Pada-giti - concept

citation

p.vol_I_p081

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conf 0.88

Pada-gitis is related to the Natyashastra chapter XXIX treatment of gitis

"cf. NŚ XXIX,44-48 and the variant recension of this chapter, 75-78."

PÄTHA VIMARŚA 145 8. MS A reading recorded by the ed. - 'dviḥ ka'. 9. S R V, 12 reads padmini. 10. MS B reading recorded by the ed. - 'bavartitā'. 11. MS B reading recorded by the ed. - 'vanita'. 12. cf. S R V, 12-14. 13. S R V, 15cd, 16ab prescribes the first two mātrās in the citramārga, the first two and the last two i.e. seventh and eighth ( not the third and fourth as in our text) in vārtika mārga and of course all the eight in dakṣiṇa mārga. 14. The text is utterly confused and mutilated at this point as - दक्षिणा चोर्ध्वगा चित्रे द्वे तु ध्वकासर्पिणी। कृष्ट्या पश्चिनी +++++++++ ॥ अधवा प्रथमे मध्यमागुलीयो ( ? ) द्वितीये सार्धनि ++ । तृतीये मुष्टिमोक्षण्च ( च ) तुर्थे करपातना ॥ धूवका सर्पिणी चित्रे दक्षिणा वितीचित गीता ( ? )॥ उभयवाद्यप्रवर्तनवशात् प्रतीतिश्चागीतप्रधानदक्षिणा वृत्ति उभयप्रधाना वृत्ति मवित्ति ( ? ) बाराप्रधाना चित्रवृत्ति । The above verses have been dropped by us because (i) they almost repeat the content of verses 180-82 and (ii) whatever seems to be new in them is not found in any other text to form the basis of reconstruction. The prose portion has been reconstructed on the basis of NS XXIX, 71 and Abhi Bhā. 15. This line has been reconstructed on the basis of NS XXIX, variant recension, p. 133, 34. 16. cf. चित्रे समा यति । दूतो लयः । उपरिपाणि मागधी । ओघोऽवयवः अनागतग्रहः । अभिसृतवाद्यप्रयोगः । .(Bha Ko, p. 481) 17. P.t. repeats 'samānā'. 18. P.t. has been reconstructed as 'abhīkṣṇam', meaning 'at once' as it is nearest to the available reading and also fits the context as an alternative (synonym) of 'samam' i.e. together. 19. The reading of P.t. 'vādyaprayoga' has been replaced with 'vādyagrahayoga', because this reading recurs in the following sentence and is more appropriate because of the incorporation of 'graha'. 20. P.t. repeats 'vande iti padadvayena'. 21. cf. एतदुक्तम् । देवमिति पदं गीत्वा प्रथमकला निर्वाहुय विलम्बितेन लयेन यदा द्वितीया फला मध्यमलयेन देविमत्येतेन पदेन शर्विमिति शब्दसहितेन गायित ततोऽपि तृतीया कला द्वुतलयेन देव शर्विमिति पदान्तरसहितेन निर्वा हयति 👚 एव देव इत्यय शब्दः कलात्रयव्यापनात् त्रिनिवृत्तिनिर्वाह् एव। एवं तत शर्विमित्यादयोऽप्युत्तरकलाव्यापिनस्तदा मागद्यी गीति । मगधेषु तथा गाननिर्वाहोपलम्भात् । (Abhi Bhā, NŚ XXIX, p. 93) 22. P.t. reads - sasa - māsama marinii.

definition

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Pada-giti is a specific pattern of singing related to the text of the song as manifest in its syllabic units and metre

"Giti literally means song or the act of singing, but here it stands for specific pattern of singing with reference to the text of the song as manifest in its syllabic units (akşara) and metre (chandas)."

