vol_II_p122 — Bṛhaddeśī

Bṛhaddeśī · Volume II

pp. 226–227folio 122

← II p121 index II p123 →

Devanāgarī

[सामान्यविधानम्]

त्रिपदं पादसंख्यानं मूर्छनाबिन्दुसङ्कुलम्¹¹ ।

स्थितं [च] गमकं कुर्यादेतदेलासु लक्षणम्¹² ॥४३९॥ य(त्)स्थितं

ततश्च वर्ण्यमानस्य नाम सम्यक्सव्यत् प्रवेशयेत्।

लिलता रससंयुक्ता स्वाभिधानमतः परम् ॥४४०॥ ॥ इति गणैलाचतुष्टयम् ॥⁸

[५. सङ्करैला]

तृतीयपादवत् पादश्चतुर्थो यदि वर्धते ।

एला सङ्करतामेतिद्वि(त)यं मतङ्गमुनिभाषिता³²एला + + + ॥

पञ्चमी ह्यत्र सङ्कर-नाम्नी त्वेला[प्रकीर्तिता] ॥४४१॥

[इति गणैलाः]

[ख. मात्रैलाप्रकाराः]

रितलेखा कामलेखा बाणलेखा तथैव च। कथ्यते चन्द्रलेखा च ३४मात्रैलामाह वल्लभः⁶¹॥४४२॥

[१. रतिलेखा]

यस्यामङ्घ्रिद्वये मात्रा रुद्रसङ्ख्यास्तृतीयके⁹ ।

रुद्रहस्तसमाश्चैव रत्याख्यगणसम्मिता:¹⁰ ॥४४३॥ (:)

भवन्तीति यतस्तज्ज्ञैर्धातुमातुसमन्विता:⁵⁴॰सन्मातृमाभि च (?) ।

कथिता गीतशास्त्रज्ञै रतिलेखेति नामतः⁷ ३५॥४४४॥

English — Sharma (translation)

[General Prescription]

The name pāda (foot) is given to a group of three padas (textual-cum-melodic units) which is brimming with mūrchanā bindu (?),⁵² the gamaka should be made sthita⁵³ (slow?); this is the prescription in respect of elās.

(439)

Then one should properly put in the name of the one being described. It (elā) is lalitā (beautiful) (and) full of rasa; the name of self (composer) comes after this.

(440)

Thus ends the fourfold ganaila.⁸

[5. Saṅkarailā]

If the fourth foot 'grows' (gets elaborated) like the third foot, then the elā spoken of by Matanga Muni becomes sankara (mixed).³² Here the fifth elā is said to be named sankara.

(441)

[Thus ends gaņailā.]

[B. The varieties of Mātrailā]

Ratilekhā, kāmalekhā, bāṇalekha and similarly candralekhā are (the varieties of) mātrailā spoken of by Vallabha¹.⁶54

(442)

[1. Raulekhā]

Where there are rudra 55 numbered (eleven) mātrās in (each of the first) two feet and ten (rudrahasta?)56 mātrās measured according to the gaņa named rati⁵⁷ (and) endowed with dhātu⁵⁸ (tonal-cum-rhymthic structure) (and) mātu⁵⁹ (text), on account of this (ratigaņa) (this elā) is given the name ratilekhā by the experts in the science of music (gītaśāstra). <math>(443-444)</math>

← II p121 index II p123 →

Sanskrit attestations (12)

1.[attribution] ⇄Mātrailā varieties are attributed to Vallabhaमात्रैलामाह वल्लभः

2.[attribution] ⇄Saṅkarailā doctrine is attributed to Matanga Muniएला सङ्करतामेति मतङ्गमुनिभाषिता

3.[definition] ⇄Saṅkarailā occurs when the fourth foot is elaborated like the third footतृतीयपादवत् पादश्चतुर्थो यदि वर्धते । एला सङ्करतामेति मतङ्गमुनिभाषिता

4.[definition] ⇄dhātu refers to tonal-and-rhythmic structure in musicधातुमातुसमन्विताः

5.[definition] ⇄mātu refers to text or textual component in musical compositionधातुमातुसमन्विताः

6.[enumeration] ⇄Mātrailā has four varieties: Ratilekhā, kāmalekhā, bāṇalekha, and candralekhāरितलेखा कामलेखा बाणलेखा तथैव च। कथ्यते चन्द्रलेखा च ३४मात्रैलामाह वल्लभः

7.[relation] ⇄gītaśāstra is the science of music whose experts recognize Ratilekhā terminologyरतिलेखेति नामतः

8.[structural] ⇄ganaila is a fourfold classification or grouping॥ इति गणैलाचतुष्टयम् ॥

9.[structural] ⇄Ratilekhā has eleven mātrās in each of the first two feetयस्यामङ्घ्रिद्वये मात्रा रुद्रसङ्ख्यास्तृतीयके

10.[structural] ⇄Ratilekhā is characterized by gaṇa (rhythmic pattern) named ratiरत्याख्यगणसम्मिताः

11.[structural] ⇄mūrchanā bindu is a characteristic that fills or crowds the pāda groupingत्रिपदं पादसंख्यानं मूर्छनाबिन्दुसङ्कुलम्

12.[structural] ⇄gamaka should be made sthita (slow) according to elā prescriptionस्थितं [च] गमकं कुर्यादेतदेलासु लक्षणम्

English attestations (12)

1.[attribution]Mātrailā varieties are attributed to Vallabhamātrailā spoken of by Vallabha

2.[attribution]Saṅkarailā doctrine is attributed to Matanga Munithe elā spoken of by Matanga Muni becomes sankara (mixed).

3.[definition]Saṅkarailā occurs when the fourth foot is elaborated like the third footIf the fourth foot 'grows' (gets elaborated) like the third foot, then the elā spoken of by Matanga Muni becomes sankara (mixed).

4.[definition]dhātu refers to tonal-and-rhythmic structure in musicendowed with dhātu58 (tonal-cum-rhymthic structure)

5.[definition]mātu refers to text or textual component in musical compositionendowed with dhātu58 (tonal-cum-rhymthic structure) (and) mātu59 (text)

6.[enumeration]Mātrailā has four varieties: Ratilekhā, kāmalekhā, bāṇalekha, and candralekhāRatilekhā, kāmalekhā, bāṇalekha and similarly candralekhā are (the varieties of) mātrailā spoken of by Vallabha.

7.[relation]gītaśāstra is the science of music whose experts recognize Ratilekhā terminologythis (elā) is given the name ratilekhā by the experts in the science of music (gītaśāstra).

8.[structural]ganaila is a fourfold classification or groupingThus ends the fourfold ganaila.

9.[structural]Ratilekhā has eleven mātrās in each of the first two feetWhere there are rudra55 numbered (eleven) mātrās in (each of the first) two feet

10.[structural]Ratilekhā is characterized by gaṇa (rhythmic pattern) named ratimeasured according to the gaņa named rati57 (and) endowed with dhātu58 (tonal-cum-rhymthic structure)

11.[structural]mūrchanā bindu is a characteristic that fills or crowds the pāda groupinga group of three padas (textual-cum-melodic units) which is brimming with mūrchanā bindu (?),52

12.[structural]gamaka should be made sthita (slow) according to elā prescriptionthe gamaka should be made sthita53 (slow?); this is the prescription in respect of elās.

← II p121 index II p123 →