प्रियदर्शिका नाटिका (सम्राट हर्षवर्धन - चतुरङ्क शास्त्रीय नाटिका सान्वय सटीक)

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इन by शूर्पणखीयो नियमः. Properly वाद्य, also called आतोद्य refers to
the four kinds of musical instruments, viz (1) stringed instru-
ments such as the Vīnā, wind instruments such as वेणु, instru-
ments with mouths covered with hide, such as the मुरज, and
instruments beaten, such as cymbals ( कांस्य, &c ).
P. 38 Sl 10 This contains many technical terms of music.
व्यञ्जनधातु—one of the four modes of playing on a lute. There
are विस्तार, करण, आविद्ध and व्यञ्जन, see com., read विस्तारकरणाविद्ध &c.
धातु—Properly an element that produces anything, here the act
of producing musical notes or tunes by striking the strings of a
musical instrument, see com. For its ten forms distinguished
by the different ways of striking the strings with the fingers,
see com. वृत्ति —V. l. for प्रवृत्ति means the relation between the
vocal and instrumental music as the one or other is principal or
subordinate, see com. Mr. Gadre quotes Rāghavabhaṭṭa on मयाऽपि
गीतरागेण ( Śâk. I ) who says गीतरागेण श्रीरागादिना धातुना and says that
धातु may mean Râga, the Râgas being ten, according to some
authority. लय—seems to be used here for ताल though there is
a technical difference between the two. ताल is musical measure
or time ( तालः कालक्रियामानम् ) while लय is the union or agreement
of song, dance and instrumental music. लय, however, falls under
the general category of ताल—cf लयो दशनाट्याणां गतमशतालनाट्यवर्त्ती
लयात्मकः कालविशेषः । उक्तं च प्रतारे—कालो जातो क्रियाङ्गानि मार्गशह्यकरा
लयः । यतिः प्रसारकश्चेति तालप्राणा दश स्मृताः ॥ quoted from the com.
on the Mallikâmârata by Gadre. The three kinds of लय or
tempo are द्रुत or rapid ( allegro ), मध्य or middle ( moderato )
and विलम्बित or slow ( adagio ) corresponding to which
are the three pauses समा, स्रोतोवहा and गोपुच्छा. See Nât. Śa 31 231
333. गोपुच्छ—Read गोपुच्छाप्रमुखा. गोपुच्छा ( so called because it re-
sembles the tail of a cow—see com ) प्रशस्या यासा सा गोपुच्छाप्रमुखा. लय,
ओघ and अनुगत are the three modes of playing on a वीणा ( वेणु ) ;
see com, read in the com. वाद्यप्रपौथी instead of प्रवाद्यौ । For other
particulars see the extract from Śivarâma's com. on this sl. in the
Nâgânanda, given on p. 60. उपाध्याय —See com, fr. इ with उपाधि
and aff. घ ( घञ् ) Properly a spiritual teacher. See Śak. V
p. 118. एकदेशं तु वेदस्य वेदाङ्गान्यपि वा पुनः । योऽध्यापयति वृत्त्यर्थमुपाध्यायः स
उच्यते ॥ Hence a teacher or preceptor in general.
यदहमभिरुचामि &c.—This apparently means—may you be an
adept in music as I wish you to be, the real meaning is--may you
be my queen as I wish you to be. This is probably suggested
by Kâs'yapa's words यदिच्छामि ते तदस्तु in Śâk. IV p. 110