hindolaka technical_term

BRHADDEŚĪ ¹¹⁶ [अनु॰ २००] अस्यार्थः -मालवकैशिको मध्यमग्रामसम्बन्धः कैशिकीज?ातेर्ज?ातत्वात् । षड्ज?ो ग्रहोंऽशो न्यासश्च । धैवतस्यात्राल्पत्वम् । प्रयोगे निषादोऽत्र काकली । पूर्णस्वरश्चायम् । ^८७विप्रलम्भे शृङ्गारे प्रयोगो काकलिः चास्य विनियोगः। वीरादिको रसः। षड्ज?ादिमूर्छना । आरोही वर्णः । अलङ्कारः प्रसन्नमध्यमः । दक्षिणे कला, वार्तिके कला, चित्रे कला । स्वरपदगीते चच्चत्पुटादितालः । [वेसराणा ग्रामविभागः] इदानी वेसराणा ग्रामविशेषो दर्श्यते - दुश्यते टक्करागश्च सौवीरस्तथा वै टक्ककेशिकः। बोट्टरागश्च षड्ज?ाख्ये भवेद् वेसरषाडवः ॥ ३२९॥ हिन्दोलकस्तु विज?्ञेयो मध्यमग्रामसम्भवः। मालवपञ्चमश्चैव मालवकैशिकस्तथा ॥ ३३०॥ इति वेसरका प्रोक्ता सर्वे निश्चितलक्षणा। स्वराणा दृश्यते वेगस्तेन वेगस्वराः स्मृताः ॥३३१॥ [ङ. साधारणरागाः] शुद्धा भित्राश्च गौडाश्च तथा वेगस्वराः परे । ^८८कथिताः साम्प्रतं ^८९वक्ष्ये सप्त साधारणांस्ततः ॥३३२॥ कथिता यत्र तान् [अनु॰ २०१] ननु साधारणाना कथं साधारणत्वम् ? उच्यते । पूर्वोक्ताना सर्वेषा रागाणा या गीतयस्ताभिर्ज?ायमान- (র্জী/র্জা) ॰मा त्वात् तेषा साधारणत्वम् ,एतत् साधारणगीत्या गीयमानत्वात् । तथा चाह कश्यपः - (র্জী?র্জা) ‘‘सप्त साधारणाः प्रोक्ताः ^९०सर्वगीतिसमाश्रयाः ।’’ पञ्च

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)

TRANSLATION ¹⁵⁹ [4. Bhāṣās in hindolaka] Combined with ṣaḍja as aṁśa and nyāsa, weak in dhaivata, this vesarī bhāṣā is formed with the (profuse) use of gandhara. The to and fro movement between şadja and gandhara should be arranged there by the performers. (83) Illustration Sāsāgāsāsanipāni.Mādhāmāgāsamāsāsāsā. Samagāsapamarigāsā ninimāsāgāsāsā. Dhanipāpāpanisāsā. Vesarī [i] Having pancama as aṁśa, şadja as the concluding note, being devoid of ṛṣabha and having concert between ṣaḍja-pañcama and the svaras comprised of two śrutiseach, this bhāṣā called prathamamañjarī is (based on ) hindolaka. (84) Illustration - Pāpāpāpādhamapānīsā pañcamapādhani dhāsāsāpāpānisāsāsā gāsāpāgāmānisanipāpānisā gānisānisāsā. Prathamamanjarī [ii] Combined with sadja as amsa and nyāsa, complete, weak in dha(dhaivata), thus has been described chevāțī and concert between șadja-madhyama and similarly şadja-gāndhāra should always be put up. (85) Illustration - Sāpāsā. Māgāsāsā gāmanimāpāmāsā sāmāmānīmāmāmā nīmāmāpāpāgāmāsāsāsāgāsānī. Sāgāsānīsanīdhāmadhāmāpāpāpādhāmāmādhama pamagarisā sānīnīnīsāgārīmāmārīnīsāsā. Chevāţī [iii] Having şadja às aṁśa and madhyama as concluding note, being weak in niṣāda and ṛṣabha (which are also perhaps omissible), there being concert between ṣaḍja-madhyama and similarly gāndhāra-pañcama, this bhāṣā, said to be şadjamadhyamā, should be known to be hexatonic and pentatonic by nature. It is sung also by Kinnaras.³³ (86-87)

