÉÆ
SÉiÉÖ l ÉÇ ¨ Éä E ò¨Éä ´ É OÉÉ¨Éuù ª ÉºªÉ, vÉè ´ ÉiÉºªÉÉªÉ¨Éä ´ É xªÉÉªÉ& EòÉEò±ªÉxiÉ®ú ª ÉÉä ¶ SÉ ÊxÉ¹ÉÉnù M ÉÉxvÉÉ®ú i É É
EòlÉ¨ÉÂ *
If ¿ruti itself possesses the form of svara, (i.e., if a svara is
identified by its place in the range of ¿rutis), how can the paµcama
which is d efined as manifesting on the fourth ¿ruti (fro m madhyma) in
the Àa·jagr¡ma, remain th e same svara, paµ cama, i n the
madhyamagr¡ma, when it manifests itself at the third ¿ruti? For, the
third and fourth cannot be the same (¿ruti) in the two gr¡mas. The same
logic holds for dhaivata (which takes three ¿rutis in Àa·jagr¡ma, and
four in madhyamagr¡ma). And how can the k¡kal¢ and antara svaras
(whi ch take four ¿rutis each) be niÀ¡da and g¡ndh¡ra (which take two
41
¿rutis each)? [Hence ¿ruti does not h ave th e identity of svara,

but is identified within a particular svara.]
{ÉÖ ¹ {ÉºÉÉvÉÉ®ú h Éä EòÉ±Éä EòÉä Ê Eò±ÉÉä ´ÉÊHò {É\SÉ¨É¨ÉÂ * (xÉÉ®ú n ù Ò ªÉÊ¶ÉIÉÉ 1-5-4) <ÊiÉ
BiÉSSÉ EòlÉÆ ¦É´Éä i ÉÂ * ............nù É è ÊxÉªÉiÉÉ ¸ÉÖ Ê iÉ°ü{ÉÉ +¦ÉÉ´ÉÉiÉÂ * ¦ÉÉ´Éä Ê½þ ºÉ´Éæ º´É®ú É &
ºªÉÖ & * ¸ÉÖ Ê iÉGò¨ÉÉ{Éä Ê IÉÊhÉ SÉ º´É®úÉhÉÉ¨ÉÉi¨É±ÉÉ¦Éä % xªÉÉä x ªÉÉ¸ÉªÉÆ EòºªÉÊSÉnù ´ ÉÊvÉ¦ÉÚ i ÉºªÉ
|ÉÉMÉÊºÉrä ù & iÉº¨ÉÉiÉÂ OÉÉ¨ÉÊ´É¦ÉÉMÉÉlÉÇ ¨ Éä ´ É ¸ÉÖ Ê iÉEòÒiÉÇx ÉÆ iÉnÂ ù M ÉiÉºÉÆ ´ ÉÉtÉÊnù Ê´É(´Éä S ÉxÉÆ ) EòlÉÆ
iÉnÂ ù M ÉiÉä ¹ ÉÖ ®úÉMÉä ¹ ÉÖ xÉè ´ É º´É®úÉhÉÉÆ ÊxÉªÉiÉÉä v ´ÉÉÇ Ê nù E ò¨ÉxÉªÉÉ ¶É®úÒ®úºÉÉ¨ªÉÆ ¦É´ÉiÉÒÊiÉ
nù ¶ ÉÇ Ê ªÉiÉÖ Ê ¨ÉÊiÉ ¸ÉÖ i ÉªÉ& º´É®ä ú ¦ ªÉÉä % xÉxiÉ®ú¨ÉÖ H òÉ&* BiÉnù É ¸É(¶É?)ªÉä h Éè ( xÉè ? )´É
Ê´É¶ÉÉÊJÉ±ÉÉSÉÉªÉÉæ OÉÉ¨ÉÉxÉxiÉ®Æ ú ¸ÉÖ i ÉÒ¯ûÊqù ¶ ÉÊiÉ º¨É* iÉÉ Ê½þ {É®Æ ú ªÉÉä . ..+iÉ B´É ºÉÉ¨É´Éä n ä ù
OÉÉ¨ÉÊ´É¦ÉÉMÉÉ¦ÉÉ´ÉÉkÉnÖ ù { ÉªÉÉä Ê MÉxªÉÉÆ xÉÉ®únù Ò ªÉÊ¶ÉIÉÉªÉÉÆ iÉnù Ê ¦ÉvÉÉxÉ¨ÉÉè k É®ú É vÉªÉÇ ¨ ÉÉjÉ¨Éä ´ É iÉ Ú H ò¨ÉÂ
( - ) ªÉ& ºÉÉ¨ÉMÉÉxÉÉÆ (xÉÉ®ú 1-5-1) <iªÉÉÊnù x ÉÉ* nù Ò {iÉÉªÉiÉÉtÉ¶SÉ {É\SÉ¸ÉÖ i ÉªÉ&
{ÉÞ l ÉCº´É®úÉnù Ò xÉÉÆ |ÉªÉÖ Ê HòÊ´É¶Éä ¹ ÉºÉÉvªÉÉ =HòÉ&*
"In the season shared by flowers (spring), the cuckoo sings

paµcama." (N¡ra 1-5-1) How is this possible, as the fixed ¿ruti-form (of
the svara) is not there [in the cuckoo's s ong?] And if it were present,
then all the svaras can be produced. [Why only paµ cama?] [The next
senten ce is not clear, but the purport seems to be that, with svaras
gaining their form only with respect to ¿rutis, they are mutually
dependent [the next two phrases are not intelligible].] Only for
distinguishing the gr¡mas from each other, ¿rutis have been spoken of.
The definition of saÆv¡d¢ etc. concepts in terms of ¿ruti is with respect
to them (gr¡mas), and the higher (place ?) fixed for svaras in the r¡g as
falling within them (gr¡mas?), is not identical with it (¿ruti?) - to sho w
all this, ¿rutis have been spoken of after svaras.] With this intent,
Vi¿¡khil¡c¡rya counted ¿ruti after gr¡ma (in the list of topics). ...That is
why, in s¡mav®da, in which the gr¡ma distinction is absent, and in
N¡rad¢ya¿ikÀ¡, which is made use of by it, the mention [of ¿rutis] is for
the purpose of indicating raising and lowering alon e. "( - ) whi ch, of the
singers of s¡man..." (N¡ra 1 -5-1) The five ¿rutis, d¢pt¡, ¡yat¡ etc., have
been prescribed to be accomplished in the rendering of individual
svaras.
+xªÉä i´ÉÉ½Ö þ & - ¸ÉÖ i Éä ® ä ú ´É º´É®ú i ´ÉÉ¦ÉÉ´ÉÉiÉÂ ¸ÉÖ Ê iÉEò(Gò)¨ÉÉÊ¦É´ªÉRÂ ó MªÉÉ& º´É¦ÉÉ´Éä x É
{ÉÚ ´ ÉÈ =qä ù ¶ ªÉÉ ¦É´Éä ª ÉÖ Ê ®úÊiÉ* +jÉÉä S ªÉiÉä - ªÉÊnù ¸ÉÖ Ê iÉ¶É¤nä ù x É ºÉ¨ÉÒ®ú h ÉºÉÆ ª ÉÉä M ÉÒ ºlÉÉxÉÊ´É¶Éä ¹ ÉÉä
Ê´É´ÉÊIÉiÉÉä , "´ªÉºiÉÉÊxÉ iÉÉÊxÉ ¹É]Â õ ¹ÉÏ¹]õ Ê´ÉtÉiÉÂ ' <ÊiÉ xÉÒiªÉÉ iÉiºÉ´ÉÇ ¨ Éä i É.......xÉ¨Éä ´ É*
42
EòÎ¶SÉiÉÂ ºlÉÉxÉÆ º´É®Æ ú ¨ÉxªÉiÉä * xÉ SÉÉºªÉ °üIÉiÉÉ ´ÉÉ ÎºxÉMvÉiÉÉ ´ÉÉ vÉ¨ÉÇ & (*) ºÉ¨ÉÒ®úhÉ&
iÉnù Ê ¦ÉPÉÉiÉªÉÉä ® ä ú ¹É B´É xªÉÉªÉ&* +lÉ ¸ÉÖ Ê iÉÊ¦ÉÊ®úÊiÉ xÉ ºlÉÉxÉÊ´É¶Éä ¹ ÉºÉ¨ÉÒ®ú h ÉºÉÆ ª ÉÉä M ÉÒ |É¦É´ÉÉä
Ê´É´ÉÊIÉiÉ&, iÉnÂ ù M ÉiÉ¶SÉ ®úHòiÉÉJªÉÉä vÉ¨ÉÇ & º´É®ú <ÊiÉ* iÉnù É iÉjÉÉÊ{É {É \SÉ¨ÉvÉè ´ ÉiÉÉxÉÖ { É-
{ÉÊkÉÊ®úÊiÉ ºÉ¨ÉÉxÉ¨ÉÂ * xÉ Ê½þ iÉÖ ª ÉÇ º lÉÉxÉºÉÆ ª ÉÉä M ÉÉä n Â ù ¦ ÉÚ i ÉºªÉ v´ÉxÉä ª ÉÉæ vÉ¨ÉÇ & ºÉ iÉÞ i ÉÒªÉºlÉÉxÉ -
ºÉÆ ª ÉÉä M ÉÉä n Â ù ¦ ÉÚ i ÉºªÉ vÉÌ¨É´Énä ù ´ É, iÉrù ¨ ÉÉÇ h ÉÉÆ xÉè ª ÉiªÉÉiÉÂ * xÉÁxªÉvÉ¨ÉÉæ % xªÉºªÉ vÉ¨ÉÇ & * BiÉä x É
EòÉEò±ªÉxiÉ®ú É è ´ªÉÉJªÉÉiÉÉè * EòÉä Ê Eò±ÉÉä ´ÉÊHò {É\SÉ¨ÉÊ¨ÉiªÉÉÊnù SÉÉjÉ ºÉÖ i É®úÉ¨ÉxÉÖ { É{ÉzÉ¨ÉÂ *
Others say - as ¿rutis are not in the co ndition of svaras, it is the

expressions in the range of ¿ruti, (n amely, svaras,) that should naturally
come first in the enumeration of topics. It is observed here - If, by th e
term, ¿ruti, th e particular position in the entire range of ¿rutis where
the utterance is done / where the air strikes
is also meant, then all the sixtysix should be
taken into account. Some take the particular
location to be svara. The quality of s moothness
or dryness is not included. This is but proper for (the first sound
produced by) utterance or striking. Then, by the phrase ' with ¿rutis',
(th e sound) arising from the striking of air at the particular place (in the
¿ruti range) is not meant, as it is sv ara with its delightful quality that
belongs to / possesses these. Then, th ere too, (equally /
simultaneously?), paµcama and dh aivata do not obtain. For, the
function belonging to the sound arising from touching the fourth place,
cannot be similar to that of the sound arising from th e third place, as
their functions are fixed. The function of one cannot be that of another.
By this, k¡kal¢ and antara have been explained. [?] H ere, "the cuckoo
sings paµcama" etc. is totally irrelevant. [?] [The purport seems to be -
a svara can be considered as the ¿ruti location, separated from the
previou s svara, by a fixed number of ¿rutis, which is struck. Here, the
¿ruti size, of a svara, and not its reson ant quality, is considered.]
xÉxÉÖ iÉlÉÉ¦ÉÚ i ÉºlÉÉxÉÉ¦ÉÉ´Éä iÉiºlÉÉxÉ|É¦É´ÉºªÉ ªÉÉä vÉ¨ÉÇ & ºÉ ¦ÉÊ´ÉiÉÖ ¨ É½Ç þ Ê iÉ

vÉÌ¨ÉhÉÉä % ºÉnÂ ù ¦ ÉÉ´ÉÉä Ê½þ iÉjÉ EòÉ®úhÉÉ¦ÉÉ´ÉÉiÉÂ * iÉÖ S UÆ ô SÉè i ÉiÉÂ =VVÉÉä i ÉÉ (=VVÉÉiÉÉä ? )
+Ê¦ÉPÉÉiÉVÉÉSUô¤nù É nù x ÉxiÉ®Æ ú ªÉÉä % xÉÖ ® úhÉxÉ±ÉIÉhÉÉä % xªÉ& ¶É¤nù ={ÉVÉÉªÉiÉä ºÉ iÉÉ´ÉÊzÉºÉMÉÇ -
ÎºxÉMvÉ¨ÉvÉÖ ® ú É EòÉ®ú&* iÉÌ½þ ®úVV´ÉÉ iÉxjªÉÉ¨ÉÉ½þ i ÉÉªÉÉÆ {ÉÉ¹ÉÉhÉä EòÉÆ º ªÉä ´ÉÉ ½þ i Éä iÉnÂ ù ¦ ÉÉ´ÉÉ¦ÉÉ´ÉÉè
º¡Ö ò ]Æ õ ±ÉIªÉä i Éä * iÉnä ù ´ ÉÉªÉ¨ÉºÉÉè ºÉ¨ÉÖ n ù É ªÉÉ{Éä I É& º´É®úÉÆ ¶ ÉÉä xÉÉ¨É |ÉªÉÉä M ÉÉiºÉ¨ÉÖ n ù É ªÉÉ{Éä I ÉÉn ù { É®ú
B´É* iÉiÉ¶SÉ ªÉ B´ÉÉxÉÖ ® úhÉxÉÉi¨ÉÉ SÉiÉÖ l ÉÇ º lÉÉxÉºÉÆ ª ÉÉä M ÉÉä n Â ù ¦ É´Éä x É ¶É¤nä ù x É VÉÊxÉiÉ& ºÉ B´É
43
iÉÞ i ÉÒªÉºlÉÉxÉÉä n Â ù ¦ ÉÚ i Éä x ÉÉÊ{É VÉxÉÊªÉ¹ªÉÊiÉ* Eä ò ´É±É¨ÉÖ S SÉVÉÊxÉiÉi´ÉÉnÖ ù S SÉi´ÉÆ iÉºªÉè ´ É ±ÉIªÉiÉä *

¨Éxpù ¹ ÉbÂ ÷ V ÉÉä ¨ÉvªÉiÉÉ±É(®ú ) ¹ÉbÂ ÷ V ÉºªÉä ´ É* B´ÉÆ iÉnä ù ´ ÉÉxÉÖ ® úhÉxÉÆ EòÉä Ê Eò±ÉÉÊnù ¶ É¤nä ù x É VÉÊxÉiÉä x É
iÉxjªÉRÂ ó MÉÖ ± ÉÒºÉÆ ª ÉÉä M É¨É±±ÉEòEòÉä Ê ]õ P ÉÉiÉÉÊnù | É¦É´Éä x ÉÉÊ{É ¶É¤nä ù x É VÉxªÉiÉ <ÊiÉ ªÉÖ H ò¨ÉÂ *
But, can th e quality (of svara) which arises from its place (in the
¿ruti range), exist, once that place of origin ceases to exist? For, when
the cause is absent, the (effect, which is the) possessor of the
quality cannot exist. [Can the quality of the
svara exist after the striking at the
appropriate place stops?] This is a trivial
(doubt). Following the sound which arises from
the striking, the other sound which is
generated in the form of resonance, has a
naturally smooth, sweet form. By striking with
a cord, the string in an instrument, or a
stone or bronze plate, the presence and
absence (of these qualities of smoothness and
sweetness) can be observed. So this quality of
svara depends on a collection (of sounds), and emerges after
its execution, and depends on the series (of sounds whi ch follow).
Hence the quality of resonance which is generated by the sound
produced by striking at the fourth place (in the ¿ruti range) - the same
can be gen erated by the sound produced at the third place. The higher
position (of the first), as it is produced at a higher place, is (the) only
(difference) perceived (between the two). The Àa·ja in the lower region
<mandra> (has the same qu ality) as the Àa·ja in the middle <madhya>
and upper <t¡ra> regions. In this manner, the same reson ance, which is
generated by the call of the cuckoo etc., is g enerated by the sound
produced from th e strings touched by fingers or from the mallaka stru ck
by the k°¶¢ (plectru m?). [In this sense, namely resonance, th e allusion
to the cuckoo's singing paµcama] is appropriate.
xÉxÉÖ EòÉ®ú h É¦Éä n ù É VVÉÉiÉä x É ¶É¤nä ù x É EòlÉÆ iÉVVÉÉiÉÒªÉÉä % xÉÖ ® úhÉxÉ¶É¤nù & ÊGòªÉiÉä * ¨Éè ´ ÉÆ ,
EòÉ®ú h Éä ÊxÉªÉ¨ÉÉnù ¶ ÉÇ x ÉÉuù É , +ªÉ&º¡òÊ]õEòÉ®ú Ê hÉÊ´ÉtÖ n ù É Ênù E òÉ®ú h É¦Éä n ù º ÉÆ V ÉÉiÉÉä % Ê{É À(Á)ÎMxÉ-
vÉÚ Ç ¨ É¨Éä E òVÉÉiÉÒªÉÆ VÉxÉªÉÊiÉ* ¤ÉÒVÉEòxnù É ä Ê nù i ÉEònù ± ÉÒuù ª ÉÉnù É è ´ÉÉ EòÉ®ú h É¦Éä n ä ù ¹ ´É{ªÉä E òEòÉªÉÇ i É É
où ¹ ]õ É * ´ÉÞ Î ¶SÉEòÉnù É è SÉ* iÉjÉÉ{ªÉÎºiÉ ºÉÚ I ¨ÉÉä ¦Éä n ù & , vÉÚ ¨ Éi´ÉÆ iÉÖ , iÉnä ù ´ Éä ½ þ É {ªÉºiÉÖ * ±ÉIªÉiÉä SÉ
44
´ÉÒhÉÉº´É®úÉä % ªÉÆ ¨É±±ÉEòº´É®úÉä % ªÉÊ¨ÉÊiÉ, ¹ÉbÂ ÷ V Éi´Éä x É i´É¦Éä n ù & * +iÉ B´Éè ¹ ÉÉÆ MÉÉiÉÞ Þ h ÉÉ¨ÉÊ¦É -
PÉÉiÉÞ ¶ É¤nù É ä xÉÉxÉÖ ® ú h ÉxÉÆ VÉxÉªÉÊiÉ* iÉä x É ¶É¤nÆ ù ºÉ¨É¨ÉÊ{É EÖ ò ´ÉÉÇ h ÉÉ +{ÉÊ®ú{ÉÚ h ÉÉÇ <iªÉÖ S ªÉxiÉä *
PÉÉiÉ¶É¤nù º ªÉÉxÉÖ ® úhÉxÉ¶É¤nä ù x É iÉÒµÉi´ÉÉ¦ªÉÊvÉEä ò %ÊiÉ®ú H òiÉÉ, ºÉÉ¨ªÉ ä ºÉÉ¨ªÉÆ , ´Éè { É®úÒiªÉä
´Éè { É®ú Ò iªÉ¨ÉÂ * ªÉºªÉ SÉ ¹ÉÎ¹]õ º lÉÉxÉºÉ¨ÉÒ®ú h ÉÉÊ¦ÉPÉÉiÉ|É¦É´ÉÉ +Ê{É ¶É¤nù É +xÉÖ º ´ÉÉ®(xÉ)úº´É°ü{ÉÆ
º´É®ú É i¨ÉEÆ ò ¶É¤nÆ ù VÉxÉªÉä n ä ù ´ ÉÆ {ÉÊ®ú{ÉÚ h ÉÉæ i EÞ ò ¹]õ¶ÉÉ®úÒ®úEò¨ÉÚ k É(?)iÉÉ®ú i É¨ªÉä iÉÖ ÊxÉEÞ ò ¹]õiÉÉ*
+xÉä x É SÉ EòÉ®úhÉÉ¦Éä n ù É ä n Â ù P ÉÉä ¹ Éä h Éä i É®ä ú iÉ®ú É ¸ÉªÉ¨ÉÊ{É |ÉiªÉÖ H ò¨ÉÂ *
But how can the sound arising from another
cause result in the resonant sound of its own
class ? [The cause of the first sound is the
striking. The cause of the resonance is the
first sound.] Not so, the cause is not f ixed (in
the production of an effect). Fire, which arises from different causes
such as iron, camphor, ara¸i, lightning, gen erates smoke of one class.
The two plantain trees born of seed and root tuber are the same in
effect, although the causes are different. In the scorpions, too, (born
from different causes, the samen ess of effect is observed). Even then
there is a subtl e difference - the quality of the smoke (vari es); here too
the same applies. "This svara is from a v¢¸¡, this svara is from a
mallaka." - this (distinction) can be perceived, but there is no
distinction in the Àa·ja-ness (of the sound heard). That is why [This is
because?] th e sound of the stroke made by the musician does not
generate resonance. [The identity of the svara as Àa·ja is pe rceived
without the aid of resonance, but not the
identity of the instrument.] Hence [the
strokes?], even though making the right sound,
are said to be incomplete. When the struck
sound increases in intensity through the
resonant sound, it becomes more attractive; if
it remains equal in intensity, it remains the
same [in attractiveness]; when the opposite
effect (decrease in intensity) occurs, it
reaches the opposite state [declining in
attractiveness]. [The next two sentences are
not clear. The purport seems to be - All the
sounds arising from the striking of air at the
45
sixty (sixtysix?) places, can create sound of

the nature of svara in the form of resonance.
In this manner the fullness and high quality
[of svara] comes about. If [the resonance?] is
too much or too little, the quality declines.
By declaring the lack of difference between
the causes [with respect to the identity of
the svara], their mutual dependence is also
declared / refuted.[?]
ªÉÊnù º´É®ä ú ¹ÉÖ ¸ÉÖ i ÉªÉ& ºÉ´ÉÇ l Éè ´ ÉÉä { ÉEòÉÊ®ú h ªÉ& OÉÉ¨ÉªÉÉä Ì ´É¦ÉÉMÉÉä % Ê{É Eò±{ÉxÉÒªÉi´ÉÉiÉÂ
OÉÉ¨ÉªÉÉä Ê MÉiÉªÉè ´ É OÉÉ¨ÉÉä { ÉªÉÉä Ê MÉi´ÉÉi{É¶SÉÉnù Ê ¦ÉvÉÉxÉ¨ÉÂ * xÉ iÉÖ v´ÉÊxÉGò¨ÉÊxÉ®ú{Éä I É B´É ¶É®ú Ò ® ä ú
|ÉªÉixÉ&, |ÉMÉÒiÉºªÉ {É®Æ ú Gò¨ÉÉä ±ÉIªÉiÉä , +É¶ÉÖ ¦ ÉÉÊ´ÉiÉi´ÉÉiÉÂ * ºÉ iÉÖ xÉÉÎºiÉ, +|ÉMÉÒiÉä
Gò¨ÉºªÉ ºÉÆ ´ Éä n ù x ÉÉiÉÂ iÉlÉÉ Á|ÉMÉÒiÉä ¹ÉbÂ ÷ V ÉÆ ÊxÉÌ´É...........* B¹ÉÉ VÉxÉ¨ÉÊvÉEÆ ò
´ÉÉ..............ÊiÉ* +É®ú É ä ½ þ É ´É®ú É ä ½ ä þ Ê iÉ iÉÉ´ÉiÉÂ º´É®úYÉ& Ê¶ÉIÉªÉÊiÉ* +¦ªÉÉºÉEòÉ±ÉMÉiÉÆ
iÉxjªÉÖ i Eò¹ÉÉÇ { ÉEò¹ÉÉÇ Ê hÉ ´ÉÉÊnù º ÉÆ ´ ÉÉÊnù ´ ÉtÉ´Éiº´É®ú V ÉxÉxÉºÉ¨ÉlÉÇ ¶ É¤nù Ê ´É¶Éä ¹ ÉÉä i {ÉÊkÉºlÉÉxÉ -
±ÉÉ¦ÉÉä % ºªÉ ¦É´ÉÊiÉ* (iÉiÉ&) B´ÉÆ =iEò¹ÉÉÇ { ÉEò¹ÉÇ h ÉºlÉÉxÉ¦Éä n ä ù x É ¸ÉÉä j ÉMÉÉä S É®ú É Ê¦É±ÉIÉhÉÒªÉÉä
Ê´É¶Éä ¹ É ={ÉVÉÉªÉiÉä * iÉÉ´ÉiÉÒ ¸ÉÖ Ê iÉ®ä ú EòÉ {É®ú¨ÉÉh´ÉxÉÖ º lÉÉxÉä JªÉÉÊ{ÉiÉÉÊ{É iÉºªÉÉ
±ÉIÉhÉÒªÉi´ÉÉiÉÂ nù Ê kÉ±ÉÉSÉÉªÉÉæ % Ê{É v´ÉÊxÉ¶É¤nä ù x ÉÉxÉÖ º lÉÉxÉ¨Éä ´ ÉÉ¦ªÉvÉÉiÉÂ *
"¹ÉbÂ ÷ V Éi´Éä x É MÉÞ ½ þ Ò iÉÉä ªÉ& ¹ÉbÂ ÷ V ÉOÉÉ¨Éä v´ÉÊxÉ&' (1-12) <ÊiÉ *
If ¿rutis are in every way aids / implements in [the expression of]

svaras, [th ey are equally important in defining th e gr¡mas, too]. As th e
two gr¡mas are distinguished from each other , and as [¿rutis] ar e
employed for this distin ction, th ey are spoken of later, in connection
with gr¡ma. Th e effort in the body (to produce svara) is not made,
disregarding the scal ar order of musical sound, although it is after the
scal e / tune / melody is sung, that the scalar order is perceived, as the
exercise (singing) is quickly over. [The next two sentences are broken
and not clear.] The teach er (lit. knower of svara) teach es (th e scalar
order) as ¡r°ha-avar°ha (ascent-descent). The [scalar order of
sounds?], during the practice of exercises, by going up and down th e
strings, gains the places (on the keybo ard) where the distinct sounds
can be produced which are capable of generating svaras, with v¡d¢ -
saÆv¡d¢ relation. Thus "through the distinction bet ween the positions in
going up and down (the keyboard), th e difference (between pitch es)
which can be percei ved by the ear is brought into being. Even though
one ¿ruti is so small that it is identified only at a tiny scal ar position,
46
since it can be distinguished / discerned (by the ear), Dattil¡c¡rya, too,

used 'dhvani' (sound) itself in the sense of scalar (pitch) positions.
"the dhvani which is taken to be Àa·ja in Àa·j agr¡ma...." (1 -22)
¸ÉÖ Ê iÉnù ¶ ÉÇ x ÉÆ iÉÖ ´ÉÒhÉÉªÉÉÆ º¡Ö ò ]õ¨ÉÂ * iÉnù Ê {É ¹ÉbÂ ÷ V ÉOÉÉ¨É¨ÉvªÉ¨ÉOÉÉ¨ÉªÉÉä & Gò¨ÉÉä{ ÉGò¨É -
{É\SÉ¨Éº´É®ä ú hÉä i ªÉÉ¶ÉªÉä x É {É¶SÉÉSUØ ô iÉªÉÉä ÊxÉÌnù ¹ ]õ É &* iÉjÉ |ÉªÉixÉ´É¶ÉÉiEòÏº¨ÉÎ¶SÉnù Ê ¦É½þ i Éä
ºlÉÉxÉä VÉÉiÉä % Ê¦ÉPÉÉiÉVÉÉSUô¤nù É xiÉ®ä ú %xÉÖ º ´ÉÉxÉÉi¨ÉÊxÉ º´É®ä ú iÉnù v ªÉ´ÉÊ½þ i ÉºlÉÉxÉÉÊ¦ÉPÉÉiÉÉä ªÉÊnù
ºªÉÉiºÉÆ E òÒªÉæ ( ªÉÉ?)iÉÉ¨ÉÂ * {ÉÚ ´ ÉÉÇ { É®ä ú º´É®ä ú ºlÉÉxÉMÉiÉÉä ªÉlÉÉ iÉjÉ ºÉÆ E òÒhÉÇ ¦ ÉÉ´ÉºiÉlÉÉ
º´É®úMÉiÉÉä % Ê{É* iÉÊuù ¦ ÉÉMÉ±ÉÉ¦ÉÉlÉÈ ¨ÉvªÉä ´ÉVÉÇ x ÉÒªÉºlÉÉxÉ¦ÉÉMÉÉä % xªÉjÉ º´É®ú <ÊiÉ Êuù ¸ ÉÖ Ê iÉEòºªÉ
ºÉ¨{ÉÊkÉ&* ºlÉÉxÉuù ª Éä x É ´ªÉ´ÉvÉÉè ÊjÉ¸ÉÖ Ê iÉEòºªÉ, jÉªÉäh É SÉiÉÖ & ¸ÉÖ Ê iÉEòºªÉ, iÉiÉ& {É®Æ ú SÉiÉÖ ® úÉÊn -
ù ´ ªÉ´ÉvÉÉxÉä % ÊiÉ|ÉªÉixÉ´É¶ÉÉnÂ ù u è ù ( ´Éè ? )º´ÉªÉÇ Ê ¨ÉÊiÉ {É\SÉ¸ÉÖ Ê iÉEòÉnä ù ® úºÉÆ ¦ É´É&* iÉiÉ B´É
¸ÉÖ Ê iÉuù ª ÉÉä i Eò¹ÉÉæ ä Êuù ¸ ÉÖ Ê iÉEòªÉÉä ® ä ú ´ É MÉxªÉÉä ¯ ûHò&* BEò¸ÉÖ i ªÉÖ i Eò¹ÉÇ º iÉÖ xÉÉä H ò&, ºlÉÉxÉ ºÉÉÆ E òªÉæ h É
º´É®úºÉÉÆ E òªÉÇ | ÉºÉÆ M ÉÉÊnù Ê iÉ ÁÖ H ò¨ÉÂ *
The ¿rutis can be clearly shown on the v¢¸¡. That too (has b een
done at th e right place). The scalar order of Àa·jagr¡ma and
madhyamagr¡ma can be enumerated with respect to (the ¿ruti
difference in) paµ cama. Keeping this in mind, ¿rutis have been shown
(on v¢¸¡s) after (this enu meration). There, when, through th e (inability to
control the) effort, if, after striking a particular position, and producing
a sound, which becomes a svara throu gh resonance, the place next to
it is also struck, there will be an adulteration (in ¿ruti). If the higher or
lower place is touched, the svara will also beco me adulterated. Hence,
to keep th e svaras distinct, there should be a place in between which
can be left untouched, and the svara located after that. Thus the two -
¿ruti (interval / measure) of a svara is arrived at. The three-¿ruti
measure results from leaving two places in between, and the four -¿ruti
measure by leaving three places in between. But, beyond that, since a
four-¿ruti gap will involve too much effort (to reach the next svara) and
may result in the loss of euphony, the five-¿ruti and other measures ar e
not possible. Th at is why going up by two ¿rutis is prescribed for
(reaching) th e two-¿ruti ga and ni. Going up by one ¿ruti is not
recommended, as the adulteration of the place will result in the
adulteration of the svara, too.
SÉiÉÖ & ¸ÉÖ Ê iÉÌjÉ&¸ÉÖ Ê iÉÌuù & ¸ÉÖ Ê iÉÊ®úÊiÉ Gò¨Éä h ÉÉxÉlÉÇ ¸ ÉÖ Ê iÉ®ä ú ´É* iÉiÉÉä % Ê{É SÉiÉÖ & ¸ÉÖ Ê iÉ -
ÎºjÉ&¸ÉÖ Ê iÉÌuù & ¸ÉÖ Ê iÉÊ®úÊiÉ ¹ÉbÂ ÷ V É|ÉvÉÉxÉi´ÉÉiÉÂ ¹ÉbÂ ÷ V ÉOÉÉ¨É& ºÉÊ®úMÉ¨É{ÉvÉÊxÉ,
47
¨É{ÉvÉxªÉÉÊn¨ÉvªÉ¨ÉOÉÉ¨É&* SÉiÉÖ & ¸ÉÖ Ê iÉÎºjÉ&¸ÉÖ Ê iÉÌuù & ¸ÉÖ Ê iÉÊ®úÊiÉ* iÉlÉÉÊ½þ - BEòÎº¨ÉzÉä ´ ÉÉä ® úÊºÉ
>ðv´ÉÉÇ v É®ú i ÉªÉÉ ºÉ{iÉº´É®ú É &, iÉlÉÉ Ê½þ SÉiÉÖ & ¸ÉÖ Ê iÉEòÉi{ÉÚ h ÉÉÇ n ù É tÉiÉÂ , iÉpÖ ù i É°ü{ÉÉnä ù E è ò EÆ ò
ÊxÉ¹EòÉºÉÆ |ÉGò¨Éä h É {ÉÖ x É¶SÉ |ÉEÞ ò ÊiÉ¦ÉÚ i É{ÉÚ ´ ÉÇ ° ü{Éº{É¶Éê ¶ SÉi´ÉÉ®ú& ºÉÊ®úMÉ¨ÉÉ&* iÉlÉè ´ É ºlÉÉxÉä
>ðv´ÉÇ º {É¶Éæ {ÉvÉÊxÉºÉÉ&, Eä ò ´É±ÉÆ ¹ÉbÂ ÷ V Éä x É Êuù i ÉÒªÉÆ ºlÉÉxÉÆ º{ÉÞ ¶ ªÉiÉ B´É* ¨Éxpù º {É¶ÉÇ ´ ÉiÉ&
ºlÉÉxÉÆ º´É®úÉhÉÉ¨ÉÂ * B´ÉÆ Eòh`öºlÉÉxÉä Ê¶É®ú Ê ºÉ SÉ* iÉä ¹ ÉÖ ºÉ´ÉÇ l ÉÉ
iÉÉpÚ ù { ªÉºÉÆG ò¨ÉhÉÉk´ÉÆ ¶ ÉÉÊnù ´ ªÉ{Énä ù ¶ É B´É, iÉiºlÉÉxÉMÉiÉÉxÉÉÆ iÉÖ ºÉÉoù ¶ ªÉ{É®úiÉ B´É ºÉÆ ´ ÉÉnù i ´ÉÆ
´ÉIªÉiÉä * iÉä x É {É®ú¨ÉÉlÉÇ i É& jÉªÉ B´É º´É®úÉ& - ºÉÊ®úMÉÉ&, {ÉvÉxÉªÉ&* ¨ÉvªÉ¨ÉºiÉÖ
wÉÖ ´ ÉEòºlÉÉxÉÒªÉÉä ¨ÉvªÉ¨Éi´ÉÉnä ù ´ É*
Enumerating (svaras) in the order of four -¿ruti, three-¿ruti and

two-¿ruti, goes against the numerical order. Even then, as Àa·ja is
important to it, its svaras are enumerated in the order of four -¿ruti,
three-¿ruti etc., and Àa·jagr¡ma is sa-ri-ga-ma-pa-dha-ni.
Madhyamagr¡ma is ma-pa-dha-ni etc.. In naming "four-¿ruti, three-
¿ruti, two-¿ruti" (what is the purpose?). In one count itself, in this order,
above and b elow, the seven svaras are arrived at, in the chest region.
[The next few sentences are not clear, but the purport seems to be - by
beginning and ending the enumeration with a four -¿ruti (svara), in the
order of production, we get sa-ri-ga-ma. In the same order, toucing the
higher part of the region, we have pa-dha-ni-sa, with sa alone touching
the n ext register. This is the mandra region of svaras. Similarly in the
throat region and head. Among these, the designation of aÆ¿a alone is
on the basis of t¡dr£pya-sa´krama¸ a [concentrating the shape of the
j¡ti melody?]. The saÆv¡ditva (con cordance) will be set down for
svaras, only on the basis of likeness (in ¿ruti content), to those
occupying that place (of aÆ¿a). Hence, in reality, there are only three
svaras - sa-ri-ga or pa -dha-ni. Madhyama is fixed
in one place, merely by being at the centre.
[Sa-ri-ga is duplicated in pa-dha-ni, but
madhyama does not have a duplicate, in the
heptad.]
SÉiÉÖ & ¸ÉÖ Ê iÉ¯ûnù É kÉ& =SSÉi´ÉÉiÉÂ , Êuù & ¸ÉÖ Ê iÉ®úxÉÖ n ù É kÉ&, xÉÒSÉè º i´ÉÉiÉÂ * ÊjÉ¸ÉÖ Ê iÉ& º´ÉÊ®ú i É&
¨ÉvªÉ´ÉÌiÉiÉªÉÉ ºÉ¨ÉÉ½þ É ®úi´ÉÉiÉÂ * iÉlÉÉ Ê½þ - º´ÉÊ®úiÉ B´É EòÎ¨{ÉiÉi´ÉÆ ´ªÉÉ½þ ® ú Î xiÉ ¸ÉÉä Ê jÉªÉÉ&*
<½þ É {ªÉ±ÉRÂ ó EòÉ®ä ú ¹ÉÖ ÊjÉ¸ÉÖ i Éä & Eò¨{ÉxÉÆ ´ÉIªÉiÉä * iÉºªÉÉä v ´ÉÉÇ v É& º´É®úºªÉ º{É¶ÉÇ x Éä % Ê{É
º´É®ú i ÉÉIÉ¨Éi´ÉÉSSÉiÉÖ & ¸ÉÖ i Éä Ì ½þ xÉÉä v ´ÉÇ ¨ ÉÎºiÉ, Êuù & ¸ÉÖ i Éä x ÉÉÇ v É®úÊ¨ÉÊiÉ EÆ ò {ÉlÉÆ Eò¨{É& **21**
48
Four-¿ruti is ud¡tta, as it is high [in ¿ruti count?], two -¿ruti is

anud¡tta as it is low [in ¿ruti count?]. Three-¿ruti is svarita, as it is in
the middle and because of sam¡h¡ra [combining high and low?]. That is
why in the svarita [en unciation?] alone, ¿r°tr¢yas (experts on v®da
recitation) speak of shaking. H ere, too, (in music), shaking will be
spoken of in three-¿ruti (svaras) in the context of ala´k¡ras. As
touching the svara, high er or lower, can harm its svara-ness,
augmentation is not possible up to the fourth ¿ruti and diminution
beyond two ¿rutis [?] (for the three-¿ruti svara). Thus kampa (shake)
comes about because wh at / no course is possible (for the three-¿ruti
svara). (21)
----------------------------------------------
---------------------
SÉiÉÖ Ì ´ÉvÉi´É¨Éä ¹ ÉÉÆ Ê´ÉYÉä ª ÉÆ MÉÉxÉªÉÉä H Þ ò Ê¦É& *

´ÉÉnù Ò SÉè ´ ÉÉlÉ ºÉÆ ´ ÉÉnù Ò Ê´É´ÉÉnù Ò SÉÉxÉÖ ´ ÉÉtÊ{É **22**
The directors of Music should be familiar
with the four manners of operation possib le for
these (svaras) - as the v¡d¢ (sonant), and only then (in relation to v¡d¢)
as saÆv¡d¢ (consonant), as viv¡d¢ (dissonant) and as anuv¡d¢
(assonant) al so. (22)
+lÉ ºÉÉ´ÉÇ | ÉªÉÉä M ÉºÉÉvÉÉ®ú h ÉÆ º´É®úÉhÉÉÆ ªÉÉä V ÉxÉÉÆ YÉÉiÉÖ Æ SÉÉiÉÖ Ì ´ÉvªÉÆ nù ¶ ÉÇ Ê ªÉiÉÖ ¨ ÉÖ { ÉGò¨ÉiÉä
SÉiÉÖ Ì ´ÉvÉi´É¨Éä i Éä ¹ ÉÉÊ¨ÉiªÉÉÊnù * B´ÉEòÉ®ä h É ´ÉÉ xªÉÉªÉ(ºÉ?)iÉÉä Ê nù i ÉºªÉ ÎºlÉÊiÉ|ÉªÉÉä M É <iªÉÉ½þ *
SÉ¶É¤nä ù x É ºÉÆ ´ ÉÉÊnù x ÉºiÉiº{ÉÞ ¹ ]ä õ ºÉÆ ¦ É´É¨ÉÉ½þ * B´É¶É¤nä ù x É ºÉÆ ´ ÉÉÊnù x ÉÉä Ê½þ ÊxÉªÉiÉ& ºÉÆ ¦ É´É&*
+lÉ¶É¤nä ù x ÉÉxÉxiÉªÉÇ t Éä i ÉEä ò xÉ ºÉÆ ´ ÉÉÊnù x ÉÉä ´ÉÉÊnù x É¶SÉÉxÉÖ { É±É{ÉxÉ¨ÉÂ * Ê´É´ÉÉnù Ò SÉä Ê iÉ Ê´É´ÉÉÊnù x ÉÆ
|ÉiªÉ´ÉYÉÉ, +xÉÖ ´ ÉÉt{ÉÒiªÉÊ{É¶É¤nä ù x ÉÉxÉÖ ´ ÉÉÊnù x É& ºÉÆ ´ ÉÉÊnù v É¨ÉÉæ{ ÉVÉÒ´ÉxÉ¨ÉÂ * +iÉ B´ÉÉºªÉ
ºÉ´ÉÇ { É¶SÉÉnÖ ù { ÉÉnù É xÉ¨ÉÂ * iÉlÉÉ Ê½þ - +xÉÖ ´ ÉÉÊnù ( nù Ò # ?)ºÉÆ ´ ÉÉtxÉÖ { É(+xÉÖ / ={É)±É{ÉxÉÆ ºÉ½þ i Éä , xÉ
SÉ ¦ÉÚ ª ÉºiÉ®úÉä % ºªÉ |ÉªÉÉä M É <ÊiÉ**22**
Now, for learning how svaras may be
employed / combined, no matter what the
performance / item is, the sage begins to
show the four possible ways, with 'the four
manners (of functioning) of these
49
< c¡turvidhatvam®t®À¡m >' etc. By using ' ®va '

..........the central, anchoring role (of v¡d¢ )
is pointed out. [There is no '®va' near 'v¡d¢'.] By the
word 'ca', the occurrence / possibility of
saÆv¡d¢ in relation (lit. contact) to it (v¡d¢) is pointed out. By the word
'®va ' the necessary occurrence of saÆv¡d¢ (after v¡d¢, is
indicated). Th e word ' atha ', indicating 'after', implies that, after the
saÆv¡d¢, the v¡d¢ should not be uttered. [The sa Æv¡d¢ should be
uttered after the v¡d¢.] The phrase 'viv¡d¢ ca' expresses
the shunning (lit. scorn) pro per to viv¡d¢. In 'anuv¡dyapi ',
the 'api ' indi cates the dependence of an uv¡d¢ on th e saÆv¡d¢
function. That is wh y it has been mentioned after all the other
categories. Anuv¡d¢ can be sung, following saÆv¡d¢, but it cannot be
employed profusely o n its own. (22)
----------------------------------------------
--------------------
iÉjÉ ªÉÉä ªÉnÆ ù ¶ É& ºÉ iÉnù É ´ÉÉnù Ò * ªÉªÉÉä ¶ SÉ xÉ´ÉEòjÉªÉÉä n ù ¶ ÉEò¨ÉxiÉ®Æ ú iÉ É´ÉxªÉÉä x ªÉÆ
ºÉÆ ´ ÉÉÊnù x ÉÉè * iÉtlÉÉ - ¹ÉbÂ ÷ V É{É\SÉ¨ÉÉè , @ñ¹É¦ÉvÉè ´ ÉiÉÉè MÉÉxvÉÉ®úÊxÉ¹ÉÉnù ´ ÉxiÉÉè
¹ÉbÂ ÷ V É¨ÉvªÉ¨ÉÉÊ´ÉÊiÉ ¹ÉbÂ ÷ V ÉOÉÉ¨Éä * ¨ÉvªÉ¨ÉOÉÉ¨Éä % {ªÉä ´ É¨Éä ´ É*(?) ¹ÉbÂ ÷ V É{É \SÉ¨É´ÉVÉÈ ( *)
{É\SÉ¨É¹ÉÇ ¦ ÉªÉÉä ¶ SÉÉjÉ ºÉÆ ´ ÉÉnù & *
That (svara) which is the aÆ¿a, is the v¡d¢. The two svaras which
possess antara of nine and thirteen ¿rutis, are mutually saÆv¡d¢s.
That is as follows - Àa·ja-paµcama, ¤Àabha-dhaivata, g¡ndh¡ra-niÀ¡da
and Àa·ja-madhyama in the Àa·jagr¡ma. Similarly, in the madhyama -
gr¡ma, leaving out Àa·ja-paµcama. In this (gr¡ma) the con sonance
obtains between paµcama and ¤Àabh a, instead. (prose after v.22)
[It follows that ¤Àabha-dhaivata saÆv¡da is also absent in
madhyamagr¡ma.]
+jÉ ¶±ÉÉä E ò& -

ºÉÆ ´ ÉÉnù É ä ¨ÉvªÉ¨ÉOÉÉ¨Éä {É\SÉ¨ÉºªÉ¹ÉÇ ¦ ÉºªÉ SÉ *
¹ÉbÂ ÷ V ÉOÉÉ¨Éä iÉÖ ¹ÉbÂ ÷ V ÉºªÉ ºÉÆ ´ ÉÉnù & {É\SÉ¨ÉºªÉ SÉ **23**
This ¿l°ka (adds) -
50
In madhyamagr¡ma, conson ance exists between paµcama and

¤Àabha. In Àa·jagr¡ma, the consonance of Àa·ja is with paµcama. (23)
xÉxÉÖ |ÉªÉÉä M ÉÉi¨É®úÉMÉÉ vÉ¨ÉÉÇ OÉ½þ É nù ª É¶SÉ +±{Éi´ÉÉnù ª É&,..............+xiÉä

iÉnÂ ù M ÉÞ ½ þ | ÉºÉRÂ ó MÉ¦Éä n ù É ä % Ê{É ´ÉHò´ªÉ&* ºªÉÉnä ù i ÉiÉÂ * OÉ½þ x ªÉÉºÉÉ{ÉxªÉÉºÉÉºiÉÉ´Éuù É Ênù x Éè ´ É |ÉÉªÉä h É
MÉÞ ½ þ Ò iÉÉ&* iÉnÂ ù M ÉÞ ½ þ É nù x ªÉÉººÉxªÉÉºÉÉ{ÉxªÉÉºÉÉ& <ÊiÉ Ê½þ ¶ÉÖ r ù É ºÉÖ ´ÉIªÉÉ¨É&* ¹ÉÉb÷ ´ ÉÉè b Ö ÷ Ê ´É -
iÉÉ±{Éi´ÉÉÊxÉ Ê´É´ÉÉ(txÉÖ ´ ÉÉÊnù Ê ¦ÉzÉÉ)ÊxÉ, ¤É½Ö þ i ´ÉÆ ºÉÆ ´ ÉÉÊnù x ÉÉ, iÉÉ®ú ¨ Éxpù º ªÉ xªÉÉºÉÉ{Éä I É <ÊiÉ*
<nÆ ù SÉÉºÉiÉÂ * ¶ÉÖ r ù É ºÉÖ VÉÉÊiÉ¹ÉÖ ¦É´Éä n ä ù ´ ÉÆ , +xªÉjÉ iÉnù ¦ ÉÉ´ÉÉiEòlÉ¨ÉxÉä x É ºÉÆ O É½þ & * +xÉÖ ´ ÉÉnù Ò
ºÉ´ÉÇ j ÉÉ´ÉÊvÉÊ®úiªÉ´É¶ªÉÆ ´ÉHò´ªÉ&* iÉÌ½þ OÉ½þ & ºÉÖ i É®úÉÆ ´ÉÉSªÉ&, iÉä x É Ê´ÉxÉÉ Ê ½þ xÉ EòÉä % Ê{É
(®ú É MÉ´ªÉÉ{ÉÉ)®ú& |É´ÉiÉÇ i Éä * =SªÉiÉä - =kÉ¨Éä iÉiºÉÉvÉÉ®ú h ÉªÉÉä V ÉxÉÉä { ÉªÉÉä M ÉÒnù ¨ ÉÖ S ªÉiÉä * BiÉÉ´ÉiÉè ´ É
SÉ VÉÉÊiÉ´ÉMÉæ ¦ÉÉ¹ÉÉtÖ x ¨ÉÒ±ÉxÉÆ ¦É´ÉÊiÉ OÉ½þ É {ÉxªÉÉºÉÉÊnù ´Éè Ê SÉjªÉ¨ÉxiÉ®ä ú h ÉÉÊ{É* iÉlÉÉ Ê½þ -
EÖ ò jÉÊSÉiÉÂ º´É®ä ú ¦ÉÚ ª ÉºiÉÚ S SÉÉªÉÇ ¨ ÉÉhÉä ºÉÆ ´ ÉÉÊnù Ê xÉ SÉ iÉnù x ÉÖ ´ ÉÌiÉÊxÉ SÉ
iÉnù x ÉÖ S ÉªÉxÉÉ(´Énù x É?)¶ÉÉÊ±ÉÊxÉ SÉÉxÉÖ ´ ÉÉÊnù Ê xÉ SÉ ËEòÊSÉi|ÉªÉÉä M É¦ÉÉÊVÉ Ê´É´ÉÉÊnù Ê xÉ
EÞ ò iÉº´É°ü{É¨ÉÉºÉÒnä ù Ê iÉ ®úÉMÉºªÉÉÊ¦É´ªÉÊHò&* ªÉlÉÉ "ºÉÉvÉ{ÉÉ {ÉºÉ{ÉÉ ºÉÊxÉÊ®ú { ÉÉ ºÉÊxÉºÉÉºÉ
¨ÉÉºÉÉºÉÆ {ÉÉ{ÉÉºÉÉ vÉÉÊxÉÊxÉ®ú Ò ÊxÉxÉÒºÉÉÊ®ú ' <iªÉjÉ ¹ÉbÂ ÷ V É´ÉÉÊnù Ê xÉ (MÉÉxvÉÉ®ú)ÊxÉ¹ÉÉnù ª ÉÉä &
ºÉÆ ´ ÉÉÊnù Ê xÉ, ¨ÉvªÉ¨ÉÉnù É ´ÉxÉÖ ´ ÉÉÊnù Ê xÉ, +Ê¦É´ªÉHòÉä ¨ÉÉ±É´ÉEè ò Ê¶ÉEò&* BiÉnä ù ´ É Ê½þ
(|ÉªÉÉä M É)ºÉ´ÉÇ º ´É¨ÉÂ , OÉ½þ É Ênù ª ÉÉä V ÉxÉÆ iÉÖ ´Éè Ê ¶É¹]õ¬É´É½Æ þ , MÉÉxvÉ´Éæ iÉÖ Ê´ÉÊ¶É¹]õ É où ¹ ]õÊºÉrù ª Éä *
BiÉSSÉ ´ÉIªÉÉ¨É&*
But the features (of svaras) which are relevant to r¡ga, which is
actually performed, are graha, alpatva etc. ......They will be taken up at
the end. The various contexts provided by them for the employment of
these (v¡d¢ etc.) have to be mentioned (here). That is as follows. The
graha, ny¡sa, apany¡sa roles are mostly taken by the v¡d¢. As that h as
been covered (by the topic of v¡d¢), we shall speak of the others,
sann y¡sa, apany¡sa, in the context of ¿uddh¡ (j¡tis). The reduction to
six-tone and five-tone content and the sparseness (of occurrence of a
svara) are distinctions (in the melody?) brought about by viv¡(d¢ and
anuv¡d¢); t¡ra and mandra (limits of melodic range) are governed by th e
ny¡sa, it has been averred. This is not right. In the ¿udd h¡ j¡tis this
may be true, but elsewhere (in other melodies) since this is not so, ho w
can ................? Anuv¡d¢ is a limitation in all contexts - this should be
insisted on. Then there is more to be be said about graha, as, without
it, no (melodic) operation takes place. It shall be spoken of - in the
superior (melodies?) the common use of this (grah a) will be spoken of.
It is with reference to this (graha), bh¡À¡s etc. originate fro m the group
51
of j¡tis - due to th e variation o f graha, apany¡sa etc. (in th e same

melody?) or the use of other (graha etc., giving rise to other melodies?).
Accordingly, with a svara at some (¿ruti) location being uttered
repeatedly, and its saÆv¡d¢ following it, and the anuv¡d¢ being
employed, and the viv¡d¢ occurring rar ely, th e expression of r¡ga
reaches a manifest form. For example - "sa.dhapa. pasapa. saniripa.
sanisa.sa ma.sa.sasaÆ pa.pa.sa. dh a.niniri.nini.sa.ri". In this, Àa·ja
being the v¡d¢, (g¡ndh¡ra[?]) and niÀ¡da being saÆv¡d¢s, madhyama
etc. being anu v¡d¢s, M¡lavakai¿ika is expressed. This is all there is to
practical music. The fixing of graha etc. is for distinguishing (the
melody?), for accomplishing the ultimate end in g¡ndharva (art music).
We shall speak of this (presently).
iÉjÉ ´ÉÉÊnù x ÉÆ ±ÉIÉªÉÊiÉ ªÉÉä ªÉnù É Æ ¶ ÉºiÉnù É ´ÉÉnù Ò ÊiÉ* ªÉnä ù ÊiÉ ªÉjÉ |ÉªÉÉä M ÉÉi¨ÉÊxÉ EòÉ±Éä
´Énù i Éä ºÉ B´É º¡Ö ò ]õi´Éä x É ¦ÉÉºÉ¨ÉÉxÉ& ¶É¤nù É ........: ´ÉÉÊnù x ÉÆ
¤ÉÉ½Ö þ ± ªÉä x ÉÉä S SÉÉ®úhÉ¨ÉºªÉÉºiÉÒÊiÉ SÉ ´Énù Ê iÉ SÉ iÉÉ®ú ¨ Éxpù É Ênù ´ ªÉ´ÉºlÉÉnù Ò ÊxÉÊiÉ SÉ ±ÉIÉhÉÆ
i´ÉjÉè ´ É ºÉÚ Ê SÉiÉ¨ÉÂ * +xªÉä i ´ÉÆ ¶ É <ÊiÉ {ÉªÉÉÇ ª É¨ÉÉ½Ö þ & * +{É®ä ú iÉÎiºÉrù ª Éä "ªÉÉä ªÉnù É Æ ¶ ÉÆ
º{ÉÞ ¶ ÉiÉÒ'ÊiÉ {É`öÎxiÉ* iÉSSÉÉºÉiÉÂ * - +Æ ¶ É B´É Ê½þ ´ÉÉnù Ò ÊiÉ nù Ê kÉ±ÉÉtÉ& (1-18)* xÉ
SÉÉÆ ¶ É±ÉIÉhÉÆ {ÉÞ l ÉMÉÖ { ÉªÉÉä M ÉÒÊiÉ iÉjÉè ´ É ´ÉIªÉiÉä * +.....¦ÉÉ´É|ÉvÉÉxÉÉÊzÉnæ ù ¶ É&*
There, he defines v¡d¢ in the statement, "that which is, on some

occasion, the aÆ¿a, is th en the v¡d¢ < y° yad¡Æ¿astad¡ v¡d¢> ". [In
the GOS edn. of NS the reading is 'y° yadaÆ¿aÅ sa tad¡ v¡d¢'.] By
yad¡ is meant "where, in the occasion of performing", that (svara) which
speaks (is sounded prominently), that sound is clearly manifest.... (With
the definition of) v¡d¢ as 'being uttered frequently', its pronouncing /
determining the t¡ra-mandra (limits of the melodic movement), is
pointed out, simultaneously. Others interpr et aÆ¿a as defined (by
v¡d¢). To ascertain / define it (v¡d¢), others read 'that which touch es
the aÆ¿a on so me occasion'. That is not correct. For, according to
Dattila etc. (1-18), "aÆ¿a itself is the v¡d¢." And we shall point out that
the definition of aÆ¿a is not needed separately (from v¡d¢), (when w e
come to that topic). [The n ext sentence is broken an d not
clear.]
ºÉÆ ´ ÉÉÊnù ± ÉIÉhÉ¨ÉÉ½þ xÉ´ÉEòjÉªÉÉä n ù ¶ ÉEò¨ÉxiÉ®úÊ¨ÉÊiÉ* BiÉSSÉ º´É®úÉÊ¦ÉvÉÉxÉ¨ÉÂ *

+xªÉä i ´ÉÉ½Ö þ & - +±{ÉÉ(¹]õÉè ) xÉ´Éä Ê iÉ xÉ´ÉEòÉ +¹]õ E òÉ =SªÉxiÉä * ºÉ B¹É jÉªÉÉä n ù ¶ ÉEòÉ uù É nù ¶ É*
52
BiÉÉ´ÉiªÉ& ¸ÉÖ i ÉªÉ(ºiÉªÉÉä ) ®ú x iÉ®Æ ú ªÉªÉÉä º iÉÉè ºÉÆ ´ ÉÉÊnù x ÉÉÊ´ÉÊiÉ* ={ÉÉvªÉÉªÉÉºi´ÉÉ½Ö þ & -
+xiÉ®ú Ê ¨ÉÊiÉ º´É°ü{ÉÆ xÉÉxiÉ®úÉ±ÉÆ , iÉä x É xÉ´É¸ÉÖ Ê iÉEÆ ò ªÉºªÉ º´É°ü{ÉÆ º´É®úºªÉ, ªÉºªÉ SÉ
jÉªÉÉä n ù ¶ É¸ÉÖ Ê iÉEòi´ÉÆ º´É°ü{ÉÆ , iÉÉè º´É®úÉè {É®úº{É®úºÉÆ ´ ÉÉÊnù x ÉÉè * ºÉ´É.... ªÉlÉÉ uù É Ë´É¶ÉÊiÉ&
¹ÉbÂ ÷ V ÉÉä % xÉxiÉ®ú ¸ ÉÖ Ê iÉjÉªÉä h ÉÉxiÉ®ú¸ÉÖ i ªÉÉ iÉlÉä ½ þ É ä S ªÉiÉä * B´ÉÆ xÉ´É¸ÉÖ Ê iÉºjÉªÉÉä n ù ¶ É¸ÉÖ Ê iÉ¶SÉ*
(The sage) defines the saÆv¡d¢ (svaras) as "possessing 'antara'

of nine and thirteen (¿rutis) <navakatray°da¿akamantaram >". This
(quantification) applies to the svaras (and
not to the gap between t wo svaras). [The next two
senten ces are not cl ear, but the purport seems to be - Others
interpret 'nine' as 'eight', and 'thirteen ' as 'twelve'. The two (svaras)
which are separated by a gap of this measure (eight and twelve ¿rutis),
are saÆv¡d¢s, accord ing to them.] Our teacher,
however, says - by antaram , not the gap (expreseed in
¿rutis, between two svaras), but (th e measure) forming th e individual
svara, is meant. Thus, the svara which is formed of nine ¿rutis, and that
of thirteen ¿rutis, are mutu ally saÆv¡d¢s. [The next sentence is broken
and not clear, but the purport seems to be - among the twentytwo
¿rutis, (four ¿rutis form) Àa·ja, (¤Àabha i s formed) by th e next three
¿rutis.... In the same way 'nine-¿ruti' and 'thirteen-¿ruti' are to be
interp reted, as quantifying the svaras, with
respect to each other.]
xÉx´Éä ´ ÉÆ SÉiÉÖ & ¸ÉÖ i Éä ® ú Ê vÉEòÉä % {ªÉÎºiÉ* ËEò ¤É½Ö þ x ÉÉ, ¹ÉbÂ ÷ V ÉÉÊzÉ¹ÉÉnù & |ÉªÉÖ V ªÉ¨É ÉxÉÉä -
%¹]õ É nù ¶ É¸ÉÖ Ê iÉEò& ºªÉÉiÉÂ * ¨Éè ´ ÉÆ , iÉÉ´ÉiÉÒxÉÉÆ ¸ÉÖ Ê iÉ±ÉÉ¦Éä . .... iÉiº{ÉÌ¶É{É´ÉxÉÉÊ¦É½þ x ÉxÉ -
VÉÊxÉiÉxÉÉnù É Æ ¶ ÉÉä { ÉªÉÉä M É&* iÉiÉ& º´É®ä ú iÉiEÞ ò iÉ¶SÉ ¸ÉÖ Ê iÉºÉÆ J ªÉÉÊxÉªÉ¨É&* +iÉ B´É ÊxÉ®úxiÉ®ú -
v´ÉxªÉÆ ¶ É¸É´ÉhÉä Ê´É°ü{Éº´É®ú¸É´ÉhÉ¨ÉÂ * iÉiÉ B´É ÊiÉ»É& ¸ÉÖ i ÉªÉ& @ñ¹É¦É <iªÉÉÊnù ´ÉIªÉiÉä , xÉ iÉÖ
iÉÞ i ÉÒªÉÉ ¸ÉÖ Ê iÉÊ®ú Ê iÉ* iÉjÉ Ê´É¶ÉÉÊJÉ±ÉÉSÉÉªÉÇ | É¦ÉÞ Ê iÉÊ¦É&, "º´ÉºÉÆ ´ Éä t ä {É®ú¨Éä ¸ÉÖ Ê iÉvÉÉÎ¨xÉ
ºÉ¨É´ÉvÉÉxÉÆ VÉ{É´Éqù Ò ªÉ¨ÉÉxÉÆ Ê´ÉÊ¶É¹]õÉoù ¹ ]õÉªÉ |ÉªÉÉä H Ö ò ¦ÉÇ ´ ÉÊiÉ' <ÊiÉ nù Ì ¶ÉiÉ¨ÉÂ * iÉnÖ ù H Æ ò
¦É]Â õ ]õiÉÉä i Éä x É "¸ÉÖ Ê iÉ& º´É®ú & º´ÉºÉÆ ´ Éä t É' <ÊiÉ, MÉÉxÉä ¸ÉÉä i ÉÞ Þ h ÉÉÆ ºÉ´ÉÇ j ÉÉÊ{É º´É°ü{ÉÉ´É¦ÉÉºÉ&*
iÉnù É ½þ "¸ÉÖ ( ¸ÉÚ ) ªÉ¨ÉÉhÉÉºiÉÖ MÉÞ Á xiÉä MÉ¨¦ÉÒ®úÉ <´É' <ÊiÉ* xÉ SÉÉ´ÉªÉ´Éè & º´É®ú& xÉÉÊ{É ºÉÆ S ÉªÉ&
ªÉÉè M É{ÉtÉ¦ÉÉ´ÉÉiÉÂ * GòÊ¨ÉEòi´Éä % Ê{É Ê½þ xÉè ® ú x iÉªÉÉÇ i ÉÂ , xÉÉ¶ÉÖ ¦ É(¦ÉÉ)Ê´ÉEÞ ò iÉÉtÉè M É{ÉtÉÊ¦É¨ÉÉxÉ&,
GòÊ¨ÉEò¸ÉÖ Ê iÉVÉÊxÉiÉºÉÆ º EòÉ®úÊ´É¶Éä ¹ Éä SÉÉxªÉä ¸ÉÖ Ê iÉºlÉÉxÉä º´É®úºÉ¨ÉÖ n ù É (nù ? )ªÉ <iªÉÉºiÉÉÆ
iÉÉ´ÉiÉÂ * |ÉEÞ ò iÉÆ ¥ÉÚ ¨ É&*
53
But, in that case, (th e measure of a svara) can go beyond four

¿rutis. What better example than niÀ¡da, whi ch, rendered from Àa·ja,
will have 18 ¿rutis? That is not so, while traversing the (fixed) number of
¿rutis (constituting the svara)..........the employment / presentation of
the sound element which is generated by the striking of wind / air
touching them. [?] So in the svara, th e count of ¿rutis is determin ed by
that [strike of air at all its ¿rutis?] That is why in hearing sounds
continuously (from all points of the tonal continuum), what we hear is
svara which is not beautiful / euphonic. That is why the descriptio n is
going to be like "in ¤Àabha there are three ¿rutis", etc., and not "(¤Àabha
is) the third ¿ruti." There it has been shown by Vi¿¡khil¡c¡rya and
others, "the singer's attention, becoming focussed, as in japa, on the
final ¿ruti, the location at whi ch the svara manifests itself to perception,
results in the ultimate end (of mu sic)." Bha¶¶at°ta has said, "the ¿ruti
manifesting itself to perception is the svara." In being sung, over the
entire range (of ¿rutis belonging to it, the svara) reveals its form to the
ears. (The ¿rutis preceding) the sounding (one) are grasped as the
depth / magnitude (of the svara). Svara does not have them (¿rutis) as
its parts, nor is it a collection (of ¿rutis), as they are not all
simultaneously present. [A svara is establis hed after traversing its range
of ¿rutis.] Even in the succession (of ¿rutis), since the movement is
continuous and qui ck, the simultaneous presence (of ¿rutis) is not th e
measure (of the svara), but the residual effect carried over from one
¿ruti to the next, and the birth of the svara at another ¿ruti location
[make the range of ¿rutis traversed, its measure]. So much for (the
digression into the ¿ruti measure of svaras.) Let us speak of the topic
on hand.
<½þ É ä ± ±ÉRÂ ó PÉxÉÒªÉº´ÉÒEò®úhÉÒªÉ¸ÉÖ i ªÉ{Éä I ÉªÉÉ xÉ´ÉjÉªÉÉä n ù ¶ É¸ÉÖ Ê iÉ SÉ º´É®ú ° ü{É¨ÉÖ H ò¨ÉÂ *
+xªÉÉä x ªÉºªÉä Ê iÉ ´ÉSÉxÉÆ iÉÉ´ÉtºªÉ ºÉÆ ´ ÉÉÊnù x ÉÉè ¨ÉÉ ¦ÉÚ i ÉÊ¨ÉÊiÉ ºÉ¨ÉÉxÉ¸ÉÖ Ê iÉEòi´Éä x É
ºÉÆ ´ Énù x ÉÉiºÉÆ ´ ÉÉÊnù x ÉÉè * ´ÉÒhÉÉªÉÉÆ SÉ ¹ÉbÂ ÷ V ÉÉÊnù º lÉÉxÉä % RÂ ó MÉÖ ± ªÉxiÉ®ú{ÉÒb÷ x É{ ÉÚ ´ ÉÇ E ò¨ÉÊ¦É½þ x ªÉ¨ÉÉxÉä
iÉiºÉ¨{ÉÉtÊ¨ÉÊiÉ ´ªÉ´É½þ É ®ú & ; ºÉÆ ´ ÉÉÊnù x É& iÉiÉ B´É xÉ VÉÉiÉÖ Ê SÉ±±ÉÉä { É& EòÉªÉÇ & * +x´ÉlÉÇ º ÉÆ Y ÉÉ
[ ªÉÉ& º´É®ú ª ÉÉä ® ä ú ´ É xÉ ¸ÉÖ i ªÉÉä & {É®úº{É®úºÉÆ ´ ÉÉÊnù i ´ÉÆ ] ªÉlÉÉ ¨ÉvªÉ¨ÉÊxÉ¹ÉÉnù ª ÉÉä x ÉÇ ºÉÆ ´ ÉÉÊnù i ´ÉÆ
ºÉiªÉÊ{É jÉªÉÉä n ù ¶ ÉxÉ´ÉÉxiÉ®ú i ´Éä +iÉ B´É ¹ÉbÂ ÷ V É¨ÉvªÉ¨ÉÉªÉÉÆ [ VÉÉiÉÉè ] ¨ÉvªÉ¨Éä Æ % ¶Éä xÉ
¹ÉÉb÷ ´ ÉºªÉ ÊxÉ¹ÉÉnù ± ÉÉä { ÉEÞ ò iÉºªÉÉ{É´ÉÉnù & * ¨ÉvªÉ¨ÉOÉÉ¨Éä SÉ xÉ @ñ¹É¦ÉvÉè ´ ÉiÉªÉÉä & , iÉä x É Eè ò Ê¶ÉCªÉÉ Æ
vÉè ´ ÉiÉå % ¶Éä @ñ¹É¦ÉEÞ ò iÉºªÉ xÉ ¹ÉÉb÷ ´ ÉºªÉÉ{É´ÉÉnù & * xÉxÉÖ SÉ ºÉÆ Y ÉÉiÉ B´É ±ÉÎ¤vÉ°ü{Éä Ê iÉ
54
±ÉIÉhÉä x É, ¨Éè ´ ÉÆ , B´ÉÆ Ê½þ ¹ÉbÂ ÷ V É [ ¨ÉvªÉ¨É ] OÉÉ¨ÉªÉÉä ® ú x ªÉjÉ ºÉ¨ÉªÉÉä & ºÉÆ ´ ÉÉÊnù i ÉÉ ºªÉÉiÉÂ ,
ºÉvÉªÉÉä ¶ SÉ, ºÉÉvÉÉ®úhÉ|ÉªÉÉä M Éä SÉ ÊxÉºÉªÉÉä & , MÉ¨ÉªÉÉä Ê ®úiªÉÊ{É xÉ nù É ä ¹ É&* iÉº¨ÉÉnÖ ù ¦ ÉªÉºÉÆ ´ ÉÉÊnù i´Éä
|ÉªÉÉä V ÉEò¨ÉÂ * +¨ÉÖ ¨ Éä ´ ÉÉÊ¦É|ÉÉªÉÆ |ÉEòÉ¶ÉÊªÉiÉÖ Æ º´ÉEòh`ä ö xÉÉä n ù É ½þ ® ú h ÉÉä { ÉxªÉÉºÉÆ Eò®ú É ä Ê iÉ
ªÉlÉä i ªÉÉÊnù * ºÉ¨É, ºÉ{É, @ñvÉ, MÉÊxÉ, ¹ÉbÂ ÷ V ÉOÉÉ¨Éä * +xªÉjÉ iÉÖ @ñvÉ{É <iªÉ{ÉÉºªÉ @ñvÉ xÉxÉÖ
{ÉÊ®úMÉhÉxÉÆ SÉä Î iEò¨ÉÂ * ªÉlÉä Ê iÉ ´ÉSÉxÉºªÉ ÊºÉÊrù º ÉÉoù ¶ ªÉä x ÉÉä n ù É ½þ ® ú h ÉÉxiÉ®úºÉRÂ ó OÉ½þ É ªÉ ºªÉÉiÉÂ * ºÉ
SÉä ½ þ xÉÉÎºiÉ* iÉjÉÉ½Ö þ & - =¦ÉªÉ¨ÉxÉä x É ÊGòªÉiÉä , ªÉä x É |ÉEòÉ®ä ú hÉÉªÉÆ ºÉÆ ´ ÉÉÊnù G ò¨ÉÉä xÉ ±ÉÖ { ªÉiÉä ºÉ
ªÉixÉÉä MÉÉxvÉ´Éæ EòiÉÇ ´ ªÉ&* iÉä x É EòÉEò±ªÉxiÉ®ú|ÉªÉÉä M Éä % Ê{É ¹ÉbÂ ÷ V ÉÉnù Ò xÉÉÆ xÉ ¸ÉÖ i ªÉ{É½þ É ®ú &
EòÉªÉÇ & * +iÉ B´ÉÉ±{Éi´É¨ÉÂ * (?) ªÉjÉ ÊxÉMÉªÉÉä º iÉjÉ ºÉÉvÉÉ®ú h É|ÉªÉÉä M É&,
¹ÉbÂ ÷ V É¨ÉvªÉ¨ÉÉxiÉMÉÇ ¨ ÉxÉÊ¨É´É Ê½þ iÉªÉÉä & , iÉnù É (*) MÉÉxÉä iÉÖ ºÉÉvÉÉ®ú h É´É¶ÉÉiÉÂ ºÉÆ S ÉÉ®ú & (,)
¸ÉÖ i ÉÉxÉÉÆ Eè ò Î¶SÉnä ù ´ É SÉä i ºÉÆ ´ ÉÉtÎºiÉ iÉiÉ& ºÉÆ ´ ÉÉtxÉÖ { É±É{ÉxÉ¨ÉÆ ¶ Éä x É º´ÉvÉ¨ÉÉæ { É±É¤vÉ <ÊiÉ
ºÉÆ ´ ÉÉtxiÉ®Æ ú ±ÉÖ { ªÉiÉÉÆ xÉÉ¨É* ªÉlÉÉ SÉ ¹ÉbÂ ÷ V ÉÉÊnù ´ ªÉ{Énä ù ¶ É&, ¹ÉbÂ ÷ V Éä % {ªÉÆ ¶ Éä
{É\SÉ¨É±ÉÉä { ÉEÞ ò iÉ¨ÉÉè b Ö ÷ Ê ´ÉEÆ ò ¦ÉVÉiÉ B´É* iÉº¨ÉÉzÉ ¹ÉbÂ ÷ V É¨ÉvªÉ¨ÉÉè . ....ºÉÉÊ¨ÉÊiÉ Ê¤ÉxnÖ ù | ÉªÉÉä M Éä
SÉ ºÉ¨ÉÆ ´Énù x ÉÆ ÊxÉ¹ÉÉnù i ÉxjªÉÉ¨ÉºªÉÉºiÉÒÊiÉ iÉªÉÉä ® ú Ê {É(Ê´É)ºÉÆ ´ ÉÉÊnù i ´É¨Éä ´ Éä Ê iÉ* ªÉlÉä i ªÉÖ n ù É ½þ ® ú h É-
|Énù ¶ ÉÇ x ÉÉlÉÇ ¨ ÉRÂ ó MÉä {ÉÊ®úMÉhÉxÉÊ¨ÉÊiÉ* BiÉnä ù ´ É ªÉÖ H òÊ¨ÉiªÉÊ¦ÉªÉÖ H òÉ&* ¸ÉÖ Ê iÉºÉÆ S É®úhÉ-
´É¶ÉÉ±±É¤vÉä % Ê{É ÊSÉjÉºÉÆ ´ ÉÉnù É ä où ¶ ªÉiÉä , ªÉiÉ&..........**23**
Here, the form of the svara has been
exp ressed as 'nine-¿ruti' and 'thirteen-¿ruti', taking into account those
¿rutis which have to be glided (lit. leapt) over, and also that which h as
to be adopted (sounded). The mention of 'mutually' <an y°nya> here, is
to indicate (the antara) which will not result in saÆv¡d¢s. (Two svaras)
of equal ¿ruti measure, sounding consonant, are saÆv¡d¢s. On the
v¢¸¡, it is common practice to accomplish this (consonan ce) by striking
at the place of Àa·ja or other (v¡d¢), before pressing / striking with
another finger [the same place or the place of the saÆv¡d¢ svara?]
Hence the saÆv¡d¢ should never be left out. By interpreting the term
(saÆv¡ditva) according to its sense, [it is only between svaras, and not
between ¿rutis, that mutu al saÆv¡ditva is possible.] For instance,
between madhyama and niÀ¡da, there is no saÆv¡ditva, even though
the thirteen and nine (¿ruti) antara is there. Hence, in th e
Àa·jamadh yam¡ [j¡ti], when madh yama is the aÆ¿a, th e omission of
niÀ¡da for making it À¡·ava (six-toned), is not prohibited. In
madhyamagr¡ma, there is no (saÆv¡da) between ¤Àabha and dhaivata,
and so in the kai¿ik¢ (j¡ti), with dhai vata as aÆ¿a, the reduction to
À¡·ava state by the omission of ¤Àabh a, is not prohibited. [The next
few sentences are not clear, but the purport seems to be - But (the
55
saÆv¡ditva) obtains only (between svaras having the antaras) named in

the definition (i.e., of nine and thirteen ¿rutis with respect to each
other. Not so. For, in the Àa·ja [and madhyama?] gr¡mas, saÆv¡dit¡
obtains between sa and ma (thirteen and nine) and sa and dha[?]. And
in the execution of (svara)s¡dh¡ra¸a, it exists between nisa and g ama,
without any harm done. Therefore, consonance occurs in both ways,
(starting from either end, from th e nine-¿ruti svara or from the thirteen -
¿ruti svara, or between two pairs of svaras). In order to bring to light
just this implication (of the defini tion), the sage begins in his own voice
to set down examples, with 'yath¡' etc. 'Sa-ma', 'sa-pa', '¤-dh a', 'ga-
ni' (are the saÆv¡d¢ pairs) in Àa·jagr¡ma. But in the other (gr¡ma),
leaving out ¤-dha-pa (sa-pa?), wh at if the counting were done with ¤ -
dha (¤-pa?)? The word 'yath¡' accomplishes the in clusion of other
examples, and none is left (in the madhyamagr¡ma, which has already
not been enumerated in the Àa·jagr¡ma). It is said - both (purposes) are
served by this (enumeration of saÆv¡d¢ pairs). In rendering g¡ndh arva,
an effort must be made to ensure that this saÆv¡d¢ relation of svaras is
not lost. H ence even when k¡kal¢ and antara h ave to be rendered, Àa·ja
etc. must not be robbed of their ¿rutis. That is why, it is where ni and
ga are rarely used, that s¡dh¡ra¸apray°ga (bringing in k¡kal¢ and
antara) has been advised, and then, they are included within Àa·ja and
madhyama. In g¡na (as against g¡ndharva), the movement of svaras
(lit. sounds heard) is controlled by s¡dh¡ra¸a(pray°ga), and if only a
few now have saÆv¡d¢s, th en the lack of consonants is made good by
the aÆ¿a, whi ch establishes the identity (of the melody). And so the
other saÆv¡d¢s can well be absent. And so when Àa·ja etc. name (the
j¡ti employed in g¡na?), even when Àa·ja is the aÆ¿a, the melody can
be rendered five-toned by dropping paµcama (which is its saÆv¡d¢).
[The next sentence is broken and not clear. But the referen ce seems to
be to a pray°ga called bindu (on the v¢¸¡) wherein, (madhyama?) is
accompanied by sounding th e niÀ¡da string, and so con sonance obtains
between these two svaras, to o.] With 'yath¡ ', for
demonstrating the examples, (all of them?)
have been enumerat ed. Th ey have been set down, as only these
are the right (consonant pairs). In traversing the ¿rutis, other fan cy
consonances may be available..... [but must be
avoided?](23)
56
--------- ------ ------------------ --------- --------- ------ ------------ -----

-----
Ê´É´ÉÉÊnù x ÉºiÉÖ iÉä ªÉä ¹ ÉÉÆ Êuù ¸ ÉÖ Ê iÉEò¨ÉxiÉ®Æ ú , iÉtlÉÉ - @ñ¹É¦ÉMÉÉxvÉÉ®úÉè , vÉè ´ ÉiÉÊxÉ¹ÉÉnù É è *
´ÉÉÊnù º ÉÆ ´ ÉÉÊnù Ê ´É´ÉÉÊnù ¹ ÉÖ ºlÉÉÊ{ÉiÉä ¹ ÉÖ ¶Éä ¹ ÉÉºi´ÉxÉÖ ´ ÉÉÊnù x É&, [ +xÉÖ ´ ÉÉÊnù º ÉÆ Y ÉEòÉ& ªÉlÉÉ -
¹ÉbÂ ÷ V ÉºªÉ¹ÉÇ ¦ ÉMÉÉxvÉÉ®ú v Éè ´ ÉiÉÊxÉ¹ÉÉnù É &, @ñ¹É¦ÉºªÉ ¨ÉvªÉ¨É{É\SÉ¨ÉÊxÉ¹ÉÉnù É &, MÉÉxvÉÉ®úºªÉÉÊ{É
¨ÉvªÉ¨É{É\SÉ¨ÉvÉè ´ ÉiÉÉ&, ¨ÉvªÉ¨ÉºªÉ vÉè ´ ÉiÉ{É\SÉ¨ÉÊxÉ¹ÉÉnù É &, {É\SÉ¨ÉºªÉ * vÉè ´ ÉiÉºªÉ
¹ÉbÂ ÷ V É¨ÉvªÉ¨É{É\SÉ¨ÉÉ& ¹ÉbÂ ÷ V ÉOÉÉ¨Éä * ¨ÉvªÉ¨ÉOÉÉ¨Éä % Ê{É ¨ÉvªÉ¨ÉºªÉ vÉè ´ ÉiÉÊxÉ¹ÉÉnù ¹ ÉÇ ¦ É-
¹ÉbÂ ÷ V ÉMÉÉxvÉÉ®ú É &, {É\SÉ¨ÉºªÉ vÉè ´ ÉiÉÊxÉ¹ÉÉnù ¹ ÉÇ ¦ ÉMÉÉxvÉÉ®ú É &, vÉè ´ ÉiÉºªÉ ¹ÉbÂ ÷ V É¹ÉÇ ¦ ÉMÉÉxvÉÉ®ú É &,
ÊxÉ¹ÉÉnù º ªÉ ¹ÉbÂ ÷ V É¹ÉÇ ¦ ÉÉè , ¹ÉbÂ ÷ V ÉºªÉ¹ÉÇ ¦ ÉMÉÉxvÉÉ®úÉè * * ] iÉjÉ ´Énù x ÉÉuù É nù Ò , ºÉÆ ´ Énù x ÉÉiºÉÆ ´ ÉÉnù Ò ,
Ê´É´Énù x ÉÉÊuù ´ ÉÉnù Ò , +xÉÖ ´ Énù x ÉÉnù x ÉÖ ´ ÉÉnù Ò ÊiÉ* BiÉä ¹ ÉÉÆ SÉ º´É®úÉhÉÉÆ xªÉÚ x Éi´É¨ÉÊvÉEòi´ÉÆ ´ÉÉ
iÉxjªÉÖ { É´ÉÉnù x Énù h bä ÷ Î xpù ª É´Éè M ÉÖ h ªÉÉnÖ ù { É±É¦ªÉiÉä * º´É®ú Ê ´ÉvÉÉxÉ¨Éä i ÉSSÉiÉÖ Ì ´ÉvÉi´ÉÊ¨ÉÊiÉ*
[*Other versions of NS have some more
matter here. See translation.]
Viv¡d¢s are those whi ch have an antara of two ¿rutis. That is as

follows - ¤Àabha-g¡ndh¡ra and dhaivata-niÀ¡da (are viv¡d¢s). Now that
the v¡d¢, saÆv¡d¢ and viv¡d¢ (svaras) have been determined, the
remaining svaras are anuv¡d¢s, [named anuv¡d¢. That is as follows -
In Àa·jagr¡ma, Àa·ja's (anuv¡d¢s) are ¤Àabh a, g¡ndh¡ra, dhaivata and
niÀ¡da. ÎÀabha's (anuv¡d¢s) are madhyama, paµ cama and ni À¡da.
G¡ndh¡ra's (anuv¡d¢s) are madhyama, paµcama and dhai vata.
Madhyama's (anuv¡d¢s) are dhaivata, paµcama and niÀ¡da. Paµcama's
[are dhaivata and niÀ¡da?]. Dh aivata's (anuv¡d¢s) are Àa·ja, madhyama
and paµcama. In madhyamagr¡ma, madhyama's (anuv¡d¢s) are
dhaivata, niÀ¡da, ¤Àabh a, Àa·ja and g¡ndh¡ra. Paµ cama's ( anu v¡d¢s)
are dhaivata, niÀ¡da, ¤Àabha and g¡ndh¡ra. Dhaivata's (anuv¡d¢s) ar e
Àa·ja, ¤Àabha and g¡ndh¡ra. NiÀ¡da's (anuv¡d¢s) are Àa·ja and
¤Àabha. âa·ja's (anuv¡d¢s) are ¤Àabha and g¡ndh¡ra.] There, v¡d¢ is
so called because it speaks; saÆv¡d¢ becaus e it speaks in concord
(with the v¡d¢); viv¡d¢ because it speaks in discord (with the v¡d¢);
anuv¡d¢ because it speaks in support (of the v¡d¢ ). The
diminution or augmentation of these svaras
comes about through the fault in the played
stringed instrument's pegs, keyboard or in
the (playing / singing) organ. So much for
57
the regulation of svaras according to their

four ways of functioning.(prose after v. 23)
+lÉ Ê´É´ÉÉÊnù x ÉÉä ±ÉIÉªÉÊiÉ Ê´É´ÉÉÊnù x ÉºiÉÖ iÉ <ÊiÉ * +xiÉÌ½þ i Éº´É°ü{ÉiÉÉä MÉÊxÉÊuù ¸ ÉÖ Ê iÉ
¸ÉÖ Ê iÉ°ü{ÉÆ iÉä x É Êuù & ¸ÉÖ Ê iÉ(& MÉÉxvÉÉ)®úÉä ÊxÉ¹ÉÉnù ¶ SÉ º´É®ú É xiÉ®ú É hÉÉÆ Ê´É´ÉÉÊnù x ÉÉè ºÉ´Éæ ¹ ÉÉ¨Éä ´ É
iÉlÉÉ ¤É½Ö þ ´ ÉSÉxÉ¨ÉÂ * º´É®úÉxiÉ®úÉhªÉ{Éä I ªÉ Ê´É´ÉÉÊnù i ´ÉÉÊ¦ÉvÉÉxÉÆ vÉ¨ÉÇ ¦ Éä n ù É iÉÂ * @ñ¹É¦ÉMÉÉxvÉÉ®ú É è
vÉè ´ ÉiÉÊxÉ¹ÉÉnù É Ê´ÉÊiÉ SÉiÉÖ Ì ´ÉvÉªÉÉä ¯ û{ÉÉnù É xÉÆ xÉè E ò]õ¬ÉiÉÂ * +xªÉä
iÉÚ n ù É ½þ ® úhÉi´É±ÉÉ¦ÉÉtlÉÉ{Éä I ÉªÉè ´ É ¸ÉÖ i ªÉÉä Ì ´É´ÉÉÊnù i ´É¨ÉÉ½Ö þ & * iÉSSÉÉºÉiÉÂ * ºÉ´ÉÇ º ´É®úºªÉ
Ê´É´ÉÉÊnù x É& ºÉiÉÉä ¦ÉÉ´ªÉÆ ºÉ{ÉIÉÊ´É{ÉIÉ¨ÉvªÉºlÉè & * iÉlÉÉÊ{É ¹ÉbÂ ÷ V Éå % ¶Éä iÉºªÉ ¨É{ÉÉè ºÉÆ ´ ÉÉÊnù x ÉÉ è ,
@ñvÉÉ´ÉxÉÖ ´ ÉÉÊnù x ÉÉè , @ñ¹É¦Éä vÉ¨ÉÊxÉMÉÉ& {É¨ÉºÉÉ& MÉÉxvÉÉ®ä ú ÊxÉ& [ ´ÉÉnù Ò ] iªÉä i ÉÖ , xÉÉÎºiÉ
Ê´É´ÉÉnù Ò , ÊxÉ¹ÉÉnù º ªÉ ºÉÆ ´ ÉÉÊnù i ´ÉÉiÉÂ , {É\SÉÉºªÉÉxÉÖ ´ ÉÉÊnù x É&* B´É¨ÉxªÉnù x ÉÖ º ÉiÉÇ ´ ªÉ¨ÉÂ *
Then h e defines viv¡d¢s with 'viv¡da¢s are those <viv¡dinastu

t®>..' Considering the ¿rutis contained in their form, ga and ni are two -
¿ruti (svaras). Thus the two-¿ruti (g¡ndh¡)ra and niÀ¡da are viv¡d¢s of
all svaras. H ence the plural number (used in speaking of viv¡d¢s).
Naming viv¡ditva in conn ection with other svaras is because th e nature
(of this relation?) is different (from saÆv¡da? ) Th e mention of the four
kinds, ¤Àabh a and g¡ndh¡ra, dhaivata and niÀ¡da, is only because of
the proximity (of the members of each pair, to each oth er). Others,
however, guided by the availability of examples, as can be expected,
attribute viv¡ditva to two ¿rutis. That is not correct. By those who take
neither this side nor that, but are neutral, (ga and ni) must be regarded
as viv¡d¢s of each of th e other svaras. Even then, wh en Àa·j a is th e
aÆ¿a, its saÆv¡d¢s are ma and pa; ¤ and dha are anuv¡d¢s; when
¤Àabha (is the aÆ¿a?), dh a, ma, ni and ga, pa, ma and sa......, when
g¡ndh¡ra (is the aÆ¿a?), ....... niÀ¡da is not its viv¡d¢, as it is its
saÆv¡d¢, five (svaras) are its (?) anuv¡d¢s. The same method must be
pursued, for (identifying the saÆv¡d¢ etc. for) other (svaras).
ªÉjÉ ´ÉÉnù Ò º´ÉÉ¨ÉÒ, +¨ÉÉiªÉ <´Éä i É®úÉä % xÉÖ ª ÉÉªÉÒ ºÉÆ ´ ÉÉnù Ò , +Ê®ú ´ ÉÊuù ´ ÉÉnù Ò i´É±{É&,
+xÉÖ º ÉÉÊ®ú(´ÉÉnù Ò # ?){ÉÊ®úVÉxÉ <´É ªÉÉä M É´ÉÉnù Ò SÉä Ê iÉ Ê´É¦ÉÉMÉ&* +xÉÖ ´ ÉÉÊnù x ÉÆ ±ÉIÉªÉÊiÉ
´ÉÉÊnù º ÉÆ ´ ÉÉnù Ò iªÉÉÊnù * º{É¹]õ ¨ ÉÂ * +lÉè ¹ ÉÉÆ xÉÉ¨ÉÊ¦É´ÉÇ S ÉºÉÉÆ ÊxÉ´ÉÇ S ÉxÉÉxªÉÉ½þ ´Énù x ÉÉuù É nù Ò iªÉÉÊnù*
Where the v¡d¢ is the master, the other svara which is its
saÆv¡d¢, follows it like the counsellor; the viv¡d¢, like th e enemy,
shows up rarely; and the anuv¡d¢, like the servant, chimes in. This is
58
how the roles are divided (among the svaras). (The sage) defin es
anuv¡d¢ next with '(other than) v¡d¢saÆv¡d¢.... ' etc. This
is clear. Then he goes on to draw out these
concepts from their descriptive terms, in
' vadan¡dv¡d¢ ' etc.
xÉxÉÖ ´ÉÒhÉÉªÉÉÆ iÉÉ´ÉiºÉÊ®ú v Éä Ê iÉ ¸ÉÖ Ê iÉGò¨ÉÊ´É®úÉ¨ÉÉSSÉ ºÉÆ ´ ÉÉtÉÊnù Ê ´É¦ÉÉMÉºªÉ SÉ

