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

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.

Page 352

352 Treatment of Svara
8. rī rī gā sa-ma mā mā pā pā
si ta pan na gen dra
9. mā pā mā pa-ri-ga gā ga gā gā
ma li kan tam
10. dhā nī pā mā dhā nī sā sā
Ṣa nmu kha vi no da
11. nī nī nī nī nī nī nī nī
ka ra pa lla vāṁ gu
12. mā mā dhā nī sa-ni-ni dhā pa pā
li vi la sa ki la
13. mā pā mā pa-ri-ga gā gā gā gā
na vi no dam
14. nī nī pā dha-ni gā ga gā gā
pra ṇa ma mi de va
15. sā rī gā sā nī nī nī nī
ya jño pa vī ta
16. nī nī dha dha pā pā pā pā
kam
16. गान्धारपञ्चमी जातिः
अंशो गान्धारपञ्चम्यां पञ्चमः, संगतिः पुनः ॥१०३॥
कर्तव्या ऽत्रापि गान्धारीपञ्चम्योरिव भूरिभिः ।
चच्चत्पुटः षोडशात्र कला गादिश्च मूर्च्छना ॥१०४॥
तुर्यप्रेक्षणसम्बन्धिध्रुवागाने नियोजनम् ।
अस्यां गान्धारपञ्चम्यां गान्धारो न्यासः । ऋषभपञ्चमावपन्यासौ ।
अस्याः प्रस्तारः—
१६. गान्धारपञ्चमी
१. पा मप मध नी धप मा धा नी
कां
२. सनिनि धा पा पा पा पा पा पा
तं

Page 353

Section 7 : Jāti-s (Melodic types) 353
३. धा नी सा सा मा मा पा पा
वा में क दे श
४. नी नी नी नी नी नी नी नी
प्रँ खो ल मा न
५. नी नी धप मा निध निध पा पा
क म ल नि भं
६. पा पा री री री री री री
व र सु र भि कु सु म
७. मा रिग सा सध नी नी नी नी
गं धा धि वा सि
८. नी नी सां रिसं रीं री' री' री'
त म नो ज्ञ
९. नी गा सा निग सा नीं नीं नीं
न ग रा ज सू नु
१०. नीं मां नीं मां पां पां गा गा
र ति रा ग र भ स
११. गा पां मां पां नीं नीं नीं नीं
के ली कु च ग्र
१२. मा पा मा परिग गा गा गा गा
ह ली लं तं
१३. नीं नीं पां धां नीं गा गा गा
प्र ण मा मि दे वं
१४. नीं नीं नीं नीं नीं नीं नीं नीं
चं द्रा र्ध मं डि
१५. मां मां धां नीं सनिनि धा पा पा
त वि ला सकी ल

354 Treatment of Svara
१६. मा पा मा परिग गा गा गा गा
न वि नो दं
[तत्र साकल्येन पदयोजना]
[कान्तं वामैकदेशप्रेङ्खोलमानकमलनिभं वरसुरभिकुसुमगन्धाधि-
वासितमनोज्ञनगराजसूनुरतिरागरभसकेलीकुचग्रहलीलम् ।
तं प्रणमामि देवं चन्द्राधंमण्डितविलासकीलनविनोदम् ॥]
(xvi) Gāndhāra-pañcamī :
In gāndhāra-pañcamī, the fundamental note is pañcama
and like gāndhārī and pañcamī, here too, many notes have to
be brought in concert with each other¹; (the tāla is) caccatpuṭa,
there are sixteen kalā-s, its mūrcchanā commences with gāndhāra
and its proper application is in the dhruvā song related to the
fourth act. (103c-105c)
In this gāndhāra-pañcamī the final note is gāndhāra, and
ṛṣabha and pañcama are the semifinal notes.
Its prastāra² :

1. pā ma-pa ma-dha nī dha-pa mā dhā nī
   Kāṁ
2. sa-ni-ni dhā pā pā pā pā pā pā
   tam
3. dhā nī sā sā mā mā pā pā
   vā mai ka de śa
4. In gāndhārī, the fundamental and the final notes are in concert
   with the rest of the notes, so here too likewise, gāndhāra and
   pañcama are deduced to be in concert with the rest, viz. sa, ri,
   ma, dha and ni. In pañcamī ri and ma are in concert, so may
   it be understood here as well.
5. The purport of the song is as under :
   Obeisance to that beloved Lord who is like the swinging
   lotus in leaning towards his left side alone (Pārvatī being
   seated to his left), who is sportively making love by briskly
   and playfully holding the breasts of the beautiful daughter of
   the mountain (Pārvatī) scented by the perfume of the most
   fragrant flowers and who takes delight in sporting the half
   moon for his embellishment.
   Section 7 : Jāti-s (Melodic types) 355
6. nī nī nī nī nī nī nī nī
   preṅ kho la ma na
7. nī nī dha-pa mā ni-dha ni-dha pā pā
   ka ma la ni bham
8. pā pā rī rī rī rī rī rī
   va ra su ra bhi ku su ma
9. mā ri-ga sā sa-dha nī nī nī nī
   gan dha dhi vā si
10. nī nī sa ri-sa rī rī rī rī
    ta ma no jña
11. nī gā sā ni-ga sa nī nī nī³
    na ga ra ja sū nu
12. nī mā nī mā pā pā gā gā
    ra ti ra ga ra bha sa
13. gā pā mā pā nī nī nī nī
    ke li ku ca gra
14. mā pā mā pa-ri-ga gā gā gā gā
    ha li laṁ tam
15. nī nī pā dhā nī gā gā gā
    pra ṇa mā mi de vaṁ
16. nī nī nī nī nī nī nī nī
    can drā rdha maṇ ḍi
17. mā mā dhā nī sa-ni-ni dhā pā pā
    ta vi lā sa-kī la
18. mā pā mā pa-ri-ga gā gā gā gā
    na vi no daṁ
19. आन्ध्री जातिः
    आन्ध्र्यामंत्रा निरिगपा रिगयोनिधयोस्तथा ॥१०५॥
    संगतिर्न्यासपर्यन्तमंशानुक्रमतो व्रजेत् ।
    षाडवं षड्जलोपेन मध्यमादिस्तु मूर्च्छना ॥१०६॥
    पूर्वावत्तु कलातालविनियोगाः प्रकीर्तिताः ।
20. Ad. ed. of S. R. reads ni which has been modified to read as
    nī with a dot above in conformity with 'K' and K. R.

