50 - The arrangement of notes and syllables

Suta said: 

1. On hearing these words of Sanandana, sage Narada spoke to his brother Sanandana, as though not fully satisfied. 

Narada said: 

2. Venerable Sir! Everything of whatever has been asked by me, has been narrated by your worship. But despite hearing the stories of Hari repeatedly, my mind does not feel satisfied. 

3. It is heard that Shuka, the son of Vyasa, was a great knower of Dharma. He became disgusted (with the world) both internally and externally. He attained very great Siddhi (spiritual accomplishment). 

4. O Brahmana, without the service rendered to the great ones, no man can gain perfect knowledge. How did, then, the infant son of Vyāsa attain perfect knowledge? 

5. I am eagerly listening. Kindly recount to me the secret of his birth as well as his activities. O highly blessed one, you are the knower of the scripture on salvation.

Sanandana said: 

6. O Brahmana, listen. I shall narrate to you the origin of Shuka succinctly. O sage, on hearing it, a man becomes the knower of reality of the Brahman. 

7. It is not through the ageing years or greying hairs, riches or kinsmen that the sages performed their Dharma (and gained esteem). A person who is Anuchāna (so well-versed in the Vedas and their Angas that he can both repeat them and teach them) is a great man unto us. 

Narada said: 

8. O bestower of honour, O Brahmana, how does a person become an Anuchanu. Please narrate to me that achievement. I am cager to hear of it. 

Sanandana said: 

9. O Narada, listen. I shall recount to you the characteristics of an Anuchāna. On knowing them, a man becomes well conversant with the Vedas along with their Angas (ancillary subjects.). 

10. Shiksha (the science dealing with laws of euphony, phonetics), Kalpa (treatise on rituals and ceremonials), Vyakarana (Grammar), Nirukta (Etymology and Semantics), Jyotisha (Astronomy) and Chandas (Prosody)—the learned men know that these are the six ancillaries of the Veda. 

11. The Rugveda, the Yajurveda, the Samaveda, and the Atharvaveda—these are the four Vedas mentioned while ascertaining Dharma. 

12. The excellent Brahmana who learns the Vedas along with the Angas, from his preceptor becomes an Anuchāna and not otherwise, even (by studying independently) through crores of books. 

Narada said: 

13. Mention the characteristics of ancillaries as well as those of the Vedas in details. Among us, o bestower of honour, you are the greatest scholar of these (Vedas) along with their angas. 

Sanandana said: 

14. O Brahmana, this unparalleled burden of problems has been placed on me by you. I shall, however, succinctly narrate the quintessence of these definitely. 

15. Svara (Note or Accent) is glorified as the most important item in the Shikshä by sages and Brahmanas well-versed in the Vedas. I shall describe that to you. Listen. 

16. In the authentic treatise of the Science of Svaras (notes), it is enjoined that the Svarāntaras (the type of the interval of the Svaras-notes) viz. Archika, Ghatikā and Samika1 are to be employed for specific purposes. 

1. It is not understood why Nishada (Atisvara) is omitted. Cf. Tait. Prátishakhya XXIII. 12.

17. The Svara with one interval is used in Rugveda mantras, the Svara with two intervals is used in the Gathas (religious Verses) and the Svara with three intervals is used in the Saman hymns. One should know that this much is the interval in regard to the notes in these). 

18. Those who make use of the angas of the Ruk, Saman, and Yajus in the Yajnas without the thorough knowledge of Shikshä will be committing the blunder of Visvara (wrong intonation.). 

19.* A mantra uttered with a defective accent or deficient in Svara and badly pronounced Varna (syllable) does not convey the proper meaning. It is like a Vagvajra (thunderbolt in the form of words). It injures the house-holder (on whose behalf the Yajna is performed) just as the compound word Indrašhatru (the Bahuvrihi compound was used instead of Genitive Tatpurusha) when there was the wrong utterance of Svara.2

* CF. Paniniya Shiksha v. 52. and Naradiya shiksha I.1.5.

2. Archika (pertaining to Ruks), Gathika (pertaining to Gathas) and Samika (pertaining to Sama-singing).

20. In the treatises (of Shikshä) the bases of pronunciation is the chest, throat and head. These are called Savanas or Sāmans with half the intervals. 

21. Uras (chest) has seven Vivāras (expansions) so also the kantha (throat) and the Shiras (the head). You are incapable of clearly understanding. Such is the rule regarding the Exposition. 

22. The first Svara (viz. Archika) is to be used in chanting the Katha (Kathaka) Sanhita, the Samhita called Taittira (i.e., the Taittiriya Samhita of the Black Yajurveda), the Rugveda and Sama-Veda Samhitas. 

23. The Rugveda continues (i.e., is chanted) in the second (i.e., Ghatikā) and the third (viz. Samika) Svaras as well. From the material point of view, the Svara is (classified as) Uccha (high pitched) Madhyama, (the middle one) and Sanghata (combined or a vowel with its consonant). 

24. (Out of the seven Svaras) The Ahvarakas3 use the third, first and Krushta (loud, sixth) Svaras, the chanters of the Taittiriya Samhita use the four Svaras beginning from the second and ending with the fifth.

3. This refers to the wrong pronunciation of Indra-Shatru in svahendra-shatrur vardhasva (TS. II. 5.2.1), by vrutra's father. 

25. O great sage, the Sama-singers use (in chanting) the first, second, third, fourth, the fifth Mandra and the sixth (Krushta).4

4. N. of a school, Taittiriya Prātiśhákhya ---MW, p. 163.

26. The second and first of these svaras are associated with * Tandya-Brahmana and its school Bhållavi. These are the Svaras of the chanters of Shatapatha Brahmana and the Vajasaniya the Samhita of the white Yajurveda. 

* Nandi-bhållavinau. Out of this Nandi is an obvious misprint for Tandi-as in the Devanagari-script ta and na are often mistaken for each other, Bhallavi is the name of the school of that (Tanda) Brahmana, vide MW p. 754.

27. These (Svaras are especially laid down (for the above), although (all) Svaras are common to all the Vedas. 

28. ++ I shall now explain to you the functions of the Svaras in the Sama-Veda. The ancillary (viz. Sama-veda Shikshä) though brief is profound in meaning. 

++ After completing the general discussion about the use of svaras (Svara-sanchára) in Vedas, the NP. deals with the Svara-Sanchára in the Sama-veda.

29. The characteristics of Tana (the protracted tone or a key-tone in music), Raga + (a musical mode or order of sounds), Svaras, Gråmas (Gamuts or scale in music) and Mürchanās (or murcha a melody**) which are sacred, sanctifying and meritorious, have been alreadya expounded to you.

§ According to Bharata (Natya-Shastra) Bhairava, Kaushika, Hindola, Dipaka, Shri and Megha are the primary Ragas. Other writers give different names. Each Råga has “female consort” or a Ragini and their union gives rise to several musical modes. 

a. This is a misplaced quotation, for the description of this is not yet given. Many verses from this chapter are quotations from a common source (Nāradiya Shikshä) of the NP. and Närada's Sangita Makaranda. 

b. It is hazardous for a translator to combine such lines as 30b & 31a as constituting one verse in the absence of MS evidence but such a combination gives the complete sense syntactically. 

