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

312 Treatment of Svara
11. gā ga-ma pā pā dha-pa mā ni-dha ni-sa
va ra yu va ti dan ta
12. ni-dha pa-ni mā ma-pa-ri gā gā gā gā
paṁ kti ni bham
13. nī nī pā nī gā mā gā sā
pra ṇa mā mi pra ṇa ya
14. gā sā gā gā gā ga-ma gā gā
ra ti ka la ha ra va nu
15. gā pā mā mā ni-dha ni-sa ni-dha pa-ni
dam
16. mā pa-ri-a gā gā ga gā gā gā
śa śi nam
4. मध्यमा जातिः
पञ्चांशा मध्यमायां स्युरगान्धारनिषादकाः ॥७०॥
षड्जमध्यमबाहुल्यं गान्धारो ऽल्पो ऽत्र षाडवम् ।
गलोपान्निगलोपेन त्वौडुवं स्यात्कलाऽष्टकम् ॥७१॥
ऋषभादिर्मूर्च्छना स्यात्तालश्चच्चत्पुटो मतः ।
विनियोगो ध्रुवागाने द्वितीयप्रेक्षणे भवेत् ॥७२॥
अस्यां मध्यमायां मध्यमो न्यासः । अंशा एवापन्यासाः ।
चोक्षषाडवदेश्यान्थाल्यो दृश्यन्ते । अस्याः प्रस्तारः—
४. मध्यमा
१. मा मा मा मा पा धनि नी धप
पा तु भ व मू
२. मा पम मा सा मा गा री री
र्ध जा न न
३. पा मा रिम गम मा मा मा मा
कि रो ट
४. मां निघ निसं निघ पम पध मा मा
म णि व र्पं णं
५. नों नीं री री नों री री पा
गौ री क र प
६. नों मप मा मा सा सा सा सा
ल्ल वां गु लि सु
७. गं नी सां गं धप मा धनि सां
ते जि तं
८. पा सां पा निघप मा मा मा मा
सु कि र णं
[तत्र साकल्येन पदयोजना]
[पातु भवमूर्धजाननकिरीटमणिदर्पणम् ।
गौरीकरपल्लवाङ्गुलिसुतेजितं सुकिरणम् ॥४॥]
(iv) Madhyamā: (70c-72)
There are five¹ fundamental notes in madhyamā exclud-
ing gāndhāra and niṣāda; ṣaḍja and madhyama are profuse,
gāndhāra is rare,² hexatone is (caused) by the elimination of
gāndhāra and pentatone by that of niṣāda and gāndhāra in it;
it has eight kalā-s, (its) mūrcchanā commences with ṛṣabha and
the tāla is accepted to be caccatpuṭa. (Its) proper application
is in the dhruvā song of the second act. (70c-72)
In this madhyamā, madhyama is the final note, the very
fundamental notes³ are the semifinal notes, and cokṣaṣāḍava⁴,
deśī and andhālī are seen.

1. That is, sa, ri, ma, pa, dha by discretion.
2. This obviously applies to the complete forms.
3. That is, sa, ri, ma, pa, dha.
4. ‘K’ identifies it ith śuddha-ṣāḍava which is a grāma-rāga.

Page 314

· 314 Treatment of Svara
Its prastāra⁵ :

1. mā mā mā mā pā dha-ni nī dha-pa
   Pa tu bha va mū
2. mā pa-ma mā sā mā gā ri ri
   rdha ja na na
3. pā mā ri-ma ga-ma mā mā mā mā
   ki rī ṭa
4. mā ni-dha ni-sa ni-dha pa-ma pa-dha mā mā
   ma ṇi da rpa ṇam
5. nī nī ri ri nī ri ri pā
   Gau rī ka ra pa
6. nī ma-pa mā mā sā sā sā sā
   lla vaṁ gu li su
7. gā nī sā gā dha-pa mā dha-ni sa
   te ji tam
8. pā sā pā ni-dha-pa mā mā mā mā
   su ki ra ṇam
9. पञ्चमी जातिः
   रिपावंशौ तु पञ्चम्यां सगमाः स्वल्पका मताः ।
   रिमयोः संगतिर्गच्छेत्पूर्णत्वे गानिषादकम् ॥७३॥
   क्रमाद्गेन निगाभ्यां च षाडवौडुवता मता ।
   ऋषभो ऽशस्त्वौडुविते ह्येष्टषष्टौ च कला मताः ॥७४॥
   मूर्च्छनाऽऽदि तु पूर्वावत्प्रेक्षणं तु तृतीयकम् ।
10. The purport of the song is as under:
    May the mirror of the crest jewel crowning the upper
    (fifth) face of Śiva*, the rays emanating from which are beauti-
    ful as they are stimulated by the fingers of the graceful hands
    of Gaurī, protect (us).

• Comp. S. Raj Vol. I, p. 214, which reads Bhavamūrddhajanaya-
  nam meaning "the upper (third) eye of Śiva".

Page 315

Section 7 : Jāti-s (Melodic types) 315
अस्यां पञ्चम्यां पञ्चमो न्यासः। ऋषभपञ्चमनिषादा
अपन्यासाः। चोक्षपञ्चमदेश्यान्धात्यो दृश्यन्ते। अस्याः प्रस्तारः-
५. पञ्चमी
१. पा धनि नी नी मा नी मा पा
ह रं मू र्ध जा न
२. गा गा सा सा मां मां पां पां
नं म हे श म म र
३. पां पां धां नीं नीं नी गा सा
प ति बा हु स्तैं भ
४. पा मा धा नी निध पा पा पा
न म नं तं
५. पा पा री' री' री' री' री' री'
प्र ण मा मि पु रु ष
६. मां निग सा सध नी नीं नी नी
मु ख प द्म ल क्ष्मी
७. सां सां सां मा पा पा पा पा
ह र मं बि का प
८. धा मा धा नी पा पा पा पा
ति म जे यं
[तत्र साकल्येन पदयोजना]
[हरं मूर्धाननं महेशममरपतिबाहुस्तम्भनमनन्तम् ।
तं प्रणमामि पुरुषमुखपद्मलक्ष्मीहरमम्बिकापतिमजेयम् ॥]
(v) Pañcamī : (73-75b)
In pañcamī, ṛṣabha and pañcama are the two fundamental
notes, ṣaḍja, gāndhāra and madhyama are considered to be very

316 Treatment of Svara
rare¹, ṛṣabha and madhyama are in concert (saṅgati) and in
case of completeness one may proceed from gāndhāra to
niṣāda². The hexatones and pentatones³ are accepted to be
(formed) by the respective elimination of gāndhāra, and niṣāda
and gāndhāra. Ṛṣabha is not conducive to pentatonic forma-
tion when it is the fundamental note⁴, and eight kalā-s are
accepted (in it). Its mūrcchanā etc. is like the previous one⁵,
excepting that it is used in the third act. (73-75b)
In this pañcamī, the final note is pañcama; ṛṣabha, pañcama
and niṣāda are the semifinal notes; and cokṣapañcama, deśī and
āndhalī are seen.
Its prastāra⁶ :

1. pā dha-ni nī nī mā nī mā pā
   Ha ram⁷ mū rdha ja na
2. gā gā sā sā mā mā pā pā
   nam ma he śa ma ma ra
3. This obviously applies to the complete formations.
4. 'K' infers that ga and ni should be brought in concert with
   each other and also that this should not be attempted in the
   hexatonic and the pentatonic forms because ga and ni-ga are
   respectively to be eliminated in them.
5. Ṣāḍavauduvata is an abstract noun indicating the state of being
   hexatonic and pentatonic.
6. The pentatonic forms can be obtained by the elimination of
   ga and ni, so in the case of ṛṣabha being the fundamental
   note, even though there is no question of its consonant being
   omitted, yet by the authority of muni (Mataṅga ?), as quoted
   by 'K', pentatonic forms are not permitted.
7. That is, like that of madhyama, i. e. commencing in ṛṣabha.
   By etc., is included the caccatpuṭa tāla and the viniyoga, i. e.
   its application in the dhruvā song.
8. The purport of the song is as under :—
   Obeisance to that Śiva whose (fifth) face (emerges from)
   his (four) heads, the Lord of lords, the paralyser of the power
   of the chief of gods (Indra), the endless, the invincible, lord
   of Ambikā who robs Viṣṇu of the grace of his countenance*.
9. The anusvāra of Haram has been supplied to make the text more
   intelligible. The Adyar ed. of S. R. reads Haramūrdhaja etc.