356 Treatment of Svara
अस्यामान्ध्र्यां गान्धारो न्यासः । अंशा एवापन्यासाः । अस्याः
प्रस्तारः—
१७. आन्ध्री
१. गा री री री री री री री
त रु णे न्दु कु सु म
२. री गा री गा री री री री
ख चि त ज टं
३. री री गा गा री री मा मा
त्रि दि व न दी स लि ल
४. री गा सा धनि नीं नीं नीं नीं
धौ त मु खं
५. नीं री नीं रीं धंनि धंनि पां पां
न ग सू नु प्र ण यं
६. मां पां मां रिग गा गा गा गा
वे द नि धि
७. री री गा सस मा मा पा पा
प रि णा हि तु हि न
८. मां पां मा रिग गा गा गा गा
शे ल गृ हं
९. धां नीं गा गा गा गा गा गा
अ मृ त भ वं
१०. पा पा मा रिग गा गा गा गा
गु ण र हि तं
११. नी नी नी नी री री री री
त म व नि र वि श शि
१२. री री गा नी सा सा नी नी
ज्व ल न ज ल प व न
Section 7 : Jāti-s (Melodic types) 357
१३. पां पां मां रिंगं गां गां गां गां
ग ग न त नुं
१४. री री गं संमं मां मां पां पां
श र णं व्र जा मि
१५. मां मां नीं नीं सां री गां पां
शु भ म ति कृ त नि ल
१६. रिंगं गां गां गां गां गां गां गां
यं
[तत्र साकल्येन पदयोजना]
[तरुणेन्दुकुसुमखचितजटं त्रिदिवनदीसलिलधौतमुखं
नगसूनुप्रणयं वेदनिधिं परिणाहितुहिनशैलहम् ।
अमृतभवं गुणरहितं तमवनिरविशशिज्वलनजलपवनगगनतनुं
शरणं व्रजामि शुभमतिकृतनिलयम् ॥]
(xvii) Āndhrī : (105c-107b)
In āndhrī, the fundamental notes are niṣāda, ṛṣabha,
gāndhāra and pañcama; ṛṣabha and gāndhāra as well as niṣāda
and dhaivata are mutually in concert with each other.¹ From
the respective fundamental notes one may proceed up to the
final note.² The hexatone is (caused) by the elimination of
ṣaḍja, the mūrcchanā commences with madhyama and the kalā-s,

1. 'K' interprets this to be a relation of sannidhi and melana spo-
   ken of in raktagāndhārī (verse 91 ante).
2. 'K' interprets aṁśānukramataḥ of the text to the following
   purport : Of the four fundamental notes, viz. ni, ri, ga and pa
   one may sing that one which is employed as such and then
   proceed to sing the non-fundamental or co-fundamental notes
   in order to come to a close with the final note. This provision
   is based on Bharata's statement : "Gāndhāra and ṛṣabha are
   related to each other in their movement and niṣāda and dhai-
   vata as well are directed towards the final note" (as quoted by
   'K', and also see Bom. Ed., p. 451 with a slight variation of
   the text).

358 Treatment of Svara
the tāla³, and its proper application are said to be like those
of the previous one.⁴ (105c-107b)
In this āndhrī, the final note is gāndhāra and the very
fundamental notes are the semifinal notes.
Its prastāra⁵ :

1. gā rī rī rī rī rī rī rī
   Ta ru ṇen du ku su ma
2. rī ga rī gā rī rī rī rī
   kha ci ta ja ṭam
3. rī rī gā gā rī rī mā mā
   tri di va na dī sa li la
4. rī gā sa dha-ni ni ni ni ni
   dhau ta mu kham
5. ni rī ni rī dha-ni dha-ni pā pā⁶
   na ga su nu pra ṇa yam
6. mā pā mā ri-ga gā gā gā gā
   ve da ni dhim
7. rī rī gā sa-sa mā mā pā pā
   pa ri nā hi tu hi na
8. mā pā mā ri-ga gā gā gā gā
   śai la gṛ ham
9. dhā nī gā gā gā gā gā gā
   A mṛ ta bha vam

