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

82 Treatment of Svara
17. मर्मस्थानानि
जीवस्थानानि मर्माणि शतं सप्तोत्तरं विदुः ।
18. रोमाणि, श्मश्रु केशाश्च
सार्धकोटित्रयं रोम्णां श्मश्रुकेशास्त्रिलक्षकाः ॥११४॥
स्रोतःसिराश्मश्रुकेशैः सह रोम्णां तु कोटयः ।
चतुःपञ्चाशदाख्याताः सप्तषष्ट्या च सार्धया ॥११५॥
लक्षाणां संहितानां,
to the large intestines discharge the faecal matter. Eight (of
the arteries) exude⁸ perspiration. (110-112c)
The lateral-coursing vessels (arteries) are considered to
be countless. Their external orifices open into the pores of
the skin⁹ for exuding perspiration, and also through them
are entered soothing nutrients, the effects of anointment and
unguents. (113d-113)
17. The vital parts (marmasthāna-s). (114ab)
The vital parts¹ constituting the life spots (of human
organism) are known to be one hundred and seven. (114ab)
18. Hair on the body, beard and the head : 114c-116a
The hair on the body are 3,50,00,000; the hair of the
beard and the head are 3,00,000. The combined total
Compare this with Suśruta (Śā. Sthā. 9.8) who speaks of four
lateral-coursing dhamanī-s ramifying into thousands. The dhamanī-s
are porous by themselves and they transport lymph-chyle through their
pores to the entire body (cf. Suśruta Śā. Sthā. 9.9).
8. According to Suśruta (as quoted above) these eight convey
the perspiration to lateral-coursing veins.
9 Romakūpa lit. means the root(s) of the hair on the body, i.e.,
the pores into which the hair are rooted.

1. Marma is defined 'mārayantīti marmāṇi' (Ḍalhaṇa), i.e. ‘Those
   parts that (tend to) cause death; in other words, those vital
   parts which when injured cause the collapse of the entire
   organism ’ The concept of marma is unique to Āyurveda. In fact
   there are many such concepts that can hardly be rendered into
   English in terms of modern anatomy.
   Section 2 . पिण्डोत्पत्ति...
2. देहस्थरसानां मानम्
   जलादेरधुनोच्यते ।
   दशाञ्जलि जलं ज्ञेयं रसस्याञ्जलयो नव ॥११६॥
   रक्तस्याष्टौ पुरीषस्य सप्त स्युः श्लेष्मणस्तु षट् ।
   पित्तस्य पञ्च चत्वारो मूत्रस्याञ्जलयस्त्रयः ॥११७॥
   वसाया मेदसो द्वौ तु मज्ज एको ऽञ्जलिर्मतः ।
   अर्धाञ्जलिः शिरोमज्जा श्लेष्मसरो बलं तथा ॥११८॥
   number of the channels, veins, hair of the beard, on the
   head and on the body is 54,67,50,000. (114c-116a)
3. The measure of fluids in the human body : 116b-118
   Now we are to describe (the measure of) the acqueous
   element¹ (of the body). Ten añjali-s² of water, nine of
   lymph-chyle, eight of blood, seven of faecal matter, six of
   phlegm (or mucus), five of bile, four of urine, three of muscle
   fat, two of fat, one of bone marrow, half an añjali each of
   head marrow³, colloidal vital⁴ essence and seminal fluid.
   (116b-119)
   Srota-s ordinarily signify tubular structures in the body such as
   ducts, blood vessels and capillaries. This word illustrates another such
   concept which does not easily lend itself to be translated precisely.
   Our author does not write much on the marma-s and the srota-s, and
   therefore, the temptation to give detailed information on these topics on
   the basis of Suśruta is well restrained.
4. The acqueous element is found (i) associated with faecal matter,
   (ii) in the outer skin, (iii) below the skin and (iv) exuding
   from hair follicles, viz., perspiration.
5. Measure equal to the cavity formed by joining one's two hands
   in a cup-like fashion.
6. Śiromajjā of the text. Cf. Caraka Śā. Sthā. 7.15, who identifies
   it with brain (mastiṣka).
7. Śleṣmasāra of the text.

84 Treatment of Svara
20. उपसंहारः
इति प्रत्यङ्गसंक्षेपो विस्तरस्त्विह तत्त्वतः ।
अस्मद्विरचिते ऽध्यात्मविवेके वीक्ष्यतां बुधैः ॥११९॥
20. Concluding remarks: 119
Such has been the brief treatment of the sub-organs.
The enlightened ones interested in a detailed study may refer
to our work entitled "Adhyātma-viveka". (119)
As it has been stated earlier, Śārṅgadeva was himself a qualified
doctor and wrote another work referred to above on anatomy and
medicine. But this book is probably not available today. Here he
completes his treatment of human embodiment.
It has been noted (vide our comments on 1 ante) that Śāradā-
tanaya, a contemporary of our author has quite independently and
very briefly dealt with human embodiment in the context of geya-
samutpatti (the creation of music). It will be interesting to take a
comparative view of the manner of their treatment of the subject and
to discover the difference in the point of their emphasis.
Śāradātanaya deals with the following topics in his exposition of
geya-samutpatti which obviously determines his approach and relative
emphasis :
"Announcement for expounding geya, music—the thirtysix ele-
ments of creation—the creation—the entry of the knowing self into the
womb—the genesis of human embodiment—description of the body
produced from the womb, classification of prāṇa-s, their place and
function—the ten gross nāḍī-s of the heart—their bifurcation into 700
nāḍīs and so on." (cf. Bhāvaprakāśanam, pp. 180-184-Baroda Ed.)
A similar number of subjects related to human body is dealt with
in conjunction with the production of sound. A list of these subjects
will be given in Section three (8c-9), although much of what is said by
him is also relevant to the next topic of this Section, viz., "Genesis-The
Psycho-physical Viewpoint", but all the same he does not explicitly deal
with the psycho-physical centres of the body.
Section 2: The Genesis of the Human Embodiment
घ. हठयोगानुसारि निरूपणम्
(i) दशचक्राणि

1. आधार-चक्रं कुण्डलिनी च
   गुदलिङ्गान्तरे चक्रमाधाराख्यं चतुर्दलम् ।
   परमः सहजस्तद्वदानन्दो वीरपूर्वकः ॥१२०॥
   योगानन्दश्च तत्र स्यादेशानादिवले फलम् ।
   अस्ति कुण्डलिनी ब्रह्मशक्तिराधारपङ्कजे ॥१२१॥
   आब्रह्मरन्ध्रमुजुतां नीतेयममृतप्रदा ।
   D. Genesis: The psychophysical viewpoint.
   (i) Ten cakra-s (psychophysical centres): 120-145b
2. Ādhāra-cakra and kuṇḍalinī : 120-122b
   Situated in-between¹ the anus and the genitals is the
   basic psychic centre called the 'foundational cycle' (ādhāra-
   cakra), a four-petalled lotus as it were. The petals named
   Six psycho-physical centres are conceived in the astral body of
   man by certain schools of Yoga, specially, the kuṇḍalinī-yoga, the mantra-
   yoga, the rāja-yoga, etc. These function as the centres of consciousness
   at various planes and concentration and control of one or many of these
   centres bestows enormous psychic and occult powers. However, the aim
   of yoga is to train the mind to concentrate upon and penetrate through
   all these six psycho-physical centres and thereby to attain complete
   mastery over the physical and the astral body and freedom from the
   limitations of mind and matter.
   The first centre spoken of in this verse is named mūlādhāra, which
   literally means the basic support, the foundation. Here at this centre
   the kinetic energy is said to be asleep in a static mood and it can be
   aroused through meditation. The four-petalled lotus spoken of in the
   text is a symbolic expression used as an aid to meditation on the centre,
   when the slumbering energy is awakened, it rushes through the spinal
   cord to the next higher centre at a terrific speed, and the aspirant finds
3. Corresponding to the sacrococcygeal plexus.

86 Treatment of Svara
īśāna etc.², are invested with the fruits of supreme bliss,
spontaneous happiness, heroic joy, and the divine unity
respectively. (120-121)
In the centre of the foundational cycle³ lies the crea-
tive⁴ power of the supreme Being⁵ called kuṇḍalinī⁶, which
himself uplifted to a different plane of consciousness with a different
perception and value judgement.
Here the value of concentrating separately, i. e., individually upon
the four respective petals of the symbolic lotus is expressed in different
kinds of bliss. This concept seems to be peculiar to Saṅgītaratnākara and
'K' suggests that it relates to the position of the embodied consciousness
(the transmigratory soul) in this cakra at the time of birth. This will be
elucidated later (vide comments on .40-141b). It is not possible, nor
perhaps advisable to elucidate the whole symbolism of the kuṇḍalinī-yoga
here but the underlying idea can be summarised in the following way :
Letters of alphabet (i. e. Devanāgarī script in this case) are inscri-
bed on the petals of the lotuses of the various centres. The letters so
assigned represent symbolically the particular mantra and the presiding
deity of that mantra, and thereby are the potential sources of the power
inherent in those deities. These powers can be invoked by meditation.
In this general background, it may now be noted that the four petals of
the foundational cycle have the letters va, śa, ṣa and sa assigned to them.
Furthermore there are great many details regarding the colour, the
predominant element etc. of the various cycles with which we need not
concern ourselves here, except in a general way.
2. The names of the other three petals are āgneya, nairṛta and
vāyavya. In this respect K. R. informs as under:
"From the front clock-wise are the four points, namely
east, south, west and north, and four intermediate points,
namely, south-east, south-west, north-west, and north-east. North
east is īśāna (the position presided by Śiva). The other three
points in order of the fruits described are south-east, south-
west and north-west."
3. The ādhāra paṅkaja of the text.
4. Brahma-śakti of the text.
5. Brahman of the text.
6. Kuṇḍalinī literally means coiled up, curved, zig-zag like a
serpent; that is perhaps why Sir John Woodroffe called it the
serpent Power Kumaraswmiji of Tapovana, Dharwar, des-
cribes kuṇḍalinī in the following words: "Kuṇḍalinī is the
residual power, the power left over after the production of
the body when it coils itself around the svayambhū liṅga that
is, the conus medullaries" (cf. Chakra Vol. III, 1971, p. 112).
Section 2 : ...
2. स्वाधिष्ठान-चक्रम्
स्वाधिष्ठानं लिङ्गमूले षट्पत्रं चक्रमन्य च ॥१२२॥
पूर्वाद्विषु दलेष्वाहुः फलान्येतान्यनुक्रमात् ।
प्रश्रयः क्रूरता गर्वनाशो मूर्च्छा ततः परम् ॥१२३॥
अवज्ञा स्यादविश्वासः कामशक्तेरिदं गृहम् ।
in the event of being unfolded⁷ bestows immortality.⁸ (121c-
122b)
2. Svādhiṣṭhāna-cakra : 122c-121b
Situated at the root of the genitals is the six-petalled
lotus, the psycho-physical centre called 'self-abiding cycle'
The creative power of the supreme Being, of Brahman, the kinetic
energy, the śakti of Śiva and the māyā of Brahman, the power of creating
appearances, is stationed at the root of the spinal column. Ordinarily
this energy lies curved into a coil (i. e., three rounds and a half) and
that is why it is called kuṇḍalinī. But by concentration and meditation
its coils are unfolded and in that event it rushes up the spinal cord to
the upper cerebrum and reaches the mystic cerebral aperture (brahma-
randhra) and this results in enlightenment, an experience of timeless
being which is immortality.
Though it may be a matter of greater detail, yet in the context
of this verse it may be pointed out that according to the Ṣaṭcakra-
nirūpaṇa the foundational cycle is the place where the female principle
represented by a triangle, the yoni known as traipura is located, and in
this triangle is set the male principle represented by the svayambhū (lit.
self-born) liṅga. Kuṇḍalinī which is the creative power of the absolute
Brahman or the energy aspect of non-relational-reality, lies coiled over
the svayambhū Śiva-liṅga (referred to above) covering the entrance to the
suṣumṇā-nāḍī with her head. It is this entrance which is technically
known as Brahmadvāra (lit. the doorway to the absolute).
The word svādhiṣṭhāna (etymologically analysed as sva+adhi+
sthāna, i. e., one's own seat) is variously interpreted. Some identify sva
7. Literally, 'straightened' or 'uncoiled'.
8. Literally, 'ambrosia'.

