62 -The Science of Music

 1. After knowing the views of earlier teachers, I shall expound the well-known embellishinents in music in due order. Please listen to them, while I am explaining. 

2. The embellishınents are to be spoken of along with their vurņas (movements of notes such as 'steadly', 'ascending and others) as their specific basis and also alongwith their associated configuration (samsthāna), always in regard to dramatic¹ performance etc. 

1. Vide Nåtyashastra (Baroda) Vol. IV. pp.79-92.

As the whole chapter is full of corrupt readings and obscurities the reading from the Vå.P. are accepted. But the readings are not quoted as is done above in ch.61 but simply translated indicating the source viz. Vå.P. 

3a. The fulfilment of embellislıment² is achieved by the implications of sentences and connotations of the word combinations. 

2. Vå.P. reading: alankūrasya accepted. 

3b. The words of the song are said to be either preceding or following the embellishment. 

4a: (Bd. P. text corrupt & obscure but Vä. P. reads) Onc should know that the following three are the places of Utterances viz. the chest, throat and head.³ 

3. Bd. P. reads Sthatonitiraro niddimanah. Vå, P, reads: sthånani trini janiyát uraḥ etc. 

4b. In these three places, the best procedure (of producing notes) functions. 

5a. In the original stage (Prakrutau), there are four Varnas (tonc-patterns) having fourfold movements. 

5b. The alternative movements are eightfold¹; and gods know them as sixteenfold. 

1. These are referred to only in the Puråņas. Later writers do not mention them. 

6. (The names of Varņas:) 

The first Varna is Sthāyin, the second is Prasañchărin, the third is Avarohana (= Avarohin) and the fourth Varna is known by the experts in the knowledge of Varnas to be Arohaņa² 

(= Arohin) 

2. The exigencies of metre have led to the change in the order. The order should have been (1) Sthayin (i.c. Sá Sa Sd), (2) Arohin (e.g. Så ri ga etc.), Avarohin (e.g. ni dha pa etc.) and (4) Sanchárin (c.g. Sa ri sa ri ga ri sa etc. 

7a. There is one (Varņa i.e. Sthāyin) which has steady employment. The Sanchāra is the mixed inovement. 

7b. One should indicate the descent of Varņas (i.e. Svaras) as Avarohana.' 

8a. (Vå. P.) And the experts in the knowledge of Varņas know (that varņa) as the Aroha-Varņa by the ascent of notes. 

8b. Now know then the embellishments of these specific Varnas. * 

*Although the Section on Alankáras (I. Vi.) in the Sangita Ratnakara is referred to, to interpret these alankäras only a few like Shyena (p. 133 of S. R.) throw some light. Though S. R. is much later than Bd. P. or Vå. P. he has preserved some of the Puråna traditions. 

9. There are four embellishments viz. Sthapani, Kramarejana, Pramada and Apramāda. I shall explain the characteristics of these.³ 

3. But the anthor has not given them anywhere.

10. (Names of Alankaras continue as follows :) Visvara, Ashtakala which has an interval of one place (from its original place?); Avarta and Kramotpatti — These two should be effected according to their proportion. 

11a. One should know the other one to be Kumdra and also Vistara.⁴ 

4. The texts of Bd. P. and Vå. P. are obscure here.

11b. And this indeed is the Apānga (alankāra) and Kutareka (?) possesses one more Kala (Time-measure) 

12a. (Vā. P.) Shyena is originated as having one interval and situated in the midst of Mäträs of a Kalā. 

12b. (Vå. P.) In it there abides the increase in the order of the note different from it (c.g. Sa-Pa-Ri--Dha, Ga-ni). 

13a. (Va. P.) The descent of the Shyena Alankara is called Uttara. 

13b. (Vå. P.) The Alarkära called Bindu is originated due to the measure of Kalās. 

14a. One Kalà (a measure of time) should be employed of the Varnas. Then it would be Sthapita (established?). 

14b. Durghațita is that which has the note even in the reverse order. 

15a. Ekottara-Svara has the highest note from Shadja. 

15b. Akshepāskandana should be effected as having high amplitude like the (harsh) crowing of the crow. 

16a. The two Santāras belong to Sañchärin Varņa either as the cause or the effect. 

16b. Akshipta belongs to the category of the descending (Avarohin) Varņa. 

17. The Alankara called Prerkholita has the twelfth place of Kalā having one interval. Thus it is endowed with the notes (?) 

18a. (Vā. P.) Puşhkala is said to be due to the transfer of notes. 

18b. Prakṣhhipta is due to Kala... (?) 

19a. It is called Bhāşhita in which there is the use of two Kalas as bcforc. 

196. Visvarārūdhā (Visarārüdha) has got eight notes in ascendance. 

20a. Vapa (?) certainly is due to the descent from the high or low register (?). 

20b. These are placed verily with one interval and have the same note at the end. 

21. Makshi-praccheda (?) is declared to have a group of four Kalas. Thus, these are the thirty Alankáras explained. 

22. Due to employment of Varna and Sthana having the measure of Kala and Matra are the configuration, proportion, modification and characteristics. 

