(10) KALAMULASASTRA SERIES (10) General Editor Kapila Vatsyayan, AK { i el sfrargaPrantter qeeett Brhaddesi of Sri Matanga Muni Volume IL ese by Prem Lata Sharma pained by Anil Bihari Beohar uBh INDIRA GANDIHI NATIONAL CENTRE FOR THE ARTS NEW DELHI and MOTILAL. BANARSIDASS PUBLISHERS PVT.LTD. DELIFirst Published 1994 lndira Gandhi National Centre for the Arts by INDIRA GANDHL NATIONAL CENTRE FOR THE ARTS Vi, Janpath, New Dethit 10.001 MOTILAL BANARSIDASS PUBLISHERS PVT. LTD. Bagi Rol, Jawahar Nagar, Delhi 10007 ISBN: 81-208-10309 (set) $81-208-10825 (Vol) Rs.300.00 (Volt Pinte in India at Shirt fuinendra Press ‘AA, Naraina industsial Area, Phase New Delhist 10028 INTRODUCTION This volume completes the available textof on prabandhas, Itbeginswith the treatmentofJi their bhagis according to Yastikaand Sardiila, hasa very fragmentary portion on desi-rigas and concludeswith thechapter on prabandhas. Thebulk ofthe textisalmost double of thatincluded in the firstvolume. The sa of the treatment of these topics in our text have been pointed out here and there in the Vimarsa, but these are only point-wise explanations, The critique to form partof the third volume will presenta review of the contents of the total text. This will involve looking backward and forward through anterior and posterior texts, The Introduction to the first volume includes the scheme of the presentation of textual material as well as the policy of translation. It is favedless to repeat all that here. \ddestup to the chapter Acknowledgements: 1am deeply indebted to Dr. Kapita Vatsyayan, Academic Director, IGNCA, for her constant support, inspiration and encouragement. The indebtednessto Dr. Anil Behari Beohar, Lecturer in Musicology, Indira Kala Sangeet Vishwavidyalaya, Khairagarh (M.P.) has been acknowledged in the title page. Dr. Urmila Sharma, Research Officer, IGNCA has provided valuable assistance in scrutinizing the reconstructed text and in reading the proofs; | express my loving gratitude to her. My affectionate thanks are due toDr.N, Ramanathan, Reader, Departmentof Music, Madras University, my former student, for going through the press-copy and some of the proofs. His scrutiny helped in correcting many discrepancies. Dr. (Ms.) Niharika Lal has provided assistance in checking the typescript and proofs of the entire English portion; my hearty thanks go to her. Iam deeply thankful to Dr.Satkari Mukhopadhyaya, Co-ordinator, Kalikosa, IGNCAand Dr. Bettina Biumer, Hon. Co-ordinator, Kalitattvakoéa, Varanasi Office, IGNCA for their moral support. T heartily thank Dr. C.B. Pandey, former Editor and Dr. (Smt) Advaitavadini Kaul, Asstt. Editor, for looking after the typesetting and printing of the book. Prem Lata Sharma AMNAYA, 209/1,Karaundi, Vardnasi-221 005 Kartika Pairnima, Monday Kartika Sukla 15, V.S.2050 November 29, 1993| | CONTENTS Introduction Abbreviations Brhaddesiof Sri Matanga Mun (Text and Translation) CHAPTER Il Satis 1.Their number, nomenclature and types Number and nomenclature Seneral definition of jati 4. The tenfold taks 1. Thedel 2. The definition of The definition of apan forming part of that of ‘The definition of satin forming part of that of The definition of vinyzisa forming part of that of aria 3. The definition of cara 4. The definition of mandrat 5. The definition of sidava 6. The definition of audava n of alpatva 8. Thedefinition of bahuwa 9. The definition of nyaisa 10, The definition of apanyiisa 5, Optional and alternative prescription of auiéa and the like in jatis, 6. Indication of the ganas or groups of the, 7. Prescription regarding the performance of jitis 8. The and audava formation of jatis 13 15 15 7 7 19 21 21 21 23 23 3i 33vil BRHADDEST CONTENTS ix 9. Arepeated definition of suddha jati 43 5. Si 83 10. The vikrtastate of suddha jauis 43 6 Bh: 85 The illustration of sidji 43 : 7. Vibhasigit 85 11.-The particular characteristics of jatis 45 The number and nomenclature of rigs 85 L. Sidi 45 ‘The specific description of raigas 87 2. Arsibhi 47 A. Outof them suddha ra 87 3. Dhaivatt 49 1. Suddhasi¢ 87 4 49 2. Suddhapwicuma 89 5. 51 : 3. Suddhasidharita 89 6. 51 4. Suddhakaisikumadhyuna a1 7. 53 5. Suddhakaisika a1 8. Gandhari 55 Theassignment of grimasto suddha rigas 93, 9. Raktagandhart 55 ‘The application of suddha rigas 93, 12. Description of nine jitis in the interpolated portion 87 ; B.Bhinna rigas 95 1. Sadjamadhyama 57 ‘ Svare-bhinna 9 2. Gindharodicyavat 59 1. Bhinnaesadja 97 3. Raktagindhart 61 2 a 97 4. Kail 63 Ji bhinna 99 5. Madhyamodicyavi 65 3. Bhinnakaisikamadhyzune 99 6. Karmarwi 67 5 Suddhabhinna 99 7. Gindharapaitcami 69 4. Bhinnakaisika 101 8. Andit 7 i Sruitbhinn 101 9. Nandayant 2B 5. Bhinn 103 CHAPTER Il ‘The assignmentof bhinnerigesto grimas 103 ‘The description of rigas G rigas 105 Propitiation 7 p « Gaudaparicuma 105 ‘The definition of riga and its etymology 7 2. Gaudakaisik 105 The types of giti 7” 3. Gaudiakaisikamadbyama 107 The opinion of Mataiiga 79 ignment of gauda rigasto grima 107 The opinion of Durgasakti 79 i D. The rigas pertaining to rigagitior vesari-giti 109 The opinion of Bharata al 1 1. Takkaraga 109 The opinion of Yagtika 81 ‘ 2 109 ‘The opinion of Kasyapa and Sardiila 81 4 3. un The description of gitis 81 | 4, Mut 1. Suddhagit al ' 5. 3 2 Bhinnagiti 81 4 6. 113 3. Gaugigitianditscomponent ohati 83 5 7. 15 4, Rigagiti 83 8 15BRHADDEST ‘The assignmentof grimasto vesara rigas E. Sidharana rigas 1. Nartrriga 2. Saka Keakubla Bhanminapuicuna Rapasidharita Gindhirapaficuma Sadjakaisika Paiicamasads Revaguptr 0. , Takkasaindhava ‘The assignment of grama to sédharana ‘The basis of the specification of mirchanain respectof grimarigas ‘The difference between gitaand riga The application of gitis CHAPTER IV The definition of bhasas 4, 5. 6 7. 8 9. ‘The number and nomenclature of bliss, pertainingto grin ‘The description of bhi L Bhisisin gakkariga Pascaumakhya Ravicandra Ami xiv, uz 17 119 19 121 121 121 123, 123 123 125 125 127 1297 127 129 131 131 133 137 137 139 139 139 M1 M1 141 141 143, 143, 143 145 145, 145 147 CONTENTS xv. Madhyamadehit xvi, Gindharapaiican Vibhasaof w Sudha Ardhavesut iv. Bhogavardhant v. Madhukart Bhinnapaticami 4.Bhasisin hindolaka i. Vesui haumamaidjart Sadjamadhyama Madhuri 147 147 149 149 149 151 151 151 151 153 153 153 155 155 155 155 155 157 157 157 159 159 159 159 161 161 161 161 161 168 168 163 163 165 165 165 167 167 167BRIADDESI 7.Bhasisin sauviraka Sauvirt Vegamadlyaani Sakabhi B. Bhigisaccording to Sardila 1.Bhasasin waka 169 169 169 169 7 m7 171 173 173 173 173 175 175 175 175 175 177 47 17 17 17 7 179 179 179 179 179 181 181 181 181 181 181 183 183 183, 185 185 ‘CONTENTS Dohyi Sirdiili vii, Alaghvi 2. Bhasisin hindola Vibhivint Pauli Vers vy. Andhni vi, Gandhi n bhinnasadja i, Trivani Nisidavatt Tambunt Gindharalalca Kali Madhyama Parvati 185 185 185 187 187 187 187 187 189 189 189 189 189 191 191 191 191 191 193 193 193 193 193 195 195 195 195 195 195 197 197 197 197 197 199 199 199BRIADDEST CHAPTER V Desirigas Propitiation Threefold desiragas Bhasiigarigas 1. Kacchellt 2 3. 4. Pulindiki 5. Gindharasindhu 6. Pratandhas Enumeration with nomenclature The description of Prabandhas 1. Kanda 2. Vi 3. Gacy 4. Dandaka 5. Varna 6. Paddhadi 7. Aditi 8. Catuspadt 9. Doda 10. Toraks 1. Vast 12. Krauitcapada 201 201 201 201 201 203 203 203 203 203 205 205 209 209 209 au au 2n Qu Qu 2u 213 213 213 213 213 213 215 215 215 215 215 217 217 217 217 217 CONTENTS. 25. Sivithavikranta 26. Kaltharisa 28. Cakravala 29, Tripadior Supaelt General Prescription B.The varieties of Mitraila 1, Ratilekh 7. Kusumava D.Another group of seven Varna Reunant Candrikat Lakgni Padmini Rajini Malai oo eee 217 219 219 219 219 219 219 219 221 221 221 223 223 223 223 225 225 227 227 207 227 229 229 229 229 229 229 229 231 231 231 231 233 233 233 233 233 233wi BRHADDEST 7. Mohini E-The varieties of Desaila 1. Latall 2 Kampatal The number of Elis 36. Jhombada 37.“ Dhvanikuttant 38. Dheiki 39, Ekatili 40. Matrka 41. Svarcirtha 42. Karana 43, Varnasvara 44, Makii 45, Pratapavardhana The blemishes of gita Conclusion Pathavimarga (Textual Notes) Chapter II (Jats) Chapter I (Ragalaksan: Chapter IV (Bhasilaksana) Chapter VI (Prabandhas) Vimarga (Annotations) Chapter Il (fi Chapter III (The description of Ragas) Chapter IV (The description of Bhigis) ‘A.Bhisis according to Yastika B.Bhagis according to Sardila “Chapter V (Desi rigas) Chapter VI (Prabandhas) 235 235 235 235 235 235 237 237 237 239 239 239 239 239 239 241 241 241 241 243 245 256 265 265 278 283 285 293 302 309 309 313 315 316 | Anu. Sithha SR ABBREVIATIONS Abhinavagupta Abhiniva Bharati, Abhinavagupta's commentary on Miga-Sistra G.OS., Baroda edition Anuccheda,comparableto paragraph Bharata Bhasya of Nanyacleva published uptoa portion of Chapter VII in two volumes by Indira Kala Sangit Vishwavidyalaya, Khairagarh (M.P.) and photostat of manuscript in the Deptt. of Musicology, B.H.U. Brhaddesi of Matainga Muni Cited reading Dattilamof Dattila Pt. K. Simbasiva Sistri, editor of Brhaddesi, publishedin Anamasiyana Sanskrit Gramthsival No, 94 (Trivandrum Sanskrit Se 1928 Kakinidhi commentary of Kallinitha on Suiigita-Ratnikara Kallinatha Printed text of Brhaddesi, Trivandrum edition Rasakaumudiof Srikany Riga Vibodha of Somai Savigita-Sarm of Parivadeva Saigita of Panditamandali, manuscript in Bharat Kala Bhavan, B.H.U., transcript in the Deptt. of Musicology, B.H.U. Saraswati Mal Tanjore, transcript in the Deptt. of Musicology, B.H.U. igadeva (Adyar ediBRHADDESI Saiigita Ratnakara, Anand Ashram, Poona edition Saiigitardja of Rind Kumbha, Vol. 1 Sudhakara, commentary of Sithhabhipala on SuigitaRaunakara strapon qe BRHADDESI __ OF SRI MATANGA MUNI (Volume IT)"teu sterrapgh asia aett Cfarratseara: ] C wea: Ce, a BEST, WM, Feta] (aa WEea See) (9° 224) arm arthrgberng aa tse Wa: watntay | . (2 ae mat weitere erg Pa) { srrtiseraetd sented ya areae arferenth wetenfefaraTa: 1c Crgaurnficn srra:) West tani Sa dacae Prof Feidterand 3a ae a westbfrat ica FET Fe Sa TEIN: ICI Wee a TESTA: I (aremrmreation arra:) ae aed yaar Hea PAT: HN LCC] apart wer Sa wah a ada fe | rertctern a ce APERTTA CSI wae Tome Reno Te | safes The Great Treatise on Ded Music Composed by Sri Matafiga Muni [Chapter 1] ( jatis) U1. Their number, nomenclature and types ) (Numberand nomenclature] (Anu. 114] Now he (the author)spoke (speaks) about the nomenclature of itis at the appropriate time and place. The jitisare only eighteen. These become ‘one hundred and forty! in number according to all the variations of ariga sears 3 ‘conly eighteen ashasbeen said earlier by Brah m according to the distinction of their grah I shall explain’ ga and the like . (185) (The jatis of sagjagrama] then nisidini, sudjodicy ai (these are the jétis) based on (he jatis of madhyamagrima] After this, I shall speak of the,4 BRIADDES! ee es ene Baan ge rec: URgon Cugtarerrerrmnrn: 11) (Carercorpen arra:} ‘mrarcorparfereh faen area qa: 1 Fea yal da men a TET Ug RII et uefa agen, Sezai (2. Yet;, Perens, darts fergerea] Cayo cea) MAST: AAAS FEU Yar Fea | Ta YS PT RETAINS | CA Teas =a Bai aera aathigige aed pri vata Seafoaty TeX?) (3g ° 26) wa rea firne-aa =rafed ar ana: Feared aaa: Cal Frat wa garg arene (re) at ara} a mL Sefer) wR endear: Cap ee] 7 Geni on Yor Faget a erent GRRE oni gRATTE, ae pea a fe weRdetsrt | an ary aie a: - : ——— ‘TRANSLATION 5 and dndhriand nan ind then Kaisiki, thus should be known the eleven, (189-190) [Thusend the eleven jitisbased on nadhyamagrsima] ( sidhdrapakrtajatis) those in wuicamfand ‘Three jatis should be known by the wise to be which the tse of sidhdranasvarasispreseribed) vi sadjamadhy: (191) Thus ends the number and nomenclature of jatis (2. The suddha, vikrtd and sarhsargaja vikrta jatis] [Anu. 115) Outof these eighteen, arespoken o of the omi tis the seven bearing the names of (seven) The suddh -count of the alteration obiaining in them through an alteration in respect of