Review token : vol_I_p065::devanagari_original::2

1: <b>BRHADDESI</b>
2: 112
3: आक्षिप्तवच्चतुर्भिः स्वरैस्तु काले कलान्तरोपेतैः ।
4: स्त्रिस्वरः
5: एकान्तरस्वरक्रम इह गदितः सम्प्रदानस्तु ॥१५८॥
6: द्विरपि द्विकलं गदितं हसितमिवोच्चारितं तथा हसितम्
7: ₀हो₀ ₀तततोऽप<b>₀</b>
8: समनन्तरस्वरकृतं चाक्षिप्तकमिव बुधैर्जेयम् ॥१५९॥
9: समनन्तरस्वरेषु हसितवत् त्रिस्वरैष्टचतुःस्वरैवापि ।
10: ₀द्यपरश्चतुःपरो (?) वापि
11: आरोहत्येककलो हुङ्काराख्यः स विज्ञेयः ॥१६०॥
12: स्थानान्तरमारुह्य प्रत्येति द्वयं चतुष्कलो ज्ञेयः ।
13: ₀कद्वयश्च
14: क्रमेणोर्ध्वपरिक्षेपः स्यात् सन्धिप्रच्छादनो नाम ॥ १६१॥
15: .मनो.
16: (?)
17: आदौ पदमुच्चार्य [ तु ] यत्र स्याद् द्विस्वरो लघुवर्णः ।
18: यः
19: समनन्तरमारोहत्येककलां तद् विधुतं तु ॥१६२॥
20: •ला
21: <b>.</b>Ų.
22: आदावारोही स्यात् प्रस्तारोऽन्तेऽवरोहते यत्र ।
23: बादा++वरोही
24: प्रमाणतश्च कलासु वदन्त्यलङ्कारमुद्गीतम् ॥१६३॥
25: <b>ब्न्स्याकार</b>ु (२)
26: हुक्कारवदारोहेदनन्तरांस्तु स्वरान् कलान्तरयोः ।
27: म्,
28: द्वी द्वी प्रकम्पमानी ततश्च प्रसन्नी द्वी ॥१६४॥
29: च ,मती(?)चतस्य
30: वर्णालक्कारविधौ विज्ञेयो गात्रवर्ण इत्येवम् ।
31: आकारोकारतया दीर्घाक्षरमन्यदिप योज्यम् ॥१६५॥
32: गीतालङ्काराणा [ – मल- ] ङ्करणविधिरयं समुद्दिष्टः ।
33: ,णां
34: एभिरलक्कर्तव्या गीतिर्वर्णविरोधेन ॥१६६॥
35: .नीमा,
36: स्थाने चालङ्कारं कुर्यान्न ह्युरिस काञ्ची बध्नीयात् ।
37: द् गाम्युरसि किचित् उदावेध ।।
38: ₀र
39: बहवोऽलञ्काराः – स्युर्वर्णविहीना [ न ] प्रयोक्तव्याः ॥१६७॥
40: ,नाः

113
<b>TRANSLATION</b>
Sampradana is said here to be in the order of a gap after each svara; 105 (it is)
like ākṣipta, with svaras that approach or reach another106 kalā (time-unit) in
(158)
due course. 107
Hasita (is known as such as it) is pronounced in a manner similar to
1
laughter; it is dvikala 108 and pronounced twice, it should be known like ākşiptaka
(159)
by the wise, being made up of gapless svaras.
(That which) ascends in gapless svaras like hasita with three or four svaras
(in each phrase) in ekakala 109 (form), should be known as one named hunkāra.
(160)
Sandhipracchādana is indeed with upward110 'throw' in a (specific) order; it is
catușkala¹¹¹ (with four kalās) (and) comes back in two svaras after ascending
(161)
another sthana (register).
1
In the beginning, after having pronounced a pada 112 (syllabic unit) where
there is a short varna 113 (?) composed of two svaras and (which) ascends in one
(162)
kalā (phrase) without a gap that is vidhuta.
In the beginning it is arohin; (like) prastara where there is descent
according to definite measure (pramāṇa),114 that is said to be udgīta alankāra.
(163)
One should ascend (in) gapless svaras like hunkāra in the other two kalās
(phrases) there are two svaras each that are shaking 115 and then there are two
(164)
lower svaras.
Thus should be known gatravarna in the prescription (vidhi) of varna and
alankāra. With ākāra 116 and okāra other long syllables should also be combined.
(165)
ı
Thus has been indicated the prescription about alankarana (ornamentation
or the act of 'making adequate') pertaining to the alankara of gita (melodic
rendering). The giti musical rendering should be ornamented with these
(166)
without conflicting with the varna.117
One should 'do' (use) an alankāra at the proper place; one should not tie
the kānci (ornament for the waist) on the bosom. There could be many
(167)
alankāras, they should not be used without varņa.118