Indian Antiquary Vol 41

Author(s): Richard Carnac Temple, Devadatta Ramkrishna Bhandarkar
Publisher: Swati Publications

Page 168

164
THE INDIAN ANTIQUARY
[JULY, 1912.
is based on the idea that it is the fundamental or keynote of the scale, which is incorrect; for, as will be shown hereafter, though shadja is the name of the keynote of the present Hindu scale, such was not the case in former times. The other explanation, viz., the note derived from the (other) six' has the advantage of being in better agreement with grammar, and it is not impossible (though I do not consider it probable) that it might have been the last addition to the scale. The term gandhara was evidently taken from the country of that name, noted for its musicians. The derivation of nishada is stated to be from ni+sal, the note being thus named because "the notes sit down' i.e., end in this one." This may be right, but I think it at least quite as likely that it was so called, because in the old Hindu vind (see below) the string on which it was played was the lowest, or as it were 'sat down.' The term nishadavan is also sometimes applied to this note instead of "nishada."
On the svaras' and 'srutis.'
In the Bh. there is no confusion or want of clearness about these. But some of the later Sanskrit authors have introduced difficulties unnecessarily, which the reader will find discussed in Kallinâtha's commentary (S. R. pp. 34-36). Thus Viśvâvasa says that śrutis are of two kinds, viz., (1) those on which the notes are located, and (2) those which intervene between two notes; for example, in the shadjagrama the fourth, seventh, ninth, etc., śrutis will be said to belong to the first class, and the first, second, third, fifth, sixth, eighth, etc., to the second. Some mention sixty-six śrutis, i, e., twenty-two for each of the three octaves, and have even gone to the extent of giving names co every one of these, others contenting themselves with naming only the twenty-two. In the Bh, the śrutis have not been designated by proper names at all. Some maintain that the number of srutis is infinite, which statement, if it refers to the interval of an octave and is not merely an extension of the last view of sixty-six śrutis to the infinite number of octaves that are conceiv able, simply means that the interval of an octave is divisible into an infinity of minute parts. Though this is true, it does not follow that one is not at liberty to divide it, if it suits one's purpose, into a desired number of parts. A straight line may be divisible into an infinite number of extremely minute parts, but it may be suitable for our purpose to divide it only into two or four. Kallinatha's objection to the view of infinite śrutis is that the ear is incapable of appreciating such infinitesimal árutis. Though this argument is quite valid, it does not strike at the root of the question. It may still be asked:-Why just twenty-two śrutis, and hot twenty-four or twelve, each of which is quite as appreciable by the ear as one of the system of twenty-two ? The only complete reply would be: Simply because the system of twenty-two suits best the purpose in hand, which is to indicate the relations of the various notes in the gráma.
One more view requires notice. Kallinathal says "Other sages, like Vena, consider a śruti to be of nine sorts". Thus, for instance, At the holes of a flute wise men should produce notes of two, of three, and of four śrutis.' Bharata also has said15 The notes in a flute should be known as of two, three, and four śrutis, (produced) by shaking (of the finger), by half opening (a hole), and by fully opening (it).16 Thus have I mentioned nine correct śrutis.' I need hardly remark that it is arrant nonsense to speak of śrutis being of nine kinds, because there are notes of two, three, and four érutis, and two, three and four together make nine! Further it must be added to the credit of the Bh. that the lines, which say so, though alleged to be from that work, are not found in any of the manuscripts I have consulted.
(To be continued.)
14 S. B., Vol. I, p. 40, 11 3-4 (Kallinatha's Comm.)
14 9. B., p. 35. भरतेनाप्युक्तम् - द्विकत्रिकचतुष्कास्तु ज्ञेया वंशगताः स्वराः । कम्पमानार्थमुक्ताश्च व्यक्तमुक्ताङ्गुःलिस्वराः ॥ इति तावन्मया प्रोक्ताः समीच्यः श्रुतयो नव । इति ॥ व्यक्तमुक्तास्तथैव च is a better reading.
The 11. feto., do not occur in any of the M3S. of the Bh. I have consulted.
18 In later verses in the Bh. it is explained that the notes obtained by these processes are of three, two and four frutis, respectively.