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

216 Treatment of Svara
note-series would be obtained by adding up the figures (of
the squares) covered by the pebbles.¹⁰ (66c-68b)
The number of the indicated series in the permutational extension of
the tetratonic permutational note-series : 12+4+1+1=18.
Thus, the formula for finding out the number of the indicated
note-series can briefly be restated as under in terms of action :
( i ) Find out the relative position of the last note of the indicated
note-series with reference to the last note of its original
order by counting from it backwards i.e., from right to
left including the last note.
( ii ) Move the pebble into the corresponding square down below
according to the result obtained in (i) i.e., as many squares
down below as the number of the last-note obtained in (i).
( iii ) The pebble should be moved from the last note of the
series.
( iv ) Having thus ascertained the numerical value of one note,
that note be dropped progressively from the original order
as well as the indicated note-series and the procedure (i) to
(iii) repeated till the first note.
( v ) Add up the figures of the column squares into which the
pebbles have been moved and the sum total will represent
the serial number of the indicated note-series in its permuta-
tional extension.
This explains the procedure of working out the problem uddiṣṭa.
Now, an example from a complete permutational note-series is taken
for a full demonstration, which is worked out as under in a tabular
form :

1. Uddiṣṭa (the problem), “ma ga sa ri dha ni pa” (i.e., the indi-
   cated note-series).
2. Original order of the series : “sa ri ga ma pa dha ni”.
3. Pebble movement of a complete permutational note-series.
4. Serial No. of the indicated note-series in the permutational
   extension of the complete series : total of column 3(c) i.e.
   (1440+0+0+12+4+1+1)=1458th.
5. This is the serial number of the particular note-series in its
   permutational calculus which is to be ascertained.
6. The total of the numbers of the squares in which the pebbles
   are placed is the required number of the given note-series.
   Section 4 : Grāma, Mūrcchanā, Krama and Tāna 217
   | Sl. No. of the steps taken | The relative position of the last note of the indicated series with reference to the last note of the original order i.e., the original-series | The pebble movement and its significance | Results obtained |
   | 1 | 2(a) The last note of the given series | 2(b) The last note of the original order | 2(c) Relative position of 2(a) with reference to (right to left) 2(b) | 3(a) No. of column (left to right) | 3(b) No. of square to which pebble is moved | 3(c) The figure indicated by the occupied square | 4(a) The note omitted from the original order | 4(b) The remaining order of notes in the original series |
   | 1 | pa | ni | 3rd | 7th | 3rd | 1440 | pa | sa ri ga ma dha ni |
   | 2 | ni | ni | 1st | 6th | no movement | 0 | ni | sa ri ga ma dha |
   | 3 | dha | dha | 1st | 5th | —do— | 0 | dha | sa ri ga ma |
   | 4 | ri | ma | 3rd | 4th | 3rd | 12 | ri | sa ga ma |
   | 5 | sa | ma | 3rd | 3rd | 3rd | 4 | sa | ga ma |
   | 6 | ga | ma | 2nd | 2nd | 2nd | 1 | ga | ma |
   | 7 | ma | ma | 1st | 1st | No movement | 1 | ma | nil |
   (Chart 25)
7. नष्टविधिः
   यैरङ्कैनिष्टसंख्या स्यान्मौलेकाङ्कसमन्वितैः ॥६८॥
   तेषु लोष्टं क्षिपेन्मूले लोष्टस्थानमितं भवेत् ।
   नष्टतानस्वरस्थानं ततो यावतिथे पदे ॥६९॥
   अधःक्रमादस्ति लोष्टः स्वरस्तावतिथो भवेत् ।
   क्रमान्तिमस्वरात्पूर्वो लब्धत्यागादि पूर्ववत् ॥७०॥

218 Treatment of Svara
(3) The procedure for finding out the missing note-series
(naṣṭa) : (63c-70)
Let the initial¹ pebbles be placed in the respective²
squares, the sum total of the figures of which would constitute
the number³ of the 'missing note-series'⁴ inclusive of the
figure 1 in the first column square.⁵ The note-positions⁶ of
Naṣṭa is the name given to the note-series, the tonal form of which
is lost sight of and is required to be discovered with the help of the note-
series indicator. The type of the note-series such as complete, hexatonic,
pentatonic etc. indicative of the number of notes in it and its serial
number in the permutational extension is given. Thus, the problem of
naṣṭa essentially consists in discovering the tonal form (i. e. the order of
notes) of a given serial number of the permutational note-series lost to
us. Naṣṭa may therefore be called 'the missing note-series'.
The formula or the rule for discovering the tonal form of the given
note-series implies the following procedure in terms of action :
(i) Place the pebbles in the squares of the first horizontal series
of the indicator in as many squares as there are the notes in
the given series, from left to right.
(ii) Move the pebbles into the column squares down below, so
that the figures indicated by them when added make up the
number of the given series.

1. The word 'initial' qualifying pebbles is indicative of the
   original position of the pebbles in the first series of the permu-
   tation indicator with the figure 1 in the left end first square
   and zeros in the others.
2. That is the squares in the vertical columns, on a pebble being
   placed in each of the series.
3. The serial number of a particular note-series obtaining in the
   permutational calculus.
4. Naṣṭa of the text literally means 'that which is destroyed';
   but the term is figuratively employed in a technical sense.
   Naṣṭa refers to that note-series (tāna), the tonal form of which
   is lost sight of, but in respect of which the serial number and
   the type (i. e., monotone, bitone, hexatone, etc ) is given in
   order that its tonal form may be discovered with the help of
   the note-series indicator. Naṣṭa, therefore, essentially refers
   to a note series which is lost so far as its tonal form is concern-
   ed. That is why it has been rendered into English as the
   'missing note-series.'
5. The first square at the left end of the first series.
6. The expression 'note-position' refers primarily to the relative
   position of notes in the lost note-series; and secondarily to
   the position of the pebbles i. e., the squares in which they
   Section 4 : Grāma, Mūrcchanā, Krama and Tāna
   the missing note-series are to be determined from the pebble-
   squares⁷, the serial number of the squares down below⁸
   being indicative of the relative backward⁹ position of the
   (iii) Every column is indicative of a particular note. The serial
   number of the square into which the pebble is moved from
   the top indicates its relative position in the given series
   when compared to the last note of the original order. So
   place it accordingly.
   (iv) Drop the note ascertained from the original order as well as
   the given note-series out of view and repeat the procedure
   laid down in (i) to (iii), till the position of the first note of
   the series is discovered.
   (v) Place the notes in their relative order, as ascertained and
   the 'missing note-series' is found.
   Now this procedure is demonstrated with an example as follows :
   (i) Given particulars :
   (a) Serial No. 18 of the tetratonic series.
   (b) Note-series indicator with four column-squares.
   (c) Original order : sa ri ga ma.
   (ii) Action :
7. Place the pebbles initially in the squares of the first series
   indicating 1 and 3 zeros.
8. Deduct 1, the figure of the left end square of the first series
   which is essentially to be taken from 18, the serial number of the series
   (18-1) = 17. So we have to add up to 17. Therefore, take 12 from
   the 3rd sq. of column 4 as the next figure exceeds our requirement.
9. Then deduct 12 from 17 and we have 5 yet to add up. Take
   4 from the 3rd square of column 3
10. Then deduct 4 from 5 and we have 1 left to be added. 1 is
    available in square 2 of column 2. Square 1 of column 1 is already taken
    into consideration.
    are moved to indicate the order of notes in the 'missing note-
    series.' Thus, there would be as many pebbles as there are
    notes in the series.
11. The pebble-squares are the squares in which the pebbles are
    initially lodged. Plural expression is used for the abstract
    singular of the text to bring out its actual implication.
12. Down below in the vertical columns i. e., the squares into
    which the pebbles are moved.
13. Backward order is from right to left.

220 Treatment of Svara
respective notes with reference to the last note of the original
order¹⁰; while the rule for dropping the ascertained note
etc.¹¹ would apply as before.¹² (68c-70)
5. We get these numbers in the series 1-2-3-3 corresponding to
the serial number of squares in the respective columns. Now relate this
series to the original order "sa-ri-ga-ma". Place ri as the last note of
the 'missing note-series', for it is 3rd from ma, the last note of the
original series.
6. Drop ri and restore the original order to "sa-ga-ma" and the
numbers in the series to 1-2-3 Then repeat the process.
7. Place sa anterior to ri in the process of finding out the 'missing
note-series' as sa is 3rd from ma.
8. Drop sa and 3 respectively from the original order and the
numerical series, and then restore them to "ga-ma" and 1-2 respectively
and repeat the process.
9. Place ga anterior to "sa-ri" discovered through the process,
for ga is 2nd to ma in the original order and corresponds to the figure 2
in the given numerical series. So we get "ga sa ri".
10. Drop ga from the original order and 2 from the numerical
series. Now we are left with ma which corresponds to 1 of the numerical
series and the left-end square of the 1st series i. e., the first column
square. So put ma anterior to "ga sa ri" already obtained. We get
"ma ga sa ri".
11. The 'lost note-series' is discovered to be "ma ga sa ri" which
corresponds to its given serial number 18 in the tetratonic series.
It will be observed that wherever the original order coincides with
the numerical series the note-position of the tone in question remains
the same.
An example of a complete permutational note-series is also
demonstrated in the following chart.
(i) The problem : To find out the tonal form of the 'missing
note-series' of heptatonic type bearing serial No. 1000.
10. The original order corresponds to the mūrcchanā-series.
11. At every step as in the case of uddiṣṭa, i. e., the process of the
indicated note-series, the note ascertained would be dropped
out of view.
12. 'S' infers that 'etc.' in the text is indicative of the direction
that, with the 'missing note-series' of, say five notes, the
permutation indicator will have five series of square-columns,
that of six notes will have six and that of seven will have
seven
Section 4 : Grāma, Mūrcchanā, ...
(ii) The original order : "sa ri ga ma pa dha ni".
(iii) Procedure in action.
Discovering the 'lost note-series' of complete permutational note-series

