Matanga proper_name

,1 [Chapter-III] [The description of ragas] [Propitiation] 'Bhm' 1 stands for light and hamsa2 (Atman) delights in it. Hence He is known as Bharata³ The knowledge of Bharata is born of Him. The splendid Bhāratī⁴ is born of that (knowledge). (260) [ The definition of raga and its etymology ] [ Thus said Nārada? ] What is conveyed by the word rāga, what again is the definition of rāga? You should properly speak out its etymological definition. (261) Thus spoke Matanga – The form of the course of raga which has not been spoken of by (authorities) like Bharata, 5 is being described by us by combining the lakşya (the defined) and lakṣaṇa (definition). (262) Therein initially - That which colours or delights the mind of the good through a specific svara (interval) and varṇa (melodic movement) or through a type of dhvani⁶ (sound) is known by the wise as rāga. (263) Or- That which is a special dhvani,7 is bedecked with svara and varna and is colourful or delightful to the minds of the people, is said to be rāga. (264) Lakṣaṇa (definition) is known to be two-fold viz. general⁸ and particular.⁹ The general one is four-fold and the special is (in the form of) amisa and the like. (265)

79 TRANSLATION 'R\bar{a}ga' is born from the act of colouring or delighting; this has been said to be the etymology. Thus is spoken of the etymology of the word rāga. (266) 'Rāga' is (a word that is) r\bar{u}\phi ha^{10} (having a conventional meaning) like aśvakarņa¹¹ or is yaugika¹² like 'maṇḍapa' (that which conveys the meaning that embodies a combination of its components), or it should be known as yogarūdha¹³ (that which gives meaning according to combination and convention) like the word pankaja (lotus). (267) [The types of giti] [ The opinion of Matanga ] Now I shall speak of the seven beautiful gītis. The first gīti is śuddhā, the second one is bhinnakā, the third one is gaudikā and the fourth one is rāgagīti. Similarly, sādhāraņī should be known as the fifth one by the knowledgeable ones in music. Bhāṣāgīti is the sixth one and vibhāṣā is the seventh. Thus have been spoken of the seven gitis. Now (their) distinction is being spoken of. (268-270) [ Thus ends the opinion of Matanga ] [The opinion of Durgaśakti] Gītis should be known to be five viz. śuddhā, then bhinnā, vesarā, gauḍī (and) sādhāritā; this is the opinion of Durgā (Durgaśakti). (271) Thus ends the opinion of Durgaśakti.