Left Page (p. 88)

88 Treatment of Svara
(svādhiṣṭhāna-cakra).¹ The consequent fruits² of (concentration
on) the eastern and the other petals are respectively said to
be courtesy³, cruelty, freedom from pride⁴, stupor, disrespect
and distrust. This is the seat of passion.⁵ (122c-124b)
with the Śivaliṅga, i. e., the Para liṅga, the supreme one of the four
symbolic liṅga-s of this yoga. Then the word svādhiṣṭhāna would mean
abode of Śiva. But others interpret sva etymologically with reference
to the kuṇḍalinī power, implying this cycle to be the abode of its own
power. However, it would be rewarding if one were to have a look at
the result of meditating on this cakra as given in the Ṣaṭcakranirūpaṇa
(cf. verse 18 as translated by Sir John Woodroffe in his 'Serpent Power',
p. 364).
"He who meditates upon this stainless lotus, which is named
svādhiṣṭhāna, is freed immediately from all his enemies such as the fault
of ahaṁkāra (ego and so forth etc."
The enemies referred to are kāma, krodha, lobha, moha, ahaṁkāra,
i. e., desire, anger, greed, delusion and ego. It is these five that are
at the root of all self-centred activity, worldliness and sin, all that turns
man into a beast. Thus it is obvious that this cycle is the centre, the
abode of the illusive power of māyā, the kuṇḍalinī.
The six petals of the lotus bear the six letters from left to right
ba, bha, ma, ya, ra, and la, with a dot above (anusvāra).

1. Svādhiṣṭhāna literally means self-supporting. This centre
   corresponds to the sacral plexus in the physical body. The
   specific power developed through meditation on this centre is
   transcendence of the sex-consciousness.
2. The underlying idea seems to be that specific qualities are
   developed through concentration on different petals. These
   qualities are mental dispositions of various colours.
3. Courtesy is thus developed by meditating on the eastern petal
   and so on.
4. Lit. destruction of pride.
5. When kuṇḍalinī is released from this centre and is pushed up
   in the next higher one described subsequently, control with
   regard to sexual power is gained.

Right Page (p. 89)

Section 2 : The Genesis of the Human Embodiment 89
3. मणिपूर-चक्रम्
नाभौ दशदलं चक्रं मणिपूरकसंज्ञितम् ॥१२४॥
सुषुप्तिरत्र तृष्णा स्यादीर्ष्या पिशुनता तथा ।
लज्जा भयं घृणा मोहः कषायो ऽथ विषादिता ॥१२५॥
क्रमात्पूर्वादिपत्रे तु स्याद्भानुभवनं च तत् ।
3. Maṇipūraka-cakra : 124c-126b
The ten-petalled lotus, the psychophysical centre called
the 'navel cycle'¹ (maṇipūraka cakra) is located around the
navel. The results flowing out of (meditation on) the eastern
and other petals respectively are: dreamless sleep², craving,
jealousy, fault-finding nature, bashfulness, fear, hatred,
stupidity³, impropriety and dejection. This centre is the
seat of a particular prāṇa called bhānu⁴. (124c-126b)
Maṇipūra or maṇipūraka-cakra is also called nābhi-padma, i. e., the
navel lotus as it is located around the region of the root of the navel.
That is why it has conveniently been named as the 'navel cycle'. The
name maṇipūra is explained in a round-about way. It is said in the
Gautamīya Tantra (cf. Serpent Power, p. 119) that owing to the presence
of the fiery tejas (brilliance) this centre is lustrous as a gem (maṇi) and
so it is called maṇipūra.
It is suggested by Sir John Woodroffe that the gross body is evolv-
ed out of the power involved in these three centres. The higher centres
are concerned with mental development, i. e., the subtle body or the
thought body etc. During the waking state attention is ordinarily
centred on either of these three centres (cf. Serpent Power, p. 120).
The ten petals of the lotus of this cycle bear the letters ḍa, ḍha, ṇa,
ta, tha, da, dha, na, pa and pha with a dot above (anusvāra).

1. Maṇipūraka of the text indicates the abdomen. This centre
   translated as the 'navel cycle' corresponds to the solar plexus
   which forms a centre of a great function of the right and the
   left sympathetic chains piṅgalā and iḍā; with cerebro-spinal
   axis connected to this is the lumbar plexus.
2. 'S' defines dreamless sleep as the cessation of all sensual and
   mental activity.
3. Moha is defined by 'S' as a state of mind in which, even while
   awake one is unaware with regard to an object in the field of
   his normal perception.
4. Bhānu literally means the sun.

90 Treatment of Svara
4. अनाहत-चक्रम्
हृदये ऽनाहतं चक्रं शिवस्य प्रणवाकृतेः ॥१२६॥
पूजास्थानं तदिच्छन्ति दलैर्द्वादशभिर्युतम् ।
लौल्यप्रणाशः प्रकटी वितर्को ऽप्यनुतापिता ॥१२७॥
आशा प्रकाशश्चिन्ता च समीहा समता ततः ।
क्रमेण दम्भो वैकल्यं विवेको ऽहंकृतिस्तथा ॥१२८॥
फलान्येतानि पूर्वादिदलसंस्थस्यात्मनो जगुः ।
4. Anāhata-cakra : 126c-129b
In the heart is located the psycho-physical centre called
the 'cycle of the unmanifest'¹ (anāhata-cakra), with twelve
petals which is considered to be the place of worshipping
lord Śiva in the form of Om.² (126-127b)
The consequences meeting the mind concentrated upon
eastern and other petals respectively are freedom from fick-
leness, clear thinking³, repentance, hope, light⁴, worry, desire
The anāhata-cakra is the psycho-physical centre wherein manifests
'Śabda-brahman' a concept which can best be conveyed in English by
the expression 'the absolute manifested as the inarticulate word'. This
centre is said to be the seat of the embodied consciousness, i. e., the
Jīvātman. Anāhata nāda or Unmanifest sound is associated with this centre
which is considered to be the pulse of life. It is said in the Ṣaṭcakranirū-
paṇa that one who meditates on this centre becomes a master of speech
and gains the power to create and to destroy. This lotus is the seat of
Śiva and the residence of haṁsa (the Ātman, cf. verse 26). Its twelve

1. Anāhata of the text literally means unstruck, i. e., unmanifest.
   This corresponds to cardiac plexus and controls the heart.
2. Om, properly written as aum is the sacred syllable of mystic
   value. Every vedic chant begins with Om and every mantra
   begins with Om. The three letters, two vowels combined into
   its make, 'a' and 'u' and the consonant 'm' symbolise the
   three phases of consciousness, viz. the waking state, the dream
   state and the dreamless sleep state; while, the dot given above
   it, the 'candrabindu' denotes the turīya, i. e., total Being. There
   are great many details about it but suffice it to note that the
   letters of Om are symbolic.
3. Literally, vitarka means deliberation.
   4 'S' defines it as 'the absence of the non-perception of form'.
   Section 2 : The Genesis of the ...
4. विशुद्धि-चक्रम्
   कण्ठे ऽस्ति भारतीस्थानं विशुद्धिः षोडशच्छदम् ॥१२९॥
   तत्र प्रणव उद्गीथो हुंफड् वषडथ स्वधा ।
   स्वाहा नमो ऽमृतं सप्त स्वराः षड्जादयो विषम् ॥१३०॥
   इति पूर्वादिपत्रस्थे फलान्यात्मनि षोडश ।
   for warding off evil, equanimity, vanity, mental instability,
   discernment and will.⁵ (127c-129b)
5. Viśuddhi-cakra : 129cd-131b
   The psycho-physical centre with sixteen petals, called
   the 'cycle of purity'¹ (viśuddhi cakra) is situated in the throat-
   larynx and is known as the abode of Bhāratī, the goddess of
   learning. Contemplation on the eastern and other petals
   offers the following results respectively : praṇava², udgītha³,
   petals bear the letters; ka, kha, ga, gha, ṅa, ca, cha, ja, jha, jña: ta and tha
   with a dot above.
   This centre is situated at the base of the throat. Viśuddhi-cakra is
   so called because the ego-soul having perceived the spirit-soul, i e., the
   jīvātman, the embodied consciousness having discovered the ātman, the
   boundless being within, in the 'cycle of the unmanifest', the anāhata-
   cakra, gets 'purified'. Thus it is endowed with the power to perceive
   the three phases of time, viz. the past, present and future. This centre is
   considered to be the gateway to the final emancipation from all limita-
   tions of consciousness. The sixteen petals of the lotus have sixteen
   vowels (from a to aḥ) for their symbols with a dot above them.
   Ṣaṭcakranirūpaṇa describes the results of meditating upon this centre
   as under (cf. verse 31 as translated by Sir John Woodroffe in (Serpent
   Power, p. 391):
6. Literally, ahaṅkṛti may be translated as ego.
7. Viśuddhi literally means purity. This corresponds to the
   layryngeal plexus.
8. Oṁkāra is prefixed to every vedic chant.
9. Udgītha is the second part of a Sāman chant which has five
   parts in all, viz., prastāva, udgītha, pratihāra, upadrava and
   nidhāna, in serial order. Oṁkāra is also used in the commence-
   ment of the udgītha as we are informed by 'K'.

