sādhāraņa technical_term

g., ⁸⁵ TRANSLATION with minute²⁶ kākus.²⁷ Thus sādhāraņī should be known to be the abode of all gitis. (²⁸⁴ - ²⁸⁵) [6. Bhāṣā gīti] This bhāṣā gīti is described by the experts in gīti as consisting of prayogas (melodic phrases?) that are rendered by the body (voice), are smooth, colourful with kākus, well composed, shaken, soft, brilliant, combined with mālavīkāku²⁸ attractive, and graceful. It is performed in the manner that delights the people. (²⁸⁶ - ²⁸⁷) [7. Vibhāṣā gīti] Vibhāṣā gīti should be composed with gamakas²⁹ that are attractive, numerous, brilliant, shaken, pertaining to the chest region, even, high and very high, smooth, in which madhyama shines forth in between, that are delightful to the ear and are attractive. This process of composition should be spontaneous and should take the course that delights the people. (288-289) [ Thus ends the description of gitis.] [ The number and nomenclature of ragas ] The lakṣaṇa (description) of gītis has been spoken of; now the number of rāgas is being stated. Five cokṣa (śuddha, pure rāgas) have been spoken of, the bhinna ones are of the same number. Gauda (rāgas) have been said to be three and rāgas (pertaining to rāga-gīti) have been said to be eight. Seven- sādhāraņa (rāgas) have been spoken of and here bhāṣās are sixteen. Vibhāṣās are only twelve and (now) know their names. (²⁹⁰ - ²⁹²)

BRHADDEŚĪ ¹¹⁶ [अनु॰ २००] अस्यार्थः -मालवकैशिको मध्यमग्रामसम्बन्धः कैशिकीज?ातेर्ज?ातत्वात् । षड्ज?ो ग्रहोंऽशो न्यासश्च । धैवतस्यात्राल्पत्वम् । प्रयोगे निषादोऽत्र काकली । पूर्णस्वरश्चायम् । ^८७विप्रलम्भे शृङ्गारे प्रयोगो काकलिः चास्य विनियोगः। वीरादिको रसः। षड्ज?ादिमूर्छना । आरोही वर्णः । अलङ्कारः प्रसन्नमध्यमः । दक्षिणे कला, वार्तिके कला, चित्रे कला । स्वरपदगीते चच्चत्पुटादितालः । [वेसराणा ग्रामविभागः] इदानी वेसराणा ग्रामविशेषो दर्श्यते - दुश्यते टक्करागश्च सौवीरस्तथा वै टक्ककेशिकः। बोट्टरागश्च षड्ज?ाख्ये भवेद् वेसरषाडवः ॥ ३२९॥ हिन्दोलकस्तु विज?्ञेयो मध्यमग्रामसम्भवः। मालवपञ्चमश्चैव मालवकैशिकस्तथा ॥ ३३०॥ इति वेसरका प्रोक्ता सर्वे निश्चितलक्षणा। स्वराणा दृश्यते वेगस्तेन वेगस्वराः स्मृताः ॥३३१॥ [ङ. साधारणरागाः] शुद्धा भित्राश्च गौडाश्च तथा वेगस्वराः परे । ^८८कथिताः साम्प्रतं ^८९वक्ष्ये सप्त साधारणांस्ततः ॥३३२॥ कथिता यत्र तान् [अनु॰ २०१] ननु साधारणाना कथं साधारणत्वम् ? उच्यते । पूर्वोक्ताना सर्वेषा रागाणा या गीतयस्ताभिर्ज?ायमान- (র্জী/র্জা) ॰मा त्वात् तेषा साधारणत्वम् ,एतत् साधारणगीत्या गीयमानत्वात् । तथा चाह कश्यपः - (র্জী?র্জা) ‘‘सप्त साधारणाः प्रोक्ताः ^९०सर्वगीतिसमाश्रयाः ।’’ पञ्च

³¹¹ VIMARŠA ²²,23. Nāga and kinnara are names of ethnic groups. Our text is the first one to mention ethnic names in the context of music. 24. Paurāla is not a known geographical name. One approximate name is paurava, "a country on the eastern bank of the jhelam including the Gujrat district, the original seat of the Purus, the kingdom of Porus who fought with Alexander " (Nando Lal De). Purālī was an ancient name of Travancore (ibid). 25. Harşapūra is not known as a geographical name. 26. \bar{A}bh\bar{i}ra is both a geographical and ethnic name. It is identified as "the south-eastern portion of Gujrat about the mouths of the Narmada" (Nando Lal De). 27. 'Samyoga' is another expression for sancara or sangati. 28. Kāmboja is identified as Afghanistan (Nando Lal De). 29. Sātavāhana or Sātavāha is "the name of a king fabled to have been discovered, when a child, riding a Gandharva called Sāta, who, according to one legend, was changed into a lion" (Monier Williams). Also known as Sālivāhana, the Śaka ruler who founded the Śaka era i.e samvat. 30. Gāndhāra and niṣāda are implied. 31. Chāyā is used while describing the resemblance of one rāga with another at a given point. 32. Kākalī is prescribed to be always sparse in the grāma system. The prescription here of kākalī being frequent is a notable departure. 33. Again the ethnic name kinnara appears here. See notes 22,23. 34. The basic name is hindola or hindolaka meaning a swing; its synonym is sometimes used to meet the exigency of metre. ³⁵. See note ²⁶. 36. Gāndharva is a rigorously guarded tradition. The inclusion of bhāṣā in this corpus is incongruous, unless gāndharva is taken to stand for music in general. 37. "Mangala - called also Mangali or Mangalapura, the capital of Udyāna, identified by Wilford with Mangora or Manglora. Cunningham thought it could be identified with Minglaur (Mangalore) " (Nando Lal De). 38. The word samvāda has been used here again for sancara or sangati. 39. The origin of this vibhāṣā is traced directly to pañcama rāga, where as it should really be related to a bhāṣā of that rāga. It is treated as a bhāṣā in SR and S Rāj. 40. Gändhärapañcama has been mentioned here under pañcama. 41. "Dākṣiṇātya is identified with Deccan; that part of India that lies