dhaivatī jati

^٠. ²⁵ TRANSLATION Ārṣabhī has niṣāda, ṛṣabha and dhaivata as amsas. The ṣāḍava and auḍuvita (forms) come into being by the omission of sadja and (sadja) pañcama respectively. (213) In dhaivatī, ṛṣabha and dhaivata have been spoken of as amśas by the gurus. These two alongwith madhyama are apanyāsas and the two(ṣāḍava and auduvita) are, as spoken of before, (in ārṣabhī) through the respective omission of (ṣaḍja and ṣaḍja-pañcama). (214) In niṣādavatī (or naiṣādī), the svaras having two śrutis each (viz. gāndhāra, niṣāda) alongwith ṛṣabha are the amśas. The rest is as in dhaivatī, the nyāsa is the svara (niṣāda) from which this jāti derives its name. (215) In ṣaḍja-kaiśikī, ṣaḍja, gāndhāra and pañcama are aṁśas and they themselves are the apanyāsas, adding niṣāda and omitting gāndhāra. (216) Rṣabhais of sparse usage and gāndhārais desired to be the nyāsa. And this (jāti) is said by the ācāryas to be always pūrņasvarā (with complete svaras i.e. there is no omission). (217) Şadjodicyavatī is (formed) with şadja, madhyama, dhaivata and niṣāda as amśas, sadja and dhaivata should be known as two apanyāsas. (218) It is devoid of ṛṣabha and if two (svaras) have to be omitted then it is devoid also of pañcama. There is the abundance of mandra gandhara and madhyama is the nyāsa. (219) Şadja-madhyamā has all the svaras as aṁśa and its nyāsa is on the two svaras from which it derives its name (viz. şadja and madhyama). Nişāda and gāndhāra are the two svaras that bring about hīnatva (the state of being bereft i.e. the omission of niṣāda brings about its ṣāḍava form and that of niṣāda, gāndhāra, its audava form). (220) The sañcara (to and fro movement of svaras) is left to one's will, it has to be so as not to violate the grāma.⁴¹ These seven are in sadja-grāma, the remaining (eleven) are the jātis of madhyama (grāma). (221)

^٠. ²⁵ TRANSLATION Ārṣabhī has niṣāda, ṛṣabha and dhaivata as amsas. The ṣāḍava and auḍuvita (forms) come into being by the omission of sadja and (sadja) pañcama respectively. (213) In dhaivatī, ṛṣabha and dhaivata have been spoken of as amśas by the gurus. These two alongwith madhyama are apanyāsas and the two(ṣāḍava and auduvita) are, as spoken of before, (in ārṣabhī) through the respective omission of (ṣaḍja and ṣaḍja-pañcama). (214) In niṣādavatī (or naiṣādī), the svaras having two śrutis each (viz. gāndhāra, niṣāda) alongwith ṛṣabha are the amśas. The rest is as in dhaivatī, the nyāsa is the svara (niṣāda) from which this jāti derives its name. (215) In ṣaḍja-kaiśikī, ṣaḍja, gāndhāra and pañcama are aṁśas and they themselves are the apanyāsas, adding niṣāda and omitting gāndhāra. (216) Rṣabhais of sparse usage and gāndhārais desired to be the nyāsa. And this (jāti) is said by the ācāryas to be always pūrņasvarā (with complete svaras i.e. there is no omission). (217) Şadjodicyavatī is (formed) with şadja, madhyama, dhaivata and niṣāda as amśas, sadja and dhaivata should be known as two apanyāsas. (218) It is devoid of ṛṣabha and if two (svaras) have to be omitted then it is devoid also of pañcama. There is the abundance of mandra gandhara and madhyama is the nyāsa. (219) Şadja-madhyamā has all the svaras as aṁśa and its nyāsa is on the two svaras from which it derives its name (viz. şadja and madhyama). Nişāda and gāndhāra are the two svaras that bring about hīnatva (the state of being bereft i.e. the omission of niṣāda brings about its ṣāḍava form and that of niṣāda, gāndhāra, its audava form). (220) The sañcara (to and fro movement of svaras) is left to one's will, it has to be so as not to violate the grāma.⁴¹ These seven are in sadja-grāma, the remaining (eleven) are the jātis of madhyama (grāma). (221)

¹⁴⁰⁰ TRANSLATION ⁴⁹ citra (mārga) there is māgadhī (gīti), with the dvikala (tāla) in the vārtika (mārga) there is sambhāvitā (gīti), with the catuṣkala (tāla) in the dakṣiṇa (mārga) there is pṛthulā (gīti). Vīra, raudra, adbhuta are the rasas. Its application (viniyoga) is (prescribed) in the singing of the naiskrāmiki⁶⁵ (associated with exit) dhruvā in the first scene (or act). [3. Dhaivati] [Anu. ¹⁵⁰] In dhaivati, dhaivata and ṛṣabha are the two grahas and aṁśas. In the śuddhā state, dhaivataitself is the apanyāsa and in the vikrtā state, dhaivata, ṛṣabha and madhyama are the apanyāsas, dhaivata is the nyāsa. The ṣāḍava formation is devoid of pañcama and the auduva formation is devoid of pañcama, șadja. The same two svaras, viz. şadja and pañcama should be made weak and should sometimes be leapt over. The tara is upto five svaras. The mandra is upto the nyāsa⁶⁶ or upto the svara next to nyāsa. [Anu. ¹⁵¹] It (dhaivatī) is seven-fold. There are seven amśas. Śuddhā (is one), vikṛtās in the complete state are two and ṣāḍava-auḍuva are two each. The mūrchanā beginning with ṛṣabha obtains (in it). Pañcapāṇi is the tāla. Ekakala (tāla), citra mārga and māgadhī gīti (go together). Dvikala (tāla), vārtika (mārga) and sambhāvitā (gīti) (go together). Catuṣkala (tāla), dakṣiṇa (mārga) and pṛthulā (gīti) (go together). The kalās are twelve in the citra (mārga), twenty-four in the vārtika (mārga) and forty-eight in dakṣiṇa (mārga). Vīra, bībhatsa, bhayānaka are the rasas. Its application is (prescribed) in the singing of dhruvā in the first scene (or act). [4. Naisādī] [Anu. ¹⁵²] In niṣādavatī,67 niṣāda, ṛṣabha and gāndhāra are the grahas and aniśas. Niṣāda, gāndhāra and ṛṣabha are apanyāsas. Niṣāda alone is nyāsa. The ṣāḍava formation is devoid of pañcama and the auduvita formation is devoid of

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