dhruvā technical_term

¹⁹ TRANSLATION " (A structure with) six svaras is ṣāḍava that is fourteenfold, with forty-seven varieties. The said regulation (number 47) is according to the varieties of aṁśa svara (in fourteen jātis)." (NŚ XXVIII, p. ⁴⁹) [6. The definition of auduva] ----- "(A structure of) five svaras should be known as audavita, it is tenfold³² according to those knowledgeable in prayoga (performance). It is prescribed to have thirty varieties and its definition is as has been said before." (NŚ XXVIII.76) [Anu. ¹²⁷] (The structure) beginning with the group of four svaras is deśī,33 not mārga. That is used in (the music of people known as) 34 śabara, pulinda, kāmboja, baṅga, kirāta, bāhlīka, āndhra, draviḍa, vana (forest-dwellers) etc. On account of lack of regulation (aniyama)35 śruti (?) alone should be understood here. When there is the usage of four svaras, then it is said to be svarāntara 36; this should be known in avakṛṣṭā dhruvās alone and we shall explain this within the treatment of dhruvā. Similarly has said Bharata - "There is the use of six svaras and similarly of five svaras. Here (in drama) there is also the use of four svaras in the avakṛṣṭā dhruvās."37 (NŚ XXVIII.77) By the word 'api' (in the above verse) meaning 'also', the complete (structure) should also be understood. Thus should be known the fourfold usage of dhruvās (viz. complete, hexatonic, pentatonic, quadratonic).

BRHADDEŚĪ ⁵⁴ [८. गान्धारी] तत्र गान्धार्या गान्धारषड्जमध्यमपञ्चमनिषादा ^१५७ग्रहाः , त एवांशाः। पञ्चस्वरपरस्तारो न्यासपरस्तत्परो वा मन्द्रः। ऋषभहीनं षाडवम्,ऋषभधैवतहीनमौडुवितम्। पूर्णावस्थायामृषभधैवतयोरल्पत्वम्, शेषाणा बहुत्वम्। स्वरजातित्वाद् गान्धारो न्यासः, १५८षड्जपञ्चमावपन्यासौ, धैवतर्षभयोः सङ्गतिः। तद्यथा - गान्धारी यदा सम्पूर्णा गीयते तदा ॰मध्यमा॰ माधारिगा^९५९ इति प्रयोगः स्यात् । यदा ऋषभहीना गीयते [तदाऽ]धरस्वरप्रवेशने मा धा धा गा इति ण्नं(?) (गि?गः) (甲) प्रयोगः स्यात् । यदा औडुविता गीयते तदा ^१६०उत्तर-स्वर-प्रवेशे मा गा गा इति प्रयोगः स्यात्, ॰यन्ते मा प रि ध इति प्रयोगः कदाचिदपि न स्यात् । [अनु॰ ^१६१] [ एका- ]दशविधत्वमस्याः। एकादशांशकाः-शुद्धः,विकृताः पूर्णाः पञ्च,चत्वारःषाडवाः , ॰द्धा औडुवित एकः । मूर्छना धैवतादिः । चच्चत्पुटस्तालः एककलविधौ चित्रमार्गे मागधी, द्विकले ·धः वार्तिके सम्भाविता, चतुष्कले दक्षिणे पृथुला। रसः 'करुणः'र६१। ध्रुवागाने तृतीयप्रेक्षणके विनियोगः।। [९. रक्तगान्धारी] [अनु॰ १६२] रक्तगान्धार्या षड्जमध्यमपञ्चमगान्धारनिषादा ग्रहा अंशाश्च । पञ्चस्वरपरस्तारः , गान्धा(यंप्य ? यांप्य) न्यासपरस्तत्परो वा मन्द्रः। ऋषभहीनं षाडवम् ऋषभधैवतहीनमौडुवितम्। पूर्णावस्थायामृषभधैवतयोरल्पत्वम् , शेषाणा बाहुल्यम् । निषादस्यांशत्वाद् बहुत्वे प्राप्ते οζ

1 ⁶¹ TRANSLATION gā gama pā padha mā dhani pā pā (7) rī gā sā sadha nī nī dhā dhā (8) gā riga sā sani gā riga sā sā (9) sã sã sã mã mani dhani nĩ nĩ (10) mā pā mā pariga gā gā sā sā (11) gã sã gã sã mã pã mã pariga (12) gã gã gã gã gã gã sã (13) ni ni pā dhā ni gā gā gā (14) ni ni dhā pā dhā pā mā pā (15) dhã pã mã mã mã mã mã mã (16) Thus ends gändhärodīcyavatī. [3. Raktagāndhārī] Five svaras excepting dhaivata and ṛṣabha are amśas in raktagāndhārī. The proximity and combination of șadja and gāndhāra is brought about by leaping over rşabha. (7) The hexatonic and pentatonic forms are said to come into being with the omission of rşabha and rşabha-dhaivata respectively. There is the abundance of niṣada and dhaivata. Pañcama as amsa is averse to the hexatonic form. (8) Ṣaḍja, niṣāda, madhyama and pañcama are averse to the pentatonic form. Ṣaḍja and gāndhāra are in concert. (The tāla) paūcapāṇi and the like are as in şādjī. The mūrchanā beginning with ṛṣabha obtains. (9) The application is (prescribed) in the dhruvā pertaining to the third act. (10) Gāndhāra is the nyāsa in this (jāti). Madhyama is the apanyāsa. The prastāra is thus – pā nī sā sā gā sā pā nī (1) sã sã pã pã mã mã gã gã (2) mã pã dhã pã mã pã dhapa maga (3)