VIMARŚA 189 117. Conflict with varna is not easily comprehensible. Perhaps the idea is that whatever pattern is established in an alaṅkāra it should be followed all-through. If varna is taken to stand for syllabic unit, then the conflict and its prohibition become clear. 118. Using an alaṅkāra without a varņa ( melodic movement ) is a contradiction in itself; here also, as above (note 117) the idea seems to be that an alaṅkāra should not be used without establishing a definite pattern. Here varna as a syllabic unit does not seem to be relevant. 119. Abhi Bhā on this ( NŚ XXIX, 45 ) says that four functions of alaṅkāra in relation to varna (the syllabic unit) have been figuratively spoken of as—(i) the alaṅkāra makes the varņa bright or brilliant ( like the moon ), (ii) it 'threads' or connects the varņa (like a river), (iii) it makes the varņa blossom (like a flower on a creeper) and (iv) it makes the varna colourful or delightful (like an ornament on a woman). 120. It is notable that all illustrations begin with sadja and do not extend beyond the tāra şadja. 121-145. All these notes pertain to 'sa' that belongs to tāra-sthāna. Section VII ( Pada-giti ) 1,2,3. Giti literally means song or the act of singing, but here it stands for specific pattern of singing with reference to the text of the song as manifest in its syllabic units (akşara) and metre (chandas). NŠ mentions only these four gītis, but BrD speaks of gītis also in the context of grāma-rāgas. In order to distinguish between these two types of gitis, the first type being related to the rendering of text and the second type being related to the rendering of raga, we have qualified the gitis under reference with pada, and the gitis of raga classification will be qualified with svara or raga. 4. Nivitta lit. means retreated or returned to; in alankāras nivitti means descent (of svaras); here it means repetition. 5. Nivitta lit. means receded or held back as opposed to pravitta meaning proceeded or set forth. Here it means accomplished or completed. 6-11. Three mārgas (lit. paths) are accepted in the ancient tāla-system which represent three 'degrees' of length of a given tāla-cycle, depending on the duration of kalā or standard time-unit, as follows - Duration of kalā Name of marga 2 mātrās 1. Citra 4 mātrās 2. Vārtika or vṛtti 8 mātrās 3. Daksina 12,13,14. Ekakala, dvikala and catuşkala have been equated here with citra, vārtika and dakṣiṇa mārgas respectively. They lit. mean one 'kalā (2 mātrā )-unit, two-kalā (4 mātrā)-unit and four kalā (8 mātrā)-unit. Each of the five tālas of gāndharva have three T 1

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Pada-giti is one of the seven main topics covered in the first chapter of the Brihaddesi

"This work is being presented in three volumes, the first one covering the first chapter dealing with the following topics: 1. Deśī, 2. Nāda, 3. Śruti, 4. Svara, 5. Grāma-mūrchanā, 6. Varņa-alaṅkāra, and 7. Pada-giti."

xiii INTRODUCTION A word about the translation. It has been my attempt to bring the original to the reader with its flavour and nuances; if in this attempt the idiom of the English language has been violated, I owe an apology. My only submission would be that this is not a transcreation of creative literature, this is a presentation of 'scientific' literature in a different language. Hence the criteria of judgement should be different from those applied to translation of creative literature. Technical terms have not been translated because that is virtually impossible; rough equivalents have generally been given in paranthesis and if an equivalent has been found adequate, the original word has been given in paranthesis in order to help the reader in indentifying the equivalence. The indebtedness to Dr. Anil Bihari Beohar, Lecturer in Musicology, Indira KalaSangitaVishwavidyalaya,Khairagarh(M.P.,) has been acknolwedged in the title page. Once again, I acknowledge with affection his labour and patience with the onerous task undertaken by him. To Dr. Kapila Vatsyayan, I owe a deep debt of gratitude for her constant inspiration and encouragement. My sincere apologies are due to her for the delay in completing this work, caused by both personal and professional reasons. To Dr. Bettina Bäumer, Hony. Co-ordinator, Kalākoša office of I.G.N.C.A. in Varanasi, goes my heartfelt gratitude for her constant support, both moral and material. My younger sister Dr. Urmila Sharma has provided valuable assistance in reading the proofs; I express my loving gratitude to her. My affectionate thanks go to Dr. N. Ramanathan, Reader, Department of Music, Madras University, my former student, for going through the first half of the press-copy (upto the section on grāma-mūrchanā) in 1988, while I was at Khairagarh. I thank Dr. C.B. Pandey, Editor, and Dr. (Smt.) Advaitavadini Kaul, Asstt. Editor, for seeing the book through the Press. Prem Lata Sharma. Vasanta Pañcami 'Āmnāya', Karaundi, Magha Sukla 5, V.S. 2048 Varanasi-221 005 Feburary 8, 1992 The second of the second of the second of the second of the second of the second of the second of the second of the second of the second of the second of the second of the second of the second of the second of the second o

