aṁśa svara_role

E. ²⁷ TRANSLATION In gāndhārī, the two (svaras) that are not amśas viz. ṛṣabha, dhaivata are always to be omitted respectively (for making ṣāḍava and auḍava forms). Şadja and pañcama are to be known as the two apanyāsas. One should move from dhaivata to ṛṣabha. In raktagāndhārī, almost everything is like this (gãndhārī), but madhyama is apanyāsa. Dhaivata and niṣāda have to be accorded abundant usage. Sañcāra (to and fro movement) is to be rendered in this (jāti) between ṣaḍja and gāndhāra by the performers. (222-224) Gāndhārodīcyavā is mostly similar to şadjodīcyavatī. Şadja and madhyama are the two amsas and the auduvita (pentatonic) form is not desirable in it. (225) In madhyamā there are five amśas, excepting the two svaras composed of two śrutis each (viz. gāndhāra-niṣāda). These two are omitted for (forming the ṣāḍava and auḍuva) varieties respectively i.e. ṣāḍava is formed by omitting gåndhåra and auduva by omitting gåndhåra-niṣāda. Şadja and madhyama are abundant. (226) Madhyamodīcyavā is like gāndhārodīcyavā. It is always made of seven svaras; pañcama is amsa in it. (227) In pañcamī, ṛṣabha and pañcama have been said by the gurus to be aniśas. These two alongwith niṣāda are apanyāsa and there is the sangati (concert) between madhyama and ṛṣabha. Ṣaḍja, madhyama and gāndhāra are sparse.

¹¹.1 BRHADDEŚĪ ²⁸ ज?्ञेयो गान्धारपञ्चम्या पञ्चमोऽशः प्रयोक्तभि। ·सर्षभः स्यादपन्यासो न्यासो गान्धार इष्यते ॥२३०॥ (नांयासौ?न्यासो) ¹⁰⁰⁰ गान्धार्यामथ^७० पञ्चम्या यत्सञ्चारादि कीर्तितम् । (T) ন: तदस्यामपि विज?्ञेयं किन्तु पूर्णस्वरा सदा ॥२३१॥ आन्ध्र्यामनंशा विज?्ञेयाः षड्जमध्यमधैवताः । अन्यू षाडवं षड्जहीनं.स्यात्र्यासो गान्धार इष्यते ॥२३२॥ तु न्यासो^७८ नन्दयन्त्यामपन्यासौ ज?्ञेयौ मध्यमपञ्चमौ । न्सो ग्रहो न्यासश्च गान्धारः पञ्चमोंऽशः प्रकीर्तितः ॥२३३॥ आन्ध्रीवत् षाडवं ज?्ञेयमनौडुवितमेव च। पो॰ प्नो॰ स्यान्मन्द्रर्षभसञ्चारो लङ्घनीयश्च स क्वचित् ॥२३४॥ (ন্দ?< कार्मारव्यामनंशास्तु षड्जगान्धारमध्यमा । व्यञ्चमा^७९ पूर्णता, पञ्चमो न्यासो गान्धारगमनं बहु ॥२३५॥ कैशिक्यामृषभोऽनंशो न्यासौ तु द्विश्रुती[स्मृतौ]। न्ती +++ ऋषभो धैवतश्चैव हेयावस्या यथाक्रमम् ॥२३६॥ ८॰पञ्चमोऽपि भवेत्र्यासो निषादेंऽशेऽथ धैवते । (व?वे)न्या(सी?सो) ¹³⁶ ¹³ ऋषभः स्यादपन्यासः कैश्चिदुक्तोंऽशवत् तथा ॥२३७॥

