PRORFSGHRIFT TER VERKRYGING VAN DEN GRAAD VAN DOGTOR IN DE
J.ETTEREN EN WYSBKGEERTE AAN DE P.YKS UNIVERSITEIT TE UTRECHT
ÜP GEZAG VAN DEN RECTOR MAGNIFICUS Du. A. A. PULLE, HOOGLEERAAR
IN DE FACULTEIT DER WIS EN NATUUHKUNDE, VOLGENS BESLUIT VAN
DEN SENAAT DER UNIVERSITEIT, IN HET OPENBAAR TE VERDEDIGEN OP
VRYDAG M FI^BRUARI 1930, DES NAMIDDAGS TE 4 URE

At the time of the publication of this book, I must express my thanks to so many people
to whom I am greatly indebted for their help in various ways. In the first place to Prof. Dr.
W. Caland, to whose profound learning, ever patient help and kind encouragement, I owe
so much, and to Prof. Dr. J. Ph. Vogel, who, from the very first, awakened the love for the
beauty of Sanskrit, and through all these years has ever been ready to help me with his rich
experience drawn from the living contact with India.

It is many years ago since Raden Ajoe Yodjana first made me aware of the intrinsic
beauty of Indian music, and guided my first faltering steps on the field of the intricate theory
of this art. I cannot but fully acknowledge my gratitude for this fact which proved of such
importance for the further course of my life.

No less indebted am I to my many Indian friends who did so much to help me in my
endeavour. In the first place to Sj. Rabindranath Tagore, who, at his school, Santiniketan,.
gave me the opportunity to come into contact with Indian scholars and musicians, like his
nephew, Sj. Dinendranath Tagore, and my dear teacher. Pandit Bhimrao Shastri, to whom
I gladly dedicate this publication. Then to Sj. Man Mohan Ghose, who, notwithstanding his
own, very absorbing work, found the time to read with me through the 7th chapter of the
Sangitadarpa/ia, and fully let me enjoy the fruits of his own researches in the field of nrtya.

After my return from India it was Dr. Raghuvïra, studying under Prof. Caland at that
time, who was found willing to give me the valuable help, not only of his thorough knowledge
of Sanskrit, — by which he was able to solve the intricate problem of nasla and uddista (first
chapter çl. 124. f.) and to give many other valuable suggestions, — but also of his knowledge
of Hindi, rendering me the great service of explaining the old-Hindi commentary on the Sans-
krit text. For the first and the seventh chapter his assistance has been of the greatest help to
me, and I hope he will accept my warm thanks here.

Also to the authorities of the India Office Library, London, the Bibliothèque Nationale,
Paris, Tiie Pr. Staats Bibiothek, Berlin, and the Universiteits Bibliotheek, Leiden, I must
express my sincere thanks for the willingness with which they put the necessary manuscripts
and books at my disposal. It was a pity that formalities prevented the kind librarian of tiie
Government Library, Benares, and the Library of the Asiatic Society of Bengal, Calcutta,
from sending their manuscripts of the Sangïtadarpa/m to Holland.

Special thanks I owe to Pandit Visweswarnath Reu, officer in charge of the manuscripts,
Jodhpur, Rajputana, who not only had the manuscript, at the State Library, Jodhpur, copied

for me, but even personally compared and corrected the copy ; and to my dear friend Takhur
Ram Singh, M. A, Inspector of Education, Bikaner, Rajputana, who, assisted by his friends
Messrs. Parekh and Askaran, personally carefully copied the Bikaner manuscript for me,

I cannot finish before expressing my thanks still to Sj. P. B. Joshi, M. A., Inspector of
Education, Ajmer, Rajputana, who presented me with a Hindi manuscript of one adhyaya
of the Sangitadarpana, and with a complete Sankrit manuscript of Somanatha\'s Ragavibodha,
which served me for Appendix I; and to Mr. J. P. Hassibamani, Madras, who lent me, as
long as I needed it, his copy of the Indian Music Journal which is verry rare nowadays, and
contains, amongst other valuable articles, a translation of the Ragavibodha, by R. Samashastri.
B. A. M. R. A. S.

Lastly my thanks to ,the publisher who, notwithstanding many difficulties, managed to
^et the book printed in time.

The transcription adopted in this publication does not difTer from the one usually fol-
lowed. Only, for reasons of economy, the anusvâra, and the nasals of the guttural and palatal
series of consonants have not been marked.

Many libraries in Europe possess manuscripts of the Sangîtadarpana — The Mirror of
Music and Dance — by Dâmodara, the son of Laksmïdhara. The India Office Library possesses
four of them, one complete, (1120. No 2231) containing the full seven chapters, in Sanskrit
only. This manuscript has been the basis of the present edition. The manuscripts 1121, No
1709b, 1122. No 2410, and 1123, No 2399, contain only parts of the whole work. 1121 gives
the Sanskrit text without .the 7th cliapter, no 1122 has only the first and second chapter,
Sanskrit with a metrical Hindi translation and a paraphrase, likewise in Hindi, in prose. The
same is the case with 1123 which, however, has only the second chapter.

One manuscript with the complete Sanskrit text belongs to the Bibliothèque Nationale
in Paris (D 280), which formerly belonged to Mr. Fétis in Brussels, from whom the present
owner bought it. At the time it was still in Mr Fétis\' possession, Prof. Dr. H. Kern, Leiden,
made a copy of it, which is nowadays amongst the manuscripts of the Library of the Leiden
University (Leg. Warnerianum, or 4990. Skr No 33) This copy owes its importance to some
emendations quot; in margine quot; made by Prof. Kern.

The Preussische Staats Bibliothek in Berlin also possesses a manuscript (No 1384, Cham-
bers 822) which, however, is not the Sanskrit text, but a metrical Hindi translation.

These six manuscri])ts were used by Prof. R. Simon for his valuable article entitled quot; Quel-
len zur Indische Musik quot; published in 1902, in the Nachrichten der Deutschen Morgenliindis-
chen Gesellschaft. Heft I-ll. After a critical review of the text, Prof. Simon gives a compa-
rison between Dâmodara\'s work and the older text of the Sangïtaratnâkara — the Ocean
of music written by Çârngadeva, on which Dâmodara is highly dependent. Prof. Simon care-
fully compares the two texts and gives the verses in which Dâmodara dilTers from his example.
Where Dânu)dara quotes the Sangïtaratnâkara, Prof. Simon gives the exact place of the
quotation in the original work. In this way the true position of the Sangïtadarpa/ja with regard
to the Sangïtaratnâkara is definitely slated. In the 2nd and 7tli adhyâya, where Dâmodara
entirely dilTers from his adopted master, Prof. Simon compares the text the modern work
of Râja Sourendra Moluin Tagore, the Sanlt;tîtasârasangraha. Throughout his work Prof.
Simon quotes the various readings of the difïerent manuscri])ts. As basis for his publication
he took the copy of the Bibliothèque nationale, which is the oldest, but has the drawback of
being badly damaged in the last chapter.

For reasons of economy of space, 1 have not repeated in the present edition the variants

mentioned already by Prof. Simon. The variants printed quot; in margine quot; of the following chap-
ters, are taken from the copies B. from the Bikaner manuscript and J. from the .Jodhpur
manuscript.

A printed edition of the first two chapters of the Sangîtadarpana appeared in Calcutta,
about the year 1878, which I have not been able to procure. A second edition of the same
chapters appeared, with a Gujerati commentary by the hand of R. L. Takkar, in Bombay,
Samvat 1966 (A. D. 1909).

Historically the Sangîtadarpana belongs to the period classified by Prof. Simon as the
third, which might be called the post-classical period. Leaving ont the Vedic music, the oldest
period centers round the work called Bharata\'s Nâtyaçâstra, dated back to the 5th century
A. D. or even older ; the second centers round Çârngadeva\'s Sangïtaratnâkara, which has
been written between the years 1210-1247 ; the third centers round the Sangîtadarpa/Ja, which
cannot be older than 1450 the date of Kallinatha, the commentator of the Sangïtaratnâkara,
quoted by Dâmodara, and not younger than Samvat 1704 (A. D. 1647) the year of the Paris
manuscript. I do not know on which ground Mr. H. A. Popley (in his « Music of India » page 19)
places Dâmodara during the reign of Jahangir (1605-1627) as he does not state his source.

Prof. Simon considers the Sanskrit text of the Sangïtadarpa/m and the metrical Hindi
translation as well as the prose paraphrase, to be written by one and the same man, so that,
in that case, Dâmodara himself would be the author of the three different versions handed
down to us. The ground of Prof. Simon\'s supposition is, that, whereas in the colophons at the
end of the chapters the author designates himself as Dâmodara, the son of Laksmïdhara,
in the introduction to the first chapter (çl 2.) of the mansucripts 1120, 1121 and 1122, of the
India Office, — he mentions his name as Haribhatta. The Berlin Hindi version mentions none
of these names but speaks of the author of that version as l.larivallablia. As the metrical ver-
sion of 1121 and 1122 is identical with the version of the Berlin manuscript, Prof. Simon iden-
tifies Harivallabha with Haribhatta, and, as both names occur in 1120, the conclusion seems
evident that Haribhatta and Dâmodara are one and the same person.

On several grounds, however, I don\'t think this conclusion can be right. To begin with,
the colophon of adhy. I in 1121 mentions explicitly, that flaribhatta is the author of theBhâsya
(the commentary).

The fact that the author of the Hindi text must have been a Panjabman, as is showed
by the use of the particle quot; da quot; instead of quot; ka quot; is no proof against the identification, as
Dâmodara\'s birthplace is unknown. The uncouth form of the Hindi text, — written in a
hardly intelligible, highly ungrammatical old Hindi, translating rather haphazardly, leaving
out çlokas at random it appears, with bad verses, — stands out in strong contrast with the
very well styled and clear Sanskrit, using, almost without exception, well handled çlokas.
This circumstance seems to be against the identification, although it is no definite proof. The
fact, however, that the Hindi often misinterpretes the Sanskrit, and, by skipping difficult

passages within the verses, makes the Hindi unintelligible without help of the Sanskrit text
seems to be a definite proof that one is not justified in identifying Damodara with Haribhatta
or rather Haribhatta with Harivallabha. Now the name Haribhatta does not occur in the
Paris manuscript, which is of an older class, nor in B. or J. Thus it may be that the India Office
manuscripts go back to orie source, — a Sanskrit manuscript — to which afterwards the Hindi
translation and then, still later, the paraphrase, have been added. That the paraphrase is
still later than the metrical translation is made probable by a mistake in the prose explanation
of the Hindi verse, the translation of adhy 1 çl. 41,

A detailed comparison between Bharata\'s Nâtyaçâstra, Çârngadeva\'s Sangïtai\'atnâkaraand
Dâmodara\'s Sangîtadarpana, would require a book by itself. I will leave out Bharata\'s work,
representing a much older stage of development of the Indian musical theory, and only here
and there indicate some salient differences between Çârngadeva and Damodara. The period
that elapsed between these two aulhors,was, as we have seen,at least two centuries,and the more
intense influence of the Mohammedan culture made itself strongly felt during that time. The
influx of Persian notions must have influenced the original Indian system, and so we cannot
be surprised at these differences. So, for instance, it would be possible to see Mohammedan
influence in the diflerent position nrtya, — dance —, occupies in the triad comprised in the word
sangîta, namely vocal-and instrumental music, and dance. More probably this position is
the consequence of the development of music as an independent art. When we consider the
oldest text, we see the bulk of the work dedicated to other scenic subjects, and only four chap-
ters to music proper (Adhy. 28-33) When we take the Sangïtaratnâkara, which in its name
already shows the preponderance of music over dance, we find that, out of the seven chapters
only the last is dedicated to dance and stage directions, but that this chapter contains 1690 out
of the nearly 5000 çlokas of this work. Considering then the Sangïtadarpa/ia, we see that also
in this work the dance is treated in the last, the seventh, chapter, but that this chapter here
contains somewhat less than 300 çlokas out of the neariy 1300 of the whole treatise.

Comparing the Sangîtadarpana with the Sangïtaratnâkara, one would almost be tempted
to call the former an excerpt from the latter. Still this would be unjust, although the fact
remains that, for the greater part, Dâmodara follows Çârngadeva word for word. In some ])la-
ces, however, notably in the 2nd and 7th chapter, he differs, and apparently presents the ideas
and ideals of his own days and of other writers than Çârngadeva. In many ways Dâmodara\'s
greater conciseness proves a great bliss compared to the flood of details and subdivisions
which the Sangïtaratnâkara pours out over the reader. Very often Dâmodara is more to the
point, leaving out references to matters in which the relation to music is only vaguely per-
ceivable. The author himself does not claim any originality, as he repeatedly states his sour-
ces, and, after having paid homage to the gods in the opening çloka of his work, immedialely
says that he has studied all his predecessors in order to offer a treatise containing the sub-
stance of sangîta. Remarkable and typically Indian is his division of sangîta in nuirga — tra-

ditional, more or less holy music, of divine origin, bestowing liberation, as first formulated
by the sage Bharata — and deçï, — music only serving for enjoyment of mankind, according
to the different customs of the various countries, which is treated in a far less serious and rather
superficial way all thrugh.

He then proceeds (up to çl 13) giving the different technical terms which will be explained
in the course of the first chapter. It is here, in çl 10 already, that the author of the Hindi trans-
lation proves not to have understood the text he was translating, for, where Damodara refers
to the intricate question of the khandameru (which will be treated in çl. 128 f. f.) with the
words :

Prastârah khandameruç ca nastoddistaprobodhakah, —translated : the calculation and the
khandameru, which explains the phenomenon of nasta and uddista, — the commentator
reverses the order and says ; khandameru prastara âr nasta uddista hi ân, separating the
khandameru and its only reason of existence viz. the explanation of nasta and uddista, which
have no such direct connection with the prastara.

As is proper in a treatise on music Dâmodara begins with sound. The first constituent
of sangîta viz. gîta, he considers to be sound in itself, thus to be existent without the need of
an agent, which may indicate the priority of vocal music in the triad. The second constitu-
tent, on the contrary, vâdya, instrumental music, is only a manifestation of sound, which may
mean that it is perceivable only when there is an object to manifest itself upon, perhaps an
indication of the development of instrumental after vocal music. The tliird constituent,
nrtya, — dance —, is dependent on the two previous elements of sangîta, which may mean
that dance without either vocal or instrumental accompaniment was unthinkable.

The importance of sound, however, does not stop at this point ; on the contrary, sound
is the ruler of this world, being in first instance the constituent of quot; word on which daily
life and the world are dependent. This might seem a little far fetched, but here we should
remember the bramanical theory, in which the correct pronunciation of the sacrificial formula
— brahman — is the first thing necessary to maintain the order of the world, whereas neglect
or mispronunciation causes universal disasters.

The author then proceeds to divide sound in struck and unstruck ; the latter is of
divine origin and resides in the body. This unstruck sound should be only revered, to obtain
ultimate deliverance from the cycle of rebirths. The struck sound is for the enjoyment of man-
kind, but is a means for deliverance as well. This struck sound forms the subject of the rest
of the treatise.

The exposition of tlie difterent cakras(çl. 18-29) and other anatomical details which fol-
lows, seems a little out of place here. In the Sangïtaratnâkara (I. i. 119-163) whence this is
excerpted, it comes natural in the whole cosmogony given there. The subject is taken from the
yoga philosophy in which these cakras — lotus shaped centres of supernatural power — play
an important part. They become active after one has obtained the right way of breathing.
In Hellmuth von Glasenapp\'s book quot; Der Hinduismus quot; p. 296) one finds a picture of a yogi
on whom some of these cakras are marked, and also the way the breath takes through the chief
canals, Idâ and Pingalâ. Musically only the anâhatacakra, situated in the heart, has impor-
tance for its connection with the ânâhatanâda (unstruck sound), and further the viçuddha
cakra in the throat, as being the seat of speech and of the seven notes with their divisions.

In çloka 29 the author takes up again the subject of music, by relating the origin of sound
of which the importance is stated once more by means of diiferent stanzas, for the greater part
quotations from older writers, Anjaneya and Vijnâneçvara, whose works have not been handed
down to our limes.

Then in çloka 33 Dâmodara proceeds, relating the birth of sound according to the clas-
sical belief of the diiferent breaths or winds in the body and their diiferent function, also
chiefiy taken from yoga philosophy. Remarkable is the relation between place and intensity
of sound, and the saying that the sound of art can only be produced in the mouth. The etymo-
logy given in çloka 37 is typical of its kind throughout the whole of Sanskrit literature. The
old Indian scholars seem to have been extremely fond of these fanciful derivations. Again the
author leaves the subject of music proper, for giving further explanation and details of anato-
mical subjects. Amongst the winds the i)râ/ja is the only one directly connected with music,
as being the cause of the i)ronuncialion of words. It appears that prâ/m comes nearest to our
ordinary sense of breath, as it causes both the taking in and the blowing out of air, cough,
and the like. Dâmodara seems to give the opinions of different schools, as the definitions in
çl. 46 do not tally with what he said a few çlokas before.

The author seems to be conscious of his digression, for he resumes his subject with the
words quot; atha prakrlam quot; — quot; now the subject itself quot; and forthwith continues with the
three registers of the voice, each comprising one octave, the breast register — situated, as

stated, in the heart —, the middle one — situated in the throat —, and the high one — situa-
ted in the head —, in connection with which the author states that with the instrument of
this body it is just the reverse as with a wooden stringed instrument, as, with the voice the
higher notes come as the voice get further away from the body, whereas on a stringed ins-
trument the highest notes are formed nearest to the body. Remarkable in this passage is
that the higher octave is called twice (the number of vibrations of ?) its predecessor.

In çl. 49 begins the subject of the çruti, the smallest audible interval, of which 22 go to
make the octave. This is a subject which has created an enormous amount of misunderstan-
ding, which will not be cleared away before all the Sanskrit authorities on this subject will
have been compared. So much is certain that in India a scale of çrutis never has been sung or
played in the way we play our modern chromatic scale, each succeeding note being on the
the çruti just above the previous one. Çrutis do exist in practise and certainly are used in orna-
mentation, when the voice sweeps up or down, sounding the interval of one çruti above or
below the note which is being ornamented. There is, however, no doubt, that the çruti has
mainly theoretical value. Now the question has been raised by the recent scholars of India and
Europe, quot; How much was the actual çruti, and were all çruitis alike ?quot;

Sir William Jones, the first Western scholar, comes to the conclusion that they were not ;
a statement that for a long time was universally accepted. In 1877 R. H. M. Bosanquet doubted
this conclusion in a paper quot; on the Hindu Division of the Octave quot; writing, quot; — consequently
we may infer that the çrutis are intended to be equal in a general sort of way, probably without
any great precision quot; a statement which was warmly defended by Rao Sahib P. R. Bhandarkar
in an excellent article — unfinished alas, — published in the quot; Indian Antiquary quot; of 1912.
After that, however, the eminent scholar Fox Strangways in his work quot; Music of Hindostan quot;
again comes to the conclusion that the çrutis have unequal worth, after having examined Bha-
rata\'s Nâtyaçâstra. He resumes his reasoning on page 112, demonstrating that the çrutis have
three different values : 1st the difference between a major and a minor tone — 22 cents.

3rd the difference between the semitone and the first mentioned, the quot; i)ramâ/îaçruti quot;
— 90 cents

Very recently a German scholar, Dr. B. Breloer, in his treatise quot; Die Grundelemenle
der Altindischen Musik quot; Bonn 1922, though using quite different methods, came to the
conclusion that the values of the çrutis are, 24, 66, and 90 cents respectively, a conclusion
practically identical with that of Fox Strangways. Thus there seems to be a fair probability
that the value of the çruti was really of these three different kinds.

Dâmodara does not enter very deeply into this question. Both Bharata and Çârngadeva
treat this matter extensively, giving intricate methods of determining the value of a çruti by
means of two vïnâs — stringed instruments.

Çloka 50-51 seem to have been taken by mistake from the more detailed Sangïtaratnâkara

where each one of the 22 çrutis gets a definite place in one of the canals Ida and Pingalâ. Here
these two çlokas have no connection, either with the preceeding or with the following verses
52-55, which give the names of the different çrutis, and their places in the different notes.

It is natural that all along the further development of the theory the çrutis will play an
important part, but their origin or place is no subject of discussion in Dâmodara\'s treatise.

Now it is said that an uninterrupted series of çrutis makes a note. The different notes of
the octave with their names are — sadja or sa, with 4 çrutis, rsabha or ri, with 3 çrutis, gândh-
âra or ga, with 2 çrutis, madhyama or ma, with 4 çrutis, pancama or pa, with 4 çrutis, dhai-
vata or dha, with 3 çrutis, nisâda or ni, with 2 çrutis.

The etymologies given of the word quot; svara quot; are again highly fantastical.

Only the first can be said to refer to svara in the sense of note, the second one, given in
Ç1 56, is, as Dr. Raghuvïra remarked, a quotation taken from the Mahâbhâsya on Pânini\'s
grammar (M. bh. on 1 2, 29) where it is the definition of svara in the sense of vowel quot; svayam
râjanta iti svarâh anvag bhavati vyanjanam quot;. Here again the Hindi translation makes a
mistake, rendering quot; çrutyanantarabhâvitvam yasya quot; as quot; çruti ke pâche hota hai quot;.

L. — THE ALTERATIONS IN THE NOTES AND THE QUESTION OF THE
PRIORITY IN INDIA OF THE DESCENDING OVER THE ASCENDING SCALE

What follows in çloka 57 after the mentioning of the seven unaltered notes in each oc-
tave — three times seven in the three registers — is not quite clear, except that the different
alterations are 12 in each octave, as later on, in çl 63, the fact is mentioned that, together with
the unaltered notes one gets 19 varieties within the octave.

