sadjagrāma technical_term

^٠. ²⁵ TRANSLATION Ārṣabhī has niṣāda, ṛṣabha and dhaivata as amsas. The ṣāḍava and auḍuvita (forms) come into being by the omission of sadja and (sadja) pañcama respectively. (213) In dhaivatī, ṛṣabha and dhaivata have been spoken of as amśas by the gurus. These two alongwith madhyama are apanyāsas and the two(ṣāḍava and auduvita) are, as spoken of before, (in ārṣabhī) through the respective omission of (ṣaḍja and ṣaḍja-pañcama). (214) In niṣādavatī (or naiṣādī), the svaras having two śrutis each (viz. gāndhāra, niṣāda) alongwith ṛṣabha are the amśas. The rest is as in dhaivatī, the nyāsa is the svara (niṣāda) from which this jāti derives its name. (215) In ṣaḍja-kaiśikī, ṣaḍja, gāndhāra and pañcama are aṁśas and they themselves are the apanyāsas, adding niṣāda and omitting gāndhāra. (216) Rṣabhais of sparse usage and gāndhārais desired to be the nyāsa. And this (jāti) is said by the ācāryas to be always pūrņasvarā (with complete svaras i.e. there is no omission). (217) Şadjodicyavatī is (formed) with şadja, madhyama, dhaivata and niṣāda as amśas, sadja and dhaivata should be known as two apanyāsas. (218) It is devoid of ṛṣabha and if two (svaras) have to be omitted then it is devoid also of pañcama. There is the abundance of mandra gandhara and madhyama is the nyāsa. (219) Şadja-madhyamā has all the svaras as aṁśa and its nyāsa is on the two svaras from which it derives its name (viz. şadja and madhyama). Nişāda and gāndhāra are the two svaras that bring about hīnatva (the state of being bereft i.e. the omission of niṣāda brings about its ṣāḍava form and that of niṣāda, gāndhāra, its audava form). (220) The sañcara (to and fro movement of svaras) is left to one's will, it has to be so as not to violate the grāma.⁴¹ These seven are in sadja-grāma, the remaining (eleven) are the jātis of madhyama (grāma). (221)

TRANSLATION ³⁵ When pūrvaraiga is performed the organisers of song should use the śuddhā (jātis) in āsārita,⁴⁷ pāņikā ⁴⁸ and the like and after that the formation (alteration) of anisas of jātis (should be taken up). (249) Along with the order of \bar{a}s\bar{a}ritas^{49} and because of that of the angah\bar{a}ras^{50} the formation or variation of amsas in their svaras i.e. in svaras of jatis should be done in the text of vardhamāna⁵¹ (250) [8. The ṣāḍava and auḍava formation of jātis] The sixty-three amsas that have thus been spoken of, out of them each one is accorded the position of ainsa (at a given time) (and accordingly) the ṣāḍava and auḍava formation that is obtained (on account of rule or prescription) is sometimes given up. (251) [ Anu. 134 ] The sixty-three amsas that have been spoken of, out of them each one has to be arranged as anisa (in a given melodic set-up). (In specific situations created by the arrangement of different anisas) sometimes the formation of ṣāḍavita and auḍuvita that is obtained in the context of a given jāti, is given up. He (the author) clarifies this itself. Şādja-madhyamā does not become ṣāḍava on niṣāda being amsaand also on gandhara (being amsa), because ^{52} the omission of a samvadi of the amsa is not accepted. (252) [ Anu. ¹³⁵ ] This means that on niṣāda being the aṁśa, the jāti ṣadjamadhyā does not become ṣāḍava. Why? In ṣaḍja-grāma, in the prescription about ṣāḍava the omission of gandhara is not there. On gandhara being aṁśa, it should be known to be non-ṣāḍava by omission of niṣāda because of the negation of the omission of the sanivādī of the aniśa. Kaiśikī, raktagāndhārī (and) gāndhāri, (these three jātis do not become ṣāḍava) when pañcama is aṁśa, (by the omission of ṛṣabha on account of the negation of the omission of the samvādī of the aṁśa). Similarly, ṣāḍjī does not become ṣāḍava through (the omission of niṣāda) on gāndhāra being the aṁśa and şadjodicyavā should be known not to be şādava (through the omission of ṛṣabha ) on dhaivata being the aṁśa. (253)

