सङ्गीतरत्नाकर: प्रथम भाग (शार्ङ्गदेव - स्वरगताध्याय सविस्तार व्याख्या व अनुवाद सहित)
Sangita Ratnakara of Sarangadeva (Svaradhyaya)
शार्ङ्गदेव (अनुवादक: डॉ. आर. के. श्रृङ्गी एवं डॉ. प्रेमलता शर्मा) द्वारा
( xxvi )
( xxvi )
earlier texts bears this out. Of the earlier authorities listed
by him, works of only some are available today; they are—
Bharata, Dattila, Mataṅga, Bhoja, Abhinavagupta,
Someśvara, Nānyadeva and Jagadekamalla.
It is, however, not to be surmised that Śārṅgadeva has
consolidated all that has been stated in the earlier works. He
has been extremely judicious, discriminating, and selective
in incorporating the lakṣaṇa from the earlier sources. He
has left out some portions from the works of Bharata and
others. For instance, the entire section on dhruvā-s dealt with
in N. S. has been omitted in S. R. Details regarding the
reportoire of drums described by Bharata have been left out
and instead we have the delineation of vādya-prabandha-s.
Śārṅgadeva has also chosen not to include the polemic dis-
cussion on the relation between svara and śruti given in
Bṛhaddeśī and has ignored the reference to the twelve svara-
mūrcchanā-s mentioned in it.
We shall also state here some of the points on which
Śārṅgadeva seems to have been influenced by the earlier
writers or incorproated the current tradition of lakṣaṇa lakṣya.
(i) Bharata and Dattila : Svara, śruti, grāma, mūrcchanā,
jāti, gīti, tāla (mārga-tāla), gītaka-s.
Much of the material in the Nartanādhyāya has been
based on N. S. but very little from it is reflected in the
Vādyādhyāya.
(ii) Mataṅga : (i) Names of śuddha-tāna-s.
(ii) Viniyoga of the jāti-s, mentioning of
mūrcchanā-s in them and the prastāra-s
for them.
(iii) Rāga-classification and the lakṣaṇa-s
of individual rāga-s.
(iii) Abhinavagupta : Abhinavagupta's influence on
Śārṅgadeva has been enormous. Mostly the influence has
been very subtle but sometimes it becomes obvious also.
Unlike in the case of other sources the influence is not so
( xxvii )
( xxvii )
much in terms of information but in terms of elucidation of
concepts. For instance, Śārṅgadeva's definition of svara¹ is
clearly seen to be based on that of Abhinavagupta.
(iv) Someśvara : Some of the topics dealt with in
the prakīrṇaka chapter could have been taken from the Gīta-
vinoda section of Mānasollāsa. e. g. gamaka-s, guṇa and doṣa
of musicians.
(v) Nānyadeva : The verbal texts accompanying
the jāti-prastāra-s, details of Kapāla-gāna-s etc. are for the
first time seen in Bharatabhāṣya. Thus it could have been
the source for Śārṅgadeva.
(vi) Contemporary tradition of lakṣaṇa—both written
and oral.
Information on sthāya-s and gamaka-s must have also
been obtained from some contemporary oral tradition. We
come across certain deśī names in the sthāya-s. Contempo-
rary works like Saṅgītasamayasāra of Pārśvadeva also list these
names. So these names must have been current at that
time in lakṣya.
Details of deśī tāla-s too must have come from some
oral tradition (if not from Saṅgītacūḍāmaṇi of Jogadekamall).
(e) Incorporation from current lakṣya
In the svara chapter very little from current lakṣya has
been incorporated. In the description of the characteristics
of aṁśa in jāti-s Śārṅgadeva adds that the aṁśa can be its
own saṁvādī, anuvādī etc.², implying that rāga-s where the
vādī has no saṁvādī (like our contemporary pūriyā, māravā
and sohanī, where neither śuddha-madhyama nor pañcama are
present), the vādī is its own saṁvādī. In the description of
sthāya-s and rāga-s also Śārṅgadeva lists some which he calls
‘adhunā-prasiddha’ probably indicating their use in the
current lakṣya.
- S. R. 1, 3, 24cd-25ab.
- ibid. 1, 7, 33.
( xxviii )
8. Constant References in and Influence on Later
Literature
Very soon after it was written, S. R. appears to have
attracted the attention of the scholars all over the country,
and within a century the commentary (by Siṁhabhūpāla)
on the entire work had been completed. Even in this century
scholars like V.N. Bhatkhande¹ had accepted the importance
of serious study of S. R. Thus almost from the time it was
composed upto the present day S. R. has commanded
continuous attention of scholars.
The one point on which most of the subsequent authors
have cited S. R. as an authority is the importance of lakṣya
in comparison to lakṣaṇa. This is understandably so because,
to the scholars of the post-Śārṅgadeva period who found it
difficult to reconcile the widening cleavage between lakṣaṇa
of S. R. and the contemporary lakṣya, the statement by
Śārṅgadeva himself asserting the primacy of lakṣya was
greatly welcome.²
Sometimes S. R. has also been the target of reproach
for the same reason that the lakṣaṇa did not satisfy the lakṣya
of the medieval period. The author of S. Sud.³ found the
lakṣaṇa-s of rāga-s described in S. R. quite obscure and not
pertaining to the rāga-s of his time. S. Sud. declares that it
had to discard the delineation of rāga-s in S. R. because of
their obscurity and neither did the commentaries of Keśava
and Kallinātha make the delineation more accessible. In
recent times too S. R. has not been spared. Pt. Omkarnath
Thakur in his Saṅgītañjali⁴ attacks S. R.’s method of descri-
bing the catuḥ-sāraṇā experiment on the grounds of its not
being lucid, clear, scientific, and practical. S. R.’s approach
has, however, been defended by K. C. D. Bṛhaspati in his
Saṅgītacintāmaṇi.⁵
- p. 789 Hindustani Sangit Paddhati Vol. IV. edition, Hathras.
- cf. S. M. K., 2, 12; R. V., 1.33; Saḍrāgacandrodaya, 10.
- S. Sud. p. 152, sl, 407-409
- Sangitanjali Vol. V, p. 94.
- Saṅgītacintāmaṇi, p. 134-148.
( xxix )
One aspect in which S. R.’s influence is seen to be the
greatest is the scheme that some of the authors of the post-
Śārṅgadeva period adopted in composing their treatises.
Saṅgītadarpaṇa, Saṅgīta-sārāmṛta, Saṅgīta-sāra (from Jaipur),
and even S. Sud. which is quite critical of S. R., follow the
arrangement of the subject set by S. R. But these works are
often brief and leave out many of the details given in S. R.
9. References to S. R. in non-musical texts
Many of the writers of non-musical texts have also
acknowledged S. R.’s authority in music and allied subjects
and have referred to it in their works. Few examples may
be noted here.
(a) Jagannātha in his Rasa-gaṅgādhara, while discussing
the problem of rasa-s being eight or nine, quotes a verse
from the rasa-section of the last chapter in S. R.¹ Again
while explaining how the sthāyī-bhāva-s become vyabhicāri-
bhāva-s, he quotes a verse from S. R. to support his state-
ment.² Thus it is seen that S. R.’s contribution to the treat-
ment of rasa was noticed in the literature on poetics.
(b) Mallinātha the commentator on the play Śiśupāla-
vadha of Māgha, quotes a number of verses relating to śruti
and svara from S. R.³
(c) Ranganātha quotes S. R. on the characteristics of
rāga valantikā, in his commentary ‘Prakāśikā’ on Kalidāsa’s
play ‘Vikramorvaśīyam’.⁴
Thus it is very clearly seen that S. R. had made a
tremendous impact on the field of music literature and esta-
blished for itself a status next only to Bharata’s N. S.
- Rasa-gaṅgādhara p. 37 (quoting S. R. 7.1360)
- ibid. p. 38 (quoting S. R. 7, 1519cd-1520ab)
- Mallinātha’s commentary on Magha’s Śiśupālavadha, Canto
1, sl. 10. - Prakāśikā on Vikramorvaśīyam, Act 4, sl. 25 quotes S. R. 2. 2.
147-148. S. R. however gives the name of the rāga as vallāta.
( xxx )
10. Some Observations on Svarādhyāya and General
Evaluation
As stated before, this chapter is largely a consolidation
and reorganisation of the lakṣaṇa found in the earlier texts.
A few relevant points, however, have to be stated here regard-
ing Śārṅgadeva's treatment of certain topics.
Svara-sādhāraṇa : Svara-sādhāraṇa as treated in S. R. is
already latent in N. S. On the basis of Abhinavagupta's
commentary¹, Śārṅgadeva has spelt it out and his 12 vikṛta-
svara-s are nothing but the renaming of the svara-s born out
of the process of sādhāraṇa.
Sādhāraṇa belongs to a context where svara-s are basi-
cally seven. Only two vikṛta-svara-s, antara (gāndhāra) and kākalī
(niṣāda) are accepted as regular notes as far as they are also
fixed on any instrument, especially of the harp type.² On
the other hand the kaiśika-sādhāraṇa is meant only for cover-
ing the consequential changes in intervals that are not to be
regularly fixed on the strings of a vīṇā. Texts of the post-
Ratnākara period equated all sādhāraṇa-s, and tried to fix all
the svara-s on the frets of vīṇā. Further, this was not in
accordance with the grāma-system. Misconception on the
part of later authors regarding the treatment in S. R. arose
because it was wrongly surmised that both the sādhāraṇas,
antara and kaiśika were meant to co-exist. In fact the jāti-s
in which the svara-sādhāraṇa occurred are clearly prescribed.
Moreover, when Śārṅgadeva lists the seven śuddha-svara-s and
twelve vikṛta-svara-s, he is merely consolidating the lakṣaṇa
handed down. Unfortunately the writers of the later period
seem to have been confused by the enumeration of the 19
svara-s in one sequence and thought that the svara-s should
occur one after another. Consequently they tried to fix these
- A. B. on N. S. 28. 34-36, p. 31-34.
- Nānyadeva states that in the Vipañcī vīṇā which had nine
strings, the two extra strings were tuned to antara and kākalī
svara-s, cf. Bharata-bhāṣya, folio 368 & 371.
