Rāga-s in Saṅgītaratnākara of Śārṅgadēva

English translation of the verses describing the Rāga-s

in the Chapter 2, of Saṅgītaratnākara and along with that of the

commentaries, Kalānidhi of Kallinātha and

Saṅgītasudhākara of Siṃhabhūpāla

by

Hema Ramanathan

musicresearchlibrary.net

August 2020

-------------------------------------------------------------------------------------------------

Translation based on the

Saṅgītaratnākara of Śārṅgadēva, with the commentaries Kalānidhi of Kallinātha and

Sudhākara of Simhabhūpāla, vol.II, ed. by Paṇḍita S. Subrahmaṇya Śāstrī, pub. in the

Adyar Library Series by Adyar Library, Madras, 1944,

revised by Pandit V. Krishnamacharya, 1959.

1
 श्रीन िःशङ्‌
कशाङ्‌र्गदेवप्रणीतिः्‌संर्ीतरत् ाकरिः
Saṅgītaratnākara of the Doubtfree Śār ṅgadēva

द्वितीयो रागवििेकाध्यायः

ग्रामरागोपरागरागभाषाविभाषान्तरभाषावििेकाख्यं प्रथमं प्रकरणम ्

Chapter Two - An Understanding of Rāga

Topic One - An Understanding of

Grāmarāga, Uparāga, Rāga, Bhāṣā, Vibhāṣā, Antarabhāṣā

अथ ग्रन्थेन संक्षिप्तप्रसन्नपदपङक्ततना।

ननःशङको ननखिलं रागवििेकं रचयत्यमुम।।१।।

्
Next, Niḥśaṅka (śārṅgadēva) composes this (chapter) on Rāga, bringing all the

knowledge concerning rāgas together, keeping the expression in words as brief and lucid as

possible. (1)

(क) स्िरगतप्रनतपाददतजानतजन्यत्िेन प्रसततान्ग्रामरागाद ंस्तदनन्तरं वििेततंु प्रनतजानीते - अथ्‌

ग्रन्थे ने त। संक्षिप्तप्रसन् पदपङ्तत ा, प्रसन्नानन शीघ्रं स्िाभभधेयबोधकानन च तानन पदानन, तेषां

प्रसन्नपदानां पङततयो िातयानन, संक्षिप्ताः संकुचचताः प्रसन्नपदपङततयो यक्स्मक्न्ननत। अन्यमथथः -

बह
ृ द्देश्याददषु ग्रन्थान्तरे षु यत्र षड्जो न्यासः, षड्जोंऽशकः इत्याददभभबथहुभभिाथतयैयो-ऽथोऽभभदहतः, स एिात्र
षड्जग्रहांशन्यास - इत्याददभभः प्रसन्नैः कनतपयैिाथतयैरभभधीयत इनत। अथिा, संक्षिप्तानीनत

पदविशेषणम,् तेषां पङततयो यक्स्मक्न्ननत व्यचधकरणो बहुव्रीदहः। पदानां संक्षिप्तत्िं नाम ग्रन्थान्तरे षु

षड्जग्रहांशन्यासः इत्याद्यत
ु तेरत्र साद्यन्ता इत्याददनाभभधानम।् यथायोग-मभ
ु यथावप योजनीयम।्

एिंभत
ू तयात्मना क्रियमाणेन ग्रन्थेन न खिलं समस्तं रार्वववेकम,््‌ रागाणां दशविधानां

वििेकोऽसंकीणथतया परस्परभेदः, तं रचयनत ननबध्नानत। अममु मत्यनप

ु दं िक्ष्यमाणस्य बद्
ु ध्यारूढतया
परु ोिनतथना रूपेण ननदे शः। ननःशङकोऽहमनप
ु दमेि रागवििेकं रचयामीनत संसष्ृ टोऽथथः। दशविधानामेतष
े ां

रागत्िं रञ्जनात।् रञ्जनं च, रज्यते येन जनचचत्तभमनत करणव्यत्ु पत्त्या िा, जनचचत्तानन रञ्जयतीनत

कतथरर िा, अकतथरर च कारके संज्ञायाम ् इनत सत्र

ू ण े कतथयप्थ यभ्यनज्ञ
ु ानादभ
ु यथावप घटत इत्यभभसंधायोततं
मतङगेन। यथा -

2
 स्िरिणथविभशष्टे न ध्िननभेदेन िा पन
ु ः।
रज्यते येन सक्चचत्तं स रागः संमतः सताम।।
्

अथिा,

योऽसौ ध्िननविशेषस्तु स्िरिणथविभवू षतः।

रञ्जको जनचचत्तानां स रागः कचथतो बध

ु ःै ।।
इनत। स एि रागशब्दस्य रूढत्िाददना प्रयोगमप्याह -

अश्िकणाथददिद्रढ
ू ो यौचगको िावप मन्थित।्
योगरूढोऽथिा रागो ज्ञेयः पङकजशब्दित।।
्

इनत। रागशब्दस्य केिलरूढत्िं तु येन केनचचद्रागेण यः कश्चन न रज्यते, तं प्रनत तस्यारञ्जकत्िात ्

अयं रागो मह्यं न रोचते इनत तद्िातयप्रयोगे द्रष्टव्यम।।१।।

्

While on the subject of svara, the jātis had to be thrown light on, and now he goes on to introduce

the topic that follows immediately, namely, that of grāmarāgas and other melodies, that are born of

the jātis.- Now a comprehensive . . ... In short and clear words . . .. Clear, i.e. conveying their sense

quickly, in such words. The strings of such clear words are sentences; condensed i.e. made brief.

Containing strings of words possessing this quality. This is the purport – In the other treatises, e.g.

Bṛhaddēśī, the idea that has been expressed, making use of a large number of sentences – ṣaḍja is

the nyāsa; ṣaḍja is the aṁśa etc., is here expressed in a few lucid setences such as ṣaḍja is the

graha, aṁśa and nyāsa. Or else, short could be qualifying word, i.e., the description will contain
strings of such words, and so the phrase is in the form of a vyadhikaraṇa bahubrīhī. The shortness of

words means – Where other treatises use phrases like having ṣaḍja for graha, aṁśa and nyāsa, (our

text) puts it thus with sa commencing and ending. Both these (modes of brevity) are to be employed

suitably. By means of such brief / comprehensive treatment, the entire, i.e., complete, analysis of

rāga, i.e., the discerning study of the ten kinds of rāgas, keeping their mutual distinction without any

mixing up; that he proposes to compose, i.e., to determine. The word this covers all the topics he

means to take up, one by one, for the ensuing exposition. I, the Doubtless, am making a thorough

analysis of rāga, taking up each topic, one by one. This is the purport in summary. The rāga

qualification applies to these ten, because of their delightfulness. And the ‘delight’ (sense of rāga)

can be interpreted either in the instrumental sense ‘that by which the mind of people is delighted’ or

in the nominative role ‘that which delights the mind of people’, as the aphorism ‘Even when not the

agent, (the action?) can, by being named by a technical term, function as the agent’, allows the

usage in the nominative case. So both interpreations are valid. Keeping this in view, Mataṅga has

defined (rāga) as follows –

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 That (structure), distinguished in tone content and melodic movement, and hence in sound, (from
other such structures), by which the refined mind is delighted, is recognised as rāga by the experts.
Or,

That distinct expression in sound, enriched by tonal elaboration in different melodic directions,
which is the delighter of people’s minds, is called rāga by the experts.
In addition, he has noted the use of the term rāga in its conventional as well as other senses. too –

‘Rāga’ is employed in its conventional sense like the word ‘aśvakarṇa’ (which means ‘horse’s

ear’ but refers to a tree whose leaves resemble a horse-ear), in a derived sense like the word
‘mantha’ (which means ‘churning’ and is applied to the ‘churning stick’), or in a conventional-derived

sense like the word ‘paṅkaja’ (which means ‘born in the marsh’ and specifically refers to the lotus,
without losing its sense).
The solely conventional application of the word rāga is observed in the remark of a person who is

not delighted by a particular rāga - ‘This rāga does not appeal to me.’ (1)

(सं) रागवििेकं िततुं प्रनतजानीते - अथेनत। न िःशङ्‌

क इनत बबरुदालंकृतः श्रीशाङगथदेिः

संक्षिप्तप्रसन्नपदसमह
ू े न ग्रन्थेन रार्वववेकं करोनत। रागाणां वििेको विभागः। विभाग
इत्यप
ु लिणम,् लिणस्यावप िक्ष्यमाणत्िात।् येन रागतत्त्िज्ञानं, तत्कथयतीत्यथथः। तत्र
रागलिणं रागशब्दव्यत्ु पक्त्तश्च कचथता मतङगेन -

योऽसौ ध्िननविशेषस्तु स्िरिणथविभवू षतः।

रञ्जको जनचचत्तानां स रागः कचथतो बध

ु ःै ।।
रञ्जनाज्जायते रागो व्यत्ु पक्त्तः समद
ु ाहृता।
अश्िकणाथददिद्रढ
ू ो यौचगको मण्डपादद(िावप मन्थ)ित।।
्

इनत। संगीतसमयसारकारे णाप्युततम ् - रञ्जयतीनत रागः।

स्िरिणथविभशष्टे न ध्िननभेदेन िा पुनः।

रज्यते येन सक्चचत्तं स रागः संमतः सताम।।

्
इनत। ते च रागा दशप्रकाराः - ग्रामरागाः, उपरागाः, रागाः, भाषा, विभाषा, अन्तरभाषा,

रागाङगाखण, भाषाङगाखण, क्रियाङगाखण, उपाङगानीनत।।१।।

(S aṁ ) He c o mm e nc e s th e ex pos i t io n o f t he c onc e pt of r āg a – Nex t . . . Śr ī

Ś ār ṅ g ad ēv a, d ec or a te d by t he t it l e ‘ T h e D oub t l es s ’ und ert ak es a c om p l et e s t u dy of

R ā g a , in a c o nc is e an d pr ec is e s e t of wor ds . T he s tu dy of rā g a l i es in

4
d is t i ng u is h i n g ( t he id en t ity o f e ac h). D is ti n gu is h in g is i mp l ic it , a s the i de nt i ty (o f

eac h r ā g a) is g oi n g to b e s pe l t ou t. T ha t by wh ic h th e fo rm o f a r ā ga is dis c er n ed ,

he is go i ng t o s e t it d ow n. I n th is c o n ne c ti o n, t he c o nc ep t i on o f r āg a a nd t h e

l in g u is t ic a na ly s is o f t he w or d r ā ga , h as b ee n d o ne by Ma t aṅ g a as f o ll o ws –

That distinct expression in sound, enriched by tonal elaboration in different melodic directions,
which is the delighter of people’s minds, is called rāga by the experts.
The derivation of ‘rāga’ has been done thus – Because it delights, it is rāga. It is employed in a

conventional sense like the word ‘aśvakarṇa’, and in an etymological sense like maṇḍapa or (like
‘matha’).
The author of Saṁgītasamayasāra too says – Because it delights, it is rāga.

That (structure), distinguished in tone content and melodic movement, and hence in sound,
(from other such structures), by which the refined mind is delighted, is recognised as rāga by the

experts.
And these rāgas are of ten sorts – grāmarāgas, uparāgas, rāgas, bhāṣās, vibhāṣās,

antarabhāṣās, rāgāṅgas, bhāṣāṅgas, kriyāṅgas and upāṅgas. (1)

पञ्चर्ीतयिः

पञ्चधा ग्रामरागाः स्युः पञ्चगीनतसमाश्रयात।्

गीतयः पञ्च शुद्धा च1 भभन्ना गौडी च िेसरा।।२।।

साधारणीनत, शुद्धा स्यादििैलथभलतैः स्िरै ः।

भभन्ना ििैः स्िरै ः सूक्ष्मैमध

थ ुरैगम
थ कैयत
ुथ ा।।३।।
गाढै क्स्त्रस्थानगमकैरोहाट लभलतैः स्िरै ः।

अिक्ण्डतक्स्थनतः स्थानत्रये गौडी मता सताम।।४।।

्

ओहाट कक्पपतैमन्
थ द्रै मद
थृ द्र
ु त ु तरै ः स्िरै ः।
हकारौकारयोगेण(न?) हृन्न्यस्ते चचबक
ु े भिेत।।५।।
्

The Five Gītis

Grāmarāgas may assume (one of) five modes, depending on (which of) the five ways of

singing <gīti> (is adopted). (2ab)

The five gītis are śuddhā, bhinnā, gauḍī, vēsarā and sādhāraṇī. (2cd-3a)

1
AA - सुद्धाद्या

5
 The śuddhā (gīti) should be rendered with straight, soft svaras; bhinnā should be laden

with curved svaras, and subtle, sweet shakes <gamaka>. (3)

According to experts, gauḍī should sweep (lit. occupy) the three ranges firmly without

break, rendered with deep <gāḍha> shakes in all three registers, and svaras which are

delicate with ōhāṭī (manner of rendering). (4)

Ohāṭī, marked by low, tremulous, rapid svaras, is effected by resting the chin on the

chest, and producing the sounds ‘ha’ and ‘o’. (5)

(क) तत्रादौ ग्रामरागाः पञ्चविधगीनतभेदाश्रयेण पञ्चधा भभद्यन्त इत्याह - पञ्चधा्‌ग्रामरार्ािः्‌स्यरु रनत।

ताः पञ्च गीतीरुदद्दशनत - र्ीतय इनत। िमेण तासां लिणान्याह - शद्ध
ु ा स्याददत्याददना। अवक्रिः
ऋजभु भः, समैररत्यथथः। लमलतरमन
थ ोहरै ः स्वरर यत
ुथ तत्िात्तदथथतया शद्ध
ु ा स्यात।् ििैविथषमैः, अत एि
सक्ष्
ू मरद्रथ त
ु ोचचाररतैः स्वरर मध
ग रु र र्म
ग करश्च िक्ष्यमाणेषु पञ्चदशसु गमकेषु ििसक्ष्
ू मस्िरोचचतत्िान्मधुररिः
श्राव्यैः स्फुररताददभभगथमकैश्च यत
ु ा, ििसक्ष्
ू मस्िरत्िा-निन्नेत्यथथः। र्ाढर ननथबबडैः,

त्रिस्था र्मकरमथन्द्रमध्यतारे षु प्रयत

ु तैयथ
थ ोचचतैर्म
ग करिः, ओहाटीलमलतरिः ओहाट्या लभलतैः स्वरर श्च

स्था ियेऽि्डित्स्थनतरविक्चिन्नािस्थाना गीनतर्ौिीनत सतां्‌ मता। ओहाट नत लिणननरुक्ततः। चचबक

ु े ्‌
हृन्न्यस्ते सतीनत मन्द्रस्िरपरं पराप्रयोगे प्रयत्नोक्ततः। हकारौकारयोर्ेणोपलक्षितैः, तदा

हकारौकारानक
ु ारप्रतीनतभथिनत, न तु सािात्तािेिोचचारणीया-वित्यथथः। एतेनौकारहकारािटनत

गचितीत्योहाट पदननरुक्ततः सचू चता। एिं प्रयत्ने क्रियमाणे मद

ृ ु कोमलं यथा भिनत तथा द्रत
ु तरर रधाराधरं
शीघ्रैः क्पपतरिः कक्पपताख्यगमकयत
ु तैमन्ग द्रर िः स्वरर रोहाटी्‌ भवेददनत लिणाथथः। गौडवप्रयत्िाद्गौडीनत
संज्ञािगन्तव्या।।२-५।।

(Ka) Next, as the grāmarāgas initially divide into five types on the basis of the five gītis, he begins

with – Grāmarāgas are of five types . . .. And he goes on to list the five kinds of gītis– Singing modes..

He describes them one by one – The śuddhā mode should be . . .etc. With turnless.., i.e., with

straight, even (svaras). With lovely, i.e., captivating, svaras. Endowed with such svaras, in keeping

with this object, it (gīti) becomes śuddhā.

With tortuous, i.e., uneven, and hence, subtle, quickly uttered, svaras, and with sweet

gamakas; from among the fifteen gamakas that are going to be described, taking those that suit

curved, subtly sounded svara, i.e., gamakas such as sphurita that are sweet and euphonous;

endowed with these; it is bhinnā because of the tortuous subtle sounding of svaras.

With deep / heavy, i.e., dense, three-register gamakas, i.e., with gamakas effected suitably in

the mandra, madhya and tāra registers; with svaras endowed with the charm of ōhāṭī, i.e., with svaras

6
rendered charming by the ōhāṭī method, with an unbroken stay in all three registers, occupying (all

three ranges) without stops – this singing is pronounced to be gauḍī by the experts. Next he defines

(the method of) ōhāṭī. Resting the chin on the chest, essaying a series of svara passages in the

mandra register. Characterised by the ‘ha’s and ‘ō’s, the impression of imitating the sounds ha and ō

is created. It is not necessarily these syllables that are to be uttered in expressing these gamakas.

The roving over <aṭati>ō and ha that is done in this mode explains the term ōhāṭī. In making this

effort in singing, with soft, i.e., delicate, very quick, i.e., going quicker and quicker, kampitas, i.e.

gamakas named kampita, low register svaras, ōhāṭī is effected. This is the interpretation of its

practice. Since it is dear to the people of Gauḍa, (the gīti) is named gauḍī. (2-5)

(सं) तत्र ग्रामरागाक्न्िभजते - पञ्चधेनत। ग्रामरागाः पञ्चप्रकारा भिक्न्त। केन विशेषण

े तेषां

पञ्चप्रकारत्िम?् अत आह - पञ्चर्ीनतसमाश्रयाददनत। कास्ताः पञ्च गीतय इत्यपेिायामाह - र्ीतयिः्‌

पञ्चेनत। शद्ध
ु ा भभन्ना गौडी िेसरा साधारणीनत पञ्च गीतयः। भरतेन मागध्यादयश्चतस्रो गीतय
उतताः। यदाह -

प्रथमा मागधी ज्ञेया द्वितीया चाधथमागधी।

संभाविता तत
ृ ीया तु चतथ
ु ी पथ
ृ ुला स्मत
ृ ा।।
इनत। मतङगेन सप्त गीतय उतताः -
प्रथमा शद्ध
ु गीनतः स्याद् द्वितीया भभन्नका भिेत।्
तत
ृ ीया गौडडका चैि रागगीनतश्चतचु थथका।।
साधारणी तु विज्ञेया गीनतज्ञैः पञ्चमी तथा।

भाषागीनतस्तु षष्ठी स्याद्विभाषा चैि सप्तमी।।

भाषा चैि विभाषा च तथा चान्तरभावषका।

नतस्रस्तु गीतयः प्रोतता याक्ष्टकेन महात्मना।।

भाषाख्या गीनतरे कैि शादथ ल

ू मतसंमता।
गीतयः पञ्च विज्ञेयाः शद्ध
ु ा भभन्ना च िेसरा।
गौडी साधारणी चैि, इनत दग
ु ाथमते मतम।।
्
इनत। तत्र दग
ु ाथमतमाचश्रत्य पञ्च गीतय इत्यत
ु तम।् शद्ध
ु ां गीनतं लियनत - शद्ध
ु ा्‌ स्याददनत। अििैः
सरलरलमग लतिः(तरिः?) सक
ु ु मारै ः स्िरै यत
ुथ ा गीनतः शद्ध
ु ा। भभन्नां लियनत - भभन्नेनत। ििैः सक्ष्
ू मैरस्थूलःै
स्िरै मध
थ ुरैः गमकैश्च यत
ु ता गीनतभभथन्ना, भेदो विकारः, अतस्तद्यत
ु ता गीनतभभथन्ना। यदत
ु तं मतङगेन -
ननु भभन्नशब्दे न क्रकमभभधीयते? भभन्नत्िं विदारणं व्यनतररततत्िं िा? मैिम,् भभन्नोऽत्र विकृत उचयते

इनत। गौडीं लियनत - र्ाढर ररनत। र्ाढर िः प्रिरै ः, बत्रस्थानव्यापका गमका येषु स्िरे षु तैः, ओहाटीलमलतरिः

ओहाट्या लभलतैः रमणीयैः स्िरै यत

ुथ ता स्थानत्रयव्यावपनी गीनतगौडी। ओहाट्या लभलतैः स्िरै ररत्यत
ु तम,्

7
तत्र केयमोहाट त्यपेिायामाह - ओहाटीनत। क्पपतरमन्ग द्रर िेगित्तरै ः स्िरै हथकारौकारयोगाद्धृददस्थे चचबक
ु े
सत्योहाट भिेत।् मतङगेनाप्यत
ु तम ् -
ओहाट लभलताश्चावप स्िरा गौड्याश्च शोभनाः।

हकारौकारयोयोगादोहाट पररकीनतथता।।

चचबक
ु ं हृदये न्यस्य त्िोहाट मन्द्रजा भिेत।्
द्रत
ु द्रत
ु तरा कायाथ स्िरकपपेन पीडडता।।
ओहाट लभलता चावप दृष्टादृष्टे न कमथणा।

बत्रस्थानकरणैयत
ुथ ता बत्रस्थानचलनाकुला।।
चतवु िथधा तदौहाट कतथव्या गेयिेददभभः।

समािरा समा चैि कायाथरोहािरोदहणी।।

इनत।।२-५।।

(Saṁ) Next he divides the grāmarāgas – In five ways.. Grāmarāgas are of five sorts. On what basis

are they distinguished into five types? He answers – As they rest on the five gītis. Anticipating the

question – What are those five gītis?, he goes on – The five gītis . . . The five gītis are śuddhā, bhinnā,

gauḍī, vēsarā and sādhāraṇī. Bharata has spoken of four gītis, māgadhī etc. It is like this –

The first is māgadhī, the second ardhamāgadhī, the third is sambhāvitā and the fourth pṛthulā.
Mataṅga has spoken of seven gītis –

The first is the śuddhā gīti; the second is bhinnakā. The third is gauḍikā, and the fourth, rāgagīti.
Sādhāraṇī comes fifth in the experts’ list of gītis. Bhāṣā gīti is the sixth, vibhāṣā the seventh,
According to the great Yāṣṭika, there are only three gītis – bhāṣā, vibhāṣaā and antarabhāṣā. Śārdūla
accepts only one gīti, namely, bhāṣā. In the school of Durgā, in all, five gītis are recognised - śuddhā,

bhinnā, vēsarā, gauḍī and sādhāraṇī.

Here, on the basis of the Durgā school of thought, gītis have been pronounced to be five. He

describes the śuddhā gīti. śuddhā should be - turnless, i.e. straight, charming, i.e., gentle, svaras –

the gīti endowed with these is śuddhā. He describes bhinnā - Bhinna is . . . With turning, subtle, not

solid, svaras, and with sweet gamakas, endowed with these, the gīti is bhinnā. The word bhēda

means change, and so the gīti endowed with that is bhinnā. As Mataṅga has said – What is meant by

the word bhinna? Does being bhinna mean being broken or being separate? Neither of these; being
bhinna means ‘being changed’. He describes gauḍī - With deep, heavy, With deep, heavy, i.e, with
hard; with svaras possessing gamakas over the three registers, with the charm of ōhāṭī, i.e. with

svaras that are charming, beautiful with ōhāṭī. Endowed with these, the gīti covering the three

registers is gauḍī. He has said ‘svaras that are charming with ōhāṭī’. What is this ōhāṭī? Expecting this

8
question, he says - Õhāṭī means . . . When the svaras are shaken quickly in the mandra register, and

are endowed with ‘ha’s and ‘o’s, because the chin is resting on the chest, ōhāṭī is effected. Mataṅga

has described it thus –

Svaras that are charming with ōhāṭī beautify the gauḍī style. It is called ōhāṭī because of the
abundance of ‘ha’ and ‘o’. Only by resting the chin on the chest can ōhāṭī express the mandra
svaras. It should be rendered faster and faster, dense with svara shake. Õhāṭī is charming, serving
both immediate pleasure and the gain of ultimate good. It is characterised by karaṇas covering all

three registers, confounding all three ranges. This ōhāṭī must be rendered in four ways by the expert
musicians – with even (svara) syllables, uneven, ascending and descending. In practice, ōhāṭī covers
the mandra region mainly, with shaken sounds. Gauḍī gīti is rendered covering all three registers
without pause. (2-5)

िेगिनिः स्िरै िण
थ च
थ तुष्केऽप्यनतरक्तततः ।

िेगस्िरा रागगीनतिेसरा चोचयते बुधैः।।६।।

चतुगीनतगतं लक्ष्म चश्रता साधारणी मता।

शुद्धाददगीनतयोगेन रागाः शुद्धादयो मताः।।७।।

Endowed with quick melody <vēgasvarā>, as its svaras are rendered with speed and

attraction in all the four melodic movements <varṇa>, (the fourth) rāgagīti is known as

vēsarā. (6)

When the singing holds the features of all the above four gītis, that is known as

sādhāraṇī.

Rāgas are judged to be śuddha etc., according to the śuddhā or other gīti in which they

are rendered. (7)



(क) वणगचतष्ु केऽवप स्थाय्याददिणथचतष्ु टयेऽवप अनतर्तततो रतत्यनतशयिशात ् वेर्वनभिः

शीघ्रप्रयोगिनिः स्वरर यत
ुथ ा रार्र्ीनतिः रागाश्रयभत
ू ा गीनतवेर्स्वरे त्यन्िथथसक्षं ज्ञका बध
ु ैमत
थ ङगाददभभिेसरा च

िेसरसंक्षज्ञता चोच्यते। िेगस्िरे त्यत्र गिकारयोः पररत्यागे स्िरसापयाद्िेसरे नत भितीत्यथथः। चतर्

ु ीनतर्तं
समनन्तरोततशद्ध
ु ाददगीनतचतष्ु टयगतं लक्ष्म लिणं चश्रता भमश्रणादाचश्रता, अतः साधारणीत्यन्िथाथ मता।
शद्ध
ु ाददर्ीनतयोर्े , शद्ध
ु ाददगीनतभभयोग आश्रयाश्रनयभािलिणः संबन्धस्तेन, रागाः, अत्र रागा इनत ग्रामरागा
एि वििक्षिताः। शद्ध
ु ादयो्‌ मतािः, आश्रयाश्रनयणोरभेदोपचाराचिुद्धाददव्यपदे शन
े लक्ष्यन्त इत्यथथः। ननु

पि
ू ोतताभ्यो मागध्याददगीनतभ्योऽधुनोततानां शद्ध
ु ाददगीतीनां को भेद इनत चेत,् उचयते - मागध्यादयः

9
प्राधान्येन पदतालाचश्रताः, शद्ध
ु ादयस्तु प्राधान्येन स्िराचश्रता इनत। इह ग्रन्थकार एताः पञ्च

गीतीदथ ग
ु ाथमतानस
ु ारे णालियत।् मतङगस्तु भाषाविभाषाभ्यां सदहताः सप्त गीतीराचष्ट। भरतः

पन
ु माथगध्याद श्चतस्र एि गीतीरुततिान।् भाषाविभाषान्तरभाषाख्याक्स्तस्र एि याक्ष्टकोतताः। एकैि
भाषागीनतः शादथ ल
ू मनु ननाभभदहता।।६,७।।
In the entire quartet of varṇas, i.e., in the four melody directions, sthāyī etc., laden with delight,

i.e., driven by / achieving great pleasure, with speedy, i.e., rendered in qick succession, svaras;

endowed with these, the rāgagīti, i.e., the gīti (manner of singing) that is relevant to melody <rāga>,

described meaningfully as quick-melodied <vēgasvarā>, is termed vēsarā, i.e., given the technical

name vēsarā, by experts, i.e., Mataṅga and others. The phrase vēgasvarā becomes vēsarā by giving

up the ga and va, and evening out the vowels (without the conjunct consonant sva). Belonging to the

gīti-foursome, i.e., belonging to the four gītis that have been described, the form, i.e., the entity

described, resting on these, i.e., being based on a mixture of all these, is therefore, meaningfully

named sādhāraṇī, i.e., common (gīti). Associated with the gītis, śuddhā etc., - the association (of

rāgas) with śuddhā etc. gītis, is the relation between the quality that needs a base for resting on and

the base on which it rests; hence the rāgas, - here grāmarāgas alone are meant - (too,) are named

śuddha etc. i.e., indicated by the same terms, śuddha etc. The inseparability of the quality and the

base on which it rests, is extended to the terms naming them too. But if one wants to know what

distinuishes the śuddhā and other gītis that are being spoken of now from the māgadhī etc. that have

been described earlier, this is the answer. Māgadhī etc. are chiefly based on the verbal text and tāla

of the music; śuddhā etc. are mainly based on melody. Here the author has followed Durgā’s school

of thought, in presenting five gītis. Mataṅga has included bhāṣā and vibhāṣā too among the gītis, and

increased the number to seven. Bharata has however described only the four gītis, māgadhī etc.

Yāṣṭika has accepted only three – bhāṣā, vibhāṣā and antarabhāṣā. The sage Śārdūla has spoken of

only one gīti, namely, bhāṣā. (6,7)

(सं) िेसरां गीनतं लियनत - वेर्वनभररनत। वेर्वनभिः्‌स्वरर यत

ुथ ता गीनतवेर्स्वरा वेसरे नत चोचयते।
वणगचतष्ु केऽप्यनतशयेन रञ्जकत्िाद्रागा इत्यच
ु यन्ते। रागशब्दप्रिक्ृ त्तननभमत्तमत
ु तं काश्यपेन -
चतण
ु ाथमवप िणाथनां यो रागः शोभनो भिेत।्
स सिो दृश्यते येषु तेन रागा इनत स्मत
ृ ाः।
स्िराः सरक्न्त यद्िेगात्तस्माद्िेसरका स्मत
ृ ा।।
इनत। चतर्
ु ीनतर्तभमनत। शद्ध
ु ाद नां चतसण
ृ ां गीतीनां क्रकं चचल्लिणसमच
ु चयेन साधारणी।

लिणसमच
ु चयश्चोतता मतङगेन -
ऋजुभभलथभलतैः क्रकं चचत ् । * सक्ष्
ू मासक्ष्
ू मैश्च सश्र
ु िैः।

10
 ईषद् द्रत
ु श्ै च कतथव्या मद
ृ भु भलथभलतैस्तथा।।
प्रयोगे मसण
ृ ैः सक्ष्
ू मैः काकुभभश्च सय
ु ोक्जतैः।
एिं साधारणी ज्ञेया सिथगीनतसमाश्रया।।

इनत। गीनतसंबन्धेन रागाणां शद्ध

ु ाददनामत्िभमत्याह - शद्ध
ु ादीनत। शद्ध
ु ाददकया गीत्या संयत
ु ता रागाः
शद्ध
ु ादय उददताः।।६,७।।

[*The Adyar Library Series edition reads सुक्ष्मात्सूक्ष्मैश्च here. Probably the reading should be as we

have suggested.] 

(Saṁ) He describes the vēsarā gīti – With speedy . . .. Endowed with speedy svars, the gīti is

vēgasvarā, and so termed vēsarā. In all the four varṇas, as they are extremely delightful, they (these

speedy movements) remain delightful melodies <rāga>. Kāśyapa explains the reason for the usage of

the term rāga (for these) –

The rāga that is beautiful in all four melodic movements, is observable in these (melodiis), that
move in quick progression, and so they are declared to be rāgas, of the vēsara sort.

Belonging to the four gītis . . .i.e., possessing some feature of all the four gītis, śuddhā etc., (the last)

is sādhāraṇī. Mataṅga describes how the features are combined –

When the singing is done,endowed with straight and beautiful, subtle and heavy (lit. not subtle), a
little quick, soft and delicate, and smooth, minute tone changes, the sādhāraṇī mode results,
embracing all the gītis.

Because of the kind of gīti qualifying them, the rāgas are termed śuddha and so on - śuddha etc.. . As

the rāgas are endowed with śuddhā and other gītis, they are described as śuddha etc. (6,7)


ग्रामरार्ािः

षड्जग्रामसमुत्पन्नः शुद्धकैभशकमध्यमः1 ।

शुद्धसाधाररतः षड्जग्रामो ग्रामे तु मध्यमे।।८।।

पञ्चमो मध्यमग्रामः षाडिः शुद्धकैभशकः।

शुद्धाः सप्तेनत, ।।९क।।

Grāmarāgas

1
AA - षड्जकैभशकमध्यमः

11
 Śuddhakaiśikamadhyama, Śuddhasādhārita and Ṣaḍjagrāma(rāga) originating in

ṣaḍjagrāma, Pañcama, Madhyamagrāma(rāga), Ṣāḍava and Śuddhakaiśika in

madhyamagrāma, are the seven śuddha (grāmarāgas). (8-9a)

भभन्नाः स्युः पञ्च कैभशकमध्यमः।।९।।

भभन्नषड्जश्च षड्जाख्ये मध्यमे तानकैभशकौ।

भभन्नपञ्चम इत्येते, ।।१०किग।।

The five bhinna rāgas are Kaiśikamadhyama and Bhinnaṣaḍja in ṣaḍja(grāma), and

(Bhinna-)tāna, (Bhinna-)kaiśika and Bhinnapañcama in madhyama(grāma). (9d-10abc)

गौडकैभशकमध्यमः।।१०।।

गौडपञ्चमकः षड्जे मध्यमे गौडकैभशकः।

इनत गौडास्त्रयः ।।११किग।।

The three gauḍa rāgas are Gauḍakaiśikamadhyama and Gauḍapañcama in

ṣaḍja(grāma), and Gauḍakaiśika in madhyama(grāma). (10d-11abc)

षड्जे टतकिेसरषाडिौ।।११।।

ससौिीरौ मध्यमे1 तु बोट्टमालिकैभशकौ।

मालिः पञ्चमान्तोऽथ द्विग्रामष्टतककैभशकः।।१२।।

दहन्दोलोऽष्टौ िेसरास्ते, ।।१३क।।

The eight vesara rāgas are Ṭakka, Vesaraṣāḍava and Sauvīra in ṣaḍja(grāma), Boṭṭa,

Mālavakaiśika and Mālavapañcama in madhyama(grāma), and Ṭakkakaiśika and Hindola

belonging to both grāmas. (11d-13a)

सप्त साधारणास्ततः।

षड्जे स्याद्रप
ू साधारः शको भपमाणपञ्चमः।।१३।।
मध्यमे नतथगान्धारपञ्चमौ षड्जकैभशकः2 ।

द्विग्रामः ककुभक्स्त्रंशद् ग्रामरागा अमी मताः।।१४।।

1
AA - ससौिीर मध्यमे
2
AA - षाड्जकैभशकः

12
 Then there are seven sādhāraṇa rāgas. Rūpasādhāra, Śaka and

Bhammāṇapañcama originate in ṣaḍjagrāma. Nartagāndhāra, Nartapañcama and

Ṣaḍjakaiśika belong to madhyamagrām a. Kakubha share s both grāmas.

These are the thiry grāmarāgas recognised. (13bcd -14)

(क) एिमत
ु तसमस्तमतानस
ु ारे ण तत्तद्गीता(त्या)चश्रतान्ग्रामरागाद क्न्िविचयोदद्दश्य पररगणयनत -

षड्जग्रामसमत्ु पन् िः्‌ शद्ध

ु करमशकमध्यमिः इत्यारभ्य चतिःु षष््यचधकं्‌ ब्रत
ू ्‌े शाङ्‌
र्ी्‌ श्रीकरणाग्रणीिः इत्यन्तेन

ग्रन्थसंदभेण(।) षड्जग्रामे समत्ु पन्नः षड्जग्रामसमत्ु पन् इनत शद्ध

ु कैभशकमध्यमाद नां त्रयाणां

पथ
ृ क्विशेषणम।् तेषु षड्जग्रामसंज्ञकस्तत
ृ ीयो रागः। ग्रामे्‌ त्‌ु मध्यम इनत। मध्यमग्राम इत्यथथः। मालविः्‌
पञ्चमान्त इनत। पञ्चमशब्दान्तो मालिो मालिपञ्चम इत्येको रागः। द्ववग्राम इनत टतककैभशकस्य

दहन्दोलस्य च विशेषणम।् तयोग्राथमद्ियसंबद्धजात्यत्ु पन्नत्िे सनत सािाद् ग्रामद्िययत

ु तत्िाददनत भािः।
पन
ु द्गववग्राम इनत ककुभविशेषणम।् ग्रामरार्ा इनत। ग्रामयोजाथनतव्यिधानेनोत्पन्नानामवप

भाषारागाद्यपेिया व्यिधानाल्पत्िादे तष
े ां ग्रामरागत्िव्यपदे शः। यथाह मतङगः - नन्िेते रागा

ग्रामविशेषसंबद्धा इनत कुतोऽयं विशेषलाभः? उचयते - भरतिचनादे िासौ विशेषो लभ्यते। तथा चाह
भरतमनु नः - जानतसंभत
ू त्वाद््‌ ग्रामरार्ाणाम ््‌ इनत; य्त्कंचचद्र्ीयते्‌ लोके्‌ तत्सवं्‌ जानतष्‌ु ्स्थतम ््‌ इनत
िचनाचच इनत।।८-१४।।

(Ka) Having considered all the schools of thought on the subject (of gītis), he goes on to classify the

grāmarāgas and other melodies on the basis of the gītis to which they belong, and enumerate them, in

the verses commencing with Born in ṣaḍjagrāma, Śuddhakaiśikamadhyama . . . . . . and ending with

. . .plus sixtyfour are described by śārṅgadēva (lit. the Head of śrīkaraṇas), in a comprehensive

manner. The description ṣaḍjagrāma-born, meaning ‘born in ṣaḍjagrāma’, is the qualification

distinguishing the three melodies Śuddhakaiśikamadhyama etc. Among them, the third rāga is

named ṣaḍjagrāma. In the grāma of madhyama refers to the madhyama grāma. Mālava ending with

pañcama means the name Mālava ending with the suffix pañcama, yielding the single rāga,

Mālavapañcama. The description two-grāma, qualifies Ṭakka and Hindōla, This is because they

originate in jātis that belong to both grāmas; so they combine both grāmas in their form. Again

Kakubha is desribed as ‘two-grāma’. Now for the term grāmarāga. Although their birth can be linked to

the grāmas only through the intervening jātis, this link is more direct (lit. less interrupted) than that of

bhāṣās, rāgas and other melodies (to the grāmas), and so they have earned the designation of

‘grāmarāga’. As Mataṅga has explained – “Whence does this distinction obtain, namely, ‘these rāgas

are connected with these specific grāmas?’ The answer is – This distinction is made in accordance
with the prescription of Bharata himself. For the sage Bharata has remarked – “As grāmarāgas have

13
their origin in jātis . . .”, and again – “Whatever is sung in the world, all that comes within the fold of
jātis.” (8-14)

(सं) ग्रामविभागेन शद्ध

ु ाददरागाक्न्िभजते - षड्जग्रामेनत। शद्ध
ु कैभशकमध्यमः शद्ध
ु ासाधाररतः षड्जग्राम
इत्येते त्रयः शद्ध
ु ाः षड्जग्रामे समत्ु पन्नाः। पञ्चमो मध्यमग्रामः षाडिः शद्ध
ु कैभशक इनत चत्िारः शद्ध
ु ाः
मध्यमग्रामे समत्ु पन्नाः; एिं सप्त शद्ध
ु ाः। नन्िेते रागा ग्रामविशेषसंबद्धा इनत कुतोऽयं विशेषलाभः?
उचयते - भरतिचनादे िासौ विशेषो लभ्यते; यदाह भरतमनु नः - जानतसंभत
ू त्िाद्रागाणाम ् इनत;
यक्त्कंचचद्गीयते लोके तत्सिं जानतषु क्स्थतम ् इनत च। भभन्नाक्न्िभजते - मभन् ािः्‌ स्यरु रनत।

कैभशकमध्यमो भभन्नषड्ज इत्येतौ द्िौ भभन्नौ षड्जग्रामे; तानः कैभशको भभन्नपञ्चम इनत त्रयो भभन्ना

मध्यमग्रामे; एिं पञ्च भभन्नाः। गौडकैभशकमध्यमो गौड-पञ्चामक इत्येतौ षड्जग्रामे; गौडकैभशको

मध्यमग्रामे; एिं त्रयो गौडाः। टतको िेसरषाडिः सौिीर इत्येते त्रयः षड्जग्रामे; बोट्टो मालिकैभशको

मालिपञ्चम इत्येते त्रयो मध्यमग्रामे; टतककैभशको दहन्दोल इत्येतौ ग्रामद्ियसंभत

ू ौ; एिमष्टौ िेसराः।
रूपसाधारः शको भपमाणपञ्चम इत्येते त्रयः षड्जग्रामोत्पन्नाः; नतो गान्धारपञ्चमः षड्जकैभशक

इत्येते त्रयो मध्यमग्रामोत्पन्नाः; द्विग्रामः ककुभः; एिं सप्त साधारणाः। भमभलता ग्रामरागांक्स्त्रशत।।८-
्

१४।।

(Saṁ) He classifies the śuddha and other types of rāgas under the grāmas. In ṣaḍjagrāma . . ..

