caccatpuṭa technical_term

TRANSLATION ⁸⁹ The first alternative does not hold good. Why? Because of this rāga being complete (with seven svaras). Hence the second alternative alone is stronger. Why is it said to be prominent among the six rāgas? Because of the statement that śuddhaṣāḍava should be used in the pūrvaraiga. On account of its abundant usage in pūrvaranga, this śuddhaṣāḍava has been indicated in the beginning. Suddhaṣāḍava is born of the modified madhyamā jāti. Its nyāsa is madhyama, which is also the aṁśa and gāndhāra is weak in it. (300) [ Anu. ¹⁶⁵ ] This means - suddhaṣāḍava is related to madhyamagrāma. Tāra (high) madhyama is its graha. Madhyama is the aṁśa and nyāsa and there is the sparseness of gāndhāra. Niṣāda and gāndhāra are kākalī and antara (here).33 It is endowed with all the svaras. It is used in the pūrvaranga. Madhyama is the vādin and ṣaḍja is the samvādin. Ŗṣabha and pañcama are the anuvādins. There is no vivādin. Śṛṅgāra and hāsya are the rasas. The mūrchanā beginning with madhyama obtains here. The avarohin (descending) varņa,34 prevails. Prasannānta is the alaṅkāra. It is sung in the three mārgas 36 of tāla The kalā³⁷ (time-unit) comes about in the dakṣiṇa (mārga), the kalā obtains in the vṛtti (mārga), the kalā prevails in the citra mārga. A tāla like caccatpuṭa 38 obtains in the svaras and padas (units of text). Ākṣiptikā..... [2. Suddhapañcama] ^********* [ Anu. ¹⁶⁶ ] Šuddhapancama is known to be born of şadjodicyavatī jāti. --------------------------------------- [3. Šuddhasādhārita] It is with sadja as amsa, madhyama as nyāsa, the svaras with two śrutis (gāndhāra and niṣāda) are sparse and similarly, born of ṣaḍjamadhyamā jāti is the śuddhasādhārita. (301) A Section of the second section of the section of the section of the section of the section of the section of the section of the section of the section of the section of the section of the section of the section of the sec

BŖHADDEŚĪ ⁹⁰ [अन्॰ ^१६७] अस्यार्थः -शुद्धसाधारितो रागः षड्जग्रामसम्बन्धः षड्जमध्यमाज?ातेरुत्पत्रत्वात्। तारषड्ज?ो ग्रहोंऽशश्च । मध्यमो न्यासश्च । निषादगान्धारयोरल्पत्वम् । पूर्णश्चायम् । गर्भसन्धौ विनियोगः । वीररौद्रादिको रसः । षड्ज?ादिमूर्छना । अवरोही वर्णः । प्रसन्नान्तोऽलङ्कारः । दक्षिणे कला । वृत्तौ कला , चित्रे कला (ति ? दि) स्वरपदगीते चच्चत्पुटादितालः। [४. शुद्धकैशिकमध्यमः] कैशिकीषड्जमध्याभ्या शुद्धकैशिकमध्यमः। ॰शुद्ध॰ षड्ज?ांशो मध्यमन्यासस्त्यक्तावृषभपञ्चमौ४१ ॥ ३०२॥ ॰क (स्त्रि ? त्रि) त्रुतिपञ्चमः [अनु॰ ^१६८] अस्यार्थः - शुद्धकैशिकमध्यमो रागः षड्जग्रामसम्बन्धः कैशिकीषड्जमध्याज?ातिभ्या^४२ ॰ ज?ात्योः समुत्पन्नत्वात् । ननु कैशिको मध्यमग्रामसम्बद्धा , षड्जमध्यमा षड्जग्रामसम्बन्धा, अत (ननु ?) उभयग्रामता[ऽ]स्तीति भावः।[ऋषभपञ्चमहीनत्वात् षड्जग्रामसम्बद्ध एवायम् , मध्यमग्रामे ऋषभपञ्चमयोर्लोपो नास्तीति भावः ।]^४३ तारषड्ज?ोऽस्य ग्रहोंऽशश्च । मध्यमो न्यासः । निषादगान्धारयोरल्पत्वम् । पञ्चमर्षभयोर्लोपः । निषादोऽत्र काकली, औडुवश्च । निर्वहणे चास्य काकलिपाडवश प्रयोगः । षड्ज?ादिमूर्छना । रौद्रवीरादिको रसः । प्रसन्नान्तोऽलङ्कारः । ..... [५. शुद्धकैशिकः ] ^४४षड्ज?ांशः ^४५पञ्चमन्यासः कैशिकीज?ातिसम्भवः। पड्ज?ांशैः पञ्चमो तथा कार्मारवीज?ातेः स्वरैः पूर्णेश्च कैशिकः ॥३०३॥