** This is a gradual rise (crescendo) and fall in the volume of Svaras.

Kramát svarånám saptánam arohaśhchăvarohanan sa mürchetyuchyate.

Quoted in Apte-Sk. Dict.

30a. The education of the twice-born castes is characterised by the study of) the Rugveda, Yajurveda and Samaveda. 

30b-31a. Svaras are seven, grāmas are three and Murchanās are twenty-one. Tanas are forty-nine-all these constitute the svara-mandala. 

31b-32a. Sadja (Sa), Rushabha (Re), Gandhära (Ga), Madhyama (Ma), Panchama (Pa), Dhaivata (Dha) and Nishada (Ni) is the seventh Svara.c 

C. Cf. Bharata-NS (Natya-Shastra) 28.31.

32b. Grāmas (scales is Music) are said to be three, viz. Şhadja, Madhyama and Gandhára. 

33. Şhadja is born of the earth (Bhu-loka), Madhyama from Bhuvar-loka (the ether, the atmosphere just above the earth) and Gandhára from the heaven (or the firmament) - These are the three abodes of Grāmas. 

34a. It is remembered (by ancients) that Gramas and Ragas are due to the particular (combinations of) Svaras. 

34b-35a. In the case of Sama-singers, twenty Tanas (protracted tones) are in the Madhyama-grāma, fourteen are in the Şhadja-grama and fifteen are in the Gandhara (Grama) (Thus 20+14+15 = 49 are distributed in three Grāmas). 

35b-36a. The seven Murcchanás “Modes' or regulated rise and fall) of the Devas are Nadi, Vishala, Sumukhi, Chitra, Chitravati, Mukha and Bola. 

36b-37a. The seven Murcchanás of the Pitris are Apyáyaní, Vishvabhrutä, Chandra, Hema, kapardini, Maitri and Bärhati.

37b-39. The seven Murchanās pertaining to sages (Rushis) should be known as follows: Uttara-Mandrà in the Svara called Şhadja, Abhirūhata in Rushabha, Ashvakranta in Gandhára is remembered as the third Murcchana, Sauvira verily in Madhyama (the Svara Ma,), Hrushika in the Svara called Pañchama, the Murchana called Uttară should be known in Dhaivata and Rajani in the Svara Nişhada. 

40. The Gandharvas depend upon the seven Murcchanás of Devas. Undoubtedly the Yakshas depend upon the seven Murcchanás of Pitris. 

41-43a. The seven Murcchanás of sages are remembered as Laukika (worldly, popular) The Şhadja note pleases Devas, the Rushabha note pleases sages, the Gandhára note pleases Pitris, the Madhyama note pleases Gandharvas, the Panchama note pleases Devas, sages, and Pitris, the Nishada note pleases Yakshas and the Dhaivata pleases the whole multitude of living. 

43b. The good qualities of music are ten viz., the Gunas (good qualities) such as: Rakta, Pūrna, Alamkruta, Prasanna, Vyakta, Vikrushta, Shlakshna, Sama, Sukumāra and Madhura. 

[Rakta (lovely, charming): the harmonious mingling of the notes of the flute and the lute and (the voice of the singer) is called Rakta. 

Pūrna (complete): So, called as it complements (Svara and Shruti (a division of the octavo) as well as the ‘filling in’ of the metre and the syllable. 

Alankruta (Bedecked): Properly emanating from the regions of the heart, the head (i.e., the upper part of the palate) and the throat. i.e., lowering down or raising up the Svara from the throat region. 

Prasanna (Easily intelligible): That which is free from inhibitions, choking and hesitation (confident, uninterrupted). 

The Vyakta (clear): That which correctly renders the following grammatical subtleties, viz., the Pada (the word), the meaning, the base, the alteration, the augment, the Krut and Taddhita suffixes, the compound, the root, the Nipala (the exceptional and the irregular forms and particles), the preposition, the vowels, the gender, the gloss, the Värttika (an explanatory rule) *, the meanings of the cases and the numbers. 

* It is a supplementary rule which explains the meaning of that which is said, of that which is left unsaid and of that which has been imperfectly said e.g., Katyāyana's Varttika on Päņini.

The Vikrushta (Distinct): That which is uttered loudly with the clear pronunciation of words and syllables is called Vikrushta. 

The Shlakshna (soft, bland): Accomplishment and presentation (of song) with rapid and quick accentuations (like uccha, nicha, pluta and their combination), dalliance, beating of time, etc. 

The Sama (the equanimous): The simultaneous applying together of Svaras in the proper place in the rise and fall of Svaras.) 

The Sukumara (the gentle, tender) that which is accompanied by soft words, letters, notes and the cooling sound is called Sukumara. 

The Madhura (sweet) that which is rich in the qualities of pleasing and jingling words and syllables occurring naturally is called Madhura.]

A (good) song is endowed with all these ten qualities.

In this context the following verses are cited: 

44-45. There are fourteen defects5 in music (song), viz., Shankita (hesitant) Bhishana (terrible), Bhita (frightened), Udghushta (pronounced loudly), Anunasika (nasally produced) Kakasvara (shrill tone as that of a crow), Mürdhagata (undue cerebralization) (or Urdhvagata-that has gone too high up), Sthanavivarjita,* Non-observance of the places of articulation), Visvara (Discordant), Virasa (unpleasant or disagreeable), Vishlishta, (disjoined), Vishamahata (odd and non-sensical), Vyakula (Agitated or bewildered) and Talahina (out of tune). 

5. Kuharana also means indistinct pronunciation in low tone. Cf. Naradiya Şhiksha I 3.11-12.

46. The preceptors wish for the quality of Sama; the scholars wish for the quality of Padaccheda (i.e., Vyapta mentioned above); women wish for the Madhura (sweet) quality and the other people wish for Vikrushta (a loud song) with clear pronunciation of words or letters. 

47-48. The Şhadja note has the lustre of the petals of the lotus; the Rushabha note, the reddish yellow colour like that of the parrot; Gandhara note is gold-coloured; the Madhyama note is white like the Kunda flower, the Panchama note is of black colour; they know that Dhaivata is yellow in colour; and the Nishada has all the colours – these are the colours of the Svaras. 

49-50. The Panchama, the Madhyama and the Şhadja-these notes are remembered as Brahmanas. Both the Rushabha and the Dhaivata notes are Kshatriyas. The notes Gandhara and Nishada are partially Vaishyas and partially Shudras undoubtedly because they are fallen. 

51. That scale of notes should be known as Şhadja in which the Svara Rushabha is devoid of Murchana, Panchama is combined with Dhaivata and falls in the Madhyama Raga along with Nishada. 

52. If the Panchama note ceases, the Gandhara becomes the internal note, and the Rushabha is accompanied by Nishada, know that Panchama also like this (i.e., Şhadja). 

53. It is called Madhyama Grāma when Dhaivata is weak, Gandhara rules (i.e., becomes dominant) and the Nishada has Gatagata (comes and goes). 

54. It is called Şhadja Grāma when Nishada is Ishatsprushta (i.e., slightly touched or intoned); the Gandhara is predominant and the Dhaivata is tremulous. 

55. It should be known as the Kaishika (Raga) based on Panchama (Pa) and with proper support, where a low sweet tone (Kakali) is perceived accompanied by Antara-Svara (internal note). 

