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Bṛhaddeśī · Volume I
pp. 124–125folio 071
Devanāgarī
BRHADDES!
चित्रायामनागतो ग्रहः। [ वृत्तौ समग्रहः, दक्षिणायां चातीतग्रहः।
.त्रे अना. गीतप्रयोगस्यादौ कलाचतुष्टये वाद्यग्रहयोग उपरिपाणिरुच्यते।1 गीतप्रयोगस्य सम- ] मभीक्ष्णं वा ] १९वाद्यग्रहयोगः [ समपाणिरुच्यते।6 अभिप्रवीं (?) ,प्रयोगः गीतप्रयोगस्य ] पश्चात् कलाचतुष्टयेऽतीते सति वाद्यग्रहयोगः सोऽधःपाणिरुच्यते ।7 तत्र [ दक्षिणायां ] मागधी नाम गीतिर्विपरीतयोजनया दृश्यते ।2 न् तद्यथा—दक्षिणे मार्गे प्रवृत्ता गीतिर्यदा•पा चित्रे प्रयुज्यते, तदा पृथुला गीतिर्मागधीत्युच्यते। [ वृत्तौ ] वृत्तिमार्गे च [ प्रवृत्ता गीतिर्यदा] चित्रे (मना ? मा)
प्रयुज्यते,यवा तदा सा सम्भावितामागधी सम्भाविताः मागधी-शब्दवाच्या द्विःपरिवृत्त8
•पाशब्दाः वादाव्या (?) क्रमेण योज्यते। यावद् दक्षिणे [ वार्तिक ] च चित्रे .मो•णा
मार्गे प्रयुज्यते। आवापादिक्रमेणाष्टधा चतुर्धा [ द्विधा ] चेति ।
,र्गःका.
[अनु॰ १११]
एवमुक्तं भवति। चित्रे च द्विमात्रा कला।14 [तद्भता च मागधी, ] सैव मागधी गीतिः [ यदा ] सम्भावितया गीत्या प्रयुज्यते तदा चतुर्मात्रिकवृत्ति— [ मार्ग - ] शब्देनोच्यते। यदा तु [ वृत्तिमार्गगता ] चिने सम्भाविता-शब्दवाच्या मागधी गीतिः द्विगुणिता अष्टमात्रा [ भवित मागधी गीतिः सम्भाविताशब्दवाच्या
तदा ] पृथुलाशब्दवाच्या दक्षिणमार्गे भवति।
त्रिस्त्रिनिवृत्तिस्त्रिरावृत्तिर्मागधीनीनीत्रि,। यथा देवमिति पदं गीत्वा प्रथमां कलां ,मा,∙मे निर्वाह्य विलम्बितलयेन, यदा द्वितीयां कलां मध्यमलयेन •वयेन (?) ,प्प,या .ला देवमित्यनेन पदेन शर्वीमिति सहितेन गायति, तत्रापि च तृतीयां यरदेन
English — Sharma (translation)
or arrangement of the taking up of instrumental rendering in four kalās 47 before the (beginning) of the performance of 'song' (gita) is called uparipani.148 The combination or arrangement of the taking up of instrumental rendering alongwith of at once (after) (the beginning of) the performance of 'song' is called samapāņi. The 'taking up' of instrumental rendering on the expiry of four kalās after the (beginning of) performance of 'song' is called adhaḥ pāṇi. In the context of dakşinā (vṛtti) the giti named māgadhi is seen in the reverse50 order.2 That is thus - when the giti begun in dakşina mārga is performed in citra51 mārga, then the pṛthulā gīti is known as māgadhī12 (gīti) in vṛtti (vṛtti). When the giti begun in vṛtti-mārga is used in citra mārga, then that sambhāvitā gīti is given the name māgadhī11 (that is) arranged in the order of twice 'return'58 or twice 'repetition'. The performance53 is just in daksiņa (mārga), vārtika (mārga) and citra m\bar{a}rga. In the order of \bar{a}v\bar{a}pa^{54} and the like (the duration of kal\bar{a}) is eight fold, fourfold and twofold (i.e. eight mātrās, four mātrās and two mātrās). (Anu. 111) Thus is being said - in citra (mārga), the kalā is composed of two mātrās.14 Magadhi is seated in that marga; the same magadhi giti, when used with sambhāvitā gīti, is (then) called by the name (word) vṛtti mārga made up of four mātras (for each kalā). When the māgadhi giti seated in vṛtti mārga called by the name (word) sambhāvitā becomes double in eight mātrā-(unit)s, then it is given the name (word) Pythulā in daksiņa mārga. Māgadhī is with three 'returns' (each time) (and hence) it is to be 'thrice returned'. As having sung the pada (word) devam (and) having accomplished the first kalā 55 with vilambita laya (slow tempo)13 when one sings the second kalā in madhyama laya (medium tempo)4 with 'devam' alongwith the pada 'sarvam', and there also (in the third kalā) one accomplishes the third kalā in druta laya (fast tempo)5 with the two padas 'devam sarvam' alongwith the pada 'vande'; thus is the filling of three kalās.