¹⁰¹ TRANSLATION [Anu. ¹⁸⁰] This means-leaving the other jāti and taking up its own root i.e. bedecked with its own jāti and kula (is formed the śuddhabhinna).54 [4. Bhinnakaisika] [Anu. ¹⁸¹] The description of śuddha (kaiśika) applies in its totality also to bhinnakaiśika. What is then the difference? The difference is formed by gīti. Śuddhakaiśika is sung in the \acute{s}uddh\~{a} g\~{i}ti, whereas bhinnakai\acute{s}ika is sung in the bhinn\~{a} g\~{i}ti. This is being said - The svasthāna^{56} (unit of tonal range) with which the rāga is elaborated in śuddhakaiśika, the rāga is not elaborated with the same svasthāna in bhinnakaisika. And its description is thus - Bhinnakaiśika is known by the knowledgeable ones in svara to have a form similar to that of śuddhakaiśika. It has ṣaḍja as its aṁśa, pañcama as its nyāsa (and) is complete with the seven svaras. (311) [Anu. ¹⁸²] This means - bhinnakaiśika is related to madhyamagrāma on account of being born of kaiśikī and kārmāravī jātis. Şadja is the graha and aṁśa. Pañcama is the nyāsa, niṣāda is kākalī here and it is complete. Although this rāga is like śuddhakaiśika, yet there is a difference. This has abundance of mandra (low notes). The svasthāna with which svara - ālāpa (tonal elaboration) is done in śuddhakaiśika, ālāpa has to be done with the same svaras (here), leaving that svasthāna⁵⁷ In śuddhakaiśika, ālāpa should be done with tāra (high) svaras and thus it becomes distinct on account of difference in form. Its application is prescribed in dānavīra (heroism in charity). Vīra, raudra and the like are the rasas. The mūrchanā beginning with ṣaḍja obtains. Sañcārinis the varņa. Prasannādi is the alaṅkāra. The kalā is formed in the dakṣiṇa (mārga), the kalā obtains in the vṛtii (mārga) and the kalā prevails in the citra (mārga). A tālalike caccatpuṭa obtains in the songs comprised of svara and pada. (Śruti-bhinna) Now he (the author) has spoken of the definition of śruti-bhinna - Where the svara comprised of four śrutis is modified by the one comprised of two śrutis and gāndhāra is comprised of only two śrutis, that is called śruti-bhinna. (312)

TRANSLATION ¹⁰⁷ [Anu. 188] This means-gaudakaiśika rāga is related to madhyamagrāma and is born of kaiśikī and şadjamadhyamā. Şadja is its graha and aṁśa. Pañcama is nyāsa. Niṣāda is kākalī here. This (rāga) is complete. Such is its performance. On account of pañcama being comprised of three śrutis, dhaivata being comprised of four śrutis, this rāga is related to madhyamagrāma alone. Although it is born of the jātis of two grāmas, yet its grāma is madhyama, not ṣaḍja, because it is seen as such. Its application is prescribed in karuna (rasa). Vīra⁶³ and the like is the rasa. The mūrchanā beginning with ṣaḍja obtains. Ārohin is the varņa, prasannādi is the alaṅkāra. The kalā is formed in the dakṣiṇa (mārga), the kalā obtains in the vṛtti (mārga) and the kalā prevails in the citra (mārga). A tāla like caccatputa obtains in the songs comprised of svara and pada. [3. Gaudakaisikamadhyama] Gaudakaisikamadhyama is said to have şadja as its amsa, madhyama as its nyāsa and to be formed by ṣaḍjamadhyamā (jāti) and to have complete svaras. (318) [Anu. 189] This means – gaudakaišikamadhyama is related to şadjagrāma, on account of being born of şadjamadhyamā jāti. Şadja is its graha and aṁśa. Madhyama is the nyāsa. Niṣāda is kākalī here and this (rāga) is