Abhinavagupta proper_name
Dictionary: ✓ Abhinavagupta (proper_name) ·
Pages: 18 ·
Occurrences: 18 ·
Affirmations: 9 ·
Graph degree: 27 (in 6, out 21)
Variants (1):
Abhinavagupta (18)
Pseudocode (DSL v1.1) ↗ full DSL (raw text)
RULE id: abhinavagupta (cluster 13) SCOPE: proper_name family STATUS: canonical CONFIDENCE: canonical PROTECT: true
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 (20)
--[attribution]--> śrutis (2)--[attribution]--> Kalā (1)--[citation]--> gandharva (1)--[attribution]--> mārdava (1)--[citation]--> Sāmaveda (1)--[attribution]--> NŚ XXVIII (1)--[citation]--> NŚ XXVIII (1)--[attribution]--> utkarşa (1)--[attribution]--> apakarşa (1)--[attribution]--> āyatatva (1)--[attribution]--> viņā (1)--[attribution]--> Nāṭyaśāstra (1)--[citation]--> Nāṭyaśāstra (1)--[attribution]--> vaigunya (1)--[attribution]--> nidarsana (1)--[attribution]--> nigraha (1)--[attribution]--> Abhi (1)--[attribution]--> svaras (1)--[attribution]--> paryagraha (1)--[attribution]--> vāgindriya (1)
Incoming (6)
Abhi Bhā --[citation]--> (1)Abhinava Bhāratī --[relation]--> (1)vāgindriya --[definition]--> (1)mattakokilā --[attribution]--> (1)mandrakriyā --[definition]--> (1)tārakriyā --[definition]--> (1)
Affirmations (9)
Abhinavagupta interprets kalā in the context of alaṅkāras as standing for śruti
"Abhinavagupta comments that kalā here, stands for 'sruti'."
143
PÄŢHA VIMARŚA
29. MS B reading as noticed by the ed.
30. cf. ओहाटी कम्पितेमंन्द्रेमृंदुद्वततरै स्वरै ।
हुकारीकारयोगेन हुन्नचस्ते चिबुके भवेत् ॥
(SRII, 1.5)
31. This is a single-unit phrase included, perhaps, in order to bring about a
sense of completion on the high sadja; similarly at the end 'magarisa' would
serve the same purpose by ending on the low şadja.
32. 'dhanisa' here and 'garisa' at the end seem to have been included in
order to bring about a sense of completion; it is notable that these two are
single-unit phrases, as distinct from the triple-unit phrases in the rest of the
illustration.
33. P.t. is confused and contains long solfa-syllables.
34. P.t. adds 'nandyantyalankāraḥ' which does not seem to have any relevance,
because nandayanti is well known as the name of a jāti.
35. P.t. reads - ज?्ञेयादोतदलक्द्वारादमीलक्षणलक्षिता ( ? )
Reconstruction has been made by us on grammatical and contextual
considerations.
36. This line has been added from NŚ XXIX, 33 ab, variant recension.
37. P.t. e ( kā ) ( de?da ) śa.
38. P.t. reads oतप्रचकोरो हसितो न (?)
39. P.t. reads 'vidhṛto', the ed. notes that vidhuta has been read earlier in the
text. NŚ XXIX, 26, variant recension and NŚ Chau. XXIX, 37 read 'vidhumo'. We
have accepted 'vidhuta' because of its first occurrence and also because it makes
sense as 'shaken off'.
40. 'Naiteṣām' of P.t. has been reconstructed according to NŚ XXIX, 26, P.t.
is grammatically incorrect; it is further confused as -
धुवास्विष्ट अति वर्णा प्रकर्षणा ( ? )
41,42. NŚ XXIX, 26 reads 'śrutivarņa', but Abhi Bhā on the same reads
atiprakarşa; 'ati' is a better reading than śruti because śruti does not seem to fit
into the context and excessive stretching is avowedly undesirable in dhruvās.
43. Variant reading noted in G.O.S. edition.
44. P.t. reads धनिह्तवर्णप्रकर्यस्तु धुवाणा ( ? )
45. This line has been added by us from NŚ XXIX, 28.
46. P.t. reads prayo (ne?ge).
47. NŚ XXIX, 30 ab also reads 'prayoge' but it has been modified as
'prayogam' according to Sanskrit idiom; the 'yatra' of P.t. has been changed to
ye'tra on the basis of the reading in NS, ibid.