222 Treatment of Svara
4. खण्डमेरुत एकस्वरादितानानां सङ्ख्या-परिज्ञानोपायः
तानस्वरमितोध्वर्धःपङ्क्तिगान्त्याङ्कमिश्रणात् ।
एकस्वरादितानानां संख्या संजायते क्रमात् ॥७१॥
(4) The number of permutational note-series in each of the
series as shown by the permutation-indicator : (71)
The number of note-series in monotone¹ etc. is com-
puted by adding up the figures of the last column-squares²
The note-series indicator does not merely show the indicated note-
series and the 'missing note-series', but it also informs us with regard to
the total number of note-series in each of the different types such as
heptatonic, hexatonic, monotonic, etc.
As many notes there are in a given note-series (e. g. seven in the
complete and one in the monotone series) so many end-squares of these
columns will be taken into consideration and figures indicated by them
when added up would in their sum-total indicate the number of note-
series in that type.
The following chart shows the working of this relationship.
The number of note series in each type derived from the
permutation-indicator

1. In each type of the permutational note-series such as mono-
   tone, bitone, hexatonic, complete, etc.
2. The squares at the bottom and of the vertical series arranged
   into the columns of the permutation-indicator.
   Section 4 : Grāma, Mūrcchanā, Krama and Tāna
   corresponding respectively³ to the notes in the series.⁴ (71)
   It will be observed that every total incorporates the total of its
   antecedent squares. Thus, in effect, to find out the total number
   of note-series of a particular type what may essentially be taken into
   account is the figures indicated in the squares just below the zero and
   the last squares of the respective columns, as the squares immediately
   below the zero indicate the total number of the preceding series. For
   example, the total number of the complete permutational note-series is
   found to be 5040, but this figure is composed of the figures shown in the
   squares immediately below the zero of the 7th column as the 7th. square
   i. e., 720+4320=5040. So also the figure 720 is composed of
   120+600=720.
   Incidentally, this shows that the zeros placed in the first squares
   of the columns are symbolic of the figures indicated into the last squares
   of the antecedent columns and are therefore identical with them. That
   is how the zeros become significant.
   It may now be observed that the Khaṇḍameru i. e., the permuta-
   tion-indicator has a three-fold function viz., (i) to find out serial
   number of the note-series indicated, (ii) to discover the tonal form of
   a given number of note-series, and (iii) to ascertain the total number
   of note-series in each of the seven types of permutational note-series.
   (vii) शुद्धतान-नामानि
3. षड्जग्रामस्थ-षाडव-शुद्धतानाः
   अथात्र शुद्धतानानां नामानि व्याहरामहे ।
   अग्निष्टोमो ऽत्यग्निष्टोमो वाजपेयश्च षोडशी ॥७२॥
   पुण्डरीको ऽश्वमेधश्च राजसूयस्ततः परः ।
   इति स्युः षड्जहीनानां सप्त नामान्यनुक्रमात् ॥७३॥
   स्विष्टकृद्बहुसौवर्णो गोसवश्च महाव्रतः ।
   विश्वजिद्ब्रह्मयज्ञश्च प्राजापत्यस्तु सप्तमः ॥७४॥
   3 & 4. Each column is indicative of a note i. e., the first column
   square for sa, the second for ri and so on. So the figures
   of these last column-squares only have to be taken into
   account, the notes pertaining to which go to constitute the
   series in question. Series denotes the note-series.

Left Page

क्रमादृषभहीनानां तानानामभिधा इमाः ।
अश्वक्रान्तो रथक्रान्तो विष्णुक्रान्तस्ततः परः ॥७५॥
सूर्यक्रान्तो गजक्रान्तो वलभिन्नगपक्षतः ।
इति पञ्चमहीनानां संज्ञाः सप्त क्रमान्मताः ॥७६॥
चातुर्मास्यो ऽथ संस्थाऽऽख्यः शस्त्रश्चोक्थश्चतुर्थकः ।
सौत्रामणी तथा चित्रा सप्तमस्त्विदुद्भिदाह्वयः ॥७७॥
संज्ञा निषादहीनानां षाडवानामिमाः क्रमात् ।
(vii) The names of the combinational note-series : 72-90
(a) The hexatonic combinational note-series of the ṣaḍja-grāma : (72-78b)
Now, we give herewith the names of the combinational¹ note-series. (72ab)

1. The names of the seven note-series devoid of ṣaḍja respectively² are—agniṣṭoma³, atyagniṣṭoma, vājapeya, ṣoḍaśī, puṇḍarīka, aśvamedha and rājasūya. (72c-73b)
2. The names of the note-series devoid of ṛṣabha respectively are—sviṣṭakṛt, bahusuvarṇa, gosava, mahāvrata, viśvajit, brahmayajña and prajāpati. (73c-75b)
3. The seven names for (the note-series) omitting pañcama are respectively considered to be aśvakrānta, rathakrānta, viṣṇukrānta, sūryakrānta, gajakrānta, valabhit and nāgapakṣaka. (75c-76)
4. The names for the hexatonic (combinational note-series) eliminating niṣāda respectively are cāturmāsya, saṃsthā, śastra, uktha, sautrāmaṇī, citrā and udbhid. (77-78b)
   Having dealt with the permutational note-series in great detail, the author now incidentally proceeds to give the names of the significant combinational note-series with a view to refer to their merit.
   He takes only the hexatonic and the pentatonic note-series of both the grāma-s respectively, and first he gives the names of the hexatonic series and then the pentatonic series.

1. Śuddha of the text.
2. That is in the order of mūrcchanā-series.
3. This and the following names pertain to vedic sacrifices. These names pertain to the note-series of the ṣaḍja-grāma.

Right Page

Section 4 : Grāma, Mūrcchanā, Krama and Tāna 225
2. मध्यमग्रामस्थषाडवशुद्धतानाः
सावित्रो चार्धसावित्री सर्वतोभद्रसंज्ञकः ॥७८॥
आदित्यानामयनञ्च गवामयननामकः ।
सर्पाणामयनः षष्ठः सप्तमः कौणपायनः ।
नामानि षड्जहीनानां तानानामिति मेनिरे ॥७९॥
अग्निचित् द्वादशाहश्चोपांशुः सोमाभिधस्ततः ।
अश्वप्रतिग्रहो वह्निरथाम्भ्युदयसंज्ञकः ॥८०॥
ऋषभेण विहीनानामिति नामानि मन्वते ।
सर्वस्वदक्षिणो दीक्षा सोमाख्यः समिदाह्वयः ॥८१॥
स्वाहाकारस्तनून्नपात्ततो गोदोहनो मतः ।
इति गान्धारहीनानां क्रमात्संज्ञाः प्रचक्षते ॥८२॥
(b) The hexatonic combinational note-series of the madhyama-grāma : (78c-82)
5. The names of the note-series¹ eliminating ṣaḍja are respectively known to be—sāvitrī, ardha-sāvitrī, sarvatobhadra, ādityāyana², gavāmayana³, sarpāyana⁴ and kauṇapāyana.⁵ (78c-79)

1. The (specific) combinational note-series of the madhyama-grāma.
2. The expression ‘ādityānām ayanaḥ’ of the text has been rendered as ādityāyana for semantic considerations; but it needs an elaboration. Āditya has several meanings such as the sun, the dwarf incarnation of Viṣṇu, god in general, and so on. But since here the plural is used we may take it etymologically in the sense of ‘the sons of Aditi’ i. e., the gods. Ayana too has several connotations such as the path, the way, the passage of the sun, and abode etc. of which the last one seems to be appropriate in this context. So the expression as a whole would literally mean ‘the abode of gods’.
3. The expression gavāmayana similarly signifies ‘the abode of cows’.
4. Also the expression sarpāyana is a compound rendering of sarpāṇāmayana in the text which literally means the abode of serpents.
5. Kauṇapa literally means a goblin, a demon. So, kauṇapāyana literally signifies the abode of demons.
   15

226 Treatment of Svara
3. षड्जग्रामस्थौडुवशुद्धतानाः
इडा पुरुषमेधश्च श्येनो वज्र इषुस्ततः ।
अङ्गिराः कङ्क इत्येताः सपहीनाभिधाः क्रमात् ॥८३॥
ज्योतिष्टोमस्ततो दर्शो नान्द्याख्यः पौर्णमासकः ।
अश्वप्रतिग्रहो रात्रिः सौभरः सप्तमः स्मृतः ॥८४॥
एता निषादगान्धारहीनानामभिधाः क्रमात् ।
सौभाग्यकृच्च कारीरी शान्तिकृत्पुष्टिकृत्तथा ॥८५॥
वैनतेयोच्चाटनौ च वशीकरणसंज्ञकः ।
पञ्चमर्षभहीनानां तानानामभिधा इमाः ॥८६॥
6. The names of (the note-series) devoid of ṛṣabha are
believed to be—agnicit, dvādaśāha, upāṁśu, soma, aśvapratigraha,
barhi and abhyudaya. (80-81b)
7. The names of (the note-series) devoid of gāndhāra
are respectively said to be sarvasvadakṣiṇa, dīkṣā, soma, samit,
svāhākāra, tanūnapāt and godohana. (81c-82)
(c) The pentatonic combinational note-series of ṣaḍja-
grāma : (83-86)

