kākalī technical_term

BRHADDESI ⁹² [अनु १६९] अस्यार्थः - शुद्धकैशिको नाम[रागो] मध्यमग्रामसम्बन्धः, कैशिकोकार्मारवीज?ातिभ्या समुत्पन्नत्वात्। तारषड्ज?ोऽस्य ग्रहोंऽशश्च। पञ्चमो न्यासः। निषादीऽत्र काकली। पूर्णस्वरश्चायम् , ग्रहः अंश(स्व?ध) चित्रस्याष्ट्रादशाङ्गस्य [?]निर्वहणे विनियोगः। वीररौद्रादिको रसः।षङ्ज?ादिमूर्छना। आरोही वर्णः। ^४६प्रसन्नादिरलङ्कारः। दक्षिणे कला,वृत्तौ कला,चित्रे कला । स्वरपदगीते चच्चत्पुटादितालः। [शुद्धरागाणा ग्रामविभागः] [अनु॰ ^१७०] ननु एते ग्रामविशेषसम्बन्धा, कुतोऽयं विशेषलाभः ? उच्यते, भरतवचनादेवासौ विशेषो कु(तो ऽ)यं लभ्यते । तथा चाह भरतमुनिः - ''ज?ातिसम्भूतत्वाद् ग्रामरागाणाम्''४० इति , ''यत्किञ्चिद् गीयते लोके तत्सर्वं ज?ातिषु स्थितम् ' '४८ इति वचनात् । तथा काश्यपेनाप्युक्तम् - तत्सर्व ''षाडवो मध्यमग्रामे पञ्चमः कैशिकस्तथा । पाडवे ककुभ् षड्ज? साधारितश्चैव तथा कैशिकमध्यमः॥'' [शुद्धरागाणा विनियोगः] [अनु॰ १७१] ननु अमी विनियोग-विशेषाः कस्माल्लभ्यन्ते ? [मुनि-] वचनादेव लभ्यन्ते। तथा अ(यं ?मी) चाह भरतः- ‘‘मुखे तु मध्यमग्रामः षड्ज?: प्रतिमुखे भवेत् । गर्भे साधारितश्चैव ^४९ह्मवमर्शे तु पञ्चमः ॥ ...वावमर्शे ^• तु

⁹⁹ TRANSLATION [Jāti-bhinna] Now he (the author) has spoken of the description of jāti-bhinna - The aṁśa of jātis should be established and so should be the sparse and the abundant. Sparseness and abundance come about on account of sparse and abundant usage. Jāti-bhinnais so called, formed as it is with sūkṣma, atisūkṣma (short and very short in time) and curved (phrases).⁵⁰ (308) [Anu. ¹⁷⁸] This means-śuddhakaiśika madhyamais born of kaiśiki and ṣadjamadhyamā jā ūs. Bhinnakaisikamadhyama, on the other hand, is jāti-bhinna on account of being born of the sadjamadhyamā jāti,51 the taking up of its (jāti's) amsaand taking up of the sthāyin varņa and is formed with sūkṣma and atisūkṣma (short and very short in time) phrases, this is the import. Its description is thus - [3. Bhinnakaisikamadhyama] Bhinnakaisikamadhyamacomes of ṣadjamadhyamā jāti, has ṣaḍja as its ainśa, madhyama as its ny\bar{a}sa and is (endowed) with mandra (low) gamakas^{52} (309) [Anu. ¹⁷⁹] This means-bhinnakaisikamadhyama is related to şadjagrāma on account of being born of şadjamadhyamā jāti. Şadja is its graha and ainša. Madhyama is the nyāsa. It has mandra (low) gamakas. Niṣāda is kākalī here and this (rāga) is complete. It is used in the context of dānavīra i.e. heroism in charity. 53 Vīra, raudra and the like are the rasas. The mūrchanā beginning with ṣaḍja obtains. Sañcārin is the varņa. Prasannādi is the alaṅkāra. The kalā is formed in the dakṣiṇa (mārga), the kalā obtains in the vṛtti (mārga) and the kalā prevails in the citra (mārga). A tāla like caccatpuța obtains in the songs comprised of svara and pada. [Śuddhabhinna] Now he (the author) has spoken of the definition of śuddhabhinna- (The rāga) that bedecks itself with its own jāti (from which it is born) and kula (family), leaving the other jāti and taking up (the qualities of) its own family, is called śuddhabhinna. (310)