92 Treatment of Svara
6. ललना-चक्रम्
ललनाऽऽख्यं घण्टिकायां चक्रं द्वादशपत्रकम् ॥१३१॥
मदो मानस्ततः स्नेहः शोकः खेदश्च लुब्धता ।
अरतिः संभ्रमश्चोर्मिः श्रद्धातोषोपरोधिताः ॥१३२॥
फलानि ललनाचक्रे स्युः पूर्वादिदलेष्विति ।
humphaṭ⁴, vaṣaṭ⁵, svadhā⁶, svāhā⁷, namaḥ⁸, nectar⁹, the seven
tones ṣaḍja¹⁰ etc. and poison. (129c-131b)
6. Lalanā-cakra : 101c-133b
The psychophysical centre called lalanā¹ with twelve
petals is situated in the back of the neck. The consequences
emerging out of (concentration upon) the eastern and the
other petals respectively are—arrogance, haughtiness, affec-
tion, sorrow,² agony,³ greed, disenchantment, emotional
“He who has attained complete knowledge of the Ātman (Brahman)
becomes, by concentrating his mind (citta) on this lotus, a great sage,
eloquent and wise, and enjoys uninterrupted peace of mind. He sees
the three periods and becomes the benefactor of all, free from disease
and sorrow and long-lived, and like haṁsa, the destroyer of endless
dangers.”
The lalanā-cakra, though well-recognised, is not counted among the
six main psycho-physical centres in the body demonstrated in such
4. Humphaṭ is a non-inflectional syllable uttered while pouring
an oblation into the sacrificial fire.
5,6,7. These too are similar syllables as humphaṭ.
8. Namaḥ lit. salutation.
9. The ambrosia.
10. The names of the other notes are ṛṣabha, gāndhāra, madhyama,
pañcama, dhaivata and niṣāda as we shall come across further
in the text.

1. This word has not been translated, for it is not found worth-
   while to do so in this case The word literally means a woman,
   a wanton woman or tongue and it seems the word cannot be
   significantly interpreted in any of these terms. So the word
   has to be accepted as a technical one.
2. ‘S’ defines śoka (sorrow) as misery caused by known factors.
3. And he (‘S’) defines kheda (agony) as misery due to unknown
   causes.

Section 2 : The Genesis of the Svara...
7. आज्ञा-चक्रम्
भ्रूमध्ये त्रिदलं चक्रमाज्ञासंज्ञं फलानि तु ॥१३३॥
आविर्भावाः सत्त्वरजस्तमसां क्रमतो मताः ।
excitement, the basic urge for living,⁴ devotion,⁵ satisfaction
and cleverness (131c-133 b).
7. Ājñā-cakra : 133c-134
The psycho-physical centre called the ‘cycle of supreme
command’¹ (ājñā cakra), having three petals is located in-
between the two eye-brows. The results of (contemplating
upon) the various petals respectively are the manifestations
of the three guṇā-s—sattva, rajas and tamas². (133c-134b)
standard works as Ṣaṭcakranirūpaṇa. This centre is also called kāla-cakra
by some writers and is located at the root of the palate.
Ājñā-cakra is so called because it is said that the ājñā (command)
of the guru, the supreme preceptor is obtained directly by contemplating
in the region of this centre. (cf. Rudrayāmala Ch. XXVII, V. 68 cited
by Arthur Avalon in his English translation of the Ṣaṭcakra-nirūpaṇa,
Serpent Power, p. 395—footnote 6). This cycle is the seat of the mind,
of mahat and prakṛti, i. e., the mindstuff (consciousness), intellect. ego
and will. A successful yogi, at the time of death, establishes his vital
breath in this centre and consequently abides in the timeless being after
death. The two petals of this lotus bear the letters ha and kṣa. This
completes the garland of letters of fifty petals in all.
4. Six basic urges for life are known in the Āgama-s, as quoted
by ‘S’.
बुभुक्षा च पिपासा च शोकमोहौ जरामृती ।
ऊर्मयः षडिति प्राणबुद्धिदेहेषु संस्थिताः ॥
Hunger, thirst, sorrow, delusion, decay and death—these
are the basic urges resident in the vital breath, the mind and
the body.
5. Śraddhā also means faith, it is rather an attitude of reverence,
faith and devotion combined with love.

1. Ājñā literally means ‘command’. Concentration on this centre
   gives one the command of the body and the mind. One
   becomes the commander of one’s forces. This centre corres-
   ponds to the cerebellum, identified by some with the pineal
   gland, the centre of the third or the spiritual eye.
2. These three comprehend the entire nature.

94 Treatment of Svara
8. मनश्चक्रम्
ततो ऽप्यस्ति मनश्चक्रं षड्दलं तत्फलानि तु ॥१३४॥
स्वप्नो रसोपभोगश्च घ्राणं रूपोपलम्भनम् ।
स्पर्शनं शब्दबोधश्च पूर्वादिषु दलेष्विति ॥१३५॥
9. सोम-चक्रम्
ततो ऽपि षोडशदलं सोमचक्रमितोरितम् ।
दलेषु षोडशस्वस्य कलाः षोडश संस्थिताः ॥१३६॥
8. Manaś-cakra : (134c-135)
Even higher than that is situated the psychophysical
centre called the 'cycle of the mind'¹ (manaś-cakra), having
six petals. The consequences attendant upon the eastern
and other petals respectively are dreams and the palatal
enjoyment, olfactory sensation and the perception of form,
touch and sound. (134c-135)
9. Soma-cakra: (136-138)
Over and above that¹ is located the psycho-physical centre
called the 'cycle of the moon' (soma-cakra) with sixteen petals
Sir John Woodroffe (cf. Serpent Power, p. 155) comprehends the
ājñā-cakra and the manaś-cakra jointly as the 'sensory motor tract' rela-
ting their functions in the following way :
"The ājñāvaha nāḍī-s, efferent or motor nerves, communicate motor
impulses to the periphery from this ājñā-cakra, this centre of command
over movements, and the efferent or sensory nerves of the special senses
in pairs, the gandhavahā nāḍī (olfactory sensory), the rūpavahā nāḍī (optic),
the śabdavahā nāḍī (auditory), the rasavahā nāḍī (gustatory), and the sparśa-
vahā nāḍī (tactile) come from the periphery (the peripheral organs of the
spacial senses) to this manaś-cakra, the sensory tract at the base of the
brain. The manaś-cakra also receives the manovahā nāḍī, a generic name
for the channels along which centrally initiated presentations (as in
dreaming and hallucination) come to the sixth lobe of the manaś-cakra."
Soma-cakra is not included into the scheme of the six main
psychophysical centres. The word soma, in this context, refers to the

1. This comprehends consciousness. The six petals symbolise five
   senses of perception and (the sixth) the mind, and the fruits
   spoken of are the five respective perceptions and ideation, the
   activity of the mind. This cycle is not included in the scheme
   of the main six psychophysical centres and seems to be con-
   cerned with the subconscious and conscious mind.
2. 'That' refers to manaś-cakra.
   Section 2 : The Genesis of the Human Embodiment
   कृपा क्षमाऽऽर्जवं धैर्यं वैराग्यं धृतिसंमदौ ।
   हास्यं रोमाञ्चनिचयो ध्यानाश्रु स्थिरता ततः ॥१३७॥
   गाम्भीर्यमुद्यमोऽच्छत्वमौदार्यैकाग्रते क्रमात् ।
   फलान्युद्यन्ति जीवस्य पूर्वादिदलगामिनः ॥१३८॥
   enshrining the sixteen phases (of the moon). The consequen-
   ces, for the individual, attendant upon the eastern and other
   petals respectively are: grace³, forgiveness⁴, straightforward-
   ness, forbearance, detachment, patience, cheerfulness, mirth,
   horripilation⁵, tears of fixed gaze⁶, stability, profundity,
   endeavour, purity of heart, generosity and one-pointedness.
   (136-138)
   10. सहस्रपत्र-चक्रम्
   चक्रं सहस्रपत्रं तु ब्रह्मरन्ध्रे सुधाधरम् ।
   तत्सुधासारधाराभिरभिवर्धयते तनुम् ॥१३९॥
3. Sahasrapatra-cakra : (139)
   'The thousand-petalled lotus¹ (sahasrapatra) which is
   moon which is symbolic of a feeling of coolness when the wild fire of
   craving is finally extinguished by rising above the ājñā and the manas
   cakra-s, i. e., above the world of opposites, the world of relative percep-
   tion and desire. Thus, this cycle of the moon is a symbol of coolness, as
   the rays of the moon are cool, refreshing and delightful, and is the
   source of altruistic sentiments and true spiritual consummation.
   The thousand petals spoken of in this lotus are symbolic of infinity.
   The sahasrāra, or sahasrapatra i. e., the thousand-lobed centre has brahma-
4. Soma-cakra corresponds to the middle cerebrum in the physical
   body and is located above the sensorium.
5. In the sense of favour 'S' defines kṛpā as an expectation of
   favour from another.
6. According to 'S' forgiveness is characterised by absence of
   anger despite the cause for it.
7. Nicaya in the compound romāñca-nicaya implies the idea of
   plurality.
8. Dhyānāśru is explained by 'K' as 'dhyānāj-jātam-aśru', i. e., the
   tears caused by concentration of the mind with open eyes.
9. Sahasrapatra-cakra Lit. the cycle of thousand petals of the text
   is suggestive of the metaphor of a wheel with thousand spokes.
   The concept is essentially of the cycle but this particular
   centre cannot precisely be called a psychophysical centre,
   since it is neither physical nor psychological as it leads the
   consciousness beyond the limitations of time, space and
   causation.

96 Treatment of Svara
11. गीतादिसिद्धौ चक्राणां साधकत्वं बाधकत्वञ्च
अनाहतदले पूर्वेऽष्टमे चैकादशे तथा ।
द्वादशे च स्थितो जीवो गीतादेः सिद्धिमृच्छति ॥१४०॥
the source of nectar² is located in the cerebral aperture³
(brahma-randhra). Spilling innumerable streams of ambrosia⁴,
it nourishes the body. (139)
11. Meditation of cakra-s as related to the cultivation of
music :
The embodied soul¹ established in the (contemplation
of) first, eighth, eleventh and the twelfth petals of the 'cycle
of the unmanifest'² (anāhata-cakra) attains proficiency in music
randhra, the cerebral aperture as its location. This aperture is symbolic
of void called parama vyoma or the highest ether or in other words, the
subtlest space (cf. Ṣaṭcakranirūpaṇa verses 40-48). The purport is as
follows :
"Within it is the full moon, without any spot whatsoever, resplen-
dent as in a clear sky. It shakes its rays in profusion, and is moist and
cool like nectar. Inside this, shines the great void which is served in
secret by all the gods." (Adapted with modifications from Arthur
Avalon's translation, the Serpent Power, p. 430).
So in the void, which is identified with bindu, parabindu or Īśvara or
called śūnya is the light which is formless (cf. Toḍala Tantra, 6th Ullāsa
as cited by Arthur Avalon; Serpent Power, p. 431). Thus consciousness,
when established in it, transcends time. And it is this transcendental
consciousness that obviously is variously named as immortality, ambrosia,
nectar and so on.
Now, first of all it may be made clear that 'K' has taken the view
(vide his comments on 121 ante) that at the time of birth the embodied
2. This is obviously a metaphorical expression, for nectar when
drunk bestows immortality, according to Indian mythology.
3. This is the void, the space in which is projected the entire
vision of life and action.
4. Sudhāsāra of the text. This can be interpreted to mean the
harmony of body, mind and soul resulting from immortality.