• Comp. Bh. Bhāṣya of Nānyadeva Chap. VI which reads
  प्रणमामि पुरुषमहमलङ्कृतिभरं etc. meaning "I bow to the Being
  that bears profuse ornamentation" etc. instead of तं प्रणमामि
  पुरुषमुखपद्मसक्मीहरं etc.
  Section 7 : Jāti-s (Melodic types) 317

3. pā pa dhā nī nī nī ga sā
   pa ti ba hu stam bha
4. pā mā dhā nī ni-dha pā pā pā
   na ma nan tam
5. pā pā rī rī rī rī rī rī
   pra ṇa mā mi pu ru ṣa
6. mā ni-ga sā sa-dha nī nī nī nī
   mu kha pa dma la kṣmī
7. sā sā sā mā pa pā pā pā
   ha ra mam bi ka pa
8. dhā mā dha nī pā pā pā pā
   ti ma je yam
9. धैवती जातिः
   स्तो धैवत्यां रिधावंशौ लङ्घचावारोहिणौ सपौ ॥७५॥
   पलोपात्षाडवं प्रोक्तमौडुवं सपलोपतः ।
   ऋषभादिमूर्च्छना स्यात्तालो मार्गश्च गोतयः ॥७६॥
   विनियोगश्च षाड्जीवत्कला द्वादश कीर्तिताः ।
   अस्यां धैवत्यां धैवतो न्यासः । ऋषभमध्यमधैवता अपन्यासाः ।
   चोक्षकैशिकदेशीसिंहल्यो दृश्यन्ते । अस्याः प्रस्तार :--
   ६. धैवती
   १. धा धा निध पध मा मा मा मा
   त रु णा म लें डु
   २. धा धा निध निसं सां सां सां सां
   म णि भू षि ता म
   ३. सध धा पा मध धा निध धनि धा
   ल शि रो जं
   ४. सा सा रिग रिग सा रिग सा सा
   भु ज गा धि पे क

318 Treatment of Svara
५. धां धां नों पां धां पां मां मां
कुं ड ल वि ला स
६. धां धां पां मंधं धां निंधं धंनि धां
कृ त शो भं
७. धा धा निसं निसं निध पा पा पा
न ग सू नु ल क्ष्मी
८. रिग सा सा सा नीं नीं नों नों
दे हा र्ध मि श्रि
९. सा रिग रिग सा नीं सा धां धां
त श री रं
१०. रीं गंरि मंगं मां मां मां मां मां
प्र ण मा मि भू त
११. नी नो धा धा पा रिग सा रिग
गी तो प हा र
१२. पा धा सा मा धा नो धा धा
प रि तु ष्टं
[तत्र साकल्येन पदयोजना]
[तरुणामलेन्दुमणिभूषितामलशिरोजं
भुजगाधिपैककुण्डलविलासकृतशोभम्।
[L

320 Treatment of Svara
6. dhā dhā pā ma-dha dhā ni-dha dha-ni dhā
kṛ ta śo bham
7. dhā dhā ni-sa ni-sa ni-dha pā pā pā
Na ga sū nu la kṣmī
8. ri-ga sā sā sā nī nī nī nī
de ha rdha mi śri
9. sā ri-ga ri-ga sā nī sā dha dha
ta śa rī ram
10. ri ga-ri ma-ga mā mā mā mā mā
pra ṇa ma mi bhū ta
11. nī nī dhā dhā pā ri-ga sā ri-ga
gī to pa ha ra
12. pā dhā sā mā dhā nī dha dha
pa ri tu ṣṭam
7. नैषादी जातिः
नैषाद्यां निरिंगा अंशा अनंशाबहुलाः स्मृताः ॥७७॥
षाडवौडुवलङ्घ्याः स्युः पूर्ववद्विनियोजनम् ।
चच्चत्पुटः षोडशात्र कला गादिश्च मूर्च्छना ॥७८॥
अस्यां नैषाद्यां निषादो न्यासः । अंशा एवापन्यासाः । चोक्ष-
साधारितदेशीवेलावत्यो दृश्यन्ते । अस्याः प्रस्तारः—
७. नैषादी
१. नी नो नो नी सां धा नी नी
तं सु र वं दि त
२. पा मा सा धां नीं नीं नीं नीं
म हि ष म हा सु र
३. सा सा गा गा नी नी धा नी
म थ न मु मा प ति
४. सां सां धा नी नी नी नी नी
भो ग यु तं
Section 7 : Jāti-s (Melodic types) 321
५. सा सा गा गा मां मां मां मां
न ग सु त का मि नी
६. नीं पां धां पां मां मां मां मां
दि व्य वि शे ष क
७. री' गां सां सां री' गां नी नी
सू च क शु भ न ख
८. नी नी पा धनि नी नी नी नी
द र्प ण कं
९. सा सा गा सा मा मा मा मा
अ हि मु ख म णि ख चि
१०. मां मां मां मां नीं धां मां मां
तो ज्ज्व ल नू पु र
११. धा धा नी नो री गा मां मां
बा ल भु जं ग म
१२. मां मां पां धां नीं नीं नीं नीं
र व क लि तं
१३. पां पां नीं नीं री री री री
द्रु त म भि व्र जा मि
१४. री मा मा मा री गा सा सा
श र ण म निं दि त
१५. धा मा री गा सा धा नो नी
पा द यु ग पं क
१६. पां मां री' गां नी नी नी नी
ज वि ला सं
21

322 Treatment of Svara
[तत्र साकल्येन पदयोजना]
[तं सुरवन्दितमहिषमहासुरमथनमुमापतिं भोगयुतं
नगसुतकामिनीदिव्यविशेषकसूचकशुभनखदर्पणकम् ।
अहिमुखमणिरचितोज्ज्वलनूपुरबालभुजंगमरवकलितं
द्रुतमभिव्रजामि शरणमनिन्दितपादयुगपङ्कजविलासम् ॥७७॥]
(vii) Naiṣādī : (77c—78)
In naiṣādī, the fundamental notes are niṣāda, ṛṣabha and
gāndhāra and the rest of the notes (lit. non-fundamental
notes) are known (in it) to be weak¹ (lit. not profuse). The
hexatone, the pentatone and the notes to be overstepped are
like in the previous one², as also its proper application. (The
tāla) is caccatpuṭa; it has sixteen kalā-s and its mūrcchanā begins
with gāndhāra. (77c-78)
In this naiṣādī³, the final note is niṣāda, the very funda-
mental notes are the semifinal notes and cokṣasādhāritā, deśī
and velāvalī are seen.

1. The expression "anaṁśabahula" of the text is interpreted in
   two different ways by the two commentators. 'S' reads it as
   "anaṁśa + bahula" which means the non-fundamental notes,
   viz. sa, ma, pa and dha are profuse. But 'K' points out that
   this reading is in contradiction with the statement of Mataṅga
   —"in the state of completeness sa, ma, pa and dha are weak, in
   the hexatones sa, ma and dha are weak and in the pentatones
   ma and dha are weak" and also author's own statement—"the
   non-fundamental notes are not to be repeated." He therefore
   reads it as "anaṁśa + abahula" which has been adopted in this
   translation. Both the readings are grammatically possible,
   but the latter seems to be technically more appropriate.
2. That is, the hexatone is by the elimination of pañcama, the
   pentatone by that of ṣaḍja and pañcama, sa and pa are the
   notes to be overstepped in the ascending movement; and its
   proper application is like that of ṣaḍjī, i.e. in the naiṣkrāmikī
   dhruvā of the first act.
3. Naiṣādī is the last of the seven śuddhā jāti-s described here.
   Their actual formation in practice has been demonstrated in
   so far as the arrangement of notes in different kalā-s set to a
   definite time-measure in a particular tāla etc. has been indi-
   cated. Their modified forms are not similarly illustrated but
   may be worked out on this pattern.
   Section 7 : Jāti-s (Melodic types) 323
   Its prastāra⁴ :
4. ni ni ni ni sā dha ni ni
   Tam su ra van di tam⁵
5. pā mā sā dha ni ni ni ni
   ma hi ṣa ma ha su ra
6. sā sā gā gā ni ni dha ni
   ma tha na mu mā pa tim
7. sā sā dha ni ni ni ni ni
   bho ga yu tam
8. sā sā gā gā mā mā mā mā
   na ga su ta kā mi ni
9. ni pā dhā pā mā mā mā mā
   di vya vi śe ṣa ka
10. ri gā sā sa ri gā ni ni
    sū ca ka śu bha na kha
11. ni ni pā dha-ni ni ni ni ni
    da rpa ṇa kam
12. sā sā gā sa mā mā mā mā
    A hi mu kha ma ṇi kha ci
13. mā mā mā ma ni dhā mā mā
    to jjva la nū pu ra
14. The purport of the song is as under :
    I hasten to take shelter in Him, who is adored by the
    gods, who vanquished the great demon Mahiṣa, who is the
    lord of Umā, who is associated with serpents*, who reflects in
    the mirror of his auspicious nails, the special mark of extra-
    ordinary excellence (tilaka) borne by the most beautiful
    maiden, the daughter of the mountain (Pārvatī), who puts on
    the young serpents that by their hissing sound like the anklets
    (as it were) shining with inlaid jewels (extracted) from the
    mouths of snakes, and who is endowed with the grace of
    the praiseworthy lotus feet.

