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

विषयसूची
प्रथमः स्वरगताध्यायः
श्लोकसङ्ख्या
१. प्रथमं पदार्थसङ्ग्रहप्रकरणम् १-४१ ख
(i) मङ्गलाचरणम् १
(ii) ग्रन्थकर्तृवंशवर्णनम् २-८
(iii) ग्रन्थकृतो वैशिष्ट्यं, ग्रन्थप्रणयनहेतुश्च ९-१४
(iv) पूर्वाचार्यस्मरणम् १५-२१ख
(v) सङ्गीतलक्षणं, तत्र मार्गदेशीविभागश्च २१ग-२४ख
(vi) गीतस्य प्राधान्यम् २४ग-२५ख
(vii) गीत-प्रशंसा २५ग-३०
(viii) ग्रन्थस्थसप्ताध्यायानां वस्तुसंग्रहः ३१-४१ख
२. द्वितीयं पिण्डोत्पत्तिप्रकरणम् १-१६८ख
क. विषयावतारणम् १-३
(i) नादमहिमा १-२
(ii) द्विविधो नादः, पिण्डोत्पत्तिप्रतिपादनौचित्यम् ३
ख. पिण्डोत्पत्तौ दार्शनिकतत्त्वनिरूपणम् ४-२२
(i) ब्रह्मस्वरूपम् ४-५ग
(ii) जीवस्वरूपम् ५घ-८क
(iii) सूक्ष्मशरीरम् ८ख-९ख
(iv) सृष्टिसंहार-प्रवाहः ९ग-१०
(v) जीवब्रह्मणोः सम्बन्धः ११-१२ख
(vi) भौतिकसृष्टिः १२ग-१५
(vii) भौतिकदेहभेदाः १६-१७ख
(viii) मानुषदेहाभिधाने हेतुः १७ग घ
(ix) जीवस्य गर्भाशयेऽवतरणम् १८-२२
ग. पिण्डोत्पत्तावायुर्वेदानुसारिनिरूपणम् २३-११९d
(i) गर्भस्य वृद्धिक्रमः २३-४१
(ii) बालकस्य जन्म ४२
(iii) जीवस्य नित्यता (अनुमिता) ४३
(iv) देहस्य षड्भावाः ४४-५६ख
(v) ...... ५६ग-७१ख
( xxxv )
(vi) त्रिविधदेहानां भेदकथनम् ७१ग-७४
(vii) देहस्य षडङ्गानि ७५क-ख
(viii) देहस्य प्रत्यङ्गानि ७५ग-११९

1. ग्रन्थकृतप्रतिज्ञा (७५ग घ)
2. त्वचः कलाश्च (प्रत्येकं सप्तधा) (७६-७८)
3. धातवः (७९-८०)
4. आशयाः (सप्त) (८१-८२ख)
5. हृदयस्य चेतनस्थानत्वम् (८२ग-८३ग)
6. जीवस्य अवस्थात्रयम् (८३घ-८६ख)
7. नवस्रोतांसि (८६ग-८७)
8. जालानि, कूर्चाः, मांसरज्जवः, सीवन्यश्च (८८-८९)
9. अस्थीनि, तेषां संख्या, भेदाश्च (९०-९२ख)
10. अस्थिसन्धयः, तेषां संख्या, भेदाश्च (९२ग-९४ख)
11. अन्यसन्धीनां संख्या (९४ग घ)
12. स्नायवः (९५-९६)
13. पेश्यः (९७-१००)
14. सिराधमनिकानां संख्या (१०१)
15. मूलसिराः, भिन्नसिराश्च (१०२-१०५ख)
16. रसवाहिन्यो धमन्यः (१०५-११३)
17. मर्मस्थानानि (११४क ख)
18. रोमाणि, श्मश्रु, केशाश्च (११४ग-११६क)
19. देहस्थरसानां मानम् (११६ख-११८)
20. उपसंहारः (११९)
    घ. हठयोगानुसारि निरूपणम् १२०-१६३
    (i) दशचक्राणि १२०-१४५ख
21. आधार-चक्रं, कुण्डलिनी च (१२०-१२२ख)
22. स्वाधिष्ठान-चक्रम् (१२२ग-१२४ख)
23. मणिपूरक-चक्रम् (१२४ग-१२६ख)
24. अनाहत-चक्रम् (१२६ग-१२९ख)
25. विशुद्धि-चक्रम् (१२९ग-१३१ख)
26. ललना-चक्रम् (१३१ग-१३३ख)
27. आज्ञा-चक्रम् (१३३ग-१३४ख)
28. मनश्चक्रम् (१३४ग-१३५)
29. सोम-चक्रम् (१३६-१३८)
30. सहस्रपत्र-चक्रम् (१३९)
31. गीतादिसिद्धौ चक्राणां साधकत्वं
    बाधकत्वञ्च (१४०-१४५ख)

( xxxvi )

( xxxvi )
(ii) ब्रह्मग्रन्थिः १४५ग-१४८
(iii) सुषुम्णा, नाड्यन्तराणि च १४९-१६३ख
ङ. उपसंहारः
नादस्य भुक्तिमुक्तिसाधकत्वम् १६३ग-१६८ख
३. तृतीयं नादस्थानश्रुतिस्वरजातिकुल-
दैवतर्षिच्छन्दोरसप्रकरणम् १-६०ख
क. नादः १-७
(i) नादब्रह्म, तस्योपासना च १-२
(ii) देहे ध्वनेराविर्भावः ३-४
(iii) पञ्चविधो नादः ५
(iv) नादशब्दस्य निर्वक्तिः ६
(v) गीतव्यवहारे त्रिधा नादः ७
ख. श्रुतिः ८-२२
(i) श्रुतिः, तत्सङ्ख्या च ८-१०ख
(ii) चतुःसारणा १०ग-२२
ग. स्वराः २३-६०ख
(i) सप्तस्वराः २३-२४ख
(ii) स्वरलक्षणम् २४ग-२५ख
(iii) श्रुतीनां स्वरकारणत्वम् २५ग-२७ख
(iv) पञ्चजातीषु सप्तस्वरेषु च सनामश्रुतिविभाजनम् २७ग-३८
(v) स्वराणां स्थानत्रयम् ३९क ख
(vi) द्वादशविकृतस्वराः ३९ग-४६ख
(vii) सप्तस्वराणामुच्चारयितारः पशुपक्षिणः ४६ग-४७ख
(viii) वादि-संवादि-विवाद्यनुवादिभेदेन चतुर्विधाः स्वराः ४७ग-५१
(ix) स्वराणां कुल-जाति-वर्ण-दैवतर्षि-च्छन्दो-रस-कथनम् ५२-६०ख
४. चतुर्थं ग्राममूर्च्छनाक्रमतानप्रकरणम् १-६१
क. ग्रामः १-८
(i) ग्रामलक्षणम् १क ख
(ii) द्वौ ग्रामौ (धरातले) १ग-२ख
(iii) षड्जमध्यमग्रामयोर्लक्षणम् २ग-३ख
(iv) गान्धारग्रामः ३ग-५
(v) ग्रामत्रयस्य नामस्वराणां वैशिष्ट्यम् ६-७ख
(vi) ग्रामाणां देवताः ७ग घ
(vii) ग्रामाणां गानकालनियमः ८

( xxxvii )

( xxxvii )
ख. मूर्च्छनाः क्रमाश्च ९-२६
(i) मूर्च्छनालक्षणम् ९
(ii) षड्जमध्यमग्रामस्यमूर्च्छनानां संज्ञाः १०-१२ क
(iii) मूर्च्छनानामारम्भकस्वराः १२ख-१५
(iv) मूर्च्छना-भेदाः १६-१७
(v) मूर्च्छनासङ्ख्यापरिज्ञानोपायः १८
(vi) मूर्च्छनाक्रमाः, तेषां सङ्ख्या च १९-२०ख
(vii) मूर्च्छनानां देवताः २०ग-२२ख
(viii) नारदकथितानि मूर्च्छना-नामानि २२ग-२६
ग. तानाः २७-९०
(i) शुद्धताननिर्माणविधिः, सङ्ख्या च २७-३१

1. शुद्धतानलक्षणम् २७कख
2. षाडवतानाः २७ग-२९ख
3. औडुवतानाः २९ग-३१ख
4. षाडवौडुवतान-मिलितसङ्ख्या ३१गघ
   (ii) कूटताननिर्माणं, तेषां सङ्ख्या च ३२-४९
5. कूटतानलक्षणम् ३२क-ग
6. पूर्णकूटतानानां सङ्ख्या ३२घ-३५क
7. अपूर्णकूटताननिर्माणम् ३५ख-३६
8. अपूर्णकूटतानानां सङ्ख्या ३७-३८
9. एकस्वरादि-कूटतानचतुष्टयस्य नामानि ३९
10. षाडवकूटतानसङ्ख्या ४०-४३क
11. औडुवकूटतान-सङ्ख्या ४३ख-४५ख
12. चतुःस्वरकूटतान-सङ्ख्या ४५ग-४६
13. त्रिस्वरकूटतान-सङ्ख्या ४७-४८क
14. द्वित्वरेकस्वर-कूटतान-सङ्ख्या ४८ख-४९
    (iii) पुनरुक्ताः कूटतानाः, तेषामपनये कूटतान-सङ्ख्या ५०-६०क
    (iv) प्रतिमूर्च्छनं कूटतान-सङ्ख्याज्ञानोपायः ६०ख-६१
    (v) कूटतान-प्रस्तारः ६२-६३ख
    (vi) खण्डमेरुः ६३ग-७१
15. खण्डमेरु-निर्माणम् ६३ग-६६ख
16. उद्दिष्ट-विधिः ६६ग-६८ख
17. नष्ट-विधिः ६८ग-७०
18. खण्डमेरूत एकस्वरादितानानां सङ्ख्या-
    परिज्ञानोपायः ७१

( xxxviii )

