vol_I_p051 — Bṛhaddeśī

Bṛhaddeśī · Volume I

pp. 84–85folio 051

Devanāgarī (Bṛhaddeśī)

मपधनिसरिगमपधनिस । अश्वक्रान्ता ६⁵ पधनिसरिगमपधनिसरि । अभिरुद्गता [ ७ ]⁶

[अनु₀ ६३]

'मध्यमग्रामेऽप्येवमेव मपधनिसरिगाद्या मूर्छना निसरिगमपधाद्या <math>[:]^{95}</math>रागकाले द्वादशस्वरमूर्छना अवगन्तव्याः । ताश्च षड्जग्रामे <math>[:]^{95}</math> मूर्छनासु अन्तर्गता ज्ञेयाः । तद्यथा— निसरिगमपधनिसरिगम। सौवीरी [१]⁸ सरिगमपधनिसरिगमप। हरिणाश्वा [२]⁹ रिगमपधनिसरिगमपध। कलोपनता [३]¹⁰

[8]

गमपधनिसरिगमपधनि। शुद्धमध्या¹¹ मपधनिसरिगमपधनिस। मार्गी¹²

[4]

[६]

पधनिसरिगमपधनिसरि। पौरवी¹³

[૭]

धनिसरिगमपधनिसरिग। हृष्यका¹⁴ ॥ इति मध्यमग्रामे ॥ [ इति ग्राममूर्छनाप्रकरणम् ]⁷ VI [ वर्णालंकारप्रकरणम् ]¹⁵

[तत्र वर्णाः]

अतः परं प्रदर्श्यन्ते वर्णाश्चत्वार एव हि। स्थायिसंचारिणौ चैव तथाऽऽरोह्यवरोहिणौ।। ११८।।³² [ अनु₀ ६४ ]. वर्णशब्देननन् किमुच्यते ? वर्णशब्देन गानमभिधीयते। यत्र समाः स्वरा अनुपहतरूपास्तिष्ठन्ति तेभ्यो यद्गीतं वर्णाभिव्यक्तिकृद्त् यत्र पदे स वर्णः स्थायीत्युच्यते। यथा—

षाङ्ज्यांषज्जा1षड्जात सासासासा,सारीसासारीसा मध्यमायां तु मामामामा इति।

य्यत्र गीते संचरिन्त स्वराः परस्परमन्त्यसहिताः।

एकैकशो [ द्विशो ] वा स संचारी वर्ण उच्यते।। ११९ ॥

shifted sequence table

ṣaḍjagrāma mūrcchanā (continuation: rows 6-7) — Continuation at top of page of the seven mūrcchanās of ṣaḍjagrāma; closes with 'iti ṣaḍjagrāme'. Rows 1-5 appear on the preceding page.

Pattern: +1 starting svara per row (cyclic on sa-ri-ga-ma-pa-dha-ni) · omitted:

svaras · label · index

— iti ṣaḍjagrāme

shifted sequence table

madhyamagrāma mūrcchanā (seven mūrcchanās) — Anu. 63: madhyamagrāme'pyevamevam ... seven mūrcchanās of madhyamagrāma, each a 14-svara cyclic sequence; closes with 'iti madhyamagrāme' then 'iti grāmamūrcchanāprakaraṇam'.

Pattern: +1 starting svara per row (cyclic on sa-ri-ga-ma-pa-dha-ni), starting from ni for row 1 · omitted:

svaras · label · index

— [ anu° 63 ] ... iti madhyamagrāme

English — Sharma

ordered sequence list

mūrchanā — named mūrchanās of ṣaḍja-grāma and madhyama-grāma (Bharata enumeration)

uttaramandrā

rajanī

uttarāyatā

śuddhaṣaḍjā

matsarīkṛtā

aśvakrāntā

abhirudgatā

sauvīrī

hariṇāśvā

kalopanatā

śuddhamadhyā

mārgavī

pauravī

hṛṣyakā

— The (named) mūrchanās of the two grāmas

Thus end (the mūrchanās with twelve svaras) in şadjagrāma. (Anu. 63) In madhyamagrāma also, it is the same; the mūrchanās beginning with ma-pa- dha-ni-sa-ri-ga begin with ni-sa-ri-ga-ma-pa-dha (when they are formed with 12 svaras). During the performance of raga, murchanas should be known to be composed of twelve svaras. They should be known to be included in the