( xxxi )
svara-s on the frets of the vīṇā. They had not apparently
tried to relate the sādhāraṇa prakaraṇa with the enumeration
of vikṛta svara-s. Otherwise such confusion might not have
arisen. S. R.'s description of the rāga-s too follows the same
svara system and hence there too there is no need for the
kaiśika and other svara-s to be mentioned. Only kākalī and
antara need be mentioned in rāga-s.
Jāti-s : Some questions arise in connection with the
delineation of jāti-s in S. R.
( i ) Did jāti-s have any practical relevance when the
rāga-s had emerged ?
( ii ) Each jāti, ṣaḍjī etc. was conceived as a 'class'
combining different individual melodies having
certain common characteristics. But we find that
each jāti is illustrated at the end by means of a
single prastāra. How could the tradition of speci-
fic prastāra of jāti-s be compatible with the generic
nature of jāti which could be conceived as a very
broad melodic entity encompassing numerous
varieties ? Or, is it indicative of the fact that jāti
had become obsolete in Mataṅga's time and the
prastāra-s were composed just to retain its rough
outlines ? These questions need to be seriously
investigated.
Śārṅgadeva belonged to that period of Indian history
when most of the disciplines, especially Saṅgīta-śāstra, were
trying to consolidate the original contribution of earlier tradi-
tion. Talking of saṅgīta-śāstra in particular, the history of
its texts can be divided into four periods.¹ - These periods have been treated in some detail in my paper
entitled "A Historical Note on Musical Research in India"
presented at a seminar in M. S. University, Baroda in
Nov; 77.
( xxxii )
Period I :—Primary and Formative—2000 B. C.
to 500 A. D.
Period II :—Expository and Expansive—600 A. D.
to 1200 A. D.
Period III :—Reconciliatory and Revaluative—1300
A. D. to 1750 A. D.
Period IV :—Critical and Interpretative—1750 A. D.
onwards.
Śārṅgadeva occupies a very important position in the
second period. The basic difference in the approach of the
first and the second periods is that whereas the approach of
the former was direct, that is to say, lakṣaṇa was evolved out
of a direct study of lakṣya; and intuitive knowledge and ex-
perience was communicated keeping in view the totality of
human expression through sound at all levels, the approach
of the latter was mainly indirect, that is to say, through
lakṣaṇa and only to some extent direct (taking into account
lakṣya). It is not intended here to degrade the latter appro-
ach. But it is the lakṣaṇa-oriented approach which is res-
ponsible for the separation of the composite concept of svara-
śruti-grāma-mūrcchanā found in N. S. . In the arrangement
of topics in S. R., grāma does not appear in the same praka-
raṇa as śruti and sāraṇā. Again sādhāraṇa is separated from
the description of vikṛta-svara-s. A serious student of today
must bear this difference of approach in mind while studying
the texts of the first period and those of the second.
Acknowledgements
My sincere thanks are due to my student Sri. N.
Ramanathan, who has helped in organising the material of
this introduction, and my dear friend, Ranganayaki Ayyangar
in revising the final draft.
Prem Lata Sharma
( xxxiii )
References
- S. R.—Saṅgītaratnākara, Adyar edn.
- N. S.—Nāṭyaśāstra, G. O. S. edn.
- A. B.—Abhinavabhāratī, G. O. S. edn.
- S. Sud.—Saṅgītasudhā, Music Academy.
- S. M. K.—Svaramelakalānidhi, Annamalai University edn.
- R. V.—Rāgavibodha, Adyar edn.
- K.—Kalānidhi commentary of Kallinātha.
- Rasa-gaṅgādhara, Kāvya-Mālā edn.
- Prakāśikā commentary on Vikramorvaśīyam, Osmania Univer-
sity edn. - History of Classical Sanskrit Literature, M. Krishnamachariar,
Motilal Banarsidass. - P. V. Sharma, "Yadava Kings, the Great Patrons of Āyurveda
in the Medieval Times"—Hindi Paper published in 'Vaidya
Ramanarayana Sharma Abhinandan grantha', Nagpur, 1977. - Gada-Nigraha, ed. by Gangasahāya Pāṇḍeya, Pt. I, Chow-
khamba Sanskrit Series, 1968. - The History and Culture of Indian People, Bharatiya Vidya-
bhavan, vol. V, 2nd. edn. 1966. - Saṅgītacintāmaṇi, Hathras.
- Hindustani Sangit Paddhati vol. IV, Hathras edn.
विषयसूची
प्रथमः स्वरगताध्यायः
श्लोकसङ्ख्या
१. प्रथमं पदार्थसङ्ग्रहप्रकरणम् १-४१ ख
(i) मङ्गलाचरणम् १
(ii) ग्रन्थकर्तृवंशवर्णनम् २-८
(iii) ग्रन्थकृतो वैशिष्ट्यं, ग्रन्थप्रणयनहेतुश्च ९-१४
(iv) पूर्वाचार्यस्मरणम् १५-२१ख
(v) सङ्गीतलक्षणं, तत्र मार्गदेशीविभागश्च २१ग-२४ख
(vi) गीतस्य प्राधान्यम् २४ग-२५ख
(vii) गीत-प्रशंसा २५ग-३०
(viii) ग्रन्थस्थसप्ताध्यायानां वस्तुसंग्रहः ३१-४१ख
२. द्वितीयं पिण्डोत्पत्तिप्रकरणम् १-१६८ख
क. विषयावतारणम् १-३
(i) नादमहिमा १-२
(ii) द्विविधो नादः, पिण्डोत्पत्तिप्रतिपादनौचित्यम् ३
ख. पिण्डोत्पत्तौ दार्शनिकतत्त्वनिरूपणम् ४-२२
(i) ब्रह्मस्वरूपम् ४-५ग
(ii) जीवस्वरूपम् ५घ-८क
(iii) सूक्ष्मशरीरम् ८ख-९ख
(iv) सृष्टिसंहार-प्रवाहः ९ग-१०
(v) जीवब्रह्मणोः सम्बन्धः ११-१२ख
(vi) भौतिकसृष्टिः १२ग-१५
(vii) भौतिकदेहभेदाः १६-१७ख
(viii) मानुषदेहाभिधाने हेतुः १७ग घ
(ix) जीवस्य गर्भाशयेऽवतरणम् १८-२२
ग. पिण्डोत्पत्तावायुर्वेदानुसारिनिरूपणम् २३-११९d
(i) गर्भस्य वृद्धिक्रमः २३-४१
(ii) बालकस्य जन्म ४२
(iii) जीवस्य नित्यता (अनुमिता) ४३
(iv) देहस्य षड्भावाः ४४-५६ख
(v) ...... ५६ग-७१ख
( xxxv )
(vi) त्रिविधदेहानां भेदकथनम् ७१ग-७४
(vii) देहस्य षडङ्गानि ७५क-ख
(viii) देहस्य प्रत्यङ्गानि ७५ग-११९
- ग्रन्थकृतप्रतिज्ञा (७५ग घ)
- त्वचः कलाश्च (प्रत्येकं सप्तधा) (७६-७८)
- धातवः (७९-८०)
- आशयाः (सप्त) (८१-८२ख)
- हृदयस्य चेतनस्थानत्वम् (८२ग-८३ग)
- जीवस्य अवस्थात्रयम् (८३घ-८६ख)
- नवस्रोतांसि (८६ग-८७)
- जालानि, कूर्चाः, मांसरज्जवः, सीवन्यश्च (८८-८९)
- अस्थीनि, तेषां संख्या, भेदाश्च (९०-९२ख)
- अस्थिसन्धयः, तेषां संख्या, भेदाश्च (९२ग-९४ख)
- अन्यसन्धीनां संख्या (९४ग घ)
- स्नायवः (९५-९६)
- पेश्यः (९७-१००)
- सिराधमनिकानां संख्या (१०१)
- मूलसिराः, भिन्नसिराश्च (१०२-१०५ख)
- रसवाहिन्यो धमन्यः (१०५-११३)
- मर्मस्थानानि (११४क ख)
- रोमाणि, श्मश्रु, केशाश्च (११४ग-११६क)
- देहस्थरसानां मानम् (११६ख-११८)
- उपसंहारः (११९)
घ. हठयोगानुसारि निरूपणम् १२०-१६३
(i) दशचक्राणि १२०-१४५ख - आधार-चक्रं, कुण्डलिनी च (१२०-१२२ख)
- स्वाधिष्ठान-चक्रम् (१२२ग-१२४ख)
- मणिपूरक-चक्रम् (१२४ग-१२६ख)
- अनाहत-चक्रम् (१२६ग-१२९ख)
- विशुद्धि-चक्रम् (१२९ग-१३१ख)
