ārohin technical_term

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

¹¹³ TRANSLATION Sampradana is said here to be in the order of a gap after each svara; 105 (it is) like ākṣipta, with svaras that approach or reach another106 kalā (time-unit) in (158) due course. ¹⁰⁷ Hasita (is known as such as it) is pronounced in a manner similar to ¹ laughter; it is dvikala 108 and pronounced twice, it should be known like ākşiptaka (159) by the wise, being made up of gapless svaras. (That which) ascends in gapless svaras like hasita with three or four svaras (in each phrase) in ekakala 109 (form), should be known as one named huṅkāra. (160) Sandhipracchādana is indeed with upward110 'throw' in a (specific) order; it is catușkala¹¹¹ (with four kalās) (and) comes back in two svaras after ascending (161) another sthana (register). ¹ In the beginning, after having pronounced a pada 112 (syllabic unit) where there is a short varna 113 (?) composed of two svaras and (which) ascends in one (162) kalā (phrase) without a gap that is vidhuta. In the beginning it is arohin; (like) prastara where there is descent according to definite measure (pramāṇa),114 that is said to be udgīta alaṅkāra. (163) One should ascend (in) gapless svaras like huṅkāra in the other two kalās (phrases) there are two svaras each that are shaking 115 and then there are two (164) lower svaras. Thus should be known gatravarna in the prescription (vidhi) of varna and alaṅkāra. With ākāra 116 and okāra other long syllables should also be combined. (165) ı Thus has been indicated the prescription about alankarana (ornamentation or the act of 'making adequate') pertaining to the alankara of gita (melodic rendering). The giti musical rendering should be ornamented with these (166) without conflicting with the varna.¹¹⁷ One should 'do' (use) an alaṅkāra at the proper place; one should not tie the kānci (ornament for the waist) on the bosom. There could be many (167) alankāras, they should not be used without varņa.118