History of Dharmashastra (Ancient and Mediaeval Religious and Civil Law in India) v3.c51.116.3

v3.c51.116.3

by Benfey) is raised to fifteen verses in three *paryāyas* (turns) of five verses each. If the three verses are denoted by a, b, c then the 15 verses will be a a a b c (first paryāya), a b b b c (2nd paryāya) and a b c c c (third paryāya). Vide Tāṇḍya Br. II. 4. The 2nd viṣṭuti of the pañcadaśastoma is represented by a a a b c, a b c, a b b b c c c and the third viṣṭuti by a b c, a b b b c and a a a b c c c (vide Tāṇḍya Br. II. 5-6). The word stoma is to be distinguished from *stotra*. The latter is a chant of a certain number of verses set to a certain melody out of those mentioned in the gānas of the Sāmaveda. Stobhas are musical interjections and flourishes introduced in the sāman chants such as 'hāu', 'hāi', 'I', 'ū', 'hum' (vide Chān. Up. I. 13). Hāu and hāi are stobhas employed in the Rathantara and Vāmadevya sāmans respectively. Jai. IX. 2. 39 defines stobha as that which is in addition to the letters of the ṛk (that is being chanted) and has other varṇas than those of the ṛk (adhikaṃ ca vivarṇaṃ ca Jaiminiḥ stobha-śabdatvāt). The word sāman means, no doubt, a chant (gīti), but since stobhas are necessary to bring out the melody and help in musical appreciation they are included in the connotation of the word sāman²⁶⁰⁷ (Jai. II. 1. 36, IX. 2. 34-38). Śabara states that there are a thousand (numberless) means of adding to the charm of the melody (gīti), which only conveys certain notes produced by internal effort and which is denoted by the word sāman.