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

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Treatment of Svara
two and the last two mātrās²² and if, after that, the pluta
(extra long) is augmented by one and half the (said) gaṇa²³
and is used with the eight mātrā-s such as dhruvaka and so
on²⁴, twice repeating the last two of them²⁵, then it is ardha-
māgadhī. (22c-24c)
when it implies twice the effort necessary for pronouncing a short vowel
or a consonant with it. There are quite a few conditions that determine
this measure of effort which need not be related here. To understand
the given example, however, in the first kalā of four mātrā-s (units) and
five notes only two syllables are taken, viz. Bha, which is long in view
of the succeeding conjunct and ktyā which is long by itself The other
kalā-s are similarly fashioned.
Here, it may be observed that 'S' seems to have a different reading
of the portion 19b which leads him to take it as a part of the defini-
tion of sambhāvitā, rather than that of ardha māgadhī as taken in our text
as well as by 'K'. Indeed the text-variant of dvirāvṛttapadaṁ pare is
recorded in the foot note of the Adyar edition as dvirāvṛttapadāntare
which means : "the one in which a phrase (pada) is sung in the following
phrase for the second time" and which is taken by 'S' to be qualifying
sambhāvitā. (19cd).
Pṛthulā is in contrast with sambhāvitā; whereas the latter has abrid-
ged pada-s with long syllables, the former has many pada-s with short
syllables. That is perhaps why Mataṅga derives sambhāvitā as that
in which the abridgement of pada-s is expected (saṁbhāvyate) and pṛthulā
as that which is enlarged upon profusion of pada-s; for, pṛthulā literally
means large or broad. (20ab).
Having described the four types of gīti as based on pada (verbal
phrases), the author describes them as based on tāla; and thus, he deals
with tālāśrita-gīti.
Detailed information regarding tāla is to be found in the
Tālādhyāya, i. e. Chapter V, but here it is necessary to observe a few
things. The three types of caccatpuṭa; viz. ekakala, dvikala and catuṣkala
22. The initial two are dhruvaka and sarpiṇī and the last two are
pataka and patita.
23. That means, nine mātrā-s.
24. The eight mātrā-s of caccatpuṭa, i. e. from dhruvaka to patita.
25. In order to occupy the last four (9-12) mātrā-s.

• This is based on the references of 'K' in his commentary on
  the above text.

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Section 8 : Gīti-s 385
These²⁶ two may also similarly (be conceived) in
other²⁷ tala-s. (24c-24d)
Sambhāvitā is accepted to be with many long syllables in
the dvikala (caccatpuṭa) by the vārtika mārga and pṛthulā is
with many short syllables in the catuṣkala (caccatpuṭa) by the
dakṣiṇa mārga. (25)
Here ends Chapter I of saṅgīta-ratnākara entitled "Treat-
ment of svara" composed by Śārṅgadeva who is free from
doubt, the son of Śrī Soḍhaladeva, the faultless reveller of
scholarship and the master treasurer.
have already been mentioned. Of these the first one is called yathākṣara
which corresponds in terms of unit measures (mātrās) to those indicated
by its name, and that is why it is said to be namewise (yathākṣara); and
its measure is two guru-s followed by a laghu and a pluta making in all,
eight mātrā-s.
Laghu has already been explained as the duration of time required
for pronouncing five short syllables; or, as it is alternatively expressed,
the duration of time taken by the winking of eyes for five times. Two
laghu-s make for one guru. Three laghu-s constitute a pluta.
The laghu is written as (1), the guru as (S), and the pluta as (S')
and the last letter of caccatpuṭaḥ, viz. ṭaḥ is pluta. So, now it will be
seen that the namewise (yathākṣara) caccatpuṭa is written SSIS' and has
eight mātrā-s. Mātrā is another expression for laghu.
Reverting to the text, the first two guru-s have the value of two
mātrā-s each and as such they should, in māgadhī, be sung in the citra
mārga in the ekakala caccatpuṭa. Ca-gaṇa, as it will be described in greater
detail in Chapter IV, viz. Prabandhādhyāya, is a grouping of four mātrā-s.
So, the second step is to enlarge upon the two initial guru-s so as to
enhance their value to four mātrā-s each, and thus sing the pada as
dvikala by vārtika mārga. The third step is to enhance the value of each
of the two initial guru-s to eight mātrā-s and sing by dakṣiṇa mārga in
catuṣkala caccatpuṭa. Thus, the essential feature is the repetition of the
initial two guru-s as required by the expression "trirāvṛttapadā" and so
on. The second step, as described above, is implicit as pointed out by
'K'. (20c-22b)
26. Māgadhī and ardhamāgadhī.
27. Such as pañcapāṇi and so on.
25