bhinnaṣaḍja raga_name

TRANSLATION 133 I will tell you a complete description in essence. First the two grāmas have been spoken of and then the grāma-rāgas born of them. (9) Bhāṣāsare born of grāma-rāgasand vibhāṣās of bhāṣās and similarly from vibhāṣās are born antara-bhāṣās. ¹² (10) [The number and nomenclature of bhāṣās pertaining to grāma-rāgas] In ṭakka-rāga, there are ten and two (twelve) (bhāṣās); some hold them to be sixteen. After this, eight are said to obtain in mālava-kaiśika. (11) In kakubha, seven have been said to be there, five are known to be there in hindolaka, ten are well-known in pañcama, nine are known in bhinnaṣaḍja. (12) In sauvīrākā, on the other hand, there are four, in bhinna-paūcāma four, in boţṭa-rāga even so there is one and similarly in mālavapañcama (one). (13) Three are born of takkakaišika and two are there in vesara-ṣāḍava, similarly one in bhinnatāna and one is there in gāndhārapañcama. (14) There is one in pañcamaṣāḍava and thus bhāṣās and vibhāṣās have been said to be seventy-three in total. (15) Understand the names and descriptions of bhāṣās. Travaṇā is the first one and travaṇodbhavā the second one, veranjikā is the third one and chevāṭī the fourth. Mālavesarikā is the fifth one to be used there. Gūrjarī is the sixth, similarly saurāṣṭrī is the seventh and the eighth one is saindhavī, similarly

BRHADDEŚĪ 166 कैशिकी पञ्चमन्यासा ९॰मध्यमांशा निदुर्बला । मध्यमधैवतयानं बाहुल्यं पञ्चमस्य तु ॥ ॰मात्र एषा ९१भाषा तु सङ्कीर्णा नित्यं पञ्चमसम्भवा ॥ १०२॥ उदाहरणम् -पामाधानिधापापा पा धा नी धा धा धा मा मा माधामाधाधानीसासारिरीपापा माधा- मा ध म ध ध मा मा धा नि रि पा पा । कैशिकी । [१०] एता याष्टिकनिर्दिष्टा भाषा दश च पञ्चमे ॥ १०३॥ एकादश [६. अथ भिन्नषड्ज?] अतःपरं प्रवक्ष्यामि भाषा वै भिन्नषड्जके ॥ १०४॥ भि(न? न्न)॰ धैवतांशा तदन्ता च पञ्चमर्षभवर्ज?िता । षड्जगान्धारसञ्चारा भित्रषड्ज? प्रयोक्तृभिः॥ पञ्चमस्य एषा हि शुद्धा^९२ विज?्ञेया षड्जहीनौडुवा [?]भवेत्^९३॥ १०५॥ विशुद्धा उदाहरणम्-धाधामागामागगसनिसनिसनिधनिधा धा नि मा मा गा मा ग सा नि ध नि नि धा धा नि सा ध ॰पा मा म ध म गा ग म सा सा सा गा मा गा स नि नि नि धा धा धा गा म ध मा गा स ग स गा मा ग म ध म ध सा गा सा सा मा धा (म्प? म) ^.मामासासानिधानिधानीगासानिधानिधा । सानिनिनसनिधाधाधानिधाममधमधमसागामधा विशुद्धा^१४। [१] धैवतांशा धैवतान्ता षड्जधैवतसङ्गता । षड्जधैवतयोश्चैवर्षभमध्यमयोगीतिः॥ ॰योस्तु+ऋपफ ॰स्तथा ^९५विभाषा दाक्षिणात्या च देशाख्या ^९७षड्जसम्भवा ॥ १०६॥ ^९६पाडवा चेयं

TRANSLATION ¹⁹³ Illustration - Māmapāmā pāpānidhādhā nipāpānipamā risānidhāpāmā. Sāmādhāni dhāpāpāsāpānigārisā ninīsānisānidhāmā mānidhāpāpā. Āndhrī [v] Gāndhārī has gāndhāra as aṁśa (and) pancama as the concluding note, is complete; (this) vibhāṣā is sung in mālavapañcama in (the context of) ascending the top of a mountain. ¹⁶ (19) Illustration-Gāgāninidhā dhādhāniririgā pamāgari risanīsāsā. Dhādhāsādhāni. Sāgāsānidhāpāpā. Gāndhārī [vi] Thus end the bhāṣās in mālavapañcama according to the opinion of Sārdūla. [4. Now in bhinnaṣaḍja] Trāvaņī and şadjabhāṣā, mālavī, similarly gūrjarī, bāhyaṣāḍavā, kausalī, gāndhārī, svaravallitā, lalitā, niṣādavatī, tumburu, gāndhāralalitā, kaliṅgā and śuddhā and madhyamā, similarly pārvatī (these are the bhāṣās in bhinnaṣaḍja). (20-21) Trāvaṇī bears a regional name, 17 has dhaivata as the concluding note and is with sparse şadja. (22) Illustration - Riridhādhādhanī nīdhādhā. Madhāniridhā dhāninisānini dhādhānidhāmādhā. Niridhādhāmadhādhāmiririnigāmāgādhāmarīsānidhāmidhā nidhāmāmadhā niniridhādhā. Trāvaņī [i] Combined with dhaivata as the initial and concluding note, having sparse sa (ṣaḍja), ṣaḍja bhāṣā is a mūlabhāṣā that is hexatonic and is sung in the worship of deities.¹⁸ (23) Illustration - Dhānidhādhā. Sānidhādhā. Samānidhā. Māgāgāmā. Nidhādhā. Gāmāgāmā. Gamādhādhā. Garisānidhā. Pamāmā. Pāmādhānī. Dhādhā. Ṣaḍjabhāṣā [ii]

