apanyāsa svara_role

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).

E. ²⁷ TRANSLATION In gāndhārī, the two (svaras) that are not amśas viz. ṛṣabha, dhaivata are always to be omitted respectively (for making ṣāḍava and auḍava forms). Şadja and pañcama are to be known as the two apanyāsas. One should move from dhaivata to ṛṣabha. In raktagāndhārī, almost everything is like this (gãndhārī), but madhyama is apanyāsa. Dhaivata and niṣāda have to be accorded abundant usage. Sañcāra (to and fro movement) is to be rendered in this (jāti) between ṣaḍja and gāndhāra by the performers. (222-224) Gāndhārodīcyavā is mostly similar to şadjodīcyavatī. Şadja and madhyama are the two amsas and the auduvita (pentatonic) form is not desirable in it. (225) In madhyamā there are five amśas, excepting the two svaras composed of two śrutis each (viz. gāndhāra-niṣāda). These two are omitted for (forming the ṣāḍava and auḍuva) varieties respectively i.e. ṣāḍava is formed by omitting gåndhåra and auduva by omitting gåndhåra-niṣāda. Şadja and madhyama are abundant. (226) Madhyamodīcyavā is like gāndhārodīcyavā. It is always made of seven svaras; pañcama is amsa in it. (227) In pañcamī, ṛṣabha and pañcama have been said by the gurus to be aniśas. These two alongwith niṣāda are apanyāsa and there is the sangati (concert) between madhyama and ṛṣabha. Ṣaḍja, madhyama and gāndhāra are sparse.

¹¹.1 BRHADDEŚĪ ²⁸ ज?्ञेयो गान्धारपञ्चम्या पञ्चमोऽशः प्रयोक्तभि। ·सर्षभः स्यादपन्यासो न्यासो गान्धार इष्यते ॥२३०॥ (नांयासौ?न्यासो) ¹⁰⁰⁰ गान्धार्यामथ^७० पञ्चम्या यत्सञ्चारादि कीर्तितम् । (T) ন: तदस्यामपि विज?्ञेयं किन्तु पूर्णस्वरा सदा ॥२३१॥ आन्ध्र्यामनंशा विज?्ञेयाः षड्जमध्यमधैवताः । अन्यू षाडवं षड्जहीनं.स्यात्र्यासो गान्धार इष्यते ॥२३२॥ तु न्यासो^७८ नन्दयन्त्यामपन्यासौ ज?्ञेयौ मध्यमपञ्चमौ । न्सो ग्रहो न्यासश्च गान्धारः पञ्चमोंऽशः प्रकीर्तितः ॥२३३॥ आन्ध्रीवत् षाडवं ज?्ञेयमनौडुवितमेव च। पो॰ प्नो॰ स्यान्मन्द्रर्षभसञ्चारो लङ्घनीयश्च स क्वचित् ॥२३४॥ (ন্দ?< कार्मारव्यामनंशास्तु षड्जगान्धारमध्यमा । व्यञ्चमा^७९ पूर्णता, पञ्चमो न्यासो गान्धारगमनं बहु ॥२३५॥ कैशिक्यामृषभोऽनंशो न्यासौ तु द्विश्रुती[स्मृतौ]। न्ती +++ ऋषभो धैवतश्चैव हेयावस्या यथाक्रमम् ॥२३६॥ ८॰पञ्चमोऽपि भवेत्र्यासो निषादेंऽशेऽथ धैवते । (व?वे)न्या(सी?सो) ¹³⁶ ¹³ ऋषभः स्यादपन्यासः कैश्चिदुक्तोंऽशवत् तथा ॥२३७॥

