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AUGUST, 1912.]
ANCIENT HINDU MUSIC
193
or diminution of the panchama by & śruti."46 Matsuga, a much later author, also says the 3ame:"What indeed is the magnitude of a śruti? I tell you. The pañchama, now, as belonging to both gränas is known to all. The interval due to the sharpening or flattening by its augmentation or diminution is the magnitude of a sruti."7 Bharata, moreover, proceeds to an exposition of the śrutis by means of an illustration, in which he asks the reader to get two exactly similar vinds, tuned to the shadja-grama, and having the same succession of seven notes (TEST); then
Making one of the two vinds madhyamagrámiki (i.e., converting its tuning to that of the madhyamagráma) lower the paichama by a fruti. Under the influence of the lowered) panchama (i, e., keeping it unchanged) make the very same (vind) shadjagrámiki (tuned to the shadja-gráma).49 Thus is one arriti diminished. Once more do the lowering just in the same way; 80 will the gandhára and the nishada enter (i.c., come to be in unison with the rishabha and the dhaivata (respectively) in the other (vind), owing to their being two brutis higher than these). By lowering again just in the same way, the dhaivata and the rishabha enter i.e., come to be in unison with the panchama and the shadja (respectively), owing to their being three árutis bigher than these). It (the vind ) being again lowered in the same way, the panchama, the madhyama and the shadja will enter (i.., come to be in unison with) the madhyama, the gándhdra and the nishdda (respectively) in the other (vind), owing to their being four srutis higher than these). Thus by this illustration (or proof) should be understood the twenty-two brutis in the two gramas." From all this it ought to be perfectly
6 मध्यममामे तु श्रुत्यपकृष्टः पञ्चमः कार्यः । पञ्चमभूस्खुस्कोरपकर्षावा यान्तरं मार्दवादायतस्वादा तत्पमाणा a: A. IAITH in Aattoning' and air is 'sharpening,' the arrangement of these words in this quotation as well as in the next (Bee footnote below) ought to be reversed. The former word oocars again in the Bh. (p. 806, 1. 14), and in a quotation from Matanga's work in Bimbabhupala's comm, on the 9. R. (Caloutta edn. p. 68), where it clearly means 'fattening,' and the modern sage is also the same. But in the Bh. p. 320, floka 39, we have our ori[]
a [ ]1 The name floka with a slight var istion cours in the Naradesikoha, and the corrections in the rectangular brackets are according to that authority. The verse, we courring in the Bh., is out of place and is not found in A. and G.; but according to it, HTTTH and
would mean 'sharpening' and 'fattening respootively, i..., just the opposite of what is given above as the meaning. But I have nowhere else found the term AT&T used to signify 'sharpening.' " श्रुतेः प्रमाणमुक्त मतनेन । ननु श्रुतेः किं मानम् । उच्यते । पञ्चमस्ताव प्रामदयस्थो लोके प्रसिद्धः। तस्यास्कर्षे
az ere arra armarga (Sithabhapala's comm. on the 8. R., p. 43, Calautta).
* This could be easily done by making the pasichana consonant with the rishabla (..., just fourth), which it is not in the shadja granna (see below for consonanco).
9 Of course, by lowering the pitob of the other strings.
To start with, both vende A and B were tuned to the shadja-gråma. The taning of one of them B was changed to that of the madhyamagrama by simply lowering its parichama by the necessary amount (viz., to make it the exact fourth of the rishabha). This amount of flattoning is to bo oalled a bruti. Keep this pitch of the pasichana constant and convert the tuning of B to that of the shadjagrama, which of course, will have to be done by lowering the other notes by the na08883 ry quantition. It is evident that the whole fra B is now tuned fruti lower than A. Report the operations once more, i..., convert the tuning of B to that of the madhyamagrana by lowering the pañchama, and then keeping this parichama constant once more convert the taning back into that of the shadja-grama. It will be again necessary to lower the other notes by proper amounts, and the whole vind B will now bo tuned to frutis lower than A. But at this stage it will be discovered that the notes produced by the gandhara and nishada strings of B will be in unison respectively with those produced by the rishabha and dhaivata strings of A. Thus it is proved that the gandhara and the nlahdda possas each of them two frutis. Simila reasoning will prove that the rishubha and dhaiyata possess each