Śuddhakaiśikamadhyama, Śuddhasādhārita and Ṣaḍjagrāma are the three śuddha rāgas originating

in ṣaḍjagrāma. Pañcama, Madhyamagrāma, Ṣāḍava and Śuddhakaiśika are the four śuddha rāgas

emerging from madhyamagrāma. So in all there are seven śuddha rāgas. But on what basis are these

rāgas distinguished as associated with a specific grāma? The answer is – This distinction is made in

accordance with the prescription of Bharata himself. For the sage Bharata has remarked – “As

grāmarāgas have their origin in jātis . . .”, and again – “Whatever is sung in the world, all that comes
within the fold of jātis.”
Next he classifies the bhinna rāgas – Bhinnas are . . ... Kaiśikamadhyama and Bhinnaṣaḍja are

the two bhinnas in ṣaḍjagrāma. Tāna, Kaiśika and Bhinnapañcama are the three bhinnas in

madhyamagrāma. So there are five bhinnas.

Gauḍakaiśikamadhyama and Gauḍapañcama in ṣaḍjagrāma, and Gauḍakaiśika in

madhyamagrāma, are the three gauḍa rāgas.

Ṭakka, Vēsaraṣāḍava and Sauvīra – these three in ṣaḍjagrāma, Bōṭṭa, Mālavakaiśika and

Mālavapañcama – these three in madhyamagrāma, and the two rāgas, Ṭakkakaiśika and Hindōla,

born of both grāmas, are the eight vēsara rāgas.

14
 Rūpasādhāra, Śaka and Bhammāṇapañcama – these three born of ṣaḍjagrāma, Narta,

Gāndhārapañcama and ṣaḍjakaiśika – these three born of madhyamagrāma, the two-grāma Kakubha

– are the seven sādhāraṇa rāgas. In all there are thirty grāmarāgas. (8-14)

उपरार्ािः
अष्टोपरागाक्स्तलकः शकाददष्टतकसैन्धिः।

कोक्रकला(ल?)पञ्चमो रे िगुप्तः पञ्चमषाडिः।।१५।।

भािनापञ्चमो नागगान्धारो नागपञ्चमः।

Uparāgas
There are eight uparāgas. They are Śakatilaka, Ṭakkasaindhava, Kokila-pañcama,

Revagupta, Pañcamaṣāḍava, Bhāvanāpañcama, Nāgagāndhāra and Nāgapañcama. (15-

16ab)

रार्ािः
श्रीरागनट्टौ बङगालौ1 भासमध्यमषाडिौ।।१६।।

रततहं सः कोल्हहासः प्रसिो भैरिो ध्िननः2 ।

मेघरागः सोमरागः कामोदौ चाम्रपञ्चमः।।१७।।

स्यातां कंदपथदेशाख्यौ ककुभान्तश्च कैभशकः।

नट्टनारायणश्चेनत रागा विंशनतर ररताः।।१८।।

Rāgas
Twenty rāgas have been enumerated. They are Śrīrāga, Naṭṭa, the two Baṅgālas,

Bhāsa(śuddha?)madhyama, Bhāsa(śuddha?)ṣāḍava, Raktahaṁsa, Kolhahāsa, Prasava,

Bhairava, Dhvani, Megharāga, Somarāga, the two Kāmodas, Āmrapañcama, Kandarpa,

Deśa (/ Deśākhya), Kaiśikakakubha and Naṭṭanārāyaṇa. (16cd-18)

(क) अष्टोपरार्ा इनत। जानतभ्यो जातानामवप ग्रामरागसमीपभावित्िादष्टानामप

ु रागत्िम।् नतलकिः्‌
शकाददररनत। शकशब्दाददक्स्तलकः शकनतलक इत्यथथः। बङ्‌
र्ालाविनत द्िौ रागौ।

1
AA - बङगालो
2
AA - भैपिध्िननः

15
भासमध्यमषािवाविनत। भासश्च मध्यमषाडिश्चेनत द्िंद्िः। कामोदाविनत द्िौ। ककुभान्तश्च्‌ करमशक

इनत। ककुभशब्दान्तः कैभशकः कैभशकककुभ इत्येकः। रार्ा इनत। उपरागेभ्योऽनन्तरं जानतभ्य एि

जाताः श्रीरागादयो विंशनतः ननरुपपदरागव्यपदे शभाजः।।१५-१८।।

(Ka) The eight uparāgas . . . Even though they are born of the jātis, since they are close to the

grāmarāgas, these eight are classed as uparāgas. Tilaka, commencing with Śaka means that the

name Tilaka is prefixed by Śaka, i.e., Śakatilaka. Two Baṅgālas means two rāgas. The two -

Bhāsamadhyamaṣāḍavas is a dvandva compound, meaning Bhāsa and Madhyamaṣāḍava. The two

Kāmōdas refers to two rāgas. Kaiśika ending with kakubha means the word Kaiśika ending with the

suffix kakubha, i.e., the single rāga, Kaiśikakakubha. Rāgas . . .. After the uparāgas, from the jātis

themselves, are born the twenty melodies, Śrīrāga etc., designated by the term rāga, without any

qualifying affix. (15-18)

(सं) उपरागाक्न्िभजते - अष्टोपरार्ा इनत। शकादद्स्तलकिः शकनतलकः। रागाक्न्िभजते - श्रीरार्ेनत।

बङगालद्ियम,् कामोदद्ियम।् एतािता विंशनतसंख्या पय

ू त
थ ।े ।१५-१८।।

(Saṁ) He classifies the uparāgas – Eight uparāgas . . . Tilaka, commencing with Śaka is Śakatilaka.

He next classifies the rāgas - Śrīrāga . . . . The two Baṅgālas, the two Kāmōdas. With that the total

number, twenty, is reached. (15-18)

भाषाजनकरागाः

सौिीरः ककुभष्टतकः पञ्चमो भभन्नपञ्चमः।

टतककैभशकदहन्दोलबोट्टमालिकैभशकाः।।१९।।

गान्धारपञ्चमो भभन्नषड्जो िेसरषाडिः।

मालिः पञ्चमान्तश्च तानः पञ्चमषाडिः ।।२०।।

भाषाणां जनकाः पञ्चदशैते याक्ष्टकोददताः ।

Rāgas parenting Bhāṣās

Yāṣṭika has named the following fifteen rāgas as the sources of bhāṣās - Sauvīra,

Kakubha, Ṭakka, Pañcama, Bhinnapañcama, Ṭakkakaiśika, Hindōla, Bōṭṭa, Mālavakaiśika,

Gāndhārapañcama, Bhinnaṣaḍja, Vēsaraṣāḍava, Mālavapañcama, Tāna and

Pañcamaṣāḍava. (19-21ab)

16
 भाषाः, विभाषाः, अन्तरभाषाः

भाषास्चतस्रः सौिीरे सौिीर िेगमध्यमा।।२१।।

साधाररता च गान्धार ;

Bhāṣās, Vibhāṣās, Antarabhāṣās

Four bhāṣās originate in Sauvīra - Sauvīrī, Vēgamadhyamā, Sādhāritā and Gāndhārī.

(21cd-22ab)

ककुभे भभन्नपञ्चमी।

कापभोजी मध्यमग्रामा रगन्ती मधुर तथा।।२२।।

शकभमश्रेनत षट्, नतस्रो विभाषा भोगिधथनी।

आभीररका मधुकर , तथैकान्तरभावषका।।२३।।

शालिाहननका;
The six bhāṣās arising from Kakubha are Bhinnapañcamī, Kāmbhōjī, Madhyamagrāmā,

Ragantī, Madhurī and Śakamiśrā. The three vibhāṣās originating from this rāga are

Bhōgavardhanī, Ābhīrikā and Madhukarī. Śālavāhanikā is the sole antarabhāṣā.

टतके त्रिणा त्रिणोििा।

िैरञ्जी मध्यमग्रामदे हा मालििेसर ।।२४।।

िे िाट सैन्धिी कोलाहला पञ्चमलक्षिता ।

सौराष्र पञ्चमी िेगरञ्जी गान्धारपञ्चमी ।।२५।।

मालिी तानिभलता लभलता रविचक्न्द्रका।

तानापबाहे ररका दोह्या िेसर त्येकविंशनतः।।२६।।

भाषाः स्यरु थ दे िारिधथन्यान्री च गुजरथ ।

भािनीनत विभाषाः स्युश्चतस्रः ।।२७।।

Twentyone bhāṣās originate in Ṭakka. They are Travaṇā, Travaṇōdbhavā, Vairañjī,

Madhyamagrāmadēhā, Mālavavēsarī, Chēvāṭī, Saindhavī, Kōlāhalā, Pañcamalakṣitā,

Saurāṣṭrī, Pañcamī, Vēgarañjī, Gāndhārapañcamī, Mālavī, Tānavalitā, Lalitā, Ravicandrikā,

Tānā, Ambāhērikā, Dōhyā and Vēsarī.

17
 And four vibhāṣās are possible. They are Dēvāravardhanī, Āndhrī, Gurjarī and Bhāvanī.

(24-27)

पञ्चमे पन
ु ः।।२७।।
कैभशकी त्रािणी तानोििाभीर च गुजरथ ।

सैन्धिी दाक्षिणात्यान्री माङगल भािनी दश।।२८।।

इनत भाषा विभाषा द्िे भपमाण्यान्धाभलके ततः।

In Pañcama there are ten bhāṣās - Kaiśikī, Trāvaṇī, Tānōdbhavā, Ābhīrī, Gurjarī,

Saindhavī, Dākṣiṇātyā, Āndhrī, Māṅgalī and Bhāvanī.

The two vibhāṣās are Bhammāṇī and Āndhālikā. (27d-29ab)

चतस्रः पञ्चमे भभन्ने भाषा धैितभूवषता।।२९।।

शुद्धभभन्ना च िाराट विशालेत्यथ कौशल ।

विभाषा; ।।३०।।
There are four bhāṣās in Bhinnapañcama - Dhaivatabhūṣitā, śuddhabhinnā, Vārāṭī and

Viśālā. The one vibhāṣā is Kauśalī. (29-30)

मालिाभभन्निभलते टतककैभशके।।३०।।

भाषे द्िे, द्राविडीत्येका विभाषा;

Mālavā and Bhinnavalitā are the two bhāṣās in Ṭakkakaiśika. The single vibhāṣā is

Drāviḍī. (30cd-31ab)

प्रेङिके नि।

भाषाः स्यि
ु ेसर चत
ू मञ्जर षड्जमध्यमा।।३१।।
मधुर भभन्नपौराल गौडी मालििेसर ।

िे िाट वपञ्जर नत ।।३२।।

In Prēṅkhaka (Hindōla) there are nine bhāṣās. They are Vēsarī, Cūtamañjarī,

Ṣaḍjamadhyamā, Madhurī, Bhinnapaurālī, Gauḍī, Mālavavēsarī, Chēvāṭī and Piñjarī. (31-32)

एका बोट्टे भाषा तु माङगल ।।३२।।

18
 In Bōṭṭa there is but one bhāṣā, Māṅgalī. (32cd)

बाङगाल माङगल हषथपुर मालििेसर ।

िञ्जनी गुजरथ गौडी पौराल चाधथिेसर ।।३३।।

शुद्धा मालिरूपा च सैन्धव्याभीररकेत्यमूः।

भाषास्त्रयोदश ज्ञेया विज्ञैमाथलिकैभशके।।३४।।

विभाषे द्िे तु कापभोजी तद्िद्देिारिधथनी।

In Mālavakaiśika experts recognise thirteen bhāṣās - Bāṅgālī, Māṅgalī, Harṣapurī,

Mālavavēsarī, Khañjanī, Gurjarī, Gauḍī, Paurālī, Ardhavēsarī, Śuddhā, Mālavarūpā,

Saindhavī and Ābhīrikā.

There are two vibhāṣās - Kāmbhōjī and Dēvāravardhanī. (33-35ab)

गान्धारपञ्चमे भाषा गान्धार ; ।।३५।।

Gāndhārapañcama has the bhāṣā Gāndhārī. (35cd)

भभन्नषड्जके।।३५।।

गान्धारिल्ल कचिे ल्ल स्िरिल्ल ननषाददनी।

त्रिणा मध्यमा शुद्धा दाक्षिणात्या पुभलन्दका।।३६।।

तप
ु बरु ा षड्जभाषा च काभलन्द लभलता ततः।
श्रीकक्ण्ठका च बाङगाल गान्धार सैन्धिीत्यमूः।।३७।।

भाषाः सप्तदश ज्ञेयाश्चतस्रस्तु विभावषकाः।

पौराल मालिा काभलन्द्यवप दे िारिधथनी।।३८।।

In Bhinnaṣaḍja seventeen bhāṣās are known - Gāndhāravallī, Kacchēllī, Svaravallī,

Niṣādinī, Travaṇā, Madhyamā, śuddhā, Dākṣaiṇātyā, Pulindakā, Tumburā, Ṣaḍjabhāṣā,

Kālindī, Lalitā, Śrīkaṇṭhikā, Bāṅgālī, Gāndhārī and Saindhavī.

And there are but four vibhāṣās - Paurālī, Mālavā, Kālindī and Dēvāravardhanī. (35d-38)

िेसरे षाडिे भाषे द्िे नाद्या बाह्यषाडिा।

विभाषे पािथती श्रीकण््यथ ।।३९।।

19
 In Vēsaraṣāḍava there are two bhāṣās - Nādyā (Bāhyā acc. to AA edn.) and

Bāhyaṣāḍavā, and two vibhāṣās - Pārvatī and Śrīkaṇṭhī. (39)

मालिपञ्चमे।।३९।।

भाषाक्स्तस्रो िेदिती भािनी च विभािनी।

In Mālavapañcama there are three bhāṣās - Vēdavatī, Bhāvanī and Vibhāvanī. (39d-

40ab)

ताने तानोििा भाषा; ।।४०।।

The bhāṣā of Tāna is Tānōdbhavā. (40c)

भाषा पञ्चमषाडिे।

पोता; ।।४१।।
Pōtā is the bhāṣā of Pañcamaṣāḍava. (41bc)

भाषां शकामेके रे िगुप्ते विदवु िथदः।

विभाषा पल्लिी, भासिभलता क्रकरणािल ।।४१।।

शकाद्या िभलतेत्येताक्स्तस्रस्त्िन्तरभावषकाः।

चतस्रोऽनुततजनका बह
ृ द्देश्याभममाः स्मत
ृ ाः।।४२।।
Some experts consider śakā to be a bhāṣā of Rēvagupta (which is not in the list of

bhāṣā-generating rāgas). The vibhāṣā is Pallavī, and the three antarabhāṣās are

Bhāsavalitā, Kiraṇāvalī and Śakavalitā.

These four are not traced to any parentage in Bṛhaddēśī. (41-42)

एिं षण्णिनतभाथषा विभाषा विंशनतस्तथा।

चतस्रोऽन्तरभाषाः स्यःु शाङगथदेिस्य सपमताः।।४३।।

These are the ninetysix bhāṣās, twenty vibhāṣās and four antarabhāṣās recognised by

śārṅgadēva. (43)

भाषा मुख्या स्िराख्या च दे शाख्या चोपरागजा।

20
 चतवु िथधा मतङगोतता; मख्
ु यानन्योपजीिनी।।४४।।
स्िरदे शाख्यया ख्याता स्िराख्या दे शजा िमात।्

अन्योपरागजा ताभ्यो ।।४५।।

Mataṅga has described four types of bhāṣā - mukhyā, svarākhyā, dēśākhyā and

uparāgajā. Mukhyā is not dependent on any other (melody source than one grāmarāga?)

Svarākhyā is named / famed after / for a svara, and dēśākhyā after a region. Bhāṣās

other than these (born of uparāgas?) are uparāgajā. (44-45)

याक्ष्टकेनोददताः पुनः।।४५।।

सङकीणाथ दे शजा मूला िायामात्रेनत नामभभः।

शुद्धाभीर रगन्ती च बत्रधा मालििेसर ।।४६।।

मख्
ु याः षडडनत शेषाः स्यवु िथज्ञेयाः स्फुटलिणाः।
नामसापयं तु कासांचचद् भभन्नानामवप लक्ष्मतः।।४७।।
But bhāṣās are distinguished by the terms saṅkīrṇā, dēśajā, mūlā and chāyāmātrā by

Yāṣṭika.

Śuddhā, Ābhīrī, Ragantī and, Mālavavēsarī of three types, are the six bhāṣās belonging

to the mukhyā group. The rest should be identified from their clearly apparent distinctions.

Bhāṣās that differ in structure and content sometimes share the same name. (45d-47)

इनत द्वितीये रागवििेकाध्याये ग्रामरागोपरागरागभाषाविभाषान्तरभाषावििेकाख्यं

प्रथमं प्रकरणम ्
Here ends the First Topic named An Understanding of Grāmarāga, Uparāga, Rāga,

Bhāṣā, Vibhāṣā, Antarabhāṣā In Chapter Two, “An Understanding of Rāga”

(क) एते सौिीरादयः पञ्चदश ग्रामरागाः। भाषाणाम;््‌ भाषा ग्रामरागालापप्रकारः। तथा चाह मतङगः -

ग्रामरागाणामेिालापप्रकारा भाषािाचयाः। भाषाशब्दोऽत्र प्रकारिाची इनत। एिं विभाषान्तरभाषाशब्दािवप

तत्तदनन्तरोत्पन्नालापप्रकारिाचकावित्यिगन्तव्यम।् तासामवप रञ्जना-द्रागत्िं च बोद्धव्यम।् तथा च

िक्ष्यनत - रञ्ज ाद्रार्ता्‌ भाषारार्ाङ्‌र्ादे रपीष्यते इनत। तासां ज का्‌ या्ष्टकोददतािः; भाषाजनकतया

या्ष्टकमनु ननोतताः। मतान्तराणामप्यत्रैिान्तभाथिाद्याक्ष्टकमतानस

ु ारे णोदद्दश्यन्त इत्यथथः। कथम?्

मतङगः षडेि ग्रामरागान्भाषाजनकत्िेनाभाषत। काश्यपस्तु द्िादशैिािोचत।् शादथ ल

ू ः पन
ु श्चतरु

21
एिाभ्यधाददनत। ताना अपबाहे ररकेनत विभागः। मालवामभन् वमलते इनत। मालिा च भभन्निभलता चेनत

द्िन्द्िः। प्रेङिक
्‌ इनत दहन्दोलपयाथयः। एके्‌ रे वर्प्ु ते्‌ ववदवु वगद इनत उततमतानस
ु ारे ण रे िगप्ु तस्य
भाषाजनकेष्िपररगणनेऽवप तस्यावप भाषाजनकत्िमङगीकृत्यान्य आचायाथः शकां तिाषामत
ु तिन्त
इत्यथथः। चतस्रोऽ त
ु तज का इनत। पल्लिीप्रभत
ृ यश्चतस्रः। अ न्योपजीव ी मख्
ु या। अन्योपजीवित्िं
स्िरदे शापेिया प्रितथमानत्िम।् तेन विना स्िातन्त ्््रयेण प्रितथमानात्र मख्
ु या। ताभ्यो

मख्
ु यास्िराख्यादे शाख्या-भ्योऽन्या विलिणोपरार्जेनत ज्ञेया। मख्
ु याद नामेि मतङगोततानां

याक्ष्टकोततानन संज्ञान्तराखण; यथा - मल

ू ेनत मख्
ु या, संकीणेनत स्िराख्या, दे शजेनत दे शाख्या,
छायामािेत्यप
ु रागजा।।१९-४७।।
इनत प्रथमं प्रकरणम ्

(Ka) These, i.e., the fifteen grāmarāgas, Sauvīra etc.. Of bhāṣās . . . – bhāṣā is a way of elaborating a

grāmarāga. As Mataṅga has said – The modes of elaboration of the grāmarāgas themselves are

referred to as bhāṣā. The word bhāṣā signifies manner here. Similarly it can be deduced that the
words, vibhāṣā and antarabhāṣā, too are indicative of successive developments in the manner of

elaboration. And it is obvious that these too qualify as rāgas, as they too delight. For he is going to

say – Bhāṣas, rāgāṅgas etc. too have the status of rāga, as they are delightful. Their parent-

(melodie)s as identified by Yāṣṭika, i.e., those (grāmarāgas that) have been named by the sage,

Yāṣṭika, as the parents of these bhāṣās. As all the other schools are covered by this scheme, he

does the enumeration following the Yāṣṭika school itself. How? Mataṅga has described only six

grāmarāgas in their capacity of parenting bhāṣās. Kāśyapa has described only twelve in this

connection. śārdūla has spoken of only four. Tāna and Ambāhērikā name classes(?). Mālavā-

Bhinnavalitē . . . is a dvandva compound naming Mālavā and Bhinnavalitā. Prēṅkhaka is a synonym

of Hindōla. The wise name only one in Rēvagupta.. This observation has been made, because,

although Rēvagupta has not been counted in this list of bhāṣā-parents, other teachers accept its

bhāṣā-generating capacity and name Śaka as its bhāṣā. Four without their parents being identified . .

.These are the four, Pallavī etc.

Mukhyās are those that do not depend on any other support . . .. ‘Depending on other support’

means being practiced with reference to a particular svara or region. As against this, mukhyā is freely

practised without any such support. Apart from them i.e., from mukhyās, svara-named (melodies) and

dēśa-named (melodies), those distinguished as born of uparāgas. For the terms mukhyā etc. used

by Mataṅga, Yāṣṭika has given other names. For instance, mūlā means mukhyā. Saṅkīrṇā means

svarākhyā, and dēśajā is the same as dēśākhyā. Chāyāmātra means uparāgajā. (19-47)

Thus ends the First Topic.

22


(सं) भाषाजनकान्पञ्चदश रागान्कथयनत - सौवीर इनत। टतककरमशक इत्येकं नाम। मालविः पञ्चमान्तो

मालिपञ्चमः। भाषाणाभमनत। यथासंभिं भाषाविभाषान्तरभाषाणां जनका इत्यथथः। तत्र कः क्रकं भाषादद

जनयतीत्यत आह - भाषाश्चतस्र इनत। सौिीरे - सौिीयाथदयो गान्धायथन्ता-श्चतस्रो भाषाः। ककुभे -

भभन्नपञ्चपयाद्याः शकभमश्रान्ताः षड् भाषाः; भोगिधथन्याभीररकामधक

ु यथक्स्तस्रो विभाषाः;

शालिाहननकैकान्तरभाषा। टतके - त्रिण्यादयो िेसयथन्ता एकविंशनतभाथषाः; दे िारिधथन्यादयो

भािन्यन्ताश्चतस्रो विभाषाः। पञ्चमे - कैभशतयादयो भािन्यन्ता दश भाषाः; भपमाण्यान्धाभलके द्िे

विभाषे। भभन्नपञ्चमे - धैितभवू षतादयो विशालान्ताश्चतस्रो भाषाः; कौशल त्येका विभाषा। टतककैभशके -

मालिा-भभन्निभलते द्िे भाषे; द्राविड्येका विभाषा। प्रेङिके दहन्दोले - िेसयाथदयः वपञ्जयथन्ता नि

भाषाः। बोट्टे - माङगल्येका भाषा। मालिकैभशके - बाङगाल्यादय आभीररकान्तास्त्रयोदश भाषाः;

कापभोजीदे िारिधथन्यौ द्िे विभाषे। गान्धारपञ्चमे - गान्धायेकैि भाषा। भभन्नषड्जे -

गान्धारिल्ल्यादयः सैन्धव्यन्ताः सप्तदश भाषाः; पौराल्यादयो दे िारिधथन्यन्ताश्चतस्रो विभाषाः।

िेसरषाडिे - नाद्या बाह्यषाडिेनत द्िे भाषे; पािथती श्रीकण्ठीनत द्िे विभाषे। मालिपञ्चमे -

िेदितीभािनीविभािन्यक्स्तस्रो भाषाः। ताने - तानोििैका भाषा। पञ्चमषाडिे - पोतैका भाषा। रे िगप्ु ते -

शकेत्येका भाषा; पल्लिीत्येका विभाषा; भासिभलता क्रकरणािल शकिभलतेत्येताक्स्तस्रोऽन्तरभाषाः।

पल्लव्यादयश्चतस्रो बह
ृ द्देश्यां जनकेन विनैि मतङगेनोतताः। एिं भाषाः षण्णिनतः। विभाषा विंशनतः।

अन्तरभाषाश्चतस्रः। भाषायाश्चातवु िथध्यं कथयनत - भाषेनत। मख्

ु या स्िराख्या दे शाख्योपरागजेनत

भाषाश्चतवु िथधाः। तत्र यान्यं नोपजीिनत सा मख्

ु या। या स्िरनापना जायते सा स्िराख्या गान्धायाथददः।
या दे शनापना जायते सा दे शाख्यान ्््रयाददः। या ताभ्यक्स्तसभ्
ृ यो जायते सान्योपरागजा। एता एि
चतस्रः संकीणाथ दे शजा मल
ू ा िायामात्रेनत नामभभयाथक्ष्टकेनोतताः। एता एि विभजते - शद्ध
ु ेनत। अन्यासां
लिणं प्रकटम।् कासांचचिाषाणां लिणतो भभन्नानामवप नामसापयं विद्यत इनत।।१९-४७।।

इनत प्रथमं प्रकरणम ्

(Saṁ) He lists fifteen rāgas that parent bhāṣās – Sauvīra . . ... Ṭakka-kaiśika names a single rāga.

Mālava ending with pañcama is Mālavapañcama. Of the bhāṣās.. means, (the parents) of bhāṣās,

vibhāṣās or antarabhāṣās, as the case may be. Which (rāga) generates which bhāṣā? He counts the

number as four bhāṣās etc. in Sauvīra, i.e., there are four bhāṣās, from Sauvīrī to Gāndhārī. In

Kakubha there are six bhāṣās, from Bhinnapañcamī to Śakamiśrā; three vibhāṣās, Bhōgavardhanī,

Ābhīrikā and Madhukarī, and one antarabhāṣā, śālavāhanikā. In Ṭakka, there are twentyone bhāṣās,

from Travaṇī to Vēsarī; four vibhāṣās, Dēvāravardhanī to Bhāvanī. In Pañcama, there are ten bhāṣās,

Kaiśikī to Bhāvanī, and two vi bhāṣās, Bhammāṇī and Āndhālikā. In Bhinnapañcama, there are four

bhāṣās, Dhaivatabhūṣitā to Viśālā, and one vibhāṣā, Kauśalī. In Ṭakkakaiśika, there are two bhāṣās,

Mālavā and Bhinnamālavā, and one vibhāṣā, Drāviḍī. In Prēṅkhaka, i.e., Hindōla, there are nine

23
bhāṣās, from Vēsarī to Piñjarī. In Bōṭṭa, there is just one bhāṣā, Māṅgalī. In Mālavakaiśika, there are

thirteen bhāṣās, Bāṅgālī to Ābhīrikā, and two vibhāṣās, Kāmbhōjī and Dēvāravardhanī. In

Gāndhārapañcama, there is only one bhāṣā, Gāndhārī. In Bhinnaṣaḍja, there are seventeen bhāṣās,

Gāndhāravallī to Saindhavī, and four vibhāṣās, Paurālī to Dēvāravardhanī. In Vēsaraṣāḍava, there

are two bhāṣās, Nādyā and Bāhyaṣāḍavā, and two vibhāṣās, Pārvatī and śrīkaṇṭhī. In

Mālavapañcama, there are three bhāṣās, Vēdavatī, Bhāvanī and Vibhāvanī. In Tāna, there is just one

bhāṣā, Tānōdbhavā. In Pañcamaṣāḍava, there is just one bhāṣā, Pōtā. In Rēvagupta, there is one

bhāṣā, Śaka; one vibhāṣā, Pallavī, and the three antarabhāṣās, Bhāsavalitā, Kiraṇāvalī and

Śakavalitā. The four melodies, Pallavī etc., have not been attributed to any parent in Bṛhaddēśī by

Mataṅga. In all there are ninetysix bhāṣās,twenty vibhāṣās, and four antarabhāṣās. He divides

bhāṣās into four types – Bhāṣā . . ... Bhāṣās are of the four types, mukhyā, svarākhyā, dēśākhyā and

uparāgajā. Where the bhāṣā does not rest on any other qualification, it is mukhyā. Where it is known

by a svara name, it is svarākhyā, e.g., Gāndhārī. Where it is related to a region, it is dēśākhyā, e.g.,

Āndhrī. That which exists apart from these, is uparāgajā. These four types have been designated as

saṅkīrṇā, dēśajā, mūlā and chāyāmātra by Yāṣṭika. These are again classified as śuddhā and so on.

The form of the other variants is clear. Some bhāṣās that differ in structure, share the same name.

(19-47)

Thus ends the First Topic.

24
 रार्ाङ्‌
र्ाददन णगयाख्यं्‌द्ववतीयं्‌प्रकरणम ््‌
Topic Two - An Understanding of Rāgāṅga and others

अथ रागाङगभाषाङगक्रियाङगोपाङगननणथयम।्

केषांचचन्मतमाचश्रत्य कुरुते सोढलात्मजः।।१।।

Next, the author (lit. son of Sōḍhala) takes up for study, the Rāgāṅga, Bhāṣāṅga,

Kriyāṅga and Upāṅga classification, as conceived of by various experts. (1)

रञ्जनाद्रागता भाषारागाङगादे रपीष्यते।

दे शीरागतया प्रोततं रागाङगाददचतष्ु टयम।।२।।

्
The (etymological) definition of rāga as that which delights, holds for bhāṣāṅga, rāgāṅga

and other classes too. The foursome, rāgāṅga etc., is described as a set of dēśī rāgas. (2)

(क) रागाङगाददशब्दानां ननरुक्ततमथतङगोतता द्रष्टव्या । यथा -

ग्रामोततानां तु रागाणां िायामात्रं भिेददनत।

गीतज्ञैः कचथताः सिे रागाङगास्तेन हे तन

ु ा।।
भाषािायाचश्रता येन जायन्ते सदृशाः क्रकल।

भाषाङगास्तेन कथ्यन्ते गायकैः स्तौनतकाददभभः।।

करुणोत्साहशोकाददप्रभिा या क्रिया ततः।

जायन्ते च यतो नाम क्रियाङगाः कारणात्ततः।।

इनत। मतङगेनोपाङगानन रागाङगाददष्िेिान्तभाथवितानन। ग्रन्थकारे ण पन

ु स्तेषां पथ
ृ गद्द
ु ेशो
मतान्तरानस
ु ारे ण कृत इनत मन्तव्यम।् अङगचिायानक
ु ाररत्िात्तेषामप
ु ाङगत्िं च। रार्ाङ्‌र्ाददचतष्ु टयं्‌
दे शीरार्तया्‌प्रोततममनत। दे शीत्िं नाम कामचारप्रिनतथतत्िम।्

तदत्र मागथरागेषु ननयमो यः परु ोददतः।

स दे शीरागभाषादािन्यथावप तिचचििेत।।
्

इनत।।१,२।।


(Ka) The definition of the terms rāgāṅga etc., in the words of Mataṅga should be looked into. As –

As they can be mere shadows of the rāgas described within the fold of the grāmas, they are all

declared to be rāgāṅgas, by the musicologists. (The next lot) are born, resembling the bhāṣās, and so

25
they are referred to as bhāṣāṅgas, by the singers, eulogists <stautika> and so on. The actions
springing from pity, valour or sorrow inspire melodies which are, for that reason, kriyāṅgas.
Mataṅga includes the upāṅgas among the rāgāṅgas themselves. So our author’s naming them

separately in his list must, we conclude, be according to another school of thought. And they have the

upāṅga designation, as they follow the original in part ( or follow the rāgāṅgas, and are once

removed). The rāgāṅga etc. foursome is described in the form of deśīrāga. The deśī qualification here

implies the freedom allowed in handling them. It has been said -

Now the rules that have been prescribed for the mārgarāgas, may be transgressed in the case
of deśī rāgas, bhāṣās etc. (1,2)

(सं) रागाङगाद नन कथनयतुं प्रनतजानीते - अथेनत। केषांचचददनत। दे शीरागत्िािरताददमनु न-प्रणीतत्िं

नास्तीत्यथथः। रञ्ज ाददनत। रञ्जयन्तीनत रागाः। अनया व्यत्ु पत्त्या भाषाविभाषान्तर-भाषाणां

रागाङगभाषाङगक्रियाङगोपाङगानां च रागत्िभमष्यते। परं तु रागाङगीद नन दे शीरागा इत्यच

ु यन्ते।।१,२।।

(Saṁ) He begins to describe rāgāṅga and other melodies – Next . . .. Of some . . ... Their belonging

to the deśī class of rāga, means that they have not been presented by Bharata and other ancient

sages. As they afford delight.. Since they delight, they are rāgas. According to this word derivation (of

‘rāga’), the bhāṣās, vibhāṣās and antarabhāṣās, and again, the rāgāṅgas, bhāṣāṅgas, kriyāṅgas and

upāṅgas, all share the rāga qualification. But the rāgāṅga etc. melodies are described as deśīrāgas.

(1,2)

प्रभसद्धा ग्रामरागाद्याः केचचद्देशीत्यपीररताः।

तत्र पि
ू प्र
थ भसद्धानामद्द
ु ेशः क्रियतेऽधुना।।३।।
Some well known grāmarāgas etc., are also included in the dēśī group. Now we shall

list those that have been in vogue in earlier times. (3)

पि
ू प्र
थ भसद्धरागाङगाद नन
Rāgāṅgas etc. of Earlier Fame

शंकराभरणो घण्टारिो हं सकद पकौ।

र नतः कणाथदटका लाट पाञ्चाल नत बभावषरे ।।४।।

26
 रागाङगाण्यष्ट;
Śaṅkarābharaṇa, Ghaṇṭārava, Haṁsaka, Dīpaka, Rīti, Karṇāṭikā, Lāṭī and Pāñcālī are

the eight rāgāṅga rāgas described (earlier). (4-5a)

गापभीर िेहार श्िभसतोत्पल ।

गोल नादान्तर नीलोत्पल िाया तरङचगणी।।५।।

गान्धारगनतका िैरञ्जीत्येकादश मेननरे ।

भाषाङगाण्यथ
 The eleven rāgas classed as bhāṣāṅga are Gāmbhīrī, Vēhārī, Śvasitā, Utpalī, Gōlī,

Nādāntarī, Nīlōtpalī, Chāyā, Taraṅgiṇī, Gāndhāragatikā and Vairañjī. (5-6c)

भाििीस्िभाििीभशिक्रियः।।६।।

मकरिीबत्रनेत्रिीकुमुदिीदनुक्रियः।

ओजिीन्द्रक्रियौ नागकृनतधथन्यकृनतस्तथा।।७।।

विजयिीः क्रियाङगाखण द्िादशेनत जगुबध

ुथ ाः।
Experts spoke of twelve kriyāṅga rāgas – Bhāvakrī, Svabhāvakrī, śivakrī, Makarakrī,

Trinētrakrī, Kumudakrī, Danukrī, Ojakrī, Indrakrī, Nāgakṛti, Dhanyakṛti and Vijayakrī. (6d-8b)

त्रीण्युपाङगानन पूणाथट दे िालश्च गुरुक्ञ्जका।।८।।

चतक्ु स्त्रंशददमे रागाः प्रातप्रभसद्धाः प्रकीनतथताः।

The three upāṅga rāgas are Pūrṇāṭī, Dēvāla and Guruñjikā. These are the thirtyfour

rāgas that were popular in earlier times. (8c-9b)

(क) प्रमसद्धा्‌ ग्रामरार्ाद्यािः; आद्यशब्दे न भाषादयो गह्

ृ यन्ते। दे शीत्यपीररता इनत। तत्रावप क्रकं चच-
क्न्नयमाभािो द्रष्टव्यः। छाया्‌तरङ्‌चर्णीनत रागद्ियम।।३-८।।
्

(Ka) The popular grāmarāgas etc. The etcetera here includes bhāṣās etc.. Are also called deśī. ..

