mandra register

¹⁴ ¹⁷ TRANSLATION The extent(gati)²⁵ of tāra should be known up to the fourth, fifth or seventh svara from the aṁśa, it is not desirable beyond that." (NŚ XXVIII.70) [4. The definition of mandra] [Anu. ¹²⁵] Now mandra is being said - mṛdu²⁶ (lit. soft, here low) svara is mandra. And the extent (gati) of mandra is threefold, viz. amśaparā (followed by aṁśa), nyāsaparā (followed by nyāsa) and apanyāsaparā (followed by apanyāsa). The compound²⁷ bahuvrihi operates here (and the meaning is that which is followed by aṁśa svara i.e. that which precedes the aṁśa). The svara that comes before that (aṁśa), is mandra. As in dhaivatī²⁸ - dha - dha - ni - dha - ma-pa-dha-mā. Mā-mā-mā. Thus the apanyāsa²⁹ svara is (operative) here. Similar is the case with nyāsa 30 svara. [5. The definition of sadava] [Anu. ¹²⁶] Now şādava is being said - (a structure of) six svaras is şādava. Since it is related to (or operates in) fourteenfold jatis, four jatis are always complete and hence, on account of their absence, it (sādava)31 has forty-seven varieties and similarly has said Bharata -

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