56. After associating Kaishika through all the Svaras all round, if it is commenced from) there is Nyasa (fixation) in the Madhyama note, it is called Kaishika Madhyama. 

57, When Kakali is seen and there is the importance (predominance) of Panchama, Kaśhyapa calls that Kaishika-raga as originating from Madhyamagrāma. 

58. The word Gandharva represents all the constituents or parts of musicology: Intelligent persons know that the letter Ga stands for vocal music, the letter Dha means playing on the musical instrument, and the letter va symbolizes the musical instruments. 

59-60. [These verses give the correspondence between the notes of the flute and those of Sama (singing):] What is the first note of the Sama-singers is the Madhyama of the flute, what is the second (of Sama) is remembered as Gandhára [of the flute) and the third is Rushabha, the fourth is called Şhadja while the fifth will be Dhaivata and the sixth should be known as Nishada while the seventh is Panchama. 

61. The peacock gives out the Shadja note and the bulls bellow the Rushabha note; goats and sheep bleat the Gandhára note; and the Krauncha bird (heron or curlew) chirps the Madhyama note. 

62. During the spring) season when flowers bloom, the cuckoo coos the Panchama note. The horse neighs the Dhaivata note and the elephant trumpets the Nishada note. 

63. The Shadja note originates from the throat; the Rushabha note is remembered as one produced from the head (or the upper palate), the Gandhara note is a nasal one and the Mudhyama note originates from the cardiac region. 

64. The Panchama note originates from the cardiac region, the head and the throat. One should know that Dhaivata originates from the forehead and the Nishada is born from all the joints. 

65. Shadja note is so called because it originates from six organs, viz. - the nose, the throat, the cardiac region, the palate, the tongue and the teeth. * 

* Cr. Narada Shiksha. 1-57

66. The wind originating from the umbilical region and striking against the throat and the head sounds like the bellowing of a bull. Hence it is called Rushabha. 

67. The wind originating from the umbilical region and striking against the throat and the head blows (as if) wafting sweet fragrance. For that reason, the note is called Gandhara. 

68. The wind originating from the umbilical region and striking against the thigh6 and the heart comes back to the umbilical region. Stationed in the middle of all the notes) the note is called Madhyama. 

6. Probably a misprint for urasi (on the chest)

69. The wind originating from the umbilical region and striking against cardiac region, cavity of the heart, throat and the head produces the Panchama note, since it originates from five places or organs.

70. Excepting Dhaivata and Nishada, all the other five notes are known as originating from five organs. 

71. As the notes are found abiding in five places, it is maintained (as produced?) in all places. The note sung by the Fire-god is Shadja and that sung by Brahma is Rushabha. 

72. Gandhára was sung by Soma (the moon) and the Madhyama note by Vishnu. Understand that the Panchama note was sung by you alone (i.e., Narada). 

73-75. The notes Dhaivata and Nishada were sung by Tumburu. It is said by the learned men that the deity of Shadja, the first note is Brahma. The deity of Rushabha is Hutashana (the fire-god) since its lustre is warm and brilliant. When this note of Gandhára is presented, cows are satisfied. Hence it is so called. Undoubtedly on hearing this note, the cows stand still. The deity of the Panchama note is Soma. It is remembered as Brahmarat (Royal Brahman). 

76-78. On attaining Grāma (?) its increase and decrease is like that of the moon. Since this note over-reaches all the notes previously originating, this note is called Dhaivata. Since all the other notes sit down (i.e., are submerged) the (last) note is called Nishada. It excels and dominates all the other notes, as its deity is Aditya (the Sun).

79. In the sphere of music there are two types of Vina (lute), viz. the Däravi (wooden) and the Gatravina. The Gatravina is used for singing Samans. Listen to its characteristics. That in which the singers of Samans sing is called Gatravina. 

80-82. It is accompanied by the manifestation of the note; it is 'coloured' by the thumb and the other fingers. The hands should be placed controlled above the knees and kept together. (The student) should imitate the teacher and his mind should not be elsewhere. At the outset, the Pranava is uttered and the seven) Vyahrutis (utterances Bhuh, Bhuvah, etc.). 

83. The Savitri mantra is then chanted. Then only the regular song is begun. The sphere of Svaras must be fixed up after spreading out all the fingers. 

84. One shall not touch the thumb with the other) fingers nor the fingers with the thumb. The fingers shall not be kept separated from one another leaving much space in the middle. Nor should he touch it at its root. 

85-86. He shall touch it always with the tip of the thumb at the middle joint. In order to differentiate the Matras, two Matras and the extended (span of time), the knower of the division shall point out two Matras by means of the fingers of the left hand, where three lines are seen, one shall specify the Siddhi (sandhi?) therein. 

87. (Where the lines are seen) shall be known as the Parvan (joint) and the remaining portion is called Antara. In the Samans one shall make the interval as much as that between the joints. In the Ruks (Mantras of RV.) one shall make the interval as much as that between two gingelly seeds. (?) 

88. The sensible man shall place the Svaras in the middle Parvans (joints) closely knit with one another. He shall not shake any of the limbs even slightly. 

89-91. (Defective) The learned singer shall dust his hand with the earth-particles below (?) He shall remain steady, calm, and fearless and utter the syllables. He shall withdraw all his sense organs like the tortoise its limbs. His eyes shall be fixed and the mind concentrated. Just as the lightning is seen in the middle of the clouds, like a thread in a necklace of jewels, similarly should the padas be distinct just as the shearers of the hair pass the scissors over it silently. As he utters the letters (of the Mantra) he shall keep the nose held with the hand like (holding) the cow's car, 

92. Fixing the eye to the tip of the hands, he should ponder over the meaning of the holy scripture. He should duly express the sentence by means of the hand and mouth. 

93. He shall conclude the letters in the same manner as he utters it. (No different system be introduced in the same mantra). And the beating of time should be synchronous with the song, nor should he tremble (?). [There should be no omissions or additions nor should he tremble] 

94-96a. He must sing the Sámans with the quality of Sama (smoothly) like the flying movement of the Shyena (falcon) in the air. Just as the path of the fish moving about in the water is not observed, just as the movement of the birds in the sky is not visible, so also the Shruti (a division in the octave) of the note (is not noticeable). Just as the clarified butter present in the curds, or the fire latent in the firewood is obtainable only with effort so also the Shruti is latent in the Svara. 

96b-97a. He shall make the transit from one Svara to another, the joining of notes, not very intense (strained), or manifest. He shall make it even, gradual, its continuity being uninterrupted like the subtle and imperceptible change from the sunshine to shadow. 

97b-98a. This verse gives six defects or mistakes in the “Protraction' (Karshana)7 of the tones and advises to avoid them. They are as follows: (4) The 'non-arrival' (anagata) stage is before the beginning of the second note, the completion of the first svara is the atikranta stage. The first note should not be pulled or protracted in both the stages. He should not interrupt the first måtra for this. It will be Vishamahata. He should not pass on to the next Svara, with tremulous note (as if trembling.) During the period of Karshana, the note should not be extended beyond three matras. He should give up the asthitänta. He should stabilise in the next Svara for a period of three matras only (not of two matras).