3. Kalākāla is the reading of text in Ad. ed. ‘K’ does not comment
   on this portion, but ‘S’ seems to read kalātāla (i.e. kalā and
   tāla). Obviously his reading is technically better.
4. That is, Gandhāra-pañcamī.
5. The purport of the song is as under :
   I take shelter in that (Śiva) who has the earth, sun, moon
   fire, water, air and the sky for his body, who has placed the
   flower of the new moon in the locks of his hair, whose face is
   washed with the waters of the Ganges, who is the beloved of
   the daughter of the mountain (Pārvatī), who is the treasure
   house of the veda-s, who has the vast snow-capped peak for his
   abode, who is the source of nectar, who is devoid of all quali-
   ties (guṇa-s) and in whom all wisdom abides.
6. Ad. ed. of S. R. reads pa pa which has been modified to read
   as pā pā with a dot above, in conformity with ‘K’ and K. R.
   Section 7 : Jāti-s (Melodic types) 359
7. pā pā mā ri ga gā gā gā gā
   gu ṇa ra hi tam
8. ni nī ni nī rī rī rī rī
   la ma va ni ra vi śa śi
9. rī rī gā ni sa sa ni ni
   jva la na ja la pa va na
10. pā pā mā ri-ga gā gā gā gā
    ga ga na ta num
11. rī rī gā sa-mā mā mā pā pā
    śa ra ṇam va jā mi
12. mā mā ni ni sā rī gā pā
    śu bha ma ti kṛ ta ni la
13. ri-ga gā gā gā gā gā gā gā
    yam
14. नन्दयन्ती जातिः
    नन्दयन्त्यां पञ्चमो ऽंशो गान्धारस्तु ग्रहः स्मृतः ॥१०७॥
    कैंश्चित्त् पञ्चमः प्रोक्तो ग्रहो ऽस्यां गीतवेदिभिः ।
    मन्द्रर्षभस्य बाहुल्यं षाडवं षड्जलोपतः ॥१०८॥
    हृष्यका मूर्च्छना तालः पूर्वावद् द्विगुणाः कलाः ।
    विनियोगो ध्रुवागाने प्रथमप्रेक्षणे भवेत् ॥१०९॥
    अस्यां नन्दयन्त्यां गान्धारो न्यासः । मध्यमपञ्चमावपन्यासौ ।
    अस्याः प्रस्तारः—
    १८. नन्दयन्ती
    १. गा गा गा गा पा पा धप मा
    सौ
    २. धा धा धा धा धा नो संनिनि धा
    ०
    ३. पां पां पां पां पां पां पां पां
    म्यं

Treatment of Svara | Section 7 : Jāti-s (Melodic types) 361
[Left Column]
४. धां नीं मां पां गां गां गां गां
वे दां ग वे द
५. मा री गा गा गा गा गा गा
क र क म ल यो निं
६. मा मा पा पा धा निध पा पा
त मो र जो वि व
७. धा नी मा पा गा गा गा गा
जि तं
८. गम पा पा पा मा मा गा गा
हरं
९. धा नी मा पा गा गा गा गा
भ व ह र क म ल गृ
१०. मा मा मा मा मा मा मा मा
हं
११. री गा मा पा पम पा पा नी
शि वं शां तं सं नि
१२. रीं रीं रीं रीं पां पां मां मां
वे श न म पू वं
१३. धां नीं संनिनि धां पां पां पां पां
मू ष ण ली लं
१४. धां नीं मां पां गां गां गां गां
उ र गे श भो ग
१५. गा पा पा पा धा मा गा मा
भा सु र शु भ पृ थु
१६. धा धा नी धा पा पा पा पा
लं
[Right Column]
१७. री गा मा पा पम पा पा नी
अ च ल प ति सू नु
१८. रीं रीं रीं रीं पां पां पां पां
क र पं क जा म
१९. पा पा पा पा धा मा मा मा
ल वि ला स की ल
२०. नीं पां गां गमं गां गां गां गां
न वि नो दं
२१. रीं रीं गां गां मां मां मां मां
स्फ टि क म णि र ज त
२२. नी पा नी मा नी धा पा पा
सि त न व दु कू ल
२३. सां सां धनि धा पा पा पा पा
क्षी रोद सा ग
२४. मा पा मा परिग गा गा सां सां
र नि का शं
२५. री री गा गा मा मा पा पा
अ ज शि रः क पा ल
२६. री री री गा मा रिग मा मा
पू थु भा ज नं
२७. मा नी पा नी गा गा गा गा
वं दे सु ख दं
२८. मा मा पा पा धा धनि निध मा
ह र दे ह म म ल
२९. धा धा सा नी धा नी पा पा
म धु सू द न सु

Page 362

362 Treatment of Svara'
३०. री' री' री' री' मा पा धा मा
ते जो धि क सु
३१. नी नी नी नी धा पा मा मा
ग ति यो
३२. मा परिग गा गा गा गा गा गा
र्नि
[तत्र साकल्येन पदयोजना]
[सौम्यं वेदाङ्गवेदकरकमलयोर्नि तमोरजोविवर्जितं हरं
भवहरकमलगृहं शिवं शान्तं सन्निवेशनमपूर्वं
भूषणलोलमुरगेशभोगभासुरशुभपृथुलम् ।
अचलपतिसुतकरपङ्कजामलविलासकीलनविनोदं
स्फटिकमणिरजतसितनवदुकूलक्षीरोदसागरनिकाशम् ।
अजशिरःकपालपृथुभाजनं वन्दे सुखदं
हरवेहममलमधुसूदनसुतेजोऽधिकसुगतियोनिम् ॥]
(xviii) Nandayanti : (107-109)
In nandayantī, the fundamental note is pañcama and the
initial note is known to be gāndhāra¹; but however pañcama
is said to be the initial note in this by some vocal masters.
There is a profusion of low ṛṣabha², the hexatone is (caused)
by the elimination of ṣaḍja, hṛṣyakā is the mūrcchanā, tāla is

1. It may be observed that even according to Bharata, as also
   Śārṅgadeva the general rule for all the jāti-s is that the funda-
   mental note is also the initial note; this however, is an excep-
   tion made by Bharata himself, "in a particular jāti, gāndhāra
   may be used as the initial note" (as quoted by 'K').
2. Here 'K' elucidates, "Since nandayantī is a jāti of madhyama-
   grāma, it is not ordinarily accessible to movement in the lower
   register upto ṛṣabha, yet because it is based on hṛṣyaka
   mūrcchanā which commences with the low pañcama that has
   ṛṣabha as the only consonant note, it becomes permissible to
   make a profuse use of low ṛṣabha. Moreover, Bharata has also
   said, "There is a profusion of ṛṣabha here, and that pertains
   to the lower register" (as quoted by 'K').