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Pada-gitis varieties include Māgadhī, Ardhamāgadhī, and other types with specific hand positions and movement patterns

"दक्षिणा चोर्ध्वगा चित्रे द्वे तु ध्वकासर्पिणी।"

144 BRHADDESI 53. ibid. 61 b reads 'yadvṛttau'. 'Nivṛtti' has been used elsewhere in our text for 'descent', here it fits the context, whereas P.t. and NS readings do not do so; hence we have made this reconstruction. 54,55. Reconstruction based on NS XXIX, 61d, and 62 d, variant recension, respectively. 56. P.t. breaks here. Section VII ( Pada-gitis ) 1. cf. NŚ XXIX,44-48 and the variant recension of this chapter, 75-78. 2. cf. त्रिनिवृत्त ( त्ति ) प्रगीता या गीति सा मागधी स्मृता। अर्धतः सन्निवृत्ता च विज?ेया ह्यर्थमागर्धा।। ( NS XXIX, 47 ) भिन्तवृत्तिप्रगीता या सा गीतिर्मागधी स्मृता। अर्धतः सन्निवृत्ता च विज?्ञेया ह्यर्धमागर्धा।। ( NŚ XXIX, 77, variant recension ) P.t. is confused at this point, as follows - बिक्षणे अनीतः चित्रवृत्ती अगतः ज?ातिप्रयोगात् समन्धिता ( ? ) प्रथमे मागर्धा ज?ेया दितीया चार्धमागर्धा। सम्भाविता ( स्तृ 🤈 तृ ) तीया च चतुर्थी पृथुला स्मृता।। त्रिर्निवृत्ता च या गीति सा ( मा गिति ? गीतिर्मागधी ) स्मृता। अर्थकालनिवृत्ता च विजया त्वर्धमागधी। सम्भाविता ( ? ) अलङ्कारा मया प्रांस्ता यथावन्मृतिसत्तम। अथ गीति प्रवक्ष्यामि छन्दोऽक्षर++++॥ ( मम्भाविता ) च विजया गुर्वक्षरसमन्विता। The ed. has suggested that the verse beginning with 'alankara' should precede the prose sentence beginning with 'daksine'. Since this prose sentence recurs after a few lines at the proper place, it has been omitted by us here. 3. 'Kalā' has been replaced with 'mātrā' according to the context. 4. MS B reading recorded by the editor - 'tālakrameṇa', P.t. 'tālaprayogakrameṇa'. We have reconstructed tāla as 'kalā' according to the two verses that immediately follow this prose sentence. 5, 6. MS B reading recorded by the ed. 7. cf. मनङ्गस्त्वेना मागधाभेदत्वेनाह्। यथा- 'अन्ये तृ द्विर्निवृत्ता मागर्धा पठन्ति' इति। अथो अर्धमागस्या मागस्यन्तर्भृतत्वात् स्वचिन्यागर्धास्थानेऽर्धमागर्धाप्रयोगोऽपि सम्मत एव। (S R I Kalā, p. 283)

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Pada-gitis includes varieties called Māgadhī and Ardhamāgadhī

"त्रिनिवृत्त ( त्ति ) प्रगीता या गीति सा मागधी स्मृता। अर्धतः सन्निवृत्ता च विज?्ञेया ह्यर्धमागर्धा।।"

