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

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."

Page 380

380 Treatment of Svara
3. सम्भाविता गीतिः
संक्षेपितपदा भूरिगुरुः संभाविता मता ॥१९॥
यथा—
धा मा मा रि ग
भ क्त्या
री गा सा सा
वे वं
नी धा सा नी
रु द्रं
धा नी मा मा
वं दे
3. Sambhāvitā :
Sambhāvitā is considered to be with abridged verbal
phrases (pada-s) largely¹⁴ (composed) of long syllables. (19cd)
For example :
(i) dhā mā mā ri·ga¹⁵
Bha ktyā
(ii) rī gā sā sā
de vam
(iii) nī dhā sā nī
ru dram
(iv) dhā nī mā mā
van de
observed that the fourfold gīti that is described here is, what is called
padāśrita gīti (i. e. the gīti based on the verbal structure) which may be
distinguished from talāśrita gīti (i. e. the gīti based on tāla) and svarā-
śrita-gīti (i. e. the gīti based on the tonal structure). The first two will
be dealt with shortly in this Section and the last in Chapter II (Rāga).
The māgadhī gīti came into being in the province of Magadha in
eastern India and is therefore called māgadhī as explained by 'K' on
the basis of the derivation of the word given by Mataṅga. Māgadhī
14. That is, it also admits the use of short syllables.
15. Ad. ed. of S. R. reads : ri ga (as two mātrā-s) which seems to
be a misprint.

Page 381

Section 8 : Gīti-s 381
4. पृथुला गीतिः
भूरिलध्वक्षरपदा पृथुला संमता सताम् ।
यथा—
मा गा री गा
सु र न त
सा धनि धा धा
ह र प द
धा सा धा नी
यु ग लं
पा निधप मा मा
प्र ण म त
4. Pṛthulā :
Pṛthulā, according to the learned, has verbal phrases
(pada-s) with many short syllables. (20ab)
For example :
(i) mā gā rī gā
su ra na ta
(ii) Sā dha-ni dhā dhā
ha ra pa da
(iii) dhā sā dhā nī
yu ga lam
(iv) pā ni-dha-pa mā mā
pra ṇa ma ta
and other gīti-s are illustrated by the author with an example in which
each kalā is supposed to be of four mātrās (units). This is elucidated
below in the light of Kallinātha's commentary.
The first kalā is to be sung in the slow tempo, which indicates
the rest period ratio of 4:1 with reference to the fast tempo in
singing a verbal phrase (pada). In the given example the phrase
devam is sung in the first kalā in two syllables, de and vam, each
of which takes two unit measures (mātrā-s). In the second kalā the
phrase rudram is added to the first one (viz. devam) in two syllables,

Left Column

Treatment of Svara
5. तालाश्रिता गीतयः
यद्वा यथाक्षरे युग्मे गुर्वोः प्रथमयोर्यदा ॥२०॥
एकैकं चित्रमार्गाह्नं प्रयुज्य चगणात्मकम् ।
मात्राभिरष्टाभिर्युक्तं दक्षिणे ध्रुवकादिभिः ॥२१॥
प्रयुज्यते तदा गीतिर्मागधीत्यभिधीयते ।
तृतीयं लघु युग्मस्य च्छगणार्धयुतं यदा ॥२२॥
आद्याभ्यामन्तिमाभ्यां च मात्राभ्यां संप्रयुज्यते ।
ततः प्लुतं सार्धगणयुक्तं कृत्वा प्रयुज्यते ॥२३॥
ध्रुवकादिभिरष्टाभिर्द्विरुक्तान्त्यद्वयेन च ।
तदाऽर्धमागधी ते द्वे तद्गतान्तर्रेष्वपि ॥२४॥
संभाविता भूरिगुर्वाढ्कले वार्तिके पथि ।
चतुष्कले भूरिलघुर्दक्षिणे पृथुला मता ॥२५॥
इति प्रथमे स्वरगताध्यायेऽष्टमं गीतिप्रकरणम् ॥८॥
इति श्रीमदनवद्य-विद्याविनोद-श्रीकरणाधिपति-श्रोसोढलदेवनन्दन-
निःशङ्कश्रोशाङ्गदेव-विरचिते संगीतरत्नाकरे स्वरगताध्यायः प्रथमः ।
5. Gīti-s based on tāla :
Alternatively, if the initial two guru-s of the namewise
(yathākṣara) caccatpuṭa¹⁶ (tāla), having been employed one by
one in the citra mārga¹⁷, are converted into ca-gaṇa¹⁸ and
ru and dram. Thus, the phrase devam is sung for the second time and
the four syllables are sung in four mātrā-s (units). The number of
notes taken in one mātrā (unit), whether one or two, is immaterial. In
the third kalā the first and the second phrases are sung along with the
additional third, viz. vande which is split into two syllables, van and de.
Thus, the first mātrā of the third kalā is sung with the phrase devam, the
second with rudram and the third and the fourth with the syllables van
and de making for the phrase vande. The third kalā being in the fast
16. Yugma is caccatpuṭa.
17. Citramārgārhaṁ seems to be the reading of the text available
to 'K' as it is evident from his commentary which is supported
also by the interpretation presented by 'S'. The Ad. ed. of
S. R. reads citramārgādi which does not grammatically fit in
the verse to be adequately meaningful.
18. That is, each guru to be sung in four mātrā-s by the vārtika mārga.

Right Column

Section 8 : Gīti-s 383
then being provided with eight mātrā-s (units) are employed
in the dakṣiṇa mārga with dhruvaka¹⁹, etc. then the gīti is
called māgadhī. (20c-22b)
When, the third laghu of the caccatpuṭa²⁰ (tāla) is aug-
mented by half the cha-gaṇa²¹ and is used with the initial
tempo is the quickest in action as well as rest with reference to the first
and the second. Also in the third kalā the phrase devam is sung for the
third time. In this way, because in this gīti a phrase is sung for three
times, it is called trirāvṛttapadā. (16c-18b)
Ardha-māgadhī is obviously a modification of māgadhī. When the
second half of the first two phrases respectively is repeated successively
in the second and the third kalā-s of māgadhī, it becomes ardha-māgadhī.
The process of its formation is illustrated by an example according to
which the first kalā is like that of māgadhī with the phrase : Devam
(de+vam); in the second kalā the phrase is rudram (ru+vam); which
is preceded by the second half of the phrase of the first kalā, viz.
vam, reading on the whole as vam rudram. Similarly, in the third kalā
the phrase is vande (vam+de) which is preceded by the second half of
phrase of the second kalā, viz. dram, reading on the whole as dram vande.
However, the author quotes another opinion as well. In this
view, just as māgadhī is called trirāvṛtta, i. e. the one in which a pada
(phrase) is sung thrice, so ardha-māgadhī is dvirāvṛtta, i. e. the one in
which the two pada-s (phrases of the 1st and the 2nd kalā-s) are sung
twice. Accordingly devam is repeated in the second kalā and rudram
is repeated in the third kalā. However, 'K' points out that according
to Mataṅga, some consider the twice-repeated phrases also to be charac-
teristic of māgadhī. (18c-19b)
Sambhavitā is said to have abridged phrases, by which it is meant
that the pada-s used are few and far between. Moreover, they consist
of long syllables : a syllable is considered to be grammatically long
19. Dhruvaka, sarpiṇī, patitā, etc. are the names of the actions of
hand to be explained in Chapter V. But 'K' gives, the follow-
ing as pertaining to the three steps spoken of above.
1st step : Dhruvaka and patitā
2nd step : Dhruvaka, sarpiṇī patākā and patitā
3rd step : Dhruvaka, sarpiṇī, kṛṣyā, padminī, visarjitā, vikṣiptā,
patākā and patitā.
20. Yathākṣara is understood.
21. That means, three mātrā-s.

