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Bṛhaddeśī · Volume II
pp. 114–115folio 066
← II p065 index II p067 →
Devanāgarī (Bṛhaddeśī)
[अनु॰ १९८]
षड्जोऽस्य ग्रहोंऽशो न्यासश्च । निषादोऽत्र काकली ।9 धैवतर्षभहीनमौडुवितम्धैवत ऋषभहीन( ध ?)मौडवितम् ।
८२सम्भोगशृङ्गारेऽस्य विनियोग:। वीरादिरस:। मूर्छना॰ना(दि) षड्जादि:।7 वर्ण आरोही।15
प्रसन्नादिरलङ्कारः । दक्षिणे कला, वार्तिके कला, चित्रे कला। स्वरपदगीते चच्चत्पुटादिताल ।
[७. टक्ककेशिक:]
धैवतांशस्तदन्तश्च स्वल्पद्विश्रुतिकस्वर: ।
धैवतीमध्यमाजात्यो: सञ्जातष्टक्ककैशिक:3॰एक ॥३२६॥
[अनु॰ १९९]
धैवतीमध्यमाजात्योर्जातत्वाट्टक्ककेशिक: षड्जग्रामसम्बन्ध:।5 ८३ननु उभयग्रामसम्बन्धिन्यो-(यस्याज? ठमय) र्जात्योःर्जा(न्यो?त्यो) समुत्पन्नोऽयं गगः षड्जग्रामसम्बन्ध इति कथं(कथं) वक्तुं युक्तम् ? अस्य प्रयोगे चतुःश्रुतिसम्बन्धः पञ्चम उपलभ्यते। पञ्चमधैवतौ द्विग्रामयोर्भेदकारिणौ(पञ्चमे पैवतेन भिग्रामयोर्भेदकारिणौ ?) अत: पञ्चमस्य चतु:श्रुतिकत्वात् । षङ्जग्रामसम्बन्ध
एवायं राग:।6 ग्रहोंऽशो न्यासश्च धैवत:। निषादगान्धारौ चात्र काकल्यन्तरौ।1110 पूर्णस्वरश्चायम्।
८४कश्यपमते निषादगान्धारयोर्लोपादयमौडुवित: ।21 उद्भटनाट्ये कामग्रस्ततत्कञ्चकिप्रवेशे चास्य विनियोग:। बीभत्सादिरस: । धैवतादिमूर्छनामध्यमादिधैवता(?)।8 आरोही वर्ण:। दक्षिणे कला, वार्तिके कला, चित्रे कला । स्वरपदगीते चच्चत्पुटादिताल: ।14
[८. मालवकैशिक:]
८५कैशिकीजातिसम्भूतः4 षड्जांशन्याससंयुतः ।12
दुर्बलो धैवतेन स्याद् रागो मालवकैशिक: ॥13 ३२७॥
८६पञ्चमं केचिदिच्छन्तिहात्याद्याः + कर्मणि चास्य वै न्यासकर्मणि ।
गान्धारं च तथा चान्ये तद्धि लक्ष्ये न दृश्यते ॥३२८॥
English — Sharma (translation)
1.50 4 1
[Anu. 198]
Ṣaḍjais its graha, amśa and nyāsa. Niṣādais kākalī here.9 It is pentatonic with the omission of dhaivata and ṛṣabha. Its application is prescribed in sambhoga- śṛṅgāra (love in union). Vīra72 and the like are the rasas. The mūrchanā beginning with sadja obtains.7 Ārohin is the varņa.15 Prasannādi 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 caccatpuṭa obtains in songs comprised of svara and pada.14
[7. Ţakkakaiśika]
Ţakkakaiśika is born of dhaivatī and madhyamā jātis3, has dhaivata as its amśa and concluding note and is weak in the svaras comprised of two śrutis each (gāndhāra and niṣāda).
(326)
[Anu. 199]
Takkakaišika is related to sadjagrāma.5 (Contention) This rāga is born of jātis related to both the grāmas, how is it proper to say that it is related to șadjagrāma? [Answer] În its performance pañcama related to four śrutis is obtained. Pañcama and dhaivata are the two that bring about a distinction between the two grāmas. Hence, this rāga is related to sadjagrāma alone on account of pañcama being comprised of four śrutis.6 Dhaivata is the graha, amśa and nyāsa. Niṣāda and gāndhāra are kākalī and antara here.1110 This (rāga) is complete in svaras. In the opinion of Kasyapa it becomes auduvita (pentatonic) with the omission of niṣāda and gāndhāra. Its application is prescribed in passionate acting (or dance) and in the entry of a love-lorn one and his kañcukin (attendant of the female apartments). <math>\dot{B}\bar{\imath}bhatsa^{73}</math> and the like are the rasas. The mūrchanā beginning with dhaivata obtains.8 Ārohin is the varna. The kalā is formed in the dakṣiṇa (mārga), the kalā obtains in the vṛtti (mārga) and the kalā prevails in the citra (mārga). A tāla like caccatpuṭa obtains in songs comprised of svara and pada.
