vol_I_p026 — Bṛhaddeśī

Devanāgarī

. u [नि इति षड्जग्रामेस संवादिमण्डलम् ]रिग

[अनु. २२]

संवादिप्रयोगो यथा— यस्मिन् गीते योऽशत्वेन परिकल्पितः षड्जस्तस्य स्थाने मध्यमः क्रियमाणो रागहा न भवेत्⁴ । यस्मिन् स्थाने मूर्छनावशात्

मध्यमः प्रयुक्तः¹ग्र तस्मिन् स्थाने क्रियमाणः षड्जो जातिरागहा न भवेत्⁵।

षड्जपञ्चमयोः स्थाने पञ्चमषड्जौ प्रयुज्यमानौ जातिरागहानिकरौ न भवतः । एवम् ऋषभधैवतयोः स्थाने धैवतर्षभी प्रयुज्यमानौ जातिराग- विनाशकरौ न भवतः। एवं गान्धारनिषादयोः स्थाने निषादगान्धारौ 17[ प्रयुज्यमानौ जातिरागहानिं न कुरुतः । ] 18ककुभस्य धैवतांशत्वेन⁹ 19रेवगुप्तस्य ऋषभांशत्वेन¹⁰ तदुभयरागजनन्याश्चार्षभीजातेऋिषभांशपरिग्रहात् परस्परसम्बद्धौ च प्रयुज्यमानौ

जातिरागविनाशकरौ न भवतः⁶ ।

English — Sharma (translation)

sa n ni ga dha ma pa Thus ends the Samvādi-mandala. (Anu. 22) The use of samvadin is thus-⁸ The sadja that is accepted as amsa (fundamental note) in a gita (melodic structure), in the place of that (if) madhyama (is used) it does not destroy the rāga (melodic matrix).⁴ The location on which madhyama is used in accordance with the mūrchanā¹,40 on the same location (if) şadja is used, it does not destroy the jāti or rāga. In the place of şadja and pañcama (if) pañcama-şadja are used, they do not destroy the jāti and rāga. Similarly dhaivata-rṣabha being used in the place of rabha-dhaivata do not become the destroyers of jāti and rāga. Similarly niṣāda-gāndhāra being used in the place of gāndhāra-niṣāda do not bring about a loss of jāti and rāga. Kakubha being with dhaivata amśa, and revagupta being with ṛṣabha aṃśa¹⁰ and ārṣabhī jāti, the mother of both of them³, having taken up ṛṣabha as amía, these two (dhaivata and rṣabha) when used as being mutually related, do not become the destroyers of jāti or rāga.

Sanskrit attestations (9)

1.[relation]Mūrchanā is a principle that governs the placement or usage of notes in a melodic context.यस्मिन् स्थाने मूर्छनावशात् मध्यमः प्रयुक्तः

2.[relation]The Sadja-grama is the context or framework within which the Samvādi-mandala section is situated.इति षड्जग्रामे संवादिमण्डलम्

4.[relation]When the fundamental note (amśa) in a melodic structure is sadja, madhyama can replace it without destroying the rāga.यस्मिन् गीते योऽशत्वेन परिकल्पितः षड्जस्तस्य स्थाने मध्यमः क्रियमाणो रागहा न भवेत्

5.[relation]When madhyama is placed according to mūrchanā principle, sadja can replace it without destroying the jāti or rāga.यस्मिन् स्थाने मूर्छनावशात् मध्यमः प्रयुक्तः तस्मिन् स्थाने क्रियमाणः षड्ज?ो ज?ातिरागहा न भवेत्

6.[relation] ⇄Kakubha and revagupta, when used as mutually related pairs, do not destroy the jāti or rāga.परस्परसम्बद्धौ च प्रयुज?्यमानौ ज?ातिरागविनाशकरौ न भवतः

7.[structural]Samvādi-mandala is a section or chapter in the Brihaddesi that concludes with this phrase.इति षड्जग्रामे संवादिमण्डलम्

8.[structural] ⇄The use of samvadin notes is the subject of this section, explained through rules of substitution.संवादिप्रयोगो यथा—

9.[structural] ⇄Kakubha is a jāti characterized by having dhaivata as its fundamental note (amśa).ककुभस्य धैवतांशत्वेन

10.[structural] ⇄Revagupta is a jāti characterized by having ṛṣabha as its fundamental note (amśa).रेवगुप्तस्य ऋषभांशत्वेन

English attestations (9)

1.[relation] ⇄Mūrchanā is a principle that governs the placement or usage of notes in a melodic context.The location on which madhyama is used in accordance with the mūrchanā

2.[relation] ⇄The Sadja-grama is the context or framework within which the Samvādi-mandala section is situated.Thus ends the Samvādi-mandala.

3.[relation]Ārṣabhī jāti is the mother jāti from which both Kakubha and revagupta are derived.and ārṣabhī jāti, the mother of both of them

4.[relation] ⇄When the fundamental note (amśa) in a melodic structure is sadja, madhyama can replace it without destroying the rāga.The sadja that is accepted as amsa (fundamental note) in a gita (melodic structure), in the place of that (if) madhyama (is used) it does not destroy the rāga (melodic matrix).

6.[relation]Kakubha and revagupta, when used as mutually related pairs, do not destroy the jāti or rāga.these two (dhaivata and ṛṣabha) when used as being mutually related, do not become the destroyers of jāti or rāga.

7.[structural] ⇄Samvādi-mandala is a section or chapter in the Brihaddesi that concludes with this phrase.Thus ends the Samvādi-mandala.

8.[structural]The use of samvadin notes is the subject of this section, explained through rules of substitution.The use of samvadin is thus-

9.[structural]Kakubha is a jāti characterized by having dhaivata as its fundamental note (amśa).Kakubha being with dhaivata aṁśa

10.[structural]Revagupta is a jāti characterized by having ṛṣabha as its fundamental note (amśa).and revagupta being with ṛṣabha aṃśa