48. This verse has been added from NS XXIX, 50 cd and 51 ab, variant
recension.
49. This line has been added from NS XXIX, 53 ed, variant recension.
50. MS B reads 'prasādayati, as noticed by the ed.
51. Reading of NS XXIX, 55 d, variant recension.
52. Reconstruction based on ibid. 58d.
Abhinavagupta made a remarkable contribution in the conception of the autonomy of musical note
"As for the distinction between vowel and musical note, Abhinavagupta has
made a remarkable contribution in the conception of the autonomy of musical
note"
<sup>149</sup>
VIMARŚA
As for the distinction between vowel and musical note, Abhinavagupta has
made a remarkable contribution in the conception of the autonomy of musical
note; this will be dealt with under the definition of svara in our text.
16. In language vyañjana, consonant ( lit. the act or instrument of mani-
festation ) is the phonetic unit that brings about specificity, but it can be
pronounced only with the help of vowel, otherwise it is impotent or ineffective.
Hence svara has been identified here with the śakti (supreme energy or power)
that lends the state of Siva to vyanjana (cf. Gandharva Tantra, IX. 17 and
Garland of Letters, p. 260). The underlying idea is that Siva obtains His state
only from the association with Sakti, otherwise it is like Sava (a dead body).
Sakti is identified with ikāra ( the vowel 'i' ). ( cf. citation from Saktikāgama in
Sabdakalpadruma Pt. V, p. <sup>5</sup>)
17. Svarūpa (lit. own form) means the phonetic form of word and
sentence without reference to meaning. The whole world being a manifestation
of dhvani (sound), the very form of word and sentence without reference to
meaning, delineates or 'paints' the world because this form itself is a stage of
manifestation that in itself is the basis of further manifestation.
18. The sentence is the basic semantic unit, the 'word' becomes meaningful
when it forms part of a sentence. This is the point of view of grammar ( vyākaraņa )
which is mentioned here.
19. Pada is defined by Pāṇini (Aṣṭā I, 4.14) as that which combines the
suffix sup or tin (nominal or verbal suffixes), it is not just a combination of
syllables.
20, 21. Kāraka is not co-extensive with 'case'. It is instrumental in bringing
about the action denoted by verb (Monier Williams), Kāraka is the hetu or
nimitta (cause) of kriyā (action). There are six Kārakas according to Pāņini,
viz. kartṛ, karman, karaṇa, sampradāna, apādāna and adhikaraṇa. The sambandha
(genitive case) is not accepted to be a Kāraka, because 'it ordinarily expresses
the relation of two nouns to each other, but not the relation of a noun and a
verb.' ( Monier Williams )
The sentence is formed with padas that have sup or tin suffixes combined
with nouns and verbs respectively, standing, in turn, for kāraka and kriyā.
22. Mahāvākya has four primary connotations as follows -
(a) An aggregation of sentences where the apprehension of the meaning of
the individual components (sentences) leads to the apprehension of the total
meaning of the aggregate, just as in the aggregate of five components in the
nyāya-vākya used for inference. This is the view of nyāya.
(b) An aggregate of sentences where one sentence is primary and the others
are secondary. This is the view of Mimāmsā.
(c) A sentence that expresses deep philosophical meaning. This is the view
of Vedanta where sentences like tattvamasi (thou art That) aham brahmasmi (I
am brahman ) etc. are accepted as mahā-vākyas.
(d) A simple aggregate of sentences as in Rāmāyaņa, Mahābhārata or any
literary composition.
Abhinavagupta discusses vaigunya in indriya and its relationship to excess or loss in svaras
"Under indriya
Abhinavagupta includes vāgindriya ( the human organ of speech ) in the
primary sense"
VIMARŚA
157
upavāda and daņļa and due to utkarşa (augmentation) or apakarşa
(diminution ) of tone in the string (vide Abhi Bhā). Under indriya
Abhinavagupta includes vāgindriya ( the human organ of speech ) in the
primary sense, but says that secondarily the fingers as well as frets ( on the
viņā) could also be said to be the seat of vaigunya or discrepancy.
It is notable that while NS speaks of the 'excess' or 'loss' occurring in
svaras, our text speaks of the threefold division of sruti (object of hearing) on
account of indriya-vaigunya, which itself is threefold viz. inborn, born of some
imbalance in the three humours and born of accident. This seems to apply to
the human voice alone.