[Left Page]

Treatment of Svara
two and the last two mātrās²² and if, after that, the pluta
(extra long) is augmented by one and half the (said) gaṇa²³
and is used with the eight mātrā-s such as dhruvaka and so
on²⁴, twice repeating the last two of them²⁵, then it is ardha-
māgadhī. (22c-24c)
when it implies twice the effort necessary for pronouncing a short vowel
or a consonant with it. There are quite a few conditions that determine
this measure of effort which need not be related here. To understand
the given example, however, in the first kalā of four mātrā-s (units) and
five notes only two syllables are taken, viz. Bha, which is long in view
of the succeeding conjunct and ktyā which is long by itself The other
kalā-s are similarly fashioned.
Here, it may be observed that 'S' seems to have a different reading
of the portion 19b which leads him to take it as a part of the defini-
tion of sambhāvitā, rather than that of ardha māgadhī as taken in our text
as well as by 'K'. Indeed the text-variant of dvirāvṛttapadaṁ pare is
recorded in the foot note of the Adyar edition as dvirāvṛttapadāntare
which means : "the one in which a phrase (pada) is sung in the following
phrase for the second time" and which is taken by 'S' to be qualifying
sambhāvitā. (19cd).
Pṛthulā is in contrast with sambhāvitā; whereas the latter has abrid-
ged pada-s with long syllables, the former has many pada-s with short
syllables. That is perhaps why Mataṅga derives sambhāvitā as that
in which the abridgement of pada-s is expected (saṁbhāvyate) and pṛthulā
as that which is enlarged upon profusion of pada-s; for, pṛthulā literally
means large or broad. (20ab).
Having described the four types of gīti as based on pada (verbal
phrases), the author describes them as based on tāla; and thus, he deals
with tālāśrita-gīti.
Detailed information regarding tāla is to be found in the
Tālādhyāya, i. e. Chapter V, but here it is necessary to observe a few
things. The three types of caccatpuṭa; viz. ekakala, dvikala and catuṣkala
22. The initial two are dhruvaka and sarpiṇī and the last two are
pataka and patita.
23. That means, nine mātrā-s.
24. The eight mātrā-s of caccatpuṭa, i. e. from dhruvaka to patita.
25. In order to occupy the last four (9-12) mātrā-s.

• This is based on the references of 'K' in his commentary on
  the above text.

[Right Page]

Section 8 : Gīti-s 385
These²⁶ two may also similarly (be conceived) in
other²⁷ tala-s. (24c-24d)
Sambhāvitā is accepted to be with many long syllables in
the dvikala (caccatpuṭa) by the vārtika mārga and pṛthulā is
with many short syllables in the catuṣkala (caccatpuṭa) by the
dakṣiṇa mārga. (25)
Here ends Chapter I of saṅgīta-ratnākara entitled "Treat-
ment of svara" composed by Śārṅgadeva who is free from
doubt, the son of Śrī Soḍhaladeva, the faultless reveller of
scholarship and the master treasurer.
have already been mentioned. Of these the first one is called yathākṣara
which corresponds in terms of unit measures (mātrās) to those indicated
by its name, and that is why it is said to be namewise (yathākṣara); and
its measure is two guru-s followed by a laghu and a pluta making in all,
eight mātrā-s.
Laghu has already been explained as the duration of time required
for pronouncing five short syllables; or, as it is alternatively expressed,
the duration of time taken by the winking of eyes for five times. Two
laghu-s make for one guru. Three laghu-s constitute a pluta.
The laghu is written as (1), the guru as (S), and the pluta as (S')
and the last letter of caccatpuṭaḥ, viz. ṭaḥ is pluta. So, now it will be
seen that the namewise (yathākṣara) caccatpuṭa is written SSIS' and has
eight mātrā-s. Mātrā is another expression for laghu.
Reverting to the text, the first two guru-s have the value of two
mātrā-s each and as such they should, in māgadhī, be sung in the citra
mārga in the ekakala caccatpuṭa. Ca-gaṇa, as it will be described in greater
detail in Chapter IV, viz. Prabandhādhyāya, is a grouping of four mātrā-s.
So, the second step is to enlarge upon the two initial guru-s so as to
enhance their value to four mātrā-s each, and thus sing the pada as
dvikala by vārtika mārga. The third step is to enhance the value of each
of the two initial guru-s to eight mātrā-s and sing by dakṣiṇa mārga in
catuṣkala caccatpuṭa. Thus, the essential feature is the repetition of the
initial two guru-s as required by the expression "trirāvṛttapadā" and so
on. The second step, as described above, is implicit as pointed out by
'K'. (20c-22b)
26. Māgadhī and ardhamāgadhī.
27. Such as pañcapāṇi and so on.
25

