Sārngadeva proper_noun

PĂŢHAVIMARŚA 249 49. MS B reading as recorded by the ed. 50. MS A reading as recorded by the ed. is - sampūrņatva. 51. Auduvalakṣaṇa is in place here, but it is lost due to a break in the text. The citation from Bharata should be taken to be subsequent to the lost portion of the text. 52. Since the treatment of dhruvā is lost in the text, this 'announcement' of the author is unfulfilled. 53. MS B as recorded by the ed. reads - 'ta ca dhruvam madhya ye '. 54. Vide NŚ Chau. XXVIII. 95 55. cf. अन्तरमार्गणमित्यन्तरमार्गणस्य(र्गस्य) लक्षणम् । यथाज?ातीति क्वचिद्वाऽनंशोऽपि नाल्पः । तथा च कार्मारव्या गान्धारस्य सर्वस्वरसङ्गत्या बहुत्वेनान्तरमार्गे प्रयोग इति वक्ष्यते । गान्धारस्य विशेषेण सर्वतो गमनं भवेत् । Abhi. Bhā. on NŚ XXVIII. 74, p. 49. 56. cf. अथ बहुत्वमाह । अल्पत्वं तद्वद् बहुत्विमिति । लक्षयतीति शेषः । कथमित्याह । बलवदबलवतोऽपि(तोर्वि) पर्याये(पर्यये)अबलमल्पं, तद्विपर्ययाद् बलवदिति बहुत्वाक्षक्षणं (बहुत्वलक्षणं) गम्यत एव । अत एवाह । ज?ातिस्वरैस्तु नित्यं ज?ात्यल्पत्वं द्विधा चैत(त्) । ज?ातिगतमल्पत्विमव तद्बहुत्वमिप द्विधा । तच्च ज?ातिस्वरैःपर्यायांशैरसंवादिभिश्चोपलक्षितः (क्ष्यते) । तेनैषामलङ्घनम(भ्यास)श्चेति द्विधा बहुत्वमित्युक्तं भवति ॥ ७४॥ तथाल्पत्वबहुत्वयोरुपयोगं दर्शयन् प्रसङ्गादन्यदप्याह । सञ्चारांशे(श)बलस्थानामल्पत्वे दुर्बलासु च । न्यासश्चान्तरमार्गश्च ज?ातीना व्यक्तिकारकः॥ Abhi Bhā on NŚ XXVIII. 74,75.p.49. 57. cf. ज?ातिस्वरैध नित्यं स्याद् ज?ात्यल्पत्वं विधानतः । सञ्चारोंऽशवलस्थानामल्पत्वं दुर्वलेषु च । विविधोऽन्तरमार्गस्तु ज?ातीना व्यक्तिकारकः॥ NŠ Chau. XXVIII. 90,91. 58. Reconstruction based on NŚ XXVIII. 72 and Abhi Bhā on the same, p. 47. 59. This definition of apanyāsa is in the proper order. The definition of apanyāsa in Anu. 127 above is part of the definition of amsa, hence it is not a repetition. 60.cf. अपन्यस्यते प्रयोगो येनेत्यपन्यासः। अपन्यसनं च न्यासत्वापगमे त्ववान्तरविच्छेद्वसंस्वात्र्यासवछतिभासनम्। Kalā on SR I. 7.41-46, p. 188. 61. Reconstruction based on c.r. in Sudhā on SR.I. 7, 41-46, p.189. 62. From here onwards upto verse 238, the text of Datti 63-90 is reproduced with slight variations here and there which have been recorded by us. 63. Reading of Datti 63. 64. Reading of Datti 64. 65. Reading of Datti 68.

^٠ VIMARŚA ³⁰⁵ central part of present Madhya Pradesh. The special preference for Mālavā requires further investigation. 29. The word gamaka is used here in the sense of vocal embellishments including shakes; it is not restricted to shake. ³⁰. See note ²². 31. Each grāmarāga is said to be born of one or more jātis. 32. Pūrvaranga has been described in NS IV and V; it embodies instrumental rendering, song, dance, dialogue etc. presented as a preliminary to drama. It has both ritualistic and psychological value as it ensures the success of drama by propitiating the gods and prepares the audience for being receptive to drama. 33. Kākalī and antara are always prescribed to be sparse, but here only the sparseness of gandhara is prescribed, although both antara and kakali are present. It could be construed that gandhara stands for the original gāndhāra and not antara. See note 91. ^• 34,35. The prescription of a specific varņa and alaṅkāra in a rāga is not easy to comprehend. It could only be surmised that the peculiar form of a raga in some cases becomes manifest in ascent, in other cases in descent and similarly a specific alaṅkāra could be assigned to a rāga on account of having a special role in establishing the same. 36. Mārga literally means path; it stands for the span of a tāla. NŠ describes three mārgas of each tāla, citra being the shortest, vārtika or vṛtti being its double and dakṣiṇa again being its double. Our text describes two additional mārgas viz. dhruva being half of the length of citra and śūnya being half of dhruva. (See Vol.I. Anu.113) 37. Kalā has many meanings; the main ones are-firstly, the time-unit that is equal to a guru i.e. two mātrās of tāla, secondly, the 'action' (kriyā) in tāla, sounded or unsounded and thirdly, the unsounded action. Here the first meaning is relevant because the length of kalā depends on the mārga in use at a given time. 38. Caccatpuța is the first among the five tālas described in NŠ XXXI. This is the only caturasra (lit. square) tala, being composed of four kalas or eight mātrās. 39. Garbha-sandhi is the third among the five sandhis or junctures in drama described in NŚ XIX; the first two being mukha and pratimukha and the last two being vimarsa and nirvahana. Garbha literally means 'womb', the inside or interior of something. In drama garbha-sandhi stands for that juncture where the 'sprouting' of the 'seed' has taken place, but the fruit is still enshrouded in the 'garbha'. 40. Our text does not uphold the relationship of any raga to both the grāmas; the decision always rests with the interval of pañcama, if it is composed of four śrutis, then relationship with ṣadjagrāma is confirmed and