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

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.

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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 -

256 Treatment of Svara
14. प्रेङ्खः
कला गतागतवती द्विस्वरैरेकैकहानतः ॥४१॥
यत्रान्यास्तादृशः स स्यात्प्रेङ्खः,
सरिरिस रिगगरि गममग मपपम पधधप ध निनिध । (१४)
15. निष्कूजितः
, निष्कूजितः पुनः ।
प्रसादस्य कलां गीत्वा तत्कलाऽऽद्येस्तुतीयकम् ॥४२॥
गत्वा ऽऽद्यगानाद्भवति,
सरिसगस रिगरिमरि गमगपग मपमधम पधपनिप । (१५)
16. श्येनः
, श्येनः संवादि युग्मकैः ॥४३॥
क्रमात्सरिगमाद्यैः स्यात्,
सप रिध गनि मस । (१६)
14. Preṅkha
Where the phrases move forward and then backward²⁸
by two tones with the subsequent²⁹ phrases forming them-
selves similarly by dropping a tone by and by³⁰ successively,
it becomes preṅkha, e.g. ‘sa-ri-ri-sa ri-ga-ga-ri ga-ma-ma-ga
ma-pa-pa-ma pa-dha-dha-pa dha-ni-ni-dha.’ (41c-42b)
15. Niṣkūjita
Having sung a phrase of prasāda³¹, and proceeding to
the third (tone) from the initial (tone), if the initial is sung,
it becomes niṣkūjita, e.g. ‘sa-ri-sa-ga-sa ri-ga-ri-ma-ri ga-ma-ga-
pa-ga ma-pa-ma-dha-ma pa-dha-pa-ni-pa’. (42b-43a)
16. Śyena
Śyena is (formed) by the consonant³² pairs³³ beginning
respectively with sa, ri, ga and ma, e.g. ‘sa-pa ri-dha ga-ni
ma-sa’. (43b-44a)³⁴
28. In the order of ascent and descent.
29. The phrases following the first tone.
30. Dropping the initial note of the preceding phrase.
31. Phrases of prasāda may be seen vide verse No. 33 ante and
embellishment No. 5 in this series.
32. The consonance in this case consists in the interval of thirteen
śruti-s, known as the ṣaḍja-pañcama relation.
33. Pairs of tones.
34. Verse 43 consists of one line only.

Section 6 : Varṇālaṅkāra 257
17. क्रमः
, कला द्वित्रिचतुःस्वराः ।
आद्यस्वराद्यास्तिस्रः स्युर्द्वितीयाद्यादयस्तथा ॥४४॥
यत्रासौ क्रम इत्युक्तः,
सरिसरिगसरिगम रिगरिगमरिगमप गमगमपगमपध
मपमपधमपधनि । (१७)
18. उद्घट्टितः
, स तूद्घट्टित उच्यते ।
यत्र स्वरद्वयं गीत्वा पञ्चमाच्चतुरः स्वरान् ॥४५॥
अवरोहेत्कला गायेत्तथैकैकोज्झनात्पराः ।
सरिपमगरि रिगधपमग गमनिधपम । (१८)
17. Krama
(The embellishment) in which there are three phrases
consisting of two, three and four tones respectively commen-
cing with the initial³⁵ tone and three (similar) phrases
commencing with the second tone and so on³⁶, is called krama,
e.g. ‘sa-ri-sa-ri-ga-sa-ri-ga-ma, ri-ga-ri-ga-ma-ri-ga-ma-pa, ga-
ma·ga, ma-pa-ga-ma-pa-dha, ma-pa-ma-pa-dha-ma-pa-dha-ni.’
(44b-45a)
18. Udghaṭṭita
Where (in a phrase) after singing two tones,³⁷ one
descends four tones from the fifth³⁸ and sings the subsequent
phrase (similarly) by dropping one³⁹ tone in each case, it is
said to be udghaṭṭita, e.g. ‘sa-ri-pa-ma-ga-ri, ri-ga-dha-pa-
ma-ga-ga-ma-ni-dha-pa-ma’. (44b-46b)
35. The first tone of the mūrcchanā.
36. Added to these two will be the three phrases commencing with
the third tone and the three phrases commencing with the
fourth tone.
37. Beginning with the first tone of the mūrcchanā.
38. Fifth as counted from the initial tone of a phrase.
39. The initial tone of the preceding phrase.
17

Left Page (p. 258)