Kallinātha (SRI, p. 71) says that indriya in this passage of BrD means
manas (mind), the sahaja mind being composed of sattvaguna, the dosaja
being full of rajas and tamas and the abhighātaja being attacked by the rasas
(tastes) known as amla (sour) etc. He seems to imply that the state of mind
affects the voice and thus sruti (the object of hearing) could be threefold
according to the three states of mind.
Thus while NS speaks of the vaigunya (discrepancy) both in the stringed
instrument and voice and Kallinatha places the discrepancy in the mind leading
by implication, to discrepancy in the voice, our text does not throw any light on
the meaning of indriya. It appears, however, that Matanga is referring to the
vāgindriya (organ of speech).
9. Here again the author is referring to the fourfold śruti (object of
hearing) on the basis of the fourfold division of voice according to the
predominance of vata (lit. air), pitta (lit. bile) and kapha (lit. phlegm), the
three humours of the human body according to Ayurveda and sannipāta
( admixture of the three ). This division of voice has been expanded in great
detail in SR (III, 39-67) under the heading sabdabheda. It is interesting to note
that our text has mentioned this classification of voices under the types of śruti.
10, 11, 12. Vāta, pitta and kapha are known in Ayurveda as the three dhātus
(humours) that 'hold' the body, the three 'doşas' that represent an imbalance
or disorder in the three and the three males or dirt arising out of them. The
gross manifestation of these three is wind or gas, bile and phlegm, but they are
also subtle like the bhūtas. Vāta represents all movement or dynamism, pitta
represents all heat and energy and phlegm represents the static aspect; the
three could also be equated with sattva, rajas and tamas guņas respectively.
The classification of human voice according to these three is based on the
predominance of each of these. The voice being a part of the human body, is
affected by the constitution of the body dependant on the predominance of
one or the other of the three dhātus in different bodies.
(cf. Car Sam Sūtrasthāna and Cikitsāsthāna)
13. Snigdha is very difficult to translate; it is the antonym of rūkṣa which in
English could be translated only as 'dry', but dryness could be related to water
when it is called śuṣkatā and it could also be related to oil or butter or any other
similar substance, the common name for which is 'sneha' i.e. the absence of
'sneha' is also a form of dryness called rūksatā. Incidentally, sneha also means
Abhinavagupta commented on the mutual relativity of utkarşa, apakarşa, āyatatva, and mārdava in the context of viņā
"Abhinavagupta
commenting on this passage of NS explains the mutual relativity of the
constituents of both the pairs"
VIMARŚA
<sup>159</sup>
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. <sup>20</sup>
Sāraņā
M
Utkarşa ( of gandhara )
p. 26
Mūrchanā-grāma
Mărdava (of dhaivata)
p. <sup>26</sup>
Utkṛṣṭa ( niṣāda )
p. <sup>32</sup>
Svara-sādhāraņa
(gāndhāra)
p. <sup>32</sup>
<sup>99</sup>
Mārdava-āyatatva
p. 20
Measure of sruti
×
Ayatatva
XXVIX
p. 37
Sruti-jāti
Mṛdutva
p. 37
Viprakarşa-mārdava
XXVIII
p. <sup>27</sup>
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
Abhinavagupta authored commentary on the Nāṭyaśāstra (NS) explaining the relativity of pitch changes and the concept of nidarsana
"Abhinavagupta says that on account of this relativity the respective
order of the constituents of the two pairs is not maintained"
<sup>161</sup>
VIMARŚA
commenting on NS XXVIII, 1. He says there that even if an untrained person
'hits' a mūrchita (tuned) vīṇā, the sound produced will be musical (in tune)
i.e. svara will be attained. Since the tuning has to take effect only in one of the
mūrchanās, the name mūrchanā for tuning is justified. Kālidāsa (Megha. 84) has
used the word murchana in the same sense when he says for the Yakşi that again
and again she forgets the mūrchanā made by herself.
30. This prescription of establishing the two viņās in sadjagrāma immediately
after the mention of murchana appears to be rather queer, but the apparent
repetition could be justified if the mention of 'mūrchanā' is taken to refer to
equality in tuning, pure and simple and the later mention of sadjagrāma is
accepted as the specification of tuning. The construction of the sentence
implying that equal tuning is to be done first and then the viņās have to be
established in sadjagrāma which itself is a tuning, will have to be ignored as the
initial reference to tuning is a part of the general prescription about perfect
equality between the two viņās and the second reference relates to special
tuning.