Page 363

Section 7 : Jāti-s (Melodic types) 363
like that of the previous one³, the kalā-s are twice as many⁴
and its proper application is in the dhruvā (song) of the first
act. (107c-109).
In this nandayantī the final note is gāndhāra and madhyama
and pañcama are the semifinal notes.
Its prastāra⁵ :

1. ga gā gā gā pā pā dha-pa ma
   Sau
2. dhā dhā dha dhā dhā ni sa-ni-ni dha
   O
3. pā pā pā pā pā pā pā pā
   myam
4. dha ni nā pā gā gā gā gā
   ve daṅ ga ve da
5. mā rī ga gā ga gā ga gā
   ka ra ka ma la yo nim
6. mā mā pā pā dhā ni-dha pa pā
   ta mo ra jo vi va
7. dha nī mā pā gā gā gā gā
   rji tam
8. ga-ma pā pā pā mā mā ga gā
   haram
9. That is, like that of āndhrī, viz. caccatpuṭa.
10. That is, twice sixteen, viz. thirtytwo.
11. The purport of the song is as under :—
    Obeisance to Hara (Śiva) who is gentle, who is as it were,
    Brahmā in the manifestation of the Vedāṅga-s and the Veda-s
    and who is devoid of inertia and activity (tamas and rajas),
    the liberator of the phenomenal existence, having the lotus
    for His abode, benevolent, tranquil, beginningless, the
    promulgator of law and order, sporting with ornaments,
    extending in virtue by the brilliance of his sports with the
    chief of serpents (Vāsuki), enjoying the pure graceful play
    with the lotus hands of the daughter of the mountain
    (Pārvatī), and (obeisance) to His body which is (sparkling)
    like a crystal, jewel silver, a (piece of) white new cloth and
    the ocean of milk, which has made a vessel of the skull of the
    goat-headed (Dakṣa), which is brilliant like the purity of
    Madhusūdana (Viṣṇu) and is the cause of the highest state
    of being.

Treatment of Svara Section 7: Jāti-s (Melodic types) 365
9. dhā ni mā pā gā gā gā gā 23. sā sā dha-ni dha pā pā pā pā
bha va ha raṁ⁶ ka ma la ge kṣī roda sā ga
10. mā mā mā mā mā mā mā mā 24. mā pā mā pa-ri-ga gā gā sā sā
ham ra ni ka śam
11. ri gā mā pā pa-ma pā pā ni 25. rī rī gā gā mā mā pā pā
śi vam śan tam san ni A ja śi raḥ ka pa la
12. ri ri rī ri pā pā mā mā 26. rī rī rī gā mā ri-ga mā ma
ve śa na ma pū rvam pī thu bha ja nam
13. dhā ni sa-ni-ni dhā pā pā pā pa⁸ 27. mā nī pā nī gā ga gā ga
Bhū ṣa ṇa li lam van de su kha dam
14. dha ni⁹ mā pā gā ga ga gā 28. mā mā pā pā dhā dha-ni ni-dha ma
u ra ge śa bho ga ha ra de ha ma ma la
15. ga pā pā pā dhā mā gā mā 29. dha dha sā ni dha nī pā pā
bha su ra śu bha pr thu ma dhu sū da na su
16. dha dhā ni dha pā pā pa pā 30. rī rī rī rī ma pā dha mā
lam te jo dhī ka su
17. rī gā mā pā pa-ma pā pā ni 31. nī nī nī nī dhā pā mā mā
A ca la pa ti sū nu ga ti yo
18. rī ri rī ri pā pā pā pā 32. ma pa-ri-ga ga gā gā gā gā ga⁷
ka ra paḥ ka jā ma nim
19. pā pā pā pā dhā mā mā mā
la vi la sa ki la घ. उपसंहारः
20. ni pā gā ga-ma gā gā ga gā
na vi no dam (i) जातिविषयकाः सामान्यनिर्देशाः
21. ri ri gā gā mā mā mā mā अनुक्ताविह तालः स्यात्त्रिधैर्वैककलाव्दिकः ।
spha ṭi ka ma ṇi ra ja ta मार्गाः क्रमाच्चित्रवृत्तिदक्षिणा, गीतयः पुनः ॥१९०॥
22. nī pā nī mā nī dhā pā pā
si ta na va du kū la मागधी संभाविता च पृथुलेत्युदिताः क्रमात् ।
6. The anusvāra has been supplied to make the text intelligible. योक्ता ऽस्माभिः कलासंख्या सा दक्षिणपथे स्थिता ॥१९१॥
7. 'K' observes that this is the last of the associate modified वार्त्तिके द्विगुणा ज्ञेया सैव चित्रे चतुर्गुणा ।
jāti-s to have been demonstrated in the state of completeness
with one of their respective fundamental notes, and their other सर्वजातिषु जानीयादंशस्वरगतं रसम् ॥१९२॥
forms with the other of their fundamental notes and so on
can be worked out similarly.
8 & 9. Ad. ed. of S. R. reads pā pā pā and nī which has been

366 Treatment of Svara
D. Concluding Remarks : 110-115b
(i) General remarks with regard to jāti-s : (110-113b)
Wherever not specified, the tāla would be threefold,
viz. ekakala etc.¹ set in the citra, vṛtti and dakṣiṇa mārga-s and
the māgadhī, sambhāvitā and pṛthulā gīti-s respectively.
(110-111b)
The number of kalā-s as introduced by us, pertains to
the dakṣiṇa mārga, which should be known as double in the
vārtika and quadruple in the citra. (111c-112b)
The aesthetic delight (rasa) may be understood to be
determined by the fundamental note² in all the jāti-s.
(112cd)
The elements of the derived rāga-s are traced³ by the
specialists among the parent jāti-s. (113ab)
The author having described the individual characteristic features
of the eighteen jāti-s is now offering some concluding observations on
this topic.
Wherever no specific mention of tāla etc. is made in the above
description, the author lays down a general rule with respect to tāla,
mārga and gīti to be applied in all such cases.
The prastāra-s of jāti-s have been modelled on dakṣiṇa mārga. The
author is here laying down the rule for singing in the other mārga-s
and gīti-s as well. If, for example, ṣaḍjī has twelve kalā-s of eight
laghu-s each in dakṣiṇa mārga, it will have twenty-four kalā-s of four
laghu-s each in vārtika and fortyeight kalā-s of two laghu-s each in citra
mārga. In any case the time taken by the song is the same.