23-24a. This should be known as the purpose of embel lishment which is fourfold¹. Just as in the case of embellishment if it is used at the wrong place it is censured, similarly to beautify even the Varņas unfavourably, the producer by oneself (?) would be blamed. 

1.- vide Sangita-ratnakara 1.6.64 which enumerates Rakti-labha etc, 

24b-25a. Just as due to the use of various ornaments, a woman gets herself beautified, the embellishment is the decoration of Varna born of itself (?). 

25b). The ear-ring is not seen (worn) on the feet, nor the girdle round the neck. 

26. Thus the embellishment if used in a wrong place is consured. When the embellishment is effected, it should indicate the Raga (melody). 

27a. Just as the characterisation of the path intended to be undertaken is enjoined by indicating it with a brush. 

27b. (?)

28a. I shall describe realistically (as it is). ...?

28b. Obscure.

29a. Obscure (both in the Bd. P. and Vå. P.) 

29b. The division of these two (viz. Şhadja and Madhyama) as the dominant notes brings about the Charm of the songs. 

30a. Obscure. 

30h. (Vå. P.) The reverse would take place in the case of the order of seven notes. 

31a. (Vā. P.) The four Madraku Gitas are sung with Gandhāra is the keynote. 

31b-32a. In Madraka Gitas we know the notes Pañchama (Pa), Madhyama (Ma), Dhaivata (Dha), Nişhadu (Ni), Şhadja (Sa) and Rushabha (Ri) as the remaining notes. 

321). One should know two Aparantika Songs (?) (The Rest is obscure). 

33a. In the Aparāntika songs Gåndhāra (Ga) is einployed in the original (Shuddha) form and its modified form. 

33b. (Vå. P.) The Pada has got thiee forms (?). The Kaisiki song has seven forms. 

34a. With the entire use of Gandhāra as the keynote procedure of which is declared. 

34b. This is also the order intended for its Madhyama as the keynote. 

35. The songs which have been mentioned and particularly those of fourfold form (?) should be effected with seven notes and the Kaishiki of sevenfold form. 

36a. This is called as the pointing out of the components (of songs?). 

(The Topic of Tåla :) There are two even measures Chaturasra (of four beats and eight Mátrás) and Tryasta (four beats and six Mátrås). 

36b. Obscure (in Bd. P. & Vå. P.) 

37. (Vå. P) In Uttara songs in the original forin, the Mātra is thus deleted (the rest is obscure). 

38. With one foot in the Mátră and deficiency in one foot... when there is the Upahanana (error?) of numbers in it, it is called Yana. 

39. The second break in the foot is well-established with Graha (the starting point of the song) and in the Aparūntika the first, eighth, third and second are established with Graha? 

40. In the Uttara and in Mandraka songs in their original form, the Päda-bhāga¹ and also along with one and a quarter (of a Pada) (?) is in Uttara and Mandraka. 

1. Pådabhāga means the fourth part. Three forms of the Tåla were Ekakala, Dvikala and Chatuşhkala. 

e.g. Ekakala Tala was indicated as:

 SSSS; Dvikala as: SS SS SS SS, and Chatushkala as: SSSS SSSS SSSS 

SSSS. 

1=Laghu=one måtrå; S= Guru=2 måtrās; S-Pluta =3 måtrās. Mātrå was the time required for the utterance of five short syllables. In Dvikala form there were Pada-bhayas of two Gurus each, and in Chatushkala form, of four Gurus cach, 

4a. In Mundraka songs the Kalá exists as explained of the Dakshiņa mārga² also. 

2. There were three Margas (ways of the Tala-procedure) namely Chitra, Vårttika and Dakshina having the Kala of two matrås, four måtras and eight matras respectively. The forms Ekakala, Dvikala and Chatushkala were associated with Margas. 

41b. Obscure (in both the Puråņas).

42a. Obscure (in both thc Puråņas). 

42b-43a. When there is the use of one and the use of two, O best of Brahmaņas, and when there is the combination of many, Patākä¹ etc. are declared. 

1. Pataka was one of the eight måtrås, which was indicated by moving the hand upwadrs. These mårgås were to be employed in the Märgas as specifically directed. 

In Chitra the music of stringed instrument was prominent and song subservient, in Dakshinā, the song was prominent and instrumentation subservient; and in Vrutti both were employed equally. 

43b. There are three Vruttis--Chitra, Vrutti and Dakşhiņā² 

2. The Vruttis (styles of rendering songs with accompaniment) were three namely Chitra, Vrutti and Dakshina. They were associated with the threc Märgas: Chitra, Vartika and Dakşhina, the three Layas (tempi), and Grahas etc. 

44a. (Vă. P.) The samaväyas (combinations of (?) are eight and similarly, the Mürcchană is Sauviri. 

44b. Obscure: Last foot. Thus the Svara-mandala (the whole group of notes in music) is explained.