one, «wo or many laksay (characteristics) out of the above form), excepting nyzisa! (which is not altered), (Anu. 116] Out of these (laksan2s)he (the author) spoke (speaks) about the prescription of nyzisa, Thei he nyzisa which is, the svara from which the respeciive as arule, low (mandra) in the, (unaltered). In the vikpii (jatis) the nyasa on the note from which the respective jati derives its name, is either tara (high) or mandra (low); thus there isno rule. [Anu. 117] ‘Thus the suddhi jitis have a twofold? form, and thealtered state. Theeleven jatishave onl are born of the vikrti varie unaltered state. Why is that so? They are born of mutual blending® Similarly has said Bharata - . the original (unaltered)6 BRHADDEST “Tar fagpenda fe waaraRaTTRY wera | qrayaga wacadterey Trg II” Sarai arg Fieger: tery ORG 1 uniter ae: ‘weit meter WRATH Seago neqArHal Pai TEAC | Weare raat wT TETRA 283 It ‘wate adacd: vesicterndt way 1 oral PRAT | APA TAT FAA 1 LA Hl real nena taeda ag | Gh? =) ‘adectararai q Herter 211 38 Il arrat eae Taare Fare FearghlaT | ambang waerst mraraida ag Ul 286 II ot orig waitah yarn | Srrrereanrara: Ey: amaichfimn: 11 eee i [AP uP 22.48] m Tred wait da asi wre | Yom ardvt—dart-avel: Sfratfiafes BRT: 1 Ril Reni faarmag: - Cae creed Frei gen: aera ga: | AAA: TEATS BA TAT: FP: 1 N88 = Wta ape safe - nenitdtern da ven 3 westhfirat | arate a aap den APATTEA Roo I ‘TRANSLATION, 7 “The jatisare bornas Suddhiand vikrtathrough samavaya (commingling of the svaras assumning the fenctions of graha, ariéa, nydsa etc.). Further there are other eleven (jitis) that have been made ‘impure’, ic. have only a vikpta state."7 (NS XXVIII.46) Out of these (jatis) I shall describe briefly here in sequence the itis that are formalated or accomplished through avisa svaras, omission (of one or two notes) and the like. (192) (193-198) sation (of Now they(honorific for the author) have spoken of the class is should be known by the wise to be always composed of seven svaras, four are composed of six svarasand the other ten are known as being composed of five svaras each. (199) This itself becomes clear ~ Madhyamodicyavi and similarly sadjacka sindhara-paiicamt- these are complete, karmaravi and similarly no svarais omitted in them, (200)8 BRILADDEST Weare reat a matter ae | wea 7) Wee: VLA ie TA: THAT: WA: Ml Rok I Procacarist & dad weer wagidtorat da a egitim: Bp: W202 I fra Tred Tera em Tat Te | ‘Shae Sf fede: war aerMPaA: 1 303 I a Fea q fata “| aol veaehhrat vega a agar rept APaTA: 11 Rox aap aera ya arate ae 1 TpereTee fa Ae STA TM 11 JOH ya weeR Fea] wwenletora ga: | ars a ash a Herr AAT: 11 206 1 @ wate gist gaftreh faarTa: 11 Ro Bm 2) sferanea: eM: AHRTT Ha MAT: TAT: BET: | wafer wefrareang 18 exaeeeern( 2) ‘aero Serer Tee ONP TAA Rot Ce. weer] ore mrenferanh yee tari we: , diswaferatetreiit dee: 1 Rotel eae opie: a Ag:? TAA ial area, Te eA arene Rags ARN ctr) efeearet werMRarga Ae: we MII: Tq aerinda war 2 TURRET SITET WaT | Tey eesti aaisws marty eeRerRraa, Maeaf earergeatefeatern Shere | Tea a: = TER] adordareeny waa: | a %: Wee (ar ar 2.89] ‘TRANSLATION n the jatis (castes). Justas in human beings there are castes such as brahmin and the like, that are both pure and mixed (or altered), similarly these, are also (twofold). [Thus ends the general deiinition] [4. The tenfold laksapas or characteristics] Now he (the author) spoke (speaks) about the tenfold laksa nt (high), mandra (low) alpatva (sparseness), said toform the group of ten, ‘The definition of this group of ten is being given in brief. (209-210) [1. The definition of graha } {Anu.119] Out of these (laks and the like isbegun _ gral is that with which the performance of jati held or caught). That ( graha) should be known to have sixty.three varieties just like avis. nce between grahaand arise? Misbeing is prescribed to be the jon of vadiand the like vividiand anuvidi). Or thereis the distinction of predominance tion between the two, Grahais subordinate (10 mnviidi, and subor (Objection) Why is the predominance of arisa alone being spoken of ? Because of its being the progenitor!! of niga (delight or colour) and because of tsbeing pervasive, the predominance of ariiéaalone (isaccepted). Although graa and arisa are predominantin all the jtisand thisis proved by utsargal? (general rule), yet it is being prescribed through the vidhi!* (operation) of smvadi and an Similarly said Bh *Grahais said to be like the again all the jitis. The aria that becomes the x point of geya (melodic orgs nand performance) assumesian tive form as gratha (NS XXVIIL67)2 BRHADDEST CR. oierererorq] [arp te] ait: Fen - vargiamm y cated deer: | afer rea a(wain @ 2 aise) atnfaw: ia Tafrorrniate asa: (3em:]1 aeATeA[ SS] Tai wa Tee: sist (far) ita: a aerate: (Bizet) ih ame facta: [1] wrersaPreafnty: disegia: 1 VereRTet O:, Hera, ‘fern ore Teenie an:, aaa: vere: fra Pere aft tae a fe 7 ‘anaes [ :] Te aap :] Nein ea A: ET: TA TTT | wal aaa: Asia: [EE] aT ve Mier thane faeerrafien: wr: aiseia: (veR:) * [ae nenrare-Rera-tera- aR, ASCH: WE:, TIM, SM:, AeIM:, ZAR |] Catreerreniay sear) Larp 822) 7a tata aarafafa aeTeA, Asoaa:, wefeent—aerh wale a a feat fof - sitofard vefaerd Sia 17 faeideea Reqe 2 weRP* Reed TREE Y | « wrenfifa rag | ieee, awetafa ary et t fie Lampe] Rel dearhsiaetad - aa wem—faered sree: WET: aaa: em vom TRANSLATION 13 (2. The definition of aréa) [Anu, 120) Alter this aria is being spoken of; that is known as tenfold according to the division of its arigas (lit. imbs, here function to the manifestation of raga (delight) first (function). And the second anitéa (in its functioning) is that with which gita (melodic organisation and performance) beginsand proceeds, which is vikalpita (alternatively arranged) as graha, thisisitssecond (function). That arhéais third (in its Functioning) which is the cause of the manifestation of tara (high) and mandra (low). The ascent up to the fifth svarais (the range of) tira (high); sometimes even the ascent up to the sixth svarais tara, just asin gindhari (iti) sadjais tara, ni-dha-ni-dha- sa, thusis (its illustration). Justasit (anisn) is theregulator of ira, similarly the svarathatistheregulator ‘ofmandra is also arhsa on account of descent in seven svaras. Just asin the Sidi (fii) with paticamaas theasisa there is (descent in séven svaras) -as si dha'in its svasthina (section of melodic elaboration). Thatisalso wiisa which is used profusely; this is the fourth (function). That svaraisalso avisa which stands as the object (here content) of riiga ; this is the fifth (fimetion). ‘That is also ariséa which is perceptible in (the operation of ) graha, apanyisa, vinyasa, sarinyasa (and) nyésa ; this is the sixth, seventh, eighth, ninth and tenth (function)!'6 (The definition of apanyasa forming part of that of arisa {Anu. 121) ‘That is apanyasa where gita (melodic rendering) is supposed or appears to be ending; this occurs in the middle of all viditis (sub-sections). ‘That of two kinds, viz. gita-vidari"7 (sections of melodic structure) and Pada-vidari"® (splitting of the melodic- cumtextual units). (Contention) What Is signified by the word vidari (2) Itis the splitting or separating of padas!® (feet), the pesi® (lit. muscle) i.e. section of a gita (melodic structure) could be (understood) as such, (The definition of sarinyasa forming part of that of ariséa] [Anu. 122] Now sarinyasaisbeing said. The nyzisa (fin: alled saviny:isawhen4 BRHADDEST shrita’ | sieve fears “a 3 safe (a) veneer ae wat 7 bite, ap weaft, were aiaara aed: 1 we Faget Caigerronrid ferareereror) Campeea] WEY eae: werd fered ae feraa: | eri Srila ag waft - eer a ve wee “ong afer sata zea wade 1 Sine Fa Tera AseqTAT TETAS TTT: | aga ade Bisa: Pay TART ea SIRE) I 7) Caer We UP 2.80.69] (a. are] (arp eee] Bri arene - SRT THAT TT: | fagé vata 2 Samenrtes an aft, aqaauitest an ef (at) aa! aera wb aa fx fa, Tami TER: | aeafefe aert Carer] seen fecrat <1 ‘TRANSLATION 15 ‘That (svara) which is not the vivadi of the arméa used in the end of the first vie becomes sarimyasa if it [The definition of vinyisa forming part of that of arhsa } [Anu. 123} This nydsa svara itself, when placed in the end of a pada (unit or sub- section), becomes vinyasa. Hence it has been said?!— “Thatin which raga (delight) abides and from which it (raga) proceeds or isbegun, the leader or regulator of tira (high) and mandra (low), thatwhich is obtained in abundance, thatwhich is perceived (during the operation of) graha, apanyisa, vinyasa, sarinyasaand nyasa, thatwhich is pervasive, is arisa having (these) ten characteristics.” (Cf. NS XXVIIL68, 69) [8. The definition of tira} [Anu. 124] Now the definition of tirais being given. The extent (gati) of tirais up to the fifth svara beginning from the use of ariga®? svara. What is being said ? Ascent up to the fifth svarais tara, thusis being said. Or, ascent in four svaras is tara, justasin nandayanti”>. sa- sa-nidha-sa; paficamabeing the arhsathere, tara extends up to sadja (the fourth from paricama). The structuring up to the fifth note (from the aria) should be understood from the eighth vidari (section) of gandhari™ (jati) up to the fifth svara, which comprises the extentof tara. Justas in gindhart itis ni-dha-ni-dha, thus is the notation. According to the word ‘ va’ (in the verse from NS cited below), the state of being tara, applies also to seven svaras. The extent of tira is threefold. Similarly has been said by Bharata -6 BRHADDEST dimen warat aeqaafa: | aerial fre Fra sft) Sree, am: nfl a FRNA aca sae 1 Fre aT: eT ATE ATA: — wad (..2tm) “ stararenfe ferenerergeheaares | (ri? fay la SSA TAATGN Aa: TCATEAT 1" [a ae 2,80] Ce, aeRO] Carp 84] wert rR TER - erm Wed ae: | aa aanfefeavisera, areaTT, eT AEA | ; CRE) saat) umn siren: Ta wenfefa agate eA TE a: A: BR: aeN- daa TET sere (ua? WDE 3 FAL Te ALA A AT ATE Be, TTS | a enfte (4, Weary] [ay 86] eri wea - Rei meat aqduifreraragéaae, wagqah ari out . ache? a): Prerampiea aeuarenintes 9 Arsene a aq Tafs ae ATE woateay Waa: - tr seventh svara from the aria, itis not desirable beyond that.” ‘TRANSLATION : ” “The extent(gati)29 of tara should be known up to the fourth, fifth or (NS XXVIIL70) [4. The definition of mandra} [Anu. 125] Now mandraisbeing said mrdu (lit. the extent (guti) of mandrais threefold, viz nd apanya operates here (and the mea precedes the fi, here low) svarais mandra, And compound?” *bahuvri followed by aritga svara i.e. that wl vat (aringa), is [5. The definition of sadava ] {Anu. 126) ‘Now sadava is being said - (a structure of) six sva related to (or operates in) fourteenfold jatis, four jatis are always complete and hence, on account of their absence, it (sidava)"! has forty-seven varieties and similarly has said Bharata -a BRHADDEST rages red agate TerercenfeareeRTe | [ Geeoerert wes cry warfafa 1)" [Ae up 2, p x8] (a. atgaererry) , “ (usaratitefard faa cafe seitna:1 firerennfated) yats werel are 1" (AP UP 3196] Cap eo] _Tyeauaefa [at], ar: wagferaisanterageraterney, RO) (wom) Cordsgpat | arfrerregferararra rer | el aq erordn[ eel] eT, . catty cou) sraRE yee Afered wa gare Ua epee: | ae ATE AT: - 7 maya et HP “ERRaeer WANS Hea TEN TIT S| . Wy erorinistt wagegaiias i” crete) Some: apa [AP UP 2.99] fren aes ore: 1 wa vat germ afer: 1 TRANSLATION w «(A structure with) six svarasis sidava thatisfourteenfold, with fort jetics. The said regulation (number 47) is accord itis)." svara (in fourteen ji (NS XXVIII, p. 49) [6. The definition of auduva} “(A structure of) five svaras should be know! 1 itis tenfold according o those knowledgeablein prayoga (performance). Itisprescribed to have thirty varieties and its definition is as has been said before.” (NS XXVIIL.76) 1 [Anu, 127] j (The structure) beginning with the group of four syaris is dest not That is used in (the music of people known as) gabara, pulind, forest-alwellers) etc. Sruti (2) alone should be ssaid to be understood here. When ther svarintara® ; this should be known