Review token : vol_II_p094::devanagari_original::0

1: BRHADDEŚĪ
2: 170
3: धैवताद्यन्तसंयुक्ता सम्पूर्णा लोकरञ्जिका ।
4: धैवतनिषादसंवाद: षड्जगान्धारयोस्तथा ॥ १११॥
5: बङ्गालदेशसम्भूता बाङ्गाली दिव्यरूपिणी ।
6: यङ्गाली
7: एषा वै सरसा भाषा दैवतस्यापि वल्लभा ॥
8: एषा भाषा रसा च + थैवतः
9: प्रयोगे शृक्ष्णलक्ष्मा च गायकै: स्वरशोभितै: ॥ ११२॥
10: ॰सूक्ष्मध
11: उदाहरणम् - धारीसारीगागाधा रीसारीमानीसानीनीसा सासारिधामापा धाधारिसामाधानि
12: धाधा। बाङ्गाली । [६]
13: वङ्गाली
14: ^१००मध्यमांशा धैवतान्ता ^१०१पञ्चमर्षभदुर्बला ।
15: षड्जमध्यमसंवाद: षड्जगान्धारयोस्तथा ॥
16: सिन्धुविषयसम्भूतां देशाख्यां सैन्धर्वी विदु: ॥ ११३॥
17: गासानिसानिधा
18: उदाहरणम् –मा । माधानीधा नीसागासामासासागामागामा
19: मापामामासामाधा
20: नी
21: मानिसासासागारीधानिधाधा माधानीधामाधाधाधा । सैन्धवी^१०२।[७]
22: गान्धारांशा तु कालिङ्गी धैवतान्ता चतुःस्वरा।
23: कालिन्दी
24: पञ्चमर्षभहीना च निषादेन च दुर्बला ॥ ११४॥
25: एषा १०३ ह्यन्तरभाषा वै कालिङ्गै: सा तु गीयते ।
26: कालिङ्गे
27: हृद्या मनोहरा ह्येषा १०४पञ्चमादनुगीयते ॥ ११५॥
28: उदाहरणम् -गासामागामागासासासासाधा मासासाधामानीमामासासासासामाधा मामाधासा-
29: साधानीगाधा । कालिङ्गी । [८]
30: कालिन्दो
31: षड्जान्ता धैवतांशा १०५ च हीनौ गान्धारपञ्चमौ ।
32: धैवताऱ्यासा
33: ^९०६षड्ज[मध्यमसङ्गत्या षड्ज-]धैवतयोस्तथा ॥ ११६॥

171
TRANSLATION
Combined with dhaivata as the initial and concluding note, complete,
delightful to the people, having concert between dhaivata - niṣāda and ṣadja-
gāndhāra, born of Bangāla deśa, bāngālī is of divine form. This bhāṣā is full
of rasa and is also dear to the deity. 50 In performance, it is characterised
by smoothness and continuity by the singers bedecked with svaras.
<math>(111-112)</math>
Illustration - Dhārīsārīgāgādhā rīsārīmānīsānīnīsā sāsāridhāmāpā
dhādhārisāmādhānidhādhā. Bāṅgālī [vi]
Having madhyama as amśa, dhaivata as the concluding note, being weak in
pañcama and ṛṣabha, having concert between ṣadja-madhyama and ṣadja-
gāndhāra, saindhavī has been known to be born of the Sindhu region and to
bear a regional name.
(113)
Illustration - Mā.Mādhānīdhā nīsāgāsāmāsāsāgāmāgāmā gāsānisanidhā
māpāmāmāmāsāmādhāmānisāsāsāsāgārī dhānidhādhāmādhānīdhā
mādhādhādhā. Saindhavī [vii]
Kālingī has gāndhāra as amśa, dhaivata as the concluding note and is
comprised of four svaras, being devoid of pañcama and ṛṣabha and weak in
niṣāda. This is an antarabhāṣā and is sung by the people of Kalinga⁵¹ It is
beautiful and charming and is sung according to pañcama⁵² (rāga).
<math>(114-115)</math>
Illustration-<math>G</math>āsāmāgāmāgāsāsāsāsādhā<math>m</math>āsāsādhāmānīmāmāsāsāsāsāmā
dhāmāmādhāsāsādhānīgādhā. Kāliṅgī [viii]
Having ṣadjaas the concluding note, dhaivataas aniśa, gāndhāra and pañcama
being omitted, having concert between ṣaḍja-madhyama and similarly ṣaḍja-
dhaivata, this antara-bhāṣā is sung by the Pulinda⁵³ people. It is well-known
as pulindikā, is pentatonic and subsists in (bhinna) sadja.54
<math>(116-117)</math>