This means that some lack of rule can be seen in those too. Chāyā, Taraṅgiṇī, name two rāgas. (3-8)

(सं) प्रमसद्धा्‌ग्रामरार्ाद्यािः पञ्चमरे िगप्ु तनट्टनारायणादयः; तेऽवप दे शीशब्दे नोचयन्ते। ते च रागाङगादयो

द्विविधाः - पि
ू प्र
थ भसद्धा अधुनाप्रभसद्धाश्च। तत्र पि
ू प्र
थ भसद्धानामद्द
ु ेशं प्रनतज्ञाय कथयनत - तिेनत।

27
शङकराभरणादयः पल्लव्यन्ता अष्टौ रागाङगाणीनत, गापभीयाथदयो िैरञ्ज्यन्ता एकादश भाषाङगाणीनत,

भािि् यादयो विजयि् यन्ता द्िादश क्रियाङगाणीनत, पण

ू ाथट दे िाल-गरु
ु क्ञ्जकास्त्रय उपाङगानीत्येिं

चतक्ु स्त्रंशत ् प्रातप्रभसद्धाः।।३-८।।

(Saṁ) The well-known grāmarāgas etc., i.e., Pañcama, Revagupta, Naṭṭanārāyaṇa etc., are also

described by the adjective ‘deśī’. And the rāgāṅgas etc. are of two types – of earlier fame, and

currently popular. And he proceeds to enumerate the melodies of earlier fame – There . . . The eight

melodies, from Śaṅkarābharaṇa to Pallavī, are named rāgāṅgas; the eleven from Gāmbhīrī to Vairañjī

are bhāṣāṅgas; the twelve from Bhāvakrī to Vijayakrī are kriyāṅgas; and the trio, Pūrṇāṭī, Devāla and

Guruñjikā, are upāṅgas. These are the thirtyfour (rāgas) that were popular once. (3-8)

28
 अधु ाप्रमसद्धरार्ाङ्‌र्ादीन
Rāgāṅgas etc. in Vogue Now

अथाधुनाप्रभसद्धानामुद्देशः प्रनतपाद्यते।।९।।

मध्यमाददमाथलिश्रीस्तोडी बङगालभैरिौ।

िराट गुजरथ गौडकोलाहलिसन्तकाः।।१०।।

धन्यासीदे भशदे शाख्या रागाङगाखण त्रयोदश।

Next we shall enumerate the melodies that are popular in our own times. Madhyamādi,

Mālavaśrī, Tōḍī, Baṅgāla , Bhairava, Varāṭī, Gurjarī, Gauḍa, Kōlāhala, Vasantaka, Dhanyāsī,

Dēśī and Dēśākhya are the thirteen rāgāṅga rāgas that are in vogue now. (9cd-11ab)

डोपबिी सािर िेलािल प्रथममञ्जर ।।११।।

आडडकामोददका नागध्िननः शद्ध

ु िरादटका।
नट्टा कणाथटबङगालो भाषाङगाखण निाब्रुिन।।१२।।
्
Ḍōmbakrī, Sāvarī, Vēlāvalī, Prathamamañjarī, Āḍikāmōdikā, Nāgadhvani,

Śuddhavarāṭikā, Naṭṭā and Karṇāṭabaṅgāla are the nine bhāṣāṅga rāgas that were

described. (11cd=12)

क्रियाङगबत्रतयं रामकृनतगौडकृनतस्तथा।

दे ििीररनत ।।१३।।
The three kriyāṅga (rāgas in use) are Rāmakṛti, Gauḍakṛti and Dēvakrī. (13abc)

अथोपाङगसप्तविंशनतरुचयते।।१३।।

कौन्तल द्राविडी सैन्धव्यु(य)पस्थानिरादटका।

हतस्िरिराट च स्यात्प्रतापिरादटका।।१४।।

िराट्यः षडडनत चिायातुरुष्काद्ये तु तोडडके।

महाराष्र च सौराष्र दक्षिणा द्राविडीत्यमूः।।१५।।

उतताश्चतस्रो गुजय
थ ो भुक्ञ्जका स्तपबतीचथथका।

िायाप्रतापोपदे िेलािल्यौ च भैरिी।।१६।।

कामोदाभसंहल िायानट्टा रामकृनतस्तथा।

29
 भल्लानतका च मल्हार मल्हारो गौडकास्ततः।।१७।।

कणाथटो दे शिालश्च तौरुष्कद्राविडाविनत।

एतेऽधन
ु ाप्रभसद्धाः स्युद्थिापञ्चाशन्मनोरमाः।।१८।।
Next we name the twentyseven upāṅga rāgas. They are the six Varāṭīs -Kauntalī,

Drāviḍī, Saindhavī, Apasthānavarāṭikā, Hatasvaravarāṭī, Pratāpavarāṭikā, (the two Tōḍīs -)

Chāyātōḍī, Turṣkatōḍī, the four Gurjarīs - Mahārāṣṭrī-, Saurāṣṭrī-, Dakṣiṇā- and Drāviḍī-,

Bhuñjikā, Stambatīrthikā, Chāyāvēlāvalī, Pratāpavēlāvalī, Bhairavī, Siṁhalī-kāmōdā,

Chāyānaṭṭā, Rāmakṛti, Bhallātikā, Malhārī, Malhāra, the four Gauḍas – Karṇāṭa, Dēśavāla,

Tauruṣka and Drāviḍa. These are the hundred and fiftytwo rāgas that are delighting us now.

(13d-18)

सिेषामवप रागाणां भमभलतानां शतद्ियम।्

चतुःषष्ट्यचधकं ब्रूते शाङगी श्रीकरणाग्रणीः।।१९।।

Śārṅgadēva, the leader of Śrīkaraṇas, will now describe all the rāgas, totalling two

hundred and sixtyfour. (19)

(क) िोपबक्ीनत भप
ू ाल पयाथयः। कामोदामसंहलीत्येको रागः, छाया ट्टे नत च। उपाङगेषु

रामकृनतबौभलपयाथयः। दे शवालिः केदारगौलः। तौरुष्को मालिगौड एि। एते रागाङगादयः

कनतचचत्प्रभसद्धत्िेनोदद्दष्टाः। अन्येऽप्यप्रभसद्धा बहिः संभिन्त्येि। तथाह मतङगः - दे शजानां

रागाणामानन्त्यादननबद्धत्िाचच संख्या नास्तीनत मन्तव्यम ् इनत।।९-१९।।

(Ka) Ḍōmbakrī is another name for Bhūpālī. Kāmodā and Siṁhalī name the same rāga, And so also

Chāyā, Naṭṭā. Among the upāṅgas, Rāmakṛti is another name for Baulī. Deśavāla is the same as

Kedāragaula. Tauruṣka is none other than Mālavagauḍa. These are some of the rāgāṅgas etc. that

have been listed for their fame. Many other melodies of little fame do exist. As Mataṅga has said –

One should know that because of their countless number and their freedom from regulation, the

regional rāgas cannot be totalled. (9-19)

(सं) अधुनाप्रभसद्धानदु द्दशनत - अथेनत। मध्यमाद्यादयो दे शाख्यान्तास्त्रयोदश रागाङगाखण। डोपबि् यादयः

कणाथटबङगालान्ता नि भाषाङगाखण। रामकृनतगौडकृनतदे िि् यस्त्रयः क्रियाङगाखण। कौन्तल्यादयो

30
द्राविडगौडान्ताः सप्तविंशनतरुपाङगानन। एिं द्िापञ्चाशत।् अधुना-प्रभसद्धानां रागाङगाद नां लिणमत
ु तं
मतङगेन -

अतः परं प्रिक्ष्याभम दे शीरागकतपबकम।्

लक्ष्यलिणसंयुततं बत्रविधं चावप संयुतम।।
्
रागाङगं चैि भाषाङगं क्रियाङगं च तत
ृ ीयकम।्
प्रत्येकं लिणं चैषां प्रिक्ष्यापयनुपूिश
थ ः।।
उततानां ग्रामरागाणां िायामात्रं भजक्न्त दह।
गीतज्ञैः कचथताः सिे रागाङगास्तेन हे तुना।।
भाषािायाचश्रता येन जायन्ते सदृशाः क्रकल।
भाषाङगास्तेन कथ्यन्ते गायकैः स्तुनततत्परै ः।।
शोकोत्साहकरुणाददद पकात्मक्रियाददतः।(?)
जायन्ते च यतो नाम क्रियाङगास्तेन हे तुना।।
इनत। अङगाश्रयेण समत्ु पन्ना उपाङगानन। सिे भमभलता रागाश्चतःु षष्ट्यचधकं शतद्ियं भिक्न्त।।९-१९।।

(Saṁ) He lists (the rāgas) that are popular now – Next . . . From Madhyamādi to Deśākhya, the

rāgāṅgas number thirteen. From Ḍōmbakrī to Karṇāṭabaṅgāla, the bhāṣāṅgas are nine. The three

kriyāṅgas are Rāmakṛti, Gauḍakṛti and Devakrī. Beginning from Kauntalī, up to Drāviḍagauḍa, are

counted twentyseven upāṅgas. Thus the total number of fiftytwo is reached. Mataṅga has set down

the identifying features of melodies such as rāgāṅgas that are popular now –

After that I shall speak of the bunch of deśī rāgas, defining them and examining their place in
practice. They are of three types, rāgāṅgam, bhāṣāṅgam and thirdly, kriyāṅgam. I shall set down their
features one by one. All the rāgāṅgas follow the grāmarāgas in mere appearance, and are therefore

designated thus by scholars of music. Since the next lot are born, resembling the appearance alone
of the bhāṣās, they are called bhāṣāṅgas by the singers who are engaged in singing eulogies. As
other melodies are created to enhance the effect of the actions accompanying sorrow, valour and
pity, they are named kriyāṅgas.

Upāṅgas are created on the basis of a part (of the original melodies?) / on the basis of the -aṅga (trio

seen above?). Adding them all up, we arrive at the total of two hundred and sixtyfour rāgas. (9-19)

तत्रादौ ग्रामरागाणां केषाक्ञ्चल्लक्ष्म चक्ष्महे ।

दे शीरागाददहे तूनां शेषाणां तत्र तत्र तु।।२०।।

31
 To begin with I shall describe the features of some of the grāmarāgas. Of the rest, a few

will be examined contextually, as the sources of dēśī rāgas. (20)



(क) उद्देशानि
ु मेण लिनयतम
ु ाह - तिादाविनत। ति ग्रामरागाददषु मध्ये आदौ प्रथमं

केषांचचद्ग्रामरार्ाणां; ये तु दे शीरागाददहे तिो न भिक्न्त तेषाभमत्यथथः। दे शीरार्ाददहे तू ाम;््‌ दे शीरागा

रागाङगादयः। अत्राददशब्दे न भाषा विभाषा अन्तरभाषाश्च गह्

ृ यन्ते। तेषां हे तिो जनकाः। तादृशानां
शेषाणां, ति्‌ ति; जन्यतत्तद्देशीरागाददलिणािसरे , लक्ष्म्‌ चक्ष्महे इत्यािक्ृ त्तः। अयमभभप्रायः -

दे शीरागाद नामेि केषांचचदधन

ु ाप्रभसद्धत्िात ् तत्प्रसङगाल्लक्ष्यन्त इनत।।२०।।

(Ka) He begins the description with the enumeration (of the rāgas under different classes) – There, to

begin with . . .. There, i.e., among the grāmarāgas, initially, i.e., at first, of some grāmarāgas, i.e., of

those that are not the sources of deśī rāgās, (description will be done). Of the parents of deśīrāgās -

deśī rāgas are the rāgāṅgas etc. The etc. here covers bhāṣās, vibhāṣās and antarabhāṣās. Their

causes are their parent (grāmarāgas). Of these, among the rest, here and there, i.e. in the context of

the description of the deśīrāgas and other derivatives, that are in vogue now, where relevant, they (the

parent grāmarāgas) will be described. (20)

(सं) तिेनत। केषांचचद् ग्रामरागाणां लिणं पि

ू ं कथ्यते। दे शीरागकारणभत
ू ानां त्िन्येषां तत्र तत्र
दे शीरागप्रकरणे लिणं िक्ष्याम इनत।।२०।।

(Saṁ) There means – ‘of some of the grāmarāgas’, at first, the description will be done. Of others that

are the sources of deśīrāgas, here and there, in the section on deśī rāgas, we shall provide the

description. (20)

शद्ध
ु साधाररतिः
षड्जमध्यमया जातस्तारषड्जग्रहांशकः।

ननगाल्पो मध्यमन्यासः पण
ू ःथ षड्जाददमूिथनः।।२१।।
अिरोदहप्रसन्नान्तालंकृतो रविदै ितः।

िीरे रौद्रे रसे गेयः प्रहरे िासराददमे।।२२।।

विननयुततो गभथसन्धौ शुद्धसाधाररतो बुधैः।

Śuddhasādhārita

32
 Born of ṣaḍjamadhyamā (jāti), having the tāra ṣaḍja for graha and aṁśa, employing ni

and ga sparingly, resting / ending on madhyama, complete, with the mūrchanā commencing

from ṣaḍja providing its scale, embellished by the descending prasannānta alaṅkāra, having

Sun as its presiding deity, sung in the vīra and raudra rasas, at the time of dawn,

Śuddhasādhārita has been prescribed for the dramatic juncture, garbha, by the experts. (21-

23ab)

(क) शद्ध
ु साधाररतं लियनत - षड्जमध्यमयेत्याददना। षड्जमध्यमया संसगथजविकृतजात्या जनकभत
ू या
जातो जननत इत्यथथः। तारषड्जग्रहांशकिः; तारषड्जो ग्रहोऽ्ंशश्च यस्येनत बहुपद-बह्व्राु ्ीदहः। अत्र रागेषु

तिचचद् ग्रहांशयोभभथन्नत्िेन अन्यतरोततािभ

ु यग्रहः इनत न्यायः सिथत्र न प्रसरे ददनत ग्रहांशयोरुभयोग्रथहणं
कृतम।् अन्यतरोततािभ
ु यग्रहन्यायस्तु जानतष्िेि ननयतो द्रष्टव्यः; रागलिणेष्िवप

यत्रान्यतरस्यैिोक्ततस्तत्राप्यनस
ु ध
ं ेयः। न र्ाल्पो ननगाभ्यामल्पः; अल्पननषादगान्धार-िाननत्यथथः।

षड्जाददमछ
ू ग िः; षाड्जग्राभमकत्िादत्ु तरमन्द्रायत
ु इनत याित।् अवरोदहप्रसन् ान्तालंकृतिः; अिरोदहखण िणे

प्रसन्नान्तालंकारे ण भवू षतः। र्भगसध

ं ौ; नाटकेषु मि
ु ं प्रनतमि
ु ं गभो विमशथ उपसंहृनतः इनत पञ्च संधयः;
तेषु तत
ृ ीयो गभथसचं धः; तक्स्मक्न्िननयत
ु तः।।२१-२३कि।।

(Ka) He describes Śuddhasādhārita – Through ṣaḍjamadhyamā etc. ṣaḍjamadhyamā, the particular

jāti that is born of both grāmas and has an altered (not pure) form, serving as its parent, born of (that),

i.e., created (by it). With tāraṣaḍja-graha-aṁśa, is a multiple-word bahuvrīhī compound, meaning

‘whose graha as well as aṁśa role is taken by the upper ṣaḍja’. Here, in the case of rāgas, since

graha and aṁśa are sometimes served by different svaras, and the normal practice of mentioning one

of them alone for covering both will not hold good everywhere, they have been mentioned separately

(although served by the same one svara). The practice of taking both to be meant when only one of

them has been prescribed is observed to be established in the description of jātis. The same practice

of mentioning only one of them (graha or aṁśa, when both are meant) should be followed here too, in

the description of rāgas. Ni-ga-sparse means ‘sparing with ni and ga’; that means ‘employing niṣāda

and gāndhāra rarely’. With the mūrchanā commencing from ṣaḍja means the Uttaramandrā

mūrchanā, as the grāma (housing this rāga,) is ṣaḍjagrāma. ‘Descent-prasannānta-adorned’ means

‘adorned by prasannānta alaṅkāra in the descending melodic direction’. ‘In the garbha sandhi’ – There

are five sandhis (junctures) in dramas – mukham, pratimukham, garbha, vimarśa and upasaṁhāra.

The third of these is garbha sandhi. (And this rāga) has been prescribed in that (sandhi). (21-22)

33
(सं) शद्ध
ु साधाररतं लियनत - षड्जमध्यमयेनत। षड्जमध्यमाया जातेरुित
ू ः; तारस्थानस्थः षड्जो
ग्रहोंऽशश्च यक्स्मन,् ननषादगान्धारािल्पौ यक्स्मन ् , षड्जाददमि
ूथ थ ना यस्य, पण
ू ःथ सप्तस्िरः, अिरोह यः
प्रसन्नान्तोऽलंकारस्तेनालंकृतः, रविः सय
ू ो दे ितास्य। अतश्चैतस्य गाने सय
ू स्
थ य प्रीनतः फलम।् गभथसध
ं ौ

विननयोगः। नन्ियं विननयोगविशेषः कस्माल्लभ्यते? भरतिचनादे ि; यदाह भरतः -

मुिे तु मध्यमग्रामः षड्जः प्रनतमुिे तथा।

गभे साधाररतश्चैि ह्यिमशे तु पञ्चमः।
संहारे कैभशकः प्रोततः पूिरथ ङगे तु षाडिः।।
इनत।।२१-२३कि।।

(Saṁ) He describes Śuddhasādhārita – With ṣaḍjamadhyamā . . . It is born of ṣaḍjamadhyamā jāti.

In it the ṣaḍja located in the upper octave serves as the graha and aṁśa; niṣāda and gāndhāra are

sparse; its scale is the mūrchanā commencing from ṣaḍja; it is complete, with all seven svaras; it is

(chiefly?) descending, adorned by the prasannānta alaṅkāra; its deity is the Sun. That means its

rendering in music has the aim of pleasing the Sun. It is to be employed in the garbha sandhi. But

how does this particular application obtain? From the authority of Bharata. For Bharata has said –

In mukha, Madhyamagrāma; in pratimukha, ṣaḍja(grāma); Sādhārita in garbha; Pañcama in

avamarśa; and in saṁhāra, Kaiśika. And in the pūrvaraṅga, ṣāḍava. (21-22)

रार्ालापिः

ग्रहांशमन्द्रताराणां न्यासापन्यासयोस्तथा।।२३।।

अल्पत्िस्य बहुत्िस्य षाडिौडुियोरवप।

अभभव्यक्ततयथत्र दृष्टा स रागालाप उचयते।।२४।।

Rāgālāpa
The expression in which the graha, aṁśa and mandra-tāra limits, and likewise, the final

and medial rests <nyāsa-apanyāsa>, the sparse and frequent occurrence of prescribed

svaras, and thereby the phrases displaying hexatonic and pentatonic reductions, are all

manifested clrearly, is pronounced to be the ālāpa of the rāga. (23cd-24)

रूपकम ््‌

रूपकं तद्िदे ि स्यात्पथ

ृ वभत
ू विदाररकम।्
Rūpakam

34
 Rūpakam must be conceived of in the same way, but with clearly separated divisions.

(25cd)

आक्षि्प्तका

चचचत्पुटाददतालेन मागथत्रयविभूवषता।।२५।।

आक्षिक्प्तका स्िरपदग्रचथता कचथता बुधैः।

नोतते करणितथन्यौ प्रबन्धान्तगथतेररह।।२६।।

मतङगाददमताद् ब्रूमो भाषाददष्िेि रूपकम।्

Ākṣiptikā
Ākṣiptikā is prescribed by the experts to be composed of melody and verbal text, to a

tāla such as Caccatpuṭa, in the three mārgas. Karaṇa and vartanī are not defined here, as

they fall within the frame of prabandha (which is described elsewhere?). We shall describe

rūpakam as composed in bhāṣā etc. melodies alone, according to the view of experts such

as Mataṅga. (25cd-27ab)

सााँ पााँ धां र पापाधार पाधा सासा पाधानीधा पामांमां र ंपा धार ं पाधार ं पाधापाधापापा

सासा मा । सााँ गााँ र ीँ मााँ । मगरर सासा सररग पाधार पाधार पाधापाधासासा सार गामाधापानी-

धापानीधापा सां सां - इत्यालापः।

sā pā dhā rīpāpādhārī pādhā sāsā pādhānīdhā pāmāmā rīpā dhārī pādhārī

pādhāpādhāpāpā sāsā mā. sā gā rī mā. magari sāsā sariga pādhārīpādhārīpādhāpādhāsāsā

sārīgāmādhāpānīdhāpānīdhāpā sā sā - This is ālāpa.

सस पप धध रररर पप धस सां २ रररर पप धनन पप ररप धस सा सा २ धध मंमं गार

गंमं ररग मम मगररग सासा २ सस धस ररंगं सासा पाधा ननधप मंमं - इनत करणम।्

sasa papa dhadha riri papa dhasa sā 2 riri papa dhani papa ripa dhasa sā sā 2 dhadha

mama gārī gama riga mama magariga sāsā 2 sasa dhasa riga sāsā pādhā nidhapa mama –

This is karaṇam.

१ सा सा धा नी पा पा पा पा
उ द य चग रर भश ि र

35
२ धा धा नी नी रं रं पा पा
शे ि र तु र ग िु

३ र पा पा पा धा नी पा मा
र ि त वि भभ न्न

४ धा मा धा सा सा सा सा सा
घ न नत भम रः

५ धा धा सा धा सा र गा सा
ग ग न त ल स क ल

६ र गा पा पा पा पा पा पा
वि लु भल त स ह स्र

७ धा मा धा मा सा सा सा सा
क्रक र णो ज य तु

८ पा धा ननध पा मा पा मा मा
भा नुः

- इत्याक्षिक्षिका
।
इक्षि शुद्धसाधारििः ।

1. sā sā dhā nī pā pā pā pā
u da ya gi ri śi kha ra

2. dhā dhā nī nī rī rī pā pā
śē kha ra tu ra ga khu

3 rī pā pā pā dhā nī pā mā
ra kṣa ta vi bhi nna

4. dhā mā dhā sā sā sā sā sā
gha na ti mi raḥ

36
 5. dhā dhā sā dhā sā rī gā sā
ga ga na ta la sa ka la

6. rī gā pā pā pā pā pā pā
vi lu li ta sa ha sra

7. dhā mā dhā mā sā sā sā sā
ki ra ṇō ja ya tu

8. pā dhā nidha pā mā pā mā mā
bhā nuḥ
- This is (how the) Ākṣiptikā (must be composed).
This is Śuddhasādhārita.

(क) सकलरागसाधारणानालापाद न ् लियनत - ग्रहांशत्े याददना। यि; यक्स्मन्स्िरसक्न्निेशविशेष;े

ग्रहांशाद नामत
ु तलिणानां स्िराणामल्पत्िाद नां स्िरधमाथणां च। अत्रैतष
े ामेिेत्यिधारणं कतथव्यम;् तेनास्य

धात्िङगबद्धेभ्यः प्रबन्धेभ्यो िैलिण्यं वििक्षितं भिनत। तेषां ग्रहांशाद नामेिामभव्य्ततिः स्िरूपप्रकाशनम;्

आविभाथि इत्यथथः; न तु स्िरूपप्रकट करणमात्रम।् अनेन िक्ष्यमाणलिणाया आलप्तेरस्य भेदो दभशथतः।

साभभव्यक्ततर्दगष्टा ज्ञाता भिनत; तज्ज्ञैररनत शेषः। स स्िरसंननिेश-विशेषो रार्ालाप इत्यच
ु यते।
रूपकं तद्वददनत। रूपकभमत्यालापभेदेन प्रबन्धपयाथयः। रूपकं तद्वदे वालापिदे ि स्यात।््‌ विशेषस्तु -

पथ
ृ ग्भत
ू ववदाररकभमनत। पथ
ृ वभत
ू ा विक्चिद्य विक्चिद्य प्रयत
ु ता विदायो गीतिण्डानन यक्स्मक्न्ननत
तथोततम।् अयमथथः - अपन्यासेष्िविरपयैकाकारे ण प्रित्ृ त आलापः; स एिापन्यासेषु विरपय विरपय

प्रित्ृ तं रूपकभमनत।

आक्षिप्तेकेनत ननबद्धगीनतभेदः। सा च चच्चत्पट

ु ाददताले । आददशब्दे न चाचपट
ु ादयो मागथताला
गह्
ृ यन्ते; तेष्िन्यतमेन। मार्गियववभवू षता; मागथत्रये पि
ू ोतते चचत्रादौ विभवू षतालंकृता;

जात्यत
ु तननयमेनेनत द्रष्टव्यम।् स्वरपदग्रचथता; षड्जाददस्िरोपेतःै पदै ः पदाथथिाचकैः शब्दै ग्रचथ थता रचचता।
पदतालाद्याक्षिप्तत्िादाक्षिक्प्तकेत्यन्िथाथ। बध
ु रमत
थ ङगाददभभः कचथता।

अत्र रागप्रस्तारे षु तिचचक्ल्लख्यमानयोः करणितथन्योननथबद्धत्िेन प्रबन्धेषु पररगखणतयोस्तत्रैि

िक्ष्यमाणलिणत्िाददह ते न लक्षिते इत्याह - ोतते इनत।

लक्षितस्य रूपकस्य प्रयोगस्थलमाह - मतङ्‌र्ाद नत। भाषाददष्वेवत्े यिधारणं ग्राम-

रागाददबत्रतयरागाङगाददचतष्ु टयव्यिचिे दाथथम।् आददशब्दे न विभाषान्तरभाषे गह्

ृ येत।े
अस्य शद्ध
ु साधाररतस्य प्रस्तारो यथा - षाड्जग्राभमकशद्ध
ु स्िरमेलने तारे । षड्जपञ्चमौ। मन्द्रे धैितः।
मध्ये ररपपधररपधससपधननधपाः। मन्द्रे मौ ररश्च। मध्ये पधौ। मन्द्रे ररः। मध्ये पधौ। मन्द्रे ररः। मध्ये

37
पधऔ। मन्द्रे ररः। मध्ये पध पध पपससमाः। तारे सगररमाः। एते प्रागत
ु ताः स्िरा द घाथः प्रयोततव्याः।
ततो मध्ये मगर णां मेलनम।् ततः सौ द घौ। ततः सररगाणां मेलनम।्

पधररपधररपधपधसससररगमधपननधपननधपा द घाथः। मन्द्रे सौ द घौ। इत्यालापिः।

मध्ये ह्रस्ियोः षड्जयोः पञ्चमयोधैितयोः ऋषभयोः पञ्चमयोधथसयोश्च मेलनम।् ततो द घथः। सः

सानस्
ु िारश्च। एतेषां द्विरािक्ृ त्तः। ततश्चषथभयोः पञ्चमयोधथन्योः पञ्चमयोः ररपयोधथसयोश्च

ह्रस्ियोमेलनम।् ततः सौ द घौ। एतेषामवप द्विरािक्ृ त्तः। ततो धैितयोमथन्द्रमध्यमयोमेलनम।् ततो गर

द घौ। ततो मन्द्रगमयो ररगयोमथयोश्च मेलनम।् ततो मगररगाणां मेलनम।् सौ द घौ। एतेषामवप

द्विरािक्ृ त्तः। षड्जयोधथसयोमथन्द्र-ररगयोदीघथषड्जयोदीघथपधयोननथधपानां च मेलनम।् ततो मन्द्रमध्यमौ।

इनत्‌करणम।््‌

अथ जात्यत
ु तकलाप्रकारे ण प्रथमकलायां मध्ये ससधनयश्चतल
ु घ
थ िः; चत्िारः पञ्चमाः; उदयचगररभशिरे नत

प्रनतस्िरमिराखण (१)।

द्वितीयस्यां मध्ये धधनननयः; मन्द्रऋषभौ मध्ये च पञ्चमौ। शेिरतरु गिु इत्यिराखण; तत

ृ ीयः स्िरः
शेषः (२)।

तत
ृ ीयस्यां मध्ये रररे कः; पास्त्रयः; धननपमाश्चत्िारः; रित विभभन्नेत्यिराखण; द्वितीयोपान्त्यौ शेषौ
(३)।
चतथ्
ु यां मध्ये धमधास्त्रयः; षड्जाः पञ्चः; घननतभमर इत्यिराखण; षष्ठादयस्त्रयः शेषाः (४)।
पञ्चपयां मध्ये धधसधसररगसा अष्टौ; गगनतलसकलेत्यिराखण (५)।

षष््यां मध्ये ररगौ द्िौ; पाः षट्; विलभु लतसहस्रेत्यिराखण; उपान्त्यः शेषः (६)।

सप्तपयां मध्ये धमधमाश्चत्िारः; साश्चत्िारः; क्रकरणो जयतु इत्यिराखण; तत

ृ ीयोपान्त्यौ शेषौ (७)।
अष्टपयां मध्ये पधौ द्िौ; ननधािेकः; पमपास्त्रयः; मौ द्िौ; भानरु रनत प्रथमपञ्चमयोरिरे ; तचिे षा इतरे
(८)।

उदयचगररभशिरशेिरतरु गिुरितविभभन्नघननतभमरः।

गगनतलसकलविलभु लतसहस्रक्रकरणो जयतु भानःु ।।

शद्ध
ु ाददरागलिणम ्
एिमेिोततर त्या िक्ष्यमाणानां रागाणामवप प्रस्तारो मल
ू त एिािगन्तव्यः। ग्रन्थविस्तार-

भयादस्माभभः प्रस्तारा न प्रदश्यथन्ते। एतेषां शद्ध

ु ाददरागभेदानां मतङगोततानन लिणानन संक्षिप्य
प्रदश्यथन्ते। तद्यथा; शद्ध
ु ानां ताित ् -
अनपेक्ष्यान्यजातीये स्िजानतमनुितथकाः।
स्िजात्युद्द्योतकाश्चैि ते शुद्धाः पररकीनतथताः।।
इनत। अथ भभन्नानाम ् -

38
 श्रुनतभभन्नो जानतभभन्नः शुद्धभभन्नः स्िरस्तथा।
चतुभभथभभथद्यते यस्मात्तस्मानिन्नक उचयते।।
ननु भभन्नशब्दे न क्रकमभभधीयते? क्रकं विदाररक इत्यथथः; क्रकमेतस्मादयं व्यनतररतत इत्यथो िा? एतन्न

िाचयम;् यतोऽत्र विकृत उचयते। विकृतत्िं च पूिोततश्रुनतभभन्न इत्याददलिणात ् इनत।।

तत्रादौ स्िरभभन्नस्य लिणम ् -

यदा िाद गह
ृ तः स्यात्संिाद च विमोक्ष्यते।
वििाद चानुिाद च स्िरभभन्नः स उचयते।।
इनत। वििाद चानि
ु ाद च गह
ृ तः स्याददत्यनष
ु ङगः। शद्ध
ु षाडिापेिया भभन्नषड्जभभन्नपञ्चमयोः
स्िरप्रयोगभेदात्स्िरभभन्नत्िम।्

अथ जानतभभन्नस्य लिणम ् -

जातीनामंशकः स्थायः स्िल्पकस्तु बहुस्तथा।

अल्पत्िं च बहुत्िं च प्रयोगाल्पबहुत्ितः।
सूक्ष्मानतसूक्ष्मैिि
थ ै श्च जानतभभन्नः स उचयते।।
इनत। शद्ध
ु कैभशकमध्यमापेिया भभन्नकैभशकमध्यमस्य ग्रहांशाददसापयेऽवप स्िस्िजनकजानतगतिणथ-

भेदात्सक्ष्
ू मानतसक्ष्
ू मस्िरप्रयोगभेदाचच भभन्नकैभशकमध्यमस्य जानतभभन्नत्िम।्
अथ शद्ध
ु भभन्नस्य लिणम ् -
पररत्यजन्नन्यजानतं स्िजानतकुलभूषणः।
स्िकं कुलं तु संगह्
ृ णञ्शुद्धभभन्नः प्रकीनतथतः।।
इनत। शद्ध
ु कैभशकभभन्नकैभशकयोः स्िरसंस्थानस्याविषेषऽे वप तारस्िरव्याक्प्तमतः शद्ध
ु कैभशकान्मन्द्र-
स्िरव्याक्प्तमतो भभन्नकैभशकस्य शद्ध
ु भभन्नत्िम।्
अथ श्रनु तभभन्नस्य लिणम ् -

चतुःश्रुनतः स्िरो यत्र भभन्नो द्विश्रुनतको भिेत।्

गान्धारो द्विश्रुनतश्चैि श्रुनतभभन्नः स उचयते।।
इनत। भभन्नतानरागे दह षड्जस्य श्रुनतद्ियं गह्
ृ णानत ननषादः। भत
ू पि
ू न्थ यायेन षड्जोऽवप

चतःु श्रनु तररत्यच

ु यते। गान्धारस्तु द्विश्रुनतरे ि। अतोऽस्य श्रुनतभभन्नत्िम।् अथ गौडानाम ् -
पूिोतताया गौडगीतेः संबन्धाद् गौडकाः स्मृताः।
इनत। अथ िेसराणाम ् -

स्िराः सरक्न्त यद्िेगात्तस्माद्िेसरकाः स्मृताः।

इनत। अथ साधारणानाम ् -

शुद्धा भभन्नाश्च गौडाश्च तथा िेगस्िराः परे ।

कभलता यत्र तान्िक्ष्ये सप्त साधारणांस्ततः।।

39
इनत।।२३-२६।।

(Ka) He describes the features such as ālāpa that are common to all rāgas, identifying the graha,

aṁśa etc. Where, in which, particular arrangement of svaras; of svaras, their prescribed roles, graha,

aṁśa etc., and their properties such as sparseness, frequent occurrence etc. Here, ‘of only these

(svara arrangements)’ should be implicitly understand. By this its (ālāpa’s) distinction from

prabandhas that are built up of dhātu (sections) and aṅga (various elements), is meant to be shown.

The expression of these very same features, i.e., graha, aṁśa etc. The revelation of identity; gradual

manifestation is meant, not mere display of instrinsic form. By this its (ālāpa’s) difference from ālapti

which is going to be described, is shown.That expression is seen, i.e., cognised, ‘by the experts on it’

remains understood. That particular arrangement of svaras is called rāga-ālāpa.

Rūpakam, like that,.. Rūpakam is synonymous with prabandha, as distinct from ālāpa,. Rūpakam

should be like that itself, i.e., like the ālāpa itself. The difference is - with separated sections.

Separated, i.e., the song parts are rendered, one after the other, keeping them distinct, in it. This is

the purport - ālāpa proceeds in one stretch, without pausing at medial stops. The same, when it

progresses, stopping at each medial stop <apanyāsa>, is rūpakam.

Ākṣiptikā refers to a bound variety of melody. And it (the binding) is with a tāla such as

Caccatpuṭa. The etc. here includes all the mārgatālas, Cācapuṭa etc. With one among them (the

Ākṣiptikā is bound). Adorned by the mārga-trio; adorned, i.e., ornamented, by the citra etc. (mārgas)

that have been described earlier. According to the order prescribed with respect to jāti, it should be

kept in mind, Tone-word-strung – with texts i.e., with words referring to things, set to svaras such as

ṣaḍja, strung, i.e., composed. As it is cast in words, tāla etc., it is aptly called Ākṣiptikā. by the

experts, i.e., Mataṅga etc.

In the rāga elaborations about to be presented, karaṇa and vartanī are not going to be defined,

as, due to their pre-composed form, they fall under prabandhas, and so will be described in that

context. So he says (They) are not described . . .(here).

Of rūpaka that has been described here, he sets down the application in practice. – Mataṅga etc.

The qualification ‘In bhāṣā etc. alone’ is to keep out the grāmarāga etc. trio and the rāgaṅga etc.

foursome. The etc. brings in vibhāṣā and antarabhāṣā also.

The elaboration of śuddhasādhārita is as follows. From the set of śudhdha svaras of the

ṣaḍjagrāma, ṣaḍja and pañcama, in the tāra region. In the mandra region, dhaivata. In the madhya

range, ri pa pa dha ri pa dha sa sa pa dha ni dha pa. In the mandra region, two ma-s and a ri. In the

madhya region, pa and dha. In mandra, ri. In madhya, pa and dha. In mandra, ri. In madhya, pa-dha

40
pa-dha pa-pa-sa-sa-ma. In the tāra range, sa-ga-ri-ma. The above svaras must be rendered long.

Then, in madhya, the group – ma-ga-ri. Then, two long sa-s. After that, the group sa-ri-ga. (Then,) pa-

dha-ri-pa-dha-ri-pa-dha-pa-dha-sa-sa-sa-ri-ga-ma-dha-pa-ni-dha-pa-ni-dha-pa, all long. In mandra,

two long sa-s. This is the ālāpa.

We have the grouping of pairs of short ṣaḍjas, pañcamas, dhaivatas, ṛṣabhas, pañcamas and

dha-sa of the madhya region. After that long (svaras). Sa with nasal ending. These have to be

rendered twice. After that, the pairing of short ṛṣabhas, pañcamas, dha-ni, pañcamas, ri-pa and dha-

sa. Then two long sa-s. These too have to be rendered twice. After that dhaivatas of mandra and

madhya regions must be combined. Then long ga-ri. After that mandra ga-ma, ri-ga, and ma-ma must

be combined. After that ma-ga-ri-ga must be combined. Two long sa-s. These too must be rendered

twice. Then must be combined two ṣaḍjas, dha-sa, mandra ri-ga, two long ṣaḍjas, long pa-dha, and

ni-dha-pa. After that two mandra-madhyamas. This is the karaṇam.

Next, following the kalā method prescribed with respect to jāti (tāla classification?), in the first

kalā, four laghus, sa-sa-dha-ni, in the madhya range must occur; followed by four pañcamas; and for

every svara there is a syllable of the text ‘udayagiriśikhara’. (1)

In the second (kalā), we have madhya dha-dha-ni-ni; two mandra ṛṣabhas, and two madhya

pañcamas. The text syllables are ‘śēkharaturagakhu’; the third svara remains (textless?). (2)

In the third (kalā), there are in the madhya range, one ri, three pas, the foursome dha-ni-pa-ma;

the text syllables are ‘rakṣata vibhinna’; the second and second last places are textless <śēṣau>. (3)

In the fourth (kalā), in the madhya range, the trio dha-ma-dha, and five ṣaḍjas; the text is

‘ghanatimira’; from the sixth, three places are empty of text. (4)

In the fifth (kalā), in the madhya range, dha-dha-sa-dha-sa-ri-ga-sā are the eight svaras; the text

is ‘gaganatalasakala’. (5)

In the sixth (kalā), in the madhya range, the pair, ri-ga; six pa-s; the verbal text ‘vilulitasahasra’;

the second last place is empty. (6)

In the seventh (kalā), in the madhya range, the foursome dha-ma-dha-ma; four sa-s; the verbal

text ‘kiraṇō jayatu’; the third and the second last places are empty. (7)

In the eighth (kalā), in the madhya range, the pair, pa-dha; short (lit. one) ni-dha; the trio pa-ma-

pa; two ma-s; the text syllables ‘bhānu’ in the first and fifth places; the rest are empty. (8)

udayagiriśikharaśēkharaturagakhurakṣatavibhinnaghanatimiraḥ

gaganatalasakalavilulitasahasrakiraṇō jayatu bhānuḥ.

41
 Definition of śuddha etc. Rāgas

In this very same way, for the rāgas that are going to be described, the elaboration has to be

comprehended from the original (SR text) itself, as we shall not present it, for fear of bloating up the

commentary. We shall briefly present the defining features of śuddha and other classes of rāgas, as

envisaged by Mataṅga. That is as follows; of the śuddha(rāgas) –

Those (rāgas) that do not depend on other jātis, but follow only their parent jāti, and light it up, are
called śuddha.

Of bhinna (rāgas) -

The bhinna (rāga) is so called because it deviates in one of four ways - in śruti, jāti, śuddha
(rāga-ness?), or svara.
But what is meant by the word ‘bhinna’? Does it mean ‘section’? Does it mean it stands apart from

this (already described melody?) This is not the meaning, for it is identified with ‘modified / altered’.

And the modification is due to the difference in śruti etc. listed above.

Now for the identification of svara-bhinna –

When the sonant svara having been taken, its consonant is left out, and the dissonant and
assonant svaras (occur), that rendering is called svarabhinna.

