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

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.

406 Treatment of Svara-
the preceding śruti-s; therefore, they too constitute the cause
of svara-s.”¹⁸
Following Mataṅga in spirit, Śārṅgadeva too consi-
ders the śruti-s to be the modifications of musical sound i. e.
nāda.¹⁹ So, śruti for him is essentially a musical sound.
We can see the crystallisation of the concept. Another
evidence of this process is to be found in Śārṅgadeva's
statement to the effect that nāda arising from the navel is
differentiated through twentytwo nāḍī-s, situated in the
region of the heart, the throat and the head. It is not
understood in what sense he uses the term nāḍī. In the
Ayurvedic terminology, it is generally identified with veins,
arteries or nerves etc. So, if by nāḍī-s he implies observ-
able objects, then such twenty-two nāḍī-s have yet to be
identified by physiology. However, if he implies some yogic
meaning, then obviously it would ever remain a subjective
phenomenon. What is quite apparent is an attempt at
fixing the number of śruti-s at twentytwo on a tangible basis
to set the controversy at rest beyond all doubt. And perhaps
he did succeed in his endeavour to do so; since no subese-
quent writer seems to have challneged him. After him
twentytwo śruti-s are almost taken for granted.
It is noteworthy that Bharata enumerates the concept
of śruti in the context of subjects related to vīṇā, but not
among those related to the human instrument.¹⁹a This
implies that śruti is one of those subjects of musicology that
can be well demonstrated and best exposed exclusively with
the aid of vīṇā. Therefore, Śārṅgadeva's graphic descrip-
tion of twentytwo nāḍī-s in order to show the genesis of
१८—ननु श्रुतिश्चतुर्थ्यादिरस्त्वेवं स्वरकारणम् ॥२५॥
त्रयादीनां तत्र पूर्वासां श्रुतीनां हेतुतां कथम्।
ब्रूयुस्तूर्यातुरीयाऽऽदिः श्रुतिः पूर्वाभिकाङ्क्षया ॥२६॥
निर्धार्यतेऽतः श्रुतयः पूर्वा अप्यत्र हेतवः ।
Saṅgīta-ratnākara I. 3. 25-27.
· १९—तस्य (नादस्य) द्वाविंशतिर्भेदाः ।
ibid I. 3.8.
१९ए—Nāṭyaśāstra 28. 14-15 (Baroda Ed.)
Appendix III 407
śruti-s seems to highlight the Tāntric influence on musico-
logy, the seeds of which can be found even in Mataṅga.
Tantra combined Yoga, and the concept of nāda is closely
related to the philosophy of Tantra and the practice of
Mantra-yoga. Probably this can explain Śārṅgadeva's
hypothesis.
Although, as already stated, Viśvāvasu and Mataṅga
both consider ‘Dhvani’ i. e., mere ‘sound’ to be the essential
content of śruti, Śārṅgadeva considers nāda i. e., musical
sound to be the substance. However, it is worthwhile to note
that he does not consider each śruti to be a musical sound;
what he implies is that, śruti-s do give rise to svara-s that are
essentially delightful, resonant etc. This implication is clearly
brought out by his commentator, Kallinātha while he
comments on his definition of śruti viz., “Śravaṇāt śrutayo
matāḥ” i. e., “śruti-s are so called because of their auditive
perceptibility. He says : “Auditive perceptibility is common
to such extensive sounds as well as svara and tāna etc., that
are essentially resonant apart from śruti; so therefore, here
indeed śruti signifies only the sound that is produced by the
blow of wind etc. in the very first instant, which is free from
resonance.”²⁰ Thus, we find that śruti is conceived as a
factor of musical sound in the form of just perceptible diffe-
rence of pitch, that is free from resonance. So according to
Śārṅgadeva, as interpreted by Kallinātha, “śruti signifies a
pitch value which contributes to the musicality of tone, and
is yet by itself devoid of tonal colour”. Now, since he recog-
nises twentytwo such pitch values, as indeed they have been
recognised by Bharata, Dattila, Mataṅga and Abhinavagupta
before him, it is also implied that the audible musical sound
free of resonance, that a śruti is, should be capable of indivi-
dual perception and recognition, and therefore of being
२०—यद्यपि श्रवणयोग्यत्वमनुरणनात्मनः स्वरतानादिरूपेण
दीर्घदीर्घस्यापि ध्वनेर्विद्यते, तथा यत्र मारुताहत्यनन्तरोत्पन्नप्रथमक्षणवर्त्ती श्रवणमात्र-
योग्यध्वनेरेव श्रुतित्वमिति ।
Saṅgīta-ratnākara p. 67 (Adyar Vol. I).

408 Treatment of Svara
reproduced; for otherwise they cannot be employed cons-
ciously. This leads us to the question what the significance
of śruti is with reference to svara. But before one can
investigate that, one must be clear about the concept of svara.
To sum up the deliberation regarding the concept of
śruti, it may be concluded that, "śruti is that audible musi-
cal sound which is free from resonance and is capable of
being individually perceived, recognised and reproduced."
It also follows that there are twentytwo such śruti-s in a
given scale which are the same in all the three registers.
This very conclusion is corroborated by the process of
Catuḥsāraṇā initiated by Bharata, reshaped by Mataṅga and
pedantically expounded by Śārṅgadeva. So also Kumbhā
has defined very clearly the threefold function of the fourfold
string-movement called Catuḥ-sāraṇā. He says, "The delimi-
tation of the number of śrutis, graduation of pitch with
reference to tones and the comprehension of kākalī etc. (cons-
titute) the functions of the string-movements (sāraṇās).²¹
The process need not be restated here; but it confirms, by
actual demonstration, the number of śruti-s being twenty-
two, and also the fact that śruti-s are musical sounds just
audible.
2. The concept of Svara
The concept of svara does not confront us with much
difficulty; probably, because of the universal recognition of
the tones, and also due to the inherent qualities that distin-
guish it. It has already been pointed out that the concept
of svara was as naturally formulated as spontaneously it was
perceptible. Dattila, as already pointed out, has said that
some of the śruti-s are considered as svara-s. If this is read
in consonance with Bharata's concept of three types of tones
constituted by four, three and two śruti-s¹⁶ we are led to
२१—श्रुतीयत्तापरिच्छेदस्तारतम्यं स्वराश्रयम् ।
काकल्यादिपरिज्ञानं सारणानां प्रयोजनम् ॥११५॥
Saṅgīta--rāja II. 1.1.115.

Appendix III 409
think that some of the śruti-s attain the position of svara-s.
Thus, although no categorical difference is conceived bet-
ween śruti and svara, it yet remains to be defined in what
way they are different, or perhaps they are neither categori-
cally different nor even identical.
Śārṅgadeva has told in a peculiar way, how the svara-s
come into being, He says, "From out of the śrutis arise the
svara-s",²² and this may be read alongwith his statement that
all the śruti-s pertaining to a particular svara are responsible
for its manifestation.¹⁸
Obviously he does not imply that śruti-s are the cause
and svara-s their effect: the cause having ceased giving room
to the effect, and the cause preceding the effect. He seems
to suggest that svara-s arise by the cumulative effect
brought forward from the preceding svara-s to the 'note-
śruti' i. e., the śruti that becomes the svara; in other words,
by saṁskāra-pradāna i. e. by the inheritance of the residual
effect. It is notable that svara-s arise out of śruti-s in the
groups of two, three and four; but they do so only in groups,
in other words, no single śruti can become or produce a
svara.
In fact, Śārṅgadeva's statement is rather vague in so
far as it does not pronounce the relationship obtaining bet-
ween svara and śruti, and also because it is capable of being
interpreted variously. One can roughly interpret that, as
śruti-s give rise to svara-s, they are the cause; or for example,
one can say that svara-s are different from śruti-s, being their
product; This however involves the whole question of the
nature of relationship in svara and śruti, which we shall deal
with presently.
Śārṅgadeva defines svara, detailing its different chara-
cteristics—"Immediately consequent upon śruti, creamy
and resounding, the sound that delights the listener's mind
२२—श्रुतिभ्यः स्युः स्वराः
Saṅgīta-ratnākara I. 3.25.
28

Page 410

410 Treatment of Svara
by itself is called svara." Resonance, softness and self-sustained
deligtfulness are the essential features of svara.
It is also notable that the two commentators of Śārṅ-
gadeva harbour a difference of opinion with respect to the
first character of the tone. Kallinātha thinks that in case of
............................................................................................ and the
.........................................................................................................
śrutyanantarabhāvī (immediately consequent upon the śruti)
the term śruti refers to that particular śruti which is capable
of resounding into note, and which is technically called
svarasthāna. Simhabhūpāla, however, would consider the first
śruti bereft of resonance as śruti and the fourth śruti giving a
rise to resonance, a svara.²⁴
However, the suffix 'bhāvī' in this expression is sugges-
tive of possibility and refers to possible resounding vibrations
of a śruti and therefore precludes any interpretation to the
effect that every śruti can resound or be a svara. The
difference of opinion between the two commentators leads us
to two theories.
(i) That svara manifests itself as the resounding
vibration of the fourth śruti of ṣaḍja, and therefore
svara can be said to be the effect of śruti and is
therefore to be conceived as different from it.
(ii) That the fourth śruti of ṣaḍja is itself svara, since
it is capable of resounding.
To Simhabhūpāla, there are four distinguishable sounds,
the first three being devoid of resonance and the fourth one
being capable of it. Therefore, the resounding śruti, for
him, is not quite different from svara.
२३—श्रुत्यनन्तरभावी, श्रुतेश्चतुर्थ्यादेरुत्पन्नादेकनाद्याह्युत्पन्नप्रथमध्वनेरनन्तरं भाव्याविर्भावनशीलः
S. R. p. 82.
२४—श्रुत्यनन्तरेति । श्रुतेरनन्तरं भवतीति श्रुत्यनन्तरभावी ।
प्रथमतन्त्र्यामाहतायां यो ध्वनिरनुरणनशून्य उत्पद्यते स श्रुतिः,
यस्तु ततोऽनन्तरमनुरणनरूपः श्रूयते । स स्वरः ।
ibid.

