vol_II_p097 — Bṛhaddeśī

Bṛhaddeśī · Volume II

pp. 176–177folio 097

Devanāgarī (Bṛhaddeśī)

उदाहरणम्पाधा पामरिगामानी - धाधानिधासासानिधा धानिधाधाधापामागारिरिरिगामपापाधापगारिरिधमाधापा- धापाधाधा धामपाधापानिरिगरिसारिधा रिधारिधारिपाधाधाधाधानि। सासा- প্ৰাণ रिगागामसामपमाधाधा धापाधासानिधैवतधाधा । धैवतभूषिता । [३]¹² विशाला पञ्चमांशा तु धैवतान्ता मनोहरा।¹¹⁷

सुसम्पूर्णस्वरा होषा ११८ सञ्चार:शो धैवतस्तत: सधयोर्हि च⁸ ॥

एषा भाषा तु विज्ञेया किन्नरैर्गीयते सदा³ ॥१३०॥ उदाहरणम् – पाधासासाधानी गासानिधाधा। पाधाधा। निसासानीधा पामागानिनिनिरिगामामा– नीधानिसारिगारिसासानिधागाममधा रिगास निसानिधानि नीधापधधधपापामागारिरिधा- रिरिममध्यमगमापापापा निधधधधपामाधा निसासासारिरिरिमममपमपापाधा नीसानीधापाधा- धा पानिनिनिसासामधापाधानिधा । विशाला । [४] एता याष्ट्रिकप्रोक्ता भित्रपञ्चमभाषा:भित्रप(ञ्च)मभाषा(:)।¹

[९ अथ बोट्टरागेपोट्ट]

पञ्चमांशा मध्यमान्ता सम्पूर्णा मध्यमोज्ज्वला⁹ ।

^११९धैवतनिषादसञ्चारो॰निपाद: दृश्यते ^१२०बहुल: सदा¹⁰ ॥१३१॥

एषा बङ्गालभाषा तु बोट्टरागे(तु) प्रगीयते⁴ ।

सर्वेषां मङ्गलानां च नायकैर्गीयते सदा ॥⁶ZZANNZZWE0__ZZANNZZWS0__ मङ्गल्या च प्रशस्ता च तेनासौ मङ्गला स्मृता ॥१३२॥ उदाहरणम् - पाधापाधामा धापामा गारिरिरिगमपा धासागासानिधापापामा । मङ्गला । [१]

[१०. अथ मालवपञ्चमे]

······^१२१[ भाविनी ]

English — Sharma (translation)

Illustration-Dhādhānidhāsāsānidhādhānidhādhādhāpā māgāriririgāmāpā pādhāpagārīdhamādhāpāpādhāpāmarigāmānīdhāpādhādhāmapādhāpāniriga risāridhāridhāripādhādhādhādhāni. Sāsārigāgā masāmapamādhā- dhādhāpādhāsānidhaivatadhādhā. Dhaivatabhūṣitā [iii] Viśālā has pañcama as amśa and dhaivata as the concluding note, (and) is charming. This is complete in svaras and has to and fro movement between sa-dha (ṣadja-dhaivata). This bhāṣā is always sung by the Kinnaras.⁶³³

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Illustration - Pādhāsāsādhānī gāsānidhādhā.Pādhādhā. Nisāsānīdhāpā māgānininirigāmāmāgāmamadhānīdhānisārigārisāsānidhārigasāsanisānidhāni- nīdhāpadhadhadhapāpāmāgāriridhāririmamadhyamagamāpāpāpāpānidhadhad- hadhapāmādhānisāsāsāriririmamamapamapāpādhānīsānīdhāpādhādhāpānininī. Sāsāmadhāpādhānidhā. Viśālā [iv] These are the bhāṣās of bhinnapañcama spoken of by Yāṣṭika.¹

[9. Now in Bottaraga]

Having pañcama as amsa, madhyama as the concluding note, being complete and brilliant with madhyama⁹, this baṅgāla bhāṣā is sung in boṭṭa-rāga.⁴ To and fro movement is always seen in profusion.¹⁰ It is sung by the <math>n\bar{a}yakas^{64}</math> on all auspicious occasions. Since it is auspicious and commendable, it is known as mangalā.² <math>(131-132)</math> Illustration - Pādhāpādhāmā dhāpāmā gāriririgamapā dhāsāgāsānidhāpā- pāmā. Maṅgalā [i]

[10. Bhāṣās in mālavapañcama]

.....[Bhāvinī]

← II p096 index II p098 →

Sanskrit attestations (12)

