6, 7. The author seems to be speaking of svara at the same level at which sabda has been treated as eternal and vibhu (all-pervading) by several systems of philosophy, e.g. grammar, mimāmsā. 8. The infinity of svara, as propounded here, could be understood in two layers viz. (i) the infinite melodic combinations and permutations of the seven svaras (ii) the multi-farious shades of intervals coming into usage on account of various relationships between svaras established on account of variety of melodic phrasing involving leaps, glides, pauses etc. Jāti, the initial form of melodic configuration and bhāṣā, the derived form of rāga have been mentioned here for indicating the infinity of variety in melodic phrasing that brings about the infinity of svara. Raga has been omitted here, but its relevance could be inferred on the basis of its derivative bhāṣā. 9. The statement that svaras are combined with padas means that syllabic units are combined with svaras when the latter are rendered. These (units) could be meaningful linguistic units or non-sensical so far as linguistic meaning is concerned. Pada has been thus defined by Bharata - ( NŚ XXXII, 28 ab ) "Whatever is formulated with syllables, all that is called pada". Thus meaningfulness is not a condition for pada in music. Tonal rendering with the voice is usually combined with syllabic units, e.g. in the ālāpa in dhrupad, syllabic units like nom tom diri etc. are used. NS also prescribes the following (and a few more) syllabic units known as padas spoken of by Brahmā for nirgita (music devoid of meaningful text, rendered mainly on stringed and wind instruments, accompanied by voice )- झण्दु जगतिय दिगिनिगि तितिझल कुचझल ( NŚ XXXI, 104 ) It will be seen that these are formulated units of four-matras (time-units) each. If the voice renders svaras without padas (meaningful or non-sensical syllabic units) then it is combined with vowels like a, i, u etc. which themselves are primary units of pada. Hence the combination of svara with pada is spoken of. 10. In Indian music svaras are not used in a plain or unornamented way; hence alankāra is mentioned here. The concept of alankāra will be discussed in the respective section. 11. The prescription of the use of specific svaras in the context of different rasas dates back to NS. It will be discussed under the reproduction of this prescription in our text later in this section. 12,13. Pāršyadeva refutes the view that svaras are indestructible and all- pervading (vide Sam S Sa, p. 12). His argument is that since svara is heard in a limited time and space and not for all times or everywhere, it could not be said to be indestructible or all-pervading.