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

122 Treatment of Svara
bit⁶ higher than that, maintaining continuity in between the
two śruti-s and disallowing any intervening audible sound.
Thus, the strings fixed one below the other are successively
of higher and higher pitch, and the sound produced by them
is known as ‘śruti’⁷ (10c-13b)
To establish the notes on the two vīṇā-s let ṣaḍja which
is of four śruti - measure, be fixed on the fourth string; ṛṣabha
of three śruti-measure on the third string as counted from the
fifth⁸; gāndhāra of two śruti-measure on the second string
from the eighth⁹; madhyama of four śruti-measure on the
fourth string from the tenth¹⁰; pañcama also of four śruti-
measure on the fourth string from the fourteenth¹¹; dhaivata
of three śruti-measure on the third string from the eighteenth¹²
and niṣāda of two śruti-measure on the second string from the
twentyfirst.¹³ (13c-17a)
Let one of these two vīṇā-s be kept invariable¹⁴ and
the other one as variable¹⁵; and in the latter, one may
move¹⁶ the strings. (17b-d)
In the first movement, the seven notes of the variable
vīṇā¹⁷ have to be brought over¹⁸ by the experts¹⁹ to the
6. The expression ‘a little bit’ is explained forthwith in the text
that follows immediately, i. e. to the extent that no other
sound intervenes and the continuity in hearing is maintained.
7. The twentytwo strings fixed in this manner, when plucked will
sound in twentytwo śruti-s. This number is further to be
verified and proved beyond doubt. But in the meanwhile,
every sound produced by these is called śruti.
8. The seventh string if counted from the first.
9. The ninth ” ” ” ”
10. The thirteenth ” ” ” ”
11. The seventeenth ” ” ” ”
12. The twentieth ” ” ” ”
13. The twenty second ” ” ” ”
14. Literally, dhruva means immutable, constant.
15. Literally, cala implies adjustability in this context.
16. The precise meaning of this term is elucidated in the next
verse.
17. This expression is implicit in ‘tasyām’ of the text which is
related to 17d above.
18. This is more or less a literal translation of āneyaḥ of the text,
which has been preferred in order to preserve the underlying
feeling that an experiment is being conducted; for otherwise
the purport is that the notes have to be shifted from their
original strings.

Section 3 • ...
immediately preceding²⁰ strings; and thereby its notes are
lowered by one śruti each with reference to those of the
invariable vīṇā. The remaining²¹ movements may as well
be similarly carried out. (18-19b)
In the second²² movement, due to the fusion²³ of two
śruti-s the ga and ni of the variable vīṇā have been absorbed²⁴
by ri and dha respectively of the invariable vīṇā. (Similarly)
in the third movement ri and dha have merged into sa and
pa respectively; while in the fourth movement sa, ma and pa
have fused with ni, ga and ma respectively.²⁵ (19c-21b)
The concept of śruti and the number of śruti-s, i.e., twentytwo, is
not based merely on subjective experience of the nādī-s, but as clearly
defined, the different śruti-s can be produced at will, recognised as indi-
vidual entities and so demonstrated. Thus, the concept of śruti is
objective and scientific in so far as it is demonstrable.
The procedure for this demonstration is quite simple and is said to
have been attempted successfully with tangible results. This topic is
dealt with in the text extending from verse no. 10c to 22 and the whole
process is technically called ‘catuḥ-śaraṇā’, which will be explained later.
However, the technique of demonstration is open to some serious
objections; for example, Pt. Omkarnath Thakur points out the following
difficulties in the process (cf. Praṇavabhāratī, pp. 64, 65 and Saṅgītāñjalī
pt. V, p. 91) :
19. The experiment has to be conducted very carefully and under
expert guidance.
20. The original strings are the 4th, 7th, 9th, 17th, 20th and
22nd; and now, the notes have to be placed respectively on
the 3rd, 6th, 8th, 12th, 16th and the 21st strings.
21. That is, the second, third and the fourth movements may also
be carried out by lowering the pitch of the notes by one śruti
each with reference to their standard pitch in the invariable
vīṇā, and the lowering is effected by moving to the proximate
strings.
22. Literally, in ‘this’ with reference to the previous line.
23. Laya is indicative of the loss of distinction of individuality.
24. Viśataḥ lit enter, is the most appropriate expression whereby
the note that merges is absorbed by the one with which it
merges.
25. It may be borne in mind that this fusion is with reference to
the invariable vīṇā. Sa, ri, ga, ma, pa, dha, and ni, it may be
noted, are the diminutive forms of the seven notes called
ṣaḍja, ṛṣabha, gāndhāra, madhyama, pañcama, dhaivata and niṣāda.