vidārī technical_term

TRANSLATION ¹³ [2. The definition of amsa] [Anu. ¹²⁰] After this amsa is being spoken of; that is known as tenfold according to the division of its angas (lit. limbs, here functions). Anisa is that which leads to the manifestation of raga (delight) in the course of its operation; this is its first (function). And the second anisa (in its functioning) is that with which gīta (melodic organisation and performance) begins and proceeds, which is vikalpita (alternatively arranged) as graha, this is its second (function). That amsa is third (in its functioning) which is the cause of the manifestation of tāra (high) and mandra (low). The ascent up to the fifth svara is (the range of) tāra (high); sometimes even the ascent up to the sixth svara is tāra, just as in gāndhārī (jāti) şadja is tāra, ni-dha-ni-dha-sā, thus is (its illustration). Just as it (aṁśa) is the regulator of tāra, similarly the svara that is the regulator . ofmandra is also amsa on account of descent in seven svaras. Just as in the ṣāḍjī (jāti) with pañcama as theamśa there is (descent in seven svaras) - as sā -s\bar{a} - s\bar{a} - dh\bar{a}^{14} in its svasthāna 15 (section of melodic elaboration). That is also aṁśa which is used profusely; this is the fourth (function). That svara is also amsa which stands as the object (here content) of raga; this is the fifth (function). That is also amsa which is perceptible in (the operation of) graha, apanyāsa, vinyāsa, samnyāsa (and) nyāsa; this is the sixth, seventh, eighth, ninth and tenth (function).¹⁶ [The definition of apanyasa forming part of that of amsa [Anu. ¹²¹] ^• That is apanyāsa, where gīta (melodic rendering) is supposed or appears to be ending; this occurs in the middle of all vidārīs (sub-sections). That vidārī is of two kinds, viz. gīta-vidārī 17 (sections of melodic structure) and pada-vidārī 18 (splitting of the melodic- cum-textual units). (Contention) What is signified by the word vidārī (?) It is the splitting or separating of p\bar{a}das^{19} (feet), the pes\bar{i}^{20} (lit. muscle) i.e. section of a g\bar{i}ta (melodic structure) could be (understood) as such. [The definition of samnyāsa forming part of that of aṁśa] [Anu. ¹²²] Now samnyāsa is being said. The nyāsa (final svara) is called samnyāsa when

23 TRANSLATION. with which gita (tonal structure) is 'placed', left or ended is nyāsa. That nyāsa is twenty-one in number. That is - ṣaḍjā has one nyāsa as ṣaḍja, thus should be understood the nyāsas in the eighteen jātis. The purport is that (nyāsa) should be done at the end of the anga (lit.body of the tonal structure). [10. The definition of apanyāsa] [ Anu. 131 ] Now he (the author) spoke (speaks) of apanyāsa; apanyāsa does not occur in the end (of the gita). Apanyāsa occurs before the end of the prayoga (performance). And that is of fifty-six kinds, it should be understood as occurring within the gitas. Where the gita appears to be ending, that is apanyāsa. That occurs within the vidārīs (sections or sub-sections). The implication is that it is within the body of the gita. (It operates) thus - in ṣaḍjagrāma the ṣaḍjamadhyā jāti has seven apanyāsas, ṣaḍjodīcyavā has two, (and the remaining) five have three each and thus they are twenty-four. The rest (thirty-two) are in madhyamagrāma. Similarly has said Bharata - "Nyāsa occurs at the end of anga (lit.body) and that should be made twenty-onefold. This one named apanyāsa is fifty-six in number." (Cf. NŚ XXVIII.72) Thus end the tenfold ^{40} characteristics of jāti. [5. Optional and alternative prescription of amsa and the like in jātis] In ṣāḍjī there are five amśas, omitting mṣāḍa and ṛṣabha, gāndhāra and pañcama are apanyāsas and then there is sangati (coming together or concert) of ṣaḍja-gāndhāra and ṣaḍja-dhaivata. Its ṣāḍava (form) is (made) through (the omission of) niṣāda. There is no auduvita form in this (jāti).