vol_I_p054 — Bṛhaddeśī

Bṛhaddeśī · Volume I

pp. 1–91folio 054

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Devanāgarī

BRHADDESI (२४)आवर्तकः परिवर्तकः (२५) उद्घट्टितः (२६) आक्षेप्तकः

(२३)

(२७) संप्रदानः (२८) हसितः (२९) हुंकारः (३०) सन्धिप्रच्छादनः (३१) विध्तः(धिन ? धुतः)

(३२) उद्गीतः (३३) गात्रवर्णश्चेति।

[अनु₀ ७०]

इदानीमेतेषामलङ्काराणां लक्षणमुच्यते।⁵ तद्यथा— मन्द्रादारभ्य कि ो मेणारोहणंoसाo यावदसौतारगति प्रसन्नादिः। मन्द्रशब्देन प्रसन्नध्वनिरुच्यते। यथा—सा री गा मा पा धा

नी सा इति प्रसन्नादिः।

[अनु₀ ७१]

तारादारभ्यावरोहक्रमेण [ ममन्द्रपर्यन्तं ] प्रसन्नान्तः। यथा—सानीधापामागारीसा |इति प्रसन्नान्तः। २ |

[अनु॰ ७२]

यत्राद्यन्तयोः प्रसन्नः, मध्ये च तारः स भ्यप्रसन्नाद्यन्तः। यथा— सारीगामापाधानीसासरिगमधन(सा)

[३]

सानी धापामागारीनिध प म गरि सा इति प्रसन्नाद्यन्तः ।

अनु₀ ७३ यत्र मन्द्रो मध्येग आद्यन्तयोश्च तारः, स प्रसन्नमध्यः⁹। यथा— सा नी धा पा मा गा री सा, सा री गा मा पा धा नी सा इति प्रसन्नमध्यः 14 । [ ४ ]

[अनु₀ ७४]

स्थानत्रयेऽपिस्व सदृशध्विनः सप्तस्वरोच्चारणः समः³। एतदुक्तं भवति— यस्य यावत्यः श्रुतयः स स्थानित्रतयेषु तावच्छूतिक एव कार्यः। यथा— सरिगमपधनीति [ अथवा ] द्वयोर्द्वयोः स्वरयोः संवादिनोरुच्चारणात् समः। तद्यथा— सम सप रिधा गनी [ ति ] 15ग्रामभेदेमध्यमग्रामे तु सम रिप गनीति विशेषः⁷। इति समः ।। ५ ।

English — Sharma (translation)

Udghaisita (rubbed, pressed or shaken upwards) (26) Ākṣiptaka (thrown down) (27) Sampradāna (the act of giving or bestowing), (28) Hasita (laughter), (29) Hunkāra (the 'hum' sound) (30) Sandhipracchādana (covering the joint or juncture) (31) Vidhuta (shaken off) (32) Udgita (sung, celebrated) (33) Gātravarṇa (the colour of the body). (Anu. 70) Now the definition of these alankāras is being given (said).⁵ That is thus—the gradual ascent beginning from 'low' upto the starting point of 'high' is (known as) prasannādi.¹27 By the word mandra28 is denoted the low sound. As - sā nī gā mā pā dhā nī sā.29

(1)

Thus is (ends) prasannādi. (Anu. 71) Beginning from tara 30 (high) and (reaching) upto mandra (low) is prasannānta.² As - sā³¹ nī dhā pā mā gā nī sā. Thus is (ends) prasannānta.

(2)

(Anu. 72) Where there is 'low' in the beginning and end and 'high' in the middle, that is prasannādyanta.⁸ As - sā rī gā mā pā dhā nī sā, 52 sā nī dhā pā mā gā rī

(3)

sā. Thus is (ends) prasannādyanta. (Anu. 73) Where there is 'low' in the middle and 'high' in the beginning and end, that is prasannamadhya.⁹ As - sā 33 ní dhā pā mā gā rī sā, sā rī gā mā pā dhā ni

(4)

sā.34 Thus is (ends) prasannamadhya. (Anu. 74) The pronunciation (sounding) of the seven svaras with a similar sound in the three registers is sama.³ This is being said. (A svara) should be made (sounded) in the three registers with the same number of śrutis 35 as it is composed of (originally).¹⁰ As - sa ri ga ma pa dha ni - thus (it is). Or, sama (comes into being) on account of the pronunciation of pairs of samvādin (consonant) svaras.⁶ That is as - sama sapa ridha gani (thus). When the grāma changes (to madhyamagrāma, then) sama, ripa, gani - thus is the special (5) (structure of pairs). Thus is (ends) sama.

