Review token : vol_I_p052::english_sharma::1

1: 87
2: <b>TRANSLATION</b>
3: When in the gita (melodic rendering) the svaras move (to and fro) in
4: mutual7 (directions) along with the last one8 (of the preceding phrase forming
5: the beginning of the succeeding phrase), or two by two, that is known as the
6: (119)
7: sañcārin9 (circulatory) varņa.
8: (Anu. 65)
9: Just as in mālavakaišika-sāsā sanipa pani nipa nisā sādharīpā pani nini; in
10: various (phrases) like this, on account of mutual movement (the sañcārin varņa
11: is formed).
12: (Anu. 66)
13: Where the svaras of the gita ascend one by one or with intervening gaps,
14: that varņa is called ārohin (ascending). Just as in mālavapancama - pāpasa,
15: dharī sama ripa mapa mapadha māmā pasāri sāsama māpā rigā sā dhani pāri
16: mama dhani nini pāri mama dhani pādhani riripā — thus on account of
17: 'mutual'10 (gapless) ascent or with a gap of one or two svaras the arohin
18: (ascending) varņa (comes into being).
19: Where the svaras descend in one order alone, that is called avarohin with
20: (120)
21: 'equal' (gapless) svaras (or) with gaps.
22: pāma mamagā gaga mama mari riri ri pāmā mama papā papa pa māmama
23: nini dhadha papa pama gagā riri ninidhā pāpā — thus is avarohin varņa on
24: account of 'mutual' (gapless) descent or with a gap of one or two svaras.
25: Hence it has been said -
26: "These varnas ought to be known for the sake of the structuring" of
27: alankāras and the like, as being born of svaras produced by the human body 12
28: (and) adorned by repetition13 (in the) three registers." (NŚ XXIX. 17)
29: (Anu. 67)
30: How is varna brought about? It is being answered. When the svaras stretch
31: the syllable¹⁴ due to the demand¹⁵ of melodic rendering through (their)
32: steadiness, circulatory movement, ascent (and) descent, then varņa (pattern of
33: melodic movement) is effected.
34: Just as, in śādjī (jātī) the sthāyin (steady) varņa (is illustrated by) sāsāsā 16.
35: Sancārin (circulatory varņa) is there, as in dhaivatī (jātī) — dhā 17 dhā nidha
36: padha mā mā mā. Ārohin (ascending varņa) (is illustrated) in nandayantī
37: — 18 gā gā gā pā pā dhapa mā, dhā dhā dhā dhā nī sani nidha, pā pā
38: pā pā pā pā pā. Avarohin (descending varņa) is (illustrated) there itself (in
39: nandayanti) with svaras that are equal (gapless) or are having gaps — 19pā pā
40: pā pā pā pā pā pā, dhā nī mā pā gā gā gā.
41: These varņas obtain also in the wooden20 (viņā), just as they are

BRHADDESI
86
[ अनु₀ ६५ ]
यथा मालवकैशिके - सासा सिन [ प ] पिनिनिप निसा [ सा ] धरीपा पिन
निनीत्येवमादिप्रकारेषु परस्परसंचारात्ः ।
[ अनु₀ ६६ ]
यत्र गेयाः स्वरा आरोहन्ति एकैकशः सान्तरा वा स वर्ण आरोहीत्युच्यते।
(वं ?)
यथा मालवपञ्चमे -पापस धरी सम रिपम मप मपध मामा पसारि सासम
गरि पम
मापा रिगा सा धनि पारि मम धनी नीनी पारि मम धनी पाधनि रिरिपा
इति परस्परैकान्तरद्वचन्तरस्वरारोहणादारोही।
अवरोहन्ति स्वरा यत्रैकेनैव क्रमेण तु।
स चावरोही शब्दोत समश्चान्तरगः स्वरः ॥१२०॥
ब्दे तु
ुन्
पामा मम गा गग मम मरि रिरि रि पा मा मम पपा पप प मामम
प्र म्मि
मध्यम
निनि धध पप पम गगा रिरि निनिध पापा इति परस्परैकान्तर-
ध्(?) म्र नाद (?)
द्वचन्तरस्वरावरोहादवरोहीति। अत एवोक्तम्-
शारीरस्वरसम्भूतास्त्रिस्थानगुणशोभिताः।
म्
ुगु
अमी वर्णास्तु विज्ञेया अलंकारादिसिद्धये ॥5
[ ना. शा. २९. १७ ]
[ अनु₀ ६७ ]
ननु कथं वर्णनिष्पत्तिः ? उच्यते- यदा हि स्वरा वर्णकर्षमाकर्षयन्ति
गीतवशात् स्थायित्वेन संचारित्वेन आरोहित्वेन अवरोहित्वेन तदा वर्णस्य
निष्पत्तिः। यथा षाड्ज्यां स्थायी वर्णः —सासासा। संचारी यथा धैवत्यां धा धनी
नी
्ता धध
oर्णा ?
ুজা
नीप धा। आरोही नन्दयन्त्यां—गा गा गा गा पा पा धप मा रिरि रिरि
नी पधा
पनि सधा निनिधा। अवरोही तत्रैव समसान्तरस्वरैः—