samvādin technical_term

³⁷ TRANSLATION (Anu. ²³) Anuvāditva (the state of being anuvādin) occurs by the state of being one śruti less⁴¹ (i.e. pairs of svaras where one of the constituents is less than the other by one śruti are anuvādins). But what is that anuvāditva? The expositorhood of the ragatva of raga brought about by the samvadin is indeed anuvāditva. The anuvādi-maņdala is thus - Sa Ň ni ga dha ma pa Thus ends the anuvādi-maṇḍala. [in ṣaḍjagrāma] (Anu. ²⁴) The use⁴² of anuvadins is thus - şadja in the place of ṛṣabha and ṛṣabha in the place of şadja, remaining in its own form, does not destroy jāti or rāga. Dhaivata, being used in the place of pañcama and pañcama being used in the place of dhaivata may not become the destroyer of jāti and rāga. Dhaivata being used in the place of şadja and şadja being used in the place of dhaivata does not become the destroyer of jāti and rāga. Ṛṣabha being used in the place of pañcama and pañcama being used in the place of ṛṣabha does not destroy jāti and rāga. Ṛṣabha in the place of madhyama and madhyama in the place of ṛṣabha; similarly, madhyama being used in the place of dhaivata and dhaivata in the place of madhyama does not destroy jāti and rāga.

⁶¹ TRANSLATION Audūvita is with five svaras; its lakṣaṇa (description) is fivefold, it is (101) numbered thirty-five,³³ as explained by the ācāryas (teachers). (Anu. ⁴²) With (the omission of) șadja, rșabha, pañcama and nișāda the șādava (mūrchanās) of ṣaḍja-grāma (come into being). Those devoid of ṣaḍja, ṛṣabha and gandhara are şadavas in madhyama-grama. (Anu. ⁴³) The state of auduvita (comes into being) on account of the omission of (two) samvadins,34 because of this statement the general rule is that the state of auduvita is attained through two samvadin svaras. Sometimes the state of auduvita comes into being with (the omission of) two55 anuvādin svaras, this is also a general rule. Sometimes the state of anuvadin does come into existence with (the omission) of pañcama-ṛṣabha in ṣaḍja-grāma (and) that of dhaivata- rşabha in madhyama-grāma. The auduvitas in şadja-grāma are devoid of pañcama-şadja, two (svaras) that are comprised of two śrutis (each) (viz. gandhāra and niṣāda) and pañcama- (102) rşabha. The pentatonic tānas in madhyama-grāma are verily devoid of dhaivata-ṛṣabha and two (svaras) comprised of two śrutis (each) (viz. niṣāda and gāndhāra). (103) (Anu. ⁴⁴) Now he (the author) demonstrates this very (description) with prastara.36 That is thus in sadja-grāma— X ri ga ma pa dha ni ni X ri ga ma pa dha dha ni X ri ga ma pa pa dha ni X ri ga ma ma pa dha ni X ri ga ga ma pa dha ni X ri ri ga ma pa dha ni X (Tānas) devoid of şadja.

