raktagāndhārī jati

E. ²⁷ TRANSLATION In gāndhārī, the two (svaras) that are not amśas viz. ṛṣabha, dhaivata are always to be omitted respectively (for making ṣāḍava and auḍava forms). Şadja and pañcama are to be known as the two apanyāsas. One should move from dhaivata to ṛṣabha. In raktagāndhārī, almost everything is like this (gãndhārī), but madhyama is apanyāsa. Dhaivata and niṣāda have to be accorded abundant usage. Sañcāra (to and fro movement) is to be rendered in this (jāti) between ṣaḍja and gāndhāra by the performers. (222-224) Gāndhārodīcyavā is mostly similar to şadjodīcyavatī. Şadja and madhyama are the two amsas and the auduvita (pentatonic) form is not desirable in it. (225) In madhyamā there are five amśas, excepting the two svaras composed of two śrutis each (viz. gāndhāra-niṣāda). These two are omitted for (forming the ṣāḍava and auḍuva) varieties respectively i.e. ṣāḍava is formed by omitting gåndhåra and auduva by omitting gåndhåra-niṣāda. Şadja and madhyama are abundant. (226) Madhyamodīcyavā is like gāndhārodīcyavā. It is always made of seven svaras; pañcama is amsa in it. (227) In pañcamī, ṛṣabha and pañcama have been said by the gurus to be aniśas. These two alongwith niṣāda are apanyāsa and there is the sangati (concert) between madhyama and ṛṣabha. Ṣaḍja, madhyama and gāndhāra are sparse.

ş ⁴¹ TRANSLATION "Şadjamadhyamā is not desired to be with six svaras when the seventh (niṣāda) is the aṁśa, because of the non-omission of the samvādī (of the amsa); similarly it is not desired to be so when gandhara (is the amsa). In gāndhārī, raktagāndhārī and kaiśikī, pañcama should be known as a-ṣāḍava (non-ṣāḍava) and in ṣaḍjā (jātī) the aṁśa gāndhāra should be known as such. O twice-born ones! when dhaivata is the aṁśa in ṣadjodīcyā there is no ṣāḍava (form) because of the non-omission of the samvādī. These seven (amśas) are devoid of the state of making six svara forms. In gāndhārī and raktagāndhārī, şadja, madhyama, pañcama and the seventh (niṣāda) should be known to be such as disallowing the formation of auduvita. In șadja-madhyamā, two amśas, viz. gāndhāra and niṣāda, in pañcamī ṛṣabha, similarly dhaivata in kaiśiki - these twelve should be avoided in making pentatonic (forms). These jātis should always be treated as anauduvita (non- pentatonic), when based on the above svaras.

1 ⁶¹ TRANSLATION gā gama pā padha mā dhani pā pā (7) rī gā sā sadha nī nī dhā dhā (8) gā riga sā sani gā riga sā sā (9) sã sã sã mã mani dhani nĩ nĩ (10) mā pā mā pariga gā gā sā sā (11) gã sã gã sã mã pã mã pariga (12) gã gã gã gã gã gã sã (13) ni ni pā dhā ni gā gā gā (14) ni ni dhā pā dhā pā mā pā (15) dhã pã mã mã mã mã mã mã (16) Thus ends gändhärodīcyavatī. [3. Raktagāndhārī] Five svaras excepting dhaivata and ṛṣabha are amśas in raktagāndhārī. The proximity and combination of șadja and gāndhāra is brought about by leaping over rşabha. (7) The hexatonic and pentatonic forms are said to come into being with the omission of rşabha and rşabha-dhaivata respectively. There is the abundance of niṣada and dhaivata. Pañcama as amsa is averse to the hexatonic form. (8) Ṣaḍja, niṣāda, madhyama and pañcama are averse to the pentatonic form. Ṣaḍja and gāndhāra are in concert. (The tāla) paūcapāṇi and the like are as in şādjī. The mūrchanā beginning with ṛṣabha obtains. (9) The application is (prescribed) in the dhruvā pertaining to the third act. (10) Gāndhāra is the nyāsa in this (jāti). Madhyama is the apanyāsa. The prastāra is thus – pā nī sā sā gā sā pā nī (1) sã sã pã pã mã mã gã gã (2) mã pã dhã pã mã pã dhapa maga (3)

