NŚ treatise_title
Dictionary: not in dictionary ·
Pages: 5 ·
Occurrences: 21 ·
Affirmations: 5 ·
Graph degree: 0 (in 0, out 0)
Variants (2):
NŚ (14), NS (7)
Pseudocode (DSL v1.1) ↗ full DSL (raw text)
RULE id: nś (cluster 19) SCOPE: treatise_title 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).
Affirmations (5)
The Nāṭyaśāstra (NŚ) is cited as a source for the doctrine that varṇas are the four constructors of melodic rendering
"(NŚ XXIX, 19ab)"
<sup>89</sup>
TRANSLATION
(manifested) in the bodily<sup>21</sup> (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, <sup>19</sup>ab)
rendering.
[Thus end the varnas]
[The Alankaras]
(Anu. <sup>68</sup>)
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. <sup>69</sup>)
The names<sup>26</sup> 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)
NS contains verses cited as authority (specifically verses 68 and 69 of section XXVIII)
"(Cf. NS XXVIII.68, <sup>69</sup>)"
TRANSLATION
<sup>15</sup>
it is used in the first vidārī. That (svara) which is not the vivādī of the aṁśa
becomes samnyāsa if it is used in the end of the first vidārī.
[The definition of vinyāsa forming part of that of amsa]
[Anu. <sup>123</sup>]
This nyāsa svara itself, when placed in the end of a pada (unit or sub-
section), becomes vinyāsa. Hence it has been said<sup>21</sup>—
"That in which rāga (delight) abides and from which it (rāga) proceeds or
is begun, the leader or regulator of tara (high) and mandra (low), that which
is obtained in abundance, that which is perceived (during the operation of)
graha, apanyāsa, vinyāsa, samnyāsa and nyāsa, that which is pervasive, is aṁśa
having (these) ten characteristics."
(Cf. NS XXVIII.68, <sup>69</sup>)
[3. The definition of tara]
[Anu. <sup>124</sup>]
Now the definition of tara is being given. The extent (gati) of tara is up to
the fifth svara beginning from the use of amsa 22 svara. What is being said?
Ascent up to the fifth svara is tāra, thus is being said. Or, ascent in four svaras
is tāra, just as in nandayantī<sup>23</sup>-sā-sā-nidha-sā; pañcama being the aṁśa there,
tāra extends up to ṣaḍja (the fourth from pañcama). The structuring up to
the fifth note (from the amsa) should be understood from the eighth vidārī
(section) of gāndhārī<sup>24</sup> (jāti) up to the fifth svara, which comprises the
extent of tāra. Just as in gāndhārī it is ni-dha-ni-dhā, thus is the notation.
According to the word 'va' (in the verse from NS cited below), the state
of being tara, applies also to seven svaras. The extent of tara is threefold.
Similarly has been said by Bharata -
<sup>•</sup> <sup>•</sup> <sup>•</sup> <sup>•</sup> <sup>•</sup> <sup>•</sup> <sup>•</sup>
NŚ is a treatise cited with verse numbering throughout this discussion
"NŚ XXVIII. 68,69."
PĂŢHAVIMARŚA
249
49. MS B reading as recorded by the ed.
50. MS A reading as recorded by the ed. is - sampūrņatva.
51. Auduvalakṣaṇa is in place here, but it is lost due to a break in the
text. The citation from Bharata should be taken to be subsequent to the lost
portion of the text.
52. Since the treatment of dhruvā is lost in the text, this 'announcement'
of the author is unfulfilled.
53. MS B as recorded by the ed. reads - 'ta ca dhruvam madhya ye '.
54. Vide NŚ Chau. XXVIII. 95
55. cf. अन्तरमार्गणमित्यन्तरमार्गणस्य(र्गस्य) लक्षणम् । यथाज?ातीति क्वचिद्वाऽनंशोऽपि नाल्पः । तथा च
कार्मारव्या गान्धारस्य सर्वस्वरसङ्गत्या बहुत्वेनान्तरमार्गे प्रयोग इति वक्ष्यते । गान्धारस्य विशेषेण सर्वतो गमनं भवेत् ।
Abhi. Bhā. on NŚ XXVIII. 74, p. 49.
56. cf. अथ बहुत्वमाह । अल्पत्वं तद्वद् बहुत्विमिति । लक्षयतीति शेषः । कथमित्याह । बलवदबलवतोऽपि(तोर्वि)
पर्याये(पर्यये)अबलमल्पं, तद्विपर्ययाद् बलवदिति बहुत्वाक्षक्षणं (बहुत्वलक्षणं) गम्यत एव । अत एवाह । ज?ातिस्वरैस्तु
नित्यं ज?ात्यल्पत्वं द्विधा चैत(त्) । ज?ातिगतमल्पत्विमव तद्बहुत्वमिप द्विधा । तच्च ज?ातिस्वरैःपर्यायांशैरसंवादिभिश्चोपलक्षितः
(क्ष्यते) । तेनैषामलङ्घनम(भ्यास)श्चेति द्विधा बहुत्वमित्युक्तं भवति ॥ ७४॥
तथाल्पत्वबहुत्वयोरुपयोगं दर्शयन् प्रसङ्गादन्यदप्याह ।
सञ्चारांशे(श)बलस्थानामल्पत्वे दुर्बलासु च ।
न्यासश्चान्तरमार्गश्च ज?ातीना व्यक्तिकारकः॥
Abhi Bhā on NŚ XXVIII. 74,75.p.49.
57. cf.
ज?ातिस्वरैध नित्यं स्याद् ज?ात्यल्पत्वं विधानतः ।
सञ्चारोंऽशवलस्थानामल्पत्वं दुर्वलेषु च ।
विविधोऽन्तरमार्गस्तु ज?ातीना व्यक्तिकारकः॥
NŠ Chau. XXVIII. 90,91.