Page 411

Appendix III 411
So, we have two types of śruti-s, the resounding śruti-s
and the unresounding śruti-s. R. Sathyanarayan in his
paper entitled 'Śruti, the Scalic Foundation' identifies these
two types with svaragata and antaragata śruti-s of Viśvāvasu.²⁵
But, it would be technically more accurate to identify the
............................................................................ and to refer to other
śruti-s merely as śruti .................................................... esta-
blishing a proper understanding of the relationship of śruti
and svara.
Delightfulness indeed is related directly to resonance
that brings about spontaneous perceptibility; and therefore,
the tonality of the notes is primarily in resonance. Mataṅga
derives the word svara from the Sanskrit root Rājṛ, to shine,
with the prefix sva (itself), meaning that which shines by
itself²⁶ i. e., which is spontaneously perceptible and needs
no other means to manifest it. He then defines svara as
delightful sound²⁷ and cites Kohala in his support to the
effect that "colourful sound is known as tone."²⁸ So we
have spontaneous perceptibility, delightfulness and resonance
(i. e the overtones, the sound vibrations immediately follow-
ing the note-śruti), and softness as the four essential ele-
ments, aspects, or dimensions of svara.
Now the question is, how many of these effects are
shared by śruti ? Spontaneous perceptibility, resonance and
delightfulness are positively denied to it, while softness may
be attributed to it since it has musical sound for its content.
Then, how do these attributes manifest themselves, when
svara-s are said to arise from śruti-s? One explanation is
Saṁskāra-pradāna i. e each śruti transmits its residual effect to
२५—Sangeet Naṭak, Śruti the Scalic Foundation—No. 17. p. 62.
२६—राजू दीप्ताविति धातोः स्वशब्दपूर्वकस्य च ।
स्वयं यो राजते यस्मात् तस्मादेष स्वरः स्मृतः ।
Bṛhaddeśī.
२७—रागजनको ध्वनिः स्वरः उच्यते ।
ibid.
२८—ध्वनीरक्तः स्वर स्मृतः ।
ibid.

412 Treatment of Svara
the next and the attributes of svara arise as a result of the
cumulative effect of all the śrutis of a note climaxed by the
'note-śruti'. Thus, we may conclude that even though no
single śruti can manifest by itself the attributes of svara, they
are never-the-less produced by them cumulatively. Svara
is therefore neither identical with, nor different from śruti.
But svara can however be identified as the sum-total effect
of the śruti-s of which it is constituted; in other words, a
number of śrutis together produce the effect which is called
svara; or otherwise, a group of śruti-s in temporal sequence
manifests svara. In that sense, tonality may be conceived as
inherent and latent in the śrutis, which manifests itself
according to the manner of their grouping, just like the atoms
coming together to form into a molecule. Each śruti may
thereby be considered to be charged with the power potency
of tonality.
Our ancients have already considered the question of
relationship between śruti and svara thoroughly; and it will
be worthwhile to examine critically the views put forth by
different schools.
3. The relation of Svara and Śruti :
Mataṅga relates five different views with respect to the
relation of śruti-s to svara-s in the following verse :-
"Of the śruti-s (as related to svara-s) they characterise
(the relation) as identity, appearance, resultant, trans-
formation and manifestation."²⁹
(i) Identity :
The contention of this view is that, since there is no
need for any spacial tactile relation for perceiving the two,
both śruti and svara being perceptible through the sense of
hearing, they are essentially identical like the relation obtain-
२९—तादात्म्यं च विवर्तित्वं कार्यत्वं परिणामिता ।
अभिव्यंजकता चापि श्रुतीनां परिकथ्यते ॥३०॥
Bṛ. D,
Appendix III 413
ing between the genus and the species.³⁰ Thus, the identity
of śruti and svara, in this view, is based on the same source
of perception and is illustrated through the relation of the
general and the particular. Obviously, this view is absurd
on the face of it, since all the objects of one and the same
sense cannot be so related. Mataṅga rather points out that,
since śruti and svara are two

414 Treatment of Svara
note-śruti. Thus, śruti and svara cannot be related as cause
and effect.
(iii) Appearance
If śruti and svara cannot be related as cause and effect,
it is obvious that svara is not a product at all; and yet the
phenomenon of svara is there : Can we therefore say that
svara is only a projected image of the śruti just as face is
reflected in the mirror?³⁴ The face reflected in the mirror is
merely an appearance and has no existence of its own, being
the image of the object outside the mirror; but, svara is
perceptible by itself; svara therefore belongs to the same
order of reality as śruti. Mataṅga, therefore, concludes that
this view does not accord with facts; for, if a svara is taken to
be a projection of śruti it cannot in any way be different
from it essentially and moreover, the perception of svara
would become illusory;³⁵ whereas it is observed in fact that
svara is categorically different from śruti.
As a matter of fact the appearance theory is based on
the Vivartavāda of Advaita Vedānta which is concerned with
explaining the fact of phenomenal world as a whole; whereas
the perception of śruti and svara is essentially relative and
empirical and cannot therefore be explained in terms of the
relationship of the absolute and the relative. However, the
essential feature of Vivartavāda is that it explains change
without admitting any modification in substance. This
would accord with Sudhākara's view that the note-śruti itself
becomes manifest as svara, so that svara, though appearing
to be different from śruti, is yet no different from it in sub-
stance. But, Mataṅga seems to consider the change invol-
ved to be substantial as he contributes to the transformation
theory.
३४- नराणां न मुखं यद्वद् दर्पणेपु विवर्तितम् ।
प्रतिभाति स्वर (स्त) द्वच्छ्रुतिष्येव विवर्तितः ॥३२॥
Br. D.
३५-यदभाणि विवर्तत्वं श्रुतीनां तदसंगतम् ।
विवर्तत्वे स्वराणां हि भ्रान्तिज्ञानं प्रसज्यते ॥३९॥
ibid.
Appendix III 415
(iv) Transformation :
"No doubt" says, Mataṅga, "Śruti-s undergo a sub-
stantial transformation in the form of svara, as milk is trans-
formed totally to form into curds."³⁶ Obviously, in this view,
svara is considered to be essentially different from śruti. It
is only the protagonists of ārambhavāda i. e. the Naiyāyikas
who admit the effect to be different from an inherent cause
(i. e. Samavāyikāraṇa) which is the same as the material cause.
Others admit the effect to be different from an efficient and
aggregative (saṁyoga) cause Here Mataṅga seems to be
advancing the view that śruti and svara are in Samavāya
relation, for saṁyoga, a mere aggregate of śruti-s, cannot
produce svara, as pointed out by Kumbhā. The śruti-s have to
be in a particular order of succession in order to produce a
svara. Moreover, we cannot have an aggregate of śruti-s like
a bundle of threads, since they always occur in a temporal
sequence. The samavāya relation implies that "the effect
inheres in the material cause as a quality may be said to do in
a substance. The insistence that produced things are not only
in time and space but also abide in dravyas is noteworthy."³⁷
If, therefore, svara-s are conceived to be inherent in the
śruti-s, they could as well be called the manifestation of
śruti-s
(v) Manifestation :
Transformation implies the capacity to change, or in
other words, a latent possibility. When the latent becomes
active, the effect is called its manifestation. So, Mataṅga
declares that, "the seven tones called ṣaḍja etc. are ever
manifested by the śruti-s like a lamp manifesting the objects
concealed in darkness."³⁸ Thus, what is implied in this view
is that the svara-s exist in their own right and are highlighted
३६--स्वरता तत्समूहस्य सुतरामप्यसंगता ॥१३६॥
Saṅgīta-rāja II 1.1.136.
३७-Hiryanna—The Outlines of Indian Philosophy; p. 239, (1970 ed.)
३८-षड्जादयः स्वराः सप्त व्यज्यन्ते श्रुतिभिः सदा ।
अन्धकारस्थिता यद्वत् प्रदीपेन घटादयः ॥३५॥
Bṛhaddeśī.

416 Treatment of Svara
by the śruti-s. This viewpoint is however rejected by
Kumbhā on the ground that it implies co-existence of the
manifester and the manifest, which is in contradiction with
the observed fact.
Kumbhā has discussed this relation from the point of
view of almost all the schools of Indian philosophy including
the Buddhists, but without going into smaller details; what
is observed is that all these theories are applied to determine
the relation of śruti and svara on the basis of change, for all
these are the theories of causation attempting to explain the
phenomenon of change. The concept of change is funda-
mentally twofold—one view is that reality is a flux, a per-
petual change, and the other view is that reality is eternal;
the former view does not in effect admit any cause-effect
relation; for it holds the dissolution of one whole to be the
creation of another whole, while the latter view admits this
relation. The first view is held by the Buddhist and the
other is held by the orthodoxy of Hindu Philosophers, in one
form or another. The Buddhist view has to be rejected for
it precludes the study of all relations; the Hindu view is
represented by three important viewpoints viz., i) that
creation implies a substantial change, ii) that creation
implies transformation or manifestation of the inherent or
iii) that creation represents the appearance of the real. The
last of these views cannot probably be applied to explaining
the relations within the empirical field. So, we are left with
only two alternatives viz., that of substantial change and
transformation or manifestation.
The theory of substantial change implies that śruti-s are
evolved into svara-s, while that of transformation implies
that svara-s are involved into śruti-s. This analysis resolves
the problem. There seems to be no categorical difference
in the two viewpoints that describe the same relation in
different terms, from the two different ends. Therefore, the
utility of bringing in these theories for explaining the rela-
tions of svara and śruti can as well be questioned. As a
Appendix III 417
matter of fact, śruti and svara are no absolute entities and
both have musical sound i. e., nāda as their substance. So,
there is no difference as far as their substance is concerned.
Therefore, it will be irrelevant to conceive of any sub-
stantial change taking place in-between them. Nāda, as
modified into twentytwo forms called śruti-s variously cry-
stallises to appear as seven tones. Therefore, śruti-s arising
into different groups in temporal sequence give rise to self-
perceptible tones. Since śruti-s are not substantially different
from svara-s, any attempt at relating them as cause and effect
will be irrelevant. To understand the true significance of
this relation, one must not lose sight of the fact that funda-
mentally we are dealing with nāda. Śruti and svara are only
two different forms of nāda, related as the digits of the same
figure, every digit contributing to the formation of the figure
in a spatio-temporal sequence.
Dr. B. C. Deva's definition that, "Śruti-s are additive
measures of pitch relations in music,"³⁹ seems to highlight the
functional aspects of the relation of śruti and svara. Aspects of
this relation can be defined, but no definition would perhaps
be adequate; for śruti and svara are related as the constituent
parts integrated by a temporal sequence into the dynamic
whole, and are neither different from nor identical with each
other.
३९-B. C. Deva, Phycho acoustics of Music & Speech p. 121.
२०