´ÉÒhÉÉªÉÉ¨ÉÊxÉªÉiÉÉä % Ê{É où ¶ ªÉiÉ <iªÉÉ¶ÉRÂ ó CªÉÉ½þ - BiÉä ¹ ÉÉÊ¨ÉiªÉÉÊnù* BiÉSSÉ ºÉÆ ´ ÉÉtÉnù Ò xÉÉÆ
º´É®ú É hÉÉÊ¨ÉÊiÉ* ªÉlÉÉ ºÉÆ ´ ÉÉÊnù i ´ÉÉÊ¦É¨ÉiÉªÉÉä ® ú Ê {É ¹ÉbÂ ÷ V É¨ÉvªÉ¨ÉªÉÉä & ºÉ¨Éi´É¨ÉÊvÉEòi´ÉÆ ´ÉÉ
jÉªÉÉä n ù ¶ ÉEòxÉ´ÉEòÉxiÉ®ú É {Éä I ÉªÉÉ Ê´É´ÉÉÊnù x É¶SÉ ªÉnÖ ù { ÉªÉÉä Ê MÉxªÉxiÉ®Æ ú iÉnù { Éä I ÉªÉè ´ É Ê´É´ÉÉnù E òi´ÉÆ ,
+xÉÖ ´ ÉÉÊnù i ´É¨ÉÊ{É >ðxÉÉÊvÉEòi´Éä % Ê{É PÉ]õiÉä * iÉlÉÉ Ê½þ @ñ¹É¦Éå % ¶Éä xªÉÚ x É¸ÉÖ Ê iÉ&
¹ÉbÂ ÷ V ÉºªÉÉxÉÖ ´ ÉÉnù Ò ºªÉÉiÉÂ * MÉÉxvÉÉ®ú ¶ SÉÉÊvÉEò¸ÉÖ Ê iÉÌ´É´ÉÉÊnù i ÉÉÆ VÉÁÉiÉÂ * ºÉÆ ´ ÉÉtÉnù Ò xÉÉÆ SÉ
¹ÉbÂ ÷ V É¨ÉÚ ± Éi´Éä ´ÉÉÊnù i ´É¨É{ªÉºÉ¨É\VÉºÉÆ ¦É´Éä i ÉÂ * ºÉÆ ´ ÉÉtÉÊnù ¹ ÉÖ |É¦ÉÖ i ´É¨Éä ´ É Ê½þ ´ÉÉÊnù i ´É¨ÉÂ *
B´É¨ÉÚ x ÉÉÊvÉEòi´Éä xÉÉ¨ÉÖ x ÉÉ Ê´ÉPÉÊ]õ i ÉÆ SÉä . .........iÉiEòÉ®úhÉnù É ä ¹ Éä EÞ ò ¶ÉÉ
iÉxjÉÒº´ÉÊ®úiÉ¦ÉÊ®úiÉÉ{ªÉÖ i Eò¹ÉÇ ¨ É{ÉEò¹ÉÈ ´ÉÉ ªÉÉÊiÉ, +ÉpÇ ù i ´É¶ÉÉä ¹ Éi´ÉÉÊnù n ù É ä ¹ ÉÉiÉÂ
={É´ÉÉnù i ÉxjÉÒ¤ÉxvÉxÉºlÉÉxÉÆ iÉnù Ê {É Ê¶ÉÊlÉ±ÉiÉÉÊnù n ù É ä ¹ ÉÉhÉÉÆ ºÉÉ®úhÉÉxÉÉ¨ÉiÉ&? nù h b÷ É ä % Ê{É
xÉ¨ÉxÉÉä z É¨ÉxÉº´É¦ÉÉ´É& iÉlÉè ´ Éä Î xpù ª ÉÆ ´ÉÉÊMÉÎxpù ª ÉÆ SÉ iÉÉoù ¶ É¨Éä ´ É iÉSSÉÉä { É±ÉIÉhÉÆ
ºÉÉÊ®úEòÉRÂ ó MÉÖ ± ªÉÉnù Ò xÉÉ¨ÉÊ{É nù É ä ¹ Éä h É iÉlÉÉä { É±É¦ªÉÉiÉÂ * B´ÉÆ º´É®ú É =HòÉ&*
[The next passage is not clear. But the
purport seems to be the possibility of
demonstrating the var ious relations like saÆv¡d¢, on the
v¢¸¡, without relying on the ¿ruti coun t (of the concerned svaras) to
determin e them. And the svaras which are, by definition, saÆv¡d¢s,
anuv¡d¢s and viv¡d¢s, may cease to be so, by being held slightly lower
or higher th an th eir proper po sitions, on the v¢¸¡. This may be due to
the strings going above or below the correct tonal level. Due to wetness
or dryness, th e pegs and so, the binding of the strings, may be too
(tight or too) loose, or the keyboard may sink or rise in position (by
becoming warped). F aults may affect the organ of speech (and singing
may have the same defects in saÆv¡d¢ etc.) The reference to the frets,
fingers etc. is only as examples. So much for the svaras.] (prose after v.
23)
----------------------------------------------
------------------
59
+lÉ uù É è OÉÉ¨ÉÉè ¹ÉbÂ ÷ V ÉOÉÉ¨ÉÉä ¨ÉvªÉ¨ÉOÉÉ¨É¶SÉä Ê iÉ* +jÉÉÊ¸ÉiÉÉ uù É Ë´É¶ÉÊiÉ¸ÉÖ i ÉªÉ& º´É®ú ¨ Éhb÷ ± É -
ºÉÉÊvÉiÉÉ&* iÉtlÉÉ -
ÊiÉ»ÉÉä uä ù SÉ SÉiÉ»É¶SÉ SÉiÉ»ÉÎºiÉ»É B´É SÉ *
uä ù SÉè ´ ÉÉt SÉiÉ»É¶SÉ ¹ÉbÂ ÷ V ÉOÉÉ¨Éä ¦É´Éä Ê uù Ê vÉ& **24**
SÉiÉÖ & ¸ÉÖ Ê iÉ¦ÉÇ ´ Éä i ÉÂ ¹ÉbÂ ÷ V É @ñ¹É¦ÉÎºjÉ¸ÉÖ Ê iÉ& º¨ÉÞ i É& *
Êuù ¸ ÉÖ Ê iÉ¶SÉè ´ É MÉÉxvÉÉ®ú É ä ¨ÉvªÉ¨É¶SÉ SÉiÉÖ & ¸ÉÖ Ê iÉ& **25**
{É\SÉ¨ÉºiÉuù n ä ù ´ É ºªÉÉiÉÂ ÊjÉ¸ÉÖ Ê iÉvÉê ´ ÉiÉÉä ¨ÉiÉ& *
Êuù ¸ ÉÖ Ê iÉ¶SÉ ÊxÉ¹ÉÉnù & ºªÉÉiÉÂ ¹ÉbÂ ÷ V ÉOÉÉ¨Éä Ê´ÉÊvÉ¦ÉÇ ´ Éä i ÉÂ **26**
In Àa·jagr¡ma, the arangement (of ¿rutis) is three, two, four, four,
three, two, and the first four. (24)
âa·ja has to be four-¿ruti, ¤Àabh a is defined as three-¿ruti,

g¡ndh¡ra has to be just two-¿ruti, madhyama four-¿ruti, and likewise,
paµcama; dhaivata is considered to be three-¿ruti, and niÀ¡da should
be two-¿ruti - this is the order in Àa·jagr¡ma. (25-26)
iÉjÉ º´É®ú¨ÉÉjÉÆ EÖ ò jÉÊSÉnÂ ù où ¹ ]õÉoù ¹ ]õªÉÉä ¯ û{ÉªÉÉä M ªÉÊ{É iÉÖ iÉiºÉ¨ÉÚ ½ þ B´É iÉÖ |ÉªÉÉä [ MÉ
={ÉªÉÉä M ÉÒ* iÉiº´É®ú É hÉÉÆ ºÉ¨ÉÚ ½ þ É ä OÉÉ¨É ] <iªÉÖ S ªÉiÉä * ºÉ B´É SÉ Êuù Ê ´ÉvÉ& {É\SÉ¨É¦Éä n ù É Ênù Ê iÉ
nù ¶ ÉÇ Ê ªÉiÉÖ ¨ ÉÉ½þ - +lÉ uù É è OÉÉ¨ÉÉÊ´ÉÊiÉ MÉÉxvÉÉ®ú O ÉÉ¨ÉÆ ÊxÉ®úºªÉÊiÉ* ¨ÉvªÉ¨ÉºªÉÉxÉÉÊ¶Éi´ÉÊ¨ÉÊiÉ
iÉÉ´ÉiÉÂ |ÉvÉÉxÉÆ ÊxÉªÉiÉÆ SÉ, iÉiºÉÆ ´ ÉÉÊnù i ´ÉÆ ¹ÉbÂ ÷ V ÉºªÉä Ê iÉ ºÉÉä % Ê{É |ÉvÉÉxÉ&* {É \SÉ¨ÉºiÉÖ xÉ
¨ÉvªÉ¨ÉºªÉ ºÉÆ ´ ÉÉnù Ò Eònù É ÊSÉkÉÖ ± ªÉ¸ÉÖ Ê iÉEòi´ÉÉ.........Hò¨Éä ´ É* nù Ê kÉ±ÉÉSÉÉªÉÇ º iÉÖ ¨ÉÚ S UÇ ô xÉÉxÉÉÆ
¹ÉbÂ ÷ V Éº´É®ú | ÉÉvÉÉxªÉä x É SÉ |ÉlÉ¨ÉÉÊnù ´ ªÉ{Énä ù ¶ É±ÉÉ¦ÉÉiÉÂ ¹ÉbÂ ÷ V É¨ÉvªÉ¨ÉªÉÉä ´ ªÉÇ { Énä ù ¶ É½ä þ i ÉÖ i ´É¨ÉÉ½ þ -
º´É®ú É è ªÉÉ´ÉÊiÉlÉÉè ºªÉÉiÉÉÆ OÉÉ¨ÉªÉÉä & ¹ÉbÂ ÷ V É¨ÉvªÉ¨ÉÉè *
¨ÉÚ S UÇ ô xÉÉ iÉÉ´ÉÊiÉlªÉä ´ É iÉnÂ ù O ÉÉ¨ÉÉ´ÉiÉ B´É iÉÉè ** <ÊiÉ
BiÉkÉÖ ¡ò±MÉÖ | ÉÉªÉÆ |ÉlÉ¨ÉÉÊnù ´ ªÉ{Énä ù ¶ ÉºªÉ EÖ ò jÉÊSÉnù { ªÉxÉÖ { ÉªÉÉä M ÉÉnù É MÉ¨É¨ÉÉjÉºÉÉ®úi´ÉÉi|ÉÉvÉÉxªÉ¨ÉÂ ,
MÉhÉxÉÉÊnù i ´ÉÉSSÉ |ÉÉvÉÉxªÉÉÊnù i É®ä ú i É®ú É ¸ÉªÉÉ{ÉkÉä & *
+jÉÉÊ¸ÉiÉÉ <ÊiÉ OÉÉ¨Éº´É°ü{É±ÉÉ¦É½ä þ i É´É <iªÉlÉÇ & *
A single svara may be utilised in popular / secular or fine /

sacred <d¤À¶a-ad¤À¶a> (ch ant), here and there. But th e whole gamut of
svaras [is needed in the performance (of music). The group of svaras is
called gr¡ma.] And this gr¡ma is arranged in two ways, on the basis of
the difference in paµ cama. To show this, the sage says 'now for the two
gr¡mas <atha dvau gr¡mau>'. And by this he discards g¡ndh¡ragr¡ma.
As madh yama is indispensabl e (lit. indestructible), it is determined to be
primary, and since it is its saÆv¡d¢, Àa·ja is also primary. Paµcama is
60
never the saÆv¡d¢ of madhyama, (even though, in one arrang ement) it

has the same number of ¿rutis... According to Dattil¡c¡rya, as the
m£rcch an¡s (scales resulting from shifts of tonic) begin on Àa·ja as the
primary svara, and are numbered, first etc., accordingly, Àa·ja and
madhyama name (the gr¡mas).
As, in the two gr¡mas, it is with reference to the place of Àa·ja

and madhyama in the serial order of svaras (in the m£rcchan¡), that
the ordinal number of a particular m£rcchan¡ is ascertained, the two
gr¡mas are named by (lit. belong to) them (Àa·ja and madhyama).
This is a trivial argument, for the designation as 'the first' etc. is
nowhere in use in practice. The primacy (of Àa·ja and madhyama) i s set
down in the discipline (of music), and, likewise, the enumeration and th e
mutual dependence (of the svaras and the gr¡mas?)
By 'reside in these < atr¡¿rit¡>' is meant - '(th e

twentytwo ¿rutis, differing in distribution) are the reasons / causes for
the gr¡ mas acquiring their identities'.
xÉxÉÖ ºlÉÉxÉ¦Éä n ä ù x É ¹É]Â õ ¹ÉÎ¹]õ & iÉiEòlÉÆ uù É Ë´É¶ÉÊiÉÊ®úiªÉÉ½þ - º´É®ú¨Éhb÷ ± ÉºªÉ º´É®úºÉ¨ÉÚ ½ þºªÉ
ºÉ{iÉEòºªÉ uù É Ë´É¶ÉiªÉä ´ É ÊºÉÊrù & * iÉiÉ B´É ºlÉÉxÉÉxiÉ®ä ú º´É®ú ¨ Éhb÷ ± Éi´ÉÊ¨ÉÊiÉ SÉGò¨ÉÖ S ªÉiÉä *
iÉSSÉ {ÉÊ®ú ¨ Éhb÷ ± ÉÆ (+É)ÎRÂ ó MÉ®ú º ÉEòÉ¶ªÉ{ÉÉÊnù Ê ¦É¨ÉÖ Ç Ê xÉÊ¦ÉnÇ ù Ì ¶ÉiÉ¨ÉÂ * ¸ÉÖ Ê iÉ¶SÉ xÉÉ¨É
¸ÉÉä j ÉMÉ¨ªÉÆ ´Éè ± ÉIÉhªÉÆ ªÉÉ´ÉiÉÉ ¶É¤nä ù x ÉÉä i {ÉtiÉä * xÉxÉÖ EòÉ±ÉÉÆ ¶ É& ¸ÉÖ Ê iÉ& SÉiÉÖ & ¸ÉÖ Ê iÉEòºªÉÉÊ{É
Ê¤Éxuù É t±ÉRÂ ó EòÉ®ú É nù É è Ê¨ÉiÉEòÉ±ÉÉ´ÉºlÉÉxÉÉnÂ ù Êuù ¸ ÉÖ Ê iÉEòºªÉÉÊ{É
ºlÉÉÊªÉ´ÉhÉÇ | ÉªÉÉä M Éä % xÉ±{ÉEòÉ±Éi´ÉÉnä ù ¶ É& ºªÉÉiÉÂ , PÉh]õÉ¶ÉRÂ ó JÉÉÊnù ¸ ÉÖ i Éä ¶ SÉ ÊSÉ®úEòÉ±Éi´ÉÉiÉÂ *
BiÉzÉ, ¶É¤nù É ´ÉªÉ´ÉÉä xÉ ¸ÉÖ Ê iÉÊ®ú i ªÉÖ H ò¨Éä ´ É*
But through their being in different sth¡nas (regions / registers)

(th e ¿rutis) should be sixtysix. Then how can they be twentytwo? To
ans wer this question, the sage speaks of the
cycle of svaras < svarama¸·alasya >. Within the
group of seven svaras / octave, only twentytwo
are established. In the next register, the
same is repeated, hence a circle (shows the
seven svaras). That circle has be en demonstrated by
the sages, Ë´girasa, K¡¿yapa etc. The distinction discernible by the
ear which is generated along with the sound (tone) of that measure, is
61
¿ruti. But is ¿ruti not a fraction of duration, as, in th e rendering of

ala´k¡ras like bindu, the duration of a four -¿ruti (svara) is limited by
prescription? And in th e rendering of sth¡y¢ var¸a, the duration of a
two-¿ruti (svara) is prescribed to be long (lit. not small). And the sound
<¿ruti> of gong, conch etc. lasts for a long duration. This is not correct;
it has already been cl arified that ¿r uti is not a part / member of the
sound.
xÉxÉÖ ªÉtÖ ¦ ÉªÉjÉÉÊ{É uù É Ë´É¶ÉÊiÉ& ¸ÉÖ i ÉªÉ& iÉÌ½þ EòÉä Ê´É¦ÉÉMÉ <iªÉÉ¶ÉRÂ ó CªÉÉ½þ - ÊiÉ»ÉÉä uä ù
SÉä i ªÉÉÊnù * Ê´ÉÊvÉÊ®úÊiÉ ¸ÉÖ Ê iÉÊ´É¦ÉÉMÉ <iªÉlÉÇ & **24**
But if th ere are twentytwo ¿rutis in both (gr¡mas), what

distinguishes them from each other? To answer this doubt the sag e
begins to enu merate 'three, two <tisr° dv® >' etc. By 'vidhi '
is meant the division / allotment of ¿rutis. (24)
+jÉ Ê´ÉÊxÉªÉÉä M Éä x É º´É®úÉÎx´ÉÊxÉªÉÉä H Ö ò ¨ÉÉ½þ - SÉiÉÖ & ¸ÉÖ Ê iÉ& ºªÉÉiÉÂ ¹ÉbÂ ÷ V É <iªÉÉÊnù
º¨ÉÞ i É <iªÉxiÉä x É **25**
Here, according to the order of distribution, the sage goes on to

allot the svaras - beginning with 'Àa·ja should be four -¿ruti
<catuÅ¿rutiÅ sy¡t Àa·ja >' etc. and ending with 'is
prescribed < sm¤taÅ >'. (25)
xÉÉ¨ÉvÉä ª ÉÉxÉÉÆ Ê´É¦ÉÉMÉ +É{iÉ|ÉÊºÉnÂ ù v ªÉä Ê iÉ nù ¶ ÉÇ ª ÉÊiÉ* vÉè ´ ÉiÉÉä ¨ÉiÉ <ÊiÉ xÉÉºªÉ Eònù É SÉxÉ
¹ÉbÂ ÷ V ÉOÉÉ¨Éä ±ÉÉä ä { É <ÊiÉ ªÉÉ´ÉiÉÂ *
The distribution / allotment of names (Àa·ja, ¤Àabha etc.) is in

accordance with their established usge. The
expression 'dhaivata is considered...< dhaivat°
mata>' implies th at it should never b e absent in Àa·jagr¡ma.
iÉjÉ MÉÉxvÉ´Éæ ¸ÉÖ i ÉÉ´Éä ´ ÉÉxiªÉ(ªÉÉ)ªÉÉÆ º´É®úº¡Ö ò ]õ i ÉÉÆ nù É ÊªÉxªÉÉ¨É´ÉvÉÉiÉ´ªÉ <ÊiÉ

Ê´É¶ÉÉÊJÉ±ÉÉSÉÉªÉÇ | É¦ÉÞ i ÉªÉ >ðSÉÖ & * "¸ÉÖ i ÉªÉ& º´É®úÉxiÉ®úMÉiÉÉ' <ÊiÉ, "ºÉ{ iÉÉ¸ÉªÉiÉªÉÉ º´É®úMÉiÉÉ'
<ÊiÉ, "+xiÉ®úMÉiÉÉºi´ÉxªÉÉ' <ÊiÉ, MÉÉxÉä iÉÖ ¸ÉÉä j ÉºÉÖ J ÉÉ´É½þ É ä % xÉä x É Ê´É¦ÉÉMÉä x É |ÉªÉÉä V ÉxÉ¨ÉÂ *
iÉnù É ½þ ¨ÉÉiÉÞ M ÉÖ { iÉ& -
½þ Ò ªÉ¨ÉÉxÉä º´É®ä ú ¸ÉÉä i ÉÖ & º´ÉºÉÆ ´ Éä t Éä % hÉÖ ¶ É& Gò¨É& *
¸ÉÚ ª É¨ÉÉhÉ& {ÉÖ x ÉxÉÉÇ n ù BEò B´ÉÉt ®ú Î \VÉiÉ& ** <ÊiÉ **
62
iÉä x É MÉÉxÉä |ÉvÉÉxÉiÉªÉä ½ þ Ê´É´ÉÊIÉiÉä SÉiÉÖ ¶ ¸ÉÖ Ê iÉÊ®úÊiÉ ºÉÉvÉÉ®ú h ªÉÖ Ê Hò& EÞ ò iÉÉªÉÉÆ iÉÖ
MÉÉxvÉ´ÉÇ { ÉIÉ¨ÉÊ{É º´ÉÒEÖ ò ´ÉÇ i Éä * ÊiÉ»É¶SÉiÉ»É& ¸ÉÖ i ÉªÉ& +É¸ÉªÉÉxiÉ®ú É uù É ä ¦ ÉªÉÉi¨ÉEòiÉªÉÉ
ªÉºªÉä Ê iÉ**26**
Vi¿¡khil¡c¡rya and others have said, "In g¡ndharva, attention

should be paid to the final ¿ruti which contributes to the clear
expression of svara. (In the descriptions - ) "¿rutis belong to the svara
and to the interval", "(¿rutis) housing the seven (sounding pitches) are
svaragata", "the others (lying in the interval) are antaragata", the
distinction is made (b etween heard and unheard ¿rutis) for
accomplishing euphony in singing. Thu s M¡t¤gupta says -
The n¡da which rises by minute degrees, after leaving the

(previous) svara, and man ifests itself to perception
by being heard finally, is now really
beautiful.
Hence the four-¿ruti description, applied mainly in g¡na, here (in

n¡¶ya, to g¡ndh¡ra or niÀ¡da), when s¡dh¡ra¸ya takes place, can still
be within g¡ndharva. Th e three or four ¿rutis of that (l it. which), b y
taking up residence in another (svara), are
common to both.[?] (26)
----------------------------------------------
--------------------
¨ÉvªÉ¨ÉOÉÉ¨Éä iÉÖ {É\SÉ¨É& ¸ÉÖ i ªÉ{ÉEÞ ò ¹]õ & EòÉªÉÇ & * B´ÉÆ º´É¸ÉÖ i ªÉÖ i Eò¹ÉÉÇ n ù { ÉEò¹ÉÉÇ u ù É
ªÉnù x iÉ®Æ ú ¨ÉÉnÇ ù ´ ÉÉnù É ªÉiÉi´ÉÉuù É iÉi|É¨ÉÉhÉÆ ¸ÉÖ Ê iÉ& ÊxÉnù ¶ ÉÇ x ÉÆ i´ÉÉºÉÉ¨ÉÊ¦É´ªÉÉJªÉÉºªÉÉ¨É&* iÉlÉÉ
- uä ù ´ÉÒhÉä iÉÖ ± ªÉ|É¨ÉÉhÉiÉxjªÉÖ { É´ÉÉnù x Énù h b÷ ¨ ÉÚ S UÇ ô xÉä EÞ ò i´ÉÉ ¹ÉbÂ ÷ V ÉOÉÉ¨ÉÉÊ¸ÉiÉä EòÉªÉæ *
iÉªÉÉä ® ú x ªÉiÉ®úºªÉÉÆ {É\SÉ¨ÉºªÉÉ{ÉEò¹Éæ ¸ÉÖ Ë iÉ ¨ÉvªÉ¨ÉOÉÉÊ¨ÉEòÓ EÞ ò i´ÉÉ iÉÉ¨Éä ´ É SÉ {É\SÉ¨ÉºªÉ
¸ÉÖ i ªÉÖ i Eò¹ÉÇ ´ É¶ÉÉiÉÂ ¹ÉbÂ ÷ V ÉOÉÉÊ¨ÉEòÓ EÖ ò ªÉÉÇ i ÉÂ * BEò¸ÉÖ Ê iÉ®ú{ÉEÞ ò ¹]õÉ ¦É´ÉÊiÉ* {ÉÖ x É®ú Ê {É
iÉuù n ä ù ´ ÉÉ{ÉEò¹Éæ i ÉÂ , ªÉlÉÉ MÉÉxvÉÉ®úÊxÉ¹ÉÉnù ´ ÉxiÉÉÊ´ÉiÉ®ú º ªÉÉ¨ÉÞ ¹ É¦ÉvÉè ´ ÉiÉÉè |É´Éä I ªÉiÉ&
Êuù ¸ ÉÖ i ªÉÊvÉEòi´ÉÉiÉÂ {ÉÖ x É®ú Ê {É iÉuù n ä ù ´ ÉÉ{ÉEÞ ò ¹]õ É ªÉÉÆ vÉè ´ ÉiÉÉ¹ÉÇ ¦ ÉÉÊ´ÉiÉ®úºªÉÉÆ {É\SÉ¨É¹ÉbÂ ÷ V ÉÉè
|É´Éä I ªÉiÉ& ÊjÉ¸ÉÖ i ªÉÊvÉEòi´ÉÉiÉÂ * iÉuù i {ÉÖ x É®ú{ÉEÞ ò ¹]õÉªÉÉÆ {É\SÉ¨É¨ÉvªÉ¨É¹ÉbÂ ÷ V ÉÉ <iÉ®úºªÉÉÆ
¨ÉvªÉ¨ÉMÉÉxvÉÉ®úÊxÉ¹ÉÉnù ´ ÉxiÉ& |É´Éä I ªÉÎxiÉ SÉiÉÖ & ¸ÉÖ i ªÉ¦ªÉÊvÉEòi´ÉÉiÉÂ * B´É¨Éä i Éä x É ¸ÉÖ Ê iÉÊxÉnù ¶ ÉÇ x Éä x É
uù É è OÉÉÊ¨ÉCªÉÉè uù É Ë´É¶ÉÊiÉ¸ÉÖ i ÉªÉ& |ÉiªÉ´ÉMÉxiÉ´ªÉÉ(ªÉÉ&)*
63
In madhyamagr¡ma, however, paµcama should be brought down

by a ¿ruti. In this manner, the differen ce that comes about by going up
or coming down from its ¿ruti (by a svara), due to loosening or
tightening (sic), is measured by ¿ruti. We shall explain the
demon stration of these (¿rutis). That is as follows. Two v¢¸¡s with
strings, pegs and keyboard of the same measure, should be tun ed, and
set to the Àa·jagr¡ma. In one of them, by reducing the paµcama, th e
madhyamagr¡ma's ¿ruti (order) should be brought about. The same
should be brought back to Àa·jagr¡ma, by increasing paµcama's ¿ruti
(indirectly, by redu cing the ¿ruti level of all the other svaras). [Thi s v¢¸¡]
becomes lowered by one ¿ruti [compared to th e other v¢¸¡.] Again
reduction must be done in the same manner, so that the g¡ndh¡ra and
niÀ¡da (of this v¢¸¡) become one with the ¤Àabha and dhaivata,
respectively, of the other (v¢¸¡), because (g¡ndh¡ra and niÀ¡da) ar e
two ¿rutis higher (there). Upon reducti on in the same manner, once
more, dhaivata and ¤Àabha will become one with the paµcama and Àa·ja
of the other v¢¸¡, (as dhaivata and ¤Àabha) are three ¿rutis higher
(th ere). In the same way, upon on e more reduction, paµcama,
madhyama and Àa·ja will become one with the madhyama, g¡ndh¡ra
and niÀ¡da of the other v¢¸¡, as paµcama, madhyama and Àa·ja are
four ¿rutis higher (th ere). Thus, through this demonstration of the ¿rutis
in the two gr¡mas, the twentytwo ¿rutis should be grasped. (prose after
26)
[The ¿ruti measure of individual svaras, and the total of twentytwo

are demonstrated indirectly in this method.The first reduction means
that the scales of these two gr¡mas were familiar to th e ear of the
musician and that the resulting break up into two reg isters, of ma-pa-
dha-ni and sa-ri-ga did not hinder th e recognition of the
madhyamagr¡ma scale. The restoration of Àa·jagr¡ma and the single
register again imply the familiarity of the scales and lack of anchoring to
a base tonic / register.Since this operation merely brings back the
Àa·jagr¡ma at a slightly lower level without resulting in any other
recognisable scale, the first reduction neg atively proves the difference
of one ¿ruti between the paµcamas of the two gr¡mas. And the next
reduction, namely of the ga and ni to the ri and dha of the other v¢¸¡,
(followed by the lowering of the other svaras to restore the Àa·jagr¡ma
64
order), does not result in any more identiti es, n egatively proving th e
two-¿ruti measure of ga and ni. Similarly, the reduction of r i and dha to
sa and pa of the other v¢¸¡,(followed by the matching lowering of the
other svaras), not yielding an y other identity, proves the two -¿ruti
measure of ri and dha. And finally, the reduction of sa, ma and pa to
the ni, ga and ma of the other v¢¸¡,(followed by the matching redu ction
of the other svaras), proves the four -¿ruti measure of these three
svaras. So the twentytwo ¿rutis constituting the seven svaras are
indirectly demon strated, in the identities established and the unfamiliar
pitches sound ed. But the direct discernment of ¿ruti by the mu sician is
called for elsewhere. The instru ction is given later on, on the method
of quickly converting on e gr¡ma into the other. There the vai¸ika is
instructed to raise the ga of Àa·jagr¡ma by two ¿rut is, and then
consider it as the dha of madhyamagr¡ma. Then the Àa·jagr¡ma will be
replaced by th e madhyamagr¡ma in the same register. While raising ga
by two ¿rutis must have been easy for the vai¸ika who must have been
familiar with the antara svara, the instruction for converting th e
madhyamagr¡ma into th e Àa·j agr¡ma requires the perception of ¿ruti on
his part. For, he is instructed to reduce the dha of madhyamagr¡ma by
two ¿rutis, and then regard it as the ga of Àa·jagr¡ma. Th ere is no
known svara in the madhyamagr¡ma which can guide the vai¸ika in this
reduction.]
+lÉ ¨ÉvªÉ¨ÉOÉÉ¨É¨ÉÉ½þ ¨ÉvªÉ¨ÉOÉÉ¨Éä Îi´ÉÊiÉ* SÉiÉÖ ¶ ¸ÉÖ i ÉÉè {É\SÉ¨Éä ¹ÉbÂ ÷ V ÉºªÉè ´ É
uù É ´É¨ÉÉiªÉEò±{ÉÉè ¨ÉvªÉ¨É{É\SÉ¨ÉÉè ºÉÆ ´ ÉÉÊnù x ÉÉè ¦É´ÉiÉ <ÊiÉ* ¨ÉvªÉ¨ÉºªÉÉÊ{É ºÉÆ ´ ÉÉÊnù x ÉÉä % Ê{É
ºÉÆ Ê ´ÉÊnù ´ É ´ªÉ{Énä ù ¶ É½ä þ i ÉÖ i ÉÉ* {É\SÉ¨Éä iÉÖ ¸ÉÖ Ê iÉxªÉÚ x Éä ¨ÉvªÉ¨ÉºªÉÉ{ªÉä E ò& ºÉÆ ´ ÉÉnù Ò
¹ÉbÂ ÷ V ÉºªÉÉ{ÉÒÊiÉ* <nÆ ù iÉÉ´ÉiÉÂ . .......... ¨ÉvªÉ¨ÉºªÉ i´ÉxªÉnù Î ºiÉ |ÉÉvÉÉxªÉÆ (+Ê{É) Ê´ÉxÉÉ
¶ÉÖ r ù i ´ÉEÞ ò iÉÊ¨ÉÊiÉ iÉjÉ xÉè ´ É ´ªÉ{Énä ù ¶ ÉÉä ¨ÉvªÉ¨ÉOÉÉ¨ÉÊxÉªÉ¨Éä x É <ÊiÉ xÉ ËEò
SÉiÉÖ ¶ ¸ÉÖ Ê iÉEä ò xÉÉxÉä E ä ò xÉ iÉÉ´Éi|ÉvÉÉxÉä x É ¦ÉÊ´ÉiÉ´ªÉ¨ÉÂ * {ÉÚ h ÉÇ i ´ÉÉiÉÂ iÉSSÉ º´É®úuù ª É¨Éä ´ É
{É\SÉ¨ÉºªÉ SÉiÉÖ ¶ ¸ÉÖ Ê iÉEòi´ÉÊ´É®ú¨ÉÉiEòÉEò±ªÉxiÉ®ú ª ÉÉä ¶ SÉiÉÖ ¶ ¸ÉÖ Ê iÉEòi´ÉÆ Ê´ÉEòÉ®úÉä xÉ º´É¦ÉÉ´É&*
iÉÖ ± ªÉÆ SÉÉxÉÉÊ¶Éi´ÉÊ¨ÉÊiÉ uù É ´Éä ´ É OÉÉ¨ÉÉè * iÉjÉ ¨ÉvªÉ¨ÉÉ iÉÞ i ÉÒªÉºª ÉÉ¨ÉÊ{É ¸ÉÖ i ÉÉè
iÉlÉÉÊ´ÉvÉÉxÉÖ ® úhÉxÉ´ªÉ\VÉxÉÉi¨ÉEòxÉÉnù Ê xÉ¹{ÉÊkÉ& ªÉlÉÉÊ´ÉvÉ(?) ¹ÉbÂ ÷ V ÉOÉÉ¨Éä SÉiÉÖ l ªÉÉÈ ¨ÉÉ¦ÉÚ i ÉÂ *
Eä ò ´É±ÉºÉÆ º lÉÉxÉxÉÒSÉi´ÉÉzÉÒSÉÉ* iÉ±±ÉIªÉiÉä * iÉiÉ B´É ¸ÉÖ i ªÉ{É¨ÉÉxÉ B´ÉÉºÉÉè {É \SÉ¨ÉÉä ¦É´ÉÊiÉ*
¸ÉÖ Ê iÉÌ½þ Eò¨{ÉÉä ¦É´ÉiÉÒiªÉÖ H ò¨ÉÂ * iÉlÉÉ SÉÉ½Ö þ & -
´Éä n ù ¸ ÉÖ Ê iÉ& {ÉC´ÉEòÊ{ÉilÉEò±{É& EÞ ò ¶É|É´ÉÉiÉÉä x ¨ÉÖ J ÉiÉÉÆ |É{ÉzÉ& *
ªÉÊiÉ¸ÉÖ Ê iÉ& Eò¨{É <´Éè ¹ É ¦ÉÉÊiÉ ªÉuù É ¸ÉÖ Ê iÉ& º´ÉÉnÂ ù ¦ÉÖ i É®ú É MÉÊxÉ¹`ö& **2**
65
iÉiÉ B´ÉÉ±{ÉÊxÉ¹ÉÉnù M ÉÉxvÉÉ®ú . ...ÊiÉ....EòÉEò±ªÉxiÉ®ú ª ÉÉä & |ÉªÉÉä M É&* ÊjÉ¸ÉÖ i Éä ¶ SÉ

EòÎ¨{ÉiÉEÖ ò ½þ Ê ®úiÉ®ä ú ÊSÉiÉªÉÉä M É&* ÊxÉMÉªÉÉä ¶ SÉ Ê´É´ÉÉÊnù i ´ÉÆ ®úCiªÉxiÉ®úÉxÉÖ ´ ÉÞ k Éä & * B´ÉÆ
¸ÉÖ i ªÉ{ÉEÞ ò ¹]õ & {É\SÉ¨É <ÊiÉ ¨ÉvªÉ¨ÉOÉÉ¨ÉºªÉ ±ÉIÉhÉ¨ÉÂ * ºÉ SÉ {É\SÉ¨É& |ÉvÉÉxÉ& xÉ iÉÖ
¨ÉvªÉ¨ÉOÉÉ¨Éä Eònù É ÊSÉnù Ê {É ±ÉÉä { ªÉiÉ <iªÉlÉÇ & * +xªÉä iÉÖ OÉÉ¨ÉªÉÉä v Éê ´ ÉiÉ{É \SÉ¨ÉÉ´É±ÉÉä { ªÉÉÊ´ÉÊiÉ*
BiÉnù É ¸ÉªÉi´ÉÉx¨ÉvªÉ¨ÉMÉiÉä Ê ®úiªÉjÉÉ½þ *
Then he speaks of the madhyamagr¡ma with ' madhyamagr¡m®

tu...' When the paµcama is four-¿ruti, Àa·ja h as both madhyama and
paµcama as saÆv¡d¢s, comparable to counsellors. To madhyama which
is a saÆv¡d¢, th e condition for naming (the gr¡ma) occurs rightly. With
paµcama being short of on e ¿ruti (in madhyama-gr¡ma), madhyama, as
well as Àa·ja, has one saÆv¡d¢. [Th e next sentence is not clear, but the
purport seems to be - madhyama has prominence for another reason,
not because it is ¿uddha, and why should madhyamagr¡ma be named
after it, when th ere are other svaras possessing four ¿rutis (like Àa·ja
and dhaivata)? (The answer seems to be -) Only two svaras are full (in
¿ruti content), as paµcama ceases to be four-¿ruti (in madhyama-
gr¡ma), and as the four-¿ruti measure of k¡kal¢ and antara (svaras) is
not originally so, but is the result of modification. And as the
indispensability (of madhyama) applies to both gr¡mas, there are only
two gr¡mas. Th ere, (not) th e middle (stage?), but the manifestion of
tone, with resonan ce (of paµcama?) is at the third ¿ruti, not on the
fourth as in Àa·jagr¡ma. [Some words could be missing here. The
purport seems to be - paµ cama in madhyamagr¡ma is not at a middle
stage of articul ation, but is fully manifest with resonance, at a position
which is one ¿ruti lower than its position in Àa·jagr¡ma.] Only as
it s position is lower, it is heard lower. That is why this paµcama is
produced only by lowering the ¿ruti. The ¿ruti is prescrib ed to be
shaken. It is said -
(The svara, paµcama? of) four <v®da> ¿rutis is like a ripe

kapittha (fruit). Like the fruit which faces the wind which brings it
down, (paµcama?), when brought down to three ¿rutis <yati¿ruti>,
manifests its form with shake [?].......(2)
That is why, (in melodies) where niÀ¡da and g¡ndh¡ra are
sparsely used, k¡kal¢ and antara are employed. Three-¿ruti (svara) is
included in kampita, kuharita and r® cita (ala´k¡ras). Ni and ga po ssess
66
v¢v¡ditva because their repetition / being followed by another svara is

not pleasant. Thus madhyamagr¡ma is identified by the paµcama which
is lower in ¿ruti <¿rutyapra(pa)k¤À¶aÅ paµcama > . This means that
paµcama is important and should never be dropped in madhyamagr¡ma.
According to others, in the two gr¡mas, dhaivata and paµcama
(respectively) should not be omitted. [The n ext sentence is not clear.]
[Four-¿ruti measure seems to be necessary for the strong, steady
expression of a svara. So, only sa and ma, and the pa of Àa·jagr¡ma,
seem to have been capable of being h eld steadily, without shake.]
+jÉ Eä ò ªÉÆ ¸ÉÖ Ê iÉxÉÉÇ ¨ Éä i ªÉÉ¶ÉRÂ ó CªÉÉ½þ - B´ÉÆ ¸ÉÖ i ªÉÖ i Eò¹ÉÉÇ { ÉEò¹ÉÉÇ S SÉä Ê iÉ* ¨ÉÉnÇ ù ´ ÉÆ iÉxjªÉÉ&
Ê¶ÉÊlÉ±ÉÒEò®úhÉÆ Ê´É{É®ú Ò iÉi´É¨ÉÉªÉiÉi´ÉÆ ÊGòªÉiÉ <iªÉÉ½þ * ¸ÉÖ i Éä & ¶É¤nù º ªÉ ¸ÉÉä j ÉOÉÉÁºªÉ
=iEò¹ÉÇ º iÉÒµÉiÉÉ +{ÉEò¹ÉÉæ ¨Éxnù i ÉÉ, iÉrä ù i ÉÖ i ´ÉÉx¨ÉÉnÇ ù ´ ÉÉªÉiÉä iÉÖ uä ù +Ê{É iÉlÉÉä H ä ò * B´ÉÆ
iÉÒµÉ¨Éxnù i ´É½ä þ i ÉÖ ¦ ªÉÉÆ ¨ÉÉnÇ ù ´ ÉÉªÉiÉi´ÉÉ¦ªÉÉÆ ªÉnù x iÉ®Æ ú ªÉÉä Ê´É¶Éä ¹ ÉÉ´É¤ÉÉä v É& |É¨ÉÉhÉÆ ÊxÉ¶SÉÉª ÉEÆ ò
ªÉºªÉÉ& ºÉÉ ¸ÉÖ Ê iÉ&* |ÉÉHòxÉºªÉ v´ÉxÉä ´ Éê ± ÉIÉhªÉÆ ªÉÉ´ÉiÉÉ ½þ Ò xÉä x ÉÉÊ vÉEä ò xÉ ªÉÉ iÉÒµÉ¨Éxnù É i¨ÉxÉÉ
°ü{Éä h É ±ÉIªÉiÉä ºÉÉ ¸ÉÖ Ê iÉÊ®ú Ê iÉ ªÉÉ´ÉiÉÂ * ªÉtÊ{É {É®ú ¨ ÉÉhÉÖ i ÉÉä % {ªÉÖ i Eò¹ÉÉÇ { ÉEò¹ÉÉæ ´ÉÉ ¦É´Éä n Â ù
v´ÉxÉä Ì ´É¶Éä ¹ ÉºiÉlÉÉÊ{É xÉÉºÉÉè MÉÞ ½ þ Ò iÉÖ Æ {ÉÉªÉÇ i Éä * +iÉ B´É ªÉjÉÉä i Eò¹ÉÉÇ { ÉEò¹ÉÉê xÉ EòÉè Ê SÉnÂ ù
v´ÉxÉÒxÉÉÆ OÉÉÁä i Éä iÉjÉè E òÉ ¸ÉÖ Ê iÉÊ®úÊiÉ, ªÉnù É ½þ {É®ú ¨ ÉÉSÉÉªÉÇ & "BEò¸ÉÖ Ê iÉ nÚ ù ® úÉiºÉ¨¤ÉÖ r ù É è ' <ÊiÉ*
Now what is this ¿ruti? To answer this question he says - 'in this
mann er, through the raising and lowering in ¿ruti < ®vaÆ
¿rutyutkarÀ¡pakrÀ¡cca>'.... By 'm¡rdavam' is meant the loosening of
the string, and its opposite is '¡yatatvam'. Th e sound of the ¿ruti
grasped by th e ear gains in intensity when it goes up and becomes
gentle when it goes down, and as they effect this, m¡rdavam and
¡yatam are so called. And the difference which is distinguished due to
the operation of m¡rdavam and ¡yatatvam, which are emplo yed for
making the svara sharper and flatter (flatter and sharper), respectively,
is measured / determined by the unit of ¿ruti. The (minimal) extent by
which the difference in the tone from its previous level, is discern ed as
lower or higher, through the intensity / sharpness or gentlen ess /
flatness characterising it, is called ¿ruti. Even though th e increasing or
decreasing may result in a very minute difference, it does no t transcend
the grasp of the ear. That is why, when, between sounds, no (other
sound) can be got, by going up or down, there one ¿ruti is determined.
[The sounds are at two successive ¿ruti levels, without room for
67
another intervening ¿ruti.] [Or, when, b etween sounds, no distinction of

lower or higher can be discerned, they are at th e same ¿ruti.] The
param¡c¡rya (P¡¸ini) has prescribed, "In calling from a distance,
[raising the voi ce by / remaining at] a single / the same ¿ruti".
xÉx´É±ÉÉ¤ÉÚ ´ ÉÒhÉÉnù É è iÉlÉÉ¦ÉÚ i ÉÉxÉÉÆ ¸ÉÖ i ÉÒxÉÉÆ Ê´É¶Éä ¹ É±Éä ¶ ÉÉxÉÉ¨ÉxÉè ª ÉiªÉÆ où ¶ ªÉiÉä * iÉiÉ& ËEò
ÊxÉªÉiÉ¸ÉÖ Ê iÉÊ´É¦ÉÉMÉ =Hò&* xÉ iÉÖ ´ÉÒhÉÉªÉÉ¨ÉºÉÉè ÊxÉ¶SÉÒªÉiÉä (<ÊiÉ)* iÉzÉ, iÉjÉÉ{ªÉºÉÉè ÊxÉªÉiÉ
B´É, +xÉè ª ÉiªÉOÉ½þ h ÉÆ iÉÖ Ê¨ÉlªÉÉ* ªÉkÉÖ nù h b÷ Ê ´É¦ÉÉMÉºªÉ nÚ ù ® úÉnÚ ù ® úi´ÉÊ´É¦ÉÉMÉÊ ´É{±É´É <ÊiÉ SÉä ª ÉÆ
xÉè ª ÉiªÉÉ±ÉIªÉiÉä , iÉjÉÉÊ{É ´ÉÉ¨ÉxÉÉä % xÉxiÉ{ÉÖ ¯ û¹ÉÊ´É¦ÉÉMÉÊ´É¶Éä ¹ ÉÉä { É±ÉIÉhÉ±ÉIÉhÉÒªÉÉ ¸ÉÖ Ê iÉ
.......xÉè ´ ÉÉºiÉÖ EòÉä Ê´É®úÉä v É& +iÉ B´É ±ÉIÉhÉÒªÉºªÉè ´ É Ê´É¶Éä ¹ É¶SÉ ¸ÉÖ Ê iÉ°ü{ÉiÉÉÊ¨ÉÊiÉ OÉ½þ h ÉÆ
Ê´É¶Éä ¹ ÉhÉ¨ÉÖ { ÉÉkÉ¨ÉÖ i Eò¹ÉÇ ¶ É¤nä ù x É, |ÉEò®úhÉÉSSÉÉ{ÉEò¹ÉÇ º ªÉÉÊ{É ±É¦ªÉiÉ <ÊiÉ* ´ÉÒhÉÉuù ª Éä ÎºlÉiÉä
BEòºªÉÉÆ ´ÉÒhÉÉªÉÉÆ iÉxjªÉÉ¨ÉÖ i EÞ ò ¹]õÉªÉÉÆ º´É®ú º ªÉÉä i Eò¹ÉÇ ( ¹Éæ ) {É®úºªÉÉ&
ÎºlÉiÉ´ÉÒhÉÉiÉxjÉÒº´É®úºªÉÉ{ÉEò¹ÉÉæ ±ÉIªÉiÉä * iÉÏº¨É¶SÉ ±ÉIªÉ¨ÉÉhÉä % {ÉEò¹Éæ Êuù i ÉÒªÉ´ÉÒhÉÉ -
º´É®úºªÉÉä i Eò¹ÉÉæ ±ÉIÉhÉÒªÉÉä ¦É´ÉÊiÉ* +ÉªÉiÉi´ÉÉnÖ ù i Eò¹ÉÉÇ { ÉEò¹ÉÉê ±ÉIªÉÉè ¦É´ÉiÉ&* B´ÉÆ
¨ÉÉnÇ ù ´ ÉÉnù Ê {É ´ÉÒhÉÉuù ª ÉÉªÉkÉ¨Éä ´ Éä n ù ¨ ÉÖ i Eò¹ÉÉÇ { ÉEò¹ÉÇ i ´ÉÆ Æ nù ¶ ÉÇ Ê ªÉiÉÖ Æ ªÉlÉÉºÉRÂ ó JªÉÆ ¶ÉRÂ ó EòÉÆ
ÊxÉ®úÉEòiÉÖ È ¨ÉÉnÇ ù ´ ÉÉªÉiÉi´ÉÉuä ù i ªÉÖ H ò¨ÉÂ * +xªÉlÉÉä i Eò¹ÉÉÇ ª ÉiÉi´É¨ÉÉnÇ ù ´ ÉÉ¦ªÉÉÊ¨ÉÊiÉ ¥ÉÚ ª ÉÉiÉÂ *
But in the gourd v¢¸¡ etc.,these ¿rutis which are very minutely
distinct (from one another) are not observed to be fixed. Then how h as
the fixed division of ¿ruti been spoken of? It (¿ruti distinction) is not
determin ed on the v¢¸¡. That is not true, there (on the v¢¸¡), too, it is
determin ed; to assume that it is not fixed (on the v¢¸¡) is false. Even
when th e demarcation on the keyboard becomes confused by too much
or too little distance (between svaras?), even here, just as the dwarf
can show the distinction into parts of the giant, as a sampl e, ¿ruti can
determin e th e distinctions.........[?] There is no contradiction here. That
is why the distin ction whi ch h as to be shown (between two tones) is
itself conceived of in the form of ¿ruti. And the distinct ion acco mplished
by increasing the tone, is obtained by decrease, too, according to the
context. When two v¢¸¡s are available, upon the augmenting of th e
svara by tightening the string on one, the comparative diminution of the
svara on the untampered v¢¸¡ is observed. And as the diminution
becomes perceptible in this, the aug mentation in the svara of th e
second v¢¸¡ draws our attention. By tightening, increase and decrease
(in pitch) become apparent. The same can be accomplished by
loosening (of strings) too. The tightening (of string in one v¢¸¡ is
suffici ent) to show th e gradual increase and decrease (in pitch). To
68
remove doubt the choice of loosening or tightening is g iven.

Otherwise, we can speak of the increase due
to tightening and loosening.
|É¨ÉÉhÉä Ê iÉ ´Énù z É xÉ EòÉ±ÉEò±ÉÉ ¸ÉÖ Ê iÉxÉÉÇ Ê {É xÉÉnù É Æ ¶ ÉÉä xÉ SÉÉªÉÖ x ÉÇ ºlÉÉxÉÆ xÉ

Eò®ú h ÉÊ¨ÉÊiÉ nù ¶ ÉÇ ª ÉÊiÉ* iÉä x É ´ÉIªÉ¨ÉÉhÉÉä S SÉxÉÒSÉÊ´É¦ÉÉMÉÉä v´ÉÊxÉ®ä ú EòÉ ¸ÉÖ Ê iÉÊ®úÊiÉ iÉÉi{ÉªÉÇ ¨ ÉÂ *
B´É¨Éä E òºªÉÉ& ¸ÉÖ i Éä & º´É°ü{É¨ÉÊ¦ÉvÉÉªÉ ¸ÉÖ Ê iÉºÉRÂ ó JªÉÉº´É°ü{ÉÆ ªÉlÉÉ±ÉIÉhÉÒ ªÉÆ ªÉlÉÉ ¦É´ÉÊiÉ
iÉlÉÉ nù ¶ ÉÇ Ê ªÉiÉÖ ¨ ÉÖ { ÉGò¨ÉiÉä ÊxÉnù ¶ ÉÇ x ÉÆ i´ÉÉºÉÉÊ¨ÉÊiÉ* +ÉºÉÉÊ¨ÉÊiÉ ¤É¼´ÉÒxÉÉÆ , ÊxÉnù ¶ ÉÇ x ÉÊ¨ÉÊiÉ
ÊxÉÎ¶SÉiÉiÉªÉÉ où ¶ ªÉxiÉä ªÉä x ÉÉä { ÉÉªÉä x É iÉÊzÉnù ¶ ÉÇ x É¨ÉÂ * ªÉlÉÉ Ê½þ - |ÉlÉ¨Énù ¶ ÉÇ x Éä x É ®úHòªÉÉä -
VÉÉÇ i ªÉÉVÉÉiªÉªÉÉä ® ä ú ´É SÉÉä i Eò¹ÉÉÇ { ÉEò¹ÉÇ ´ ÉiÉÉä Ì ´É¶Éä ¹ ÉÉä {ÉÖ x É& |ÉlÉ¨ÉºªÉ {ÉÖ x ÉÌuù i ÉÒªÉºªÉä i ªÉxÉä -
xÉÉxÉÖ º ÉxvÉÉxÉ¤É±Éä x É ÊxÉÎ¶SÉiÉºiÉÊuù ¶ Éä ¹ É|ÉiªÉªÉÉä VÉÉªÉiÉä ªÉÉä % ºÉÉ´É¦ªÉÊvÉEò <ÊiÉ ¦ÉhªÉiÉä *
|ÉEÞ ò iÉä % Ê{É iÉxjÉÒuù ª Éä =iEò¹ÉÉÇ { ÉEò¹ÉÇ ´ ÉÊiÉ (EòÏº¨É¶ÉÂ ) ÊSÉnù É EÞ ò iÉä ªÉ& ¶É¤nù & |ÉiÉÒªÉiÉä , iÉºªÉ
{É®úº{É®úÊ´É´Éä E òÉªÉÉ´ÉvÉÉ®ú Ê ªÉ¹hÉÉä n ù É æ ± ÉÉMÉ¨ÉxÉ´Éti{ÉÖ x É& {ÉÖ x É®úÉEò¹ÉÇ h ÉÆ iÉiEÞ ò iÉÉä % xÉÖ º ÉxvÉÉxÉ -
¤É±Éä x É ...{É®ú¨É& |ÉiªÉªÉ& º¡Ö ò ]Æ õ iÉnÂ ù M ÉiÉÊ´É¶Éä ¹ ÉOÉÉ½þ Ò VÉÉªÉä i É* iÉÊzÉnù ¶ ÉÇ x ÉÊ¨ÉiªÉÖ H ò¨ÉÂ *
When he speaks of pram¡¸a, he does not mean that ¿ruti

is th e unit of duration, or a part of n¡da (tone) or its life, location or
mode of production. I t is the distinction of sound as 'higher' or 'lower'
that is going to be explained through the unit of ¿ruti. Having clarified
the nature of th e ¿ruti unit thus, he goes on to show the number of
¿rutis that are present (in the different svaras), with 'now for their
demon stration <nidar¿anaÆ tu ¡s¡m >'. By ' ¡s¡m' he means 'of
many' (¿rutis, one by one), and by ' ni dar¿anam' he means the method
by which they can be demonstrated with certainty. For, at first sight,
between two pleasant (sounds?), whether they belong to a j¡ti or not,
the distinction that one is higher and the oth er lower, is grasped, to be
sure. But, impelled by the desire to exactly
determine the difference between the two, when
one examines carefully the second, then the
first, and once again, the second sound, the
difference between the two is fixed with
certainty, with the force of careful study,
and one can pronounce, "this is so much higher". On the two v¢¸¡s (lit.
string instruments) present, wh en some increase or decrease i s being
executed, th e person who wish es to determine the difference between
the sound heard (and the preceding sound), makes his attention travel
69
back and forth between the t wo (instruments), pulling (the string? and
letting it go?), and finally grasps th e difference clearly and with
certainty. This is what is meant by 'nidar¿anam'.
iÉjÉ |ÉlÉ¨ÉÉ (ºÉÉ®ú h ÉÉ) ºÉÉvÉÖ E òÉ®Æ ú wÉÖ ´ ÉEò´ÉÒhÉÉÆ ºÉÉvÉªÉÊiÉ, Êuù i ÉÒªÉÉ ¸ÉÖ i Éä Ê ®úªÉkÉÉÆ ,
iÉÞ i ÉÒªÉÉ ¸ÉÖ Ê iÉSÉiÉÖ ¹ EÆ ò ¤ÉÉä v ÉªÉÊiÉ, SÉiÉÖ l ÉÔ ¸ÉÖ Ê iÉ¹É]Â õ E Æ ò , {É \SÉ¨ÉÒ uù É nù ¶ ÉEòÊ¨ÉÊiÉ
ºÉÉ®ú h ÉÉ{É\SÉEòÊ¨ÉÊiÉ iÉÉi{ÉªÉÇ ¨ ÉÂ * OÉxlÉºiÉÖ ´ªÉÉJªÉÉªÉiÉä * |É¨ÉÉhÉÆ +ÉxÉÉ½þ { ÉÊ®ú h ÉÉ½þ É è , iÉxjÉÒhÉÉÆ
iÉÖ ± ªÉi´ÉÆ ºÉRÂ ó JªÉªÉÉ ºlÉÉè ± ªÉÉÊnù x ÉÉ SÉä Ê iÉ Eä ò ÊSÉiÉÂ * +iÉ¶SÉ iÉÖ n Ç ù h b÷ ¶ É¤nù & {ÉÖ x É¯ûHò&*
iÉº¨ÉÉnù ª ÉÆ Ê´ÉOÉ½þ & * iÉÖ ± ªÉ|É¨ÉÉhÉiÉxjªÉÖ { É{ÉÉ(´ÉÉ)nù x Énù h b÷ ¨ ÉÚ S UÇ ô xÉÉ ªÉªÉÉä ´ ÉÔhÉªÉÉä Ê ®úÊiÉ*
¨ÉÚ S UÇ ô xÉÉªÉÉÆ SÉ |É¨ÉÉhÉºÉRÂ ó JªÉè ´ É ¨ÉxiÉ´ªÉÉ nù h b÷ i ÉxjªÉÉÊnù º ÉÉ¨ªÉÆ º´É®úº´É°ü{ÉÆ xÉ Ê¦ÉxÉÊkÉ
Eä ò xÉÉ{ªÉÆ ¶ Éä x É iÉä x É iÉlÉÉ EòiÉÇ ´ ªÉ¨ÉÂ , ªÉä x É uù ª Éä % Ê{É BEòË´É¶ÉnÂ ù ¦ ÉÉºÉä i Éä *
There, th e first (s¡ra¸¡) establishes clearly the unchanging v¢¸¡

<dhruvakav¢¸¡>. Th e second establishes the measure of ¿ruti. The third
(s¡ra¸¡) shows the four ¿rutis (two each, belonging to ga and ni, or
distinguishing ga and ni from ri and dha, respectively). The fourth shows
the six ¿rutis (three each, belonging to ri and dha, or distinguishing ri
and dh a from sa and pa, respectively). The fifth (s¡ra¸¡) shows th e
twelve ¿rutis (four each, belonging to Àa·ja, madhyama and paµcama,
respectively). This is the purpose of the five s¡ra¸¡s. The text will now
be explained. By measure <pram¡¸a > is meant the length
and width, equal number of strings, and
according to some, equali ty in gauge. So the phrase
'caturda¸·a' is redundant. [This phrase does not occur
in NS.] So this is the proper analysis (of the sentence?) - those
v¢¸¡s which are equal in strings, pegs, keyboard, and tuning. In tuning,
the measure <pram¡¸asa´khy¡> should be conformed to. It should be
done in such a way that the sh ape of the svaras does not differ (on the
two v¢¸¡s), in any respect, and twentyone (svaras) are manifest on
both.
º´É®ú É hÉÉÆ EòºªÉÊSÉnù Ê {É ´Éè ± ÉIÉhªÉÆ ªÉºªÉ |ÉÊiÉ¦ÉÉºÉxÉÉkÉjÉè E òÉ wÉÖ ´ ÉEòºlÉÉxÉÒªÉÉ

+SÉ±ÉºÉÉ®úhÉÉ ´ÉÒhÉÉªÉÉ¨É{É®ú º ªÉÉÆ {É\SÉ¨ÉiÉxjÉÒ ¸ÉÖ Ê iÉ¨ÉÉjÉÆ Ê¶ÉÊlÉ±ÉÒEòÉªÉÉÇ * iÉnù É
¨ÉvªÉ¨ÉOÉÉ¨ÉÉä VÉÉªÉiÉä * +xÉxiÉ®Æ ú ¨ÉvªÉ¨ÉÉnù Ò xÉÉÆ ºÉ´ÉÇ º ´É®úÉhÉÉÆ ¸ÉÖ Ê iÉ¨Éä E òÉÆ {ÉÉiÉªÉä i ÉÂ , ªÉä x É
¹ÉbÂ ÷ V ÉOÉÉ¨É B´É ¦É´ÉÊiÉ* B´ÉÆ wÉÖ ´ ÉEò´ÉÒhÉÉªÉÉÆ SÉ±É´ÉÒhÉÉªÉÉÆ º´É®ä ú ¹ÉÖ ¦ÉhªÉ¨ÉÉxÉä ¹ ÉÖ
¸ÉÖ Ê iÉ®úÊvÉEòÉ xªÉÚ x ÉÉ SÉ |ÉiªÉIÉä h ÉÉxÉÖ º ÉxvÉÉxÉ¤É±ÉÉ±±ÉIÉhÉÒªÉÉ ¦É´ÉÊiÉ* iÉnù É ½þ
70
{É\SÉ¨É¸ÉÖ Ê iÉ®ú { ÉEÞ ò ¹]õ É ¦É´ÉÊiÉ ºÉ´ÉÇ º ´É®ä ú ¦ ªÉ <ÊiÉ ¶Éä ¹ É&* ºÉÉ SÉ |ÉiªÉIÉMÉ¨ªÉÉ MÉÖ h É´ÉiÉÒÊiÉ
¦ÉÉ´É&* ªÉtÊ{É {É®ú ¨ ÉÉhÉÖ ¨ ÉÉjÉä % Ê{É ºlÉÉxÉÉxiÉ®ä ú ªÉÉä Ê MÉ|ÉÉªÉ(ºÉ¨ÉÉÊvÉ)ºÉ¨ÉÊvÉMÉ¨ªÉ -
v´ÉÊxÉ´Éè ± ÉIÉhªÉÆ ¦É´ÉÊiÉ, iÉlÉÉÊ{É ªÉuè ù ± ÉIÉhªÉÆ ¸ÉÖ Ê iÉ¶É¤nù ´ ÉÉSªÉÊ¨ÉÊiÉ nù ¶ ÉÇ ª ÉxÉÂ ,
¸ÉÖ Ê iÉºÉRÂ ó JªÉÉ{ÉÊ®úYÉÉxÉÉlÉÈ ¸ÉÖ Ê iÉSÉiÉÖ ¹ ]õªÉÉä { É±É¤vÉÆ ( ÊvÉÆ ? ) nù ¶ ÉÇ ª ÉÊiÉ* {ÉÖ x É®úÊ{É SÉ
iÉuù n ä ù ´ ÉÉ{ÉEò¹Éæ Ê nù Ê iÉ SÉ±É´ÉÒhÉÉªÉÉÆ {É\SÉ¨ÉÉä { ÉGò¨ÉÆ ºÉ´ÉÇ º ´É(®ú É hÉÉ)¨Éä E òÉÆ ¸ÉÖ Ë iÉ {ÉÉiÉªÉä i ÉÂ ,
ªÉä ¹ ÉÖ SÉ±É´ÉÒhÉÉMÉiÉÉè MÉÉxvÉÉ®úÊxÉ¹ÉÉnù É è wÉÖ ´ É´ÉÒhÉÉMÉiÉÉ¦ªÉÉÆ vÉè ´ ÉiÉ¹ÉÇ ¦ ÉÉ¦ªÉÉÆ
ºÉ¨ÉºlÉÉxÉiÉªÉÉ{ÉEò¹ÉÇ i ´ÉÆ MÉSUôiÉ& ªÉiÉÉä wÉÖ ´ ÉEò´ÉÒhÉÉªÉÉÆ uù É ¦ªÉÉÆ ¸ÉÖ Ê iÉ¦ªÉÉÆ ºÉ´Éæ º´É®ú É
+ÊvÉEòÉ&* B´ÉÆ vÉè ´ ÉiÉ´Éè ± ÉIªÉä h É MÉÉxvÉÉ®úÊxÉ¹ÉÉnù ª ÉÉä ® úxªÉ´ÉÒhÉÉMÉiÉvÉè ´ ÉiÉ¹ÉÇ ¦ ÉºÉÉ¨ªÉÆ VÉÉªÉiÉä *
iÉnä ù ´ É ¸ÉÖ Ê iÉÊ®úiªÉÖ H Æ ò ¦É´ÉÊiÉ* +iÉ B´É ¸ÉÖ i ªÉÉÊnù ´ ªÉ´É½þ É ®ú É ä % Ê{É ±ÉIªÉÉä ( ªÉä ? ) ªÉÉä où ¶ ªÉiÉä xÉ
ºÉ ÊxÉ¨ÉÚ Ç ± É&* iÉlÉÉÊ½þ iÉÉ´ÉzªÉÚ x ÉÉÊvÉEòi´Éä . .........®ä ú Ê´ÉxÉÉ¶ÉÉä ¦É´ÉiÉÒÊiÉ Ê´ÉÊ¶É¹]õ | ÉiªÉÖ { É -
ªÉÉä M ÉÉSUØ ô ÊiÉÊ®ú Ê iÉ EòlªÉiÉä * {ÉÚ ´ ÉÉÇ Ê nù ¹ÉÖ xÉè ´ ÉÊ¨ÉÊiÉ* B´ÉÆ ¸ÉÖ i Éä ¶ SÉ º´É°ü{ÉÆ YÉÉiÉ¨ÉÂ *
MÉÉxvÉÉ®ú Ê xÉ¹ÉÉnù M ÉÆ |ÉiªÉä E Æ ò ªÉSUØ ô ÊiÉuù ª ÉÆ iÉSSÉ vÉè ´ ÉiÉ¹ÉÇ ¦ ÉÊ¨É¸ÉÒ¦ÉÉ´ÉÉÊ¦ÉYÉÉxÉä x É º¡Ö ò ]õ¨Éä ´ ÉÉ ä { É-
±É¤vÉÊ¨ÉÊiÉ iÉSUØ ô iÉªÉ& |ÉiªÉIÉÒ¦ÉÚ i ÉÉ ¦É´ÉÎxiÉ *
As any difference between svaras ha s to be manifested, one

(v¢¸¡) should be un changing, fixed in tuning, and on th e other v¢¸¡,
the string sounding paµcama should be l oosen ed by just one ¿ruti. Then
madhyamagr¡ma comes into being. Then, all th e svaras, madhyama
etc., should be made to fall by one ¿ruti, so that Àa·jagr¡ma is
restored. In this manner, the increase or decrease in ¿ruti of the svaras
about to be explained, on th e fixed v¢¸¡ and the changing v¢¸¡, can b e
made perceptible through careful study. That is expressed as " th e
¿ruti(-level) of paµcama becomes lowered < paµcama¿rutirapak¤À¶¡
bhavati>"; "as compared to all the (other) svaras" compl etes the
senten ce. The purport is "it (¿ruti) has th e quality of being directly
apprehended." Although, located at another level, it (the second sound)
differs infinitesimally from the first, and this ton al difference can be
grasped only through a focussing of the mind approaching that of a
y°g¢, the sage demonstrates this tonal difference expressed by the
word ¿ruti. For arriving at the knowledge of the (total) number of
(¿rutis), the sage proceeds with the demonstration until he arrives at the
foursome of ¿rutis (possessed by Àa·ja, madhyama and paµcama). By
instructing once again, "Reduce in the same manner
<tadvad®v¡pakarÀ®t>...", h e means, "Beginning from paµcama, reduce
a ¿ruti from all th e svaras on th e changing v¢¸¡, so that the g¡ndh¡ra
and niÀ¡da on the changing v¢¸¡ are reduced to the level of the
71
dhaivata and ¤Àabh a (¤Àabha and dhaivata) on the still v¢¸¡, and all the
svaras on the still v¢¸¡ are high er by two ¿rutis (than their counterparts
on the changing v¢¸¡). By the difference brought about in dhaivata (and
¤Àabha? on the calav¢¸¡) the g¡ndh¡ra and niÀ¡da here are made equal
to the dhaivata and ¤Àabha (¤Àabha and dhaivata) on the oth er v¢¸¡.
This is what is called ¿ruti. H ence the talk of ¿ruti th at is seen in
practice, is not without basis. [The next sentence is
broken and not clear, but the purport seems to
be - a slight lessening or increase in level
can mar the svara, and as it serves to make
the difference cle ar, it is called ¿ruti (knowledg e?).] This is
not so in the earlier (..?). In this mann er the identity of ¿ruti is known.
As each set of two ¿rutis which belongs to g¡ndh¡ra and niÀ¡da,
respectively, becomes indistinguishably one with that o f dhaivata and
¤Àabha (¤Àabha and dhaivata), respectively, to perception, th e ¿rutis (of
these svaras) become clearly demonstrated.
{ÉÖ x É®ú Ê {É SÉ±É´ÉÒhÉÉªÉÉÆ ¸ÉÖ Ê iÉªÉÇ n ù É {ÉEÞ ò ¹ªÉiÉä ºÉ´ÉÇ º ´É®ä ú ¦ ªÉºiÉnù É SÉ ´ÉÒhÉÉMÉiÉÉè
vÉè ´ ÉiÉ¹ÉÇ ¦ ÉÉè wÉÖ ´ É´ÉÒhÉÉMÉiÉÉ¦ªÉÉÆ {É\SÉ¨É¹ÉbÂ ÷ V ÉÉ¦ªÉÉÆ ªÉlÉÉGò¨ÉÆ ºÉÉ¨ªÉÆ MÉSUôiÉ&* ªÉiÉÉä
wÉÖ ´ É´ÉÒhÉÉªÉÉÆ º´É®ú É ÎºiÉ»É& ¸ÉÖ Ê iÉÊ¦É®úÊvÉEòÉ&* B´ÉÆ º´É®úuù ª Éä |ÉiªÉä E Æ ò ¸ÉÖ Ê iÉjÉªÉÆ
º¡Ö ò ]õ Ò EÞ ò iÉÊ¨ÉÊiÉ ¹É]Â õ ¸ÉÖ i ÉªÉ ={É±É¤vÉÉ&*
Once again, when a ¿ruti is reduced from all the svaras on the
calav¢¸¡, the dhaivata and ¤Àabha of this become equal to the paµcama
and Àa·ja, respectively, on the dhruvav¢¸¡. As a result the svaras on
the dhruvav¢¸¡ are higher by three ¿rutis. As the triad of ¿rutis in each
of the two svaras (ri and dha) has been clearly shown, six ¿rutis have
been clearly established.
jÉªÉÉä wÉÖ ´ É(SÉ±É?)´ÉÒhÉÉªÉÉÆ ºÉ´ÉÇ º ´É®ä ú ¦ªÉ& ¸ÉÖ Ê iÉ¨É´ÉEò¹ÉÇ h Éä x É iÉnÂ ù M ÉiÉÉ&
{É\SÉ¨É¨ÉvªÉ¨É¹ÉbÂ ÷ V ÉÉ wÉÖ ´ É´ÉÒhÉÉMÉiÉè ª ÉÇ l ÉÉGò¨ÉÆ ¨ÉvªÉ¨ÉMÉÉxvÉÉ®úÊxÉ¹ÉÉnè ù & ºlÉÉxÉº ÉÉ¨ªÉÆ Ê¨É±ÉÎxiÉ*
ªÉiÉºiÉºªÉÉ ´ÉÒhÉÉªÉÉ& ºÉ´Éæ º´É®ú É ¶SÉiÉºÉÞ Ê ¦É& ¸ÉÖ Ê iÉÊ¦É®úÊvÉEòÉ&* B´ÉÆ º´É®újÉªÉä |ÉiªÉä E Æ ò
SÉiÉ»É& ¸ÉÖ i ÉªÉ& º¡Ö ò ]õ Ò EÞ ò iÉÉ <ÊiÉ uù É nù ¶ É ¸ÉÖ i ÉªÉ ={É±É¤vÉÉ ¦É´ÉÎxiÉ*
By reducing a ¿ruti from all the svaras on the cal av¢¸¡, the three
svaras, paµcama, madhyama and Àa·ja, on th at, become equal in level
to the madhyama, g¡ndh¡ra and niÀ¡da, resp ectively, on the
72
dhruvav¢¸¡. This is because all th e svaras on the unchanging v¢¸¡ are

higher by four ¿rutis. In this manner, the four ¿rutis in each of the three
svaras (paµcama, madhyama and Àa·ja), become clear, and twel ve
¿rutis are arrived at.
iÉä x É SÉiÉ»É& ¹É]Â õ uù É nù ¶ Éä Ê iÉ uù É Ë´É¶ÉiÉä & ={É±É¦ªÉÉä VÉÉiÉ&* @ñ¹É¦É(vÉè ´ ÉiÉÉ)¦ªÉÉÆ SÉ

MÉxÉÒ Êuù ¸ ÉÖ i ªÉÊvÉEòÉÊ´ÉÊiÉ ¸ÉÖ Ê iÉuù ª É{ÉÉiÉxÉä % ´É¶ªÉÆ iÉªÉÉä º iÉ(jÉ) |É´Éä ¶ É&* Ê®úvÉÉè SÉ ºÉ{ÉÉ¦ªÉÉÆ
Êuù ( ÎjÉ)¸ÉÖ i ªÉÊvÉEòÉè , vÉ(ºÉ)¨É{ÉÉ¶SÉ ÊxÉMÉ¨Éä ¦ ªÉ& SÉiÉÖ & ¸ÉÖ i ªÉÊvÉEòÉ <ÊiÉ iÉÉ´ÉiÉÒEòÉxÉÉÆ ¸ÉÖ i ÉÒxÉÉ Æ
.....{É®ú ´ ÉÌiÉÊxÉ º´É®ä ú |É´Éä ¶ ÉªÉä i ÉÂ * ºÉ iÉÖ Êuù ¸ ÉÖ i ªÉÊvÉEòi´ÉÉÊnù i ªÉÉnù ª ÉºjÉªÉÉä ½ä þ i É´É&
|É´Éä ¶ ÉxÉÒªÉº´É®úÊ´É¶Éä ¹ ÉÉnù Ê {É ´ªÉÉJªÉÉiÉ B´É* iÉnù É ½þ B´É¨Éä i Éä x É ¸ÉÖ Ê iÉÊxÉnù ¶ ÉÇ x Éä x Éä Ê iÉ* iÉ......
.......ºªÉÉÊnù i ªÉä ´ É Êuù ¸ ÉÖ Ê iÉ&* B´ÉÆ ¸ÉÖ i Éä & º´É°ü{É¨ÉÖ { É±É¤vÉ¨ÉÂ * +jÉ uä ù uù ª ÉÉä Ê ®ú Ê iÉ iÉÉ&
¸ÉÖ Ê iÉ¹ÉÖ ÊjÉ¹ÉÖ * B´ÉÆ wÉÖ ´ É´ÉÒhÉÉ¸ÉÖ i Éä Ê ®ú ª ÉkÉÉjÉ (º¡Ö ò ]õÒEÞ ò iÉÉ) ¦É´ÉÊiÉ*
Thus, four, six and twelve (¿rutis), and so, the total of twentytwo,
is arrived at. As ga and ni are high er, by two ¿rutis, than ¤Àabha and
dhaivata, the reduction by two ¿rutis automatically results in their
entering them (¤Àabha and dhaivata). As ri and dha are three ¿rutis
higher than sa and pa, and sa, ma and pa are four ¿rutis higher th an ni,
ga and ma, by .....[reducing by] the required nu mber of ¿rutis, (each)
svara (of th e higher set) can be brought to enter the previous svara. The
three reaso ns / actions <h®tavaÅ> (for / of the entry of the higher svar a
into the lower svara), from being higher by two ¿rutis etc., to the
particular svara which is entered, stand explained. That is why he says,
'this comes about by this demonstration of ¿ruti < ®va m®t®na
¿rutinidar¿an®na >'. [The next sentence is in complete,
but the purport seems to be that a reduction of two ¿rutis is needed for
bringing about the first identity.] Thus the identity of ¿ruti is obtained.
Here, by 'two within two <dv® dvay°r>' (three?) in three ¿rutis... [The
sentence is obviously incomplete and wrong.
The phrase commented on is not to be found in
the GOS edn. of NS.] In this manner th e measure of ¿ruti
becomes (cl ear) on the dhruvav¢¸¡.
Êuù ¸ ÉÖ Ê iÉÊ¦ÉÎºjÉ¸ÉÖ Ê iÉSÉiÉÖ & ¸ÉÖ Ê iÉº´É®ú º ´É°ü{ÉÆ SÉ ¸ÉÖ i Éä Ê ®ú ª ÉkÉÉ (ÊxÉvÉÉÇ ® ú h ÉÉ)
º¡Ö ò ]õ Ò Eò®úhÉÉlÉÈ |ÉºiÉÉ®úÉnä ù ´ É où ¶ ªÉiÉä * iÉjÉ nù h b÷ | ÉºiÉÉ®ä ú h É Eä ò ÊSÉqù ¶ ÉÇ ª ÉÎxiÉ uù É Ë´É¶ÉiÉÉ
®ä ú JÉÉhÉÉ¨ÉÂ * +xªÉä iÉÖ ¨Éhb÷ ± É|ÉºiÉÉ®ú ¨ ÉÉ½Ö þ &* ÊiÉªÉÇ M ÉÚ v ´ÉÈ SÉ {É\SÉ¹ÉbÅ ä ÷ J ÉÉ <iªÉä E òÉnù ¶ ÉÉä ¦ ÉªÉiÉÉä
uù É Ë´É¶ÉÊiÉ&*
73
The task of clarifying the two-¿ruti, three-¿ruti and four-¿ruti

identities of svaras, and the measure of a ¿ruti, is accomplished by
employing prast¡ra (writing out method ically and completely?). There,
some show the twentytwo -ness of th e lines by (writing out the svaras
with their ¿ruti measures in) a column <da¸·aprast¡ra>. Others speak
of a circular presentation <ma¸·al aprast¡ra>. Horizontally and
vertically, five and six (int ersecting) lines, respectively, result in eleven,
and by counting both ways, twentytwo is the total. (prose after v.26)
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+lÉ ¨ÉÚ S UÇ ô xÉÉ& uè ù O ÉÉÊ¨ÉCªÉ¶SÉiÉÖ n Ç ù ¶ É -

+Énù É ´ÉÖ k É®ú ¨ Éxpù É ºªÉÉpù V ÉxÉÒ SÉÉä k É®ú É ªÉiÉÉ *
SÉiÉÖ l ÉÔ ¶ÉÖ r ù ¹ ÉbÂ ÷ V ÉÉ iÉÖ {É\SÉ¨ÉÒ ¨ÉiºÉ®úÒEÞ ò iÉÉ **27**
+·ÉGòÉxiÉÉ iÉlÉÉ ¹É¹`öÒ ºÉ{iÉ¨ÉÒ SÉÉÊ¦É¯ûnÂ ù M ÉiÉÉ *
¹ÉbÂ ÷ V ÉOÉÉ¨ÉÉÊ¸ÉiÉÉ Áä i ÉÉ Ê´ÉYÉä ª ÉÉ& ºÉ{iÉ¨ÉÚ S UÇ ô xÉÉ& ** <ÊiÉ**28**
+ÉºÉÉÆ ¹ÉbÂ ÷ V ÉÊxÉ¹ÉÉnù v Éè ´ ÉiÉ{É\SÉ¨É¨ÉvªÉ¨ÉMÉÉxvÉÉ®ú¹ÉÇ ¦ ÉÉ +ÉxÉÖ { ÉÚ ´ ªÉÉÇ +ÉtÉ º´É®ú É & *
¹ÉbÂ ÷ V Éä SÉÉä k É®ú¨Éxpù É ºªÉÉoù ¹ É¦Éä SÉÉÊ¦É¯ûnÂ ù M ÉiÉÉ *
+·ÉGòÉxiÉÉ iÉÖ MÉÉxvÉÉ®ä ú ¨ÉvªÉ¨Éä ¨ÉiºÉ®úÒEÞ ò iÉÉ **29**
{É\SÉ¨Éä ¶ÉÖ r ù ¹ ÉbÂ ÷ V ÉÉ ºªÉÉrè ù ´ ÉiÉä SÉÉä k É®ú É ªÉiÉÉ *
ÊxÉ¹ÉÉnä ù ®úVÉxÉÒ SÉ ºªÉÉÊnù i ªÉä i ÉÉ& ¹ÉbÂ ÷ V É¨ÉÚ S UÇ ô xÉÉ& **30**
Now for the fourteen m£rcchan¡s of th e two gr¡mas –
Uttaramandr¡ should come first, (followed by) Rajan¢ and Uttar¡yat¡. The
fourth is áuddhaÀa·j¡, and the fifth, Matsar¢k¤t¡. (27)
The sixth is A¿vakr¡nt¡, and the seventh, Abhirudgat¡. These seven

m£rcch an¡s, it must be known, are based on Àa·jagr¡ma. (28)
The commencing svaras of these (m£rcchan¡s) are Àa·ja, niÀ¡da,

dhaivata, paµcama, madhyama, g¡ndh¡ra and ¤Àabha, respectively.
On Àa·ja, Uttaramandr¡ should commence, and Abhirudgat¡ on

¤Àabha. A¿vakr¡nt¡ (must commence) on g¡ndh¡ra, and Matsar¢k¤t¡ on
madhyama. (29)
74
On paµcama, áuddhaÀa·j¡ mu st commen ce, and on dhaivata,

