Bharata proper_name

n er ¹¹ TRANSLATION the jātis (castes). Just as in human beings there are castes such as brahmin and the like, that are both pure and mixed (or altered), similarly these jātis are also (twofold). [Thus ends the general definition.] [4. The tenfold lakṣaṇas or characteristics] Now he (the author) spoke (speaks) about the tenfold lakṣaṇa - Graha (initial note), aṁśa (fundamental note), tāra (high), mandra (low) and ṣāḍava (hexatonic) and similarly auḍuvita (pentatonic) and similarly alpatva (sparseness), bahutva (profusion) and nyāsa and apanyāsa - these are said to form the group of ten jāti-lakṣaṇas that operate in the respective jātis. The definition of this group of ten is being given in brief. (209-210) [1. The definition of graha] [Anu.119] Out of these (lakṣaṇas), graha is that with which the performance of jāti and the like is begun (lit . held or caught). That ( graha ) should be known to have sixty-three varieties just like aniśa. (Objection) What is the difference between graha and anisa? It is being answered - aṁśa is vādī alone i.e. only the vādī 10 is prescribed to be the 1 amsa,but graha is fourfold according to the distinction of vādī and the like (samvādī, vivādī and anuvādī). Or there is the distinction of predominance and subordination between the two. Graha is subordinate ( to aṁśa). ŧ (Objection) Why is the predominance of amsa alone being spoken of? Because of its being the progenitor 11 of raga (delight or colour) and because of its being pervasive, the predominance of anisa alone (is accepted). Although graha and anisa are predominant in all the jatis and this is proved by utsarga¹² (general rule), yet it is being prescribed through the vidhi¹³ (operation) of samvādī and anuvādī. Similarly said Bharata – "Graha is said to be like the amsa in all the jātis. The amsa that becomes the starting point of geya (melodic organisation and performance) assumes an alternative form as graha." (NŚ XXVIII.67)

TRANSLATION ¹⁵ it is used in the first vidārī. That (svara) which is not the vivādī of the aṁśa becomes samnyāsa if it is used in the end of the first vidārī. [The definition of vinyāsa forming part of that of amsa] [Anu. ¹²³] This nyāsa svara itself, when placed in the end of a pada (unit or sub- section), becomes vinyāsa. Hence it has been said²¹— "That in which rāga (delight) abides and from which it (rāga) proceeds or is begun, the leader or regulator of tara (high) and mandra (low), that which is obtained in abundance, that which is perceived (during the operation of) graha, apanyāsa, vinyāsa, samnyāsa and nyāsa, that which is pervasive, is aṁśa having (these) ten characteristics." (Cf. NS XXVIII.68, ⁶⁹) [3. The definition of tara] [Anu. ¹²⁴] Now the definition of tara is being given. The extent (gati) of tara is up to the fifth svara beginning from the use of amsa 22 svara. What is being said? Ascent up to the fifth svara is tāra, thus is being said. Or, ascent in four svaras is tāra, just as in nandayantī²³-sā-sā-nidha-sā; pañcama being the aṁśa there, tāra extends up to ṣaḍja (the fourth from pañcama). The structuring up to the fifth note (from the amsa) should be understood from the eighth vidārī (section) of gāndhārī²⁴ (jāti) up to the fifth svara, which comprises the extent of tāra. Just as in gāndhārī it is ni-dha-ni-dhā, thus is the notation. According to the word 'va' (in the verse from NS cited below), the state of being tara, applies also to seven svaras. The extent of tara is threefold. Similarly has been said by Bharata - ^• ^• ^• ^• ^• ^• ^•

¹⁴ ¹⁷ TRANSLATION The extent(gati)²⁵ of tāra should be known up to the fourth, fifth or seventh svara from the aṁśa, it is not desirable beyond that." (NŚ XXVIII.70) [4. The definition of mandra] [Anu. ¹²⁵] Now mandra is being said - mṛdu²⁶ (lit. soft, here low) svara is mandra. And the extent (gati) of mandra is threefold, viz. amśaparā (followed by aṁśa), nyāsaparā (followed by nyāsa) and apanyāsaparā (followed by apanyāsa). The compound²⁷ bahuvrihi operates here (and the meaning is that which is followed by aṁśa svara i.e. that which precedes the aṁśa). The svara that comes before that (aṁśa), is mandra. As in dhaivatī²⁸ - dha - dha - ni - dha - ma-pa-dha-mā. Mā-mā-mā. Thus the apanyāsa²⁹ svara is (operative) here. Similar is the case with nyāsa 30 svara. [5. The definition of sadava] [Anu. ¹²⁶] Now şādava is being said - (a structure of) six svaras is şādava. Since it is related to (or operates in) fourteenfold jatis, four jatis are always complete and hence, on account of their absence, it (sādava)31 has forty-seven varieties and similarly has said Bharata -