³⁷ TRANSLATION [ Anu. ¹³⁶] This means that kaiśikī, raktagāndhārī and gāndhārī, these three jātis do not become ṣāḍava on account of (the omission of) ṛṣabha, on pañcama being the aṁśa, because of the negation of the omission of the samvādī of the aṁśa. Similarly, ṣāḍjī does not become ṣāḍava through (the omission of) niṣāda, on gāndhāra being the aniśa (and) ṣadjodīcyavā should be known as not being ṣāḍava through (the omission of) ṛṣabha, on dhaivata being the ainsa. Now the giving up of the formation of auduvita that is obtained (due to presription) is being prohibited (lit. its giving up is being prescribed). In gāndhārī and raktagāndhārī, ṣaḍja, madhyama (and) pañcama alongwith niṣāda are known as the amśas in which the formation of auduvita does not operate. (254) [ Anu. ¹³⁷ ] (Contention) And this is incongruous because the formation of auduvita is not obtained (through prescription). Truly has this been said. By the statement negating the formation of auduvita, the auduvita obtained on account of precription alone is prohibited. In ṣadjamadhyamā jāti, gāndhāra and then niṣāda and then in kaiśikī and dhaivatī, dhaivata and ṛṣabha respectively (are the svaras that are not omitted for making auduva forms of the respective jātis when the above are aniśas). (255) [ Anu. ¹³⁸ ] This means that in ṣadjamadhyamā, gāndhāra and then niṣāda are not entitled to form auduvita. Dhaivatain kaiśikī and ṛṣabhain pañcamī are not entitled to form auduvita. The prohibition applies only to the auduvita that is obtained through prescription. And the state of being anisa is being hypothetically considered without its being obtained (?) Now, he (the author) draws out the svaras that do not become exceptions in the formation of ṣāḍava and auḍuvita. Forty-seven (svaras) are to be applied in the formation of ṣāḍava. (256) [ Anu. ¹³⁹] This means that in the formation of ṣāḍava, forty-seven ainśas are to be

ş ⁴¹ TRANSLATION "Şadjamadhyamā is not desired to be with six svaras when the seventh (niṣāda) is the aṁśa, because of the non-omission of the samvādī (of the amsa); similarly it is not desired to be so when gandhara (is the amsa). In gāndhārī, raktagāndhārī and kaiśikī, pañcama should be known as a-ṣāḍava (non-ṣāḍava) and in ṣaḍjā (jātī) the aṁśa gāndhāra should be known as such. O twice-born ones! when dhaivata is the aṁśa in ṣadjodīcyā there is no ṣāḍava (form) because of the non-omission of the samvādī. These seven (amśas) are devoid of the state of making six svara forms. In gāndhārī and raktagāndhārī, şadja, madhyama, pañcama and the seventh (niṣāda) should be known to be such as disallowing the formation of auduvita. In șadja-madhyamā, two amśas, viz. gāndhāra and niṣāda, in pañcamī ṛṣabha, similarly dhaivata in kaiśiki - these twelve should be avoided in making pentatonic (forms). These jātis should always be treated as anauduvita (non- pentatonic), when based on the above svaras.

⁴⁷ TRANSLATION When it (ṣāḍjī) is sung as hexatonic, then the sparseness⁵⁹ of ṛṣabha has to be brought about, (and) there is abundance of the remaining svaras. [ Anu. ¹⁴⁷] And it has ten amsas. That is thus - one suddha, five vikṛtas in the complete state and four ṣāḍavas, because when gāndhāra is aṁśa, it excludes the formation of ṣāḍava. The amśas have been written as such so that they become clear. There is the state of śuddhā with ṣaḍja as the aṁśa and ṣaḍja is the apanyāsa. In its sampūrņa state there are eight-fold lakṣaṇas (ṣāḍava and auḍava being irrelevant). In the sadava state (they are) nine-fold (auduvita being irrelevant). Ṣādjī should be known as four-fold in its vikṛtā (modified) state, excluding (its) śuddhā (form). And it has the m\bar{u}rchan\dot{a}^{60} beginning with dhaivata. (The t\bar{a}la) ekakala pañcapāṇi61 (known also as uttara and satpitāputraka) in the citra (mārga) (operates alongwith) māgadhī gīti. Dvikala pancapāņi in the vārtika mārga (operates alongwith) sambhāvitā gīti. In dakṣiṇa mārga, catuṣkala pañcapāṇi (operates alongwith) pṛthulā gīti. (The corresponding pattern of tāla and gīti) should be known for all the jātis in this order. Vīra, raudra and adbluta rasas should be evoked (lit. made). Its application (viniyoga) 62 is (prescribed) in the singing of dhruvā(s) in the first scene (or act). [2. Ārşabhī] [Anu. 148] (În ārṣabhī) ṛṣabha, dhaivata (and) niṣāda are the grahas, (they) themselves are the amsas. They alone are apanyāsas. Niṣāda63 (?) is (the limit of the extension of) tāra upto five svaras. Ŗṣabha is the nyāsa. Mandra extends upto nyāsa or upto the svara next to nyāsa. There is sangati (concert) of şadja- dhaivata and ṛṣabha-gāndhāra. Ṣāḍava is devoid of ṣaḍja and auḍuvita is devoid of șadja-pañcama. In its complete state there is the sparseness of șadja, gandhara and pancama. In the auduvita form, there is the sparseness of gāndhāra and madhyama and the profusion of the remaining (svaras). [Anu. 149] And it (ārṣabhī) is ten-fold i.e., there are ten amśas. Śuddhā (is one), vikṛtās in the complete state are three, in the sadava state are three and in the auduva state are (also) three, thus in the complete state are three, in the ṣāḍava state are three, thus (they are ten). The mūrchanā 64 beginning with pañcama obtains (here). Caccatpuța is the tāla. With the ekakala (tāla) in the