1.[attribution] ⇄The bhāṣās described by Yāṣṭika are characterized as bhinnapañcamaएता याष्ट्रिकप्रोक्ता भित्रपञ्चमभाषाः।

2.[definition] ⇄The baṅgāla bhāṣā form in Bottaraga is also known as Maṅgalā due to its auspicious and commendable qualitiesमङ्गल्या च प्रशस्ता च तेनासौ मङ्गला स्मृता

3.[relation] ⇄The Kinnaras are the group who traditionally sing the Viśālā bhāṣāएषा भाषा तु विज?्ञेया किन्नरैर्गीयते सदा

4.[relation] ⇄Bottaraga is a rāga context in which the baṅgāla bhāṣā with pañcama as aṁśa and madhyama as concluding note is sungएषा बङ्गालभाषा तु बोट्टरागे प्रगीयते

5.[relation] ⇄Bhāvinī is a bhāṣā type found in the mālavapañcama rāga[१०. अथ मालवपञ्चमे] ······^१२१[ भाविनी ]

6.[relation] ⇄The baṅgāla bhāṣā type in Bottaraga is sung by nāyakas on all auspicious occasionsसर्वेषा मङ्गलाना च नायकैर्गीयते सदा ॥

7.[structural] ⇄Viśālā has pañcama as its aṁśa (characteristic note) and dhaivata as its concluding noteविशाला पञ्चमांशा तु धैवतान्ता मनोहरा।

8.[structural] ⇄Viśālā is complete in svaras and exhibits to and fro movement between sa and dhaivataसुसम्पूर्णस्वरा होषा ११८ सञ्चारः सधयोर्हि च

9.[structural] ⇄The Bottaraga has pañcama as aṁśa and madhyama as the concluding noteपञ्चमांशा मध्यमान्ता सम्पूर्णा मध्यमोज?्ज?्वला

10.[structural] ⇄To and fro movement (sañcāra) is always seen in profusion in Bottaragaधैवतनिषादसञ्चारो दृश्यते ^१२०बहुलः सदा

11.[structural] ⇄Viśālā is charming or attractive in qualityविशाला पञ्चमांशा तु धैवतान्ता मनोहरा।

12.[structural] ⇄Dhaivatabhūṣitā is an ornamental or characterizing feature of the Viśālā bhāṣāधैवतभूषिता । [३]

English attestations (12)

1.[attribution]The bhāṣās described by Yāṣṭika are characterized as bhinnapañcamaThese are the bhāṣās of bhinnapañcama spoken of by Yāṣṭika.

2.[definition]The baṅgāla bhāṣā form in Bottaraga is also known as Maṅgalā due to its auspicious and commendable qualitiesSince it is auspicious and commendable, it is known as mangalā.

3.[relation]The Kinnaras are the group who traditionally sing the Viśālā bhāṣāThis bhāṣā is always sung by the Kinnaras.⁶³

4.[relation]Bottaraga is a rāga context in which the baṅgāla bhāṣā with pañcama as aṁśa and madhyama as concluding note is sungthis baṅgāla bhāṣā is sung in boṭṭa-rāga.

5.[relation]Bhāvinī is a bhāṣā type found in the mālavapañcama rāga[10. Bhāṣās in mālavapañcama] .....[Bhāvinī]

6.[relation]The baṅgāla bhāṣā type in Bottaraga is sung by nāyakas on all auspicious occasionsIt is sung by the nar{a}yakas⁶⁴ on all auspicious occasions.

7.[structural]Viśālā has pañcama as its aṁśa (characteristic note) and dhaivata as its concluding noteViśālā has pañcama as aṁśa and dhaivata as the concluding note

8.[structural]Viśālā is complete in svaras and exhibits to and fro movement between sa and dhaivataThis is complete in svaras and has to and fro movement between sa-dha (ṣaḍja-dhaivata).

9.[structural]The Bottaraga has pañcama as aṁśa and madhyama as the concluding noteHaving pañcama as amsa, madhyama as the concluding note, being complete and brilliant with madhyama

10.[structural]To and fro movement (sañcāra) is always seen in profusion in BottaragaTo and fro movement is always seen in profusion.

11.[structural]Viśālā is charming or attractive in qualityViśālā has pañcama as aṁśa and dhaivata as the concluding note, (and) is charming.

12.[structural]Dhaivatabhūṣitā is an ornamental or characterizing feature of the Viśālā bhāṣāDhaivatabhūṣitā . [iii]

← II p096 index II p098 →