Again one should never think that these 19 varieties could ever be sung together, only
certain definite ones can be used at the same time. In reality, as will be shown later on, these
12 variations do not even actually exist, only 7 of them.

The difficulty of exphiining these and other questions with regard to the determination of
notes in the old Indian system of musical theory is, that, at a certain period of history, a basic
change has taken place. A^.iich misunderstanding has been created, as people started explai-
ning old rules according to the modern conceptions. The old method was, to place the notes
at the end of the composing çrutis, whereas the modern system, just as with us, is, to place
the notes at the beginning of the interval.

tlion the sa, of four çrutis, is to bo flxcd on the fourth striiiR (roproscntinR the Ith çruti).

The explanation is, that in old times the scale was thought to be descending, sa, ni, dha, pa,
ma, ga, ri, while, on the contrary, the modern scale is, like ours, ascending. Traces of the old
idea of the descending scale are to be found in the way of enumerating the mûrchanas - mo-
des - (following presently), where the first mûrchana is that from sa-sa, the second, not as
with our modes, ri-ri, but ni-ni, and so downward until the last is ri-ri.

This is of great importance , especially if one starts shifting çrutis from one note to ano-
ther.

Dâmodara does not explicitly state here that he follows Çârngadeva\'s system but later
on he states (çl 69) that the difference between the sadjagrâma and the madhyamagrâma lies
m the fact that quot; pa quot; in the former is placed on its fourth, in the latter on its third çruti
Consequently one can safely explain the above mentioned çlokas of the Sangîtadarpana çl
57 ff (corresponding with Sangïtaratnâkara 1. 3. 40-46), by quoting the explanation .T. Grosset
gives of that passage of the Sangïtaratnâkara in his article on Indian music. Encyclopédie de
la Musique I, page 289.

1st alteration. Sa, having four çrutis, comes down from the fourth to the third çruti,
while, at the same time, its first çruti is annexed by the kaiçika ni, giving the result of a sa of
two çrutis (cyuta — fallen — sa). First real new note.

2nd alteration. Sa remains on its fourth çruti, but kakali ni annexes the first two çrutis
Consequently the sa becomes a note of two çrutis again, but this time its upper two çrutis\'
(acyuta-not fallen-sa)

3rd alteration. Ri remains on its original 7th çruti, but takes the last çruti from sa, by
which act it becomes a note of four çrutis. Sa by the operation becomes the cyuta sa.

4th alteration. Ga, standing originally on the 9th çruti, takes the first çruti from ma, and
thus gets its position on the 10th çruti. Ma, originally a note of 4 çrutis becomes one of three,
(sâdhâra/ja-common-ga). Second real new note.

5th alteration Ga annexes one more çruti of ma, and thus becomes a note of four çrutis
getting its place on the 1 Ith çruti (antara-medium, ga) Third real new note.

6th alteration. Ma comes down from its original, 13th çruti to the 12th, giving at the
same time its first çruti to the sâdhârana ga, and thus becomes a note of two çrutis (cyuta
ma) Fourth real new note.

7th alteration. Ma remains on the 14th çruti, but gives its first two çrutis to antara ga,

and thus, in the same fashion as acyuta sa, keeps only its two upper çrutis. Consequently it
is called acyuta ma.

8th alteration. Pa, having four çrutis, cedes, in the madhyamagrâma (see later on, çl
57 f. f.) its upper çruti to the dha above it, and thus descends from the 17th tp the 16th çriiti.
Consequently, as it has only three çrutis left, it is called triçruti pa. Fifth real new note.

9th alteration. Pa, giving its last çruti to dha, annexes the last çruti of (cyuta) ma, thus
again getting four çrutis. Kaiçikapa (fine as a hair).

10th alteration. Dha, originally having three grutis, annexes, in the madhyamagrama,
the last 9ruti of pa, not descending from its original 20th gruti, thus becoming a note of four
?rutis. Vikrta-alterated-dha.

11th alteration. Ni, originally having two grutis takes the first Qruti of sa, and thus changes
its place from the 22nd ^ruti to the first gruti of the new octave, consequently becoming a note
of three ?rutis. Kaigika ni. Sixth real new note.

12th alteration. Ni takes the first two ?rutis of sa and thus is placed on the second ?ruti
of the new octave, becoming a note of four grutis. Kakali — soft (?) — ni. Seventh real new
note.

It is clear, that, as the notes were realised at the end of their constituting ?rutis, a diffe-
rence of a ?ruti at the beginning of a note was only perceivable by the fact that the note below
was raised one gruti in pitch.

After the too concise exposition of the alterations of the sevens unaltered notes, Damo-
dara touches the important subject of sonance (vaditvam), consonance (samvaditvam), asso-
nance (anuvaditvam), and dissonance (vivaditvam). The sonant note, as he says, is the note
occurring often in the performance. We night say, quot; the sonant note is the melodie centre of
the melody quot;. Then he proceeds, telling that consonance exists between two notes which arc
at a distance of eight or twelve grutis from one another. Bharata gives 9 and 13 grutis, in
which he clearly includes the gruti on which the note was placed.

So we see that sa is consonant with ma (fourth) and ma is consonant with sa (fifth), Other
intervals than fourth and fifth were not recognised as consonant, but were either assonant or
dissonant. From our standpoint it is remarkable, as it is from the modern Indian system as
well, that, in the given scheme of the sadjagrama, sa and pa are not consonnant, nor ri and pa.
These have consonance only in the madhyama-grama, where pa has one ?ruti less. From the
modern consonance of these notes in India we might draw the conclusion that of the two, the
madhyamagrama ousted the sadjagrama in the course of history.

The author only gives examples of dissonance, and then concludes that notes which are
neither consonant nor dissonant will naturally be assonant. The rule he gives for dissonance
is a little cryptic. He means to say that ri is dissonant with ga and ni is dissonant with dha,
and ga is dissonant with ri and dha dissonant with ni, indicating that as well the interval of
one, as that of 20 grutis was considered as dissonant.

He then starts the subject of grama, already referred to before, giving an exposition of

the difYerent gramas, which, I think. Fox Strangways was right in translating as scales, not-
withstanding Breloer\'s objection, as the gramas are the different fundamental scales from which
the mûrchanas, modes, are formed. Grâma is. clearly defined, as a series of notes, the dwelling
place of the mûrchanas. Weber, Indische Streifen 1, 3, page 544, suggests that the Greek word
gamma, in its musical sense, is nothing but a derivation from the Sanskrit word grama —which
as we have seen means scale, through an intermediate form in some Prakrit.

Two of these gramas are said to exist on this earth, that is to say in Çârngadeva\'s times,
whom Dâmodara quotes here again. There is, however, a third one, which only exists in hea-
ven, which means that grâma was extinct already when Çârngadeva lived. This third grâma,
called the gândhâra-grâma, was a living musical conception at the time the Pancatantra was
composed, in which book of fables we find it referred to as a common idea.

The difference between these three scales is, as stated above, a difference of the arran-
gement of çrutis. The scheme given there

çrutis 1 2 3 4, 5 6 7, 8 9, 10 11 12 13, 14 15 16 17, 18 19 20 21 22.
notes sa ri ganbsp;manbsp;pa dha ni

represents the first of the grâmas, the sadjagrâma, where pa is situated in its fourth çruti.
The only difference between this grâma and the second, the madhyamagrâma, is that pa
in the ma-grâma is situated in its third çruti

çrutis 1 2 3 4, 5 6 7, 8 9, 10 11 12 13, 14 15 16, 17 18 19 20, 21 22.
notes sa ri ganbsp;manbsp;pa dha ni

Dr. Breloer remarks, page 19, that the sa-grâma is identical with the first ecclesiastical
mode (D-d) whereas the series of notes, beginning on the ni of the ma-grâma, coincides with
the natural diatonic scale with major third and a sixth in relation of a pure fourth to the third.

As far as the heavenly gândhâragrama is concerned Dr. Breloer has made an interesting
discovery. Its scheme, as given both in Sangïtaratnâkara and Sangîtadarpana, shows a consi-
derable difference with the other two

çrutis 1, 2 3 4, 5 6, 7 8 9 10,11 12 13, 14 15 16,17 18 19, 20 21 22.
notes ni, sa ri ga manbsp;pa dha

The ingenious study of Dr. Breloer, page 20, proves beyond doubt that this grâma is
identical with what is known under the name of quot; gypsy-scale quot; (Zigeunerleiter) quot; c, d, e
flat, f sharp, g, a flat, b, c quot; , from which the mode quot; g, a flat b, c, d, e flat, f sharp, g quot;, can
be derived, which transposed gives quot; c, d flat, e, f, g, a flat, b, c quot; with the curious two minor
seconds and, consequently, two times the interval of one tone and a half. It is remarkable that
the scale as a grâma by itself could have become extinct, as this scale is still extensively used
in India. Anyhow, the whole notion of grâma has died out nowadays, and perhaps the disap-
pearance of this grâma was the beginning of that process.

The fanciful genealogy and the identifications which follow, have no practical musical
value. It seems again, up to çloka 77, a kind of interruption, missing in the India-oflice manus-
cript 1120, but, nevertheless, belonging to the text, as the contents, given at the beginning
of the chapter, mention these different points as to be treated somewhere here. The subject
which logicafly follows the exposition of the grâmas, viz. the mûrchanâs, begins in çloka 77. It

is clear that murchana is a notion akin to our conception of mode. As the Greek and eccle-
siastical modes were formed by making new series of seven notes from the original one, by
taking the second, third, fourth note and so on, as the first, the Indian theory makes the mur-
chanas from the gramas, but as said before, not ascending but descending. Thus the first
derived murchana is not quot; ri, ga, ma, pa, dha, ni, sa, ri quot; , but, quot; ni, sa, ri, ga, ma, pa, dha, ni quot;.
The reason why the author says that the possibility of forming murchanas lies in the combi-
nation of the three registers, is, that one murchana consists out of seven notes. Consequently
sa-sa means one complete register,either low, middle or high. As soon as one derives a murchana
from that, either quot; ni-ni quot; or quot; ri-ri quot; one inevitably needs one of the other registers.

From the way the enumeration of the murchanas is given, it is clear that — as Fox Strang-
ways already guessed — the sa-grama starts on sa, the ma-grama on ma.

It appears that the gandhara-grama was not yet so long extinct in ^arngadeva\'s times,
that its different murchanas were forgotten. The complete set of seven is enumerated, but for
the rest of the treatise the gagrama is no longer taken into consideration, all the tabulations
and calculations in which the author now plunges with delight, refer only to the murchanas
of the sa-and the ma-grama.

Ql. 85 f. seems a little out of place here, one would have expected it much earlier, some-
where near 9I. 57 f. f, when the different alterations of the notes were treated. The subject of
the murchanas goes on in 87, a rather unclear verse which intends to say that — speaking
of the sa-grama — the third murchana is that in which the sa occupies the third place, conse-
quently the murchana called uttarayata, which starts on dha below the middle sa. In the same
way the fourth murchana in the ma-grama is that in which the ma occupies the fourth place,
consequently the mode which starts on the middle sa.

The musical value of what follows is very doubtful. It is true that the combinations of
notes, called kramas, arc sung by way of exercice even nowadays : sa, ri, ga, ma, pa, dha, ni
— sa, ri, ga, ma, pa, dha quot; and so on, but nobody will be really interested in their actual num-
ber : 7 times 50, 392.

Important in the glokas which follow is, of course, the division of the murchanas in hep-
tatonic (pur/ia or sampur/ia), hexatonic (sadava) and pentatonic (audava), but the mathemati-
cal juggling tricks, which anyone can verify for himself, do not really matter a bit. From gloka
90 it appears that the word guddha-tana, — which is used henceforward in the text — is synony-
mous with murchana and thus means an ascending or descending series of notes in their natu-
ral order, or, in other words, a hepta-hexa-or pentatonic scale. When, however, the notes
are sung in any reversed order, the crooked series of notes is called kuta-tana, a bent or cur-
ved tana. It is easily imaginable what a wonderful field for mathematical calculations is ope-
ned by this new possibility of combining the dilTerent notes. The basis of all these speculations
is called the mulakrama, the original series.

The calculations culminate in the construction of the khandameru, an astonishing wonder
of ingenuousness, with which one can, in a minimum of time, find out, for instance, the form
of the 3599th combination of seven notes, or, to take the reverse order, the position of any
given series of notes, up to seven, in the complete series of possible combinations\'.

As, however, the author of the Sangîtadarpana himself apparently got lost, and, quoting
the Sangïtaratnâkara left out one indispensable çloka, the text has become quite unintelli-
gible. For that reason the translation of the corresponding çlokas from the Sangïtaratnâkara
and fragments of Kallinâtha\'s commentary are given as an appendix at the end, together
with a clearer means of arriving at the method of reversing the order of notes, as given by So-
manâtha in his\'Râgavibodha (A. D. 1609)

After having finished the calculations in çl. 138, the author begins a new\'subject, that of
sâdhârana, a nearly untranslatable technical term, meaning literally community, and desi-
gnating the phenomenon, already mentioned in connection with the alterations of the notes,
where certain çrutis in some casés belong to one note, in other to one of its adjoining notes.
Thus these notes might be considered as having these çrutis in common. This sâdhârana is
called svara-sâdhârana, the sâdhârana of notes. There is, however, a second kind, called
jâti-sâdhârana. Dâmodara does not give an explanation of it, but merely says that jâti-sâdhâ-
rana belongs to the chapter of râgâlapana — one of the subdivisions of the third chapter —,
but, having arrived there, he seems to have forgotten all about jâtis and their sâdhâra/ja.
Consequently the the Sangîtadarpana leaves us in the dark about this. It appears from other
sources, that the jâtis-literally species— are some intermediate stage between the mûrchanâs
and the râgas,a term translated best as quot; individualised, or specialised quot; modes, with which the
next chapter deals. The jâti-sâdhârana means the melting of one jâti in to the other.

In çloka 143 the author begins a brief exposition of the var//as — the diflerent ways in
which a melody can be executed. The divisions are clear enough in themselves. A melody can
be formed in three ways, by repeating the same note, by ascending and by descending. Then,
of course, these three can be combined. Other treatises give endless instances of their combi-
nations, called alamkâras — ornementations — sometimes no fewer then 1323, which Dâ-
modara, however, spares his reader.

In the course of the development of the theory of music up to our times, many diiferent
meanings have been given to the terms graha, amça, and nyâsa. About the meaning Çârn-
gadeva, and with him Dâmodara, attach to them, there can be no doubt, (çl 146 f. f) Fox

Strangways\' suggestion in quot; Music of Hindostan quot; page 153, footnote, that graha might mean
clef, is not at all corroborated by Damodara\'s statement.

The division of the notes and their names Damodara treats as the end of the first chapter,
he identification of the different notes with the cry of dilTerent animals has given rise to the
suggestion that the Indian theory recognised something like absolute pitch. Before, however,
it is definitely stated that all animals of a certain species produce cries at the same pitch, no
importance can be attached to this statement. And the the fact that all the voices of the same
kind of animal are alike is far from proved. Anyone who has ever heard a herd of goats pass
by, will remember the astonishing variety of individual voices. And which one of the series
of notes produced by the Indian cuckoo (kokila) at dilTerent stages of this love-making, si
to be chosen as the standard pa ?

The most important phenomenon of Indian art-music, as far as melody is concerned,
undoubtedly is raga — the basis of all mclodical composition. Its etymology, as given here,
from the root ranj — to colour or to alTect with feeling — is right. CliieHy raga is a mode, in
which a certain feeling is specially expressed,, arrived at by an intricate and very developed
complex of details. The dilTerent shades a composition can have, viz, raganga, bhasanga etc.
mentioned by the author at the beginning of the chapter, seem to contradict Fox Strangways\'
suggestion that anga would mean tetrachord (Music of Hindostan, page 141).

In this chapter Damodara very sjjaringly cites the Sangitaratniikara, but draws more
from other works, mentioning the names of the works or the authors whence he gets the opi-
nions or systems he renders. He does not make an attempt to reconcile the sometimes conflic-
ting statements, but just gives the text as he found it. I^rom the dilTerent authors and works
he quotes, usually nothing more than the names are left, or available, at present, only (^arn-
gadeva and his commentator Kallinatha being better known.

The theory as represented by Damodara shows a marked difference with that found in the
Sangltaratnakara. The complete personification of the ragas and ragi/2is to such an extent
that a lyrical stanza can be devoted to each of them, giving a description of their appearance,
is not found in the older work. It is true that elements of the later development are there. The
sentiment of each raga, the season and the watch (of three hours) to which it belongs, is given,
but there is no trace of i)ersonification yet. It is probable that the Mohammedan influence
contributed to this development, as in the world of Islam this mystical relation between
hour and melody was not unknown either, which is proved by the fact that this notion was
discovered in Marokko lately. The combination of the two kindred ideas may have produced
this refinement. It ajjpears, however, that it never became one universal system all over India;
different provinces, even nowadays, give different forms and different names to the same raga.

Not all authors consider the same râgas as the chief, masculine, ones, and different treatises
allot different wives to each of them. Owing to the impossibility of hearing the râgas sung as
they were sung in Dâmodara\'s days, it is difficult to understand why he specially marries those
particular râgi/7îs to that particular râga, and not other ones. The melodic scheme of the
râga and that of his five wifes often does not show a very striking relationship. Some do not
even belong to the same grâma. So the Râga Mâlavakauçika, described in çloka 59., charac-
teristically is a râga of the sâdjagrâma with sa in the three chief melodical functions, viz. as
incipient, chief and final note. Now his first wife, Todï, is definitely stated to be in the first
mûrchanâ of the madhayamagrâma with ma in the three functions ; by some others, Dâmo-
dara relates, it is said that sa is amça, nyâsa and graha, but that appears to be the less impor-
tant tradition. The same is the case with the next wife, the hexatonic Khambâvatï, çl. 63
composed in the 6th mûrchanâ of the madhyamagrâma.

There is another curious thing viz. the discrepancy of gender between many lyrical stanzas
and the râginî they are supposed to describe. In one way or other R. L. Takkar in his edition
has brought the lyrical stanzas into harmony with the gender of the personage they are des-
cribing, but none of the manuscripts at hand seem to have a tendency to anything like it. It is
unnecessary to give many examples, they can be found at every step starting with çloka 49,
the beginning of the lyrical descriptions of the râgi/îîs. So, for instance, çl. 81, where the last
words clearly state quot; iti lalitah quot; and still the verse is supposed to give the description of Lalitâ,
the fifth wife of the Râga Hindola. Apparently the reader has to change all the adjectives into
feminines himself, and thus draw the picture of the râginî after the masculine instance given.
Often the lyrical stanzas are of great beauty and fine imagery.

It would be interesting to make a comparison of the form under which the râgas are given
in the Sangïtaratnâkara, the Sangîtadarpana, and in modern times, according to the data
given by Fox Strangways opp. page 151. Of course it would lead too far to compare them all
within the space of this introduction, but of some the comparison may be made here.

About the Râga Bhairava the Sangîtadarpana says in çl. 47 : Dhaivata is amça, graha
and nyâsa, it is without ri and pa, and consequently pentatonic. Ma stands at the end,
whereas the mode is the mûrchanâ starting on dha. Further it is mentioned that, where dha
is altered, it is called audava, the reason of which statement it is difficult to guess, as the râga
is always audava — pentatonic. The reading is apparently corrupt, as it is impossible that
dha is nyâsa — the last note, and at the same time ma stands at the end. R. L. Takkar reads
here quot; ripahînàtvam âgatah quot; instead of what all available manuscripts have quot; ripaluno \'tha
mântatah quot; Undoubtedly, notwithstanding the somewhat ponderous way of expressing,
Takkar\'s reading removes the discrepancy, but as he does not state his source, it cannot be
accepted as definite.

Now the Sangïtaratnâkara (11 2 80-81) which gives more particulars, mentions the
dropping of ri and pa, and the fact that dha is amça and graha, but not nyâsa, whereas ma
is the last note. This statement makes Takkar\'s reading more improbable still. Its mûrchanâ
in the Ratnâkara is the same one as mentioned in the Sangîtadarpana. The difference between
the two treatises lies in the fact that Dâmodara mentions the alteration of the dha only, whe-

reas Qarngadeva states that both kakali and antara occur. So we see, notwithstanding the
similarity the in many respects, a basic difference in the construction of the raga in these trea-
tises.

When we take the modern raga as given in Fox Strangways\' list, we see no trace anymore
of a pentatonic scheme, all notes are equally frequent, dha is still amga, and this note is flat-
tened, but ri, the one dropped formerly, plays an important part, being flattened too, by
which we get the mode with the two minor seconds and the two intervals of one note and a
half, showing relationship to the extinct ga-grama.

In the second place let us consider Bhairavl, Bhairava\'s wife, a great favourite in modern
times.

Damodara (11, 51) says Bhairavi is heptatonic, with ma in the function of amga, graha
and nyasa, belonging to the madhyamagrama, in- the murchana beginning on ma. Then it is
stated, that others say Bhairavl sometimes has the notes of Bhairava.

The Sangltaratnakara (11, 2, 144) is quite different. It gives dha in the three functions,
and it is specially stated that the ga of the low and of the high register does occur frequently.
Further that it is a dependent on Bhairava and is like it in the other notes.

Now, in modern times, the universally accepted Bhairavi has quite a different construc-
tion. It corresponds to our Doric or (ecclesiastical) Phrygian mode running from E-e, and
consequently, when, transposed, it begins on c, it has four flats viz. d, e, a and b. We find that
the amga is dha.

These two instances will be suflicient to show the differences in different times, probably
in different places, although, as said above, all India in our Limes sings Bhairavi with the above
mentioned notes.