1. The names of (the note-series)⁶ eliminating ṣaḍja
   and pañcama respectively are as under :
   Iḍā, puruṣamedha, śyena, vajra, iṣu, aṅgirā and kaṅka. (83)
2. The names of (the note-series) omitting niṣāda and
   gāndhāra respectively are jyotiṣṭoma, darśa, nāndī, paurṇamāsa,
   aśvaprati-graha and saubhara. (84-85b)
3. The names of the note-series leaving out pañcama and
   ṛṣabha respectively are—saubhāgyakṛt, kārīrī, śāntikṛt, puṣṭikṛt,
   vainateya, uccāṭana and vaśīkaraṇa. (85c-86)
4. These note-series pertain to the ṣaḍja-grama.
   Section 4 : Grāma, Mūrcchanā, Krama and Tāna 227
5. मध्यमग्रामस्थौडुवशुद्धतानाः
   त्रैलोक्यमोहनो वीरः कन्दर्पबलशातनः ॥८७॥
   शङ्खचूडो गजच्छाया रौद्राख्यो विष्णुविक्रमः ।
   तानानां रिधहीनानां नामान्येतान्यनुक्रमात् ॥८८॥
   भैरवः कामदाख्यश्चावभृथो ऽष्टकपालकः ।
   स्विष्टकृच्च वषट्कारो मोक्षदः सप्तमो मतः ॥८९॥
   संज्ञा निषादगान्धारहीनानामिति संमताः ।
   (viii) शुद्धतानानां वैदिकनाम्नां तत्तद्यज्ञफलम्
   यद्यज्ञनामा यस्तानस्तस्य तत्फलमिष्यते ॥९०॥
   (d) The pentatonic combinational note-series of the
   madhyama-grāma : (87-90b)
6. The names of the note-series eliminating ṛṣabha and
   dhaivata respectively are trailokyamohana, vīra, kandarpabala-
   śātana, śaṅkhacūḍa, gajacchāya, raudra and viṣṇuvikrama. (87-88)
7. The names of the note-series devoid of niṣāda and
   gāndhāra are believed to be bhairava, kāmada, avabhṛtha, aṣṭaka-
   pālaka, sviṣṭakṛt, vaṣaṭkāra and mokṣada. (89-90)
   (viii) The functional purpose of the vedic names of combi-
   national note-series : 90cd
   It is believed¹ that the note-series² bearing the name
   of a particular vedic sacrifice is effectual in bringing about
   the corresponding³ benefit. (90cd)
8. By the ancients, the preceding music-authorities.
9. The combinational note-series are meant.
10. That is, if the note-series bears the name of aśvamedha sacri-
    fice, it would bring about the benefit afforded by that sacrifice,
    provided it is appropriately employed.

228 Treatment of Svara
(ix) गान्धर्वे गाने च शुद्धकूटतानानामुपयोगः
गान्धर्वे मूर्च्छनास्तानाः श्रेयसे श्रुतिचोदिताः ।
गाने स्थानस्य लाभेन ते कूटाश्चोपयोगिनः ॥९१॥
(ix) The specific use of the combinational and permutational note-series in gāndharva and gāna : 91
In the context of gāndharva⁴, the mūrcchanās⁵ and the combinational note-series have been ordained in the vedic lore⁶ for the attainment of beatitude; while in gānam⁷, these along with the permutational note-series are useful in obtaining sthāna⁸. (91)
The commentators do not offer any explanation with regard to the names of various vedic sacrifices having been attributed to the different note-series. However, it seems that it is an extension of the basic atti- tude of the vedic tradition towards all aspects of human activity. This attitude was responsible for the formulation of the four upaveda-s (Āyurveda or Arthaśāstra, Gāndharvaveda, Dhanurveda and Sthāpatyaveda), the fifth veda-s (Mahābhārata and Nāṭyaveda), the six Vedāṅga-s etc.
4. Gāndharvam is the ancient name for what later came to be known as mārga, when employed against the term deśī (region- al music) as explained by 'S'. These terms will be dealt with properly in the subsequent chapters of the text. (cf. Chapter IV 1-4).
5. 'K' thinks that only standard mūrcchanā-s are meant.
6. Śruti in this context signifies any vedic passage. 'K' includes the smṛti-s also in its significance.
7. Gāna is the counterpart of gāndharva, later known as deśī (regional) music which was much more liberal and rich in variety. Since kūṭa-tāna (permutational note-series) has not been spoken of by Bharata, Śārṅgadeva specifically limits it to non-gāndharva music.
8. Sthāna has been interpreted by 'K' as ādhāraśruti (note-śruti) of svara, whereas 'S' interprets it as sthāya (a melodic phrase). The interpretation of 'K' is relevant to mūrcchanā and śuddha- tāna and that of 'S' to kūṭa-tāna which serves as the canvas for melodic diversity.
अथ पञ्चमं साधारणप्रकरणम्
(i) द्विविधं साधारणं, तत्र स्वरसाधारणम्
साधारणं भवेद् द्वेधा स्वरजातिविशेषणात् ।
स्वरसाधारणं तत्र चतुर्धा परिकीर्तितम् ॥१॥
काकल्यन्तरषड्जैश्च मध्यमेन विशेषणात् ।
Section 5
OVERLAPPING (Sādhāraṇa)
(i) Twofold overlapping and the overlapping in note-intervals : 1-2b
Overlapping (sādhāraṇa) is twofold as it pertains¹ to the tones (svara-s) and to jāti-s (the melodic types). Of these two, the overlapping of notes (svara-sādhāraṇa) is said to be
The concept of sādhāraṇa, as applied to music is elucidated by Bharata on the analogy of kāla-sādhāraṇa i. e., the overlapping of seasons: "If one perspires by remaining in the sun and yet feels cold staying in the shade neither the winter has ended, nor (can it be said that) the spring has arrived" (N. S., G. O. S. Vol. IV. 28. 34). This is an instance of the overlapping of the winter and the spring on their borders. Thus, the concept implies the conjunction of the end portion of a prior situation and the beginning portion of the following situation, creating a new situation that partakes partly of the characteristics of both and is thereby different from both of them individually. The application of this concept to the note-intervals is to be explained presently. According to Bharata the overlapping (sādhāraṇa) means the quality of a note rising between two (consecutive) notes (Eng. Trans. M. Ghosh, N. S. Vol. II, XXIII 35, p. 13).
The jāti-sādhāraṇa or the overlapping of melodic types is dealt with in Section VII; here we are concerned only with svara-sādhāraṇa or the overlapping of note-intervals which is related to four notes in particular,

1. Literally, "as it is qualified by svara-s and jāti-s".

230 Treatment of Svara
fourfold as it is concerned² with kākalī (niṣāda) antara
(gāndhāra), ṣaḍja and madhyama. (1-2b)
viz. kākalī-niṣāda, antara-gāndhāra, ṣaḍja and madhyama. Thus, sādhāraṇa
(overlapping) is fourfold as it is qualified by these four notes and is
respectively called kākalī-sādhāraṇa (the overlapping of kākalī), antara-
sādhāraṇa (the overlapping of antara), ṣaḍja-sādhāraṇa (the overlapping of
ṣaḍja) and madhyama-sādhāraṇa (the overlapping of madhyama).
(ii) काकल्यन्तरसाधारणम्
साधारणः काकली हि भवेत्षड्जनिषादयोः ॥२॥
साधारण्यमतस्तस्य यत्तत्साधारणं विदुः ।
अन्तरस्यापि गमयोरेवं साधारणं मतम् ॥३॥
(ii) The overlapping of kākalī and antara: 2c-3
Since the overlapping (sādhāraṇa)¹ kākalī occurs between
niṣāda and ṣaḍja, its³ overlap³ (sādhāraṇya) is known as over-
lapping (sādhāraṇa)⁴. The overlapping of antara is similarly
conceived between gāndhāra and madhyama (2c-3)
In the process, technically known as the overlapping of kākalī, two
notes are involved, and the author is here explaining how they are
affected in this process, which elsewhere has also been referred to as
the kakalisation of niṣāda, and also why it is so called.
In the ṣaḍja-grāma, niṣāda has two śruti-s (21st and 22nd) and
ṣaḍja has four (1st-4th). It has already been explained (I. 3.40 ante)
that in the kakalisation (kākalītva) of niṣāda, kākalī-niṣāda is formed by
the conjunction of niṣāda and ṣaḍja to the extent of two śruti-s of each,
i. e., 21st and 22nd śruti of niṣāda and the 1st and the 2nd śruti of ṣaḍja.
Thus, kākalī is of four śruti-s and is situated equidistant from both
niṣāda as well as ṣaḍja. It partakes of the characteristics of both since
it is constituted by two śruti-s contributed by each and is yet different
from each of them since its note-śruti is different (2nd or 24th).
2. Literally, "as it is qualified by kākalī, antara, ṣaḍja and madhyama".

