अंशलक्षणम् technical_term
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Affirmations: 5 ·
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अंशलक्षणम् (1)
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R_700_amsa_laksanam_tenfoldenumeration · 5 att.
Aṁśa is tenfold by division of its aṅgas (functions): manifesting rāga, beginning of gīta as graha, cause of tāra/mandra manifestation, object/content of rāga
Pseudocode (DSL v1.1) ↗ full DSL (raw text)
RULE id: अंशलक्षणम् (cluster 700) SCOPE: technical_term family STATUS: empirical CONFIDENCE: empirical PROTECT: false
Essence pseudocode — identity + RECORD. The page citations for each slot value are in the Grammar record table above (audit trail). The full DSL adds ASSERTIONS with verbatim quotes (see Affirmations below) and CITED_RULES (see Graph relations).
Affirmations (5)
Amsa in its first function leads to the manifestation of raga
"Anisa is that which leads
to the manifestation of raga (delight) in the course of its operation; this is its
first (function)."
TRANSLATION
<sup>13</sup>
[2. The definition of amsa]
[Anu. <sup>120</sup>]
After this amsa is being spoken of; that is known as tenfold according to
the division of its angas (lit. limbs, here functions). Anisa is that which leads
to the manifestation of raga (delight) in the course of its operation; this is its
first (function). And the second anisa (in its functioning) is that with which
gīta (melodic organisation and performance) begins and proceeds, which is
vikalpita (alternatively arranged) as graha, this is its second (function). That
amsa is third (in its functioning) which is the cause of the manifestation of
tāra (high) and mandra (low). The ascent up to the fifth svara is (the range
of) tāra (high); sometimes even the ascent up to the sixth svara is tāra, just
as in gāndhārī (jāti) şadja is tāra, ni-dha-ni-dha-sā, thus is (its illustration).
Just as it (aṁśa) is the regulator of tāra, similarly the svara that is the regulator
.
ofmandra is also amsa on account of descent in seven svaras. Just as in the
ṣāḍjī (jāti) with pañcama as theamśa there is (descent in seven svaras) - as sā
-s\bar{a} - s\bar{a} - dh\bar{a}^{14} in its svasthāna 15 (section of melodic elaboration). That is also
aṁśa which is used profusely; this is the fourth (function). That svara is also
amsa which stands as the object (here content) of raga; this is the fifth
(function). That is also amsa which is perceptible in (the operation of)
graha, apanyāsa, vinyāsa, samnyāsa (and) nyāsa; this is the sixth, seventh,
eighth, ninth and tenth (function).<sup>16</sup>
[The definition of apanyasa forming part of that of amsa
[Anu. <sup>121</sup>]
<sup>•</sup>
That is apanyāsa, where gīta (melodic rendering) is supposed or appears
to be ending; this occurs in the middle of all vidārīs (sub-sections). That
vidārī is of two kinds, viz. gīta-vidārī 17 (sections of melodic structure) and
pada-vidārī 18 (splitting of the melodic- cum-textual units).
(Contention) What is signified by the word vidārī (?) It is the splitting or
separating of p\bar{a}das^{19} (feet), the pes\bar{i}^{20} (lit. muscle) i.e. section of a g\bar{i}ta
(melodic structure) could be (understood) as such.
[The definition of samnyāsa forming part of that of aṁśa]
[Anu. <sup>122</sup>]
Now samnyāsa is being said. The nyāsa (final svara) is called samnyāsa when
Amsa in its second function is that with which gita begins and proceeds, arranged as graha
"And the second anisa (in its functioning) is that with which
gīta (melodic organisation and performance) begins and proceeds, which is
vikalpita (alternatively arranged) as graha, this is its second (function)."
TRANSLATION
<sup>13</sup>
[2. The definition of amsa]
[Anu. <sup>120</sup>]
After this amsa is being spoken of; that is known as tenfold according to
the division of its angas (lit. limbs, here functions). Anisa is that which leads
to the manifestation of raga (delight) in the course of its operation; this is its
first (function). And the second anisa (in its functioning) is that with which
gīta (melodic organisation and performance) begins and proceeds, which is
vikalpita (alternatively arranged) as graha, this is its second (function). That
amsa is third (in its functioning) which is the cause of the manifestation of
tāra (high) and mandra (low). The ascent up to the fifth svara is (the range
of) tāra (high); sometimes even the ascent up to the sixth svara is tāra, just
as in gāndhārī (jāti) şadja is tāra, ni-dha-ni-dha-sā, thus is (its illustration).
