śrutis technical_term

²³ TRANSLATION (Anu. ¹²) (Objection) But the twenty-two-fold nature of śrutis does not also stand reason (or is not amenable), because of the non-perception of srutis and the parts of śruli. It has been said— "How can the perception or apprehension of this (śruti) take place? The nabhas (ether, space) cannot become disturbed (vyākulita) in the beginning (before svara); śruti has imperceptible parts and hence it does not appear as being composed of parts. (Objection continued) "(If it be accepted that) they do exist, then how many are they in relation to mātṛkās 59 (subtle bases)? If they are twenty-two, what is their process by krama (straight order) and utkrama (reverse order)? "If the infinity or singularity of śrutis becomes unavoidable, (then) there would be a doubtless state of those mātṛkās. Mātṛkās themselves are not there, how (why) should there be their vikalpana (assumption, imagination)? "The wise say that the existence (sattā) of dharmas (attributes) ^{60} is there when the dharmin (the one to whom the attributes belong) is there. When the dharmins are not there, the dharmas are (also) not there, so say the wise. The sattva (existence) and asattva (non-existence) of gunas and dosas are there when (the same occur in respect of) gunins (those to whom the gunas belong). "If the respective śrutis become the cause (of svaras) without themselves having a cause, then their origin (or) cause should not be sought. "Moreover, if in spite of there being equal tangibility (of śruti and mātṛkā) through pramāņa (means of valid perception), mātṛkās are concealed (denied), then it would be very difficult also to save śrutis (i.e. śruti will also have to be denied)." Now is being said (in answer)— Srutis that are the cause of the manifestation of svara are grasped by arthāpatti (negative inference) anumāna (inference) or pratyakṣa-jñāna 61 (perception) (43)

⁶¹ TRANSLATION Audūvita is with five svaras; its lakṣaṇa (description) is fivefold, it is (101) numbered thirty-five,³³ as explained by the ācāryas (teachers). (Anu. ⁴²) With (the omission of) șadja, rșabha, pañcama and nișāda the șādava (mūrchanās) of ṣaḍja-grāma (come into being). Those devoid of ṣaḍja, ṛṣabha and gandhara are şadavas in madhyama-grama. (Anu. ⁴³) The state of auduvita (comes into being) on account of the omission of (two) samvadins,34 because of this statement the general rule is that the state of auduvita is attained through two samvadin svaras. Sometimes the state of auduvita comes into being with (the omission of) two55 anuvādin svaras, this is also a general rule. Sometimes the state of anuvadin does come into existence with (the omission) of pañcama-ṛṣabha in ṣaḍja-grāma (and) that of dhaivata- rşabha in madhyama-grāma. The auduvitas in şadja-grāma are devoid of pañcama-şadja, two (svaras) that are comprised of two śrutis (each) (viz. gandhāra and niṣāda) and pañcama- (102) rşabha. The pentatonic tānas in madhyama-grāma are verily devoid of dhaivata-ṛṣabha and two (svaras) comprised of two śrutis (each) (viz. niṣāda and gāndhāra). (103) (Anu. ⁴⁴) Now he (the author) demonstrates this very (description) with prastara.36 That is thus in sadja-grāma— X ri ga ma pa dha ni ni X ri ga ma pa dha dha ni X ri ga ma pa pa dha ni X ri ga ma ma pa dha ni X ri ga ga ma pa dha ni X ri ri ga ma pa dha ni X (Tānas) devoid of şadja.

⁹¹ TRANSLATION Udghaisita (rubbed, pressed or shaken upwards) (26) Ākṣiptaka (thrown down) (27) Sampradāna (the act of giving or bestowing), (28) Hasita (laughter), (29) Huṇkāra (the 'hum' sound) (30) Sandhipracchādana (covering the joint or juncture) (31) Vidhuta (shaken off) (32) Udgita (sung, celebrated) (33) Gātravarṇa (the colour of the body). (Anu. ⁷⁰) Now the definition of these alankāras is being given (said). That is thus—the gradual ascent beginning from 'low' upto the starting point of 'high' is (known as) prasannādi.27 By the word mandra28 is denoted the low sound. As - sā nī gā mā pā dhā nī sā.²⁹ (1) Thus is (ends) prasannādi. (Anu. ⁷¹) Beginning from tara 30 (high) and (reaching) upto mandra (low) is prasannānta. As - sā³¹ nī dhā pā mā gā nī sā. Thus is (ends) prasannānta. (2) (Anu. ⁷²) Where there is 'low' in the beginning and end and 'high' in the middle, that is prasannādyanta. As - sā rī gā mā pā dhā nī sā, 52 sā nī dhā pā mā gā rī (3) sā. Thus is (ends) prasannādyanta. (Anu. ⁷³) Where there is 'low' in the middle and 'high' in the beginning and end, that is prasannamadhya. As - sā 33 ní dhā pā mā gā rī sā, sā rī gā mā pā dhā ni (4) sā.34 Thus is (ends) prasannamadhya. (Anu. ⁷⁴) The pronunciation (sounding) of the seven svaras with a similar sound in the three registers is sama. This is being said. (A svara) should be made (sounded) in the three registers with the same number of śrutis 35 as it is composed of (originally). As - sa ri ga ma pa dha ni - thus (it is). Or, sama (comes into being) on account of the pronunciation of pairs of samvādin (consonant) svaras. That is as - sama sapa ridha gani (thus). When the grāma changes (to madhyamagrāma, then) sama, ripa, gani - thus is the special (5) (structure of pairs). Thus is (ends) sama.

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 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 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