Review token : vol_II_p053::english_sharma::2

1: TRANSLATION
2: 89
3: The first alternative does not hold good. Why? Because of this rāga being
4: complete (with seven svaras). Hence the second alternative alone is
5: stronger. Why is it said to be prominent among the six rāgas? Because of
6: the statement that śuddhaṣāḍava should be used in the pūrvaraiga. On
7: account of its abundant usage in pūrvaranga, this śuddhaṣāḍava has been
8: indicated in the beginning.
9: Suddhaṣāḍava is born of the modified madhyamā jāti.
10: Its <i>nyāsa</i> is
11: madhyama, which is also the amśa and gāndhāra is weak in it.
12: (300)
13: [ Anu. 165 ]
14: This means - suddhaṣāḍava is related to madhyamagrāma. Tāra (high)
15: madhyama is its graha. Madhyama is the amśa and nyāsa and there is the
16: sparseness of gāndhāra. Niṣāda and gāndhāra are kākalī and antara (here).33
17: It is endowed with all the svaras. It is used in the pūrvaranga. Madhyama is
18: the vādin and ṣaḍja is the samvādin. Ŗṣabha and pañcama are the anuvādins.
19: There is no vivādin. Śṛṅgāra and hāsya are the rasas. The mūrchanā
20: beginning with madhyama obtains here. The avarohin (descending) varņa,34
21: prevails. Prasannānta is the alankāra. It is sung in the three mārgas 36 of tāla
22: The kalā³⁷ (time-unit) comes about in the dakṣiṇa (mārga), the kalā obtains
23: in the vṛtti (mārga), the kalā prevails in the citra mārga. A tāla like caccatpuṭa 38
24: obtains in the svaras and padas (units of text).
25: Ākṣiptikā.....
26: [2. Suddhapañcama]
27: *********
28: [ Anu. 166 ]
29: Šuddhapancama is known to be born of şadjodicyavatī jāti.
30: ---------------------------------------
31: [3. Šuddhasādhārita]
32: It is with sadja as amsa, madhyama as nyāsa, the svaras with two śrutis
33: (gāndhāra and niṣāda) are sparse and similarly, born of ṣaḍjamadhyamā jāti
34: is the śuddhasādhārita.
35: (301)
36: A Section of the second section of the section of the section of the section of the section of the section of the section of the section of the section of the section of the section of the section of the section of the sec

88
BRHADDEŚĪ
मुख्य इति षाडवः ? तत्र नायम्। एकः । कुतः ? सम्पूर्णत्वादमुष्य रागस्य । तस्मादुत्तरपक्ष एव
ज्यायान्। ननु कथं षट्सु रागेषु मुख्योऽयम्? उच्यते पूर्व-[रङ्गे तु] शुद्धषाडव: प्रयोक्तव्य इति
(कथनुकथन? कथं)
पुष
वचनात् पूर्वरङ्गे प्रचुरप्रयोगत्वादस्य शुद्धषाडवस्यादौ निर्देश:।
विकारिमध्यमाजाते: सम्भूत: शुद्धषाडव: ।
न्
न्यासोऽस्य मध्यमोंऽशश्च गान्धारेण च दुर्बल: ॥ ३००॥
<b>णांश</b>श
(तु? दु)
[अनु॰ १६५]
अस्यार्थः - शुद्धषाडवो मध्यमग्रामसम्बन्धः। तारमध्यमो ग्रहः। मध्यमोऽशो न्यासश्च ।
गान्धारस्य चाल्पत्वम् । निषादगान्धारौ चात्र काकल्यन्तरौ । पूर्णस्वरश्चायम् । पूर्वरङ्गेऽस्य
(इन ? इने)
प्रयोग:।
मध्यमो वादी । षड्जः संवादी । ऋषभपञ्चमावनुवादिनौ । विवादी नास्ति ।
शृङ्गारहास्यौ रसौ । मध्यमादिमूर्छना । अवरोही वर्ण: । प्रसन्नान्तोऽलङ्कार: ।
त्रिषु मार्गेषु
गीयते। दक्षिणे कला, वृत्तौ कला, चित्रे कला। ३८स्वरपदगीते चच्चत्पुटादिताल: ।
<b>ण्पदेप</b>
आक्षिप्तिका^३९
॰सका
[२. शुद्धपञ्चम:]
ДO
[अनु॰ १६६]
शुद्धपञ्चमः षड्जोदीच्यवतीजातेः स्मृतः।
र्गत:
[३. शुद्धसाधारित: ]
षड्जांशो मध्यमन्यासः स्वल्पद्विश्रुतिकस्वरः।
(बि?हि)
स्यात् षड्जमध्यमाजाते: शुद्धः साधारितस्तथा ॥ ३०१॥
erte Arresto de la composição de la composição de la composição de la composição de la composição de la composição de la composição de la composição de la composição de la composição de la composição de la composição de la
. . .