1. Sādhāraṇaḥ qualifies kākalī.
2. That is, the overlapping in the formation of kākalī.
3. Sādhāraṇya is defined by ‘K’ as “sādhāraṇasya bhāvaḥ” i. e., the essence or the quality of overlapping. It implies the sense of “overlapping-ness”, though such a word is not in usage.
4. Sādhāraṇam stands for the abstract noun sādhāraṇyam.
   Section 5 : Overlapping (Sādhāraṇa) 231
   However, kākalī-sādhāraṇa affects the two notes niṣāda and ṣaḍja
   quite differently; whereas it absorbs the note-śruti of niṣāda, it does not
   affect the note-śruti of ṣaḍja and that is one reason why it is called
   kākalī-niṣāda i. e., because it affects niṣāda in categorically a different
   way in so far as it completely absorbs it.
   Antara-sādhāraṇa i. e., the overlapping of antara is similarly
   conceived between gāndhāra and madhyama, affecting these two notes
   in the same way in the terms explained above; and consequently takes
   the name “antara-gāndhāra” on the pattern of “kākalī-niṣāda”. Thus
   antara is constituted of the two śruti-s (8th and 9th) of gāndhāra and two
   śruti-s (10th and 11th) of madhyama, absorbing the note-śruti of the
   former and leaving the note-śruti of the latter un-affected.
   (iii) काकल्यन्तर-प्रयोगविधिः
   प्रयोज्यो षड्जमुच्चार्य काकलीधेवतौ क्रमात् ।
   एवं मध्यममुच्चार्य प्रयुञ्जीतान्तरर्षभौ ॥४॥
   षड्जकाकलिनौ यद्वोच्चार्य षड्जं पुनर्व्रजेत् ।
   तत्परान्यतमं चैवं मध्यमं चान्तरस्वरम् ॥५॥
   प्रयुज्य मध्यमो ग्राह्यस्तत्परान्यतमो ऽथ वा ।
   अल्पप्रयोगः सर्वत्र काकली चान्तरः स्वरः ॥६॥
   (iii) The application of kākalī and antara: 4-6
   After singing¹ ṣaḍja, kākalī followed² by dhaivata may
   be employed. Likewise after singing³ madhyama, antara
   and ṛṣabha may be used. Alternatively, having sung⁴ ṣaḍja
   and kākalī one may return to ṣaḍja and after that move on to
   any succeeding⁵ note. Similarly, after employing madhyama
   and antara, madhyama should be taken before resorting to any
   succeeding note. Everywhere⁶ the notes kākalī and antara
   are rarely used. (4-6)
   1, 3 & 4 Literally, ‘pronouncing’ or ‘articulating’.
5. Krama implies ‘due order’ which, in this case, is the descending one.
6. According to ‘K’ the succeeding note has to be the immediately succeeding one barring the one that has to be eliminated; but ‘S’ thinks that any succeeding note implies any one of ri, ga, ma, pa and dha in case of the overlapping of kākalī and pa, dha, ni, sa, and ri in case of the overlapping of antara i. e., all the notes subsequent to ṣaḍja and madhyama respectively.
7. ‘S’ interprets it as jāti-rāga-s, etc.

(iv) षड्जमध्यमसाधारणम्
निषादो यदि षड्जस्य श्रुतिमाद्यां समाश्रयेत् ।
ऋषभस्त्वन्तिमां प्रोक्तं षड्जसाधारणं तदा ॥७॥
मध्यमस्यापि गपयोरेवं साधारणं मतम् ।
साधारणं मध्यमस्य मध्यमग्रामगं ध्रुवम् ॥८॥
साधारणे कैशिके ते केशाग्रवदणुत्वतः ।
ते एव कैश्चिदुच्येते ग्रामसाधारणे बुधैः ॥९॥
(iv) The overlapping of ṣaḍja and madhyama: 7-9
If niṣāda takes resort to the first śrutis of ṣaḍja and
ṛṣabha to its last, it is called the overlapping of ṣaḍja.
Similarly, the overlapping of madhyama is conceived in-bet-
ween gāndhāra and pañcama. The overlapping of madhyama
is definitely restricted to madhyama-grāma. (7-8)
These two¹ overlappings, being subtle like the point of
hair, are known as kaiśika² and are also called “the over-
lapping of grāma-s”³ by (some) scholars.⁴ (9)
The overlapping of ṣaḍja and madhyama is analogous to the modi-
fication of these two notes The overlapping of ṣaḍja takes place when it
yields its initial śruti to niṣāda and its final śruti to ṛṣabha retaining its
2nd-3rd śruti-s to itself. Similarly, the overlapping of madhyama takes
place when madhyama yields its first śruti to gāndhāra and its fourth śruti to
pañcama, retaining only two śruti-s to itself. However, as pointed out
by ‘K’, the longest śruti-interval conceived in the grāma-s is that of four

1. That is, the overlapping of ṣaḍja and the overlapping of
   madhyama.
2. Kaiśika literally means hair-like, i. e. very fine pointed, very
   subtle. The word (kaiśika) is applied to ṣaḍja sādhāraṇa and
   madhyama-sādhāraṇa.
3. ‘S’ infers that since the overlapping of madhyama is limited
   to madhyama-grāma, the overlapping of ṣaḍja is also to be under-
   stood as applicable to ṣaḍja-grāma only. That is how he
   comes to justify the expression grāma-sādhāraṇa i. e., the
   overlapping of grāma-s, as signifying the process to be indica-
   tive of grāma-s. However, this does not accord with the
   reason pointed out by ‘K’ for restricting the overlapping of
   madhyama to madhyama-grāma since ṛṣabha or niṣāda do not
   exceed the interval of four śruti-s in the overlapping of ṣaḍja
   if made applicable to madhyama-grāma.
4. This, however, does not seem to be the view of the author.
   śruti-s and therefore a five-śruti interval is considered to be undesirable.
   So, if in the ṣaḍja-grāma the overlapping of madhyama is allowed, its
   pañcama will swell into a five-śruti-interval, which is undesirable.
   Therefore, the overlapping of madhyama is permitted only in madhyama-
   grāma in which pañcama has three śruti-s only.
   (v) जातिसाधारणम्
   एकग्रामोद्भवास्वेकांशासु जातिषु यद्भवेत् ।
   समानं गानमार्गास्तज्जातिसाधारणं जगुः ॥१०॥
   जातिसाधारणं केचिद्रागानेव प्रचक्षते ।
   (v) Overlapping of jāti-s: 10-11b
   Among the jāti-s of the same grāma having the same
   tone as the fundamental note, the identical melodic presenta-
   tion that obtains between them is called the overlapping of
   jāti-s by the noble ones.¹ The overlapping of jāti-s is identi-
   fied by some with rāga-s². (10-11b)
   Jāti-sādhāraṇa is very briefly dealt with by Śārṅgadeva as well as by
   Bharata. ‘K’ thinks that it is based on varṇa-sāmya, the identity in the
   patterns of tonal movement. ‘S’ cites śuddha-kaiśika-madhyama as one of
   the instances of jāti-sādhāraṇa. Some details regarding the practice of
   jāti-sādhāraṇa will be found in Section VII of this chapter.
5. The earlier authors such as Bharata, Mataṅga and others are
   meant.
6. ‘S’ cites rāga śuddha-kaiśika-madhyama as an illustration.

Left Page

अथ षष्ठं वर्णालङ्कारप्रकरणम्
(i) वर्णलक्षणं, तद्भेदाश्च
गानक्रियोच्यते वर्णः स चतुर्धा निरूपितः ।
स्थाय्यारोह्यवरोही च संचारीत्यथ लक्षणम् ॥१॥
स्थित्वा स्थित्वा प्रयोगः स्यादेकस्यैव स्वरस्य यः ।
स्थायी वर्णः स विज्ञेयः परावन्वर्थनामकौ ॥२॥
एतत्सम्मिश्रणाद्वर्णः संचारी परिकीर्तितः ।
Section 6
VARṆĀLAṄKĀRA :
Tone-patterns and Embellishments
(i) The definition and classification of tone-patterns (Varṇa) :
1-3b
Varṇa (tone-pattern) is the act of singing¹ which is
demonstrated to be fourfold, viz. sthāyī² (steady), ārohī³
In Section 4 the author has dealt with the permutations and
combinations of tones, but in actual practice all of them are not actually
employed in singing. Now, therefore, the author analyses the actual
singing in the tonal patterns and melodic phrases as employed in the
process of singing the musical compositions. Since in the composite
concept of saṅgīta (instrumental music and dance, i. e. vādya and nṛtya
essentially followed the vocal i. e. gāna, the terminology of the entire
musical theory is centered around vocal music; that is why, varṇa, i. e.
tonal pattern is defined in the context of singing, though it is equally
applicable to the instrumental music, or dance music and so on.

1. Gāna-kriyā rendered as the "act of singing" indicates the
   process of singing or the action of voice-production in the
   process of singing.
2. Sthāyī literally means unvarying, e. g. 'sa sa sa' or 'ri ri ri' and
   so on.
3. Ārohī is ascending in pitch, e. g. 'sa ri ga ma pa dha ni' and
   so on.

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Section 6 : Varṇalaṅkāra 235
(ascending), avarohī⁴ (descending) and sañcārī⁵ (circula-
tory). These are defined as follows. (1)
When the same tone is put to a halting⁶ use it is known
as the steady (tone) pattern. The two subsequent⁷ patterns
Varṇa literally means colour, taste or a syllable. In the context of
music the word is metaphorically used in the sense that the particular
manner and order in which the tones are employed contributes to their
musical value, and also lends colour or taste to the composition. In
short, the value of tone-pattern is comparable to the colour-pattern of
the visual arts. But more than that varṇa in the sense of 'a syllable' is
applicable in musical parlance; for, as the syllables go to form a
meaningful word and then a group of words goes to form a sentence
which is the significant unit of language, so also tones organised into a
particular fashion go to form melodic phrases, that are the units of a
melodic composition. The concept of varṇa is as old as Bharata, since
he too has spoken of these four types of tonal patterns (varṇa-s), (cf.
N. S. Kāśī ed. 29. 24).
The classification of tone-patterns, as pointed out by 'K' is based
on the predominant element viz. if in the process of singing it is the
steady pattern that is predominant, then the tonal pattern will be called
the 'steady'. In other words, the four types of tonal patterns are not
used exclusively.
Steadiness in the steady pattern is obtained by harping on the
same tone for sometime. The nature of ascending and descending
patterns is well described by their names. The sañcārī (i. e. the circu-
latory pattern) is defined by Mataṅga (as quoted by 'K') as under :
यत्र ताने सञ्चरन्ति स्वरा अन्यान्यसंहिताः ।
एकैकशो द्विशो वा स सञ्चारी वर्ण उच्यते ॥
4. Avarohī is descending in pitch, e. g. 'ni dha pa ma ga ri sa' and
so on.
5. Sañcārī literally means moving around not having any fixed
order. This is an admixture of the above three types and is
illustrated in the order of such phrases as 'sa ri sa ri ga sa ni
dha sa ri ga' and 'sa sa sa ni ma ma ni ma pa ni ri ri pa' etc,
6. Halting on a tone by repetition as 'sa sa sa'.
7. Subsequent to the steady (sthāyī) pattern as mentioned in the
previous verse i. e. the ascending (ārohī) and descending
(avarohī) patterns.