[8. Mālavakaisika]
The rāga mālavakaišika is born of kaišikī jāti4, is combined with ṣaḍja as amša and nyāsa12 and is weak in dhaivata.13
(327)
Some prefer pancama for the function of nyāsa in it and others prefer găndhāra, but that is not seen in practice.
(328)
← II p065 index II p067 →
Sanskrit attestations (15)
1.[attribution]According to Kasyapa, the rāga becomes auduvita with the omission of niṣāda and gāndhāraकश्यपमते निषादगान्धारयोर्लोपादयमौडुवितः ।
2.[attribution]Kasyapa holds the opinion that the rāga becomes auduvita with omission of niṣāda and gāndhāraकश्यपमते निषादगान्धारयोर्लोपादयमौडुवितः ।
3.[definition] ⇄Ţakkakaiśika is born of dhaivatī and madhyamā jātisधैवतीमध्यमाज?ात्योः सञ्ज?ातष्टक्ककैशिकः
4.[definition]Mālavakaisika is born of kaišikī jātiकैशिकीज?ातिसम्भूतः
5.[relation]Ţakkakaiśika is related to ṣadjagrāmaषड्जग्रामसम्बन्धः।
6.[relation]Ţakkakaiśika is related to ṣadjagrāma on account of pañcama being comprised of four śrutisपञ्चमस्य चतुःश्रुतिकत्वात् । षङ्जग्रामसम्बन्ध एवायं रागः।
7.[structural]The mūrchanā of the first rāga begins with ṣaḍjaमूर्छना षड्ज?ादिः।
8.[structural]The mūrchanā of Ţakkakaiśika begins with dhaivataधैवतादिमूर्छना।
9.[structural]Niṣāda is kākalī in the first rāgaनिषादोऽत्र काकली ।
10.[structural]Niṣāda and gāndhāra are kākalī and antara in Ţakkakaiśikaनिषादगान्धारौ चात्र काकल्यन्तरौ।
11.[structural]Gāndhāra is antara in Ţakkakaiśikaनिषादगान्धारौ चात्र काकल्यन्तरौ।
12.[structural]Mālavakaisika has ṣaḍja as aṁśa and nyāsaषड्ज?ांशन्याससंयुतः ।
13.[structural]Mālavakaisika is weak in dhaivataदुर्बलो धैवतेन स्याद् रागो मालवकैशिकः ॥
14.[structural]Caccatpuṭa is a tāla used in songs comprised of svara and pada for Ţakkakaiśikaस्वरपदगीते चच्चत्पुटादितालः ।
15.[structural]Ārohin is the varņa for both the first rāga and Ţakkakaiśikaवर्ण आरोही।
English attestations (15)
1.[attribution] ⇄According to Kasyapa, the rāga becomes auduvita with the omission of niṣāda and gāndhāraIn the opinion of Kasyapa it becomes auduvita (pentatonic) with the omission of niṣāda and gāndhāra.
2.[attribution] ⇄Kasyapa holds the opinion that the rāga becomes auduvita with omission of niṣāda and gāndhāraIn the opinion of Kasyapa it becomes auduvita (pentatonic) with the omission of niṣāda and gāndhāra.
3.[definition]Ţakkakaiśika is born of dhaivatī and madhyamā jātisŢakkakaiśika is born of dhaivatī and madhyamā jātis
4.[definition] ⇄Mālavakaisika is born of kaišikī jātiThe rāga mālavakaišika is born of kaišikī jāti
5.[relation] ⇄Ţakkakaiśika is related to ṣadjagrāmaTakkakaišika is related to sadjagrāma.
6.[relation] ⇄Ţakkakaiśika is related to ṣadjagrāma on account of pañcama being comprised of four śrutisHence, this rāga is related to sadjagrāma alone on account of pañcama being comprised of four śrutis.
7.[structural] ⇄The mūrchanā of the first rāga begins with ṣaḍjaThe mūrchanā beginning with sadja obtains.
8.[structural] ⇄The mūrchanā of Ţakkakaiśika begins with dhaivataThe mūrchanā beginning with dhaivata obtains.
9.[structural] ⇄Niṣāda is kākalī in the first rāgaNiṣādais kākalī here.
10.[structural] ⇄Niṣāda and gāndhāra are kākalī and antara in ŢakkakaiśikaNiṣāda and gāndhāra are kākalī and antara here.
11.[structural] ⇄Gāndhāra is antara in ŢakkakaiśikaNiṣāda and gāndhāra are kākalī and antara here.
12.[structural] ⇄Mālavakaisika has ṣaḍja as aṁśa and nyāsais combined with ṣaḍja as amša and nyāsa
13.[structural] ⇄Mālavakaisika is weak in dhaivataThe rāga mālavakaišika is born of kaišikī jāti, is combined with ṣaḍja as amša and nyāsa and is weak in dhaivata.
14.[structural] ⇄Caccatpuṭa is a tāla used in songs comprised of svara and pada for ŢakkakaiśikaA tāla like caccatpuṭa obtains in songs comprised of svara and pada.
15.[structural] ⇄Ārohin is the varņa for both the first rāga and ŢakkakaiśikaĀrohin is the varņa.
← II p065 index II p067 →