Uttar¡yat¡. And on niÀ¡da, Rajan¢ must commence. These ar e the
seven m£rcchan¡s of Àa·j a(gr¡ma). (30)
B´ÉÆ OÉÉ¨Éuù ª ÉÆ iÉnÖ ù { ÉªÉÉä Ê MÉ SÉ ¸ÉÖ Ê iÉ ºÉnÂ ù ¦ ÉÉ´Éä º´É®úÉhÉÉÆ ¸ÉÖ Ê iÉÊxÉªÉ¨É|ÉÉ¨ÉÉhªÉ¨ÉÊ¦ÉvÉÉªÉ
Gò¨É|ÉÉ{iÉÉÆ ¨ÉÚ S UÇ ô xÉÉ¨ÉÉ½þ - +lÉä Ê iÉ ºÉ¨ªÉÊMÉÊiÉ Gò¨ÉÉxÉÊiÉGò¨Éä h ÉÉä v ´ÉÈ ªÉSUÜ ô ªÉ¨ÉÉþ h É¨É´É®úÉä ½ þ h ÉÆ
iÉnÖ ù { É±ÉÊIÉiÉº´É®úºÉ{iÉEòº´É°ü{É´É½þ É ä ¨ÉÚ S UÇ ô xÉÉ* ¨ÉÚ S UÇ ô xÉÉ Ê½þ ºÉ¨ÉÖ S UÅ ô ÉªÉä {É`ö¬iÉä * +iÉ
B´ÉÉä { ÉºÉÆ ½ þ É ®ä ú º´É®úÉ& Gò¨ÉªÉÖ H òÉ <ÊiÉ Ê´É¶Éä ¹ ÉÊªÉ¹ªÉÊiÉ* +Gò¨Éi´Éä ¨ÉÚ S UÇ ô xÉÉi´ÉÆ ¨ÉÉ¦ÉÚ Ê nù Ê iÉ*
iÉlÉÉ Ê½þ ¹ÉbÂ ÷ V ÉÉnù É ®úÉä ½ þ h ÉÆ ÊxÉ¹ÉÉnù É xiÉÆ , vÉè ´ ÉiÉÉi{É\SÉ¨ÉÉxiÉÆ , {É\SÉ¨ÉÉx¨ÉvªÉ¨ÉÉxiÉÆ , ¨ÉvªÉ¨ÉÉnÂ ù -
MÉÉxvÉÉ®ú É xiÉÆ , MÉÉxvÉÉ®úÉoù ¹ É¦ÉÉxiÉ¨ÉÞ ¹ É¦ÉÉiÉÂ ¹ÉbÂ ÷ V ÉÉxiÉÆ , ¹ÉbÂ ÷ V É¶SÉ Êuù i ÉÒªÉºÉ{iÉEòÉxiÉ®(?)ú
iÉÉ®úº{ÉÞ ¹ ]õÉä ¦É´ÉÊiÉ*
In this manner, having established the two gr¡mas and

the ¿ruti (difference) whi ch serves (to distinguish) them, and having
explained the ¿ruti measure identifying the svaras, now (the sage comes
to the topic of) m£rchan¡, whi ch is next in the list. 'Now, properly'
mean s - m£rcchan¡ is that which takes the form of a svara heptad,
which is sounded (lit. heard) without a break in ascending order,
commencing on and named after (lit. indicated by) svaras, in the
descending order. (The word) m£rcchan¡ is prescribed in the sense of
'rising higher (and higher)'. That is why, (the sage) qualifies (the heptad
of) svaras as 'proceeding in order'. In the absen ce of order, m£rcch an¡
cannot exist. So (the succession of svaras in the m£rcchan¡s are) from
Àa·ja in ascent, to niÀ¡da, [from niÀ¡da to dhaivata], from dhaivata to
paµcama, from paµ cama to madhyama, from madhyama to g¡ndh¡ra,
from g¡ndh¡ra to ¤Àabha, and from ¤Àabha to Àa·j a. And this Àa·ja
reaches the next heptad, touching the higher <t¡ra>* register.
[* Here t¡ra should not be interpreted as the highest,

but as the next higher, i.e. madhya register.]
xÉx´Éä ´ ÉÆ ºÉ{iÉ¨ÉÚ S UÇ ô xÉÉ&, ºÉiªÉ¨ÉÂ , {É\SÉ¨ÉºªÉ ¸ÉÖ i ªÉ{ÉEò¹Éæ ºÉ{iÉÉtÉ(xªÉÉ)&, iÉnù É ½þ

uè ù O ÉÉÊ¨ÉCªÉ <ÊiÉ* {É\SÉ¨Éä SÉÉ{ÉEÞ ò ¹]ä õ ºÉÆ ´ ÉÉtxÉÖ ´ ÉÉÊnù ´ ªÉ´ÉºlÉÉ ±ÉÉä { ªÉÉ ±ÉÉä { ªÉÉ º´É®ú ´ ª É´ÉºlÉÉ
SÉÉxªÉè ´ É ºÉ¨{ÉÉtiÉ <ÊiÉ ¦ÉÚ ª ÉÉxÉä ´ É ¦Éä n ù É ä VÉÉªÉiÉä * iÉjÉ ¨ÉvªÉ¨ÉÉnÂ ù M ÉÉxiÉÆ , MÉÉoù ¹ É¦ÉÉxiÉÆ ,
@ñ¹É¦ÉÉiºÉÉxiÉÆ ºÉÉÊzÉ¹ÉÉnù É xiÉÆ , ÊxÉ¹ÉÉnù É rù É xiÉÆ , vÉÉi{ÉÉxiÉÆ , {ÉÉzÉÉ(x¨ÉÉ)xiÉÊ¨ÉÊiÉ ºÉ{iÉ* iÉjÉ
xÉÉ¨ÉÊxÉnæ ù ¶ ÉÉä ´Éè Ê nù E òEò¨ÉÉÇ R Â ó MÉÊ¨ÉÊiÉ nù Ì ¶ÉiÉ¨ÉÂ * iÉlÉÉ Ê½þ ¸ÉÚ ª ÉiÉä , "=kÉ®ú¨Éxpù ª ÉÉ º´Éi´ÉÆ
75
ºÉÆ ¾ þ i ÉÉÎºiÉ»ÉÉä MÉÉvÉÉ(lÉÉ) MÉÉªÉä i ÉÂ ' iÉÉ& {ÉiªÉÉä ´ÉÉÆ {ÉÉ]õÉÊ±ÉEòÉÊ¦É¯û{ÉMÉÉªÉÎxiÉ' <iªÉÉÊnù i É
<ÊiÉ* ¹ÉbÂ ÷ V ÉOÉÉ¨É <ÊiÉ **27-30**
But, while it is true th at th ese seven m£rcch an¡s are arrived at in

this way, (it must be admitted that,) due to the falling of paµcama by a
¿ruti (in the madhyama gr¡ma, there must be) seven other
(m£rcch an¡s). So (the sage) speaks of (m£rcchan¡s) "belonging to the
two gr¡mas <dvaigr¡mikya>....". With paµ cama becoming diminished
in pitch, the arrangement of saÆv¡d¢-anuv¡d¢ (fixed in Àa·jagr¡ma) is
lost, and the svara stru cture is also lost; and as the arrangement is now
different, other varieties (scales) result. There (in madhyama gr¡ma),
commencing from madhyama and ending in ga, from ga ending in
¤Àabha, from ¤Àabha ending in sa, from sa ending in niÀ¡da, from niÀ¡da
ending in dha, from dha ending in pa, from p a ending in ma, seven
(m£rcch an¡s are formed) [The n ext few senten ces are not clear, but the
purport seems to be that, songs such as g¡th¡, based on m£rcchan¡s
such as Uttaramandr¡, are prescribed as part of vaidika ritual.........] By
'Àa·jagr¡ma '.... (27-30)
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+lÉ ¨ÉvªÉ¨ÉOÉÉ¨Éä -
ºÉÉè ´ ÉÒ®úÒ ½þ Ê ®úhÉÉ·ÉÉ SÉ ºªÉÉiEò±ÉÉä { ÉxÉiÉÉ iÉlÉÉ *
¶ÉÖ r ù ¨ ÉvªÉÉ iÉlÉÉ ¨ÉÉMÉÔ {ÉÉè ® ú ´ ÉÒ ¾þ ¹ ªÉEòÉ iÉlÉÉ *
¨ÉvªÉ¨ÉOÉÉ¨ÉVÉÉ Áä i ÉÉ Ê´ÉYÉä ª ÉÉ& ºÉ{iÉ¨ÉÚ S UÇ ô xÉÉ& **31**
+ÉºÉÉÆ ¨ÉvªÉ¨ÉMÉÉxvÉÉ®ú¹ÉÇ ¦ É¹ÉbÂ ÷ V ÉÊxÉ¹ÉÉnù v Éè ´ ÉiÉ{É\SÉ¨ÉÉ +ÉxÉÖ { ÉÚ ´ ªÉÉÇ +ÉtÉ& º´É®ú É &**
¨ÉvªÉ¨Éä x É ºÉÉè ´ ÉÒ®úÒ, MÉÉxvÉÉ®ä ú hÉ ½þ Ê ®úhÉÉ·ÉÉ, +É¹ÉÇ ¦ Éä h É Eò±ÉÉä { ÉxÉiÉÉ, ¹ÉbÂ ÷ V Éä x É ¶ÉÖ r ù ¨ ÉvªÉ¨ÉÉ,
ÊxÉ¹ÉÉnä ù x É ¨ÉÉMÉÔ, vÉè ´ ÉiÉä x É {ÉÉè ® ú´ÉÒ, {É\SÉ¨Éä x É ¾þ ¹ ªÉEä ò ÊiÉ* B´É¨Éä i ÉÉ& º´É®ú G ò¨ÉªÉÖ H òÉ& ºÉÆ { ÉÚ h ÉÉÇ &
¹ÉÉb÷ ´ ÉÉè b Ö ÷ ´ ÉÒEÞ ò iÉÉ& º´É®ú º ÉÉvÉÉ®ú h ÉEÞ ò iÉÉ¶SÉä Ê iÉ ¨ÉÚ S UÇ ô xÉÉ¶SÉiÉÖ n Ç ù ¶ É ¦É´ÉÎxiÉ*
Now in madhyamagr¡ma -
Sauv¢r¢, H ari¸¡¿v¡, and so also, Kal°panat¡, áuddh amadhy¡,
then M¡rg¢, Paurav¢ and H¤Àyak¡ - these are the seven m£rcchan¡s
arising from madhyama-gr¡ma. (31)
76
The commencing svaras of these (m£ rcchan¡s) are, resp ectively,

madhyama, g¡ndh¡ra, ¤Àabh a, Àa·ja, niÀ¡da, dhaivata and paµcama. In
this manner, th ere are fourteen m£rcchan¡s (in the two gr¡mas), which
(necessarily) possess the scalar order of svaras. They are (basically)
samp£r¸a (with all seven sv aras), rendered six-toned or five-ton ed, or
inclusive of s¡dh¡ra¸a (svaras). (prose after 31)
¨ÉvªÉ¨ÉOÉÉ¨Éä ºÉ{iÉ* iÉjÉ |ÉiªÉä E Æ ò ¨ÉÚ S UÇ ô xÉÉªÉÉ¶SÉi´ÉÉ®úÉä ¦Éä n ù É &* ¹ÉbÂ ÷ V ÉÉÊnù { ÉÚ h ÉÉÇ & ºÉ{iÉ
º´É®ú É &, ¹É]Â õ º´É®ú É & ¹ÉÉb÷ ´ ÉÉ&, ¹É]Â õ +(¦É)´ÉÎxiÉ ªÉä |ÉªÉÉä M ÉÆ iÉä º´É®ú É & ¹ÉÉb÷ ´ ÉÉ&* iÉä ¹ ÉÖ ¦É´É&
|ÉªÉÉä M É& ¹ÉÉb÷ ´ É&* iÉi|ÉªÉÉä M ÉÉiÉÂ {É\SÉº´É®ú É +Éè b Ö ÷ Ê ´ÉEòÉ&, =b÷ ´ ÉÉä xÉIÉjÉÉÊhÉ, ´ÉÉÎxiÉ
MÉSUôxiªÉÎº¨ÉÊzÉÊiÉ =bÖ ÷ ´ É¨ÉÉEòÉ¶ÉÆ , iÉä x É {É\SÉºÉÆ J ªÉÉ, iÉè & ºÉ{iÉ ±ÉIªÉxiÉä * {É\SÉ¨ÉÆ ¨É½þ É ¦ÉÚ i ÉÆ
Ê½þ iÉjÉ ºÉÉ ºÉÆ J ªÉÉ ºÉ\VÉÉiÉÉ* ªÉä ¹ ÉÉÆ EÞ ò iÉä +Éè b Ö ÷ Ê ´ÉiÉÉ& º´É®úÉ&, iÉä ¹ ÉÖ ¦É´Éi|ÉªÉÉä M É&
+Éè b Ö ÷ Ê ´ÉiÉ&* iÉtÉä M ÉÉx¨ÉÚ S UÇ ô xÉÉ iÉlÉÉ* ªÉÊnù ´ÉÉ iÉzÉ´ÉEòºªÉä ª ÉÆ ºÉÆ J ªÉÉ +Éè b Ö ÷ ´ ÉÒ ºÉÉ ªÉä ¹ ÉÉÆ
ºÉÆ V ÉÉiÉÉ ¨ÉvªÉºlÉÒªÉ& {É\SÉ¨É +ÉEòÉ¶É =bÖ ÷ ´ É <iªÉÊ{É |ÉªÉÖ V ªÉiÉä , iÉlÉÉ SÉ |ÉªÉÉä I ªÉiÉä *
Eònù É ÊSÉSSÉÉè b Ö ÷ ´ Éä BiÉÉ <ÊiÉ º´É®ú ± ÉÉä { Éä SÉè E ònä ù ¶ ÉÊ´É´ÉÞ i Éi´Éä % {ªÉxÉxªÉiÉªÉÉ ¦ÉÉºÉxÉÉ ºÉè ´ ÉÉºÉÉè
¨ÉÚ S UÇ ô xÉÉ*
In madhyamagr¡ma there are seven (m£rcchan¡s). Now each

m£rcch an¡ has four varieties. [The next few senten ces are not very
clear, but the purport seems to be - (m£rcchan¡s) possessing th e seven
svaras, Àa·ja etc., are p£r¸a, and those having six svaras are À¡·ava.
The employment of (m£rcchan¡s) with six svaras in rendering music is
described as À¡·avam. Similarly, th e performance with five svaras (in
the m£rcchan¡) is au·uvam. (The word) 'u·avaÅ' refers to stars, and as
they traverse it, th e sky is call ed 'u·uva m'. And this word indicates the
number 'five', as (the sky) is th e fifth primordial element. The (redu ction
of the m£rcchan¡ to) five svaras renders it au·uvita, and the
employment of (this pentatonic scale) is again au·u vita. Because of the
inclusion of this operation, the m£rcchan¡ is likewise (au·u vita). [The
next sentence is unintelligible.] Sometimes, leav ing out specified svaras,
and made five-ton ed, a part only of the m£rcchan¡ is rendered,
making it appear differen;, but it remains the same m£rcchan¡. (v. 31
and prose)
----------------------------------------------
------------------------------
+Ê{É SÉ -
77
Gò¨ÉªÉÖ H òÉ& º´É®ú É & ºÉ{iÉ ¨ÉÚ S UÇ ô xÉä i ªÉÊ¦ÉºÉÆ Ê YÉiÉÉ& *

¹É]Â õ {É\SÉº´É®ú E òÉºiÉÉxÉÉ& ¹ÉÉb÷ ´ ÉÉè b Ö ÷ Ê ´ÉiÉÉ¸ÉªÉÉ& **32**
ºÉÉvÉÉ®úhÉEÞ ò iÉÉ¶SÉè ´ É EòÉEò±ÉÒºÉ¨É±ÉRÂ ó EÞ ò iÉÉ& *
+xiÉ®úº´É®úºÉÆ ª ÉÖ H òÉ ¨ÉÚ S UÇ ô xÉÉ OÉÉ¨ÉªÉÉä u Ç ù ª ÉÉä & **33**
Further -
Seven svaras arranged in scalar order are called m£rcchan¡. (Sets /
M£rcch an¡s of) six and five svaras, resulting from reduction to the
hexatonic and pentatoni c form, are t¡nas. (32)
M£rcchan¡s, themselves, of th e two gr¡mas, become 's¡dh¡ra¸a',

when they also include the k¡kal¢ (augmentation of niÀ¡da) and / or the
antara (g¡ndh¡ra) svara. (33)
+±{ÉÊxÉ¹ÉÉnùMÉÉxvÉÉ®ú|ÉªÉÉäMÉä iÉÖ EòÉEò±ªÉxiÉ®úº´É®úªÉÉäMÉÉiºÉÉvÉÉ®úhÉEÞòiÉ BiÉ ´Éè EòÉÊ®úEòÉuùªÉäxÉ ºÉÆOÉ½þÒiÉÖ¨ÉÉ½þ -

Gò¨ÉªÉÖHòÉ& º´É®úÉ& ºÉ{iÉ ¨ÉÚUÇôxÉäÊiÉ ºÉ¨ÉÉÊ½þiÉÉ& *
¹É]Âõ{É\SÉº´É®úEòÉºiÉÉxÉÉ& ¹ÉÉb÷´ÉÉèbÖ÷Ê´ÉEòÉ¸ÉªÉÉ& ** <iªÉÉÊnù **
ºÉ{iÉäÊiÉ {ÉÚhÉÉÇ <iªÉlÉÇ&* Gò¨ÉªÉÖHòÉ <ÊiÉ Gò¨ÉähÉÉ®úÉä½þhÉÆ iÉlÉè´É º´É®úÉhÉÉ¨É´É®úÉä½þhÉäxÉ SÉ {ÉÖxÉ®ú{ªÉÉ½þ®úhÉÊ¨ÉÊiÉ Gò¨É&* iÉäxÉ
ªÉÖHòÉ& ºÉ¨ªÉMÉÉÊ½þiÉÉ&* iÉxªÉiÉä Ê´ÉÊSÉjÉÒÊGòªÉiÉä |ÉªÉÉäMÉÊ´ÉºiÉ®úÉä ªÉèºiÉä iÉÉxÉÉ <ÊiÉ* ¨ÉÚUÇôÊiÉiÉÉ ? {ÉÊ®úÊ´ÉÊ¶É¹]Æõ xÉÉ¨Éè´ÉÆ
¦ÉänùjÉªÉÆ ºÉÆMÉÞÁ iÉÖ®úÒªÉ¦Éänù¨ÉÉ½þ ºÉÉvÉÉ®úhÉEÞòiÉÉ¶SÉäÊiÉ* B´ÉEòÉ®äúhÉ Ê´ÉEÞòiÉi´Éä%{ªÉxÉxiÉ(ªÉ?)iÉÉ¨ÉÉ½þ* SÉEòÉ®ú =kÉ®újÉ
ºÉÆ¤ÉvªÉiÉä* iÉ±±ÉIÉªÉÊiÉ EòÉEò±ÉÒºÉ¨É±ÉÆEÞòiÉÉ*(?) +xiÉ®úº´É®úºÉÆªÉÖHòÉ <ÊiÉ(*) SÉEòÉ®ú BiÉnùxÉxiÉ®Æú pù¹]õ´ªÉ&*
={ÉºÉÆ½þ®úÊiÉ ¨ÉÚSUÇôxÉÉ OÉÉ¨ÉªÉÉäÊ®úÊiÉ**32-33**
When niÀ¡da and g¡ndh¡ra are sparsely used, the inclusion of the k¡kal¢
and antara svaras makes the (m£rcchan¡) 's¡dh¡ra¸a'. (The sage) sums this up in the
two k¡rik¡s (verses of exposition) -
"The seven svaras arranged in scalar order form the set called
m£rcchan¡. (The sets of) six and five svaras, which result from (the m£rcchan¡
becoming) À¡·ava and au·uva, are t¡nas." etc.
By 'seven <sapta>' is meant 'complete'. By

'arranged in order <kramayukt¡>' the succession of
svaras in the ascending order and, similarly, in
descent, is meant. This is krama, and (the svaras are) qualified
by it, i.e., they are properly arranged / sounded. (T¡na -) The elaboration (of
the melody) in performance is extended <tanyat®>, i.e., made variegated by them,
78
hence they are t¡nas. ...... Having listed and distinguished these three varieties (in the
rendering of m£rcchan¡s), (the sage) speaks of the fourth variety -
's¡dh¡ra¸ak¤t¡'. By 'themselves <®va>' (the sage) emphasises that
even after the change, (m£rcchan¡s) are not other (melodic entities, needing other
definitions). The 'also <cak¡ra>' is connected to the latter (half of the verse). (He)
defines that (change) - 'adorned by k¡kal¢', 'including the antara svara'. The 'also
<ca>' should come after this. And he ends with '...the m£rcchan¡s of the two
gr¡mas'. (32-33)
---------------------------------------------------
---------------------------------------------
ÊuùÊ´ÉvÉÆ ¨ÉÚSUÇôxÉÉÊºÉÊrù&(*) "iÉjÉ ¹ÉbÂ÷VÉOÉÉ¨Éä Êuù¸ÉÖiªÉÖiEò¹ÉÉÇrèù´ÉiÉÒEÞòiÉä MÉÉxvÉÉ®äú ¨ÉÚSUÇôxÉÉOÉÉ¨ÉªÉÉä®úxªÉi´É¨ÉÂ*

iÉuù¶ÉÉx¨ÉvªÉ¨ÉÉnùªÉÉä ªÉlÉÉºÉÆJªÉäxÉ ÊxÉ¹ÉÉÊnùi´ÉÆ |ÉÊiÉ{ÉtxiÉä* iÉuùx¨ÉvªÉ¨ÉOÉÉ¨Éä vÉè´ÉiÉ¨ÉÉnÇù´ÉÉnÂù uèùÊ´ÉvªÉÆ
iÉÖ±ªÉ¸ÉÖiªÉxiÉ®úi´ÉÉSSÉ ºÉÆYÉÉxªÉi´É¨ÉÂ* ¨ÉvªÉ¨ÉOÉÉ¨Éä Ê½þ SÉiÉÖ&¸ÉÖÊiÉEò¨ÉxiÉ®Æú {É\SÉ¨ÉvÉè´ÉiÉªÉÉä&
iÉnÂùMÉÉxvÉÉ®úÉäiEò¹ÉÉÇSSÉiÉÖ&¸ÉÖÊiÉEò¨Éä´É ¦É´ÉÊiÉ* ¶Éä¹ÉÉ¶SÉÉÊ{É ¨ÉvªÉ¨É{É\SÉ¨ÉvÉè´ÉiÉÊxÉ¹ÉÉnù¹ÉbÂ÷VÉ¹ÉÇ¦ÉÉ ÊxÉ¹ÉÉnù¹ÉbÂ÷VÉ¹ÉÇ¦É-
MÉÉxvÉÉ®ú¨ÉvªÉ¨É{É\SÉ¨Éi´ÉÆ |ÉÉ{xÉÖ´ÉÎxiÉ iÉÖ±ªÉ¸ÉÖiªÉxiÉ®úi´ÉÉnùxiÉ®ÊxÉnù¶ÉÇxÉ¨ÉÊ{É ¸ÉÖÊiÉÊxÉnù¶ÉÇxÉä |ÉÉäHò¨ÉÂ*
The (change in) tuning <m£rchan¡> can be effected in two steps
<dvividham>. In Àa·jagr¡ma, by augmenting g¡ndh¡ra by two ¿rutis,
and taking it for dhaivata, the m£rcchan¡ and gr¡ma become different.
As a result, madhyama and other (svaras) beco me niÀ¡da etc., in that
order. In the same way, in madh yama gr¡ma, by reducing dhaivata in
two steps [and considering it as g¡ndh¡ra], the resulting change in ¿ruti
(measure of the svaras) being equal (to that of Àa·jagr¡ma), the name
(of th e gr¡ma and m£rcchan¡) changes. In madhyama gr¡ma, between
paµcama and dhaivata th ere is an interval of four ¿rutis. H ence, by
augmenting g¡ndh¡ra by two ¿rutis (in Àa·jagr¡ma), it becomes four -
¿ruti. [It can now be considered as dhaivata.] Th e remaining svaras,
namely, madhyama, paµcama, dhaivata, niÀ¡da, Àa·ja and ¤Àabha,
become niÀ¡da, Àa·j a, ¤Àabha, g¡ndh¡ra, madhyama and paµcama,
respectively, (of madhyamagr¡ma), because th e ¿ruti intervals are no w
the same. As for the demonstration of intervals, th at has (already) b een
done in the demonstration of ¿ruti. (prose after v.33)
[In the demonstration of th e measure of ¿ruti and the total number

of ¿rutis in each gr¡ma, th e diminution of the paµcama in Àa·jagr¡ma,
by a ¿ruti, has already been shown to result in madhyamagr¡ma. H er e
79
the transformation of one gr¡ ma into the other is being demonstrated

by changing the ¿ruti measure of a svara as well as renaming it. While
the change in gr¡ma shown earlier did not involve the renaming of
svaras, it could not yi eld the entire o ctave of madh yamagr¡ma at on e
stretch. The process demonstrated n ow replaces one o ctave of
Àa·jagr¡ma entirely with one octave of madhyamagr¡ma and vice versa.
This is a quicker method of retuning th e v¢¸¡ to the other gr¡ma. ]
+jÉ ´Éè Ê hÉEòºªÉÉä { Énä ù ¶ ÉÉlÉÇ ¨ ÉÉ½þ Êuù Ê ´ÉvÉèE ò¨ÉÚ S UÇ ô xÉÉªÉÉ& ¹ÉbÂ ÷ VÉOÉÉÊ¨ÉCªÉÉ Êuù Ê ´ÉvÉÉªÉÉ
¨ÉvªÉ¨ÉOÉÉÊ¨ÉCªÉÉä ( ªÉÉ?) Êuù i ÉÒªÉä x É |ÉEòÉ®ä ú h É ªÉÖ H òÉªÉÉ ªÉlÉÉ ÊºÉÊrù ¦ ÉÇ ´ ÉÊiÉ iÉlÉÉä S ªÉiÉä *
Ê´ÉÊ´ÉvÉä x ÉÉä i Eò¹Éæ h ÉÉ{ÉEò¹Éæ h É ¦ÉÉVÉÉ BEòº´É®ä ú h É ¨ÉÚ S UÇ ô xÉÉxÉÉÆ Ê´ÉÊSÉjÉÉhÉÉÆ ÊºÉÊrù & * iÉjÉ
¹ÉbÂ ÷ V ÉOÉÉ¨Éä ¨ÉÚ S UÇ ô xÉÉ ªÉÉ´ÉÊiÉlÉÒ VÉÉiÉÉ iÉÉ´ÉÊiÉlªÉè ´ É ¨ÉvªÉ¨ÉOÉÉ¨É¨ÉÚ S UÇ ô xÉÉ ªÉlÉÉ ºÉÆ { ÉtiÉä iÉlÉÉ
nù ¶ ÉÇ ª ÉÊiÉ iÉiÉÂ ¹ÉbÂ ÷ V ÉOÉÉ¨Éä % Ê{É ¸ÉÖ i ªÉÖ i Eò¹ÉÉÇ r è ù ´ ÉiÉÒMÉÉxvÉÉ®ú <ÊiÉ MÉÉxvÉÉ®úiÉxjªÉÉÆ
Êuù ¶ ¸ÉÖ i ªÉÖ i Eò¹ÉÇ { ÉªÉÇ x iÉ¶SÉä i {ÉÒb÷ x É¨ÉÂ * +iÉºiÉnä ù i Énä ù ´ É ºÉ´ÉÈ ºÉÆ { ÉzÉ¨ÉÂ * ºÉ Ê½þ iÉnù É
SÉiÉÖ ¶ ¸ÉÖ Ê iÉEòÉä ¨ÉvªÉ¨ÉOÉÉÊ¨ÉEòÉä vÉè ´ ÉiÉÉä ¦É´ÉÊiÉ* {É¨É(¨É{É?)vÉÊxÉºÉ ºÉ®úÉÊhÉ? ºÉ¨ÉMÉº´É®ú É &
ºÉÆ { ÉtxiÉä * ¨ÉvªÉ¨ÉÉä Êuù ¶ ¸ÉÖ Ê iÉEòÉä VÉÉiÉ¶SÉä Ê zÉ¹ÉÉnù É ä % ºÉÉè {É \SÉ¨É B´É
@ñ¹É¦ÉÎºjÉ¸ÉÖ Ê iÉEòi´ÉÉiÉÂ * MÉÉxvÉÉ®ä ú ºÉÆ { ÉzÉ& ºÉ @ñ¹É¦É&* ºÉº´É®úÉ? ¨É{ÉºÉÊxÉºÉÊ®úºÉ°ü{Éi´ÉÆ
ªÉÉÊiÉ?* +jÉ ½ä þ i ÉÖ ¨ ÉÉ½þ iÉÖ ± ªÉ¸ÉÖ i ªÉxiÉ®ú i ´ÉÉÊnù Ê iÉ* ºÉÆ Y ÉÉxªÉi´ÉÊ¨ÉiªÉxÉä x É |ÉªÉixÉÉxiÉ®ú ¨ ÉjÉ xÉ
ÊEòÎ\SÉÊnù Ê iÉ nù ¶ ÉÇ ª ÉÊiÉ* ºÉÆ Y ÉÉxiÉ®ú(®ä ú ?) º´É®ä ú OÉÉ¨Éä ¨ÉÚ S UÇ ô xÉÉªÉÉ¶SÉ iÉÖ ± ªÉ¸ÉÖ i ªÉxiÉ®úi´ÉÆ
º{É¹]õªÉÊiÉ(*) +xiÉ®ú Ê xÉnù ¶ ÉÇ x É¨É{ÉÒÊiÉ* +Ê{É ¶É¤nù É uù H ò´ªÉ¨ÉÊ{É ºÉÊnù i ªÉlÉÇ & *
¸ÉÖ Ê iÉÊxÉnù¶ÉÇ x ÉÊ¨ÉÊiÉ* uä ù ´ÉÒhÉä <iªÉjÉè ´ É ¨ÉÚ S UÇ ô xÉÉxÉÉÆ {ÉÚ h ÉÉÇ ´ ÉºlÉÉä H òÉ**
With the aim of helping (lit. teaching) the v¢¸¡ player, a second method of
effecting the (change in) tuning, from the same octave <m£rcchan¡> of Àa·ja gr¡ma
to that of madhyama gr¡ma, and vice versa, in two steps, is being explained.
M£rcchan¡s (scale changes) that normally depend on several augmentations and
diminutions can(, in this method,) be accomplished by (changing) a single svara. He
shows how, taking the extent of a m£rcchan¡ of the Àa·ja gr¡ma, a m£rcchan¡ of
the madhyama gr¡ma with the same extent can be effected. In the Àa·ja gr¡ma itself,
'the g¡ndh¡ra becoming dhaivata after increasing it by two ¿rutis' implies tightening
of the g¡ndh¡ra string up to two ¿rutis. The entire (change into madhyama gr¡ma) is
accomplished thereby. For (g¡ndh¡ra) becomes four-¿ruti now, which is the value of
the dhaivata in madhyama gr¡ma. [The next few sentences are full of scribal error.
But the purport seems to be - as g¡ndh¡ra goes up two ¿rutis and becomes the
dhaivata of madhyama gr¡ma, madhyama that has become two-¿ruti, becomes
niÀ¡da of madhyama gr¡ma. The ¤Àabha can now be the paµcama (of madhyama
80
gr¡ma) as they are both three-¿ruti. And the svara sequence sa ri ga ma pa dha ni
becomes ma pa dha ni sa ri ga. The reason lies in the similarity / identity of ¿ruti
intervals (with those of the madhyama gr¡ma, that has been effected now). And by
calling it a change in name, he shows that absolutely no other effort is needed. And
with this change in name of the svara and gr¡ma, he makes it clear that the identity in
the ¿ruti intervals of (each) m£rcchan¡ follows. [Next sentence -] "And the
demonstration of intervals <antaranidar¿anam> ... ". The 'api' here means 'if this
needs to be stated at all'. The "demonstration of ¿ruti" refers to the description,
with the help of the two v¢¸¡s, of the complete (¿ruti) content (lit. state) of all the
m£rcchan¡s, that has already been done. [The purport is - As for the basic notion of
antara, the reader does not need to be reminded that it has already been elucidated in
the demonstration of ¿ruti.] (prose after v.33)
----------------------------------------------
-------------------
iÉjÉ ¨ÉÚ S UÇ ô xÉÉÊ¸ÉiÉÉºiÉÉxÉÉ¶SÉiÉÖ ® ú¶ÉÒÊiÉ&* iÉjÉè E òÉzÉ{É\SÉÉ¶ÉiÉÂ ¹É]Â õ º ´É®úÉ& {É\SÉËjÉ¶ÉiÉÂ

{É\SÉº´É®ú É &* ±ÉIÉhÉÆ iÉÖ ¹É]Â õ º´É®úÉhÉÉÆ ºÉ{iÉÊ´ÉvÉÆ ¹ÉbÂ ÷ V É¹ÉÇ ¦ ÉÊxÉ¹ÉÉnù { É\SÉ¨É½þ Ò xÉÉ¶SÉi´ÉÉ®ú &
¹ÉbÂ ÷ V ÉOÉÉ¨Éä * ¨ÉvªÉ¨ÉOÉÉ¨Éä iÉÖ ¹ÉbÂ ÷ VÉ¹ÉÇ ¦ ÉMÉÉxvÉÉ®ú½þ Ò xÉÉºjÉªÉ&* B´É¨Éä i Éä ¹É]Â õ º´É®ú É & ºÉ´ÉÉÇ º ÉÖ
¨ÉÚ S UÇ ô xÉÉºÉÖ ÊGòªÉ¨ÉÉhÉÉ ¦É´ÉxiªÉä E òÉzÉ{É\SÉÉ¶ÉkÉÉxÉÉ&* {É\SÉº´É®úÉhÉÉÆ iÉÖ {É\SÉÊ´ÉvÉ¨Éä ´ É*
±ÉIÉhÉ¨ÉÂ - ¹ÉbÂ ÷ V ÉOÉÉ¨Éä ¹ÉbÂ ÷ V É{É\SÉ¨É½þ Ò xÉ&, +É¹ÉÇ ¦ É{É\SÉ¨É½þ Ò xÉ&, ÊxÉ¹ÉÉn´Éù n Â ù M ÉÉxvÉÉ®ú½þ Ò xÉ
<ÊiÉ jÉªÉ&* ¨ÉvªÉ¨ÉOÉÉ¨Éä iÉÖ MÉÉxvÉÉ®úÊxÉ¹ÉÉnù ´ Érù Ò xÉ&, @ñ¹É¦ÉvÉè ´ ÉiÉ½þ Ò xÉ <ÊiÉ uù É è * B´É¨Éä i Éä
{É\SÉº´É®ú É & ºÉ´ÉÉÇ º ÉÖ ¨ÉÚ S UÇ ô xÉÉºÉÖ ÊGòªÉ¨ÉÉhÉÉºiÉÉxÉÉ& {É\SÉËjÉ¶ÉnÂ ù ¦ É´ÉÎxiÉ*
The t¡nas based on the m£rcchan¡s are eightyfour in number.
Fortynine are six-svara, and thirtyfive are five-svara. In Àa·jagr¡ma,
four six-svara (t¡n as), dropping Àa·j a, ¤Àabha, niÀ¡da or paµcama, of
seven types each, are permitted. In madhyamagr¡ma, the three (svaras)
Àa·ja, ¤Àabh a and g¡ndh¡ra can be dropped. In this manner, the six -
svara t¡nas, rendered in all the m£rcchan¡s, will number fortynine
[twentyeight+twentyone]. Only five ways are possible for f ive-svar a
(reduction). According to rule - in Àa·jagr¡ma, three (possibilities are
there) - leaving out Àa·ja and paµcama, ¤Àabha and paµcama, or
niÀ¡da and g¡ndh¡ra. In madhyamagr¡ma, two (are allowed) - leaving
out g¡ndh¡ra and niÀ¡da, or ¤Àabha and dh aivata. And wh en these
five-svara t¡nas are rendered in all the m£rcchan¡s, they will
81
number thirtyfive [twentyone+fourteen]. (prose

after v.33)
iÉÉxÉÉ´ÉºlÉÉ¨ÉÉ½þ iÉjÉ ¨ÉÚ Ð SUôiÉÉÊ¸ÉiÉÉ <ÊiÉ* ¨ÉÚ S UÇ ô xÉÉ¨ÉÉÊ¸ÉiÉÉ ªÉiÉºiÉÉºÉÉ¨Éä ´ É

iÉä % ´ÉºlÉÉÊ´É¶Éä ¹ ÉÉ&* iÉjÉ ºÉÊ®úÊxÉ{É <iªÉä ¹ ÉÉ¨ÉxªÉiÉ¨Éä x É ½þ Ò xÉÉ& ¹É]Â õ ( º´É®ú)¨ÉÚ S UÇ ô xÉÉ& ºÉ{iÉ
SÉiÉÖ Ì ¦ÉMÉÖ Ç h Éi´Éä +¹]õÉË´É¶ÉÊiÉºiÉÉxÉÉ&* ºÉÊ®ú M É <iªÉä i Éä ¹ ÉÉ¨ÉxªÉiÉ¨Éä x É ½þ Ò xÉÉ ¨ÉvªÉ¨ÉÚ S UÇ ô xÉÉ
BEòË´É¶ÉÊiÉºiÉÉxÉÉ <iªÉä E òÉzÉ{É\SÉÉ¶ÉiÉÂ ¹ÉÉb÷ ´ ÉÉ&* +Éè b Ö ÷ Ê ´ÉEòÉºiÉÖ ¹ÉbÂ ÷ V ÉOÉÉ¨Éä BEòË´É¶ÉÊiÉ&
+xªÉjÉ iÉÖ SÉiÉÖ n Ç ù ¶ Éä Ê iÉ {É\SÉËjÉ¶ÉiÉÂ * =¦ÉªÉiÉ¶SÉiÉÖ ® ú¶ÉÒÊiÉ&(*)
(He now) explains the status of t¡nas, namely, their dependence on

m£rcchan¡s. As they are dependent on m£rcchan¡s, they (t¡nas) are merely the
different states of the same. Through the omission of sa, ri, ni or pa, the six-svara
m£rcchan¡s (formed in Àa·ja gr¡ma), total twentyeight, as seven gets multiplied by
four. These are the (À¡·ava) t¡nas (in this gr¡ma). The m£rcchan¡s of madhya(ma
gr¡ma) which drop sa, ri or ga, result in twentyone t¡nas, and the total of À¡·ava
(m£rcchan¡s / t¡nas) is fortynine. The au·uvikas are twentyone in Àa·ja gr¡ma nd
fourteen in the other (gr¡ma), and the total is thirtyfive. Together (À¡·ava and au·uva
t¡nas) total eightyfour. (prose after v.33)
Êuù Ê ´ÉvÉÉ SÉ iÉÉxÉÊGòªÉÉ iÉxjªÉÉÆ |É´Éä ¶ ÉÉÊzÉOÉ½þ É SSÉ* iÉjÉ |É´Éä ¶ ÉxÉÆ
¨ÉvÉÖ ® (+vÉ®?)úº´É®úÊ´É|ÉEò¹ÉÉÇ n Ö ù k É®ú¨ÉÉnÇ ù ´ ÉÉuù É * ÊxÉOÉ½þ º i´ÉºÉÆ º {É¶ÉÇ & (*) ¨ÉvªÉ¨Éº´É®ä ú h Éè ´ É iÉÖ
(º´É®ä ú h É iÉÖ ´Éè h Éä x É) ¨ÉÚ S UÇ ô xÉÉÊxÉnæ ù ¶ É& EòÉªÉÉæ ¦É´ÉÊiÉ +xÉÉÊ¶Éi´ÉÉx¨ÉvªÉ¨ÉºªÉ ÊxÉOÉ½ä þ {ÉªÉÇ O É½ä þ
´ÉÉ* <nÆ ù SÉ |ÉªÉÉä H Þ ò ¸ÉÉä i ÉÞ º ÉÖ J ÉÉlÉÈ SÉ ¨ÉÚ S UÇ ô xÉÉxÉÉxÉÉi´É¨ÉÂ * ¨ÉÚ S UÇ ô xÉÉiÉÉxÉ|ÉªÉÉä V ÉxÉ¨ÉÊ{É
ºlÉÉxÉ|ÉÉ{iªÉlÉÇ ¨ ÉÂ * ºlÉÉxÉÆ SÉ ÊjÉÊ´ÉvÉÆ {ÉÚ ´ ÉÉæ H ò±ÉIÉhÉÆ EòÉEÖ ò Ê´ÉvÉÉÊ´ÉÊiÉ*
T¡nas can be rendered on the string instrument in two ways -
prav®¿a and nigraha. Prav® ¿anam is carried out by drawing up (tuning
up) the sweet(lower? ) svara (to the next higher place?), or by
decreasing / loosening the high <uttara> svara (to a lower position?)
[The omission of svaras in t¡na seems to be accomplished by altering
the tuning of the instrument itself in the method called prav®¿a.]
Nigraha con sists of not touching th e [omissible] svara [on the keyboard,
while playing the t¡n a]. As madhyama is not to be omitted (lit. is
indestructible), m£rcchan¡s must be devised / performed, keeping the
madhyama svara (on th e v¢¸¡) intact, in the process of nigraha or
paryagraha [prav®¿a?]. The variety in m£rcchan¡ has the obj ect of
delighting the performer and the listener. M£rcchan¡ and t¡na also
82
serve th e purpose of fixing the sth¡na (register). Sth¡na has three

levels, and this has already been described in the section on the
rules go verning k¡ku. (prose after v.33)
´ÉÒhÉÉªÉÉÆ ªÉnù É iÉÉxÉÊGòªÉÉ iÉnù É ±ÉÉä { ªÉº´É®ú i ÉxjÉÒi´ÉÆ ÊGòªÉiÉä ªÉÊnù iÉÉ´ÉiEòÉè ¶ É±ÉÆ xÉ
º{ÉÞ ¶ ªÉiÉä ªÉÊnù ´ÉÉ Ê¶ÉÊlÉ±ÉÒEò®úhÉä ºÉ¨É(+vÉ®ú?)º´É®úºÉÉ¨ªÉÆ {ÉÒb÷ x Éä x É SÉÉä k É®úº´É®úºÉÉ¨ªÉÆ
xÉÒªÉiÉä * iÉnù É ½þ Êuù ( Ê´É)Ê´ÉvÉä Ê iÉ iÉÉxÉÉlÉÇ Ê GòªÉÉ ={ÉÉªÉ <iªÉlÉÇ & * +{É®ú º ªÉ @ñ¹É¦ÉÉ{Éä I ÉªÉÉ
¹ÉbÂ ÷ V ÉºªÉ Ê´É|ÉEò¹ÉÇ & * {ÉÒb÷ x É¨ÉÞ ¹ É¦ÉiÉÉ{ÉÉnù x É¨ÉÂ * iÉºªÉè ´ É ÊxÉ¹ÉÉnù É {Éä I ÉªÉÉä k É®ú¨Éxpù É ªÉÉ
ÊxÉ¹ÉÉnù i ÉÉ{ÉÉnù x ÉÆ iÉnù j É ªÉÉä ¤É±É´ÉÉxÉÂ |ÉªÉÉä M ÉÉä ¦É´ÉÊiÉ iÉjÉ +´É±ÉÉä { ªÉÉä ( %)xiÉ¦ÉÉÇ ´ É& ºÉ Ê½þ
PÉÞ ¹ ]õiÉÉ¨Éä ´ ÉÆ µÉVÉä i ÉÂ *
When t¡nas are rendered on th e v¢¸¡, the strings are adjusted so

as to omit the svara/svaras (which are to be dropped). If th e player h as
the required skill, the svara can be omitted by not touching it. In
loosening the string, (the svara to be
omitted) is brought down to the level of the
lower svara. By tightening, it is raised to
the level of the higher svara. (The sage)
explains this thus "In two ways < dvividh¡ >". By
'the action < kriy¡> serving t¡n a' is meant the method / means
(by which it can be accomplished). (It consists of) drawing up the Àa·j a
to the position of ¤Àabha. By tightening, (Àa·ja) gains the position of
¤Àabha. The same (Àa·ja) of Uttaramandr¡ (m£rcchan¡) is brought to
the position of niÀ¡da (b y loosening). Strong playing
can suppress / conceal (the omissible
svara?)..... (prose after v.33)
xÉxÉÖ ÊjÉ¹ÉÖ ºlÉÉxÉä ¹ ÉÖ ºÉ{iÉº´É®úÉ <iªÉÖ H Æ ò EòÉEÖ ò Ê´ÉvÉÉxÉä * (iÉjÉú EòiÉ¨ÉÆ

º´É®úºÉ{iÉEò¨É´É±É¨¤ªÉ) ¨ÉÚ S UÇ ô xÉÉ EòÉªÉæ Ê iÉ ªÉä ºÉÆ ¶ Éä ® ú i Éä iÉÉx|ÉiªÉÉ½þ ¨ÉvªÉ¨Éº´É®ä ú h É Îi´ÉÊiÉ
VÉÉiÉÉ´Éä E ò´ÉSÉxÉ¨ÉÂ , ¨ÉvªÉè ® ä ú ´ É º´É®è ú Ê®úiªÉlÉÇ & * ´Éè h ÉOÉ½þ h ÉÆ ¶É®úÒ®ä ú +|ÉMÉÒiÉºªÉÉÊ{É
ºlÉÉxÉ±ÉÉ¦ÉÉlÉÇ ¨ ÉÂ * +xªÉä iÉÖ ´ÉÒhÉÉªÉÉÆ . .... ...... ...... ...... ...... ...... {ªÉºÉÆ ¦ É´ÉÉiÉÂ
¤ÉxvÉºªÉè ´ É SÉ º´É®ä ú ºÉÆ ¦ ÉÉ´ªÉ¨ÉÉxÉä nù É ä ¹ Éä ¨ÉÚ S UÇ ô ÊiÉ xÉÉä { ÉªÉÉä M ÉÒÊiÉ ¨ÉxªÉ¨ÉÉxÉÉ ´Éè h É´Éä x Éä Ê iÉ
{É`öÎxiÉ* EòÉªÉÇ <ÊiÉ Eò®ú h ÉÉÆ ¶ ÉÉä ¦É´ÉiÉÒiªÉlÉÇ & * +xÉÉÊ¶ÉiÉÉ(i´ÉÉ)x¨ÉvªÉ¨ÉMÉiÉä Ê ®ú Ê iÉ
º´É®úºÉ{iÉEòºªÉä Ê iÉ Ê´É¶Éä ¹ É&* ÊxÉOÉ½þ É ä ¨Éxpù Ê GòªÉÉ iÉÉ®ú Ê GòªÉÉ {É(ªÉÇ O É½þ ) <ÊiÉ Eä ò ÊSÉkÉä x É
¨Éxpù i ÉÉ®ú Ê GòªÉä ´ÉIªÉä i Éä * ¨ÉvªÉ¨ÉÉ{Éä I ÉªÉÉ ¶ÉCªÉÊGòªÉÉ xÉÉxªÉlÉä i ªÉÖ H Æ ò ¦É´ÉÊiÉ* ÊxÉ¶¶Éä ¹ Éä h É OÉ½þ &
83
ºÉ´ÉÇ º lÉÉxÉ|ÉÉÎ{iÉ&* {ÉÊ®ú i É& ºÉ¨ÉxiÉÉnù O É½þ & ºÉ´ÉÇ º lÉÉxÉÉxÉÉ¨É|ÉÉÎ{iÉ& iÉä x É
{ÉÚ h ÉÇ ¶ ÉÉ®ú Ò ®úEòºªÉä i É®ú º ªÉ ´ÉÉ ¨ÉvªÉ¨ÉºÉ{iÉ±ÉÉ¦ÉºiÉnù º iÉÒiªÉä ´ É ¨ÉxªÉä * SÉiÉÖ l ÉÇ º ´É®ú B´É Eòh`ö¬Éä
¨ÉvªÉ¨ÉÉ(¨ÉÉä % ?)jÉä i ªÉ{É®ä ú * +{ÉÚ h ÉÇ º ´É®úÉªÉÉÆ ´ÉÒhÉÉªÉÉ¨É´É¶ªÉÆ ¦ ÉÉ´ÉÒ ¨ÉvªÉ¨ÉºÉ{iÉEò&*
But in th e section on K¡ku 'the seven svaras in th e three sth¡nas'

have been spoken of. (Which o ctave should be the base from which)
m£rcch an¡ should be rendered? Those who ma y raise this
doubt, are answered thus - "of course, with
the madhyama svara < madhyamasvar®¸a tu>". Here the
number is singular, but the reference is to the svaras of th e middle
(register). The reference to '(the svaras) of the v¢¸¡ < vai¸a>' is for
fixing the sth¡na even for (th e ranges whi ch were) not sung by th e
voice. [The next sentence is incomplete, but the purport seems to be -
others consider the proper execution of m£rcchan¡s to be impossible
on the v¢¸¡, too, .............. and hence ta ke the reading
' vai¸av®na ' (belonging to the flute).] The
phrase 'should be done < k¡ryaÅ>' means this is done
through (lit. is part of) the 'the techniques of playing <kara¸a>'. The
words 'as the presence in the middle (register) cannot be done away
with <an¡¿itv¡t> ' should be supplemented with ' of
the svara heptad'. Some interpret 'ni graha' as
'operating in the lower region <mandrakriy¡> and 'pa(ryagraha)' as
'operating in the higher region <t¡rakriy¡>'. So the reference is to
operating in the lower and higher region. Th e operation must involve
madhyama (region) and should not be otherwise, it has been said. By
'inclusion <graha> without l eaving out anything <ni¿¿®À®¸a>' all th e
sth¡nas must be covered [in nigraha?]. By 'paritaÅ' 'agrahaÅ' all the
sth¡nas are not included [in paryagraha?]. So I am of the view that, on
the bodily and other (v¢¸¡), the middle octave is [necessarily] covered
(in m£rcchan¡ and t¡na rendering). Others consider the fourth svara
(madhyama) to belong to the throat, and take the referen ce here to be
to the single svara, madhyama. (But even) on the v¢¸¡ which does n ot
have all the svaras (in all the registers) the
middle octave has to be present. [So madhyama
refers to the register.] (prose after v.33)
84
[Probably Bharata u sed paryagrah a as a synonym of prav®¿a,

and laid down the rul e that, in either process, the sva ra,
madhyama, should not be done away with. But
one school of interpretation seems to have
taken the pair 'nigraha and paryagraha' to
refer to the lower and upper range of melodic
movement, taking 'madhyama' to stand for that
in the middle register. Th is interpretation could have
been prompted by the reference to 'sth¡napr¡pti' as the purpose of
m£rcch an¡ and t¡na rendering, which follows immediately. Abhinava
seems to take nigraha to cover all the registers and paryagraha to avoid
the lower and upper registers. This nigraha is not the nigraha which
serves the omission of a svara in the execution of t¡nas. While nigraha
and prav®¿a are th e methods by which the skipping of a svara is
accomplished, nigraha and p aryagraha refer to the unrestricted and
rest ricted range of melodic movement, we
gather.]
ËEò SÉ ªÉnù É ¹ÉbÂ ÷ V É±ÉÉä { Éä x É iÉÉxÉÊGòªÉÉ ¹ÉbÂ ÷ V ÉOÉÉ¨Éä EÞ ò iÉÉ iÉlÉÉ EòlÉÆ ¨ÉÚ S UÇ ô xÉÉ -
ºÉÆ J ªÉÉYÉÉxÉÊ¨ÉiªÉÉ¶ÉRÂ ó CªÉÉ½þ ¨ÉvªÉ¨Éº´É®ä ú hÉä Ê iÉ* ÊxÉOÉ½þ É ä % º{É¶Éæ {ÉªÉÇ O É½ä þ ´ÉÉ? |É´Éä ¶ Éä ºÉiªÉÊ{É
¨ÉvªÉ¨Éº´É®ú É ä ªÉiÉ& +Ê´ÉxÉÉ¶ÉÒ +iÉºiÉnù { Éä I ÉªÉÉ YÉÉªÉiÉä * EÖ ò iÉ& ºlÉÉxÉÉiÉÂ ¹ÉbÂ ÷ V Éä ±ÉÖ { iÉ <ÊiÉ
¨ÉvªÉÊuù S ÉiÉÖ l Éæ x É ¹ÉbÂ ÷ V Éä x É ¦ÉÊ´ÉiÉ´ªÉÊ¨ÉÊiÉ xÉ iÉÉxÉ±ÉÉ¦É&* iÉnù É ½þ nù Ê kÉ±É& -
B´ÉÆ EÞ ò iÉä % Ê{É iÉÉxÉi´Éä MÉhÉÊªÉi´ÉÉ Ê´ÉxÉÉÊ¶ÉxÉ¨ÉÂ * *
Ê´Éuù É xÉä i ÉÉ´ÉÊiÉlªÉä ¹ ÉÉ ¨ÉÚ S UÇ ô xÉä i ªÉ´ÉvÉÉ®ú ª Éä i ÉÂ * * (1-37)
[*Th e GOS edn. of NS reads 'vin¡¿inam'. And so does Dattilam.

But Abhinava seems to take the reading 'avin¡¿inam', meaning the
inomissible svara, madhyama, as we gather from his explanation. ]
Further, anticipating th e doubt, "If t¡nas are rendered in

Àa·jagr¡ma, omitting Àa·j a, how can the ordinal number of the
m£rcch an¡ (to which the t¡n a belongs) be known?", (the sage) answers,
"With referen ce to the middle octave < madhyamasvar®¸a >".
(Whether the omission consists of) nigraha
throug h 'not touching' or through paryagraha ?, as, even after
prav®¿a (retuning), since the madhyama svara (middle octave) is not
done away with, (the ordinal number of the m£rcchan¡) can be found
85
with reference to that. [The next senten ce i s unintelligible. The

reference to the place from which Àa·ja has disappeared is not
followed up intelligibly... Under so me conditions, t¡na is not possible /
placeable.] As Dattila has said -
"Even when t¡na re ndering is done in this manner, the scholar

should note the (place of the) omitted svara and determine the ordinal
number of the m£rcchan¡." (1- 37)
xÉxÉÖ |ÉlÉ¨ÉÉªÉÉÆ ºÉ{iÉ¦ªÉÉÆ ( ¨ªÉÉÆ ) SÉ ¨ÉÚ S UÇ ô xÉÉªÉÉÆ ¹ÉbÂ ÷ V Éä ±ÉÖ { iÉä Ê®úMÉ¨É{ÉvÉÊxÉ°ü{ÉÆ
¦É´ÉiÉÒÊiÉ nÖ ù Y ÉÉÇ i ÉÉä Ê´É¶Éä ¹ É&* ºÉiªÉÆ , ±Éä J ªÉ¦Éä n ù É ä xÉÉÎºiÉ* B¹ÉÖ xÉ {ÉÖ x É®úºiªÉä ´ É iÉlÉÉ Ê½þ -
ªÉÊnù iÉÉ´ÉiºÉÊ®ú M É¨É{ÉvÉÊxÉ <ÊiÉ ¨ÉÚ S UÇ ô xÉÉxÉxiÉ®Æ ú ÊxÉºÉÊ®ú M É¨É{ÉvÉÉ(vÉ)xÉÒÊiÉ ¨ÉÚ S UÇ ô xÉÉ ÊxÉ¹ÉÉnä ù x É
{ÉÚ ´ ÉÇ E ä ò hÉè ´ É ÊGòªÉiÉä , xÉ iÉÖ ºÉ{iÉEòÉxÉxiÉ®Æ ú MÉiÉºªÉ º´É®úºªÉÉxÉÖ | É´Éä ¶ É&* iÉnù É i´Éä ¹ÉbÂ ÷ V É±ÉÉä { Éä
|ÉlÉ¨ÉÉºÉ{iÉ¦ªÉÉä ( ¨ªÉÉä ) xÉÇ ¦Éä n ù & * xÉ SÉ iÉnù É nù Ê kÉ±ÉÉSÉÉªÉÇE òÊlÉiÉÆ Gò¨É°ü{Éi´ÉÆ ÊxÉ´ÉÉÇ ½ þ E ò¨ÉÂ *
iÉÉxÉi´ÉÉ{ÉkÉä ¶ SÉ ¨ÉÚ S UÇ ô xÉÉºÉÖ ¦ÉÚ ª ÉºÉÒ ºªÉÉiÉÂ *
But, if Àa·ja were to be dropped from th e first and last

m£rcch an¡s, in the resulting sequence, rigamapadhani, the particular
(m£rcch an¡ involved) cannot be identified. True, the difference
(between the two) cannot be discerned in the written sequence. [Th e
rest of the passage is not very cl ear, but the purport seems to b e - if,
after the m£rcch an¡, sarigamapadhani, the next m£rcch an¡
nisarigamapadhani is written (lit. done), beginning from niÀ¡da, the
svara which is beyond the h eptad, (i.e., the last ni), cannot be
included. [A m£rcchan¡ can be written down in terms of i ts seven
svaras, and cannot be taken to the next sth¡na.] Hence, if Àa·ja were
omitted in the first and last (seventh) m£rcchan¡s, their difference
cannot be made out. [Both will be written as 'rigamapadhani'.] And
then, the method advocated by Dattil¡c¡r ya cannot be implemented to
find its place in the series (of m£rcchan¡s). Th ere can be numerous
occurrences of (the same) t¡nas in th e m£rcchan¡s. (prose after v.33)
[The point being made seems to be - if th e first svara of a

m£rcch an¡ were to be dropped, it would be indistinguishable from
another m£rcchan¡ of the same gr¡ma which has th e same svara
sequence, on accou nt of having dropped its final svara.]
86
ªÉnù É iÉÖ ºÉÊ®úMÉ¨É{ÉvÉxÉÒÊiÉ |ÉªÉÖ V ªÉ Êuù i ÉÒªÉ¨ÉÚ S UÇ ô xÉÉ ¹ÉbÂ ÷ V ÉÉvÉ®ú´ÉÌiÉxÉÉ

¨Éxpù º É{iÉEòMÉiÉä x É ÊxÉ¹ÉÉnä ù x ÉÉ®ú¦ªÉiÉä ÊxÉºÉÊ®ú M É¨É{ÉvÉ <ÊiÉ {ÉÖ x ÉÌxÉ¹ÉÉnù É vÉÉä ´ ÉÌiÉxÉÉ vÉè ´ ÉiÉä x É,
iÉiÉºiÉnù v É®ä ú hÉ {É\SÉ¨Éä x É ªÉÉ´Éoù ¹ É¦Éä h É, iÉnù É ¨Éxpù º É{iÉEä ò Gò¨Éä h ÉÉGò¨ªÉ¨ÉÉhÉä ¨ÉvªÉºÉ{iÉEä ò
´ÉÉ{ÉSÉÒªÉ¨ÉÉxÉä ¨Éxpù M ÉiÉä ¹ ÉÖ ¹ÉbÂ ÷ V É¹ÉÇ ¦ ÉÉÊnù ¹ ÉÖ ÊxÉ¹ÉÉnù É xiÉä ¹ ÉÖ ¸ÉÖ i Éä ¹ É Ö ºÉ{iÉ¨ÉÒ ±ÉÖ { iÉ¨ÉÚ S UÇ ô xÉä Ê iÉ
YÉÉªÉiÉä * ¨ÉvªÉMÉiÉä ¹ ÉÖ iÉÖ ¹É]Â õ ºÉÖ |ÉlÉ¨ÉÆ iÉÉ®úºÉ{iÉEä x É ¨ÉÚ S UÇ ô xÉÉªÉÉÆ Gò¨Éä h É....¨É.....´É®úÉä ½ þ i É&
ªÉnù É {ªÉä ´ É¨Éä ´ É Gò¨É& ºÉMÉÊ®ú¨É{ÉÊxÉ <ÊiÉ |ÉªÉÖ V ªÉ ¹ÉbÂ ÷ V ÉÉvÉ&ºlÉÉxÉ B´É ÊxÉ¹ÉÉnù É ä vÉè ´ ÉiÉ&
{É\SÉ¨ÉÉä ¨ÉvªÉ¨ÉÉä MÉÉxvÉÉ®ú @ñ¹É¦É <ÊiÉ Gò¨É&* iÉnù É ªÉtÊ{É ºÉ{iÉEòÉxiÉ®ú º {É¶ÉÉæ xÉÉÎºiÉ
iÉlÉÉÊ{É ¹ÉbÂ ÷ V ÉºªÉ ÎºlÉ®úºlÉÉxÉä iÉnÖ ù { ÉÊ®ú M ÉiÉºlÉÉxÉÉnä ù ´ É¹ÉÇ ¦ Éä |ÉªÉÖ H ä ò Ê®úMÉ¨É{ÉvÉxÉÒÊiÉ ¸ÉÖ i Éä
|ÉlÉ¨É¨ÉÚ S UÇ ô xÉÉ ±ÉÖ { iÉ¹ÉbÂ ÷ V Éä . ....ÊiÉ ºÉÖ Y ÉÉiÉ¨Éä ´ É* ªÉnù É iÉÖ ¹ÉbÂ ÷ V ÉºlÉÉxÉ¨ÉÞ ¹ É¦Éä h É G òÉxiÉÆ
iÉnù É vÉ®ú´ÉÌiÉxÉ& ¹ÉbÂ ÷ V ÉºªÉ ºÉ¨¦ÉÉ´ÉxÉè ´ É xÉÉÎºiÉ* Ê®úMÉ¨É{ÉvÉxÉÒÊiÉ ¸ÉÖ i Éä VÉÉxÉÉiªÉä ´ É
iÉÉ®ú¹ÉbÂ ÷ V Éä x ÉÉjÉ ¦ÉÊ´ÉiÉ´ªÉ¨ÉÂ * ºÉ SÉ xÉ ¸ÉÚ ª ÉiÉ <ÊiÉ ºÉ{iÉ¨ÉÒªÉÆ ¨ÉÚ S UÇ ô xÉÉ ±ÉÖ { iÉ¹ÉbÂ ÷ V Éä Ê iÉ*
+jÉ SÉ {ÉIÉuù ª Éä % Ê{É Gò¨É°ü{ÉiÉÉ ÊºÉrù º lÉÉxÉ|ÉÉÎ{iÉ¶SÉ º¡Ö ò ] è õ ´É*
ÊxÉOÉ½þ ¶ SÉ ¨ÉvªÉ¨ÉOÉÉ¨Éä {É\SÉ¨ÉºªÉ ¸ÉÖ Ê iÉ½þ É xÉä & * B´ÉÆ {É\SÉ¨Éä x É @ñ¹É¦É <iªÉºªÉ
{ÉªÉÇ O É½þ h ÉÆ , +ºÉÆ ´ ÉÉÊnù i ´ÉÉtÎº¨ÉxÉÂ ºÉ {ÉªÉÇ O É½þ & ¹ÉbÂ ÷ V ÉOÉÉ¨ÉºiÉjÉÉä ¦ ÉªÉjÉÉÊ{É xÉ ¨ÉvªÉ¨ÉÉä
Ê´ÉxÉÉ¶ÉÒ* ¨ÉvªÉ¨ÉÉnÂ ù M ÉiÉä & |ÉÉÎ{iÉ®ú º ªÉ {É\SÉ¨ÉºªÉ, iÉºªÉ ÊxÉOÉ½ä þ ¨ÉvªÉ¨ÉOÉÉ¨Éä xÉÉ¶É&* iÉlÉÉ
{ÉªÉÇ O É½ä þ ¨ÉvªÉ¨ÉOÉÉ¨Éä +xÉÉ¶É& ¹ÉbÂ ÷ V ÉOÉÉ¨Éä xÉÉÊiÉxªÉÚ x ÉÉä
xÉÉiªÉÖ S SÉ¨ÉvªÉ¨ÉÉMÉÊiÉÎºjÉ¸ÉÖ Ê iÉºiÉº¨ÉÉÊuù x ÉÉ¶É&*
When, however, after rendering (through voice or instrument,)

'sarigamapadhani', the second m£rcch an¡ 'nisarigamapadha' is begun
from the niÀ¡da below this Àa·ja, belonging to the lower register, and
the next, from the dhaivata below th at niÀ¡da, the n ext from the
paµcama below that dhaivata and so on, till ¤Àabh a (is reach ed as the
commencing svara), with the lower register becoming occupied and the
the middle register being reced fro m, wh en the svaras Àa·ja [?], ¤Àabha
etc. up to niÀ¡da, are heard entirely in the lower register, the lupta -
m£rcch an¡ (omitting Àa·ja) is perceived to be the seventh. [the rest of
the passage is not very clear, but the purport seems to be - If the six
svaras commence the m£rcchan¡s in the middle register, then, with
respect to the first in the upper register, the same descending order is
followed. Commencing from 'sa ga ri ma pa ni' (sa ri ga ma pa dha
ni?), the order below Àa·ja is niÀ¡da, dhaivata, paµcama, madhyama,
g¡ndh¡ra and ¤Àabha. This being the case, even though no higher
heptad is touched, on (the absent) Àa·ja fixing the register (lit. Àa·ja
having a fixed place) <sthirasth¡n®>, and, commencng from the ri
above it, ri ga ma pa dha ni being heard, it is easily perceived that this
87
is the first m£rcchan¡, with the Àa·ja omitted. [When the register h as
been determined by Àa·ja, it is the Àa·jam£rcchan¡, even if it assumes
the form of a t¡na by dropping Àa·ja.] On the other hand, when Àa·ja
is th e destination reached, commencing from ¤Àabh a (which has fi xed
the register), the possibility of the Àa·ja below (this ¤Àabh a, in the same
register,) itself is not there. So when t his ri ga ma pa dha ni is heard, it
is cognised that it is the higher Àa·ja that must be present (but is not).
And since it is not heard, (it is clear that) this is the seventh m£rcch an¡
with Àa·ja missing. Here, in both cases, the serial order (of sva ras)
and the determination of the register <siddhasth¡napr¡pti> are clear.]
[The next passage is not very clear, but the purport seems to be -
. The omission <nigraha> of paµ cama in madhyamagr¡ma makes for
the loss of its ¿ruti(-arrangment, and is not allowed?) . Its omission
<paryagraha> along with th at of ¤Àabha, which is not its consonant,
occurs in Àa·j agr¡ma... In both gr¡mas, madhyama i s unavoidable. Only
by commencing from madhyama, (i.e., in madhyamagr¡ma?) this (three-
¿ruti) paµcama obtains. And if it were to be dropped, the madhyama
gr¡ma will be lost. And while it remains undestroyed in madhyama
gr¡ma in any process of omission, in Àa·jagr¡ma, ............. it can be
done away with, along with the three -¿ruti svara (¤Àabha). Or, assuming
that some words are missing ... th e three-¿ruti svara, dh aivata, cannot
be done away with.] (prose after v.33)
xÉxÉÖ @ñ¹É¦ÉºªÉÉ{ªÉxÉÉÊ¶Éi´ÉÆ ºªÉÉÊnù i ªÉÉ¶ÉRÂ ó CªÉÉ½þ - ÊxÉOÉ½ä þ ÊxÉ¹ÉÉnù º ªÉ OÉ½þ h Éä

EòiÉÇ ´ ªÉä ªÉÎºjÉ¸ÉÖ Ê iÉ& ºÉ vÉè ´ ÉiÉ <ÊiÉ ªÉÉ´ÉiÉÂ * iÉnÖ ù H Æ ò nù Ê kÉ±ÉÉSÉÉªÉæ h É -
{É\SÉ¨ÉÆ ¨ÉvªÉ¨ÉOÉÉ¨Éä ¹ÉbÂ ÷ V ÉOÉÉ¨Éä iÉÖ vÉè ´ ÉiÉ¨ÉÂ *
+xÉÉÊ¶ÉxÉÆ Ê´ÉVÉÉxÉÒªÉÉiºÉ´ÉÇ j Éè ´ É iÉÖ ¨ÉvªÉ¨É¨ÉÂ * * (1-20)
But ¤Àabha, too, should be inomissible [as the pa of

madhyamagr¡ma becomes the ri of Àa·jagr¡ma, by the retuning
described?] - anticipating this doubt, he says "In the nigraha
(skipping) of niÀ¡da, as the (adjoining svara?) has to be taken, the
'three-¿ruti' (svara) meant, is dhaivata. (Or - when niÀ¡da has to be
reached, the description 'that which is three-¿ruti' refers to dhaivata.)
[So it is dhaivata that is described as the inomissible three-¿ruti svara
in Àa·jagr¡ma?] That is expressed as follows by Dattil¡c¡rya -
88
Let it be known that, in madhyamagr¡ma, it is

paµcama, in Àa·jagr¡ma, it is dhaivata, and in both, it is madhyama,
that is indestructible. (1-20) (prose after v.33)
xÉxÉÖ Ê®ú <ÊiÉ ´ªÉ\VÉxÉÆ EòlÉÆ º´É®ú º ªÉÉxÉÖ E òÉ®ú & * xÉxÉÖ ºÉEòÉ®ú É nù ª ÉÉä % Ê{É ËEò°ü{ÉÉ&* xÉxÉÖ
@ñ¹É¦É¶É¤nù º ªÉ xÉÉªÉ¨ÉÉt& iÉÌ½þ ¹ÉbÂ ÷ V É¶É¤nù º ªÉ ºÉEòÉ®úÉä xÉ |ÉlÉ¨É <ÊiÉ* ºÉRÂ ó Eä ò iÉ¨ÉÉjÉÆ Ê½þ
iÉiÉÂ * Ê®ú@ñiªÉÖ ¦ ÉªÉlÉÉ{ªÉnù É ä ¹ É&*
But how can the consonant 'ri' represent the
svara? For that matter, what fitness (lit.
form) do 'sa' and other (svara symbols) have?
If i t is objected, "(ri) is not the first syllable of the word '¤Àabha',
then 'sa' is also not the first syllble of the word 'Àa·ja'. It is only a sign
(standing for the svara). Both 'ri' and '¤' are permitted (lit. no harm
done). (prose after v.33)
[This passage seems to be out of place

here. Already, at several places the symbols
sa, ri etc. have been used by Abhinava to
represent the svaras. This objection could
have been raised after the first instance of
such usage.]
+xªÉä iÉÖ nù Ê kÉ±É¨ÉiÉÆ ¨ÉÖ x Éä x Éæ ¹ ]Æ õ , ¨ÉvªÉ¨É B´ÉÉ±ÉÉä { ªÉÉä % ºªÉ ¨ÉvªÉ¨É <iªÉÉSÉIÉiÉä * xÉxÉÖ SÉ
¨ÉÚ S UÇ ô xÉÉºiÉÉ´ÉiÉÂ VÉÉVVÉÊiÉ(VÉÉÊiÉ?)OÉ½þ ( ®úÉMÉ?)¦ÉÉ¹ÉÉ´ÉzÉ |ÉªÉÉä M ÉÉä { ÉªÉÉä Ê MÉxªÉ&, iÉÉxÉÉ¶SÉ
EÖ ò iÉ{É(EÖ ò jÉ?) ={ÉªÉÖ V ªÉxiÉä , iÉÉxÉÉä H òº´É®úÉÊiÉÊ®úHòÉxÉÉ¨ÉÊ{É VÉÉÊiÉ¹ÉÖ ±ÉÉä { ÉÉ¦ÉÉ´ÉÉnÂ ù
où ¹ ]õ i ´ÉÉiÉÂ * iÉlÉÉ Ê½þ ¹ÉbÂ ÷ V É¨ÉvªÉ¨ÉÉ ¹ÉbÂ ÷ V ÉOÉÉ¨Éä VÉÉÊiÉ&, iÉºªÉÉ ¹ÉÉb÷ ´ ÉÉä MÉÉxvÉÉ®ä ú hÉ* xÉ SÉ
¹ÉbÂ ÷ V ÉOÉÉ¨ÉiÉÉxÉä ¹ ÉÖ MÉÉxvÉÉ®úÉä MÉÊhÉiÉ&, ºÉÊ®ú Ê xÉ{ÉÉxÉÉ¨Éä ´ É ±ÉÉä { É =Hòi´ÉÉiÉÂ *
Acco rding to others, this view held by Dattila, is not liked by

Bh arata <muni>. [The rest of the sentence is unintelligible, but the
purport seems to be - according to him, madhyama alone is
inomissible,....] But m£rcch an¡s are not employed in p erformance like
j¡ti, graha (r¡ga?) or bh¡À¡; t¡nas are used in kutapa (kutra? where are
these t¡nas used?), for j¡tis are seen to lack through omission even
svaras oth er than those mentioned (as omissible) for t¡nas. For
instan ce, Àa·jamadhyam¡ is a j¡ti in Àa·jagr¡ma, and its h exatonic form
89
is derived by (omitting) g¡ndh¡ra. G¡ndh¡ra is not counted (as

omissible) in such (hexatonic) t¡nas of Àa·jagr¡ma, as only the
omission of sa, ri, ni or pa has been prescribed. (prose after v.33)
iÉÉxÉä ¹ ÉÖ SÉ {ÉÊ®ú M ÉÊhÉiÉä ¹ ÉÖ {É\SÉ¨ÉºªÉ ¨ÉvªÉ¨ÉOÉÉ¨Éä % xªÉjÉ vÉè ´ ÉiÉºªÉÉä ¦ ÉªÉjÉ

¨ÉºªÉÉ±ÉÉä Ê {Éi´ÉÆ {ÉÖ x É& ÊEò¨ÉlÉÇ ¨ ÉÂ ? EÚ ò ]õiÉÉxÉÉ¶SÉ ªÉä |Énù Ì ¶ÉiÉÉ& {ÉÚ ´ ÉÈ {É\SÉºÉ½þ » ÉÉÊhÉ
jÉªÉÏºjÉ¶ÉSSÉä Ê iÉ, iÉlÉè i Éä ¹ ÉÉÆ |ÉºiÉÉ®úÉä xÉ¹]õÉä Ê qù ¹ ]ä õ ºÉÆ J ªÉÉ SÉä Ê iÉ Ê´ÉiÉiªÉÉSÉÉªÉê & EòÊlÉiÉÉ&* iÉjÉ
xÉ¹]õ É ä Ê qù ¹ ]õºÉÆ J ªÉÉ{ÉÊ®úYÉÉxÉªÉÉä ® ú ´ ÉMÉ¨Éä Eò®úhÉ¨ÉÖ { Énù Ì ¶ÉiÉ¨ÉÂ * iÉºªÉ SÉ ±ÉIÉhÉÆ ªÉlÉ É
"+xiªÉºªÉè E òÉxiªÉÉnÂ ù ¦Éä n ù º ÉÆ J ªÉÉ¨ÉÂ ' <ÊiÉ* ¶ÉRÂ ó Eò®úÉä H òEò®ú h ÉÉºiÉÖ ºÉÉvÉÉ®úhÉÉ <ÊiÉ
]õÒEòÉEòÉ®è ú n Ç Ì ¶ÉiÉÉ&*
As the total number of t¡nas h as been counted, why should the

inomissibility of paµcama in madhyamagr¡ma, dhaivata in the other
(Àa·jagr¡ma), and of ma in both be prescribed? The k£¶at¡nas (t¡n as
taking svaras in haphazard sequence) which have, of old, been
demon strated to be five-thousand-thirtythree, have been detail ed in
prast¡ra, and the n aÀ¶a (finding a lost t¡na from its serial number),
uddiÀ¶a (finding the serial number of a t¡na from its svara content) and
sa´khy¡ (the number of various occurrences and combinations)
explained elaborately by teachers. The kara¸a (method) of arriving at
the nu mber and content (of the t¡n as), i.e., naÀ¶a and uddiÀ¶a, h as
been taught. I t is seen, for in stance, in - "the ordinal numb er of the last
variety ...... from the penultimate (t¡na)..." The ¶¢k¡k¡ra has shown that
the kara¸as taught by áa´kara are s¡dh¡ra¸ a (common to
several disciplines?). (prose after v.33)
+lÉ xÉ¹]õÉä Ê qù ¹ ]õYÉÉxÉÉlÉÇ ¶ ±ÉÉä E òÉ& iÉjÉ {ÉÚ ´ ÉÇ ¨ ÉÖ Ê qù ¹ ]õ¨ÉÂ *

¨ÉÚ ± ÉGò¨ÉÉxiÉºlÉÉxÉÆ ªÉi{ÉÚ ´ Éæ h É iÉnù { Éä I ÉªÉÉ*
GòÉxiÉÆ ªÉÉ´ÉÊiÉlÉä x Éè ´ É ±ÉÉä ¹ ]Æ õ iÉÉ´ÉÊiÉlÉÆ iªÉVÉä i ÉÂ * *
+vÉ&ºlÉÉxÉÆ iÉnù R Â ó EòºlÉÉx¨ÉÉè ± Éè ® úRÂ ó Eè ò & {ÉÊ®úÎºlÉiÉ&*
{ÉÖ x ÉÌxÉÌnù ¹ ]õ BiÉºªÉ {ÉÚ ´ ÉÉÇ x iªÉÉ -- iÉlÉÉ ´Énä ù i ÉÂ **
B´É¨ÉÖ Ê qù ¹ ]õ i ÉÉä YÉä ª ÉÉ ºÉÆ J ªÉÉ xÉ¹]õ G ò¨É& {ÉÖ x É& *
YÉÉªÉiÉä ºÉÆ J ªÉªÉÉ iÉjÉ ¨ÉÉè ± Éè E òÉRÂ ó EòÉä { ÉÊ®ú º lÉªÉÉ **
BEòEòÉä ¹ ]õEò B´ÉÉvÉ&ºlÉÉxÉä ªÉÉ´ÉÊiÉlÉºiÉiÉ& *
iÉºªÉ iÉÉ´ÉÊiÉlÉä x Éè ´ É {ÉÚ ´ Éæ h ÉÉGòÉÎxiÉ¨ÉÉÊnù ¶ Éä i ÉÂ **
+xÉä E òEòÉä ¹ ]õEä ò i´ÉlÉæ ºÉÆ J ªÉÉªÉÉ& |ÉÊiÉ¤ÉÉä v ÉEò& * ....... ...
90
The following verses (on how) naÀ¶a and uddiÀ¶a are to b e

ascertained, have been set down in the past -
[I have not translated the above verses,
as I couldn't follow them.]
iÉä SÉä ½ þ xÉ nù Ì ¶ÉiÉÉ <ÊiÉ ºÉ´ÉÈ MÉ¦ÉÔEÞ ò iªÉ ¨ÉÖ Ê xÉ& ºÉÉvÉÉ®úhÉÆ ´ÉSÉxÉ¨ÉÉ½þ |ÉªÉÉä H Ö ò &
¸ÉÉä i ÉÞ º ÉÖ J ÉÉlÉÈ SÉ ¨ÉÚ S UÇ ô xÉÉiÉÉxÉxÉÉxÉÉi´ÉÊ¨ÉÊiÉ* ªÉkÉÉ´ÉnÖ ù H Æ ò ¨ÉÚ S UÇ ô xÉÉiÉÉxÉÉxÉÉÆ EÖ ò jÉÉä { ÉªÉÉä M É
<ÊiÉ iÉjÉä n ù ¨ ÉÖ H Æ ò ¨ÉÚ S UÇ ô xÉÉlÉÈ SÉ iÉÉxÉ°ü{ÉÆ , ªÉnÖ ù H Æ ò |ÉªÉÉä H Þ ò hÉÉÆ ºÉÖ J ÉÉlÉÈ , ªÉiÉºiÉä ¸ÉÉä i ÉÉ®ú
+ÉMÉ¨ÉÉlÉÇ Ê ´Énù <iªÉlÉÇ & * BiÉnÖ ù H Æ ò ¦É´ÉÊiÉ -- ¨ÉÚ S UÇ ô xÉÉxÉÉÆ ªÉt{ÉÒ½þ É MÉ¨Éä xÉÉºiªÉÖ { ÉªÉÉä M É&,
iÉlÉÉÊ{É où ¹ ]õ º ÉÉ¨ÉÊGòªÉÉªÉÉÆ ´ÉÉ º¡Ö ò ]õ B´ÉÉä { ÉªÉÉä M É&* iÉlÉÉ Ê½þ nù Ì ¶ÉiÉÆ , "=kÉ®ú ¨ Éxpù ª ÉÉ ÊiÉ»ÉÉä
MÉÉlÉÉ&' <ÊiÉ, iÉÉxÉÉxÉÉÆ , "+ÎMxÉ¹]õÉä ¨ ÉÒªÉ¨ÉÉtÆ ºªÉÉnÂ ù Êuù i ÉÒªÉÆ ´ÉÉVÉ{Éä Ê ªÉEÆ ò ' <iªÉÉÊnù x ÉÉ¨É-
ÊxÉ°ü{ÉhÉuù É ®ä ú h Éè ´ É ´ÉÉªÉÖ { ÉÖ ® úÉhÉÉnù É è ªÉYÉÉä { ÉªÉÉä M ÉÒ ºÉÉ¨É@ñMMÉÉlÉÉä { ÉªÉÉä M É& |Énù Ì ¶ÉiÉ&*
+ÎMxÉ¹]õÉä Ê ¨ÉEòºÉÉ¨Éä x É Ê¶É´ÉÆ ºiÉÖ i ´ÉÉ iÉi¡ò±ÉÊ¨ÉÊiÉ SÉ |ÉªÉÉä H Ö ò ®ú o ù ¹ ]Æ õ ¸ÉÚ ª ÉiÉä * iÉlÉÉ
"ºÉnù º ªÉ¨ÉÎMxÉ¹]õÉä ¨ ÉºÉÉ¨É ¶ÉÞ h ´ÉiÉ& {ÉÉiÉEè ò ¨ÉÖ Ç S ªÉiÉä ±ÉÉä E òÉxÉÂ VÉªÉÊiÉ' <ÊiÉ,
nù I É|ÉÉä H Æ ò {É`ä ö t¶SÉ ¶ÉÞ h ÉÖ ª ÉÉSUÖ ô rù ¹ ÉbÂ ÷ VÉªÉÉ *

|ÉiªÉ½Æ þ ºÉxvªÉªÉÉä º iÉÉè iÉÖ ¯ûpù ± ÉÉä E Æ ò MÉÊ¨É¹ªÉiÉ& **
<ÊiÉ SÉ |ÉªÉÉä H Þ ò hÉÉÆ SÉÉoù ¹ ]õ u ù É ®ä ú h É ºÉÖ J ÉÉä i {ÉÉnù E Æ ò |ÉiªÉÖ { ÉªÉÉä M ÉÉä nù Ì ¶ ÉiÉ&(*)
@ñMMÉÉlÉÉºÉÉ¨ÉÉä { ÉªÉÉä M ÉÉnä ù ´ É xÉÉ®ú n ù Ò ªÉÊ¶ÉIÉÉªÉÉÆ {ÉÖ ® úÉhÉÉnù É è SÉ iÉÉxÉ{ÉªÉÇ x iÉ¨Éä ´ É º´É®ú¨Éhb÷ ± É Æ
nù Ì ¶ÉiÉ¨ÉÂ , (?*) ¨ÉÚ S UÇ ô xÉÉxÉÉÆ SÉ ªÉzÉÉxÉÉi´ÉÆ iÉnÖ ù { ÉÊxÉªÉ¨Éuù É ®ä ú h É nù Ì ¶ÉiÉÆ iÉSUÅ ô Éä i ÉÞ º ÉÖ J É±ÉIÉh ÉÆ
+lÉÈ |ÉªÉÉä V ÉxÉÆ Eò¨ÉÇ ¦ ÉÚ i ÉÆ |ÉªÉÉä H Þ ò ªÉÖ H ä ò iÉSUôÒ±É¨ÉÂ * BiÉnÖ ù H Æ ò ¦É´ÉÊiÉ -- ªÉtÊ{É VÉÉÊiÉ¹ÉÖ
¹ÉÉb÷ ´ ÉÉè b Ö ÷ Ê ´ÉEòÉ ÊxÉªÉiÉÉ B´É MÉÊhÉiÉÉºiÉlÉÉ SÉ (iÉlÉÉÊ{É?) ®úÉMÉ¦ÉÉ¹ÉÉ´Éè Ê SÉjªÉÆ
¸ÉÉä j ÉºÉÖ J ÉVÉxÉEò¨ÉÖ x ¨ÉÚ ± ÉÊªÉiÉÖ Æ º´ÉÉiÉxjªÉä h É º´É®ú±ÉÉä { ÉÉä ¨ÉvªÉ¨É´ÉVÉÇ & |Énù Ì ¶ÉiÉ&*
As they (all the possibilities?) have not
been shown here, the sage includes them all
(in the phrase 'variety ...') in the general
instruction, " the variety in m£rcchan¡s and t¡nas makes for
the happiness of the performer and listener." Answering the question,
"Wh at is the use of m£rcchan¡s and t¡nas?" with the statement "the
objective of m£rcchan¡s and t¡na shapes is the pleasure of th e
performers", he implies that the listeners are well -versed in the ¡gamas.
This is what has been stated - Even though m£rcchan¡s are not
employed in this ¡gama (n¡¶ya), their use is clearly seen in the
rendering of s¡mans. For instance, the direction is given - "three g¡th¡s
(to be rendered to the m£rcchan¡,) Uttaramandr¡"; and the prescription
of (the songs called) s¡ma, ¤k and g¡th¡ in the conduct of yajµa, is
91
done through the names agniÀ¶°ma, v¡jap®yika, etc., given to the first,
second etc. t¡nas (which account for th e melody of these songs), in the
V¡yupur¡¸am etc. In th e praise sung to áiva in the agniÀ¶°ma s¡man,
its fruit is set down as the merit accumulated by th e performer. And
"One who listens to agniÀ¶°ma, properly rendered, is freed from sin and
win s the three worlds." Thus -
"He who recites (the s¡man?) created / enjoined by DakÀa, to the

¿uddhaÀa·j¡ (m£rcchan¡), and he who listens to it, everyday at the
two twilights, will reach the world of Rudra."
In this manner, the welfare accruing to the

performer through the merit earned is shown. In N¡rad¢ya¿ikÀ¡ and in
the pur¡¸as etc., only after the prescription regarding the employment
of ¤k, g¡th¡ and s¡ma, up to (th e specification of) t¡na, is the svara -
circle shown. As for the variety in m£rcch an¡s, that is shown through
the secondary rule that makes the delight of the listener its object. On
the part of the performer, it requires disciplined practice. This is what
it means - even though it is in the j¡tis that hexatonic and pentatonic
reductions that follow the rules alone are allowed, in r¡gas and bh¡À¡s,
too, a display of th e unrestrain ed omission of svaras, madhyama -
dropping (excepting madhyama?) only destroys (through excess? ) the
variety that causes pleasure in the listner. (prose after v.33)
[Abhin ava seems to be counselling that for delighting human
listen ers, too, not absolute freedom from rules and conventions, but a
controlled display of variety is needed.]
ªÉSSÉÉä H Æ ò EÚ ò ]õ i ÉÉxÉÉ& ÊEòÊ¨ÉÊiÉ xÉÉä H òÉ <ÊiÉ* iÉjÉ EÚ ò ]õi´ÉÆ iÉÉ´ÉzÉ

ËEòÊSÉi|ÉªÉÉä H Þ ò ºÉÖ J ÉÉlÉÇ i ´ÉÆ iÉä ¹ ÉÉ¨ÉÊ{É ºÉ¨ÉÉxÉ¨ÉÂ * Eä ò ´É±ÉÆ {ÉÊ®úMÉÊhÉiÉSÉiÉÖ ® ú ¶ ÉÒÊiÉxªÉÉªÉä x É,
ÊxÉªÉiÉä Eò¨ÉÇ Ê hÉ Ê´ÉÊ¶É¹]õnä ù ´ ÉiÉÉ{ÉÊ®ú{ÉÉä ( iÉÉä ? )¹ÉhÉÉªÉ* B´ÉÆ ¨ÉÉ ¦ÉÚ n Ö ù { ÉªÉÉä M É& ºÉÉ¨ÉÉxªÉÉi¨ÉxÉÉ
iÉÖ où ¹ ]õÉä { ÉªÉÉä M ÉÉä % ºiªÉä ´ É* ªÉSSÉÉä H Æ ò MÉhÉxÉÉ xÉ EÞ ò iÉä Ê iÉ iÉjÉÉxÉxiªÉÉiEòÉ MÉhÉxÉÉ* ªÉnù É ½þ --
+xÉxiÉÉ ´ÉÉRÂ ó ¨ÉªÉºªÉÉ½þ É ä MÉä ª É¨ÉvªÉä SÉ ÊSÉjÉiÉÉÆ <ÊiÉ (¨ÉÉPÉ-2-3)
The k£¶at¡nas which have been mentioned (by us) - why have th ey
not been described? The answer is - the irregular order does not
contribute to the welfare of the practitioner, in the same degree as it
does to (the delight of) the listeners? Only when th e p erformance is
regulated, bound by the eightyfour (krama t¡n as) which h ave been
92
enumerated, can it afford pleasure (specially?) to the (particular?) gods.

