avarohin technical_term

TRANSLATION ⁸⁹ The first alternative does not hold good. Why? Because of this rāga being complete (with seven svaras). Hence the second alternative alone is stronger. Why is it said to be prominent among the six rāgas? Because of the statement that śuddhaṣāḍava should be used in the pūrvaraiga. On account of its abundant usage in pūrvaranga, this śuddhaṣāḍava has been indicated in the beginning. Suddhaṣāḍava is born of the modified madhyamā jāti. Its nyāsa is madhyama, which is also the aṁśa and gāndhāra is weak in it. (300) [ Anu. ¹⁶⁵ ] This means - suddhaṣāḍava is related to madhyamagrāma. Tāra (high) madhyama is its graha. Madhyama is the aṁśa and nyāsa and there is the sparseness of gāndhāra. Niṣāda and gāndhāra are kākalī and antara (here).33 It is endowed with all the svaras. It is used in the pūrvaranga. Madhyama is the vādin and ṣaḍja is the samvādin. Ŗṣabha and pañcama are the anuvādins. There is no vivādin. Śṛṅgāra and hāsya are the rasas. The mūrchanā beginning with madhyama obtains here. The avarohin (descending) varņa,34 prevails. Prasannānta is the alaṅkāra. It is sung in the three mārgas 36 of tāla The kalā³⁷ (time-unit) comes about in the dakṣiṇa (mārga), the kalā obtains in the vṛtti (mārga), the kalā prevails in the citra mārga. A tāla like caccatpuṭa 38 obtains in the svaras and padas (units of text). Ākṣiptikā..... [2. Suddhapañcama] ^********* [ Anu. ¹⁶⁶ ] Šuddhapancama is known to be born of şadjodicyavatī jāti. --------------------------------------- [3. Šuddhasādhārita] It is with sadja as amsa, madhyama as nyāsa, the svaras with two śrutis (gāndhāra and niṣāda) are sparse and similarly, born of ṣaḍjamadhyamā jāti is the śuddhasādhārita. (301) A Section of the second section of the section of the section of the section of the section of the section of the section of the section of the section of the section of the section of the section of the section of the sec

⁸⁷ TRANSLATION When in the gita (melodic rendering) the svaras move (to and fro) in mutual7 (directions) along with the last one8 (of the preceding phrase forming the beginning of the succeeding phrase), or two by two, that is known as the (119) sañcārin⁹ (circulatory) varņa. (Anu. ⁶⁵) Just as in mālavakaišika-sāsā sanipa pani nipa nisā sādharīpā pani nini; in various (phrases) like this, on account of mutual movement (the sañcārin varņa is formed). (Anu. ⁶⁶) Where the svaras of the gita ascend one by one or with intervening gaps, that varņa is called ārohin (ascending). Just as in mālavapancama - pāpasa, dharī sama ripa mapa mapadha māmā pasāri sāsama māpā rigā sā dhani pāri mama dhani nini pāri mama dhani pādhani riripā — thus on account of 'mutual'10 (gapless) ascent or with a gap of one or two svaras the arohin (ascending) varņa (comes into being). Where the svaras descend in one order alone, that is called avarohin with (120) 'equal' (gapless) svaras (or) with gaps. pāma mamagā gaga mama mari riri ri pāmā mama papā papa pa māmama nini dhadha papa pama gagā riri ninidhā pāpā — thus is avarohin varņa on account of 'mutual' (gapless) descent or with a gap of one or two svaras. Hence it has been said - "These varnas ought to be known for the sake of the structuring" of alankāras and the like, as being born of svaras produced by the human body 12 (and) adorned by repetition13 (in the) three registers." (NŚ XXIX. 17) (Anu. ⁶⁷) How is varna brought about? It is being answered. When the svaras stretch the syllable¹⁴ due to the demand¹⁵ of melodic rendering through (their) steadiness, circulatory movement, ascent (and) descent, then varņa (pattern of melodic movement) is effected. Just as, in śādjī (jātī) the sthāyin (steady) varņa (is illustrated by) sāsāsā 16. Sancārin (circulatory varņa) is there, as in dhaivatī (jātī) — dhā 17 dhā nidha padha mā mā mā. Ārohin (ascending varņa) (is illustrated) in nandayantī — 18 gā gā gā pā pā dhapa mā, dhā dhā dhā dhā nī sani nidha, pā pā pā pā pā pā pā. Avarohin (descending varņa) is (illustrated) there itself (in nandayanti) with svaras that are equal (gapless) or are having gaps — 19pā pā pā pā pā pā pā pā, dhā nī mā pā gā gā gā. These varņas obtain also in the wooden20 (viņā), just as they are