That the vivādī and anuvādī are included in the rendering, is implied. In comparison with

śuddhaṣāḍava, the difference in handling the svaras in Bhinnaṣaḍja and Bhinnapañcama, constitutes

the svara-bhinna nature (of these melodies).

Next, what is jāti-bhinna? –

When there is deviation of the minutest degree from the prescriptions of aṁṣa-s, sthāya-s, small

and large, sparse and plentiful use of svaras, in practice, that change is called jāti-bhinna.
In comparison with śuddhakaiśikamadhyama, although it shares the same graha, aṁśa etc.,

Bhinnakaiśikamadhyama is distinguished as jāti-bhinna, due to the difference in the melodic

movements between the respective parent jātis, and the subtle and miniscule differences in the

execution of svaras.

Next for the identification of śuddhaḥbhinna. –

Eschewing another jāti, ornamenting the class of its own jāti, having a firm grip on its own source,
the rāga is declared to be śuddhabhinna.
śuddhakaiśika and Bhinnakaiśika do not differ from each other in the svara framework, but in

śuddhakaiśika the melody mostly covers the tāra range, whereas in Bhinnakaiśika, it mostly covers

the mandra region, and so the latter is described as śuddhabhinna.

Next, for the definition of śrutibhinna. –

42
 Where the four-śruti svara changes and becomes two-śruti, and gāndhāra reamins two-śruti, that
is called śruti-bhinna.
In the rāga, Bhinnatāna, the niṣāda takes two śrutis of ṣaḍja. According to the earlier custom, ṣaḍja

continues to be called four-śruti. And gāndhāra is in any case only two-śruti. Hence this melody is

charactised by śrutibhinnatva. (?)

Now for the class of gauḍa(rāga-)s –

The gauḍa (rāga)s are so called because of their connection with the gauḍī gīti described earlier.

Next for the vēsara (class) –

The vēsara (rāga)s are so called because of the swiftness with which the svaras progress.
Next for the sādhāraṇa type –

Where the śuddha, bhinna, gauḍa and swift-tempo <vēgasvara> types mingle in another melody,
the seven types of sādhāraṇa which I shall describe, result. (23-26)

(सं) रागाभभव्यतत्यथथमालापरूपकाक्षिक्प्तका दशथनयष्यंस्तासां लिणं कथयनत - ग्रहांशने त।

ग्रहत्िाद नां लिणानां यत्राभभव्यक्ततदृथश्यते स रागालापः। वििाददस्िरान्पथ

ृ तकृत्य रागालाप-
लिणयुततं रूपकम।् मागथत्रययुततेन चचचत्पुटाददतालेन स्िरपदयुतता या गीयते साक्षिक्प्तका।

ननु करणितथन्यािवप रागाभभव्यतत्यथं िक्ष्येत;े तयोलथिणं कथं नोततम?् अत आह - ोतते

इनत। तयोलथिणं प्रबन्धाध्याये िक्ष्यत इत्यथथः। मतङगाददमतेन भाषाविभाषान्तरभाषास्िेिाक्स्त

रूपकम;् तस्मात्तास्िेि रूपकं दशथनयष्यामः।।२३-२६।।

(Saṁ) In order to demonstrate how rāgas are expressed, he presents the picture in ālāpa, rūpakam

and Ākṣiptikā. In the course of this, he explains what these processes are – Graha, aṁśa etc.. The

rendering in which the identity of graha etc. in a rāga is manifested, is called rāga-ālāpa. Setting the

vivādī svaras apart, the procedure that is like ālāpa, is called rūpakam. That (composition) which is

sung in a tāla like Cacatpuṭa, set in the three mārgas, to a meldoy and text, is Ākṣiptikā. But karaṇa

and vartanī are also to be directed in the examples of rāga expression. Why have their identifying

features not been described? He agrees – They are not described here. That means their features will

be described in the chapter on prabandha. According to the school of thought held by Mataṅga etc.,

rūpakam exists only in the melodies provided by bhāṣās, vibhāṣās and antarabhāṣās. Therefore, we

shall present rūpakams only in these melodies. (23-26)

षड्जग्रामः

43
 षड्जमध्यमया सष्ृ टस्तारषड्जग्रहांशकः।।२७।।

संपूणो मध्यमन्यासः षड्जापन्यासभूवषतः।

अिरोदहप्रसन्नान्तभष
ूथ ः षड्जाददमि
ू थ नः।।२८।।
काकल्यन्तरसंयुततो िीरे रौद्रे ऽित
ु े रसे।
विननयुततः प्रनतमुिे िषाथसु गुरुदै ितः।।२९।।

गेयोऽह्नः प्रथमे यामे षड्जग्रामाभभधो बुधैः।

Ṣaḍjagrāma(rāga)

(The rāga) named Ṣaḍjagrāma is created with the Ṣaḍjamadhyamā (jāti) and has tāra

ṣaḍja for graha and aṁśa. It is complete, has madhyama functioning as nyāsa and ṣaḍja as

apanyāsa. It is embellished by the avarōhī prasannānta alaṅkāra and its scale is provided by

the mūrcchanā commencing from ṣaḍja. It takes in kākalī and antara (ni and ga). It is

prescribed in vīra, raudra and adbhuta rasas, and employed in the pratimukha dramatic

juncture, and signifies (lit. is in) rains. It has Bṛhaspati as its presiding deity. It should be

sung in the first watch of the day, according to the experts. (27cd-30ab)

संसंर गधगररस सननंधापाधाधार गासां। र गा सा सग पननधननस सा सा। गसररग

पधननप मामा - इत्यालापः।

sasarī gadhagarisa sanidhāpādhādhārīgāsā. rī gā sā saga panidhanisa sā sā. gasariga

padhanipa māmā - This is the ālāpa.

र ं र ं गाधा गरर सासा नींधपापा। र ं र ं गध परर सााँ सााँ सााँ सााँ। सााँ सााँ गननधा र र गा।

धा गार सााँ सााँ ननधपापा। र र पापा ननधनन सााँ सााँ सााँ। सरर सरर पधननध पमामामामा -

इनत करणम।्

rī rī gādhā gari sāsā nīdhapāpā. rī rī gadha pari sā sā sā sā. sā sā gānidhā rīrīgā.

dhā gārī sā sā nidhapāpā. rī rī pāpā nidhani sā sā sā. sari sari padhanidha

pamāmāmāmā. This is the karaṇam.

१ र र गा सा गा र गा सा
स ज य तु भू ता

२ नी धा पा पा र र गा धा

44
 चध प नतः प रर क र

३ गा र सा सा सा सा सा सा
भो गीं द्र कंु ड

४ सा सा गा धनन नी नी नी नी
ला भ र णः

५ गा ररग धा धा गा गरर सा सा
ग ज च मथ प ट नन1

६ नी धा पा पा र र पा पा
ि स नः श शां क

७ नी धा नी सा सा सा सा ररसरर
चू डा म खणः

८ पा धा ननध पा मां मां मां मां

शं भुः
- इत्याक्षिक्प्तका ।

1. rī rī gā sā gā rī gā sā
sa ja ya tu bhū tā

2. nī dhā pā pā rī rī gā dhā
dhi pa tiḥ pa ri ka ra

3. gā rī sā sā sā sā sā sā
bhō gī ndra ku ṇḍa

4. sā sā gā dhani nī nī nī nī
lā bha ra ṇaḥ

AA - नी
1

45
 5. gā riga dhā dha gā gari sā sā
ga ja ca rma pa ṭa ni1

6. nī dhā pā pā rī rī pā pā
va sa naḥ śa śā ṅka

7. nī dhā nī sā sā sā sā risari
cū ḍā ma ṇiḥ

8. pā dhā nidha pā ṁā ṁā ṁā ṁā
śaṃ bhuḥ
- This is the Ākṣiptikā.

(क) एिं रागभेदप्रनतपक्त्तदार्ढथयाय विशेषप्रदशथनाय च प्रासङचगकमत

ु तम।् इदानीं प्रकृतमनस
ु रामः। अथ
षड्जग्रामाभभधं रागं लियनत - षड्जमध्यमया्‌सष्ृ ट इत्याददना। स्पष्टोऽथथः।।२७-३०।।

(Ka) We have gone into the above explanation (of the process of rāga expression) in order to firmly

establish the difference between particular rāgas that is clear to perception, and to highlight the

uniqueness of each rāga, as this is the proper occasion for that. Now we shall resume the description

(of rāgas) that we had begun. Now he describes the rāga named ṣaḍjagrāma – Created by

ṣaḍjamadhyamā . . ..etc. The import is clear. (27-30)

(सं) षड्जग्रामरागं लियनत - षड्जमध्यमयेनत। अत्र सग

ु मत्िान्न व्याख्येयं क्रकं चचत।।२७-३०।।
्

(Saṁ) He describes ṣaḍjagrāma(rāga) - By ṣaḍjamadhyamā . . . As the description is easy to follow,

no explanation is needed. (27-30)


शद्ध
ु कैभशकः
कामाथरव्याश्च कैभशतयाः संजातः शुद्धकैभशकः।।३०।।

तारषड्जग्रहांशश्च पञ्चमान्तः सकाकल ।

सािरोदहप्रसन्नान्तः पूणःथ षड्जाददमूिथनः।।३१।।

िीररौद्राित
ु रसः भशभशरे भौमिल्लभः।
गेयो ननिथहणे यामे प्रथमेऽह्नो मनीवषभभः।।३२।।
Śuddhakaiśika

46
 Śuddhakaiśika is born of Kārmāravī and Kaiśikī (jātis). It has the upper ṣaḍja serving as

its graha and aṁśa, and pañcama as the nyāsa<anta>. It includes the kākalī svara

modification. It makes use of the descending prasannānta (a½aṅkāra), takes all the svaras,

and has its scale provided by the mūrchanā commencing from ṣaḍja. It expresses the vīra,

raudra and adbhuta rasas, has Mars as its presiding deity. and must be sung at the

nirvahaṇa juncture (in drama), in a winter scene, in the first watch of the day, by the skilled

performers. (30cd-32)

(क) इतः प्रभत्ृ यशेषाखण रागलिणानन ननगदे नि

ै व्याख्यातानन। क्रकं तु केषांचचदद्द
ु ेशलिणयोः
तिचचल्लिणेषु च विरोधः प्रतीयते। सोऽवप मतङगाददमनु नमतानस
ु ारे ण परर्ह्रयते। यथा शद्ध
ु -
कैभशकमध्यमस्य - षड्जमध्यमया सष्ृ टः कैभशतया च ररपोक्ज्ितः इनत लिणं श्रय
ू ते। तत्र
षड्जमध्यमा षड्जग्रामसंबद्धा जानतः; कैभशकी तु मध्यमग्रामसंबद्धा; ताभ्यां सष्ृ टस्य द्विग्रामत्िे-नोद्देशे

कतथव्ये षड्जग्रामसमत्ु पन्नः इत्येकग्रामसमत्ु पन्नत्िेनोद्देशः कृत इनत विरोधः। पररहारस्तु -

ऋषभपञ्चमह नत्िात ् षड्जग्रामसंबद्ध एिायम,् मध्यमग्रामे ऋषभपञ्चमयोलोपो नास्तीनत भािः इनत

मतङगोततः। अस्यायमथथः -

सपाभ्यां द्विश्रुनतभ्यां च ररपाभ्यां सप्त िक्जथताः।

षड्जग्रामे पथ
ृ तताना एकविंशनतरौडुिाः
इत्यौडुिशद्ध
ु तानलिणे षड्जग्राम एि ररपलोपस्य दृष्टत्िादत्र ग्रामभेदकपञ्चमाभािेऽवप औडुित्िं
शद्ध
ु तानविशेषस्यावप ग्रामभेदकत्िात;् षड्जग्रामसंबद्ध एि तेनायभमनत। तदहथ कैभशकजात्यत्ु पन्नत्ि-मस्य
कुतोऽिगतभमनत चेत,् िमलिणम ् आद्यमि
ू थ नया यत
ु ः इत्यच
ु यते; तत्र मध्यमाद्या मि
ू थ ना सौिीर
ग्राह्या, न मत्सर कृत;् अन्यथा तारषड्जग्रहांशत्िविधानमस्यानप
ु पन्नं स्यात;् ग्रहांशभत
ू स्य स्िरस्य
मि
ू थ नान्तःपानतत्िननयमात।् अतः पञ्चमलोपेऽवप मध्यमग्रामधमेण तारव्यापकत्िेन
मध्यमग्रामसंबन्धोऽनम
ु ीयत इनत यत
ु त्यानग
ु ह
ृ तािरताददिचनाचच कैभशतयत्ु पन्नत्िमिगपयत इनत। एिं

च सत्यनम
ु ानतः प्रत्यिरस्य प्राबल्यादत्र प्रत्यिािगतग्रामसंबन्ध एि व्यपददश्यत

इत्याचायाथणामभभप्रायोऽिगन्तव्यः। तथा गौडकैभशकस्य उिूतः कैभशकीषड्जमध्यमाभ्यां ग्रहांशकः इनत

लिणं श्रय
ू ते। तेनास्यावप द्विग्रामत्िे िततव्ये मध्यमे गौडकैभशकः इनत मध्यमग्राम-संबद्धत्िेनोद्देशो
विरुद्धः। पररहारस्तु - तथा प्रयोगे बत्रश्रुनतकत्िात्पञ्चमस्य चतुःश्रुनतकत्िाद्धैितस्य मध्यमग्रामसंबद्ध

एिासौ रागः; यद्यवप ग्रामद्ियजातौ जातः, तथावप षड्जोऽस्य ग्रहो न मध्यमस्तथा दशथनात ् इनत
मतङगोततः। अस्याथथः - संपण
ू स्
थ िरत्िादस्य िमात ् बत्रचतःु श्रुनतकयोः

पञ्चमधैितयोरुपलपभान्मध्यमग्रामसंबद्ध एिायम।् षड्जमध्यमोत्पन्नत्िं तु षड्जाददमूिथनः इत्यत्र

मन्द्रोऽस्य ग्रहो न मध्यमः इनत मतङगिचनेनोत्तरमन्द्राया एि वििक्षितत्िात ् तदायत्तमन्द्रव्याक्प्त-

47
 ु ानाददनत। तथा बोट्टरागस्य - बोट्टः स्यात्पञ्चमीषड्जमध्यमाभ्यां ग्रहांशकः
दशथनेन षड्जग्रामसंबन्धानम

इनत लिणं श्रय

ू ते। अतोऽस्यावप द्विग्रामत्िे मध्यमे तु बोट्टमालिकैभशकौ इत्यद्द
ु ेशोऽत्र कृत इनत
विरोधः। पररहारस्तु बोट्टरागो यद्यप्युभयग्रामसंबक्न्धजानतद्ियसमुत्पन्नः, तथावप पञ्चमस्य
बत्रश्रुनतकत्िान्मध्यमग्रामसंबद्धः इनत मतङगोततः। अस्याथथः - बत्रश्रनु तके पञ्चमे श्रिणादस्य

मध्यमग्रामसंबन्धः सािादिगतः। पञ्चमाददकमूिथनः इत्यत्र पञ्चमाददकयोग्राथमद्ियमि

ू थ नयोः
शद्ध
ु षड्जाहृष्यकयोरे कस्थानत्िेऽवप स्यात ् षड्जमध्यमाजातेः पञ्चपयाश्च इनत मतङगिचनादत्र

शद्ध
ु षड्जाया एि वििक्षितत्िेन तत्प्रयत
ु तमन्द्रव्याप्तषड्जग्रामसंबन्धोऽनम
ु ेय इनत। अथ

टतककैभशकरागस्य - धैित्या मध्यमायाश्च संभूतष्टतककैभशकः इनत लिणश्रिणाद् ग्रामद्िय-

जात्यत्ु पन्नत्िेऽवप षड्जकैभशकमध्यमात ् इत्यत ै ग्रामव्यपदे शं दहत्िा द्विग्रामष्टतककैभशकः

ु तन्यायेनक
इत्यद्द
ु ेशः कथभमनत चेत ् - सत्यम;् यद्यवप संपण
ू स्
थ िरस्यास्य प्रयोगे च चतःु श्रनु तकस्य पञ्चमस्योप-

लपभात्पि
ू ोततन्यायेन षड्जग्रामसंबद्ध एिायभमनत मतङगमतम,् तथावप काश्यपमतेन ननषाद-

ै ोततत्िात्तदा ररधाभ्यां द्विश्रुनतभ्यां च मध्यमग्रामगास्तु ते।

गान्धारयोलोपादयमौडुवित इनत मतङगेनि

ह नाश्चतद
ु थ शि
ै स्यःु इत्यौडुिशद्ध
ु तानलिणमध्यमग्रामेऽवप सािादिगपयत इत्याचायथद्िय- मतानस
ु ाररणा
ननःशङकसरू रणा द्विग्रामष्टतककैभशकः इनत सष्ु ठूदद्दष्टम।् तथा दहन्दोलस्यावप -

धैित्याषथभभकािज्यथस्िरनामकजानतजः।
दहन्दोलको ररधत्यततः षड्जन्यासग्रहांशकः।।
इनत लिणिशादत्र स्िरनामकजातीनां षाड्जीगान्धार मध्यमापञ्चमीननषाद नां ग्रहणेन ग्रामद्िय-

जात्यत्ु पन्नत्िे सनत ररधत्यतततानकत्िान्मध्यमग्रामसंबन्धे सािादिगते, तथा च प्रयोगे चतःु श्रुनतक-

पञ्चमोपलपभात ् षड्जग्रामसंबन्धे च सािादिगते द्विग्राम इनत विशेषणमप

ु पन्नम।् येषां मतेऽस्य
धैितलोपो नेष्टः पञ्चमलोप इष्यते, तन्मते पि
ू ोततन्यायेन षड्जग्रामाचश्रत एिायम।् केिलषथभ-
लोपपिेऽवप चतःु श्रनु तकपञ्चमोपलपभात ् षड्जग्रामसंबद्ध एि। यथाह मतङगः -

भरतकोहलाददभभराचायैधि
ै तलोपस्याननष्टत्िात ् केचचत ् षड्जग्रामाचश्रत एिायभमनत मन्यन्ते।
चतुःश्रुनतकस्य पञ्चमस्यात्रोपलपभात ् धैितस्याक्स्तत्िं िा नाक्स्त्तत्िं िा न विशेषप्रदशथकं सिथत्र। एिं च
सनत ग्राममूिथनाभेदो िा धैितेन न स्याददनत भािः इनत। नतथरागस्य तु - मध्यमापञ्चमी-जातो
नतोंऽशग्रहपञ्चमः इनत काश्यपाभभमताल्लिणान्मध्यमग्रामसंबन्ध एि; धैितीमवप तद्धेतुं
दग
ु ाथशक्ततरभाषत इनत लिणात,् तदा पञ्चमस्य चतःु श्रनु तकत्िात ् षड्जग्रामसंबन्ध एि। तथाचोततं
मतङगेन - दग
ु ाथशक्ततमतेऽयमेि रागो यदा पञ्चमीमध्यमाधैितीभ्यो जायते तदा षड्जग्रामसंबद्ध एि
बोद्धव्यः। कुतः? पञ्चमस्य चतुःश्रुनतकत्िात ् इनत। तदा मध्यमग्रामजात्यत्ु पन्नस्य तु पि
ू ोतत एि
न्यायो द्रष्टव्यः। द्विग्रामः ककुभः इत्युपदे शोऽवप ककुभस्य मध्यमापञ्चमीधैित्युििः ककुभो भिेत ्

इनत लिणाद् ग्रामद्ियजात्यत्ु पन्नत्िे सनत पञ्चमस्य चतःु श्रनु तकत्िात ् षड्जग्रामसंबन्धे सािादिगते,

लिणेषु ननगलोपस्यानत
ु तत्िेऽवप मतङगेन प्रस्तारािसरे केषांचचन्मते च ककुभकैभशकस्य ितथननका

48
इत्यप
ु िपय ननगौ पररत्यज्यौडुवितत्िेनावप प्रस्तारे दशथनात।् तत्र मध्यमग्रामसंबन्धश्च सािात्प्रतीयत
इत्यप
ु पन्न एि। उपरागेषु षड्जग्रामे रे िगप्ु तो मध्यमाषथभभकोििः इत्यत्रावप रे िगप्ु तस्य

चतःु श्रनु तकपञ्चमोपलपभात ् षड्जग्रामसंबन्ध एि सािादिगतः। मध्यमग्रामसंबन्धस्तु

तारव्यापकत्िेनानम
ु ेय इनत।
मध्यमग्रामसंबन्धो धैित्याषथभभकोििः।
ररन्यासांशग्रहे तिावप मान्तः पञ्चमषाडिः।।
इत्यत्र पञ्चमषाडिस्य षड्जग्रामजात्यत्ु पन्नत्िेऽवप कलोपनतयाक्न्ितः इत्यनेन बत्रश्रुनतकस्य

पञ्चमस्योपलपभान्मध्यमग्रामसंबन्ध एि सािादिगतः; षड्जग्रामसंबन्धस्तु मन्द्रव्याप्त्यानम

ु ेय इनत
सिथमिदातम।्

ग्रामरागाद नां मि
ू थ नाविशेषपररज्ञाने विननयोगविशेषपररज्ञाने च मतङगोततमनस
ु ध
ं ेयम।् तद्यथा -

ननु पूिोततानां रागाणां मूिथनाविशेषननदे शः कस्मात ् ज्ञायत इनत चेत;् उचयते -आप्त-
िचनान्मूिथनाविशेषो ज्ञायते। तथा चाह कश्यपः -
ज्ञात्िा जात्यंशबाहुल्यं ननदे श्या मूिथना बुधैः।
इनत। नन्ियं विननयोगविशेषः कस्माल्लभ्यते? भरतिचनादे ि लभ्यते। तथा चाह भरतः -
पूिरथ ङगे तु शुद्धा स्यानिन्ना प्रस्तािनाश्रया।
िेसरा मुियोः कायाथ गभे गौडी विधीयते।।
साधाररतािमशे स्यात्संधौ ननिथहणे तथा।
मुिे तु मध्यमग्रामः षड्जः प्रनतमुिे तथा।।
गभे साधाररतश्चैि ह्यिमशे तु पञ्चमः।
संहारे कैभशकः प्रोततः पूिरथ ङगे तु षाडिः।।
चचत्रस्याष्टादशाङगस्य त्िन्ते कैभशकमध्यमः।
शुद्धानां विननयोगोऽयं ब्रह्मणा समुदाहृतः।।
इनत। ननु गीतरागयोः को भेद इनत चेत;् उचयते - दशलिणलक्षितं गीतं रागशब्दे नाभभधीयते। गीतं
चतुरङगोपेतं रुिायोगात्पञ्चविधम।् कुत एतद्विज्ञायते? आप्तिचनात।् तथा चाह कश्यपः -
तिचचदं शः तिचचन्न्यासः षाडिौडुविते तिचचत।्
अल्पत्िं च बहुत्िं च ग्रहापन्याससंयुतम।।
्
मन्द्रतारौ तथा ज्ञात्िा योजनीया मनीवषभभः।
ग्रामरागाः प्रयोततव्या विचधिद्दशरूपकाः।।
प्रिेशािेपननष्िामप्रासाददकमथान्तरम।्
गीतं पञ्चविधं यत्तद्रागैरेभभः प्रयोजयेत।।
्

49
इनत रागगीतयोभेदो मतङगोततः। अस्यायमथथः - ग्रहांशादददशलिणलक्षितस्िरमात्रसंननिेश-विशेषो रागः।

तैः स्िरै ः पदै स्तालैमाथगरै े िं चतभु भथरङगैरुपेतं रि

ु ाददसंज्ञकं गीतभमनत।।३०-३२।।

(Ka) From here onwards, the features of all the rāgas are clear in the description itself. But the

description seems to be contradicted by practice in some features. But it is resolved by following the

opinions of the sages such as Mataṅga. For instance, Śuddhakaiśikamadhyama is officially described

as originating in ṣaḍjamadhyamā and Kaiśikī, and dropping ri and pa. Now Ṣaḍjamadhyamā is a jāti

that is related to ṣaḍjagrāma, and Kaiśikī is related to madhyamagrāma. But while describing the

rāga, instead of mentioning both the grāmas, it is described as originating in one, namely,

ṣaḍjagrāma. And this seems to be a contradiction. The problem is solved by following Mataṅga’s

explanation – As it lacks in ṛṣabha and pañcama, it is related to ṣaḍjagrāma alone, for in

madhyamagrāma, the dropping of ṛṣabha and pañcama is not allowed. This is how.

In ṣaḍjagrāma, twentyseven distinct pentatonic tānas are possible, by dropping, respectively, sa

and pa, ga and ni <dviśrutibhyām>, ri and pa, in the seven (mūrchanās).

Thus, in the description of the auḍuva śuddhatānas, the dropping of ri and pa is observed in

ṣaḍjagrāma alone, and so the absence of pañcama that differentiates one grāma from the other (by

its śruti measure), that accounts for the pentatonic reduction (in one), and for the difference between

the the two sets of śuddhatānas, means that this melody is related to the ṣaḍjagrāma alone. In that

case, how have we discovered that this melody originates in Kaiśikī? The answer is – the ordinal

place (of the scale) is identified by the description ‘is endowed with the first mūrchanā’. Now the first

mūrchanā of madhyama grāma has to be Sauvīrī and not Matsarīkṛt. Otherwise the prescription of

tāra ṣaḍja as the rāga’s graha and aṁśa will not hold, as the svara that serves as graha and aṁśa

must fall within the mūrchanā. Hence, even in the absence of pañcama, since the characteristic

feature of madhyamagrāma, namely, the extension over the tāra octave, has been prescribed, the

relation the rāga has with madhyamagrāma is inferred. Because of this logical connection, and on the

authority of Bharata and other experts too, the origin in Kaiśikī is comprehended. Even so, since direct

perception is stronger than inference as the source of understanding, here, the grāma connection that

is evident to perception has to be taken to be intended, as the view of the teachers.

Next Gauḍakaiśika is seen to be described as ‘originating in Kaiśikī and ṣaḍjamadhyamā, with

graha and aṁśa (dictated by them?). So this melody too has to be attributed to both grāmas, but the

description ‘Gauḍakaiśika in madhyama(grāma)’ contradictorily places it in madhyamagrāma. The

solution is, in Mataṅga’s words – Since, in practice, pañcama possesses three śrutis and dhaivata

four, this rāga is related to madhyamagrāma alone; moreover, although born of jātis of both grāmas,

50
ṣaḍja is not its graha, but madhyama is seen to be the graha. This is the purport – Since it has all the

svaras, the three-śruti and four-śruti svaras in the scale order, have to be identified as pañcama and

dhaivata, respectively, and so it has to be rightly placed in the madhyamagrāma. ‘Being born of

ṣaḍjamadhyamā’ is a qualification that rests on the connection with ṣaḍjagrāma that is inferred from

the interpretation of the instruction ‘the mūrchanā commencing from ṣaḍja’, and Mataṅga’s

prescription ‘its graha is in the mandra region, not in the madhya octave’, as indicating the

Uttaramandrā mūrchanā, which is seen to pervade the mandra region predominantly.

Again, of Bōṭṭa rāga, the form prescribed is - “Bōṭṭa is related to Pañcamī and Ṣaḍjamadhyamā in

graha and aṁśa”. Hence it too belongs to both grāmas, but in the enumeration of rāgas, the counting

“Bōṭṭa and Mālavakaiśika in madhyama(grāma)” seems to contradict this. The solution is, according

to Mataṅga, “Even though Bōṭṭa rāga is born of jātis belonging to both grāmas, because its pañcama

is three-śruti, it falls under the madhyamagrāma.” This is what it means – Since its pañcama is

patently three-śruti to the ear, its belonging to madhyamagrāma is directly understood. Although the

description “having for its scale the mūrchanā commencing on pañcama”, could apply to both the

mūrchanās, Śuddhaṣaḍjā and Hṛṣyakā,, and hence to both grāmas, Mataṅga’s prescription, ‘it should

emerge from ṣaḍjamadhyamā and also Pañcamī’, pins down the mūrchanā as śuddhaṣaḍjā, and the

consequent pervasion of the mandra region in its performance, confirms its placing in the ṣaḍjagrāma.

Next, from this official description of Ṭakkakaiśika rāga - “From Dhaivatī and Madhyamā, is born

Ṭakkakaiśika”, even though its origin is in jātis of both grāmas,

[The next part of the sentence is not very clear, but the literal translation could be – instead of

following the reasoning in ‘from ṣaḍjakaiśikamadhyama’ and rejecting the attribution to one grāma,

how is the definition ‘the two-grāma Ṭakkakaiśika’ retained?] The answer is “True. Although in its

full-svara performance, the four-śruti pañcama is observed, and so, according to the reasoning

followed earlier, it must be placed in the ṣaḍjagrāma without question in the Mataṅga school,

according to the Kāśyapa school, that arrives at its pentatonic reduction through the omission of

niṣāda and gāndhāra, and since Mataṅga himself has prescribed ‘But madhyamagrāmarāgas may

lack ri and dha or ga and ni (lit. the two-śruti svaras), and so only fourteen of these are possible’, and

this is directly seen in the derivation of the pentatonic śuddha tānas of madhyamagrāma, too, our

author (lit. the doubtless scholar) has rightly followed the views of both the teachers, and declared

‘Ṭakkakaiśika belongs to both grāmas’.

In the case of Hindōla, too, following the definition –

Born of all the svara-named jātis excepting Dhaivatī and Ārṣabhī, Hindōla drops ri and dha and
has ṣaḍja for nyāsa, graha and aṁśa,

51
if we take the svara-named jātis, Ṣāḍjī, Gāndhārī, Madhyamā, Pañcamī and Niṣādī (as the sources),

and so its origin in both grāmas is accepted, and moreover, in the dropping of ri and dha in the tāna

reduction the connection with madhyamagrāma is directly observed, and the connection with

ṣaḍjagrāma is seen in the four-śruti measure of pañcama in practice, the description ‘two-grāma’ is

valid. For those who hold the view that dhaivata is not to be dropped, but pañcama can be omitted in

this rāga, following the earlier reasoning, this rāga can belong only to the ṣaḍjagrāma. If only ṛṣabha

is taken to be dropped, as the pañcama is in any case four-śruti, the ṣaḍjagrāma connection is again

established. As Mataṅga has said ‘Since Bharata, Kōhala and other teachers disapprove of the

omission of dhaivata, some are of the view that this rāga is within the ṣaḍjagrāma only. But since the

four-śruti pañcama is employed, the presence or absence of dhaivata does not make any

difference.It follows – This being the case, the difference in grāma or mūrchanā is not brought about

by dhaivata.

In the case of Nartarāga, as the accepted definition is that of Kaśyapa, namely, ‘Born of

Madhyamā and Paṅcamī, Narta has pañcama for aṁśa and graha’, the relation with

madhyamagrāma alone is possible. But if we take into consideration the inclusion of Durgāśakti’s

view in the definition, namely, ‘Dhaivatī too is a source’, the pañcama has to be four-śrutī, and so the

relation is with ṣaḍjagrāma only. As Matṅga has put it – ‘In Durgāśakti’s view, when this rāga is born

of Pañcamī, Madhyamā and Dhaivatī, then the connection with ṣaḍjagrāma alone has to be

accepted.’ Why? Because of the four-śruti measure of pañcama.’ Then, for the form that is born of

madhyamagrāma-jātis, the earlier reasoning itself has to be followed.

In the case of ‘the two-grāma Kakubha’, too, the definition of Kakubha as ‘Kakubha is born of

Madhyamā, Pañcamī and Dhaivatī’, tracing the origin of this rāga to jātis of both grāmas, and the

presence of four-śruti pañcama, directly establish the connection with ṣaḍjagrāma, But although the

omission of ni and ga for pentatonic reduction has not been sanctioned in the definition, Mataṅga has,

while presenting its svara elaboration form, recorded as ‘the viw of some’, ‘the vartanikā of

Kakubhakaiśika’, with auḍuva patterns omitting ni and ga. In this the connection with

madhyamagrāma is clearly seen.

Among the uparāgas, from the definition of Rēvagupta as ‘Rēvagupta is born in ṣaḍjagrāma, of

Madhyamā and Ārṣabhī’, and the presence of the four-śruti pañcama, the connection with

ṣaḍjagrāma is evident. The connection with madhyamagrāma is inferred from its wide elaboration in

the upper octave.

‘Pañcamaṣāḍava, born of Dahivatī and Ārṣabhī, having ri as nyāsa and aṁśa, and sometimes

ma as nyāsa, is connected with madhyamagrāma.’ –

52
Although, according to this definition, Pañcamaṣāḍava is born of jātis of the ṣaḍjagrāma, since the

qualification ‘articulated by the kalōpanatā (mūrchanā) means the employment of the three-śruti

pañcama, the connection with madhyamagrāma is patent. The connection with ṣaḍjagrāma has to be

inferred from the svara elaboration in the mandra register.

Of grāmarāgas and other melodies, Matṅga’s view must be followed in determining the particular

mūrchanā that provides the scale and the prescription of the context of employment. But how is the

mūrchanā of rāgas of earlier times to be discovered? The answer is – From the words of earlier

authorities, the particular mūrchanā has to be identified. And Kaśyapa has said –

After finding out which aṁśa of the jāti is being profusely used, the mūrchanā should be
determined.
But from where does the prescription in dramatic contexts get guidance? From the words of Bharata

himself, it is received. As Bharata has said -

In the purvaraṅga (prelude), the śuddha rāgas must be employed, and in the prastāvanā
(introduction), the bhinna rāgas. The vēsara rāgas must be used in the two mukhas, and in the garbha
(juncture), the gauḍī rāgas are prescribed. The sādhāraṇa rāgas should be employed in the avamarśa
juncture and in the nirvahaṇa juncture.

In mukha Madhyamagrāmarāga must be employed, and in pratimukha, ṣaḍjagrāmarāga. In

garbha, Sādhārita, in avamarśa, Pañcama, in saṁhāra, Kaiśika has been prescribed, and in the
pūrvaraṅga, ṣāḍava.
In the citra pūrvaraṅga of eighteen aṅgas, in the last, Kaiśikamadhyama should be employed.
This is the application of the śuddha(grāmarāga)s as prescribed by Brahmā.

But if the question is raised ‘What is the difference between gīta and rāga?’, the answer is – The

singing <gīta> that is distinguished by the ten lakṣaṇas is given the name, rāga. Gīta consists of four

limbs, and endowed with metre, it is of five kinds. How is this known? From the words of authorities.

For Kaśyapa has said –

Practitioners must gain knowledge of grāmarāgas, in the features of aṁśa, nyāsa, ṣāḍava-auḍuva

forms, sparsity and abundance of svaras, commencing svaras <graha>, medial rests <apanyāsa>,
mandra and tāra limits, before applying them in the ten kinds of drama, adhering to rules.
The five kinds of song <gītam> that must accompany pravēśa, ākṣēpa, niṣkrāma, prāsādikam
and antara (events in drama), must be set to these rāgas.

This is how Mataṅga distinguishes between rāga and gīta. This is what he means – The composition

with svara content alone, particularised by the restrictions of the ten lakṣaṇas, graha, aṁśa etc., is

53
rāga. Endowed with these melodies, words, tālas and mārgas, with the four limbs, and identified by

names such as dhruvā, the form is gīta. (30-32)

(सं) शद्ध
ु कैभशकं लियनत - कामागरव्या इनत। पञ्चमान्तिः पञ्चमन्यासः। काकभलना सह ितथमानः
सकाकली। अिरोदहणा प्रसन्नान्तालंकारे ण सह ितथमानः। न वगहणे संधौ गेयः।।३०-३२।।

(Saṁ) He describes śuddhakaiśika – With Kārmāravī . . . Pañcama-ended means it has pañcama for

nyāsa. Including kākalī modification is termed ‘sakākalī’. It includes the descending prasannānta

alaṅkāra. It should be sung in the nirvahaṇa juncture. (30-32)

सांसां गामा गार गामां सांनी सांर साधा माधा माधा नीधा पामा गामा पापा - इत्यालापः।
sāsā gāmā gārī gāmā sānī sārī sādhā mādhā mādhā nīdhā pāmā gāmā
pāpā - This is the ālāpa.

सांसांसांसां र र सासार र गागा सांसांसांसां मामा गार गार सासार र पनन सााँसााँसााँसााँ र र

मामा पापाधामा मामाधानी सासासासा र र गामा सासापापा धामागामा पामा पापापापा - इनत

ितथनी।

sāsāsāsā rīrīsāsārīrī gāgā sāsāsāsā māmā gārī gārī sāsārīrī pani sāsāsāsā rīrī

māmā pāpādhāmā māmādhānī sāsāsāsā rīrīgāmā sāsāpāpā dhāmāgāmā pāmā

pāpāpāpā - This is vartanī.

१ सा सा सा सा सा सा नी धा
अ क्वन ज्िा ला भश

२ सा सा र मा सा र गा मा
िा के भश

३ सा1 गा र सा सा सा सा सा
2
मां स शो खण

४ सा सा सा सा नी सा नी नी
त1 भो क्ज नन

AA- मा
1

AA- खण त
2

54
 ५ मा मा गा र मा मा पा पा
स िाथ हा रर खण

६ धा नी पा मा धा मा धा सा
नन मां से

७ सा सा सा सा नी धा पा पा
च मथ मु ण्डे न

८ धा नी2 गा मा पा पा पा पा
मो स्तु ते
- इत्याक्षिक्प्तका।
इनत शुद्धकैभशकः।।3

1. sā sā sā sā sā sā nī dhā
a gni jvā lā śi

2. sā sā rī mā sā rī gā mā
khā kē śi

3. sā gā rī sā sā sā sā sā
māṃ sa śō ṇi

4. sā sā sā sā nī sā nī nī
ta bhō ji ni

5. mā mā gā rī mā mā pā pā
sa rvā hā ri ṇi

6. dhā nī pā mā dhā mā dhā sā

ni rmāṃ sē

AA - भो - - क्ज नन - - -
1

AA- मा
2

3 This song resembles the dhaivatī-kapālagāna in SHAH of Nānyadēva

55
 7. sā sā sā sā nī dhā pā pā
ca rma mu ṇḍē na

8. dha nī gā mā pā pā pā pā
mō stu tē
- This is the Ākṣiptikā.
This is Śuddhakaiśika.