The manner in which they (the k£ ¶at¡nas?) must not be employed,
and the manner in whi ch they are generally employed, can be gathered
from practice. As for the question "Why have they (th e k£¶at¡nas?) not
been enumerated?", the an swer is - "They are countless, how c an
they be enumerated?". As has been said -
Infinite are the (possibilities?) of Expression, and in song, its
variety. (M¡gha-2-3)
(prose after v.33)
({ÉÚ h ÉÇ º ´É®úÉhÉÉÆ ¹ÉÉb÷ ´ ÉÉè b Ö ÷ Ê ´ÉEòÉnù Ò xÉÉÆ ) +xªÉÉä x ªÉ¨Éä ± ÉxÉä uù É ËjÉ¶Éä i ªÉÉÊnù Ê GòªÉ¨ÉÉhÉä ´ÉÉSÉº{Éi Éä -
®ú{ªÉ¶ÉCªÉÆ {ÉÊ®ú M ÉhÉxÉ¨ÉÂ * ºªÉÉnä ù i ÉiÉÂ -- iÉä x É ËEò |ÉªÉÉä V ÉxÉÊ¨ÉÊiÉ* iÉzÉ, ªÉiÉºiÉnùÊ{É
ºÉ¨ªÉC|ÉªÉÉä H òÊ®ú ºÉÊiÉ ¸ÉÉä i ÉÞ # Þ h ÉÉÆ iÉÖ ºÉÖ J ÉVÉxÉEò¨Éä ´ É* ªÉÖ H Æ ò SÉè i ÉÊnù Ê iÉ nù ¶ ÉÇ ª ÉÊiÉ ¨ÉÚ S UÇ ô xÉÉ-
iÉÉxÉ|ÉªÉÉä V ÉxÉ¨É{ÉÒÊiÉ* ¨ÉÚ S UÇ ô xÉÉiÉÉxÉÉxÉÉÆ @ñMMÉÉlÉÉºÉÉ¨É¦ªÉ +ÉxÉÒªÉ ªÉÊnù |ÉEò¹Éæ h É ªÉÉä V ÉxÉÆ
ºlÉÉxÉÉxÉÉÆ Ê´É¶Éä ¹ É®úÊHònù É ÊªÉxÉÉÆ |ÉÉ{iªÉlÉÈ .... .... .... .... .... Ê½þ i É¹ÉbÂ ÷ V ÉºlÉÉxÉ
ºÉ\SÉ®úhÉÆ º´ÉÉiÉxjªÉ±ÉÉ¦Éä iÉnÖ ù n ù Ò ªÉÇ ¨ ÉÉhÉä º´É®ú | ÉªÉÉä M É& ¸ÉÉä i ÉÞ # Þ h ÉÉÆ ºÉÖ ¹ `Ö ö iÉ¨ÉÆ ®ú \VÉEòÉä
¦É´ÉÊiÉ* |ÉªÉÉä H Þ ò Þ h ÉÉÆ SÉ º´ÉªÉÆ ¸ÉÖ h ´ÉiÉÉÆ ºÉÖ J ÉÆ VÉÉªÉiÉä * ¸ÉÖ Ê iÉi´É±ÉÉ¦Éuù É ®ä ú hÉ .... .... ....
.... .... ..... {ÉÖ ¹ {É& .....º´ÉºÉ¨ªÉRÂó ÊxÉ´ÉÉÇ ½ þ É ä OÉÉ¨É®úÉMÉ¦ÉÉ¹ÉÉnù É è * {ÉÚ h ÉÇ i ´Éä
ºÉÆ { ÉÚ h ÉÇ G ò¨ÉÉGò¨ÉªÉÖ H ò¨ÉÚ S UÇ ô xÉÉ|ÉªÉÉä M Éä ZÉÊ]õ Ê iÉ ®úÉMÉ|ÉÉÎ{iÉ&, +{ÉÚ h ÉÇ i ´Éä iÉÖ ®ú É MÉiÉÉxÉ|ÉªÉÉä M Éä
´ÉVÉÇ x É¨ÉÂ * |ÉiªÉä E Æ ò OÉÉ¨É®úÉMÉÉnù É è ºÉ´Éæ ¹ ÉÉÆ ¨ÉÚ S UÇ ô xÉÉnù Ò xÉÉÆ ¤É½Ö þ v ÉÉ |ÉªÉÉä M É <ÊiÉ ¨ÉÚ S UÇ ô xÉÉxÉÉxÉÉi´ÉÆ
ªÉÖ H ò¨ÉÂ * xÉ Ê½þ <ªÉkÉÉ EòÉÊSÉÊnù Ê iÉ ÎºlÉiÉ¨ÉÂ *
If combinations of (the samp£r¸a, À¡·ava and au·uva sets of svaras)

were to be done, starting from, say, thirtytwo ,
even the Lord of Speech will not be able to
count the total number. The question may arise
- Of what use are they? They are not
(useless), as, when properly rendered, they
will certainly delight the listeners. To show
that it (their employment / description) is warranted, he
shows that m£rcchan¡s and t¡nas do have their practi cal use
<m£rcchan¡t¡napray°janamapi>. If m£rcchan¡s and t¡nas are
abstracted from ¤k, g¡th¡ and s¡ma, and are combin ed ably, for
creating heptads (lit. registers) which afford varied pleasure, ....[th e
senten ce is incomplete. The purport seems to be that the varied
movement and the free con ception of melody will offer the greatest
93
degree of delight to the listeners.] And listening to their own (melodic

excursions) th e performers too are delighted. The next sentence is
again incomplete, but the purport seems to be - By achieving ¿ruti
exactitude (through the pracice of m£rcchan¡s and t¡n as?), ...the
practitioner gains skill in handling gr¡mar¡ga, bh¡À¡ etc.] By practising
full scales in regular or irregular order, (th e performer) is able to
present the r¡ga effortlessly. (The practice of) incomplete (scal es) leads
to mastery in skipping (svaras) in rendering t¡nas of the r¡ga. In every
(melody source) such as gr¡mar¡ga, there are a great number of ways
in which all the m£rcchan¡s and other comb in ations can be employed.
The attribution of vari ety to m£rcchan¡ is thus appropriate. Indeed it
has no limit. (prose after v.33)
ºlÉÉxÉ|ÉÉ{iªÉlÉÇ Ê ¨ÉiªÉÖ H Æ ò , iÉjÉ ÊEòÊ¨ÉnÆ ù ºlÉÉxÉÆ xÉÉ¨Éä i ªÉÉ¶ÉRÂ ó CªÉÉ½þ-- ºlÉÉxÉÆ Îi´ÉÊiÉ*
{ÉÚ ´ ÉÇ ¨ ÉÖ H Æ ò {ÉÚ ´ ÉÉæ H Æ ò Ê´Éº{É¹]õ ¨ ÉÂ * ªÉiÉÂ ÊjÉúÊ´ÉvÉi´Éä x ÉÉä H Æ ò EòÉEÖ ò Ê´ÉvÉÉxÉä x É iÉSSÉ ¹É]Â õ ¹ ÉÎ¹]õ¦Éä n ù & ,
ºÉÆ I Éä { ÉiÉÎºjÉvÉÉ ºÉuù h ÉÉÇ R Â ó MÉÉ±ÉRÂó EòÉ®ú ª ÉÉä M É& |ÉªÉÉä I ªÉiÉä *
The establishing of register <sth¡napr¡ptyartham> has been spoken

of. What is this sth¡na? He answers this questi on with "It has been
described already". I t has been described cl early earlier. In connection
with the regulation of k¡ku (intonatio n), it has been described to
possess three levels (lit. manners), with a total of sixtysix distinctions. It
will be used in the var¸¡´gas and ala´k¡ras (melodic l imbs and
embellishments in songs), condensed into three
levels. (prose after v.33)
-------------------------------------------------------------------
ºÉÉvÉÉ®úhÉÊ¨Énù É xÉÓ ´ªÉÉJªÉÉºªÉÉ¨É&* iÉjÉ ºÉÉvÉÉ®úhÉÆ xÉÉ¨ÉÉxiÉ®ú º ´É®úiÉÉ, Eòº¨ÉÉiÉÂ ,
uù ª ÉÉä ® úxiÉ®ä ú ¦É´ÉÊiÉ ªÉkÉiºÉÉvÉÉ®úhÉ¨ÉÂ * ªÉlÉÉ-
UôÉªÉÉºÉÖ ¦É´ÉÊiÉ ¶ÉÒiÉÆ |Éº´Éä n ù É ä ¦É´ÉÊiÉ SÉÉiÉ{ÉºlÉºªÉ *
xÉ SÉ xÉÉMÉiÉÉä ´ÉºÉxiÉÉä xÉ SÉ ÊxÉ&¶Éä ¹ É& Ê¶ÉÊ¶É®úEòÉ±É& **34**
Now we shall explain s¡dh¡ra¸am. There, s¡dh¡ra¸aÆ is the
existence of the svara in the interval. How? That which occurs between
two (svaras) is s¡dh¡ra¸am. Just as -
In the shade one feels cold, but when in
the sun, one sweats. Spring has not not
94
arrived, nor has the winter gone without

residue. (34)
B´ÉÆ ¨ÉÚ S UÇ ô xÉÉiÉÉxÉÉxÉÉÆ º´ÉºlÉÉxÉÆ ´ªÉÉJªÉÉªÉ ºÉÉvÉÉ®úhÉEÞ ò iÉÆ xÉÉ¨É SÉiÉÖ l ÉÈ iÉnÂ ù ¦ Éä n Æ ù
´ªÉÉJªÉÉiÉÖ ¨ ÉÖ { ÉGò¨ÉiÉä ºÉÉvÉÉ®ú h ÉÊ¨ÉiªÉÉÊnù * +xiÉ®ä ú ¦É´É& +xiÉ®ú& º´ÉºlÉÉxÉSªÉÖ i É{É®ú º lÉÉxÉ-
ºÉÆ G òÉxiÉ& ºÉ SÉÉºÉÉè º´É®úHòi´ÉÆ xÉ iÉÖ Ê´Éº´É®Æ ú , iÉºªÉ ¦ÉÉ´É& ºÉÉvÉÉ®ú h É Ê¨ÉÊiÉ* ¦ÉÉ´É|ÉvÉÉxÉÉä
ÊxÉnæ ù ¶ É& ºÉÉvÉÉ®úhªÉÊ¨ÉÊiÉ ªÉÉ´ÉiÉÂ * iÉlÉÉ +xiÉ®ä ú ¦É´ÉÆ VÉÉÊiÉÊ´É¦ÉÉMÉºÉÉvÉÉ®ú h Éi´ÉÉiº´É®úÉ ªÉjÉ
|ÉªÉÉä M Éä iÉnÂ ù ¦ ÉÉ´ÉÉä VÉÉÊiÉºÉÉvÉÉ®ú h É& º´ÉºªÉ ºÉÉ¨ÉÉxªÉ±ÉIÉhÉ¨ÉÂ * Eòº¨ÉÉÊnù Ê iÉ ÊEò¨ÉjÉ
±ÉÉè Ê EòEä ò %xÉÖ M É¨ÉÉä +ÎºiÉ iÉä x Éä Ê iÉ |É¶xÉ& +ºiÉÒiªÉÉ½þ uù ª ÉÉä ® ú x iÉ®ú <iªÉÉÊnù *
UôÉªÉÉªÉÉ¨ÉÖ { ÉÊ´É¹]õ º ªÉ ¶ÉÒiÉÆ ¦É´ÉiÉÒÊiÉ ´ÉºÉxiÉºªÉ (+){ÉÚ h ÉÇ i ´ÉÆ , +ÉiÉ{Éä º´Éä n ù <ÊiÉ
Ê¶ÉÊ¶É®úºªÉ º´É°ü{ÉÉi|ÉSªÉ´ÉxÉ¨ÉÂ * BiÉnä ù ´ ÉÉ½þ xÉ SÉ xÉÉMÉiÉ <ÊiÉ* +xÉÉMÉ¨ÉxÉ¨ÉÉjÉ ´ªÉÉ´ÉÞ Ê kÉxÉÇ
iÉÖ {ÉÚ h ÉÇ i Éä i ªÉlÉÇ & * ÊxÉ¶¶Éä ¹ É <iªÉxÉä x É xÉ¹]õ&, xÉ ´ÉÉ ºÉÆ { ÉÚ h ÉÇ <iªÉlÉÇ ª ÉÉä & ºÉ ¨ÉvªÉ´ÉiÉÔEòÉ±É&
ºÉÉvÉÉ®ú h É&, iÉuù n Â ù u ù ª ÉÉä & º´É®úªÉÉä & ¨ÉvªÉ´ÉiÉÔ ºÉ(º)º´É®ú º ÉÉvÉÉ®ú h É& **34**
Having explained the m£rcchan¡s and t¡nas in their original place

(unaltered svara measure), (the sage) begins t o expl ain the fourth
variety (of m£rcchan¡) with, 'S¡dh¡ra¸am etc.'. Being in the
interval it is antara. It has left its place and has occupied another place,
but has not lost its pleasantness and is not atonal - this occurrence /
state is s¡dh¡ra¸ am (condition of a svara). [The next sentence is not
clear, but the concept of s¡dh¡ra¸yam is being defin ed.] When, in spite
of their difference, melodies of different j¡tis sh are svara(-phrase)s,
that is ..... j¡tis¡dh¡ra¸am. To the question, "How does thi s happen? Is
there a commonplace analogy for this?", he replies, "The difference
between the two <dvay°rantara >..." etc. Seated in the
shade, one feels the cold - this indicates
that spring has not fully come; and sweating
in the sun means that winter has begun to slip
away from its nature. The same has been
expressed as, "It has not not come < na ca
n¡gata >. By 'not yet come' is meant 'has
returned, but not fully'. As 'without residue '
gives both th e senses 'has not gone' and 'is not fully there',
s¡dh¡ra¸ a refers to th e intervening period. Hence, svara¿¡dh¡ra¸a is
that (tone) which lies between two svaras. (34)
95
----------------------------------------------
-------------------------------
<ÊiÉ EòÉ±ÉºÉÉvÉÉ®úhÉiÉÉ* iÉjÉ uä ù ºÉÉvÉÉ®ú h Éä VÉÉÊiÉºÉÉvÉÉ®ú h ÉÆ º´É®úºÉÉvÉÉ®ú h ÉÆ SÉ*
This is the s¡dh¡ra¸a state of season. There are two

s¡dh¡ra¸ ams - j¡tis¡dh¡ra¸am and svaras¡dh¡ra¸am. (prose after v.34)
BiÉ¨Éä´É Ê´É¦ÉÉMÉÆ nù¶ÉÇªÉÊiÉ uäù <ÊiÉ* iÉäxÉ iÉÉxÉ¸ÉÖÊiÉºÉÉvÉÉ®úhÉÆ ªÉnäùEäò |ÉÉ½ÖþºiÉzÉ ºÉÉäfÆø ¦É´ÉÊiÉ* ÊxÉ¹ÉÉnùºªÉ
¹ÉbÂ÷VÉOÉÉ¨Éä ¹ÉÉb÷´ÉÉèbÖ÷Ê´ÉiÉi´ÉäxÉ ±ÉÉä{É&, MÉÉxvÉÉ®úºªÉ i´ÉÉèbÖ÷Ê´Éi´ÉäxÉ, Ê´É{ÉªÉÇªÉÉè ¨ÉvªÉ¨ÉOÉÉ¨Éä iÉÊuù¶Éä¹ÉÉxÉÉ¸ÉªÉhÉä
±ÉÉä{ªÉi´É¨ÉÉjÉÉiÉÂ* ªÉÊnù iÉÉxÉºÉÉvÉÉ®úhÉÆ iÉzÉ, ÊEòÎ\SÉnä ù i Éä x ÉÉä H Æ ò ºªÉÉiÉÂ * ¸ÉÖ Ê iÉºÉÉvÉÉ®úhÉÆ xÉ
ÊEòÎ\SÉÊzÉ¹ÉÉnùMÉÉxvÉÉ®ú´ªÉÊiÉ®ä ú Eä ò hÉ Ê½þ xÉÉxªÉ{É®ú É ä ±ÉÉä { Énù ¶ ÉÉªÉÉ& ¸ÉÖ i ªÉÖ i Eò¹ÉÈ ¦ÉVÉiÉä *
He shows this (s¡dh¡ra¸a) distinction to apply just to two (things

- svaras, j¡tis). The t¡na¿rutis¡dh¡ra¸am which some talk of, is not
borne out by this definition. In Àa·jagr¡ma, niÀ¡da is omitted in the
course of À¡·ava and au·u va operation s, and g¡ndh¡ra in the au·u va
operation. And the reverse (omitting g¡ndh¡ra in À¡·ava and au·uva,
and niÀ¡da in au·uva operation) occurs in madhyamagr¡ma. And only
due to their omissibility, the other forms <vi¿®À¡n> (of niÀ¡da and
g¡ndh¡ra) are admitted occasionally. [The n ext two sentences are not
clear, but the purport seems to be - But this does not permit any t¡na-
s¡dh¡ra¸ am, (six-svara and five-svara t¡nas of different m£rcch an¡s
containing these chang ed svaras as regular members?). As for ¿ruti -
s¡dh¡ra¸ am, excepting for niÀ¡da and g¡ndh¡ra, no other svara that
can be omitted admits any ¿ruti augmentation. (So, outside this svara -
s¡dh¡ra¸ am, there is no ¿ruti-s¡dh¡ra¸am.)] (prose after v.34)
----------------------------------------------
-------------------
º´É®úºÉÉvÉÉ®ú h ÉÆ EòÉEò±ªÉxiÉ®úº´É®úÉè * iÉjÉ Êuù ¸ ÉÖ i ªÉÖ i EÞ ò ¹]õ É ä ÊxÉ¹ÉÉnù & EòÉEò±ÉÒºÉÆ Y ÉÉä
¦É´ÉÊiÉ* iÉuù n Â ù M ÉÉxvÉÉ®úÉä % xiÉ®úº´É®úºÉÆ Y ÉÉä ¦É´ÉÊiÉ*
VÉÉÊiÉºÉÉvÉÉ®ú h É¨Éä E òÉÆ ¶ ÉÉxÉÉ¨ÉÊ´É¶Éä ¹ ÉÉVVÉÉiÉÒxÉÉÆ ( *) ºÉ¨É´ÉÉªÉÉi|ÉiªÉÆ ¶ ÉÆ ±ÉIÉhÉ-
ºÉÆ Y ÉÉxÉÊ¨ÉÊiÉ* º´É®úºÉÉvÉÉ®úhÉÉ(hÉÆ ? ) Êuù Ê ´ÉvÉÆ uè ù O ÉÉÊ¨ÉEÆ ò Eòº¨ÉÉiÉÂ ( ?) ºÉÉvÉÉ®úhÉÉä % jÉ
º´É®ú Ê ´É¶Éä ¹ É <ÊiÉ EÞ ò i´ÉÉ ¹ÉbÂ ÷ V Éi´ÉÉ(´É?)ºÉÉvÉÉ®ú h É¨ÉÖ S ªÉiÉä * B´ÉÆ ¨ÉvªÉ¨Éä % Ê{É* +ºªÉ iÉÖ
|ÉªÉÉä M ÉºÉÉè I ¨ªÉÉiEè ò Ê¶ÉEòÊ¨ÉÊiÉ Êuù i ÉÒªÉÆ xÉÉ¨É ÊxÉ¹{ÉtiÉä * Eò±Éi´ÉÉSSÉ EòÉEò±ÉÒºÉÆ Y ÉÉä ¦É´ÉÊiÉ,
Ê´ÉEÞ ò iÉi´ÉÉSSÉÉxÉÆ ¶ É& +É{iÉÉä { Énä ù ¶ ÉÉSSÉ ºÉ{iÉ¦ªÉÉä xÉÉxªÉÉä ÊxÉ¹ÉÉnù ´ ÉÉxÉä ´ É* ªÉlÉÉ Ê½þ ¹ÉhhÉÉÆ
96
®úºÉÉxÉÉ¨ÉxªÉiÉ¨É& IÉÉ®úºÉÆ Ê YÉiÉºiÉlÉÉ ÊxÉ¹ÉÉnù & EòÉEò±ÉÒºÉÆ Y ÉÉä MÉÉxvÉÉ®ú¶SÉÉxiÉ®úº´É®úºÉÆ Y ÉÉä

¦É´ÉÊiÉ*
Sv aras¡dh¡ra¸am consists of k¡kal¢ and antara svaras. In this,
niÀ¡da, h aving gone up by two ¿rutis, is termed k¡kal¢. Similarly
(augmented), g¡ndh¡ra is referred to as antara.
J¡tis¡dh¡ra¸am occurs when j¡tis cannot be diff erentiated, on
account of their functioning with the same aÆ¿a. As there is grouping
together [of melodi es based on different aÆ¿as in a j¡ti] / As the
combination [of all its features gives a j¡ti its identity?], every aÆ¿a/
feature makes its identity different / clear <lakÀa¸ asaµjµ¡nam>. [The
next two sentences are not very clear, but the purport seems to be -
How does svaras¡dh¡ra¸am occur in two ways in the two gr¡mas?
Answer - Taking s¡dh¡ra¸am to mean change (lit. difference) in (an y?)
svara, the as¡dh¡ra¸am (s¡dh¡ra¸am?) that occurs in the position of
Àa·ja is described. In madhyama, too, the same s¡dh¡ra¸am occurs.]
But, because of th e subtlety in rendering it, it gets another (lit. second)
name, kai¿ikam(, and is not brought under k¡kal¢). (A svara) is termed
k¡kal¢ becau se it is sweet and indistinct. And as it is a result of
alteration / modification, k¡kal¢ canno t function as the aÆ¿a. On th e
authority of our preceptors, it does not exist apart from the seven
svaras, but is niÀ¡da, itself. Just as one of the six tastes (l ava¸ a = salt)
is itself called kÀ¡ra (when it is sharper), niÀ¡da (itself) is called k¡kal¢,
and g¡ndh¡ra (itself) is called antara svara. (prose after v.34)
|ÉlÉ¨ÉÆ ´ªÉÉSÉ¹]ä õ iÉjÉ ºÉÉvÉÉ®ú h ÉÊ¨ÉÊiÉ* BiÉÉè Gò¨Éä h É ±ÉIÉªÉÊiÉ ¸ÉÖ i ªÉÖ i EÞ ò ¹]õ É ä ÊxÉ¹ÉÉnù
<ÊiÉ* iÉjÉ ºÉÆ Y ÉÉ´ÉOÉ½þ h Éä ¦Éä n ù ¨ ÉÉ½þ ´ªÉ´É½þ É ®úÉlÉÇ Ê ¨É¨Éä Ê¦ÉzÉä ºÉÆ Y Éä {É®ú ¨ ÉÉlÉÇ i ÉºiÉÖ uù ª ÉÉä ® ú Ê { É
iÉÒµÉiÉ®ú i ´ÉÉiEòÉEò±ÉÒi´É¨ÉÂ * ªÉuù I ªÉÊiÉ "Eò±Éi´ÉÉSSÉ EòÉEò±ÉÒ ºÉÆ Y ÉÉ'(YÉ) <ÊiÉ* uù ª ÉÉä ® ú Ê {É
SÉÉxiÉ®ú º ´É®úi´É¨ÉÂ , ªÉnÖ ù H Æ ò - "ºÉÉvÉÉ®úhÉÆ xÉÉ¨ÉÉxiÉ®úº´É®ú i ÉÉ' <ÊiÉ*
He first speaks generally of s¡dh¡ra¸ am < tatra s¡dh¡ra¸aÆ >.

Taking them in order, h e defines (the first, i.e., svara
s¡dh¡ra¸ am,) with 'niÀ¡da that has gone up in ¿ruti <¿rutyutk¤À¶°
niÀ¡da>'. He attributes the difference in their names (k¡kal¢ for niÀ¡da,
and antara for g¡ndh¡ra), to usage, but adds that, in actuality, both
are k¡kal¢, as both have become sharpened by two degrees
<t¢vrataratv¡t>. This is going to be elaborated as "because it is sweet
97
<kala> it is named k¡kal¢." (later in the paragraph). And both are

antara svaras, as he has already said "s¡dh¡ra¸am consis ts of
lying between svaras < s¡dh¡ra¸aÆ n¡m¡ntarasvarat¡ >".
(prose after v.34)
Êuù i ÉÒªÉÆ ±ÉIÉªÉÊiÉ VÉÉÊiÉºÉÉvÉÉ®úhÉ¨Éä E òÉÆ ¶ ÉÉxÉÉ¨ÉÊ´É¶Éä ¹ ÉÉÊnù Ê iÉ* BEòÉå % ¶ÉÉä ªÉÉºÉÉÆ VÉÉiÉÒxÉÉÆ
iÉÉºÉÉÆ ªÉÉä Ê´É¶Éä ¹ É½þÒxÉ& |ÉªÉÉä M É& ºÉ ´ÉÉtÆ ¶ ÉÉxÉÖ ± É{ÉxÉ±ÉIÉhÉÉxiÉ®ú¨ÉÉMÉÇ ° ü{ÉºiÉÖ ± ªÉ&* Eò¨É´É±É¨¤ ªÉ
VÉÉÊiÉºÉÉvÉÉ®úhÉÆ ÎºlÉiÉÆ xÉi´Éä ´ ÉÆ iÉÎº¨ÉxÉÂ ¦ÉÉMÉÉä VÉ ÉiªÉÉä ® ú¦Éä n ù B´Éè E òÉä % ºÉÉvÉÉ®hÉä ú i ªÉÉ¶ÉRÂ ó CªÉÉ½þ
VÉÉiÉÒxÉÉÆ iÉÖ ºÉ¨É´ÉÉªÉÉi|ÉiªÉÆ ¶ É±ÉIÉhÉºÉÆ Y ÉÉxÉÊ¨ÉÊiÉ* OÉ½þ x ªÉÉºÉÉÊnù n ù ¶ ÉEòºªÉ ªÉ& ºÉ¨É´ÉÉªÉºiÉiÉÉä
½ä þ iÉÉä V ÉÉÇ i ÉÒxÉÉ¨ÉÆ ¶ Éä Ê´ÉÊSÉjÉä % Ê{É ±ÉIÉhÉ¨ÉºÉÉvÉÉ®úhÉÆ ¶ÉCªÉÆ YÉÉiÉÖ ¨ ÉÂ , ªÉnù É ½þ xªÉÉºÉÉxiÉ®ú¦ÉÉMÉÉè ( ¨ÉÉMÉÉê ? )
iÉÖ Ê´É¶Éä ¹ ÉEòÉÊ´ÉÊiÉ* * iÉÖ ´ ªÉÇ Ê iÉ®ä ú Eò¨ÉÉ½þ , iÉä x É xÉÉ¦Éä n ù <ÊiÉ ¦ÉÉ´É&* OÉ½þ É Ênù¦É ÉMÉÉxÉÉÆ ±ÉIÉhÉ{ÉÊ®úYÉÉxÉÆ
VÉÉÊiÉºÉÉvÉÉ®úhÉÊ¨ÉÊiÉ Eä ò ÊSÉnä ù ´ É |ÉPÉ]Â õ ]õEä ò ´ªÉÉSÉIÉiÉä ( *) **
[*This sentence is not there in the above
NS passage in the GOS edn.
**The punctuation in the GOS edn. h as been
altered, as the sentence seems to end here.]
He describes the second (s¡dh¡ra¸ am) thus - j¡tis beco me one

<j¡tis¡dh¡ra¸am> when th ey have the same (svara as) aÆsa and cannot
be distinguished between. In j¡tis which have the same aÆ¿a, the usage
that is common to them (lit. indistinguishable), is the similar
antaram¡rg a (passage from on e svara to oth ers), marked by the
concordant sounding (of th e saÆv¡d¢ / anuv¡d¢?) after th e v¡d¢ /
aÆ¿a. [The next few sentences are not very clear, but the purport
seems to be - what is the basis for j¡tis¡dh¡ra¸am? Does it lie in their
differing in one part (/ h aving o ne part in common), when two j¡tis are
(otherwise) identical (/ different)? Anticipating this doubt, he points out,
The identity of j¡tis is as a whole, determined by every part. As the
whole is determined by all the ten features, graha, ny¡sa etc., if j¡tis
merely vary in aÆ¿a, it is easy to perceive their difference. That he
locates (lit. states) - "But ny¡sa and antaram¡rga are the
distinguishing features."* The 'tu' (in this sentence) emphasises the
distinction; what is meant is "the non-difference is not th ere." [AB
seems to be explaining how aÆ¿a and antaram¡rga account for the
difference that comes about in one j¡ti. So the sharing of th e sam e
aÆ¿a and therefore, antaram¡rga phrasing, would bring two differing
j¡tis together.] Only some (experts), going to the foundations (of the
98
subject), explain j¡tis¡dh¡ra¸am as the knowledge of graha and other

defining features. [J¡tis¡dh¡ra¸am is taken to mean the features by
which all j¡tis are defined?] (prose after v.34)**
[*Th e passage being explained does not contain this reference to
ny¡sa and antaram¡rga.
**The punctuation in the GOS edn. has been
altered, as the sentence seems to end here.]
º´É®ú º ÉÉvÉÉ®ú h ÉÆ Êuù Ê ´ÉvÉÊ¨ÉiªÉÉÊnù x ÉÉ*(?) EòÉEò±ªÉxiÉ®ú ª ÉÉä O ÉÉÇ ¨ Éuù ª Éä

|ÉªÉÉä M É¨ÉxÉÖ V ÉÉxÉÉÊiÉ, ÊxÉ¹ÉÉnMÉÉxvÉÉ®ú É ±{Éi´Énù ¶ ÉÉªÉÉÆ xÉÉ¨ÉÉxiÉ®Æ ú SÉ Ê´ÉvÉkÉä * º´É®úuù ª ÉÆ
¹ÉbÂ ÷ V ÉOÉÉ¨Éä ¹ÉbÂ ÷ V ÉºÉÉvÉÉ®úhÉÆ , +xªÉjÉ ¨ÉvªÉ¨ÉºÉÉvÉÉ®úhÉÊ¨ÉÊiÉ* iÉSSÉä n Æ ù ¡ò±MÉÖ | ÉÉªÉÆ ±ÉIªÉiÉä ,
¨ÉÚ S UÇ ô xÉÉ Ê½þ º´É®ú º ÉÉvÉÉ®úhÉEÞ ò iÉÉ ¦É´ÉiÉÒiªÉÖ H ä ò ÊEò¨ÉxÉä x ÉÉ¦ªÉÊvÉEò¨ÉÖ H Æ ò ¦É´ÉÊiÉ* +xªÉä iÉÖ
OÉÉ¨Éuù ª Éä ´ªÉ´ÉºlÉÉÆ |Énù ¶ ÉÇ Ê ªÉiÉÖ Ê ¨ÉnÆ ù , iÉlÉÉ Ê½þ , ¹ÉbÂ ÷ V ÉOÉÉ¨Éä ¹ÉÉb÷ ´ ÉEò®úi´Éä x É ÊxÉ¹ÉÉnù &
EòÉEò±ÉÒ, +Éè b Ö ÷ Ê ´ÉiÉä MÉÉxvÉÉ®úÉä % xiÉ®úº´É®ú <ÊiÉ ¹ÉbÂ ÷ V ÉºÉÉvÉÉ®úhÉÆ ¨ÉvªÉ¨ÉOÉÉ¨Éä Ê´É{ÉªÉÇ ª Éä h Éä Ê iÉ
|ÉÉ½Ö þ & * iÉnù x Éä x ÉÉÊ{É ÊEòÎ\SÉnù É ¶ÉÊªÉiÉÆ ¦É´ÉÊiÉ* ªÉSSÉä n ù ¨ ÉÖ S ªÉiÉä ªÉºªÉ Eè ò Ê¶ÉEòÊ¨ÉÊiÉ iÉtÊnù
EòÉEò±ªÉxiÉ®ú ª ÉÉä º iÉlÉÉÊ{É ÊxÉ¹ÉÉnù M ÉÉxvÉÉ®ú M ÉiÉºªÉ OÉÉ¨É¦Éä n ä ù ¹ÉÉb÷ ´ ÉÉè b Ö ÷ Ê ´ÉiÉ|ÉEòÉ®úºªÉ
iÉnÖ ù Ê SÉiÉ|ÉEòÉ®ú º ªÉ iÉnÖ ù ¦ ÉªÉlÉÉÊ{É ¹ÉbÂ ÷ V ÉEè ò Ê¶ÉCªÉÉÆ {ÉÚ h ÉÇ º ´É®úÉªÉÉÆ Eè ò Ê¶ÉCªÉÉÆ SÉ
@ñ¹É¦ÉvÉè ´ ÉiÉ±ÉÉä { ÉÉä { ÉVÉÉiÉ¹ÉÉb÷ ´ ÉÉè b Ö ÷ Ê ´ÉiÉÉªÉÉÆ xÉ où ¶ ªÉiÉä * ¶ÉÖ r ù Ê ¦ÉzÉMÉÉè b ÷ ¨ ÉÉ±É´É -
¹ÉbÂ ÷ V ÉEè ò Ê¶ÉEòÉxÉÉ¨ÉÊ{É Eè ò Ê¶ÉEòÒVÉÉÊiÉºÉ¨¦É´É¨ÉÖq ä ù ¶ É .... ¦ªÉÉÆ ºÉ¨ÉªÉÉ¶SÉ
EòÉ¶ªÉ{É¨ÉÖ Ê xÉ|É¦ÉÞ Ê iÉÊ¦É¶SÉ nù Ì ¶ÉiÉ¨ÉÂ *
With 'two ways of svaras¡dh¡ra¸am...' etc., (the sage)

permits the employment of k¡kal¢ and antara in the two gr¡mas, in the
event of the rare occurrence of niÀ¡da and g¡ndh¡ra, and sanctions th e
chang e in n ame (k¡kal¢ for niÀ¡da, and antara for g¡ndh¡ra). Two
svaras are involved in Àa·jas¡dh¡ra¸am, in Àa·jagr¡ma, and in
madhyamas¡dh¡ra¸am in the other (madhyamagr¡ma). That
(s¡dh¡ra¸am) is just glimpsed here (in the explanation of k¡kal¢ and
antara), for, in speaking of th e m£ rcchan¡ which incorporates
svaras¡dh¡ra¸am, nothing else has been mentioned (lit. has anything
more been said?) Others point out that this (reference to the two
mann ers of svaras¡dh¡ra¸am) is to show the (difference in) procedur e
in the two gr¡mas. In Àa·jagr¡ma, in ren dering (the m£rcchan¡) À¡·ava,
niÀ¡da b ecomes k¡kal¢, and in rendering it au·uva, g¡ndh¡ra becomes
antara. In madhyamagr¡ma, Àa·jas¡dh¡ra¸am (svaras¡dh¡ra¸am?) is
said to take place in the reverse order (i.e., wh en the m£rcchan¡ is
99
made À¡·ava, g¡ndh¡ra becomes antara, and when it is rendered

au·uva, niÀ¡da becomes k¡kal¢). This could have been hinted at (by th e
description of svaras¡dh¡ra¸am as dvividham). (But) the qu alification
"whose (extent) is hairline <kai¿ikam>" has been made here (of one
s¡dh¡ra¸ am). Applying it to the niÀ¡da and g¡ndh¡ra that bring about
the reduction to h exatonic and pentatonic counts, differently, in the two
gr¡mas, is not borne out by either svara in âa·jakai¿ik¢ which
(always) has a full svara content, or in Kai¿ik¢, which becomes À¡·ava
or au·uva with the elision of ¤Àab ha and dhaivata. [The k¡kal¢ and
antara svaras have no place in these j¡tis, which carry the description
'kai¿ik¢' in th eir names. For, one of th em n ever becomes reduced in
svara content, and the oth er does not drop ga and ni in the process of
reduction. So kai¿ikas¡dh¡ra¸am must be another type of s¡dh¡ra¸am.]
In the (description of) ¿uddha, bhinn a, and gau· a and m¡lava (types of)
âa·jakai¿ika (r¡ga?), their origin in Kai¿ik¢ j¡ti ......(with
kai¿ikas¡dh¡ra¸am?) has been shown by the sag e K¡¿yapa and others.
(prose after v.34)
[Abhinava seems to be drawing out the

conception o f Àa·j as¡dh¡ra¸am and madhyamas¡dh¡ra¸ am,
known to him, which Bharata has not explained, from the phrase
'kai¿ikam' used in NS. And he interprets the two types of
svaras¡dh¡ra¸am, mentioned by Bharata, as 1. k¡kal¢ / antara,
involving the augmentation of ni or ga and 2. kai¿ikas¡dh¡ra¸ am,
involving a pair of notes - sa and ni or ma and ga.]
iÉº¨ÉÉÊnù i lÉ¨Éä i ÉÊnù i ªÉº¨Éi{É®ú¨ÉMÉÖ ® ú´É =i{É±Énä ù ´ É{ÉÉnù É ¨ÉxªÉxiÉä <½þ iÉÉ´ÉÊkÉ»ÉÉä uä ù
SÉiÉ»É <iªÉÉÊnù x ÉÉ º´ÉºlÉÉxÉº´É°ü{É¨ÉÖ H Æ ò iÉSSÉ®úÉ.... .... ....i´ÉÉi{ÉÉ®ú ¨ ÉÉÌlÉEÆ ò
|ÉÉEÞ ò iÉ°ü{É¨ÉÖ S ªÉiÉä * ¹ÉbÂ ÷ V É¶SÉiÉÖ ¶ ¸ÉÖ Ê iÉEò <iªÉÉnù É è ªÉÉ´ÉÊzÉ¹ÉÉnù É ä Êuù ¸ ÉÖ Ê iÉÊ ®ú Ê iÉ ªÉlÉÉ
ºÉÆ { ÉÚ h ÉÉÇ ´ ÉªÉ´ÉÆ |ÉÉÊhÉxÉÉÆ °ü{ÉÆ ( *) iÉä ¹ ÉÉ¨Éä ´ É i´ÉxªÉlÉÉ °ü{Éuù ª Éä % Ê{É ¶ÉÖ r Æ ù °ü{ÉÆ ÊUôzÉ{ÉÖ S UôÊ¨É´É
¶ÉÖ x ÉÉä Êuù { ÉÖ S Uôi´ÉÆ ´ÉÉ (*) iÉjÉ MÉÉxvÉÉ®úÊxÉ¹ÉÉnù ª ÉÉä Ì ´É´ÉÉÊnù i ´ÉÉkÉnÖ ù { ÉGò¨Éä SÉ Ê´ÉEÞ ò ÊiÉ¯ûHòÉ SÉ,
iÉÊuù E Þ ò iªÉÉ SÉ ¹ÉbÂ ÷ V É¨ÉvªÉ¨ÉÉ´ÉÊ{É Ê´ÉEÞ ò iÉÉè , {É\SÉ¨ÉºªÉ ÊjÉ¸ÉÖ Ê iÉEòÉÊ¦ÉvÉÉxÉä nù Ì ¶ÉiÉè ´ É
Ê´ÉEÞ ò ÊiÉ&* iÉnÂ ù u ù É ®ä ú hÉ vÉè ´ ÉiÉºªÉÉÊ{É @ñ¹É¦ÉºªÉ iÉÖ Ê´ÉEÞ ò ÊiÉ´ÉÇ H ò´ªÉÉ* BiÉnä ù ´ É nù ¶ ÉÇ ª ÉÊiÉ
º´É®ú º ÉÉvÉÉ®ú h ÉÆ Êuù Ê ´ÉvÉÆ uè ù O ÉÉÊ¨ÉCªÉÊ¨ÉÊiÉ*
Hence our paramaguru (preceptor's prec eptor), Utpalad®va, takes

this to mean that the description in terms of three, two, four etc. (¿rutis)
100
refers to the original, basic form of the svaras. (The series) beginning
with four ¿rutis belonging to Àa·ja, up to two ¿rutis belonging to
niÀ¡da, is similar to th e full-limbed form of living creatures. And
even when the same (scales) assume other forms, their identity is clear
<¿uddha>, just as, when the tail is missing or two tails are sported by a
dog, (it is the same dog). I t is because g¡ndh¡ra and niÀ¡da are v iv¡d¢,
that the description of alteration <vik¤ti> (in ¿ruti count) begins with
these (two svaras). As a matter of fact, when these are altered, Àa·ja
and madhyama also become vik¤ta. And vik¤ti has even earlier b een
shown in the three-¿ruti form of paµcama (belonging to
madhyamagr¡ma). In this way the vik¤ti of dhaivata, and that of ¤Àabha,
too, should be described. This is what (the sage) does, when he points
out the two ways of svaras¡dh¡ra¸am in the two gr¡mas . (prose
after v.34)
[Abhinava tries to trace the kai¿ikas¡dh¡ra¸am which he is about

to describe, to the vik¤ti of svaras, already apparent in the diminution of
paµcama, by a ¿ruti, in madhyamagr¡ma, as against its measure in
Àa·jagr¡ma. As a con sequence, dhaivata also gains one ¿ruti. So th e
loss and gain of a single ¿ruti, seen in kai¿ikas¡dh¡ra¸am, is already
seen in the madhyamagr¡ma paµcama and dhaivata. This means - the
svaras of Àa·jagr¡ma have been assumed to be ¿uddha by Abhinava.
This assumption has been preserved in later works, even after th e
gr¡ma system had been abandoned.]
ªÉnä ù i ÉiEòÉEò±ªÉxiÉ®ú±ÉIÉhÉÆ uù ª ÉÉä ® ú Ê {É OÉÉ¨ÉªÉÉä & º´É®úºÉÉvÉÉ®úhÉ¨ÉÖ H Æ ò iÉÎnÂ ù u ù Ê ´ÉvÉ¨ÉÂ *

+jÉ {ÉÞ S UôÊiÉ - Eòº¨ÉÉiÉÂ * +ªÉÆ ¦ÉÉ´É&* ªÉÊnù iÉiEòÉEò±ªÉxiÉ®ú ¦ Éä n ù É nÂ ù Êuù Ê ´ÉvÉi´ÉÆ iÉÌ½þ
{ÉÚ ´ ÉÇ ¨ Éä ´ ÉÉä H òÊ¨ÉÊiÉ, ËEò {ÉÖ x É¯ûCiªÉÉ* +lÉÉxªÉiÉ& |ÉEòÉ®ú É (nÂ ù ) Êuù Ê ´ÉvÉiÉÉ(*) ºÉ iÉÌ½þ ´ÉHò´ªÉ
<ÊiÉ,(?) <iÉ®úÉä % Ê{É(,) iÉÆ |ÉEòÉ®ú ¨ ÉÉ½þ º´É®ú º ÉÉvÉÉ®ú h É¨ÉjÉ º´É®ú Ê ´É¶Éä ¹ É <ÊiÉ EÞ ò i´ÉÉ
¹ÉbÂ ÷ V ÉºÉÉvÉÉ®ú h É¨ÉÖ S ªÉiÉä <ÊiÉ* ªÉnù É ÊxÉ¹ÉÉnù & ¸ÉÖ Ê iÉ¨Éä E òÉ¨ÉÖ i EÞ ò ¹ªÉiÉä @ñ¹É¦É¶SÉ, iÉnù É
ÊxÉ¹ÉÉnù Î ºjÉ¸ÉÖ Ê iÉ&, ¹ÉbÂ ÷ V ÉÉä Êuù ¸ ÉÖ Ê iÉ&, @ñ¹É¦ÉºiÉÖ SÉiÉÖ ¶ ¸ÉÖ Ê iÉÊ®ú Ê iÉ, iÉnù É ¹ÉbÂ ÷ V ÉºÉÉvÉÉ®úhÉÉè
uù É ¦ªÉÉÆ ÊxÉ¹ÉÉnù ¹ ÉÇ ¦ ÉÉ¦ªÉÉ¨ÉÖ { ÉVÉÒÊ´ÉiÉÉä ªÉiÉ& ºÉÆ { ÉzÉ& iÉiÉ& ¹ÉbÂ ÷ V ÉºÉÉvÉÉ®úhÉ¨ÉÂ *
This process of svaras¡dh¡ra¸am, described in the instance of

k¡kal¢ and ant ara in both th e gr¡mas, occurs in two ways. One may
ask - How (is it in two ways)? The purport (of the question) is - If the
two-foldness is because of the k¡kal ¢-antara distinction, then, why
101
repeat this, it has already been talked about. It is because t here is

another manner (of svaras¡dh¡ra¸am), that it has two ways. As th e
other (s¡dh¡ra¸am), too, has to be recorded, (the sage) speaks of the
other mann er (of svaras¡dh¡ra¸am), too - "Taking svaras¡dh¡ra¸am to
be a distinction (brought about) in the svara, Àa·jas¡dh¡ra¸am is
described." When niÀ¡da increases by one ¿ruti, and so also, ¤Àabha(,
when Àa·ja falls by one ¿ruti), then niÀ¡da becomes three -¿ruti, Àa·ja
two-¿ruti, and ¤Àabha four-¿ruti. Now, with this Àa·jas¡dh¡ra¸a process
accomplished, since it (Àa·ja) has to accommodate both niÀ¡da and
¤Àabha, it is called Àa·j as¡dh¡ra¸am. (prose after v.34)
MÉÉxvÉÉ®úÉä ªÉnèùEòÉÆ ¸ÉÖÊiÉ¨ÉÖiEÞò¹ªÉiÉä {É\SÉ¨É¶SÉ ¨ÉvªÉ¨ÉOÉÉÊ¨ÉEòÉä ¨ÉvªÉ¨É¸ÉÖÊiÉ¨ÉäEòÉÆ MÉÞ¼hÉÉÊiÉ vÉè´ÉiÉºiÉÖ

SÉiÉÖ¶¸ÉÖÊiÉEò B´É (+xªÉlÉÉ?) ¨ÉvªÉ¨ÉOÉÉ¨ÉiÉÉªÉÉÆ ½þÉÊxÉ&, iÉnùÉ ¨ÉvªÉ¨ÉºªÉÉä{ÉVÉÒ´ªÉi´ÉÉx¨ÉvªÉ¨ÉºÉÉvÉÉ®úhÉ¨ÉÂ*
When g¡ndh¡ra goes up by one ¿ruti in madhyamagr¡ma, and

the paµcama takes one ¿ruti of madhyama (which has gone down by
one ¿ruti), and dhaivata can only be of four ¿rutis, otherwise the
identity of madh yamagr¡ma will be lost, since madhyama has to
accommodate (g¡ndh¡ra and paµcama) now, this is
madhyamas¡dh¡ra¸am. (prose after v.34 )
xÉxÉÖ ÊxÉ¹ÉÉnù M ÉÉxvÉÉ®úªÉÉä Ì uù ¸ ÉÖ i ªÉÖ i Eò¹ÉÇ h Éä ºÉÉvÉÉ®úhÉ¨ÉÖ H Æ ò EòlÉ¨ÉvÉÖ x Éè E ò¸ÉÖ i ªÉÖ i Eò¹ÉÇ
<iªÉÉ¶ÉRÂ ó CªÉÉ½þ ºÉÉvÉÉ®ú h É¨ÉºªÉä Ê iÉ* º´É®ú º ´ÉªÉ&(?) |ÉÉHòxÉ°ü{ÉÉÊuù ¶ Éä ¹ ÉÉä ´Éè ± ÉIªÉhªÉÉi¨ÉÉ ºÉ
B´É º´É®úºÉÉvÉÉ®úhÉiÉÉªÉÉÆ |ÉªÉÉä M É&* +xÉä x É SÉè i ÉiºÉÚ S ÉªÉÊiÉ ºÉ´Éæ ¹ ÉÉÆ º´É®ú É hÉÉ¨ÉÖ S SÉxÉÒSÉi´É -
´Éè Ê SÉjªÉEÞ ò iÉÉä Ê HòÊ´É¶Éä ¹ ÉÉiEä ò ´É±ÉÆ MÉÉxvÉ´Éæ ÊxÉªÉ¨ÉÆ ( ¨ÉÉ?)où ¹ ]õ Ê ºÉnÂ ù v ªÉè BEò¸ÉÖ Ê iÉi´ÉÆ º´É®úÉhÉ ÉÆ
nù Ì ¶ÉiÉ¨ÉÂ , ´Éè Ê SÉjªÉxiÉ®Æ ú iÉÖ ®úÉMÉ¦ÉÉ¹ÉÉnù É è ±ÉIªÉä où ¶ ªÉiÉ B´É * iÉlÉÉ SÉ ´ÉÞ r ù E òÉ¶ªÉ{É& -
EòÉEò±ªÉxiÉ®ú ª ÉÉä M Éä x É SÉiÉÖ Î ºjÉnÂ ù ´ ªÉä E òiÉ& ¸ÉÖ i ÉÒxÉÂ *
º´É®ú É xºÉ´ÉÉÇ x |ÉªÉÖ \ VÉÒiÉ ®ú É MÉ¦ÉÉ¹ÉÉºÉÖ ºÉ´ÉÇ l ÉÉ **
º´É®ú É & ¹ÉbÂ ÷ V ÉÉnù ª É& ºÉ{iÉ iÉlÉÉ SÉÉä i EÞ ò ¹]õ { É \SÉ¨É&*
+lÉ vÉè ´ ÉiÉiÉ¶SÉÉxªÉ& EòÉEò±ªÉxiÉ®ú º ÉÆ Y ÉEòÉè * *
¹ÉbÂ ÷ V É¨ÉvªÉ¨ÉMÉÉxvÉÉ®ú É ¶SÉi´ÉÉ®ú <ÊiÉ ºÉ´ÉÇ l ÉÉ*
VÉÉÊiÉ¹´Éä i Éä |ÉªÉÉä H ò´ªÉÉ& º´É®ú É & {É\SÉnù¶Éè ´ É iÉÖ * *
But s¡dh¡ra¸am has been d escribed as the augmentation by two

¿rutis, of niÀ¡da and g¡ndh¡ra. How is it now augmentation by on e
¿ruti? Anticipating this doubt, (the sage) explains, "its s¡dh¡ra¸ am
102
<s¡dh¡ra¸amasya>...." A svara's changing from its original form,

appearing different - this is what is accomplish ed in svaras¡dh¡ra¸at¡.
By this he hints at the going up and coming down of all svaras, for
creating variety and lending distinction to expression. Only i n
g¡ndharva, because of the fixity of rule and its transcendent goal, the
¿ruti-measure of svaras h as been directed to be single / unvarying. As
or variety and ch ange (in svara measure), these are readily available in
practice, in r¡gas and bh¡À¡s. As V¤ddhak¡¿yapa (ancient sage
K¡¿yapa? ) has said -
Along with the inclusion of k¡kal¢ and antara, all kinds of

svaras, of four, three, two, or one ¿ruti, may be employed in r¡gas
and bh¡À¡s, everywhere. The seven svaras Àa·ja etc., paµcama with
increase (in ¿ruti measure, because of the fallen madhyama), t he
other (madhyama gr¡ma?) dhaivata, those named k¡kal¢ and antara,
(changing) Àa·ja, madhyama and g¡ndh¡ra - these four [?], all these
fifteen [?] svaras may be used in j¡tis everywhere. (prose after v.34)
+ºªÉ ±ÉIªÉä % ºÉÆ ¦ É´ÉÆ nù ¶ ÉÇ Ê ªÉiÉÖ Æ ºÉÆ Y ÉÉÆ Eò®ú É ä Ê iÉ +ºªÉ iÉÖ |ÉªÉÉä M ÉºªÉ ºÉÉè I ¨ªÉÉÊnù Ê iÉ*
iÉÖ º i´É´ÉvÉÉ®ú h Éä , +ºªÉè ´ É ¹ÉbÂ ÷ V É¨ÉvªÉ¨ÉºÉÉvÉÉ®ú h ÉºªÉä i ªÉlÉÇ & * ºÉÉè I ¨ªÉÆ
´Éè Ê SÉjªÉÊxÉ{ÉÖ h ÉºÉÉvªÉiÉÉ SÉ* Eè ò Ê¶ÉEòÊ¨ÉÊiÉ ºÉÖ E Ö ò ¨ÉÉ®ú¾þ t |ÉªÉÉä M ÉÉÎi¨ÉEòÉ Ê½þ Eè ò Ê¶ÉEòÒ ºÉÉ
Ê´ÉtiÉä ªÉjÉä i ªÉÉEòÉ®ú & * Eò(Eä ò )¶Éä ´ ÉÉÇ Eè ò Ê¶ÉEò¨ÉÂ * {ÉÉiÉÉOÉºÉÉè I ¨ªÉÉuä ù Ê iÉ {ÉÞ l ÉC|ÉªÉÉºÉÉä % ªÉÆ iÉjÉ
¹ÉbÂ ÷ V ÉMÉÉxvÉÉªÉÉÇ ¶ SÉ ¹ÉbÂ ÷ V ÉEè ò Ê¶ÉEòÒ VÉÉiÉä Ê iÉ* ¨ÉvªÉ¨ÉOÉÉ¨ÉÉÆ ¶ ÉÉä % {ªÉºªÉÉ ={ÉVÉÒ´ªÉiÉ <ÊiÉ
SÉiÉÖ & ¸ÉÖ Ê iÉEòvÉè ´ ÉiÉÆ |ÉÊiÉ{ÉtiÉä * nù É è ¤ ÉÇ ± ªÉÉSSÉ @ñ¹É¦ÉvÉè ´ ÉiÉÉ¦ªÉÉÆ SÉiÉÖ ¶ ¸ÉÖ Ê iÉEòÉ¦ªÉÉÆ ¦ÉÊ´ÉiÉ´ ªÉÆ
ªÉlÉÉEò±{ÉÆ ÊxÉ¹ÉÉnù M ÉÉxvÉÉ®ú É ¦ªÉÉ¨ÉÂ ( *)´ÉIªÉÊiÉ Ê½þ -
nù É è ¤ ÉÇ ± ªÉÆ SÉÉjÉ EòiÉÇ ´ ªÉÆ vÉè ´ ÉiÉºªÉ¹ÉÇ ¦ ÉºªÉ SÉ* <ÊiÉ (28-103) º´ÉªÉÆ SÉè ¹ É
¹ÉbÂ ÷ V ÉOÉÉ¨Éä h Éä Ê iÉ {É\SÉ¨Éä x É SÉiÉÖ & ¸ÉÖ Ê iÉEä ò xÉ ¦ÉÊ´ÉiÉÖ Æ ªÉÖ H òÊ¨ÉÊiÉ* Eè ò Ê¶ÉEò|ÉªÉÉä M Éä
¹ÉbÂ ÷ V ÉºÉÉvÉÉ®ú h ÉMÉ¨ÉxÉÉ(xÉ?)ªÉÉä M ÉÉiÉÂ ¹ÉbÂ ÷ V ÉEè ò Ê¶ÉEòÒ(* # )Eè ò Ê¶ÉCªÉÊ{É º´ÉªÉÆ ¨ÉvªÉ¨ÉOÉÉ¨ÉMÉÉ,
iÉä x ÉÉjÉ SÉiÉÖ ¶ ¸ÉÖ Ê iÉvÉê ´ ÉiÉ&, @ñ¹É¦ÉÉä % Ê{É SÉiÉÖ ¶ ¸ÉÖ Ê iÉ&, nù É è ¤ ÉÇ ± ªÉÆ @ñ¹É¦ÉºªÉÉjÉä Ê iÉ ´ÉIªÉiÉä ,
±ÉÉä { ªÉi´ÉÆ SÉ¹ÉÇ ¦ ÉvÉè ´ ÉiÉªÉÉä Ê ®úÊiÉ SÉiÉÖ ¶ ¸ÉÖ Ê iÉEòiÉªÉÉ ¦ÉÉ´ªÉ¨ÉÂ * vÉè ´ ÉiªÉÉ¹ÉÇ ¦ ÉÒ´ÉVÉÉ Ç ¶ SÉ
ºÉ´ÉÇ V ÉÉiÉªÉÉä % ºÉÉ(ªÉÉä ºÉÉ?)vÉÉ®ú h ÉÊ¨ÉÊiÉ ¹ÉbÂ ÷ V ÉOÉÉ¨ÉÉxÉÖ | É´Éä ¶ ÉÉSSÉiÉÖ ¶ ¸ÉÖ Ê iÉEòi´É´É¶ÉÉi{É \SÉ¨Éä x É
¦ÉÊ´ÉiÉ´ªÉÊ¨ÉÊiÉ Eè ò Ê¶ÉEòÉ{É®ú{ÉªÉÉÇ ª ÉÆ ¹ÉbÂ ÷ V É¨ÉvªÉ¨ÉºÉÉvÉÉ®úhÉÆ iÉ(i)ºlÉÉxÉ¨É{ªÉÎºiÉ,
iÉnÂ ù M ÉiÉÉÊiÉnä ù ¶ ÉÉkÉÖ Eè ò Ê¶ÉEòÊ¦ÉzÉEè ò Ê¶ÉEòÉÊnù O ÉÉ¨É®úÉMÉä Î ¹´ÉÊiÉ ºÉ´ÉÈ ºÉÖ º lÉ¨ÉÂ * BiÉnä ù ´ É
¨ÉiÉRÂ ó MÉÉSÉÉªÉÉÇ Ê nù Ê ¦ÉOÉÉÇ ¨ ÉºÉÉvÉÉ®ú Ê hÉiªÉÖ H ò¨ÉÂ * ¸ÉÖ Ê iÉºÉÉvÉÉ®úhÉÆ iÉÖ ºÉ´ÉÇ º ´É®ú É hÉÉ¨ÉÊxÉªÉiÉ -
¸ÉÖ Ê iÉEòi´É¨ÉÂ *
103
To sho w the difficulty (lit. impossibility) in bringing it to

perception, he uses the technical term (kai¿ikam?), and explains, "But
because of the subtlety of rendering, its
(name)...". The 'tu' serves to restrict the
denotation of 'its'. ' Its' refers to t he
s¡dh¡ra¸ am of Àa·ja and madhyama. By 'subtlety' h e means, "It can be
accomplished only by skill in variegation." By 'kai¿ikam' is meant the
form which accompanies th e kai¿ik¢ manner of performance which is
gentle and appealing. And (the term) kai¿ikam could be from k®¿a (hair).
[Kai¿ikam is fin e as hair.] The difference in effort is very slight like that
of......... From â¡·j¢ and G¡ndh¡r¢, âa·jakai¿ik¢ is born (from such
slight variation?) The four-¿ruti dhaivata of this (j¡ti) seems to show its
partial dependence on the madhyamagr¡ma, too. The four -¿ruti ¤Àabha
and dhaivata should be weak here, as ordained for (the four-¿ruti?)
niÀ¡da and g¡ndh¡ra. And he is going to enjoin -
"Here (in âa·jakai¿ik¢), dhaivata, as well as ¤Àabha, should be
rendered weak. " (28,103) As it is the Àa ·jagr¡ma paµcama here, it can
rightly remain itself, with its four-¿ruti measure. (But when it becomes
four-¿ruti in madhyamagr¡ma, it should be weak?). âa·jakai¿ik¢ (j¡ti)
results when Àa·ja becomes s¡dh¡ra¸a in kai¿ika pray°ga. Kai¿ik¢ (j¡ti)
belongs to madhyamagr¡ma, and so its dhaivata is four -¿ruti. Its ¤Àabha
is again of four ¿rutis, and the weakness of this ¤Àabha is going to b e
prescribed. (28,138) The omissibility of ¤Àabha and dhaivata (in this j¡ti)
implies that they should be of four-¿ruti measure. Excepting for Dh aivat¢
and ËrÀabh¢ (in which dhaivata and ¤Àabha ar e strong svaras), all j¡tis
admit (this kai¿ik¢) s¡dh¡ra¸am. As th e paµcama (of madh yama gr¡ma),
on account of becoming four -¿ruti (in the process of madhyama -
s¡dh¡ra¸am), must bring in Àa·j agr¡ma, this is yet another switch
wrought by kai ¿ikam, the s¡dh¡ra¸am involving Àa·ja and madhyama
(gr¡mas?) finding room here. It is because of their being part of this
process that all the gr¡mar¡gas Kai¿ika, Bhinnakai¿ika etc., have a
sound foundation. This is wh at Mata´ga and other preceptors have
referred to as gr¡mas¡dh¡ra¸am. By ¿ruti-s¡dh¡ra¸am is meant th e
lifting of restriction on the ¿ruti-(measure) of all svaras. (prose after v.34)
104
xÉxÉÖ ÊxÉ¹ÉÉnù º ªÉ EòÉEò±ÉÒÊiÉ Eòº¨ÉÉzÉÉ¨É, +É½þ Eò±Éi´ÉÉSSÉä Ê iÉ* SÉEòÉ®ú <Ç ¹ Énù l Éæ xÉè E òÉä
ºÉÉnä ù ¶ É& (?) <Ç ¹ ÉiEò±ÉºiÉÒµÉ¦ÉÉ´ÉÉä % Îº¨ÉÊzÉÊiÉ EòÉEò±ÉÒ <ÊiÉ, ªÉÊnù ´ÉÉ MÉÉè ® ú É Ênù i ªÉÉnù Ò EòÉ®ú &
EòÉEò±ÉÒºÉÆ Y Éä <ÊiÉ {ÉÉ`ä ö ÊxÉ¹ÉÉnù B´É ¹ÉbÂ ÷ V Éi´ÉÆ xÉÉ(xÉ?)|ÉÉ{iÉ& ÊUôzÉ {ÉÖ S Uô B´É ·Éä ´ É* +iÉ
B´É Ê´ÉEÞ ò iÉi´Éä x É |ÉÉvÉÉxªÉÉ¦ÉÉ´ÉÉnù x ÉÆ ¶ É&* xÉxÉÖ ºÉ{iÉ¦ªÉÉä ¨ÉÉ¦ÉÚ i ÉÂ +xªÉÉä , ÊxÉ¹ÉÉnù º iÉÖ
Ê´ÉEÞ ò iÉÉä % ºÉÉè xÉ ¹ÉbÂ ÷ V É <ÊiÉ* ÊEò¨ÉjÉ EòÉ®ú h É¨ÉÂ * +É½þ * +É{iÉÉä { Énä ù ¶ÉÉSSÉä Ê iÉ* SÉEòÉ®ú É ä
½ä þ i ´ÉxiÉ®úMÉÊiÉEòÉ®Æ ú tÉä i ÉªÉÊiÉ* {ÉÚ ´ ÉÈ Ê½þ ÊxÉ¹ÉÉnù v ÉÒ|É°üfø É ªÉÉÆ iÉnÂ ù ¤ ÉÖ Ê rù V ÉÉÇ i Éä Ê iÉ |ÉÉlÉ¨ªÉÉ kÉä x Éè ´ É
´ªÉ{Énä ù ¶ É&* +jÉ où ¹ ]õÉxiÉ¨ÉÉ½þ ±É´ÉhÉ®ú º É B´É iÉÒµÉ& IÉÉ®ú <ÊiÉ EòlªÉiÉä SÉÉhÉCªÉÉÊnù Ê ¦ÉºiÉÖ
¨ÉvÉÖ ® ú®ú º ÉÆ , ¨ÉvªÉ¨ÉÉoù ¹ É¦ÉMÉiÉÉè SÉÉxiÉ®úÉ(®ú?)ºªÉ |ÉªÉÉä M ÉÉnù É xiÉ®úº´É®ú i ´É¨ÉÂ *
But how does niÀ¡da get th e name 'k¡kal¢'? The answer is

"Because of its sweetnes s <kalatv¡cca >. [The next sentence
is not very clear, but the purport seems to be
- The 'ca' has been used in the sense of 'slight'..... As
there is a slight (increase in) sweetness, i.e., sharpening, it is k¡kal¢.
....... On th e injunction 'gaur¡dity¡d¢k¡raÅ' (of P¡¸ini), explaining the
'¢' in the term k¡kal¢), it is niÀ¡da itself and has not reach ed the
condition of Àa·ja, like the same dog with a shorn tail.] Because of this,
it is vik¤ta (altered), and has lost its prominence, and hence it cannot
serve as aÆ¿a. (Objection -) Let it not be another svara, different from
the seven (svaras), but why should it be called an altered niÀ¡da, and
not (an altered) Àa·ja? What is the reason / justification (for calling it
niÀ¡da)? H e replies - "From the teachings of preceptors, too
<¡pt°pad®¿¡cca>.....". The 'ca' here implies that this is one other
reason / support (for choosing the name 'niÀ¡da' for the svara. Th e
main reason is about to be expl ained.) Already niÀ¡da has been fixed in
the mind, that is primary, and so the same n ame is given (to the tonal
experience that takes its place). H ere he gives the illustration of salt.
Salt taste, itself, when intense, is called sharp. [The next part of the
senten ce is not clear, but th e reference seems to be C¡¸akya, wh o h as
made the distinction between the six tastes, and to sweetness.] As it is
rendered in the interval, while proceeding from madhyama to ¤Àabha,
this (g¡ndh¡ra) svara has an antara character. (prose after v.34)
------------------------------------------- ---
-----------
¦É´ÉiÉ¶SÉÉjÉ--
+xiÉ®úº´É®úºÉÆ ª ÉÉä M ÉÉä ÊxÉiªÉ¨ÉÉ®ú É ä Ê ½þºÉÆ ¸ ÉªÉ& *
105
EòÉªÉÉæ Á±{ÉÉä Ê´É¶Éä ¹ Éä h É xÉÉ´É®úÉä ½ þ Ò Eònù É SÉxÉ **35**

ÊGòªÉ¨ÉÉhÉÉä % ´É®úÉä ½ þ Ò ºªÉÉnù ± {ÉÉä ´ÉÉ ªÉÊnù ´ÉÉ ¤É½Ö þ & *
VÉÉÊiÉ®úÉMÉÆ ¸ÉÖ Ë iÉ SÉè ´ É ÊxÉ½þ x ªÉÉnù x iÉ®úº´É®ú & **36**<ÊiÉ **
These two (checks on their use ) are well
known -
The inclusion of the antara svara should
always be in ascent, and rarely, as a special
feature, and never in descent. (35)
If the antara svara is employed in descent, whether sparingly or
liberally, it will destroy the delightfulness <r¡ga> and tonal structure /
euphon y <¿ruti> of the j¡ti. (36) So they say.
+lÉÉjÉ ºÉÉvÉÉ®úhÉä =Hä ò ¶Éä ¹ ÉÆ EòÉÊ®úEòÉ´É±ªÉÉ¨ÉÉ½þ ¦É´ÉÊiÉ SÉÉjÉä Ê iÉ* ºÉÉvÉÉ®úhÉä

+xiÉ®úº´É®úÉt +É®ú É ä ½ þ Ò ¨ÉvªÉ¨ÉºiÉÆ ºÉÆ Ê ¸ÉiªÉ iÉiÉ @ñ¹É¦ÉÆ ÊVÉMÉÊ¨É¹ÉÖ h ÉÉ ªÉÊnù +ÉxiÉ®úº´É®ú &
|ÉªÉÖ V ªÉiÉä iÉnù É ºÉÉè ºÉ¨ªÉCUØ ô iÉÉè ªÉÉä M ÉÉä ¦É´ÉÊiÉ* ºÉnù É ±{ÉEòÉªÉÇ º iÉÖ Ê´É¹ÉªÉ B´É iÉºªÉ
Ê´ÉÊxÉªÉÉä M É&* xÉÉ´É®ú É ä ½ þ Ò ÊiÉ iÉºªÉÉnù É Ê´ÉÊiÉ ¶Éä ¹ É&* iÉä x ÉÉxiÉ®úº´É®ä ú |ÉªÉÖ H ä ò xÉ xÉªÉÉ´É®ú É ä ½ þ Ò
@ñ¹É¦É&, ºÉ ¨Éä . ...xÉ ªÉÉä V ªÉ <ÊiÉ* +xiÉ®úº´É®ä ú h É ºÉÆ ª ÉÉä M ÉÉä ªÉºªÉ ¨ÉvªÉ¨ÉºªÉ iÉÉoù M ÉÂ ªÉnù É
|ÉªÉÖ H òºiÉnù É +É®úÉä ½ þ h É¨Éä ´ É EòÉªÉÇ ¨ ÉÂ * ¨ÉvªÉ¨ÉÉnù x iÉ®úº´É®Æ ú |ÉªÉÖ V ªÉ ¨ÉvªÉ¨É +xªÉjÉ ´ÉÉ
+(+É?)®úÉä ½ þ h É¨Éä ´ É EòÉªÉÇ ¨ ÉÂ (**35**)
Having spoken of s¡dh¡ra¸am, he presents the r emaining (details)

in the seri es of k¡rik¡s - "bhavati c¡tra.." In (the employment of)
s¡dh¡ra¸ a in the course of descent to ¤Àabha, if the sing er returns to
(lit. rests on) the madhyama that comes (next) in ascent to the antar a
svara, in executing the an tara svara, that combination will be pleasing
to the ear. It (s¡dh¡ra¸ a svara) has to be always sparingly used, and its
choice should be solely dictated by the context (lit. subject
matter). The admonition 'not in descent
< n¡var°h¢>' should be supplemented by 'commencing from that
(s¡dh¡ra¸a svara)'. Hence, after singing the antara svara, descent to
¤Àabha should not be don e; it should be combin ed with ma. The
ma dhyama which is combined with the antara
svara, should always be rendered in the
ascending movement. If, (however,) after
madhyama, the antara svara is taken, madhyama
106
or other svara in the ascending course, alone,

should be rendered. (v. 35)
xÉx´ÉÉ®úÉä ½ þ h ÉÆ Eònù É ÊSÉzÉÉ´É®ú É ä ½ þ Ò ÊiÉ ªÉnÖ ù H Æ ò (?*) iÉnä ù ´ É pù f ø ª ÉÊiÉ ÊGòªÉ¨ÉÉhÉÉä % ´É®ú É ä ½ þ Ò
ºªÉÉÊnù Ê iÉ* +±{ÉÉä ¤É½Ö þ Ê ¦ÉÊ®ú Ê iÉ* .... .... Ê´É{ÉÖ ± ÉÉä ´ÉÉ Ê´ÉºiÉ®ú E òÉ±ÉÎºlÉÊiÉ ....jÉÉnù ® ú
<iªÉlÉÇ & * VÉÉiÉÒiªÉoù ¹ ]Æ õ , ®ú É MÉÊ¨ÉÊiÉ ®ú É ÊjÉoù ( ®úÊHòoÇ ù ) ¹]õ¡ò±ÉÆ , ¸ÉÖ i ÉÒÊiÉ
|ÉiªÉÖ { ÉEòÉ®ú(®ú É ä ? )´Éè ® úºªÉÆ xÉªÉiÉ <ÊiÉ xÉÉ¶ÉªÉiÉÒiªÉlÉÇ & * +xiÉ®ú º ´É®ú¶É¤nä ù x É SÉÉjÉ EòÉEò±ªÉÊ{É
ºÉÆ M ÉÞ ½ þ Ò iÉ <ÊiÉ EÞ ò iÉÉä % {ªÉªÉ¨Éä ´ É Gò¨É&*
* ¹ÉbÂ ÷ V ÉÆ EòÉEò±ÉÓ |ÉªÉÖ V ªÉ iÉ¨Éä ´ É º´É®ú É xiÉ®Æ ú ´ÉÉ®úÉä ½ ä þ ..... ÊEòÊ¨ÉiªÉÖ H ò¨ÉÂ * *36**
[* The last sentence in the AB passage

above, has been brought from the next
paragraph, connected with v.37 etc ., in the
GOS edn.]
( Question
- ) Ascent (has been
explained). What about the injunction " never
in descent(?) " This (prohibition) is
reinforced by (the following statement) - "If
descent is being executed.." "Whether
sparingly or liberally" - (this means) [the
next part of the sentence is incomplete, but
the reference seems to be to the exten ded use of
s¡dh¡ra¸ a svaras, over large durations.] By j¡ti (the sage is referring
to the) transcendent merit (lying in the faithful rendering of the
j¡ti ?), by r¡ga to the immediate fruit of pleasure, and by ¿ruti to.......
(The employment of antara svara in descent) leads to the loss in
delectability - destroys <n¡¿ayati> - this is the sense. By the word
' antarasvara ', k¡kal¢ is also compreh ended, and the same order
should be followed in executing it.
[The next sentence is incomplete, but the

purport seems to be - A fter rendering Àa·ja and k¡kal¢, the
same adjoining svara (Àa·ja) has to be ascended to.... Is this the
instruction? ] (v. 36)
107
VÉÉiÉÒÊ®ú n ù É xÉÓ ´ÉIªÉÉ¨É& -

VÉÉiÉªÉÉä % ¹]õÉnù ¶ Éä i ªÉä ´ ÉÆ ¥ÉÀhÉÉÊ¦ÉÊ½þ i ÉÆ {ÉÖ ® úÉ*
iÉÉºi´É½Æ þ ´ÉiÉÇ Ê ªÉ¹ªÉÉÊ¨É OÉ½þ É Æ ¶ ÉÉÊnù Ê ´É¦ÉÉMÉiÉ&**37** *
¹ÉÉbÂ ÷ V ÉÒ SÉè ´ ÉÉ¹ÉÇ ¦ ÉÒ SÉè ´ É vÉè ´ ÉiªÉlÉ ÊxÉ¹ÉÉÊnù x ÉÒ*
¹ÉbÂ ÷ V ÉÉä n ù Ò SªÉ´ÉiÉÒ SÉè ´ É iÉlÉÉ ´Éè ¹ÉbÂ ÷ V ÉEè Ê ¶ÉEòÒ**38**
¹ÉbÂ ÷ V É¨ÉvªÉÉ iÉlÉÉ SÉè ´ É ¹ÉbÂ ÷ V ÉOÉÉ¨ÉºÉÆ ¸ ÉªÉÉ&*
+iÉ >ðv´ÉÈ |É´ÉIªÉÉÊ¨É ¨ÉvªÉ¨ÉOÉÉ¨ÉºÉÆ Ê ¸ÉiÉÉ&**39**
MÉÉxvÉÉ®úÒ ¨ÉvªÉ¨ÉÉ¶SÉè ´ É MÉÉxvÉÉ®úÉä n ù Ò SªÉ´ÉÉ iÉlÉÉ*
{É\SÉ¨ÉÒ ®úHòMÉÉxvÉÉ®úÒ iÉlÉÉ MÉÉxvÉÉ®ú{É\SÉ¨ÉÒ**40**
¨ÉvªÉ¨ÉÉä n ù Ò SªÉ´ÉÉ SÉè ´ É xÉxnù ª ÉxiÉÒ iÉlÉè ´ É SÉ*
EòÉ¨ÉÉÇ ® ú ´ ÉÒ SÉ Ê´ÉYÉä ª ÉÉ iÉlÉÉxwÉÒ Eè ò Ê¶ÉEòÒ ¨ÉiÉÉ**41**
[* The verses 37 and 38 in the GOS edn. have been repeated in
44 and 45, with a slight difference in reading. As their proper place
seems to be there, after the enumeration of the j¡tis, we have removed
them and renumbered all the subsequent verses as '37' and so on.]
We shall speak of the j¡tis now -

The j¡tis have been spoken of as eighteen in number, by Brahm¡, in
an ancient era. I shall now throw light on them, distinguishing them by
their differentiating features such as graha and aÆ¿a. (37)
â¡·j¢, ËrÀabh¢, Dhaivat¢, NiÀ¡din¢, âa·j°d¢cyavat¢, âa·jakai¿ik¢ and
âa·jamadhy¡ are the j¡tis residing in âa·jagr¡ma. (38 -39ab)
After that I sh all name (th e j¡tis) belonging to the Madhyamagr¡ma.
They are G¡ndh¡r¢, Madhyam¡, G¡ndh¡r°d¢cyav¡, Paµcam¢,
Raktag¡ndh¡r¢, G¡ndh¡rapaµcam¢, Madhyam°d¢cyav¡, Nandayant¢,
K¡rm¡rav¢, Ëndhr¢ and Kai¿ik¢. (39cd-41)
iÉi|ÉºÉRÂ ó MÉÉnù É ½þ * VÉÉiÉÒÊ®ú n ù É xÉÒÊ¨ÉÊiÉ* VÉÉªÉiÉä ¶ÉÖ r ù Ê ¦ÉzÉMÉÉè b ÷ ® úÉMÉ-

ºÉÉvÉÉ®ú h É¦ÉÉ¹ÉÉÊ´É¦ÉÉ¹ÉÉi¨ÉEÆ ò ®úÒ(MÉÒ?)ÊiÉºÉ{iÉEÆ ò (+?)où ¹ ]õÊºÉÊrù ¦ ÉÉÇ ´ É®úºÉÉä { É®ú\VÉxÉÆ SÉ
ªÉiÉºiÉiÉÉä VÉÉiÉªÉ&* ¥ÉÀhÉä Ê iÉ +É{iÉÉMÉ¨É¨ÉºªÉÉxÉxªÉlÉÉ¦ÉÉ´É¨ÉÉ½þ * ´ÉiÉÇ Ê ªÉ¹ªÉÉÊ¨É ¾þ n ù ª Éä
´ÉiÉÇ ¨ ÉÉxÉÉ& |ÉÊ´É¶ÉÎxiÉ ±ÉIÉhÉGò¨Éä h É OÉ½þ É Æ ¶ ÉiÉÉ®ú ¨ Éxp-¹ÉÉb÷ ´ ÉÉè b Ö ÷ Ê ´ÉEòÉÊnù Ê ´É¦ÉÉMÉÉä H ä ò xÉ
|ÉEòÉ¶ÉÊªÉ¹ªÉÉ¨ÉÒiªÉlÉÇ & * ¹ÉbÂ ÷ V ÉOÉÉ¨ÉMÉiÉÆ ¸ÉÖ Ê iÉÊ´É¦ÉÉMÉÆ ºÉ¨{ÉtiÉä SÉÉä { ÉVÉÒ´ÉiÉÒÊiÉ iÉnù É ¸ÉªÉÉ& *
B´ÉÆ ¨ÉvªÉ¨ÉOÉÉ¨ÉÉ¸ÉªÉÉ +Ê{É ÎºlÉiÉÉ&**37-41**
108
As this is the context for bringing them in , he proposes to speak

of j¡tis <j¡t¢rid¡n¢m>. As they give rise to the seven types of r¢tis
(g¢tis?) - ¿uddha, bhinna, gau· a, r¡ga, s¡dh¡ra¸a, bh¡À¡, vibh¡À¡,
and achieve both the intangible fruit (of merit) and the (tangible end of)
embellishing bh¡va (emotion) and rasa (its delightful presentation in
n¡¶ya), they are j¡tis. By alluding to Brahm¡ < brahma¸¡>, he is
affirming the infallible truth of the learning / art handed down by
trustworthy authorities. By 'vartayiÀy¡mi...' he means - "I shall cl arify
the various defining features - graha, aÆ¿a, t¡ra, mandra, À¡·ava and
au·uva reductions etc., (of j¡tis), in their order of enumeration, so that
they stay in th e mind." (or "All the knowledge deposited in my mind,
about the (j¡ti)lakÀa¸ as - graha, aÆ¿a, t¡ra, mandra, À¡·ava and
au·uva reductions etc., I sh all bring to light.") As the ¿ruti arrangement
proper to Àa·jagr¡ma obtains in them and is dependent on them,
(some j¡tis) are placed in that (Àa·jagr¡ma). Similarly, some are placed
in madhyamagr¡ma. (37-41)
--------------------------------------------------------------------
º´É®úºÉÉvÉÉ®úhÉMÉiÉÉÎºiÉ»ÉÉä YÉä ª ÉÉºiÉÖ VÉÉiÉªÉ&*
¨ÉvªÉ¨ÉÉ ¹ÉbÂ ÷ V É¨ÉvªÉÉ SÉ {É\SÉ¨ÉÒ SÉè ´ É ºÉÚ Ê ®úÊ¦É&**42**
+ÉºÉÉ¨ÉÆ ¶ ÉÉºiÉÖ Ê´ÉYÉä ª ÉÉ& ¹ÉbÂ ÷ V É¨ÉvªÉ¨É{É\SÉ¨ÉÉ&*
ªÉlÉÉº´ÉÆ nÖ ¤ ÉÇ ± ÉiÉ®Æ ú ´ªÉiªÉÉºÉÉk´ÉjÉ {É\SÉ¨ÉÒ**43**
Three j¡tis are (to be) noted by the experts to undergo
svaras¡dh¡ra¸aÆ. T hey are Madhyam¡, âa·jamadhy¡ and Paµcam¢.
(42)
The aÆ¿as (that permit svaras¡dh¡ra¸am) should be identified
(from among) Àa·ja, madhyama and paµcama, for each individual (j¡ti,
among these three). [The s¡dh¡ra¸a svaras?] should be rendered
weaker than [the svaras?] they are substituting. [The last part of the
verse referring to Paµcam¢ is unintelligible.] (43)
ÊiÉ»É& º´É®(ºÉÉvÉÉ®ú h É)ú M ÉiÉÉ B´É* iÉÉºÉÖ Ê½þ ÊxÉ¹ÉÉnù M ÉÉxvÉÉ®úªÉÉä &
¹ÉÉb÷ ´ ÉÉè b Ö ÷ Ê ´ÉiÉEò®úi´ÉÊ¨ÉÊiÉ {ÉÚ ´ ÉÉÇ ´ ÉºlÉÉªÉÉÆ ´ÉGòÉ´ÉÊ{É iÉÉè nÖ ù ¤ ÉÇ ± Éi´ÉÉÊuù E Þ ò iÉÉè
EòÉEò±ªÉxiÉ®ú É i¨ÉÉxÉÉè ¦É´ÉiÉ&* iÉä x É º´É®úºÉÉvÉÉ®úhÉºªÉÉªÉÊiÉiÉi´ÉÉnù j ÉÉÊ{É |ÉªÉÉä M É&* iÉlÉÉÊ½þ
(¶ÉÖ r ù ¹ ÉbÂ ÷ V ÉÉ)ªÉÉÆ EòÉEò±ÉÒ |ÉªÉÉä M ÉÉä où ¶ ªÉiÉä (<ÊiÉ) ÊxÉnù ¶ ªÉÇ +xÉÆ ¶ Éi´Éä nù É è ¤ ÉÇ ± ªÉÉkÉjÉÉºÉÉÆ
EòÉå % ¶É& ºÉÉvÉÉ®úhÉÊ´É¹ÉªÉ <iªÉÉ½þ +ÉºÉÉ¨ÉÆ ¶ ÉÉ <ÊiÉ* ªÉlÉÉº´ÉÊ¨ÉÊiÉ ¹ÉbÂ ÷ V É¨ÉvªÉ¨ÉºÉ{iÉÉÆ ¶ ÉÉ&
iÉjÉ ÊxÉ¹ÉÉnù M ÉÉxvÉÉ®ú ª ÉÉä º iÉÉ´ÉnÆ ù ¶ ÉªÉÉä & xÉÉÎºiÉ ºÉÉvÉÉ®úhÉÆ ºÉ¨É{Éä ¹ ÉÖ ºÉÉÊiÉ¶ÉªÉºiÉi|ÉªÉÉä M É&,
109
¨ÉvªÉ¨ÉÉªÉÉ +{ªÉä ¹ É Ê´ÉÊvÉ&, ºÉ Ê½þ Êuù ¸ ÉÖ Ê iÉ´ÉVÉÈ {É\SÉÉÆ ¶ ÉÉÆ ¶ ÉÉ&* {É\SÉ¨ªÉÉºiÉÖ
@ñ¹É¦É{É\SÉ¨ÉÉ´ÉÆ ¶ ÉÉè +Étä . ..Ê´ÉiÉÆ ªÉä x É {É\SÉ¨É B´ÉÉºªÉÉÆ ( *)
EòÉEò±ªÉxiÉ®ú ª ÉÉä M É|ÉºÉÆ M ÉÉnù º ªÉÉ¨ÉxªÉnù É ½þ nÖ ù ¤ ÉÇ ± ÉiÉ®ú º ªÉ ´ªÉiªÉÉºÉä nÖ ù ¤ ÉÇ ± ÉMÉÉjÉÆ EòiÉÇ ´ ªÉ¨ÉÂ * iÉä x É
¹ÉÉb÷ ´ ÉEòÉÊ®úhÉÉä MÉÉxvÉÉ®úºªÉ ºlÉÉxÉä nÖ ù ¤ ÉÇ ± Éä x ÉÉxiÉ®ú º ´É®ä ú hÉ ªÉjÉ ¦ÉÉ´ªÉÆ iÉjÉÉºÉÉè nÖ ù ¤ ÉÇ ± ÉiÉ®ú&
EòiÉÇ ´ ªÉ&* +Éè b Ö ÷ Ê ´ÉiÉEòÉÊ®ú Ê xÉ¹ÉÉnù º lÉÉxÉä nÖ ù ¤ ÉÇ ± ÉiÉ®úEòÉE ò±ÉÒºÉRÂó MÉÉä nÖ ù ¤ ÉÇ ± É& EòÉEò±ÉÒ EòiÉÇ ´ ªÉ&
<ÊiÉ***42-43**
Three (j¡tis) admit of svara(s¡dh¡ra¸am). In them, niÀ¡da and

g¡ndh¡ra (are o mitted) in rendering (the j¡ti) À¡·ava and au·u va. These
svaras are already, in their original state, rendered with a t urn (shake?),
are weak, and become altered into k¡kal¢ and antara forms.
Svaras¡dh¡ra¸am having been let in through this (weakness), now th e
same way of handling (continues, keepin g them weak, and finally eliding
them?). So, after showing how k¡kal¢ us age comes about (lit. is
observed) in (áuddh aÀa·j¡)[?], since, not being the aÆ¿a is the
condition of weakness, he sets out to find out, "Which of the aÆ¿as (in
these j¡tis) <¡s¡maÆ¿¡> are concern ed with s¡dh¡ra¸am?" The phrase
'according to each individu al case <yath¡svaÆ>' means,( taking the
three j¡tis one by one) - "All the seven svaras are aÆ¿as in
âa·jamadhy¡, so when niÀ¡da or g¡ndh¡ra is the aÆ¿a, s¡dh¡ra¸am is
not possible, but when sa, ma or pa is the aÆ¿a, it occurs profusely.
The same rule hold s in Madhyam¡, which has the five (svaras), other
than the two-¿ruti ones (g¡ndh¡ra and niÀ¡da), as aÆ¿as. I n Paµcam¢,
¤Àabha and paµcama are the aÆ¿as, ...., hence paµcama alone (serving
as aÆ¿a, permits s¡dh¡ra¸ am) in this (j¡ti). Now the inclusion of k¡ kal ¢
/ antara is th e next problem. So he gives the additional instruction, "In
substituting the weaker (svara, with the s¡dh¡ra¸a svara)
<durbalatarasya vyaty¡s®>...". This means they should be rendered
weak in form. Hence, when the hexatonic reduction tak es place on
account of g¡ndh¡ra, the antara svara replacing it, which should
normally b e weak, should be made weaker. In the place of niÀ¡da,
which is responsible for the pentatonic redu ction, the weak k¡kal ¢
should be included as a weaker k¡kal¢. (42-43)
[Later writers seem to have connected the phrase 'vyaty¡s® ' in