(vii) शुद्धतान-नामानि ७२-९०ख

1. षड्जग्रामस्य-षाडवशुद्धतानाः ७२-७८ख
2. मध्यमग्रामस्य-षाडवशुद्धतानाः ७८ग-८२
3. षड्जग्रामस्थौडुवशुद्धतानाः ८३-८६
4. मध्यमग्रामस्थौडुवशुद्धतानाः ८७-९०ख
   (viii) शुद्धतानानां वैदिकनाम्नां तत्सद्यश्फलम् ९०गघ
   (ix) गान्धर्वे गाने च शुद्धकूटतानानामुपयोगः ९१
   ५. पञ्चमं साधारणप्रकरणम् १-११ख
   (i) द्विविधं साधारणं, तत्र स्वरसाधारणम् १-२ख
   (ii) काकल्यन्तरसाधारणम् २ग-३
   (iii) काकल्यन्तरप्रयोगविधिः ४-६
   (iv) षड्जमध्यमसाधारणम् ७-९
   (v) जातिसाधारणम् १०-११ख
   ६. षष्ठं वर्णालङ्कारप्रकरणम् १-६५ख
   (i) वर्णलक्षणं, तद्भेदाश्च १-३ख
   (ii) अलङ्कारलक्षणं, तद्भेत्तद्भेदनिरूपणं च ३ग-६४ख
   (क) अलङ्कारलक्षणम् ३गघ
   (ख) स्थायिवर्णगतालङ्कारोद्देशः ४-६ख
   (ग) मन्द्रतारलक्षणम् ६ग-८
   (घ) स्थायिवर्णगतालङ्कार-निरूपणम् ९-१३
5. प्रसन्नादिः ९कख
6. प्रसन्नान्तः ९ग
7. प्रसन्नाद्यन्तः ९घ-१०क
8. प्रसन्नमध्यः १०ख-घ
9. क्रमरेचितः ११-१२
10. प्रस्तारः १३कख
11. प्रसादः १३गघ
    (ङ) आरोहिवर्णगतालङ्कारोद्देशः १४-२५
12. विस्तीर्णः १६
13. निष्कर्षो, गात्रवर्णश्च १७-१८ख
14. बिन्दुः १८ग-१९ख
15. अभ्युच्चयः १९गघ
16. हसितः २०
17. प्रेङ्खितः २१
18. आक्षिप्तः २२

( xxxix )

8. सन्धिप्रच्छादनः २३
9. उद्गीत, उदाहितः, त्रिवर्णः, पृथग्वेणिश्च २४-२५
   (च) अवरोहिवर्णगतालङ्काराः २६कख
   (छ) सञ्चारिवर्णगतालङ्कारोद्देशः २६ग-५३
10. मन्द्रादिः ३०
    2,3. मन्द्रमध्यः, मन्द्रान्तश्च ३१कख
11. प्रस्तारः ३१ग-३२ख
12. प्रसादः ३२ग-३३ख
13. व्यावृतः ३३ग-३४
14. स्खलितः ३५
15. परिवर्तकः ३६
16. आक्षेपः ३७क-ग
17. बिन्दुः ३७ग-३८ख
18. उदाहितः ३८ग-३९ख
19. ऊर्मिः ३९ख-४०ग
20. समः ४०ग-४१ख
21. प्रेङ्खः ४१ग-४२ख
22. निष्कूजितः ४२ख-४३क
23. श्येनः ४३ख-४४क
24. क्रमः ४४ख-४५क
25. उद्घट्टितः ४५ख-४६ख
26. रञ्जितः ४६ग-४७क
27. सन्निवृत्तकप्रवृत्तकः ४७ख-४८ख
28. वेणुः ४८ग-४९ख
29. ललितस्वरः ४९ग-५०ख
30. हुङ्कारः ५०ग-५१ख
31. ह्लादमानः ५१ग-घ
32. अवलोकितः ५२
    (झ) सप्तान्यालङ्कारोद्देशः ५४-६४ख
33. तारमन्द्रप्रसन्नः ५६-५७ख
34. मन्द्रतारप्रसन्नः ५७ग-५८ख
35. आवर्तकः ५८ग-५९ख
36. सम्प्रदानः ५९ग-६०ख
37. विधूतः ६०ग-६१ख
38. उपलोलः ६१ग-६२ख
39. उल्लासितः ६२ग-६३ख
    (iii) अलङ्काराणां प्रयोजनम् ६४ग-६५ख

( xl )

७. सप्तमं जातिप्रकरणम् १०-११५ ख
क. उपक्रमः १-२८
(i) शुद्धा जातयः १-३ ख
(क) सप्त शुद्धा जातयः (१-२ क)
(ख) शुद्धतालक्षणम् (२ ख-३ ख)
(ii) विकृता जातयः ३ ग-७
(iii) संसर्गजा विकृता जातयः ८-१६
(iv) जातीनां ग्रामविभागः १७-१८ क
(v) सम्पूर्ण-षाडवौडुव-जातयः १८ ख-२०
(vi) जातिषु स्वरसाधारणनियमः २१-२४ ख
(vii) जातिगतांशस्वरगणना २४ ग-२८
ख. जातीनां त्रयोदशसामान्यलक्षणानि २९-५९ ख

1. ग्रहः (३१)
2. अंशः (३२-३४)
3. तारः (३५-३६)
4. मन्द्रः (३७-३८ क)
5. न्यासः (३८ ग ४०)
6. अपन्यासः (४१-४७ ख)
7. संन्यासः (४७ ग-४८ क)
8. विन्यासः (४८ ख-ग)
9. बहुत्वम् (४९)
10. अल्पत्वम् (५०-५१)
11. अन्तरमार्गः (५२-५३)
    12,13. षाडवं, औडुवञ्च (५४-५९ ख)
    ग. जातीनां विशेषलक्षणानि ५९ ग-१०९
12. षाड्जी जातिः ६०-६४ ख
13. आर्षभी जातिः ६४ ग-६६
14. गान्धारी जातिः ६७-७० ख
15. मध्यमा जातिः ७० ग-७२
16. पञ्चमी जातिः ७३-७५ ख
17. धैवती जातिः ७५ ग-७७ ख
18. नैषादी जातिः ७७ ग-७८
    8.- षड्जकैशिकी जातिः ७९-८०
19. षड्जोदीच्यवा जातिः ८१-८५ ख
20. षड्जमध्यमा जातिः ८५ ग-८८ ख

( xli )

11. गान्धारोदीच्यवा जातिः ८८ ग-९१ ख
12. रक्तगान्धारी जातिः ९१ ग-९४
13. कैशिकी जातिः ९५-९८
14. मध्यमोदीच्यवा जातिः ९९-१००
15. कार्मारवी जातिः १०१-१०३ ख
16. गान्धारपञ्चमी जातिः १०३ ग-१०५ ख
17. आन्ध्री जातिः १०५ ग-१०७ ख
18. नन्दयन्ती जातिः १०७ ग-१०९
    घ. उपसंहारः ११०-११५ ख
    (i) जातिविषयकाः सामान्यनिर्देशाः ११०-११३ ख
    (ii) जातिगानस्य फलश्रुतिः ११३ ग-११५ ख
    ८. अष्टमं गीतिप्रकरणम् १-२५
    (i) कपाल-कम्बलगानानि १-१४ ख
    (क) कपालगानानि (१-१०)
19. षाड्जी-कपालम् (२-३ ख)
20. आर्षभी-कपालम् (३ ग-४ ख)
21. गान्धारी-कपालम् (४ ग-५)
22. मध्यमा-कपालम् (६)
23. पञ्चमी-कपालम् (७)
24. धैवती-कपालम् (८)
25. नैषादी-कपालम् (९)
26. कपालगानफलम् (१०)
    (ख) कम्बलगानम् (११-१३)
    (ग) कपालगतपदानि (१४ क ख)
    (ii) गीतिलक्षणं, तद्भेदाश्च १४ ग-२५
27. मागधी गीतिः (१६ ग-१८ ख)
28. अर्धमागधी गीतिः (१८ ग-१९ क)
29. सम्भाविता गीतिः (१९ ग घ)
    4 पृथुला गीतिः (२० क ख)
30. तासामेता गीतयः (२० ग-२५)

DETAILED TABLE OF CONTENTS
Chapter I
The Treatment of Svara
Verse Nos.
Section 1 : Introductory 1-49b
(i) Propitiation ... 1
(ii) Author's lineage ... 2-8
(iii) Author's personality and the purpose of his
undertaking ... 9-14
(iv) The predecessors of the author ... 15-21b
(v) The definition of saṅgīta : its classification as
mārga and deśī ... 21c-24b
(vi) The predominance of gītam ... 24c-25b
(vii) The importance and significance of gītam
(melody) ... 25c-30
(viii) Synopsis of the work ... 31-49b
Section 2 : The Genesis of Human Embodiment 1-168b
A. Introduction ... 1-3
(i) The importance of nāda ... 1-2
(ii) Twofold nāda, justification for the treatment of
human embodiment ... 3
B. Genesis : The metaphysical viewpoint ... 4-22
(i) The nature of Brahman ... 4-5c
(ii) The nature of jīva (individual being) ... 5d 8a
(iii) The subtle body ... 8b-9b
(iv) The cycle of creation and destruction ... 9c-10
(v) The relation of jīva and Brahman ... 11-12b
(vi) The physical manifestation ... 12c-15
(vii) Types of physical bodies ... 16-17b
(viii) The purpose of dealing with the human body ... 17cd
(ix) The descent of jīva into the womb ... 18-22
C. Genesis : The physical and the physiological viewpoint 23-119
(i) The development of the embryo ... 23-41
(ii) The birth of the child ... 42
(iii) The eternity of jīva (inferred) ... 43
(iv) The six substances (bhāva-s) of the (foetal) body ... 44-56b
( xliii )
(v) Five great elements (mahābhūta-s) and the
human body ... 56c-71b
(iv) The constitution of bodies : Threefold classi-
fication ... 71c-74
(vii) Six organs of the human body ... 75abc
(viii) Sub-organs of the human body ... 75c-119

1. Author's proposal to deal with
   the sub-organs ... (75)
2. Skins and membranes ... (76-78)
3. Supportive tissues ... (79-80)
4. The receptacles (āśaya-s) ... (81-82b)
5. Heart as the seat of intelli-
   gence ... (82c-83c)
6. The three states of conscious-
   ness ... (83d-86b)
7. The nine canals (srota-s) ... (86c-87)
8. Plexuses, clusters, fleshy bands
   and sutures ... (88-89)
9. Bones, their number and types ... (90-92b)
10. Bone-joints, their number and
    types ... (92c-94b)
11. The number of other joints ... (94cd)
12. Ligaments ... (95-96)
13. Muscles ... (97-100)
14. The number of arteries and
    veins ... (101)
15. The number of major and
    minor vessels of vital essence ... (102-105b)
16. The arteries carrying lymph-
    chyle (rasa) ... (105c-113)
17. The vital parts (marmasthāna-s) ... (114ab)
18. Hair on the body, beard and
    the head ... (114c-116a)
19. The measure of fluids in the
    human body ... (116b-118)
20. Concluding remarks ... (119)
    D. Genesis : The psychophysical viewpoint ... 120-163
    (i) The cakra-s (psychophysical centres) 120-145b
21. Ādhāra-cakra and kuṇḍalinī ... (120-122b)
22. Svādhiṣṭhāna-cakra ... (122c-124b)
23. Maṇipūraka-cakra ... (124c-126b)
24. Anāhata-cakra ... (126c-129b)