Treatment of svara
Ardha-māgadhī distinguishes itself from māgadhī in so far as it is
more concerned with the latter part of the namewise (yathākṣara)
caccatpuṭa tāla, viz. with the third laghu and the fourth pluta (extra long)
out of its four mātrā-s, viz. SSIS' (guru, guru, laghu and pluta).
What is suggested is that, in order to formulate ardha-māgadhī, the
third mātrā of the yathākṣara caccatpuṭa, which is laghu, be augmented
with half of cha-gaṇa, i. e. three mātrā-s; that is, its value should be
increased from one laghu to four (mātrās). And then having thus in-
creased its value to four mātrā-s it may be sung with the initial two
and the last two (of the eight) mātrā-s of caccatpuṭa, viz. dhruvaka and
sarpiṇī and patāka and patitā respectively. This forms the first step
as it were.
In the second step the pluta that is following the laghu is required
to be augmented by one and half the cha-gaṇa. Cha-gaṇa is a grouping
of six mātrā-s. So, to the three mātrā-s of pluta, nine more are added,
making twelve in all. Of these twelve mātrā-s, the first eight are sung
with the eight mātrā-s of caccatpuṭa in due order, and the last four by
repeating the last two mātrā-s twice in due order, i. e. with patāka,
patitā, patāka and patitā. This process forms ardha-māgadhī as based
on tāla.
Sambhāvitā and pithulā are conceived on the same lines except
that the former is set in dvikala and the latter in the catuṣkala caccatpuṭa.
This ends the Section on gīti-s and also Chapter One constituting
Volume I entitled the Svaragatādhyāya.
The End
APPENDIX I
PARALLEL REFERENCES FROM CARAKA AND
SUŚRUTA IN THE CONTEXT OF HUMAN
EMBODIMENT (PIṆḌOTPATTI)
Saṅgīta- Caraka &
ratnākara Suśruta
I.2.23-25 स सर्वगुणवान् गर्भत्वमापन्नः प्रथमे मासि सम्मूर्च्छितः Caraka Śā.
सर्वधातुकलनीकृतः खेटभूतो भवत्यव्यक्तविग्रहः Sthā 4.9-11
सदसद्भूताङ्गावयवः । ४।६
द्वितीये मासि घनः सम्पद्यते--पिण्डः पेश्यर्बुदं वा, तत्र
पिण्डः पुरुषः, स्त्री पेशी, अर्बुदं नपुंसकम् । ४।१०
तृतीये मासि सर्वेन्द्रियाणि सर्वाङ्गावयवाश्च योग-
पद्येनाभिनिर्वर्तन्ते । ४।११
तत्र प्रथमे मासि कललं जायते । ३।१८ Suśruta,
द्वितीये शीतोष्मानिलैरभिप्रपच्यमानानां महाभूतानां Śā. Sthā
संघातॊ घनः संजायते; यदि पिण्डः पुमान्, स्त्री चेत् 3. 18-21
पेशी नपुंसकं चेदर्बुदमिति । ३।१९
तृतीये हस्तपादशिरसां पञ्च पिण्डका निर्वर्तन्तेऽङ्ग-
प्रत्यङ्गविभागश्च सूक्ष्मो भवति । ३।२०
चतुर्थे सर्वाङ्गप्रत्यङ्गविभागः प्रव्यक्ततरो भवति
गर्भहृदयप्रव्यक्तिभावाच्चेतना-धातुरभिव्यक्तो भवति,
कस्मात् ? तत्स्थानत्वात्; तस्माद्गर्भश्चतुर्थे मास्य-
भिप्रायमिन्द्रियार्थेषु करोति, द्विहृदयां च नारी
दौहृदिनीमाचक्षते । ३।२१
I.2.30cd-32 राजसंदर्शने यस्या दौहृदं जायते स्त्रियाः । ibid 3.26-34
अर्थवन्तं महाभागं कुमारं सा प्रसूयते ॥ ३।२६
दुकूलपट्टकोशेयभूषणादिषु दौहृदात् ।
अलंकारैषिणं पुत्रं ललितं सा प्रसूयते ॥ ३।२७
आश्रमे संयतात्मानं धर्मशीलं प्रसूयते ।
देवताप्रतिमायां तु प्रसूयते पाषंडोपमम् ॥ ३।२८
दर्शने व्यालजातीनां हिंसाशीलं प्रसूयते ॥ ३।२९

गोधामांसाऽशने पुत्रं सुषुप्तं धारणात्मकम् ।
गवां मांसे तु बलिनं सर्वक्लेशसहं तथा ॥ ३।३०
माहिषे दौहृदाच्छूरं रक्ताक्षं लोमसंयुतम् ।
वाराहमांसात् स्वप्नालुं शूरं संजनयेत् सुतम् ॥ ३।३१
मार्गाद्विक्रान्तजङ्घालं सदा वनचरं सुतम् ।
समरोद्विग्नमनसं नित्यभीतं च तंत्तिरात् ॥ ३।३२
अतोऽनुक्तेषु या नारी समभिध्याति दोहृदम् ।
शरीराचारशीलैः सा समानं जनयिष्यति ॥ ३।३३
कर्मणा चोदितं जन्तोर्भवितव्यं पुनर्भवेत् ।
यथा तथा दैवयोगाद् दोहृदं जनयेद्धृदि ॥ ३।३४
I.2.33-39ab पञ्चमे मासि गर्भस्य मांसशोणितोपचयो भवत्यधिक- Caraka,
मन्येभ्यो मासेभ्यः, तस्मात्तदा गर्भिणी कार्श्यमापद्यते Śā. Sthā
विशेषेण । ४।२१ 4.21-26
षष्ठे मासि गर्भस्य मांसशोणितोपचयो भवत्यधिक-
मन्येभ्यो मासेभ्यः, तस्मात्तदा गर्भिणी बलवर्णहानि-
मापद्यते विशेषेण । ४।२२
सप्तमे मासि गर्भः सर्वभावैराप्याय्यते, तस्मात्तदा
गर्भिणी सर्वाकारैः क्लान्ततमा भवति । ४।२३
अष्टमे मासि गर्भश्च मातृतो गर्भतश्च माता रसवाहि-
नीभिः संवाहिनीभिर्मुहुरोजः परस्परत आददाते
गर्भस्यासंपूर्णत्वात्, तस्मात्तदा गर्भिणी मुहुर्मुहुर्मुदायुक्ता
भवति मुहुर्मुहुश्च ग्लाना ग्लाना तथा गर्भः । तस्मात्तदा
गर्भस्य जन्म व्यापत्तिमद्भवत्योजसोऽनवस्थितत्वात्;
तं चैवमभिसमीक्ष्याष्टमं मासमगण्यमित्याचक्षते
कुशलाः । ४।२४
तस्मिन्नेकदिवसातिक्रान्तेऽपि नवमं मासमुपादाय
प्रसवकालमित्याहुराद्वादशान्मासात्, एतावान्कालः,
वैकारिकमतः परं कुक्षाववस्थानं गर्भस्य । ४।२५
एवमनयाऽऽनुपूर्व्याऽभिनिर्वर्तते कुक्षौ । ४।२६
पञ्चमे मनः प्रतिबुद्धतरं भवति । ३।३५ Suśruta,
षष्ठे बुद्धिः । ३।३६ Śā. Sthā.
सप्तमे सर्वाङ्गप्रत्यङ्गविभागः प्रव्यक्ततरः । ३।३७ 3. 35-39
अष्टमेऽस्थिरीभवत्योजः, तत्र जातश्चेन्न जीवेन्नि-
रोजस्त्वान्नैर्ऋ तभागत्वाच्च, ततो बलिं मासोदनमस्मै
दापयेत् । ३।३८
नवमदशमैकादशद्वादशानामन्यतमस्मिन् जायते,
अतोऽन्यथा विकारी भवति । ३।३९
I. 2. 39 cd-मातुस्तु खलु रसवहायां नाड्यां गर्भनाभिनाडी ibid 3. 40
40 ab प्रतिबद्धा, साऽस्य मातुराहाररसवीर्यमभिवहति ।
तेनोपस्नेहेनास्याभिवृद्धिर्भवति । असंजाताङ्गप्रत्यङ्ग-
प्रविभागमानिषेकात् प्रभृति सर्वशरीरावयवानु-
सारिणीनां रसवहानां तिर्यग्गतानां धमनीनामुपस्नेहो
जीवयति । ३।४०
I. 2. 44 तत्र गर्भस्य पितृजमातृजरसजात्मजसत्त्वजसात्म्यजानि ibid 3. 43
शरीरलक्षणानि व्याख्यास्यामः । गर्भस्य केशश्मश्रु-
लोमास्थिनखदन्तसिरास्नायुधमनीरेतः - प्रभृतीनि
स्थिराणि पितृजानि, मांसशोणितमेदोमज्जहृन्नाभिय-
कृत्प्लीहान्त्रगुदप्रभृतीनि मृदूनि मातृजानि, शरीरो-
पचयो बलं वर्णः स्थितिर्र्हानिेश्च रसजानि, इन्द्रियाणि
ज्ञानं विज्ञानमायुः सुखदुःखादिकं चा

