Bharata Muni
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Application of Jāti in Moods
1/ [Now] I will speak about the application of Jāti in [various scenic] Moods (rasa). Ṣaḍjodīcyavatī (ṣaḍjodīcyavatī) and Ṣaḍjamadhya (ṣaḍjamadhyā) —
2/ — should be applied in the Erotic (śṛṅgāra) and Comic (hāsya) Moods, since in them those very notes are intensified (bahutva), [which suit these Moods].
3/ Gāndhārī (gāndhārī) and Rakta-Gāndhārī (raktagāndhārī) should be applied in the Heroic (vīra), Marvelous (adbhuta), and Furious (raudra) Moods.
4/ Shādji (ṣāḍjī) should be applied in Mixed Moods. Nandayanti (nandayantī) — in the Comic and Erotic. Madhyama (madhyama) — also in the Erotic.
5/ Kaiśikī (kaiśikī), Āndhrī (āndhrī) and Gāndhārodyāvā (gāndhārodīcyavā) — in the Tragic (karuṇa) Sentiment. Ārṣabhī (ārṣabhī) — in the Heroic and the Furious.
6/ Naiśadhi (naiṣādī) — in the Odious (bībhatsa) and Terrible (bhayānaka) Moods. Dhāivati (dhaivatī) and Karmāravī (karmāravī) — in the Heroic.
7/ Madhyamodicīyava (madhyamodīcyavā) and Gāndhāra-pañcamī (gāndhārapañcamī) — in the Delightful and the Heroic. Pañcamī (pañcamī) — in the Furious.
8/ Shājakaikeśikī (ṣaḍjakaiśikī) is used in the Śānta-rasa (śānta), [the Mood of peace and tranquility]. Such is the distribution of Jāti according to the Moods.
Notes in connection with their objects
9/ Ṣaḍja corresponds to the peacock; Ṛṣabha — to the bull; Gāndhāra — to the goat; Madhyama — to the crane (krauñca).
10/ Pañcama — to the cuckoo (kokila); Dhaivata — to the frog; Niṣāda — to the elephant. Such is the order [of correspondence of the notes] to their [natural] sources.
11/ Ṣaḍja and Pañcama relate to the rainy season; Ṛṣabha — to autumn; Gāndhāra and Niṣāda — to winter.
12/ Madhyama — to spring; Dhaivata — to summer. Such are the notes according to their nature and seasons.
Four Varṇas (types of sound production)
13/ Descending (avarohiṇī), ascending (ārohinī), monotone (sthitā) and mixed (sañcārī) — these are the four Varnas (varṇa), [used] in the employment of notes.
14/ A melody moving from high notes to low is called descending; moving from low to high — ascending.
15/ That which uses the same note [repeatedly] is called monotonous; that which combines [all the previous types] is called mixed.
16/ The ascending [Varṇa] is used in [scenes] of joy and grief; the descending — in [scenes] of fear, sorrow, and shock.
17/ The monotonous [Varṇa] is applied [in scenes] of indifference, sorrow, illness, and [extreme] fatigue; the mixed one — in [other] diverse situations.
Thirty-three Alaṃkāras (ornaments)
18/ Now I will set forth the [thirty-three] Alaṃkāra (alaṃkāra) — ornaments [of melody]. A song without Alaṃkāra is like a night without the moon.
19/ Ornaments associated with the descending Varṇa: Prasannādi (prasannādi), Prasannānta (prasannānta), Prasannādyanta (prasannādyanta), Prasannamadhya (prasannamadhya), and Sama (sama).
20/ Ornaments of the ascending Varṇa: Bindu (bindu), Venu (veṇu), Nivṛta-pravṛtta (nivṛtta-pravṛtta), Kampita (kampita), Kuhara (kuhara), and Recita (recita).
21/ Ornaments of the monotone Varṇa: Preṅkholita (preṅkholitaka), Mandrataraprasanna (mandratāraprasanna), and Tāramandraprasanna (tāramandraprasanna).
22/ Ornaments of the mixed Varṇa: Prasvāra (prasvāra), Prasāda (prasāda), Udvāhita (udvāhita), Avalokita (avalokita), [Krama (krama),] Niṣkujita (niṣkujita), Udgīta (udgīta).
23/ [Further in the mixed]: Hradamana (hrādamāna), Rañjita, Āvarta (āvarta), Parivartaka (parivartaka), Udghaṭṭita (udghaṭṭita), Akṣipta (ākṣipta), Sampradāna (sampradāna).
24/ [And finally]: Hasita (hasita), Humkāra (huṃkāra), Sandhi-pracchādana (sandhipracchādana), Vidhuna (vidhūna), and Gatravarna (gātravarṇa). [These are the thirty-three Alaṃkāras].
25/ The wise one should apply them where they are appropriate, in accordance with the [rules of] Jāti and Varṇa, as well as with the Mood and character of the [depicted] situation.
Vīṇās and other stringed instruments
26/ [Now] I will describe the features of [playing] the Vīṇā. It should be known that the Citrā (citrā vīṇā) [Vīṇā] has seven strings; and the Vipañcī (vipañcī vīṇā) — nine.