1. Jīva generally signifies a transmigratory soul embodied in a
   physical body.
2. The anāhata, lit. means unstruck. It may once again be
   noted that this centre corresponds to the cardiac plexus.

Section 2 : The Genesis of the Human Embodiment
चतुर्थषष्ठदशमैर्दलैर्गीतादि नश्यति ।
विशुद्धेरष्टमादीनि दलान्यष्टौ श्रितानि तु ॥१४१॥
दद्युर्गीतादिसंसिद्धिं षोडशं तद्विनाशनम् ।
दशमैकादशे पत्रे ललनायां तु सिद्धिदे ॥१४२॥
नाशकं प्रथमं तुर्यं पञ्चमं च दलं विदुः ।
ब्रह्मरन्ध्रस्थितो जीवः सुधया संप्लुतो यथा ॥१४३॥
तुष्टो गीतादिकार्याणि प्रप्रकर्षाणि साधयेत् ।
एषां शेषेषु पत्रेषु चक्रेष्वन्येषु च स्थितः ॥१४४॥
जीवो गीतादिसंसिद्धिं न कदाचिदवाप्नुयात् ।
etc.³; while (by concentration on) the fourth, sixth and tenth
of the petals one destroys one's capacity for music etc.
(140-141b)
In the 'cycle of purity'⁴ (viśuddhi-cakra) contemplation
on eight petals from the eighth onwards leads to success in
musical arts etc.⁵, while the sixteenth petal is destructive for
this purpose. (141c-142b).
The tenth and the eleventh petals of the psycho-physical
centre called lalanā bestow success (in the musical arts), while
its first, fourth and fifth petals are known to be detrimental.
(142c-143b)
The embodied soul⁶ whose attention is focussed in the
soul is fixed psychologically on one of the petals of these cycles, i.e.,
the psycho-physical centres in terms of attention, and according to the
point of attention it gains the predisposition of character as already
described in the foregoing pages. This particular verse seems to lend
an indirect support to this view though if one were dogmatic, one may
not yet find enough evidence for it.
3. Gītādi lit. means 'singing' or 'song' etc., but gīta or vocal
music is basic to Indian music as it has already been mention-
ed. Moreover, 'gīta' also is used in the general sense of music,
so it has been translated as such. 'S' includes instrumental
music and dance as well after the concept of saṅgīta.
4. Viśuddhi lit. means purity.
5. Gītādi lit. gīta etc. implies vocal and instrumental music and
dancing and may even include dance-drama
6. In other words the 'individual organism', which is sensitive to
perception.
7

98 Treatment of Svara
(ii) ब्रह्मग्रन्थि :
आधाराद् द्व्यङ्गुलादूर्ध्वं मेहनाद् द्व्यङ्गुलावधः ॥१४५॥
एकाङ्गुलं देहमध्यं तप्तजाम्बूनदप्रभम् ।
तत्रास्तेऽग्निशिखा तन्वी चक्रात्तस्मान्नवाङ्गुले ॥१४६॥
aperture of the upper cerebrum⁷, being immersed in ambro-
sia⁸, finds fulfilment⁹ and should therefore cultivate the
musical arts¹⁰ with great excellence. (143c-144b)
The embodied soul¹¹ cannot in any way accomplish
anything (worthwhile) in the (field of) musical arts by concen-
trating¹¹ on any other petals or psycho-physical centres.
(144c-145b)
(ii) Brahma-granthi : 145c-148
Two finger-length above the base¹ and two finger-
breadth below the genitals² in the space of one finger-breadth
is the centre of the body, shining like molten³ gold. (145c-
146b)
There is located a slender flame of fire at a distance of
nine fingers from that centre⁴, and it is there that the life-
7. The brahma-randhra of the text.
8. The ambrosia of immortality, the timeless consciousness.
9. The person concerned realises the goal of individual existence
by attaining immortality and so has nothing more to achieve
in life and is thus free to devote himself to music etc.
10. This includes vocal and instrumental music and dance.
11. The individual while at the time of birth, if interested in art
should devote himself to such of the petals as are conducive;
that seems to be the idea.

1. The base is the foundational cycle, the mūlādhāra-cakra.
2. Mehāna of the text literally means penis, but even so the word
   is used in the general sense of sexual organ.
3. Tapta literally means—heated, but the author is using a simile
   in order to give an idea of the abstract. The flame itself is a
   symbolic expression for the creative power of life.
4. It is not clear if nine fingers is the distance from the mūlādhāra-
   cakra or the centre of the body just spoken of. 'K' does not
   comment and 'S' offers both the alternative interpretations
   without a judgement. But it seems that the centre of the body
   should be the point of reference, for otherwise there will be no
   relevance for describing it.
   Section 2 : The Genesis of the Human Embodiment 99
   देहस्य कन्दोऽस्त्युत्सेधादायामाभ्यां चतुरङ्गुलः ।
   ब्रह्मग्रन्थिरिति प्रोक्तं तस्य नाम पुरातनैः ॥१४७॥
   तन्मध्ये नाभिचक्रं तु द्वादशारमवस्थितम् ।
   लूतेव तन्तुजालस्था तत्र जीवो भ्रमत्ययम् ॥१४८॥
   source of the body is found, four fingers in elevation as well
   as in extension. This⁵ has been called 'brahma-granthi'⁶ by
   the ancients. (146c-147)
   Right in its⁷ centre is situated the 'cycle of the umbi-
   licus'⁸ (nābhi cakra) with twelve spokes, and like the spider
   caught in (its own) net, yonder there wanders the self-consci-
   ous being.⁹ (148)
   (iii) सुषुम्णा, नाड्यन्तराणि च
   सुषुम्णया ब्रह्मरन्ध्रमारोहत्यवरोहति ।
   जीवः प्राणसमारूढो रज्ज्वां कोह्लाटिको यथा ॥१४९॥
   (iii) Suṣumṇā and other nāḍī-s : 149-163b
   Mounted upon the vital breath¹, the self-conscious
   entity², through the suṣumṇā keeps on ascending to the
   cerebral aperture³ and descending back⁴, moving like a
   tight rope⁵ dancer. (149)
5. 'This' refers to the life-source of the body.
6. Literally, the knot of Brahman, i. e., the root of life force.
7. That is, in the centre of the brahma-granthi.
8. The nābhi-cakra, perhaps the same as maṇipūraka with the
   difference that it has been said to have only ten petals, where-
   as this one is described as having twelve spokes.
9. The self-conscious being is the jīva; this idea or concept is
   not native to European culture and therefore is foreign to
   English tongue; that is why it is being elucidated in different
   ways on different occasions.
10. A metaphor is used, the rope of a dancer is compared to prāṇa,
    as the dancer ascends by the rope; so the jīva ascends by
    prāṇa.
11. That is, jīva
12. This is technically known as brahma-randhra.
13. Descending back to the base, i.e., the foundational cycle, the
    mūlādhāra.
14. This rope seems to be vertical rather than horizontal. Perhaps
    it has an allusion to the Indian rope trick. This simile can

100 Treatment of Svara
सुषुम्णां परितो नाड्यः कन्दादाब्रह्मरन्ध्रतः ।
कन्दीकृत्य स्थिताः कन्दं शाखाभिस्तन्वते तनुम् ॥१५०॥
ताश्च भूरितरास्तासु मुख्याः प्रोक्ताश्चतुर्दश ।
सुषुम्नेडा पिङ्गला च कुहूरथ सरस्वती ॥१५१॥
गान्धारी हस्तिजिह्वा च वारुणी च यशस्विनी ।
विश्वोदरा शङ्खिनी च ततः पूषा पयस्विनी ॥१५२॥
अलम्बुसेति तत्राद्यास्तिस्रो मुख्यतमा मताः ।
सुषुम्णा तिसृषु श्रेष्ठा वैष्णवी मुक्तिमार्गगा ॥१५३॥
कन्दमध्ये स्थिता तस्या इडा सव्ये ऽथ दक्षिणे ।
पिङ्गलेडापिङ्गलयोश्चरतश्चन्द्रभास्करौ ॥१५४॥
क्रमात्कालगतेर्हेतू सुषुम्णा कालशोषिणी ।
सरस्वती कुहूश्चास्ते सुषुम्णायास्तु पार्श्वयोः ॥१५५॥
इडायाः पृष्ठपूर्वस्थे गान्धारीहस्तिजिह्विके ।
क्रमात्पूषायशस्विन्यौ पिङ्गलापृष्ठपूर्वयोः ॥१५६॥
विश्वोदरा मध्यदेशे स्यात्कुहूहस्तिजिह्वयोः ।
मध्ये कुहूयशस्विन्योर्वारुणी संस्थिता मता ॥१५७॥
पूषासरस्वतीमध्यमधिशेते पयस्विनी ।
गान्धारिकासरस्वत्योर्मध्ये वसति शङ्खिनी ॥१५८॥
अलम्बुसा कन्दमध्ये,
तत्रेडापिङ्गले क्रमात् ।
सव्यदक्षिणनासान्तं कुहूरामेहनं पुरः ॥१५९॥
सरस्वत्यूर्ध्वमाजिह्वं गान्धार्याः पृष्ठतः स्थिता ।
आवामनेत्रमासव्यपादाङ्गुष्ठं तु संस्थिता ॥१६०॥
हस्तिजिह्वा सव्यगा तु वारुण्यथ यशस्विनी ।
आ ऽङ्गुष्ठाद्दक्षिणाङ्घ्रिस्था देहे विश्वोदरा ऽखिले ॥१६१॥
Section 2 : The Genesis of the ...
शङ्खिनी सव्यकर्णान्तं पूषा त्वायाम्यनेत्रतः ।
पयस्विनी तु वितता दक्षिणश्रवणावधि ॥१६२॥
अलम्बुसा पायुमूलमवष्टभ्य व्यवस्थिता ।
From the life-centre⁶ to the cerebral aperture⁷ the
nāḍī-s⁸, surrounding the suṣumṇā⁹ and enmeshing the life-
centre by their network, enlarge the body by developing
their branches. (150)
These nāḍī-s are in a large number; but fourteen out
of them are important, viz., suṣumṇā, piṅgalā, iḍā, kuhū,
sarasvatī, gāndhārī, hastijihvā, vāruṇī, yaśasvinī, viśvodarā, śaṅkhinī,
pūṣā, payasvinī and alambusā. The first three¹⁰ of these again
are considered to be most significant. (151-153b)
From verse No. 151 to 159(a) the relative position of nāḍī-s is
described.
also have an allegorical significance. The self-consciousness
of the individual attains various levels of psychological being,
which in ordinary people are never held steadily and there-
fore give rise to various emotions and sentiments in their
behaviour Through the practice of kuṇḍalinī-yoga the mind
is trained to concentrate on a partciular psychophysical centre
and thereby master a particular level of consciousness. But
this again is a very delicate practice, which can be well
compared with tight rope dancing, requiring a perfect balance
between the opposites.
6. The life-centre is the life-source spoken of in verse No. 147
ante. It is the same as brahma granthi.
7. That is the brahma randhra.
8. Nāḍī-s, as already explained, are the tubular vessels. The
whole body is a network of the nāḍī-s. But the nāḍī-s spoken
of in this context have a special significance in the science of
yoga.
9. Suṣumṇā is the name given to the central-most nāḍī that
proceeds from the end of the spinal column and opens into
the cerebral aperture The dormant creative energy, when
awakened in the foundational cycle, rises up along this nāḍī.
10. The first three are suṣumṇā, piṅgalā and iḍā. Piṅgalā is to
the right and iḍā to the left of suṣumṇā. Prāṇa generally
flows through these two.