390 Treatment of Svara
तस्य पुरुषस्य पृथिवी मूत्तिः, आपः क्लेदः, तेजोऽ
भिसन्तापो, वायुः प्राणो, वियच्छिद्राणि, ब्रह्माऽ
न्तरात्मा, यथा खलु ब्राह्मो विभूतिर्लोके......। ५।५*
दशोदकस्याञ्जल्यः शरीरे स्वेनाञ्जलिप्रमाणेन यत्तत् ibid 7.16
प्रच्यवमानं पुरीषमनुबध्नात्यतियोगेन तथा मूत्रं रुधि-
रमन्यांश्च शरीरधातून्, यत्तत् सर्वशरीरचरं बाह्या
त्वग्बिभर्ति, यत्तु त्वगन्तरे व्रणमतं लसोकाशब्दं लभते,
यच्चोष्मणाऽनुबद्धं लोमकूपेभ्यो निष्पतत्स्वेदशब्द-
मवाप्नोति, तदुदकं दशाञ्जलिप्रमाणं, नवाञ्जलयः
पूर्वस्याहारपरिणामधातोर्यतं रस इत्याचक्षते, अष्टौ
शोणितस्य, सप्त पुरीषस्य, षट्श्लेष्मणः, पञ्च पित्तस्य,
चत्वारो मूत्रस्य, त्रयो वसायाः, द्वौ मेदसः, एको मज्जः,
मस्तिष्कस्यार्धाञ्जलिः, शुक्रस्य तावदेव प्रमाणं,
तावदेव श्लेष्मणश्चौजस इत्येतच्छरीरतत्त्व-
मुक्तम् । ७।१६
I.2. 75-77 ab तत्रायं शरीरस्याङ्गविभागः । तद्यथा—द्वौ बाहू, Caraka,
द्वे सक्थिनी, शिरोग्रीवम्, अन्तराधिरिति षडङ्गमङ्गम् । Śā. Sthā.
७।५ 7-5
ibid 77 ab शरीरे षट् त्वचः, तद्यथा—उदकधरा त्वग्वाह्या, ibid 7-4
द्वितीया त्वगसृग्धरा, तृतीया सिध्मकिलाससम्भवा-
धिष्ठाना, चतुर्थी दद्रुकुष्ठसम्भवाधिष्ठाना, पञ्चम्यल-
जीविद्रधिसम्भवाधिष्ठाना, षष्ठी तु यस्यां छिन्नायां
ताम्यत्यन्ध इव च तमः प्रविशति, यां चाप्यधिष्ठा-
यापि जायन्ते पर्वसु कुष्णारुंषीनि स्थूलमूलानि
दुश्चिकित्स्यतमानि चेति षट् त्वचः, एताः षडङ्ग-
शरीरमवतत्य तिष्ठन्ति । ७।४
ibid तस्य खल्वेवंप्रवृत्तस्य शुक्रशोणितस्याभिपच्य- Suśruta,
मानस्य क्षीरस्येव सन्तानिकाः सप्त त्वचो भवन्ति । Śā. Sthā
तासां प्रथमाऽवभासिनी नाम, या सर्ववर्णानवभासयति 4. 3-5
पञ्चविधां च छायां प्रकाशयति, सा व्रीहेरष्टादशभाग-
प्रमाणा सिध्मपद्मकण्टकाधिष्ठाना; द्वितीया लोहिता
नाम, तृतीया श्वेता नाम, चतुर्थी ताम्रा नाम, पञ्चमी
वेदिनी नाम, षष्ठो रोहिणी नाम, सप्तमी मांसधरा
नाम । ४।३