1. That is, ekakala, dvikala and catuṣkala caccatpuṭa.
2. Such as, sa and ri as fundamental notes are said to be condu-
   cive to heroism and so on.
3. It has been mentioned in some of the jāti-s as described above,
   that such a rāga is seen; varāṭī for example is seen in ṣaḍjī.
   Ragāṁśa is defined by 'K' as "an integral part of another
   rāga." Such elements of the other rāga-s are seen or perceiv-
   ed in the jāti-s because they are derived from them either
   directly or through the grāma-rāga-s.
   Dṛśyante (lit. 'are seen') is interpreted by 'K' as udbhāvyante
   which may be rendered as "are intuitively felt."

Section 7 : Jāti-s (Melodic types) 367
(ii) जातिगानस्थ फलश्रुतिः
ब्रह्मप्रोक्तपदैः सम्यक्प्रागुक्ताः शङ्करस्तुतौ ।।११३।।
अपि ब्रह्महणं पापाज्जातयः प्रपुनन्त्यमूः ।
ऋचो यजूंषि सामानि क्रियन्ते नान्यथा यथा ।।११४।।
तथा सामसमुद्भूता जातयो वेदसंमिताः ।
(ii) The esoteric value and nature of jāti-gāna : (113c-115b)
These (jāti-s), if properly sung with the verbal texts
formerly composed by Brahmā in the eulogy of Lord Śiva
(can) redeem even the sin of slaying a brahmin.¹ (113c-114b)
As the hymns of the Ṛgveda, the Yajurveda and the
Sāmaveda are not otherwise uttered (except according to the
rules), so also the jāti-s² that have originated from the
Sāmaveda are in conformity with the veda-s³ (114-115b)
The author here is trying to bring out the importance and the
value of jāti songs. In the first instance he points out (vide 113ab) to
their historical value from the point of musicology; and this constitutes
a perceptible benefit (dṛṣṭaphala), since the study and practice of jāti-
songs and their music is helpful in understanding the contemporary
rāga-s that are derived from them. Secondly, he also points out an
imperceptible benefit (adṛṣṭa-phala) also, viz. its potency for accruing
religious merit and for absolving one from the greatest of sins.
The author is particular in pointing out that by his time jāti-gāna
(singing of jāti songs) had crystallised into unalterable forms, and was
cast in rules no longer open to amendment. This may even suggest
that jāti-gāna was already out of date in his time. That is perhaps
why he sanctifies it in association with the vedic hymns as an ancient
tradition.

1. Considered to be the greatest of sins; if that can be redeemed
   through jāti-gāna, what else cannot be accomplished.
2. That is, in contravention of the rules or in the violation of
   their characteristic features described above.
3. The implication is that, it is sinful to sing the jāti-s except in
   the form in which it is ordained by tradition.

368 Treatment of Svara
It is well known that the vedic hymns are chanted strictly in
accordance with the rules for pronouncing the vowels and the conso-
nants in them and with the specific accent, and they cannot be changed
in contravention of those rules. Likewise, jāti-s are also to be sung
according to their rules since they are derived from the Sāmaveda; what-
ever tonal structure, tāla and literary text (pada) etc. are prescribed
for them cannot be violated in jāti-gāna.
अथाष्टमं गीतिप्रकरणम्
(i) कपाल-कम्बलगानानि
(क) कपालगानानि
शुद्धजातिसमुद्भूतकपालान्यधुना ब्रुवे ।
रागा जनकजातीनां तत्कपालेषु संमिताः ॥१॥

1. षाड्जी-कपालम्
   षड्जो ग्रहो ऽंशो ऽपन्यासो गो न्यासो ऽतिबहू गमौ ।
   अल्पा रिपनिधा लङ्घ्यो रिः, कला द्वादशोदिताः ॥२॥
   यस्मिन्षाड्जीकपालं तद् गदितं गीतवेदिभिः ।
   Section 8
   Gīti-s
   (i) The kapāla and the kambala songs : 1-14b
   (a) The kapāla-gāna : (1-10)
   Now, I am to describe the kapāla-s that have originated
   from the śuddha jāti-s. The rāga-s of the parent jāti-s bear a
   resemblance¹ to their respective kapāla-s (1)
   (1) Ṣāḍjī-kapāla
   Ṣāḍjī-kapāla is declared by the experts² to be that in
   which the initial, the fundamental and the semifinal note
   is ṣaḍja and the final note is gāndhāra; gāndhāra and madhyama
   are very profuse, ṛṣabha, pañcama, niṣāda and dhaivata are rare,
   ṛṣabha is to be overstepped and the kalā-s are said to be
   twelve. (2-3b)
2. ‘K’ interprets ‘sammitāḥ’ of text as “sadṛśākārāḥ pratīyante”,
   i. e. they appear to be similar in form.
3. Gītavedī literally would mean those who are the masters of
   vocal music, but it seems to be used in a wider sense.
   24

कलं तत्स्यात्कपालं त्वार्षभीगतम् ।"
Wait, is it "सो ऽत्यल्पो ऽष्टकलं"?
Yes: "सो ऽत्यल्पो ऽष्टकलं तत्स्यात्कपालं त्वार्षभीगतम् ।" (with a single danda ।).