complete. Its application is prescribed in bhayānaka (rasa). Vīra and the like is the rasa. The mūrchanā beginning with sadja obtains. Arohin is the varna. Prasannamadhya is the alaṅkāra. The kalā is formed in the dakṣiṇa (mārga), the kalā obtains in the vṛtti (mārga) and the kalā prevails in the citra (mārga). A tāla like caccatpuṭa obtains in the songs comprised of svara and pada. [The assignment of gaudaragas to gramas] Now he (the author) has spoken of the assignment of gauda (ragas) to grāmas- Gaudapañcama is in ṣaḍja (grāma) and so is gaudakaiśikamadhyama. Gaudakaisika, on the other hand, is based on madhyamagrāma. The three gauda (rāgas) have been dealt with. After this, I will speak of rāgas (pertaining to vesarā gīti). (319)

¹⁴.⁰⁰ TRANSLATION ¹¹¹ [Anu. 193] This means - Sauvīraka is related to sadjagrāma on account of being born of ṣaḍjamadhyamājāti Ṣaḍjaisitsgraha,amśandnyāsa. Thereisthe sparsenessof gāndhāra and niṣāda. Niṣāda is kākalī and this (rāga) is complete. Its application is prescribed in the context of entry and the like in the behaviour of those who perform domestic sacrifices, who practise restraint and perform penance and in sinta rasa Vira 66 and the like are the rasas. The mürchanā beginning with sadja obtains. Arohin is the varna. Prasumādiis the alarikāra. The kalā is formed in the dakṣiṇa („nārga), the kalā obtains in the vitti (mārga) and the kalā prevailsin the citra (mārga). A tālalike caccatputa obtains in the songs comprised of svara and pada. [3. Mālavapañcama] Mālavapancamashould be known to have pancamaasits anistand concluding note and is born of pañcami and madhyamā jātis. It has, as sparse, the svaras that are comprised of two śrutis (gāndhāra and niṣāda). (322) [Anu. 194] This means-Mālavapañcamais related to madhyamagrāma on account of being born of madhyamā and pañcamī jātis. Pañcama is the aṁśa, graha and nyāsa. There is the sparseness of niṣāda and gāndhāra. Niṣāda is kākalī and this (rāga) is complete in svaras. Its application is prescribed in vipralambha śṛṅgāra (love in separation) in the entry of the kañcukin (attendant of the female apartments). The mūrchanā beginning with pañcama obtains. Śringāra⁶⁷ and hāsya are the rasas. Ārohin and the like are the varņas. Prasannādi is the alaṅkāra. The kalā is formed in the dakṣiṇa (mārga), the kalā obtains in the vṛtti (mārga) and the kalā prevails in the citra (mārga). A tāla like caccatputa obtains in the songs comprised of svara and pada. [4. Vesarașādava] Vesaraṣāḍavahas madhyamaas its amsaand nyāsa, ṣaḍjamadhyamā is the cause and it is devoid of the svaras comprised of two śrutis each (gāndhāra, niṣāda). (323) [Anu. 195] This means - vesaraṣāḍava is related to ṣaḍjagrāma on account of being born of ṣaḍjamadhyamā. Madhyama is the graha, aṁśa and nyāsa. There is the sparseness of gāndhāra and niṣāda. Gāndhāra and niṣāda are antara and kākalī. It is always complete in svaras. It is used in sānta rasa. Šriigāra⁶⁸ and hāsyaare the rasas. The mūrchanā beginning with madhyama obtains. Ārohin is the varņa. Prasannādi is the alaṅkāra. The kalā is formed in the dakṣiṇa (mārga), the kalā obtains in the vṛtti (mārga) and the kalā prevails in the citra (mārga). A tāla like caccatpuṭa obtains in songs comprised of svara and pada.

