46. Avapāņi is equated with the
atīta graha ( see note 20 above and 47 below ).
47. Other texts say only 'before' and 'after' in the context of graha, but BrD is
, specifying four kalās as the specific duration bringing about a sense of 'before'
and 'after'. Instruments in this context would mean only cymbals and drums,
representing tāla.
48.
Uparipāņi is equated with
anāgata graha, but the explanation given is that
instruments ( tāla ) start earlier and song follows later.
Simhabhūpāla follows
this explanation whereas S R and Kalā say that
anāgata graha is that where song
and others start earlier and tāla follows later.
49. Adhaḥpāṇi or avapāṇi is equated with the
atīta graha and the
explanation given is that 'song' starts earlier and tāla (instruments) follows
later.
Simhabhūpāla's Sudhā commentary is in agreement with this, whereas S R
and
Kallinātha's Kalā, commentary say the converse.
50,51.
Māgadhī is originally assigned to
citra mārga. Here it is being said that
when
pṛthulā giti that is originally assigned to
dakṣiṇa mārga is performed in
citra mārga i.e. is made faster, then it is called
māgadhī gīti. The reverse order
spoken of here is perhaps related to the change in the marga of a giti that leads
to its being named after another giti.
52. 'Twice returned' stands for
dvirnivitta of the text. In verse 172 above
māgadhi has been said to involve thrice repetition of a pada. The discrepancy of
saying thrice there and twice here could be resolved in this way. When the first
utterance is also counted, then 'thrice' is valid, but when it is not counted,
'twice' could also be valid.
53. Yāvat' of the text has been rendered here as 'just', meaning that the
expanse of performance is being limited or formalised or codified in the three
mārgas.
54. \bar{A}v\bar{a}pa is the first among the four unsounded actions in t\bar{a}la, the other
three being
niskrāma, viksepa and praveša; all these are prefixed to the original
sounded actions of tala according to the duration of each original unit in the
threefold kalā viz.
ekakala,
dvikala and
catuşkala.
55. Kalā here means a sub-section of 'song' matching a tāla-cycle.
56. See note 5 above where the repetition of half pada in
ardha-māgadhī is
explained.
57.
Kallinātha, commenting on S R I, 8.18. has said - अत्र पदावृत्त्या पुनरुक्तिदोयः
पदार्धभागेनानर्थकरच बाऽऽशाङ्क्य मतङ्गेन परिद्वृत यथा 'सामवेदे गीतप्रधान आवृत्तिष्वर्था नाद्रियन्ते' इति। तथा
वेदेनैबोद्याहुत च- 'उदुत्य ज?ातवेदसम्' इत्यत्र वेदशब्दपर्यन्तमावृत्तिपरम्परया गीत्वा ज?ातवेदसमिति गीयते;
परसण्डनादर्थभङ्गो न भवत्यत्रापीति। अतः सामवेदप्रकृतिके सङ्गीते गानवस्थात् क्वचित् पदाना पुनरुक्तिरधौक्तिश्च न
दोषायेति मन्तव्यम् ।।
This passage has better readings than our text and makes the point clear.
58. BrD is the only text to elucidate the ninefold operation of laya in the
three mārgas, as follows -