31,32. The qualification of śruti as şadjagrāmiki and madhyamagrāmiki could
be interpreted in two ways, viz.-
(a) 'Sruti' could be taken here as standing for sound in general; accordingly,
the total tuning of each grāma could be referred to as śruti in singular number.
(b) The interval of sruti perceived through apakarşa (lowering) of pañcama
is madhyamagrāmikī śruti and the same interval being perceived through the
utkarșa (augmentation) of pañcama is called șadjagrāmiki. It is to be noted that
the utkarşa of pañcama is not actual but only 'resultant' because it comes into
.
being when all the other svaras are lowered in accordance with the lowering of
pañcama so that the samvada of şadja-pañcama that was disturbed on account of
the lowering of pañcama is restored.
33. In the mention of the restoration of sadjagrāma, the process i.e. the
'utkarşa' (augmentation) of pancama is implicit. In NS (XXVIII, p. 20) it is
made explicit by the expression pañcamasyotkarşa-vasat i.e. by reason of the
augmentation of pañcama.
34. The idea is that all the svaras on the mobile (cala) viņā are lowered by
one śruti, but this process does not prove the interval of any svaras in terms of
śruti since there is no svara in this system, that manifests on consecutive śrutis;
the gap or interval of one śruti is indispensable.
35. The word 'tadvat' has raised a big controversy among modern scholars.
It has been generally interpreted to mean "in the same manner" literally, giving
the sense that the second step of this process of demonstration of śrutis has to
begin again with the lowering of pañcama. Three opinions are notable in this
context.
(i) V.N. Bhatkhande (cf. Hindustani Sangita Paddhati, Hindi translation,
Vol. IV, p. 37). He has inferred that since all the four steps start with the
lowering of pañcama, the value (in pitch) of all the four lowerings is identical
and hence all śrutis are identical according to Bharata.
(ii) Omkarnath Thakur (cf. Praņava-Bhāratī, p. 61-86) has accepted that all
Abhinavagupta explained nigraha and paryagraha as alternatives paired in the context of omission
"the pair has been explained by Abhinavagupta ( vide Abhi Bha on NS XXVIII, p. 27)"
<sup>181</sup>
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,
Abhinavagupta has commented on the variant recension of NS XXIX
"This reading forms part of the variant
recension of NS XXIX; Abhinavagupta has not commented on it."
VIMARŚA
<sup>189</sup>
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
<sup>2</sup> mātrās
<sup>1</sup>. Citra
<sup>4</sup> mātrās
<sup>2</sup>. Vārtika or vṛtti
<sup>8</sup> mātrās
<sup>3</sup>. 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 <sup>1</sup>
Abhinavagupta commented on Nāṭyaśāstra XXVIII.10 regarding the idea of Gāndharva being born of Sāmaveda
"Abhinavagupta commenting on NS XXVIII, 10 has dwelt upon the idea of
Gāndharva being born of Sāmaveda."
<sup>1</sup>
Ė
<sup>151</sup>
VIMARŚA
ì
2. Gita (lit. song or the act of singing) stands for the melodic aspect of
music which is rendered through the voice or stringed and wind instruments.
BṛD does not mention vādya along with gīta here, nor in verse 14 where desī
music is defined as 'that which is sung.' Since voice sets the model followed by
stringed and wind instruments, gita is the word for the melodic aspect of music
and the content of the above instruments is included in it. This extension of the
meaning of gita gets established when the word vādya is juxtaposed with it,
because in that case vādya gets restricted to drums. But here, in absence of that
juxtaposition, gita would acquire a further extension by way of also including
vādya in its orbit. Hence gīta stands here for the totality of music. It is notable
that gita is followed by svara in this verse. This looks like a repetition because
svara is the main constituent of gita. This could be construed as an emphasis on
'svara' through an independent reference to it.
3. Nrtta generally stands for pure dance where the delineation of artha
(meaning) of kāvya (poetry, literature) is not intended (vide NŠ IV, 263).
Nṛtta is dependent on nāda, because it has to be accompanied on instruments,
specially drums.
