Ārşabhī jati

⁴⁷ TRANSLATION When it (ṣāḍjī) is sung as hexatonic, then the sparseness⁵⁹ of ṛṣabha has to be brought about, (and) there is abundance of the remaining svaras. [ Anu. ¹⁴⁷] And it has ten amsas. That is thus - one suddha, five vikṛtas in the complete state and four ṣāḍavas, because when gāndhāra is aṁśa, it excludes the formation of ṣāḍava. The amśas have been written as such so that they become clear. There is the state of śuddhā with ṣaḍja as the aṁśa and ṣaḍja is the apanyāsa. In its sampūrņa state there are eight-fold lakṣaṇas (ṣāḍava and auḍava being irrelevant). In the sadava state (they are) nine-fold (auduvita being irrelevant). Ṣādjī should be known as four-fold in its vikṛtā (modified) state, excluding (its) śuddhā (form). And it has the m\bar{u}rchan\dot{a}^{60} beginning with dhaivata. (The t\bar{a}la) ekakala pañcapāṇi61 (known also as uttara and satpitāputraka) in the citra (mārga) (operates alongwith) māgadhī gīti. Dvikala pancapāņi in the vārtika mārga (operates alongwith) sambhāvitā gīti. In dakṣiṇa mārga, catuṣkala pañcapāṇi (operates alongwith) pṛthulā gīti. (The corresponding pattern of tāla and gīti) should be known for all the jātis in this order. Vīra, raudra and adbluta rasas should be evoked (lit. made). Its application (viniyoga) 62 is (prescribed) in the singing of dhruvā(s) in the first scene (or act). [2. Ārşabhī] [Anu. 148] (În ārṣabhī) ṛṣabha, dhaivata (and) niṣāda are the grahas, (they) themselves are the amsas. They alone are apanyāsas. Niṣāda63 (?) is (the limit of the extension of) tāra upto five svaras. Ŗṣabha is the nyāsa. Mandra extends upto nyāsa or upto the svara next to nyāsa. There is sangati (concert) of şadja- dhaivata and ṛṣabha-gāndhāra. Ṣāḍava is devoid of ṣaḍja and auḍuvita is devoid of șadja-pañcama. In its complete state there is the sparseness of șadja, gandhara and pancama. In the auduvita form, there is the sparseness of gāndhāra and madhyama and the profusion of the remaining (svaras). [Anu. 149] And it (ārṣabhī) is ten-fold i.e., there are ten amśas. Śuddhā (is one), vikṛtās in the complete state are three, in the sadava state are three and in the auduva state are (also) three, thus in the complete state are three, in the ṣāḍava state are three, thus (they are ten). The mūrchanā 64 beginning with pañcama obtains (here). Caccatpuța is the tāla. With the ekakala (tāla) in the

⁴⁷ TRANSLATION When it (ṣāḍjī) is sung as hexatonic, then the sparseness⁵⁹ of ṛṣabha has to be brought about, (and) there is abundance of the remaining svaras. [ Anu. ¹⁴⁷] And it has ten amsas. That is thus - one suddha, five vikṛtas in the complete state and four ṣāḍavas, because when gāndhāra is aṁśa, it excludes the formation of ṣāḍava. The amśas have been written as such so that they become clear. There is the state of śuddhā with ṣaḍja as the aṁśa and ṣaḍja is the apanyāsa. In its sampūrņa state there are eight-fold lakṣaṇas (ṣāḍava and auḍava being irrelevant). In the sadava state (they are) nine-fold (auduvita being irrelevant). Ṣādjī should be known as four-fold in its vikṛtā (modified) state, excluding (its) śuddhā (form). And it has the m\bar{u}rchan\dot{a}^{60} beginning with dhaivata. (The t\bar{a}la) ekakala pañcapāṇi61 (known also as uttara and satpitāputraka) in the citra (mārga) (operates alongwith) māgadhī gīti. Dvikala pancapāņi in the vārtika mārga (operates alongwith) sambhāvitā gīti. In dakṣiṇa mārga, catuṣkala pañcapāṇi (operates alongwith) pṛthulā gīti. (The corresponding pattern of tāla and gīti) should be known for all the jātis in this order. Vīra, raudra and adbluta rasas should be evoked (lit. made). Its application (viniyoga) 62 is (prescribed) in the singing of dhruvā(s) in the first scene (or act). [2. Ārşabhī] [Anu. 148] (În ārṣabhī) ṛṣabha, dhaivata (and) niṣāda are the grahas, (they) themselves are the amsas. They alone are apanyāsas. Niṣāda63 (?) is (the limit of the extension of) tāra upto five svaras. Ŗṣabha is the nyāsa. Mandra extends upto nyāsa or upto the svara next to nyāsa. There is sangati (concert) of şadja- dhaivata and ṛṣabha-gāndhāra. Ṣāḍava is devoid of ṣaḍja and auḍuvita is devoid of șadja-pañcama. In its complete state there is the sparseness of șadja, gandhara and pancama. In the auduvita form, there is the sparseness of gāndhāra and madhyama and the profusion of the remaining (svaras). [Anu. 149] And it (ārṣabhī) is ten-fold i.e., there are ten amśas. Śuddhā (is one), vikṛtās in the complete state are three, in the sadava state are three and in the auduva state are (also) three, thus in the complete state are three, in the ṣāḍava state are three, thus (they are ten). The mūrchanā 64 beginning with pañcama obtains (here). Caccatpuța is the tāla. With the ekakala (tāla) in the