PĂŢHAVIMARŚA 249 49. MS B reading as recorded by the ed. 50. MS A reading as recorded by the ed. is - sampūrņatva. 51. Auduvalakṣaṇa is in place here, but it is lost due to a break in the text. The citation from Bharata should be taken to be subsequent to the lost portion of the text. 52. Since the treatment of dhruvā is lost in the text, this 'announcement' of the author is unfulfilled. 53. MS B as recorded by the ed. reads - 'ta ca dhruvam madhya ye '. 54. Vide NŚ Chau. XXVIII. 95 55. cf. अन्तरमार्गणमित्यन्तरमार्गणस्य(र्गस्य) लक्षणम् । यथाज?ातीति क्वचिद्वाऽनंशोऽपि नाल्पः । तथा च कार्मारव्या गान्धारस्य सर्वस्वरसङ्गत्या बहुत्वेनान्तरमार्गे प्रयोग इति वक्ष्यते । गान्धारस्य विशेषेण सर्वतो गमनं भवेत् । Abhi. Bhā. on NŚ XXVIII. 74, p. 49. 56. cf. अथ बहुत्वमाह । अल्पत्वं तद्वद् बहुत्विमिति । लक्षयतीति शेषः । कथमित्याह । बलवदबलवतोऽपि(तोर्वि) पर्याये(पर्यये)अबलमल्पं, तद्विपर्ययाद् बलवदिति बहुत्वाक्षक्षणं (बहुत्वलक्षणं) गम्यत एव । अत एवाह । ज?ातिस्वरैस्तु नित्यं ज?ात्यल्पत्वं द्विधा चैत(त्) । ज?ातिगतमल्पत्विमव तद्बहुत्वमिप द्विधा । तच्च ज?ातिस्वरैःपर्यायांशैरसंवादिभिश्चोपलक्षितः (क्ष्यते) । तेनैषामलङ्घनम(भ्यास)श्चेति द्विधा बहुत्वमित्युक्तं भवति ॥ ७४॥ तथाल्पत्वबहुत्वयोरुपयोगं दर्शयन् प्रसङ्गादन्यदप्याह । सञ्चारांशे(श)बलस्थानामल्पत्वे दुर्बलासु च । न्यासश्चान्तरमार्गश्च ज?ातीना व्यक्तिकारकः॥ Abhi Bhā on NŚ XXVIII. 74,75.p.49. 57. cf. ज?ातिस्वरैध नित्यं स्याद् ज?ात्यल्पत्वं विधानतः । सञ्चारोंऽशवलस्थानामल्पत्वं दुर्वलेषु च । विविधोऽन्तरमार्गस्तु ज?ातीना व्यक्तिकारकः॥ NŠ Chau. XXVIII. 90,91. 58. Reconstruction based on NŚ XXVIII. 72 and Abhi Bhā on the same, p. 47. 59. This definition of apanyāsa is in the proper order. The definition of apanyāsa in Anu. 127 above is part of the definition of amsa, hence it is not a repetition. 60.cf. अपन्यस्यते प्रयोगो येनेत्यपन्यासः। अपन्यसनं च न्यासत्वापगमे त्ववान्तरविच्छेद्वसंस्वात्र्यासवछतिभासनम्। Kalā on SR I. 7.41-46, p. 188. 61. Reconstruction based on c.r. in Sudhā on SR.I. 7, 41-46, p.189. 62. From here onwards upto verse 238, the text of Datti 63-90 is reproduced with slight variations here and there which have been recorded by us. 63. Reading of Datti 63. 64. Reading of Datti 64. 65. Reading of Datti 68.

PÄŢHAVIMARŚA 257 मन्द्रामन्द्रतरैस्तारस्थानगैर्ललितैः स्वरैः । 19. cf. S.Rāj 11. 2.1.33 ab. भिन्ना तु सूक्ष्मैर्मधुरैर्गमकैरन्विता स्वरैः । 20. cf. तारमन्द्रगतैर्वक्रैर्विकृतैः परिकीर्त्तिता ॥ S.Rāj II.2.I.34. 21, 22. Reconstruction based on c.r. in Sudhā on SR II. 1.2-5, p.5. 23. C.r. in ibid. The lack of sandhi between 'nyāsa' and 'ohāṭī' is notable. 24. C.r. in ibid. 25, 26, 27, 28. Reconstruction based on ibid. 29. This line has been added from ibid. In p.t. this line occcurs in the context of gaudarāgas. 30. After this p.t. adds the following lines which are out of place and have, therefore, been dropped by us: प्रयोगेश्च दूतैः कार्या मिश्रामिश्रेश्च मालवैः । ईपत्प्रकम्पितैः किञ्चिद्वलितैस्तारदीपितैः ॥ सोच्छ्वासैः खण्डखण्डैश्च भित्रा गीतिरुदाहता । + ++ + + + + + ओहाडी(टी)परिगीयते ॥ 