Kallinātha's interpretation has been accepted by some modern scholars (cf.Brahaspati's translation of Sam S Sa II, 13 cd). But the use of plural number in 'sruti' presents a problem here, because antarasvaras would involve only two śrutis and hence dual number would be justified. Kallinātha has tried to justify the use of plural number on the basis of 'profuse usage' which does not seem to be a very sound argument. There are two possibilities of interpretation on the basis of available readings. (a) 'Antara-svara-vartinyah' as read by Simhabhupāla, Kallinātha, (both commenting on S R I, 3.10-16 ) and Pārśvadeva (Sam S Sā II, 13 cd ). This reading warrants the above interpretation connected with antara-svaras. (b) Antah-śruti-vivartinyah as read by BrD in the P.t. could be interpreted as the subtle tones that come in-between the accepted śrutis (cf. Omkarnath Thakur in Pranava-Bhāratī p. 39, 40). These would be over and above the 22 strutis. Another interpretation of this reading could be that the 'sruti' in this reading should be understood as those srutis that form the seven svaras and the śrutis coming in-between these seven i.e. the remaining fifteen should be known as antara-śrutis, as they come in-between the former seven. In order to avoid this roundabout interpretation, we have modified this reading to antah-svara- vivartinyah so that the direct meaning could be those that come in the intervals of svaras i.e. the fifteen other than the seven that become svaras. 5. Aiśvarya lit. means supremacy, power, sway, sovereignty etc. The power or supremacy of śrutis could be that in Indian music the 'tones' are not used as notes on definite pitch-points; there is a continuum of tones, rather than fixed points. Srutis are cognizable points on this continuum and they dominate the scene. 6. Due to kriy\bar{a} (lit. action) i.e. variety in performance on various accounts and grāma (see under grāma) all the śrutis come into use in various combinations. 7. Low ( mandra ), middle ( madhya ) and high ( tāra ) are the three sthānas (registers). Sthana lit. means location and these three have definite location in the body (see note 7 in section I). Each of these three sthanas seems to be accepted as one śruti in totality, because it is heard as one unit. This view is different from the commonly held view of 22 śrutis. 8. Vaigunya is an abstract noun of 'viguna' (lit. devoid of guna or quality, or fault). Faultiness of śruti or that which is heard i.e. sound, seems to be restricted to the human voice here. NŠ (XXVIII, p. 15) also speaks of Vaigunya in indriya giving rise to the excess (adhikatva) or loss (nyūnatva) in svaras. Three other seats of vaigunya are spoken of there, viz. tantri (string), upavādana (read by Abhi Bhā as upavada and interpreted as the place where the strings are tied ) and danda (rod or finger-board). All these three apply to the viņā (general name for stringed instruments). The vaigunya or discrepancy in these three could arise from dampness or dryness in the wood leading to swelling or bending in the

upavāda and daņļa and due to utkarşa (augmentation) or apakarşa (diminution ) of tone in the string (vide Abhi Bhā). Under indriya Abhinavagupta includes vāgindriya ( the human organ of speech ) in the primary sense², but says that secondarily the fingers as well as frets ( on the viņā) could also be said to be the seat of vaigunya or discrepancy. It is notable that while NS speaks of the 'excess' or 'loss' occurring in svaras, our text speaks of the threefold division of sruti (object of hearing) on account of indriya-vaigunya, which itself is threefold viz. inborn, born of some imbalance in the three humours and born of accident.¹⁵ This seems to apply to the human voice alone. Kallinātha (SRI, p. 71) says that indriya in this passage of BrD means manas (mind), the sahaja mind being composed of sattvaguna, the dosaja being full of rajas and tamas¹¹ and the abhighātaja being attacked by the rasas (tastes) known as amla (sour) etc. He seems to imply that the state of mind affects the voice and thus sruti (the object of hearing) could be threefold according to the three states of mind. Thus while NS speaks of the vaigunya (discrepancy) both in the stringed instrument and voice and Kallinatha places the discrepancy in the mind leading by implication, to discrepancy in the voice, our text does not throw any light on the meaning of indriya. It appears, however, that Matanga is referring to the vāgindriya (organ of speech). 9. Here again the author is referring to the fourfold śruti (object of hearing) on the basis of the fourfold division of voice according to the predominance of vata (lit. air), pitta (lit. bile) and kapha (lit. phlegm), the three humours of the human body according to Ayurveda and sannipāta ( admixture of the three ).¹³ This division of voice has been expanded in great detail in SR (III, 39-67) under the heading sabdabheda.³ It is interesting to note that our text has mentioned this classification of voices under the types of śruti. 10, 11, 12. Vāta, pitta and kapha are known in Ayurveda as the three dhātus (humours) that 'hold' the body⁹, the three 'doşas' that represent an imbalance or disorder in the three and the three males or dirt arising out of them. The gross manifestation of these three is wind or gas, bile and phlegm, but they are also subtle like the bhūtas. Vāta represents all movement or dynamism, pitta represents all heat and energy and phlegm represents the static aspect⁶; the three could also be equated with sattva, rajas and tamas guņas respectively. The classification of human voice according to these three is based on the predominance of each of these. The voice being a part of the human body, is affected by the constitution of the body dependant on the predominance of one or the other of the three dhātus in different bodies. (cf. Car Sam Sūtrasthāna and Cikitsāsthāna) 13. Snigdha is very difficult to translate; it is the antonym of rūkṣa which in English could be translated only as 'dry', but dryness could be related to water when it is called śuṣkatā and it could also be related to oil or butter or any other similar substance, the common name for which is 'sneha' i.e. the absence of 'sneha' is also a form of dryness called rūksatā. Incidentally, sneha also means