BŖHADDEŚĪ ⁵² पञ्चमयोरत्पत्वम् । ^१५३गान्धारस्यांशत्वे[ऽ]प्राप्ते[ऽपि] बाहुत्यम् । षाडवे पञ्चमस्यात्पत्वम् पद्ज?ागान्धारपञ्चमयोरलपत्वम् , औडुविते न कस्याप्यल्पत्वमशेषाणा बहुत्वम् । मध्यमो न्यासः । ऋषभधैवतावपन्यासौ । अंशाना परस्परगमनम् । [अनु॰ १५७] १५४एकादशविधत्वमस्याः। एकादशांशकाः -पूर्णाश्चत्वारः, षाडवास्त्रयो धैवतांशे तदपवादाद् औडुविताश्चत्वारः।शुद्धस्तु नास्ति।गान्धार[ादि]मूर्छना।तालः पञ्चपाणिः।एककलेन चित्रेण मागधी, द्विकलेन वार्तिकेन सम्भाविता, चतुष्कलेन दक्षिणेन पृथुला । रसौ शृङ्गारहास्यौ । ध्रवागाने द्वितीयप्रेक्षणके विनियोगः। [७. पड्जमध्यमा] [अनु॰ १५८] षड्जमध्यमाया ग्रहा अंशाश्च सप्तैव स्वराः। पञ्चस्वरपरस्तारः। न्यासपरस्तत्परो वा मन्द्रः ॰हाः निषादहीना षाडवा । निषादगान्धारहीना औडुविता । ग्रामाविरोधेन यथेष्टं सञ्चारः । पूर्णावस्थाया निषादगान्धारयोरल्पत्वम् । षड्जमध्यमौ न्यासौ । सप्तस्वरा अपन्यासाः । क्खरापन्या (सः ? सा) [अनु॰ १५९] सप्तदशांशकाः – तत्र सप्त पूर्णाः, पञ्च षाडवाः, पञ्च औडवाश्चेति ^१५५सप्तदशविधत्वमस्या । एतदंशकाश्रत्वारः पाडवाः। तथैव थैवतेंऽशे पाडवानाम् औदुविताश ^१५६दशिंधत्वमस्या शुद्धत्वं नास्ति । मध्यमादिमूर्छना । तालः पञ्चपाणिः । एककलेन चित्रेण मागधी, द्विकलेन (F) वार्तिकेन सम्भाविता, चतुष्कलेन दक्षिणेन पृथुला । सर्वरसात्मिका, ध्रुवागाने द्वितीये प्रेक्षणके विनियोगः । ॥ [इति] एताः षड्जग्रामसम्बन्धाः सप्त ज?ातयः ॥ [अनु॰ १६०] इदानी मध्य[म] ग्रामसम्बन्धा ज?ातय उच्यन्ते - ---