258 Treatment of Svara
19. रञ्जितः
द्विरुक्ता यदि मन्द्रान्ता मन्द्रादेः स्युः कलास्तदा ।।४६।।
रञ्जितः,
सगरिसगरिस रिमगरिमगरि गपमगपमग मधपमधपम
पनिधपनिधप । (१३)
20. संनिवृत्तप्रवृत्तकः
, अथ भवेदेष संनिवृत्तप्रवृत्तकः ।
यत्राद्यपञ्चमौ गीत्वा तुर्यात्त्रीनवरोहति ।।४७।।
क्रमात्कला सा यत्रान्यास्तद्वदेकैकहानतः ।
सपमगरि रिधपमग गनिधपम । (२०)
19. Rañjita
If the phrases are such that mandrādi⁴⁰ is sung twice
followed by the 'lower'⁴¹ in the end, then it is rañjita, e. g.
'sa-ga-ri-sa-ga-ri-sa, ri-ma-ga-ri-ma-ga-ri, ga-pa-ma-ga-pa-ma-ga,
ma-dha-pa-ma-dha-pa-ma, pa-ni-dha-pa-ni-dha-pa'. (46c-47a)
20. Saṃnivṛttapravṛttaka
Where, having sung the first⁴² and the fifth⁴³ (tones)
one descends by three consecutive tones from the fourth⁴⁴
(tone) in the first phrase, and where other phrases are
similarly framed by dropping one tone⁴⁵ in each, it becomes
saṃnivṛttapravṛttaka, e. g. 'sa-pa-ma-ga-ri, ri-dha-pa-ma-ga, ga-
ni-dha-pa-ma.' (47a-48b)
40. This embellishment is based on the tonal embellishment called
mandrādi illustrated vide verse 22 ante, and numbered as 6.
41. The lower tone i. e. the initial of the phrase in this case.
42. The first of the mūrcchanā.
43. Ascending from first to the fifth tone.
44. The three tones to be counted from the fourth one; for the
descent, as it is, is from the fifth.
45. The inital tone of the preceding phrase.

Right Page (p. 259)

Section 6 : Varṇālaṅkāra 259
2.0 वेणुः
यत्राद्यः स्याद् द्विर्द्वितीयचतुर्थकतृतीयकाः ।।४८।।
सकृत्कला ऽन्याश्चैकैकहानाद्द्वेणुरसौ मतः ।
ससरिमग रिरिगपम गगमधप ममपनिध । (२१)
22. ललितस्वरः
गीत्वा ऽऽद्यौ द्वौ चतुर्थं च यस्यां ताववरोहति ।।४९।।
सा कला ऽन्याश्च तादृश्यो यत्रासौ ललितस्वरः ।
सरिमरिस रिगपगरि गमधमग मपनिपम । (२२)
23. हुङ्कारः
आदिमेन कला यत्र द्विस्वरा ऽऽद्या गतागतैः ।।५०।।
21. Veṇu
Where the (first) phrase is (formed) with the first
tone⁴⁶ (sung) twice and then the second, fourth and the
third once, and is followed by other similar phrases dropping
one tone in each case, it is considered to be veṇu, e. g.
sa-sa-ri-ma-ga, ri-ri-ga-pa-ma, ga-ga-ma-dha-pa, ma-ma-pa-
ni-dha'. (48c-49b)
22. Lalitasvara
Having sung the first two tones⁴⁷ followed by the
fourth, if one descends by those very (two) tones⁴⁸ in a
phrase, with the other similar⁴⁹ phrases following, it is
lalitasvara, e. g. 'sa-ri-ma-ri-sa, ri-ga-pa-ga-ri, ga-ma-dha-ma-ga,
ma-pa-ni-pa-ma'. (49c-50b).
23. Huṅkāra
Where the first phrase is of two tones followed by the
initial (tone) arranged in the forward and backward order⁵⁰,
46. The first tone of the preceding phrase.
47. The first two of the mūrcchanā.
48. That is, the first two of the phrase.
49. The rule that the other phrases would drop the first tone of the
preceding phrase, though not stated, is implied in the illustration.
50. Forward movement is ascending and backward movement is
descending, sa to ri in the first phrase is as ascent and ri to sa
is the descent.

Page 260

260 Treatment of Svara
स्वरैरेकोत्तरं वृद्धैः स हुङ्कारो निगद्यते ।
सरिस सरिगरिस सरिगमगरिस सरिगमपमगरिस
सरिगमपधपमगरिस सरिगमपधनिधपमगरिस (२३)
24. ह्रादमानः
ह्रादमाने प्रसन्नान्ता मन्द्रादेस्तु कला मताः ॥५१॥
सगरिस रिमगरि गपमग मधपम पनिधप ॥२४॥
25. अवलोकितः
यदा ऽऽरोहे ऽवरोहे च स्वद्वितीयं परित्यजेत् ।
चतुःस्वरा समा कला तदा स्यादवलोकितः ॥५२॥
सगममरिस रिमपपगरि गपधधमग मधनिनपम ॥२५॥
and the subsequent phrases are (formed, by the progressive
addition of one tone⁵¹, it is called huṅkāra, e. g. ‘sa-ri-sa
sa-ri-ga-ri-sa, sa-ri-ga-ma-ga-ri-sa, sa-ri-ga-ma-pa-ma-ga-ri-sa,
sa-ri-ga-ma-pa-dha-pa-ma-ga-ri-sa, sa-ri-ga-ma-pa-dha-ni-dha
pa-ma-ga-ri-sa.’ (50c-51b)
24. Hrādamāna
In hrādamāna the phrases of Mandrādi are ended with
an added ‘lower’⁵² (prasanna), e. g. ‘sa-ga-ri-sa, ri-ma-ga-ri,
ga-pa-ma-ga, ma-dha-pa-ma, pa-ni-dha-pa.’ (51cd)
25. Avalokita
When the four-tone phrase of samā⁵³ drops⁵⁴ its second
tone⁵⁵ in the ascent as well as in the descent, then it becomes
51. One tone to be added to the preceding phrase before the
descent begins, so that the first phrase, extending upto two
tones (excluding the descending tone), the second upto three,
the third upto four, the fourth upto five, the fifth upto six and
the sixth upto seven tones, is followed by a descent upto the
intial tone in each case.
52. Lower tone, i. e. the first tone in the first phrase, second in
the second phrase and so on.
53. Samā is the name of an embellishment defined and illustrated
vide verse 40c-41b ante, under No. 13 of this series. The first
phrase of samā for example is ‘sa-ri-ga-ma-ma-ga-ri-sa.’
54. A figurative expression, the action is taken by the singer in fact.
55. The second tone of each phrase respectively in the ascent and
in the descent.