INDEX-CUM-GLOSSARY
OF TECHNICAL TERMS AND ALLIED CONCEPTS
(The references are to page numbers)*

Abhinavagupta—9
Abhirudgatā, a mūrcchanā of ṣaḍja-
grāma—168, 169; as also accord-
ing to Nārada—179
Abhyuccaya, an embellishment of the
ascendant tone-pattern—245, 246
Abhyudaya, a hexatonic combination-
al note-series of madhyamagrāma
—226
Acyuta (unmoved) ṣaḍja—141
Ādhāra-cakra, the foundational cycle
—85
Ādityāyana, a hexatonic combina-
tional note-series of madhyama-
grāma—225
Agnicit, a hexatonic combinational
note-series of madhyamagrāma—
226
Agniṣṭoma, a hexatonic combination-
al note-series of ṣaḍjagrāma—223,
224
Ājñā-cakra, the cycle of supreme
command—93
Ākṣepa, an embellishment of the cir-
culatory tone-pattern—249, 250,
253
Ākṣipta, an embellishment of the
ascendant tone-pattern—245, 247

Alaṅkāra, (pattern of tonal phrases)
—3, 13, 16; tonal embellishment
(the definition of ) 236, 264
Ālapa, a mūrcchanā of gāndharagrāma
—178, 179
Ālāpinī, a variety of karuṇā śruti-class
—137, 138, 139
Ālapti (the delineation of rāga)—14,
17
Alīkrama-Alisampṛkta—14, 18 ṣāḍastha,
14, 18
Alpatā (rareness)—281, 294
Aṁśa (the fundamental note)—281,
283
Anabhyāsa (non-repetition)—249, 295
Anāhata-cakra (the cycle of the
unmanifest)—91, as related to
music—96
Anāhata-nāda (the unmanifest sound)
—104
Āndhalī--312, 313, 315, 316
Āndhrī (an associate modified jāti)
—273, 274, 277, 279, 280, 290,
291, Characteristic features—
355-359
Aṅga (integral part of a musical
composition) 14, 18

• In this index the Sanskrit-terms too are written in the Roman
  script, and hence it is the order of Roman alphabet that has
  been followed excepting where the order is concerned only
  with the sibilants, the Roman providing the same letter for
  all the three, for in that case only the order of Devanāgarī
  script has been taken into consideration.

Index-Cum-Glossary 419

Aṅgirā, a pentatonic combination
note-series of ṣaḍjagrāma — 226
Añjaneya—9
Antaḥ-karaṇa (the internal organ)
—50
Antara (gāndhāra)—142; svara, defi-
nition—173, 174, 231, 320
Antarabhāṣā—13, 16
Antaramārga—281, 282 definition of
—295. 296
Anuvādī (assonant) - 148, 149
Apāna (vāyu)—57, 60
Apanyāsa (semi-final note)—281, 290
Apūrṇa-kūṭatāna (incomplete permu-
tational note-series)—186, 187,
188
Āpyāyanī, a mūrcchanā of madhyama-
grāma, according to Nārada—
178, 171
Ardhamāgadhī-gīti—376, 377, 378,
382, 384
Ardha-sāvitrī, a hexatonic combina-
tional note-series of madhyama-
grāma—225
Arjuna—8, 9
Āroha (ascendence), of notes (in
mūrcchanā)—167
Ārohī-varṇa (ascendant tone-pattern)
—245
Ārṣabhī (a śuddha jāti)—266, 273,
274, 275, 279, 280, 290, 291—
characteristic features—305-307
Ārṣabhī-kapāla—370, verbal text—
373
Āśaya-s (receptacles)—67
Ascendant tone-pattern (ārohī-varṇa)
—245
Aṣṭakapālaka, a pentatonic combina-
tional note-series of madhyama-
grāma—227
Asthi (bone)—39, 73
Asthi-sandhi-s (bone-joints)—74

Aśvakrāntā, a mūrcchanā of ṣaḍja-
grāma—268; as also according
to Nārada—178; a hexatonic
combinational note series of ṣaḍ-
jagrāma—224
Aśvamedha, a hexatonic combina-
tional note-series of ṣaḍja-grāma
—223, 224
Aśvapratigraha, a pentatonic combi-
national note-series of ṣaḍjagrāma
—226; hexatonic combinational
note series of madhyamagrāma—
225, 226
Aśvatara—8, 9, 278
Aśvin—177, 178
Ātman, the intelligent substratum of
self—30, 69
Atyagniṣṭoma, a hexatonic combina-
tional note series of ṣaḍjagrāma
—223, 224
Auḍuva (pentatone)—282, 296
Auḍuva-tāna (penta-tonic note-series)
—182
Avabhṛtha, a pentatonic combina-
tional note-series of madhyama-
grāma—227
Avalokita, an embellishment of the
circulatory tone-pattern—250,
260
Avaroha, descendence of notes in
mūrcchanā-s—167
Avarohī (descending tone-pattren)
—235
Avartaka, an alaṅkāra (embellish-
ment)—261, 262
Avidyā (nescience)—25
Āyata, a class of śruti-s—137, 138
Bahusauvarṇa, a hexatonic combina-
tional note-series of ṣaḍjagrāma
—224, 224
Bahutva (profusion)—281, 293

420 Treatment of Svara Index-Cum-Glossary 421
Barhi, a hexatonic combinational Brahmayajña, a hexatonic combina- Cokṣakaiśika—317, 319 Dhruvagāna—308, 312
note-series of madhyamagrāma— tional note-series of ṣaḍjagrāma Cokṣaṣāḍava—312, 313, 315, 316 Dhruva-vīṇā (invariable vīṇā)—121,
225, 226 —223 224. Cokṣasādhārita—320, 322 122
Bhairava, a pentatonic combina- Breath, ten modifications and their Combinational note-series—227, Dhvani—111
tional note-series of madhyama- functions—59 228 Dīkṣā, a hexatonic combinational
grāma—227 Buddhi (Intellect)—50 Consonant—293 note-series of madhyamagrāma—
Bharata—8, 9 Cycle of creation and destruction 225, 226
Bhāratī—91 Caccatpuṭa (tāla)—305, 307, 308, —29 Dīptā, a class of śruti-s—137, 138
Bhāṣā—13, 16 310, 312, 313 Cyuta (lowered) ṣaḍja—141 Dohada—39
Bhāṣāṅga—13, 16 Cala-vīṇā (variable vīṇā)—121, 122 Durgāśakti—8, 9
Bhāskara, Grandfather of Śārṅga- Candramasī, a mūrcchanā of madhyama- Dakṣiṇa (mārga)—299, 301, 365, Dvādaśāha, a hexatonic combina-
deva—4, 5 grāma according to Nārada— 366 tional note-series of madhyama-
Bhāva—14, 20; mental state—39; 178, 179 Darśa, a pentatonic combinational grāma—225, 226
six substances of the physical Candra, a mūrcchanā of madhyama- note-series of ṣaḍja-grāma—226 Dvāyopetā (inclusive of both, kākalī
body according to Āyurveda— grāma according to Narada— Dattila—8, 9 and antara) a type of mūrcchanā—
51; ātmaja (self created)—51; 178, 179 Dayāvatī, a variety of Karuṇā śruti- 173
mātṛja (maternal)—51; pittja Catuḥsāraṇā, the fourfold string class—137, 138 Dvihṛdayā (twin-hearted)—39
(paternal)—51; rasaja (serologi- movement—120, 121 Denominative note (nāmasvara)—
cal)—51; sātmaja (self-adapted) Cāturmāsya, a hexatonic combina- 267, 289 Ekakala—14, 19, 365, 366
—51; sattva-sambhava (mental) tional note-series of ṣaḍjagrāma Deśī, a saṅgīta in contradistinction Embellishment—238, 264
—51 —224 with mārga, characterised by Enjoyment, as the objective of
Bhāvanā (motivation)—50 Cerebral aperture (brahma- flexibility of rules, having enter- musical arts—103
Bhillama, Patron of Soḍhala—4, 6 randhra)—101 tainment of people in general Enlightenment, the objective of
Bhoja—9 Cetanāsthāna (seat of intelligence) according to their regional musical arts—103
Bhukti (enjoyment)—103 —68 tastes as the objective—10, name
Bindu, an embellishment of the Chanda (metre)—13, 15, 153, 156 of a rāga—306, 308, 310, 312, Final note (nyāsa), definition of—
ascendant tone-pattern—245, Chandaka-gīta (song-patterns based 313, 315, 316, 317, 320, 322, 281, 289
246; an embellishment of the on tāla)—14, 19 324, 326 Foetus—38
circulatory tone-pattern—249, Chandovatī, a variety of madhya śruti- Deśī-tāla—14, 20 Fourfold string movement and the
250, 254 class—137, 138, 139 Devatā (presiding deity), of the No. of śruti-s—124
Bindurāja—9 Circulatory tone-pattern (sañcarī notes—153, 156 Fundamental note (aṁśa), defini-
Bitones—193, 196, 197, 198 varṇa)—249 Dhaivata—130 tion of—281, 282, 283, 284
Brahmā—8, 9, 32, 33, 108, 109, 177, Citra (mārga)—299, 301, 365, 366 Dhaivatī (jāti)—266, 274, 275,
178; as the presiding deity of Citravatī, a mūrcchanā of gāndhāra- 279, 280, 290, 291; characteristic Gajacchāya, a pentatonic combina-
ṣaḍjagrāma—166 grāma—178, 179 features of—317, 320 tional note-series of madhyama-
Brahma-granthi, the centre of the Citra, a mūrcchanā of gāndhāragrāma Dhaivatī-kapāla—371, verbal text grāma—227
body—1, 98, 99, 100 —178, 179; a hexatonic combi- —375 Gajakrānta, a hexatonic combina-
Brahman (Ultimate reality), the national note-series of ṣaḍja- Dhamanī (artery)—78 tional note-series of ṣaḍjagrāma—
nature of—24 grāma—224 Dhātu, a section of a musical com- 224
Brahmaproktapada—367 Classification of voice—17 position—14, 18—supportive Gamaka (shaking of tones)—14, 17
Brahma-randhra (the cerebral Co-fundamental note (paryāyāṁśa) tissue—66 Gāna, in the context of combina-
aperture)—97, 98, 100 —293 Dhātu-prakṛti—62 tional and permutational note-
Dhruvā (song)—310, 313 series—228

