Dattilam tradition_name

75 TRANSLATION - șadja which is higher than nișāda (is subjected to) mārdava or loosening i.e. it is made to attain (the position of) niṣāda; thus is the twofold pravesa i.e. the act of the lower or higher svara being made to 'enter' or merge into the higher or lower svara respectively.42 [ Anu. 49 ] Nigraha is, on the other hand, the omission or 'non-touching' of the immediate svara. The performance or usage is thus - sā sā gari, pā pā mari Similarly has said Bharata - "There is twofold kriyā (lit. performance) of tana on the string (in the viņā); viz. praveša (lit. entering) and 'nigraha' (lit. restraint). Out of these (two), pravesa (takes place) on account of the prakarşa (augmentation) of the lower svara or by the mārdava (lowering) of the higher svara. And nigraha is 'non-touching'." Dattila has also said - There is twofold kniyā (action or performance) of tāna on the string; viz. on account of pravesa and nigraha. Pravesa is the similarity (rather identity) of sound; nigraha on the other hand, is 'non-touching'." [ Dattilam 36] (Anu. 50) But it is said in the prescription of kāku45 that svaras are (to be) performed in the three sthanas (registers). Out of them which heptad of svaras should be resorted to for making murchana? Those who harbour a doubt like this, he (the author) has said unto them - for the sake of the demonstration of mandra (low) and tara (high) the murchanas are indicated in (lit. with) the middle heptad. How? On account of the indestructibility of the middle heptad, this is the purport. Bharata has also said, "on account of the indestructibility of madhyama in nigraha 44 (acceptance in totality) or paryagraha 45 (non-acceptance in totality i.e. partial acceptance), the murchanas are indicated in the madhyama svara of the vina.

¹ ⁷⁷ TRANSLATION (Anu. ⁵¹) But if the indication of murchanas is done with the middle heptad, then why has it been said to be (done) with madhyama svara? Truly has this been said. The use of singular number is in relation with the jāti (species) of svara. The purport is that the 'murchana' should be made in the kanthya svara (the tonal range of the voice). The inclusion of the adjective vaina 46 (pertaining to viņā) (for svara) is in order to encompass the sthana (register or range) that could not be described in the body (human voice). (Anu. ⁵²) But when the (process of) sādavita and auduvita is being undertaken, then does the recognition of the (original) murchana exist or does it not exist? The recognition of the (original) mūrchanā is certainly there. Similarly has said Dattila - "When the tana is made in this manner (by omission of the prescribed svaras), the knowledgeable one should ascertain, by counting the perishable (omitted) (svara), that this murchana is this-manieth." [ Dattilam ³⁷ ] (Anu. ⁵³) But when şadja is omitted in the first and seventh mūrchanā, both take an identical form viz. ri-ga-ma-pa-dha-ni, there the distinction (between the two) is not evident. True, there is no difference. If the components are counted, there surely is a difference; the difference is created by mandra and tara.47 (Anu. ⁵⁴) This distinction of murchana and tana has been spoken of merely for the sake of the convenience of the performer and the listener.48 The objective of tāna has also been said to be for the sake of the attainment of the three registers. (Anu. ⁵⁵) But mūrchanās are useful in jātis and rāgas, hence their treatment is justified, where are the tanas to be used? It is being answered. The tanas are useful for the sake of bringing out the difference between jatis and ragas of both the grāmas (i.e. between those of one grāma and the other).49 Or, the use of tānas is for the sake of the demonstration of the number of nașța (lit. lost) and uddișța (lit. enumerated) (varieties of tānas).⁵⁰

BRHADDES! ⁷⁸ [ अनु₀ ५६ ] कूटतानाना सहस्राणि पञ्च त्रयस्त्रिंशदधिकानि निष्पद्यन्ते। ०मस्त्रि दत्तिलेनाप्युक्तम्— ⁸³"पूर्णा पञ्च सहस्राणि त्रयस्त्रिशच्च संख्यया। पूर्णः। मसत्, कथयन्ति प्रतिग्राममुपायो गणनेऽधुना।" नेधुनः दत्तिलम् ३९ ] पयोगेन गणनाऽत्र परेण तानप्रयोगेण पूर्वस्तानप्रयोगो हन्यते। तथा चाह ₀मा₃ दत्तिलः — "हन्यादनन्तरायेण पूर्वा यस्य क्रमोत्क्रमात्। गुणकारसमास्तत्र क्रमा ध्ये शेषा स्युरुत्क्रमा।" दित्तलम् ४० | माच्छे. [ अनु० ५७ ] इदानी गुणनोपायं कथयति— द्वाभ्या पराभ्यामेकः पूर्वो बऽहन्येत J. द्वावेव भवतः। तौ च द्वौ त्रिभिर्हतौ षड् भवतः । ते [ च षट् ] ॐ नमस्ते ोत्वा चतुर्हताश्चतुर्विंशतिर्भवन्ति। सा चतुर्विंशति पञ्चभिर्हता शतं विंशत्यधिकं भवति। विंशत्यधिकं शतं षड्भिर्हतं शतानि सप्त-विंशत्यधिकानि भवति। ग्रन्ति तानि सप्तभिर्हतानि पञ्चसहस्राणि चत्चारिंशदधिकानि भवन्ति। अनु₀ ५८ तत्र क्रमकृतास्तान् स्फोटयित्वा ह्युत्क्रमकृतानि कूटतानाना सप्त- स्वरप्रयोगात् पञ्चसहस्राणि त्रयस्त्रिशदधिकानि भवन्ति। प्रस्तारो यथा— तत्र षड्जस्वरस्य स इत्येकः क्रमः। ऋषभस्य सरीत्येक एव क्रमः। रिस इति च व्युक्तमो द्वितीयः। गान्धारस्य सरिगेत्येकः क्रमः। गरिसेत्यादयो ुम र्कार