nyāsa svara_role

BRHADDEŚĪ ⁴ आन्ध्री च नन्दयन्ती च कार्मारव्यथ कैशिकी । अङ्धी ₹क एवमेकादश ज?्ञेया मध्यमग्रामसंश्रयाः ॥ १९०॥ [॥ इत्येकादशमध्यमग्रामाश्रयाः॥] [साधारणकृता ज?ातयः] साधारणकृतास्तिस्रो विज?्ञेया ज?ातयो बुधैः । मध्यमा पञ्चमी चैव तथा वै षड्जमध्यमा ॥१९१॥ मत्सरी ॥ इति सङ्ख्या, उद्देशश्च॥ [२. शुद्धा, विकृता, संसर्गजा विकृताश्च] [ अनु ॰ ११५] आभ्योऽष्टादशजातिभ्यः सप्तस्वराख्याश्चोक्ता द्विधा शुद्धा विकृताश्चेति । तत्र शुद्धा अन्यूनस्वरा*स्वस्वरांशग्रहन्यासापन्यासाश्च । एभ्यो लक्षणेभ्योऽन्यतमेन द्वाभ्या बहुभिर्वा ्रा स्वरस्वरग्रहान्यासाध (?) लक्षणैर्विकृतिमुपगता न्यासवर्ज विकृतसंज्ञा भवन्ति । ^५व्यायापि तुष्टा(?) ^६०वजा [अनु०११६] तंत्रं न्यासविधिमाह-तत्र न्यासविधौ या ज?ातयः शुद्धाः,तासु नामकारी यो न्यासः [स] नियमेन मन्त्रो भवति विकृतासु च नामकरी [न्यासः] तारो वा मन्द्रो वा भवतीत्यनियमः। ^७कविकारी या मन्द्रो भवतीत्यनियमः । [ अनु ११७ ] तत्र शुद्धाना ज?ातीना शुद्धत्वं विकृतत्वं च रूपद्वयमस्ति । एकादशाना ज?ातीना विकृतोद्भवत्वादु विकृतत्वमेव रूपं भवति न तु शुद्धत्विमिति कुत एतत् ? ता हि परस्परसंसर्गाज?्ञायन्ते । तथा वृ॰ (ते?न्ते) । ननु चाह भरतः -

BRHADDEŚĪ ⁴ आन्ध्री च नन्दयन्ती च कार्मारव्यथ कैशिकी । अङ्धी ₹क एवमेकादश ज?्ञेया मध्यमग्रामसंश्रयाः ॥ १९०॥ [॥ इत्येकादशमध्यमग्रामाश्रयाः॥] [साधारणकृता ज?ातयः] साधारणकृतास्तिस्रो विज?्ञेया ज?ातयो बुधैः । मध्यमा पञ्चमी चैव तथा वै षड्जमध्यमा ॥१९१॥ मत्सरी ॥ इति सङ्ख्या, उद्देशश्च॥ [२. शुद्धा, विकृता, संसर्गजा विकृताश्च] [ अनु ॰ ११५] आभ्योऽष्टादशजातिभ्यः सप्तस्वराख्याश्चोक्ता द्विधा शुद्धा विकृताश्चेति । तत्र शुद्धा अन्यूनस्वरा*स्वस्वरांशग्रहन्यासापन्यासाश्च । एभ्यो लक्षणेभ्योऽन्यतमेन द्वाभ्या बहुभिर्वा ्रा स्वरस्वरग्रहान्यासाध (?) लक्षणैर्विकृतिमुपगता न्यासवर्ज विकृतसंज्ञा भवन्ति । ^५व्यायापि तुष्टा(?) ^६०वजा [अनु०११६] तंत्रं न्यासविधिमाह-तत्र न्यासविधौ या ज?ातयः शुद्धाः,तासु नामकारी यो न्यासः [स] नियमेन मन्त्रो भवति विकृतासु च नामकरी [न्यासः] तारो वा मन्द्रो वा भवतीत्यनियमः। ^७कविकारी या मन्द्रो भवतीत्यनियमः । [ अनु ११७ ] तत्र शुद्धाना ज?ातीना शुद्धत्वं विकृतत्वं च रूपद्वयमस्ति । एकादशाना ज?ातीना विकृतोद्भवत्वादु विकृतत्वमेव रूपं भवति न तु शुद्धत्विमिति कुत एतत् ? ता हि परस्परसंसर्गाज?्ञायन्ते । तथा वृ॰ (ते?न्ते) । ननु चाह भरतः -

