vol_II_p059 — Bṛhaddeśī

Bṛhaddeśī · Volume II

pp. 100–101folio 059

Devanāgarī

[अनु॰ १८०]

अस्यार्थः - अन्यां जातिं परिहरन् स्वजातिकुलभूषितं स्वमूलं तु संगृह्णिति ।

[४. भिन्नकैशिकः]

[अनुः १८१]

शुद्धस्य लक्षणं समग्रं भिन्नकैशिकस्यापि विद्यते । तर्हि को भेदः । गीतिकृतो(कटी?गी) भेदः शुद्धकैशिको हि शुद्धगीत्या गीयते, भिन्नकैशिकस्तु भिन्नगीत्या गीयते।² एतदुक्तं भवति - येन स्वस्थानेन रागीयते शुद्धकैशिके न तेन स्वस्थानेन भित्रकैशिके रागीयत इति।¹³ लक्षणं चास्य यथा- (?) (स्थं•केन<b>ण्य</b>नेसंस्थानेन ?)संस्थानेन

शुद्धकैशिकवदूप[:] स्वरज्ञैर्धित्रकैशिक:।

षड्जांशः पञ्चमन्यासः सम्पूर्णः सप्तभिः स्वरैः ॥३११॥

[अन्॰ १८२]

अस्यार्थ: - भित्रकैशिको मध्यमग्रामसम्बन्ध: कैशिकीकार्मारवीजात्युत्पत्रत्वात्⁵³ ।

ग्रहोंऽशश्च षड्जः । पञ्चमो न्यासः । निषादोऽत्र काकली । पूर्णश्चायम् । शुद्धैकेशिकवदयंउदयं(?) यद्यपि रागः तथापि भेदोऽस्ति । मन्द्रबहुलोऽयम्⁷ । येन स्वस्थानेनसंस्थाने(न) शुद्धकैशिके स्वरालापः क्रियते, तत्स्वस्थानं विहाय तैरेव(य) स्वरैरालाप: कर्तव्य:। शुद्धकैशिकेविभिन्नकैशिके हि तारस्वरैरालाप: कर्तव्य इति रूपान्यत्वेनायं

भिद्यते । दानवीरे चास्य विनियोगः⁴ । वीररौद्रादिको रसः¹⁰ । षड्जादिमूर्छना । वर्णः सञ्चारी ।

प्रसन्नादिरलङ्कार:। दक्षिणे कला, वार्तिके कला,चित्रे कला। स्वरपदगीते चच्चत्पुटादिताल:।¹²

[श्रुतिभिन्नः]

साम्प्रतं श्रुतिभिन्नस्यभिन्नतानस्य लक्षणमाह -

६०चतु:श्रुतिस्वरो यत्र भिन्नो द्विश्रुतिकेन तु ।

गान्धारो(आधा ? गान्या)रो द्विश्रुतिश्चैव श्रुतिभिन्न: स उच्यते ॥३१२॥

English — Sharma (translation)

[Anu. 180]

This means-leaving the other jāti and taking up its own root i.e. bedecked with its own jāti and kula (is formed the śuddhabhinna).54

[4. Bhinnakaisika]

[Anu. 181]

The description of śuddha (kaiśika) applies in its totality also to bhinnakaiśika. What is then the difference? The difference is formed by gīti. Śuddhakaiśika is sung in the <math>\acute{s}uddh\~{a}</math> <math>g\~{i}ti</math>, whereas <math>bhinnakai\acute{s}ika</math> is sung in the <math>bhinn\~{a}</math> <math>g\~{i}ti</math>. This is being said - The svasthāna<math>^{56}</math> (unit of tonal range) with which the rāga is elaborated in śuddhakaiśika, the rāga is not elaborated with the same svasthāna in bhinnakaisika. And its description is thus - Bhinnakaiśika is known by the knowledgeable ones in svara to have a form similar to that of śuddhakaiśika. It has ṣaḍja as its aṁśa, pañcama as its nyāsa (and) is complete with the seven svaras.⁶

(311)

[Anu. 182]

This means - bhinnakaiśika is related to madhyamagrāma on account of being born of kaiśikī and kārmāravī jātis.⁵³ Şadja is the graha and amśa. Pañcama is the nyāsa, niṣāda is kākalī here¹¹ and it is complete. Although this rāga is like śuddhakaiśika, yet there is a difference. This has abundance of mandra (low notes).⁷ The svasthāna with which svara - ālāpa (tonal elaboration) is done in śuddhakaiśika, ālāpa has to be done with the same svaras (here), leaving that svasthāna⁸⁵⁷ In śuddhakaiśika, ālāpa should be done with tāra (high) svaras and thus it becomes distinct on account of difference in form.⁹ Its application is prescribed in dānavīra (heroism in charity).⁴ Vīra, raudra and the like are the rasas.¹⁰ The mūrchanā beginning with ṣadja obtains. Sañcārinis the varņa. Prasannādi is the alankāra. The kalā is formed in the dakṣiṇa (mārga), the kalā obtains in the vṛtii (mārga) and the kalā prevails in the citra (mārga). A tālalike caccatpuṭa obtains in the songs comprised of svara and pada.¹² (Śruti-bhinna) Now he (the author) has spoken of the definition of śruti-bhinna - Where the svara comprised of four śrutis is modified by the one comprised of two śrutis and gāndhāra is comprised of only two śrutis, that is called śruti-bhinna.¹

