prastāra technical_term

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

TRANSLATION ⁶⁷ sā pā nī mā pā pā gā gā (7) mā pā mā nidha nī nī sā sā (8) pā pā mā dhani pā pā pā pā (9) mā pā mā riga gā gā gā gā (10) gā pā mā pā nī nī nī nī (11) mā pā mā pariga gā gā gā gā (12) gā gā gā mā mā nidha nī nī (13) nī nī dhapa mā nidha nidha pā pā (14) rī gā sā sā mā nidhani nī nī (15) nī nī dhā pā dhā pā mā mā (16) Thusendsinadhyamodīcyavā. [6. Kārmāravi] In kārmāravī, niṣāda, ṛṣabha, pañcama and dhaivata become the ainśas. (16) Many (svaras) are said to be non-amsas on account of antara-marga. Gāndhāra is excessively abundant. There is concert among all the aṁśa svaras. (17) Caccatpuța (is the tāla), there are sixteen kalās. The mūrchanā beginning with şadja obtains. The application is (prescribed) in the dhruvā of the fifth act. (18) Pañcama is the nyāsa in this (jāti). The amsás themselves are apanyāsas. The prastāra is thus- ri ri ri ri ri ri ri ri (1) mā gā sā gā sā nī nī nī (2) nī mā nī mā pā pā gā gā (3) gā pā mā pā nī nī nī nī (4) rī gā sā nī rī gā rī gā (5) rī gā rī sā nī dhani pā pā (6) mā pā mā pariga gā gā gā gā (7)

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.

TRANSLATION 109 That which is gradually 'brightened' (made 'higher') is prasannādi (low in the beginning). Pronounced in the reverse⁹⁰ order it itself is called prasannānta. (138) Prasannādyanta is so desired (named) on account of there being 'low'-ness in the beginning and end. Prasannamadhya is so-called or so-named because of there being 'low'-ness in the middle. (139) Sama should be known (as such) on account of the equality of all (svaras) and it also stays or stops on one svara alone. Bindu comes back after having touched the 'high' composed of one kalā 91 (mātrā). (140) And nivitta-pravitta comes (back) after touching the 'low' (svara). And that which is with a sporting laya (roughly tempo) is called venu. (141) Kampita is known as such on account of shake in the chest-region (low svaras) for three kalās 92 (time-units). Kuhara is born (on account of) obstructed air in the throat (middle svaras). In the same way, recita is situated in the head (cerebrum) with shake in three kalās (time-units) (142, 143 ab). Prenkholita is that which sets forth in 'going' (ascent) and 'coming' (descent). (143 \text{ cd}) That which is the svara of the throat below (the cerebrum) is called tara, that which is seated in the chest is mandra, in the cerebrum is said to be tāratara. (144) The octave (tāra),93 fourth or fifth which comes (down) in successive order should be known by the wise as taramandraprasanna subsisting in the 'low' (mandra). (145) Omitting the subsequent (svaras) (and) gradually reaching the tara (high) from low should be known by the wise as mandratāraprasanna on account of (146) ascent. Gradually increasing by one svara (in each step) should be known to be named prastāra. Prastāra may become prasāda when it is gradually held back (i.e. comes down). (147)