- ललना-चक्रम् (१३१ग-१३३ख)
- आज्ञा-चक्रम् (१३३ग-१३४ख)
- मनश्चक्रम् (१३४ग-१३५)
- सोम-चक्रम् (१३६-१३८)
- सहस्रपत्र-चक्रम् (१३९)
- गीतादिसिद्धौ चक्राणां साधकत्वं
बाधकत्वञ्च (१४०-१४५ख)
( xxxvi )
( xxxvi )
(ii) ब्रह्मग्रन्थिः १४५ग-१४८
(iii) सुषुम्णा, नाड्यन्तराणि च १४९-१६३ख
ङ. उपसंहारः
नादस्य भुक्तिमुक्तिसाधकत्वम् १६३ग-१६८ख
३. तृतीयं नादस्थानश्रुतिस्वरजातिकुल-
दैवतर्षिच्छन्दोरसप्रकरणम् १-६०ख
क. नादः १-७
(i) नादब्रह्म, तस्योपासना च १-२
(ii) देहे ध्वनेराविर्भावः ३-४
(iii) पञ्चविधो नादः ५
(iv) नादशब्दस्य निर्वक्तिः ६
(v) गीतव्यवहारे त्रिधा नादः ७
ख. श्रुतिः ८-२२
(i) श्रुतिः, तत्सङ्ख्या च ८-१०ख
(ii) चतुःसारणा १०ग-२२
ग. स्वराः २३-६०ख
(i) सप्तस्वराः २३-२४ख
(ii) स्वरलक्षणम् २४ग-२५ख
(iii) श्रुतीनां स्वरकारणत्वम् २५ग-२७ख
(iv) पञ्चजातीषु सप्तस्वरेषु च सनामश्रुतिविभाजनम् २७ग-३८
(v) स्वराणां स्थानत्रयम् ३९क ख
(vi) द्वादशविकृतस्वराः ३९ग-४६ख
(vii) सप्तस्वराणामुच्चारयितारः पशुपक्षिणः ४६ग-४७ख
(viii) वादि-संवादि-विवाद्यनुवादिभेदेन चतुर्विधाः स्वराः ४७ग-५१
(ix) स्वराणां कुल-जाति-वर्ण-दैवतर्षि-च्छन्दो-रस-कथनम् ५२-६०ख
४. चतुर्थं ग्राममूर्च्छनाक्रमतानप्रकरणम् १-६१
क. ग्रामः १-८
(i) ग्रामलक्षणम् १क ख
(ii) द्वौ ग्रामौ (धरातले) १ग-२ख
(iii) षड्जमध्यमग्रामयोर्लक्षणम् २ग-३ख
(iv) गान्धारग्रामः ३ग-५
(v) ग्रामत्रयस्य नामस्वराणां वैशिष्ट्यम् ६-७ख
(vi) ग्रामाणां देवताः ७ग घ
(vii) ग्रामाणां गानकालनियमः ८
( xxxvii )
( xxxvii )
ख. मूर्च्छनाः क्रमाश्च ९-२६
(i) मूर्च्छनालक्षणम् ९
(ii) षड्जमध्यमग्रामस्यमूर्च्छनानां संज्ञाः १०-१२ क
(iii) मूर्च्छनानामारम्भकस्वराः १२ख-१५
(iv) मूर्च्छना-भेदाः १६-१७
(v) मूर्च्छनासङ्ख्यापरिज्ञानोपायः १८
(vi) मूर्च्छनाक्रमाः, तेषां सङ्ख्या च १९-२०ख
(vii) मूर्च्छनानां देवताः २०ग-२२ख
(viii) नारदकथितानि मूर्च्छना-नामानि २२ग-२६
ग. तानाः २७-९०
(i) शुद्धताननिर्माणविधिः, सङ्ख्या च २७-३१
- शुद्धतानलक्षणम् २७कख
- षाडवतानाः २७ग-२९ख
- औडुवतानाः २९ग-३१ख
- षाडवौडुवतान-मिलितसङ्ख्या ३१गघ
(ii) कूटताननिर्माणं, तेषां सङ्ख्या च ३२-४९ - कूटतानलक्षणम् ३२क-ग
- पूर्णकूटतानानां सङ्ख्या ३२घ-३५क
- अपूर्णकूटताननिर्माणम् ३५ख-३६
- अपूर्णकूटतानानां सङ्ख्या ३७-३८
- एकस्वरादि-कूटतानचतुष्टयस्य नामानि ३९
- षाडवकूटतानसङ्ख्या ४०-४३क
- औडुवकूटतान-सङ्ख्या ४३ख-४५ख
- चतुःस्वरकूटतान-सङ्ख्या ४५ग-४६
- त्रिस्वरकूटतान-सङ्ख्या ४७-४८क
- द्वित्वरेकस्वर-कूटतान-सङ्ख्या ४८ख-४९
(iii) पुनरुक्ताः कूटतानाः, तेषामपनये कूटतान-सङ्ख्या ५०-६०क
(iv) प्रतिमूर्च्छनं कूटतान-सङ्ख्याज्ञानोपायः ६०ख-६१
(v) कूटतान-प्रस्तारः ६२-६३ख
(vi) खण्डमेरुः ६३ग-७१ - खण्डमेरु-निर्माणम् ६३ग-६६ख
- उद्दिष्ट-विधिः ६६ग-६८ख
- नष्ट-विधिः ६८ग-७०
- खण्डमेरूत एकस्वरादितानानां सङ्ख्या-
परिज्ञानोपायः ७१
( xxxviii )
(vii) शुद्धतान-नामानि ७२-९०ख
- षड्जग्रामस्य-षाडवशुद्धतानाः ७२-७८ख
- मध्यमग्रामस्य-षाडवशुद्धतानाः ७८ग-८२
- षड्जग्रामस्थौडुवशुद्धतानाः ८३-८६
- मध्यमग्रामस्थौडुवशुद्धतानाः ८७-९०ख
(viii) शुद्धतानानां वैदिकनाम्नां तत्सद्यश्फलम् ९०गघ
(ix) गान्धर्वे गाने च शुद्धकूटतानानामुपयोगः ९१
५. पञ्चमं साधारणप्रकरणम् १-११ख
(i) द्विविधं साधारणं, तत्र स्वरसाधारणम् १-२ख
(ii) काकल्यन्तरसाधारणम् २ग-३
(iii) काकल्यन्तरप्रयोगविधिः ४-६
(iv) षड्जमध्यमसाधारणम् ७-९
(v) जातिसाधारणम् १०-११ख
६. षष्ठं वर्णालङ्कारप्रकरणम् १-६५ख
(i) वर्णलक्षणं, तद्भेदाश्च १-३ख
(ii) अलङ्कारलक्षणं, तद्भेत्तद्भेदनिरूपणं च ३ग-६४ख
(क) अलङ्कारलक्षणम् ३गघ
(ख) स्थायिवर्णगतालङ्कारोद्देशः ४-६ख
(ग) मन्द्रतारलक्षणम् ६ग-८
(घ) स्थायिवर्णगतालङ्कार-निरूपणम् ९-१३ - प्रसन्नादिः ९कख
- प्रसन्नान्तः ९ग
- प्रसन्नाद्यन्तः ९घ-१०क
- प्रसन्नमध्यः १०ख-घ
- क्रमरेचितः ११-१२
- प्रस्तारः १३कख
- प्रसादः १३गघ
(ङ) आरोहिवर्णगतालङ्कारोद्देशः १४-२५ - विस्तीर्णः १६
- निष्कर्षो, गात्रवर्णश्च १७-१८ख
- बिन्दुः १८ग-१९ख
- अभ्युच्चयः १९गघ
- हसितः २०
- प्रेङ्खितः २१
- आक्षिप्तः २२
( xxxix )
- सन्धिप्रच्छादनः २३
- उद्गीत, उदाहितः, त्रिवर्णः, पृथग्वेणिश्च २४-२५
(च) अवरोहिवर्णगतालङ्काराः २६कख
(छ) सञ्चारिवर्णगतालङ्कारोद्देशः २६ग-५३ - मन्द्रादिः ३०
2,3. मन्द्रमध्यः, मन्द्रान्तश्च ३१कख - प्रस्तारः ३१ग-३२ख
- प्रसादः ३२ग-३३ख
- व्यावृतः ३३ग-३४
- स्खलितः ३५
- परिवर्तकः ३६
- आक्षेपः ३७क-ग
- बिन्दुः ३७ग-३८ख
- उदाहितः ३८ग-३९ख
- ऊर्मिः ३९ख-४०ग
- समः ४०ग-४१ख
- प्रेङ्खः ४१ग-४२ख
- निष्कूजितः ४२ख-४३क
- श्येनः ४३ख-४४क
- क्रमः ४४ख-४५क
- उद्घट्टितः ४५ख-४६ख
- रञ्जितः ४६ग-४७क
- सन्निवृत्तकप्रवृत्तकः ४७ख-४८ख
- वेणुः ४८ग-४९ख
- ललितस्वरः ४९ग-५०ख
- हुङ्कारः ५०ग-५१ख
- ह्लादमानः ५१ग-घ
- अवलोकितः ५२
(झ) सप्तान्यालङ्कारोद्देशः ५४-६४ख - तारमन्द्रप्रसन्नः ५६-५७ख
- मन्द्रतारप्रसन्नः ५७ग-५८ख
- आवर्तकः ५८ग-५९ख
- सम्प्रदानः ५९ग-६०ख
- विधूतः ६०ग-६१ख
- उपलोलः ६१ग-६२ख
- उल्लासितः ६२ग-६३ख
(iii) अलङ्काराणां प्रयोजनम् ६४ग-६५ख
( xl )
७. सप्तमं जातिप्रकरणम् १०-११५ ख
क. उपक्रमः १-२८
(i) शुद्धा जातयः १-३ ख
(क) सप्त शुद्धा जातयः (१-२ क)
(ख) शुद्धतालक्षणम् (२ ख-३ ख)
(ii) विकृता जातयः ३ ग-७
(iii) संसर्गजा विकृता जातयः ८-१६
(iv) जातीनां ग्रामविभागः १७-१८ क
(v) सम्पूर्ण-षाडवौडुव-जातयः १८ ख-२०
(vi) जातिषु स्वरसाधारणनियमः २१-२४ ख
(vii) जातिगतांशस्वरगणना २४ ग-२८
ख. जातीनां त्रयोदशसामान्यलक्षणानि २९-५९ ख
- ग्रहः (३१)
- अंशः (३२-३४)
- तारः (३५-३६)
- मन्द्रः (३७-३८ क)
- न्यासः (३८ ग ४०)
- अपन्यासः (४१-४७ ख)
- संन्यासः (४७ ग-४८ क)
- विन्यासः (४८ ख-ग)
- बहुत्वम् (४९)
- अल्पत्वम् (५०-५१)
- अन्तरमार्गः (५२-५३)
12,13. षाडवं, औडुवञ्च (५४-५९ ख)
ग. जातीनां विशेषलक्षणानि ५९ ग-१०९ - षाड्जी जातिः ६०-६४ ख
- आर्षभी जातिः ६४ ग-६६
- गान्धारी जातिः ६७-७० ख
- मध्यमा जातिः ७० ग-७२
- पञ्चमी जातिः ७३-७५ ख
- धैवती जातिः ७५ ग-७७ ख
- नैषादी जातिः ७७ ग-७८
8.- षड्जकैशिकी जातिः ७९-८० - षड्जोदीच्यवा जातिः ८१-८५ ख
- षड्जमध्यमा जातिः ८५ ग-८८ ख
( xli )
- गान्धारोदीच्यवा जातिः ८८ ग-९१ ख
- रक्तगान्धारी जातिः ९१ ग-९४
- कैशिकी जातिः ९५-९८
- मध्यमोदीच्यवा जातिः ९९-१००
- कार्मारवी जातिः १०१-१०३ ख
- गान्धारपञ्चमी जातिः १०३ ग-१०५ ख
- आन्ध्री जातिः १०५ ग-१०७ ख
- नन्दयन्ती जातिः १०७ ग-१०९
घ. उपसंहारः ११०-११५ ख
(i) जातिविषयकाः सामान्यनिर्देशाः ११०-११३ ख
(ii) जातिगानस्य फलश्रुतिः ११३ ग-११५ ख
८. अष्टमं गीतिप्रकरणम् १-२५
(i) कपाल-कम्बलगानानि १-१४ ख
(क) कपालगानानि (१-१०) - षाड्जी-कपालम् (२-३ ख)
- आर्षभी-कपालम् (३ ग-४ ख)
- गान्धारी-कपालम् (४ ग-५)
- मध्यमा-कपालम् (६)
- पञ्चमी-कपालम् (७)
- धैवती-कपालम् (८)
- नैषादी-कपालम् (९)
- कपालगानफलम् (१०)
(ख) कम्बलगानम् (११-१३)
(ग) कपालगतपदानि (१४ क ख)
(ii) गीतिलक्षणं, तद्भेदाश्च १४ ग-२५ - मागधी गीतिः (१६ ग-१८ ख)
- अर्धमागधी गीतिः (१८ ग-१९ क)
- सम्भाविता गीतिः (१९ ग घ)
4 पृथुला गीतिः (२० क ख) - तासामेता गीतयः (२० ग-२५)
DETAILED TABLE OF CONTENTS
Chapter I
The Treatment of Svara
Verse Nos.