1.[definition] uparipani is the arrangement of instrumental rendering in four kalās before the beginning of song performanceगीतप्रयोगस्यादौ कलाचतुष्टये वाद्यग्रहयोग उपरिपाणिरुच्यते।
2.[definition] māgadhi is a giti seen in reverse order in the context of dakşinā vṛttiतत्र [ दक्षिणाया ] मागधी नाम गीतिर्विपरीतयोजनया दृश्यते ।
6.[definition] samapāņi is the combination of instrumental rendering along with or immediately after the beginning of song performanceगीतप्रयोगस्य सम- ] मभीक्ष्णं वा ] १९वाद्यग्रहयोगः [ समपाणिरुच्यते।
7.[definition] adhaḥ pāṇi is the taking up of instrumental rendering on the expiry of four kalās after the beginning of song performanceगीतप्रयोगस्य ] पश्चात् कलाचतुष्टयेऽतीते सति वाद्यग्रहयोगः सोऽधःपाणिरुच्यते ।
8.[definition] sambhāvitā gīti is a giti arranged in the order of twice return or twice repetitionतदा सा सम्भाविता मागधी-शब्दवाच्या द्विःपरिवृत्त
14.[structural] in citra mārga, the kalā is composed of two mātrāsएवमुक्तं भवति। चित्रे च द्विमात्रा कला।
1.[definition]uparipani is the arrangement of instrumental rendering in four kalās before the beginning of song performanceor arrangement of the taking up of instrumental rendering in four kalās before the (beginning) of the performance of 'song' (gita) is called uparipani.
2.[definition]māgadhi is a giti seen in reverse order in the context of dakşinā vṛttiIn the context of dakşinā (vṛtti) the giti named māgadhi is seen in the reverse order.
3.[definition]vilambita laya is a slow tempo used in the performance of the first kalāhaving accomplished the first kalā with vilambita laya (slow tempo)
4.[definition]madhyama laya is a medium tempo used in the performance of the second kalāwhen one sings the second kalā in madhyama laya (medium tempo)
5.[definition]druta laya is a fast tempo used in the performance of the third kalāone accomplishes the third kalā in druta laya (fast tempo)
6.[definition]samapāņi is the combination of instrumental rendering along with or immediately after the beginning of song performanceThe combination or arrangement of the taking up of instrumental rendering alongwith of at once (after) (the beginning) of the performance of 'song' is called samapāņi.
7.[definition]adhaḥ pāṇi is the taking up of instrumental rendering on the expiry of four kalās after the beginning of song performanceThe 'taking up' of instrumental rendering on the expiry of four kalās after the (beginning) of performance of 'song' is called adhaḥ pāṇi.
8.[definition]sambhāvitā gīti is a giti arranged in the order of twice return or twice repetitionthat sambhāvitā gīti is given the name māgadhī (that is) arranged in the order of twice 'return' or twice 'repetition'.
9.[enumeration]vārtika is one of the mārgas where giti performance occurs alongside dakşinā and citra mārgaThe performance is just in daksiņa (mārga), vārtika (mārga) and citra mārga.
10.[relation]citra mārga is a mārga where giti begun in dakşina mārga can be performed as māgadhīwhen the giti begun in dakşina mārga is performed in citra mārga, then the pṛthulā gīti is known as māgadhī
11.[relation]vṛtti-mārga is a mārga from which giti can be transferred to citra mārga as sambhāvitā gītiWhen the giti begun in vṛtti-mārga is used in citra mārga, then that sambhāvitā gīti is given the name māgadhī
12.[structural]dakşinā is a mārga (path/mode) in which giti can be performedThat is thus - when the giti begun in dakşina mārga is performed in citra mārga, then the pṛthulā gīti is known as māgadhī
13.[structural]māgadhi giti has three returns and is filled across three kalās with progressively faster temposMāgadhī is with three 'returns' (each time) (and hence) it is to be 'thrice returned'. As having sung the pada (word) devam (and) having accomplished the first kalā with vilambita laya (slow tempo)
14.[structural]in citra mārga, the kalā is composed of two mātrāsThus is being said - in citra (mārga), the kalā is composed of two mātrās.