VIMARŚA ¹⁵⁹ 20-23. Utkarşa and apakarşa lit. mean heightening and lowering respectively. They are used singly and also in a pair in NS. Our text uses them in a pair in the present passage and also in Anu. 36 (while explaining grāma). Again in Anu. 8 (while explaining the process of sāraṇā) 'apakarṣa' and 'apakṛṣṭa' (adjective for Viņā ) is used. Mārdava and āyatatva are used in a pair in the present passage; but 'ayatatva' is replaced with 'viprakarşa' in Anu. 50 ( while explaining tāna-kriyā ) and mārdava is explained there as loosening ( of the string). Word Reference Context Apakṛṣṭa (Pañcama) NS XXVIII p. 20 Madhyamagrāma Utkarşa-apakarşa p. 20 Measure of śruti . Apakṛṣṭa (Vīṇā) p. ²⁰ Sāraņā M Utkarşa ( of gandhara ) p. 26 Mūrchanā-grāma Mărdava (of dhaivata) p. ²⁶ Utkṛṣṭa ( niṣāda ) p. ³² Svara-sādhāraņa (gāndhāra) p. ³² ⁹⁹ Mārdava-āyatatva p. 20 Measure of sruti × Ayatatva XXVIX p. 37 Sruti-jāti Mṛdutva p. 37 Viprakarşa-mārdava XXVIII p. ²⁷ Tāna-kriyā Viprakarşa-pidana Abhi. Bhā. ( stretching of the on above string) Mārdava = śithilikarana (loosening of the string). It is an acoustic fact that stretching or tightening of the string results in higher pitch and loosening of the string results in the reverse viz. lower pitch. The words utkarşa and apakarşa stand for these two resultant changes in pitch respectively. 'Ayatatva' and 'mārdava' are basically concerned with the process of tightening and loosening of the string respectively. Both these pairs are closely related since they represent the effect and cause. Both the pairs are mentioned together in BrD and NS in the context of sāraņā (the process of verification of śruti). It is notable that although utkarşa and āyatatva and apakarşa and mārdava are pairs of mutually related terms, their order is reversed both in NŠ and BrD where mārdava-āyatatva is said to be an alternative of utkarşa-apakarşa; the proper order would have been apakarşa-utkarşa. Abhinavagupta commenting on this passage of NS explains the mutual relativity of the constituents of both the pairs. When there are two viņās, if one string on one viņā is tightened, this action has two effects viz. higher pitch on that viņā and relatively lower pitch on the corresponding string of the other viņā without any change of tension in that string. Hence ayatatva produces both utkarşa and apakarşa. Similarly, if one string is loosened on one viņā, this action has two

VIMARŚA ¹⁷¹ musical training, even today the ākāra sound is given primary importance. (cf. DAI, p. 46) 21, 22. This contention does not seem to fit in the context. The acceptance of vowels beginning with ākāra out of the fourteen svaras (vowels) of language does not carry further the argument that vowels and musical tones cannot be equated. The number of vowels in language is twenty-one according to Pa Si (4), sixteen according to Ag Pur XCI, 12, 16 and fourteen according to NŚ Kā Mā XIV, 8 as well as according to some Tantra texts (cf. Mahāmāyācāmaratantra quoted in Tantra-mahāvijāāna in Hindi by Sri Ram Sharma I, p. 58). Our author has accepted the last number viz. fourteen. The solfa-syllables viz., sa ri ga ma pa dha ni combine only two vowels viz. a and i with the respective consonants. Perhaps the author is hinting at the acceptance of these two vowels out of fourteen viz. a, ā, i, i, u, ū, r, rī, lr, lrī, e, ai o, au. 23. The gradual ascent of seven svaras in pitch seems to be implied. 24. There seems to be a break in the text; this sentence seems to be the concluding remark of the whole discussion on the question of equating vowels of language with musical tones both of which bear the same name viz. svara. 25. In grammar paribhāṣā is the adjective of those sūtras (rules) that teach the proper interpretation or application of other rules or resolve the apparent contradictions among other rules. This word also stands, in general, for abbreviations or signs used in any discipline; the latter meaning is relevant here as sa ri ga ma pa dha ni are abbreviations of şadja, rşabha, gāndhāra, madhyama, pañcama, dhaivata, nisāda respectively. Since BrD is the first extant . work that uses solfa-syllables, the above discussion has a historical context. 26-33. The samvādin, anuvādin and vivādin svaras represent the relationship of samvāda (roughly consonance), anuvāda (assonance) and vivāda (dissonance) among svaras. A relationship pre-supposes two entities, rather two ends in this case. The first one of these is the vādin or point of reference and the second one is samvādin or anuvādin or vivādin according to the interval concerned. This phenomenon of threefold relationships is associated with pleasantness, indifference and unpleasantness which has been depicted here with dual imagery viz. that of a logical discussion and governance. In an assembly involved in logical discussion one person makes a postulation; the vādin svara, playing the role of fundamental tone or tonic is like the person who initiates a discussion. The samvadin is like a person who actively supports the initial postulation. The anuvadin is like the person who passively supports the postulation and the vivadin is like the one who opposes the postulation. This imagery is inherent in the set of four musical terms that are under reference here and have been handed down by tradition. The second imagery of monarchial governance is an imposed one and occurs in our text for the first time in extant texts. It has been mentioned in almost all later texts. 34. Here raga seems to stand for melodic configuration or melody-matrix, rather than the delightfulness of musical sound in general.