31. cf. वर्णचतुष्केऽपि स्थाय्यादिवर्णचतुष्टयेऽपि अतिरक्तितो रक्त्यतिशयवशाद् वेगवद्भि शीघ्रप्रयोगवद्भि स्वरैर्युता रागगीतिः रागाश्रयभूता गीतिर्वेगस्वरेत्यन्वर्थसंज?्ञिका बुधैर्मतङ्गादिभिर्वेसरा च वेसरसंज?्ञिता चोच्यते । Kalā on SR II. 1. 6,7,p.6. 32. This verse has been repeated in Anu. 19, as a citation from Kaśyapa. Sudhā on SR.II. 1.6,7, p. 6,7 also ascribes it to Kaśyapa. 33. Reconstruction based on c.r. in Sudhā on SR II. 6,7,p.7. This c.r. has a slight variation in the first foot of this verse as - ‘prayoge masṛṇaiḥ ’. 54.P.t. adds one line before this as - (तु ? स्व)रैः साधारणा गीतिर्गीतिज?्ञैः समुदाहता ? ॥ It is redundant and has been dropped by us. अनपेक्ष्यान्यजातीर्ये स्वजातिमनुवर्तका । 35. cf. स्वजात्युद्द्योतकाश्चैव ते शुद्धा परिकीर्तिता ॥ C.r. in Kalā on SR. II.2, after the illustration of śuddhasādhārita rāga, p.24, 25. We have replaced 'nirapekṣā 'of p.t. with 'anapekṣyā 'of c.r. as it is more idiomatic. 36. Extra reading in p.t. 37. cf. पर्मु रागेषु मुख्यत्वात् पाडवः, सप्तस्वरत्वेन पर्स्वरत्वासम्भवात् । ननु कथं पर्मु रागेषु मुख्योऽयम् ?उच्यते । पूर्वरङ्गे तु शुद्धपाडवः प्रयोक्तव्य इति वचनात् । C.r. in Sudhā on SR 11.2.74-76, p. 69.

259 PĀŢHAVIMARŚA 46. cf. सावरोहिप्रनान्तः । SR 11.2.31 c. 47, 48. This sentence is not found in the available text of NS. cf. सङ्करे रूपवाहुल्याद् ज?ातिनिर्देश इप्यते । (i) तस्माद् यद् गीयते किञ्चित् तत् सर्वं ज?ातिषु स्थितम् ॥ Datti 96 c, 97 b. (ii) नन्वेते रागा ग्रामविशेषसम्बद्धा इति कुतोऽयं तिशेषलाभः ? उच्यते - भरतवचनादेवाँसौ विशेषो लभ्यते । तथा चाह भरतमुनिः - 'ज?ातिसम्भूतत्वाद् ग्रामगगाणाम्' इति, 'यत्किञ्चिद् गीयते लोके तत्सर्वं ज?ातिषु स्थितम्' इति वचनाच । C.r. in Kalā on II.1.8-14, p.8. (iii) नन्वेते रागा ग्रामविशेषसम्बद्धा इति कुतोऽयं विशेषलाभः ? उच्यते - भरतवचनादेवासौ विशेषो लभ्यते । यदाह भरतमुनिः 'ज?ातिसम्भूतत्वाद् ग्रामरागाणाम्' इति, 'यत्किञ्चिद् गीयते लोके तत्सर्वं ज?ातिषु स्थितम्' इति च ॥ C.r. in Sudhā on ibid. यत् किञ्चिद् गीयते लोके तत्सर्वं ज?ातिषु स्मृतम् । (iv) Bha Bhā Vol . II, VI. 393 cd. 49. Reading in BhaKo p. 542. मुखे तु मध्यमग्रामः पड्ज?ः प्रतिमुखे भवेत् । 50. cf. (i) साधारितस्तथा गर्भे वि(ऽव)मर्शे चैव पञ्चमम् ॥ कैशिकं च तथा कार्यं गानं निर्वहणे वुधैः। NŚ XXXII. 428,429 b. मुखे तु मध्यमग्रामः पड्ज? प्रतिमुखे स्मृतः । (ii) साधारितं तथा गर्भे मर्शे कैशिकमध्यमः॥ कैशिकं च तथा कार्यं गानं निर्वहणे बुधैः । NŠ Chau XXXII. 453,454 b. मुखे तु मध्यमग्रामः पड्ज?: प्रतिमुखे तथा । (iii) गर्भे साधारितधैव ह्यवमर्शे तु पञ्चमः॥ संहारे कैशिकः प्रोक्तः पूर्वरङ्गे तु पाडवः । चित्रस्याष्टदशाङ्गस्य त्वन्ते कैशिकमध्यमः॥ शुद्धाना विनियोगोऽयं ग्रह्मणा समुदाहतः । C.r. in Kalā on SR II.2. 30-32, p.32. The first three lines have been cited also by Simhabhūpāla. 51. Reconstruction based on c.r. in Kalā on SR II.2.23-26, p.25. 