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

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.

122 Treatment of Svara
bit⁶ higher than that, maintaining continuity in between the
two śruti-s and disallowing any intervening audible sound.
Thus, the strings fixed one below the other are successively
of higher and higher pitch, and the sound produced by them
is known as ‘śruti’⁷ (10c-13b)
To establish the notes on the two vīṇā-s let ṣaḍja which
is of four śruti - measure, be fixed on the fourth string; ṛṣabha
of three śruti-measure on the third string as counted from the
fifth⁸; gāndhāra of two śruti-measure on the second string
from the eighth⁹; madhyama of four śruti-measure on the
fourth string from the tenth¹⁰; pañcama also of four śruti-
measure on the fourth string from the fourteenth¹¹; dhaivata
of three śruti-measure on the third string from the eighteenth¹²
and niṣāda of two śruti-measure on the second string from the
twentyfirst.¹³ (13c-17a)
Let one of these two vīṇā-s be kept invariable¹⁴ and
the other one as variable¹⁵; and in the latter, one may
move¹⁶ the strings. (17b-d)
In the first movement, the seven notes of the variable
vīṇā¹⁷ have to be brought over¹⁸ by the experts¹⁹ to the
6. The expression ‘a little bit’ is explained forthwith in the text
that follows immediately, i. e. to the extent that no other
sound intervenes and the continuity in hearing is maintained.
7. The twentytwo strings fixed in this manner, when plucked will
sound in twentytwo śruti-s. This number is further to be
verified and proved beyond doubt. But in the meanwhile,
every sound produced by these is called śruti.
8. The seventh string if counted from the first.
9. The ninth ” ” ” ”
10. The thirteenth ” ” ” ”
11. The seventeenth ” ” ” ”
12. The twentieth ” ” ” ”
13. The twenty second ” ” ” ”
14. Literally, dhruva means immutable, constant.
15. Literally, cala implies adjustability in this context.
16. The precise meaning of this term is elucidated in the next
verse.
17. This expression is implicit in ‘tasyām’ of the text which is
related to 17d above.
18. This is more or less a literal translation of āneyaḥ of the text,
which has been preferred in order to preserve the underlying
feeling that an experiment is being conducted; for otherwise
the purport is that the notes have to be shifted from their
original strings.

Section 3 • ...
immediately preceding²⁰ strings; and thereby its notes are
lowered by one śruti each with reference to those of the
invariable vīṇā. The remaining²¹ movements may as well
be similarly carried out. (18-19b)
In the second²² movement, due to the fusion²³ of two
śruti-s the ga and ni of the variable vīṇā have been absorbed²⁴
by ri and dha respectively of the invariable vīṇā. (Similarly)
in the third movement ri and dha have merged into sa and
pa respectively; while in the fourth movement sa, ma and pa
have fused with ni, ga and ma respectively.²⁵ (19c-21b)
The concept of śruti and the number of śruti-s, i.e., twentytwo, is
not based merely on subjective experience of the nādī-s, but as clearly
defined, the different śruti-s can be produced at will, recognised as indi-
vidual entities and so demonstrated. Thus, the concept of śruti is
objective and scientific in so far as it is demonstrable.
The procedure for this demonstration is quite simple and is said to
have been attempted successfully with tangible results. This topic is
dealt with in the text extending from verse no. 10c to 22 and the whole
process is technically called ‘catuḥ-śaraṇā’, which will be explained later.
However, the technique of demonstration is open to some serious
objections; for example, Pt. Omkarnath Thakur points out the following
difficulties in the process (cf. Praṇavabhāratī, pp. 64, 65 and Saṅgītāñjalī
pt. V, p. 91) :
19. The experiment has to be conducted very carefully and under
expert guidance.
20. The original strings are the 4th, 7th, 9th, 17th, 20th and
22nd; and now, the notes have to be placed respectively on
the 3rd, 6th, 8th, 12th, 16th and the 21st strings.
21. That is, the second, third and the fourth movements may also
be carried out by lowering the pitch of the notes by one śruti
each with reference to their standard pitch in the invariable
vīṇā, and the lowering is effected by moving to the proximate
strings.
22. Literally, in ‘this’ with reference to the previous line.
23. Laya is indicative of the loss of distinction of individuality.
24. Viśataḥ lit enter, is the most appropriate expression whereby
the note that merges is absorbed by the one with which it
merges.
25. It may be borne in mind that this fusion is with reference to
the invariable vīṇā. Sa, ri, ga, ma, pa, dha, and ni, it may be
noted, are the diminutive forms of the seven notes called
ṣaḍja, ṛṣabha, gāndhāra, madhyama, pañcama, dhaivata and niṣāda.

