Abhi Bhā treatise_title

Dictionary: not in dictionary · Pages: 4 · Occurrences: 22 · Affirmations: 4 · Graph degree: 11 (in 4, out 7)

Variants (3): Abhi Bhā (19), Abhi. Bhā. (2), Abhi. Bhā (1)

Generative rules (1) ↗ filter all

R_4p1_12 relation · 1 att.
Abhi Bhā is a commentator on Nāṭyaśāstra (cited on NŚ XXVIII.64, 65, p.42)

Pseudocode (DSL v1.1) ↗ full DSL (raw text)

RULE id: abhi bhā (cluster 12)
SCOPE: treatise_title family
STATUS: traditional
CONFIDENCE: traditional
PROTECT: false

Essence pseudocode — identity + RECORD. The page citations for each slot value are in the Grammar record table above (audit trail). The full DSL adds ASSERTIONS with verbatim quotes (see Affirmations below) and CITED_RULES (see Graph relations).

Graph relations

Outgoing (7)

--[citation]--> Abhinavagupta (1)--[citation]--> Kasyapa (1)--[attribution]--> alaṅkāra (1)--[citation]--> gīti (1)--[citation]--> Abhi Bhā on NŚ (1)--[relation]--> Abhi Bhā on NŚ (1)--[relation]--> śāstra (1)

Incoming (4)

Abhinava Bhāratī --[relation]--> (1)sthāyi-varņa --[attribution]--> (1)śrutivarņa --[citation]--> (1)mattakokilā --[attribution]--> (1)

Affirmations (4)

attribution

p.vol_I_p103

english

conf 0.93

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Abhi Bhā explains four figurative functions of alaṅkāra in relation to varna on NŚ XXIX, 45

"Abhi Bhā on this ( NŚ XXIX, 45 ) says that four functions of alaṅkāra in relation to varna (the syllabic unit) have been figuratively spoken of"

VIMARŚA 189 117. Conflict with varna is not easily comprehensible. Perhaps the idea is that whatever pattern is established in an alaṅkāra it should be followed all-through. If varna is taken to stand for syllabic unit, then the conflict and its prohibition become clear. 118. Using an alaṅkāra without a varņa ( melodic movement ) is a contradiction in itself; here also, as above (note 117) the idea seems to be that an alaṅkāra should not be used without establishing a definite pattern. Here varna as a syllabic unit does not seem to be relevant. 119. Abhi Bhā on this ( NŚ XXIX, 45 ) says that four functions of alaṅkāra in relation to varna (the syllabic unit) have been figuratively spoken of as—(i) the alaṅkāra makes the varņa bright or brilliant ( like the moon ), (ii) it 'threads' or connects the varņa (like a river), (iii) it makes the varņa blossom (like a flower on a creeper) and (iv) it makes the varna colourful or delightful (like an ornament on a woman). 120. It is notable that all illustrations begin with sadja and do not extend beyond the tāra şadja. 121-145. All these notes pertain to 'sa' that belongs to tāra-sthāna. Section VII ( Pada-giti ) 1,2,3. Giti literally means song or the act of singing, but here it stands for specific pattern of singing with reference to the text of the song as manifest in its syllabic units (akşara) and metre (chandas). NŠ mentions only these four gītis, but BrD speaks of gītis also in the context of grāma-rāgas. In order to distinguish between these two types of gitis, the first type being related to the rendering of text and the second type being related to the rendering of raga, we have qualified the gitis under reference with pada, and the gitis of raga classification will be qualified with svara or raga. 4. Nivitta lit. means retreated or returned to; in alankāras nivitti means descent (of svaras); here it means repetition. 5. Nivitta lit. means receded or held back as opposed to pravitta meaning proceeded or set forth. Here it means accomplished or completed. 6-11. Three mārgas (lit. paths) are accepted in the ancient tāla-system which represent three 'degrees' of length of a given tāla-cycle, depending on the duration of kalā or standard time-unit, as follows - Duration of kalā Name of marga 2 mātrās 1. Citra 4 mātrās 2. Vārtika or vṛtti 8 mātrās 3. Daksina 12,13,14. Ekakala, dvikala and catuşkala have been equated here with citra, vārtika and dakṣiṇa mārgas respectively. They lit. mean one 'kalā (2 mātrā )-unit, two-kalā (4 mātrā)-unit and four kalā (8 mātrā)-unit. Each of the five tālas of gāndharva have three T 1

citation

p.vol_II_p137

english

conf 0.80

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Abhi Bhā (Abhinavagupta's commentary) cites doctrines attributed to Kasyapa regarding gītis

"citation in Abhi Bhā on NŚ XXVIII. 141 also purports to do the same."

