The twenty are principal types; subdivisions, such as two mandalagras and three needles, make the individual varieties more numerous. Although their forms and dimensions are addressed later, the commentator supplies descriptions from other treatises here for easier understanding. Mandalagra has a rounded end. Two forms are described, one round-mouthed and one razor-shaped, with a cited measure of six angulas. Karapatra has projections like the fingers of a hand; others identify it directly with a saw-shaped instrument. Another treatise gives its length as twelve angulas. The objection that this conflicts with the present work's statement that the remaining instruments are six angulas is answered by carrying forward the word 'generally': the remaining instruments are generally, not invariably, six angulas. Vriddhipatra resembles the leaf of vriddhi and has two forms, one with a bent tip and one with an extended tip. Both are said to measure seven angulas. A quoted specification gives a handle of four and a half angulas and a blade of one and a half angulas. The bent-tip form is called a kshura. Nakhashastra is an instrument for cutting nails; its blade is two angulas long and one broad. Mudrika is to be described later. Utpalapatraka resembles an utpala leaf, has a sharp edge, measures six angulas, and has a blade three angulas long and one broad. Ardhadhara has an edge along half its extent and is known as vakradhara; it is eight angulas long, one angula broad across its body, and has a two-angula blade. Others read adhyardhadhara, explaining the edge as extending beyond half. Needles are to be described later. Kushapatra resembles a kusha leaf; the quoted dimensions give a two-angula ruchaka, but contain alternative readings for the lengths of the blade and handle. Atimukha resembles the mouth of the water bird called jalavardhani. Its handle is seven angulas and its terminal blade is thumb-length; the quotation associates it with visravana. Shararimukha resembles the mouth of a long-beaked bird. Two birds are distinguished, one white-shouldered and one red-headed, with sharari naming the white-shouldered one. The instrument is commonly called kartari and is described here as twelve angulas long with movable loops. Antarmukha has its working mouth inward, a curved edge and a projecting crescent-like form; the quoted length is eight angulas with a variant of seven. Trikurchaka has three points or blades. The cited instrument is eight angulas long, with three antarmukha-shaped blades described as angula-sized and separated from one another by a rice-grain measure; its five-angula handle is furnished with a ruchaka. Kutharika resembles an axe. Its handle is seven and a half angulas and its half-angula blade is even and resembles a cow's tooth. Bhoja describes vrihimukha as six angulas long, with a two-angula handle, a four-angula blade, and a mouth as broad as a rice grain; the wording qualifying its fine point has a variant. Ara resembles the leatherworker's awl. A quotation gives it a length of eight angulas, a sesame-sized blade, and a handle of the girth of a durva shoot and resembling a cow's tail. Vetasapatra resembles a vetasa leaf; Bhoja describes a sharp blade one angula broad and four long, with a four-angula handle. Badisha resembles a fishhook. Two six-angula forms are described: one strongly curved and one less curved. Each has a four-and-a-half-angula handle, with the remainder forming the mouth. The less-curved mouth is crescent-shaped; the more-curved form is bent until the distance between handle and tip is half an angula. Dantashanku is a pointed instrument for removing dental deposits named kapalika and sharkara. Bhoja gives its length as six angulas, its pointed mouth as half an angula, and describes an even, four-sided, sharp-edged form. The end of its handle is made in the shape of a vrihimukha instrument, and it is used to clear those deposits from teeth. Eshani is so named because one searches or probes with it. The final quotation relates its girth to the wounds and describes its mouth as earthworm-shaped.
Key terms
shastrANi (śastrāṇi)
Sharp surgical instruments, classified here into twenty principal types.
a~ggula (aṅgula)
The traditional unit used for the instrument dimensions in this passage.
vRuntaM (vṛntam)
The handle of an instrument.
phalaM (phalam)
The working blade of an instrument.
kartarI (kartarī)
The common name given here to the shararimukha instrument with movable loops.