7. CF Naradiya shiksha I.7.19.

98b-99a. If a note swerves from its place of origin or goes far beyond its place of origin, the singers of Saman call it Visvara (discordant) and the players on the Vina (lute) call it Virakta (unsymphonic). 

99b-100a. For the purpose of practice, one shall adopt Druta Vrutti (quick movement), for the performance one shall adopt the middle movement and for the purpose of instructing the disciples one shall adopt the slow movement. 

100b-101a. In this way, the learned Brahmana who has mastered the treatise of Sama-gana (singing of Sämans) according to the scientific method of study, should impart injunctions in the Shikshä texts to pupils with the movement of his hands. 

101b-103a. The place (of origin) of the Krushta (Seventh or Fifth Svara) is in the head, of the first Svara (Shadja) in the forehead, of the second (Rushabha) Svara in between the eye-brows, of the third (Gandhara) in both the ears, of the fourth (Madhyama) in the throat, and of the Mandra (Panchama) in the tongue. And the place of Nishada called atisvara is located at the heart (chest cavity). 

103-105. Krushta Svara (seventh and fifth) should be placed upon (and thus as if 'fixed') on the tip of the thumb. The place of the first svara is the thumb. The Gandhára is located in the index finger, the Rushabha in the middle finger, the Shadja in the ring-finger and the Dhaivata in the small finger. The Nishada should be indicated below at the beginning of the small finger. As it is not completely distinct from the Mandra, it is called aparva; as it is not separately (audible and) grasped it is called asamjna (undesignated). And due to its continuity by nature? (or non-relation with gender, number etc.) it is called Avyaya (indeclinable). 

106-109a. When Mandra becomes lower it is called (Parisvāra Nishada). Deities live by (depend for their life on the Krushta Svara and human beings by the first (Shadja), the animal world by the second (Rushabha), Gandharvas and Apsaras by the third, the oviparous beings (like birds) and Pitts (manes) live by the fourth (Madhyama). Pishachas (goblins), Asuras and Rakshasas subsist upon the Mandra while the (lower) mobile and immobile world lives upon the low Atisvara (Nishada). In this way all the created beings are sustained in life by the Svaras of the Saman. 

109b-110a. A person who is not an expert in the Shrutis (the divisions of the Octave) known as Dipta, Ayata, Karuna, Mrudu and Madhyama (terms explained below) does not* deserve to be called a preceptor. 

* This single na in the text is to be taken with both the clauses.

110b-111a. The Shruti of the five Svaras viz. Mandra (Panchama) second, fourth, ati svara (sixth) and the third (Gandhara) is called Dipta while that of the seventh Svara is karuna. 

111b-112a. The Shrutis known as Mrudu, Madhyama and Ayată are in the second Svara. I shall now separately deal with their distinctive characteristics. 

112b. When based on the third svara, it is the Ayata Shruti of the second svara, while when it is based on the fourth svara (viparyaya), it is the Mrudu Shruti of that Svara. 

113a. When Shruti depends (entirely) on its own Svara and does not shift or change to another Svara it is the Madhyama Shruti. It is after duly considering (and examining) these that the Sama notes are to be applied (sung). 

113b-115a. The Shruti which is established in the Krushta note ends up finally and settles on the Dvitiya. Rushabha note is called Dipta but if it does so with Prathama (Shadja), it is regard ed as Mrudu (soft Shruti). It is also called Mrudu shruti, if it finally settles on the Chaturtha (Madhyama) svara, but if it does so with mandra svara it is called Dipta. The Shruti which may be settled or established on any svara at the time of completion of Sama-singing, becomes Dipta. 

115b-116a. After the completion of the note (Svara), Shrutis like Ayată should not be used. Even after completing the note but before the end of the musical concert Shruti should not be used in between two Svaras. (A Shruti is to be used in pluta prolongated Svara) but not when a short or a long syllable is to be sung. Nor where the note called Ghuta is sung. 

116b-117a. Where there are two gatis (viz. 'a', 'i’ Bhava and 'a', ‘u’ Bhava of palatal vowel i,) and the sandhi of the final syllable of a word with sibilants sh, sh and s--in these five “places', the note is called ghuti. (Here no Shruti is allowed).

117-118a. In Shrutis where the note (Svara) or the interval between svaras is not completed and the notes, viz. short, long and ghuta-are all devoid of Shrutis, Shruti is not to be sung. In this position the svaras by themselves act as Shrutis. 

118b-119a. (In places other than Saman) know that the Shruti called Dipta is in the Udatta (highly or acutely accented Svara.) Learned persons know that the Dipta Shruti is in the Svarita (mixed tone lying between high and low) tone. Mrudu (soft) Shruti should be recognised in the Anudätta (the grave) accent or which is not raised or accented as Udatta) Svara. In the Gandharva method of singing (where Shrutis are absent) Svaras are to be used like Shrutis. The grandeur and sublimity of Shrutis lies in tones (svara). 

119b-120a. The kinds of svaras are five-udatta, anudatta, svarita, prachaya (svarita followed by svarita) and Nighata (svarita preceding prachaya is affected. This affected svarita is Nighata). 

120-121a. Henceforth, I shall explain to you the three svaras connected with Ruks (archika Svara). They are udatta (the acute accent, the highly accented svara), anudatta (the grave accent), and the third svara, svarita (mixed tone or accent lying between udatta and anudatta.) 

121b-122a. If the svara which is called udatta is beyond svarita, that is called Prachaya by experts in that science). There is no other variety of svara elsewhere. 

122b-123a. The accent or Svara called svarita is remembered as of two kinds: (1) varna-svara and (2) atita-svara. In the same manner, a varna (a syllable) which requires a period one matra (matruka) to pronounce becomes long (of more than one matra) after uccharita (articulation). 

123b-124a. That svara should be known of seven types by having a look at the desinence. What it is, where it is and how it is should be understood by its (actual) use in the word, 

124b-125a. The seven notes should be applied (for hearing) to the right car. This science (of Phonetics-Shikshä) has been composed by achāryas (learned preceptors) with a view to serve the interests of their sons and pupils. 

125b. There is no tone (svara) louder than the Udatta and no tone lower than the low (Anudätta). 

126-127a.* What is the position of svara - the particular form of the svara which came to be designated as Svara. The common (Sadharana) Svara between Udatta and Anudatta is known by the teachers of the Shikshä Shastra under the designation svara.

* In Pratishåkhyas, the term Svara is used for Svarita (the circumflex accent). They record the following seven varieties of Svara: Kshaipra Nitya, Pratihata, Abhinihata, Prashlishta, Pada-vrutta, and Tairo-vyanjana (All with slight difference in terminology are explained in the NP. below). Cf. Taittiriya Pratishakhya XX. 1-7. 

127b-128a. In the Udatta are found Nishada and Gandhara and in the Anudatta, the svaras Rushabha and Dhaivata and Shadja, Madhyama and Panchama have svarita as their source. 

128b-129a. That after which comes the sound 'k' and 'kh' as well as that which employs the sibilant sound called Jihva-mūliya (viz. k, kh,) should be regarded as Matra. By its very nature it is kala as well. (This should be applicable to the sounds upadhmåniya i.e. p, ph.)