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124 Treatment of Svara
Thus, the exact number²⁶ of śruti-s is clearly evidenced
by their fusion with the twentytwo śruti-s of the invariable
vīṇā brought about by the process of fourfold string move-
ment. The retrograde movement²⁷ may not be carried
beyond this²⁸, as that would mar the beauty.²⁹ (21c-22).
(i) Though it is possible to fix 22 strings on vīṇā, yet it is diffi-
cult to do so; and it is even more difficult to establish the
different notes on them by tonal consonance.
(ii) It has been suggested that the first string should be fixed so
as to produce the lowest possible sound. This is, at best, a
vague direction.
(iii) Taking it for granted that the lowest sound as suggested
refers to the pitch below which sound does not produce any
resonance and thus ceases to be musical, the problem yet is
how to fix the second string in order to sound a little bit
higher than the lowest and so on. That, he says, is to be
determined by ensuring that continuity in-between the two
is maintained and any intervening sound is eliminated or
disallowed to intrude. This leads to the question whether
it is practicable not to listen to the intervening pitch-points
or musical microtones. Obviously such subtle musical
sounds are discernible by trained ears. Therefore, the
procedure suggested by the author does not seem to be
satisfactory.
Moreover, the statement that, "the sound produced by them (the
22 strings fixed by the above procedure) is known as śruti", is technically
unsound, for śruti-s that are also called microtones, are very narrow
pitch-relations, perceived by trained ears with great difficulty; they
cannot thus be determined so easily by fixing the strings a little bit
higher successively since it does not involve a definitely measured pitch.
(10c-13b)
While Pt. Omkarnath Thakur suggests his own procedure for
demonstrating 22 śruti-s (cf. Praṇavabhāratī, pp. 65-66), Dr. K. C. D.
Brihaspati suggests quite a different interpretation of the text which
enables him to steer clear of some of the difficulties mentioned above
26. The iyattā of the text has the sense of numerical extent.
27. Apakarṣa is the lowering of the notes in pitch.
28: This refers to the fourth movement.
29. Rakti of the text literally means delightfulness which is beauty.

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Section 3 : Nāda, Śruti and Svara
(cf. Saṅgītacintāmaṇi, pp. 191, 192) the purport of which is presented
as under :
(i) The procedure of the fourfold string movement described
above is a preliminary exercise to fix the strings approximately
in order to establish the seven notes later on the basis of the
consonance of notes without much difficulty.
(ii) Śārṅgadeva has adapted this procedure from Mataṅga for the
above purpose. The above contention is demonstrated to be
true by the second line of the verse 13 (Vīṇādvaye svarāḥ
sthāpyāstatra ṣaḍjaścatuḥśrutiḥ). He clearly states that the notes
have (yet) to be established on the two strings.
(iii) He has used the word śruti in its primary meaning of an
audible sound, and not in the technical sense, for otherwise
he ought to have named the śruti-s there and then thus rende-
ring the fourfold string movement and the process of establi-
shing the notes unnecessary.
Moreover he elsewhere points out that in keeping with the spirit
of the age, Śārṅgadeva has purposefully clothed his expression in the
blanket of ambiguity. This is how the subject matter has been dealt
with by the modern scholars.
The śruti-s when specifically grouped, manifest the seven notes of
the scale. Incidentally, the Indian theory of music does not take the
octave into account as a general rule. We may have the occasion to
reflect upon the thinking that has been done regarding the relationship
obtained between svara (i. e., a note) and śruti. It may also be worth-
while to point out that the concept of svara is not at once identical with
the concept of note, though generally the term is rendered into English
as 'note' or 'tone' according to the context. The essential difference
that can at once be pointed out between 'svara' and 'note' is that,
whereas the pitch of the notes is fixed, that of svara-s is not absolutely
fixed, though it remains invariably the same in relation to the other of
the scale. An Indian performer is free to fixe his fundamental note
according to his own convenience. This goes to make all the difference.
Another important difference is that svara can roughly be said to signify
'duration in pitch' rather than a point. This factor will be further
clarified as we proceed with the text. However in English the words
'note' and 'tone' are used with some inexplicable discrimination in this
translation.
For the time being, suffice it to say that, a number of śruti-s in
successive combination go to bring a tone into being. Now, the author
concerns himself with establishing the seven notes of the scale on the

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126 Treatment of Svara
strings fixed on the two vīṇā-s. Ṣaḍja is to be established on the fourth
śruti as counted from the last śruti of the preceding note, i. e., niṣāda of
the lower scale; and since the first string here is taken as the lowest
possible sound, ṣaḍja is fixed on the fourth string. Similarly ṛṣabha is
established on the third śruti taking the last śruti of the previous note as
the zero point. Thus ṛṣabha is fixed on the third string as counted from the
fifth (i. e., the seventh string). Similarly, other tones are also established
on their respective strings. (13c-17a)
Having once established the seven notes in the two vīṇā-s at the
śruti intervals of 4, 4 + 3, 7+2, 9+4, 13+4, 17+3 and 20+2, i. e., 4, 7,
9, 13, 17, 20 and 22, now the author proceeds to demonstrate the fact of
these minutely preceptible intervals that go to manifest the seven
standard notes, being twentytwo in number. One of the vīṇā-s is kept
invariable to serve as the unmodified standard for evaluating the modifi-
cations brought about by the string-movements. Four of such string
movements go into action in this process which is technically known as
'catuḥ-sāraṇā', i. e., the fourfold string-movement. This has been
described in the text extending from verses 17 to 22.
The vīṇā in which the fourfold string-movement takes place is
cala vīṇā (lit movable) in the text, while the one which serves as
the invariable standard is called acala-vīṇā (lit. immovable). Both of them,
it may be pointed out, have twentytwo strings and are identical in every
respect. Such vīṇā-s, however, are used here for experimental purposes
only, and are not otherwise used for any performance. (17b-d)
The fourfold string-movement has already been referred to. In
this verse the author elucidates the significance of the string-movement.
Although the whole picture will only be clear after going through the
whole process, i. e., upto the 22nd verse, it is worthwhile to understand
what is meant by 'movement'.
The seven notes of the scale have been established on definite
strings on the two vīṇā-s; now, the notes of the variable vīṇā, in the first
movement, are shifted to the strings immediately preceding their res-
pective original strings; i. e., in other words, the movement implies the
lowering of the notes in pitch by one śruti-interval. Similarly in the
second movement the notes would be lowered by two śruti-intervals, in
the third by three śruti-intervals and in the fourth by four śruti-intervals.
Consequences of this fourfold string-movements are described in the
next few verses of the text.
In the first movement, however, no note-interval is proved; for, at
least two śruti-s are required to constitute the shortest of the note-
intervals; but, nevertheless, the lowering of the pitch of the notes is

