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

138 Treatment of Svara
मन्दा च रतिका प्रीतिः क्षितिर्मध्या तु षड्विधा ।
छन्दोवती रञ्जनी च मार्जनी रक्तिका तथा ॥३४॥
रम्या च क्षोभिणीत्यासामथ ब्रूमः स्वरस्थितिम् ।
तीव्राकुमुद्वतीमन्दाच्छन्दोवत्यस्तु षड्जगाः ॥३५॥
दयावती रञ्जनी च रक्तिका चर्षभे स्थिताः ।
रौद्री क्रोधा च गान्धारे वज्रिकाऽथ प्रसारिणी ॥३६॥
प्रीतिश्च मार्जनीत्येताः श्रुतयो मध्यमाश्रिताः ।
क्षिती रक्ता च संदीपन्यालापिन्यपि पञ्चमे ॥३७॥
मदन्ती रोहिणी रम्येत्येतास्तिस्रस्तु धैवते ।
उग्रा च क्षोभिणीति द्वे निषादे वसतः श्रुती ॥३८॥
(iv) The allocation of śruti-s as characterised by their classes
and names among the svara-s : 27c-38.
There are five classess¹ of śruti-s, viz., dīptā, āyatā,
karuṇā, mṛdu and madhyā; their standing among the svara-s is
stated to be as under (27c-28b)
Dīptā, āyatā, and madhyā are found in ṣaḍja; karuṇā,
and mṛdu find a place in ṛṣabha; dīptā and āyatā are located
in gāndhāra and also in madhyama along with mṛdu and madhyā;
mṛdu, madhyā, āyatā and karuṇā are placed in pañcama, and
karuṇā, āyatā and madhyā in dhaivata; while dīptā and madhyā
are in niṣāda. (28c-31a)
Now, we shall speak of the subdivisions of these classes :
Dīptā is said to be fourfold viz., tīvrā, raudrī, vajrikā and ugrā;
āyatā is known to have five varieties viz., kumudvatī krodhā,
prasāriṇī, sandīpanī and rohiṇī; karuṇā is said to be threefold,
viz., dayāvatī, ālapinī and madantikā; mṛdu is fourfold, viz.,
mandā, ratikā,² prīti and kṣiti; while madhyā is sixfold, viz.,
chandovatī, rañjanī, mārjanī, raktikā, ramyā and kṣobhiṇī. (31b-35a)
And now we shall point out their position among the
svara-s :
Tīvrā, kumudvatī, mandā and chandovatī pertain to ṣaḍja;
dayāvatī, rañjanī and raktikā are related to ṛṣabha; raudrī and
krodhā are in gāndhāra; vajrikā, prasāriṇī, prīti and mārjanī abide
by madhyama; kṣiti, raktā, sandīpanī and ālāpinī are in pañcama;
the three madantī, rohiṇī and ramyā in dhaivata and the two
śruti-s, ugrā and kṣobhiṇī dwell in niṣāda. (35b-38)
Twentytwo śruti-s have been distinguished into five classes. The
basis of this classification has not been made explicit in the text, nor
have the commentators found it necessary to elucidate it. However,
it seems that the different classes of śruti-s have something to do with
the relationship of notes and the rasa-s or the aesthetic colours attributed
to them in the ancient theory of Indian music. This is implied in their
nomenclature and elucidated as under :
(i) Dīptā, 'dazzling'; literally, illumined,
(ii) Āyatā, 'vast'; literally, extended,
(iii) Mṛdu, 'tender'; literally, soft,
(iv) Madhyā, 'moderate'; literally, medium or central, and
(v) Karuṇā, 'compassion'.
The names signify tonal sequence in melodic development and are
representative of emotional colour; this aspect would be more clear with
the further classification of the classes, as it follows.
The distribution of śruti-classes among the different notes is illus-
trated in the following chart (No. 6), which at once elucidates the rela-
tionship of a particular note with the different śruti-classes and also the
relationship of a particular śruti-class to different notes. The numbers
in the squares indicate the position of a particular śruti in the group of
śruti-s constituting a particular note.
śruti-classes and svaras

S.No	class names of sruti-s	ṣaḍja	ṛṣabha	gāndhāra	madhyama	pañcama	dhaivata	niṣāda
1	dīptā	1		1		1		1
2	āyatā	2		2	2	3	2
3	karuṇā		1			4	1
4	mṛdu	3	3		3	1
5	madhyā	4	2		4	2	3	2
(Chart 6) (28c-31a)
¹ Jāti literally means 'species', 'class' or 'genus'.

2. It is notable that raktikā is not mentioned in the verses 35 b-38.
   However raktā which does not appear here is mentioned.