Section 1 : Introductory 1-49b
(i) Propitiation ... 1
(ii) Author's lineage ... 2-8
(iii) Author's personality and the purpose of his
undertaking ... 9-14
(iv) The predecessors of the author ... 15-21b
(v) The definition of saṅgīta : its classification as
mārga and deśī ... 21c-24b
(vi) The predominance of gītam ... 24c-25b
(vii) The importance and significance of gītam
(melody) ... 25c-30
(viii) Synopsis of the work ... 31-49b
Section 2 : The Genesis of Human Embodiment 1-168b
A. Introduction ... 1-3
(i) The importance of nāda ... 1-2
(ii) Twofold nāda, justification for the treatment of
human embodiment ... 3
B. Genesis : The metaphysical viewpoint ... 4-22
(i) The nature of Brahman ... 4-5c
(ii) The nature of jīva (individual being) ... 5d 8a
(iii) The subtle body ... 8b-9b
(iv) The cycle of creation and destruction ... 9c-10
(v) The relation of jīva and Brahman ... 11-12b
(vi) The physical manifestation ... 12c-15
(vii) Types of physical bodies ... 16-17b
(viii) The purpose of dealing with the human body ... 17cd
(ix) The descent of jīva into the womb ... 18-22
C. Genesis : The physical and the physiological viewpoint 23-119
(i) The development of the embryo ... 23-41
(ii) The birth of the child ... 42
(iii) The eternity of jīva (inferred) ... 43
(iv) The six substances (bhāva-s) of the (foetal) body ... 44-56b
( xliii )
(v) Five great elements (mahābhūta-s) and the
human body ... 56c-71b
(iv) The constitution of bodies : Threefold classi-
fication ... 71c-74
(vii) Six organs of the human body ... 75abc
(viii) Sub-organs of the human body ... 75c-119
- Author's proposal to deal with
the sub-organs ... (75) - Skins and membranes ... (76-78)
- Supportive tissues ... (79-80)
- The receptacles (āśaya-s) ... (81-82b)
- Heart as the seat of intelli-
gence ... (82c-83c) - The three states of conscious-
ness ... (83d-86b) - The nine canals (srota-s) ... (86c-87)
- Plexuses, clusters, fleshy bands
and sutures ... (88-89) - Bones, their number and types ... (90-92b)
- Bone-joints, their number and
types ... (92c-94b) - The number of other joints ... (94cd)
- Ligaments ... (95-96)
- Muscles ... (97-100)
- The number of arteries and
veins ... (101) - The number of major and
minor vessels of vital essence ... (102-105b) - The arteries carrying lymph-
chyle (rasa) ... (105c-113) - The vital parts (marmasthāna-s) ... (114ab)
- Hair on the body, beard and
the head ... (114c-116a) - The measure of fluids in the
human body ... (116b-118) - Concluding remarks ... (119)
D. Genesis : The psychophysical viewpoint ... 120-163
(i) The cakra-s (psychophysical centres) 120-145b - Ādhāra-cakra and kuṇḍalinī ... (120-122b)
- Svādhiṣṭhāna-cakra ... (122c-124b)
- Maṇipūraka-cakra ... (124c-126b)
- Anāhata-cakra ... (126c-129b)
( xliv )
Verse Nos.
5. Viśuddhi-cakra ... (129c-131b)
6. Lalanā-cakra ... (131c-133b)
7. Ājñā-cakra ... (133c-134b)
8. Manas-cakra ... (134c-135b)
9. Soma-cakra ... (136-138)
10. Sahasrapatra-cakra ... (139)
11. Meditation of cakra-s as
related to the cultivation of
music ... (140-145b)
(ii) Brahma-granthi 145c-148
(iii) Suṣumṇā and other nāḍī-s ... 149c-163b
E. Conclusion ... 163c-168b
The value of music for enjoyment (bhukti) and for
enlightenment (mukti) ... 163c-168b
Section 3 : Nāda, Śruti and Svara 1-60b
A. Nāda ... 1-7
(i) Nāda-brahman and its worship (upāsanā) ... 1-2
(ii) The process of manifestation of sound in the
human body ... 3-4
(iii) Fivefold nāda ... 5
(iv) The derivation of nāda ... 6
(v) The threefold nāda in music ... 7
B. Śruti ... 8-22
(i) Śruti and its number ... 8-10b
(ii) The fourfold string-movement (catuḥ-sāraṇā) ... 10c-22
C. Svara and its different aspects ... 23-60b
(i) Seven tones (svara-s) ... 23-24b
(ii) The definition of svara ... 24c-25b
(iii) Discussion regarding śruti-s causing the svara-s ... 25c-27b
(iv) The allocation of śruti-s as characterised by
their classes and names among the svara-s ... 27c-38
(v) Their sthāna-s (registers) of svara-s ... 39ab
(vi) Twelve modified notes ... 39c-46b
(vii) Production of svara-s by the birds and animals ... 46c-47b
(viii) Sonant, consonant, dissonant and assonant
notes ... 47c-51
(ix) Lineage, caste, colour, continent, sage, deity,
metre and rasa (aesthetic delight) of svara-s ... 52-60b
( xlv )
Verse Nos.
Section 4 : Grāma, Mūrcchanā, Krama, and Tāna 1-91
A. Grāma ... 1-8
(i) The definition of grāma ... 1ab
(ii) The Two grāma-s ... 1c-2b
(iii) The definition of the ṣaḍja-grāma and the
madhyama-grāma ... 2c-3b
(iv) The gāndhāra-grāma ... 3c-5
(v) Justification for the three grāma-s ... 6-7b
(vi) The presiding deities of the grāma-s ... 7cd
(vii) Periods of time as related to the grāma-s ... 8
B. The Mūrcchanā-s and krama-s ... 9-26
(i) The definition of mūrcchanā ... 9
(ii) The names of the mūrcchanā-s of the ṣaḍja
and madhyama grāmas ... 10-12a
(iii) The tonal form of the mūrcchanā-s ... 12b-15
(iv) The classification of mūrcchanā-s ... 16-17
(v) Method of indicating the serial number of
a mūrcchanā ... 18
(vi) The mūrcchanā-series (krama-s) and their
number ... 19-20b
(vii) The presiding deities of the mūrcchanā-s ... 20c-22b
(viii) Narada's nomenclature for the mūrcchanā-s ... 22c-26
C. The Tāna-s ... 27-90
(i) The formation and the number of the
śuddha-tāna-s (specific combinational
note-series) ... 27-31
1. The definition of śuddha tāna ... (27ab)
2. The hexatonic note-series ... (27c-29b)
3. The pentatonic note-series ... (29c-31b)
4. Total number of hexatonic
and pentatonic combinational
note-series (śuddha-tāna-s) ... (31cd)
(ii) The formation and the number of the
kūṭa (permutational) tāna-s (note-series) ... 32-49
1. The definition of kūṭa-tāna
(permutational note-series) ... (32a-c)
2. The enumeration of the
complete permutational
note-series ... (32d-35a)
( xlvi )
( xlvi )
3. The formation of the incom-
plete permutational note-
series ... (35b-36)
4. The enumeration of the
different permutational
note-series ... (37-38)
5. The names of the first four
permutational note-series ... (39)
6. The enumeration of the
hexatonics ... (40-43a)
7. The enumeration of the
pentatonics ... (43b-45b)
8. The enumeration of the
tetratonics ... (45c-46)
9. The enumeration of the
tritones ... (47-48a)
10. The enumeration of the
bitones and the monotones ... (48b-49)
(iii) The repetitions and the total number
of permutational note-series ... 50-60a
(iv) Determining the number of permutational
forms in the note-series of each mūrcchanā ... 60b-61
(v) The formation of the permutational calculus
(prastāra) ... 62-63b
(vi) Khaṇḍameru (permutation-indicator) ... 63c-71
- The construction of the per-
mutation indicator ... (63c-66b) - The procedure for finding
out the indicated note-
series (uddiṣṭa) ... (66c-68b) - The procedure for finding
out the missing note-series
(naṣṭa) ... (68c-70) - The number of permutatio-
nal note-series in each of
the series as shown by the
permutation-indicator ... (71)
( xlvii )
( xlvii )
(vii) The names of the combinational note-series ... 72-90b
- The hexatonic combinational
note-series of the ṣaḍja-
grāma ... (72-78b) - The hexatonic combinational-
note-series of the madhyama-
grāma ... (78c-82) - The pentatonic combinatio-
nal note-series of the ṣaḍja-
grāma ... (83-86) - The pentatonic combinatio-
