ranjita technical_term

BRHADDEŚI ⁹⁸ | अनु₀ ९0 | तारादेकान्तरस्वरावरोहात् त्रिरावृत्त्या कलात्रयकरणात् सर्वेषा 25ह्रादमानः। यथा— 26सध सध सध, निप निप निप, धम धम धम, पग पग पग, मरि मरि मरि, गस गस Ĺ [ २१ ] गस 🛭 इति 📗 ह्रादमानः। अनु₀ ९१ ] समनन्तरस्वरमारुह्य द्वे कले स्थित्वा पुनः स्वरोऽन्तरे अर्धकलामारोहति (व?) ति र्द . पुनश्चानन्तरमेवार्धकलामवरोहित स रिक्षतः। [ यथा - ] सरी मग, रिगा पम, गमा ₀ಪು धप, मपा निध, पधा सनि [ इति ] रञ्ज?ितः। [ २२ ] [ अनु₀ ९२ ] आरोहावरोहाभ्यामष्टौ स्वरानुच्चार्य प्राकृस्वरोच्चारणान्ते क्रमशोऽष्टकल आवर्तकः। र (प २) मु₀ ^०मादौ₀ अथवा सग गप पनि धस सध निप पग गस [ इति ] आवर्तकः। [ २३ ] धा नी पा गासा सधा 27q q127 [ अनु₀ ९३ ] [ अनन्तरं त्रिस्वरानारुह्य ] पुनरेकस्वरं चतुर्थं लङ्घयित्वा पञ्चमं स्वरं प्राप्य पुनरप्य [न] न्तरान् त्रिस्वरानवरोहृन् चतुर्थं । लङ्क्षयन्नाद्यं स्वरं षड्ज? गच्छेत्। ²⁹चतुर्ल आरोहावरोहाभ्या कलाष्टकेन तथैव तारादारभ्य सर्वस्वराणामारोहावरोहणम्। षोडशकलः (लो २ला) व नवरोई (?) परिवर्तकः। स.च लोके ओहाडीत्युच्यते [ यथा -] स रि ग प पमगस, रि ग म ध धपमरि, (को १ के) सा पा ग म प नि निधपग, म प ध स सनिधम, स नि ध म मपधस, नि ध प ग गमपनि, ध प म रि गा रिगमध, प म ग स स रि ग म इति परिवर्तकः। [ २४ ] [³०अनु॰ ९४] स्वरद्वये ह्येककलया आरोहक्रमेण तृतीयस्वरं परिहरन्नारोहक्रमेणैवोपरितनस्थ- हि. ⁰ इ स्वरद्वयमाक्रामन्ननेनैव क्रमेणावरोहः। शेषानिप स्वराननेनैव क्रमेणारोहन्नष्टादशकल .क्रमान,

111 TRANSLATION Udvāhita is dvikala⁹⁴ (with two-unit phrases), (it) moves (in) two gapless svaras (forming each phrase-unit), ascends by one kalā 95 (phrase-unit and time- (148) unit) (and) again descends (lit. clarifies) by one kalā. Udvāhita itself may become the one named upalolaka, when (its units are) repeated twice. That should be known as krama, which moves to one, two or (149) three svaras in successive order. That which (moves to) each svara with one gap, having ascended (a svara) with one gap, should be known by the wise as the alankara named nişkūjita. (150) In combination with this (the above) order (the alankara) that moves with the gap of one svara (in descent) in dvikala 96 (form i.e. two-unit phrase and two time-units for each phrase) (and) is followed by two or six (svaras?)97 (and) (151) is similar in ascent, is hrādamāna. After this is ranjita which is half a kalā (time-unit) in ascent and again the same in descent, after having stayed on two (consecutive) svaras without a gap (152) for two kalās 98 (time-units). Avartaka comes into being in four (consecutive) svaras without a gap with the act of ascent (and) descent, or also in (svaras) with a gap of one (each).99 (153) (Or) āvartaka should be made by the experts with eight kalās (phrases and time-units) 100 without a gap, similarly (in) four kalās with a gap (of one each); it is (named thus viz. āvartaka) on accout of āvrtti (repetetion or rotation), 101 (154) Having ascended three svaras, parivarta omits another (fourth) svara and in nivṛtti (lit holding back, here descent) again with parāvṛtti (lit. interchange or reversion, here the change in the omitted svara in descent which is the fourth again in descending order), it is composed of eight kalās (phrases). 102 (155) Udghattita is always that in which there is an omitted svara after two svaras (156) become past (have been pronounced) and which is ekakala.103 Ākṣiptaka should be made with three svaras in each kalā; its measure of kalā is sixfold. The lower one is ekakala 104 and the other (higher) is şaṭkala (with six (157) kalās).

111 TRANSLATION Udvāhita is dvikala⁹⁴ (with two-unit phrases), (it) moves (in) two gapless svaras (forming each phrase-unit), ascends by one kalā 95 (phrase-unit and time- (148) unit) (and) again descends (lit. clarifies) by one kalā. Udvāhita itself may become the one named upalolaka, when (its units are) repeated twice. That should be known as krama, which moves to one, two or (149) three svaras in successive order. That which (moves to) each svara with one gap, having ascended (a svara) with one gap, should be known by the wise as the alankara named nişkūjita. (150) In combination with this (the above) order (the alankara) that moves with the gap of one svara (in descent) in dvikala 96 (form i.e. two-unit phrase and two time-units for each phrase) (and) is followed by two or six (svaras?)97 (and) (151) is similar in ascent, is hrādamāna. After this is ranjita which is half a kalā (time-unit) in ascent and again the same in descent, after having stayed on two (consecutive) svaras without a gap (152) for two kalās 98 (time-units). Avartaka comes into being in four (consecutive) svaras without a gap with the act of ascent (and) descent, or also in (svaras) with a gap of one (each).99 (153) (Or) āvartaka should be made by the experts with eight kalās (phrases and time-units) 100 without a gap, similarly (in) four kalās with a gap (of one each); it is (named thus viz. āvartaka) on accout of āvrtti (repetetion or rotation), 101 (154) Having ascended three svaras, parivarta omits another (fourth) svara and in nivṛtti (lit holding back, here descent) again with parāvṛtti (lit. interchange or reversion, here the change in the omitted svara in descent which is the fourth again in descending order), it is composed of eight kalās (phrases). 102 (155) Udghattita is always that in which there is an omitted svara after two svaras (156) become past (have been pronounced) and which is ekakala.103 Ākṣiptaka should be made with three svaras in each kalā; its measure of kalā is sixfold. The lower one is ekakala 104 and the other (higher) is şaṭkala (with six (157) kalās).