129b-131a. There are seven Svaras: Jätya Kshaipra, Abhinihita, Tairavyañjana, Tiro-viráma, Prashlishta, and the seventh Apāda-vrutta. Now I shall describe the separate, distinct characteristics of these. After defining them I shall give specific illustrations of these. 

131b-132a. The syllable (or letter-akshara) which is accompanied with - y - or-v - sound and becomes Svarita and has no Udatta svara in front of it (i.e., following it) is called the Jätya svara. 

132b-133a. When an Udatta (acutely accented) i or u has a Sandhi with an anudatta (grave accented) a- in the initial position of word and thus become svarita (a mixed tone between high and low tones) y or v, it should be regarded as the characteristic Kshaipra Shvära.

133b-134a. The Anudätta that comes after an Udätta e or o and gets disappeared (lost in previous -e or -0) is called abhinihita svāra.8

8. Abhimihita is a sandhi or euphonic combination in which the vowel a, as a first or second member, is absorbed into the other member. e.g., rathebhyah+agne=rathebhyo'gne or dašhushe+agne=dāshushe'gne. Here a- of agni is absorbed in the preceding -o and -e. -A Dict. of Sk. grammar, p. 34.

Here the term is used with reference to the absorbed vowel. -a.

134b-135a. If in Chandas (Vedic literature), there be a Svarita vowel preceded by an Udatta that bahu-svara (svarita that is optionally found everywhere) is called Tairavyanjana9 (or rather Tairo-Vyañjana according to Pratishåkhyas). 

9. Here the definition in the NP does not explain why Vyanjana is associated with this vowel. The fact is that this is a kind of svarita or circumflex-accented vowel which follows the acute-accented vowel, with the intervention of a consonant between the acute-accented vowel and the circumflex vowel which (vowel) was originally grave, e.g., ide, havye. Here the vowel-- e is a Tairo-vyanjana-svärita. Cf. Svaro vyanjana-yutas tairo-vyanjanah—Vajasaneyi Pratišhakhya I. 117.

135b-136a. When a Svarita vowel comes after Avagraha (separation of a compound word into its component elements as shown in the Vedic Pada patha) and if the Avagaha be acute accented (Udätta), it is called Tiro-virama (or Tairo-virama)10 of the Pratishåkhyas). 

10. Tairo-viráma is a kind of svarita, a vowel with a circumflex accent which follows an acute-accented vowel characterised by an Avagraha, i.e., coming at the end of the first member of compound e.g., gopataviti go’ patau. Here the vowel a of pa which follows the (‘) avagraha is called Tairo-viráma-svarita. – A Dict. of Sk. gram, p. 178.

136b-137a. Where an acute-accented (Udatta) i is seen combined with a grave-accented (Anudatta) i, regard it as Prashlishta Svara. 

137b-138a. The Shastric treatise gives the following characteristic of Padanta-vrutta: If the vowel is acutely accent ed, and its combination with the previous Pada (word) becomes separate (For example: ka in veda/ RV. VIII.33.7). 

138b-140a. The illustration of Jätya11 svåra iş: sajátyena (RV.VIII.20.21). The Kshaipra Svara is in Shrutyagre (prob. a misprint). In te manvata (RV.IV. 1.16) is the Abhinihita svara. The Tairavyañjana svara is in utaye (i.e., u+utaye). In Vis kaşhita (Vishkabhita?) there is Tirovirāma. The Prashlishta svara is in hi i govarna (?). The Pädavrutta vowel is in ka im veda, (RV. VIII.33.7). 

These are the seven svaras. 

11. Jatya is a variety of svarita or circumflex accent, e.g., svah nyak. Cf. Ruk Pratishakhya IV.4.

140b-141a. With the exception of Jatya svaras, the syllable which follows upon an acute accented syllable is the characteristic of Svarita (the circumflex accent between the acute udatta and the grave-anudätta accents). 

141b-142a. If the above-mentioned four svaras are udatta or if they precede an anudatta, from the scientific point of view it creates vibrations (the wording of the text kamsampumsphuti is confusing). The example of it is juhvògnih.

142b-143a. When the previous pada (word) ends in-i and is followed by -u the intelligent man should clearly understand it to be a short vibration (the larynx vibrating for a short while). 

143b-144a. If a pada with two ukäras (u vowels) follows a pada (a word) ending in -i, one should know that there is a long vibration in -i. Here the example is Shagdhüsu (some mis. print and hence obscurity in the illustration). 

144b-145a. It should be known that in the diphthongs (e, ai, o and au) there are three long vibrants (kampas). For example, manya yatha(?), na Indrabhyām. The rest are declared as short ones. 

145b-146a. If there be any Anudatta affix after many Udätta, it should be regarded as Shiva-Kampa (in the second and third Udätta) if the pratyaya is Udatta. 

146b-147a. Where two (three, four) syllables are Udatta and they are followed by an Anudatta or Udätta, learned people know that the previous and the syllables preceding it are Udatta. 

147b-148a. There is no reduplication of r or h. Nor are the second and fourth letters of different classes of consonants (i.e., kh -gh, th-dh- etc) geminated. 

148b-149a. The fourth letter be combined with the third and the second with the first and the first, middle and end letters of a class (such as k, g, and n) may be geminated. 

149b-150a. If in a conjunct consonant, the non-final letter (e.g., k, kh, I, gh,) is followed by the nasal, then yama12 of its own varnas intervenes and becomes the same as the previous syllable.

12. yama is a twin letter available in pronunciation before a nasal letter and similar to it, when the nasal consonant is preceded by any one of the four consonants of the five classes. The S. K. on Pan. VIII.1.1 explains it as a transitional sound intervening between a non-nasal and the following nasal as a counterpart of the non-nasal. e.g., Aggnih, ghghnanti, chakhkhnatuh. 

150b-15la. Seeing the nasals (last letter of each of the five classes) conjoined with the sibilants, s, s, and s- or with semivowels (y, v, r, and l), yama (sounds) recede like travellers on seeing high-waymen. 

151b-152a. (When in Vedic recitation) the third and the fourth letter (of the five classes of consonants) is a conjunct, the pada is to begin from the fourth. If the second letter or the third letter is conjoined with -h, the latter word is to begin with-h. 

152b-153a. The nasal (utterance) the (upadhmaniya (p or ph) the phonetic element substituted for a visarga followed by pand ph and the jihvamuliya (k or kh): the phonetic element into which a visarga is changed when followed by -k or -kh) seldom form a part of a word; it is not repeated (twice) in the word. If the previous syllable or letter be a conjunct with r or h, the following letter is doubled. 

153b-154a. Where the conjunct has a circumflex accent (or the accent intervenes between udatta and anudatta or vice versa), the svarita should be placed at the beginning of the next anga (paranga is the consonant which begins the next pada). 

154b-155a. When after being separated from the conjunct the consonant that appears freed (and separate) from the next consecutive word, it should be regarded as pūrvänga. And the consonant which begins the next word is paranga. 

155b-156a. The latter part (letter) of the conjunct should be accented as it) is the main factor (a leader) of the conjunct (as that is a 'resting-place' of the svara). The previous member of the conjunct consonant is svarita (but should be pronounced without an accent.) 

156b-157a. Anusvara, end of the pada (word) affix, gemination (due to the repetition of the same letter at the beginning of the next word), the consonant r, and svara-bhakti (vowel-separation, insertion of a consonant (glide) sound in a conjunct with r or l e.g., Tryambakam (yajamahe) is pronounced as Triyambakam--all these are included under pūrvänga. 