भभन्नकैभशकमध्यमः

षड्जमध्यभमकोत्पन्नो भभन्नकैभशकमध्यमः।

षड्जग्रहांशो मन्यासो मन्द्रसान्तोऽथिा भिेत।।३३।।

्

षड्जाददमूिथनः पूणःथ संचाररखण सकाकल ।

प्रसन्नाददयत
ु ो दानिीरे रौद्रे ऽित
ु े रसे।।३४।।
ददनस्य प्रथमे यामे प्रयोज्यः सोमदै ितः।
Bhinnakaiśikamadhyama

Bhinnakaiśikamadhyama is born of ṣaḍjamadhyamā. It has ṣaḍja for graha and aṁśa,

and ma for nyāsa. Otherwise it may end on the lower sa. Its scale is provided by the

mūrchanā commencing from ṣaḍja. It is complete and in the sañcārī movement, uses

prasannādi alaṅkāra, including kākalī modification. It must be employed in depicting the

munificent hero and in raudra and adbhuta rasas. It has the Moon as its presiding deity, and

must be rendered in the first watch of the day. (33-35ab)

सां ननधा सामां। मम धम मम धम गामाधाधा नीधा सस सां गां माधानीधा सां सां धमा

मगा स गास साधा मामा। सां गां माधानीधा सांसां मधा पमाप मामा - इत्यालापः।

sā nidhā sāmā. mama dhama mama dhama gāmādhādhā nīdhā sasa sā gā

mādhānīdhā sā sā dhamā magā sa gāsa sādhā māmā. sā gā mādhānīdhā sāsā

madhā pamāpa māmā. – This is the ālāpa.

सस ननध सस मम मध मग मध ननमम। नीधांनीमधननस। ननधनन संसंसंसंसंसं धध। मम

गसं सं गमा सांग गधांधांधधममधंमगममधसंसं। संसंधमधपमापा मामा - इनत ितथननका।

56
 sasa nidha sasa mama madha maga madha nimama. nīdhānīmadhanisa. nidhani

sasasasasasa dhadha. mama gasa sa gamā sāga

gadhādhādhadhamamadhamagamamadhasasa. sasadhamadhapamāpā māmā. – This is

the vartanī.

१ सा सा नी धा सा सा मा सा
बृ ह दु द र वि क ट

२ मा धा मा गा मा धा नी मा
ग म न ज ठ र वि

३ मा नी धा नी मा धा नी नी
भ ततं सु वि पु ल

४ नी धा नी सा सा सा सा सा
पी नां गं

५ मा मस सा सा नी धा पा पा
अ रर1 द म न वि ष म

६ धा नी मा मा गा र मा मा
लो च नां सु र न भम

७ मा मा मा मा धा नी मा मा
तं वि ना य कं

८ सा सा धा नी मा मा मा मा
िं दे
-इत्याक्षिक्प्तका ।
इनत भभन्नकैभशकमध्यमः ।।

1. sā sā nī dhā sā sā mā mā

AA- र
1

57
 bṛ ha du da ra vi ka ṭa

2. mā dhā mā gā mā dhā nī mā
ga ma na ja ṭha ra vi

3. mā nī dhā nī mā dhā nī nī
bha ktaṃ su vi pu la

4. nī dhā nī sā sā sā sā sā
pī nāṃ gaṃ

5. mā masa sā sā nī dhā pā pā
a ri da ma na vi ṣa ma

6. dhā nī mā mā gā rī mā mā
lō ca naṃ su ra na mi

7. mā mā mā mā dhā nī mā mā
taṃ vi nā ya kaṃ

8. sā sā dhā nī mā mā mā mā
vaṃ dē
- This is Ākṣiptikā.
This is Bhinnakaiśikamadhyama.

(सं) भभन्नकैभशकमध्यमं लियनत - षड्जमध्यममकेनत। मन्यासो मध्यमन्यासः; अथिा

मन्द्रषड्जन्यासः। संचाररखण िणे प्रसन्नाददनालंकारे ण यत

ु तः।।३३-३५।।
(Saṁ) He describes Bhinnakaiśikamadhyama - ṣaḍjamadhyamikā . . . . . Ma-nyāsa means

madhyama serves as the nyāsa; otherwise the mandra ṣaḍja can serve as nyāsa. It employs the

prasannādi alaṅkāra in the sañcārī melodic movement. (33-35)

भभन्नतानः

मध्यमापञ्चमीजातः पञ्चमांशग्रहोऽल्पररः।।३५।।

ररह नो िा मध्यमान्तो मध्यमाल्पः सकाकल ।

संचाररखण प्रसन्नाददमक्ण्डतोऽक्न्तममूिथनः।।३६।।

58
 प्रावयामे करुणे गेयो भभन्नतानः भशिवप्रयः।
Bhinnatāna is born of Madhyamā and Pañcamī (jātis). It has pañcama for aṁśa and

graha and is sparse in ri or drops ri altogether. The final is madhyama which is also sparse.

It includes kākalī modification. It uses sañcārī (melodic movement), adorned by the

prasannādi (alaṅkāra) and has for its scale, the last mūrchanā (of madhyamagrāma, from

pa?). It should be sung in the first watch, in karuṇa (rasa). It is dear to Śiva. (35cd-37ab)

(सं) भभन्नतानं लियनत - मध्यमेनत। मध्यमायाश्च पञ्चपयाश्च जातेजाथतः। अल्पषथभ

ऋषभह नो िा। मध्यमन्यासोऽल्पमध्यमः। अक्न्तममूिथनः ऋषभादद(पञ्चमादद)मूिथनः।।३५-३७।।

(Saṁ) He describes Bhinnatāna – Madhyamā . . .. It is born of Madhyamā and Pañcamī jātis. It is

sparse in ṛṣabha or lacks ṛṣabha. It has madhyama for nyāsa and is sparse in madhyama. Having the

last mūrchanā means having the mūrchanā commencing on ṛṣabha (pañcama) (for its scale). (35-37)

पां नीं सागा मापा धापागामांमां। ममध ममग सां सां संसं सं मागम पापापानी सांगांमां

धापाम गंमंमां। मम धप धध संसं पांपां संसंसं मागम पापा मंमं पप धध नननन पध मध मग

गंसां सां गंसगससम पापापानी सांगांपापा धापामगमामा - इत्यालापः।

pā nī sāgā māpā dhāpāgāmāmā. mamadha mamaga sā sā sasa sa māgama pāpāpānī

sāgāmā dhāpāma gamamā. mama dhapa dhadha sasa pāpā sasasa māgama pāpā mama

papa dhadha nini padha madha maga gasā sā gasagasasama pāpāpānī sāgāpāpā

dhāpāmagamāmā - This is the ālāpa.

पापा नीनी संसं गंगं पापानीपांनी सांगंगं सांगामा पाधा पाम गामापापा (पञ्चम) पापा

सांसां धामापापापा (षड्ज) सस गम(पञ्चम) नी सांगां मापाधाम गां मामा - इनत ितथनी।
pāpā nīnī sasa gaga pāpānīpānī sāgaga sāgāmā pādhā pāma gāmāpāpā (pañcama) pāpā

sāsā dhāmāpāpāpā (ṣaḍja) sasa gama(pañcama) nī sāgā māpādhāma gā māmā - This is the

vartanī.

१ पा पा नी नी सां सां गा गा
ह र ि र मु कु ट ज

२ सा गां मप मग सां सां सां सां

टा लु भल तं

59
३ सा गा मा पा धा पा मप मग
अ म र ि धू कु च

४ सा गा मा पा पा पा पा पा
प रर म भल तं

५ धा पा सा मा पा पा धा धा
ब हु वि ध कु सु म र

६ सा सा पा पा धा पा मा गा
जो रु खण तं

७ धा पा पम मपग सां गां मां पां

वि ज य ते गं गा

८ धा पा मग मा मा मा मा मा
वि म ल ज लं
- इत्याक्षिक्प्तका।
इनत भभन्नतानः।

1. pā pā nī nī ṡā ṡā gā gā
ha ra va ra mu ku ṭa ja

2. sā ġā mapa maga ṡā ṡā ṡā ṡā
ṭā lu li taṃ

3. sā gā mā pā dhā pā mapa maga

a ma ra va dhū ku ca

4. sā gā mā pā pā pā pā pā
pa ri ma li taṃ

5. dhā pā sā mā pā pā dhā dhā

ba hu vi dha ku su ma ra

60
 6. sā sā pā pā dhā pā mā gā
jō ru ṇi taṃ

7. dhā pā pama mapaga ṡā ġā ṁā ṗā

vi ja ya tē gaṃ gā

8. dhā pā maga mā mā mā ma mā
vi ma la ja laṃ

- This is Ākṣiptikā.
This is Bhinnatāna.


भभन्नकैभशकः

कैभशकीकामाथरिीभ्यामुिूतो भभन्नकैभशकः।।३७।।

षड्जग्रहांशापन्यासः संपूणःथ काकल युतः।

मन्द्रभूररः ससंचार प्रसन्नाददविभूषणः।।३८।।

षड्जाददमि
ू थ नो दानिीरे रौद्रे ऽित
ु े रसे।
गेयोऽह्नः प्रथमे यामे भशभशरे भशििल्लभः।।३९।।
Bhinnakaiśika

Bhinnakaiśika is born of Kaiśikī and Kārmāravī (jātis). It has ṣaḍja serving as graha,

aṁśa and apanyāsa, is complete, and includes kākalī svara modification. It is rendered

extensively in the mandra region, makes use of sañcārī (varṇa), and is adorned by the

prasannādi (alaṅkāra). Its scale is provided by the mūrchanā commencing from ṣaḍja. It

should be sung in depicting the munificent hero, in raudra and adbhuta rasas, in the first

watch of a winter’s day. Its deity is śiva. (37cd-39)

(सं) भभन्नकैभशकं लियनत - करमशकीनत। मन्द्रा भरू यो बहुला यक्स्मन ् स मन्द्रभरू रिः। संचाररणा िणेन

सह ितथमानः ससंचार ।।३७-३९।

(Saṁ) He describes Bhinnakaiśika – Kaiśikī . . . That in which the mandra (movements) are abundant,

i.e., numerous, is mandra-abundant. ‘Sasañcārī’ means it operates (lit. turns / exists) with sañcārī

melodic movement. (37-39)

61
 साधा मांधासा ननधस नीसां सां सांर ं मांपांधांमाधांसां ननध सनन सासा सार ं सामा धानी

साधा सा मपांमापापा - इत्यालापः।

sādhā mādhāsā nidhasa nīsā sā sārī māpādhāmādhāsā nidha sani sāsā sārī

sāmā dhānī sādhā sā mapāmāpāpā - This is the ālāpa.

सासाधा माधापा मार मापा धामाधासांसां सां। सांसां र र गांगां सार गांगां सार

सासामाधा पापा सार मापा धासा धापा मापापापा - इनत ितथनी।

sāsādhā mādhāpā mārī māpā dhāmādhāsāsā sā. sāsā rīrī gāgā sārī gāgā sārī

sāsāmādhā pāpā sārī māpā dhāsā dhāpā māpāpāpā - This is the vartanī.

१ सा सा सा सा र र मा मा
इं द्र नी ल

२ मा मा पम पा पा पा पा पा
स प्र भं म

३ मा धा सा पा धा मा र सा
दां ध गं ध

४ मा मा सनन सां सां सां सां [सां]1

िा भस तं

५ सा सा सा सा सा सा सा सा
ए क दं त

६ नी गा सा सा धा पा मा पा
शो भभ तं न

७ मा धा सा पा धा मा र मा
मा भम तं वि

AA- सां
1

62
 ८ मा मा पम पा पा पा प[पा]1 प[पा]
ना य कं
- इत्याक्षिक्प्तका ।
इनत भभन्नकैभशकः ।।

1. sā sā sā sā rī rī mā mā
iṃ dra nī la

2. mā mā pama pā pā pā pā pā
sa pra bhaṃ ma

3. mā dhā sā pā dhā mā rī sā
dāṃ dha gaṃ dha

4. mā mā sani ṡā ṡā ṡā ṡā ṡā
vā si taṃ

5. sā sā sā sā sā sā sā sā
ē ka daṃ ta

6. nī gā gā sā dhā pā mā pā
śō bhi taṃ na

7. mā dhā sā pā dhā mā rī mā
mā mi taṃ vi

8. mā mā pama pā pā pā pā pā
nā ya kaṃ
- This is the Ākṣiptikā.
This is Bhinnakaiśika.

गौडकैभशकमध्यमः

षड्जमध्यमया सष्ृ टो गौडकैभशकमध्यमः।

षड्जग्रहांशो मन्यासः पूणःथ काकभलना युतः।।४०।।

AA- पा पा
1

63
 प्रसन्नमध्येनारोदहिणथः षड्जाददमि
ू थ नः।
भयानके च िीरादौ रसे शीतांशुदैितः।।४१।।

यामद्िये मध्यमेऽह्नो गेयो ननःशङककीनतथतः।

Gauḍakaiśikamadhyama
Gauḍakaiśikamadhyama is created with (the tone material of) Ṣaḍjamadhyamā (jāti). It

has ṣaḍja serving as graha and aṁśa, and ma as nyāsa. It is complete and takes in kākalī

svara modification. Its ascending melodic movement is expressed in the prasannamadhya

(alaṅkāra). Its scale is provided by the mūrchanā commencing from ṣaḍja. It is employed in

bhayānaka and vīra rasas, and its deity is the Moon. It is directed to be sung in the two

midday watches by Śārṅgadēva. (40-42ab)

(सं) गौडकैभशकमध्यमलिणं कथयनत - षड्जमध्यमयेनत। प्रसन्नमध्येनालंकारे ण सदहतः। आरोह िणो

यस्य स आरोदहवणगिः। शीतांशश्ु चन्द्रो दे िता यक्स्मन।।४०-४२।।

्
(Saṁ) He describes the features of Gauḍakaiśikamadhyama - With ṣaḍjamadhyamā . . . It is

endowed with the alaṅkāra, prasannamadhya. As its melodic movement is (mainly) ascending, it is

described as ‘ascending-melodied’. ‘Cool-rayed’, i.e., the moon, is its deity. (40-42)



सां सां सधस सधसा सधस ररमागामामा मम धमधररधधधध धननधनन धमाधमा गधरर

धननध (षड्ज) ससध धसससधसररसा सधधससससररगररमरर गसगसधसस (मध्यम)

मममधमध (ऋषभ) ररररररधररधधननधध धसपधमामा। र र ररररगररगगधां सासाधधसधधररधरर।

ममधारर ररधानन धननमधामा। गधाररधाननधा (षड्ज) ससधधसससस। ररगररमररगसगसां

धसासं (मध्यम) मममधमध (ऋषभ) ररररररधररधधननधधधधस पधमामा।

र र ररररगररगगधासासा-धधसधसधधररधररममधाररररधाननधननमधमा। गधाररधानन धाध (षड्ज)

ससधधसससस। ररगरर-गररगस गसांननननननसननसससससससससससधसधसाररमममममधाधाध

गसगसा। धाधाधम-पधमामा - इत्यालापः।

sā sā sadhasa sadhasā sadhasa rimāgāmāmā mama dhamadhari-dhadhadhadha

dhanidhani dhamādhamā gadhari dhanidha (ṣaḍja) sasadha dhasasasadhasarisā

sadhadhasasasasarigarimari gasagasadhasasa (madhyama) mamamadhamadha

(ṛṣabha) ririridharidhadhanidhadha dhasa- padhamāmā. rīrīririgarigagadhā

sāsādhadhasadhadharidhari. mamadhāri ridhāni dhanimadhāmā. gadhāridhānidhā (ṣaḍja)

64
sasadhadhasasasasa. rigarimarigasagasā dhasāsa (madhyama) mamamadhamadha

(ṛṣabha) ririridharidhadhanidhadhadhadhasa padhamāmā.

rīrīririgarigagadhāsāsādhadhasadhasadhadha-ridharimamadhāriridhānidhanimadhamā.

gadhāridhāni dhādha (ṣaḍja) sasadhadhasasasasa. rigarigarigasa

gasānininisanisasasasasasasasasasasadhasadhasārimamamamamadhādhādha gasagasā.

dhādhādhamapadhamāmā - This is the ālāpa.

धाधाध (षड्ज) सधसासा धध धस धाममाध मध मां (मध्यम) ममध मग ननध धध

ररधधा। ररधधा ननधध सांसांध धधसं संसं धध सामधररम ररग सांसंसंधससा। (षड्ज)

समामाममधामधाधननधाधा धननध गधा सगधा धधधस पप मधमार गाग (धैित) धासाधाध

रररररर (ऋषभ) ररगा मामधमधाननधननधधा (धैित) ररधधाधधा। धननसांसा।

सधधधधसंसंसंसांधधधसं मममम ररररररग। संगंधा संधध सां सग (षड्ज) स धा सस धसरर।

ररमं मधध मधा। मध धध ररधधा धनन (धैित) धधधगं सससगं धधधसपधधधमामाम ररग

गमा म (षड्ज) पधमा मधमा मामधा (धैित) र र धाधररधा (षड्जमध्यमधैित) धासपधमा

ममगामामा - इनत करणम।्

dhādhādha (ṣaḍja) sadhasāsā dhadha dhasa dhāmamādha madha mā (madhyama)

mamadha maga nidha dhadha ridhadhā. ridhadhā nidhadha sāsādha dhadhasa sasa

dhadha sāmadharima riga sāsasadhasasā. (ṣaḍja) samāmāmamadhāmadhādhanidhādhā

dhanidha gadhā sagadhā dhadhadhasa papa madhamārīgāga (dhaivata) dhāsādhādha ririri

(ṛṣabha) rigā māmadhamadhānidhanidhadhā (dhaivata) ridhadhādhadhā. dhanisāsā.

sadhadhadhadhasasasasādhadhadhasa mamamama riririga. sagadhā sadhadha sā saga

(ṣaḍja) sa dhā sasa dhasari. rima madhadha madhā. madha dhadha ridhadhā dhani

(dhaivata) dhadhadhaga sasasaga dhadhadhasapadhadhadhamāmāma riga gamā ma

(ṣaḍja) padhamā madhamā māmadhā (dhaivata) rīrīdhādharidhā (ṣaḍjamadhyamadhaivata)

dhāsapadhamā mamagāmāmā - This is the karaṇam.

१ सा सा धा सा सां सां सां सां

त रु ण र वि स दृ श

२ मां मां सा सा धा सा र मा
भा सु र वि क ट ज

65
३ मम र सा सा सा सा गरर सम
टा जू ट भश ि र

४ मां मां मां मां सां सां सां सां

प रर र चच ता

५ मा धा मा गा मा धा मा गा
दह म भश ि रर भश ि र

६ मा धा सा सा नी धा सा सा
मा ला श र ण ग

७ सां सां मा मग र गा सा सनन

ता पा तु िः स

८ धा सा पा धा मग मा मा मा
दा गं गा
इत्याक्षिक्षिका
- इनत गौडकैभशकमध्यमः।

1. sā sā dhā sā ṡā ṡā ṡā ṡā
ta ru ṇa ra vi sa dṛ śa

2. ṁā ṁā sā sā dhā sā rī mā
bhā su ra vi ka ṭa ja

3. mama rī sā sā sā sā gari sama

ṭā jū ṭa śi kha ra

4. ṁā ṁā ṁā ṁā ṡā ṡā ṡā ṡā
pa ri ra ci tā

5. mā dhā mā gā mā dhā mā gā
hi ma śi kha ri śi kha ra

66
 6. mā dhā sā sā nī dhā sā sā
mā lā śa ra ṇa ga

7. ṡā ṡā mā maga rī gā sā sani
tā pā tu vaḥ sa

8. dhā sā pā dhā maga mā mā mā

dā gaṃ gā
- This is the Ākṣiptikā.
- This is Gauḍakaiśikamadhyama.


गौडपञ्चमः

धग्रहो धैितीषड्जमध्यमाजानतसंभिः।।४२।।

धांशो मान्तस्तथा गौडपञ्चमः पञ्चमोक्ज्ितः।

काकल्यन्तरसंयुततो धैिताददकमूिथनः।।४३।।

प्रसन्नमध्येनारोदहिणथः शौररस्मरवप्रयः।

भयानके च बीभत्से विप्रलपभे रसे भिेत।।४४।।

्

उिटे नटने गेयो ग्रीष्मेऽह्नो मध्ययामयोः।

Gauḍapañcama

Born of the Dhaivatī and ṣaḍjamadhyamā jātis, Gauḍapañcama has dhaivata as graha

and aṁśa, ma as the resting note <anta>, and does without pañcama. It includes kākalī and

antara svara modifications, and has its scale provided by the mūrchanā commencing from

dhaivata. It uses the ascending melodic movement adorned by prasannamadhya alaṅkāra. It

is dear to Viṣṇu and Madana <smara>, It ought to be employed in bhayānaka, bībhatsa and

vipralambha (śṛṅgāra) rasas. It should be sung to vigorous dancing and is suitable for

summer and the two watches of midday. (42cd-45ab)

(सं) गौडपञ्चमं लियक्षि - धग्रह इक्षि। धैविो ग्रहस्विो यस्य। धैविोऽंंशो यस्य। मान्िो मध्यमन्यासः। पञ्चमेनोक्षझििो

हीनः; षाडव इत्यर्थः। शौरिस्मिक्षियः, शौिे र्वथष्ोः स्मिस्य च क्षियः; सौिे ः शनैश्चिस्य वा। उद्भटे नटने
मण्डलादौ।।४२-४५।।

67
(Saṁ) He describes Gauḍapañcama - Dha-graha . . . i.e., dhaivata is its graha svara. Dhaivata is its

aṁśa. ‘Ma-ended’ means madhyama is its nyāsa. Devoid of pañcama, i.e., short of, meaning six-

svara. Dear to śaurī and Smara, i.e., liked by śaurī, i.e. Viṣṇu and Smara (Madana), or (dear) to Saurī,

i.e., Saturn. In spirited dancing, i.e., in circling etc. (42-45)

धामा धधमधधधननधननध धधननधननधसररगगररगररगगधधननधननधधमगममगामाम

(धैित) धधधधधननधननधधधधसधननधसररगधननधधधनन ममनन धगससमग (मध्यम)

मममधधधधननधनन-धमाधधमाधधननध ननध धधध ममधा मधध धनन धननमधमगागससगसा।

धधनन ममनन धननसाधाधा (धैित) धधधधधननधननधधधधसधनी धसररगधननध धधनन ममनन

धग सगमगम (मध्यम) मममध ममध ममध धनन धनन धमामध ननध ननधननधधस-

धधधधसधधननधननधमधमगागसगमगमधधध धधननधननधग ससमगममधसररमध-

मगधाधमधधाधा. धधनन धधस धधनन धधध धधननधधधमधसररमगामामामाधधधमधधध-

धधधधधधधधननधननमधमगामामा - इत्यालापः।

dhāmā dhadhamadhadhadhanidhanidha dhadhanidhanidhasarigagarigarigaga-

dhadhanidhanidhadhamagamamagāmāma (dhaivata) dhadhadhadhadhanidhanidha-

dhadhadhasadhanidhasarigadhanidhadhadhani mamani dhagasasamaga (madhyama)

mamamadhadhadhadhanidhanidhamādhadhamādhadhanidha nidha dhadhadha mamadhā

madhadha dhani dhanimadhamagāgasasagasā. dhadhani mamani dhanisādhādhā

(dhaivata) dhadhadhadhadhanidhanidhadhadhadhasadhanī dhasarigadhanidha dhadhani

mamani dhaga sagamagama (madhyama) mamamadha mamadha mamadha dhani dhani

dhamāmadha nidha nidhanidhadhasa-

dhadhadhadhasadhadhanidhanidhamadhamagāgasagamagamadhadhadha dhadha-

nidhanidhaga sasamagamamadhasarimadhamagadhādhamadhadhādhā. dhadhani

dhadhasa dhadhani dhadhadha

dhadhanidhadhadhamadhasarimagāmāmāmādhadhadhama-

dhadhadhadhadhadhadhadhadhadhadhanidhanimadhamagāmā - This is the ālāpa.

मध मध धाधननधास धननधा धस ररगा धनन धामगामामा। धमधमा धमधमा। (मध्यम)

मनन धध ररध धाममम धागमधाननध धनन धामममसं गम धाधनन धनन धनन धाध धधस।

68
धननधा धसररग धननधा मधसरर मधमधधा धधधनन धनन धनन धनन मधमा मागामामा - इनत

करणम।्

madha madha dhādhanidhāsa dhanidhā dhasa rigā dhani dhāmagāmāmā.

dhamadhamā dhamadhamā. (madhyama) mani dhadha ridha dhāmamama dhāgama-

dhānidha dhani dhāmamamasa gama dhādhani dhani dhani dhādha dhadhasa. dhanidhā

dhasariga dhanidhā madhasari madhamadhadhā dhadhadhani dhani dhani dhani madhamā

māgāmāmā - This is the karaṇam.

१ धा धा मा धा सां सां सां सां

घ न च ल न खिं न1

२ धा धा धा धा धा धा सा धा
पं न ग वि ष म वि

३ सां सां मां मां मां धा धा धा

नन श्िा स िू म

४ धा धा मा घा मा मा मा मा
धू म्र श भश

५ मा मा मा गा मा धा धा धा
वि र चच त क पा ल

६ धा नी धा मा मा मा मा गा
मा लं ज य नत ज

७ मा धा धा धा मा मा मा मा
टा मं ड लं

८ धा धा धा धनन गा मा मा मा
शं भोः
- इत्याक्षिक्प्तका।

1
AA – न not there

69
 इनत गौडपञ्चमः।

1. dhā dhā mā dhā ṡā ṡā ṡā ṡa

gha na ca la na khiṃ na

2. dhā dhā dhā dhā dhā dhā sa dhā

paṁ na ga vi ṣa ma vi

3. ṡā ṡā ṁā ṁā ṁā dhā dhā dhā

ni śvā sa dhū ma

4. dhā dhā ṁā ṁā ṁā dhā dhā dhā

dhū mra śa śi

5. mā mā mā gā mā dhā dhā dhā

vi ra ci ta ka pā la

6. dhā nī dhā mā mā mā mā gā
mā laṃ ja ya to ja

7. mā dhā dhā dhā mā mā mā mā

ṭā maṃ ḍa laṃ

8. dhā dhā dhā dhani gā mā mā mā

śaṃ bhōḥ
- This is the Ākṣiptikā.
This is Gauḍapañcama. 

गौडकैभशकः
1
उित
ू ः कैभशकीषड्जमध्यमाभ्यां ग्रहांशसः ।।४५।।
सकाकभलः पञ्चमान्तः पूणःथ षड्जाददमूिथनः।

आरोदहखण प्रसन्नाददभवू षतः करुणे रसे।।४६।।

AA- ग्रहांशकः
1

70
 िीरे रौद्रे ऽित
ु े गेयः भशभशरे शंकरवप्रयः।
ददनस्य मध्यमे यामे द्वितीये गौडकैभशकः।।४७।।
Gauḍakaiśika

Gauḍakaiśika is born of Kaiśikī and ṣaḍjamadhyamā jātis. It has sa serving as graha and

aṁśa, and pañcama as the resting svara. It is complete and includes kākalī modification. Its

scale is provided by the mūrchanā commencing on ṣaḍja. It is adorned by the prasannādi

alaṅkāra in the ascending movement. It should be sung in karuṇa, vīra, raudra and adbhuta

rasas. It is dear to śaṅkara. It is fit to be sung in the cold season, in the second watch of

midday. (45cd-47)

(सं) गौडकैभशकं लियनत - उभत

ू इनत। ग्रहोंऽशश्च सः षड्जो यस्य। पञ्चमान्तिः पञ्चम-
न्यासः।।४५-४७।।

(Saṁ) He describes Gauḍakaiśika – Arising . . .. Whose graha and aṁśa are sa, i.e., ṣaḍja.

Pañcama-ending, pañcama is the nyāsa. (45-47)

सासा सग सननसर मगगसमम पम ननप पगम गरर ररगम मस। गसां संनन सररम गपम

पपररमपाधार मापाधानन ररमापा धास नन सासा। सासा (षड्ज) ससससस ससस मगसं गसनन

सासा। सासा सस ग ससस मगमरर गसग सधस। पधप मापमापापा। पमपापापधपधपापप

पध-रररररर मरर मसरर मधासननसासा। सासा (षड्ज) सससससससस सग सग सननसासा।

सासा ससगस समग मररगस गसधसपध पमा पापा धम पापा गम गगम (पञ्चम) पप गग

मम गग गमग। ननननपननपागमगस सननपननप। गमग पम मगमग गर र ररगमम (षड्ज) स

सससससस ससगसधसा गध सर मामापमपापा - इत्यालापः।

sāsā saga sanisarī magagasamama pama nipa pagama gari rigama masa. gasā sani

sarima gapama paparimapādhārī māpādhāni rimāpā dhāsa ni sāsā. sāsā (ṣaḍja)

sasasasasa sasasa magasa gasani sāsā. sāsā sasa ga sasasa magamari gasaga sadhasa.

padhapa māpamāpāpā. pamapāpāpadhapadhapāpapa padhaririri mari masari

madhāsanisāsā. sāsā (ṣaḍja) sasasasasasasasa saga saga sanisāsā. sāsā sasagasa

samaga marigasa gasadhasapadha pamā pāpā dhama pāpā gama gagama (pañcama)

papa gaga mama gaga gamaga. ninipanipāgamagasa sanipanipa. gamaga pama

71
magamaga garīrī rigamama (ṣaḍja) sa sasasasasasa sasagasadhasā gadha

sarīmāmāpamapāpā - This is the ālāpa.

ननस ननध सस ररम ररगम ममगपपननगा पमगारर पर र ररमररम समर मररगसा मपधस

ररमापमापांपांररमररम ररमपापाररम पनन र र ररमसा पध सससननसा सम ररगा सग

सनननीनननन नननन सधध सध मम पपपा गागगनन पपधनी गगगप गमागा र र ररगामाम

(षड्ज) स सनी ननसा गार ररम गम सागा मापा पनन धनन गमग धधम ररस गा सग सनन

धसा धसरर मा पम पापा पम धमा ररमा र सध सार ररम मम मग साधध सस मम पप मम

पापा पप गग मम पापापा - इनत करणम।्

nisa nidha sasa rima rigama mamagapapanigā pamagāri parīrīrimarima samarī marigasā

mapadhasa rimāpamāpāpārimarima rimapāpārima pani rīrīrimasā padha sasasanisā sama

rigā saga saninīnini nini sadhadha sadha mama papapā gāgagani papadhanī gagagapa

gamāgā rīrī rigāmāma (ṣaḍja) sa sanī nisā gārī rima gama sāgā māpā pani dhani gamaga

dhadhama risa gā saga sani dhasā dhasari mā pama pāpā pama dhamā rimā rīsadha sārī

rima mama maga sādhadha sasa mama papa mama pāpā papa gaga mama pāpāpā - This

is the karaṇam.

१. सा सा सा सा नी नी नी नी
भ स्मा भ्यं ग वि

२. नी नी सा र र गा सा सा
1
भू वष त दे हं

३ सा सा र सा र सा र सा
सु र ि र मु नन स दह

४ र र र र मा मा मा मा
तं भी म भु

५ सा सा सा सा र र र र

1
AA- भश

72
 जं ग म िे क्ष्ट त

६ सा सा सा सा मा मा र मा
बा हुं सु र ि र

७ र मा मा पा पा पा पा पा
न भम त प दं

८ र र र र पा पा पा पा
चं द्र क ला क र

९ सा र र र सा सा नी नी
सं त नत ध ि ल

१॰ नी नी सा नी र मा र गा
सु र स रर दं बु ध

११ सा सा सम गरर सा सा सध धनन
रं प्र ण म त

१२ पध पध पप पप मप मप पा पा
स त त नन ष्क लं

१३ पध पध ररम पम धा सा सा सा
स क ल प र म

१४ धा नी पध मा पा पा पा पा
भश ि म जे यं
- इनत रि
ु ाक्षिक्प्तका।

1. sā sā sā sā nī nī nī nī
bha smā bhyaṃ ga vi

73
2. nī nī sā rī rī gā sā sā
bhū ṣi ta dē haṃ

3. sā sā rī sā rī sā rī sā
su ra va ra mu ni sa hi

4. rī rī rī rī mā mā mā mā
taṃ bhī ma bhu

5. sā sā sā sā rī rī rī rī
jaṃ ga ma vē ṣṭi ta

6. sā sā sā sā mā mā rī mā
bā huṃ su ra va ra

7. rī mā mā mā pā pā pā pā
na mi ta pa daṃ

8. rī rī rī rī pā pā pā pā
caṃ dra ka nā ka ra

9. sā rī rī rī sā sā nī nī
saṃ ta ti dha va la

10. nī nī sā nī rī mā rī gā
su ra sa ri daṃ bu dha

11. sā sā sama gari sā sā sadha dhani

raṃ pra ṇa ma ta

12. padha padha papa papa mapa mapa pā pā

sa ta ta ni ṣka laṃ

13. padha padha rima pama dhā sā sā sā

sa ka la pa ra ma

14. dhā nī padha mā pā pā pā pā

74
 śi va ma jē yaṃ
- This is the DhruvĀkṣiptikā.

इनत गौडकैभशकः।
This is Gauḍakaiśika.

िेसरषाडिः

िेसरः षाडिः षड्जमध्यमाजानतसंभिः।

मध्यमांशग्रहन्यासः काकल्यन्तरराक्जतः।।४८।।

सारोह सप्रसन्नाददमथध्यमाददकमूिथनः।

संपण
ू ःथ शान्तशङ
ृ गारहास्येषश
ू नसः वप्रयः।।४९।।
ददनस्य पक्श्चमे यामे गेयः श्रीशाङथचगणोददतः।
Vēsaraṣāḍava is born of the ṣaḍjamadhyamā jāti. It has madhyama serving as the aṁśa,

graha and nyāsa, and is adorned by kākalī and antara usages. It is manifest in the

ascending movement in the prasannādi alaṅkāra. It has for its scale the mūrchanā

commencing on madhyama. It is complete in svara content. It is employed in śānta, śṛṅgāra

and hāsya rasas, It is dear to Uśanas (Venus). It should be sung in the latter part of the day

according to śārṅgī (śārṅgadēva). (48-50ab)

(सं) िेसरषाडिं लियनत - वेसरिः्‌षािव इनत। उश सिः शि

ु स्य वप्रयः।।४८-५०।।
(Saṁ) He describes Vesaraṣāḍava – vēsara ṣāḍava . . . Dear to Uśanas, i.e., śukra. (48-50ab)

मांमार गांसांर ं गांमां मागा मासां। मामार मांपाधानी पनी धामां ननधासासा। सांधा सार गाधा

सनी धानीध (पञ्चम) पापा सधा सगा मर गांर मामामर गार धामा मर मगागमासासासरर गमा

मग सनन धनन धस धस ननधननधा (पञ्चम) पस धग सम गर मगां मां मांमांमांसां मधा

नीसा र गा मम गसा नीधनन धसननधा नीध(पञ्चम)पापा। पपनन धधनन पापा पपनन धधनन

मांमां। मम ननधा धध गसा। ससमर र गामामा। मररररग सांसां। सररररग मां मां मरर ररग

ररररधामा मरररर गरर ररधस रररर सांररग सगा सधनन धसस धंनन धगगधनन धधस धनन

धमंमं मस ममध मंरररर मररग सगसा धननधसनन धाननधा(पञ्चम) पापा पप पपनन धनन

धधनन धनन ममनन धधस ससग धधस धधमा ररग सगस धसररगम ररगमांमां। मरर गसां

75
ररगमां मां मर गररगमा। मररगरर धरर रररर धरर रररर मांमां। गममगधधम धम ररररम ररग

सगस धननध सनन धननधा। (पञ्चम) पापा। पंपं पंपं पंपं पंपं। ननध ननध धनन धनन ममनन

ननध ननध धमां गंस गस धननध सनन धनी धसरर गगरर सननधासां पधासर मं गा मं मां -

इत्यालापः।

māmārīgāsārī gāmā māgā māsā. māmārīmāpādhānī panī dhāmā nidhāsāsā. sādhā

sārīgādhā sanīdhānīdha (pañcama) pāpā sadhā sagā marīgārīmāmāmarīmarīgārīdhāmā

marī magāgamāsāsāsari gamā maga sani dhani dhasa dhasa nidhanidhā (pañcama) pasa

dhaga sama garī magā mā māmāmāsā madhā nīsā rīgā mama gasā nīdhani dhasanidhā

nīdha(pañcama)pāpā. papani dhadhani pāpā papani dhadhani māmā. mama nidhā dhadha

gasā. sasamarī rī gāmāmā. maririga sāsā. saririga mā mā mari riga riridhāmā mariri gari

ridhasa riri sāriga sagā sadhani dhasasa dhani dhagagadhani dhadhasa dhani dhamama

masa mamadha mariri mariga sagasā dhanidhasani dhānidhā (pañcama) pāpā papa papani

dhani dhadhani dhani mamani dhadhasa sasaga dhadhasa dhadhamā riga sagasa

dhasarigama rigamāmā. mari gasā rigamā mā marī garigamā. marigari dhari riri dhari riri

māmā. gamamagadhadhama dhama ririma riga sagasa dhanidha sani dhanidhā. (pañcama)

pāpā. papa papa papa papa. nidha nidha dhani dhani mamani nidha nidha dhamā gasa

gasa dhaºaidha sani dhanī dhasari gagari sanidhāsā padhāsarī ma gā ma mā - This is the

ālāpa.

मंधामम गमांमां मम गम मां। संसंमररमांमं ममरर मं मां धधांनन धननधा धस धननधा

धाधा म ररग मग मांमां (ऋषभ) रर धर र र र धर र र र ग ररग मांमांनी पधा मा ररग ररग ररग

सा। संमं (धैित) ननध धस धनन धापापा। पप (धैित) धनींनींमांमां। मांरर मररग मनन धा धा

धा (धैित) धननधग (षड्ज) सा नीधा सार ं गां मां मं मधारर रररर गग मंमं ररग ररनन पध

मंमं ररग ररम ररगा ससा धनन धस धनन धध(पञ्चम) पा। (धैित) धग सस मग ररग

मांमांगामांमां - इनत करणम।्

madhāmama gamāmā mama gama mā. sasamarimāma mamari ma mā dhadhāni

dhanidhā dhasa dhanidhā dhādhā ma riga maga māmā (ṛṣabha) ri dharīrīrīrīdharīrīrīrīga riga

māmānī padhā mā riga riga riga sā. sama (dhaivata) nidha dhasa dhani dhāpāpā. papa

(dhaivata) dhanīnīmāmā. māri mariga mani dhā dhā dhā (dhaivata) dhanidhaga (ṣaḍja) sā

nīdhā sārī gā mā ma madhāri riri gaga mama riga rini padha mama riga rima rigā sasā dhani

76
dhasa dhani dhadha(pañcama) pā. (dhaivata) dhaga sasa maga riga māmāgāmāmā - This

is the karaṇam.

१ मा गा र सा र गा र सा
इं द गो ि म खण

२ र सा र गा मा मा मा मा
दा म सं चच अं1

३ मा र गा सा नी धा सा सा
फु ळ्ळ कं द ल भस

४ पा धा सा र गा मा मा मा
2
भळं ध सो दह अं

५ र र पा पा मा पा धा नी
म त्त द द्दु र खण

६ पा धा मा गा र गा गी सा
णा अ सो दह अं

७ मा र गा सा नी धा सा सा
का ण णं सु र दह

८ पा धा सा र गा मा मा मा
गं ध सी अ ळं
- इत्याक्षिक्प्तका।

1. mā gā rī sā rī gā rī sā
iṃ da gō va ma ṇi

2. rī sā rī gā mā mā mā mā

AA- यं
1

AA- यं
2

77
 dā ma saṃ ci aṃ

3. mā rī gā sā nī dhā dhā dhā

phu ḷḷa kaṃ da na si

4. पा धा सा िी गा मा मा मा
ḷiṃ dha sō hi aṃ

5. rī rī pā pā mā pā dhā nī
ma tta da ddu ra ṇi

6. pā dhā mā gā rī gā rī sā
ṇā a sō hi aṃ

7. mā rī gā sā nī dhā sā sā
kā ṇa ṇaṃ su ra hi

8. pā dhā sā rī gā mā mā mā
gan dha sī a ḷaṃ
- This is the Ākṣiptikā.

