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

298 Treatment of Svara
In the state of completeness, the notes causing hexa-
tones⁹ and pentatones¹⁰ respectively become rare¹¹ and
rarer¹², while it is the reverse with pañcamī. ( 57c-58b )
Rareness and profusion not being obtained ( in the
ordinary course ) the statement ( obtaining them ) forms a
specific rule ( vidhi ). In case of two ( possibilities ) obtain-
ing, the pre-eminence of one is by exclusive specification
( parisaṅkhyā ). ( 58c-59b ).
hexatonic and pentatonic formations, in the state of completeness (while
they are not being eliminated), are respectively employed rarely and
very rarely, i. e. those that are the makers of hexatonic forms (ṣāḍava-
kārī) are characterised by rareness and those that are the makers of
pentatonic forms (auḍuvakārī) are characterised by greater rareness.
But in the case of pañcamī jāti this rule is applied in reverse order, the
pentatone-makers being rare and the hexatone-makers being rarer.
(57c-58b).
It has been stated ( just before this) that with regard to rareness
in the state of completeness of jāti-s the ordinary rule is applicable to
pañcamī in the reverse order. The question is why such a transgression
of the rule is permitted. The simple answer to it is that it is ordained
by a rule, which is framed by ancient authorities. However, the author
explains this exception in the light of relationship obtaining between
the concepts vidhi (rule) and parisaṅkhyā (exclusive specification) as found
in the Mīmāṁsā system of Indian Philosophy. In order to understand
the real import of the text one has to be clear about these two concepts
as applied to the situation obtaining with reference to the provision of
rareness and profusion in the pañcamī jāti.
Vidhi means a rule or a precept that enjoins something for the first
time, while parisaṅkhyā means such specification that acts as a limitation
to what is expressly mentioned.
"Let one offer twilight worship in the morning" is a religious in-
junction cited as an example of vidhi by 'K'. One cannot by any means
know whether one should or should not perform a religious ceremony
except by the injunction of a sacred book. The point is that the rule is
laid down for a certain observance by an unquestionable authority.
9. Ṣāḍava.
10. Auḍuva.
11& 12. 'K' interprets alpa and alpatara respectively as anabhyāsa (non-
repetition) and laṅghana (overstepping).
Section 7 : Jāti-s (Melodic types) 299
'K. R.' cites an example for parisaṅkhya (exclusive specification) in the
statement : "the five-clawed (animals) may be eaten." Eating of meat
is known by experience. This statement gives a preference to the meat
of five-clawed animals. It results in prohibition of the meat of animals
other than the five clawed ones.
The structure of pañcamī is described subsequently (verse 73-75b)
wherein it is said that sa, ga and ma are rare notes in it; and the hexa-
tonic and pentatonic forms are respectively caused by the elimination of
ga, and ni and ga. So ordinarily ni and ga being the makers of hexatonic
and pentatonic forms, should, in the state of completeness, respectively
be rare and rarer. Thus, of the notes that are declared to be rare, viz.
sa, ga, ma, the first and the last, viz. sa and ma are not obtained in the
usual process; they are given as a rule (vidhi). On the other hand,
niṣāda is declared to be one of the semifinal notes by Bharata (as quoted
by 'K' in his commentary) and therefore to be taken profusely. So we
have a contradiction in so far as the same note (niṣāda in this case) can-
not in the same jāti be a rare as well as a frequent note. This contra-
diction, as observed by 'K' is sought to be removed through the distinc-
tion made between vidhi and parisaṅkhyā. Both ga and ni are given as
rare notes (in the state of completeness), so in order to bring the rareness
of ga into prominence, that of ni is discarded; and this is parisaṅkhyā.
ग. जातीनां विशेषलक्षणानि
अथ प्रत्येकमेतासां जातीनां लक्ष्म कथ्यते ॥५९॥

1. षाड् जी जातिः
   षाड् ज्यामंशाः स्वराः पञ्च निषादर्षभवर्जिताः ।
   निलोपात्षाडवं सो ऽत्र पूर्णत्वे काकली क्वचित् ॥६०॥
   सगयोः सधयोश्चात्र संगतिर्बहुलस्तु गः ।
   गान्धारे ऽंशे न नेर्लोपो मूर्च्छना धैवतादिका ॥६१॥
   त्रिधा तालः पञ्चपाणिरत्र चैककलाऽऽदिकः ।
   ऋन्मार्गाश्चित्रवृत्तिदक्षिणा, गीतयः पुनः ॥६२॥
   मागधी संभाविता च पृथुलेति क्रमादिमाः ।
   नैष्क्रामिकध्रुवायां च प्रथमे प्रेक्षणे स्मृतः ॥६३॥
   विनियोगो, द्वादशात्र कला अष्टलघुः कला ।