1. TxtSkt-rAgavibOdha-Somanatha-withEngTrn-MSRamasvamiAyyar-0046 (Missing pages 1-54)

No. III No. IV IV No. II1 No. III IV No- IV No.

7 9 12 348 8 10 13 366 4 8 10 400 5 12 13 13 522 2 6 10 13 5 9 12 13 741

349 8 10 14 367 4 8 106 5 12 14 444 1 7 11 13 480 481 523 2 6 10 14 5 9 12 14 742 7 9 12 7 11 14 350 8 10 15 $68 4 8 12 445 743 7 9 12 1 407 1 5 12 15 7 11 15 482 2 15 524 2 6 10 15 5 9 12 15 1 351 8 11 13 369 1 4 8 18 405 1 6 8 10 446 22 370 1 8 14 409 1 6 8 11 4+7 7 12 13 485 4 11 13 525 2 6 11 13 352 8 11 14 4 371 1 4 8 15 110 448 1 7 12 14 484 2 18 (4) 2 4 11 14 526 6 11 14 18 (2) 353 8 11 15 1 6 8 12 485 2 527 2 6 11 15 354 8 12 13 372 4 9 10 6 8 13 449 7 12 15 4 11 15 528 2 6 12 13 6 8 10 13 1 8 855 8 12 14 373 4. 9 412 6 14 450 1 8 10 13 486 2 4 12 13 Total 37 451 8 10 14 487 2 4 12 14 529 2 6 12 14 6 8 10 14 1 8 10 15 $56 8 12 15 374 4 9 12 413 6 8 15 375 4 9 13 414 1 6 10 452 1 8 10 15 488 2 4 12 15 530 2 6 12 15 16 9 453 1 8 11 13 2 5 8 10 531 7 8 10 6 8 11 13 22 9 (1) 376 1 4 9 14 15 1 6 9 11 377 9 1 16 6 12 454 1 8 11 14 490 2 8 11 532 8 11 8 I1 14 5 2 7 6 1 9 13 417 6 9 13 455 1 8 11 15 491 2 5 8 12 533 2 7 8 12 8 11 15

357 9 10 378 1 4 10 534 2 7 8.13 6 8 12 13 358 9 10 13 379 1 4 10 14 18 6 9 14 456 1 8 12 13 492 2 5 8 13

380 1 4 10 15 $19 1 6 9 15 457 1 8 12 14 493 2 5 8 14 535 2 7 8 14 6 8 12 14 359 9 10 13 881 4 11 10 420 1 6 10 13 458 1 8 12 15 494 2 5 .8 15 536 2 7 8 15 8 12 15

360 9 11 13 382 1 4 11 14 421 1 € 10 14 459 361 1 9 10 13 495 2 5 9.10 537 2 7 9 10 9 10 13 y 11 14 538 2 7 9 11 9 10 14 362 9 11 15 353 1 4 11 15 422 1 6 10 15. 460 1 9 10 14 496 2 5 11 461 1 9 10 15 497 2 5 9 12 539 2 9 12 9 10 15 384 1 4 12 13 423 6 11 13 363 9 12 13 540 2 7 9 13 9 11 13 364 12 14 385 1 4 12 14 424 1 6 11 14 462 1 9 11 13 498 2 5 9 13

1 6 11 463 1 9 11 14 499 2 5 9 14 541 2 7 9 14 9 11 14 365 9 12 15 386 1 4 12 15 425 15 461 500 2 5 9 15 542 2 7 9 15 9 11 15 9 11 15 38 1 8 10 ±26 1. 6 12 13 501 2 5 10 13 543 2 7 10 13 6 9 12 13 9 (2) 388 1 5 8. 11 427 1 6 12 14 465 1 9 12 13 2 7 10 14 389 1 5 8 12 428 1 6 12 15 466 9 12 14 502 2 5 10 14 544 2 7 10 15 9 12 14 2 5 10 15 545 9 12 15 390 1 5 8 13 429 7 10 467 1 9 12 15 503

391 1 8 2 7 11 13 1 8 5 11 13 546 5 14 504 2 Total 261 130 7 8 11 15 505 2 5 11 14 547 2 7 11 14 392 18 (3) 1 5 8 131 1 8 12 548 2 11 15 1 :93 1 5 9 10 132 7 8 13 596 2 5 11 15

1 11 33 102 (1) 2 5 12 13 549 2 7 12 13 894 8 10 13 5 9 7 8 14 507 7 8 15 5 12 14 550 7 12 14 8 10 14 395 1 5 9 12 .14 508 2 096 1 5 18 135 7 12 15 8 10 15 9 1 9 10 509 2 5 12 15 551

397 8 11 13 7 5 9 14 36 1 7 9 11 510 2 6 8 10 552 2 8 10 13 398 1 5 9 37 1 7 9 12 468 2 4 8 10 469 2 8.11 511 6 8 11 553 2 8 10 14 8 11 14 4 899 1 10 188 7 9 13 ,70 2 4 8 12 612 2 6 514 8 10 15 8 11 15 8 12 400 5 10 39 7 9 14 8 12 13 401 1 40 1 7 9 15 471 2 4 8 13 513 2 6 8 13 555 8 11 13 5 10 15 472 2 4 8 14 514 2 S 8 14 556 8 11 14 8 12 14

402 1 5 11 11 1 7 10 13 2 4 8 15 515 2 6 8 15 557 S 11 15 8 12 15

403 1 7 10 14 9712 13 9 10 18 5 11 516 6 9.1u 558 15 2 4 9 10 2 04 13 1 7 10 4.5 2 4 9 11 517 2 9 11 559 2 C 12 14 9 10 14

476 2 4 9 12 518 2 6 9 12 560 8 12 15 S 10 15

477 2 4 9 13 519 2 6 9 18 9 11 13

478 2 4 9 14 520 2 6 9 14 9 11 14 015 501 0 15 9 11 15

51 RÂGAVIBÔDHA INTRODUCTION 55

No V No. V No. V No. V No V No. V

744 1 4 8 10 13 780 1 6 5.10 13 816 2 4 8 10 13 852 2 6 8 10 13 888 3 4 8 10 18 924 3 6 8 10 13

745 1 4 8 10 14 781 1 6 8 10 14 817 2 4 8 10 14 853 2 6 8 10 14 889 3 4 8 10 14 925 3 6 8 10 14

746 1 4 8 10 15 782 1 6 8 10 15 818 2 4 8 10 15 854 2 6 8 10 15 890 3 4 8 10 15 926 3 6 8 10 15

747 1 4 8 11 13 783 1 6 8 11 18 819 2 4 8 11 13 855 2 6 8 11 13 891 3 4 8 11 13 927 3 6 8 11 13 748 1 4 8 11 14 784 1-6 8 11 14 820 2 4 8 11 14 856 2 6 8 11 14 892 3 4 8 11 14 928 3 6 8 11 14 749 1 4 811 15 785 1. 6 8 11 15 821 2 4 8 11 15 857 2 6 8 11 15,893 3 4 8 11 15 929 3 6 8 11 15

750 1 4 8 12 13 786 1-6 8 12 13 822 2 4 8 12 13 858 2 6 8 12 13 894 3 4 8 12 13 950 1 4 8 12 14 787 2 4 8 12 14 859 3 4 8 12 14 931 3 6 8 12 13 751 1 6 8 12 14 823 2 6 8 12 14 895 3 6 8 12 14 752 1 4 8 12 15 788 1 6 8 12 15 824 2 4 8 12 15 860 2 6 8 12 15 896 3 4 8 12 15 932 3 6 8 12 15

753 1 4 9 10 13 789 1 6 9 10 13 825 2.4 9 10 13 3 4 9 10 13 933 3 6 9 10 13 2 4 9 10 14 861 2 6 9 10 13 897 754 1 4 9 10 14 790 1 6 9 10 14 826. 862 2 6 9 10 14 898 3 4 9 10 14 934 3 6 9 10 14 755 1 4 9 10 15 791 1 6 9 10 15 827 2 4 9 10.15 863 2 6 9 10 15 899 3 4 9 10 15 935 3 6 9 10 15

756 1 4 9 11 13 792 1 6 9 11 13 828 2 4 9 1L 13 864 2 6 9 11 13 900 3 4 9 11 13 936 3 6 9 11 13 757 1 4 9 11 14 793 1 6 9 11,14 829 2 4 9 11 14 865 2 6 9 11 14 901 3 4 9 11 14 937 3 6 9 11 14 758 1 4 9 11 15 794 1 6 9 11 15 830 2 4 9 11. 15 866 2 6 9 11 15 902 3 4 9 11 15 938 3 6 9 11 15

759 1 4 9 12 13 795 1 6 9 12 13 831 2 4 9 12 18 867 2 6 9 12 13 903 3 4 9 12 13 939 3 6 9 12 13 760 1 4 9 12 14 796 6 9 12 14 832 2 4 9 12. h 868 2 6 9 12 14 904 3 4 9 12 14 940 3 6 9 12 14 761 1 4 9 12 15 797 I 6 9 12 15 833 2 4 9.12 869 2 6 9 12 15 905 3 4 9 12 15 941 3 6 9 12 15

762 1 5 8 10 13 798 17 8 1013 834 2-5 8 10 370 2 7 8 10 13906 3 5 8 10 13| 942 3 7 8 10 13 763 1 5 8 10 14 799 17 8 1014 825 2 5 8 10 871 2 7 8 10 14 907 3 5 8 10 14 943 3 7 8 10 14

.764 1 5 8 10 15 800 17 8 10.15 836 2 5 8.10 15 872 2 7 8 10 15 908 3 5 8 10 15 944 3 7 8 10 15

765 1 5 8 11 13 801 17 8 11-13 837 2 5 8 11 13 373 2 7 8 11 18 909 3 5 8 11 13 945 3 7 8 11 13

766 1 5 8,11 14 802 17 8 11-14 >38: 2 5 8.11 14 S74 2 7 8 11 14 910 3 5 8 11 14 946 3 7 8 11 14

767 1 5 8 11 15 803 17 8 11-15 839 2 5 8.11 15 375 2 7 8 11 15 911 3 5 8 11 15 947 3 7 8 11 15

768 1 5 8 12 13 804 1 7 8 1213 840 2.5 8 12,13 876 2 7 8 12 13 912 3 5 8 12 13 948 3 7 8 12 13

769 1 5 8 12 14 805 1-7 8 12-14 841 2 5 3.12 14 877 2 7 8 12 14 913 3 5 8 12 14 949 3 7 8 12 14

770 1 5 8 12 15 806 1-7 8 12-15 842 2 5 8.12 15 878 2 7 8 12 15 914 3 5 8 12 15 950 3 7 8 12 15

771 1 5 9 10 13 807 1. 7 9 10 13 843 2 5 9 10 18 879 2 7 9 10 18 915 3 5 9 10 13 951 3 7 9 10 13

772 1 5 9 10 14 808 1 7 9 10-14 844 2 5 9 10 14 880 2 7 9 10 14 916 3 15 9 10 14 952 3 7 9 10 14

773 1 5 9 10 15 809 1. 7 9 4015 845 2 5 9.10 15 881 2 7 9 10 15 917 3 5 9 10 15 953 3 7 9 10 15

774 1 5 9 11 13 810 17 9 11-13 846 2 6 0 11 13 882 2 7 9 1E 13 913 3 5 9 11 13 954 3 7 9 11 13 1 5 9 11 14 811 1 7 9 11-14 847 2 5 9 11 14 88 2 7 9 11 14 919 3 5 9 11 14 955 3 7 9 11 14

776 1 5 9 11 15 812 1 7 9 11-15 848 2 5 5.11 15 884 2 7 9 11 15 920 3 5 9 11 15 956 3 7 9 11 15

777 1 5 9 12 13 813 1 7 9 1213 849 2 6 9 12 13 885 2 7 9 12 13 921 3 5 9 12 13 957 3 7 9 12 13 778 1 5 9 12 14 814 1 7 9 12 14 850 2 5 9 12 14 883 887 2 7 9 12 14 922 3 5 9 12 14 958 3 7 9 12 14 1 5 9 12 15 815 1-7 9-12 15: 851 25 12! 2 7 9 12 16 923 3.5 9 12 15 959 3 7 9 12 15

72 (1) 72 (2) 72 (3)

(FIG 27) Total 216

INTRODUCTION 57 56 RÂGAVIBÔDHA

A reference to Fig. 28 will show that the Thivrathara Ri and 'Somanath's method of employing the numbers 1 to 15, both Sudha Ga are identical; and so are the Thivrathama Ri and inclusive, to develop his Mela-system will enable the reader to find Sadharana Ga ; the Thivrathama Ga and Sudha Ma; the Thivra" out, with the help of Fig. 25, the principle on which he proceeded thara Dha and Sudha Ni and the Thivrathama Dha and to work. Kaisiki Ni. But to find out the merits or otherwise of his Mela-Prasthâra, This identity of the svaras compelled Sômanâth to reject a one should rewrite the same 960 Melas in the very svara-names large number of his Mêlas as being absolutely useless. Even with and, if not inconvenient, in a tabular form. This indeed is a tire- regard to the unrejected, that is, retained Mêlas, all of them could some process. But we shall not mind its tiresomeness, if it will not have, alike, a musical value and did not therefore rise to any yield us any benefit. degree of popularity. Hence Sômanâth was content with the 23 Mêlas that were current in his time and presented them along As a precautionary measure, therefore, let me rewrite the first with their derivatives in the form of a Genus-Species system, which fifteen Mêlas in svara-names and scrutinise them. may be tabulated as follows :- The first fifteen Mêlas may be tabulated thus :--

Sa Ri Ga Ma Pa Dha Ni

V of tinue Sudha Sudha Sudha Sudha Sudha Thivra Thivra Sudha Sudha eaisiki Authara Mridu Pa Thivrathara< A Mridu Ma Thvrathama Thvrthama < Thivrathara < >Thivrathama Number of the Melas >Thivra thama -> Sadharana

| Sa R Ga Ma Pa Dha Ri Ga Ma Pa Dha Ga Ma Pa Dha Sa R Ri Ma Pa Dha SaI Ga Ma Pa Dha 6 Sa Ri Ga Ma Pa Dha Sa Ri Ga Ma Pa Dha 8 Sa Ri Ga Ma Pa Dha Sa Ri Ga Ma Pa Dha 10 Sa Ri Ga Na Pa Dha 21 Sa Ri Ga Ma Pa Dha 12 Sa Ri Ga Ma Pa Dha N 13 Sa Ri Ma Pa Dha Ni 14 Sa Ri Ma Pa Dha Ni 15 Sa Ri Ma Pa Dha Vi

FIG. 28

No.

1

13

15 14 11 10

12 3

5 4 2

17 16 6

18

20 9

21 19

2: I. Sômanâth's ' Genus-Species' System.

Rêvagupthi

Nâdarâmakri Bhairava Sâmavarâli

Hammira Mukhât

Malavagowla Vasanthabhairavi Vasantha Thôdi

Rithigowla Abhira

Sriraga Sudharâmakri Sudhavarati

Mallâri Kalyan Kambhodi

Sâmantha Karnatagowda

Sâranga Desâkshi Sudhanâta Melas (23)

(1) Sâmavarâli ; (2) Vasanthavarâli (1) Mukhari ; (2) Thuruskathôdi

(5) Devagandhara (1) Vasantha (2) Dakka (3) Hijeja (4) Hindola (1) Bhairava; (2) Powravika

(2) Chaithigowdi (1) Malavagowla (1) Vasanthabhairavi (2) Mâravika

(6) Gondakriya (4) Padi (3) Poorvi

(1) Srira:a (2) Malavasri (3) Dhanyasiki (4) Bhairavil (4) Thravani and (5) Desi (1) Hammira (2) Vishangada (3) Kedara

(5) Dhavala (6) Saindhavi (1) Sudharamakri (2) Lalitha (3) Jethasri (Deskâr)

(1) Kambhodi

(5) Gowda (4) Bhupali (3) Poorvagouda (2) Natamallari (1) Mallâri

(7) Natanarayana (6) Sankarabarana

(4) Sudhabangala (1) Karnatagowda Revagupti

Nâdarâmakri Thôdi

Sudhavarati Rithigowla Abhira

Samantha Kalyan

Desakshi Sudhanâta Sâranga

(FIG. 29) Janya Râgas (76)

(11) Asaveri (17) Sudhagowda (12) Panchama (10) Pavaka (16) Paraje

(9) Dvitiyakedara (8) Narayanagouda

(11) Velavali (10) Salankanata (7) Kuranji (13) Bangâla

(2) Devakri (9) Râmakri (15) Gurjari (=) Bahuli (14) Sudhalalitha

(2) Attana (13) Saveri (12) Madhyamadi

(5) Varnanataka (5) Iraque (1+) Sourashtri

(3) Nagadhvani II. SOMANATH'S TWENTY-THREE MELA-RAGAS. S

S V A R A

Sa Ri Ma Pal Dha Ni

Ga Remaiks,

Melas Time of Singing thama Sudha

Amsa thara Kâkali

Thivra

Sudha Kaisiki

thama

Graha Nyâsa Thivra.

Sudha Thivra

thara thama Sudha

Thivra

thama Mridu Sa

tha Thivra- Mridu Pa

Sudha Thivra Thivra- Thivra- Anthara

Sudha Mridu Ma

Sadharama Ga Mal P'a Dha

hâri Sa Sa & Pa Om

agupthi Ri Ri Evening Ga Pa Dha

Ri Sa Sa Always Ma z Z

Sa A lways Sa Ri Ga Ma Pa Dha Ni z z Z

avarâli Sa Sa Ga sa Dawn Ga

di Ga Sa Ri Ma. Pa Dha

Sa Sa Sa Ri Ga Ma Nil

Night P'a Dha

arâmakri Sa Sa Ri Ga Ma Pa Dha -

irava Dha Dha Sa Morning Pa Dha

antha Sa Day. break Sa Ri Ga Ma

Sa Sa Pa Omitted

Sa Day-break Sa R Ga Ma Pa wha

anthabhairay. Sa Sa Pa Dha Ni Ga

avagowla Ni Dusk Sa Ki Ga Ma at times. Nyasa at tin

Z

Ni Ma

nigowla Ni Evening Ga Pa Dha

N: Sa Rı Pa Dha

iranata Ga Ga Dusk Sa Ga na

Ga Pa Dha i Ni only of l

nmira Ga Pa Night Ma

Ga Ma Pa Dha

havarati Sa Sa Day-time Ma l'a Dha Z

Sa R Ga Ga & Dha (

haramakri Ri Dusk Sa Ri Ga Dha

aga Ri Sa Ma Pa times.

Ma Pa Dha Ni z Z

Dusk Ga

yân Sa Ga Sa Sa Sa Ga Ga Pa Dha

nbhôdi Sa Sa Evening Ma Ni omitted

Mornirg Sa Ma Pa Dha Ni Ga & Ni on

lari Oha Dha Dha Sa Ma Dha

Sa Sa Evening Ga P'a Ni Ri & Dha

antha Ni Ni Mid Night S Ga Mal Pa Dha

natagowla at times.

Pa Dha Ni Ma & Ni

âksbi Ga Ga Day-break Sa Ga Ma

Ga accent.

Ma l'a Dha

lhanâta Sa Sa Sa Dusk Sa Ri Ga Dhai

Sa Sa Ri

anga Sa Afternoon Ga Ma Pa

sa (FIG. 30)

III. The Characteristics of a few of Somanath s Derivato Ragas. Râgas Melas Graha Amsa Time of singing Remarks if any No. Nyâsa Ragas Melas Graha Ansa Time of singing Remarks if any 41 Sankarabharana Do Sa Sa Sa Daybreak 42 Natanarayana Do Sa Ga Sa Afternoon No. Nyasa

1 Thurushkathodi Mukhâri Ga Ga Ga After Dawn Ri & Pa Omitted 43 Narayanagowda Do Ga Ga Ga Day break Ri omitted Sâmavarali Ga Ga Sa .iways Sa A little use of fiq 44 Kedara II Ni 2 VasanthaVarali Do Ni Ni Night Sa Evening 3 Powravika Bhairava Sa Sa Morning 45 Salankanata Do Sa Sa Ri Pa omitted at 4 Dakka Vasantha Sa 46 Velâvali Do Dha Sa Sa End of the Day Dha Dha Dawn 5 Hijejja Ma Ma Evening times Do Sa Do Ri Dha omitted Do Sa Ma Ri Pa Omitted 47 Madhyamâdi Ma 6 Hindola Sa Day-break Ma Ma Dawn (or Always) 48 Savêri Do Dha Dha Dha Dawn Sa Pa omitted Vasantha- Ri Dha Omitted 49 Sourashtri Sa 7 Mâravika Ga Ga Sa Always Do Sa Sa Evening bhairavi 50 Attana Karnata Pa Dha Sa Night Malavagowla Ga Dha Omitted Sa Sa Always Ni Sa Sa 51 Nagadhv ni Do 8 Chaithringowdi Sa Evening Do Ma Ma Ma Day break 9 Pocrvi Do Sa Ga Sa E.ening 52 Sudhabangala 10 Pâdi Sa Evening Ga Omitted 53 Varnanata Do Sa Night Do Sa Sa Sa Sa Ma Night 11 Devagandhari Pa Ga Ni Omitted 54 T hurushakathôdi Ma Do Ri Sa Always Do Ma 12 Gowdakri Do Sa Sa Sa Morning Dha Omitted 13 Kuranji Do Sa Sa Sa Always A little of Dha (FIG 31) 14 Bahuli Do Sa Sa Sa Afternoon Ma Ni Omitted 15 Ramakri Let us now proceed to study Sômanâth's Vina-System. and Do (Ga) Sa (Ga) Sa Sa Always 16 Pâvaka Do Ga Dha Sa Always Ni Omitted see how it helps us to understand his Râga-System. 17 Asaveri Do Ma Ma Sa Always 18 Panchama Do Pa Pa Pa Day break Ri Omitted In the first place, Sômanâth, like Râmâmâtya, emphasises 19 Bangâla Do Sa Sa Sa Always Sa Sa Day break Pa omitted at times the importance of the Vina as enabling young students to quickly 20 Sudhalalitha Do Sa 21 Gurjarika Do Ri Ri Ri Morning Pa Omitted 22 Paraja Do Ga Ga Sa Always Ni अल्प Ga Dha acquire Svaragnánam or a knowledge of the svaras ; besides being

Gamaka a means of obtaining Dharma, Artha, Kâma, and Môksha. 23 Sudhagowda Do Sa Pa Sa Dusk Ni अल्प Again, like Râmâmâtya, Sômanâth fundamentally differed 24 Vihangada Hammir Ni Ni Sa Night Dna अल्प from Shârngadêv in the matter of constructing his Vina, rejected 25 Kedara Do Ga Ga Sa Night Ri Dha अल्प the Vina System1 of the author of Sangithiratnakara, and 26 Desakar Sudharamakri Sa Sa Sa Noon Ma Ni Gamaka 27 Lalitha Do Sa Dha Sa Day break Pa omitted at times 28 Jaithasri Sa Ga Sa Morning Ri Dha अल्ष 1. The following is a tabulation of Sharngadev's Vina-Sysrem Do 29 Thrâvani Do Ri Ri Sa Evening 30 Dêsi Do Ri Ri Ri Always Ga अल्प 31 Mâlasri Srirâga (Ni) Sa (Ni Sa Sa Always Ri Dha अल्प Sruti Vina First sung tor मङ्गलं of _2 Strings Svara Vina 32 Dhanyâsi Do Sa Sa Sa Morning रि घ alpa 33 Bhairavi Do Sa Sa Sa Always fq Chief use 34 Dhavalâ Do Sa Sa Sa Always रिध Omitted, Pa. full use 35 saindhavi Do Sa Sa Sa Always गनि omitted; ame- Pinâki- nable to Gamaka Âlapini- Kinnari- Chithra- Nakula 3e Devakri Kambhodi Sa Sa Sa Afternoor Pa omitted at times Nissanka- Vipanchi -- (9 Strings) (3 Strings) (7 Strings) (2 Stringe) 37 Natayyk Mallari Dha Dha Dha Morning Ga Ni bmitted (1 String) Ekathanthri- (21 Strings) 38 Poorvagowda Do Ga Sa Noon No clear me ition is made Sa Thrithanthrika Ga Sa Daybreah Ma Ni omitted of the number of the 39 Bhupali Do Sa Strings in these last four MATHAKÔKILA --- 40 Gowda Do Dha Dha Dha Noon Ni अल्प kinds of Svara-Vina. Of these ten kinds of Svara-Vina, Malhikokila is said to have been the -

required, for his own Vina, only four strings to produce all his pass the wire to the peg. At the sixth inch from the end of the Sudh Vikritha Svaras in all the three registers. Danda, there was a second hole, also oblique, to hold the immov-

Further again, while Ramâmâtya's Vina was of six kinds ; able peg. One inch beyond it, there was placed the Meru. One

Sômanâth's Vina was of four kinds which may conveniently be inch further beyond, and below the Meru, a gourd was attached.

tabulated thus :cond goal At a distance of twenty-eight inches from the first gourd, there was a second gourd. Between the Danda and the tops of the . there wer Rudra Vina gourds, there were two Nabhis or circular pieces of wood or metal, ehe; high aL three inches high and three inches broad with a vertical hole in the Sudha Mela Vina (I) ttached te centre Attached to the other end of the Danda, was placed ter the wo Madhya Mêla VIna (II) Kakubha or the wooden piece for fastening the wires, which was rehes long aed four inches long and four or five inches broad with a smooth head; Akhilarâga Ekarâgas raised t Akhilarâga Ekarâg and it was raised to a height of two inches fro.n the surface of the (1) (2) and, aga'n (3) (4). Danda; and, again, its frame was inserted into that of the Vina ; t-llke projert (FIG. 32) its wing-like projection extended over the sides ; and it had also All the four kinds of Somanath's Vina were provided with small metalic hooks to hold the wires. Towards the right-hand

frets. In the Akhilaraga Mela Vina they were fixed and immove side of the player, and below the fourth wire, a leaf-like metalic

able, as in the case of our modern Tanjore Vina; while, in the piece, called Pathrika, was placed so as tò be slightly higher than Ekaraga Mela Vinu, they were not fixed and therefore movable, the Meru. Along side of it there were placed three more metalic

as in the case of the modern Sitar of North India. In fact, the pieces, one slightly higher than another. Between the Pathrika frets of the latter kind were moved or changed every time a and the wires, chips of bamboo barks were placed to make the Raga was changed, white, those of the former kind were fixed and sound finer. The Sarikas or frets were as broad as the Meru or the

yet made to produce all the Ragas in all the registers. Hence eir Kakubha. A piece of wood, called Patti eleven inches long and

respective names. of holding t capable of holding ten shorter frets, was placed along the surface Danda and to of the Danda and towards its end, so as to extend up to the top of As for the construction and the characteristics of sômanâth's Vina; first, there was a Cross-Bar, called Dand eleven fists and the second gourd. Cotton or silken threads, made by twisting three

a half long. Five inches trom its end, there was an oblique hole to one, were used for fastening the wires.

to hold the movable peg f90Y ,Above it, a small aperture was made to Over and across the Cross-Bar, four metalic wires were fastened between the left-hand bridge, Meru and the right hand piece of

most important. [Compare मुख्येयं सर्वबीणानां। That is to say, इय मत्तकोकिला re end Q: wood at the end of the cross-bar, Kakubha. Below the cross-bar,

सर्ववीणानां मुख्या] but near the four wires and on the right-hand side, three additional And this Mathakokila had 21 strings ! wires were fastened for sruti purposes.

Even granting that the SruhVina of 22 strings was never intended to be What Svaras did each of the four uppper-wires and ef the played upon but only to show how the 22 Srutis were produced; the so-called most important and tweaty-one stringed. Mathakokila was encugh fcr both three lower-wires speak, when sounded? The answer depends on

Ramamatya and Somanathe to damn Sharngadev's Vina-System as a whole, as whether the Vina was Sudha Mela or Madhya Mela. For, while being uncongenial to the Lilslyd of their respective times. Even his own the order of the three lower-wires was the same in both the kinds Nissanka.Vina did no seam ita have ,improved the matter. In fact, all the of the Vina, namely, Mandra Sa, Mandra Pa, and Madhya Sa; di.ferent kinds of his Vina, belonging, as they did, to an out-of-date musica! sys- the order of the four upper-wires, in Sudha Mela Vina, was :--- tem of 2 Grâmas, Moorchanas and Jatis, could not possioly compete with, and Anumandra Su, Anumandra Pa Mandra Sa, Mandra Ma; and that must therefore give, way to, Ramamatya's (or eveu to Somanath's) Vina system based upon enly one Grama. in Madhya Mela Vina .:- Anumandra Pa, Mandra Sa, Mandra 3 Madhya Sa. Pa, and Madhya Sa.

.Confining, now, our attention to the Sudha Mela Vina, we note that, over its cross-bar, six frets were placed in such a man- 'Yes', said Mr. K. B. Deval of Sangli. An emphatic 'No' was ner as they produced, in order, by the first (Anumandra Sa) wire the reply of Mr. V. N. Bhatkhande of Bombay.

the following svaras :- Thus a hot discussion on the point raged, in 1916, bet- . Sudha Ri 4. Mridu Ma ween the two cambatants; and the reader will, I think, find it 2. Sudha Ga 5. Sudha Ma profitable to study it in detail. 3. Sadharana Ga 6. Mridu Pa; by the second (Anumandra Pa-) wire, the following svaras :- In the first place, Mr K. B. Deval observed:1 The harmonics

1. Sudha Dha 4. Mridu Sa or overtones are heard on a string vibrating in its whole length in

2. Sudha Ni 5. Sudha Sa two ways :--

3. Kaisiki Ni 6. Sudha Ri; (1) Strings. in vibrating, do not only swing as a whole but by the third (Mandra Sa-) wire, the following svaras :- have also several secondary motions, each of which produces a 1. Sudha Ri 4. Mridu Ma sound proper to itself. A string, when struck, vibrates first in its 2. Sudha Ga 5. Sudha Ma entire length, secondly in two segments, thirdly in three, fourthly in 3. Sadrarana Ga 6. Mridu Pa; four, and so on. All of these motions are simultaneous and the and by the fourth (Mandra Ma-) wire, the following syarae ;- sounds proceeding therefrom are, blended into one note. The

4. Mridu Pa Sudha Dha lowest note is the loudest and is called the fundamental or prime

5. Sudha Pa 5. Sudha Ni tone and the others are called overtones, upper partials or

6. Omitted (") 6. Mridu Sa. harmonicsa.

N. B. A'n additional 7th fret for Kaisiki Ni is suggested. (2) If a string be touched at its middle with the finger, or

Be it remembered that, in higher registers the only wire that better still with a feather, as in the following diagram :-

could possibly produce sweet or agrreeable svaras was the fourth and not any of the other three upper-wires. Be it also remembered that Sudha Sa and Sudha Ri of the second wire occurred again on the third and were therefore of no use on the second and that, similarly, Sudha Ma and Mridu Pa of the third wire occurred again on the fourth and were therefore of no use on the third. FIG. 33 Finally, Somanâth, like Rimimitya, made reference to what were ca'led Svayambhus, which were self-prod iced svaras or, in and if you rub it with a bow, a note is obtained which is obser-

the language of Somaiith himself, "not artificially produced vably higher and which the practical musicians call the octave of

svaras" 1 In the Introduction to my edition of Sviramilakili- the fundamental note. The string in this case vibrates in two parts

nidhi, I stated that Rat matya's Svayambhus had;a close affinity in such a way that the point touched remains at rest. Successively

with the Harmonics, in as much as the former belonged to the higher and higher notes can be obtained from the string by touch-

sêcond, and perhaps even to th . thir l, catngory of the latter. men- ing it at a third, a fourth, and a fiit i of its length, etc.3 tioned therein.ª 1. Vide Mr. Deval's Theory Indian Music as expounded by Somanath p. 12.

1. कल्पिता नो तु -- Ragarioodha 2. Vide Holmes p. 69.

2. Vide my Edition of Svaramelakalânidhi-page lv. 3. Vide Blaserna's Theory of Sound. p. 12. 17

The recognition ot the first kind ot narmonics vy Jjaratn has been dealt with when he constructed his Rudra Vina by of the wire to vibrate but introduced a node which emphasised placing four wires of different notes, viz, Anumandra Sa, Anuman- one particular upper partial, so that we heard the Panchama, not dra Pa, Mandra Sa, and Mandra Ma, on two fixed bridges. When in the octave, to which the Madhyama wire belonged, but the second Somanâth sounded the first Anumandra Sa wire, he clearly heard higher octave. This Panchama was called by the scientists of the Mandra Sa and Mandra Pa as Anurananithmikadhvani or over west an upper partial or overtone or harmonic. tones. Having heard these, he was able to correctly tune the second and third wires of the Vina. On the other hand, Mr. V. N. Bhatkhande contended that the two processes, mentioned above, were the same. The note As for the second kind of harmonics, Chapter II, verses 30, 31 produced by pressing the wire down to the frets and thus shor- and 32 of Somanâth's Ragavibôdha are in point; and they are :- tening its length was the same as that obtained by simply touch- किं च स्व्रभुवः समपा नियतश्रुतयोऽपि कल्पिता नो तु। ing the wire on its upper part. Mr. Dêval called the latter Har- वच्मि स्फुटमिह हेतुं सारीतन्त्रयोविना ग्लेषम्॥ ३०॥ monics ; but he was wrong1.

अपरस्तुरीयतन्त्रयां द्वितीयसार्यूर्ध्वमणुरवोऽस्ति समः। Mr. P. R. Bhandarkar supported Mr. Bhatkhande and obser- तन्मन्द्रपः स्वयंभूर्मध्ये च नमध्यमी स्वभुवो।। ३१॥ ved: "Usually a desired note is produced by pressing the string अध्ठम्येकादश्योः सार्योरूर्ध्वे समापरध्वनितः । on a fret by means of a finger of the left-hand and plucking the तत्तैः समाः सपसमाः स्वयंभुवो मुक्ततन्त्रीजाः॥३२॥ string ; but the author of Ragavibôdha observes that the same note, The meaning of the verses is as follows :- 'Besides the svaras rather faint, can be. produced without bringing the string into con- Sa, Pa, Ma, though fixed srutis have been assigned to them, are tact with the fret at all, but simply by lightly touching it with a Svabhus (or Svayambhus) That is to say, they emanate spon- finger of the left hand. Hence he says the note is Svayambhu.

taneously without any effort to produce them and, as such, are Even a beginner in the science of acoustics will understand that

not aitificially produced svaras. I shall clearly explain the these two methods are in essence, the same-the damping of the

reason why they are so-called. In the fourth wire and above the string, in one, being strong and, in the other, weak; and that this

second fret, there emanates spontaneously and without any experiment has absolutely nothing to do with harmonics"2 contact of the wire with the fret, another fine sound similar to Mr. Dêval replied that he did not, in the second process to Mandra Pa. That Mandra Pa is Svayambhu. Likewise, the damp the wire as Mr. Bhandarkar fancied but kept the whole svaras Sa and Ma of the Madhya Register are also Svayambhus, length of the wire vibrating, as per the instruction of मुक्ततन्त्रीजा: inasmuch as the same fourth wire, when gently touched above of Somanath. He wound up his argument with the following Two the eighth and eleventh frets, gives rise to two other fine sounds similar to them. Hence the svaras S.t, Pa, Sa, Ma which are Diagrams :--

fine sounds, similar to the actually prodnced Sa, Pa. Sa, Ma but *having nothing nothing to do with any wire, are Svayambhus". Now, the real bone of contention between the two parties lay in the interpretation of these three verses, in general, and of the first two of them, in particular. Mr. K. B. Deval averred that from the word viq: (Svayambhu) occurring in the (said) verses 30 and 3t, one might infer that Sômanâth was acquainted with the western theory of Harmonics. FIG. 34

And, continued he, in the first process described by Sômanâth, we shortened the sounding length of the wire by pressing it on 1. Quoted from Mr. Deval's Theory of Indian Music-p. 4. 2. Vide Hindu Music Journal. p. 38.