• Comp. S. Raj (Vol. I, p. 201) which reads उमापतिभोगयुतं meaning
  "associated with the enjoyment of Uma's company" instead of
  उमापतिं भोगयुतं of the Adyar ed. of S. R.

5. The anusvāra is supplied editorially to make an intelligible
   reading of the text which as per the Adyar ed. of S. R.
   reads as :
   तं सुरवन्दितमहिषमहा ऽसुरमथनमुमापतिं भोगयुतं etc.

Page 324

324 Treatment of Svara
11. dha dha nī nī rī gā mā mā
ba la bhu ja ṅga ma
12. mā mā pā dhā nī nī nī nī
ra va ka li tam
13. pā pā nī nī rī rī rī rī
dru ta ma bhi vra ja mi
14. rī mā mā mā rī gā sā sā
śa ra ṇa ma nin di ta
15. dhā mā rī gā sā dhā nī nī
pa da yu ga paṅ ka
16. pā mā rī gā nī nī nī nī
ja vi la sam
8. षड्जकैशिकी जातिः
अंशाः स्युः षड्जकैशिक्यां षड्जगान्धारपञ्चमाः ।
ऋषभे मध्यमे ऽल्पत्वं धनिषादौ मनाग्बहू ॥७९॥
चच्चत्पुटः षोडशास्यां कलाः स्युर्विनियोजनम् ।
प्रावेशिक्यां ध्रुवायां स्यात्प्रेक्षणे तु द्वितीयके ॥८०॥
अस्यां षड्जकैशिक्यां गान्धारो न्यासः । षड्जनिषादपञ्चमा
अपन्यासाः । प्रागुक्ता गान्धारपञ्चमहिन्दोलकदेशोवेलावल्यो दृश्यन्ते ।
अस्याः प्रस्तारः—
८. षड्जकैशिकी
१. सा सा मां पां गरि मग मा मा
दे
२. मा मा मा मा सां सां सां सां
वं
३. धा धा पा पा धा धा री रिम
अ स क ल श शि ति ल
४. री री नीं नीं नीं नीं नीं नीं
कं

Page 325

Section 7 : Jāti-s (Melodic types) 325
५. धा धा पा धनि मा मा पा पा
द्वि र द ग ति
६. धा धा पा धनि धा धा पा पा
नि पु ण म ति
७. सा सा सा सा सा सा सा सा
मु ग्ध मु खां बु
८. धा धा पा धा धनि धा धा धा
रु ह दि व्य कां ति
९. सा सा सा रिग सा रिग धा धा
ह र मं बु दो द
१०. मा धा पा पा धा धा नी नी
धि नि ना दं
११. री री गा सा सां सां सां गां
अ च ल व र सू नु
१२. धां रिसं रीं संर्रि रीं सां सां सां
वे हा र्थ मि थि
१३. सा सरि री सरि री सा सा सा
त श री रं
१४. मा मा मा मा निघ पध मा मा
प्र ण मा मि तम हं
१५. नी नी पा पम पा पम पध रिग
अ नु प म मु ख क म
१६. गा गा गा गा गा गा गा गा
लं

326 Treatment of Svara
[ तत्र साकल्येन पदयोजना ]
[देवमसकलशशितिलकं द्विरदगतिं
निपुणमतिं मुग्धमुखाम्बुरुहदिव्यकान्तिम् ।
हरमम्बुदोदधिनिनादमचलवरसूनुदेहार्धमिश्रितशरीरं
प्रणमामि तमहमनुपममुखकमलम् ॥]
(viii) Ṣaḍjakaiśikī : (79 80)
In ṣaḍjakaiśikī¹ the fundamental notes would be ṣaḍja,
gāndhāra and pañcama; ṛṣabha and madhyama (will be) rare²
and dhaivata and niṣāda somewhat³ profuse. Caccatpuṭa will be
the tāla and there will be sixteen kalā-s in it; its proper
application will be in the prāveśikī dhruvā (song in the second
act). (79-80)
In this ṣaḍja-kaiṣikī, gāndhāra is the final note, ṣaḍja,
niṣāda and pañcama are the semifinal notes and gāndhāra-pañ-
cama, hindolaka, deśī, velāvalī, mentioned before, are seen.
Its prastāra⁴ :

1. sā sā mā pā ga-ri ma-ga mā mā
   De
2. mā mā mā mā sā sā sā sā
   vam
3. Ṣaḍja-kaiśikī is the first among the associate modified (vikṛta
   saṁsargajā) jātis which the author is now going to describe.
4. Sa, ga, pa being the fundamental notes, ri, ma, dha, ni have to
   be weak, but of these ri and ma are provided to be rare.
5. Of the non-fundamental notes, viz. ri, ma, dha and ni, ri and
   ma are declared to be rare and therefore as compared to them
   dha ni are profuse, but as compared to the fundamental notes
   they are at the same time weak and therefore relatively they
   are said to be somewhat profuse.
6. The purport of the song is as under :
   Obeisance to that Hara (Śiva) who is the God that bears
   the imperfect moon as the tilaka mark, who has the gait of an
   elephant, who is of a sharp intellect, whose innocent lotus face
   is radiant with extraordinary lustre, who (in his speech)
   sounds like the clouds and the ocean*, whose body is conjoint
   with the frame of the daughter of the mountain (Pārvatī) and
   who bears the matchless lotus face.

• Comp. S. Raj, Vol. I, p. 204 which reads अमृतोदधि meaning
  "the ocean of nectar" instead of अम्बुदोदधि of S. R.
  Section 7 : Jātis (Melodic types) 327

3. dhā dhā pā pā dha dha ri ri-ma
   a sa ka la śa śi ti la
4. rī rī nī nī nī nī nī nī
   kam
5. dhā dhā pā dha-ni mā mā pā pā
   dvi ra da ga tim
6. dhā dhā pā dha-ni dha dha pā pā
   ni pu ṇa ma tim
7. sā sā sā sā sā sā sā sā
   mu gdha mu khām bu
8. dhā dhā pā dhā dha-ni dha dhā dhā
   ru ha di vya kān tim
9. sā sā sā ri-ga sā ri-ga dhā dhā
   Ha ra mam bu do da
10. ma dha pā pā dhā dhā nī nī
    dhi ni nā dam
11. rī rī ga sā sā sā sā ga
    a ca la va ra sū nu
12. dhā ri-sa rī sa-ri rī sā sā sā
    de hā rdha mi śrī
13. sā sa-ri rī sa-ri rī sā sā sā
    ta śa rī ram
14. mā mā mā mā ni-dha pa-dha mā mā
    pra ṇa ma mi tama ham
15. nī nī pā pa-ma pā pa-ma pa-dha ri-ga
    a nu pa ma mu kha ka ma
16. gā gā gā ga ga ga gā ga
    lam
17. षड्जोदीच्यवा जातिः
    अंशाः समनिधाः षड्जोदीच्यवायां प्रकीर्तिताः ।
    मिथश्च संगतास्ते स्युर्मन्द्रगान्धारभूरिता ॥८१॥
    षड्जर्षभौ भूरितारौ रिलोपाच्छाडवं मतम् ।
    औडुवं रिपलोपेन धैवते ऽशे न षाडवम् ॥८२॥