422 Treatment of Svara
Cānakriyā—376 note-series of madhyamagrāma—
Gāndhāra—130, the prominence of— 225, 226
165, 130 Gosava, a hexatonic combinational
Gāndhāragrāma—164 note-series of ṣaḍjagrāma—223,
Gāndhārapañcama—308, 310, 324, 224
326 Graha (the initial note)—281, 282
Gāndhārapañcamī (an associate Grāma—3, 13, 162; definition of—
modified jāti)—273, 274, 277, 160
279, 280, 290, 291; characteristic Grāma-indicative pañcama—196
features—352-355 Grāmarāga—13, 16
Gāndhārī (jāti)—266, 273, 274, Group performance, definition of—
275, 279, 280, 290, 291; charac- 17
teristic features—308-312 Guṇa and doṣa (excellence and
Gāndhārī-kapāla—370; verbal text— blemishes) of gīta (vocal perfor-
374 mance)—14; of voice—14, 17;
Gāndhārodīcyavā (an associated of the songster and songstress—
modified jāti)—273, 274, 275, 14, 17; of śārīra (timbre)—14,
277, 279, 280, 290, 291, charac- 17
teristic features—334-337 Guru (measure of time in tāla)—14,
Gāndharva—177, 178 19
Gāndharva—3, 17, in the context of Hariṇāśva, a mūrcchanā of madhya-
permutational and combina- grāma—168, 169, 170
tional note-series—228 Hasita, an embellishment of the as-
Garbha (foetus)—36, 39 cendant tone-pattern—245, 247
Gātravarṇa, an embellishment of the Hemā, a mūrcchanā of madhyama-
ascendant tone-pattern—245 grāma, according to Nārada—
Gavāmayana, a hexatonic combina- 178, 179
tional note-series of madhyama- Hexatonic note-series—181, 198
grāma—225 Hexatonics—190
Gāyanaḥ (songster)—13 Hiṇḍolaka—324, 326
Gāyanī—14 Hrādamānā, an embellishment of
Geya, the materials of music—104 the circulatory tone-pattern—
Gīta—2, 10, 11, 12, 21 250, 260
Gītaka (song-pattern based on Hāsyakā, a mūrcchanā of madhyama-
tāla)—14, 19 grāma—168, 169; a mūrcchanā of
Gītāṅga (Melodic aspect)—14, 20 the ṣaḍjagrāma according to
Gīti, the act of singing, comprehen- Nārada—178
ding the tonal, rhythmic and Humphaṭ, a non-inflectional vedic
the verbal structure of a musical syllable—91, 92
composition—13, 16; definition Huṅkāra, an embellishment of the
and classification of—376, 377 circulatory tone-pattern—250,
Godohana, a hexatonic combinational 259

Index-Cum-Glossary 423
Iḍā (nāḍī)—100, 101, 102, 103; a Kākalī-niṣāda (a modified note)—
pentatonic combinational note- 141
series of ṣaḍja-grāma—226 Kākalyantara—13, 16
Immortality—87 Kākalyantarasādhāraṇa—230
Incomplete permutational note- Kalā (the inaudible movement of
series—186, 188 the hand)—14, 18; as a phrase
Indicated note-series (uddiṣṭa)—214 in alaṅkāras—243 a phrase mea-
Initial note (graha), the definition sured in terms of tāla—365, 366
of—282 Kalala (a gelatinous substance),
Intellect, functions of—53 foetus in the first month—38
Immortality of the soul, inferred— Kālopanatā, a mūrcchanā of madhya-
49 magrāma—168, 169
Instrumental music—21 Kāmadā, a pentatonic combination-
Iṣu, a pentatonic combinational al note-series of madhyamagrāma
note-series of ṣaḍjagrāma—226 —227
Jagadeka—9 Kambala, name of an ancient musi-
Jāla-s (plexuses)—72 cian— 8, 9, 278
Janaka-jāti-s (parent jāti-s)—309 Kambalagana—13, 16, 372
Janmabhūmi (land of origin)—153, Kāndarpabālavātuṇa, a pentatonic
154 combinational note-series of
Jāti—43; as caste—13; as caste of madhyamagrāma—227
notes—153; classification of Kāṅka, a pentatonic combinational
prabandha-s—14, 18; as melodic note-series of ṣaḍjagrāma—226
type 13, 16, 266, 365, 366, 367; Kapāla (songs)—13, 16, 369, 372
characteristic features—281 Kapardinī, a mūrcchanā of madhyama-
Jāti-sādhāraṇa (overlapping in jāti-s) grāma, according to Nārada—
13, 16, 233 178, 179
Jīva (transmigratory soul)—26, 27, Kārirī, a pentatonic combinational
30, 36, 99 note-series of ṣaḍjagrāma—226
Jñāna (pure intelligence)—50 Kārmāravī (an associate modified
Jñānendriya—50 jāti)—273, 274, 275, 277, 279,
Jyotiṣṭoma, a pentatonic combina- 280, 290, 291; characteristic
tional note-series of ṣaḍja-grāma features—348-352
—226 Karmendriya (organs of action)—50
Kaiśika—142, 144, 232 Karuṇā, a class of śruti-s—137, 138,
Kaiśikī (an associate modified jāti) 139
—273, 274, 279, 280, 290, 291; Kaśyapa—8, 9
characteristic features—341-345 Kauṇapāyana, a hexatonic combina-
Kākalī—142, 173, 174, 230, 231 tional note-series of madhyama-
Kākalī and antara, the application grāma—225
of—231 Khaṇḍameru (permutation-indicator)
Kākalīkalitā (kākalī-inclusive), a —13, 15, 208, 209
type of mūrcchanā—173 Kīrtidhara—9

424 Treatment of Svara
Kohala—8, 9
Krama (mūrcchanā-series)—175, 176;
an embellishment of the circula-
tory tone-pattern—250, 251
Kramarecita, an embellishment of
the steady tone-pattern—238,
243
Krodhā, a variety of āyatā śruti-class
—137, 138, 139
Kṣetrajña, the self aware intelli-
gence—36
Kṣetrarāja—9
Kṣiti, a variety of mṛdu śruti-class—
138, 139
Kṣobhiṇī, a variety of madhyā śruti-
class—138, 139
Kula (Lineage), of the notes—13,
15, 152
Kumudvatī, a variety of āyatā śruti-
class—137, 138, 139
Kuṇḍalinī, the creative power—85,
86
Kūrca (cluster)—72
Kūṭatāna (permutational note-
series), the definition of—183
Kūṭatāna prastāra—204
Laghu (measure of time in tāla)—
14, 19
Lalanā-cakra—92; as related to
music—97
Lalitasvara, an embellishment of the
circulatory tone-pattern—250,
259
Laṅghana (overstepping)—294, 295,
305
Laya (tempo or musical speed)—14,
19, 376
Liṅga-śarīra (subtle body)—28
Lollaṭa—9
Loka-rañjana, popular entertainment
or peoples' amusement—104
Lower pitch-range (mandra), defini-
tion of—281, 288
Madantikā, a variety of karuṇā śruti-
class—137, 139
Madhukarī—306, 307
Madhya (medium or middle register)
—114, 141
Madhyā, a class of śrutis—137, 138
Madhyama—130; the prominence
of—165
Madhyamā (jāti)—266, 273, 274,
275, 278, 279, 280, 290, 291;
Characteristic features—312-314
Madhyama-grāma—162; definition
of—163
Madhyamā-kapāla—370; verbal text
—374
Madhyama-sādhāraṇa—232
Madhyamodīcyavā (an associated
modified jāti)—273, 274, 275,
277, 279, 280, 290, 291, charact-
eristic features—345-348
Māgadhī (gīti)—299, 301, 365, 366,
376, 377, 382, 383
Mahābhūtas (great elements)—58
Mahāvrata, a hexatonic combina-
tional note-series of ṣaḍjagrāma
—223, 224
Maheśvara (Śiva), the presiding
deity of the Gāndhāra-grāma—
166
Maitrī, a mūrcchanā of madhyama-
grāma, according to Nārada—
178, 179
Mana (mind)—50
Māṁsadhara (skin)—65
Māṁsarajju (fleshy band)—72
Manaś-cakra, the cycle of the mind
—94
Manda, a variety of mṛdu śruti-
class—138, 139
Mandra (low register)—114, 141,
lower pitch range in the context
of alaṅkāras—239, 240; as a
feature of jātis—281, 287
Index-Cum-Glossary 425
Mandrādi, an embellishment of the
circulatory tone-pattern—249,
250
Mandramadhya, an embellishment
of the circulatory tone-pattern—
249, 251
Mandrānta, an embellishment of the
circulatory tone-pattern—249,
251
Mandratāraprasanna, an alaṅkāra
(embellishment)—261, 262
Manifestation, of sound in the
body, the process of—111
Maṇipūra-cakra, the navel cycle—89
Mārga, a form of saṅgīta—10; span
of tāla—14, 19, 365
Mārga-kalas—14, 19
Mārga-tālas—14, 18
Mārgī, a mūrcchanā of madhyama-
grāma—168, 169, 196
Mārjanī, a variety of madhyā śruti-
class—138, 139
Marmasthāna-s, the vital parts—82
Mataṅga—8, 9
Mātṛgupta—8, 9
Mātrā (fixed unit of time in tāla)—
14, 19
Matsarīkṛtā, a mūrcchanā of ṣaḍja-
grāma—168
Mind, the functions of—53
Missing note-series (naṣṭa)—218
Mokṣada, a pentatonic combina-
tional note-series of madhyama-
grāma—227
Monotone (note-series)—194, 197
Monotones—198
Mṛdu, A class of śruti-s—137, 138,
139; a synonym for mandra in
the context of alaṅkāra-s—239,
240
Mukti (enlightenment)—103
Mūla—8, 9
Mūlakrama, the original series—189;
original order—204
Mūlaśira (Primal bloodvessels)—79
Mūrcchanā, 13, 175, 202, 203, 228;
definition 167; the classsfication
—173
Mūrcchanā-saṁkhyā (the serial
number of mūrcchanā), the
method of indicating it—175
Nāda, primordial sound—1, 2, 108,
111, 121, 122: as audible sound
120; classified as āhata and
anāhata (produced and un-pro-
duced)—23; musi-cal classifica-
tion—112, 114; derivation—113,
as related to śruti—121
Nāda-brahman—108
Nādasaṁbhūti (voice production)—13
Nāḍī-s, as associated with śruti-s—
115, 116
Nāga, as a deity of mūrcchanas—
177, 178
Nāgapakṣaka, a hexatonic combina-
tional note-series of ṣaḍjagrāma
—224
Naiṣādī (jāti)—226, 274, 275, 279,
280, 290, 291; characteristic
features—320-323
Naiṣādī-kapāla—371, 375
Naiṣkrāmikī (dhruvā)—299, 301
Nāmasvara (denominative note)—
267
Nanda, a mūrcchanā of gāndhāra-
grāma—178, 179
Nandayantī (an associate modified
jāti)—273, 274, 275, 277, 279,
280, 290, 291, characteristic
features—359-365
Nandī, a pentatonic combinational
note-series of ṣaḍjagrāma—226
Nandikeśvara—9
Nānyadeva—9