1 ⁶¹ TRANSLATION gā gama pā padha mā dhani pā pā (7) rī gā sā sadha nī nī dhā dhā (8) gā riga sā sani gā riga sā sā (9) sã sã sã mã mani dhani nĩ nĩ (10) mā pā mā pariga gā gā sā sā (11) gã sã gã sã mã pã mã pariga (12) gã gã gã gã gã gã sã (13) ni ni pā dhā ni gā gā gā (14) ni ni dhā pā dhā pā mā pā (15) dhã pã mã mã mã mã mã mã (16) Thus ends gändhärodīcyavatī. [3. Raktagāndhārī] Five svaras excepting dhaivata and ṛṣabha are amśas in raktagāndhārī. The proximity and combination of șadja and gāndhāra is brought about by leaping over rşabha. (7) The hexatonic and pentatonic forms are said to come into being with the omission of rşabha and rşabha-dhaivata respectively. There is the abundance of niṣada and dhaivata. Pañcama as amsa is averse to the hexatonic form. (8) Ṣaḍja, niṣāda, madhyama and pañcama are averse to the pentatonic form. Ṣaḍja and gāndhāra are in concert. (The tāla) paūcapāṇi and the like are as in şādjī. The mūrchanā beginning with ṛṣabha obtains. (9) The application is (prescribed) in the dhruvā pertaining to the third act. (10) Gāndhāra is the nyāsa in this (jāti). Madhyama is the apanyāsa. The prastāra is thus – pā nī sā sā gā sā pā nī (1) sã sã pã pã mã mã gã gã (2) mã pã dhã pã mã pã dhapa maga (3)

1 ⁶¹ TRANSLATION gā gama pā padha mā dhani pā pā (7) rī gā sā sadha nī nī dhā dhā (8) gā riga sā sani gā riga sā sā (9) sã sã sã mã mani dhani nĩ nĩ (10) mā pā mā pariga gā gā sā sā (11) gã sã gã sã mã pã mã pariga (12) gã gã gã gã gã gã sã (13) ni ni pā dhā ni gā gā gā (14) ni ni dhā pā dhā pā mā pā (15) dhã pã mã mã mã mã mã mã (16) Thus ends gändhärodīcyavatī. [3. Raktagāndhārī] Five svaras excepting dhaivata and ṛṣabha are amśas in raktagāndhārī. The proximity and combination of șadja and gāndhāra is brought about by leaping over rşabha. (7) The hexatonic and pentatonic forms are said to come into being with the omission of rşabha and rşabha-dhaivata respectively. There is the abundance of niṣada and dhaivata. Pañcama as amsa is averse to the hexatonic form. (8) Ṣaḍja, niṣāda, madhyama and pañcama are averse to the pentatonic form. Ṣaḍja and gāndhāra are in concert. (The tāla) paūcapāṇi and the like are as in şādjī. The mūrchanā beginning with ṛṣabha obtains. (9) The application is (prescribed) in the dhruvā pertaining to the third act. (10) Gāndhāra is the nyāsa in this (jāti). Madhyama is the apanyāsa. The prastāra is thus – pā nī sā sā gā sā pā nī (1) sã sã pã pã mã mã gã gã (2) mã pã dhã pã mã pã dhapa maga (3)

