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Bṛhaddeśī · Volume II
pp. 124–210folio 071
Devanāgarī (Bṛhaddeśī)
[अनु॰ २१०]
अस्यार्थ:(स्र?कृ)॰ - पञ्चमषाडव:॰( ঘ:) १०७षड्जग्रामसम्बन्ध:2 । ऋषभोऽस्य ग्रहोंऽशश्च । मध्यमो॰(जी?दी) न्यास: । १०८ प्रयोक्त्रपेक्षया क्वचिदंशोऽपि[।] निषादोऽत्र काकली5 । पूर्णश्चायम् । उद्भटचारिमण्डलाजौ विनियोगः। वीरादिरसः। ऋषभादिमूर्छना6प्रसन्नाद्यन्तोऽलङ्कारः7दक्षिणे कला, वार्तिके कला,
चित्रे कला1स्वरपदगीते चच्चत्पुटादिताल:8
[९.रेवगुप्त:]१०९
ऋषभांशो मध्यमान्तः सम्पूर्णस्वरकस्तथा ।
(₹) आर्षभीमध्यमाजात्यो रेवगुप्त: प्रकीर्तित:109 ॥३४०॥
[अन्॰ २११]
अस्यार्थः - रेवगुप्तः षड्जग्रामसम्बन्धः3 । आर्षभीमध्यमाजात्योरुत्पत्रोऽपि षड्जग्रामसम्बन्ध एव पञ्चमस्य चतुःश्रुतिकत्वात् । ऋषभोऽस्य ग्रहोंऽशश्च । न्यासो मध्यम एव च । निषादोऽत्र काक'ली । पूर्णस्वरश्चायम् । उद्भटचारिमण्लाजौ॰(जी?दी) विनियोग: ।ZZANNZZWE1__ZZANNZZWS1__
ऋषभादिमूर्छना । आरोही वर्ण:11 प्रसन्नान्तोऽलङ्कार:। दक्षिणे कला, वार्तिके कला, चित्रे कला ।
चच्चत्पुटादिताल:। ११०
[१०. टक्सैन्धवः]
स्यात् षाड्जीधैवतीजात्योष्टकसगस्तु सैन्धव:12
षड्जांशन्याससंयुक्तः पञ्चमेन तु दुर्बलः ॥३४१॥
[अनु २१२]
[अस्यार्थ:]- टक्कसैन्धवराग: षड्जग्रामसम्बन्ध:4, षाड्जीधैवतीसमुत्पत्रत्वात् । षड्जोऽस्य
ि निषादगान्धारौ चात्र काकल्यन्तरौ । पञ्चमस्याल्पत्वम्13 । पूर्णस्वरश्चायम् ।
ग्रहोंऽशो न्यासश्च ।ZZANNZZWE0__ZZANNZZWS0__
English — Sharma (translation)
[Anu. 210]
Its meaning is thus – pañcamaṣāḍavais related to ṣaḍjagrāma2. Ŗṣabhais its graha and anisa. Madhyama is the nyāsa and with relevance to the performer 88 it sometimes becomes amśa also. Niṣāda is kākalī here5 and this (rāga) is complete. Its application is prescribed in the passionate performance of cārīs, maṇḍalas and (situations of ) combat. Vīra and the like is the rasa89. The mūrchanā beginning with ṛṣabha obtains6. Prasannādyanta 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)1. A tāla like caccatpuṭa obtains in the songs comprised of svara and pada8 Revagupta is said to be born of ārṣabhī and madhyamā jātis, has ṛṣabha as its amsa and madhyama as its concluding note10 and is with complete svaras9.
(340)
[Anu. 211]
Its meaning is thus - Revagupta is related to sadjagrāma3. Although it is born of ārṣabhī and madhyamā jātis, it is related to ṣaḍjagrāma alone because of pañcama being comprised of four śrutis. Rṣabha is its graha and amśa, <math>madhyama</math> alone is <math>ny\bar{a}sa</math>, <math>nis\bar{a}da</math> is <math>k\bar{a}kal\bar{t}</math> here and this (<math>r\bar{a}ga</math>) is complete in svaras. Its application is prescribed in the passionate performance of cārīs, mandalas and (situations of) combat. Vira and the like is the rasa. The mūrchanā beginning with ṛṣabha obtains. Ārohin is the varṇa11. Prasannānta 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. The rāga takka qualified by saindhava is born of ṣāḍjī and dhaivatī jātis12, is combined with sadja as amsa and nyāsa and is weak in pancama.
