tāra register

TRANSLATION ¹⁵ it is used in the first vidārī. That (svara) which is not the vivādī of the aṁśa becomes samnyāsa if it is used in the end of the first vidārī. [The definition of vinyāsa forming part of that of amsa] [Anu. ¹²³] This nyāsa svara itself, when placed in the end of a pada (unit or sub- section), becomes vinyāsa. Hence it has been said²¹— "That in which rāga (delight) abides and from which it (rāga) proceeds or is begun, the leader or regulator of tara (high) and mandra (low), that which is obtained in abundance, that which is perceived (during the operation of) graha, apanyāsa, vinyāsa, samnyāsa and nyāsa, that which is pervasive, is aṁśa having (these) ten characteristics." (Cf. NS XXVIII.68, ⁶⁹) [3. The definition of tara] [Anu. ¹²⁴] Now the definition of tara is being given. The extent (gati) of tara is up to the fifth svara beginning from the use of amsa 22 svara. What is being said? Ascent up to the fifth svara is tāra, thus is being said. Or, ascent in four svaras is tāra, just as in nandayantī²³-sā-sā-nidha-sā; pañcama being the aṁśa there, tāra extends up to ṣaḍja (the fourth from pañcama). The structuring up to the fifth note (from the amsa) should be understood from the eighth vidārī (section) of gāndhārī²⁴ (jāti) up to the fifth svara, which comprises the extent of tāra. Just as in gāndhārī it is ni-dha-ni-dhā, thus is the notation. According to the word 'va' (in the verse from NS cited below), the state of being tara, applies also to seven svaras. The extent of tara is threefold. Similarly has been said by Bharata - ^• ^• ^• ^• ^• ^• ^•

¹⁴ ¹⁷ TRANSLATION The extent(gati)²⁵ of tāra should be known up to the fourth, fifth or seventh svara from the aṁśa, it is not desirable beyond that." (NŚ XXVIII.70) [4. The definition of mandra] [Anu. ¹²⁵] Now mandra is being said - mṛdu²⁶ (lit. soft, here low) svara is mandra. And the extent (gati) of mandra is threefold, viz. amśaparā (followed by aṁśa), nyāsaparā (followed by nyāsa) and apanyāsaparā (followed by apanyāsa). The compound²⁷ bahuvrihi operates here (and the meaning is that which is followed by aṁśa svara i.e. that which precedes the aṁśa). The svara that comes before that (aṁśa), is mandra. As in dhaivatī²⁸ - dha - dha - ni - dha - ma-pa-dha-mā. Mā-mā-mā. Thus the apanyāsa²⁹ svara is (operative) here. Similar is the case with nyāsa 30 svara. [5. The definition of sadava] [Anu. ¹²⁶] Now şādava is being said - (a structure of) six svaras is şādava. Since it is related to (or operates in) fourteenfold jatis, four jatis are always complete and hence, on account of their absence, it (sādava)31 has forty-seven varieties and similarly has said Bharata -

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