328 Treatment of Svara
षाड्जोदीच्यवतीतालादि गान्धारादिश्च मूर्च्छना ।
द्वितीये प्रेक्षणे गाने ध्रुवायां विनियोजनम् ।।८३।।
अस्यां षड्जोदीच्यवायां मध्यमो न्यासः । षड्जधैवतावपन्यासौ ।
अस्याः प्रस्तारः—
९. षड्जोदीच्यवा
१. सा सा सा सा मां मां गां गां
शै ले
२. गा मा पा मा गा मा मा धा
श सू नु
३. सा सा मा गा पा पा नी धा
शं ले श सू नु
४. धा नी सा सा धा नी पा मा
प्र ण य प्र सं ग
५. गां सा सा सा सा सा सा गां
स वि ला स खे ल
६. धा धा पा धा पा नी धा धा
न वि नो दं
७. सा गां गां गां गां गां सा सा
अ धि क
८. नी धा पा धा पा धा धा धा
मु खें दु
९. सां सां मा गा पा पा नी धा
अ धि क मु खें दु
१०. धा नी सां सां धा नी पा मा
न य नं न मा मि
Section 7 : Jātis (Melodic types) 329
११. गां सा सा सा सा सा सा गां
दे वा सु रे श
१२. धा धा पा धा मां मां मां मां
त व रु चि रं
शैलेऽक्षराभ्यां प्रथमा द्वितीया तु शसूनुना ।
तैः पञ्चभिस्तृतीया स्यात्सप्तमी त्वधिकाक्षरैः ।।८४।।
मुखेन्दुना ऽष्टमी त्वस्यां षड्भिस्तैर्नवमी कला ।
[तत्र साकल्येन पदयोजना]
[शैलेशसूनुप्रणयप्रसङ्गविलासखेलनविनोदम् ।
अधिकमुखेन्दुनयनं नमामि देवासुरेश तव रुचिरम् ॥]
(ix) Ṣaḍjodīcyavā : (81-85b)
In ṣaḍjodīcyavā the fundamental notes are said to be
ṣaḍja, madhyama, niṣāda and dhaivata which are mutually in con-
cert with each other; there is a profusion of the low gāndhāra¹
and high ṣaḍja and ṛṣabha²; the hexatone is accepted to be
(caused) by the elimination of ṛṣabha, and the pentatone by
that of ṛṣabha and pañcama; no hexatone is (possible) with
dhaivata as the fundamental note³, the gīti⁴ and tāla etc. are

1. Even though gāndhāra is not a fundamental note in ṣaḍjodīcyavā
   yet it is profuse in the lower register as laid down by Bharata
   who says : "Ṣaḍja, ṛṣabha and gāndhāra have to be strong" (cf.
   N. S , G. O. S. Ed. XXVIII 109 p. 57).
2. Ṣaḍja and ṛṣabha are profuse in the higher register; for, as
   observed by 'K', ṛṣabha is the maker of the hexatone and the
   pentatone, and therefore in the state of completeness, it is rare
   along with pañcama according to Mataṅga (as quoted by him).
   Thus the statement of Mataṅga is valid, according to 'K',
   with regard to the low and the middle registers, and that of
   Bharata (quoted in 1 above) with regard to the high register.
   Ṣaḍa is one of the fundamental notes and is naturally profuse,
   but the provision with regard to its profusion in the higher
   register shows that it is comparatively more profuse there,
   than in the other two places.
3. Because ṛṣabha, being its consonant, cannot be eliminated.
4. The Adyar ed. of S. R. reads gīta, which has been changed
   here to gīti, as for example is the case in the following ṣaḍja-
   madhyamā. Moreover, dhruvā-gāna is mentioned separately in

330 Treatment of Svara
like those of ṣaḍjī, its mūrcchanā commences with gāndhāra, and
its proper application is in the dhruvā song of the second act.
(81-83)
In this ṣaḍjodīcyavā, madhyama is the final note, and
ṣaḍja and dhaivata are the semifinal notes.
Its prastāra⁵ :

1. sā sā sā sā mā mā gā gā
   Śai le
2. gā mā pā mā gā mā mā dhā
   śa sū nu
3. sā sā mā gā pā pā nī dhā
   śai le śa sū nu
4. dhā nī sā sā dhā nī pā mā
   pra ṇa ya pra saṁ ga
5. gā sā sā sā sā sā sā gā
   sa vi la sa khe la
6. dha dha pā dha pā ni dha dha
   na vi no dam
7. sā gā gā gā gā gā sā sā
   A dhi ka
8. nī dhā pā dhā pā dha dha dha
   mu khen du
9. sā sā mā gā pā pā nī dhā
   a dhi ka mu khen du
10. dhā nī sā sā dhā nī pā mā
    na ya nam na ma mi
11. gā sā sā sā sā sā sā gā
    de va su re sa'
12. dhā dhā pā dhā mā mā mā mā
    ta va ru ci ram

this same verse. The reading gīti is surely more significant in
this context. The interpretation of 'S' also supports this view.
5. The purport of the song is as under :
O ! the lord of the gods as well as the demons, I bow
down to that beautiful extra (third) eye of your moonlike face
which is the means of amusement in the midst of the graceful
love-sports of the daughter of the mountain (Pārvatī).
The first kalā is (sung) by the two syllables śai and le
and the second by (the three) śa, sū and nu, while the third
is by these five. Similarly, the seventh is (sung) by (the
three) syllables a, dhi and ka and the eighth by (the three)
mu, khen and du, while the ninth kalā is (sung) by these six
together. (84-85b)
It will be observed that certain portions of the text of the song,
in the above kalā-s are repeated. Here the pattern of repetition is eluci-
dated.
The text of the first two kalā-s is repeated in the third and that
of the seventh and the eighth kalā-s is repeated in the ninth kalā.
The author has given specific instructions regarding the distribu-
tion of the syllables of the song among the kalā-s in this particular case
only, in view of the repeated portions.
10. षड्जमध्यमा जाति:
अंशा: सप्त स्वरा: षड्जमध्यमायां मिथश्च ते ॥८५॥
संगच्छन्ते निरल्पो ऽंशाद्गादृते वादितां विना ।
निलोपनिगलोपाभ्यां षाडवौडुविते मते ॥८६॥
षाडवौडुवयो: स्यातां द्विश्रुती तु विरोधिनी ।
गीतित्तालकलाऽऽदीनि षाड्जीवन्मूर्च्छना पुनः ॥८७॥
मध्यमादिरिह ज्ञेया पूर्वावद्विनियोजनम् ।
अस्यां षड्जमध्यमायां षड्जमध्यमौ न्यासौ । सप्त स्वरा
अपन्यासाः । अस्या: प्रस्तार:--
१०. षड्जमध्यमा
१. मा गा सग पा धप मा निध निम
र ज नि व धू मु ख
२. मां मां सां रिंगं मंगं निध पध पा
वि ला स लो च

332 Treatment of Svara
३. मा गा री गा मा मा सा सा
नं
४. मा मगम मा मा निघ पध पम गमम
प्र वि क सि त कु मु द
५. धा पध परि रिग मग रिग सधस सा
द ल फे न सं नि
६. निध सा री मगम मा मा मा मा
भं
७. मां मां मंगमं मंघं धंपं पंघं पंमं गंमंगं
का मि ज न न य न
८. धा पध परि रिग मग रिग सधस ता
हृ द या भि नं वि
९. मा मा धनि धस धप मप पा पा
नं
१०. मां मंगमं मां निघं पंघं पंमंगं गां मां
प्र ण मा मि दे वं
११. धा पध परि रिग मग रिग सधस सा
कु मु दा धि वा सि
१२. निध सा री मगम मा मा मा मा
नं
[तत्र साकल्येन पदयोजना]
[रजनिवधूमुखविलासलोचनं
प्रविकसितकुमुददलफेनसंनिभम् ।
कामिजननयनहृदयाभिनन्दिनं
प्रणमामि देवं कुमुदाधिवासिनम् ॥]
Section 7 : Jāti-s (Melodic types)
(x) Ṣaḍja-madhyamā : (85c-88b)
In ṣaḍja-madhyamā, (all) the seven notes are the funda-
mental notes which move in concert with each other, niṣāda
is rare¹ except when gāndhāra is the fundamental note² or
when it (niṣāda) is the sonant³; the hexatone and the penta-
tone are accepted to be (caused) by the respective elimina-
tion of niṣāda, and niṣāda and gāndhāra; both these (ni and ga)
are adverse⁴ to the hexatonic and pentatonic formations;
gīti, tāla, kalā, etc. are like those of ṣaḍjī; its mūrcchanā is
known to commence with madhyama, while its proper appli-
cation is like that of the previous one.⁵ (85c-88b)
In this ṣaḍja-madhyamā, ṣaḍja and madhyama are the final
notes, and (all) the seven notes are semifinal notes. Its
prastāra⁶:

1. ma ga sa-ga pa dha-pa ma ni-dha ni-ma
   Ra ja ni va dhū mu kha
2. mā mā sā ri-ga ma-ga ni-dha pa-dha pa
   vi la sa lo ca
3. Niṣāda is rare in the state of completeness.
4. Even in the state of completeness, if gāndhāra is the funda-
   mental note, then the rarity of niṣāda which is its consonant is
   not desirable.
5. When, however, niṣāda is the vādī (sonant) it cannot at all
   be rare.
6. The two bi-śrutic notes (dviśruti of the text), gāndhāra and
   niṣāda are not conducive to hexatonic and pentatonic forma-
   tions when they are the fundamental notes, as observed by 'K'
   because of the very fact that they are formed by the elimina-
   tion of the niṣāda and gāndhāra, and also because the same
   note cannot be the fundamental note as well as the note to be
   eliminated. Thus, the purport is that while ga and ni are the
   fundamental notes, there are no hexatonic and pentatonic
   forms. However according to the interpretation of 'S', in the
   case of hexatonic and pentatonic forms taking place, ni and ga
   are dissonant (vivādī).
7. That is, ṣaḍjodīcyavā.
8. The purport of the song is as under :
   Obeisance to Lord, the presiding spirit of the white water-
   lily (i. e. the moon) which is, as it were, the graceful eye of
   the bridal face of the night, (shining) like the froth (collected)
   upon the petals of the white water-lily in full bloom and
   which is pleasing to the heart and the looks of the lovers.

[Left Page]

334 Treatment of Svara'
3. mā gā ri gā mā mā sā sā
nam
4. mā ma-ga-ma mā mā ni-dha pa-dha pa-ma ga-ma-ma
pra vi ka si ta ku mu da
5. dhā pa-dha pa-ri ri-ga ma-ga ri-ga sa-dha-sa sā
da la phe na saṁ ni
6. ni-dha sā ri ma-ga-ma mā mā mā mā
bham
7. mā mā ma-ga-ma ma-dha dha-pa pa-dha pa-ma ga-ma-ga
Ka mi ja na na ya na
8. dhā pa-dha pa-ri ri-ga ma-ga ri-ga sa-dha-sa sā
hṛ da ya bhi nan di
9. mā mā dha-ni dha-sa dha-pa ma-ma pā pā
nam
10. mā ma-ga-ma mā ni-dha pa-dha pa-ma-ga gā mā
pra ṇa ma mi de vam
11. dha pa-dha pa-ri ri-ga ma-ga ri-ga sa-dha-sa sa
ku mu da dhi va si
12. ni-dha sa ri ma-ga-ma ma ma ma ma
nam
11. गान्धारोदीच्यवा जातिः
गान्धारोदीच्यवायां तु द्वावंशौ षड्जमध्यमौ ॥८८॥
रिलोपात्षाडवं ज्ञेयं पूर्णत्वे ऽशेतराल्पता ।
अल्पा निघपगान्धाराः षाडवत्वे प्रकीर्तिताः ॥८९॥
रिधयोः संगतिर्ज्ञेया धैवतादिश्च मूर्च्छना ।
तालश्चञ्चत्पुटो ज्ञेयः कलाः षोडश कीर्तिताः ॥९०॥
विनियोगो ध्रुवागाने चतुर्थप्रेक्षणे मतः ।
अस्यां गान्धारोदीच्यवायां मध्यमो न्यासः । षड्जधैवताव-
पन्यासौ । अस्याः प्रस्तारः—

[Right Page]

Section 1 : Jātis
११. गान्धारोदीच्यवा
१. सा सा पा मा पा धप पा मा
स्तो
२. धा पा मा मा सा सा सा सा
म्य
३. धा नी सा सा मा मा पा पा
गो री मु खां बु
४. नी नी नी नी नी नी नी नी
रु ह वि व्य ति ल क
५. मा मा धा निस नी नी नी नी
ग रि चुं बि ता चि
६. मा पा मा परिग गा गा सा सा
त सु पा दं
७. गा मग पा पध मा धनि पा पा
प्र वि क सि त हे म
८. री गा सा सध नो नी धा धा
क म ल नि भं
९. गा रिग सा सनि गा रिग सा सा
अ ति रु चि र कां ति
१०. सा सा सा मा मनि धनि नी नी
न ख द र्प णा म
११. मां पां मां परिगं गां गां सां सां
ल नि के तं
१२. गां सां गो सां मां पां मां परिगं
म न सि ज श री र

336 Treatment of Svara
१३. गां मां गां सां रां गां गां सां
ता ड नं
१४. नीं नीं पां धां नीं गां गां गां
प्र ण मा मि गौ री
१५. नीं नीं धां पां धां पां मां पां
च र ण यु ग म नु प
१६. धां पां सां सां मां मां मां मां
मं
[ तत्र साकल्येन पदयोजना ]
[ सौम्यगौरीमुखाम्बुरुहदिव्यतिलकपरिचुम्बिताचितसुपादं
प्रविकसितहेमकमलनिभम् ।
अतिरुचिरकान्तिनखदर्पणामलनिकेतं
मनसिजशरीरताडनं प्रणमामि गौरीचरणयुगमनुपमम् ॥]
(xi) Gāndhārodīcyavā : (88c-91b)
In gāndhārodīcyavā, however, there are only two funda-
mental notes, viz. ṣaḍja and madhyama; the hexatone is
(caused) by the elimination of ṛṣabha and in the state of
completeness the notes other than¹ the fundamental notes
are rare, while in the case of hexatone niṣāda, dhaivata,
pañcama and gāndhāra are said to be rare;² ṛṣabha and dhaivata
may be comprehended to be in concert,³ (and its) mūrcchanā
commences with dhaivata; the tāla is known to be caccatpuṭa
and the kalā-s are said to be sixteen; its proper application
is accepted to be in the dhruvā song of the fourth act.
(88c-91b)

1. Aṁśetara, i. e. other than the fundamental notes, viz. other
   than sa and ma, i. e., ri, ga, pa, dha, ni—these are said to be
   rare in the state of completeness.
2. In the hexatonic forms only ni, dha, pa and ga are said to be
   rare, because ri is eliminated. No pentatonic forms are
   possible here as ordained by Bharata. (cf. N. S. Bom.
   Ed. p. 450).
3. This applies to the state of completeness only, for ri is elimi-
   nated in the hexatonic forms.
   Section 7 : Jāti-s (Melodic types) 337
   In this gāndhārodīcyavā the final note is madhyama, and
   ṣaḍja and dhaivata are the semifinal notes.
   Its prastāra⁴ :
4. sā sā pā mā pā dha·pa pā mā
   sau
5. dhā pā mā mā sā sā sā sā
   mya
6. dha ni sā sā mā mā pa pā
   gau ri mu kham bu
7. ni ni ni ni ni ni ni ni
   ru ha di vya ti la ka
8. mā mā dha ni·sa ni ni ni ni
   pa ri cum bi ta rci
9. mā pā mā pa·ri·ga gā gā sā sā
   ta su pa dam
10. gā ma·ga pā pa·dha mā dha·ni pā pā
    pra vi ka si ta he ma
11. rī ga sā sa·dha nī nī dhā dhā
    ka ma la ni bham
12. gā ri·ga sā sa·ni gā ri·ga sā sā
    A ti ru ci ra kan ti
13. sā sā sā mā ma·ni dha·ni ni ni
    na kha da rpa ṇa ma
14. mā pā mā pa·ri⁵·ga gā gā sā sā
    la ni ke tam
15. gā sā gā sā mā pā mā pa·ri·ga
    ma na si ja śa rī ra