BŖHADDEŚĪ ⁹⁰ [अन्॰ ^१६७] अस्यार्थः -शुद्धसाधारितो रागः षड्जग्रामसम्बन्धः षड्जमध्यमाज?ातेरुत्पत्रत्वात्। तारषड्ज?ो ग्रहोंऽशश्च । मध्यमो न्यासश्च । निषादगान्धारयोरल्पत्वम् । पूर्णश्चायम् । गर्भसन्धौ विनियोगः । वीररौद्रादिको रसः । षड्ज?ादिमूर्छना । अवरोही वर्णः । प्रसन्नान्तोऽलङ्कारः । दक्षिणे कला । वृत्तौ कला , चित्रे कला (ति ? दि) स्वरपदगीते चच्चत्पुटादितालः। [४. शुद्धकैशिकमध्यमः] कैशिकीषड्जमध्याभ्या शुद्धकैशिकमध्यमः। ॰शुद्ध॰ षड्ज?ांशो मध्यमन्यासस्त्यक्तावृषभपञ्चमौ४१ ॥ ३०२॥ ॰क (स्त्रि ? त्रि) त्रुतिपञ्चमः [अनु॰ ^१६८] अस्यार्थः - शुद्धकैशिकमध्यमो रागः षड्जग्रामसम्बन्धः कैशिकीषड्जमध्याज?ातिभ्या^४२ ॰ ज?ात्योः समुत्पन्नत्वात् । ननु कैशिको मध्यमग्रामसम्बद्धा , षड्जमध्यमा षड्जग्रामसम्बन्धा, अत (ननु ?) उभयग्रामता[ऽ]स्तीति भावः।[ऋषभपञ्चमहीनत्वात् षड्जग्रामसम्बद्ध एवायम् , मध्यमग्रामे ऋषभपञ्चमयोर्लोपो नास्तीति भावः ।]^४३ तारषड्ज?ोऽस्य ग्रहोंऽशश्च । मध्यमो न्यासः । निषादगान्धारयोरल्पत्वम् । पञ्चमर्षभयोर्लोपः । निषादोऽत्र काकली, औडुवश्च । निर्वहणे चास्य काकलिपाडवश प्रयोगः । षड्ज?ादिमूर्छना । रौद्रवीरादिको रसः । प्रसन्नान्तोऽलङ्कारः । ..... [५. शुद्धकैशिकः ] ^४४षड्ज?ांशः ^४५पञ्चमन्यासः कैशिकीज?ातिसम्भवः। पड्ज?ांशैः पञ्चमो तथा कार्मारवीज?ातेः स्वरैः पूर्णेश्च कैशिकः ॥३०३॥