102 Treatment of Svara
Suṣumṇā is the supreme among these three; with Viṣṇu
as its presiding deity, it leads to the pathway of liberation.
It is established in the centre of the life-source¹¹ and is flank-
ed by iḍā on the left and piṅgalā on the right. The vital
breath moving through iḍā and piṅgalā is called moon¹² and
the sun¹³, for they determine the movement of time¹⁴; but,
suṣumṇā destroys¹⁵ time. (153 c-155b)
Sarasvatī¹⁶ and kuhū are on the either sides of suṣumṇā.
Gāndhārī and hastijihvā are respectively situated behind and
in front of iḍā; while pūṣā and yaśasvinī are similarly¹⁷ situated
with respect to piṅgalā. (155c-156)
Viśvodarā lies in the midst of kuhū and hastijihvā, and
vāruṇī likewise is in the midst of kuhū and yaśasvinī. Payasvinī
The psychophysical view of genesis presented by the author, point-
ing out the different psychophysical centres and their relation to music
ends here. An analytical study of this relationship is presented in
appendix II. It may, however, be observed that Śāradātanaya, a con-
temporary of, but somewhat anterior to Śārṅgadeva, provides us the
rudiments of the hypothesis incorporating this relationship. He relates
the seven tones to seven different places located in the body (cf. our
comments on 8-9 of Section 3) right from the Brahmagranthi. These
places roughly correspond to the psychophysical centres. It can, therefore,
be concluded that the line of thought linking musical sound (āhata nāda)
to the yogic experience of anāhata-nāda already existed in his time.
11. That is, the brahma-granthi in the centre of the body.
12. Candra of the text.
13. Bhāskara of the text.
14. Just as the sun and the moon serve as the standards for time, or
just as time is measured in terms of their movement, so is time
measured in terms of the movement of the vital breath through
iḍā and piṅgalā respectively; for it has been found by yogic
observation that the breathing process goes on alternatively
through the right or the left nostril for specific periods of time.
15. Suṣumṇā destroys the sense of time (kāla) for when the creative
power is aroused in the foundational cycle and rises upto the
thousand-petalled cerebral aperture (brahma-randhra), all
duality ceases and there is only oneness in consciousness.
Time is transcended in eternity.
16. Cf. Arthur Avalon (John Woodroffe): The Serpent Power,
pp. 113 and 114 for a detailed account of this topic in terms
of modern anatomy.
17. That is, pūṣā is located behind and yaśasvinī in the front of
piṅgalā.
Section ...
lies, in between pūṣā and sarasvatī, while śaṅkhinī exists bet-
ween gāndhārī and sarasvatī and alambuṣā is in the midst of
the life-centre¹⁸. (157-159a)
Now¹⁹, iḍā and piṅgalā (extend) upto the tips of the
left and the right nostrils respectively, and kuhū to the front
of the genitals.²⁰ Sarasvatī extends upto the tongue, while
gāndhārī is set by the back (of the body). Hastijihvā runs from
the left eye to the toes²¹ of the left foot; while vāruṇī pervades
the entire body; on the other hand, yaśasvinī extends from
the toe²² upto the right foot; while viśvodarā pervades the
whole body. Śaṅkhinī extends upto the left ear and pūṣā upto
the right eye, while payasvinī is extended to the extremity of
the right ear. Alambuṣā stands coiled around the root of the
anus. (159b-163b)
ङ उपसंहारः
नादस्य भुक्तिमुक्तिसाधकत्वम्
एवंविधे तु देहे ऽस्मिन्मलसंचयसंवृते ॥ १६३॥
प्रसाधयन्ति धीमन्तो भुक्तिं मुक्तिमुपायतः ।
E. Conclusion : The value of music for enjoyment
(bhukti) and for enlightenment (mukti). (163c-168ab)
Such is the body, a heap of filth surrounded by impuri-
ties of all sorts; and yet intelligent people utilise it as a means
for worldly enjoyment and for salvation (163c-164b)
The purport of the author seems to point out that the physical
body is so full of impurities and is a breeding ground for disease and
decay, yet intelligent people do not discard it on that account; the
18. The same as the life-source, called brahmagranthi.
19. From verse No. 159 (bcd) to 163 (ab) the extension of the
respective nāḍī-s is described. 20. Literally, penis.
21. Aṅguṣṭha of the text refers to the thumb.
22. As hastijihvā runs from the left eye to the toe in the left foot,
one might well expect in keeping with the law of symmetry in
nature, that corresponding to it, Yaśasvinī should run from
the right eye to the toe in the right foot; the present descrip-
tion, at any rate, sounds cryptic.

104 Treatment of Svara
तत्र स्यात्सगुणाद्ध्यानाद्भुक्तिर्मुक्तिस्तु निर्गुणात् ।। १६४ ।।
ध्यानमेकाग्रचित्तैकसाध्यं न सुकरं नृणाम् ।
तस्मादत्र सुखोपायं श्रीमन्नादमनाहतम् ।। १६५ ।।
गुरूपदिष्टमार्गेण मुनयः समुपासते ।
सो ऽपि रक्तिविहीनत्वान्न मनोरञ्जको नृणाम् ।। १६६ ।।
तस्मादाहतनादस्य श्रुत्यादिद्वारतो ऽखिलम् ।
गेयं वितन्वतो लोकरञ्जनं भवभञ्जनम् ।। १६७ ।।
उत्पत्तिमभिधास्यामस्तथा श्रुत्याविहेतुताम् ।
The pursuit of the manifest¹ (saguṇa) leads to worldly
enjoyment and the meditation of the unmanifest² (nirguṇa)
leads to salvation. (164cd).
wise do not, due to the imperfections of the body, hate it and grow
indifferent to its proper upkeep and care ; on the contrary, they find
in it a suitable means, not only for enjoying life in this world, but also
for saving their souls in the other world as well. i e., for gaining
immortality, the final beatitude.
The author further makes it clear that Life or Divinity may be
conceived either as manifest and conditioned from the individual view-
point, i.e , delimited in time-space, or as absolute, non-dual reality from
the universal point of view.
He further informs that the individual's point of view, delimited
in time-space as it is, leads to worldly enjoyment. The word,
‘enjoyment’, i. e., bhukti is neutral and comprehends both pleasure and
pain, delight and sorrow, all the pairs of opposites in feeling, knowing
and willing; bhukti in fact is experience. This he calls the pursuit of
the manifest, i e., conditioned reality which implies the unmanifest, the
unconditioned. Meditation of the unconditioned, the unmanifest,
Brahman without any attributes, without any specific conditions leads to
freedom, to perfection, to spiritual emancipation.
A reference may, in this context, be invited to Bhaṭṭa Nāyaka’s
concept of bhoga, explaining aesthetic experience being subjectively
as well as objectively true and yet free from the limitations of individu-
ality. Thus, in his view, the effective operation of the media lies

1. Literally, Brahman with attributes implying conditioned existence.
2. Literally, attributeless Brahman implying unconditioned
   Section 2 . The Genesis of the Human Embodiment...
   Contemplation attainable through one-pointed concen-
   tration of attention is not conveniently within the reach of
   people³; therefore, under the circumstances⁴, the sages take
   resort to the easier means of worshipping the unmanifest
   nāda⁵, by the procedure laid down by the preceptors. Even
   that, being devoid of emotional colour⁶, does not interest the
   (common) people. (165-166)
   in their efficiency to liberate the subjective self well as the object
   presented from the limitations of personality. From this point of view
   music being an auditory art, has greater advantages than other art
   media. Music is truly a universal language and therefore is capable of
   being used as a medium not only of aesthetic experience but also of
   spiritual experience. Indeed, music has been used as a powerful instru-
   ment for spiritual and religious awakening, specially in India. The
   author is stressing the point (as also in the next verse) that even though
   all human endeavour may culminate in the awakening of the unmanifest
   (anāhata) nāda within, it can best be achieved through the pursuit of the
   manifest (āhata) nāda, i. e., through the cultivation of musical arts
   which cater to the individual, the social and the spiritual good of
   humanity at the material and the spiritual levels at the same time.
   Now, it has been stated in the previous verse that devotion to the
   manifestation of deity or the manifest deity leads to worldly experience;
   while, one-pointed attention fixed upon the unmanifest, the attributeless,
   unconditioned Brahman leads to final emancipation. With regard to
   worldly experience as well, the goal ultimately is to rise above need for
   further experience and be free from limitations of every sort. The
   intelligent people as it has been said, make use of the body as a means
   of gaining experience as well as salvation. Experiencing the sense
   objects and their pursuit is open to all and is also within the reach of
   almost all the human beings, but salvation is attained, as far as our
   text is concerned, by contemplating the formless, the limitless reality;
   and that is not approachable by all, even though that is the accepted
   goal of all human existence. It is not possible for everybody to meditate
   upon the attributeless Brahman, because it requires one-pointed concent-
   ration of mind to be held without the aid of a visible object. It requires
   a code of self-discipline without any external stimulus or any other
   source of inspiration.
3. Ordinary people are meant, i. e., the average human being.
4. Since the direct approach is beyond the reach of an average human being, in such a case.
5. Nāda is primordial sound

106 Treatment of Svara
Now, therefore, we shall describe the creative process⁷
of the manifest sound, which expounds through (the concept
of) śruti etc.⁸, the entire subject matter⁹ of music which is
the means of peoples' amusement as well as of attaining
Considering these difficulties, the sages have discovered a technique
of attaining liberation through the meditation of the unmanifest nāda,
i. e., the primordial sound which is heard inside the head if carefully
listened to with an unburdened mind. This sound is produced without
any contant of matter, i. e., without any friction; it is natural and
spontaneous and that is why it is called anāhata (unstruck).
But even this is found to be of little interest by common people
because this sound is pure and untinged by emotional colour and there-
fore uninteresting to them. That is precisely why music becomes more
useful and a treatise on the science of music necessary, so that people
can easily cultivate both the ends of life, viz., experience of the world
and salvation from its limitations through a pleasant and a convenient
means like music which is universally approved and considered
attractive.
In the preceding verse (166) the author has elucidated the insur-
mountable difficulties involved in approaching the formless absolute
reality by one-pointed concentration of attention; and also in worshipping
the unmanifest nāda by the technique of nādānusandhāna. Therefore, the
utility of music as a mass-entertainer of the people and as a means of
salvation approachable by the common folks without effort is brought
out by the author as the prominent characteristic feature of the manifest
sound, i.e., āhata nāda; it serves as a means of enjoyment in this world
and of liberation from the limitations of wordly existence which is
burdened with limitations of personality and the interplay of the oppo-
sites. In short, that is how the author introduces the subject proper
and justifies his attempt at expounding the science of music.
Furthermore, the manner of his exposition, he assures his readers
at the very outset, is to be such as to include the elucidation of such
7. The word utpatti of the text generally means creation, it does
not mean production. It does not necessarily involve perso-
nal will.
8. Etc. refers to other important concepts such as jāti, tāna,
kūṭatāna, svara, mūrcchanā, grāma and so on.
9. The word geyam of the text literally means all that is worthy
of being sung, but it comprehends all music by implication,
as is obvious from the context.

