Domain #9 : méta-grammaire de l'autorité et du lakṣaṇa-discours 6c.3

Authorities cited or referenced in the Brihaddesi.

BHARATA is the ultimate authority (author of the Nāṭyaśāstra), cited
repeatedly by Mātaṅga with the formula "Similarly has said Bharata —".
MATANGA is the author of the Brihaddesi itself — self-reference is
explicit (cid=9, 12 attributions, 0 rules).
SARNGADEVA is a later author (Saṅgītaratnākara) whose extensions are
noted when they exceed Bharata + Mātaṅga.
KUMBHA, SARDULA appear once each as ancillary authorities.

evidence: aff#171, aff#182, aff#191, aff#221, aff#312, aff#2150, aff#2468
          (Bharata cited by Mātaṅga);
          aff#532, aff#543, aff#1595, aff#2878 (Mātaṅga self-reference);
          aff#1558, aff#1907, aff#1961 (Sārngadeva extension);
          aff#3108 (Kumbha contradicting Mātaṅga); aff#1957 (Šārdūla).

Lakṣaṇa is two-fold: general (sāmānya) and particular (viśiṣṭa /
"aṁśa-and-the-like"). General is 4-fold; particular is in the form of
aṁśa and similar features.

evidence: aff#531 (general 4-fold / special aṁśa-and-like),
          aff#540 (lakṣaṇa is two-fold), R_lakshana_class

A jāti's identity is described by its lakṣaṇas. The status of a jāti
depends on how many of its canonical 10 lakṣaṇas are preserved vs.
altered:

- SUDDHA: all 10 canonical lakṣaṇas conform (śuddhā = "pure")
- VIKRTA: ≥1 lakṣaṇa altered (vikṛtā = "modified")
- INCOMPLETE: <10 lakṣaṇas specified (under-described)

evidence: aff#107 (alteration of one/two/many lakṣaṇas transforms
          śuddhā → vikṛtā), R_lakshanas_jati,
          aff#1823 (the 10 lakṣaṇas of jātis include graha, aṁśa, tāra,
          mandra, etc.).

The five sandhis (junctures) of drama per Nāṭyaśāstra XIX,
enumerated identically in the Brihaddesi.

evidence: R_272_sandhis_enum (full enumeration with source NS_XIX),
          aff#1903 (Garbha-sandhi is third among five; mukha + pratimukha
          are first two; vimarsa + nirvahana are last two),
          aff#1930 (mukha + pratimukha are first two among five).

The extent (gati) of tāra register from the aṁśa svara. Three
permissible spans coexist in the source: 4, 5, or 7 svaras above the
aṁśa. Beyond these is "undesirable".

The "threefold extent" claim (aff#167) is reconciled with the explicit
enumeration {4, 5, 7} in aff#179 — these are exactly three values.

evidence: aff#154 (5th svara, sometimes 6th),
          aff#165 (5th svara from aṁśa),
          aff#166 (5th svara or 4 svaras),
          aff#167 (extent is threefold),
          aff#179 (4th, 5th or 7th svara from aṁśa),
          R_4p0_018, R_64_tara_extent.
note: aff#154 mentions "sometimes 6th" as a softer variant; not retained
      in the canonical set since R_64_tara_extent enumerates {4,5,7} —
      see UNRESOLVED.

Dramatic vṛtti (mode of presentation). Bhāratī is the first of the
four vṛttis, characterised by predominance of verbal expression.

evidence: r_brd_457_bharati_def, aff#1993 (first among four vṛttis,
          predominance of verbal expression), aff#1432 (Bhadrāvatī elā
          combined with bhāratī vṛtti).
note: only Bhāratī is operationally pinned in domain 9; the other three
      vṛttis (kaiśikī, ārabhaṭī, sāttvatī) are named in NŚ but no
      domain-9 rule specifies them → see UNRESOLVED.

A reference made by Mātaṅga to a prior authority. The standard form
of citation in the Brihaddesi is the formula "Similarly has said
Bharata —" followed by a verse, optionally tagged with an NŚ locus.

evidence: aff#148, aff#171, aff#182, aff#191, aff#221, aff#312, aff#2150,
          aff#2468 (canonical "Similarly has said Bharata —" pattern);
          aff#178, aff#222 (NŚ XXVIII.70 / NŚ XXVIII.72 loci);
          aff#1873 (citation occurring after Anu. 129).

A lakṣaṇa is a defining-characteristic. A treatise IS its set of
lakṣaṇas. Each lakṣaṇa has:

- a scope (general vs. particular);
- a target object (the thing being defined: a jāti, audūvita, etc.);
- a name (e.g. "graha", "aṁśa", "tāra"…) when it is itself a feature.

evidence: aff#531, aff#540 (two-fold structure),
          aff#914 (each bhāṣā has lakṣaṇas),
          aff#1180 (a bhāṣā should be sung in accordance with its
          lakṣaṇas), R_lakshana_class.

A set of lakṣaṇas describing one object. Used to compute its
completeness status (śuddhā / vikṛtā / incomplete).

evidence: aff#107 (alteration of ≥1 lakṣaṇa transforms śuddhā into
          vikṛtā), aff#1823 (10 lakṣaṇas of jātis),
          R_lakshanas_jati.

The tāra register extending from a starting svara (the aṁśa) by a
permitted gati-span (4, 5, or 7).

evidence: aff#165 (extent of tāra begins from aṁśa),
          aff#179 (4th / 5th / 7th from aṁśa),
          R_64_tara_extent, R_4p0_018, aff#1859 (tāra properly begins
          from octave of ga).

The intermediate melodic pathway. Defined by:

- mutual connection of the 6 aṅgas (graha, apanyāsa, vinyāsa, samnyāsa,
  nyāsa, aṁśa);
- non-repetition (anabhyāsa) of svaras;
- leaping (vilanghana) of svaras;
- effect: many svaras become non-aṁśas; with nyāsa it manifests jātis;
  non-aṁśa svaras may NOT be sparse here.

evidence: R_4p1_368, R_c150_antaramarga, aff#205, aff#207, aff#485,
          aff#1553, aff#1864, aff#1873.

An assignment of a rāga/svara-class to a dramatic juncture, per
Bharata's prescription.

evidence: aff#614, aff#625, aff#626, aff#627, aff#632,
          r_brd_381_nirvahana_use.