vol_II_p155 — Bṛhaddeśī

Devanāgarī (Bṛhaddeśī)

52. cf. दुष्टं लोकेन शास्त्रेण श्रुतिकालविरोधि च ।

पुनरुक्तं कलाबाह्यं गतक्रममपार्थकम् ॥

ग्राम्यं सन्दिग्धमित्येवं दशधा गीतदुष्टता ॥

SR IV. 379 cd, 380. See note 44. We have dropped the fourth line of this portion in p.t. as it has no relevance to the context. 53. The text breaks here and hence the treatment of Vādyas (instru- ments) is not available. 54. The ed. notices that the following portion is found at the end of MSA-

प्रथमश्च द्वितीयश्च तृतीयश्च चतुर्थकः ।

मन्द्रः क्रुष्टो ह्यतिस्वारा एतान् कुर्वन्ति सामगाः ॥

यः सामगा(ता?ना)प्रथ(मः) स वेणोर्मध्यमस्वरः।

यो द्वितीयः स गान्यारस्तृतीयस्त्वृषभः स्मृतः ॥

चतुर्थः षड्ज? इत्याहु पञ्चमो धैवतो भवेत्।

पष्ठो निषादो विज?्ञेयः सप्तमः पञ्चमः स्मृतः ॥

अङ्गुष्टस्योत्तमे रुष्ट(?) अङ्गुष्टे प्रथमः स्वरः ।

प्रदेशिन्या तु गान्धार ऋषभस्तदनन्तरम् ॥

अनामिकाया षड्जस्तु कनिष्ठायास्तु धैवतः ॥

तस्मादधस्तादन्योस्तु(?) निषादं तत्र निर्दिशेत् ॥

The above has no relevance to the context; viz. prabandha. •

English — Sharma

VIMARŠA (Annotations)

Chapter II

(Jātis) 1. The number 140 pertains to the modified varieties of jātis comprising the complete, hexatonic and pentatonic formations of jātis in accordance with each of the amsa svaras assigned to each of the eighteen jātis. This number is computed as follows - The total number of amsas in <math>18 \text{ jatis} = 63</math>. They generate 63 complete varieties of jātis. Out of these 63, there are 16 amsas that do not permit hexatonic formations. Hence <math>63 - 16 = 47</math>. Again there are <math>33 \text{ amsas}</math> that do not permit pentatonic formations. Hence <math>63 - 33 = 30</math>. Thus <math>63 + 47</math> <math>+30 = 140</math>. Our text gives details of some of these varieties in Anu. 147 - 163; the treatment is incomplete because of a break in the text. Abhi Bhā on NŚ XXVIII. 64, 65, p. 42¹⁰ speaks of 147 varieties by adding the śuddhā states of the seven jātis bearing svara-names.¹³ 2. Brahmā has been said here to be the original author of the number of jātis in NS, from where we have taken the verse under reference.² In NS, Brahmā is the original creator of the Nāṭya-Veda.¹ Šiva is said there to have added only dance to theatre. As between Brahmā and Šiva, the former is said to be responsible for all the elaboration based on vāk.⁷ The origin of all the Vedas is also attributed to him. Siva has special relationship with the movements of the body (anga).⁹ Jāti being the first formation of melodic structure¹², its association with Brahmā is understandable because melody is a manifestation of the tonal aspect of vāk.⁸ Abhi Bhā explains the reference to Brahmā in the text of NS, (XXVIII.39) by saying that 'apta-agama' i.e. the tradition handed down by knowledgeable and trustworthy authorities cannot be wrong.⁴ The fact that no less than Brahmā is the authority regarding the jātis lends a special sanctity to this melodic abstraction that is striking on account of its comprehensive sweep. 3. The literal meaning of 'vartayişyāmi' is "I shall use". Abhi explains it as "I shall throw light on the forms of jātis retained in my mind through the description of their ten lakṣaṇas, viz. graha, amśa, tāra, mandra etc. " (Vide Abhi Bhā on NS XXVIII. 39, p.36). 4. The alteration in respect of amsa i.e using an amsa other than that

Sanskrit attestations (0)

English attestations (15)

1.[attribution]Brahmā is the original creator of the Nāṭya-VedaIn NS, Brahmā is the original creator of the Nāṭya-Veda.

2.[citation]The Nāṭya-Śāstra is cited as the source for the number of jātis in the BrihaddesiBrahmā has been said here to be the original author of the number of jātis in NS, from where we have taken the verse under reference.

3.[citation]The portion regarding Vādyas (instruments) in the Brihaddesi text is not relevant to prabandha treatmentThe above has no relevance to the context; viz. prabandha.

4.[definition]Apta-agama is tradition handed down by knowledgeable and trustworthy authorities and cannot be wrong'apta-agama' i.e. the tradition handed down by knowledgeable and trustworthy authorities cannot be wrong.

5.[definition]Vartayişyāmi literally means 'I shall use' but is explained as 'I shall throw light on the forms of jātis'The literal meaning of 'vartayişyāmi' is "I shall use". Abhi explains it as "I shall throw light on the forms of jātis retained in my mind

6.[enumeration]The ten lakṣaṇas of jātis include graha, aṁśa, tāra, and mandrathe description of their ten lakṣaṇas, viz. graha, aṁśa, tāra, mandra etc.

7.[relation]Śiva added dance to theatre in the Nāṭya-Veda, while Brahmā is responsible for elaborations based on vākŠiva is said there to have added only dance to theatre. As between Brahmā and Šiva, the former is said to be responsible for all the elaboration based on vāk.

8.[relation]Melody is a manifestation of the tonal aspect of vākmelody is a manifestation of the tonal aspect of vāk.

9.[relation]Śiva has special relationship with the movements of the body (anga)Siva has special relationship with the movements of the body (anga).

10.[relation]Abhi Bhā is a commentator who explains references in the Nāṭya-ŚāstraAbhi Bhā on NŚ XXVIII. 64, 65, p. 42

11.[structural]Not all amsas permit hexatonic formations; 16 amsas do not permit hexatonic formations out of 63Out of these 63, there are 16 amsas that do not permit hexatonic formations. Hence 63 - 16 = 47.

12.[structural]Jāti is the first formation of melodic structureJāti being the first formation of melodic structure

13.[structural]There are śuddhā states of the seven jātis bearing svara-names, which add 7 more varieties of jātisby adding the śuddhā states of the seven jātis bearing svara-names.

14.[structural]The 18 jātis each have assigned amsa svaras, and modifications of jātis are generated according to each amsa svaraThe total number of amsas in 18 jatis = 63. They generate 63 varieties of jātis.

15.[structural]33 amsas do not permit pentatonic formations out of 63 total amsasAgain there are 33 amsas that do not permit pentatonic formations. Hence 63 - 33 = 30.