( xliv )

                                                    Verse Nos.
5. Viśuddhi-cakra                      ...     (129c-131b)
6. Lalanā-cakra                       ...     (131c-133b)
7. Ājñā-cakra                         ...     (133c-134b)
8. Manas-cakra                        ...     (134c-135b)
9. Soma-cakra                         ...     (136-138)
10. Sahasrapatra-cakra                ...       (139)
11. Meditation of cakra-s as
related to the cultivation of
music                             ...     (140-145b)
(ii) Brahma-granthi                           145c-148
(iii) Suṣumṇā and other nāḍī-s       ...     149c-163b
E. Conclusion                        ...     163c-168b
The value of music for enjoyment (bhukti) and for
enlightenment (mukti)                ...     163c-168b
Section 3 : Nāda, Śruti and Svara             1-60b
A. Nāda                              ...       1-7
(i) Nāda-brahman and its worship (upāsanā) ... 1-2
(ii) The process of manifestation of sound in the
human body                       ...       3-4
(iii) Fivefold nāda                  ...         5
(iv) The derivation of nāda          ...         6
(v) The threefold nāda in music      ...         7
B. Śruti                             ...      8-22
(i) Śruti and its number             ...     8-10b
(ii) The fourfold string-movement (catuḥ-sāraṇā) ... 10c-22
C. Svara and its different aspects   ...    23-60b
(i) Seven tones (svara-s)            ...    23-24b
(ii) The definition of svara         ...    24c-25b
(iii) Discussion regarding śruti-s causing the svara-s ... 25c-27b
(iv) The allocation of śruti-s as characterised by
their classes and names among the svara-s ... 27c-38
(v) Their sthāna-s (registers) of svara-s ...   39ab
(vi) Twelve modified notes           ...    39c-46b
(vii) Production of svara-s by the birds and animals ... 46c-47b
(viii) Sonant, consonant, dissonant and assonant
notes                            ...     47c-51
(ix) Lineage, caste, colour, continent, sage, deity,
metre and rasa (aesthetic delight) of svara-s ... 52-60b

( xlv )

                                                    Verse Nos.
Section 4 : Grāma, Mūrcchanā, Krama, and Tāna  1-91
A. Grāma                             ...       1-8
(i) The definition of grāma          ...       1ab
(ii) The Two grāma-s                 ...     1c-2b
(iii) The definition of the ṣaḍja-grāma and the
madhyama-grāma                   ...     2c-3b
(iv) The gāndhāra-grāma              ...      3c-5
(v) Justification for the three grāma-s ...   6-7b
(vi) The presiding deities of the grāma-s ...  7cd
(vii) Periods of time as related to the grāma-s ... 8
B. The Mūrcchanā-s and krama-s       ...      9-26
(i) The definition of mūrcchanā      ...         9
(ii) The names of the mūrcchanā-s of the ṣaḍja
and madhyama grāmas              ...    10-12a
(iii) The tonal form of the mūrcchanā-s ... 12b-15
(iv) The classification of mūrcchanā-s ...   16-17
(v) Method of indicating the serial number of
a mūrcchanā                      ...        18
(vi) The mūrcchanā-series (krama-s) and their
number                           ...    19-20b
(vii) The presiding deities of the mūrcchanā-s ... 20c-22b
(viii) Narada's nomenclature for the mūrcchanā-s ... 22c-26
C. The Tāna-s                        ...     27-90
(i) The formation and the number of the
śuddha-tāna-s (specific combinational
note-series)                     ...     27-31
1. The definition of śuddha tāna ...    (27ab)
2. The hexatonic note-series     ...  (27c-29b)
3. The pentatonic note-series    ...  (29c-31b)
4. Total number of hexatonic
and pentatonic combinational
note-series (śuddha-tāna-s)   ...    (31cd)
(ii) The formation and the number of the
kūṭa (permutational) tāna-s (note-series) ... 32-49
1. The definition of kūṭa-tāna
(permutational note-series)   ...   (32a-c)
2. The enumeration of the
complete permutational
note-series                   ...  (32d-35a)

( xlvi )

( xlvi )
3. The formation of the incom-
plete permutational note-
series ... (35b-36)
4. The enumeration of the
different permutational
note-series ... (37-38)
5. The names of the first four
permutational note-series ... (39)
6. The enumeration of the
hexatonics ... (40-43a)
7. The enumeration of the
pentatonics ... (43b-45b)
8. The enumeration of the
tetratonics ... (45c-46)
9. The enumeration of the
tritones ... (47-48a)
10. The enumeration of the
bitones and the monotones ... (48b-49)
(iii) The repetitions and the total number
of permutational note-series ... 50-60a
(iv) Determining the number of permutational
forms in the note-series of each mūrcchanā ... 60b-61
(v) The formation of the permutational calculus
(prastāra) ... 62-63b
(vi) Khaṇḍameru (permutation-indicator) ... 63c-71

1. The construction of the per-
   mutation indicator ... (63c-66b)
2. The procedure for finding
   out the indicated note-
   series (uddiṣṭa) ... (66c-68b)
3. The procedure for finding
   out the missing note-series
   (naṣṭa) ... (68c-70)
4. The number of permutatio-
   nal note-series in each of
   the series as shown by the
   permutation-indicator ... (71)

( xlvii )

( xlvii )
(vii) The names of the combinational note-series ... 72-90b

1. The hexatonic combinational
   note-series of the ṣaḍja-
   grāma ... (72-78b)
2. The hexatonic combinational-
   note-series of the madhyama-
   grāma ... (78c-82)
3. The pentatonic combinatio-
   nal note-series of the ṣaḍja-
   grāma ... (83-86)
4. The pentatonic combinatio-
   nal note-series of the madhyama-
   grāma ... (87-90b)
   (viii) The functional purpose of the vedic names
   of combinational note-series ... 90cd
   (ix) The specific use of combinational and
   permutational note-series in gāndharva
   and gāna ... 91
   Section : 5 Overlapping (Sādhāraṇa) 1-11b
   (i) Twofold overlapping and the overlapping
   of note-intervals ... 1-2b
   (ii) The overlapping of kākalī and antara ... 2c-3
   (iii) The usage of kākalī and antara ... 4-6
   (iv) The overlapping of ṣaḍja and madhyama ... 7-9
   (v) The overlapping of jāti-s ... 10-11b
   Section 6 : Tone-patterns (varṇa) and Tonal
   Embellishments (alaṅkāra) 1-65b
   (i) The definition and classification of tone-
   patterns (varṇa) ... 1-3b
   (ii) The definition and classification of tonal
   embellishment (alaṅkāra) ... 3c-64b
   (a) The definition of tonal embellishment
   (alaṅkāra) ... 3cd
   (b) The definition and enumeration of
   the embellishments of the steady tone-
   pattern (sthāyī-varṇa) ... 4-6b
   (c) The significance of the terms, mandra,
   tāra, etc. ... 6c-8
   (d) The embellishments of the steady tone-
   pattern ... 9-13

( xlviii )

1. Prasannādi ... (9ab)
2. Prasannānta ... (9c)
3. Prasannādyanta ... (9d-10a)
4. Prasannamadhyā ... (10b-d)
5. Kramārcitā ... (11-12)
6. Prastāra ... (13ab)
7. Prasāda ... (13cd)
   (e) The embellishments of the ascendant
   tone-pattern ... 14-26
8. Vistīrṇa ... (16)
9. Niṣkarṣa and gātravarna ... (17-18b)
10. Bindu ... (18c-19b)
11. Abhyuccaya ... (19cd)
12. Hasita ... (20)
13. Preṅkhita ... (21)
14. Ākṣipta ... (22)
15. Sandhipracchādana ... (23)
    9-12. Udgīta, udvāhita, trivarṇa
    pṛthagveṇī ... (24-25)
    (f) The embellishments of the descendant tone-
    pattern ... 26ab
    (g) The embellishments of the circulatory
    (sañcārī) tone-pattern ... 26c-53
16. Mandrādi ... (30)
    2, 3. Mandra-madhya and
    mandrānta ... (31ab)
17. Prastāra ... (31c-32b)
18. Prasāda ... (32c-33b)
19. Vyāvṛtta ... (33c-34)
20. Skhalita ... (35)
21. Parivartaka ... (36)
22. Ākṣepa ... (37c-38b)
23. Bindu ... (37a-c)
24. Udvāhita ... (38c-39b)
25. Ūrmi ... (39c-40c)
26. Sama ... (40c-41b)
27. Preṅkha ... (41c-42b)
28. Niṣkūjita ... (42b-43a)
29. Śyena ... (43b-44a)
30. Krama ... (44b-45a)
31. Udghaṭṭita ... (45b-46b)
32. Rañjita ... (46c-47a)
    ( xlix )
33. Saṁnivṛttakapravṛttaka ... (47b-48b)
34. Veṇu ... (48c-49b)
35. Lalitasvara ... (49c-50b)
36. Huṅkāra ... (50c-51b)
37. Hrādamāna ... (51c-d)
38. Avalokita ... (52)
    Seven other embellishments ... 54-46b
39. Tāramandra-prasanna ... (56-57b)
40. Mandratāra-prasanna ... (57c-58b)
41. Āvartaka ... (58c-59b)
42. Sampradāna ... (59c-60b)
43. Vidhūta ... (60c-61b)
44. Upalola ... (61c-62b)
45. Ullasita ... (62c-63b)
    (iii) The object of tonal embellishments ... 64c-65b
    Section 7 : Jāti-s (Melodic types) 1-115b
    A. Introductory ... 1-28
    (i) Śuddha (primary) jāti-s ... 1-3b
    (a) The seven śuddhā jāti-s ... (1-2a)
    (b) The definition of śuddhatā ... (2b-3b)
    (ii) Vikṛta (modified) jāti-s ... 3c-7
    (iii) Saṁsargajā-vikṛtā (associate modified jāti-s) ... 8-16
    (iv) The grāma-wise distrbution of jāti-s ... 17-18a
    (v) Complete, hexatonic and pentatonic jāti-s ... 18b-20
    (vi) The rule pertaining to overlapping of notes in
    certain jāti-s ... 21-24b
    (vii) The number of fundamental notes in different
    jāti-s ... 24c-28
    B. Thirteen factors characterising jāti-s ... 29-59b
46. The initial note (graha) ... (31)
47. The fundamental note (aṁśa) ... (32-34)
48. The higher pitch range (tāra) ... (35-36)
49. The lower pitch range (mandra) ... (37-38b)
50. The final note (nyāsa) ... (38c-40)
51. The semifinal note (apanyāsa) ... (41-47b)
52. Saṁnyāsa ... (47c-48a)
53. Vinyāsa ... (48b-d)
54. Profusion (bahutva) ... (49)
55. Rareness (alpatva) ... (50-51)
56. Antaramārga ... (52-53)
    12 & 13. Hexatonic (ṣāḍava) and pentato-
    nic (auḍuva) formation ... (54-59b)