With regard to the names of the dilTerent ragas and raginis it can be stated that some of
them bear names of gods, like Bhairava and Bhairavi, and Qri, others, like Dipak— fire —
and Megh — cloud — take their names from these phenomena, probably in connection with
their mystical or rather magical relation to the things they are named after. So Dipak, sung
in the right way, produces fire, whereas the Raga Megh draws near rain-clouds and thus,
again when properly sung, is a mighty weapon against droughts. Other ragas arc named after
places, the modern Multani after Multan, or districts, Kanadi, the Kanarese one, or even
provinces, Gaudi, from Gaud, probably Bengal, Saindhavi, from Sindh.

If ever the history of Indian music will be written, it is certain that the investigation
into the history of the gradual development of Raga will be one of the most important chap-
ters. We must hope in the interest of general musical history, that one day in future this will
be the case.

1. pranamya girasa devau pitamahamahegvarau
sangltagastrasanksepah sarato \'yam mayocyate

2.nbsp;bharatadimatam sarvam alodyatiprayatnatali
grimata haribhattena sajjaiianandahetave (3)

3.nbsp;pracaradrupasangltasaroddharo vidhlyate (4)
gitam vadyam nartanam ca trayam sangltam\'ucyate

4.nbsp;margadegivibhagena sangitam dvividham matam
druhinena yad anvistam prayuktam bharatena ca (5)

5.nbsp;mahadevasya puratas tan margakhyam vimuktidam
tattaddegasthaya ritya yat syal lokanuranjakam

6.nbsp;dege dege tu sangitam tad degity abhidhlyate.
gltavaditranrtyanam raktih sadharano gunah

7.nbsp;ato raktivihinam yan na tat sangitam ucyate
atha ragotpadanakaranam likhyate- (6)

gariram nadasambhutih sthanani grutayas tatha
talah guddhah svarah sapta vikrta dvadagapy ami

8.nbsp;vadyadibhedag catvaro ragotpadanahetavah
kulani jatayo vania dvipany arsanca daivatam

10.nbsp;prastarah kha/jdamerug ca nastoddistaprabodhakah
svarasadhara/mm jatisadhara/iam atah param

11.nbsp;kakalyantarayoh samyak prayogo vanjalaksanam
trisastir apy alankaras trayodagavidham tatah

13.nbsp;gitam nadatmakam vadyam nadavyaktya pragasyate
taddvayanugatam nrtyam nadadhinam atas trayam (8)

14.nbsp;nadena vyajyate var/jah padam var/?at padad vacah (9)
vacaso vyavaharo \'yam nadadhinam ato jagat

THE MIRROR OF MUSIC AND DANCE
HOMAGE TO GANEQA
NOW BEGINNETH THE WRITING OF THE BOOK quot; THE MIRROR

1.nbsp;Having bowed the head before, the Gods Pitâmaha
and Maheçvara, I relate this brief treatise

—nbsp;Vocal and instrumental music and thirdly dance, together are called sangîta. —

4.nbsp;By division into mârga and deçï, sangîta is considered to be twofold.
That, which is conceived by Druhina and performed by Bharata

5.nbsp;in the presence of Mahâdeva, is called mârga, bestowing liberation.
That sangîta which, in different countries, serves for enjoyment

Rakti (charm) is an inherent characteristic of music, vocal and instrumental, and dance.

—nbsp;Now follows the description of the causes of the production of Râga, —
First the body, then the origin of sound, the registers and the çrutis,
the seven unaltered notes and the twelve with alteration,

8.nbsp;the four differences of vâdi etc, tliese are the causes of the origin of Râga.

Further [will be told] the casts and ranks, colours, the continents, the rishis and gods,

9.nbsp;the metres, the use of the different sentiments in the different notes, the kinds of çrutis,
then the grâmas and mûrchanâs, the tânas of the çuddha and kûta variation,

10. calculation of the number by figures, and the kha/ulameru, which illustrates the meaning
of nasta and uddiçla,

after that the sâdhâra/ja of notes and that of jâtis,
11 the correct use of kâkali and antara, and the definition of var/ia,
the sixty three alankâras, and then I will relate the thirteenfold

12.nbsp;definition of jâti, and the differences of graha amça etc, in due order.

13.nbsp;Vocal music is proclaimed to be sound in itself, instrumental music to result from a mani-
festation of sound ;

after these two follows dance, and consequently the three are dependent on sound.

14.nbsp;By sound the letter is formed, by the letter the syllabic, by the syllable the word,
by the word this daily life, and consequently the world is dependent on sound.

the latter becomes manifest in the body (pi/Jcla) and therefore also is called pi/ida.

16.nbsp;tatränähatam nädam tu munayah samupäsate
guropadistamärgena muktidam na . tu ranjakam.

17.nbsp;sa nädas tv ähato loke ranjako bhavabhanjakah
çrutyâdidvâratas tasmät tadutpattir nirûpyate (1)nbsp;^

gudalingäntare cakram ädhäräkhyam caturdalam
svädisthänam lingamüle satpatram cakram sanjnakam (2)

19.nbsp;näbhau daçadalam cakram manipürakasanjnakam
hrdaye \'nähatam cakram civasya pranaväkrteh (3)

20.nbsp;püjästhänam tad icchanti yutam dvâdaçabhir dalaih
ka/7the tu bhäratisthänc viçuddhâm sodaçachadam (4)

21.nbsp;tatra sadjädayah sapta svaräh samyakprabliedatah
lalanäkhyam ghantikäyäm cakram dvâdaçapatrakam (5)

22.nbsp;bhrùmadhye tridalam cakram äjnäsanjnam manoharam
tato \'py asti manaçcakram saddalam sarvasaukhyadam (6)

23.nbsp;tato \'pi sodaçadalam somacakram prakïrtitam
cakram sahasrapatram tu brahmarandhre sudhädharam

24.nbsp;tat sudhäsäradhäräbhir abhivardhayate tanum
susumnayä brahmarandhram ärohaty avarohati

25.nbsp;jivah pränasamärüdho rajjväm kolhätiko yathä (7)
tâç ca bhüritaräs täsu mukhyäh proktäc caturdaça

26.nbsp;susumnedä pingalä ca kuhur atha payasvinî
gândhârï, hastijihvä ca vära/7ätha yaçasvinï

28.nbsp;evamvidhe tu dehe \'smin malasancayasamvrtc
prasädhayantu dhîmanto bhuktim muktim upäyatah (9)

[kimca]-dharmârthakâmamoksa/2âm idam evaikasädhanam
nädavidyäm paräm labdhvä sarasvatyäh prasädatah (10)

30.nbsp;kambalâçvatarau nägau çambhoh ku/idalatäm gatau
paçuh çiçur mrgo väpi nädena paritusyati

31.nbsp;ato nädasya mähätmyam vyäkhyätum kena çakhyate
tatra cänjaneyah :

nädäbdhes tu param päram na jänäti sarasvatï
adyäpi majjanabhayät tumbam vahati vaksasi.

32.nbsp;tathä ca vijnânéçvarah :
vïnâvâdanatattvajnah çrutijâtiviçâradah,
tâlajnaç cäprayäsena moksamârgam sa gacchati.

16.nbsp;It is this unstruck sound which is revered by the wise, after the fashion prescribed by
the teachers, which gives deliverance, but is not for pleasure.

17.nbsp;The sound which is struck, however, serves for enjoyment of the people and for brea-
king the cycle of rebirth ; its coming into existence is brought about by means of çrutis etc.

Between the anus and the male organ is a cakra with four leaves called âdhâra ; a cakra,
called svâdhisthâna, with six leaves, is placed at the root of the male organ.

19.nbsp;In the navel is a ten-leaved cakra, called manipiiraka, in the heart a cakra, called
anâhata, of Çiva, in his form of quot; OM quot; ;

20.nbsp;this cakra, with twelve leaves, is sought for as an object of adoration. In the throat, the
seat of speech, is the viçuddha cakra, with sixteen leaves ;

21.nbsp;in it are situated sadja and the others, the seven notes, with all their divisions. A
cakra with twelve leaves, called lalana, is in the uvula.

22.nbsp;Between the brows is a lovely cakra of three leaves, called âjnâ. Then there is also the

23.nbsp;and further the somacakra with sixteen leaves is mentioned. A cakra with a thousand
leaves, however, is situated in the fontanelles, called sudhâdhara (possessing nectar).

24.nbsp;That cakra makes the body prosper by streams of nectar. The principle of life (jiva) rises

25.nbsp;riding on the life-breath (prâ/?a) like an acrobat on a rope. These (the veins and arte-
ries) are many ; amongst them, however, fourteen are said to be foremost :

26.nbsp;1st susumnâ, 2nd idâ, 3rd pingalâ, 4th. kuhu, and 5th. payasvinï, 0th. gândhâri, and
7th hastijihvâ, 8th vâra/jâ and 9th yaçasvinï,

27.nbsp;10th viçvodarâ and 11th çankhinï, then 12th pu.sâ and 13th sarasvatï, lastly alambusâ.
Of them the three first mentioned are considered the most important.

28.nbsp;Thus the wise must, in this body, lilled with a mass of dirt, win enjoyment and delive-
rance in the right way.

29.nbsp;Now I will relate the origin of sound as well, as it is examined in the castras [Why ?]
This is a means for striving after dharma (righteousness) artlia (goods) kânia (love)
and moksa (deliverance). Having obtained the highest knowledge of nâda (sound), by
the favour of Sarasvatï,

30.nbsp;the two serpent demons, Kambala and Açvatara, became the earrings of Çiva.
Domestic animals, children, as well as wild animals arc charmed by sound ;

Even Sarasvatï docs not know the opposite shore of the sea of sound ; even now she carries
a gourd near her breast for fear of drowning.

He, who thoroughly knows the art of vï/iâplaying, and is an expert in the subject of
çruti and jâti and who knows the time as well, that person is without elfort on the way
to deliverance.

33.nbsp;atmana preritam cittam vahnim ahanti dehajam
brahmagranthisthitam pranam sa prerayati pavakah (1)

34.nbsp;pavakapreritah so \'tha, kramad urdhvapathe caran
atisuksmam dhvanim nabhau hrdi suksmam gale punah (2)

35.nbsp;pustam Qirse tv apustam ca krtrimam vadane tatha
avirbhavayatity evam pancadha kirtyate budhaih.

36.nbsp;katham kanthe sthitah pustah syad apustah girse sthitah (3)
ucyate tatra ^irasi sancaryarohayarnayoh

37.nbsp;nakaram pra/7anamanam dakaram analam viduh
jatah pranagnisamyogat tena nado \'bhidhiyate
atha brahmagranther laksanam (5)

38.nbsp;adharad dvyangulad urdhvam mehanad dvyangulad adhah (6)
ekangulam dehamadhye taptajambunadaprabham

39.nbsp;tatragnes tu- sikha tanvi tasmac cakran navangulat (8)
dehasya kando \'sty utsedhayamabhyam caturangulah

42.nbsp;tesam mukhyatamah pra/jo nabhikandad adhah sthitah
caraty asye nasikayor nabhau hrdayapankaje

43.nbsp;Qabdoccara/janihsvasocchvasakasadi-kara/iam
apanas tu gude medhre kalijanghodare tatha

44.nbsp;vyano \'ksigrotragulphesu katyam ghra/?e ca tislhati
samano vyapya nikhilam ^arlram vahnina saha

45.nbsp;udanah padayor aste hastayor angasandhisu
tvagadidhatun a?ritya panca nagadayah sthitah

46.nbsp;tvagasrnmamsamedosthimajjaQukrani dhatavah
hrdi pra/JO gude \'panah samano nabhisamsthitah
udanah ka/jthedcQc syad vyanah sarva?arlragah
atha prakrtam anusaramah

47.nbsp;iti vastu (11) sthitis tavad gane tredha bhaved asau
hrdi mandro gale madhyo murdhni tara iti kramat

48.nbsp;dvigunah purvapurvasmad ayam syad uttarottarah
evam 9arlravinayam daravyam tu viparyayah

33.nbsp;The mind stirred by the atman hits the fire which is in the body.
This fire in its turn stirs the breath of life residing in the brahmagranthi.

34.nbsp;this prana then, stirred by the fire, goes, by and bye, in upward direction
and produces an extremely subtile sound in the navel, a subtile in the heart

35.nbsp;then, in the throat, a strong, in the head a weak, and in the mouth a sound with artificial
qualities;

It is said that there, in the head, the formation of the sancari and arohi varnas (see gl 143)
does not take place and therefore the sound in the head becomes weak.

consequently that which is born from the union of prana and fire, is called nada (sound).
Now the description of the brahmagranthi.

38.nbsp;Two thumb\'s-breadths above the adharacakra, and two thumb\'s-breadths below the male
organ,

and one thumb\'s-breadth inside the body is a cakra with a hue like that of heated gold ;

39.nbsp;thereon is a thin flame of fire, which stretches nine thumb\'s breadths from the cakra,
that is the kanda (bulb, ganglion ?) of the body, four angulas in height and length,

41.nbsp;Pra/?a, apana, the ones called vyana, samana and udana,
further naga, kurma, krkala, devadatta and dhananjaya.

42.nbsp;Amongst them the most important is prana, placed below the nabhikanda (the ganglion
of the navel);

43.nbsp;and is the cause of the pronunciation of words, in-and outgoing of breath, coughing and the
like.

44.nbsp;Vyana resides in the eyes, ears, the ankles, the hip and the nose.
Samana pervades the whole body together with the fire.

45.nbsp;The udana resides in the feet, the hands and the joints of the limbs.
The other five, naga etc, are in the substances like skin etc.

46.nbsp;— The substances are skin, blood, flesh, fat, bones, marrow and semen. —
Pra/?a is stationed in the heart, apana in the anus, samana in the navel,
udfwja in the region of the throat, vyana pervades the whole body.

The registers in song are of three kinds, in the heart mandra (low),
in the throat madhya (middle), and in the head tara (high) respectively.

48.nbsp;Each one in getting higher and higher is the twofold of its predecessor;

such is the case with this our bodily vl/ui, but with the vi/ia of wood it is just the op-
posite.

52.nbsp;tïvrâ-kumudvatï-mandâ-chandovatyas tu sadjagâh
dayâvatï ranjanï ca raktikâ rsabhe sthitâ (2)

53.nbsp;raudrï krodhâ ca gândhâre vajrikâtha prasârinï
prïtiç ca mârjanïty etâh çrutayo madhyamâçritâh (3)

54.nbsp;ksiti raktâ ca sandïpiny âlâpiny api pancame (4)
madantï rohinï ramyety etâ dhaivatasamçrayâh (5)

iti çrutivivekah
çrutyanantara-bhâvitvam yasyânura/îanâtmakah
snigdhaç ca ranjakaç câsau svara ity abhidhïyate
athavâ

56.nbsp;svayam yo râjate nâdah sa svarah parikïrtitah.
çuddhâh sapta svarâs te ca mandrâdisthânatas tridhâ

57. çuddhaç cyutâdibhedena vikrtâ dvâdaçoditâh.
catuhçrutir yadâ sacljo, dviçrutivikrtis tathâ (7)

58. sâdhârane cyutah sa syât kâkalitve \'cyutah smrtah (8)
triçrutir rsabhah sâdhârane sâjïm çrutim çritah (9)

59. catuhçrutitvam âpannas tadaiko vikrto bhavet (10)
sâdhârane madhyamasya gândhâras triçrutir bhavet

60. svasyântaratve bhavati catuiiçrutir iti dvidhâ (11)
cyutâcyutâdibhedena madhyamah .sadjavad bhavet

61.nbsp;sâdhârane \'ntaratve ca dviçrutir vikrtos tadâ
pancamo madhyamagrâme triçrutir jâyate svarah

62.nbsp;madhyamasya çrutim prâpya kaiçike tu catuhçrutih
kaiçike kâkalitve ca nisâdas tricatuhçrutih (12)

63.nbsp;dhaivato madhyamagrâme vikrtah syâc catuhçrutih
ete ca saptabhih çuddhair bhavanty ekonavimçatih

(10) J çajjiççrutim çrayet.

(11) J »tir api dvidhâ.

49.nbsp;The sound which is so small that it is just perceivable as such by the ear, without re-
sounding,

50.nbsp;In order to explain them, the place of the veins in the body is examined :
Ida is the vein placed to the left, to the right is pingalâ,

51.nbsp;the vein in the heart is susumnâ, stretching as far as the fontanelles.
Then the çrutis.

52.nbsp;tïvrâ, kumuvatï, mandâ and chandovatï are the çrutis in sa ;
dayavatï, ranjanï and raktikâ are placed in ri :

53.nbsp;raudrï and krodhâ in ga ; vajrikâ, prasârinï,
prïti and mârjanî, these çrutis are placed in ma ;

54.nbsp;ksiti and raktâ, sandîpinï and âlâpini belong to pa ;
madantï, rohinï and ramyâ, these belong to dha ;

This is the exposition of the çrutis.
That which consists of an uninterrupted series of çrutis, which is resonant in itself»
which is lovely and enchanting, that is called svara (note)

the sound which rules (râjate) by itself (svayam) is called svara (from s va (yam) and râ-
(jate) )

Seven in number are the unaltered notes, three-fold by the différent registers, low
and the others.

57.nbsp;By the alterations called cyuta etc. the unaltered notes are said to have twelve alter-
ed forms.

58.nbsp;then, in this alteration called sâdhâra/ia, sa will be called cyuta. In the alteration called
kâkali sa will be called acyuta.

The ri, normally of three çrutis, in the alteration called sâdhârana absorbs one çruti
of sa,

When the alteration called sâdhâra/ja takes place with ma, ga will have three çrutis
(instead of two)

00. and when it comes in the alteration called antara, ga will be of four çrutis ; thus (the
changes of ga are) twofold.

61.nbsp;In the alteration sâdhâra/îa and in that called antara two çrutis are changed.
In the madhyamagrâma the pa becomes a note of three çrutis,

62.nbsp;but in the case of the kaiçika alteration pa has four çrutis, having annexed a çruti of ma.
In the state of kaiçika and kâkali ni has respectively three and four çrutis.

63.nbsp;In the madhyamagrâma dha should have four çrutis (taking one from pa).
Thus all these, together with the seven unalterated notes, amount to 19,

atha vâdyâdibhedâh
64. vadyâdibhedabhinnâç caturvidhàs te svarâh kathitâh (13)
râgotpâdanaçaktir vadanam tadyogato vâdi.

(14) j svaraprayoge B balah ß5_ bahulasvarah prayoge sa bhavati râjâ ca sarvesâm (14).

66.nbsp;samvâdinau tu kathitau parasparam tu nisâda-
gândhârau ridhayor vivâdinau stas tayor ridhau vâ (15)
vivâdinau syatâm (16) sadjamadhyamapancanâm (ca) (1)

67.nbsp;çesâ/îâm anuvâditvam svarânâm upajâyate
eka-çrutyantarayau kau tau mithaç ca vivâdinau (2)

68.nbsp;vâdï râjâ svaras tasya samvâdï syâd amâtyavat
çatrur vivâdï tasya syâd anuvâdî tu bhrtyavat.

iti vâdyâdibhedâh
grâmah svarasamûhah syân mûrchanâdeh samâçrayah
tau dvau dharâtale tatra syât sadjagrâma âdimah

69.nbsp;dvitîyo madhyamagrâmas tayor laksanam ucyate.
sadjagrâmah pancame svacaturthaçruti-samsthite

70.nbsp;svopântyaçrutisamsthe \'smin madhyamagrâma isyate
yad vâ dhas triçrutih saclje madhyame tu catuhçrutih

71.nbsp;rimayoh çrutim ekaikâm gândhâraç cet samâçrayet (3)
paçrutim dho nisâdhas tu dhaçrutim saçrutim çritah

72.nbsp;gândhâragrâmam âcaste tadâ tam nârado munih
pravartate svargaloke grâmo \'sau na mahïtale (4)

73.nbsp;sadjah pradhânam âdyatvâd amâtyâdhikatas tathâ
grâme syâd avilopitvân madhyamas tatpurahsarah (5)

(3) J gândhâraç ca.

(4) Conj. iti grâmalaksanam
after çl 72.

(5) B J »dhyamas tii.

74.nbsp;etatkulaprasûtatvâd gândhâro \'py agranïr divi (6)
gîrbânakulasambhûtâh sadjagândhâramadhyamâh

75.nbsp;pancamah pitrvamçottho ridhau rsikulodbhavau
nisâdo \'suravamçottho brâhmanah samapancamâh

76.nbsp;ridhau tu ksatriyau jncyau, vaiçyajâtî nigau matau
çûdrâv antarakâkalyau kramena kathitâ budhaih,

iti grâmalaksa/îam.
Follow six çlokas taken from .1, left out in all
manuscripts except J., coinciding with S. R. I. 3. 55a-
60. belonging to the text, because mentioned in the

Vadana (sounding) is the power by which raga (charm) comes into existence, hence the
term vadi (sonant),

65.nbsp;(which means) the note which occurs often in the performance and becomes the king of
all (the other notes).

66.nbsp;are called samvadi (consonant).Ni and ga are vivadi (dissonant) respectively with ri and
dha. Or, with other words, ri and dha are dissonant with ga and ni.

67.nbsp;With the other notes, sa, ma and pa, there exists anuvaditva (assonance).

The two notes which are only one gruti distant from one another are vivadi (dissonant)

68.nbsp;The note which is vadi is the king, and the note which is samvadi with it is like the mi-
nister.

A series of notes is called griiina, the dwelling place of murchana etc.
There are two gramas on this earth of which the sadjagrama is the principal.

69.nbsp;The second is the madhyamagrama. Of both the characteristics are told now,

The sadjagrama comes in to existence by the circumstance that pa stands on its proper
fourth gruti.