VIMARŠA 313 62. 'Ascent' and 'descent' alongwith 'high and low' seem to be repetitive, because high is reached in ascent and low is reached in descent. 63. See note 22, 23. 64. 'Nāyaka' seems to refer to a clan of singers, rather than a chief, leader or general. The association of 'auspicious occasions' does not match the other meanings (See Vol. III). 65. The region Mālava could be relevant here. It is identified in two ways - "1. Its capital was Dhārā-nagara at the time of Rājā Bhoj. Its former capital was Avanti or Ujjayini. Before the 7th or 8th century, the country was called Avanti; 2. the country of the Mālavas or Mallas, the capital of which was Multan" (Nando Lal De). 66. 'Bhinnapañcama' is misplaced here. 67. Bāhyaṣāḍavikā is the same as bāhyaṣāḍavā, just like bālā and bālikā being two grammatical forms, with no change in meaning. 68. Nādākhyā, meaning the one called nāda, is a peculiar name, incorporating a fundamental word like nāda. 69. The criterion of giving the label sankīrņā is not clear. 70. 'Sādhāraņakṛtā' implies the use of antara - kākalī. 71. 'Sakarāga' is misplaced here. 72. The flexibility of bhāṣā is indicated here, which is a very important statement. 73. The viniyoga (āhava) suggests fighting and yajña as two possibilities; the contrast between the alternatives is very striking indeed. [B. Bhāṣā - lakṣaṇa according to Šārdūla] 1. The direct relation of a vibhāṣā with a rāga rather than through a bhāṣā is notable. 2. Direct relation of a bhāṣā with a grāma is an unusual and rare reference. 3. It has not been possible to identify the region associated with dohyā 4. 'Sārdūlī' is a typical name associated with an authority on music. 5. 'Alaghu' could be the word from which 'alaghvi' is formed; but no region by the name 'alaghu' is known. 'Alavi' could be taken to bear proximity to this name; it has been identified as "Airwa, an ancient Buddhist town, twenty-seven miles north - east of Itwah (Itawa)" (Nando Lal De). 6. This is a peculiar situation from life. 7. The nature of the 'order' is not known.

VIMARŠA 313 62. 'Ascent' and 'descent' alongwith 'high and low' seem to be repetitive, because high is reached in ascent and low is reached in descent. 63. See note 22, 23. 64. 'Nāyaka' seems to refer to a clan of singers, rather than a chief, leader or general. The association of 'auspicious occasions' does not match the other meanings (See Vol. III). 65. The region Mālava could be relevant here. It is identified in two ways - "1. Its capital was Dhārā-nagara at the time of Rājā Bhoj. Its former capital was Avanti or Ujjayini. Before the 7th or 8th century, the country was called Avanti; 2. the country of the Mālavas or Mallas, the capital of which was Multan" (Nando Lal De). 66. 'Bhinnapañcama' is misplaced here. 67. Bāhyaṣāḍavikā is the same as bāhyaṣāḍavā, just like bālā and bālikā being two grammatical forms, with no change in meaning. 68. Nādākhyā, meaning the one called nāda, is a peculiar name, incorporating a fundamental word like nāda. 69. The criterion of giving the label sankīrņā is not clear. 70. 'Sādhāraņakṛtā' implies the use of antara - kākalī. 71. 'Sakarāga' is misplaced here. 72. The flexibility of bhāṣā is indicated here, which is a very important statement. 73. The viniyoga (āhava) suggests fighting and yajña as two possibilities; the contrast between the alternatives is very striking indeed. [B. Bhāṣā - lakṣaṇa according to Šārdūla] 1. The direct relation of a vibhāṣā with a rāga rather than through a bhāṣā is notable. 2. Direct relation of a bhāṣā with a grāma is an unusual and rare reference. 3. It has not been possible to identify the region associated with dohyā 4. 'Sārdūlī' is a typical name associated with an authority on music. 5. 'Alaghu' could be the word from which 'alaghvi' is formed; but no region by the name 'alaghu' is known. 'Alavi' could be taken to bear proximity to this name; it has been identified as "Airwa, an ancient Buddhist town, twenty-seven miles north - east of Itwah (Itawa)" (Nando Lal De). 6. This is a peculiar situation from life. 7. The nature of the 'order' is not known.