144 BRHADDESI 53. ibid. 61 b reads 'yadvṛttau'. 'Nivṛtti' has been used elsewhere in our text for 'descent', here it fits the context, whereas P.t. and NS readings do not do so; hence we have made this reconstruction. 54,55. Reconstruction based on NS XXIX, 61d, and 62 d, variant recension, respectively. 56. P.t. breaks here. Section VII ( Pada-gitis ) 1. cf. NŚ XXIX,44-48 and the variant recension of this chapter, 75-78. 2. cf. त्रिनिवृत्त ( त्ति ) प्रगीता या गीति सा मागधी स्मृता। अर्धतः सन्निवृत्ता च विज?ेया ह्यर्थमागर्धा।। ( NS XXIX, 47 ) भिन्तवृत्तिप्रगीता या सा गीतिर्मागधी स्मृता। अर्धतः सन्निवृत्ता च विज?्ञेया ह्यर्धमागर्धा।। ( NŚ XXIX, 77, variant recension ) P.t. is confused at this point, as follows - बिक्षणे अनीतः चित्रवृत्ती अगतः ज?ातिप्रयोगात् समन्धिता ( ? ) प्रथमे मागर्धा ज?ेया दितीया चार्धमागर्धा। सम्भाविता ( स्तृ 🤈 तृ ) तीया च चतुर्थी पृथुला स्मृता।। त्रिर्निवृत्ता च या गीति सा ( मा गिति ? गीतिर्मागधी ) स्मृता। अर्थकालनिवृत्ता च विजया त्वर्धमागधी। सम्भाविता ( ? ) अलङ्कारा मया प्रांस्ता यथावन्मृतिसत्तम। अथ गीति प्रवक्ष्यामि छन्दोऽक्षर++++॥ ( मम्भाविता ) च विजया गुर्वक्षरसमन्विता। The ed. has suggested that the verse beginning with 'alankara' should precede the prose sentence beginning with 'daksine'. Since this prose sentence recurs after a few lines at the proper place, it has been omitted by us here. 3. 'Kalā' has been replaced with 'mātrā' according to the context. 4. MS B reading recorded by the editor - 'tālakrameṇa', P.t. 'tālaprayogakrameṇa'. We have reconstructed tāla as 'kalā' according to the two verses that immediately follow this prose sentence. 5, 6. MS B reading recorded by the ed. 7. cf. मनङ्गस्त्वेना मागधाभेदत्वेनाह्। यथा- 'अन्ये तृ द्विर्निवृत्ता मागर्धा पठन्ति' इति। अथो अर्धमागस्या मागस्यन्तर्भृतत्वात् स्वचिन्यागर्धास्थानेऽर्धमागर्धाप्रयोगोऽपि सम्मत एव। (S R I Kalā, p. 283)

relation

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Pada-giti is qualified with pada to distinguish it from gitis related to raga rendering

"In order to distinguish between these two types of gitis, the first type being related to the rendering of text and the second type being related to the rendering of raga, we have qualified the gitis under reference with pada"

VIMARŚA 189 117. Conflict with varna is not easily comprehensible. Perhaps the idea is that whatever pattern is established in an alaṅkāra it should be followed all-through. If varna is taken to stand for syllabic unit, then the conflict and its prohibition become clear. 118. Using an alaṅkāra without a varņa ( melodic movement ) is a contradiction in itself; here also, as above (note 117) the idea seems to be that an alaṅkāra should not be used without establishing a definite pattern. Here varna as a syllabic unit does not seem to be relevant. 119. Abhi Bhā on this ( NŚ XXIX, 45 ) says that four functions of alaṅkāra in relation to varna (the syllabic unit) have been figuratively spoken of as—(i) the alaṅkāra makes the varņa bright or brilliant ( like the moon ), (ii) it 'threads' or connects the varņa (like a river), (iii) it makes the varņa blossom (like a flower on a creeper) and (iv) it makes the varna colourful or delightful (like an ornament on a woman). 120. It is notable that all illustrations begin with sadja and do not extend beyond the tāra şadja. 121-145. All these notes pertain to 'sa' that belongs to tāra-sthāna. Section VII ( Pada-giti ) 1,2,3. Giti literally means song or the act of singing, but here it stands for specific pattern of singing with reference to the text of the song as manifest in its syllabic units (akşara) and metre (chandas). NŠ mentions only these four gītis, but BrD speaks of gītis also in the context of grāma-rāgas. In order to distinguish between these two types of gitis, the first type being related to the rendering of text and the second type being related to the rendering of raga, we have qualified the gitis under reference with pada, and the gitis of raga classification will be qualified with svara or raga. 4. Nivitta lit. means retreated or returned to; in alankāras nivitti means descent (of svaras); here it means repetition. 5. Nivitta lit. means receded or held back as opposed to pravitta meaning proceeded or set forth. Here it means accomplished or completed. 6-11. Three mārgas (lit. paths) are accepted in the ancient tāla-system which represent three 'degrees' of length of a given tāla-cycle, depending on the duration of kalā or standard time-unit, as follows - Duration of kalā Name of marga 2 mātrās 1. Citra 4 mātrās 2. Vārtika or vṛtti 8 mātrās 3. Daksina 12,13,14. Ekakala, dvikala and catuşkala have been equated here with citra, vārtika and dakṣiṇa mārgas respectively. They lit. mean one 'kalā (2 mātrā )-unit, two-kalā (4 mātrā)-unit and four kalā (8 mātrā)-unit. Each of the five tālas of gāndharva have three T 1

