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Bṛhaddeśī · Volume II
pp. 312–313folio 165
Bṛhaddeśī
to the south of the Vindhya range."...... At one time Maharashtra was synonymous with Deccan" (Nando Lal De). 42. 'Loka' has been translated here as 'people'. 43. See notes 22, 23. 44. Trāvaņa or travaņa is not known as a geographical name. 45,46. There is a difference between the two statements - one prescribing the omission of pancama and ṛṣabha and the other prescribing the omission of sadja in addition to pancama (?). Moreover, to and fro movement between ṣaḍja-gāndhāra is prescribed and hence the omission of şadja would not be valid. 47. For dākṣiṇātyā see note 41. 48. Lalitā is a well-known manifestation of Devī. Lalitāsahasranāma is very popular, specially in South India. It is notable that this bhāṣā is prescribed in the panegyric of Lalita.3 The implication is that it is accorded a place in music devoted to gods. 49.See notes 22,23. 50. The ascription of divinity to this bhāṣā and the mention of its being dear to the deity is notable (See Vol. III). 51. Kalinga is "a country lying on the south of Orissa and north of Dravida on the border of the sea" (Nando Lal De). Today 'Kalinga' is supposed to be almost synonymous with 'Orissa'. 52. Pañcama rāga is mentioned here, while bhāṣās of bhinnaṣaḍja are being described.8 53. Pulinda is again the name of an ethnic group. 54. Only şadja has been mentioned in the place of bhinnaşadja due to the demand of metre.11 55. It is notable that sauviri bearing the same name as its root, the Sauvīra rāga, is said to be a mūlabhāṣā.1 56. See note 15. 57. This is the first time that a specific rasa is mentioned for a bhāṣā. 58. See note 22, 23. đ 59. Vidyādhara is known to be a "kind of supernatural being (dwelling in the Himalayas, attending upon Siva, and possessed of magical power)" (Monier Williams). They are depicted in sculpture and painting as having beard. 60,61. Sphurita is the second among the fifteen kinds of gamakas described in SR III. 87-93. The speed of shake prescribed for it is equal to one-third of a druta unit which is equal to 21/2 winks of the eye or short syllables. Laghuin tāla is equal to five short syllables and druta is half of that. The prescription of fast, medium and slow tempii is notable.
translation
VIMARŠA 62. 'Ascent' and 'descent' alongwith 'high and low' seem to be repetitive, because high is reached in ascent and low is reached in descent. 63. See note 22, 23. 64. 'Nāyaka' seems to refer to a clan of singers, rather than a chief, leader or general. The association of 'auspicious occasions' does not match the other meanings (See Vol. III). 65. The region Mālava could be relevant here. It is identified in two ways - "1. Its capital was Dhārā-nagara at the time of Rājā Bhoj. Its former capital was Avanti or Ujjayini. Before the 7th or 8th century, the country was called Avanti; 2. the country of the Mālavas or Mallas, the capital of which was Multan" (Nando Lal De). 66. 'Bhinnapañcama' is misplaced here. 67. Bāhyaṣāḍavikā is the same as bāhyaṣāḍavā, just like bālā and bālikā being two grammatical forms, with no change in meaning. 68. Nādākhyā, meaning the one called nāda, is a peculiar name, incorporating a fundamental word like nāda.4 69. The criterion of giving the label sankīrņā is not clear.9 70. 'Sādhāraņakṛtā' implies the use of antara - kākalī.10 71. 'Sakarāga' is misplaced here. 72. The flexibility of bhāṣā is indicated here, which is a very important statement. 73. The viniyoga (āhava) suggests fighting and yajña as two possibilities; the contrast between the alternatives is very striking indeed. [B. Bhāṣā - lakṣaṇa according to Šārdūla]2 1. The direct relation of a vibhāṣā with a rāga rather than through a bhāṣā is notable.7 2. Direct relation of a bhāṣā with a grāma is an unusual and rare reference. 3. It has not been possible to identify the region associated with dohyā 4. 'Sārdūlī' is a typical name associated with an authority on music.5 5. 'Alaghu' could be the word from which 'alaghvi' is formed; but no region by the name 'alaghu' is known. 'Alavi' could be taken to bear proximity to this name; it has been identified as "Airwa, an ancient Buddhist town, twenty-seven miles north - east of Itwah (Itawa)" (Nando Lal De). 6. This is a peculiar situation from life. 7. The nature of the 'order' is not known.
1.[attribution] Sauviri is classified as a mūlabhāṣā (root bhāṣā)It is notable that sauviri bearing the same name as its root, the Sauvīra rāga, is said to be a mūlabhāṣā.
3.[citation] Lalitāsahasranāma is a popular text, especially in South IndiaLalitāsahasranāma is very popular, specially in South India. It is notable that this bhāṣā is prescribed in the panegyric of Lalita.
6.[relation] Sauvīra rāga shares the same name as its root, sauviriIt is notable that sauviri bearing the same name as its root, the Sauvīra rāga, is said to be a mūlabhāṣā.
8.[structural] Bhinnaṣaḍja is a classification of bhāṣā whose melodic modes omit certain scale degreesPañcama rāga is mentioned here, while bhāṣās of bhinnaṣaḍja are being described.
11.[structural] In the context of bhinnaṣaḍja bhāṣās, only śadja is mentioned in place of bhinnaśadja due to metrical demandsOnly şadja has been mentioned in the place of bhinnaşadja due to the demand of metre.
1.[attribution]Sauviri is classified as a mūlabhāṣā (root bhāṣā)sauviri bearing the same name as its root, the Sauvīra rāga, is said to be a mūlabhāṣā.
2.[attribution]Šārdūla is an authority on music whose views on bhāṣā-lakṣaṇa are documented[B. Bhāṣā - lakṣaṇa according to Šārdūla]
3.[citation]Lalitāsahasranāma is a popular text, especially in South IndiaLalitāsahasranāma is very popular, specially in South India.
4.[definition]Nādākhyā is a peculiar name that incorporates the fundamental word nādaNādākhyā, meaning the one called nāda, is a peculiar name, incorporating a fundamental word like nāda.
5.[definition]Sārdūlī is a typical name associated with an authority on music'Sārdūlī' is a typical name associated with an authority on music.
6.[relation]Sauvīra rāga shares the same name as its root, sauvirisauviri bearing the same name as its root, the Sauvīra rāga, is said to be a mūlabhāṣā.
7.[relation]Vibhāṣā relates directly to a rāga rather than through a bhāṣāThe direct relation of a vibhāṣā with a rāga rather than through a bhāṣā is notable.
8.[structural]Bhinnaṣaḍja is a classification of bhāṣā whose melodic modes omit certain scale degreeswhile bhāṣās of bhinnaṣaḍja are being described.
9.[structural]The criterion for assigning the label sankīrņā is unclearThe criterion of giving the label sankīrņā is not clear.
10.[structural]Sādhāraņakṛtā implies the use of antara-kākalī'Sādhāraņakṛtā' implies the use of antara - kākalī.
11.[structural]In the context of bhinnaṣaḍja bhāṣās, only śadja is mentioned in place of bhinnaśadja due to metrical demandsOnly şadja has been mentioned in the place of bhinnaşadja due to the demand of metre.