(312)

← II p058 index II p060 →

Sanskrit attestations (10)

2.[definition] ⇄Bhinnakaiśika is sung in bhinnā gīti, whereas śuddhakaiśika is sung in śuddhā gītiशुद्धकैशिको हि शुद्धगीत्या गीयते, भिन्नकैशिकस्तु भिन्नगीत्या गीयते।

3.[relation] ⇄Bhinnakaiśika is related to madhyamagrāma and originates from kaiśikī and kārmāravī jātisभित्रकैशिको मध्यमग्रामसम्बन्धः कैशिकीकार्मारवीज?ात्युत्पत्रत्वात्

4.[relation] ⇄Bhinnakaiśika is applied in dānavīra (heroic charity) contextsदानवीरे चास्य विनियोगः

5.[relation] ⇄Bhinnakaiśika is related to madhyamagrāmaभित्रकैशिको मध्यमग्रामसम्बन्धः कैशिकीकार्मारवीज?ात्युत्पत्रत्वात्

6.[structural] ⇄Bhinnakaiśika has ṣaḍja as graha and aṁśa, pañcama as nyāsa, and is complete with seven svarasषड्ज?ांशः पञ्चमन्यासः सम्पूर्णः सप्तभि स्वरै

7.[structural] ⇄Bhinnakaiśika is characterized by abundance of mandra (low notes)मन्द्रबहुलोऽयम्

8.[structural] ⇄Bhinnakaiśika employs ālāpa with the same svaras but leaving the svasthāna used in śuddhakaiśikaयेन स्वस्थानेन शुद्धकैशिके स्वरालापः क्रियते, तत्स्वस्थानं संस्थाने(न) विहाय तैरेव स्वरैरालापः कर्तव्यः

10.[structural] ⇄Bhinnakaiśika employs rasas such as vīra and raudraवीररौद्रादिको रसः

12.[structural] ⇄Caccatpuṭa functions as a tāla in songs comprised of svara and pada in bhinnakaiśikaस्वरपदगीते चच्चत्पुटादितालः।

13.[structural] ⇄Bhinnakaiśika has svaras arranged differently from śuddhakaiśika in terms of svasthāna (tonal range unit)येन स्वस्थानेन रागीयते शुद्धकैशिके न तेन स्वस्थानेन भित्रकैशिके रागीयत इति।

English attestations (13)

1.[definition]Śruti-bhinna is defined as a svara comprised of four śrutis being modified by one comprised of two śrutis, with gāndhāra being comprised of only two śrutisWhere the svara comprised of four śrutis is modified by the one comprised of two śrutis and gāndhāra is comprised of only two śrutis, that is called śruti-bhinna.

2.[definition]Bhinnakaiśika is sung in bhinnā gīti, whereas śuddhakaiśika is sung in śuddhā gītiŚuddhakaiśika is sung in the śuddhā gīti, whereas bhinnakaísika is sung in the bhinnā gīti.

3.[relation]Bhinnakaiśika is related to madhyamagrāma and originates from kaiśikī and kārmāravī jātisbhinnakaiśika is related to madhyamagrāma on account of being born of kaiśikī and kārmāravī jātis.

4.[relation]Bhinnakaiśika is applied in dānavīra (heroic charity) contextsIts application is prescribed in dānavīra (heroism in charity).

5.[relation]Bhinnakaiśika is related to madhyamagrāmabhinnakaiśika is related to madhyamagrāma on account of being born of kaiśikī and kārmāravī jātis.

6.[structural]Bhinnakaiśika has ṣaḍja as graha and aṁśa, pañcama as nyāsa, and is complete with seven svarasIt has ṣaḍja as its aṁśa, pañcama as its nyāsa (and) is complete with the seven svaras.

7.[structural]Bhinnakaiśika is characterized by abundance of mandra (low notes)This has abundance of mandra (low notes).

8.[structural]Bhinnakaiśika employs ālāpa with the same svaras but leaving the svasthāna used in śuddhakaiśikaThe svasthāna with which svara - ālāpa (tonal elaboration) is done in śuddhakaiśika, ālāpa has to be done with the same svaras (here), leaving that svasthāna

9.[structural]Bhinnakaiśika becomes distinct from śuddhakaiśika because ālāpa is performed in lower registers whereas śuddhakaiśika uses tāra (high) svarasIn śuddhakaiśika, ālāpa should be done with tāra (high) svaras and thus it becomes distinct on account of difference in form.

10.[structural]Bhinnakaiśika employs rasas such as vīra and raudraVīra, raudra and the like are the rasas.

11.[structural]In bhinnakaiśika, niṣāda functions as kākalīPañcama is the nyāsa, niṣāda is kākalī here

12.[structural]Caccatpuṭa functions as a tāla in songs comprised of svara and pada in bhinnakaiśikaA tālalike caccatpuṭa obtains in the songs comprised of svara and pada.

13.[structural]Bhinnakaiśika has svaras arranged differently from śuddhakaiśika in terms of svasthāna (tonal range unit)The svasthāna with which the rāga is elaborated in śuddhakaiśika, the rāga is not elaborated with the same svasthāna in bhinnakaisika.

← II p058 index II p060 →