Thus end (the mūrchanās with twelve svaras) in madhyamagrāma. [Thus ends the section on grāma-mūrchanā]⁷ VI [Section on Varņas and Alankāras]

[The Varnas]

After this (now) are demonstrated the varnas 1 (patterns of melodic movement) that are verily four only; viz. sthāyin (steady), sancārin (circulatory), (118) ārohin (ascending) and avarohin (descending).³² (Anu. 64) (Contention) what is spoken of by the word varna? (Answer) The act of singing² is spoken of by the word varņa. Where svaras are equal³ and stay unimpeded4, the gita5 (melodic rendering) born out of them, that is the manifestor of varņa (unit of melodic movement) in a given pada6 (textual unit), that varņa is called sthāyin (steady). Just as sāsāsāsā in the ṣāḍjī (jātī) and māmāmāmā in the madhyamā (jāti).

← I p050 index I p052 →

Sanskrit attestations (13)

2.[enumeration] ⇄Varņas are four in number: sthāyin (steady), sancārin (circulatory), ārohin (ascending), and avarohin (descending)अतः परं प्रदर्श्यन्ते वर्णाश्चत्वार एव हि। स्थायिसंचारिणौ चैव तथाऽऽरोह्यवरोहिणौ।। ११८।।

3.[enumeration]Sthāyin and sancārin are two of the four types of varņas (melodic patterns)स्थायिसंचारिणौ चैव तथाऽऽरोह्यवरोहिणौ।। ११८।।

5.[structural]Aśvākrāntā is a mūrchanā (melodic pattern) in śadjagrāma composed of the svaras ma-pa-dha-ni-sa-ri-ga-ma-pa-dha-ni-saम प ध नि स रि ग म प ध नि स । अश्वक्रान्ता ६

6.[structural]Abhirudgatā is a mūrchanā in śadjagrāma composed of the svaras pa-dha-ni-sa-ri-ga-ma-pa-dha-ni-sa-riप ध नि स रि ग म प ध नि स रि । अभिरुद्गता [ ७ ]

7.[structural]The section on grāma-mūrchanās (melodic patterns within grāmas) is concluded at this point॥ इति मध्यमग्रामे ॥ [ इति ग्राममूर्छनाप्रकरणम् ]

8.[structural]Sauvīrī is a mūrchanā in madhyamagrāma composed of the twelve svaras ni-sa-ri-ga-ma-pa-dha-ni-sa-ri-ga-maनिसरिगमपधनिसरिगम। सौवीरी [१]

9.[structural]Hariņāśvā is a mūrchanā in madhyamagrāma composed of the twelve svaras sa-ri-ga-ma-pa-dha-ni-sa-ri-ga-ma-paसरिगमपधनिसरिगमप। हरिणाश्वा [२]

10.[structural]Kalopanatā is a mūrchanā in madhyamagrāma composed of the twelve svaras ri-ga-ma-pa-dha-ni-sa-ri-ga-ma-pa-dhaरिगमपधनिसरिगमपध। कलोपनता [३]

11.[structural]Suddhamadhyā is a mūrchanā in madhyamagrāma composed of the twelve svaras ga-ma-pa-dha-ni-sa-ri-ga-ma-pa-dha-niगमपधनिसरिगमपधनि। शुद्धमध्या

12.[structural]Mārgī is a mūrchanā in madhyamagrāma composed of the twelve svaras ma-pa-dha-ni-sa-ri-ga-ma-pa-dha-ni-saमपधनिसरिगमपधनिस। मार्गी

13.[structural]Pauravi is a mūrchanā in madhyamagrāma composed of the twelve svaras pa-dha-ni-sa-ri-ga-ma-pa-dha-ni-sa-riपधनिसरिगमपधनिसरि। पौरवी

14.[structural]Hṛṣyakā is a mūrchanā in madhyamagrāma composed of the twelve svaras dha-ni-sa-ri-ga-ma-pa-dha-ni-sa-ri-gaधनिसरिगमपधनिसरिग। हृष्यका

15.[structural]A new section on varņas (melodic patterns) and alankāras (ornamental elaborations) begins at this pointVI [ वर्णालंकारप्रकरणम् ]

English attestations (13)

1.[definition]A varņa is the singing (gita) in which equal svaras remain unimpeded, manifesting varņa in a given textual unit (pada)Where svaras are equal3 and stay unimpeded4, the gita5 (melodic rendering) born out of them, that is the manifestor of varņa (unit of melodic movement) in a given pada6 (textual unit), that varņa is called sthāyin (steady).