426 Treatment of Svara Index-Cum-Glossary 427
Nārada—8, 9, 177
Nartana (dancing)—14
Naṣṭa (the missing note-series)—13, 217
Navel—89
Nescience—31
Nirguṇa (Brahman), the attributeless reality—104
Niṣāda—130
Niṣkarṣa, an embellishment of the ascendant tone-pattern—245
Niṣkūjita, an embellishment of the circulatory tone-pattern—250, 256
Nṛtta (a dance form)—10, 11, 21
Nyāsa (the final note)—281, 289
Objects of mind—53
Ojas—39, 45
Organs of human body—63
Original series (mūlakrama)—189, 190, 196, 199
Overlap (sādhāraṇa)—230
Overlapping (sādhāraṇa)—229; of kākalī—230; of antara 230; of ṣaḍja—232; of madhyama—232; of jātīs—16, 233; of notes (in jātī-s)—278
Pada—376
Padabhāga (a unit of two or four gurus forming a section of a tāla—14, 19
Pañcama—130
Pañcamī (jāti)—266, 273, 274, 275, 278, 279, 280, 290, 291; characteristic features—314-317
Pañcamī-kapāla—370; verbal text—374, 375
Pañcapāṇī—299, 301
Paramardī—9
Paramātman (supreme-self)—29
Parent jātīs—369
Parivarta (repetition of pada-division in tāla)—14, 19
Parivartaka, an embellishment of circulatory tone-pattern—249, 250, 253
Paryāyāṁśa, (co-fundamental note)—293
Passion, the seat of—88
Pāta (audible movement of the hand)—14, 18
Pātakalā-vidhi (technique of sounding and unsounding action in tala) 14, 19
Pauravī, a mūrcchanā of madhyama-grāma—168, 169, 195, 197
Paurṇamāsa, a pentatonic combinational note-series of ṣaḍjagrāma—226
Pentatonic note-series—182, 196
Pentatonics—191, 198
Permutational calculus (prastāra)—204, 206
Permutation-indicator (khaṇḍameru)—212, 222
Permutational note-series, 183, 196, 199, 222, 228
Peśī (muscle)—77
Piṇḍa (human body)—23
Piṇḍotpatti (human embodiment)—23
Piṅgalā (nāḍī)—100, 101, 102, 103
Pluta, in the context of alaṅkāras—240
Prabandha (musical composition)—14, 17
Prajāpati (foremost creators of human race)—32-34, a hexatonic combinational note-series of ṣaḍjagrāma—223, 224
Prāṇa (vital breath)—2, 3, 57, 59
Praṇava, Oṁkāra—91
Prasāda, an embellishment of the steady tone-pattern—238, 244; an embellishment of the circulatory tone-pattern—249, 252
Prasanna, in the sense of mandra in the context of alaṅkāras—239
Prasannādi, an embellishment of steady tone-pattern—238, 241
Prasannādyanta, an embellishment of the steady tone-pattern—238, 243
Prasannamadhyā, an embellishment of the steady tone-pattern—238, 243
Prasannānta, an embellishment of the steady tone-pattern—238, 242
Prasāriṇī, a variety of āyatā śruti-class—137, 138, 139
Prastāra (sequential permutation)—13, 15; an embellishment of the steady tone-pattern—238, 244, an embellishment of the circulatory tone-pattern—249, 251; elaboration of the basic structure of jātīs—338, 340, 342, 344, 345, 347, 348, 351, 352, 354
Pratyaya (formula for discerning the different aspects of tāla)—14, 20
Preṅkha, an embellishment of the circulatory tone-pattern—250, 256
Preṅkhita, an embellishment of the ascendant tone-pattern—245, 247
Presiding deities, of mūrcchanā-s—177
Prīti, a variety of mṛdu śruti-class—138, 139
Profusion—293
Pṛthula-gīti—299, 301, 365, 366, 376, 377, 381, 382, 385
Puṇḍarīka, a hexatonic combinational note-series of ṣaḍjagrāma—223, 224
Pūrṇa-kūṭatāna, complete permutational note-series, their No.—184
Puruṣamedha, a pentatonic combinational note-series of ṣaḍjagrāma—226
Puṣṭikṛt, a pentatonic combinational note-series of ṣaḍjagrāma—226
Rāga—13, 16, 366, 369
Rāgāṁśa—365
Ragāṅga—13, 16
Rāhula—9
Rajanī, a mūrcchanā of ṣaḍjagrāma—168, 170, 178, 195, 197
Rajas (activity)—55, 56, 93
Rājāsūya, a hexatonic combinational note-series of ṣaḍja-grāma—223, 224
Rakṣa, (presiding deity of mūrcchanās), 177
Raktagāndhārī (an associate modified jāti)—273, 274, 275, 279, 280, 290, 291; characteristic features—338-341
Raktī, the capacity to delight—104, 265
Raktikā, a variety of madhyā śruti-class—138, 139
Rambhā—8, 9
Ramyā, a variety of madhyā śruti-class-138, 139
Rañjanī, a variety of madhyā śruti-class—137, 139
Rañjita, an embellishment of the circulatory tone-pattern—250, 258
Rareness (Alpatva)—294
Rasa (aesthetic delight) 14, 20; that of the notes—153, 157; that of the jātī-s—365, 366
Rasavāhinī, arteries carrying lymphchyle (rasa)—80
Rathakrānta, a hexatonic combinational note-series of ṣaḍjagrāma—224

Page 428

Treatment of Svara

Left Column

Ratika, a variety of mṛdu śruti-class
—138, 139
Raudra, a pentatonic combinational
note-series of madhyamagrāma—
227
Raudrī, a variety of dīptā śruti-class
—137, 138, 139
Rāvaṇa—9
Repeated note-series, the total
number of—199
Ṛgveda—367
Ṛṣabha—130
Ṛṣi (sage)—13, 15, 153, 155
Rudraṭa—9
Śaṅkhacūḍa, a pentatonic combina-
tional note-series of madhyama-
grāma—227
Śaṅkuka—9
Śāntikṛt, a pentatonic combinational
note-series of ṣaḍjagrāma—226
Śārdūla—8, 9
Śarīra (timbre)—13, 14, 17
Śiva—8, 9, 108, 109, 177, 178
Śruti—3, 13, 104, 105; its number
—115; the primary definition
and measure—121, 122; as the
source of svara—130, 136; classi-
fication—137, 138
Śruti-jāti (The generic groups of
śruti-s)—13
Śruti-subclasses (as distributed
among the svaras)—139
Śuddha, a type of mūrcchanā-s—173
Śuddha jatis (primary melodic types)
—266, 369, definition—266, 267
Śuddha-madhyā, a mūrcchanā of
madhyamagrāma—168, 169, 195,
196
Śuddha-mūrcchanā (standard mūrc-
chanā)—179
Śuddha-ṣaḍjā, a mūrcchanā of ṣaḍja-
grāma—168
Śuddhasvara (standard note)—13, 15

Right Column

Śuddhatā, the definition of—267
Śuddhatāna (specific combinational
note-series)—179, 180, 223, 227
Śyena, a pentatonic combinational
note-series of ṣaḍjagrāma—226;
an embellishment of the circu-
latory tone-pattern—250, 256
Ṣāḍava (hexatone)—281, 293
Ṣāḍava-tāna (hexatonic note-series)
—181
Ṣaḍja—130, the prominence of—165
Ṣaḍja-grāma—162, 163
Ṣaḍjakaiśikī (an associate modified
jāti)—273, 274, 277, 279, 280,
290, 291, characteristic features
—324-327
Ṣaḍjamadhyamā (an associate modi-
fied jāti)—273, 274, 278, 279,
280, 289, 290, 291 Characteristic
features—331-334
Ṣaḍjasādhāraṇa—232
Ṣaḍjī (a śuddha jāti)—266, 273,
274, 275, 277, 279, 280, 290,
291; characteristic features—
299-303
Ṣaḍjī-kapāla—359; verbal text—372
Ṣaḍjodīcyavā (an associate modified
jāti)—273, 274, 279, 280, 290,
291; Characteristic features—
327-331
Ṣoḍaśī, a hexatonic combinational
note-series of ṣaḍjagrāma—223,
224
Sadāśiva—8, 9
Sādhāraṇa (overlapping)—141, 142,
229
Sahasrapatra-cakra, the thousand-
petalled lotus—95
Salvation—103
Sama, an embellishment of the
circulatory tone-pattern—249,
250, 255
Samāna (vāyu)—57, 60