• See Suśruta Śa. Stha. 1.20

Appendix I 391
कला खल्वपि सप्त संभवन्ति धात्वाशयान्तर-
मर्यादाः । ४।४
यथा हि सारः काष्ठेषु छिद्यमानेषु दृश्यते । Suśruta, Śā.
तथा धातुहि मांसेषु छिद्यमानेषु दृश्यते । ४।५ Sthā 4.5
I.2. 81-82 ab वाताशयः, पित्ताशयः, श्लेष्माशयो, रक्ताशयः, ibid, 4.5
आमाशयः, पक्वाशयो, मूत्राशयः, स्त्रीणां गर्भा-
शयोऽष्टम इति । ५।७
ibid 88-90 मांससिरास्नाय्वस्थिजालानि प्रत्येकं चत्वारि ibid, 5,11
चत्वारि, तानि मणिवन्धगुल्फसंश्रितानि परस्पर-
निवद्धानि परस्परसंश्लिष्टानि परस्परगवाक्षितानि
चेति, यैर्गवाक्षितमिदं शरीरम् । ५।११
ibid 92 सङ्घातास्तु दशोत्तरे द्वे शते; तेषां शाखा ibid,
स्वष्टषष्टिः, एकोनषष्टिः कोष्ठे, ग्रीवां प्रत्यूर्ध्वं 5. 28-32
त्र्यशीतिः । ५।२८
त एते सन्धयोऽष्टविधाः—कोरोलूखलसामुद्ग-
प्रतरतुन्नसेवनीवायसतुण्डमण्डलशङ्खावर्ताः । तेषा-
मङ्गुलिमणिवन्धगुल्फजानुकूर्परेषु कोराः सन्धयः,
कक्षावङ्क्षणदशनेषूलूखलाः, अंसपीठगुदभगनितम्बेषु
सामुद्गाः, ग्रीवापृष्ठवंशयोः प्रतराः, शिरः कटीकपालेषु
तुन्नसेवन्यः, हनोरुभयतस्तु वायसतुण्डः, कण्ठहृदय-
नेत्रक्लोमनाडिषु मण्डलाः, श्रोत्रशृङ्गाटकेषु शङ्खा-
वर्ताः । तेषां नामभिरेवाकृतयः प्रायेण व्याख्याताः ।
५।३२
I.2. 94 ab अस्थ्नां तु सन्धयो ह्येते केवलाः परिकीर्तिताः । ibid, 5. 33
पेशीस्नायुसिराणां तु सन्धिसङ्ख्या न विद्यते ॥ ५।३३
ibid 98cd. अपत्यपथे चतस्रः—तासां प्रसूतेऽभ्यन्तरतो द्वे, मुखा- ibid, 5. 51
श्रिते वाह्ये च वृत्ते द्वे, गर्भच्छिद्रसंश्रितास्तिस्रः,
शुक्रार्तवप्रवेशिन्यस्तिस्र एव । पित्तपक्वाशययोर्मध्ये
गर्भशय्या, यत्र गर्भस्तिष्ठति । ५।५१
ibid. 99-100 शङ्खनाभ्याकृतियोंनिस्त्र्यावर्ता सा प्रकीर्तिता । ibid, 5.
तस्यास्तृतीये त्वावर्ते गर्भशय्या प्रतिष्ठिता ॥ ५।५५ 55-56
यथा रोहितमत्स्यस्य मुखं भवति रूपतः ।
तत्संस्थानां तथारूपां गर्भशय्यां विदुर्बुधाः ॥ ५।५६

ibid 107    ऊर्ध्वगाः शब्दस्पर्शरूपरसगन्धप्रश्वासोच्छ्वास- ibid, 9.4
जृम्भितक्षुद्हसितकथितरुदितादीन् विशेषांमभिवहन्तः
शरीरं धारयन्ति । तास्तु हृदयमभिप्रपन्नास्त्रिधा
जायन्ते, तास्त्रिंशत् । तासां तु वातपित्तकण्ठशोणित-
रसान् द्वे द्वे वहतस्ता दश शब्दरूपरसगन्धानष्टाभि-
र्गृह्णीते, द्वाभ्यां भाषते, द्वाभ्यां घोषं करोति, द्वाभ्यां
स्वपिति, द्वाभ्यां प्रतिबुध्यते, द्वे चाश्रुवाहिन्यौ, द्वे स्तन्यं
स्त्रिया वहतः स्तनसंश्रिते, ते एव शुक्लं नरस्य स्तना-
भ्यामभिवहतः, तास्स्वेतास्त्रिंशत् सविभागा
व्याख्याताः । एताभिरूर्ध्वं नाभेरुदरपार्श्वपृष्ठोरः
स्कन्धग्रीवावाहवो धार्यन्ते याप्यन्ते च । ६।४
I.2.110-113 ऊर्ध्वंगमास्तु कुर्वन्ति कर्माप्येतानि सर्वशः ।    ibid, 9.5-8
अधोगमास्तु वक्ष्यामि कर्म तासां यथायथम् ॥ ९।५
अधोगमास्तु वातमूत्रपुरीषशुक्रार्तवादिन्यधो वहन्ति ।
तास्तु पित्ताशय······व्याख्याताः ॥ ९।६
अधोगमास्तु कुर्वन्ति कर्माप्येतानि सर्वशः ।
तिर्यग्गाः संप्रवक्ष्यामि कर्म चासां यथायथम् ॥ ९।७
तिर्यगानां तु चतसृणां धमनीनामेकैका शतधा सहस्रधा
चोत्तरोत्तरं विभज्यन्ते तास्त्वसङ्ख्येयाः, ताभिरिदं
शरीरं गवाक्षितं विवद्धमाततं च, तासां मुखानि
रोमकूपप्रतिबद्धानि, यैः स्वेदमभिवहन्ति रसं चाभितर्प-
यन्त्यन्तर्बहिश्च, तैरेव चाभ्यङ्गपरिषेकावगाहालेपन-
वीर्याण्यन्तःशरीरमभिप्रतिपद्यन्ते त्वचि विपक्वानि,
तैरेव च स्पर्शं सुखमसुखं वा गृह्णाति, तास्वेताश्च-
तस्रो धमन्यः सर्वाङ्गगताः सविभागा व्याख्याताः ॥ ९।८
ibid 116 b नव स्नायुशतानि, सप्त सिराशतानि, द्वे धमनीशते, Caraka,
चत्वारि पेशीशतानि, सप्तोत्तरं मर्मशतं, द्वे पुनः सन्धि- Śā.Sthā7.15
शते, त्रिंशत्सहस्राणि नव च शतानि षट्पञ्चाशत्कानि
सिराधमनीनामणुशः प्रविभज्यमानानां मुखाग्रपरिमाणं,
तावन्ति चैव केशश्मश्रुलोमानीत्येतद्यथावत्संख्यातं त्वक्
प्रभृति दृश्यम्, अतः परं तर्क्यम्; एतदुभयमपि न
विकल्प्यते प्रकृति-भावाच्छरीरस्य । ७।१५

APPENDIX II
THE RELATIONSHIP OF THE PSYCHOPHYSICAL
CENTRES TO MUSIC
The author has specifically mentioned the particular
psychophysical centres and their particular petals that are
positively or negatively related to the cultivation of musical
arts. The following chart illustrates this relationship and
also presents the whole picture at a glance.
Psychophysical Centres as Related to Music

