vārtika mārga technical_term

¹ ¹²³ TRANSLATION Out24 of these, dhruvā is the sounded25 one, sarpiņī moves to the left (side of the performer), Kṛṣṇā is 'gone' (moved) to the right (side of the performer), and vartini is moved downwards, visarjitā is moved outwards (farther from the performer), vikşiptā is curved26 or bent, and patākā moves (179, ¹⁸⁰) upwards, (and) patită reaches (touches) the ground. Dhruvakā and sarpiņī (are used) in citra (mārga), in vārtika (mārga) the next two viz. kṛṣṇā and padmini27 are also (used). In dakṣiṇa (mārga) (all the) eight mātrās are known (to be used). (181) (Anu. ¹⁰⁸) Daksiņā, vrtti28 and citrā - these three vrttis are understood according to the predominance of 'song' (melody, of both 'song' and instrument)29 and of instrument, (respectively). Having the predominance of 'song' is dakṣiṇā vṛtti, having the predominance of both is vitti vitti, (and) having the predominance of instrument is citrā vṛtti. (Anu. ¹⁰⁹) Now he (the author) explains the changing⁵⁰ predominance (of different temporal components in vittis) brought about by pāņi.51 It has been said — The predominances of tāla,32 giti, laya,33 yati 34 (and) mārga become manifestors35 (rather manifest) according to their own (form) in these (vyttis). In citra (mārga) there is samā 36 yati, druta (fast) laya,57 uparipāņi,38 māgadhī giti and ogha 59 is the limb (avayava). In vārtika (mārga) there is srotogatā 40 yati, madhya laya,41 samapāṇi,42 sambhāvitā gīti and anugata45 is the limb. Similarly, in dakṣiṇa (mārga) is gopucchā yati,44 vilambita45 (lit. prolonged, here slow) laya, avapāņi,46 pṛthulā gīti and tattya is the limb. (Anu. ¹¹⁰) The vādya (presentation on instruments) should be done with sama, atīta and anagata grahas. Out of them, in citra (vytti) there is anagata graha. In vytti (vytti) there is sama graha, in daksiņā vytti there is atīta graha. The combination ¹¹⁰

¹²⁷ TRANSLATION mā mā sā sā de - vam - mā sā sā mā de vam sa rvam sasa masa mama nn devam sarvam vande (Anu. ¹¹²) Māgadhī is (known as such) because of its origin in the magadha deśa (south Bihar). Others read māgadhī to be 'twice returned' (or 'twice repeated'). Ardhamāgadhi is (called so) because of there being the state of half 'pada',56 thus the 'ardha,' (half, forming part of the name ardhamāgadhī) is related to 'pada'. In the repetition of half a pada the verbal meaning should not be construed as the determining factor (hetu) in 'moving forward' (pravṛtti),or acceptance, and 'returning' (niviti) or rejection; because in Sāmaveda that is predominantly musical, the verbal meaning is not cared for in the repetitions. It has been said - the word jātavedasam (fire) that is repetitive, here (in the context of this word), sambhāvitā (gīti) ends at the word veda, 57 the pṛthulā gīti, on the other hand, is based on the predominance of laghu (short syllables); on account of the profusion of the grouping (grāma) of padas (syllabic units) it is called pṛthulā (lit. broad or large). (Anu. ¹¹³) In the three margas in the prescription about gitis, the use of laya should be seen to be ninefold. He (the author) shows the use of laya as - daksina marga, vartika marga and citra mārga, thus are the three layas in the 'operation'58 (pravṛtti) of dakṣina mārga. Vārtika mārga, citra mārga and dhruva mārga, thus are the three layas in the operation of vrttimārga. Citra mārga, dhruvamārga and śūnyamārga, thus are the three layas in the operation of citra-marga. Thus has been propounded in the chapter on gitis. As - in the daksina marga there are four gurus (long units) two gurus and one guru. In vārtika mārga there are two gurus, one guru and one laghu. In citra (mārga) there is one guru, one laghu and one druta (half - mātrā unit).