Page 261

Section 6 : Varṇālaṅkāra 261
एवं सञ्चार्यलङ्कारा आरोहेण प्रदर्शिताः ।
एतानेवावरोहेण प्राह श्रीकरणाग्रणीः ॥५३॥
(झ) सप्तान्यलंकारोद्देशः
अन्ये ऽपि सप्तालंकारा गीतज्ञैरुपदर्शिताः ।
तारमन्द्रप्रसन्नश्च मन्द्रतारप्रसन्नकः ॥५४॥
आवर्तकः सम्प्रदानो विधूतो ऽप्युपलोलकः ।
उल्लसितश्चेति तेषामधुना लक्ष्म कथ्यते ॥५५॥
avalokita, e. g, ‘sa-ga-ma-ma-ri-sa, ri-ma-pa-pa-ga-ri, ga-pa-
dha-dha-ma-ga, ma-dha-ni-ni-pa-ma’. (52)
Thus, the circulatory embellishments (sañcāri-alaṅkāra-s)
have been demonstrated in their ascending order. These
very embellishments are conceived in the descending order
as well by Śārṅgadeva.⁵⁶ (53)
(h) Seven other embellishments :
Other seven embellishments have also been indicated¹
by the master musicians, viz. tāramandra-prasanna, mandratāra-
prasanna², āvartaka, sampradāna, vidhūta, upalola³ and ullasita.
They are now being defined. (54-55)
Their phrases subsequent to the first⁴, such as second
and so on, are formed by the progressive loss of one tone⁵.
(56 ab)
56. Śrīkaraṇāgraṇī in the text.

1. Or demostrated.
   2 & 3. The suffix ‘ka’ in the text seems to have been provided for
   completing the metre as it has been dropped in the illust-
   ration.
2. In the case of these seven embellishments the form of the first
   phrase only will be defined, while the rule for the subsequent
   phrases has been stated in general.
3. The initial tone of of the preceding phrase.

Page 262

262 Treatment of Svara
1. तारमन्द्रप्रसन्नः
कलास्तेषां द्वितीयाद्याः पूर्वैकैकप्रहाणतः ।
अष्टमस्वरपर्यन्तमारुह्याद्यं व्रजेद्यदि ॥५६॥
तारमन्द्रप्रसन्नो ऽयमलंकारस्तदोच्यते ।
संरिगमपधनिसंसं ।१।
2. मन्द्रतारप्रसन्नः
मन्द्रादष्टममुत्प्लुत्य सप्तकस्यावरोहणे ॥५७॥
मन्द्रतारप्रशन्नाख्यमाह माहेश्वरोत्तमः ।
संसंनिधपमगरिसं ।२।
3. आवर्तकः
आद्यं द्वितीयमाद्यं च द्विर्द्विर्गत्वा द्वितीयकम् ॥५८॥

1. Tāramandra-prasanna
   Having ascended upto the eighth tone, if one descends to the
   initial (tone), such an embellishment is called tāramandra-
   prasanna⁶, e. g. 'śā-ri-ga-ma-pa-dha-ni-śā-śá'. (56c-57b)
2. Mandratāra-prasanna
   Having jumped from the 'lower' (mandra) to the eighth
   (tone), if seven tones are (sung) in the descending order, it
   is said to be mandratāra-prasanna by Śārṅgadeva⁷, e. g.
   'śā-śu-ni-dha-pa-ma-ga-ri-śá'. (57c-58b)
3. Āvartaka
   Where, in a phrase, one sings the initial (first), the
   second and the initial tone twice, each followed by the
4. Since both the terms, mandra and prasanna are used in this
   name, the interpretation offered by Nijenhuis, 'clear in its
   high and low notes' may be accepted in this context. Prasanna
   has been rendered literally as clear however the notation may
   be understood as defined by the author in the very beginning,
   the words mandra and tāra being only relative.
5. Literally, the best among the devotees of Śiva.