⁶³ TRANSLATION mā mā mā mā mā mā mā mā (4) (5) dhā nī pā mapa dhā nī pā pā (6) mā pā mā dhani pā pā pā pā (7) rî gā mā pā pā pā mā pā (8) rī gā mā pā pā pā mā pā (9) pā pā pā pā pā pā pā pā (10) rī gā sā sā rī gā gā gā (11) gã gã pã dhama dhã nidha pã pã (12) mā pā mā pariga gā gā gā gā Thus ends raktagāndhārī. [4. Kaiśikī] In kaiśikī, the svaras other than ṛṣabha are aṁśas. When ni and dha are the amsas, then pancama alone is the nyāsa; otherwise the svaras with two śrutis (gāndhāra-niṣāda) are known to be nyāsas. Others, on the other hand, know niṣāda, gāndhāra and pañcama as nyāsas when niṣāda and dhaivata are amsas. (11) The hexatonic and pentatonic forms are known to come into being with the omission of ṛṣabha and ṛṣabha-dhaivata. Ṛṣabha is sparse, there is the abundance of niṣāda and pañcama. The amsas have mutual concert. (12) Pañcama and dhaivata are averse to the hexatonic and pentatonic forms respectively. (The tāla) pañcapāṇi and the like are as in ṣāḍjī. The mūrchanā beginning with gāndhāra obtains. (13) The application is (prescribed) in the dhruvā pertaining to the fifth act. Gāndhāra, pancama and niṣāda are nyāsas in this (jāti). Six svaras excepting ṛṣabha or seven svaras are apanyāsas. The prastāra is thus - (1) pā dhani pā dhani gā gā gā gā (2) pā pā mā nidha nidha pā pā pā

VIMARŚA ¹⁸⁷ 75. If ekakala is related to phrasing then sarigā and each of the other units will be taken to be forming one phrase each; if it is taken to be related to the duration of kalā, then the duration of each phrase will have to be taken as two mātrās; there also each kalā of time will be related to each phrase. 76,77. Identical with note 52 above. 78. All the four sa belong to the tāra-sthāna. 79. See note 47 above. 80. Samyuktam is used as an adverb, its implication is not very clear, most probably it has been used because the units of phrases here are not equal, they are 3+2+2=7. There is no other alaṅkāra like this in BrD. 81. Here the traditional rule of having a shake only on svaras with three śrutis seems to have been abandoned. 82. Kalā obviously means phrase-unit here. 83. Ekakula could not, perhaps, be understood as the first degree of kalā being of the measure of 2 mātrās. It perhaps indicates that each svara will be of the duration of one mātrā; that would make each phrase of the duration of seven mātrās which would not fit into the ancient tāla system and could, perhaps, be taken as the first indication of the advent of desi talas. 84. It is notable that BrD has not classified alankāras into varņas. 85. The names like tāramandra and mandratāra do occur in NŠ (XXIX, 31) but they have not been described. It is notable that NS has the name dipta for tara and prasanna for mandra. While BrD profusely uses prasanna for mandra, it does not even once use dipta for tāra. 86. The seven gitakas are described in NS XXXI. They are - madraka, aparāntaka, ullopyaka, prakarī, oveņaka, rovindaka and uttara. Apart from these, āsārita and vardhamāna have been extensively described in NŠ (ibid.); they are outside the above seven, but are very important on account of special tala patterns and association with dance. All these forms are prescribed in pūrvaranga (preliminaries of drama). Since no dramatic situation is required to be highlighted in Pūrvaranga, the music there could be autonomous and hence the units of text of songs could be stretched by the melody through alankāras, the comprehension of the meaning of the text of songs being not important there. 87. In dhruvās (songs prescribed for highlighting different situations in drama), as distinct from gîtaka, the comprehension of meaning of text by the listener is very important and hence stretching of the syllables of the text is not desirable. 88. The implication of this statement is not clear, because alankaras of the sthāyi-varņa are being described immediately after this verse. Abhi Bhā on NŠ XXIX, 33 says that the alankāras of sthāyi-varņa could be used at will (in dhruvās ); there is no restriction prescribed for them. 89. Brightening means movement towards high svaras. 90. Reverse order would mean proceeding from high to low. e le par Alle and the second