ना तु काल्पता: A वच्मि स्फुटमिह हेतुं tnev are not imagiucu; I shall explain the reason fully and clearly ; तुरीयतन्त्रयां द्वितीयसार्यूध्व on the fourth wire;

सारीतन्त्र्यो: श्ेप चिना over the second fret ; without close contact bet-

FIG. 35. ween the wire and the

and remarked in connection therewith : "What Sômanâth fret;

did by creating an artificial nodal point by touching the Madhya- अपरो द्वितीय: समः (=तेनैव Another second svara

ma wire of his Vina at its ninth part and hearing the Panchama मन्द्रपञ्चमेन तुल्यः) similar to that very

note of the higher octave which is an upper partial, as in Fig. 34; Mandra Pa; Blaserna did by touching the Shadja wire at its fifth part and अणुरवोऽस्ति (=सूक्ष्मो ध्वनि- A minute sound is heard ; hearing the fourth upper partial, Gandhâra, as in Fig. 35". रस्ति) The whole question was lemught to the melting-pot. of the यथा द्वितीयसार्या तन्त्रीसंघट्ट- Just as the Mandra Pa first All India Music Conference et was held, in 1916, at नेन मन्द्रपञ्चम उदेति arises on the second Baroda1. fret, when the wire and As already said, the real apple of discord between the two the second fret are in parties lay in the interpretation of the verses 30 and 31 of Chap. contact ; II of Somanâth's Rigavibôdha. Hence with the consent of both तथा तस्या उपरि असंलग्नाया- So also even when you the combatants, the President of the Conference referred the मपि तन्तर्यों वाम्रकरागुलि- slightly touch the wire interpretation of the said verses to two Sanskrit Scholars, that स्पर्शमात्रेणापि अन्यो मन्द्र- with the little finger of were present there, named Prof. Arte of the Baroda College and Pandit Venkatesvara Sastri. Messrs. Mangesa Row Telang and पञ्चमः सूक्ष्मः श्रूयत इत्यर्थ: the left hand over the second fret and though Narasimma Row Divatia. Sanskrit scholars and musicians, were the wire is not in con- asked to testify to the correctness of the translations, which they tact with the fret, ano- most unhesitatingly did. ther Mandra Pa, a low The translation that was submitted before the Conference by one is heard ; the Sanskrit scholars was as follows :- तत्ततो हेतो: मन्द्रपः स्वयंभू: Therefore, for that reason

किंच Besides ; the Mandra Pa is Svayambhu. though their srutis are established or reco- मध्ये च समध्यमी स्वसुनौ Similarly, Sa and Ma of

gnised in the Sastra as the middle register are

so many ; also Svayambhus.

सपमा: The svaras Sa, Pa. Ma; When Prof. Arte finished his translation. Mr. G. S. Khare of स्वभुव: come into existence of Poona asled him the meaning of the word ter: appea.ing in the their own accord ; Commentary; and the Professor replied that it literally meant

1. I myself attended the Conference as an invited Delegate. 'similar'. Messrs. Telang and Divatia testified to the correctness of the translation by Prof. Arte. 18

But what was the wonder! Each of the combatants tound, in The tollowing Diagram, the said two verses, even as incerpreted by the Prof ssor. an autho- wnicn represenes Sumanau s Vina-System, shows that, from among the fourteen svras which rity only to support his own respective contention !! So, they shook Sômanâth had originally taken up to build his Svara-system, their heads, not their hands, and parted !!! Anthara Ga and Kâkali Ni were eliminated, for the reason that I think that, at this distance of time, we shall be able to dis- Mridu Pa and Mridu Sa were deemed to practically represent passionately review the whole question and come to a definite con- them and that, therefore, the whole of his Raga-system was built clusion thereon. only with the twelve2 svaras, mentioned in Fig. 36, in spite again

I, for one, find that, between the two parties, there is a point of the twenty-two svaras with which he had built his Méla-system.

of agreement and, again, a point of disagreement. The point of agreement is that there are two processes of Names of the FRETS

Four Upper Wires producing notes on a wire-(1) by pressing the wire so as to bring I II III IV V VI VII VIII it in contact with the fret and (2) by gently touching it with the the little finger (or feather) without. however, bringing it in con- Anumandra Sa S.R S. D. S. G. Sa. G. M. M S. M tact with the fret. S. N. M. P S. P Anumandra Pa K. N S. G. Sa G M. S S. S S. R S. G Mandra Sa S. R. M. M IS. M S. N. 29 M. P P As for the point of disagreement, Mr. Dêval asserts that the Mandra Ma M. P. S. P. ? S. D K. N. M. S S. S

note produced by the second process is an upper-partial to that produced by the first process ; while Mr. Bhatkhande emphasises (FIG. 36)

with all the stress he can give, that the notes produced by both ' If, now, the reader looks at Sômanâth's twelve svaras 3 and

the processes are one and the same, though the first is loud and the the modern twelve svaras, at a glance, thus-

second is faint. Names Twelve Svaras. The confusion between the two parties seems to be due to the fact that the very Somanath played the one off against the Somanath' S.S S. R S. G Sa G M. M S. M M. P S. P S, D S. N K. N M. S

other, by appearing to side, in turn, with each. Modern . S S. R Cha R Sa G A. GS. M P. M S. P S. D Cha D K. N Ka. N

His commentary,1 in which he gave the premises, seems to FIG 37

support Mr. Bhâtkhande ; while his assertive conclusion', which 1. The abbreviations used in the Diagram Fig. 36 and in the next Fig the preraises do not, necessarily, warrant, seems to support Mr. *37 are explained as fo lows :- Dêval. S. R=Sudha Ri S. N=Sudha Ni Sa. G=Sádhârana Gd K. N=Kaisiki Ni M. M=Mridu Ma We are thus driven to the conclusion that Somanath's Theory S. G=Sudha Ga S. M= Sudha Ma S. S=Sudha Sa M. P=Mridu Pa of Svayambhu is one big confusioa and that, in trying to rise high- S. D=Sudha Dha S. P=Sudha Pa M. S=Mrida Sa

er than Ramamtya on the point at issue, he virtually sank lower The five new abbreviations introduced in Fig. 37 are as follows , -- than his predecessor. A. G -Authara Ga Cha. R=Chathusruti Ri P. M=Prathi Ma

1. Cr. यथा द्वितीयसायी तन्त्रीसेघट्टनेन मन्द्रपज्चम उद्देति Cha. D=Chathusruti Dha Ka. N=Kâkali Ni

तगा तस्या उपरि असेलसायामपि तन्त्रयां 2. Cf. अनुमन्द्रमन्द्रोरिति ते दायश मेरुारिकासूक्ताः ।

बामकर्रागुलिस्पर्शमात्रेणापि अन्यो मन्द्पञ्चमः सूक्ष्मः तत्र शुद्दा: स रेगममघनयः स। विकृता: साधारणमृदुममृदुप सेकमृदुसाः

श्रयत इत्यर्थ :- For meaning see page, 69 पन्देत्यर्थः॥ Rgavibodha.

2 तत्ततो हेतोः मन्द्रपः स्वयंभू :- For meaning see page. 69 3. Cf. Also D. K. Joshi's Remarks in p. 42 of the Report of the Second All India Music Conference, Delhi.

and if he refreshes his memory of the tenor of the special instruc- tion's given in connection with Fig. 13 of the Introduction to my It is true that these three terms tormed part ot Bharata s ten,-

Edition of Svaramélakalanidhi; he will not find it difficult to and Shârngadêv's thirteen,2 criteria, whereby to determine the

interpret almost all the Râgas of Sômanâth in terms of the Jâtis, and that Venkatamakhi reiterated them in his Chathur-

modern Râgas. dandiprakasika, although his ten3 did not fully tally with Bharata's ten. But, all the same, I agree with Mr. Bhatkhande that all It only remains for me to explain the meaning of the various those criteria, including Graha, Amsa, and Nyâsa, have today Terms occurring here and there in Rágavibôdha. become obsolete. 4

1. GRAHA, AMSA, NYASA. I say 'including Graha, Amsa. and Nyâsa,' because even in the sixteenth century, there was a tendency to roll those three Graha and Nysa belonged more appropriately to the terms into one and give the same fundamental Sa to most of the Sâmagånam which was a vocal downward scale and which, there- then prevailing Râgas as their Grahas, Amsas, and Nyâsas. Much fore, as rightly remarkcd by Mr, Fox Strangways, " established the more, therefore, have they gone out of use, today, in favour of the tetrachord before the pentachord "1 The original tetrachord of the fundamental Sa. 5 Saman Scale was 'Ga-Ri.Sa-Ni' according to Fig. 22 of the present work and even according to Exercise 376 of Mr. Fox 1. ग्रहांशौ तारमन्द्रौ च न्यासोऽपन्यास एव च। Strangway's Music of Hindostan. The upper terminal of the tetrachord, viz, Ga was the Graha, while the lower terminal there अल्पत्वं च बहुतं च वाडवौडचिते तथा॥ इति दशविधजातिलक्षणम् । Natya Sstra. of, viz, Ni was the Nyâsa. 3 Graha, Amsa, Thara, Mandra, Nyasa, Apanyâsa, Alpatva Bahutva, Later on, Graha and Nyâsa were regarded as the respective Shadava, and Oudava-these ten are the Lakshanas of Jatis. notes on which a Jâti or a Râga was supposed to begin or end. 2. ग्रहांशतारमन्द्राश्च न्यासापन्यासकौ तथा। It was in this sense that the Sanskrit writers on music used the terms to classify theif Râgas. Nay, they added a third term, अपि सन्यासविन्यासौ बहुतं चाल्पता ततः ॥

Amsa. The reader will note that, in Figures 11 and 12 of my एतान्यन्तरमार्गेग सह लक्ष्माणि जातिपु ।

Edition of Svaramelakalanidhi as well as in Figures 30 and 31 of षाडवौडुविते क्वापीत्येवमाहुखयोदश॥ Sangitharatnakara

the present work, almost every Râga was given its Graha, Amsa, There are thirteen Criteria, whereby to determine a Jati : Graha

and Nyâsa. (Beginning), Amsa (Jiva), Thára (top), Mandra (the lowest note), Nyâsa (End), Apanyâsa (End or stop in the middle), Sanyâsa (End

' Amsa' was perhaps a note which was calculated to serve as of the first division of a song); Vinyåsa (End of the first line of the

a contrast to 'Graha', the drone. It was a Jiva-svara which song), Bahutva (frequency), Alpatva (Infrequency) Shâdava (having

would bring out, in bold relief, the most excellent feature of the 6 notes), Oudava (having 5 notes), and Antharamrga (the relation of Vadi with other notes. · Râga in questicn and thereby produce the greatest aesthetic effect. 3. ग्रहांशौ मन्द्रवारौ च न्यासापन्यासकौ तथा। But even a glance at the above-mentioned figures shows that अथ सन्यासविन्यासौ बहुत्वं चाल्पता तथा। the idea of such a 'contrast' had long been forgotten. Otherwise, लक्षणानि दशतानि रागणां मुनयोऽचुवन् li-Chathurdandiprakasika Râmâmâtya and Somanâth would not have given-as they The first ten of the footnote 2. supra are mentioned in this verse. actually gave-one and the same svara, as Graha, Amsa, and Nvâsa, te almost all of their Ragas. 4. ग्रहन्यासापन्यासानां नियमाः सांप्रतं हि ते। यथायोयं नैव लक्षं II-Lakshyasangitha

1. Vide Mr. Fox Strangway's Music of Hindostan. p. 277, I do not see the present application of the rules of Graha, Nyâsa, Apanyâsa etc. 2. Vide the same book p. 153. Footnote. 1. 5. Vide Mr. Fox Strangway's Music of Hindostan p. 153, Footnote 1. 19

· In the footnote 2 of page 73, mention was made of Antha- a distance of only 2 srutis between Vivadi svaras, 1 This difference ramarga, which denoted the relation of Vadi with other notes. This naturally takes us to the interpretation of a fresh set of copld be reconciled ; for, looked a. from different points of view, botn were virtually the same. But, be it noted, from the time of terms, viz :- Shârngadev down to-day, the distance between the Vivâdis was 2. VÂDI, SAMVÂDI, VIVÂDI, ANUVÂDI. saidito be one sruti.2 How 1 could be reconciled with 2 remains,

The text-book writers on music used to divide the svaras into yet, a puzzle.

four classes, viz, Vâdi, Samvâdi, Vivâdi and Anuvâdi.1 The Hence, perhaps, Ahobala cut the Gordian Knot by defining

'Vâdi' was the predominant note in a Râga; and immense was Viva di, not in terms of srutis, but as a svara which marred the

its prayoga or application therein.2 It was identified even with beauty of a Raga 3 and thus appealed more to the llstener's ear

Amsa.3 The svaras between which there was a distance of 9 or 13 than to anything else.

srutis were called 'Samvadis' to each other.4 Dathila and The Vâdi, Samvâdi, and Vivâdi thus established, the rest

Mathanga fcllowed Bharata in the matter of sticking to 9 or 13 were called Anuvâdis. 4

srutis. But, from the time of Shârngadêv down even to that of The ancients' itch for personification made them siy the Venkatamakhi, 8 or 12 srutis were said to be the distance between Vâdi was the king ; Samvâdi, the minister; Vivâdi, the enemy ; the Samvâdi svaras.5 This difference Kallinâth tried to reconcile by and Anuvâdi, the servant.5

asking the reader to altogether omit the first svara 6 from the Be all that what it might, we are now concerned with getting calculation and count the remaining notes. Sômanâth and Venkata- to know what part those four terms, Vâdi, Samvâdi Vivâdi and, makht followed suit in this respect. But none of them enunciated Anuvådi play in modern music. any principle whereby ' the first svara' was to be omitted. Hence Today 'Vadi' has mcrged itself in the fundamental Sa; the I am dispssed to hold to Bharata's position on the point. In theory of varjya-svaras has driven the 'Vivâdis' out of the modern phraseology, the distance between the two samvâdi svaras field6 ; the non-varjya-svaras have taken the place of 'Anuvâdis '; is the perfect fourth or fifth. while the principle of Samvâditva alone survives now in all its As for Vivâdis, Bharata said that there should be a distance vigour, the essence of which is, as said above, the relation of the of 20 srutis between them. 7 But Dathila and Mathanga spoke of perfect fourth or fifth. 7

1. Cf. चतुविधा: स्वारा वादी संवादी च विवायपि। 1. Cf. (1) दयन्तरौ तु विवादिनो ।-Dathilam अनुवादी .. . Il Sangithartanakara

notes respectively. They may be called in English, sonant consonant, dissonant, and asson ant 2. Cf. एतेनैकश्षुत्यन्तरिती परस्परं विवादिनाविति लक्षणे सूचित भवति। Kallinth.

वादी तु प्रयोगे बहुलः स्वरः।-Ibid 3. Cf. रक्तिविच्छेद्हेतुत्वं यस्मिन्रगे तु यर् तु । . 2. Cf. 3. Cf. (1) तत्र यो यलांशः स तत्य वादी।-Nity. Sistra. तद्रागस्थस्वरैस्तस्य विवादित भवेद्युजम् ॥-Sangithaparijatha.

(2) अंशो वादो च कथ्यते।-SIngithasamay.zsdra. 4. Cf. एवं वादिलवादिविवादिपु स्थापितेतु शेपा: अनुवादिनः संज्ञका :- Natya Sastra. 4. Cf. ययोश्च नवकत्योदशश्ुत्यन्तरे तावन्योन्यं संवादिनौ-Ntya Sustra. 5. Cf. वादी राजा स्व्रन्तत्य संवादी स्यादमात्यवत् 5. Cf. धरुतयो द्वादशाष्ट्री वा ययोरन्तरगोचराः । पथि: संवादीनौ .... शत्रुविव दी तत्य स्यादनुवादी तु मृत्यवत् ।I-Sangithadarpana ........ | Sangitharatnakara. 6. Cf. विवादी तु भवेहज्यों रक्तिविच्छेदकारक -Sa hasudhakara. 6. Cf. हेतु ययो: स्वरयोरन्तरगोचरा: स्वाधारश्रुतीर्विहाय। 7. We see the working of the principle of Samvaditva in Alapana and मध्यवर्तिन्यः श्रतयो द्वादशाष्ट्री वा ुशयन्ते।-Ibid. even in compositions. For example, the [pallavi of Sakkani Rajama- 7. Cf. विवादिनस्तु ते येषां विशतिस्वरमन्तरम् । Natya Sasrta rgamu begins with Ri; and the first svara of its annpallavi is Dha, the perfect fifth of Ri.

. To illustrate, the following groups, viz. Sa-Ma; Sa-Pa ; Ri- Dhø; and Ga-Ni are all Sarvâdis. And Venkatamakhi adds fact that Mathanga would have Arohana alone for the Thanas." 1 Sadharama Ga and Kaisiki Ni; Anthara Ga and Kakali Ni; and In his Sangithasudh.t, Raghunatha Naik followed the opinion Sudha Ri and Varâli (Prathi) Ma are also Samvâdis. But Sudha of the majority and observed that the Sudha Thânas were 84 in Ma and Sudha Ni alone are not Samvâdis, even though the dis- number, that the regular order of ascent and descent in pitch with tance between then is nine srutis. The reason seems to be that which the svaras proceeded was their charactsistic feature,2 and Sudha Ni is really Chathusruti Dha and that the relation between that, while the Moorchana-connected Sudha Thânas were used in Ma and Dha is neither perfect fourth nor perfect fifth. Vedic music, the Koota Thânas have been used in secular music.3

Koota-Thânas are defined to be the combinations of svaras 3. THÂNA, SUDHA-THÂNA, KOOTA-THÂNA, containing irregular series of notes, sung at random. They are NASHTA, UDHISHTA. not, like Sudha Thânas, confined to the Shâdava or Oudava

All these are allied terms and may, therefore, be grouped Group. They consist of svaras. ranging from 1 to 7, which are

together. Most of them have now become archaic and have, if at permuted and combined in all possible ways. In fact, Koota

all, only academical interest. Thânas are almost what we now call Sarali-Varisais. . The total number of the Sampurna Koota Thanas is 5040. Kallinâth explained the literal meaning of the term Thâna And that of the Asampurna ones is as follows :- That of 6 svaras to be "that by which the svaras are expanded. "1 Venka- is 720, that of 5 svaras, 120; that of 4 svaras, 24 ; that of 3 svaras tamakhi took the cue from Kallinâth and unambiguously defined 6 ; that of 2 svaras, 2; and that of 1 svara only 1. When, among the term to be "the permutations and combinations of the the numbers 1, 2. 3, 4, 5. 6, 7, each succeeding figure is multiplied svaras. "2 hy the preceding figure or figures, the several continued products

In this sense, 'Thâna' is said to have fallen into two divi- 1. Cf. यद्यपि मूर्च्छना एव शद्धास्ताना: स्युरित्युक्क्केः तानेपु आरोहावरोहरूपत्वं प्रतीयते। sions, viz, Sudha-Thâna and Koota-Thana. There is almost a तथापि मतंगमतेन आरोह एव तान इति ज्ञेयं। The reader will note that consensus of opinion, among the ancient authors, that the Sudha Sômanàth misquoted Mathanga. Or amatg must be a slip of the Thanas are but the Sudha Moorchans, only they are Shâdavas or pen for अवरोड, Oudavas. 3 2. Cf. आरोइणे चाप्यवरोहणे च स्वर्मेणैव हि शुद्धतानाः ।-Sangithasudha.

I say ' almost,' because Mathanga created a confusion by N. B. The Shâdava Sudha Thanas were 49 in number, 28 in the Sa-Grâma and 21 in the Ma-Grâma. The 28 of the Sa-Grâma Shâdava Thâras were drawing an incorrect contrast between the Moorchanas and the made up of 7 with Sa omitted, 7 with Ri omitted, 7 will Pa omitted, Thânas: "The Moorchanas took into account only the Arôhana and 7 with Ni omitted ; and the 21 of the Ma.Grâma Shâdava Thanas and the Thanas, only the Avarôhana. "4 Somanath, however, were, made up cf 7 with Sa omitted, 7 with Ri omitted, and i with Ga pointed out the incorrectuess of Mathanga's view : " Inasmnch as fomitted. Similarly the Oudava Sudha Tnanas were 35 in number, 21

the Sudha Moorchanas are the Sudha Thanas, the Thanas must in the Sa.Grama and 14 in the Ma Grama. The 21 of the Sa.Grâma Oudav1 Thanas wers made up of 7 with Sa and iP.z omitted, 7 with Ga and Ni omitted, and 7 with Ri and Pa omitted ; and the 14 of the Ma- 1. Cf. तन्यते (विस्तार्थते) इति तान: ।-SIngitharatnakara Commentary. Grâma Oud iva Thanas were made up of 7 with Sa and Pa omitted and

2. Cf. स्वरविस्तारलक्षणम्-Chathurdandiprakasika 7 with Ga and Ni omitte. In all, the Sudha Thanas were (+9+35=) 84 in number. 3. Cf. ताना: स्युर्मूर्च्छना शुद्धा: पाडवौडवितोकृता:।-Szngitharatnakara 3. Cf. गानोपयुक्ता: खलु कूटतनाः समूर्च्छनारते त्वथ शुद्धूतानाः। 4. Cf. मूर्च्छनारोहक्रमेण तानोSवरोहक्रमेण भवतीति भेदः ।-Brihad Desi औद्रात्रके कर्मणि चापिगामे कथोपयुक्ता इति शास्त्रसिद्धाः ॥-Sangithasudha 20

obtained indicate, in order. the total number of the Koota Thanas svaids tlusei. DC.UW 1, that can be formed out of the svaras, ranging from 1 to 7. For write Ga-Ma found on the upper line; and to the left of Sa, add

example, tho only remaning Ri. Thus we get the second line, Ri, Sa, Ga, Ma.

For the seven svaras, the Koota Thanas are 7x 5x 5x4x 3x 2x 1 = 50'0 On he third line, nothing should be written below Ri, for Sa For the six svaras, the Koota Thânas are 6×5×4×3x2×1= 720 is found to the right of Ri on the upper line and there is no svara For the five svaras, the Koota Thânas are 5×4×3×2×1= 120 For the four svaras, the Koota Thânas are 4×3×2× 1 = 24 previous to it. Nothing, again, should be written below Sa, for

For the three svasas, the Koota Taanas are 3x 2 x 1 = 6 it is the lowest of the svaras chosen. Now, below Ga write Ri. For the two svaras, the Koota Thanas are 2x1 = 2 Then, to the right of Ga, write Ma found on the upper line; and For the one svara, the Koota Thanas form only 1= 1 to the left of Ga, add the remaining Sa and Ga, in the order of the

For an elaborate prasthara of all the kinds of Koota first line. Thus we get the third line Sa, Ga, Ri, Ma.

Thânas, the reader is referred to Appendix II of Shârangadêv's On the fourth line, nothing should be written below Sa, for it Sangitharatnákara. is the lowest of the svaras chosen. Nothing, again, should be

As for the method bv which the Koota Thânas are pras- written, in the first instance, below Ga; for Ri is found to the

thârafied or expanded, Sômanâth chose to give us the following right of Ga on the upper line. Choose, therefore, Sa which is

instructions :-- previous to Ri and write it below Ga. Then to the right of Sa,

1. In any combination consisting of 1 to 7 svaras, choose write Ri and Ma in the order .f the first line; and to the left of

any desired order or arrangement and write it on the first line. Sa, add the remaining Ga. Thus we get the fourth line Ga, Sa, Ri, Ma. 2. For each succeeding l:ne, take the svara on the upper line and write it below its succeeding svara. On the fifth line, neither Sa nor Ri should be written below Ga, for the reason that they occur on the upper line ; nor could 3. Write nothing below the lowest of the svaras chosen. any svara be written below Sa which is the lowest of the svaras 4. If the svara to be written on the lower line is found chosen. Therefore, write Sa below Ri. Then to the right of Sa among the succeeding ones on the upper line, choose instead that write Ma; and to the left of Sa, add the remaining Ri, and Ga which is previous to it. If that svara also occurs on the upper in the order of the first line. Thus we get the fifth line Ri, Ga, line, choose that which is previons to to the previous one and Sa, Ma.

so on. On the sixth line, Sa cannot be written below Ri, for it 5. To the right of the chosen svaras repeat the other succee- occurs on the upper line. So write Ri below Ga. Then to the ding svaras on the upper line and to the left of it, add the remain- right of Ri. add Sa, M.t; and to its left, the remaining Ga. Thus ing svaras in the order originally adopted 1 we get the sixth line Ga, Ri, Sa, Ma. Lest he should be misunderstood, Somanâth worked out his instructions and gave us. a specimen of how to cxpand the Thánas. Continuing the process, we get six varieties ending in Ga, six varieties ending in Ri, and agin six varieties ending in Sa. Here Here is that specimen :-- the prasthara stops. Hence, the total number of Koota Thanas, Let Sa-Ri-Ga-Ma be the first line. On the second line, formed out of four svaras, is 24. nothing should be written below Sa, for it is the lowest of the NS NASHTA

1. Cf. न्यस्य क्रमं यथेष्ट पूर्वः पूर्व पादथः स्थाप्यः । पूर्वो यहुपरि स्वात्ततत्पूर्य: वेपरीगाः ॥ Nasnta' literally means lost; and it indicates he process

मूलतमक्रमेण स्थाप्या: पृष्टेशन के रतः शेष: ॥- Ragavibodha. whereby to discover the form of a 'lost' Thâna. Nashta, there- fore, may be defined to be a method of finding out the 'form' of a

given Koota-Thâna. To correctly unuerstanu the following instructions should be noted :- is Ga. Hence Ga is the next svara discovered ; write it, therefore (1) Write the totals of the given Koota-Thâna. to the left of Ma. (2) Subtract the number of the given Koota-Thâna from the Omitting Ga, Ma, there still remain Sa, Ri, Pa. Now, divide last of the totals ; and also divide the remainder by the total pre- the second remainder 1 by 2 (the immediately preceding total); ceding the last. and we find that the second remainder is indivisible. Hence, in (3) Divide again, the remainder (of the division) by the this case, the svara preceding the second, namely Sa, should be

if need.be. immediately preceding total and continue this process of division, taken. Write, then, Sa to the left of Ga, Ma. Omitting Sa, Ga, Ma, there now remain Ri, Pa. Now divide (4) The several quotients. thus obtained, indicate the the above second remainder by 1 (the immediately preceding svaras of the given Koota-Thâna. total) ; and we get I as the quotient and zero as the remainder. (5). These svaras should be taken in the reverse order and Now, the 1st svara from the second in Ri-Pa is Pa. Write, should be calculated from the second svara in the natural order. therefore, Pa to the left of Sa, Ga, Ma. (6) If any remainder is indivisible, the svara which precedes Omitting Pa, Sa, Ga, Ma, there at last remains Ri. Write the second should be taken. this Ri to the left of Pa, Sa, Ga, Ma. (·) The svaras, once discovered, should not be taken up Thus the fully-discovered form of the 35th Koota-Thana of again but be omitted. five svaras is Ri-Pa-Sa-Ga-Ma. (>) If, in the very first subtraction, zero is the result ; then, A Second Problem :- What, among the Koota-Thanas of five inverse the natural order of the svaras taken. svaras, is the form of 120th Koota-Thâna P The above-mentioned 'instructions' Sòmanâth chose to work Solution thereto :- The first five svaras, in the natural order, out and give us a specimen of a problem and its solution. are Sa-Ri-Ga-Ma-Pa. The first five totals of the Koota-Thanas Problem :- What, among the Koota-Thânas of five svaras, is are 1, 2, 6, 24, 120. Now, the number of the given Koota-Thâna the form of the 35th Koota-Thana? is 120. Solution :- The first five svaras, in the natural order, are Sa -- Subtract 120 from 120 (the last of the totals); ard we get Ri-Ga-Ma-Pa. The first five totals of the Koota-Thanas are zero as the remainder. 1, 2, 6, 24, 120. Hence, inversing the natural order of the first five svaras, the Now, the number of the given Koota-Thana is 35. To find form of the 120th Koota Thana is Pa-Ma-Ga-Ri-Sa. out its form, we must first subtract 35 from 120 (the last of the *totals). The remainder is 85. Divide then, this 85 by 24 (the UDHISHTA.

total preceding the last). We get 3 as the quotient and 13 as the 'Udhishta' literally means desired or wished-for; and it remainder. indicates the process whereby to discover the number of a given Now, the 3rd svara from the second, in the natural order, is Koota-Thana. Udhishta, therefore, ma . be defined to be a method

Ma. Hence Ma is the first of the svaras discovered ; but it is the of finding out the ' number' of a given Kooia-Thana. It is thus last of the 35th Koota-Thâna. the converse of Nashta.

Omitting Ma, there remain Sa, Ri, Ga, F. Now, divide the To correct'y understand that ' method.' the following instruc- . remainder 13 by 6 (the immediatcly precediny total); and we get tions should be noted :-- 2 as the quotient and I as the remainder. (1) Write on the first line the given number of the svaras in their natural order. 21

. (2) Write on the second line the given Koota Thâna. muitiply 6 which is, in the remaining group, the last total vut one - (3) Write on the third line the totals of the Koota Thânas. The product is 12. Subtract this 12 from 48, the previons remain- (4) Find out what rank, after the second svara, the last der. We get 36 as the present remainder. Omit Ga and 24. svara in the given Koota-Thâna occupies among the svaras There now remain Sa-Ri-Pa in the natural order, Ri-Pa-Sa in the written in the natural order. given Koola-Thâna, and 1-2-6 in the totais.

(5) By that rank-number, multiply the last total but one Now, the last svara in the now-remaining svaras of the given and subtract the product from the very last.total. Koota-Thâna is Sa. Since it precedes Ri, the second of the svaras (6) Omit both the last svara in the given Koota-Thâna and written in the natural order, it should be omitted as well as the now-last total 6. There now remain Ri-Pa in the natural order, also the corresponding svara in the natural order. Omit again Ri-Pa in the given Koota-Thâna, and 1-2 in the totals. the last total. (7) If the last svara in the given Koota-Thâna comes before Now, the last svara in the now-remaining svaras of the given Koota-Thâna is Pa, which happens to be the second of the the second among the svaras in the natural order, that svara as svaras written in the natural order. Hence deem Pa to be the well as the corresponding previons total should be omitted. first from the second of the svaras written in the natural order. (8) Repeat the same process to the end; and the final By 1, therefore, multiply 1, which is, in the now-remaining group, remainder indicates the number of the given Koota-Thana. the last total but one. The product is 1. Subtract this 1 from 36 (9) If, during the process, the last svara in the given Koota- the next previons remainder. We get 35 as the now present Thana happens to be other than Ri and yet the second of .the remainder.

svaras written in their natural order; that last svara must be Since Ri is the only svara that remains both in the series of deemed to be the first from the second. the natural order and in the given Koota-Thâna, and since, there- The above-mentioned 'instructions' Sômnâth chose to work fore, the process of multiplication and division cannot be continued out and give us a specimen of a problem and its solution. any further; 35 must be deemed to be tbe final remainder.

Problem :- What, among the Koota-Thânas of five svaras, is Hence 35 is the number of the given Koota-Thana. In the number of the Koota-Thana Ri-Pa-Sa-Ga-Ma? other words, the Koota- Thana Ri-Pa-Sa-Ga -Ma is the 35th

Solution :- Write on the first line the five given svaras in of the Koota-Thanas of five svaras.

their natural order, viz, Sa-Ri-Ga-Ma-Pa. On the second line, The same pair of terms, viz, Nashta and Udhishta, Sômanâth write the given Koota-Thâna, vis, Ri-Pa-Sa-Ga-Ma. And on the made use of, even in connection with his 960 Melas. The method third line, write the totals of the Koota Thanas, viz 1-2-6-24-120. of finding out the form of a given Mela is Nashta ; and that of

Now, the last svara in the given Koota-Thâna, viz, Ma is the finding out the number of a given Mela is Udhishta. To correctly third from Ri which is the second of the svaras written in the understand both the methods, Sômanâth gave the following ins- .

natural order. By 3, therefore, multiply 24, which is the last total tructions :-

but one. The produet is 72. Subtract this 72 from 120, which is the very last total. We get the remainder 48. Omit Ma and I. NASHTA (RE MELAS) 120. There remain Sa-Ri-Ga-Pa in the natural order, Ri-Pa-Sa- 1. Have for reference the Fig. 25 of the present work. Ga. in the given Koota-Thâna, anc 1-2-6-24 n the totals. 2. Sbtract, from the number of the given Mêla, one by one Now, the last svara in the remaining svaras of the given of the group-figures of the same variety ; and write the scarting' Koota-Thâna, viz. Ga is the second from Ri which is the second line, beginning with the number of the group figure, obtained just of the svaras written in the natural order. By 2, therefore, where the subtraction stops.

