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

( xxii )

(b) Visvanath Singh is the name of the commentator's
patron, obviously the prince of Rewan, who was a
great scholar and patron of literature and arts.
(c) The author hails from Mathura.
(d) The language of the commentary is Brajabhāṣā.
(e) The scribe appears to be Lala Daulat.
Critical approach seems to be wanting in this commen-
tary. There appears to have been no attempt to interpret
the concepts in the light of current practice.
6. General Scheme and Style of the Work
(a) Objective :—Śārṅgadeva states the following four
reasons for writing S. R.¹
(i) Akhilalokānāṁ tāpatrayajihīrṣayā—to liberate every-
one from the three kinds of pain, adhibhautika
(physical), ādhyātmika (psychological), and ādhidai-
vika (natural calamities).
(ii) Śāśvatāya-dharmāya—to uphold the eternal dharma
(virtue).
(iii) Kīrtyai—for obtaining fame.
(iv) niḥśreyasāptaye—for achieving liberation.
(b) Scheme :—S. R. is devoted to the delineation of
saṅgīta—a composite of gīta, vādya and nṛtta. Śārṅgadeva
has consolidated and arranged in seven chapters the exposi-
tion of the entire saṅgīta. Six chapters are devoted to music
and the last one to dance. Music, independent of drama,
had apparently become crystallised by the time of Śārṅga-
deva.
Following is the list of the various chapters and their
contents. Since the present volume of the translation includes
only the first chapter, the others will be discussed in the
introduction to the respective volumes.

1. S. R. 1. 1. 13cd-14.

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CHAPTER I : SVARAGATĀDHYĀYA
The first chapter is confined to the treatment of svara,
i. e., the tonal aspect. It is further divided into eight sections
(prakaraṇa-s). They are :
(i) Padārthasaṅgraha prakaraṇa :—Genealogy of the
author, the ancient authorities (ācārya-s) to whom the author
is indebted, and table of contents.
(ii) Piṇḍotpatti-prakaraṇa : Genesis of the human body
combining the Vedāntic, Āyurvedic and Haṭhayogic views.
(iii) Nāda - sthāna - śruti-svara - jāti-kula-daivata-ṛṣi-cchand-
rasa-prakaraṇa : Nādopāsanā, the production of nāda in the
human body according to Śikṣā-s; 22 śruti-s; sāraṇā*; svara
and its definition; śruti-jāti-s* : names of 22 śruti-s*; śuddha-
vikṛta svara-s; association of animal-cries with svara-s; four
kinds of svara-s—vādi-saṁvādi-vivādi-anuvādi; assignment¹ of
kula, varṇa (caste), varṇa (colour), janmabhūmi (birthplace), ṛṣi
(seers), devatā (gods), chandas (metres) and rasa (sentiments) to
svara-s.
(iv) Grāma-mūrcchanā-krama-tāna prakaraṇa: Three grāma-s;
mūrcchanā-s; krama-s; śuddha-tāna-s; kūṭa-tāna-s; prastāra; khaṇḍa-
meru and the mode of computing naṣṭa and uddiṣṭa; names of
śuddha-tāna-s
(v) Sādhāraṇa-prakaraṇa: svara-sādhāraṇa; its four varie-
ties—kākalī, antara, ṣaḍja, madhyama—and the process of
obtaining the 12 vikṛta svara-s; jāti-sādhāraṇa.
(vi) Varṇa-alaṅkāra-prakaraṇa : four varṇa-s; alaṅkāra-s.
The number of alaṅkāra-s in S. R. is more than those
mentioned in earlier treatises. However in S. R. the term
alaṅkāra has a restricted usage and refers only to the melodic
motif, whereas in N. S. the term comprehended 'kampa' also.
* marked on topics implies that either the author provides the
first available record of the respective tradition or has his own
way of treatment.

1. This body of lakṣaṇa combines the influence of vedic and
   tantric tradition.