23 TRANSLATION. with which gita (tonal structure) is 'placed', left or ended is nyāsa. That nyāsa is twenty-one in number. That is - ṣaḍjā has one nyāsa as ṣaḍja, thus should be understood the nyāsas in the eighteen jātis. The purport is that (nyāsa) should be done at the end of the anga (lit.body of the tonal structure). [10. The definition of apanyāsa] [ Anu. 131 ] Now he (the author) spoke (speaks) of apanyāsa; apanyāsa does not occur in the end (of the gita). Apanyāsa occurs before the end of the prayoga (performance). And that is of fifty-six kinds, it should be understood as occurring within the gitas. Where the gita appears to be ending, that is apanyāsa. That occurs within the vidārīs (sections or sub-sections). The implication is that it is within the body of the gita. (It operates) thus - in ṣaḍjagrāma the ṣaḍjamadhyā jāti has seven apanyāsas, ṣaḍjodīcyavā has two, (and the remaining) five have three each and thus they are twenty-four. The rest (thirty-two) are in madhyamagrāma. Similarly has said Bharata - "Nyāsa occurs at the end of anga (lit.body) and that should be made twenty-onefold. This one named apanyāsa is fifty-six in number." (Cf. NŚ XXVIII.72) Thus end the tenfold ^{40} characteristics of jāti. [5. Optional and alternative prescription of amsa and the like in jātis] In ṣāḍjī there are five amśas, omitting mṣāḍa and ṛṣabha, gāndhāra and pañcama are apanyāsas and then there is sangati (coming together or concert) of ṣaḍja-gāndhāra and ṣaḍja-dhaivata. Its ṣāḍava (form) is (made) through (the omission of) niṣāda. There is no auduvita form in this (jāti).

23 TRANSLATION. with which gita (tonal structure) is 'placed', left or ended is nyāsa. That nyāsa is twenty-one in number. That is - ṣaḍjā has one nyāsa as ṣaḍja, thus should be understood the nyāsas in the eighteen jātis. The purport is that (nyāsa) should be done at the end of the anga (lit.body of the tonal structure). [10. The definition of apanyāsa] [ Anu. 131 ] Now he (the author) spoke (speaks) of apanyāsa; apanyāsa does not occur in the end (of the gita). Apanyāsa occurs before the end of the prayoga (performance). And that is of fifty-six kinds, it should be understood as occurring within the gitas. Where the gita appears to be ending, that is apanyāsa. That occurs within the vidārīs (sections or sub-sections). The implication is that it is within the body of the gita. (It operates) thus - in ṣaḍjagrāma the ṣaḍjamadhyā jāti has seven apanyāsas, ṣaḍjodīcyavā has two, (and the remaining) five have three each and thus they are twenty-four. The rest (thirty-two) are in madhyamagrāma. Similarly has said Bharata - "Nyāsa occurs at the end of anga (lit.body) and that should be made twenty-onefold. This one named apanyāsa is fifty-six in number." (Cf. NŚ XXVIII.72) Thus end the tenfold ^{40} characteristics of jāti. [5. Optional and alternative prescription of amsa and the like in jātis] In ṣāḍjī there are five amśas, omitting mṣāḍa and ṛṣabha, gāndhāra and pañcama are apanyāsas and then there is sangati (coming together or concert) of ṣaḍja-gāndhāra and ṣaḍja-dhaivata. Its ṣāḍava (form) is (made) through (the omission of) niṣāda. There is no auduvita form in this (jāti).