BRHADDEŚÏ ⁵⁰ पञ्चस्वरपरा तारगतिः । न्यासपरस्तत्परो वा मन्द्रः । (Y) [अनु॰ १५३] गान्धारादिमूर्छना । तालश्चच्चत्पुटः । दक्षिणे कला द्वात्रिंशत् । [वार्तिके षोडश ।] चतुष्यष्टि चित्रेऽष्टौ । दशविधत्वं चास्याः । दशांशाः - शुद्धः, त्रयो विकृताः पूर्णा[:, त्रयः षाडवाः, त्रय शुद्धास्त्रयो औडुवाश्चेति] । रसश्च करुणः । ध्रुवागाने प्रथमप्रेक्षणके विनियोगः । [५. षड्जकैशिकी] [अनु॰ १५४] षड्जकैशिक्या[:] षड्जगान्धारपञ्चमा ग्रहा अंशाश्च । पञ्चस्वरपरस्तारः । न्हा न्यासपरस्तत्परो वा मन्द्रः, नित्यसम्पूर्णा च । धैवतनिषादमध्यमानामल्पत्वम् । - ऋषभस्याल्पतरत्वम्, थैवतनिषादग्रहा । मध्यमानामल्पत्वम् शेषाणा बहुत्वम् , न्यासस्तु गान्धारः । षड्जनिषादपञ्चमा अपन्यासाश्च । (ऋ ? ञ्य)सत्तु गा(माग ? ञ्य)ः। (ना ? न्या)सस्तु गा(मागा ? न्या)रः । [अनु॰ १५५] नास्या शुद्धत्वम् , अंशका पूर्णास्त्रयः। चच्चत्पुटस्तालः । एककले चित्रे मागधी गीति, अस्या शुद्धत्वमंशका पूर्णाश्चन्यत्पुटस्तालः द्विकले वार्तिके सम्भाविता, चतुष्कले दक्षिणे पृथुला । रसश्च करुणः । प्रथमप्रवेशगीते द्वितीयप्रेक्षणके विनियोगः। [६. षड्ज?ोदीच्यवा] [अनु॰ १५६] षङ्ज?ोदीच्यवाया षङ्जमध्यमधैवतनिषादा ग्रहा अंशाश्च । पञ्चस्वरपरस्तारः । न्यासपरस्तत्परो वा मन्द्रः । ऋषभहीनं षाडवम्, ऋषभपञ्चमहीनमौडुवितम् । ^१५२पूर्णावस्थायामृषभ-

BŖHADDEŚĪ ⁵² पञ्चमयोरत्पत्वम् । ^१५३गान्धारस्यांशत्वे[ऽ]प्राप्ते[ऽपि] बाहुत्यम् । षाडवे पञ्चमस्यात्पत्वम् पद्ज?ागान्धारपञ्चमयोरलपत्वम् , औडुविते न कस्याप्यल्पत्वमशेषाणा बहुत्वम् । मध्यमो न्यासः । ऋषभधैवतावपन्यासौ । अंशाना परस्परगमनम् । [अनु॰ १५७] १५४एकादशविधत्वमस्याः। एकादशांशकाः -पूर्णाश्चत्वारः, षाडवास्त्रयो धैवतांशे तदपवादाद् औडुविताश्चत्वारः।शुद्धस्तु नास्ति।गान्धार[ादि]मूर्छना।तालः पञ्चपाणिः।एककलेन चित्रेण मागधी, द्विकलेन वार्तिकेन सम्भाविता, चतुष्कलेन दक्षिणेन पृथुला । रसौ शृङ्गारहास्यौ । ध्रवागाने द्वितीयप्रेक्षणके विनियोगः। [७. पड्जमध्यमा] [अनु॰ १५८] षड्जमध्यमाया ग्रहा अंशाश्च सप्तैव स्वराः। पञ्चस्वरपरस्तारः। न्यासपरस्तत्परो वा मन्द्रः ॰हाः निषादहीना षाडवा । निषादगान्धारहीना औडुविता । ग्रामाविरोधेन यथेष्टं सञ्चारः । पूर्णावस्थाया निषादगान्धारयोरल्पत्वम् । षड्जमध्यमौ न्यासौ । सप्तस्वरा अपन्यासाः । क्खरापन्या (सः ? सा) [अनु॰ १५९] सप्तदशांशकाः – तत्र सप्त पूर्णाः, पञ्च षाडवाः, पञ्च औडवाश्चेति ^१५५सप्तदशविधत्वमस्या । एतदंशकाश्रत्वारः पाडवाः। तथैव थैवतेंऽशे पाडवानाम् औदुविताश ^१५६दशिंधत्वमस्या शुद्धत्वं नास्ति । मध्यमादिमूर्छना । तालः पञ्चपाणिः । एककलेन चित्रेण मागधी, द्विकलेन (F) वार्तिकेन सम्भाविता, चतुष्कलेन दक्षिणेन पृथुला । सर्वरसात्मिका, ध्रुवागाने द्वितीये प्रेक्षणके विनियोगः । ॥ [इति] एताः षड्जग्रामसम्बन्धाः सप्त ज?ातयः ॥ [अनु॰ १६०] इदानी मध्य[म] ग्रामसम्बन्धा ज?ातय उच्यन्ते - ---

