the steps start with pancama and yet he has tried to refute the opinion of identical sruti-intervals by interpreting that the value of the subsequent ( second and third) lowerings of pancama is not identical with the first one. (iii) K.C.D. Brahaspati (cf. Sangita Cintamani p. 136); has refuted the interpretation 'in the same manner' and has established that 'tadvat' is not to be taken literally and that the second step should start with the lowering of gāndhāra-niṣāda so that ( yathā ) they 'merge' in the original ṛṣabha-dhaivata; similarly the third step has to start with ṛṣabha-dhaivata which have to be lowered so that ( yathā ) they 'merge' in the şadja-pañcama of the static ( acala ) vīṇā. The fourth lowering again starts with pañcama and goes on to madhyama and sadja. Thus the first and fourth lowerings are equal in measure and the second and third are different. Although the difference in sruti-intervals was established by some contemporaries of Bhatkhande (cf. extract from V.G. Paranjape's article entitled Principles of Melodic Music in Ancient Indian Music reproduced in K.G. Mule's Marathi work Bhāratīya Sangīta, pp. 125-28), the credit of re- interpreting 'tadvat' and 'yatha' and removing the absurdity of identical intervals on the sound basis of this textual interpretation goes to Brahaspati. 36,37. The gāndhāra-niṣāda of the mobile viņā 'enter' or become identical with the rsabha-dhaivata of the sthira viņā on account of there being an interval of two śrutis each between the constituents of the two pairs. 38. 'More' stands for the interval of three śrutis each between the constituents of these two pairs viz. dhaivata-pañcama and ṛṣabha-ṣaḍja. 39. 'More' means that there is an interval of four śrutis between the three pairs pañcama-madhyama, madhyama-gāndhāra and şadja-niṣāda. 40. 'Prastāra' lit. means elaboration; it is better known in the context of svara-prastāra (permutation and combination of svaras) in Sangitasāstra. Matanga also uses it for the illustrative notated pieces of murchanas and kūļatānas and alankāras. Here it stands not so much for elaboration as for visual representation. Four śrutis are 'gained' between niṣāda-dhaivata and gāndhāra-ṛṣabha in the second sāraņā, six śrutis are 'gained' between dhaivata-pañcama and ṛṣabha-ṣaḍja in the third sāraņā and twelve are gained between pañcama-madhyama, madhyama-gāndhāra and şadja-niṣāda in the fourth sāraņā. 41-44. 'Gain' means the verification or determination of intervals of svaras in terms of srutis or rather the determination of srutis with reference to svara- intervals. 45. Sthāna lit. means 'plan' or location. In music the three registers or 'levels' of the heptad progress in double pitch i.e. the second being the double of the first and the third being the double of the second. These are called mandra, madhya and tāra and their corresponding locations in the human body, viz. chest, throat and cerebrum are also known as sthānas. 46. Yathā here does not mean 'as' but 'thus' i.e. the infinity of particular sounds is an explanation of the infinity of śrutis which are different from particular sounds; 'yatha' cannot be taken to indicate a simile which does not really exist here. The next verse is, of course, a simile.

VIMARŠA 47. The nature of relationship between svara and śruti is the subject of discussion here and five alternatives or optional opinions are presented. BrD is the first and perhaps the last text containing this polemic discussion.⁴ Sam S Sā almost reproduces it without adding anything and Simhabhūpāla quotes it under the name of Matanga. 48. Tādātmya' means perfect identity. This is a synonym of non-difference. The Kumārila-Mīmāmsā school does not accept atyanta bheda (absolute difference) between jäti and vyakti; rather it expounds bhedå-bheda between the two.¹ Matanga seems to be influenced by this or a similar view when he explains tādātmya with the identity of jāti and vyakti. 49. Vivarta is an important word in Grammar Philosophy and Advaita Vedānta.⁵ (a) Grammar Philosophy - एकस्य तत्त्वावप्रच्युतस्य भेदानुकारेणासत्यविभक्तान्यरूपोपग्राहिता विवर्तः, स्वप्न- (Vāk I. 1 and svopajāa i.e. author's own commentary on the same) "Brahman is without beginning and end, it is the śabdatattva (fundamental principle of sound), that is undecaying; it attains vivarta (apparent change) in the form of artha (material objects, meaning), from where (vivarta) the process of the world (begins)." "Vivarta is the taking up of different form(s) without falling from the tattva (fundamental), that are false and divergent, through the semblance of bheda (difference), just as one and the same mind assumes a semblance of variety in dream." Vivarta has been equated in this system with vikāra (alteration) and parināma (transformation). (b) In Advaita Vedānta, vivarta has been conceived as being different from pariņāma, whereas Sānkhya and Yoga have equated vikāra and pariņāma. There is a definite association of falsehood or delusion in vivarta which is absent in parināma.¹¹ The two authorities who established the theory of vivarta before Śańkarācārya are Brahmānanda and Dravidācārya. Our author seems to be influenced by Advaita Vedānta because he associates delusion with vivarta. But the illustration that he gives for vivarta viz. the reflection of the face in the mirror is not in consonance with the above concept of vivarta. Reflection does not involve delusion to which Matanga is referring while refuting vivarta of śruti as svara. It is to be noted, however, that pratibimba and vivarta have been combined by Mandana Miśra, an earlier contemporary of Śańkarācārya who says that the body goes through vivarta when it is reflected in the mirror² and the reflection appears to be different (cf. Brahmasiddhi, p. 8). Matanga seems to be holding a similar view. 50. The relationship of cause and effect between śruti and svara is implied in this theory. 51. Pariņāma is actual change as different from vivarta which is apparent change.⁶ This has found special favour with the Sānkhya-Yoga systems of philosophy. --- 医水平线 智力等 一贯 自由性 网络线压力应用