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Section 3 ; Nāda, Śruti and Svara
noticeable, directly as well as by reference to their standard pitch
preserved by the invariable vīṇā. Thus, this arrangement of two
vīṇā-s provides for a negative as well as a positive proof with regards to
the number of śruti-s, which is twentytwo. (18-19b)
Each string-movement implies lowering of notes (i. e., all the
seven notes) by one śruti progressively, i. e., by one śruti in the first
movement, two śruti-s in the second movement, three śruti-s in the
third movement and four śruti-s in the fourth movement. But, since
the fundamental note has no fixed pitch in this system, the lowering of
the notes, allround as it is, does not affect the individuality of the notes
as such; for, the śruti-intervals between the various notes remain the
same. However, the impact of the string-movement in the variable vīṇā
is to be studied with reference to the standard pitch of the notes set up
by the invariable vīṇā. This is illustrated graphically by the following
chart (adopted with modifications from Saṅgīta-Cintāmaṇi of Dr. K. C. D.
Brihaspati and Mrs. Sumitra Kumari).
The fourfold string-movement
Serial No.
of strings 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22
Notes of
• acala-vīṇā sa ri ga ma pa dha ni
1st step in
† cala-vīṇā sa ri ga ma pa dha ni
2nd step in
cala-vīṇā sa ri ga ma pa dha ni
3rd step in
cala-vīṇā sa ri ga ma pa dha ni
4th step in
cala-vīṇā ri ga ma pa dha ni
(Chart 3)
• Invariable vīṇā
† Variable vīṇā
The effect of the fourfold string-movement on the position of notes
with reference to the invariable vīṇā and the extent to which that goes
to demonstrate the number of śruti-s is represented briefly in the follow-
ing chart:

Page 128

128 Treatment of Svara
The effect of fourfold string-movement

No. of note-strings | 4 | 7 | 9 | 13 | 17 | 20 | 22 | No. of śruti-s demonstrated | Remarks

The original position of notes on the scale sa ri ga ma pa dha ni —
1st movement No effect on the notes
2nd movement ga ni 4 ga and ni merge with ri and dha
3rd movement ri dha +6 ri and dha merge with sa and pa
4th movement ma pa sa +12 ma, pa and sa merge with ga, ma and ni

(Chart 4)
Thus, it is contended that, since by this method the number of
śruti-s that could be fixed with and that constitute the seven notes of
the scale is found to be twentytwo only, it is evident that śruti-s are
twentytwo The purpose of this demonstration is to verify and thereby
to confirm the number of śruti-s, i. e., twentytwo. The validity of this
process offering rough evidence to prove the number of the śruti-s lies in
the fact that in the second movement the notes ga and ni are fused with,
i. e , sound similar to, the notes ri and dha, thereby proving that the
note-intervals ri-ga and dha-ni are of two śruti-s each. Similarly, the
śruti-s of other notes are also verified as shown in the above chart, esta-
blishing in consequence the number of śruti-s as twentytwo.
The merger of ga and ni with ri and dha in the second movement
and of ri and dha with sa and pa in the third is quite intelligible. But
in the fourth movement sa, ma and pa fuse with ni, ga and ma : the
merger of ma and pa with ga and ma is also understandable; but the
question is how does sa merge with ni, since the string for sa was tuned
to produce the lowest possible tone that could be audible ? The ques-
tion as posed by ‘K’ is quite natural and if the formula for the string-
movement is strictly followed, the fourth movement cannot be practically
demonstrated on a vīṇā of twentytwo strings; firstly, because there is no
other string preceding the first one on which sa is placed in the third
movement; and secondly, there is no lower tone possible. ‘K’ meets
this objection by suggesting that if the lower octave (used for the saptaka)

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Section 3 : Nāda, Śruti and Svara 129
here is repeated, the string for ni can be conceived as the one preceding
the string for sa; or alternatively, the sa can be conceived to have merg-
ed with the ni of a still lower octave. However, the difficulty is not with
the technique of the demonstration and only points out the limitation of
the equipment.
Kumbha of the 15th century who has elaborated upon Śārṅgadeva
informs us about the functions of the fourfold string-movement as under:
“The delimitation of the number of śruti-s, gradation of pitch with
reference to tones and the comprehension of kākalī etc. (constitute)
the functions of the string-movements.” (S. Raj. II. 1.1.115). (19c-21b)
The net result of the fourfold string-movement is that the number of
śruti-s has been verified and demonstrated to be twentytwo only. ‘K’
raises a hypothetical question which is adequately answered by Śārṅga-
deva in verse 22. One can well say, “If 22 śruti-s could be obtained by
four string-movements, why not carry out the fifth movement and fix the
number of śruti-s at twentynine ?” It is as if in anticipation of such a
question that, according to ‘K’, the author found it necessary to forbid
any further movement; for that would defile the aesthetic value of notes.
Dwelling on this theme, ‘K’ further explains that a fifth string-move-
ment cannot possibly be conceived, for the note-intervals are finite and
are constituted by different numbers of śruti-s such as 2, 3 and 4, making
them resonant, delightful and pleasing tones. Thus, the three categories
of notes with 2, 3 and 4 śruti-s each have been fused in three different
movements leaving no scope for any further lowering of pitch. ‘S’ too
points out that a svara (note) is defined to be pleasing by itself and
therefore, if another movement is carried out, that would disturb
the constitution of individual notes which would consequently destroy
their essential quality of being pleasing by themselves. Incidentally, it
is the scale of ṣaḍja-grāma which is the basis of calculations here; and
in this scale the biggest śruti-interval is that of 4 śruti-s. (21c-22)
9