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

BŖHADDEŚĪ 148 ४४ [टक्कराग-विभाषा] पञ्चमांशा तु षड्ज?ान्ता ४५पोता मध्यमभूषिता । शुद्धा विभाषा टक्करागोत्था भाषान्तेषु च गीयते ॥६१॥ उदाहरणम् – पापानीसासानीसारीमा धारीधापापामागागा । ^४६सागासागागाधरिगरिगरिमा । म म म ग । ग रि सा नी धा धा सा गा गा । गारीगारी । सा सा गा मा नीधाधापामारीसासा गा नी धा नी सा सा पा सा । पोता । शुद्धा [२.अथ मालवकैशिके] षड्ज?ाद्यन्तसमायुक्ता बहुलौ षड्जमध्यमौ । सुसम्पूर्णस्वरा ज?्ञेया पौराली देशसम्भवा ॥ भाषेयं प्रथमा ज?्ञेया मध्यमे मालकैशिके ॥६२॥ मामारीरी । [उदाहरणम् ]- समा । गा गा गा गा पा पा । मा मा गा गा । सा मा मा मा । मामा । रिगागारीसासासारी । मगसासामागारीसानी । सासा । पौराली^४७ ॥ मध्यमांशा तु षड्ज?ान्ता विभाषा पूर्णसुस्वरा । गीयते ४८ हर्षसंयुक्ता शुद्धा मालवकैशिके ॥६३॥ र्ष+(?) उदाहरणम् – मामाधासागारीसासा । नि धा सा सा धा नि मा मा धा नी सा । रि गा मा सा । साधा- मा गा रि गा सा सा । शुद्धा । [१] मध्यमांशा तु षड्ज?ान्ता सम्पूर्णा चार्धवेसरी^४९। चाद्यभ दुर्बला च निषादेन बहुलौ षड्जमध्यमौ ॥ सङ्कीर्णेयं सदा ज?्ञेया भाषा गान्धर्ववेदिभिः ॥६४॥ यदा सा सा सा सा । उदाहरणम् – मा मा गा मा सा सा । सा मा पा पा धा सा धा । पा पा मा मा । ग म ग मा ग ।

BRHADDEŚĪ ¹⁶⁰ यापापाधापासासापाधापमगामामा उदाहरणम् - सा पा पा धा मा मा पा गा म गा प धा धा पा ग मा गा म सा सा सा गा गा मा गा मा मा । षड्ज?[मध्यमा]।[४] मध्यमांशा तु षड्ज?ान्ता ^७२दुर्बला पञ्चमेन तु । ७३धैवतनिषादबाहुल्यं षड्जधैवतयोस्तथा ॥ भाषेयं षाडवा ज?्ञेया प्रेङ्खके मधुरी भवेत् ॥ ८८॥ प्रेक्षके मधुकरी मापानिसासारिरोगमगारीसासा उदाहरणम् – मा पा पा धा धा मा ध नि नि पा स नि ध सा सा मा पा ध नि स नि सा सा नि धा पा पा पा ध नि धा सासा रिरोममागरिसासा। मधुरी। [५] मधु(क)री ॥ इति हिन्दोलके भाषा[:] समाप्ता[:] ॥ [५.अथ पञ्चमे] ७४ पञ्चमांशा तदन्ता च निषादबहुला सदा। परस्परं तु दृश्येत अषड्जधैवतसङ्गति ॥ ८९॥ ^७६पूर्णा पञ्चमजा ह्येषा त्वाभीरी देशसम्भवा । आभौरी पूर्ण एषा भाषा तु विज?्ञेया प्रथमा पञ्चमोद्भवा ॥ ९०॥ उदाहरणम् -पाधामाधनिधापापापा प ध नि धा मा मा धा नि सा सा स नि ध नि स धा नि सा नि धा सा धरि- मा मा धा नि नि धा पा पा प म म ध नि सा सा सनिनिसासासिनगरिमममागा रिसससधिनपा धा मा मा स - रि मा धा रि म पा पा । आभीरी। [१] भाविनी पञ्चमन्यासा गान्धारांशाल्पधैवता । मध्यपञ्चमयोर्यत्र गमनं दृश्यते घनम् ॥ मध्यम् भाषा तु भाविनी ज?्ञेया पूर्णा गान्धर्ववेदिभि ७०॥ ९१॥ उदाहरणम् -गामापागमपानिधा[पा]। गमपामागागारीरीगानीधापापापाप। मा मा गा मा पा पा मापापामाधारीसगगमापा मागारीरीपापा । भाविनी ।[२]

