prasannānta technical_term

⁹¹ TRANSLATION Udghaisita (rubbed, pressed or shaken upwards) (26) Ākṣiptaka (thrown down) (27) Sampradāna (the act of giving or bestowing), (28) Hasita (laughter), (29) Huṇkāra (the 'hum' sound) (30) Sandhipracchādana (covering the joint or juncture) (31) Vidhuta (shaken off) (32) Udgita (sung, celebrated) (33) Gātravarṇa (the colour of the body). (Anu. ⁷⁰) Now the definition of these alankāras is being given (said). That is thus—the gradual ascent beginning from 'low' upto the starting point of 'high' is (known as) prasannādi.27 By the word mandra28 is denoted the low sound. As - sā nī gā mā pā dhā nī sā.²⁹ (1) Thus is (ends) prasannādi. (Anu. ⁷¹) Beginning from tara 30 (high) and (reaching) upto mandra (low) is prasannānta. As - sā³¹ nī dhā pā mā gā nī sā. Thus is (ends) prasannānta. (2) (Anu. ⁷²) Where there is 'low' in the beginning and end and 'high' in the middle, that is prasannādyanta. As - sā rī gā mā pā dhā nī sā, 52 sā nī dhā pā mā gā rī (3) sā. Thus is (ends) prasannādyanta. (Anu. ⁷³) Where there is 'low' in the middle and 'high' in the beginning and end, that is prasannamadhya. As - sā 33 ní dhā pā mā gā rī sā, sā rī gā mā pā dhā ni (4) sā.34 Thus is (ends) prasannamadhya. (Anu. ⁷⁴) The pronunciation (sounding) of the seven svaras with a similar sound in the three registers is sama. This is being said. (A svara) should be made (sounded) in the three registers with the same number of śrutis 35 as it is composed of (originally). As - sa ri ga ma pa dha ni - thus (it is). Or, sama (comes into being) on account of the pronunciation of pairs of samvādin (consonant) svaras. That is as - sama sapa ridha gani (thus). When the grāma changes (to madhyamagrāma, then) sama, ripa, gani - thus is the special (5) (structure of pairs). Thus is (ends) sama.

TRANSLATION 109 That which is gradually 'brightened' (made 'higher') is prasannādi (low in the beginning). Pronounced in the reverse⁹⁰ order it itself is called prasannānta. (138) Prasannādyanta is so desired (named) on account of there being 'low'-ness in the beginning and end. Prasannamadhya is so-called or so-named because of there being 'low'-ness in the middle. (139) Sama should be known (as such) on account of the equality of all (svaras) and it also stays or stops on one svara alone. Bindu comes back after having touched the 'high' composed of one kalā 91 (mātrā). (140) And nivitta-pravitta comes (back) after touching the 'low' (svara). And that which is with a sporting laya (roughly tempo) is called venu. (141) Kampita is known as such on account of shake in the chest-region (low svaras) for three kalās 92 (time-units). Kuhara is born (on account of) obstructed air in the throat (middle svaras). In the same way, recita is situated in the head (cerebrum) with shake in three kalās (time-units) (142, 143 ab). Prenkholita is that which sets forth in 'going' (ascent) and 'coming' (descent). (143 \text{ cd}) That which is the svara of the throat below (the cerebrum) is called tara, that which is seated in the chest is mandra, in the cerebrum is said to be tāratara. (144) The octave (tāra),93 fourth or fifth which comes (down) in successive order should be known by the wise as taramandraprasanna subsisting in the 'low' (mandra). (145) Omitting the subsequent (svaras) (and) gradually reaching the tara (high) from low should be known by the wise as mandratāraprasanna on account of (146) ascent. Gradually increasing by one svara (in each step) should be known to be named prastāra. Prastāra may become prasāda when it is gradually held back (i.e. comes down). (147)