madhyamagrāma technical_term

BRHADDEŚĪ ⁴ आन्ध्री च नन्दयन्ती च कार्मारव्यथ कैशिकी । अङ्धी ₹क एवमेकादश ज?्ञेया मध्यमग्रामसंश्रयाः ॥ १९०॥ [॥ इत्येकादशमध्यमग्रामाश्रयाः॥] [साधारणकृता ज?ातयः] साधारणकृतास्तिस्रो विज?्ञेया ज?ातयो बुधैः । मध्यमा पञ्चमी चैव तथा वै षड्जमध्यमा ॥१९१॥ मत्सरी ॥ इति सङ्ख्या, उद्देशश्च॥ [२. शुद्धा, विकृता, संसर्गजा विकृताश्च] [ अनु ॰ ११५] आभ्योऽष्टादशजातिभ्यः सप्तस्वराख्याश्चोक्ता द्विधा शुद्धा विकृताश्चेति । तत्र शुद्धा अन्यूनस्वरा*स्वस्वरांशग्रहन्यासापन्यासाश्च । एभ्यो लक्षणेभ्योऽन्यतमेन द्वाभ्या बहुभिर्वा ्रा स्वरस्वरग्रहान्यासाध (?) लक्षणैर्विकृतिमुपगता न्यासवर्ज विकृतसंज्ञा भवन्ति । ^५व्यायापि तुष्टा(?) ^६०वजा [अनु०११६] तंत्रं न्यासविधिमाह-तत्र न्यासविधौ या ज?ातयः शुद्धाः,तासु नामकारी यो न्यासः [स] नियमेन मन्त्रो भवति विकृतासु च नामकरी [न्यासः] तारो वा मन्द्रो वा भवतीत्यनियमः। ^७कविकारी या मन्द्रो भवतीत्यनियमः । [ अनु ११७ ] तत्र शुद्धाना ज?ातीना शुद्धत्वं विकृतत्वं च रूपद्वयमस्ति । एकादशाना ज?ातीना विकृतोद्भवत्वादु विकृतत्वमेव रूपं भवति न तु शुद्धत्विमिति कुत एतत् ? ता हि परस्परसंसर्गाज?्ञायन्ते । तथा वृ॰ (ते?न्ते) । ननु चाह भरतः -

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॥

PĂŢĦAVIMARŚA ²⁵⁵ 170. Ibid.adds asyāḥ before ‘prastāraḥ’. 171. Reading in SR I. 7. 94. 172. SR I. 7. p. 242 adds 'raktagāndhāryām 'after 'asyām'. 173. Ibid.adds 'asyāḥ 'before 'prastāraḥ'. 174. SR I. 7. p. 245 adds ‘gāndhārapañcamyāṁ ’ after ‘ asyāṁ ’. 175. Ibid.adds ‘asyāḥ ’before ‘ prastāraḥ’. 176. SR. I. 7. p. 253 adds 'madhyamodīcyavāyām' after 'asyām'. 177. Ibid.adds ' asyāḥ ' before ' prastāraḥ '. 178. SR 1. 7. p. 253 adds ‘ kārmāravyāṁ ’ after ‘ asyāṁ ’. 179. Ibid.adds ‘ asyāḥ ’ before ‘ prastāraḥ ’. 180. SR1. 7.104 reads ‘sūribhiḥ’ but SRĀ I.7.103 reads ‘sū (bhū) ribhiḥ’. 181. SR 1.7. p.257 adds ‘gāndhārapañcamyām’ after ‘asyām’. 182. Ibid.adds ‘ asyāḥ ’ before ‘prastāraḥ ’. 183. Reading in SR I. 7. 105. 184. Reading in SR I.7.106. 185. Reading in SR 1.7.106; SRĀ 1.7.106 and Sudhā on the same, p. 260 read 'tāla' which fits the context. 186. SR I. 7, p.261 adds 'āndhryam' after 'asyām'. 187. Ibid.adds ' asyāḥ ' before ' prastāraḥ '. 188. Reading in SR I. 7.109. 189. SR I. 7, p. 264 adds ‘ nandayantyām’ after ‘ asyām’. 190. Ibid.adds asyāḥ before prastāraḥ. 191. P.t. adds 'sa' or 'ma' after each jātiprastāra in this interpolated portion; the significance is not clear. 192. The jātis described in this interpolated portion do not complete the number eighteen because of two repetitions as follows- Jätis left out Jātis described in the Jātis described interpolated portion in the prose portion 1. Madhyamā 1.Şadjamadhyamā 1. Şādjī 2. Pañcami 2. Gändhärodicyavā 2. Arşabhī 3. Raktagāndhārī ³. Dhaivatī ⁴. Kaišikī ⁴. Naisādī 5. Madhyamodicyavā 5. Şadjakaisikī ⁶. Kārmāravī 6. Şadjodicyavā 7. Gändhärapañcamī 7.Şadjamadlıyrunā ⁸. Āndhrī 8. Gändhäri 9. Nandayanti 9. Raktagāndhārī

