love. The English language has no equivalent of sneha and hence snigdha, an adjective form of the noun sneha is also impossible to translate; 'oily' has a negative connotation and there is no other adequate word. 'Creamy' is a poor substitute. 14. Sannipāta (equal proportion) is not a desirable state for the human body, here the word has been used in a secondary meaning in order to convey the human constitution (in terms of the three dhātus) that holds the voice which combines the compatible qualities of two or three types. Although our text talks only of an admixture of all the three types, we have spoken also of the admixture of two types on the basis of S R (III, 45, 46). 15. Just as three svaras are accepted as 'real' or basic because the same triad of intervals that begins from sadja (sa) is repeated from pañcama (pa) and madhyama (ma) coming in the middle completes the saptaka (heptad), similarly the nine srutis constituting this triad of svaras of four, three and two śrutis is accepted here as a basic group. Nine plus nine of the other triad plus four of the 'middle' one would complete twenty-two śrutis. This group of nine śrutis has been associated with the vamsa (flute) because the production of the svaras of four, three and two śrutis has been clearly described there in terms of 'opening' the hole (removing the finger), shaking the finger and half-opening of the hole. A similar description is not possible in the context of viņā or the human body. 16. Conventionally, the excellence of buddhi is denoted by its subtlety ( sūkṣmatā ). Māṃsalita means fat or fleshy which is the opposite of subtle. The protagonists of the Mîmāṃsā system of philosophy are mocked at by others as having 'fat' intellect; but mimāmsakas themselves interpret 'fat' as 'puşţa' (well- nourished). Here Matanga has expressed his own opinion of the unity or singularity of śruti (See Anu. 1). In view of that the opinion in favour of 22 śrutis could be associated with a 'fat' intellect in the negative sense. If, however, the view in favour of 22 srutis is accepted by the author as a necessary one on the manifest level where the singularity of śruti could not serve the purpose, then 'fat' could mean well-nourished. 17. Twenty-two in each sthana (register) makes the number sixty-six, which will be so explained in Anu. 11. 18. Infinity of śrutis will be explained in verses 26, 27. 19. The two grāmas are differentiated on the basis of pañcama alone. In şadjagrāma the pañcama is a samvādin of şadja, its interval from the latter being 13 śrutis, and hence it is not the samvādin of ṛṣabha, because the interval between the two is ten śrutis instead of nine, the requisite interval for samvāda. In madhyama-grāma, on the other hand, the pañcama is one śruti lower i.e. at an interval of 12 srutis from sadja and hence it is not the samvadin of sadja, but it is the samvādin of rsabha as the interval between the two is nine śrutis. Just as the differentiation of two grāmas rests on pañcama, similarly the perception of the sruti-interval in turn, depends on the intervallic difference between the pañcama of two grāmas.

20-23. Utkarşa and apakarşa lit. mean heightening and lowering respectively³. They are used singly and also in a pair in NS. Our text uses them in a pair in the present passage and also in Anu. 36 (while explaining grāma). Again in Anu. 8 (while explaining the process of sāraṇā) 'apakarṣa' and 'apakṛṣṭa' (adjective for Viņā ) is used. Mārdava and āyatatva are used in a pair in the present passage; but 'ayatatva' is replaced with 'viprakarşa' in Anu. 50 ( while explaining tāna-kriyā ) and mārdava is explained there as loosening ( of the

It is an acoustic fact that stretching or tightening of the string results in higher pitch and loosening of the string results in the reverse viz. lower pitch. The words utkarşa and apakarşa stand for these two resultant changes in pitch respectively. 'Ayatatva' and 'mārdava' are basically concerned with the process of tightening and loosening of the string respectively⁴. Both these pairs are closely related since they represent the effect and cause⁷. Both the pairs are mentioned together in BrD and NS in the context of sāraņā (the process of verification of śruti)⁵. It is notable that although utkarşa and āyatatva and apakarşa and mārdava are pairs of mutually related terms, their order is reversed both in NŠ and BrD where mārdava-āyatatva is said to be an alternative of utkarşa-apakarşa; the proper order would have been apakarşa-utkarşa. Abhinavagupta commenting on this passage of NS explains the mutual relativity of the constituents of both the pairs². When there are two viņās, if one string on one viņā is tightened, this action has two effects viz. higher pitch on that viņā and relatively lower pitch on the corresponding string of the other viņā without any change of tension in that string. Hence ayatatva produces both utkarşa and apakarşa. Similarly, if one string is loosened on one viņā, this action has two