nal note-series of the madhyama-
grāma ... (87-90b)
(viii) The functional purpose of the vedic names
of combinational note-series ... 90cd
(ix) The specific use of combinational and
permutational note-series in gāndharva
and gāna ... 91
Section : 5 Overlapping (Sādhāraṇa) 1-11b
(i) Twofold overlapping and the overlapping
of note-intervals ... 1-2b
(ii) The overlapping of kākalī and antara ... 2c-3
(iii) The usage of kākalī and antara ... 4-6
(iv) The overlapping of ṣaḍja and madhyama ... 7-9
(v) The overlapping of jāti-s ... 10-11b
Section 6 : Tone-patterns (varṇa) and Tonal
Embellishments (alaṅkāra) 1-65b
(i) The definition and classification of tone-
patterns (varṇa) ... 1-3b
(ii) The definition and classification of tonal
embellishment (alaṅkāra) ... 3c-64b
(a) The definition of tonal embellishment
(alaṅkāra) ... 3cd
(b) The definition and enumeration of
the embellishments of the steady tone-
pattern (sthāyī-varṇa) ... 4-6b
(c) The significance of the terms, mandra,
tāra, etc. ... 6c-8
(d) The embellishments of the steady tone-
pattern ... 9-13
( xlviii )
- Prasannādi ... (9ab)
- Prasannānta ... (9c)
- Prasannādyanta ... (9d-10a)
- Prasannamadhyā ... (10b-d)
- Kramārcitā ... (11-12)
- Prastāra ... (13ab)
- Prasāda ... (13cd)
(e) The embellishments of the ascendant
tone-pattern ... 14-26 - Vistīrṇa ... (16)
- Niṣkarṣa and gātravarna ... (17-18b)
- Bindu ... (18c-19b)
- Abhyuccaya ... (19cd)
- Hasita ... (20)
- Preṅkhita ... (21)
- Ākṣipta ... (22)
- Sandhipracchādana ... (23)
9-12. Udgīta, udvāhita, trivarṇa
pṛthagveṇī ... (24-25)
(f) The embellishments of the descendant tone-
pattern ... 26ab
(g) The embellishments of the circulatory
(sañcārī) tone-pattern ... 26c-53 - Mandrādi ... (30)
2, 3. Mandra-madhya and
mandrānta ... (31ab) - Prastāra ... (31c-32b)
- Prasāda ... (32c-33b)
- Vyāvṛtta ... (33c-34)
- Skhalita ... (35)
- Parivartaka ... (36)
- Ākṣepa ... (37c-38b)
- Bindu ... (37a-c)
- Udvāhita ... (38c-39b)
- Ūrmi ... (39c-40c)
- Sama ... (40c-41b)
- Preṅkha ... (41c-42b)
- Niṣkūjita ... (42b-43a)
- Śyena ... (43b-44a)
- Krama ... (44b-45a)
- Udghaṭṭita ... (45b-46b)
- Rañjita ... (46c-47a)
( xlix ) - Saṁnivṛttakapravṛttaka ... (47b-48b)
- Veṇu ... (48c-49b)
- Lalitasvara ... (49c-50b)
- Huṅkāra ... (50c-51b)
- Hrādamāna ... (51c-d)
- Avalokita ... (52)
Seven other embellishments ... 54-46b - Tāramandra-prasanna ... (56-57b)
- Mandratāra-prasanna ... (57c-58b)
- Āvartaka ... (58c-59b)
- Sampradāna ... (59c-60b)
- Vidhūta ... (60c-61b)
- Upalola ... (61c-62b)
- Ullasita ... (62c-63b)
(iii) The object of tonal embellishments ... 64c-65b
Section 7 : Jāti-s (Melodic types) 1-115b
A. Introductory ... 1-28
(i) Śuddha (primary) jāti-s ... 1-3b
(a) The seven śuddhā jāti-s ... (1-2a)
(b) The definition of śuddhatā ... (2b-3b)
(ii) Vikṛta (modified) jāti-s ... 3c-7
(iii) Saṁsargajā-vikṛtā (associate modified jāti-s) ... 8-16
(iv) The grāma-wise distrbution of jāti-s ... 17-18a
(v) Complete, hexatonic and pentatonic jāti-s ... 18b-20
(vi) The rule pertaining to overlapping of notes in
certain jāti-s ... 21-24b
(vii) The number of fundamental notes in different
jāti-s ... 24c-28
B. Thirteen factors characterising jāti-s ... 29-59b - The initial note (graha) ... (31)
- The fundamental note (aṁśa) ... (32-34)
- The higher pitch range (tāra) ... (35-36)
- The lower pitch range (mandra) ... (37-38b)
- The final note (nyāsa) ... (38c-40)
- The semifinal note (apanyāsa) ... (41-47b)
- Saṁnyāsa ... (47c-48a)
- Vinyāsa ... (48b-d)
- Profusion (bahutva) ... (49)
- Rareness (alpatva) ... (50-51)
- Antaramārga ... (52-53)
12 & 13. Hexatonic (ṣāḍava) and pentato-
nic (auḍuva) formation ... (54-59b)
Left Page: Page ( 1 )
( 1 )
C. The characteristic features of the particular
jati-s ... 59c-109
(i) Ṣaḍjī ... 60-64b
(ii) Ārṣabhī ... 64c-66
(iii) Gāndhārī ... 67-70b
(iv) Madhyamā ... 70c-72
(v) Pañcamī ... 73-75b
(vi) Dhaivatī ... 75c-77b
(vii) Naiṣādī ... 77c-78
(viii) Ṣaḍjakaiśikī ... 79-80
(ix) Ṣaḍjodīcyavā ... 81-85b
(x) Ṣaḍjamadhyamā ... 85c-88b
(xi) Gāndhārodīcyavā ... 88c-91b
(xii) Raktagāndhārī ... 91c-94
(xiii) Kaiśikī ... 95-98
(xiv) Madhyamodīcyavā ... 99-100
(xv) Karmāravī ... 101-103b
(xvi) Gāndhārapañcamī ... 103c-105b
(xvii) Āndhrī ... 105c-107b
(xviii) Nandayantī ... 107c-109
D. Concluding Remarks ... 110-115b
(i) General remarks-with regard to jati-s ... 110-113b
(ii) The esoteric value and nature of jati-gāna ... 113c-115b
Section 8 : Gīti-s ... 1-25
(i) The Kapāla and the Kambala songs ... 1-14b
(a) The kapāla-gāna ... (1-10)
- Ṣaḍjī-kapāla ... (2-3b)
- Ārṣabhī-kapāla ... (3c-4b)
- Gāndhārī-kapāla ... (4c-5)
- Madhyamā-kapāla ... (6)
- Pañcamī-kapāla ... (7)
- Dhaivatī-kapāla ... (8)
- Naiṣādī-kapāla ... (9)
- The value of kapāla-gāna ... (10)
(b) The kambala-gāna ... (11-13)
(c) The verbal text of the kapāla
songs ... (14ab)
(ii) The definition and classification of gīti-s ... 14c-25 - Māgadhī ... (16c-18b)
- Ardhamāgadhī ... (18c-19b)
- Sambhāvitā ... (19cd)
- Pṛthulā ... (20ab)
- Gīti-s based on tāla ... (20c-25)
Right Page: Chapter 1
Chapter 1
THE TREATMENT OF SVARA
प्रथमः स्वरगताध्यायः
तत्रादिमं पदार्थसंग्रहाख्यं प्रकरणम्
मङ्गलाचरणम्
ब्रह्मग्रन्थिजमारुतानुगतिना चित्तेन हृत्पङ्कजे
सूरीणामनु रञ्जकः श्रुतिपदं योऽयं स्वयं राजते ।
यस्माद् ग्रामविभागवर्णरचनाऽलङ्कारजातिक्रमो
वन्दे नादतनुं तमुद्धुरजगद्गीतं मुदे शङ्करम् ॥१॥
Section 1
Introductory
(i) Propitiation : 1
For delight¹ do I worship Lord Śiva² embodied in (the
form of) nāda³ pre-eminently adored by the entire world,
the source of order inherent in the division of domains⁴, the
- The author is offering his prayers without any ulterior motive,
i. e., for the very delight that accompanies the act of worship,
and so his prayers are immediately answered.
2 The word used is Śaṅkara, which is capable of double meaning,
viz. the name of Lord Śiva, and etymologically, one who
causes comfort or well-being. - Nāda is primordial sound, the manifest quality of the first of
the five elements of creation, ākāśa (space) in its unmodified
state. - The word grāma is capable of double meaning, viz. the diffe-
rent loka-s (i. e., world-views) such as Bhūḥ, Bhuvaḥ, etc., and
the three basic scales—ṣaḍja-grāma, madhyama-grāma and
gāndhāra-grāma spoken of in ancient music.
2 Treatment of Svara
organisation of castes⁵ and the distinction of species⁶; who,
being manifest in the heart-lotus⁷ of yogins as oṅkāra⁸ in the
contemplation of mind united to the movement of prāṇa⁹
originating from the root¹⁰ of the navel, shines in its own
lustre.¹¹ (1).
Interpretation with reference to music:
I take pleasure in paying my homage to gītam¹², the
embodiment of nāda, the cause of comfort¹³ in the restless¹⁴
world, the source of the system comprising the division of
5. Varṇa implies the four castes, viz. Brāhmaṇa, Kṣatriya, Vaiśya
and Śūdra in which the ancient Hindu society was divided;
and in the context of music it signifies types of tonal move-
ment, viz. sthāyī, ārohī, avarohī and sañcārī.
6. Various species of animal kingdom; in music the word (jāti)
stands for arche-types of rāgas, viz. ṣaḍjī, ārṣabhī, etc. The
word alaṅkāra is taken by 'K' in combination with jāti.
Accordingly, this word has been bracketed with 'species'
(jāti) in our translation of the text, in the context of Śiva.
