levels or degrees in the chakala-dvikala-catuskala series. These two sets of levels and degrees viz. three margas and three kalas have not been treated as identical in NS or SR. But BrD has made this equation. From the treatment in SR it is evident that in the kalā-series the extension of duration in double degree was prefixed to each unit in the form of unsounded actions and in the marga-series the extension was suffixed in the form of matras. BrD speaks about the matras in Anu. 106. 15. The ancient tāla-system has only three units viz. laghu (one mātrā), guru (two mātrās) and pluta (three mātrās), the additive process 1+1+1 is inherent in these units. 16. See note 4 above. 17. 'Half' does not mean half duration, but repetition of half words rather than full words; such as - devam, vam, rudram, dram, vande. 18. Sambhāvitā is said to be abundant in guru syllables. 19. Pythulä is said to be abundant in laghu syllables. 20,21,22. Graha lit. means 'catching'; here it is the beginning of song, instruments and dance on the one hand and tala on the other. If both start together, it is samagraha. If the tala begins first and the others (song and the like) begin later, it is atītagraha. If song and the others start first and tāla starts later, it is anagata graha. This explanation is according to S R V, 50 cd - 52. But BrD explains atita and anagata in a reverse manner (see note 47-49). 23. Mātrās are eight in number and except the first one, all are unsounded actions of the hands to be suffixed to the original sounded beats of a tāla-cycle, according to the change in marga. 24,25. Dhruvā, the first mātrā is a sounded action, involving a snap with the middle finger and the thumb. 26. This is not clear. Curving in the context of the hand, generally means bending the fingers on the palm. All the movements of the hand have been included in the six mātrās preceding this one viz. viksiptā; the movement of the hand inwards ( towards the performer ) has not yet been described. Hence this one could be construed as curving of the fingers on the palm held down-ward and moving the hand inwards. 27. In the enumeration above (verse 178) this name has been read as vartini and here it is padmini, in agreement with SRV, 12. 28. Vṛṭṭi is a concept related to the relative importance of song and instruments in any given performance. Vṛttis are three viz. dakṣiṇā, vṛtti and citra. Thus vytti here is a specific term representing a species, whereas the vytti occurring the second time in this sentence is a generic term. 29. 'Instrument' ( vādya ) here could stand for all instruments or specially for drums. By and large, when 'vadya' is juxtaposed with 'gita' then 'gita', stands for the melodic aspect of music and vādya mainly for drums (cf. NŚ IV, 301). Here, in the context of vittis when 'gita' and 'vādya' are juxtaposed, it is difficult to say categorically whether vadya stands for drums alone; it could perhaps cover all instruments.

30,31. 'Pāṇi-vivartitam' of the text has been rendered by us as brought about by pāņi (graha). Lit. 'vivartita' would mean 'reflected'. The relative predominance of gita and vādya has been viewed here alongwith temporal factors like mārga, laya, yati (see note 34 below) etc. in NS XXIX, p. 101 ( prose portion not commented upon by Abhinavagupta and put by the editor within square brackets) and in S R VI, 168-170 as others' opinion. The following correspondences have been indicated in the above passages in NS and S R; BrD is in agreement with them here. Pāņi (lit. hand) is the word used in NS and Datti for graha (explained in note 20 above ).¹¹ (The prose passage of NS referred to above does use the word

32. Tāla is the structured cycle for time-measure in music and dance, here this word seems to have been used in the general sense of the variable factors that operate tāla, like mārga, yati, laya etc. 33. Laya lit. means merging; the rest or pause immediately following an action is laya. The duration of a kriyā is determined by laya i.e. by the pause or

progressively double, each succeeding laya being double of the preceding one i.e. the rest or pause is double and hence the tempo is slower. 34. Yati is the order of the use of laya in a given piece. Either the laya remains constant all-through, that is samā yati, or it proceeds from fast to slow, that is gopucchā yati or from slow to fast, that is srotogatā yati. 35. Vyanjaka lit. means manifestor, but here it seems to mean self-manifestor or manifested. 36. See note 34 above. 37. See note 33 above. 38. Uparipāņi is equated with anāgata graha ( see note 20 above ). 39. Ogha is one of the three types of gitanuga vadya (instrumental rendering that follows 'song'). When the instrument uses profuse strokes for

43. Anugata (lit. follower) is a variety of gitānuga vādya (see note 39). It follows the song or melody, which means that it is not perfectly identical with the latter. 44. See note 34 above. 45. See note 33 above.