Mandalagra and karapatra are used for chedana and lekhana. Vriddhipatra, nakhashastra, mudrika, utpalapatraka and ardhadhara are used for chedana and bhedana. Suchi, kushapatra, atimukha, shararimukha, antarmukha and trikurchaka are used for visravana. Kutharika, vrihimukha, ara, vetasapatraka and the needle are used for vyadhana. Badisha and dantashanku are used for extraction; eshani for probing and anulomya; and needles for suturing. Thus the use of shastras in the eight kinds of operative action is explained.
The passage distributes the instruments among the eight actions. The conjunction 'and' allows additional actions: vriddhipatra and its associated group can also be used for scraping, while the conjunction accompanying the needle extends puncturing to kushapatra, utpalapatraka and similar instruments. The commentator asks why badisha is listed among both yantras and shastras when its purpose is the same. The yantra form has girth and length suited to the task, whereas the shastra form is specifically six angulas long and has a sharply pointed mouth. Anulomya here is interpreted as visravana, allowing discharge, rather than straightening. Straightening is not listed among shastra actions; treating it as a separate action would produce nine rather than eight, so the first interpretation is preferred. The conjunction also permits eshani to be used for puncturing. Eshani likewise appears among both yantras and shastras for probing, but the forms differ: the yantra has an earthworm-like mouth and task-appropriate girth and length, while the shastra measures eight angulas and has a sharp point and barley-leaf-shaped mouth. The plural 'needles' reflects their several sizes, beginning with two angulas.
Key terms
chedane
In cutting or excision.
lekhane
In scraping.
bhedane
In opening by incision.
visrAvaNe (visrāvaṇe)
In allowing discharge or drainage.
vyadhane
In puncturing.
Anulomyam (ānulomyam)
Interpreted here as allowing discharge, with straightening explicitly rejected.
The passage next gives a concise account of holding instruments appropriately for their actions. Vriddhipatra is held where handle and blade meet, and the other instruments for bhedana are held similarly. For scraping, vriddhipatra and mandalagra are applied repeatedly with the hand turned somewhat upward. Instruments for visravana are held at the end of the handle. The text particularly assigns trikurchaka for visravana in children, older people, delicate or fearful people, women, kings and royal persons. Vrihimukha is held between thumb and index finger with its handle covered by the palm. Kutharika is placed in the left hand and struck with the middle finger of the other hand, its action supported by the thumb. Ara, karapatra and eshani are held by the handle. The remaining instruments are held as appropriate to their use.
The common portion of handle and blade means their junction. 'Similarly' extends the same grip from vriddhipatra to other instruments used for bhedana. Repeatedly means many times and is an exception to the earlier instruction to remove in a single action. Vrintagra means the end of the handle, with 'one should hold' understood. Covering the handle with the palm and holding with thumb and index finger are likewise read together. The middle finger's force is checked or supported at the thumb-tip. Mula, tsaru, varanga and vrinta are synonyms for the handle. Holding appropriately means choosing the end, middle or base of the handle according to the operative action.
Key terms
vRuntaphalasAdhAraNe (vṛntaphalasādhāraṇe)
At the junction shared by the handle and blade.
bahushaH (bahuśaḥ)
Repeatedly; the commentary treats this as an exception to an earlier single-action instruction.
Adhikarana ५ (६) · Śloka ६
तेषां नामभिरेवाकृतयः प्रायेण व्याख्याताः ||६||
Meaning of the śloka
The forms of these instruments are generally explained by their very names.
Nakhashastra and eshani measure eight angulas. Needles will be described later. The parenthetical wording gives mudrika the measure of the terminal joint region of the index finger and shararimukhi, also called kartari, a length of ten angulas. The remaining instruments measure six angulas.