PÄŢHAVIMARŚA 257 मन्द्रामन्द्रतरैस्तारस्थानगैर्ललितैः स्वरैः । 19. cf. S.Rāj 11. 2.1.33 ab. भिन्ना तु सूक्ष्मैर्मधुरैर्गमकैरन्विता स्वरैः । 20. cf. तारमन्द्रगतैर्वक्रैर्विकृतैः परिकीर्त्तिता ॥ S.Rāj II.2.I.34. 21, 22. Reconstruction based on c.r. in Sudhā on SR II. 1.2-5, p.5. 23. C.r. in ibid. The lack of sandhi between 'nyāsa' and 'ohāṭī' is notable. 24. C.r. in ibid. 25, 26, 27, 28. Reconstruction based on ibid. 29. This line has been added from ibid. In p.t. this line occcurs in the context of gaudarāgas. 30. After this p.t. adds the following lines which are out of place and have, therefore, been dropped by us: प्रयोगेश्च दूतैः कार्या मिश्रामिश्रेश्च मालवैः । ईपत्प्रकम्पितैः किञ्चिद्वलितैस्तारदीपितैः ॥ सोच्छ्वासैः खण्डखण्डैश्च भित्रा गीतिरुदाहता । + ++ + + + + + ओहाडी(टी)परिगीयते ॥ 31. cf. वर्णचतुष्केऽपि स्थाय्यादिवर्णचतुष्टयेऽपि अतिरक्तितो रक्त्यतिशयवशाद् वेगवद्भि शीघ्रप्रयोगवद्भि स्वरैर्युता रागगीतिः रागाश्रयभूता गीतिर्वेगस्वरेत्यन्वर्थसंज?्ञिका बुधैर्मतङ्गादिभिर्वेसरा च वेसरसंज?्ञिता चोच्यते । Kalā on SR II. 1. 6,7,p.6. 32. This verse has been repeated in Anu. 19, as a citation from Kaśyapa. Sudhā on SR.II. 1.6,7, p. 6,7 also ascribes it to Kaśyapa. 33. Reconstruction based on c.r. in Sudhā on SR II. 6,7,p.7. This c.r. has a slight variation in the first foot of this verse as - ‘prayoge masṛṇaiḥ ’. 54.P.t. adds one line before this as - (तु ? स्व)रैः साधारणा गीतिर्गीतिज?्ञैः समुदाहता ? ॥ It is redundant and has been dropped by us. अनपेक्ष्यान्यजातीर्ये स्वजातिमनुवर्तका । 35. cf. स्वजात्युद्द्योतकाश्चैव ते शुद्धा परिकीर्तिता ॥ C.r. in Kalā on SR. II.2, after the illustration of śuddhasādhārita rāga, p.24, 25. We have replaced 'nirapekṣā 'of p.t. with 'anapekṣyā 'of c.r. as it is more idiomatic. 36. Extra reading in p.t. 37. cf. पर्मु रागेषु मुख्यत्वात् पाडवः, सप्तस्वरत्वेन पर्स्वरत्वासम्भवात् । ननु कथं पर्मु रागेषु मुख्योऽयम् ?उच्यते । पूर्वरङ्गे तु शुद्धपाडवः प्रयोक्तव्य इति वचनात् । C.r. in Sudhā on SR 11.2.74-76, p. 69.

citation

p.vol_I_p077

sanskrit

conf 0.85

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Abhi Bhā is cited as a source defining jāti as a collection of qualities and characteristics of svaras

"पूर्णापूर्णस्वभावस्वरगतग्रहाशादिविशेषसमूहरूपजातिसमूहश्च । (Abhi Bhā on NŚ XXVIII, p. 42)"