3. If. in the very beginning, the subtraction is lUt posuiay commence the starting line with 1 second figure of the given Mèla. 4. Subtract, again, from the remainder obtained, one by Subtract 1 from 7 ; and we get 5 as the remainder. Add this one of the group-figures of the preceding variety, care being taken 6 to the third figure of the starting line-thus, 8+6=14. Hence to see that those figures should (a) not belong to the first group 14 is the required third figure of the given Mêla. (b) be below the corresponding figure written on the starting line Therefore, the form of 155th Mela, in connection with the and (c) also make a combination of their total numbers, with the prasthâra ot three distinct svaras, is 3-11-14. figure already written on the starting line, possible. 5. The last remainder, obtained after subtracting one by II. UDHISHTA (RE MÊLAS) one of the group-figures, should be such as its combination with Udhishta, again, is the converse of Nashta. It is the method the last figure in the starting line, when diminished by one, may of finding out the number of a given form of a particular Mêla. produre a figure which is not equal to or less than the preceding It is some what analogous to the later Katapayâdi-method. To one or which does not indicate only a variety of the same note as correctly understand that ' method,' the following instructions will the preceding one. be of use :- Problem :- What, in connection with the prasthâra of three (1) Write, on the first line, the form of the given Mêla. distinct svaras, is the form of 155th Mêla P (2) Write, on the second line, the starting line of the same Solution :- Here, the number of the given Mela is 155. Sub- variety. tract, from 155, one by one of the group-figures of the same variety (3) Find out the excess of the given Mêla over the starting of three distinct notes, viz, the three figures 53, 53, 53 of the first line under the corresponding figures. group. E. g. 155-53=102; and, again, 102-53=49. At the third 53, the subtraction stops. Hence, begin the starting line with 3; (4) Let the excess indicate the number of the group-figures and the whole of the starting line will read thus :- 3-4-8. of the correspondingly preceding columns as in the process of Nashta. Now, we have determined the first figure of the starting line to be 3. What figures should take the place of + and 8 ? (5) Add all these figures.

Subtract, again, from 49 (the remainder) one by one of the (6) Add, to the total obtained, the remaining ones above the group-figures of the preceding variety, viz, 8, 8, 8, 8; 6, 6; 3, 3, 3. first figure indicated in the starting line. Care, however, should be taken to see that those figures should (a) (7) Add, at last, 1 to the total sum. not belong to the first group 1 (b) be below the corresponding Problem :- Give. in connection with the prasthâra of three . figure (viz, 4) written on the starting line ª and (c) also make a distinct svaras, the ' number' of the Mela which is of the form of combination of their total number, with the figure already written 3-11-14. on the starting line, possible. Solution :- Write on the first line, the form of the given Having omit ted the first8, subtract, from 49, only the first Mela, vis. 3-11-14. Write, on the second line, the starting line seven of the remaining group-figures, one by one; and we get 7 as of the same varety, viz, 3-4-8. The excess of the given Mêla over the starting line under the second and fourth figures amounts to 7 and 6 respectively. 7 shows that 7 figures below the 4th serial number o. the Fig. 26 of the present work in the seco.id column 1. We have therefore avoided the figures 12, 12, 12. 2. We must therefore omit the first 8, the serial number of which is 4. thereof should be added thus 8+8+8+6+6+3+3=12. Again 6 shows that 6 figures below the 8th serial number of the Fig. 26 22

of the present work: in the first column thereof should be added- Sthayi 1+1+1+1+1+1=6. Add these two figures; and we get (42+6 Prasarnâdi =) 48. To this 48, add the remaining figures, above the 3rd serial Prasannâutha numbers of the Fig. 26 of the present work, in third column there- 5 Prasannâdyântha of-thus [(53+53)+48=] 154. Add, at last, 1 to the total sum Prasannamadhya

154; and we get 155. Kramarechitha

Hence 155 is the number of the given Mêla.

4. VARNA AND ALANKÂRA Visthirna Nishkarsha Varna is the singing of svaras, while Alankâra is a peculiar Prênkhitha Ârôhi or idiomatic grouping of the varnas. Their classifications may be 7 Bindhu shown thus :- Hasitha Varna Sandhiprachâdana l Âkshiptha N. B. For examples, see the Text Sthâyi Ârôhi Avarôhi Sanchâri Total-(32 + 2 =) 34. as Arôhi Avarôhi same ALANKÂRA 7 < (FIG. 39) N. B. For examples, see the Text. Prasâda (FIG. 38) Prênkha Ranjitha -

Âkshêpa Parivartha Koojitha Sanchâri 13< Udvâhitba Udghat titha Humkâra Skalitha Krama Syêna Hrâdamâna

Thara Mandra Prasanna Two extra varieties 2

Mandra Thara Prasanna

88 SOMANATH'S ' METHODS' OF VINA PLAYING AND HIS . At this stage, mention must be made that, in his fifth Vivêka, SIGNS' THEREFOR Sômanâth enumerated so many as 20 methods of Vina-playing, N. B. An explanation of the abbreviations used in Fig, 40 prevalent in Dési-music, as well as two registers in which they were played. Those methods were calculated to bring out, in bold A = Above H = Horizontal B = Below R = By the right sid relief, the peculiar phrases and idioms, so to spenk, of every one of J = Jointed with a zero S = An S-Mark C = Crescent below his Râgas. Indeed, from verse 37 to verse 166 of Vivêka V of Z = A zero Mark Ch. L = A chained line L = A Line 2Z's = Two connected his Rågavibôdha. Sômanâth worked them out in full and, by E = An Elongated Lo = A Lotus Mark zeros employing suitable signs for each of them, gave us an inkling that Zero P = Plus a point within even the Raga-Prasthara is not wholly unamenable to Notation. So he rightly named his fifth Viveka-₹RTeqfa1, i.e Râga-Forms.1 Name Sign Description Function Those 'methods', reduced in the following Tabular Form, of the sign Number | are well worth our study. 1 Prathihathi 2Z's, B Sound by double Beat; 1st producing key Sa; 2nd oct Sa (Humkâra). 2 Âhathi Z, B Do by a single beat.

3 Anubathi L, J Do

4 Ahathi Z, P, B Do but by a Mend.

5 Peeda स० Z, R Sound of double-Svara, 1st louder.

S 6 Dôlana स S, V A Sound by passing the fingers to and fro. 7 Vikarshana S, H A Dolana only to but not to and fro.

8 Gamaka सs S, VR Do but slow and 3 or 4 movements

9 Kampa L, V A Gamaka.

10 Gharshana स L, H A Sound or a Svara accompanied by its neighbours. 11 Mudra स L, HB On sounding a Svara, the finger pas- 1. I found, in the Connemara Library, Madras a small bock entitled "Mu- ses to its preceding one only sical Compositions,of Somanath critically edited with a table of Notations by to cover and stop it. R. Simon." This booklet reproduces the fifth Viveka of Somanath's Ragavi- 12 Sparsa सॅ C, A Ahathi, b t the finger passes to the preceding Svara and sounds it. bôdha ; and the head-phrase Musical Compositions is, I fear, very misleading, as it generally indicates significant 'Songs' and not Raga-Prastharas which 13 Naimnya स C, B Loud Sound by passing tho finger Somanath manipulated with Svara-Vistharas. The correct phrase is, therefore, between the frets.

Râga-Forms. *R Sound of 8 Svaras in succession

Name Sign Description Function rently-formed Deities in different countries. of the sign In his Musical Modes of the Hindoos, Sir William Jones Numbex

15 Druthi सरिग Ch. L, B A generic Name for Quick-playing. made reference to Sômanâth's Raga-Forms, which he chose to call 'old Indian Airs, ' and threw out a suggestion that the Svara- 16 Paratha स S, HB Production of. Ri by pressing the Sz- Visthâras, found in Vivêka V (Verses 37 to 166) of Raga- fret. vibodha were closely connected with the wording of Jayadeva's 17 Uchatha Production of Ga by pressing t'ie St Gitagôvindam. He went even to the extent of citing a specific S, HAB example in support of his suggested view. fret.

(P) Here, I shall let Sir Jones himself speak :- " I selected the 18 Nijatha S, J Paratha, slowly carried on mode of Vasantha, because it was adopted by Jayadeva himself to the most beautiful of his odes and because the number of notes in 19 Nijatha (U) S, A J Uchatha, slowly carried on. Sôma (-nâth), compared with that of the syllables in the Sanskrit stanza, may lead us to guess that the strain itself was applied by A Generic Name for Slow.Playing. the musician to the very words of the poet. The words are :- 20 Sama स0 E, VR ललित लब ङ्गलतापरिशीलनकोमलमलय समीरे 21 Mridu 0 E, VA Lower Register. मधुकरनिकर कर म्बित कोकिलकूजितकुअ्तकुटीरे। विहरति हरिरिह सरस वसन्ते नृत्यति 22 Katina स E, HA Higher Register. युवतिजनेन समं सखि विरहिजनस्य दुरन्ते।।

23 Padmâkara स Lo, R Beginning or End. the meaning of which is as follows :- While the soft gale of Malaya wafts perfume from the beautiful clove-plant, and the (FIG 40) recess of each flowery arbour sweetly resounds with the strains of Having, witi the help of the Signs explained in Fig. 40, pras- the Kôkila, mingled with the murmurs of the honey-making tharafied the fifty-one 1 Râgas, which he took up early in the swarms, Hari dances, O! lovely friend, with a company of damsels fif h Vivêka of his Ragavibôdha, Sômanâth proceded to mention in this vernal season-a season full of delights but painful to sepa- as well as describe the various ' Deities,' pertaining to those Râgas. rated lovers ". For instance, he expressed Sankarabharanz in terms of a deity, who Nor did Sir Jones leave the matter here. He proceeded to is of white color and beautiful, who is ever fond of dancing; who illustrate his views with the following Staff-Notation :- wears a garland of lotuses round his neck, vibhoothi (ashes) on his forehead, and a blood-red garment ail round his body. He felt at last that, while he could not, in the case of the sound-based Râga-Forms, exhaust all of them on account of their endless character, he was not, in the case of the deity-based Raga-Forms,

1. In the Preface to his Music Composition of Somar .ith, M .. Simon wrongly said '50 Ragas'; for, he unknowingly omitted Gu:da from his list. Further, compare एकपच्चाशत रागाणां।- Somanath's Commentury.

एष वसन्तः स0रिग०म0 la li ta la ban ga la ta pe ri i la na co mala am la ya sa धप0मप0मगमधसधनिधधनि सें स0 खैं।

से में गे गें रि से निस0 निधमध- mi re mad buca ra ni ca ram bi ta co ei ia

मधनिध0धनि से से स0निधप0मप0॥४६॥ cu ji ta cun ja cu ti re bi ha ra ti he re ri ha

मगम0मग्ग रि स स निधप- sa ra sa va san te nrit ya ti yu va ti ja ne na sa man sachi मप0संगम0धप मप0मगम0मगग रि स १। vi ra hi ia nas ya du ran te (FIG. 43)

Comparing the figures 42 and 43 with each other, we find pa dhs ai s3 that the svaras of Sir William Jones and of Sômanâth, are a (FIG. 41) poles asunder. Hence the attempt to connect Sômanâth's Râg a Forms with Jayadêva's Gitagôvindam must be given up as a Let me first reduce the Staff Notation of Fig. 41 into our own matter of wild goose game. Sargam Notation thus :-- I shall, in conclusion, estimate the nature of the services ren-

ससरिग-मापम-मापम-गामम-नीपनि-निवधनि-सासा- dered by Somanath to the music world.

ललितल-वङ्गल-तापरि-शीलन-कोमल-मलयस-मीरे Whether in the matter of being agreeably brief ; or of trea- ससमग-गरिसस-नीरिंनि-नीमध-माधनि-घाधनि-सासा- ting the subject under the four significant heads of Svara, Vina, Méla, and Râga ; or of presenting to us only a four-stringed Vina; or of reducing the svara-system finally into twelve svaras ; or of संनिधप-मपमम-ममगग-रीसा-सांनिध- making reference to the Svayambhu-svaras ; or of emphasising the विहरति-हरिरिह-सरसव-सन्ते-नृत्यति- importance of the Genus-species system of the Mêlas; or of पमधप-गामध-पामम-पमगम-मागग-रीसा straightaway mentioning the prevailing characteristics of the युवतिज-नेनस-मंसखि-विरहिज-नस्यदु-रन्ते Râgas ; or of even holding forth Mukhari as the Sudha scale ;- in every one and all of these points, Sômanâth but faithfully fol- (FIG. 42) lowed Râmâmâtya.

and then, proceed to compare the latter (Fig. 42) with Sômanâth's There was, however, one point in which the former blew hot Râga-Form in question. and cold with the latter.

Be it remembered that Sir William Jones selected the mode That is to say, Sômanâth first broke loose along with Râmâ- of Vasantha in which the prabandha of ललितलवङउता was set. So, mâtya, from Sharngadev's 12 Vikritha svaras and reduced those we must select the same Vasantha 'mode' and find out how twelve into sever ; but, 'ater on, he broke loose frot Râmâmâtya Sômanâth prasthârafied it. himself and lean d back on the ancient 12 Vikritha-svaras, aye, increased those twelve into fifteen and thereby out-Sharngadêved Here is Sômanâth's verse on the point :- Shârngadêv! 24

Elsewhere", I said that, from the time of Sddasiva 1lguit duwa Aue UIVISIOHI Of tHe WOrA bito tour mhiportant neads (viz, dvara, to that of Râmâmâtya, so many as 12 Vikritha-svaras were used Vina, Mé'a and Raga); the reduction of the ancient 12 Vikritha- only from the view-point of the three Gramas of Gi, Ma, and Sa, svaras into 7; the introduction of the four-stringed Vina; the prefe- and that, when the first two Gramas of Ga and Ma were thrown rence of the classification of the Mêlas to merely cataloguing them into the background, by dint of the popularity of the compara- and the straightaway mention of the characteristics of the prevai- tively modern Sa-Grama, the theory of the 12 Vikritha-svaras ling Râgas-all these and more bad been fully worked out by was naturally thrown to the winds and that, again the first person Râmâmâtya, whom Sômanâth merely followed, though, no doubt, that tolled the death-knell of the ancient 12 Vikritha-svaras and in a powerful way. That the lists 1 of the Melas and the Ragas thereby heightened the importance of the Sa-Grâma was Râma- of both of then differed a little from each other does not detract mâtya, Sômanâth's predecessor by half a century.' from the force of my point that Sômanâth followed Râmâmâtya

Inasmuch as the same Sa-Grâma alone held sway, even and popularised his views

during the time of Sômanâth ; what, I ask, is the fyn of his clinging In my edition of Svaramélakalanidhi, I stated that a to the old, already-exploded theory of 12 Vikritha-svaras and of musical genius appeared, from time to time, to fill up the ever- further increasing their number, as if in revenge? widening gap between the science and the art of music and that Râmâmâtya was one such genius. I now supplement that state- Barring this kind of aberration, Sômanâth's merits were of a ment by observing that, for every planet of such a musical high order. His knowledge of Sanskrit was exact and extensive; genius, there will be ever so many satellites moving round the while, his powerful style of writing attracted the attention of even Ahôbala and Bhâvabatta, both of whom delighted to quote him, planet and sometimes posing as that planet itself.

in their respective works, not infrequently. Râmâmâtya was, doubtless, a planet; while, Sômanâth was If Râmâmâtya set about to reconcile the conflict of the musii only a satellite-but a big one like the moon. cal views with which he was confronted; Sômanâth served to Again, it is said that any reform, worth mentioning, has popularise his predecessor's views and even to proselytize them. necessarily to pass through three stages (viz, Thought, Discussion, It was surely with this object that he commenced his work, though and Action), that, if a sage throws out to the world a big thought, -as it grew in his hands-he was attacked with a fit of origina- his disciples discuss, agitate, and broadcast it, before the genera- lity, which landed him in the Sahara of 960 Melas. lity of the people proceeds to act thereon, and that, therefore, the thought-thrower, the discusser, the agitator, and the broadcaster His statement2- are all equally important factors or agents in the matter of effec- रागविबोध विद्धे विरोधरोधाय लक्ष्यलक्षणयोः । tually effecting the reform in question.

is found to be inconsistent with the nature of the contents of his If, therefore. Râmâmâtya was the thought-thrower in the work and must therefore be taken cum grano salis. In fact, there music world; Sômanâth must be deemed to be the discusser, is almost nothing in Ragavibodha which is not found in Svara- agitator, and broadcaster-all rolled into one. Hence, Rârâmâtya mélakalanidhi-leave alone Sômanâth's fit of originality which, and Sômanâth must be deemed to be equally important factors or except in one case, landed him in a desert or a slippery gronnd. agents in the matter of effectually effecting the music-reform-

1. The Lists in each case, are only illustrative out not exhaustive. Look 1. Vide page. 38 this Introduction. again, at the similarity of the descriptio. s of some of the Ragas occurring in 2. I write Ragavi \dha with a view to reconcile the conflict of riews both the works, as for instance, Saurashtra, Madhyamadi, Nagadhvani, Velavali, between the science ane the art of music. Padi, and Dhanyasi.

the one by originating, and the other by prupgu views of the sixteenth century. I must not omit to mention that in the prastharafication of the Koota-Thânas and in the method of finding out their Nashtas and Udhishtas, Sômanâth was genuinely original and, so far, benefitted the music-world, in his own characteristic way.

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the one by originating, and the other by prupgu views of the sixteenth century. I must not omit to mention that in the prastharafication of the Koota-Thânas and in the method of finding out their Nashtas and Udhishtas, Sômanâth was genuinely original and, so far, benefitted the music-world, in his own characteristic way.

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161 ER 8 3

रागविबय: ॥ शी: ॥ श्रीसोमनाथविरचितः । रागविबोच:

रागविदयोष:। रागविबोधः

प्रथमे विवेक:। प्रथमो विवेक: ।

श्रुतिस्रादि।

आयतित्वनिवरत मुते स्वराधारतगविषयनहम्। स्थातविहेकपान गणपतिननितितये वन्दे।१। भार्यानन्दनिदानं गुरुं स्वराधाररागविषयमहम्। स्थानविशेषख्यातं गणपतिमतिलिद्धये मन्हे॥१॥ हेतुर्जगद्यवद्तपिग जवन्ती स्वयोगतो वीणान्। जयति व्यापतशला शव्दात्मत्रेसशकति: तौ २। हेतुर्जगद्यवदतेविराजयन्ती स्वयोगतो किदाम्। जयति ध्यापनशीला शब्दात्मब्रह्मशकि: ल॥ २।।

मुझ्लनूरेलतुज पतुधीरवि सोनतामा हन् ॥१॥ मुद्र:सूरेस्तनुजस्तनुधीरपि सोमनामा ६स॥ हे। राजवियोध विद्धे विरोधरोचाय लक्ष्यतस्ायोंः। पार्चा वार्जा किवित्लारं तारें समद्ू ्य । । राग वेबोधे विद्धे विरोधरोधाय लक्ष्यउदणयोः। मार्च घार्चा किचित्सारं सारं समुद पथ्या पारष ता क पाप्या जयति विदुलासयास पदतुणडत-ह सपेउर्धो अर सिधेपु:॥। पथर आयायेद सां मम वाण्यां जयति ाव्यास्पृक। यदः मदादभीष्ट सर्वेडर्था अत सिध्ने इति पसयावना हूति प्स्तावना

रागविबधः

गीत द्वेघा मा्गा देशी मार्ग: स.वी चिरिभचयाचै:। तेषां अतयः क्मतो बेदा रामा दशौ तथाम्बुधय:। अन्विष्टो भरतारी: शंभोरमे प्रयुक्तोऽच्यः॥६॥ निगमा दहना: पक्षावेव हवार्विशतिः सर्वा: ॥१६॥ देशे देशे रुच्या यज्नहद्रअनं तुसा देशी। तुर्यायां सप्तम्यां तासु नवम्यां श्षती तयोदश्याम्। स तु लोकरुचिषिकलित: प्रायो लक्ष्यात्र देशी तत् ।।७।। सप्तदशीर्विशीद्वाविशीषु च ते स्फुटा: क्रमतः ॥१७॥ इति गीतमेदौ। पूथुवक्ष्यमाणवीणामेरो स्थाप्याश्चतस्र इति तत्त्र्यः। अत अ्तिखराद वीणामेदा: खसंख्यया मेलाः । मन्द्रतमध्वनिराद्या तय क्मोच्चस्वनं किंतित् ।१८।।

रागास्तद्रपाणि व पत्रविवेक्या क्रमाज्येया: ॥८॥ न्यस्या: सूक्ष्मा: सार्योऽथ द्वार्विशतिरधश्चरमतन्त्रयाः। इति वस्तुसंग्रहः। तन्त्री यथेयमुद्चोष्यतररवा किमपि तासु स्यात् ॥ १९ ॥

पुरुषार्थलार्थसिद्धपे सिषेवयिषुरपि विरिन्चिह्रिगिरीशान्। अ्तर्नेष्टोऽन्यरवः श्ुतय इति रवा इहान्त्यतन्रयां सः।

नादमुपासीत सुंधीर्यदिमे गदितास्तदात्मानः ॥९॥ षभस्तृतीयसार्या गः पञ्चम्यां नवम्यां मः ॥ २०॥

यात्मेरयति विवशुश्चित्त तद्देद्दवह्विमाहन्ति। पस्तु त्रयोदशीस्थः पोडश्यष्टादशीस्थितौ च धनी। स प्रेरयते दीप्त्या ब्रह्मग्रन्थिस्थितं मरतम् ॥ १० ।। द्वार्विशीस्थ: पड्जो द्विगुणसम: पूर्वपड़जेन ॥। २१।।

ऊर्ध्व विचरन्कमतो नाभिहृदयकण्ठमूर्धवक्ते सः। ध्वनिशुद्धिनिश्चयार्थ विकृतन्यर्थ च सश्चतुःश्ुतिकः। अतिसूक्ष्मादिकसंज्ञान्नादांस्तनुतेऽत गानार्हाः ॥ ११॥ पुनरुक्त इति मत मे श्रुतिस्वरावगमनाय लघु ॥ २२॥

इति नादः। इति शुद्धस्वराः।

हत्कष्ठमूर्धनादा: कमादमी मन्द्रमध्यताराख्या:। द्विगुणा यथोसरं व श्रुतितां खरतां च वच्येषाम्।। १२।। इति सप्तोक्ता: शुद्धा विकृतान्सप्तैव वच्मि सह नान्ना।

इति स्थानानि। साधारणोऽन्तरश्च थ्रुति श्रुती चैत्य गो मस्य ॥।२३ ॥ निः कैशिकी च काकल्यथ सस्यैकां भजंश्र तां ते हे। हृदूर्ध्वना डिका अव्वाविशत्यणुतिरोगनाडीवु। निगमा मृदुपरसमपा: समपतृतीयक्षतिस्थित्या ॥ २४॥ तावन्तः भ्रुतिलला: स्युर्नादा: परपरोचोद्याः॥१३॥ द्वादश विकृतान्पूर्वे वदन्ति तत्र तु पृथक्पृथगध्वनितः। एवं गळे थ से धभ्यः सप्त स्वराः श्रुतिभ्य: स्युः। सप्तैव स्युर्भिन्ना न पञ्च यदिमे समध्वनयः॥२५॥ स्वरता तेषु उसका मनः स्वतो रज्जयन्तीति॥१४ ॥ न पृथक शुद्धसमाभ्यामच्युतसमकौ चतुःश्रुती च रिधौ। इति श्रतयः। शुद्धरिधाभ्य विकृतस्त्रिश्रुतिपादपि चतुःश्रुतियः ॥२६॥

जर्षभगारवारा मध्यमपञव्मकमैवतनिषादाः । मिन्नो न चतुःश्रुतिो निःशंकमते Sपि कूटपुनरुको। मिधास्ते दरीषां सरिगमपधनीति संक्षाऽन्या। १५।। तल्लक्षणतो भेदेऽप्मीपु प०चरः न लक्ष्ये भित्॥२७॥। इति स्वरा:। नैकश्चतयोऽप्येते अवणार्हा: स्वचरमश्रुतावेव। न त्वादयासु भ्रुतियु स्पष्टमिति विचित्रवीणातः॥। २८।।

रिधयों: परधुतिगतेश्रतत्र इदद पत्र पड् तथा सुवय:। स्वरनिकरो ग्राम: स्यादाधारो मूर्च्छना मादीवास। देशीरागेष्वभिवीक्ष्यन्ते पट तास्तथा गा यो:॥२९॥ पाइजो माध्यम इति च द्वेधा स तयों: प्रधानत्वात् ॥ ३९॥

इति तेषु संभवन्ति तयोऽन्य एभ्यो विलक्षणा विकरृता: स्वान्त्य श्रुतावुपान्त्यश्रुतौ च सति पन्चमे क्रमात्स स्यात्। पञ्रक्ुतिः शुचेर्गा्साधारणगाध् पट्श्ुतिक: ॥ ३० ॥ कि तु विकारो देश्यां न पञ्चमे तदिह सः प्रथमः ॥ ४० ॥

रिरन पृथक ताडग्धो ने: कैशिकिनश् पट्शुतिगों मात्। धत्ते रिमयोरन्त्यादिमे श्रृती गो निरप्यमू धसयो: । किंतूक्तरिधगमानां व्यवहतये पृथगिमा: संज्ञाः ॥३१॥ धः पान्त्यां चेद्रान्धारग्राम: स्वर्गलोकेऽन्यः।।४०. ।। इति ग्रामा:। तीवश्चतुःश्रुतित्वे पञ्चश्रुतिकत्व एव तीव्रतरः। पद्धुतिकत्वे तीवतम इति परं ता यथायोगम्।।।। ३२।। स्वरसप्कस्य सक्रममारोहश्चावरोहण यदिह्। इति विकृतस्वराः। सा मूर्च्छना भिदोऽस्या उत्तरमन्द्रादिका: सत।।४२।। मध्यस्थसादिराद्या ऽधःस्थन्याद्यादिका: पराः षट् च।

तदिति च शास्त्रविरोधि न घाद्याध्याये हि शार्ङ्गदेवेन। क्रम आरोहणमेषां षाडवमिह षट्स्वरं किमपि॥४३ ॥

लक्ष्यस्थित्यै प्रोक शास्त्रार्थस्यान्यथात्वमपि॥ ३३॥ इति मूर्च्छना:।

षद्श्ुतिकं मे पञ्चश्रुतिकौ च चतुःश्रुती रिधावगदत्। पञचस्वरं तथौडुवमथ शुद्धा एव मूर्च्छना यहि। रागविवेकाध्यायव्याख्याने कल्लिनाथसूरिरपि॥३४॥ पाडविताश्चौडचिताः शुद्धास्ताना नवाम्वुधयः॥४४॥ ग्रामश्ुतिखरादेरनियम उक्तो हनूमताSद्येन। पूर्णाश्ापूर्णाश्च व्युत्क्रमणोच्चारितस्वरा विविधा:। देशीरागे येषा भ्रुतिस्वरेत्यादिपद्येन।। ३५ ।। चेन्मूर्च्छनास्तु कूटास्ताना: संख्याSथ पूर्णानाम्॥४५।।

इति लक्ष्यप्रधानः। खनिगमखशरा एकैकस्वर विमुचां क्रमाच्च नखगिरयः । खार्का जिना रसा दौ भूरिति तत्तत्क्रमैर्युक्ताः ॥४६ ॥

ते मन्द्रमध्यतारस्थानस्थित्या त्रिधा पुनस्तेषाम्। एकादिकसप्तान्तेषूर्ध्वोरध्वाङ्किषु पूर्वपूर्वहते।

वादी संवादी च विवादयनुवादीति भेदा: स्युः॥३६॥ १रपर एकादिकसंख्या स्यात्प्रस्तारमथ कथये॥४७॥ इति तानाः । वादी स यः प्रयोगे बहुलो राजा ययोस्तु मध्ये स्युः। द्वादश वाउष्टौ अुतयोऽमात्यौ संवादिनौ तौ स्तः ॥३७॥ न्यस्य क्रमं यथेष्टं पूर्वः पूर्वः परादघ: स्थाप्यः।

पकश्रुत्यन्तरितौ विवादिनौ वैरिणौ मिथो भवतः। पूर्वो यद्युपरि स्यात्तत्तत्पूर्वः पुर उपरिगा४८॥

अनुवादिनस्तु शेषा भृत्या इत्थं यथार्थारते ॥३८॥ मूलककगेण स्थाप्या: पृष्ठेऽस्य ये ततः हेगः।

इति वादिप्रमुखा:। अथ नष्टस्पष्टनमिह लेख्या इत्थ क्रमस्थाक्ः॥४९॥ इति तानप्रस्तार:।

भूद्रतितव: श्रुतिहक् खेना नखगिरि सवेदखशरात्र। अन्वर्थक: प्रसन्नाद्न्तस्ताहक प्रसन्नमध्योऽपि

पात्य: क्रमान्तिमाङ्कात्प्रश्नाङ्कः शेषमाद्यादैः ॥५०॥ मृदुमध्यगो द्वितीयस्तृतीयतुर्यो च तादक्षो।। ६० ।

भाज्य यथार्हगुणितैस्तदनुगुणकगुणकतुल्यसंख्याकाः। तहच पञ्चमाद्य त्रितयं करमरेचितस्त्रिकल एवम्।

मूलकमद्वितीयद्वितीयतोऽन्यादयो शेयाः ॥५१॥ स्थायिगता इति पञ्चाऽSरोहिगतास्ते पुनः सप ॥ ६१॥

भागाभावे पूर्वों लब्धो लोप्यो मुह्ु: क्रमेडडधश्च। संसेसे ॥I इति प्रसन्नादि: ॥१॥

शिष्टः प्रागथ कथयाम्युद्दिप्टमिह स्वरोऽन्त्यस्तु॥५२॥ ससंसं ॥I इति प्रसन्नान्त: ॥ २ ॥

इति नष्टः। संसंसं ।I इति प्रसन्नाद्यन्तः॥३॥

ससंसे।। इति प्रसन्नमध्यः॥४॥ यावतिथ: स्यान्मूल: क्रमद्वितीयात्तया हतः प्राच्यः। अङ्केष्वन्त्यात्पात्योऽथोद्दिष्टान्त्यो द्योर्लोप्य: ।५३॥ (1) सरिसं (2) संगमस इति क्रमरेचितः ॥५॥ अन्त्ये क्रमद्वितीयात्पूर्वे लोप्योडक्क आदिमस्तूष्णीम्। (3) संपधनिसं

एवं भूयो भूय: शेषमिहोद्दिष्टसंख्या स्यात् ॥५४ ॥ इति स्थायिगता: पञ्च।

इत्युद्दिष्टः। यत्नारोहेत्क्मतः सविश्रमं सप्तभिः स्वरैर्दीघैः । गानक्रिया स्वराणां या वर्णः स कथितश्चतुर्भेदः । विस्तीरणोंऽयं शीघ्र द्विर्गदितैस्तैस्तु निष्कर्षः ॥६२॥ स्थाय्यारोह्यवरोही संचारी चेत्यथ स्थायी॥५५॥ यत्नारोहेद् द्वौ द्वौ दोलितचरमं विहाय तु क्रमतः । स्थित्वा स्थित्वैकस्य प्रयोग आरोहणात्तथारोही। पूर्व पूर्व प्रे्ित इति स बिन्दुर्यदारोहे॥ ६३॥ अवरोद्दात्ववरोह्टी संचारी तद्विमिश्रणतः॥५६॥ क्रमतः प्लुतः सकृच्च प्लुतः सकृत्स्यात्प्लुतः सकृत्प्लुतकः। इति वर्णा:। हसितो यत्रैकोत्तरवृद्धावृत्ति: स्वरारोहः ॥। ६४ ॥ संधिप्रच्छादनके त्रिस्वरकाद्या कला तथान्ये द्वे। सविशेषवर्णगुम्फोSलंकारोSत्र कथयामि तन्जेदान्। स्वस्वप्राच्यान्त्यस्वरपूर्वे तद्वत्स आक्षिप्तः ॥६५॥ द्राविशत तथा हौ प्रकरण इह हि परिभाषेयम्॥५७॥ मध्यमह्ीनद्विद्विस्वरमाद्यकलान्तिमाडिमं भवति इत्यलंकारा। यत्र कलात्रयमेते पनरवरोहिथिता: सप्त ॥ ६६॥

मन्द्रः स यस्तु पूर्व: स्वर उक्तोडसौ मृदुः प्रसन्नश्न। सा-री-गा-मा-पा-धा-नी। इति विस्तीर्णः ॥ १ ॥

बिन्दुशिरा: स तु लिप्यां तारो द्वेगुण स र्दश् ॥५८॥ रात-रिरि-गग-मम-पप-घध-निनि॥ इति निष्कर्षः ॥ २॥

रेखामूर्धा लेखे प्लुतस्त्रिरुक्तेरथ प्रसन्नादिः। सरी-रिगा-गमा-मपा-पधा-घनी॥ इति प्रेङ्गितः ॥ ३ ॥

मन्द्रद्वयतस्तारे तद्विपरीतः प्रसन्नान्तः॥५९॥ सससरि-गगगम-पपपध-निनिनि॥ इति बिन्दुः ॥ ४ ॥

सा-रिरो-गगगा-ममममा-पपपपपा दुति हसितः ॥५॥ सरिस-रिंगरि-गमंग-सपम पधप-घविघ।। इति प्रसाद ॥१॥ सरिरिस-रिगगरि-गममग-मपपेम-पघधप-धनिनिध।। इति प्रेह्कः ॥२॥ सरिगा-गमपा-पधनी॥। इति संधिप्रच्छादन: ॥ द ॥। सवा-मपा-पनी। इति आक्षितः॥७॥ सगरि, सगरिस-रिमग, रिमगरि-गपम, गपमग- इति रजितः॥३॥ मधप, मधपम-पनिध, पनिधप।। इत्यारोहिगता: सप्त। सरिगा-रिगमा-गमपा-सपधा-पबवी।। इति आक्षेप:॥। ४.।।

संचारिगास्त्रयोदश पूर्वः पूर्वः परस्य यदि भवति सगमा-रिमपा-गपधा-मधनी॥ इति पस्वत॥५॥ आद्यन्तयो: प्रसाद: स्यात्स प्रेङ्म: कला यस्य ॥। ६७ ॥। सरि, सगस-रिग, रिमरि-गम, गपग-ह इति कृजितः ॥ ६॥ कुरते गमनागमने द्विस्वरकाद्या कलास्तथैवान्या।। मप, मधम-पध, पनिप।। एकैकस्वरहान्या रज्जित आदिमकलाद्यान्त्या ॥ ६८ ॥ सरिगरि-रिगमग-गमपम-मपधप-पधनिध॥ इति उर्द्धाहितः॥७॥ द्वि: प्रथमतृतीयद्वैतीयीकास्तद्वदुज्झितककाः । आक्षेपे त्रिस्वरकाSऽद्यकलाऽन्यकला: परस्परग्रहणात् ॥६९॥ सरि, पमगरि-रिग, धपमग-गम, निधपम । इति उद्घट्टितः ॥८॥

दित्वा पूर्व पूर्व समास्तया Sथ परिवर्त आर्दकला। सरिस-सरिगरिस-सरिगमगरिस-

उक्ा द्वितीयमुक्ता त्रिस्वरका मुक्तमुक्ताद्याः॥। ७०। सरिगमपमगरिस-सरिगमपधपमगरिस- इति हुंकारः ।। ९ ।। सरिगम पधनिधपमगरिस॥ अन्यकला: पूर्वसमा भवन्ति निष्कूजिते प्रसादस्य। सकला: कला: स्युराद्यात्तृतीयमेत्याद्यगानेन।। ७१॥ सगरिम, मरिगस-रिमगप, पगमरि- गपमध, धमपग-मधपनि, निपधम।। इति र्खलितः ॥ १० ॥ उद्धाहिते तय प्राड्मध्यगतश्चापरा: कलास्त्यक्वा। पूर्व पूर्व तादग्विधा: स्युरुद्घट्टिते त्वाद्यात् ॥ ७२।। सरि, सरिग, सरिगम-रिग, रिगम, रिगमप- गम, गमप, गमपध-मप, मपध, सपधनि।। हैइति करमः ॥ ११ ॥