Page 429

Index-Cum-Glossary

Left Column

Sāmaveda—367
Sambhavita (gīti)—299, 301, 365,
366, 376, 377, 880, 382, 385
Samit, a hexatonic combinational
note-series of madhyamagrāma—
225, 226
Sampradāna, an alaṅkāra (embellish-
ment)—261, 263
Saṁsargajā-vikṛtā (associate modi-
fied (jatis)—273
Saṁsthā, a hexatonic combinational
note-series of ṣaḍja-grāma—224
Saṁvādī (consonant)—148
Sañcārī (circulatory tone-pattern)—
235, 236, 261
Sandhipracchādana, an embellishment
of the ascendant tone-pattern—
245, 248
Sandīpanī, a variety of āyatā śruti-
class—137, 138, 139
Saṅgatī—299, 301, 305
Saṅgītam (musical arts) gītam,
vādyam and nṛttam all the three
taken together—10
Saṅgīta-ratnākara—8
Sannivṛttakapravṛttaka, an embellish-
ment of the circulatory tone-
pattern—250. 258
Sannyāsa, the concluding note of the
first sub-section of a musical
composition—281, 291, 292
Sāntarā (antara-inclusive type of
mūrcchanā)—173
Sarpayaṇa, hexatonic combinational
note-series of madhyamagrāma—
225
Sarvasvavadakṣiṇa, a hexatonic combi-
national note-series of madhyama-
grāma—225, 226
Sarvatobhadra, a hexatonic combina-
tional note-series of madhyama-
grāma—225

Right Column

Sattva guṇa (purity)—50, 55, 56;
mind or consciousness, 93
Saubhāgyakṛt, a pentatonic combi-
national note-series of ṣaḍja-
grāma—226
Saubhara, a pentatonic combina-
tional note-series of ṣaḍjagrāma
—226
Sautrāmaṇī, a hexatonic combina-
tional note-series of ṣaḍjagrāma
—224
Sauvīrī, a mūrcchanā of madhyama-
grāma—168, 169, 170; according
to Nārada a mūrcchanā of ṣaḍja-
grāma—178
Sāvitrī, a hexatonic combinational
note-series of madhyamagrāma—
225
Semifinal note (apanyāsa)—281, 290
Siddha—177, 178
Siṁhalī—317, 319
Siṅghaṇa—4, 6 patron of Soḍhala
and Śārṅgadeva
Sirā (vein)—78
Sīranī (suture)—72
Skhalita, an embellishment of the
circulatory tone-pattern—249,
250, 253
Snāyu (Ligaments)—39, 75
Soḍhala—4, 6 Father of Śārṅgadeva
Soma, a hexatonic combinational
note-series of madhyamagrāma—
225, 226
Soma-cakra—94
Someśa—9
Sonant—293
Songster—17
Songstress—17
Specific combinational note-series,
the definition of—179, 180
Srotas (canals), the elimination of
bodily impurities—71

Page 430

Left Column

430 Treatment of Svara
Sṛṣṭisaṁhāra-pravāha (the cycle of
creation and destruction)—29
Standard mūrcchanā—179
Steady tone-pattern, definition of
—235
Sthāna (register)—13, 141; in the
sense of ādhāra-śruti or sthāya—
228
Sthāya (specific feature of tonal
rendering)—14, 17
Sthāyī (steady tone-pattern)—234
Subtle body, its constituents—28
Sūḍa, chāyālaga—14, 18; sūḍa—14,
18
Sukhā, a mūrcchanā of gāndhāragrāma
—178, 179
Sumukhī a mūrcchanā of gāndhāra-
grāma—178, 179
Sun—178
Supti (drowsiness)—50
Sūryakrānta, a hexatonic combina-
tional note-series of ṣaḍjagrāma
—224
Suṣumṇā—99
Svādhiṣṭhāna-cakra, the self-abiding
cycle—87, 88
Svāhakāra, a hexatonic combina-
tional note-series of madhyama-
grāma—225, 226
Svapna (dreaming state), definition
of—69
Svara (tone or note)—130; defini-
tion—134 classification—148
Svarādi—13, 17
Svara-jñāna (tonal perception)—265
Svara-sādhāraṇa, overlapping in
note-intervals—13, 16, 229;
overlapping in (jātis)—278
Svātī—9
Sviṣṭakṛt, a hexatonic combinational
note-series of ṣaḍjagrāma—223,
224; a pentatonic combinational

Right Column

note-series of madhyamagrāma—
227
Tāla—365
Tāna (note-series), śuddha (combi-
national) and kūṭa (permuta-
tional)—13, 15
Talāṅga (rhythmic structure)—14-
20
Tamas (inertia)—55, 56, 93
Tanūnapāt, a hexatonic combina-
tional note-series of madhyama-
grāma—225, 226
Tāra, a variety of nāda—141, in
the sense of pitch range (high)
—239, 240, 281, 285
Tāramandraprasanna, an alaṅkāra
(embellishment)—261, 262
Tetratone—196
Tetratonics—192, 198
Tetratonic-series—197
Tīvrā, a variety of dīptā śruti-class
—137, 138
Trailokyamohana, a pentatonic com-
binational note-series of
madhyamagrāma—227
Tritones—193, 196, 197, 198
Trivarṇa, an embellishment of the
ascendant tone-pattern—245, 249
Tumburu—8, 9
Twin-hearted, a woman in preg-
nancy—43
Uccāṭana, a pentatonic combina-
tional note-series of ṣaḍjagrāma
—226
Udāna (vāyu)—57, 60
Udbhaṭa—9
Udbhid, a hexatonic combinational
note-series of ṣaḍjagrāma—224
Uddiṣṭa (indicated note-series)—13,
214
Udghaṭṭita, an embellishment of the
circulatory tone-pattern—250,
257

Page 431

Left Column

Index-Cum-Glossary
Udgīta, an embellishment of the
ascendant tone-pattern—245,
248
Udgītha, the second part of sāman—
91
Udvāhita, an embellishment of the
ascendant tone-pattern—245,
248; an embellishment of the
circulatory tone-pattern—249,
250, 254
Ugrā, a variety of dīptā śruti-class—
137, 138, 139
Uktha, a hexatonic combinational
note-series of ṣaḍjagrāma—224
Ullasita, an alaṅkāra (embellish-
ment)—261, 264
Umbilicus—80
Upacaya (fattiness)—50
Upalola, an alaṅkāra (embellish-
ment)—261, 264
Upāṁśu, a hexatonic combinational
note-series of madhyamagrāma—
225, 226
Upāṅga (sub-organ)—13, 16
Uparāga—13, 16
Upāsanā (worship)—108
Ūrmi, an embellishment of the
circulatory tone-pattern—249,
250, 255
Uttaramandrā, a mūrcchanā of ṣaḍja-
grāma—168, 195, 196
Uttaravarṇā, a mūrcchanā of ṣaḍja-
grāma according to Nārada—178
Uttarāyatā, a mūrcchanā of ṣaḍja-
grāma—168, 195, 198, as also
according to Nārada—178
Vādī (sonant), definition of—148,
149
Vādyam (instrumentation)—14; in-
strumental music—10, 21
Vāggeyakāra—13, 17

Right Column

Vainateya, a pentatonic combina-
tional note-series of ṣaḍjagrāma
—226
Vājapeya, a hexatonic combinational
note-series of ṣaḍjagrāma—223,
224
Vajra, a pentatonic combinational
note-series of ṣaḍjagrāma—226
Vajrikā, a variety of dīptā śruti-class
—137, 138, 139
Valabhit, a hexatonic combinational
note-series of ṣaḍjagrāma—224
Varāṭī—302
Varṇa—3; colour—13, 15; colour of
notes—153, 154; tone-pattern,
definition and classification—
13, 16, 234
Varṇāṅga (tonal structure)—265
Varttikā (mārga)—365, 366
Varuṇa (Paśī)—178
Vaṣaṭkāra, a pentatonic combina-
tional note-series of madhyama
grāma—227
Vaśīkaraṇa, a pentatonic combina-
tional note-series of ṣaḍjagrāma
—226
Vāyu—8, 9, 177, 178
Vāyu-vikṛti, (ten) modifications of
breath—57
Vedas—32, 34, 367
Velāvalī—308, 310, 320, 322, 324,
326
Veṇī (Pṛthagveṇī) an embellish-
ment of the ascendant tone-
pattern—245, 249
Veṇu, an embellishment of the
circulatory tone-pattern—250,
259
Vibhāṣā—13, 16
Vidārī (sub-section)—290
Vidhūta, an alaṅkāra (embellish-
ment)—261, 263

Page 432: Treatment of Svara

432 Treatment of Svara
Vikṛta-jāti, the definition of—268, 269
Vikṛta-svara (modified notes)—13, 15, 141
Vīṇā—120
Viniyoga (application) of notes—13, 15
Vinyāsa, the note at the end of a pada (i. e. a word).—281, 292, 293
Viprakīrṇa (prabandha-s)—depending on sūḍa—14, 18
Vīrā, a pentatonic combinational note-series of madhyamagrāma—227
Virāj (initial manifestation of Brahman)—31, 32
Viśākhila—8, 9
Viśālā, a mūrcchanā of gāndhāra-grāma—178, 179
Viṣṇu—108, 109, 166
Viṣṇukrāntā, a hexatonic combinational note-series of ṣaḍjagrāma—224
Viṣṇuvikrama, a pentatonic combinational note-series of madhyama-grāma—227
Viśuddhicakra, (the cycle of purity), as related to music—97
Viśvajit, a hexatonic combinational note-series of ṣaḍjagrāma—223, 224
Viśvakṛtā, a mūrcchanā of madhyama-grāma, according to Narada—178, 179
Viśvāvasu—8, 9
Vistīrṇa, an embellishment of the ascendant tone-pattern—245
Vivādī (dissonant)—148, 149
Vṛddhi (growth)—50
Vṛnda, a group of musicians—14
Vṛṣagaṇa—4, 5; Progenitor of Śārṅgadeva's ancestry.
Vṛtti (mārga)—299, 301, 365, 366
Vyāna (vāyu)—57, 60
Vyāvṛttā, an embellishment of the circulatory tone-pattern—249, 250, 252
Yajurveda—367
Yakṣa—177
Yāṣṭika—8, 9
Yati (order of laya)—14, 19
Yugma—(caccatpuṭa, a form of tāla)—14, 19, 382