explain this within the treatment of dhruva. Si larly has said Bharata ~ Fly of five svaras. Here (in drama) vis."37 (NS XXVIIL77) By the word “api (in the above verse) meaning ‘also’, the complete (structure) should also be understood. Thus should be known the fourfold | usage of dhravas (viz, complete, hexatonic, pentatonic, quadratoniC) BRIADDES! Co, areaa-aerry] Corp ee] 2 Reaage ae va error: wae, age: TATE am) gry aor age 5 feed aq, ero TA “oer 5 Serafen iy ae ‘ar er feng aaa HRSA Area: een a ara eal Trace eee sith fee: age arTeaT weir gfe ae 4 Saree Peete arta may a eft Car tr 26.236) (e, ager CoE 828] Sora agg ~ sale] er aaa eae fre | eee Weacserndveetsmemed age aera are Te we | Skt TAR I. 5 3 Se safrecteg Pred (ema) srearered fren = wai Cea eRRCRRA EC Rrd7m Tantlsracearmerd garg 3 secretin aarreeneg srt soa: ” 2 SRCEUT:) Ie (ee AP ar 2¢.6¥ 7, 04] [aptze] Jel are - area eae’ afer 2a at aid wear sf) a= oua ‘TRANSLATION 21 [7. The definition of alpatva } [Anu. 128} Now I speak of alpatva (sparseness) and bahueva (abundance). Out of these, afpatva comes into being on account of the sparse use of svarasand bahutva is on account of (their) abundant use. Alpatva and bahutva are twofold each, one operatingin sainyasaand the likeand the other through antaramarga"* The definition of ant argaisthus—sometimesin jatiseven the svara that is not an ariga (anarhga) is not sparse (alpa). Similarly in Karmaravi, gandhira (which is not an ariéa), is wsed in antaramainga with abundance through concert (sarigati) with all the other svaras; thus will be “Specially gindhadra has movement towards all (svaras).” (NS XXVIIL136) [8. The definition of bahutva) [ Anu. 129] ‘After this he (the author) spoke (speaks) of bahutwa. Bahuwa alpatva; it is to be perceived, thus is the special implication of the said statement (about bahutva). How is that ? Thus spoke (speaks) he (the author), the inversion of strong and weak, i.c. the weak one is sparse (by rule), in the case of inversion it becomes strong, thus is understood the characteristic of strong (svara). Hence it has been said - “The sparseness in jatisis always manifested through their svaras. There is saicira (to and fro movement) among the ariséas and the strong svaras. Sparseness occurs in those jétis which have weak (svaras). Antaramdrga (inversion ofstrength and weakness) and nyasabringsaboutthemanifestation of ats.” . (Cf. NS XXVIII 74cd, 75) (9. The definition of nyasa } (Anu. 130} Now he (the author) spoke (speaks) of nyasa— that (svara) on which ora ‘BRHADDEST terete fer | aren — ETAT HL :] TEST AA AT: rene age erent Sargeras BAe: | = 3a S[Q0, TAIT] Cap 23] erirrarea - Camas’ (7) eae rant sree: 1A reread wale, tterai wed ager: amr aa wera vid wee aisormra: 1a Pereira haerdterea** gee: | eT - sro ree WME: TENT aha weitere st, Tat we ere si woffa agian: 1 tare FeRAM ae ATE ATA: - “cara erp w Settee Fae: | tn wererndtah weraedatset i" Caer AP Me 2C.92] eefeaersnferereroreafe (4. Srdanignfefaerry] Sai: Be Tear Fraerastan: | a PMY AWM: THT TRAE: ML a RCRD rerpartneg wag TERATATTT | aad wre a Free eaareariighid Aq IAT a“ ae TRANSLATION . 2 with which gita (tonal structure is twenty-one in number. That is~ sdf pe nnderstood the nysas in the eighteen itis, The purport is that (m ead be done at the end of the ange (tbody ofthe tonal structure). (10. The definition of apanyasa] { Anu. 131] ‘Now he (theauthor) spoke (speaks) of apany in the end (of the gita). Apanyasa occurs befor (performance). And that is of fifyysix kinds, should be understood as ceeurring within the gitas. Where the gita appears to be nding, that ayisa, ‘That occurs within the vidiris (sections oF sub-sections). in that itis within the body of the gta, (Ieoperates) thus = in sadjagt ih Seven pil sadjodicyava has 0, {and the remaining) five hi ach and thustheyare twenty-four. The rest (thirty-two) are in madhyamagri apanyiisa does notoccur the end of the prayogt he Similarly has said Bharata ~ “Nyasa occurs at the end of aig ( twenty-onefold, This one named apanya body) and that should be made fifty-six in number.” ~ (CL. NS XXVIIL72) Thus end the tenfold characteristics of ja [5. Optional and alternative prescription of aritéaand the like in jaus} omitting nisida and rsabha, gindhiira and mndl then there is saigati (coming together or le) paricama are apany poncert) of sadja-gandhaira and sagjadhaivata, Us (form) is ( jon of) nigida. ‘There is no auduvita form in this through (the omis . QueBRHADDESI aanbeareg Bye sim Frade: 1 Wea a wrecighaa HAT IaH “a Sarai Toth: shorimrgantact | mrearearae anpst SP RIETARL IRN (en? we) (7a) seh ecg fag wish eet Satay See anh aR IRC ster Tes rai TESTERS: | Some (way) ‘APTA SATAY ATTRA Ta J REI Saone eviscon: Brae APA Fe | ‘Free qohera Sanrerd: feet zeit ar aiden: rere’: | airrterat fast gested ec sarin feet gai Save a city 8 TERIA PAY ACT: I ARI emg cam ‘water aegraren fetar wee | aan Frrearanreeai sarah i zou te wae Bary ward ger UMMA | = Wea g athe: I FeRAM: IRI crm, “TRANSLATION B Arsabhi has nisida, rsebhaand dhaivataas angas. The sidavaand auduvita (forms) come into being by the omission of sadja and (sadja ) paricama respectively. (213) asbythe gurus. (214) i), the svaras having two srutiseach (viz. gindhara, longwith rsabha are the a isda) from which this, The rest is asin dhaivati, the nyasa ti derives its name. (215) ja, gindharaand paficamaare ariisasand they themselves adding nisdaand omitting gindhara, Ingsidi are th (216) .dtobethe nyaisi. And this (with complete svarasie. Rsabhaisofsparseusageand gindharais des (jt is said by the acaryasto be always pairnasva there is no omission). (217) Sadjodicyavatiis (formed) with sadja, madhyama, dhaivata and nisida as arhéas, sadja and dhaivata should be known as two apanyasas, (218) Itisdevoid of rsabhaand iftwo (sraras) have to be omitted then itis devoid alsoof paticama. Thereistheabundance of mandragindharaand madhyama is the nyasa, gandhédraare the wo svarasthatbring about hinatva (thestate ofbeing bereft i.e. the omission of nigida brings about its sidava form and that of nisida, gandhira, its audavaform). (220) The saiicara (to and fro movement of svaras) is left to one’s will, it has to ‘be so as not to violate the grama‘! These seven are in gadja-grima, the (221) remaining (eleven) are the jatisof madhyama (grima).6 BRHADDESI mare grriet a Sargent 1 quate) ribet red a cee IRR deaqed wate" eee a! om r Waa CHa aaY AAT: IRB Peto cam aerin: sieht decise Fran | TEIPERTER: Saal WARBA: BWI Gm a Tree wa: wehttorntet 1 crm, Fea Hemaiel a atgherahrer IRI a - ‘Vaien FeamTag Fa feafrafsian: 1 aR aa a eel age TEsIETA REI 8 & mranitderarag neriteterar 21 gre ventorm) area fred Ree TSA: 12WI - ari eft: srorimgaras 1 ) afrarearrard wernt rina: IRC wore FETTER eT Vaan: | a RanferaeT ea TPT METTLE ATT I I were efit alert» «Romer HE?) 1 “TRANSLATION v7 rsabha, dhaivata are and audava forms). : One should move always to be omitted respectively (for making sil re tobe known asthe two. (gandhari, but accordedabun (222-224) Gandharodicyavaismostly similar to sadjodicyav are the two anitsasand the auduvita (pentatonic) form is not desirable in it. (225) In madhyama there are five arias, excepting the two svarascomposed of tted for (Forming is formed by sida. Sadja and and auduva) varieties respectively iduva by omitting gand! (226) Madhyamodicyavais ike giind vi, Iisalways made ofseven svaras, paitcamais 5 (227) In paticami, rgabha.and paricama have been said by the gurustobe arisas, ‘These two alongwith nisida are apanyisaand there isthe suigati (concert) between madhyamaand psbha. Sadja, madhyamaand gindhiraare sparse,BRHADDESI Sa earreen: varices waBhA: | ~ ade; PIAA A IPI FR IRZot etary aparafae qaerai aerarane sift | © ae =: aeaTaRe fate Fay ORAM Fa IARI arin faa: wera: | me aed Tea APT APA FEA IRB asRae errant 34 were | a Wel ras UPR: Tes: WaHfsa: IRV srg el Spragtoas s 1 * en ane BBA rm Srey FETA: | at pit, serdar TPeTeRTH aE IRA Sefrearprsiscet —aet g feat eR] 1 thew ant daada Sarre TIA IRAE = crpentsti aaah Fratstse Say | ceayacizay AN: CAAT: Sfargwl Seay TA WAI TRANSLATION 2» _ (Oneshould moveinit) from nigddato gindhirvand theomissionistikethat in madhyama (228-229) ‘The performers should know paiicamaas the arisaof gindhira-pasicamh, the same (paiicama) alongwith rsabhais apanyasaand gindharaisdesiredto be the nyasa, (230) Whatever saficira (toand fro movement) and the like has been said in the case of gandhari and then paticami, that should be known also in this (gandharapaiicami), butit is always with complete svaras. (231) Inaindhei, sadja, madhyamaand dhaivatashould be known asnon-arias. Its sidava form is devoid of sadjaand gndhra should be its nyasa. (282) In nandayanti, madhyama and’ paficama should be known as the two apanyisas, gandharais the grahaand nyasa, (and) paticamaissaid to be the aria. (233) Its salava form should be known as that of andi, ithas no auduvaform. It has saiicdra (in and around) the low rsabha, which is also sometimes omissible. (234): In. karméravi, sadja, gandhdra.and madhyama are non-arhias.’ It has completeness, paficama is the nyasa (and) there is profuse movement towards gndhara. (235). In kaifikt, rsabhaisnon-arisaand the two svarascomposed of wo srulseach are the nyasas. Rsabha and dhaivata alone are to be omitted respectively (in! the sadava:and audava states). a (236) 5 ‘When nigidaand aishracare the arhsthen pacamaatiocould become. the nyse. Rabhaisthe apanyastand somehavesaidthatitissimiartoarié.. 287):0 ‘BRHADDEST Cap a3] ; CoRR AOTRTATTA Fafa | rime Say: sigs, UNSC aTA: Aga: | (ya) et ararreai cabrageida 3 1 7 steers wet Fa 2] Tatara Fre: RCI Ceara (a. ares Tatee: ‘wafarita ardtal fronfreg 11: SA: | (ote? aft) war a a fae aera ga: 1VsH Arama a4 went freta freate ayaa: | Teeagel a waar wANTETI Ivo aut a: Cam 233] : \ arene: —Pronfient 71 ft denier, Trae tere: cw sotto, nreneran, Peet Aft waa freniatera: - dad, wendcroran, weet Ata af, wa, TA freninfira: - amis, ture, weasferat Sf afr, AFA, wT we (a) entnfera: -resideracarat arate Stal aaah, fora, Coker (aa) Vaerimama: - west, wrerd, woara, HEAT aia TTI, ATA, Cam) i jitisisthe ‘TRANSLATION a1 [Anu. 132] Inthe opinion of our guru, rsabha becomes the apanyaisa, on accountofits being non-ariss, Some others have accepted rsabha as apanytisa, just ike aris, Paiicamaisstrong in itand so is nisida. The grahain all (the, always be known like the arisa. [6. Indication of the ganas or groups of the jatis } The gana (group) ofall the jatisis formed with three jitis* in each case. This group should be known by the wise by its definition to be with increasing (number of) svaras. (239) (This group is) with one svara, two svaras, three svaras, four svaras (all the four are comprised of three jatis each), the one with five svarasiis fourfold (comprised of four jitis) and the two with six and seven svaras have one variety each. (240) {Anu. 133 ] This means that the statement that a gana (group) is formed with three ication of the number (which isapplicable in maximum cases). ‘Out of these groups there is one thats formed with three (jatis) having one anéasvaracach viz. madhyamodicyava,gindharapaiicamiand nandayanti-pa, Pa, pa. There are three’ (jatis) having two ariéa svaras each viz. dhaivati, gandharodicyavéand paricamt—dhari, sama, pari. Thereare three jatishaving three auséa svaraseach viz, arsabhi, naisidfand sadjakaisiki-dhaniri, garini, sagapa. ‘Thereare three (jatis) with four aria svaraseach viz. sadjodicyavati,indhri and karmaravi--samadhani, rigapani, paridhani, ‘There are four (jatis) with five ariéa svaras cach, viz.’ sidji raktagandhari and madhyama ~ sagimapadha, sagan sarimapadha. i, gindh ipani, sigamapani,2 araafi, afcras agearten shire - ara | ace FESTTETA - eter ~ aforraets 1 oa Frafeten area: | BRHADDEST an peniidtera Sa ver ares | aRart @ frre: Tete: SP: WTI Sect art fa 38 afefeaieTe 1 Reap Ape Sra Gra ATA: TEA FIAT USA cay andeai fafen sien tara Faferrea: | (2 RY are: wear feerat Ferrera: wafers Uva (7m: afta, aR TAT TAP: 14 Fea eae Torrent Gitta vat: 1 Sefer Veen Bag TFTA: AT REN agement g aaien Farfefefa sere: | «ora Us. arta seatafafa:) Cag emirrnig seria SIT: WII cay ara avr TATA fafa: | aiiifeata: werewooferrenfteretind: ect P TRANSLATION 33 Kaifikiis (the only one) with six aria svaras- sa, ga, ma, pa, dha, ni. ‘$Sadja-madhyama is (the only one) with seven ariéa svaras- sa, ri, ga, ma, pa, dha, ni. ‘Thus sixty-three arias have been explained. Madhyamodicyaviand similarly gindharapaiicamiand nandayand, these three are known to be with on viz, paicama. an) Dhaivati and paiicami, these two should be known with two arise (svaras) each viz. dhari and ripa. Gandhérodicyava is with two (aria svaras) viz. madhyamaand sadja. (242) In argabhiniridha, in naigatithe three nitiga (and) in sa arhga (svaras); (these) three are said to be with three ariisas each. (243) Sadjodicyavatiis known to bewith four arigasviz. samanidha, karmaraviis with ripanidha, andhrialsowith garinipa. (244) ‘Sadjtiswith sagamapadha (as aviéas), madhyamaisalso with five amnsas sarimapadh ai ipaandssimilarlyis raktagindhariwi the same five a it) that is known (o have six arisgas viz. sagamapanidh the one (245-246) Sadjamadhya is with seven arias and thus those aritéas are sixty-three (in total). [7, Prescription regarding the performance of jatis] Jatisare those that give rise to grima-rigas through their ariéas!S (247) During their performance the prescription (regarding temporal organisation) is based on yugma4(liteven) and ayugma® (litodd). They jtravartika and daksina . (248) are to be performed with three mangas viz.