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

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410 Treatment of Svara
by itself is called svara." Resonance, softness and self-sustained
deligtfulness are the essential features of svara.
It is also notable that the two commentators of Śārṅ-
gadeva harbour a difference of opinion with respect to the
first character of the tone. Kallinātha thinks that in case of
............................................................................................ and the
.........................................................................................................
śrutyanantarabhāvī (immediately consequent upon the śruti)
the term śruti refers to that particular śruti which is capable
of resounding into note, and which is technically called
svarasthāna. Simhabhūpāla, however, would consider the first
śruti bereft of resonance as śruti and the fourth śruti giving a
rise to resonance, a svara.²⁴
However, the suffix 'bhāvī' in this expression is sugges-
tive of possibility and refers to possible resounding vibrations
of a śruti and therefore precludes any interpretation to the
effect that every śruti can resound or be a svara. The
difference of opinion between the two commentators leads us
to two theories.
(i) That svara manifests itself as the resounding
vibration of the fourth śruti of ṣaḍja, and therefore
svara can be said to be the effect of śruti and is
therefore to be conceived as different from it.
(ii) That the fourth śruti of ṣaḍja is itself svara, since
it is capable of resounding.
To Simhabhūpāla, there are four distinguishable sounds,
the first three being devoid of resonance and the fourth one
being capable of it. Therefore, the resounding śruti, for
him, is not quite different from svara.
२३—श्रुत्यनन्तरभावी, श्रुतेश्चतुर्थ्यादेरुत्पन्नादेकनाद्याह्युत्पन्नप्रथमध्वनेरनन्तरं भाव्याविर्भावनशीलः
S. R. p. 82.
२४—श्रुत्यनन्तरेति । श्रुतेरनन्तरं भवतीति श्रुत्यनन्तरभावी ।
प्रथमतन्त्र्यामाहतायां यो ध्वनिरनुरणनशून्य उत्पद्यते स श्रुतिः,
यस्तु ततोऽनन्तरमनुरणनरूपः श्रूयते । स स्वरः ।
ibid.

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Appendix III 411
So, we have two types of śruti-s, the resounding śruti-s
and the unresounding śruti-s. R. Sathyanarayan in his
paper entitled 'Śruti, the Scalic Foundation' identifies these
two types with svaragata and antaragata śruti-s of Viśvāvasu.²⁵
But, it would be technically more accurate to identify the
............................................................................ and to refer to other
śruti-s merely as śruti .................................................... esta-
blishing a proper understanding of the relationship of śruti
and svara.
Delightfulness indeed is related directly to resonance
that brings about spontaneous perceptibility; and therefore,
the tonality of the notes is primarily in resonance. Mataṅga
derives the word svara from the Sanskrit root Rājṛ, to shine,
with the prefix sva (itself), meaning that which shines by
itself²⁶ i. e., which is spontaneously perceptible and needs
no other means to manifest it. He then defines svara as
delightful sound²⁷ and cites Kohala in his support to the
effect that "colourful sound is known as tone."²⁸ So we
have spontaneous perceptibility, delightfulness and resonance
(i. e the overtones, the sound vibrations immediately follow-
ing the note-śruti), and softness as the four essential ele-
ments, aspects, or dimensions of svara.
Now the question is, how many of these effects are
shared by śruti ? Spontaneous perceptibility, resonance and
delightfulness are positively denied to it, while softness may
be attributed to it since it has musical sound for its content.
Then, how do these attributes manifest themselves, when
svara-s are said to arise from śruti-s? One explanation is
Saṁskāra-pradāna i. e each śruti transmits its residual effect to
२५—Sangeet Naṭak, Śruti the Scalic Foundation—No. 17. p. 62.
२६—राजू दीप्ताविति धातोः स्वशब्दपूर्वकस्य च ।
स्वयं यो राजते यस्मात् तस्मादेष स्वरः स्मृतः ।
Bṛhaddeśī.
२७—रागजनको ध्वनिः स्वरः उच्यते ।
ibid.
२८—ध्वनीरक्तः स्वर स्मृतः ।
ibid.