if it is composed of three śrutis then relationship with madhyamagrāma is established. 41. Nirvahana is the fifth among the five sandhis of drama (See note 39). This juncture embodies the achievement of the fruit. 42. Citra (lit. variegated) is a variety of pūrvaranga which has dance also as one of its components; the one devoid of dance being called śuddha (lit. pure ) (vide NŚ IV.15,16). It could not be said definitely whether or not citrain our text here refers to pūrvaranga, but nothing else seems to be plausible. 43. NŚ V speaks of twenty - two angas of pūrvaranga, the first eleven to be performed behind the 'curtain' and the next eleven to be performed after the opening of the 'curtain'. 44. This sentence does not occur in the available text of NS. It does, however, embody a valuable comment on the concept of jāti embodying melodic abstraction which is so comprehensive as to cover all melodic phenomena. 45. Bhinna would normally mean split, but here it has been taken to mean 'different', explained by us as 'modified'. 46. Vādin is the point of reference for establishing samvāda, vivāda and anuvāda relationships. 47. The relationship of bhinna-şadja with śuddha ṣāḍava by way of the former being a variety of the latter is notable, because usually each grāmarāga is said to be born of one or more jātis. Here also şadjodīcyavatī is said to be the progenitor and the relationship with śuddha ṣāḍava is over and above the relationship with jāti. It is to be remembered that śuddha ṣāḍava is said to be born of the modified state of madhyamā jāti. 48. This is another instance of the mention of a bhinna rāga's relationship with a śuddha rāga. See note 47. 49. Does this mention of niṣāda imply that both kākalī and niṣāda have to be used? Perhaps so. Bharata's prescription of the use of antara- kākalī being permissible only in ascent (NS XXVIII. 35) and not in descent, implies that gandhara and niṣada could be used in descent when antara and kākalī are used in ascent. Really speaking, antara and gāndhāra as well as niṣāda and kākalī are not independent svaras, but are two states each of gandhara and niṣāda and hence their use in one and the same tonal structure should not amount to the use of nine svaras (cf.S Rāj. II.1.1.365). 50. There is no noun in this verse that is qualified by the adjectives sūkṣma, atisūkṣma and vakra; hence we have added 'phrases' within brackets. 51. The modification inherent in bhinnakaisikamadhyama as distinct from śuddhakaiśikamadhyama is that whereas the latter is born of two jātis, the former is born of only one of them.

VIMARŚA 52. The word gamaka seems to stand for shake here. 53. Dānavīra is one of the four varieties of vīra, the other three being dharmavīra, yuddhavīra and dayāvīra. 54. The import seems to be that śuddha-bhinna has an independent form and that it is not the modified form of a suddharaga. 55. Here the distinction of a bhinna raga is established only on the basis of giti or distinctive tonal rendering. 56. Syasthāna is a word used in SR III.140 and III.191-192 in the context of sthāya and ālapti respectively; it stands for the sections of rāgālapti formed on the basis of the units of tonal range within an octave, the first unit being formed in the range from the tonic and from below it upto the svara preceding the fourth, the second unit touching the fourth, the third reaching below the octave and the fourth touching the octave. 57. 'Leaving the svasthana' seems to imply that the lower register will be used in this rāga, as distinct from śuddhakaiśika which is performed with tāra svaras. Here svasthāna does not seem to signify the units of tonal range described in note 56 above, rather it appears to mean ' the own sthana or register' of a raga. 58. "Niṣāda taking up the two śrutis of pañcama" is a prima facie fallacious statement because pañcama is not adjacent to niṣāda. But there could be a hidden meaning, taking the two grāmas together, as follows - Şadjagrāma sa - ri- antaraga - ma - pa - dha - ni. Madhyamagrāma ma - pa - dha - ni - sa - ri - ga. Niṣāda of madhyamagrāma is adjacent to pañcama of ṣadjagrāma. The above statement could be valid in terms of the two grāmas taken together.¹² 59. The 'omission' of pancama comprised of three śrutis in ṣaḍjagrāma actually means that this pañcama is not admissible in ṣaḍjagrāma. 60. 'Mature' karuṇa rasa is a notable expression. 61. Our text mentions ohāṭī for the second time here. SR (II.1.4,5) also mentions it while describing the gaudi gita and defines it as the "Sound combining 'ha' and 'o' produced b, placing the chin on the chest." 62. There is a striking contradiction between the viniyoga or application in terms of śringāra and the rasas mentioned separately, viz. bībhatsa and bhayānaka that are incompatible to śṛṅgāra. 63. Here again the viniyoga is given in terms of karuņa and the rasa is mentioned as vīra in accordance with the amśa that is ṣaḍja. 64. 'Rāga' is another name for vesarā gīti; this alternative name is also mentioned in later texts like SR II.1.6. The basis of this alternative name as cited in the name of Kasyapa seems to be that the ragas that are not