audava technical_term

⁵⁹ TRANSLATION [ Anu . ³⁹ ] Thus have been spoken of the fourteen complete murchanas of both the grāmas. Now their names are being mentioned. In (i.e. beginning with) şadja is uttaramandrā, in niṣāda is known rajanī, 27 in dhaivata is known uttarā (uttarāyatā) and śudhaşadjā is in pañcama. (93) Matsari (matsarikṛtā) should be known in madhyama and aśvakrāntikā in gāndhāra and with ṛṣabha should be known abhirudgatā,28 the seventh one. (94) Thus are to be known the seven mūrchanās subsisting in şadja-grāma. (95) Hereafter I shall speak of the murchanas of madhyama-grama. Sauvīrī is with madhyama and hariņāśvikā (hariņāśvā) is in gāndhāra and (96) kalopanatā would be the mūrchanā with ṛṣabha itself. Suddhamadhyā, on the other hand, could be in şadja and in niṣāda itself (is) mārgitā (mārgi). Pauravī is to be known in dhaivata and hṛṣyakā in pañcama. ł (97) Thus the mürchanās of madhyamagrāma have been spoken of by me. Now I shall speak of the şāḍavā (hexatonic) and auḍavā (pentatonic) mūchanas. (98) Şāḍava is to be known as having six svaras and auḍavā is to be known with five svaras; and the etymology of sadavas and auduvitas is being spoken of. (99) (Anu. ⁴⁰) Those six svaras that protect (the performance) are (known as) sadava svaras; their use (in performance) is (called) sādava. Falling under the tāraka gaṇa,29 it (ṣāḍava) is (combined with) itac pratyaya 30 (suffix) (and thus ‘ṣāḍavitā’ is formed). (Anu. ⁴¹) The ākāśa (space) in which the udus 31 (stars) move, that ākāśa is (known) as auduva. By that (the word auduva) the number five is indicated. (\bar{A}k\bar{a}\dot{s}a) is the fifth mahābhūta; auduvita is that in which the number (five) of that (ākāśa) exists. Ṣāḍava is that which has six svaras, its lakṣaṇa (description) is sevenfold and it is to be known as being numbered forty-nine,52 by the knowledgeable ones in (100) gīta (lit. song i.e. music).