ekakala technical_term

¹⁰³ TRANSLATION phrase). As - sarigā garisā, rigamā magarī, gamapā pamagā, mapadhā dhapamā, padhanī nidhapā, dhanisā 76 sanidhā, padhanī nidhapā, mapadhā dhapamā, gamapā pamagā, rigamā magarī, sarigā garisā. Or, sarigama magarisa, rigamapa pamagari, gamapadha dhapamaga, mapadhani nidhapama, padhanisa 77 sanidhapa, mapadhani nidhapama, gamapadha dhapamaga, rigamapa pamagari, sarigama magarisa. Thus is (ends) huṅkāra in eighteen kalās (phrases). (29) (Anu. 99) From the high (şadja), after going to the seventh (svara viz. nişāda), again coming back there itself (on sadja), through the pronouncement of two svaras in the descending order, on making four kalās (units in each phrase), sandhipracchādana (is formed). As - sani sani sani sani, nidha nidha nidha nidha, dhapa dhapa dhapa, pama pama pama pama, maga maga maga maga, gari gari gari gari, risa risa risa risa risa risa risa nisa, gari gari gari gari, maga maga maga, pama pama pama pama, dhapa dhapa dhapa dhapa, nidha nidha nidha nidha,78 sani sani sani sani. Thus is (ends) (30) sandhipracchādana. (Anu. 100) Having pronounced the amsa svara 79 (initial note) four times, after that with the fast pronunciation of two immediate svaras, with gradual (successive) ascent, ekakala (single-phrased) vidhuta (is formed) As - sa sa sa sa riga, ri ri ri ri gama, ga ga ga mapa, ma ma ma padha, pa pa pa dhani, dha (31) dha dha dha nisa. Thus is (ends) vidhuta. (Anu. 101) Udgita (is formed) on account of the descent from high with the gap of one svara (in each phrase) in (successive) order. As - sadha nipa dhama paga mari (32) gasa. Thus is ends udgita.

¹⁰⁵ TRANSLATION (Anu. ¹⁰²) Like huṅkāra one should ascend (with) three solfa syllables without a gap (and) in a combined80 (manner), thence two lower svaras (forming two phrase- units each) should be made (pronounced) with shake81 and verily in combination with another (next) kalā 82 (phrase-unit). Thus is gātravarņa, because of the combination or formulation of ekakala 83 svaras (forming temporal units of one kalā or mātrā each). As - dhanisa nini dhadha, padhani dhadha papa, mapadha papa mama, gamapa mama gaga, rigama gaga riri, (33) sariga riri sasa. Thus is (ends) gatravarna. [ The treatment of Alankaras according to Bharata's opinion ] I shall now speak of the varnas 84 in which the charming alankāras are (121) 'seated' (formed), according to the prescription of Bharata. Prasannādi, prasannānta, prasannādyanta, similarly prasannamadhya, sama, recita itself, prastāra and prasāda are based on the sthāyivarņa. These alankāras (122, ¹²³) should be known according to their respective definition. After this, please understand (the alankāras) born of the sancārin (varņa), as they are again and again being described (lit. glorified). Mandratāraprasanna, bindu, prenkolita, tāramandraprasanna, nivīttapravītta, kuhara, veņu, ranjita, upalolaka, avartaka, paravarta. Thus are the eleven charming alankaras born of (¹²⁴ - ¹²⁶) the sancarin (varna). Nişkūjita, kuhara, hasita, bindu itself, prenkholita, ākṣipta, vidhuta, udvāhita, hrādamāna, sampradāna, sandhipracchādana, prasannādi and prasannanta—(these) thirteen are (based) on the arohin (varna). (127, 128)