52.cf. (i) ननु भित्रशब्देन किमभिधीयते? कि विदारिक इत्यर्थः, किमेतस्मादयं व्यतिरिक्त इत्यर्थो वा ? एतत्र वाच्यम्, यतोऽत्र विकृत उच्यते । विकृतत्वं च पूर्वोक्तश्रुतिभित्र इत्यादिलक्षणात् । C.r. in ibid. (ii) ननु भित्रशब्देन किमभिधीयते ? भित्रत्वं विदारणम् , व्यतिरिक्तवं वा ? मैवम्, भित्रोऽत्र विकृत उच्यते । C.r. in Sudhā on SR II.1.2-5, p.5. 53. The prose portion in p.t. beginning with 'nanu' here has been removed to Anu. 174, after [ tasya ], with deference to the context. The first

³⁰¹ VIMARŚA 52. The word 'yatah' in this verse seems to imply that because the svaras have to match the angahāras performed in the order of āsārita, the formation or variation of amsas should be done in the text of the vardhamāna. Āsārita and vardhamāna have identical temporal dimensions with slight variation in splitting (shown below). These are the two gītakas alongwith which the performance of dance is prescribed in NS XXXI - ¹⁶ + ¹⁷ + ³² = ⁶⁵ \text{ Kalās} Asārita ⁹ + ⁸ + ¹⁶ + ³² = ⁶⁵ \text{ Kalās} Vardhamāna 53. 'Not exceptional' means those svaras, the operation of which in the formation of pentatonic varieties is not hindered by the rule of samvāda. 54. The strict prohibition of the omission of madhyama seems to be based on the fact that this svara is the link between gandharva and sāman, it being the tonic in sāman and the connecting point between the two triads of the heptad. 55,56.The words utsarga and apavada are borrowed from Pūrvamimāmsā. The former stands for the general rule and the latter for the exception to the same. 57. The import is not clear from here to the end of the Anu. 58. 'Sangati' stands for to and fro movement between two svaras in a jāti. NŚ uses 'paraspara-sañcāra' (mutual to and fro movement) and 'paras- paragamana '(mutual movement i.e. each of the two given svaras reaching out to the other) for this melodic phenomenon (cf.NŚ XXVIII. 96, 107). The word sangati is used even to-day in the oral tradition in the same meaning. It is notable that this relationship between any two svaras is purely melodic phenomenon; it does not depend on the acoustic relationship of samvāda. It is interesting to note that the word samvada has been used in our text in the place of sangati several times in the section on ragas. 59. Omission, in ancient thought, is not something absolute, rather it is the extreme state of sparseness. The svara that is omissible in a jāti is sparse in its complete state. 60. NŚ does not mention the mūrchanās of jātis. Matanga does this the first time. This innovation seems to be necessitated by the for introduction of fretted viņās (see Glossary). 61. Pañcapāṇi is another name of the tāla called ṣaṭpitāputraka, the third name being uttara.