Heading:
3. गान्धारी-कपालम्

Verse 4cd - 5:
"मध्यमो ऽंशो ग्रहो न्यासो ऽपन्यासो धैवतो बहुः ॥४॥"
"यत्राल्पाः सरिगा लोपाद्रिपयोरोडुवं भवेत् ।"
Wait, look at "लोपाद्रिपयोरोडुवं भवेत् ।":
Is it "रौडुवं" or "रोडुवं"?
Let's look at the matra: there is a single stroke at the top angled to the left, and a vertical stroke on the right: wait, that's 'रो'! But wait, is there a second slant? No, it looks like a single stroke, so "रोडुवं" (or "रौडुवं"? in Sanskrit it's usually "औडुव" or "ओडुव", both forms occur in texts, often written "ओडुव" in medieval texts). Here it clearly reads "लोपाद्रिपयोरोडुवं भवेत् ।".
"तद्गान्धारीकपालं स्यात्कलाऽष्टकविनिर्मितम् ॥५॥"
Note

Page 372

372 Treatment of Svara
(ख) कम्बलगानम्
यत्र ग्रहो ऽंशो ऽपन्यासः पञ्चमो बहुलस्तु रिः ।
सो न्यासो मधगान्धारास्त्वल्पान्तास्तत्कम्बलं मतम् ।।११।।
पञ्चमोजातिसञ्जातल्पताबहुतावशात् ।
स्वराणां बहवो भेदास्तस्य पूर्वैरुदीरिताः ।।१२।।
प्रीतः कम्बलगानेन कम्बलाय वरं ददौ ।
पुरा पुरारिरद्यापि ग्रीयते तैरतः शिवः ।।१३।।
(ग) कपालगतपदानि
कपालानां क्रमाद् ब्रूमो ब्रह्मप्रोक्तां पदावलीम् ।
झण्टुं झण्टुं ।।१।। खट्वाङ्गधरं ।।२।। दंष्ट्राकरालं ।।३।।
(b) Kambala-gāna : (11-13)
Where the initial note, the fundamental note and the
semifinal note is pañcama, ṛṣabha is profuse, ṣaḍja is the final
note and madhyama, dhaivata and gāndhāra are rare, that is
accepted to be kambala. It has originated from the pañcamī
jāti. The ancients have spoken of many of its varieties based
on the rareness and the profusion of notes. (11-12)
Sometimes in the past Lord Śiva, being propitiated by
the kambala (song) bestowed a boon upon kambala⁵ (nāga),
and therefore even today, he is propitiated by them (i. e. the
kambala-songs). (13)
(c) The verbal text of the kapāla songs : (14ab)
We shall now speak of the verbal text of the kapāla
songs as originated⁶ in due order. (14ab)

1. The ṣāḍjī-kapāla song
   Jhaṇṭuṃ jhaṇṭum⁷ (1) khaṭvāṅgadharam (2) daṁṣṭrākarālam
2. Cf. S. Raj, Vol. I, p. 659 for greater information regarding
   Kambala
3. Brahmaprokta lit. ‘spoken or sung by Brahmā’ who composed
   them
4. Jhaṇṭum is one of the śuṣkākṣara-s (syllables devoid of meaning
   said to have been spoken by Brahmā. These meaningless

Page 373

Section 8 : Gīti-s 373
तडित्सदृशजिह्वं ।।४।। हौ हौ हौ हौ हौ हौ हौ हौ ।।५।। बहुरूपवदनं
घनघोरनादं ।।६।। हौ हौ हौ हौ हौ हौ हौ हौ ।।७।। ॐ ॐ ह्रां
रौं हौं हौं हौं हौं ।।८।। नृमुण्डमण्डितम् ।।९।। हूं हूं कह कह हूं हूं
।।१०।। कृतविकटमुखम् ।।११।। नमामि देवं भैरवम् ।।१२।। इति
षाड्जीकपालपदानि ।।१।।
झण्टुं झण्टुं खट्वाङ्गधरम् ।।१।। दंष्ट्राकरालम् ।।२।। तडित्स-
दृशजिह्वम् ।।३।। हौ हौ हौ हौ हौ हौ हौ हौ ।।४।। वरसुरभि-
कुसुम ।।५।। चर्चितगात्रम् ।।६।। कपालहस्तम् ।।७।। नमामि देवम्
।।८।। इत्यार्षभीकपालपदानि ।।२।।
taḍitsadṛśajihvam (4) hau hau hau hau hau hau hau hau (5) bahu-
rūpavadanam ghanaghoranādam (6) hau hau hau hau hau hau hau
hau (7) ūṁ ūṁ hrāṁ rauṁ hauṁ hauṁ hauṁ hauṁ (8) nṛmuṇḍamaṇḍitam
(9) hūṁ hūṁ kaha kaha hūṁ hūṁ (10) kṛtavikaṭamukham (11)
*namāmi devam bhairavam.*⁸ (12)
2. The ārṣabhī-kapāla song
Jhaṇṭum jhaṇṭum khaṭvāṅgadharam (1) daṁṣṭrākarālam (2)
taḍitsadṛśajihvam (3) hau hau hau hau hau hau hau hau (4) varasu-
rabhikusuma (5) carcitagātram (6) kapālahastam (7) namāmi devam⁹
(8).
syllables form a part of an ancient tradition and even Bharata
mentions them at various places (cf. G. O. S. Vol. IV, pp. 107,
108, 112, 118, etc. and XXXIV. 32). All such words are
recounted by Śārṅgadeva in Taladhyāya (cf. S. R, Ad.
ed. Vol. III, p. 129). These are also called stobhākṣara-s.
Oṅkāra and h in conjunction with vowels or consonants is also
included among the stobhākṣara-s (cf. Brihaspati, Bharat kā
Saṅgīt Siddhānta pp. 251, 252).
8. The Sanskrit text purports as under :
Obeisance to Lord Bhairava, holding a club with a skull
on the top and having terrific teeth, a tongue resembling light-
ning, a face with many forms and a tumultuous sound, who is
decorated by human skulls and bears a terrible countenance.
9. The Sanskrit text purports as under :
Obeisance to the Lord holding a club with a skull on the
top, and having terrific teeth and a tongue resembling light-
ning, whose body is anointed with the best of the fragrant
flowers and who bears a skull in his hand.