1 ⁵⁹ TRANSLATION (3) mā gā rī gā mā mā sā sā (4) [mā magama mā mā nidha padha pama gamama] (5) dhā padha pari riga maga riga sadhasa sā (6) nidha sā rī magama mā mā mā mā (7) mā mā magama madha dhapa padha pama gamaga (8) dhā padha pari riga maga riga sadhasa sā (9) mā mā dhani dhasa dhapa mapa pā pā (10) mā magama mā nidha padha pamaga gā mā (11) dhā padha pari riga maga riga sadhasa sā (12) nidha sā rī magama mā mā mā mā Thus ends şadjamadhyamā. [2. Gāndhārodīcyavā] In gāndhārodīcyavā, ṣadjaand madhyama are the two amśas. The hexatonic is known to be with the omission of rşabha. In the state of completeness there is the sparseness of svaras other than those that are anisas. (4) In the hexatonic form, niṣāda, dhaivata, pañcama and gāndhāra are said to be sparse. Saigati (concert) between ṛṣabha and dhaivata should be known and the mūrchanā beginning with dhaivata obtains. (5) The tāla should be known as caccatpuța. Sixteen kalās (time units) are said to obtain. Its application (viniyoga) is accepted to be in the singing of dhruvā in the fourth act. (6) Madhyamais the nyāsain this (jāti). Ṣaḍja and dhaivata are apanyāsas. The prastāra is thus - (1) sā sā pā mā pā dhapa pā mā (2) dhā pā mā mā sā sā sā sā (3) dhã nĩ sã sã mã mã pã pã (4) ករី ករី ករី ករី ករី ករី ករី ករី (5) mã mã dhã nisa nĩ nĩ nĩ (6) mā pā mā pari gā gā sā sā

1 ⁶¹ TRANSLATION gā gama pā padha mā dhani pā pā (7) rī gā sā sadha nī nī dhā dhā (8) gā riga sā sani gā riga sā sā (9) sã sã sã mã mani dhani nĩ nĩ (10) mā pā mā pariga gā gā sā sā (11) gã sã gã sã mã pã mã pariga (12) gã gã gã gã gã gã sã (13) ni ni pā dhā ni gā gā gā (14) ni ni dhā pā dhā pā mā pā (15) dhã pã mã mã mã mã mã mã (16) Thus ends gändhärodīcyavatī. [3. Raktagāndhārī] Five svaras excepting dhaivata and ṛṣabha are amśas in raktagāndhārī. The proximity and combination of șadja and gāndhāra is brought about by leaping over rşabha. (7) The hexatonic and pentatonic forms are said to come into being with the omission of rşabha and rşabha-dhaivata respectively. There is the abundance of niṣada and dhaivata. Pañcama as amsa is averse to the hexatonic form. (8) Ṣaḍja, niṣāda, madhyama and pañcama are averse to the pentatonic form. Ṣaḍja and gāndhāra are in concert. (The tāla) paūcapāṇi and the like are as in şādjī. The mūrchanā beginning with ṛṣabha obtains. (9) The application is (prescribed) in the dhruvā pertaining to the third act. (10) Gāndhāra is the nyāsa in this (jāti). Madhyama is the apanyāsa. The prastāra is thus – pā nī sā sā gā sā pā nī (1) sã sã pã pã mã mã gã gã (2) mã pã dhã pã mã pã dhapa maga (3)

⁶³ TRANSLATION mā mā mā mā mā mā mā mā (4) (5) dhā nī pā mapa dhā nī pā pā (6) mā pā mā dhani pā pā pā pā (7) rî gā mā pā pā pā mā pā (8) rī gā mā pā pā pā mā pā (9) pā pā pā pā pā pā pā pā (10) rī gā sā sā rī gā gā gā (11) gã gã pã dhama dhã nidha pã pã (12) mā pā mā pariga gā gā gā gā Thus ends raktagāndhārī. [4. Kaiśikī] In kaiśikī, the svaras other than ṛṣabha are aṁśas. When ni and dha are the amsas, then pancama alone is the nyāsa; otherwise the svaras with two śrutis (gāndhāra-niṣāda) are known to be nyāsas. Others, on the other hand, know niṣāda, gāndhāra and pañcama as nyāsas when niṣāda and dhaivata are amsas. (11) The hexatonic and pentatonic forms are known to come into being with the omission of ṛṣabha and ṛṣabha-dhaivata. Ṛṣabha is sparse, there is the abundance of niṣāda and pañcama. The amsas have mutual concert. (12) Pañcama and dhaivata are averse to the hexatonic and pentatonic forms respectively. (The tāla) pañcapāṇi and the like are as in ṣāḍjī. The mūrchanā beginning with gāndhāra obtains. (13) The application is (prescribed) in the dhruvā pertaining to the fifth act. Gāndhāra, pancama and niṣāda are nyāsas in this (jāti). Six svaras excepting ṛṣabha or seven svaras are apanyāsas. The prastāra is thus - (1) pā dhani pā dhani gā gā gā gā (2) pā pā mā nidha nidha pā pā pā