The etymological meaning of the word is alaṁ-karoti-iti alaṅ-
kāraḥ, i. e., which delineates the optimum, such as that of
beauty etc. and is, therefore, also used in the sense of 'orna-
ment or embellishment. Here it has been interpreted in the
simple meaning of delineating the optimum of the species.
7. Hṛtpaṅkaja is the heart-lotus, the seat of anāhata-cakra of twelve
petals in the system of Kuṇḍalinī-Yoga.
8. Śrutipadam is the source of Vedas, i. e. oṅkāra and in music śruti
signifies a microtone.
9. Prāṇa is the vital breath spoken of as maruta (air) in the text;
and the movement of prāṇa is necessary for the articulation of
sound.
10. Brahmagranthi is the knot in which the psychic currents of iḍā
and piṅgalā join with the central canal of psychic energy, viz.
suṣumṇā, near about the root of the navel.
11. The supreme Being is self-luminous and cannot be enlightened
by any modification of the mind. This self-luminosity of
pure Being is suggestive, in the musical context, of the etymo-
logical meaning of svara.
12. Gītam (singing) also implies vādyam (instrumental music) and
nṛttam (dancing). As gītam is directly related to the process
of voice-production in the body, and also because it is consi-
dered to be the main organ of saṅgīta, it represents the entire
art of music.
13. The etymological meaning of the word Śaṅkara.
14. A free rendering of the word uddhura, meaning 'unrestrained.'
Section I : Introductory 3
grāma¹⁵, the composition of varṇa-s¹⁶, the alaṅkāra-s¹⁷ and
the jāti-s¹⁸, the self-manifest¹⁹ locus of śruti-s²⁰ that delights
the masters of music in the lower²¹ register, aided by the
mind attuned to the movement of prāṇa originating from the
root of the navel.
Comments :
It is customary, in the Indian tradition, to offer worship to one's
favourite god as a mark of auspiciousness and for the successful comple-
tion of the work being undertaken. Here, the author opens his maṅgalā-
caraṇa (a benedictory verse) with the word Brahman as a mark of
auspiciousness, and offers worship to Lord Śiva, his iṣṭadevatā (favourite
god) who, incidentally, is the presiding deity of Saṅgīta. The concept
of iṣṭadevatā is peculiar to Indian culture, and is akin to, and seems to
have its origin in, what is known as 'Henotheism' of the vedic pantheon.
There are various religions, dogmas and sects who have their own supreme
deity. The concept of iṣṭadevatā implies the understanding that, although
there is one God in the absolute sense, yet it is known and worshipped
in a particular form and under a particular name that is relevant to a
particular sect. It is also implied in the puranic mythology, to which this
concept truly belongs, that whatever be the description of the supreme
deity in a particular sect, the gods of other sects would be related to it
in some way or the other. Thus, every Hindu is free to have his own
supreme deity. Faith is, therefore, largely an individual affair. Different
members of a family can and do quite often have different iṣṭadevatā-s.
This concept seems to be supported by the Bhagavad-gītā where Lord
Kṛṣṇa declares :
"Whatsoever form (of the supreme deity) a devotee wishes to
worship earnestly, I strengthen his faith in that deity and make it
unflinching." (Bh. G. VII-21)
15. Grāma is a specific group of svara-s (tones), and three grāmas
are accepted, viz. ṣaḍja, madhyama and gāndhāra.
16. Varṇa is 'type of tonal movement', the act of singing, such as
sthāyī etc.
17. Alaṅkāra is a specific combination of svara-s.
18. Jāti is a virtual archetype of rāga, e.g. ṣaḍjī, ārṣabhī, etc.
19. Svayam rājate, suggests the etymological definition of svara,
i.e., the sound that is perceptible and delightful by itself.
20. Śruti signifies a perceptible constituent unit-factor of tone.
21. The heart is identified with the region of voice-production for
the lower register, which implies the other two here.
Page 4
4 Treatment of Svara
Incidentally this shows that, since the benedictory verse is offered
to Lord Śiva, Śārṅgadeva belongs to the Śaiva cult. This gives his
religious orientation, though as it would be clear in the subsequent
passages of the text, he seems to belong philosophically to the Bhedābheda
system of Vedānta Philosophy. It is in this context that the concept
of a personal God as iṣṭadevatā becomes all the more significant.
Apart from serving the purpose of maṅgalācaraṇa, this verse figura-
tively also points out the salient features or the main topics of the
subject matter of this chapter. The figure of speech employed is known
as samāsokti by which, such qualifying words are used that are capable
of double meaning and are so composed in a verse or a sentence as
briefly to indicate some other purport not directly implied by the pri-
mary meaning of the words (cf. Kāvyaprakāśa 10.97). Hence the verse
is differently interpreted above with reference to music.
(ii) ग्रन्थकृद्वंशवर्णनम्
अस्ति स्वस्तिगृहं वंशः श्रीमत्काश्मीरसंभवः ।
ऋषेर्वृषगणाज्जातः कीर्तिप्रक्षालितदिङ्मुखः ॥२॥
यज्वभिर्धर्मधीधुर्यैर्वेदसागरपारगैः ।
यो द्विजेन्द्रैरलंञ्चक्रे ब्रह्मभिर्भूर्गतैरिव ॥३॥
तत्राभूद्भास्करप्रख्यो भास्करस्तेजसां निधिः ।
अलङ्कर्तुं दक्षिणाशां यश्चक्रे दक्षिणाऽयनम् ॥४॥
तस्याभूत्तनयः प्रभूतविनयः श्रीसोढलः प्रौढधी-
र्येन श्रीकरणप्रवृद्धविभवं भूवल्लभं भिल्लमम् ।
आराध्याखिललोकशोकशमनी कीर्तिः समासादिता
जैत्रे जैत्रपदं न्यधायि महती श्रीसिंङ्घणे श्रीरपि ॥५॥
एकः क्ष्मावलये क्षितीश्वरमिलन्मौलीन्द्रनीलावलि-
प्रोदञ्चद्द्युतिचित्रिताङ्घ्रिनखरश्रेणिर्नृपालाग्रणीः ।
श्रीमत्सिङ्घणदेव एव विजयी यस्य प्रतापानलो
विश्वव्याप्यपि दन्दहीति हृदयान्येव द्विषामुद्गुरः ॥६॥
Page 5
Section I : Introductory 5
तं प्रसाद्य सुधीधुर्यो गुणिनां गुणरागिणम् ।
गुणग्रामेण यो विप्रानुपकारैरतीतृपत् ॥७॥
ददौ न किं न किं जज्ञौ न दधौ कां च सम्पदम् ।
कं धर्मं विदधौ नैष न बभौ कैर्गुणैरयम् ॥८॥
(ii) Author's lineage : 2-8
There¹ is a family line, an abode of beneficence,
founded by the sage Vṛṣagaṇa in the beautiful (valley of)
Kashmir, which has spread its fame in all the quarters of the
world through the descendant dignitaries representing
Brahmā² on the earth as it were, the best among the brahmins,
the masters of the vedic lore, the upholders of religious order
and the presiding priests of vedic sacrifices, who have
enriched its lineage. (2-3)
In that family was born a treasure-house³ of extraor-
dinary excellences bearing the name Bhāskara⁴ (lit. the sun)
who, with a view to grace the southern⁵ direction by his
presence, migrated to the south. (4)
- 'S' informs that Vṛṣagaṇa is the name of a sage (i. e., ṛṣi) as
well as a surname (i. e., gotra). - The creative aspect of pure being, one of the gods of the
Hindu trinity Brahmā, Viṣṇu and Śiva. The significance of
this metaphor is brought out by the words bhū-deva and
bhū-sura which are the synonyms of brāhmaṇa. The brahmins
are accordingly considered to be the gods of earth, gods in
the sense of beings of extraordinary religious spirit. - The receptacle of divine glory or spiritual pre-eminence result-
ing from a sacred knowledge, as per one of the interpretations
of 'S'. - That is, to mention one of the pioneers of the family line.
- 'S' puts forward two other interesting interpretations, viz. i)
'he set out in search of a generous patron', ii) 'he set out to
answer the call, to meet the demand of the experts'. The word
dakṣiṇa in Sanskrit has three different meanings, viz. right (as
opposed to left) or south, efficient or clever, and favourable.
The word is actually loaded with all the three connotations,
as its meaning as 'right' is suggestive of his sectarian affilia-
tions, since there are two paths dakṣiṇācāra and vāmācāra, the
positive and the negative approaches to the fulfilment of life.
Besides, in Indian tradition, charity and gifts are given by the
right hand and that is how the word dakṣiṇa is suggestive of the
meaning that he set out in the search of a generous patron.
Left Page
He begot a son Śrī Soḍhala by name; who, modest and
mature of intellect as he was, attained the glory of alleviating
the misery of the entire populace by endearing himself to
king Bhillama whose fortune was fast-growing by the grace
of Lakṣmī⁶. Also for Jaitra⁷, he established a column of
victory in the majesty of king Śrī Singhaṇa. (5)
The king Śrī Singhaṇadeva was the only victorious
monarch of the entire world, the emperor whose line of toe-
nails was picturesque by the reflection of the brilliant streak
of light issuing forth from the garland of the crown-gems of
the (other) kings (of his time) falling at his feet; and the
pervasive⁸ fire of whose victorious prowess burned the hearts
of his foes only. (6)
Foremost among the intellectuals, he (Soḍhala) by his
various accomplishments pleased the emperor, a mine of
merit by himself and a lover of merit⁹ (in others); and
satisfied the host of brahmins by affording generous gifts.
Indeed, what did he not give away, what did he not know
and what wealth did he not acquire¹⁰. In fact he possessed
every virtue and good quality of character. (7-8)
'S' interprets the entire verse taking Bhaskara as a proper
name and also as referring to the sun, and thereby brings out
the poetic beauty of the verse.
6. Goddess of wealth. It is implied that Soḍhala having pleased
the king Bhillama of immense treasures, obtained enormous
riches from him which he distributed among the needy out
of his generosity.
7. Jaitra was the son of king Bhillama who succeeded him, 'S'
however says that it is a name of a city.