¹¹.1 BRHADDEŚĪ ²⁸ ज?्ञेयो गान्धारपञ्चम्या पञ्चमोऽशः प्रयोक्तभि। ·सर्षभः स्यादपन्यासो न्यासो गान्धार इष्यते ॥२३०॥ (नांयासौ?न्यासो) ¹⁰⁰⁰ गान्धार्यामथ^७० पञ्चम्या यत्सञ्चारादि कीर्तितम् । (T) ন: तदस्यामपि विज?्ञेयं किन्तु पूर्णस्वरा सदा ॥२३१॥ आन्ध्र्यामनंशा विज?्ञेयाः षड्जमध्यमधैवताः । अन्यू षाडवं षड्जहीनं.स्यात्र्यासो गान्धार इष्यते ॥२३२॥ तु न्यासो^७८ नन्दयन्त्यामपन्यासौ ज?्ञेयौ मध्यमपञ्चमौ । न्सो ग्रहो न्यासश्च गान्धारः पञ्चमोंऽशः प्रकीर्तितः ॥२३३॥ आन्ध्रीवत् षाडवं ज?्ञेयमनौडुवितमेव च। पो॰ प्नो॰ स्यान्मन्द्रर्षभसञ्चारो लङ्घनीयश्च स क्वचित् ॥२३४॥ (ন্দ?< कार्मारव्यामनंशास्तु षड्जगान्धारमध्यमा । व्यञ्चमा^७९ पूर्णता, पञ्चमो न्यासो गान्धारगमनं बहु ॥२३५॥ कैशिक्यामृषभोऽनंशो न्यासौ तु द्विश्रुती[स्मृतौ]। न्ती +++ ऋषभो धैवतश्चैव हेयावस्या यथाक्रमम् ॥२३६॥ ८॰पञ्चमोऽपि भवेत्र्यासो निषादेंऽशेऽथ धैवते । (व?वे)न्या(सी?सो) ¹³⁶ ¹³ ऋषभः स्यादपन्यासः कैश्चिदुक्तोंऽशवत् तथा ॥२३७॥

⁴³ TRANSLATION The omission of all notes is prescribed in all j\bar{a}tis, but the omission of madhyama should never be made. The svara madhyama is the chief among all the svaras and is indispensable both in the kalpa (practice and precept) of gāndharva and also in sāmans." (NŚ XXVIII. 58-65) [ Anu. ¹⁴² ] Now the prescription of sadava and auduvita as well as the prescription according to utsarga⁵⁵ (general view) and apavāda⁵⁶ (exception) should be known only in vikṛtā jātis, not in the śuddhā jātis, because the śuddhās become the root of the coming into existence of other jātis. These śuddhās themselves become vikṛtās. How- [9. A repeated definition of śuddhā jāti] When a jāti has the same graha, the same apanyāsa and the same aniśa, has nyāsa in the mandra (lower register) and is complete, then it is known as śuddhā jāti. (259) Thus has been said the definition of śuddhā. [10. The vikṛtā state of śuddhā jātis] [Anu. ¹⁴³] Out of these characteristics, the jātis become vikṛtā (modified) by (the violation of) one, two or many characteristics, excepting the nyāsa. The statement 'excepting the nyāsa' means that there is no vikṛtā state that comes about by (a change in) the nyāsa. [ The illustration of sadji ] [ Anu. ¹⁴⁴ ] Vikṛtā ṣādjī is two-fold – one that is always complete and the other that is ṣāḍavā. Ṣāḍjī is śuddhā with the aṁśa that bestows its name (viz. ṣaḍja). Vikṛtā ṣāḍjī is complete when gāndhāra is its aṁśa because of the non-omission of ----

1 ⁶¹ TRANSLATION gā gama pā padha mā dhani pā pā (7) rī gā sā sadha nī nī dhā dhā (8) gā riga sā sani gā riga sā sā (9) sã sã sã mã mani dhani nĩ nĩ (10) mā pā mā pariga gā gā sā sā (11) gã sã gã sã mã pã mã pariga (12) gã gã gã gã gã gã sã (13) ni ni pā dhā ni gā gā gā (14) ni ni dhā pā dhā pā mā pā (15) dhã pã mã mã mã mã mã mã (16) Thus ends gändhärodīcyavatī. [3. Raktagāndhārī] Five svaras excepting dhaivata and ṛṣabha are amśas in raktagāndhārī. The proximity and combination of șadja and gāndhāra is brought about by leaping over rşabha. (7) The hexatonic and pentatonic forms are said to come into being with the omission of rşabha and rşabha-dhaivata respectively. There is the abundance of niṣada and dhaivata. Pañcama as amsa is averse to the hexatonic form. (8) Ṣaḍja, niṣāda, madhyama and pañcama are averse to the pentatonic form. Ṣaḍja and gāndhāra are in concert. (The tāla) paūcapāṇi and the like are as in şādjī. The mūrchanā beginning with ṛṣabha obtains. (9) The application is (prescribed) in the dhruvā pertaining to the third act. (10) Gāndhāra is the nyāsa in this (jāti). Madhyama is the apanyāsa. The prastāra is thus – pā nī sā sā gā sā pā nī (1) sã sã pã pã mã mã gã gã (2) mã pã dhã pã mã pã dhapa maga (3)

