paribhāṣā technical_term

³³ TRANSLATION (Anu. ¹⁸) But why are (vowels) beginning with ākāra 21 accepted out of fourteen 22 svaras? Truly has this been said. These have been accepted because of their uncommonness. Their uncommonness is because of their movement in upward sound.23 Or, the svaratva of vyanjanas beginning with şadja has been spoken of. But .... this is said to be only a sign 24 (by convention), that is to say, (the names of svaras) are the paribhāṣā 25 (list of abbreviations or signs) used by ācāryas (teachers). [The fourfold-ness of svaras according to kinds beginning with vadin ] (Anu. ¹⁹) Now I show the fourfold-ness of svaras, that befits the occasion or context. That is thus - Vādin 26 is so because of vadana 27 (speaking), like the master. The saṃvādin²⁸ is so because of saṃvadana²⁹ (supportive speaking), like the minister. The anuvādin⁵⁰ is so because of anuvadana⁵¹ (following or obedient speaking) like the attendants. Vivādin 52 is so because of vivadana 53 (opposite speaking), like the enemy. (Anu. 20) But vadana and the like are the nature (dharma) of living beings, how are they possible in insentient svaras? Truly has this been said. Vadana is here intended to mean the exposition of raga 34 (melody-matrix), not talking. What does it (vadana and the like) expound? It produces the ragatva 35 of raga.36 Those vadin svaras are only seven. That vādin should be understood as tenfold like the aṁśa.57 The vādi-maņdala (cycle of vādins) is thus - sa, ri, ga, ma, pa, dha, ni. (Anu. ²¹) The samvadins should again be understood according to the interval of thirteen and nine śrutis, when there is sama-śrutikatva 38 (equal interval of the two svaras concerned, in terms of number of śrutis). What indeed is that samuāditua? The carrying forward or accomplishment⁵⁹ of the rāgatua of rāga 1 produced by the vādi-svara is indeed samvāditva (the nature of samvādin). The samvādi-mandala is thus —

VIMARŚA ¹⁷¹ musical training, even today the ākāra sound is given primary importance. (cf. DAI, p. 46) 21, 22. This contention does not seem to fit in the context. The acceptance of vowels beginning with ākāra out of the fourteen svaras (vowels) of language does not carry further the argument that vowels and musical tones cannot be equated. The number of vowels in language is twenty-one according to Pa Si (4), sixteen according to Ag Pur XCI, 12, 16 and fourteen according to NŚ Kā Mā XIV, 8 as well as according to some Tantra texts (cf. Mahāmāyācāmaratantra quoted in Tantra-mahāvijāāna in Hindi by Sri Ram Sharma I, p. 58). Our author has accepted the last number viz. fourteen. The solfa-syllables viz., sa ri ga ma pa dha ni combine only two vowels viz. a and i with the respective consonants. Perhaps the author is hinting at the acceptance of these two vowels out of fourteen viz. a, ā, i, i, u, ū, r, rī, lr, lrī, e, ai o, au. 23. The gradual ascent of seven svaras in pitch seems to be implied. 24. There seems to be a break in the text; this sentence seems to be the concluding remark of the whole discussion on the question of equating vowels of language with musical tones both of which bear the same name viz. svara. 25. In grammar paribhāṣā is the adjective of those sūtras (rules) that teach the proper interpretation or application of other rules or resolve the apparent contradictions among other rules. This word also stands, in general, for abbreviations or signs used in any discipline; the latter meaning is relevant here as sa ri ga ma pa dha ni are abbreviations of şadja, rşabha, gāndhāra, madhyama, pañcama, dhaivata, nisāda respectively. Since BrD is the first extant . work that uses solfa-syllables, the above discussion has a historical context. 26-33. The samvādin, anuvādin and vivādin svaras represent the relationship of samvāda (roughly consonance), anuvāda (assonance) and vivāda (dissonance) among svaras. A relationship pre-supposes two entities, rather two ends in this case. The first one of these is the vādin or point of reference and the second one is samvādin or anuvādin or vivādin according to the interval concerned. This phenomenon of threefold relationships is associated with pleasantness, indifference and unpleasantness which has been depicted here with dual imagery viz. that of a logical discussion and governance. In an assembly involved in logical discussion one person makes a postulation; the vādin svara, playing the role of fundamental tone or tonic is like the person who initiates a discussion. The samvadin is like a person who actively supports the initial postulation. The anuvadin is like the person who passively supports the postulation and the vivadin is like the one who opposes the postulation. This imagery is inherent in the set of four musical terms that are under reference here and have been handed down by tradition. The second imagery of monarchial governance is an imposed one and occurs in our text for the first time in extant texts. It has been mentioned in almost all later texts. 34. Here raga seems to stand for melodic configuration or melody-matrix, rather than the delightfulness of musical sound in general.