NS with Paµcam¢ alone. They interpret vyaty¡sa as 'reversal'. The
weaker of two weak notes, g¡ndh¡ra and niÀ¡da, is dropped in the
110
À¡·ava operation (in a j¡ti), and both in the au·uva o peration. Th e

antara g¡ndh¡ra, which finds place in the j¡ti in the À¡·ava process,
should be weaker than the k¡kal¢ ni (which enters the j¡ti in the
au·uva process). But in the case of Paµ cam¢, it is the reverse. It is the
k¡kal¢ ni which enters th e j¡ti in the au·uva state, that is th e weaker of
the two notes.]
----------------------------------------------------------------
º´É®úVÉÉiÉªÉ& ¶ÉÖ r ù É Ê´ÉEÞ ò iÉÉ¶SÉ* iÉjÉ ¶ÉÖ r ù É & ¹ÉÉbÂ ÷ V ÉÒ, +É¹ÉÇ ¦ ÉÒ, vÉè ´ ÉiÉÒ, ÊxÉ¹ÉÉÊnù x ÉÒ
SÉ ¹ÉbÂ ÷ V ÉOÉÉ¨Éä * MÉÉxvÉÉ®ú Ò ¨ÉvªÉ¨ÉÉ {É\SÉ¨ÉÒÊiÉ ¨ÉvªÉ¨ÉOÉÉ¨Éä * BiÉÉ¶SÉÉxªÉÚ x Éº´É®ú É &
º´Éº´É®úÉÆ ¶ ÉOÉ½þxªÉÉºÉÉ{ÉxªÉÉºÉÉ¶SÉ*
Svaraj¡tis are ¿uddh¡ (in their original form) and vik¤t¡ (modified /
altered). In âa·jagr¡ma, (the svaraj¡tis) â¡·j¢, ËrÀabh¢, Dhaivat¢ and
NiÀ¡din¢ are (i.e., can be) ¿uddha. In Madhyamagr¡ma, G¡ndh¡r¢,
Madhyam¡ and Paµcam¢ (can be ¿uddha). [None of the other j¡tis h as
a ¿uddha form, as they are not svaraj¡tis. They are all vik¤ta.] These
(¿uddh¡ j¡tis) are not deficient in svara content (i.e., possess all the
seven svaras) and have the svara after which they are named
<svasvara> functioning as aÆ¿a, graha, ny¡sa and apany¡sa. (prose
after v. 43)
+lÉÉºÉÉÆ VÉÉiÉÒxÉÉÆ Ê´É¦ÉÉMÉ¨ÉÉ½þ º´É®ú V ÉÉiÉªÉ <ÊiÉ º´É®úxÉÉ¨xªÉ <iªÉlÉÇ & * iÉÉºÉÉÆ
OÉÉ¨ÉÊ´É¦ÉÉMÉ¨ÉÉ½þ iÉjÉú ¶ÉÖ r ù É & ¹ÉbÂ ÷ V Éä i ªÉÉÊnù * ¶ÉÖ r ù É xÉÉÆ ±ÉIÉhÉ¨ÉÉ½þ iÉÉ <ÊiÉ* +xªÉÚ x Éº´É®ú É &
{ÉÚ h ÉÇ º ´É®ú É & ªÉÉä xÉÉ¨ÉEòÉ®ú Ò º´É®úÉÆ ¶ ÉÉÊnù ° ü{ÉÉä ªÉÉºÉÉ¨ÉÂ * SÉEòÉ®ú& ºÉ¨ÉÖ S SÉªÉä *
Then he speaks of the classification of j¡tis - 'svaraj¡tis..' The

reference is to the j¡tis whi ch take th e names of individual svaras (e.g.,
â¡·j¢). He then groups them into their respective gr¡mas - 'there, the
¿uddh¡ (j¡tis) are âa·ja ' etc. [NS rea ds 'â¡·j¢'.] He describes the
marks of the ¿uddh¡ (j¡tis). By 'not lacking in any svara' he means
'complete in svara content'. [By svasvara] he means th at the svara
naming (the j¡ti) serves as the aÆ¿a etc. The ' ca' means "all (these
functions must be performed by th e naming svara in the ¿uddh¡
svaraj¡tis)." (prose after v. 43)
Ê´ÉEÞ ò iÉÉ ±ÉIªÉxiÉä ( *) iÉä ¦ ªÉÉä % xªÉiÉ¨Éä x É uù É ¦ªÉÉÆ ¤É½Ö þ Ê ¦É´ÉÉÇ ±ÉIÉhÉè Ì ´ÉÊGòªÉÉ¨ÉÖ { ÉMÉiÉÉ
xªÉÉºÉ´ÉVÉÈ Ê´ÉEÞ ò iÉºÉÆ Y ÉÉ ¦É´ÉÎxiÉ* xªÉÉºÉÊ´ÉvÉÉ´É{ªÉÉºÉÉÆ ¨Éxpù É ä ÊxÉªÉ¨É& Ê´ÉEÞ ò iÉÉº´ÉÊxÉªÉ¨É&*
iÉjÉè E òÉnù ¶ É ºÉÆ º ÉMÉÇ V ÉÉ(*) Ê´ÉEÞ ò iÉÉ +(?){É®úº{É®úºÉÆ º ÉMÉÉÇ n ä ù E òÉnù ¶ É ÊxÉ´ÉÇ i ÉÇ ª ÉÎxiÉ *
111
Vik¤t¡ (j¡tis) are (now) described. From among them (the svar a
j¡tis), those which have undergone alteration in any one, two or many
of their lakÀa¸as, other th an n y¡sa, are termed vik¤t¡ (altered). In
them (¿uddh¡ j¡tis), ny¡sa is by rule to be rendered in the lower
register. But in th e vik¤t¡ (j¡tis) the rule is relaxed. There are eleven
saÆsargaj¡ (j¡tis). By combining with each oth er, vik¤t¡ (j¡tis) bring
into being eleven ( saÆsargaj¡ j¡tis). (prose after v. 43)
Ê´ÉEÞ ò iÉÉxÉÉÆ xÉè i É±±ÉIÉhÉÊ¨ÉiªÉÉ½þ Ê´ÉEÞò iÉÉ ±ÉIªÉxiÉä B¦ªÉ <ÊiÉ* {ÉÚ h ÉÇ O É½þ É ä ( ½þÉ){É-
xªÉÉºÉä ¦ ªÉ&* iÉnù É ½þ xªÉÉºÉ´ÉVÉÇ Ê ¨ÉÊiÉ* Ê´ÉEÞ ò iÉºÉÆ Y ÉÉ <ÊiÉ Ê´ÉEòÉ®ä ú ºÉ¨ªÉCYÉÉxÉÆ Ê´É¶Éä ¹ ÉiÉÉä
ªÉÉºÉÉÆ , iÉä x É ¹ÉÉb÷ ´ ÉÊ´ÉEÞ ò iÉÉ, OÉ½þ Ê ´ÉEÞ ò iÉÉ, +Æ ¶ ÉÊ´ÉEÞ ò iÉÉ, OÉ½þ É Æ ¶ ÉÉä ( ¶É É){ÉxªÉÉºÉÊ´ÉEÞ ò iÉÉ <ÊiÉ
Ê´É¦ÉÉMÉ&*
To show that this description does not apply to the vik¤t¡ (j¡tis),
he continues - 'Vik¤t¡ (j¡ti)s are now defined. From these...' (Differing)
from (¿uddh¡ j¡tis in) the completeness <p£r¸a> (of svara content),
graha and apan y¡sa... [Since n y¡sa cannot alter] he says ('differing in
any of the lakÀa¸as) excepting ny¡sa'. The 'vik¤ta' designation,
meaning 'clearl y perceived to h ave ch anged in form', belongs to those
(j¡tis) that exhibit this difference'. So the division (of j¡tis into cl asses
on the basi s of) alteration to a hexatonic [or pentatonic?] form,
difference in graha, or in aÆ¿a, or in graha, aÆ¿a and apany¡sa, comes
about.
xÉx´Éä ´ ÉÆ * xªÉÉºÉ¦ÉÉMÉä ¶ÉÖ r ä ù i É®úÊ´É¦ÉÉMÉ& EòlÉÊ¨ÉiªÉÉ½þ xªÉÉºÉÊ´ÉvÉÉ´É{ÉÒÊiÉ* iÉÉºÉÉÆ

VÉÉiÉÒxÉÉÆ ¨ÉvªÉä % Ê{É ªÉÉ& ¶ÉÖ r ù É ºiÉÉºÉÖ xÉÉ¨ÉEòÉ®úÒ ªÉÉä xªÉÉºÉ& ÊxÉªÉ¨Éä x É ¨Éxpù É ä ¦É´ÉÊiÉ,
Ê´ÉEÞ ò iÉÉºÉÖ i´ÉÊxÉªÉ¨É&* xªÉÉºÉÉxiÉ®ú ¨ ÉÉMÉÇ ± ÉIÉhÉä . ....UôÉªÉÉÊªÉxÉÉ(?) °ü{Éä h É Ê´ÉEÞ ò (iÉ)i´Éä % Ê{É
iÉpÚ ù { ÉÉÊ´É¦ÉÉºÉ&(?)*
[*Th e GOS edn. adds (OÉ½þ É {É) here. Since NS has laid down the
rule that all the lakÀa¸as other than the ny¡sa may be changed to draw
out the vik¤t¡ j¡tis from the ¿uddh¡ j¡tis, but goes on to show that even
in the rendering of ny¡sa, the vik¤t¡ j¡tis may differ, w e have taken AB
to be explaining this particular difference, and have removed the GOS
addition to the text.]
112
But with respect to ny¡sa, how does the vik¤t¡ (lit.'other than
¿uddh¡') differ? To answer this question he says "Even in the execution
of ny¡sa..." Among the j¡tis, in those which are ¿uddha, the ny¡sa
(svara) which names (the j¡ti), is by rule (rendered) in the mandra
region, but in vik¤t¡ (j¡tis) this rule is relaxed. [The next sentence h as
gaps and probably wrong reading too, but the purport seems to be -
even when vik¤t¡, the j¡ti resembl es the ¿uddh¡ j¡ti, in the concluding
svara, melodic movement etc., and can be traced to it.] (prose after v.
43)
xÉx´Éä ´ ÉÆ ºÉ{iÉÉxÉÉÆ Ê´É¦ÉÉMÉ =Hò& +¹]õ É nù ¶ É SÉÉä Ê qù ¹ ]õ É <iªÉÉ¶ÉÆ C ªÉÉ½þ iÉjÉä Ê iÉ* B´ÉÆ
ºÉ{iÉºÉÖ ÎºlÉiÉÉÎº´ÉiªÉlÉÇ & * iÉÉºÉÉÆ ºÉÆ º ÉMÉÉÇ Ê nù i ªÉÉ½þ Ê´ÉEÞ ò iÉÉ <ÊiÉ xÉ iÉÖ ¶ÉÖ r ù É <iªÉlÉÇ & *
BEòÉnù ¶ Éä Ê iÉ Eò¨ÉÇ { Énù ¨ ÉÂ *
But so far only the classification of the seven (svaraj¡tis into

¿uddha and vik¤ta types) has been explained. But eighteen j¡tis have
been enumerated in the Contents. To clear this doubt, he says,
"There..." This means 'Upon the seven (svaraj¡tis) becoming (vik¤ta) in
this manner,...'. Wh en he says, 'from their combination', he is referring
to the vik¤t¡, not to the suddh¡ (j¡tis). [It is fr om the combination of the
vik¤t¡ j¡tis which result from the ¿uddh¡ j¡tis by the redu ction in svara
content, or alteration in any j¡tilakÀa¸a other than ny¡sa, that the
saÆsargaj¡ j¡tis result.] 'Eleven' is the object (of the sentence). [The
vik¤t¡ forms of the svara-j¡tis combine to bring about the eleven
saÆsargaj¡ j¡tis.] (prose after v. 43)
-----------------------------------------------------------------------------
ªÉlÉÉ -
¶ÉÖ r ù É Ê´ÉEÞ ò iÉÉ¶SÉè ´ É Ê½þ ºÉ¨É´ÉÉªÉÉVVÉÉiÉªÉºiÉÖ VÉÉªÉxiÉä *
{ÉÖ x É®ä ú ´ ÉÉ¶ÉÖ r ùEÞ ò iÉÉ ¦É´ÉxiªÉlÉè E òÉnù ¶ ÉÉxªÉÉºiÉÖ * *44**
iÉÉºÉÉÆ ªÉÊzÉ´ÉÞ Ç k ÉÉ&(Ç k ÉÉ?) º´É®ä ú ¹´ÉlÉÉÆ ¶ Éä ¹ ÉÖ Ö VÉÉÊiÉ¹ÉÖ * SÉ VÉÉÊiÉ&*
iÉuù I ªÉÉÊ¨É ªÉlÉÉ´ÉiºÉÆ I Éä { Éä h É Gò¨Éä h Éä ½ þ **45**
[*AB seems to take the reading ½þ É ÊxÉ¹ÉÖ here.]
As has b een said -

There are ¿uddh¡ and vik¤t¡ j¡tis, and from their combination, the
eleven other, even more altered (lit. rendered impure), j¡tis result. (44)
113
The breed <j¡ti> (of saÆsargaj¡ j¡tis?) which is born in the

varieties <j¡tiÀu> in th e svaras and aÆ¿as (in the seven svara-j¡tis?) -
I shall now speak briefly of their (origin), taking them up one by one .
(45)
[The translation h as divided the expression in v.44 in this

mann er, and stretched v. 45 to mean more than it says, on the basis of
the enumeration of saÆsargaj¡ j¡tis which follows. AB interprets
'samav¡ya' in v.44 to apply to the genesis of all j¡tis; i.e., samav¡ya is
the collective presence of all the tonal requisites of the creation of
specific melodies. We have interpreted the word to mean the comi ng
together of two or more j¡tis to create the el even saÆsargaj¡ j¡tis, and
hence, have taken the next verse to refer to the brief account of the
birth of saÆsargaj¡ j¡tis. The enumeration of the saÆsargas follows
immediatel y in NS.]
BiÉnä ù ´ É ºÉÆ I Éä { iÉÖ ¨ ÉÉªÉÉÇ ¨ ÉÉ½þ -

¶ÉÖ r ù É Ê´ÉEÞ ò iÉÉ¶SÉè ´ É Ê½þ ºÉ¨É´ÉÉªÉÉVVÉÉiÉªÉºiÉÖ VÉÉªÉxiÉä <ÊiÉ* ÊxÉ½æ þ i ÉÉè ºÉ¨É´ÉÉªÉÉiÉÂ
¸ÉÖ Ê iÉº´É®ú O É½þ É Ênù º É¨ÉÚ ½ þ É tiÉÉä VÉÉªÉiÉä iÉiÉÉä VÉÉiÉªÉ <ÊiÉ ÊxÉ´ÉÇ S ÉxÉ¨ÉÂ * ¶ÉÖ r ù É Ê´ÉEÞ ò iÉÉ¶SÉä Ê iÉ
Ê´É¦ÉÉMÉ&* B´ÉEòÉ®ä ú h É ¶ÉÖ r ù É xÉÉ¨Éä ´ É Ê½þ Ê´ÉEÞ ò iÉi´É¨ÉÂ * xÉ iÉÖ VÉÉiªÉxiÉ®úi´É¨ÉÖ H ò¨ÉÂ *
{ÉÖ x É®ä ú ´ Éä Ê iÉ ¶ÉÖ r ù É Ê¦ÉÌ´ÉEÞ ò iÉÉ& EÞ ò iÉÉ&, iÉÉÊ¦Éºi´Éä E òÉnù ¶ Éä Ê iÉ {ÉÖ x É& ¶É¤nù É ä ´ªÉÊiÉ®ä ú EòÉlÉÇ & *
BEòÉnù ¶ Éè ´ É xÉÉÊvÉEòÉ&* iÉÖ ´ ªÉÇ Ê iÉ®ä ú Eä ò , iÉÉºÉÖ {É®ú´ªÉÊiÉÊ®ú H òÉ xÉÉ¨É´ÉÉSªÉÉ&, xÉ iÉÖ ¶ÉÖ r ù É &
¦ÉÚ i ÉÊ´ÉEÞ ò iÉ´ÉiEòÉ®úhÉxÉÉ¨ÉvÉä ª ÉÉ B´É* +lÉä Ê iÉ ºÉ¨ÉÖ S SÉªÉä EòÉ®úhÉxÉÉ¨ÉÉxÉÖ M É¨ÉÉÆ ¶ Éä x É
ºÉ¨ÉÖ Î SSÉÊiÉ&*
iÉlÉÉÊ½þ - ¹ÉbÂ ÷ V É¨ÉvªÉ¨ÉªÉÉä ¶ SÉ ºÉÆ º ÉMÉÇ V ÉÉÊiÉ& ¹ÉbÂ ÷ V É¨ÉvªÉ¨Éä i ªÉÖ H ò¨ÉÂ * +xªÉÉºiÉÖ ¦É´ÉxiÉÖ
VÉÉiÉªÉ <ÊiÉ +Æ ¶ É®ú É MÉÊ´É¦ÉÉ¹ÉÉnä ù ¶ ÉÒ¨ÉÉMÉÉÇ Ê nù ¹ ÉÖ |ÉvÉÉxÉ¦ÉÚ i ÉÉxiÉ®ú ¨ ÉÉMÉÇ x ªÉÉºÉÉtxÉÖ M É¨É-
¤É±Éä x ÉÉxÉÖ M ÉiÉ|ÉiªÉªÉEòÉÊ®ú i ´ÉÉnù ¹ ]õÉnù ¶ É¨ÉÉMÉÇ x ªÉÉºÉÉxÉÒiªÉlÉÇ & * +Æ ¶ ÉOÉ½þ É Ênù ¶ ÉiÉªÉÉä V ÉxÉÉªÉÉ
VÉÉªÉxiÉ <ÊiÉ VÉÉiÉªÉ <iªÉxªÉä * VÉÉiÉä ® úºÉÆ | ÉÊiÉ +É¦ªÉ <ÊiÉ ´ÉÉ ºÉEò±ÉºªÉ
®úÉMÉÉnä ù V ÉÇ x ¨É½ä þ i ÉÖ V ÉÉÇ Ê iÉÊ®úÊiÉ ]õ Ò EòÉEòÉ®ú & *
To express this idea briefly he employs the verse <¡ry¡> -

"By the coming together of ...., only the ¿uddh¡ and vik¤t¡ j¡tis are
born." The analysis (of the term j¡ti) - Since it is born, without any
active cause, just from the collection (of material), namely, ¿ruti, svara,
graha etc., it is j¡ti. The classification follows, into ¿uddh¡ and vik¤t¡
types. Th e '®va' indicates that the vik¤ta class emerges from the
114
¿uddha itself. (Vik¤ta) does not mean another numerically different j¡ti.
By 'punar®va' he means that the vik¤t¡s are fashion ed from the ¿uddh¡
(j¡tis), themselves, and from them the eleven (saÆsargaj¡ j¡tis) come
about. The word 'punaÅ' means difference (from th e first set of vik¤t¡
j¡tis). Only eleven (saÆsargaj¡ j¡tis) exist, no more. The ' tu' in th e
expr ession serves further differentiation. Among them, those whi ch ar e
named [by svaras] are not ¿uddha, but can only be vik¤ta, and (the
svara names in) their names only indicate their origin. With 'then
<atha>', he proceeds to give the whole list [of j¡ ti combinations which
result in the saÆsargaj¡ j¡tis], in terms of the aÆ¿a svaras which name
[th e original j¡tis]. Accordingly, the j¡ti resulting from th e combin ation
of 'Àa·ja and madhyama' (i.e., â¡·j¢ and Madhyam¡), is called
âa·jamadhyam¡. [The next sentence is not clear. But Abhinava seems
to be explaining the phrase 'any¡stu'. By interpreting this to mean
'others are possible', he seems to be trying to account for the various
melodic derivatives from j¡tis, such as r¡ga and vibh¡À¡, in the d®¿¢
traditions. These constitute eighteen other (melody sources), and can
loosely be call ed j¡tis, since they follow the principal melodic
movements (of the original j¡tis), and bring them to mind.] Others
explain (j¡tis as follows) - as they are born of hundreds of
combinations of aÆ¿a, graha etc., th ey are j¡tis. According to the
¶¢k¡k¡ra, as j¡tis are now extinct, and as they are th e causes of the
birth of all (melodies like) r¡gas, they are (called) j¡ti.
xÉxÉÖ EòªÉÉ Ê´ÉEÞ ò iÉªÉÉ EòÉ VÉÉÊiÉÊ®úiªÉÉ¶ÉRÂ ó EòÉ|ÉºÉÆ M ÉÉnù x ªÉnù { ªÉÊ¦ÉvÉÉºªÉxÉÂ |ÉÊiÉYÉÉÆ
Eò®ú É ä Ê iÉ(*) iÉÉºÉÉÆ ªÉÊzÉ´ÉÞ Ç k Éä Ê iÉ iÉªÉÉä & ÊxÉ´ÉÞ Ç k ÉªÉÉä Ì xÉ´ÉÞ Ç k ÉÉ iÉºªÉÉÊ¨ÉªÉÆ ÊxÉ´ÉÞ Ç k Éä Ê iÉ
{É\SÉ¨ÉÒºÉ¨ÉÉºÉ& Eò¨ÉÇ v ÉÉ®úªÉ¶SÉ* iÉjÉè E ò¶Éä ¹ ÉÉ´ÉÞ k ªÉÉÊnù Ê ¦É& ªÉÉÆ ( ªÉÉ?)
ÊxÉ´ÉÞ Ç k Éä i ªÉxªÉ{É.......... iÉjÉ ªÉiÉ <iªÉvªÉÉ½þ É ®ú & * º´É®ä ú ¹ ÉÖ OÉ½þ É {ÉxªÉÉºÉÉÊnù ¹ ÉÖ ªÉlÉÉ´ÉÊnù Ê iÉ
ªÉi|ÉEòÉ®ú°ü{É¨É½Ç þ Ê iÉ iÉuù I ªÉÉÊ¨É* B´É¨ÉÆ ¶ Éä ¹ ÉÖ º´É®úOÉ½þ h Éä x É ±É¤vªÉÉ +Æ ¶ ÉÉ&
|ÉvÉÉxÉÉi{ÉÞ l ÉMÉÖ H òÉ&* ½þ É ÊxÉ¹ÉÖ SÉ ¹ÉÉb÷ ´ ÉÉè b Ö ÷ Ê ´ÉEòÉi¨ÉºÉÖ ªÉlÉÉ´ÉÊnù Ê iÉ iÉi|ÉEòÉ®ú ° ü{ÉÆ
iÉiGò¨Éä h Éä i ªÉÖ q ä ù ¶ É¨É{ªÉxÉÉoù i ªÉ,(?) <½ä þ Ê iÉ(,) VÉÉÊiÉÊxÉhÉÇ ª Éä ´ÉIªÉÉÊ¨É**44-45**
Anticipating th e question, "From which particular change <vik¤ti>

does which particular variety <j¡ti> result?", he promises to speak of
this elsewhere <anyat>. [The next two sentences are not cle ar. But the
subject seems to be 'yannirv¤tt¡Å', considered as a sam¡sa
(compound), and anal ysed into its parts. The first member 'yat' seems
115
to be interpreted as 'yasm¡t (from which change)', making th e sam¡sa

a 'paµcam¢ tatpuruÀa', and also as 'y¡Å (which)', in the same case as
'nirv¤tt¡Å', making the sam¡sa 'karmadh¡raya'. This 'which' qualifi es
the resulting j¡tis.] 'In svaras <svar®Àu>', i.e., in graha, apany¡sa etc.,
'just as it occurs <yath¡vat>', i.e., (Which ch ange in these svaras)
results in which specific form [of the j¡ti?] - I shall speak of that [later].
And while speaking of svara, it is fit that he singles out aÆ¿as - 'in
aÆ¿as <aÆ¿®Àu>', as they are important (for shaping the melodies
falling within a j¡ti). 'In undergoing redu ctions < h¡niÀu>', namely,
hexatonic and pentatonic forms - I shall speak of the different forms [of
j¡tis resulting from reduction], 'as they occur < yath¡vat>', when their
turn comes <tatkram®¸a>, i.e., whil e describing the j¡tis, ignoring the
order of enumeration of topics here. (44-45)
[Bh arata has briefly touched upon th e vik¤t¡ j¡tis here, and goes
on to name all the co mbinations resulting in the saÆsargaj¡ j¡tis,
reserving th e details of the vik¤tis, namely, reduction in svara content,
chang e in aÆ¿a etc., for the description of particul ar j¡tis, which he is
going to take up later in the chapter. So Abhinava takes v.45 to be
postponing the description of the vik¤tis such as À¡·ava, aÆ¿a, to th e
right context, although, according to th e enumeration of topi cs in th is
chapter, this d escription should have preceded th e detailing of the birth
of saÆsargaj¡ j¡tis.]
----------------------------------------------------------------------------
¹ÉÉbÂ ÷ V ÉÒ¨ÉvªÉ¨ÉÉ¦ªÉÉÆ ÊxÉ´ÉÞ Ç k ÉÉ YÉä ª ÉÉ ¹ÉbÂ ÷ V É¨ÉvªÉ¨ÉÉ ¹ÉÉbÂ ÷ V ÉÒMÉÉxvÉÉ®úÒ¦ªÉ ÉÆ ¹ÉbÂ ÷ V É-
Eè ò Ê¶ÉEòÒ, MÉÉxvÉÉ®ú Ò ¹ÉbÂ ÷ V ÉvÉè ´ ÉiÉÒÊ¦É& ¹ÉbÂ ÷ V ÉÉä n ù Ò SªÉ´ÉÉ, ¹ÉbÂ ÷ V ÉMÉÉxvÉÉ®úÒ -
¨ÉvªÉõ ¨ ÉÉvÉè ´ ÉiÉÒÊ¦ÉMÉÉÇ x vÉÉ®úÉä n ù Ò SªÉ´ÉÉ, vÉè ´ ÉiÉÒ{É\SÉ¨ÉÒ¨ÉvªÉ¨ÉÉMÉÉxvÉÉ®úÒÊ¦É-¨ÉÇ v ªÉ¨ÉÉä n ù Ò SªÉ´ÉÉ,
MÉÉxvÉÉ®ú Ò ¨ÉvªÉ¨ÉÉ{É\SÉ¨ÉÒÊxÉ¹ÉÉnù ´ ÉiÉÒ¦ÉÒ ®úHòMÉÉxvÉÉ®úÒ, MÉÉxvÉÉªÉÉÇ Ì ¹É¦ªÉÉ¨ÉÉxwÉÒ,
{É\SÉ¨ªÉÉ¹ÉÇ ¦ ÉÒMÉÉxvÉÉ®ú Ò Ê¦ÉxÉÇ x nù ª ÉxiÉÒ, ÊxÉ¹ÉÉnù ´ ÉiªÉÉ¹ÉÇ ¦ ÉÒ-{É\SÉ¨ÉÒÊ¦É& EòÉ¨ÉÉÇ ® ú ´ ÉÒ,
{É\SÉ¨ÉÒMÉÉxvÉÉ®ú Ò ¦ªÉÉÆ MÉÉxvÉÉ®ú { É\SÉ¨ÉÒ, vÉè ´ ÉiªÉÉ¹ÉÇ ¦ ÉÒ-´ÉVÉÉÇ Ê ¦É& Eè ò Ê¶ÉEòÒ**
From â¡·j¢ and Madhyam¡ results âa·jamadhyam¡. From â¡·j¢
and G¡ndh¡r¢ results âa·jakai¿ik¢. âa·j°d¢cyav¡ results from
G¡ndh¡r¢, â¡·j¢ and Dhaivat¢. From â¡·j¢, G¡ndh¡r¢, Madhyam¡ and
Dhaivat¢ results G¡ndh¡r°d¢cyav¡. Madhyam°d¢cyav¡ results from
Dhaivat¢, Paµcam¢, Madhyam¡ and G¡ndh¡r¢. From G¡ndh¡r¢,
Madhyam¡, Paµcam¢ and NiÀ¡davat¢ results Raktag¡ndh¡r¢. Ëndhr¢
116
results from G¡ndh¡r¢ and ËrÀabh¢. From Paµcam¢, ËrÀabh¢ and

G¡ndh¡r¢ results N andayant¢. K¡rm¡rav¢ results from NiÀ¡davat¢,
ËrÀabh¢ and Paµcam¢. From Paµcam¢ and G¡ndh¡r¢ results
G¡ndh¡rapaµcam¢. Kai¿ik¢ results fro m (all the svara J¡tis) excluding
Dhaivat¢ and ËrÀabh¢. (prose after 45)
[ ºªÉÉi¹ÉbÂ ÷ V É¨ÉvªÉ¨ÉÉ¦ªÉÉÆ ÊxÉ´ÉÞ Ç k ÉÉ ¹ÉbÂ ÷ V É¨ÉvªÉ¨ÉÉVÉÉÊiÉ&*

MÉÉxvÉÉ®ú Ò ¹ÉÉbÂ ÷ V ÉÒ¦ªÉÉÆ ºÉÆ ª ÉÉä M ÉÉi¹ÉbÂ ÷ V ÉEè ò Ê¶ÉEòÒ SÉÉÊ{É**
¹ÉÉbÂ ÷ V ÉÒMÉÉxvÉÉ®úÒ¦ªÉÉÆ vÉè ´ ÉiªÉÉ SÉÉÊ{É ªÉÉ Ê´ÉÊxÉ¹{ÉzÉÉ*
ºÉÆ º ÉMÉÉÇ Ê uù Y Éä ª ÉÉ ºÉÉ ¹ÉbÂ ÷ V ÉÉä n ù Ò SªÉ´ÉÉ VÉÉÊiÉ&**
¹ÉÉbÂ ÷ V ÉÒ MÉÉxvÉÉ®ú Ò {É\SÉ¨ÉÒ iÉlÉÉ vÉè ´ ÉiÉÒ SÉ JÉ±ÉÖ VÉÉÊiÉ&*
MÉÉxvÉÉ®ú É ä n ù Ò SªÉ´ÉiÉÓ VÉÉËiÉ ÊxÉ´ÉÇ i ÉÇ ª ÉxiªÉä i ÉÉ&**
MÉÉxvÉÉ®ú { É\SÉ¨ÉÉ¦ªÉÉÆ ¨ÉvªÉ¨ÉªÉÉ Ê´É®úÊSÉiÉÉ SÉ vÉè ´ ÉiªÉÉ*
VÉÉÊiÉºiÉÖ ¨ÉvªÉ¨ÉÉä n ù Ò SªÉ´Éä Ê iÉ ºÉÎnÂ ù ¦ É& ºÉnù É YÉä ª ÉÉ**
MÉÉxvÉÉ®ú Ò {É\SÉ¨ÉªÉÉä & ºÉ{iÉ¨ªÉÉ¶SÉè ´ É ®úHòMÉÉxvÉÉ®ú Ò *
MÉÉxvÉÉªÉÉÇ ¹ ÉÇ Ê ¦ÉEòÉ¦ªÉÉ¨ÉÉxwÉÒ ºÉÆ V ÉÉªÉiÉä VÉÉÊiÉ&**
ªÉÉä Ê xÉºiÉÖ xÉxnù ª ÉxiªÉÉºi´ÉÉ¹ÉÇ Ê ¦ÉEòÉ {É\SÉ¨ÉÓ ºÉMÉÉxvÉÉ®úÒ*
EòÉ¨ÉÉÇ ® ú´ÉÓ ÊxÉ¹ÉÉnù Ò ºÉÉ¹ÉÇ Ê ¦ÉEòÉ {É\SÉ¨ÉÓ EÖ ò ªÉÖ Ç & *
vÉè ´ ÉiªÉÉ¹ÉÇ Ê ¦ÉEòÉ¦ªÉÉÆ ½þ Ò xÉÉÆ JÉ±ÉÖ Eè ò Ê¶ÉEòÓ EÖ ò ªÉÖ Ç & ** ]
[âa·jamadhyam¡ j¡ti emerges from â¡·j¢ and Madhyam¡.
By the combination of G¡ndh¡r¢ and â¡·j¢ results âa·jakai¿i k¢.
The j¡ti which results from the combination of â¡·j¢, G¡nd h¡r¢
and Dhaivat¢ is âa·j°d¢cyav¡.
The j¡tis â¡·j¢, G¡ndh¡r¢, Paµcam¢ and Dhaivat¢ bring about
G¡ndh¡r°d¢cyavat¢.
Experts should know that Madhyam°d¢cyav¡ is made up of
G¡ndh¡r¢, Paµ cam¢, Madhyam¡ and Dhaivat¢.
Raktag¡ndh¡r¢ is made up of G¡ndh¡r¢, Paµcam¢ and the seventh
(NiÀ¡din¢). Ëndhr¢ j¡ti is born of G¡ndh¡r¢ and ËrÀabh¢.
The birth of N andayant¢ is fro m ËrÀabh¢, Paµcam¢ and G¡ndh¡r¢.
K¡rm¡rav¢ should be drawn from NiÀ¡d¢, ËrÀabh¢ and Paµcam¢.
Kai¿ik¢ should be made of (all j¡tis) excepting Dhaivat¢ and
ËrÀabh¢. ]
[These verses have not b een numbered, and have been placed
within square brackets, in the GOS edn., probably to indicate that AB
117
does not comment on them. The matter dealt with in these verses h as
already been pres ented in the prose passage. And the verse description
differs slightly in the information presented. Tthe combinations
resulting in the saÆsargaj¡ j¡tis differ in two cases -
G¡ndh¡r°d¢cyavat¢ and Raktag¡ndh¡r¢. And the origin of
G¡ndh¡rapaµcam¢ has not been described.]
iÉjÉ ÊxÉ´ÉÞ Ç k ÉÒºiÉÉ´Énù É ½þ ¹ÉÉbÂ ÷ V ÉÒ¨ÉvªÉ¨ÉÉ¦ªÉÉÊ¨ÉiªÉÉÊnù vÉè ´ ÉiªÉÉ¹ÉÇ ¦ É´ÉVÉÉÇ Ê ¦É&

Eè ò Ê¶ÉEòÒ-iªÉxiÉä x É* +Énù É è ÊiÉ»É& ¹ÉbÂ ÷ V ÉOÉÉ¨Éä , BiÉSSÉ ¹ÉbÂ ÷ V É{ÉÚ ´ ÉÇ { Énù i ´ÉÉnä ù ´ É ±É¤vÉ¨ÉÂ *
OÉ½þ É Ênù º ÉÆ º ÉMÉæ % Ê{É OÉÉ¨ÉªÉÉä ® ú º ÉÉRÂ ó EòªÉÇ ¨ ÉÂ * OÉÉ¨ÉºÉÉvÉÉ®ú h ÉºªÉ Eè ò Ê¶ÉEòºªÉ iÉjÉ ¤ÉÉ½Ö þ ± ªÉä x É
|ÉªÉÉä M É&* º{É¹]õ ¨ ÉxªÉiÉÂ *
So he describes the results (of combination s, i.e., saÆsargaj¡

j¡tis), beginning with 'fro m Madhyam¡ and â¡·j¢', and ending with
'excluding Dhaivat¢ and ËrÀabh¢, (from all the others,) Kai¿ik¢ is born.'
The first three are in Àa·jagr¡ma, and that, too, with names beginning
with 'Àa·j a'. Even when grah a etc. coincide, there is no mixing up of
gr¡mas. [Each saÆsargaj¡ j¡ti belongs to one of the gr¡mas, not to
both.] Kai¿ika [s¡dh¡ra¸am] which results in gr¡mas¡dh¡ra¸ am is
profusely used in that. The oth er details are clear. (prose after v. 45)
------------------------------------------------------------------------
{É®úº{É®úÊ´ÉÊxÉ¹{ÉzÉÉ YÉä ª ÉÉ Áä ´ ÉÆ iÉÖ VÉÉiÉªÉ&*
{ÉÞ l ÉM±ÉIÉhÉºÉÆ ª ÉÖ H òÉ uè ù O ÉÉÊ¨ÉEòÉ& º´É®ú É ¸ÉªÉÉ&**46**
In this manner, j¡tis based on (i.e., named after particular)
svaras, are known to combine with eac h other and result in j¡tis that
are definitely distinguish able as belonging to (on e of) the two gr¡mas.
(46)
BiÉnÖù{ÉºÉÆ½þ®úÊiÉ +{É®úº{É®úÊxÉ¹{ÉzÉÉ <ÊiÉ ºÉÆºÉMÉÇVÉÉ +xªÉÉäxªÉÆ VÉÊxÉiÉÉ&* xÉx´Éä´ÉÆ ¹ÉbÂ÷VÉ¨ÉvªÉ¨ÉÉªÉÉÆ

{ÉÞlÉCYÉÉ{ªÉiÉä ±ÉIÉhÉÊ¨ÉiªÉÉ½þ {ÉÞlÉM±ÉIÉhÉäÊiÉ* xÉxÉÖ ËEò iÉä x Éä i ªÉÉ½þ º´É®ú É ªÉä OÉ½þ É Ênù Ê´É¦ÉÉMÉºiÉjÉ
xÉä ª ÉÉºiÉä ªÉiÉ +É¸ÉÒªÉiÉä ±ÉIÉhÉ¤É±Éä x É uè ù O ÉÉÊ¨ÉCªÉÊ¨ÉÊiÉ ÊiÉ»É& ¹ÉbÂ ÷ V ÉOÉÉ¨Éä +¹]õÉ´ÉxªÉiÉ
<iªÉlÉÇ & * ªÉÊnù ´ÉÉ uè ù O ÉÉÊ¨ÉEòVÉÉiªÉÖ n Â ù ¦ É´Éi´ÉÉiÉÂ iÉlÉä Ê iÉ, ªÉÊnù ´ÉÉ ºÉÆ º ÉMÉÇ V ÉÉiªÉ B´É
º´É®ú É ¸ÉªÉÉºiÉÖ ( *) º´É®ú x ÉÉ¨xªÉ& {ÉÞ l ÉM±ÉIÉhÉÆ ¶ÉÖ r ù É {Éä I ÉªÉÉ VÉÉiªÉi´ÉÆ ºÉÆ º ÉMÉÇ V ÉÉ{Éä I ÉªÉÉ SÉ
VÉxÉEòi´ÉÆ ¦ÉVÉxiÉä * *46**
He concludes with 'emerge one after the other

<aparasparaniÀpann¡>'. [The reading is 'parasparaniÀpann¡' in NS.
118
SaÆsargaj¡ j¡tis are born of mutual association (of svaraj¡tis).] But in

the case of a j¡ti th at shares Àa·ja(gr¡ma) and madhyama(gr¡ ma)
<Àa·jamadh yam¡y¡m>, the separate identity needs description, and so
he speaks of the 'p¤thaglakÀa¸a'. But what does that mean? H e
explains that, depending on the lakÀa¸a distinctio n su ch as the svaras
which are taken as graha etc. [in the saÆsargaj¡ j¡tis], they are placed
in the two gr¡mas - three in Àa·jagr¡ma and eight in the other gr¡ma.
Whether it is because they arise from both gr¡mas, or because they are
born of co mbination [of j¡tis], that they are referred to thu s [as
saÆsargaj¡], they are dependent on the svara(j¡ti)s < svar¡¿ray¡Å>'.
The j¡tis named by svaras are, in their ¿uddha form, characterised by
the distinction of 'being born <j¡tyatvam>' (from the gr¡mas). But in
relation to the saÆsargaj¡ (j¡tis), they assume the distinction of
'parentage <janakatvam>'. (46)
----------------------------------------------------------------
SÉiÉ»ÉÉä VÉÉiÉªÉÉä ÊxÉiªÉÆ YÉä ª ÉÉ& ºÉ{iÉº´É®ú É ¤ÉÖ v Éè & *
SÉiÉ»É& ¹É]Â õ º´É®ú É YÉä ª ÉÉ& º¨ÉÞ i ÉÉ& {É\SÉº´É®úÉ nù ¶ É**47**
¨ÉvªÉ¨ÉÉä n ù Ò SªÉ´ÉÉ SÉè ´ É iÉlÉÉ ´Éè ¹ÉbÂ ÷ V ÉEè ò Ê¶ÉEòÒ*
EòÉ¨ÉÉÇ ® ú´ÉÒ SÉ ºÉÆ { ÉÚ h ÉÉÇ iÉlÉÉ MÉÉxvÉÉ®ú{É\SÉ¨ÉÒ**48**
¹ÉÉbÂ ÷ V ªÉÉxwÉÒ xÉxnù ª ÉxiÉÒ SÉ MÉÉxvÉÉ®úÉä n ù Ò SªÉ´ÉÉ iÉlÉÉ*
SÉiÉ»É& ¹É]Â õ º´É®ú É Áä i ÉÉ& YÉä ª ÉÉ& {É\SÉº´É®ú É nù ¶ É**49**
xÉè ¹ ÉÉnù Ò SÉÉ¹ÉÇ ¦ ÉÒ SÉè ´ É vÉè ´ ÉiÉÒ ¹ÉbÂ ÷ V É¨ÉvªÉ¨ÉÉ*
¹ÉbÂ ÷ V ÉÉä n ù Ò SªÉ´ÉiÉÒ SÉè ´ É {É\SÉ ¹ÉbÂ ÷ V ÉÉÊ¸ÉiÉÉ& º¨ÉÞ i ÉÉ&**50**
MÉÉxvÉÉ®ú Ò ®ú H òMÉÉxvÉÉ®úÒ ¨ÉvªÉ¨ÉÉ {É\SÉ¨ÉÒ iÉlÉÉ*
Eè ò Ê¶ÉEòÒ SÉè ´ É {É\SÉè i ÉÉ ¨ÉvªÉ¨ÉOÉÉ¨ÉºÉÆ ¸ ÉªÉÉ&**51**
ªÉÉºiÉÉ& ºÉ{iÉº´É®ú É YÉä ª ÉÉ ªÉÉ¶SÉè i ÉÉ& ¹É]Â õ º´É®ú É & º¨ÉÞ i ÉÉ&*
Eònù É ÊSÉiÉÂ ¹ÉÉb÷ ´ ÉÒ¦ÉÚ i ÉÉ& Eònù É ÊSÉSSÉÉè b Ö ÷ ´ Éä ¨ÉiÉÉ&**52**
¹ÉbÂ ÷ V ÉOÉÉ¨Éä iÉÖ ºÉÆ { ÉÚ h ÉÉÇ Ê´ÉYÉä ª ÉÉ ¹ÉbÂ ÷ V ÉEè ò Ê¶ÉEòÒ*
¹É]Â õ º ´É®úÉ SÉè ´ É Ê´ÉYÉä ª ÉÉ ¹ÉÉbÂ ÷ V ÉÒ MÉÉxvÉÉ®úªÉÉä M ÉiÉ&**53**
ºÉÆ { ÉÚ h ÉÉÇ ¨ÉvªÉ¨ÉOÉÉ¨Éä YÉä ª ÉÉ EòÉ¨ÉÉÇ ® ú´ÉÒ iÉlÉÉ*
MÉÉxvÉÉ®ú { É\SÉ¨ÉÒ SÉè ´ É ¨ÉvªÉ¨ÉÉä n ù Ò SªÉ´ÉÉ iÉlÉÉ*
{ÉÖ x É¶SÉ ¹É]Â õ º ´É®ú É YÉä ª ÉÉ MÉÉxvÉÉ®úÉä n ù Ò SªÉ´ÉÉ ¤ÉÖ v Éè & **54**
+ÉxwÉÒ SÉ xÉxnù ª ÉxiÉÒ SÉ ¨ÉvªÉ¨ÉOÉÉ¨ÉºÉÆ ¸ ÉªÉÉ&*
B´É¨Éä i ÉÉ ¤ÉÖ v Éè Y Éæ ª ÉÉ uè ù O ÉÉÊ¨ÉCªÉÉä % Ê{É VÉÉiÉªÉ&**55**
119
Four of the j¡tis are always to contain all the seven svaras,
according to experts. Four can be six -svara (also), and (the remaining)
ten j¡tis can be five-svara (as well). (47)
Madhyam°d¢cyav¡, âa·jakai¿ik¢, K¡rm¡rav¢ and G¡ndh¡rapaµcam¢ have to
be samp£r¸a. (48)
â¡·j¢, Ëndhr¢, Nandayant¢ and G¡ndh¡r°d¢cyav¡ can be six-svara (too). (The
remaining) ten can be five-svara. (49)
(Of these) NaiÀ¡d¢, ËrÀabh¢, Dhaivat¢, âa·jamadhyam¡ and âa·j°d¢cyavat¢
are known to belong to âa·ja(gr¡ma). (50)
G¡ndh¡r¢, Raktag¡ndh¡r¢, Madhyam¡, Paµcam¢ and Kai¿ik¢ - these five are
based on Madhyamagr¡ma. (51)
Those j¡tis which are prescribed to be seven-svara, and those which are to be
six-svara, may, at times, become six-svara <À¡·ava> and five-svara <au·uva>.
(52)
[There seems to be a slight contradiction here. While the svaraj¡tis have
earlier been prescribed to be necessarily samp£r¸a in their ¿uddha form, now four
specific j¡tis have been prescribed to be necessarily samp£r¸a (and none of these is a
¿uddh¡ j¡ti). Their reduction to a À¡·ava or ai·uva form cannot take place. And the
four j¡tis specifically named in the À¡·ava list, we learn, from Abhinava's explanation,
cannot become au·uva.]
In âa·jagr¡ma, âa·jakai¿ik¢ is samp£r¸a. [The next line probably means - it is
formed by the six-svara â¡·j¢ combining with G¡ndh¡r¢.] (53)
[If interpreted in this way, the counting proceeds from the heptatonic to the
hexatonic j¡tis in Àa·jagr¡ma, although indirectly. And since the counting has been
done in this manner in the madhyamagr¡ma in the next verse, this interpretation
seems to be nearer Bharata's intention than Abhinava's. AB takes v.53 to mean that
â¡·j¢ cannot be hexatonic when g¡ndh¡ra serves as the aÆ¿a.]
In Madhyamagr¡ma, K¡rm¡rav¢, G¡ndh¡rapaµcam¢ and Madhyam°d¢cyav¡
are the samp£r¸a (j¡tis). The six-svara j¡tis belonging to Madhyamagr¡ma are
G¡ndh¡r°d¢cyav¡, Ëndhr¢ and Nandayant¢. These are the j¡tis belonging to the two
gr¡mas. (54-55)
+lÉ ½þ É ÊxÉ|ÉEòÉ®Æ ú {ÉÚ h ÉÇ ¹ ÉÉb÷ ´ ÉÉè b Ö ÷ Ê ´ÉEòÊ´É¦ÉÉMÉÆ Ê´É´ÉIÉÖ & {ÉÚ h ÉÉÇ & iÉÊzÉªÉ¨ÉÆ iÉÉ´Énù É ½þ
SÉiÉ»É <ÊiÉ* iÉjÉ {ÉÚ h ÉÉÇ ¶ SÉiÉ»É +É½þ ¨ÉvªÉ¨ÉÉä n ù Ò SªÉ´Éä i ªÉÉÊnù * iÉjÉ ¹ÉÉb÷ ´ ÉÉ +É½þ
¹ÉÉbÂ ÷ V ÉÒiªÉÉÊnù x ÉÉ* iÉnÂ ù ´ ªÉÊiÉÊ®ú H òÉ& Ê¶É¹ªÉxiÉä nù ¶ Éè ´ É iÉÉxÉÂ {É\SÉº´É®ú É <ÊiÉ nù ¶ ÉÇ ª ÉÊiÉ YÉä ª ÉÉ&
{É\SÉº´É®ú É nù ¶ Éä Ê iÉ**47-49**
120
Then, wishing to speak of the various classes which reduction (in

svara content) brings about, dividing them (j¡tis) into complete (seven -
svara), hexatonic and pentatonic groups, he n ames them (j¡tis) in
each class - "Four are.." and so on. He enumerates the four complete
(heptatonic j¡tis), commencing from Madhyam°d¢cyav¡, the hexatonic
ones fro m â¡·j¢. Leaving these out, all the remaining j¡tis are pentatonic. He
indicates this by saying, "ten should be noted to be pentatonic." (47-49)
{É\SÉº´É®ú É hÉÉÆ Ê´É¦ÉÉMÉ¨ÉÉ½þ ÊxÉ¹ÉÉÊnù x ªÉÉ¹ÉÇ ¦ ÉÒ SÉä i ªÉÉÊnù * ¹ÉbÂ ÷ V ÉÉÊ¸ÉiÉÉ <ÊiÉ
¹ÉbÂ ÷ V ÉOÉÉ¨É¨ÉÉÊ¸ÉiÉÉ&* B´ÉÆ ¨ÉvªÉ¨ÉOÉÉ¨ÉÆ +lÉ iÉnä ù ´ É °ü{ÉiÉªÉÉ ÊxÉ®úÉEòÉÆ I ÉÆ Eò®úÉä Ê iÉ**50 -
51**
He then speaks of the class of pentatonics - enumerating NiÀ¡din¢, ËrÀabh¢

etc. By 'Àa·j¡¿rit¡' is meant '(the j¡tis) residing in Àa·jagr¡ma'. And he deals with
the (au·uva j¡tis of) madhyamagr¡ma in the same manner [of complete enumeration],
without leaving anything to conjecture. (50-51)
ªÉÉºiÉÉ& ºÉ{iÉº´É®ú É <iªÉÉÊnù * ªÉÉ& ºÉ{iÉº´É®ú É ¨ÉvªÉ¨ÉÉä n ù Ò SªÉ´ÉÉtÉ¶SÉiÉ»ÉºiÉÉ

YÉä ª ÉÉºiÉlÉè ´ É ÊxÉªÉ¨Éä x Éä Ê iÉ ¶Éä ¹ É&* iÉä x É iÉÉºÉÉÆ xÉ VÉÉiÉÖ ½þ Ò xÉº´É®úiÉÉ* ªÉÉºiÉÖ ¹ÉbÂ ÷ V ÉÉtÉ -
¶SÉiÉ»ÉºiÉÉ& ¹ÉÉb÷ ´ Éä SÉEòÉ®ú É iÉÂ {ÉÚ h ÉÇ i ´Éä xÉÉ(+Éè ) bÖ ÷ Ê ´ÉEòÉ& Eònù É ÊSÉnù É è b Ö ÷ ´ Éä {É \SÉÉi¨ÉEä ò
iÉi|ÉªÉÉä M Éä ªÉÉ nù ¶ ÉÉä H òÉºÉÉ&(?)*(?) Eònù É ÊSÉiÉÂ ¹ÉÉb÷ ´ Éä , SÉEòÉ®ú É i{ÉÚ h ÉÇ i ´Éä % Ê{É* ¨ÉiÉÉ <ÊiÉ
{ÉÉ`ä ö xÉ Uôxnù É ä ¦ ÉRÂ ó MÉ <ÊiÉ**52**
'Those which are seven-svara...' etc. 'Those which are seven-svara,

namely, the four (j¡tis,) Madhyam°d¢cyav¡, etc.' - the sentence has to be
completed with 'are to be known to be rendered strictly in the same form'. Hence
these (four j¡tis) can, on no account, be reduced in svara content. The four (j¡tis)
â¡·j¢ etc., placed in the À¡·ava group, can be in the (saÆ)p£r¸a form, as
indicated by the 'ca', but never in the au·uva form. The ten (j¡tis) which have been
described as basically five-tone or permitting pentatonic reduction in practice, can
be six-svara, occasionally, or complete, as indicated by the 'ca'. The 'mat¡' in the
verse merely completes the metre. (52)
{ÉÚ h ÉÉÇ x ÉÉÆ ¹ÉÉb÷ ´ ÉÉxÉÉÆ SÉ OÉÉ¨É¦Éä n ä ù x É º´É°ü{É¨ÉÉ½þ ¹ÉbÂ ÷ V ÉOÉÉ¨Éä Îi´ÉÊiÉ* MÉÉxvÉÉ®ú ª ÉÉä M ÉiÉ
<ÊiÉ MÉÉxvÉÉ®úºªÉ ªÉÉä M É¨ÉÆ ¶ Éi´Éä x É |ÉÉvÉÉxªÉ¨É´É±É¨¤ªÉ ¹ÉÉbÂ ÷ V ÉÒ ¹ÉbÂ ÷ V Éº´É®úi´Éä x ÉÉä H òÉÊ{É ºÉiÉÒ
{ÉÚ h Éê ´ É Ê´ÉYÉä ª ÉÉ* ÊxÉ¹ÉÉnù É ä ÁÉºÉÉÆ ¹ÉÉb÷ ´ ÉEÞ ò iÉÂ * ºÉ SÉ MÉÉxvÉÉ®úÉÆ ¶ Éä iÉiºÉÆ ´ ÉÉÊnù i ´ÉÉnù ± ÉÉä { ªÉ
B´É* SÉÉä % {ªÉlÉæ , B´ÉEòÉ®ú& {ÉÚ h ÉÇ ¶ É¤nù É xÉxiÉ®ú¨ÉÂ * EòÉ¨ÉÉÇ ® ú ´ ªÉÉtÉÎºiÉ»ÉÉä ¨ÉvªÉ¨ÉOÉÉ¨Éä
121
{ÉÚ h ÉÇ º ´É®ú É B´É, MÉÉxvÉÉ®úÉä n ù Ò SªÉ´ÉÉtÉºiÉÖ ÊiÉ»É& ¹ÉÉb÷ ´ ÉÉ, (xÉ?) +Éè b Ö ÷ Ê ´ÉEòÉ&
Eònù É ÊSÉiÉÂ * *53-55**
He divides the heptatonic and hexatonic (j¡tis) between the (two) gr¡mas
next - "In Àa·jagr¡ma, now..." 'In connection with g¡ndh¡ra' means 'when
g¡ndh¡ra is the aÆ¿a and prominent in â¡·j¢, although the j¡ti is, by definition,
prominent in Àa·ja'. (But when g¡ndh¡ra is prominent in â¡·j¢,) it should be
rendered full-svara. For niÀ¡da is the svara (whose omission) makes it hexatonic.
And it cannot be omitted when g¡ndh¡ra is the aÆ¿a, being its saÆv¡d¢. So the
'ca' in the verse means 'also', and the '®va' should follow the word 'p£r¸a'. [â¡·j¢,
which has been placed in the hexatonic class, is heptatonic when g¡ndh¡ra is the
aÆ¿a.] In madhyamagr¡ma, the three (j¡tis) K¡rm¡rav¢ etc., can only be complete in
svara content. The three (j¡tis) G¡ndh¡r°d¢cyav¡ etc. are hexatonic, but can (never?)
be pentatonic. (53-55)
[Earlier, the ¿uddh¡ forms of svaraj¡tis have been defined as complete in svara
content. Probably the pure forms were not prominent in practice. For instance, the
hexatonic form of â¡·j¢ seems to have been popular. And the pentatonic forms of
ËrÀabh¢, Dhaivat¢, NiÀ¡din¢, Paµcam¢, Madhyam¡ and G¡ndh¡r¢ must have been
more prominent than their heptatonic forms.]
---------------------------------------------------------------------------------------
+iÉ >ðv´ÉÈ |É´ÉIªÉÉÊ¨É iÉÉºÉÉ¨ÉÆ ¶ ÉÊ´ÉEò±{ÉxÉ¨ÉÂ *

¹É]Â õ º ´É®úÉ& ºÉ{iÉ¨Éä ÁÆ ¶ Éä xÉä ¹ ªÉiÉä ( xiÉä ) ¹ÉbÂ ÷ V É¨ÉvªÉ¨ÉÉ **56**
ºÉÆ ´ ÉÉt±ÉÉä { ÉÉnÂ ù M ÉÉxvÉÉ®ä ú iÉuù n ä ù ´ É Ê½þ xÉä ¹ ªÉiÉä *
MÉÉxvÉÉ®ú Ò ®úHòMÉÉxvÉÉ®úÒEè ò Ê¶ÉEòÒxÉÉÆ iÉÖ {É\SÉ¨É&**57**
¹ÉbÂ ÷ V ÉÉªÉÉÆ SÉè ´ É MÉÉxvÉÉ®ú¨ÉxÉÆ ¶ ÉÆ *ò Ê´ÉÊrù ¹ÉÉb÷ ´ É¨ÉÂ *
¹ÉÉb÷ ´ ÉÆ vÉè ´ ÉiÉä xÉÉÎºiÉ ¹ÉbÂ ÷ V ÉÉä n ù Ò SªÉÉ¨ÉlÉÉÆ ¶ ÉEä ò **58**
[*The reading in the GOS edn. is 'MÉÉxvÉÉ®ú ¨ ÉÆ ¶ ÉEÆ ò '. But the variant reading
provided has been taken, as that makes the intended sense.]
ºÉÆ ´ ÉÉt±ÉÉä { ÉÉiºÉ{iÉè i ÉÉ& ¹ÉÉ]Â õ º´ÉªÉæ h É Ê´É´ÉÌVÉiÉÉ&*

MÉÉxvÉÉ®ú Ò ®úHòMÉÉxvÉÉªÉÉæ & ¹ÉbÂ ÷ V É¨ÉvªÉ¨É{É\SÉ¨ÉÉ& **59**
ºÉ{iÉ¨É¶SÉè ´ É Ê´ÉYÉä ª ÉÉä ªÉä ¹ ÉÖ xÉÉè b Ö ÷ Ê ´ÉiÉÆ ¦É´Éä i ÉÂ *
uù É è ¹ÉbÂ ÷ V É¨ÉvªÉÉÆ ¶ ÉÉè iÉÖ MÉÉxvÉÉ®ú É ä % lÉ ÊxÉ¹ÉÉnù ´ ÉÉxÉÂ **60**
@ñ¹É¦É¶SÉè ´ É {É\SÉ¨ªÉÉÆ Eè ò Ê¶ÉCªÉÉÆ SÉè ´ É vÉè ´ ÉiÉ& *
122
B´ÉÆ iÉÖ uù É nù ¶ Éè ´ Éä ½ þ ´ÉVªÉÉÇ & {É\SÉº´É®úÉ& ºÉnù É **61**

iÉÉºi´ÉxÉÉè b Ö ÷ Ê ´ÉiÉÉ ÊxÉiªÉÆ EòiÉÇ ´ ªÉÉ Ê½þ º´É®úÉ¸ÉªÉÉ&*
After that I shall name the aÆ¿as with respect to which they may alter
(reduce in svara content) <aÆ¿avikalpanam>. âa·jamadhyam¡ cannot become
hexatonic when the seventh (niÀ¡da) is the aÆ¿a. (56)
Since the saÆv¡d¢ (of the aÆ¿a) cannot be dropped, when g¡ndh¡ra plays the
(aÆ¿a) role, (niÀ¡da cannot be dropped and the hexatonic form of âa·jamadhyam¡)
cannot come about. For G¡ndh¡r¢, Raktag¡ndh¡r¢ and Kai¿ik¢, it is paµcama
(functioning as the aÆ¿a, that does not permit hexatonic reduction). (57)
In âa·j¡ (â¡·j¢), note that the hexatonic reduction is possible when g¡ndh¡ra
is not the aÆ¿a*. When dhaivata is the aÆ¿a, âa·j°d¢cyav¡ cannot become
hexatonic. (58)
Since the saÆv¡d¢ (of the aÆ¿a) cannot be dropped, the above seven
(âa·jamadhyam¡ with niÀ¡da as the aÆ¿a, the same with g¡ndh¡ra as the aÆ¿a,
G¡ndh¡r¢ with paµcama as the aÆ¿a, Raktag¡ndh¡r¢ with paµcama as the aÆ¿a,
Kai¿ik¢ with paµcama as the aÆ¿a , â¡·j¢ with g¡ndh¡ra as the aÆ¿a, and
âa·j°d¢cyav¡ with dhaivata as the aÆ¿a) cannot be hexatonic. (59ab)
In G¡ndh¡r¢ and Raktag¡ndh¡r¢, when Àa·ja, madhyama, paµcama or the
seventh (niÀ¡da) is the aÆ¿a, the pentatonic form cannot obtain. (59cd-60ab)
The two aÆ¿as of âa·jamadhyam¡ (which do not permit pentatonic reduction)
are g¡ndh¡ra and niÀ¡da. (60cd)
In Paµcam¢ it is ¤Àabha, and in Kai¿ik¢ it is dhaivata, (which does not permit
the pentatonic reduction, when it is the aÆ¿a). Thus, these are the twelve (cases of
aÆ¿as) which permanently keep out the pentatonic form. When (j¡tis) have these
svaras as bases (i.e., aÆ¿a), they have to be necessarily not rendered pentatonic.
(61-62ab )
[Later on, in the description of the particular j¡tis, the svaras which may be
dropped to render the j¡ti À¡·ava and au·uva, are named. That, combined with the
aÆ¿as named, allows a great number of hexatonic and pentatonic rductions. Some of
these reductions have been forbidden by the present enumeration. ]
+Æ ¶ ÉÊ´ÉEò±{ÉxÉÊ¨ÉÊiÉ* +Æ ¶ Éº´É®úÉ Ê´ÉEò±{ªÉxiÉä ªÉä x É* +ºªÉÉÆ VÉÉiÉÉ´ÉªÉ¨ÉÂ * +Æ ¶ ÉÉ&

¹ÉÉ(¹É)b÷ ´ É®ú É ä Ê ½þ i ÉÉ <ÊiÉ ¨ÉÒ±ÉxÉOÉxlÉä x É Ê´ÉSÉÉªÉÇ i Éä * iÉÆ ´ÉIªÉÉ¨É&* +RÂ ó MÉÊ´ÉEò±{ÉxÉÊ¨ÉÊiÉ
{ÉÉ`ä ö +RÂ ó MÉºªÉ ¹ÉÉb÷ ´ ÉÉè b ÷ Ê ´ÉEò°ü{ÉºªÉ Ê´ÉEò±{ÉxÉÆ EòlÉxÉ¨ÉÂ * +Îº¨ÉzÉÆ ¶ Éä iÉzÉÉºiÉÒÊiÉ*
ºÉ{iÉ¨É <ÊiÉ* ÊxÉ¹ÉÉnä ù MÉÉxvÉÉ®ä ú SÉÉÆ ¶ Éä iÉuù Ê iÉ(?) ¹É]Â õ º´É®úÉ xÉä ¹ ªÉxiÉ <iªÉlÉÇ & * +jÉ ½ä þ i ÉÖ &
- ºÉÆ ´ ÉÉÊnù x ÉÉä ±ÉÉä { ÉÉ¦ÉÉ´ÉÉÊzÉ¹ÉÉnä ù x É xÉ ºªÉÉiÉÂ ¹ÉÉb÷ ´ É&* ºÉ SÉ MÉÉxvÉÉ®úºªÉ ºÉÆ ´ ÉÉnù Ò *
123
MÉÉxvÉÉªÉÉÇ n ù Ò xÉÉÆ ÊiÉºÉÞ h ÉÉ¨ÉÞ ¹ É¦Éä h É ¹ÉÉb÷ ´ Éi´É¨ÉÖ H ò¨ÉÂ * ºÉ SÉ ¨ÉvªÉ¨ÉOÉÉ¨Éä {É \SÉ¨ÉºªÉ
ºÉÆ ´ ÉÉnù Ò ÊiÉ* iÉjÉÉÆ ¶ Éä ¹ÉÉb÷ ´ ÉÉ¦ÉÉ´Éä vÉè ´ ÉiÉä Æ % ¶Éä ¹ÉbÂ ÷ V ÉÉä n ù Ò SªÉ´ÉÉªÉÉÆ xÉ ¹ÉÉb÷ ´ É&* @ñ¹É¦Éä h É Ê½þ
iÉiÉÂ * ºÉ SÉ vÉè ´ ÉiÉºªÉ ºÉÆ ´ ÉÉnù Ò ¹ÉbÂ ÷ V ÉOÉÉ¨Éä * BEòÒEÞ ò iªÉÉä { ÉºÉÆ ½ þ ® úÊiÉ ºÉ{iÉè i ÉÉ <ÊiÉ* ÊxÉ MÉ {É
{É {É MÉ vÉ <iªÉä i Éå % ¶ÉÉ&* +¹ÉÉb÷ ´ ÉÉ& Gò¨Éä h É ¹ÉbÂ ÷ V É¨ÉvªÉ¨ÉÉÊnù ¹ ÉÖ ¹ÉbÂ ÷ V ÉÉä n ù Ò SªÉ´ÉÉtä ¹ ÉÖ *
+lÉÉè b Ö ÷ Ê ´ÉiÉ¶ÉÚ x ªÉÉxÉÆ ¶ ÉÉxÉÉ½þ * MÉÉxvÉÉ®ú Ò ®ú H òMÉÉxvÉÉªÉÉæ Ê ®úiªÉÉÊnù * ºÉ{iÉ¨É <ÊiÉ* ÊxÉ¹ÉÉnù & *
¹ÉbÂ ÷ V É¨ÉvªÉ¨ÉÉªÉÉ ªÉÉè uù É ´ÉÆ ¶ ÉÉè MÉÉxvÉÉ®úÊxÉ¹ÉÉnù É è iÉÉ´ÉzÉÉè b Ö ÷ Ê ´ÉEòÉè * ={ÉºÉÆ ½ þ ® úÊiÉ B´ÉÆ iÉÖ
uù É nù ¶ Éè ´ Éä Ê iÉ* MÉÉxvÉÉ®úÒ-®úHòMÉÉxvÉÉªÉÉæ ® ú¹]õ É è uù É è {É\SÉ¨ªÉÉÆ Eè ò Ê¶ÉCªÉÉÆ uù É Ê´ÉÊiÉ* +jÉ
C´ÉÊSÉnÆ ù ¶ ÉºÉÆ ´ ÉÉt±ÉÉä { ÉÉä ªÉÖ Ê Hò±ÉÇ ¦ ªÉiÉä * iÉnù ± ÉÉ¦Éä iÉÖ iÉlÉÉÊxÉ°ü{ÉhÉ¨Éä ´ É ½ä þ i ÉÖ & *
Now for aÆ¿avikalpanam.. How / why aÆ¿asvaras alternate / are chosen.

Such and such (an aÆ¿a) in such and such a j¡ti. [The next sentence is not clear, but
the purport seems to be - the aÆ¿as which obstruct the hexatonic reduction are
considered together.] We shall name them. If the reading 'a´gavikalpanam' is
taken, the meaning is 'the description of the À¡·ava and au·uva forms. That means
'When this is the aÆ¿a, it (À¡·ava / au·uva reduction) cannot take place.
'Saptama'... When niÀ¡da or g¡ndh¡ra is the aÆ¿a, ....., six svaras (hexatonic form)
cannot result (in the j¡ti). The reason is - as the saÆv¡d¢ cannot be dropped, the
À¡·ava form cannot result by the dropping of niÀ¡da, as it is the saÆv¡d¢ of
g¡ndh¡ra. In three (j¡tis) G¡ndh¡r¢ etc., the hexatonic reduction is through (the
omission of) ¤Àabha. It is the saÆv¡d¢ of paµcama in the madhyamagr¡ma. As
À¡·ava does not result when the svara preventing hexatonic reduction is the aÆ¿a, in
âa·j°d¢cyav¡, À¡·ava form does not result when dhaivata is the aÆ¿a. The À¡·ava
form can result by dropping ¤Àabha, but it is the saÆv¡d¢ of dhaivata in âa·jagr¡ma.
Rounding up he concludes "These are the seven.." Ni, ga, pa, pa, pa, ga, dha are
the aÆ¿as preventing hexatonic reduction respectively in the j¡tis enumerated,
âa·jamadhyam¡ etc. and âa·j°d¢cyav¡ etc. Next he enumerates the aÆ¿as which
prevent the pentatonic reduction with "In G¡ndh¡r¢, Raktag¡ndh¡r¢" and so on.
"The seventh" means niÀ¡da. When g¡ndh¡ra or niÀ¡da is the aÆ¿a in
âa·jamadhyam¡, the pentatonic reduction is not possible. He concludes thus -
"Thus only twelve.." etc. The break-up is - Eight in G¡ndh¡r¢ and Raktag¡ndh¡r¢,
two in âa·jamadhyam¡, and two in Paµcam¢ and Kai¿ik¢. Here occasionally the non-
omission of the saÆv¡d¢ of the aÆ¿a is obtained through contriving. When this
does not obtain, the practice in this manner itself becomes the reason.
<ªÉiÉÒ +(?)ºÉÆ J ªÉÉ ¦É´ÉiÉÒÊiÉ (ÊjÉ)¹ÉÎ¹]õ º iÉÉ´ÉnÆ ù ¶ ÉÉ&, iÉjÉ SÉiÉºÉÞ h ÉÉÆ VÉÉiÉÒxÉÉÆ
ÊxÉiªÉ{ÉÚ h ÉÉÇ x ÉÉÆ xÉ´ÉÉÆ ¶ ÉÉ& +¹ÉÉb÷ ´ ÉÉ <ÊiÉ SÉiÉÖ & {É\SÉÉ¶ÉiÉÂ * iÉä ¦ ªÉÉä % Ê{É ºÉ{iÉ ¹ÉÉb÷ ´ ÉÉ....ºÉiÉ
124
<ÊiÉ ºÉ{iÉSÉi´ÉÉË®ú ¶ ÉiÉÂ ¹ÉÉb÷ ´ ÉÉ&(*) SÉiÉ»É& {ÉÚ h ÉÉÇ B´Éä Ê iÉ SÉiÉÖ n Ç ù ¶ ÉÉxÉÉ¨ÉxªÉÉxÉÉÆ ¨ÉvªÉä
SÉiÉ»ÉÉä xÉÉè b Ö ÷ Ê ´ÉEòÉ <ÊiÉ iÉÉºÉÉÆ ºÉÆ ¤ ÉÎxvÉxÉÉä uù É nù ¶ ÉÉÆ ¶ ÉÉ ´ÉIªÉxiÉä , Ê¶É¹]õÉxÉÉÆ SÉi´ÉÉË®ú ¶ ÉiÉÂ ,
iÉiÉÉä % Ê{É uù É nù ¶ É +Éè b Ö ÷ Ê ´ÉEòiÉÉ(¨É){É´ÉÉnù ª ÉxiÉ <ÊiÉ ËjÉ¶Énù É è b Ö ÷ Ê ´ÉiÉÉ&* B´ÉÆ SÉi´ÉÉË®ú¶ÉSUôiÉÆ
Ê´ÉEÞ ò iÉÉxÉÉÆ ºÉÆ º ÉMÉÇ V ÉÉxÉÉÆ SÉ uè ù O ÉÉÊ¨ÉEòÉxÉÉÆ SÉ VÉÉiÉÒxÉÉÆ º´É®úxÉÉ¨ÉvÉä ª ÉÉxÉÉÆ ºÉ{ iÉÉÆ ¶ ÉEòÉ& ´ÉÉ *
<ÊiÉ ºÉ´ÉÇ i ÉººÉ{iÉSÉi´ÉÉË®ú¶ÉSUôiÉ¨ÉÆ ¶ ÉEòÉxÉÉÊ¨ÉÊiÉ OÉÉ¨Éuù ª É¨ÉÖ S ªÉiÉä * ±ÉÉä E ä ò iÉÖ ªÉÉè ¹ÉbÂ ÷ V ÉOÉÉ¨Éä
¨ÉvªÉ¨ÉOÉÉ¨É <ÊiÉ MÉÒiÉªÉºiÉä x É iÉä x É OÉÉ¨ÉÉè ¨É xÉÉ¨ÉvÉä ª ÉºÉÉoù ¶ ªÉ¨ÉÉjÉÆ iÉÖ iÉiÉÂ " VÉÉÊiÉÊ¦É&
¸ÉÖ Ê iÉÊ¦É¶SÉè ´ É º´É®ú É OÉÉ¨Éi´É¨ÉÉMÉiÉÉ&' <ÊiÉ ÁÖ S ªÉiÉä * OÉÉ¨ÉÉä xÉÉ¨É
Ê´ÉÊ¶É¹]õ¸ÉÖ Ê iÉEòº´É®úºÉ¨ÉÚ ½ þ É ä ¨ÉÚ U Ç ô xÉÉi¨ÉÉ {ÉÚ h ÉÉÇ { ÉÚ ´ ÉÇ º ´É¦ÉÉ´Éº´É®ú M ÉiÉOÉ½þ É Æ ¶ ÉÉÊnù Ê ´É¶Éä ¹ É -
(ºÉ?)¨ÉÚ ½ þ ° ü{ÉVÉÉÊiÉºÉ¨ÉÚ ½ þ ¶ SÉ*
+lÉÉä S ªÉiÉä * iÉkÉnÂ ù O ÉÉ¨ÉÉä Ê SÉiÉ¸ÉÖ Ê iÉEòº´É®ú { ÉÊ®ú´ÉÉ®úÉÊnù n ù ¶ ÉÇ x ÉÉkÉx¨ÉÖ J ªÉÉi¨ÉEòi´É±ÉÉè Ê EòEòªÉÉä -
OÉÉÇ ¨ É®ú É MÉªÉÉä Ê ®ú Ê iÉ iÉnÂ ù ¦ É´Éä i ÉÂ * ªÉÊnù ¹ÉbÂ ÷ V É¨ÉvªÉ¨É|ÉvÉÉxÉiÉÉ Gò¨Éä h É ±ÉIªÉä i É ¸ÉÖ Ê iÉÊ´É¶Éä ¹ ÉºªÉ
SÉ xÉÉè b Ö ÷ Ê ´ÉiÉi´ÉÊ¨ÉiªÉ±É¨É´ÉÉxiÉ®ä ú h É* iÉÖ ½ æ þ iÉÉè * ªÉiÉÉä uù É nù ¶ É º´É®úÉ ´ÉVªÉÉÇ +iÉ B´É º´É®ú É
+É¸ÉÒªÉ¨ÉÉhÉÉ& |ÉÉvÉÉxªÉä x ÉÉÆ ¶ ÉEòÉªÉÉ ªÉnù É +É¶ÉÖ M ÉÉxvÉÉªÉÉÇ Ê nù ¹ ÉÖ ¦É´ÉÎxiÉ iÉnù É ÊxÉiªÉ¨Éä ´ É
xÉÉè b Ö ÷ Ê ´ÉiÉÉ VÉÉiÉªÉ <ÊiÉ ºÉÆ ¤ ÉxvÉ& **55-62EòJÉ)
[*The GOS edn. reads (¹ÉÉb÷ ) ´ÉÉ here. The insertion seems to be unwarranted.]
This is the number (of aÆ¿as) . There are sixtythree aÆ¿as. The nine aÆ¿as
belonging to the four j¡tis that must always be heptatonic rule out hexatonic melodies,
which therefore total fiftyfour. Among these seven [aÆ¿as prevent] hexatonic
reduction. So there are fortyseven hexatonics. Four (of the eighteen j¡tis) can be only
heptatonic, and of the remaining fourteen, four are proscribed from pentatonic
reduction. The twelve aÆ¿as that are operative (in these hexatonic j¡tis) will be
enumerated later. Of the remaining fortytwo pentatonic possibilities, twelve are ruled
out (by the aÆ¿a in operation, or by injunction). So there are thirty pentatonic
possibilities. So in all there are one-hundred-and-forty melodic possibilities of the
modified and combination-born j¡tis. Together with the seven melodies (based on the
main aÆ¿a) of the j¡tis named after the seven svaras, the total of one-hundred-and-
fortyseven j¡ti possibilities accounts for the two gr¡mas. [Are the seven aÆ¿as of the
svaraj¡tis not included among the sixtythree?] [The next sentence is not clear, but the
purport seems to be - in the singing of melodies in popular practice, relating them to
Àa·jagr¡ma or madhyamagr¡ma is only nominal.] For it is known (lit. said) that only
through j¡tis and ¿rutis do svaras attain the grouping into a gr¡ma. Gr¡ma is a
collection of svaras of specified ¿ruti measure, scalar in nature <m£rcchan¡tmaka>,
and also a collection of j¡tis, each one a group (of svaras), with an absolutely unique
125
nature, because of different svaras taking up the roles of graha, aÆ¿a etc. in the
group.
It is said - It (Àa·ja- or madhyama-gr¡ma) can be attributed to two popular

gr¡mar¡gas when both are seen to take, in the main, the family of svaras with the
¿ruti measure that determines that gr¡ma. [The next sentence is not intelligible, but
the determining of the gr¡ma to which a pentatonic melody can be assigned seems to
be the subject.] The 'tu' (62ab) is used in the sense of cause (preventing pentatonic
reduction). As these twelve svaras have to be omitted (for effecting the pentatonic
reduction?), the pentatonic reduction can never take place in the j¡tis when these
svaras provide the basis for the melodies as aÆ¿as, as in ....G¡ndh¡r¢ etc.. (55-
62ab)
---------------------------------------------------------------------------
ºÉ´ÉÇ º ´É®ú É hÉÉÆ xÉÉ¶ÉºiÉÖ Ê´ÉÊ½þ i Éºi´ÉlÉ VÉÉÊiÉ¹ÉÖ **62**

xÉ ¨ÉvªÉ¨ÉºªÉ xÉÉ¶ÉºiÉÖ EòiÉÇ ´ ªÉÉä Ê½þ Eònù É SÉxÉ *
ºÉ´ÉÇ º ´É®ú É hÉÉÆ |É´É®ú É ä ÁxÉÉ¶ÉÒ ¨ÉvªÉ¨É& º¨ÉÞ i É& *
MÉÉxvÉ´ÉÇ E ò±{Éä Ê´ÉÊ½þ i É& ºÉÉ¨Éº´ÉÊ{É SÉ ¨ÉvªÉ¨É& **63**
The omission (lit. loss) of all the svaras has been prescribed in the j¡tis. But
the omission of madhyama should never be done. Madhyama is the indestructible
source of all the svaras. Even in the s¡mans which are almost g¡ndharva, madhyama
has been prescribed (as inomissible). (62cd-63)
<nùÉxÉÓ ´ÉèÊSÉjªÉÉlÉÈ |ÉªÉÉäMÉEò®úhÉÊxÉªÉ¨É¨ÉÉ½þ ºÉ´ÉÇº´É®úÉhÉÉÊ¨ÉÊiÉ* VÉÉÊiÉÎ¹´ÉÊiÉ ºÉ¨ÉÖnùÉªÉÉ{ÉäIÉªÉÉ