2.[enumeration]Varņas are four in number: sthāyin (steady), sancārin (circulatory), ārohin (ascending), and avarohin (descending)After this (now) are demonstrated the varnas 1 (patterns of melodic movement) that are verily four only; viz. sthāyin (steady), sancārin (circulatory), (118) ārohin (ascending) and avarohin (descending).

3.[enumeration] ⇄Sthāyin and sancārin are two of the four types of varņas (melodic patterns)After this (now) are demonstrated the varnas 1 (patterns of melodic movement) that are verily four only; viz. sthāyin (steady), sancārin (circulatory), (118) ārohin (ascending) and avarohin (descending).

4.[relation]During rāga performance, mūrchanās should be known to be composed of twelve svaras and included within śadjagrāma mūrchanāsDuring the performance of raga, murchanas should be known to be composed of twelve svaras. They should be known to be included in the mūrchanās of şadjagrāma (?).64

7.[structural] ⇄The section on grāma-mūrchanās (melodic patterns within grāmas) is concluded at this pointThus end (the mūrchanās with twelve svaras) in madhyamagrāma. [Thus ends the section on grāma-mūrchanā]

8.[structural] ⇄Sauvīrī is a mūrchanā in madhyamagrāma composed of the twelve svaras ni-sa-ri-ga-ma-pa-dha-ni-sa-ri-ga-maSauvīrī (1) ni-sa-ri-ga-ma-pa-dha-ni-sa-ri-ga-ma.

9.[structural] ⇄Hariņāśvā is a mūrchanā in madhyamagrāma composed of the twelve svaras sa-ri-ga-ma-pa-dha-ni-sa-ri-ga-ma-paHariņāśvā (2) sa-ri-ga-ma-pa-dha-ni-sa-ri-ga-ma-pa.

10.[structural] ⇄Kalopanatā is a mūrchanā in madhyamagrāma composed of the twelve svaras ri-ga-ma-pa-dha-ni-sa-ri-ga-ma-pa-dhaKalopanatā (3) ri-ga-ma-pa-dha-ni-sa-ri-ga-ma-pa-dha.

11.[structural] ⇄Suddhamadhyā is a mūrchanā in madhyamagrāma composed of the twelve svaras ga-ma-pa-dha-ni-sa-ri-ga-ma-pa-dha-niSuddhamadhyā (4) ga-ma-pa-dha-ni-sa-ri-ga-ma-pa-dha-ni.

12.[structural] ⇄Mārgī is a mūrchanā in madhyamagrāma composed of the twelve svaras ma-pa-dha-ni-sa-ri-ga-ma-pa-dha-ni-saMārgī (5) ma-pa-dha-ni-sa-ri-ga-ma-pa-dha-ni-sa.

13.[structural] ⇄Pauravi is a mūrchanā in madhyamagrāma composed of the twelve svaras pa-dha-ni-sa-ri-ga-ma-pa-dha-ni-sa-riPauravi (6) pa-dha-ni-sa-ri-ga-ma-pa-dha-ni-sa-ri.

14.[structural] ⇄Hṛṣyakā is a mūrchanā in madhyamagrāma composed of the twelve svaras dha-ni-sa-ri-ga-ma-pa-dha-ni-sa-ri-gaHṛṣyakā (7) dha-ni-sa-ri-ga-ma-pa-dha-ni-sa-ri-ga.

15.[structural] ⇄A new section on varņas (melodic patterns) and alankāras (ornamental elaborations) begins at this pointVI [Section on Varņas and Alankāras]

← I p050 index I p052 →