kampita technical_term

⁸⁹ TRANSLATION (manifested) in the bodily²¹ (v\bar{i}n\bar{a}). That is why it has been said that just as these (varṇas) exist (in the bodily viṇ\bar{a}), similarly do they bring (themselves) into effect (on the wooden vin\bar{a}); this meaning is inherent in the mention of sanra^{22} (bodily) svaras (in the verse of NS quoted above). So has been said - These four varnas should be known as the constructors23 of melodic (NŚ XXIX, ¹⁹ab) rendering. [Thus end the varnas] [The Alankaras] (Anu. ⁶⁸) Now the well-known thirty-three 24 alankāras are being described by name and application. What is spoken of through the word alankara and what is its etymology? It is being answered. Ornament25 is being spoken of by the word alaṅkāra. Just as a man or woman adorned with a bracelet on the forearm, middle-arm and the like, bears beauty (becomes beautiful), similarly the singing that subsists in varņas (and is) adorned by these alankāras (known as) prasannādi and the like, becomes delightful to the performers and listeners. And the etymology is like this—the root 'du krñ' in the meaning of doing or making bears the prefix alam (sufficient or adequate) and (the word) alaṅkāra (derived thereby) means that which makes something sufficient or adequate. This word alankara has the end-suffix ghan. (Anu. ⁶⁹) The names²⁶ of alankāras are being said (1) Prasannādi (having prasanna or mandra i.e. lower svaras in the beginning), (2) prasannānta (having the lower svaras in the end), (3) prasannādyanta (having the lower svaras in the beginning and end), (4) prasannamadhya (having the lower svaras in the middle, (5) sama (equal), (6) bindu (lit. dot or anusvāra, nasal sound marked by a dot above the line), (7) Nivittapravitta (one whose setting forth has been withheld), (8) Veņu (the bamboo flute), (9) Kampita (the shaken one), (10) Kuharita (with a cavity or hole) (11) Recita (the purged or emptied one, or a specific pace of a horse) (12) Prenkholita (the swinging one) (13) Tāramandraprasanna (having high and low svaras) (14) Mandratāraprasanna (having low, high and low svaras) (15) Prastāra (permutation or extension), (16) Prasāda (clarity or brightness or graciousness) (17) Udvāhita (held upwards or lifted up) (18) Upalolaka (constantly moving or restless) (19) Krama (a specific order or sequence), (20) i Nișkūjita (the cooed one), (21) Hrādamāna (the thundering or roaring or sounding one), (22) Ranjita (the coloured or delighted one) (23) Avartaka (the rotating one), (24) Parivartaka (moving to and fro, changing), (25)

⁹³ TRANSLATION (Anu. ⁷⁵) Where, having 'stayed' (stopped) for a long time at one svara in the form of șadja and the like, having touched the octave36 (tara) of that like fire and having stayed there for one (short) time-unit³⁷ (kalā), suddenly the 'low' (svara) (6) is reached, that is bindu. As - sā sa - sā. Thus is (ends) bindu. (Anu. ⁷⁶) Having touched (a svara) for the interval of one kalā (time-unit), on account of the pronunciation of (svaras) in the reverse order of bindu, (the alaṅkāra) named nivīttapravītta (comes into being). As - sā sā sā. thus ends (7) nivṛttapravṛtta. (Anu. ⁷⁷) Veņu is with seven kalās 40 (phrases) in the order of ascent and descent, like ākrīḍita 11 (playful way?). sarigamapadhani nidhapamagarisa. Thus is (ends) veņu. (8) (Anu ⁷⁸) On account of the shake of (svara having) three srutis in the lower heptad, kampita (is formed), that is composed of three kalās (time-units). As - (9) sarigamapadhanisa,42 thus is (ends) kampita. (Anu. ⁷⁹) On account of the shake of (svara having) three śrutis 43 in the middle heptad kuharita (is formed), that is composed of three kalās. As - (10) sarigamapadhanisa.44 Thus is (ends) kuharita. (Anu. ⁸⁰) On account of the shake of (svara having) three śrutis in the higher heptad, recita (is formed), that is composed of three kalās. As - (11) sarigamapadhanisa ⁴⁵ Thus is (ends) recita. (Anu. ⁸¹) Prenkholita is with fourteen kalās 16 (phrases) on account of 'going' (ascent) and 'coming' (descent) of (groups of) two or more svaras, in equal temporal