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

CONTENTS ix Foreword by Kapila Vatsyayan XI Introduction xvii Abbreviations Brhaddesi of Śri Matanga Muni 3 Text and Translation 3 Section I: Deśī 3 The desi nature of Dhvani 5 The definition of desi and marga ⁷ Section II: Nāda 7 The glory, origin, definition and kinds of Nāda 9 Section III: Sruti 9 The definition of śruti and its numeration 19 Five alternatives in the relationship between sruti and svara The demonstration of visual representation of srutis by 25 Mandala-prastāra 29 Section IV: Svara 29 The laksana of svara The fourfoldness of svaras according to kinds beginning 33 with vādin 35 The samvādi-mandala in sadjagrāma 37 The anuvādi-maṇḍala in ṣaḍjagrāma 39 The vivādi-maṇḍala in ṣaḍjagrāma 41 The saṃvādi-maṇḍala in madhyama-grāma 41 The anuvādi-maṇḍala in madhyama-grāma 43 The vivādi-maṇḍala in madhyama-grāma The sevenfold combination of svaras according to the 43 types beginning with arcika 43 The etymology of svara-names 45 The castes of svaras 45 The drawing out of svara signs as contained in agama 47 Assignment of community, colour and the like to svaras 51 Section V: Grāma-mūrchanā 51 The treatment of grāma 53 The treatment of mūrchanā 57 Mūrchanā-maṇḍala 67 The distinction between Mürchanā and tāna 69 The yajña-names of tanas 73 The performance of tanas 83 The mūrchanā of twelve svaras 85 Section VI: Varņas and Alankāras 85 The Varnas 89 The Alankaras

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

BRHADDESI ⁷⁰ अग्निचिद् द्वादशाहश्च उपाशु सोम एव च। 43अश्वप्रतिग्रहो बर्हिस्तधाऽभ्युदय इत्यपि।।१०९।। ^•ग्राहोद्वही^• ॥ इति ऋषभहीनताननामानि ॥ सर्वस्वदक्षिणो दीक्षा सोमः समिधसंज?्ञकः। स्वाहाकारस्तनूनपात्•• ततो गोदोहनस्तथा।।११०।। ^०श्च ॰पा ুখৰ ।। इति गान्धारहीनताननामानि ॥ ।। इति मध्यमग्राम एकविंशति षाडवताननामानि ।। ।। इत्येवमुभयग्रामाश्रितान्येकोनपञ्चाशत्ताननामानि ।। इडा पुरुषमेधश्च श्येनो वज्र॰ इषुस्तथा। ^•इस्यः यज्ञ अङ्गिरा ४०कस्क्रुसंज?्ञश्च षड्जग्रामेऽपि चौडुवा ॥१११॥ क्स. ॥ इति षड्जपञ्चमहीनताननामानि ॥ अग्निष्टोमोऽथ दर्शक्च नान्दी वै ४८पौर्णमासिकः। ⁴⁷ज्योति দূ अभ्वप्रतिग्रहो रात्रिस्तथा ४१सौभरको मतः ॥११२॥ की लो ॥ इति गान्धारनिषादहीनताननामानि ॥ सौभाग्यकृच्चऽ० ऽभ्कारीरी शान्तिकृत् पुष्टिकृत्तथा। ुक्ति भा काच वैनतेयो भवेदेव उच्चाटनवशीकृतौ ॥११३॥ ।। इति पञ्चमर्षभहीनताननामानि ॥ ।। इति षड्जग्राम औडुवितताननामानि एकविंशति।।