BRHADDEŚĪ ¹¹⁴ [अनु॰ १९८] षड्ज?ोऽस्य ग्रहोंऽशो न्यासश्च । निषादोऽत्र काकली । धैवतर्षभहीनमौडुवितम् । धैवत ऋषभहीन( ध ?)मौडवितम् ^८२सम्भोगशृङ्गारेऽस्य विनियोगः। वीरादिरसः। मूर्छना षड्ज?ादिः। वर्ण आरोही। ॰ना(दि) प्रसन्नादिरलङ्कारः । दक्षिणे कला, वार्तिके कला, चित्रे कला। स्वरपदगीते चच्चत्पुटादिताल । [७. टक्ककेशिकः] धैवतांशस्तदन्तश्च स्वल्पद्विश्रुतिकस्वरः । धैवतीमध्यमाज?ात्योः सञ्ज?ातष्टक्ककैशिकः ॥३२६॥ ॰एक [अनु॰ १९९] धैवतीमध्यमाज?ात्योर्ज?ातत्वाट्टक्ककेशिकः षड्जग्रामसम्बन्धः। ^८३ननु उभयग्रामसम्बन्धिन्यो- (यस्याज?? ठमय) र्ज?ात्यो समुत्पन्नोऽयं गगः षड्जग्रामसम्बन्ध इति कथं वक्तु युक्तम् ? अस्य प्रयोगे चतुःश्रुतिसम्बन्धः र्ज?ा(न्यो?त्यो) (कथं) पञ्चम उपलभ्यते। पञ्चमधैवतौ द्विग्रामयोर्भेदकारिणौ अतः पञ्चमस्य चतुःश्रुतिकत्वात् । षङ्जग्रामसम्बन्ध (पञ्चमे पैवतेन भिग्रामयोर्भेदकारिणौ ?) एवायं रागः। ग्रहोंऽशो न्यासश्च धैवतः। निषादगान्धारौ चात्र काकल्यन्तरौ। पूर्णस्वरश्चायम्। ^८४कश्यपमते निषादगान्धारयोर्लोपादयमौडुवितः । उद्भटनाट्ये कामग्रस्ततत्कञ्चकिप्रवेशे चास्य विनियोगः। बीभत्सादिरसः । धैवतादिमूर्छना। आरोही वर्णः। दक्षिणे कला, वार्तिके कला, चित्रे मध्यमादिधैवता(?) कला । स्वरपदगीते चच्चत्पुटादितालः । [८. मालवकैशिकः] ८५कैशिकीज?ातिसम्भूतः षड्ज?ांशन्याससंयुतः । दुर्बलो धैवतेन स्याद् रागो मालवकैशिकः ॥ ३२७॥ ^८६पञ्चमं केचिदिच्छन्ति चास्य वै न्यासकर्मणि । हात्याद्या + कर्मणि गान्धारं च तथा चान्ये तद्धि लक्ष्ये न दृश्यते ॥ ३२८॥

BRHADDEŚĨ ¹²⁴ [अनु॰ २१०] अस्यार्थः - पञ्चमषाडवः १०७षड्जग्रामसम्बन्धः । ऋषभोऽस्य ग्रहोंऽशश्च । मध्यमो ॰( ঘ:) न्यासः । १०८ प्रयोक्त्रपेक्षया क्वचिदंशोऽपि[।] निषादोऽत्र काकली । पूर्णश्चायम् । उद्भटचारिमण्डलाज?ौ ॰(ज?ी?दी) (स्र?कृ)॰ विनियोगः। वीरादिरसः। ऋषभादिमूर्छना। प्रसन्नाद्यन्तोऽलङ्कारः। दक्षिणे कला, वार्तिके कला, चित्रे कला । स्वरपदगीते चच्चत्पुटादितालः । [९.रेवगुप्तः]^१०९ ऋषभांशो मध्यमान्तः सम्पूर्णस्वरकस्तथा । (₹) आर्षभीमध्यमाज?ात्यो रेवगुप्तः प्रकीर्तितः ॥३४०॥ [अन्॰ २११] अस्यार्थः - रेवगुप्तः षड्जग्रामसम्बन्धः । आर्षभीमध्यमाज?ात्योरुत्पत्रोऽपि षड्जग्रामसम्बन्ध एव पञ्चमस्य चतुःश्रुतिकत्वात् । ऋषभोऽस्य ग्रहोंऽशश्च । न्यासो मध्यम एव च । निषादोऽत्र काक'ली । पूर्णस्वरश्चायम् । उद्भटचारिमण्लाज?ौ विनियोगः । वीरादिरसः। ॰(ज?ी?