BRHADDESI ⁹² [अनु १६९] अस्यार्थः - शुद्धकैशिको नाम[रागो] मध्यमग्रामसम्बन्धः, कैशिकोकार्मारवीज?ातिभ्या समुत्पन्नत्वात्। तारषड्ज?ोऽस्य ग्रहोंऽशश्च। पञ्चमो न्यासः। निषादीऽत्र काकली। पूर्णस्वरश्चायम् , ग्रहः अंश(स्व?ध) चित्रस्याष्ट्रादशाङ्गस्य [?]निर्वहणे विनियोगः। वीररौद्रादिको रसः।षङ्ज?ादिमूर्छना। आरोही वर्णः। ^४६प्रसन्नादिरलङ्कारः। दक्षिणे कला,वृत्तौ कला,चित्रे कला । स्वरपदगीते चच्चत्पुटादितालः। [शुद्धरागाणा ग्रामविभागः] [अनु॰ ^१७०] ननु एते ग्रामविशेषसम्बन्धा, कुतोऽयं विशेषलाभः ? उच्यते, भरतवचनादेवासौ विशेषो कु(तो ऽ)यं लभ्यते । तथा चाह भरतमुनिः - ''ज?ातिसम्भूतत्वाद् ग्रामरागाणाम्''४० इति , ''यत्किञ्चिद् गीयते लोके तत्सर्वं ज?ातिषु स्थितम् ' '४८ इति वचनात् । तथा काश्यपेनाप्युक्तम् - तत्सर्व ''षाडवो मध्यमग्रामे पञ्चमः कैशिकस्तथा । पाडवे ककुभ् षड्ज? साधारितश्चैव तथा कैशिकमध्यमः॥'' [शुद्धरागाणा विनियोगः] [अनु॰ १७१] ननु अमी विनियोग-विशेषाः कस्माल्लभ्यन्ते ? [मुनि-] वचनादेव लभ्यन्ते। तथा अ(यं ?मी) चाह भरतः- ‘‘मुखे तु मध्यमग्रामः षड्ज?: प्रतिमुखे भवेत् । गर्भे साधारितश्चैव ^४९ह्मवमर्शे तु पञ्चमः ॥ ...वावमर्शे ^• तु

⁹⁹ TRANSLATION [Jāti-bhinna] Now he (the author) has spoken of the description of jāti-bhinna - The aṁśa of jātis should be established and so should be the sparse and the abundant. Sparseness and abundance come about on account of sparse and abundant usage. Jāti-bhinnais so called, formed as it is with sūkṣma, atisūkṣma (short and very short in time) and curved (phrases).⁵⁰ (308) [Anu. ¹⁷⁸] This means-śuddhakaiśika madhyamais born of kaiśiki and ṣadjamadhyamā jā ūs. Bhinnakaisikamadhyama, on the other hand, is jāti-bhinna on account of being born of the sadjamadhyamā jāti,51 the taking up of its (jāti's) amsaand taking up of the sthāyin varņa and is formed with sūkṣma and atisūkṣma (short and very short in time) phrases, this is the import. Its description is thus - [3. Bhinnakaisikamadhyama] Bhinnakaisikamadhyamacomes of ṣadjamadhyamā jāti, has ṣaḍja as its ainśa, madhyama as its ny\bar{a}sa and is (endowed) with mandra (low) gamakas^{52} (309) [Anu. ¹⁷⁹] This means-bhinnakaisikamadhyama is related to şadjagrāma on account of being born of şadjamadhyamā jāti. Şadja is its graha and ainša. Madhyama is the nyāsa. It has mandra (low) gamakas. Niṣāda is kākalī here and this (rāga) is complete. It is used in the context of dānavīra i.e. heroism in charity. 53 Vīra, raudra and the like are the rasas. The mūrchanā beginning with ṣaḍja obtains. Sañcārin is the varņa. Prasannādi is the alaṅkāra. The kalā is formed in the dakṣiṇa (mārga), the kalā obtains in the vṛtti (mārga) and the kalā prevails in the citra (mārga). A tāla like caccatpuța obtains in the songs comprised of svara and pada. [Śuddhabhinna] Now he (the author) has spoken of the definition of śuddhabhinna- (The rāga) that bedecks itself with its own jāti (from which it is born) and kula (family), leaving the other jāti and taking up (the qualities of) its own family, is called śuddhabhinna. (310)