गोत्वा स्वरद्वयं पञ्चभतश्चतुरःस्वरान्समवरोहेत्। तथा कलैवमन्ये त्यागात्पूर्वस्य पूर्वस्य ॥।०३ ।। सपा-रिधा-गनी-मसा। इति श्येनः ॥१२॥

रे ख्हेखरका कलाS5दिमाउन्त्य विनाऽवरोहन्ती। सगरिस-रिमगरि-गपमग-मधपम-पनिधप॥ इति हादमान। ॥ १३ ।।

को त्रवुद्धखरा: स्युरपरा: कलास्तद्वत् ॥ ७४।। इति संचारिगास्त्रयोदश विधाः।

लिवे चतु स्वरादा विपरीतान्तद्वया गतागतभृत्। च्यम्ाव्यलागाज्जेया इतरा: कलास्तद्वत् । ७१।। त्रिचताल कलका प्रथमादिपुरःसराः क्रमे क्रमतः। द्वौ यावपरौ तत्र, ह्याद्यादष्टमखरावधिकम्।

स्रस्तिस्र: श्येन: संवादिद्न्द्त: क्रमतः ॥७६ । आद्ये यस्मिन्गावेत्सतारमन्द्रप्रसन्नाख्य:॥७८ ॥।

यादू धादमान आद्यस्तृतीयकोऽथ द्वितीय आद्यश्च। आद्यत उत्कृत्याष्टममवरोहः प्राक्तनस्य यत्र भवेत्। ुकत्वैकेक पुनरिति परमत एतेऽवरोहेऽपि॥ ७७॥ स्वरसप्तकस्य गदितः स मन्द्रतारप्रसननव्न ॥ ७९॥

सरिगमपधनिसस ।। इति तारमन प्रसन्न:।।१ सैसनिधपमगरिस।। इति मन्द्रतारप्रसन्न:।। २॥। द्वितीयो विवेक:। पूर्वैकेकत्यागात्तयोद्वितीयादिका: कला श्षेयाः। त इति चतुस्त्रिंशदिह हि परं तु तेषामनन्तत्वम्।। ८० ।। अलमेते 5लंकारा रअनलव्ध्यै स्वरावबोघाय। वीणा:।

वर्णाङ्गव्यासाय च तदवश्य पूर्वमभ्यस्याः ॥८१॥ स्वर आदिस्थो गीते ग्रहः प्रयोगबहुलोंडश आदिष्टः। रागविबोधनहवेतोरिह मेला ये मयाभिधास्यन्ते।

गीतिसमाप्तिविधायी न्यास: प्रतिरागमेते स्युः ॥८२॥ तदभिव्यक्िनिदानं वीणा5Sदौ वर्ण्यते रौद्री ।। १ ॥

शंभुदण्डो गौरी तन्तुर्यस्या रमापति: ककुमः। मा पत्रिका विरिञ्चिस्तुम्बं वागीश्वरी नाभिः॥२॥ इति श्रीसोमनाथनिर्मिते रागविबोधे श्रुतिस्वरादेः अहिपो दोरक इन्दुर्जीवोऽक: सारिकाश्च वीणा सा। प्रथमो विवेक: समाप्तः। अपि हरति दष्टमात्रा देवमयत्वान्महापापम्॥३॥ इति वीणांगानि।

धर्मस्तयाश्वमेधे गानविधेर्ब्राह्मणाविति श्रुतितः। वीणाप्रियेण राज्ञार्प्यते द्रुतं वैणिकायार्थः ॥४॥

तस्माद्वायन्तमितिश्रुतेस्तया गायत स्फुट: कामः। वीणावादनतत्वेति याज्ञवल्क्यस्मृतेर्मोक्षः ॥५॥ इति पुरुषार्थचतुष्टयसाधनमपि साधिका च सर्वाभ्यः। द्रुतकारिणी स्वरगतेः सारीभिर्मञ्जुलतमरवा॥ ६॥ श्ुत्या स्मृत्या इष्टां रुद्रेष्टां नारदा दिभिर्जुष्टाम् कलयन्त्वलयं वीणां सन्तः संतोषपोषार्थम्।।७॥ इति वीणाप्रशंसा।

सार्धैकादशमुष्टिर्द्ड: क्रियतेऽत्र तदुपरि व हित्या। अङ्गुलपञ्चकमेकं रन्धे तिर्यक्चलच्छक्क॥८॥

ऊर्धव तन्त्रीसुपिरवदपर षष्ठेऽ्ड्गुले त्वचल ाक्। पार्श्वे तूपरिगाऽडद्या मन्द्रं सं मध्यमा च मन्द्र पम्। तियङमात्र तस्मान्मेढक ऊर्ध्चोऽङगुलात्परतः ॥९॥ अन्त्या मध्य पडजं श्रुत्याख्यास्तिस्र एताः स्युः॥२०॥

तुम्बे तदधोSङ्गुलतोSप्ाविशत्य ङगुलान्तरेणान्यत्। सति वा यडजे श्ुतयो मन्द्रे मध्ये क्रमात्सकृद् द्विश्च। नाभिद्यं सुवृत्ते सच्छिद् त्यङ्गुलोचततम्॥ १०॥ यद्वा पड्जे मन्द्रे मध्ये तारे तथा ताः स्युः ॥२१॥ ककुमो हङ्गुलमुच्चश्रतुरङ्गुलदींर्घ विपुलमसृणशिरा:। अनुमन्द्रषड्जतन्त्र्यां षट् सारी: स्थापयेद्यथा स्युरिमे। वीणादण्डान्तर्गतदण्डोऽध: पक्ष उत्कीलः ॥ ११॥ शुद्धरिशुद्धगसाधारणमृदुमशुचिममृदुपसंज्ञाः॥२२॥ अनुमन्द्रपस्य तन्त्रयां स्युरिमे तास्वेव षट्सु सारीपु। उच्चोच्चान्यस्त्रिवद: सचतुरयः पत्रमूर्धीशः॥१२॥ शुद्धधशुद्धनिकैशिकिमृदुसशुचिसशुद्धरिषभाख्याः ॥२३॥ दृढवेणुजाणुजीनोऽथ.सारिका मेरुककुभवद्विपुलाः। शुद्धौ सरी इमौ न ग्राह्यौ तन्त्रया तृतीयया जननात्। एकादशाङ्गुला लघुसारीदशकक्षमा पट्टी॥ १३ ॥ अनुमन्द्रसतन्त्रीवन्मन्द्रसतन्त्रयां स्वरास्तेषु॥ २४॥ तुम्बाग्रमनुगताग्रा बन्धार्थ दोरकादृढास्त्रिगुणाः। त्याज्यौ शुद्धममृदुपाविमौ चतुर्थ्या समुद्भवाद् भूयः। तुम्बादिबन्धनादि तु लोकात्स्याद्गुद्रवीणेति ॥१४॥ मन्द्रमतन्त्रयां त्वित्थ सारीषु स्युः खरास्तासु॥२५॥ इति रुद्रवीणालक्षणम्। आद्याद्वितीययोः स्तो मृदुपोज्ज्वलपौ तृतीयिकां त्यक्त्वा। तुर्यायां शुद्धो धः शुद्धो निः स्याच्च पञ्चम्याम्॥ २६॥

उक्त्ात्र शुद्धमेलाथ मध्यमेलेति सा द्विविधा। षष्टयां च मृदुः षड्जः कैशिक्यर्थ परान्तरा सारी। पुनरेकैकं द्विविधा तत्राखिलरा गमेलैका॥१५॥ मेरौ च प्रतिसारि स्वरस्थितिरियं प्रमाणं हि॥२७॥

अपरैकरागमेला तत्राSSद्या भेदयोरवान्तरयोः। इति शुद्धमेलवीणा।

स्थानत्रयेऽपि यत्राखिलरागाईस्वरा। लार्यः॥१६।। सान्या यत्र यथाह रागव्यक्त्यै मुहुश्चलन्तीमाः। संवादिनां समाजो रअ्जनकारी भवेदिति न्यायात्। अथ शुद्धमेलवीणेह लक्ष्यमनु लक्ष्यते प्रथमा:॥१।। ध्वनितं निःशङ्कादिभिरिहापि संवादिसांनिध्यम्॥२८॥

इति वीणाविशेषाः। सपसममुख्या: संवादिन: स्वरा एकसंश्रयाः प्रायः । श्रुतयो द्वादश वाऽप्टौ तेषामन्तर्यंतः सन्ति ॥ २९॥

स्थाप्या मेरो ारधर्वे चतस्र इह तन्त्रिका मिथो विषमाः। इति संवादित्वलक्षणम्।

दक्षिणपा वे कण्डे तिस्रश्चतसृषु च वामाद्या।१८।। अनुमन्द्रषङअपर्हेदनुमन्द्रे पं द्वितीयका तत्त्री। किं व स्वभुवः सपमा नियतश्रुतयोऽपि कल्पिता नो तु। मन्द्रं से च तृतीया चतुर्थिका मध्यमं मन्द्रम् ॥. १९ ।। वच्मि स्फुटमिह हेतुं सारीतन्त्र्योविना श्लेषम्॥ ३० ॥ 4

अपरस्तुरीयतन्त्रयां द्वितीयसार्यू: मणुरवोऽस्ति समः। नादोऽतिसूक्मनामा नाभा वदतात शाङ्गेदेवन।

तन्मन्द्रपः स्वयंभूर्मध्ये च समध्यनी खभुवौ॥ ३१॥ सूचित इहानुमन्द्रो वीणार्होडयं तदुक्तोऽत् ॥४३॥ इति पुनरपि शुद्धमेलवीणा। अष्टम्येकादश्योः सार्योरू्ध्व समापरध्वनितः । तत्तैः समा: सपसमाः स्वयंभुवो मुककतन्त्रीजाः ॥ ३२॥ अथ मध्यमेलवीणा लक्ष्यत इतरात्र चतसृषूर्ध्वासु। ये रिधरिमृदुपमुख्यास्तन्मूलं स्थापिता यथाशास्त्रम्। मेढकतस्तन्लीफु जञेया त्वाद्यानुमन्द्रपगा॥ ४४ ॥ तेऽपि स्वयंभुव इवाष्टम्यूर्ध्व तिसूधु तन्त्रीषु॥ ३३॥ मन्द्रसयुता द्वितीया तृतीयिका मन्द्रपञ्चमं दधती। पूर्ववदपराच्च रवात्पगपैस्तत्रोचितैः समात्क्मतः। तुर्या समध्यपड्जा तिस्न्नः श्रुतयस्तु पार्श्वस्थाः॥४५॥ श्रुत्यैकया Sधिकत्वं न्यूनत्वं वा व दोषाय॥ ३४॥ मन्द्रसमन्द्रपमध्यसयुक्ता: क्रमतः स्वरस्थितिः सैव। अनुमन्द्रमन्द्रतारेष्तिरिति स्थितिरवि स्वरस्वरूपविदाम् । सारीषड्जे तेषु प्रामाण्यं पूर्ववर्त्कि तु ॥ ४६॥ स्वधिया मयेति गदितं तत्प्रामाण्यं निजानुभवात्॥३५॥ पञ्चमतन्त्रीजसरी तदप्रयोज्यौ पुनः सतन्त्र्योर्यत्। इति स्वयंभुवः । तत्संख्याळ्र न सार्योडतितारगा: परमते शिष्टाः॥४७॥ इयमपि अयुताऽन्यमते पञ्चमतन्त्रीषु पूर्ववच्छेषम्।

अंनुमन्द्रमन्द्रयोरिति ते द्वादश मेरुसारिकासूक्ताः। त्याज्यौ पण्ट्रसतन्त्र्याः शुद्धममृदुपौ मतन्त्रयां यत् ।४८।

तन्मानतः स्वराणां सार्योऽत्र च मध्यताराणाम्॥३६॥ पूर्वास्तिस्त्रस्तन्त्रीविनात् तन्त्रयां तु मध्यषड्जस्य। त्रिस्थानस्वरसिद्धयै स्थाप्यन्ते सारिका: कैश्चित् ॥४९॥

मध्यास्ताराश्च परं तेन ग्राह्यास्तुरीयतन्त्रीजाः ॥ ३७॥ अतितारपत्टमादा वामे पार्श्वे श्रुतिस्तु मन्द्रसयुक्। दक्षिणपाम्ये मध्यसतारसयुक्ते श्रुती वास्याम्॥ ५०॥ अन्तरकाकल्यौ तीवरिधौ तीवतममध्यमश्चेति। पञ्च न किं द्वादशवत्सारीघूक्ता ब्रुवे तल॥ ३८।। तन्डरयां मण्वत एकेSतितारमपि कृत्रिमोक्तितः प्राचाम्। किं त्वरितीये नादे न स्वरता रञ्जनाभावात् ॥५१॥ साधर णादिसारीष्वपकर्षाद्धिकिता यदा श्रुतयः। इति मध्यमेलवीणा। पञ्च तदान्तरमुख्या इह स्युधित ताः पृथङ् नोक्ताः ॥३९॥ केचन मध्यमतन्त्रीनिषावलायी प्वेशतो बुवते। अन्येपि क्षरीस भेदा अतिप्रसिद्धास्ततो नोक्ताः। कैशिकिकाकल्यावपि साकूरेका मते तेषाम्॥ ४०॥ सप्रामाण्यो वेद: परं त्वनुक्तोऽप्युपादेयः॥५२॥

अत्रानुमन्द्रपड्जस्थाने र मध्यमोऽप्यस्ति। मध्यममृदुपौ तत्र ग्राहौ : पतनत्र्यां ते ।४१॥। इति श्रीसोमनाथनिर्मिते रागविबोधे

ननु तनुवीणे तुल्ये गदिले या लेSत्र नादसंवादात्। द्वितीयो विवेक: समाप्तः। मे शाक मन्द्रादित्यमह तनुवत्तलानुरन्द्र इह ॥ ४२॥

पञ्चदशैते भेदा एकाद्यक्काभिधा व्ररवेडशाह्कान्। संख्याहेतूनेकाद्यद्याद्यप्रमुंखमेल दिशः ॥ ९ ॥

एकमिदां पञ्चार्हा एकाङ्का: पञ्चदश ततो द्विभिदाम्। तृतोयो विवेक: रवयस्त्रिधा चतुर्धा इभा द्विधा षट् त्रिधा रामाः ॥ १० ॥ त्रिमिदां त्रिधाऽग्निवाणा: कुद्क चतुर्धा नव द्विधा गढिताः। त्रेधा चतुर्भिदां दग दिशश्चतुर्धा गजक्षितयः ॥ ११॥ मेला: अथ कथ्यन्ते मेलाः क्रमरूपास्ते भवन्ति खरसाङ्कः । पञचभिदां दृग्गिरयस्त्रिधेति यदि पूर्वसंख्योना। पञ्चदशभी रिगमधनिभेदैनियतश्रुतितया च ॥ १॥ सस्थानैः स्वैरङ्कैस्तज्नयेत्परपरांशाङ्कान्॥ १२।। तीव्ररितीव्रतररितीव्रतमरिसाधारणान्तरा मृदुमः। इति मेलांशाङ्काः। तीव्रतमगतीव्रतममसृदुपा धौ तीव्रतीवरतरौ॥ २ ! तीव्रतमधकैशिकिनौ काकल्यथ मृदुस इत्यमी क्रमतः। तीव्ररिमुखं त्रिभिद्रेर्मेदाः साधारणप्रमुखाः॥३॥ एकश्चत्वारोऽष्टी दश त्रयोदश च मूलपङक्ति: सा। न्यस्या प्रस्तारार्थ सैवैकैकाधिकाऽन्ते च ॥ १३ ॥ गस्य मताश्चत्वारस्तीव्रतममुखौ मतौ मस्य । तिथ्यक्कादा चाधोऽध उपान्त्ये सैकिताSखिलाधःस्था। तीव्रधमुखाश्च धस्य त्रयस्त्रयः कैशिकिमुखा नेः ॥४॥ अग्रे मूलाङ्कवती पङ्क्तिरधः प्रागिवाधोऽघः॥१४॥ इति पञ्चदश रिगमधनिभेदाः। सैकोपान्त इति प्राग्वदुपान्त्ये द्वादशाङ्ककेऽधःस्था। अन्त्या त्तृतीय एकस्थाऽग्रे मूलाङ्कवत्येव ॥ १५॥ उक्ता मृदुमो गभिदा मृदुपो मभिदा च नेर्भिदा मृदुसः। पूर्वान्पञ्चदशभ्यः स्वरान्त्रुंवे भेदभेदकरान् ॥५॥ पूर्ववदखिलं भूयोऽघःस्थान्त्यतृतीयगे नवाङ्के तु। सैकान्त्यतुरीयेऽग्रे मूलाङ्गवती पुनः प्राग्वत्॥ १६॥ तीव्ररिमुखत्रयात्सः साधारणमुखचतुष्टयाद्ृषभः । सप्ताङ्के उन्त्यान्तुर्येऽधःपङ्क्तिस्त्वन्त्यपञ्चमे सैका। शेषं पूर्ववदेवं प्रस्तारो द्यादिभेदानाम्॥१७॥ पूर्व पञ्चम उक्त: कैशिक्यादेस्त्रिहाथ् धः शुचिवत्। इति मेलप्रस्तारः। एवं यथा तथैते भिन्धयः पूर्व स्वरा नियताः॥७॥ इति टीका। एक द्वित्रिचतुःपञ्चभिदास्तिथयोऽडकरि च भूरसदक्। नष्टाके स्वांशाङ्काः पात्या एकाद्यमुखदिशो लेख्या। गजगिरिगुणाश्च नृपदक्कमतो मेला अभिश्चेन्दुः ॥८॥ पङँक्तिः शेषभिद द्या मूलाख्या त्वन्यथैकाद्या ॥ १८॥

इति मेलसख्या। प्राच्यप्राच्यांशाङ्कै: शेषं शेषं सकृत्सकृद्धाज्यम्।

5

रक्ष्यं तथैव शेषं यथा तु तद्योगतोऽन्तिमे न भवेत् श्रीरागः कल्याण: काम्बोदी मल्लवैरिसामन्तौ। समतोनता च पूर्वेणैकस्वरभेदताऽवसितौ॥ २० ॥ कर्णाटो देशाक्षी शुद्धो नाटश्र सारङ्गः। ३०।।

कमतोऽन्त्यानतुर्यादिपु लब्ध योज्यं चतुर्भिदादिभवैः। इनि रागा नामकरा मेलानां गुणदशामथ क्रमतः । भागेंSशाङ्वैरन्ते च शेषपातं तथैकोनम् ॥ २१॥ तांस्तु मुखार। मेलप्रभृतीन्वक्ष्यामि लक्षणतः॥३१॥।

इति नष्टः । इति मेलानामुद्देशः ।

सन्ति मुखारीमेले शुद्धा: पड्जादय: स्वराः सप्त। यन्जेदादयुद्दिष्टं तन्जेदाद्येव मूलमुल्लेख्यम्। स्यादेषा Sस्मान्मेलाल्तुरुष्कतोड्यादिरागाश्च ॥३२॥ एकाड्वैर्याबन्िर्मूलाद् वृद्धाभिदा अस्य ॥ २२॥ इति मुखारीमेलः ॥१॥ प्राच्यप्राच्यांशाङ्कास्तावन्तो नष्टवत्तु लभ्येरन्। शेषैः स्वांशाङ्कैः सह लब्धैक्ये सैकमुद्दिष्ठम्॥२३॥ मेलेऽथ रेवगुप्तेर्भवन्ति षट् सरिमपधनयः शुद्धाः। इति उद्दिष्टः । गोऽन्तरसंज्ञश्चास्माद्रागाः स्यू रेवगुप्त्याद्याः।।३३॥ इति रेवगुप्तिमेलः ॥ २ ॥ एकश्रुतिस्थभेदद्यानिषुदिशस्त्यजेदिह तु मेलान्। सामवरालीमेले शुद्धा: सरिगमपधाश्च काकलिका। इति त्यक्तमेलाः। अस्मादियं वसन्तवराट्याद्याश्चापरे रागाः ॥३४॥ इति सामवरालीमेलः॥ ३॥

संख्याप्रस्तारादि प्रोक्तमिति मया प्रसङ्गतः कुतुकात्। अनुपेक्ष्यं गुणगृह्ैः प्राचीनानुक्तमपि विबुधैः॥२५॥ तोडीमेले साधारणकैशिकिनौ च शुद्धसरिमपधाः। इति ग्रन्थकर्तुः प्रार्थना। तोडीप्रमुखा रागा मेलात्प्रादुर्भवन्त्र्यस्मात्॥३५: इति तोडीमेल:॥ ४ ॥

तेषु प्रसिद्धरागैविशेषितां विशति ब्रुवे डयधिकाम्। निर्भेद एक एकभिदौ द्वौ द्विभिदस्तु सप्तैव ॥ २६ ॥ नादादिमरामक्रीमेले साधारणश्च मृदुसः स्यात्। चत्वारस्त्रिविभेदाश्चतुर्मिदोऽष्टौ च पञ्चभिद एकः । शुद्धा अपि सरिमपधा अस्मादेतन्मुखा रागाः॥३६॥ तत्तन्मेलेष्वधिका धिकसंख्यास्तेऽथ रागांस्तान्॥२७॥ इति नादरामक्रीमेलः ॥५॥

वच्मि मुखारी रेवादिगुप्तिरथ सामपूर्वकवराली। तोडीनादादिकरामक्रीभैरववसन्ताश्च॥२८॥ भैरवमेले शुद्ध: सरिमपधा अन्तरश्च कैशिकनिः।

भैरव्याद्यवसन्ता मालवगौडोडथ रीतिगौडश्च। भैरवपौरविकाद्या रागा मेलादतस्तु स्युः॥३७॥

आभीरनाटहम्मीरवराट्य: शुद्धरामक्रीः॥२९॥ इति भैरवमेल: ॥ ६॥

शुद्धा वसन्तमेले सरिमपधा अन्तरश्च काकलिका। शुद्धवराटीमेले साधारणतीव्रतमममृदुसा: स्यु: । अस्माइ्वसन्तट कहिजेजाहिन्दोलमुख्याश्च॥३८॥ शुच्यथ सरिपधमस्माभ्वन्ति रागा वराठ्याद्याः ॥४६॥ इति वसन्तमेलः॥७॥ इति शुद्धवराटीमेलः ॥ १३ ॥

शुचिरामक्रीमेले मृद्दुमकतीव्रतमममृदुसाः शुद्धम्। मेले वसन्तमैरविकाया: शुद्धाः सरिमपया मृद्डुमः। सरिपधमियमत्र ललितजैताश्रीत्ावणीदेश्यः॥४७॥ कैशिक्यपीयमस्मान्मारव्यथ मेलतोऽन्ये च॥३९॥ इति शुद्धरामक्रीमेलः ॥१४॥ इति वसन्तभैरवीमेलः ॥ ८॥ श्रीरागमेलके रिस्तीव्रः साधारणोऽथ धस्तीव्रः।

मालवगौडकमेले सरिमपधा एव पञ्र शुद्धा: स्युः । कैशिक्यपि शुचिसमपा मेलादस्मान्भवन्त्येते॥४८॥

मृदुमध्यममृदुषडजौ चास्मान्मेलाद्द्रवन्तीमे॥ ४० ॥ श्रीरागमालवश्रीधन्याश्यो भैरवी तथा धवला।

मालवगौडो गौड्यौ पूर्वी पाडी च देवगान्धारः। सैन्धव्याद्याश्चान्ये देशविशेषैविभिन्नाख्याः॥४९॥ इति श्रीरागमेलः ॥१५॥ गौडक्रिया कुरख्जी बहुली रामक्रिया चापि॥ ४१॥

पावक आसावरिका पञ्चमवङ्गालशुद्धललिताश्च। कल्याणस्य तु मेले शाचयः सपधा रिरस्ति तीव्रतरः। गुर्जरिकापरजा ख्यौ विशुद्धगोडादिकाश्चान्ये॥४२॥ साधारणश्च मृदुपो मृदुसोऽस्मिन्नेष इतरे च॥ ५०॥ इति मालवगौडमेलः ॥ ९॥ इति कल्याणमेलः ॥ १६॥

अथ रीतिगौडमेले पञ्च भवेयुः सरिगमपा: शुद्धाः। काम्बोदीमेले तीव्रतररिरन्तरकतीव्रतरधौ च। तीव्रतरधकैशिकिनौ चैतत्प्रमुखा भवन्त्यस्मात् ॥४३॥ काकलिका शुचिसमपा अतश्च काम्बोददेवक्रि॥५१॥

इति रीतिगौडमेलः ॥ १० ॥ इति काम्बोदीमेलः ॥ १७॥

आभीरनाटमेले शद्धसमपधाश्च तीव्रतररिषभः। मललारिमेल उक्तास्तीवतररिमृदुमतीव्रतरधाश्च।

साधारणमृदुसौ चेत्यतः स्युराभीरनाटाद्याः॥४४॥ मृदुसः शुद्धाः समपा अस्मादेते तु महारिः ॥५२॥

इति आभीरनाटमेलः ॥ ११॥ नटयुक स पूर्वगौडो भूपालीगोण्डशंकराभरणाः। नटनारायणनारायणगौडौ कोऽपि केदारः॥५३॥

हम्मीरमेल उज्ज्वलसमपधतीव्रतररिमृ दुममृदुसकाः॥ सालक्वना टवेलावल्यावथ मध्यमादिरागश्च।

हम्मीरविह ङ़डकेदारप्रमुखा अतो मेलातूं॥ ४५ ॥ सावेरी सौराष्ट्री जायन्ते ऽन्येपि देशीस्थाः॥५४॥

इति हम्मीरमेल: ॥ १२॥ इति मल्लारिमेलः ॥ १८॥ ---

२२ रागविवोधः सामन्तस्य हि मेले शुचिसमपास्तीव्रतमरिरन्तरकः । तीव्रतमधकाकल्यावस्मादेतन्मुखा रागाः।।५५। चतुर्थो विवेकः । इति सामन्तमेलः ॥ १९ ॥ रागाः । 2. स्वरवर्णभूषितो यो ध्वनिभेदो रक्षंकः स राग इह। कर्णाटगौडमेले शुचिसमपास्तीव्रतमरिमृदुमौ च। बहुविधसंख्याः प्राचां मतैरनेकैः प्रसिद्धा ये ॥ १॥ तीव्रधकैशिकिनौ स्युर्मेलादस्मादिमे रागा॥५६॥ इति राग:। कर्णाट गौडकोऽड्वाणो नागध्वनिविशुद्धबङ्गालौ। वर्णादिनाट इतरे तुरुष्कतोड्यादिकाश्च स्युः॥५७॥ देशजनुषोSप्रसिद्धास्तेSव्धितरङ्गा इव त्वसंख्याताः। इति कर्णाटगौडमेलः॥ २० ॥ शुद्धच्छायालगसंकीर्णतया त्रिविधताऽस्त्येषाम् ॥ २॥ शुद्धो रञ्जनकारी स्वेन च्छायालग: पराश्रयतः। देशाक्षीमेले शुचिसमपास्तीव्रतपरिस्तथा मृदुमः । संकीर्णस्तूभयथा मतमुदितमुमापतेरेवम्॥ ३॥ तीव्रतरधमृदुसावत एषाऽन्ये चापि रागाः स्युः॥५८॥ इति रागाणां शुद्धादित्निविधता। इति देशाक्षीमेलः ॥ २१॥ येऽत्नालापालप्तिप्रबन्धयोग्यास्त उत्तमा: कथिताः । अपि तादृक्षा येऽल्पप्रचारिणो मध्यमास्ते स्युः ॥४॥ मेले Sथ शुद्धनाट्या: शुचिसमपास्तीव्रतमरिमृदुमौ च। तीव्रतमधमृदुसमतो रागाः स्युः शुद्धनाटाद्याः॥५९॥ अपि बहुतरप्रचारास्तदयोग्यास्तेऽधमा इति त्वन्ये।

इति शुद्धनाटमेलः॥ २२॥ इति रागाणामुत्तमादित्निविधता।

यद्यपि देशीरागा देशे देशेऽन्यवेलाख्याः॥५॥ सारङ्रागमेले तीव्रतररितीव्रतमगमृदुपाश्च। पूर्णौडवषाडवतास्वंशन्यासग्रहेपु चानियताः। तीमतमधमृदुसौ शुचि सपमत एतन्मुखा रागाः ॥६० ॥ इति सारङ्गमेलः॥ २३॥ तदपि ग्रहादि पूर्णत्वादि च बहुमतजमनुसृत्य ॥ ६ ॥ मेले प्रसङ्गत इहोदिष्टानां लक्षण ससक्षेपम् । तेषां पूर्व वक्ष्यामि गानवेलासमायुक्तम्।।७॥ इति श्रीसोमनाथनिर्मिते रागविबोधे तृतीयो इति देशीरागास्तेषां च त्रिविधता। विवेक: समाप्ः। पूर्णा नित्यं गेया सांशन्यासग्रहा मुखारीयम्। पूर्णा तुरुष्कतोडी गांशादि: संगवे कम्प्रा ॥ ८॥ . इति मुखारी तुरुष्कतोडी च।

असपा तु रेवगुप्ती रिन्यासांशग्रहा भतेत्सायम्। गान्धारधैवताभ्यां निन्यासांशग्रहोऽथ वा सान्तः । सतत सामवराली सांशन्यासग्रहा पूर्णा ॥ ९, ।। गौड्यधगा सायाह्ने र यशा चैती च सान्तादिः॥ १६॥

इति रेयगुप्ति: सामवराली च। इति मारविका मालवगौडगौडीचैत्यः।

गांशग्रहा किल वसन्तवराली सर्वदाSरिपा सान्ता। पूर्वी पूर्णा सान्ता गांशा पड्जग्रहा च सायाह्वे। पाडी सायाह्वार्हा गोना सांशग्रहन्यासा॥ १७॥ गादयशसान्तपूर्णा तोडी कम्प्राऽणुसेगवरुकू ॥ १० ॥ इति वसन्तवराली तोडी च। इति पूर्वी पाडी च।

रिग्रहपांशः सान्तः सदाऽगनिर्देवगान्धारः। सांशन्यासग्रहका पूर्णोल्लसति निशि नादरामक्रीः । गौडक्रिया धरिक्ता सांशन्यासग्रहा प्रातः॥१८॥ धांशग्रहसन्यासः संपूर्ण भैरवः प्रातः ॥११॥ इति देवगान्धारो गौडक्रिया च। इति नादरामकीर्भैरवश्च।

गेया सदा कुरख्जी धाल्पा सांशग्रहा च सन्यासा। सन्यासग्रहमांशा स्वल्परिपा पौरवी लसेत्प्रातः । अमनिरपराह्वगेया सांशन्यासग्रहा बहुली॥२९॥ सांशन्यासग्रहको वसन्त उपसि विलसेत्पूर्णः ॥ १२॥ इति कुरक्षी बहुली च। इति पौरवी वसन्तश्च।

संपूर्णा रामक्रीः सांशान्तादि: सदाऽपि गांशादा। गेय: पूर्णप्टक्रः सांशन्यासग्रहो दिनस्यान्ते। गाद्यो धांशः सान्तो निविरहितः पावकः शश्वत् ॥ २०॥ मांशग्रहसन्यासोऽखिलो हिजेजस्तु सायाहने॥ १३ ॥ इति रामक्रीः पावकश्च। इति टक्को हिजेजश्च।

आसावरी प्रगेया माद्यांशा सान्तिमा सदा पूर्णा। हिन्दोलो रिपहीनो मांशः सान्तग्रहः सदोषसि वा। पञ्चम ऋषभविहीनः पांशन्यासग्रहो ह्युषसि ॥ २१॥ पोना वसन्तमैरव्युषसि तु सांशग्रहन्यासा ॥ १४॥ इत्यासावरी पञ्चमश्च। इति हिन्दोलो वसन्तभैरवी च। बङ्गाल: शाश्वतिक: पूर्णः सांशग्रद्ृश्च सन्यासः। उषसि तु पूर्णापा वा सांशान्त्याद्या शुचिर्ललिता॥२२॥ रिधहीना शाश्वतिकी सान्ता गांशग्रहा तु मारविका। इति बङ्गाल: शुद्धललिता च। मालवगौड: पूर्णः प्रदोषशोभोऽथ वा रहितः ॥ १५॥

२६ रागविबोध: वतुथा 1471.

