geya technical_term

n er ¹¹ TRANSLATION the jātis (castes). Just as in human beings there are castes such as brahmin and the like, that are both pure and mixed (or altered), similarly these jātis are also (twofold). [Thus ends the general definition.] [4. The tenfold lakṣaṇas or characteristics] Now he (the author) spoke (speaks) about the tenfold lakṣaṇa - Graha (initial note), aṁśa (fundamental note), tāra (high), mandra (low) and ṣāḍava (hexatonic) and similarly auḍuvita (pentatonic) and similarly alpatva (sparseness), bahutva (profusion) and nyāsa and apanyāsa - these are said to form the group of ten jāti-lakṣaṇas that operate in the respective jātis. The definition of this group of ten is being given in brief. (209-210) [1. The definition of graha] [Anu.119] Out of these (lakṣaṇas), graha is that with which the performance of jāti and the like is begun (lit . held or caught). That ( graha ) should be known to have sixty-three varieties just like aniśa. (Objection) What is the difference between graha and anisa? It is being answered - aṁśa is vādī alone i.e. only the vādī 10 is prescribed to be the 1 amsa,but graha is fourfold according to the distinction of vādī and the like (samvādī, vivādī and anuvādī). Or there is the distinction of predominance and subordination between the two. Graha is subordinate ( to aṁśa). ŧ (Objection) Why is the predominance of amsa alone being spoken of? Because of its being the progenitor 11 of raga (delight or colour) and because of its being pervasive, the predominance of anisa alone (is accepted). Although graha and anisa are predominant in all the jatis and this is proved by utsarga¹² (general rule), yet it is being prescribed through the vidhi¹³ (operation) of samvādī and anuvādī. Similarly said Bharata – "Graha is said to be like the amsa in all the jātis. The amsa that becomes the starting point of geya (melodic organisation and performance) assumes an alternative form as graha." (NŚ XXVIII.67)