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Bṛhaddeśī · Volume II
pp. 120–121folio 069
← II p068 index II p070 →
Devanāgarī (Bṛhaddeśī)
वीराद्धतयोर्हास्ये निर्वहणे चास्य विनियोगः । वीरादिको रसः । षड्ज?ादिमूर्छना ।
आरोही ॰( तो /ते ) हास्ये वर्णः । प्रसन्नमध्योऽलङ्कारः । दक्षिणे कला, वार्तिके कला, चित्रे कला । स्वरपदगीते
चच्चत्पुटादितालः।
[३. ककुभः]
मध्यमापञ्चमीज?ात्योधैंवत्याश्च विनिःसृतः ।
ककुभः पञ्चमन्यासो धैवतांशस्तु निर्मितः5 ॥३३५॥
[अनु॰ २०६]
अस्यार्थः - ककुभः १७षड्जग्राम-सम्बन्धः, मध्यमापञ्चमीधैवतीसमुत्पन्नोऽपि षड्जग्राम एव । कुतः ? पञ्चमस्य चतु श्रुतिकत्वा द्वैवतस्य [ त्रि ] श्रुतिकत्वाच्च । धैवतो ऽस्यांशो ग्रहश्च । पञ्चमो न्यासः । पूर्णस्वरश्चायम् । मध्यमकरुणेऽस्य विनियोगः १८। करुणोऽस्य रसः।6 धैवतादिमूर्छना ।7 0 7 0 आरोही वर्णः । प्रसन्नमध्योऽलङ्कारः । दक्षिणे कला, वार्तिके कला, चित्रे कला । स्वरपदगीते
चच्चत्पुटादितालः।
[४.भम्माणपञ्चमः]
९९षड्ज?ांशो मध्यमन्यासः स्वल्पद्विश्रुतिकस्वरः ।
(事) शुद्धमध्यमिकाज?ातेर्भवेद् भम्माणपञ्चमः ॥३३६॥
[अनु॰ २०७]
अस्यार्थः - भम्माणपञ्चमो मध्यमग्रामसम्बन्धः , शुद्धमध्यमाज?ाते समुत्पन्नत्वात् ।3 षड्ज?ो
ग्रहोंऽशश्च। १००मध्यमो न्यासः। निषादगान्धारयोरल्पत्वम्।9 निषादोऽत्र काकली ।4 पूर्णस्वरश्चायम् ।
१०१पथि ग्रीष्मे श्रान्तेष्वरण्येषु चास्य विनियोगः।10 वीरादिरसः।11 षड्ज?ादिमूर्छना। आरोही वर्णः।
प्रसन्नमध्योऽलङ्कारः। दक्षिणे कला,वार्तिक कला,चित्रे कला। स्वरपदगीते चच्चत्पुयदितालः।
[५. रूपसाधारितः]
षड्जमध्यानिषादाभ्या रूपसाधारितो भवेत्12 ।
षड्ज?ांशो मध्यमन्यासः पञ्चमर्षभस्वल्पकः13 ॥३३७॥
English — Sharma (translation)
and hāsya (rasas) and nirvahaṇa (sandhi). Vīra80 and the like is the rasa.11 The mūrchanā beginning with ṣaḍja obtains. Ārohin is the varņa. Prasannamadhya is the alankāra. The kalā is formed in the dakṣiṇa (mārga), the kalā obtains in the vārtika (mārga) and the kalā prevails in the citra (mārga). A tāla like caccatputa obtains in the songs comprised of svara and pada.
[3. Kakubha]
Kakubha comes out of madhyamā, pañcamī and dhaivatī jātis, has pañcama as its nyāsa and is formed with dhaivata as the amśa.
(335)
[Anu. 206]
Its meaning is thus – Kakubha is related to şadjagrāma. How is it related to şadjagrāma alone in spite of being born of madhyamā, pañcamī and dhaivatī?2 On account of pañcama being comprised of four śrutis and dhaivata of three śrutis. Dhaivata is its amśa and graha. Pañcama is the nyāsa and this (rāga) is complete in svaras. Its application is prescribed in the medium state of karuṇa (rasa). Karuṇa is its rasa.6 The mūrchanā beginning with dhaivata obtains.7 Ārohin is the varņa. Prasannamadhya is the alaṅkāra. The kalā is formed in the dakṣiṇa (mārga), the kalā obtains in the vārtika (mārga) and the kalā prevails in the citra(mārga). A tāla like caccatupṭa obtains in the songs comprised of svara and pada.
[4. Bhammāṇapañcama]
Bhammāṇapañcama comes of ṣaḍjamadhyamā jāti, has ṣaḍja as its aṅiśa, madhyama as nyāsa and treats as sparse the svaras comprised of two śrutis each.