ºÉ´ÉÇº´É®úÉhÉÉÊ¨ÉÊiÉ SÉ* iÉlÉÉ Ê½þ EòºªÉÉÆÊSÉVVÉÉiÉÉè EòºªÉÊSÉzÉÉ¶É =Hò&* ªÉtÊ{É SÉ vÉè´ÉiÉ{É\SÉ¨ÉÉè
¹ÉbÂ÷VÉ¨ÉvªÉ¨ÉOÉÉ¨ÉªÉÉä& Gò¨ÉähÉÉ±ÉÉä{ªÉÉè iÉlÉÉ{ªÉxªÉOÉÉ¨Éä ±ÉÉäÊ{Éi´É¨ÉºiªÉä´É iÉªÉÉäÊ®úÊiÉ ¨ÉvªÉ¨É´ªÉÊiÉÊ®úHòÉ& ºÉ´Éæ º´É®úÉ
xÉÉÊ¶ÉxÉ& ¨ÉvªÉ¨ÉºªÉ iÉÖ xÉ C´ÉÊSÉÊuùxÉÉ¶É&* +xªÉä iÉÖ vÉè´ÉiÉ{É\SÉ¨ÉªÉÉäOÉÉÇ¨ÉÊ´É¦ÉÉMÉäxÉ ªÉnùxÉÉÊ¶Éi´ÉÆ
Ê´É¶ÉÉÊJÉ±ÉÉSÉÉªÉÉÇÊnùÊ¦É¯ûHÆò xÉÉxÉÖ¨ÉxªÉxiÉä ¨ÉÖxÉä¨ÉÇvªÉ¨É B´ÉÉÊ´ÉxÉÉ¶ÉÒ ¨ÉiÉ <iªÉÉ½Öþ&*
Now he speaks of the limit / restriction placed on the practice that is aimed at
variegation - "Of all the svaras". By the phrases "in the j¡tis" and "(omission) of all
the svaras" he takes all (the j¡tis and svara omissions collectively). Actually in a
particular j¡ti a particular omission is prescribed. Even though dhaivata and paµcama
are inomissible in the Àa·ja- and madhyama-gr¡mas, respectively, since omission is
possible in the other gr¡ma, it is madhyama alone which can never be omitted, and
all svaras other than madhyama can be done without. Others do not accept the
126
inomissibility of dhaivata and paµcama that has been spoken of by Vi¿¡khil¡c¡rya

etc., as distinguishing the two gr¡mas from each other, and they cite Bharata's (lit.
the sage's) view that madhyama alone is indestructible.
¸ÉÒ¨ÉnÖùi{É±Énäù´ÉÉºi´ÉÉ½Öþ&* VÉÉÊiÉ±ÉIÉhÉä ´ÉIªÉ¨ÉÉhÉä ¨ÉvªÉ¨ÉºªÉ ±ÉÉä{ÉÉä xÉ C´ÉÊSÉuùIªÉiÉä* iÉx¨ÉvªÉ¨ÉºªÉ xÉÉ¶ÉÉä

xÉ EòiÉÇ´ªÉ <ÊiÉ ËEò |ÉÊiÉ¹ÉävÉäxÉ* |ÉÉ{iÉä®ú¦ÉÉ´ÉÉiÉÂ* ºÉ´ÉÇº´É®úÉhÉÉÆ xÉÉ¶É <iªÉxÉäxÉÉÊ{É xÉ ËEòÊSÉiEÞòiÉ¨ÉÂ*
ÊxÉªÉ¨Éº´É®ú±ÉÉä{ÉºªÉ ªÉlÉÉº´ÉÆ VÉÉÊiÉ¹ÉÖ ´ÉIªÉ¨ÉÉhÉi´ÉÉiÉÂ* iÉº¨ÉÉnùªÉ¨ÉjÉ ¦ÉÉ´É&* ªÉlÉÉ ´ÉèÊSÉjªÉÉlÉÇ®úÉMÉªÉÉäOÉÉÇ¨É®úÉMÉi´ÉÆ xÉÒªÉiÉä
iÉnùÉ ¹Éb÷Ê{É º´É®úÉ& ¹ÉÉb÷´ÉÉèbÖ÷Ê´ÉiÉÊ´ÉÊvÉxÉÉ ºÉ´ÉÉÇºÉÖ VÉÉÊiÉ¹ÉÖ º´É¤ÉÖnÂùvªÉÉ OÉÉ¨ÉÊ´É¦ÉÉMÉä Gò¨ÉÉ±±ÉÉä{ªÉÉ&* xÉ iÉÖ ¨ÉvªÉ¨É&
EònùÉSÉxÉäiªÉjÉ OÉÉ¨É®úÉMÉ´ÉèÊSÉjªÉ¨ÉxÉäxÉ ºÉÚÊSÉiÉ¨ÉÂ* +jÉ ªÉÖÊHò&* ºÉ´ÉÇº´É®úÉhÉÉÊ¨ÉÊiÉ* ºÉ´ÉÇ B´É ¨ÉvªÉ¨Éi´ÉÉnäù´É
iÉÖ±ªÉºlÉÉxÉÊxÉÊ´É¹]õ&* º´É®ú <½þÉäSSÉÉ´ÉSÉº´É®ú´ªÉ´ÉºlÉÉ½äþiÉÖ& ¨ÉvªÉ¨É BEÆò xÉÉ¨É ÊuùiÉÒªÉ¨ÉlÉÇ°ü{É¨ÉÂ* MÉÉxvÉ´ÉÇEò±{É <ÊiÉ*
MÉÉxvÉ´ÉÇ¶ÉÉºjÉÆ <Ç¹ÉnùºÉ¨ÉÉ{iÉä MÉÉxvÉ´Éæ OÉÉ¨É®úÉMÉ°ü{É <ÊiÉ ´ÉÉxÉäxÉ ¦ÉÉ¹ÉÉnäù¶ÉÒ¨ÉÉMÉÉÇÊnù¹ÉÖ ¨ÉvªÉ¨ÉºªÉÉÊ{É Ê´ÉxÉÉÊ¶Éi´É¨É¦ªÉÖ{ÉMÉiÉÆ
¦É´ÉÊiÉ* Ê´ÉÊ½þiÉ <ÊiÉ* ¨ÉRÂóMÉ±Éi´ÉÉiÉÂ* iÉlÉÉ Ê½þ ¨ÉÉiÉÞMÉÖ{iÉ&*
|ÉlÉ¨ÉÆ ¨ÉvªÉ¨ÉÉnäù´É ´ÉÉMnäù´ÉÒ ºÉ´ÉÇnäùÊ½þxÉÉ¨ÉÂ*
¨ÉRÂóMÉ±ªÉÉlÉÈ iÉnÆù¶É& ºªÉÉnùÉ®ú¨¦Éä SÉÉèIÉ¹ÉÉb÷´É&** <ÊiÉ**
ºÉÉ¨Éº´É{ÉÒÊiÉ* iÉjÉ ÁºÉÉè |ÉÉlÉ¨ªÉÉÊzÉªÉiÉ|ÉªÉÉäMÉ&* ªÉnùÉ½þ xÉÉ®únù¨ÉÖÊxÉ&*
ªÉ& ºÉÉ¨ÉMÉÉxÉÉÆ |ÉlÉ¨É& ºÉ Ê´É¶Éäx¨ÉvªÉ¨Éº´É®ú&* <ÊiÉ*
'´ÉähÉÉä¨ÉÇvªÉ¨É' <iªÉxªÉä {É`öÎxiÉ* +xªÉä iÉÖ VÉÉiÉÉ´ÉäEò´ÉSÉxÉÊ¨ÉÊiÉ ¨ÉvªÉ¨Éä Eòh`öºlÉÉxÉä ªÉiº´É®úºÉ{iÉEÆò
iÉnùÊ´ÉxÉÉÊ¶É ºÉ´ÉÇºªÉ iÉiºÉ¨¦É´ÉÉiÉÂ* iÉÉ®ú¨Éxpùº´É®úÉºiÉÖ ºÉ´Éæ Ê{ÉkÉ¶±Éä¹¨ÉÉtÖ{É½þiÉÊ¶É®úÉä´ÉIÉºÉÉ¨ÉºÉÖ±É¦É|ÉªÉÉäMÉÉ <ÊiÉ
´ªÉÉSÉIÉiÉä** (62MÉPÉ-63)
Utpal¡c¡rya has this to say. In the description of j¡tis which is going to be

taken up, the omission of madhyama is never going to be spoken of. Why is the
injunction "Madhyma should never be omitted?" given? Because it (omission of
madhyama) is never observed (in practice). The phrase "the omission of all the svaras"
also does not mean anything, as the omission of svaras according to rule is going to
be described in each of the j¡tis. Hence this is the purport there - for creating a
varied effect and adding to their appeal, when they are drawn towards the state of
gr¡mar¡ga, all the j¡tis may be handled by the singer, using his own judgement,
dropping any of the six svaras, according to the rules and order governing hexatonic
and pentatonic reduction in the respective gr¡ma. Forbidding the omission of
madhyama is to indicate the distinct quality of gr¡mar¡ga. This has been done
skilfully. What does "of all the svaras" mean? All the svaras are placed in (two)
comparable positions with respect to the middle / madhyama. Madhyama
determines the upper and lower set of svaras by virtue of its position. This is one
sense of madhyama. The second sense is its tonal form. What does "nearly
g¡ndharva" mean? It means "where the discipline of g¡ndharva has not ended
127
yet". The reference here is to the gr¡mar¡ga shape taken by music. And by this
probably bh¡À¡ and other melodies of the d®¿¢ course in which the omission of
madhyama is also observed, is hinted at.
[We find that the description 'g¡ndharvakalpa' applied to s¡man, is being
interpreted in yet another way by Abhinava. He takes 'nearly g¡ndharva' to be suitably
applicable to gr¡mar¡gas which are on the fringes of g¡ndharva, and points out that,
beyond this border, other melodies like bh¡À¡s exist, in which the rule forbidding the
omission of madhyama is violated.]
(The inomissibility of madhyama) is "ordained" because of its benedictory
quality. That is why M¡t¤gupta says -
The goddess of speech (began expression) with madhyama, for keeping
the weal of all creatures. The commencement (of music) must be with
CaukÀaÀ¡·ava (áuddhaÀ¡·ava) which has madhyama as its aÆ¿a.
The phrase "in the s¡mans too" alludes to the employment of madhyama as
the prathama (svara in s¡man rendering). N¡rada puts it thus -
The prathama intonation fixed by s¡man singers should be at the madhyama
svara.
Others take the reading "the madhyama of the flute". Yet others, extending
the singular number employed for 'j¡ti' (even though it contains a collection of svaras),
interpret madhyama as the middle region, namely at the throat, and declare that the
svara heptad of this region alone is indestructible, as it is the source from which all
(melody) comes forth. The svaras of the t¡ra and mandra region, belonging to the
head and chest, which are affected by bile <pitta> and phlegm <¿l®Àma>, are not
easily sung, according to this school. (62cd-63).
[Abhinava has recorded all the views regarding the importance of madhyama to
g¡ndharva. Technically madhyama is the key svara which determines the identity of
the other svaras, which form two identical sets of intervals. In the same technical vein,
it is argued that madhyama covers the entire middle register, and does not refer to a
single svara.
The connection made between g¡ndharva and s¡mag¡na again supports the
pre-eminence of madhyama, as it is equated with the prathama svara of s¡man
singing. Again, the sacred nature of g¡ndharva, affirmed by some theorists, makes
madhyama the primal svara, with which Sarasvat¢ commences all expression.]
nù ¶ ÉEÆ ò VÉÉÊiÉ±ÉIÉhÉ¨ÉÂ -
OÉ½þ É Æ ¶ ÉÉè iÉÉ®ú¨Éxpù É è SÉ xªÉÉºÉÉä % {ÉxªÉÉºÉ B´É SÉ *
+±{Éi´ÉÆ SÉ ¤É½Ö þ i ´ÉÆ SÉ ¹ÉÉb÷ ´ ÉÉè b Ö ÷ Ê ´ÉiÉä iÉlÉÉ **64**
128
The ten j¡ti features -

Graha and aÆ¿a, t¡ra and mandra, ny¡sa and apany¡sa, alpatvaÆ and bahutvam,
becoming À¡·ava and au·uva (are the ten distinguishing features of j¡tis). (64)
xÉxÉÖ VÉÉÊiÉÎ¹´ÉiªÉÖHò¨ÉÂ* iÉjÉ EäòªÉÆ VÉÉÊiÉxÉÉÇ¨É* =SªÉiÉä* º´É®úÉ B´É Ê´ÉÊ¶É¹]õºÉÆÊxÉ´Éä¶É¦ÉÉVÉÉä ®úÊHò¨Éoù¹]õÉ¦ªÉÖnùªÉÆ SÉ
VÉxÉªÉxiÉÉä VÉÉÊiÉÊ®úiªÉÖHòÉ&* EòÉä%ºÉÉè ºÉÊzÉ´Éä¶É <ÊiÉ SÉänùÉ½þ* nù¶ÉEÆò VÉÉÊiÉ±ÉIÉhÉÊ¨ÉÊiÉ* OÉ½þÉÆ¶ÉÉÊ´ÉÊiÉ* uùxuäùxÉ
|ÉÉªÉÉå%¶ÉºªÉè´É OÉ½þi´É¨ÉÖiºÉÞ¹]õ¨ÉÂ* iÉÉ®ú¨Éxpùº´É®úÉÊ´ÉiªÉxªÉÉäxªÉÉ{ÉäIÉÉ* ¹ÉÉb÷´ÉÉèbÖ÷Ê´ÉiÉä ªÉjÉ ºÉÆ¦É´ÉiÉºiÉjÉ ±ÉIÉhÉÆ xÉ
ºÉ´ÉÇjÉäÊiÉ nù¶ÉÇªÉÊiÉ* iÉlÉäÊiÉ* iÉä iÉiºÉÆ¦É´É|ÉEòÉ®äúhÉäiªÉlÉÇ&* +¹]õEÆò iÉÖ ºÉ´ÉÇjÉÉ´ªÉÊ¦ÉSÉÉÊ®ú* iÉlÉÉ Ê½þ |ÉlÉ¨É¨ÉvªÉ¨ÉÉxªÉÊ{É
¦ÉÉ´ÉÉzÉ Ê´ÉxÉÉ Eò& ºÉÊzÉ´Éä¶É <ÊiÉ OÉ½þÉ{ÉxªÉÉºÉxªÉÉºÉÉ&* MÉÖhÉ|ÉvÉÉxÉ(xÉÉ?)¦ÉÉ´ÉäxÉ ®úÊHòxÉÉæ{É{ÉtiÉä <ÊiÉ
|ÉvÉÉxÉ¦ÉÚiÉÉå%¶É¶SÉ iÉnù¨ÉÉiªÉEò±{É¶SÉ*(?) iÉiºÉÆ´ÉÉnùÒ {ÉªÉÉÇªÉÉÆ¶ÉÉä ÊxÉªÉÊiÉ... ¤É½Öþi´É¨ÉÖ{ÉªÉÉäÊMÉ* iÉnùÒªÉÆ
iÉSSÉÉ±{ÉÉ{ÉäIÉÊ¨ÉÊiÉ Ê´É¦ÉÉ´ÉÉÊnù±ÉÉä{ªÉº´É®úMÉiÉ¨É±{Éi´É¨ÉÉMÉSUôÊiÉ* ¨ÉÚUÇôxÉÉÊxÉnæù¶ÉÉä{ÉÊnù¹]õ¨ÉvªÉ¨ÉºÉ{iÉEòº´É®ú¨ÉÉjÉä SÉèEò®úºÉä
|ÉªÉÖVªÉ¨ÉÉxÉä ®úHäò®ú¦ÉÉ´É <ÊiÉ iÉÉ®ú¨ÉxpùÉä{ÉªÉÉäMÉ <iªÉ¹]õEÆò iÉÉ´Énù´ªÉÊ¦ÉSÉÉÊ®ú* ±ÉÉä{É¦ÉÉÊMÉxªÉÉÆ iÉÖ º´É®ú±ÉÉä{ÉÉä%Ê{É ±ÉIÉhÉÆ
¦É´ÉÊiÉ**64**
But (the above rules regarding the dropping of svaras have been made) in the
context of j¡tis. So what is this j¡ti? It shall be defined. It is the svaras themselves
participating in specific configurations that give rise to delight as well as the intangible
fruit of elevation, that are termed j¡ti. Anticipating the question "What is this
configuration?", he speaks of the "the ten distinguishing features of j¡ti". "Graha
and aÆ¿a" - are taken in a pair, as practically the aÆ¿a itself takes on the role of
graha. By taking "t¡ra and mandra" together, their mutual dependence (is hinted at).
The description "becoming À¡·ava and au·uva" points out that this feature is
relevant only where they occcur and not everywhere. The phrase "thus" means
"according to the manner in which they (À¡·ava and au·uva) occur. The eighth feature
(bahutvam) means 'occurrence everywhere without fluctuation'. Similarly, since no
configuration is possible without beginning, middle (and end?), graha, apany¡sa and
ny¡sa (are important features). As delight is not accomplished in the absence of
dominant and subservient (in a svara arrangement), the aÆ¿a becomes the dominant
(svara) and its saÆv¡d¢ functions somewhat like its minister, and as an alternative
aÆ¿a.... (all these) serve bahutvam. The svara which is needed rarely and is
omissible, brings in the quality of alpatvam (in the j¡ti). As the (restriction to the)
svara heptad of the middle register which was thrown light on in the exposition of
m£rcchan¡, will result in motony in practice, and will not afford delight, the t¡ra and
mandra (higher and lower ranges of the melody) have to be employed. So invariably
the octave is employed. In (the j¡ti) which allows omission (of svaras), the (particular)
svara/s' omission <svaral°pa> becomes an additional feature. (64)
129
----------------------------------------------------------------------------
+lÉ OÉ½þ É & -
OÉ½þ É ºiÉÖ ºÉ´ÉÇ V ÉÉiÉÒxÉÉ¨ÉÆ ¶ É´Éi{ÉÊ®ú E òÒÌiÉiÉÉ&*
ªÉi|É´ÉÞ k ÉÆ ¦É´Éä n Â ù M Éä ª É¨ÉÆ ¶ ÉÉä OÉ½þ Ê ´ÉEòÎ±{ÉiÉ&**65**
Now for the grahas -
In all the j¡tis, grahas are prescribed in the same way in which the
aÆ¿as are (/ in accordance with the aÆ¿a), as the melody is
commenced with the aÆ¿a, which has assumed th e role of graha. (65)
[We learn here that graha is the commencing svara of th e melody.]
B´ÉÆ ¨ÉÉjÉè º iÉÖ nù ¶ ÉEò ÊxÉhÉÔiÉä ¹ ÉÖ OÉ½þ º ªÉ ¦ÉÉ´ÉÉ ºÉÆ J ªÉÉ* ±ÉIÉhÉ¨ÉÉ½þ * OÉ½þ É Îºi´ÉÊiÉ*
ºÉ´ÉÇ V ÉÉiÉÒxÉÉÆ ºÉÆ ¤ ÉÎxvÉxÉÉä OÉ½þ É &* Ê¨ÉÊ±Éi´ÉÉ +Æ ¶ É´ÉnÂ ù ¦ É´ÉxiÉÒÊiÉ ÊjÉ¹ÉÎ¹]õ Ê ®úiªÉlÉÇ & *
Eò¶SÉÉºÉÉè OÉ½þ & * +É½þ iÉºªÉè ´ É xÉÉ¨ÉÉxiÉ®ú ¨ ÉÂ * EòlÉ¨ÉÖ S ªÉiÉä ªÉi|É´ÉÞ k ÉÆ ¦É´Éä n Â ù MÉä ª ÉÊ¨ÉÊiÉ*
MÉÞ Á iÉä VÉÉÊiÉ|ÉªÉÉä M ÉÉä ªÉiÉ <ÊiÉ OÉ½þ & * iÉä x ÉÉÆ ¶ ÉºªÉè ´ É vÉ¨ÉÉÇ x iÉ®ú ª ÉÉä M ÉÉzÉÉ¨ÉÉxiÉ®ú¨ÉÂ * iÉnù É ½þ
OÉ½þ Ê ´ÉEòÎ±{ÉiÉ <ÊiÉ* OÉ½þvÉ¨Éæ h É BiÉÊuù v ÉiÉªÉÉ EòÎ±{ÉiÉä x É Êuù º ´É¦ÉÉ´ÉÒEÞ ò iÉ&* xÉ i´ÉiÉ B´É
|ÉÉvÉÉxªÉÉnÂ ù OÉ½þ i ´ÉÆ ±É{ºªÉiÉä * iÉiºÉÉ¨ÉlªÉÇ Ê ºÉrù É ä OÉ½þ & * ËEò º´ÉEòh`ä ö xÉÉä H òÊ¨ÉiªÉÉ¶ÉRÂ ó CªÉè i É-
nä ù ´ ÉÉ½þ OÉ½þ Ê ´ÉEòÎ±{ÉiÉ&* +Æ ¶ ÉÉä % Ê{É Eònù É ÊSÉnÂ ù OÉ½þ É ä xÉ ¦É´ÉÊiÉ* xÉxnù ª ÉxiªÉÉÊ¨É´É {É \SÉ¨É&*
iÉºªÉÉ Ê½þ OÉ½þ É ä MÉÉxvÉÉ®ú & * iÉnÂ ù O É½þ º ªÉ {ÉÞ l ÉMÉÊ¦ÉvÉÉxÉÆ EòiÉÇ ´ ªÉ¨Éä ´ É* xÉ iÉÖ
xÉè E ò¨ÉÖ n ù É ½þ ® úhÉÊ¨ÉiªÉjÉ xªÉÉªÉ&* ¶ÉCªÉÆ xÉ OÉÉ¨É®úÉMÉÉnù É ´ÉÆ ¶ É´ªÉÊiÉÊ®úHòºªÉÉÊ{É OÉ½þ i ´ÉÉ¦ªÉxÉÖ Y ÉÉxÉÆ
¦ÉÚ ª ÉºiÉ®ú±ÉIªÉ BEÆ ò {ÉÞ l ÉMOÉ½þ ± ÉIÉhÉä |ÉªÉÉä V ÉxÉ¨ÉÂ * iÉlÉÉ Ê½þ ¨ÉÉ±É´ÉEè ò Ê¶ÉEä ò xÉ ªÉpÚ ù { ÉEÆ ò MÉÒªÉi Éä
xÉ iÉiºÉ´ÉÈ ÊxÉªÉ¨Éä x É ¹ÉbÂ ÷ ( VÉ)OÉ½þ & * B´É¨ÉxªÉnù Ê {É ´ÉÉSªÉ¨ÉÂ * *65**
Now that the (identifying features) have been determined to be ten in

number, it is the turn of graha (to be taken up for definition). H e gives
the definition thus - "Grahas are..." Grahas have relevance "to all
j¡tis". "Like aÆ¿as" means that they total 63. What is this graha? H e
replies, "it is another name for th e same (aÆ¿a)." What is the purport of
the statement "That from which the melody to be sung can
commence "? That (svara) from which the rendering of the j¡ti is done
(lit. grasped) is graha. H en ce, as the aÆ¿a i tself takes on a different
function, it takes another name. This is what he means when he says,
"alternating as the graha <grahavikalpita>". Since it takes on the role
of graha in this manner, it (aÆ¿a) is dual in nature. Its primary
importance alone does not bring it the function of graha. It is only
when it has the capacity to fulfill that function that it becomes graha.
Anticipating the question "But does n ot your statement mean (that
130
graha is identical with aÆ¿a)?", he only says, "(AÆ¿a) can take the role
of graha <grahavikalpita>". So metimes the aÆ¿a can not be th e graha,
too. For instnace, in N andayant¢, paµcama (is th e aÆ¿a), but g¡ndh¡ra
serves as the graha. H ence grah a has definitely to be named
separately (from aÆ¿a as a distinct feature of j¡ti ). It is not as if (this)
lone example ju stifies the (separate conception of graha). In
gr¡mar¡gas etc., th ere are plenty of examples of a svara other than
aÆ¿a being allowed to function as the graha, and so a sep arate graha
concept has its use. Thus in a song (r£pakam) sung to M¡lavakai¿ika
(gr¡mar¡ga), Àa·(ja) do es not strictly function as graha for the entire
song. Similarly other (examples) can also be cited. (65)
-------------------------------------------------------
iÉjÉÉÆ ¶ ÉÉä xÉÉ¨É -
ªÉÎº¨ÉxÉÂ ¦É´ÉÊiÉ ®úÉMÉ¶SÉ ªÉº¨ÉÉSSÉè ´ É |É´ÉiÉÇ i Éä *
¨Éxpù ¶ SÉ iÉÉ®ú¨Éxpù ¶ SÉ ªÉÉä % iªÉlÉÈ SÉÉä { É±É¦ªÉiÉä * *66**
[ +xÉä E òº´É®úºÉÆ ª ÉÉä M Éä ªÉÉä % iªÉlÉÇ ¨ ÉÖ { É±É¦ªÉiÉä
+xªÉ¶SÉ ¤ÉÊ±ÉxÉÉä ªÉºªÉ ºÉÆ ´ ÉÉnù Ò SÉÉxÉÖ ´ ÉÉtÊ{É ]
OÉ½þ É {ÉxªÉÉºÉÊ´ÉxªÉÉºÉºÉÆ x ªÉÉºÉxªÉÉºÉMÉÉä S É®ú & *
+xÉÖ ´ ÉÞ k É¶SÉ ªÉºªÉä ½ þ ºÉÉå % ¶É& ºªÉÉqù ¶ É±ÉIÉhÉ&**67**
Now for the aÆ¿a -
That (svara) in which the attractiveness <r¡gaÅ> (of the melody)
rests, th at which determines the movement in the lower region and
fixes th e upper and lower limits of th e range (of the melody), that which
is observed to be freqent in occurrence, [in combination s of many
svaras, that which occurs profusely, and moreover, whose saÆv¡d¢ and
anuv¡d¢ svaras are strong], that which is observed to play the roles of
graha, apan y¡sa, viny¡sa, sann y¡sa and ny¡sa, and to be guiding (the
svaras playing these roles), that is the aÆ¿a, identifiable with the (above
mentioned) ten marks. (66 -67)
+Æ ¶ É¨ÉÉ½þ ªÉÎº¨Éx¦É´ÉÊiÉ ®ú É MÉ¶SÉä Ê iÉ* ªÉÎº¨ÉxÉÂ Ê´Ét¨ÉÉxÉä ®úÉMÉÉä ®úÊHòVÉÉÇ Ê iÉº´É°ü{ÉÆ SÉ

¦É´ÉÊiÉ Ê¶É®ú º ÉÒ´É {ÉÖ ¯ û¹Éº´É°ü{É¨ÉÂ * B´ÉÆ ªÉ¨ÉÉÊ¸ÉiªÉ ÎºlÉiÉ& º´É®ú & |ÉEò¹Éæ h É ´ÉiÉÇ i Éä *
ªÉº¨ÉÉÊnù Ê iÉ ±ªÉ¤±ÉÉä { Éä {É\SÉ¨ÉÒ* BiÉnÖ ù H Æ ò ¦É´ÉÊiÉ* 'ªÉºªÉ ºÉÆ ´ ÉÉnù Ò ´ÉÉxÉÖ ´ ÉÉnù Ò ´ÉÉ |ÉÉvÉÉxªÉÆ
|ÉÊiÉ ´ÉÉtiÉä ¨Éxpù Ò ´É OÉÉ¨ÉÊ´É¹ÉªÉä * iÉiÉ B´É Ê´ÉxÉÉ{ªÉÆ ¶ Éi´É¨ÉÆ ¶ É& ºÉÆ ´ ÉÉtxÉÖ ´ ÉÉÊnù x ÉÉä ® ä ú ´É* xÉxÉÖ
VÉÉÊiÉÌ´É´ÉÉÊnù i É&(*) iÉnù l ÉÇ ¨ Éä ´ É iÉÉ®úÉ´ÉÊvÉ¨É´Éä I ªÉ SÉ ´ÉIªÉ¨ÉÉhÉ{É \SÉ¨ÉÉÊnù i ªÉÉÊnù x ÉÉ
131
iÉÉ®ú¨Éxpù Î ºlÉÊiÉ&* ªÉ¶SÉ ºÉ¨ÉºiÉ({É)tä º´Éº´É®úÉ{Éä I ÉªÉÉ ¤ÉÉ½Ö þ ± ªÉä x É ¦ÉÉÊiÉ* ªÉ¶SÉ º´ÉªÉ¨Éä ´ É
º´ÉºÉÆ ´ ÉÉtxÉÖ ´ ÉÉÊnù ° ü{ÉÆ ´ÉÉ OÉ½þ É Ênù { É\SÉEò°ü{ÉÆ ´ÉÉ Eò®ú É ä Ê iÉ xÉ iÉÖ Eònù É ÊSÉÊuù ´ ÉÉÊnù x ÉÉ¨ÉÂ *
OÉ½þ É nù ª ÉÉä MÉÉä S É®úÉä ÊxÉªÉxiÉ´ªÉÉä Ê´É¹ÉªÉÉä ªÉºªÉ ºÉ iÉlÉÉ* ªÉ¶SÉÉxªÉÉ(xÉ)Ê{É º´É®ú É xÉÂ
º´É{É®ú É RÂ ó ¨ÉÖ J É´ÉSUôÉnù x Éä x ÉÉxÉÖ ® ú\VÉªÉÊzÉ´ÉiÉÇ i Éä * ªÉÉå % ¶É& |ÉvÉÉxÉ¦ÉÉMÉ´Éi´ÉÉqù ¶ É±ÉIÉhÉ <ÊiÉ ºÉ´ÉÇ
BiÉä vÉ¨ÉÉÇ & ¨ÉÒÊ±ÉiÉÉ& ºÉxiÉÉä +Æ ¶ Éi´Éä |ÉªÉÉä V ÉEòÉ&* +iÉ B´ÉÉÊnù ± ÉIÉhÉ¨ÉÆ ¶ É -
±ÉIÉhÉÉi{ÉÞ l ÉMÉä ´ ÉÉä H ò¨ÉÂ * *66-67**
Now he defines aÆ¿a - "when it is present the attractiveness (is

ensured) <asmin bhavati r¡ga¿ca>". When it is present (in th e
rendering) the delightfuln ess and distinct identity of the j¡ti is secured,
just as the human form is, in the head. And anchored to it, the melody
<svara> progresses surely <prakarÀ® ¸a vartat®>. The fifth case
(ablative) in 'from which <yasm¡t>' h as been used, doing without the
'lyap' (verb) affix (in 'yam ¡¿ritya' = 'based on which'). [The next two
senten ces are not intelligible, but Abhinava seems to be explaining th e
term 'mandra' which comes next in the N S verse. H e seems to be
pointing out "This is wh at h as been said - its (aÆ¿a's) conson ant and
assonant svaras are sounded prominently, echoing it, like the mandr¢
(its octave in the the lower register?), in relation to gr¡ma. That is why,
even when the aÆ¿a is not there, its saÆv¡d¢ or anuv¡d¢ itself adopts
the role of th e aÆ¿a.] But it is j¡ti that is uner discussion, (and not the
relations of saÆv¡d¢ etc.). Yes, it is for this purpose that, keeping in
view the high er range (of a j¡ti), and the specific rules which are going
to determine this, such as 'up to th e fifth', th at th e t¡ra-mandra
concept has been given a place h ere (in the description of aÆ¿a).
(AÆ¿a) is that which occurs more pl entifully than the oth er svaras of its
melody in the entire (song?). (AÆ¿a) is that which assumes the role of
its own saÆv¡d¢ or anu v¡d¢, or of the fivesome, grah a etc., but never
that of its viv¡d¢. Graha etc. can be observed to be served by it or
determin ed by it. [The next sentence which is not very intelligible, is
probably in explanation of the phrase 'anuv¤ttaÅ' in the verse. AB
seems to be saying 'it (aÆ¿a) makes hostile <an y¡n> svaras also
pleasant, by hiding them, as if ignoring them, and wards them off.] This
then is the aÆ¿a, that plays an important part (in the j¡ti), and so is
described as "possessing ten features / roles". i.e., All these functions
have to be performed by th e svara serving as the aÆ¿a. That is why,
132
initially the lakÀa¸ a (of j¡ti) has been set down separatel y, before
coming to the lakÀa¸a of aÆ¿a (within it). (66-67)
-------------------------------------------- ----------------
{É\SÉº´É®ú { É®úÉ iÉÉ®ú M ÉÊiÉªÉÇ l ÉÉ -
+Æ ¶ ÉÉkÉÉ®úMÉËiÉ Ê´ÉtÉnù É SÉiÉÖ l ÉÇ º ´É®úÉÊnù ½ þ *
+É {É\SÉ¨ÉÉi{É\SÉ¨ÉÉuù É xÉÉiÉ&{É®ú Ê ¨É½ä þ ¹ ªÉiÉä * *68***
(±ÉÉä { ªÉº´É®úÉä % Ê{É MÉhªÉ& ºªÉÉnÂ ù ¤ ÉÖ v Éè º iÉÉ®úÊ´ÉvÉÉè {ÉÖ x É&) *
[*The GOS edn. explains in the footnote that the line within
brackets is not to be found in the mss.]
The mo vement above, up to five svaras -
In this context (in j¡ti) it should be noted that the movement abo ve
the aÆ¿a svara is up to the fourth svara. It could be up to the fifth, but
above th e fifth, movement is not desirable. (68)
(In following the rule regarding the upper limit (of th e melody), the
wise must count the omissible svara too.)*
[*The GOS edn. explains in the footnote that the line within
brackets is not to be found in the mss.]
+lÉ iÉÉ®ú ¨ ÉÉ½þ * {É\SÉº´É®ú { É®ú É iÉÉ®ú M ÉÊiÉÊ®ú Ê iÉ* xÉÖ ªÉtÆ ¶ Éº´É®úÉnù É ®úÉä ½ þ G ò¨Éä h É
iÉÉ´Énù É ®úÉä ½ þ h ÉÒªÉÆ ªÉÉ´ÉkÉkÉi{É\SÉ¨ÉºÉÆ J ªÉºªÉ º´É®úÉä xÉ iÉÖ iÉi{É®úÊ¨ÉÊiÉ ÊxÉªÉ¨É&* (BiÉzÉ) iÉnù É
¨É½þ É xÉÂ ±ÉIªÉÊ´É®úÉä v É&* ¹É(¹ÉÉ)bÂ ÷ V ªÉÉÆ Ê½þ ¹ÉbÂ ÷ V ÉÉÆ ¶ ÉÉä {É\SÉ¨Éº´É®ú É kÉ¨Éä ´ ÉÉ®úÉä ½ þ h ÉÒªÉÆ ºªÉÉiÉÂ *
où ¶ ªÉiÉä SÉ ±ÉIªÉä ¹É(¹ÉÉ)bÂ ÷ V ªÉÉÆ . ...zÉ vÉÉvÉÉ--ÊxÉºÉÊxÉvÉ{ÉÉÊxÉvÉ{ÉÉ <ÊiÉ* +É¹ÉÇ ¦ ªÉÉÆ SÉ
vÉè ´ ÉiÉÉxiÉ& ºªÉÉiÉÂ * où ¶ ªÉiÉä SÉ ÊxÉ¹ÉÉnù É xiÉÆ xÉ vÉÊ®ú Ê xÉ¨ÉMÉ¨É <ÊiÉ* ÊxÉ¹ÉÉnù ´ ÉiªÉÉÆ SÉ
{É\SÉ¨ÉÉxiÉ¨ÉÉ®ú É ä ½ þ h ÉÆ où ¶ ªÉiÉä {ÉÉ{ÉÉÊ®ú M ÉÉ <ÊiÉ* B´É¨ÉxªÉjÉÉÊ{É Ê´ÉSÉÉªÉÇ ¨ ÉÂ * iÉº¨ÉÉzÉÉªÉÆ
´ªÉÉJªÉÉ|ÉEòÉ®ú&* ËEò iÉÌ½þ * ¸ÉÚ ª ÉiÉÉ¨ÉÂ * <½þ ¨ÉvªÉ¨ÉºÉ{iÉEä ò xÉ iÉÉ´Éx¨ÉÚ U Ç ô xÉÉnÆ ù ¶ É& EòÉªÉÇ
<iªÉÖ H ä ò ®ä ú ´ É ±É¤vÉ¨ÉÂ * iÉiºÉ{iÉEòÊxÉÊ´É¹]õ É & º´É®úÉ& ºÉ´ÉÇ B´É |ÉªÉÉä V ªÉÉ <ÊiÉ*
ºÉ{iÉEòÉxiÉ®ú M ÉiÉ-º´É®ú | ÉªÉÉä M Éä ¹ ÉÖ ÊEòªÉnÂ ù o ù ¹ ]õÉoù ¹ ]õÉ¦ªÉÖ n ù ª Énù É ÊªÉ ¦É´ÉiÉÒÊiÉ iÉÉ®ú ¨ Éxpù i ÉÉ¨ÉxÉÉoù i ªÉ
Ê¶É®ú º ªÉÉè ® úºªÉº´É®úÊxÉ¹`è ö ´É ºÉÉ <½þ ÊxÉ°ü{ªÉiÉä *
Now he speaks of 't¡ra' in the injunction "the t¡ra movement is up

to the fifth svara". But does this mean that th e movement in ascent
must commen ce from the aÆ¿a svara and end at the fifth svara,
whatever it is, as th e rule says it must not go beyond that? (This is not
so.) This would be a great contradiction of practice. For, in â¡·j¢, when
Àa·ja is th e aÆ¿a, the ascending mo vement ought to be only up to
paµcama as it is the fifth svara. But in practice, in â¡·j¢,... 'dh¡dh¡ --
133
nisanidhap¡nidhap¡' is seen. In ËrÀabh¢, the end (of the upward

movement) should be at dhaivata. But do we not see the niÀ¡da -ending
(movement) in 'dharini magama'? And in NiÀ¡davat¢, the ascent ending
in paµcama is observed in 'p¡p¡rig¡'. Similar examples must be looked
for el sewhere (in other j¡tis). So this is not the proper mode of
interpretation. What then? Listen. We already kno w from the
prescription that the aÆ¿a must be fixed with reference to the
m£rcch an¡ which forms the middle register. It follows that all the svaras
of this heptad are to be employed. And for the svara usage going
beyond this heptad, to what distance the movement can extend, for
resulting in immediate pleasure and the ultimate goal, is determined,
ignoring the actual t¡ra and mandra levels, and considering the limits
provided by the production of svaras from the head and chest. This is
being explained here.
xÉxÉÖ ¨ÉvªÉºÉ{iÉEä ò ÎºlÉiÉä ºÉÊiÉ iÉi{ÉÞ ¹ `ä ö iÉÉ®úºÉ{iÉEòÊxÉÊ´É¹]õÉ& ËEò ºÉ´Éæ º´É®ú É &
|ÉªÉÉä V ªÉÉ&* ºÉ´ÉÇ j É iÉä x Éä Ê iÉ (iÉä xÉä Ê iÉ?) ÊxÉ°ü{ªÉiÉä * iÉjÉ ªÉnù É ¹ÉbÂ ÷ V ÉÉå % ¶ÉÉä ¦É´ÉÊiÉ iÉnù É
iÉÉ®úºÉ{iÉEò(EÆ ò ) Ê®ú M É¨É({É) <iªÉä i Éi{ÉªÉÇ x iÉÆ OÉÉÁÆ ªÉÊnù ¶ÉÊHò®úÎºiÉ* xÉ iÉÖ iÉiÉ& {É®Æ ú
¶ÉÊHòªÉÉä M Éä % Ê{É* >ðxÉOÉ½þ h Éä iÉÖ xÉ nù É ä ¹ É <ÊiÉ {É®ú ¶ É¤nä ù x É nù Ì ¶ÉiÉ&* @ñ¹É¦Éå % ¶Éä
{ÉÖ x ÉvÉê ´ ÉiÉÊxÉ¹ÉÉnä ù ¹ ÉÖ ÊxÉ¹ÉÉnù É xiÉÉ B´É iÉä OÉÉÁÉ <ÊiÉ {É\SÉº´ÉÆ ¶ Éä ¹ ÉÖ ºÉ¨ÉºiÉ BEòºiÉÉ®úºÉ{iÉEò&
ºÉÆ M ÉÞ ½ þ Ò iÉÉä ¦É´ÉÊiÉ* ¨ÉvªÉ¨É& {ÉÖ x ÉªÉÇ Ê nù ¶ÉÊ Hò& SÉiÉÖ º º´É®ú{É®ú¨ÉÉ®úÉä ½ þ h É¨ÉÂ * xÉxnù ª ÉxiªÉÉÆ iÉÖ
{É®úÉ´ÉÊvÉEò B´É iÉÉ®ú Ê xÉ¹`öÉä ¦ÉÊ´É¹ªÉÊiÉ 'iÉÉ®ú M ÉiªÉÉ iÉÖ ¹ÉbÂ ÷ V ÉÉä % Ê{É Eònù É ÊSÉzÉÉÊiÉ´ÉiÉÇ i Éä '
BiÉSSÉ iÉjÉè ´ É ´ªÉÉJªÉÉªÉiÉä * iÉä x É +É SÉiÉÖ º º´É®ú É Ênù Ê iÉ* ªÉnù x ªÉè x ÉÇ x nù ª ÉxiÉÒÊ´É¹ÉªÉÆ ´ªÉÉJªÉÉiÉÆ
xÉ iÉlÉÉ* +jÉè ´ ÉÉlÉæ EòÉÊ®úEòÉ +Æ ¶ ÉÉkÉÉ®ú M ÉËiÉ Ê´ÉtÉÊnù Ê iÉ* <½ä þ Ê iÉ* ¨ÉvªÉ¨ÉºÉ{iÉEä ò
¨ÉÚ U Ç ô xÉÉEòÉÊ®úÊhÉ ÎºlÉiÉä ºÉÊiÉ +Æ ¶ Éº´É®ú¨É´É±É¨¤ªÉ iÉÉ®ú M ÉËiÉ iÉÉ®ú º É{iÉEòMÉiÉº´É®ú { ÉªÉÇ x iÉÆ ´ÉÉ
+É®ú É ä ½ þ & ºÉ´ÉÇ j É ºÉ EòiÉÇ ´ ªÉÉä xÉ iÉiÉ& {É®ú <iªÉxÉä x ÉÉä S ªÉiÉä * iÉè & <½ä þ i ªÉÆ ¶ ÉOÉ½þ h ÉÆ xÉä i ÉÉ SÉ
iÉÉ®ú ¨ Éxpù É hÉÉÊ¨ÉÊiÉ {ÉÚ ´ ÉÉæ H ò¨ÉÆ ¶ É±ÉIÉhÉÆ (SÉ) xÉ {ÉªÉÉÇ ± ÉÉä Ê SÉiÉÆ (xÉ) Ê¶É®ú º ªÉ*
(@ñ¹É¦ÉMÉÉxvÉÉ®úªÉÉä & ) vÉè ´ ÉiÉÊxÉ¹ÉÉnù É ´É|ÉªÉÉä V ªÉÉè iÉªÉÉä ®úCiªÉ¦ÉÉ´Éä º´É®úiÉÉxÉÖ { É{ÉkÉä & ¶ÉCªÉ¦É É´ÉÆ
i´É|ÉªÉÉä H òÊ®ú <iªÉºÉnä ù i ÉiÉÂ *
But with the middle register having been fixed, do all the svaras
placed in the upper register which follows / stands on top of it, have to
be used in practice? It is being sho wn that this should not be done in
all cases. Wh en Àa·ja is the aÆ¿a, the svaras which can be traversed in
the upper register are rigama(pa), if the singer is able to go up to that
level. But beyond that he must not venture, even if h e has the ability to
134
go up. Falling short (of the upper limit) does no harm to the musi c, this
is shown by employing the phrase 'para(= up to the limit)' (in the
injunction). When ¤Àabha is the aÆ¿a, the svaras have to be counted
from the ¤Àabh a in the upper register, up to dhaivata. Wh en g¡ndh¡ra is
the aÆ¿a, the seven svaras up to niÀ¡da (form the upper rang e). When
madhyama, paµcama, dhaivata or niÀ¡da (is the aÆ¿a), they (svaras)
must be taken only up to niÀ¡da. H ence, when any of these five svaras
(ga, ma, pa, dha, ni) is the aÆ¿a, the entire t¡ra heptad can be covered
(by the melodic movement). Madhyama, if one h as the ability, should be
taken up to the fourth svara in ascent. [?] In Nandayant¢, the movement
in the t¡ra register will be only up to the limit set down. The description
"Sometimes even Àa·ja is not crossed in the upward movement " will
be explained when we come to its context (i.e., N andayant¢?) H ence the
interpretation of th e injunction "up to the fourth svara" as relevant to
Nandayant¢, by some scholars, is not right. The purport of the
expository verse "the range of the upward movement should be know n
from the aÆ¿a" is relevant here itself. By "here" it is being instructed
that, with the middle heptad forming the m£rcchan¡ having been fixed,
the movement in the upper register should be based on the aÆ¿a svara
(in the upper register). Ascent should in all cases be within th e t¡ra
heptad of svaras, and not beyond that. By the phrase "by them here
<taiÅ iha>" aÆ¿a is indicated. The feature distinguishing aÆ¿a, namely,
that it is the guide determining the t¡ra and mandra (range of th e
melody), which has al ready been pointed out, has not been refl ected
on... [Th e remaining p art of the senten ce is not clear, but the purport
seems to be that, according to some, when ¤Àabha or g¡ndh¡ra is the
aÆ¿a, the dhaivata and niÀ¡da (forming the upper limit of the melodic
movement) need not be sung, as they lack allure because they do not
reach the state of svara, or due to the singer's inability (to reach
them?). This is not correct according to Abhinava.]
ªÉk´ÉxªÉè ´ ªÉÉÇ J ªÉÉiÉ¨ÉÂ * +Æ ¶ Éº´É®ä ú h É ºÉ½þ iÉÉ´ÉkÉÉ®úºÉ{iÉMÉiÉÉ& {É\SÉ SÉi´ÉÉ®úÉä ´ÉÉ º´É®ú É &
EòÉªÉÉÇ & * ªÉlÉÉ ¹ÉbÂ ÷ V Éå % ¶Éä ºÉÊ®ú M É¨É{É @ñ¹É¦Éä Ê®ú M É¨É{ÉvÉ MÉÉxvÉÉ®ä ú MÉ¨É{ÉvÉÊxÉ ¨ÉvªÉ¨Éä
MÉ¨É{ÉvÉÊxÉ (¨É{ÉvÉÊxÉºÉ?) B´ÉÆ {É\SÉ¨ÉvÉè ´ ÉiÉÊxÉ¹ÉÉnä ù ¹ ÉÖ * BiÉ B´Éä Ê iÉ iÉ±±ÉIªÉä h É (ºlÉÉ{ªÉiÉä ) *
iÉlÉÉ Ê½þ * ÊxÉ¹ÉÉnù ´ ÉiªÉÉÆ ÊxÉ¹ÉÉnå ù ( ¶Éä ) iÉÉ®ú¹ÉbÂ ÷ V ÉÉä où ¶ ªÉiÉ B´ÉÉÆ ¶ Éä x É ºÉÉvÉxÉä x É <ÊiÉ* +±ÉÆ
¤É½Ö þ x ÉÉ =Hè ò ´É SÉ ´ªÉÉJªÉÉ ±ÉIÉhÉºÉÆ O ÉÉÊ½þ h ÉÒiªÉÉnù ® ú h ÉÒªÉ¨ÉÂ *
135
Now for th e interpretation made by others. Along with the aÆ¿a

svara, then, five or four svaras belongi ng to the upper registe r should
be sounded. i.e., when Àa·ja is the aÆ¿a, sarigamapa, when ¤Àabha is
the aÆ¿a, rigamapadha, when g¡ndh¡ra (is the aÆ¿a), gamapadh ani,
and when madhyama (is the aÆ¿a), gamapadhani (mapadhanisa?)
should be rendered. Similarly in the case of paµcama, dhaivata and
niÀ¡da. T hat this is what is meant is (substantiated) by what is oberved
in practice. H ence this follows. When niÀ¡da is the aÆ¿a in NiÀ¡davat¢,
the t¡ra Àa·j a is seen (to be rendered) because the aÆ¿a brings this
about. Enough of elaboration. An explanation (of text) that h as b een
made (by others) is worth considering, only because it retains the
collection of definitions (in the main text).
xÉÉiÉ& {É®ú Ê ¨ÉÊiÉ* iÉÉ®úMÉiÉä >ðxÉi´Éä EòÉ¨ÉSÉÉ®ú¨ÉÉ½þ * <½ä þ Ê iÉ*(?) VÉÉÊiÉ¹ÉÖ ( *)

OÉÉ¨É®úÉMÉÉnù É è xÉÉªÉÆ ÊxÉªÉ¨É <ÊiÉ Ê´É¦ÉÉMÉ&* ¤ÉÖ v Éè Ê ®ú Ê iÉ* ±ÉÉä { ªÉÊ¨ÉÊiÉ º´É®Æ ú ªÉä
¤ÉÖ r ù ª É(nÂ ù v ªÉ?)xiÉä iÉè ® ú { ÉÚ h ÉÇ i ´Éä % Ê{É ±ÉÉä { ªÉº´É®ú Ê ´ÉvÉÉä MÉhÉxÉÒªÉ <iªÉÉ½þ * iÉlÉÉ SÉ
Ê´É¶ÉÉÊJÉ±ÉÉSÉÉªÉÇ & * xÉÉÊ¶Éº´É®ú º iÉÉ®ú Ê ´ÉvÉÉè ºÉÆ J ªÉÉªÉiÉä <ÊiÉ* iÉÉ®úªÉÊiÉ {±ÉÉ´ÉªÉÊiÉ ´Éä M Éä x É
´ÉÉSÉÊ¨ÉÊiÉ iÉÉ®ú&**68**
The phrase "not beyond that" means that, in the movement upwards,
there is freedom to stop short (of th e limit prescribed). By " here" j¡tis
are meant. In gr¡mar¡ga etc., the rule (that the upward movement must
not go beyond the limit prescribed) does not hold. Now for (the
injunction) ".......by the wise". The phrase "o missible" qualifies svara.
The purporst is that the svaras which are known to exist (in th e range)
have to be counted, even when they are absent. As Vi¿¡khil¡c¡rya h as
said - "the lost svara is counted while following the rule regarding the
upper limit (of the melodic movement)." 'T¡ra' is so called because it
carries (melodic) expression across, in a leap. (68)
----------------------------------------------------------------
ÊjÉvÉÉ ¨Éxpù M ÉÊiÉ&* +Æ ¶ É{É®úÉ xªÉÉºÉ{É®úÉ* iÉi{É®úÉ * SÉä Ê iÉ *
¨Éxpù º i´ÉÆ ¶ É{É®úÉä xÉÉÎºiÉ xªÉÉºÉÉè iÉÖ uù É è ´ªÉ´ÉÎºlÉiÉÉè *
MÉÉxvÉÉ®úxªÉÉºÉÊ±ÉRÂ ó MÉä iÉÖ où ¹ ]õ ¨ ÉÉ¹ÉÇ ¦ ÉºÉä ´ ÉxÉ¨ÉÂ * *69**
[*Th e GOS edn. reads +{É®ú x ªÉÉºÉ{É®úÉ , but gives the reading taken
here, as a variant. We have incorporated this variant reading, as it
seems to have been taken by Abhinava and is more acceptable.]
136
The movement in the lower region can be in three ways. It can be up to

the aÆ¿a, up to the ny¡sa, or (to the svara) n ext to the ny¡sa.
The mo vement in the lower region is never beyond the aÆ¿a. Two
(possibilities of mandra movement, controlled by) ny¡sa are prescribed
(one up to the ny¡sa and anoth er up to the svara next to it). But when
g¡ndh¡ra is indicated as the n y¡sa, ¤Àabha is observed to serve (as the
mandra limit). (69)
[At first sight the prescription of three alternatives for movement in

the lower register is puzzling. But one realises that the mention of aÆ¿a
covers only the ¿uddh¡ j¡tis, as the ny¡sa is identical with the aÆ¿a in
these. But in the vik¤t¡ j¡tis, the aÆ¿a varies, and so it is the ny¡sa
which is identical in the ¿uddh¡ as well as vik¤t¡ forms of a j¡ti, that
controls the range of the melodic movement. Probably, the mention of
aÆ¿a could have been dispensed with, and only that of ny¡sa retained
in formulating this rule. This would have been appropriate, as the ny¡sa
has been prescribed to be don e in the mandra sth¡na, at least in the
¿uddh¡ form of a j¡ti.]
+lÉ ¨Éxpù ¨ ÉÉ½þ * ÊjÉvÉÉ ¨Éxpù M ÉÊiÉÊ®ú Ê iÉ* ¨Énù Ò ½þ ¨ÉÉä n ù x Éä xÉ©Éi´ÉÉ±±ÉÊ±ÉiÉÉä ¨Éxpù & *
ªÉÉä % ºÉÉ´ÉÆ ¶ Éº´É®úÉä ¨ÉvªÉ¨Éä ºÉ{iÉEä ò iÉnù x iÉ¨Éä ´ É ¨Éxpù º É{iÉEòÉnÂ ù O ÉÉÁ& xªÉÉºÉº´É®úÉxiÉÆ ´ÉÉ
iÉi{É®ú É ä ´Éä k ªÉä E ò& (´Éä i ªÉä E ò&?) {É®ú ¶ É¤nù É ä ±ÉÖ { iÉÊxÉÌnù ¹ ]õ& xªÉÉºÉº´É®úÉiÉÂ ªÉ& {É®ú º iÉÉiÉÂ
{É®úÉ......iªÉlÉÇ & * {É®úOÉ½þ h ÉÆ iÉiÉ& >ðxÉºªÉ ÁxÉÖ Y ÉÉ ´ÉÉ EòÉ¨ÉSÉÉ®ú¨ÉÉ½þ * xÉx´Éä ´ ÉÆ ¹ÉÉbÂ ÷ V ªÉÉÆ
vÉè ´ ÉiÉºªÉ ¨Éxpù º ªÉ EòlÉÆ |ÉªÉÉä M É&(*) EòlÉÆ xÉ ªÉÉ´ÉiÉÉ ¹ÉbÂ ÷ V ÉÉxiÉÆ iÉjÉ ¨Éxpù º É{iÉEä ò xÉ {ÉÚ h Éæ x É
Ê´ÉiÉiªÉ(,) EòÉ¨ÉSÉÉ®úÉkÉÖ vÉè ´ ÉiÉÉxiÉÉä ¨Éxpù | ÉªÉÉä M É&* ªÉÉä Ê½þ iÉnÂ ù O É½þ x ªÉÉºÉ°ü{É¹ÉbÂ ÷ V Éä x ÉÉºÉÉè
¨Éxpù º É{iÉEòÉiÉÂ +Ê{É iÉÖ ¨ÉvªÉMÉiÉÉ ¨ÉvªÉMÉiÉÉnä ù ´ É ºÉÉ...¨Éxpù É ä ÊxÉªÉ¨ÉÉiÉÂ <iªÉjÉ Ê½þ
iÉÉ®úÊxÉ´ÉÞ Ê kÉ{É®Æ ú ´ÉSÉxÉÆ xÉ Ê½þ ¹ÉÉbÂ ÷ V ªÉÉÆ ªÉjÉ ¹ÉbÂ ÷ V É& ºlÉÉxÉjÉªÉä ¸ÉÚ ª ÉiÉä <ÊiÉ* iÉjÉè ´ É
EòÉÊ®ú E òÉÆ {É`öÎxiÉ* ¨Éxpù º i´ÉÆ ¶ ÉÉi{É®ú É ä xÉÉºiÉÒÊiÉ* iÉlÉÉ Ê½þ ÊxÉ¹ÉÉnù ´ ÉiªÉÉÆ ÊxÉ¹ÉÉnù B´É ¨Éxpù É ä
xÉÉºÉÉè où ¶ ªÉiÉä +Æ ¶ ÉOÉ½þ º ´É®úºªÉ ¨ÉvªÉMÉiÉi´ÉxªÉÉºÉä iÉÖ ºÉÊiÉ uù É è ¨Éxpù É è xªÉÉºÉ B´É iÉi{É®ä ú
´ÉÉ* +jÉè ´ ÉÉä n ù É ½þ ® úhÉÆ iÉnÂ ù ´ ªÉ´ÉÎºlÉiÉÊ´É¹ÉªÉÉ ±ÉIªÉä Ê iÉ ÊxÉªÉ¨É¨ÉÉ½þ MÉÉxvÉÉ®ú±ÉIÉhÉ ä
xªÉÉºÉ{É®ú i ´ÉÉnä ù ´ É ¨Éxpù i ´ÉÆ ÊºÉrù ¨ ÉÂ * iÉÏiEò {ÉÖ x É´ÉÇ S ÉxÉä x É* +ÎºiÉ SÉ ªÉuù I ªÉiÉä * ±ÉRÂ ó PÉxÉÆ
ÁÞ ¹ É¦ÉºªÉÉÊ{É iÉSSÉ ¨Éxpù M ÉiÉÆ º¨ÉÞ i É¨ÉÂ * <ÊiÉ*(28-131) iÉnÂ ù YÉÉ{ÉªÉÊiÉ
´ªÉ´ÉÎºlÉiÉÊ´É¹ÉªÉÉä % ªÉÆ Ê´ÉEò±{É <ÊiÉ* xÉxÉÖ ´ÉSÉxÉ¨Éä ´ É ¨ÉÖ Ê xÉYÉÉÇ { ÉEòi´Éä x ÉÉä { ÉxªÉ ºªÉiÉÒÊiÉ
ÊEò¨Éä i ÉnÂ ù M ÉÉxvÉ´ÉÇ ( vÉÉ®?)´ÉSÉxÉ¨Éä ´ Éä n Æ ù {ÉÚ ´ ÉÈ ÊºÉrù Ê ¨ÉiªÉnù É ä ¹ É&* iÉÖ ® ú´ÉvÉÉ®úhÉä +(
´ªÉ?)´ÉÎºlÉiÉÉ´Éä ´ Éä i ªÉlÉÇ & **69**
137
Then he speaks of mandra - "the mandra movement can be done in

three ways". (The root) 'madi' is employed in the sense of 'delighting'.
(From that comes) mandra, which is gentle because it is low. That
svara which is the aÆ¿a in the middle register, limits the handling of the
the lower register up to its place there; or (the movement can be) up to
the ny¡sa svara, or one (svara) beyond that. The word 'para' employed
here, leaving out ('svara'), means that (svara) which is immediately
beyond th e ny¡sa svara... 'Up to <para>' means the limit may be fallen
short of, at will. But (?) how is it th at the mandra dh aivata (is obse rved
to limit the down ward movement) in â¡·j¢? Wh y not, since (mandra
movement) ends with Àa·ja, having covered the entre mandra h eptad? It
is only by choice that the mandra movement is ended at dhaivata. [The
next few senten ces are unintelligible, but t he purport seems to be -
while graha, ny¡sa etc. are prescribed with reference to the middle
register, mandra and t¡ra limits imply the movement in th e lower and
upper registers. Hen ce in â¡·j¢, Àa·ja is heard in all the three sth¡nas.
Then the injunction "mandra never goes beyond the aÆ¿a" is explained.
In NiÀ¡davat¢, niÀ¡d a provides the mandra limit. In case it is not the
aÆ¿a and graha prescribed in the middle register, it is still the ny¡sa;
two mandra limits are there - at the ny¡sa or the svara below that.
Immediately an example for this fixation of mandra is given in the
form of g¡ndh¡ra (serving as ny¡sa), and the rule added, that the
mandra limit is fixed beyond it. But wh y repeat what has already been
said? There is a reason for this, for it is going to be prescribed (in
Nandayant¢) "The skipping of ¤Àabha is also there, and that is prescribed in
the movement in the lower range." (28,131) So he gives th e
information that this is one alternative prescribed. But why is the sag e
framing an instruction in the form of information? The instru ction
regarding g¡ndh¡ra is the only one put down ahead (of the description
of particular j¡tis?) The 'tu' in the verse furth er limits the rule th at h as
already been l aid down. (69)
-------------------------------------------------------------
+lÉ xªÉÉºÉ BEòË´É¶ÉÊiÉºÉÆJªÉ&* +RÂóMÉºÉ¨ÉÉ{iÉÉè xªÉÉºÉ&* iÉuùnù{ÉxªÉÉºÉÉä i´ÉRÂóMÉ¨ÉvªÉä ¹É]Âõ{É\SÉÉ¶ÉiºÉÆJªÉ&* ªÉlÉÉ -
xªÉÉºÉÉä%RÂóMÉºÉ¨ÉÉ{iÉÉè ºÉ SÉèEòË´É¶ÉÊiÉºÉÆJªÉºiÉlÉÉ*
¹É]Âõ{É\SÉÉ¶ÉiºÉÆJªÉÉä%{ÉxªÉÉºÉÉä%RÂóMÉ¨ÉvªÉä ¦É´ÉäiÉÂ**70** )*
138
[*The GOS edn. presents the total number of syllables in each half of the verse,
namely, 16 and 14, explaining in the footnote, that this is a variety of anuÀ¶up, called
vit¡na, according to the commentator.]
Now ny¡sas number twentyone. Ny¡sa (serves) to end a section <a´ga> (of the
melody / song). Apany¡sa functions in the same way, but within an a´ga, and there
are fiftysix of these . As (has been said) -
Ny¡sa (is employed) in ending a section <a´ga>. It occurs in twentyone (ways /

svaras). Apany¡sas, numbering fiftysix, occur within the a´gas. (70)
+lÉ xªÉÉºÉºÉÆJªÉªÉÉ ±ÉIÉhÉäxÉ SÉÉ½þ* xªÉÉºÉ BEòË´É¶ÉÊiÉºÉÆJªÉ <ÊiÉ* ¹ÉbÂ÷VÉ¨ÉvªÉ¨ÉÉªÉÉÆ uäù EèòÊ¶ÉCªÉÉºjÉªÉ&
Ê¶É¹]õÉxÉÉÆ ¹ÉÉäb÷¶ÉäÊiÉ* +ºªÉÉÆ VÉÉÊiÉ¶É®úÒ®úºÉ¨ÉÉ{iÉÉè EòiÉÇ´ªÉiÉÉªÉÉÆ ´ÉÉ º´É®ú& ºÉxªÉÉºÉ&* (ÊxÉ) iÉÌ½þ +ºªÉiÉä |ÉªÉÉäMÉä
ªÉäxÉäÊiÉ (xªÉÉºÉ&)*
[There are probably scribal errors in the above passage, but the purport is
discernible.] Then he speaks of ny¡sa, in terms of number, as well as description -
"ny¡sa (svaras) number twentyone". In âa·jamadhyam¡ there are two (ny¡sas), in
Kai¿ik¢ there are three, and the remaining (sixteen) j¡tis have sixteen. The svara
which has to be rendered at the conclusion of the body of the j¡ti is ny¡sa.
(Etymology) Since it brings to rest the rendering (of the j¡ti), it is (ny¡sa).
+{ÉxªÉÉºÉ¨ÉÉ½þ* iÉuùÊnùÊiÉ ºÉ¨ÉÉ{iÉÉè iÉÌ½þ xªÉÉºÉÉiÉÂ EòÉä%ºªÉ Ê´É¶Éä¹É&* +É½þ* +RÂóMÉ¨ÉvªÉ <ÊiÉ* +´ÉÉxiÉ®ú
ºÉ¨ÉÉ{iÉÉÊ´ÉiªÉlÉÇ&* iÉlÉÉ SÉ nùÊkÉ±ÉÉSÉÉªÉÇ&* Ê´ÉnùÉ®úÒ¨ÉvªÉMÉºiÉlÉÉ <ÊiÉ* iÉjÉ ¹ÉbÂ÷VÉOÉÉ¨Éä ¹ÉbÂ÷VÉ¨ÉvªÉ¨ÉÉªÉÉ&
ºÉ{iÉÉ{ÉxªÉÉºÉÉ&* ¹ÉbÂ÷VÉÉänùÒSªÉ´ÉÉªÉÉÆ uùÉè {É\SÉÉxÉÉÆ |ÉiªÉäEÆò jÉªÉ <ÊiÉ SÉiÉÖÍ´É¶ÉÊiÉ&* ¶Éä¹ÉÉºiÉÖ ¨ÉvªÉ¨ÉOÉÉ¨Éä*
BiÉnäù´ÉÉ{ÉxªÉÉºÉº´É°ü{ÉÆ Ê´ÉiÉÉxÉ´ÉÞkÉäxÉÉxÉÖ¹]Öõ¤¦ÉänäùxÉÉ½þ* ªÉlÉÉ -
xªÉÉºÉÉä%RÂóMÉºÉ¨ÉÉ{iÉÉè ºÉ SÉèEòË´É¶ÉÊiÉºÉÆJªÉºiÉlÉÉ*
¹É]Âõ{É\SÉÉ¶ÉiºÉÆJªÉÉä%{ÉxªÉÉºÉÉä%RÂóMÉ¨ÉvªÉä ¦É´ÉäiÉÂ** <ÊiÉ**70**
Then he describes apany¡sa - "In the same way....." If it is also used for ending,
how is it different from ny¡sa? He explains - "within a section <a´gamadhy®>". That
means "in a medial rest". Dattil¡c¡rya gives the same (definition) - "occurring thus
within a vid¡r¢". In âa·jamadhyam¡ there are seven apany¡sas. In âa·j°d¢cyav¡
there are two, and there are three in each of the remaining five (j¡tis), totalling
twentyfour in Àa·jagr¡ma. The rest are in madhyamagr¡ma. This same description of
apany¡sa, he goes on to express in a verse set to the vit¡na metre, a variety of
anuÀ¶up. Thus -
139
Ny¡sa (is employed) in ending a section <a´ga>. It occurs in twentyone (ways

/ svaras). Apany¡sas, numbering fiftysix, occur within the a´gas. (70)
------------------------------------------------------------------------------------------
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iÉjÉ |ÉlÉ¨ÉÆ(¨É)Ê´ÉnùÉ®úÒ¨ÉvªÉä xªÉÉºÉº´É®ú|ÉªÉÖHòºiÉÖ*
Ê´É´ÉnùxÉ¶ÉÒ±ÉÆ ¨ÉÖCi´ÉÉ ºÉzªÉÉºÉ& ºÉÉä%Ê¦ÉvÉÉiÉ´ªÉ&*
EÞòi´ÉÉ {ÉnùÉ´ÉºÉÉxÉä Ê´ÉxªÉÉºÉÉiC´ÉÉÊ{É Ê´ÉxªÉÉºÉ&**71**
[* The GOS edn. suggests ({ªÉÆ¶É) here, following AB.]
Sanny¡sa and viny¡sa too occur within the a´ga. They have not been fixed and so
their number is large.
The svara that is rested on <ny¡sa> within the first vid¡r¢, without being
discordant, is called sanny¡sa. (The svara that) effects a rest at the end of a word,
anywhere (in a section), is viny¡sa, as it distributes (the music over the text). (71)
+lÉÉxÉÖÊqù¹]õ¨É{ªÉÆ¶É±ÉIÉhÉÉ{ÉäÊIÉiÉÆ |ÉºÉRÂóMÉÉ±±ÉIÉªÉÊiÉ ºÉÆxªÉÉºÉÊ´ÉxªÉÉºÉÉ´É{ªÉÆ¶É¨ÉvªÉ B´ÉäÊiÉ* Ê´ÉnùÉ®úÒ¨ÉvªÉ

<iªÉlÉÇ&* +lÉÉÊxÉªÉiÉªÉÉä& EòÉ ºÉÆJªÉäiªÉÉ½þ* +ÊxÉªÉiÉi´ÉÉSSÉ ¤É½Öþi´ÉÊ¨ÉÊiÉ* xªÉÉºÉÉ{ÉxªÉÉºÉÉÆ¶É´ÉkÉªÉÉä& |ÉÊiÉVÉÉÊiÉ|ÉªÉÉäMÉ-
ÊxÉªÉ¨ÉÉä%ºiÉÒiªÉlÉÇ&* iÉjÉ ºÉÆxªÉÉºÉ¨ÉÉ½þ*
iÉjÉ |ÉlÉ¨ÉÊ´ÉnùÉ®úÒ¨ÉvªÉä xªÉÉºÉº´É®ú& |ÉªÉÖHòºiÉÖ*
Ê´É´ÉnùxÉ¶ÉÒ±ÉÆ ¨ÉÖCi´ÉÉ ºÉzªÉÉºÉ& ºÉÉä%Ê¦ÉvÉÉiÉ´ªÉ&**
+Æ¶ÉºªÉ Ê´É´ÉÉnùÒ ªÉÉä xÉ ¦É´ÉÊiÉ ºÉ SÉäi|ÉlÉ¨ÉÊ´ÉnùÉªÉÇxiÉä |ÉªÉÖHòºiÉiÉºiÉnùÉ ºÉÆxªÉÉºÉ& ºÉ¨ÉÒ{É¦ÉÚiÉÉä xªÉÉºÉ <ÊiÉ*
EÞ i´ÉÉ {ÉnùÉ´ÉºÉÉxÉä Ê´ÉxªÉÉºÉÉiC´ÉÉÊ{É Ê´ÉxªÉÉºÉ&*
+Æ¶ÉºªÉ ºÉÆ´ÉÉtxÉÖ´ÉÉnùÒ ´ÉÉ C´ÉÉÊ{É Ê´ÉnùÉ®úÒ¦ÉÉ´É°ü{ÉºªÉ {ÉnùºªÉ {ÉnùÉxiÉä Ê´ÉxªÉºªÉiÉä iÉnùÉ Ê´ÉxªÉÉºÉ&**71**
Now, even though these have not been included in the list (of j¡ti features), since
the description of aÆ¿a has brought them into the context, he defines them too -
"Sanny¡sa and viny¡sa fall within (are controlled by?) aÆ¿a". i.e., 'within the
vid¡r¢'. Now how can they (sanny¡sa and viny¡sa svaras) be counted, as they have
not been fixed? So he says, "Since they are not fixed they are numerous." This means
- like the ny¡sa and apany¡sa parts, these two are fixed differently according to the
j¡ti they serve. Then he defines sanny¡sa.
Within the first vid¡r¢, the svara that can be rested on <ny¡sa>, without being
discordant, is called sanny¡sa.
140
(The svara) which is not a viv¡d¢ of the aÆ¿a, placed at the end of the first vid¡r¢,
is sanny¡sa, i.e., near the ny¡sa.
(The svara that) effects a rest at the end of a word, anywhere (in the
section), is viny¡sa, as it distributes (the melody over the text).
When (a svara which is) a saÆv¡d¢ or anuv¡d¢ is placed at the end of a word
which (breaks up the melody) in the manner of vid¡r¢, anywhere (within a section,)
we have viny¡sa. (71)
-----------------------------------------------------------------------------------------------
ÊuùÊ´ÉvÉ¨É±{Éi´ÉÆ ±ÉRÂóPÉxÉÉnùxÉ¦ªÉÉºÉÉSSÉ* iÉjÉ ¹ÉÉb÷´ÉÉèbÖ÷Ê´ÉiÉ´É(EòÉ)®úÉhÉÉ¨ÉxÉÆ¶ÉÉxÉÉÆ SÉ MÉÒiÉÉxiÉ®ú¨ÉÉMÉÇ¨ÉÖ{ÉMÉiÉÉxÉÉÆ
º´É®úÉhÉÉ¨ÉxÉ¦ªÉÉºÉ&* ±ÉRÂóPÉxÉÉnùxÉ¦ªÉÉºÉÉtlÉÉ(-)VÉÉiªÉ±{Éi´ÉÆ iÉnÂù¤É½Öþ±Éi´ÉÆ SÉ*
iÉlÉÉ -- +±{Éi´Éä%lÉ ¤É½Öþi´Éä ¤É±É´Énù¤É±ÉiÉÉ Ê´ÉÊxÉ¶SÉªÉÉnäù´É*
VÉÉÊiÉº´É®èúºiÉÖ ÊxÉiªÉÆ VÉÉiªÉ±{Éi´ÉÆ ÊuùÊ´ÉvÉ¨ÉäiÉiÉÂ**72**
Alpatvam (sparse occurrence of a svara ) is effected in two ways - skipping over (the
svara) and not repeating it. The (svaras) which are not functioning as aÆ¿a and so
can be omitted in the hexatonic and pentatonic forms, and the svaras which find
place in the movement between focal svaras <antaram¡rga> in the melody are not
repeated much. The sparse occurrence (of a svara) due to skipping over it or not
repeating it, varies from j¡ti to j¡ti <yath¡j¡ti> , and similarly, its profuse occurrence
(due to the opposite procedure).
And so - [The syntax is not clear, but the purport seems to be - ] Svaras of a j¡ti have
their strength or weakness determined by their sparse or plentiful (plentiful or sparse)
occurrence . This 'sparseness in the j¡ti' occurs in two ways. (72)
B´É¨ÉºÉ({É?)xªÉÉºÉºªÉè´É |ÉGòÉxiÉ°ü{ÉÆ ºÉÆxªÉÉºÉÊ´ÉxªÉÉºÉuùªÉÆ ±ÉIÉÊªÉi´ÉÉ +Æ¶ÉEò|ÉºiÉÉ´Éä |ÉEÞòiÉ¨É±{Éi´ÉÆ

Ê´É¦ÉÉMÉuùÉ®äúhÉ ±ÉIÉªÉÊiÉ* ÊuùÊ´ÉvÉÊ¨ÉÊiÉ* ±ÉRÂóPÉxÉÆ º{ÉÞ¹]Âõ´Éè´ÉÉÊ´É¸É¨ªÉè´É iÉiº´É®úÉxiÉ®úMÉ¨ÉxÉä iÉºªÉ º´É®úºªÉ
º´É|ÉvÉÉxÉÒEò®úhÉ¨ÉÂ* ªÉlÉÉ xÉ ®úÉMÉä MÉÉxvÉÉ®úÒ º´É......Ê´ÉnùÉ <ÊiÉ ¸ÉÉxiÉÉ............´É{ªÉxÉÉ´ÉÞÊkÉ®úxÉ¦ªÉÉºÉ&
ªÉk´ÉÉ´ÉVÉÇxÉ¨Éä´É ±ÉRÂóPÉxÉÊ¨ÉÊiÉ iÉnùºÉiÉÂ* +±{Éi´É¦ÉÉ¹ÉÉªÉÉÆ ´ÉÉ ªÉÉäMÉÉiÉÂ ¹ÉÉb÷´ÉÉèbÖ÷Ê´ÉiÉÊ´ÉvÉä¶SÉÉ±{Éi´ÉÆ {ÉÞlÉRÂó xÉ iÉiÉÂ
ºªÉÉiÉÂ* xÉxnùªÉxiªÉÉÆ SÉ {É\SÉ¨ÉÉÆ¶ÉÉä ªÉÉ´ÉiºÉÆ´ÉÉÊnùxÉ& @ñ¹É¦ÉºªÉ ±ÉRÂóPÉxÉÒªÉi´ÉÆ ªÉÖHÆò xÉ SÉÉºªÉ ºÉÆ´ÉÉÊnùxÉÉä ±ÉÉä{ÉÉä ªÉÖHò&*
xÉ SÉè´ÉÊ¨ÉiªÉ¹ÉÉb÷´ÉÉ ºÉÆ´ÉÉtÉèbÖ÷Ê´ÉiÉºªÉÉ{ÉkÉä& (±ÉRÂóPÉxÉÉ)xÉ¦ªÉÉªÉÉäÌ´É¹ÉÆ (±ÉRÂóPÉxÉÉxÉ¦ªÉÉºÉªÉÉäÌ´É¹É¨ÉÆ?) Ê´É¦ÉVÉÊiÉ* iÉjÉ
¹ÉÉb÷´ÉÉèbÖ÷Ê´ÉiÉEòÉ®úÉhÉÉÊ¨ÉÊiÉ* ±ÉÉä{ªÉº´É®ú{ÉÚhÉÉÇ´ÉºlÉÉ ªÉÉ ªÉnùÉ |ÉªÉÖVªÉiÉä iÉnùÉ iÉºªÉ ¤ÉÉ½Öþ±ªÉäxÉ ±ÉRÂóPÉxÉ¨ÉÂ*
C´ÉÊSÉnùxÉ¦ªÉÉºÉÉä%Ê{É* ªÉä%jÉ iÉÖ º´É®úÉ& {ÉªÉÉÇªÉÉÆ¶ÉÉ xÉ ¦É´ÉÎxiÉ ªÉlÉÉ ¹ÉÉbÂ÷VªÉÉÆ ÊxÉ¹ÉÉnù¹ÉÇ¦ÉÉè iÉÉè ªÉnùÉ%xiÉ®ú¨ÉÉMÉæ
|ÉªÉÖVªÉäiÉä iÉnùÉ%xÉ¦ªÉÉºÉ&* iÉä¹ÉÉÆ C´ÉÊSÉ±±ÉRÂóPÉxÉ¨ÉÊ{É MÉÒiÉä OÉ½þºÉÆ´ÉÉt´ÉºlÉÉxÉÆ ¨ÉÖCi´ÉÉ xÉÒ.......Hò
ªÉÉäMÉMÉÊiÉxªÉÉºÉÊxÉEò(SÉ)ªÉä ¦É´ÉäiÉÂ* +xiÉ®ú¨ÉÉMÉÇhÉÊ¨ÉiªÉxiÉ®ú¨ÉÉMÉÇhÉºªÉ(MÉÇºªÉ) ±ÉIÉhÉ¨ÉÂ* ªÉlÉÉVÉÉiÉÒÊiÉ*
141
C´ÉÊSÉuùÉ%xÉÆ¶ÉÉä%Ê{É xÉÉ±{É&* iÉlÉÉ SÉ EòÉ¨ÉÉÇ®ú´ªÉÉÆ MÉÉxvÉÉ®úºªÉ ºÉ´ÉÇº´É®úºÉRÂóMÉiªÉÉ ¤É½Öþi´ÉäxÉÉxiÉ®ú¨ÉÉMÉæ |ÉªÉÉäMÉ <ÊiÉ

´ÉIªÉiÉä
MÉÉxvÉùÉ®úºªÉ Ê´É¶Éä¹ÉähÉ ºÉ´ÉÇiÉÉä MÉ¨ÉxÉÆ ¦É´ÉäiÉÂ* (¦É. xÉÉ. 28-134)
<ÊiÉ* +lÉ ¤É½Öþi´É¨ÉÉ½þ* +±{Éi´ÉÆ iÉuùnÂù¤É½Öþi´ÉÊ¨ÉÊiÉ* ±ÉIÉªÉiÉÒÊiÉ ¶Éä¹É&* EòlÉÊ¨ÉiªÉÉ½þ*
*¤É±É´Énù¤É±É´ÉiÉÉä%Ê{É(iÉÉäÌ´É){ÉªÉÉÇªÉä* +¤É±É¨É±{ÉÆ iÉÊuù{ÉªÉÇªÉÉnÂù¤É±É´ÉÊnùÊiÉ ¤É½Öþi´ÉÉ±±ÉIÉhÉÆ MÉ¨ªÉiÉ B´É* +iÉ B´É
+É½þ*
VÉÉÊiÉº´É®èúºiÉÖ ÊxÉiªÉÆ VÉÉiªÉ±{Éi´ÉÆ ÊuùvÉÉ SÉèiÉ(nÂù)**
<ÊiÉ* VÉÉÊiÉMÉiÉ¨É±{Éi´ÉÊ¨É´É iÉnÂù¤É½Öþi´É¨ÉÊ{É ÊuùvÉÉ* iÉSSÉ VÉÉÊiÉº´É®èú&
{ÉªÉÉÇªÉÉÆ¶Éè®ú(º?)ºÉÆ´ÉÉÊnùÊ¦É¶SÉÉä{É±ÉÊIÉiÉ&(IªÉiÉä)* iÉäxÉè¹ÉÉ¨É±ÉRÂóPÉxÉ¨É(¦ªÉÉºÉ)¶SÉäÊiÉ ÊuùvÉÉ ¤É½Öþi´ÉÊ¨ÉiªÉÖHÆò
¦É´ÉÊiÉ**72**
[* NS reads 'abalat¡' here, not 'abalavat°Å'. ]
In this manner, he goes from the description of apany¡sa to its two other forms,
sanny¡sa and viny¡sa. Since aÆ¿a has had to be brought into this description,
alpatvam, which naturally follows, is next taken up, and described in terms of the
variety (in its occurrence) - "it occurs in two ways". By skipping <la´ghanam> is
meant - merely touching (the svara), and without resting on it, going to the next svara,
thus, deftly rendering it unimportant. For instance, .. G¡ndh¡r¢....... and non-
repetition is anabhy¡sa. It is incorrect to interpret la´ghanam as the complete
omission (of the svara from the j¡ti). Since alpatvam is defined as selective inclusion,
that interpretation will blur its distinction from the hexatonic and pentatonic reduction.
In Nandayant¢, so long as paµcama is the aÆ¿a, skipping over its consonant, ¤Àabha,
is proper, but its total omission is not proper. [The next sentence is not clear, but the
purport seems to be - this is not the case with hexatonic and pentatonic forms of j¡tis.
Hence the distinction is being made between them and (alpatvam, that lies in)
skipping and non-repetition.] "... of the causers of the hexatonic and pentatonic
forms" means - the handling of the omissible svara in the full form (of the j¡ti), i.e.,
its being skipped over often. In some places non-repetition too (results in alpatvam).
Svaras which are not alternative aÆ¿as, e.g., niÀ¡da and ¤Àabha in â¡·j¢, when
employed in movements between (focal svaras), are not repeated <anabhy¡sa>. [The
next sentence is not complete and is not clear, but the purport seems to be - the
same, i.e., non-aÆ¿as, can also be skipped in the song, except when they are the
consonants of the graha svara....... ny¡sa.........] By "antaram¡rga" is meant
"conducting the course between". By "according to the j¡ti <yath¡j¡ti>" is meant
that, in some cases, even a svara which is not an aÆ¿a is not sparse. Thus it is
142
going to be pointed out in K¡ram¡rav¢, that because g¡ndh¡ra is related with all the
svaras, it is profusely employed in the antaram¡rga. -
The movement can take place to all points from g¡ndh¡ra. (NS,28,134)
Then he speaks of 'bahutvam' - "alpatvam and similarly bahutvam". What he means

is - (alpatvam) shows (how bahutvam occurs). How? The strong (svara) is the
opposite of the weak. The weak (svara) is sparse, its opposite is the strong (svara),
and so we automatically get to the definition of 'bahutvam'. That is why he says -
The svaras of a j¡ti are constant. (Their) sparsenses in the j¡ti occurs in two
ways.
Like its sparseness within the j¡ti, the profuse use of a svara within the j¡ti also
occurs in two ways. It is exemplified by the svaras in the j¡ti, i.e., alternative aÆ¿as
and saÆv¡d¢s. They are not skipped and are repeated; thus bahutvam occurs in two
ways. (72)
-------------------------------------------------------------------------
ºÉ\SÉÉ®úÉÆ¶Éä(¶É)¤É±ÉºlÉÉxÉÉ¨É±{Éi´Éä nÖù¤ÉÇ±ÉÉºÉÖ SÉ*
xªÉÉºÉ¶SÉÉxiÉ®ú¨ÉÉMÉÇºiÉÖ(¶SÉ) VÉÉiÉÒxÉÉÆ ´ªÉÊHòEòÉ®úEò&**73**
[The syntax is not clear, but the purport seems to be - ] It is the operating aÆ¿a
and other strong (svaras), the sparse employment of the weak (svaras),the final rest
<ny¡sa> as also the course between (svaras) <antaram¡rga> , that bring the j¡tis to
full expression. (73)
iÉlÉÉ±{Éi´É¤É½Öþi´ÉªÉÉä¯û{ÉªÉÉäMÉÆ nù¶ÉÇªÉxÉÂ |ÉºÉRÂóMÉÉnùxªÉnù{ªÉÉ½þ*

ºÉ\SÉÉ®úÉÆ¶Éä(¶É)¤É±ÉºlÉÉxÉÉ¨É±{Éi´Éä nÖù¤ÉÇ±ÉÉºÉÖ SÉ*
xªÉÉºÉ¶SÉÉxiÉ®ú¨ÉÉMÉÇ¶SÉ VÉÉiÉÒxÉÉÆ ´ªÉÊHòEòÉ®úEò&** <ÊiÉ*
While showing the use of alpatvam and bahutvam (in shaping the j¡ti), since the
occasion demands it, he gives the additional information -
It is the operating aÆ¿a and other strong (svaras), the sparse employment of the
weak (svaras), the final rest <ny¡sa>, as also the course between (svaras)
<antaram¡rga>, that bring the j¡tis to full expression - he says.
ºÉ\SÉÉ®äúhÉ {ÉªÉÉÇªÉähÉ ªÉÉå%¶ÉºiÉÊuù¹ÉªÉÆ iÉjÉ ÊiÉ¹`öxiÉÒxÉÉÆ VÉÉiÉÒxÉÉÆ(xªÉÉºÉ&)ºÉÉxiÉ®ú¨ÉÉMÉÇ& º´É°ü{ÉÉÊ¦É´ªÉ\VÉEòÉä

xÉÉxªÉlÉäÊiÉ ´ÉºiÉÖi´É(iÉºi´É)ºªÉÉä{ÉªÉÉäMÉ&* +±{Éi´É <ÊiÉ* +±{Éi´ÉÊ´É¹ÉªÉº´É®úEÞòiÉä ±ÉÉä{ªÉÉxÉÆ¶Éº´É®úÊ´É¹ÉªÉä ªÉÉ nÖù¤ÉÇ±ÉÉ
½þÒxÉ¤É±ÉÉ VÉÉiÉªÉºiÉÉºÉÖ º´É®úÒ¦É´ÉÊiÉ xÉÉxªÉlÉäÊiÉ*
143
The aÆ¿a which is operative <saµc¡r®¸a>, in its turn <pary¡y®¸a>, is the

focus which orients the j¡ti variety, whose shape is brought to expression by the
ny¡sa and antaram¡rga, and not in any other way. Hence it is actually this (ny¡sa)
that is of use here. By 'alpatva' is meant - it qualifies the melody in the j¡ti only when
it is weak in the svaras that are sparsely employed due to their omissibility or their
not serving as the aÆ¿a, and not otherwise.
+xªÉä i´ÉxiÉ®ú¨ÉÉMÉÇºªÉ ºÉ´ÉÇjÉ |ÉvÉÉxÉºªÉÉ±{Éi´É¤É½Öþi´ÉÉ¦ªÉÉÆ Ê´ÉxÉÉ º´É°ü{É±ÉÉ¦É B´É (xÉ) ¦É´ÉiÉÒÊiÉ iÉÉi{ÉªÉÈ
¨ÉxªÉ¨ÉÉxÉÉ +xiÉ®ú¨ÉÉMÉÇ±ÉIÉhÉi´ÉäxÉ ¶±ÉÉäEÆò ´ªÉÉSÉIÉiÉä* EòlÉ¨ÉÂ* SÉÉä ½äþiÉÉè* ªÉº¨ÉÉnùxiÉ®ú¨ÉÉMÉÉæ VÉÉiÉÒxÉÉÆ ´ªÉÊHòEÞòiÉÂ ºÉ
SÉÉ±{Éi´É¤É½Öþi´ÉVÉÒ´ÉÒ iÉºªÉ Ê½þ ±ÉIÉhÉ¨ÉÂ* ºÉ\SÉÉ®äúÊiÉ* ºÉ\SÉÉ®äú +xÉÖ´ÉÉÊnùº´É®äú +Æ¶Éº´É®äú SÉ |ÉvÉÉxÉ¦ÉÚiÉä nù±ÉEò±{Éä
ÎºlÉiÉä ¤É±ÉºlÉÉxÉÉÆ ºÉiÉÉÆ ºÉÆ´ÉÉÊnùxÉÉÆ º´É®úÉhÉÉÆ ¤É±É´ÉkÉªÉÉ%±{Éi´É(i´Éä nÖù¤ÉÇ±ÉÉºÉÖ)......... º´É®úÉhÉÉÆ
nÖù¤ÉÇ±É|ÉÉhÉEòi´Éä%Ê´É±ÉRÂóPÉxÉäxÉ xªÉºÉxÉÆ ªÉ& (Eò®úÉäÊiÉ) ºÉÉä%xiÉ®ú¨ÉÉMÉÇºiÉº¨ÉÉnù±{Éi´É¤É½Öþi´Éä ´ÉHò´ªÉ <ÊiÉ*
Others take this verse to define the concept of antaram¡rga (movement

between crucial svaras), which is important everywhere (in all melodies). They are of
the view that the shape taken by this (antaram¡rga) is not patent without the facts
of sparseness and plentiful use (of particular svaras). How do they do this? They take
the 'ca' in the sense of cause. For antaram¡rga brings the j¡ti to expression, and
by definition, it sustains alpatva and bahutva (of particular svaras). They take
'saµc¡ra' to mean - In the melodic course <saµc¡r®>, with the anuv¡d¢ svara and
the aÆ¿a svara prominently stationed, facing each other, it is antaram¡rga that
places the strong, i.e., saÆv¡d¢ svaras firmly, and the weak ones, i.e., the rarely
occurring svaras, feebly, but without skipping them. Hence it (antaram¡rga) has to
be brought in (lit. talked of) while we are on the topic of alpatva-bahutva.
+xªÉä i´ÉjÉäªÉÆ VÉÉÊiÉVÉÉÇÊiÉnÖù¤ÉÇ±É(±ÉÉ)* <ªÉÆ ¤É±É´ÉiÉÒÊiÉ xÉÒiªÉÉ xªÉÉºÉÉxiÉ®ú¨ÉÉMÉÉÇ¦ªÉÉÆ YÉäªÉÆ ¤É½Öþi´É|ÉªÉÉäVªÉä

