Review token : vol_II_p109::english_sharma::2

1: [Chapter V]
2: [Desī rāgas]
3: [Propitiation]
4: I make obeisance to the Devīl who bears a red hue like that of the bandhūka
5: (flower), has three eyes, wears a crest of the kalā (part) of the one having rays
6: of ampta (nectar) (crescent moon), wears red clothes, is bent with the weight
7: of breasts that are becoming plump and elevated, is conventionally associated
8: with the begininning of youth, is adorned with all ornaments, has abode in
9: the lotus, whose body bears association with the citron fruit, whose (two)
10: hands hold the snare (pāśa) (and) hook (ankuśa) (and the other two) hands
11: are held in the abhaya (granting of freedom from fear) and vara (granting
12: of boons) gestures and who is the yoni (origin, birth-place) of the universe.
13: (345)
14: [Threefold desi ragās]
15: After this I shall speak of the group of desī rāgas, which embodies the
16: combination of practice (laksya) and theory (laksana) and is threefold4; viz.
17: rāgānga, bhāṣānga and kriyānga as the third one.
18: (346, 347)
19: I shall speak of the description of each of them one after another.
20: (348)
21: All rāgāngas are so called by the experts in music because they bear only
22: a reflection or shadow (chāyā) of the grāmarāgas that have been spoken of.
23: (349)
24: Bhāṣāṅgas are so called by the singers devoted to the rendering of
25: panegyrics because they are based on the reflection or shadow (châyā) of
26: bhāṣās⁷ and hence become similar to the same (bhāṣās).
27: (350)
28: Kriyāngas are so called because they are born of the kriyā<math>^8</math> (special way of
29: rendering), born of karuna (pathos), utsāha 9 (enthusiasm) and the like.
30: (351)
31: The set of regulations prescribed earlier for the mārga-rāgas, could
32: sometimes become otherwise in desī-rāgas, bhāṣās and the like.
33: (352)
34: [Bhāṣāṅgarāgas¹⁰]
35: [1. Kacchelli]
36: Kacchelli 11 is known to have madhyama as amsa, graha (and) nyāsa,
37: has low(mandra) ri (rṣabha) (and) has leaning towards high (tāra), is devoid
38: of ga-dha (gāndhāra-dhaivata) and should be known to have profuse
39: movement of pa-ri (pañcama-ṛṣabha).
40: (353)

10
[ पञ्चमोऽध्याय: ]
[देशीरागाः]
[मङ्गलाचरणम् ]
बन्धूकाभां त्रिनेत्राममृतकरकलाशेखरां रक्तवस्त्रां
पीनोत्तुङ्गप्रवृत्तस्तनभरनिमतां यौवनारम्भरूढाम् ।
सर्वालङ्कारभूषां सरसिजनिलयां बीजसङ्क्रान्तमूर्ति
देवीं पाशाङ्कशाढ्यामभयवरकरां विश्वयोनिं नमामि ॥ ३४५॥
अत:परं प्रवक्ष्यामि देशीरागकदम्बकम् ॥ ३४६॥
[त्रिविधदेशीरागा:]
ै[लक्ष्यलक्षणसंयुक्तं त्रिविधं वाऽपि संयुतम् ।
रागाङ्गं चैव भाषाङ्गं क्रियाङ्गं च तृतीयकम् ॥ ३४७॥
प्रत्येकं लक्षणं चैषां प्रवक्ष्याम्यनुपूर्वश: ॥ ३४८॥
रेउक्तानां ग्रामरागाणां छायामात्रं भजन्ति हि ।
गीतज्ञै: कथिता: सर्वे रागाङ्गास्तेन हेतुना ॥ ३४९॥
भाषाछायाश्रिता येन जायन्ते सदृशा: किल ।
भाषाङ्गास्तेन कथ्यन्ते गायकै: स्तुतितत्परै: ॥ ३५०॥
^३स्तौतिकादिभि:
^४करुणोत्साहशोकादिप्रभवा या क्रिया तत: ।
जायन्ते च यतो नाम क्रियाङ्गाः कारणात्ततः ॥ ३५१॥
५तदत्र मार्गरागेषु नियमो य: पुरोदित: ।
स देशीरागभाषादावन्यथाऽपि क्वचिद् भवेत् ॥ ३५२॥]
[भाषाङ्गरागा: ?]
[१. कच्छेल्ली]
मध्यमांशग्रहन्यासा रिमन्द्रा तारतत्परा ।
कच्छेल्ली ^६गधहीना च विज्ञेया परिभूरिगा^७ ॥ ३५३॥
गतिसीना
(या)
॰जा
مروره هم و العرب العرب العربي و العرب العرب العرب العرب العرب العرب العرب العرب العرب العرب العرب العرب العرب ا