374 Treatment of Svara
चलत्तरङ्ग ॥१॥ भङ्गुरम् ॥२॥ अनेकरेणु ॥३॥ पिञ्जरं
सु ॥४॥ रासुरैः सुसेवितं पु ॥५॥ नातु जाह्न ॥६॥ वीजलम्
मां बिन्दुभिः ॥८॥ इति गान्धारीकपालपदानि ॥३॥
शूलकपाल ॥१॥ पाणित्रिपुरविनाशि ॥२॥ शशाङ्कधारिणम्
॥३॥ त्रिनयनत्रिशूलम् ॥४॥ सततमूमया सहि ॥५॥ तं वरदम्
॥६॥ हौ हौ हौ हौ हौ हौ हौ ॥७॥ हौ हौ हौ हौ हौ हौ हौ
॥८॥ नौमि महादेवम् ॥९॥ इति मध्यमाकपालपदानि ॥४॥
जय विषमनयन ॥१॥ मदनतनुदहन ॥२॥ वरवृषभगमन
॥३॥ त्रिपुरवहन ॥४॥ नतसकलभुवन ॥५॥ सितकमलवदन
॥६॥ भव मे भयहरण ॥७॥ भवशरणम् ॥८॥ इति पञ्चमी-
कपालपदानि ॥५॥
3. The gāndhārī-kapāla song
Calattaraṅga (1) bhaṅguram (2) anekareṇu (3) piñjaraṃ
su (4) rāsuraiḥ susevitam pu (5) nātu jāhna (6) vījalam (7) mām
bindubhiḥ¹⁰ (8).
4. The madhyamā-kapāla song
Śūlakapāla (1) pāṇitripuravināśi (2) śaśāṅkadhāriṇam (3)
trinayanatriśūlam (4) satatamumayā sahi (5) tam varadam (5)
hau hau hau hau hau hau hau (7) hau hau hau hau hau hau
hau hau (8) naumi mahādevam¹¹ (9).
5. The pañcamī-kapāla song
Jaya viṣamanayana (1) madanatanudahana (2) varavṛṣabha-
10. The Sanskrit text purports as under :
Let the water of the Ganges, tremulous with the moving
waves, tawny with the innumerable particles of sand and
partaken by gods as well as demons, purify me with its
drops.
11. The Sanskrit text purports as under :
Obeisance to Mahādeva (the great God) who holds a
spear with a skull on the top in his hand, who destroyed
Tripura and who bears the crescent of the moon, whose three
eyes are his tridents, who is always in the company of Umā and
who is benevolent.

Section 8 : Gīti-s 375
अग्निज्वाला ॥१॥ शिखावलो ॥२॥ मांसशोणित ॥३॥
भोजिनि ।। सर्वाहारि ॥५॥ णि निर्ममांसे ॥६॥ चर्ममुण्डे ॥७॥
नमोऽस्तु ते ॥८॥ इति धैवतोकपालपदानि ॥६॥
सरसग .चर्मपटम् ॥१॥ भीमभुजंगमानद्धजटम् ॥२॥ कह-
कहहुंकृतिकृतविकृतमुखम् ॥३॥ नम तं शिवं हरमजितम् ॥४॥ चण्ड-
तुण्डमजेयम् ॥५॥ कपालमण्डितमुकुटम् ॥६॥ कामदर्पविध्वंसकरम्
॥७॥ नम तं हरं परमशिवम् ॥८॥ इति नैषादीकपालपदानि ॥७॥
इति सप्त कपालपदानि ॥
gamana (3) tripuradahana (4) natasakalabhuvana (5) sitakamala-
vadana (6) bhava me bhayaharaṇa (7) bhavaśaraṇam¹² (8).
6. The dhaivatī-kapāla song
Agnijvāla (1) śikhāvalī (2) māṁsaśoṇita (3) bhojini (4)
sarvāhāri (5) ṇi nirmāṁse (6) carmamuṇḍe (7) namo-astu te¹³ (8)
7. The naiṣādī-kapāla song
Sarasagajacarmapaṭam (1) bhīmabhujaṅgamānaddhajaṭam
(2) kahakahahuṅkṛtivikṛtamukham (3) nama tam śivam haramajitam
(4) caṇḍatuṇḍamajeyam (5) kapālamaṇḍitamukuṭam (6) kāmadar-
pavidhvaṁsakaram (7) nama tam haram paramaśivam¹⁴ (8).
12. The Sanskrit text purports as under :
Victory, O! the three eyed one (Śiva), the burner of
cupid's body, the rider of the bull, the destroyer of Tripura,
saluted by all the worlds, having a white lotus face, liberator
from the phenomenal involvement (thou) be my shelter.
13. The Sanskrit text purports as under :
O! the fleshless Carmamuṇḍā (Durgā), the incessant
succession of the flames of blazing fire, the devourer of flesh
and blood, the destroyer of all, salutation to you.
14. The Sanskrit text purports as under :
Make obeisance to that benevolent unconquered Hara (Śiva),
who is attired in a fresh elephant hide, who has braided his hair
with a huge snake and has disfigured his countenance by the
huṅkṛti (nasal pronunciation) of (the sound) kaha kaha : make
obeisance to that supremely benevolent Hara, who is (like) the
fierce dart, invincible, bearing the crown of skulls, and the
destroyer of cupid's pride.