236 Treatment of Svara
are signified by their names.⁸ The admixture of these (three)
is known to be the circulatory⁹ pattern. (2-3b)
“When the tones move about in a note-series one by one or two
at a time, or are delineated together joining the respective final notes
(with the initial notes of the successive units), it is called sañcārī varṇa
(circulatory pattern). As in Mālavakaiśikā : sā sā sa ni ma ma ni ma
pa ni ri ri pā pa ni pā ni pā ni dha etc.” Bṛhaddeśī (p. 33) however
reads as under :
यत्र गीते सञ्चरन्ति स्वराः परस्परमन्तसंहिता ।
एकैकशो वा, स सञ्चारी वर्ण उच्यते ॥
Sañcārī varṇa (circulatory pattern) is said to be the one in which
the tones move about, mutually joining the final notes or one by one.
As in Mālavakaiśikā : ‘sā sā sa ni pa ni pa ni pa ni sā dha rī pā pa ni
ni ni’.
The two versions of the definitions of sañcārī (circulatory
pattern), the one ascribed to Mataṅga by ‘K’ and the other quoted from
Bṛhaddeśī are identical to a large extent and yet they are different in
their net bearing.
(ii) अलङ्कारलक्षणं, तद्भेदनिरूपणं च
(क) अलङ्कारलक्षणम्
विशिष्टं वर्णसन्दर्भमलङ्कारं प्रचक्षते ॥३॥
(ii) The definition and classification of tonal embellishment.
3c-64b
(a) The definition of tonal embellishment (alaṅkāra) : 3cd
In keeping with the suggested sense of the term alaṅkāra (orna-
ment), the original concept under this name was quite comprehensive to
include almost all types of tonal embellishments; for example even
kampa (tremor) was included in alaṅkāra-s. However, subsequently the
signification of the word alaṅkāra was restricted to “a melodic phrase-
progression”. The importance of ornamentation in Indian melody is
well brought out by Bharata in the following verse :
8. That is, these two patterns are so named that their names
are descriptive of their nature and function, as it is quite
obvious.
9. Sañcārī varṇa.
Alaṅkāra¹ (tonal embellishment) is said to be a specific
arrangement² of tone-patterns. (3cd)
शशिना रहितेव निशा विजलेव नदी लता विपुष्पेव ।
अविभूषितेव च स्त्री गीतिरलंकारहीना स्यात् ॥
(N. S., G. O. S. Vol. IV 29. 45)
“Melody without ornamentation would be like a night without the
moon, a river devoid of water, a creeper shorn of flowers and a lady
without ornaments.”
He is, however, careful also to caution against the excessive and
improper use of embellishments as he says :
एभिरलंकर्तव्या गीतिर्वर्णाविरोघेन ।
स्थाने चालङ्कारं कुर्यात् नुरसि काञ्चिकां वध्येत् ॥
(N. S., G. O. S. vol. IV p. 131)
“Melody should be embellished by these (ornamentations) without
disrupting the tone-pattern (varṇa), for ornaments are to be put on
properly so that the girdle is not tied to the breast.”
Thus even though a high premium is put on the employment of
tonal embellishments, yet a certain propriety is essentially to be observ-
ed. That is why Ahobala defines tonal embellishment as “the delinea-
tion of the tone-patterns in a particular order” (क्रमेण स्वरसन्दर्भमलङ्कारं
प्रचक्षते, (S. Pā 221).
Further, it may be observed that the tonal embellishments
(alaṅkāra-s) have been classified on the basis of the predominant tone-
pattern (varṇa), as Bharata has said that their formation depends on
the tone-patterns of four types (cf. N.S. 29.24). Alaṅkāra is said to be a
combination of several melodic movements. Elucidating the definition
of Śārṅgdeva ‘K’ amplifies his statement to the effect that ‘the particular
manner of delineating the said (four types of) tone patterns in a melodic
rendering is called tonal embellishment (alaṅkāra)’.
The specificity of delineating the tone-patterns consists in the
use of the prescribed kalā (i.e. phrase of an alaṅkāra) and so on
(वैशिष्ट्यं च नियतकलादियुक्तत्वम्)

1. Alaṅkāra literally means an ornament, a decorative, an aid to
   beauty, a device of beautification.
2. ‘S’ interprets varṇa-sandarbham of the text as varṇasamudayam,
   i.e. a group of tone-patterns.

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238 · Treatment of Svara ·

(ख) स्थायिवर्णगतालंकारोद्देशः।

तस्य भेदास्तु बहवस्तत्र स्थायिगतान्ब्रुवे ।
येषामाद्यन्तयोरेकः स्वरस्ते स्थायिवर्णगाः ॥४॥
प्रसन्नादिः प्रसन्नान्तः प्रसन्नाद्यन्तसंज्ञकः ।
ततः प्रसन्नमध्यः स्यात्प्रच्छन्नः क्रमरेचितः ॥५॥
प्रस्तारो ऽथ प्रसादः स्यात्सप्तैते स्थायिनि स्थिताः ।
(b) The definition and enumeration of the embellishments
of the steady tone-pattern : 4-6b
Many, indeed, are its¹ varieties, of which I shall pre-
sently speak of those pertaining to the steady tone-pattern
(sthāyī-varṇa). Those (tonal-embellishments) that have the
same tone in the beginning as well as in the end, pertain to
the steady tone-pattern. The seven (embellishments) classi-
fied as belonging to the ‘steady’ (tone-pattern) are prasannādi²,
prasannānta³, prasannādyanta⁴, prasannamadhya⁵, kramarecita⁶,
prastāra⁷ and prasāda⁸. (4-6b)
Śārṅgadeva, our author, defines and illustrates sixtythree tonal
embellishments (alaṅkāra-s) but Bharata has given only thirty-three
which include many other things apart from alaṅkāra-s as they came to
be understood in Śārṅgadeva’s time. It may be admitted that theore-
tically there are infinite possibilities of tonal embellishments, but it
seems only 63 were in vogue in his time. It is notable that Dattila, who
is thought by some to be earlier than Bharata gives only 13 embellish-
ments and some writers subsequent to Śārṅgadeva (cf. Ahobala’s S. Pā)
enumerate even more than 63. The distinguishing characteristic feature
of the tonal pattern, as pointed out in the text and interpreted by ‘K’ is
that its different kalā-s (integral parts or phrases) commence and end
with the same tone, though the repetition occurs in different registers
(cf. ‘K’ on verses 3-8).

1. The pronoun ‘it’ stands for ‘alaṅkāra’ of the previous verse.
2. Lit. with prasanna (i. e. mandra) in the beginning.
3. Lit with prasanna in the end.
4. Lit. with prasanna in the beginning and in the end.
5. Lit. with prasanna in the centre.
6. Lit. devoid of order.
7. Lit. extension.
8. Lit. clarity. All these are explained in the following few
   verses.

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(ग) मन्द्रतारलक्षणम्

मन्द्रः प्रकरणे ऽत्र स्यान्मूर्च्छनाप्रथमः स्वरः ॥६॥
स एव द्विगुणस्तारः पूर्वः पूर्वो ऽथ वा भवेत् ।
मन्द्रः परस्ततस्तारः प्रसन्नो मृदुरित्यपि ॥७॥
मन्द्रस्तारस्तु दीप्तः स्यान्मन्द्रो बिन्दुशिरा भवेत् ।
ऊर्ध्वरेखाशिरस्तारो लिपौ त्रिर्वचनात्प्लुतः ॥८॥
(c) The significance of the terms mandra, tāra, etc. : 6c-8
In this section the word ‘mandra’ signifies the first tone
of the mūrcchanā, and that very tone when doubled¹ (in pitch)
is (called) ‘tāra’; or alternatively the tone in the preceding
register becomes ‘mandra’ and the one in the succeeding
register (becomes) ‘tāra’. Mandra is also called prasanna or
Three terms viz. mandra, tara and pluta are defined here. Mandra and
tāra are presented as relative concepts, as indeed they are; and two
alternative expressions have been offered to indicate their relation.
Firstly, it is posited that mandra is the name given to the first note of the
mūrcchanā, while the eighth note, which is double the first one (in pitch
range), is called tāra. If the first tone of the mūrcchanā belongs to the
lower register and is called mandra, the same tone of the middle register
would be called tāra, but if the first note (mandra) of the mūrcchanā is in
the middle register, then the same note of the high register would
become tāra.
It is pertinent to note that the terms tāra and mandra in this
Section must not be understood as defined in verse 7 of Section 3 ante,
they do not refer to the three registers as such. Obviously the middle
register finds no mention in this context and therefore the terms
mandra and tāra refer to what may be called the lower and the higher
register, the two covering the concept of three registers in their relative
application. This would be clear from the other alternative view put
forth by the author.
Alternatively, he says, the tone of the prior register may be
understood as mandra (low) and that of the posterior register may be
considered tāra (high), the prior register being the one in which the
commencing note of the phrase-progression (alaṅkāra) falls. Consequently,