गुर्जरिका रिन्यासग्रहांशका पवियुता प्रभाताहा। यंशग्रहः प्रदोषे श्रीरागो गतधगो न वा सान्तः परजो न्यल्पो गांशग्रहधगकम्प्रः सदा सान्तः।। २३।। सग्रहसांशन्यासा मालाश्रीनिग्रहांशा वा॥ ३०॥ इति गुर्जरिक: परजश्च। पूर्णाडथ वा रिधाल्पा गेयाSSदौ मङगलाय शाश्वतिकी। धन्याशिका रिधोना सांशन्यासग्रहा प्रातः ॥३१॥ न्यल्पः प्रदोषशाली शुचिगौड: पांशसादिसन्यासः। इति श्रीरागमालाश्रीधन्याशिकाः । पूर्णस्तु रीतिगौडो न्यंशान्त्यादिश्च सायाहे॥ २४॥ इति शुद्धगौडरीतिगौडौ। · भैरव्यंशन्यासग्रहसा रिपमुद्रिता सदा पूर्णा। नित्यं पमुद्विता Sरिधसांशन्यासग्रहा धवला ॥ ३२।। आभीर्यपि प्रदोषे पूर्णा गांशग्रहा च सन्यासा। इति भैरवो धवला च। गग्रहपांश: सन्यासो हम्मीरोऽल्पनी रात्रौ॥ २५॥ इत्याभीरीहम्मीरश्च। सैन्धव्यगनिर्नित्यं सांशन्यासग्रहा लसद्मका। साद्यन्तगांशपूर्ण: प्रदोषगेयश्च कल्याणः ॥३३॥ न्यंशग्रहसन्यासोऽल्पधो लसेन्निशि विहङ्डः कम्प्रः इति सैन्धवी कल्याणश्च। केदारोऽल्परिधो निशि सन्यासो गांशगग्रहकः॥६॥ इति लिहङ्गडकेदारौ। पूर्णा सादिरनिर्वा काम्बोद्यशान्तसा च सायाहे। •शुद्धवराटी पूर्णा सांशान्ता रिग्रहा च मध्याह्ने। अपराह्े देवकरीः सांशन्यासग्रहाऽपा वा ॥३४॥ सांशादन्तोऽह्रोऽन्तः कम्प्रमनिदशकृत्पूर्णः ॥ २॥ इति काम्बोदी देवकीश्च।

इति शुद्धवराटी देशकारश्च। मल्लारिर्नटयुगपि स धांशान्तादिरगनिश्च संगवभाः। ललित उषसि संपर्णों धांशः सान्तग्रहः पहीनो वा। सान्तादिगांशपूर्णो मध्याह्ने पूर्वगौड: स्यात् ॥३५ ॥ सन्यासग्रहगांशाऽलपरिधा प्रातस्तु जैताश्रीः॥२८॥ इति मल्ारिनटमल्लारिपूर्वगौडाः। इति ललितो जैताश्रीश्च।

सन्यासरिग्रहांशा सपूर्णा तावणी तु सायाहे। सन्यासग्रहगांशा मनिहीनोष:स्तेह भूपाली

रिग्रहरित्यासांशा गाल्पा देशी सदा गेया ।। २९ ।। न्यल्पो मध्याह्वाहों धांशन्यासग्र हो गोण्डः ।। २६ ।

इति तावणी देशी च। इति भूपाली गोण्डश्र।

पूर्ण: सांशम्यासः सग्रह उपसीह शंकराभरणः । पूर्णोऽथ वर्णनाटः सांशन्यासग्रहो निशा गेयः। सान्तादिगांशपूर्णो नटनारायण इने नमति॥३७॥ कम्प्रा तुरष्कतोडी निशि मांशान्तप्रहा पूर्णा ।। ४४।। इति शंकराभरणो नटनारायणश्च। इति वर्णनाटस्तुरुष्कतोडी च। (इराख वा) नारायणगौड उपसि गांशन्यासग्रहस्तथा गतरिः॥ न्यंशन्यासग्रहकः पूर्णो निश्येव केदारः॥३८॥ इति नारायणगौडो द्वितीय केदारश्च। गांशन्यासग्रहकाSSरोहे तु गतमनिरुषसि देशाक्षी। नाट: शुचिः प्रदोषे सांशन्यासग्रहः पूर्णः ॥ ४५॥ सालइनाट आढ्यः सांशन्याशग्रहस्तु सायाह्ने। इति देशाक्षी शुद्धनाटश्च। धांशान्तादि: पूर्णाSरिपाऽपि वेलावली व्युष्टे ॥ ३९॥ इति सालङ्कनाटो वेलावली च। संपूर्ण: सारङ्ग: सांशन्यासग्रहोऽपराह्वरुचिः। इति सारङ्ग: अरिधो मांशन्यासग्रहः प्रगे मध्यमादिरुद्रेयः। असपा धांशन्यासग्रहा प्रभाते तु सावेरी॥ ४० ॥ इति मध्यमादि: सावेरी च। लक्षणसमास एवं दष्टवा नानामतान्युक्तः ॥४६॥ मेलग्रहादिपूर्णत्वाधैक्येऽप्येषु वादनभिदा भित्। • सौराष्ट्री संपूर्णा सांशन्यासग्रहा च सायाह्वे। वर्ज्यस्वरोऽवरोहे द्रुतगीतो नेह रक्तिहरः॥४७॥ सामन्तः सायाहे सांशन्यासग्रहः पूर्णः ॥ ४१॥ इति सौराष्ट्री सामन्तश्च। इति श्रीसोमनाथनिर्मिते रागविबोधे। चतुर्थो विवेक: समाप्तः॥ कर्णाी निशि पूर्णो निन्यासांशग्रहः क्वचिद्रिधमुक। पूर्णो:ङणः पाद्ो धांशः सन्यास उल्ललेद्रातौ॥ ४२॥ इति कर्णाटोऽड्डाणश्च।

नागक निरिह पूर्ण: सांशन्यासग्रहः सदा गेय: शुवियङ्गाल: पूर्णो मांशन्यासग्रहो व्युष्टे॥४३॥ इति नागध्वनि: शुद्धबङ्गलश्च।

निजनिजकालेऽप्येते क्रमतो गेया अथ क्रमाद्विविधैः। आर्याच्छन्दोबजैर्लक्षय एतान्परं रूपैः ॥१०॥ पञ्चमो विवेकः । इति रागाणां कालाः ।

सुस्वरवर्णविशेष रूप रागस्य बोधकं द्वेधा। रागरूपाणि नादात्म च देवमयं तत्क्मतोऽनेकमेकं च । ११॥ तेष्विति मेलक्रमतः समास्ततो लक्षितेष्वहं कतिचित्। इति रूपस्य समान्यलक्षणम् । तानुद्दिशामि कालक्रमतो व्यासेन लक्षयितुम् ॥१॥

शंकरभूषणवेलावल्यौ भूपालिका शुचिर्ललिता। सवसन्तो हिन्दोलो विभासललितश्च जैताश्रीः॥२॥ तत्न विविच्यत आद्य लोकव्यवहारविश्रुत पूर्वम्। अपि यस्य कस्यचिद्यत्पर्यायः स्वरसमूहस्य ॥ १२ ॥ धंन्याशीभैरवपौरविकास्तोडी तुरुष्कतोड्यन्या। भल्लारिर्नटपूर्वः स च गोण्ड: पूर्वगौडश्च॥३॥ तत्संकराश्च रूपैरग्रे ज्ञेया: कवचित्केऽपि॥ १३॥ देशीकार: शुद्वराटी बहुली ततश्च सारङ्ग: । इति नादात्मरूपविशेषः । नटनारायणदेवक्रियौ च सौराष्टििका गौडी॥४॥ चै त्तीपूर्वीत्रावणि काम्बोदी शुद्धनाट आभीरी। . कल्याणः श्ररागो मालवगौडोऽथ गौडश्च॥५॥ घादनभिदास्वनन्तास्वभिधास्ये विशर्ति स्फुट देश्याम् स्थाने च द्वे द्वाविशत्या नाम्नां प्रकल्पितया॥ १४।। कर्णाटाड्डाणौ वर्णनाटहम्मीरकों च केदारः। सविहङ्गड इत्युप आद्यप्टसु कालेपु गातव्याः ॥६॥ प्रत्यान्वपूर्वहृतयः पीडादोलनविकर्पगमकानि कम्पो घर्षणमुद्रे स्पर्शो नैम्न्यप्लुतिद्रुतयः॥ १५॥ इति कालक्मतो रागाणामुदेशः । परतोच्चताऽथ निजते शममृदुकठिनानि विंशतिद्वर्वधिका। वादनभेदपदानां वीणायां लक्षण क्रमतः ॥ १६॥ शंकरभूषाद्या उपसि हि जैताश्रीमुखास्ततः प्रातः । संगव इह तोड्याद्या मध्याह्ने गोण्डकप्रमुखाः ॥७॥ इति वादनभेदानामुद्देशः ।

अपराह्े बहुलीतः प्रभृति च सायाह्नके तु सौराष्ट्रयाः। शुचिनाटतः प्रदोषे निशि कर्णाटात्सदा त्वेते॥ ८ ॥ प्रतिहतिरन्तर्द्रुतमु ्छलनवरो हतियुगाद्गभीररवः। आहतिरन्यध्वनने हति विना ऽन्यस्वराश्रावः ॥१७॥ मालाश्रीर्धवलाऽथ मुखारी रामक्रिया सपावकका। सैन्व्यासावरिका गान्धारो मारवी परजः ॥९ ॥ इति प्रतिहतिराहतिश्च।

अनुहतिरेकहतेः प्रतिहतिवत्सैव त्वहतिरघातात्स्यात्। पीडाSSपीड्य विमुक्तिर्दोलनमाकर्षणागमने।। १८॥ नैम्न्ये सोऽधः सोडग्रे प्लुत्यां स्वरशृङ्कला द्रुत्याम्॥ २५॥

इत्यनुहृत्यहति पीडादोलनानि। परताया तु गुरुरध:स्थायी तिर्यक्स उच्चतारयी तु। ऊर्ध्वाधोऽथ निजतयोः परताया उच्चताया वा ॥२६॥

आकर्षणं विकर्षो दोलनमेव हि पुनः पुनर्यमकम्। उम्बोध्व बिन्दु चिह्न लम्बो बिन्दुः शमे भवेतपुरतः।

स्पष्टः कम्पो धर्षणमेकहतिर्द्राक्स्वरान्तरकृत्॥१९॥ उपरि स तूध्वों मृदूनि च कठिने तिर्थक्स ऊर्ध्व स्यात्॥२७॥

इति विकर्षगमककम्पघर्षणानि। इति संकेतेष्वेको द्वौ बहवो वा खरे स्युरेकस्पिन्। यत्रैकवादनं द्विस्तत्संकेतोऽपि तत्र द्विः ॥ २८॥ लम्बेन बिन्दुनोना: शीर्षे मध्यस्वरा इह ज्ञेया:।

मुद्रा परैकहननात्प्रदर्श्य पूर्वे पुनस्तदाच्छादः। प्रारब्धरूपपूर्ती पझ्माकारश्च संकेतः ॥ २९॥

आहृतिरेव स्पर्शो द्रुतमुक्ता दृढहतिनैम्न्यम् ॥२०। इति मुद्रा स्पर्शो नैम्न्यं च। यथा.स। स,स। स। स०। स। सै। सऽ। स। से। स।

से। सु। स०। सरिग। स। से। स 1से।ससस। सक्ा प्लुतिरष्टस्वरघर्षो द्रुतिसत्वरावादनं ततः परता। पूर्वे Sगय स्याकर्षणमथोच्चता तन्ततीयस्य । २१॥ इति त्रयोरविशति संकेताः ।

इति प्लुतिद्रुतिपरतोच्चताः। निजनिजमेले शुद्धास्तीवरर्या्याश्च ये यथैव स्युः। सरिगमपधनीति पदैर्शेयास्ते लाघवायोक्तैंः॥३०॥ निजते तु तयो: पौव्ये क्वापि सघाते शमो विलम्बः स्यात्। मृद्विह मन्द्रं स्थान कठिनं तारमथ संकेताः ॥२२॥ इति शुद्धविकृतस्वराणां ज्ञापकचिह्नम् ।

इति निजते शमो मृदु कठिनं च। रूपगसादिषु सह्यं सूत्रत्वादिद् विभक्तिराहित्यम्। वादनसिद्धयै रचितं मयेति पूर्वैरनुक्तमपि॥ ३१॥

प्रत्यान्वपूर्वकहतिषु बिन्दू बिन्दुः स रेखया द्विगुणः । सोऽधः सोऽग्रे शुद्ध: पीडायां दोलने तु गुर.॥२३॥ इति पुनरपि ग्रन्थकर्तुः प्रार्थना।

ऊर्ध्व उपरि स च तिर्यरन्विकर्ष ऊर्ध्व स गसक ऊर्ध्वोडग्रे। कम्पे रेखोध्वोरध्वे तिर्यक्सा घर्षणे शिरसि॥२४॥

३४ म रि ग0सम रिगरिस रि सरि0- मध्यमिकाग्रोदरतः क्माजउराृष्टतश्च तर्जन्या:। वाद्योर्ध्वतन्त्र्यपि सह श्रुत्या पृष्टया कनिष्ठायाः॥ ३२॥ 0 0u 0 0, 00040 गरिस निस ध निलध0 पम0 ध निस॥३८॥ स्थायादिष्विति नियतं यथेष्टमन्यत्र मध्यमोपजयोः। उदराभ्यां पृष्ठिम्यां चतुर्द्रुतद्दतिस्तु कर्तर्याम्॥३३॥ प निस:्सस रिगममप घे निस- दक्षिणकरप्रचारो गढितो विस्तरभयादियानेव। इति दक्षिणकर प्रचार:। सरिगमपधनि सरिस धनि- सरि सनिधनि सरिस निस धनिस।।३९।। अथ सव्यहस्तकृत्यं कथयाम्यूर्ध्वासु तन्त्रीपु॥ ३४॥ मध्यमया चारोहः स्थाप्या पूर्वे च तर्जनी तूष्णीम्। रिसनिसधपमगमरिगम- उक्तभिदां सिद्धयै प्रायस्तर्जन्याऽवरोदृस्तु॥३५॥ 000 000 रिसनिसधनिसरिसनिसधनिसरि सनि। क्ाप्यारोहोऽपि तया ह्ङ्गुलिचालश्च शुद्धनाटादौ। मन्द्रानुमन्द्रयोः स्यात्परिभाषा वादनस्येति॥३६॥ सधनिस् सन्त्यपराणि 00

इति सव्यहस्तकृत्यम्। प्रदर्शितं तदपि दिङ्मात्रम्॥ ४० ।

(२) वेलावली सरिग0धप0- धधपमग0रिसळस0रिग प०म ग प0म ग म0। अथ शंकराभरण इति सम गफ रिंग0रिस00 समगमरिंग0 गरिग़। गरि0सक्षस0रिग0प0म गप0ध स0- निस निधनिधुण्घ सुनिधु0् पगणरिसळ॥ ४१॥ मप0 से धैग डर्वधपमगम- रि0कर गमप0 संधपमगमरि॥३७॥ रिंग0रिसस डससरिम पप0धध्निनिधप)।

ग0ग रिमे अप0धंधपमगम- रि गा0 ग रिग0मपर्म पगमम रिग0रिपग। मगरिगग रि०स रिरिगंग शिरि सक ॥४२॥

SS 000 स गगरिसरि0 घ0स०स0 निध प0- मगम0मग गरिसक्सनिधप

धप स0सu (३) भूपा लिका स0रिग। 00 मप0मगम0धप0 मप0 मग0म0 मग गरिस *। प0ध0स0 स सध ध प0्पपग0ग- Y६) हिन्दोल: सग सगम-ध- 10-0- रिरिरिगगरिरि स स0सरिसध प0 ॥ ४३॥ मधनिस0 गसेग निस ग0स निधध0॥४७॥

मध मध निधधनि सु0सनिधु- रिसरिग रिस रिस घ ध पण्पपध प ग ग। निध0मग0मग0स* सनिधुनिध0मग0मग0स *। रि0रिग गरि रि ससरि ग गरि- सस गग मम धधनिनिस0 स0- रि स सक ग प गपध संधसरितरि॥४४॥ निधनिध0मग0 मग०स0 गसगनि0 सक॥४॥

सगरिस (४) ललिता सरिगम- पगरिगरि स नि0 सरिगपुमग रिगरिसक। (७) ललितो विभासभेदो

गमपगमधनिस रिनिधम- ग0पधस0 ग रिनिध0मग0रिसग0पधस0 स। - 40-0- ग रिरिसनि0 सरिगरिगपम0 रिसक॥४५॥ निध0म ग0रिस सरिग0सनि ध0- 000 धध नि सरिगग0 ममगमगरि0ग ॥४९॥

(५) एष वसन्तः स0रिग0म0 धपमप0मगमधमधनिधधनि स स०स ममगरिस* गम0ध0 निध0निनि- स म गं ग रिसनिस निधमध- 40-0-0 धपमग0रिस0स रिग0 सनि ध0घ मनिध म। मधनिध0घ नि स सस0 निधप0भप0॥४६॥ 88 OT

5 0 0 00 ग रिस नि ध0्ध धु नि सरिगग0- मगस* गसगमपनिप निस

S S OR 45 -- ममगमगरि0गम ध० म ग ग0रिस*॥ ५०॥

इत्युषसि गातव्याः सप्त रागाः। नि संग सनिपमगस सगस-

गमपम पनिपनि स०ग स सनिसनि ग स।

निस गस निग सनिपस- (१) जैताश्री: सगरि स०गप0- म म ग0रिस0पम0पग0रिस0 पमगरि स०म। निपनिपसनिप मगमगपमगप॥।५४॥

गरि स0 ग0रिस* गगमपनिस0- मगपमगमगसप0पग0स- 8 रिस०नि०स स निधप0म0सनिधस॥५१॥ 00000 ग सगस ग सनिप म ग सप० मपमपम।

निधप0 म 0निधप० म 0गम0निध- पमपमपनिपनि सग स ग-

प0म गरिसधनि0सगगम0 गरिस सगम। 00 स ग स गलगसन प मगससप० ॥५५॥ 88888 88

प0 पे प म0 म प0 प0म ग0रि स०स *- ग म प निसप0निस0ग म प म- गंमपनि0ग0 रिस0 निस सनिधप0म॥५१॥ 80 808 8

रि सग रिनि0स०प0 निसप0सुनिपमगमु।

गग0रिस0 पनि0स* (२) धनाश्री- 00 पमग0रिर/*सपमपगरूप-

र्गम पप मगस0 पप अग स0लप0 मुप0पु। मग0रिस0गरिनि0स0स0ए0निनिप0स॥५६॥ 0 0000

४० रागापषावर

(३) भैरव एष ध0 निसनि रि0- ध धनि स नि धण्घधलनिध नि-

0g0- - 01000040 SS स0 ध0 नि स0ध प म0 म ध० निस०म ग0 रि०स*सग0। धम ग गगपुमगमगरि सकसरि॥ ६०॥ S

मप सुप घ0मपुमग0रि.रि०स *- स0गम0गरिगरिपष्प म0ग-

मधनिस निरि ससध नि स ध म0 प॥५७॥ रिस*स0गमप0 निधप प०म0गरिस0ग0रिस०।

म ग0मसंघ0पम० म ग 0मपम- इति प्रातर्गातव्याश्चत्वारो रागाः।

• SS - धपध मपम ध प म प म ग० रि0स* घ ध0नि।

स मेग रिस निध धान0स रि ग- (१) तोडी तु ग०रि ग0रिस0सरि-

रिस निधधनि स रिसनि सनि घध॥५८॥ पमु0ग0रिग0रिस08 सरि ग मपमनि॥ ६१॥

पम0म ग0 मपध0मम ग0 रि०स - निधु प०्भग0रिस ग0रिग०रिस0-

(४) पौरविकाऽथ सरि०मग रि ससरिस0नि। नि0धनि0 गरिस सरि गम निधप0मग0रिसः। 40400 सगमगम0निधप ग म0मग- -40-0-000 सरि ग सनि ध0 धधनिसरिग-

मगरिस सरिमगरि ससगमग ॥५९॥ 2 गरि ग प निधप म ग रिग रि ग०0स*रि०॥ ६२॥

म0म सेस निधण्प मम गुम0गा- न में निधपमग रिगण्ससध नि- रिसड्सरिमगरि से सगुमगम0 म से " सनि। स0 गेरिसनिवधनि सं०रिनिधपमग0रि०स०। 11

स0रि0 गप म ग0मग0रिस*गप- S4 0. 0- 00. -- S सस स ध प0प धसर रिगग-

धध सनिधप0 म ग प0गष0 धनि घनि धम। 1- ग0रिग धघप0 ग-रि0स (६) सैन्धवी तोवप्।

.1 -- 1- पनिप0म ग0प0गप0गध0प0म- रिमप50 निध प म0 ग रि50रि0 सक्रि

S गप0गप0 ग 0स0रि०ग0धपममपम॥१५२॥ रिम प पधपनि म प म0गरिळ0म०।१९॥

ग0पमधपमग0रि सरि0स*ग- 9 00 4 0-0 0- घ प ध म पध सरिि0मम0प0 S पध स सनिध प0म ग0मपमप धपम0्ध। 1101010 0 0101010 0000 no धध स स रिऽ0रिS0 रि रिरिस0 रिससरि स ध प0। C -- S प मु ग0रि स0रिगरि0ग पध0्ध- पधपुनिध प म रिऽ0 रिम पनि0-

-- s -- -- S- प प ग0 रिस0ग पध नि ध प ग0गरि॥ १५३॥ ध प०म रि0रिसप नि0धप मरि0रिस*॥१५६॥ -5

o

स0सरि उप0 म ग0म ग0रिस0० (७) आसावरी। ,रेन

() स्यादेवं पावको गणड 0म०ग0 भ। ध0०ए रस0 रिमग रि0म0पधधपम -- s 5

६/०प० ०भ०ग0रि० गध0प०म0गरे- पमगधरिव0स0 निध पमू० 0-0 0-0

..- Ss 0 00 :/ प मम म० गरिस0घस0रि ग0 रि0स०॥१५६ ॥ पधु0स* स0सनिध प0म पुध॥१५०।

(२) पश्चात्तुरुष्कतोड्ये- घ0मपध0स0 धार सधप मरि- 88888 0n 000 0 षा ग0रि सरि0ल निस0 निधनि)सनि०॥६३॥ 0 00 सध0स'धध0सरिप मध ससस निनिनिनि। 80

• = गरि0सव सरिगमप0म0निध0प0- धपमपपमगगगरिम प- 80 88

5 0रिस नि सक्ष्पमगगरिसनि सकष । 0- u S ध रिससनिनिनि निधपमपम ग॥ ६७॥ S 8

सनि0धप0म0ग0रि0स नि 0स* सरि- 111 गमप0म0सनिनिधधपपमम ग ॥ ६४॥ ग ग ग रि0म पध नि धमपप 00000

1111 111I मगग ग ग रि०मप रि प ग ग ग ग रि0 सरि0। S 8 8 000 गरि रिस सनिधनिसगरिरि- स0सध पधमपध रिस निध0- सस*सरिगमप0मसनिध पपमगरिसग।

(३) मल्लारि ध सरि0 प0पमरि0- स स (४) मल्लारिर्नटादिस्तु ॥ ६८॥

स*धसधसरि0मरिमपध0मपघ०। ६५।। 00

सरि0पम0वारि0 सकषतर्रि0पम0वा-

रि०मपध0 रि रि स0 ध0प00म0प0 ध0 पमगमप0। S स0धरिस धप म रि सधपम 000

88888 38

0000000 प0्मम0 ग रि0 स0रि०ध0सरि0स *- -s 0

पध0सधरि सध प मरि0 ध0प- सरि0यम0 ग रि रि0म0मप ध00 स 0निध प ॥६९॥ धप धप धप धप धप मरिमप ॥ ६६ ॥ 4 00

४४ रागविबाध:

1 0_0-0 पण्घ प ध०स*रिमपधपधप- S S

पमगमप0पपम० ग रि0स पपपपमरि। S S

ग रिम प0मप0 मग गरिससक रि0रिपम ग रिसणरिगरिगरि0-

रिमपधप0मपु००मग रि सरि0 घ०स०॥७०॥ सध्चसरिoयु ध पतुपधममु गें रि0स0रि॥9१ ।।

00000 000 प ध0 म प ध0रिसरि0 ध०ध घस- गारगरिसक् (२) पूर्वगौड:

इति संगवे गातव्याश्चत्वारो रागाः। पधस ग0मप0धनिधप0मग मपधपम0।

गरिससस सग0मप0स0निध-

(१) गोण्डस्तु रि0प म0 पधु०0धपुधनिपम0ग। S

. R0 धसरि प मुगरि0धसरिप- (३) देशीकार सगम0धप-

मुगरि स0सरि ग रि0 स* मपध0 सस॥७॥ मम0वा.रिनि सड्लगम0 धुषध मेपुपणम(म। रि०स सगम0प0घ0म0प0पमप- नि मू रि म रि०स०ब0रि0 सणनेधप0 मे पृध र स०निधप0 म पुघस निधप0 म0 प। धनि0 स0 गूेरिनिधप धम0प0 मपुध॥७॥

ध० धपधनिप मं Oगरि0 धसरि- नि०स० रिनिधपधम0प0 सुनिध- पम०गरि स०सरि ग रि0स घरि0स ध॥ ७२ ॥ पथम०प0वाम०पसगम निधम0गारिति स*।

प0ध0म0प0प मपधनिस गु रि- . (१) बहुली सरिसरिगपग0पधस0॥७९॥

निध०प०घ०म0प0्पमपधनि सनिध॥७६॥ 적 0

पग0पधस0 सरि ग प ग रिस रिनि0 स सध।

ग म नि धमग0रि0नि०0सरि ग घपमग0रिस। पगपध घ प ग परिगसरि

नि.स संधपगपध ध ग रिग सरि॥ ८०॥ (४) शुद्धवराटी रिमरिम- पथ पथमपधनि०स0वं रिनिधप॥७७ ।। नि०स संधपगपध से रि सरि धध प म गरि0ग म निधनिध- नि० ससुधपगपध धे स संधपगरिस#ल। म ग रिनि सक्ष्या में नि धु निधमगु रिम ग रि। रिगधपगरि ग प गरिसरि-

सश्र्म मुं निधू पे म गा0रिगणरिक्ष0- नि०सश्षयापणयपधधण्घ रि०नि ससध॥।८१।। 0- 0- 0 गा6 स नि0 प0नि०स*रिमरिमपध॥७८॥ पगरिसप0गपगपसपग- 80000

धम0पध नि सनिधपधम0्प- रिसरिसरिगपगपधस*घ0र० सरिस ग। रिसरिस गरि सरिस गरिस- धनि संगु रिरि रिनि धंधध प म ग रि0पम्। रि संधपधधसधपगपगधप।। ८२।। ग रि0गरि रिस नि0 गु रिस0रि0स'-

इति मध्याह्ने गातव्याश्चत्वारो रागाः। गरिपगरिगरिपगरि गरि-

. पगरिगरिपगरिगरिसरिनि स०स.सु स*।

(२) सारङ्ग: स0रिग0पमग0- 00000 रिस* स0रिग0धपमम0रिस* स०रिग0॥८३॥ प-ध0म0ध प.सरगमप0ध0रिस- 0-0- निधप0म0ग धपमगरि0स0 पनि0स॥८७॥ 5-

S धपधग0धपमग0गपध०स0-

निधस धधपणध सधपमग0रिस0स0धप0। 00 म पस० सेटि"Rि निधपममें गं 0000 000 0.0- धपमग0ग प ध0सनि ध रि0 स- में पपमग रि०लणडनि.सरिमगरि0 स डससरि। सरि सरि प0धप0धधपमगरि0स।।८४॥ S S रि गग पप धधपमग0मपु- स0सरिप0पमपधनि)रि सरि0- धप् मगरि0 स0सरि, ०म गु रिणरि सक॥८८॥ स0 नि0घ0प0 पमप0ध0स०निध0प0परमप0ध0नि0। ध0प0 म प0प मे गरि गरिमृप0- (४) देवक्रीः सपमपगम0- ,0500 रि0स* सपम पगम0मधमधनि0 स०रि रिस।

रि०स (३) नटनारायण इति ससरिगमपधनि सनिसगनिस ॥८९॥

स०र0 ग0पमग रि0सकस.रि० ग0धपमग रि०सा०। ss SS

सपय पमगणम पु पु ध प म0- निसनि सरि स।पलँध निसंध

पमपग 0S* सv

म शिल से नि०लरिरि में गु रि70- अधवराहे गातव्याश्चत्वारो रागाः।

प0 नि०सरिम ग0धपमग.ल0सरि0रि०रि0। 0-0- s s

4 13

५२

SS म ग ग०प म ग0रिग0रिस0सस0- पमुग0 ग ग पम् गरि- गरिस (५) त्ावण्यथ रिमपध ॥ ९९ ॥ 0-0- 0 0 0 0500 नि ध0नि0धसस&्गमपधस0 ग गरि॥९६॥ 0 नि सनिधपधप मूं.गु0रि.रिम्- प निस0रिनिधम ग रि०स' रि0धप म गरि०स"। स० स स स सनिधपमग0गम- SSS पधनिध0प पपधधनिधधसनि ध प0 म०। (६) काम्बोदी धसरि ममम- 0

oo SS Ou 0 0-

गमपपम गगगपम ग0रि- गुरिगगरिरि रि0 सध पऽ0ध0स स%म ॥ १०० ॥

रेस*म प स० ग गरि स०रिस0 स स ।। १७।। प ध स0स रिम रिस0सधपम0-

SSS ध० पु म0गरि सध०स रि म ग् रि०पम ग रि सक्। निधपम गमपधनिध पध-

स0 स सनिधपमग0 ग गपमग0रिगरिस0। इति सायाहने गातव्याः षड्रागाः।

S -

स0पम0ससग0मपधस0स स· 80 SS SS S

नि धपमग ध प म गपम गरिम ॥९८। (१) शुद्धो नाटो गगऽ0मप0- मुपपमरिस0रि ग मरि सनिऽ0स0स०॥१०१॥ O

म ग रि ग0रि0स* सरिसरिगग- पु मरि0स०रिग म०रि० लनि5010स-

पमनिधप मे गमगृपम गमुगरिगस0 । पमपम0रि० ल्०रि गू मरि0 सनि050 स0मम रि०स०। 14

रिग मरि0 सनिऽ0रिसनि0रिस0नि- 0 0- 0 0 मप ध प म गऽ0ग रि स निऽ0स0लv* 8 0. 0 0-0- 0 0-0- 0 प0नि50स0 नि प0मप0नि प0प0निऽ0स0सस॥ १०२॥ (३) कल्याण: सगमप0 म 0गरिस*॥ १०५॥ 500

ग0पमगपमगरिस0 मगरि- ससरिगमपधनि सनिसनि- S S S सरि ग0गग0मम0 गमगरि0 ग0म मगरिस। सनिसनिप मपमपमपमपमपमरि। 000000 नि धनि0 धपध०स* सरिस ग ग0- 0 गमरिसनि50ससvससदिगि-

(२) त्याभीरी तु ग0मपधप0म ग0 ॥१०३॥ रिसरि0स'ग0म प नि00रि रि सनि0निध॥१०६॥

रि0सू नि50स*ग0मपनि 50स0 ग0रिस- पमग0रिस ससगमप0म ग0-

म घ0प0म ग मुगरि0 मगप0 मुगरिस0पप। . 0o5o निऽ0स0 स सनिधपमग0मपम पध प मग0। मगमगरि0 मगप0 मगरिस0- 00 o4 -. 0- रिस निऽ0स0प0म ग रि सनिऽ0स *- -- 0- नि ध। १०७।

150म0पनि50स0 नम ग गरि रिसनि 50स0॥१०४॥ प म गJ रिस0सगमनिधनिनि-

भू प मुग०रि्ट त्रि ग प0पध0पधुप में प00। रि निनिऽ0स) स नि0धपमगS0म- 0 tr % गरिससरिग0धप 1० रिस-

पनिध0प म गऽ0मर्पम प धपम म् गS0मप। रिसग रि०स* ससरिगयपधनिध0॥ १०८ ॥

धनि00 गरिस रिप्तनि0 स सनि मरिमप0निपनिस0प0शि सरि- .S s 0000000 सरिसरि सरि सनिप मग्मिरमि॥ ११२॥ 8800

स ग गरि सरिस नि ध प0प ध0-

रिसरिस निध पण्प ध0निषधप०म॥१०९॥ पनिपनिस0 सस स*नि स रिनि-

स रि पमप ध पप म रिरि स नि स0रिसस। S 0000S ग0ग0रिसरि0स०सनिध0प ध०स 0n-0-00 नि प मुनि50स"रि म पर्0नि ससनि

(४) श्रीरागस्तु रिमप नि स निधपमग। - 04-0- 0 00 0 धपममरि0रिस नि पणपमप0निऽ0स*॥११३॥ S

रिमपधधधनि स निनिधध-

म ग रि०म ग रि०रि० सस रिस रि- 80 पपमपुमरिणवु ध प मूरि रिऽ0रिमप नि0ल। निसनि रिसनिधपमगरि0रिमप नि0 स0 रि। गे रिसनिधपमगरि0 रिमप0- . रि०प ध पप पमगरि0 मरि0 स

नि स निधपमुगरि० रिमप0नि ध प॥ ११ः॥ रि0पमगरि०॥ ११४ से निधपमरि0पमग ०: ईई,

• -- SS Ss _ 0- पनिधपमुगरि मुपण्ल निध मगरि रि0ल निड0स0रिमपधणध- S

15

पमगरिपमगरिरिमप नि50 रि. गु, ममरि0स0रिसरि स निधल0- 005oo सरि० रिस नि धप मप म रि0पध प्॥ ११५॥ 0- 0 0' 01001 प0नि निप नि०स* नि सरि0प0मप0रिम0॥११८॥

0- O# म गरिरिस ननिंऽ0 सस (५) मालव- सरिसम रि0सरि0नि0स* नि सरि0-

पमरिमपस सनिपम रिमपनिपनिम। गौडोऽथ नि सरि०यमरिमपधरिरिरि। पम निपम0रिपमपरिमस-

स रिस नि ससनिमपस स स- 0 0# 0 रिसम0रिस0रि०नि निलअप0रि०लरिस ॥ ११९ ॥

निॅेपमरिगगरिग म मरि0ससरि॥ ११६। रिसरिसरिस रिमरिमपप-

मरिमरिमपनिपनिस (६) अथ गौडोऽयम्। सू नि स0गरिगम0सरिसगरि0- सरि0प म0ग रि ग मरि0लसप- 0 0-0.00u -- स0रिसरिस नि स0ध0नि निध नि सस नि निस। मपगम0रिगम0रि० लकषरिगमग़ रि॥ १२०॥

रिपमपगम0रि०गगरिग ग0रि0स0रिगम ग रि0स0लग0स०- प0मध ध पध निधपमपग मंरि०॥ ११७॥ 0. -0- 00 0 निरि0 स धनिध0ए0008स नि0रिग0धपमगरि। 'S

गरि ग मपण्म ध धप प धम- गरि0लक्षमप ध0रि स्पु

-- nv. 0 पमधपमप गम0रिपं0मप गम0रि ग ग। सधप0गम प ग पल भ्रि0ग0रि0सक॥ १२१॥

५९

गमगमगमरिग मरिमग-

s - - s 0 00 सरि0म0म०ग रिगमगं0र0 नक्षरि निलधप00स0। 00000 0 0 00 रिसनि0ध0प म0प00मरिसनि0ध0पम0॥१२४॥ S

रिगमग0 रिग0रि0स0रि नि सुध- 0 00000 000 पु००स०रिगमग रि०स रि नि सघप00स*॥१२२॥ 0 00 000 0000000 पमप00पधनिनिप निध पम०प00सनि00रिस। 0S

धपमप गैमपधनिस् रिनि- रि0सकससरिगमपधनिसरि-

सधपमप0गरिस रि सनिधपमग0रिसक्षगग पसनि।१२५।।

इति प्रदोषे गातव्या: षड्रागाः। s धपमगग00मपधनिसनिध-

(१) ततस्तु कर्णाटः। पमगग0मपधनिध पमगगमनि0 गम। SS

50

S 0 os 0 नि नि०स0मगरिस0न नि0सरि0प- ध0गम0निधपमग0रिसरिग-

अगरिस0नि नि0ससरिगम गरिस0॥ १२३ ॥ os os

रि सनिध0 पु ध०नि स रिस निधध निवि0स०ग रेसगरिसनि्धप- 050 000

0 0 000 0000 'पनि0चु0प म० पणनिध0पमग0रिस निस :्पनि। 16

६२ रागविवाध:

00 नसरिग0रि स0सरि ग0 ग0रि- मगरिसस स निध0 धधसनि-

सरि म0ग0रिस0सरिम0सरिनिस नि ॥ १२७॥ निपधम गगग मग मगरि स0॥ १३०॥ - Ss

0 00 0 0 0 ध0पम0ध0निस0निरिसरिनिस- 0-0- 0

S 0.00 000 0 -s n 5यं प0म०ग रि0सक्षप.म०ग.रि०म पमप0म0ग। S

रिस0सरि ग0ग0रिरि ग0ग0रिस0- SS ग रि०ल'प निसरिम0व0म0गरि- oSS SS - - oSS 0 S नि सग गरिस0नि सरिरि स0नि00रिस॥ १२८। सक्ष्मपनि0स०नि० स० रि0 स 0नि0ध0पम0प॥ १३१॥

0-0-000 नि पम0 धनिरिसनिस0निस0नि- निधप0मप0म0ग0रि सक्ष्मपनि0-

e

धप0रि०ल*ससरिगमपधनि0स0नि0ध प म0। 00 स0निस रिस0रिनिसधप मपसनिसधप।

0-

SS - -- SS S म प निप म ग गरिलरिस नि

म०ग रिस सग म पपधर्धपु 0 0 सक्ष्मपनि० स0नि० स०रि०पछ६रिस० नि०॥ १३२। . _ 0- 0- 0 S म0 ग रिस नि0ध0नि०सळसगरिस0ग0म00॥ १२९॥ . --

0

गगरिस0पम0पग0रिस0मग- पम०q0निध, प0 मप0म0ग रि0 म प० रिस0 रि रि।

६४ रागविबोध:

lin सनिध0म0पनिध प0 मप0म 4 -- 1 -- SS प म गरि सक्षमपध0प0मप0 . ग रिमप0नि०ध0पम0प०स नि०ध0पम0। १३३। पम ग0रिलशगमप0घ0रिस निध प0॥,३६॥

10 00 ग0रिस0रि०स नि0स0 पनिसरि0स* मप0मपु०म ग0रिस'सरिल0स

(३) वर्णादिर्नाट एष ग गै0म०प०म। 0-0-00000 0 ग0रि-सनि धपम0म०५0लस*ससगमपवध। S

पश्पुमरिल०रि गॅ म०स०पुम- निनि0रि सनिधप मग0मपग0

SS's रि सस*सरिसरिसगगममपप॥ १३७॥

रिस रिरिनि सरिनिसनि सूरि- मपसपमग0 म प पम ग0रि- 0 - 5000500000 स*सरिगमप0प ध0 सरि0स0 गगरि सरिस। प0भुप गमपधनिधप0पनि0- नि0ध प0मपधर्णस रिस निध्ध * छ0प0मप0पमरिस0रिग अहर0स0 नि॥१३५॥ 0

प0मपसनिध प0मप0 प प स0प0म॥१३८॥

0 000 00 0000 00

गर्णर स0सरिसस ग0रि०स(५)के- रि0स(०)हम्मीरस्तु गमपण्ध प0मप0प0। 00 SS 4 दारोडयं गमप0म प0प0गम गरि0स०। 1%

रागविबाध:

005 निसनिरि0स*गमप0स सनिध 0 0 0 0 ग0रिस नि०स'पनिसनिसरेप- 0 -- 0 1 -- 1 S पगम पणग मगरि0लक्षगमप0 सनि॥ १३९॥ ग रिगरिपमग0रि ससनि0स%

v -- M ध सनिधपाग म प 0गमग रि0- 0 00000 रि पम ग0रिसनि0स0निध पनिनि0सक॥१४३॥ -4 स'गम प ध नि स निध पम ग 0ग गप म ग0।

00 S- इति निशि गातव्या: पड़ागाः।

मगरि स0निसनिग0 रि0सकगम-

प०स नि ध प0 म ग0 रिस0निसग0 रि सक॥ १४०॥ -, (१) शुभकृदथ मालवश्री- निघम0पमण्ध नि सनिग रि गनिधनि व स। अयमेवमेव रूपैः कैश्चिन्ल्लारिमेल उद्धार्य। सरि गस निधनि सनि स म ग सरि ग • (६) तदनु विहङ्गड इत्थं धपप पनिधगग0म०मग0सक्ष्ारि॥ १४३।।

रिसनिस C8 रि पमपम 0वा रिस् ग म नि धुनि ध ममग0रिस* प

00000 S निप0पनिसनिस रिमग0 रि लसनिसक्सरि। 0 मग0रिस0स0गम प0ग0रिस0स0गम0

सुरि मग0 रि ससनिसर्क मूम सम ग0रिसकपनिस 0नि निधप0

ग रिगरिपपमग0 रि.स नि०स 0रिपम।। १४२।। म पमग0रिसस0सगरि ग,म0 ग0रि0।। १४५।।

६८ रागविबधि: पञ्चमा ।वषक:

गमनि धू निध ममग0रिसक्षप- स ग म प0्पम मप0प म ग0 रि

म प0मग0रिस0स0गम प0मग0रिस0सगम0। - 0 -- स लि0सरि म ग0ग म प म0निधपम0पमग0।

सम० ग0रिस*पनिल0प सर्णन नि- - 0- रिस0स म गरि सनि गमग म-

ध प0म प मग0रिस सगरिग म0ग0॥ १४६॥ पमप म ग0गम निध पम ग0रिस॥ १४९ ॥

4 40 S रिस* पमप सनिधप0प म प- (३) एषा तु मुखारी सस-

S नि ससनिधप0 प म पनिधनिस सनिधप0। वधुस रि मम0 प नि धपमधपमग0रिस#। 00

प मपमगम0मगरि ग म नि- 4n --- ग रिग मपध पमगरि0सनि- 0

. धुनिधप मग0रिस0गपम ग रिसक॥१४७॥ स0रि ग म पम गग0 रिरि० सनि निसक॥१५०॥ 4 - 0-0

(१) धवला सगमप0 म गम0ग0- 4000 (४) रामक्रीर्गप0 धरि स स- 0- 0 0- S रिस नि0सगमगमपमप ग0रिस नि0 स*। ·रि गऽ0ग0 रिस0रि सनिधपधप0प0मग0ॐग प0। 00

S गमपनि स स0ग०0स निस निध- धे लण्स" सनिधष) ध पप मगS0-

पमग0ग0मगगमप0मगरि सस*॥ १४८॥

७२ रागविबोध: SS S रिमपध0प0मप0रिपपमम स0 सनि0्ध प0 म पधधप पध0- SS S 0 म0 रिरिस0रि00सरिमपधधपप0सनिध प। s -- 0 0000 00 धप म0ग0रिसध0रि0स0निधधपम0पधस। म रि0धध प0 मरि0धप मरिरि०- S Sus

मपध सस0निस रिग0रि0 स0ध0- सनिधपम म0रिरिस0रि०. स*दिगियम् । १६१॥ रि0स०निधंप0म पधरि०स0सनिधप०॥१५८॥

(८) देवादिकगान्धारे रिमप0ध0प0म0 ग रि0स0रिम्0 ग रि०स*ससरि0 मपध स सनिधप0 में 74 sss --

प म0प पमग0ग0ग0रिस* मपध0स0सनिधप0। 100 मप0पप0ममधप म0ग रि०स S

रिमप0 घस0रि० स नि ध०प0म०ग रि०स॥। १६२। मपध0सनिधप मपध0 रि स- 0

निधपम0 पनि घु पम0ारिसरि०स॥१५९॥ सरि0 भ पपप मं म धधपध-

प म0मगरि0सकरिमप0ध0स रि म म0 ग रि0स०।

स निधध स0नि0रि स नि धप0म)- -1 0 0

रिगरिमप धध प प ध0धप- s S s- 0000 गरिस स निधधस0नि0रिम गरि सक। १६३॥ s S म0ग0 ग0रिसपपपपसप०मग रि०म प0म0।

SSSS ग० ग0रिसव््ममममपपधध- (९) मारविका गमप0म0र00म- S

सस स सनिधपम प०म0गCगरिस*,।। १६० । s

19

मप0म0निधपमग0स* निपध- रूपाण्येव मध्यप्राधान्याइशितानि यान्येप:।। मन्द्रे तारे च यथासेमतमिति वादनायानि॥ १६७॥ म0मपनिध0प मग0स०म0प०म ग०स*॥ १६४। इति थाम्नस्य परिभाषा।

गमपधनि ध ध स सनिधप- उक्तं रूपमनेकं तत्तद्रागस्व नादमयमेवम्।

म0ग0मपम0प ध पम गणग0स पनि00सगम। 00 इति रागाणां नादमयरूपण।

पमम ग 0पमनिपम0ग0सक्षग- अथ देवतामयमिह क्रमतः कथये तदेकैकम्॥ १६८॥॥8 मपम0ध0पम0मपनिप0म ग ग सक॥१६५॥ गलराजिकमलराजिर्माले भसिती रतः सदा नृत्ये। सुन्दरगौरः शोणाम्वरधरणः शंकराभरणः॥ १६९।।

(१०) परजो गमपधध0पधपु- वेलावली विनीला तालीवनचारिणी तरलद्दारा। तरुणान्वेषणकरुण करतलघुततद्दलाभरणा॥ १७० ॥

दोलालोला विपिने तरलितवलयं विभूष्य भूपाली। कान्ते प्रततितात्यनतं कुङ्ककुमपीता समरान्ज्ीता॥ १७१॥।

नीराजयत्युमेश दं।पैरनिश निशात्यये ललिता।

गरिग0म0ग0रिगरिरिमग0रिसस*॥१६६॥ विविधालकृतिमिलिता ५ लितश्वेताम्बरा गौरी॥ १७२॥

केशगकिशुक एष प्रवेशिताख्राङ्कुरः पिकस्य मुखे।

इति सर्वदा गातव्या: दशरागाः। अरुणवसनो वसन्तो गौरसुवेषो रसालगतः॥ १७३ ॥

मालामशोक चम्पककमलावामद्वहम्महाभूषः। ललनान्दोलितदोलालोलो हिन्दोलको गौरः ॥ १७४ ॥

कुटिलो ललितो ललितो हिभातयातो विनीततां नटयन्। निहनुतपररतिचिह्नो गदति बधू चटु पठ्ठ: खिल्नाम्॥१७५॥ एया मध्थुरवेषा विशेषपटुरकट्देशभाषाभृत। स्वेशे मदनावेश करोत्यलेशैन जैताभीः ।। १७६ ।।

दूर्याभकिभा विरहासहा लिखन्ती पटे पति रदती। स्नपितकुचा सितगल्ला स्थिरधम्मिल्ला धनाश्रीः स्यात् ॥ १७७॥ इन्दीवरतनुरञ्त्पीतठुकूली मणिस्फुरम्मुकुटः। नटनारायण उच्चैः कुण्डल ललितो मुदा नृत्येत्॥ १९०॥ डमरुत्रिशूलधारी पच्नगहारी सितो लसन्द्सितः। भासुरतनुरनुगतसुरतरुसूनाऽनूनसौरभा सुमुखी। देवकृतिरतुलभूषा मणिमयसिंहासनासीना ॥ १९१॥ तनुगौरी पौरविकाSSयतवेणीमि लितकञचुक्ीबन्धा। दोलान्दोलनलोला नीलनिचोला मधौ मुदिता॥ १७ ?. ॥ चित्राम्बरातिगौरी मेचककञ्चुकिकयाऽतिगूढकुचा। शोणरदा विधुवदना मदनार्ता याति सौराष्ट्री॥ १९२॥ कलितविपञ्ची विपिने लालितहरिणाऽरुणाम्बरा हरिणी। धवलाङ्गरागरचना मृदुवचना भूषिता तोडी॥ १८० । क्षीरोदभासिवासाः सहजसुहासा प्रलम्बवाहुलता। करधृतसाहिच्छत्रा गौडी गौरी सरोजाक्षी॥ १९३॥ आयतनीलनिचोला करमालाजप्यमानपतिनामा । विरहात्रोच्चगौरी तुरुष्कतोडी महावेणी ॥ १८१।। पिककलगलरववित्ता चित्तहरा कीर्तिता चैत्ती॥१९४ ॥। नीलो घनान्तरालोल्लसतितः पीताम्बरो वरो वीरः । मृदुहसितोSतिपिपासितचातकपोष्येव मल्ारिः॥ ८२॥ यावकयुक्करचरणा बह्वाभरणा कृतेशहद्धरणा। दूर्वाभतनुरखर्वा चार्वी बहुगर्विता पूर्वी।। १९५।। नटमल्लारिरनीलो नृत्यन्कुतुकेन नर्तयक्शिखिनः । कदलीमूलासीना पीनकुंचाSधीननायका तन्वीं। कलितकदम्बो ललितो मिलितालि: सौरभात्सहजात्॥१८३ कनकनिभा शुभहारा त्रावणिका वर्ण्यवेणीका॥ १९६॥ पलितकचाहितबर्हः सकुटजमालो धनुःरौ कलयन्। गोण्ड: किरातवेषो गैरिकरेखोचितोऽलिनिभः॥१८४।। पीतांशुका सुकेशी शितिः स्मरन्ती पर्ति भयाकुलदकू। पिकनादेन विदूना कामोदी कानने रुदती ॥ १९७॥ तरुणोSरणवसनयुगो हरपूजामम्तुजस्रजा रचयन्। कमलदगुत्तमवेषो विधुमधुरः पूर्यगोडोऽयम्॥ १८५॥ खेट ककृपाणपाणि: प्रतर्जयन्वैरिणो रणेऽरुणदकू। हरितालाभो हारी हयचारी धीरधीर्नाटः॥।१९८।। मणिमयमुकुटो हारी विचित्रवामा लसन्गतावलसः। अरुण: कृपाणपाणिर्देशीकारः सरोजाक्षः॥ १८६॥ गौरश्यामाS5भेरी विनीलचैला सविद्रुमालिगला। ताटङ्काञ्चितकर्णा मृदुतनुवाणी सुवेणीभृत्॥ १९९॥ तरुणी वते सकरुण गवेषयन्ती परति भृश गौरी। नीलाम्बरा वराटी सुरतरुकुसुमोल्लसत्सुषमा॥ १८७॥ सच्छत्रचामरोSच्छस्ताम्वूली मौलिरत्नमालावान्। कल्याणः सितवासा राजा सिंहासनासीनः॥ २००॥ श्यामा चलधम्मिल्ला तन्वी ताम्बूलिनी सुकञचुकिका। बहुलीलेय बहुली विलोलचैलाञुला सुगतिः॥१८८॥ कनकातपत्रमूले लोलदुकूले गजाश्रयो राजन्। श्रीरागोऽखिलभोगो नीरजराजिं भजन्मौलौ: २०१॥ पीताम्बरोSसिततनुर्ल लितालंकृतिरुपेतचापेषुः। काल्ताचुम्बितलपनश्चलमौलि: किपपि कुण्डली शुकभाः। नर्तनशालाशीली मालाभृन्मलिवो मसतः॥२०२।।

कुङ्कमकुसुम्भजाम्भ: कणकीर्णसिताम्वरः परं पुरभि: मृगमदतिलकी ललितो मालाताम्वूलवान्गौडः।। २०३ । उच्चतनुस्तनुरतनुर्जघने शोणाशुका त्रिशूलाक्ष। गौरी करिगतिरभिमतयुद्धा सैन्धव्यतिक्ुद्धा॥ १॥५५॥

सासिगजदन्तपाणिर्नीलगलो मीनभूषितः कर्णे। चलकदलीदलमौलिर्मलयाचलगा कलक्णन्मुरली। शङ्गारवीरवेषी कर्णाटो योषितामिष्टः॥। २०४॥ आसावरी सकरुणा बर्हाली शालिनी नीला ॥ २१६ ॥

कुटजस्नजा विराजन्कुन्तीकृतकेतकस्फुरन्मकरः । सिंहासनोपवेशी भूपाभिर्भासितः सितः कुमुदी। अड्डाणो घनवर्णो रमते राेसंगरे नितराम्॥२०५॥ धघलाम्वरः सुरनुतः श्ुङ्गारी देवगान्धारः॥२१७॥

दारी गौरोऽरुणदग्घिमसितव सनोऽच्छपाट लोष्णीयः। इन्दुमुखी कनकाभा दीर्घा लम्बालकाSतुला चलटकू। छायानाट पराख्य: सुवर्णनाटो भटो रसिकः ॥ २०६॥ अरुणाम्वरा नृपवरांस्त्वरयन्ती मारवी समिते ॥२१८॥

रसिको युवा सहासोSरुणवसनो दण्ड़कन्दुकी कुतुकी। परज इषुधनुर्धारी हवारी गौरस्तनुस्तनूदीर्घः ।

ताम्बृलर्ची रुचिरो गौरो वीरस्तु हम्मीरः ॥२०७॥ मिथ आहततालवधूशाली स्तवनेन शालीनः।।२११।।

जटिलोऽहियोगपट्ट: सविधुशकलमौलिरुल्लसद्धसितः । इति रागाणां देवमयरूपाणि।

गङ्गाधरस्तपस्वी ध्यानरतोऽतीव केदारः॥ २०८॥

विधुकरगौरः सुरभिः सुमनः कृतभूषणाम्बरेषुधनुः । विरहिजनमनोमोही विहङ्गडः कीरवाही सः॥२०९ ॥ रागेषु देवतात्वे नाश्या क्वापि देशजा रीतिः। स्पृशती भाषावेषौ तेपां देशाधिदैवत्यात्॥ २२०॥ • तन्वी रसालतलगा कलगाना सस्मिता प्रति स्वपतिम्। सृगद्दक्करगतकमला मालाश्रीर्मलियोल्लसिता॥ २१०॥ इति देशजारीतिः।

धृतनीराजनपात्रा सुन्दरगात्राSधिमङ्गला धवला। पीताङ्गरागवसना चलरशना सुददना गौरी॥ २११॥ इति केषांचित्तेषां कतिचन रूपाणि तानि चैतानि। इ्यामा कामाक्रान्ता कान्तवियोगासहा मुखारीयम्। नादात्मान्यखिलानि व्रह्यगुणवद्गणनीयानि ॥ २२१ ॥ मणिमयसुकुचावरणा वीणापाणिः प्रवीणोच्चैः ।। २१२।। इति नाददेवान्तरम्। काञनविभा5तिभासुरभूया नीलांशुकाऽधिकं रम्या। रामकृतिरणु वदन्सी सुदती, दयितेन्तिके याते॥२१३॥

गोपालवेष एष क्वणयन्वेणुं सदा मुदा क्रीडन्। वांलिशबोधोपायो मया कृतो दक्षपूर्वपक्षोऽयम्। चित्राङ्गरागभाव: पावकख्तगोऽसितो ललितः॥२१८॥ युक्त्या निजया सुजनैस्तथापि सिद्धान्तर्ता नेय: ॥ २२२॥

स्वकृतिलताया बहुमतमूलाया बालवित्प्रवालाया:। गुणितोषणकुसुमायाः सकलफलमिहार्प्युमारमणे ॥ १२३॥

कुदद्दनतिथिगणितशके सौम्याव्दस्येषमासि शुचिपक्षे। सोमेडग्नितिथौ रविभेऽकरोदमुं मौद्रलि:सोमः॥२२४॥

इति ग्रन्थकरणकालः ।

इति थ्रोसोमनांथनिर्मिते रागविबोधे पञ्चमो विवेकः समाप्तः।

समाप्तश्चायं ग्रन्थः ।

TRANSLATION श्रीरस्तु

स्वकृतिलताया बहुमतमूलाया बालवित्प्रवालाया:। गुणितोषणकुसुमायाः सकलफलमिहार्प्युमारमणे ॥ १२३॥

कुदद्दनतिथिगणितशके सौम्याव्दस्येषमासि शुचिपक्षे। सोमेडग्नितिथौ रविभेऽकरोदमुं मौद्रलि:सोमः॥२२४॥

इति ग्रन्थकरणकालः ।

इति थ्रोसोमनांथनिर्मिते रागविबोधे पञ्चमो विवेकः समाप्तः।

समाप्तश्चायं ग्रन्थः ।

TRANSLATION श्रीरस्तु

HADAAS

RÂGAVIBÔDHA

VIVEKA I.

SRUTIS AND SVARAS

Benediction 1. For the successful completion (of my work, Râgavibidha), I salute Ganapati, who is the primary source of Arya's (i.e. Paravati's) joy ; who is the (divine) guru; who is the object of devotion to the Devas; and who enjoys the reputation of occupying an elevated pcsition. 2. May Saraswati be presminent !- Saraswati, who is Brahma's wife; who, as the Goddess of Speech, is the only source of all linguistic transactions; whose name, as such, pervades throughout the world; aad who, with her own characteristic touch, casts splendour upon her Vina. Author's Personal Reference 3. Born of the family known as "Sakalakalå, " and bearing the name of Soma; I, son of Mudgalasoori, son of the eminent Pundit Menganath, am devoid of intelligence. 4. Nevertheless, having freely borrowed the essential points from ancient works, I (venture to) write Raguvibôdht, with a view to reconcile the conflict of views between the science and the art of masic. Metre employed in the Work 5. My work rises in eminence with the Pathya-kind of ";Ârya" Metre, coupled with a little Vipula-kind (of the same metre); and my object (vis, explaining all the points of music) is theraby fulfilled.

Márga and Dêsi 6. Music is of two kinds.Marga and Disi. That kind of music is "Marga," which was sought after by Brahma and other gods, which was practised, in the presence of Siva, by Bharata and cther sages, and which was therefore worthy of respect. 7. That (kind of music) is "Dêsi," which varies according to the tastes of the people of different Desas (countries) and which Itends to fascinate their minds. Since Marga almost failed to please the wcrld, Desi has come to qen- ally preyail here.

Contents The Allocation of the Sudha Svaras in Terms of the Vina 8. Here (i. e. in this Work), five Vivekas.(i.e. Chapters) are treated of, and should therefore be learnt, in (the following) order :- Srutis and Svaras, 13. Four wires are made to run over the Meru of a Vina, which will (in

Vina and its varieties, Melas along with their numbers, Ragas, and the Râga- Viveka, 2) be described in detail. Of these four, the first produces. the lowest

Forms. sound; and the other three produce higher sounds, each a little higher than its preceding one. Sound 19. Below the fourth wire, 22 small frets are so placed that the wire, 9. For the attainment of all the Purusharthas (i.e. the four principal when pressed against them, produces 22 sounds, each higher than the preceding objects of human life, viz, Dharma, Artha, Kâma, and Môksha), an intelligent oné.

devotee must medidate on Sound, even though he may be desirous of serving 20.21. Between any two of these 22 sounds, which are called Srutis, it Brabma, Vishnu, and Siva. For, those three gods have been declared (by the is not desirable to produce any other sourd. The 4th wire, when left free, ancients) to be identical with Sound. produces Shadja ; on the 3 rd fret, it produces Rishabha ; on the 5th fret, 10-12. The scul, desirous of speaking, excites the mind; the mind, so Gandhara ; on the 9th fret, Madhyama ; on the 13th fret, Panchama; on the excited, strikes the vital heat of the body; the heat, so struck, sets the air, 16th fret, Dhaivatha; on the 18 th fret, Nishada; and on the 22 nd fret, remaining in the Brahmagranthi, in motion; and the air, so set in motion, Shadja, which is twtce as high in pitch as the former (or fundamental) rises up and passes, in order, through the navel, the chest, the throat, the head, Sbadja. and the mouth and also produces such sounds as are called Athisookshma, Sookshma, Pushta, Apushta, and Kritrama. Thêse sounds deserve to be The Rationale for the Repetition of Shadja

sung 22. For an easy understanding of Sruti and Suira, I state it as my opinion that the four-srutied Sa is repeated only with a view to establish the Rcgisters Sudhatvam or purity of Sa and also to ascertain the varieties of Ni. 1

Namely, the sounds that proceed from the chest, the throat and the Vikritha Svaras head which are respectively called Mandra, Madhya, and Thara. Of these, the succeeding one is twice as high in pitch as the preceding one. I shall now pro- · 23-24. Thus, the seven Sudha-Svaras have been described ; and I shall

ceed to point out how these sounds take the form of Srutis and Svaras. (now proceed to) state the seven Vikritha-Svaras together with their names. When Ga takes the first sruti of Ma, it is called Sadharana ; but when it takes

Srutis the second sruti of Ma, it is called Anthara, When, again, Ni takes the first sruti of Sa, it is called Kaisiki ; but when it takes the second sruti of Sa, it is 13-14. There is, in the chest, a group of upright nerve-chords (viz, called Kakali. The three svaras Ni, Ga, Ma, when they respectively take the Sushamna, Ida, and Pingala), connected with which there are 22 delicate third sruti of Sa, Ma, Pa, may preferably be called Mridu Sa, Mridu Ma, and nerve-chords, stretched cross-wise. These 22 Chords give rise to 22 Srutis, Mridu Pa of which each is higher n pitch than its predecessor. The same arrangement of sounds is found in the throat as well as in the head. How the 12 Vikritha Svaras became 7 25.27. The ancient writers mentioned twelve Vikritha svaras. But oniy Svaras seven of them can be distinctly heard and have a separate existence; while, the 14. From these (22) Srutis emanate the seven Svaras. They are called remaining five are identical with other svaras (and may therefore be dropped) 'Svaras,' because they are intrinsically of a pleasing nature. Achyutha Se and Achyuta Ma are not different from Sudha S.r and Sudha Ma;

15. These sever svaras are called Shadja, Rishabha, Gândhâra nor are the forr-srutied. Ri and Dha different from Sudha Ri and Dha; nor is

Madhyama, Panchama, Dhaivatha, and Nishâda; and their signs are respec- eyen the four.srutied Pa different from Vikritha or three-srutied Pa. Even

tively Sa, Ri, Ga, Ma, Pa, Dha, Ni. according to Nissanka's view, the four-srutied Dha is not different (from the three.srutied Dha), as stated i: the works on Kootathanas. Hence these five Sudha Svaras svaras differ only in theory but not in practice.

16. The srutis of the Sudha Svaras are respectively 4, 3, 2, 4, 4, 3, 2. These make up the totn! 22. 1. In verses 20 and 21 of Viveka. I, eight, instead of the usual seven, svaras were mentioned ; and the eighth svara happened to be the octave Sz, a repetition of the tonic 17. These (i.e. the seven svaras) are heard distinctty in the 4 th, 7th, 9th, Sa, though in a higher pitch .. Since the tonic Sa was produced by the open string, a repe:

13th, 17th 20th, and 22nd srutis respectively. tition of the Shadja, though in a higher pitch, was necessary for reasons stated in this 22nd verse

An Explanation That svara, which is of frequent occurrence and which is as important as a king 28. Though these svaras are of more than one sruti each, chey ars is Vadi, Any two svaras between r aich there are L2 or 8 srutis, are Samvadis pleasiag to the ear only in their (respective) final srutis and not in their first which are like the ministers. Any two svaras, between which there is only srutis, as clearly evidenced by the various Vinas. one sruti; are Vivadis, which are enemies to each other. While, the rest are Anuvadis which, as the term indicates, are like servants. A few Theoretical Varieties of the Vikritha Svaras Grâma 29-31. Ri and Dha, taking other srutis (that is to say, Ri taking the sru- tis of Ga and Ma ; and Dha taking the srutis of Ni and Sa) are seen to become 39. 'Grâma' is the name given to a collection of (all the available) Chathusruti, Panchasruti, and Shatsruti in Desi-Ragas. Likewise, Ga and Ma svaras; and it forms the foundation of ' Moorchanas' etc. And, again, its two (taking respectively the srutis of Ma and Pa) are seen to become Shatsruti. important kinds are Shadja.Grama and Madhyama Grâma. Thus there are three more Vikritha-svaras besides those mentioned above. 40. When Ga takes the last sruti of Ri and the first sruti of Ma; when (But since) Panchasruti Ri does not differ from Sudha Ga; Shatsrtui Ni takes the last sruti of Dha and the first sruti of Sx; and when Dha takes Ri does not differ from Sadharana Ga. Panchasruti and Shatsruti the last sruti of Pa ; the result is the formition of Gandhara-Grâma, a third Dha's do not differ respectively from Sudha and Kaisiki Ni's ; and kind prevalent in Heaven. Shatsruti Ga does not differ from Sudha Ma; these (distinguishing) names of Ri, Dha, Ga, Ma, point to mere theoretical distinctions. 41. When Pa remains on its own last (fourth) sruti, it is Shadjagrâma ; but when Pa ramains on its last but one (third) sruti, it is Madhyamagrâma. In Desi-Râgas, however, the Pa of Shadgagrâma undergces no change. A few North Indian Terms suggested

32. Chathusruti is Thivra; Panchasruti, Thivrathara; and Shatsruti, Moorchana. Thivrathama. But these distinctions depend upon the propriety of the svaras 42. The ascent and descent, in order, of the sevan svaras is Moorchasd. to deserve the names. It is of seven kinds beginning with ' Utharamandra.'

The Principle of Lakshya 43. The first Moorchana is that which begins with Sa of the middle (or Madhya) octave; and the remaining six are formed with the initial Ni and 33-34. This (that is, the identity of Ni, Ga and Ma with the third srutis other svaras of the lower (or M indra) octave. In all these varieties, only the of Sa, Ma, and Pa and the identity of Ri, Dha, Ga, Ma with the fourth and ascending svaras are important and should therefore be taken into account. and other srutis) does not contravene the science of music, in as much as Sharngadev observed, in his chapter on Instruments, that, if a discrepancy Thâna arises between the science and practice of music, the proper procedure is to interpret the science in such a way as can be reconciled with the practice. 43.41. If a Moorchana deals with six svaras, it is called 'Shadava Hence in his commentary on (Shârngadèv's) chapter on Râgas, even Kallinâti. Moorchana ;' and if it deals with five svaras, it is called 'Oudava Moorchana.' declared (according to the Principle of Lakshya) Ma to be of 6 srutis and Ri Again, if the scales, whether Shadava or Oulava, deal with Sudha-svaras and Dha, to be 5 and 4 srutis respectively. they are called Sudha-Thanas ; and they are 49 in number.

The Time when ' Marga' gave way to ' Desi' hinted 45-46. When the svaras in all the Moorchanas, whether Sampurna (i.e. of seven svaras) or Asampurna (i.e. of svaras ranging from 6 to 1), are 35. In the verse beginning with " Srutisvara", Hanuman, the ancieut produced in all the various kinds of permutation ; they form the Koota.Thanis. teacher of music, declared the condition of Grâma, Sruti, Svara and other The total number of Sampurua Koota-Thanas is 5040; while that of Asam- subjects in Dêsi Râgas to be unsettled. purna Koota-Thânas, formed by the elimination of one or more svaras is as follows :- That o six svaras is 720; that of five, 120; that of four, 2+; that The Principle of Samvâditva of three, 6; that of two, 2; and that of one, 1.

36-38. They (that is, those two kinds of svaras viz, Sudha and V tritha) 47. When, among the numbers 1, 2.,3, 4, 5, 6, 7, each succeeding figure all (according to the organs from which they proceed) into three divisions, viz is multiplied by the preceding figure or figures, the several products obtained Mandra, Madhya, and Thara ; while (according to their application in d'fferent indicate, in order, the total number of Koota-Thanas that can be formed out of Râgas) they fall into four divisions"viz, Vadi, Samvadi, Vivadi, and Anuvadi, svaras ranging from one to seven.

