gātravarņa technical_term

¹⁰⁵ TRANSLATION (Anu. ¹⁰²) Like huṅkāra one should ascend (with) three solfa syllables without a gap (and) in a combined80 (manner), thence two lower svaras (forming two phrase- units each) should be made (pronounced) with shake81 and verily in combination with another (next) kalā 82 (phrase-unit). Thus is gātravarņa, because of the combination or formulation of ekakala 83 svaras (forming temporal units of one kalā or mātrā each). As - dhanisa nini dhadha, padhani dhadha papa, mapadha papa mama, gamapa mama gaga, rigama gaga riri, (33) sariga riri sasa. Thus is (ends) gatravarna. [ The treatment of Alankaras according to Bharata's opinion ] I shall now speak of the varnas 84 in which the charming alankāras are (121) 'seated' (formed), according to the prescription of Bharata. Prasannādi, prasannānta, prasannādyanta, similarly prasannamadhya, sama, recita itself, prastāra and prasāda are based on the sthāyivarņa. These alankāras (122, ¹²³) should be known according to their respective definition. After this, please understand (the alankāras) born of the sancārin (varņa), as they are again and again being described (lit. glorified). Mandratāraprasanna, bindu, prenkolita, tāramandraprasanna, nivīttapravītta, kuhara, veņu, ranjita, upalolaka, avartaka, paravarta. Thus are the eleven charming alankaras born of (¹²⁴ - ¹²⁶) the sancarin (varna). Nişkūjita, kuhara, hasita, bindu itself, prenkholita, ākṣipta, vidhuta, udvāhita, hrādamāna, sampradāna, sandhipracchādana, prasannādi and prasannanta—(these) thirteen are (based) on the arohin (varna). (127, 128)

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