1. Dviguṇa is the eighth tone (i. e. the first of the next higher
   octave).

Left Column

Treatment of svara
mṛdu, and tāra is also called 'dīpta'. In notation, mandra is
indicated by an overhead dot, tāra by an overhead vertical
dash and 'pluta'$^2$ by the figure 3 (following the tone)$^3$. (6c-8)
as 'S' elucidates, if the prior tone is in the lower register (in the scheme
of three registers) it is called mandra and its tāra will be in the middle
register, but if the prior tone is (mandra) in the middle register, the
subsequent tone (tāra) will be in the high register. 'S' further distin-
guishes this view from the first one by pointing out that, "accordingly
the prior tone, in this view need not be the commencing note of the
mūrcchanā" (cf. S. on 3-8, p. 154).
The terms mandra and tāra in their relative sense may be rendered
as 'lower' and 'higher' in the technical and the specific sense in this
section.
It is interesting to observe that Bharata hardly seems to speak of
the three registers (saptaka-s) in terms of mandra, madhya and tāra. He
no doubt speaks of the three sthāna-s as the places of voice production
in the context of the excellences of verbal expression (pāṭhya-guṇa-s) and
kāku (intonation), e. g.
त्रीणि स्थानानि-उरः कण्ठः शिरः इति...
उरःशिरःकण्ठात् स्वरः काकुः प्रवर्तते ॥
(N. S., G. O. S., IV. 17.106)
But the details of context in which the sound is to be produced respect-
ively from the chest, the head and the throat show that these places of
sound-production are not necessarily related in terms of pitch relations
contained in the concept of registers, though pitch is naturally involved
in kāku (cf N. S., G. O. S. IV, 17. 107-108).
Again the terms dīpta and mandra are defined by Bharata in the
context of the embellishments of pāṭhya :
उच्चो दीप्तश्च मन्द्रश्च नीचो द्रुतविलम्बितौ ।
पाठ्यस्यैते ह्यलंकारा लक्षणं च निबोधत ॥
(N. S., G. O. S., IV 17.113)
Ucca is defined as śiraḥ-sthānagata (located in the head), dīpta is defined
as śiraḥsthānagatatāratara (that which is located in the head and is higher),

Footnotes (Left Column)

2. The term pluta is taken from the terminology of Sanskrit
   grammar. Vowels are considered to be of three degrees, viz.,
   hrasva (short = 1 mātrā), dīrgha (long = 2 mātrā-s) and pluta
   (prolonged = 3 mātrā-s). 'S' interprets 'pluta' in this context
   as 'thrice'.
3. Literally, the expression 'trirvacanāt' would be rendered as
   'on account of being pronounced thrice', and 'S' interprets it
   as स त्रिप्रच्चारणीय इत्यर्थः, i. e. "Pluta is that which is to be
   pronounced (or produced) thrice."

Right Column

Section 6 : Varṇālaṅkāra [Page] 241
mandra is uraḥ-sthānagata (located in the chest) and nīca is uraḥ-sthānastha-
mandratara (located in the chest but lower).
Thus, he has high and higher (viz. ucca and dīpta) on the one hand
and low and lower (mandra and nīca) on the other; but he has no mean
point, the middle (madhya). Consequently the terms dīpta and prasanna
are equated with tāra and mandra only in the relative order and not in
the perspective of the three registers.
Abhinavagupta also defines dīpanam as tāratā and prasāda as
mandratā and thereby relates dīpti to be the acoustic phenomena invol-
ving the listener and the singer (cf. Abh. Bh. N. S., G. O. S. IV, p. 88).
Besides, the general atmosphere created by Bharata's expression
with regard to pitch-relation suggests that the terminology had not as
yet crystallised in his time and the two extremes of high and low pitch
were recognised as a relative phenomenon without any reference to the
concept of three registers though the three registers were known to
Bharata. This may be compared with N. S. (G. O. S. IV 29.39) which
speaks of tāra, mandra and tāratara as produced respectively from the
throat, the chest and the head. This indicates that though the three
registers were recognised, the terms in which this recognition found
expression were conditioned by the tradition which supplied words only
for the opposites.
(घ) स्थायिवर्णगतालंकार-निरूपणम्
1. प्रसन्नादिः
मन्द्रद्वयात्परे तारे प्रसन्नादिरुदीरितः ।
सं˙ सं˙ संˈ । (१)
(d) The embellishments of the steady tone-pattern : 9-13
(1) Prasannādi
If two lower (mandra) tones are followed by one higher
(tāra) tone, it is known as prasannādi$^1$, e. g. $^2$'sa sa sá' (9ab)
The author now defines and illustrates the sixtythree embellish-
ments. The illustrations are given just by way of specimen and are
based on uttaramandrā, the first mūrcchanā of the ṣaḍja-grāma.
Bharata defines Prasannādi as :
क्रमशो दीपितो यः स्यात् प्रसन्नादिः स कथ्यते ।
(N. S., G. O. S. IV 29.33)

Footnotes (Right Column)

1. Literally, having prasanna (mandra or lower) in the beginning.
2. It has not been possible give tāra-mandra signs in the English
   version.
   16

242 Treatment of Svara
and Dattila defines it as :
प्रसन्नं पूर्वमुच्चार्य शनैः संदी नयेत् स्वरम् । प्रसन्नादिर्भवेदेवम् ।
Dattilam, 100
Śārṅgadeva has, at the very outset, taken the two terms dīpta
and tāra as synonyms; but Ghosh and Nijenhuis render the word dīpta,
literally as 'brilliant'. Dīpta is not only bright but also stimulated, or
brightened when applied to tone (svara). Accordingly, the two defini-
tions can be rendered as under.
(i) That which is gradually heightened is called prasannādi.
(ii) Having sung prasanna (mandra or low) in the first instance
if it is gradually heightened, it would be prasannādi.
Dattila's definition of prasannādi also makes it clear that Śārṅgadeva's
interpretation of the term prasanna as mandra (low) is in keeping with
tradition. Nijenhuis renders it literally as 'clear', which seems to be
technically inadequate as it has no explicit reference to pitch value.
However, it is noteworthy that the above two definitions are indicative
of the fact that Bharata and Dattila did not use the words prasanna and
dīpta as totally dissociated from their general connotation, though the
technical implication of their expression is precisely brought out by
Śārṅgadeva. Mataṅga was the first to equate prasanna with mandra
as he says "मन्द्रशब्देन प्रसन्नध्वनिरुच्यते i. e. the word mandra signifies the
pitch (called) prasanna [lit. clear)."
It is notable in the above context that Mataṅga illustrates prasan-
nādi as sa ri ga ma pa dha ni, which presents his interpretation of
Bharata's kramaśaḥ but does not correspond exactly with that of Śārṅga-
deva whose pattern is followed by Kumbhā (S. Raj II. 1.3.29). This
indicates a process of crystallisation.
2. प्रसन्नन्तः
तद्वैलोम्ये प्रसन्नन्तः,
सं सं सं । (२)
(2) Prasannānta
Its² reverse is prasannānta³, e. g. ‘sa sa sa’ (9c).
2. The reverse of prasannādi,
3. Literally, having the lower at the end.
Section 6 : Varṇālaṅkāra 243
3. प्रसन्नाद्यन्तः
,प्रसन्नद्वयमध्यगे ॥९॥
दीप्ते प्रसन्नाद्यन्तः स्यात्,
सं सं सं । (३)
4. प्रसन्नमध्यः
,तारयोर्मध्यगे पुनः ।
मन्द्रे प्रसन्नमध्याख्यमलङ्कारं विदो विदुः ॥१०॥
सं सं सं । (४)
5. क्रमरेचितः
आद्यन्तयोर्मूर्च्छनाऽऽदिश्चेत्स्वरो ऽन्तर्द्वितीयकः ।
सैका कला ऽथ चेन्मध्ये स्तस्तृतीयचतुर्थकौ ॥११॥
(3) Prasannādyanta
If the higher tone is placed in-between two lower tones,
it becomes prasannādyanta⁴, e. g ‘śa sa śa’ (9d-10a).
(4) Prasannamadhya
If, however, the lower is placed in-between the two
higher tones, that embellishment is known to the experts as
prasannamadhyā⁵, c. g. ‘sa sa sa’ (10b-d).
(5) kramarecita
The embellishment (called) kramarecita, is described in
three phrases⁶ as follows : the first tone of the mūrcchanā, in
the first phrase, is placed in the beginning as well as at the
If the arrangement of tones in the different phrases of kramarecita
is observed, it will be found that there is a progressive increase in the
number of tones in-between the final ‘sa’. This makes the prefix krama
4. Literally, having the lower in the beginning and at the end.
5. Literally, having the lower in the middle.
6. Kalā means an integral part or a phrase.

Page 244

244 Treatment of Svara
सा द्वितीया पञ्चमाद्यास्त्रयो ऽन्तश्चेत्कला परा ।
एवं कलात्रयेणोक्तो ऽलङ्कारः क्रमरेचितः ॥१२२॥
संरिसं संगमस संपधनिसं । (५)
6. प्रस्तारः
दीप्तान्तश्चेत्रिकलं प्रस्तारः सो ऽभिधीयते ।
संरिसं संगमस संपधनिसं । (६)
7. प्रसादः
तारमन्द्रविपर्य्यासात्तं प्रसादं प्रचक्षते ॥१२३॥
संरिसं संगमस संपधनिसं । (७)
end with the second (tone) in-between⁷; the third and the
fourth (tones) are placed in-between in the second phrase;
while in the third phrase the three tones commencing with
pañcama are placed in-between⁸, e. g. 'sa ri sa, sa ga ma sa,
sa pa dha ni sa' (11-12).
(6) Prastāra
If this⁹ ends in the higher (tone) in every phrase it is
called prastāra, e. g. 'sa ri sȧ, sȧ ga ma sa, sȧ pa dha ni sȧ'
(13ab).
(7) Prasāda
If the order of the lower and the higher is reversed in
this¹⁰, then it is called prasāda, e. g. 'sȧ ri sa, sȧ ga ma sȧ,
sȧ pa dha ni sa' (13cd).
to recita significant. This same is true of prastāra and prasāda. Thus, it
would seem that the first four (i. e. 1 to 4) and the last three (i. e. 5 to
7) embellishments form two groups having a certain feature common to
all the members. The first group of four is distinguished by the same
note being in the beginning, in the middle and at the end, though with
the difference in the placement of high and low registers.
7 & 8. In-between the first tones of the mūrcchanā placed at the begin-
ning and the end of the phrase.
9. 'This' refers to kramarecita.
10. 'This' refers to prastāra.

