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Bṛhaddeśī · Volume II
pp. 50–51folio 034
← II p033 index II p035 →
Devanāgarī
पञ्चस्वरपरा तारगति: । न्यासपरस्तत्परो वा मन्द्र:शुद्धास्त्रयो ।ZZANNZZWE1__ZZANNZZWS1__ (Y)
[अनु॰ १५३]
गान्धारादिमूर्छना1 ।7 तालश्चच्चत्पुट: ।3 दक्षिणे कला द्वात्रिंशत् । [वार्तिके षोडश ।] चित्रेऽष्टौ । दशविधत्वं चास्या: ।8 दशांशा: - शुद्ध:, त्रयो विकृता: पूर्णा[:, त्रय: षाडवा:, त्रय
औडुवाश्चेति] । रसश्च करुण: । ध्रुवागाने प्रथमप्रेक्षणके विनियोग: ।
[५. षड्जकैशिकी]न्हाः
[अनु॰ १५४]
षड्जकैशिक्या[:] षड्जगान्धारपञ्चमा ग्रहा अंशाश्च ।9 पञ्चस्वरपरस्तार: ।
न्यासपरस्तत्परो वा मन्द्रः, नित्यसम्पूर्णा च ।10 धैवतनिषादमध्यमानामल्पत्वम्थैवतनिषादग्रहा । मध्यमानामल्पत्वम् ।ZZANNZZWE1__ZZANNZZWS1__ शेषाणां बहुत्वम् , न्यासस्तु गान्धार: । षड्जनिषादपञ्चमा अपन्यासाश्च ।12 (ना ? न्या)सस्तु गा(मागा ? न्या)रः ।ZZANNZZWE0__ZZANNZZWS0__
[अनु॰ १५५]
नास्याः शुद्धत्वम् , अंशकाः पूर्णास्त्रयः। चच्चत्पुटस्तालः । एककले चित्रे मागधी गीतिः, अस्याः शुद्धत्वमंशकाः पूर्णाश्चन्यत्पुटस्तालः द्विकले वार्तिके सम्भाविता4, चतुष्कले दक्षिणे पृथुला ।5 रसश्च करुण: । प्रथमप्रवेशगीते
द्वितीयप्रेक्षणके विनियोग:।
[६. षड्जोदीच्यवा]
[अनु॰ १५६]
षङ्जोदीच्यवायाः षङ्जमध्यमधैवतनिषादा ग्रहा अंशाश्च15 । पञ्चस्वरपरस्तारः । न्यासपरस्तत्परो
्य ? च्यू)<br>वा मन्द्र: । ऋषभहीनं षाडवम्13, ऋषभपञ्चमहीनमौडुवितम्14 ।
१५२पूर्णावस्थायामृषभ-
English — Sharma (translation)
pañcama and șadja. In the complete state there is the sparseness of șadja, madhyama, pañcama and dhaivata. In the ṣāḍava state, there is the sparseness of şadja, madhyama and dhaivata. In the auduvita form there is the sparseness of madhyama and dhaivata. The tāra extends upto five svaras. The mandra is upto the nyāsa or upto the svara next to it.
[Anu. 153]
The mūrchanā beginning with gāndhāra obtains.71 Caccatpuṭa is the tāla.3 There are thirty-two kalās in the dakṣiṇa (mārga), sixteen in vārtika (mārga), eight in citra (mārga). It is ten-fold.8 There are ten amśas. Šuddhā (is one). There are three vikṛtās in the complete state, three in the ṣāḍava state and three in the auduva state. Karuna is the rasa. Its application (viniyoga) 68 is prescribed in the singing of dhruvās in the first scene (or act).
[5. Şadjakaisiki]
[Anu. 154]
Ṣaḍja, gāndhāra and pañcama are the grahas and amsas of ṣaḍjakaisikī.9 The tāra extends upto five svaras. The mandra is upto the nyāsa or upto the svara next to it. It is always complete.10 There is the sparseness of dhaivata, niṣāda and madhyama. Rṣabha is even more sparse, there is abundance of the remaining ones. Gāndhāra is the nyāsa. And şadja, niṣāda, pañcama are apanyāsas.12
[Anu. 155]
It has no śuddhā state, there are three amśas in the complete state. Caccatpuța is the tāla. În ekakala (tāla), in the citra (mārga), there is māgadhī gīti. In dvikala (tāla), in the vārtika (mārga), there is sambhāvitā (gīti).4 In catușkala (tāla), in the dakșiņa (mārga), there is pṛthulā (gīti)5 and the rasa is karuṇa. Its application (viniyoga) is (prescribed) in the first song associated with entry in the second scene (or act).