“ bRHappEst yay A el :] aon tet p AA: 1 a ara et EET IRAN am seuoreyeitta vara ' ada oral ral SAMGETT IRAe I (Le. anit edigatefa:] cafe fanficten 8 tardbartisera | verramite wri wrsdtg hard Fafa IR tet (tr) Corp ees] frafiten 3 soraei He “yeaa [3ferai] vier refercacttg fend sii aafafefa sufaferea: archer urea epeahe - a sree Freese BAA PAM, TESTA | mat a aah etre aisretenfeett a: URGRM cima Carp 84] orem: - Pratsd cesmen wafers em 2 TEMA reat aaparces ohh safe | Aras Frat areargar argon stereo ciara ‘array frat conrad ard aa Tea | Ten aaah gy aPaTt tad TesTOTAT aI ae ‘TRANSLATION 38 d the organisers of song should use the Suda itis in fier that the formation (alteration) of (249) Along with the order thefon be done in the text of (250) [8. The sadava and audava formation of jatis ) asthathave thusbeen spoken of ,outof them each one is accorded the position of auinga (at sidava and audava formation that prescription) is sometimes given up. given time) obtained (on nd accordingly) the count of rule or (251) (Anu. 134 } The sixty-three arias that have been spoken of, outof them to be arranged as arisa (in a given melodic set-up). (In specific situations created by the arrangement of different ariiéas) somet tion of sidavita and audluvita that is obtained in the context of a up. He (the author) clarifies this itself ja-madhyamsdoesnotbecome si ra (being arise) because the om gindha accepted. (252) udhyai does not a) when p negation of the o s come sidavatthro irabeing the (through the (253)36 BRITADDEST (rend:- Sfeeretirerd wafer ora: paise eatorarsen siren starrer, | cata Prenes oreeh aPeTtsy starsat) fr saute ugatctorar Satisd arareen fest gertegferd serra | tee iat Tretw@rrad: Teer: | ‘afro: Bye aten aritgfarantir: IRI Cap ee] Wraninn, sigtemtera) aeay@d, sighattearits fate a “a smmtetgfeed Fifer’ 1 Teena q AFIRse Fraeary | Seferearne erat spare tetadst UGA wergenta (amp 3c] (erent: - seamen) wraisa fae [3] ctgfeaurh, teen dea: weerpTaritgheamrt cary | aa mtdtgiaaet ff, Meco: we trae aevgfeesi steer amt Beat eet A aa] eee: eT: wedtgfeafedt eS aes - ara: aarti antares TES RGGI eae Larpeae] wen: - wef Geet Cacfiaeratinen — srareercieat fet “TRANSLATION ” [ Anu. 136] : Thismeans that kaisiki, raktagandhariand gandhari, these three jatisdo not become sidava on account of (the omission of ) rsabha, on pitricama being the ariga, because of the negation of the omission of the saad of the arissa, Si wa through (the omission houldbeknown siclava through (the omi arissa, Now the givingup of the formation of auduvitathatis obtained (due to presription) i 1g prescribed). giving up is Ingandharfand rakugandhaci, sadje, madhyama (and) paiicamaalongwith laare known as the arigasin which the formation of auduvita does not operate. (254) [ Anu. 137] (Contention) ‘And this is incongruous because the formation of auduvita is not obtained (through prescription). ‘Truly has this been said. By the statement negating the formation of auduvita, the auduvita obtained on account of precription alone is prohibited. In sadjamadhyamajati, gindharaand then nisidaand then in kaisikand dhaivati, dhaivata and rsabha respectively (are the svaras that are not omitted for making audtva forms of the respective jatiswhen theabove are arias). (255) (Anu, 138] This means that in sadjamadhy indhara and then nisiida are not entitled to form auduvita. Dhaivatain kaisikrand rsabhain paricamiare not entitled to form auduvita. The prohibition applies only to the 2 that is obtained through prescription. And the state of being hypothetically considered without its being obtained (?) Now, he (the author) draws out the svarasthat donot become exceptions in the formation of sidava and aud Forty-seven (svaras) are to be applied in the formation of sid (256) { Anu. 139} This means that in the fon Mdasare wo be 1a, forty-seven™ RHADDEST Greta ged: | aagui oitai Preerequiat Tate: retin: raf Sie mee Fars raha | wy Faivg antag BEETETen stares 1 ah Fer 1 Sagem - weiter - fet -aed-conrend - wresiterat te scquitieoter eer tg wag fg arora oF Gee emigrant 2 aa aa | oxi ornfedt fafa: ard: seaaherat RYH seriitgtrafaet 3 g srvanfes: carer alah - 3 aunsuarePrfatciedtgtrarg & Get ae wa Larpewt] orend: - ren ar wa aTraTePefenfedersteara stem: | Tee - o ay (sie) Frater Preremaisi agai adi asian: wera 1 ay ay car’) Brute: were: ag wig aes y aretorateserT ‘penta: Sieterters waaniterigiantrd gewien: orien: | 3 orfeTty Fired] quedtitghrafatevfate sen ae wea: - TRANSLATION 0 applied without any staraformingan exception, Out ofsixty-three (ai nine ariéas that pertain to the four jitis which are always complete, should besubtracted. Thatis thus- pa-si-ga-pa-ri-pa-dha-nipa. When these nine subtracted, fifty-four années remain. Outofthem sadjamadhyama, sadjodicyavd, kaisiki, gindhdri, raktagandl should be subtracted. When seven arisasare subtracted, there (becomenon-s2 th sa ga~ pa, (becomes so) (Anu. 140) Thismeans.......dn the fortyseve be carried out with the said svaras. the formation of sidavashould Now he (the author) shows the svarzs that are not exceptional? in the formation of auduvita - In the same way, those that are free from being exceptional are thirty (ariéa svaras that form) auduvita, (258) (Anu. 141] ‘This means — in that way, those devoid of exception should be known to be of thirty kinds, That is thus~ out of sixty-hree, nine arisas belonging to the four tis that are always complete (in which omission isnot prescribed) should be subtracted. After their subtraction, fifty-four asisas rema There also out of fiftyfour, twelve arises of the four jitis that are complete and siciava, should be subtracted. After their subtraction, out of forty-two (being the remainder), twelve arixéas that do not form auduvita in five jatis, viz. gindhari, raktagindhii, sadjamadhyamé,, and paitcami, should be subtracted. After their subtraction, the formation of auduvita takes place with thirty arisa svaras that have been spoken of. Similarly has said Bharata~o BRHADDEST “age Bea Ga Te ETAT | wa ee Seog, test ‘Marereitarg mPa *tagea fe TEA {eae erecta seca Taper Terra a TAA | wg a weoradta arated fereaaeay Weg ste efter wed dad afta veaitcteaL idee fen: | thera dea Sree *teeatommeinis (S[daretiar ater: wrzerdar feratstar: 11) Trance: FETE: | atte aaarda fase decritgiend 1211 Wiefroas fda ay gfat Wag stated dmemin qe: Bafta | AKO sats saad Tarai Sfreai Sarrecer tu den: Weeeadet Ta edad aol cae | He AEE HHP Ea) at” Comecertgfrn fred fom fe evra: 1° weferan areitsa fafea: actonfrg | Rang fafa sang Vf Riera afi rere aN fe afore TT It arg deh Voor Remy a TRANSLATION 41 “Sadjamadhyama is not desired to be with six svaras when the seventh (nisada) is the ariéa, because of the non-omission of the sarivadr (of the atitsa); similarly itis not desired to be so when gandhdra (is the arhéa ). paricamashouldbe knownasa-sadava (non-sidava) and in sad (jai) the ariéagandharashould be knownassuch. Otwice-born ones! when dhaivatais the arisain sadjodicyathereisno sadava (form) because of the non-omission of the sariwvad, These seven (ariéas) are devoid of the state of making six svara forms. Ingindhariand raktagandhari, sadja, madhyama, paficamaand theseventh (nisida) should be known to be such as disallowing the formation of auduvita, In sadja-madhyama, two auhéas, viz. gandharaand nisida, in paicamirsabha, similarly dhaivata in kaigiki ~ these twelve should be avoided in making pentatonic (forms). These jitisshould alwaysbe treated as anauduvita (non- pentatonic), when based on the above svaras.# bRnappest wderni yad Crh BETTER: went ao epee yom apace’ 8 fafa: anreafa = ae: 11" Weds feet: wt sft [ap uP 340-84) (ap U2] es fapareaa wifey, a Tor ify, we ee We fea wea am - (8. gh: Yarenfrererry ] TTR ARTA TEM AT A scare yo a yer areata a4 ie fa Yara | a Lhe. Garena qafigreay) Carp 0a] WH aaa rei [agha)al fagen wafa | Greate, aaa: fag oi ¢ (ei) wha a TTI ot (Ca een see) [ary gee] ‘farga eh fear Frerenyel area SA (fe) Same Tg YE [1] | fag | TRANSLATION 4s The omission of all notes is prescribed in all jitis, but the omission! of madhyamashould never be made. The svara madhyama is the chicfamong all the svaraéand is indispensable both in the kalpat (practice and precept) of gindharvaand also in samans” (NS XXVIII. 58-65) [ Anu. 142} Now the prescription of x diva and auduvita as well as the prescription therootof the coming’ become vikrtis. How~ {9. Arepeated definition of Suddha jac) When ajatihas the same graha, the same apanyisaand the same aisa, has nyasa in the mandra (lower register) and is complete,then it is known as Suddhajai. (259) ‘Thus has been said the definition of suddha. (10. The vikytd state of uddha jatis) (Anu. 143] Out of these characteristics, the jitis become vikrtd (modified) by (the violation of) one, two or many characteristics, excepting the nyiist. The statement ‘excepting the nyasa’ meansthat there isno vikrtastate thatcomes about by (a change in) the ny’ (The illustration of sagjf] [ Anu. 144] Vikrtd sidjt is two-fold ~ one that is always complete and the other that is Siidjiis suctdhwith the arissa that bestowsits name (viz. sucja). Viky sidjfis complete when gandl omission of“ BRIADDESI mei ranids aap stearate, erTTEaacid frata [ar] are [ap tm] eng EH gar ta ae TET Tara Ra ART AGT egrrariteinder waa refuegennh wala memdataieee: 1 nemagéafan: | faferan Amer srefeercafirk wi wal=}ateary | Lee. grakihi Rete) Cap yee] er crea aq seat wee aft a Tea Tea yes rgaarcaa: aeiaeeeMTEfa Tey SATE ae el eon ee eh ge sige 1 waray sen ate saat a A a aftaart wenfan Afregerct: sate a yr A ' pe vated ara atzemy atchrgeren ar 08 UQegs gam fara (a. arth] Cay exc] area Ttsa Pe Te: AIAG: TCT: TERT Froe.