sandhis technical_term

^٠ VIMARŚA ³⁰⁵ central part of present Madhya Pradesh. The special preference for Mālavā requires further investigation. 29. The word gamaka is used here in the sense of vocal embellishments including shakes; it is not restricted to shake. ³⁰. See note ²². 31. Each grāmarāga is said to be born of one or more jātis. 32. Pūrvaranga has been described in NS IV and V; it embodies instrumental rendering, song, dance, dialogue etc. presented as a preliminary to drama. It has both ritualistic and psychological value as it ensures the success of drama by propitiating the gods and prepares the audience for being receptive to drama. 33. Kākalī and antara are always prescribed to be sparse, but here only the sparseness of gandhara is prescribed, although both antara and kakali are present. It could be construed that gandhara stands for the original gāndhāra and not antara. See note 91. ^• 34,35. The prescription of a specific varņa and alaṅkāra in a rāga is not easy to comprehend. It could only be surmised that the peculiar form of a raga in some cases becomes manifest in ascent, in other cases in descent and similarly a specific alaṅkāra could be assigned to a rāga on account of having a special role in establishing the same. 36. Mārga literally means path; it stands for the span of a tāla. NŠ describes three mārgas of each tāla, citra being the shortest, vārtika or vṛtti being its double and dakṣiṇa again being its double. Our text describes two additional mārgas viz. dhruva being half of the length of citra and śūnya being half of dhruva. (See Vol.I. Anu.113) 37. Kalā has many meanings; the main ones are-firstly, the time-unit that is equal to a guru i.e. two mātrās of tāla, secondly, the 'action' (kriyā) in tāla, sounded or unsounded and thirdly, the unsounded action. Here the first meaning is relevant because the length of kalā depends on the mārga in use at a given time. 38. Caccatpuța is the first among the five tālas described in NŠ XXXI. This is the only caturasra (lit. square) tala, being composed of four kalas or eight mātrās. 39. Garbha-sandhi is the third among the five sandhis or junctures in drama described in NŚ XIX; the first two being mukha and pratimukha and the last two being vimarsa and nirvahana. Garbha literally means 'womb', the inside or interior of something. In drama garbha-sandhi stands for that juncture where the 'sprouting' of the 'seed' has taken place, but the fruit is still enshrouded in the 'garbha'. 40. Our text does not uphold the relationship of any raga to both the grāmas; the decision always rests with the interval of pañcama, if it is composed of four śrutis, then relationship with ṣadjagrāma is confirmed and

VIMARŚA ³⁰⁹ 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