[6. Şadjodicyava]
[Apu. 156]
Şadja, madhyama, dhaivata and nişāda are the grahas and amsas of şadjodīcyavā.15 The tara extends up to five svaras. The mandra is upto the nyasa or the svara next to it. The şādava formation is devoid of rṣabha, the auduvita formation is devoid of ṛṣabha-pañcama14. In the complete state there is the sparseness of
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Sanskrit attestations (14)
1.[definition] ⇄Murchana is a melodic type or modal framework associated with ragasगान्धारादिमूर्छना
2.[enumeration]There are ten amsas (note divisions) associated with the ten-fold structureदशांशाः - शुद्धः, त्रयो विकृताः पूर्णा[:, त्रयः षाडवाः, त्रय शुद्धास्त्रयो औडुवाश्चेति]
3.[relation]Caccatputa is the tala associated with multiple ragas including the unnamed raga of Anu. 153तालश्चच्चत्पुटः ।
4.[relation]Sambhavita is a giti associated with dvikala tala in the vartika margaद्विकले वार्तिके सम्भाविता
5.[relation]Prithula is a giti associated with catuskala tala in the daksina margaचतुष्कले दक्षिणे पृथुला ।
7.[structural]Murchana beginning with gandhara is a characteristic feature of this ragaगान्धारादिमूर्छना ।
8.[structural]The raga is ten-fold in its structural varietiesदशविधत्वं चास्याः ।
9.[structural]Sadjaikaisiki has sadja, gandhara and pañcama as its grahas and amsasषड्जगान्धारपञ्चमा ग्रहा अंशाश्च ।
10.[structural]Sadjaikaisiki is always complete in formनित्यसम्पूर्णा च ।
11.[structural]Sadjaikaisiki has sparseness of dhaivata, nisada and madhyama, with risabha being even more sparseधैवतनिषादमध्यमानामल्पत्वम् । - ऋषभस्याल्पतरत्वम्
12.[structural]Apanyasas are svaras that are not the nyasa; in Sadjaikaisiki they are sadja, nisada and pañcamaषड्जनिषादपञ्चमा अपन्यासाश्च ।
13.[structural]The sadvava formation of Sadjodīcyavā is devoid of risabhaऋषभहीनं षाडवम्
14.[structural]The auduvita formation is devoid of both risabha and pañcamaऋषभपञ्चमहीनमौडुवितम्
15.[structural] ⇄Sadjodīcyavā has sadja, madhyama, dhaivata and nisada as its grahas and amsasषङ्जमध्यमधैवतनिषादा ग्रहा अंशाश्च
English attestations (15)
1.[definition]Murchana is a melodic type or modal framework associated with ragasThe mūrchanā beginning with gāndhāra obtains.
2.[enumeration] ⇄There are ten amsas (note divisions) associated with the ten-fold structureThere are ten amśas. Śuddhā (is one). There are three vikṛtās in the complete state, three in the ṣāḍava state and three in the auduva state.
3.[relation] ⇄Caccatputa is the tala associated with multiple ragas including the unnamed raga of Anu. 153Caccatpuṭa is the tāla.
4.[relation] ⇄Sambhavita is a giti associated with dvikala tala in the vartika margaIn dvikala (tāla), in the vārtika (mārga), there is sambhāvitā (gīti).
5.[relation] ⇄Prithula is a giti associated with catuskala tala in the daksina margaIn catușkala (tāla), in the dakșiņa (mārga), there is pṛthulā (gīti)
6.[relation]Caccatputa is a tala that can be applied in different time divisions (ekakala, dvikala, catuskala) with different margasCaccatpuṭa is the tāla. În ekakala (tāla), in the citra (mārga), there is māgadhī gīti, ad (tāla), in the vārtika (mārga), there is sambhāvitā (gīti). In catușkala (tāla), in the dakșiņa (mārga)
7.[structural] ⇄Murchana beginning with gandhara is a characteristic feature of this ragaThe mūrchanā beginning with gāndhāra obtains.
8.[structural] ⇄The raga is ten-fold in its structural varietiesIt is ten-fold.
9.[structural] ⇄Sadjaikaisiki has sadja, gandhara and pañcama as its grahas and amsasṢaḍja, gāndhāra and pañcama are the grahas and amsas of ṣaḍjakaisikī.
10.[structural] ⇄Sadjaikaisiki is always complete in formIt is always complete.
11.[structural] ⇄Sadjaikaisiki has sparseness of dhaivata, nisada and madhyama, with risabha being even more sparseThere is the sparseness of dhaivata, niṣāda and madhyama. Ṛṣabha is even more sparse
12.[structural] ⇄Apanyasas are svaras that are not the nyasa; in Sadjaikaisiki they are sadja, nisada and pañcamaAnd şadja, niṣāda, pañcama are apanyāsas.
13.[structural] ⇄The sadvava formation of Sadjodīcyavā is devoid of risabhaThe şādava formation is devoid of ṛṣabha
14.[structural] ⇄The auduvita formation is devoid of both risabha and pañcamathe auduvita formation is devoid of ṛṣabha-pañcama
15.[structural]Sadjodīcyavā has sadja, madhyama, dhaivata and nisada as its grahas and amsasŞadja, madhyama, dhaivata and nişāda are the grahas and amsas of şadjodīcyavā.
← II p033 index II p035 →