BŖHADDEŚĪ ¹⁶² ^७८माङ्गाली ^७९पञ्चमान्ता च धैवतांशा प्रकीर्तिता । षड्जधैवतसंवादो ८०मध्यमर्षभयोस्तथा ॥ ९२॥ सम्पूर्णा च मता नित्यं ज?्ञेया वै देशसम्भवा । सङ्क्षीर्णा एषा भाषा च गीतज्ञैरुक्ता पञ्चमसम्भवा ॥ ९३॥ उदाहरणम् -[धाधा]सासासाधासारिरि [मिरि]धासारिरिधासाधासाधासासारिमारिमामाम- ध म ध पा पा पा धा म पा प म सा सा सा नि ध सा रिरिमागरिसासारिमारिमाममधमपपापापामापापमसा- सानिधससारिरिगारिमारीसा। धासासाधमासासासासामपमामापापा। माङ्गाली।[३] पञ्चमांशा तदन्ता च सम्पूर्णा पञ्चमोज?्ज?्वला । सिन्धुदेशसमुद्भूता विभाषा सैन्धवी विदुः ॥ सैन्धवीषड्जसम्भूता षड्जपञ्चमसंवादो दृश्यते च मुहुर्मुहुः८९॥ ९४॥ उदाहरणम् -पापाधसारिगागागरिमारि। स सा नि धा धा स नि धा धा म स रि गा गा ग रि सा धा ध मा पा धा पा ध सा रि गा - रिपपारिगागारिरीसाधासाधापा मा पा पा धा पा धा पा मा मा मा पा धाधासारीरिसाधापा मा पा पा । सैन्धवी ।[४] गूर्जरी पञ्चमान्ता च गान्धारांशाऽल्पमध्यमा^८२। षड्जमध्यमसंवादा सम्पूर्णा नित्यमेव हि ॥ ८३विभाषेयं समाख्याता सम्पूर्णा पञ्चमोद्भवा ॥९५॥ उदाहरणम् - गरीमामामधानिधापापा धा धा नी धा मा मा मा धा गारीरीसरिगरिमाधामापा धपधनिधाधाधधप- रीरी सारिमागारिमामामाघा नीधरिपघानीधापापा नीधामामामधमधमगारिरीमामारीसा सागारीमामापाधा- नी स नी स नी धा म पा पा । गूर्जरी । [५] ८४पञ्चमाद्यन्तसंयुक्ता दाक्षिणात्या मनोरमा । ८५सम्पूर्ण[कथिता]होषा ज?ाता गान्धारप[ञ्च]मे ॥ ८६विभाषेयं सदा ज?्ञेया देशाख्या पश्चमोद्भवा ॥ ९६। उदाहरणम् -पापानीरी। निरिगारिगरिमामरिरिनिनिरि। धा पा पा प पा निरिरिगरिगरिमगरिरिरि।ध - नि ध ध नि धा ध नि धा पा पा नि रि रि गा रि गा धा मा गा रि रि सा निरिगामागारीनिधापापा।दाक्षिणात्या।[६]

¹⁶⁹ TRANSLATION Illustration-Dhādhāsāsāgadharigārisāganirīsāsādhāsānīnīnīnī. Dhādhādhā- nidhāpāpāmādhāsādhā ninidhādhāpāgāgādhāridhāmāmādhā ninidhādhā. Dākşiņātyā [ii] Combined with dhaivata as the initial and concluding note, embellished with thesvara gāndhāra, this bhāṣā gāndhārī has been said to be sankīrṇā. (Mutual) movement between gändhära and dhaivata is seen here in a dense manner. (107) Illustration - Dhādhāgāgāgāririgamagāmādhā ririririgāmāpāmā. Māpāmāpāmāpāsagāririgāgāgādhā pādhagāgārīsāsāsā. Nisāsānigāmāpāsā sānīgārīmāgamāgāmāmāmāmānininini. Madhādhādhādhā. Gāndhārī [iii] Combined with dhaivata as the initial and concluding note, hexatonic, devoid of pañcama, the vibhāṣā śrīkaṇṭhī, is performed in the panegyric of Lalitā. 48 Concert between madhyama-ṛṣabha and the svaras comprised of two śrutis each is sung. (108) Illustration-Dhānimāgāgādhā rimāgāgādhā rimāgarigāririgānināgārigādhā ririrīnisāninidhādhā. Šrīkaņţhī [iv] Having madhyama as aṁśa, dhaivata as the concluding note, weak in ṛṣabha, this vibhāṣā, paurālī, is beautiful and very charming. It is sung by the Nāga⁴⁹ people and is made of sweet svaras alongwith gamakas. (Mutual) movementamong madhyama, ṛṣabha and pañcama is seen in a dense manner. (109-110) Illustration - [Mā]pāpādhā ninisāsāmānidhā pādhādhādhādhā nisāririmāgārisārimā gāsārisārimāmārigārimāsāsāsāsāninininīdhādhā māpāmāpāpāpāniniririsānidhā pādhādhāninidhāniniririniririmāgārisā nirisānisāsāninidhādhāgamāpādhāninisānisānidhādhā. Paurāli [v]

