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Bṛhaddeśī · Volume II
pp. 142–143folio 080
← II p079 index II p081 →
Devanāgarī (Bṛhaddeśī)
सैन्धवीसै(वमी?न्धवी) मध्यमांशा तु षड्जान्ता धैवतोज्वला1 ।
सुसम्पूर्णस्वरागाभारः होषा षड्जधैवतयोस्तथागमकं ॥४७॥
३१गान्धारमध्यमानां तु गमनं दृश्यते घनम् ।
देशभाषा तु देश्याख्या सैन्धवी टक्करागजा543 ३२॥४८॥
सनीनीनीचाधासरिसा नीधाधाधरिनिधाधा । धानिसा गारीमा ।
उदाहरणम् – मामासासासासा ।
मामा गमागामासाधासारीमामामासा रिगामापापाधानिपधापामा गारीरीनिरिनि- धाधाधनीसा रीगामामागामामा गामामामासासा । सैन्धवी । [८] षड्जाद्यन्तसमायुक्ता पञ्चमेन विवर्जिता । धैवतनिषादयोश्च षड्जधैवतयोस्तथा ॥४९॥ परस्परं तु गमनं दृश्यते च क्षणे क्षणे7 । भाषेयं षाडवा ज्ञेया वेसरिका प्रयोक्तृभि:6र्शे देरे सकाकली ॥५०॥
उदाहरणम् - सासा । सधानि । धासासासा मामागामा गामासाधा मागारीसासासा ।
वेसरिका।[९]
पञ्चमांशा तु षड्जान्ता सम्पूर्णा लोकरञ्जिका ।
प्ञुमर्षभसंवाद: षड्जमध्यमयोस्तथा10 ॥
भाषेयं पञ्चमाख्या तु सम्पूर्णा समुदाहता ॥५१॥ उदाहरणम् – पापापारिपा । रिपापापापमापापामपमा सासासरीरीरि । निधाधपापा ।ZZANNZZWE0__ZZANNZZWS0__ रिरोगगरिसपा पगारिसागारिसारिपापारिरिगरि। गाधामागारिरि धपरिगसासा। पञ्चमाख्या ३४। [१०] offlo
ध्यमन्द्रा तु षड्जान्ता गान्धारांशाल्पसप्तमा ।
३५ऋषभगान्धारयोस्त्+र्षगान्धार॰ षड्जमध्यमयोस्तथा ॥५२॥
English — Sharma (translation)
This saindhavī has madhyama as its amśa, ṣadja as its concluding note, is Gamāgāmāsādhāsārīmāmāmāsā Gārimāmāmā. Dhānisā. rigāmāpāpādhānipadhāpāmā gārīrīnirini dhādhādhanīsārīgāmāmāgāmāmā gāmāmāmāsāsā. Saindhavī [viii] brilliant with dhaivata, complete in svaras, the (mutual) movement 18 of şadja-dhaivata and gāndhāra-madhyama is seen to be dense. It is a regional bhāṣā bearing the name désī; saindhavī is,born of ṭakkarāga.543 <math>(47-48)</math> Illustration - Māmāsīsā. Sanīnīnīnīdhādhāsurisā nīdhādhādharinidhādhā. Combined with sadja as the initial and concluding note, being devoid of pañcama, this bhāṣā vesarikā, should be known to be hexatonic by the performers.6 The mutual movement of dhaivata-niṣāda and ṣadja-dhaivata is seen from moment to moment. <math>(49-50)</math> Illustration-Sāsā. Sadhāni. Dhāsāsāsā māmāgāmā gāmāsādhā māgārīsāsāsā. Vesarikā [ix] Having pañcama as amsa and şadja as the concluding note, being complete and delightful to the people, this bhāṣā is said to be pañcamākhyā.8 There is concert 19 between pañcama-ṛṣabha and similarly between ṣadja- madhyama
(51)
Mustration - Pāpāpāripā. Ripāpāpāpamāpāpāmapamā sāsāsarīrīri Nidhādhapāpā. Pasāmāmārirīgagarisapā pagārisāgārisāripāpāririgari. Gādhāmāgāriri dhaparigasāsā. Pañcamākhyā [x] Having middle and lower registers (as its range), şadja as its concluding note, gāndhāra as amśa and the seventh (niṣāda) as sparse, the bhāṣā, ravicandrikā, should be known to be sankīrņā (mixed).2 It should be so
← II p079 index II p081 →
Sanskrit attestations (7)
1.[definition] ⇄Aṁśa is a characteristic note that identifies specific bhāṣās (regional styles), as seen in saindhavī (madhyama), pañcamākhyā (pañcama), and ravicandrikā (gāndhāra)सैन्धवी मध्यमांशा तु षड्ज?ान्ता धैवतोज?्वला