{ÉªÉÉÇªÉÉÆ¶Éä ºÉÊiÉ xªÉÉºÉÉxiÉ®ú¨ÉÉMÉÇ´É¶ÉÉÊnùÊiÉ ¶±ÉÉäEòºªÉÉlÉÇ¨ÉÉ½Öþ&**73**
[*The GOS edn. reads nÖù¤ÉÇ±É <(±ÉÉÎº´É)ªÉÆ here. We have rejected this emendation
and suggested another, which seems to be more plausible.]
Others take this verse to mean - We learn "this is the weak form of the j¡ti,
and this is the strong variety of the j¡ti" from the rule of the ny¡sa and antaram¡rga.
So when the alternative aÆ¿a is used profusely, (the j¡ti's identity is known) from
the controlling ny¡sa and antaram¡rga. (73)
------------------------------------------------------------------------
¹É]Âõº´É®Æú ¹ÉÉb÷Ê´ÉiÉÆ(i´ÉÆ) SÉiÉÖnÇù¶ÉÊ´ÉvÉÆ ºÉ{iÉSÉi´ÉÉË®ú¶Éi|ÉEòÉ®Æú {ÉÚ´ÉÉæHòÊ´ÉvÉÉxÉÆ ªÉlÉÉVÉÉiªÉÆ¶É|ÉEòÉ®úÊ¨ÉÊiÉ*
144
The À¡·ava modification which results in the hexatonic (form of the j¡ti) varies over the
fourteen (j¡tis which permit it). It takes place in fortyseven ways, governed by the rule
which has already been laid down, depending on each particular j¡ti and its aÆ¿a/
aÆ¿as. (prose after v.73)
+lÉ ¹ÉÉb÷´ÉÆ {ÉÚ´ÉÇ¨ÉÖHò¨ÉÊ{É nù¶ÉEò±ÉIÉhÉÉÊ¦ÉvÉÉxÉ|ÉºÉRÂóMÉ¶ÉªªÉÉ´Éè¹É¨ªÉ¶ÉÉxiÉªÉä {ÉÖxÉ®úÉ½þ ¹É]Âõº´É®Æú ¹ÉÉb÷´ÉÊ¨ÉÊiÉ*

SÉiÉÖnÇù¶É VÉÉÊiÉMÉiÉÉ¶SÉ (Ê´ÉvÉÉ&) iÉSSÉiÉÖnÇù¶ÉVÉÉÊiÉÊ´ÉvÉªÉ& (SÉiÉÖnÇù¶ÉÊ´ÉvÉÆ) SÉiÉºÉÞhÉÉÆ ÊxÉiªÉÆ {ÉÚhÉÇi´ÉäxÉ iÉnù¦ÉÉ´ÉÉiÉÂ*
ºÉ{iÉSÉi´ÉÉË®ú¶Éi|ÉEòÉ®úÊ¨ÉÊiÉ* ÊjÉ¹É¹`äöÊiÉ(ÊjÉ¹ÉÎ¹]õÊ®úÊiÉ) {ÉÚhÉÉÈ¶ÉÉ SÉ* {ÉÉiªÉxiÉä* +{É´ÉÉnùÉ¶SÉ ºÉ{iÉ* iÉnùÉ½þ*
VÉÉiªÉÆ¶É|ÉEòÉ®úÊ¨ÉÊiÉ* VÉÉiÉÉè ªÉå%¶Éº´É®úÉºiÉä¹ÉÖ ªÉ& |ÉEòÉ®úÉä%{É´ÉÉnùÊ´ÉÊvÉ¯ûHòºiÉnùÊiÉGò¨ÉähÉ*
[* The GOS edn. reads xÉ SÉ here. But, considering the text of NS on the au·uva
varieties, which follows, the reading taken seems to be more suitable.]
Now 'À¡·avam' which has already been spoken of is again defined, in order
to show that it is not any different (from that in m£rcchan¡), even though the context
is different, as the topic being dealt with now, is the ten lakÀa¸as (distinguishing j¡tis).
So he repeats "the six-svara (form) is À¡·avam." It occurs in fourteen j¡tis, as it
cannot occur in four (j¡tis), which have always to be complete (with all seven svaras),
(so he refers to) the fourteen ways (in which it occurs). By "fortyseven ways" is
meant - Of the (aÆ¿as totalling) sixtythree, those (nine, that belong to the four j¡tis)
which have to be complete have to be left out, and similarly, the seven
exceptions (to the hexatonic reduction. The resulting number is 47.) That is why he
says - "according to the j¡ti and its aÆ¿a". i.e., "Take the svaras which are aÆ¿as
in the particular j¡ti, and among them, (take those permitting À¡·avam), the various
ways of (hexatonic reductions), and leave out the exceptions which have been
prescribed." (prose after v.73)
------------------------------------------------------------------------------------
{É\SÉº´É®ú¨ÉÉèbÖ÷Ê´ÉiÉÆ Ê´ÉYÉäªÉÆ nù¶ÉÊ´ÉvÉÆ |ÉªÉÉäMÉYÉè&*
ËjÉ¶Éi|ÉEòÉ®úÊ´ÉÊ½þiÉÆ {ÉÚ´ÉÉæHÆò ±ÉIÉhÉÆ SÉÉºªÉ**74**
The au·uva reduction that results in the pentatonic form in ten j¡tis (lit.ten ways),
should be mastered by the practitioners (of music). It has already been prescribed to
occur in thirty ways. (74)
{ÉÚ´ÉÉÇÊ¦É|ÉÉªÉähÉÉèbÖ÷´É¨ÉÉ½þ* {É\SÉº´É®úÊ¨ÉÊiÉ* nù¶ÉÊ´ÉvÉÊ¨ÉÊiÉ* nù¶Éº´Éä´É Ê½þ VÉÉÊiÉ¹ÉÖ* iÉjÉ ËjÉ¶Éi|ÉEòÉ®úÊ¨ÉÊiÉ*

ÊjÉ¹É¹]äõ¶SÉiÉ»ÉÉä ÊxÉiªÉ{ÉÚhÉÉÇ <ÊiÉ iÉnùÒªÉÉ xÉ´ÉÉÆ¶ÉÉ& {ÉÉiªÉxiÉä* SÉiÉ»ÉÉä ÊxÉiªÉ¹ÉÉb÷´ÉÉ <ÊiÉ iÉnùÒªÉÉ uùÉnù¶ÉäÊiÉ* +xÉäxÉ
145
Ê¶É¹]õÉ uùÉSÉi´ÉÉË®ú¶ÉiÉÂ* +jÉ Ê½þ uùÉnù¶ÉÉä{ÉÉnùÉxÉÒªÉÉ (uùÉnù¶É +{É´ÉÉnùÉ?) <ÊiÉ Ê¶É¹]õÉÏºjÉ¶ÉiÉÂ* iÉnùÉ½þ* {ÉÚ´ÉÉæHÆò
±ÉIÉhÉÆ SÉÉºªÉäÊiÉ**74**
He describes au·uvam now, according to the conception already established (in

the enumeration of j¡tis) - "five-svara", "of ten types", for it occurs only in ten j¡tis. By
"in thirty ways" is meant - of the sixtythree (aÆ¿as), nine aÆ¿as belonging to the four
necessarily complete j¡tis must be kept out. The twelve (aÆ¿as belonging to) the four
j¡tis which have to stop at (i.e., cannot reduce beyond) the hexatonic form (have also
to be left out). So fortytwo remain. Of these, since twelve are not to allow (the
pentatonic reduction), thirty remain. So he reminds us here - The description has
already been made (in the context of the samp£r¸a, À¡·ava and au·uva j¡tis). [See
vv.56-61ab.]
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¹É]Âõº´É®úºªÉ |ÉªÉÉäMÉÉä%ÎºiÉ iÉlÉÉ {É\SÉº´É®úºªÉ SÉ*
SÉiÉÖ&º´É®ú|ÉªÉÉäMÉÉä%Ê{É Á´ÉEÞò¹]õwÉÖ´ÉÉÎº´É½þ**75**
The employment of six-svara (melodies) and, similarly, of five-svara (melodies)
is found in practice. The employment of four-svara (melodies) is also observed in
avak¤À¶a dhruv¡s here (in n¡¶ya). (75)
+lÉèiÉnÂù´ªÉÊiÉÊ®úHÆò ËEòxÉ(ÊEòÎ\SÉxÉÂ) ¨ÉÉMÉÇ|ÉºÉÉRÂóMÉÉnÂùwÉÖ´ÉÉ(º´É)ºiÉÒÊiÉ ´ÉnùxÉÂ MÉÉxvÉ´Éæ iÉnù¦ÉÉ´É¨ÉÉ½þ*

¹É]Âõº´É®úºªÉ |ÉªÉÉäMÉÉä%ÎºiÉ iÉlÉÉ {É\SÉº´É®úºªÉ SÉ*
SÉiÉÖ&º´É®ú|ÉªÉÉäMÉÉä%ÎºiÉ(Ê{É) EÞò¹]õÉºÉÖ uùÉnù¶ÉÎº´É½þ (Á´ÉEÞò¹]õwÉÖ´ÉÉÎº´É½þ)** <ÊiÉ*
And apart from these (six-svara and five-svara forms), there are some that are
relevant here, in m¡rga (mode of presenting n¡¶ya). So he mentions these (the four-
svara forms), but by the expression "in dhruv¡s", he implies that they have no place in
g¡ndharva (music which is not in the service of n¡¶ya) -
The employment of six-svara (melodies), and, similarly, of five-svara

(melodies), is found in practice. The employment of four-svara (melodies) is also
observed in avak¤À¶a dhruv¡s here (in n¡¶ya).
iÉlÉäÊiÉ ºÉ¨ÉÖSSÉªÉä SÉ ºÉ¨ÉÖÎilÉiÉÉ´ÉvÉÉ®úhÉä* iÉäxÉ ¹ÉbÂ÷VÉÉ............º´É®úªÉÉä& {ÉÚhÉÇºªÉè´ÉÉÎºiÉ |ÉªÉÉäMÉ&* +ºiÉÒÊiÉ........

iÉÉ¨ÉÉSÉIÉ¨ÉÉhÉÉä MÉÉxvÉ´Éæ iÉÊzÉªÉ¨É¨ÉÉ½þ* <½äþÊiÉ* ªÉÊnù¨ÉÆ xÉÉ]õ¬Éä{ÉªÉÉäÊMÉ wÉÖ´ÉÉMÉÉxÉÆ iÉjÉ SÉiÉÖ&º´É®ú|ÉªÉÉäMÉÉä%Ê{É*
+Ê{É¶É¤nùÉiÉÂ {ÉÚ´ÉÉæ%Ê{É ÊjÉÊ´ÉvÉ&* (EÖò)jÉäiªÉÉ½þ* +´ÉEÞò¹]õÉºÉÖ Eò¯ûhÉÉä{ÉªÉÉäÊMÉxÉÒ¹ÉÖ MÉÖ¯û|ÉÉªÉÉºÉÖ wÉÖ´ÉÉºÉÖ**75**
146
The 'similarly <tath¡>' here has been employed in the sense of conjunction and
emphasis (i.e., 'being employed in practice' is equally true of hexatonic and pentatonic
melodies). [The next sentence is broken and not clear, but the reference seems to be
the employment of only these melodies in addition to heptatonic ones (in serious
music?).] By 'asti' he is referring to ..........(j¡ti?) which he is going to speak of, and
the rule (governing it) in g¡ndharva. By 'here' he means this dhruv¡ singing which is
done in n¡¶ya; in that 'the four-svara (melody) is also in use'. By 'also <api>' the
earlier mentioned three types (samp£r¸a, À¡·ava and au·uva melodies) are also
included. Where (are the four-svara melodies used)? In the 'avak¤À¶¡ dhruv¡s' used in
karu¸a (rasa), which abound in long syllables. (75)
-------------------------------------------------------------------------
uèùOÉÉÊ¨ÉEòÒxÉÉÆ(hÉÉÆ) VÉÉiÉÒxÉÉÆ ºÉ´ÉÉÇºÉÉ¨ÉÊ{É ÊxÉiªÉ¶É&*
+Æ¶ÉÉÎºjÉ¹ÉÎ¹]õÌ´ÉYÉäªÉÉºiÉä¹ÉÉÆ SÉè´ÉÉÆ¶É´ÉnÂù OÉ½þÉ&**76**
The aÆ¿as of all the j¡tis belonging to the two gr¡mas total sixtythree. And their
grahas are like (identical with) the aÆ¿as. (76)
+lÉ OÉ½þÉÆ¶ÉÉxÉÉÆ ºÉRÂóJªÉÉÆ ÊxÉ°ü{ÉÊªÉiÉÖÆ |ÉÊiÉVÉÉÊiÉ Ê´É¦ÉÉMÉ¨ÉÉ½þ* uèùOÉÉÊ¨ÉEòÒhÉÉÆ VÉÉiÉÒxÉÉÊ¨ÉiªÉÉÊnù**76**
Now he goes on to show the total number of grahas and aÆ¿as, and so
enumerates the allotment of these in every j¡ti, saying "of the j¡tis of the two
gr¡mas". (76)
------------------------------------------------------------------------------
+Æ¶ÉOÉ½þÊ¨ÉnùÉxÉÓ ´ÉIªÉÉ¨É&* iÉjÉ
¨ÉvªÉ¨ÉÉänùÒSªÉ´ÉÉªÉÉºiÉÖ xÉxnùªÉxiªÉÉºiÉlÉè´É SÉ*
iÉlÉÉ MÉÉxvÉÉ®ú{É\SÉ¨ªÉÉ& {É\SÉ¨ÉÉå%¶ÉÉä OÉ½þºiÉlÉÉ**77**
We shall name the aÆ¿as and grahas now.
Paµcama is the aÆ¿a and graha of Madhyam°d¢cyav¡, Nandayant¢ and
G¡ndh¡rapaµcam¢. (77)
vÉè´ÉiªÉÉ¶SÉ iÉlÉÉ ÁÆ¶ÉÉè Ê´ÉYÉäªÉÉè vÉè´ÉiÉ¹ÉÇ¦ÉÉè*

{É\SÉ¨ªÉÉ¶SÉ iÉlÉÉ YÉäªÉÉè OÉ½þÉÆ¶ÉÉè {É\SÉ¨É¹ÉÇ¦ÉÉè**78**
The aÆ¿as of Dhaivat¢ are dhaivata and ¤Àabha. And of Paµcam¢ the graha
and aÆ¿a are paµcama and ¤Àabha. (78)
MÉÉxvÉÉ®úÉänùÒSªÉ´ÉÉªÉÉºiÉÖ OÉ½þÉÆ¶ÉÉè ¹ÉbÂ÷VÉ¨ÉvªÉ¨ÉÉè*

147
+É¹ÉÇ¦ªÉÉ¶SÉ OÉ½þÉ +Æ¶ÉÉ vÉè´ÉiÉ¹ÉÇ¦ÉºÉ{iÉ¨ÉÉ&**79**

The graha-aÆ¿as of G¡ndh¡rad¢cyav¡ are Àa·ja and madhyama. And of ËrÀabh¢
the grahas and aÆ¿as are dhaivata, ¤Àabha and the seventh (niÀ¡da). (79)
MÉÉxvÉÉ®ú¶SÉ ÊxÉ¹ÉÉnù¶SÉ ÁÉ¹ÉÇ¦É¶SÉ iÉlÉÉ{É®ú&*

ÊxÉ¹ÉÉÊnùxªÉÉºjÉªÉÉä ÁäiÉä OÉ½þÉ +Æ¶ÉÉ¶SÉ EòÒÌiÉiÉÉ&**80**
The three grahas and aÆ¿as of NiÀ¡din¢ are g¡ndh¡ra, niÀ¡da and ¤Àabha. (80)
¹ÉbÂ÷VÉ{É\SÉ¨ÉMÉÉxvÉÉ®èúÎºjÉÊ¦É®äú´É |ÉEòÒÌiÉiÉÉ&*
+Æ¶ÉèOÉÇ½èþºiÉlÉÉ SÉè´É Ê´ÉYÉäªÉÉ ¹ÉbÂ÷VÉEèòÊ¶ÉEòÒ**81**
âa·jakai¿ik¢ is known to have the three aÆ¿as and grahas, Àa·ja, paµcama and
g¡ndh¡ra. (81)
¹ÉbÂ÷VÉ¶SÉ ¨ÉvªÉ¨É¶SÉè´É ÊxÉ¹ÉÉnùÉä vÉè´ÉiÉºiÉlÉÉ*

¹ÉbÂ÷VÉÉänùÒSªÉ´ÉiÉÒVÉÉiÉäOÉÇ½þÉ +Æ¶ÉÉ¶SÉ EòÒÌiÉiÉÉ&**82**
The grahas and aÆ¿as of âa·j°d¢cyavat¢ j¡ti are Àa·ja, madhyama, niÀ¡da and
dhaivata. (82)
{É\SÉ¨É¶SÉÉ¹ÉÇ¦É¶SÉè´É ÊxÉ¹ÉÉnùÉä vÉè´ÉiÉºiÉlÉÉ*

EòÉ¨ÉÉÇ®ú´ªÉÉ ¤ÉÖvÉè®Æú¶ÉÉ OÉ½þÉ¶SÉ {ÉÊ®úEòÒÌiÉiÉÉ&**83**
The aÆ¿as and grahas of K¡rm¡rav¢ have been declared by the experts to be
paµcama, ¤Àabha, niÀ¡da and dhaivata. (83)
MÉÉxvÉÉ®ú¶SÉÉ¹ÉÇ¦É¶SÉè´É {É\SÉ¨ÉÉä%lÉ ÊxÉ¹ÉÉnù´ÉÉxÉÂ*

SÉi´ÉÉ®úÉå%¶ÉÉ ¦É´ÉxiªÉÉxwªÉÉ OÉ½þÉ¶SÉè´É iÉlÉè´É Ê½þ**84**
The four aÆ¿as of Ëndhr¢, and similarly its grahas, are g¡ndh¡ra, ¤Àabha,
paµcama and niÀ¡da. (84)
¹ÉbÂ÷VÉ¶SÉÉlÉ¹ÉÇ¦É¶SÉè´É ¨ÉvªÉ¨É& {É\SÉ¨ÉºiÉlÉÉ*

¨ÉvªÉ¨ÉÉªÉÉ OÉ½þÉ YÉäªÉÉ +Æ¶ÉÉ¶SÉè´É ºÉvÉè´ÉiÉÉ&**85**
The grahas and aÆ¿as of Madhyam¡ are Àa·ja, ¤Àabha, madhyama, paµcama
and dhaivata. (85)
148
ÊxÉ¹ÉÉnù¹ÉbÂ÷VÉMÉÉxvÉÉ®ú¨ÉvªÉ¨ÉÉ& {É\SÉ¨ÉºiÉlÉÉ*
MÉÉxvÉÉ®úÒ®úHòMÉÉxvÉÉªÉÉæOÉÇ½þÉ +Æ¶ÉÉ& |ÉEòÒÌiÉiÉÉ&**86**
NiÀ¡da, Àa·ja, g¡ndh¡ra, madhyama and paµcama are said to be the grahas and
aÆ¿as of G¡ndh¡r¢ and Raktag¡ndh¡r¢. (86)
¹ÉÉbÂ÷VÉÒ vÉè´ÉiÉMÉÉxvÉÉ®ú¹ÉbÂ÷VÉ¨ÉvªÉ¨É{É\SÉ¨Éè&*
OÉ½èþ®Æú¶Éè¶SÉ Ê´ÉYÉäªÉÉ Ê´ÉEÞòiÉÉ º´É®úªÉÉäMÉiÉ&**87**
â¡·j¢ is known to take varied forms according to the (aÆ¿a) svara, with
dhaivata, g¡ndh¡ra, Àa·ja, madhyama and paµcama serving as grahas and aÆ¿as.
(87)
EèòÊ¶ÉCªÉÉ¶SÉÉ¹ÉÇ¦ÉÆ Ê½þi´ÉÉ OÉ½þÉÆ¶ÉÉ& ¹É]Âõ º´É®úÉ& º¨ÉÞiÉÉ&*

ºÉ{iÉº´É®úOÉ½þÉÆ¶ÉÉ iÉÖ Ê´ÉYÉäªÉÉ ¹ÉbÂ÷VÉ¨ÉvªÉ¨ÉÉ**88**
The six svaras other than ¤Àabha are prescribed as the grahas and aÆ¿as of
Kai¿ik¢. âa·jamadhyam¡ is known to have all the seven svaras as grahas and aÆ¿as.
(88)
BiÉä ÊjÉ¹ÉÎ¹]õÌ´ÉYÉäªÉÉ& ºÉ´ÉÉÇº´ÉÆ¶ÉÉºiÉÖ(º´ÉjÉ iÉÖ) VÉÉÊiÉ¹ÉÖ*

+Æ¶É´ÉSSÉ OÉ½þÉºiÉÉºÉÉÆ ºÉ´ÉÉÇºÉÉ¨Éä´É ÊxÉiªÉ¶É&**89**
These are the sixtythree aÆ¿as, and likewise, grahas, in all the j¡tis taken
together. (89)
iÉjÉ ºÉÆJªÉÉxÉÖ®úÉävÉÉnÂù OÉÉ¨ÉÊ´É¦ÉÉMÉGò¨É¨ÉxÉÉoùiªÉè´ÉèEòÉÆ¶ÉºªÉÉÆ¶ÉÉÊnùªÉÉäMÉÆ ºÉ{iÉÉÆ¶É{ÉªÉÇxiÉ¨ÉÉ½þ*

¨ÉvªÉ¨ÉÉänùÒSªÉ´ÉÉªÉÉÎºi´ÉiªÉÉÊnù* iÉjÉ ÊiÉºÉÞhÉÉ¨ÉäEò BEòÉå%¶É&* ÊiÉºÉÞhÉÉÆ uäù uäù (uùÉè uùÉè)* ÊiÉºÉÞhÉÉÆ jÉªÉ&* ÊiÉºÉÞhÉÉÆ
SÉi´ÉÉ®ú&* SÉiÉºÉÞhÉÉÆ {É\SÉ* BEòºªÉÉ& ºÉ{iÉ(¹É]Âõ)* (BEòºªÉÉ&) ºÉ{iÉäÊiÉ (ÊjÉ)¹ÉÎ¹]õ&* iÉ B´É ªÉÉä (ºÉ B´ÉÉÆ¶ÉÉä)
OÉ½þ&* xÉxnùªÉxiªÉÉ¨ÉÆ¶Éº´É®ú B´É OÉ½þªÉÖHòÉä ÊxÉVÉ±ÉIÉhÉÉnÂùMÉÉxvÉÉ®úÉä ±ÉIªÉiÉ <ÊiÉ Ê´ÉEò±{ÉÉä ¨ÉxiÉ´ªÉ&* ¨ÉÖÊxÉxÉÉ
OÉ½þi´É¨ÉÆ¶ÉºªÉÉäHòÊ¨ÉÊiÉ iÉnäù´É ¨ÉÖJªÉ¨ÉÂ* +xªÉiÉÂ ºÉÆ´ÉÉÊnùÊ´É´ÉÉtÉÊnùªÉÇnùÉ OÉ½þ& ÊGòªÉiÉä iÉnùÉ Ê´ÉEÞòiÉi´É¨ÉÉºÉÉ¨ÉÂ* iÉnùÉ½þ*
Ê´ÉEÞòiÉ&(iÉÉ) º´É®úªÉÉäMÉiÉ <ÊiÉ* OÉ½þÊ´ÉEòÉ®ú& ºÉ´ÉÉÇºÉÉ¨Éä´É VÉÉiÉÒxÉÉ¨ÉºiÉÒÊiÉ ªÉÉ(ºÉ´ÉÉÇ)º´ÉjÉ* *77-89**
Here, keeping in mind (the order of increasing) number (of aÆ¿as), the sage
ignores the gr¡ma division, and begins the enumeration from (the j¡tis taking) one
aÆ¿a each and ends with the seven-aÆ¿a (j¡ti). He begins with Madhyam°d¢cyav¡
and goes on. Three (j¡tis) belong to the single aÆ¿a group. Three have two (aÆ¿as),
three have three (aÆ¿as), three have four (aÆ¿as), Four have five (aÆ¿as), one has
149
seven (six), and (one has) seven. The total is sixty(three). That (svara) which is the
aÆ¿a, the same is the graha. In Nandayant¢, as the aÆ¿a svara itself has the function
of graha, from its (j¡ti's) description, the alternative of g¡ndh¡ra (as aÆ¿a) has also
to be concluded. As the sage has decreed the function of graha to aÆ¿a, that serves
as the main (graha, i.e., in the ¿uddh¡ form of the j¡ti). On the other hand, if the
saÆv¡d¢, viv¡d¢ etc. (of the aÆ¿a) is made the graha, then this is the vik¤ta form of
the (j¡tis). Hence he says "they are vik¤ta, on account of the svaras (employed in
these roles)". The change in graha is observed in all j¡tis, hence he has said "in all
(j¡tis)". (77-89)
[On the one hand, aÆ¿a is described as taking on the role of graha, and so the
two are said to be identical. On the other hand, he mentions the role of graha going to
the saÆv¡d¢ or viv¡d¢ of the aÆ¿a. The aÆ¿a role itself is taken by these svaras, and
consequently, the task of graha.]
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ºÉ´ÉÉÇºÉÉ¨Éä´É VÉÉiÉÒxÉÉÆ ÊjÉVÉÉÊiÉºiÉÖ MÉhÉ& º¨ÉÞiÉ&*

iÉä SÉ ºÉ{iÉ MÉhÉÉ YÉäªÉÉ ´ÉvÉÇ¨ÉÉxÉº´É®úÉ ¤ÉÖvÉè&**90**
Taking all the j¡tis, a three-j¡ti (group) is known as a ga¸a. Seven ga¸as are
recognised by the experts, increasing in the number of svaras (serving as aÆ¿a). (90)
+lÉÉºªÉ ºÉ{iÉSÉi´ÉÉË®ú¶ÉnùÊvÉEòºªÉ VÉÉiªÉÆ¶ÉÊ´É¦ÉÉMÉºªÉ ªÉixÉ{É®äúIÉhÉÒªÉi´É¨ÉÊ¦ÉvÉÉiÉÖÆ |ÉvÉÉxÉ¨Éä´É ºÉRÂóJªÉÉÊ´É¦ÉÉMÉÆ

ºÉÆÊIÉ{ªÉÉ½þ* ºÉ´ÉÉÇºÉÉ¨Éä´É VÉÉiÉÒxÉÉÆ ÊjÉVÉÉÊiÉºiÉÖ MÉhÉ <ÊiÉ* MÉhÉ& ºÉ¨ÉÚ½þ& ºÉ SÉ ºÉ´ÉÉÇºÉÉÆ VÉÉiÉÒxÉÉÆ ¨ÉvªÉä ªÉÉÎºiÉ»ÉÉä
VÉÉiÉªÉºiÉÉÊ¦É& EòiÉÇ´ªÉ&* xÉxÉÖ ºÉ¨ÉÚ½þ& Eäò(EòÉÆ)ÊSÉnäùEòºªÉÉ(näùEòÉ)¨ÉÖÊqù¶ªÉ ÊGòªÉiÉä* <½þ iÉÖ ºÉ¨ÉÚ½þEò®úhÉä EòÉä%lÉÇ
<iªÉÉ¶ÉRÂóCªÉÉ½þ* iÉä SÉ ºÉ{iÉ MÉhÉÉ YÉäªÉÉ ´ÉvÉÇ¨ÉÉxÉº´É®úÉ <ÊiÉ* iÉä BEòÉä VÉÉÊiÉº´É®ú|ÉªÉÖHòÉä MÉhÉ BEòº´É®úÉÆ¶ÉÉä
ªÉÉ´ÉiÉÂ ºÉ{iÉº´É®úÉÆ¶É <ÊiÉ* ºÉ Ê½þ Eò®úhÉä +Æ¶ÉºÉRÂóJªÉÉä Ê´É¦ÉÉMÉ|ÉªÉÉäVÉxÉÊ¨ÉiªÉÖHÆò ¦É´ÉÊiÉ* xÉxÉÖ ªÉÊnù VÉÉÊiÉjÉªÉähÉ
ºÉ{iÉMÉhÉºiÉÁæEòË´É¶ÉÊiÉVÉÉÇiÉªÉ& ºªÉÖ&* iÉSSÉ (iÉÉ¶SÉ xÉ) iÉlÉÉ* {ÉÚ´ÉÈ ÁÖHÆò VÉÉiÉªÉÉä%¹]õÉnù¶ÉäiªÉä´ÉÆ
¥ÉÀhÉÉÊ¦ÉÊ½þiÉÊ¨ÉÊiÉ iÉnäùiÉnùÉ¶ÉRÂóCªÉÉ{É´ÉÉnÆù ´ÉHÖÆò iÉÎijÉúEò¨ÉÖHò¨ÉÂ**90**
Then, intending to speak of the division of the more than fortyseven j¡ti-aÆ¿as
(into groups) in the light of practice <yatna>, he briefly defines the number-based
division, right at the outset. "Taking all the j¡tis, a three-j¡ti (group) is known as a
ga¸a. "Ga¸a" is a group, and it should be made up of three j¡tis (which have
something in common), "from among all the j¡tis". But a group is formed with the
intention of unifying. What is the sense in grouping in this context? Anticipating this
doubt, he says, "There are seven ga¸as, on the basis of the increasing number of
svaras (functioning as aÆ¿a)." "They" (means) the ga¸a is kept together by the
150
oneness in the svara-usage in the j¡tis, i.e., it ranges from one-aÆ¿a-svara (j¡tis) to
seven-aÆ¿a-svara (j¡tis). In making this grouping, the aÆ¿a-count is going to be of
use. But if there are seven triads of j¡tis, then the total will be twentyone j¡tis. And
that is not possible. For, earlier it has been said that the j¡tis have been determined
to be eighteen by Brahm¡. Anticipating this doubt, the triad has been first spoken
of, to be followed by exceptions (to this grouping). (90)
-------------------------------------------------------------------------------------------
BEòº´É®úÉä Êuùº´É®ú¶SÉ ÊjÉº´É®úÉä%lÉ(®ú¶SÉ) SÉiÉÖ&º´É®ú&*
{É\SÉº´É®ú¶SÉiÉÖvÉÉÇ ºªÉÉnäùEòvÉÉ ºÉ{iÉ¹É]Âõº´É®úÉè**91**
The (four three-j¡ti ga¸as) are those with one svara, two svaras, three svaras and
four svaras (serving as aÆ¿as). There are four (j¡tis) with five svaras (as aÆ¿as). There
is one (j¡ti) each having seven svaras and six svaras (as aÆ¿as). (91)
ÊjÉVÉÉÊiÉi´ÉÉäiºÉMÉÇºªÉ Ê´É¹ÉªÉ¨ÉÉ½þ*
BEòº´É®úÉä Êuùº´É®ú¶SÉ ÊjÉº´É®ú¶SÉ SÉiÉÖ&º´É®ú&**
<ÊiÉ* BiÉä SÉi´ÉÉ®úÉä MÉhÉÉÎºjÉVÉÉiÉªÉ <iªÉlÉÇ&* B´ÉÆ uùÉnù¶ÉVÉÉiÉªÉ&* BEò&º´É®úÉå%¶ÉÉä ªÉjÉ MÉhÉä* B´ÉÆ ªÉÉ´ÉSSÉi´ÉÉ®ú&
º´É®úÉ +Æ¶ÉÉ ªÉjÉäÊiÉ* +{É´ÉÉnÆù nù¶ÉÇÊªÉiÉÖ¨ÉÉ½þ* {É\SÉº´É®ú¶SÉiÉÖvÉÉÇ ºªÉÉÊnùÊiÉ* ªÉjÉ {É\SÉÉÆ¶Éº´É®úÉ& ºÉ
MÉhÉ¶SÉiÉºÉÞÊ¦ÉÎºjÉÊ¦ÉxÉÉÇÊiÉ....Ê¦É& (¶SÉiÉºÉÞÊ¦ÉVÉÉÇÊiÉÊ¦É&*) iÉäxÉ {ÉÚ´ÉÉÇÊ¦É& ºÉ½þ ¹ÉÉäb÷¶É VÉÉiÉªÉ&* BEòvÉÉ
ºÉ{iÉ¹É]Âõº´É®èú®äúEèò´É VÉÉÊiÉ&* ºÉ{iÉº´É®úÉä MÉhÉ& ¹É]Âõº´É®ú¶SÉ* BEòºªÉÉ +Ê{É VÉÉiÉäMÉÇhÉºªÉ ´ªÉ{ÉnäùÊ¶É´ÉnÂù¦ÉÉ´ÉäxÉ
º´É®úÉÆ¶ÉEò¦Éänäù ÊxÉ¤ÉxvÉxÉÊ¨ÉiªÉ¹]õÉnù¶ÉVÉÉiÉªÉ&* ÊjÉ¹ÉÎ¹]õ®Æú¶ÉÉ&* iÉ B´É OÉ½þÉ <ÊiÉ**91**
He presents the matter covered by the general rule of 'three-j¡ti" grouping thus -
"One-svara, two-svara, three-svara and four-svara......." This means that these
four ga¸as are made up of three j¡tis each. Thus twelve j¡tis have been accunted for.
From 'one-svara aÆ¿a-ed' to 'four-svara-aÆ¿a-ed' (j¡tis) make up these ga¸as. To
point out the exceptions, he goes on to say - 'five-svara' (aÆ¿a-ed j¡tis) number four.
Where there are five aÆ¿a svaras, there the ga¸a is made up of four (j¡tis) and not
three. Counting these with the j¡tis counted earlier, sixteen j¡tis are accounted for.
There is one seven-(aÆ¿a)-svara (j¡ti), and only one j¡ti with six (aÆ¿a) svaras. The
(single) seven-svara (j¡ti) is a ga¸a, and so also (the single) six-svara (j¡ti). By
designating even a single j¡ti as a ga¸a, indirectly, the classification on the basis of
(the number of aÆ¿as) has been done, thus accounting for all the eighteen j¡tis. The
aÆ¿as total sixtythree. The same are grahas. (91)
-----------------------------------------------------------------------------------------------
BiÉnÖùHÆò ¨ÉªÉÉ i´ÉÉºÉÉÆ OÉ½þÉÆ¶É{ÉÊ®úEò±{ÉxÉ¨ÉÂ*
{ÉÖxÉ¶SÉè´É |É´ÉIªÉÉÊ¨É xªÉÉºÉÉ{ÉxªÉÉºÉªÉÉäMÉiÉ&**92**
151
The grahas and aÆ¿as functioning in these (j¡tis) have been enumerated by me. I
shall again speak of these along with the ny¡sa and apany¡sa (functions allotted to
svaras in j¡tis). (92)
BiÉnÖù{ÉºÉÆ½þ®úÊiÉ* BiÉnÖùHÆò ¨ÉªÉäÊiÉ*

{ÉÖxÉ¶SÉè´É |É´ÉIªÉÉÊ¨É xªÉÉºÉÉ{ÉxªÉÉºÉªÉÉäMÉiÉ&**
<ÊiÉ* +ªÉÆ ¦ÉÉ´É&* +Æ¶ÉOÉ½þÉ¶SÉÉäHòÉ B´ÉÆ xªÉÉºÉÉ{ÉxªÉÉºÉÉºiÉlÉÉ ªÉä%xªÉä ªÉÉäMÉÉ nù¶É±ÉIÉhÉä¹´ÉxiÉ&{ÉÉÊiÉxÉÉä
±ÉIÉhÉ¦ÉÉMÉÉ& ¹ÉÉb÷´ÉÉèbÖ÷Ê´ÉiÉÉnùªÉ& {ÉÚ´ÉÇ¨ÉxÉÖHòi´ÉÉiÉÂ EòlªÉ¨ÉÉxÉÉ& EòlªÉ¨ÉÉxÉi´ÉäxÉÉä{ÉªÉÉäMÉä. .. ºiÉºiÉÉ´ÉiÉÂ |ÉÊiÉVÉÉÊiÉ
´ÉHò´ªÉÉ&* xªÉÉºÉÉ¶SÉÉä(¶SÉÉ){ÉxªÉÉºÉÉ¶SÉ ªÉÉäMÉÉ¶SÉäÊiÉ uùxuù&*.. ... xªÉiÉÉä(lÉÉä)Êqù¶ªÉ ´ÉHò´ªÉiÉªÉÉäHò¨ÉÊ{É
OÉ½þÉÆ¶ÉÊ´ÉEò±{ÉxÉÆ {ÉÖxÉ´ÉÇIªÉÉÊ¨É* iÉnùÊ¦ÉvÉÉxÉä Ê½þ ºÉÖº{É¹]õ¨ÉxªÉVVÉÉ(VYÉÉ)iÉÖÆ ¶ÉCªÉÊ¨ÉÊiÉ ¦ÉÉ´É&* +Æ¶ÉÉ{ÉäIÉÉä Ê½þ
|ÉÉªÉ¶ÉÉä%xªÉ±ÉIÉhÉ¨É{ªÉ½þÉ®Æú-(´ªÉ´É½þÉ®ú&)* BEòºlÉÉxÉÆ SÉ VÉÉÊiÉ±ÉIÉhÉÆ YÉÉiÉÖÆ º{É¹]õiÉ®Æú ¦É´ÉÊiÉ* +ÊiÉ¶ÉªÉ¶Éä¹ÉÉ ªÉnùÉ iÉÖ
iÉ B´ÉÆÊ´ÉvÉ.... ±ÉIªÉÆ |É{É\SÉ¶SÉäÊiÉ* où¹]õÉoù¹]õÉä{ÉªÉÉäMÉÒ SÉÉªÉÆ VÉÉÊiÉºÉÎxvÉ&* +xªÉä i´ÉÆ¶ÉOÉ½þÊ¨ÉiªÉÉnùÒxÉÉÆ
±ÉIÉhÉÊ¨ÉiªÉÉÊnùOÉxlÉÆ iÉjÉ {É`öÎxiÉ**92**
He concludes with - "This has been explained by me. I shall again speak (of
graha and aÆ¿a) while speaking of the ny¡sa and apany¡sas (of each j¡ti)."
This is the purport. "The aÆ¿as and grahas have been spoken of. Similarly the
ny¡sa and apany¡sas, and in addition, the other features such as À¡·ava-au·uva
reductions, which fall within the ten (j¡ti)lakÀa¸as, which have not been specified
earlier, but are to be spoken of in connection with practical music..... will be taken up
for each j¡ti individually. The dvandva (compound) breaks up into ny¡sas +
apany¡sas + connections <y°g¡Å>. As they have to be mentioned .... (in each j¡ti
alteration?), I shall again speak of the aÆ¿as and grahas, which I have already
enumerated, in their changing (applications in the different j¡tis?). The purport is -
only when they (grahas and aÆ¿as) are spelt out (once again), will the other
(information about the changes in particular j¡tis) be clearly understood. This is
because other features are determined by the aÆ¿a. It serves as the centre around
which the j¡ti identity can be clearly grasped. Where there are other extra features,
they can be (described?) as such and such..... there is a world of raminfications in
practice. The j¡ti context serves immediate (pleasure) as well as the ultimate (goal).
Others bring in the fundamentals of the definitions of aÆ¿a, graha etc. here. (v.92)
{É\SÉÉÆ¶ÉÉ iÉÖ ¦É´ÉäiÉÂ ¹ÉÉbÂ÷VÉÒ ÊxÉ¹ÉÉnù¹ÉÇ¦É´ÉÌVÉiÉÉ*

+{ÉxªÉÉºÉÉä ¦É´ÉänùjÉ MÉÉxvÉÉ®ú& {É\SÉ¨ÉºiÉlÉÉ**93**
xªÉÉºÉ¶SÉÉjÉ ¦É´ÉäiÉÂ ¹ÉbÂ÷VÉÉä ±ÉÉä{ªÉ& ºÉ{iÉ¨É B´É SÉ*
152
¹ÉbÂ÷VÉMÉÉxvÉÉ®úºÉ\SÉÉ®ú& ¹ÉbÂ÷VÉvÉè´ÉiÉªÉÉäºiÉlÉÉ**94**
¹ÉÉb÷´ÉÆ ºÉ{iÉ¨ÉÉä(¨ÉÉ){ÉäiÉ¨É±{ÉÉè ´Éè ºÉ{iÉ¨É¹ÉÇ¦ÉÉè*
MÉÉxvÉÉ®úºªÉ SÉ ¤ÉÉ½Öþ±ªÉÆ i´ÉjÉ EòÉªÉÈ |ÉªÉÉäHÞòÊ¦É&**95**
â¡·j¢ has the five svaras other than niÀ¡da and ¤Àabha for aÆ¿as. G¡ndh¡ra,
as also, paµcama, serves as the medial rest <apany¡sa>.
The final rest <ny¡sa> is at Àa·ja, and the seventh (niÀ¡da) alone can be
dropped. The movement is (mainly?) between Àa·ja and g¡ndh¡ra, and also
between Àa·ja and dhaivata.
The hexatonic form is arrived at by omitting
the seventh (niÀ¡da). The seventh (niÀ¡da) and ¤Àabha are sparse. And the singers
must make plentiful use of g¡ndh¡ra. (93-95)
¹ÉÉbÂ÷VÉÓ ±ÉIÉªÉÊiÉ* {É\SÉÉÆ¶ÉÉÎºi´É(Îi´É)ÊiÉ* ºÉMÉ¨É{ÉvÉÉ <iªÉÆ¶ÉÉ&* MÉ{É <iªÉäiÉÉ´É{ÉxªÉÉºÉÉè* ºÉÆ(ºÉÉä) xªÉÉºÉ&*

ÊxÉ¹ÉÉnäùxÉ (½þÒxÉÉ) ¹ÉÉb÷´É(´ÉÒ) <ÊiÉ* +xªÉÉäxªÉ¨ÉxÉªÉÉä& ºÉø\SÉÉ®ú&* (ºÉMÉªÉÉä&) iÉlÉÉ ºÉvÉ <iªÉxÉªÉÉä&*
MÉÉxvÉÉ®úÉä%ÊiÉ¤É½Öþ±ÉÉä%Ê{É ´ÉÉÊnùi´ÉÉnù(jÉ) |ÉÉ{iÉ&* (@ñ¹É¦ÉºªÉ) iÉlÉÉi´ÉÆ Ê´É´ÉnùxÉÉxÉÂ ¨ÉxiÉ´ªÉ¨ÉÂ* @ñ¹É¦ÉºªÉÉxÉÆ¶Éi´ÉÆ(*)
ÊxÉ¹ÉÉnùºªÉ ±ÉÉä{ªÉi´ÉÉiÉÂ*(?) {ÉÚhÉÉÇ´ÉºlÉÉªÉÉÆ iÉÖ ºÉÆ....iÉÆ ÊºÉrùÊ¨ÉÊiÉ {ÉÖxÉxÉÇ º´ÉEòh`äöxÉÉäHÆò ¨ÉÖÊxÉxÉÉ* +Æ¶ÉÉ¶SÉ
nù¶ÉEòÉ&* iÉtlÉÉ ¶ÉÖrùÉ Ê´ÉEÞòiÉÉ& {É\SÉ {ÉÚhÉÉÇ¶SÉi´ÉÉ®ú& ¹ÉÉb÷´ÉÉ&* MÉÉxvÉÉ®åú%¶Éä ¹ÉÉb÷´ÉÉ B´ÉÉ{É´ÉÉnùÉiÉÂ iÉä SÉÉÆ¶ÉEòÉ
±ÉÖ{iÉEòÉiÉÂ º¡Öò]Æõ YÉÉªÉxiÉä* iÉäxÉ ±ÉÉÊ±ÉiÉÉ +jÉ º´É®ú¦ÉÉMÉä VÉÉiªÉÆ¶ÉEòÉºiÉÉ(xÉ){É½þÉºªÉ +ÉºÉÉÊ®úiÉÉÆ¶ÉÆ ÊxÉMÉnùÉ(nù)ºiÉÖÊiÉ
ºÉ(ºÉÉ)Ê¦ÉvªÉºÉÖ(vÉäxÉÒ¹ÉÖ) º{É¹]Æõ MÉÉxvÉ´ÉÇ¡ò±ÉÆ ªÉtÊ{É iÉlÉÉÊ{É º´É®úiÉ B´É C´ÉSÉxÉ ¨ÉÖÊnù........ºlÉä¨É où¹]õ&* ªÉlÉÉäHò¨ÉÂ*
ºÉEÞòiÉÂ |ÉªÉÖHòÉ%Ê{É Ê½þ xÉxnùªÉxiÉÒÊiÉ* iÉi|ÉÉvÉÉxªÉ|ÉÊºÉrùªÉ B´É*(?) iÉÉ±ÉÊ´É¶Éä¹É¨ÉxÉÉoùiªÉ ºÉÉ¨ÉÉxªÉiÉÉ±ÉäxÉ
SÉSSÉi{ÉÖ]õÉÊnùxÉÉ ±ÉÉäEäò ´ÉÉÌiÉEòÉ¨ÉÉMÉæhÉ VÉÉÊiÉMÉÉxÉÆ |ÉÊºÉrù¨ÉÂ* iÉjÉ iÉÖ ªÉiÉÂ SÉSSÉi{ÉÖ]õÉÊnù xÉ iÉnÂù Ê´ÉEò±{É&*
SÉiÉÖ¹Eò±ÉÉtxÉÖºÉÉ®äúhÉ Eò±ÉÉ{ÉÉiÉÊ´ÉÊvÉ& EòiÉÇ´ªÉÉä%Ê{É ±ÉÉäEäò xÉ |ÉÊºÉrù&* º´É®ú¦ÉÉMÉ|ÉÉvÉÉxªÉÉiÉÂ* {É½þÉÊnù....... iÉjÉ
¥ÉÀ|ÉÉäHòÊ´ÉºÉÆºEÞòiÉ|ÉÉEÞòiÉ°ü{ÉÉhªÉä´É |ÉÊºÉrùÉÊxÉ* MÉÒiÉEòÉnùÉè iÉÉ±É¦ÉÉMÉºªÉè´É |ÉÉvÉÉxªÉ¨ÉÂ* ªÉlÉÉäHò¨ÉÂ*
´ÉvÉÇ¨ÉÉxÉ|ÉªÉÖ(ªÉÉä)HòÉ®úÉä ªÉÉºªÉÎxiÉ Ê¶É´ÉEäòiÉxÉ¨ÉÂ**
<ÊiÉ* iÉiÉÂ |ÉÉ¶É(ºiªÉ¤ÉÉävÉ)xÉÉªÉ* jÉÉäÊ]õEòÉMÉÒiÉEòÉnùÒÊxÉ VÉÉiªÉÆ¶ÉEòÉänÂù¦ÉÚiÉ¶ÉÖrùÊ¦ÉzÉÉÊxÉ OÉÉ¨É®úÉMÉGò¨ÉähÉ |ÉÊºÉrùÉÊxÉ*
¨ÉÖJªÉiÉºiÉÖ VÉÉiªÉÆ¶ÉEèòMÉÔÊiÉ®úÉMÉÉÊnùxÉÉ iÉÉ±É& ºÉÆºEÞòiÉÉÊxÉ {ÉnùÉÊxÉ º¡Öò]õ¨É´ÉvÉÉxÉÊ¨ÉÊiÉ ºÉÎ¨¨ÉÊ±ÉiÉMÉÉxvÉ´ÉÈ iÉnùlÉÇ¨Éä´É*
iÉnùÉ iÉÉoù¶ªÉä´É MÉÒiÉEò´ÉvÉÇ¨ÉÉxÉÉÊnù {ÉÖ®úÉ Ê´É®ú¨ªÉiÉ(?) <iªÉ±ÉÆ ´ÉºiÉÖiÉ&**93-95**
Now he describes â¡·j¢. By 'five-aÆ¿a' he means "sa, ga, ma, pa and dha are
the aÆ¿as." Ga and pa are the two apany¡sas. 'Sa' is the ny¡sa. (The j¡ti) becomes
hexatonic by (dropping) niÀ¡da. The movement <saµc¡ra> is between two (svaras),
i.e., between (sa and ga) and between sa and dha. G¡ndh¡ra, in addition to being
frequent in occurrence, functions as the sonant here. The (minor) role of (¤Àabha), it
should be realised, is due to its dissonance. The denial of aÆ¿a role to ¤Àabha is (for
the same reason?). Because of the omissibility of niÀ¡da, as ............... (its rare
153
occurrence?) in the full (heptatonic) state, stands confirmed, it is not again put into
words by the sage. There are ten aÆ¿as. This is how - (one) ¿uddh¡ (form of
the j¡ti) is available, and of the vik¤t¡ forms, five are samp£r¸a and four are À¡·ava. [It
is not clear why the samp£r¸a form with Àa·ja as aÆ¿a is not identical with the
¿uddha form of the j¡ti.In that case, there will be only nine melodies centred around
nine aÆ¿as, five samp£r¸a and four À¡·ava.] Since, when g¡ndh¡ra is the aÆ¿a,
even the hexatonic (reduction) is ruled out, they (the hexatonic) melodies of the j¡ti
<aÆ¿aka> are clearly identified from the omitted (svara). [The next sentence is not
clear but the purport seems to be - in the melodic aspect (of g¡ndharva), the aÆ¿as
of the j¡ti employed can fluctuate, so the fruit of g¡ndharva lies in the divine
laudatory text of the ¡s¡rita (songs), but the delight is observed to issue from the
melody...] As has been said - "Sung just once, Nandayant¢ (leads to final release)."
Since that (melody) is primary to it, j¡ti music does not pay much attention to variety
and complexity in t¡las, and is commonly rendered to simple t¡las like Caccatpu¶a, in
medium tempo <v¡rtikam¡rga>. The Caccatpu¶a etc. employed here does not have
any alternatives / variations. Even though (t¡la in g¡ndharva) is to be rendered with
the series of sounded and unsounded beats according to the catuÀkala and other
(fragmentations of the time divisions), this (temporal structure) is not popular in
common practice. This is because the melody is primary (in j¡ti singing). [The next
sentence is not clear but the purport seems to be - the text in these songs is in the
not too refined popular Pr¡k¤ta languages prescribed by the creator (in N¡¶ya).] In
g¢takas, however, the t¡la component is primary. As has been said -
The performers of vardham¡na (g¢taka) reach the abode of áiva.
This is to (communicate) the exalted nature (of most g¢takas?). Songs like tr°¶ik¡ are
recognised in their connection to the gr¡mar¡gas of the ¿uddha and bhinna types that
arise from (the various) aÆ¿as of j¡tis. G¡ndharva that is bound by j¡tis, their aÆ¿as,
the various g¢tis and r¡gas, by t¡la, and by well-set text, and close attention, has that
main aim (of reaching the abode of áiva). As the g¢takas such as vardham¡na which
are of just this sort, are shortly going to be dealt with, let
us keep to the subject here. (93-95)
---------------------------------------------------
----------------------------------
+É¹ÉÇ¦ªÉÉ¨ÉÞ¹É¦Éºi´ÉÆ¶ÉÉä ÊxÉ¹ÉÉnùÉä vÉè´ÉiÉºiÉlÉÉ*
BiÉ B´É Á{ÉxªÉÉºÉÉ xªÉÉºÉ¶SÉÉ{ªÉÞ¹É¦É& º¨ÉÞiÉ&*
¹É]Âõ{É\SÉº´É®úiÉÉ SÉÉjÉ ¹ÉbÂ÷VÉ{É\SÉ¨ÉªÉÉäÌ´ÉxÉÉ**96**
154
In ËrÀabh¢ ¤Àabha, of course, is the aÆ¿a, and, likewise, niÀ¡da and dhaivata.
These again are the apany¡sas, while ¤Àabha has been prescribed as the ny¡sa. The
hexatonic and pentatonic forms (of the j¡ti) emerge by the dropping of Àa·ja, and
(Àa·ja and) paµcama, respectively. (96)
+lÉ (lÉÉ¹ÉÇ¦ÉÓ ±ÉIÉªÉÊiÉ)* +É¹ÉÇ¦ªÉÉÊ¨ÉiªÉÉÊnù* @ñvÉÊxÉ +Æ¶ÉÉ& (xÉªÉÉå%¶ÉÉ&)* @ñvÉÊxÉ +{É(xÉªÉÉä%{É)xªÉÉºÉÉ&*

@ñ¹É¦ÉÉä xªÉÉºÉ&* ¹ÉbÂ÷VÉ½þÒxÉä ¹ÉÉb÷´É&* ¹ÉbÂ÷VÉ{É\SÉ¨ÉªÉÉä½þÔ(½þÉ)xÉä +ÉèbÖ÷Ê´ÉiÉi´É¨ÉÂ* ºÉvÉÉè Ê®úMÉÉè SÉ ºÉRÂóMÉSUäôiÉä* iÉjÉ
EäòÊSÉiÉÂ {É\SÉ¨ÉºªÉ ±ÉRÂóPÉxÉ¨ÉÉ½Öþ&* {ÉÚhÉÉÇ´ÉºlÉÉªÉÉÆ ¹ÉbÂ÷VÉMÉÉxvÉÉ®ú{É\SÉ¨ÉÉ +±{Éi´ÉÆ ¦ÉVÉxiÉä* +ÉèbÖ÷Ê´ÉiÉä SÉ
MÉ¨ÉªÉÉä®ú±{ÉiÉÉ* nù¶ÉÉÆ¶ÉEòÉ&* ¨ÉÚSUÇôxÉÉ {É\SÉ¨ÉÉÊnù&* SÉSSÉi{ÉÖ]õºiÉÉ±É&* |ÉÉªÉ¶ÉÉä xÉè¹GòÉÊ¨ÉEòÒwÉÖ´ÉÉªÉÉÆ
Ê´ÉÊxÉªÉÉäMÉ&**96**
Next (he describes ËrÀabh¢) with "In ËrÀabh¢" etc. The aÆ¿as are ¤, dha and ni.
Î, dha and ni are the apany¡sas. ÎÀabha serves as the ny¡sa. (The svara content of
the j¡ti) becomes À¡·ava in the absence of Àa·ja, and au·uva, in the absence of
Àa·ja and paµcama. (The pairs) sa and dha, and ri and ga go together. There (in
these movements?) some speak of the skipping over of paµcama. In the full
(heptatonic) state (of the j¡ti), Àa·ja, g¡ndh¡ra and paµcama are sparsely employed.
In the pentatonic form ga and ma are sparse. The aÆ¿a variants total ten. The
m£rcchan¡ (proper to the j¡ti) commences on paµcama. Caccatpu¶a is the t¡la (to
which the j¡ti song is usually set). Practically always use is made (of this j¡ti) in the
naiÀkr¡mik¢ dhruv¡. (96)
---------------------------------------------------
-------------------------
vÉè´ÉiªÉÉÆ vÉè´ÉiÉÉä xªÉÉºÉºi´ÉÆ¶ÉÉ´ÉÞ¹É¦ÉvÉè´ÉiÉÉè*
+{ÉxªÉÉºÉÉ ¦É´ÉxiªÉjÉ vÉè´ÉiÉÉ¹ÉÇ¦É¨ÉvªÉ¨ÉÉ&**97**
¹ÉbÂ÷VÉ{É\SÉ¨É½þÒxÉÆ iÉÖ {ÉÉ\SÉº´ÉªÉÇÆ Ê´ÉvÉÒªÉiÉä*
{É\SÉ¨ÉäxÉ Ê´ÉxÉÉ SÉè´É ¹ÉÉb÷´ÉÆ {ÉÊ®úEòÒÌiÉiÉ¨ÉÂ**98**
+É®úÉäÊ½þhÉÉè SÉ iÉÉè EòÉªÉÉê ±ÉRÂóPÉxÉÒªÉÉè iÉlÉè´É SÉ*
ÊxÉ¹ÉÉnù¶SÉ¹ÉÇ¦É¶SÉè´É MÉÉxvÉÉ®úÉä ¤É±É´ÉÉÆºiÉlÉÉ**99**
In Dhaivat¢, dhaivata is obviously the ny¡sa; ¤Àabha and dhaivata are the aÆ¿as.
Dhaivata, ¤Àabha and madhyama serve as apany¡sas. (97)
The five-svara form is prescribed to be reached by omitting Àa·ja and paµcama,
and the hexatonic form is prescribed to be without paµcama. (98)
In the ¡r°hi¸¢ (ascending movement (in the full state?)) these two are to be
skipped over. NiÀ¡da, then ¤Àabha, and likewise, g¡ndh¡ra, is strong. ((99)
155
+lÉ vÉè´ÉiÉÒ¨ÉÉ½þ* vÉè´ÉiªÉÉÊ¨ÉÊiÉ* @ñ¹É¦ÉvÉè´ÉiÉÉ´ÉÆ¶ÉÉè* Ê´ÉEÞòiÉÉ´ÉºlÉÉªÉÉÆ Ê®úvÉ¨ÉÉ +{ÉxªÉÉºÉÉ&* vÉè´ÉiÉÉä xªÉÉºÉ&*

{É±ÉÉä{Éä ¹ÉÉb÷´É&* ºÉ{É½þÉxÉÉÊ´ÉiÉ®úiÉÂ* {ÉÚhÉÇnù¶ÉÉªÉÉÆ SÉ {ÉºÉ <iªÉÉ(ºÉÉÊ´ÉiªÉÉ)®úÉä½þ´ÉhÉÇMÉiÉÉè EòÉªÉÉæ* ±ÉÉä{ªÉi´ÉÉ±±ÉRÂóPÉxÉÆ
ÊºÉrù¨ÉÊ{É {ÉÖxÉ& |ÉEò¹ÉÇ±ÉÉ¦Éi´É¨ÉÖHò¨ÉÂ* +ºªÉÉ& ºÉ{iÉÉÆ¶ÉEòÉ&* ¶ÉÖrù(rùÉä)Ê´ÉEÞòiÉÉè {ÉÚhÉÉê uäù(uùÉè) ¹ÉÉb÷´ÉÉèbÖ÷Ê´ÉiÉÉè
SÉ**97-99)
Then he describes Dhaivat¢, with "In Dhaivat¢.." ÎÀabha and dhaivata are the
aÆ¿as. In the vik¤ta form (of the j¡ti) ri, dha and ma are the apany¡sas. Dhaivata is the
ny¡sa. It becomes hexatonic in the loss of pa, and reaches the other
(pentatonic count) with the loss of sa and pa. In
the full (heptatonic) state, pa and sa should be
rendered thus (skipped) in the ascending melodic
movement. Even though the omissibility (of these
two svaras) implies their being skipped over (in the full state), it has been
mentioned again because of the prominent occurrence (of this skipping over of pa
and sa). This (j¡ti) has seven aÆ¿a variants - one of the ¿uddha form, two full forms
after vik¤ti, and two each of the hexatonic and pentatonic forms. (97-99)
---------------------------------------------------
------------------
ÊxÉ¹ÉÉÊnùxªÉÉÆ ÊxÉ¹ÉÉnùÉå%¶ÉÉä ºÉMÉÉxvÉÉ®ú¹ÉÇ¦ÉºiÉlÉÉ*
BiÉ B´É Á{ÉxªÉÉºÉÉ xªÉÉºÉ¶SÉè´ÉÉjÉ ºÉ{iÉ¨É&**100**
vÉè´ÉiªÉÉ <´É EòiÉÇ´ªÉä ¹ÉÉb÷´ÉÉèbÖ÷Ê´ÉiÉä iÉlÉÉ*
iÉuùSSÉ ±ÉRÂóPÉxÉÒªÉÉè iÉÖ ¤É±É´ÉxiÉÉè iÉlÉè´É SÉ**101**
In NiÀ¡din¢, niÀ¡da is the aÆ¿a, and so is g¡ndh¡ra, and also ¤Àabha. The same
are the apany¡sas, and the seventh (niÀ¡da) alone is the ny¡sa in this (j¡ti). (100)
The hexatonic and pentatonic forms have to be arrived at in the same manner
(dropping paµcama, and Àa·ja and paµcama).(The svaras) are skipped over in the
same manner, and the strong (svaras) are similarly determined. (101)
+lÉ ÊxÉ¹ÉÉnù´ÉiÉÒ* ÊxÉ¹ÉÉÊnùxªÉÉÊ¨ÉÊiÉ* ÊxÉMÉ¹ÉÇ¦ÉÉ +Æ¶ÉÉ +{ÉxªÉÉºÉÉ¶SÉ* ÊxÉxªÉÉ(yªÉÉ)ºÉ&* ¹ÉÉb÷´ÉÉÊnù

vÉè´ÉiÉÒ´É* {É\SÉ¨ÉäxÉè´É ±ÉÉä{Éä ¹ÉÉb÷´É¨ÉÂ* ºÉ{É±ÉÉä{Éä%xªÉiÉÂ* ºÉ{ÉÉè SÉ
±ÉRÂóPÉxÉÒªÉÉ´É´É®úÉäÊ½þhÉÉ´ÉxÉÆ¶ÉÉ´É´É±ÉÎ¨¤É±É(¤É½Öþ±ÉÉ)Ê´ÉÊiÉ* +Æ¶ÉÉ nù¶ÉEòÉ& ¶ÉÖrùÉº(rùùº?)jÉªÉºjÉªÉÉä Ê´ÉEÞòiÉÉ& {ÉÚhÉÉÇ&
¹ÉÉb÷´ÉÉ +ÉèbÖ÷´É¶SÉ**100-101**
Now for (the j¡ti) based on niÀ¡da - "In NiÀ¡din¢ ....". Ni, ga and ¤Àabha are the
aÆ¿as as well as the apany¡sas. Ni serves as the ny¡sa. The hexatonic etc.
reductions are as in Dhaivat¢. The hexatonic form is got by dropping paµcama, and
156
the other (pentatonic form) by dropping sa and pa. Sa and pa are to be skipped in the
descending (ascending?) movement, and the svaras which are not (acting?) aÆ¿as
(e.g., ga and ri, when ni is the aÆ¿a?) are profusely used . There are ten aÆ¿as in all -
one belonging to the ¿uddh¡ (form of the j¡ti), and three each to the three vik¤ta
forms - p£r¸a, À¡·ava and au·uva. (100-101)
---------------------------------------------------
-----------------------------
+Æ¶ÉÉºiÉÖ ¹ÉbÂ÷VÉEèòÊ¶ÉCªÉÉ& ¹ÉbÂ÷VÉMÉÉxvÉÉ®ú{É\SÉ¨ÉÉ&*
+{ÉxªÉÉºÉÉ ¦É´ÉxiªÉjÉ ¹ÉbÂ÷VÉ{É\SÉ¨ÉºÉ{iÉ¨ÉÉ&**102**
MÉÉxvÉÉ®ú¶SÉ ¦É´ÉäzªÉÉºÉÉä ½èþxÉº´ÉªÉÈ xÉ SÉÉjÉ iÉÖ*
nùÉè¤ÉÇ±ªÉÆ SÉÉjÉ EòiÉÇ´ªÉÆ vÉè´ÉiÉ*ºªÉÉ¹ÉÇ¦ÉºªÉ SÉ**103**
[* The GOS edn. suggests (¨ÉvªÉ¨É) here, following AB, probably.
But, earlier in AB (on NS,28-34), the weakness of dhaivata and ¤Àabha has been
mentioned. So we have retained the original reading.]
The aÆ¿as of âa·jakai¿ik¢ are Àa·ja, g¡ndh¡ra and paµcama. âa·ja, paµcama
and the seventh (niÀ¡da) serve as the apany¡sas in this (j¡ti). (102)
G¡ndh¡ra serves as the ny¡sa. No svara is omissible in this j¡ti (and so no
hexatonic and pentatonic forms are possible). Dhaivata and ¤Àabha should be
rendered weak. (103)
+lÉ ¹ÉbÂ÷VÉEèòÊ¶ÉCªÉÉ <ÊiÉ* ºÉMÉ{É({ÉÉ) +Æ¶ÉÉ&. +{ÉxªÉÉºÉÉºiÉÖ ºÉ{ÉÊxÉ(xÉªÉ&). xªÉÉºÉÉä MÉ(MÉ&)* ÊxÉiªÉ{ÉÚhÉÉÇ
SÉäªÉ¨ÉÂ* ¨ÉvªÉ¨É(vÉè´ÉiÉ?)¹ÉÇ¦ÉªÉÉänùÉê¤ÉÇ±ªÉ¨ÉÆ(¨ÉxÉÆ?)¶Éi´ÉÉÎiºÉrÆù {ÉÖxÉ®úÉÊvÉCªÉÉlÉÈ YÉÉ{ÉªÉÊiÉ* ÊxÉvÉªÉÉä®újÉ
ÊEòÎ\SÉnùÉÊvÉCªÉÊ¨ÉÊiÉ* +ºªÉÉ& ¶ÉÖrùi´ÉÆ xÉÉºiÉÒÊiÉ jÉªÉ B´ÉÉÆ¶ÉEòÉ& {ÉÚhÉÉÇ&**102-103**
Now he speaks of âa·jakai¿ik¢. Sa, ga and pa are the aÆ¿as, and sa,
pa and ni are the apany¡sas. Ga serves as the ny¡sa. This (j¡ti) is permanently
(saÆ)p£r¸a. The weakness of madhyama (dhaivata?) and ¤Àabha is implied by their
(not being) aÆ¿as. Even then he draws attention to (this to emphasize) the great
degree (of this weakness). Ni and dha are used plentifully. [This statement
is not based on the NS verse.] This j¡ti does not possess a
¿uddha form; the three (vik¤ta forms) centred around these aÆ¿as are themselves
(sam)p£r¸a. (102-103)
---------------------------------------------------
-------------------------------
157
¹ÉbÂ÷VÉ¶SÉ ¨ÉvªÉ¨É¶SÉè´É ÊxÉ¹ÉÉnùÉä vÉè´ÉiÉºiÉlÉÉ*

ºªÉÖ& ¹ÉbÂ÷VÉÉänùÒSªÉ´ÉÉÆ¶ÉÉºiÉÖ xªÉÉºÉ¶SÉè´É iÉÖ ¨ÉvªÉ¨É&**104**
+{ÉxªÉÉºÉÉä ¦É´ÉiªÉºªÉ vÉè´ÉiÉ& ¹ÉbÂ÷VÉ B´É SÉ*
{É®úº{É®úÉÆ¶ÉMÉ¨ÉxÉÊ¨É¹]õiÉ¶SÉ Ê´ÉvÉÒªÉiÉä**105**
¹ÉÉ]Âõº´ÉªÉÇ¨ÉÞ¹É¦ÉÉ{ÉäiÉÆ EòÉªÉÈ MÉÉxvÉ´ÉÇ´ÉäÊnùÊ¦É&*
{É\SÉ¨ÉÉ¹ÉÇ¦É½þÒxÉÆ iÉÖ {ÉÉ\SÉº´ÉªÉÈ iÉÖ iÉjÉ ´Éè**106**
¹ÉbÂ÷VÉ¶SÉÉ{ªÉÞ¹É¦É¶SÉè´É MÉÉxvÉÉ®ú¶SÉ ¤É±ÉÒ ¦É´ÉäiÉÂ*
MÉÉxvÉÉ®úºªÉ SÉ ¤ÉÉ½Öþ±ªÉÆ ¨ÉxpùºlÉÉxÉä Ê´ÉvÉÒªÉiÉä**107**
âa·ja, madhyama, niÀ¡da and dhaivata may serve as the aÆ¿as of âa·j°d¢cyav¡,
and madhyama alone can be the ny¡sa. (104)
The apany¡sa role is played by dhaivata and Àa·ja. The free movement between
aÆ¿as is permitted. (105)
The hexatonic reduction must be made by leaving out ¤Àabha by the practitioners
of music. And the pentatonic form results with the omission of paµcama and ¤Àabha.
(106)
âa·ja, ¤Àabha and g¡ndh¡ra should be strong. The plentiful use of g¡ndh¡ra has
been ordained in the mandra sth¡na. (107)
+lÉ ¹ÉbÂ÷VÉÉänùÒSªÉ´ÉÉ* ¹ÉbÂ÷VÉ¶SÉäiªÉÉÊnù* ºÉ¨ÉÊxÉvÉÉ +Æ¶ÉÉ&* vÉºÉ(ºÉÉ)+(´É){ÉxªÉÉºÉÉ(ºÉÉè)* ¨É (¨ÉÉä) xªÉÉºÉ&*

+Æ¶ÉÉxÉÉ¨ÉxªÉÉäxªÉºÉRÂóMÉÊiÉ&* Ê®ú±ÉÉä{Éä ¹ÉÉb÷´É&(¨ÉÂ)* @ñ{É±ÉÉä{É +ÉèbÖ÷´É¨ÉÂ* @ñ¹É¦É& ºÉÆ´ÉÉnùÒ vÉè´ÉiÉºªÉ ¹ÉbÂ÷VÉOÉÉ¨Éä xÉ
±ÉÖ{ªÉ¨ÉÉxÉä ªÉiÉ&* ºÉÊ®úMÉÉ ¤ÉÊ±ÉxÉ&* +xªÉ(¹ÉbÂ÷VÉ)ºªÉÉÆ¶Éi´ÉÉiÉÂ ÊºÉrÆù ¤ÉÊ±Éi´ÉÆ {ÉÖxÉ®úÉÊvÉCªÉÉlÉÇ¨ÉÖHò¨ÉÂ*
@ñ¹É¦ÉºªÉÉiªÉ±{Éi´ÉÆ |ÉÉ{iÉÆ |ÉÊiÉ¹ÉärÖÆù(*) MÉÉxvÉÉ®úºªÉ ¨ÉxpùºlÉÉxÉä ¤ÉÉ½Öþ±ªÉ¨ÉÂ* +ºªÉÉ BEòÉnù¶ÉÉÆ¶ÉEòÉ&* {ÉÚhÉÉÇ¶SÉi´ÉÉ®ú&*
¹ÉÉb÷´ÉÉºjÉªÉ&* vÉè´ÉiÉÉÆ¶Éä iÉnù{ªÉ{É´ÉÉnùÉiÉÂ* +ÉèbÖ÷Ê´ÉiÉÉ¶SÉi´ÉÉ®ú&* ¶ÉÖrùºiÉÖ xÉÉÎºiÉ* iÉjÉ EèòÊ¶ÉEäò {ÉÚ´ÉÈ ÊxÉ´ÉÇSÉxÉ¨ÉÖHò¨ÉÂ*
iÉtÉäMÉÉVVÉÉÊiÉ& EèòÊ¶ÉEòÒ* =nùÒSªÉ´ÉxªÉÉ(´ÉÉªÉÉÆ) i´ÉÉ½Öþ&* =nùÒSªÉÉ& |ÉªÉÉäHòÉ®úÉä ¤ÉÉ½Öþ±ªÉäxÉ ºÉxiªÉºªÉÉÊ¨ÉiªÉÖnùÒSªÉÉ*
´ÉÉÎxiÉ MÉSUôxiÉÒÊiÉ* =nùÒSªÉä%Ê{É SÉ où¶ªÉiÉä* MÉÒiÉÆ SÉ näù¶ÉxÉÉ¨ÉvÉäªÉè¤ÉÉÇ½Öþ±ªÉÉÊnùÊ¦É¯ûÊSÉiÉi´ÉÉ{ÉäIÉªÉÉ ´ªÉ{ÉÊnù¶ªÉiÉ B´É*
]õCEòÉ®úÉMÉÉä ¨ÉÉ±É´É{É\SÉ¨ÉÉä MÉÉèb÷Ò ¨ÉÉ±É´ÉÒ EòÉ¨¦ÉÉäVÉÒiªÉÉÊnù**104-107**
Now for âa·j°d¢cyav¡ - "Àa·ja and ...etc." Sa, ma, ni and dha are
the aÆ¿as. Dha and sa serve as apany¡sas, and ma is the ny¡sa. There is mutual
relation between the aÆ¿as (in the melodic movement). The hexatonic form results
from the loss of ri, and the pentatonic form from the loss of ¤ and pa (and not ¤ and
dha). This is because the saÆv¡d¢ of ¤Àabha, namely dhaivata, in the âa·jagr¡ma,
cannot be dropped (in the melodies of this gr¡ma). Sa, ri and ga are strong (svaras).
(The explanation for this statement - ) (1.) Since it has the role of aÆ¿a, Àa·ja is by
implication strong, but this has been mentioned again to stress the great degree (of
158
its strength). (2.) The very sparse employment of ¤Àabha which follows (from its being
omissible) is denied (by mentioning its strength?). (3.) G¡ndh¡ra (although not an
aÆ¿a) is used profusely in the mandra sth¡na. This (j¡ti) has eleven forms based on
the aÆ¿as. Four belong to the (saÆ)p£r¸a lot, three to the À¡·ava (lot), since
(hexatonic reduction) is forbidden when dhaivata is the aÆ¿a. Four belong to the
pentatonic lot. (This j¡ti) does not have a ¿uddha form. Earlier the meaning of
'kai¿ika' has been explained. By possessing this quality the j¡ti is kai¿ik¢. It is
described as 'ud¢cyav¡' since a great number of its practitioners are Northeners, i.e.,
Northerners traverse it. It is found in the North. Many melodies (lit. song) are fittingly
indicated by the names belonging to regions where they are profusely employed.
Examples are Ùakkar¡ga, M¡lavapaµcama, Gau·¢, K¡mbh°j¢ etc. (104-107)
---------------------------------------------------
---------------------------------
ºÉ´Éç%¶ÉÉ& ¹ÉbÂ÷VÉ¨ÉvªÉÉªÉÉ¨É{ÉxªÉÉºÉÉºiÉlÉè´É SÉ*
¹ÉbÂ÷VÉ¶SÉ ¨ÉvªÉ¨É¶SÉÉÊ{É xªÉÉºÉÉè EòÉªÉÉê |ÉªÉÉäHÞòÊ¦É&**108**
MÉÉxvÉÉ®úºÉ{iÉ¨ÉÉ{ÉäiÉÆ {ÉÉ\SÉº´ÉªÉÈ Ê´ÉvÉÒªÉiÉä*
¹ÉÉb÷´ÉÆ ºÉ{iÉ¨ÉÉ{ÉäiÉÆ EòÉªÉÈ SÉÉjÉ |ÉªÉÉäMÉiÉ&**109**
ºÉ´ÉÇº´É®úÉhÉÉÆ ºÉ\SÉÉ®ú <¹]õiÉºiÉÖ Ê´ÉvÉÒªÉiÉä*
¹ÉbÂ÷VÉOÉÉ¨ÉÉÊ¸ÉiÉÉ* ÁäiÉÉ** Ê´ÉYÉäªÉÉ& ºÉ{iÉ VÉÉiÉªÉ&*****110**
[v.110dc - The GOS edn. suggests the readings -
* (¸ÉªÉÉ&), ** (ºÉ{iÉ), *** (ªÉÉ VÉÉiÉªÉÉä ¤ÉÖvÉè&) probably on the basis of
AB. We have retained the original .]
In âa·jamadhyam¡ all the svaras can serve as aÆ¿a, and similarly, as
apany¡sa. âa·ja, and also madhyama, should be employed for ny¡sa by the
performers. (108)
The pentatonic form is prescribed to be without g¡ndh¡ra and the seventh
(niÀ¡da), and the hexatonic form, without the seventh (niÀ¡da), in practice. (109)
The free movement around all the svaras is permitted.
These seven j¡tis are, be it known, based in Àa·jagr¡ma. (110)
+lÉ ¹ÉbÂ÷VÉ¨ÉvªÉ¨ÉÉ* ºÉ´Éç%¶ÉÉ& ¹ÉbÂ÷VÉ¨ÉvªÉÉªÉÉÊ¨ÉÊiÉ* ºÉ{iÉÉÆ¶ÉÉ +{ÉxªÉÉºÉÉ¶SÉ* ºÉ¨ÉÉè xªÉÉºÉÉè* ÊxÉ±ÉÉä{Éä

¹ÉÉb÷´É&* ÊxÉMÉ±ÉÉä{ªÉxªÉ&* ÊxÉ®ú±{ÉiÉ®úÉä ªÉnùÉ%xªÉ +Æ¶ÉÉ&* ºÉ\SÉÉ®äú ªÉlÉä¹]õ¨ÉÂ* +ºªÉÉ& ºÉ{iÉnù¶ÉÉÆ¶ÉEòÉ&* iÉjÉ ºÉ{iÉ
{ÉÚhÉÉÇ&* {É\SÉ ¹ÉÉb÷´ÉÉ +ÉèbÖ÷Ê´ÉiÉÉ¶SÉ* ªÉÉä..... Ê®úºÉªÉÉäºiÉnù{É´ÉÉnùÉiÉÂ* BiÉnÖù{ÉºÉÆ½þ®úÊiÉ* ¹ÉbÂ÷VÉOÉÉ¨ÉÉ¸ÉªÉÉ&
ºÉ{iÉäÊiÉ**108-110**
159
Now he describes âa·jamadhyam¡ with "In âa·jamadhyam¡ all

(svaras) are aÆ¿as." (All) seven are aÆ¿as as well as apany¡sas. Sa and ma are
ny¡sas. The hexatonic form comes about by dropping ni. The other (pentatonic form)
is reached by dropping ni and ga. Ni is very weak when the other svaras [including
ga?] are aÆ¿as. Melodic movements can be made as one desires. This (j¡ti) has
seventeen aÆ¿a variants in all. Seven of these belong to the (saÆ)p£r¸a forms, and
five each to the À¡·ava and au·uva forms. [The next sentence is incomplete but
mentions the ruling out of some operation when ri and sa are
involved.] He concludes this topic with "These seven
(j¡tis) are based in Àa·jagr¡ma." (108-110)
---------------------------------------------------
--------------------------
+iÉ& {É®Æú |É´ÉIªÉÉÊ¨É ¨ÉvªÉ¨ÉOÉÉ¨ÉºÉÆ¸ÉªÉÉ&*
MÉÉxvÉÉªÉÉÇ& {É\SÉ B´ÉÉÆ¶ÉÉ vÉè´ÉiÉ¹ÉÇ¦É´ÉÌVÉiÉÉ&**111**
¹ÉbÂ÷VÉ¶SÉ {É\SÉ¨É¶SÉè´É Á{ÉxªÉÉºÉÉè |ÉEòÒÌiÉiÉÉè*
MÉÉxvÉÉ®ú¶SÉ ¦É´ÉäzªÉÉºÉ& ¹ÉÉb÷´ÉÆ SÉ¹ÉÇ¦ÉÆ Ê´ÉxÉÉ**112**
vÉè´ÉiÉ¹ÉÇ¦ÉªÉÉä½þÔxÉÆ iÉlÉÉ SÉÉèbÖ÷Ê´ÉiÉÆ ¦É´ÉäiÉÂ*
±ÉRÂóPÉxÉÒªÉÉè SÉ iÉÉè ÊxÉiªÉ¨ÉÉ¹ÉÇ¦ÉÉrèù´ÉiÉÆ µÉVÉäiÉÂ**
Ê´ÉÊ½þiÉÎºi´ÉÊiÉ MÉÉxvÉÉªÉÉÇ& º´É®úxªÉÉºÉÉÆ¶ÉMÉÉäSÉ®ú&**113**
After that I shall speak of (the j¡tis) that are based in madhyamagr¡ma. G¡ndh¡r¢
possesses the five aÆ¿as other than dhaivata and ¤Àabha. (111)
âa·ja and paµcama are prescribed to be the apany¡sas. G¡ndh¡ra should serve
as the ny¡sa. The hexatonic form results by dropping ¤Àabha, and the pentatonic by
dropping dhaivata and ¤Àabha. (112-113ab)
These two (svaras) have to be routinely skipped
over (in the heptatonic form?). One can (however?) go from
¤Àabha to dhaivata. This is how the range of the melody, limited by the ny¡sa and
aÆ¿a, has been ordained in G¡ndh¡r¢. (113cdef )
+xªÉnÖù{ÉGò¨ÉiÉä* +iÉ&{É®úÊ¨ÉÊiÉ* +jÉ MÉÉxvÉÉ®úÒ iÉÉ´ÉiÉÂ* MÉÉxvÉÉªÉÉÇ <ÊiÉ* ºÉ¨ÉMÉ{ÉÊxÉ(xÉªÉÉä) +Æ¶ÉÉ&(¶ÉÉ&)*

ºÉ{ÉÉ´É{ÉxªÉÉºÉÉè* MÉ(MÉÉä) xªÉÉºÉ&* Ê®ú±ÉÉä{Éä ¹ÉÉb÷´É&* Ê®úvÉ±ÉÉä{Éä%xªÉiÉÂ* {É\SÉ¨ÉºªÉ OÉÉ¨Éä Á±ÉÉä{ªÉi´É¨ÉÂ* iÉªÉÉä±ÉÇRÂóPÉxÉÆ
{ÉÚhÉÉÇ´ÉºlÉÉªÉÉ¨ÉÞ¹É¦ÉÉrèù´ÉiÉMÉ¨ÉxÉ¨ÉÂ* +xªÉä¹ÉÉÆ º´É®úÉhÉÉÆ xªÉÉºÉº´É®úÊ´É¹ÉªÉÉå%¶Éº´É®úÊ´É¹ÉªÉ¶SÉ ºÉ\SÉÉ®ú&* iÉnùÉ½þ*
º´É®úxªÉÉºÉÉÆ¶ÉMÉÉäSÉ®ú <ÊiÉ* º´É®úÉhÉÉÆ xªÉºÉxÉº´ÉÉÆ(ºªÉÉÆ)¶ÉMÉÉäSÉ®ú =Hò <iªÉäiÉnùlÉÇ¨ÉxªÉä ´ªÉÉSÉIÉiÉä* B´ÉÆ
SÉèiÉnùxÉÖHòºÉ¨É&(¨ÉÆ) ºªÉÉiÉÂ* +ºªÉÉ¨ÉäEòÉÆ*¶ÉEòÉ&(EòÉ) ¶ÉÖrùÉ(*) Ê´ÉEÞòiÉÉ&*(?) {ÉÚhÉÉÇ& {É\SÉ* SÉi´ÉÉ®ú& ¹ÉÉb÷´ÉÉ&*
{É\SÉ¨Éä iÉnù{É´ÉÉnùÉiÉÂ* +ÉèbÖ÷Ê´ÉiÉä MÉÉxvÉÉ®ú B´ÉÉÆ¶Éä%xªÉjÉ iÉnù{É´ÉÉnùÉiÉÂ**111-113**
160
[*The GOS edn. adds (ºªÉÉÆ jÉªÉÉänù¶ÉÉÆ) here. We have rejected that
insertion and suggested the emendations in wording and punctuation, as the total
number of aÆ¿as is 11, not 13.]
Now he begins with the other (madhyamagr¡ma) with "After that...."