Page 263

Section 6 : Varṇālaṅkāra 263
सकृदाद्यं यत्कलायां गायेदावर्तकस्तु सः ।
ससरिरिसससरिस रिरिगगरिरिरिगपरि गगममगगमगमग
ममपपममपमपम पपधधपपधपधप धधधिनिनिधधनिध ।३।
4. सम्प्रदानः
एतस्यैव कला ऽन्त्यौ द्वौ स्वरौ संत्यज्य गीयते ॥५९॥
यदा तदा सम्प्रदानमलंकारं विदुर्बुधाः ।
ससरिरिसस रिरिगगरिरि गगममगग ममपपमम पपधधपप
धधधिनिनिधध ।४।
5. विधूतः
युग्ममेकान्तरितयोस्त्यक्तादप्येवमेव चेत् ॥६०॥
द्विर्द्विः प्रयुज्येत तदा विधूतो बुधसंमतः ।
सगसग रिमरिग गपगप मधमध पनिपनि ।५।
second and the initial (tone) once, it is āvartaka⁸, e. g.
'sa-sa-ri-ri-sa-sa-ri-sa, ri-ri-ga-ga-ri-ri-ga-ri, ga-ga-ma-ma-ga-
ga-ma-ga, ma-ma-pa-pa-ma-ma-pa-ma pa-pa-dha-dha-pa-pa-
dha-pa, dha dha-ni-ni-dha-dha-ni-dha'. (58c-59b)
4. Sampradāna
When this⁹ very phrase is sung by dropping the last two
tones, then to the experts, the embellishment is known to be
sampradāna, e. g. 'sa-sa-ri-ri-sa-sa, ri-ri-ga-ga-ri-ri, ga-ga-ma-ma-
ga-ga ma-ma-pa-pa-ma-ma, pa-pa-dha-dha-pa-pa, dha-dha-ni
ni-dha-dha.' (59c-60b)
5. Vidhūta CFR PURANA P. 83
When a pair of two tones, taken alternatively¹⁰, is
employed twice and is followed by similar pairs of tones
commencing with the omitted¹¹ tone, then it is considered
8. Literally, a whirlpool.
9. The phrase of āvartaka, e. g. 'sa-sa-ri-ri-sa-sa-ri-sa.'
10 & 11. In the order of 1-3, 2-4, 3-5, 4-6, 5-7.

264 Treatment of Svara
6. उपलोलः
कलायामाद्ययोर्युग्मं चेत्तृतीयद्वितीययोः ॥६१॥
द्विर्द्विः प्रयुज्यते तज्ज्ञैरुपलोलस्तदोच्यते ।
सरिसरिगरिगरि रिगरिगमगमग गमगमपमपम
मपमपधपधप पधपधनिधनिध । ।६।
7. उल्लसितः
द्विर्गीत्वा ऽऽद्यं तृतीयं च प्रथमं च तृतीयकम् ॥६२॥
सकृद्गायेत्कलायां तमुल्लासितमूचिरे ।
ससगसग रिरिमरिम गगपगप ममधमध पपनिपनि । ।७।
इति प्रसिद्धालङ्कारास्त्रिषष्टिरुदिता मया ॥६३॥
अनन्तत्वात्तु ते शास्त्रे न सामस्त्येन कीर्तिताः ।
by the sages to be vidhūta, e. g. 'sa-ga-sa-ga, ri-ma-ri-ma,
ga-pa-ga-pa ma-dha-ma-

[Left Page]

अथ सप्तमं जातिप्रकरणम्
क. उपक्रमः
(i) शुद्धा जातयः
(क) सप्तशुद्धजातीनामुद्देशः
शुद्धाः स्युर्जातयः सप्त ताः षड्जादिस्वराभिधाः ।
षाड्ज्यार्षभी च गान्धारी मध्यमा पञ्चमी तथा ।।१।।
धैवत्यथ नैषादी,
Section 7
Jati-s (Melodic types)
A. Introductory : 1-28
(i) Śuddhā (primary) jāti-s : (1-3b)
(a) The seven śuddhā jāti-s—There are seven śuddhā¹
(primary) (jāti-s² (melodic types)) named after the notes ṣaḍja
etc.,³ viz. ṣāḍjī, ārṣabhī, gāndhārī, madhyamā, pañcamī, dhaivatī
and naiṣādī. (1-2a)
Now, as per the synopsis of the work, the author is going to deal
with the tonal structures used for actual singing. It seems that when
Bharata, whose tradition Śārṅgadeva generally follows, set out to
systematise the music of his times, he comprehended the prevalent
melodies into eighteen basic melodic types which he called jāti-s. The
word 'jāti' literally means a class, genus or an ethnic group implying
an attribute or a characteristic commonly shared by the constituent
members that also exhibit other individual features which distinguish
them from each other.
The word jāti as applied in the context of music has been defined
semantically in various ways by Mataṅga (as quoted by 'S') to begin

1. Literally, pure or unmodified.
2. Jāti in its general connotation signifies 'genus, class or type'.
3. The seven notes are meant.