(?] ent re: |e aR: | der aRfa: 1 wes Wea, WEEE athgrar ereerai TRETPTTSAAMTETEN , aig aPeRAerrareTey , Tai ART Larpess] wafer wen aie: Ys:, fap: yet:, 4: Wea:, 7a agai woategia, serqerene rade Reber amd feed ata - I TRANSLATION, a When it (sadji) is sung as hexatonic, then the sparseness™ of rsabha has to be brought about, (and) there is abundance of the remaining svaras, [Anu. 147] And ithasten ariéas. Thatis thus—one Suddha , five vikytasin the complete state and four sidavas, because when gand! it excludes the dia. ‘The siéas have been written as such so that they the sidava state » (they are) ninefold (auduvita being should be known as four-fold in its vikrta (modified) state, And it has the marchana™ beginning with dhaivata. (The tila) ekakala paticapani®! (known also as utara and supitiputraka) in the citra (marga) (operatesalongwith) magadh jin the vartika minga (operates alongwith) sambhavitd giti, In daksina manga, catuskala paiicapani (operatesalongwith) préhuldgiti, (The corresponding pattern of tilaand git) should be known forall the this order. Vira, raudraz adbjiuta rasas should be evoked (lit. made). ts application (viniyoga)™ is (prescribed) in the singing of dhruva(s) in the first scene (or act). ti, Dvikala paiicapa (2. Arsabhi] [Anu. 148] (In drsabhi rsabha, dhaivata (and) nisidaare the grahas, (they) themselves are the ariiéas. They alone are apanydsas. Nisida®? (?) is (the limit of the extension of) tdraupto five svaras. Rsabhaisthe nyasa. Mandraextends upto nyiisa or upto the svara next to nyasa. There is sasigati (concert) of sagja- dhaivata and rsabhagandhara. Sadava is devoid of sadja and auduvita is devoid of sadla-paiicama. In tscomplete state there isthe sparsenessof sada, gindhara and paiicama, In the auduvita form, there is the sparseness of gindhara and madhyamaand the profusion of the remaining (svaras). [Anu. 149] Andit (drsabhi isten-foldi.e.,thereare ten arsas. Suddha (isone), vikrias the complete state are three, in the sidava state are three and in the auquva state are (also) three, thus in the complete state are three, in the sidava state arc three, thus (theyare ten). The mirchana “beginning with Paricamaobiains (here). Caccatputaisthe tala. With the ckakala (tdla) inthe« BRHADDESI eae, TERT SPT YET SATA Ta RIARATO Seer aT Fare: wm La, der] [ay te] ‘Sie teentdtaactits reer dorgarre: , Raper ata 7m) ted a keh 3 daaiemeam area: Sea ares wang wed roe aaa rrr geet sae aafereergy teh RATT: TTT ae (are aR | Cap eae] ‘afaereren {salem - Fegan (ata weal =) zeategara: watt, erate rh, candle fect are, cafe: wantin | agenct afim:, yqeT | ena gee, anes aahtarfint wer (RT 7) SA eT: Bree TE eT swemenftera 1 car dtetraarran: | germ wed de fata: seseattaR | Cv, Ard] Carp 042] gee a (a) ae er red, eee hae yfTeETA niacin ool “(Ra RereaarETTY sight nomtaniver | TRANSLATION 49 citra (manga) there is magadht (giti), with dhe dvikala (tala) in the vartika (marga) there is saibhavied (git), with the catuskala (tla) in the dakgina (manga) there is prthula (git). Vira, raudra, adbhuta are the rasas. Its application (viniyoga) is (prescribed) in the singing of the naiskramiki®> (associated with exit) dhruvain the first scene (or act). [3. Dhaivati) [Anu. 150) In dhaivati, dhaivataand 7 and arises. In the suddha peabhaand devoid of paricama and the auduva formation is devoid of paricama, sadja. ‘Thesame two svaras,viz, sadjaand paiicamashould be made weak and should sometimes be leapt over . The tarais upto five svaras. The mandritis upto the nyisa® or upto the svara next to nydsa. [Anu. 151] It (dhaivati) isseven-fold. There are seven arinsas, Suddha (isone), vikrt in thecompletestateare twoand sidava-auduvaare two cach, The miirchaa beginning with rsabha obta il anigacthi git (yo togeth« ti (git) (gotogether). Catuskala( ina (ndinga) and prthula (giti) (go together). The kaldsare twelve in the citra (mrga), twenty-fourin the virtika (marga) and forty-eight in daksina (marga). Vira, bibhatsa, Dhaydnaka are the rasas. Its application is (prescribed) in the singing of dhruva in the first scene (or act). (4. Naisd?] (Anu. 152] In nisidava 57 nisida, rsabha and gandhira are the grahas and ind ryabhaare apanyasas. Nisidaaloneisnyasa. The sid formation is devoid of paricuma and the auiduvita formation is devoid of isas.0 BRHADDEST TART TM: | ITT YR: | o Cap 4a] cparofeyga vararerge: | efeeh aen gia | Canfas tee 1) wane: Faaseet 1 cafe areM: | Sei: - Yess, FA fers: Gl :, 7a: eas, TT ort sige] ta se: | garT weer fara: 1 (a, teeta) [ay ts] Teh iea :) ITT Ter signs | WTR: | ow ARTERY as; Reepl a | array! RATRICTTTY, tear | EET tera ag, A ARI: | TTT STATS | (oy AC PATE | om: seta Cary 4] FE: ory, shea: ie TeRRI: | TRA Pare i, ret; Yorn: wieaqeam: fewe aaes Beaten, APSA SAA GUE | TRS HEM: | REANaTHAe festraberors fafiain: 1 [eres] Camp tae] mhctorern: TERTEMATATT We STS | TETRA rR: PANT ree, TT | ‘“Sequisearargas— “TRANSLATION 5 Paficatha and sadja. In the complete state there is the sparseness of sudja, madhyama, paiicamaand dhaivata. In the sidavastate, theres the sparseness of sadja, madhyamaand dhaivata. In the auduvitaform thereis the sparseness of madhyamaand dhaivata. The téraextendsupto five svaras, The mandrais upto the nyasa or upto the svara next to it, [Anu. 153] ‘The miirchand beginning with gindhira obtains. Caccatpufais the ti Thereare thiryy-two kaldsin the daksina (marga), sixteen in vartika (imanga), eight in citra (marga). Itis ten-fold. There are ten arigas. Suddha (is one). There are three vikrtas in the complete state, three in the three in the auduva state. Karuna is the rasa. Its application (viniyoga) ¥is prescribed in the singing of dhruvas in the first scene (or act). (5. Sadjakaisiki] [Anu. 154] ‘Sadja, gandhira and paricamaarethe grahasand au taraextends upto five svaras, The mandrais upto the nyisaor upto the svar always complete. There is the sparseness of dhaivata, nisida and madhyama. Rsabha is even more sparse, there is abundance of the remaining ones. Gindhara is the nyasa. And sadja, nisida, paricama are apanyisas, [Anu, 155) It has no suddha state, there are three ari Caccatpujaisthe tala. In ekakala (tala) in the citra (marga), hereis magadhi giti. In dvikala (tila), in the vartika (marga), there is sarhbhi (giti). In catuskala (tala), in the daksina (manga), there is prthula (giti) and the rasais karuna. Itsapplication (viniyoga) is (prescribed) in the first song associated with enuy in the second scene (or act). (6. Sadjodicyava] [Apu. 156] ‘Sadia, madhyama, dhaivataand nisidaarethe grahasand arhsasof sadjodicyava. The taraextends up to five svaras. The mandrais upto the nydsa or the svar next to it. The sidava formation is devoid of rgabha, the auduvita formation is devoid of rsabha-paitcama. In the complete state there is the sparseness ofPy DBRIADDESI er pea a era ErrETETITER, Sead seeeerercteapreyiner ae: aaantaareradt | aierai ROTA | [ap tus] sere RETF: WRT MRT: - FOU ACA: SATA Sera TATA, atgfamaran: 1 Yaeger IPI fe SA cre: Tae: | aR FT rd, feer ae wesnferm, aq eter yee 1 Ta see arms fedtahes fara: 1 (s. weerT] Cay tue] TRACT TET Bi ls ATs THAT | TTT AR: freetacse Freres theta aad ware Goel Pore | rerreret are ae ATTA: 1 era (7 #8) Cay 48] eqegeaMEM: | WARRNH: - Te Wh:, Ws UeaT:, we Stee Stefan etememn: wens ote dais ree styfieme Ged ae mentee are: Tea: | were Fao Amel, fears o eafear wena, age xfer yee | eTeTeRT, YAMTP Feet ReroTas fafa: 1 W (fit) an: WEST: TA TTA: Cap tee] Fert pea a] OTA aTII ToT - TRANSLATION 53 rsabha-paricama. Thereisabundance of gindharaalthough the state of aria does not obtain in it. There is the sparseness of paiicamain the si nthe aude Il, Madhyamais the nyasa. Rsabh reaching out among the ais three in the dhaivatais the aris, four in the auduvit The miirchand®? beginning with gindh With ekakala (tila) and ciera (snarga) the inthe varti it daksina manga) thereis prthuld (git). Sprigaraand hasyaare the two rasis. Us application (viniyoga) is prescribed in the singing of dhruva (s) in thesecond scene (or act). (7.$agjamadhyama) [Anu. 158) All the seven svaras are grahas and aviéas of sadjamadhyama. ‘The tira extends upto five svaras. The mandraisupto the nyasaor upto the svaranext tot. In the sidavastateitis devoid of nisida. In the auduvitastate itis devoid ida-gandhara, There isfree movement (saicara) without violating the grima, In thecompletestate, there Sadja and madhyama are the wo nya (Anu. 159] Itisseventeen-fold. There are seventeen arisas—outof them seven obtain in the pairna tate, five in the sidlava state and five in the audavastate. There is no suddha state. The murchana” beginning with madhyama obtains, Paicapapiisthe tila With ekakala a) inthe ctr (mange), theres inall the ras. lis application ‘unr is ipressibed) in in the singing of dhruva (s) in the second scene (preksan Thus end these seven jitis perta ing to sadjagram: pertaining to madhyamagrima are being said ~“ BRHADDEST Ce, are) a Ta TPIT TAP TET OUR: , TTA: THATS, RIAN) aT TR UME Wea wandadetnilg far irermpadarierad, tari aE rf AAR =I, Seqgorsararareh, dere: ayfets! Tere - ray ae TEPC a Tet or arene gh wets |e TATA HAY [TAS ] RAHAT TTT A 5 (rm oy a0 at: ear ae atta aes Ter see Ta FTTT BA TANT: FAL, ~ Arata sf wart: sperfaeta a ea | Cap 262] (ene ]enfarcaren eereeivent 3a: Pappa: Qa: 1, ARATE: , a stefan ae: raga daa: reRqeea: Gaara fem amet, eae aafes western, geal Very Ya Ta: HET: fates, (3. tered] Carp x62] Terral: TT TETTTATI] TE BM | THAT: , react ie) ST TR BUNT wreaa UNdanehritg far Diserarratarcteray , tari ager! | Praceaizarg aged wrt TRANSLATION 55 Outofthem, gandhara, sadja, madhyama, patic are grahas, thesameare arisasof gandhari. The téraextends upto ive svaras. The mandra extends upto the nyasa or upto the svaranexttoit. The sidavastateis devoid of rsabha, the auduvita state is devoid of rsabla, dhaivata, In the complete state thereis sparsenessof rsabha-di i ones. On accountof being a svarajati”*i.e. a fiti bearing the name of svara, ‘gindhara is the nyisa, Sadja, paficama are the two apanyisas and there is sarigati (concertortoand fro movement) between dhaivataand rsabha. That is thus -when gandhar7 is sung as complete then ma - dha -ri-ga”? is the prayoga (performance). Thusisthe performance. When itissung with the omission of rsabhathen while touching (lit, entering) the adhara” (lit, lower, but higher in pitch) ma-dha- dha-ga, thusis the performance. When itis sung in its pentatonic form then while touching the utara” (lower svara) ma-ga dha-thusis the performance. Mi-pa-ridhdis never to be performed. [Anu. 161] This is eleven-fold. There are cleven arises there is one in the suddhii state, five in the vikrtd complete state, four are hexatonic (and) one is pentatonic. The mirchanabeginningwith dhaivaiaobuinshere. Caccarputa isthe ta form, In cit here is magadhi (giti),in dvikala a (marga) thereis suibhavita (git), in catuskala daksina (manga), there fhe rasa, Itisusedin thesinging of dhruva in the third act of a drama. [9. Raktagandhari] [Anu. 162] Sadja, madhyama, paricama, gandhara and nisada are the grahasand arias of raktagandhiri, Tara extends up to five svaras (from the arisa), mandra extends up to the nyaisa or the svara next to it. The hexatonic form is devoid of rsabha and the pentatonic one is devoid of rsabha-dhaivata. There is the paucity of rsabhaand dhaivatain the complete form. The remaining (svaras) have abundance. On account of nisida being the aria, its abundance is indicated. Its non-abundance comes about on account of the stated prescription. Dhaivata being non-ariéa, its sparseness is indicated, its6 BRIADDEST mage , darerinereer’ THE AEE wed dareTaTgETH @ sare wafacihl sighed want REMIT SHUSATL STAT ea 27H ART TR TA Wa ST ETH Ua | TESTaray BEAM: | Cary 283] Rafer: aun: - Yor: I, AER: Sa: WASASTaTET, Beane: a yacitiswme:(?) (sigs we] antag aect ca: are: Teofn: 1 | waeRe Fa met | fgere anfets areata, (agent feral gee | ar Pie fate: <8 aferait FasnferereTory J [wre] oi: weRaa: Taser: Frees B 1 (79mm: arts TRA, Preediseng mga arfeai fT en mam 2 Hp) Ba (PH 7 RR) a Fretd frre 3 arectgiaa 7a 1 {efor wascigerh: cara feat g frat iu THfrareRETaA , TESA aTET TA: | nemnfefe Sar yetag Farrar 1311 Ta a a fae fr (a) ara at fen am Fre ge @) TRANSLATION 87 abundance comes about on account.of the stated prescription. In the hexatonic form, there is the non-abundance of dhaivata but itis never so in the case of rgabha, In the auduvita form, sparseness does not obtain in the case of any svara on acount of all of them being arisas. In this way there i the abundance of