8. Viśvavyāpī of the text literally means 'pervading the entire
universe'. 'S' points out the figure of speech known as Viśeṣokti
whereby, despite the presence of the cause, the effect is not
fully manifest; since here the fire of his prowess pervades the
whole world, yet it burns the hearts of his enemies only.
9. 'S' points out the use of parikara alaṅkāra (a figure of speech)
since the expression guṇarañjana is an adjective loaded with
meaningful intention.
10. The purport is that, he could and did part with every valuable
thing, i. e. he generously gave in charity and gifts, he was
proficient in every branch of knowledge, and he did not lack
in any kind of wealth; and thus he was prosperous in every
way.
Right Page
(iii) ग्रन्थकृतो वैशिष्ट्यं, ग्रन्थप्रणयनहेतुश्च
तस्माद्दुग्धाम्बुधेर्जातः शार्ङ्गदेवः सुधाकरः ।
उपर्युपरि सर्वान्यः सदौदार्यस्फुरत्करः ॥९॥
कृतगुरुपदसेवः प्रीणिताशेषदेवः
कलितसकलशास्त्रः पूजिताशेषपात्रः ।
जगति विततकीर्तिर्मन्मथोदारमूर्तिः
प्रचुरतरविवेकः शार्ङ्गदेवोऽयमेकः ॥१०॥
नानास्थानेषु संभ्रान्ता परिश्रान्ता सरस्वती ।
सहवासप्रिया शश्वद्विश्राम्यति तदालये ॥११॥
स विनोदैकरसिको भाग्यवैदग्ध्यभाजनम् ।
धनदानेन विप्राणामार्ति संहृत्य शाश्वतीम् ॥१२॥
जिज्ञासूनां च विद्याभिर्गदार्तानां रसायनैः ।
अधुनाऽखिललोकानां तापत्रयजिहीर्षया ॥१३॥
शाश्वताय च धर्माय कीर्त्यै निःश्रेयसाप्तये ।
आविष्करोति संगीतरत्नाकरमुदारधीः ॥१४॥
(iii) Author's personality and the purpose of his under-
taking : 9-14
From the heavenly ocean of milk¹ (Śrī Soḍhala) was
born the producer of nectar (the moon) named Śārṅgadeva
(the author), the rays² of whose righteous generosity spread
wide upon all. (9)
In serving his preceptor, endearing himself to all the
gods, studying all the sciences, adoring the worshipful,
- Moon was one of the precious gems that were churned out of
the mythological milk-ocean by the gods and the demons
together (by a mythological convention). - The Skt. word kara means a ray, as well as a hand. So, since
the poet is presenting a metaphor, the word is quite signi-
ficant in both of its connotations.
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8 Treatment of Svara
Śārṅgadeva of widespread fame, with a majestic personality
comparable to cupid and endowed with clever wit and sharp
discrimination, is unique by himself in this world. (10)
Bewildered and tired of roaming around various places,
and desirous of his (Śārṅgadeva's) association, Sarasvatī, the
goddess of learning, has found a permanent rest-house in his
residence. (11)
The incomparable reveller of amusements, the deserving
candidate of good luck and skill, having mitigated the eternal
poverty³ of the brahmins by generous distribution of his
wealth among them, having satisfied the inquisitive scholars
by his learning, and having cured the sick by his drugs, he
the high-minded one now commences his work Saṅgīta-ratnākara
for emancipating⁴ the entire populace from the threefold
misery⁵ of the worldly life, serving the cause of eternal
dharma⁶, obtaining glory and for achieving liberation⁷. (12-14)
(iv) पूर्वाचार्यस्मरणम्
सदाशिवः शिवा ब्रह्मा भरतः कश्यपो मुनिः ।
मतङ्गो याष्टिको दुर्गाशक्तिः शार्दूलकोहलौ ॥१५॥
विशाखिलो दत्तिलश्च कम्बलोऽश्वतरस्तथा ।
वायुर्विश्वावसु रम्भाऽर्जुनो नारदतुम्बुरू ॥१६॥
3. Since the brahmins are entirely devoted to the pursuit of knowledge they are always in the need of money.
4. Liberation is the ultimate end of the art of music as understood in India. ‘S’ points out prakaraṇa songs such as madraka etc., that are mentioned subsequently in the text for this very purpose.
5. Threefold misery is suffering pertaining to the physical, mental and spiritual being.
6. Dharma is moral law, religion and duty appropriate to one’s station in life.
7. Saṅgīta is also a medium of attaining liberation, through the vocal compositions known as prakaraṇa-s to be sung in the praise of Lord Śiva.
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Section I : Introductory 9
आञ्जनेयो मातृगुप्तो रावणो नन्दिकेश्वरः ।
स्वातिर्गणो बिन्दुराजः क्षेत्रराजश्च राहुलः ॥१७॥
रुद्रटो नान्यभूपालो भोजभूवल्लभस्तथा ।
परमर्दी च सोमेशो जगदेकमहीपतिः ॥१८॥
व्याख्यातारो भारतीये लोल्लटोद्भटशङ्कुकाः ।
भट्टाभिनवगुप्तश्च श्रीमत्कीर्त्तिधरः परः ॥१९॥
अन्ये च बहवः पूर्वे ये संगीतविशारदाः ।
अगाधबोधमन्थेन तेषां मतपयोनिधिम् ॥२०॥
निर्मथ्य श्रीशाङ्गदेवः सारोद्धारमिमं व्यधात् ।
(iv) The predecessors of the author : 15-21b
Śārṅgadeva, having churned, by the churning rod of
his deep understanding, the ocean of the manifold viewpoints
of previous music experts such as—Sadāśiva, Śiva, Brahmā,
Bharata, sage Kaśyapa, Mataṅga, Yāṣṭika, Durgāśakti,
Śārdūla, Kohala, Viśākhila, Dattila, Kambala, Aśvatara,
Vāyu, Viśvāvasu, Rambhā, Arjuna, Nārada, Tumburū,
Āñjaneya, Mātṛgupta, Rāvaṇa, Nandikeśvara, Svāti, Bindu-
rāja, Kṣetrarāja, Rāhula⁸, Rudraṭa, King Nānyadeva, King
Bhoja, (Paramardī⁹), Someśa the vanquisher of his foes, king
Jagadeka and the interpreters of Bharata such as Lollaṭa,
Udbhaṭa, Śaṅkuka, Abhinavagupta and Kīrtidhara—has
brought out the cream¹⁰ of knowledge in the form of this book.
(15-21b)
8. Ad. ed. of S. R. reads Rāhala. See Dr. V. Raghavan’s article on “Some Names in Early Sangeet Literature”, Sangeet Natak Academy Bulletin No. 6, May 1957.
9. Paramardī—cf. G. O. S. No. 45—Bhāvaprakāśana p. 73, of Introduction, conjecturing Paramardī, to be a man of letters and a king. Paramardī can also be an epithet of Someśa.
10. ‘K’ suggests that, by describing his work as the acme of the works of his predecessors, the author is pointing out the superiority of his work. However ‘S’ poses the question, “Since so many works do exist on the subject what then is the need for the author to write a new book?”, to which he
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10 Treatment of Svara
(v) सङ्गीतलक्षणं, तत्र मार्गदेशीविभागश्च
गीतं वाद्यं तथा नृत्तं त्रयं संगीतमुच्यते ॥२१॥
मार्गो देशीति तद् द्वेधा तत्र मार्गः स उच्यते ।
यो मार्गितो विरिञ्च्याद्यैः प्रयुक्तो भरतादिभिः ॥२२॥
देवस्य पुरतः शंभोर्नियताभ्युदयप्रदः ।
देशे देशे जनानां यद्रुच्या हृदयराञ्जकम् ॥२३॥
गीतं च वादनं नृत्तं तद्देशीत्यभिधीयते ।
(v) The definition of saṅgīta : its classification as mārga and
deśī : 21c-24b
Gītam (vocal melody), vādyam (playing on instruments)
and nṛttam (dancing), all the three together¹ are known as
saṅgīta which is twofold, viz. mārga² and deśī. That which
was discovered by Brahmā and (first) practised by Bharata
and others in the audience of lord Śiva is known as mārga
(saṅgīta), which definitely bestows prosperity; while the saṅgīta
comprising gītam, vādyam and nṛttam, that entertains people
according to their taste in the different regions, is known as
deśī. (21c-24b)
replies that, "all these ancient works are too numerous and
intelligible with great difficulty and therefore the author's
attempt to present the essence of these works in a nutshell is
worthwhile and creditable". Another purpose of the author
in having referred to his predecessors as suggested by 'S' is
that, Śārṅgadeva, by having claimed to have taken the views
of all these authorities into consideration, wants to prove the
authenticity of his own work.
- All the three are comprehended as different constituents of
the same art, called saṅgīta. Etymologically the word saṅgīta
means singing along with accompaniments and embellishments.
The term saṅgīta is also used merely for music; but, that is a
figurative use, taking container for the thing contained; or,
taking the part for the whole. - The term mārga is etymologically explained by 'K' as derived
from the Skt. root mṛg, to seek. Thus mārga is the way, the
technique or practice based on the findings of the investigation
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Section I : Introductory 11
(vi) गीतस्य प्राधान्यम्
नृत्तं वाद्यानुगं प्रोक्तं वाद्यं गीतानुवर्ति च ॥२४॥
अतो गीतं प्रधानत्वादत्रादावभिधीयते ।
(vi) The predominance of gītam : 24c-25b
Dancing is guided by instrumental music which, in its
own turn, follows the vocal practice. Therefore, the vocal
melody (i. e. gītam), being the main constituent (of saṅgīta)
is expounded in the first instance. (24b-25c)
(vii) गीत-प्रशंसा
सामवेदादिदं गीतं संजग्राह पितामहः ॥२५॥
गीतेन प्रीयते देवः सर्वज्ञः पार्वतीपतिः ।
गोपोपतिरनन्तोऽपि वंशध्वनिवशं गतः ॥२६॥
सामगीतिरतो ब्रह्मा वीणाऽऽसक्ता सरस्वती ।
किमन्ये यक्षगन्धर्वदेवदानवमानवाः ॥२७॥
अज्ञातविषयास्वादो बालः पर्यङ्किकागतः ।
रुदन्गीतामृतं पीत्वा हर्षोत्कर्षं प्रपद्यते ॥२८॥
वनेचरस्तृणाहारश्चित्रं मृगशिशुः पशुः ।
लुब्धो लुब्धक सङ्गीते गीते यच्छति जीवितम् ॥२९॥
तस्य गीतस्य माहात्म्यं के प्रशंसितुमीशते ।
धर्मार्थकाममोक्षाणामिदमेवैकसाधनम् ॥३०॥
carried out by Brahmā, the creator in the subject matter of
the four Vedas (cf. नाट्यंवेदमिमं वेदं सेतिहासं करोम्यहम्) as quoted by
'K'. So, by implication mārga means classical, while deśī
means regional practice.
