Kohala in the Sanskrit textual tradition (Study)
by Padma Sugavanam | 2011 | 95,782 words
This page relates ‘Kohala and Gita (7): The concept of Jati� of the thesis dealing with Kohala’s contribution to the Sanskrit textual tradition of ancient Indian performing arts. The study focuses specifically on music (Gita), dance (Nritya), and drama (Natya). Although Kohala’s original works have not been found, numerous references to him across Lakshana-Granthas (treatises) and works by modern scholars indicate his significance.
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Kohala and Gītā (7): The concept of پ
युक्त्यन्तरं त्विदं लक्ष्यते � किमनेन तन्त्रान्तरशीले� � कश्यपादिभिस्तावान् यो (वद्य�) विनियो� उक्त� सोऽप्यत्� � अयमप� मुनिविनियुक्तोऽस्त� � परमतमप्रतिषिद्धमभिमतमिति स्थित्� हि न्यायात् � वैकल्पिकत्वे को विरोधः? प्रत्युत कोहलस्तद्वदिष्यतीति (�. ना. ३७.१८) सर्वमनुज्ञातमे� मुनिना � एतत्प्रसिद्धये तत्र तत्रोक्त� रक्त्यतिशययोगाच्� � लोके कोहलकश्यपादिमतमे� प्रसिद्धिमुपगतमित्यलम् बहुन� �
yuktyantara� tvida� lakṣyate | kimanena tantrāntaraśīlena | kaśyapādibhistāvān yo (vadyo) viniyoga ܰٲ� so'pyatra | ayamapi muniviniyukto'stu | paramatamapratiṣiddhamabhimatamiti sthitya hi nyāyāt | vaikalpikatve ko ǻ�? pratyuta dzٲ屹徱ṣyīپ (bha. . 37.18) sarvamanujñātameva muni | etatprasiddhaye tatra tatrokta� raktyatiśayayogācca | loke kohalakaśyapādimatameva prasiddhimupagatamityalam bahu |
�(Բī, Commentary on 29.8, GOS Vol. IV, p.70)
The above extract is a commentary on the following verse of Bharata:
एकैव षड्जमध्य� ज्ञेया सर्वरससंश्रय� जाति� �
तस्यास्त्वंशाः सर्व� स्वरास्त� विहिता� प्रयोगविधौ � २९.� �ekaiva ṣaḍj jñeyā sarvarasasaṃśrayā پ� |
tasyāstvaṃśāḥ sarve svarāstu vihitā� prayogavidhau || 29.8 ||[1](Trans: Only the Ṣaḍj is the پ which can accommodate all the Sentiments all the notes [of the Ұ峾 ] maybe it’s ṃśa and these have been dealt with in the rules of [dramatic] production)[2].
Abhinava starts a discussion with regard to the employment of particular پ / 峾 岵 / ṣās in order to reinforce a particular rasa. He explains Bharata’s statement that ṣaḍjⲹ is the only پ that can be used in all the rasas as all its svaras can function as ṃśa. Ṭīkākāra raises an objection saying that this would go against the rules prescribed by Ѳٲṅg and śⲹ貹. He then mentions the views of ‘others� (anye) who have said that the same svara will assume different characteristics depending on whether it is functioning as an ṃśa svara or not. Finally, as his Գٲ, he explains the view held by his master who says that in practice, there will not be much of a distinction and that there will not be much of an addition to the varieties of melody. He then brings out Bharata’s philosophy that all the forms assumed by a پ brought about by the use of its various ṃśa svaras will together make up the entire framework of melody in ṭya. According to him, the 峾 岵, ṣās etc. fall well within the range of پ and it is not necessary that a particular پ should be sung with particular ṃśa in order to bring out a particular rasa. The 峾 岵 and ṣās belonging to that پ can also be used to this end.
Abhinava continues the discussion mentioning contradictory views of other authors on this subject. At the end he concludes saying that there is no harm in accepting the prescriptions given in another tradition because what other authorities like śⲹ貹 have said would also fall within the framework of ṭya and consequently that of Bharata’s.
He also mentions the Բⲹ�
परमतम्-अप्रतिषिद्धम�-अभिमतम�
貹ٲ-پṣi-ٲ
(A contradictory view which has not been refuted is deemed accepted).
He mentions Bharata’s own example at this juncture saying that he (Bharata) has himself accepted the views of Kohala when he says�
शेषमुत्तरतन्त्रे� कोहलस्तु करिष्यति.
śeṣamuttaratantreṇa kohalastu kariṣyati. [3]
He adds that the views of śⲹ貹 and others (Kohala) have been cited time and again in order for his own views to gain wider acceptance since the views of these authorities were extremely popular.
At the end of this discussion Abhinava makes a general observation that it is not wrong to admit the methods/ techniques/ rules adopted by other schools as long as it falls within the gamut of ṭya. It is here that he brings in Kohala. An interesting point here is that while explaining the acceptance of �paramatam�, Abhinava mentions Bharata’s statement that Kohala would complete whatever he (Bharata) has left out. This statement would therefore signify that according to Abhinava, Kohala belonged to a different school of thought (paramata) from Bharata’s tradition. Further, the inclusion of the names of Kohala and śⲹ貹 by Abhinava to gain acceptance for his own views is only evidence of the kind of popularity and esteem enjoyed by Kohala and his doctrines in Abhinava’s time. Abhinava unfortunately does not mention Kohala’s stand on پ or 岵 and his doctrines for the prescription of a 岵 for a rasa. He calls on Kohala only to use his authority to consent to the acceptance of views of authors belonging to other schools also.
Footnotes and references:
[2]:
ṭyśٰ of Bharatamuni: 2006: Vol.III p.1011
[3]:
ṭyśٰ of Bharatamuni: 2006: V. 37.18: GOS. Vol. IV: p.517