Left Page: Page ( 1 )

( 1 )
C. The characteristic features of the particular
jati-s ... 59c-109
(i) Ṣaḍjī ... 60-64b
(ii) Ārṣabhī ... 64c-66
(iii) Gāndhārī ... 67-70b
(iv) Madhyamā ... 70c-72
(v) Pañcamī ... 73-75b
(vi) Dhaivatī ... 75c-77b
(vii) Naiṣādī ... 77c-78
(viii) Ṣaḍjakaiśikī ... 79-80
(ix) Ṣaḍjodīcyavā ... 81-85b
(x) Ṣaḍjamadhyamā ... 85c-88b
(xi) Gāndhārodīcyavā ... 88c-91b
(xii) Raktagāndhārī ... 91c-94
(xiii) Kaiśikī ... 95-98
(xiv) Madhyamodīcyavā ... 99-100
(xv) Karmāravī ... 101-103b
(xvi) Gāndhārapañcamī ... 103c-105b
(xvii) Āndhrī ... 105c-107b
(xviii) Nandayantī ... 107c-109
D. Concluding Remarks ... 110-115b
(i) General remarks-with regard to jati-s ... 110-113b
(ii) The esoteric value and nature of jati-gāna ... 113c-115b
Section 8 : Gīti-s ... 1-25
(i) The Kapāla and the Kambala songs ... 1-14b
(a) The kapāla-gāna ... (1-10)

1. Ṣaḍjī-kapāla ... (2-3b)
2. Ārṣabhī-kapāla ... (3c-4b)
3. Gāndhārī-kapāla ... (4c-5)
4. Madhyamā-kapāla ... (6)
5. Pañcamī-kapāla ... (7)
6. Dhaivatī-kapāla ... (8)
7. Naiṣādī-kapāla ... (9)
8. The value of kapāla-gāna ... (10)
   (b) The kambala-gāna ... (11-13)
   (c) The verbal text of the kapāla
   songs ... (14ab)
   (ii) The definition and classification of gīti-s ... 14c-25
9. Māgadhī ... (16c-18b)
10. Ardhamāgadhī ... (18c-19b)
11. Sambhāvitā ... (19cd)
12. Pṛthulā ... (20ab)
13. Gīti-s based on tāla ... (20c-25)

Right Page: Chapter 1

Chapter 1
THE TREATMENT OF SVARA
प्रथमः स्वरगताध्यायः
तत्रादिमं पदार्थसंग्रहाख्यं प्रकरणम्
मङ्गलाचरणम्
ब्रह्मग्रन्थिजमारुतानुगतिना चित्तेन हृत्पङ्कजे
सूरीणामनु रञ्जकः श्रुतिपदं योऽयं स्वयं राजते ।
यस्माद् ग्रामविभागवर्णरचनाऽलङ्कारजातिक्रमो
वन्दे नादतनुं तमुद्धुरजगद्गीतं मुदे शङ्करम् ॥१॥
Section 1
Introductory
(i) Propitiation : 1
For delight¹ do I worship Lord Śiva² embodied in (the
form of) nāda³ pre-eminently adored by the entire world,
the source of order inherent in the division of domains⁴, the

1. The author is offering his prayers without any ulterior motive,
   i. e., for the very delight that accompanies the act of worship,
   and so his prayers are immediately answered.
   2 The word used is Śaṅkara, which is capable of double meaning,
   viz. the name of Lord Śiva, and etymologically, one who
   causes comfort or well-being.
2. Nāda is primordial sound, the manifest quality of the first of
   the five elements of creation, ākāśa (space) in its unmodified
   state.
3. The word grāma is capable of double meaning, viz. the diffe-
   rent loka-s (i. e., world-views) such as Bhūḥ, Bhuvaḥ, etc., and
   the three basic scales—ṣaḍja-grāma, madhyama-grāma and
   gāndhāra-grāma spoken of in ancient music.

2 Treatment of Svara
organisation of castes⁵ and the distinction of species⁶; who,
being manifest in the heart-lotus⁷ of yogins as oṅkāra⁸ in the
contemplation of mind united to the movement of prāṇa⁹
originating from the root¹⁰ of the navel, shines in its own
lustre.¹¹ (1).
Interpretation with reference to music:
I take pleasure in paying my homage to gītam¹², the
embodiment of nāda, the cause of comfort¹³ in the restless¹⁴
world, the source of the system comprising the division of
5. Varṇa implies the four castes, viz. Brāhmaṇa, Kṣatriya, Vaiśya
and Śūdra in which the ancient Hindu society was divided;
and in the context of music it signifies types of tonal move-
ment, viz. sthāyī, ārohī, avarohī and sañcārī.
6. Various species of animal kingdom; in music the word (jāti)
stands for arche-types of rāgas, viz. ṣaḍjī, ārṣabhī, etc. The
word alaṅkāra is taken by 'K' in combination with jāti.
Accordingly, this word has been bracketed with 'species'
(jāti) in our translation of the text, in the context of Śiva.
The etymological meaning of the word is alaṁ-karoti-iti alaṅ-
kāraḥ, i. e., which delineates the optimum, such as that of
beauty etc. and is, therefore, also used in the sense of 'orna-
ment or embellishment. Here it has been interpreted in the
simple meaning of delineating the optimum of the species.
7. Hṛtpaṅkaja is the heart-lotus, the seat of anāhata-cakra of twelve
petals in the system of Kuṇḍalinī-Yoga.
8. Śrutipadam is the source of Vedas, i. e. oṅkāra and in music śruti
signifies a microtone.
9. Prāṇa is the vital breath spoken of as maruta (air) in the text;
and the movement of prāṇa is necessary for the articulation of
sound.
10. Brahmagranthi is the knot in which the psychic currents of iḍā
and piṅgalā join with the central canal of psychic energy, viz.
suṣumṇā, near about the root of the navel.
11. The supreme Being is self-luminous and cannot be enlightened
by any modification of the mind. This self-luminosity of
pure Being is suggestive, in the musical context, of the etymo-
logical meaning of svara.
12. Gītam (singing) also implies vādyam (instrumental music) and
nṛttam (dancing). As gītam is directly related to the process
of voice-production in the body, and also because it is consi-
dered to be the main organ of saṅgīta, it represents the entire
art of music.
13. The etymological meaning of the word Śaṅkara.
14. A free rendering of the word uddhura, meaning 'unrestrained.'

Section I : Introductory 3
grāma¹⁵, the composition of varṇa-s¹⁶, the alaṅkāra-s¹⁷ and
the jāti-s¹⁸, the self-manifest¹⁹ locus of śruti-s²⁰ that delights
the masters of music in the lower²¹ register, aided by the
mind attuned to the movement of prāṇa originating from the
root of the navel.
Comments :
It is customary, in the Indian tradition, to offer worship to one's
favourite god as a mark of auspiciousness and for the successful comple-
tion of the work being undertaken. Here, the author opens his maṅgalā-
caraṇa (a benedictory verse) with the word Brahman as a mark of
auspiciousness, and offers worship to Lord Śiva, his iṣṭadevatā (favourite
god) who, incidentally, is the presiding deity of Saṅgīta. The concept
of iṣṭadevatā is peculiar to Indian culture, and is akin to, and seems to
have its origin in, what is known as 'Henotheism' of the vedic pantheon.
There are various religions, dogmas and sects who have their own supreme
deity. The concept of iṣṭadevatā implies the understanding that, although
there is one God in the absolute sense, yet it is known and worshipped
in a particular form and under a particular name that is relevant to a
particular sect. It is also implied in the puranic mythology, to which this
concept truly belongs, that whatever be the description of the supreme
deity in a particular sect, the gods of other sects would be related to it
in some way or the other. Thus, every Hindu is free to have his own
supreme deity. Faith is, therefore, largely an individual affair. Different
members of a family can and do quite often have different iṣṭadevatā-s.
This concept seems to be supported by the Bhagavad-gītā where Lord
Kṛṣṇa declares :
"Whatsoever form (of the supreme deity) a devotee wishes to
worship earnestly, I strengthen his faith in that deity and make it
unflinching." (Bh. G. VII-21)
15. Grāma is a specific group of svara-s (tones), and three grāmas
are accepted, viz. ṣaḍja, madhyama and gāndhāra.
16. Varṇa is 'type of tonal movement', the act of singing, such as
sthāyī etc.
17. Alaṅkāra is a specific combination of svara-s.
18. Jāti is a virtual archetype of rāga, e.g. ṣaḍjī, ārṣabhī, etc.
19. Svayam rājate, suggests the etymological definition of svara,
i.e., the sound that is perceptible and delightful by itself.
20. Śruti signifies a perceptible constituent unit-factor of tone.
21. The heart is identified with the region of voice-production for
the lower register, which implies the other two here.