Section - ...
freedom from the limitations of existence¹⁰, and also we
shall investigate into its¹¹ being the origin of śruti etc. (167-
168b).
abstruse topics as śruti, jāti, grāma, svara, etc., comprehending the
very beginnings of the perception of śruti and so on. So, henceforth
we are to concern ourselves with saṅgīta-śāstra, i.e., the science of
musical arts.
10. The word existence has been used here in the sense of 'worldly
life', i.e., everyday existence of an average human being
which is limited by innumerable factors of environment and
complicated by the interplay of the opposites, as compared to
the life of full comprehension, of unlimited freedom and
tranquillity.
11. 'Its' refers to manifest sound.

अथ तृतीयं नादस्थानश्रुतिस्वरजातिकुल-
दैवतर्षिच्छन्दोरसप्रकरणम्
क. नादः
(i) नादब्रह्म, तस्योपासना च
चैतन्यं सर्वभूतानां विवृतं जगदात्मना ।
नादब्रह्म तदानन्दमद्वितीयमुपास्महे ॥१॥
नादोपासनया देवा ब्रह्मविष्णुमहेश्वराः ।
भवन्त्युपासिता नूनं यस्मादेते तदात्मकाः ॥२॥
Section 3
Nāda, Śruti and Svara
A. Nāda
(i) Nāda-brahman and its worship (upāsanā) : (1-2)
We¹ worship Nāda-brahman, that incomparable² bliss
which is immanent³ in all the creatures as intelligence and
The benedictory verse is addressed appropriately to Nāda-brahman.
The author, having described the genesis and the structure of human
embodiment, which is the instrument of voice production, now turns to
give a detailed treatment of voice, its constituent elements and other

1. The use of plural is significant. ‘We’ includes the author and
   the readers, and the construction is suggestive of the expres-
   sion, ‘let us worship’ Nāda-brahman.
2. The bliss which is one without the second, which is incompara-
   ble, absolute, i. e., not relative. ‘K’ takes ‘advitīyam’ as directly
   qualifying Nāda-brahman.
3. Caitanyaṁ sarvabhūtānāṁ literally means the sentience in all the
   creatures. It has already been explained that Nāda-brahman
   refers to the undifferentiated state of manifestation and as such
   it is all-pervading, without any limitations of individuation.
   Caitanya is the essence of ‘being’ without implying any
   opposite. Sentience, for example, implies inert matter as
   non-sentience. It is in this light that Caitanya has been trans-
   lated as intelligence. Caitanya is the life-essence inherent in
   all the creatures.
   Section 3 : Nāda, Śruti and Svara
   is manifest⁴ in the phenomenon of this universe. (1)
   Indeed, through the worship of nāda⁵ are worshipped
   gods (like) Brahmā, Viṣṇu and Śiva, since essentially they
   are one⁶ with it⁷. (2)
   related matters; in the words of ‘K’, having dealt with the producer,
   the author now proposes to deal with the product.
   We have already come across the concepts of nāda (I.1.1 & I.2.
   1-3 ante) and Brahman (I.2 4-5), and here we are confronted with the
   concept of Nāda brahman. The commentators explain it grammatically
   as ‘nāda eva Brahman’, i. e , nāda is itself Brahman, or it may also be inter-
   preted as ‘nāda is Brahman-like’. If nāda is taken as an adjective to
   Brahman, then it will qualify the word Brahman, in which sense ‘K’ inter-
   prets nāda as an object of superimposition of Brahman which takes place
   due to the common character of both, viz , sentience. How is it that
   nāda is taken to be sentient ? ‘K’ would say, as he actually does, that
   nāda is the object to which the sentience of Brahman is lent by superim-
   position. But, the grammatical approach is likely to be misleading;
   for, though nāda and Brahman are two words representing two different
   concepts, the word ‘Nāda-brahman’ is a compound word representing
   a single concept, viz., Brahman manifest as nāda. Thus ‘nāda eva Brahman’
   may be understood in this light.
   The commentators have offered a double interpretation, i. e., from
   the point of view of Brahman and nāda. But obviously such an endea-
   vour does not seem to be necessary.
4. As intelligence and bliss, Nāda-brahman is immanent in all the
   beings. This immanence indicates the state of non-differentia-
   tion, which is manifest in the differentiated consciousness as
   the universe in the relationship of the seer and the seen, the
   subject and the object. Moreover, nāda as the primordial
   sound having space or ether as its base is the subtlest of all the
   elements and precedes them in the order of manifestation.
   Thus Nāda-brahman is the cause of the manifest universe. ‘K’
   rightly points out that nāda is the source of śruti-s, letters and
   words, etc., on which is based the conduct of worldly affairs.
   The world and the events taking place in it are perceived in
   the consciousness as name and form only; there is no wonder
   therefore, if it (nāda) is credited, erroneously though in the ulti-
   mate analysis to be the very substratum of the manifest universe.
   But, such an interpretation becomes unnecessary if Nāda-
   brahman is taken to be a single concept and is not split into
   nāda and Brahman.
5. Nāda implies Nāda-brahman in this context.
6. The word ‘tadātmakāḥ’ of the text literally would mean that
   gods Brahmā, Viṣṇu and Śiva have nāda as their essence.
7. ‘It’ implies nāda.

Left Page

110 Treatment of Svara
‘K’ brings out the purport as under : “nāda, which is synonymous
with parā vāk, being the energy of Brahman, is inseparably close to it and
therefore propitiation of nāda leads to the attainment of Brahman as one
desirous of obtaining the lustre of a jewel attains the jewel along with
it.” The main burden of his comments is shared by two of his
considerations, viz , his interpretation from the non-dualistic Vedantic
point of view and his anxiety to show that devotion to nāda can also
lead to the spiritual emancipation of the soul, i e., the pursuit of music
not only has economic and aesthetic value but also spiritual value, viz ,
mokṣa, the highest endeavour (puruṣārtha) of mankind; the argument
being that scientific knowledge of śruti etc. leading to the understanding
of the phenomenon of music, bestows the insight necessary for the
attainment of the absolute.
Incidentally, nāda may be differentiated from sound. The concept
of sound is purely objective, but nāda is not merely an object of the
sense of hearing. The concept of nāda refers to the perception in which
the subject and the object is not differentiated. In other words, Nāda-
brahman implies the undifferentiated state of manifestation, which
cannot be translated into the terms of the differentiated consciousness.
This point of view can also be approached in a different way. Names
generally are considered to refer to objects of perception perceived by
or perceivable by a subject — thus implying a subject-object relationship.
But the referend of names may not be an object, for according to some,
what we perceive is the modifications in our consciousness ; we have no
access to the objects except through the thought-forms of the mind.
Thus names ultimately refer to forms of consciousness and therefore
every word implies in its meaning not only the form perceived by the
senses but also the substance which finally is consciousness. Thus the
word nāda also implies consciousness, for otherwise it cannot be
meaningful. Accordingly, the function of the word is to awaken a
particular form in the consciousness and Nāda-brahman signifies
undifferentiated consciousness.
Worship is an act of devotion, and the incomparable bliss of nāda
is the ultimate source of all such inspiration. The gods Brahmā, Viṣṇu
and Śiva in the puranic mythology represent the three aspects of the
manifestation of Brahman into the phenomenon of the universe, viz.,
creation, preservation and destruction; the three being the part and
parcel of a single movement, called Śakti or the energy or the creative
power of Brahman.) This energy is also called nāda or śabda, i. e., the
Word, or the parā vāk as ‘K’ puts it. In the first stage of manifestation
the energy involved in Brahman evolves into undifferentiated conscious-
ness which is called Nāda-brahman in our text and accordingly the three
gods named above are the three aspects in which the energy separates
in the manifestation. Nāda-brahman is also known as Śabda-brahman.
So, essentially the gods Brahmā, Viṣṇu and Śiva, being the aspects
of the same deity, are one with nāda.

Right Page

Section 3 : Nada, Sruti and Svara ...
(ii) देहे ध्वनेराविर्भावः
आत्मा विवक्षमाणोऽयं मनः प्रेरयते, मनः ।
देहस्थं वह्निमाहन्ति स प्रेरयति मारुतम् ॥३॥
ब्रह्मग्रन्थिस्थितः सोऽथ क्रमादूर्ध्वपथे चरन् ।
नाभिहृत्कण्ठमूर्धास्येष्वाविर्भावयति ध्वनिम् ॥४॥
(ii) The process of the manifestation of sound in the human
body. (3-4)
Desirous of speech the individuated being¹ impels the
mind, and the mind activates the battery of power² stationed
in the body, which in its turn stimulates the vital force³. The
vital force stationed around the root of the navel, rising
upwards⁴ gradually manifests nāda⁵ in the navel, the heart,
the throat, the cerebrum and the cavity of the mouth as it
passes through them. (3-4)
Now, the author proceeds to describe the process of voice produc-
tion (i. e., the manifestation of āhata-nāda). Desire for self-expression
is the motive power that initiates the process into action. Why there
is the desire for self-expression is a metaphysical question and one can
probably look for its answer to the benedictory verse; but, the author is
not, at the moment, concerned with that. As far as the individual,
which is the medium of voice production is concerned, desire for self-
expression is discerned to be the cause of speech; and therefore of singing
i. e., music and even dance as it is included in the concept of Saṅgīta.
It is notable that uptil now the word nāda was signifying unmanifest
sound; but, herefrom it obviously signifies manifest sound. It has
already been said that nāda is twofold, viz., unmanifest and manifest
(cf S. R. I.2.1-3 ante). Futhermore, the word is now being defined in
the context of music.

1. The word ātman is difficult to translate into English due to the
   various shades of meaning attached to it in the different
   schools of Indian philosophy and cultural strata of society.
   In the present context the word ātman is used as a diminutive
   for jīvātma, i. e., individuated being or differentiated cons-
   ciousness.
2. Vahni of the text literally means fire, but that is figurative in
   the present context.
3. Prāṇa is translated as vital force.
4. The region below the navel pertains to anāhata-nāda, i. e., the
   unmanifest sound (cf 'S' on I 3-6).
5. Now, since the concept of nāda has been clearly explained, it
   will be misleading to translate it as sound.