Page 376

376 Treatment of Svara
The word kapāla literally means the skull bone, a piece of a broken
jar, a beggar's bowl, a cup, a jar, etc. Kallinātha explains this name with
reference to the first two meanings. Technically, kapāla is a modifica-
tion of a śuddhā jāti from which it is derived. It has the characteristic
feature of reflecting the rāga as derived from its parent jāti, because
it bears a close resemblance to it in form. In a way if a jāti can be
said to be a melodic type giving rise to many rāga-s, kapāla is a cross
section of a particular jāti that embodies the sectional features of a
particular derived rāga. Therefore, kapāla is explained by 'K' firstly on
the analogy of a broken jar which points out to the jar. Secondly, he
relates a mythical story: "Once Lord Śiva, while he wandered as a
mendicant, was singing in ṣaḍjī etc. and he was so blissfully absorbed
in it that the crescent of the moon on his forehead melted releasing
nectar, drinking which the skulls (kapāla-s) of Brahmā that he was
carrying fastened together in a garland around his neck came to
life and began to sing along with him; that is why these songs are called
kapāla-s."
There are seven śuddhā jāti-s and correspondingly there are seven
kapāla songs. Though the chapter is entitled 'Gīti-s' in accordance with
the synopsis (see Section 1) the Kapāla and the Kambala songs are dealt
with to begin with.
(ii) गीतिलक्षणं, तद्भेदाश्च
वर्णाद्यलङ्कृता गानक्रिया पदलयान्विता ।।१४।।
गीतिरित्युच्यते सा च बुधैरुक्ता चतुर्विधा ।
मागधी प्रथमा ज्ञेया द्वितीया चार्धमागधी ।।१५।।
संभाविता च पृथुलेत्येतासां लक्ष्म चक्ष्महे ।

1. मागधी गीतिः
   गीत्वा कलायामाद्यायां विलम्बितलयं पदम् ।।१६।।
   द्वितीयायां मध्यलयं तत्पदान्तरसंयुतम् ।
   सतृतीयपदे ते च तृतीयस्यां द्रुते लये ।।१७।।
   इति त्रिरावृत्तपदां मागधीं जगदुर्बुधाः ।

Page 377

Section 8 : Gīti-s 377
(ii) The definition and classification of gīti-s: 14c-25
The act of singing¹ embellished by (various) patterns
of tonal movement (varṇa) etc.², and couched in verbal
phrases³ set in musical speed (tempo)⁴, is called gīti. It is
said to be fourfold by the enlightened ones⁵. The first is
known to be māgadhī, the second is ardha-māgadhī, (the third
is) sambhāvitā and (the fourth is) pṛthulā. We shall describe
their characteristic features. (14c-16b)

1. Māgadhī
   Having sung a verbal phrase (pada) in the first kalā in
   the slow tempo, and then in the second⁶ the same⁷ along
   with another phrase in the middle tempo, if in the third
   they⁸ are sung along with the third phrase in the fast tempo,
   such (a gīti) that thrice repeats a verbal phrase⁹ is called
   māgadhī by the enlightened ones¹⁰. (16c-18b)
   The jāti songs are meant to be sung in particular gīti-s, so the
   author now introduces this topic and gives first of all a general defini-
   tion of gīti and then goes on to define their particular forms.
   Gīti is defined primarily to be a gāna-kriyā, 'the act of singing'
   which is moulded and shaped through the use of particular patterns
   of tonal movement such as ascending, descending, stable and circu-
   latory (i.e. ārohī, avarohī, sthāyī and sañcārī varṇa-s) and is enriched
2. Gāna-kriyā in this context is restricted in its connotation to
   mean an act of singing.
3. The suffix ādi (etc.) is meant to include, according to 'K', the
   sixty-three alaṅkāra-s spoken of in Section 6 ante, such as
   prasannādi and so on.
4. Pada, in this context, is a meaningful word with grammatical
   terminations. Thus, a pada is not only a word, since it also
   is qualified to indicate a relation. Pada is therefore more than
   a word and yet not a sentence. As such, it has been trans-
   lated as a verbal phrase to distinguish it from a tonal
   phrase. Technically, pada signifies the verbal structure
   of melody.
5. Laya is tempo, i. e. relative musical speed.
6. This refers to the earlier teachers of the subject.
7. The second kalā.
8. The phrase of the first kalā.
9. That is, the phrases of the first two kalā-s.
10. Viz. devam.
11. The ancient authorities of saṅgīta-śāstra.

Page 378

378 Treatment of Svara
यथा—
मा गा मा धा
दे वं
धनि धनि सनि धा
दे वं रु द्रं
रिग रिग मग रिस
देवं रुद्रं वं दे
2. अर्धमागधी गीतिः
पूर्वेयोः पदयोरर्धं चरमे द्वियंदोदिते ।।१८।।
तदा ऽर्धमागधीं प्राहुः
For example :
(i) mā gā mā dhā
De vam
(ii) dha-ni dha-ni sa-ni dhā
de vam ru dram
(iii) ri-ga ri-ga ma-ga ri-sa
devam rudram van de
2. Ardha-māgadhī
When the latter half of the previous¹¹ pada-s (verbal
phrases) is sung twice, then it is called ardha-māgadhī¹².
(18c-19a)
by certain tonal phrases (alaṅkāra-s). Furthermore, such melodic activity
is accompanied by literary composition and is set in rhythmic patterns
of musical speed. Laya (musical speed) is known to be threefold, viz.
fast tempo (druta), middle tempo (madhya) and slow tempo (vilambita),
(14c-16b)
It has been said that there are four gīti-s and here, the author is
describing the specific characteristics of each. It may, however, be
11. That is, the pada-s of the first and the second kalā-s.
12. Literally, half-way māgadhī.

Page 379

Section 8 : Gīti-s 379
यथा—
मा री गा सा
दे वं
सा सा धा नी
वं रु द्रं
पा धा पा मा
द्रं वं दे
द्विरावृत्तपदां परे ।
यथा—
मा मा मा मा
दे वं
धा सा धा नी
दे वं रु द्रं
पा निध मा मा
रु द्रं वं दे
For example :
(i) mā ri gā sā
De vam
(ii) sā sā dhā ni
vam ru dram
(iii) pā dhā pā mā
dram van de
Others, (however) consider it to consist in once
repeated pada-s¹³ (verbal phrases). (19b)
For example :
(i) mā mā mā mā
De vam
(ii) dhā sā dhā ni
de vam ru dram
(iii) pā ni-dha mā mā
ru dram van de
13. Dvirāvṛttapadā, lit. "the one that has its pada-s (sung) twice."