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12 Treatment of Svara
(vii) The importance and significance of gītam (melody):
25c-30
Gītam¹ (the vocal music) was extracted from the
Sāmaveda and collected² by Brahmā. Omniscient God, the
husband of Pārvatī (i. e., Śiva) is propitiated by gītam (i. e.,
singing); Kṛṣṇa, the lord of gopī-s, in spite of being infinite,
was enamoured³ of the sound of the bamboo flute. When
Brahmā (the creator) is devoted to sāmagīti (i c., the hymns
of the Sāmaveda sung in a particular style), and Sarasvatī is
attached⁴ to the lute (vīṇā), what to speak, then, of other
creatures, such as the yakṣa-s⁵ and of gandharva-s, the gods
and the demons, and the human beings. An infant, crying
in cradle, unaware of the enjoyment of objects, on tasting
the nectar of a song, knows no bounds of joy. Even a fawn,
an animal feeding on grass and moving in the forest, attract-
ed by the song of a hunter, is ready to sacrifice its life.
Who indeed can describe the grandeur⁶ of melody, for
in fact, it is the only⁷ means for the realisation of the four
Footnotes:
- As suggested by ‘K’ the hymns of the Sāmaveda are sung in
seven tones, viz. kruṣṭa, prathama, dvitīya, tṛtīya, caturtha, mandra
and atisvārya, and so is the present music based on seven tones
of a different nomenclature. - ‘K’ suggests that since the creator himself has extracted saṅgīta
from the Sāmaveda it is open to all the four castes. - Lit. entrapped, charmed, confined.
- That is, fond of Sarasvatī, the goddess of learning, who, in the
Hindu mythology, is contemplated with a vīṇā in two of her four
hands and is considered to be the presiding deity of fine arts. - Yakṣa-s and gandharva-s are semi-divine beings of mythological
origin that have also found a place in poetic convention in
Sanskrit literature. Yakṣa-s as demigods are considered to be
the attendants of Kubera, the god of wealth, and guard his
gardens and treasures; while gandharva-s are celestial singers. - Lit. the significance and importance.
- Though there are definite means for the attainment of these
values, music is a delightful medium of achieving the same
ends. Vocal music is employed in the worship of the Divine
almost universally. Thus it earns spiritual merit. ‘S’ further
points out that, as mentioned in the text in the context of
jāti-s, the proper use of jāti-s is instrumental to the attainment
of dharma.
That music is a means of earning one’s livelihood and
wealth needs no explanation, and similarly it also serves as a
Page 13
Section I : Introductory 13
primary values of human life, viz. righteousness (dharma),
wealth (artha), enjoyment (kāma) and emancipation (mokṣa).
(25c-30)
(viii) ग्रन्थस्थसप्ताध्यायानां वस्तुसंग्रहः
तत्र स्वरगताध्याये प्रथमे प्रतिपाद्यते ।
शरीरं नादसंभूतिः स्थानानि श्रुतयस्तथा ॥ ३१ ॥
ततः शुद्धाः स्वराः सप्त विकृता द्वादशाप्यमी ।
कुलानि जातयो वर्णा द्वीपान्यार्षं च दैवतम् ॥ ३२ ॥
छन्दांसि विनियोगाश्च स्वराणां श्रुतिजातयः ।
ग्रामाश्च मूर्छनास्तानाः शुद्धाः कूटाश्च संख्यया ॥ ३३ ॥
प्रस्तारः खण्डमेरुश्च नष्टोद्दिष्टप्रबोधकः ।
स्वरसाधारणं जातिसाधारणमतः परम् ॥ ३४ ॥
काकल्यन्तरयोः सम्यक्प्रयोगो वर्णलक्षणम् ।
त्रिषष्टिरप्यलङ्कारास्त्रयोदशविधं ततः ॥ ३५ ॥
जातिलक्ष्मा ग्रहांशादि कपालानि च कम्बलम् ।
नानाविधा गोतयश्चेत्येतावान्वस्तुसंग्रहः ॥ ३६ ॥
अथ रागविवेकाख्येऽध्याये वक्ष्यामहे क्रमात् ।
ग्रामरागांश्चोपरागान् रागान् भाषा विभाषिकाः ॥ ३७ ॥
ततोऽप्यन्तरभाषाश्च रागाङ्गाण्यखिलान्यपि ।
भाषाङ्गान्युपपाङ्गानि क्रियाङ्गाणि च तत्त्वतः ॥ ३८ ॥
ततः प्रकीर्णकाध्याये तृतीये कथयिष्यते ।
वाग्गेयकारो गान्धर्वः स्वरादिर्गायनस्तथा ॥ ३९ ॥
Footnote (continued from Page 12):
medium of entertainment apart from affording aesthetic
delight; e. g., music is employed to heighten the sentiment of
love. So, music serves as means to the realisation of the two
other values, viz., wealth and enjoyment. Finally, music is
a means to spiritual emancipation when it is practised in the
spirit of dedication, e. g. in the case of songs like madraka
given in the text subsequently (Chap. V.).
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14 Treatment of Svara
गायनी गुणदोषाश्च तयोः शब्दभिदास्तथा ।
गुणदोषाश्च शब्दस्य शरीरं तद्गुणास्तथा ॥४०॥
तद्दोषा गमकः स्थाया आलप्तिर्वृन्दलक्षणम् ।
ततः प्रबन्धाध्याये तु धातवोऽङ्गानि जातयः ॥४१॥
प्रबन्धानां, द्विधा सूदः शुद्धश्छायालगस्तथा ।
आलिक्रमप्रबन्धाश्च सूदस्था आलिसंश्रयाः ॥४२॥
विप्रकीर्णस्ततश्छायालगसूदसमाधिताः ।
गीतस्या गुणदोषाश्च वक्ष्यन्ते शार्ङ्गसूरिणा ॥४३॥
तालाध्याये पञ्चमे तु मार्गतालाः कलास्तथा ।
पाता मार्गाश्च चत्वारस्तथा मार्गकलाऽष्टकम् ॥४४॥
गुरुलध्वादिमानं चंककलत्वादयो भिदाः ।
पादभागास्तथा मात्रास्ताले पातकलाविधिः ॥४५॥
अङ्गुलीनां च नियमो भेदा युग्मादयस्तथा ।
परिवर्तो लयास्तेषां यतयो गीतकानि च ॥४६॥
छन्दकादीनि गीतानि तालाङ्गनिचयस्तथा ।
गीताङ्गानि च वक्ष्यन्ते देशीतालाश्च तत्त्वतः ॥४७॥
निःशङ्कशाङ्गदेवेन तालानां प्रत्ययास्तथा ।
षष्ठे नानाविधं वाद्यमध्याये कथयिष्यते ॥४८॥
सप्तमे नर्तनं नानारसभावाः क्रमेण च ।
(viii) Synopsis of the work: 31-49b
Now in the first chapter concerning svara¹ (tone) etc.,
the topics of study are :
(i) human embodiment²,
- 'K' explains svaragata in svaragatādhyāya as स्वरानुगताः स्वरगताः
श्रुतिग्रामा—etc, i. e the topics pertaining to svara such as śruti,
grāma, mūrcchanā and so on dealt with in this chapter. - Human embodiment is discussed in this context because
human body is the instrument of voice production, i. e. the
manifestation of nāda.
Page 15
Section I : Introductory 15
(ii) the process of sound production (in the body),
(iii) the places (of sound production, i. e., the three
registers),
(iv) the śruti-s³ (micro-tones),
(v) the seven śuddha⁴ (standard) svara-s (notes or tones)
along with twelve vikṛta⁵ (modified forms),
(vi) the family, caste, colour, terrestrial region, origi-
nator sage, presiding deity, metre and the proper
application⁶ of each of the svara-s,
(vii) the generic groups of śruti-s,
(viii) the grāma-s (basic scales),
(ix) the mūrcchanā-s⁷ (modified prototype scales),
(x) the śuddha⁸ and kūṭa tāna-s (specific combinational
and permutational note-series) with their number,
(xi) the prastāra⁹ (sequential permutation),
(xii) the khaṇḍameru¹⁰ (permutation indicator),
3. Śruti-s are the twentytwo divisions of the scale of seven notes,
to be defined and demonstrated later in the text.
4. Śuddha svara-s are the seven tones of a definite pitch compre-
hending 4, 3, 2, 4, 4, 3 and 2 śruti-intervals respectively.
5. Vikṛta-svara-s comprise these very seven tones with more or
less modified pitch in the terms of śruti-intervals, explained
later in the text.
6. Viniyoga indicates the proper context in the terms of drama-
turgy and aesthetic delight, i e., rasa for which a particular
melody is employed. See Ragadhyaya (Chapter II) for
illustrations.
7. Series of seven notes in ascending and descending order,
commencing with different notes.
8. In the ancient sense, when one or two notes are omitted from
a scale, in the act of singing, it becomes a tāna; and if such
omission does not alter the order of the rest of the notes, it is
called a śuddha tāna, while kūṭa-tāna is related to the permu-
tation of notes in groups of two to seven.
9. Prastāra represents an actual working out of these various
permutation and combination patterns.
10. Khaṇḍameru is the name of a mathematical device in the form
of a numerical graph which indicates naṣṭa and uddiṣṭa, where
the former points out the particular permutation for a given
number and the latter gives the number of a given permutation,
to be explained subsequently in the text. (63-70 of Sec. IV)