pravesa technical_term

⁷³ TRANSLATION Trailokyamohana, vīra, kandarpabalašātana, šankhacūda, gajacchāya, raudra and (114) vișnuvikrama. Thus end the names of audava tanas devoid of dhaivata and rabha in madhyama- grāma. Bhairava, kāmada and avabhṛtha, aṣṭakapālaka, sviṣṭakṛt, vaṣaṭkāra and the (115) seventh is known as mokşada. [ Thus end the names of auduvita tanas devoid of ni and ga in madhyama- grāma.] Thus end the fourteen names of auduvita tānas in madhyamagrāma. [Thus end the thirty-five names of auduvita tanas seated in the two gramas.] (Anu. ⁴⁶) The auduvita (tānas) of both the grāmas are thirty-five. The sādava and auduva (tānas) of both the grāmas taken together are eithty-four tānas. (Anu. ⁴⁷) Now in order to explain sādhāraņakṛtā mūrchanās he (the author) has said - sādhāraņa svaras are gāndhāra and niṣāda. Sādhāraņā mūrchanās are those that begin with them40 (gāndhāra and niṣāda in their sādhāraņa states as antara and kākalī) and they are included in the same (mūrchanās of gāndhāra and niṣāda). How? The sādhāraṇatā (commonness) of mūrchanās with tānas is implied in or already expressed through 'sādhāraṇa' (the term forming part of the name of the fourth type of murchanā viz. sadharaņakṛtā). (116) And thus I have spoken of the fourfold mūrchanās. [The performance of tanas] (Anu. ⁴⁸) How should the performance of these tanas be made, if this be asked, it is being answered. The performance 41 of tana is twofold viz. with pravesa (lit. entering) and nigraha (lit. restraint). Pravesa is the viprakarşa (augmentation) of şadja that is lower and has to be omitted i.e. it (şadja) is made to attain (the position of) rşabha. Thus is the pravesa through viprakarşa. With mārdava (lit. softening) it is thus: the same

75 TRANSLATION - șadja which is higher than nișāda (is subjected to) mārdava or loosening i.e. it is made to attain (the position of) niṣāda; thus is the twofold pravesa i.e. the act of the lower or higher svara being made to 'enter' or merge into the higher or lower svara respectively.42 [ Anu. 49 ] Nigraha is, on the other hand, the omission or 'non-touching' of the immediate svara. The performance or usage is thus - sā sā gari, pā pā mari Similarly has said Bharata - "There is twofold kriyā (lit. performance) of tana on the string (in the viņā); viz. praveša (lit. entering) and 'nigraha' (lit. restraint). Out of these (two), pravesa (takes place) on account of the prakarşa (augmentation) of the lower svara or by the mārdava (lowering) of the higher svara. And nigraha is 'non-touching'." Dattila has also said - There is twofold kniyā (action or performance) of tāna on the string; viz. on account of pravesa and nigraha. Pravesa is the similarity (rather identity) of sound; nigraha on the other hand, is 'non-touching'." [ Dattilam 36] (Anu. 50) But it is said in the prescription of kāku45 that svaras are (to be) performed in the three sthanas (registers). Out of them which heptad of svaras should be resorted to for making murchana? Those who harbour a doubt like this, he (the author) has said unto them - for the sake of the demonstration of mandra (low) and tara (high) the murchanas are indicated in (lit. with) the middle heptad. How? On account of the indestructibility of the middle heptad, this is the purport. Bharata has also said, "on account of the indestructibility of madhyama in nigraha 44 (acceptance in totality) or paryagraha 45 (non-acceptance in totality i.e. partial acceptance), the murchanas are indicated in the madhyama svara of the vina.