vol_II_p061 — Bṛhaddeśī

Bṛhaddeśī · Volume II

pp. 1–105folio 061

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Devanāgarī (Bṛhaddeśī)

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[ग. गौडरागाः]

[अनु॰ १८६]

नन् गौडाः कथम् ? उच्यते, गौडगीतिसम्बन्धत्वात् ।

किं लक्षणम् ? उच्यते । तद्यथा - ओहाटी मन्द्रजोपात्ता प्रयोगे ध्वनिकम्पितै:। *

ओहाडी मन्त्रजा(?)+तु प्रयोगै (दूं?र्हू)तकम्पितै:।

अविश्रामेण त्रिस्थानेगौह॰ गौडी गीतिरुदाहृता¹ ॥३१५॥

[१.गौडपञ्चम:]

गौडपञ्चमस्य लक्षणम् -

गौडपञ्चमनिष्पत्तौ धैवतीषड्जमध्यमे ।

धैवतांशो मध्यमान्तो रहित:(वि? र)हित: पञ्चमेन तु⁹ ६३॥३१६॥

[अन्॰ १८७]

अस्यार्थ: -गौडपञ्चम: षड्जग्रामसम्बन्ध:,धैवतीषड्जमध्यमाजात्यो: समुत्पन्नत्वात्³।

धैवतोंऽशो ग्रहश्चप्र(ह)स। मध्यमो न्यासः। निषादगान्धारौ काकल्यन्तरौ । पञ्चमरहितोऽयं षट्स्वरः⁸ ।

उद्भटनाट्ये विप्रलम्भशृङ्गारे चास्य विनियोग:⁴।बीभत्सभयानकरसौ⁵(क)रसो रसः।धैवतादिमूर्छना¹⁰।आरोही प्रसन्नमध्योऽलङ्कार:⁷वर्णः। । दक्षिणे कला, वार्तिके कला, चित्रे कला । स्वरपदगीते

चच्चत्पुटादिताल:चचत्पुटताल:।

[२.गौडकैशिक:]

उत्पन्नः कैशिकीषड्जमध्यमाजातितो मतः⁶।

षड्जांशः पञ्चमन्यासः(स:) सम्प्रोक्तो गौडकैशिकः¹¹ ॥३१७॥

English — Sharma (translation)

[C. Gauda rāgas]

[Anu. 186]

(Contention) Why are they known as gaudas? It is being answered, on account of being related to gaudigiti.² What is its description? It is being answered. That is thus - Oḥāṭi⁶¹ born in the mandra (low svaras) is employed. In performance with shaken sounds, without pause, in the three registers, gaudī gīti is said to prevail. *(First line of the verse reconstructed vide c.r. in Sudhā on SR II. 1.2-5).

(315)

[1. Gaudapañcama]

The description of gaudapañcama - Dhaivatī and ṣadjamadhyamā operate in the formation of gauḍapañcama. It has dhaivata as its amśa and madhyama as its concluding note; it is devoid of pañcama.

(316)

[Anu. 187]

This means - gaudapañcama is related to sadjagrāma on account of being born of dhaivatī and şadjamadhyamā jātis.³ Dhaivata is the aniśa and graha. Madhyama is the nyāsa. Niṣāda and gāndhāra are kākalī and antara. It is hexatonic, being devoid of pañcama.⁸ Its application is prescribed in passionate acting (or dance) and in vipralambha śringāra (love in separation).⁴ Bībhatsa62 and bhayānaka are the rasas.⁵ The mūrchanā beginning with dhaivata obtains.¹⁰ Ārohin is the varņa. Prasannamadhya is the alankāra. The kalāis formed in the dakṣiṇa (mārga), the kalā obtains in the vṛtti (mārga) and the kalā prevails in the citra (mārga). A tāla like caccatpuța obtains in the songs comprised of svara and pada.

[2. Gaudakaisika]

Gauḍakaiśika is known to be born of kaiśikī and ṣaḍjamadhyamā jātis.⁶ It is said to have şadja as the amśa and pañcama as the nyāsa.