70.nbsp;The madhyamagrama is recognised when the pa stands on its third gruti.
When, however, dha consists of three grutis, and in sa and ma each are four grutis

72.nbsp;then the muni Narada calls it the Gandhara grama.
That grama is frequent in heaven, but is not found on earth.

but, on account of the importance of the minister the ma may be sent before it, in the
grfima, without harm.

74.nbsp;Ga is foremost in heaven on account of its having sprung from that family.
Sa, ga, and ma have originated from the race of the gods,

76.nbsp;arc brahmins, ri and dha ksatriyas, ni and ga vaigyas,
the antara and ktlkali notes, subsequently, gudras.

[These are\' the characteristics of the Grama.]
Translation of the omited glokas, found in text J. ; (the colours are respectively :)

[(S. R. I. 3. 54d) var/îâs tv ime kramât]
(77.) padmâbhah pinjarah svarnavarnah kunjaraprabho \'sitah

pitah karvura ity esam janmabhûmim atho bruve
(78.) j ambûçâkakuçakrauncaçâlmalïsvetanamasu

dvïpesu puskare caite jatah sadjadayah kramat
(79.) vahnir vedhah çaçânkakaç ca laksmïkântaç ca nâradah

rsayo dadrçuh panca sadjâdïms tumburur dhanï.
(80.) vahnibrahmasarasvatyah çrïçaçarvaganeçvarâh

sahasrâmçur iti proktâh kramat sadjâdidevatâh
(81.) kramâd anustub gâyatri tristup ca brhatï tatah
panktir usnik ca jagatïty âhuç chandâmsi sâdisu

(82.) sarï vïre \'dbhute raudre dho vïbhatse bhayânake
kâryau ganî tu karune hâsyaçrngârayor mapau.

77.nbsp;kramât svarânâm saptânâm ârohaç câvaroha/mm
mûrchanety ucyate grâmatraye tâh sapta sapta ca (1)

78.nbsp;sthânatraya-samâyoge mûrchanârambhasambhavah
tatra madhyasthasadjena sadjagrâmasya mûrchanâ

79.nbsp;prathamârabhyate \'nyâs tu nisâdâdyair adhastanaih
madhya-madhyamam ârabhya madhyamagrâma-mûrchanâh

80.nbsp;âdyânyâs tadadho \'dhasthasvarân ârabhya sat kramât
saclje tûttaramandrâdyâ rajanï cottarâyatâ

81.nbsp;çuddhasadjâ matsarikrtâ açvagrâmâ marudgatâ (2)
sauvirï madhyamagrâme hari/Jâçvâ tatah parâ (3)

82.nbsp;syât kalopanatâ çuddhamadhyâ mârgi ca pauravi
hrsyakâ saptamï proktâ mûrchanety abhidhâ imâh

84.nbsp;prthak caturvidhâh çuddhâh kâkalï kalitâs tathâ
sântarâs tad vayopetâh satpancâçat tu mûrchanâh (5)

85.nbsp;yadâ nisâdasanjnakah çrutidvayam samâçrayet (6)
tadûrdhvasasya kâkalï tadâ sa kathyate budhaih

86.nbsp;yadâçrayati gândhâro madhyamasya çrutidvayam,
tadâsâv antarah prokto munibhir rtusandhivat

87.nbsp;mûrchanâyâm yâvatithau bhavetâm sadjamadhyamau
grâmayos tâvatithy eva mûrchanâ sâ prakïrtitâ

(77.) like the lotus, reddish yellow, of golden colour, like the jasmin, black, yellow and spotted.

Now I will enumerate their continents of birth :
(78.) Jambu, gaka, küca, kraunca, galmali, gveta, and puskara,

in these continents are born respectively sa and the other notes.
(79.) Fire, the creator, the moon, Visnu, Narada, and the sages,

have created the first five notes, Tumburu the notes dha and ni.
(80.) Fire, Brahma, Sarasvatï, Vis/2u, giva, Ganesha

and the sun, thus are enumerated their respective principal deities.
(81.) Anustub, gayatrï, tristubh, brhatï,

pankti, usnih, and jagatï, respectively, are called the metres belonging to sa and the
other notes.

(82.) Sa and ri are to be used in heroic, wondering and terrible sentiment, dha in the loath-
some and fearful,

77.nbsp;The ascending and descending of the series of seven notes, one after the other, is called
mürchana. Of them there are seven in each of the three gramas.

78.nbsp;The possibility of the development of mürchanas lies in the connecting of the three
registers.

In the sadjagrama the first mürrchana is called uttaramandra, then follow rajanï, utta-
rayata,

83.nbsp;Nanda, vigala, sumukhï, vicitra, rohi/n, sukha, and alapa
are the seven mürchanas in the gandharagrama.

84.nbsp;Each mürchana has four varieties, called guddha (pure), kakalï, kalita and antara.
In that way we get fifty-six mürchanas (leaving out the gagrama)

85.nbsp;When the note called ni absorbs two grutis of the sa above it,
that variety is called kakali by the wise.

antara by the wise, (a phenomenon which is) like the melting of one season in the other.

87.nbsp;After the position (f. i. 3rd, 4th etc) which sa and ma occupy in a mürchana

of their own grümas respectively, the mürchana in question is called (f. i. the third, fourth,
etc).

pratliamâdisvarârambhâd ekaikâ saptadhâ bhavet
tasûccâryântyasvarântân pùrvân uccârayet kramât

(7)nbsp;J netrânkarâ.nbsp;\' 89. te kramâh kathitâs tesâm samkhyâ-netrâkara matah (7)

(8)nbsp;J yadâ ca B. J. audavati.nbsp;yadâ tu mùrchanâh çuddhâh sâdavâudavitï krtâh (8)

90.nbsp;tadâ tu çuddhatânâh syur mùrchanâç câtra sadjagâh (9)
sapta kramâd yadâ hïnâh svaraih saripamadhyamaih (10)

91.nbsp;tadâstavimçatis tânâh sâdavâh parikïrtitâh
yadâ tu madhyamagrâme mûrchanâh sarigojhitâh

92.nbsp;sapta kramâd yadâ tânâh syus tcidâ tv ekavimçatih.
evam ekonapancâcan militâh sâdavâ matâh

•93. sapâbhyam dviçrutâbhyâm ca ridhâbhyam saptavarjitâh (11)
sadjagrâme prthak [prthak] tanâ ekàvimçatir audavâh.

95.nbsp;audavâ militâh pancatrimçad grâmadvaye sthitâh (13) . .
sarve tu caturaçïtir militâh sâdavaudavâh (14)

96.nbsp;asampûrnâç ca sampûrnâ vyutkramoccâritâh svarâh (1)
mûrchanâh kûtatânâh syur [iti çâstravinirnayah (2)

97.nbsp;pûrnâpûrnâdi-sankhyâç ca punaruktâpasâranâh (3)
mûrchanâh kûtatânâh syuh] tesâm sankhyâbhidhïyate.

98.nbsp;pûrnâh pancasahasrâni çatvârimçadyutâni ca
ekaikasyâm mûrchanâyâm kûtatânâh sahakramaih (4)

99.nbsp;satpancâcan mûrchanâh syuh pûrnâli kûtâç ca yojitâh (5)
laksadvàyam sahasrâ/ù dvyaçïtir dve çate tathâ

100.nbsp;çatvârimçac ca vikhyâtâ athâpûr/iân pracaksmahe (6)
ekaikântyântyavirahâd bhedâh sad .satsvarâdayah.

101.nbsp;ekah svaro \'tra nirbhedo \'py ukto nastâdisiddhaye
kramâç câkûtatânatve \'py uktâs tesûpayoginah.

102.nbsp;syuh sâdavânâm vimçatyâ saha ([fromB. J.] sapta çatâni ca)
audavânâm tu vimçatyâsahitam çatam ucyate
catuhsvarânâm kûtânâm caturvimçatir îritâh

103.nbsp;trisvarâh sad dvisvarau dvâv ekas tv ekasvaro matah (7)
ârciko gâthikaç caiva sâmiko\' thas varântarah (8)

(7)nbsp;J eka eva svaromatah.

(8)nbsp;B cm. tv.

88.nbsp;By beginning on the first note, of the first mürchana each can become sevenfold when
one sings so, that the last but one of the, previous series becomes the last of the series
sung. f. i. sa. re ga ma pa dha ni sa, sa re ga ma pa dha ni, sa re ga ma pa dha etc.

89.nbsp;These varieties are called kramas. Of them there are counted 392 (seven times
56, see gl. 84). When the mürchanas are guddha, or in a hexatonic or pentatonic
form,

90.nbsp;then these kramas are called otherwise guddhatanas. The seven murchanas of
the sadjagrama can be taken without the notes sa, ri, pa and ma, respectively

92.nbsp;without sa, ri or ga respectively, then the total number of tanas is twenty-one.
In this way all the hexatonic forms together make forty-nine.

or the notes of two grutis (ga and ni), or ri and dha, are cast out from the seven, then
the number of pentatonic tanas becomes 21.

94.nbsp;When in the madhyamagrama the notes with three grutis (ri and pa) or the
notes with two grutis are left out from the mürchanas, then 14 tanas are known.

95.nbsp;All the pentatonic tanas of the two gramas together make 35.
Hexatonic and pentatonic together give a total of 84. quot;

96.nbsp;The mürchanas, either complete (heptatonic) or incomplete, of which the

notes are sung in any inverted order, are called kütatanas [thus is the rule of the books.

97.nbsp;The mürchanas got by the number of the complete and incomplete together,
lessened by the number of the ones twice mentioned, are called küUitanasJ Their number
will be told now:

98.nbsp;There arc fivethousand and forty complete kütatanas together with their kramas
in each murchana separately.

99.nbsp;Mürchanas there are fifty-six, which, multiplied with the number of kütatanas
gives a product of twohundrcd-eighty-twothousand-twohundred and forty (of

TOO. kütatanas in all heptatonic mürchanas together). Now we will consider the incomplete
ones.

By omiting the last npte each time we get six dilTerent forms, of six notes and so on.

101.nbsp;One single note has no variations. For the accomplishment of nasta etc.

the varieties mentioned under the head of aküta (= guddha) will be combined later on
with those mentioned here.

102.nbsp;Of the hexatonic variety there are ([from B. J.] sevenhundred) and twenty kütatanas ;
of the pentatonic variety one hundred and twenty;and twenty-four

104. ekasvaraditananam caturnam abhidha imah (9)
uktaguddhadibhedena nigayuktag caturvidhah

106.nbsp;caturdhanye dagety astacatvarimgad ami kramah (11)
savimgatih saptagati prag ukta gunitaih kramaih (12)

107,nbsp;catustrimgatsahasrani sastyapangagatani ca (13)
iti sadavasankhya syad atha pancasvaran bruve :

108. gadyau dhadyau nisadadyau caturbhedah sad audavah
astav anye dvidhety evam catvarimgad ime kramah (14)

109.nbsp;savimgatau gate taig ca gunite \'stau-gatani tu
catvari ca sahasrani sankhya pancasvaresv iti

110.nbsp;catuhsvaresu nyadyau dvau caturdha dvadagapare
kramad dvidheti dvatrimgaccaturvimgati tah (15) [te] kramat

(9) J svarantakati.

(10) J B »krama mata^i.

(11)nbsp;J kramafc.

(12)nbsp;J sapta^ataih.

(13)nbsp;J satpanca^atgatani.

(14) B J ami kramat.

(15)B J caturvim^ati-taditah.

112.nbsp;trisvaresu tu madyau dvav abhedau dvadagapare
dvidha sadvimgatir iti kramat te sadbhir fdiatah (16)

113.nbsp;satpancacacchatam ca syad dvisvaresu punar dvidha
rigadhanyadayo \'stau syuh guddhfih sad itare kramah (17)

114.nbsp;dvavimgatis te ca catugcatvarimgad vitaditfdi
ekasvaras tv abhedatvan maula eva gaturdaga

(10) B kramas te.

(17) J itare kramad.

115.nbsp;sadjadeh guddhamadhaya bhedakam pancamam vina
catuhsvare kramadvandve \'stacatvarimgad iritah

116.nbsp;tanas trisvarayos tv etc dvadaga dvisvare dvayam
(1) B J auttaramandrakaih. eka ckasvaras tc .trigastir uttaramandrakaih (1)

118. dvadaga trisvaradvandve catvaro dvisvaradvaye (4)
eka eva svaras tanas tesam pancagati tv iyam (5)

(4)nbsp;J dvadaca trisvaram, dvand-
ve.

(5)nbsp;J pancagata tviyam.

(2)nbsp;J »gi kramah J punaruk- 117. punarukta matas tanair nyadimargi kramat punah (2)

By the afore-said differences of guddha etc, the tanas connected with ga and ni have
four different varieties.

105.nbsp;When one of these two (ga, ni) is missing [in the scale], the basic tana has only two varie-
ties.

Thus, the two varieties of sa and ma both make four, (consequently) two groups of
two in each grama,

106.nbsp;the other ten have four each ; so these kramas taken together are 48 in number.
The previously mentioned sevenhundred and twenty (see gl. 102), multiplied

107.nbsp;with these forty-eight, give a product of thirtyfourthousand-fivehundred and sixty,
which is the number of the variations possible with six notes. Now I will mention
the (variations of) five notes

108.nbsp;The two beginning with ga, with dha and with ni, these six pentatonic scales have four
varieties each ;

109.nbsp;When the above mentioned 120 are multiplied by them, the product, giving
the total number of variations of five notes, will be 4800.

110.nbsp;Amongst the scales of four notes, the two beginning on ni have four varieties each,
the twelve others have only two, thus the total becomes 32, which, multiplied [from B. J.]

111.nbsp;with the previously mentioned twenty four gives 768 as the total of combinations
with four notes.

112.nbsp;In the scales of three notes, the two beginning on ni have no varieties,
the twelve others have two, which gives a total of 26. Multiplied by the

113.nbsp;previously mentioned six, it gives 156 as the product. In the scales of two

notes the eight beginning on ri, ga, dha and ni arc twofold, the other six without variety,

114.nbsp;which amounts to 22, and, multiplied by the previously mentioned two, gives 44.

All the basic single notes by themselves are 14 on account of their not having any va-
riation.

115.nbsp;Of the mürchana guddhamadhya (in the magrama) which begins on sa, without the
pa, which makes the diflerence (between sadja and madhyama grama),

116.nbsp;in the couples of three notes there are twelve, in those of two notes two,

and one is the single note, which makes sixty-three all in all as the number of those
which are

117.nbsp;considered as mentioned already, (namely) when enumerating the tanas of the mür-
chana uttaramandra (of the sagrama).

In the same way the four tanas of five notes (without the characteristic pa), in the
mürchana margï (of the ma-grama), have 480 varieties,

118.nbsp;notes, four those of two, and one the single note. The sum total of these

amounts to fivehundred and ninety three, viz. tanas which have no difference with the

trinavatyä yuta tänair abhinnä rajanigatair (6)
119. dhaivatâdes tu pauravyâç catvâra satsvaräh kramât
tattânânâm tu sâçîtih çatâstavimçatir matâh

120.nbsp;audavânâm caturnâm präg uktâ sankhyâ catuhsvare
trisvarau dvisvarâv ekasvarah prâg uktasanjnakah (7)

121.nbsp;pancavimçatisamyuktâ catustrimçacchati tv iyam
tânânâm sadrçâkârâ syât tänair auttarâyataih (8).

122.nbsp;ity ekâ [dajçïtisamyuktam sahasrânâm catustayam
tânânâm punaruktânâm pûrnâpûrnaih saha kramaih (9)

123.nbsp;apanïyeta ced esâ kûtatânamitir bhavet
laksatrayam saptadaçasahasrâni çatâni ca
nava trimçadyuktânïti jnânopayo \'tra kathyate.

124.nbsp;sankhyâjnânaprakâras tu sâmpratam kathayisyate
ankân ekâdisaptân tân ûrdhvam ûrdhvam likhet tatah

125.nbsp;hate pûrvena pûrvena tesu cânke pare pare
ekasvarâditânânâm sankhyâ sanjäyate kramât.

126.nbsp;dvisvaram trisvaram väpi catuhsvaram athâpi vâ
kramam kimcid vilikhyâdau pùrvah pûrvah parâd adhah (11)

127.nbsp;svarah sthâpyah sa ced agre tatpürvas tad adho bhavet
purato \'pi likhed dhimân svarân uparivartinah (12)

128.nbsp;mûlakramah kramât prste çesah prastâra ïdrçah
nastoddistaprabodhârtham kha/jclamerur athocyate

129.nbsp;saptakosthâm likhed âdyâm panktim ekaikakoslhatah
hïnam tu pûrvapûrvasmât panktisatkam adho likhed (13)

130.nbsp;âdyapanktyâdikosthe tu likhed ekam paresu kham
dvitiya-panktâv apy ekam âdyakosthe likhed budhah
paresu pûrvapùrvânkam ko.sthasankhyagu;jam nyaset (14)

(15). B J 131 tam evânkam
koçthasankhyâ gunam nya-
set tatal? param tadadho\'
dhasthakoçtheçu, khandame-
fur ayam matah.

131.nbsp;evam eva likhed ankam adho \'dhali panktikosthakam
khandamerur ayam prOkto nastoddislaprabodhakah (15)

132.nbsp;vedyatânasvaramitân dattvâ tesv eva lostakân (1)
mûlakramam likhed âdâv uddistam tad adho likhet

119.nbsp;In the same way there are four tanas of six notes (without the characteristic pa) in the
murchana pauravi (ma-grama) beginning on dha.

120.nbsp;the number has been mentioned already, and the same is the case with
the varieties of four, three, two notes and one note.

121.nbsp;The sum total of these amounts to threethousand-fourhundred and twenty five,
which are the tanas coinciding with those of the murchana uttarayata (of the sa-grama).

122.nbsp;In this way we get a number of four-thousand and eighty-one tanas mentioned
twice, together witli their kramas in complete or incomplete form.

123.nbsp;When this number is deducted from the total mentioned before, the number
of kutatanas becomes threehundred-and-seventeen-thousand ninehundred and
thirty. A means to know them is told now.

125.nbsp;Multiplying the first with the second, the third with that product and so on

one gets the number of tanas of one note etc. respectively. (1 X 2, 2 X 3, 6 x 4, etc.)

126.nbsp;(see appendix I). Having written a (mula)-krama of two, three, or four notes

(in the first line. Then for each succeeding line) take the note (from the upper line)
and write it under the following note ;

127.nbsp;when that one is already above, (to the right) then take the previous one, and write
it below ;

128 to the left write the notes of the basic krama in due order. The rest of the exposition
goes in the same way.

And now the kha/ulameru will be described, in order to explain the question of nasta
and uddista.

129.nbsp;One should draw a row of seven squares to begin with ; below that six rows more,
each with one square less than the previous one.

130.nbsp;In the first quarc of the first row one should write one, in the others nought
(Sec Appendix II).

/ In the first square of the second line the wise should write one again,
but in the others the product of the number of the square with the previous number
each time.

131.nbsp;In that way one should fill in the squares of the lower rows as well.
That is called the kha/jclameru explaining nasta and uddista.

132.nbsp;Having put in the squares separately a number of pebbles equal to the number of notes

in the vedyatana (that is : the tana of which one wants to find out either number or form)

one should write the mfilakrama (that is the kr. in its original form) lirst, and under

that the uddista-tana (a given tana of which one wants to know the number in the series).

(2)nbsp;J. B. *syântyân J. porva. 133. svarän mülakramasyäntyät pûrvam tâvatithah svarah (2)

(3)nbsp;J. uddistântafi.nbsp;uddîstâiityas tâvatithe kosthe \'dho lostakam ksipet (3)

(4)nbsp;J. syâi labdham tyaktvâ. 134. lostacâlaiiam aiityât syât tyaktvâ labdham kramo bhavet (4)

135.nbsp;lostâkrantânkasamyogât uddistasya mitir bhavet
sankhyayâ tu yadâ rüpe prste nastam tad ucyate

136.nbsp;yair ankair nastasankhyâ syân maulaikânkasamanvitaih
nastatânasvarasthânam tair jnâtvâ tam svaram likhet

(8)nbsp;J adds after ♦ijanât : sâdhâ-
ra?îam matam sasya B. J.
*iha yâter sâdhâranam vidulj.

137.nbsp;kramo \'trâpi ca kartavyo labdhatyâgena pùrvavat
tathaivâtra likhec chistam evam nastottaram vadet

ekasvarâditânânâm sankhyâ sanjâyate sphulam.
iti khandameru nastoddistaprakara/mm (5)

139.nbsp;sâdhâranam bhaved dvedhâ svarajâtiviçesa/jât (6)
svarasâdhâranam tatra caturdhâ parikïrtitam

140.nbsp;kâkalyantara sadjaiç ca madhyamena viçesa/iât (7)
sâdhâranam kâkali hi bhavet sadjanisâdayoh (8)

141.nbsp;antarasyâpi gamayor evam sâdhâra/îam matam
nisâdo yadi .sadjasya çrutim âdyâm samâçrayet

142.nbsp;rsabhas tv antimâm proktam sadjasâdhâra/iam tadâ
madhyamasyâpi gamayor evam sâdhâra/mm matam
râgâlâpanasamyuktam jâtisâdhâra/mm viduh

143.nbsp;gânakriyocyate var/mh sa caturdhâ nirûpitah (9)
sthâyyârohyavarohï ca sancârï tv atha laksa/îam

144.nbsp;sthitvâ sthitvâ prayogah syâd ekaikasya svarasya yah
sthâyî var/îah sa vijneyah parâv anvarthanâmakau

yatropaviçyate râgah, svarah sthâyî sa kathyate.
iti sthâyyâdivar/ialak.sa/îam

133.nbsp;The number of the place occupied by the last note of the uddistatâna in the mûlakrama
counted from the last, that is as well the number of the square below to which the
pebble must be shifted.

