Review token : vol_II_p038::devanagari_original::0

1: BRHADDEŚĪ
2: 58
3: मा गारी गामा मासा सा
4: (3)
5: [मा मगम मा मा निध पध पम गमम]
6: (8)
7: धा गध परि रिग गरि गस धस धा
8: (4)
9: निध सा री मृगम मा मा मा मा
10: (६)
11: मां मां मंगमं मंधं धंपं पंधं पंमं गंमंगं
12: (৩)
13: धा पध परि रिंग मंग रिंग संधस सा
14: (८)
15: मां मां धनि धस धप पम पा पा
16: (9)
17: मा मग मां मां पध पम गम गस
18: (१०)
19: धा पध परि रिम मग रिग सधस सा
20: (११)
21: निंधं सां री मगम मा मा मा मा
22: (१२)
23: ॥ [इति] षड्जमध्यमा ॥
24: (स॥
25: [२. गान्धारोदीच्यवा]
26: गान्धारोदीच्यवायां तु द्वावंशौ षड्जमध्यमौ ।
27: रिलोपात् षाडवं ज्ञेयं पूर्णत्वेंऽशेतराल्पता ॥४॥
28: ॰(शोन्तरात्मना? शेतराल्पता)
29: अल्पा निधपगान्धारा: षाडवत्वे प्रकीर्तिता: ।
30: रिधयो: सङ्गतिर्ज्ञेया धैवतादिश्च मूर्छना ॥ ५॥
31: स(गनिज्ञे ? ङ्गतिर्जे)या
32: तालश्चचत्पुटो ज्ञेय: कला: षोडश कीर्तिता: ।
33: विनियोगो ध्रुवागाने चतुर्थप्रेक्षणे मत: ॥ ६॥
34: ^१६९अस्यां मध्यमो न्यास: । षड्जधैवतावपन्यासौ । १७°प्रस्तार: -
35: म(ध्य)मो
36: (१)
37: सा सा पा मा पा धप पा मा
38: (२)
39: धा पा मा मा सा सा सा सा
40: धा नी सा सा मा मा पा पा
41: (3)
42: नी नी नी नी नी नी नी
43: <b>(</b>8)
44: मा मा धा निस नी नी नी नी
45: (4)
46: मा पा मा परि गा गा सा सा
47: <b>(</b>\(\xi\)

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TRANSLATION
(3)
mā gā rī gā mā mā sā sā
<b>(4)</b>
[mā magama mā mā nidha padha pama gamama]
(5)
dhā padha pari riga maga riga sadhasa sā
(6)
nidha sā rī magama mā mā mā mā
(7)
mā mā magama madha dhapa padha pama gamaga
(8)
dhā padha pari riga maga riga sadhasa sā
(9)
mā mā dhani dhasa dhapa mapa pā pā
(10)
mā magama mā nidha padha pamaga gā mā
(11)
dhā padha pari riga maga riga sadhasa sā
(12)
nidha sā rī magama mā mā mā mā
Thus ends <i>şadjamadhyamā</i>.
[2. Gāndhārodīcyavā]
In gāndhārodīcyavā, ṣadjaand madhyama are the two amśas. The hexatonic
is known to be with the omission of rşabha. In the state of completeness there
is the sparseness of svaras other than those that are anisas.
(4)
In the hexatonic form, niṣāda, dhaivata, pañcama and gāndhāra are said to
be sparse. Saigati (concert) between ṛṣabha and dhaivata should be known
and the mūrchanā beginning with dhaivata obtains.
(5)
The tāla should be known as caccatpuța. Sixteen kalās (time units) are said
to obtain. Its application (viniyoga) is accepted to be in the singing of dhruvā
in the fourth act.
(6)
Madhyamais the nyāsain this (jāti). Ṣaḍja and dhaivata are apanyāsas. The
prastāra is thus -
(1)
sā sā pā mā pā dhapa pā mā
(2)
dhā pā mā mā sā sā sā sā
(3)
dhã nĩ sã sã mã mã pã pã
(4)
ករី ករី ករី ករី ករី ករី ករី ករី
(5)
mã mã dhã nisa nĩ nĩ nĩ
(6)
mā pā mā pari gā gā sā sā