- इनत िेसरषाडिः।
- This is Vēsaraṣāḍava.

बोट्टः

बोट्टः स्यात्पञ्चमीषड्जमध्यमाभ्यां ग्रहांशपः ।।५०।।

मान्तोऽल्पगः काकभलमान ् पञ्चमाददकमूिथनः।

आरोदहखण प्रसन्नान्तालंकृतः सकलस्िरः।।५१।।

अन्त्येऽह्नः प्रहरे गेयो हास्यशङ

ृ गारयोः स्मत
ृ ः।
उत्सिे विननयोततव्यो भिानीपनतिल्लभः।।५२।।
Bōṭṭa

78
 Bōṭṭa is born of Pañcamī and ṣaḍjamadhyamā. It has pa serving as graha and aṁśa,

and ma as the nyāsa. It is sparse in ga. It includes kākalī usage and has for its scale the

mūrchanā commencing on pañcama. In the ārōhī varṇa (ascending movement), it is adorned

by the prasannānta alaṅkāra. It contains all the (seven) svaras. It should be sung in the last

watch of the day, in hāsya and śṛṅgāra rasas. It should be employed in festivity. It is dear to

Śiva. (50cd-52)

(सं) बोट्टं लियनत - बोट्टिः्‌ स्याददनत। ग्रहोंऽशश्च पः पञ्चमो यस्य। मो मध्यमोऽन्तो न्यासो यस्य।

अल्पो गो गान्धारो यक्स्मन।् काकभलविथद्यते यक्स्मन ् स काकमलमा ।््‌ सकलस्वरिः पण

ू ःथ ।।५०-५२।।
(Saṁ) He describes Boṭṭa - Boṭṭa should be.. Whose graha and aṁśa are pa, i.e., pañcama. Whose end, i.e.,

nyāsa, is ma, i.e., madhyama. Which is sparse in ga, i.e., gāndhāra. As it takes in kākalī (modification), it is

described as ‘kākali-endowed’. ‘All-svara’ means ‘complete (in svara content)’. (50-52)

पंननसासा धगारर पानी धा पामा गर ममा मामा। मं पांपां पंननननमांमंधांसासनन धा धमगा

मगाररररसा र पंमापांपांपंसा सपपमपपं मंपंमंपप

ं ंमां। पधनन पध मधस गरर ररररपं ररररप

ररपपप (षड्ज) सा। सस गरर पां (पञ्चम) पपपपमगरर मगां मां मां मधा धा धध ननध ननसा

मम धध सस रररर गग ररगा ग (पञ्चम) पप सप धस ननध धधधमसमां मगा र ररध ररररध

रररर (ऋषभ) ररररप ररररप पां पननधा पामा गरर मगामा मा। गाम। मगममगा ममगप

ममगागर रररररर ध धस गागार । ररस मम गग पमपपमपपापा पमप ध नन धनन

माममधाधमामधासार गागापा परर पापमपधननपधमधमां गार । ररगमपाधापामागाररपगामाम

(मध्यम) मगाममगममगमपमगागपमागामापापा पननधधननधननननपाननधधसससधधगर गरररर

गपापपधपधापधससधधगसग। साससमररंररंपंमपममपापापममपपधधस सपा। सससमसमरररर-

गागससपपपपधधननपधमधमगररमगाग। सगसधस पपधधससररररपपपपपमगर मगागगा।

मामांगमम (मध्यम) मा पननधननररधा धननपपपधममररगररमररग। ससासससग-

ससगधधधगसससमररररररपररपाप। पापसधसासपाप(षड्ज)ररसररररपाप। पममपपधधधधनन-

पधमामरररर ममररररगररपररपपपपप(षड्ज)ससासधधगधमगररपा। पापाधाधापापासासापापाधध

पपममगगागारर-धाररररधरररर (ऋषभ) ररररपा (पञ्चम) पधापामागार गार सगामामा -

इत्यालापः।

panisāsā dhagāri pānī dhā pāmā garī mamā māmā. ma pāpā paninimāma-dhāsāsani

dhā dhamagā magāririsā rī pamāpāpāpasā sapapamapapa mapamapapamā. padhani

padha madhasa gari riripa riripa ripapapa (ṣaḍja) sā. sasa gari pā (pañcama)

79
papapapamagari magā mā mā madhā dhā dhadha nidha nisā mama dhadha sasa riri gaga

rigā ga (pañcama) papa sapa dhasa nidha dhadhadhamasamā magā rī ridha riridha riri

(ṛṣabha) riripa riripa pā panidhā pāmā gari magāmā mā. gāma. magamamagā mamagapa

mamagāgarī ririri dha dhasa gāgārī. risa mama gaga pamapapamapapāpā pamapa dha ni

dhani māmāmadhā-dhamāmadhāsārīgāgāpā pari pāpamapadhanipadhamadhamā

gārī.rigamapādhā-pāmāgāripagāmāma (madhyama) magāmamagamamagamapamagā-

gapamāgāmāpāpā panidhadhanidhaninipānidhadhasasasadhadhagarīgariri gapāpapa-

dhapadhāpadhasasadhadhagasaga. sāsasamariripamapamamapāpāpamamapapa-

dhadhasa sapā. sasasamasamaririgāgasasapapapapadhadhanipadhamadhamagari-

magāga. sagasadhasa papadhadhasasariripapapapapamagarīmagāgagā. māmāgamama

(madhyama) mā panidhaniridhā dhanipapapadhamamarigarimariga.

sasāsasasagasasagadhadhadhagasasasamariririparipāpa. pāpasadhasāsapāpa(ṣaḍja)-

risariripāpa. pamamapapadhadhadhadhanipadhamāmariri mamaririgariparipapa-

papapa(ṣaḍja)sasāsadhadhagadhamagaripā. pāpādhādhāpāpāsāsāpāpādhadha

papamamagagā-gāridhāriridhariri (ṛṣabha) riripā (pañcama) padhāpāmāgārīgārīsagāmāmā -

This is the ālāpa.

धाममगममाममगममा (पञ्चम) पगममाममगमसाधधधननप धमाधननपधसाररगररमररम-

साममगररसा। ररगररग (पञ्चम) पपपपननननधामामा। माममधधाधममधधासररधगाधगगधररग

(पञ्चम) पापपपननननध ससधगसमागार माररमा (मध्यम) ननधाधाधधधनन।

पामागार ररपार ननधा (षड्ज) सससममाररररररररपमममननधापामागार ररमांगामांमांधरररर

धर ररधररररररपपररपपरर-पपररपपमननननधननधाननननधाधधध ननधधमधमामाममधध(षड्ज)स

(ऋषभ) रर (पञ्चम) पपननननननननधधनननन ननपधधधररपपमधममरररर-

गरर(पञ्चम)पननननधधपपममगगररररमग मामाननधननधाधधधननपपपधगमर गररररपरर-

पामगागामामा - इनत करणम।्

dhāmamagamamāmamagamamā (pañcama) pagamamāmamagamasā-dhadhadhanipa

dhamādhanipadhasārigarimarimasāmamagarisā. rigariga (pañcama) papapapa-

ninidhāmāmā. māmamadhadhādhamamadhadhāsaridhagādhagaga-dhariga (pañcama)

pāpapapaninidha sasadhagasamāgārīmārimā (madhyama) nidhādhādhadhadhani.

pāmāgārīripārīnidhā (ṣaḍja) sasasamamāriririripamamamanidhāpāmāgārīrimāgāmāmā-

80
dhariri dharīridhaririripaparipaparipapa-ripapamaninidhanidhāninidhādhadhadha nidhadha-

madhamāmāmamadhadha(ṣaḍja)sa (ṛṣabha) ri (pañcama) papaninininidhadhanini

nipadhadhadharipapamadhamamaririgari(pañcama)paninidha-dhapapamamagagaririmaga

māmānidhanidhādhadhadhanipapapadhagamarīgaririparipāma-gāgāmāmā - This is the

karaṇam.

१. सा धा सा सा सा सा सा सा
प ि न वि लु भल त

२. धा पा मा पा धा पा मा मा
भ्र भम त म धु क र

३. धा पा मा गा र गा सा ननध
ज ल ज रे णु प रर

४. सा र मा पा पा पा पा पां
वपं ज रर ते

५. सा र मा पा पा पा पा1 धा
म द मं द ग नत

६. सा सा पा पा धा पा मा गा
हं स ि धू

७. धा पा मा गा र गा सा ननध
विथ च र नत वि क भस त

८. पा पा पम गम मा मा मा मा
कु मु द ि ने
- इत्याक्षिक्प्तका।

1. sā dhā sā sā sā sā sā sā
pa va na vi lu li ta

1
AA- धा पा

81
 2. dhā pā mā pā dhā pā mā mā
bhra mi ta ma dhu ka ra

3. dhā pā mā gā rī gā sā nidha
ja la la rē ṇu pa ri

4. sā rī mā pā pā pā pā ṗā
piṃ ja ri tē

5. sā rī mā pā pā pā pā dhā
ma da maṃ da ga ti

6. sā sā pā pā dhā pā mā gā
haṃ sa va dhū

7. dhā pā mā gā rī gā sā nidha
rvi ca ra ti vi ka si ta

8. pā pā pama gama mā mā mā mā
ku mu da va nē
- This is the Ākṣiptikā.

- इनत बोट्टः1 ।
- This is Bōṭṭa.

मालिपञ्चमः

मध्यमापञ्चमीजानतजातो मालिपञ्चमः।

पञ्चमांशग्रहन्यासो हृष्यकामूिथनाक्न्ितः।।५३।।

सारोदहसप्रसन्नान्तो गान्धाराल्पः सकाकभलः2 ।

विप्रलपभे कञ्चुक्रकनः प्रिेशे केतुदैितः।।५४।।

गेयोऽह्नः पक्श्चमे यामे हास्यशङ

ृ गारिधथनः।

AA- बोट्टरागः
1

AA- सकाकल
2

82
 Mālavapañcama

Mālavapañcama is born of Madhyamā and Pañcamī jātis. It has pañcama

serving as aṁśa, graha and nyāsa, and has for its scale the mūrchanā

named Hṛṣyakā. Its ārōhī varṇa is adorned by the prasannānta alaṅkāra. It is

sparse in gāndhāra and includes kākali usage. It is employed in love in

separation and at the entrance of the kañcukī (chamberlain). Its deity is

Kētu. It should be sung in the latter watches of the day. It serves to

promote hāsya and śṛṅgāra rasas. (53-55ab)

(सं) मालिपञ्चमं लियनत - मध्यमेनत। हृष्यका मध्यमग्रामे सप्तमी मि

ू थ ना। गान्धारोऽल्पो
यक्स्मन।।५३-५५।।
्
(Saṁ) He describes Mālavapañcama – Madhyamā . . . Hṛṣyakā is the seventh mūrchanā in

madhyamagrāma. Gāndhāra is sparse in it. (53-55)

पामाररगासाधाननधपाधधाननसर मागागपा धामाररगासाननधननमामाधननसाररगाममगस-

साधानीधपापधानीसार । मांमांगगपांधामार गासाननधननमामाधननसाररगामगगसननधननपां। पां पां

सधाधासगसासंमगाररररररमांमांपमासार मापाधनीधापाधमासाधानीधापां ररररररगामापार र गामा-

पार र ररगामापाननधा मापाननधा मार ररगमाममासररगमामगसननधाननपा। पापा पपस धधग

ससग गररप ममप मपपांपां। धाम मप धमामा पाधानीननमामापाधासासमामा पांधागासांधानन

धापां धमासधनन धापा मामा (मध्यम) गागं मगंम र ररर रर ररमसाससससमर ररररररप

मापमामपापापपपधामाममननननधधपपपधमाममससधधननननधधपपममगगररर नननीधधपार र धरर

ररगामापार र ध-ररररगमापा। र र धर धररररगामापाररगमररगमपधननधमा मररररररगगसससस-

धसररगगररसननधमपप-ररममसंधननधापाधामांगासांधानीधापा धमसधननधपा - इत्यालापः।

pāmārigāsādhānidhapādhadhānisarīmāgāgapā dhāmārigāsānidhanimāmā

dhanisārigāmamaga-sasādhānīdhapāpadhānīsārī. māmāgagapādhāmārīgāsā-nidha-

nimāmādhanisārigāmagaga-sanidhanipā. pā pā sadhādhāsagasāsa-

magāriririmāmāpamāsārīmāpādhanīdhāpādhamāsādhānīdhāpā riririgāmāpārīrīgāmā-

pārīrīrigāmāpānidhā māpānidhā mārīrigamāmamāsarigamāma-gasanidhānipā. pāpā papasa

dhadhaga sasaga garipa mamapa mapapāpā. dhāma mapa dhamāmā

pādhānīnimāmāpādhāsāsamāmā pādhāgāsādhāni dhāpā dhamāsadhani dhāpā māmā

83
(madhyama) gāga magama rī rirīri rimasāsasasasamarīririripa

māpamāmapāpāpapapadhāmāmama-ninidhadhapapapadhamāmamasasadhadhanini-

dhadhapapamamagagarirīninīdhadhapārīrīdharirigāmāpārīrīdharirigamāpā. rīrīdharīdhariri-

gāmāpārigamarigamapadhanidhamā mariririgagasasasasadhasariga-garisanidhamapa-

parimamasadhanidhāpādhā-māgāsādhānīdhāpā dhamasadhanidhapā - This is the ālāpa.

मापाधामा मररगसा धननमा धननसा ररगमा धननधधसधननधापापा। धध धननधननरर मापध-

ननधगसधानीधासाधानी (पञ्चम) पापधसधाधधगसासससामगार र पमामापननधननधसननधपापा

ररगमापा धननधस धननपपपधममपमधसधननममननननधधपापधमननधपापा - इनत करणम।्

māpādhāmā marigasā dhanimā dhanisā rigamā dhani dhadhasadhanidhāpāpā. dhadha

dhanidhaniri māpadhanidhagasadhānīdhāsādhānī (pañcama) pāpadhasadhādhadha-

gasāsasasāmagārīrīpamāmāpanidhanidhasanidhapāpā rigamāpā dhanidhasa

dhanipapapadhamamapamadhasadhanimamaninidhadhapāpa-dhamanidhapāpā - This is

the karaṇam.

१. गा र सनन सा मग ररग सा पम
ध्या न म यं न वि

२. पा पा सा मा गम गा ननध नी
मंु च नत द नं

३. र मग पा पम पा पा धप मा
व्या ह र नत वि श नत

४. ररम गस धम धनन पा पा पा पा
स रः स भल ले

५. पम धम सा सा सा गा सा ननध
1
वि धु नो नत प ि

६. ननध सा सा सा सा र गा मा
यु ग लं न रें द्र

AA- क्षव धु नो क्षि प - - ि

1

84
 ७. धा मा ररग सा ननध सा पा मा
हं सो नन ज

८. मरर गम धस ननध पा पा पा पा
वप्र या वि र हे
- इत्याक्षिक्प्तका।

1. gā rī sani ma ma ga riga sā pama

dhyā na ma yaṃ na vi

2. pā pā sā mā gama gā nidha nī
muṃ ca ti dī naṃ

3. rī maga pā pama pā pā dhapa mā

vyā ha ra to vi śa ti

4. rima gasa dhama dhani pā pā pā pā

sa raḥ sa li tē

5. pama dhama sā sā sā gā sā nidha

vi dhu nō ti paa kṣa

6. nidha sā sā sā sā rī gā mā
yu ga laṃ na rēṃ dra

7. dhā mā riga sā nidha sā pā mā

haṃ sō ni ja

8. mari gama dhasa nidha pā pā pā pā

pri yā vi ra hē

- This is the Ākṣiptikā.

- इनत मालिपञ्चमः।
- This is Mālavapañcama.

85
 रूपसाधारः

जातो नैषाददनीषड्जमध्यमाभ्यां ग्रहांशसः।।५५।।

मन्यासो रूपसाधारोऽल्पररपः काकल यत

ु ः।
प्रसन्नमध्यालंकारः पूणःथ षड्जाददमूिथनः।।५६।।

अिरोदहखण िणे स्याद्िीरे रौद्रे ऽित

ु े रसे।
प्रयोज्यो िीरकरुणे सवितुः प्रीतये सदा।।५७।।
Rūpasādhāra

Rūpasādhāra is born of Naiṣādinī and ṣaḍjamadhyamā jātis. It has sa serving as graha

and aṁśa, and ma as nyāsa. It uses ri and pa sparsely and includes kākalī modification. It is

adorned by prasannamadhya alaṅkāra in the avarōhī melodic direction, is complete in svara

content and has for its scale the mūrchanā commencing on ṣaḍja. It ought to be employed in

vīra, raudra and adbhuta rasas, as well as in vīra and karuṇa moods. It may be sung at any

time of day, for the pleasure of the Sun god. (55cd-57)

(सं) रूपसाधारं लियनत - जात इनत। ग्रहोंऽशश्च सः षड्जो यस्य। मो मध्यमो न्यासो यस्य। अल्पौ
ररपौ ऋषभपञ्चमौ यक्स्मन ् सोऽल्पररपिः।।५५-५७।।

(Saṁ) He describes Rūpasādhāra – Born of . . . Whose graha nd aṁśa are sa, i.e., ṣaḍja. Whose

nyāsa is ma, i.e., madhyama. Its ri and pa, ṛṣabha and pañcama, are sparse, and so it is ri-pa-sparse.

(55-57)

साननधा सनन सा सामा पामापापामपा मगामनी ननधाधधा सधनन धासनी संसंपा धा सा र

गाधा सापा धमा माधा ननधानीनी मागा मागा मसा - इत्यालापः।

sanidhā sani sā sāmā pāmāpāpāmapā magāmanī nidhādhadhā sadhani dhāsanī

sasapā dhā sā rī gādhā sāpā dhamā mādhā nidhānīnī māgā māgā masā - This is the ālāpa.

साधा सननधनी सा सा पामा पममा गसं नीधाधाध सधननधध (षड्ज) सा साधाधासार

गमगररसधाधपसाधधननसा (मध्यम) मगमसा। सगमधमननधा सगस सधननध धमा मगामा

मामा (मध्यम) (पञ्चम) पगगम माग ममनन ननधपपमपा। गममम (षड्ज) सध सससा

ननधम पप धध स रररर मरर ग सा धधधधगसा (धैित) ननधमा (मध्यम) म सा सगगध मम

पस सग सस धनन धध मा मग मामा - इनत करणम।्

86
 sādhā sanidhanī sā sā pāmā pamamā gasa nīdhādhādha sadhanidhadha (ṣaḍja) sā

sādhādhāsārī gamagarisadhādhapasādhadhanisā (madhyama) magamasā.

sagamadhamanidhā sagasa sadhanidha dhamā magāmā māmā (madhyama) (pañcama)

pagagama māga mamani nidhapapamapā. gamamama (ṣaḍja) sadha sasasā nidhama papa

dhadha sa riri mari ga sā dhadhadhadhagasā (dhaivata) nidhamā (madhyama) ma sā

sagagadha mama pasa saga sasa dhani dhadha mā maga māmā - This is the karaṇam.

अथ िा - सा धा सा धा पा पधा सा सा सगामगासगांधा पां धा सां सां सां गा मं ननधा

सां ससनन सा सं मां सं गां ग सा धा पाप धप ध सां सां सा गा मा नी सासा (षड्ज) स

सगा सगा ग सासा धापा धाप मामा - इत्यालापः।

Or else- sā dhā sā dhā pā padhā sā sā sagāmagāsagādhā pā dhā sā sā sā gā ma nidhā

sā sasani sā sa mā sa gā ga sā dhā pāpa dhapa dha sā sā sā gā mā nī sāsā (ṣaḍja) sa

sagā sagā ga sāsā dhāpā dhāpa māmā - This is the ālāpa.

१. मा मा नी नी धा धा सा सा
स द्यो जा तं

२. नी नी धा सा सा सा सा सा
िा म म घो रं

३. सा सा नी धा पा मा मा मा
त त्पु रु ष मी

४. सां रं सां नीं नी धा सा सा

शा नं

५. मा मा मा मा नी नी धा धा
वि श्िं वि ष्णुं

६. सा सा पा पा मा मा मा मा
िे द प दं

७. मा मा नी नी नी धा सा सा

87
 सू क्ष्म म चचं त्य म

८. नी नी धा सा सा सा सा सा
ज न क म जा तं

९. मा मा मा मा सा सा सा सा
प्र ण मा भम ह रं

१॰. सा सा नी धा सा सा सा सा
स द्गु रुं

११. मा मा नी नी नी धा सा सा
श र ण म भ ि म

१२. सा सा पा धा मा मा मा मा
हं प र मं
- इत्याक्षिक्प्तका।

1. mā mā nī nī dhā dhā sā sā
sa dyō jā taṃ

2. nī nī dhā sā sā sā sā sā
vā ma ma ghō raṃ

3. sā sā nī dhā pā mā mā mā
ta tpu ru ṣa mī

4. ṡā ṙī ṡā ṅī nī dhā sā sā
śā naṃ

5. mā mā mā mā nī nī dhā dhā
vi śvaṃ vi ṣṇuṃ

6. sā sā pā pā mā mā mā mā
vē da pa daṃ

88
 7. mā mā nī nī nī dhā sā sā
sū kṣma ma cin tya ma

8. nī nī dhā sā sā sā sā sā
ja na ka ma jā taṃ

9. mā mā mā mā sā sā sā sā
pra ṇa mā mi ha raṃ

10. sā sā nī dhā sā sā sā sā
sa dgu ruṃ

11. mā mā nī nī nī dhā sā sā
śa ra ṇa ma bha va ma

12. sā sā pā dhā mā mā mā mā
haṃ pa ra maṃ
- This is the Ākṣiptikā.

इनत रूपसाधारः।
This is Rūpasādhāra.

शकः

षाड्जीधैिनतकोत्पन्नो ग्रहांशन्यासषड्जकः।

काकल्यन्तरसंयुततः पूणःथ षड्जाददमूिथनः।।५८।।

प्रसन्नमध्येनारोदहिणे िीराददके रसे।

िीरहास्ये ननिथहणे गेयो रुद्रवप्रयः शकः।।५९।।

Śaka

Śaka is born of ṣāḍjī and Dhaivatī. It has ṣaḍja serving as graha, aṁśa and nyāsa. It

admits kākalī and antara modifications, is complete in svara content and has its scale

provided by the mūrchanā commencing on ṣaḍja. In the ārōhī melodic direction it is adorned

by the prasannamadhya alaṅkāra. It sould be sung in vīra and other rasas, (such as) in the

nirvahaṇa juncture in a situation of valour and mirth. It is dear to śiva <rudra>. (58-59)

(सं) शकं लियनत - षाड्जीनत। सग

ु मम।।५८-५९।।
्

89
(Saṁ) He describes Śaka – ṣāḍjī.. Easy to follow . . . (58-59)

सा ननधनी पापाधनी सार गासासार गाधा धानी सासा ननधसासा ननधसानी धापाननसा गमा

धध ननननरर गा सासा - इत्यालापः।

sā nidhanī pāpādhanī sārīgāsāsārī gādhā dhānī sāsā nidhasāsā nidhasānī dhāpānisā

gamā dhadha niniri gā sāsā - This is the ālāpa.

(षड्ज) ससनन मम मम पप धध गगा सररर र गमगम माधधधस गगससगासनन

साससनन ररररररररननररररधाननमपधामा (गान्धार) ग (षड्ज) सनननन पननसासा सससनन रररर

गरररर धापापननननधासासा सररररररधधधमधममा। धसररममररमधधपप मम गग (षड्ज) सस

ननसासा - इनत करणम।्

(ṣaḍja) sasani mama mama papa dhadha gagā sarirīrī gamagama mādhadha-dhasa

gagasasagāsani sāsasani ririririniriridhānimapadhāmā (gāndhāra) ga (ṣaḍja) sanini panisāsā

sasasani riri gariri dhāpāpaninidhāsāsā saririridhadhamadhamamā.

dhasarimamarimadhadhapapa mama gaga (ṣaḍja) sasa nisāsā - This is the karaṇam.

अथ िा - सा सननमा मप धम संगंगां मम मग माध साम पगसमासनन सससम ननररननरर

रररर धनन मामपाधा मागासासनन सां सं नी सास। रररररररर गा ररधाधा पानननननन ननध सासा

सरर रररर धंधंधं मं धं मा धस ररमं मरर। मां धापामा मागासास र सासा - इत्यालापः।

Otherwise- sā sanimā mapa dhama sagagā mama maga mādha sāma pagasamāsani

sasasama niriniri riri dhani māmapādhā māgāsāsani sā sa nī sāsa. riririri gā ridhādhā

pāninini nidha sāsā sari riri dhadhadha ma dha mā dhasa rima mari. mā dhāpāmā

māgāsāsa rī sāsā - This is the ālāpa.

(षड्ज) सनन धनन सांसांसां स ससा। सरररररर ररम (षड्ज) (धैित) धध (षड्ज) सस मां

गा गगगमा गगननसा (षड्ज) सनननननन स रररर गगमा - इनत करणम।्

(ṣaḍja) sani dhani sāsāsā sa sasā. saririri rima (ṣaḍja) (dhaivata) dhadha (ṣaḍja) sasa

mā gā gagagamā gaganisā (ṣaḍja) saninini sa riri gagamā - This is the karaṇam.

* * * * * * * * * * * * * * * * * * * *1

1 The Ākṣiptikā song is missing here.

90


इनत शकः।

This is Śaka.

भपमाणपञ्चमः

शुद्धमध्यमया सष्ृ टो रागो भपमाणपञ्चमः।

ग्रहांशन्यासषड्जश्च मन्यासः काकल यत

ु ः।।६०।।
गाल्पः पूणःथ सषड्जाददमूिथनारोदहिणथकः।

प्रसन्नमध्यालंकारो िीरे रौद्रे ऽित

ु े रसे।।६१।।
पचथ भ्रष्टे िनभ्रान्ते विननयुततः भशिवप्रयः।
Bhammāṇapañcama

Bhammāṇapañcama rāga is created with śuddhamadhyamā jāti. It has ṣaḍja serving as

graha, aṁśa and nyāsa, and ma again as nyāsa. It admits kākalī modification and is sparse

in ga. It is complete in svara content, and has for its scale the mūrchanā commencing on

ṣaḍja. It employs ārōhī varṇa predominantly, adorned by prasannamadhya alaṅkāra. It is

prescribed to be employed in vīra, raudra and adbhuta rasas, and in situations like losing the

way and wandering in the forest. It is dear to śiva. (60-62ab)

(सं) भपमाणपञ्चमं लियनत - शद्ध

ु ेनत। मन्यासो मध्यमन्यासः। गान्धारोऽल्पो यक्स्मन।् पचथ भ्रष्टिः
साथाथत ् प्रचयत
ु ः।।६०-६२।।
(Saṁ) He describes Bhammāṇapañcama - śuddha . . . Ma-nyāsa, i.e., with madhyama as nyāsa. In

which gāndhāra is sparse. Slipped in the path, i.e., straying from one’s goal. (60-62)

सा ररररस रररर सार ररपा धाधधध धपाधपाप धपधप म मा मम मा। गार ररधा धप

धासा धासा धासा सर र सा सस मग ररसा सनननन (धैित) (पञ्चम) पप धप धप पपप ममप

मप मा मगमामा - इत्यालापः।

सस रररररर सर र र । पापा धप धधा धध पधधा। पापाप मपमपपा पापा धधध मामा माम

ध र र र र र धरररर धा। धापा पापा पाप पपप धाधधा सध धसा सां सां। स रररररर ससस-

मसमररग स पधध धापमपनन पपाप पाप पध मधपध पाध पध पाधपपापपमगसा - इनत

करणम।्

91
 sā ririsa riri sārī ripā dhādhadhadha dhapādhapāpa dhapadhapa ma mā mama mā. gārī

ridhā dhapa dhāsā dhāsā dhāsā sārī rīsā sasa maga risā sanini (dhaivata) (pañcama) papa

dhapa dhapa papapa mamapa mapa mā magamāmā - This is the ālāpa.

sasa ririri sarīrīrī. pāpā dhapa dhadhā dhadha padhadhā. pāpāpa mapamapapā pāpā

dhadhadha māmā māma dha rīrīrīrīrī dhariri dhā. dhāpā pāpā pāpa papapa dhādhadhā

sadha dhasā sā sā. sa ririri sasasamasamariga sa padhadha dhāpamapani papāpa pāpa

padha madhapadha pādha padha pādhapa-pāpapamagasā - This is the karaṇam.

अथिा - सासा सधा सर मा पां पं (पञ्चम) पां पां सां सां सर ं पापां मंपं धंसं ननध पांमां

पमा पांपां मांधां सांनी धापां मांपं मांपां मां मम पम प (मध्यम) मा - इत्यालापः।

सस रररर सासा धध रररर सासा धंधध

ं ं सररम मग सासरर गररस रररर मपधससनन धास

ररगामा (पञ्चम) पम धम मम पग पां पां मां मां - इनत करणम।्

Otherwise - sāsā sadhā sarī mā pā pa (pañcama) pā pā sā sā sarī pāpā mapa dhasa

nidha pāmā pamā pāpā mādhā sānī dhāpā māpa māpā mā mama pama pa (madhyama) mā

- This is the ālāpa.

sasa riri sāsā dhadha riri sāsā dhadhadha sarima maga sāsari garisa riri mapadhasasani

dhāsa rigāmā (pañcama) pama dhama mama paga pā pā mā mā - This is the karaṇam.

१. र गा मा सा ररग सा धा मा
गु रु ज घ न ल भल तं

२. पा धा पध पम पा पा धा पम
मृ दु च र ण प त नं

३. सा र मा पा पा धा पम मप
ग नत सु भ ग ग म नं

४. पा धनन पम धस सा सा सा सा
म द य नत

92
 ५. र र मा पम ररग सा धा मा
वप्र य मु दद ता म धु र

६. पा पा पध पध पा पा पा पा
म धु म ध प र ि श

७. मा मा पा धस ररग सा धनन पम
हृ द या भृ शं

८. पा धा पा धप मा मा मा मा
त न्िी
- इत्याक्षिक्प्तका।

1. rī gā mā sā ri ga सा धा मा
गु रु ज घ न la li taṃ

2. pā dhā pa dha pa ma pā pā dhā pa ma

mṛ du ca ra ṇa pa ta naṃ

3. sā rī mā pā pā dhā pa ma ma pa
ga to si bha ga ga ma naṃ

4. pā dha ni pa ma dha sa sā sā sā sā
ma da ya ti

5. rī rī mā pa ma ri ga sā dhā mā
pri ya mu di tā ma dhu ra

6. pā pā pa dha pa dha pā pā pā pā
ma dhu ma dha pa ra va śa

7. mā mā pā dha sa ri ga sā dha ni pa ma
hṛ da yā bhṛ śaṃ

8. pā dhā pā dha pa mā mā mā mā

93
 ta nvī
- This is the Ākṣiptikā.

इनत भपमाणपञ्चमः।
This is Bhammāṇapañcama.

नतथः

मध्यमापञ्चमीजातो नतोंऽशग्रहपञ्चमः।।६२।।

मन्यासः काकल यत
ु तः पञ्चमाददकमूिथनः।
गाल्पः प्रसन्नमध्येन भूष्यः संचार िणथभाक् ।।६३।।

धीरै रुिटचार कमण्डलाजौ प्रयज्

ु यते।
हास्यशङ
ृ गारयोरे ष रसयोः कश्यपोददतः।।६४।।
धैितीमवप तद्धेतुं दग
ु ाथशक्ततरभाषत।
Narta

Narta is born of Madhyamā and Pañcamī jātis. It has pañcama serving as aṁśa and

graha, and ma as nyāsa. It incorporates kākalī modification, and has for its scale the

mūrchanā commencing on pañcama. It is sparse in ga and is adorned by the

prasannamadhya alaṅkāra in the sañcārī varṇa which forms its bulk. It is employed to

accompany the majestic gait and circling of stage by valiant warlords. Kaśyapa prescribes

this rāga in hāsya and śṛṅgāra rasas. According to Durgāśakti, it has its origin in Dhaivatī jāti

too. (62cd-65ab)

(सं) नतथरागं लियनत - मध्यमेनत। संचाररणं िणं भजतीनत संचाररवणगभाक् ्‌। उिटान्यत्ु कटानन चायो

मण्डलानन च यस्यामाजौ संग्रामे। मण्डलानन नत्ृ ताध्याये िक्ष्यन्ते। दग

ु ाथशक्ततमतेन धैित्यप्येतस्य
कारणम।।६२-६५।।
्
(Saṁ) He describes Narta rāga – Madhyamā . . . Since it makes use of sañcārī varṇa, the

description ‘sañcārīvarṇabhāk’. In which the gaits and circlings are majestic, i.e., exalted, in the

warfield. The circlings will be described in the chapter on Dance. According to Durgāśakti, Dhaivatī

too is its source. (62-65)

पापसा मगामापापगामा नीधापापमानीनी सांसां सागा सानन धनी नीनी। नन ननध धमपध

ममगा गसा समं मगा गनी नननन धधप पधममगामा - इत्यालापः।

94
 pāpasā magāmāpāpagāmā nīdhāpāpamānīnī sāsā sāgā sāni dhanī nīnī. ni nidha

dhamapadha mamagā gasā sama magā ganī nini dhadhapa padhamamagāmā - This is the

ālāpa.

पापमगापा (पञ्चम) ससगगं ननननधापा (पञ्चम) नीनीधा (षड्ज) सननननध सनी धापा

मापा पमगा गनननन पधनन गम गम पामधाममामा - इनत करणम।्

pāpamagāpā (pañcama) sasagaga ninidhāpā (pañcama) nīnīdhā (ṣaḍja) saninidha sanī

dhāpā māpā pamagā ganini padhani gama gama pāmadhāmamāmā - This is the karaṇam.

अथिा - पामागम मापापग पापा। पगापानीननधाधा। नीनी सांगांसां संधा नीनन नींनीं नननन

मसा संसंसं धानीनीनी नननननन धधनन पपध मामगागसा समा गगागर ननंनी ननध धधनी प

(पञ्चम) मागामामा - इत्यालापः।

Otherwise - pāmāgama māpāpaga pāpā. pagāpānīnidhādhā. nīnī sāgāsā sadhā nīni nīnī

nini masā sasasa dhānīnīnī ninini dhadhani papadha māmagāgasā samā gagāgarī ninī nidha

dhadhanī pa (pañcama) māgāmāmā - This is the ālāpa.

पपप मपपप मपप मग समग मामग सा। मगा मपापनी ननधनन (षड्ज) सनन सनन ननध-

ननधा नननन धधधनन पधपा पपधपाप धामम गमसा ससमगसा (पञ्चम) धमा नीधापा।

मामानी धधसा धधधध ननपाधा पामागा गमसा सासा गपमा धननधा धनन (पञ्चम) पधप

मममनन धनन पधमम (षड्ज) सगामामा - इनत करणम।्

papapa mapapapa mapapa maga samaga māmaga sā. magā mapāpanī nidhani (ṣaḍja)

sani sani nidhanidhā nini dhadhadhani padhapā papadhapāpa dhāmama gamasā

sasamagasā (pañcama) dhamā nīdhāpā. māmānī dhadhasā dhadhadhadha nipādhā

pāmāgā gamasā sāsā gapamā dhanidhā dhani (pañcama) phadhapa mamamani dhani

padhamama (ṣaḍja) sagāmāmā - This is the karaṇam.

ननधमा पपधमा गमगमा मा (षड्ज) स मापपाधप माम मनन धररधगं (षड्ज) सं धानी

नननन नीधधधनन। पापपध पामा सामा। गां (पञ्चम) धधम मननधनन पध पमामा गामामामा -

इनत द्वितीयकरणम।्

pāpā (ṣaḍja) sagāmā (pañcama) pāpāpā padhamā magamā (madhyama) māmā.

mamama nidhā dhadha nidhamā papadhamā gamagamā mā (ṣaḍja) sa māpapādhapa

95
māma mani dharidhaga (ṣaḍja) sa dhānī nini nīdhadhadhani. pāpapadha pāmā sāmā. gā

(pañcama) dhadhaṇa manidhani padha pamāmā gāmāmāmā - This is the second karaṇam.

१. पा पा मा गा पा पा गा सा
अ न ि र त ग भल त

२. सा सा सां सां सा मा गा सा
म द ज ल दु ददथ न

३. गा मा पा मा गा मा मा मा
धा रौ घ रर तत

४. मा गा मा पा मा पा पा पा
भु ि न त ल

५. नी सा नी सा सा सा सा सा
म धु क र कु लां ध

६. सा गा नी धा पा पा पा पा
का रर त दद न दद

७. नी सा नी सा मा धा पा पा
ङमु ि ग ज मु ि

८. मा पा गा गा मा मा मा मा
न म स्ते
- इत्याक्षिक्प्तका।

1. pā pā mā gā pā pā gā sā
a na va ra ta ga li ta

2. sā sā ṡā ṡā sā mā gā sā
ma da ja la du rdi na

96
 3. gā mā pā mā gā mā mā mā
dhā rau gha ri kta

4. mā gā mā pā mā pā pā pā
bhu va na ta la

5. nī sā nī sā sā sā sā sā
ma dhu ka ra ku lāṃ dha

6. sā gā nī dhā pā pā pā pā
kā ri ta di na di

7. nī sā nī sā mā dhā pā pā
ṅmu kha ga ja mu kha

8. mā pā gā gā mā mā mā mā
na ma stē
- This is the Ākṣiptikā.

इनत नतथः।
This is Narta.

