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87
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<b>TRANSLATION</b>
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When in the gita (melodic rendering) the svaras move (to and fro) in
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mutual7 (directions) along with the last one8 (of the preceding phrase forming
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the beginning of the succeeding phrase), or two by two, that is known as the
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(119)
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sañcārin9 (circulatory) varņa.
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(Anu. 65)
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Just as in mālavakaišika-sāsā sanipa pani nipa nisā sādharīpā pani nini; in
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various (phrases) like this, on account of mutual movement (the sañcārin varņa
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is formed).
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(Anu. 66)
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Where the svaras of the gita ascend one by one or with intervening gaps,
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that varņa is called ārohin (ascending). Just as in mālavapancama - pāpasa,
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dharī sama ripa mapa mapadha māmā pasāri sāsama māpā rigā sā dhani pāri
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mama dhani nini pāri mama dhani pādhani riripā — thus on account of
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'mutual'10 (gapless) ascent or with a gap of one or two svaras the arohin
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(ascending) varņa (comes into being).
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Where the svaras descend in one order alone, that is called avarohin with
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(120)
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'equal' (gapless) svaras (or) with gaps.
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pāma mamagā gaga mama mari riri ri pāmā mama papā papa pa māmama
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nini dhadha papa pama gagā riri ninidhā pāpā — thus is avarohin varņa on
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account of 'mutual' (gapless) descent or with a gap of one or two svaras.
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Hence it has been said -
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"These varnas ought to be known for the sake of the structuring" of
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alankāras and the like, as being born of svaras produced by the human body 12
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(and) adorned by repetition13 (in the) three registers." (NŚ XXIX. 17)
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(Anu. 67)
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How is varna brought about? It is being answered. When the svaras stretch
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the syllable<sup>14</sup> due to the demand<sup>15</sup> of melodic rendering through (their)
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steadiness, circulatory movement, ascent (and) descent, then varņa (pattern of
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melodic movement) is effected.
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Just as, in śādjī (jātī) the sthāyin (steady) varņa (is illustrated by) sāsāsā 16.
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Sancārin (circulatory varņa) is there, as in dhaivatī (jātī) — dhā 17 dhā nidha
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padha mā mā mā. Ārohin (ascending varņa) (is illustrated) in nandayantī
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— 18 gā gā gā pā pā dhapa mā, dhā dhā dhā dhā nī sani nidha, pā pā
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pā pā pā pā pā. Avarohin (descending varņa) is (illustrated) there itself (in
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nandayanti) with svaras that are equal (gapless) or are having gaps — 19pā pā
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pā pā pā pā pā pā, dhā nī mā pā gā gā gā.
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These varņas obtain also in the wooden20 (viņā), just as they are
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