(336)
[Anu. 207]
Its meaning is thus – Bhammāṇapañcama is related to madhyamagrāma on account of being born of sadja-madhyamā jāti.3 Şadja is the graha and anisa, madhyama is the nyāsa.8 There is the sparseness of niṣāda and gāndhāra.9 Niṣāda is kākalī here4 and this (rāga) is complete in svaras. Its application is prescribed in (the situation of ) travel on a path in summer, (by those) full of fatigue and in (the depiction of) forests.10 Vīra and the like is the rasa83. The mūrchanā beginning with ṣadjaobtains. Ārohinisthe varṇa. Prasannamadhya isthe alankāra. The kalā is formed in the dakṣiṇa (mārga), the kalā obtains in the vārtika (mārga) and the kalāprevails in the citra (mārga). A tāla like caccatpuṭa obtains in the songs comprised of svara and pada.
[5. Rūpasādhārita]
Rūpasādhārita is born of şadjamadhyamā and naiṣādī (jātis).12 It has ṣadja as its amśa, madhyama as nyāsa and is with sparse pañcama and ṛṣabha.
(337)
← II p068 index II p070 →
Sanskrit attestations (11)
3.[relation] ⇄Bhammāṇapañcama is related to madhyamagrāma on account of being born of ṣadja-madhyamā jātiभम्माणपञ्चमो मध्यमग्रामसम्बन्धः , शुद्धमध्यमाज?ाते समुत्पन्नत्वात् ।
4.[relation] ⇄Niṣāda is kākalī in Bhammāṇapañcamaनिषादोऽत्र काकली ।
5.[structural] ⇄Kakubha has pañcama as its nyāsa and is formed with dhaivata as the aṁśaमध्यमापञ्चमीज?ात्योधैंवत्याश्च विनिःसृतः । ककुभः पञ्चमन्यासो धैवतांशस्तु निर्मितः
6.[structural] ⇄Kakubha has karuṇa as its rasaकरुणोऽस्य रसः।
7.[structural] ⇄Kakubha has mūrchanā beginning with dhaivataधैवतादिमूर्छना ।
9.[structural] ⇄Bhammāṇapañcama has sparseness of niṣāda and gāndhāraनिषादगान्धारयोरल्पत्वम्।
10.[structural] ⇄Bhammāṇapañcama is prescribed for application in travel on path in summer, by those fatigued, and in depiction of forestsपथि ग्रीष्मे श्रान्तेष्वरण्येषु चास्य विनियोगः।
11.[structural] ⇄Bhammāṇapañcama has vīra and the like as its rasaवीरादिरसः।
12.[structural] ⇄Rūpasādhārita is born of ṣadjamadhyamā and naiṣādī jātisषड्जमध्यानिषादाभ्या रूपसाधारितो भवेत्
13.[structural] ⇄Rūpasādhārita has ṣaḍja as aṁśa and madhyama as nyāsaषड्ज?ांशो मध्यमन्यासः पञ्चमर्षभस्वल्पकः
14.[structural] ⇄Rūpasādhārita is with sparse pañcama and ṛṣabhaपञ्चमर्षभस्वल्पकः
English attestations (14)
1.[citation]BRHADDEŚĪ describes rāgas Kakubha, Bhammāṇapañcama, and Rūpasādhārita with their structural propertiesBRHADDEŚĪ
2.[relation]Kakubha is related to şadjagrāma despite being born of madhyamā, pañcamī and dhaivatī jātisKakubha is related to şadjagrāma. How is it related to şadjagrāma alone in spite of being born of madhyamā, pañcamī and dhaivatī?
3.[relation]Bhammāṇapañcama is related to madhyamagrāma on account of being born of ṣadja-madhyamā jātiBhammāṇapañcama is related to madhyamagrāma on account of being born of sadja-madhyamā jāti.
4.[relation]Niṣāda is kākalī in BhammāṇapañcamaNiṣāda is kākalī here
5.[structural]Kakubha has pañcama as its nyāsa and is formed with dhaivata as the aṁśaKakubha comes out of madhyamā, pañcamī and dhaivatī jātis, has pañcama as its nyāsa and is formed with dhaivata as the aṁśa.
6.[structural]Kakubha has karuṇa as its rasaKaruṇa is its rasa.
7.[structural]Kakubha has mūrchanā beginning with dhaivataThe mūrchanā beginning with dhaivata obtains.
8.[structural]Bhammāṇapañcama has ṣaḍja as its graha and aṁśa, and madhyama as nyāsaŞadja is the graha and anisa, madhyama is the nyāsa.
9.[structural]Bhammāṇapañcama has sparseness of niṣāda and gāndhāraThere is the sparseness of niṣāda and gāndhāra.
10.[structural]Bhammāṇapañcama is prescribed for application in travel on path in summer, by those fatigued, and in depiction of forestsIts application is prescribed in (the situation of ) travel on a path in summer, (by those) full of fatigue and in (the depiction of) forests.
11.[structural]Bhammāṇapañcama has vīra and the like as its rasaVīra and the like is the rasa.
12.[structural]Rūpasādhārita is born of ṣadjamadhyamā and naiṣādī jātisRūpasādhārita is born of şadjamadhyamā and naiṣādī (jātis).
13.[structural]Rūpasādhārita has ṣaḍja as aṁśa and madhyama as nyāsaIt has ṣaḍja as its aṁśa, madhyama as nyāsa
14.[structural]Rūpasādhārita is with sparse pañcama and ṛṣabhaand is with sparse pañcama and ṛṣabha.
← II p068 index II p070 →