TRANSLATION ¹⁶¹ Illustration-Sāpāpādhāmāmā pāgāmagāpadhādhāpāgamā gāpāpāpādhāpāsā sāpādhāpamagāmāmā gāmasāsāsāgāgāmāgāmāmā. Şadjamadhyamā [iv] Having madhyama as aṁśa, ṣaḍja as the concluding note, being weak in pañcama, with profusion of dhaivata - niṣāda and similarly of ṣaḍja-dhaivata, this bhāṣā, madhurī, should be known to be hexatonic in prenkhaka34 (a synonym of hindolaka). (88) Illustration - Māpāpādhādhādhāmādhaninipāsanidhasāsā māpādhanisa nisāsā māpānisāsārirīgamagārīsāsā nidhāpāpāpādhanidhāsāsā rirīgamāgari sāsā. Madhurī [v] Thus end the bhāṣās of hindolaka. [5. Now the bhāṣās in pañcama] Having pancama as amsa and the same as the concluding note, replete with niṣāda, being complete, this ābhīrī bhāṣā is born of deśa³⁵ (region), rises out of pañcama (rāga) and should be known to be the first one arising out of pañcama. Mutual concert between șadja-dhaivata is to be seen here. (89-90) Illustration - Pādhāmādhanidhāpāpāpā padhanidhāmāmādhānisāsā sanidhanisadhānisānidhāsā dharimāmādhāninidhāpāpā pamamadhanisāsā saninisāsāsanigarimamamāgarisasa sadhanipādhāmāmāsarimādhārimapāpā. Abhīrī [i] Bhāvinī has pañcama as nyāsa, gāndhāra as aṁśa (and) is weak in dhaivata. Where the mutual movement of madhyama-pañcama is seen to be dense, the bhāṣā bhāvinī should be known to be complete by the knowledgeable ones in gändharva.36 (91) Illustration-Gāmāpāgamapānidhā [pā]. Gamapāmāgāgārī rīgāmīdhāpāpāpāpā Māmāgāmāpāpā māpāpāmādhārisagagamāpā māgāriripāpā. Bhāvini [ii]

BRHADDEŚĪ ²⁰² [२. माङ्गाली] गान्धारग्रहन्यासा च षड्ज?ांशा तारवर्ज?िता । समन्द्रा सस्वरा[?]चैव परिहीना सदा भवेत् ॥ ३५४॥ सिका षड्ज?ांशा धग्रहन्यासा धमन्द्रा तारतत्परा । समस्वरा च सम्पूर्णा माङ्गाली गीयते जनैः८॥ ३५५॥ (पी?गी)॰ [३. भम्माणिका] पञ्चमांशग्रहन्यासा गमन्द्रा षड्जतारका । रिहीना च धगस्वल्पा ज?्ञेया भम्माणिका बुधैः १॥ ३५६॥ [४. पुलिन्दिका] षड्ज?ांशा धैवतन्यासा गपहीना पुलिन्दिका । +ग्रहन्यासा षड्जधैवतसंवादो धैवतर्षभयोस्तथा १०॥ ३५७॥ ॰संघादा [५. गान्धारसिन्धु ] १९गान्धारसिन्धु .....॥ ३५८॥ [६. कार्णाटी] १२षड्जन्यासग्रहा धांशा गतारा मन्द्रमध्यमा । समस्वरा च सम्पूर्णा कर्णाटी नामतो भवेत्रवा ३५९॥ नामत(द्भ?भ)वेत् ॥ इति मतङ्गमुनिविरचितबृहद्देश्या देशीरागाध्यायो नाम पञ्चमः समाप्तः ॥ भाषालक्ष(णो?णा)