HALF-LINE ŚLOKA-INDEX

HALF-LINE ŚLOKA-INDEX

Column 1

अंशाविवादी गोतस्य 292
अंशाः द्विपञ्चयोडुवितं 308
अंशाः सप्तस्वराः षड्ज० 331
अंशाः समनिपाः षड्ज० 327
अंशाः स्यु षड्जकैशिक्यां 324
अंशाः स्युः रक्तगान्धार्यां 338
अंशेषु समपेवेत्तु 278
अंशो गान्धारपञ्चम्यां 332
अगाधबोधमन्थेन 9
अग्निष्टोमोऽत्यग्निष्टोमः 223
अग्निचिद् द्वादशाहः 225
अग्नेस्तु लोचनं रूपं 58
अङ्गुनेकादिसप्तान्तान् 202
अङ्गप्रत्यङ्गभागाश्च 39
अङ्गिराः कङ्क इति 226
अङ्गुलीनां च नियमः 14
अज्ञातविषयास्वादः 11
अतः परं तु रक्तिघ्नं 121
अतस्त्रयोविंशतिधा 269
अतोऽष्टावधिका द्वापं० 269
अतो गोतं प्रधानत्वात् 11
अतो जातोऽष्टमे मासि 40
अतो मातुरनोऽभीष्टं 39
अत्यल्पपंभगान्धारं 371
अत्र येऽन्य उपन्यासाः 290
अथ प्रत्येकमेतासां 299
अथ रागविवेकाख्ये 13
अथात्र शुद्धतानानां 223
अदानादोहदानां 39
अधःक्रमादस्ति ष्टोष्टः 217
अधराधरतीव्रास्ताः 121
अधस्तनैनिषादायैः 170
अधिक विंशतिः स्त्रीणां 77

Column 2

अधुनाखिललोकानां 7
अधोगता अपि त्रेधा 80
अभ्यास्ते संकुचद्गात्रः 40
अनन्तत्वात्तु ते शास्त्रे 264
अनम्पासस्त्वनेवंशु 294
अनभ्यासैः क्वचित्क्वापि 295
अनलाज्जलमेदस्मात् 31
अनाविविचोपहिता 25
अनाहतदले पूर्वे 96
अनुवादी च वादी तु 148
अनुक्तविह् तालः स्यात् 365
अन्तरस्यापि गमयोः 230
अन्यस्य तु थिरावृत्तो 249
अन्नं भुक्तं धमम्यो द्वे 80
अन्ये च वहवः पूर्वे 9
अन्ये तु निगपन्यासात् 341
अन्येष्वपि सप्तालङ्काराः 261
अपनोयेव चेद्देपा 195
अपन्यासः स्वरः स स्यात् 190
अपानस्तु गुदे मेढ्रे 57
अपि ब्रह्महणं पापात् 367
अपि संन्यासविन्द्यासो 281
अमपं तैक्ष्ण्यमूष्माणं 58
अरतिः संभ्रमोभ्रमः 92
अद्धञ्जलिः शिरोमञ्जा 83
अर्वाक्तु कामचारः स्यात् 285
अलङ्कृतं दक्षिणाशां 4
अलङ्कारेषु लवितः 39
अलङ्कनात्तथाभ्यासात् 293
अलम्बुसा कन्दमध्ये 100
अलम्बुसा पायुमूलं 101
अलम्बुसेति तन्नाद्याः 100
अलोलुपत्वमुत्साहः 50

30

434 Treatment of Svara Half-Line Śloka-Index 435

अल्पत्वं च द्विधा प्रोक्तं 294 आद्यं द्वितीयमाद्यं च 262 इति पञ्चमहीनानां 224 ऋषभस्त्वन्तिमां प्रोक्तं 232
अल्पद्विश्रुतिके राग० 278 आद्यन्तयोर्मूर्च्छनाऽऽदिक्षेत्रे 243 इति पञ्चाभिधा दत्ते 112 ऋषभांशं सपद्मं च 370
अल्पप्रयोगः सर्वत्र 231 आद्यस्वराद्यास्तिस्रः स्युः 257 इति पूर्वादिपत्रस्थे 91 ऋषभादिर्मूर्च्छना स्यात् 312,317
अल्पा निषधगान्धाराः 334 आद्याम्यामन्तिमाभ्यां च 382 इति प्रत्यक्षसंक्षेपः 84 ऋषभेन विहीनानां 225
अल्पा रिपनिषा लङ्घ्यः 369 आद्या मांसधरा मांसे 65 इति प्रयोजनान्याहुः 265 ऋषभे मध्यमेऽल्पत्वं 324
[

436 Treatment of Svara Half-Line Sloka-Index 437
एवं कण्ठे तथा शीर्षे 115 किञ्चित्कालमवस्थानं 40 क्रियास्तेषां मनोबुद्धिः 50 गीतिरित्युच्यते सा च 376
एवं कलात्रयेणोक्तः 244 किमन्ये यक्षगन्धर्व० 11 क्षितौ रक्ता च संदी० 138 गीतेन प्रीयते देवः 11
एवं मध्यममुच्चार्य 231 कुमुद्वत्यायता याऽस्याः 137 क्षेत्रज्ञः स्थित आकाशः 36 गीते समाप्तिरुन्न्यासः 289
एवंविधे तु देहेऽस्मिन् 103 कुर्युरेता रक्तगान्धारीं 274 ग गीत्वा कलायामाद्यायां 376
एवं संचार्यलङ्काराः 261 कुर्वन्क्रमात्षडाजारोहेत् 246 गजश्च सप्तपङ्‌ङ्क्त्यादीन् 147 गीत्वाऽऽद्यौ द्वौ चतुथं च 259
एषां शेषेषु पत्रेषु 97 कुवंति हे नरे शुक्लं 80 गत्वाऽऽद्यगानाद्द्रवति 256 गीर्वाणकुलसंभूताः 152
एषा प्रकृतिरन्या तु 39 कुलानि जातयो वर्णाः 13 गत्वा द्रुमदलस्येव 79 गुणग्रामेण यो विश्रान् 5
एषा मन्द्रगतेः सीमा 287 कुल्याभिरिव केदाराः 80 गर्भः स्यादर्थवान्भोगी 39 गुणदोषाश्च शब्दस्य 14
औ कृतगुष्पदसेवः 7 गर्भशियोऽष्टमः स्त्रीणां 67 गुदलिङ्गान्तरे चक्रं 85
ओडुवानां चतुर्णां प्राक् 195 कृताञ्जलिलिलाटेऽसौ 40 गलोपान्तिगलोपेन 312 गुहलध्वादिमानं च 14
ओडुवानां तु विंशत्या 187 कृता सान्तरमार्गः स्यात् 215 गान्धार इति तद्भेदी 142 गुरुपदिष्टमार्गेण 104
ओडुवो साऽस्ति येषां च 296 कृत्वाऽभिनवत्परं स्पृष्ट्वा 254 गान्धारग्राममाचष्ट 164 गेयं वितन्वतो लोक० 104
ओडुवं रिपलोपेन 327 कृपा क्षमाऽऽर्जवं धैर्य 95 गान्धारपञ्चमीत्येताः 279 गोधाऽशने तु निद्रालुः 31
क कैंशिके काकलीत्वे च 142 गान्धारिका सरस्वत्योः 100 गोपीपतिरनन्तोऽपि 11
कं धर्मं विदधो नैपः 5 कैशिक्यां सप्तपक्षे तान् 290 गान्धारी धैवती पाड्जी 274 ग्रहांशतारमन्द्राश्च 281
कन्दमध्ये स्थिता तस्या 100 कैशिक्यामुपभागेऽशः 341 गान्धारोपञ्चमीभ्यां तु 274 ग्रहांशन्यासषड्जं च 371
कन्दीकृत्य स्थिताः कन्दं 100 कैश्चित्तु पञ्चमः प्रोक्तः 359 गान्धारी हस्तिजिह्वां च 100 ग्रामः स्वरसमूहः स्यात् 160
कण्ठेऽस्ति भारतीस्थानं 91 घोरकाः प्रतरारुङ्गाः 74 गान्धारोड्डेवनेन लोपः 299 ग्रामरागांस्त्रीपरायान् 13
कण्ठे मध्यो मूधिन तारः 114 कोष्ठसंस्थागुणं न्यस्येत् 208 गान्धारोद्प्रन्तबहुलः 348 ग्रामाश्च मूच्छैनास्तानाः 13
कपालं पञ्चमीजाति० 370 क्रमं न्यस्य स्वरः स्थाप्यः 204 गान्धारोदीच्यवां कुर्युः 274 ग्रामे स्यादावलाँपत्स्वात् 165
कपालानां क्रमाद् ब्रूमः 372 क्रमा अकूटतानस्त्वे 185 गान्धारोदीच्यवा चाय 279 घ
करुणा चायता मध्द्या 137 क्रमा द्विधेति द्वात्रिंशत् 192 गाधारोदीच्यवायां तु 334 घ्राणे गन्धवहे द्वे द्वे 79
कर्तव्याऽभ्रांपि गान्वारी 352 क्रमात्कला सा यत्र 258 गान्धारोवीव्यवारक० 373 च
कर्मास्य देहोद्नयन० 57 क्रमात्कालगतेर्हेतू 100 गान्धार्यार्षभिकाम्यां तु 274 चक्रं सहस्रपत्रं तु 95
कलां प्रयुज्य मन्द्रादेः 253 क्रमात्पूर्वादिपत्रे तु 89 गात्रो वाची निपादाक्षो 191 चच्चत्पुटः पोऽडात्र 329,348,352
कला गतागतवती 256 क्रमात्पूयायशस्विम्यो 100 गानक्रियोच्यते वर्णः 234 चच्चत्पुटः पांऽडाख्या 324
कलायां श्रीन्स्वरान्गीत्वा 254 क्रमात्स्वराणां सप्तानां 167 गाने स्थानस्य लाभेन 2:8 चतस्रः षड्जशब्दिभ्यः 375
कलायामाद्ययोर्युग्मं 264 क्रमात्सरिगमार्थः स्यात् 256 गान्धवें मूच्छैनास्तानाः 228 चतुःपञ्चाशदाख्याताः 82
कलास्तेषां द्वितीयाद्याः 262 क्रमादनुष्टुब्गायत्री 153 गाम्भीर्यमधुरोऽहष्टत्वं 95 चतुःश्रुतित्वमायाति 142
कले स्तस्तिस्वरे यत्र 248 क्रमादसवाल्पतरते 296 गायनी गुणदोषाश्च 14 चतुःस्वराः परा यत्र 252
काकल्यन्तरपड्जैश्च 229 ग्रामादारोहति यदा 247 गीतं च वादनं नृत्तं 10 चतुःस्वरा कला तत्र 252
कामरिखी पञ्चमान्ता 289 क्रमाद्ग्रामत्रये देवाः 166 गीतं नादात्मकं वाद्यं 21 चतुःस्वरा समग्रकला 250
कार्मारव्यय गान्धार 276 क्रमाद्गनेन निगाभ्यां च 314 गीतं वाद्यं तथा नृत्तं 10 चतुःस्वराणां कूटाना 187
कार्मारव्यां च नैपाद्यां 290 क्रमादपमहीनानां 224 गीतस्य गुणदोषाश्च 14 चतुःस्वरेषु ग्याद्यौ द्वो 193
कार्मारव्यां भवन्त्यंशाः 348 क्रमान्तिमस्वरात्पूर्वः 217 गीताङ्गानि च वक्ष्यन्ते 14 चतुःस्वरे क्रमद्वन्द्वे 195
कार्या मन्द्रतमध्वान। 121 क्रमान्मार्गाश्रितवृत्ति० 299 गीवादिनीहितस्तत्र 282 चतुर्थषड्जशमः 97
--- 153 क्रमेण दन्मो वैकल्यं 90 गीतित्तालकलाऽऽदीनि 331 चतुर्थस्य प्रकणस्य 345
क्रियास्तेषुः शिराः सति० 49