all the svaras. Nyasa is gandhara alone. Apanyiisa is . There is the sacra” or to and fro movement of sadja [Anu. 163} Itis ten-fold. There are ten ariéas—five pertain to the complete state, four tothe hexatonic state, on accountof there beingan exception when paitcama the ariga, One pertains to the auduvita state, The miirchand beginning with fsabha obtains here. Karunais the rasa. Paficapani is the cekakala citra (miirga), migadhiis the giti. In the dvikala virtika (ma sarinbhavitiis the giti. In the catuskala daksina (marga), prthuliisthe gi is applied in the dhruva gina in the third act. [12.77 Description of nine jatisin the terpolated portion) (1. $agjamadhyama] adfjamadhyama and they have mutual wand fro. parse excepting when, in state of (gaindhira). movement, Nis words) except the fatonic states are known to be when 1 (ed. The two-srutisvaras (nisidaand giindh the adversaries of the hexatonic and pentatonic states. The hextatonic and p @ il nd the miirchand is thatwhich the viniyogais as (prescribed) before. (3) in this, Seven svarasare apanyzisas. The a) (2)BRHADDESI aa TAA aa Cam a fre ce a] sare a fer aA 7a ge eT fam da aa AT i i tel ciel td de ie hey ar ye oft fen am fr aaa aT aia ef ae ean To TU Bi Te TT ar ye oft fer am fer aera aT Fie a Oe A A U Cafe] Teper (. weaigtert] mrentersrarai y arteh were feetan wed 34 yi seerTETAT Ist aera eee) ae TTA: TEAS Taft: | feat: aaa dames qT Gu fd 2 yf Ta Fa: eM: Tse Sif: | faPrat qarm’ agelert aa: 1 gi ‘Sarai nent ara: gedaan: - Kost MATT TTT WA aa aT ent a a aT Aaa at maa fra att ot at AUTO TT aA @ (8) (4) (8) (9) (¢) (8) (Re) (RQ) (82) () @) @ (8) (4) (8) ‘TRANSLATION 59 md gi ri gd ma ma sa sa @) [ma magama mama nidhapadhapama gamama} @) dha padha paririga maga rigasadhasasi 6) nidhasirimagamamamama mi O) mama magamamadhadhapapadha pamagamaga cy dhapadha pari riga magarigasadhasa si @) imi madhanidhasadhapa mapa pipa (9) ma magama ma nidha padha pamaga gama (10) dha padha paririga magarigasadhasasat ay nidhasirimagamama mamma (2) Thusends saqjamadhyama. (2. Gandharodicyava) Ingindhirodicyava, sadjaand madhyamaare the two arias. The hexatonic isknown to bewith the omission of rsabha. In the state of completeness there is the sparseness of svaras other than those that are arias. (4) Inthehexatonic form, nisada, dhaivata, paiicamaand gindharaaresaid to besparse. Safigati (concert) between rsabhaand dhaivata should be known and the méirchana beginning with dhaivata obtains. ) ‘The tilashould beknown as caccatpusa, Sixteen kalds (time units) are said toobtain. ltsapplication (viniyoga) isaccepted to bein thesinging of dhruva in the fourth act. 6) ‘The anddhai this (au). Madhyamaisthen prastirais thus— padhapa pi ma a (2) mapipa 8 ainininini ni nint @ mama dha nisaninini 6) ma pai ma pari gi ‘i @6 BRHADDEST TTT oA TT (9) taawtiaa (e) vm fer a afm fer aa «@) Be Sr ee Of RT (Re) va at at ett ta a at (a) at at af at at oat itt (2a) TT AA (a) Atal tatata (ee) ated ota (a) TTT TAT (8) > 0 (xf) earteterert 1 rH (axed) aim: corel ta etratsian: 1 (a Reyna? ah: Fenfeares aah: ard aff Ie ar fectefeecitnai erectgatiren’ | age freetta: wart Bf mea 1 ci fernitghed western: wat wit eacah 2 eyed Tatas aresitag ITeEy FEA | Sit BitaRerorrd ara Fafa Ro Stmger ‘areal IPE =a: HEISTMA: | TET: - (ren 2yren (=r, Roms) wha Tat () aaTT ATT @) A TT eT @ “TRANSLATION st (7) (8) o (10) a) (12) (13) (4) (15) am a ma (16) ‘Thusendsgindharodicyavati, (8. Raktagandhari] warasexcepting dhaivataand rsabhaare an ity and combination of sadja and gindhara is brought about by (7) The hexatonic and pentatonic formsare said tocome into being with the omission of rsabhaand rsabha-dhaivatarespectively. Thereisthe abundance of nisada and dhaivata, Paricamaas arisa is averse to the hexatonic form. co) , madhyamaand paficamaareaverse to the pentatonic form, ndharaare in concert. (The tla) paticapaniand the like are as i. The marchana beginning with rsabha obtains. 9) ‘The application is (prescribed) in the dhrwva pertaining to the third act. (10) Gandharaisthe nyasain this (jit). Madhyamaisthe apanyzisa. The pra is thus - a @ 3)a BRIADDEST FA AY AT ATT AT of at site atta Tat dF To tTATTIAT Ota dat data WIUTTTITT tuaataaT cat nt of etd at fie ot ot ad chal oft at ot at at U Cafet] comet eu Ov fat) ‘Sfreeaise, fer ae war ics) wy a: TSA Va eae fe At (fa 2A) oP g Perearenfrersteerahhag: 11 gg amas) Farah» ficinfecita wedtgterd way 1 foed frragenini agfatia: 1 eau wecitgfad fee: wry Tada | rt apttag amen maT AEA I armenrnd qarai faery gan card area TITS) I! Laval: We AA A TAT STATA OTE: orn Wah 0 af mT waa fea hea a a cs) (4) (8) (9) (é) (8) (a0) (88) (2 QQ) @ “TRANSLATION 63 mAmamaémami mama ma (4) ahanipamapadhanipa pa 6) 6) O) tiga ma pi papa mapa @) papa pi pa pi pa papa @) rig si si rigi ga ga (io) gigi padhamadhanidhapapa qa) ma pimé parigaga ga ga ga (22) Thusends raktagindhari, (4. Kaisiki] the svarasother than ryabhaare arias. When niand diraare the nil dhaivataareainas. aly The hexatonic and pentatonic forms are known to come into being with the omission of psubha and psibha-dhaivata. Rsabha is sparse, there is the abundance of nisida and paiicama. The arizashave mutual concert. (12) Paticama and dhaivata are averse to the hexatonic and pentatonic forms respectively. (The tila) paricapaniand the likeareasin sidji. The marchana beginning with gandhara obtains. 3) ‘The application is (prescribed) in the dhruvi pertaining to the fifth act. Gandhara, paitcamaand nisidaare nyasasin this (jati). Six svarasexcepting Fsabha or seven svarasare apanyasas. The prastiritis thus ~ padhani padhani ga, ay papimé nidhanidhapé papa @)BRILADDESI ata ataTaa aaa tama mama tage aida nm a Feet A at matt aT ata tt fe ot ot ol tat at otal ot at at aan fre At W Caf] Brat [y. weriteterer] Fania Ber yor, AeA ora AAT ext ‘sacs: 2-H) tm) Herren PT Ra MTA FA: RGA soit 2g) ageher Rennes qarai farts | * Store Rem mare: | TesaarerTa | TEA: wer tata atT attnafaaT RATA AAT Aten fe fea a aataaaaa om fen an ae @ cs) (4) (a) (9) (¢) (8) (Re) (RR) (2) (a) Q) @ (8) (4) (a) ‘TRANSLATION 6 3) sisi siri gi mamama 4) ma dhanidhamadha mapa 6) garisidhaniricirisi 6) wirisi si pa dhamama am aga ga mapa nidhaninini (8) a ® (10) md pa ma pa papa ma ma ay sid ga nidha nini ga ga 2) ‘Thus ends Kaisiki. (5. Madhyamodicyava Madhyamodicyava isknown to bealways complete and having paiicamaas aise. 4) ‘The remaining laksana should be known to beasin gandharodicyavd. The smmairchand beginning with madhyama obtains. Caccatpuga is known as the (prescribed) tila, (18) The application is (prescribed) in the dhruvi of the fourth act. Madhyamaisthe nyasain this jati.Sadjaand dhaivataare the apanyisas. The Prastarais thus padhanininima manipa a) riririgasarigagaga (2) (3) (4) (5) ima riga sa sadha ni ninini ©BRIADDEST ata awit aia ai Rd atta didi aii ai fem TTT ma Tt aT ar aC TT umn a oT Fae tt At con hea hada aaa AAAT aad awa W (sft) meager iH (a. arate] arnfoai servi Freveftaitam: 1 ee agdisrermicaresten: aftatttan: | TPERSRTAS: Tafa: I Voll watmed( 2) erin: wage: Hews wen: FeneA | = yanrer Rerrey qarai fatter i cit Seareai TSA AE:, SEM ATTA: | STRAT: — qara) aaaagaaa aaa att Aaa aT moa atta tuatiatd tutahatag ATT CTT (s) (¢) (8) (Re) (RR) (82) (a) (as) (as) (88) «) Q) «@) ce) «) (8) () “TRANSLATION o ” mma pi ma nidha ni nisa si 8) papa madhani, 9) ma pa mi rigagi (10) al (12) (13) (14) riga saa ma nidhani nin (15) ninidhapadhapamama (16) Thusends thadhyamodicyava. (6, Karmaravi] In karmaravi, nisida, rsabha, paticamaand dhaivata become the anisas. (16) Many (svaras) are said to be non-anigas on account of antara-marga. Gandhara is excessively abundant. There is concert among all the arisa svaras. an Caccatpuya (isthe tila), there are sixteen kalis. The mirchana beginning with sadja obtains. The application is (prescribed) in the dhruva of the fifth act, (18) Paricamais the nyisa in this (jati). The arhéas themselves are apanyisas. ‘The prastarais thus- ql) @ (3) (a) (5) tiga risinidhani pa pa © mi pi mi parigagagagaga o)os BRHADDESI Tima maa a TT atamea ta a aT AAA aaa aT Aaa aft mm TT atta afta aT atm aat ttt Aad ITT W Cee) aerate rn [o. Treat] sigh Treas Ta, Aya: TA: | wo adensate mretesaiita atta: gi Neonat: wage: teu sen Mea ASAT | arorrapa— FAT Rett a pose are ef oy a ot at aT TTT TT ata aaa AAA AAA aterm fa hea awuttagag a fen ar ae Ht tt Haas aIaa fone fm atta tai tai oo a a, (¢) (8) (Re) (RR) QR Ga (as) (aa) (Ra) @) Q) @ cs) (4) (8) (9). (¢) @) (eo) TRANSLATION 6 17 rigasama ma mapa pa ) smi pa ma pariga gagigaga (%) mi dha nisi si (19) nininininininini ay mamadhani nidha pa| (gy ‘ga (13) (4) (15) (16) Thus ends Karmaravi. (7.Gandhirapaiicami) Paiicama is the arisa in gindharapaite: concert (among svaras) here also asin gandhi i. The wise should produce and paricami. (9) Caccatpura ( is the tala), there are sixteen kalis here. The marchana beginning with gandhdraobuains. Application is (prescribed) in the singing of dhruvas pertaining to the fourth act. (20) Gandharaisthe nyasain this (jati). Rsabhaand paiicamaare apanyasas. The prastarais thus — * mama pamadhanidhapamadhani a sani dha pa pi papa papa (2) dha ni apa pa @) ni ni 4) ninidhapaméanidhanidha papa (5) papariririripapa © mma riga sisadhanininint (7) ani eh sa risa tet iri (8) "niga sa niga sa ni ni: 9) nimi nima pa pagaga (10)a BRIADDEST mii ot at aren ar ae TT Aaa ata AT AA AAA AAA asi at ah aa ai ai ai ae i a u Cafe] reesei vu (e, sf] -wéiswa Gani var ara. Proretsa srerchh saaforereene wer: | aeT ara | grerodoes fafa: | rawareal ah deceqa | cant ah: | srraterege: 1 efeel en, Fat eT, Ra se, HET eegarReae: | ‘TRANSLATION 7 U.Bhinnasaga) Bhinniesadjais known by the wise to have dhaivuaasitsauia, madhyamaasits ion, to be devoid of paiicama and rstbha and having been bom of sadjodicyavaui (ju). (306) [Anu. 175] Thismea of sudjodicy pentatonic with the or Kakaliandantara. I dhycumasthe nya and giindharvare related tothe implements or tools (upakaripa), has an aversion to fighting which docs not match his disposition (viildya) and proceeds for hunting. beginning with dhaivaca il. The kalais formed in the ytd (mirga) and the kaki prevailsin ipua obtainsin the songs comprised of svat mniirch the citra (inanga). At and pada. [2.Bhinnaparicama} (Anu. 176) bhinnie-paitcamaissaidtobes hus. ibhinna, Itsclescript The knowledgeable ones in sv ¢ spoken of bhinna:paricama being similar to suddha-paiicama. It has dhaivata as its aris, paticama as its concluding note and is (applied) in the entry of the sttwadhara. (307) fAnu. 177] Thismeans-bhinna is related to madhyamagrimaon accountof being born of madhyamaand paiicam uaisthe grahaand wis, paticama is the nyiisa, nisiida is Sometimes nigcida® is also used and this (riga) is complete. ‘It is applied in the entry of the siitradhatr: Bibhatsaand bhayanakaarethe rasas. Then ingwith dh obtains. Saiicirinisthe varna. Prasannadiisthe: | The kalaisformed in the daksina (manga), the kali ol the vrtai (manga) and the kali prevails in the citrt (mirga). A tila like caccarputa obtains in the songs comprised of svaraand p” [BRHADDEST U sufatir:] ar aufafoares ciaroreTe — ‘wdarigs: BT: ACTH] ARR | = em? werd 6 aged a watTETAgTR: I quafagetchia wife: FTE Wl 2c ies ave] en (eg satan): Tease, ee eafeaoinfees a qenfrqed: wile ™ ‘stator aafererel: 1 carol are wen - (fo La. fete: aR TesETTTATA RT RATA: | cay wgaieh nema weg THEA: 108 Carp wor] [orem] fermen: Were: TEA TATTATTT | wehser mises | AER a: | TE | Pesala era (sist 7 ay Sreedhar ea: vrgenfega aol: ard i wernfeergn: tear wen, ai wer, fal wen | (Race) werqerfeare: | Cyafin:] Caer] afire cierorare - Yfenanntd eanfeperTT: | wae Fei 1 a7 Yoie: vaififa: Inout TRANSLATION rc) Uatibhinna) Now he (the author) has spoken of the description of jathbhinna~ The ai neant. Sp une isshould beestablished and soshould be thesparseandthe | enessand abundance come about on account ofsparseand: isso called, formed asit iswith sidksma, atistiksma (short ¢) and