nigraha technical_term

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.

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.