VIMARŚA ²⁹⁷ 35. Lack of regulation i.e. scope for free will in rendering is a characteristic of desi, but the import of 'sruti' is not clear. It could, perhaps, stand for 'aural appearance'. 36. See citation in the name of Nărada under Anu. 28 in chapter one of our text Vol. I. 'Svarāntara' literally means a different svara; its relation with the number four of svaras could thus be explained. The first three svaras are repeated as the last three of a heptad. The fourth known as madhyama comes in-between these two triads. Hence the fourth adds a 'different or new svara'. This could be the reason for giving the name svarantara to a group of four svaras. This name is relevant only for the first triad + the fourth, but its secondary application could be related to any group of four svaras. 37. Avakṛṣṭā dhruvā is described and illustrated in NS V on p.157, 158 of the supplement (variant reading) to the said chapter. The description ' (in terms of upohana or introductory portion and metre) is given below - "Five dhruvās should be performed in Pūrvaranga (preliminaries of drama), viz. utthāpanī in the beginning, then parivarta, avakṛṣṭā, aḍḍitā and vikşiptă” (p. 251). "The upohana in avakṛṣṭā dhruvā should be done in five kalās (time- units) with the syllabic units dingle dingle, two units of four short syllables each and jhantum in the end. Each foot of the dhruva is composed of sixteen syllables, the third, sixth, ninth, eleventh, fifteenth and sixteenth being guru (long) and the rest being laghu (short)." The illustration is as follows- Varadam saganam tripurāntakam vṛṣabhaketum/ Gajacarmapaṭamviṣamekṣaṇambhuvananātham/ Bhujagābharaṇaṁjagatāṁhitaṁbhuvanayoniṁ/ Praṇato'smi bhavantamumāpatim tvasitakantham/ 38. Antaramārga is mentioned in NŚ XXVIII (prose portion preceding verse 74 and in verse 75). The context is the same as that in our text, viz. alpatva-bahutva. The manipulation of sparseness and abundance of svaras in jātis on account of which a non-amsa svara also becomes abundant in a special context is antara-mārga. The literal meaning of this word is 'search for the inner path'. The root 'mārg' means searching. Abhi has said that 'antara-mārgaņa 'i.e. the search of the inner is antara-marga. What is this inner? This has to be understood in two ways. The first is in relation to the seven jātis named after svaras, which assume a two-fold form viz. śuddha and vikṛta. The second is in the context of eleven samsargajā vikṛtā jātis that are formed with a mixture of the above

VIMARŚA ²⁹⁹ Sixth or third below Gändhāra Şadja Madhyama Fifth or fourth below Şadja Fourth or fifth below Pañcama Şadja Dhaivata Third or sixth below Şadja It is obvious that when a svara other than sadja becomes the amsa, then it will be necessary to search a path for sparseness and abundance. The identity of sadjī will establish with this path and with nyasa. The paryayamsas of ṣāḍjī also become amsás in many other jātis. In view of this, the distinct identity of each jāti cannot be established on the basis of aṁśa because one and the same intervals will obtain in many jātis. Hence, the distinct identity of each jāti will depend on sparseness and abundance alone. The above is true of the seven jātis bearing svara names. In samsargajā vikṛtā jātis, the situation would be all the more complex because they involve the mixture of more than one jāti in each case. The sparseness-abundance of the jātis that are mixed in a given combination would emerge from time to time. This is a more complex form of antara-mārga. Abhi adds with regard to antara-mārga that sometimes a non-aṁśa svara also is not sparse. For example, in kārmāravī, gāndhāra has concert (sangati) with all svaras and thus, it has profuse usage in antara-mārga. The citation from Bharata occurring after Anu. 129 says that nyāsa and antara-mārga, the special use of sparseness and abundance, is responsible for manifesting the identity of jātis. This statement appears to apply only to samsargajā jātis. The weakness (abala) of a sparse svara and the abundance of the balavan(strong) svara has also been mentioned in the description of sparseness and abundance. 39. The description of kārmāravī is available only in the interpolated portion (from SR) in our text. The line cited here occurs in NS XXVIII. as the second half of verse 136. The interpolated portion from SR says - "Many(svaras) are said to be non-amsas on account of antara-marga. Gāndhāra is excessively abundant...... (17) Thus gāndhāra is said to be abundant, inspite of its being non-aṁśa, on account of antaramārga. The use of future tense in our text, in relation to the description of kārmāravī in NS is apparently somewhat queer, as it befits a commentary on NS rather than an independent work. Incidentally, this line of our text containing the use of future tense is found in Abhi Bhā on NŚ referred to in note ³⁸.