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4 Treatment of Svara
Incidentally this shows that, since the benedictory verse is offered
to Lord Śiva, Śārṅgadeva belongs to the Śaiva cult. This gives his
religious orientation, though as it would be clear in the subsequent
passages of the text, he seems to belong philosophically to the Bhedābheda
system of Vedānta Philosophy. It is in this context that the concept
of a personal God as iṣṭadevatā becomes all the more significant.
Apart from serving the purpose of maṅgalācaraṇa, this verse figura-
tively also points out the salient features or the main topics of the
subject matter of this chapter. The figure of speech employed is known
as samāsokti by which, such qualifying words are used that are capable
of double meaning and are so composed in a verse or a sentence as
briefly to indicate some other purport not directly implied by the pri-
mary meaning of the words (cf. Kāvyaprakāśa 10.97). Hence the verse
is differently interpreted above with reference to music.
(ii) ग्रन्थकृद्वंशवर्णनम्
अस्ति स्वस्तिगृहं वंशः श्रीमत्काश्मीरसंभवः ।
ऋषेर्वृषगणाज्जातः कीर्तिप्रक्षालितदिङ्मुखः ॥२॥
यज्वभिर्धर्मधीधुर्यैर्वेदसागरपारगैः ।
यो द्विजेन्द्रैरलंञ्चक्रे ब्रह्मभिर्भूर्गतैरिव ॥३॥
तत्राभूद्भास्करप्रख्यो भास्करस्तेजसां निधिः ।
अलङ्कर्तुं दक्षिणाशां यश्चक्रे दक्षिणाऽयनम् ॥४॥
तस्याभूत्तनयः प्रभूतविनयः श्रीसोढलः प्रौढधी-
र्येन श्रीकरणप्रवृद्धविभवं भूवल्लभं भिल्लमम् ।
आराध्याखिललोकशोकशमनी कीर्तिः समासादिता
जैत्रे जैत्रपदं न्यधायि महती श्रीसिंङ्घणे श्रीरपि ॥५॥
एकः क्ष्मावलये क्षितीश्वरमिलन्मौलीन्द्रनीलावलि-
प्रोदञ्चद्द्युतिचित्रिताङ्घ्रिनखरश्रेणिर्नृपालाग्रणीः ।
श्रीमत्सिङ्घणदेव एव विजयी यस्य प्रतापानलो
विश्वव्याप्यपि दन्दहीति हृदयान्येव द्विषामुद्गुरः ॥६॥

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Section I : Introductory 5
तं प्रसाद्य सुधीधुर्यो गुणिनां गुणरागिणम् ।
गुणग्रामेण यो विप्रानुपकारैरतीतृपत् ॥७॥
ददौ न किं न किं जज्ञौ न दधौ कां च सम्पदम् ।
कं धर्मं विदधौ नैष न बभौ कैर्गुणैरयम् ॥८॥
(ii) Author's lineage : 2-8
There¹ is a family line, an abode of beneficence,
founded by the sage Vṛṣagaṇa in the beautiful (valley of)
Kashmir, which has spread its fame in all the quarters of the
world through the descendant dignitaries representing
Brahmā² on the earth as it were, the best among the brahmins,
the masters of the vedic lore, the upholders of religious order
and the presiding priests of vedic sacrifices, who have
enriched its lineage. (2-3)
In that family was born a treasure-house³ of extraor-
dinary excellences bearing the name Bhāskara⁴ (lit. the sun)
who, with a view to grace the southern⁵ direction by his
presence, migrated to the south. (4)

1. 'S' informs that Vṛṣagaṇa is the name of a sage (i. e., ṛṣi) as
   well as a surname (i. e., gotra).
2. The creative aspect of pure being, one of the gods of the
   Hindu trinity Brahmā, Viṣṇu and Śiva. The significance of
   this metaphor is brought out by the words bhū-deva and
   bhū-sura which are the synonyms of brāhmaṇa. The brahmins
   are accordingly considered to be the gods of earth, gods in
   the sense of beings of extraordinary religious spirit.
3. The receptacle of divine glory or spiritual pre-eminence result-
   ing from a sacred knowledge, as per one of the interpretations
   of 'S'.
4. That is, to mention one of the pioneers of the family line.
5. 'S' puts forward two other interesting interpretations, viz. i)
   'he set out in search of a generous patron', ii) 'he set out to
   answer the call, to meet the demand of the experts'. The word
   dakṣiṇa in Sanskrit has three different meanings, viz. right (as
   opposed to left) or south, efficient or clever, and favourable.
   The word is actually loaded with all the three connotations,
   as its meaning as 'right' is suggestive of his sectarian affilia-
   tions, since there are two paths dakṣiṇācāra and vāmācāra, the
   positive and the negative approaches to the fulfilment of life.
   Besides, in Indian tradition, charity and gifts are given by the
   right hand and that is how the word dakṣiṇa is suggestive of the
   meaning that he set out in the search of a generous patron.

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He begot a son Śrī Soḍhala by name; who, modest and
mature of intellect as he was, attained the glory of alleviating
the misery of the entire populace by endearing himself to
king Bhillama whose fortune was fast-growing by the grace
of Lakṣmī⁶. Also for Jaitra⁷, he established a column of
victory in the majesty of king Śrī Singhaṇa. (5)
The king Śrī Singhaṇadeva was the only victorious
monarch of the entire world, the emperor whose line of toe-
nails was picturesque by the reflection of the brilliant streak
of light issuing forth from the garland of the crown-gems of
the (other) kings (of his time) falling at his feet; and the
pervasive⁸ fire of whose victorious prowess burned the hearts
of his foes only. (6)
Foremost among the intellectuals, he (Soḍhala) by his
various accomplishments pleased the emperor, a mine of
merit by himself and a lover of merit⁹ (in others); and
satisfied the host of brahmins by affording generous gifts.
Indeed, what did he not give away, what did he not know
and what wealth did he not acquire¹⁰. In fact he possessed
every virtue and good quality of character. (7-8)
'S' interprets the entire verse taking Bhaskara as a proper
name and also as referring to the sun, and thereby brings out
the poetic beauty of the verse.
6. Goddess of wealth. It is implied that Soḍhala having pleased
the king Bhillama of immense treasures, obtained enormous
riches from him which he distributed among the needy out
of his generosity.
7. Jaitra was the son of king Bhillama who succeeded him, 'S'
however says that it is a name of a city.
8. Viśvavyāpī of the text literally means 'pervading the entire
universe'. 'S' points out the figure of speech known as Viśeṣokti
whereby, despite the presence of the cause, the effect is not
fully manifest; since here the fire of his prowess pervades the
whole world, yet it burns the hearts of his enemies only.
9. 'S' points out the use of parikara alaṅkāra (a figure of speech)
since the expression guṇarañjana is an adjective loaded with
meaningful intention.
10. The purport is that, he could and did part with every valuable
thing, i. e. he generously gave in charity and gifts, he was
proficient in every branch of knowledge, and he did not lack
in any kind of wealth; and thus he was prosperous in every
way.

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(iii) ग्रन्थकृतो वैशिष्ट्यं, ग्रन्थप्रणयनहेतुश्च
तस्माद्दुग्धाम्बुधेर्जातः शार्ङ्गदेवः सुधाकरः ।
उपर्युपरि सर्वान्यः सदौदार्यस्फुरत्करः ॥९॥
कृतगुरुपदसेवः प्रीणिताशेषदेवः
कलितसकलशास्त्रः पूजिताशेषपात्रः ।
जगति विततकीर्तिर्मन्मथोदारमूर्तिः
प्रचुरतरविवेकः शार्ङ्गदेवोऽयमेकः ॥१०॥
नानास्थानेषु संभ्रान्ता परिश्रान्ता सरस्वती ।
सहवासप्रिया शश्वद्विश्राम्यति तदालये ॥११॥
स विनोदैकरसिको भाग्यवैदग्ध्यभाजनम् ।
धनदानेन विप्राणामार्ति संहृत्य शाश्वतीम् ॥१२॥
जिज्ञासूनां च विद्याभिर्गदार्तानां रसायनैः ।
अधुनाऽखिललोकानां तापत्रयजिहीर्षया ॥१३॥
शाश्वताय च धर्माय कीर्त्यै निःश्रेयसाप्तये ।
आविष्करोति संगीतरत्नाकरमुदारधीः ॥१४॥
(iii) Author's personality and the purpose of his under-
taking : 9-14
From the heavenly ocean of milk¹ (Śrī Soḍhala) was
born the producer of nectar (the moon) named Śārṅgadeva
(the author), the rays² of whose righteous generosity spread
wide upon all. (9)
In serving his preceptor, endearing himself to all the
gods, studying all the sciences, adoring the worshipful,

1. Moon was one of the precious gems that were churned out of
   the mythological milk-ocean by the gods and the demons
   together (by a mythological convention).
2. The Skt. word kara means a ray, as well as a hand. So, since
   the poet is presenting a metaphor, the word is quite signi-
   ficant in both of its connotations.

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8 Treatment of Svara
Śārṅgadeva of widespread fame, with a majestic personality
comparable to cupid and endowed with clever wit and sharp
discrimination, is unique by himself in this world. (10)
Bewildered and tired of roaming around various places,
and desirous of his (Śārṅgadeva's) association, Sarasvatī, the
goddess of learning, has found a permanent rest-house in his
residence. (11)
The incomparable reveller of amusements, the deserving
candidate of good luck and skill, having mitigated the eternal
poverty³ of the brahmins by generous distribution of his
wealth among them, having satisfied the inquisitive scholars
by his learning, and having cured the sick by his drugs, he
the high-minded one now commences his work Saṅgīta-ratnākara
for emancipating⁴ the entire populace from the threefold
misery⁵ of the worldly life, serving the cause of eternal
dharma⁶, obtaining glory and for achieving liberation⁷. (12-14)
(iv) पूर्वाचार्यस्मरणम्
सदाशिवः शिवा ब्रह्मा भरतः कश्यपो मुनिः ।
मतङ्गो याष्टिको दुर्गाशक्तिः शार्दूलकोहलौ ॥१५॥
विशाखिलो दत्तिलश्च कम्बलोऽश्वतरस्तथा ।
वायुर्विश्वावसु रम्भाऽर्जुनो नारदतुम्बुरू ॥१६॥
3. Since the brahmins are entirely devoted to the pursuit of knowledge they are always in the need of money.
4. Liberation is the ultimate end of the art of music as understood in India. ‘S’ points out prakaraṇa songs such as madraka etc., that are mentioned subsequently in the text for this very purpose.
5. Threefold misery is suffering pertaining to the physical, mental and spiritual being.
6. Dharma is moral law, religion and duty appropriate to one’s station in life.
7. Saṅgīta is also a medium of attaining liberation, through the vocal compositions known as prakaraṇa-s to be sung in the praise of Lord Śiva.

