sankīrņā technical_term

TRANSLATION ¹⁵⁷ Madhukarī has pañcama as aṁśa, is replete with the same, has dha (dhaivata) as the concluding note, there is the mutual concert of gandhara and pañcama, (and) commingling of dhaivata and niṣāda is seen. This bhāṣā, born of kakubha, is complete and sankīrņā (mixed). (76-77) Illustration-[Pāpā] ninininipadhapā dhanisāsanisani. Sapadhānidhādhapā dharisāsāgarimagarisasama. Garisānininidhapāpāsāgā. Pāpāmādhā. Mādhādhāmā. Nīsāsādhādhā. Madhukarī [v] Šakamišritā is a bhāṣā having niṣāda as aṁśa, ṣaḍja as the concluding note, combined with niṣāda as graha, should be known to be devoid of ṛṣabha and the concert of niṣāda and pañcama with dhaivata is there. The shade or reflection (chāyā)31 (?) mixed with śaka is there. (78-79) Illustration - Nīsānigadhamāgāririnininisā dhādhānidhāgamāmāmapāsā sanisāsādhādhāmanīdhādhāmānī dhāpāmādhānīsāsāsā nīsāsārigārisānīsānī sā- nidhādhāmāsānīmāgārīri [sā]. Šakamiśritā [vi] Bhinnapañcamī should be known to have dhaivata as the concluding note and madhyama as aṁśa, miṣāda is kākalī mixed profusely with dhaivata, where there is seen the concert of kākalī and dhaivata and where one should put up communion between pañcama and ṛṣabha. This is complete and sādhāraṇakṛtā, i.e., involves the use of antara and kākalī and kākalī is frequent. 32 (80-81) Illustration - Dhanidhādhānidhāpāpāmaripāpāpapamādhādhāpāsāsa nisāsa niririsārī. Dhādhā. Parimāpāpā. Pamadhādhāmānī dhāpāpāparī dhāpāpāpā dhādhāsa nidhā. Bhinnapañcamī [vii] These seven bhāṣās of kakubha have been indicated. (82)

VIMARŠA 313 62. 'Ascent' and 'descent' alongwith 'high and low' seem to be repetitive, because high is reached in ascent and low is reached in descent. 63. See note 22, 23. 64. 'Nāyaka' seems to refer to a clan of singers, rather than a chief, leader or general. The association of 'auspicious occasions' does not match the other meanings (See Vol. III). 65. The region Mālava could be relevant here. It is identified in two ways - "1. Its capital was Dhārā-nagara at the time of Rājā Bhoj. Its former capital was Avanti or Ujjayini. Before the 7th or 8th century, the country was called Avanti; 2. the country of the Mālavas or Mallas, the capital of which was Multan" (Nando Lal De). 66. 'Bhinnapañcama' is misplaced here. 67. Bāhyaṣāḍavikā is the same as bāhyaṣāḍavā, just like bālā and bālikā being two grammatical forms, with no change in meaning. 68. Nādākhyā, meaning the one called nāda, is a peculiar name, incorporating a fundamental word like nāda. 69. The criterion of giving the label sankīrņā is not clear. 70. 'Sādhāraņakṛtā' implies the use of antara - kākalī. 71. 'Sakarāga' is misplaced here. 72. The flexibility of bhāṣā is indicated here, which is a very important statement. 73. The viniyoga (āhava) suggests fighting and yajña as two possibilities; the contrast between the alternatives is very striking indeed. [B. Bhāṣā - lakṣaṇa according to Šārdūla] 1. The direct relation of a vibhāṣā with a rāga rather than through a bhāṣā is notable. 2. Direct relation of a bhāṣā with a grāma is an unusual and rare reference. 3. It has not been possible to identify the region associated with dohyā 4. 'Sārdūlī' is a typical name associated with an authority on music. 5. 'Alaghu' could be the word from which 'alaghvi' is formed; but no region by the name 'alaghu' is known. 'Alavi' could be taken to bear proximity to this name; it has been identified as "Airwa, an ancient Buddhist town, twenty-seven miles north - east of Itwah (Itawa)" (Nando Lal De). 6. This is a peculiar situation from life. 7. The nature of the 'order' is not known.