130 Treatment of Svara
ग. स्वरः
(i) सप्त स्वराः
श्रुतिभ्यः स्युः स्वराः षड्जर्षभगान्धारमध्यमाः ।
पञ्चमो धैवतश्चाथ निषाद इति सप्त ते ॥२३॥
तेषां संज्ञाः सरिगमपधनीत्यपरा मताः ।
C. Svara and its different aspects
(i) Seven svara-s (tones) : 23-24b
From out of the śruti-s¹ arise the svara-s²; these are
seven, viz., ṣaḍja, ṛṣabha, gāndhāra, madhyama, pañcama, dhaivata,
This verse is quite important as it reflects the views of Śārṅgadeva
regarding the relationship of śruti and svara; and that is why the English
version has been rendered as close to the original text as possible, even
though it has necessitated an unusual construction.
‘Śruti-s give rise to the svara-s’, is a cryptic statement which affords
enough scope for different interpretations. But before discussing these,
it will be better to be clear about its obvious implications. As already
pointed out, the svara-s arise out of śruti-s in the groups of two, three
and four, but essentially in groups. As far as the śuddha svara-s, i. e., the
standard notes of the ṣaḍja-grāma (to be explained later) are concerned,
twentytwo śruti-s in the groups of four, three and two go to constitute
seven notes called sa, ri, ga, ma, pa, dha, and ni.
Now, how do śruti-s give rise to svara-s and actually what relation-
ship obtains between them? ‘K’ discusses this question thoroughly
and presents the following possible interpretations :
(i) Since svara as well as śruti have the sense of hearing as the
means of perception, in the absence of any perceptual
distinction, there is no categorical difference between the
two; which, therefore, stand in the relationship of the
general and the particular (i. e , in other words, they are
essentially identical).

1. From out of śruti-s, in the groups of four, three and two as
   already mentioned.
2. In other words, śruti-s in different combinations bring different
   svara-s into being. The verbal form ‘syuḥ’ is suggestive of a
   natural occurrence,
   Section 3 : Nāda, Śruti and Svara 131
   and niṣāda. Their another accepted nomenclature³ is ‘sa-ri-
   ga-ma-pa-dha-ni’. (23-24b)
   ( ii) Like the reflection of the face in the mirror, the svara-s are
   projected by the śruti-s, and present the relationship of
   appearance and Reality.
   (iii) Just as a ball of mud is said to be the material cause of an
   earthen pot made out of it, so also śruti-s form the material
   out of which svara-s are shaped. Thus, in this view, śruti and
   svara stand in the relationship of a material cause and effect.
   (iv ) As milk gets transformed into curd, so also the śruti-s are
   transformed into svara-s.
   ( v ) Just as a lamp manifests by its light the objects already exis-
   ting in darkness, so also the svara-s are manifested by
   the śruti-s.
   These views may be critically examined as under:
   ( i ) The first view does not hold good; for svara and śruti are
   two different concepts related in the spirit of the supporter
   and the supported, and cannot as such be identical. More-
   over, śruti and svara cannot be related as the general and
   the particular merely on account of the non-distinction in
   the mode of their perception, for ‘non-distinction’ cannot
   logically be confused with universality.
   ( ii) The second view is still less plausible, for if the svara-s are
   taken to be mere appearance with reference to śruti-s, they
   have no reality of their own, which is not the case in prac-
   tice. The svara-s are no less real than the śruti-s.
   (iii) It is contended by this view that śruti and svara are related
   as cause and effect. Though, svara follows śruti in the
   sequence of time, yet śruti cannot be considered to be the
   material cause of svara in the same way as a clod of mud
   can be said to be the material cause of the pot etc, because
   after the pot has come into being, the mud is no longer
   available to us apart from the pot. But, this does not hold
   good in this case; for, it will be untrue to say that apart
   from the svara, the śruti-s constituting the svara are not avai-
   lable. Since they are so available, the śruti-s cannot be
   taken as the material cause of the svara-s.
3. This is constituted in principle by the first letters of the full
   names and these names accordingly are their diminutive
   forms or abbreviated symbols.