BŖHADDEŚĪ ⁹⁰ [अन्॰ ^१६७] अस्यार्थः -शुद्धसाधारितो रागः षड्जग्रामसम्बन्धः षड्जमध्यमाज?ातेरुत्पत्रत्वात्। तारषड्ज?ो ग्रहोंऽशश्च । मध्यमो न्यासश्च । निषादगान्धारयोरल्पत्वम् । पूर्णश्चायम् । गर्भसन्धौ विनियोगः । वीररौद्रादिको रसः । षड्ज?ादिमूर्छना । अवरोही वर्णः । प्रसन्नान्तोऽलङ्कारः । दक्षिणे कला । वृत्तौ कला , चित्रे कला (ति ? दि) स्वरपदगीते चच्चत्पुटादितालः। [४. शुद्धकैशिकमध्यमः] कैशिकीषड्जमध्याभ्या शुद्धकैशिकमध्यमः। ॰शुद्ध॰ षड्ज?ांशो मध्यमन्यासस्त्यक्तावृषभपञ्चमौ४१ ॥ ३०२॥ ॰क (स्त्रि ? त्रि) त्रुतिपञ्चमः [अनु॰ ^१६८] अस्यार्थः - शुद्धकैशिकमध्यमो रागः षड्जग्रामसम्बन्धः कैशिकीषड्जमध्याज?ातिभ्या^४२ ॰ ज?ात्योः समुत्पन्नत्वात् । ननु कैशिको मध्यमग्रामसम्बद्धा , षड्जमध्यमा षड्जग्रामसम्बन्धा, अत (ननु ?) उभयग्रामता[ऽ]स्तीति भावः।[ऋषभपञ्चमहीनत्वात् षड्जग्रामसम्बद्ध एवायम् , मध्यमग्रामे ऋषभपञ्चमयोर्लोपो नास्तीति भावः ।]^४३ तारषड्ज?ोऽस्य ग्रहोंऽशश्च । मध्यमो न्यासः । निषादगान्धारयोरल्पत्वम् । पञ्चमर्षभयोर्लोपः । निषादोऽत्र काकली, औडुवश्च । निर्वहणे चास्य काकलिपाडवश प्रयोगः । षड्ज?ादिमूर्छना । रौद्रवीरादिको रसः । प्रसन्नान्तोऽलङ्कारः । ..... [५. शुद्धकैशिकः ] ^४४षड्ज?ांशः ^४५पञ्चमन्यासः कैशिकीज?ातिसम्भवः। पड्ज?ांशैः पञ्चमो तथा कार्मारवीज?ातेः स्वरैः पूर्णेश्च कैशिकः ॥३०३॥

VIMARŚA ³⁰⁹ 85. The gandhara and that too antara becomes the dhaivata of madhyamagrāma. Perhaps this phenomenon is being indicated here. 86,87. Adbhuta and hasya on the one hand and karuna on the other are incompatible. 88. The freedom of the performer is being indicated here. 89,90,91. The situations mentioned under viniyoga and the rasa vīra are perfectly compatible. 92. Yuddhavīra is one of the four varieties of vīra rasa. See note 53. 93. The indication of murchana finds place in the description of jatis for the first time. No rule is prescribed for assigning a particular mūrchanā to a given jāti. Here it is said that the mūrchanā of jāti is known from the 'statements of authorities', which implies that there is no prescribed rule. 94. The import seems to be that the amsa that is predominant among amsas (in the case of jātis with more than one amsa) determines the mūrchanā of a jāti. 95. The four components of gita have been enumerated as svara, pada, tāla and mārga (vide citation in the name of Kasyapa in Kalā on SR II.30-32). 96. Dhruvāis a metrical text that is performed in pūrvaranga, where the compositions in Sanskrit or in prescribed non-lexical syllables are used. The dhruvā performed within the drama is invariably in Prākṛta and provides a figurative and poetic commentary on the happenings in the drama. NS XXXII gives numerous illustrations of dhruvā texts. 97. The ten forms of rūpaka are described in NS XVIII; they are - nāṭaka, prakaraṇa, aṅka, vyāyoga, bhāṇa, samavakāra, vīthī, prahasana, ḍima and īhāmṛga. 98. Prastāvanā(lit.introduction) is twofold, one occurring in the end of the Pūrvaranga and the other in the beginning of the play immediately after nāndī i.e. one is composed by the sūtradhāra known as director and the other by the poet called playwright to-day. 99. Mukha and pratimukha are the first two among the five sandhis or junctures of drama. 100,101. Garbha is the third sandhi and avamarsa (another name for vimarsa) is the fourth one. Chapter IV (The description of bhāṣās) [ A. Bhāṣās according to Yāṣṭika ] 1. This whole portion on bhāṣās according to Yāṣṭika seems to form part of an independent text. We have retained it in our reconstructed text as it embodies very valuable material, but we have numbered its verses