BRHADDESI 136 22. C.r. in S R I Sudhā, p. 94. 23. Added according to C.r. in S R I Sudhā, p. 94. 24. Portion added according to C.r. in S R I Sudhā, p. 95. 25. P.t. adds 'pañcama' before 'ṛṣabhaḥ' which is unwarranted. 26. P.t. combines sapta-svarāķ etc. and that has led to a misunderstanding among scholars to the effect that Matanga has accepted the 'samvāda' of seven- sruti interval in addition to that of nine and thirteen-sruti interval. (cf. IMJ, No. 11-12, p. 57, article by P.L.S. on Matanga's Brhaddess ). Actually sapta is related to 'svarāḥ'; hence a full-stop has been added after sapta and that clears the whole confusion. 27. The ed. states that the text is broken here; the missing portion has been taken by us from S R I Sudhā, p. 121. 28. Missing portion (verse 55-60) taken from C.r. in S R I Kalā, p. 79-81. The cited verses are interspersed by Kallinatha with prose sentences of his own, but they have been omitted by us. 29. C.r. in S R I Kalā, p. 81. 30. Sam S Sā, p. 14 and C.r. in S R I Kalā, p. 81. 31. This portion is missing in the MSS, it has been paraphrased in S R I Kalā, p. 81 and cited in ibid. Sudhā, p. 97. 32. cf. व्हाज?ाती समी ज?ेयी रिधी क्षत्रियजातिको । निर्गा वैश्याविति प्रौक्तौ पञ्चमः शूद्रजातिकः ॥ ( Sam Mak I. 29 ) 33. C.r. in S R I Sudhā, p. 97 and Sam Cû, p. 71. 34. C.r. in S R I Sudhā, p. 98. 35. Reading suggested by the ed. 36. C.r. in S R I Sudhā, p. 98. 37. C.r. in Sam Cu, p. 72. 38. C.r. in S R I Sudhā, p. 98. 39. cf. स्वरा सरिगमाश्चैव चत्वारो राक्षसा स्मृता । पधौ मानुषसज्ञौ च निपाद दैवत विदु ॥ (Sam Mak I. 1.46) 40. After this P.t. has the following half-verse – शृद्धजातिसमृत्पन्नी तौ काकल्यन्तरी स्वरी । This is redundant and misplaced because verse 61 d has already spoken of kākali and antara svaras being śūdra and this line does not fit into the context after verse 72; hence it has been omitted by us. 41. cf. Nā Ši I.4.1,2 and Gītālankāra, p. 50. 42. cf. Nā Ši I.5.14-18. 43. The reading 'hara' suggested by the ed. in the place of 'bhi' of MSS. 44. cf. Nā Ši 1.5.12-14. पर्ज?ाञ्चतर्वारी च ऋषभस्य च गंद्रकः । 45. cf. गान्धारस्य च शान्त च हास्यास्य मध्यमस्य च ॥

relation

p.vol_II_p155

english

conf 0.92

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Abhi Bhā is a commentator who explains references in the Nāṭya-Śāstra

"Abhi Bhā on NŚ XXVIII. 64, 65, p. 42"

VIMARŠA (Annotations) Chapter II (Jātis) 1. The number 140 pertains to the modified varieties of jātis comprising the complete, hexatonic and pentatonic formations of jātis in accordance with each of the amsa svaras assigned to each of the eighteen jātis. This number is computed as follows - The total number of amsas in 18 \text{ jatis} = 63. They generate 63 complete varieties of jātis. Out of these 63, there are 16 amsas that do not permit hexatonic formations. Hence 63 - 16 = 47. Again there are 33 \text{ amsas} that do not permit pentatonic formations. Hence 63 - 33 = 30. Thus 63 + 47 +30 = 140. Our text gives details of some of these varieties in Anu. 147 - 163; the treatment is incomplete because of a break in the text. Abhi Bhā on NŚ XXVIII. 64, 65, p. 42 speaks of 147 varieties by adding the śuddhā states of the seven jātis bearing svara-names. 2. Brahmā has been said here to be the original author of the number of jātis in NS, from where we have taken the verse under reference. In NS, Brahmā is the original creator of the Nāṭya-Veda. Šiva is said there to have added only dance to theatre. As between Brahmā and Šiva, the former is said to be responsible for all the elaboration based on vāk. The origin of all the Vedas is also attributed to him. Siva has special relationship with the movements of the body (anga). Jāti being the first formation of melodic structure, its association with Brahmā is understandable because melody is a manifestation of the tonal aspect of vāk. Abhi Bhā explains the reference to Brahmā in the text of NS, (XXVIII.39) by saying that 'apta-agama' i.e. the tradition handed down by knowledgeable and trustworthy authorities cannot be wrong. The fact that no less than Brahmā is the authority regarding the jātis lends a special sanctity to this melodic abstraction that is striking on account of its comprehensive sweep. 3. The literal meaning of 'vartayişyāmi' is "I shall use". Abhi explains it as "I shall throw light on the forms of jātis retained in my mind through the description of their ten lakṣaṇas, viz. graha, aṁśa, tāra, mandra etc. " (Vide Abhi Bhā on NS XXVIII. 39, p.36). 4. The alteration in respect of amsa i.e using an amsa other than that