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Section I : Introductory 9
आञ्जनेयो मातृगुप्तो रावणो नन्दिकेश्वरः ।
स्वातिर्गणो बिन्दुराजः क्षेत्रराजश्च राहुलः ॥१७॥
रुद्रटो नान्यभूपालो भोजभूवल्लभस्तथा ।
परमर्दी च सोमेशो जगदेकमहीपतिः ॥१८॥
व्याख्यातारो भारतीये लोल्लटोद्भटशङ्कुकाः ।
भट्टाभिनवगुप्तश्च श्रीमत्कीर्त्तिधरः परः ॥१९॥
अन्ये च बहवः पूर्वे ये संगीतविशारदाः ।
अगाधबोधमन्थेन तेषां मतपयोनिधिम् ॥२०॥
निर्मथ्य श्रीशाङ्गदेवः सारोद्धारमिमं व्यधात् ।
(iv) The predecessors of the author : 15-21b
Śārṅgadeva, having churned, by the churning rod of
his deep understanding, the ocean of the manifold viewpoints
of previous music experts such as—Sadāśiva, Śiva, Brahmā,
Bharata, sage Kaśyapa, Mataṅga, Yāṣṭika, Durgāśakti,
Śārdūla, Kohala, Viśākhila, Dattila, Kambala, Aśvatara,
Vāyu, Viśvāvasu, Rambhā, Arjuna, Nārada, Tumburū,
Āñjaneya, Mātṛgupta, Rāvaṇa, Nandikeśvara, Svāti, Bindu-
rāja, Kṣetrarāja, Rāhula⁸, Rudraṭa, King Nānyadeva, King
Bhoja, (Paramardī⁹), Someśa the vanquisher of his foes, king
Jagadeka and the interpreters of Bharata such as Lollaṭa,
Udbhaṭa, Śaṅkuka, Abhinavagupta and Kīrtidhara—has
brought out the cream¹⁰ of knowledge in the form of this book.
(15-21b)
8. Ad. ed. of S. R. reads Rāhala. See Dr. V. Raghavan’s article on “Some Names in Early Sangeet Literature”, Sangeet Natak Academy Bulletin No. 6, May 1957.
9. Paramardī—cf. G. O. S. No. 45—Bhāvaprakāśana p. 73, of Introduction, conjecturing Paramardī, to be a man of letters and a king. Paramardī can also be an epithet of Someśa.
10. ‘K’ suggests that, by describing his work as the acme of the works of his predecessors, the author is pointing out the superiority of his work. However ‘S’ poses the question, “Since so many works do exist on the subject what then is the need for the author to write a new book?”, to which he

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10 Treatment of Svara
(v) सङ्गीतलक्षणं, तत्र मार्गदेशीविभागश्च
गीतं वाद्यं तथा नृत्तं त्रयं संगीतमुच्यते ॥२१॥
मार्गो देशीति तद् द्वेधा तत्र मार्गः स उच्यते ।
यो मार्गितो विरिञ्च्याद्यैः प्रयुक्तो भरतादिभिः ॥२२॥
देवस्य पुरतः शंभोर्नियताभ्युदयप्रदः ।
देशे देशे जनानां यद्रुच्या हृदयराञ्जकम् ॥२३॥
गीतं च वादनं नृत्तं तद्देशीत्यभिधीयते ।
(v) The definition of saṅgīta : its classification as mārga and
deśī : 21c-24b
Gītam (vocal melody), vādyam (playing on instruments)
and nṛttam (dancing), all the three together¹ are known as
saṅgīta which is twofold, viz. mārga² and deśī. That which
was discovered by Brahmā and (first) practised by Bharata
and others in the audience of lord Śiva is known as mārga
(saṅgīta), which definitely bestows prosperity; while the saṅgīta
comprising gītam, vādyam and nṛttam, that entertains people
according to their taste in the different regions, is known as
deśī. (21c-24b)

replies that, "all these ancient works are too numerous and
intelligible with great difficulty and therefore the author's
attempt to present the essence of these works in a nutshell is
worthwhile and creditable". Another purpose of the author
in having referred to his predecessors as suggested by 'S' is
that, Śārṅgadeva, by having claimed to have taken the views
of all these authorities into consideration, wants to prove the
authenticity of his own work.

1. All the three are comprehended as different constituents of
   the same art, called saṅgīta. Etymologically the word saṅgīta
   means singing along with accompaniments and embellishments.
   The term saṅgīta is also used merely for music; but, that is a
   figurative use, taking container for the thing contained; or,
   taking the part for the whole.
2. The term mārga is etymologically explained by 'K' as derived
   from the Skt. root mṛg, to seek. Thus mārga is the way, the
   technique or practice based on the findings of the investigation

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Section I : Introductory 11
(vi) गीतस्य प्राधान्यम्
नृत्तं वाद्यानुगं प्रोक्तं वाद्यं गीतानुवर्ति च ॥२४॥
अतो गीतं प्रधानत्वादत्रादावभिधीयते ।
(vi) The predominance of gītam : 24c-25b
Dancing is guided by instrumental music which, in its
own turn, follows the vocal practice. Therefore, the vocal
melody (i. e. gītam), being the main constituent (of saṅgīta)
is expounded in the first instance. (24b-25c)
(vii) गीत-प्रशंसा
सामवेदादिदं गीतं संजग्राह पितामहः ॥२५॥
गीतेन प्रीयते देवः सर्वज्ञः पार्वतीपतिः ।
गोपोपतिरनन्तोऽपि वंशध्वनिवशं गतः ॥२६॥
सामगीतिरतो ब्रह्मा वीणाऽऽसक्ता सरस्वती ।
किमन्ये यक्षगन्धर्वदेवदानवमानवाः ॥२७॥
अज्ञातविषयास्वादो बालः पर्यङ्किकागतः ।
रुदन्गीतामृतं पीत्वा हर्षोत्कर्षं प्रपद्यते ॥२८॥
वनेचरस्तृणाहारश्चित्रं मृगशिशुः पशुः ।
लुब्धो लुब्धक सङ्गीते गीते यच्छति जीवितम् ॥२९॥
तस्य गीतस्य माहात्म्यं के प्रशंसितुमीशते ।
धर्मार्थकाममोक्षाणामिदमेवैकसाधनम् ॥३०॥

carried out by Brahmā, the creator in the subject matter of
the four Vedas (cf. नाट्यंवेदमिमं वेदं सेतिहासं करोम्यहम्) as quoted by
'K'. So, by implication mārga means classical, while deśī
means regional practice.

Page 12

12          Treatment of Svara
(vii) The importance and significance of gītam (melody):
25c-30
Gītam¹ (the vocal music) was extracted from the
Sāmaveda and collected² by Brahmā. Omniscient God, the
husband of Pārvatī (i. e., Śiva) is propitiated by gītam (i. e.,
singing); Kṛṣṇa, the lord of gopī-s, in spite of being infinite,
was enamoured³ of the sound of the bamboo flute. When
Brahmā (the creator) is devoted to sāmagīti (i c., the hymns
of the Sāmaveda sung in a particular style), and Sarasvatī is
attached⁴ to the lute (vīṇā), what to speak, then, of other
creatures, such as the yakṣa-s⁵ and of gandharva-s, the gods
and the demons, and the human beings. An infant, crying
in cradle, unaware of the enjoyment of objects, on tasting
the nectar of a song, knows no bounds of joy. Even a fawn,
an animal feeding on grass and moving in the forest, attract-
ed by the song of a hunter, is ready to sacrifice its life.
Who indeed can describe the grandeur⁶ of melody, for
in fact, it is the only⁷ means for the realisation of the four

Footnotes:

1. As suggested by ‘K’ the hymns of the Sāmaveda are sung in
   seven tones, viz. kruṣṭa, prathama, dvitīya, tṛtīya, caturtha, mandra
   and atisvārya, and so is the present music based on seven tones
   of a different nomenclature.
2. ‘K’ suggests that since the creator himself has extracted saṅgīta
   from the Sāmaveda it is open to all the four castes.
3. Lit. entrapped, charmed, confined.
4. That is, fond of Sarasvatī, the goddess of learning, who, in the
   Hindu mythology, is contemplated with a vīṇā in two of her four
   hands and is considered to be the presiding deity of fine arts.
5. Yakṣa-s and gandharva-s are semi-divine beings of mythological
   origin that have also found a place in poetic convention in
   Sanskrit literature. Yakṣa-s as demigods are considered to be
   the attendants of Kubera, the god of wealth, and guard his
   gardens and treasures; while gandharva-s are celestial singers.
6. Lit. the significance and importance.
7. Though there are definite means for the attainment of these
   values, music is a delightful medium of achieving the same
   ends. Vocal music is employed in the worship of the Divine
   almost universally. Thus it earns spiritual merit. ‘S’ further
   points out that, as mentioned in the text in the context of
   jāti-s, the proper use of jāti-s is instrumental to the attainment
   of dharma.
   That music is a means of earning one’s livelihood and
   wealth needs no explanation, and similarly it also serves as a

Page 13

         Section I : Introductory          13
primary values of human life, viz. righteousness (dharma),
wealth (artha), enjoyment (kāma) and emancipation (mokṣa).
(25c-30)

(viii) ग्रन्थस्थसप्ताध्यायानां वस्तुसंग्रहः

तत्र स्वरगताध्याये प्रथमे प्रतिपाद्यते ।
शरीरं नादसंभूतिः स्थानानि श्रुतयस्तथा ॥ ३१ ॥
ततः शुद्धाः स्वराः सप्त विकृता द्वादशाप्यमी ।
कुलानि जातयो वर्णा द्वीपान्यार्षं च दैवतम् ॥ ३२ ॥
छन्दांसि विनियोगाश्च स्वराणां श्रुतिजातयः ।
ग्रामाश्च मूर्छनास्तानाः शुद्धाः कूटाश्च संख्यया ॥ ३३ ॥
प्रस्तारः खण्डमेरुश्च नष्टोद्दिष्टप्रबोधकः ।
स्वरसाधारणं जातिसाधारणमतः परम् ॥ ३४ ॥
काकल्यन्तरयोः सम्यक्प्रयोगो वर्णलक्षणम् ।
त्रिषष्टिरप्यलङ्कारास्त्रयोदशविधं ततः ॥ ३५ ॥
जातिलक्ष्मा ग्रहांशादि कपालानि च कम्बलम् ।
नानाविधा गोतयश्चेत्येतावान्वस्तुसंग्रहः ॥ ३६ ॥
अथ रागविवेकाख्येऽध्याये वक्ष्यामहे क्रमात् ।
ग्रामरागांश्चोपरागान् रागान् भाषा विभाषिकाः ॥ ३७ ॥
ततोऽप्यन्तरभाषाश्च रागाङ्गाण्यखिलान्यपि ।
भाषाङ्गान्युपपाङ्गानि क्रियाङ्गाणि च तत्त्वतः ॥ ३८ ॥
ततः प्रकीर्णकाध्याये तृतीये कथयिष्यते ।
वाग्गेयकारो गान्धर्वः स्वरादिर्गायनस्तथा ॥ ३९ ॥

Footnote (continued from Page 12):
medium of entertainment apart from affording aesthetic
delight; e. g., music is employed to heighten the sentiment of
love. So, music serves as means to the realisation of the two
other values, viz., wealth and enjoyment. Finally, music is
a means to spiritual emancipation when it is practised in the
spirit of dedication, e. g. in the case of songs like madraka
given in the text subsequently (Chap. V.).