4. The statement that the world is made up of nāda seems to be somewhat
out of place here, because the context is that of nada being the essence of
music and dance. But if one recalls the exposition of the order of manifestation
or formation of gandharva beginning from bindu and moving forward through
nāda - mātṛkā - varṇa - pada - vākya - mahāvākya - to Veda ( alongwith its
auxiliary disciplines), it would become clear that 'gīta' (representing gāndharva)
incorporates all the stages upto gandharva and hence the fundamental nature
of nāda as established in gīta could be logically extended to the 'world' because
the world or phenomenon itself is a manifestation of nāda through the above
stages. SR expresses the same idea in the following manner -
"Nāda manifests the letters ( of alphabet ), letters constitute the word and
words make a sentence; so, the entire business of life is carried on through
language and therefore, the whole phenomenon (i.e. the world) is based on
nāda". (SR1, <sup>2</sup>.2)
Just as SR has related the business of life with nāda through verbal
communication that is based on the same, BrD has used gita in an extended
meaning, including in it all the manifestations of nada and has expounded nada
to be the essence of the whole world.
It would be interesting to note here that S R also speaks of nāda being the
essence of gita, vādya and nṛtta but the 'world' is not connected with nāda in
that context.
"Nāda is the very essence of vocal music, instrumental music is enjoyable as
it manifests nāda. Nṛtta (dance) follows both (i.e. vocal and instrumental
music); therefore, all the three together depend on nāda". (SRI, 2.1)
5,6,7,8. Brahmā, Viṣṇu and Maheśvara (Śiva) form one group as Trideva
(three gods), representing three aspects of the manifestation of the Ultimate
Reality into the phenomenon of the universe, viz. creation, preservation and
destruction. Although the three of them occur in Vedic literature, yet the idea
Abhinavagupta commented on Natyashastra XXVIII, 22 regarding anuranana and rañjakatā
"(Abhi Bhā on NS XXVIII, 22, p. 13)"
VIMARŚA
<sup>169</sup>
6, 7. The author seems to be speaking of svara at the same level at which
sabda has been treated as eternal and vibhu (all-pervading) by several systems
of philosophy, e.g. grammar, mimāmsā.
8. The infinity of svara, as propounded here, could be understood in two
layers viz. (i) the infinite melodic combinations and permutations of the seven
svaras (ii) the multi-farious shades of intervals coming into usage on account of
various relationships between svaras established on account of variety of
melodic phrasing involving leaps, glides, pauses etc. Jāti, the initial form of
melodic configuration and bhāṣā, the derived form of rāga have been
mentioned here for indicating the infinity of variety in melodic phrasing that
brings about the infinity of svara. Raga has been omitted here, but its relevance
could be inferred on the basis of its derivative bhāṣā.
9. The statement that svaras are combined with padas means that syllabic
units are combined with svaras when the latter are rendered. These (units)
could be meaningful linguistic units or non-sensical so far as linguistic meaning
is concerned. Pada has been thus defined by Bharata -
यत् स्यादक्षरसम्बद्धं तत्सर्वं पदसन्नितम् ।
( NŚ XXXII, 28 ab )
"Whatever is formulated with syllables, all that is called pada".
Thus meaningfulness is not a condition for pada in music. Tonal rendering
with the voice is usually combined with syllabic units, e.g. in the ālāpa in
dhrupad, syllabic units like nom tom diri etc. are used. NS also prescribes the
following (and a few more) syllabic units known as padas spoken of by Brahmā
for nirgita (music devoid of meaningful text, rendered mainly on stringed and
wind instruments, accompanied by voice )-
झण्दु जगतिय दिगिनिगि तितिझल कुचझल
( NŚ XXXI, 104 )
It will be seen that these are formulated units of four-matras (time-units)
each. If the voice renders svaras without padas (meaningful or non-sensical
syllabic units) then it is combined with vowels like a, i, u etc. which themselves
are primary units of pada. Hence the combination of svara with pada is spoken
of.
10. In Indian music svaras are not used in a plain or unornamented way;
hence alaṅkāra is mentioned here. The concept of alaṅkāra will be discussed in
the respective section.
11. The prescription of the use of specific svaras in the context of different
rasas dates back to NS. It will be discussed under the reproduction of this
prescription in our text later in this section.
12,13. Pāršyadeva refutes the view that svaras are indestructible and all-
pervading (vide Sam S Sa, p. 12). His argument is that since svara is heard in
a limited time and space and not for all times or everywhere, it could not be
said to be indestructible or all-pervading.