sadjagrāma; in madhyamagrāma sadja becomes madhyama, but there also the point of reference is the şadja of şadjagrāma. Sadja, as the one born of the six svaras has been explained by Kallinātha as the one that is illuminated by the six svaras that are inherent in it; here also the special importance of şadja is obvious. Brahaspati interprets the origin of şadja from six svaras in this way—şadja becomes the second, third, fourth, fifth, sixth and seventh svara in the murchanas of rsabha, gandhara, madhyama, pancama, dhaivata and nişāda respectively (vide his commentary on the 28th chapter of NS, p-22-23). Şadja as the one born of the six angas (parts) in the human body is not easy to comprehend. Kallinātha enumerates the six angas as the nose, throat, chest, palate, tongue and teeth, leaving lip and cerebrum out of the eight locations (sthanas) enumerated in Pa Si (15) in the context of the production of letters. It is not clear as to how these sthanas could be relevant to sadja. 54. The association of virility with pabha is implicit in the simile of a bull among cows. 55. Gām dhārayati iti gāndharvam is a similar etymological formulation given by Abhinavagupta. (cf. Abhi Bhā on NŚ XXVIII, 9, 10) 56. Madhyama is the middle one, its position being in the middle of two triads viz. sa-ni-ga and pa-dha-ni. 57. Pañcama (fifth) is the initial svara of the second triad and is hence responsible for the elaboration of the first triad into a heptad. 58. The derivation of 'dhaivata' from dhivan is non-Paninian etymology, because according to Pāṇini's grammar, 'dhīmān' and not 'dhīvān' is the correct word. It is interesting to note that dhaivata has been considered to be perceptible by those possessing 'dhi' i.e. intelligence or wisdom. While ga-ma-pa-ni can be tuned according to the relationship of the fourth and the fifth, as follows, dhaivata and rsabha cannot be tuned in a similar way- - pañcama - relationship of fifth. 1. Şadja 2. Şadja - madhyama - relationship of fourth. 3. Madhyama - niṣāda - relationship of fourth. - gāndhāra - relationship of fifth. (backwards) 4. niṣāda For tuning dhaivata, one has to take recourse to the relationship of third from madhyama and then from dhaivata back to reabha is the relationship of fifth. It is, perhaps, on this account that dhaivata is associated with the wise ones; the relationship of third is perhaps not as obvious as that of the fourth and the fifth. 59. The forehead is not a location traditionally accepted in the context of production of sounds in the Siksā texts. The association of dhaivata with the forehead is not clear ( see note 63 in this section ). 60. Niṣāda is the last one in the ascending order of seven svaras, hence the six preceding svaras could be said to rest on it. In western thought it is the leading note as it 'leads' to the next register.

61. Like Suśruta, Bh Prak VII, 27 also mentions tvak (skin) as the first dhātu, instead of rasa (chyle) of our text¹. Monier Williams also enumerates seven dhātus as chyle ( rasa ), blood, flush, fat, bone, marrow, semen⁸; replacing tuak with rasa. 62. The seven minerals are not clear. 63. The number of cakras (psychophysical centres in the human body visualised as circles, cakras or lotuses, padmas) is generally accepted as six, eight or ten (as in SRI, 2. 120-145 ab). ByD has talked of seven sthanas elsewhere ( in the confused reading in the section on Varṇālankāra towards the end of Anu. 84, see textual note no. 20 in that section ); viz. ādhāra, svādhişṭhāna, anāhata, maņipūra, višuddhi, ājñā and brahmarandhra. Out of these, the last one viz. brahma-randhra (cerebral aperture) is not the name of a cakra, rather it is the location of the sahasrāra cakra. These seven names do form part of the

It is notable that SR associates the production of musical notes with the anāhata, višuddhi and lalanā-( situated in the back of the neck )¹⁴ cakras alone⁴ and not with all the seven listed above. The treatment of cakras in BrD could not be assessed from this stray reference. It is only the number seven that corresponds with the connection of seven cakras with the svaras that the author is trying to establish here. In note 59 above, we have said that the connection of dhaivata with the forehead is not clear. If the seven svaras are connected with the seven sthanas listed above, one by one, then dhaivata being the sixth one could be connected with the viśuddhi cakra located in-between the eye brows. But the location of seven svaras in the seven cakras is not corroborated by any other known text. 64. S R I, 3.55 cd, 56 ab speaks of the origin of svaras in the seven islands⁵ as