157b-158a. At the beginning of a word, or in the middle in (pronouncing) conjunct consonants and avagraha, ya should be known as a geminated-ya (yy-). It is remembered that in other places it is simply a ya. 

158b-159a. With the exception of the unseparated conjuncts of r and h in the initial and final positions in words and -ry-, other letters or syllables are not duplicated. 

159b-c. A conjunct consonant is (metrically) guru (of two matras). A consonant conjoined with a nasal or a visarga are obviously guru. The rest are atomic (laghu- of one måtra). 

For example, hri, goħ. In this, the first is a conjunct consonant while the second is accompanied by a Visarga. The gurutva (heaviness) of a vowel followed by a conjunct consonant or a visarga is obvious. 

160. The Udatta (acute accent) remains as acute (i.e., the acutely accented vowel remains as it is.). What is Svarita (circumflex accent) becomes anudatta (grave accent) in the body of the word. The anudatta vowel remains unchanged. The prachaya* type of accent becomes anudätta (accentless). 

* Prachaya is a specific feature of quality (Dharma) of the Anudatta accent, when a vowel, accented grave, is preceded by a Svarita (Circumflex accent and is followed by another grave-accented vowel. The grave accented vowels which are not followed by an acute or circumflex (accented) vowels are neither disti0nctly circumflex nor distinctly grave. They are uttered slightly like acute. e.g., Imam me Gange Yamune Sarasvati (me, ti herein are uttered thus).

161. The (following) words (occurring in different mantras) such as Agnih, Sutah, Mitram (a friend), Idam, Vayam, Aya, Vaha, Priyam, Dutam, Ghrutam, Chitta m and Abhi-are anudatta. 

162. The (recitation of) Shruti starts with an unaccented syllable (anudätta vowel) in words like Akka (Arka?), Suta, Yajna, Kalasha, Shata and Pavitra. 

163. In words like Hari, Varuna, Varenya, Dhara and Purusha, the vowel with r is svarita (circumflex). In the word Nara, the vowel with, is always Svarita except in the case of Vishvānara which- na-is svarita. 

164. In the two Mantras pertaining to Varuna: viz. ud uttamam tram Varuna (RV. I. 24. 15) the Va of Varuna is svarita and not ru (despite the r-element). 

In the Mantras (1) uru-dharam aramkrutam (RV. VIII. 1. 10) and (2) uru dharesva dohate (misprint for uru-dhareva dohate RV. VIII. 93. 3), in the words dhārā dha is svarita and not the syllable with r (An exception to the rule in v. 163.) In these examples the syllable whether of one matra (short) or two mátras (long), the first half mátra is udatta and the rest is anudatta.13 

Where a dvi-svara (dissyllabic, containing two vowels) is used, the short vowel should be pronounced as long.

13. Pan. I. 2.32 S.K. explains aditah= the first half of the matrå should be understood as Udátta and the latter half as Anudatta.  

165. In the Kampa, ut-svarita and Abhigita (terms explained already) the short-vowel should be protracted. (As to the duration of a matra, according to one authority) a matra extends upto the twinkling of the eye while the others hold that the duration is that of a flash of lightning.

166. While it is opined by some others that duration of a matra is the time required to pronounce the vowel: (the reading ruksvara is a bit confusing as literally it means 'a vowel in a RUK-mantra'). 

167. A compound may be dissolved but the members of the compound should retain their original form in the Samhita. For that initial syllable14 (?) that Svara is known as the end of the member of the compound. 

14. Yetiksharådikaranam is a bit obscure.

168a*. (Everywhere the words putra, mitra, sakhi, ahi, Shatakratu, Aditya, Viprajataveda, Satpati, Gopati, Vrutrahā, samudra deserve to be dissolved (when members of a compound). 

In cases of svarayupuvo(?) Devayavah (Devayuvah), Aritam (Aratim?), Devatåtape (? Devatātaye), Chikitih, dha Chaiva(?), the learned persons do not dissolve the compound.

* The text gives the above portion in brackets. Hence this matter is bracketted here. It is included under v. no. 168, although the printed text gives it no number.

168b-169a**. According to my view four vivrutis (rather vivrutti-separation of two vowels which were euphonically combined into one should be known according to the order of the letters. Listen to their names from me. 

** 168b ff: These verses describe the pause (technically called Virama in Pratishakhya works) which is to be taken (at the end of the word or at the end of the first member of the compound (which is shown split up in the Padapatha) or inside a word or at the end of the word or at the end of a vowel when it is followed by another vowel. The Taittiriya Prátishakhya (XXII. 13) gives four kinds of such pauses: (1) Rug-virama-pausę at the end of a foot or a verse and the duration of the pause in three matras. (2) Pada-viráma pause of two mátras between two words and e.g., ishe två ürje tva. (3) A pause of one matra between two words the preceding one ending in a vowel, and the following one beginning with a vowel but the vowels are not euphonically combined e.g., sa idhanah. (4) A pause of half a måtra between two vowels inside a word e.g., dra-ugam.

169b-170. When the first pada has a short vowel, which is followed by a long vowel (like a calf followed by the mother cow), the Vivrutti is called Vatsānusruta, but the vivrutti in which the previous pada ends in a long vowel followed by a short vowel in the latter pada, is called Vatsanusärini. When vowels in both the padas are short, it is called Pakavati, while vowels in both the Padas are long, that vivrutti is called pipilika. 

The difference in time or duration between these vivruttis is of one mátra. *

* Some Shikshä treatises say that the duration between these different Vivruttis should be one mairå, one half matra, three-fourth mátra and one fourth mātra respectively. But the duration between two words of a compound-word split up in the Pada-patha should be one matra.

171. According to some other teachers, the duration between these two is half, while according to others it is just atomic (anumátrikam). 

172. When m (makara) is followed by affixes beginning with the consonant r, s, s, and s, the m is changed into anusvåra. If followed by -y, -v- (p-v- in the print of text is wrong) and l-, it becomes para-savarna, while before sparsha varna contact consonants viz. ka-varga, cha-varga, ta-varga etc., it is changed to the last (nasalised) consonant.

173. When the preceding word ends in -n and is followed by a vowel beginning the next word, the vowel preceding -n the previous word is coloured (affected and changed into nasalized pronunciation) and hence it is called 'coloured' rakta (e.g., mahān asi maha asi). 

174. If the preceding word ends in -n and is followed by y-, v- and h- (in the following word,) half the måtra of the vowel preceding -n is slightly (atom-like) coloured (i.e., nasalised). 

175. If the previous word ends in a conjunct of n and is followed by another word it is changed into four forms. Sometimes it becomes (repha), sometimes it colours (slightly nasalises) the syllable, sometimes it is dropped and sometimes it becomes an anusvara. 

176. The colour (ranga) is emanated from the heart and resembles the sound produced by a bell-metal. It is soft and of two matras in duration, as illustrated in the pronunciation of dadhvan. (In other words, ranga is the nasalisation of a vowel)

177. Just as a woman from Saurastra pronounces (the nasalized vowel in) Arñ, the same way ranga of nasalized vowel be produced.15 This is my opinion, O Narada. 