112 Treatment of Svara Section 3: Nāda, Śruti and Svara 113
(iii) पञ्चविधो नादः (iv) नादशब्दस्य निरुक्तिः
नादोऽतिसूक्ष्मः सूक्ष्मश्च पुष्टोऽपुष्टश्च कृत्रिमः । नकारं प्राणनामानं दकारमनलं विदुः ।
इति पञ्चाभिधा धत्ते पञ्चस्थानस्थितः क्रमात् ॥५॥ जातः प्राणाग्निसंयोगात्तेन नादोऽभिधीयते ॥६॥
(iii) Fivefold nāda (5) (iv) The derivation of nāda
Stationed in these five places, nāda takes on five differ- It is understood¹ that the syllable² na (of nāda) repre-
ent names as associated with them respectively, viz., sents the vital force and da³ represents fire; thus being
extremely subtle¹, subtle², loud³, not-so-loud⁴ and artifi- produced⁴ by the interaction⁵ of the vital force and fire it is
cial⁵. (5) called nāda. (6)
'S' quotes Mataṅga who gives slightly a different set of nomencla- This verse gives the derivation of the word nāda. In Sanskrit two
ture, viz., subtle, very subtle, manifest, unmanifest and artificial. It is types of derivations are offered, viz. (i) grammatical called vyutpatti and
significant that our author has reversed the order of the first two; and (ii) what may be called in English 'semantic', i. e., nirukti; and here what
the reason is not far to seek. Mataṅga says that the nāda called subtle we are offered is a semantic derivation, which is partly related to
resides in the cave (i.e., the navel), very subtle in the heart, manifest in the tantric system. 'K' points out that according to the science of tantra,
the throat, unmanifest in the the cerebrum and artificial in the mouth. every seed-syllable (bījakṣara) of a mantra has a presiding deity, and in
It is not clear why Mataṅga should locate the very subtle nāda in the that context the letters n and d refer to Prāṇa and Agni, i. e, the vital
heart; for the natural order of manifestation upto the throat is such force and fire. The word nāda is derived grammatically by 'S' as that
that the lower the place the less manifest the nāda must be. The progress which is produced by the consonants n and d put together.
should be from the subtlest to the gross. Accordingly our author seems Thus, the word nāda is significant, both grammatically and seman-
to have represented the correct notion (cf. S. Raj. II. 1.1.17 which tically and is indicative of signifying the consequence of the interaction
follows S R ). of vital force and fire, which is the 'consciousness of sound'.
'S' would like us to follow the order indicated by Mataṅga, but Mataṅga derives the word nāda from the root nad 'to sound' in
he does not assign any reasons for that; neither he seems to perceive any addition to the semantic derivation given by our author who has pre-
controversy or a difference of opinion between the two authors. It may ferred to give the latter alone as it explains the process of voice pro-
therefore be inferred that, he takes the difference of the order in question duction.
as caused by the poetic convenience and not worthy of any serious atten-
tion. That is why he innocently suggests Mataṅga's order to be the
true one.
Incidentally, cerebrum is the highest point of nāda-manifestation;
and just as it (nāda) is very subtle at the lowest point; so also it is diffi-
cult of perception at the highest point, being at the other extremity of
the producing instrument; that is why it is characterised as 'not-so-loud' 1. If literally translated, it would read, "(they) knew", 'they'
or unmanifest. being implied in the number and the person of the verbal

1. Atisūkṣma of the text. form used. They refer, as perceived by 'K', to tantric
2. Sūkṣma of the text. experts.
3. Puṣṭa of the text is suggestive of strength, in other words that 2. Literally, "the letter n and the letter d."
   which has gained in volume. 3. The idea of representation is not explicit in the text but is
4. Apuṣṭa of the text. definitely implied in the context.
5. Kṛtrima of the text. It is so named because sound, after being 4. Produced as a consequence of the union of the vital-force and
   produced through the vocal chords, is modified in the mouth fire.
   by the tongue, the teeth, the lips, etc., and thereby loses its 5. Literally it would read as 'union', but the union is an action.
   natural texture. 8

114 Treatment of Svara
(v) गीतव्यवहारे त्रिधा नादः
व्यवहारे त्वसौ त्रेधा हृदि मन्द्रोऽभिधीयते ।
कण्ठे मध्यो मूर्ध्नि तारो द्विगुणश्चोत्तरोत्तरः ॥७॥
(v) The threefold nāda in music.
However, in actual practice¹ it² is threefold, called
mandra³ in the heart, madhya⁴ in the throat, and tāra⁵ in the
head and is successively double (in pitch). (7)
The author has already spoken of a fivefold classification of nāda
based on the location spots in the body in verse 3 (ante). Here, he
opens the verse with 'however', indicating that the threefold classifica-
tion of nāda into the 'low', the 'medium' and the 'high' is presented
notwithstanding the earlier classification, as this one is devised from
a purely practical point of view. As the commentators have pointed
out, the practical point of view relates to the practice of singing etc.,
i. e., to musical performance; and therefore, the function of this
classification is to be clearly distinguished from the earlier one, which
is more or less of a theoretical value.
The same nāda, when produced from the heart is called mandra,
when produced from the throat is called madhya and when produced
through the head, i. e., the cerebrum, it is known as tāra, and each
successive nāda is double (in pitch) than the preceding one, i. e., the
three aspects stand in the ratio of 1:2:4. 'K' gives another significant
interpretation for this idea. According to him, if the effort involved
in the articulation of ṣaḍja and the other notes of the lower register
(mandra) is taken as the standard unit measure, then the effort involved
in producing ṣaḍja and the other notes of the middle register is twice as
much and the effort required for producing the same notes of the high
register (tāra) is double than that (i. e., that of the middle). That is
how madhya is double the mandra and tāra is double the madhya.

1. Vyavahāra is conduct, i. e., actual practice; in this context
   'gīta', i. e., the tonal aspect of music.
2. 'It' refers to nāda.
3. Mandra literally means 'low'.
4. Madhya literally means 'medium' in this context.
5. Tāra literally means 'high'.
   Section 3 : Nāda, Śruti and Svara 115
   ख. श्रुतिः
   (i) श्रुतिः, तत्सङ्ख्या च
   तस्य द्वाविंशतिर्भेदाः श्रवणाच्छ्रुतयो मताः ।
   हृदूर्ध्वनाडीसंलग्ना नाड्यो द्वाविंशतिर्मताः ॥८॥
   तिर्यञ्च्यस्तासु तावत्यः श्रुतयो मारुताहतेः ।
   उच्चोच्चतरतायुक्ताः प्रभवन्त्युत्तरोत्तरम् ॥९॥
   एवं कण्ठे तथा शीर्षे श्रुतिर्द्वाविंशतिर्मता ।
   B. Śruti
   (i) Śruti and its number (8-10b)
   Nāda¹ is differentiated into twentytwo grades which,
   because of their audibility², are known as śruti-s³. (8ab)
   It is believed⁴ that, closely associated with the two
   upward nāḍī-s⁵ in the heart there are twentytwo nāḍī-s placed
   By this time it would have been clear that the term nāda is
   increasingly being used in a specific sense. Whereas nāda signifies in the
   general sense, the consciousness of sound, here its meaning has been
   restricted to musical sound. In this sense, it has been said in the pre-
   vious verse, that nāda is of three types, with reference to the place of
   production in the body or the pitch, so to say. Now, such a nāda is
   further distinguished into twentytwo varieties, produced by twentytwo
   upward nāḍī-s each of the heart, the throat and the cerebrum.
   What is important to note is that twentytwo variations, grades or
   intervals have been recognised in the scale. The twentytwo nāḍī-s,
6. In this context the author is dealing with the manifest (āhata)
   nāda, and therefore nāda means musical sound.
7. The word 'śravaṇāt' of the text literally means 'on account of
   hearing'.
8. Śruti-s literally could be rendered as 'audibles'.
9. The word 'matāḥ' of the text has been literally translated here
   as it seems to have been so used. But sometimes it is not
   necessarily so used, it is otherwise used in the sense of "it is
   known" or "it is considered."
10. 'K' interprets the word nāḍī of the text as indicative of dual
    number and accordingly names them as iḍā and piṅgalā, but
    'S' seems to take it as singular and accordingly identifies it
    with suṣumṇā.

116 Treatment of Svara
obliquely⁶, and twentytwo⁷ śruti-s successively higher and
higher in pitch, are produced by the force of wind acting
upon them. (8c-9)
Similarly, twentytwo śruti-s are discerned in the throat⁸
as well as in the cerebrum⁹. (10ab)
however, have not as yet been identified in terms of modern physiology
or anatomy. Nevertheless, the concept of relating twentytwo śruti-s to
twentytwo nāḍī-s is not confined to Śārṅgadeva but is shared by at least
one more author known to us, viz., Śāradātanaya who is a contempo-
rary of the author. He not only relates twentytwo śruti-s with twentytwo
nāḍī-s branching off from the central nāḍī, viz., suṣumṇā in the region of
the heart but he further relates them to the seven places of pronouncing
letters of alphabet, viz., the throat, palate, lips, cerebrum and teeth
either independently or from more than one place put together. Thus
he goes on to relate the seven tones to these places of pronunciation
assigning to them the number of nāḍī-s equal to the number of their
śruti-s. The whole theory is illustrated in the following chart:
svara-s and varṇa-sthāna-s

6. ‘K. R.’ translates it as ‘crosswise’. Literally it also means horizontal.
7. The number twentytwo is not repeated here in the text, but the expression ‘of the same number’ is used.
   8 The throat and the cerebrum are the other two places from which nāda finds voice; along with the heart these three refer to the three registers.
   Section 3 : Nāda, Śruti and Svara 117
   In other words, he relates not only the śruti-s but also the svara-s to
   the nāḍī-s. And alternatively, he also presents another theory according
   to which the seven svara-s (notes) are related to the seven supportive
   tissues (dhātu-s) in the body, viz., serum, blood, flesh, fat, bone, marrow
   and semen. The theory seems to rest on the contention that the internal
   heat (ūṣmā) of the tissues in conjunction with prāṇa gives rise to the
   seven tones through different dhamanī-s (arteries) that are associated to
   the particular tissues in the same number as that of the śruti-s of the
   particular tones which they produce. Thus the number of dhamanī-s
   associated with the production of the seven notes through the seven
   supportive tissues is also twentytwo.
   In this way both the theories seek to present physiological evidence
   to support the view that the total number of śruti-s is 22 only (cf.
   Bhāvaprakāśanam, pp. 184-188). The following detail of the topics dealt
   with gives an idea of the subject matter :
   “The creation of nāda and the letters of alphabet—the places of
   pronouncing the letters—22 nāḍī-s as related to these places—the seriatim
   production of nāda, śruti and svara—the rise of seven notes from seven
   places—the svara-s and the supporting tissues 22 dhamanī-s etc.” The
   following chart shows the relation of svara-s and the supportive tissues
   according to the above theory.
   Svara-s as related to dhātu-s (supportive tissues)
   | S. No. | Dhātu | Svara | No. of supporting dhamanī-s | Location of the substratum |
   | :---: | :--- | :--- | :---: | :--- |
   | 1 | Semen | Ṣaḍja | 4 | Brahma-granthi (centre of the body) |
   | 2 | Marrow | Ṛṣabha | 3 | Navel |
   | 3 | Bone | Gāndhāra | 2 | Heart |
   | 4 | Fat | Madhyama | 4 | Throat |
   | 5 | Flesh | Pañcama | 4 | Root of palate |
   | 6 | Blood | Dhaivata | 3 | Cerebrum |
   | 7 | Skin | Niṣāda | 2 | Sahasrāra |
   (Chart—2)
   It may be kept in mind that these tones are related to the heat
   (resident fire) of the above tissues and not the tissues themselves. The
   related dhamanī-s are supposed to feed the tissues concerned and the
   tones produced are the modifications of nāda that is produced primarily
   in the suṣumṇā.
   Thus it will be seen that the relation of 22 śruti-s and the seven
   tones with the nāḍī-s is not without a scientific basis. However, the

