sthāyin 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

95 TRANSLATION units (samakala). As - sari risa, riga gari, gama maga, mapa pama, padha dhapa, (12) dhani nidha, nisa sani. Thus is (ends) prenkholita. (Anu. 82) Where, having gone to the fourth or fifth svara from the amsa47 (beginning point of a given phrase), the lower (point) is again reached (returned to), that is tāramandra-prasanna.48 As—sarigamapasa, rigamapadhari, gamapadhaniga, mapadhanisama.49 Or, having gone to the higher (svara) from the lower one, the lower point is again suddenly reached (returned to), that is taramandra- (13) prasanna. (Anu. 83) Having suddenly reached the higher (svara) from the lower one, on account of gradual descent to the lower (initial svara) mandratāra-prasanna (comes into being). As - sapamagarisa, ridhapamagari, ganidhapamaga, masanidhapama. Or, having pronounced the higher (octave) svara after the lower svara, through gradual descent the low (svara) itself is reached, that is mandratāraprasanna. As - (14) sasanidhapamagarisa.50 Thus is (ends) mandratāraprasanna. (Anu. 84) Prastāra has two forms (obtaining in) the sthāyin (steady) and ārohin (ascending) (varna). Out of them, in the sthayin 51 (varna), one svara gradually ascends 'high' from itself and descends 'low'; and in the arohin (varna), prastara (is formed) by a svara that ascends 'high' from 'low' and descends. As - saririsa, sarigamapapamagarisa, sarigamamagarisa, sarigagarisa, sarigamapadhaninidhapamagarisa, sarigamapadhadhapamagarisa, sarigamapadhanisa 52 sanidhapamagarisa; Or, saririsa, rigagari, gamamaga, mapapama, padhadhapa, dhaninidha, nisasani. Thus is (ends) prastāra. (15) (Anu. 85) sanidhadhanisa, Prasada is the opposite of prastara. As - saninisa, sanidhapapadhanisa, sanidhapamamapadhanisa, sanidhapamagagamapadhanisa,