26

4. Cycle of the 12 1 Freedom from
   unmanifest fickleness Conducive
   (Anāhata-cakra) 2 Clear thinking Non-conducive
   3 Repentance Non-conducive
   4 Hope Destructive
   5 Light Non-conducive
   6 Worry Destructive
   7 Desire for ward-
   ing off evil Non-conducive
   8 Equanimity Conducive
   9 Vanity Non-conducive
   10 Mental insta-
   bility Destructive
   11 Discernment Conducive
   12 Will Conducive
5. Cycle of purity 16 1 Praṇava Non-conducive
   (Viśuddhi-cakra) 2 Udgītha "
   3 Humphaḍa "
   4 Vaṣaṭ "
   5 Svadhā "
   6 Svāhā "
   7 Namaḥ "
   8 Nectar Conducive
   9-15 The seven tones
   ṣaḍja etc. "
   16 Poison Destructive
6. Lalanā-cakra 12 1 Arrogance "
   2 Haughtiness Non-conducive
   3 Affection "
   4 Sorrow Destructive
   5 Agony "
   6 Greed Non-conducive
   7 Disenchantment "
   8 Emotional excite-
   ment "
   9 The basic urge
   for living "
   10 Devotion Conducive
   11 Satisfaction "
   12 Cleverness Non-conducive
7. Cycle of the 3 1 Sattva
   supreme Command (purity)
   (Ājñā-cakra) 2 Rajas (acti-
   vity) Non-conducive
   3 Tamas (dull-
   ness)
8. The cycle of 6 1 Dreams
   the mind 2 Palatal
   (Manas-cakra) enjoyment
   3 Olfactory
   sensation —do—
   4 Perception
   of form
   5 Touch
   6 Sound
9. Cycle of the 16 1 Grace
   moon
   (Soma-cakra) 2 Forgiveness
   3 Straightfor-
   wardness
   4 Forebearance
   5 Detachment
   6 Patience
   7 Cheerfulness
   8 Mirth —do—
   9 Horripilation
   10 Tears of fixed
   gaze
   11 Stability
   12 Profundity
   13 Endeavour
   14 Purity of
   heart
   15 Generosity
   16 One pointed-
   ness

396 Treatment of Svara
10. Thousand 1000 Immortality Most conducive
petalled Lotus
(Sahsrāra-cakra)
It may be observed from the above chart that of the
ten psychophysical centres mentioned, only four are said to
be related to the cultivation of musical arts, wholly or partly,
positively or negatively. In the terms of the chart, the
centres or the petals not related to music positively or nega-
tively are described as non-conducive. The centres or petals
that are helpful in the advancement of musical arts are
described as conducive and those of them that are harmful
are described as destructive. This has been done in view of
the author's statement (vide 144c-145b) that concentration
on any other centres or petals is not helpful.
The first three centres are not related to advancement
in music, probably because these centres are related to gross
manifestation (cf. Sir John Woodroffe's views cited in the
comments on 124c-126b ante). The next three centres viz.
the cycle of the unmanifest, the cycle of purity and Lalanā
cakra are partly related to musical arts. These three centres
are located in the heart, the throat and the back of the neck
which exactly correspond (except for the last that corresponds
roughly) to the situation of the three registers of human
voice, viz. the heart, the throat and the head. The next
three centres are related to the mind and its powers and
functions, while the last one viz. Sahasrāra is the gateway to
supreme bliss and immortality; and consequently, concen-
tration on this centre is considered to be wholly beneficial
to the cultivation of musical arts. Thus, six of the ten centres
are non-conducive, three partly conducive and partly non-
conducive and one wholly conducive.
It will be interesting to observe the fruits of concen-
tration on particular petals as conducive and destructive in
terms of the positive and the negative.

Appendix II 397
The positive and the negative fruits of concentration
related to Music.
Sl. Psychophysical No. Positive fruits No. Negative Total
No. Centre of of concen- of fruits of No. of
petal tration petal concen- related
tration petals
4 Cycle of the 1 Freedom from 4 Hope¹
unımanifest fickleness
(Anāhata-cakra) 8 Equanimity 6 Worry 7/12
11 Discernment 10 Mental
12 Will instability
5 Cycle of purity 8 Nectar
(Viśuddhī-cakra) 9-15 Seven Tones 16 Poison 9/16
5 Lalanā-cakra 10 Devotion 1 Arrogance 5/12
11 Satisfaction 4 Sorrow
5 Agony
10 Sahsrāra full
Shorn of its metaphorical framework, the whole
scheme seems to suggest that for the cultivation of musical
arts one should concentrate on the positive qualities and
avoid paying attention to the negative qualities as shown
above. This abstract makes the whole idea intelligible.

1. Hope has been described as destructive perhaps because hope
   and disappointment go together.

APPENDIX III
THE CONCEPT OF ŚRUTI AS RELATED TO SVARA*
The concept of śruti as related to that of svara forms
the very basis of understanding the grāma-mūrcchanā
system, as originally propounded by Bharata, expounded by
Mataṅga and represented by Abhinavagupta, Śārṅgadeva
and the subsequent writers such as Kumbhā etc. It seems
that historically the perception of svara is prior to that of
śruti, and that the concept of śruti was necessitated by the
need for an adequate apprehension, analysis and appreciation
of tonal phenomenon, both for the sake of understanding
and for an effective and creative endeavour. Music is as old
in the history of civilization, as speech, if not older; and its
significance in the development of human personality from
prehistoric times is of no less importance; for, the revelation
of the Vedic hymns was almost immediately accompanied
with the need for their employment in the sacrificial form,
giving rise to Sāmagāna. Tracing the origin of Nāṭyaśāstra,
Bharata states that the creator "extracted the pāṭhya (verbal
text) from the Ṛgveda, gīta (music) from the Sāmaveda,
abhinaya (action) from the Yajurveda and Rasa (aesthetic
delight) from the Atharvaveda". And it was in the perspec-
tive of the origin of dramatic arts, that the phenomenon of
music and dance was first comprehended. Consequently,
aesthetic delight was recognised at the outset as the distin-
guishing characteristic of musical sound. Therefore, when
a scientific study of music was first made, prevalent practice
and the natural perception of tone on the basis of delight-
fulness formed the primary data for investigation, systematic

• Paper read by Dr. R. K. Shringy at the annual conference of
  the Madras Music Academy, Madras, Dec., 1972.
  १—जग्राह पाठ्यमृग्वेदात् सामभ्यो गीतमेव च ।
  यजुर्वेदादभिनयान् रसानथर्वणादपि ॥१७॥
  Nāṭya Śāstra Ka shi Ed. 1.17.
  Appendix III 399
  formulation and adequate comprehension. It is quite in this
  context that Bharata's statement—"Tones (svara-s) are
  organised into the grāma through jāti-s and śruti-s"—
  becomes significant. Thus what was spontaneously perceived
  in the jāti-gāna was tonal movement i. e., the svara-s, which
  after an analytical investigation were organised into grāma
  on the basis of their śruti-content. So, we find that the con-
  cept of śruti was formed as a means of precisely measuring,
  relating or comprehending pitch relations spontaneously
  perceived as tones.
  That the tones are spontaneously perceived is
  affirmed by all the musicologists right from Mataṅga who
  says, "Because it is perceptible by itself, it is called svara".³
  Since delightfulness was already implied as the essential
  quality of tone, Śārṅgadeva, improving upon the definition,
  as it were, made it explicit when he said : "Immediately
  consequent upon śruti, creamy and resounding, the sound
  that delights the listener's mind by itself, is called svara."³ᵃ
  The essential fact is that whereas svara is given to
  spontaneous perception, śruti is intellectually conceived
  subsequently for organising the svara-s into a perceptible
  scale called grāma. This has been done on the basis of
  certain observable facts; but since those facts can be observed
  only by trained ears, the question whether this concept has
  any objective validity or not always keeps on hanging fire.
  Another reason for the controversy raised on this point is the
  fact that the concept is not almost as universal as the concept
  of tone obtaining in the various systems of music in the
  world today. It is obviously peculiar to Indian Music,
  specially the ancient Indian music; for, even in India there
  २ —जातिभिः श्रुतिभिश्चैव स्वरा ग्रामत्वमागताः ।
  N. S., K. ed. 20.5.
  ३—स्वयं यो राजते यस्मात् तस्मादेष स्वरः स्मृतः ।
  Bṛhaddeśī.
  ३ ए—श्रुत्यनन्तरभावी यः स्निग्धोऽनुरणनात्मकः ॥२४॥
  स्वतो रंजयति श्रोतृचित्तं स स्वर उच्यते ॥२५॥
  Saṅgīta-ratnākara I. 32.4-25