¹⁷¹ TRANSLATION Combined with dhaivata as the initial and concluding note, complete, delightful to the people, having concert between dhaivata - niṣāda and ṣaḍja- gāndhāra, born of Bangāla deśa, bāngālī is of divine form. This bhāṣā is full of rasa and is also dear to the deity. 50 In performance, it is characterised by smoothness and continuity by the singers bedecked with svaras. (111-112) Illustration - Dhārīsārīgāgādhā rīsārīmānīsānīnīsā sāsāridhāmāpā dhādhārisāmādhānidhādhā. Bāṅgālī [vi] Having madhyama as aṁśa, dhaivata as the concluding note, being weak in pañcama and ṛṣabha, having concert between ṣaḍja-madhyama and ṣaḍja- gāndhāra, saindhavī has been known to be born of the Sindhu region and to bear a regional name. (113) Illustration - Mā.Mādhānīdhā nīsāgāsāmāsāsāgāmāgāmā gāsānisanidhā māpāmāmāmāsāmādhāmānisāsāsāsāgārī dhānidhādhāmādhānīdhā mādhādhādhā. Saindhavī [vii] Kālingī has gāndhāra as aṁśa, dhaivata as the concluding note and is comprised of four svaras, being devoid of pañcama and ṛṣabha and weak in niṣāda. This is an antarabhāṣā and is sung by the people of Kalinga⁵¹ It is beautiful and charming and is sung according to pañcama⁵² (rāga). (114-115) Illustration-Gāsāmāgāmāgāsāsāsāsādhāmāsāsādhāmānīmāmāsāsāsāsāmā dhāmāmādhāsāsādhānīgādhā. Kāliṅgī [viii] Having ṣadjaas the concluding note, dhaivataas aniśa, gāndhāra and pañcama being omitted, having concert between ṣaḍja-madhyama and similarly ṣaḍja- dhaivata, this antara-bhāṣā is sung by the Pulinda⁵³ people. It is well-known as pulindikā, is pentatonic and subsists in (bhinna) sadja.54 (116-117)

TRANSLATION ¹⁸⁵ [1. Now in takka] One should use the bhāṣā having pañcama as aṁśa and ṣaḍja as the concluding note, in takka. Devālavardhanī is a complete bhāṣā in the order of these (bhāṣās). (1) Illustration - Pāpānīsāsā. Nīsārīrīdhāpāpāmāmā māmādhāsā sāsanisaririri - rīnidhāmāgāpā dhāsāsānīdhānīdhā [sāsā]. Devālavardhanī [i] Having madhyama as aṁśa and ṣaḍja as the concluding note, paurālī is born of a deśa (region) (and) being a bhāṣā of ṭakkarāga is always sung as complete. (2) Illustration-Māmāmāgārīrīrīsārimārigāgārigurigasāsānidhāmādhāmāmādhā dhanisanigagagaganidhanisa samanigamapadhani nidhapadhani dhapamamama māmāgāmā gāriri gāsānisā. Paurālī [ii] Trāvaṇī, the bhāṣā of ṭakka, has dhaivata as aṁśa and ṣaḍja as the concluding note, is pentatonic, being devoid of pañcama-ṛṣabha and is (used) in the context of amorous women. (3) Illustration-Dhāmagādhā māgamāmāga dhānisāsā. Gāgāmadhāmāgasāsā. Māgā sāgā. Gāmāmādhāmāgasāsāsā. Trāvaņī [iii] Having madhyama as aṁśa and şadja as the concluding note, tānavalitikā is also sung as a vibhāṣā¹ of ṭakkarāga, based on madhyamagrāma² as an alternative (of bhāṣā). (4) Illustration - Māpādhāpāmāsā padhānīdhāpāpāmāmāgarisā dhāmādhādhā mādhādhāmādhānīsāsā. Riridhāririmāgāmārīsāsā. Sādhādhanisāsā. Tānavalitikā[iv] Having gāndhāra as aṁśa, ṣaḍja as the concluding note, the auspicious dohyā is comprised of five svaras, being devoid of pañcama and ṛṣabha, bears a regional name³ (and) is born of takkarāga. (5)