Thânaprasthâra When all the svaras are sung in the descending order, it is called Avarohi. 47-49. I shall (now proceed to) iexplain the prasthara or expansion of E. g :- Ni.Dha-Pa-Mc-Ga.Ri-Sa. the various [Koota-] Thanas. Choose any desired arrangement from any combination of the seven svaras and write it on the first line. Then, for each When all these processes are mixed together, it is called Sanchari. succeeding line, take a svara on the upper line and write it below its sucee- E. g :- Sa-Sa-Ri-Ga ; Sa-Ni-Dha : Sa-Ri.Ga. ding svara. But if the svara to be written on the lower line is found among the succeeding svaras of the upper line, choose instead that svara which is Alankára previous to it. If even that svara occurs on the upper line, choose that which 57. A peculiar or idiomatic grouping of the Varnas is Alankara : and I is previous to tha previous one and so on. To the, right of the chosen svara, shall now speak of its 32 varieties and two more. write down the other succeeding svaras of the upper line. And to the left of it, write the remaining svara or svaras, in the order originally adopted. Technical Terms Nashta 57-59. In this chapter, the following Technical Terms are defined. A 49-52. I shall show how to discover Nashta or the form of a 'lost' Thâna. svara of the lower (or even middle) pitch is called Mandra, which is also The regular totals must be written thus :- 1, 2, 6, 24, 120, 720, 5040. The known as Mridu or Prasanna. It is written with a dot over the letter indi- number in question must be subtracted from the last of the totals; and the dating it-(E.g :- a). Thâra is twice as high in pitch as Mandra ; and it is remainder must be divided by that total which precedes the last. Again, the also called Diptha. It is written with a short upright line over the letter indi- reminder occurring at the end of the division must be divided by the imn'e- cating it-(E.g :- 4). The svara which is repeated thrice is Plutha. diateiy preceding total and so on. The several quotients obtained indicate the svaras of the Thânas to be discovered. These svaras should be taken in the Five Kinds of Sthâyi reverse order but calculated from the second svara in the natural order. If any remainder is indivisible, the svara previos to the second in the natural order 59.61. When a Thára-svara comes after two Mandra-svaras, it is called should be chosen. This process should be repeated to the end; but the svaras Prasannâdi; and the reverse of it is called Prasannântha. The terms Pra- once discovered should not be taken up again, that is, should be omitted. sannadyantha and Prasannamadhya are self-explanatory. Again, between two Mandra-svaras, the 2nd svara or the 3rd and 4th svaras or the 5th, 6th, and 7th svaras intervene and thus give rise to three varieties all of which are Udhishta called by one common name Kramarêchitha. These five kinds (viz, Prasan- 52-54. I shall explain Udhishta or the method of finding out the number nâdi, Prasannântha, Prasannâdyantha, Prasannamadhya, and Kramarechitha) of a given Thana. First, find out what rank after the second svara, the last are formed out ol Sthâyi. svara in the given Thâna occupies among the svaras arranged in the natural order. By that number multiply the last but one total; and subtract the product from the last total. Omit both the last svara in the given Thâna as Seven Kinds of Ârôhi well as the corresponding one in the natural order. If the last svara in the 61-66. From out of Arôhi, seven kinds of svara-groups are formed. given Thâna comes before the second among the svaras in the natural order, When the seven svaras of a scale are sung, in their ascending order, slowly and that last svara is o nitted. This process of multiplication and subtraction with a long, uniform pause, it is called Visthirna. But if they are rapidly pro- should be continued to the very end. The final remainder indicates the number nounced, each being repeated twice, it is called Nishkarsha. When again the of the given Thâna. svaras are sung in pairs consisting of the 1st and 2nd svaras, the 2ad and 3rd svaras, the 3rd and 4th svaras, the 4th and 5th svaras, the 5th and 6th svaras, Varna and its four kinds the 6th and 7th svaras, and when in each pair the 2nd svara is shaken as if in Gamaka, it is called Prênkitha. When from out of the seven svaras the 55-56. The singing of svaras is called Varna; and it is of four kinds, viz, Sthâyi, Arôhi, Avarôhi, and Sanchâri. When a single svara is sung a number first group consists of the 1st svara repeated thrice and followed by the 2nd, the second group consists of the 3rd svara repeated thrice and followed by the of times with a uniform pause, it is called Sthâyi. 4th, the third group consists of the 5th svara repeated thrice and followed by E. g :- Sa-Sa.Sa-Sa. the sixth, and the fourth group consists or the 7th svara repeated thrice, it is When all the svaras are sung in the ascending order, it is called Arôhi. called Bindhu. When each of the seven svaras is repeated as many times as E. g :- Sa-Ri.Ga-Ma-Pa-Lha-N. its place in tlfe scale indicates, it is called Hasitha. Again when the seven svaras are repeated in three groups, each consisting of three svaras so arranged

that the last svara of each group becomes the first svara in the succeeding group YAKAS it is called Sandhiprachadana. Finally, when, from out of the above-men- Two more Varieties of Alankâra O tioned three groups, the middle svara is dropped, and when each group consists 78. When all the svaras of a scale, from 1 to 8, are sung in the ascending only of two svaras so arranged that the last svara of each group becomes the order and when, at the end, the first svara is repeated, it is called Thara- first svara of the succeeding group, it is called Akshiptha. These seven kinds Mandra-Prasanna. may also be formed out of Avarôhi. 79. When, after singing the first svara and its octave, the other seven Thirteen Kinds of Sanchâri svaras are sung in the descending order, it is called Mandra-Thâra.Prasanna. 67-77. Sanchâri, is of thirteen kinds. Wnen out of the seven svaras 80. The subsequent groups of the last-mentioned two varieties are formed on the lines similar to those pointed out already by leaving out in each case the each is preceded and followed by its previous svara it is called Prasada. last svara of the previous group. The varieties herein described are 34 in When the first two svaras of a scale are repeated in ascent and descent and number ; but they are known to be endless. when the same process is applied to further groups formed by dropping, in each case, the first svara of the previous group, it is called Prenkha. When the first group consists of svaras in the order of 1, 3, 2 and repeated twice with The Importance of the Alankâras the first svara tacked on at the end and when further groups are similarly 81. Nevertheless, these 34 are enough for producing sweet svaras, for formed, care being taken to leave out, in each case, the first svara of the pre- understanding their nature, and for forming the essential groups of them. They vious group, it is called Ranjitha. When the svaras of a scale are repeated in should therefore ba learnt by every student of music. groups of three and when each succeeding group is formed by leaving out the frst svara of the preceding group, it is called Akshêpa. When out of the first four consecutive svaras, the second is dropped and the remaining three are Graha, Amsa, Nyâsa combined into a group and when further groups are similarly formed by.com- 82. The first svara in a Râga is called Graha; the svara which (on mencing them, in each case, with the first svara of the preceding group left out, accouat of its sweetness) is frequently repeated in a Râga is called Amsa ; and it is called Parivartha. When the three svaras of every Prasada-Group the svara which is at the end of, or concludes, a Raga is called Nyasa. These arranged in the order of 1, 2, 1 take two more svaras in addition in the order form the requisites of every Râga. of 3, 1 it is called Koojitha. When the first three consecutive svaras with their second tacked on again at the end, form a group and when further groups are similarly formed by leaving out in each case the first svara of the previous group, it is called Udvahitha. When the first two consecutive svaras sung in ascent, take four more svaras, sung in descent from the fifth svara, and thus form a group and when further groups are similarly formed by leaving out, in each case, the first svara of the pteyious group, it is called Udghattitha. When the first group has two svaras and each succeeding group has one more svara than the preceding one and when, in every group, the thus-formed svaras, barring their final one, ascend and descend, it is called Humkara. When the first group consists of the first four svaras in which the second and the third inter- change and which are sung both in ascent and descent and when the subsequent groups are similarly formed by leaving out, in each case, the first svara of the previous group, it is called Skhalitha. When the first group consists of three phrases, that is, the first two, the first three, and the first four svaras of a scale and when further groups are similarly formed by leaving out, in each case, the first svara of the previous group, it is called Krama. When various groups of two svaras consist of Samvâdis, it is Syena. And, fina ly, when the first group consists of svaras in the order of 1, 3, 2, 1 and when further groups are similarly formed by leaving out in each case the first svara of the previous group, it is called Hradamana. These Sanchari-varieties may according to others' views be formed even out of Avarôhi.

4

Rudra Vina and its detailed Construction 8 to 1+. The Danda should be eleven fists and a half long. Five inches from its end, there should be an oblique hole to hold the movable peg.

VIVEKA II Above it, a smail aperture should be made to pass the wire to the peg. At the sixth inch from the end of the Danda, there should be a second hole, also oblique, to hold the immovable peg. One inch beyond, it, there should be placed the Medaka (Meru). One inch further beyond, and below, the Meru, VINA a Gourd should be attached. At a distance of 28 inches from the first Gourd, there shouid be a second Gourd. Between the Danda and the tops of the gourds, there should be two Nabhis, circular. three inches high and three inches 1. In order to elucidate the (nature of) Râgas, I shall describe (in the broad, and with a vertical hole in the centre. Attached to the other end of

3rd Viveka) the Melas. But, now, I proceed to explain the (nature and the Danda, a Kakubha-four inches long and four (or five) inches broad with

construction of) Vina, which is dear to Rudra and which is helpful to a clear a smooth head-should be placed and raised to a height of two inches from the

understanding of the Melas themselves. surface of the Danda. Its frame should be inserted into that of the Vina and its wing-like projection should extend over the sides; and again, it should

Its Construction have small metallic hooks to hold the wires. Towards the right-hand side of the player and below the fourth wire, a leaf-like metallic piece, called Pathrika 2-3. Danda (or the Cross-Bar of the Vina) is Siva; Thanthu (or the should be placed so as to be a little higher than the Meru. Along its side, Wire) is Gowri; Kakubha (or the piece of wood at its end) is Ramâpathi; three more metallic pieces, one higher than another, should be placed, Between Pathrika (or the Metallic piece for the wires to run over) is Lakshmi ; Thumba the Pathrika and tho wires, chips of bamboo-barks should be placed to make (or the Gourd attached to the Cross-Bar) is Brahma; Nabhi (or the Round piece the sound finer. The Sarikas or frets should be as broad as the Meru or the of wood or metal which connects the Gourd with the Cross-Bar) is Saraswati ; Kakubha. A piece of wood, called Patti, eleven inches long and capable of Doraka (or the strings used for fastening the wires) is Ahipa or the Lord of the holding ten shorter frets, should be p'aced aloug the surface of the Danda and Snakes ; Jiva (or Bits of cotton, woollen, or even silken threads used for towards its end. This Patti should extend only so far as the top of the second refining the sound) is the Moon ; and the Sârikas (or the Metallic frets placed gourd. Cotton or silken threads, made by twisting three of them into one, over the Cross-Bar) form the Sun. Thus, the Vina is the embodiment of all should be used for fastening the wires. How to attach the gourds and other the gods and, as such, is able to dispel, at sight, the most heinous sin. details should be learnt by observation and experience. An instrument, constructed im this style, is known as Rudra-Vina. Its Importance The four Kinds of Rudra Vina 4 to 7. The Vina procures Dharma (or Righteousness), inasmuch as it is laid down in the Vedas that, in connection with the Horse-Sacrifice, two 15 to 17. The Rudra-Vina is said to be of two kinds, viz, Sudha-Mela Brahmins should play on the Vina, in concert with a third Brahmin singing. and Madhya-Mila. Each of these two is of two varieties, viz, Akhilarâgamêla It procures Artha (or Wealth), inasmuch as money is soon presented to the and Ekarâgamela. In the Vina of the first variety (Akhilaragamela), the frets Vynikas by the kirgs, fond of the Vina. It procures Kâma (or the Gratifi- are so fixed as to produce all the svaras of all the Ragas in the three Registers cation of the worldly pleasures), inasmuch as the Vedas declared that women While, in 'the Vina of the second variety (Ekaragamela), the frets are were charmed by a Vynika and thus made it clear that 'Kâma' was movable so that their places may be changed, within reasonable limits, to within his reach. And-it procures Moksha. (or Salvation), inasmuch as produce the particular svaras of a particular Râga. The Sudha-Mêla Vina Yâgnavalkya observed, in his Smrithi, that whoever knew the art of playing will now be described in accordance with the current practice. on the Vina attained salvatiom. Thus, the Vina forms the means of procuring the four objects of human life and is therefore superior to any other instrument. Sudha-Mêla Vina Further, by producing sweet sounds from its frets, it facilitates the quick acquisition of Svaragnana or a knowledge of th svara. With a view to 18. Over tha fixed bridge (Meru), four wires of varying thickness should obtain ever-increasing joy, both in this and that world, iet the Vina be be placed. Oma the right-hand side of the Vina, there should be three more icessantly practised by good persons-the Vina, which has been mentioned wires, also of war ing thickness. Of the four wires over the Meru, the first in the Srutis and the Smritis, which is dear to Rudra, and which has been wire should bg so placed as the player could reach it with his practised by Nårada and others. left-hand finger.

VINA 19. The four wires should be so fastened that the first, which is below Mandra, produces Anuman Ira Sa; the second, Anumandra Pa; the third, similar to Mandra Pa. That Mandra Pa is Svayan.Dhu. Likewise, the 13

Mandra Sa ; and the fourth, Mandra Ma. svaras Sa and Ma of the Madhya Register are also Svayambhus, in as much as the same fourth wire, when gently touched above the 8th and 11th frets, gives 20. Of the three side wires, the first (or topmost) produces Mandra Sa; rise to two other fine sounds similar to them. Hence the svaras Sa Pa Sa the second (or middle), Mandra Pa; and the third (or lowest), Madhya Sa. Ma which are fine sounds similar to the actually produced Sa Pa Sa Ma but These three are called ' Srutis'. having nothing to do with any wire, are Svayambhus. 21. Even though those three wires are made to produce either Mandra Sa Madhya Sa, and Madhya Sa ; Or Mandra Sa, Madhya Sa, and Thara Sa ; they 33-34. The svaras Ri, Dha, Ri, Mrida Pa and others (of the type of Ga Ni.Ga.Pa) which had been located according to the Sastra on the analogy of are, again, called ' Srutis '. Sa.Pa.Sa.Ma that emanate on the Meru are also Svayambhus-Over the 8th 22. Under the first or Anumandra Sa-wire, there should be placed six frets fret and below the first 3 wires, there are produced three-finely-sounding svaras so as to produce the following svaras :-- Sudha Ri, Sudha Ga, Sâdhârana Ga, similar to Pa, Ga, Pa, which are produced by the same three wires striking Mridu Ma, Sudha Ma, and Mridu Pa. against the same 8th fret. It is not regarded as an error if among the above- 23. Under the second or Anumandra Pa-wire, the same six frets should mentioned svaras some happen to be a little more or a little less than one produce the following svaras :- Sudha Dha, Sudha Ni, Kaisiki Ni, Mridu Sa, sruti. Sudha Sa, and Sudha Ri. 35. The fact that the svaras in Anumandra, Mandra, and Thâra Registers 24. Sudha Sa and Sudha Ri (mentioned in the previous verse) should not correspond, in nature, to the svaras located in the Madhya Register is acknow- be accepted (i.e should be omitted); for, they are again produced by the third ledged by those that have a sound knowledge of the svaras. The above wire. By the third or Mandra Sa-wire, the same svaras are produced as those authoritative description was given by me as the result of my thinking and produced by the first or Anumandra Sa-wire. experience. 25. Of the six svaras (suggested in the previous verse) Sudha Ma and Mridu Pa should be rejected ; for, they are produced, again, by the fourth wire. Sudha Mėla Vina, again In fact, by the fourth or Mandra Ma-wire, the same frets produce the following 35. In the Anumandra and Mandra Registers, twelve svaras are produced svaras. at the Meru and the frets. A corresponding number of frets to produce such 26-27. The first two frets produce Mridu Pa and Sudha Pa ; the third is svaras should be placed in the Madhya and Thâra Registers, in accordance omitted; the fourth produces Sudha Dha: the fifth, Sudha Ni; and the sixth, with the measure of their respective srutis. Mridu Sa. There should be an additional (seventh) fret to produce Kaisiki Ni. 37. Some say the number of frets required is fourteen; while, others The nature of the svaras produced by the four wires, which pass over the choose to add one more, in order to produce the Athithâra Sâ. Tha svaras in Meru and the frets, hae been properly described by me. both the Madhya and Thara Registers are agreeable only when they are produced in the fourth wire. The Principle .f Samvâditva, again 38. Why were not the five svaras, viz, Anthara Ga, Kâkali Ni, Thivra Ri, Thivra Dha, and Thivrathama Ma given their respective frets, as in the 28. The combination of Samvadi-svaras is, as a rule, pleasing to hear. case of the twelve svaras ? I shall state the reason. So has it been mentioned by Shârngadev and others. 29. The svaras Sa, Pa, Sa, Ma and other notes which are produced along 39. JWhen, at the frets producing Sâdhârana Ga and other svaras, the the Meru and the frets are mostly Samvadis ; because, between any two of them wire is drawn aside (to increase its tension) and the srutis are thereby intensi- there are 12 or 8 srutis. fied in pitch, the five (additional) svaras, in question, are manifested. Hence there is no separate mention of them. Svayambhus 40. Some say that, at the Nishada (fifth) fret of the Madhyama (fourth) 30.32. Besides, the svaras Sa, Pa Ma though fixed srutis have been wire, Kaisiki and Kakali Ni's can be produced by drawing that wire aside. The assigned to them in Sastra, are Sva,mbhus. That is to say, they emanate insertion of an additional fret is, according to their view, unnecessary. . spontaneouely without any effort to produce them and, as such, are not arti- 41. (Where a fret to produce Kaisiki Ni is omitted) Anum, ndra Ma takes ficially produced svaras. I shall clearly explain the reason why they are so the place of Anumandra Sa. (Of the svaras produced in that A iumandra Ma called. In the fourth wire and above the second fret, there emanaes, spontane- wire) Ma and Mridu Pa alone should be accepted and the rest should be rejected. ously and without any contact of tha wire with the fret, another fine sound- as they reoccur in the Anumandra Pa-wire.

42. Inasin uch as the Human Body and the Vina are said, in the Sastra to be equal by virtue of the equality of the sounds produced, the Vina, like the human bouy, should have only three octaves, Mandra, Madhya and Thara; but it should not have Anumandra octave. Yet, it has; why ? VIVEKA III 43. (In reply) Shârngadev says that a very delicate sound, called Athisukshma, manifests itself at the region of the navel and suggests that the Vina should have a corresponding Anumandra svara. Hence the Vina is rightly MÊLAS said to have Anumandra svara.

Madhya Mêla Vina 1. Now, the Mélas are described and arranged in their natural ancending order of svaras. They are 960 in number ; and they are formed out of the 15 41-47. The other Vina, viz, Madhya Mela Vina is now described. Of varieties in which Ri, Ga, Ma, Dha, Ni divide themselves according to the the four wires passing over the Meru, the first should produce Anumandra Pa; prescribed number of the srutis. the second, Mandra Sa ; the third, Mandra Pa; and the fourth, Madhya Sa. The three sruti-wires on the side should, beginning from the top, produce The Fifteen Varieties of Ri, Ga, Ma, Dha, Ni Mandra Sa, Mandra Pa, and Madhya Sa respectively. The nature of the 2 to 4. The fifteen varieties of Ri, Ga, Ma, Dha, Ni are, in order, as svaras produced along the six frets is the same as in the Sudha Mela Vina; follows :- (1) Thivra Ri, (2) Thivrathara Ri, (3) Thivrathama Ri; (4) and the authority as to their acceptibility is also the same. But Sa and Ri of Sâdhârana Ga, (5) Anthara Ga, (6) Mridu Ma, (7) Thivrathama Ga; (8) the two wires of Anumandra Pa and Mandra Pa are useless, as they occuc Thivrathama Ma, (9) Mridu Pa; (10) Thivra Dha, (11) Thivrathara Dha' again in the two wires of Mandra Sa and Madhya Sa. There are not as many (12) Thivrathama Dha; (13) Kaisiki Ni, (14) Kâkali Ni, (15) Mridu Sa frets in the Madhya Mela Vina as in the Sudha Mela Vina. The remaining The first three are the varieties of Ri; the next four, of Ga; the next twa frets should according to the views of a few others produce Athithâra syaras. of Ma; the next three, of Dha ; and the next three, of Ni. 48. According to certain views, the Ist and 3rd wires of the Madhyamela Vina should produce Ma instead of Pa. In other respects as before. Ma and . An Explanation Mridu Pa prcduced at the 5th and 6th frets of the second (or Mandra Sa) 5 to 7. It has been pointed out that Mridu Ma is only a variety of Ga; wire should be rejected as they occur again at the Meru and the 1st fret of Mridu Pa, a variety of Ma; and Mridu Sa, a variety of Ni. I shall the third (or Mandra Ma) wire. explain the changes effected by the svaras from out of the fifteen. Just as 49. A few others leave the first three wires of the Madhyamêla Vina and the svara preceding Sudha Ri is Sa, so each svara preceding any one of place the frets only under the fourth (or Madhya Sa) wire with a view to the three Ri's is Sa. Again, just as the svara preceding Sudha Ga is Ri, so produce the three octaves Madhya, Thâra, and Athithâra. each svara preceding any one of the four Ga's is Ri. Further again,. just as 50. Bat they leave out the fret which produces Athithâra Pa. On the the svara preceding Sudha Ma is Ga, so each svara preceding any one of left-side of the Vina one sruti wire gives rise to Mandra Sa ; and on its right the two Ma's is Ga. Still further again, just as the svara preceding Sudha side, two sruti wires give rise to Madhya Sa and Thara Sa respectively. Dha is Pa, so each svara preceding any one of the three Dha's is Pa. 51. Some are of opinion that the Athithâra svara should be produced in a And finally, just as the svara preceding Sudha Ni is Dha, so each svara string of the Vina because of the existence in the human voice of Krithrama preceding any one of the three Ni's is Dha. Thus the nature of the svaran (Sa sound as suggested by the ancient teachers of music. But the shrill sound of and othurs) has been ascertained, whether they stand in their own srutis or the Athithâra makes it unpleasant and unmusical to hear. in those of others or in any variety of others. 52. T'here are still other kinds of Vinas which are not described here, on account of their wide renown. But any authorised variety, though unmentioned The Number of the Melas here, is worthy of acceptance. 8. The total number of the Melas which contain one, two, three, four, or five distinct varieties of svaras grouped under Ri, Ga, Ma, Dha, Ni are respectively 15, 89, 261, 378 and 216. The changeless Sa is an additional one. [In all, 960].

The Groups of the Melas 9.12. The fifteen svaras are termed 1st, 2nd, and so forth up to the 15th. I shall now determine the groups of the Melas, which make up the

15

Udhishta totals 89 and so on and which indicate the melas beginning with one, two, three 22-23. Write on the first line the iorm of the given Mela. Write on the four, or five distinct svaras. The Melas which begin with any one of the filteen second line the starting line of the same variety. Find out the excess of the varieties, taken singly, are fifteen in number; and they may be arranged under given Mela, over the starting line under the corresponding figures. Let the five heads, such as 3 of Ri, 4 of Ga, 2 of Ma, 3 of Dha and 3 of Ni. When- cxcess indicate the number of the group-figures of the correspondingly preceding the svaras are taken in pairs we get 12 melas under each Ri, 8 under each Ga columns as in the process of Nashta. Add all these figures. Add, to the total 6 under each Ma, and 3 under each Dha. When the melas begin with three disti- obtained, the remaining ones above the first figure, indicated in the starting not svaras we get 53 under each Ri, 21 under each Ga and 9 under each M. line. Add at last 1 to the total given. We get the Udhishta Mela, that is, When the mêlas begin with four distinct svaras, we get 102 under each Ri the number ' of the given Mela. and 18 under each Ga. The melas which begin with five distinct svaras are 72 under each Ri. If from any previous total we deduct the number of the

The Melas Omitted Melas in any one of the five groups we get corresponding figures for the suc- 24. From out of the total number (960) of Melas, so many as 105 should ceeding groups. be rejected ; because every one of them contains two svaras which are appa- rently distinct but which stand on a single sruti. They were taken into account The Method of expanding the Melas merely for the sake of Prasthara, just as those which were not Kootathânas were reckoned along with Kootathânas for calculation. 13-17. For the sake of expanding the Melas, let "1-4-8-10-13"

Author's Prayer form the first (or starting) row. Let its last figure (viz 13) be increased

25. I have incidentally and of my ova choice explained the mathod of gradually by one and arranged one below another till it reaches 15. After

expansion with Nashta and Udhishta, though they have not been stated by the reaching 15, let the penultimate figure of the said first row (viz 10) be

ancient masters of music. I reguest, therefore, the kindly disposed learned men increased gradually by one and arranged one below another, while the other

not to disregard what I have done. figures of the said first row are repeated, as before. When the penultimate fignre reaches 12, let the 3rd figure from the last (viz, 8) be increased

The Names of the 23 Melas gradually by one and arranged one below another, while the other figures of the said first row are repeated, as before. When the said 3rd figure 26-31. I shall refer only to 23 Melas which have given rise to the well- reaches 9, let the 4th figure from the last (viz, 4) be increased gradualy by known Râgas in current use. I shall describe 1 of Sudha-svaras; 2 one and arranged one below another, while the other figures of the said first containing 1 Vikritha each; 7 containing 2 Vikrithas each; 4 containing 3 row are repeated, as before. When the said 4th figure reaches 7, let the 5th vikrithas each; 8 containing 4 vikrithas each; and 1 containing 5 Vikri- figure from the last (viz, 1) be increased gradualy by one and arranged one thas. The number of the minor Melas classed under each of the six groups below another, while the other figures of the said first row are repeated as before. is not the same throughout; one is smaller or larger than the other. It is thus the expansion of two or more svaras is accomplished. I shall now mention the names of those Mela Râgas :- Mukhâri, Reva- gupthi, Sâmavarâli, Thôdi, Nadarâmkri, Bhairava, Vasantha, Vasanthabhairavi, Nashta Malavagowda, Rithigowda, Abhira Nata, Hammira, Sudha-Varâti, Sudharâmkri, Srirâga, Kalyâna, Kâmbhôdi, Mallâri, Sâmantha, Karnâtagowda, Desâkshi, Sudhana'a and Saranga. These are the 23 Melas. I shall now describe these 18-21. Subtract from the number of the given Mela one by one of the (23) Meras, beginning with Mukhari along with their characteristics. group-figures of the same variety ; and write the starting line, beginning with the number of the group figure, obtained just where the subtraction stops. If in

(1) Mukhâri the very beginning the subtraction is not possible, commence the starting

32. In the Mela of 'Mukhâri', there are seven svaras, Shadja and others liue with 1. Again, subtract from the remainder obtained, one by one of the

which are all Sudbas. From it are derived Mukhari, Thurushkathodi and group-figures of the preceding variety, care being taken to see that those figures

others. should (a) nor belong to the first group (b) be below the corresponding figure written on the starting line and (c) also make a combination of their total

(2) Rêvagupi i number ; with the figure aiready written on the starting line possible. The last remainder obtained after subtracting one by one of the group-figures shou i be 33. 'Revagupathi' has six Sudha-svaras viz Sa Ri Ma Pa Dha Ni and such as its combination with the last figure in the starting line, when diminished, onc Vikritha-Svara viz Anthara Ga. From it, are derived Revagupthi and by one, may produce a figure which is not equal to,or less than,the preceding one others. or which does not indi ate only a variety of the same note as the preceding one. . 5

(3) Sâmavarali (12) Hammira. 34. In the Mela of 'Samavarali', the svaras Sa Ri Ga Ma Pa Dha are 45. In the Mela of Hammira, Sa, Ma, Pt, Dha are Sudhas; while Sudhas; while Kakali Ni is Vikritha. From it, are derived Sâmavarâli, Vasan. Thivrathara Ri, Mridu Ma, and Mridu Sa are Vikrithas. From it, are derived

thavarati and others. Hammira, Vihangada, Kedara, and others.

(4) Thôdi 35. In the Mela of Thôdi, Sadharana Ga and Kaisiki Ni are the two (13) Sudhavarâti. 46. In the Mela of 'Sudhavarati, Sa, Ri, Pa, Dha are Sudhas; while Vikrithas; while Sa Ri Ma Pa Dha are Sudhas. Thodi and others are derived Sadhârana Ga, Thivrathama Ma and Mridu Sa are Vikrithas. From it, are

from it. derived Varati and others.

(5) Nâdarâmakri In the

36. In the Mela of Nadarâmakri', Sadharana Ga and Mridu Sa are the Mriuu M (14) Sudharamakri.

two Vikrithas ; while Sa Ri Ma Pa Dha are Sudhas- From it are derived 47. In the Mela of 'Sudharâmakri,' Sa, Ri, Pa, Dha are Sudhas ; while

Nâdarâmakri and others. Mridu Ma, Thivrathama Ma, and Mridu Sa are Vikrithas. From it, are

(o) Bhairava derived Sudharâmakri, Lalitha, Jaithâsri, Thrâvani, Dêsi, and others.

37. In the Mela of 'Bhairava', S.t Ri M.i Pa Dha are Sudhas; w'iile Anthara Ga and Kaisiki Ni are Vikrithas. From it, are derived Bhairava, Pow- (15) Srirâga

ravika and others. 48-49. In the Mela of 'Srirâga', Sa Ma Pa are Sudhas; while Thivra- Ri, Sâdhârana Ga, Thivra Dha, and Kaisiki Ni are Vikrithas. From it, are

(7) Vasantha derived Srirâga, Mâlavasri, Dhanyâsi, Bhairavi Dhavala, Saindbavi, and others knowa by different names in different localities. 38. In the Mela of ' Vasantha', Sa Ri Ma Pa Dha are Sudhas ; while Anthara Ga and Kâkali Ni are Vikrithas. From it, are derived Vasantha, Takka Hijejja, Hindôla and others: (16) Kalyâna 50. In the Mela of ' Kalyâna', Sa Pa Dha are Sudhas; while Thivra-

(8) Vasanthabhairavi thara Ri, Sâdhârana Ga, Mridu Pa and Mridu Sa are Vikrithas. From it are 39. In the Mela of 'Vasanthabhairavi', Sa Ri Ma Pa Dha are Sudhas: derived Kalyâna and others. while Mridu Ma and Kaisiki Ni are Vikrithas. From it, are decived Vasan- thabhairavi, Maravi and others. (17) Kâmbhôdi

(9) Málavagowda. 51. In the Mela of ' Kambhôdi' Sa, Ma, Pa are Sudhas; while Thivra-

40 to 42. In the Mela of Mâlavagowda, Sa, Ri, Ma, Pa, Dha are thara Ri, Anthara Ga, Thivrathara Dha, and Kâkali Ni are Vikrithas. From

Sudhas; whlle Mridu Ma and Mridu Sa are Vikrithas. From it, are derived it, are derived Kâmbhôdi, Dêvakri and others.

Mâlavagowda, Chaithigowda, Poorvi, Pahadi, Dêvagândhâra, Gondakriya, ana Ga Kuranji, Bahuli, Râmakri, Pâvaka, Asavari, Panchama, Bangâla, Gudhala- others (18) Mallâri

litha, Gurjari, Paraja, Sudhagowda and others. $2.14. a Mela of 'Mallari,' Sa Ma Pa are Sudhas; while. Thivra-

(10) Rithigowla. thara Ri, a. du 'a, Thivrathara Dha and Mridu Sa are Vikrithas. From it, are derived Malleri, .. atam illâri, Poorvagowda, Bhupali, Gowda, Sankarâbharana, 43. In the Mela of ' Rithigowla', Sa, Ri, Ga, Ma, Pa are Sudhas; while Natanârâyana, Nârâyanagowda, another Kêdara, Sâlankanâta, Velâvali, Thivrathara Dha, and Kaisiki Ni are Vikrithas. From it, are derived Madhyamâdi, Sâvêri, Sourashtri, and others.

Rithigowla and others. (11) Abhiranâta. (19) Samantha

44. In the Mela f ' Abhiranata', Sa, Ma, Pa, Dha are Sudhas; while 55. In the Mela of ' Samantha,' Sa Ma Pa are Sudhas; while, Thivra-

Thivrathara Ri, Sadh and Mridu Sa are Vikrithas. From it, are thama Ri, Antlara Ga, Thivrathama Dha, and Kakali Ni are Vikrithas. From

derived Abhiranâta a it, are derived Sâmantha and others.

RÂGAVIBODHA 20 VIVEKA IV (20) Karnâtagowda 56-57. In the Mela of 'Karnatagowda,' Sa Ma Pa are Sudhas; while Thivrathama Ri, Mridu Ma, Thivra Dha. and Kaisiki Ni are Vikrithas. From RÂGAS it, are derived Karnâtagowda, Atana, Nâgadhvani, Sudhabangâla, Varnanâta, Thurushkathôdi (Iraq) and others. (21) Dêsâkshi Râga defined 58. In the Mela of Desakshi', Sa, Ma, Pa are Sudhas; while Thivra- 1. 'Râga' is a special arrangement of sounds pleasing to the ear and thama Ri, Mridu Ma, Thivrathara Dha and Mrida Sa are Vikrithas. From it, constituted by Graha, Amsa, Nyasa etc. The well-known Ragas vary in are derived Desâkshi and others. number according to the various views of the ancient masters. (22) Sudhanâta Its first three kinds 59. In the Mela of 'Sudhanâta,' Sa, Ma Pa are Sudhas; while Thivra- 2-3. The less-known Râgas, taking their birth in particular localities, are thama Ri, Mridu Ma, Thivrathama Dha and Mridu Sa are Vikrithas. From it, as endless in number as the waves of the ocean. They are of three kinds, are derived Sudhanâta and others. (23) Sáranga Sudha, Chayalaga, and Sankirna. 'Sudha' Ragas produce joy by dint of their owu virtues; 'Châyalaga' Râgas, by those of others ; and 'Sankirna' Râgas, by both. Thus Sankara expressed his view. 60. In the Mela of 'Saranga,' Sa, Pa are Sudhas; while Thivrathara Ri. Thivrathams Ga, Mridu Pa Thivrathama Dha, and Mridu Sa are Vikrithas, Its second three kinds From it, are derived Sâranga and others. 4. Râgas are, again, Superior, Middling and Inferior. 'Superior' Râgas are those which are fit for Alâpa, Alapti and Prabandha. 'Middling' Râgas are similarly fit for Alapa etc but rarely used. While, 'inferior' Râgas are very much in fashion but not fit for Alapa etc. Its third three kinds 5-7. Dêsi-Râgas which are different in different countries are characte- rised by Poorna, Oudava and Shadava. I shall briefly describe them from the standpoint of the Melas, according to the prevailing views and mention their divisions, Graha etc and also their times of singing. Mukhari and Thurushkathôdi . 'Mukhâri is Sampurna ; it has Sa for Graha, Amsa and Nyâsa; and it may be sung always. 'Thurushkathôdi' is, again, Sampurna; it has Ga for Graha, Amsa and Nyâsa; it must be sung after the dawn; ard it is of a Gamaka nature.

Rêvagupthi and Sâmavarâli 9. 'Revagupthi' has no Sa and Pa; it has Ri for Graha, Amsa, and Nyåsa ,and must be sung in the evening. While 'Sâmavarâli' is Sampurna, has " Sa for Graha, Amsa and Nyâsa and may be sung always. 6

23 Vasanthavarali and Thoai

Kurânji and Bahuli 19. 'Kuranji' has only a little use ot Dha, has Sa for Graha, Amsa and 10. 'Vasanthavarali ' has no Ri and Pa; it has Ga for Graha and Amsa

Nyasa and may be sung always. While 'Bahuli' has no Ma and Ni, has Sa and Sa for Nyasa; and it may be sung always. While 'Thodi' is Sampurna,

for Graha, Amsa and Nyåsa and must be sung in the afternoon. has Ga for Graha, Amsa and Nyâsa and must be sung in the dawn or a little after it.

Rámakri and Pâvaka Nâdarâmakri and Bhairava

20. " Ramakri' is Sampurna; has Sa for Graha, Amsa, and Nyâsa or, at 11. 'Nadarâmakri' is Sampurna, has Sa for Graha, Amsa and Nyâsa times has Ga for Graha and Amsa and may be ong always. While ' Pavaka" and must be sung in the night. While 'Bhairava' is also a Sampurna, has has no Ni, has Ga for Graha, Dha for Amsa and Sa, for Nyasa ; and may be sung always Dha for Graha and Amsa and Sa for Nyâsa and must be sung in the morning.

Powravi and Vasantha

Asâvari and Panchama 12. 'Powravi' has only a little use of Ri and Pa; has Sa for Graha, 21. 'Asavari' is Sampurna; has Ma for Graha and Amsa and Sa for Amsa and Nyâsa; and must be sung in the morning. While, 'Vasantha' is Nyâsa ; and may be sung always. While, 'Panchama' has no Ri, has Pa for Sampurna ; has Så for Graha, Amsa and Nyâsa ; and must be sung at daybreak Graha and Amsa and Nyâsa ; and must be sung at daybreak. Takka and Hijêja

Bangála and Sudhalalitha 13. 'Takka' is Sampurna; has Sa for Graha, Amsa and Nyâsa ; and 22. 'Bangâla' is Sampurna; has Sa for Graha and Amsa and Nyâsa; must be surg at the end of the day. While, 'Hijeja is Akhila (or Sampurna) and may be sung always. While, 'Sudhalalitha' is Sampurna or at times has Ma for Graha and Amsa and Sa for Nyâsa; and must be sung in the has no Pa; has Sa for Graha, Amsa and Nyâsa; and must be sung at day- break. evening.

Hindôla and Vasanthabhairavi

Gurjarika and Paraj 14. 'Hindola' has no Ri and Pa; has Ma fer Amsa and Sa for Graha 23. 'Gurjarika' has no Pa; Ri for Graha, Amsa and Nyâsa; and and Nyâsa ; and may be sung always or at day break. While 'Vasanthabhairavi deserves to be sung in the morning. While Paraj has only a little use of Ni; has has no Pa; has Sa for Graha, Amsa and Nyâsa; and must be sung at day- Ga for Graha and Amsa and Sa for Nyâsa ; and has Ga and Dha for Gamaka- use ; and may be sung always. break.

