Durgaśakti proper_noun

79 TRANSLATION 'R\bar{a}ga' is born from the act of colouring or delighting; this has been said to be the etymology. Thus is spoken of the etymology of the word rāga. (266) 'Rāga' is (a word that is) r\bar{u}\phi ha^{10} (having a conventional meaning) like aśvakarņa¹¹ or is yaugika¹² like 'maṇḍapa' (that which conveys the meaning that embodies a combination of its components), or it should be known as yogarūdha¹³ (that which gives meaning according to combination and convention) like the word pankaja (lotus). (267) [The types of giti] [ The opinion of Matanga ] Now I shall speak of the seven beautiful gītis. The first gīti is śuddhā, the second one is bhinnakā, the third one is gaudikā and the fourth one is rāgagīti. Similarly, sādhāraņī should be known as the fifth one by the knowledgeable ones in music. Bhāṣāgīti is the sixth one and vibhāṣā is the seventh. Thus have been spoken of the seven gitis. Now (their) distinction is being spoken of. (268-270) [ Thus ends the opinion of Matanga ] [The opinion of Durgaśakti] Gītis should be known to be five viz. śuddhā, then bhinnā, vesarā, gauḍī (and) sādhāritā; this is the opinion of Durgā (Durgaśakti). (271) Thus ends the opinion of Durgaśakti.

¹¹⁹ TRANSLATION [Anu. ²⁰²] (Contention) Why has Kasyapa Muni described narta-rāga in the beginning? It is being answered. In the opinion of Kasyapa its prominence is due to its application in passionate performance of caris, mandalas and situations of combat. In the opinion of Durgaśakti, on the other hand, sadjakaisika alone is prominent. Why? On account of its falling under the order of the state of sādava (rāga).76 That is thus - [1. Narta-rāga] Having pañcama as its aṁśa and madhyama as its concluding note, being born of pañcamī and madhyamā (jātis), narta-rāga should be known to treat as sparse the svaras comprised of two śrutis each. (333) [Anu. ²⁰³] Its meaning is thus - narta-rāga is related to madhyamagrāma on account of being born of pañcamî and madhyamā (jātis). Pañcama is its graha and aniśa, madhyama is the nyāsa. Niṣāda and gāndhāra have sparseness here. Niṣāda is kākalī here and its application is prescribed in passionate performance of cārī, maṇḍala and combat. Sṛṅgāra and the like is the rasa. The mūrchanā beginning with pañcama obtains. Prasannamadhyama is the alaṅkāra. Sañcārin is the varņa. Thus is it in the opinion of Kaśyapa. [Anu. ²⁰⁴] In the opinion of Durgaśakti this rāga itself is born of pañcamī and dhaivatī jātis. It should be known to be related to şadjagrāma itself. Why? On account of pañcama being comprised of four śrutis (and) dhaivata of three śrutis, it is related to şadjagrāma. [2. Saka] That is said to be śaka which has a weak pañcama, is combined with ṣaḍja as nyāsa and aniśa and is born of ṣāḍjī and dhaivatī jātis. (334) [Anu. ²⁰⁵] Its meaning is thus - śaka is related to şadjagrāma on account of being born of ṣāḍjī and dhaivatī (jātis). Ṣaḍja is its graha, aṁśa and nyāsa. There is the sparseness of pañcama. Niṣāda and gāndhāra are kākalī and antara here. And this (rāga) is complete in svaras. Its application is prescribed in vīra, adbhuta

BRHADDEŚĪ ¹²² [अनु॰ ^२०८] अस्यार्थः - रूपसाधारितः षड्जग्रामसम्बन्धः षड्जमध्यमानिषाद-[वती]-सकाशादुत्पन्नत्वात्। पूर्णश्चायम्। षङ्ज?ोऽस्य ग्रहोंऽशश्च । मध्यमो न्यासः । पञ्चमर्षभयोरल्पत्वम् । निषादोऽत्र काकली। (पञ्चमर्पभयोरल्पत्वम्) वीरकरुणेऽस्य प्रयोगः । वीरादिरसः । षङ्ज?ादिमूर्छना । ^१०२आरोही वर्णः । अलङ्कारः प्रसन्नमध्यः । दक्षिणे कला, वार्तिक कला, चित्रे कला। स्वरपदगीते चच्चत्पुयदितालः। [६. गान्धारपञ्चमः] गान्धारीरक्तगान्धार्योर्ज?ातो गान्धारपञ्चमः। गान्धारोऽस्य भवेदंशो न्यासो गान्धार एव च ॥३३८॥ [अनु॰ २०९] अस्यार्थः – गान्धारपञ्चमो मध्यमग्रामसम्बन्धः, गान्धारीरक्तगान्धारीसमुत्पन्नत्वात् । यद्यपि १॰३दुर्गशक्तिमते धैवतीसमुत्पत्रोऽसौ, तथापि पञ्चमस्य त्रिश्रुतिकत्वादुभयग्रामजातिज?ातोऽपि मध्य[म]- सम्बन्ध एव । गान्धारोऽस्य ग्रहोंऽशो न्यासश्च, प्रयोक्त्रपेक्षया गान्धारो धैवतो भवेत् ^१०४। निषादोऽत्र काकली। पूर्णश्चायम्। १०५अद्भुते विस्मये हास्ये चास्य विनियोगः। करुणो रसः। गान्धारादिमूर्छना सञ्चारी वर्णः । र(स): अद्भुते( ऽस्य विनियोगः) प्रसन्नमध्यमोऽलङ्कारः । दक्षिणे कला, वार्तिके कला, चित्रे कला। स्वरपदगीते चच्चपुयदितालः। [७. षड्जकैशिकः]^१०६ .............. [८. पञ्चमषाडवः] धैवत्यार्षभिकाज?ात्योर्ज?ातः पञ्चमषाडवः। (भी?भिका) ऋषभांशसमायुक्तो मध्यमो न्यास एव च ॥३३९॥ (श)