ŀ TRANSLATION ¹⁹¹ [3. Now in mālavapancama] Vibhāvinī, paurālī, vegavantī, pañcamī, āndhrī and gāndhārikā alone are the six (bhāṣās) in mālavapañcama. (14) Having pañcama as the initial and concluding note vibhāvinī is born of a region¹¹ (and) is sung in (the context of) hair - dressing (and) restrained union with an amorous woman.¹² (15) Illustration - Paninimāgā risānirinisārigāmāpāpāmāgārisānini dhānīnīdhāmāpāpā. Vibhāvinī [i] .....Paurālī [ii] The auspicious vegavatī should be known to have pañcama as amsa, being complete, (this) vibhāṣā is sung in karuṇa (rasa) 13 in which dainya (depression or affliction) is profuse. (16) Illustration - Pāpānidhādhāni dhāgāsāsāsāsāni dhādhāninipā dhāmā. Gāgādhāmā māpāpādhā nīsāsārīgārī. Sanidhāpāpā. Vegavatī [iii] Having pañcama as amsa and concluding note (and) being complete, pañcamī is a mūlabhāṣā. It is a bhāṣā in mālavapañcama (rāga) in (the context of) the song of (one with) a mature mind. 14 (17) Illustration - Pāpāpāmāsā ririgāninidhādhā. Dhādhārinigārimāgarinīdhā pāpāpādhā pāmāmāpā mādhānirimā gāmāgārī sāsānisāni dhāpāpā. Pañcamī [iv] Having madhyama as aṁśa (and) pañcama as the concluding note, andhri is a bhāṣā born in the Āndhra region, well-known among the people (and) is sung in (the context of) those who are corrupted by disease. 15 (18)

TRANSLATION ¹⁹³ Illustration - Māmapāmā pāpānidhādhā nipāpānipamā risānidhāpāmā. Sāmādhāni dhāpāpāsāpānigārisā ninīsānisānidhāmā mānidhāpāpā. Āndhrī [v] Gāndhārī has gāndhāra as aṁśa (and) pancama as the concluding note, is complete; (this) vibhāṣā is sung in mālavapañcama in (the context of) ascending the top of a mountain. ¹⁶ (19) Illustration-Gāgāninidhā dhādhāniririgā pamāgari risanīsāsā. Dhādhāsādhāni. Sāgāsānidhāpāpā. Gāndhārī [vi] Thus end the bhāṣās in mālavapañcama according to the opinion of Sārdūla. [4. Now in bhinnaṣaḍja] Trāvaņī and şadjabhāṣā, mālavī, similarly gūrjarī, bāhyaṣāḍavā, kausalī, gāndhārī, svaravallitā, lalitā, niṣādavatī, tumburu, gāndhāralalitā, kaliṅgā and śuddhā and madhyamā, similarly pārvatī (these are the bhāṣās in bhinnaṣaḍja). (20-21) Trāvaṇī bears a regional name, 17 has dhaivata as the concluding note and is with sparse şadja. (22) Illustration - Riridhādhādhanī nīdhādhā. Madhāniridhā dhāninisānini dhādhānidhāmādhā. Niridhādhāmadhādhāmiririnigāmāgādhāmarīsānidhāmidhā nidhāmāmadhā niniridhādhā. Trāvaņī [i] Combined with dhaivata as the initial and concluding note, having sparse sa (ṣaḍja), ṣaḍja bhāṣā is a mūlabhāṣā that is hexatonic and is sung in the worship of deities.¹⁸ (23) Illustration - Dhānidhādhā. Sānidhādhā. Samānidhā. Māgāgāmā. Nidhādhā. Gāmāgāmā. Gamādhādhā. Garisānidhā. Pamāmā. Pāmādhānī. Dhādhā. Ṣaḍjabhāṣā [ii]