58. Reconstruction based on NŚ XXVIII. 72 and Abhi Bhā on the
same, p. 47.
59. This definition of apanyāsa is in the proper order. The definition
of apanyāsa in Anu. 127 above is part of the definition of amsa, hence it is not
a repetition.
60.cf. अपन्यस्यते प्रयोगो येनेत्यपन्यासः। अपन्यसनं च न्यासत्वापगमे त्ववान्तरविच्छेद्वसंस्वात्र्यासवछतिभासनम्।
Kalā on SR I. 7.41-46, p. 188.
61. Reconstruction based on c.r. in Sudhā on SR.I. 7, 41-46, p.189.
62. From here onwards upto verse 238, the text of Datti 63-90 is
reproduced with slight variations here and there which have been recorded
by us.
63. Reading of Datti 63.
64. Reading of Datti 64.
65. Reading of Datti 68.
The Nāṭya-Śāstra is cited as the source for the number of jātis in the Brihaddesi
"Brahmā has been said here to be the original author of the number
of jātis in NS, from where we have taken the verse under reference."
VIMARŠA
(Annotations)
Chapter II
(Jātis)
1. The number 140 pertains to the modified varieties of jātis comprising
the complete, hexatonic and pentatonic formations of jātis in accordance
with each of the amsa svaras assigned to each of the eighteen jātis. This
number is computed as follows -
The total number of amsas in 18 \text{ jatis} = 63. They generate 63
complete varieties of jātis. Out of these 63, there are 16 amsas that do not
permit hexatonic formations. Hence 63 - 16 = 47. Again there are 33 \text{ amsas}
that do not permit pentatonic formations. Hence 63 - 33 = 30. Thus 63 + 47
+30 = 140. Our text gives details of some of these varieties in Anu. 147 - 163;
the treatment is incomplete because of a break in the text.
Abhi Bhā on NŚ XXVIII. 64, 65, p. 42 speaks of 147 varieties by
adding the śuddhā states of the seven jātis bearing svara-names.
2. Brahmā has been said here to be the original author of the number
of jātis in NS, from where we have taken the verse under reference. In NS,
Brahmā is the original creator of the Nāṭya-Veda. Šiva is said there to have
added only dance to theatre. As between Brahmā and Šiva, the former is said
to be responsible for all the elaboration based on vāk. The origin of all the
Vedas is also attributed to him. Siva has special relationship with the
movements of the body (anga). Jāti being the first formation of melodic
structure, its association with Brahmā is understandable because melody is
a manifestation of the tonal aspect of vāk.
Abhi Bhā explains the reference to Brahmā in the text of NS,
(XXVIII.39) by saying that 'apta-agama' i.e. the tradition handed down by
knowledgeable and trustworthy authorities cannot be wrong. The fact that
no less than Brahmā is the authority regarding the jātis lends a special
sanctity to this melodic abstraction that is striking on account of its
comprehensive sweep.
3. The literal meaning of 'vartayişyāmi' is "I shall use". Abhi explains
it as "I shall throw light on the forms of jātis retained in my mind through the
description of their ten lakṣaṇas, viz. graha, aṁśa, tāra, mandra etc. " (Vide
Abhi Bhā on NS XXVIII. 39, p.36).
4. The alteration in respect of amsa i.e using an amsa other than that
NS (Nāṭyaśāstra) provides numerous illustrations of dhruvā texts
"NS
XXXII gives numerous illustrations of dhruvā texts."
VIMARŚA
<sup>309</sup>
85. The gandhara and that too antara becomes the dhaivata of
madhyamagrāma. Perhaps this phenomenon is being indicated here.
86,87. Adbhuta and hasya on the one hand and karuna on the other
are incompatible.
88. The freedom of the performer is being indicated here.
89,90,91. The situations mentioned under viniyoga and the rasa vīra
are perfectly compatible.
92. Yuddhavīra is one of the four varieties of vīra rasa. See note 53.
93. The indication of murchana finds place in the description of jatis
for the first time. No rule is prescribed for assigning a particular mūrchanā to
a given jāti. Here it is said that the mūrchanā of jāti is known from the
'statements of authorities', which implies that there is no prescribed rule.
94. The import seems to be that the amsa that is predominant among
amsas (in the case of jātis with more than one amsa) determines the mūrchanā
of a jāti.
95. The four components of gita have been enumerated as svara, pada,
tāla and mārga (vide citation in the name of Kasyapa in Kalā on SR II.30-32).
96. Dhruvāis a metrical text that is performed in pūrvaranga, where the
compositions in Sanskrit or in prescribed non-lexical syllables are used. The
dhruvā performed within the drama is invariably in Prākṛta and provides a
figurative and poetic commentary on the happenings in the drama. NS
XXXII gives numerous illustrations of dhruvā texts.
97. The ten forms of rūpaka are described in NS XVIII; they are - nāṭaka,
prakaraṇa, aṅka, vyāyoga, bhāṇa, samavakāra, vīthī, prahasana, ḍima and īhāmṛga.
98. Prastāvanā(lit.introduction) is twofold, one occurring in the end
of the Pūrvaranga and the other in the beginning of the play immediately after
nāndī i.e. one is composed by the sūtradhāra known as director and the other
by the poet called playwright to-day.
99. Mukha and pratimukha are the first two among the five sandhis or
junctures of drama.
100,101. Garbha is the third sandhi and avamarsa (another name for
vimarsa) is the fourth one.
Chapter IV
(The description of bhāṣās)
[ A. Bhāṣās according to Yāṣṭika ]
1. This whole portion on bhāṣās according to Yāṣṭika seems to form
part of an independent text. We have retained it in our reconstructed text
as it embodies very valuable material, but we have numbered its verses