Review token : vol_II_p109::devanagari_original::4

1: 10
2: [ पञ्चमोऽध्याय: ]
3: [देशीरागाः]
4: [मङ्गलाचरणम् ]
5: बन्धूकाभां त्रिनेत्राममृतकरकलाशेखरां रक्तवस्त्रां
6: पीनोत्तुङ्गप्रवृत्तस्तनभरनिमतां यौवनारम्भरूढाम् ।
7: सर्वालङ्कारभूषां सरसिजनिलयां बीजसङ्क्रान्तमूर्ति
8: देवीं पाशाङ्कशाढ्यामभयवरकरां विश्वयोनिं नमामि ॥ ३४५॥
9: अत:परं प्रवक्ष्यामि देशीरागकदम्बकम् ॥ ३४६॥
10: [त्रिविधदेशीरागा:]
11: ै[लक्ष्यलक्षणसंयुक्तं त्रिविधं वाऽपि संयुतम् ।
12: रागाङ्गं चैव भाषाङ्गं क्रियाङ्गं च तृतीयकम् ॥ ३४७॥
13: प्रत्येकं लक्षणं चैषां प्रवक्ष्याम्यनुपूर्वश: ॥ ३४८॥
14: रेउक्तानां ग्रामरागाणां छायामात्रं भजन्ति हि ।
15: गीतज्ञै: कथिता: सर्वे रागाङ्गास्तेन हेतुना ॥ ३४९॥
16: भाषाछायाश्रिता येन जायन्ते सदृशा: किल ।
17: भाषाङ्गास्तेन कथ्यन्ते गायकै: स्तुतितत्परै: ॥ ३५०॥
18: ^३स्तौतिकादिभि:
19: ^४करुणोत्साहशोकादिप्रभवा या क्रिया तत: ।
20: जायन्ते च यतो नाम क्रियाङ्गाः कारणात्ततः ॥ ३५१॥
21: ५तदत्र मार्गरागेषु नियमो य: पुरोदित: ।
22: स देशीरागभाषादावन्यथाऽपि क्वचिद् भवेत् ॥ ३५२॥]
23: [भाषाङ्गरागा: ?]
24: [१. कच्छेल्ली]
25: मध्यमांशग्रहन्यासा रिमन्द्रा तारतत्परा ।
26: कच्छेल्ली ^६गधहीना च विज्ञेया परिभूरिगा^७ ॥ ३५३॥
27: गतिसीना
28: (या)
29: ॰जा
30: مروره هم و العرب العرب العربي و العرب العرب العرب العرب العرب العرب العرب العرب العرب العرب العرب العرب العرب ا

[Chapter V]
[Desī rāgas]
[Propitiation]
I make obeisance to the Devīl who bears a red hue like that of the bandhūka
(flower), has three eyes, wears a crest of the kalā (part) of the one having rays
of ampta (nectar) (crescent moon), wears red clothes, is bent with the weight
of breasts that are becoming plump and elevated, is conventionally associated
with the begininning of youth, is adorned with all ornaments, has abode in
the lotus, whose body bears association with the citron fruit, whose (two)
hands hold the snare (pāśa) (and) hook (ankuśa) (and the other two) hands
are held in the abhaya (granting of freedom from fear) and vara (granting
of boons) gestures and who is the yoni (origin, birth-place) of the universe.
(345)
[Threefold desi ragās]
After this I shall speak of the group of desī rāgas, which embodies the
combination of practice (laksya) and theory (laksana) and is threefold4; viz.
rāgānga, bhāṣānga and kriyānga as the third one.
(346, 347)
I shall speak of the description of each of them one after another.
(348)
All rāgāngas are so called by the experts in music because they bear only
a reflection or shadow (chāyā) of the grāmarāgas that have been spoken of.
(349)
Bhāṣāṅgas are so called by the singers devoted to the rendering of
panegyrics because they are based on the reflection or shadow (châyā) of
bhāṣās⁷ and hence become similar to the same (bhāṣās).
(350)
Kriyāngas are so called because they are born of the kriyā<math>^8</math> (special way of
rendering), born of karuna (pathos), utsāha 9 (enthusiasm) and the like.
(351)
The set of regulations prescribed earlier for the mārga-rāgas, could
sometimes become otherwise in desī-rāgas, bhāṣās and the like.
(352)
[Bhāṣāṅgarāgas¹⁰]
[1. Kacchelli]
Kacchelli 11 is known to have madhyama as amsa, graha (and) nyāsa,
has low(mandra) ri (rṣabha) (and) has leaning towards high (tāra), is devoid
of ga-dha (gāndhāra-dhaivata) and should be known to have profuse
movement of pa-ri (pañcama-ṛṣabha).
(353)