vidhuta alankara

¹⁰³ TRANSLATION phrase). As - sarigā garisā, rigamā magarī, gamapā pamagā, mapadhā dhapamā, padhanī nidhapā, dhanisā 76 sanidhā, padhanī nidhapā, mapadhā dhapamā, gamapā pamagā, rigamā magarī, sarigā garisā. Or, sarigama magarisa, rigamapa pamagari, gamapadha dhapamaga, mapadhani nidhapama, padhanisa 77 sanidhapa, mapadhani nidhapama, gamapadha dhapamaga, rigamapa pamagari, sarigama magarisa. Thus is (ends) huṅkāra in eighteen kalās (phrases). (29) (Anu. 99) From the high (şadja), after going to the seventh (svara viz. nişāda), again coming back there itself (on sadja), through the pronouncement of two svaras in the descending order, on making four kalās (units in each phrase), sandhipracchādana (is formed). As - sani sani sani sani, nidha nidha nidha nidha, dhapa dhapa dhapa, pama pama pama pama, maga maga maga maga, gari gari gari gari, risa risa risa risa risa risa risa nisa, gari gari gari gari, maga maga maga, pama pama pama pama, dhapa dhapa dhapa dhapa, nidha nidha nidha nidha,78 sani sani sani sani. Thus is (ends) (30) sandhipracchādana. (Anu. 100) Having pronounced the amsa svara 79 (initial note) four times, after that with the fast pronunciation of two immediate svaras, with gradual (successive) ascent, ekakala (single-phrased) vidhuta (is formed) As - sa sa sa sa riga, ri ri ri ri gama, ga ga ga mapa, ma ma ma padha, pa pa pa dhani, dha (31) dha dha dha nisa. Thus is (ends) vidhuta. (Anu. 101) Udgita (is formed) on account of the descent from high with the gap of one svara (in each phrase) in (successive) order. As - sadha nipa dhama paga mari (32) gasa. Thus is ends udgita.

¹¹³ TRANSLATION Sampradana is said here to be in the order of a gap after each svara; 105 (it is) like ākṣipta, with svaras that approach or reach another106 kalā (time-unit) in (158) due course. ¹⁰⁷ Hasita (is known as such as it) is pronounced in a manner similar to ¹ laughter; it is dvikala 108 and pronounced twice, it should be known like ākşiptaka (159) by the wise, being made up of gapless svaras. (That which) ascends in gapless svaras like hasita with three or four svaras (in each phrase) in ekakala 109 (form), should be known as one named huṅkāra. (160) Sandhipracchādana is indeed with upward110 'throw' in a (specific) order; it is catușkala¹¹¹ (with four kalās) (and) comes back in two svaras after ascending (161) another sthana (register). ¹ In the beginning, after having pronounced a pada 112 (syllabic unit) where there is a short varna 113 (?) composed of two svaras and (which) ascends in one (162) kalā (phrase) without a gap that is vidhuta. In the beginning it is arohin; (like) prastara where there is descent according to definite measure (pramāṇa),114 that is said to be udgīta alaṅkāra. (163) One should ascend (in) gapless svaras like huṅkāra in the other two kalās (phrases) there are two svaras each that are shaking 115 and then there are two (164) lower svaras. Thus should be known gatravarna in the prescription (vidhi) of varna and alaṅkāra. With ākāra 116 and okāra other long syllables should also be combined. (165) ı Thus has been indicated the prescription about alankarana (ornamentation or the act of 'making adequate') pertaining to the alankara of gita (melodic rendering). The giti musical rendering should be ornamented with these (166) without conflicting with the varna.¹¹⁷ One should 'do' (use) an alaṅkāra at the proper place; one should not tie the kānci (ornament for the waist) on the bosom. There could be many (167) alankāras, they should not be used without varņa.118