Śārdūla proper_noun

^٠ CONTENTS xiii ii. Paurālī 185 iii. Trāvaņī 185 Tānavalitikā iv. 185 Dolyā 187 ٧. Sărdülî vi. 187 vii. Alaghvi 187 2. Bhāṣās in hindola 187 Bhinnayalitikā i. 187 Ravicandrā ii. 189 iii. Bhinnapaurālī 189 Drāvidī iv. 189 Piñjarī (vibhāṣā) 189 V. vi. Pārvatī 189 3. Bhāṣāsin mālavapañcama 191 Vibhāvinī i. 191 Paurālī ii. 191 iii. Vegavatī 191 Paicani iv. 191 Āndhrī 193 ^٧. Gändhäri 193 vi. 4. Bhāṣāsin bhinnaṣaḍja 193 Trāvaņī 193 i. Şadjabhāşā ii. 193 Mālavī iii. 195 Gürjari 195 iv. Bāhyaṣāḍavā 195 V. Kausalī vi. 195 vii. Gàndhàri 195 viii. Svaravallitā 195 Lalitā 197 ix. Niṣādavatī 197 x. Tumbuu 197 xi. ^* xii. Gāndhāralalitā 197 . . xiii. Kalingā 197 xiv. Śuddhā 199 Madhyamā 199 XV. Pârvatî xvi. 199 ¹ . . . 1 2 3 13 2 2 2 4 ^٠.

¹⁸³ TRANSLATION ¹⁵. Now the bhāṣās in pañcamaṣāḍava Having ṛṣabha as aṁśa, madhyama as the concluding note, this śakabhāṣā is said to be complete (and) having abundant gändhära-pañcama. The profusion of dhaivata-ṛṣabha is seen again and again. (This) bhāṣā (subsists) in pancamaṣāḍava, being born of śakarāga. 71 (142-143) Illustration - Ririsānini. Pānīririri [ . . . ma ]. Šakabhāṣā. [Thus in pañcamaṣāḍava] Thus are the bhāṣās manifested in (this)world, that are known to be accepted by many. That (bh\bar{a}s\bar{a}) is so modified as it is performed by one.⁷² (144) Similarly, (a bhāṣā) should be sung in accordance with its lakṣaṇas, with all effort. It should always be listened to by the singers in the context of wit and humour and whatever is seen in fighting or sacrifice (yajña), all that is shown by that (bhāṣā). Bhāṣās are obtained everywhere in grāmarāgas. (145-146) Thus ends in sarvāgamasamhita the fourth chapter dealing with bhāṣā- lakṣaṇa where Yāṣṭika is the leader. [ B. Bhāṣās according to Śārdūla] After this I shall speak of the description of bhāṣā according to Śārdūla.

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.

TRANSLATION ¹⁹³ Illustration - Māmapāmā pāpānidhādhā nipāpānipamā risānidhāpāmā. Sāmādhāni dhāpāpāsāpānigārisā ninīsānisānidhāmā mānidhāpāpā. Āndhrī [v] Gāndhārī has gāndhāra as aṁśa (and) pancama as the concluding note, is complete; (this) vibhāṣā is sung in mālavapañcama in (the context of) ascending the top of a mountain. ¹⁶ (19) Illustration-Gāgāninidhā dhādhāniririgā pamāgari risanīsāsā. Dhādhāsādhāni. Sāgāsānidhāpāpā. Gāndhārī [vi] Thus end the bhāṣās in mālavapañcama according to the opinion of Sārdūla. [4. Now in bhinnaṣaḍja] Trāvaņī and şadjabhāṣā, mālavī, similarly gūrjarī, bāhyaṣāḍavā, kausalī, gāndhārī, svaravallitā, lalitā, niṣādavatī, tumburu, gāndhāralalitā, kaliṅgā and śuddhā and madhyamā, similarly pārvatī (these are the bhāṣās in bhinnaṣaḍja). (20-21) Trāvaṇī bears a regional name, 17 has dhaivata as the concluding note and is with sparse şadja. (22) Illustration - Riridhādhādhanī nīdhādhā. Madhāniridhā dhāninisānini dhādhānidhāmādhā. Niridhādhāmadhādhāmiririnigāmāgādhāmarīsānidhāmidhā nidhāmāmadhā niniridhādhā. Trāvaņī [i] Combined with dhaivata as the initial and concluding note, having sparse sa (ṣaḍja), ṣaḍja bhāṣā is a mūlabhāṣā that is hexatonic and is sung in the worship of deities.¹⁸ (23) Illustration - Dhānidhādhā. Sānidhādhā. Samānidhā. Māgāgāmā. Nidhādhā. Gāmāgāmā. Gamādhādhā. Garisānidhā. Pamāmā. Pāmādhānī. Dhādhā. Ṣaḍjabhāṣā [ii]

