Sañcārin technical_term

⁸⁷ TRANSLATION When in the gita (melodic rendering) the svaras move (to and fro) in mutual7 (directions) along with the last one8 (of the preceding phrase forming the beginning of the succeeding phrase), or two by two, that is known as the (119) sañcārin⁹ (circulatory) varņa. (Anu. ⁶⁵) Just as in mālavakaišika-sāsā sanipa pani nipa nisā sādharīpā pani nini; in various (phrases) like this, on account of mutual movement (the sañcārin varņa is formed). (Anu. ⁶⁶) Where the svaras of the gita ascend one by one or with intervening gaps, that varņa is called ārohin (ascending). Just as in mālavapancama - pāpasa, dharī sama ripa mapa mapadha māmā pasāri sāsama māpā rigā sā dhani pāri mama dhani nini pāri mama dhani pādhani riripā — thus on account of 'mutual'10 (gapless) ascent or with a gap of one or two svaras the arohin (ascending) varņa (comes into being). Where the svaras descend in one order alone, that is called avarohin with (120) 'equal' (gapless) svaras (or) with gaps. pāma mamagā gaga mama mari riri ri pāmā mama papā papa pa māmama nini dhadha papa pama gagā riri ninidhā pāpā — thus is avarohin varņa on account of 'mutual' (gapless) descent or with a gap of one or two svaras. Hence it has been said - "These varnas ought to be known for the sake of the structuring" of alankāras and the like, as being born of svaras produced by the human body 12 (and) adorned by repetition13 (in the) three registers." (NŚ XXIX. 17) (Anu. ⁶⁷) How is varna brought about? It is being answered. When the svaras stretch the syllable¹⁴ due to the demand¹⁵ of melodic rendering through (their) steadiness, circulatory movement, ascent (and) descent, then varņa (pattern of melodic movement) is effected. Just as, in śādjī (jātī) the sthāyin (steady) varņa (is illustrated by) sāsāsā 16. Sancārin (circulatory varņa) is there, as in dhaivatī (jātī) — dhā 17 dhā nidha padha mā mā mā. Ārohin (ascending varņa) (is illustrated) in nandayantī — 18 gā gā gā pā pā dhapa mā, dhā dhā dhā dhā nī sani nidha, pā pā pā pā pā pā pā. Avarohin (descending varņa) is (illustrated) there itself (in nandayanti) with svaras that are equal (gapless) or are having gaps — 19pā pā pā pā pā pā pā pā, dhā nī mā pā gā gā gā. These varņas obtain also in the wooden20 (viņā), just as they are

183 VIMARŠA 6. Pada as textual unit ( with or without meaning ) is the basis for the discernment of varna. In a melody, the units of varna are conceived like the cups in which a liquid is poured; melody being fluid and flowing, its units have to be perceived in association with something concrete. Indian traditional thought on melody has tried to see varna as the primary melodic unit in association with pada, the more concrete textual unit. Each pada of a musical piece is either rendered with a steady ( sthāyin ) or ascending ( ārohin ) or descending ( avarohin ) or circulatory ( sancārin ) pattern of melodic movement and these patterns are to be identified in accordance with the accompanying textual units. (vide NŚ XXIX, 18) the melodic varņa 'extends' or 'stretches' the textual unit and thereby it (melodic varņa) is accomplished. 7. Movement of svaras in 'mutual directions' is another way of speaking about the to and fro movement. 8. The condition of proceeding in each unit of phrasing alongwith the last component ( svara ) of the previous unit has been imposed by BrD alone, no anterior or posterior text is known to have done this. Most probably the author had in mind certain spacific ragas and their melodic structures which he was trying to codify. 9. sañcārin lit. means moving around. SR (I,6.3ab) defines it as that which combines the other three. 10. 'Paraspara' or mutual for gapless movement of svaras is an expression peculiar to BrD. 11. Alankaras are usually structured with repetitive motifs and one or more of the varnas accord the pattern of melodic movement. 12. The human body being accepted as the primary instrument for rendering melody, it is being exclusively referred to here. Stringed and wind instruments would, by implication, follow suit. 13. Guṇa of the text has been translated as repetition in accordance with the spirit of Abhi Bhā on this verse. 14. 'Syllable' stands here for the component of textual unit and the textual unit itself. The melodic varna streches or extends the textual varna. 15. The varnas take effect according to the melody taken here as a totality. 16. It is not possible to say definitely that the second 'sa' in this triad is intended to be in the high register. 17. This whole line is reproduced from the notation of dhaivati in BrD. 18. These three lines have been reproduced from the notation of nandayanti in BrD and SR, wherever BrD is inadequate. 19. Reproduced from ibid. 20, 21. NŚ (XXVIII, 12,14,15) speaks of the wooden ( dāravī) and bodily ٠ ( śārīrī ) viņā as the substrata of svaras. 22. 'Sānīn' means pertaining to the body (bodily viņā). 23. Being the primary units of melodic movement, varņas are responsible for the construction or structuring of melody.