curved (phrases) (308) (Anu. 178] ‘Thismeans-sudddhakaiskayadhyumaishom of kaisikiand sigjunadhyzn tis Ihyama on the other hand, isfit-bhinnaonaccountofb maja?) the taking up of ts (jati’s) anitsrand tal formedwith sitksimaand atsiksin(shortandveryshort the import. Its description is thus~ sadjumadhya ime) phrases, this (8. Bhinnakaisikamadhyama) Bhinn: madhyzn is (endowed) with {Anu. 179] means- bhinnakaisikamadhyan ofbeingborn of sudjamadhyamaijat thas mandra (low) gamakas. Nisic complete. Itisused in the context of dinavi Vira, dd the like are the 1 nd the the songs ali obtains in the wrt (manga) iirga). A tila like caccatpuga obtains vand pada. [Suddhabhinna) Now he (the author) has spoken of the definition of Suddhabhinna- (The riiga) that bedecks itself with its own jati (from which itis born) and ula (family), leaving the other jadi and taking up (the qualities of) its own family,iscalled suddhabhinna, in the prevails comprised of sv (310)0 pRHanpEsi [ap ico} mead: - sai waa after ntegerafed AGE a aehfa Ce, Fame) Cap vee] eer ere ae Heathens Fee vafg BAe: 1 shifeeget Fe (earthy ‘eb fe orton st, Fertig Potent ag at - a eee er as AT a ee Hw eer eT TEA TT eo wt (aie a ye tfreagal :] aa Radhs: | rain: Tara: wel: TAM: at IRR rend: - frrthfra negara: sfraterniataregerrant | paisa we: Ter ae: | Praise sere | par Weihenci afm: oO aft dasha rmagaisay | Wr RIP Yea eT: fa, ae ea) ferera Ata eater: ator: ew ahs fe eet: akon sft warIR TAT o fet Pre ert area fain 1 atedhafeat wa: repeal 1 aol: ware sweracerge GA aoe, ERS Be FAA HEM! AN GENET: | Cafatira:] area fates TANTATE - fara swag iafrerdt aa fret fear gt rapa Regfadle gor: BTA WRT orn Eat "TRANSLATION 101 (Anu, 180] ‘This means—leaving the other jitiand taking w with its own jatiand kula (is formed the Suddh own rooti.e, bedecked shina)? [4 Bhinnakaisika) [Anu 181) “Thedescription of suddha (kaisika) appiiesi coualityalsoto bhinna Whatisthen the difference? The differenceis formed by git. Suddh giti, whereas bhinn sungin the bhin is being said ~ wvasth:ina®® (unit of tonal range) with which the rj ika, the rig is not elaborated with the same svasth: ka, And its description is thus . is known by the knowledgeable on (and) is complete with the seven sva @n) [Anu. 182] Thisme: srelated to madhyamagrimaon accountofbeing: bom of kaisikiand kirmaravijatis. Sadjais the grahaand ans. Pa the nyisa, nisida here and it is complete. Although this rig is Tike daddhakaisika, yet there is a difference. This has abundance of inandra (low vina with which svara ~ Alipa (tonal elaboration) is done in ‘be done with the sume svaras (here), leaving that ipashould be done with tara (high) svarasand Its application is prescril heroismin charity). Vira, raudraand thelikeare th ‘The miirchanabeginning with: isthe vara. Prasamn uikira. The kaliis formed in the dlaksiva (nvirg i ‘Acilalikecacearpuprobaains Now he (the author) has spoken of the definition of sruti-bhinna = comprised of four srutisismodified bythe one comprised of wo Srutisand gaindharaiscomprised of only wo srutis that scalled seuti-bhinna, (a2)ww erianes (ay cea] (arene: Jaq: ga: were ae afte Teafa Frae: ere afatrs fiat ay owere vere frgfrmer wi afeed yeit fae: ? ger ‘tay near aq: gfreor’ ae Rehierea fagiererer al q:) afar era: a: Vga, Tarra eeriife 3 Ma: | aero| ae Tere - (4, femar:) SPRY FETE: TERSETTAT: | memarreitoreaniiay q gate: 1 323i (amp tex] sem: - fear memes; Te | vert ferwrnferen( 2), aaisman wert aaa Repeater, (2]81 Franiss srreh yoann shoreiser rin: | venta rarerd al: reece: ef are, aS en, Fad en eae ereqerfeeTe: 1 (ferro areferart:) [arp tea] frari mmfaurng areatine: | aaa - “fray Wea BIR faadhfrerer: | War: dieser Bema: 1 a afi fs aaresren eee ERT AY TRANSLATION tos nigida takes up the two srutis of paticama™ that is comprised of four srutis, then itiscalled srutibhinna, (Contention)-Because ‘comprised of three érutisin madhyamagriima, how does nisidatake Lup two srutis? Itis being answered. Itis said to be comprised of four srutis ‘on the analogy of its former position. Just as in bhinnakaisika riga, the ima comprised of three srutishas been omitted i je e recourse toitsto and hence ther (nisaida), comes of 1m: reabha. [Anu. 184] Thismeans-bhinna bor of madhy is. is the graha and ‘isa, There is the sparseness of madhyama and 1 ) iscomplete. Itis used in ma 4 beginning with paricama obtains. Saricavin is the isformed in the da a the vptti (manga) and the kali prevailsin the; ised of svar and pada, varna, prasann the kaliobtaim ike caccatpufa obtains in the songs comp: [Theassignmentof bhinna-ragasto grimas] [Anu, 185} ssignmentof bhinna (rigas) to gr hasbeen stid by Kiiyapa. That a-sidja pertainsto gicja (grim) andso does bhinnakaisikamadhy (Bhinna) paricuna, (bhinna) kaigka,(bhinna) cinaareseatedin madhyaunagrinna” ‘Thus bhinnas have been explained, now listen to the gaudlas. (314)14 BRHADDEST Cattern:] Carp eee] aq the: ey 2 sen, tetera | FH err 2 Teas Tee - stterdt rexstaren watt eafreefiat: 1 * air (2). AA fri safer Freer Het ciiferecTERT IAG the Coster] risen ceo - therantrond deter | Saciet wera via: Ta 7 age (fe fea Lay reo) rend: itera: were ery; See ETH: TATA Sadisat neared are. Prenat arRerT Tease Tee: | w8)8 ‘Seer ame are fat: treat | deren arte (aya wi: | wERMEASAgR: | eA wen, A sen, FAT we | aI wearqafeane: | TRSTU: THAT: Ta Ths: 1a cw) ‘TRANSLATION 105 (C. Gauda ragas) (Anu, 186) (Contention) Why are they kn account of being related to gau answered. That is thus ~ mas gaudas? Itis being answered, on i. What is its description ? It is being Ohati* born in the mandra (low svaras) isemployed. Inperformancewith shaken sounds, without pause, in the three registers, gaudi gitiis said to prevail. *(Firstline of the verse reconstructed vide cr. in Sudha on SRI. 1.25). (315) (1. Gaudaparicama) The description of gaudapaiicama ~ Dhaivatiand sadjamadhyamaoperatein the formation of gaudapaicama has dhaivataasits anigaand madhyamaas its concluding note; itis devoid of Paticama. (316) {Anu. 187] ‘This means— gaudapaicamaisrelated to sadjagramaon account of being born of dhaivatiand sadjanadhyama itis. Dhaivatais the arisa and graha. Madhyama is the nyisa. Nisida and gindhira are kakali and antara. Mis hexatonic, being devoid of paricama. Its application is prescribed in passionateacting (ordance) andin vipralambha spigira (lovein separation). Bibhatsa® and bhayanaka are the rasas. The miirchana beginning with di aobtains. Arohinis the vara. Prasannamadhyais the a kalaisformedin the daksie: tiobtainsin the vrui (manga) and the kala prevailsin the citra(n ialike caccatpufaobtainsin thesongs comprised of svara and pada (2. Gaugakaisika) isika is known to be born of kati as the auinsa and pai16 BRIIADDEST (ap ce] wend: — ithe wh ne: Sirsa a: wat Weiser wisaal Tah aa. Fratsa sreeh lary wen varsha 1 frgfrerany Tere ag.ahrnee dearer, Tera Kara TH: | zea mmgaandt i: aenfy AeTASeT A:, TESS | ser eA) HEA ATT we wom: fara: | drafest Tas reste sve aes weenferargR:| eee eT, aafdes Fen, FA Hen TTA Tere: | Ratsdierrer:) agai WeMPaR: FETA FA: | sao(70) afepier: sia stirrer: 11 32cil (Cay ves] Sem: - ARTE: TESTS: TETRA | TESTA Ca) ROTA? A aéiseal erat =a: | Prarisa arrayed | rary area faPra: 1 Srafeat wa: rgMTEA aT a: RTA SeTR: 1 eA aeM, aT wen, fed wen | acai weregerfearet: | Cites wrferarn:] wert itera aeferarrere - tiers: Wea Thebes: | sae): Tea aa: It ah shen: TEA WI FMEA: TOL aRS IL “TRANSLATION 107 {Anu. 188] ‘Thismeans- gaudakaisika rigaisrclated to madhyamagrimaandisborn of kaisikiand sadjamadhyama. Sadjaisits grahaand arhsa. Paiicama is nyisa. Nisadais kakali here. This (rciga) is complete. Such isits performance. On accountof paiicamabeing comprised of three srutis, dhaivatabeing comprised offour srutis, this rigaisrelated to madhyamagramaatone. Although of the jitisoftwo grimas yetits grimais madhyana, not sadja, becauseitisseen assuch, Its application is prescribed in ka rasa). Vira and the like is the rasa. The marchand beginning with sadja obtains. prasannadiisthe alaikare. The kalaisformedin the daks obtains in the vrtti (marga) and the kala prevailsin the like caccatpuga obtains in the songs comprised of svara and pada. (3. Gaudakaisikamadhyama) aid to have sadja asits ariga, madhyamaas its amadhyama (jiti) and to have complete svaras. (318) Gaudakaisikamadhyama nyisaand tobe formed by sad [Anu. 189] ‘This means~gaudakaisikamadhyamaisrelaced to sadjagrama, onaccount ofbeing born of sadjamadhyamajati, Sadjaisits grahaand ara, Madhyama isthe nyasa. Nisidais kakalThere and this (riiga) iscomplete. Itsapplication isprescribed in bhaysinaka (rasa). Viraand the likeisthe rasa. The miirchana beginning with sadja obtains. Arohin is U |. Prasannamadhy alaikara, The kalais formed in the daksina (marga), the kali obtainsin the vrtai (marga) and the kala prevailsin the citra (manga). A tilalike caccatputa obtains in the songs comprised of svaraand pada, [The assignment of gaudaragasto gramas} Now he (the author) has spoken of the assignment of gauda (riigas) to ficama is in sadja (grima) and so is gaudakaisikamadhyama, Gaudakaisika, on the other band, is based on madhyamagrima. The gauda (régas) have been dealtwith. After this, lwill speak of rgas (per tovesaragiti). (319)108 BRHADDESI C8. writer Seeritferrn a oT: [ay eo] 7 See wel Tree: waa 2 sree | eT ae HTT: - aaraye gquinfa aati ata: wet wag an mitten?) Baal gead ay 8a TT ee Se: Lap eee] ‘Shafer wn ca Fam TES ae ae whe: Sear: BRP ABN] TENG TA: SPT: ‘Ghatend SacarSa Ua Het: Sa HATA | HATHA | TAT WS We:, Tether wen | Tele - Ce, carts] qa TERT STITT: | ere area Pafee dettreTAER IReI eC ay Carp a2] arene: - Ca: Tesora: , detrei | TESSET iste =TRal Frrerenrtorera”: ferent are Pia | Feditses win: 1 drrgd wat center al: gerd | waaiisegT e ‘efit aren, antes en, FA eT | AIT eer: | (atte) sia Tesh Tae Sr TEST | ‘dite arat fraeenfa ger: IRI ‘TRANSLATION 109 D. The ragas pertaining to raga-gitior vesaré-giti] {Anu. 190] (Contention) Why is the word ‘riga’® used for the vesar account of the statement by the authorities. Similarly has “Where the riga thatisattractive in all the four varnas, isseen they are known as riigas.” (rigas)? On Kasyapa - s totality, fAnu. 191) In the opinion of Durgasakti , “vesara’. Thus has said Durgasakti- igas’ themselves are known as being “Vesaras are known to be so because the svaras move with speed.” In the opinion of Durgasakti vesarasddava alone is prominenton account of having inherited’ the state of sdava (from suddhasidava). Inthe opinion of Kaiyapa, on the other hand, fakkaragaalone is prominent on account of being gratifying to Laksmi.