¹⁹ TRANSLATION " (A structure with) six svaras is ṣāḍava that is fourteenfold, with forty-seven varieties. The said regulation (number 47) is according to the varieties of aṁśa svara (in fourteen jātis)." (NŚ XXVIII, p. ⁴⁹) [6. The definition of auduva] ----- "(A structure of) five svaras should be known as audavita, it is tenfold³² according to those knowledgeable in prayoga (performance). It is prescribed to have thirty varieties and its definition is as has been said before." (NŚ XXVIII.76) [Anu. ¹²⁷] (The structure) beginning with the group of four svaras is deśī,33 not mārga. That is used in (the music of people known as) 34 śabara, pulinda, kāmboja, baṅga, kirāta, bāhlīka, āndhra, draviḍa, vana (forest-dwellers) etc. On account of lack of regulation (aniyama)35 śruti (?) alone should be understood here. When there is the usage of four svaras, then it is said to be svarāntara 36; this should be known in avakṛṣṭā dhruvās alone and we shall explain this within the treatment of dhruvā. Similarly has said Bharata - "There is the use of six svaras and similarly of five svaras. Here (in drama) there is also the use of four svaras in the avakṛṣṭā dhruvās."37 (NŚ XXVIII.77) By the word 'api' (in the above verse) meaning 'also', the complete (structure) should also be understood. Thus should be known the fourfold usage of dhruvās (viz. complete, hexatonic, pentatonic, quadratonic).

23 TRANSLATION. with which gita (tonal structure) is 'placed', left or ended is nyāsa. That nyāsa is twenty-one in number. That is - ṣaḍjā has one nyāsa as ṣaḍja, thus should be understood the nyāsas in the eighteen jātis. The purport is that (nyāsa) should be done at the end of the anga (lit.body of the tonal structure). [10. The definition of apanyāsa] [ Anu. 131 ] Now he (the author) spoke (speaks) of apanyāsa; apanyāsa does not occur in the end (of the gita). Apanyāsa occurs before the end of the prayoga (performance). And that is of fifty-six kinds, it should be understood as occurring within the gitas. Where the gita appears to be ending, that is apanyāsa. That occurs within the vidārīs (sections or sub-sections). The implication is that it is within the body of the gita. (It operates) thus - in ṣaḍjagrāma the ṣaḍjamadhyā jāti has seven apanyāsas, ṣaḍjodīcyavā has two, (and the remaining) five have three each and thus they are twenty-four. The rest (thirty-two) are in madhyamagrāma. Similarly has said Bharata - "Nyāsa occurs at the end of anga (lit.body) and that should be made twenty-onefold. This one named apanyāsa is fifty-six in number." (Cf. NŚ XXVIII.72) Thus end the tenfold ^{40} characteristics of jāti. [5. Optional and alternative prescription of amsa and the like in jātis] In ṣāḍjī there are five amśas, omitting mṣāḍa and ṛṣabha, gāndhāra and pañcama are apanyāsas and then there is sangati (coming together or concert) of ṣaḍja-gāndhāra and ṣaḍja-dhaivata. Its ṣāḍava (form) is (made) through (the omission of) niṣāda. There is no auduvita form in this (jāti).

³⁹ TRANSLATION applied without any svara forming an exception. Out of sixty-three (anisas), nine amsas that pertain to the four jātis which are always complete, should be subtracted. That is thus-pa-sa-ga-pa-ri-pa-dha-ni-pa. When these nine are subtracted, fifty-four amsas remain. Out of them (again) the seven amsas of six jātis viz. ṣadjamadhyamā, ṣadjodīcyavā, kaišikī, gāndhārī, raktagāndhārī (and) ṣādjī, should be subtracted. When seven ainsas are subtracted, there are forty-seven anisas. That is thus - Madhyamodicyavā (becomes non-ṣāḍava) with pa, similarly gāndhārapañcamī (and) kārmāravī (become non-ṣāḍava) with ri-pa-ni-dha (and ) ṣaḍjakaiśiki (becomes so) with sa - ga - pa. (257) [ Anu. ¹⁴⁰] This means .....in the forty-seven anisas, the formation of ṣāḍava should be carried out with the said svaras. Now he (the author) shows the svaras that are not exceptional ^{53} in the formation of auduvita - In the same way, those that are free from being exceptional are thirty (aṁśa svaras that form) auduvita. (258) [Anu. ¹⁴¹] This means - in that way, those devoid of exception should be known to be of thirty kinds. That is thus - out of sixty-three, nine anisas belonging to the four jātis that are always complete (in which omission is not prescribed) should be subtracted. After their subtraction, fifty-four amsas remain there. There also out of fifty-four, twelve amsas of the four jātis that are always complete and ṣāḍava, should be subtracted. After their subtraction, out of forty-two (being the remainder), twelve anisas that do not form auduvita in five jātis, viz. gāndhārī, raktagāndhārī, ṣaḍjamadhyamā, kaiśikī and pañcamī, should be subtracted. After their subtraction, the formation of auduvita takes place with thirty aṁśa svaras that have been spoken of. Similarly has said Bharata-

