Review token : vol_II_p166::english_sharma::1

1: VIMARŚA
2: 315
3: a bhāṣā is something that deserves special notice.
4: 31. 'Pārvatī' is associated with parvata or mountains; whether or not
5: a particular mountainous region is implied, is hard to confirm. "Parvata is
6: 1. a country in the Panjab to the north-west of Multan between the Ravi and
7: Sutlej. 2. same as Śrīśaila" (Nando Lal De ). It is difficult to say whether
8: the mountains in general or a particular mountainous region or either of
9: the two identifications cited above is intended.
10: Chapter V
11: (Desī rāgas)
12: 1. This verse bears a distinct stamp of the Tantric stream and is
13: significant on account of being placed in the beginning of the chapter on
14: desī rāgas. It could be conjectured on the evidence of this verse and on other
15: evidence also that our author gave rāga-dhyānas for deśī rāgas (see Vol.III).
16: 2. Deśī rāgas are contradistinct to grāmarāgas.
17: 3. Reference to laksya in the context of desi rāgas points to the fact that
18: they must have been in vogue in the author's time.
19: 4. The citation in the name of Matanga given by Kalli, in his
20: commentary on SR II.2.1. also mentions these three types of desī-rāgas, but
21: Sārngadeva has added a fourth category named upānga.
22: 5. 'Chāyā' is subtle similarity.
23: 6. The special mention of panegyric in the context of bhāṣāṅga rāgas
24: is worth noticing.
25: 7. 'Bhāṣā 'here would include vibhāṣā and antara-bhāṣā.
26: 8. 'Kriyā' seems to stand for expressive rendering.
27: 9. Karuņā and utsāha are two pervasive names that symbolise mādhurya
28: and ojas respectively (See Vol. III).
29: 10. The text is mutilated at this point and a small portion on bhāṣāṅga
30: rāgas seems to have survived.
31: 11. Kacchelli could perhaps, be related to Kacch (Cutch); "it was
32: called Marukaccha in contradistinction to Kausiki-kaccha". (Nando Lal
33: De).
34: 12. Māngalī has been described as a bhāṣā in the preceding section.
35: 13. Bhammāṇa is not known as a region.
36: 14. 'Pulindikā' refers directly to the ethnic group known as the
37: pulindas.
38: 15. Gāndhārasindhu is mentioned as a bhāṣāṅga rāga in S Rāj
39: II.2.3.203, but is said to be out of vogue and is not, therefore, described.
40: 16. Karņātī is described in S Raj II.2.3.208, but the laksaņas are
41: different.

BŖHADDEŚĪ
314
8. This seems to be a situation in drama.
9. This is a rare case of a bhāṣā being said to be sung by a divine being.
10. 'Trapavīra' has been interpreted by us 'as women excelling in
bashfulness' or 'men excelling in fame 'on the basis of the double meaning
of 'trapā' viz. bashfulness and fame. Since it is not clear whether women or
men are intended, we have given two alternatives.
11. The region implied is not clear.
12. ' Kāminī' has been rendered as 'amorous woman'.
13. The mention of a rasa in the viniyoga of a bhāṣā is a rare
phenomenon.
14. This is an unconventional viniyoga.
15. 'Corruption on account of disease' is the only possible rendering
of 'vyādhiduṣṭa', if the reading 'vyādhidaṣṭa' is accepted, then 'those afflicted
with disease 'would be a plausible rendering.
16. This also is an unconventional viniyoga.
17. See note 44 on trāvaņī in the previous section.
18. 'Worship of deities' is notable as a viniyoga.
19. The viniyoga of a bhāṣā in yajāa is notable.
20. Kauśala could be identified as Kośala which is known to be "Oudh
(Awadh); it was divided into two kingdoms called north Kośala (Bahraich
district) and Kośala. The capital of the latter was Kuśavati founded by Kuśa
and the capital of the former was Śrāvastī. Dakṣiṇa Kośala is identified with
Gondwana, including the eastern portion of the Central Provinces
(Chattisgarh of present Madhya Pradesh)" (Nando Lal De).
21. 'Door-keepers' as a part of viniyoga is a new addition.
22. A bhāṣā being based directly on grāma is not easy to comprehend.
23. The quality of the mind of the character to be portrayed is a new
approach.
24, 'Due order' is not clear.
25. Niṣādavatikā is the same as niṣādavatī which is also the name of a
jāti (Naisādī).
26. Tumburu is the name of a gandharva who is an authority on music.
The association of a bhāṣā with his name is notable.
27. The statement describing "expounders of Veda" as being involved
in singing a bhāṣā, presents a notable point.
28. The rituals devoted to the manes seem to be under reference.
29. Suddhā appears to be a common name, but here it has been used
as a proper name.
30. Nārada is both a gandharva and devarși, his being associated with