134.nbsp;The shifting of the pebbles must be started from the end. By leaving out the note thus
obtained (both in mùlakr. and udd.) the new krama will be made.

Whenever the last of mûlakrama and uddista are the same, that note is to be carefully
left out.

135.nbsp;The number of the uddista (in the series) is obtained by adding together the figures on
which the pebbles have been put.

When the form is required of a tâna of which the number is given, that is called na§ta.

136.nbsp;Having obtained the place of a note of the nastatâna, by shifting the
pebbles to those figures which, combined with the figure one, of the first

square of the first row, make up the number of the nastatâna, one must write down
that note.

137.nbsp;The new krama must be made like before by dropping from the mûlakrama the note
obtained ; and now also one must write down the notes leftover.

there are notes in the tana, the number of tânas of one or more notes clearly comes out
Thus far the kha/jclameru, nasta and uddista.

139.nbsp;Sâdhâra/gt;a (amalgamation) is of two kinds, namely that of notes and that of jâtis.
The sâdhâra/ja of notes is fourfold :

140.nbsp;the kâkali, antara, sadja and niadhyamasâdhâra/ja.
Kâkali-sâdhâra/ia exists between the notes sa and ni,

141.nbsp;anatra-sâdhâra/Ja between the notes ga and ma.
When ni absorbs the first çruti of sa,

142.nbsp;the note ri the last çruti of that same note, then it is called sadjasâdhâra/ja.
Sâdhâra/ja between ga and ma is called madhyama-sâdhâra/ja.

The sâdhâra/ui of jâtis they know to be connected with the subject of râgâlâpana.
Thus far the subject of sâdhâra/îa.

143.nbsp;Uttering notes in singing is called var/ja ; this can be of four kinds : sthâyî, ârohî (ascen-
ding), avarohï (descending) and sancârï. Defined thus :

144.nbsp;the execution of each single note, which remains on the same pitch, is called sthayï,
the next two are what their names indicate.

145.nbsp;the vaivia arising from the mixing of the previous is called sancarï.
or : the note in which the râga ends, is called sthâyî.

146.nbsp;The note placed at the beginning of a song is called graha (the incipient).

(7) B J mayuracâtakacchâga
krauncakokiladarduralj gâjas
ca sapta çadjadi kramad
ucarayanty ami.

148.nbsp;viçistavarnasandarbham âlankâram pracaksyate
ekaikasyâm mûrclia77âyâm trisastir uditâ budhaih

athâlankâraprastârali (1) :
sari, sari, gari, gari, gama, gaina, pama, pama, padha
padha, padha, dhani, dhanisa.

iti prathamah
sasa, riri, gaga, mama, papa, dhadha, nini, sasa.
iti dvitïyali ity âlankâralaksanam.

149.nbsp;grahâmçatâramandrânâm nyâsâpanyâsakau tathâ (2)
api sannyâsavinyâsau bahutvam câlpatâ tatah (3)

150.nbsp;etâny antaramârgena saha laksmâni jatisu (4)
sâdavaudavite kvâpïty evam âhus trayodaça (5).

151.nbsp;çrutibhyah syuh svarâh sadjârsabhagândhâramadhyamâh
pancamo dhaivato câtha nisâda iti sapta te

152.nbsp;sadjam vadati mayûrah svaram rsabhâkhyam câtako brûte (7)
gândhârâkhyam châgo nigadati paksi tu madhyamam kraun-

153.nbsp;gadati pancamam ancitavâkapiko
ratati dhaivatam unmadadardurah
çrnisamâhatamastakakunjaro
gadati nâsikayâ svaram antimam

Iti svaraprakaranam
iti çrilaksmïdharasutacaturadâmodaraviracite sa/igïtadarpa/ie
svaragatâdhyâyah (8).

147.nbsp;The note which occurs frequently in the execution of a song is called amga,

of which there are mentioned by the wise sixty three in each separate mürchanä.

Then the example of älankäras
sari, sari, gari, gari, gama, gama, pama, pama, padha, padha,
padha, dhani, dhanisa.

That is the first,
sasa, riri, gaga, mama, papa, dhadha, nini, sasa,
that is the second. Thus far the definition of cälankäras.

149.nbsp;Graha, amga, tära and mandra, nyasa and apanyäsa, sannyäsa and
vinyäsa, bahutva (frequence) and alpatä (scarcity) together

these thirteen sometimes are enumerated as characteristics in the jatis (J. B.).
Now the notes are told :

151.nbsp;by the grutis are formed the notes sadja, rsabha, gändhära, madhyama,
pancama, dhaivata and nisäda, these seven.

152.nbsp;The peacock utters the note sa, the cätakabird utters ri,
the goat gives the note ga, the krauncabird ma,

153.nbsp;the woodpecker with its clear voice the pa,
the frog in excitement croakes the note dha,

the elephant, hit on the head with the driver\'s hook,
utters the last note through his nose.

Thus far the chapter concerning the notes.
Here ends the chapter about the notes of the book, called :
quot; the mirror of music and dance quot; written by Damodara the clever,
the son of Laksmldhara.

1,nbsp;yo \'yam dhvanir viçesas tu svaravar/ia-vibhûsitah
ranjako janacittânâm sa râgah kathito budhaih.
atha râgânga bhâsânga kriyângopânganirnayah

iti râgângam.
bhâsâchâyâçritâ ye tu bhâsângâs te nirûpitâh
iti bhâsângam (1)
3i karunotsàhasamyukta(m) kriyângam tena hetunâ
iti kriyângam (2)

(1)nbsp;J om bhâçânga.

(2)nbsp;J n yiiktâh kriyûngâs.

4.nbsp;kândâranâ tu kathitâ târasthânesu çïghratâ
gamakair vividhair yuktâ kauçalyena vibhOsitâ

5.nbsp;atha matangamatena râgâ/?âm traividhyam darçayati
çuddhâç châyâlagâh proktâh sankir/jâç ca tathaiva ca
tatra çuddharâgatvam nâma çâstrokta-niyamâd (3)
ranjakatvam bhavati châyâlagarâgatvam nâmânyac
châyâlagatvena raktihetutvam bhavati (4)
sankîr/mrâgatvam nâma çuddha cliâyâlago mukhyatvena
raktihetutvam iti kallinâthoktam likliitam

6.nbsp;audavah pancabhih proktah svâraih sadbliis tu sâclavah
sampûrnah saptabhir jneya evam râgas tridhâ matah

7.nbsp;crïrâga natabangâlau bhâsamadhyamasâdavau (5)
raktahamsaç ca kolhâsah prabhavo (6) bhairavo dhvanih (7),

8.nbsp;megharâgah somarâgah kamodaç câmrapancamah (mau) (8)
syâtâm kandarpadeçâkhyau kakubhântaç ca kaiçikah

atha râgarâgi/Jîmatam darçayati.
çivaçaktelî samyôgâd râgâ/jâm sambliavo bhavet (9).

10.nbsp;pancâsyât pancarâgâh syuh .sasthaç ca girijâmukhât
sadyovaktrât tu çrïrâgo vâmadevâd vasantakah (10)

11.nbsp;aghorâd bhairavo jâtas tatpurusât pancamo bhavet (11)
içânâkhyân megharâgo nâtyârambhe çivâd abhût

1.nbsp;That which is sound in the first place, ornated by notes and varnas (see I çl. 143 s. s.)
charming the heart of mankind, is called Râga (charm) by the wise.

the râga (melody); that is râgânga. (a composition in its chief part depending on raga)
Bhâsângas are created by following the special charms of the text.

3.nbsp;That which results from the combination of karuna (sentiment ?) and utsâha (perseverance)
is on that account called kriyânga.

That is kriyânga (a composition in its chief part depending on technique ?).
By following the special features just a little, the upânga is formed.

4.nbsp;Kâ/7dâra/Jâ is called the ability of singing (or playing) quickly in the high and other
registers, ornated by all dilTerent kinds of gamak (ornementation) and skill.

5.nbsp;Now the three dilTerent kinds of râgas are described, — after the views of Matanga, —
called çuddha, châyâlaga and sanklr/ia.

Now what decides the fact of being a çuddha râga is said in the çastras to be that the
charm is specially musical ; being châyâlaga comes when the charm is dependent on
something else, (text e. g.), sankîrnaka it is called when Ihe cause of the charm lies in
musical and other causes both.
So is related what Kallinâtha says.
(). A râga is called audava when it is pentatonic, .sâdava when it consists of six notes,
sampûr/ja (complete) finally, when it consists of seven notes. Thus râgas are of three kinds.

7.nbsp;(1) Çrî, (2) nata, (3) bangâla, (4) bhasa and, (5) madhya, both hexatonic, ((gt;) raktahamsa,
(7) kolhâsa, (8) prabhava, (9) bhairava, (10) dhvani,

then the two called (10) deçà and (17) kandarpa, (18) kakubhânta and (19) kaiçika,

Now the doctrines about râgas and râgi/Jïs are told :
By the union of Çiva and Çakti the birth of the râgas came about.

10.nbsp;From Pancâsya (Çiva) five râgas sprang, the sixth from the mouth of Girijâ (Pârvatî).
Çrîrâga from Çiva in his form of Sadya, [following B..I.], vasanta from him as Vâmadeva,

11.nbsp;from him as Aghora the râga bhairava, and as Tatpurusa the râga pancama;
megharâga sprung from Çiva in his from of Içâna, in the beginning of nâtya (dance).

13.nbsp;kiin rûpam katham uccâro vada deva prasâdatah
çrïrâgo\'tha vasantaç ca bhairavah pancamas tathâ (1)

15.nbsp;tatah pâhâdikâ jneyâ çrïrâgasya varânganâh (5)
deçï devagirï caiva vairâti todikâ tathâ

16.nbsp;lalitâ câtha hindolî vasantasya varânganâh
bhairavî gurjarl caiva revâ gunakarï tathâ .

17.nbsp;vangâlï bahulâ caiva bhairavasya varânganâh (6)
vibhâsaç câtha bhûpâlï karnâtï patahamsikâ (7)

18.nbsp;mâlaçrïh patamanjaryâ sahailâh pancamânganâh (8)
mallârî sorathî caiva sâverî kauçikî tathâ (9)

19.nbsp;gândhâri haracrngârâ megharâgasya yositah (10)
kamodî caiva kalyânî âbhîrî nâtikâ punah (11)

iti sattrimsad râginyah (13)
madhumâdhavï [ca] deçâkhyo bhûpâlï bhairavî tathâ (14)

21.nbsp;velâvalî ca malhârï vangâlï sâmagurjarl (15)
dhanâçrïr mâlavaçrïç ca megharâgaç ca pancamah (16)

22.nbsp;deçakâro bhairavaç ca lalitaç ca vasantakah
ete râgâh pragîyante prâtâr ârabhya nityaçah

23.nbsp;gurjarï kaiçikaç caiva sâverî pathamanjarî (17)
revâ gu/ïakarï caiva bhairavî râmakâry api

24.nbsp;sorathî ca tathâ jneyâh pratliamapraharottaram (18)
vairâtï todikâ caiva kamodî ca jûdâîkâ (19)

25.nbsp;gândhârî nâgaçabdî ca tathâ deçï viçesatah (20)
çankarâbhara/io jneyo dvitîyapraharât param (21)

26.nbsp;çrîrâgo mâlavâkhyaç ca gaudï triva/ia-sanjnakâh
nattakalyâna sanjnakaç ca sâlangam nattakam tathâ (22)

27.nbsp;sarve nâtâç ca kedârï kar/îâtyâbhïrikâ tathâ (23)
paclahamsï pahâdî ca trtïyapraharât param (24),

28.nbsp;ardhâratrâvadhi jneyâ râgâ ete sukhâpradâh (25)
yathoktakâla evaite geyâh pûrvavidhânatah
râjâjnayâ sadâ geyâ na tu kâlam vicârayet (26)

12.nbsp;The râga natanârâyana came from the mouth of Girijâ, when she was performing lâsya
(women\'s dance).

which are the ragas, which the râgi/Jïs, what are the times, what the seasons,

13.nbsp;what the form, how are they sung ? Tell me that by your favour, 0 God.
(Çiva said) The râgas çrî, vasanta, bhairava, pancama,

These are the male râgas.
Mâlavï, trivanî, gaudï, kedârï, madhumâdhavî,

15.nbsp;lastly pahâdikâ, are to be known as the beautiful wives of the râga çrî.
Deçï, devagirï, vairâtï and todî,

16.nbsp;further lalitâ and hindolï, these are the beautiful wives of vasanta.
Bhairavï, gurjarï, revâ and gu/îakarï

17.nbsp;vangâlï and bahulâ, are the beautiful wives of bhairava.
Vibhâsa (!), bhûpâli, kar/jâti, patahainsikâ,

18.nbsp;mâlaçrï and patamanjarï, are the wives of the râga pancama.
Mallari, sorathï, saverl, kauçikï,

19.nbsp;gândhârï and haraçrngârâ are the wives of the râga megha.
Kamodï, kalyâ/îï, âbhïrî, nâtikâ,

These are the 36 râginïs. (now the time of the râgas) [following B. ,J.]
Madhumâdhavî and deçà, bliûpâlï and bhairavï,

21.nbsp;velâvalï and malhârï, vangâlï and sâmagurjarï,
dhanâçrï, mâlayaçrï, megharâga and pancama,

23.nbsp;Gurjarï, kaiçika, sâverï, ])athamanjarï,
revâ, gu/îakarï, bhairavï, râmakârï

24.nbsp;and sorathï are to be known (as sung) subsequent to the first prahar.
Vairâtï, tôdikâ, kamodï, jûdâïkâ,

26.nbsp;Çrî and mâlava, gaudï and trivanâ,
nattakalyâna, sâlanga and naUakî»

27.nbsp;all the kinds of nâta, kedârï, kann\'itï and âbhïrî,
padahamsï, pahâdi belong after the third prahar.

28.nbsp;Sung as late as the middle of the night these râgas must be considered as bestowing

They have to be sung at the prescribed times according to the rules of the days of yore.
By order of the king (however) they arc to be sung at all times, the singer should not
consider the right time then.

29.nbsp;çrîrâgo râginîyuktah çîçire gîyate budhaih
vasantali sasahâyais tu vasantartau pragîyate (27).

30.nbsp;bhairavah sasahâyais tu rtau grïsme pragîyate (28)
pancamas tu tatliâ geyo râginyâ saha çârade (29)

31.nbsp;megharâgo râginîbhir yukto varsâsu gîyate (1).
natanârâyano rago râginyâ saha hemake (2)
yathecchayâ vâ gâtavyâh sarvartusu sukhâpradâh

32.nbsp;bhairavah kauçikaç caiva hindolo dîpakas tathâ (4)
çrîrâgo megharâgaç ca sad ete purusâhvayâh (5)

33.nbsp;madhyamâdir bhairavâ ca vangâlï ca varâtikâ (6)
mâdhavî ca punar geyâ bhairavasya varânganâh (7)

34.nbsp;todî khambâvatï gaudï gunakrï kakubhâ tathâ (8)
râginyo râgarâjasya kauçikasya varânganâh (9)

35.nbsp;velâvalî râmakarî deçâkhyah patamanjarî (10)
lalitâsahitâ etâ hindolasya varânganâh (11).

36.nbsp;kânarâ deçikâraç ca kamodî nâtikâ punah (12)
dîpakasya priyâh panca khyâtâ râgaviçâradaih

37.nbsp;vasantâ mâlavï caiva mâlaçrïç ca dhanâçrikâ (13)
asâvarî tu vijneyâh çrïrâgasya varânganâh

38.nbsp;mallârî deçakârî ca bhûpâlï gurjarï matâ (14)
takkaç ca pancamî bhâryâ megharâgasya yositah (15)
iti hanumanmate râginyah.

39.nbsp;bhairavah pancamo nâto mallâro gaud [hjamâlavah (17)
deçâkhyaç ceti sad râgâh procyante lokaviçrutâh

40.nbsp;vangâlîyam gu/jakarï[m| madhyamâdir vasantakah (18)
dhanâçrîç ceti pancaite râgâ bhairavasamçrayâh (19)

41.nbsp;lalito gurjarï deçï varâlï râmakrt tathâ (20)
matâ râgârnave râgâh pancaite pahcamâçrayâh

42.nbsp;natanârâyanah pûrvam gândhârah sâlagas tathâ
tatah kedârakar/iâtau pancaite nâtasamçrayâh (21)

43.nbsp;meghamallârikâ mâlakauçikah pa [njtamanjarî (22)
asâvarïti vijneyâ râgâ mallârasamçrayâl.i (23)

44.nbsp;hindolas triva/îândhârï gaurâ ca padahamsikâ (24)
pancaite râganâmâno gaudam âçritya samsthitâh (25)

45.nbsp;bhûpâlï ca âdâî ca kamodî nâttikâ tathâ (26)
velâvalîti vijneyâ râgâ deçâkhyasamçrayâh (27)

29.nbsp;The raga çrî with his râginïs is sung by the wise in the cold season.

30.nbsp;Bhairava and his companions are sung in the hot season,
Pancama with his râginï(s) during autumn.

31.nbsp;The râga megha along with his râginïs is sung during the rains,
tlie râga natanârâyana with his râginï(s) in winter.

According to one\'s wish, all of them, giving pleasure, may be sung in any season.

Thus far the right time in the seasons. Thus the views of Someçvara.
Now the opinion of Hanuman.

32.nbsp;The râgas bhairava, kauçika, hindola, dïpaka,
çrî and megha, these six are called the male ones.

35.nbsp;Velâvalï, râmakarï, the one called deçà and patamanjarï
together with lalitâ, these are the beautiful consorts of hindola.

These are the râgi/?ïs according to Hanuman. Now the opinion of the Râgârnava.

40.nbsp;Vangâli, gu/uikarî, madhyamâdi, vasanta and, lastly
dhanâçrï, these live râgas belong to one group with bhairava.

44.nbsp;Hindola, triva/jâ, andhârï, gaudï (?) and padahamsikâ,
the five ragas of these names are fixed on gauda.

these râgas must be known as belonging to the râga called deçà.
Thus far the opinion of the râgârnava.

46.nbsp;na tâlânâm na râgânâm antah kutrapi vidyate
idânîm râgarâginyor udàhara/?am (ucyate) (29).

47.nbsp;dhaivatâmçagrahanyàso ripahïno \'tha mântatah (1)
bhairavah sa tu vijneyo dhaivatâdikamûrchanah
dhaivato vikrto yatra audavah parikirtitah
udâharanam (2)

48.nbsp;gangâdharah çaçikalâtilakas trinetrah
sarpair vibhûsitatanur gajakrtivâsah (3)
bhâsvat triçûlakara esa nrmundadhârï
çubhrâmbaro jayati bhairava âdirâgah.
dha ni sa ga ma dha iti bhairavah (4).

49.nbsp;madhyamâdiç ca râgânga grahâmçanyâsamadhyamâ (5)
saptasvarais tu gâtavyâ madhyamâdikamûrchanâ
sampûrnâ kathitâ tajjnaih ridhahinâ kvacin matâ

(14)nbsp;,T kak^ia-nivecitakaranda-
dhara tapa-sviny, ancat-tri-
^ulaparimanditavamahasta ,
bhasmojjvala nivadabaddha-
ja^a kalapa. vangalikety a-
bhihita taru«arkavarna.

50.nbsp;patyâ sahâsam parirabhya kâmani (6)
sacumbitâsyâ kamalâyatâksï (7)
svarnachâvih kunkumaliptadehâ

51.nbsp;sampûrnâ bhairavï jneyâ grahâmçanyâsamadhyamâ (8)
sauvïrïmûrchanâ jneyâ madhyamagrâmacârinï (9)
kvacid esâ bhairavavat svarair jneyâ vicaksa/iaih (10)

52.nbsp;sphatika-racitapïthe ramyakailâsaçrnge
vikacakamalapatrair arcayanti maheçam
karadhrtaghanavâdyâ pïtavar/îâyatâksï
sukavibhir iyam uktâ bhairavï bhairavastrî
ma pa dha ni sa ri ga ma athavâ

53.nbsp;vangâlï audavâ jneyâ grahâmçanyâsasadjabhâk (12)
ridhahïnâ ca vijneyâ mùrchanâprathamâ matâ
pûr/iâ vâ matrayopetâ kallinâthena bhâsitâ (13)

54.nbsp;kaksâniveçitakarandadharas tapasvï (14)
bhâsvattriçûlaparima/ulitavâmaliastah
bhasmojjvalo nividabaddhajatâ kalâpo vangâlah
ity abhihitas tarunârkavarnah.

46.nbsp;Neither of tâlas (times) nor of râgas the limit can be perceived anywhere.
Now the description of râgas and râginïs is started.

47.nbsp;Bhairava is to be known as having dha in the function of amça, graha [and nyâsa] and
ending on the note ma,

being without the notes ri and pa, and in the mûrchanâ which starts on dha.
When the dha is altered bhairava is known as pentatonic (hexatonic ?).
Description :

48.nbsp;Bhairava, the first of the râgas, conquers, having the form of Çiva in his aspect of Gan-
gâdhara, with the sign of the crescent on the forehead, three-eyed, his body ornated
with snakes, clad in an elephant\'s skin, with a radiant triçûla in hand, carrying a human
skull, having a white garment.