PĂŢHAVIMARŚA 249 49. MS B reading as recorded by the ed. 50. MS A reading as recorded by the ed. is - sampūrņatva. 51. Auduvalakṣaṇa is in place here, but it is lost due to a break in the text. The citation from Bharata should be taken to be subsequent to the lost portion of the text. 52. Since the treatment of dhruvā is lost in the text, this 'announcement' of the author is unfulfilled. 53. MS B as recorded by the ed. reads - 'ta ca dhruvam madhya ye '. 54. Vide NŚ Chau. XXVIII. 95 55. cf. अन्तरमार्गणमित्यन्तरमार्गणस्य(र्गस्य) लक्षणम् । यथाज?ातीति क्वचिद्वाऽनंशोऽपि नाल्पः । तथा च कार्मारव्या गान्धारस्य सर्वस्वरसङ्गत्या बहुत्वेनान्तरमार्गे प्रयोग इति वक्ष्यते । गान्धारस्य विशेषेण सर्वतो गमनं भवेत् । Abhi. Bhā. on NŚ XXVIII. 74, p. 49. 56. cf. अथ बहुत्वमाह । अल्पत्वं तद्वद् बहुत्विमिति । लक्षयतीति शेषः । कथमित्याह । बलवदबलवतोऽपि(तोर्वि) पर्याये(पर्यये)अबलमल्पं, तद्विपर्ययाद् बलवदिति बहुत्वाक्षक्षणं (बहुत्वलक्षणं) गम्यत एव । अत एवाह । ज?ातिस्वरैस्तु नित्यं ज?ात्यल्पत्वं द्विधा चैत(त्) । ज?ातिगतमल्पत्विमव तद्बहुत्वमिप द्विधा । तच्च ज?ातिस्वरैःपर्यायांशैरसंवादिभिश्चोपलक्षितः (क्ष्यते) । तेनैषामलङ्घनम(भ्यास)श्चेति द्विधा बहुत्वमित्युक्तं भवति ॥ ७४॥ तथाल्पत्वबहुत्वयोरुपयोगं दर्शयन् प्रसङ्गादन्यदप्याह । सञ्चारांशे(श)बलस्थानामल्पत्वे दुर्बलासु च । न्यासश्चान्तरमार्गश्च ज?ातीना व्यक्तिकारकः॥ Abhi Bhā on NŚ XXVIII. 74,75.p.49. 57. cf. ज?ातिस्वरैध नित्यं स्याद् ज?ात्यल्पत्वं विधानतः । सञ्चारोंऽशवलस्थानामल्पत्वं दुर्वलेषु च । विविधोऽन्तरमार्गस्तु ज?ातीना व्यक्तिकारकः॥ NŠ Chau. XXVIII. 90,91. 58. Reconstruction based on NŚ XXVIII. 72 and Abhi Bhā on the same, p. 47. 59. This definition of apanyāsa is in the proper order. The definition of apanyāsa in Anu. 127 above is part of the definition of amsa, hence it is not a repetition. 60.cf. अपन्यस्यते प्रयोगो येनेत्यपन्यासः। अपन्यसनं च न्यासत्वापगमे त्ववान्तरविच्छेद्वसंस्वात्र्यासवछतिभासनम्। Kalā on SR I. 7.41-46, p. 188. 61. Reconstruction based on c.r. in Sudhā on SR.I. 7, 41-46, p.189. 62. From here onwards upto verse 238, the text of Datti 63-90 is reproduced with slight variations here and there which have been recorded by us. 63. Reading of Datti 63. 64. Reading of Datti 64. 65. Reading of Datti 68.

