सङ्गीतरत्नाकर: प्रथम भाग (शार्ङ्गदेव - स्वरगताध्याय सविस्तार व्याख्या व अनुवाद सहित)

148 Treatment of Svara
He also relates certain psychological states of mind, aesthetic
moods with the notes and the animals as reproduced in the following
table. The rasa-s or the aesthetic moods are in theory attributed to
various notes by our author as well.
Notes as related to the birds and animals and the rasa-s

Sanskrit notes	English notes	Sanskrit names	English names	Types in the animal kingdom	Sentiments peculiar to
Sa	C	Shadja	Do	Peacock	Heroism wonder, terror
Ri	D	Rishabha	Re	Ox or Chataka	—do—
Ga	E	Gandhara	Mi	Goat	Compassion
Ma	F	Madhyama	Fa	Crane	Humour & Love
Pa	G	Panchama	Sol	Black-bird	—do—
Dha	A	Dhaivata	La	Frog	Disgust, Alarm
Ni	B	Nishada	Si	Elephant	Compassion
(Chart 9)
Note :—Spellings and English equivalents of Sanskrit words have been
retained as in the original.
(viii) वादि-संवादि-विवाद्यनुवादिभेदेन चतुर्विधाः स्वराः
चतुर्विधाः स्वरा वादी संवादी च विवाद्यपि ॥४७॥
अनुवादी च वादी तु प्रयोगे बहुलः स्वरः ।
(viii) Sonant, consonant, dissonant and assonant notes : 47c-51
The notes are fourfold viz., sonant¹, consonant², disso-
nant³ and assonant⁴; of these, sonant is that note which in
Having defined the relative form of the notes, the author now pro-
ceeds to classify them from a different point of view, viz., on the function-
al basis. The Sanskrit name for sonant is vadī which literally means

1. Vadī, literally means speaker i. e., the note that frequently sounds.
2. Saṁvadī, literally means the corresponding note, the note that converses in tune with the sonant, with the vadī.
3. Vivadī, literally means the opponent, the disputant i e., the note of discord
4. Anuvadī, literally means that which sounds afterwards, which follows i.e., the note that supports the sonant.
   Section 3 : Nada, Śruti and Svara 149
   श्रुतयो द्वादशाष्टौ वा ययोरन्तरगोचराः ॥४८॥
   मिथः संवादिनौ तौ स्तो निगावम्यविवादिनौ ।
   रिधयोरेव वा स्यातां तौ तयोर्वा रिधावपि ॥४९॥
   शेषाणामनुवादित्वं वादी राजाऽत्र गीयते ।
   संवादी त्वनुसारित्वादमात्योऽभिधीयते ॥५०॥
   विवादी विपरी तत्वाद्धीरैरुक्तो रिपूपमः ।
   performance is most frequently used. The notes having an
   interval of eight or twelve śruti-s are mutually consonant.
   Ni and ga are dissonant to all other notes, or to ri and dha
   only, or ri and dha too are their dissonants. The rest of the
   notes are related as assonants. (47c-50a)
   The sonant among them⁵ is considered to be the ruler,
   while the consonant, being in concert with it, is called the
   minister; the dissonant being antagonistic is likened by the
   sages to an enemy, the assonant⁶, however, since it follows
   the king as well as the ministers, is like a servant. (50b-51)
   speaker. The name itself is suggestive of its function viz., the one that
   sounds frequently, and thereby establishes the melodic pattern of rāga.
   Generally, the sonant is also the fundamental note (the tonic), specially
   in the jati and grama-rāga-s.
   'K' defines saṁvādī i.e., consonant as the note which, in conso-
   nance with the sonant, creates the quality of delightfulness in a rāga (a
   melodic structure) and helps to maintain it. 'S' raises the point that,
   whereas Śārṅgadeva has spoken of eight or twelve śruti-intervals being
   the necessary condition for consonance of notes, Mataṅga and Dattila
   have mentioned nine or thirteen śruti-s as constituting the required inter-
   val. Now, in order to answer this question as well as to grasp the whole
   concept of consonance of notes, it is necessary to examine the statements
   of Mataṅga and Dattila. Mataṅga says :
   "The notes placed at the interval of nine or thirteen śruti-s are
   mutually consonant" (as quoted by 'S').
5. That is, the four types of notes viz., the sonant, the consonant, the assonant and the dissonant.
6. The assonant is like a servant, in so far as it has no other func-
   tion except to strengthen the leading note in concordance with
   the consonance; it has no individuality of its own.