This passage gives instrument dimensions. Some read nakhavardhani instead of nakhashastra and explain it as the nail-cutting instrument. The statement that needles will be described later refers to the chapter on the eight kinds of shastra action, where sizes such as two and three angulas are given. Some insert the measurements of mudrika and kartari at this point: mudrika is measured by the terminal joint region of the index finger, and shararimukhi or kartari is ten angulas. 'The remaining' means instruments other than those with separately specified dimensions, such as nakhavardhani, eshani and needles.
Key terms
nakhavardhanI (nakhavardhanī)
An alternative reading for the nail-cutting instrument.
mudrikA (mudrikā)
The instrument whose size is compared here to the terminal joint region of the index finger.
Excellence in a shastra consists in being easy to grasp, made of good metal, having a good cutting edge and shape, having properly formed working ends and tips, and being free of irregular teeth or projections.
After describing dimensions and shapes, the text sets out the other desirable qualities of cutting instruments. Sugraha means having good handles; suloha, good metal; and sudhara, a good edge. Susamahitamukha is explained as having a compact, consolidated working end. Others understand it as having a working end that has been properly positioned or formed. Akarala means not irregularly toothed. Shastrasampat denotes the instrument's good qualities.
Key terms
shastrasampat (śastrasampat)
The excellence or desirable qualities of a cutting instrument.
akarAlAni (akarālāni)
Free from irregular teeth or projections, as explained by adanturani.
The eight defects of a cutting instrument are being bent, blunt, broken, rough-edged, excessively thick, excessively slight, excessively long or excessively short. An instrument with the opposite qualities should be selected. The exception is the karapatra: it has a rough edge because it is intended for cutting bone.
Kuntha means that the edge is too thick to cut hair. Khanda means incomplete or broken, and kharadhara means having a rough cutting edge. Atyalpa here means excessively thin. The opposite qualities include straightness, sharpness, completeness and a smooth edge. The requirement of a smooth edge does not apply to the karapatra, since its purpose of cutting bone accounts for its rough edge.
Key terms
kuNThaM (kuṇṭham)
Blunt, with an edge too thick to cut hair.
karapatra
The instrument for cutting bone that is expressly allowed a rough edge.
atyalpam
Excessively thin in this list of instrument defects.
Adhikarana ९ (१०) · Śloka १०
तत्र धारा भेदनानां मासूरी, लेखनानामर्धमासूरी, व्यधनानां विस्रावणानां च कैशिकी, छेदनानामर्धकैशिकीति ||१०||
Meaning of the śloka
The edge for bhedana should be masuri; for lekhana, half-masuri; for vyadhana and visravana, as fine as a hair; and for chedana, half as fine as a hair.
The edge is specified according to its ability to perform the relevant work among the eight procedures. For bhedana, exemplified by vriddhipatra, nakhashastra and similar instruments, masuri means an edge as thin as the edge of a split lentil. For lekhana, exemplified by mandalagra and similar instruments, ardhamasuri means half that thickness. Vyadhana instruments include kutharika and related forms, while visravana instruments include suchi and kushapatra; their edge is to have the measure of a hair. Chedana instruments here are again vriddhipatra and similar forms: when used for chedana, their edge should be made as thin as half a hair. Thus the same named instrument may require a different edge according to its use.
Key terms
mAsUrI (māsūrī)
An edge as thin as the edge of a split lentil, as explained here.
kaishikI (kaiśikī)
Having the measure of a hair.
bhedana
Opening or incising, the procedure assigned a masuri edge here.
lekhana
Scraping, assigned a half-masuri edge.
chedana
Cutting or excision, assigned an edge half the measure of a hair.
The badisha and dantashanku are described in relation to bent tips. The eshani is described with a sharp-thorn-shaped end, an end like a newly emerged barley leaf, and, in the parenthetical wording supplied, an earthworm-shaped end.
