yati technical_term

Dictionary: not in dictionary · Pages: 4 · Occurrences: 4 · Affirmations: 3 · Graph degree: 11 (in 4, out 7)

Variants (1): yati (4)

Generative rules (2) ↗ filter all

yati_definition_and_types enumeration · 2 att.
Yati = splits/pauses in metre; in tāla context = order/sequence of layas; three varieties: samā (constant), gopucchā (fast→slow), srotogatā (slow→fast).
yati_temporal_component relation · 1 att.
Yati is one of the temporal components (with tāla, gīti, laya, mārga) whose predominance manifests in vṛttis.

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

RULE id: yati (cluster 179)
SCOPE: technical_term family
STATUS: empirical
CONFIDENCE: empirical
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)

--[relation]--> mārga (1)--[enumeration]--> gopucchā yati (1)--[relation]--> gīti (1)--[enumeration]--> Samā yati (1)--[enumeration]--> Srotogatā yati (1)--[definition]--> tāla (1)--[relation]--> tāla (1)

Incoming (4)

citra mārga --[structural]--> (1)birudas --[structural]--> (1)vārtika mārga --[structural]--> (1)स्रोतोगता --[relation]--> (1)

Affirmations (3)

definition

p.vol_II_p168

english

conf 0.96

[show source]

Yati refers to splits or pauses in metre; in tāla context, it denotes the order or sequence of layas

"'Yati' is a word that stands for splitting or pause in metre. In tāla, yati means the order or sequence of layas. Here the first meaning seems to be relevant."

VIMARŠA 319 57. Ratigana is fourfold and is composed of two syllables each – SS, IS, SI, II. 58, 59. Dhātu-mātu stand for tonal-cum-rhythmic and verbal structure of a composition respectively. 60. Twice Rudra would mean 11 \times 2 = 22. 61. Bāṇagaṇa is of 16 kinds, each one composed of four syllables. 62. Here only the number of syllables is regulated and not their long and short order. 63. Alaghu - that which is not laghu or short. 64. No regulation of the order of long and short syllables is prescribed. 65. See notes 46, 52. 66. 'Yati' is a word that stands for splitting or pause in metre. In tāla, yati means the order or sequence of layas. Here the first meaning seems to be relevant. 67. This is again a reference to Matanga within the text. See note 3. 68. Samā yati is that where one and the same laya is sustained from the beginning to the end. 69. Şaţpadī means 'one having six feet '. Śaṅkarācārya's şaţpadī beginning with 'avinayamapanaya viṣṇo' is well - known. 70. Srotogatā yati is that where there is slow laya in the beginning followed by fast, like the source of a river that gradually gains speed in its current. Samā has been explained in note 68. 71. Gopucchā yati is the opposite of srotogatā; it is fast in the beginning and gradually becomes slow, like the end of the cow's tail which is first thin and then ends up with a thick bunch of hair. 72. See note 46. 73. 'Varṇadhvani' would literally mean 'the sound of syllables'; perhaps the contrast of a cluster of syllables in song, followed by a text-free tonal rendering is implied. 74. Mūrchanā is not known as a kind of gamaka. The combination of 'mūrchanā' with gamaka requires further investigation. 75- 79. Lāţa (approximately present Gujarat), Karṇāta (roughly present Karnataka), Gauda (roughly present Bengal), Andhra (roughly present Andhra Pradesh) and Dravida (roughly present Tamilnadu) are the regions selected for description of types of elā prabandha. Important omissions are Pāṇcāla, Avantī or Mālavā, Vidarbha etc. SR also mentions only the above five regions in this context. 80,81. The description of the regional specialities in the use of rhyme and alliteration is interesting indeed.

enumeration

p.vol_I_p104

english

conf 0.97

[show source]

Yati is the order of use of laya in a given piece, with three varieties: samā yati (constant), gopucchā yati (fast to slow), srotogatā yati (slow to fast)

"Yati is the order of the use of laya in a given piece. Either the laya remains constant all-through, that is samā yati, or it proceeds from fast to slow, that is gopucchā yati or from slow to fast, that is srotogatā yati."