BRHADDEŚĪ ¹⁶⁰ यापापाधापासासापाधापमगामामा उदाहरणम् - सा पा पा धा मा मा पा गा म गा प धा धा पा ग मा गा म सा सा सा गा गा मा गा मा मा । षड्ज?[मध्यमा]।[४] मध्यमांशा तु षड्ज?ान्ता ^७२दुर्बला पञ्चमेन तु । ७३धैवतनिषादबाहुल्यं षड्जधैवतयोस्तथा ॥ भाषेयं षाडवा ज?्ञेया प्रेङ्खके मधुरी भवेत् ॥ ८८॥ प्रेक्षके मधुकरी मापानिसासारिरोगमगारीसासा उदाहरणम् – मा पा पा धा धा मा ध नि नि पा स नि ध सा सा मा पा ध नि स नि सा सा नि धा पा पा पा ध नि धा सासा रिरोममागरिसासा। मधुरी। [५] मधु(क)री ॥ इति हिन्दोलके भाषा[:] समाप्ता[:] ॥ [५.अथ पञ्चमे] ७४ पञ्चमांशा तदन्ता च निषादबहुला सदा। परस्परं तु दृश्येत अषड्जधैवतसङ्गति ॥ ८९॥ ^७६पूर्णा पञ्चमजा ह्येषा त्वाभीरी देशसम्भवा । आभौरी पूर्ण एषा भाषा तु विज?्ञेया प्रथमा पञ्चमोद्भवा ॥ ९०॥ उदाहरणम् -पाधामाधनिधापापापा प ध नि धा मा मा धा नि सा सा स नि ध नि स धा नि सा नि धा सा धरि- मा मा धा नि नि धा पा पा प म म ध नि सा सा सनिनिसासासिनगरिमममागा रिसससधिनपा धा मा मा स - रि मा धा रि म पा पा । आभीरी। [१] भाविनी पञ्चमन्यासा गान्धारांशाल्पधैवता । मध्यपञ्चमयोर्यत्र गमनं दृश्यते घनम् ॥ मध्यम् भाषा तु भाविनी ज?्ञेया पूर्णा गान्धर्ववेदिभि ७०॥ ९१॥ उदाहरणम् -गामापागमपानिधा[पा]। गमपामागागारीरीगानीधापापापाप। मा मा गा मा पा पा मापापामाधारीसगगमापा मागारीरीपापा । भाविनी ।[२]

¹⁸⁹ TRANSLATION panīsani sāsāni gāgā pamamamārī māpādhāpā pāpamamapārī mapānisā rinisāsā. Ravicandrā [ii] Having madhyama as aṁśa and ṣaḍja as the concluding note, (that which) is known as complete in hindola (lit. swing) by the spectators (of drama), is bhinnapaurālī bhāṣā, always sung with proper svaras. (10) Illustration-Māmāmadhyamāmā māmāpāmāpānisāsā gamagā nisādhādhāgāmā maparisā ninisā māgari sāmāgari sānipasasā. Bhinnapaurālī [iii] Having pañcama as aṁśa and ṣaḍja as the concluding note, this (bhāṣā) born of drāvida region is always sung in the (context of the ) search on the part of one who has lost his way.8 (11) Illustration - Pāninidhāsā sāgarimā garisāsānirinipāpāni sāgari māsari sāsāsā nirimadhāpāpā nininidhāsāsā. Drāviḍī [iv] Having gāndhāra as aṁśa and ṣaḍja as the concluding note, the vibhāṣā pinjarī is auspicious. It is hexatonic and devoid of ni (niṣāda) and is sung by Umādevī.9 (12) Illustration - Gāgāgāri sādhāsāsī rīgāgā māgārisī. Dhāsāpādhā pagāpādhāsu irigāpā. Māgarisāmā risādhārisāsāri. Dhāsārigāgā māmāgarisā ririgā ririsā rīsāpā. Dhāsapā. Sārīmāpā. Dhāpāsārigā māririsā. Pinjarī [v] Combined with ṣaḍja as aṁśa and nyāsa, complete, born in the mountainous region, (this) auspicious bhāṣā is sung in hindolaka (rāga) in (the context of) women excelling in bashfulness or men excelling in fame.¹⁰ (13) Illustration - Sāsānima. Pāmāpānidhāni dhāpāmāpā. Rīsāpānini mārimāgani sāninisāgā pānisāsā ninipāmāpānimā. Dhānidhāpā māmārimāmā pānisāmāgā. Risāmāgāri sānīsāsāsā. Pārvatī [vi] Thus end the bhāṣās in hindolaka according to the opinion of Śārdūla.