27/ [Vīṇā] Citra is played with a plectrum [for producing the notes of Varṇas and Alaṃkāras]; and Vipañcī — with the fingers. Such are [the differences between them].
28/ The note [of the instrument] must be equal in pitch to the singer’s voice: thus harmony is achieved. The pitch of the singer’s voice serves as the measure for tuning the instrument.
Four Dhātu (Foundations of Acting)
29/ The four Dhātu (dhātu), [that is, the basic ways of producing sound on a stringed instrument]: Vistāra (vistāra), Karaṇa (karaṇa), Abhiddha (ābiddha), and Vyañjana (vyañjana).
Vistara
30/ Vistāra (vistāra, “expansion”) is of four kinds according to its origin: Saṃghātaja (saṃghātaja), Samavāyaja (samavāyaja), Vistāraja (vistāraja), and Anubandhaja (anubandhaja).
31/ Saṃghātaja has four varieties. Samavāyaja has eight. [Each] variety is determined by the nature of the strokes on the strings.
Karaṇa
32/ In vīṇā playing, the karaṇa (karaṇa, “production”) is of five kinds: Ribhita (ribhita), Uccāya (uccaya), Nirātita (nīraṭita), Hrada (hrāda), and Anubandha (anubandha).
33/ [In them] three, five, seven, or nine light strikes are used respectively, [and each type] possesses its own distinct character.
Abhidhā
34/ Ābiddha (ābiddha, “breaking”) is of five kinds: Kṣepa (kṣepa), Pluta (pluta), Atipāta (atipāta), Atikīrṇa (atikīrṇa), and Anubandha (anubandha).
35/ [These five kinds] should be applied in playing the Vīṇā at the appropriate places in accordance with the nature of the [performed] melody.
Vyañjana
36/ Vyañjana (“designation”) is of ten kinds: Kāla (kala), Tāla (tala), Niṣkoṭita (niṣkoṭita), Unmṛṣṭa (unmṛṣṭa), Repha (repha).
37/ [Further]: Avamṛṣṭa (avamṛṣṭa), Puṣpa (puṣpa), Anusvānita (anusvanita), Bindu (bindu), and Anubandha (anubandha). [These are the ten kinds of Vyañjana].
38/ [These ten] should be applied in [their] proper places according to the Mood, situation, and character of the melody.
Three styles (vṛtti) in instrumental music
39/ Three [procedural] styles (vṛtti) in instrumental music: Citrā (citra), Vṛtti (vṛtti) and Dakṣiṇā (dakṣiṇa). [Let us describe their characteristics].
40/ [Style] Citra is distinguished by a fast tempo (druta-laya) and varied strokes; [style] Vṛtti — by a medium tempo (madhya-laya) and uniform [beats].
41/ [Style] Dakṣiṇa is distinguished by a slow tempo (vilambita-laya) and is full of dignity. [Each style] is used in the [corresponding] situation.
Vīṇā Citrā and Vipañcī
42/ [Vīṇā] Citrā (citrā) is used in the [style] Citrā; [Vīṇā] Vipañcī (vipañcī) — in the [style] Vṛtti. In the [style] Dakṣiṇā, either one or the other is used.
43/ In the nivṛtta (“returning”) style, special ornamentations are applied, specific to each of the two [kinds of Vīṇā]. An experienced [performer] should know the differences between them.
Bahir-gītā (external chants)
44/ External chants (bahir-gīta) are of eight kinds: Aśravaṇa (āśrāvaṇā), Ārambha (ārambha), Vaktrapāṇi (vaktrapāṇi), Saṁghoṭana (saṃghoṭanā).
45/ [Further]: Parighattana (parighaṭṭanā), Margasarita (mārgāsārita), Lilakrita (līlākṛta), and three types of Asarita (āsārita). [These are the eight kinds].
46/ [Āśrāvaṇā is] a call for attention at the beginning [of the performance]; it consists of a [specific] number of syllables and is performed in a special Tāla rhythm.
47/ [Ārambha is] the initial [performance] that opens the presentation; [in it] suitable syllables and movements are used (karaṇa).
48/ Vaktrapāṇi is performed [at the moment when the actor] enters or leaves the stage; Saṃghoṭana — upon the meeting of two characters.
49/ Parighaṭṭana — [sound accompaniment] when surrounding [a character]; Mārgasarita — during a procession [of a march]. Līlākṛta — [playful] improvisational performance.
50/ The three types of Āsarita are performed in various [stage] situations in accordance with the [nature of the] Mood and events.
51/ All these [types of Bahir-gīta] should be performed at the appointed time [in the performance] with proper syllables, in [correct] Tāla and [appropriate] movements.
52/ The expert should apply them in accordance with the Mood, the stage situation, and the nature of the [depicted] events, without violating tradition.
53/ Thus has been expounded [everything] concerning the playing of stringed instruments — [the Vīṇā] Citrā and Vipañcī. [Now] I shall speak of [the rules for using] membranophone instruments (avanaddha).