⁹⁷ TRANSLATION sanidhapamagaririgamapadhanisa, sanidhapamagarisasarigamapadhanisa. Or, saninisa, nidhadhani, dhapapadha, pamamapa, magagama gaririga risasari. Thus (16) is (ends) prasāda. (Anu. ⁸⁶) (Pairs of) two svaras each moving to and fro in the order of ascent 53 and descent and forming units of two kalās (phrases) each (form) udvāhita. As - sari riga, gama mapa, padha dhani, nisa sani, 54 nidha dhapa, pama maga, gari, (17) risa. Thus is (ends) udvāhita. (Anu. ⁸⁷) This (udvāhita) itself is (called) upalolaka with (the pairs of svaras) being repeated twice. As - sari sari, riga riga, gama gama, mapa mapa, padha padha, dhani dhani, nisa nisa, sani sani, nidha nidha, dhapa dhapa, pama pama, (18) maga maga, gari gari, risa risa. Thus is (ends) upalolaka. (Anu. ⁸⁸) There, krama is that, where having reached the sthayin55 (steady) svara after ascending in the svaras in successive order beginning with one, without any gap, svaras are pronounced in the order of prastara, increasing one by one (in successive phrases). This is not different from prastara, being identical in form.56 As - saririsa, sarigagarisa, sarigamamagarisa, sarigamapapamagarisa, sarigamapadhadhapamagarisa, sarigamapadhaninidhapamagarisa, sarigamapadhanisa 57 sanidhapamagarisa. Or, having ascended to the antara (gandhāra) and in the same order having ascended to the kākali (niṣāda) the sthāyi-svara (steady note) is reached, that is krama. As- sagani-nigasa. Thus is (19) (ends) krama. (Anu. ⁸⁹) Niṣkūjita is (formed) on having ascended (in the order of) first-third, then second-fourth and others also in the same order. In the opinion of Kohala niṣkūjita is (formed) by ascent with a gap of one svara (each time). As -saga (20) rima gapa madha pani dhasa. Thus is (ends) nişküjita.

155 VIMARŠA 3. The instrument of the navel, heart, throat, Reaching the mouth cerebrum and the cavity process of hearing in the cavity, the air manifests speaker himself has of the mouth. the varnas. been explained as being comprised of the consciousness of the filling of the different points in the vocal organism (with air). Thus one and the same sound appears to be different. The following apparent differences are obvious in the above chart - (a) 'Atman' is used in Pā Ši and SR, but BrD uses the word puruşa. (b) In Pā Śi and SR the first step starts with the will of the ātman, but in BrD the combination of 'fire' and 'air' is spoken of as the first step, without the mention of any activating agent. The purusa is mentioned in the second stage as the agent in propelling the air upwards. (c) In Pā Ši, buddhi (intellect) is mentioned as an agent in the 'gathering' of the content of speech. This is absent in BrD and SR; the reason could perhaps be that in musical sound the differentiation of the form and content ( meaning ) of sound is not pertinent. (d) In BrD mind has not been mentioned at all. The mention of pratyaya (assured consciousness), however, does bring in the mind, but it is related to the process of hearing in the speaker ( see note 3 on puruşa ). 3. Puruşa is a very important word in Indian philosophy; it has a double derivation viz. 'one who sleeps in the pura, castle or city and one who fills'. The primordial being in the form of 'Man' is the primary meaning of this word. The use of this word in our text seems to be inspired by Ayurveda - बुद्धीन्द्रियाणि मनोऽर्धा एवा योगधर परम् । (Car Sam śanrasthana I, 35) चतुर्विंगतिको होष राशि पुरुषसज्ञकः ॥ 'Puruşa' is the name of the collection of twentyfour ( elements ) viz. buddhi ( sixfold perception as associated with the five sense-organs and mind ), the ten indriyas (viz. five sensory and five motor organs), mind, the six objects of perception and the ultimate repository of the above twenty-three elements (i.e. ātman ). Thus when purusa is said to impel the air in the vocal 'path', the separate mention of mind may not be held to be essential. The only thing that still poses a slight deviation of our text from the accepted tradition is that the combination of 'fire' and 'air' has been mentioned here in the beginning without any reference to an impelling agent. 4. This passage ascribed to Viśvāvasu has attracted the attention of later authors. For example, antara-śruti has been interpreted by Kallinātha (Kalā on SRI, 3.10-16) as the śrutis situated in vikṛta svaras which term is coventionally accepted for antara (gāndhāra) and kākalī (niṣāda).