[Right Page]

Section 7 : Jāti-s (Melodic types) 267
(ख) शुद्धतालक्षणम्
, शुद्धतालक्ष्म कथ्यते ।
यासां नामस्वरो न्यासो ऽपन्यासो ऽंशो ग्रहस्तथा ।।२।।
तारन्यासविहीनास्ताः पूर्णाः शुद्धाभिधा मताः ।
(b) The definition of śuddhatā : To define śuddhatā⁴, it
is stated that the jāti-s, which have their denominative⁵ note
as the final note⁶ (nyāsa), the semi-final note⁷ (apanyāsa), the
fundamental note⁸ (aṁśa) and the initial note⁹ (graha),
which do not have the final note in the high register and
which are complete¹⁰ are known as śuddhā jāti-s. (2b-3b)
with. Jāti-s are so called because they come into being by the collec-
tion of such factors as the śruti-s, svara-s and grāma-s, or they arise from
the initial note etc., or alternatively, that which gives rise to or induces
(in the listener) the enjoyment of a particular sentiment (i. e. rasa or
aesthetic delight) is called jāti. Alternatively, jāti-s are so called because
they are the cause of the entire phenomenon of rāga and so forth; or
otherwise, jāti-s denote the various classes (i. e. castes) of human beings
such as brāhmaṇa and so forth.
Kallinātha conjectures a few more derivations of the term jāti.
Jāti-s are so called because they are duly constituted out of the proper
combination of the two grāma-s; or, because they suggest a class name
such as the cow among the animals. The cowness is manifest in many
individual cows in a slightly modified form; and so is jāti inherent in
the rāga-s and their mixed and derived forms. Jāti, thus, comprehends
in its connotation certain characteristic features that are essentially
4. Śuddhatā is derived as an abstract noun from śuddha (pure)
and is here used to refer to the purity of the śuddhā jāti-s.
5. Nāmasvara, i. e. the denominative note is the one by which the
jāti is named.
6. Nyāsa or the final note is the one that forms the concluding
note of a melody.
7. Apanyāsa or the semifinal note is the concluding note of a section
(vidārī) of a melody. Accordingly, there can be more than
one semifinal note in a melody.
8. Aṁśa or the fundamental note is the most prominent note and
functions as the dominant as well as the tonic.
9. Graha or the initial note is that with which the song is com-
menced.
10. That is, having all the seven notes.

268 Treatment of Svara
common to a certain class or type of melodic structures called grāma-
rāga-s and such other derived or associated forms. Jāti-s may therefore
be understood as melodic types on the basis of which were developed
the other later melodic structures.
Jāti-s as melodic types are recognized to be eighteen, out of which
seven are called śuddha and eleven are known as saṁsargajā vikṛta. The
jāti-s that are named after the seven śuddha svara-s (standard notes) and
have one of these notes as their final note (nyāsa) after which they are
named, apart from a few other factors to be described shortly, are consi-
dered to be śuddha (pure) in the sense of being the primary and original
types from which the rest were thought to have been derived by modi-
fication, and were on this account called vikṛta (modified). (1-2a)
It may be observed that three important considerations determine
the śuddhatā of jāti-s (i. e. purity, originality or in other words, the r
being primary or otherwise), viz.
(i) that the note which determines their name (such as ṣaḍjī,
ārṣabhī, gāndhārī etc., being named after ṣaḍja, ṛṣabha, gāndhāra
etc. respectively) should function as their final, semifinal,
fundamental and the initial note.
(ii) that they have their final note in the low or the middle heptad
(saptaka), and
(iii) that they are complete, i. e. employing all the seven notes.
Kallinātha points out that since the use of the final note in the high
register is specifically prohibited it is to be inferred that it is ordained in
the low and the middle register despite the fact that Bharata has expli-
citly laid down that the rule that the final note in the śuddha jāti-s should
be in the low register. He argues that if Bharata's rule is taken literally,
the use of the middle ṣaḍja in case of ṣaḍjī ordained by Mataṅga would
be contradictory in practice. That is why, he seems to suggest, Śārṅga-
deva has prescribed a negative rule. (2b-3b)
(ii) विकृता जातयः
विकृता न्यासवर्जंतल्लक्ष्महीना भवन्त्वमॄः ॥३॥
सम्पूर्णत्वग्रहांशापन्यासेष्वेकाकवर्जनात् ।
भवन्ति भेदाश्चत्वारो द्वयोस्त्यागे तु षण्णताः ॥४॥
त्यागे त्रयाणां चत्वार एकस्यक्तं चतुष्टये ।
भेदाः पञ्चदशैवेते षाड्ज्याः सद्भिनिरूपिताः ॥५॥
Section 7 : Jāti-s (Melodic types) 269
तत्राष्टौ पूर्णताहीनाः सप्त त्वितरवजिताः ।
द्विधा स्युः पूर्णताहीनाः षाडवौडुवभेदतः ॥६॥
अतो ऽष्टावधिका आर्षभ्यादिष्वौडुवजातिषु ।
अतस्त्रयोविंशतिधा षट्सु प्रत्येकमीरिताः ॥७॥
(ii) Vikṛta (modified) jāti-s : (3c-7)
These (śuddha jāti-s) when devoid of their (above)
characteristics¹, excepting the rule for the final note, become
modified (vikṛtā).² (3cd)
By the omission of completeness, the initial note, the
fundamental note and the semi-final note, one by one, four
varieties³ are obtained⁴ ; and by dropping two (of them),
they⁵ are considered to be six. (4)
'These very primary jāti-s that have been characterised as having
their denominative note for the final, the semi-final, the fundamental
and the initial note, having all the seven notes and having their final
note in the low or the middle register, become modified (vikṛta jāti-s)
when they are deprived of these characteristics with the provision that
they retain their limitations with regard to the final note.
This is interpreted by the two commentators in two different
ways. 'K' seems to restrict the application of the exception with regard
to the final note, to the rule pertaining to the denominative note being
the final note. He is silent with respect to its employment in the middle
or the low register only. However, 'S' applies the exception to the latter
and not the former in which case he is silent. The two versions are
presented here in their own words as under :
Kallīnātha states that, of the five characteristics of the śuddhatā
of jāti-s (viz. that the denominative note is their final, semi-final,
fundamental and initial note and their completeness) leaving aside the
specification with regard to the final note the modified jāti-s are relieved