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14 Treatment of Svara
गायनी गुणदोषाश्च तयोः शब्दभिदास्तथा ।
गुणदोषाश्च शब्दस्य शरीरं तद्गुणास्तथा ॥४०॥
तद्दोषा गमकः स्थाया आलप्तिर्वृन्दलक्षणम् ।
ततः प्रबन्धाध्याये तु धातवोऽङ्गानि जातयः ॥४१॥
प्रबन्धानां, द्विधा सूदः शुद्धश्छायालगस्तथा ।
आलिक्रमप्रबन्धाश्च सूदस्था आलिसंश्रयाः ॥४२॥
विप्रकीर्णस्ततश्छायालगसूदसमाधिताः ।
गीतस्या गुणदोषाश्च वक्ष्यन्ते शार्ङ्गसूरिणा ॥४३॥
तालाध्याये पञ्चमे तु मार्गतालाः कलास्तथा ।
पाता मार्गाश्च चत्वारस्तथा मार्गकलाऽष्टकम् ॥४४॥
गुरुलध्वादिमानं चंककलत्वादयो भिदाः ।
पादभागास्तथा मात्रास्ताले पातकलाविधिः ॥४५॥
अङ्गुलीनां च नियमो भेदा युग्मादयस्तथा ।
परिवर्तो लयास्तेषां यतयो गीतकानि च ॥४६॥
छन्दकादीनि गीतानि तालाङ्गनिचयस्तथा ।
गीताङ्गानि च वक्ष्यन्ते देशीतालाश्च तत्त्वतः ॥४७॥
निःशङ्कशाङ्गदेवेन तालानां प्रत्ययास्तथा ।
षष्ठे नानाविधं वाद्यमध्याये कथयिष्यते ॥४८॥
सप्तमे नर्तनं नानारसभावाः क्रमेण च ।
(viii) Synopsis of the work: 31-49b
Now in the first chapter concerning svara¹ (tone) etc.,
the topics of study are :
(i) human embodiment²,

1. 'K' explains svaragata in svaragatādhyāya as स्वरानुगताः स्वरगताः
   श्रुतिग्रामा—etc, i. e the topics pertaining to svara such as śruti,
   grāma, mūrcchanā and so on dealt with in this chapter.
2. Human embodiment is discussed in this context because
   human body is the instrument of voice production, i. e. the
   manifestation of nāda.

Page 15

Section I : Introductory 15
(ii) the process of sound production (in the body),
(iii) the places (of sound production, i. e., the three
registers),
(iv) the śruti-s³ (micro-tones),
(v) the seven śuddha⁴ (standard) svara-s (notes or tones)
along with twelve vikṛta⁵ (modified forms),
(vi) the family, caste, colour, terrestrial region, origi-
nator sage, presiding deity, metre and the proper
application⁶ of each of the svara-s,
(vii) the generic groups of śruti-s,
(viii) the grāma-s (basic scales),
(ix) the mūrcchanā-s⁷ (modified prototype scales),
(x) the śuddha⁸ and kūṭa tāna-s (specific combinational
and permutational note-series) with their number,
(xi) the prastāra⁹ (sequential permutation),
(xii) the khaṇḍameru¹⁰ (permutation indicator),
3. Śruti-s are the twentytwo divisions of the scale of seven notes,
to be defined and demonstrated later in the text.
4. Śuddha svara-s are the seven tones of a definite pitch compre-
hending 4, 3, 2, 4, 4, 3 and 2 śruti-intervals respectively.
5. Vikṛta-svara-s comprise these very seven tones with more or
less modified pitch in the terms of śruti-intervals, explained
later in the text.
6. Viniyoga indicates the proper context in the terms of drama-
turgy and aesthetic delight, i e., rasa for which a particular
melody is employed. See Ragadhyaya (Chapter II) for
illustrations.
7. Series of seven notes in ascending and descending order,
commencing with different notes.
8. In the ancient sense, when one or two notes are omitted from
a scale, in the act of singing, it becomes a tāna; and if such
omission does not alter the order of the rest of the notes, it is
called a śuddha tāna, while kūṭa-tāna is related to the permu-
tation of notes in groups of two to seven.
9. Prastāra represents an actual working out of these various
permutation and combination patterns.
10. Khaṇḍameru is the name of a mathematical device in the form
of a numerical graph which indicates naṣṭa and uddiṣṭa, where
the former points out the particular permutation for a given
number and the latter gives the number of a given permutation,
to be explained subsequently in the text. (63-70 of Sec. IV)

Page 16

16 Treatment of Svara
(xiii) the svara-sādhāraṇa¹¹ (overlapping in note-inter-
vals),
(xiv) the jāti-sādhāraṇa¹² (overlapping in jāti-s),
(xv) the proper use of kākalī-niṣāda¹³ and antara-gāndhāra,
(xvi) the definition of varṇa¹⁴ (colour or pattern of tonal
movement),
(xvii) sixtythree alaṅkāra-s¹⁵ (patterns of tonal phrases),
(xviii) the thirteen characteristic features of jāti-s¹⁶
(melodic types), graha (initial note), aṁśa¹⁷ (funda-
mental note) etc.,
(xix) the kapāla and kambala songs, and
(xx) the various types of gīti-s¹⁸.
These form the collection of topics under study. (31-36)
In the chapter entitled 'Rāgaviveka' (lit. the discernment
of rāga-s) we shall respectively speak of :—
Grāmarāga-s, uparāga-s, rāga-s, bhāṣā-s, vibhāṣā-s, antara-
bhāṣā-s and rāgāṅga-s in full detail and the bhāṣāṅga-s, upāṅga-s
and the kriyāṅga-s, in their essentials. (37-38).
11. Svarasādhāraṇa is defined later in the text; but here it would
suffice to say that it comprehends a pitch interval that is
commonly incorporated by both the tones involved.
12. Among the jāti-s of the same grāma having the same tone as
the fundamental note, the identical melodic presentation that
obtains between them is called jāti-sādhāraṇa (See 10-11b of
Sec. V).
13. Antaragāndhāra and kākalī-niṣāda are the pitch-intervals
obtaining in the svara-sādhāraṇa, located at the distance of
2 śruti-s from gāndhāra and niṣāda respectively.
14. Varṇa signifies 'type of tonal movement', viz. ascending,
descending, etc.
15. Alaṅkāra signifies a melodic phrase, a definite arrangement of
varṇa-s.
16. Jāti represents the first written record of a scientific study
of the melodic patterns that later on developed into rāga-
structures. Jāti, therefore, is conceived as an archetype of
melodic patterns, the mother of rāga-s.
17. Graha and aṁśa are specific notes of a rāga-structure which are
defined later in the text.
18. Gīti signifies the act of singing, comprehending the tonal,
rhythmic and verbal structure of a musical composition.

Page 17

Section I : Introductory 17
Then in the chapter entitled 'Prakīrṇaka' (lit. miscella-
neous) will be described :—
(i) Vāggeyakāra¹⁹ (master composer),
(ii) Gāndharva,²⁰
(iii) Svarādī²¹
(iv) Songster,
(v) Songstress and
(vi) the good and bad characteristics of the two (i. e.,
iv & v),
(vii) the classification of voice and
(viii) the good and bad qualities of voice,
(ix) Śārīra²² and its
(x) good and bad qualities,
(xi) Gamaka²³ (shaking on tones), i. e., grace,
(vii) Sthāya²⁴ (specific features of tonal rendering),
(xiii) Ālāpti²⁵ and
(xiv) the nature of group performance. (39-41b)
The following topics will be dealt with by the learned
Śārṅgadeva in the fourth chapter entitled 'Prabandha'²⁶
(musical composition) :
19. Vāggeyakāra, a master composer, is capable of composing not
only the tonal structure of a musical composition but also the
verbal structure, i. e., the text of the melody.
20. One who is proficient in mārga as well as deśī, music, is called
gāndharva.
21. Svarādi is the performer of deśī music only.
22. Śārīra is peculiarly an Indian concept and has no counterpart
in western terminology. The author elsewhere defines it as
"the built-in capacity of voice (or the entire organism respon-
sible for the production of voice) for musical application (or
for the delineation of a rāga etc.) without any training" (cf.
S.R. III. 82).
23. Gamaka is a graceful shake.
24. Sthāya is an organic part (avayava) of rāga. (See S.R. III
97c-98).
25. Ālāpti is the delineation of rāga.
26. Prabandha is a musical composition, but in this chapter, the
author deals with only vocal compositions and their classi-
fications.