Just as it (aṁśa) is the regulator of tāra, similarly the svara that is the regulator
.
ofmandra is also amsa on account of descent in seven svaras. Just as in the
ṣāḍjī (jāti) with pañcama as theamśa there is (descent in seven svaras) - as sā
-s\bar{a} - s\bar{a} - dh\bar{a}^{14} in its svasthāna 15 (section of melodic elaboration). That is also
aṁśa which is used profusely; this is the fourth (function). That svara is also
amsa which stands as the object (here content) of raga; this is the fifth
(function). That is also amsa which is perceptible in (the operation of)
graha, apanyāsa, vinyāsa, samnyāsa (and) nyāsa; this is the sixth, seventh,
eighth, ninth and tenth (function).<sup>16</sup>
[The definition of apanyasa forming part of that of amsa
[Anu. <sup>121</sup>]
<sup>•</sup>
That is apanyāsa, where gīta (melodic rendering) is supposed or appears
to be ending; this occurs in the middle of all vidārīs (sub-sections). That
vidārī is of two kinds, viz. gīta-vidārī 17 (sections of melodic structure) and
pada-vidārī 18 (splitting of the melodic- cum-textual units).
(Contention) What is signified by the word vidārī (?) It is the splitting or
separating of p\bar{a}das^{19} (feet), the pes\bar{i}^{20} (lit. muscle) i.e. section of a g\bar{i}ta
(melodic structure) could be (understood) as such.
[The definition of samnyāsa forming part of that of aṁśa]
[Anu. <sup>122</sup>]
Now samnyāsa is being said. The nyāsa (final svara) is called samnyāsa when
Amsa in its third function is the cause of manifestation of tara (high) and mandra (low)
"That
amsa is third (in its functioning) which is the cause of the manifestation of
tāra (high) and mandra (low)."
TRANSLATION
<sup>13</sup>
[2. The definition of amsa]
[Anu. <sup>120</sup>]
After this amsa is being spoken of; that is known as tenfold according to
the division of its angas (lit. limbs, here functions). Anisa is that which leads
to the manifestation of raga (delight) in the course of its operation; this is its
first (function). And the second anisa (in its functioning) is that with which
gīta (melodic organisation and performance) begins and proceeds, which is
vikalpita (alternatively arranged) as graha, this is its second (function). That
amsa is third (in its functioning) which is the cause of the manifestation of
tāra (high) and mandra (low). The ascent up to the fifth svara is (the range
of) tāra (high); sometimes even the ascent up to the sixth svara is tāra, just
as in gāndhārī (jāti) şadja is tāra, ni-dha-ni-dha-sā, thus is (its illustration).
Just as it (aṁśa) is the regulator of tāra, similarly the svara that is the regulator
.
ofmandra is also amsa on account of descent in seven svaras. Just as in the
ṣāḍjī (jāti) with pañcama as theamśa there is (descent in seven svaras) - as sā
-s\bar{a} - s\bar{a} - dh\bar{a}^{14} in its svasthāna 15 (section of melodic elaboration). That is also
aṁśa which is used profusely; this is the fourth (function). That svara is also
amsa which stands as the object (here content) of raga; this is the fifth
(function). That is also amsa which is perceptible in (the operation of)
graha, apanyāsa, vinyāsa, samnyāsa (and) nyāsa; this is the sixth, seventh,
eighth, ninth and tenth (function).<sup>16</sup>
[The definition of apanyasa forming part of that of amsa
[Anu. <sup>121</sup>]
<sup>•</sup>
That is apanyāsa, where gīta (melodic rendering) is supposed or appears
to be ending; this occurs in the middle of all vidārīs (sub-sections). That
vidārī is of two kinds, viz. gīta-vidārī 17 (sections of melodic structure) and
pada-vidārī 18 (splitting of the melodic- cum-textual units).
(Contention) What is signified by the word vidārī (?) It is the splitting or
separating of p\bar{a}das^{19} (feet), the pes\bar{i}^{20} (lit. muscle) i.e. section of a g\bar{i}ta
(melodic structure) could be (understood) as such.
[The definition of samnyāsa forming part of that of aṁśa]
[Anu. <sup>122</sup>]
Now samnyāsa is being said. The nyāsa (final svara) is called samnyāsa when
Amsa in its fifth function is the svara that stands as the object or content of raga
"That svara is also
amsa which stands as the object (here content) of raga; this is the fifth
(function)."
TRANSLATION
<sup>13</sup>
[2. The definition of amsa]
[Anu. <sup>120</sup>]
After this amsa is being spoken of; that is known as tenfold according to
the division of its angas (lit. limbs, here functions). Anisa is that which leads
to the manifestation of raga (delight) in the course of its operation; this is its
first (function). And the second anisa (in its functioning) is that with which
gīta (melodic organisation and performance) begins and proceeds, which is
vikalpita (alternatively arranged) as graha, this is its second (function). That
amsa is third (in its functioning) which is the cause of the manifestation of
tāra (high) and mandra (low). The ascent up to the fifth svara is (the range
of) tāra (high); sometimes even the ascent up to the sixth svara is tāra, just
as in gāndhārī (jāti) şadja is tāra, ni-dha-ni-dha-sā, thus is (its illustration).