1. The characteristics of śuddhatā as already described.
2. Now, by what principle they are modified, is to be inferred
   from the description of the different varieties of modified
   forms of the śuddha-jāti-s that follows.
3. Of modified jāti-s
4. Lit. become.
5. That is, the varieties obtained.

Page 270

270 Treatment of Svara
By the omission of three⁶, four (varieties) and by
omitting four (of them) only one⁷ is (obtained). These
fifteen⁸ are the only varieties of ṣaḍjī demonstrated by the
noble ones. (5)
Of these⁹, eight are devoid of completeness and seven
are deprived of the other (factors)¹⁰. Those devoid of
completeness are twofold being distinguished as hexatonic
(ṣāḍava) and pentatonic (auḍuva). (6)
Thus there would be eight (varieties) more in the
pentatonic jāti-s such as ārṣabhī and others; and therefore,
these six¹¹ are known to have twenty-three varieties each. (7)
of the other (four) limitations. He explains this interpretation by saying
that accordingly, in case of the modified jāti-s the denominative note
will be the final note while other notes will be employed as semi-final,
fundamental and initial notes. Thus in this way the śuddhā jāti-s become
the modified jāti-s and not the associate modified (saṁsargajā-vikṛtā)
jāti-s. This arrangement, he says, helps to assign the particular modified
jāti-s to the corresponding śuddhā jāti-s since their final note serves as
the distinguishing mark.
'S' states that these śuddhā jāti-s deprived of the said characte-
ristic marks excepting the final note are modified. The absence of the
characteristic mark with regard to the final note implies (the non-appli-
cability of) the rule pertaining to the final note being in the registers
other than the higher one, for (he asserts) that is not necessary in the
case of modified forms, and he quotes Mataṅga in support of his view
who says, "In the śuddhā jāti-s the final denominative note is in the
lower register, but in the modifications this rule does not apply."
Accordingly, he conceives two forms of the primary jāti-s, viz. charac-
terised by śuddhatva (purity) and modification. However, he points out
that śuddhatva cannot be predicated of jāti-s such as ṣaḍja-kaiśikī,
obviously referring to the associate modified ones.
6. Three factors.
7. Variety.
8. 4+6+4+1=15.
9. Fifteen varieties.
10. Such as the initial note, the fundamental note and the semi-
final note.
11. That is, the six modified forms of the śuddhā jāti-s excluding
ṣaḍjī

