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The svara of Madhyam is tivra and Shuddha. In fact Madhyam is the only tivra svara in the Saptak. It is said that Shadja is the basic svara from which all the other six svaras are produced. Breaking the word Shadja yields Shad And Ja. It means that Shad is six and ja is 'giving birth' in Marathi. [3] So basically the translation is :
Madhya is a Sanskrit word meaning "middle". It is cognate with Latin med-iu-s and English mid. The -ma suffix is a superlative, giving madhyama the meaning of "mid-most" or "medium". The -ka suffix is used to form adjectives, thus madhyamaka means "middling".
The play has been translated into English a handful of times. The majority of the texts below include English introductions and notes. Janvier, E. P. (1922). The Madhyama Vyayoga; a drama composed by the poet Bhasa. Mysore: Wesleyan Mission Press. Devadhar, C. (1957). Madhyamavyayoga; a Sanskrit drama, a one act play attributed to Bhasa. Poona ...
Saptak means "gamut" or "the series of seven notes".It denotes the set of swaras i.e. Shadja (Sa), Rishabha (Ri), Gāndhāra (Ga), Madhyama (Ma), Panchama (Pa), Dhaivat (Dha), Nishada (Ni), Shadja (Sa) which comprise a musical scale in Indian classical music.
The vadi of this raga is pancham and the samavadi is rishabh. Raag Purvi's structure is very close to that of raga Puriya Dhanashree therefore in order to differentiate between the two shuddha madhyam is often used in raga purvi unlike the teevra madhayam used in raga Puriya Dhanashree. The gayan samay or the time of singing this raga is at dusk.
There are numerous parallels between the discourses in the Madhyama Āgama and discourses in the Sutta Piṭaka. [6]...of the two hundred and twenty-two sutras of T. 26, only one hundred and three have their counterpart in the Majjhimanikāya; fourteen have their counterpart in the Dīghanikāya, seventeen in the Saṃyuttanikāya, and eighty-seven in the Aṅguttaranikāya.
Swara (Sanskrit: स्वर) or svara [1] is an Indian classical music term that connotes simultaneously a breath, a vowel, a note, the sound of a musical note corresponding to its name, and the successive steps of the octave, or saptanka.
A translation and interpretation with references to the philosophy of Zen Master Dogen. Batchelor, Stephen: Verses from the Center: Diane Publishing 2000 ISBN 978-0756760977: Batchelor's translation is the first nonacademic, idiomatic English version of the text. McCagney, Nancy Nagarjuna and the Philosophy of Openness: Rowman & Littlefield 1997