4. The purport of the song is as under :
   Obeisance to the auspicious feet (of Śiva) that are
   worshipped as they are kissed by the divine tilaka mark on the
   gentle lotus face of Gaurī and that (caused) the destruction
   of the mind-born (cupid); and also to the two matchless feet
   of Gaurī that are (resplendent) like the golden lotus in full
   bloom, that are the abode of pristine purity of the mirror-
   nails that reflect fascinating lustre.
5. Ad. ed. of S. R. reads pa-ri-ga, but ri has been marked tāra
   (high) on the basis of 'K' and K. R. for it seems their inter-
   pretation is technically sound.
   22

An accurate, line-by-line transcription of the provided page:

338 Treatment of Svara
13. gā mā gā sā gā gā gā sā
ta ḍa nam
14. nī nī pā dhā nī gā gā gā
pra ṇa mā mi gau rī
15. nī nī dhā pā dhā pā mā pā
ca ra ṇa yu ga ma nu pa
16. dhā pā sā sā mā mā mā mā
mam
12. रक्तगान्धारी जातिः
अंशाः स्यु रक्तगान्धार्यां पञ्च धर्षभवर्जिताः ॥९१॥
रिमतिक्रम्य सगयोः कार्ये संनिधिमेलने ।
रिलोपरिधलोपाभ्यां षाडवौडुवमिष्यते ॥९२॥
बहुत्वं निधयोरंशः पञ्चमो द्वेष्टि षाडवम् ।
द्वित्वन्त्यौडुवितं षड्जनिमपाः संगतो सगौ ॥९३॥
पञ्चपाण्यादि षाड्जीवदृषभादिस्तु मूर्च्छना ।
तृतीयप्रेक्षणगतध्रुवायां विनियोजनम् ॥९४॥
अस्यां रक्तगान्धार्यां गान्धारो न्यासः । मध्यमोऽपन्यासः । अस्याः
प्रस्तारः---
१२. रक्तगान्धारी
१. पा नी सा सा गा सा पा नी
तं बा ल र ज नि
२. सां सां पा पा मा भा गा गा
क र ति ल क भू ष
३. मा पा धा पा मा पा धप मग
ण वि भू
४. मा मा मा मा मा मा मा मा
ति
५. धां नीं पां मंपं धां नीं पां पां
॰
६. मां पां मां धंनि पां पां पां पां
॰
७. री गा मा पा पा पा मा पा
प्र ण मा मि गौ री
८. री गां मां पां पां पां मां पां
व द ना र वि
९. पा पा पा पा शा पा पा पा
न्द
१०. री गा सा सा री गा गा गा
प्री ति क रं
११. गां गा पां धंमं धां निधं पां पां
॰
१२. मां पां मां परिंगं गां गं गां गां
॰
[ तत्र साकल्येन पदयोजना ]
[तं बालरजनिकरतिलकभूषणविभूतिम् ।
प्रणमामि गौरिवदनारविन्दप्रीतिकरम् ॥]
(xii) Rakta-gāndhārī : (91c-94)
In rakta-gāndhārī, the fundamental notes are five, i. e.
(the notes) other than dhaivata and ṛṣabha¹; ṣaḍja and gāndhāra
should be brought into close contact (sannidhi) and in coordi-
nation (melana) with the other notes excepting ṛṣabha²; the

1. That is, sa, ga, ma, pa and ni.
2. Here the author is talking of two different relationships of
   ṣaḍja and gāndhāra, viz. sannidhi and melana. ‘K’ defines the
   former as the continuity of the two notes of different laghu-kāla
   (i. e. duration of time in terms of laghu-s) and the latter as the
   continuity of two or three notes of identical laghu-kāla. The
   purport is that these relations should be effected.

340 Treatment of Svara
hexatone and the pentatone are formed by the respective
elimination of ṛṣabha, and ṛṣabha and dhaivata; niṣāda and
dhaivata are profuse³ and pañcama as the fundamental note
does not admit the hexatone⁴, while ṣaḍja, niṣāda, madhyama
and pañcama (as fundamental notes) are not conducive to
pentatonic formation⁵; ṣaḍja and gāndhāra are in concert with
each other⁶; the pañcapāṇi etc. are like those of ṣāḍjī and the
mūrcchanā commences with ṛṣabha; its proper application is in
the dhruvā (song) of the third act. (91c-94)
In this rakta-gāndhārī, gāndhāra is the final note and
madhyama is the semifinal note. Its prastāra⁷ :

1. pā nī sā sā gā sā pā nī
   Tam ba la ra ja nī
2. sā sā pā pā mā mā gā gā
   ka ra ti la ka bhū ṣa
3. Niṣāda and dhaivata are profuse. 'K' comments on this state-
   ment as follows. Niṣāda is a fundamental note and, as such,
   is naturally profuse, and yet if any specific mention is made
   about it, obviously it has been done to indicate that it is very
   profuse, i. e. more than can otherwise be expected in case of a
   fundamental note. Again dhaivata is the maker of the penta-
   tonic form, and as such its profusion is out of question in the
   pentatonic forms, while in the hexatonic and complete forms
   as well it must ordinarily be weak. So its profusion is ordained
   as an exception by Bharata: "Dhaivata and niṣāda will be
   strong" (as quoted by 'K' and N. S. Bom. Ed., pp. 449, 450).
   However, in the critical edition of G. O. S. the following
   reading is found which seems to be quite appropriate.
   "Dhaivata is strong here, though it becomes weak when
   eliminated (N. S. XXVIII 116, p. 58).
4. This is a jāti of madhyama-grāma in which pañcama and ṛṣabha
   are consonant. If pañcama be the fundamental note, ṛṣabha
   cannot be eliminated, and the hexatone is formed by the
   elimination of ri, consequently it is not formed.
5. Similarly, sa, ni, ma and pa as fundamental notes do not
   tolerate the elimination of ri and dha for forming pentatone
   forms, which are therefore possible only with gāndhāra as the
   fundamental note.
6. The sannidhi and melana of sa and ga with other notes have
   already been spoken of; their saṅgati spoken of here, as
   observed by 'K' is between them 'a mutual relation'. It seems
   that in Kallinatha's view sannidhi and melana are forms of
   saṅgati.
7. The purport of the song reads as under:
   Obeisance to that (Śiva) who is decorated by the ornament
   of the new moon for his tilaka mark and who is delighting to
   the lotus face of Gaurī.
   Section 7 : Jātis (Melodic types) 341
8. mā pā dha pā mā pā dha-pa ma-ga
   ṇa vi bhū
9. mā mā mā mā mā mā mā mā
   tim
10. dhā nī pā mā-pa dhā nī pā pā
    0
11. mā pā mā dhā-ni pā pā pā pā
    0
12. rī gā mā pā pā pā mā pā
    Pra ṇa mā mi gau rī
13. rī gā mā pā pā pā mā pā
    va da na ra vin
14. pā pā pā pa pā pā pā pa
    da
15. rī gā sā sā rī gā gā ga
    pri ti ka ram
16. gā gā pā dha-ma dhā ni-dha pā pa⁸
    0
17. mā pā mā pa-ri-ga gā gā ga ga
    0
18. कैशिकी जातिः
    कैशिक्यामृषभान्ये ऽंशा निधावंशौ यदा तदा ।
    न्यासः पञ्चम एव स्यादन्यदा द्विश्रुतौ मतौ ॥९५॥
    अन्ये तु निगपन्यासान्निधयोरंशयोर्विदुः ।
    रिलोपरिधलोपेन षाडवौडुवितं मतम् ॥९६॥
    रिरल्पो निपबाहुल्यमंशानां संगतिर्मिथः ।
    षाडवोडुविते दृष्टः क्रमात्पञ्चमधैवतौ ॥९७॥
    षाड्जीवत्पञ्चपाण्यादि गान्धारादिस्तु मूर्च्छना ।
    पञ्चमप्रेक्षणगतध्रुवायां विनियोजनम् ॥९८॥
19. Ad. ed. of S. R. reads pa pa which has been modified as pa pa
    with tāra sign on the basis of 'K' and K. R. since that is
    technically sound.