18 Treatment of Svara
(i) Dhātu-s²⁷ (sections) }
(ii) Aṅga-s²⁸ (integral parts) } of vocal composition
(iii) Jāti-s²⁹ (classes) }
(iv) the twofold sūḍa, viz. śuddha and chāyālaga, and
(v) Ālikrama-compositions rooted in the sūḍa and depending on āli
(vi) Viprakīrṇa³⁰ compositions, depending on Chāyālaga sūḍa, followed by
(vii) the good and bad qualities inherent in vocal performance (41c-43).
In the fifth chapter entitled 'Tāla'³¹ (the cyclic time-figure) we shall essentially speak of—
(i) The mārga-tāla-s
(ii) Kalā-s³² (inaudible movements of the hand)
(iii) Pāta-s³³ (audible movements of the hand)
27. Dhātu, literally means a basic element and this expression seems to have been borrowed from Āyurveda (cf. verse 71 of Section 2). Here it signifies 'section' of a musical composition which basically refers to its tonal aspect in contrast with its syllabic content or the non-tonal aspect called mātu. The constitution of prabandha has been conceived on the analogy of an organic body like that of a human being. A prabandha may have 2 to 5 dhātu-s, the average being 4, i. e. udgrāha dhruva, melāpaka and ābhoga, the fifth being antarā.
28. Aṅga, literally means a part of an organic body; here, an integral part of a musical composition. Prabandha is said to have six limbs (i.e, organs), viz. two feet, i e., svara and tāla; two eyes, i.e., pada and tena; and two hands, i e., pāṭa and biruda. We can have two to six of these in a piece.
29. That is, generic classes of vocal compositions, viz. medinī etc., five in number, based on the number of aṅga-s used in a composition.
30. Viprakīrṇa-miscellaneous, i.e., apart from those enumerated above.
31. Tāla signifies cyclic movement in time and is popularly known as the 'time beat'. The author classifies tāla as mārga and deśī and speaks of five mārga-tāla-s and 120 deśī-tāla-s.
Tāla literally is derived from the Skt. root tal—to establish. So, in tāla are established (i.e., based) the three arts of singing, playing on musical instruments and dancing. Tāla is the measure of time that regulates action in music.
32. Kalā, in this context is defined as niḥśabda-kriyā, i.e., soundless act (beat).
33. Pāta is defined as saśabda-kriyā, i.e., act, accompanied with sound (beat).
Section I : Introductory 19
(iv) Mārga-s³⁴ (styles)
(v) the eight mārgakalā-s (i. e., mātrā-s, viz. dhruvakā etc.)
(vi) the standard measure of guru (long) and laghu³⁵ (short)
(vii) the varieties beginning with ekakalā etc.
(viii) the padabhāga-s³⁶
(ix) the mātrā-s³⁷ (fixed units of time)
(x) the technique of pāta³⁸ and kalā in tāla
(xi) the regulation of fingering
(xii) the varieties such as yugma etc.
(xiii) Parivarta³⁹ (the repetition of pāda divisions)
(xiv) Laya-s⁴⁰ (tempo or musical speed)
(xv) and their yati-s (orders of laya)
(xvi) Gītaka-s⁴¹
(xvii) Chandaka gīta-s⁴²
(xviii) the group of tālāṅga-s, and
34. Mārga-s in this context signify the four ways, viz. dhruva etc., in which a particular time-beat cycle can be executed.
35. Laghu and guru signify, primarily, effort in pronouncing a syllable. In metres regulated by the number of syllabic instances—one instance or mātrā is allotted to a short vowel and two to a long one. A syllable is that part of a word that can be pronounced at once, i.e., a vowel with or without one or more consonants.
36. A unit of two or four guru-s.
37. Mātrā signifies a unit, a standard time-measure of a beat-cycle.
38. Pāta roughly signifies a beat that sounds and kalā, a beat that does not sound.
39. Parivarta signifies repetition of padabhāga etc.
40. Laya is tempo, i. e. space in-between the beats. 'S' defines it as the time interval in the act of beating, while yati signifies a scheme of sequence in laya-s.
41 & 42. Seven (or fourteen) song-patterns known as madraka etc. are called prakaraṇākhya gīta-s which are predominently based on tāla and are said to be sung in the praise of lord Śiva for obtaining (spiritual) emancipation.

20 Treatment of Svara
(xiv) gītāṅga-s
(xx) Deśī tāla-s⁴³
(xxi) the pratyaya-s (tabular formulas for finding out
the serial number and the structural form of tāla-s
(44-48b)
In the sixth chapter will be described numerous musi-
cal instruments, while in the seventh chapter, we shall deal
with dancing and the various rasa-s (types of aesthetic
delight) and bhāva-s (modes of being) in due order. (48c-
49b).
43. 120 deśī-tāla-s such as ādi-tāla etc. have been enumerated by
Śārṅgadeva.
अथ द्वितीयं पिण्डोत्पत्तिप्रकरणम्
क. विषयावतरणम्
(i) नादमहिमा
गीतं नादात्मकं वाद्यं नादव्यक्त्या प्रशस्यते ।
तद्द्वयानुगतं नृत्तं नादाधीनमतस्त्रयम् ॥ १ ॥
नादेन व्यज्यते वर्णः पदं वर्णात्पदाद्वचः ।
वचसो व्यवहारोऽयं नादाधीनमतो जगत् ॥ २ ॥
Section 2
The Genesis of the Human Embodiment
A. Introduction :
(i) The importance of nāda : 1-2
Nāda¹ is the very² essence of vocal music. Instrumental
music is enjoyable³, as it manifests nāda. Nṛtta (dance)
Having presented a synoptical view of the proposed work, the
author proceeds to describe the genesis of human embodiment. What
is the relevance of such a topic in a music treatise ? It is indeed ex-
ceptional that Śārṅgadeva has considered it necessary to deal with this
subject matter which concerns embryology and physiology of human
body. He could do so, for he was himself a physician; and he thought

1. Nāda, as already stated, is primordial sound considered by
   some of the schools of Indian Philosophy, specially Yoga and
   Tantra, to be the primary cause of the phenomenal world. Of
   the five basic elements, earth, water, fire, air and ether, per-
   ceived correspondingly by the senses of smell, taste, vision,
   touch and hearing, ether is the most pervasive and the cause
   of the rest. Sound is considered to be the manifestation of
   nāda, which is described as Nāda-brahman and is thus equated
   with the absolute of the Upaniṣads.
2. That is, the intangible substance which manifests itself through
   the articulate sound. The manifest refers to the unmanifest
   by implication.
3. Literally praśasyate means, 'is praised'; but, 'S' rightly inter-
   prets it as 'ramanyatām upaiti', i e., attains the excellence
   of beauty, becomes enjoyable as beautiful.

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22 Treatment of Svara
follows⁴ both (i.e., vocal and instrumental music); therefore,
all the three⁵ together depend on nāda. (1)
it fit to do so because human body provides the required circumstance
and instrumentation for the production of voice and vocal melody.
Just as some study of physiology is necessary for understanding the
process of voice production in the science of voice culture, so also, our
author finds it necessary to investigate the genesis of human embodi-
ment. This is indicated by him in the first few verses of this section.
However, Śārṅgadeva does not seem to be the only writer on music
of his times, who has considered it worthwhile to deal with the subject
of human embodiment. Śāradatanaya, who is almost a contemporary
of Śārṅgadeva (cf. Introduction to Bhāvaprakāśanam, G.O.S. No. XLV,
Baroda, p. 76, wherein he is placed between 1175-1250 A.D.), and whose
work mainly concerns poetics and deals with music as a subsidiary art
to dramatics, also mentions in the beginning of the seventh Chapter the
process of creation according to the Kashmir Śaivism and Tantra, the
process of human embodiment (albeit very briefly as compared to S.R.
and rather somewhat differently) and voice production in the body.
Attention would be drawn to some of his theories in Section 3 of this
Chapter, and a note pointing the salient features of his account of the
embodiment is given at the end of this topic (vide comments on 119).
It is, however, interesting to note that he designates the subject
matter significantly as geya-samutpatti (the creation of vocal music).
Geya is the technical word for melodic structure. Therefore, his treat-
ment of the subject is quite differently oriented. With him the
description of the phenomenal world or of the physical body is inciden-
tal to what he calls geya-samutpatti. And he describes it because geya
(in the sense of music) is a means of realising the four values of life, viz.
dharma, artha, kāma and mokṣa—i.e. social and moral good, economic
prosperity, enjoyment and spiritual emancipation (cf. p. 182 Bhāva-
prakāśanam).
4. In the ancient Indian aesthetic concept of rasa and beauty,
saṅgīta, comprises the three arts of vocal and instrumental
music and dance. The statement is, therefore, to be under-
stood in that context. ‘S’ quotes, aṅgenālambayed gītam, i. e.,
‘song should be supported by the gesture’, to support and to
elucidate the statement, which becomes intelligible if saṅgīta
is considered to be a composite art of singing, playing on
instruments and dancing.
5. The word trayam of the text brings out the composite nature of
saṅgīta.

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Section 2 : The Genesis of the Human Embodiment 23
Nāda⁶ manifests the letters (of alphabet), letters consti-
tute the word,⁷ and words make a sentence; so, the entire
business of life is carried on, through language⁸; and there-
fore, the whole phenomenon (i. e., the world) is based on
nāda.⁹ (2)
Nāda is the basis, not only for music and dance, though specially
related to it, but of the entire business of life; since it constitutes the
very substance of speech which is the only means of communication. The
implication, as derived by ‘K’ is that, the fact that nāda is the very
basis of all manifest life, makes it more important and relevant for the
author to deal with the subject of the genesis of the human embodiment.
(ii) द्विविधो नादः, पिण्डोत्पत्तिप्रतिपादनौचित्यम्
आहतोऽनाहतश्चेति द्विधा नादो निगद्यते ।
सोऽयं प्रकाशते पिण्डे तस्मात्पिण्डोऽभिधीयते ॥ ३ ॥
(ii) Twofold nāda : 3
Nāda is said to be twofold, viz., produced¹ and unpro-
duced. Since it manifests itself in the human body, the
(process of) embodiment is being described. (3)
6. Nāda, here, means sound, i. e., articulation of consonant
letters in conjunction with vowels; ‘S’ interprets nāda, in this
context, as ‘dhvani’ and explains it as the sound which is not
distinguished in terms of varṇa-s, i. e., the particular articula-
tions of sound symbolised by the letters of alphabet, but which
is heard from afar and is responsible for the perception of
high and low pitch associated with letters.
7. Pada in Sanskrit is a meaningful word, i. e., a word with a
relational value.
8. Lit. sentence which is accepted to be the unit of language.
9. Cf. Br. D. verses 16-20, quoted by ‘S’, for similar import.

1. Āhata of the text literally means ‘struck’ and anāhata literally
   means ‘unstruck.’ The idea is that nāda has two forms, viz.,
   the created and the uncreated, the former being an object of
   sense perception and the latter a matter of mystic experience
   of Yoga in which sound and light are fused together and there
   is direct perception.