Vimarśa (ANNOTATIONS) Chapter I Section I ( Desi ) 1. Upto verse 13 a dialogue between Matanga and Nārada is explicit; accordingly, Matanga has been identified here as the first speaker, to whom Nārada responds. The name of Matanga appears only once again in the beginning of the Prabandha chapter (verse 361 cd) where Matanga is said to address anonymous munis. 2. Since the quality of pleasantness in sound is mentioned here, it could be conjectured that musical sound is being referred to, although later (verse 13) desi has been identified with syllabic sound. Tonal sound ( nāda ) has not been separately mentioned in this section, except in verse 7 where the svaras ( şadja etc.) of music have been said to be different from svaras (vowels) in language. 3. 'Jantu' means living being, including the human beings, but since 'people' and 'kings' are separately mentioned here, jantu could be taken to stand for sub-human creatures. 4. The manifest form or level of sound is referred to here and its spatial or regional aspect is being emphasised in the context of desi (pertaining to desa, i.e. space or region or location). 5. Dhvani at the metaphysical level is beyond space and time, it is all- pervasive ( vyāpaka ) and eternal ( nitya ). How could it be said to be related to desa (space or region or location)? This is the question. 6. Sound at the manifest level is perceived according to its direction (up, down, right, left etc.) in relation to the listener. 7. Sthāna stands for location of sound in the human body. Five such locations are identified; viz. the navel, chest, throat, palate or cerebrum and mouth, the first and the last being omitted in music. The vital air is propelled from the seat of energy in the body known as brahmagranthi and as it travels upward it touches the various locations, producing low and high sounds. This is the purport of sound being the 'follower' of sthana. 8, 9, 10. In Tantra the concentrated form of energy is identified with bindu (lit. point or drop) and the flowing form of energy is called nāda. At the aural level bindu manifests as the anusvāra ( nasal sound marked with a dot on the line) and nāda as tones and vowels (combined with consonants) without specification and at the visual level bindu is the point and nāda could bear the analogy of rekhā (line) without specific form. Mātṛkās (lit. mothers) are the subtle and unmanifest forms of letters of the alphabet; thus they are the matrices of all sound-forms, they could be said to stand for the subtle level of individualised specific letters. These three and the manifest form of mátykas viz.

155 VIMARŠA 3. The instrument of the navel, heart, throat, Reaching the mouth cerebrum and the cavity process of hearing in the cavity, the air manifests speaker himself has of the mouth. the varnas. been explained as being comprised of the consciousness of the filling of the different points in the vocal organism (with air). Thus one and the same sound appears to be different. The following apparent differences are obvious in the above chart - (a) 'Atman' is used in Pā Ši and SR, but BrD uses the word puruşa. (b) In Pā Śi and SR the first step starts with the will of the ātman, but in BrD the combination of 'fire' and 'air' is spoken of as the first step, without the mention of any activating agent. The purusa is mentioned in the second stage as the agent in propelling the air upwards. (c) In Pā Ši, buddhi (intellect) is mentioned as an agent in the 'gathering' of the content of speech. This is absent in BrD and SR; the reason could perhaps be that in musical sound the differentiation of the form and content ( meaning ) of sound is not pertinent. (d) In BrD mind has not been mentioned at all. The mention of pratyaya (assured consciousness), however, does bring in the mind, but it is related to the process of hearing in the speaker ( see note 3 on puruşa ). 3. Puruşa is a very important word in Indian philosophy; it has a double derivation viz. 'one who sleeps in the pura, castle or city and one who fills'. The primordial being in the form of 'Man' is the primary meaning of this word. The use of this word in our text seems to be inspired by Ayurveda - बुद्धीन्द्रियाणि मनोऽर्धा एवा योगधर परम् । (Car Sam śanrasthana I, 35) चतुर्विंगतिको होष राशि पुरुषसज्ञकः ॥ 'Puruşa' is the name of the collection of twentyfour ( elements ) viz. buddhi ( sixfold perception as associated with the five sense-organs and mind ), the ten indriyas (viz. five sensory and five motor organs), mind, the six objects of perception and the ultimate repository of the above twenty-three elements (i.e. ātman ). Thus when purusa is said to impel the air in the vocal 'path', the separate mention of mind may not be held to be essential. The only thing that still poses a slight deviation of our text from the accepted tradition is that the combination of 'fire' and 'air' has been mentioned here in the beginning without any reference to an impelling agent. 4. This passage ascribed to Viśvāvasu has attracted the attention of later authors. For example, antara-śruti has been interpreted by Kallinātha (Kalā on SRI, 3.10-16) as the śrutis situated in vikṛta svaras which term is coventionally accepted for antara (gāndhāra) and kākalī (niṣāda).