Page 342

342 Treatment of Svara
अस्यां कैशिक्यां गान्धारपञ्चमनिषादा न्यासाः । रिवर्ज्याः षट्
सप्त वा स्वरा अपन्यासाः । अस्याः प्रस्तारः—
१३. कैशिकी
१. पा धनि पा धनि गा गा गा गा
के ली ह त
२. पा पा मा निध निध पा पा पा
का म त नु
३. धा नी सां सा री री री री
वि भ्र म वि ला सं
४. सा सा सा री गा मा मा मा
ति ल क यु तं
५. मां धां नीं धां मां धां मां पां
मू र्धो र्ध्व बा ल
६. गा री सा धनि री री री री
सो म नि भं
७. गा री सा सा धा धा मा मा
मु ख क म लं
८. गा गा गा मा मा निधनि नी नी
अ स म हा ट
९. गा गा नी नी गा गा गा गा
क स रो जं
१०. गां गां नीं नीं नींधं पां पां पां
हृ दि सु ख दं
११. मां पां मां पां पां पां मां मां
प्र ण मा मि लो च

Page 343

Section 1 : Jati-s (Melodic types) 343
१२. सां मां गां निधंनिं नो' नो' मां गां
न वि शे षं
[ तत्र साकल्येन पदयोजना ]
[केलीहतकामतनुविभ्रमविलासं तिलकयुतं मूर्द्धोर्ध्वबालसोमनिभम् ।
मुखकमलमसमहाटकसरोजं हृदि सुखदं प्रणमामि लोचनविशेषम् ॥]
(xiii) Kaiśikī : (95-98)
In kaiśikī, excepting rṣabha¹, all are fundamental notes;
when however, niṣāda and dhaivata are the fundamental notes,
then only pañcama² is the final note, otherwise³ niṣāda and
gāndhāra are accepted (as the final notes). Others, however,
think that in case niṣāda and dhaivata are the fundamental
notes niṣāda, gāndhāra and pañcama can be the final notes.⁴
The hexatonic and the pentatonic formations are accepted
to be (caused) by the respective elimination of rṣabha, and
rṣabha and dhaivata. Ṛṣabha is rare⁵, niṣāda and pañcama are
profuse⁶ and the fundamental notes are in concert with each
other. Pañcama and dhaivata are repugnant⁷ respectively to
the hexatonic and the pentatonic formations. Pañcapāṇi etc.

1. That is, sa, ga, ma, pa, dha and ni.
2. This is ordained by Bharata who says: "Gāndhāra and niṣāda
   are the final notes. When dhaivata is the fundamental note
   as also niṣāda, the final note is desired to be pañcama" (as quot-
   ed by 'K' and also Bom. Ed., pp. 452, 453).
3. That is when sa, ga, ma and pa are the fundamental notes.
4. Such as Mataṅga who says : "When dhaivata and niṣāda are
   fundamental notes, pañcama is also a final note." Thus in
   this view also the special position of pañcama in relation to
   dha and ni as the fundamental notes, is retained in addition to
   ni and ga as the final notes.
5. That is, in the state of completeness.
6. Obviously they are very profuse since they are also included
   in the fundamental notes.
7. That is, pañcama is repugnant to the formation of the hexatone
   and dhaivata to that of the pentatone, 'K' explains that it is
   so because ri and pa are in consonance in the madhyama-
   grāma. So ri cannot be eliminated while pa is the funda-
   mental note and dha cannot be eliminated while dha is the
   fundamental note.

Page 344

344 Treatment of Svara
are like those of ṣaḍjī, the mūrcchanā commences with gāndhāra
and the proper application is in the dhruvā (song) of the fifth
act. (95-98)
In this kaiśikī, gāndhāra, pañcama and niṣāda are the final
notes and six notes leaving aside ṛṣabha, or even all the seven$^8$
notes, are the semifinal notes.
Its prastāra$^9$ :

1. pā dha-ni pā dha-ni gā gā gā gā
   Ke li ha ta
2. pā pā mā ni-dha ni-dha pā pā pā
   ka ma ta nu
3. dhā nī sā sā rī rī rī rī
   vi bhra ma vi la sam
4. sā sā sā rī gā mā mā mā
   ti la ka yu tam
5. mā dhā nī dhā mā dhā mā pā
   mū rdho rdhva ba la
6. gā rī sā dha-ni rī rī rī rī
   so ma ni bham
7. gā rī sā sā dhā dhā mā mā
   Mu kha ka ma lam
8. gā gā gā mā mā ni-dha-ni nī nī
   a sa ma ha ta
9. gā gā nī nī gā gā gā gā
   ka sa ro jam

8. The alternative for the seven semifinal notes has been provided
   by the author in view of Bharata's statement that, "sometimes
   even ṛṣabha becomes the semifinal note" (as quoted by 'K'
   and also see N. S., G., O. S. XXVIII 138, p. 63). 'K' presents
   another view as well according to which the expression 'some-
   times' refers to the state of completeness.
9. The purport of the song is as under :
   Obeisance to the lotus face with the tilaka mark on the
   forehead resplendent with the new moon on the head, graced
   by the amorous perturbance that playfully destroyed the
   physical frame of cupid, having a special eye beautiful as the
   unparalleled golden lotus and bestowing comfort to the
   heart.

Page 345

Section 7 : Jāti-s (Melodic types) 345
10. gā gā nī$^{10}$ nī ni-dha pā pā pā
hṛ di su kha dam
11. mā pā mā pā pā pā mā mā
pra va ma mi lo ca
12. sā mā gā ni-dha-ni nī nī$^{11}$ mā gā
na vi śe ṣam

14. मध्यमोदीच्यवा जातिः

पञ्चमांशा सदा पूर्णा मध्यमोदीच्यवा मता।
लक्ष्म शेषं विजानीयाद् गान्धारोदीच्यवागतम् ॥९९॥
मूर्च्छना मध्यमादिः स्यात्तालश्चच्चत्पुटो मतः।
चतुर्थस्य प्रेक्षणस्य ध्रुवायां विनियोजनम् ॥१००॥
अस्यां मध्यमोदीच्यवायां मध्यमो न्यासः। अस्याः प्रस्तारः-
१४. मध्यमोदीच्यवा
१. पा धनि नी नी मा पा नी पा
दे हा धं रु प
२. री री री गा सा रिग गा गा
म ति कां ति म म ल
३. नी नी नी नी नी नी नी नी
म म लँ दु कं द
४. नी नी धप मा निध निध पा पा
कु मु द नि भं
५. पा पा री री री री री री
चा मी क रां बु
६. मा रिग सा सधं नीं नीं नीं नीं
रु ह दि व्य कां ति

10 & 11. S. R. reads nī but it has been modified to read as nī̇ with the
tārasign on the basis of 'K' and K. R. as it is technically sound.

Left Page: Page 346

| 346 Treatment of Svara
७. मा पा नी सा पा पा गा गा
प्र व र ग ण पू जि
८. गा पां मां निधं नीं नीं सा सा
त म जे यं
९. पां पां मां धंनि पां पां पां पां
सु रा भि ष्टु त म नि ल
१०. मां पां मां रिग गा गा गा गा
म नो ज व मं बु
११. गा पा मा पा नी नी नी नी
दो द धि नि ना द
१२. मा पा मा परिग गा गा गा गा
म ति हा सं
१३. गां गां गां गां मां निधं नी' नी'
शि वं शां त म सु र
१४. नी नी धप मा निध निध पा पा
च मू म थ नं
१५. री' गां सां सां मां निधंनिं नी' नी'
वं दे त्रै लो क्य
१६. नी' नी' धा पा धा पा मा मा
न त च र णं
[ तत्र साकल्येन पदयोजना ]
[ देहार्धरूपमतिकान्तिममलममलेन्दुकुन्दकुमुदनिभं
चामीकराम्बुरुहदिव्यकान्तिप्रवरगणपूजितमजेयम् ।
सुराभिष्टुतम निलमनोजवमम्बुदोदधिनिनादमतिहासं
शिवं शान्तमसुरचमूमथनं वन्दे त्रैलोक्यनतचरणम् ॥]

Right Page: Page 347

Section 7 : Jāti-s (Melodic types) 347
(xiv) Madhyamodīcyavā : (99-100)
Madhyamodīcyavā is considered always to be complete¹
with pañcama for its fundamental note. Its other features
may be understood to be like those of gāndhārodīcyavā.² Its
mūrcchanā commences with madhyama, tāla is accepted to be
caccatpuṭa and its proper application is in the dhruvā of the
fourth act. (99-100)
The final note, in this madhyamodīcyavā is madhyama.
Its prastāra³ :