49.nbsp;The râgi/iî madhyamâdi depends on musical charm, ma is her amça, graha and nyâsa,
her mûrchanâ starts on ma, and she is to be sung with seven notes ; (so) the authorities ^
on the subject proclaim her as heptatonic ; sometimes, however, she is said to be without

50.nbsp;A goddess of love, [J], embraced by her husband, smiling, her mouth covered wiht (his)
kisses, with eyes shaped like the leaf of a lotus, with a complexion like gold, anointed with
salfron, such is madhayâmadi, described by the wisest of the wise.

nui, pa, dha, ni, sa, ri, ga, ma. Or : mâ, ma, pâ, pa, ma sa ni, sa, ni, ga, ma.
So is madyamâdi.

51.nbsp;Bhairavî is to be known as being heptatonic, with ma in the function of

graha, amça and nyâsa, in the sauvîrî mûrchanâ, belonging to the madhyamagrâma.
Sometimes she is known by the wise as having notes like bhairava.

52.nbsp;Seated on the lovely, top of the Kailâsa on a stool ornated with rock cristal and leaves
of radiant k)tusses, singing the praise of Çiva with the instrument of the heavenly hosts
in hand, of yellow complexion, and with ovalshaped-eyes, is bhairavî, the wife of bhairava,
as described by the clever poets.

53.nbsp;Vangâli is known as pentatonic, without ri and dha ; sa in the function
of amça, graha and nyâsa, belonging to the first mûrchanâ.

As described by Kallinâtha, however, she is heptatonic and has ma in the three functions.

54.nbsp;(following J) A female ascetic, carrying a basket on her girdle, her left hand adorned
with a bent trident, and ashes being her ornament, with a bunch of matted hair bound
tightly together, such is described vangâli, who has a complexion like the soft rayed moon,
sa, ga, ma, pa, ni, sa. or : ma, pa, dhà, ni, sa, ri ga, ma.

55.nbsp;Vairâti, as is told by the wise, has sa in the function of amça, graha and nyâsa, her mûr-

56,nbsp;vinodayantï dayitam s\\ikeçï
sukankanä cämaracälikena (1)
karne dadhänä süravrksapuspam
varänganeyam kathitä varäti

57,nbsp;sadjagrahâmçanyâsâ pùrnâ saindhavikä matâ (2)
mùrchanottaramandrâ [d]yä kaiçcit sâdavikâ matâ
rihïnâ tu bhaven nityam rase vïre prayujyate (3)

58,nbsp;triçûlapânih çivabhaktiraktâ raktâmbarâ dhâritavandhujivâ
pracandakopâ rasavîrayuktâ sâ saindhavï bhairavïrâginïyam(4)

sa ri ga ma pa dha ni sa athavâ
sa ga ma pa dha ni sa iti saindhavi
iti pancabhâryasahito bhairavah,

59,nbsp;sadjagrahâmçakanyâsah sampürno mâlavakaucikah (5)
mürchanä prathamâ jneyâ kâkalïsvarasammatali (6)

60,nbsp;âraktavarno dhrtaraktayastir (7) vïrah suvïresu krtapravïryah (8)
vïrair dhrto vairikapâlamâlï mato mâlavakauçiko \'yam (9)
sa ri ga ma pa dha ni sa sa ni dha pa ma ga ri sa

61,nbsp;madhyamâmçagrahanyâsâ sauvïrïmûrchanâ matâ
sampûr/îâ kathitâ tajjnaih todî çrïkauçike matâ (10)
grahâmçanyâsasadjam ca kecid atra pracaksate

62,nbsp;tusârakundojjvaladehayastih
kâçmïrakarpûraviliptadehâ
vinodayantï hari/mm vanânte
vï/iâdhârâ râjati todikeyam.

63,nbsp;dhaivatâmçagrahanyâsâ sâdavâ tyaktapancamâ
kambâvatî ca vijneyâ mürchanä pauravï matâ.

gânapriyâ kokilanâdatulyâ priyamvadâ kauçikarâgi/nyam.
dha ni sa ri ga ma dha iti khambâvatï

65,nbsp;grahâmçanyâsasadjâ syâd ripavarjâ sukhapradâ (11)
mürchanä prathamâ jneyâ gaurï sarvângasundarï.

56.nbsp;A beautiful woman, with lovely locks, beautiful bracelets
and a flower of the sura tree in her ear, pushing back her

lover with a movement of her chowree, such is described varatL
Sa, ri, ga, ma, pa, dha, ni, sa.
That is varâtï.

57.nbsp;Saindhavï is said to have sa in the position of amça, graha and nyâsa, to be heptatonic,
being in the mûrchanâ uttaramandrâ. By some, however, she is said to be hexatonic,
without ri. She has, in any case, to be connected with the heroic sentiment.

58.nbsp;With a trident in hand, glowing with devotion for Çiva, dressed in red, carrying a bandhu-
jïva flower, in fiery anger, inspired by the heroic sentiment, is saindhavï, the ragini of
bhairava.

sa, ri, ga, ma, pa, dha, ni, sa ; or : sa ga ma pa dha ni sa. That is saindhavï.
Thus far bhairava with his five consorts.

59.nbsp;Mâlavakauçika has sa in the function of graha, amça and nyâsa, and is heptatonic. The
first one is his mûrchanâ and he has the kâkalï note.

60.nbsp;Mâlavakauçika is considered as being reddish in colour,carrying a red stick, a hero, amongst
heroes the greatest, carried by heroes, and wearing a garland of the skulls of the brave,
sa, ri, ga, ma, pa, dha, ni, sa-sa, ni, dha, pa, ma, ga, ri, sa.

That is mâlavakauçika.
Gl. Todï, the beloved of kauçika, is said by the authorities to be heptatonic and in the sau-
vîrî mûrchanâ, having ma in the function of graha, amça and nyâsa.

62.nbsp;The slender body with fresh jamincs shining,
anointed with camphor from Kashmir her limbs,
pushing back a deer at the edge of a forest glade,
holding a vï/îâ, shines lodî.

ma, pa, dha, ni, sa, ri, ga, ma ; or : sa, ri, ga, ma, pa, dha, ni, sa.
That is todï.

63.nbsp;Khambhâvatï is to be known as having dha in the function of graha, amça and nyâsa,
hexatonic by the dropping of pa, and belonging to the mûrchanâ pauravî.

64.nbsp;Khambâvatï is a bestower of joy, judicious, with a body adorned by nobility and charm,
loving song, with a voice in sweetness, like that of the kokila sweet of speech, therâgi/âof
kauçika.

65.nbsp;Gaurï, of perfect bodily beauty, is to be known as having sa in the function of graha,
amça and nyâsa, and being without ri and pa, in the first mûrchanâ, bestowing joy.

66.nbsp;Gaurï is described by Kohala [.I| as having a dark complexion, making a very delicate
sound on a madhusyandi, putting in her ear a ring made of the sprouts of a mango tree
in which the kokilas were singing lovely.

67.nbsp;ridhahînâ gunal^arï audavâ pariliïrtitâ
nigrahâmçà tu ninyâsâ ranjanï-mûrchanâ câtra (14)
kaiçcit sadjatrayâ matâ mâlavâçrayinï tu sâ (15)

68.nbsp;çokâbhibhûtanayanârunadïnadrstir
namrânanâ dharanidhûsaragâtrayastih
âmuktacârukavarï priyadùravartï (1)
sankïrtitâ gunakarî karune krsângï (2)

ni, sa, ga, ma, pa, dha, ni, sa, ga, sa, ni, athavâ
sa ga ma pa ni sa. iti gunakarî (3)

69.nbsp;dhaivatâmçagrâhanyâsâ sampûrnâ kakubhâ matâ (4)
trtîyamûrchanotpannâ çrngârarasa-manditâ

70.nbsp;upositângï ratimânditângï candrânanâ campakadâmayuktâ (5)
katâksinî syât paramâ vicitrâ dânena y uktâ kakubhâ manojnâ
dha ni sa ni ga ma pa dha iti kakubhâ (6)

71.nbsp;hindolako ridhatyaktah satrayo gadito budhaih
mûrchanâ çuddhamadhyâ syâd audavah kâkalîyutah

72.nbsp;nitambinïmandatarangitâsu dolâsu khelâsukham âdadhânah(7)
kharvah kapolah dyuti-kâmayukto hindolarâgah kathito

73.nbsp;dhaivatâmçagrahanyâsâ pûr/iâ velâvalî matâ (9)
pauravî mûrchanâ jneyâ rase vïre prayujyate (10)

74.nbsp;sanketadïksâm dayite ca dattvâ vitanvati bhûsanam angakesu
muhuh smarantï smaram istadevam velâvalî nïlasarojakân-

75.nbsp;sadjagrahâmçakanyâsâ pûr/jâ râmakarî matâ
mûrchanâ prathamâ jneyâ karune sâ prayujyate (12)
ridhatyaktâ(m) kecit tu kecit pancamavarjitâ(m) (13)
sâdavaudavâ proktâ sampûr/iâ ca tridhâ matâ (14)

kânte samîpe kamanîyakanthâ mânonnatâ râmakarî mateyam
sa ri ga ma pa dha ni sa [athavâ] sa ni dha pa ma ga ri sa (16)
iti râmakarî

67.nbsp;Gunakarî is pentatonic by leaving out ri and dlia, ni is amça and gralia, and ni is nyâsa
as well, her mûrchanâ is ranjanï ; by some, however, she is said to have sa in the three
functions, and to be dependent on mâlava.

68.nbsp;Gunakarî, connected with the sentiment of misery, is described as being lean, with over-
whelming grief in her eyes, and a confused and depressed look, her head bent, gray like
dust her slender body, having loosened her beautiful plaits, (paining,) far from her beloved
ni, sa, ga, ma, pa, dha, ni sa, ga, sa, ni ; or : sa, ga, ma, pa, ni, sa.

69.nbsp;Kakubhâ is believed to have dha in the function of amça, graha, and nyâsa, to be hep-
tatonic, and to have sprung from the third mûrchanâ, adorned by the sentiment of love.

70.nbsp;Ivakubhâ, the charming, whose body bespeaks the torments of fasting and the charms of
love, whose face in beauty is like the moon and who is wearing a garland of campakaflowers,
casts stealthy glances, the most excellent one, the wonderful and generous. Dha, ni, sa,
ri, ga, ma pa dha. That is kakubhâ.

71.nbsp;Hindola is said by the wise to be without ri and to have sa in the three functions ;
his mûrchanâ is çuddhamadhyâ, he is pentatonic and has kâkalï notes.

72.nbsp;Hindola — thus say the wise — accompanied by the god of love whose beauty is en-
hanced by small doves,

enjoys the pleasure of the play on a swing, which is brought into soft motion by a beau-
tiful woman.

73.nbsp;Velâvalî has dha in the function of amça, graha and nyâsa, and is heptatonic ;
her mûrchanâ is pauravî and she is connected with the heroic sentiment.

74.nbsp;Velâvalî, beautiful like the blue lotus, ceaselessly remembering Smara, the beloved god
of love,

has put ornaments in her hair and on lier limbs, the slender one, and on her lover too,

75.nbsp;Râmakarî is considered to be heptatonic, with sa in the function of amça graha and nyâsa ;
hers is the first mûrchanâ, and she in sung in the plaintive mood.

In that way she is said to be penta-, hexa-, and heptatonic, in three difl^erent ways.

76.nbsp;Râmakarî is to be imagined as being in high spirits, as the beloved is near, with a char-
ming voice,

shining like gold, with brilliant ornaments, but wearing a dark veil over her beauty,
sa, ri, ga, ma, pa, dha, ni, sa, [or :] sa, ni, dha, pa, ma,ga, ri, sa. That is râmakarî.

77.nbsp;deçàkhyâ sâdavâ jneyâ gatraye/îa vibhûsitâ (18)
rsabhe7îa viyuktâ sâ çârngadevena kïrtitâ (19)
mûrchanâ hâri/îâçvâ ca sampûrnam kecid ucire (20)

79.nbsp;pancamâmçagrahanyâsa pûrnâ ca patamanjarî (23)
hrsyakâ mûrchanâ jneya rasikânâm sukhapradâ (24)

mûrchanâ çuddhamadhyâ syât sampûrnâ (m) kecid ûcire
dhaivatatrayasamyuktâ dvitlyâ lalitâ matâ (5)

sa ga ma dha ni sa athavâ sa ri ga ma pa (10)
dha ni sa athavâ dha ni sa ma ga dha
iti lalitâ iti pancabhâryasahito hindolah

83.nbsp;sacljagrahâmçakanyâsah sampûrno dîpako matah
mûrchanâ çuddhamadhyâ syât gâtavyâ gâyanaih sadâ

84.nbsp;bâlâ ratârtham pravilînadîpe grhe \' ndhakâre subhagâ pravrttâ
tasyâh çirobhû.sa/îaratnadîpair lajjâm prakurvan (11) krtavân

85.nbsp;kedârï ridhahînâ syâd audavâ parikîrtitâ
ritrayâ mûrchanâ margî kâkalîsvaramanditâ (12)

77., The râgi/îï deçà is to be known as being ornated with ga in the three functions,

hexatonic, without ri, as described by Çârngadeva (the author of the Sangïta-ratnâkara)
Her mürchanä is härinäcvä, some say that she is heptatonic.

78.nbsp;Deçà is described by the kings amongst the wise as belonging to the heroic sentiment,
red like the moon, full of wrath, tall,

with his beautiful arms fettered, oppressed, showing the state of horripilation,
ga, ma, pa, dha, ni, sa ga ; or : ga, ma, pa, dha, ni, sa, ri, ga.
That is the räga called deçà.

79.nbsp;Patamanjarï is heptatonic, with pa in the function of graha, amça and nyasa,
belonging to the mürchanä hrsyakä, and giving joy to those who have taste.

80.nbsp;A fair woman, separated from her beloved, her body tormented by love, withered, wear-
ing a garland on her beautiful body,

gray like dust her limbs, but being comforted by her beloved girlfriend — that is pata-
manjarï.

81.nbsp;Lalitâ is pentatonic by the dropping of ri and pa, having sa in the three functions,
her mürchanä is çuddhamadhyâ ; some say that she is heptatonic.

82.nbsp;Lalitâ is described as a young woman, wearing a crown of seven fulgrown leaves, a goddess
Çrî in beauty, with brightly shining eyes,

sa, ga, ma, dha, ni sa ; or : dha, ni, sa, ga, ma, dha ; or : sa ri ga ma, pa, dha, ni, sa.
That is lalitâ. Thus far the râga hindola with his live mates.

83.nbsp;Dïpaka is believed to be hei)latonic, with sa in the function of graha, amça,

and nyâsa ; as his mürchanä çuddhamadhyâ always is to be sung by the singers.

84.nbsp;The beautiful young woman was engaged in the house, [which was ] in darkness, as the
lamp was extinguished for her pleasure ;

the light, rellecting in the bejeweled ornaments on his forehead made her ashamed,
for] he, having made a light (pradïpam) made her ashamed by the radiance of his bejuwel-
ed head-ornaments (?)
sa, ri, ga, ma, pa, dha, ni, sa. That is dïpaka.

she has ri in the thrcc functions, her mürchanä is margï, and she has the kâkalï note.

86.nbsp;The raga kedärn is said to be an ascetic, whose mind is drowned in meditation on Gan-
gädhara (Çiva),

observing the yogapithaposture, wearing a snake as uppergarnient, crowned by the
white moon, and having plaited his hair,
ni, sa, ga, ma, pa, ni-ni, pa, ma, ga, sa, ni. That is kedârï.

(20)nbsp;J adds : krpâwapânï gaja-
dantapatram vâme tare câ-
rukare vahantï samstûyamâ-
nâ suracâranoghaih kamâ-
tikeyam kathitâ munïndraih.
and B kathito munïndraih.

vibhâsarâga^ svacchanda sam-
mânitapuçpacâpah i priyâra-
sah svâdurasâhhitrptah pa-
ryankamadhye svakrne pave-
ço bhaso vi-pûrvali (?) kela-
hemagaurah iti vibhâsah.

89.nbsp;deçï pancamahïnâ syâd rsabhatrayasamyutâ (21)
kalopanatikâ jneyâ mürchanä vikrtarsabhâ (22)

91.nbsp;dhâmçagrahanyâsâ pürnä pauravï mürchanä matâ
mallâranikate geyâ kamodï ca nigadyate (1)
çivabhûsanakedârayuktâ sarvasukhapradä (2)

92.nbsp;pitam vasânâ vasanam sukeçï vane rudantï pikanädadünä
vilokayanti vidiçe\'tibhûtâ kamodikâ kântam anusmarantï (3)
dha ni sa ri ga ma pa dha iti kamodï

93.nbsp;grahâmçanyâsasadjâ syât sampûrnâ nâtikâ matâ
prathamâ mürchanä jneyâ gamakair bahubliir matâ (4)

çrngamûrtih (7)
sa ri ga ma pa dha ni sa-sa ni dha pa na ga ri sa
iti nâtikâ iti pancabhâryasahito dïpakah (8).

95.nbsp;çrïrâgah svacavikhyâtah (8 bis) satrayena vibhüsitah (9)
pürnah sarvagunopetah (10) mürchanä prathamâ matâ (11)
kecittu kathayantyenam rsabatrayam sammatain (12)

87.nbsp;With an altered ni in the threefold function, heptatonic,
his mûrchanâ being margï. That is kar/7âta.

88.nbsp;The râga karnâta, in appearence like a ruler of the world, being praised by throngs of
celestial musicians,

carries a sword in (his left) hand, and has one leaf of ivory in his right hand,
ni, sa, ri, ga, ma, pa, dha, ni. That is the râga karnâta.

J. adds after this another çloka about the same, but in the feminine gender.
After that J gives the description of the râga Vibhâsa, treated in all
other manuscripts in two quarterverses- at the end of the chapter,
(see çl. 136). The form of the çl. in J is very corrupt.

89.nbsp;Deçï is without pa, having an altered ri in the three functions ;
her mûrchanâ is kalopanatâ.

90.nbsp;Deçï, a young woman, charming, with cloths of the colour of sulphur, her mind full of
desire, wakes up her beloved, who only pretends to be sleeping, as if anxious for
love\'s sport.

91.nbsp;Kamodi, according to the general opinion, has to be sung approaching mallâra, in the
mûrchanâ pauravî,

heptatonic, and with dha in the faction of amça, graha and nyasa.
She, related to kedâra with his Çiva-like attire, bestows joy on everyone.

92.nbsp;Kamodî with beautiful locks, dressed in a yellow garment, errs in the wood

in deadly terror, vexed by the sound of the woodpeckers, weeping, looking round in
every direction, her mind full of her beloved,
dha, ni, sa, ri, ga, ma, pa dha. That is kamodî.

93.nbsp;Nâtikâ is said to be heptatonic, with sa in the function of amça, graha and nyâsa,
her mûrchanâ being the iirst, ornated with much gamak (lioritura).

94.nbsp;Nata is described as having the appearance of the mu/ïi çpnga, going round the batt-
lefield, vexed, his body red with blood, shining like gold, his arms hanging round
the shoulder of a horse.

sa, ri, ga, ma pa, dha, ni, sa-sa-, ni, dha, pa, ma, ga, ri, sa. That is nâtikâ.
Thus far dïpak with his live wives.

95.nbsp;The râga çrï is renowned as being pure, and ornated with sa in the three functions,
heptatonic, gifted with all virtues ; his is the first mûrchanâ.

96.nbsp;Having the appearance of one, beloved to the God of love, eighteen years old, with
ever fresh young leaves stuck behind the ears,

(Jres^ed in ruddy cloths, to whom ?adja and the other notesare like servants, looking

97.nbsp;vasantï syât tu sampûrnâ satrayâ kathitâ budhaih
çrïrâgamûrchanaisâtra geyâ râgaviçâradaih (16)

indïvaraçyâmatanûr vilâsï vasantakah syâtalimanjulaçrïh (19)
sa ri ga ma pa dha ni sa iti vasantikâ

99.nbsp;mâlavï audavâ jneyâ nitrayâ parivarjitâ (20)
rajanï mûrchanâ jneyâ kâkalîsvaramanditâ (21)

sanketaçâlâm praviçan pradose mâlâdharo mâlavarâga esah
(23) ni sa ga ma dha ni ïti mâlavï

101.nbsp;mâlavaçrïç ca râgângâ pûr/iâ satrayabhûsitâ
mûrchanottaramandrâ syâc chrngârarasama/jditâ.

(1)nbsp;J. B. âsâvarî. J. B. «ça ca
dhaivato nyâsa syâd, audavâ
proktâ karu.

102.nbsp;raktotpalahastatale niyuktam vibhâvâyantï tanudehavallï (24)
rasâlavrksasya taie nisannâ stokasmitâ sâ kila mâlavaçrïh (25)
sa ri ga ma pa dha ni sa iti mâlavaçrïh

103.nbsp;salrayâ rsabhâd dhïnâ sâdavâ ca dhanâsarï (20)
mûrchanâ prathamâ jneyâ rase vïre prayujyate (27)

105.nbsp;asâvarî garityaktâ dhagrahâmçâ caudavâ
nyâsas tu dhaivato geyah karunarasanirbharâ (1)

106.nbsp;athavâ kakubhâd eva cotpannâ dhântâ mâmçagrahâ matâ (2)
pancamenaiva rahitâ sâdavâ ca nigadyate

107.nbsp;çrikha/idaçailaçikhare çikhipucchavastrâ (3)
mâtangamauktikakrtoghamahâravallî (4)
âkrsya candanataror uragam vahanti
sâsâvârî valayam ujjvalanïlakântih

dha ni sa ma pa dha athavâ ga dha ni sa ri ga dha (5)
dha, ga, ri, sa, ni, dha, ma. ity asâvarî
iti pacanbhâryasahito çrïrâgah

sa, ri, ga, ma, pa, dha, ni, sa ; or : ri, ga, ma, pa, dha, ni, sa, ri. That is the râga çrï,

97.nbsp;Vasantï is said by the wise to be heptatonic and with sa in the three functions ;
she has to be sung by the connoisseurs of râga in the same mûrchanâ as çrï,

98.nbsp;Vasanta is sportive, with a body dark like the blue lotus, and a tuft of hair bound toge-
ther with many feathers from the peacock\'s tail,

having made earrings of beautiful mangosprouts, lovely by the bees around him,
sa, ri, ga, ma, pa, dha, ni, sa. That is vasantikâ,

99.nbsp;Mâlavï is pentatonic by the dropping of pa and ri, having ni in the three functions,
ornated by the kâkalï note, and in the mûrchanâ rajanï.

