dvikala technical_term

111 TRANSLATION Udvāhita is dvikala⁹⁴ (with two-unit phrases), (it) moves (in) two gapless svaras (forming each phrase-unit), ascends by one kalā 95 (phrase-unit and time- (148) unit) (and) again descends (lit. clarifies) by one kalā. Udvāhita itself may become the one named upalolaka, when (its units are) repeated twice. That should be known as krama, which moves to one, two or (149) three svaras in successive order. That which (moves to) each svara with one gap, having ascended (a svara) with one gap, should be known by the wise as the alankara named nişkūjita. (150) In combination with this (the above) order (the alankara) that moves with the gap of one svara (in descent) in dvikala 96 (form i.e. two-unit phrase and two time-units for each phrase) (and) is followed by two or six (svaras?)97 (and) (151) is similar in ascent, is hrādamāna. After this is ranjita which is half a kalā (time-unit) in ascent and again the same in descent, after having stayed on two (consecutive) svaras without a gap (152) for two kalās 98 (time-units). Avartaka comes into being in four (consecutive) svaras without a gap with the act of ascent (and) descent, or also in (svaras) with a gap of one (each).99 (153) (Or) āvartaka should be made by the experts with eight kalās (phrases and time-units) 100 without a gap, similarly (in) four kalās with a gap (of one each); it is (named thus viz. āvartaka) on accout of āvrtti (repetetion or rotation), 101 (154) Having ascended three svaras, parivarta omits another (fourth) svara and in nivṛtti (lit holding back, here descent) again with parāvṛtti (lit. interchange or reversion, here the change in the omitted svara in descent which is the fourth again in descending order), it is composed of eight kalās (phrases). 102 (155) Udghattita is always that in which there is an omitted svara after two svaras (156) become past (have been pronounced) and which is ekakala.103 Ākṣiptaka should be made with three svaras in each kalā; its measure of kalā is sixfold. The lower one is ekakala 104 and the other (higher) is şaṭkala (with six (157) kalās).

111 TRANSLATION Udvāhita is dvikala⁹⁴ (with two-unit phrases), (it) moves (in) two gapless svaras (forming each phrase-unit), ascends by one kalā 95 (phrase-unit and time- (148) unit) (and) again descends (lit. clarifies) by one kalā. Udvāhita itself may become the one named upalolaka, when (its units are) repeated twice. That should be known as krama, which moves to one, two or (149) three svaras in successive order. That which (moves to) each svara with one gap, having ascended (a svara) with one gap, should be known by the wise as the alankara named nişkūjita. (150) In combination with this (the above) order (the alankara) that moves with the gap of one svara (in descent) in dvikala 96 (form i.e. two-unit phrase and two time-units for each phrase) (and) is followed by two or six (svaras?)97 (and) (151) is similar in ascent, is hrādamāna. After this is ranjita which is half a kalā (time-unit) in ascent and again the same in descent, after having stayed on two (consecutive) svaras without a gap (152) for two kalās 98 (time-units). Avartaka comes into being in four (consecutive) svaras without a gap with the act of ascent (and) descent, or also in (svaras) with a gap of one (each).99 (153) (Or) āvartaka should be made by the experts with eight kalās (phrases and time-units) 100 without a gap, similarly (in) four kalās with a gap (of one each); it is (named thus viz. āvartaka) on accout of āvrtti (repetetion or rotation), 101 (154) Having ascended three svaras, parivarta omits another (fourth) svara and in nivṛtti (lit holding back, here descent) again with parāvṛtti (lit. interchange or reversion, here the change in the omitted svara in descent which is the fourth again in descending order), it is composed of eight kalās (phrases). 102 (155) Udghattita is always that in which there is an omitted svara after two svaras (156) become past (have been pronounced) and which is ekakala.103 Ākṣiptaka should be made with three svaras in each kalā; its measure of kalā is sixfold. The lower one is ekakala 104 and the other (higher) is şaṭkala (with six (157) kalās).