(341)
[Anu. 212]
Its meaning is thus - takkasaindhava rāga is related to şadjagrāma4 on account of being born of ṣāḍjī and dhaivatī (jātis). Ṣaḍja is its graha, amśa and nyāsa. Niṣāda and gāndhāra are kākalī and antara. There is the sparseness of pañcama13 and this (rāga) is complete in svaras. Its application is prescribed
1.[enumeration]Kalā is formed in dakṣiṇa, vārtika, and citra margas in pañcamaṣāḍavaदक्षिणे कला, वार्तिके कला, चित्रे कला
2.[relation]pañcamaṣāḍava is related to ṣaḍjagrāmaपञ्चमषाडवः १०७षड्जग्रामसम्बन्धः
3.[relation]Revagupta is related to ṣaḍjagrāmaरेवगुप्तः षड्जग्रामसम्बन्धः
4.[relation]Takkasaindhava is related to ṣaḍjagrāmaटक्कसैन्धवरागः षड्जग्रामसम्बन्धः
5.[structural]Niṣāda serves as kākalī in pañcamaṣāḍavaनिषादोऽत्र काकली
6.[structural]The mūrchanā beginning with ṛṣabha is obtained in pañcamaṣāḍavaऋषभादिमूर्छना
7.[structural]Prasannādyanta is the alaṅkāra in pañcamaṣāḍavaप्रसन्नाद्यन्तोऽलङ्कारः
8.[structural]Caccatpuṭa is a tāla used in songs with svara and pada in pañcamaṣāḍavaस्वरपदगीते चच्चत्पुटादितालः
9.[structural]Revagupta is born of ārṣabhī and madhyamā jātisआर्षभीमध्यमाज?ात्यो रेवगुप्तः प्रकीर्तितः
10.[structural] Revagupta has ṛṣabha as its aṁśa and madhyama as its nyāsaआर्षभीमध्यमाज?ात्यो रेवगुप्तः प्रकीर्तितः
11.[structural]Ārohin is the varṇa in Revaguptaआरोही वर्णः
12.[structural]Takkasaindhava is born of ṣāḍjī and dhaivatī jātisस्यात् षाड्ज?ीधैवतीज?ात्योष्टकसगस्तु सैन्धवः
13.[structural]Pañcama is weak (sparse) in Takkasaindhavaपञ्चमस्याल्पत्वम्
14.[structural]Ṣaḍja is the graha, aṁśa and nyāsa of Takkasaindhavaषड्ज?ोऽस्य ग्रहोंऽशो न्यासश्च
1.[enumeration] Kalā is formed in dakṣiṇa, vārtika, and citra margas in pañcamaṣāḍavaThe kalā is formed in the dakṣiṇa (mārga), the kalā obtains in the vārtika (mārga) and the kalā prevails in the citra (mārga)
2.[relation] pañcamaṣāḍava is related to ṣaḍjagrāmapañcamaṣāḍavais related to ṣaḍjagrāma
3.[relation] Revagupta is related to ṣaḍjagrāmaRevagupta is related to sadjagrāma
4.[relation] Takkasaindhava is related to ṣaḍjagrāmatakkasaindhava rāga is related to şadjagrāma
5.[structural] Niṣāda serves as kākalī in pañcamaṣāḍavaNiṣāda is kākalī here
6.[structural] The mūrchanā beginning with ṛṣabha is obtained in pañcamaṣāḍavaThe mūrchanā beginning with ṛṣabha obtains
7.[structural] Prasannādyanta is the alaṅkāra in pañcamaṣāḍavaPrasannādyanta is the alaṅkāra
8.[structural] Caccatpuṭa is a tāla used in songs with svara and pada in pañcamaṣāḍavaA tāla like caccatpuṭa obtains in the songs comprised of svara and pada
9.[structural] Revagupta is born of ārṣabhī and madhyamā jātisRevagupta is said to be born of ārṣabhī and madhyamā jātis, has ṛṣabha as its amsa and madhyama as its concluding note and is with complete svaras
10.[structural]Revagupta has ṛṣabha as its aṁśa and madhyama as its nyāsaRevagupta is said to be born of ārṣabhī and madhyamā jātis, has ṛṣabha as its amsa and madhyama as its concluding note
11.[structural] Ārohin is the varṇa in RevaguptaĀrohin is the varṇa
12.[structural] Takkasaindhava is born of ṣāḍjī and dhaivatī jātisThe rāga takka qualified by saindhava is born of ṣāḍjī and dhaivatī jātis
13.[structural] Pañcama is weak (sparse) in TakkasaindhavaThere is the sparseness of pañcama
14.[structural] Ṣaḍja is the graha, aṁśa and nyāsa of TakkasaindhavaṢaḍja is its graha, aṁśa and nyāsa