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132 Treatment of Svara
(iv) The fourth and the fifth views, being free of any such fault
and having been supported by Mataṅga etc., are acceptable.
In fact it is Mataṅga who was first to discuss this topic in such
detail and 'K' has only reproduced his views in his own words.
Mataṅga summarises the above five views in the following verse, though
he also discusses them in detail :
"With respect to śruti-s five views are generally held, viz., identity,
reflection, causation, transformation and manifestation" (Bṛhaddeśī 31).
Mataṅga points out the faults of the first three views, which are
reproduced by 'K' and supports the last two views in general. But then
finally he comes out in favour of the 'manifestation theory', as he says :
"By perception, inference and circumstantial evidence the śruti-s
may be accepted as factors manifesting the svara-s" (Bṛhaddeśī 53).
Thus, Mataṅga considers śruti-s to be the factors manifesting the
svara-s, and Śārṅgadeva thinks that śruti-s give rise to the svara-s. It is
obvious that both are saying the same thing in two different ways. The
śruti-s, with respect to the svara-s, may therefore be taken to be the
factors that in different combinations give rise to different svara-s, consti-
tute them for a while, and so manifest them or make them perceptible.
As pointed out by 'K', Mataṅga has elucidated the significance of
the names of the notes, which is represented briefly as under :
(i) Ṣaḍja—is so called because :
(a) it is the precursor (lit. the progenitor) of the six other
notes, or
(b) it is brought into being by six other notes for, as an
integrated part of the heptad (saptaka) it is manifested
by the rest of the parts together.
(c) alternatively, it is produced by six organs of the body,
viz., the nostrils, the throat, the palate, the breast, the
tongue and the teeth.
(ii) Ṛṣabha—is so called because it quickly appeals to (lit. arrives
at) the heart, or as among the herd of cows a bull appears
to be distinctly strong so also in the group of notes ṛṣabha is
strong and noticeable. It may be added that the first
derivation is based on the word ṛṣabha as grammatically
derived from the root 'ṛṣ' to go; while the second is based
on the literal meaning of the word, viz., bull which is taken
as a symbol of strength. Alternatively, that which sounds
(i e., bellows) like a bull is ṛṣabha.

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Section 3 : Nāda, Śruti and Svara
(iii) Gāndhāra—is so called because it holds musical speech.
This interpretation is based on the grammatical derivation
of the word gāndhāra, "gāṁ dhārayate-iti-gāndhāra". Alter-
natively, it is so called because it delights gandharva-s,
the semi divine beings associated with music.
(iv) Madhyama—is so called because it is in the centre of the
seven notes having three on either side. This derivation is
based on the literal meaning of the word madhyama, which
means belonging to the centre. 'K' also gives two other
alternatives which seem to be far-fetched.
(v) Pañcama—is that which measures the extent of other notes;
or it is so called because it is fifth from the fundamental
note. The first view presents a grammatical derivation
jointly from two roots, 'pac'—to extend and 'mi'—to measure.
How it measures the extent of other notes will be made
clear subsequently in the context of pramāṇa śruti (in the
appendix). According to another interpretation, Pañcama
is so called because it is produced from the fifth place.
(vi) Dhaivata—is so called because being brought about by the
śruti-s of the 'posterior tone' it is to be discerned by sensi-
tive minds. The expression 'posterior tone' representing
the original 'uttarasvara' is a technical one. The musical
scale is divided into two parts with madhyama in the centre
and a group of three notes on either side of it. The notes
of the first triad are called pūrvasvara-s, i. e., the 'anterior
tones' and those of the other following triad are called
uttara-svara-s 'posterior tones', and both the triads are
respectively called pūrvāṅga and uttarāṅga, i. e., the anterior
section and the posterior section of the heptad (saptaka).
(vii) Niṣāda—is so called because the notes of the scale come to
a close with it. The word is derived from the Sanskrit root
'ni+ṣad' to come to a rest. Obviously, niṣāda is the last
note of the heptad (saptaka).

: 134 Treatment of Svara
(ii) स्वरलक्षणम्
श्रुत्यनन्तरभावी यः स्निग्धोऽनुरणनात्मकः ॥२४॥
स्वतो रञ्जयति श्रोतृचित्तं स स्वर उच्यते ।
(ii) The definition of svara (tone):
Immediately consequent upon śruti¹, creamy² and
Now the svara is being defined. By the way, the essential difference
between śruti and svara is also implied in this definition. When a string
of the vīṇā is plucked, the very first sound produced is considered to be
śruti and the very next sound following it, which is the resounding of the
śruti is called svara. In other words, whereas śruti is essentially free from
resonance, resonance is the essential characteristic of svara.
The other two essential characteristic features of 'svara' are softness
and self-sustained delightfulness.
There is a slight difference of opinion with regards to the inter-
pretation of this definition of svara; 'K' thinks that since the author has
already established the notes on the vīṇā and defined their śruti-
intervals, here in this context the word śruti means the fourth śruti etc.,
which when manifested resounds subsequently into ṣaḍja etc. In other
words, by śruti is meant that particular śruti which is capable of resound-
ing into a note and which is technically called svarasthāna, i. e., the seat
of a note. However, it is notable that 'S' thinks that the sound produced
by the first string (of the 22-stringed vīṇā) which is devoid of resonance
is called śruti while the subsequent resounding sound is called svara.
It is interesting to compare this verse as translated by M. S.
Ramaswami Aiyar in his edition of the Svaramelakalānidhi as it is borrow-
ed verbatim by Rāmāmātya. He renders it as under:

1. The expression "śruti-anantara-bhāvī" is specifically important
   for it is designed to stress on the one hand the characteristic
   difference between the concepts of śruti and svara, and on the
   other hand, their specific relation as well. Svara, in other
   words is a developed śruti Since śruti here signifies the sound
   produced by striking a vibrating string in the first instant
   which is conspicuous by being free from resonance, svara
   signifies that very sound when it gathers vibrations of
   resonance and thereby becomes sonorous.
2. Snigdha is defined as that (sound) which is soft and is also
   capable of being heard at a distance. Actually the literal
   meaning of the word is 'viscous' and is applied as such to
   liquids only; but here it is used figuratively. In this sense, it
   is a quality of musical sound. The opposite of snigdha is rūkṣa,
   i. e., rough or dry.
   Section 3 : Nāda, Śruti and Svara
   resonating³, the sound⁴ that delights the listeners' minds by
   itself⁵ is called svara⁶. (24c-25b)
   "That is called svara, which is by itself pleasing to the ear and the
   mind; which permeates the śruti-s; and which is tender and
   harmonic."
   It will be noticed that he renders the expression "śrutyanantarabhāvī"
   as "which permeates the śruti-s". Apart from the value of this render-
   ing from a translator's point of view, what is remarkable is the implied
   relationship of svara and śruti in this expression. That svara permeates
   the śruti-s means that, svara-s are involved in śruti-s.
3. Anuraṇana (anu+raṇana lit. the 'post-sound' from raṇ to sound,
   to ring, to tinkle etc.) technically signifies the sound-vibra-
   tions of a string that are produced and that ordinarily follow
   the sound produced in it (by striking) in the very first instance,
   which is called raṇana and is devoid of resonance. The term
   resonance (from resound, to echo, to ring, to go on sounding)
   is generally associated with the resounding of sympathetic
   strings or bodies other than that in which the original sound
   is produced; but anuraṇana differs from this concept in so far
   as it denotes resounding of the sound produced in the same
   vibrating string or body. However, for want of a better word
   it has been rendered as resonance.
4. The pronoun yaḥ is used in the text for it.
5. This is the most important and distinguishing feature of svara,
   viz., that it should have the quality of delighting the mind of
   the listeners by itself, i. e., without the need for any other
   accompaniment or help. 'S' points out that this quality is
   related to the quality of softness attributed to svara.
6. It is notable that, whereas Mataṅga derives the word svara
   from the root rājṛ—to shine, to appear, prefixing sva to it,
   Śārṅgadeva derives it from the root rañj—to delight. Both of
   these derivations are semantic explanations and do not have
   the precision of a grammatical authority. Even so, the diffe-
   rence of approach is significant. Śārṅgadeva seems to have
   been under the influence of Abhinavagupta in his interpreta-
   tion, who stresses the element of resonance (anuraṇana) as the
   most distinguishing feature of the essential nature of svara
   (tone) in contrast with that of śruti, which he says is devoid of
   it. Accordingly, the beauty of a tone depends on the ratio of
   unresonating and resonating sound present in its production.
   Thus every tone has two elements, the unresonating and the
   resonating; if the former is greater in ratio the tone quality is
   the lowest, if both are equal it is medium and if the latter is
   greater it is the best (cf N. S., G O. S. Vol. IV, p. 13).
   This line of thinking emphasises the element of delightful-
   ness that essentially characterises the svara, and this is attribut-
   ed mainly to the element of resonance in it. It is not therefore
   surprising to find Śārṅgadeva defining svara as that which is
   delightful by itself.

136 Treatment of Svara
(iii) श्रुतीनां स्वरकारणत्वम्
ननु श्रुतिश्चातुर्थ्यादिस्त्वेवं स्वरकारणम् ॥२५॥
त्र्यादीनां तत्र पूर्वासाम् श्रुतीनां हेतुता कथम् ।
ब्रूमश्चतुर्थ्यादीत्याऽऽदिः श्रुतिः पूर्वाऽभिकाङ्क्षया ॥२६॥
निर्धार्यतेऽतः श्रुतयः पूर्वा अप्यत्र हेतवः ।
(iii) Discussion regarding śruti-s causing the svara: 25c-27b
Well indeed, if such śruti-s as the fourth etc.¹, are
admitted to be the cause of the svara-s, how can the other
śruti-s such as the third etc.², be considered as their cause ?
(25c-26b).
We shall presently explain it. Such a śruti, whether
fourth or third etc.³, is determined only with reference to the
preceding śruti-s⁴; therefore, they too constitute the cause of
the svara-s. (26c-27b)
Now it has been established in principle that from out of śruti-s
arise the svara-s, and therefore, śruti-s are conceived as the antecedent
cause of the svara-s. Whatever be the difference of opinion with respect
to the actual relationship between svara and śruti, there is no denying
the fact that all the śruti-s go to bring about the svara-s. At the same
time it is also asserted that since svara is that sound which immediately
follows the śruti in the order of its resonance, it is the fourth, the third
and the second śruti respectively of the three groups of four, three and
two, that goes to produce the svara. If that be so, then the question is,
"On what basis can the other śruti-s such as the third, the second and
the first respectively of the groups of four, three and two be considered
as constituting the cause of the svara-s ?"
The answer is as obvious as the question is clear. The fourth or
third or the second śruti can be so called only if it is preceded by three
śruti-s, two śruti-s and one śruti respectively, and not otherwise. Thus
all the śruti-s of a svara are responsible for its manifestation.