¹²¹ TRANSLATION In the dakṣiṇa (mārga) and catuṣkala tāla pṛthulā giti should be known. (175) With this prescription itself the gitis should be sung by the wise. (Anu. ¹⁰⁵) In the citra (mārga) the tāla is ekakala 12 itself, on account of the use of two- mātrā (units). In the vārtika (mārga) the tāla is dvikala 13 itself, on account of the use of four-mātrā (units). In the dakṣiṇa (mārga) the tāla is catuṣkala 14 itself on account of the use of eight-mātrā (units). In citra (mārga) māgadhi gīti (operates), it is with two gurus and is (also) composed of laghu (one short) and (one) pluta 15 (three mātrā-unit); (it is) (176) twice retreated;¹⁶ ardhamāgadhī is (completed) in half of that.¹⁷ Sambhāvitā is guru 18 in vṛtti (mārga) and pṛthulā is laghu 19 in dakṣiṇa (177) (mārga). As - Māgadhī [-----] Ardhamāgadhī [-----] Sambhāvitā [-----] Pythulā [-----] (Anu. ¹⁰⁶) In Vārtika (mārga) there is samagraha,20 in dakṣiṇa (mārga), there is atīta 21 (lit. past) graha, in citra mārga there is anāgata²² (lit. future) graha. (Anu. ¹⁰⁷) In the mārgas the use of mātrās 23 has been said. As - dakṣiṇā, vṛtti and citrā (are the margas). The mātrās (to be used in them) are eight, four and two (respectively). As — dhruvakā, sarpiņī, kṛṣṇā, vartinī and then visarjitā, vikṣiptā and patākā and (178) patitā is known to be the eighth one.

VIMARŚA ¹⁸⁷ 75. If ekakala is related to phrasing then sarigā and each of the other units will be taken to be forming one phrase each; if it is taken to be related to the duration of kalā, then the duration of each phrase will have to be taken as two mātrās; there also each kalā of time will be related to each phrase. 76,77. Identical with note 52 above. 78. All the four sa belong to the tāra-sthāna. 79. See note 47 above. 80. Samyuktam is used as an adverb, its implication is not very clear, most probably it has been used because the units of phrases here are not equal, they are 3+2+2=7. There is no other alaṅkāra like this in BrD. 81. Here the traditional rule of having a shake only on svaras with three śrutis seems to have been abandoned. 82. Kalā obviously means phrase-unit here. 83. Ekakula could not, perhaps, be understood as the first degree of kalā being of the measure of 2 mātrās. It perhaps indicates that each svara will be of the duration of one mātrā; that would make each phrase of the duration of seven mātrās which would not fit into the ancient tāla system and could, perhaps, be taken as the first indication of the advent of desi talas. 84. It is notable that BrD has not classified alankāras into varņas. 85. The names like tāramandra and mandratāra do occur in NŠ (XXIX, 31) but they have not been described. It is notable that NS has the name dipta for tara and prasanna for mandra. While BrD profusely uses prasanna for mandra, it does not even once use dipta for tāra. 86. The seven gitakas are described in NS XXXI. They are - madraka, aparāntaka, ullopyaka, prakarī, oveņaka, rovindaka and uttara. Apart from these, āsārita and vardhamāna have been extensively described in NŠ (ibid.); they are outside the above seven, but are very important on account of special tala patterns and association with dance. All these forms are prescribed in pūrvaranga (preliminaries of drama). Since no dramatic situation is required to be highlighted in Pūrvaranga, the music there could be autonomous and hence the units of text of songs could be stretched by the melody through alankāras, the comprehension of the meaning of the text of songs being not important there. 87. In dhruvās (songs prescribed for highlighting different situations in drama), as distinct from gîtaka, the comprehension of meaning of text by the listener is very important and hence stretching of the syllables of the text is not desirable. 88. The implication of this statement is not clear, because alankaras of the sthāyi-varņa are being described immediately after this verse. Abhi Bhā on NŠ XXIX, 33 says that the alankāras of sthāyi-varņa could be used at will (in dhruvās ); there is no restriction prescribed for them. 89. Brightening means movement towards high svaras. 90. Reverse order would mean proceeding from high to low. e le par Alle and the second