⁷¹ TRANSLATION Thus end names of the tanas devoid of şadja in madhyamagrama. Agnicit, dvādašāha, upāmšu and soma itself, asvapratigraha, barhi and also (109) abhyudaya. Thus end the names of tanas devoid of rşabha. Sarvasvadakşiņa, dīkṣā, soma, the one named samidha, svāhākāra, tanūnapāt (110) and then godohana. Thus end the names of tanas devoid of gandhara. Thus end the twenty-one names of şāḍava tānas in madhyamagrāma. Thus end the names of forty-nine (sadava) tanas seated in the two gramas. Idā, puruşamedha, syena, vajra and işu, angirāh and the one named kanka (111) are the audava (tānas) in şadjagrāma. Thus end the names of tanas devoid of şadja and pancama. J Agnistoma and then darsa, nāndī, paurņamāsika, asva-pratigraha, rātri and (112) saubharaka is known. Thus end the names of tanas devoid of gandhara and nisada. Saubhāgyakṛt, Kārīrī, śāntikṛt, puṣṭikṛt and vainateya is definitely there (and (113) then), uccățana and vasikțt. Thus end the name of tanas that are devoid of pancama and mabha. Thus end the twenty-one names of audavita tānas in sadjagrāma.

VIMARŚA ¹⁵⁹ 20-23. Utkarşa and apakarşa lit. mean heightening and lowering respectively. They are used singly and also in a pair in NS. Our text uses them in a pair in the present passage and also in Anu. 36 (while explaining grāma). Again in Anu. 8 (while explaining the process of sāraṇā) 'apakarṣa' and 'apakṛṣṭa' (adjective for Viņā ) is used. Mārdava and āyatatva are used in a pair in the present passage; but 'ayatatva' is replaced with 'viprakarşa' in Anu. 50 ( while explaining tāna-kriyā ) and mārdava is explained there as loosening ( of the string). Word Reference Context Apakṛṣṭa (Pañcama) NS XXVIII p. 20 Madhyamagrāma Utkarşa-apakarşa p. 20 Measure of śruti . Apakṛṣṭa (Vīṇā) p. ²⁰ Sāraņā M Utkarşa ( of gandhara ) p. 26 Mūrchanā-grāma Mărdava (of dhaivata) p. ²⁶ Utkṛṣṭa ( niṣāda ) p. ³² Svara-sādhāraņa (gāndhāra) p. ³² ⁹⁹ Mārdava-āyatatva p. 20 Measure of sruti × Ayatatva XXVIX p. 37 Sruti-jāti Mṛdutva p. 37 Viprakarşa-mārdava XXVIII p. ²⁷ Tāna-kriyā Viprakarşa-pidana Abhi. Bhā. ( stretching of the on above string) Mārdava = śithilikarana (loosening of the string). It is an acoustic fact that stretching or tightening of the string results in higher pitch and loosening of the string results in the reverse viz. lower pitch. The words utkarşa and apakarşa stand for these two resultant changes in pitch respectively. 'Ayatatva' and 'mārdava' are basically concerned with the process of tightening and loosening of the string respectively. Both these pairs are closely related since they represent the effect and cause. Both the pairs are mentioned together in BrD and NS in the context of sāraņā (the process of verification of śruti). It is notable that although utkarşa and āyatatva and apakarşa and mārdava are pairs of mutually related terms, their order is reversed both in NŠ and BrD where mārdava-āyatatva is said to be an alternative of utkarşa-apakarşa; the proper order would have been apakarşa-utkarşa. Abhinavagupta commenting on this passage of NS explains the mutual relativity of the constituents of both the pairs. When there are two viņās, if one string on one viņā is tightened, this action has two effects viz. higher pitch on that viņā and relatively lower pitch on the corresponding string of the other viņā without any change of tension in that string. Hence ayatatva produces both utkarşa and apakarşa. Similarly, if one string is loosened on one viņā, this action has two