'graha' or beginning. Hence, we replaced 'pāṇinā' with 'karmaṇā' and translated it as 'actions'. 17. 'Akula' rendered as 'confounded' does not indicate anything negative, rather it indicates profusion. 18. Sama or smooth is relative, implying the relationship of melody, text and rhythm or it could stand for the even movement of svaras. Ascent and descent would be the third and fourth varieties. 19. Dhvani-kampita has been translated as 'shake of sound'. 20. The word gamaka occurs here for the first time. 21. Prasanna stands for 'low', as contradistinct from dipta or high. This pair is used in the alaṅkāra section, in accordance with NS. 22. 'Lalita' has been rendered here as 'attractive'. 23,24. Masṛṇa and sūkṣma have been rendered here as 'smooth or soft' and 'minute' respectively. In a preceding verse, we have rendered sūkṣma as 'short in time '. This lack of uniformity is due to an attempt at discovering the nuances of melodic rendering captured by the author in various words. 25. 'Prayoga' has been defined by Sārngadeva as "the ālāpa that takes the form of gamaka-ālapti and is devoid of syllables i.e. is rendered with 'ākāra' alone" (SR III 360 cd). Not being sure of the import of our author here, we have rendered prayoga as melodic phrases. The general meaning of prayoga is performance of music, dance or drama. It has been profusely used in this meaning in NS. 26,27. Kāku has been dealt with in almost one full chapter in NS (Chapter XVII according to the G.O.S. ed.). It has been used there in both a wide and restricted meaning. In the wider sense, it includes all facets of tonal expression - pitch, volume or intensity, temporal dimension etc. In the restricted sense it stands for incompleteness or completeness of a sentence. In NS the context is that of recitation and dialogue in drama. Our text uses this word for the first time in the context of music perse, under raga. Sārngadeva has spoken of sixfold kāku under sthāyas (SR III. 120 cd - 126 b), covering the reflection of one svara in another, the special phrase of a raga, the reflection of a particular phrase of one raga into another; the timbre of human voices, the timbre of musical instruments and regional accent. It is difficult to say what is intended by our author by kāku here. It could certainly not be the same as the exposition of NS. It could, however, be said to contain the seeds of Sarngadeva's treatment referred to above. The adjective 'minute' has been taken by us for 'kāku' in order to suggest that something subtle is being indicated by our author. 28. Mālavī kāku seems to refer to the regional accent of Mālavā, the

central part of present Madhya Pradesh. The special preference for Mālavā requires further investigation. 29. The word gamaka is used here in the sense of vocal embellishments including shakes; it is not restricted to shake. 30. See note 22. 31. Each grāmarāga is said to be born of one or more jātis. 32. Pūrvaranga has been described in NS IV and V; it embodies instrumental rendering, song, dance, dialogue etc. presented as a preliminary to drama. It has both ritualistic and psychological value as it ensures the success of drama by propitiating the gods and prepares the audience for being receptive to drama. 33. Kākalī and antara are always prescribed to be sparse, but here only the sparseness of gandhara is prescribed, although both antara and kakali are present. It could be construed that gandhara stands for the original gāndhāra and not antara. See note 91. • 34,35. The prescription of a specific varņa and alankāra in a rāga is not easy to comprehend. It could only be surmised that the peculiar form of a raga in some cases becomes manifest in ascent, in other cases in descent and similarly a specific alankāra could be assigned to a rāga on account of having a special role in establishing the same. 36. Mārga literally means path; it stands for the span of a tāla. NŠ describes three mārgas of each tāla, citra being the shortest, vārtika or vṛtti being its double and dakṣiṇa again being its double. Our text describes two additional mārgas viz. dhruva being half of the length of citra and śūnya being half of dhruva. (See Vol.I. Anu.113) 37. Kalā has many meanings; the main ones are-firstly, the time-unit that is equal to a guru i.e. two mātrās of tāla, secondly, the 'action' (kriyā) in tāla, sounded or unsounded and thirdly, the unsounded action. Here the first meaning is relevant because the length of kalā depends on the mārga in use at a given time. 38. Caccatpuța is the first among the five tālas described in NŠ XXXI. This is the only caturasra (lit. square) tala, being composed of four kalas or eight mātrās. 39. Garbha-sandhi is the third among the five sandhis or junctures in drama described in NŚ XIX; the first two being mukha and pratimukha and the last two being vimarsa and nirvahana. Garbha literally means 'womb', the inside or interior of something. In drama garbha-sandhi stands for that juncture where the 'sprouting' of the 'seed' has taken place, but the fruit is still enshrouded in the 'garbha'. 40. Our text does not uphold the relationship of any raga to both the grāmas; the decision always rests with the interval of pañcama, if it is composed of four śrutis, then relationship with ṣadjagrāma is confirmed and