VIMARSA 191 30,31. 'Pāṇi-vivartitam' of the text has been rendered by us as brought about by pāņi (graha). Lit. 'vivartita' would mean 'reflected'. The relative predominance of gita and vādya has been viewed here alongwith temporal factors like mārga, laya, yati (see note 34 below) etc. in NS XXIX, p. 101 ( prose portion not commented upon by Abhinavagupta and put by the editor within square brackets) and in S R VI, 168-170 as others' opinion. The following correspondences have been indicated in the above passages in NS and S R; BrD is in agreement with them here. Pāņi (lit. hand) is the word used in NS and Datti for graha (explained in note 20 above ). (The prose passage of NS referred to above does use the word graha). Vytti Giti Mārga Yati Pāņi or Avayava Laya Graha Citrā Māgadhi Citrā Druta Samā Uparipāņi Ogha Vytti Sambhāvitā Vārtika Madhya Srotogatā Sama Anugata Daksiņā Pythulā Daksina Vilambita Gopucchā Avapāņi Tattva 32. Tāla is the structured cycle for time-measure in music and dance, here this word seems to have been used in the general sense of the variable factors that operate tāla, like mārga, yati, laya etc. 33. Laya lit. means merging; the rest or pause immediately following an action is laya. The duration of a kriyā is determined by laya i.e. by the pause or intervening time between one kriyā (action) and another. Druta (fast), madhya (medium) and vilambita (slow) are the three layas that are progressively double, each succeeding laya being double of the preceding one i.e. the rest or pause is double and hence the tempo is slower. 34. Yati is the order of the use of laya in a given piece. Either the laya remains constant all-through, that is samā yati, or it proceeds from fast to slow, that is gopucchā yati or from slow to fast, that is srotogatā yati. 35. Vyanjaka lit. means manifestor, but here it seems to mean self-manifestor or manifested. 36. See note 34 above. 37. See note 33 above. 38. Uparipāņi is equated with anāgata graha ( see note 20 above ). 39. Ogha is one of the three types of gitanuga vadya (instrumental rendering that follows 'song'). When the instrument uses profuse strokes for each unit of 'song' or melody that is ogha. 40. See note 34 above. 41. See note 33 above. 42. Samapāņi is equated with sama graha. ( see note 20 above ) 43. Anugata (lit. follower) is a variety of gitānuga vādya (see note 39). It follows the song or melody, which means that it is not perfectly identical with the latter. 44. See note 34 above. 45. See note 33 above.

relation

p.vol_I_p070

english

conf 0.90

[show source]

yati is one of the temporal components whose predominance manifests in vittis according to its own form

"The predominances of tāla,32 giti, laya,33 yati 34 (and) mārga become manifesters35 (rather manifest) according to their own (form) in these (vyttis)."

1 123 TRANSLATION Out24 of these, dhruvā is the sounded25 one, sarpiņī moves to the left (side of the performer), Kṛṣṇā is 'gone' (moved) to the right (side of the performer), and vartini is moved downwards, visarjitā is moved outwards (farther from the performer), vikşiptā is curved26 or bent, and patākā moves (179, 180) upwards, (and) patită reaches (touches) the ground. Dhruvakā and sarpiņī (are used) in citra (mārga), in vārtika (mārga) the next two viz. kṛṣṇā and padmini27 are also (used). In dakṣiṇa (mārga) (all the) eight mātrās are known (to be used). (181) (Anu. 108) Daksiņā, vrtti28 and citrā - these three vrttis are understood according to the predominance of 'song' (melody, of both 'song' and instrument)29 and of instrument, (respectively). Having the predominance of 'song' is dakṣiṇā vṛtti, having the predominance of both is vitti vitti, (and) having the predominance of instrument is citrā vṛtti. (Anu. 109) Now he (the author) explains the changing50 predominance (of different temporal components in vittis) brought about by pāņi.51 It has been said — The predominances of tāla,32 giti, laya,33 yati 34 (and) mārga become manifestors35 (rather manifest) according to their own (form) in these (vyttis). In citra (mārga) there is samā 36 yati, druta (fast) laya,57 uparipāņi,38 māgadhī giti and ogha 59 is the limb (avayava). In vārtika (mārga) there is srotogatā 40 yati, madhya laya,41 samapāṇi,42 sambhāvitā gīti and anugata45 is the limb. Similarly, in dakṣiṇa (mārga) is gopucchā yati,44 vilambita45 (lit. prolonged, here slow) laya, avapāņi,46 pṛthulā gīti and tattya is the limb. (Anu. 110) The vādya (presentation on instruments) should be done with sama, atīta and anagata grahas. Out of them, in citra (vytti) there is anagata graha. In vytti (vytti) there is sama graha, in daksiņā vytti there is atīta graha. The combination 110