Page 438

438 | Treatment of Svara

Column 1

चतुर्थे व्यक्ता तेषां 39
चतुर्दशाष्टादश वा 73
चतुर्दशौतस्त्युमयां 121
चतुर्धाऽन्ये दशेत्यष्टौ 189
चतुर्था ताः पृथक्शुद्धाः 173
चतुर्विधाः स्वरा वादी 148
चतुष्कले भूरिलघुः 382
चतुस्त्रिंशत्सहस्त्राणि 189
चत्वारिंशच्च संख्याताः 184
चत्वारि च सहस्राणि 191
चरत्यास्ये नासिकयोः 57
चलवीणा द्वितीया तु 121
चातुर्मास्योऽथ संस्थाऽऽभ्यः 224
चैतन्यं सर्वभूतानां 108
च्युतोऽच्युतो द्विधा 141
छ
छम्यकादीनि गीतानि 14
छन्दांसि विनियोगाश्च 13
छन्दोवती रञ्जनी 138
छागाः कोशाग्निभिः पक्वाः 64
ज
जगति ।वततर्कात्तिः 7
जम्बूघाकाकोष्ठ० 153
जरायोर्मनुषादीनां 35
जातः प्राणानिसंयोगात् 13
जातमात्रस्य तस्याथ 49
जातिलक्ष्मग्रहाशादि 13
जातिसाधारणं केचित् 233
जिज्ञासुनां च विद्याभिः 7
जीवः प्राणसमारूढः 99
जीवकर्मप्रेरितं तद् 36
जीवस्थानानि मर्माणि 82
जीवानामुपभोगाय 29
जीवो गीतादिसंसिद्धि 97
ज्योतिष्टोमस्ततो दर्शः 226
ज्ञानेन्द्रियाणि श्रवणं 50

Column 2

त
तं प्रसादं सुधीधुर्यः 5
त एव विकृतावस्था० 141
ततः प्रकीर्णाख्याये 13
ततः प्रबन्धाध्याये तु 14
ततः प्रसङ्गमध्यः स्यात् 238
ततः प्लुतं सार्धगण० 287
ततः शुद्धाः स्वराः सप्त 13
ततोऽपि षोडशदलं 94
ततोऽप्यन्तरभाषाश्च 13
ततोऽप्यस्ति मनश्चक्रं 94
तत्तज्जातियुतं देहं 25
तत्तानानां तु साशीतिः 195
तत्परामृतमं चैव 231
तत्सम्बन्धादोडुवं च 296
तत्स्यूथासाररागाभिः 95
तत्र नादोपयोगित्वात् 35
तत्र प्रणव उद्गीथ० 91
तत्र स्वरगताध्याये 13
तत्र स्यात्सगुणाढ्यमानात् 104
तत्रांशप्रहयोरन्य० 282
तत्राभूद्भास्करप्रख्यः 4
तत्राष्टौ पूर्णताहीनाः 269
तत्रास्तेऽग्निborderशिखा तन्वी 98
तत्राऽऽन्ध्री नन्दयन्तीति 273
तथा सामसमुद्भूताः 367
तदाज्ञयाऽसृजद् ब्रह्मा 32
तदाऽर्धमागधी प्राहुः 378
तदाऽर्धमागधी ते द्वे 382
तदाऽष्टाविंशतिस्तानाः 181
तदाऽऽक्षेपोऽथ बिन्दुः स्यात् 253
तदेतत्सुष्टिसंहारं 29
तदोद्गीतो मध्यमेन 248
तद्गान्धारकपालं स्यात् 370
तद्दोषा गमकः स्थायाः 14
तद्ध्वयानुगतं नृत्तं 21
तद्धेतोम्ये प्रसन्नान्तः 242

Page 439

Half-Line Śloka-Index | 439

Column 1

तन्द्राप्रभृति शोफादि 51
तन्मध्यमाकपालं स्यात् 370
तन्मध्ये नाभिचक्रं 99
तयोरकैकहीनास्तु 189
तयोर्द्वाविंशतिस्तम्भाः 120
तस्मादत्र सुखोपायं 104
तस्मादाहतनादस्य 104
तस्माद्दुग्धाम्बुधेर्जातः 4
तस्य गीतस्य माहात्म्यं 99
तस्य द्वाविंशतिर्भेदाः 115
तस्य भेदास्तु बहवः 238
तस्यामूतनयः प्रभूति० 4
तां च द्विहृदयां नारीं 39
ताः कला मन्द्रमध्यान्ताः 251
तानस्वरमितोऽर्धाधः 222
तानास्त्रिस्वरयोस्स्वेते 195
तानाः स्यूर्मूर्च्छनाः शुद्धाः 179
तानानां पुनरुक्तानां 195
तानानां रहिहीनानां 227
तानानां षट्सुद्याकाराः 195
ताम्योऽनं जातमन्नं तत् 36
तामस्वरविधौ यच्च 62
तारन्यासविहीनास्ताः 267
तारमन्द्रप्रसन्नाश्र्च 261
तारमन्द्रप्रसन्नोऽयं 262
तारमन्द्रविपर्य्यस्तं 244
तालश्चञ्चत्पुटौ ज्ञेयः 334
तालाध्याये पञ्चमे तु 14
ताश्च भूरितरास्तासु 100
ताश्च स्वर्गे प्रयोक्तव्याः 178
तासामन्यानि नामानि 178
तासु बिल्वास्थिते द्वे द्वे 79
तासूप्वान्तिस्वस्नेरान् 175
तास्वाद्यायामाद्यकोष्ठे 208
तिरश्च्यस्तासु तावत्यः 115
तीव्रा कुमुद्वती मन्द्रा 138
तीव्रा रौद्री वज्रिकोप्रा 137

Column 2

तुर्यं गत्वाऽऽदिमं गच्छेत् 252
तुर्यगाने फलैकैक० 255
तुर्यप्रेक्षणसम्बन्धि० 352
तुल्यारोहावरोहेक० 255
तुष्टो गोतादिकार्यणि 97
तुरीयं लघुयुग्मस्य 382
तृतीयप्रेक्षणगत० 338
तृतीयायां सारणायां 121
तृतीये त्वङ्गुराः पञ्च 38
ते एव विक्रिदुच्यंते 232
ते क्रमास्तेषु संख्या स्यात् 175
ते शुद्धैः सप्तभि सार्धं 142
ते जीवा नात्मनो भिन्नाः 30
ते संजाता यत्र गीते 296
ते मन्द्रमध्यताराख्य० 141
तेभ्यस्तु रेतसो सृष्टिः 32
तेषां मुख्यतमः प्राणः 57
तेषां लक्षणानि न ब्रूमः 62
तेषां संज्ञाः सरिगम० 130
तेषु लोएं क्षिपेन्मूले 217
तैः पञ्चभिस्तृतीया स्यात् 329
तोयं मूत्रं बलं द्वे द्वे 80
तौ द्वौ घरातले तत्र 162
त्रयस्ते करुणाभेदाः 137
त्रयाणां तु त्रिरावृत्तौ 248
त्रिधा तालः पञ्चपाणिः 299
त्रिनवत्या युता तानिः 195
त्रिश्श्रुतुर्वा स्वरोच्चारे 146
त्रिषष्टिरप्यलङ्काराः 13
त्रिस्वराद्या कलाऽन्ये च 248
त्रिस्वराद्या कलैकैक० 250
त्रिस्वराऽश्वेतकलाः पूर्व० 253
त्रिस्वराऽश्वेतकला मन्द्र० 250
त्रिस्वराः षड् द्विस्वरौ द्वौ 187
त्रिस्वरेषु तु माद्यौ द्वौ 192
त्रिस्वरौ द्विस्वरात्रेकः 195
त्रैष्ध्येवास्यिशततान्यत्र 73