100.nbsp;The râga mâlavï, of pure beauty, wearing a garland, and earrings, deeply in love, enters
the meeting place at nightfall,

(where) his face (is) kissed by a lovely woman,
ni, sa, ga, ma, dha, ni. That is mâlavï.

101.nbsp;Mâlavaçrï depends on musical charm, is heptatonic, and is ornated by sa in the three
functions ;

102.nbsp;Having taken a red lotus in her hand (following J) showing her body, slender like a liana,
reclining at the foot of a mangotree, smiling a little, that is mâlavaçrï.

103.nbsp;Dhanâçrï is hexatonic by the discarding of ri, has sa in the three functions,
stands in the iirst mûrchanâ and is connected with the heroic sentiment.

104.nbsp;Dhanâçrï, whose bosom is washed by streams of tears, with a tear still on her while
cheeks, pained by the separation,

with a complexion dark like a blade of dûrvâgrass, charming, is busy painting the por-
trait of her lover.

105.nbsp;Asâvarî is pentatonic, missing ga and ri, and has dha as amça and graha ;

the note dhaivata is also to be sung as nyâsa. She is connected with the plaintive sen-
timent.

being derived from the râga kakubha, having dha as nyâsa, ma in the function of graha
and amça.

107.nbsp;Abiding on the top of the sandalwood mountain, clad in peackock\'s tail-feathers,
wearing a beautiful string made of wonderfully exquisite pearls,

having dragged a snake from a sandalwood tree, and wearing it
as a bracelet, such is asâvarî, of llaming, dark beauty.

dha, ni, sa, ma pa, dha ; or : ga, ma, dha, ni, sa, ri, ga, dha, dha, ga, ri, sa, ni, dha, ma.
That is asâvarî.
Thus far about the raga çrï with his live wives.

108.nbsp;Megha is heptatonic, having dha in the three functions, in the mûrchanâ uttarâyatâ,

109.nbsp;nilotpalâbhavapur indusamânacailah
pitâmbaras trsitacätakayäcyamänah (8)
pîyûsamandahasito ghanamadhyavartï
vîresu râjati yuvä kila megharâgah

110.nbsp;malhârï sapahïnâ syâd grahâmçanyâsadhaivatâ (9)
audavâ pauravïyuktâ varsâsu sukhadâ sadâ

âdâya vï/îâm malinâm rudantï mallârikâ yauvanadûnacittâ
dha ni ri ga ma dha iti mallârï

112.nbsp;deçakârï tu sampûrnâ sadjanyâsagrahâmçikâ (12)
mûrchanâ prathamâ jneyâ vairâtimiçritâ bhavet (13)

pïnastanï rukmatanuh sukeçï sampür/7acandränanä deçakâri
sa ri ga ma pa dha ni sa iti deçakârï (17)

114.nbsp;sadjagrahâmçakanyâsâ bhûpâlï kathitâ budhaih
mûrchanâ prathamâ yatra sampûrnâ çântike rase (18)
kaiçcit tu ripahïneyam audavâ parikïrtitâ (19)

116.nbsp;grahâmçanyâsâ-rsabhâ sampûrnâ gurjarï matâ
saptamï mûrchanâ tasyâm bahulyâ saha miçritâ (22)

dressed in yellow, implored by the thirsty cataka birds, (who drink only raindrops)
with a smile sweet like nectar, in the midst of clouds,
radiates amongst the heroes, râga megha, the youth,
dha, ni, sa, ri, ga, ma, pa, dha. That is the râga megha.

110.nbsp;Malhârï is pentatonic, without sa and pa, and has dha in the three functions;

she is connected with the mûrchanâ pauravî, and always gives joy during the rains.

111.nbsp;Having banished the song from the throat of the kokilas, mallârikâ, her heart burdened
by the vexations of youth,

commemorates the lord of her heart in the course of a song, weeping,
a vînâ in hand, which she wets with her tears,
dha ni ri, ga, ma, dha. That is mallârî.

112.nbsp;Deçakârî is heptatonic, with sadja as graha, amça and nyâsa,
being in the first mûrchanâ, mixed with the râgi/jï vairâtï.

113.nbsp;Deçakarî, with a face lovely like the full moon, with beautiful locks,

a golden body, a full bosom, with lotus-leaf-shaped eyes, of perfect stature, and skillful,
sports with her lord.

114.nbsp;Bhûpâlï is said by the wise to be heptatonic, with sa as amça, graha and
nyâsa, standing in the first mûrchanâ, and belonging to the quiescent mood.
By some she is proclaimed to be pentatonic without ri and pa.

115.nbsp;Bhûpâlï, belonging to the quiescent mood, a woman in the splendour of beauty, lovely,
with a face beautiful like the moon, and a full bosom, her body anointed with saffron,
pained by the separation, remembers her husband.

hers is the seventh mûrchanâ, and she is mixed up with many other (râgi/jïs).

117.nbsp;Gurjarï, coming from the south, of dark complexion, with beautiful locks,
on a couch, formed by the softly swinging, young sprouts of sandal trees,
produces all kinds of çrutis and notes on her lute.

118.nbsp;Takka has sa in the threefold function, is heptatonic and stands in the first mûrchanâ.

119.nbsp;Beholding his beloved, — from whom had he been separated — asleep, with a sad
expression on her face, on a bed of lotuspetals,

(5)nbsp;J. B. *pâiiir gajadantapa-
tram çarîra-vesah samare pra-
dis^ah pracawda mûrtiti.

120.nbsp;kalyânanâto vijneyah sampûr/7o ritrayo matah
sadjatraye \'pi kaiçcit tu sampradisto manïsibhih (4)

121.nbsp;krpânapânis tilakam lalâte suvarnavesah samare pracandah
(5) smaran pravistah kila raktavar/iah kalyânanâtah kathito

munîndraih (6)
ri ga ma pa dha ni sa athavâ sa ri ga ma pa (7) dha ni sa
iti kalyânanâtah (8)

karadhrtavînâ sakhyâsahopavistâ ca kalpatarumûle drdhata-
ranibaddhakavarî sârangâ sâ suranginî proktâ (11)
sa ri ga ma pa dha ni sa iti saranganâtah

127.nbsp;sorathî sâdavâ jneyâ pancamatrayasammatâ
rihînâ ca samâkhyâtâ kaiçcit sadjatrayâ matâ

128.nbsp;pînonnatastanâ suçobhanahâravallî (15)
kaivîotpallabhramaranâdavilagnacittâ (16)
yâti priyântikam atiçlathabâhuvallî
saurâstrikâ madanamûrtih sucâru gaurâ (17)

129.nbsp;trivana sa ca vijneyâ grahâmçanyâsadhaivatâ (20)
audavâ sâ ca vijneyâ ripahïnâ prakïrtitâ (21)

130 rambhâyâs tu taror mule nisa/nn\'i pïtavar/iabhâk (22)
tanvangî hârai^amyuktâ priyena triva/u1 matâ (23)
dha ni sa ga ma dha iti triva/2â (24)
131. sadjatrayâ pahâdî syâd ripahïnâ ca gauravat (25)
châyâ tilangadeçïyâ ripahïnâ prakïrtitâ (26)

sa, ri, ga, ma, pa, dha, ni, sa. That is takka.
thus far megharâga with his five wives.

120.nbsp;Kalyâ/ianâta must be known as being heptatonic with ri in tlie three functions;
by some wise he is said to have sa in the threefold function.

121.nbsp;Kalyânanâta is described by the wisest of the wise as being of a red colour, clad in gold,
with a mark on his forehead,

smiling, and strong, engaged in a battle with a sword in hand,
ri, ga, ma, pa, dha, ni, sa ; or : sa, ri, ga, ma, pa, dha, ni, sa.

122.nbsp;Saranganâta is heptatonic, having the sa in the three functions, springing from the
mûrchanâ uttaramandrâ.

123.nbsp;Saranganâtâ, with tightly fixed plaits, as described by the wisest of wise, shines like
gold, and rests

her body at the foot of a lovely tree, a vînâ in hand, surrounded by her girlfriends.

124.nbsp;or : — her hair fastened rather tightly —, holding a vînâ in her hand, surrounded by
her friends, sitting at the foot of a wish-tree : that celestial woman is called sârangâ.
sa, ri, ga, ma, pa, dha, ni, sa. That is saranganâtâ.

125.nbsp;The notes of devagiri are believed to be identical with those of sârangâ.

12G. Devagiri is described as a woman of a complexion dark like a thick cloud, with well round-
ed limbs, and a full bosom,

and with eyes like those of the love-drunken cakora bird, languid by love\'s lust.

127.nbsp;SoraUii is hexatonic, being without ri, and has pa in the threefold function.
Some say that she has sa in the three functions.

128.nbsp;With a pearl necklace enhancing her beauty, and with a full and heavy bosom,

her attention turned to the sound of the bees, humming round the lotus behind her ear,
she goes to meet her lover, her arms hanging down lisllessly,

she, the girl from Saurâstra (Kathiawar), beautiful like an embodiment of the God of
love.

sa, pa, dha, ni, sa, ga, ma, pa ; or : sa, ga, ma, pa dha, ni sa. that is sorathî.

129.nbsp;Triva/îâ is to be known as having dha as amça, graha and nyâsa ;
she is pentatonic by the dropping of ri and pa.

130.nbsp;Triva/îâ is described sitting at the foot of a plantain tree, as being of yellow
colour, slender, and having got a string of pearls from her beloved.

131.nbsp;Pahâdi will be with three sa\'s, pentatonic, without ri and pa, like gaura.
Châyâ too, belonging to the kar/îatic country, is said to be without ri and pa

(5)nbsp;J 135 *rarie budhaih pra-
thamâ mûrchanâ yasya sad-
jatraya-vibhûsitah.

(6)nbsp;B adds between 135 and 136.
madhyamâmçagrahanyâsa
vangâli syâd ri varjitâ çâdava
sâ ca vijn eyà janasyâpara-
bhâgatah ma, pa, dha, sa
ri ga sam.

133.nbsp;râgah pancamako jneyah pahînah sâdavo matâh (1)
prathamâ mûrchanâ yatra sadjatrayavibhûsitali
kecid vadanti sampûrnam çrngârarasapûrakam

135.nbsp;velâvatyâh svarâh proktâh çankarâbharane matâh
iti çankarâbharanah (6)

138.nbsp;mâlaçrî jayataçrîç ca dhanâçrï marukâ tathâ (12)
yesâm çrutisvaragrâmajâtyâdiniyamo na hi
nânâdeçamatachâyâ deçirâgâs tu te smrtâh (13)
Iti çrîcaturadamodaraviracite sangîtadarpa/ie (14)
râgavivekâdhyâyo dvitîyah.

132.nbsp;Raginï pahâdi, extremely comely, dressed in red, the beloved of the râgaçri, dwells on
the sandalwood mountain

and sings to the accompaniment of a vina, seated at the foot of a lovely kadamba tree,
sa, ma, ga, dha, ni, sa. That is pahâdi.

he stands in the first mürchanä and is adorned by the threefold sa.
Some say that he is heptatonic, and like a gush of erotic sentiment.

134.nbsp;Wearing a red garb, with red and large eyes, addicted to love, tender and

clever, belonging to the time of daybreak, ever victorious, dear for ever, with a voice
sweet like the kokila\'s.

sa, ri, ga, ma, dha, ni, sa ; or : sa, ri, ga, pa, dha, ni, sa.
that is the, râga pancama.

136.nbsp;The notes in vadahamsa are said by the wise to be the same as those in karnâta.

That is vadahamsa.
Vibhâsa is like lalitâ ; revâ always like gurjari.
That is vibhâsa and that is revâ.

That is kudäi.
Äbhiri according to the views of all, is to be sung like kalyä/ia
That is äbhiri.

138.nbsp;Mâlaçri, jayataçri, dhanâçrï and marukä, of which there is no fixed rule either concer-
ning çrutis, or notes, or grâmas or jätis etc., in which are dominant the opinions of dif-
ferent regions, are called deçï (popular) râgas.

Here finishes the second chapter, the discussion of the râgas of the book called Saii-
gitadarpa/ja, written by Damodara the skillful.

APPENDIX I TO ÇLOKA 126. RAGAVIBODHA. I. 47. 48 a. b.
The kutatänaprastära according to manuscript presented by P. B. Joshi, Ajmer.

I. 47. nyasya kramam yathestam pûrvah pûrvah parâd adhah sthâpyah pûrvo yadyuparî
syât tatpûrvah pura uparigah.

Comm. tatra nidarçanâya catuhsvarah prastârah pradarçyate. quot; sa ri ga ma quot; iti
pûrvam kramah sthâpyah. Tatra sadjasyâdhah pûrvasvarâbhâvàt paro na sthâpyah.
Rsabhasya tu adhah tatpûrvah sadjah sthâpyate. Uparïtau gândhâramadhyamau
puro lekhyau. Avaçista rsabhah sadjasya paçcâd deyali. Evam \'\' ri sa ga ma quot; iti
sahito dvitîyo bhedah. (tam vinâ tu prathamaeva) Tata rsabhasya pûrvam sadjo deyaç
cet, tarhi sa upari vartate. Sadjasya pûrvo neti, tau hitvâ gândhârasyâdho rih, pûrvo
mah, paçcâd sa-gau, mûlakrame [na] vyavahita-kramena. Evam quot; sa, ga, ri, ma quot; iti
trtiyo bhedah. Tato gândhârasyâdhah pûrva rsabho deyatvena prâptah param tu puras-
tât sa vidyate. Iti tasyâpi pûrvah sadjo likhyate, puro rimau, paçcâd gah. Evam quot; ga sa
ri ma quot; iti caturtho bhedah. Tato gândhârasya pûrvah, tatpûrvaç câgre vartata iti gam
vihäya, pûrvâsambhavât sam ca vihâya, rer adhah pûrvah sali, puro mah, paçcâd
rigau, mûlakrame [na] vyavahitakramena. Evam ,, ri ga sa ma quot;iti pancamah. Tatah
pûrvarîtyâ gândhârasyaivâdho rih, puro samau, paçcâd gah, evam quot; ga ra sa ma.quot; iti
sasthah. Iti mântâh sad bhedâh.

Tatah pûrvarîtyâ masyaivâdhastâd gah, taduparigatasvarâbhâvât, paçcâd eva sa-ri-
mâh, evam quot; sa ri ma ga quot; iti saptamah. Tato rer adhah sali, purau magau, paçcâd
rih. Evam quot; ri, sa, ma, ga quot; iti astamah. Tato masyaivâdho rih, puro gah, paçcât
samau. Evam quot; sa ma ri ga quot; iti navamah. Tato masyâdhah pûrvapûrvapûrvah sadja
eva, pûro rigau, paçcân mah. Evam quot; ma, sa, ri, ga quot; iti daçamah. Tatah pûrvarîtyâ
masau vihâya, rer adhah pûrvah sah, puro gah, paçcâd rimau. Evam, quot; ri, ma, sa, ga quot;
ity ekâdaçah. Tatah pûrvarîtyâ rim vihâya, masyaivâdhah pûrvapûrvo rih, purah sa-
gau, paçcân mah. Evam quot; ma ri sa ga quot; iti dvâdaçah. Iti gântâh sad bhedâh.

following the translation of R. Samasastrij B. A. M. R. A. S. published in the Indian
Music Journal Vol. 1 1911.

47-48 a. b. (Inany combination consisting of notes from one to seven) choose any desired order
or arrangement (and write it in the lirst line. Then for each succeeding line) take the note
in the upper line and write it below its succeeding note (this is to be done only once with
regard to each note). But if the note to be written in the lower line is found among the
succeeding notes in the upper line, choose instead that note which is previous to it. If
that note also occurs in the upper line, choose that which is previous to the previous and
so on. To the right of the chosen note repeat the other succeeding notes, in the upper line,
and to the left of it add the remaining notes in the order originally adopted.

Comm. : to make his meaning clear the author himself has given the expansion of four
notes, sa, ri, ga, ma. Let these be represented by the initial letters S. R. G. M.

Let S. R. G. M. be the lirst line. In the second line nothing is written below S because
it is the lowest of the notes chosen. Below R write S. Now to the right of S put G M which
are found in the upper line, and at last add to the left of S the only remaining note R. Thus
the second line reads as R. S. G. M. Now for the third line S nuiy be written below R but S
is found to the right of R in the upper line aiul there is no note previous to it. Therefore
write nothing below R in the lirst instance. Then again write nothing below S because
it is the lowest. Now below G put R. When this is done add M to the right and S. G to
the left of it. The third line thus reads as S G R M. Then for the fourth line write nothing
below S because it is the lowest. R may be written below G but R occurs in the upper
line amongst the succeeding notes and therefore cannot be written. Therefore below G
put S which is previous to R. When this is done add R. M to the right and G to the left
of S. Thus the fourth line reads as G S R M. Then for the fifth line below G you may
write neither R nor S, because they occur in the upper line. Below S nothing can be writ-
ten. But below R you have to write S. When this is done, add M to the right and R G to
the left of it. Thus the lifth line reads as R G S M Then for the sixth line below R you
cannot write S because the latter occurs in the upper line. Therefore below G write R.
Then add S M to the right and G to the left of it. Thus the sixth line becomes G. R. S. M.

Continuing the process for the seventh line, put G below M and add S RM to the left
of it. The seventh line becomes S R M G. Then put S below R and add M G to the right
and R to the left. Thus the eighth line becomes R S M G. Then write R below M and add G
to the right and S M to the left. Thus the ninth line becomes S M R G. Then below M put
S which is previous to the previous of its previous one. Then add R G to the right and M

..... , . ■ . • .\'..i,.,. . ;; ■ ■ . ■, . ,nbsp;- -V •■.-s-, .• ••gt;nbsp;: \' \'1nbsp;\'

to the left of it. Thus the tenth line becomes M S R G. Then leaving out M S, below R
put S and add G to the right and R M to the left. Thus the eleventh line reads as R M S G.
Then for the next line leave out R and below M write R which is previous to its previous
one. Add S G to the right and M to the left. The twelfth line thus reads M R S G.
Thus we have six varieties ending in G.

Continuing the process we will have six varieties ending in R and six more ending in
S. Here the expansion stops and the total number of kutatanas that can be formed out
of four notes is found to be 24.

64.nbsp;prâkpanktyantyânlcasamyogam ûrdhvâdliahsthitipanlctisu
çûnyâd. adho likhed ekam tam câdhod\'hah svakosthakât

66. svarân mülakramasyäntyät pûrvam yâvatithal.i svarah.
uddistântyas tâvatithe kosthe \'dho lostakam ksipet.

67. lostacâlanam antyât syât tyaktvâ labdham kramo bhavet
lostâkrantânkasamyogâd uddistasya mitir bhavet.

Translation of çl 63-70 of the Sangïtaratnâkara 1.4 plus an excerpt from the commentary on

S. I. 4. 63. One should put pebbles to the amount of notes in the vedyatâna (that is to
say the tâna which, either in the form of nasta or of uddista, is to be found out) in the
squares of the first horizontal row.

Note. Thus, when the vedyatâna has five notes, one should put five pebbles, one in
each of the first five squares of the first horizontal row.

64, 65. One should write below the zero in the rows in vertical order (consisting of the squares
one below the other) the total of the figures written in the last squares of the previous
(one ore more) vertical rows. Then one should write, in the square below the total, the
product of this total and the number of the square (which one intends to fill in), counting
in downward direction (from the square in which the first total stands). This is known
as khandameru.

Note, ekam in 64c is not to be translated — (of which the first is one ?)
Comm. Thus, in the second vertical row, as the last figure of the previous row is one, and
therefore no addition is possible, one should just write one below the (first) zero.

In the third row subsequently, the total of the last figures of the previous rows is two,
which is placed below the (second) zero. This figure two then is multiplied by two, the
number of the first square below, (which one intends to fill in) and thus four is arrived
at, the figure to be put in that square.

In the fourth vertical line one should write below the (third) zero the total of the last
figures of the previous (vertical) rows, which is six. In the adjecent square below this, one
should write 12, the product of six viz. the last total, and two, the number of that square.
In the next square below that, one should write eighteen, the product of tiie first total
six, and three, the number of the square in (juestion.

Proceeding in this way we get the fifth, sixth and seventh vertical rows. In this w^ay
the khandameru is completed.

()(). The number of the place occupied by the last note of the uddista (a given variation, of
which one wants to know the place in the whole series) in the mûlakrama (the notes in
their natural order), that is the number as well of the square below, to which the pebble
must be shifted.

67. The shifting of the pebbles must be started from the end. By leaving out the note thus
obtained (by shifting of the pebble) both in the mûlakrama and in the uddista, the new
krama will be made. The number of the uddista (in the whole series of variations) is ob-
tained by adding together the figures (in the squares) on which the pebbles have been
put.

68.nbsp;yair ankair nastasankhyâ syân maulaikânkasamanvitaih
tesu lostam ksipen mûlam lostasthânamitam bhavet.