BRHADDES! ³⁸ [ अनु. ^२५ ] इदानी गान्धारनिषादयोरेकश्रुत्यन्तरहीनत्वेनानुवादित्वे प्राप्ते द्वचन्तरत्वाद् विवादित्वमुक्तम्। कि तद् विवादित्वं नाम ? वाद्यादिभि स्वरैर्यद्रागस्य वादित्वं संवादित्वमनुवादित्वं प्राप्तं, तद्विनाशकत्वं नाम विवादित्वम्। विवादिमण्डलं यथा— स नि रि ध ⁴ Ŧ ॥ इति [ षड्जग्रामे ] विवादिमण्डलम् ॥ ` [ अनु. २६ ] विवादिप्रयोगो यथा—ऋषभस्थाने गान्धारः प्रयुज?्यमानो गान्धारस्थान 25ऋषभः प्रयुज?्यमानो ज?ातिरागहानिकरो भवेत्। धैवतस्थाने निषादः प्रयुज?्यमानो [ निषादस्थाने धैवतः प्रयुज?्यमानो ] ज?ातिरागहानिकरो भवेत् ॥ इति षड्जग्रामे ॥ [ अनु. ^२७ ] इदानी मध्यमग्रामे वादित्वं संवादित्वमनुवादित्वं [ विवादित्वम् ] च प्रदश्यते । तत्र वादिनो मध्यमादिस्वरा सप्त²६। नवकत्रयोदशान्ता संवादिनः। एकश्रुत्यन्तरहीनत्वादनुवादिनः। द्वचन्तरौ तु स्वरौ विवादिनौ । ___ ^•नादनु ____

⁵⁵ TRANSLATION The heptad of svaras (that functions) through ascent and descent²¹ in respective order,22 should be known by the adept ones as being spoken of by the (91) word mürchanā. [ Anu. ³⁶ ] That murchanā again is twofold — one composed of seven svaras and the other of twelve svaras.25 Out of these the murchana of seven svaras is fourfold24 __ pūrņā (lit. complete, here with all the seven svaras), ṣāḍavā (hexatonic), auduvitā (pentatonic) and sādhāraņā (with sādhāraņa svaras). Out of them pūrņā is that which is sung with seven svaras, that which is sung with six svaras is ṣāḍavā, that which is sung with five svaras is auduvitā, that which is sung with kākalī and antara svaras, is sādhāraņā. (Anu. ³⁷) Now the mūrchanā-maṇḍala is being spoken of. In this (maṇḍala) for mūrchanās of seven svaras in each grāma there are forty-nine svaras and (the same number of) squares (kosthakas), on account of the process that follows a set path or order. That is thus— Forty-nine squares filled25 with svaras, have, indeed, to be made with eight (92) horizontal and vertical lines. (Anu. ³⁸) There (in the maṇḍala) are seven (mūrchanās) beginning with 26 sa - ni - dha - pa - ma - ga - ri in sadjagrāma and seven beginning with ma - ga - ri - sa - ni - dha - pa in madhyama-grāma. Svaras have to be 'made' (filled) (in the squares) in the horizontal and vertical (order). That is thus - ni - dha - pa - ma - ga - ni - į sa is (the order) in şadja-grāma. Ga - ni - sa - ni - dha - pa - ma is (the order) in madhyama-grāma. Thus there are the fourteen sampūrņā (complete) mūrchanās of the two grāmas. sa - ri - ga - ma - pa - dha - ni ni - sa - ri - ga - ma - pa - dha

