[2. The definition of amsa]
[Anu. 120]
After this amsa is being spoken of; that is known as tenfold according to
the division of its angas12 (lit. limbs, here functions).
Anisa is that which leads
to the manifestation of raga (delight) in the course of its operation; this is its
first (function).1 And the second anisa (in its functioning) is that with which
gīta (melodic organisation and performance) begins and proceeds, which is
vikalpita (alternatively arranged) as graha, this is its second (function).2 That
amsa is third (in its functioning) which is the cause of the manifestation of
tāra (high) and mandra (low).3 The ascent up to the fifth svara is (the range
of) tāra (high); sometimes even the ascent up to the sixth svara is tāra5,
just
as in gāndhārī (jāti) şadja is tāra, ni-dha-ni-dha-sā, thus is (its illustration).6
Just as it (amśa) is the regulator of tāra, similarly the svara that is the regulator
.
ofmandra is also amsa on account of descent in seven svaras. Just as in the
ṣāḍjī (jāti) with
pañcama as theamśa there is (descent in seven svaras) - as sā
<math>-s\bar{a}</math> - <math>s\bar{a}</math> - <math>dh\bar{a}^{14}</math> in its
svasthāna 15 (section of melodic elaboration). That is also
amśa which is used profusely; this is the fourth (function).
That svara is also
amsa which stands as the object (here content) of raga; this is the fifth
(function).4 That is also amsa which is perceptible in (the operation of)
graha,
apanyāsa,
vinyāsa,
samnyāsa (and) nyāsa; this is the sixth, seventh,
eighth, ninth and tenth (function).
16
[The definition of apanyasa forming part of that of amsa
[Anu. 121]
•
That is apanyāsa, where gīta (melodic rendering) is supposed or appears
to be ending8;
this occurs in the middle of all vidārīs (sub-sections).11 That
vidārī is of two kinds, viz. gīta-vidārī 17 (sections of melodic structure) and
pada-vidārī 18 (splitting of the melodic- cum-textual units).10
(Contention) What is signified by the word vidārī (?) It is the splitting or
separating of <math>p\bar{a}das^{19}</math> (feet), the <math>pes\bar{i}^{20}</math> (lit. muscle) i.e. section of a <math>g\bar{i}ta</math>
(melodic structure) could be (understood) as such.
[The definition of
samnyāsa forming part of that of amśa
]
[Anu. 122]
Now
samnyāsa is being said. The nyāsa (final svara) is called
samnyāsa when