The passage describes working-end forms for extraction and probing. The commentator applies 'bent at the tip' specifically to badisha, not as an additional qualification of dantashanku, since the latter's curvature is already understood from its resemblance to a shanku. Eshani is then explained as threefold: thorn-ended, newly emerged barley-leaf-ended and earthworm-ended. Others read the relevant phrase in the dual and apply its two descriptions first to badisha and dantashanku: badisha has a sharp-thorn-shaped end, and dantashanku a newly emerged barley-leaf-shaped end, conveying both the latter's thinness and its form. In that reading, the word 'and' accompanying the earthworm-shaped eshani also extends the first two descriptions to eshani. Still others omit the entire section beginning with the masuri edge for bhedana and ending with the earthworm-shaped eshani. These readings are distinct textual alternatives.
Key terms
eShaNI (eṣaṇī)
A probing instrument described here with alternative working-end forms.
prathamayavapatra
A newly emerged barley leaf, used as a comparison for the working end.
The instruments undergo three forms of payana, using kshara liquid, water or oil. An instrument treated with kshara is assigned to cutting arrows, foreign bodies and bone; one treated with water to cutting, opening and splitting flesh; and one treated with oil to puncturing sira and cutting snayu.
Payana is introduced because the sharpness and other qualities it produces support effectiveness in particular kinds of work. The term literally concerns causing the instrument to 'drink', a treatment familiar to metalworkers. Some authorities regard payana with kshara and with oil as not belonging to the authoritative teaching of the sages. The following wording assigns each of these treatments to its particular procedural use.
Key terms
pAyanA (pāyanā)
The metalworker's treatment of an instrument using a liquid, literally described as causing it to drink.
kShArapAyitaM (kṣārapāyitam)
Treated with kshara liquid, assigned here to cutting arrows, foreign bodies and bone.
anArShatvam (anārṣatvam)
Not belonging to the sages' authoritative teaching, an objection attributed to some authorities.
For sharpening the instruments, the text specifies a smooth stone the colour of masha. For setting and stabilising the edge, it specifies a board of shalmali wood.
The earlier requirement of a good edge is now explained. Shlakshna means not rough, and establishing the edge means making it stable. Phalaka is a board. The smooth stone is for sharpening edges that are not sharp, while the shalmali board is for setting edges that have already been sharpened. Others read a slightly different wording: the sharpening implement is a small smooth stone with the appearance of masha broth, and the edge-setting implement is a shalmali board. They explain the small smooth stone as the barber's honing stone and the masha-broth colour as dark brown or blackish-tawny.
Key terms
nishAna (niśāna)
Sharpening an edge that is not yet sharp.
dhArAsaMsthApana (dhārāsaṃsthāpana)
Setting or stabilising an already sharpened edge.
shAlmalIphalakam (śālmalīphalakam)
A shalmali-wood board specified for setting the edge.
An instrument should be employed in procedures when it is well sharpened, capable of cutting hair, properly formed, correctly held and of the prescribed dimensions.
The verse explains how to recognize a properly prepared cutting edge. An instrument is well sharpened when it cuts hair; until it does so, it is to be sharpened further. Susamsthita means well formed. Correct holding refers to the previously stated grips, such as holding the vriddhipatra at the junction of handle and blade. Pramana refers to the prescribed dimensions, illustrated by the earlier statement that the nail instrument and probe are eight angulas long. Others join pramanena directly with sugrihita and understand it as holding the instrument at the prescribed location, such as the handle-blade junction of the vriddhipatra. Some read romavahi instead of romachhedi.
Key terms
romacchedi
Capable of cutting hair, used here as the test of sharpness.
pramANena (pramāṇena)
According to prescribed dimensions, alternatively according to the prescribed position of the grip.
The anushastras are bamboo, crystal, glass, kuruvinda stone, leeches, fire, kshara, a nail, the leaves of goji, shephalika and shaka, a shoot, hair and a finger.