¹⁹⁹ TRANSLATION Illustration-.....Śuddhā[xiv] [.....] Illustration - Dhāpā ninisā nidhānigāmā pāpāripāpā dhānini. Dhānīgārīgāsāgāsāsāsāsāpāpāmāpāpā. Gamasānigāgamasāgāsādhāmāgāmāmā. Madhyamā [xv] Pārvatī (bhāṣā) has pañcama as aṁśa (and) dhaivata as the concluding note and is born of a region³¹; it is sung in the assembly of kşatrīyas, is complete and born of bhinna (şadja). (33) Illustration - Pāpāpāgā māririnirimā dhāpāpāpā sārimā. Pāgāririsani dhāpāpādhā. Pārvatī [xvi] Thus end the sixteen bhāṣās of bhinnaṣaḍja according to the opinion of Śardūla. The proper bhāṣās adorned with vibhāṣās have been spoken of in combination with practice and theory (and) blended with prastāra (lit. elaboration, here notational illustration). (34) Thus ends the description of bhāṣās. [Thus ends the fourth chapter.]

279 PĂŢĦAVIMARŚA separately; they have also not been treated as part of our text, but as a long citation. 2. This is described as a vibhāṣā in Kalā (appendix) on SR II, p.135. ; 3. Read as devāravardhani in ibid and in S Rāj II.2.I.719. 4. Reconstruction based on S Rāj II.2.1.824 ef reading as - शार्दूलमुनिसम्मत्या मध्यमग्रामसंश्रया । Our reconstruction madhyamāśritā would mean 'basedon madhyamagrāma'. 5. Our reconstruction is based on the following - देशाख्या टक्षजा दोह्या गाद्या सान्ता रिपोज?्झिता ॥ ı (i) Kalā (appendix) on SR II. p. 135. गान्धारांशग्रहा षड्जन्यासा रिपविवर्ज?िता । (ii) S Rāj II.2.1.716 cd. निपादांशग्रहा सान्ता पाडवा पस्य लोपतः । 6. cf. स्वल्पर्पभकनिस्वाना षड्जग्रामनिवासिनी ॥ : भाषा शार्दृलिका नाम्री शार्दूलमुनिसम्मता ॥ S Rāj II.2.1.728. 7. Reconstruction based on consideration of metre. 8. Reconstruction based on consideration of plausible meaning through proximity of p.t. 9. Reconstruction at three points in this verse based on S Rāj II.2.1. 919 reading - निपादांशग्रहा सान्ता रविचन्द्रा धवर्ज?िता । षड्ज? प्रेङ्खकसम्भूता भाषा गीतज्ञवलमा ॥ 10. Kalā (appendix) on SR II, p. 138 and S Rāj II.2.1.950 d read 'prekṣane' to indicate the application (viniyoga); but in our text the relation of this bhāṣā with hiṇḍola (prenkhaka being its synonym) is to be indicated and hence our reconstruction as 'prenkhake.' The above are cited below in the same order- मध्यमांशप्रहा पड्जन्यासा सप्तस्वरान्विता । (i) हिन्दोलभाषा स्याद् भिन्नपौराली प्रेक्षणे मता ॥ विभाषा प्रेह्नके भित्रा पौराली पड्जविश्रमा । (ii) मध्यमांशग्रहा पूर्णा प्रेक्षणा(णे) विनियोज?िता ॥ 11. Read as vibhāṣā in S Rāj II.2.1, 950 a. 12. Reconstruction based on the citation from Kasyapa in Abhi Bhā on NS XXIX. p. 77 reading - द्राविडी स्याद् परिभ्रष्टे .....