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Sanskrit attestations (11)

1.[definition] ⇄Gauda giti is characterized by performance with shaken sounds, without pause, across three registersअविश्रामेण त्रिस्थाने गौडी गीतिरुदाहृता

2.[relation]Gauda ragas are named because they relate to gaudigiti (gaudigiti music/performance style)गौडा कथम् ? उच्यते, गौडगीतिसम्बन्धत्वात्

3.[relation]Gaudapañcama is related to sadjagrāma and is derived from dhaivatī and ṣadjamadhyamā jātisगौडपञ्चमः षड्जग्रामसम्बन्धः,धैवतीषड्जमध्यमाज?ात्योः समुत्पन्नत्वात्

4.[relation] ⇄Gaudapañcama is applied in passionate acting (or dance) and in vipralambha śringāra (love in separation)उद्भटनाट्ये विप्रलम्भशृङ्गारे चास्य विनियोगः

5.[relation] ⇄Bībhatsa and bhayānaka are the rasas (aesthetic sentiments) associated with gaudapañcamaबीभत्सभयानकरसौ

6.[relation] ⇄Gaudakaiśika is derived from kaiśikī and ṣaḍjamadhyamā jātisउत्पन्नः कैशिकीषड्जमध्यमाज?ातितो मतः

7.[relation] ⇄Prasannamadhya is an alaṅkāra (ornament/embellishment) associated with gaudapañcamaप्रसन्नमध्योऽलङ्कारः

8.[structural] ⇄Gaudapañcama is hexatonic (six-note scale) and lacks the pañcama noteपञ्चमरहितोऽयं षट्स्वरः

9.[structural] ⇄Gaudapañcama has dhaivata as its aṁśa (characteristic note) and madhyama as its nyāsa (concluding note)धैवतांशो मध्यमान्तो रहितः पञ्चमेन तु

10.[structural] ⇄The mūrchanā (melodic progression) of gaudapañcama begins with dhaivataधैवतादिमूर्छना

11.[structural] ⇄Gaudakaiśika has ṣadja as the aṁśa and pañcama as the nyāsaषड्ज?ांशः पञ्चमन्यासः सम्प्रोक्तो गौडकैशिकः

English attestations (11)

1.[definition]Gauda giti is characterized by performance with shaken sounds, without pause, across three registersIn performance with shaken sounds, without pause, in the three registers, gauḍī gīti is said to prevail.

2.[relation] ⇄Gauda ragas are named because they relate to gaudigiti (gaudigiti music/performance style)Why are they known as gaudas? It is being answered, on account of being related to gaudigiti.

3.[relation] ⇄Gaudapañcama is related to sadjagrāma and is derived from dhaivatī and ṣadjamadhyamā jātisThis means - gaudapañcama is related to sadjagrāma on account of being born of dhaivatī and şadjamadhyamā jātis.

4.[relation]Gaudapañcama is applied in passionate acting (or dance) and in vipralambha śringāra (love in separation)Its application is prescribed in passionate acting (or dance) and in vipralambha śringāra (love in separation).

5.[relation]Bībhatsa and bhayānaka are the rasas (aesthetic sentiments) associated with gaudapañcamaBībhatsa62 and bhayānaka are the rasas.

6.[relation]Gaudakaiśika is derived from kaiśikī and ṣaḍjamadhyamā jātisGauḍakaiśika is known to be born of kaiśikī and ṣaḍjamadhyamā jātis.

7.[relation]Prasannamadhya is an alaṅkāra (ornament/embellishment) associated with gaudapañcamaPrasannamadhya is the alaṅkāra.

8.[structural]Gaudapañcama is hexatonic (six-note scale) and lacks the pañcama noteIt is hexatonic, being devoid of pañcama.

9.[structural]Gaudapañcama has dhaivata as its aṁśa (characteristic note) and madhyama as its nyāsa (concluding note)It has dhaivata as its aṁśa and madhyama as its concluding note; it is devoid of pañcama.

10.[structural]The mūrchanā (melodic progression) of gaudapañcama begins with dhaivataThe mūrchanā beginning with dhaivata obtains.

11.[structural]Gaudakaiśika has ṣadja as the aṁśa and pañcama as the nyāsaIt is said to have şadja as the aṁśa and pañcama as the nyāsa.

← II p060 index II p062 →