gāndhāra svara_name

化二溴磺基基 医动物 ²⁰ BRHADDEŚĪ [७. अल्पत्व-लक्षणम्] [अनु॰ ^१२८] इदानीमल्पत्वबहुत्वे ब्रवीमि । तत्र स्वराणामल्पशः प्रयोगादल्पत्वम्, बहुशः प्रयोगाद् (ते?त्वे) बहुत्वम् । तथाल्पत्वं बहुत्वं च द्विविधं भवेत् , संन्यासादिगतं तथान्तरमार्गेणेति । ^५५अन्तरमार्गस्य संन्यासादिगतो भवेत् ৽হা৽ लक्षणं यथा ज?ातिषु क्वचिद्वाऽनंशोऽपि नाल्पः।तथा च कार्मारव्या गान्धारस्य सर्वस्वरसंगत्या अनंशो विनास्पः बहुत्वेनान्तरमार्गे प्रयोग इति वक्ष्यते- ‘‘गान्धारस्य विशेषेण सर्वतो गमनं भवेत् ।’’ इति [ना॰ शा॰ ^२८.१३६] [८. बहुत्वलक्षणम्] [अनु॰ ^१२९] ^५६अथ बहुत्वमाह - अल्प[त्व]वदत्र बहुत्विमिति लक्षयेदिति विशेषः। कथमित्याह बलवदबलवतोर्विपर्यासोऽबलमल्पं तद्विपर्यये बलवदिति बलवक्ष्यणं गम्यत एव । अत एवाह- न्ते ५७ ज?ातिस्वरैस्तु नित्यं [स्याज?्] ज?ात्यल्पत्वं द्विधा च तत्॥ (स्यात्) ज?ात्यस्प(स्व?त्वं)द्वि(विधं?धा) सञ्चारोंऽशबलस्थानामल्पत्वं दुर्बलासु च। संचा(रस्य/रोंऽश) न्यासश्चान्तरमार्गस्तु ज?ातीना व्यक्तिकारकः॥'' द्विविधान्तर ^• ^• कार(कम्?कः) [तुल॰ ना॰ शा॰ ^२८.^७४ गघ, ^७५] [९. न्यासलक्षणम्] [अनु॰१३०] इदानी न्यासमाह - न्यस्यते त्यज्यते यस्मिन् येन वा गीतं तत्र्यास इति । स न्यास ॰ सः स

TRANSLATION ¹⁶¹ Illustration-Sāpāpādhāmāmā pāgāmagāpadhādhāpāgamā gāpāpāpādhāpāsā sāpādhāpamagāmāmā gāmasāsāsāgāgāmāgāmāmā. Şadjamadhyamā [iv] Having madhyama as aṁśa, ṣaḍja as the concluding note, being weak in pañcama, with profusion of dhaivata - niṣāda and similarly of ṣaḍja-dhaivata, this bhāṣā, madhurī, should be known to be hexatonic in prenkhaka34 (a synonym of hindolaka). (88) Illustration - Māpāpādhādhādhāmādhaninipāsanidhasāsā māpādhanisa nisāsā māpānisāsārirīgamagārīsāsā nidhāpāpāpādhanidhāsāsā rirīgamāgari sāsā. Madhurī [v] Thus end the bhāṣās of hindolaka. [5. Now the bhāṣās in pañcama] Having pancama as amsa and the same as the concluding note, replete with niṣāda, being complete, this ābhīrī bhāṣā is born of deśa³⁵ (region), rises out of pañcama (rāga) and should be known to be the first one arising out of pañcama. Mutual concert between șadja-dhaivata is to be seen here. (89-90) Illustration - Pādhāmādhanidhāpāpāpā padhanidhāmāmādhānisāsā sanidhanisadhānisānidhāsā dharimāmādhāninidhāpāpā pamamadhanisāsā saninisāsāsanigarimamamāgarisasa sadhanipādhāmāmāsarimādhārimapāpā. Abhīrī [i] Bhāvinī has pañcama as nyāsa, gāndhāra as aṁśa (and) is weak in dhaivata. Where the mutual movement of madhyama-pañcama is seen to be dense, the bhāṣā bhāvinī should be known to be complete by the knowledgeable ones in gändharva.36 (91) Illustration-Gāmāpāgamapānidhā [pā]. Gamapāmāgāgārī rīgāmīdhāpāpāpāpā Māmāgāmāpāpā māpāpāmādhārisagagamāpā māgāriripāpā. Bhāvini [ii]

155 VIMARŠA 3. The instrument of the navel, heart, throat, Reaching the mouth cerebrum and the cavity process of hearing in the cavity, the air manifests speaker himself has of the mouth. the varnas. been explained as being comprised of the consciousness of the filling of the different points in the vocal organism (with air). Thus one and the same sound appears to be different. The following apparent differences are obvious in the above chart - (a) 'Atman' is used in Pā Ši and SR, but BrD uses the word puruşa. (b) In Pā Śi and SR the first step starts with the will of the ātman, but in BrD the combination of 'fire' and 'air' is spoken of as the first step, without the mention of any activating agent. The purusa is mentioned in the second stage as the agent in propelling the air upwards. (c) In Pā Ši, buddhi (intellect) is mentioned as an agent in the 'gathering' of the content of speech. This is absent in BrD and SR; the reason could perhaps be that in musical sound the differentiation of the form and content ( meaning ) of sound is not pertinent. (d) In BrD mind has not been mentioned at all. The mention of pratyaya (assured consciousness), however, does bring in the mind, but it is related to the process of hearing in the speaker ( see note 3 on puruşa ). 3. Puruşa is a very important word in Indian philosophy; it has a double derivation viz. 'one who sleeps in the pura, castle or city and one who fills'. The primordial being in the form of 'Man' is the primary meaning of this word. The use of this word in our text seems to be inspired by Ayurveda - बुद्धीन्द्रियाणि मनोऽर्धा एवा योगधर परम् । (Car Sam śanrasthana I, 35) चतुर्विंगतिको होष राशि पुरुषसज्ञकः ॥ 'Puruşa' is the name of the collection of twentyfour ( elements ) viz. buddhi ( sixfold perception as associated with the five sense-organs and mind ), the ten indriyas (viz. five sensory and five motor organs), mind, the six objects of perception and the ultimate repository of the above twenty-three elements (i.e. ātman ). Thus when purusa is said to impel the air in the vocal 'path', the separate mention of mind may not be held to be essential. The only thing that still poses a slight deviation of our text from the accepted tradition is that the combination of 'fire' and 'air' has been mentioned here in the beginning without any reference to an impelling agent. 4. This passage ascribed to Viśvāvasu has attracted the attention of later authors. For example, antara-śruti has been interpreted by Kallinātha (Kalā on SRI, 3.10-16) as the śrutis situated in vikṛta svaras which term is coventionally accepted for antara (gāndhāra) and kākalī (niṣāda).