1 ⁶¹ TRANSLATION gā gama pā padha mā dhani pā pā (7) rī gā sā sadha nī nī dhā dhā (8) gā riga sā sani gā riga sā sā (9) sã sã sã mã mani dhani nĩ nĩ (10) mā pā mā pariga gā gā sā sā (11) gã sã gã sã mã pã mã pariga (12) gã gã gã gã gã gã sã (13) ni ni pā dhā ni gā gā gā (14) ni ni dhā pā dhā pā mā pā (15) dhã pã mã mã mã mã mã mã (16) Thus ends gändhärodīcyavatī. [3. Raktagāndhārī] Five svaras excepting dhaivata and ṛṣabha are amśas in raktagāndhārī. The proximity and combination of șadja and gāndhāra is brought about by leaping over rşabha. (7) The hexatonic and pentatonic forms are said to come into being with the omission of rşabha and rşabha-dhaivata respectively. There is the abundance of niṣada and dhaivata. Pañcama as amsa is averse to the hexatonic form. (8) Ṣaḍja, niṣāda, madhyama and pañcama are averse to the pentatonic form. Ṣaḍja and gāndhāra are in concert. (The tāla) paūcapāṇi and the like are as in şādjī. The mūrchanā beginning with ṛṣabha obtains. (9) The application is (prescribed) in the dhruvā pertaining to the third act. (10) Gāndhāra is the nyāsa in this (jāti). Madhyama is the apanyāsa. The prastāra is thus – pā nī sā sā gā sā pā nī (1) sã sã pã pã mã mã gã gã (2) mã pã dhã pã mã pã dhapa maga (3)

PÄŢHAVIMARŚA 257 मन्द्रामन्द्रतरैस्तारस्थानगैर्ललितैः स्वरैः । 19. cf. S.Rāj 11. 2.1.33 ab. भिन्ना तु सूक्ष्मैर्मधुरैर्गमकैरन्विता स्वरैः । 20. cf. तारमन्द्रगतैर्वक्रैर्विकृतैः परिकीर्त्तिता ॥ S.Rāj II.2.I.34. 21, 22. Reconstruction based on c.r. in Sudhā on SR II. 1.2-5, p.5. 23. C.r. in ibid. The lack of sandhi between 'nyāsa' and 'ohāṭī' is notable. 24. C.r. in ibid. 25, 26, 27, 28. Reconstruction based on ibid. 29. This line has been added from ibid. In p.t. this line occcurs in the context of gaudarāgas. 30. After this p.t. adds the following lines which are out of place and have, therefore, been dropped by us: प्रयोगेश्च दूतैः कार्या मिश्रामिश्रेश्च मालवैः । ईपत्प्रकम्पितैः किञ्चिद्वलितैस्तारदीपितैः ॥ सोच्छ्वासैः खण्डखण्डैश्च भित्रा गीतिरुदाहता । + ++ + + + + + ओहाडी(टी)परिगीयते ॥ 31. cf. वर्णचतुष्केऽपि स्थाय्यादिवर्णचतुष्टयेऽपि अतिरक्तितो रक्त्यतिशयवशाद् वेगवद्भि शीघ्रप्रयोगवद्भि स्वरैर्युता रागगीतिः रागाश्रयभूता गीतिर्वेगस्वरेत्यन्वर्थसंज?्ञिका बुधैर्मतङ्गादिभिर्वेसरा च वेसरसंज?्ञिता चोच्यते । Kalā on SR II. 1. 6,7,p.6. 32. This verse has been repeated in Anu. 19, as a citation from Kaśyapa. Sudhā on SR.II. 1.6,7, p. 6,7 also ascribes it to Kaśyapa. 33. Reconstruction based on c.r. in Sudhā on SR II. 6,7,p.7. This c.r. has a slight variation in the first foot of this verse as - ‘prayoge masṛṇaiḥ ’. 54.P.t. adds one line before this as - (तु ? स्व)रैः साधारणा गीतिर्गीतिज?्ञैः समुदाहता ? ॥ It is redundant and has been dropped by us. अनपेक्ष्यान्यजातीर्ये स्वजातिमनुवर्तका । 35. cf. स्वजात्युद्द्योतकाश्चैव ते शुद्धा परिकीर्तिता ॥ C.r. in Kalā on SR. II.2, after the illustration of śuddhasādhārita rāga, p.24, 25. We have replaced 'nirapekṣā 'of p.t. with 'anapekṣyā 'of c.r. as it is more idiomatic. 36. Extra reading in p.t. 37. cf. पर्मु रागेषु मुख्यत्वात् पाडवः, सप्तस्वरत्वेन पर्स्वरत्वासम्भवात् । ननु कथं पर्मु रागेषु मुख्योऽयम् ?उच्यते । पूर्वरङ्गे तु शुद्धपाडवः प्रयोक्तव्य इति वचनात् । C.r. in Sudhā on SR 11.2.74-76, p. 69.