Just as it (aṁśa) is the regulator of tāra, similarly the svara that is the regulator
.
ofmandra is also amsa on account of descent in seven svaras. Just as in the
ṣāḍjī (jāti) with pañcama as theamśa there is (descent in seven svaras) - as sā
-s\bar{a} - s\bar{a} - dh\bar{a}^{14} in its svasthāna 15 (section of melodic elaboration). That is also
aṁśa which is used profusely; this is the fourth (function). That svara is also
amsa which stands as the object (here content) of raga; this is the fifth
(function). That is also amsa which is perceptible in (the operation of)
graha, apanyāsa, vinyāsa, samnyāsa (and) nyāsa; this is the sixth, seventh,
eighth, ninth and tenth (function).<sup>16</sup>
[The definition of apanyasa forming part of that of amsa
[Anu. <sup>121</sup>]
<sup>•</sup>
That is apanyāsa, where gīta (melodic rendering) is supposed or appears
to be ending; this occurs in the middle of all vidārīs (sub-sections). That
vidārī is of two kinds, viz. gīta-vidārī 17 (sections of melodic structure) and
pada-vidārī 18 (splitting of the melodic- cum-textual units).
(Contention) What is signified by the word vidārī (?) It is the splitting or
separating of p\bar{a}das^{19} (feet), the pes\bar{i}^{20} (lit. muscle) i.e. section of a g\bar{i}ta
(melodic structure) could be (understood) as such.
[The definition of samnyāsa forming part of that of aṁśa]
[Anu. <sup>122</sup>]
Now samnyāsa is being said. The nyāsa (final svara) is called samnyāsa when
Amsa is known as tenfold according to the division of its angas (functions)
"अथांशः कथ्यते - ३०अङ्गविभागात् स दशविधो बोद्धव्यः"
<sup>12</sup>
BRHADDEŚĪ
[२. अंशलक्षणम्]
[अनु॰ <sup>१२०</sup>]
अथांशः कथ्यते - ३०अङ्गविभागात् स दशविधो बोद्धव्यः । यस्मिन् ३१ क्रियमाणे
अ(थवांश ख ? थांशःक)
अंशविभागः
न्त्रंशे
गगाभिव्यक्तिर्भवति सोंऽशः [प्रथमः]। यस्माचा[ऽऽ] रभ्य गीतं प्रवर्तते ग्रहविकल्पितः सोंऽशो
(পি?)
<sup>३२</sup>यस्माद्वा
गीतः
न ग्रहस्स्वरितः (स्वं?स्वा) शो।
द्वितीयः [1] तारमन्द्राभिव्यक्तिहेतुः सोंऽशस्तृतीयः । पञ्चमस्वरारोहणं तारः, कदाचित्
द्वितीया
॰रगारो॰
षष्ठस्वरारोहणमपि तारः, यथा गान्धार्याः षड्जस्तारः, निध निध सा इति । यथा
णं पि
तथा
तारिनयामक [:] तथा मन्द्रनियामकस्वरोऽप्यंश[:]
सप्तस्वरावरोहणा[तु]।
३३प्यांश<sup>></sup>
यथा ३४पञ्चमांशायाः षाङ्ज?्याः स्वस्थाने सा सा सा धा इति । यश्च बहुप्रयोगतरः सोऽप्यंशः [चतुर्थः]
<sup>३५</sup>संस्थाने
मन्द्रांशायाः
पड्ज?ा
यो रागस्य विषयत्वेनावस्थितः स्वरः सोऽप्यंशः [पञ्चमः] <sup>३६</sup> [यश्च ग्रहापन्यास-विन्यास-संन्यास-
न्यासगोचरः, सोऽप्यंशः षष्ठः, सप्तमः, अष्टमः, नवमः, दशमश्च ।]
[अंशलक्षणान्तर्गतम् अपन्यासलक्षणम्]
[अनु॰ <sup>१२१</sup>]
यत्र गीतमिति समाप्तमिति सम्भाव्यते, सोऽपन्यासः, सर्वविदारी-मध्यमो भवति । सा
च विदारी द्विविधा - गीतविदारी पदविदारी चेति । ननु विदारीशब्देन किमुच्यते ? पादाना विदारणं
॰णा
खण्डनमिति यावत् । ३८गीतपेशी, गीतखण्डमिति यावत् ।
गीतकेशी
[अंशलक्षणान्तर्गतं संन्यासलक्षणम्]
[अनु॰१२२]
इदानी संन्यासोऽभिधीयते - तत्र प्रथम-विदारीमध्ये न्यासस्वरः प्रयुक्तः संन्यासः
स न्यासो
राष्ट्र
॰क्ता
The state of the same of