1. pā dha-ni nī nī mā pā nī pā
   De ha rdha tū pa
2. rī rī rī ga sā ri-ga ga gā
   ma ti kān ti ma ma la
3. nī nī nī nī nī nī nī nī
   ma ma len du kun da
4. nī nī dha-pa mā ni-dha ni-dha pā pā
   ku mu da ni bham
5. pā pā ri rī rī ri ri rī
   cā mī ka raṃ bu
6. mā ri-ga gā sa-dha nī nī nī nī
   ru ha di vya kān ti
7. mā pā nī sā pā pā gā gā
   pra va ra ga ṇa pū ji
8. That is, no hexatonic or pentatonic forms are possible in it.
9. Other features imply the rareness and the profusion, the
   sixteen kalā-s and so on—these may be understood to be the
   same as in gāndhārodīcyavā.
10. The purport of the song is as under :
    Obeisance to Śiva in His Ardhanārīśvara form which is
    extremely bright, pure and resembles (in its whiteness) the
    clear moon, white jasmine and the white water lily, who is
    worshipped by the chiefs of his troops, extremely resplendent
    like the golden lotus, who is invincible, is adored by the gods,
    has the speed of the wind and of the mind and the sound of
    the clouds and of the ocean and has the tumultuous laughter,
    who is peaceful, the vanquisher of the army of demons and
    whose feet are worshipped by all the three worlds.

248 Treatment of Svara
8. gā pā ma ni-dha ni ni sā sā
ta ma je yam
9. pā pā mā dha-ni pā pā pā pā
Su ra bhi ṣṭu ta ma ni la
10. mā pa mā ri-ga gā gā gā gā
ma no ja va mam bu
11. gā pā mā pa ni ni ni ni
do da dhi ni nā da
12. mā pā mā pa-ri-ga gā gā gā gā
ma ti ha sam
13. gā ga gā gā mā ni-dha ni ni
Śi vam śan ta ma su ra
14. nī nī dha-pa ma ni-dha ni-dha pā pā
ca mū ma tha nam
15. rī gā sā sa mā ni-dha-ni nī ni
van de trai lo kya
16. nī nī dha pā dha pā mā mā⁴
na ta ca ra ṇam
15. कार्मारवी जातिः
कार्मारव्यां भवन्त्यंशा निषादरिपधैवताः ।
बह्वोऽन्तरमार्गत्वादनंशाः परिकीर्तिताः ॥१०१॥
गान्धारोऽत्यन्तबहुलः सर्वांश्चस्वरसंगतिः ।
चञ्चत्पुटः षोडशात्र कलाः, षड्जादिमूर्च्छना ॥१०२॥
पञ्चमस्य प्रेक्षणस्य ध्रुवायां विनियोजनम् ।
अस्यां कार्मारव्यां पञ्चमो न्यासः । अंशा एवापन्यासाः । अस्याः
प्रस्तारः—
4. Ad. ed. reads mā which has been modified to read as mā with the tāra sign on the basis of the interpretation of ‘K’ and the surmise of K. R. which is technically sound.
Section 7 : Jāti-s (Melodic types) 349
१५. कार्मारवी
१. री री री री री री री री
तं स्था णु ल लि त
२. मा गा सा गा सा नी नी नी
वा मां ग स क्त
३. नीं मां नीं मां पां पां गा गा
म ति ते जः प्र स र
४. गा पा मा पा नी नी नी नी
सौ धां शु कां ति
५. री' गां सां नी' री' गां री' मां
फ णि प ति मु खं
६. री गा री सा नी धनि पा पा
उ रो वि पु ल सा ग
७. मां पा मां परिगं गा गा गा गा
र नि के तं
८. री री गा सम मा मा पा पा
सि त पं न गें द्र
९. मा पा मा परिग ग गा गा गा
म ति कां तं
१०. धा नी पा मा धा नी सा सा
ष ण्मु ख वि नो द
११. नी नी नी नी नी नी नी नी
क र प ल्ल वां गु
१२. मां मां धां नीं सनिनि धा पा पा
लि वि ला स की न

Page 350

350 Treatment of Svara
१३. मा पा मा परिग गा गा गा गा
न वि नो दं
१४. नी नी पा धनि गा गा गा गा
प्र ण मा मि दे व
१५. सां रीं गां सां नी' नी' नी' नी'
य ज्ञो प वी त
१५. नी' नी' धां धां पां पां पां पां
कं
[तत्र साकल्येन पदयोजना]
[तं स्थाणुललितवामाङ्गसक्तमतितेजः-प्रसरसौधांशु कान्ति-फणिपति-
मुखमुरोविपुलसागरनिकेतं सितपन्नगेन्द्रमतिकान्तम् ।
षण्मुखविनोदकरपल्लवाङ्गुलिविलासकोलनविनोदं
प्रणमामि देवयज्ञोपवीतकम् ॥ ]
(xv) Kārmāravī : (101-103b)
In kārmāravī, the fundamental notes are niṣāda, ṛṣabha,
pañcama and dhaivata. Due to antaramārga the non-fundamental
notes¹ are said to be profuse, gāndhāra² is very profuse and
all the fundamental notes are in concert with each other.
Caccatpuṭa is the tāla and there are sixteen kalā-s in it. The

1. The non-fundamental notes are sa, ga, and ma, and as such they
   should be weak, but they are said to be profuse because of
   antaramārga (see verses 52-53 for the definition). 'K' raises
   the question, "If the fundamental as well as the other notes
   are characterised by profusion, what would be the distinction
   in-between them ?" and he answers, "the fundamental notes
   are used by way of sthāyī (stable pattern of tonal movement)
   and other notes, even though frequently repeated are employed
   as sañcāri-s (circulatory). Moreover, this is provided in view of
   Bharata's statement, "The non-fundamental notes are always
   strong because of usage" (as quoted by 'K').
2. Because gāndhāra is in concert with all the notes as stated
   by Bharata; "Gāndhāra specifically moves everywhere. (i. e.
   among all the notes)" Cf. N. S., G. O. S. Ed. XXVIII 136,
   p. 62.

Page 351

Section 7 : Jāti-s (Melodic types)
mūrcchanā commences with ṣaḍja and its proper application
is in the dhruvā of the fifth act. (101-103b)
Pañcama is the final note in this kārmāravī and its funda-
mental notes are the semifinal notes.
Its prastāra³ :

1. rī rī rī rī rī rī rī rī
   Taṃ sthā nu la li ta
2. mā gā sā gā sā nī nī nī
   vā māh ga sa kta
3. nī mā nī mā pā pā gā gā
   ma ti te jaḥ pra sa ra
4. gā pā mā pā nī nī nī nī
   sau dhaṃ śu kan ti
5. rī gā sā nī rī gā rī ma
   pha ṇi pa ti mu kham
6. rī gā rī sā nī dha-ni pā pā
   u ro vi pu la sa ga
7. mā pā mā pa-ri-ga gā gā gā gā
   ra ni ke taṃ
8. The purport of the song reads as under :
   Obeisance to that sacred thread of Lord (Śiva) which is
   attached to the graceful left side of His and is extremely
   resplendent, radiating the splendour of its silvery rays, having
   the king of serpents (vāsuki) as its mouth (knot), which has the
   ocean of the vast chest (of Śiva) for its abode, which is
   (made of) the white serpent of extraordinary brilliance and
   which serves for the amusement of Ṣaṇmukha, who, in his
   graceful play, engages his artful fingers in toying with it.
   An alternative interpretation :
   Obeisance to the hood of that king of serpents (Vāsuki),
   the lovely white snake, who, like the sacred thread of the
   Lord, as it were, is attached to the graceful left side of Śiva
   and is extremely resplendent, radiating the splendour of
   its silvery rays, who has the ocean of the vast chest (of Śiva)
   for its abode, and who amuses Ṣaṇmukha engaged in toying
   with it by the sportive movement of the fingers of his graceful
   hands.
9. Comp. S. Raj (Vol. I, p. 235) which reads कोपाग्निकान्ति (i. e.
   the splendour of the fire of anger) instead of सौधांशु कान्ति of the
   Ad. ed. of S. R.