15. Cf. Paniniya Shiksha, V. No. 26.

178. The four classes of words (viz. Nama (substantives), Akhyata (verbs), Upasarga (prepositions) and Nipata (particles) end in the ten syllables viz. g, d, d, b, n, n, n, m, s, and s. These are declared as word endings.

179. The vowel (accent) may be acute, grave or circumflex, consonants have to follow the svara (they have no in dependent accentual status.) 

180. Authoritative preceptors have declared the prominence of only three accents of svaras. Consonants are like beads while vowels are the thread (which weaves and holds them together). 

181. Just as a powerful monarch snatches away (and annexes) the kingdom of a weak king, similarly the (accented) vowel, being powerful, takes possession of the weak consonants. 

182. O-bhava (i.e. O, -u-bhäva in the NP is a misprint), vivrutti, s, s, s, r, (repha) and the special pronunciation of the Visarga before k-, kh- and p-, ph- (specially known as jihvá-müliya and upadhmaniya. These eight are the transformations of sibilants. 

183. The interval between two vowels placed near each other in Samhita16 should be regarded as visarga or is changed to a palatal. 

16. Cf. Samhitayam yat svarayor antaram tad vivrutti-samjñam syåt-Uvvata on Shaunaka's Ruk-pratishakhya II.1 This interval is one matra according to the Taittiriya Pratishakhya XXII, 13 but is of only one half Matra according to Ruk. Tantra-35.

184. If in a penultimate diphthong (like e, o, ai and au) y or v is dropped, there is the consonantal vivrutti, and the pratisamhita of vowels.

185. Where the pause is on a sibilant (and under exceptional cases) there is -v- in the Sandhi (Sambhavaḥ?), that vivrutti or hiatus should be called vowel-hiatus (svara-vivrutti). 

186. If the vowel o of the previous pada is to be linked up (prasandhana17), then the next pada begins with r (e.g., vayo r-). And this 'link up' should be regarded as vowel-ending. What is different from this is the 'link-up' (Prasandhana) of sibilants.

17. Prasandhana--this term means repeating a word in the krama-patha and joining it with the following word e.g., RV.I. 1 to be recited thus: ile purohitam, purohitam yajnasya. But in this verse, “joining or linking up” is implied. 

187-188. If the first or the last letter of a class (e. g. t-, n- of the dental class) are at the end of a pada and is followed by sibilants, s, s and s, it is changed to the second position. When they are combined with sibilants as the second member of the conjunct, the first member of the conjunct consonant, even if it be the first letter (like t, k, p) of a class is to be shown (pronounced) as the second letter (such as th, kh, ph) but should not be recognised or represented as actually the second letter e.g., Mat-sya, K-shura, Ap-saras (their pronunciation will have some aspiratory tinge like th, kh, or ph but for all purposes they are t, k, and p).

189. In ordinary metrics, to understand the metre, etc. of a verse (shloka) there are three causes: (1) Chandomana, (2) Vrutta (the metre) and (3) the end of the pada (Padanta). But Vedic mantras (Ruchs) have been composed in their own respective metres (like Gayatri, Jagati, Trishtubh); the metrical feet of ordinary metres are governed by the number of letters and their being of one or two mátrās.

190. The r-element present in the vowel r or in Svarabhakti should be indicated as a separate syllable (for calculation of matras or Aksharas. But in Svarabhakti the letter (without the repha, -r- element) should be calculated alongwith the affix. 

191. In the letter r, the consonantal, r is distinctly apprehended and its nature as a vowel (vowel form) is clearly perceived. If the r is not conjoined with a sibilant, know it to be laghu (short, of one måtră only). 

192. If the vowel r, is combined with a sibilant and is compressed18 in pronunciation, the syllable should be regarded as a guru (heavy i.e., of two matras). Here the illustration is (the form) Trucham. Here r is short.

18. When in pronunciation of vowels and consonants a fault is caused by the compression or contraction of the place of utterance, it is called Pidana cf. vyanjananam atiprayatnenoccharanam pidanam.

Ruk-Pratishakhya XIV.5

193. There is no doubt that in the following five instances, the (vowel) r is short (the illustrations are: Rushabha, Gruhita, Bruhaspati, Pruthivi and Nir-ruti).

194. In case of words with conjuncts beginning with s, s, s, h, and r in the initial position, there is internal svarabhakti (in the same word without insertion of i, or u as a glide), when it is being conjoined with another word.

195. Svarabhakti is of two types-one characterised by r, the vowel and the other by r, the consonant. These are known as Svaroda and Vyañjanoda (respectively) by contemplative grammarians.

196. The learned ones know that the svarabhakti in the case of sibilants (s, s, and s) is (vowel-born) svarodaya and open (vivruta), while that with h is vyañjanodaya (consonant-born) and closed (samvruta).

197. A person resorting to svarabhakti should avoid three defects viz. Svarabhakti with i, u and a faulty (pronunciation). 

198. The following syllables are not regarded as Laghu (short, of the duration of one Mātrā): 1. That which is followed by a conjunct consonant; (2) or which is followed by ch; (3) or is combined with a Visarga; (4) or which possesses two måtrås (= is long) or (5) is at the end of a foot (word) or (6) be combined with an Anusvåra or (7) ends in ghut (the first five case affixes). 

199. The metre (viz. Arya) whose first and third foot consists of twelve måtrås, the second contains eighteen and the last consists of fifteen matras only. This characteristic has been spoken of the Arya). That (metre) which is different from this is Vipula. 

200. If a syllable is short (laghu) and if it is not followed by a conjunct consonant, it is still laghu (of one matra only). If a short (vowelled) syllable is followed by a conjunct consonant or if it itself is long, it should be regarded as guru (heavy or long of two matras). 

201-202a. Where Vivrutti is found in front of the vowel, it should be regarded as a guru vowel, there is no (prevalence of) Kshaipra (or Kshipra-sandhi).19

19. According to Prátishakhyas, a euphonic combination of the vowel i, u, r, l, with a following dissimilar vowel. The name kshipra (quick, short) is given to this Sandhi as the vowel, short or long which is turned into a consonant, becomes very short.

202b-203. There are eight kinds or types of svaras of a pada: Antodatta, Adyudatta, Udatta, Anudatta, Nicha-Svarita, Madhyodatta, Svarita, Dvirudatta. These are the eight designations of those padas. 

204. (Now follow the illustrations of the above Padas); 

(1) Agnir vruträne- (RV. VI. 16. 34). Here Agnih is Antodatta. 

(2) Somaḥ pavate (RV. IX. 96.5 also VS. 7. 21). Here Soma is Adyudatta. 

(3) Pra vo yahvam (RV. I. 36. 1). In this pra is udatta while vah is Anudatta.

(4) (Balam nyubjam) Viryam (Sama Veda I. 95). Here Viryam is Nicha-svarita.

(5) Vidhema havisha (AV. I. 31. 1). Here Havisha is Madhyodätta. 

(6) Bhūr, Bhuvah, Svar- (Ait. Br. 5. 31.4. etc.). Here svah is svarita. 

(7) Vanaspatih (AV. XII. 3. 15). Here both va and spa are Udätta. This is an instance of Dvirudatta. 