Page 118

118 Treatment of Svara
fundamental basis of this theory is to be found in the intimate knowledge
of the kuṇḍalinī-yoga and tantra. But it is clear that the āhata-nāda (the
manifest sound) is conceived here to be a modification of the nāda
residing in the central-most nāḍī, viz., suṣumṇā and is manifested through
the nāḍī-s that branch off from it.
This perspective affords us a greater understanding of the relevance
of the entire spectrum of subjects dealt with in the Section entitled—‘the
Human Embodiment.’
The word śruti is derived from the root 'śru', to hear; thus śruti is
that which is ‘heard’. In other words, śruti is the name given to that
range of sound which is audible Since twentytwo such sounds are
perceived in each of the three registers, it is also implied that an audible
sound in order to be called a śruti should also be capable of individual
perception and recognition, and therefore of being reproduced. ‘K’
opines that audibility is common to tones as well as śruti-s; so, that is
not sufficient to characterise it properly. He, therefore, suggests that
when the sound breaks on the first stroke, it is free from resonance in the
first instant. Thus according to ‘K’ śruti is that audible sound which is
free from resonance. The point that he seems to be making is that
śruti is essentially devoid of tonal colour. This view is obviously based
on the distinction drawn between śruti and svara by the author (vide
24c-25b) while defining the latter. However, this characteristic of śruti
that categorically distinguishes it from svara was first pointed out by
Abhinavagupta who defines svara as, “the sound that is (produced) by
the influence of the sound arising as a result of striking (a vibrating
string) at a śruti-sthāna (the postion of a śruti) and is (thus, essentially
resonating, sweet and creamy”. (Vayaṁ tu śrutisthānābhighātaprabhavasab-
daprabhāvito anuraṇanātm snigdhaḥ madhuraḥ śabda eva svara iti vakṣyāmaḥ
(cf. Abh. Bh, on N. S., G. O. S. IV, p. 11).
In this definition it be observed that when śruti is referred to as
having a sthāna (a particular position in the scale) it implies a certain
pitch relation and the word no longer is used in its literal sense of audi-
ble sound. This sound which is produced by striking a vibrating string
at a given point is not resonating in the first instant, but is capable of
creating resonance in that string. That the word śruti had a reference
to pitch relation from very early times, is indicated by an aphorism of
Pāṇini (500 B. C.), “Ekaśruti dūrāt sambuddhau” (1.2.33), i. e., a call
from a distance (in vocative) is (perceived as) ekaśruti. The word ekaśruti
is defined by Patañjali as the non-distinction of the tone-triad (traisvarya,
i. e., udātta, anudātta and svarita) in perception. Thus, Abhinavagupta
made the distinction between the general and the particular meaning of
the śruti both at the conceptual and the perceptual levels. Conceptually

Page 119

Section 3 : Nāda, Śruti and Svara 119
the śruti-s are twentytwo as twentytwo definite positions in the scale
of seven notes, but perceptually the śruti-s are non-resonant primary
manifestations of musical sound, antecedent to the production of tones.
It is this sort of thinking that is abridged by Śārṅgadeva in his definition
of svara referred to above, which Kallinātha has expounded.
In this context it is worthwhile to point out that in the history of
the concept of śruti, we come across discussions regarding the number of
śruti-s and one of the views is that the number of śruti-s is infinite, and
in that case audibility seems to be the only characteristic of śruti. But
if the number is limited then other characteristics are relevant.
‘S’ quotes Mataṅga who has discussed this topic at some length.
He derives the word śruti, grammatically from the root ‘śru’ to hear,
and speaks of śruti as the audible sound, and therefore essentially one.
He (Mataṅga) further quotes Viśvāvasu who declares the same
one śruti to be twofold, i. e., the one pertaining to the normal tones of
the scale and the other pertaining to the intervening tones (i. e.,
antara-gāndhāra and kākalī-niṣāda, to be explained later). However,
this distinction is not of any value, what is notable is that he also defines
śruti as the audible sound. He (Mataṅga) also mentions the view
according to which śruti is considered to be threefold and he describes
two such schools, viz., those who base their argument on the three
places of voice, i e., the three registers, and those who base their view
on the threefold perceptual insensitivity (indriyavaiguṇya). Such insen-
sitivity is explained in these terms : (a) that which is presented as the
natural response of the organism to the situation ; (b) that which is
caused by the emotional imbalance of over-activity or dullness ; and
(c) that which is consequent upon taking improper food and drink.
Then he also points out the view according to which śruti is fourfold,
and this view is based on the fourfold condition of the body, viz., the
respective predominance of wind, bile and phlegm and the combined
derangement of the three (cf. S. R. I. 2.71c ante). However, as ‘K’
points out, these varieties are spoken of with reference to the over-all
quality of voice which includes timbre, volume and pitch-range. This
classification is primarily applicable to the production of voice in the
human organism.
The only classification based on the pitch of the notes, divides
them into three categories (i) having 4 śruti-interval, (ii) with 3 śruti-
interval and (iii) with 2 śruti-interval. As we shall have the occasion
to see later, there are three notes in the first category comprising
12 śruti-s, two in the second comprising 6 śruti-s and two in the third
comprising 4 śruti-s, making 22 in all in the scale of seven notes known

120 Treatment of Svara
(ii) चतुःसारणा
व्यक्तये कुर्महे तासां वीणाद्वन्द्वे निदर्शनम् ॥१०॥
द्वे वीणे सदृशौ कार्ये यथा नादः समो भवेत् ।
तयोर्द्वाविंशतिस्तन्त्र्यः प्रत्येकं, तासु चादिमा ॥११॥
(ii) The fourfold string movement (catuḥ-sāraṇā): 10c-22
For their clear¹ exposition we are to demonstrate them
on a pair of vīṇā-s. Two vīṇā-s with twentytwo strings each,
may be produced similar² in every respect to sound³ alike.
as ṣaḍja-grāma. Thus, there are 9 śruti-s in this view which is attributed
to the flutists who are required to provide appropriate knobs for pro-
ducing all the notes by partial and full openings. Mataṅga also quotes
Bharata to support the threefold classification of notes on which is based
the ninefold śruti. The concept of 9 śruti-s is related to the triad of
notes and not the heptad. Then he puts forward some other views
along with Kohala who says, "some maintain twentytwo as the number
of śruti-s, while others, (in view of three registers) consider it to be
sixtysix, but others think it to be infinite."
We have already dealt with the view of the infinity of śruti-s as
untenable. The number sixtysix is admitted on the ground that there
is a difference in the pitch of the notes of the three registers; and
therefore their śruti-s should also be considered to be different. However,
as 'S' argues, this is not a fundamental or categorical difference as the
notes of the three registers as well as their śruti-s are recognised to be
the same. Thus the view holding twentytwo as the number of śruti-s
hold good and Śārṅgadeva seems to have settled this question once for
all, since after him this number is taken for granted.
To sum up, "śruti is that audible sound which at the conceptual
level is capable of being individually perceived, recognised and repro-
duced and at the perceptual level is free from resonance; such śruti-s are
twentytwo in number, and are the same in all the three registers." This
is the twofold technical meaning of the word śruti apart from which,
the word simply means—'that which is heard', i e., 'the audible'. The
Sanskrit word śruti is rendered into English by some as 'microtone'.

1. The minute śruti intervals are not easily discernible without
   being systematically demonstrated; and since it is difficult to
   do so vocally, vīṇā-s are pressed into service.
2. Similar in every detail of manufacture, and the test of their
   similarity lies in the resulting identity of the sound produced
   by them.
   कार्या मन्द्रतमध्वानो द्वितीयोच्चध्वनिर्मनाक् ।
   स्यान्निरन्तरता श्रुत्योर्मध्ये ध्वन्यन्तराश्रुतेः ॥१२॥
   अधराधरतीव्रास्तास्तज्जो नादः श्रुतिर्मतः ।
   वीणाद्वये स्वराः स्थाप्यास्तत्र षड्जश्चतुःश्रुतिः ॥१३॥
   स्थाप्यस्तन्त्यां तुरीयायामृषभस्त्रिश्रुतिस्ततः ।
   पञ्चमीतस्तृतीयायां, गान्धारो द्विश्रुतिस्ततः ॥१४॥
   अष्टमीतो द्वितीयायां, मध्यमोऽथ चतुःश्रुतिः ।
   दशमीतश्चतुर्थ्यां स्यात्पञ्चमोऽथ चतुःश्रुतिः ॥१५॥
   चतुर्दशीतस्तुर्यायां, धैवतस्त्रिश्रुतिस्ततः ।
   अष्टादश्यस्तृतीयायां, निषादो द्विश्रुतिस्ततः ॥१६॥
   एकविंश्या द्वितीयायां, वीणैकाऽत्र ध्रुवा भवेत् ।
   चलवीणा द्वितीया तु तस्यां तन्त्रीस्तु सारयेत् ॥१७॥
   स्वोपान्त्यतन्त्रीमानेयास्तस्यां सप्त स्वरा बुधैः ।
   ध्रुववीणास्वरेभ्योऽस्यां चलायां ते स्वरास्तदा ॥१८॥
   एकश्रुत्यपकृष्टाः स्युरेवमन्याऽपि सारणा ।
   श्रुतिद्वयलयादस्यां चलवीणागतौ गनी ॥१९॥
   ध्रुववीणोपगतयो रिधयोर्विशतः क्रमात् ।
   तृतीयायां सारणायां विशतः सपयो रिधौ ॥२०॥
   निगमेषु चतुर्थ्यां तु विशन्ति समपाः क्रमात् ।
   श्रुतिद्वाविंशतावेवं सारणानां चतुष्टयात् ॥२१॥
   ध्रुवाश्रुतिषु लीनायामित्यता ज्ञायते स्फुटम् ।
   अतः परं तु रक्तिघ्नं न कार्यमपकर्षणम् ॥२२॥
   The first⁴ string may be so fixed as to produce the lowest⁵
   possible sound, and the second one in order to sound a little
3. 'K' thinks that the string fixed so as to be the nearest in the
   the approach of the player is the first string.
4. Here we are concerned with musical sound and not merely with
   sound. Therefore, the lowest possible sound implies that the
   string should be stretched not only to make an audible sound
   but to make the sound which is the lowest and also capable of
   resounding. As 'S' puts it, the sound thus produced should be
   delightful.