© That is thus - (0. Takkaraga] Takkariga is combined with sidja as paticama. Dhaivatiand sadjamadhyamaar and nyasa and is weak in \dicated as its cause. (320) [Anu, 192) ‘Thismeans~fakkarigaisrelated to sadjagrimaon accountofbeingborn of dhaivatiand sadjamadhyama. Sadjais its graha, aria and nyase, There is the sparsenessof nisidaand paficama. Nisidaand gin jare kakalfand antarahere and this (raga) iscomplete. Itis usedin the yuddhavira (rasa). Viraand adbhuta are the rasas, the mirchand beginning with adja obtains. Saitcarins the varna. Prasannintais he alafikara. The kaitisformed in the dakgina (indrga), the kala obtains in the vytti (marga) and the kali prevailsin the citra (marga). A tilalike caccatputa obiains in the songs comprised of svaraahd pada (2. Sauvira) Sadjaisthe aridxand nyastand sagpmadhyamaisthe cause ofsauvira Gindhira and nisida alsois weak. (321)No BRHADDEST [ae 093] send: - dite: eS: TEETER, | TESSeT eisd a raRfragarereny | free: weet | olan, | yeah daft avai = wens at, wea are farm: | dtafeat wa: 1 reenter arte ai:°? | weenfetergR: 1a arenas refed | eras wergqerfeara: | (3. aver: ) Tanieereda Terineri ga: | wacafe gina Fat area: 11 38211 [arp tex] arene TAT STN TATA: TATA TAA TST ST rel ara rena Frarcisa are ype, Fame RTT weiss fata: 1 career wah eet | srenfeai: 1 weraereTgR: | afer sen, antes ae, FEY ae ATCA ere: | («. Saesa:] OTT A: SR TETRA | “pagina fart wae TacaTSa: 1 azzI (Cay 284] greed; - Faas: TEMAS: TRIALS | AEST sree RaPragrerey | rerio werd 1 Pred pear, IRR Crone) rer van greet wah ees | oe al: | wena: | ‘efird en, aes en, Fad eM ETI TerqeeATe: | TRANSLATION ut [Anu. 193) ‘This means ~ Sauvraka is related to sidjagriima on account of being bom of sgjunadhycanajiti Sadpisitsgraha arixétand nyzisa Thereisthespruscnessofgindliirt and nisida. Nisidais kakaliand this (riga) iscomplete. tsapplicaion is prescribedin the context of entry and the like in the behaviour of those who perform domestic _stcrifices, who practise restraintand perform penanceandin Zinta rasaVira and the likeare the rasts The miirchand beginning with sidjt obtains. Arohinis the vary Prasunmctis th aluikira The kalisformed in the daksina (.niga),the kaki obtains inthe ytd (iinga) and the kai prevailsinthe citra (manga). Atilalike cacaputaobtains in the songs comprised of svaraand pada [8. Malavaparicama] Mailavaparicamashouldbe known to have paiicamarasitsaristand concluding \disborn of paiicamiand madhyama fits. Ichas,assparse, the svarasthat are comprised of wo srutis(gandharaand nisida).. (322) fAnu, 194] This means Milavapaiicamaisrelated to madhyamagrimaonaccountof being born of madhyamaand paiicamij nyisa. Thereis the sparsenessof nisida and gandh: this (riga) iscompletein svaras. Itsapplication is presc vipralambha Spiigara (love in separation) in the entry of the kaicukin (attendant of the female apartments). The miirchana beginning with paiicama obtains Sriigiral re the rasis, Arohin and the lke are the var Prasanna like caccatpusat ob! (4. Vesarasidava] Vesorasidavahas madhyamaasitsarhsaand nya ins in the songs comprised of svara and pada. sadjamadhyamaisthecause and itis devoid of the svarascomprised of two srutiscach (gcinch ). (323) [Anu. 195} This means ~ vesarasidava is related to bor of sadjamadhyama, Madhyamaisthe graha, cui sparseness of gindhira and nigid: kakali, Itisalways complete in svaras. [tis used in. ‘hasyaare the rasas. The miirchan beginning with madhyamaobiains. Arohin isthe varna, Prasannadi isthe alubkiira, The kala is formed in the daksi (marga) the kaldobtainsin the vrtti(marga) and the kali (inarga). A tilalike caccatpugaobtainsin songscomprised of. nd padine BRHADDEST (4. aig] aR Feared: Tae farTia: | atigama fata: Tenis TEM: II nissan: Carp eee] Larend:-J a: WeSTTere rg rari aaT TRNAS TAA: eA TTA CG: HAY TTT Wa weiswa | ETH aE: | 1 fraisa wrat | pienarny sea area fara arafear Tas Terns | artet ae: 1 RA SeTgR:! Sf eu, aH ae, Fe ae ReRTRTA eRCGARCATT: | (8. fete] resivearnigal taninafia Serardirearearat ferster: Ra TAA. BWI isthe Lay eee] [arend: -] feteat aeromremera: | (3g) daranitifedra- tan Tree TRS TATA Mae eH ave eT eA? farinierrermmmrs ous, trmratenfefirrad: = wea Ae davinator, 1 Sf wee wera AA wy ATET earrearateerin | dere arin arafereenta eed a waa eA fe ofa moat 3 eafefe ® ‘TRANSLATION us (5. Bopa-riga) Bostardgashould be known to be born of sadjamadhyan ind paiicami, has paficamaas its ariéaand madhyamaas the concluding note. (324) [Anu. 196 ] Thismean igbornof sadjamadhyan is. Although itis born of two fitisarising out of the two griimas, yetit is related to sadjagrima because of paticama being comprised of our srutis, Paiicamaisthe grahaand ariga, madhyamathe nyisa, ‘There is sparseness of nisida and gindh is kikali here and this complete ind the like is the rasa, The miirch obtains. Arohinisthe varna. Prasann s in the dakgina (manga), the kala obtains in the vptti (marga), and the kala prevails (narga). A tilalike caceatpugaobtainsin songscomprised of svaraand pada, (6. Hindola} Hindolaiscombined with sadjaasanngaand nyzsa, isdevoid of dhaivaraand rsabhaand is formed with jatis excepting dhaivatiand arsabhi, in drama. (825) [Anu. 197] This means ~hindolakais related to madhyamagrima, (Contention) Its relation with the two grimasaloneis proper on account ofits being born of all the jatis (of both the grdmas) bearing the names of svaras excluding dhaivatiand arsabhi and carrying the residue of relationship with sadjagrain Why sit said to be based on madhyamagrama ? (Answer) On account ofits being devoid of dhaivataat ‘ion with madhyamagramaalone is justified because 1d Kohala have treated the undesirable?? uma comprised ity of dhaivata should be viewed only with respect to tina and does not hold good everywhere. This isimproper. Ifthisbeso, then there would be no distinction between griima and marehana?!4 BRUADDEST Lamp eee] ves mise rae) fromtsa erect) daainetanitgfier tea saree 2a Saniepgise fate: | atafera:) | year weonfes 1 anf ama ute) reenter: | earth wen, safes en, fea eM eaTeAY weregarieare | Us. zeehfirer:] dasieeneas acafe gerne: | Settnerararedt: Terre RTe: 126 (ary 288] dairenrrctstagattin: rermmreera: | oy sreraratersh— (rea? oat) Sit: east 7; TEES Se aR ap yey? are wa aggre: icatzea) csi) Tse verted toriieaiel awe agate TENT Ct te fromittcetteh 2) Teri wa: | weisat area daa: 1 Perera ae arent peer | corm’ Fracmrerciictremiigha: EET aeeaaeRgPaMaN ae fafratre stecenfeca: | Gert amit avis > (86-87) Joi BRIADDES! SRO = ATMA ATTN MATTE TTA ATT TRTSraraP TATA | ESATA) ¥] qemien | Fearn gee THAT ontaararearged TEattateTeT 1 sori areen Sen ge ae HAG CCI rename ee serene ye (4) ayo w xfa fete ern :] Sere =) [uate wea] qanien wenn a Fragagel Fal | peer 9 eae rreteeTAAT: 11 CI “eat rarer Geeta Serna | bd cee g fade eer wee Well SIRO = Sqerafrernarn varrerearsenfrare aPrafreentrenfrare af -armentatrerarn waaePrerer BPiPrarerarmaferTaT TATA STATA feonenferara 1 ata (8) saferd serrare APaiRTET TT | Remreritda wr Beat TAI rer ge Sar ga ae aan eco rere ] | MeTeTetATeTENITAT ATATTATATA, aueraranenrcrerreraren rereectare | Tare C8] ‘TRANSLATION 161 dja.as the concluding note, being: n of dhaivata- nisidaand similarly of sadjadhai , madhuri, should be known to be hexatonic in previkhakie(a synonymof hindolaka). (88) ‘ipadhadhadhamadhaninipasanidhasisi _mapadhanisa nisisi: mapanisisiririgamagarisisi nidh: sisi. Madivuiri (v] dpidhanidhasisi ririgamagari Thusend the bhasisof hindo (5. Now the bhdsasin paricama] Having paiicama as arinéa and the same as the concluding note, replete with nisida, being complete, this abhiri bhasiisborn of des (region), rises out of paricama (riga) and should be known tobe the first oncarising outof Paiicama, Mutual concert between sadjadhaivatais to be seen here. (89-90) Where the mutual movement of madhyama-paiicamaisscen tobedense,the bhaga bhavini should be known to be complete by the knowledgeable ones in gindharva®® 1)ra BRIADDEST Segre *rsara & daaign wana waeatteratare) omer eee th QU wea a Hen Faced Sen Sere | a a aoe TITTT 1 SRN semen ~ [ee] are (aft) erenfefeerarerarerarenteenfearara - eee TTT ATTA FeRAM MATT ATTA TAA TTT eafrereren ear TATE TEAL 3 ] yanien aaa sae Vea SAeT | fergteregi feral Srl fag: 1 RASTA IAA EEA Sel eee reer eee rere TTT ATTY Tpit Twara a Trans 1 regrets aga Pra Oferta GARETT TEP TAZA eat CopeaTERRge CHOTA FATAL | eguquit afer] a are APSTAL SIA th fend et Fen VATS THATAT 1 REI Seneca — ara Freee efatate ererare FafeenfenfereFCG - ra eee oferta are} TRANSLATION 163 Mitigali has paricamaas its concluding note and is said to have dh asarhéa, There is concert between sudjedhaivata and similarly madhyama- reabha; itis held to be always complete and should be known to be born of desa*” (region). This said to be born of paricama knowledgeable one: in music. ‘ipamasisinidhasesiririgarimirisi Pamamapapa Mavigali ii] Having paricama as 3 complete and brilliant with parican vibhasi born in the Sindhu region. Concert™ between sagja and paiicama isseen again and again, sparse madhyan always complete, This vibhi complete. (95) lusration-Gurimimimadhiinidhipipidtidhinvidhininimidhiginisuiguin- adhamapadhapadhanid hadhadhadhapari idh fini i adhamaggivisim should always be known as a vibhasi born of paitcama bearing a regional named! _gurimagaririri. Dhanidhadhanidhidhanidhapa pinirivigivigidhi gimagirinidhapipa. Daksivatya [vi]64 BRIADDESI seater ver Pee TEIGIT | Prneerercten eden a1 Fret: Weel rercogpen Grr Fase tae: 1 eoapeneh Fagen cites feraTo FEAT NRC were sere, - Severn ereraraTar nfs ran arETTETATETET AAR emergerrerereraren serserararercn wrenfefemearare waeTeTERCETETTATS | RmeTETTTARRerIA ToTTTTTETEMeTATTATT | SUT [19] werd Herta TETMTGTT | oR qedaadand aged TEA FI wom eget Pr egal TATE ATA TFTA HAT 1 8 epic) 2 “sere trn, — aTrTerPeRe Pare essere Tare ATT TATA TE - Frqufiren afcrrerentaererent Tae ema MTA AAATA TATA | ariea (¢] areoh yoo TET Ags | wet feqari asta TH TRIGA: 11 Yoo weerorragel saree | rere Ser TAM SATEEN Ser, —arATETETANT ereTeTarar A rarene rene renee cee Aer aTATAR safcermrnfeen aFrararn PrenPraratreatsrcre erat errr earareTer TATA - amraritaran aarafrarenemerrearerarereacraren were 1 aOR | E87 wet ‘TRANSLATION 165, Having rsabha as arise, paiicama as the concluding note, it should be known to be weak in sadja, It should always be performed with the ktkall form of nisida. to be sidhirayakred by the knowledgeable on Andhili_ is well-known among the people® and is the 8 (97-98) ipadhidhidhidhapa dlsidhasipipipadhininipa isipsidhipiipsipimarimavidhidhipudhapasidhadly Having sparse rsabha, madhyama as avin nyasa, there being concert between mach paitcama, beingcomplete, this bl bunclance of sd sparseness), This166 BRIADDEST Sfvat cara orearien Figden | Remiadari Teri TTS J It ww coreg ge Pre aR W RO SATE, ATAPI WET ETETTATAT mrernerertarntctaran Ae mremeerararen Paftarat | Ferest | [0] ‘een aafeeanPAfeET TAT eI FSA Ul Roz! wen [g. ata frre) araat WaRTA TET a FrTTETT U Lowi f(a? Saaien dean a verndeafetar | FEIPaA aT FATES WaTBHA: I ce fe ar Raber eet (77 Cot a afrrearmarrarrattrer enPrarer ~ SEATS TTT ATTA TTT, ARTA (=) aRArermeatermerrarmt = Tererenfraprariereant reat re | Faget [2] dani daara wesdaraye | aatartdatmenrifa: 1 are oa ssf crferonea a See MTETAATAT 11 LOGI ara > “TRANSLATION 167 Kaigiki has paricamaas nyasa, madhyamaas auisa, is weak in ni(nisida), thereis (mutual) movement between madhyamadhaivataandabundance of paticama. This bhiisi is born of paficama (1 is always swubkirnd (mixed). (102) Musiration-P Sivinipipimadhimadhamadhadhamamadha. Niripipa Kail himdmimidhdonsichidhdanisk tx) ‘These are the ten bhassin paiicama (raga) described by Yas * (103) (6. Bhasasin bhinnagagja] After this, I shall speak of the bhi dja. (104) Having dhaivauras aria and the same as concluding note, being devoid of paticama and psabha, baving to and fro movement between sadja- gandhara, this suddh: should be known by the performers to subsist becomes pentatonic when devoid of sadja® (105) Annvigasinidhal gumadhiameelhaes hand Suddha [i] nent between sdja- bearsthe name of des (106)10 BRIADDEST sao - TeTATAMTefenfcaMPrtareMea sa ener rae ATATETETET ‘PPrenerarmnenfeerarnen Pare | ferent | [2] daareraeiqen wearer | a Sr aug reed wet ego Rowell RICO - exerraraffirarene Reman era A eT ‘tara freraferrrerarindarrrnen rear reer PTE | [3] Saaerniqe Wear verifegan | ates ommend fei 3 tat fama ta sterol watt cafeTATEGA I Rocit owe ‘serecory, —enFeareren Feareremen Foamfeenfefenfeferrenfeemen FACET - FaPrevem sited 1 [s] Smet daar ar gy eden @w perineal Tr FIA TAH oR corer Di we fara thet cen arferrateT | aha) afta aired THATTTT 1 Roll ante ‘Seton — Ce] ren FaPreenra ren srerereren Feat feernfeenteerrreat ere rafter areTeRAR Prien AETITITIRRARREAP rar Tere RAR ‘Eafe fearon Feat rerenhaPrener Tera raP rer rana Steet | (4) TRANSLATION 169 nidhapapimadhasi Daksin ] (107) the initial and concluding note, hexatonic, thi, is performed in the panegyric of psibhaand the svarascomprised of two Combined with dhaivat devoid of paiicami, the vib Lalita Concert between madhyam: Srutiseach iss (108) ddharimigagidha rimigarigivirigariviga thi tiv) autiful and very charming. Itissungby the ith gamakas, (Mutual) nadense manner. (109-110) ininidhaniniririnicirimagarisa jinisinisinidhadha. Paural (v]