Page 245

Section 6 : Varṇālaṅkāra 245
(ङ) आरोहिवर्णगतालंकारोद्देशः
स्यातां विस्तीर्णनिष्कषौ बिन्दुरभ्युच्चयः परः ।
हसितप्रेङ्खिताक्षिप्तसन्धिप्रच्छादनास्तथा ॥१२४॥
उद्गीतोद्वाहितौ तद्वत्त्रिवर्णा वेणिरित्यमी ।
द्वादशारोहिवर्णस्थालङ्काराः परिकीर्तिताः ॥१२५॥

1. विस्तीर्णः
   मूर्च्छनाऽऽदेः स्वराद्यत्र क्रमेणारोहणं भवेत् ।
   स्थित्वा स्थित्वा स्वरैर्दीर्घैः स विस्तीर्णोऽभिधीयते ॥१२६॥
   सा री गा मा पा धा नी । (१)
2. निष्कषो, गात्रवर्णश्च
   ह्रस्वैः स्वरैः स निष्कर्षो द्विरुक्तैर्निरन्तरैः ।
   सस रिरि गग मम पप धध निनि । (२)
   (e) The embellishments of the ascendant tone-pattern :
   (14-25)
   The 12 embellishments pertaining to the ascendant
   tone-pattern (ārohī varṇa) are known as vistīrṇa, niṣkarṣa, bindu,
   abhyuccaya, hasita, preṅkhita, ākṣipta, sandhipracchādana, udgīta,
   udvāhita, trivarṇa and veṇi. 14-15
   (1) Vistīrṇa
   Where the ascent takes place from the first note of the
   mūrcchanā in successive order, by notes elongated through
   repeated staying¹, it is called vistīrṇa, e. g. 'sā rī gā mā pā
   dhā nī.' (16)
   (2) Niṣkarṣa and gātravarnam
   If short notes are employed twice at a time without
   break it² become niṣkarṣa, e. g. 'sa-sa ri-ri ga-ga ma-ma pa-pa
3. The significance of the original expression sthitvā sthitvā
   (repeating sthitvā) is brought out by the word repeated, i. e.
   an elongated tone is analogous to a long vowel taking twice
   as much time as the short one. Accordingly, in notation the
   tones are written with long vowels. Thus after staying for
   twice as much time on a single tone one proceeds to the next
   higher tone.
4. It refers to the pattern of vistīrṇa.

246 Treatment of Śvara
त्रिश्‍चतुर्वा स्वरोच्चारे गात्रवर्णमिमं विदुः ॥१७॥
ससस रिरिरि गगग ममम धधध निनिनि ।
सससस रिरिरिरि गगगग मममम पपपप धधधध निनिनिनि । (२)
निष्कर्षस्यैव भेदौ द्वौ केचिदेतौ बभाषिरे ।
3. बिन्दुः
प्लुतं ह्रस्वं प्लुतं ह्रस्वं प्लुतं ह्रस्वं प्लुतं स्वरम् ॥१८॥
कुर्वन्क्रमाद्यदा ऽऽरोहेत्तदा बिन्दुरयं मतः ।
स३रि ग३म प३ध नि३ । (३)
4. अभ्युच्चयः
एकान्तरस्वरारोहमाहुरभ्युच्चयं बुधाः ॥१९॥
सगपनि । (४)
dha-dha ni-ni’. If however, each note is pronounced thrice
or four times, it³ is known as gātravarnam, e. g. ‘sa-sa-sa ri-ri-ri
ga-ga-ga ma-ma-ma pa-pa-pa dha-dha-dha ni-ni-ni, sa-sa-sa-
sa ri-ri-ri-ri ga-ga-ga-ga ma-ma-ma-ma pa-pa-pa-pa dha-
dha-dha-dha ni-ni-ni-ni’. These two forms, according to
some are said to be the two varieties of niṣkarṣa. (17-18)
(3) Bindu
If the ascending tones are employed in the order of
prolonged (pluta), short (hrasva), prolonged, short, prolonged,
short and prolonged, then, it is considered to be bindu e. g.
‘sa3ri ga3ma pa3dha ni3.’ (18c-19b)
(4) Abhyuccaya
An ascendant tonal movement dropping alternative
tones is called abhyuccaya by the sages, e. g. ‘sa ga pa ni’.
(19cd)
3. It refers to the pattern of niṣkarṣa.
Section 6 : Varṇālaṅkāra 247
5. हसितः
यत्रैकोत्तरवृद्धाभिरावृत्तिभिरुदीरिताः ।
आरुह्यन्ते स्वराः प्राहु हसितं तं शिवप्रियः ॥२०॥
स रिरि गगग मममम पपपपप धधधधधध निनिनिनिनिनिनि । (५)
6. प्रेङ्खितः
स्वरद्वयं समुच्चार्य पूर्वं पूर्वयुतं परम् ।
यदान्दोलितमारोहेत्प्रेङ्खितो ऽसौ क्रमो ऽथ वा ॥२१॥
सरि रिग गम मप पध धनि । (६)
7. आक्षिप्तः
एकान्तरं स्वरयुगं तादृक्पूर्वयुतं परम् ।
क्रमादारोहति यदा तदा ऽऽक्षिप्तं प्रचक्षते ॥२२॥
सग गप पनि । (७)
(5) Hasita
Wherein the tones ascend, augmented successively by an
increased repetition⁴, it is called hasita by the devotee of Śiva⁵
e. g. ‘sa ri-ri ga-ga-ga ma-ma-ma-ma pa-pa-pa-pa-pa dha-dha
dha-dha-dha-dha ni-ni-ni-ni-ni-ni-ni’. (20)
(6) Preṅkhita
Having sung first two tones to begin with, if one ascends
with a swing by taking the succeeding tone as preceded by
the previous tone⁶, it is called preṅkhita or krama e. g. ‘sa-ri
ri-ga ga-ma ma-pa pa-dha dha-ni’. (21)
(7) Ākṣipta
If one ascends in successive order by a pair of tones
dropping one tone in-between⁷ and initiating the succeeding
4. That is, each successive tone will have one more repetition, as
compared to the preceding one.
5. Śārṅgadeva is the devotee of Śiva.
6. That is, in order to take the third tone one should first take
the 2nd and then the 3rd immediately followed by it.
7. That is, to form the first pair the second tone in-between the
first and the third is dropped and in the second pair the
fourth is dropped in-between the 3rd and the 5th.

248 Treatment of Svara
8. सन्धिप्रच्छादनः
त्रिस्वरा ऽऽद्या कला ऽन्ये च पूर्वपूर्वान्तिमादिमे ।
कले स्तस्त्रिस्वरे यत्र सन्धिप्रच्छादनस्तु सः ॥२३॥
सरिग गमप पधनि । (८)
9. उद्गीतः
यदा ऽऽद्याद्यस्त्रिरावृत्तः कलयोस्त्रिस्वरात्मनोः ।
तदोद्गीतः,
सससरिग मममपध । (९)
10. उद्वहितः
,मध्यमेन तादृशोद्वाहितो मतः ॥२४॥
सरिरिरिग मपपपध । (१०)
pair with the preceding one⁸, it is called ākṣipta, e. g. 'sa-ga
ga-pa pa-ni'. (22)
(8) Sandhipracchādana
Where the first phrase (kalā) consists of three tones and
the other two have the last tone of their preceding phrase as
their first in a group of three tones, it is (called) sandhipracchā-
dana, e. g. 'sa-ri-ga ga-ma-pa pa-dha-ni'. (23)
(9-12) Udgīta, udvāhita, trivarṇa and pṛthagveṇī
When in two phrases of three tones each, the first tone is
repeated thrice, it is udgīta, e. g. 'sa-sa-sa-ri-ga ma-ma-ma-pa-
dha' (9) and in that, if the middle tone is repeated similarly,
it is considered to be udvāhita, e.g. 'sa-ri-ri-ri-ga ma-pa-pa-pa-
dha' (10). If, however, the last (third) tone⁹ is repeated, it is
described as trivarṇa, e.g. 'sa-ri-ga-ga-ga, ma-pa-dha-dha-dha'
(10)
8. That is, for example in the second pair the succeeding tone
after dropping the 4th tone is pa which is prefixed by the
3rd ga.
9. Of each phrase.

Section 6 : Varṇālaṅkāra 249
11. त्रिवर्णः
अन्त्यस्य तु त्रिरावृत्तौ त्रिवर्णं वर्णयन्त्यमुम् ।
सरिगगग मपधधध । (११)
12. पृथग्वेणिः
त्रयाणां तु त्रिरावृत्तौ पृथग्वेणिरुदीरितः ॥२५॥
ससस रिरिरि गगग, ममम पपप धधध । (१२)
(च) अवरोहिवर्णगतालंकाराः
अवरोहक्रमादेते द्वादशाप्यवरोहिणि ।
(छ) सञ्चारिवर्णगतालंकारोद्देशः
मन्द्रादिर्मन्द्रमध्यश्च मन्द्रान्तः स्यादतः परम् ॥२६॥
प्रस्तारश्च प्रसादोऽथ व्यावृत्तस्खलितावपि ।
परिवर्तक्षेपबिन्दूद्वाहितोर्मिसमास्तथा ॥२७॥
If, however, the last (third) tone⁹ is repeated it is described as
trivarṇa, e. g. sa-ri-ga-ga-ga, ma-pa-dha-dha-dha. (11) But, if
all the three tones¹⁰ are repeated thrice (in the above pattern),
it is called pṛthagveṇī,¹¹ e. g. 'sa-sa-sa ri-ri-ri ga-ga-ga ma-
ma-ma pa-pa-pa dha-dha-dha' (12). (24-25)
(f) The embellishments of the descendant tone-pattern :
26ab
These very twelve in their descending order are known
as descendant embellishments.¹² (26ab)
(g) The embellishments of the circulatory (sañcārī) tone-
pattern: 26c-53
The twentyfive embellishments based on the circulatory
tone-pattern (sañcārī varṇa) are named as follows : mandrādi,
mandramadhya as followed by mandrānta; prastāra, prasāda and
10. Of each phrase.
11. Cf. verse 15 ante where it is called veṇī, and S. Raj. Vol. I
2.1.3. 58-59 and K. R. 103 who follow suit. However, it is
notable that 'S' calls it pṛthagveṇī.
12. That is, the ascendant embellishments as described above
when ordered in the descendant movement.