VIMARŚA ¹⁵⁹ 20-23. Utkarşa and apakarşa lit. mean heightening and lowering respectively. They are used singly and also in a pair in NS. Our text uses them in a pair in the present passage and also in Anu. 36 (while explaining grāma). Again in Anu. 8 (while explaining the process of sāraṇā) 'apakarṣa' and 'apakṛṣṭa' (adjective for Viņā ) is used. Mārdava and āyatatva are used in a pair in the present passage; but 'ayatatva' is replaced with 'viprakarşa' in Anu. 50 ( while explaining tāna-kriyā ) and mārdava is explained there as loosening ( of the string). Word Reference Context Apakṛṣṭa (Pañcama) NS XXVIII p. 20 Madhyamagrāma Utkarşa-apakarşa p. 20 Measure of śruti . Apakṛṣṭa (Vīṇā) p. ²⁰ Sāraņā M Utkarşa ( of gandhara ) p. 26 Mūrchanā-grāma Mărdava (of dhaivata) p. ²⁶ Utkṛṣṭa ( niṣāda ) p. ³² Svara-sādhāraņa (gāndhāra) p. ³² ⁹⁹ Mārdava-āyatatva p. 20 Measure of sruti × Ayatatva XXVIX p. 37 Sruti-jāti Mṛdutva p. 37 Viprakarşa-mārdava XXVIII p. ²⁷ Tāna-kriyā Viprakarşa-pidana Abhi. Bhā. ( stretching of the on above string) Mārdava = śithilikarana (loosening of the string). It is an acoustic fact that stretching or tightening of the string results in higher pitch and loosening of the string results in the reverse viz. lower pitch. The words utkarşa and apakarşa stand for these two resultant changes in pitch respectively. 'Ayatatva' and 'mārdava' are basically concerned with the process of tightening and loosening of the string respectively. Both these pairs are closely related since they represent the effect and cause. Both the pairs are mentioned together in BrD and NS in the context of sāraņā (the process of verification of śruti). It is notable that although utkarşa and āyatatva and apakarşa and mārdava are pairs of mutually related terms, their order is reversed both in NŠ and BrD where mārdava-āyatatva is said to be an alternative of utkarşa-apakarşa; the proper order would have been apakarşa-utkarşa. Abhinavagupta commenting on this passage of NS explains the mutual relativity of the constituents of both the pairs. When there are two viņās, if one string on one viņā is tightened, this action has two effects viz. higher pitch on that viņā and relatively lower pitch on the corresponding string of the other viņā without any change of tension in that string. Hence ayatatva produces both utkarşa and apakarşa. Similarly, if one string is loosened on one viņā, this action has two

VIMARŚA ¹⁶⁹ 6, 7. The author seems to be speaking of svara at the same level at which sabda has been treated as eternal and vibhu (all-pervading) by several systems of philosophy, e.g. grammar, mimāmsā. 8. The infinity of svara, as propounded here, could be understood in two layers viz. (i) the infinite melodic combinations and permutations of the seven svaras (ii) the multi-farious shades of intervals coming into usage on account of various relationships between svaras established on account of variety of melodic phrasing involving leaps, glides, pauses etc. Jāti, the initial form of melodic configuration and bhāṣā, the derived form of rāga have been mentioned here for indicating the infinity of variety in melodic phrasing that brings about the infinity of svara. Raga has been omitted here, but its relevance could be inferred on the basis of its derivative bhāṣā. 9. The statement that svaras are combined with padas means that syllabic units are combined with svaras when the latter are rendered. These (units) could be meaningful linguistic units or non-sensical so far as linguistic meaning is concerned. Pada has been thus defined by Bharata - यत् स्यादक्षरसम्बद्धं तत्सर्वं पदसन्नितम् । ( NŚ XXXII, 28 ab ) "Whatever is formulated with syllables, all that is called pada". Thus meaningfulness is not a condition for pada in music. Tonal rendering with the voice is usually combined with syllabic units, e.g. in the ālāpa in dhrupad, syllabic units like nom tom diri etc. are used. NS also prescribes the following (and a few more) syllabic units known as padas spoken of by Brahmā for nirgita (music devoid of meaningful text, rendered mainly on stringed and wind instruments, accompanied by voice )- झण्दु जगतिय दिगिनिगि तितिझल कुचझल ( NŚ XXXI, 104 ) It will be seen that these are formulated units of four-matras (time-units) each. If the voice renders svaras without padas (meaningful or non-sensical syllabic units) then it is combined with vowels like a, i, u etc. which themselves are primary units of pada. Hence the combination of svara with pada is spoken of. 10. In Indian music svaras are not used in a plain or unornamented way; hence alaṅkāra is mentioned here. The concept of alaṅkāra will be discussed in the respective section. 