3.[relation] ⇄Saindhavī is a regional bhāṣā bearing the name désīदेशभाषा तु देश्याख्या सैन्धवी टक्करागजा
4.[relation] ⇄Saindhavī is born of ṭakkarāgaसैन्धवी टक्करागजा
5.[relation] ⇄Désī is a regional name or designation applied to saindhavīदेशभाषा तु देश्याख्या सैन्धवी टक्करागजा
6.[structural] ⇄Vesarikā is hexatonic (śāḍava), being devoid of pañcama and combined with ṣaḍja as initial and concluding noteषड्ज?ाद्यन्तसमायुक्ता पञ्चमेन विवर्ज?िता । धैवतनिषादयोश्च षड्जधैवतयोस्तथा ॥४९॥ परस्परं तु गमनं दृश्यते च क्षणे क्षणे । भाषेयं षाडवा ज?्ञेया वेसरिका प्रयोक्तृभिः
7.[structural] ⇄Vesarikā exhibits mutual movement between dhaivata-niṣāda and ṣaḍja-dhaivata seen from moment to momentपरस्परं तु गमनं दृश्यते च क्षणे क्षणे
10.[structural] ⇄Pañcamākhyā exhibits concert (mutual interaction) between pañcama-ṛṣabha and between ṣaḍja-madhyamaप्ञुमर्षभसंवादः षड्जमध्यमयोस्तथा
English attestations (11)
1.[definition]Aṁśa is a characteristic note that identifies specific bhāṣās (regional styles), as seen in saindhavī (madhyama), pañcamākhyā (pañcama), and ravicandrikā (gāndhāra)This saindhavī has madhyama as its aṁśa, ṣaḍja as its concluding note
2.[definition]Sankīrņā means mixed, used to characterize ravicandrikāthe bhāṣā, ravicandrikā, should be known to be sankīrņā (mixed).
3.[relation]Saindhavī is a regional bhāṣā bearing the name désīIt is a regional bhāṣā bearing the name désī; saindhavī is,born of ṭakkarāga.
4.[relation]Saindhavī is born of ṭakkarāgasaindhavī is,born of ṭakkarāga.
5.[relation]Désī is a regional name or designation applied to saindhavīIt is a regional bhāṣā bearing the name désī; saindhavī is,born of ṭakkarāga.
6.[structural]Vesarikā is hexatonic (śāḍava), being devoid of pañcama and combined with ṣaḍja as initial and concluding noteCombined with sadja as the initial and concluding note, being devoid of pañcama, this bhāṣā vesarikā, should be known to be hexatonic by the performers.
7.[structural]Vesarikā exhibits mutual movement between dhaivata-niṣāda and ṣaḍja-dhaivata seen from moment to momentThe mutual movement of dhaivata-niṣāda and ṣaḍja-dhaivata is seen from moment to moment.
8.[structural]Pañcamākhyā has pañcama as its aṁśa and ṣaḍja as its concluding noteHaving pañcama as amsa and şadja as the concluding note, being complete and delightful to the people, this bhāṣā is said to be pañcamākhyā.
9.[structural]Saindhavī has madhyama as its aṁśa (characteristic note) and ṣaḍja as its concluding noteThis saindhavī has madhyama as its aṁśa, ṣaḍja as its concluding note, is brilliant with dhaivata, complete in svaras
10.[structural]Pañcamākhyā exhibits concert (mutual interaction) between pañcama-ṛṣabha and between ṣaḍja-madhyamaThere is concert 19 between pañcama-ṛṣabha and similarly between ṣaḍja- mādhyama
11.[structural]Ravicandrikā has gāndhāra as its aṁśa, ṣaḍja as its concluding note, and niṣāda as sparseHaving middle and lower registers (as its range), şadja as its concluding node, gāndhāra as aṁśa and the seventh (niṣāda) as sparse, the bhāṣā, ravicandrikā, should be known to be sankīrņā (mixed).
← II p079 index II p081 →