¹²¹ TRANSLATION In the dakṣiṇa (mārga) and catuṣkala tāla pṛthulā giti should be known. (175) With this prescription itself the gitis should be sung by the wise. (Anu. ¹⁰⁵) In the citra (mārga) the tāla is ekakala 12 itself, on account of the use of two- mātrā (units). In the vārtika (mārga) the tāla is dvikala 13 itself, on account of the use of four-mātrā (units). In the dakṣiṇa (mārga) the tāla is catuṣkala 14 itself on account of the use of eight-mātrā (units). In citra (mārga) māgadhi gīti (operates), it is with two gurus and is (also) composed of laghu (one short) and (one) pluta 15 (three mātrā-unit); (it is) (176) twice retreated;¹⁶ ardhamāgadhī is (completed) in half of that.¹⁷ Sambhāvitā is guru 18 in vṛtti (mārga) and pṛthulā is laghu 19 in dakṣiṇa (177) (mārga). As - Māgadhī [-----] Ardhamāgadhī [-----] Sambhāvitā [-----] Pythulā [-----] (Anu. ¹⁰⁶) In Vārtika (mārga) there is samagraha,20 in dakṣiṇa (mārga), there is atīta 21 (lit. past) graha, in citra mārga there is anāgata²² (lit. future) graha. (Anu. ¹⁰⁷) In the mārgas the use of mātrās 23 has been said. As - dakṣiṇā, vṛtti and citrā (are the margas). The mātrās (to be used in them) are eight, four and two (respectively). As — dhruvakā, sarpiņī, kṛṣṇā, vartinī and then visarjitā, vikṣiptā and patākā and (178) patitā is known to be the eighth one.

VIMARŚA ¹⁸⁷ 75. If ekakala is related to phrasing then sarigā and each of the other units will be taken to be forming one phrase each; if it is taken to be related to the duration of kalā, then the duration of each phrase will have to be taken as two mātrās; there also each kalā of time will be related to each phrase. 76,77. Identical with note 52 above. 78. All the four sa belong to the tāra-sthāna. 79. See note 47 above. 80. Samyuktam is used as an adverb, its implication is not very clear, most probably it has been used because the units of phrases here are not equal, they are 3+2+2=7. There is no other alaṅkāra like this in BrD. 81. Here the traditional rule of having a shake only on svaras with three śrutis seems to have been abandoned. 82. Kalā obviously means phrase-unit here. 83. Ekakula could not, perhaps, be understood as the first degree of kalā being of the measure of 2 mātrās. It perhaps indicates that each svara will be of the duration of one mātrā; that would make each phrase of the duration of seven mātrās which would not fit into the ancient tāla system and could, perhaps, be taken as the first indication of the advent of desi talas. 84. It is notable that BrD has not classified alankāras into varņas. 85. The names like tāramandra and mandratāra do occur in NŠ (XXIX, 31) but they have not been described. It is notable that NS has the name dipta for tara and prasanna for mandra. While BrD profusely uses prasanna for mandra, it does not even once use dipta for tāra. 86. The seven gitakas are described in NS XXXI. They are - madraka, aparāntaka, ullopyaka, prakarī, oveņaka, rovindaka and uttara. Apart from these, āsārita and vardhamāna have been extensively described in NŠ (ibid.); they are outside the above seven, but are very important on account of special tala patterns and association with dance. All these forms are prescribed in pūrvaranga (preliminaries of drama). Since no dramatic situation is required to be highlighted in Pūrvaranga, the music there could be autonomous and hence the units of text of songs could be stretched by the melody through alankāras, the comprehension of the meaning of the text of songs being not important there. 87. In dhruvās (songs prescribed for highlighting different situations in drama), as distinct from gîtaka, the comprehension of meaning of text by the listener is very important and hence stretching of the syllables of the text is not desirable. 88. The implication of this statement is not clear, because alankaras of the sthāyi-varņa are being described immediately after this verse. Abhi Bhā on NŠ XXIX, 33 says that the alankāras of sthāyi-varņa could be used at will (in dhruvās ); there is no restriction prescribed for them. 89. Brightening means movement towards high svaras. 90. Reverse order would mean proceeding from high to low. e le par Alle and the second