11. The prescription of the use of specific svaras in the context of different rasas dates back to NS. It will be discussed under the reproduction of this prescription in our text later in this section. 12,13. Pāršyadeva refutes the view that svaras are indestructible and all- pervading (vide Sam S Sa, p. 12). His argument is that since svara is heard in a limited time and space and not for all times or everywhere, it could not be said to be indestructible or all-pervading.

¹⁸¹ VIMARŚA is also used. This is how the distinction brought about by mandra and tara could be understood. Abhi Bhā on NŚ XXVII, p. 27 also seems to support this view. 48. 'Sukha' has been translated here as convenience or it could be rendered as facility. The facility of the performer and listener is said here to be the objective of the distinction between mūrchanā and tāna. NŠ and Abhi Bhā have the reading 'nānātva' which means variety of mūrchanā and tāna, but since our author has tried to distinguish between murchana and tana, we have accepted the reading anyatvam which means distinction (see note 78 under textual notes on the section ). In NS mūrchanā-tāna is also a compound name for the 84 tānas. BṛD does not use this compound and emphasises the distinction between the two; viz. mūrchanā and tāna. Brahaspati has commented on the reading 'variety' ( nānātvam ) of NŠ and said that the variety of murchana and tana accords facility to the performer by making possible the use of three sthanas (registers) and also the omission of svaras (according to a specific system as embodied in the 84 tanas). The distinction between murchana and tana brought out in the reading accepted by us could be construed to mean that mūrchanā as a complete scale in ascending and descending establishes the three sthanas and tana (involving omission) establishes a specific pattern in ascent. It is interesting to note that even today omission of one or two svaras is very effective in the ascent in all those ragas that involve omission in ascent and use the omitted svaras in descent. ( see glossary) 49. Since specific omissions are prescribed for the two grāmas, tāna the result of this specific omission could be said to be the distinguishing feature between the jātis and rāgas of one grāma and the other. 50. This applies to kūļa-tāna where permutation and combination is involved and definite numbering of each variety is effected. Retrieving the number of a given tana (arrangement of a given number of svaras) and retrieving the form of a tana whose number alone is given is known as uddista and nasta respectively. (see glossary) 51, 52. The word tāna-prayoga is being used here to convey two things—in the first instance the number of tanas (permutation of a given number of svaras ) is implied and in the second instance the number of svaras constituting the specific tāna (combination of svaras) is implied. 53, 54, 55 & 56. Krama is a combination of svaras where the original order remains intact and uthrama is a permutation where the original order is changed. The method of obtaining the number of kramas and utkramas of a given-number of svaras is like this—multiply the earlier numbers of a given number, without leaving any number in-between. For example if the number of svaras is six, 1 \times 2 \times 3 \times 4 \times 5 \times 6 = 720 would be the number of kramas and uthramas taken together; the last number of this series viz. 6 is the number of kramas and the remainder viz. 714 is the number of utkramas. 57. 'Māna' could stand here for the measure (length, breadth and the like) of the viņā concerned. For example, kinnarī, the viņā with frets has been described in SRVI,