69.nbsp;nastatânasvarasthânam tato yâvatithe pade
adhah kramâd asti lostah svaras tâvatitho bhavet
kramântimasvarât pûrvâl labdhatyâgâdi pùrvavat.

Comm.: In the mürchana uttaramandra the four notes quot;sa, ri, ga, ma quot; are taken as the
mülakrama. Which position does tlie last note,, ri quot; of the uddista-tana „ ma, sa, ga, riquot;
occupy in the mülakrama, counted from ma, the last note of the mülakrama ? The answer
is : it occupies the third place. Hence one must shift the last pebble to the third square
below, on the figure twelve in the fourth vertical row. Now quot; ri quot;, which has been
obtained, — designated in that way because the figure of the square is now found out —
is dropped (both from uddistatäna and from mülakrama), as having fulfilled its purpose.

The mülakrama now consists of the remaining notes sa, ga, ma ; the uddistatäna is
now ma, ga, sa. Again the last note of the uddista, sa, is the third from the last of the
mülakrama, and hence, in the third vertical row, the pebble is shifted to the third square
below, on the figure four. Having thus obtained sa, it is left out in its turn, and conse-
quently the mülakrama becomes now ga, ma, and the uddistatäna ma, ga.

The ga, which is the last of the uddista, is the second counted from the last of the
mülakrama, and thus the pebble in the second vertical row is shifted to the figure one,
standing in square number two. As the ma, which is left over, is the same in the müla-
krama and in the uddistatäna, and as there is no square below the pebble in the first
vertical row, there is no possibility of shifting the pebble placed on the figure one in the
first square of the first row. Whenever in the mülakrama and in the uddistatäna the
order and number of the notes becomes to be the same, the pebbles are not shifted.

Now, adding the figures on which the pebbles have been placed, we get eighteen, which
represents the number of the uddistatäna quot; ma, ga, sa, ri quot; in the series of variations.
In this way the number of any given täna can be found out.

68, 09. One should shift the pebbles to those figures that, combined with the figure one of
the first square of the first row, make up the number of the nasta täna (a. täna of which
the number in the series is given, but the form of which is inquired after). The squares to
which the pebbles have to be shifted are reckoned to begin from the squares in the first
horizontal row in which the pebbles originally were, (this means that the first row is
counted as the first, in contrast with the rule given in gl. 64, 05, in which the first row
of squares was not counted). As many squares as one has to go down to arrive at the
place where the pebble has been put, so nuiny notes one has to count from the end of
the mülakrama (to arrive at he last note of the nastatäna) The dropping of the note
obtained is done as before (when seeking out the uddista).

One inquires after the form of the eighteenth täna of four notes in the mürchanä uttara-
mandrä. The mülakrama is „ sa, ri, ga, ma quot;. Now the figure twelve in the fourth vertical
row, four in the third, and two in the second, along with the figure one in the lirst square
of the first vertical row, make eighteen together. So one should shift the pebbles to these
numbers, one pebble on each. As in the present case of the eighteenth täna the last pebble
is placed in the third square (counted from the first horizontal row on top), the last note
of the nastatäna will be ri, on account of its being the third note from the last in the
mülakrama.

70. tanasvaramitordhvadhahpanktigantyankamigranat
ekasvaraditananam sankhya sanjayate kramat.
sa

Leaving out this ri, which has been obtained, the mülakrama becomes sa, ga, ma.
In the same way as before, the last but one pebble being in the third square, gives sa as
the last but one note of the nastatäna, on account of its being the third from the
last of the mülakrama. Leaving out sa, the mülakrama becomes ga, ma. The second
pebble (third but last) being in the second square results in ga becoming the second
note of the nastatäna (the third from the end) on account of its being the second from the
last of the mülakrama. The remaining ma is the first of the nastatäna on account of its
making the täna complete. Thus quot; ma, ga, sa, ri quot; is the form of the nastatäna. It is to
be well understood that, whenever, either at the end or in the middle of the process, the
pebble is not shifted (as none of the numbers below have to be taken for making up the
number of the nasta) the last of the mülakrama and the note of the nastatäna will be the
same.

The following gloka gives the method of finding out the number of tanas by nleahs
of the kha/ulameru.

70. By adding together the last figures of the vertical rows, as many as there are notes in
the täna, the number of tänas of one or more notes (to a maximum of seven) is obtained.

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(The figures refer to the verses of the chapters of the text, the capitals to the divisions of the
introduction. The numbers in italics indicate the place where the term is defined in the
text.)

Adhy. II. 47, 49, 51, 53, 55, .57, 59, 01, 63, 05, 67, 69.
73, 75, 79, 83, 91, 93, 105, 100, 110, 112, 114, 116, 129,
akûtatâna Adhy. I, 101.
aghora Adhy II, 11, see Çiva.
acyuta Intr. L, Adhy. I. 58-60.
anga Intf. T.
Anjaneya In.tr. G. I. 31.
adâî (kutâi ?) II. 44.
atisüksma I. 34.
adbhuta I. [82].
anâhata Intr. F. I. 15, 16, 19.
anuranana — I. 49, 55.
anuvadi I. 68.
anuvaditvam. Intr. M. I. 67.
anustub I. [81].
anta (nyâsa) II. 106.

uttaramandra I. 80, 116. II. 57, 101, 122.
uttarâyatâ I. 80. 121. II. 108.
utsâha II. .3.
udana I. 41^ 45, 47.

uddista Intr. D. I, lo, 128, 131, 132, 133, 135.
upanga II. I, 3.
u^nih I. [81].

rsabha (ri) Intr. K. L. M. N, T. I. 52, 58, 66, 71, 75, 76,
[82], 90, 01, 93, 94, 113, 142, 151, 152. II. 71, 49, 53.
57, 65, 67, 71, 75, 77, 81, 85, 89, 95, 99, 103, 105, 114,
116, 120, 127, 129, 132.
rsi I. [80].

auijava Intr. O. T. I. 89, 93, 95, 102, 108, 120, 150. II. (gt;,
47, 53, 07, 71, 75, 81, 85, 99, 105, 110, 114, 129.

kakubhânta (kakubha, kakubhâ) II. 8, 43, 69,70, 100.
kandarpa II. 8.
kamoda II. 8.
kamodi II. 36, 45, Ql,92.
« Kambal I. 30.
karmia I. [82]. II. 3, 68, 75, 105.
karnâta II. 42, 87. 88. 137.
karttâtl II. 17, 27, [88b].
kalita I. 84.

ajnasanjna I. 22.
Anjaneya. I. 32.
atman I. 33.
adhara I. 18, 38.
abhirl II. 19, 27, m.
aroha I. 36, 77.
arohi I. 143.
arcika I. 103.

Kallinâtha Intr. B. O. T. II last line before C, 53.
kâkali. Intr. L, T. I. ii, 58, 62, 76, 81, 85. 140. IL 59. 71
85, 99.nbsp;\'

kandârana II. 4.
kanâda II. 30.
kanârtî Intr. ï.
Kâma II. 50 (note),
kamodï II. 19, 24.
kâsa I. 44.

khajK.lamoru Intr, T), O, I. 10, 128-131,
khambâvatï Intr. T. II. 34 , 63, 64.

gândhâra (ga) Intr, K. L. M. N. I, 5B, 50, 60, 71, 7i; 76,
[82], 91, 93, 94, 101, 108, 113, 140, 142, 151, 152.
II. 42, 77, 105. (rfiga).
gândliâragrânia. Intr. N. 1\'. 1. 72, 83.
gândhârï I, 26, II, 19, 25 (râga),
gâyalrl 1, [81],
Girijâ II. 10 (seo Pârvatî)
gîta Intr. E. L 3, «, 13, 146.

graha Intr. R. T. L 12, 146, 140. IL 47, 49, 51, 53, 55, ftO,
61, 63, 65, 67, 69, 73, 75, 79, 83, 91, 93, 105, 106, llO,
112, 114, 110, 129.
grâma Int. N. I. 9, 68, 73, 77, 87, 05, 139.
Grossct. J. Intr. L.

cakra. Intr. P. 1. 18, 19, 21, 22, 23, 39.
candovatï I. 52.
cyuta. Intr. L. I. 58, 60.

jâti Intr. P. I. 8, 10, 12, 32. II. 139.
jâtisrulhârami Intr. P. I, 139, 142,
jlva I. 25.
Jodhpur Intr. A.

tâna L 90, 91, 92, 93, 94, 116, 117, 118, 119, 121, 122, 125
132, 136, 138.nbsp;\'

târa I. 47, 149. II. 4.
tâla I. 32. II. 40.
tlrrn, 1. 52.
turaba I, 31.
Tumbflru I. 79.
trlvajia II, 26,

dïpaka Int, T. IL 32, 36, 83, 84, 94.
devngiri II. 15, 125, 126.
dovadatta I. 41.

deçà (deçâkhya) IL 8, 20, 39, 45, 77, 78, 138.
deçakarl II. 22, 38, 112, 113.
deçà II. 35.

dhaivata (dha) Intr. K. L. M. N. T. I. 54, 63, 66, 70, 71,
75, 76, [79], [82], 93, 94, 108, 113, 119, 151, 152. II. 47,
49, 53, 63, 71, 73, 75, 81, 85, 91, 105, 106, 108, 110,
129.

nata II. 7, 26, 94.
natanârâyana II. 9, 12, 20, 31, 41.
natahambira II. 20.
nattakalyâna II. 26.
nanda I. 83.

nisâda (ni) Intr. K. L. M. N. I. 55, 62, 66, 71, 75, 76, [79],
[82], 79, 85, 93, 94, 104, 108, 110, 113, 117, 140, 141,
151, 152. II. 07, 85, 87, 99.
nihsvâsa I. 43.

nyâsa Intr. R. T. I. 146, 149, II. 47, 49, 51, 53, 55, 57, 59,
61, 63, 65, 67, 69, 73, 75, 79, 83, 91, 93, 105, 110, 112,
114, 116, 129.

Pancama (pa). Intr. K. L. M. N. S. T. I, 54, 61, 69, 75,
[82], 90, 93, 115, 151, 152. II. 8, 11, 13, 18, 21, 30,
39, 41, 63, 65, 75, 79, 81, 89, 99, 106, 110, 114, 127,
129, m.
pancamarâga II. 47 (note) 134, 135.
Pancâsya II. 10. see Çiva.

patamanjarî (pathamanjarî) II. 18, 23, 35, 43, 79, 80.
patahamsikâ (padahquot;) II. 17, 27, 44.
pada I. 14.
payasvinï I. 26.

pahâdî II. 132, 133. pahadika. II. 15.
Panini Intr. K.
Pârvati II. 9, 10, 12.
pingalâ Intr. P. J. I. 26, 50.
pinda I. 15.

bangâla II. 7.
bahutva. I. 149.
bahula II. 17.
Bikaner. Intr. A.
Bibl. nationale. Intr. A.
brhati I. [81].
brhannatâ II. 14.

Brahma I. Introd. çl., 4, [78], [80].
brahmagranthi I. 33, 37, 40.
brahman Intr. E.
Breloer, Dr. B. Intr. J. N.

bhâsânga Intr. T. II. i, 2.
bhâsamadhyama. II. 7.
bhûpâlï. II. 17, 20, 38, 45, 114, 115.

manipûraka I. 19.
Matanga II. after 4.
matsarîkftâ I. 81.
madantï I. 54.
madhumâdhavï II. 14, 20.
madhya I. 47.

madiiyama (ma) Intr. K. L. M. N. T. I. 53, 50, 00, 01,
70, 71, 73, 74, 7.\'gt;, [82], 79, 87. 90, 105, 112, 140, 141,
142, 151, 152. II. 47, 40, 51, 53, 61, 106.
madhyamagrâma Intr. L. M. N. T. I. 2i, 63, 60, 70, 79, 81,

91, 94, II. 51.
madhyamâdi II. 33, 40, 49, 50.
madhyasyandi II. 66.
manaçcakra I. 22.
manda I. 52.
mandra I. 47, 56, 149.
maruka II. 139.
marudgatâ (abhirudgatâ) I. 81.
mallâra II. 38, »3, 91.
mallârî (malhârï) II. 18, 21, 38; 110 ? 111.
Mahadeva I. i. 5.
Mahâbhâçya Intr. K.
Mâheça see Çiva.
mâdhavi II. 33.
mana II. 12, 13.
mârga Intr. C. I. 4, 5.
mârjanî I. 53.
mâlakarl II. 46.
mâlava II. 67, 100.
mâlavakauçika Intr. T. II. 59, 60, 70.
mâlavï II. 14, 37. 99, 100 (?)

mâlavaçrî (malavaçri) II. 21, 20, 101, 102. ,
mâlaçrï II. 18, 37, 130.
mârgi I. 82, 117, II. 85, 87.
multâni Intr. T.

mûrchanâ Intr. K. N. O. P. T. I. 08, 77, 78, 70, 82, 83,
84, 87, 80, 00, 01, 94, 96, 97, 98, 90, 148. II. 47, 49,
53, 55, 57, 59, 65, 09, 75, 93, 95, 97, 103, 112, 114,
110, 118, 134.
mülakrama Intr. O. I. 105, 128, 132, 133.
megharâga Intr. T. II. 8, 11, 14, 19, 21, 31, 32, \'^,108, 10\'J.
Sleghmallârî II. 43.

28, 31, 30, 40, 40.
râgânga. Intr. T. II. 1, 2, 49, 101.
râginî Intr. T. II. 9, 12, 20, 29, 30, 31, 34, 40, 03.
ri. sec rçabha.
rohinï.

(çruti) I. 54.
(mùrclianâ) I. 83.
revâ II. 10, 23, 137.
raudra I. [82].
raudrî I. 53,

Vijnaneçvara Intr, G. I. 32.
vinyâsa I. 149.
vibhatsa I. [82].
vibhâsa (vilâsi) II. 17, 137.
vivâdi Intr. M. I. 60, 68.
viçâla I. 83.

Çûrngndeva Intr. A. B. C. J. L. N. R. II. 77.
Çiva I. 19, 80. II. 9, 10, 11, 48, 52, 80.
çuddha I. 7, 9, 50, 57, 63, 81, 89, 104. IL 5 ft.
çuddhalûna Intr. O. I. 90, 95.
çuddhamadhya L 82, 115. IL 71, 81, 83.
çuddhnçaijja I. 81.

çrngâra I. [82]. II. 00, 101, 108, 134, 135.
çrîrâga Intr. T. II. 7, 10, 13, 15, 26, 32, 37, 95, 06, 07, 107,
133.

çruti Intr. J, K, L, M, N, P. L 7, 9, 17, 32. 49, 52-03, 69-71,
85, 141, 151. IL 117, 139.

ça(.lja (sa) Intr. K. L. U. N. T. L 21, 52, 57, 00, 70, 71,
73, 74, 75, [78-82], 78, 85, 87, 00, 91, 03, 105, 115,
140, 141, 151, 153. IL 53, 55, 57, 59, 61, 05, 67, 71. 75.
81, 83, 93, 95, 96, 07, 101 ? 103, 110, 112,144, 118, 120,
122, 127, 132, 134.
çndjagrâma Intr. L. »1. N. T. I. 68, 69, 78, 80. 90, 03.
^aijjasâdhârana I. 142.

sâ(Java Intr. O. L 89, 91, 92, 95, 103, 107, 150. II. 6, 7, 57,
63, 75, 77, 103, 106, 127, 134.

81, 83, 87, 97, 112, 114, 116, 118, 120, 122, 134.
Sarasvatï I. 27, 29, 31, 80.
sahasrâmçu I. 80.

svara Intr. K. I. 7, 9, 10, 55, 56, 61, 64, 65, 67, 68, 77, 80,
88, 90, 96, 100-104, 107, 109-120, 126-127, 132, 133.
136, 138, 145, 146. II. i, 6, 51, 117, 125, 136, 139.
svarasâdhâranâ Intr. P. I. 138.
svadhi?thâna I. 28.
svarântara I. 103.

Hanumân 31, 38.
haraçrngâra II. 18.
harinâçvâ I. 81, II. 77.
Haribhat-ta Intr. B.
Harivallabha. Intr. B. 1. 2.
hastigrïvâ I. 66.
hâsya I. 82.

Owing to a misunderstanding the time was not sufficient
for a second correction of the preface and introduction.
Hence this list of corrigenda was prepared after the publi-
cation of the book.

26 The read the;
page VI line 6. Sankrit read Sanskrit; line 8. verry read very.
Introd. page I. 1.5, place comma after 1122; line 18. Indi-
sche read indischen; line 21 after „musicquot; place —;
22 after „textquot; add with,
page 2. B. line 2 ont, read out; line 6 add comma after
1450; lines 17 and 22. Hari read Hari; Damo read Damo.
page 3. C. Title. WORK tzamp;à WORKS.

line 2. Damo read Damo; line 10. after vocal drop quot;—quot;;
last line in, read into,
page 4. E line 15. in, read into.

read Anj; H line 9. drop „asquot;,
page 6. line 3 add comma after voice. J. line 10. çruitis
read çrutis.

page 8.line 6,7.mürchanas mürchana read \'as and\'ârespec-
tively; line 21 kakali read kâkali; 29 add full stop after
alteration; line 30 after medium put —, no comma;
last line BCaiçikapa, read Kaiçika pa.
page 9. M. line I sevens read seven; line 4. night, read

might; melodic read melodic;
page 10. N. line 3. drop comma after defined; line 5. put
comma before and after „as we have seenquot;; line 20.
dha to be placed under 16, instead of under 17; line
26. add after „other twoquot;: and, as stated in 1.70. c, d,
was derived from the magrâma; line 28, place sa and
ri under 4 and 6 respectively,
page II. 0 line 7. which read which; line 10. put comma

after hepta —;
page 12 line 6. put comma after ratnâkara; P. line 8. râgâla-
pana read râgâlâpana; line 10. the the, read the; line 13.
in to read into; Q title, read CONSTITUENTS;
line 5. alamkâras read alankâras, ornementationread
ornamentation,
page 13. S. line I. as read at; line 2. he read The; line 5.
the the read the; line 8 this read his; si read is. T line
18. is read are.
page 15. line 25. after Çrî place semicolon.

and combine with nore 8.
page 17. çl. 2, 2 Haribhatta read Haribhatta.
Page 18. note 9. B. put — after prasâda.
Page 19. çl. 29. I. çastras read çâstras.

Page 22. note I mat read matâ; çl. 57c drop comma; çl. 61b,
vikrtos read \'tas.

Page 28. in ^e text place (14) behind sarve tu and (15)
after militâh; combine note 2 and 3; combine notes
7 and 8.

Page 32. note 6 belongs under note 5 on page 30. Note 10.
B. prakarana read prakarana; note 15 read evânkam
kosthasankhyâ.

Page 42. çl. 36. c. panca read panca; note I belongs to 31 c.;
note 9. place (9) before „conj,quot;; combine notes 11 amp; 12;
combine notes 27 amp; 28.

Page 47. çl. 58 line 2. râginî read râginî; çl. 64. line 2. drop
comma after sweetness and put one after kokila.

Page 50. combine notes 6 amp; 7; put (8) in 82, c.; (9) on the
place of (8); (10) on that of (9); (14) belongs in 86, c.,
(15) where now stands (14).

Page 56. CI. Ill, a, b. separate nâdâ and gîtâ; çl. 113. place
(15) after c.; combine 15 amp; 17. note mûurchanâ read
mûrchanâ; note 3 bhâas read bhâs.

Page 58, 60. combine notes 26 amp; 27; put note 29 where now
stands 27; note 30 where now stands 29; (5) in çl.
134 belongs to çl. 135.

Page 74. Index under A drop Anjaneya, and add tlie referen-
ces under Anjaneya. drop the reference to çl. 32.

Page 75. s.v. Ganeça, intructory read introductory; Dhanan-
jaya read dhananjaya.

Het zou aanbeveling verdienen, dat, naast de studie van het Sanskrit, een of
twee moderne vernaculars beoefend werden.

Brahmagranthi is niet, „ein best. Gelenk am Körper/\' hetgeen opgegeven staat
in het Petersburger Woordenboek.

Maiträyanisamhitä III, 9,5 : 122, 4. küto väkarna moet zijn küto va karna.
• • •

Het is mogelijk, dat het woord audava, pentatonisch, in verband staat met de
naam van het volk de Audavas, als aanduiding van een bij dat volk speciaal in zwang
zijnde toonschaal. Het door Böhtlingk opgegeven woord odava komt in die betee-
kenis niet voor.

Ten onrechte meent Prof. R. Simon in zijn artikel „Quellen zur indischen Musikquot;
Z. D. M. G. 1902, dat de Hindi en de Sanskrit versie van de Sangïtadarpana beide
van de hand van Damodara zijn.

Het militante karakter van de Arya-samaj is te verklaren uit de verenging die
Dayananda bracht in de, door hem overgenomen, principes van de Brahmo- en
Prarthana-samaj.

Het ideaal van de volle persoonlijke vrijheid en de volmaakt harmonische ont-
wikkeling van alle individueele mogelijkheden, dat Rabindranath Tagore nastreeft,
levert, voor zwakkere naturen dan de zijne, groot gevaar op.

Men doet verkeerd Rabindranath Tagore Messias-neigingen toe te dichten.
Zijn leidende positie — afgezien van zijn werkzaamheid als kunstenaar — heeft veel
meer betrekking op sociaal dan op religieus gebied.

y- \' quot;\'^■■-\'iÄ

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0	0	0	0	0	0
~r	2	T	Ti	120	720
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			quot;ÔÔ	480	288Ö
				600	3600
					4320

ri	ga	ma	pa	dha	ni
0	0	0	0	0	0
1	2	6	24	120	720
	4	12	48	240	1440
		18	72	360	2160
			96	480	2880
				600	3600
					4320