. Máravika, Mâlavagowda and Chaithigowda

Sudhagowda and Rithigowda 15-16. 'Mâravika' has no Ri and Dha ; has Ga for Graha and Amsa and 24. 'Sudhagowda' has only . a little use of Ni; has Sa for Graha and Sa for Nyâsa; and may be sung always. While ' Malavagowda' is Sampurna Nyâsa and Pa fop Amsa ; and must be sung at dusk. While 'Rithigowda' is or at times, has no Ga and Dha; has Ni for Graha, Amsa, und Nyâsa or at Sampurna, has Ni for Graha, Amsa and Nysa; and must be sung in the times has Sa for Nyâsa; and must be sung at dusk. While, again, 'Chaithi- evening. , gowda ' has no Ga and Dha ; has Ni for Amsa and Sa for Graha and Nyasa and must be sung in the evening.

Abhiri and Hammir Poorvi and Pâdi 25. 'Abhiri' is Sampurna, has Ga for Graha and Amsa and Sa for Nyasa End must be sung at dusk. While Hammir has only a little use of Ni, hes Ga 17. 'Poorvi' is Sampurna; has Sa for Graha and Nyâsa and Ga for for Graha, Pa for Amsa, and Sa for Nyasa; and must be sung in the nigh :. Amsa; and must be sung in the evening. While 'Pâdi' has no Ga ; has Sa for Graha, Amsa and Nyâsa ; and deserves to be sung in the evening.

Vihangada and Kêdâra Dêvagândhâra and Gowdakriya 25' 'Vihangada' has only a little use of Dha; has Ni for Graha, and Amsa, and Sa for Nyasa and must be sung in the night. While ' Kedara" ba3 18. 'Devagandhara' has no Ga and Ni; has Ri for Graha, Pa for Amsa only a little use of Ri and Dha, has Ga for Graha and Amsa and Sa for Nale and Sa for Nyasa; and may be sung always. While 'Gowdakriya' has no and must be sung in the night. Dha ; has Sa for Graha, Amsa and Nyâsa; and must be sung in the morning.

Sudhavati and Dėsakrit

27. 'Sudhavarati' is Sampurna; has Ri for Graha and Sa for Amsa and Mallari, Natayuk and Poorvagow a . Nyåsa and must be sung in the day-time. While 'Desakrit' is Sampurna ; has 35. Mallari' and 'Natayuk have each no Ga and Ni; have each Dha for Sa for Graha, Amsa and Nyasa, has Ma and Ni for Gamaka-use ; and must be Graha, Amsa aud Nyasa ; and must be sung, after day break. While 'Poorva gowda' is Sampurna; has S.r for Graha and Nyasa ; and Ga for Amsa ; and sung in the noon. must be sung at noon. Lalitha and Jaithásri 28. 'Lalitha' is Sampurna or has at times no Pa, has Sa for Graha and Bhupali and Gowda Nyasa and Dha for Amsa and must be sung at daybreak. While ' Jaithasri 36. 'Bhupali' has no Ma and Ni; has Sa for Graha and Nyasa and Ga has only a little use of Ri and Dhq, has Sa for Graha and Nyâsa and Ga for for Amsa ; and must be sung at day break. While 'Gowda' has only a little Amsa and must be sung in the morning. use of Ni; has Dha for Graha, Amsa and Nyasa ; and must be sung in the afternoon. Thrâvani and Dêsi

28. 'Thravani ' is Sampurna, has Ri for Graha and Amsa and Sa for Sakarâbharana and Natanarayana Nyâsa and must be sung in the evening. While ' Desi' has only a little use 37. 'Sankarabarana' is Sampursua; has.Sa for Graha, Amsa and Nyâsa; of Ga, has Ri for Graha, Amsa and Nvâsa and may be sung always. and must be sung at day-break. Waile Natanarayana is Sampurna: has Sa for Graba and Nyasa and Ga for Amsa; and must be sung in the afternoon, Srirâga, Mâlâsri and Dhanyâsi Narayauagowda and Kedâra 30-31. 'Srirâga' has no Ga and Dha or is at times, Sampurna; has Ri for Graha and Amsa and Sa for Nyâsa and must be sung at dusk. While 'Mala- 38. 'Nârâyanagowda' has no Ri; has Ga for Graha, Amsa and Nyâsa ; sri' is Sampurna or has at times only a little use of Ri and Dha, has Sa for and must be sung at day.break. While 'Kedara' (the second) is Sampurna; Graha, Amsa and Nyâsa or at times Ni for Graha and Amsa and is sung has N for Graha, Ansa and Nyâsa; and must be sung in the night time. usually at the beginning of any function for prosperity's sake; but it may be sung always. While again ' Dhanyâsi' has only a little use of Ri and Dha, Sâlankanâta and Vėlâvali has Sa for Graha, Amsa and Nyâsa and must be sung in the morning time. 39. 'Salankanâta' is Sampurna; has St for Graha, Amsa, and Nyâsa: and must be sung in the evening. Waile 'Velâvali' is Sampurna or, at times, Bhairavi and Dhavala has no Ri and Pa: has Dha for Graha, Amsa and Nyâsa; and must be sung at 32. 'Bhairavi' is Sampurna; has Sa ior Graha, Amsa, and Nyâsa; is dawn.

characterised by the full use of Ri and Pa; and nay be sung always. While 'Dhavala' has no Ri and Dha ; has Sa for Graha, Amsa and Nyasa; is charac- Madhyamâdi and Savêri terised by the full use of Pa; and may be sung always. 40. 'Madhyamadi has no Ri and Dha ; Ma for Graha, Amsa and Nyâsa Saindhavi and Kalyâna and must be sung at dawn. While 'Sâveri' has no Sa and Pu; has Dha for Graha, Amsa and Nyâsa; and must be sung at dawn. 33. Saindhavi has no Ga and Ni ; has Sa for Graha, Amsa and Nyâsa: is amenable to Gamaka use; and may be sung alwrys. While 'Kalyana' is Sampurna ; has Sa for Graha and NNyasa and Ga for Amsa and mast be sung Saurâshtra and Såmantha 41. 'Saurashtra' is Sampurna; has Sa for Graha, Amsa and Nyåsa; and at dusk. must ba sung in the evening. While, Samantha' is Sampurna; has Sa for Kâmbhódi and Divakri Graha, Amsa and Nyâsa : and must be sung in the evening. 34. 'Kâmbôdhi' is Sampurna or, at times has no Mi; has Sa for Graha Karnáta and Attâna Amsa and Nyâsa; and must be sung in the evening. While 'Devakri' is Sam- 42. 'Karnata' has at times no Ri and Dha but is otherwise Sampurna: purna or, at times, has no Pa; has Sa for Graha, Amsa and Nyasa ; and must has Ni for Graha, Amsa and Nyasa": and muit be suag at midnight. Waile be sung in the afternoon, 'Attâna' is Sampurna; has Pa for Graha,Dha for Amsa and Sa for Nyasa, and must be sung in the night time.

Nagadhvani and Sudhabangala 43. 'Nagadhvani' is Sampurua; has Sa for Graha, Amsa and Nyasa and may be sung always. While 'Sudhabangala' is Sampurna, has Ma for Graba, Amsa and Nyâsa and must be sung at day break. VIVEKA V Varnanáta and Thurushkathódi (Iraq) 44. 'Varnanâta' is Sampurna; has Sa for Graha. Amsa and Nyâsa ; and must be sung at midnight. While 'Thurushkathôdi' (Iraq) is Sampurna, bas Ma for Graha Amsa and Nyâsa ; is amenable to the use of gamakas; and must RÂGA-FORMS be sung at midnight. Dêsâkshi and Sudhanâta 1. Having made a brief reference to the Ragas and their characteristics, 45. 'Dêsâkshi' has in ascent no Ma and Ni, has Ga for Graha, Amsa and according to the Melas to which they belong; I shall now enumerate them, at length, according to the time of their singing. Nyâsa and must be sung at daybreak. While 'Sudhanâta' is Sampurna, has Sa for Graha, Amsa and Nyâsa and must be sung at dusk. Râgas amenable to the Time-theory Sâranga 2-6. The following Râgas are amenable to the Time-theory and should 46. 'Saranga' is Sampurna, has Sa for Graha, Amsa and Nyasa and must each be sung in that particular period of time which is singled out of the eight periods beginning with Day-break, and prescribed :- Sankarâbharana, Velâvali, be sung in the afternoon. Thus, the Ragalakshanas have been briefly noticed Bhupâli, Sudhalalitha, Vasantha, Hindôla, Vibhâsalalitha, Jaithâsri, Dhanyâsi, from various standpoints. Bhairtvi, Powravi, Thôdi, Thurushkathôdi, Mallâri, Natamallâri, Gônda, Poorvagowda, Desikâra, Sudhavarâti, Bahuli, Sâranga, Natanârâyana, Deva- kriya, Saurâshtra, Chaithigowdi, Poorvi, Thrâvani, Kâmbhôdi, Sudhanāta, Ab- hiri, Kalyâna, Srirâga, Malavagowda, Gowda, Karnâta, Addana, Varnanata, Hammira, Kedâra, and Vivahangada.

The Timings of the Râgas 7-10. The Rågas beginning with Sankarabharana should be sung at daybreak; the Ragas beginning with Jaithasri, in the morning; the Ragas beginning with Thôdi, in the dawn; the Râgas beginning with Gonda, in the noon; the Ragas beginning with Bahuli, in the afternoon; the Ragas beginning with Saurashtra, in the evening; the Ragas beginning with Sudhanata, in the dusk; and the Ragas beginning with Karnata, in the night. And finally the following Râgas may be sung always: -Mâlavasri, Dhavala, Mukhâri, Rama- kriya, Pavaka, Saindhavi, Asâvari, Gândhâra, Màravi, and Paraj. The above- mentioned Râgas deserve to be sung successively in their respectively appointed times. Now, I shall describe the various Râga-Formns in the Arya-metre verses.

What ' Roopa' means 11. That is called Roopa which by being embellished with sweet flouri- shes of svaras, brings a Raga vividly before one's mind. It is of two kinds- Nadatma and Devamaya, of which, the fosmer has many phases and the latter. only one.

29 Nadâtma Roopa Mudra, Sparsa, and Naimnya. 12-13. The first kind, viz, Nadâtma Roopa, which is reputed to be well 20. 'Mudra' is the name given to that process by which a svara is relished by the people, is first described. Any collection of svaras of whatever sounded and the finger immediately passes to its preceding svara and covers it arrangement is, for that matter, a Roopa. Alapana, Moorchana, Sudha Thâna, so as to prevent any sound issuing out of it. 'Sparsa' is the same as Alankâra, Koota Thâna and their commingling-a few of these should be Âhathi; only after producing a svara the finger quickly touches its preceding known or recognised by their roopas. svara and sounds it. While ' Naimnya' is the process by which a very loud sound is produced by pressing the wire between the frets. The Names of the Various Methods of Vina Playing

14-16. Of the endless methods of Vina-Playing, I shall mention only Pluthi, Druthi, Paratha, and Uchatha twenty methods which are prominently prevalent in Dêsi and two registers. In all, I shall refer to 22 varieties, culled out by me. They are :- Prathihathi, 21. 'Pluthi' is the sound of eight svaras produced in quick succession Ahathi, Anuhathi and Ahathi; Peeda, Dôlana, Vikarsha and Gamaka ; Kampa, ' Druthi' is a generic name to the quick-playing of the Vina. 'Paratha' is the process by which Ri is produced by pressing the Sa-fret. But when by Gharshana, Mudra, Sparsa, Naimnya, Pluthi and Druthi; Paratha and Uchatha; two Nijathas ; Sama, Mridu and Katina. The characteristics of the same peocess, Ga is produced, it is called ' Uchatha'. these varieties are described, in order, in terms of the Vina. The two Nijathas, Mridu, and Katina. Prathihathi and Âhathi 22. The process of Paratha, if slowly carried on, is one kind of 'Nijatha'; while that ol Uchatha, if slowly carried on, is the other kind of 17. 'Prathihathi' is the name given to that majestically-sublime sound ' Nijatha'. 'Sama' is a generic name for the slow playing of the Vina. 'Mridu' which is produced on the Vina by a double beat, the first baing a-beat proper is the lower register, while ' Katina' is the higher register. on the string which results in the production of a syara (usually, Sa) and the second being a quick passing of the fingers along the wire to that kvara's octave and thus producing a Hu nkara sound. When after the productioa of a The Signs of the Methods of Vina.Playing. Svara with a beat, higher svaras in:luding the first svara's octave are produced 23-29. Prathihathi, Âhathi, Anuhathi and Ahathi have each the without any more beating, the resulting sound is called ' Âhathi '. following respective signs :- Two connected zeros below, one zero below, a Anuhathi, Ahathi, Peeda, and Dolana line jointed to a zero below, and a zero plus a point within, below. The sign of Peeda is a circle by the right side. The signs of Dôlana, Vikarshana, and 18. ' Anuhathi' is the same majestically-sublime sound as Prathihathi; Gamaka form one and the same S-Mark; but the first S is vertical and above ; but, while the latter is pro luced on the Vina by a double-beat, the former is the 2nd, horizontal and above ; and the third, vertical and by the right side. produced by a single-beat. But if the same sound is produced with no beat at The signs of Kampa, Gharshana, and Mudra form, alike. a llne; but the all (probably with a mend) the Anuhathi is called 'Ahathi.' Again, 'Peeda'is first line is vertical and above; the 2nd, horizontal and above; and the 3rd the name given to such a manipulation of the finger as produces the sound of a horizontal and below. The signs of Sparsa, Naimnya, and Pluthi double note, the first being louler than the second. While 'Dilana' is the form, alike, a crescent; but the 1st crescent is above; the 2nd, below; and sound produced by passing the fingers to and fro along the frets. the 3rd, by the right side. While the sign of Druthi is a chained liue below, the signs of Paratha, Uchatha, and the two kinds of Nijatha form, alike, the Vikarsha, Gamaka, Kampa and Gharshans S-Mark ; but the 1st is horizontal and below; the 2nd, horizontal and above and below ; the 3rd. horizontal and jointed to a zero below; and the fourth, 19. 'Vikarsha ' is Dolana minus Âgamana. Thaf is to say, it is produced horizontal and above and below, the second ' below' S being jointed to a zero. bv passing the finger only onward and not on ward and backward as in the case Again, the signs of Sama, Mridu, and Katina form, alike, an elongated zero but of Dôlana. When, after a beat, the finger is passed along the frets to and fro the Ist is vertical and by the right side ; the 2nd, vertical and above and a as in the case of Dolan, but slov ly and thrice or even four times; that kind 3 d horizontal ind above. One or two or even all of thess signs are made of Dôlana is called ' Gamaka.' Again, quick Gamaka is called 'Kampa'. That u:e of, in connection with oue and the same svara. When, in p. iying, two is to say, when after a beat the finger is passed along the frets to and fro, as in sounds are produced, there are corresponding two sigus to represent them, The the case of Dolana, twice or thrice but quickly ; that kind of Dolana is called sviras of the Madhya.Register have no. (egg-shape) siga above thu m, as in Kampa. While ' Garshana' is the sqund nroduced by a svara accompanied the case of the Mandra or Thara Register-svaras. The sign of Padmakara by the preceding and succeeding svaras. denotes-the beginuing or end of the Raga.Form.

A Reminder regarding Sudha.Vikritha Svaras. THE TECHNICAL EXPLANATION OF THE'METHODS 30. Although, for convenjence' sake, mere Sa, Ri, Ga, Ma, Pa, Dha, Ni OF THE VINA-PLAYING are written (in the following prastharas), the reader has, in every one of the Melas, (to remember) to find out which of those svaras is Sudha and which, (a) The Sound-based Roopas Vikritha. 37-166. N. B. These 129 verses are not, as they cannot be, translated.

Author's Prayer again But the 51 Râgas prastharafied therein by Somanath for the purpose of the Vina Playing may be classified thus :-- 31. On account of the Soothra-like style which was never attempted before by any of my predecessors aud in which the following Raga-Roopas (1) 37-50. Seven Râgas, Sung at Day-break.

are written by me for the purpose of the Vina-Playing; the fulness of beauty (2) 51-61. Four Ragas, Sung in the Morning. in the matter of permuting ard combining the svaras is doubtless wanting. () 61-71. Four Ragas, Sung at Dawn. The wise men must endure it. (<) 71-79. Four Ragas, Sung at Noon. (5) 79-90. Four Râgas, Sung in the Afternoon. The Work of the Right-Hand Fingers (6) 90-101. Six Râgas, Sung in the Evening. (7) 101-123. Six Râgas, Sunge at Dusk. 32-34. One should play on the Vina by striking the fourth upper-wire in regular succession with the tip as well as the front of the nail of the middle- (8) 123 -- 1'3. Six Râgas, Sung in the Night.

finger, coupled with the front and the back of the nail of the fore-finger. (9) 144-166. Ten Râgas, Sung at any time. To these, must be added the striking of the three Sruti-wires with the back 167-8. Thus the Râga-Forms have been delineated in the Middle Register. of the nail of the little finger. In other varieties of Prabandhas like Sthâya, The same kind of delineation applies to the other two Registers, Mandra and such as Alapana one may play as he pleases with his middle-and-fore Thora. And thus many kinds of Roopas, based on sound, of every one of the fingers upon the other three upper wires. 51 Ragas have been described.

If:four quick beats on an upper wire are given with the front of the nails " .(b) The Deity-based Roopas of the middle-and-fore fingers and, again if they are immediately followed by another four quick beats on the same wire given with the back of the 1.8. I shall describe the same Râgas, one by one, on the basis of their same nails; that kind of Vina-Playing is called 'Karthari'. This much. respective Deities. without further over-elaboration is given of the work of the right-hand fingers. 169. The deity of Sunkarabharana is of white color and begutiful; it is ever fond of dancing : and, again, it wears a garland of lotuses round his neck,

The Work of the Left-Hand Fingers vibhoothi (or ashes) on his forehead, and a blood-red garment all round his body.

34-36. I now (proceed to) describe the work of the left.hand fingers 170. The deity of Vêlavali is of blue color; she constantly moves here and

on the Vina. Along the upper wires the middle finger must pass in there in the grove of the palm trees, as if she were in search of a young mate :

ascent ; and the fore finger must accompany the middle fhger . and and her constant movement sets her garland in motion and causes her crest to

merely touch without sounding the svara previous to that sounded by the fall dowh into the hands in which she retains it.

middle finger. 171. The deity of Bhupali is of yellowish color; she wears a vibrating bracelet ; and she ever moves in the forest to and fro in the manner of a swing, But in descent the fore-finger must, as a rule, pass (and play a as if she were passionately craving for the embrace of her love. primary part) in order to exhibit or manifest the different methods of 172. The deity of (Sudha-) Lalitha is of white color; she wears a white Vina.Playing such as Prathihathi. Some are of opinion that even in garment and also different kinds of ornaments; and, at day-break, she waves ascent the fore-finger may actually sound the svaras (along with the middle-finger). In the case of Ragas like Sudhanata, the left-hand fore lights before Siva by way of worship.

middle-and.ring fingers must pass along the Mandra and Anumandra portions 173. The deity of Vasantha is of white color; he wears a ruddy garment of the wires; while along the Madhya and Thara portions thereof the and also palâsa flowers on his head: and he dwells at the root of the Mango-tree, left-hand fore-and-middle fingers must pass. Now followsthe technical the (scattered) seeds of which are (now and then) picked up by the cuckoo with explanation of the methods of the Vina. Playing. its beak.

-174. The deity of Hindola is of white color; he is very beautifol and on account of the ever-fresh fragrance with which the atmosphere around itis , wears a garland of three kinds of flowers, viz, Asoka, Champaka, and Kamala; saturated. he is fond of sitting in a swing and of being moved by young ladies, to and fro. 184. The deity of Gonda represents a bee like busy hunter of yellow color, who has placed a peacock's tail-feather in his grey hair, who wears 175. The deity of (Vibhâsa-) Lalitha represents 'a fair exterior and a foul a garland of Kataja-flowers, and who holds a bow (in his left hand) and an interior'. He is beautiful in body but insincere in mind. Having in his body arrow (in his right hand). all the marks of secret love-making with a strange lady; he, nt day-break, meets his own afflicted wife, pretends to be sincere to her and even addresses her 185. The deity of Poorvagowda represents a young lotus-eyed person of

a few words of endearment. superior merits, who is as agreeable as the moon, who wears a pair of ruddy cloths, and who worships Hara (Siva) with a garland of lotuses. 176. The deity of Jaithâsri represents a very clever and also sincere wife who passionately loves her own husband. Her characteristics are those of 186. The deity of Disikara represents a ruddy and lotus-eyed person of

Mathura ; and, again, she is well-versed in the sweet language of that city. majestically-slow gait, who wears a gemmed-crown on his head and a sword in his (right) hand, and whose cloth is of variegated color. 177. The deity of Dhanasri (Dhanyasi) represents a true wife who is of blue color like that of the Doorva grass, unable to bear the shafts of love for 187. The deity of (Sudha) Varâti represents a young lady of exceedingly

her absent husband, tries to draw his form or likeness in her own cloth, whose white color, who wears a blue garment (round her body) and Mandara and

tears-shed. while crying, cause her breasts to be bathed, whose neck has become other flowers (on her head) and who, in the midst of a forest, is pitifully in

paie and whose tresses of hair remain dishevelled. search for her husband.

178. The deity of Bharirava represents the beantiful form of the three eyed 188. The deity of Bahuli represents a dark-blne.colored lady of slender

God of white color, who wears Damaru and Thrisoola in his hands, a gafland frame, who shines with betels in her hands, who wearing a good bodice,

of snakes round his neck, vibhoothi (or ashes) all over his body, and the Moon sports herself in manifold ways, and whose tresses of hair and garment-borders

and the Ganges and also matted hair on his head and whose garment consists move to and fro, as she walks here and there most beautifully.

of the elepnant's (or tiger's) skin. 189. The deity of Sâranga represents a gaily-decorated person of dark-

179. The deity of Powravika represents a white-colored body of slender blue color, who wears a yellow garment; who has a bow (on his shoulder-blade)

frame who wears a blue garment, who has her breasts concealed by her long and a lot of arrows (in his quiver), who is endowed wtih the strength of Garuda,

braid of hair as well as by her peculiar bodice, and who-pleased with the and who has, in his hands, a lotus, a conch, a mace, and a wheel.

spring season-gets fond of sitting in a swing and of its being moved to and fro. 190. The deity of Natanârâyana represents a Kundala-wearing person

180. The deity of Thôdi represents a decorated woman of green color and of exceeding beauty, who is of a dark-blue color like the Indivara, who wears

of sweet speech, who wears ruddy garment, who-living in a forest-plfys a gemmed-crown, and who-with the to and-fro moving of his yellow garment

on a lute and caresses a deer, and who applies to her body the fragrant unguent -dances with great pleasure and enthusiasm.

of the Lavala-tree. 191. The deity of Dėvakri (Devakriti) represents a smiling lady of

181. The deity of Thurushkathôdi represents a true wjfe of a prefectly matchless beauty, the whole of whose resplendent body emits sweet fragrance,

white color, who has a big braid of hair and wears a long blue garment, and on account of its being covered with the just-blossoned flowers wherewith the

who, unable to bear the shafts of love for her absent husband, repeats his name, Divine Tree is full, and who has a seat of honor to rest herself upon.

while counting the beads held in her hands. 192. The deity of Saurâshtri represents an exceedingly white-colored lady whose graments are of variegated color, whose dark-blue-colored bodice covers 182. The deity of Mallâri represents a true warrior of such a blue color her breasts in full, whose teeth are red-colored, whose face is as charming as as shines from amidst the clouds, who wears a yellow garment and wio-wit the moon, and who-affected with the shafts of love-goes in search for a smiling face-is ever bent upon slaking the thirst of the Chathaka bi.ds. her lover.

183. The deity of Natamallari represents a while-colored person, who 193. The deity of Gowdi represents a white, lotus-eyed lady of long arms dances for joy and also causes his peacocks to dance, and who gracefully stands and cheerful look, whose garment is as white as the churned ocean and whose near the root of a Kadaula-tree along with a swarif of bees that hive there umbrella is marked with a serpente

. 194. The deity of Chaithi represents a ravishindly beautiful lady of white color, who wears a ruddy garment, who decorates her ears with mango.flower 204. The deity o Karnata represents a woman-hunter of blue-colored

stalks, who likes to roam about in forests, and who is reputed to have as sweet neck with a sword and an elephant-tusk in his hands, who is as braye as he is amorous, and who wears a pair of fish-shaped ear-rings. a voice as that of the cuckoo. 205. The deity of Atâna represents a love-smitten person of sky-color, 195. The deity of Poorvi represents a proudly tall and beautiful lady of who with a garland of Kutaja flowers enjoys very much the sexual inter- blue color like that of the Doorva grass, who has her hands and feet dyed course with red-lac, who wears many kinds of ornament, and who captivates her hus- band thereby. 206. The deity of Suvarnanâta (which is also called Châyânâta) represents a ruddy-eyed and garland-wearing person of white color, who is as much a 196. The deity of Thrâvani represents a yellow-colored lady of siender fighting soldier as he is a coaxing lover and who wears a snow-white cloth and frame and charming tresses who wears a good -! ooking garland and who, sitting a good pale-red turban. near a plantain tree, fascinates her husland with her swollen breasts.

197. The deity of Kâmbhôdi represents a dark blue colored lady of good 207. The deity of Hammira represents a young, beautifully white-colored, and brave appreciator of smiling face, who wears a red cloth, who is fond of tresses, who wears a good garland and who, agitated by the sound of the cuckoo and apparently afraid of any stranger's onslanght, calls to her mind her (absent) chewing betels, and who is an enthusiastic sportsman and has therefore a stick and a ball with him. husband and sheds tears (while solitarily sitting) in her house.

198. The deity of Nâta represents a ruddy-eyed but steady.minded 208. The deity of Kêdâra represents a sage keenly bent upon meditation, horsèman of oripment-like yellow color, who wears a garland (of pearls) and who wears on his head matted hair, the Ganges, and a digit of the moon and' who, with sword and shield in his hands, scares away all his enemies th the round his neck, a lot of serpents and whose body is besmeared with vibhoothi battlefield. (ashes).

199. The deity of Abhiri represents a beautiful and sweat-voiced lady" 209. The deity of Vihangada represents a fragrant-bodied person of moon- of a dark blue complexion and of good tresses, who wears a blue garment over like white color, who carries a parrot with him, who fascinates the mind of the her body and a garland of corals round her neck and whose ears are adorned with love-smitten ladies, and who wears a good cloth over his body and an arrow good ear-rings. and a bow in his hands.

200. The deity of Kalyâna represents a king resting ou his seat of honor .

who wears a white garment over his body and a gemmed garland round his 210. The deity of Malâsri represents a deer-eyed and garland-wearing lady

neck and who chews betels in the midst of the paraphernaliâ of an umbrella of slender frame, who, with a lotus in her hands, sings beautifully from near the

and crystal like chowrie. rgot of a mango tree and who smiles on meeting her own husband.

201 .* The deity of Srirâga represents an elephant-rider who sits under a 211. The deity of Dhavalâ represents an auspicous lady of white color, go!den umbrella with his garment moving to and fro and who, with a lotns- excellenPteeth, and beautiful frame of body, who wears an unguent-applied- garland round his head, experiences all kinds of enjoyment. yellow cloth and a girdle over it and who holds in her hands, a lamp wherewith to wave the lights before an idol, by way of worship. 202. The deity of Malavagowda represents a king who is as blue-colored as a parrot, who wears a garland round his neck and bracelets in his hands 212. The deity of Mukhari represents a very learned lady of dark-blue who is the expert head of a School of Muic which iacludes Dancing, svhose colar with Vina in her hands, who, overpowered by love, is unable to bear up face is often kissed by his wife and whose intoicated love (swings his body to against her husband's separation and whose breasts are covered with many a and fro and) causes his crown to (likewise) move to and fro. gemmed ornament.

203. The deity of (Sudha) Gowda represents a beautiful person with a 2L3. The deity of Rumakri (Ramakriti) represents a very charming lady garland round his neck and betels in his hands, who has a deer's ichor as his of gold-color and of shining toeth, who wears a blue cloth and brilliant forehead-mark, who wears a white cloth somewhar soaked in saffron.water, and .. about whose body there is sweet fragrance. ornaments and who, on approaching her husband, speaks to him in a whispering voice. ..

ERRORS CORRECTED 0 214. The deity. of Pavaka represents the beautiful, dark-blue-colored Gôpala, playing on the Vina, during his never-ending sports of pleasure, who is fond of applying various sorts of the unguent to his tody. 215. The deity of Saindhavi represents a tall, white-colored lady of slender frame but of fierce appearance, who has a pair of big buttocks, who INTRODUCTION walks like an elephant, whe wears a red cloth ovet her body and Thrisoola in her hands and who is willing to fight. 216. The deity of Asdvari represents a merciful housewife of blue color who covers her body with the peacock's tail-feather, who wears on her head Page. 1. Insert ' Raga Forms' for ' Musical Compositions'. the ever-moving plantain leaves, who is of majestic appearance, like the Malaya mountain, and who beautifully plays on the flute. 31. Insert IV for III.

217. The deity of Divagandhâra represents an impassioned person of , 56. In Fig. 23, delete Ri in the 6th column of the 4th Mela white color, who, with a white lotus in his hands, wears a white cloth, who shines with many kinds of ornament, who has a seat of honor to rest upon, and and insert it in the same column of the 3rd Mêla. who is worshipped by the Dêvas.

218. The deity of Mâravi represents a tall, moon faced woman of gold color, long tresses, rolling eyes and matchless beauty, who wears a ruddy cloth and who, in battlefied, drives all the kings away. TEXT 219. The deity of Paraj represents a tall, white-colored, and garland- wearing person of slender frame, who wears an arrow and a bow and who is humble in spite of his being praised by the choral music of the girls in accom- paniment with the thalas. N. B. Each of the following figures indicates tke number

The Author's View of his Work of the verse of a Viveka.

220. As regards the Deity-based Râgh-Forms, they do differ in different countries according to their respectively different usages in connection with the manners language, and so forth. This, however, is immaterial to our purpose. VIVEKA I

Nâda. vs. Dêva १. स्थानविशेषख्यातं ३. संख्यावन्नाथमेङ्गनाथजनेः। ५. जयति

221. While the Deity-based Raga Forms are or y a few, the Sound- विघुलाख्यास्पृक्। ८. क्रमाज्ज्ञेयम्॥ १३. तिरोजनाडीषु १६. तथाऽबुधयः । based Râga Forms are, like the virtues of Brahma, endless and cannot therefore २०. द्वन्तर्नेष्टोअयरवः २०. रिषभस्तृतीयसायो २१. पोडश्यष्टादशीस्थितौ. be counted. २९. ताः षट. ३०. शुचेर्गात्साधारणतश्च ३१. किं तूक्तरिधगमाना ३२. 222-223. To the objection, ingenious though, that this book is a flimesy यथायोग्यम् ३४. कललिनाथोऽपि॥ ४०. तदिह स प्रथमः॥४. तत्तत्कमैर्युक्कता॥ production and is therefore fit, if at all, to be read only by dull wits, my answer is that, if looked at by the knowing people from the right point of view, ४९. ततः शेषा: ५१. यथार्हगुणितैस्तदनु गुणकगुणकतुल्यसेख्याकाः। ५१.

the objection will fall flat to the ground. Of the creeper of my Work, the मूलकरमद्वितीयद्वितीयतोऽन्त्यादयो ५४. लोप्योडङ्क ५६. आरोहणात्तथाऽडरोही। manifold writings of my predecessors form the root; the young reader's ५७. सविशेषवर्णगुम्भोऽलंकारोऽत्र. ६१. पञ्चारोहिगतास्ते ६३. इति स स becoming proficient therein forms the leaves ; the satisfaction derived therefrom by the right minded people forms the flowers: and the final dedication of my बिन्दुर्यदारोहे॥ ६४. यत्रैकोत्तरवृद्धयावृत्तिः ६५. त्रिस्वरकाऽडद्या कला Book to Siva (Uma's Lord) forms the fruits. तथाऽन्ये द्वे। ८. द्विर तरकाऽडय्या. ६८. कला तथैव ६८. आदिमकलाS-

Colophon द्यान्त्या॥ ६९. द्विः प्रथमतृतीयकमध्यमा परास्तद्वदुज्झितैकैकाः । ६९.

224. Sôma (-nâth), son of Mudgala (-soori), fnished this (work, viz, त्रिस्वरकाSSद्यकलाऽन्याः परपरग्रद्णात्॥ ७१. निःकूजिते. ७३. पञमत्थ- Râgavibôdha) in Saka 1531, Saumya Year, Asvini (Purattâsi)*Month, Sukla तुरस्ततोऽचरदिद्ेत्। ७६. द्वित्रिचतुःस्वरककलाः. ७८. यस्मिन्गायेत्स Paksha, Hastha Nakshathra, Agni Tifithi, and Somavara, तारमन्द्प्रसन्नाख्यः।

१. मयाऽभिघास्यन्दे। ४. धर्मस्तयाऽश्वमेधे। ५. तस्माद्गायन्त इति श्रुतेस्तया। ८ रन्ध्रं तिर्यक् चलच्छङ्को॥- ९. त्वचलशङ्कोः। ११. व्दीर्घविपु- लमसृणशिराः। ११. वीणादण्डान्तर्गतदण्डोऽधःपक्ष उत्कीलः॥ १२ उच्चोञ्चा- न्यत्रिपद: सचतुरयः पत्रमूर्धाशः॥ १४. दोरका दृढास्त्रिगुणाः। १५. उक्ताऽत्र शुद्धमेलाSथ मध्यमेलेति सा द्िधा साऽपि १७. साऽन्या. १८. वामाऽऽद्या। २६. तृतीयकां. ३९. साधारणादि. ४५- तृतीयका. ५०. श्रुती चास्याम्।। ५२. अतिप्रसिद्धा न ते ततो नोक्ताः।

VIVEKA III.

४. गस्य मताश्चत्वारो द्वौ तीव्रतममसुखौ मतौ मस्य। ९. वर्वेऽशाङ्कान्।

दिकाश्चान्ये।। २०. न भवेत्। ३१. मुखारीमेल etc. ३७. कैशिकिनिः। ४२. विशुद्धगौडा-

VIVEKA IV.

११. संपूर्णो १८. सदाऽगनिर्देवपूर्वगान्धारः। २६. कम्प्रः। २७. रम्प्रमनिर्देशकृत्पूर्णः॥ ४३. गेयः। ४४. तुरुष्कतोडी ४६. दष्टवा ४७. मेलग्रहादिपूर्णत्वाद्ैक्ये ऽप्येु ।

VIVEKA V. ५. श्रीरागो. ८. प्रभृति तु सायाहके च सौराष्ट्रयाः। १४. देश्याम्। Page. 32 Line 3. इत्यनुहृत्यहतिपीडादोलनानि।

TRANSLATION

Page. 1. Insert ' generally' for 'ally' in the last line.