1. 'Fourth etc' of the text refers to column 4 of the above chart
   while by 'etc', Nos. 2 and 3 of the same column are included.
2. 'Third etc' of the text refers to column 5 of the above chart,
   while by etc.' Nos. 2 and 3 of the same column are included.
3. As explained in note 1 above.
4. All those enumerated in columns 5 and 6 of the above chart.
   The śruti-groups as related to the different svara-s are indicated in
   the following chart :
   śruti-groups and the svara-s (notes)
   | S. No. | śruti-group | svara-s | note-position in terms of śruti (in the svara) | note-position in terms of śruti (in the scale) | immediately antecedent śruti (in the svara) | immediately antecedent śruti (in the scale) | other antecedent śruti-s (of the svara) | other antecedent śruti-s (of the svara & the scale) |
   | :---: | :---: | :---: | :---: | :---: | :---: | :---: | :---: | :---: |
   | 1 | 2 | 3 | 4 | 4 | 5 | 5 | 6 | 6 |
   | 1 | 4-śruti interval | ṣaḍja | 4th | 4th | 3rd | 3rd | 2nd & 1st | 2nd & 1st |
   | | | madhyama | " | 13th | " | 12th | " | 11th & 10th |
   | | | pañcama | " | 17th | " | 16th | " | 15th & 14th |
   | 2 | 3-śruti interval | ṛṣabha | 3rd | 7th | 2nd | 6th | 1st | 5th |
   | | | dhaivata | " | 20th | " | 19th | " | 18th |
   | 3 | 2-śruti interval | gāndhāra | 2nd | 9th | 1st | 8th | — | — |
   | | | niṣāda | " | 22th | " | 21th | — | — |
   (Chart 5)
   (iv) पञ्चजातिषु सप्तस्वरेषु च सनाम श्रुति-विभाजनम्
   दीप्ताऽऽयता च करुणा मृदुर्मध्येति जातयः ॥२७॥
   श्रुतीनां पञ्च तासां च स्वरेष्वेवं व्यवस्थितिः ।
   दीप्ताऽऽयता मृदुर्मध्या षड्जे स्यादृषभे पुनः ॥२८॥
   संस्थिता करुणा मध्या मृदुर्गान्धारके पुनः ।
   दीप्ताऽऽयते मध्यमे ते मृदुमध्ये च संस्थिते ॥२९॥
   मृदुर्मध्याऽऽयताऽऽख्या च करुणा पञ्चमे स्थिता ।
   करुणा चायता मध्या धैवते सप्तमे पुनः ॥३०॥
   दीप्ता मध्येति तासां च जातीनां ब्रूमहे भिदाः ।
   तीव्रा रौद्री वज्रिकोक्तेत्युक्ता दीप्ता चतुर्विधा ॥३१॥
   कुमुद्वत्यायता याऽस्याः क्रोधा चाथ प्रसारिणी ।
   संदीपनी रोहिणी च भेदाः पञ्चेति कीर्तिताः ॥३२॥
   दयावती तथाऽऽलापिन्यथ प्रोक्ता मदन्तिका ।
   त्रयस्ते करुणाभेदा मृदोर्भेदचतुष्टयम् ॥३३॥

138 Treatment of Svara
मन्दा च रतिका प्रीतिः क्षितिर्मध्या तु षड्विधा ।
छन्दोवती रञ्जनी च मार्जनी रक्तिका तथा ॥३४॥
रम्या च क्षोभिणीत्यासामथ ब्रूमः स्वरस्थितिम् ।
तीव्राकुमुद्वतीमन्दाच्छन्दोवत्यस्तु षड्जगाः ॥३५॥
दयावती रञ्जनी च रक्तिका चर्षभे स्थिताः ।
रौद्री क्रोधा च गान्धारे वज्रिकाऽथ प्रसारिणी ॥३६॥
प्रीतिश्च मार्जनीत्येताः श्रुतयो मध्यमाश्रिताः ।
क्षिती रक्ता च संदीपन्यालापिन्यपि पञ्चमे ॥३७॥
मदन्ती रोहिणी रम्येत्येतास्तिस्रस्तु धैवते ।
उग्रा च क्षोभिणीति द्वे निषादे वसतः श्रुती ॥३८॥
(iv) The allocation of śruti-s as characterised by their classes
and names among the svara-s : 27c-38.
There are five classess¹ of śruti-s, viz., dīptā, āyatā,
karuṇā, mṛdu and madhyā; their standing among the svara-s is
stated to be as under (27c-28b)
Dīptā, āyatā, and madhyā are found in ṣaḍja; karuṇā,
and mṛdu find a place in ṛṣabha; dīptā and āyatā are located
in gāndhāra and also in madhyama along with mṛdu and madhyā;
mṛdu, madhyā, āyatā and karuṇā are placed in pañcama, and
karuṇā, āyatā and madhyā in dhaivata; while dīptā and madhyā
are in niṣāda. (28c-31a)
Now, we shall speak of the subdivisions of these classes :
Dīptā is said to be fourfold viz., tīvrā, raudrī, vajrikā and ugrā;
āyatā is known to have five varieties viz., kumudvatī krodhā,
prasāriṇī, sandīpanī and rohiṇī; karuṇā is said to be threefold,
viz., dayāvatī, ālapinī and madantikā; mṛdu is fourfold, viz.,
mandā, ratikā,² prīti and kṣiti; while madhyā is sixfold, viz.,
chandovatī, rañjanī, mārjanī, raktikā, ramyā and kṣobhiṇī. (31b-35a)
And now we shall point out their position among the
svara-s :
Tīvrā, kumudvatī, mandā and chandovatī pertain to ṣaḍja;
dayāvatī, rañjanī and raktikā are related to ṛṣabha; raudrī and
krodhā are in gāndhāra; vajrikā, prasāriṇī, prīti and mārjanī abide
by madhyama; kṣiti, raktā, sandīpanī and ālāpinī are in pañcama;
the three madantī, rohiṇī and ramyā in dhaivata and the two
śruti-s, ugrā and kṣobhiṇī dwell in niṣāda. (35b-38)
Twentytwo śruti-s have been distinguished into five classes. The
basis of this classification has not been made explicit in the text, nor
have the commentators found it necessary to elucidate it. However,
it seems that the different classes of śruti-s have something to do with
the relationship of notes and the rasa-s or the aesthetic colours attributed
to them in the ancient theory of Indian music. This is implied in their
nomenclature and elucidated as under :
(i) Dīptā, 'dazzling'; literally, illumined,
(ii) Āyatā, 'vast'; literally, extended,
(iii) Mṛdu, 'tender'; literally, soft,
(iv) Madhyā, 'moderate'; literally, medium or central, and
(v) Karuṇā, 'compassion'.
The names signify tonal sequence in melodic development and are
representative of emotional colour; this aspect would be more clear with
the further classification of the classes, as it follows.
The distribution of śruti-classes among the different notes is illus-
trated in the following chart (No. 6), which at once elucidates the rela-
tionship of a particular note with the different śruti-classes and also the
relationship of a particular śruti-class to different notes. The numbers
in the squares indicate the position of a particular śruti in the group of
śruti-s constituting a particular note.
śruti-classes and svaras

