krama technical_term

79 TRANSLATION (Anu. 56) The Kūṭa-tānas are five thousand and thirty-three in total. Dattila has also said- "The pūrņa (complete i.e. heptatonic) (tānas) are five thousand and thirty- three in each grāma; now they speak about the method of their numeration or calculation." [ Dattilam 39 ] Here the calculation is (thus) — the earlier tāna-prayoga 51 (number of tānas) is multiplied by the later or next tāna-prayoga 52 (number of svaras constituting the tāna). Similarly has said Dattila - "One should multiply the earlier (numbers) (with the later number of the svaras of a tana), taken without any omission, the resulting number would be constituted of kramas 53 (original order or combinations) and utkramas 54 (changed order or permutations) (of the later i.e. last number of the series); out of this (aggregate number obtained by multiplication) the kramas (tānas in the original order) are equal to the multiplicator 55 (guṇakāra or guṇaka i.e. the last number of the series) and the remainder will be the number of utkramas 56 (permutations)". [ Anu. 57 ] Now he (the author) speaks about the process of multiplication—one should multiply the number one (of the) earlier one i.e. of the first tana of one svara with the number two (of the) later (tana of two svaras) and the result is two itself. Those two multiplied by three (the number of svaras in the next tana) become six. Those [ six ] multiplied by four (the number of svaras in the next tāna) become twenty-four. That (group of) twenty-four multiplied by five (the number of svaras in the next tana) becomes one hundred and twenty. This (group of) one hundred and twenty, multiplied by six (the number of svaras in the next tana) becomes seven hundred and twenty. The (seven hundred and twenty) multiplied by seven (the number of svaras in the next tana) become five thousand and forty. [ Anu. 58 ] Out of these (5040), subtracting the seven that are made up of krama (original order), the kūṭa-tānas (permutations) born of the use of seven svaras are five thousand and thirty-three. The prastāra is thus - Out of them (seven svaras) the svara şadja has only one order as sa. ṛṣabha (added to sadja) has only one krama (original order) as sa - ri; the second is the vyutkrama (reverse order) as n - sa. Gândhāra (added to sa - n) has one

⁸⁹ TRANSLATION (manifested) in the bodily²¹ (v\bar{i}n\bar{a}). That is why it has been said that just as these (varṇas) exist (in the bodily viṇ\bar{a}), similarly do they bring (themselves) into effect (on the wooden vin\bar{a}); this meaning is inherent in the mention of sanra^{22} (bodily) svaras (in the verse of NS quoted above). So has been said - These four varnas should be known as the constructors23 of melodic (NŚ XXIX, ¹⁹ab) rendering. [Thus end the varnas] [The Alankaras] (Anu. ⁶⁸) Now the well-known thirty-three 24 alankāras are being described by name and application. What is spoken of through the word alankara and what is its etymology? It is being answered. Ornament25 is being spoken of by the word alaṅkāra. Just as a man or woman adorned with a bracelet on the forearm, middle-arm and the like, bears beauty (becomes beautiful), similarly the singing that subsists in varņas (and is) adorned by these alankāras (known as) prasannādi and the like, becomes delightful to the performers and listeners. And the etymology is like this—the root 'du krñ' in the meaning of doing or making bears the prefix alam (sufficient or adequate) and (the word) alaṅkāra (derived thereby) means that which makes something sufficient or adequate. This word alankara has the end-suffix ghan. (Anu. ⁶⁹) The names²⁶ of alankāras are being said (1) Prasannādi (having prasanna or mandra i.e. lower svaras in the beginning), (2) prasannānta (having the lower svaras in the end), (3) prasannādyanta (having the lower svaras in the beginning and end), (4) prasannamadhya (having the lower svaras in the middle, (5) sama (equal), (6) bindu (lit. dot or anusvāra, nasal sound marked by a dot above the line), (7) Nivittapravitta (one whose setting forth has been withheld), (8) Veņu (the bamboo flute), (9) Kampita (the shaken one), (10) Kuharita (with a cavity or hole) (11) Recita (the purged or emptied one, or a specific pace of a horse) (12) Prenkholita (the swinging one) (13) Tāramandraprasanna (having high and low svaras) (14) Mandratāraprasanna (having low, high and low svaras) (15) Prastāra (permutation or extension), (16) Prasāda (clarity or brightness or graciousness) (17) Udvāhita (held upwards or lifted up) (18) Upalolaka (constantly moving or restless) (19) Krama (a specific order or sequence), (20) i Nișkūjita (the cooed one), (21) Hrādamāna (the thundering or roaring or sounding one), (22) Ranjita (the coloured or delighted one) (23) Avartaka (the rotating one), (24) Parivartaka (moving to and fro, changing), (25)

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.

¹⁸¹ VIMARŚA is also used. This is how the distinction brought about by mandra and tara could be understood. Abhi Bhā on NŚ XXVII, p. 27 also seems to support this view. 48. 'Sukha' has been translated here as convenience or it could be rendered as facility. The facility of the performer and listener is said here to be the objective of the distinction between mūrchanā and tāna. NŠ and Abhi Bhā have the reading 'nānātva' which means variety of mūrchanā and tāna, but since our author has tried to distinguish between murchana and tana, we have accepted the reading anyatvam which means distinction (see note 78 under textual notes on the section ). In NS mūrchanā-tāna is also a compound name for the 84 tānas. BṛD does not use this compound and emphasises the distinction between the two; viz. mūrchanā and tāna. Brahaspati has commented on the reading 'variety' ( nānātvam ) of NŠ and said that the variety of murchana and tana accords facility to the performer by making possible the use of three sthanas (registers) and also the omission of svaras (according to a specific system as embodied in the 84 tanas). The distinction between murchana and tana brought out in the reading accepted by us could be construed to mean that mūrchanā as a complete scale in ascending and descending establishes the three sthanas and tana (involving omission) establishes a specific pattern in ascent. It is interesting to note that even today omission of one or two svaras is very effective in the ascent in all those ragas that involve omission in ascent and use the omitted svaras in descent. ( see glossary) 49. Since specific omissions are prescribed for the two grāmas, tāna the result of this specific omission could be said to be the distinguishing feature between the jātis and rāgas of one grāma and the other. 50. This applies to kūļa-tāna where permutation and combination is involved and definite numbering of each variety is effected. Retrieving the number of a given tana (arrangement of a given number of svaras) and retrieving the form of a tana whose number alone is given is known as uddista and nasta respectively. (see glossary) 51, 52. The word tāna-prayoga is being used here to convey two things—in the first instance the number of tanas (permutation of a given number of svaras ) is implied and in the second instance the number of svaras constituting the specific tāna (combination of svaras) is implied. 53, 54, 55 & 56. Krama is a combination of svaras where the original order remains intact and uthrama is a permutation where the original order is changed. The method of obtaining the number of kramas and utkramas of a given-number of svaras is like this—multiply the earlier numbers of a given number, without leaving any number in-between. For example if the number of svaras is six, 1 \times 2 \times 3 \times 4 \times 5 \times 6 = 720 would be the number of kramas and uthramas taken together; the last number of this series viz. 6 is the number of kramas and the remainder viz. 714 is the number of utkramas. 57. 'Māna' could stand here for the measure (length, breadth and the like) of the viņā concerned. For example, kinnarī, the viņā with frets has been described in SRVI,