BRHADDEŚĪ 72 नी नी नी नी री री री री (११) री री मा नी सा सा नी नी (१२) पा पा मा गरि गा गा गा गा (१३) री री गा सम मा मा पा पा (१४) मा मा नी नी सा री गा पा (१५) (१६) रिग मा मा मा मा मा मा मा [॥ इत्यान्ध्री॥] अन्ध्री । म॥ [९. नन्दयन्ती] नन्दयन्त्या पञ्चमोंऽशो गान्धारस्तु ग्रहः स्मृतः । कैश्चितु पञ्चमः प्रोक्तो ग्रहोऽस्या गीतवेदिभिः ॥ २३॥ मन्द्रर्षभस्य बाहुल्यं षाडवं षड्जलोपतः। (मन्द्र) हृष्यका मूर्छना तालः पूर्ववद् द्विगुणाः कलाः ॥ २४॥ ^१८८पूर्वावद् ॰ना विनियोगो ध्रुवागाने प्रथमप्रेक्षणे भवेत् ॥ २५॥ ^१८९अस्या गान्धारो न्यासः । मध्यमपञ्चमावपन्यासौ । ^१९०प्रस्तारः - गा गा गा पा पा धप मा (१) धा धा धा धा नी सनि धा (२) पा पा पा पा पा पा पा (3) धा नी मा पा गा गा गा गा (8) मारी गा गा गा गा गा गा (4) मा पा मा पा धा धनि पा पा (६) धा नी मा पा गा गा गा गा (৩) (८) गम पा पा पा मा मा गा गा धा नी मा पा गा गा गा गा (9) (१०) मा मा मा मा मा मा मा री गा मा पा पम पा पा नी (११) री री री री पा पा मा मा (१२) The state of the state of the state of the state of the state of the state of the state of the state of the state of the state of the state of the state of the state of the state of the state of the state of the state of t

VIMARŚA ²⁹⁷ 35. Lack of regulation i.e. scope for free will in rendering is a characteristic of desi, but the import of 'sruti' is not clear. It could, perhaps, stand for 'aural appearance'. 36. See citation in the name of Nărada under Anu. 28 in chapter one of our text Vol. I. 'Svarāntara' literally means a different svara; its relation with the number four of svaras could thus be explained. The first three svaras are repeated as the last three of a heptad. The fourth known as madhyama comes in-between these two triads. Hence the fourth adds a 'different or new svara'. This could be the reason for giving the name svarantara to a group of four svaras. This name is relevant only for the first triad + the fourth, but its secondary application could be related to any group of four svaras. 37. Avakṛṣṭā dhruvā is described and illustrated in NS V on p.157, 158 of the supplement (variant reading) to the said chapter. The description ' (in terms of upohana or introductory portion and metre) is given below - "Five dhruvās should be performed in Pūrvaranga (preliminaries of drama), viz. utthāpanī in the beginning, then parivarta, avakṛṣṭā, aḍḍitā and vikşiptă” (p. 251). "The upohana in avakṛṣṭā dhruvā should be done in five kalās (time- units) with the syllabic units dingle dingle, two units of four short syllables each and jhantum in the end. Each foot of the dhruva is composed of sixteen syllables, the third, sixth, ninth, eleventh, fifteenth and sixteenth being guru (long) and the rest being laghu (short)." The illustration is as follows- Varadam saganam tripurāntakam vṛṣabhaketum/ Gajacarmapaṭamviṣamekṣaṇambhuvananātham/ Bhujagābharaṇaṁjagatāṁhitaṁbhuvanayoniṁ/ Praṇato'smi bhavantamumāpatim tvasitakantham/ 38. Antaramārga is mentioned in NŚ XXVIII (prose portion preceding verse 74 and in verse 75). The context is the same as that in our text, viz. alpatva-bahutva. The manipulation of sparseness and abundance of svaras in jātis on account of which a non-amsa svara also becomes abundant in a special context is antara-mārga. The literal meaning of this word is 'search for the inner path'. The root 'mārg' means searching. Abhi has said that 'antara-mārgaņa 'i.e. the search of the inner is antara-marga. What is this inner? This has to be understood in two ways. The first is in relation to the seven jātis named after svaras, which assume a two-fold form viz. śuddha and vikṛta. The second is in the context of eleven samsargajā vikṛtā jātis that are formed with a mixture of the above