TRANSLATION 65 sa ri X ma pa dha X X sa ri X ma pa dha dha X sa ri X ma pa pa dha X sa ri X ma ma pa dha X sa ri X X ma pa dha X sa ri ri X ma pa dha X sa (Tānas) devoid of ni-ga. sa X ga ma X dha ni ni sa X ga ma X dha dha ni sa X ga ma X X dha ni sa X ga ma ma X dha ni sa X ga ga ma X dha ni sa X X ga ma X dha ni sa (Tānas) devoid of pa-ni. Thus end the auduva (tānas). (Thus is the) total (of tānas in sadja-grāma). After this (the tānas) in madhyama-grāma. ma pa dha ni X ni ga ga ma pa dha ni X ri ni ga ma pa dha ni X X ri ga ma pa dha ni ni X ri ga ma pa dha dha ni X ri ga ma pa pa dha ni X ri ga ma (Tānas) devoid of şadja. ma pa dha ni sa X ga ga ma pa dha ni sa X X ga ma pa dha ni sa sa X ga ma pa dha ni ni sa X ga ma pa dha dha ni sa X ga ma pa pa dha ni sa X ga ma (Tānas) devoid of ni.

¹⁶¹ VIMARŚA commenting on NS XXVIII, 1. He says there that even if an untrained person 'hits' a mūrchita (tuned) vīṇā, the sound produced will be musical (in tune) i.e. svara will be attained. Since the tuning has to take effect only in one of the mūrchanās, the name mūrchanā for tuning is justified. Kālidāsa (Megha. 84) has used the word murchana in the same sense when he says for the Yakşi that again and again she forgets the mūrchanā made by herself. 30. This prescription of establishing the two viņās in sadjagrāma immediately after the mention of murchana appears to be rather queer, but the apparent repetition could be justified if the mention of 'mūrchanā' is taken to refer to equality in tuning, pure and simple and the later mention of sadjagrāma is accepted as the specification of tuning. The construction of the sentence implying that equal tuning is to be done first and then the viņās have to be established in sadjagrāma which itself is a tuning, will have to be ignored as the initial reference to tuning is a part of the general prescription about perfect equality between the two viņās and the second reference relates to special tuning. 31,32. The qualification of śruti as şadjagrāmiki and madhyamagrāmiki could be interpreted in two ways, viz.- (a) 'Sruti' could be taken here as standing for sound in general; accordingly, the total tuning of each grāma could be referred to as śruti in singular number. (b) The interval of sruti perceived through apakarşa (lowering) of pañcama is madhyamagrāmikī śruti and the same interval being perceived through the utkarșa (augmentation) of pañcama is called șadjagrāmiki. It is to be noted that the utkarşa of pañcama is not actual but only 'resultant' because it comes into . being when all the other svaras are lowered in accordance with the lowering of pañcama so that the samvada of şadja-pañcama that was disturbed on account of the lowering of pañcama is restored. 33. In the mention of the restoration of sadjagrāma, the process i.e. the 'utkarşa' (augmentation) of pancama is implicit. In NS (XXVIII, p. 20) it is made explicit by the expression pañcamasyotkarşa-vasat i.e. by reason of the augmentation of pañcama. 34. The idea is that all the svaras on the mobile (cala) viņā are lowered by one śruti, but this process does not prove the interval of any svaras in terms of śruti since there is no svara in this system, that manifests on consecutive śrutis; the gap or interval of one śruti is indispensable. 35. The word 'tadvat' has raised a big controversy among modern scholars. It has been generally interpreted to mean "in the same manner" literally, giving the sense that the second step of this process of demonstration of śrutis has to begin again with the lowering of pañcama. Three opinions are notable in this context. (i) V.N. Bhatkhande (cf. Hindustani Sangita Paddhati, Hindi translation, Vol. IV, p. 37). He has inferred that since all the four steps start with the lowering of pañcama, the value (in pitch) of all the four lowerings is identical and hence all śrutis are identical according to Bharata. (ii) Omkarnath Thakur (cf. Praņava-Bhāratī, p. 61-86) has accepted that all