sangati technical_term

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.

⁴⁷ TRANSLATION When it (ṣāḍjī) is sung as hexatonic, then the sparseness⁵⁹ of ṛṣabha has to be brought about, (and) there is abundance of the remaining svaras. [ Anu. ¹⁴⁷] And it has ten amsas. That is thus - one suddha, five vikṛtas in the complete state and four ṣāḍavas, because when gāndhāra is aṁśa, it excludes the formation of ṣāḍava. The amśas have been written as such so that they become clear. There is the state of śuddhā with ṣaḍja as the aṁśa and ṣaḍja is the apanyāsa. In its sampūrņa state there are eight-fold lakṣaṇas (ṣāḍava and auḍava being irrelevant). In the sadava state (they are) nine-fold (auduvita being irrelevant). Ṣādjī should be known as four-fold in its vikṛtā (modified) state, excluding (its) śuddhā (form). And it has the m\bar{u}rchan\dot{a}^{60} beginning with dhaivata. (The t\bar{a}la) ekakala pañcapāṇi61 (known also as uttara and satpitāputraka) in the citra (mārga) (operates alongwith) māgadhī gīti. Dvikala pancapāņi in the vārtika mārga (operates alongwith) sambhāvitā gīti. In dakṣiṇa mārga, catuṣkala pañcapāṇi (operates alongwith) pṛthulā gīti. (The corresponding pattern of tāla and gīti) should be known for all the jātis in this order. Vīra, raudra and adbluta rasas should be evoked (lit. made). Its application (viniyoga) 62 is (prescribed) in the singing of dhruvā(s) in the first scene (or act). [2. Ārşabhī] [Anu. 148] (În ārṣabhī) ṛṣabha, dhaivata (and) niṣāda are the grahas, (they) themselves are the amsas. They alone are apanyāsas. Niṣāda63 (?) is (the limit of the extension of) tāra upto five svaras. Ŗṣabha is the nyāsa. Mandra extends upto nyāsa or upto the svara next to nyāsa. There is sangati (concert) of şadja- dhaivata and ṛṣabha-gāndhāra. Ṣāḍava is devoid of ṣaḍja and auḍuvita is devoid of șadja-pañcama. In its complete state there is the sparseness of șadja, gandhara and pancama. In the auduvita form, there is the sparseness of gāndhāra and madhyama and the profusion of the remaining (svaras). [Anu. 149] And it (ārṣabhī) is ten-fold i.e., there are ten amśas. Śuddhā (is one), vikṛtās in the complete state are three, in the sadava state are three and in the auduva state are (also) three, thus in the complete state are three, in the ṣāḍava state are three, thus (they are ten). The mūrchanā 64 beginning with pañcama obtains (here). Caccatpuța is the tāla. With the ekakala (tāla) in the

BRHADDEŚĪ ⁵⁴ [८. गान्धारी] तत्र गान्धार्या गान्धारषड्जमध्यमपञ्चमनिषादा ^१५७ग्रहाः , त एवांशाः। पञ्चस्वरपरस्तारो न्यासपरस्तत्परो वा मन्द्रः। ऋषभहीनं षाडवम्,ऋषभधैवतहीनमौडुवितम्। पूर्णावस्थायामृषभधैवतयोरल्पत्वम्, शेषाणा बहुत्वम्। स्वरजातित्वाद् गान्धारो न्यासः, १५८षड्जपञ्चमावपन्यासौ, धैवतर्षभयोः सङ्गतिः। तद्यथा - गान्धारी यदा सम्पूर्णा गीयते तदा ॰मध्यमा॰ माधारिगा^९५९ इति प्रयोगः स्यात् । यदा ऋषभहीना गीयते [तदाऽ]धरस्वरप्रवेशने मा धा धा गा इति ण्नं(?) (गि?गः) (甲) प्रयोगः स्यात् । यदा औडुविता गीयते तदा ^१६०उत्तर-स्वर-प्रवेशे मा गा गा इति प्रयोगः स्यात्, ॰यन्ते मा प रि ध इति प्रयोगः कदाचिदपि न स्यात् । [अनु॰ ^१६१] [ एका- ]दशविधत्वमस्याः। एकादशांशकाः-शुद्धः,विकृताः पूर्णाः पञ्च,चत्वारःषाडवाः , ॰द्धा औडुवित एकः । मूर्छना धैवतादिः । चच्चत्पुटस्तालः एककलविधौ चित्रमार्गे मागधी, द्विकले ·धः वार्तिके सम्भाविता, चतुष्कले दक्षिणे पृथुला। रसः 'करुणः'र६१। ध्रुवागाने तृतीयप्रेक्षणके विनियोगः।। [९. रक्तगान्धारी] [अनु॰ १६२] रक्तगान्धार्या षड्जमध्यमपञ्चमगान्धारनिषादा ग्रहा अंशाश्च । पञ्चस्वरपरस्तारः , गान्धा(यंप्य ? यांप्य) न्यासपरस्तत्परो वा मन्द्रः। ऋषभहीनं षाडवम् ऋषभधैवतहीनमौडुवितम्। पूर्णावस्थायामृषभधैवतयोरल्पत्वम् , शेषाणा बाहुल्यम् । निषादस्यांशत्वाद् बहुत्वे प्राप्ते οζ