(8) Tämyat (?). This is Madhyodatta. Nipatas are Anudätta. In prepositions, Svarita follows the initial vowel. There are two Anudättas in Akhyatas (conjugations?). The dharya letter after the svarita e.g., nihota satsi. Here Satsi is a dharya letter, as it follows the svarita in o ta which are the prachaya* sthanas. There is the previous Svarita, becomes toned down to a grave accent. 

* Vide note on Prachaya. p. 623.

205. A wise reciter should tone down the svara to a grave accent wherever prachaya is seen. Where there is merely a soft circumflex accent, there is no need to tone it down. 

206. The duty of a preceptor is of five types-Mukha (mouth, Nyasa, Karana. Pratijña and Ucchāraņa. It is said here that utterance with a vow (sapratijña Ucchāraņa) or positive vocal utterance is creditable. 

Those (castes) to whom the science of Shikshä is not available (or who are not eligible for the same), the affirmative assertion (backed by a tradition of gurus) is to be resorted to. For Karana (phonetic treatise) is of the form of the affirmative teachings (of traditional gurus). 

207. O Narada! You, Tumburu, Vasishtha, Vishvavasu and other Gandharvas are not able to comprehend the entire lore of Sama-singing due to the niceties and subtleties of the Svara-shastra. 

208. You should always take care of your gastric fire (i.e., digestive capacity). Take in wholesome (?) food which contributes to it). When food is digested, one should wake up at dawn and meditate on the Brahman. 

209. It is desired (prescribed that after autumnal equinox, to vernal equinox, one should get up early at dawn for the study and recitation of the Vedas). 

210. Getting up early in the morning, one should silently chew the tooth-brush twig of (any of) the following trees: Mango, Palasha (Butea frondosa), Bilva (Aegle Marmelos), Apamarga (Achyranthes Aspera), Shirisha (Acacia Sirissa). 

211. The following trees too are holy: Khadira, Kadamba, Karavira, and Karanja. All thorny and milk-exuding trees are holy and conducive to fame. 

212. By using these for the purification of the mouth, sweetness in tone and subtlety of tone in generated. He is able to utter every syllable clearly and distinctly as recognised by the ancient teacher Audavati (a misprint in the text for Audavraji-the ancient sage and scholar of Vedic grammar, who revised the original text of the Ruk-tantra-Pratishakhya of the Sama Veda). 

213. The student should always take in Triphala (the three Myrobalans) along with salt. This increases digestive power and intellect, heightens the clarity of tones and distinct ness in the utterance of letters (syllables). 

214. After performing the necessary morning duties (like brushing the teeth, taking bath, which is necessary for the care of the gastric fire, he should purify himself by taking in honey (Dhuma in the printed text is probably a misprint for Madhu) and ghee, and then start the recitation. 

215. It is the general rule in all branches of the Veda that one should start recitation in a low tone. After reciting seven Mantras in a low tone, one should then utter in the desirable (or prescribed) tone. 

216. At dawn, one should not strain his voice as would obstruct the normal breathing. For such obstructions in breathing cause wrong intonation (Vaishvarya). Not merely that, it certainly spoils the sweetness of vowels and consonants. 

217. Just as there is no absolvement to a person eating forbidden food coming from an evil source, as in the case of saving the life of a person (bitten by a poisonous serpent) from the poison of the venomous serpent in the form of the sin of wrong pronunciation in this case), similarly a person who imbibes the fruitless (lit. burnt) teaching (of Vedas etc.) with wrong pronunciation, accentuation etc., of syllables from a bad (incompetent) teacher (Ku-tirtha) cannot escape the sin of distorted pronunciation, etc. learnt from that sinful teacher (like serpent-poison spread within the body). 

218. The Vedas, coming from (i.e., taught by) a good teacher well-rehearsed and well-established in good intonation when orally recited shine beautifully. 

219. A person with frightful appearance, protruding lips, pronouncing all syllables through the nose or with a choked voice or tongue-tied (due to difficulty in the movements of the tongue) is not eligible to utter Mantras. 

220. A person exercising control over his mind and one who has concentrated it and whose teeth and lips are shapely, becomes pure after performing his bath, avoids singing (or sing song manner) should pronounce the syllables of the Mantras (clearly). 

221. The following five types of persons cannot grasp a new lore: -A fierce person, a stubborn or arrogant one, an idle person, a sick person and one with unsteady (scattered) mind. 

222. One should acquire learning slowly, should hoard wealth slowly (i.e., saving even small amounts); one should climb a mountain slowly (by degrees); one should travel on foot slowly (not more than a Yojana at a stretch). 

223. An ant walking slowly and steadily covers even a thousand Yojanas. But Garuda, if he does not move at all, cannot cover the distance of even a single foot. 

224. A person whose) speech is affected by sins (or defects) does not deserve to utter the text of the Vedas just as a clever intelligent) beautiful maiden does not deserve to hold a conversation with a deaf person. 

225. He who recites the Vedas in a low mumbling voice as though he is afraid, remains always in doubt about thousands of its forms. 

226. Studies carried on with the help of books only and not under (i.e., near) a preceptor, do not shine in the assembly of learned men like a woman impregnated (out of wedlock) by a paramour (from point of social status).

227. Having observed how even a heap of collyrium disappears (by its daily use) and how ant-hills become accumulated in a high, huge heaps (by slow but continuous additions of particles of earth by ants), one must utilise every day by engaging one's self in religious gifts, studies and religious acts. 

228. That a very big ant-hill is built up by insects (ants) with very small particles of earth is not due to the immense) physical power (of the ants). Sheer hard work is its cause. 

229. If a lore is studied (repeatedly) for thousands of times and taught to pupils for hundreds of times, it (automatically) comes to the tip of the tongue like water flowing from a higher level to a lower level. 

230. Just as horses of noble breed go to sleep for the half part of half the night (i.e., for three hours only), similarly sleep does not (nay should not) occupy the eyes of students for a long period. 

231. A student should not be late for studies by spending a long time for his meals. Nor should he be enmeshed in temptations about women. A person desirous of mastering a lore should traverse (fig. study) long and fast like eagles and swans flying over seas. 

232. A person who is afraid of (i.e., does not mix with) crowds of men and shuns the formation of company of friends as if it were a hell, and protects himself against association with women as if they were ogresses--only such a person attains mastery over learning. 

233. Dishonest persons do not get wealth (or learning); nor do cowards or persons whose heads are swollen with pride; nor can people afraid of public criticism or who put off their work (out of procrastination) can earn money or learn a lore. 

234. Just as a person digging with a spade or pick-axe (reaches the water-level in the bowels of the earth and) gets water, so, a student, bent on rendering service to the teacher, obtains learning possessed by the teacher. 

235. Learning can be obtained either by rendering service to the teacher or by paying sumptuous amount of money (as the fee) or by exchange of one type of lore for another (by imparting one's expertise in a particular field for learning the special technique of another field). Otherwise learning cannot be mastered. 

236. Even if one masters a lore by dint of his intellectual gifts, even without serving a teacher, it does not yield fruit to him like a barren young woman. 

237. O Narada! In this way, I have briefly indicated to you the treatise on Shikshä by just pointing out to its direction. By understanding this first accessory to the Veda, one becomes eligible to be absorbed in the Brahman.