are people who think that they can easily do away with the
concept of śruti altogether and yet be able to explain the
structure and the technique of modern Indian music. Strange
as it might seem, śruti does not find any significant mention
in its technical sense in the Pauranic tradition. Grāma,
mūrcchanā, jāti and svara etc. constitute musicological
terminology for the Vāyu Purāṇa, Mārkaṇḍeya Purāṇa and
the Viṣṇudharmottara Purāṇa.⁴ This would suggest that
there had ever been two different traditions of musicologists
with reference to the concept of śruti—one considering it as
the pivot of grāma-mūrcchanā system and the other ignoring
it completely.
This does not, however, mean that the concept of śruti
has absolutely no relevance to Indian music today, but this
view rather points out the necessity of a fresh inquiry into
the true significance of the concept of śruti; and this can be
done by investigating into the relationship of śruti and svara,
and thereby determining the true function of śruti in the
grāma system. Such an enquiry may enable us to reassess
the value of the concept in its proper perspective.
Indeed, a lot of work has been done to explain and to
reinterpret the relevance and validity of the concept of śruti
in the context of Indian music, in the recent past; but, the
subject is so abstruse that any attempt from a different angle
can always be considered helpful. The subject is indeed
multidimensional, and there are many intriguing questions
challenging our attention. For example, we find that the
authors of medieval India have allocated different number
of śruti-s to the same svara-s; or, there is enough scope for
studying the outlook of ancient writers on music such as
Bharata, Dattila and Mataṅga etc. to formulate the right
opinion regarding the śruti-s being equal or unequal. These
questions are quite formidable and merit an independent
inquiry; and moreover, all the secondary questions, such

४—Alain Danielou, Texts des Purāṇa Sur la Theorie Musicale.
as these, can be satisfactorily answered only when the funda-
mental concepts are properly understood. It is, therefore,
intended here to bring out the significance of the concept
of śruti as related to svara by studying its function and its
relationship to svara as expounded in the traditional works
of Indian music. We shall first try to arrive at a tentative
definition of the two terms and then arrive at a conclusion
by investigating their relationship.
1. The concept of Śruti:
The word śruti, as it is well-known, is derived from the
Sanskrit root śru, to hear, etymologically, by Mataṅga⁵ as
well as Śārṅgadeva.⁶ “Śrūyate-iti-śruti i. e., that which is
heard is śruti. Now, what is it that is heard ? Does it imply
that whatever is audible, musical or unmusical, is śruti ? or
does śruti, in whatsoever general terms it might be defined,
have a particular signification ? Bharata speaks of śruti in
the context of the constitution of grāma; so we have to look
to Mataṅga and Śārṅgadeva, to answer this question; for,
even Abhinavagupta echoes Bharata when he says : “There
are two grāma-s, ṣaḍja-gārma and madhyama-grāma; and
twentytwo śruti-s are established here, in one tone-cycle
(i. e., saptaka)”.⁷ Incidentally, it may be noted that he too
considers that the function of śruti is to constitute grāma.
Mataṅga seems to present the concept of śruti in a
systematic way, for obviously in his time this was perhaps the
burning issue in the field of musicology. He begins with the
literal meaning of the term; ‘Śrūyante-iti śrutayaḥ’, the śruti-s
are so called because they are heard. So primarily, śruti to
him, denotes sound, the object of hearing. Then he refers
५—श्रवणार्थस्य धातोः क्तिन्प्रत्ययं च मुनीश्वते ।
श्रुतिशब्दः प्रसाध्योऽयं शब्दज्ञः कर्मसाधनः :
Bṛhaddeśī ·
६—श्रवणात् श्रुतयो मताः
Saṅgīta-ratnākara I.3.8.
७—अथ द्वौ ग्रामौ षड्जग्रामो मध्यमग्रामश्चेति ।
अत्राश्रिता द्वाविंशतिश्रुतयः स्वरमण्डलसाधिताः ॥
Abhinavabhāratī, Baroda Ed. p. 15.
27