2. It is notable that raktikā is not mentioned in the verses 35 b-38.
   However raktā which does not appear here is mentioned.

140 Treatment of Svara
The five śruti-classes are further subdivided each having quite a few
varieties. That means, each śruti belongs to a class which implies a
class attribute common to all the śruti-s of the class and that class
comprehends a few varieties implying special traits along with the class
character. This specific character seems to be the association of a
particular class-śruti with particular notes. For example, dīptā is asso-
ciated with four notes and is said to be of four varieties, āyatā is asso-
ciated with five notes and has five varieties and so on, as it is illustrated
in the following chart (No. 7).
The chart illustrates the subdivisions of the śruti-classes, represent-
ing their class characters as distributed among the svara-s, indicating
thereby their specific traits. The names in the squares pertain to the
class subdivisions. The number alongside indicates the position of the
śruti in the śruti-structure of the svara. The chart illustrates the subject
matter of verse Nos. 35b-38 as well.
Subdivisions of śruti-classes distributed among the svara-s
Svara or note / śruti class names signifying general characters
signifying specific / dīptā | āyatā | mṛdu | madhyā | karuṇā
Ṣaḍja tīvrā-1 kumudvatī-2 mandā-3 chandovatī-4
Ṛṣabha raktikā-3 rañjanī-2 dayāvatī-1
Gāndhāra raudrī-1 krodhā-2
Madhyama vajrikā-1 prasāriṇī-2 prīti-3 mārjanī-4
Pañcama sandīpanī-3 kṣiti-1 raktā-2 ālāpinī-4
Dhaivata rohiṇī-2 ramyā-3 madantī-1
Niṣāda ugrā-1 kṣobhiṇī-2
(Chart 7)
(31b-35a)
Chart No. 7 graphically illustrates the position of these particular
śruti-s in the different note-intervals. The names of these śruti-s are
suggestive of their aesthetical value as related to their tonal quality.
Contemplating upon the value or the purpose of classification of śruti-s
briefly, ‘S’ suggests that they are perhaps designed to arouse the feelings
or the affections implied by their names. This hypothesis is quite
plausible and the whole scheme of this śruti-classification needs to be
scientifically investigated. (35 b-38)
Section 3 : Nāda, śruti and svara
(v) स्वराणां स्थानत्रयम्
ते मन्द्रमध्यताराख्यस्थानभेदात्त्रिधा मताः ।
(v) Three sthāna-s (registers) of svara-s : (39ab)
These (svara-s) are considered as threefold according to
the different registers known as mandra, madhya and tāra, i. e.,
low, medium and high. (39ab)
Having dealt with the śruti-s, the śruti-classes and the develop-
ment of notes out of them, the author now proceeds to demonstrate the
differentiation and the classification of notes.
In the first instance the notes are classified according to their
sthāna i. e., the place of perceptible effort for voice-production in the
human organism. It has already been pointed out by the author (verse 7
ante) that nāda manifests itself in three places, viz., in the region of the
heart, throat and the cerebrum. These are the three sthāna-s from
which notes are produced. Corresponding to these three, the notes
are classified in three registers or to speak loosely, three octaves, viz.,
mandra, madhya and tāra. Mandra represents what is known as chest-
voice, madhya is throat-voice and tāra is the high (head).
(vi) द्वादश विकृतस्वराः
त एव विकृतावस्था द्वादश प्रतिपादिताः ॥ ३९॥
च्युतोऽच्युतो द्विधा षड्जो द्विश्रुतिविकृतो भवेत् ।
साधारणे काकलीत्वे निषादस्य च दृश्यते ॥४०॥
(vi) Twelve modified notes : 39c-46b
These notes, in their modified form, are established as
twelve. (39cd)
Ṣaḍja, modified by two śruti-s in two different ways is
(called) lowered ṣaḍja¹ and unmoved² ṣaḍja respectively by the

1. Cyuta literally means sub-standard, fallen or lowered in pitch.
2. Acyuta is steadfast, standard and unmoved.