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Sanskrit attestations (7)

3.[definition] ⇄sama is the pronunciation of seven svaras with similar sound in three registersस्थानत्रयेऽपि सदृशध्विनः सप्तस्वरोच्चारणः समः

4.[enumeration]These thirteen terms are enumerated as alankāras (ornamentations) for which definitions are to followपरिवर्तकः (२५) उद्घट्टितः (२६) आक्षेप्तकः आवर्तकः (२३) (२७) संप्रदानः (२८) हसितः (२९) हुंकारः (३०) सन्धिप्रच्छादनः (३१) विध्तः (धिन ? धुतः) (३२) उद्गीतः (३३) गात्रवर्णश्चेति।

5.[enumeration]Definitions of prasannādi, prasannānta, prasannādyanta, prasannamadhya, and sama are being providedइदानीमेतेषामलङ्काराणा लक्षणमुच्यते।

6.[relation] ⇄sama arises from pronunciation of pairs of samvādin (consonant) svarasद्वयोर्द्वयो स्वरयो संवादिनोरुच्चारणात् समः

7.[relation] ⇄madhyamagrāma causes structural changes in sama pairs compared to other grāmasग्रामभेदे तु सम रिप गनीति विशेषः

8.[structural] ⇄prasannādyanta is characterized by low at beginning and end with high in the middleयत्राद्यन्तयो प्रसन्नः, मध्ये च तारः स भ्यप्रसन्नाद्यन्तः

9.[structural] ⇄prasannamadhya is characterized by low in the middle and high at beginning and endयत्र मन्द्रो मध्ये आद्यन्तयोश्च तारः, स प्रसन्नमध्यः

English attestations (10)

1.[definition]prasannādi is defined as gradual ascent beginning from low up to the starting point of highthe gradual ascent beginning from 'low' upto the starting point of 'high' is (known as) prasannādi.

2.[definition]prasannānta is defined as descending progression beginning from high and reaching lowBeginning from tara 30 (high) and (reaching) upto mandra (low) is prasannānta.

3.[definition]sama is the pronunciation of seven svaras with similar sound in three registersThe pronunciation (sounding) of the seven svaras with a similar sound in the three registers is sama.

4.[enumeration] ⇄These thirteen terms are enumerated as alankāras (ornamentations) for which definitions are to followUdghaisita (rubbed, pressed or shaken upwards) (26) Ākṣiptaka (thrown down) (27) Sampradāna (the act of giving or bestowing), (28) Hasita (laughter), (29) Huṇkāra (the 'hum' sound) (30) Sandhipracchādana (covering the joint or juncture) (31) Vidhuta (shaken off) (32) Udgita (sung

5.[enumeration] ⇄Definitions of prasannādi, prasannānta, prasannādyanta, prasannamadhya, and sama are being providedNow the definition of these alankāras is being given (said).

6.[relation]sama arises from pronunciation of pairs of samvādin (consonant) svarassama (comes into being) on account of the pronunciation of pairs of samvādin (consonant) svaras.

7.[relation]madhyamagrāma causes structural changes in sama pairs compared to other grāmasWhen the grāma changes (to madhyamagrāma, then) sama, ripa, gani - thus is the special (structure of pairs).

8.[structural]prasannādyanta is characterized by low at beginning and end with high in the middleWhere there is 'low' in the beginning and end and 'high' in the middle, that is prasannādyanta.

9.[structural]prasannamadhya is characterized by low in the middle and high at beginning and endWhere there is 'low' in the middle and 'high' in the beginning and end, that is prasannamadhya.

10.[structural]A svara should be sounded in three registers with the same number of śrutis as originally composed(A svara) should be made (sounded) in the three registers with the same number of śrutis 35 as it is composed of (originally).

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