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

366 Treatment of Svara
D. Concluding Remarks : 110-115b
(i) General remarks with regard to jāti-s : (110-113b)
Wherever not specified, the tāla would be threefold,
viz. ekakala etc.¹ set in the citra, vṛtti and dakṣiṇa mārga-s and
the māgadhī, sambhāvitā and pṛthulā gīti-s respectively.
(110-111b)
The number of kalā-s as introduced by us, pertains to
the dakṣiṇa mārga, which should be known as double in the
vārtika and quadruple in the citra. (111c-112b)
The aesthetic delight (rasa) may be understood to be
determined by the fundamental note² in all the jāti-s.
(112cd)
The elements of the derived rāga-s are traced³ by the
specialists among the parent jāti-s. (113ab)
The author having described the individual characteristic features
of the eighteen jāti-s is now offering some concluding observations on
this topic.
Wherever no specific mention of tāla etc. is made in the above
description, the author lays down a general rule with respect to tāla,
mārga and gīti to be applied in all such cases.
The prastāra-s of jāti-s have been modelled on dakṣiṇa mārga. The
author is here laying down the rule for singing in the other mārga-s
and gīti-s as well. If, for example, ṣaḍjī has twelve kalā-s of eight
laghu-s each in dakṣiṇa mārga, it will have twenty-four kalā-s of four
laghu-s each in vārtika and fortyeight kalā-s of two laghu-s each in citra
mārga. In any case the time taken by the song is the same.

1. That is, ekakala, dvikala and catuṣkala caccatpuṭa.
2. Such as, sa and ri as fundamental notes are said to be condu-
   cive to heroism and so on.
3. It has been mentioned in some of the jāti-s as described above,
   that such a rāga is seen; varāṭī for example is seen in ṣaḍjī.
   Ragāṁśa is defined by 'K' as "an integral part of another
   rāga." Such elements of the other rāga-s are seen or perceiv-
   ed in the jāti-s because they are derived from them either
   directly or through the grāma-rāga-s.
   Dṛśyante (lit. 'are seen') is interpreted by 'K' as udbhāvyante
   which may be rendered as "are intuitively felt."

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Section 7 : Jāti-s (Melodic types) 367
(ii) जातिगानस्थ फलश्रुतिः
ब्रह्मप्रोक्तपदैः सम्यक्प्रागुक्ताः शङ्करस्तुतौ ।।११३।।
अपि ब्रह्महणं पापाज्जातयः प्रपुनन्त्यमूः ।
ऋचो यजूंषि सामानि क्रियन्ते नान्यथा यथा ।।११४।।
तथा सामसमुद्भूता जातयो वेदसंमिताः ।
(ii) The esoteric value and nature of jāti-gāna : (113c-115b)
These (jāti-s), if properly sung with the verbal texts
formerly composed by Brahmā in the eulogy of Lord Śiva
(can) redeem even the sin of slaying a brahmin.¹ (113c-114b)
As the hymns of the Ṛgveda, the Yajurveda and the
Sāmaveda are not otherwise uttered (except according to the
rules), so also the jāti-s² that have originated from the
Sāmaveda are in conformity with the veda-s³ (114-115b)
The author here is trying to bring out the importance and the
value of jāti songs. In the first instance he points out (vide 113ab) to
their historical value from the point of musicology; and this constitutes
a perceptible benefit (dṛṣṭaphala), since the study and practice of jāti-
songs and their music is helpful in understanding the contemporary
rāga-s that are derived from them. Secondly, he also points out an
imperceptible benefit (adṛṣṭa-phala) also, viz. its potency for accruing
religious merit and for absolving one from the greatest of sins.
The author is particular in pointing out that by his time jāti-gāna
(singing of jāti songs) had crystallised into unalterable forms, and was
cast in rules no longer open to amendment. This may even suggest
that jāti-gāna was already out of date in his time. That is perhaps
why he sanctifies it in association with the vedic hymns as an ancient
tradition.

1. Considered to be the greatest of sins; if that can be redeemed
   through jāti-gāna, what else cannot be accomplished.
2. That is, in contravention of the rules or in the violation of
   their characteristic features described above.
3. The implication is that, it is sinful to sing the jāti-s except in
   the form in which it is ordained by tradition.