²⁷ TRANSLATION Now I shall speak of the śruti-maṇḍala of madhyama (- grāma). This Madhyama (having four śrutis) should be known (located), having transgressed three (48) (śrutis). Having transgressed two śrutis (on the third śruti) should be (located) pañcama. Thence having transgressed three (srutis) (on) the fourth (śruti) is (49) dhaivata. Having transgressed one (śruti) niṣāda is known on the second (śruti). Having transgressed three śrutis then is (located) şadja on the fourth (śruti). (50) Ṛṣabha is later (on) the third (śruti), leaving two (śrutis). Having (51) transgressed one śruti, (on) the second (śruti) is gāndhāra. The śruti-maṇḍala of madhyama-grāma is thus— ma pa ga гi dha ni sa (Anu. ¹⁴) Bharata, on the other hand, has shown śruti-maṇḍala (in ṣaḍja-grāma) beginning with ṛṣabha.65 What is the reason? It is being said. In order to

75 TRANSLATION - șadja which is higher than nișāda (is subjected to) mārdava or loosening i.e. it is made to attain (the position of) niṣāda; thus is the twofold pravesa i.e. the act of the lower or higher svara being made to 'enter' or merge into the higher or lower svara respectively.42 [ Anu. 49 ] Nigraha is, on the other hand, the omission or 'non-touching' of the immediate svara. The performance or usage is thus - sā sā gari, pā pā mari Similarly has said Bharata - "There is twofold kriyā (lit. performance) of tana on the string (in the viņā); viz. praveša (lit. entering) and 'nigraha' (lit. restraint). Out of these (two), pravesa (takes place) on account of the prakarşa (augmentation) of the lower svara or by the mārdava (lowering) of the higher svara. And nigraha is 'non-touching'." Dattila has also said - There is twofold kniyā (action or performance) of tāna on the string; viz. on account of pravesa and nigraha. Pravesa is the similarity (rather identity) of sound; nigraha on the other hand, is 'non-touching'." [ Dattilam 36] (Anu. 50) But it is said in the prescription of kāku45 that svaras are (to be) performed in the three sthanas (registers). Out of them which heptad of svaras should be resorted to for making murchana? Those who harbour a doubt like this, he (the author) has said unto them - for the sake of the demonstration of mandra (low) and tara (high) the murchanas are indicated in (lit. with) the middle heptad. How? On account of the indestructibility of the middle heptad, this is the purport. Bharata has also said, "on account of the indestructibility of madhyama in nigraha 44 (acceptance in totality) or paryagraha 45 (non-acceptance in totality i.e. partial acceptance), the murchanas are indicated in the madhyama svara of the vina.

¹⁰⁵ TRANSLATION (Anu. ¹⁰²) Like huṅkāra one should ascend (with) three solfa syllables without a gap (and) in a combined80 (manner), thence two lower svaras (forming two phrase- units each) should be made (pronounced) with shake81 and verily in combination with another (next) kalā 82 (phrase-unit). Thus is gātravarņa, because of the combination or formulation of ekakala 83 svaras (forming temporal units of one kalā or mātrā each). As - dhanisa nini dhadha, padhani dhadha papa, mapadha papa mama, gamapa mama gaga, rigama gaga riri, (33) sariga riri sasa. Thus is (ends) gatravarna. [ The treatment of Alankaras according to Bharata's opinion ] I shall now speak of the varnas 84 in which the charming alankāras are (121) 'seated' (formed), according to the prescription of Bharata. Prasannādi, prasannānta, prasannādyanta, similarly prasannamadhya, sama, recita itself, prastāra and prasāda are based on the sthāyivarņa. These alankāras (122, ¹²³) should be known according to their respective definition. After this, please understand (the alankāras) born of the sancārin (varņa), as they are again and again being described (lit. glorified). Mandratāraprasanna, bindu, prenkolita, tāramandraprasanna, nivīttapravītta, kuhara, veņu, ranjita, upalolaka, avartaka, paravarta. Thus are the eleven charming alankaras born of (¹²⁴ - ¹²⁶) the sancarin (varna). Nişkūjita, kuhara, hasita, bindu itself, prenkholita, ākṣipta, vidhuta, udvāhita, hrādamāna, sampradāna, sandhipracchādana, prasannādi and prasannanta—(these) thirteen are (based) on the arohin (varna). (127, 128)

VIMARŚA ¹⁶⁹ 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 - यत् स्यादक्षरसम्बद्धं तत्सर्वं पदसन्नितम् । ( 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 alaṅkāra is mentioned here. The concept of alaṅkāra 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.