These are substances or implements capable of performing an instrument's work when a cutting instrument is unsuitable, as in children, or when instruments are unavailable. Anushastra means an inferior instrument or something resembling an instrument. Tvaksara is bamboo. Kuruvinda is a particular stone used to sharpen iron implements; others identify it as a red stone regarded as a principal gem. Goji is gojihva, while others identify it as shakhotaka. Shephalika has red stalks and flowers in sharad. Shaka is a large tree with rough leaves. The word leaf applies separately to goji, shephalika and shaka. Karira means a shoot.
Key terms
anushastrANi (anuśastrāṇi)
Substitutes or instrument-like materials used to accomplish instrument functions.
tvaksAraH (tvaksāraḥ)
Bamboo, as identified in this commentary.
karIraH (karīraḥ)
A shoot used among the substitute implements.
Adhikarana १५ (१६-१८) · Śloka १९
शिशूनां शस्त्रभीरूणां शस्त्राभावे च योजयेत् |
त्वक्सारादिचतुर्वर्गं छेद्ये भेद्ये च बुद्धिमान् ||१६||
आहार्यच्छेद्यभेद्येषु नखं शक्येषु योजयेत् |
विधिः प्रवक्ष्यते पश्चात् क्षारवह्निजलौकसाम् ||१७||
ये स्युर्मुखगता रोगा नेत्रवर्त्मगताश्च ये |
गोजीशेफालिकाशाकपत्रैर्विस्रावयेत्तु तान् ||१८||
एष्येष्वेषण्यलाभे तु बालाङ्गुल्यङ्कुरा हिताः |१९|
Meaning of the śloka
For children, for people afraid of cutting instruments, or when instruments are unavailable, a discerning practitioner may use the four materials beginning with bamboo for excision and incision. A nail may be used for extraction, excision and incision when those tasks can be accomplished with it. The methods involving kshara, fire and leeches will be described later. The text prescribes the leaves of goji, shephalika and shaka for producing discharge in disorders located in the mouth or eyelids. Where probing is required but a probe is unavailable, hair, a finger and a shoot are considered suitable.
The four materials are bamboo, crystal, glass and kuruvinda. A nail is to be used for extraction and the other named procedures only when the task is feasible with a nail. Netravartma is glossed as netrapakshma, the eyelid or eyelash-bearing margin. For foreign bodies requiring exploration, hair and the other listed substitutes are suitable when an eshani probe is unavailable.
Key terms
AhArya (āhārya)
A condition or object requiring extraction.
visrAvayet (visrāvayet)
To produce discharge or drainage, the action assigned here to the specified leaves.
A discerning physician should have these instruments made from pure shaikya iron by a smith who is proficient in manufacture and knowledgeable in the craft.
The passage explains how to obtain instruments of good quality. The intelligent physician commissions a karmara, an ironworker. Karanaprapta means proficient in the work of making them; karmakovida similarly means knowledgeable and skilled in that craft. The instruments to be made are those already described. Shuddha means free of impurities, and shaikya is glossed as sharp. Others understand shaikyayasa as instruments fashioned from sound, high-quality iron. Some read the half-verse as saying that skilled smiths should make the instruments using the stated implements; in that reading, karana means equipment. The remaining meaning is unchanged.
Key terms
karmAraM (karmāram)
The ironworker commissioned to make the instruments.
shuddhaM (śuddham)
Free from impurities, describing the material.
shaikyaM (śaikyam)
Glossed as sharp; an alternative explanation emphasizes sound, high-quality iron.
The text states that a physician who understands the proper use of instruments consistently attains success. Therefore, one should continually practise holding and handling instruments.
Prayoga means proper or excellent application, and the physician described understands such application. Siddhi means bringing about health, and nityashah means always. Parichaya is repeated practice in holding instruments. Others read pramanajnasya vaidyasya, referring to a physician who knows the prescribed measure or position for holding an instrument.
Key terms
paricayaM (paricayam)
Familiarity gained by repeated practice in holding instruments.