402 Treatment of Svara
to the fact that śruti is either considered to be one or many⁸,
implying that it all depends on the connotation of the term;
for, the word śruti was quite differently understood by diffe-
rent scholars or schoolmen as it appears from his discussion
with regard to the number of śruti-s.
To Mataṅga, therefore, śruti, as undertood in its
primary sense of 'the audible sound', is one only.⁹ And he
supports his contention by quoting Viśvāvasu who says that,
"because it is perceptible by the sense of hearing, sound only
can be śruti.¹⁰ But Viśvāvasu does not seem to be limiting
the connotation of the word śruti to its primary meaning;
rather he lends it a meaning which makes the word technical
in the field of musicology; for, he says that śruti is twofold
according to as it is associated with the standard notes and
the intervening (antara-svara-s) ones.¹¹ But those who
consider the śruti to be threefold either on the ground of
three registers or threefold perceptual insensitivity as quoted
by Mataṅga¹² do not seem to make an advance on the one
śruti theory from the musicological point of view, since the
first opinion makes no important distinction as the very same
notes are involved in all the three registers; and the second
view relates to the quality of voice i. e the timbre and not
the pitch. However, the theory referred to by him, that
considers śruti to be fourfold on the basis of the different
physiological conditions makes some advance upon the three-
fold śruti view in so far as it affects the whole structure of
८—सा चैकानेका वा ।
Bṛhaddeśī.
९—तत्रैकैव श्रुतिरिति ।
ibid.
१०—श्रवणेन्द्रियग्राह्यत्वाद् ध्वनिरेव श्रुतिर्भवेत् ।
ibid.
११—सा चैकापि द्विधा ज्ञेया स्वरान्तरविभागनः ।।
ibid.
१२—केचित् स्थानत्र(य)योगात् त्रिविधां श्रुतिं प्रपद्यन्ते ।
अपरे त्विन्द्रियवैगुण्यात् त्रिविधां श्रुतिं मन्यन्ते ।
इन्द्रियवैगुण्यं च त्रिविधं सहजं दोषजमभिघातजं चेति ।
ibid.
Appendix III 403
musical sound. But yet it does not seem to depart absolu-
tely from the primary meaning of the term śruti and there-
fore fails to accord distinct individuality to different śruti-s.
Bharata has spoken of three types of tones viz., having
four śruti-s, three śruti-s, and two sruti-s, in the context of
wind instruments with reference to the technique of playing
upon them.¹³ Presumably on this basis, some flutists, accor-
ding to Mataṅga, consider śruti-s to be nine only. We are
not presently so much concerned with the actual and true
number of śruti-s as with the true significance and the actual
function of śruti-s. It is obvious that to the flutists only
nine śruti-s were real, for they could produce the notes of
the octave with this understanding. Therefore, once again
we find that śruti-s are conceived in order to produce the
svara-s accurately and for obtaining their modified forms such
as antara and kākalī referred to earlier in the two-sruti view.
But, however, apart from the technique of the wind instru-
ments, Bharata himself implies twentytwo śruti-s in a scale;
for there are three notes with four śruti-s, two with three and
two with two śruti-s each in ṣaḍjagrāma.
It is interesting in this context to consider the view of
Dattila whose work is believed to be earlier than Mataṅga
and who is considered to be a close follower of Bharata. He
says : "Higher and higher notes in the high (tāra-sthāna)
(register) are on the vīṇā lower and lower. Thus the differences
of sound are called śruti because of their auditive perceptibility.
With some of these (śruti-s) one sings in all songs. Those
(śruti-s), however, which have become notes will be consi-
dered here."¹⁴ Thus, auditive perceptibility of differences in
१३—द्विकत्रिकचतुष्कास्तु ज्ञेया वंशगताः स्वराः ।
(कम्प्यमानार्थमुक्ताश्च व्यक्तमुक्तास्तथैव च ॥)
Nāṭyaśāstra (G. O. S.) 3.2.
१४—उत्तरोत्तरतारस्तु वीणायामधरोत्तरः ।
इति ध्वनि विशेषास्ते श्रवणाच्छ्रुतिसंज्ञिता ॥९॥
तेभ्य कांश्चिदुपादाय गीयन्ते सर्वगीतिषु ।
आन्दिर्यन्ते च ये तेषु स्वरत्वमुपलभ्यते ॥१०॥
Dattilam.

Left Column

pitch forms the essential characteristic of the tonal perception
called śruti by the ancients. And then it is also notable that
in a given scale of notes, it is some of these very minute
intervals that are recognised as svara-s. This view enlightens
us regarding the relation of śruti and svara.
Then Mataṅga quotes Kohala, who is even earlier
than Dattila. He affirms that śruti-s are twentytwo in
number, also considered as sixtysix by some : or otherwise,
they are infinite.¹⁵ Thus, as far as the difference of pitch as
determined by auditive perceptibility is concerned, the one
prominent view held by distinguished musicologists was that
of twentytwo śruti-s; because all other views are either parti-
ally applicable or not based on pitch-value, and therefore
non-musical in their orientation. The view of sixtysix śruti-s
is only a projection of the former and is obviously superficial.
Alternatively, if śruti is a just perceptible difference in pitch,
there can hardly be any limit to such sounds. So, the view
maintaining an infinity of śruti-s called for a need for a clear
and precise definition of the term in the essential sense of
perceptible difference in pitch. Of course śruti-s cannot be
considered infinite, for the function of śruti-s is to constitute
the musical scale and to determine the position of the seven
tones in it; so if the śruti-s have to discharge this function,
their number has to be limited; then only they can be used
as units of a group.
But, how is it that the śruti-interval came to be per-
ceived ? i. e. in other words, does the name śruti correspond
to an objective perception ? Kumbhā, who is in a way, a
commentator of Śārṅgadeva, has pointed out two different
aspects of the connotation of the word śruti. He says, the
word śruti can be derived from the root śru, either as an
abstract noun referring to listening, or as a verbal noun,
referring to the object of listening. In other words, śruti
१५—द्वाविंशतिं केचिदुदाहरन्ति (श्रुतीः) श्रुतिज्ञानविचारदक्षाः ।
षट्षष्टिभिन्नाः खलु केचिदासामानन्त्यमेव प्रतिपादयन्ति ॥
Bṛhaddeśī.

Right Column

also denotes a perceivable difference of pitch. This was
derived in the first instance in the form of the difference of
pitch-value between the Pañcama of Ṣaḍja-grāma and that
of Madhyama-grāma by Bharata.¹⁶ And this difference of
auditive perception was designated by him as Pramāṇa-śruti.
In other words, in the perception of that difference in pitch
value, he found a proof of the perceptible existence of a
tonal factor that constituted tones or determined their posi-
tion in the scale. Consequently, Kumbhā, echoing Abhinava-
gupta, points out that the function of śruti is to distinguish in-
between the grāma-s. Mataṅga perceives in this difference
of pitch a measure of tonal content called śruti. Thus the
discovery of the pramāṇa śruti set the ball rolling, and it was
found that all the tones were actually to be arrived at
through two, three or four perceptible factors, bringing the
total number of such tonal factors to twentytwo in a scale.
Regarding the objective validity of the concept of śruti
Dr. B. C. Deva has referred to a laboratory experiment
conducted by Ellis, in England in 19th Century. The experi-
ment proved that, “the number of rough steps of pitch which
can be distinguished in an octave are about 22;”¹⁷ and also
“that the difference in any sensation which can be perceived
depends on the sensation already present in a person.” The
effect of this (accumulated sensation) was known to our
ancients, or was taken into account in formulating the con-
cept of śruti. Abhinavagupta calls it “Kramika-śrutijanita-
saṁskāra-viśeṣa.” Śārṅgadeva is also aware of this process,
when he himself poses the question, “Indeed if such śruti-s
as the fourth etc. are admitted to be the cause of svara-s
how can the other śruti-s such as third etc. be considered as
their cause ?”, to which he answers, “Such a śruti whether
fourth or third etc., is determined only with reference to
१६—अथ प्रयोजनं तावत्प्रोच्यते श्रुतिरूपणे ।
विभागो ग्रामयोर्यस्मादेतत् ज्ञानेन जायते ॥९०॥
Saṅgīta-rāja II. 1.1.90.
१७—B. C. Deva, Psycho-acoustics of Music and Speech, 1967; pp. 122-
123.