Page 271

Section 7 : Jāti-s (Melodic types) 271
It is not only interesting but also instructive to consult Bharata
who seems to be the author of the concept of jāti-s and their classifica-
tion. He distinguishes jāti-s primarily into two classes, viz. those that
are named after their denominative note which he calls svara-jāti-s and
which can only be seven; and those eleven that are formed by the com-
bination of these svara-jāti-s in their modified forms, which he calls
saṁsargajā vikṛtā (combinations of modified jāti-s).
Furthermore, he informs that the svara-jāti-s are twofold, viz.
śuddhā (pure) and vikṛtā (modified). Śuddhā he defines as Śārṅgadeva
does (in substance) and vikṛtā, he says, are formed when the śuddhā jāti-s
are defiled with regard to one, two or more of their characteristics ex-
cepting the final note. The rule for the final note being in the lower
register, he further adds, does not apply to them (cf. N. S., G. O. S.
Vol. IV p. 37).
Thus Bharata explicitly states how the modification of jāti-s is
effected. Since Śārṅgadeva is not quite explicit in this regard, even
though his description of the modified forms implies the underlying
principle of modification, the ambiguity of his text, which is obviously
due to the brevity of his expression, can lead one to the interpretation
that the modified jāti-s are formed by depriving the śuddhā jāti-s of all
their characteristics excepting that of the final note. Indeed the expres-
sion etat-lakṣma-hīnā (devoid of the characteristics of śuddhatā) has been
interpreted as such by the commentators. But in any case it is helpful
to bear in mind that though only one form of modification of each of the
seven śuddhā-jāti-s will correspond to this interpretation which is in-
cluded among the various modifications detailed by the author subse-
quently, such seven modified forms have theoretically, if not practically,
to be conceived because of the fact that the saṁsargajā-vikṛtā (associate
modified) jāti-s are formed out of these.
Thus, we have svara-jāti-s classified as śuddhā and vikṛtā. The
vikṛtā are modified variously and manifest in two ways, viz. as the varie-
ties of śuddhā by the application of the above rule and by the combina-
tion of such modified varieties, the former being called 'modified (vikṛtā)
jāti-s' and the latter 'associate modified jāti-s' (saṁsargajā-vikṛtā). The
vikṛtā-s are considered to be the variations of śuddhā and are not there-
fore counted independently. (3 cd)
Now, the author describes the technique of forming different
varieties of the modified forms of śuddhā jāti-s such as ṣaḍjī and others.
It is obvious from this description that in all these cases the denomina-
tive note is understood to be the final note. We are thus left with four
variable factors by dropping which different varieties are obtained. If,

272 Treatment of Svara
for example, one of these four is ignored (in turn), we get four varieties,
viz. (i) lacking in respect of completeness, and in not having the denomi-
native note (ii) as the initial note, (iii) as the fundamental note, and
(iv) as the semifinal note. However, by the omission of one or more of
these factors, as pointed out by Kallinātha, what is intended is not the
absence of these but the violation of śuddhatā. The specific characteris-
tics of śuddha jāti-s involved here are the employment of the denomina-
tive note as the initial, the fundamental and the semifinal note and
completeness; what is implied by omission is not that the varieties of the
modified jāti-s can be formed without employing the factors such as
completeness, and so on, but that there will be loss of completeness, i.e.
less number of notes (five or six) will be employed and notes other than
the denominative ones will be employed as the initial, the fundamental
and the semifinal notes; for otherwise jāti-s cannot be formed at all.
Thus the term omission or its equivalents have a technical meaning.
Similarly, by dropping two factors six varieties are obtained,
e.g. ( i ) by dropping completeness and the initial note
( ii) by ,, ,, and the fundamental note
(iii) by ,, ,, and the semifinal note
(iv) by ,, the initial and the ,, ,,
( v) by ,, the fundamental and the ,, ,,
(vi) by ,, ,, ,, initial note
Similarly, by ignoring the observance of the definitive rule with
regard to three factors, four other varieties are obtained, e. g. by
dropping:
( i ) completeness, the initial and the fundamental notes
( ii) ,, ,, and the semifinal notes
(iii) ,, the fundamental and semi-final notes
(iv) the initial, the fundamental and the semifinal notes.
However, if all the four factors are omitted there will only be
one variety which will probably be the same as the modified form
defined in verse 3 ante. (4-5)
In the case of ṣāḍjī, fifteen varieties were obtained. Analysing
the process of their formation it is observed that eight of them were
formed due to the non-observance of the condition of completeness
(sampūrṇatva or pūrṇatva). While seven other varieties were obtained by
omitting the other factors, viz. the initial note, the fundamental note
and the semifinal note in the order already demonstrated. Now, the
author adds that the other factors being in their order, loss of complete-
ness is effected in two ways, viz. by the omission of one or of two notes

Section 7 : Jāti-s (Melodic types) 273
and thereby creating hexatonic or pentatonic jāti-s. This process leads
to the formation of eight more pentatonic varieties bringing the total to
twentythree (8+8+7 = 23). Since ṣāḍjī is a hexatonic jāti it has only
fifteen varieties, but all others beginning from ārṣabhī are hexatonic as
well as pentatonic and thus have twentythree varieties each. Thus we
have (15+23×6 = 153) one hundred and fiftythree varieties of modified
jāti-s in all. These are classified in the following table which has been
adopted with some modifications from Praṇava Bhāratī, p. 245. (6-7)
Modification of śuddha jāti-s

