Review token : vol_II_p032::english_sharma::7

1: 47
2: TRANSLATION
3: When it (ṣāḍjī) is sung as hexatonic, then the sparseness⁵⁹ of ṛṣabha has to
4: be brought about, (and) there is abundance of the remaining svaras.
5: [ Anu. 147]
6: And it has ten amsas. That is thus - one suddha, five vikṛtas in the complete
7: state and four ṣāḍavas, because when gāndhāra is amśa, it excludes the
8: formation of ṣāḍava. The amśas have been written as such so that they

10: become clear.

12: There is the state of śuddhā with ṣadja as the amśa and ṣadja is the apanyāsa.
13: In its sampūrņa state there are eight-fold lakṣaṇas (ṣāḍava and auḍava being
14: irrelevant). In the sadava state (they are) nine-fold (auduvita being
15: irrelevant). Ṣādjī should be known as four-fold in its vikṛtā (modified) state,
16: excluding (its) šuddhā (form).
17: And it has the <math>m\bar{u}rchan\dot{a}^{60}</math> beginning with dhaivata. (The <math>t\bar{a}la</math>) ekakala
18: pañcapāṇi61 (known also as uttara and satpitāputraka) in the citra
19: (mārga) (operates alongwith) māgadhī gīti. Dvikala pancapāņi in the vārtika
20: mārga (operates alongwith) sambhāvitā gīti. In dakṣiṇa mārga, catuṣkala
21: pañcapāṇi (operates alongwith) pṛthulā gīti. (The corresponding pattern of
22: tāla and gīti) should be known for all the jātis in this order. Vīra, raudra and
23: adbluta rasas should be evoked (lit. made). Its application (viniyoga) 62 is
24: (prescribed) in the singing of dhruvā(s) in the first scene (or act).
25: [2. Ārşabhī]
26: [Anu. 148]
27: (În ārṣabhī) ṛṣabha, dhaivata (and) niṣāda are the grahas, (they) themselves
28: are the amsas. They alone are apanyāsas. Niṣāda63 (?) is (the limit of the
29: extension of) tāra upto five svaras. Ŗṣabha is the nyāsa. Mandra extends upto
30: nyāsa or upto the svara next to nyāsa. There is sangati (concert) of şadja-
31: dhaivata and ṛṣabha-gāndhāra. Ṣāḍava is devoid of ṣaḍja and auḍuvita is
32: devoid of șadja-pañcama. In its complete state there is the sparseness of șadja,
33: gandhara and pancama. In the auduvita form, there is the sparseness of
34: gāndhāra and madhyama and the profusion of the remaining (svaras).
35: [Anu. 149]
36: And it (ārṣabhī) is ten-fold i.e., there are ten amśas. Śuddhā (is one), vikṛtās
37: in the complete state are three, in the sadava state are three and in the
38: auduva state are (also) three, thus in the complete state are three, in the
39: ṣāḍava state are three, thus (they are ten). The mūrchanā 64 beginning with
40: pañcama obtains (here). Caccatpuța is the tāla. With the ekakala (tāla) in the

BRHADDEŚĪ
46
यदा षाडवा गीयते तदा ऋषभस्याल्पत्वं कार्यम्, शेषाणां स्वराणां बहुत्वम् ।
(था ? दा)
[अनु॰ १४७]
अस्याश्च दशांशका: । तद्यथा - शुद्ध:, विकृताश्च पञ्च पूर्णाश्चत्वार:
^१३५षाडवा:,
^१३६गान्धारेंऽशे षाडवापवादात् । येनांशा: स्फुटयन्ते तेन लिखिता: ।
षड्जांशेन शुद्धत्वं ^१३७षड्जश्चापन्यास:।सम्पूर्णावस्थायामष्टविधलक्षणम्।षाडवावस्थायां
नवविधत्वम् । शुद्धां परित्यज्य चतुर्विधा षाड्जी विकृता बोद्धव्या ।
न(य ? व)
अस्याश्च धैवतादिमूर्छना । पञ्चपाणिरेककलिश्चत्रे मार्गे मागधी गीति:। पञ्चपाणिर्द्विकलो
॰श्चित्रे मार्गे
र्वहकल:
वार्तिकमार्गे सम्भाविता गीतिश्चतुष्कलः पञ्चपाणिर्दक्षिणे मार्गे पृथुला गीतिः । अनेन क्रमेण
र्णाः •द•
सर्वासां जातीनां बोद्धव्यम्। वीररौद्राद्धतरसा: कार्या:। प्रथमे ^१३८प्रेक्षणके ध्रुवागाने विनियोग।
[२. आर्षभी]
[अनु॰ १४८]
१३९[आर्षभ्याम्]ऋषभधैवतनिषादा ग्रहा: स्वयमेवांशा:, त एवापन्यासा: पञ्चस्वरपरस्तारो१४०
ष्र:
निषाद:[?] । ऋषभो न्यास: । न्यासपरस्तत्परो वा मन्द्र: । १४१षड्जधैवतयोर्ऋषभगान्धारयोश्च
॰पञ्चम: ऋषभ॰
सङ्गति: । षड्जहीनं षाडवम्, षड्जपञ्चमहीनम् औडुवितम् । पूर्णावस्थायां
षङ्जगान्धारपञ्चमानामल्पत्वम् , औडुविते गान्धारमध्यमयोरल्पत्वम् , शेषाणां च बहुत्वम्।
[अनु॰१४९]
दशविधत्वं चास्याः। दशांशाः शुद्धः, विकृताः पूर्णास्त्रयः, त्रयः षाडवाः, त्रय
Œ
औडुवाश्चेति। पञ्चमादिमूर्छना, चच्चत्पुटस्ताल:। एककलेन चित्रेण मागधी,द्विकलेन वार्तिकेन