aṁśa svara technical_term

VIMARŠA (Annotations) Chapter II (Jātis) 1. The number 140 pertains to the modified varieties of jātis comprising the complete, hexatonic and pentatonic formations of jātis in accordance with each of the amsa svaras assigned to each of the eighteen jātis. This number is computed as follows - The total number of amsas in 18 \text{ jatis} = 63. They generate 63 complete varieties of jātis. Out of these 63, there are 16 amsas that do not permit hexatonic formations. Hence 63 - 16 = 47. Again there are 33 \text{ amsas} that do not permit pentatonic formations. Hence 63 - 33 = 30. Thus 63 + 47 +30 = 140. Our text gives details of some of these varieties in Anu. 147 - 163; the treatment is incomplete because of a break in the text. Abhi Bhā on NŚ XXVIII. 64, 65, p. 42 speaks of 147 varieties by adding the śuddhā states of the seven jātis bearing svara-names. 2. Brahmā has been said here to be the original author of the number of jātis in NS, from where we have taken the verse under reference. In NS, Brahmā is the original creator of the Nāṭya-Veda. Šiva is said there to have added only dance to theatre. As between Brahmā and Šiva, the former is said to be responsible for all the elaboration based on vāk. The origin of all the Vedas is also attributed to him. Siva has special relationship with the movements of the body (anga). Jāti being the first formation of melodic structure, its association with Brahmā is understandable because melody is a manifestation of the tonal aspect of vāk. Abhi Bhā explains the reference to Brahmā in the text of NS, (XXVIII.39) by saying that 'apta-agama' i.e. the tradition handed down by knowledgeable and trustworthy authorities cannot be wrong. The fact that no less than Brahmā is the authority regarding the jātis lends a special sanctity to this melodic abstraction that is striking on account of its comprehensive sweep. 3. The literal meaning of 'vartayişyāmi' is "I shall use". Abhi explains it as "I shall throw light on the forms of jātis retained in my mind through the description of their ten lakṣaṇas, viz. graha, aṁśa, tāra, mandra etc. " (Vide Abhi Bhā on NS XXVIII. 39, p.36). 4. The alteration in respect of amsa i.e using an amsa other than that

¹⁰³ TRANSLATION phrase). As - sarigā garisā, rigamā magarī, gamapā pamagā, mapadhā dhapamā, padhanī nidhapā, dhanisā 76 sanidhā, padhanī nidhapā, mapadhā dhapamā, gamapā pamagā, rigamā magarī, sarigā garisā. Or, sarigama magarisa, rigamapa pamagari, gamapadha dhapamaga, mapadhani nidhapama, padhanisa 77 sanidhapa, mapadhani nidhapama, gamapadha dhapamaga, rigamapa pamagari, sarigama magarisa. Thus is (ends) huṅkāra in eighteen kalās (phrases). (29) (Anu. 99) From the high (şadja), after going to the seventh (svara viz. nişāda), again coming back there itself (on sadja), through the pronouncement of two svaras in the descending order, on making four kalās (units in each phrase), sandhipracchādana (is formed). As - sani sani sani sani, nidha nidha nidha nidha, dhapa dhapa dhapa, pama pama pama pama, maga maga maga maga, gari gari gari gari, risa risa risa risa risa risa risa nisa, gari gari gari gari, maga maga maga, pama pama pama pama, dhapa dhapa dhapa dhapa, nidha nidha nidha nidha,78 sani sani sani sani. Thus is (ends) (30) sandhipracchādana. (Anu. 100) Having pronounced the amsa svara 79 (initial note) four times, after that with the fast pronunciation of two immediate svaras, with gradual (successive) ascent, ekakala (single-phrased) vidhuta (is formed) As - sa sa sa sa riga, ri ri ri ri gama, ga ga ga mapa, ma ma ma padha, pa pa pa dhani, dha (31) dha dha dha nisa. Thus is (ends) vidhuta. (Anu. 101) Udgita (is formed) on account of the descent from high with the gap of one svara (in each phrase) in (successive) order. As - sadha nipa dhama paga mari (32) gasa. Thus is ends udgita.