दी) ऋषभादिमूर्छना । आरोही वर्णः प्रसन्नान्तोऽलङ्कारः। दक्षिणे कला, वार्तिके कला, चित्रे कला । चच्चत्पुटादितालः। ११० [१०. टक्सैन्धवः] स्यात् षाड्ज?ीधैवतीज?ात्योष्टकसगस्तु सैन्धवः। षड्ज?ांशन्याससंयुक्तः पञ्चमेन तु दुर्बलः ॥३४१॥ [अनु २१२] [अस्यार्थः]- टक्कसैन्धवरागः षड्जग्रामसम्बन्धः, षाड्ज?ीधैवतीसमुत्पत्रत्वात् । षड्ज?ोऽस्य निषादगान्धारौ चात्र काकल्यन्तरौ । पञ्चमस्याल्पत्वम् । पूर्णस्वरश्चायम् । ग्रहोंऽशो न्यासश्च । ॰(रेष ? चै) (चित्रे ? चात्र) ²¹⁰

¹²⁷ TRANSLATION in yuddha-vīra 92 (rasa). Vīra and the like is the rasa. The mūrchanā beginning with ṣaḍjaobtains. Ārohin is the varṇa. Prasannāntais the alaṅkāra. The kalā is formed in the dakṣiṇa(mārga), the kalā obtains in the vārtika(mārga) and the kalā prevails in the citra (mārga). A tāla like caccatpuṭa obtains in the songs comprised of svara and pada. [The assignment of grāma to sādhāraņa rāgas] Now, the assignment of grāma to sādhāraņa (rāgas) is being shown. Bhammāṇapañcama should be known to be born of madhyamagrāma and so are gāndhārapañcama, narta and ṣaḍjakaiśika. (342) The rāgas rūpasādhārita, śaka, kakubha, revagupta and pañcamaṣāḍava should be known to be (related to ) the one known as sadja. The seven (nine?) sādhāraņa (rāgas) have (thus) been said to be based on the two grämas. (343) [The basis of the specification of murchanā in respect of grāma-rāgas] [Anu. 213] (Contention) How is the specification of particular mūrchanās in respect of grāma-rāgas known? It is being answered. The specification of mūrchanās is known from the statements of authorities. Similarly has said Kasyapa - "The mūrchanā should be specified by the wise after knowing the predominance of amsa in a jāti."94 [The difference between gita and raga] [Anu. 214] (Contention) What is the difference between gita and raga? It is being answered. The gita characterised with ten lakṣaṇas should be named after the word rāga. Gīta is comprised of four angas (components).95 It is five- fold in combination with dhruva96 From where is this known? From the statements of authorities. Similarly has said Kasyapa -