(Chart 28)
(iii) संसर्गजा विकृता जातयः
विकृतानां तु संसर्गाज्जाता एकादश स्मृताः ।
स्यात्षड्जकैशिको षड्जोदीच्यवा षड्जमध्यमा ॥१८॥
गान्धारोदीच्यवा रक्तगान्धारी कैशिकी तथा ।
मध्यमोदीच्यवा कार्मारवी गान्धारपञ्चमी ॥१९॥
तथा ऽन्ध्री नन्दयन्तीति,
तद्धेतूनधुना ब्रुवे ।
षाड्जीगान्धारिकायोगाज्जायते षड्जकैशिकी ॥२०॥
षाड्जिकामध्यमाभ्यां तु जायते षड्जमध्यमा ।
गान्धारीपञ्चमीभ्यां तु जाता गान्धारपञ्चमी ॥२१॥
18

274 Treatment of Svara
गान्धार्यार्षभिकाभ्यां तु जातिरान्ध्री प्रजायते ।
षाड्जी गान्धारिका तद्वद्वैवती मिलितास्तिस्रः ॥१२॥
षड्जोदीच्यवतीं जातिं कुर्युः, कार्मारवी पुनः ।
उत्पादयन्ति नैषादी पञ्चम्यार्षभिका युताः ॥१३॥
नन्दयन्तीं तु गान्धारीपञ्चम्यार्षभिका युताः ।
गान्धारी धैवती षाड्जी मध्यमेति युतास्तिस्रः ॥१४॥
गान्धारोदीच्यवां कुर्युर्मध्यमोदीच्यवां पुनः ।
एता एव विना षाड्ज्या पञ्चम्या सह कुर्वते ॥१५॥
कुर्युस्ता रक्तगान्धारीं नैषादी च न धैवती ।
आर्षभीं धैवतीं त्यक्त्वा पञ्चभ्यः कैशिको भवेत् ॥१६॥
(iii) Saṁsargajā-vikṛtā (associate modified) jāti-s : (8-16)
The formations arising out of the association of the modifications are accepted¹ to be eleven. (8ab)
They are ṣaḍja-kaiśikī, ṣaḍjodīcyavā, ṣaḍja-madhyamā, gān-
dhārodīcyavā, raktagāndhārī, kaiśikī, madhyamodīcyavā, kārmāravī,
gāndhāra-pañcamī, āndhrī and nandayantī. Now I shall describe
their origins². (8c-10b)
Ṣaḍja-kaiśikī is formed³ by the combination of ṣaḍjī and
gāndhārī, ṣaḍjamadhyamā arises from ṣaḍjī and madhyamā,
gāndhārapañcamī is brought forth by gāndhārī and pañcamī, āndhrī
is born from gāndhārī and ārṣabhī; ṣaḍjī, gāndhārī and dhaivatī
jointly cause ṣaḍjodīcyavā jāti; again naiṣādī, pañcamī and ārṣa-
From the combination of the modifications of the śuddha jāti-s,
i. e., by the association of their modified forms come into being eleven
(and not more) formations called associate modified (saṁsargajā vikṛtā)

1. Literally, "as known from the tradition" (as known to collec-
   tive memory).
2. Lit. 'causes'.
3. Lit. 'is born'.
   Section 7 : Jāti-s (Melodic types) 275
   bhī together produce kārmāravī, while nandayantī is the com-
   bination of gāndhārī, pañcamī and ārṣabhī; gāndhārī, dhaivatī,
   ṣaḍjī and madhyamā all these associated together create gāndhā-
   rodīcyavā; these⁴ very (jāti-s) with pañcamī in the place of
   ṣaḍjī give rise to madhyamodīcyavā, and these⁵ with naiṣādī in
   the place of dhaivatī create rakta-gāndhārī. Kaiśikī is formed by
   five⁶, i. e. leaving aside ārṣabhī and dhaivatī. (10c-16)
   jāti-s. The text, since it is not explicitly worded, is open to a slightly
   different interpretation which would read : "Eleven (forms) are known to
   be produced by the association (i. e. combination) of the modified
   jāti-s.'s And by "modified jāti-s" are implied, according to this inter-
   pretation, the varieties of the modified forms of the śuddhā jāti-s. (8ab)
   (iv) जातीनां ग्रामविभागः
   चतस्रः षड्जशब्दिन्द्यो नैषादी धैवती तथा ।
   आर्षभी चेति सप्तेताः षड्जग्रामस्य जातयः ॥१७॥
   शेषाः स्युर्मध्यमग्रामे,
   (iv) The grāma-wise distribution of jāti-s : (17-18a)
   The four¹ having the word ṣaḍja (in their name), as
   also naiṣādī, dhaivatī and ārṣabhī---these seven jāti-s pertain to
   the ṣaḍja-grāma and the rest of them² belong to the madhyama-
   grāma. (17-18a)
   Now, the author is here relating the grāma-wise distribution of the
   eighteen jāti-s which is portrayed in the following chart along with the
   details of their combination :
4. i. e., gāndhārī, dhaivatī, madhyamā and pañcamī.
5. i. e., gāndhārī, naiṣādī, madhyamā and pañcamī
6. i. e., ṣaḍjī, gāndhārī, madhyamā, pañcamī and naiṣādī.
7. Out of eighteen, seven belong to the ṣaḍjagrāma.
8. The remaining eleven.