G¡ndh¡r¢ is taken up with "G¡ndh¡r¢'s....". Sa, ma, ga, pa and ni are the aÆ¿as. Sa
and pa are the apany¡sas. Ga is the ny¡sa. The hexatonic form is reached by
dropping ri, and the other (pentatonic form) by dropping ri and dha. For paµcama
cannot be omitted in this gr¡ma. The skipping of the two (ri and dha) occurs in the
heptatonic form, (but?) the movement from ri to dha [occurs?] The connection with
the ny¡sa svara or with the aÆ¿a svara determines the melodic movement involving
the other svaras. He puts it thus - 'svara with respect to ny¡sa and aÆ¿a'.
Others take this to mean [The sentence is not clear
here, but the purport seems to be - the final rest
of the melody (lit. svaras) is limited by the aÆ¿a. This interpretation
says nothing new (which we already do not know about the controlling role of aÆ¿a?)].
In this (j¡ti) there is one aÆ¿a melody belonging to the ¿uddh¡ form, five to the vik¤t¡
forms which are samp£r¸a, four to the À¡·ava forms, as hexatonic reduction cannot
take place when paµcama is the aÆ¿a, and the au·uva form can occur only when
g¡ndh¡ra is the aÆ¿a, and not in the other cases. [vv. 59-60 say that pentatonic
reduction cannot take place when sa, ma, pa or ni is the aÆ¿a in G¡ndh¡r¢. There are
in all 11 aÆ¿a-variants in this j¡ti.] (111-113)
---------------------------------------------------
------------------------------
±ÉIÉhÉÆ ®úHòMÉÉxvÉÉªÉÉÇ MÉÉxvÉÉªÉÉÇ B´É ªÉiº¨ÉÞiÉ¨ÉÂ*
vÉè´ÉiÉÉä ¤É±É´ÉÉxÉjÉ nùÉè¤ÉÇ±ªÉÆ iÉºªÉ ±ÉÉä{ÉiÉ&**114**
MÉÉxvÉÉ®ú¹ÉbÂ÷VÉªÉÉä¶SÉÉjÉ ºÉ\SÉÉ®ú¶SÉÉ¹ÉÇ¦ÉÉÊuùxÉÉ*
+{ÉxªÉÉºÉºiÉlÉÉ SÉè´É ¨ÉvªÉ¨ÉºiÉÖ Ê´ÉvÉÒªÉiÉä**115**
The description of Raktag¡ndh¡r¢ is that set down for G¡ndh¡r¢. Here dhaivata is
strong and its weakness is through omission. (114)
The movement between g¡ndh¡ra and Àa·ja proceeds, omitting ¤Àabha. And
madhyama is prescribed to serve as the apany¡sa. (115)
161
+lÉ ®úHòMÉÉxvÉÉ®úÒ* ±ÉIÉhÉÆ ®úHòMÉÉxvÉÉªÉÉÇ <ÊiÉ* ºÉMÉ¨É{ÉÊxÉ(xÉªÉ&) {É\SÉÉÆ¶ÉÉ&* @ñ±ÉÉä{Éä ¹ÉÉb÷´É¨ÉÂ*

@ñvÉ±ÉÉä{Éä%xªÉiÉÂ* EòºiÉÁÇºªÉÉºiÉiÉÉä Ê´É¶Éä¹É&* +É½þ* vÉè´ÉiÉÉä ¤É±É´ÉÉxÉjÉ* iÉºªÉ Ê½þ ±ÉÉä{ªÉi´ÉÉqùÉè¤ÉÇ±ªÉÆ ºªÉÉiÉÂ*
@ñ¹É¦ÉÆ SÉÉä±±ÉRÂóPªÉ ºÉMÉäiªÉxÉªÉÉä®úxªÉÉäxªÉxÉèEò]õ¬Æ ¨Éä±ÉxÉÆ SÉ* +{ÉxªÉÉºÉÉä ¨ÉvªÉ¨É&* +ºªÉÉ uùÉnù¶ÉÉÆ¶ÉEòÉ&* {ÉÚhÉÉÇ&
{É\SÉ* SÉi´ÉÉ®ú& ¹ÉÉb÷´ÉÉ&* {É\SÉ¨Éä%{ªÉ{É´ÉÉnù&* jÉªÉ +ÉèbÖ÷Ê´ÉiÉÉ&* ¨ÉvªÉ¨É¹ÉbÂ÷VÉªÉÉäºiÉÖ iÉnù{É´ÉÉnùÉiÉÂ**14-115**
Next, Raktag¡ndh¡r¢ is commenced with "The description of Raktag¡ndh¡r¢".

Sa, ga, ma, pa and ni are the five aÆ¿as. The hexatonic form obtains with the
omission of ¤, and the other (pentatonic form), with the omission of ¤ and dha. What
then is the difference (from G¡ndh¡r¢)? He gives the answer - "Dhaivata is
strong here". The weakness (of dha) can come about only through its
omission. Skipping over ¤Àabha, sa and ga are kept together and combined.
Apany¡sa is served by madhyama. This j¡ti's aÆ¿a-variants are twelve. Five belong to
the (saÆ)p£r¸a forms, four to the À¡·ava, as paµcama (when aÆ¿a) does not permit
(hexatonic reduction), and three to the au·uva forms, as madhyama or Àa·ja
(when aÆ¿a) rules out (pentatonic reduction).
[There seems to be an error in the totalling of aÆ¿a variants. vv. 59-60 say that
pentatonic reduction cannot take place when sa, ma, pa or ni is the aÆ¿a in
Raktag¡ndh¡r¢.]
---------------------------------------------------
------------------------
MÉÉxvÉÉ®úÉänùÒSªÉ´ÉÉÆ¶ÉÉè iÉÖ Ê´ÉYÉäªÉÉè ¹ÉbÂ÷VÉ¨ÉvªÉ¨ÉÉè*
{ÉÉ\SÉº´ÉªÉÈ xÉ SÉè´ÉÉjÉ ¹ÉÉ]Âõº´ÉªÉÇ¨ÉÞ¹É¦ÉÆ Ê´ÉxÉÉ**116**
EòÉªÉÇ¶SÉÉxiÉ®ú¨ÉÉMÉÇ¶SÉ xªÉÉºÉÉä(%){ÉxªÉÉºÉ B´É SÉ*
¹ÉbÂ÷VÉÉänùÒSªÉ´ÉiÉÒ´ÉkÉÖ {ÉÉ\SÉº´ÉªÉæhÉ VÉÉiÉÖÊSÉiÉÂ**117**
The aÆ¿as of G¡ndh¡r°d¢cyav¡ are Àa·ja and madhyama. In this (j¡ti) there is no
pentatonic reduction; the hexatonic form results from the omission of ¤Àabha. (116)
The movement between svaras, the fin al rest and the medial
rest have to be done as in âa·j°d¢cyavat¢, but never, the pentatonic reduction. (117)
+lÉ MÉÉxvÉÉ®úÉänùÒSªÉ´ÉÉ* MÉÉxvÉÉ®úÉänùÒSªÉ´ÉÉÆ¶ÉÉÊ´ÉÊiÉ* uùÉè ºÉ¨ÉÉ´ÉÆ¶ÉÉè* @ñ¹É¦ÉähÉ ¹ÉÉb÷´É&* +ÉèbÖ÷Ê´ÉiÉºªÉÉ{ªÉä´É(¨ÉÂ)*

¹ÉbÂ÷VÉÉänùÒSªÉä*´ÉÉxªÉÉ&*** +ºªÉÉ¨ÉxiÉ®ú¨ÉÉMÉÇ& {É®úº{É®ú¨ÉÆ¶Éº´É®úªÉÉä& ºÉ\SÉÉ®ú&* ºÉvÉ(vÉÉ) +(´É){ÉxªÉÉºÉÉè*
¹ÉbÂ÷VÉäxÉÉÆ¶ÉÉä%Ê{É ¤É½ÖþiÉ®ú&* @ñ¹É¦ÉÉä ±ÉÉä{ªÉÉä%Ê{É {ÉÚhÉÉÇ´ÉºlÉÉªÉÉ¨É±{É&* ¨ÉxpùºlÉÉxÉä MÉÉxvÉÉ®úºªÉ ¦ÉÚªÉºi´ÉÊ¨ÉÊiÉ
ºÉ´ÉÇ¨ÉÊiÉnäù¶ÉÉiÉÂ* +ºªÉÉ¶SÉi´ÉÉ®úÉå%¶ÉÉ&* uùÉè {ÉÚhÉÉê uùÉè ¹ÉÉb÷´ÉÉè**116-117**
[The GOS edn. suggests the following readings -
* - (SªÉ´ÉÉªÉÉ), ** - (¨ÉxªÉiÉÂ), but we have retained the original reading. 'âa·j°d¢c¢ ®va'
162
and 'any¡Å' make better sense, as AB goes on to enumerate all the other features
from the earlier description of âa·j°d¢cyav¡.]
He next takes up G¡ndh¡r°d¢cyav¡ with "The aÆ¿as of

G¡ndh¡r°d¢cyav¡..." The two aÆ¿as are sa and ma. (The j¡ti becomes) hexatonic
with (the omission of) ¤Àabha. The pentatonic form is similarly reached (dropping
¤Àabha alone, i.e., not reached?). The other features are only those of âa·j°d¢cyav¡
<âa·j°d¢c¢>. All the following features characterise this r¡ga by extension (from
âa·j°d¢cyav¡) - In this (j¡ti) the movement is between the aÆ¿a svaras. Sa and dha
serve as apany¡sas; Àa·ja is the aÆ¿a and occurs frequently as well; being
omissible, ¤Àabha occurs sparsely in the heptatonic form; the profuse ocurrence of
g¡ndh¡ra is in the mandrasth¡na. The aÆ¿a(-variant)s of this (j¡ti) total four - two
being heptatonic and two hexatonic. (116-117)
[Abhinava explains Bharata's general prescription of the melodic movement etc.
of âa·j°d¢cyav¡ to this j¡ti, recalling each feature from the description of that j¡ti. But
in that description ¤Àabha has been described as 'strong', not 'sparse'.]
---------------------------------------------------
--------------------
¨ÉvªÉ¨ÉÉªÉÉ ¦É´ÉxiªÉÆ¶ÉÉ Ê´ÉxÉÉ MÉÉxvÉÉ®úºÉ{iÉ¨ÉÉè*
BiÉ B´É Á{ÉxªÉÉºÉÉ xªÉÉºÉ¶SÉè´É iÉÖ ¨ÉvªÉ¨É&**118**
MÉÉxvÉÉ®úºÉ{iÉ¨ÉÉ{ÉäiÉÆ {ÉÉ\SÉº´ÉªÉÈ Ê´ÉvÉÒªÉiÉä*
¹ÉÉb÷´ÉÆ SÉÉ{ªÉMÉÉxvÉÉ®äú EòiÉÇ´ªÉÆ iÉÖ |ÉªÉÉäMÉiÉ&**119**
¹ÉbÂ÷VÉ¨ÉvªÉ¨ÉªÉÉä¶SÉÉjÉ EòÉªÉÈ ¤ÉÉ½Öþ±ªÉ¨Éä´É Ê½þ*
MÉÉxvÉÉ®ú±ÉRÂóPÉxÉÆ SÉÉjÉ EòÉªÉÈ ÊxÉiªÉÆ |ÉªÉÉäHÞòÊ¦É&**120**
Barring g¡ndh¡ra and the seventh (niÀ¡da, all the other svaras) serve as aÆ¿as in
Madhyam¡. The same are the apany¡sas, while madhyama alone is the ny¡sa. (118)
The pentatonic form is ordained to be without g¡ndh¡ra and the seventh (niÀ¡da).
And the hexatonic form should be rendered without g¡ndh¡ra. (119)
The plentiful use of Àa·ja and madhyama is prescribed, and the performer must
constantly skip over g¡ndh¡ra. (120)
+lÉ ¨ÉvªÉ¨ÉÉ* ¨ÉvªÉ¨ÉÉªÉÉ ¦É´ÉxiªÉÆ¶ÉÉ <ÊiÉ* ºÉÊ®ú¨É{ÉvÉÉ +Æ¶ÉÉ&* +{ÉxªÉÉºÉÉºiÉ B´É* xªÉÉºÉÉä ¨É&*
MÉ±ÉÉä{Éä ¹ÉÉb÷´É&* MÉÊxÉ±ÉÉä{Éä SÉÉ{É®ú¨ÉÂ* ºÉ¨ÉªÉÉä& {ÉªÉÉÇªÉÉÆ¶Éi´ÉÉiÉÂ ÊºÉrÆù ¤É½Öþi´É¨ÉÂ* {ÉÖxÉ´ÉÇSÉxÉÉiÉÂ |ÉEÞò¹]Æõ ¨ÉxiÉ´ªÉ¨ÉÂ*
MÉÉxvÉÉ®úºªÉ ±ÉÉä{ªÉi´ÉÉ±±É¤vÉ¨É±{Éi´É¨ÉÂ* {ÉÚhÉÉÇ´ÉºlÉÉªÉÉ¨ÉÊ{É {É¶SÉÉ±±É¦ªÉiÉä* *+ºªÉÉ +¹]õÉ´ÉÆ¶ÉEòÉ&* ¶ÉÖrùÉ& {É\SÉ*
Ê´ÉEÞòiÉÉºiÉÉ´ÉxiÉ B´É ¹ÉÉb÷´ÉÉèbÖ÷Ê´ÉiÉÉ&**118-120**
163
[*We suggest the following emendation for the

underlined portion of AB in the GOS edn. +ºªÉÉ
+¹]õnÂù´ªÉÉÆ¶ÉEòÉ&* ¶ÉÖrùÉ* {É\SÉ Ê´ÉEÞòiÉÉºiÉÉ´ÉxiÉ B´É ¹ÉÉb÷´ÉÉèbÖ÷Ê´ÉiÉÉ&*]
Then he takes up Madhyam¡ with, "The aÆ¿as of Madhyam¡ are..." Sa, ri, ma,
pa and dha are the aÆ¿as. The same serve as apany¡sas. Ma is the
ny¡sa. The hexatonic form obtains when ga is
dropped, and the other (pentatonic form), when ga
and ni are dropped. As they are aÆ¿as by turn, sa and ma are, by implication,
profusely employed. But the repetition of this information indicates the greater
degree (in bahutvam), we gather. [For the other three aÆ¿as have not been described
as frequently occurring.] From its omissibility, the sparseness of g¡ndh¡ra follows. It
is next (in importance to other svaras?) even in the heptatonic form. The aÆ¿a-
variants of this (j¡ti) are eight - five belonging to the ¿uddha forms, and the same
number to the vik¤ta forms - À¡·ava and au·uva. (118-120)
[The total number of aÆ¿as comes to sixteen - 1 belonging to the ¿uddha form,
and 5 each to the three vik¤ta forms - samp£r¸a, À¡·ava and au·uva. But in AB the
total given is 8 and the distribution is of 15 aÆ¿as, equally between the ¿uddha and
the two types of vik¤ta forms. So we have suggested emendations in the AB text. "Its
aÆ¿a variants number sixteen. One is the ¿uddha form, five are the vik¤ta (samp£r¸a)
forms, and the same number of hexatonic and pentatonic forms are there."]
---------------------------------------------------
---------------------------------
¨ÉvªÉ¨ÉÉänùÒSªÉ´ÉÉ {ÉÚhÉÉÇ ÁÆ¶É BEòºiÉÖ {É\SÉ¨É&*
¶Éä¹ÉÉä Ê´ÉÊvÉºiÉÖ EòiÉÇ´ªÉÉä MÉÉxvÉÉ®úÉänùÒSªÉ´ÉÉÆ MÉiÉ&**121**
Madhyam°d¢cyav¡ is heptatonic <p£r¸¡>, and has only one aÆ¿a, namely,
paµcama. The remaining features have to be as in G¡ndh¡r°d¢cyav¡. (121)
+lÉ ¨ÉvªÉ¨ÉÉänùÒSªÉ´ÉäÊiÉ* +Æ¶É&({É\SÉ¨É&)* ÊxÉiªÉ{ÉÚhÉÇiÉÉ* MÉÉxvÉÉ®úÉänùÒSªÉ(´ÉÉ)´ÉnÂù Ê´ÉÊvÉÊxÉnæù¶ÉÉ* +{ÉxªÉÉºÉÉè

ºÉvÉÉè* ¨ÉvªÉ¨ÉMÉÉxvÉÉ®ú¤É(¤ÉÉ)½Öþ±É(±ªÉ)¨ÉÂ* xªÉÉºÉÉä ¨É&* +ºªÉÉ BEòÉå%¶ÉEò& {ÉÚhÉÇ&**121**
Next he speaks of Madhyam°d¢cyav¡. The aÆ¿a is (paµcama).

It possesses a heptatonic form permanently. The mode
of performing it is that prescribed for G¡ndh¡r°d¢cyav¡. Sa and dha are the
apany¡sas. Madhyama and g¡ndh¡ra occur profusely. The ny¡sa is done at ma. The
aÆ¿a-melody of this (j¡ti) is just one, (saÆ)p£r¸a in form. (121)
164
[The features of G¡ndh¡r°d¢cyav¡ have earlier been pronounced to be those of

âa·j°d¢cyav¡. Now the reader is referred to the description of G¡ndh¡r°d¢cyav¡ for
knowledge of Madhyam°d¢cyav¡. Abhinava supplements the information here as he
did earlier.]
---------------------------------------------------
---------------------------------
uùÉ´ÉÆ¶ÉÉ´ÉlÉ {É\SÉ¨ªÉÉ¨ÉÞ¹É¦É& {É\SÉ¨ÉºiÉlÉÉ*
ºÉ*ÊxÉ¹ÉÉnùÉ´É{ÉxªÉÉºÉÉè xªÉÉºÉ¶SÉè´É iÉÖ {É\SÉ¨É&**122**
¨ÉvªÉ¨ÉÉ´ÉkÉÖ EòiÉÇ´ªÉä ¹ÉÉb÷´ÉÉèbÖ÷Ê´ÉiÉä iÉlÉÉ*
nùÉè¤ÉÇ±ªÉÆ SÉÉjÉ EòiÉÇ´ªÉÆ ¹ÉbÂ÷VÉMÉÉxvÉÉ®ú¨ÉvªÉ¨Éè&**123**
EÖòªÉÉÇnù{ªÉjÉ ºÉ\SÉÉ®Æú {É\SÉ¨ÉºªÉÉ¹ÉÇ¦ÉºªÉ SÉ*
MÉÉxvÉÉ®úMÉ¨ÉxÉÆ SÉè´É EòÉªÉÈ i´É±{É¶SÉ(±{ÉÆ SÉ) ºÉ{iÉ¨É&(¨ÉÉiÉÂ)**124**
[ * The GOS edn. suggests the emendation (@ñ), here, following AB. Dattilam too
reads ºÉÊxÉ¹ÉÉnùÉ´É{ÉxªÉÉºÉÉè, meaning "paµcama and ¤Àabha are the apany¡sas, along with
niÀ¡da". So we have retained the original reading.]
Paµcam¢ has two aÆ¿as - ¤Àabha and paµcama. Along with niÀ¡da, they are
the apany¡sas, and the ny¡sa of course is paµcama. (122)
The hexatonic and pentatonic reductions have to be done as in

Madhyam¡. And Àa·ja, g¡ndh¡ra and madhyama have to be rendered weak. (123)
The movement should be around paµcama and ¤Àabha. The movement to

g¡ndh¡ra from the seventh (niÀ¡da ) should be done sparingly. (124)
+lÉ {É\SÉ¨ÉÒ* uùÉ´ÉÆ¶ÉÉ´ÉlÉ {É\SÉ¨ªÉÉÊ¨ÉÊiÉ* Ê®ú{ÉÉ´ÉÆ¶ÉÉè* @ñxÉÒ +{ÉxªÉÉºÉÉè* {ÉÉä xªÉÉºÉ&* MÉ±ÉÉä{Éä ¹ÉÉb÷´ÉÆ
MÉÊxÉ±ÉÉä{Éä +ÉèbÖ÷´ÉÊ¨ÉÊiÉ ¨ÉvªÉ¨ÉÉ´ÉÎk´ÉÊiÉ ¶Éä¹É&* ¹ÉbÂ÷VÉ¨ÉvªÉ¨ÉªÉÉä®Æú(®úxÉÆ?)¶Éi´ÉÉnÂù MÉÉxvÉÉ®úºªÉ ±ÉÉä{ªÉi´ÉÉiÉÂ
ÊºÉräù%±{Éi´Éä%±{ÉiÉ®úÉlÉÈ ´ÉSÉxÉ¨ÉÂ* Ê®ú¨É({É) <iªÉxÉªÉÉä®úxªÉÉäxªÉºÉÆMÉÊiÉ&* {ÉÚhÉÉÇ´ÉºlÉÉªÉÉÆ SÉ ÊxÉ¹ÉÉnùÉnÂù MÉÉxvÉÉ®úMÉ¨ÉxÉ¨ÉÂ*
iÉ\SÉ {ÉÊ®úÊ¨ÉiÉ¨ÉÂ* iÉºªÉÉ& ¹ÉbÆ÷¶ÉEòÉ& ¶ÉÖrùÉ& (¶ÉÖrùÉ)* uùÉè {ÉÚhÉÉê uùÉè ¹ÉÉb÷´ÉÉè BEò +ÉèbÖ÷Ê´ÉiÉ¨ÉÂ(iÉ&)* @ñ¹É¦Éå%¶Éä*
{É´ÉnùxÉÉiÉÂ**122-124**
[* The GOS edn. inserts (vÉè´ÉiÉºªÉÉ) here. A more

suitable insertion seems to be (iÉnù).]
165
Now Paµcam¢ is taken up, with "Two aÆ¿as in Paµcam¢..." Ri

and pa are the aÆ¿as. Î and ni are the apany¡sas. Pa is the
ny¡sa. The hexatonic form obtains with the omission
of ga, and the pentatonic with the omission of ga
and ni - this completes the statement "as in
Madhyam¡". As Àa·ja and madhyama are (not) aÆ¿as, and as g¡ndh¡ra is
omissible, their sparse occurrence is implied, but is repeated to indicate a
greater degree of sparseness. Ri and ma (pa) are
kept together. In the heptatonic form, the moveement
from niÀ¡da to g¡ndh¡ra (is possible). But this is restricted. The aÆ¿a-variants of this
(j¡ti) are six - one of the ¿uddha form, two each of the (vik¤ta) heptatonic and
hexatonic forms, and one of the pentatonic form, as it (the pentatonic form) cannot
obtain when ¤Àabha is the aÆ¿a. (122-124)
[V.61 forbids the au·uva reduction in this j¡ti when ¤Àabha is the aÆ¿a.]
---------------------------------------------------
--------------------------------------------
+lÉ MÉÉxvÉÉ®ú{É\SÉ¨ªÉÉ& {É\SÉ¨ÉÉå%¶É& |ÉEòÒÌiÉiÉ&*
iÉÉ®úMÉiªÉÉ iÉÖ ¹ÉbÂ÷VÉÉä%Ê{É EònùÉÊSÉzÉÉÊiÉ´ÉiÉÇiÉä**125**
@ñ¹É¦É& {É\SÉ¨É¶SÉè´É Á{ÉxªÉÉºÉÉè |ÉEòÒÌiÉiÉÉè*
xªÉÉºÉ¶SÉè´É iÉÖ MÉÉxvÉÉ®úÉä ºÉÉ SÉ {ÉÚhÉÇº´É®úÉ ºÉnùÉ*
{É\SÉ¨ªÉÉ ªÉ¶SÉ MÉÉxvÉÉªÉÉÇ& ºÉ\SÉÉ®ú& ºÉ Ê´ÉvÉÒªÉiÉä**126**
Next we have G¡ndh¡rapaµcam¢. Paµcama has been prescribed to be its
aÆ¿a. In the movement in the upper range, sometimes even Àa·ja is not crossed.
(125)
ÎÀabha and paµcama are the only two apany¡sas prescribed. G¡ndh¡ra is
the ny¡sa. This (j¡ti) is ever heptatonic <p£r¸asvar¡>. The melodic movement that is
peculiar to Paµcam¢ and to G¡ndh¡r¢ is prescribed (for this j¡ti). (126)
+lÉ MÉÉxvÉÉ®ú{É\SÉ¨ªÉÉ <ÊiÉ* +Æ¶É& {É&* @ñ{ÉÉ´É{ÉxªÉÉºÉÉè* MÉÉä xªÉÉºÉ&* ÊxÉiªÉ{ÉÚhÉÇiÉÉ*

vÉè´ÉiÉMÉ¨ÉxÉ¨ÉÞ¹É¦ÉÉÊnùÊiÉ MÉÉxvÉÉªÉÉÈ(ªÉÉÇ&) ºÉ\SÉÉ®ú&* =HÆò ¨ÉvªÉ¨É¹ÉÇ¦ÉºÉRÂóMÉÊiÉÌxÉ¹ÉÉnùÉnÂùMÉÉxvÉÉ®ú <ÊiÉ {É\SÉ¨ªÉÉ¨ÉÂ*
+ºÉÉ´ÉÖ¦ÉªÉÉä%{ªÉºªÉÉÆ EòÉªÉÇ&* BEò B´ÉÉºªÉÉ +Æ¶ÉEò&**125-126**
"Now G¡ndh¡rapaµcam¢'s..." - thus (he commences the next j¡ti). The

aÆ¿a is pa. Î and pa are the apany¡sas. Ga is the ny¡sa. (This j¡ti) is
166
permanently heptatonic. The movement is from ¤Àabha to dhaivata in G¡ndh¡r¢.

In Paµcam¢ the combination of madhyama and ¤Àabha, and the movement from
niÀ¡da to g¡ndh¡ra has been prescribed. Both these have to be performed in this
(G¡ndh¡rapaµcam¢ j¡ti). This (j¡ti) has only one aÆ¿a-melody. (125-126)
[AB supplements the prescription here, with the details of the movement
proper to Paµcam¢ and G¡ndh¡r¢, from the earlier verses.]
---------------------------------------------------
--------------------------------------
{É\SÉ¨É¶SÉÉ¹ÉÇ¦É¶SÉè´É MÉÉxvÉÉ®úÉä%lÉ ÊxÉ¹ÉÉnù´ÉÉxÉÂ*
SÉi´ÉÉ®úÉå%¶ÉÉ ¦É´ÉxiªÉÉxwªÉÉ¨É{ÉxªÉÉºÉÉºiÉ B´É Ê½þ**127**
MÉÉxvÉÉ®ú¶SÉ ¦É´ÉäzªÉÉºÉ& ¹ÉbÂ÷VÉÉ{ÉäiÉÆ iÉÖ ¹ÉÉb÷´É¨ÉÂ*
MÉÉxvÉÉ®úÉ¹ÉÇ¦ÉªÉÉä¶SÉÉÊ{É ºÉ\SÉÉ®úºiÉÖ {É®úº{É®ú¨ÉÂ**128**
ºÉ{iÉ¨ÉºªÉ SÉ ¹É¹`öºªÉ xªÉÉºÉÉä MÉiªÉxÉÖ{ÉÚ´ÉÇ¶É&*
¹ÉbÂ÷VÉºªÉ ±ÉRÂóPÉxÉÆ SÉÉjÉ xÉÉÎºiÉ SÉÉèbÖ÷Ê´ÉiÉÆ ºÉnùÉ**129**
In Ëndhr¢ (j¡ti), paµcama, ¤Àabha, g¡ndh¡ra and niÀ¡da are the four aÆ¿as. The
same serve as apany¡sas. (127)
G¡ndh¡ra may function as the ny¡sa. The hexatonic form is arrived at by
dropping Àa·ja. There is movement between g¡ndh¡ra-¤Àabha and the seventh
(niÀ¡da) and sixth (dhaivata). (128-129a)
The ny¡sa ocurs according to the preceding movement. There is the skipping
over of Àa·ja in (the heptatonic form of) this (j¡ti). And pentatonic reduction never
occurs. (129)
+lÉÉxwÉÒ* {É\SÉ¨É¶SÉäÊiÉ* @ñMÉ{ÉxÉÒiªÉÆ¶ÉÉ&* iÉ B´ÉÉ{ÉxªÉÉºÉÉ¶SÉ* MÉ(MÉÉä) xªÉÉºÉ&* ºÉ±ÉÉä{Éä

¹ÉÉb÷´É&* +ÉèbÖ÷Ê´ÉiÉÉ¦ÉÉ´É&* @ñMÉ +(<iªÉ)xÉªÉÉä& ºÉÆMÉÊiÉ&* ÊxÉ¹ÉÉnùvÉè´ÉiÉªÉÉä¶SÉ(*) xªÉÉºÉÉä MÉiªÉxÉÖ{ÉÚ´ÉÇ¶É&* ªÉÉä
ªÉnùÉÆ¶É& |ÉvÉÉxÉ¦ÉÚiÉºiÉäxÉ iÉäxÉ ºªÉÉ(xªÉÉ)ºÉÉMÉ¨ÉxÉÆ EòÉªÉÇ¨ÉÂ* iÉnÖùHò¨ÉÂ* +Æ¶ÉÉxÉÖ{ÉÚ´ªÉÉÇ xªÉÉºÉMÉ¨ÉxÉÊ¨ÉÊiÉ* +xªÉä SÉÉ½Öþ&*
ªÉäxÉè´É Gò¨ÉähÉÉÆ¶ÉÉ& º´É®úÉ& {ÉÊ`öiÉÉºiÉäxÉè´É Gò¨ÉähÉ iÉä EòÉªÉÉÇ ªÉÉ´Énù{ÉxªÉÉºÉº´É®ú <ÊiÉ* +ºªÉÉ¨É¹]õÉ´ÉÆ¶ÉEòÉ&* SÉi´ÉÉ®ú&
{ÉÚhÉÉÇ& ¹ÉÉb÷´ÉÉ&**127-129**
Next Ëndhr¢. "Paµcama and...." Î, ga, pa and ni have been

named the aÆ¿as. The same serve as apany¡sas too. Ga is the
ny¡sa. The À¡·ava form comes about by dropping sa. The au·uva reduction is never
done. The combination of ¤ and ga occurs. And so also of niÀ¡da and dhaivata. The
ny¡sa is according to the preceding movement. Whichever svara
is serving as the aÆ¿a, has to be prominent in arriving at the ny¡sa. That is
167
expressed thus - according to the aÆ¿a which is leading, the movement reaches the
ny¡sa. [This statement is not there in the above
verses of NS.] Others say - the order in which the aÆ¿a svaras have
been enumerated (in this j¡ti), has to be followed in fixing the apany¡sa svaras. In this
(j¡ti) there are eight aÆ¿a-variants. Four belong to the heptatonic forms and four to
the hexatonic forms. (127-129)
---------------------------------------------------
-------------------------------
xÉxnùªÉxiªÉÉ&(ªÉÉÆ) Gò¨ÉÉxÉÂ xªÉÉºÉÉ{ÉxªÉÉºÉÉÆ¶ÉÉ& |ÉEòÒÌiÉiÉÉ&*
MÉÉxvÉÉ®úÉä ¨ÉvªÉ¨É¶SÉè´É {É\SÉ¨É¶SÉè´É ÊxÉiªÉ¶É&**130**
¹ÉbÂ÷VÉÉä ±ÉÉä{ªÉ¶SÉ ±ÉRÂóPªÉ¶SÉ xÉÉxwÉÒºÉ\SÉ®úhÉÆ ¦É´ÉäiÉÂ*
±ÉRÂóPÉxÉÆ ÁÞ¹É¦ÉºªÉÉÊ{É iÉSSÉ ¨ÉxpùMÉiÉÆ º¨ÉÞiÉ¨ÉÂ**131**
iÉÉ®úMÉiªÉÉ iÉÖ ¹ÉbÂ÷VÉºiÉÖ(bÂ÷VÉÉä%Ê{É) EònùÉÊSÉzÉÉÊiÉ´ÉiÉÇiÉä*
MÉÉxvÉÉ®úÉä ´ÉÉ OÉ½þ& EòÉªÉÇºiÉlÉÉ xªÉÉºÉ¶SÉ ÊxÉiªÉ¶É&**132**
in Nandayant¢, g¡ndh¡ra, madhyama and paµcama, alone, are recognised as
the permanent ny¡sa, apany¡sa and aÆ¿a, respectively. (130)
âa·ja can be dropped, and skipped over (in the heptatonic state). Movements
peculiar to Ëndhr¢ are not to be done. The skipping of ¤Àabha is also there, and that
is prescribed in the movement in the lower range. (131)
In the movement in the higher range, sometimes even Àa·ja is not crossed.
G¡ndh¡ra can optionally be the graha (commencing svara), and is the permanent
ny¡sa. (132)
+lÉ xÉxnùªÉxiÉÒ* xÉxnùªÉxiªÉÉÆ Gò¨ÉÉÊnùÊiÉ* {É(MÉÉä)* xªÉÉºÉÉä OÉ½þ¶SÉäÊiÉ ´ÉIªÉiÉä* +{ÉxªÉÉºÉ& +(ºÉÉä
¨É&)* {É +Æ({ÉÉå%)¶É& ºÉÉä%{ªÉ{ÉxªÉÉºÉ& {É¶SÉÉnÖùHò&* ¹ÉbÂ÷VÉäxÉ ¹ÉÉb÷´É¨ÉÂ* ±ÉÉä{ªÉi´ÉÉ±±ÉRÂóPªÉi´ÉÆ ÊºÉrù¨ÉÂ*
{ÉÖxÉ´ÉÇSÉxÉÉnù±{ÉiÉ®úi´É¨É{ÉÒÊiÉ ¨ÉxiÉ´ªÉ¨ÉÂ* xÉÉxwÉÒºÉ\SÉ®úhÉÊ¨ÉÊiÉ* MÉÉxvÉÉªÉÉÇ¹ÉÇ¦ÉÒ¦ªÉÉ¨ÉÉxwÉÒ
{É\SÉ¨ªÉÉ¹ÉÇ¦ÉÒMÉÉxvÉÉ®úÒÊ¦ÉxÉÇxnùªÉxiÉÒÊiÉ ºÉÆºÉMÉÇVÉ|ÉEò®úhÉä ÊxÉ°ü{ÉhÉÆ VÉÉÊiÉ´ÉªÉºªÉEòÉ®úhÉiÉÖ±ªÉi´ÉÉnùÉxwÉÒ´ÉiÉÂ ºÉÆMÉÊiÉ&
|ÉÉ{iÉäÊiÉ ´ÉSÉxÉäxÉ ÊxÉ{ÉÒb÷¬iÉä* BiÉSSÉÉ®úHòÉiÉÖ±ªÉVÉÉÊiÉEòÉ®úÊhÉEòÉxÉÉÆ VÉÉiÉÒxÉÉÆ ºÉRÂóMÉÊiÉ®úiÉÖ±ªÉè´É EòiÉÇ´ªÉäÊiÉ ºÉÚSÉªÉÊiÉ*
@ñ¹É¦ÉºªÉ ±ÉRÂóPÉxÉÆ ¨ÉxpùMÉiÉºªÉäÊiÉ vÉÌ¨Éº´É°ü{ÉÆ vÉ¨ÉÇ ={ÉSÉÊ®úiÉ <(Ê¨É)ÊiÉ* ¨ÉxpùMÉiÉÆ ±ÉRÂóPÉxÉÊ¨ÉiªÉÖHò¨ÉÂ* iÉÉ®úMÉiªÉÉ
¹ÉbÂ÷VÉÉä xÉÉÊiÉ´ÉiÉÇiÉä xÉÉÊiÉ¶ÉªªÉiÉä* ....MÉiªÉÉ ¹ÉbÂ÷VÉÉä xÉÉÊiÉ´ÉiÉÇiÉä xÉÉÊiÉ¶ÉªªÉiÉä* iÉiÉ >ðv´ÉÇEÆò xÉ Ê¶É®úºªÉºÉ{iÉEòº´É®úÉ&
(º)|É¹]õ´ªÉÉ <iªÉlÉÇ&* +xªÉä i´ÉÉSÉIÉiÉä* ¹ÉbÂ÷VÉä´É(bÂ÷VÉ B´É) EònùÉÊSÉzÉÉÊiÉ´ÉiÉÇiÉä xÉÉ®úÉä½Æþ ¦ÉVÉiÉä iÉÉ®Æú xÉ ÊEòÎ\SÉiÉÂ
(º)|É¹]õ´ªÉÊ¨ÉiªÉlÉÇ&* EònùÉÊSÉÊnùÊiÉ* ´ÉèEòÎ±{ÉEòÉä%ªÉÆ iÉÉ®ú <iªÉlÉÇ&* +ºªÉÉ¨ÉäEò& {ÉÚhÉÉÈ¶É BEò& ¹ÉÉb÷´É <ÊiÉ
uùÉè**130-132**
168
[ * The GOS edn. suggests ({ÉÉä) here. But it should be (MÉÉä). This is clear from
NS, v. 132.]
Now Nandayant¢ is taken up with "In Nandayant¢, in that
order... Ga is the ny¡sa and is going to be named as a graha as well. The apany¡sa
is ma. Pa is the aÆsa; later it (or sa) is also named the apany¡sa. [?] The hexatonic
form otains with (the omission of) Àa·ja. As it can be omitted, its being skipped over
(in the full form) follows. But from this (injunction) being repeated, its extreme
sparseness is gathered. "The movement proper to Ëndhr¢ is not there" - this point
has been made because Ëndhr¢ results from the combination of G¡ndh¡r¢ and
ËrÀabh¢, and Nandayanti results from the combination of Paµcam¢, ËrÀabh¢ and
G¡ndh¡r¢, and so they have the affinity of similar parentage. The movements in
Ëndhr¢ should be applicable here (in Nandayant¢), and so (their inapplicability) has to
be stressed in words. This further indicates that j¡tis which do not share similar cause
j¡tis, can only have melodic movements which are not simialr. "the ¤Àabha in the
lower range must be skipped" - this phrasing treats the
quality as the thing possessing it. It should be
expressed thus - the skipping should be in the
lower range.* "By the movement upward, Àa·ja is not crossed", i.e., it is
not gone beyond ...by ... movement Àa·ja is not transcended, not exceeded. This
means - above that the heptad of svaras in the head region is not to be touched.
Others say - Àa·ja itself sometimes does not go beyond, does not ascend; the upper
range should not be even touched a bit. By "Sometimes" is meant that the t¡ra
movement is optional. In this (j¡ti) there are two aÆ¿a-variants - one belonging to the
full form, and one to the hexatonic form. (130-132)
[* The reading in AB differs from NS, placing '¤Àabha' and 'mandragata' in the
same (sixth) case, and omitting the vital phrase 'tacca'. The NS reads '¤Àabhasya',
'la´ghanam' and 'mandragatam'. So the criticism made by Abhinava is not justified.]
---------------------------------------------------
--------------------
EòÉ¨ÉÉÇ®ú´ªÉÉ& º¨ÉÞiÉÉ ÁÆ¶ÉÉ +É¹ÉÇ¦É& {É\SÉ¨ÉºiÉlÉÉ*
vÉè´ÉiÉ¶SÉ ÊxÉ¹ÉÉnù¶SÉÉ{ªÉ{ÉxªÉÉºÉÉºiÉ B´É iÉÖ**133**
{É\SÉ¨É¶SÉ ¦É´ÉäiÉÂ xªÉÉºÉÉä ½èþxÉº´ÉªÉÈ xÉ SÉÉjÉ iÉÖ*
MÉÉxvÉÉ®úºªÉ Ê´É¶Éä¹ÉähÉ ºÉ´ÉÇiÉÉä MÉ¨ÉxÉÆ ¦É´ÉäiÉÂ**134**
The aÆ¿as prescribed for K¡rm¡rav¢ are ¤Àabha, paµcama, dhaivata and niÀ¡da.
The same are the apany¡sas. (133)
169
Paµcama must be the ny¡sa. In this (j¡ti) there is no (hexatonic or pentatonic)

reduction of svaras. The movement of g¡ndh¡ra, especially, to all areas is allowed /
ordained. (134)
+lÉ EòÉ¨ÉÉÇ®ú´ÉÒ* EòÉ¨ÉÉÇ®ú´ªÉÉ <ÊiÉ* @ñ{ÉvÉÊxÉ(xÉªÉÉäÆ) +Æ¶ÉÉ(%Æ¶ÉÉ) +{ÉxªÉÉºÉÉ¶SÉ* {ÉxªÉÉºÉiÉÉ*

ÊxÉiªÉ{ÉÚhÉÇiÉÉ* Ê´É¶Éä¹ÉähÉäÊiÉ* +xªÉä i´ÉxÉÆ¶ÉÉ <½þÉ*(½þ#)¦ÉÚªÉºi´É¦ÉÉVÉ&* ºÉ´Éæ¦ªÉÉä%Ê{É Ê´É¶Éä¹ÉähÉ iÉÖ MÉÉxvÉÉ®úºªÉ
ªÉlÉÉ¶ÉÊHò ºÉRÂóMÉÊiÉ&* ªÉnùÉ½þ Ê´É¶ÉÉÊJÉ±ÉÉSÉÉªÉÇ&* ¤ÉÉ½Öþ±ªÉÉnùxÉÆ¶ÉÉxÉÉÆ Ê´É¶Éä¹ÉiÉ& ºÉ´ÉÇiÉÉä MÉÉxvÉÉ®úMÉ¨ÉxÉÊ¨ÉÊiÉ*
+ºªÉÉ¶SÉi´ÉÉ®úÉå%¶ÉÉ& {ÉÚhÉÉÇ B´É**133-134**
[* We have suggested the emendation <½þ ¦ÉÚªÉºi´É¦ÉÉVÉ& here,

with the support of the quotation from Vi¿¡khila that follows.]
Now K¡rm¡rav¢ is taken up for description with,

"Of K¡rm¡rav¢...." Î, pa, dha and ni are the aÆ¿as as well as the apany¡sas. Pa
serves as the ny¡sa. (This j¡ti) is permanently heptatonic.
"Especially" means - other (svaras) which are not aÆ¿as may occur profusely,
but to all the svaras g¡ndh¡ra, especially, must be connected, as far as possible. As
Vi¿¡khil¡c¡rya has said - ... svaras which are not aÆ¿as occur profusely;
g¡ndh¡ra, especially, may commence / conclude all movements. This (j¡ti) has four
aÆ¿a-variants, all belonging to the heptatonic lot. (133-134)
---------------------------------------------------
--------------------------------
EèòÊ¶ÉCªÉÉºiÉÖ iÉlÉÉ ÁÆ¶ÉÉ& ºÉ´Éæ SÉè´ÉÉ¹ÉÇ¦ÉÆ Ê´ÉxÉÉ*
BiÉ B´É Á{ÉxªÉÉºÉÉ xªÉÉºÉÉè MÉÉxvÉÉ®úºÉ{iÉ¨ÉÉè**135**
vÉè´ÉiÉå%¶Éä ÊxÉ¹ÉÉnäù SÉ xªÉÉºÉ& {É\SÉ¨É <¹ªÉiÉä*
+{ÉxªÉÉºÉ& EònùÉÊSÉkÉÖ @ñ¹É¦ÉÉä%Ê{É Ê´ÉvÉÒªÉiÉä**136**
+É¹ÉÇ¦Éä ¹ÉÉb÷´ÉÆ SÉÉjÉ vÉè´ÉiÉ¹ÉÇ¦É´ÉÌVÉiÉ¨ÉÂ*
iÉlÉÉ SÉÉèbÖ÷Ê´ÉiÉÆ EÖòªÉÉÇnÂù ¤ÉÊ±ÉxÉÉè SÉÉxiªÉ{É\SÉ¨ÉÉè**137**
nùÉè¤ÉÇ±ªÉ¨ÉÞ¹É¦ÉºªÉÉjÉ ±ÉRÂóPÉxÉÆ SÉ Ê´É¶Éä¹ÉiÉ&*
+Æ¶É´ÉiÉÂ EòÎ±{ÉiÉ¶SÉÉxªÉè& ¹ÉÉb÷´Éä iÉÖ Ê´ÉvÉÒªÉiÉä**
¹ÉbÂ÷VÉ¨ÉvªÉÉ´ÉnùjÉÉÊ{É ºÉ\SÉÉ®úºiÉÖ ¦É´ÉäÊnù½þ**138**
[*This line seems to be an interpolation as it
is incomprehensible here and has, moreover, not
been commented on by Abhinava.]
170
Excepting ¤Àabha, all (the svaras) serve as aÆ¿as in Kai¿ik¢. The same serve as
apany¡sas, while g¡ndh¡ra and the seventh (niÀ¡da) serve as ny¡sas. (135)
When dhaivata or niÀ¡da is the aÆ¿a, paµcama should be the ny¡sa. In some
contexts ¤Àabha is also prescribed as the apany¡sa. (136)
The hexatonic form should be arrived at (by dropping) ¤Àabha, and the pentatonic
by dropping dhaivata and ¤Àabha. The final (niÀ¡da) and paµcama are strong
(svaras). (137)
The weakness of ¤Àabha, in particular, and its being skipped over (in the
heptatonic form are prescribed.) *It is however conceived of as an aÆ¿a by others,
but prescribed (to be omitted) in the hexatonic form. Here toothe melodic movement
should be done as in âa·jamadhyam¡. (138)
[*This line seems to be an interpolation as it
is incomprehensible here and has, moreover, not
been commented on by Abhinava.]
+lÉ EèòÊ¶ÉEòÒ* EèòÊ¶ÉCªÉÉÎºi´ÉÊiÉ* ºÉMÉ¨É{ÉvÉÊxÉ+Æ(xÉªÉÉå)¶ÉÉ +{ÉxªÉÉºÉÉ¶SÉ* MÉxÉÒ xªÉÉºÉÉè* {ÉªÉÉÇªÉähÉ

vÉè´ÉiÉÊxÉ¹ÉÉnùÉè ªÉnùÉÆ¶ÉÉè iÉnùÉ {É\SÉ¨ÉÉä xªÉÉºÉ&* EònùÉÊSÉkÉÖ @ñ¹É¦ÉÉä%{ÉÒÊiÉ* ±ÉÉä{ÉÉ´ÉºlÉÉªÉÉÆ iÉzÉÉ(iÉÖ xÉÉ)ºÉÉè* iÉlÉÉ
{ÉÚhÉÇiÉÉnù¶ÉÉªÉÉÆ iÉÖ ´ÉÉ ¦É´ÉiÉÒÊiÉ* nùÉè¤ÉÇ±ªÉ¨ÉÞ¹É¦ÉºªÉ* ªÉiÉ& EònùÉÊSÉ±±ÉÉä{É({ªÉ)k´ÉÉiÉÂ* @ñ±ÉÉä{Éä ªÉlÉÉ ¹ÉÉb÷´É¨ÉÂ*
@ñvÉ±ÉÉä{Éä i´ÉxªÉiÉÂ* ¤ÉÊ±ÉxÉÉè SÉÉxiªÉ{É\SÉ¨ÉÉÊ´ÉÊiÉ* {É\SÉ¨ÉÊxÉ¹ÉÉnùªÉÉä& {ÉªÉÉÇªÉÉÆ¶ÉÉxÉxªÉÉ(?){ÉäIÉÆ ¤É±É´ÉkÉ®úi´ÉÊ¨ÉÊiÉ
ªÉÉ´ÉiÉÂ* ¹ÉbÂ÷VÉ¨ÉvªÉ¨ÉÉªÉÉÆ SÉ ªÉlÉÉ SÉÉ½þ* vÉè´ÉiÉº´É®úÉÆ¶ÉÉªÉÉÆ ªÉlÉä¹]Æõ ºÉ\SÉÉ®úºiÉuùÊnù½þ* ¹ÉbÆ÷¶ÉÉ Áä¹ÉäÊiÉ*
ÊEòÎ\SÉzªÉÚxÉºÉ\SÉÉ®äúªÉÊ¨ÉÊiÉ**135-138)
Now Kai¿ik¢ is taken up for description with, "Of

Kai¿ik¢..." Sa, ga, ma, pa, dha and ni are aÆ¿as as well as apany¡sas. Ga and ni are
the ny¡sas. Alternatively when dhaivata or niÀ¡da is the aÆ¿a, paµcama serves as the
ny¡sa. "In some contexts, ¤Àabha, too..." means that it is obviously not (the
apany¡sa) when it has been omitted. In addition, in the heptatonic form, too, it is
optional. The weakenss of ¤Àabha is because it is omissible. Just as the
hexatonic form is arrived at by dropping ¤, the other (pentatonic state) comes about
by dropping ¤ and dha. "The last and paµcama are strong" - this means that, in
comparison with the other alternative aÆ¿as, these two are stronger. "As in
âa·jamadhyam¡" means - just as, when dhaivata is the aÆ¿a (in that j¡ti), the
movement may proceed freely, here too, it may. This (j¡ti) has six aÆ¿a-variants. It is
said to have a relatively small extent of melodic movement. (135-138)
---------------------------------------------------
------------------
171
+lÉ VÉÉiªÉÖnÂù¦É´ÉOÉÉ¨É®úÉMÉÉÊnùºÉ¨¦ÉÉ´ÉxÉÉºÉÚSÉxÉÉlÉÉÇ¨ÉÉªÉÉÈ EäòÊSÉiÉÂ {É`öÎxiÉ*

Ê¨É¸ÉÆ MÉäªÉÆ ªÉÊnù ªÉkÉnùÌlÉiÉYÉäªÉ¨ÉÊvÉEò¤ÉÉ½Öþ±ªÉ¨ÉÂ*
ºÉRÂóEò®ú¦ÉÚ¹ÉhÉºÉxiÉÊiÉ´ÉèÊSÉjÉÉhªÉjÉ ®ú\VÉxÉÉÊiÉ¶ÉªÉÉiÉÂ**
<ÊiÉ*
Some (experts) read the following ¡ry¡ verse, which indicates the emergence of
the gr¡mar¡gas and other melodies from the j¡tis (in their version of NS).
When there is admixture in sung (melodies), the
resultant exaggerations, and the series of
decorative insertions and varied effects that
follow are intended to enhance the appeal (of the
music).
Ê¨É¸ÉÊ¨ÉÊiÉ* VÉÉiªÉÆ¶ÉMÉiÉÉÊxÉ ªÉÉÊxÉ nù¶ÉEò°ü{ÉÉÊhÉ ±ÉIÉhÉÉxªÉÖHòÉÊxÉ iÉiºÉRÂóEòÒhÉÇiÉªÉÉ ªÉxÉÂ Ê¨É¸É¨ÉÂ* MÉäªÉÆ

OÉÉ¨É®úÉMÉÉÊnù±ÉIÉhÉ¨ÉÂ* iÉtÊnù EòºªÉÉÊ{É VÉÉiªÉÆ¶ÉEòºªÉ ºÉ¨¤ÉxvªÉÆ¶ÉÉä%xªÉºªÉ xªÉÉºÉÉä%xªÉnùÒªÉÉä%{ÉxªÉÉºÉ <iªÉÉÊnù
¤É½ÖþiÉ®ú´ÉèÊSÉjªÉ¨ÉÂ* iÉnäù´ÉÆ¦ÉÚiÉÆ ªÉÎx¨É¸ÉMÉäªÉÆ iÉnùºªÉÉ VÉÉiÉä®úÌlÉiÉÊ¨ÉÊiÉ ªÉÊzÉªÉ¨ªÉiÉä
¨ÉiÉRÂóMÉxÉÎxnùEò¶ªÉ{ÉªÉÉÎ¹]õEòÉÊnùÊ¦ÉºiÉnùÊvÉEäòxÉ °ü{É¤ÉÉ½Öþ±ªÉäxÉ* ªÉlÉÉ(Ê´ÉÊ½þ)iÉÆ {ÉÉxÉEòÊ¨ÉnùÊ¨ÉÊiÉ xÉ iÉÖ
Gò¨ÉÊ¨ÉÊ¸ÉiÉ¨ÉÂ* +É½þ*(?) ºÉRÂóEò®úÉä(*)%ÊiÉºÉRÂóEòÒhÉÇiÉÉªÉÉÆ iÉºªÉÉÆ ¦ÉÚ¹ÉhÉºÉxiÉiÉä´ÉÇIªÉ¨ÉÉhÉÁ(ºªÉÉ)±ÉRÂóEòÉ®ú´ÉMÉÇºªÉ
¤É½ÚþÊxÉ Ê´ÉÊSÉjÉÉÊhÉ VÉÉªÉxiÉä iÉÉÊxÉ EòlÉ¨ÉÉÊpùªÉxiÉ <ÊiÉ SÉÉänùxÉÉ* ®ú\VÉxÉÉÊiÉ¶ÉªÉÉÊnùÊiÉ* iÉjÉ ÁÊvÉEòÉ ®úÊHòÊ®úÊiÉ* iÉäxÉ
xÉÉjÉ ´ÉÉMÉÉnùÉè ºÉÉÊiÉ¶ÉªÉÉä%ºªÉÉä{ÉªÉÉäMÉ <ÊiÉ ¦ÉÉ´É&* iÉjÉ ºÉRÂóEò®äú °ü{É¤ÉÉ½Öþ±ªÉÉVVÉÉÊiÉÊxÉnæù¶É (nùÊkÉ±É¨ÉÂ - 96) <ÊiÉ
nùÊkÉ±ÉÉSÉÉªÉÉæ%{ªÉÉ½þ* ¹ÉbÂ÷VÉÉänùÒSªÉ´ÉiÉÒºÉ¨ÉÉ Ê¦ÉzÉ¹ÉbÂ÷VÉ <iªÉÖSªÉiÉä xÉxnùªÉxiÉÒÊ¦ÉzÉ°ü{É¤ÉÉ½Öþ±ªÉäxÉ* .......vÉè´ÉiÉÉå%¶É&*
¨ÉvªÉ¨ÉÉä xªÉÉºÉ&* @ñ¹É¦É{É\SÉ¨É½þÒxÉiÉäÊiÉ* +iÉ B´É OÉÉ¨É®úÉMÉÉhÉÉÆ ±ÉIÉhÉÆ ¨ÉÖÊxÉxÉÉäHò¨ÉÂ* Eò¶ªÉ{ÉÉnùªÉÉä%Ê{É
ºÉ¨|ÉhÉäiÉÉ®ú& |ÉÊºÉrùÉÎºi´ÉÊiÉ Uô±ÉªÉÎxiÉ ±ÉÉäEòÉxÉÂ ºÉ´ÉÇlÉÉ%lÉæ%xÉÊ¦ÉYÉÉiÉÉ&* ´ªÉÉ´ÉÞÊkÉºiÉÉ´ÉnùÎºi´ÉiªÉÉ¶ÉªÉäxÉ iÉ±±ÉIÉhÉÆ
ºÉÎRÂóIÉ{ªÉ {É`öÉ¨É& Gò¨ÉähÉ*
"Mixture" means - mixing the ten defining features of a j¡ti,

centred around its aÆ¿a, (with those of another / others). "G®yam" is a feature
distinguishing gr¡mar¡gas and other melodies. It occurs when many variations, such
as, combining the aÆ¿a relevant to one j¡ti-melody <j¡tyaÆ¿aka> with the ny¡sa of
another, and the apany¡sa of yet another j¡ti, are made. The fixing upon a particular
j¡ti as the source of a mixed 'g®yam' of this sort, that is done by by Mata´ga,
Ka¿yapa, Y¡À¶ika and other experts, is on the basis of the great resemblance in
form. The p¡nakaÆ (sweet drink) is prepared according to a method (of mixing the
ingredients), but that is not the case here, the mixing follows no order. So it is called
admixture <sa´kara>. The question arises - when there is exessive admixture, can the
172
unending line of decoration, in the spate of ala´k¡ras which is going to be

dealt with (later in the text), with its myriad
varied effects, be encouraged? The answer is -
(Yes,) because they heighten the beauty / appeal
(of music). The delightfulness (of music) increases
then. It follows that this is not to be useed
excessively in speech (in drama). In such mixture (of
melody), the (main parent) j¡ti is determined on the basis of great resemblance in
form. Dattil¡c¡rya himself has said so. (Dattilam, 96) BhinnaÀa·ja is said to be
similar to âa·j°d¢cyavat¢. [The next part of the sentence is not clear, but probably the
similarity to Nandayant¢ because of the profusion of the bhinna form / mode is being
pointed out.] ...... (in BhinnaÀa·ja?) dhaivata is the aÆ¿a and madhyama is the ny¡sa,
and ¤Àabha and paµcama are dropped. Just on the basis of this, writers who are
totallly ignorant of fact, go about deceiving the public, claiming that the description of
gr¡mar¡gas has been done by the sage (Bharata), as even Ka¿yapa
etc. are known to have presented (descriptions of gr¡mar¡gas). With the intention of
dismissing this claim, we shall briefly record the description (of gr¡mar¡gas 'hinted
at' in NS), one by one.
¹ÉbÂ÷VÉÉ(¹ÉÉbÂ÷VÉÒ)¨ÉvªÉ¨ÉªÉÉä¨ÉÇvªÉ¨ÉÉänùÒSªÉÉ¶SÉ ºÉRÂóEò®úÉiÉÂ*
¨ÉÉxiÉÉè ºªÉÉiÉÉÆ (Gò¨ÉÉiÉÂ) ¹ÉbÂ÷VÉ¨ÉvªÉ¨ÉOÉÉ¨ÉºÉÆYÉEòÉè**
With the admixture of Madhyam°d¢cyav¡ with â¡·j¢ and Madhyam¡,

respectively, (the gr¡mar¡gas) named âa·ja(gr¡mar¡ga) and Madhyama(gr¡mar¡ga),
which have ma as the final svara, will arise.
¨ÉÉÆ¶ÉÉxiÉÉä ¨ÉvªÉ¨ÉÉänÂù¦ÉÚiÉÉä ®úÉMÉ& ºªÉÉSUÖôrù¹ÉÉb÷´É&*

ªÉÉÆ(ªÉÈ?)¶ÉÉxiÉÉä%±{ÉMÉÊxÉ¨ÉÇvªÉ¨ÉÉ{É\SÉ¨ªÉÉäºiÉÖ {É\SÉ¨É&**
The r¡ga, áuddhaÀ¡·ava, arises from Madhyam¡, with ma as aÆ¿a and

ny¡sa <anta>. Paµcama arises from Madhyam¡ and Paµcam¢, has (ri?) as aÆ¿a and
ny¡sa, and sparse occurrence of ga and ni.
ºÉÉÆ¶ÉÉè ¨ÉÉxiÉÉè iÉªÉÉä¶SÉèEòÉä vÉè´ÉiÉÒ¹ÉbÂ÷VÉ¨ÉvªÉªÉÉä&*

EòÉªÉÇ& EèòÊ¶ÉEò¨ÉvªÉÉä%xªÉÉä VÉÉiÉ& ºÉÉvÉÉÊ®úiÉ& º¨ÉÞiÉ&**
Ê´ÉMÉÊxÉ&...................................... *
173
(Two gr¡mar¡gas) have sa as aÆ¿a and ma as ny¡sa <anta>. Of them, one is to

be fashioned with Dhaivat¢ and âa·jamadhya(m¡), and that is Kai¿ikamadhya. The
other named S¡dh¡rita lacks ga and ni.....
[áuddhas¡dh¡rita, according to other texts, is born of âa·jamadhyam¡ alone, but
the above verse does not state this clearly. Again, according to other texts, it is
Kai¿ik¢, not Dhaivat¢, that combines with âa·jamadhyam¡ in the creation of
Kai¿ikamadhya.]
.........EèòÊ¶ÉEò& {ÉÚhÉÇ& ºÉÉÆ¶É& {ÉÉxiÉ¶SÉ EèòÊ¶ÉEòÒ*

EòÉ¨ÉÉÇ®ú´ªÉºªÉ ½äþiÉÖ& ºÉÉ ºÉ{iÉvÉÉ ¶ÉÖrùMÉÒÊiÉEòÉ**
Kai¿ika (gr¡mar¡ga) is (saÆ)p£r¸a, with sa as aÆ¿a and pa as ny¡sa <anta>.

Kai¿ik¢ and K¡rm¡rav¢ are its causes. These (7 gr¡mar¡gas) are the seven vehicles /
expressions of ¿uddha g¢ti.
¹ÉbÂ÷VÉÉänùÒSªÉÉÎnÂù¦ÉzÉ¹ÉbÂ÷VÉÉä vÉÉÆ¶ÉÉä ¨ÉÉxiÉ& {É®úÒ(MÉiÉ&)*

{ÉÉÆ¶ÉÉä ¨ÉÉxiÉÉä Ê¦ÉzÉiÉÉMÉ& (Ê¦ÉzÉiÉÉxÉ&?) {É\SÉ¨ÉÒ¨ÉvªÉ¨ÉÉänÂù¦É´É&**
BhinnaÀa·ja arises from âa·j°d¢cyav¡, has dha as aÆ¿a and ma as ny¡sa

<anta>, and lacks pa and ri. The offspring of Paµcam¢ and Madhyam¡ that has
become bhinna (Bhinnat¡na?), has pa as aÆ¿a and ma as ny¡sa <anta>.
ºÉÉÆ¶ÉÉä ¨ÉÉxiÉÉä%±{ÉMÉÊxÉEòÉä YÉäªÉ& EèòÊ¶ÉEò¨ÉvªÉ¨É&*

¹ÉbÂ÷VÉ¨ÉvªÉÉänÂù¦É´ÉÉä vÉÉÆ¶É& {ÉÉxiÉÉä%ºÉÉè Ê¦ÉzÉ{É\SÉ¨É&**
nÖù¤ÉÇ±ÉÉä Ê®ú¶SÉ ¨ÉxpùÉÆ¶ÉÉè {É\SÉ¨ÉÒ¨ÉvªÉ¨ÉÉänÂùMÉiÉ&*
Kai¿ikamadhyama has sa as aÆ¿a, ma as ny¡sa <anta> and has sparse

occurrence of ga and ni. It is born of âa·jamadhyam¡. Bhinnapaµcama has dha as
aÆ¿a and pa as ny¡sa <anta>, has a weak ri, aÆ¿as in the mandra region, and arises
from Paµcam¢ and Madhyam¡.
EòÉ¨ÉÉÇ®ú´ÉÒ¹ÉbÂ÷VÉ¨ÉvªÉÉºÉ¨¦ÉÚiÉÉä Ê¦ÉzÉEèòÊ¶ÉEò&**
ºÉÉÆ¶É& {ÉÉxiÉ& {É\SÉ¦ÉänùÊ¦ÉzÉMÉÒÊiÉÊ®ú(®ú)ªÉÆ ¨ÉiÉÉ(iÉ&)*
Bhinnakai¿ika is born of K¡rm¡rav¢ and âa·jamadhya(m¡). It has sa as aÆ¿a and

pa as ny¡sa <anta>. These (five gr¡mar¡gas) are considered to form the five
varieties of bhinnag¢ti.
vÉè´ÉiÉÒ¹ÉbÂ÷VÉ¨ÉvªÉÉäilÉÉä Ê´É{ÉÊxÉMÉÉêb÷{É\SÉ¨É&**
174
vÉÉÆ¶ÉÉä ¨ÉÉxiÉ& ºÉÉÆ¶É¨ÉÉxiÉÉä ÊxÉ¹{É& EèòÊ¶ÉEò¨ÉvªÉ¨É&*

vÉè´ÉiÉÒ¨ÉvªÉ¨ÉÉänÂù¦ÉÚiÉ& ºÉÉÆ¶É& {ÉÉxiÉºiÉÖ EèòÊ¶ÉEò&*
EòÉ¨ÉÉÇ®ú´ÉÒ¹ÉbÂ÷VÉ¨ÉvªÉÉVÉÉiªÉÉäºjÉävÉÉ iÉÖ MÉÉèb÷VÉ&*
Gau·apaµcama, arising from Dhaivat¢ and âa·jamadhya(m¡) lacks pa and ni. It

has dha as aÆ¿a and ma as ny¡sa <anta>. Kai¿ikamadhyama has sa as aÆ¿a and
ma as ny¡sa <anta>, and lacks pa. It is born of Dhaivat¢ and Madhyam¡. Kai¿ika has
sa as aÆ¿a and pa as ny¡sa <anta>. It is born of K¡rm¡rav¢ and âa·jamadhyam¡
j¡tis. The gau·a (class of gr¡mar¡gas) has these three (members).
ºÉÉè´ÉÒ®ú& ¹ÉbÂ÷VÉ¨ÉvªÉÉäilÉÉä **
]õCEò& ºÉÉÆ¶ÉÉxiÉÉä ¤É½ÖþºÉRÂóMÉÊiÉ&*
ºÉÉÆ¶ÉÉxÉ&(xiÉ&) ¹ÉbÂ÷VÉ¨ÉvªÉÉäilÉ& ºÉÉè´ÉÒ®úÉä MÉÊxÉ´ÉÌVÉiÉ&**
ªÉÉÆ(ªÉÈ?)¶ÉÉxiÉÉä Ê´ÉMÉÊxÉ¨ÉÇvªÉ{É\SÉ¨ªÉÉä¨ÉÉÇ±É´ÉäºÉ®ú&*
¨ÉÉÆ¶ÉÉxiÉ& ¹ÉbÂ÷VÉ¨ÉvªÉÉäilÉÉä%MÉÊxÉ´ÉæºÉ®ú¹ÉÉb÷´É&**
vÉ{É¨ÉvªÉÉänÂù¦É´ÉÉ(´ÉÉä) {ÉÉÆ¶ÉÉä ¨ÉÉxiÉÉä (¤ÉÉä]Âõ]õ&)*
Ê½þxnùÉä±ÉEò¶SÉ ºÉÉÆ¶ÉÉxiÉÉä Ê®úvÉVÉÉiªÉxªÉºÉ¨¦É´É&**
vÉÉÆ¶ÉÉxiÉÉä%±{ÉÊxÉMÉ¹]õCEòEèòÊ¶ÉEòÉä ¨ÉvÉVÉÉÊiÉ¦ÉÉEÂò*
EèòÊ¶ÉCªÉÖilÉÉä Ê´ÉÊvÉ& ºÉÉÆ¶ÉxªÉÉºÉÉä ¨ÉÉ±É´ÉEèòÊ¶ÉEò&**
+¹]õvÉÉ ´ÉäºÉ®úÉMÉÒÊiÉ& ... ... ... *
... ... ... ... ... **
Sauv¢ra arises from âa·jamadhyam¡ / â¡·j¢ and Madhyam¡ ....... Ùakka has sa
as aÆ¿a as well as ny¡sa <anta> and has several (svara) combinations. Sauv¢ra
that has sa as aÆ¿a as well as ny¡sa <anta>, arises from âa·jamadhyam¡ / â¡·j¢
and Madhyam¡, and lacks ga and ni.
[There is a mix-up in the text here, with the information on Sauv¢ra being
repeated and that on Ùakka having gaps.]
M¡lav®sara that arises from Madhyam¡ and Paµcam¢, has (ri?) as aÆ¿a as well
as ny¡sa <anta>, and lacks ga and ni. V®saraÀ¡·ava that arises from
âa·jamadhyam¡ / â¡·j¢ and Madhyam¡, has ma as aÆ¿a as well as ny¡sa <anta>,
and lacks ga and ni.
175
(B°¶¶a) has its origin in Dha (Dhaivat¢?), Pa(Paµcam¢?) and Madhya(m¡?), has pa
as aÆ¿a and ma as ny¡sa <anta>. Hind°laka that has sa as aÆ¿a and ny¡sa
<anta>, is born of the j¡tis other than (those named after) ri and dha.
Ùakkakai¿ika partakes of the j¡tis (named after) ma and dha, has dha as aÆ¿a
and ny¡sa <anta>, and sparse occurrence of ni and ga. M¡lavakai¿ika arises from
Kai¿ik¢, follows it, and has sa as aÆ¿a and ny¡sa.
The v®sar¡ g¢ti (finds expression) in these eight ways (r¡gas).
+É¹ÉÇ¦ªÉÖilÉ... ... ... ... *

... ... ... ... ... **
{ÉÚhÉÇºiÉÖ ({ÉÉxiÉÉä) vÉÉxiÉÉä ´ÉÉ ºÉÉÆ¶ÉÉä ¦É¨¨ÉÉhÉ{É\SÉ¨É&*
¨ÉÉxiÉÉä%±{ÉMÉÊxÉEò& ¹ÉbÂ÷VÉ¨ÉvªÉ¨ÉÉäilÉÊxÉ¹ÉÉnùVÉ&**
ºÉxªÉÆ¶ÉÉä °ü{ÉºÉÉvÉÉ®úÉä ¨ÉÉxiÉÉä MÉÉxvÉÉ®úºÉ¨¦É´É&*
MÉÉxvÉÉ®ú{É\SÉ¨ÉÉä MÉÉÆ¶ÉxªÉÉºÉÎºjÉ¸ÉÖÊiÉnÖÇù¤ÉÇ±É&**
®Æú(ªÉÈ?)¶ÉÉä ¨ÉÉxiÉ¶SÉÉ¹ÉÇ¦ÉÒVÉÉä ®äú´ÉMÉÖ{iÉÉä Ê´É¹ÉbÂ÷VÉEò&*
Êuù¸ÉÖiªÉ±{ÉÉä.... ºÉÉÆ¶É& EèòÊ¶ÉCªÉÉ& ¹ÉbÂ÷VÉEèòÊ¶ÉEò&**
ºÉÉÆ¶ÉÉxiÉ& ºÉvÉVÉÉiÉÒVÉÉä ÊxÉMÉÉä(MÉÉ)±{É&(±{ÉÉå%)¶ÉEò{É\SÉ¨É&*
<iÉÒªÉÆ xÉ´ÉvÉÉ MÉÒÊiÉ& ºÉÉvÉÉ®úhªÉÉJªÉªÉÉ º¨ÉÞiÉ&(iÉÉ)**
B(¦ÉÉ?)¹ÉÉ Ê´É¦ÉÉ¹ÉÉ MÉÒiÉÒ iÉÖ OÉÉ¨É®úÉMÉÉÊ¸ÉiÉä ¨ÉiÉä*
wÉÖ´ÉÉMÉÉxÉÉä{ÉªÉÉäMÉÉªÉ iÉnäùiÉnÂùMÉÒÊiÉºÉ{iÉEò¨ÉÂ**
................. arises from ËrÀabh¢............. .. is (sam)p£r¸a, has (pa) or dha as

ny¡sa <anta>. Hving sa as aÆ¿a, Bhamm¡¸apaµcama has ma as ny¡sa <anta> and
sparse occurrence of ga and ni. R£pas¡dh¡ra, born of âa·jamadhyam¡ / â¡·j¢ and
Madhyam¡ and (the j¡ti named after) niÀ¡da, has sa and ni as aÆ¿a and ma as
ny¡sa <anta>. Born of G¡ndh¡ra(r¢), G¡ndh¡rapaµcama has ga as aÆ¿a and ny¡sa,
and is weak in the three-¿ruti (svaras, i.e., ri and dha). R®vagupta, with (ri as) aÆ¿a
and ma as ny¡sa <anta>, is born of ËrÀabh¢, lacks Àa·ja, and is sparse in the two-
¿ruti (svaras, i.e., ga and ni). ........ âa·jakai¿ika, born of Kai¿ik¢, has sa as aÆ¿a. Born
of the j¡tis (named after) sa and dha, (AÆ¿aka-?)paµcama has sa as aÆ¿a and ny¡sa
<anta>, and sparse occurrence of ni and ga. These are the nine expressions of the
g¢ti named s¡dh¡ra¸¢.
176
[The lacunae in the text here prevent acquaintance with all the nine
gr¡mar¡gas exhibiting the s¡dh¡ra¸¢ g¢ti.]
The bh¡À¡ and vibh¡À¡ g¢tis are considered to be based on the gr¡mar¡gas. It
is for being employed in dhruv¡g¡na that these seven g¢tis (have come into being).
BiÉiºÉRÂóOÉ½þÉªÉäªÉ¨ÉÉªÉÉÇ EèòÎ¶SÉiÉÂ {ÉÊ`öiÉÉ* +º¨Éi{ÉÖºiÉEäò¹ÉÖ xÉ iÉlÉÉ où¶ªÉiÉä* xÉ SÉ iÉªÉÉ Ê´ÉxÉÉ xÉ

ºÉRÂóMÉÞ½þÒiÉ¨ÉäiÉnÂù¦É´ÉÊiÉ VÉÉiªÉÆ¶ÉEäò Ê½þ ºÉ´ÉÈ º´ÉÒEÞòiÉ¨ÉÂ* iÉjÉÉÊ{É SÉÉ(¨ÉÉ)VÉÇxÉÉä{ÉªÉÉäÊMÉxÉÉä ´ÉèÊSÉjªÉÁ(ºªÉÉ)¦ªÉxÉÖYÉÉxÉÆ
¨ÉÖÊxÉxÉè´É EÞòiÉ¨ÉÂ* SÉiÉÖ&º´É®ú|ÉªÉÉäMÉÉä%Ê{É +{É(Á´É)EÞò¹]õwÉÖ´ÉÉÎº´É½þ* <ÊiÉ ´ÉnùiÉÉäkÉ®újÉ SÉÉ±ÉRÂóEòÉ®ú´ÉèÊSÉjªÉÆ
Ê´É¦ÉVÉiÉäÊiÉ**
The ¡ry¡ (seen earlier) is read (in the text of NS) by some scholars, as sanctioning
this list (of gr¡mar¡gas). It is not to be seen in our books. And it is not as if all this
(detail about the ramification of melody) cannot gathered without this ¡ry¡. Everything
comes within the fold of j¡ti-melody < j¡ti-aÆ¿aka>. Right at the outset the sage has
permitted and described the variation (in tonal measure) made use of in tuning (the
v¢¸¡ from one gr¡ma to the other). The employment of four-svara (melodies) is also
seen here (in n¡¶ya) in the avak¤À¶¡ dhruv¡s. [The next sentence is not clear. The
reference is to the variety in ala´k¡ra that will be seen later.]
---------------------------------------------------
---------------------------
B´É¨ÉäiÉÉ ¤ÉÖvÉèYÉæªÉÉ VÉÉiÉªÉÉä nù¶É±ÉIÉhÉÉ&*
ªÉlÉÉ ªÉÎº¨ÉxÉÂ ®úºÉä ªÉÉ¶SÉ MÉnùiÉÉä ¨Éä ÊxÉ¤ÉÉävÉiÉ**139**
In this manner, knowledge of the j¡tis distinguished by the ten features, has
to be gained by learned (practitioners of n¡¶ya). As I speak of the application of the
appropriate (j¡tis) in each particular rasa, please learn (about the employment of j¡tis
in n¡¶ya). (139)
+vªÉÉªÉÉlÉÇ¨ÉÖ{ÉºÉÆ½þ®úzÉlÉÉÇxiÉ®Æú |ÉºiÉÉ´ÉªÉÊiÉ* B´É¨ÉäiÉÉ <ÊiÉ* où¹]õ(nù¶É)±ÉIÉhÉ´ªÉÊ¦ÉSÉÉÊ®úhÉÒ

uäùiÉÖ(SÉÉÊ®ú½äþiÉÖ)ºÉ¨¦É´É¨ÉÉjÉiÉ <iªÉÉ¶ÉªÉäxÉÉ½þ* ¤ÉÖvÉèÊ®úÊiÉ* ªÉlÉÉ ªÉÎº¨ÉÊzÉÊiÉ* ªÉjÉ ®úºÉä ªÉäxÉÉÆ¶ÉxªÉÉºÉÉÊnùxÉÉ |ÉEòÉ®äúhÉ ªÉÉ
<iªÉlÉÇ&* MÉnùiÉÉä ¨Éä <iªÉxÉÉnù®äú ¹É¹`öÒ* iÉäxÉ ¨ÉuùSÉxÉ¨Éä´ÉÉjÉ xÉ Eäò´É±ÉÆ |É¨ÉÉhÉ¨ÉÂ* ªÉÉ´ÉiÉÂ Eò¶ªÉ{É¨ÉÖÊxÉ|É¦ÉÞÊiÉÊ¦É®úÊ{É
ªÉÊzÉ°üÊ{ÉiÉÆ iÉnù{ÉÒÊiÉ Ê¶É´É¨ÉÂ**139**
Bringing the subject he has dealt with in this
chapter to a close, he names the subject he
proposes to deal with in the next. "Thus these...."
177
means that merely the changes in the various

features which bring to birth (various melodies)
have been brought to the notice of the learned
<budhaiÅ>. "The manner in which in a particular
(rasa)". The purport is - in a particular rasa
context, which particular (j¡ti) with which aÆ¿a, ny¡sa etc. has to
be employed. The sixth case in "my speaking of.." is to
indicate that he may be ignored. He means - I have
not said the final word on the subject. For the
sage Ka¿yapa and others have also given instructions
on this matter, and they are equally good. (139)
---------------------------------------------------
------------------------------
<ÊiÉ ¦ÉÉ®úiÉÒªÉä xÉÉ]õ¬¶ÉÉºjÉä VÉÉÊiÉÊ´ÉEò±{ÉxÉÆ xÉÉ¨ÉÉvªÉÉªÉÉä%¹]õÉË´É¶ÉÊiÉiÉ¨É&*
Thus ends the twentyeighth chapter named "J¡tivikalpanam" in Bharata's
N¡¶ya¿¡stram.
Ê¶ÉÊ¶É®úEò®úEò±ÉÉ¶ÉäJÉ®úSÉ®úhÉÉ¨¦ÉÉäVÉÉ¸ÉªÉÉEòÊ±ÉiÉiÉÉ{É&*
+Ê¦ÉxÉ´ÉMÉÖ{iÉÉä MÉÖ{iÉÆ VÉÉiªÉvªÉÉªÉÆ Ê´ÉSÉÉÊ®úiÉ´ÉÉxÉÂ**
<ÊiÉ ¸ÉÒ¨É½þÉ¨ÉÉ½äþ·É®úÉSÉÉªÉÉÇÊ¦ÉxÉ´ÉMÉÖ{iÉÊ´É®úÊSÉiÉÉªÉÉÆ xÉÉ]õ¬´Éänù´ÉÞkÉÉ´ÉÊ¦ÉxÉ´É¦ÉÉ®úiªÉÉÆ
VÉÉÊiÉÊ´ÉEò±{ÉÉvªÉÉªÉÉä%¹]õÉË´É¶É& ºÉ¨ÉÉ{iÉ&**
With his pain (from ignorance) removed by seeking refuge at the feet lotuses of
áiva (lit. wearer on his head of the crescent moon (lit. cool-rayed)), Abhinavagupta has
enquired into the chapter on j¡ti that was a mystery (earlier).
Thus ends the commentary, Abhinavabh¡rat¢, written by Mah¡m¡h®¿var¡c¡rya

Abhinavagupta, on the twentyeighth chapter, J¡tivikalpa, of the N¡¶yav®da.
---------------------------------------------------
-----------------------

NS&AB Ch28 HemaR

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1

Nāṭyaśāstra and Abhinvabhāratī Commentary

N¡¶ya¿¡stra with Abhinavabh¡rat¢ Commentary

1. I ha ve q ues t i o ned t he f ul l st o ps i n t he GO S ed n. i n s om e pl a ce s wi t h ' | (? )' ,

Chapter Twentyeight of N¡¶ya¿¡stram

**+iÉ& {É®Æ ú MÉä ª ÉÉÊvÉEòÉ®ú&**

ll After th at the subject of Music <g® y¡dhik¡ra> ll

+ÉiÉÉä t 1 Ê´ÉÊvÉÊ¨Énù É xÉÓ 2 ´ÉIªÉÉ¨É& 3 * iÉtlÉÉ 4 -

holed), has to be gained [by th e student of n¡¶ya¿¡stra], complete with

But in the enumeration of topics, siddhi (success in performance),

distinct identity is lost, and he is in a state of sympathy, ready to follow

In this, string and wind instruments serve the melodic part

In g¡ndharva, th e fruit belongs to the practitioner, and in view of

[By 'pray°kt¡' all the performers involved in g¡ ndh arva are

The ghana and avanaddha classes of instrument participate in the

[AB anticipates the definition of g¡ndhararva as svara-t¡la-pada,

xÉ SÉè i ÉnÂ ù M ÉÉxvÉ´ÉÇ º ÉÉ®úÉÊ¦É¹ªÉxnù i ´É¨ÉxÉä x É ÊxÉÌ¨ÉiÉ¨ÉÂ * ºÉÉ¨É¦ªÉÉä MÉÒiÉÊ¨ÉÊiÉ Ê½þ

±ÉIÉhÉÉÎx´ÉiÉÊ¨ÉÊiÉ iÉnù x ªÉºªÉ ÊxÉ®ú É ºÉÉnù x ÉÖ Ê SÉiÉºªÉÉÊ{É ´ÉÉtÉxiÉ®ú º ªÉ iÉº¨ÉÉ±±ÉIÉhÉÆ

[In the sixth ch apter, AB on the same verse, elaborates th e

iÉiÉÆ iÉxjÉÒEÞ ò iÉÆ 1 YÉä ª É¨É´ÉxÉrÆ ù 2 iÉÖ {ÉÉè ¹ Eò®ú¨ÉÂ *

With 'tatam tantr¢k¤tam' etc. (the sage) recalls the definition of

While Bharata has identified th e four classes of instrument with

[In the sixth chapter, AB on the same verse, gives th e following

AB seems to be pointing out the identification of the instrument

|ÉªÉÉä M ÉÎºjÉÊ´ÉvÉÉä 1 Áä ¹ ÉÉÆ 2 Ê´ÉYÉä ª ÉÉä xÉÉ]õ E òÉ¸ÉªÉ& 3 *

The providers of melody <tata> grouped into one unit

So all the four kinds of instrument aid in enhancing the appeal /

[Anbhinava prepares the ground for the description of t he three

So (going to the subject of kutapa), (the sage makes the next

[Bh arata has spoken of four classes of instruments and three

Although stretching / pulling and striking, and blocking holes

iÉjÉ iÉiÉÉÊ¦ÉvÉÉxÉ& EÖ ò iÉ{É& ÊGòªÉiÉÉÆ ºÉ¨ÉÚ ½ þ <iªÉÉ½þ iÉiÉ&EÖ ò iÉ{ÉÊ´ÉxªÉÉºÉ <iªÉÉÊnù *

['Parigraha' seems to quaintly refer to the cymbals clasped in

instruments such as k¡hala in n¡¶ya. But here he says other wind

¨ÉÉnÇ ù Î RÂ ó MÉEò& {ÉÉhÉÊ´ÉEòºiÉlÉÉ nù É nÇ ù Ê ®ú E òÉä % {É®ú& 1 *

+lÉÉ´ÉxÉrù ® ú É Ê¶É¨ÉÉ½þ ¨ÉÉnÇ ù Î RÂ ó MÉEò <iªÉÉÊnù * ¨ÉÞ n ù R Â ó MÉÉxÉÒÊiÉ {ÉÖ ¹ Eò®úÉÊhÉ,

Then (the sag e) names the members of the avanaddha group -

=kÉ¨ÉÉvÉ¨É¨ÉvªÉÉÊ¦ÉºiÉlÉÉ 1 |ÉEÞ ò ÊiÉÊ¦ÉªÉÖ Ç i É& 2 *

avan addha kutapas, which are stationed at a fixed place in the

+lÉ xÉÉ]õ ¬ EÖ ò iÉ{É¨ÉÉ½þ =kÉ¨ÉÉvÉ¨É¨ÉvªÉÉÊ¦ÉÊ®úÊiÉ* =kÉ¨ÉÉÊnù | ÉªÉÉä H ò´ªÉÉä Ê SÉiÉ&

Then he describes th e group of actors <n¡¶yakutapa> (enacting

[The reading 'pratyupay°g°' in the GOS edn., has to be

B´ÉÆ MÉÉxÉÆ 1 SÉ ´ÉÉtÆ 2 SÉ xÉÉ]õ¬Æ 3 SÉ Ê´ÉÊ´ÉvÉÉ¸ÉªÉ¨ÉÂ * 4

[By 'g¡nam', 'v¡dyam' etc., which are in singular number and

not involve a single activity...... for achieving the oneness of effect,

xÉxÉÖ ºÉÉ¨ÉÉxªÉÉÊ¦ÉxÉªÉä% vªÉÉªÉä BiÉnÖ ù H Æ ò , ºÉiªÉÆ iÉk´ÉÊ¦ÉxÉªÉÊ´É¹ÉªÉÆ , <nÆ ù iÉÖ

[AB explains the unity to be achieved in abhinaya, with the

xÉx´Éä ´ ÉÆ ®ú É Ê¶ÉjÉªÉä % Îº¨ÉzÉä E òÒ¦ÉÚ i Éä |ÉªÉÉä M ÉºÉ¨ªÉCi´ÉÉ{ÉÊiÉiÉ±ÉIÉhÉÉ ÊºÉÊrù ¦ ÉÇ ´ ÉÊiÉ, iÉlÉÉ SÉ

But, when the three groups have to function as on e, the criterion /

[The next passage presents some difficulties of reading and

+xªÉä iÉÖ ¨ÉxªÉxiÉä - MÉÒiÉÉiÉÉä t Ê´É½þ Ò xÉÉnù Ê {É |ÉªÉÉä M ÉÉi{É`ö¬¨ÉÉxÉÉnù Ê {É nù ¶ É°ü{ÉEòÉnÂ ù

[The ¶¢k¡k¡ra's con ception of n¡¶ya seems to be on the lines of

iÉnä ù i ÉzÉ Ê´Énù É ¨É&* xÉÊ½þ xÉÉ]õ¬¨ÉxÉÉÊ¸ÉiªÉ ËEòÊSÉnù Ê {É |É´ÉiÉÇ i Éä * MÉÉxÉºªÉÉÊ{É

[The prescription of various gatis (roughly, gaits), is based on the

ªÉkÉÖ 1 iÉxjÉÒEÞ ò iÉÆ 2 |ÉÉä H Æ ò xÉÉxÉÉiÉÉä t ºÉ¨ÉÉ¸ÉªÉ¨ÉÂ 3 *

Preparing the ground for describing the structure of th e tata

That which depends on various instruments for its manifestation,

expression]. So that is principal [in the functioning of tatakutapa], and

[AB goes on to interpret 'g¡ndharvamiti ' as one word, qualifying

[Abhinava does not want to accord the name g¡ndharva to the

+iªÉlÉÇ Ê ¨É¹]Æ õ 1 nä ù ´ ÉÉxÉÉÆ iÉlÉÉ 2 |ÉÒÊiÉEò®Æ ú 3 {ÉÖ x É& 4 *

ºÉÉ¨É¦ªÉÉä MÉÒiÉÊ¨ÉÊiÉ EòÊlÉiÉÆ ºÉÉ¨ÉÉÊxÉ SÉÉjÉ EòÉ®úhÉEòÉ®úhÉÉÊxÉ* MÉÉxvÉ´ÉÈ Ê½þ

[But] wh y is not the reverse possible? [C annot g¡ndharva

+iÉ& {É®Æ ú MÉä ª ÉÉÊvÉEòÉ®ú&