kakubha technical_term

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

135 TRANSLATION vesarī is the ninth one. The one named pañcamī is the tenth one, similarly ravicandrā is there, ambāherī and lalitā and then kolāhalī is known. Madhyamagrāmadehā and similarly gāndhārapañcamī-thus are manifested the sixteen bhāṣās of ṭakkarāga. (16-20) Śuddhāshould be known as the first one and then ardhavesarikā, harṣapūrī is the third one and māngālī the fourth. The fifth one should be known as saindhavī, ābhirī is accepted as the sixth one. Khañjarī and gūrjarī, thus are the eight (bhāṣās) in mālavakaišika. (21-22) Kāmbojā should be known as the first one, madhyamagrāmikā is accepted and sātavāhanikā and after that is bhogavardhani. (23) Muharī should be known as the fifth and śakamiśritā as the sixth. Bhinnapañcami is the seventh one to be performed with care. These should be known as the seven charming bhāṣās of kakubha. (24-25b) Vesari should be known as the first one and manjari as the second. Then should be accomplished chevāṭī, ṣaḍjamadhyamā is the fourth one, madhurī should be known as the fifth. Five are born of hindolaka. (25c-26) Ābhīrī, bhāvinī and māṅgālī, similarly saindhavī, gūrjarī and dākṣiṇātyā, āndhrī and the next one is tānodbhavā. Trāvaņī should be known as the ninth one (and) kaišiki is known as the tenth one. These bhāṣās are known by the singers to be born of pañcama. (27-28) Visuddhā, dākṣiṇātyā and after that gāndhārī, śrīkaṇṭhī and paurālī, similarly māngāli and saindhavī, kālingī and pulindī are the nine born of bhinnaşadja. (29-30 b)

³⁵ TRANSLATION sa n ni ga dha ma pa Thus ends the Samvādi-mandala. (Anu. ²²) The use of samvadin is thus- The sadja that is accepted as amsa (fundamental note) in a gita (melodic structure), in the place of that (if) madhyama (is used) it does not destroy the rāga (melodic matrix). The location on which madhyama is used in accordance with the mūrchanā,40 on the same location (if) şadja is used, it does not destroy the jāti or rāga. In the place of şadja and pañcama (if) pañcama-şadja are used, they do not destroy the jāti and rāga. Similarly dhaivata-ṛṣabha being used in the place of rabha-dhaivata do not become the destroyers of jāti and rāga. Similarly niṣāda-gāndhāra being used in the place of gāndhāra-niṣāda do not bring about a loss of jāti and rāga. Kakubha being with dhaivata aṁśa, and revagupta being with ṛṣabha aṃśa and ārṣabhī jāti, the mother of both of them, having taken up ṛṣabha as amía, these two (dhaivata and ṛṣabha) when used as being mutually related, do not become the destroyers of jāti or rāga.