TRANSLATION ¹⁹³ Illustration - Māmapāmā pāpānidhādhā nipāpānipamā risānidhāpāmā. Sāmādhāni dhāpāpāsāpānigārisā ninīsānisānidhāmā mānidhāpāpā. Āndhrī [v] Gāndhārī has gāndhāra as aṁśa (and) pancama as the concluding note, is complete; (this) vibhāṣā is sung in mālavapañcama in (the context of) ascending the top of a mountain. ¹⁶ (19) Illustration-Gāgāninidhā dhādhāniririgā pamāgari risanīsāsā. Dhādhāsādhāni. Sāgāsānidhāpāpā. Gāndhārī [vi] Thus end the bhāṣās in mālavapañcama according to the opinion of Sārdūla. [4. Now in bhinnaṣaḍja] Trāvaņī and şadjabhāṣā, mālavī, similarly gūrjarī, bāhyaṣāḍavā, kausalī, gāndhārī, svaravallitā, lalitā, niṣādavatī, tumburu, gāndhāralalitā, kaliṅgā and śuddhā and madhyamā, similarly pārvatī (these are the bhāṣās in bhinnaṣaḍja). (20-21) Trāvaṇī bears a regional name, 17 has dhaivata as the concluding note and is with sparse şadja. (22) Illustration - Riridhādhādhanī nīdhādhā. Madhāniridhā dhāninisānini dhādhānidhāmādhā. Niridhādhāmadhādhāmiririnigāmāgādhāmarīsānidhāmidhā nidhāmāmadhā niniridhādhā. Trāvaņī [i] Combined with dhaivata as the initial and concluding note, having sparse sa (ṣaḍja), ṣaḍja bhāṣā is a mūlabhāṣā that is hexatonic and is sung in the worship of deities.¹⁸ (23) Illustration - Dhānidhādhā. Sānidhādhā. Samānidhā. Māgāgāmā. Nidhādhā. Gāmāgāmā. Gamādhādhā. Garisānidhā. Pamāmā. Pāmādhānī. Dhādhā. Ṣaḍjabhāṣā [ii]

BRHADDEŚĪ ²⁰² [२. माङ्गाली] गान्धारग्रहन्यासा च षड्ज?ांशा तारवर्ज?िता । समन्द्रा सस्वरा[?]चैव परिहीना सदा भवेत् ॥ ३५४॥ सिका षड्ज?ांशा धग्रहन्यासा धमन्द्रा तारतत्परा । समस्वरा च सम्पूर्णा माङ्गाली गीयते जनैः८॥ ३५५॥ (पी?गी)॰ [३. भम्माणिका] पञ्चमांशग्रहन्यासा गमन्द्रा षड्जतारका । रिहीना च धगस्वल्पा ज?्ञेया भम्माणिका बुधैः १॥ ३५६॥ [४. पुलिन्दिका] षड्ज?ांशा धैवतन्यासा गपहीना पुलिन्दिका । +ग्रहन्यासा षड्जधैवतसंवादो धैवतर्षभयोस्तथा १०॥ ३५७॥ ॰संघादा [५. गान्धारसिन्धु ] १९गान्धारसिन्धु .....॥ ३५८॥ [६. कार्णाटी] १२षड्जन्यासग्रहा धांशा गतारा मन्द्रमध्यमा । समस्वरा च सम्पूर्णा कर्णाटी नामतो भवेत्रवा ३५९॥ नामत(द्भ?भ)वेत् ॥ इति मतङ्गमुनिविरचितबृहद्देश्या देशीरागाध्यायो नाम पञ्चमः समाप्तः ॥ भाषालक्ष(णो?णा)

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