Page 250

250 Treatment of Svara
प्रेङ्खनिष्कूजितश्येनक्रमोद्घट्टितरञ्जिताः ।
संनिवृत्तप्रवृत्तोऽथ वेणुश्च ललितस्वरः ॥२८॥
हुङ्कारो ह्रादमानश्च ततः स्यादवलोकितः ।
स्युः सञ्चारिण्यलङ्काराः पञ्चविंशतिरित्यमी ॥२९॥

1. मन्द्रादिः
   त्रिस्वरा ऽद्या कलैकैकमन्द्रत्यागेन चापराः ।
   त्रिस्वराश्चेत्कला मन्द्राद्या मन्द्रादिस्तदा भवेत् ॥३०॥
   सगरि रिमग गपम मधप पनिध (१)
   vyāvṛtta as well as skhalita; parivarta, ākṣepa, bindu, udvāhita,
   ūrmi and sama; preṅkha, niṣkūjita, śyena, krama, udghaṭṭita and
   rañjita; sannivṛtta, pravṛtta and veṇu; lalitasvara, huṅkāra and
   hrādamāna followed by avalokita. (22c-29)
2. Mandrādi
   When the first phrase of three tones beginning with the
   lower¹ one is followed by other similar² phrases formed by
   dropping the lower tone one by one³, then it becomes
3. The word lower is used in the technical sense in this section as
   already explained (vide verse 6 cd—8 ante). ‘S’ puts the
   three tones in the order 1, 3, 2. i.e. sa-ga-ri and so on, but there
   is no indication of this order of notes in the text.
4. The text repeats the formation, viz. each phrase has to be of
   three tones and is to commence with the lower tone.
5. That is, in the 2nd phrase sa is dropped, in the 3rd phrase ri
   is dropped, in the 4th phrase ga is dropped and finally, ma is
   dropped. So as a rule the lower tone is progressive. It may
   be observed here that the definition of this tone-pattern does
   not explicitly seem to correspond with the given illustration.
   The definition only prescribes that the first tone of every
   phrase of three tones will be lower (mandra) but does not at the
   same time lay down the order of the other two tones which is
   left to be inferred. Since the first tone is specified to be low, the
   implication is that the following two tones are not to be placed
   in their natural order and the specification with regard to the
   first one would be redundant ‘S’ has brought out this
   implication clearly by elucidating that the first phrase consists
   of three tones in the order of first, third and second etc.
   obviously his interpretation is inspired by the given illustration.
   But Kumbhā has defined this tone-pattern in very clear and
   explicit terms which leaves no room for ambiguity. He says

Page 251

Section 6 : Varṇālaṅkāra 251
2. मन्द्रमध्यः
ताः कला मन्द्रमध्यान्ताः क्रमाच्चेदपरौ तदा ।
मन्द्रमध्यो यथा--
गसरि मरिग पगम धमप निपध । (२)
3. मन्द्रान्तः
मन्द्रान्तो यथा--
रिगस गमरि मपग पधम धनिप । (३)
4. प्रस्तारः
त्यक्त्तान्तरं स्वरयुगं त्यक्तादारभ्यते पुनः ॥३१॥
युगं तादृक्समारोहेत्तया प्रस्तार उच्यते ।
सग रिम गप मध पनि । (४)
_mandrādi_⁴, e.g. ‘sa-ga-ri ri-ma-ga ga-pa-ma ma-dha-pa pa-
ni-dha.’ (30)
2, 3. Mandra-madhya and mandrānta
In these very phrases⁵ if the ‘lower’ (mandra) is placed
in the midst⁶ or at the end⁷ (the initial phrase) being
followed by others in due order, then it is called mandra-
madhya or mandrānta, e.g. ‘ga sa-ri ma-ri ga, pa-ga-ma dha-
ma-pa ni-pa-dha’ or ‘ri-ga-sa ga-ma-ri ma-pa-ga pa-dha-ma
dha-ni-pa, respectively. (31ab)
4. Prastāra
When a pair of tones is formed by dropping the tone
in-between them and is followed by another pair similarly
formed but initiated by the tone omitted (in the previous
“In mandrādi there are five phrases of three tones each beginn-
ing with sa etc., while the third (tone) in each is placed in the
middle (S. Raj. II 1. 3. 69). Here the order of all the three
tones is explicitly laid down. Of course his definition and
illustration both correspond to S. R. in substance.
4. Lit. having the lower tone in the beginning.
5. In all the five phrases illustrated above.
6. That is, the middle tone of (1) is placed in the beginning.
7. The last (3rd) tone of (1) is placed as the 1st and the commenc-
ing tone.

252 Treatment of Svara
5. प्रसादः
पूर्वः पूर्वः परस्योर्ध्वाधोवर्ती क्रियते स्वरः ॥३२॥
यदा तदा प्रसादं तमाह श्रीकरणेश्वरः ।
सरिस रिगरि गमग मपम पधप धनिध । (५)
6. व्यावृत्तः
चतुःस्वरा कला तत्राद्यात्तृतीयं द्वितीयकात् ॥३३॥
तुर्यं गत्वा ऽऽदिमं गच्छेदैवमेकैकहानतः ।
चतुःस्वराः परा यत्र स व्यावृत्तः स्मृतो बुधैः ॥३४॥
सगरिमस रिमगपरि गपमधग मधपनिम । (६)
pair), and an ascent is made in this way, it is said to be
prastāra, e. g. ‘sa-ga ri-ma ga-pa ma-dha pa-ni’. (31c-32b)
5. Prasāda
When every⁸ preceding tone precedes as well as follows
the next tone⁹, then it is prasāda as declared by Śrīkaraṇe-
śvara¹⁰, e.g. ‘sa-ri-sa ri-ga-ri ga-ma-ga ma-pa-ma pa-dha-pa
dha-ni-dha’. (32c-33b)
6. Vyāvṛtta
Where a phrase consisting of four tones proceeding
from the first to the third, and then from the second to the
fourth tone returns to the first¹¹ and is similarly followed by
other phrases of four tones dropping a tone¹², one by one¹³,
it is considered by the sages to be vyāvṛtta, e.g. ‘sa-ga-ri-ma-sa
ri-ma-ga-pa-ri ga-pa-ma-dha-ga ma-dha-pa-ni-ma’. (33c-34)
8. The preceding tone of every phrase.
9. The implication is that every phrase will have three tones
and the tone referred to as ‘the next’ will be the middle one.
10. Śārṅgadeva.
11. The tones are arranged in the order 1, 3, 2, 4, 1.
12. That is the second phrase will drop the first tone, the third
will drop the second and the fourth will drop the third tone.
13. That is, omitting one tone progressively.

Section 6 : Varṇālaṅkāra 253
7. स्खलितः
कलां प्रयुज्य मन्द्रादेर्द्विरुक्तोर्ध्वस्वरान्विताम् ।
अवरोहेत चेदेष स्खलिताख्यस्तदा भवेत् ॥३५॥
सगरिममरिगस रिमगपपगमरि गपमधधमपग
मधपनि निपधम । (७)
8. परिवर्तकः
स्वरं द्वितीयमुज्झित्वा त्रिस्वरा ऽऽद्या कला यदि ।
त्यक्तादारभ्य तादृश्यो ऽन्यास्तदा परिवर्तकः ॥३६॥
सगम रिमप गपध मधनि । (८)
9. आक्षेपः
त्रिस्वराश्चेत्कलाः पूर्वपूर्वतPropsर्ध्वसंक्रमैः ।
तदा ऽऽक्षेपः
सरिग रिगम गमप मपध पधनि । (९)
7. Skhalita
Employing a phrase of mandrādi¹⁴ followed by the next
tone¹⁵ as used twice, if one descends¹⁶, then it is called
skhalita, e.g. ‘sa-ga-ri-ma-ma-ri-ga-sa, ri-ma-ga-pa-pa-ga-ma-ri,
ga-pa-ma-dha-dha-ma-pa-ga, ma-dha-pa-ni-ni-pa-dha-ma’. (35)
8. Parivartaka
If the first phrase consisting of three tones barring the
second one is followed by similar¹⁷ phrases starting with the
omitted¹⁸ tones, then it is parivartaka, e.g. sa-ga-ma ri-ma-pa
ga-pa-dha ma-dha-ni (36)
9. Ākṣepa
If the phrases of three tones progress in the ascending
order, dropping the first tone¹⁹ of the preceding phrase, then
14. That is, ‘sa-ga-ri’.
15. That is, ma after the first phrase.
16. Descends to the starting tone of the phrase.
17. Similarly dropping the second tone as counted from their
first tone.
18. That is, second from the first tone of the phrase.
19. This would naturally apply only to the subsequent phrases and
not to the first one.

line: ga-dha3-ga-dha-
Then the next svara should be: ma-ni3-ma-ni'.
Wait, look at line 6:
What is written in line 6?
Wait, does line 6 say:
ma-ni3-ma-ni'. (39b-40c)?
Wait! Look at line 6:
Wait, is line 6 ma-ni?
Look at the characters in line 6:
m a - n i 3 - m a - n i ' . ( 3 9 b - 4 0 c )
Wait, look at 3ma-ni below it:
Why is 3ma-ni there?
Could line 6 NOT be ma-ni3-ma-ni'?
Wait! What IS written in line 6?
Look at line 6:
ma-ni3-ma-ni'. -> wait, look at the letters:
m - yes
a - yes
- - yes
n - yes
i - yes
3 - yes
- - yes
m - yes
a - yes
- - yes
n - yes
i -