structural

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Pada-gitis is a section (Section VII) of the Brhaddesi treatise

"Section VII ( Pada-gitis )"

PÄTHA VIMARŚA 145 8. MS A reading recorded by the ed. - 'dviḥ ka'. 9. S R V, 12 reads padmini. 10. MS B reading recorded by the ed. - 'bavartitā'. 11. MS B reading recorded by the ed. - 'vanita'. 12. cf. S R V, 12-14. 13. S R V, 15cd, 16ab prescribes the first two mātrās in the citramārga, the first two and the last two i.e. seventh and eighth ( not the third and fourth as in our text) in vārtika mārga and of course all the eight in dakṣiṇa mārga. 14. The text is utterly confused and mutilated at this point as - दक्षिणा चोर्ध्वगा चित्रे द्वे तु ध्वकासर्पिणी। कृष्ट्या पश्चिनी +++++++++ ॥ अधवा प्रथमे मध्यमागुलीयो ( ? ) द्वितीये सार्धनि ++ । तृतीये मुष्टिमोक्षण्च ( च ) तुर्थे करपातना ॥ धूवका सर्पिणी चित्रे दक्षिणा वितीचित गीता ( ? )॥ उभयवाद्यप्रवर्तनवशात् प्रतीतिश्चागीतप्रधानदक्षिणा वृत्ति उभयप्रधाना वृत्ति मवित्ति ( ? ) बाराप्रधाना चित्रवृत्ति । The above verses have been dropped by us because (i) they almost repeat the content of verses 180-82 and (ii) whatever seems to be new in them is not found in any other text to form the basis of reconstruction. The prose portion has been reconstructed on the basis of NS XXIX, 71 and Abhi Bhā. 15. This line has been reconstructed on the basis of NS XXIX, variant recension, p. 133, 34. 16. cf. चित्रे समा यति । दूतो लयः । उपरिपाणि मागधी । ओघोऽवयवः अनागतग्रहः । अभिसृतवाद्यप्रयोगः । .(Bha Ko, p. 481) 17. P.t. repeats 'samānā'. 18. P.t. has been reconstructed as 'abhīkṣṇam', meaning 'at once' as it is nearest to the available reading and also fits the context as an alternative (synonym) of 'samam' i.e. together. 19. The reading of P.t. 'vādyaprayoga' has been replaced with 'vādyagrahayoga', because this reading recurs in the following sentence and is more appropriate because of the incorporation of 'graha'. 20. P.t. repeats 'vande iti padadvayena'. 21. cf. एतदुक्तम् । देवमिति पदं गीत्वा प्रथमकला निर्वाहुय विलम्बितेन लयेन यदा द्वितीया फला मध्यमलयेन देविमत्येतेन पदेन शर्विमिति शब्दसहितेन गायित ततोऽपि तृतीया कला द्वुतलयेन देव शर्विमिति पदान्तरसहितेन निर्वा हयति 👚 एव देव इत्यय शब्दः कलात्रयव्यापनात् त्रिनिवृत्तिनिर्वाह् एव। एवं तत शर्विमित्यादयोऽप्युत्तरकलाव्यापिनस्तदा मागद्यी गीति । मगधेषु तथा गाननिर्वाहोपलम्भात् । (Abhi Bhā, NŚ XXIX, p. 93) 22. P.t. reads - sasa - māsama marinii.

Pada-giti technical_term

Generative rules (4) ↗ filter all

Pseudocode (DSL v1.1) ↗ full DSL (raw text)

Graph relations

Outgoing (12)

Incoming (2)

Affirmations (7)