षड्जकैभशकः

षड्जषथभांशग्रहः स्यात्कैभशकीजानतसंभिः।।६५।।

ऋषभोऽल्पो ननगन्यासो मन्द्रगान्धारषड्जकः।

प्रसन्नाद्यिरोदहभ्यां युततः षड्जाददमूिथनः।।६६।।

िीररौद्राित
ु रसः शांभिः षड्जकैभशकः।
Ṣaḍjakaiśika

Ṣaḍjakaiśika is born of Kaiśikī jāti. It has ṣaḍja and ṛṣabha as aṁśa and graha,

respectively. It is sparse in ṛṣabha, and has ni and ga serving as nyāsa. Its gāndhāra and

ṣaḍja occur in the mandra region. It incorporates the prasannādi alaṅkāra and avarōhī varṇa

and has for its scale the mūrchanā commencing on ṣaḍja. It serves vīra, raudra and adbhuta

rasas, and is dear to śiva <śāmbhava>. (65cd-67ab)

97
(सं) षड्जकैभशकं लियनत - षड्जषगभेनत। षड्जषथभौ िमेणांशग्रहौ यस्य। ननषादगान्धारौ विकल्पेन

न्यासौ यस्य। मन्द्रौ गान्धारषड्जौ यक्स्मन।् प्रसन्नाददनालंकारे णािरोदहणा िणेन च यत

ु तः।।६५-६७।।
(Saṁ) He describes ṣaḍjakaiśika - ṣaḍja-ṛṣabha . . . Whose aṁśa and graha are ṣaḍja and ṛṣabha,

respectively. Either niṣāda or gāndhāra can serve as the nyāsa. In it gāndhāra and ṣaḍja are in the

mandra region. It incorporates the prasannādi alaṅkāra and the avarōhī varṇa. (65-67)

सांसनन ररसामा पामं पाप ममगा। मं नननन धाधामा मधाध ममधा सा समा मधा गसास।

धमा मसासमामधा सासधा धमध नीनी - इत्यालापः।

sāsani risāmā pāma pāpa mamagā. ma nini dhādhāmā madhādha mamadhā sā samā

madhā gasāsa. dhamā masāsamāmadhā sāsadhā dhamadha nīnī - This is the ālāpa.

(षड्ज) सननध समा ससनन सांसां ननननस ननररसाममपमम पपापपमपपा (मध्यम)। मम

गगामममगम गा (गान्धार) गगगननधम ननधम मामामा धाम धमामाधा गंगं सगं सगंसा।

(षड्ज) ससधधधनन समम ननधानीनन। (ननषाद) ननधनन नीनननन (षड्ज) सधनन नी

ननननधननगा। म मपम पापप (मध्यम) मगम ग (षड्ज) ससंसंसंसं गधररग गननध

ननननननधमा। मम धध गग ररग (षड्ज) स सधननधधमा पधानीनीनी (ननषाद) नननन - इनत

करणम।्

(ṣaḍja) sanidha samā sasani sāsā ninisa nirisāmamapamama papāpapamapapā

(madhyama). mama gagāmamamagama gā (gāndhāra) gagaga-nidhama nidhama

māmāmā dhāma dhamāmādhā gaga saga sagasā. (ṣaḍja) sasa-dhadhadhani samama

nidhānīni. (niṣāda) nidhani nīnini (ṣaḍja) sadhani nī ninidhanigā. ma mapama pāpapa

(madhyama) magama ga (ṣaḍja) sasasasasa gadhariga ganidha nininidhamā. mama

dhadha gaga riga (ṣaḍja) sa sadhanidhadhamā padhānīnīnī (niṣāda) nini- This is the

karaṇam.

अथिा - सासास नीनी सनननी मपानीनीपापा र ररग र र गगरररर पापा मप पमगम

गर गागर सा। सनीमपनीनी धधमप ननररररग। सा (षड्ज) स ननर सानीसा (षड्ज) स

ननर सानी - इत्यालापः।

Otherwise- sāsāsa nīnī saninī mapānīnīpāpā rīriga rīrī gagariri pāpā mapa pamagama

garīgāgarīsā. sanīmapanīnī dhadhamapa niririga. sā (ṣaḍja) sa nirī sānīsā (ṣaḍja) sa nirīsānī

- This is the ālāpa.

98
 सा (षड्ज) सनन र साननसा (षड्ज) समापा नीपा नीधा (पञ्चम) पापार धर र पमा मार

ररगररग (षड्ज) सररस ननधप ननसनन सनीनी - इनत करणम।्

sā (ṣaḍja) sani rī sānisā (ṣaḍja) samāpā nīpā nīdhā (pañcama) pāpārīdharīrī pamā mārī

rigariga (ṣaḍja) sarisa nidhapa nisani sanīnī - This is the karaṇam.

१. सा र सा र सा सा सा सा
द ह र फ खणं द

२. सा नी नी नी नी सा नी र
ना ले म दह ह र

३. र र र र र गा सा सा
के स र दद सा मु

४. नी सा नी र र र र र
ह द भल ल्ले

५. मा1 मा पा पा मा मा सग र
वप अ इ का ल

६. रर स सा नी नी पा पा नी नी
भ म रो ज ण म अ2

७. सा सा सा सा सा नी नी नी
सं दं पु ह वि3

८. र र रर स नी नी नी नी नी
प उ मे
- इत्याक्षिक्प्तका।

1 AA- गा
2
AA- य
3
AA- ि

99
 1. sā rī sā rī sā sā sā sā
dī ha ra pha ṇiṃ da

2. sā nī nī nī nī sā nī rī
nā lē ma hi ha ra

3. rī rī rī rī rī gā sā sā
kē sa ra di sā mu

4. nī sā nī rī rī rī rī rī
ha da li llē

5. mā mā pā pā mā mā sa ga rī
pi a i kā la

6. ri sa sā nī nī pā pā nī nī
bha ma rō ja ṇa ma a

7. sā sā sā sā sā nī nī nī
saṃ daṃ pu ha vi

8. rī rī ri sa nī nī nī nī nī
pa u mē
- This is the Ākṣiptikā.

इनत षड्जकैभशकः।
This is ṣaḍjakaiśika.

लक्ष्माधुनाप्रभसद्धानां सहे तूनां ब्रुिेऽधुना।।६७।।

Now I shall describe the features of those (rāgas) that are popular now, indicating their

sources. (67)



मध्यमग्रामः

गान्धार मध्यमापञ्चपयुििः काकल यत

ु ः।

100
 मन्यासो मन्द्रषड्जांशग्रहः सौिीरमूिथनः।।६८।।

प्रसन्नाद्यिरोदहभ्यां मुिसंधौ ननयुज्यते।

मध्यमग्रामरागोऽयं हास्यशङ
ृ गारकारकः।।६९।।
ग्रीष्मेऽह्नः प्रथमे यामे रुिप्रीत्यै तदि
ु िा।
मध्यमाददमथग्रहांशा . . . . . . . . ।।७०।।
Madhyamagrāma

Madhyamagrāma rāga is born of Gāndhārī, Madhyamā and Pañcamī. It includes kākalī

modification. With ma as nyāsa, it has the mandra ṣaḍja serving as aṁśa and graha. It has

the Sauvīrī mūrchanā for its scale. It is adorned by prasannādi alaṅkāra, and is mainly

avarōhī in melodic direction. It is employed in the mukha juncture of the dramatic

performance. It gives rise to hāsya and śṛṅgāra rasas. It is suitable for the first watch of a

summer day. It has been created for the pleasure of Dhruva. Madhyamādi (rāgiṇī?), born of

this rāga, has ma serving as graha and aṁśa. (67d-70abc)

(क) अथ दे शीरागेष्िधुनाप्रभसद्धानां मध्यमाद नां लिणम;् लक्ष्माधुनाप्रभसद्धानां सहे तूनां ब्रुिेऽधुना

इत्यप
ु िपयोततत्िात।् तत्र रागाङगस्य मध्यमादे जन
थ कस्य मध्यमग्रामाभभधस्य ग्रामरागस्य लिणमत
ु त्िा
तस्यालापकरणाक्षिक्प्तकाश्च प्रस्तायथ तदि
ु िा मध्यमाददमथग्रहांशा इत्येतािदे ि मध्यमादे लि
थ णमत
ु तम।्
तस्य ताित एिापयाथप्तत्िात ् अनत
ु तमन्यतो ग्राह्यभमनत प्रकृनतविकृनतन्यायेन

स्िहे तभ
ु त
ू ान्मध्यमग्रामरागात ् काकल यत
ु ो मन्यासः सौिीरमि
ू थ नः प्रसन्नाद्यिरोदहभ्यां यत
ु ो मि
ु संधौ
विननयोज्यो हास्यशङ
ृ गारकारको ग्रीष्मेऽह्नः प्रथमे यामे रुिप्रीत्यै इनत सिथमवप भलङगविपरर-णामेन
ग्राह्यम।् विशेषलिणादे ि जन्यस्य जनकािे दोऽिगन्तव्यः। एिमन्येष्िवप द्रष्टव्यम।्

प्रसन्नाद्यिरोदहभ्यां युतः इत्यत्र सौिीयाथ गररसननधपमेत्यिरोदहिणाथश्रयणेऽवप, तदनन्तरं मां मां मां

इनत मन्द्रद्ियात ् परे तारे प्रसन्नाददःइनत प्रसन्नाददसंज्ञस्यालंकारप्रयोगस्यावप शतयत्िान्न विरोधः।

एिमन्यत्राप्यह्
ू यम।।६७-७०।।
्
(Ka) Next follows the description of currently popular dēśī rāgas such as Madhyamādi, for he says ‘I

shall present the features of currently popular melodies, along with their sources now’. Here, after

presenting a detailed description of the parent melody, namely the grāmarāga called

Madhyamagrāma(rāga), of the rāgāṅga , Madhyamādi, with an illustration of its ālāpa, karaṇa and

Ākṣiptikā, he describes Madhyamādi merely as ‘born of that, Madhyamādi has ma for graha and

aṁśa’. This description is meagre and indadequate, so we must look elsewhere for the features left

undescribed; following the logic of ‘original-modified’, it can be concluded that it (Madhyamādi) takes

101
the following features from its source, Madhyamagrāmarāga, namely, taking in kākālī, having ma for

nyāsa, having for its scale the Sauvīrī mūrchanā, incorporating the prasannādi and avarōhī features,

prescription in the mukha sandhi, expressive of hāsya and śṛṅgāra rasas, in the first watch of a

summer day, for pleasing Dhruva (star). All this has to be applied (to Madhyamādi), only with a

change in gender (as Madhyamādi is a rāgiṇī). Only from its distinguishing feature can the offspring

be differentiated from the parent. In the other cases too, the same reasoning has to be followed. In the

description ‘incorporating prasannādi and avarōhī’, even though Sauvīrī goes ‘garisanidhapama’ in the

avarōhī melodic direction, after that ‘mā mā mā’ can come. For, the instruction ‘after two (svaras) in

the mandra register, prasannādi can have two in the tāra register’, directs the perforamance of the

alaṅkāra named prasannādi. So there is no contradiction here. In the same manner, the instructions

have to be interpreted in the case of the other melodies too. (67-70)

(सं) कारणभत
ू ग्रामरागसदहतानधुनाप्रभसद्धान ् कथनयतुं प्रनतजानीते - लक्ष्मेनत। मध्यमग्रामरागं लियनत।
र्ान्धारीनत। सौिीर मध्यमग्रामे प्रथमा मि
ू थ ना। मध्यमाददं लियनत - तदभ
ु वेनत।
तस्मान्मध्यमग्रामरागादि
ु िो यस्याः। मध्यमस्िरो ग्रहोंऽशश्च यस्याः।।६७-७०।।
(Saṁ) He begins to describe the rāgas that are currently popular, along with the grāmarāgas that are

their sources – Features.. He describes Madhyamagrāmarāga – Gāndhārī . . ... Sauvīrī is the first

mūrchanā of madhyamagrāma. He next describes Madhyamādi – Born of that . . . Its birth is from that,

i.e., Madhyamagrāmarāga. Madhyama svara serves as its graha and aṁśa. (67-70)

सां नीधापांधां धांधरर। गांसां। ररगानीसां। सगपांपपप ननननपनन सां सां गपसाननधनननन

ननररगासा। पां मं पं ननधामा - इत्यालापः।

sā nīdhāpādhā dhādhari. gāsā. rigānīsā. sagapāpapapa ninipani sā sā gapasānidhanini

nirigāsā. pā ma pa nidhāmā - This is the ālāpa.

ननननपपगंगंसंसंररगं। ननं सं सासा। संसंगंगंपंपंधध

ं ं मधननसननध पापापापा पनी पनी

सांसांसांगागासागासनी धनीनीननननररगांसांसांपापामापाननधपामामा - इनत करणम।्

ninipapagagasasariga. ni sa sāsā. sasagagapapadhadha madhanisanidha pāpāpāpā

panī panī sāsāsāgāgāsāgāsanī dhanīnīninirigāsāsāpāpāmāpānidhapā-māmā - This is the

karaṇam.

१. सां सां गां गां पां पां मा मा

अ म र गु रु म प र

102
 २. गां मा मां मा धा नी सां सा
प नत म ज यं

३. सां सां मां मां पां पां सां सां

क्ज त म द नं स क ल

४. र गा नी सा सां सां सां सां

श भश नत ल कं

५. नीं नीं नीं नीं धा पा मा मा

ग ण श त प रर िृ त

६. गां मां गां मां धा नी सा सा

म शु भ ह रं

७. नीं रं गां नीं सां सां पां पां

प्र ण म त भस त िृ ष

८. सा सा नन ध पा मा मा मा मा
र थ ग म नं
- इत्याक्षिक्प्तका।
इनत मध्यमग्रामः।

1. ṡā ṡā ġā ġā ṗā ṗā mā nā
a ma ra gu ru ma pa ra

2. ġā mā ṁā mā dhā nī ṡā sā
pa ti ma ja yaṃ

3. ṡā ṡā ṁā ṁā ṗā ṗā ṡā ṡā
ji ta ma da naṃ sa ka la

4. rī gā nī sā ṡā ṡā ṡā ṡā
śa śi ti la kaṃ

103
 5. ṅī ṅī ṅī ṅī dhā pā mā mā
ga ṇa śa ta pa ri vṛ ta

6. ġā ṁā ġā ṁā dhā nī sā sā
ma śu bha ha raṃ

7. ṅī ṙī ġā ṅī ṡā ṡā ṗā ṗā
pra ṇa ma ta si ta vṛ ṣa

8. sā sā ni dha pā mā mā mā mā
ra tha ga ma naṃ
- This is the Ākṣiptikā.
This is Madhyamagrāma(rāga).

मालिकैभशकः

ह्यथ मालिकैभशकः।।७०।।

कैभशकीजानतजः षड्जग्रहांशान्तोऽल्पधैितः।

सकाकल कः षड्जाददमूिथनारोदहिणथिान।।७१।।
्

प्रसन्नमध्यालंकारो िीरे रौद्रे ऽित

ु े रसे।
विप्रलपभे प्रयोततव्यः भशभशरे प्रहरे ऽक्न्तमे।।७२।।

ददनस्य केशिप्रीत्यै मालिश्रीस्तदि

ु िा।
Mālavakaiśika

Next we have Mālavakaiśika. It is born of Kaiśikī jāti, and has ṣaḍja serving as graha,

aṃśa and nyāsa <anta>. It is sparse in dhaivata and includes the kākalī modification. It has

for its scale, the mūrchanā commencing on ṣaḍja, and is articulated mainly in the ārōhī

melodic direction <varṇa>. It is adorned by the prasannamadhya alaṅkāra. It should be

employed in vīra, raudra and adbhuta rasas, and in the parted state of lovers. It is suitable

for the cold season, for the last watch of the day. It is dear to Kēśava. Mālavaśrī is born of

this rāga. (70d-73ab)

(सं) मालिकैभशकं लियनत - अथ्‌ मालवकरमशक इनत। षड्जस्िर एि ग्रहोंऽशो न्यासश्च यस्य।

काकल्या यत
ु तः सकाकलीकिः। काकभलशब्द इन्नन्तः। ङ षन्तोऽप्यत्र प्रयज्
ु यते।।७१-७३।।

104
(Saṃ) He describes Māḷavakaiśika – Now Mālavakaiśika. The svara, ṣaḍja, itself serves as graha,

aṃśa and nyāsa in it. Incorporating kākalī usage, it is described as ‘sakākalīka’. The word, kākalī’ is

‘in’-suffixed. The ‘ṅīṣ’- suffix is also used in deriving it. (72-73)

सासपामामामार सनीसासर मापासां नीनीर र साररपामासननसां। सननर ररपासनीसामगामा-

पासनीसासननपापनी सधनीपापनीनीनीर ंपापनी मां मां गंगर र सासननंननपापगामापाधननससननप-

ममामगमपपमगागरररररर मससससम र ररररपममममननपापप सनीनीर ररसररमपननपपसनी

सांपापा-नीसपननपपसनन सानीससननसननसनन सपपनीपननगगनीपपननगंगंगंमररररम-

ससंमगगररररपररपपनीपप-सनी सांसांनीनीससनीसननससननसंसपापानीससननसननसंसंननर र पा

पानीससननमम गररररससनननन पननपमगमगपमगमगररससररमपननपापसननसां सां

गाममागाममगमगमगममगमा गपपगपगननननगम-गपपगमगसां। सससधननपमा सस

ननसननररररससमगमा गपमगगररमासससधनीपानन पगमगपगममगररमा। समगररपपनन पपसनन

पमगमगपमगमगरर मासररमपनीपपसनी र र र पप सनीसा - इत्यालापः।

sāsapāmāmāmārīsanīsāsarī māpasā nīnīrīrisāripāmāsanisā. sanirīripāsanī-

sāmagāmāpāsanīsāsanipāpanī sadhanīpāpanīnīnīrīpāpanī mā mā gagarīrīsāsa-

ninipāpagāmāpādhanisasanipamamāmagamapapamagāgaririri masasasasama rīriri-

pamamamamanipāpapa sanīnīrīrisarimapanipapasanī sāpāpānīsapanipapasani

sānīsasanisanisani sapapanīpanigaganīpapanigagagamaririmasasamagagaririparipa-

panīpapasanī sāsānīnīsasanīsani-sasanisasapāpānīsasanisanisasanirīrīpā pānīsa-sanimama

garirisasanini panipamagama-gapamagamagarisasarimapanipāpasanisā sā gāmamā-

gāmamagamagamaga-mamagamā gapapagapaganinigamagapapagamagasā. sasa-

sadhanipamā sasa nisaniririsasamagamā gapamagagarimāsasasadhanīpāni

pagamagapagamamagarimā. samagaripapani papasani pamagamagapamagamagari

māsarimapanīpapasanī rīrīrīpapa sanīsā - This is the ālāpa.

गागपमगपापनन मापापमनी गपापमनी गपापमनन सं सनीसा (षड्ज) ससा। नीरररर (ऋषभ)

ररममपपनीननननर सनीसा (षड्ज) ससाननननररररननपानन (पञ्चम) गगगससधनन पपगम-

गपगमगार ररगमांममर रर (षड्ज) सससमगारररर सापापपनीनन (पञ्चम) ननरररर (पञ्चम) नन

मां मां मररगस सधननपपगम गर सर मपानन ररसनी सा सं नीररसननसा - इनत करणम।्

105
 gāgapamagapāpani māpāpamanī gapāpamanī gapāpamani sa sanīsā (ṣaḍja) sasā. nīriri

(ṛṣabha) rimamapapanīninirīsanīsā (ṣaḍja) sasāniniririnipāni (pañcama) gagagasasadhani

papagamagapagamagārīrigamāmamarīri (ṣaḍja) sasasamagāriri sāpāpapanīni (pañcama)

niriri (pañcama) ni mā mā marigasa sadhanipapagama garīsarī mapāni risanī sā sa

nīrisanisā - This is the karaṇa.

१. सा सा पा पा गा मा गा पा
चं द्रा भ र णं

२. धा नी पा पा धा नी गा गा
ह1 र नी ल कं ठ

३. सा पां सां सां सा नी पा नी

म दह ि ल यं

४. र धा सनन सा सा सा सा सा
बत्र पु र ह रं

५. पा नी र पा नी र र सनन
मृ गां क न य नं

६. पा नी र गम र गा र सनन
चग रर नन ल यं

७. सा सा पा पा नी नी पम नी
न म त स दा म द

८. सां सां सां सां सां सा सा सा

नां ग ह रं
- इत्याक्षिक्प्तका।

1. sā sā pā pā gā mā gā pā
caṃ drā bha ra ṇam

AA- ह ि नी - ल कं - ठ
1

106
 2. dhā nī pā pā dhā nī gā gā
ha ra nī la kaṇ ṭha

3. sā pā sā sā sā nī pā nī
ma hi va la yaṃ

4. rī dhā sani sā sā sā sā sā
tri pu ra ha raṃ

5. pā nī rī pā nī rī rī sani
mṛ gāṃ ka na ya naṃ

6. pā nī rī gama rī gā rī sani
gi ri ni la yaṃ

7. sā sā pā pā nī nī pama nī
na ma ta sa dā ma da

8. sā sā sā sā sā sā sā sā
nāṃ ga ha raṃ
- This is the Ākṣiptikā.

इनत मालिकैभशकः।
Mālavakaiśika

मालिश्रीः

समस्िरा तारमन्द्रषड्जांशन्यासषड्जभाक् ।।७३।।

Mālavaśrī is handled, treating all its svaras uniformly. Its tāra and mandra limits are at

ṣaḍja, and ṣaḍja plays the roles of aṃśa and nyāsa. (73cd)

इनत मालिश्रीः।
This is Mālavaśrī
(क) मालिश्रीलिणे समस्वरे नत। समाः स्िरा यस्यां सा समस्वरा। स्िराणां समत्िमत्राल्पत्ि-

बहुत्िकृतिैषपयरदहतत्िं वििक्षितम।् तेनास्यां षड्जस्यांशत्िेऽवप तददतरे षामवप तत्समबलत्िेन प्रयोगे

107
कृते रक्ततलाभ एि स्यात,् न रक्ततहाननररत्यथथः। एिं सिथत्र समस्िरता द्रष्टव्या। तारमन्द्र-षड्जा;

तारमन्द्रयोः षड्जौ यस्यां सा तथोतता। एतेनास्यास्तारमन्द्रयोरिचधदथ भशथतो भिनत। एतािद्विशेषिणम।्

अनत
ु तमन्यज्जनकान्मालिकैभशकादह्ू यम।।७३।।
्

(Ka) In the description of Mālavaśrī, ‘even-svara’ means – that melody in which the svaras are equal is

‘even-svara’. By describing the svaras as equal, what is meant is that the differences in importance

brought about by sparse use and profuse occurrence is absent. Hence, even though it has ṣaḍja

playing the role of aṃśa, in practice, employing the other svaras with equal weight, adds to the

delight, and causes no harm. This interpretation of ‘even-svara’ should be done wherever it occurs (in

rāga description). ‘Tāramandraṣaḍjā’ – This description is used because ṣaḍja occurs in the tāra and

mandra registers in it. By this its tāra and mandra limits are indicated. This is its differentiating feature

(from its source melody, Mālavakaiśika). The features that have not been described have to be

gathered from the description of its parent melody, Mālavakaiśika. (73)

(सं) मालिचश्रयं लियनत - मालवश्रीररनत। समाः स्िरा यस्याम।् स्िराणां च समत्िं मन्द्रादद-

ष्िेकस्थानोिित्िम,् अल्पत्िबहुत्ििक्जथतत्िं िा। तारमन्द्रषड्जेनत। एतस्यां षड्जस्य मध्यमत्िं

नाक्स्त।।७३।।

(Saṃ) He describes Mālavaśrī - Mālavaśrī . . . In it the svaras are equal. The equality of svaras

means that that they arise from the same place in mandra and other regions, or that they are not

distinguished by sparse or plentiful usage. ‘Tāramandraṣaḍja’ means in this melody ṣaḍja does not

come in the madhya register. (73)

षाडिः

विकाररमध्यमोित
ू ः षाडिो गपदब
ु ल
थ ः।

न्यासांशमध्यमस्तारमध्यमग्रहसंयुतः।।७४।।

काकल्यन्तरयत
ु तश्च मध्यमाददकमूिथनः।
अिरोह्याददिणेन प्रसन्नान्तेन भूवषतः।।७५।।

पूिरथ ङगे प्रयोततव्यो हास्यशङ

ृ गारद पकः।
शुिवप्रयः पूिय
थ ामे तोडडका स्यात्तदि
ु िा।।७६।।

108
 Ṣāḍava Born of the vikṛta form of Madhyamā jāti, Ṣāḍava is weak in ga and pa. It has

madhyama serving as nyāsa and aṃśa and the tāra madhyama as graha. It includes kākalī

and antara modifications, and has for its scale the mūrchanā commencing on madhyama. It

is adorned by prasannānta alaṅkāra in the avarōhī etc. melodic movement, It is to be made

use of in the pūrvaraṅga, and it heightens the hāsya and śṛṅgāra rasas. It is dear to Śukra,

and is suitable for the early watches of the day. Tōḍikā originates in it.(74-76)

(क) तोडीजनकस्य षाडिस्य लिणे - ववकाररमध्यमोभत

ू इनत। मध्यमाया जातेः शद्ध
ु भेद एकः;
विकृतभेदास्त्रयोविंशनतः। तत्र शद्ध
ु ािस्थां पररत्यज्य विकृतािस्थापन्ना मध्यमा विकारर-मध्यमा;

तस्यामि
ु त
ू ः। अवरोह्याददवणे ेनत। अत्राददशब्दे न िणोद्देशिमविििया संचार िणथ एि गह्
ृ यते।
अिरोह्याद िणौ यस्येनत बह्व्राु ्ीदहः; प्रसन्नान्तस्य विशेषणम।् अिरोदहसंचाररिणथ-यत
ु तेन
प्रसन्नान्तेनेत्यथथः।।७४-७६।।
(Ka) In the description of the parent of Tōḍī, Ṣāḍava, the phrase ‘arising from the changed

madhyamā’ occurs. Madhyamā jāti has one śuddha form and twentythree vikṛta forms. That

Madhyamā which leaves its pure form and adopts its changed form, is the ‘changed-Madhyamā’. This

melody is born of that Madhyamā. ‘By the avarōhī etc. varṇas’ includes, by the ‘etc.’, in the order of

enumeration of varṇas, only the sañcārī varṇa (and does not include the ārōhī varṇa, which comes

first in the enumeration). The bahuvrīhī compound meaning ‘possessing the avarōhī etc. varṇas’,

qualifies the phrase ‘prasannānta’. What this means is, the melody incorporates the prasannānta

(alaṅkāra), in the avarōhī and sañcārī melodic directions. (74-76)

(सं) षाडिं लियनत- ववकारीनत। गपदब

ु ल
थ ो गान्धारपञ्चमह नः। अस्य च व्यत्ु पक्त्तः कचथता मतङगेन

- षट्सु रागेषु मुख्यत्िात ् षाडिः, सप्तस्िरत्िेन षट्स्िरत्िासंभिात।् ननु कथं षट्सु रागेषु मुख्योऽयम?्

उचयते - पूिरथ ङगे तु शुद्धषाडिः प्रयोततव्यः इनत िचनात ् इनत।।७४-७६।।

(Saṃ) He describes Ṣāḍava – Changed . . . ‘Weak in ga, pa’ means it lacks gāndhāra and

pañcama.(?) Its name has been explained by Mataṅga –Ṣāḍava is so called because it is prominent

among the six rāgas. Is name does not mean ‘six-svara’, as all seven svaras are present. But how is it

prominent among the six rāgas? The answer is – The prescription is – ‘In the pūrvaraṅga,
Śuddhaṣāḍava should be employed.’ (74-76)

मां सार नीधा साधानी माधा सार गां धां सां धांमांररगामां माधामार गार नीधा

सांधानीमांमां - इत्यालापः।

109
  mā sārī nīdhā sādhānī mādhā sārīgā dhā sā dhāmārigāmā mādhāmārī gārīnīdhā

sādhānīmāmā - This is the ālāpa.

ममररग मम सस धनन सस धनन मां मां पपपपनन धममध धससरर गांगामांररगामांमां -

इनत करणम।्

mamariga mama sasa dhani sasa dhani mā mā papapapani dhamamadha dhasasari

gāgāmārigāmāmā - This is the karaṇam.

साधनन पध मारर मानन धधाधधससरर मासासाधनी धपमां मां गार गार गासामाधामां

गांर गा गमाररगा सांसाधनी मां धनन धगसाधनन मां मांमां - इनत ितथननका।

sādhani padha māri māni dhadhādhadhasasari māsāsādhanī dhapamā mā gārī gārī

gāsāmādhāmā gārīgā gamārigā sāsādhanī mā dhani dhagasādhani mā māmā - This is the

vartanī.

1. मां मां धां धां सा धा नी पा

पृ थु गं ड ग भल त

2. धा नीं मां मां मां र मां र

म द ज ल म नत सौ

3. धां नीं सां सां गा रर ग धा धा

र भ ल वन षट् प

4. सा धा सा म ग मां मां मां मां

द स मू हं

5. म ग र गा मा मा मा प म गा

मु ि भमं द्र नी ल

6. र गा सां सां मां मां मां मां

श क लै भूथ वष त

110
 7. नी धां नी धां सां सां सां सा

भम ि ग ण प ते

8. गा र र गा मां मां मां मां

जथ य तु

इत्याक्षिक्प्तका ।

1. ṁā ṁā ḋhā ḋhā sā dhā nī pā

pṛ thu gaṃ ḍa ga li ta

2. dhā ṅī ṁā ṁā ṁā rī ṁā rī

ma da ja la ma ti sau

3. ḋhā ṅī ṡā ṡā gā ri ga dhā dhā

ra bha la gna ṣaṭ pa

4. sā dhā sā ma ga ṁā ṁā ṁā ṁā

da sa mū haṃ

ma
5. rī gā mā mā mā pa ma gā
ga

mu kha miṃ dra nī la

6. rī gā ṡā ṡā ṁā ṁā ṁā ṁā

śa ka lai rbhū ṣi ta

7. nī ḋhā nī ḋhā ṡā ṡā ṡā sā

mi va ga ṇa pa tē

8. gā rī rī gī ṁā ṁā ṁā ṁā

rja ya tu

This is the Ākṣiptikā.

111
 इनत षाडिः।

This is Ṣāḍava

तोडी

मध्यमांशग्रहन्यासा सतारा कपप्रपञ्चमा।

समेतरस्िरा मन्द्रगान्धारा हषथकाररणी।।७७।।

इनत तोडी।
Tōḍī

Tōḍī has madhyama serving as aṃśa, graha and nyāsa, and the upper limit of its

movement <tāra> at sa and the lower <mandra> at gāndhāra. Its pañcama is rendered with

a shake and the other svaras are plain. It gives rise to joy. (77)

This is Tōḍī.

(क) तोडीलिणे - समेतरस्वरे नत। समा इतरे स्िरा यस्यां सा तथोतता। अस्यामंशत्िेन बहुला-

न्मध्यमादन्यस्िराः प्रयोगे भमथः समबलाः इत्यथथः। एिमन्यत्रावप समेतरस्िरत्िं द्रष्टव्यम।।७७।।

्
(Ka) In the description of Tōḍī, the phrase ‘equal in the other svaras’ occurs. That melody in which the

other svaras are equal, is described thus. In it, as madhyama is the aṃśa, it occurs frequently, and

the other svaras should be handled with equal (lack of) strength. This interpretation of ‘equal in the

other svaras’ should be taken in all the other cases of its occureence. (77)

(सं) तोडडकां लियनत - तोडिकेनत। षड्जस्तारो यस्यां सा सतारा। कपपयत

ु तः पञ्चमो यस्यां सा
कपप्रपञ्चमा। इतरे स्िरा मध्यमपञ्चमाभ्यामन्ये समा यस्याम।।७७।।
्
(Saṃ) He describes Tōḍikā - Tōḍikā . . .. The description satārā means ṣaḍja is tāra in it. That whose

pañcama is endowed with shake, is kamprapañcamā. The other svaras, i.e., other than madhyama

and pañcama, are equal(ly undistinguished) in this melody.

बङगालः

षाडिादे ि बङगालो ग्रहांशन्यासमध्यमः।

प्रहषे विननयोततव्यः प्रोततः सोढलसूनुना।।७८।।

इनत बङगालः ।

112
 Baṅgāla

Baṅgāla too is born of Ṣāḍava. It has madhyama serving as graha, aṃśa and nyāsa. It

should be employed in (scenes of) joy, according to the prescription of Śārṅgadēva <son of

Sōḍhala>. (78)

This is Baṅgāla.

(सं) बङ्‌
र्ालं लियनत - षािवाददनत।।७८।।

(Saṃ) He describes Baṅgāla. - From Ṣāḍava. (78)

भभन्नषड्जः

षड्जोद चयितीजातो भभन्नषड्जो ररपोक्ज्ितः।

धांशग्रहो मध्यमान्त उत्तरायतयायत

ु ः।।७९।।
संचाररिणथरुचचरः प्रसन्नान्तविभूवषतः।

काकल्यन्तरसंयत
ु तश्चतुराननदै ितः।।८०।।
हे मन्ते प्रथमे यामे बीभत्से सभयानके।

सािथभौमोत्सिे गेयो भैरिस्तत्समि

ु िः।।८१।।
Bhinnaṣaḍja

Bhinnaṣaḍja, born of Ṣaḍjōdīcyavatī jāt, drops ri and pa. It has dha serving as aṃśa and

graha, and madhyama as nyāsa <anta>. Its scale is provided by Uttarāyatā mūrchanā. It is

beautiful with sañcārī varṇa, adorned by prasannānta alaṅkāra. It admits kākalī and antara

svara modifications. Its deity is Brahmā <caturānana>. It is best performed in the first watch

of a winter day, and suits bībhatsa and bhayānaka rasas. It should be sung in royal festivals.

Bhairava is born of this rāga. (79-81)

(सं) भभन्नषड्जं लियनत - षड्जोदीच्यवतीनत। ऋषभपञ्चमोक्ज्ितः। धैितांशग्रहः। मध्यम-न्यासः।

उत्तरायता षड्जग्रामे तत
ृ ीया मि
ू थ ना।।७९-८१।।
(Saṃ) He describes Bhinnaṣaḍja - Ṣaḍjōdīcyavatī . . ... It lacks ṛṣabha and pañcama. It has dhaivata

as aṃśa and graha. Madhyama is the nyāsa. Uttarāyatā is the third mūrchanā of ṣaḍjagrāma. (79-81)

113
 धां धां माम गा सां सां सगम धधा धा ननधमगगमा मम मध मग सां सां ससं ग सं। ग

मधा धा धा सननस सां सानन गनन सननधाधा। सननसां सां सं सं सं ग सग सं ग मधा धानन

धम गमा माधा। धं ननं नीं नीं गाम गा मामा - इत्यालापः।

dhā dhā māma gā sā sā sagama dhadhā dhā nidhamagagamā mama madha maga sā

sā sasa ga sa. ga madhā dhā dhā sanisa sā sāni gani sanidhādhā. sanisā sā sa sa sa ga

saga sa ga madhā dhāni dhama gamā mādhā. dha ni nī nī gāma gā māmā - This is the

ālāpa.

धा धगा मामध मम सां सां। सगम धधा धा धननध पामामा मा मा मम धम गसां सां सा

मप मध गसां सां गसगध धा धा धनन पध मागा मा मा। मग सां सां सग धम धधा धाध

ननध पम गा मामा - इनत ितथनी।

dhā dhagā māmadha mama sā sā. sagama dhadhā dhā dhanidha pāmāmā mā mā mama

dhama gasā sā sā mapa madha gasā sā gasagadha dhā dhā dhani padha māgā mā mā.

maga sā sā saga dhama dhadhā dhādha nidha pama gā māmā - This is the vartanī.

1. धा धा धा नी धा पा मा गा

च ल त्त रं ग

2. सा गां मा नी धां धां धां नीं

भं गु रं अ

3. धा पा मा गा सा गा सा धा

ने क रे णु

4. धा धा नी गा मां मां मां मां

वपं ज रं सु

5. मा नी धा नी सां सां सां सां

रा सु रै ः सु

6. नीं गां सा नी धां धां धा नी

114
 से वि तं पु

7. धा पा मा गा सा गा मा धा

ना तु जा ह्न

8. धा धा नी गा मा मा मा मा

िी ज लं

- इत्याक्षिक्प्तका ।

इनत भभन्नषड्जः ।

1. dhā dhā dhā nī dhā pā mā gā

ca la tta raṃ ga

2. mā ġā mā nī ḋhā dhā ḋhā nī

bhaṃ gu raṃ a

3. dhā pā mā gā sā gā sā dhā

nē ka rē ṇu

4. dhā dhā nī gā ṁā ṁā ṁā ṁā

piṃ ja raṃ su

5. mā nī dhā nī ṡā ṡā ṡā ṡā

rā su raiḥ su

6. ṅī ġā sā nī ḋhā ḋhā dhā nī

sē vi taṃ pu

7. dhā pā mā gā sā gā mā dhā

nā tu pā hna

8. dhā dhā nī gā mā mā mā mā

115
 vī ja laṃ

- This is the Ākṣiptikā.

This is Bhinnaṣaḍja

भैरिः

धांशो मान्तो ररपत्यततः प्राथथनायां समस्िरः।

Bhairava

Bhairava has dha serving as aṃśa and ma as nyāsa. It drops ri and pa. Its svaras are

equal in importance. It is employed in prayer. (82ab)

(सं) भैरिं लियनत - भररव इनत। धैितांशः मध्यमन्यासः ऋषभपञ्चमत्यततः।।८२।।

(Saṃ) He next describes Bhairva – Bhairava . . . It has dhaivata for aṃśa, and madhyama for nyāsa,

and lacks ṛṣabha and pañcama. (82)

भभन्नपञ्चमः

मध्यमापञ्चमीजात्योः संजातो भभन्नपञ्चमः।।८२।।

धग्रहांशः पञ्चमान्तः पौरिीमूिथनायुतः।

काकल्या कभलतः तिावप ननषादे नाप्यलंकृतः।।८३।।

प्रसन्नाद्येन संचाररिणथः शौररवप्रयो रसे।

भयानके सबीभत्से सूत्रधारप्रिेशने।।८४।।

ग्रीष्मे प्रातप्रहरे गेयो िराट स्यात ् तदि

ु िा।
Bhinnapañcama

Bhinnapañcama is born of Madhyamā and Pañcamī jātis. It has dha serving as graha

and aṃśa, and pañcama as nyāsa. Its scale is furnished by the Pauravī mūrchanā. It

contains kākalī and occasionally admits (śuddha?) niṣāda. It is mainly sañcārī in movement,

adorned by prasannādi alaṅkāra It is dear to Viṣṇu. It should be employed in bhayānaka and

bībhatsa rasas, and at the entry of the sūtradhāra. It is best sung in the first watch of a

summer day. Varāṭī is born of it. (82cd-85ab)

116
(क) िराट जनकस्य भभन्नपञ्चमस्य लिणे - काकल्या्‌कमलतिः्‌तवावप्‌न षादे ाप्यलंकृतिः इत्यत
ु तम;्
तदनप
ु पन्नम;् एकक्स्मन्नेि रागे एकस्यैि स्िरस्य शद्ध
ु विकृतप्रयोगभेदेनािश्यं रागभेदा-पाताददनत चेत;्
उचयते - काकल्या्‌ कमलतिः इत्यनेनाक्स्मन ् ग्रामरागे मन्द्रमध्यमस्थयोननथषादयोः काकल त्िम।् तवावप्‌

न षादे ाप्यलंकृतिः इत्यनेन तु माध्यमग्राभमकत्िादस्य ननषादपयथन्तायास्तार-व्याप्तेविथद्यमानत्िात ्

तत्रत्यो ननषादः शद्ध

ु इनत विषयव्यिस्थयोपपद्यत इनत। तत्र तारननषादस्योपरर षड्जाभािेन शद्ध
ु तैिेनत
भािः।।८२-८५।।

(Ka) In the description of the parent melody of Varāṭī, namely, Bhinnapañcama – it is stated ‘Endowed

with kākalī, sometimes it is adorned by niṣāda too.’ The objection may arise - “That is not possible, as

the inclusion of both the śuddha and vikṛta types of the same svara in one rāga may give the

impression of two different rāgas.” The explanation is – ‘Endowed with kākalī’ only means that in this

grāmarāga, the niṣādas in the mandra and madhya sthāna are kākalī. ‘Occasionally it is adorned by

niṣāda too’ means that because of its belonging to the madhyamagrāma, the movement reaching

niṣāda occurs in the tāra sthāna, and the niṣāda of that region is śuddha. So the context resolves the

contradiction. And there, above the tāra niṣāda, ṣaḍja does not occur, and so its śuddha nature is

confirmed. (82-85)

(सं) भभन्नपञ्चमं लियनत - मध्यमेनत। धैितग्रहांशः। पञ्चमन्यासः। पौरिी मध्यमग्रामे षष्ठी मि

ू थ ना।
तिचचत्काकल यत
ु तः। तिचचचिुद्धेन ननषादे न यत
ु तः।।८२-८५।।
(Saṃ) He describes Bhinnapañcama – Madhyamā . . . Having dhaivata for graha and aṃśa, pañcama

for nyāsa. Pauravī is the sixth mūrchanā of madhyamagrāma. Sometimes it includes kākalī, and

somtimes the śuddha niṣāda. (82-86)

धा पा धामा नीधा पानी धामा गा मा पा पा पम मग पम मगस मगा गा र ं र ं र माधा

पाधा मानीधा धप धनी (धैित) धा धा मा धा सां (षड्ज) सामाररगसांसां गां गसां मनीं नन

(धैित) धा ननध पधा धाम धा मा गा मा पा पा - इत्यालापः।

dhā pā dhāmā nīdhā pānī dhāmā gā mā pā pā pama maga pama magasa magā gā rī rī rī

mādhā pādhā mānīdhā dhapa dhanī (dhaivata) dhā dhā mā dhā sā (ṣaḍja) sāmārigasāsā gā

gasā manī ni (dhaivata) dhā nidha padhā dhāma dhā mā gā mā dhā pā - This is the ālāpa.

(धैितषड्ज) सा गा रर (ऋषभ) मननध पप धपनन (धैित) धा धप धनी पधम परर गरर

ननधाधा पा मागा मा पा (पञ्चम) (ऋषभ)रर मध मम मधा पा(धैित)धप पनी धनी(षड्ज)समा

117
र र ननधा(धैित)धध मध मधा ममा गामा मा मगनी धा(पञ्चम)नी धा पां मागा मां पा पा -

इनत ितथनी।

(dhaivataṣaḍja) sā gā ri (ṛṣabha) manidha papa dhapani (dhaivata) dhā dhapa dhanī

padhama pari gari nidhādhā pā māgā mā pā (pañcama) (ṛṣabha)ri madha mama madhā

pā(dhaivata)dhapa panī dhanī(ṣaḍja)samā rīrī nidhā(dhaivata)dhadha madha madhā mamā

gāmā mā maganī dhā(pañcamī)nī dhā pā māgā mā pā pā - This is the vartanī.

1. धा मा ध प धा धा ध नन ध प मा1

वि म ल श भश िं ड

2. धा सा नी धा पा नन ध मां मा

धा रर ण

3. मा र मा धा ध प धा ध प मा

म म र ग ण न भम त

4. नी धा प ध ध नन धा धा धा धा

म भ ि भ यं

5. र मा धा मा नी गां मां नीं

िं दे बत्र लो क

6. धा प नन धा धा धा मा र मा

ना थं गं गा

7. धा प म ग रर मां ध प धा ध प मा

स रर त्स भल ल

8. नी धा ध प ध नन धा मा पा पा

धौ1 त ज टं

AA- मां
1

118
 - इत्याक्षिक्प्तका

1. dhā cmā dha pa dhā dhā dha ni dha pa mā

vi ma la ś क्षश khaṃ ḍa

2. dhā sā nī dhā pā ni dha ṁā mā

dhā ri ṇa

3. mā rī mā dhā dha pa dhā dha pa mā

ma ma ra ga ṇa na mi ta

4. nī dhā pa dha dha ni dhā dhā dhā dhā

ma bha va bha yaṃ

5. rī mā dhā mā nī ġā ṁā ṅī

vaṃ dē tri lō ka

6. dhā pa ni dhā dhā dhā mā rī mā

nā thaṃ gaṃ gā

7. dhā pa ma ga ri ṁā dha pa dhā dha pa mā

sa ri tsa li la

8. nī dhā dha pa dha ni dhā mā pā pā

dhau ta ja ṭaṃ

- This is the Ākṣiptikā.

इनत भभन्नपञ्चमः।

This is Bhinnapañcama.

िराट

धांशा षड्जग्रहन्यासा ममन्द्रा तारधैिता।।८५।।

AA- धा
1

119
 समेतरस्िरा गेया शङ
ृ गारे शाङचथ गसंमता।
Varāṭī.

Varāṭī has dha serving as aṃśa, and ṣaḍja as graha and nyāsa. Its ma occurs in the

mandra region and dhaivata in the tāra region. The other svaras are equal, (with no

particular role). It should be sung in situations of love. It is dear to Viṣṇu. (85cd-86ab)

इनत िराट ।
This is Varāṭī.

(सं) िराट ं लियनत - वराटीनत। धैितोंऽशो यस्यां सा। मध्यमो मन्द्रो यस्यां सा ममन्द्रा।

मध्यमधैिताभ्याभमतरे स्िराः समा यस्यां सा तथा।।८५-८६।।

(Saṃ) He describes Varāṭī - Varāṭī . . .. That which has dhaivata for aṃśa. That which has

madhyama in the mandra region is described as ‘ma-mandra’. With svaras other than madhyama and

dhaivata eqally (undistinguished). (85-86)

पञ्चमषाडिः

मध्यमग्रामसंबन्धो धैित्याषथभभकोििः।।।८६।।

ररन्यासांशग्रहः तिावप मान्तः पञ्चमषाडिः।

विलसत्काकल कोऽवप कलोपनतयाक्न्ितः।।८७।।

प्रसन्नाद्यन्तकभलतारोदहिणथः भशिवप्रयः।

िीररौद्राित
ु रसो नार हास्ये ननयुज्यते।।८८।।
Pañcamaṣāḍava

Pañcamaṣāḍava is connected with the madhyamagrāma, born though it is, of Dhaivatī

and Arṣabhī. It has ri serving as nyāsa, aṃśa and graha. Occasionally ma is the nyāsa. The

bright kākalī modification is also admitted. It has Kalōpanatā (third mūrchanā in

madhyamagrāma) as its scale. It is expressed chiefly in the ārōhī melodic direction, adorned

by prasannādyanta alaṅkāra. It is dear to Śiva. It is expressive of vīra, raudra and adbhuta

rasas, and is employed in scenes of merriment involving women. (86cd-88)

(क) गज
ु रथ जनकस्य पञ्चमषाडिस्य लिणे ररन्यासांशग्रहिः्‌तवावप्‌मान्तिः इनत। अयमथथः - ऋषभस्य
ग्रहांशत्िे तस्यैि न्यासत्िं तिापीनत। तत्र प्रयोगिशान्मध्यमांशो भिनत। तदा मान्तो मध्यमन्यासः

120
कतथव्य इनत। तथाह मतङगः - प्रयोतति
ृ शात ् तिचचन्मध्यमोंऽशोऽवप न्यासश्च इनत।

ववलसत्काकलीकोऽपीनत। उततलिणिशात ् बत्रस्थानव्याक्प्तमतोऽस्य मन्द्रमध्यमस्िरयोननथषादयोः

काकल त्िे सनत तारननषादोऽवप प्रयोततव्य इत्यवपशब्दे न द्योत्यते।।८६-८८।।

(Ka) In the description of the parent rāga of Gurjarī, namely, Pañcamaṣāḍava, the words ‘with ri as

nyāsa, aṃśa and graha, sometimes ma-ending’ occur. This is the purport – When ṛṣabha is the graha

and aṃśa, it serves as the nyāsa too sometimes. In the course of performance, madhyama becomes

the aṃśa. Then it should be rendered ma-ending, i.e., with madhyama-nyāsa. As Mataṅga has said –

At the hands of the performer, sometimes, madhyama becomes the aṃśa as well as nyāsa. Shining

with kākalī too - According to the prescribed features, when, in this three-sthāna melody, the mandra

and madhya versions of the svara are kākalī, the tāra niṣāda too should be included, as indicated by

the word ‘too’. (86-88)

(सं) पञ्चमषाडिं लियनत - मध्यमग्रामेनत। ऋषभ एि न्यासः अंशो ग्रहश्च। तिचचन्मध्यमन्यासः।

कलोपनता मध्यमग्रामे तत
ृ ीया मि
ू थ ना।।८६-८८।।
(Saṃ) He describes Pañcamaṣāḍava – Madhyamagrāma . . . Ṛṣabha itself serves as the nyāsa,

aṃśa and graha. Sometimes madhyama is the nyāsa. Kalōpanatā is the third mūrchanā of

madhyamagrāma. (86-88)

र र ररगारर सानी र र र रर ननरररररर मगामाम धामाम मामामामम मरर मग पप गम

मगामम गममप पग मम गा गरररर गरर मम रर गमम सधं ननध सनन

धसननधाध(पञ्चम)ननपां पनन सनी र र ं ररनीर म गामाम धामम माम गा गम गम गप पग

मम नींनन धाधपापमाम गागर र ररम सररग सगसंध ननननध सननध धननधाध(पञ्चम)ननपापर र

ररग मां पां धनीर र ररनीरर ममामाम गरर सगा मागर रर मगा मामा - इत्यालापः।

rīrīrigāri sānī rīrīrīri niririri magāmāma dhāmāma māmāmāmama mari maga papa gama

magāmama gamamapa paga mama gā gariri gari mama ri gamama sadha nidha sani

dhasanidhādha(pañcama)nipā pani sanī rīrī rinīrīma gāmāma dhāmama māma gā gama

gama gapa paga mama nīni dhādhapāpamāma māgarīrīrima sariga sagasadha ninidha

sanidha dhanidhādha(pañcama)nipāparīrī riga mā pā dhanīrī rīrinīri mamāmāma gari sagā

māgarīri magā māmā - This is the ālāpa.

121
 र मामाम मगारर(ऋषभ)ररमापानीनी ननमम धामपा गामागा मर र गार

मगाररगा(षड्ज)सननधा(पञ्चम) पंनी(पञ्चम)मधा ममा(ऋषभ)र मापानी पासानी मारर

(ऋषभ)रर(षड्ज)सनी सरर ररगाग सामगागर र - इनत करणम।्

rīmāmāma magāri(ṛṣabha)rimāpānīnī nimama dhāmapā gāmāgā marīrī gārī

magārigā(ṣaḍja)sanidhā(pañcama) panī(pañcama)madhā mamā(ṛṣabha)rī māpānī pāsānī

māri (ṛṣabha)ri(ṣaḍja)sanī sari rigāga sāmagāgarīrī - This is the karaṇam.

1. र गा मा मा र र र र

स क ल सु र न भम त

2. मा गा र मा गा र र र

वि म ल मृ दु च र ण

3. र गा र धा नी मा नी नी

द्ि य स रो ज यु

4. धा मा धा नी गा रं रं रं

ग ल म म र गु रुं श

5. र र र गा र र र र

र ण म म ल मु प

6. र र र गा नी नी नी नी

म सु र सु र ज नय

7. मा नी मा मा नी मा मा र

म सु र सु र ज नय

8. मा गा मा मा र र र र

न म जे यं

122
 <iªÉÉÊIÉÎ{iÉEòÉ*

1. rī gā mā mā rī rī rī rī

sa ka la su ra na mi ta

2. mā gā rī mā gā rī rī rī

vi ma la mṛ du ca ra ṇa

3. rī gā rī dhā nī mā nī nī

dva ya sa rō ja yu

4. dhā mā dhā nī gā ṙī ṙī ṙī

ga la ma ma ra gu ruṃ śa

5. rī rī rī gā rī rī rī rī

ra ṇa ma ma la mu pa

6. rī rī rī gā nī nī nī nī

ma su ra su ra ha yi

7. mā nī mā mā nī mā mā rī

ma su ra su ra ja yi

8. mā gā mā mā rī rī rī rī

na ma jē yaṃ

This is the Ākṣiptikā.

इनत पञ्चमषाडिः

This is Pañcamaṣāḍava.

गज
ु रथ
तज्जा गुजरथ रका मान्ता ररग्रहांशा ममध्यभाक् ।

123
 ररतारा ररधभनू यष्ठा शङ
ृ गारे ताडडता मता।।८९।।
इनत गुजरथ

Gurjarī

Gurjarī is born of that (Pañcamaṣāḍava).It has ma serving as nyāsa, and ri as graha and

aṃśa. Ma occurs mainly in the middle register. Ri sets the upper limit of movement. It

employs ri and dha profusely. It is to be used in śṛṅgāra rasa. It is rendered with tāḍita

(gamaka?). (89)

This is Gurjarī.

टतकः

षड्जमध्यमया सष्ृ टो धैित्या चाल्पपञ्चमः।

टतकः सांशग्रहन्यासः काकल्यन्तरराक्जतः।।९०।।

प्रसन्नान्ताक्न्ितश्चारुसंचार चाद्यमूिथनः।

मुदे रुद्रस्य िषाथसु प्रहरे ऽह्नश्च पक्श्चमे।।९१।।

िीररौद्राित
ु रसे युद्धिीरे ननयज्
ु यते।
Ṭakka

Ṭakka is born of ṣaḍjamadhyamā and Dhaivatī jātis. It is sparse in pañcama.It has sa

serving as aṁśa, graha and nyāsa. It is adorned by kālī and antara svara modifications. It is

beautiful with sañcārī movement, adorned by prasannānta alaṅkāra. It has the first

mūrchanā (of ṣaḍjagrāma) providing its scale. It delights Rudra. It is suitable for the later

watches of a day of the rainy season. It is employed in vīra, raudra and adbhuta rasas

involving a martial hero. (90-92ab)

(क) टतकरागलिणे - यद्ध

ु वीरे ्‌ न यज्
ु यत इनत। दानिीरो दयािीरो यद्ध
ु िीरश्चेनत िीररसक्स्त्र-विधो
िक्ष्यते।।९०-९२।।

(Ka) In the description of Ṭakka rāga, the words ‘employed for the war-hero’ occur. Vīra rasa is going

to be described under three heads, namely, munificent hero, compassionate hero and martial hero.

(90-92)

(सं) टतकरागं लियनत - षड्जमध्यमयेनत। आद्योत्तरमन्द्रा मि

ू थ ना यक्स्मन।।९०-९२।।
्

124
(Saṁ) He describes Ṭakka rāga - of ṣaḍjamadhyamā.. In it the first mūrchanā, namely Uttaramandrā,

provides the scale. (90-92)

साधा मार मागा गस गध ननसार गसार गम मास ननध मध मर र ररमागागसा सासग

मधननधासाधामरर गसा गधनन सा। सा सा ससंगसासससमररगसाससगधाधध गसा सस धध

ननधाधम धमंननमररगरररररर ननधममधमर गर मररगसा ससग सासररगधाधनन ननसासा

सससगससममगधममननधधसासधाधमामधा मररगसा गधनन स। मामामधामामधाननधानन

मामधा धननधमगामररग साधधननसासासासाससधा गममनन गगमध मर ररमगागसा।

सासाससगससमगम-सगमगनन धासा। सासा(षड्ज)सससरर धमगगसननधाधमा मामा धमधमंमं

मममधमधमाधनन सररगमगमगररमगागसागगंननसाममगमगमम गगममगग ननननमम गगमम

ससममगगगमस सममरररर गससगगससधधनननन मममधधधधधधध ननधननधमधधधधध

मधधसध ननधामधधमध-धधधधधमसगसधननधा। मममममममध सगारर मागागमग धनी

सासा - इत्यालापः।

sādhā mārī māgā gasa gadha nisārī gasārī gama māsa nidha madha marīrī rimāgāgasā

sāsaga madhanidhāsādhāmari gasā gadhani sā. sā sā sasagasāsasasa-

marigasāsasagadhādhadha gasā sasa dhadha nidhādhama dhamanimarigaririri

nidhamamadhamarī garīmarigasā sasaga sāsarigadhādhani nisāsā sasasagasasa-

mamagadhamamanidhadhasāsadhādhamāmadhā marigasā gadhani sa.

māmāmadhāmāmadhānidhāni māmadhā dhanidhamagāmariga sādhadhanisāsāsā-

sāsasadhā gamamani gagamadha marīrimagāgasā. sāsāsasagasasamagamasaga-magani

dhāsā. sāsā(ṣaḍja)sasasari dhamagagasanidhādhamā māmā dhama-dhamama

mamamadhamadhamādhani sarigamagamagarimagāgasāgaganisāma-magamagamama

gagamamagaga ninimama gagamama sasamamagagagamasa samamariri

gasasagagasasadhadhanini mamamadhadhadhadhadhadhadha nidhanidhamadhadha-

dhadhadha madhadhasadha nidhāmadhadhamadhadhadhadha-dhadhamasagasadhanidhā.

mamamamamamamadha sagāri māgāgamaga dhanī sāsā - This is the ālāpa.

साधा मार मागा गस गध ननसार गसार गम मास ननध मध मर र ररमागागसा सासग

मधननधासाधामरर गसा गधनन सा। सा सा ससंगसासससमररगसाससगधाधध गसा सस धध

ननधाधम धमंननमररगरररररर ननधममधमर गर मररगसा ससग सासररगधाधनन ननसासा

125
सससगससममगधममननधधसासधाधमामधा मररगसा गधनन स। मामामधामामधाननधानन

मामधा धननधमगामररग साधधननसासासासाससधा गममनन गगमध मर ररमगागसा।

सासाससगससमगम-सगमगनन धासा। सासा(षड्ज)सससरर धमगगसननधाधमा मामा धमधमंमं

मममधमधमाधनन सररगमगमगररमगागसागगंननसाममगमगमम गगममगग ननननमम गगमम

ससममगगगमस सममरररर गससगगससधधनननन मममधधधधधधध ननधननधमधधधधध

मधधसध ननधामधधमध-धधधधधमसगसधननधा। मममममममध सगारर मागागमग धनी

सासा - इत्यालापः।

(ṣaḍja) sadhā mārigarinidhāma madhamārigasāsagadhādha(ṣaḍja)sadhādhā-sādha gari

garīrīrīnirimā. māmamadhanidhā mamadha dhasasadhadhagarimāsagasani manimādhā-

sādhānī sāsāmāsanidhanidhānī sāgādhanī sāmā sādhā māgārīrī- (ṛṣabha)rigāmā nidhānī sā

sā sa ga madhadhanigā dhāsāsāsamarigasagasanidhā nīdhādhādha sā sāsā sāsā

magāmagāganigapamāgā. sāmāmāmā dhāmari gasāsa-gasāganī gāsā māmā gānī(ṣaḍja)sa

sā sā sā gā gā gāmā sā sā. sagāsāsā gāmagā mamagamamāmā. gāsāgāri māri māri māri

gasāgani(ṣaḍja)sasā - This is the karaṇam.

१. सा सा धा धा मा मा मा मा
सु र मु कु ट म खण ग

२. सा स नन धा सा सा सा सा सा
णा चचथ त च र णं

३. सा सा गा गा सा मा गा मा
सु र िृ ि कु सु म

४. धा सा नन ध सा सा सा सा सा
िा भस त मु कु टं

५. धा नी सा गा मा धा मा गा
श भश श क ल क्रक र ण

६. सा सा धा नी स नन धा धा धा
वि चिु रर त ज टं

126
७. सा सा पा नी मा गा मा गा
प्र ण म त प शु प नत

८. गा गा धा नी सा सा सा सा
म ज म म रं
- इत्याक्षिक्प्तका।

1. sā sā dhā dhā mā mā mā mā
su ra mu ku ṭa ma ṇi ga

2. sā sa ni dhā sā sā sā sā sā
ṇā rci ta ca ra ṇaṃ

3. sā sā gā gā sā mā gā mā
su ra vṛ kṣa ku su ma

ni sā
4. dhā sā sā sā sā sā
dha
vā si ta mu ku ṭaṃ

5. dhā nī sā gā mā dhā mā gā
śa śi śa ka la ki ra ṇaṃ

6. sā sā dhā nī sa ni dhā dhā dhā

vi cchu ri ta ja ṭaṃ

7. sā sā pā nī mā gā mā gā
pra ṇa ma ta pa śu pa ti

8. gā fā dhā nī sā sā sā sā
ma ja ma ma raṃ
- This is the Ākṣiptikā.

इनत टतकः।


This is Ṭakka.

127
 गौडः

गौडस्तदङगं ननन्यासग्रहांशः पञ्चमोक्ज्ितः।।९२।।

इनत गौडः।
Gauḍa

Gauḍa which is an aṅga of that (Ṭakka), has ni serving as nyāsa, graha and aṁśa. It

drops pañcama. (92cd)

This is Gauḍa.

(सं) गौडं लियनत - र्ौि इनत। ननषाद एि न्यासो ग्रहोऽ्ंशश्च यस्य। पञ्चमह नः; षाडि

इत्यथथः।।९२।।

(Saṁ) He describes Gauḍa – Gauḍa . . .. Niṣāda itself serves as the nyāsa, graha and aṁśa in it.

Lacking in pañcama means it is ṣāḍava. (92)

   
कोलाहलः

टतकाङगं टतकित्तारै ः स्िरै ः कोलाहलोऽखिलैः।

इनत कोलाहलः।
Kōlāhala

An aṅga of Ṭakka, Kōlāhala is rendered like Ṭakka, but has all its svaras in the upper

range. (93ab)

This is Kōlāhala.

(सं) कोलाहलं लियनत - टतकाङ्‌र्भमनत। टतकलिणसंयत

ु ताः, परं तु सिे स्िरा-स्ताराः।।९३।।
(Saṁ) He describes Kōlāhala - aṅga of Ṭakka . . .. It has the features of Ṭakka, but all its svaras are

tāra. (93)

दहन्दोलः

धैित्यषथभभकािजथस्िरनामकजानतजः।।९३।।

दहन्दोलको ररधत्यततः षड्जन्यासग्रहांशकः।

आरोदहखण प्रसन्नाद्ये शुद्धमध्याख्यमूिथनः।।९४।।

128
 काकल कभलतो गेयो िीरे रौद्रे ऽित
ु े रसे।
िसन्ते प्रहरे तुये मकरध्िजिल्लभः।।९५।।

संभोगे विननयोततव्यो िसन्तस्तत्समि

ु िः।
Hindōla

Born of the jātis that are named ater svaras, leaving out Dhaivatī and Ārṣabhī, Hindōla

lacks ri and dha. It has ṣaḍja serving as nyāsa, graha and aṁśa. It is mainly expressed in

the ascending melodic direction in the prasannādya alaṅkāra. Its scale is provided by the

śuddhamadhyā mūrchanā. It admits the kākalī svara modification. It should be sung in the

vīra, raudra and adbhuta rasas, in the fourth watch of a spring day. Dear to Madana, it

should be made use of in a situation of lovers’ union. The rāga Vasanta is born of it. (93cd-

96ab)

सं) दहन्दोलं लियनत - धैितीनत। स्िरनाभमका जातयः पञ्च शद्ध

ु ाः, षड्जकैभशतयादयश्च विकृताः;
ताभ्यो जातः। ऋषभधैितह नः। शद्ध
ु मध्या मध्यमग्रामे चतथ
ु ी मि
ू थ ना।।९३-९६।।
(Saṁ) He describes Hindōla – Dhaivatī . . . Of the jātis that are named after svaras, five are śuddha,

and the rest, like ṣaḍjakaiśikī, are vikṛta. Born of them. Lacking in ṛṣabha and dhaivata.

śuddhamadhyā is the fourth mūrchanā in madhyamagrāma. (93-96)

सानीपापमागागपापसागनी सासासासा गामापापनीनीनी गागपपापनीसा। सनीमागाग-

पापनीसनीसनीगसा। पन्नींसामपनी सगासासामां मगगससनन गसासनीसनी पपसममामगस-

ननसासंगाममा पापनीसा मनीमगामपापनीसनी सनन गसा पनन सागानी सा गासासमं गमा गसा

सननसनन ननपापमगामा। ससगगममपपनननन सननमगा गपापननसा। गासगसनीसनी सागा मम

गम मग मगमप मगापाप सगासामा मगम मनीपा पापममगागसगपापनी ननसनन सस। नीपा

मागागमा पापनी सा। सनन मगा गपापनी सागासमसनीसनी स। नन ससनी सा। सा

सासागसासनी साससगमसगपमा गपापस गगमगनी पापमम गा। गससमगगपा। ममनीप

पसननननमगापापनी सागासगसनी सनी सा(षड्ज)ससा। पापानी सासापपनी पननपापनी

सासापपनन पनी पनन सगासम मगसगसनीसनी पनी मगमगासासनी। पनी पमगम गमा गस

गसाननसनीपनी पमगमगामा। मगमग सागासस नननन पपमम गमपनीननपम। गाममपनीनन

पमगाममपनी ससननमगाससगासगामपनीपापनी मगागपनी सनीसनीगसानी

सापनीमपागममगागसससनन सा(षड्ज)सससगसस। मगामगम मगनी पापापस ननननगसा।

129
ससमा(गान्धार)-पा(पञ्चम)पपनननन गागस गसनी सनीसा(षड्ज)ससगससमगमा सस गा। नननन

सपानी ममापगमा सससगगससगसगम पापासनन मगागपापनी सागासगासननसनीसा(पञ्चम)

पपनन पनन पापनन ससनन ससपापनीपगनीगगपापनी ममम। गगगनननननन पपपनननननन सस।

पागगम ससगसगसगमपननपस ननमगागापापक्न्नं सासाससमगसगसनीनी सा - इत्यालापः।

sānīpāpamāgāgapāpasāganī sāsāsāsā gāmāpāpanīnīnī gāgapapāpanīsā.

sanīmāgāgapāpanīsanīsanīgasā. pannīsāmapanī sagāsāsāmā magagasasani gasāsanīsanī

papasamamāmagasanisāsagāmamā pāpanīsā manīmagāmapāpanī-sanī sani gasā pani

sāgānī sā gāsāsama gamā gasā sanisani nipāpamagāmā. sasagagamamapapanini

sanimagā gapāpanisā. gāsagasanīsanī sāgā mama gama maga magamapa magāpāpa

sagāsāmā magama manīpā pāpamamagāgasaga-pāpanī nisani sasa. nīpā māgāgamā

pāpanī sā. sani magā gapāpanī sāgāsamasanīsanī sa. ni sasanī sā. sā sāsāgasāsanī

sāsasagamasagapamā gapāpasa gagamaganī pāpamama gā. gasasamagagapā.

mamanīpa pasaninimagā-pāpanī sāgāsagasanī sanī sā(ṣaḍja)sasā. pāpānī sāsāpapanī

panipāpanī sāsāpapani panī pani sagāsama magasagasanīsanī panī magamagāsāsanī.

panī pamagama gamā gasa gasānisanīpanī pamagamagāmā. magamaga sāgāsasa nini

papamama gamapanīnipama. gāmamapanīni pamagāmamapanī sasanimagāsa-

sagāsagāmapanīpāpanī magāgapanī sanīsanīgasānī sāpanīmapāgamamagāgasasasani

sā(ṣaḍja)sasasagasasa. magāmagama maganī pāpāpasa ninigasā.

sasamā(gāndhāra)pā(pañcama)papanini gāgasa gasanī sanīsā-(ṣaḍja)sasagasasamagamā

sasa gā. nini sapānī mamāpagamā sasasagagasasagasagama pāpāsani magāgapāpanī

sāgāsagāsanisanīsā(pañcama) papani pani pāpani sasani sasapāpanīpaganīgagapāpanī

mamama. gagaganinini papapaninini sasa. pāgagama sasagasagasagamapanipasa

nimagāgāpāpanni sāsāsasamagasagasanīnī sā - This is the ālāpa.

सगापमगापा (पञ्चम)(षड्ज) समागसागनीननपानन पपगगपमगगांगांगां(षड्ज) ससगागम

पाधमम(पञ्चम)पानननन सननसां सं। नननननन सासासननसासाननगपानी। सांसांसांससनन ससं

ननमगगगस ससननसगमननसनन ननपनीननपानीपपगगपगमंमां गांग(षड्ज)ससंसंसंमपम।

पाननसननमा। मामा(पञ्चम)ननसनननन सनन ससा। सस ननससनी सासापनी। पनन पापपनन सनन

सससस पपपपनी। नीमम ननपननप पगसग गमगामास सननमम गमगापप

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गमगानीगांगां(षड्ज)-ससमग मगागमगागमगागमससग सननसनीपागपागमांमासस-

गगपापस(षड्ज)ससगंगं ममपपनननन सनीससगगसगसननसासा - इनत करणम।्

sagāpamagāpā (pañcama)(ṣaḍja) samāgasāganīnipāni papagagapama-

gagāgāgā(ṣaḍja) sasagāgama pādhamama(pañcama)pānini sanisā sa. ninini sāsā-

sanisāsānigapānī. sāsāsāsasani sasa nimagagagasa sasanisagamanisani

nipanīnipānīpapagagapagamamā gāga(ṣaḍja)sasasasamapama. pānisanimā. māmā-

(pañcama)nisanini sani sasā. sasa nisasanī sāsāpanī. pani pāpapani sani sasasasa

papapapanī. nīmama nipanipa pagasaga gamagāmāsa sanimama gamagāpapa

gamagānīgāgā(ṣaḍja)sasamaga magāgamagāgamagāgamasasaga sanisanīpāgapā-

gamāmāsasagagapāpasa(ṣaḍja)sasagaga mamapapanini sanīsasagagasagasanisāsā -

This is the karaṇaṇam.

१. सा सा मा गा सा गा मा पा
स मु प न त स क ल

२. प म गा सा सा सा गा मा मा
म भभ ग त ज नौ घ

३. नी सा पा नी पा नी गा पा
प रर तु ष्ट मा न

४. नी सां सां सा स नन गा स प नी
स हं सं

५. नी नी सा गा सा नी पा पा
वप्र य त म स ह च र

६. प गा सा सा ग म गा मा पा
स दह तं म द नां

७. नी सा पा नी पा नी गा पा
ग वि ना श नं

131
 नन सा सा सा
८. नन स सा गा सा
स
नौ भम
- इत्याक्षिक्प्तका।

1. sā sā mā gā sā gā mā pā
sa mu pa na ta sa ka la

pa
2. gā sā sā sā gā mā mā
ma
mā bhi ga ta pa nau gha

3. nī sā pā nī pā nī gā pā
pa ri tu ṣṭa mā na

4. nī ṡā ṡā sā sa ni gā sa pa nī
sa haṃ saṃ

5. nī nī sā gā sā nī pā pā
pri ya ta ma sa ha ca ra

6. pa gā sā sā ga na gā nā pā
sa hi taṃ ma da nāṃ

7. nī sā pā nī pā nī gā pā
ga vi nī śa naṃ

8. ni sa ni sa sā gā sā sā sā sā
nau mi
- This is the Ākṣiptikā.

इनत दहन्दोलः।

This is Hindōla.

िसन्तः

132
 पण
ू त
थ ल्लिणो दे शीदहन्दोलोऽप्येष कथ्यते।।९६।।

इनत िसन्तः।
Vasanta

With the same features as that (Hindōla), but complete (in svara content), (Vasanta) is

also known as dēśī Hindōla. (96cd)

This is Vasanta.

(सं) िसन्तं लियनत - वसन्त इनत। पण

ू ःथ सप्तस्िरः। एतािता कारणभत
ू ात ् पण
ू दथ हन्दोलकािे दः।।९६।।
(Saṁ) He describes Vasanta – Vasanta . . . Complete, i.e., with all seven svaras. Because of this,

(Hindōla) differs from its parent, the complete Hindōla (i.e., Vasanta). (96)

शद्ध
ु कैभशकमध्यमः
षड्जमध्यमया सष्ृ टः कैभशतया च ररपोक्ज्ितः।

तारसांशग्रहो मान्तः शद्ध

ु कैभशकमध्यमः।।९७।।
प्रसन्नान्तािरोदहभ्यामाद्यमि
ू थ नया यत
ु ः।
गान्धाराल्पः काकल युविीरे रौद्रे ऽित
ु े रसे।।९८।।
चन्द्रवप्रयः पूिय
थ ामे संधौ ननिथहणे भिेत।्

Śuddhakaiśikamadhyama

Śuddhakaiśikamadhyama is created with ṣaḍjamadhyamā and Kaiśikī jātis. It lacks ri and

pa. It has the tāra sa serving as aṁśa and graha, and ma as the nyāsa. It is articulated in the

avarōhī melodic direction with the prasannānta alaṅkāra. Its scale is provided by the first

mūrchanā (of ṣaḍjagrāma?). It uses gāndhāra sparingly, and admits the kākalī svara

modification. Dear to Candra, it should be employed in vīra, raudra and adbhuta rasas, and

in the early watches, in the nirvahaṇa juncture of drama. (97-99ab)



(सं) शद्ध
ु कैभशकमध्यमं लियनत - षड्जमध्यमयेनत। ऋषभपञ्चमोक्ज्ितः। तारषड्ज एिांशो ग्रहश्च
यस्य। मध्यमन्यासः।।९७-९९।।

(Saṁ) He describes śuddhakaiśikamadhyama - with ṣaḍjamadhyamā . . . It drops ṛṣabha and

pañcama. The tāra ṣaḍja serves as aṁśa as well as graha in it. Madhyama is the nyāsa. (97-99)

133
 सां धांमां धां सनन धसनी सां सां। सा धानी मां मां सां गां सां गां माधा माधा सां ननध

सनन सां सां धांमां मधमगागमा सासाधामासगासागामाधास ननधसांनी सां सासाधानी मा मां -

इत्यालापः।

sā dhāmā dhā sani dhasanī sā sā. sā dhānī mā mā sā gā sā gā mādhā mādhā sā nidha

sani sā sā dhāmā madhamagāgamā sāsādhāmāsagāsāgāmādhāsa nidhasānī sā sāsādhānī

mā mā - This is the ālāpa.

ससममधधममधसननधसासांसांसां। संसंगंम गमं मधमसाननधसां सां सां सां धंधं मंमं धम

सगसगमस गग धध सस गंसं मम धमध सधनन मामा मामा - इनत करणम।्

sasamamadhadhamamadhasanidhasāsāsāsā. sasagama gama madhamasā-nidhasā sā

sā sā dhadha mama dhama sagasagamasa gaga dhadha sasa gasa mama dhamadha

sadhani māmā māmā - This is the karaṇam.

१. सां सां धा पा मा धां पां मां

ओं का र मू नतथ

२. धा पा मा पा र र मा मा
सं स्थं मा त्रा

३. नी धा मा नी धा नी सां सां
त्र य भू वष तं क

४. नी धा नीं सां सां सां सां सां

ला ती तं

५. धा धा मां मां र र सा सा
ि र दं ि रं ि

६. धा धा मा गा गां गां मां गां

रे ण्यं गो विं

७. नी धा मा नी धा नी सा सा
द क सं स्तु तं

134
 ८. धां सा धां नी मां मां मां मां
िं दे
- इत्याक्षिक्प्तका।

1. ṡā ṡā dhā pā mā ḋhā ṗā ṁā
ōṃ kā ra mū rti

2. dhā pā mā pā rī rī mā mā
saṃ sthaṃ mā trā

3. nī dhā mā nī dhā nī ṡā ṡā
tra ya bhū ṣit taṃ ka

4. nī dhā nī ṡā ṡā ṡā ṡā ṡā
lā tī taṃ

5. dhā dhā ṁā ṁā rī rī sā sā
va ra daṃ va raṃ ba

6. dhā dhā mā mā ġā ġā ṁā ġā
rē ṇyaṃ gō viṃ

7. nī dhā mā nī dhā nī sā sā
da ka saṃ mtu taṃ

8. ḋhā sā ḋhā nī ṁā ṁā ṁā ṁā
vaṃ dē
- This is the Ākṣiptikā.

इनत शुद्धकैभशकमध्यमः।

This is śuddhakaiśikamadhyama.

धन्नासी

तज्जा धन्नाभसका षड्जग्रहांशन्यासमध्यमा।।९९।।

ररिक्जथता गपाल्पा च िीरे धीरै ः प्रयुज्यते।

135
 इनत धन्नासी।
Dhannāsī

Born of that (śuddhakaiśikamadhyama), Dhannāsī has ṣaḍja functioning as graha and

aṁśa, and madhyama as nyāsa. It lacks ri and is sparse in ga and pa. It is made use of for

heroes in vīra rasa. (99cd-100ab)

This is Dhannāsī.

(सं) धन्नासीं लियनत - तज्जेनत। गान्धारपञ्चमाल्पा।।९९-१००।।

(Saṁ) He describes Dhannāsī - Born of that . . . Sparse in gāndhāra and pañcama. (99-100)

रे िगुप्तः

षड्जग्रामे रे िगप्ु तो मध्यमाषथभभकोििः।।१००।।

ररग्रहांशो मध्यमान्तः प्रसन्नाद्यन्तभूवषतः।

बध
ु ैरुिटचार कमण्डलाजौ ननयज्
ु यते।।१०१।।
िीररौद्राित
ु रसः पािथतीपनतिल्लभः।
Rēvagupta

Rēvagupta is born in ṣaḍjagrāma, from the jātis Madhyamā and Ārṣabhī. It has ri serving

as graha and aṁśa, and madhyama as nyāsa <anta>. It is adorned by the prasannādyanta

alaṅkāra. It is employed by wise directors for the majestic gait in the circling of the stage

done by warrior heroes. It is suitable for vīra, raudra and adbhuta rasas, and is dear to śiva

<pārvatīpati>. (100cd-102ab)

(सं) रे िगप्ु तं लियनत - षड्जग्राम इनत।।१००-१०२।।

(Saṁ) He describes Rēvagupta – ṣaḍjagrāma . . . . (100-102)

र संनीररसं मगा मामा गा मा माम ग मम ग पप ग ममगा गर । ररगा ममगाधर रर

ननननधाध(पञ्चम)पपनन पनन म ममनन पापपसनन ननननर र रर सनी ननररम(गान्धार)ररररनन।

ननननररननररररमगामधा मामा (मध्यम) गमधम मगागरररर गाममगा गरर रर गाममगागरर रर

नननन धनी सार मगामा - इत्यालापः।

136
 rīsanīrisa magā māmā gā mā māma ga mama ga papa ga mamagā garī. rigā

mamagādharī ri ninidhādha(pañcama)papani pani ma mamani pāpapasani ninirīrī ri sanī

nirima(gāndhāra)ririni. niniriniririmagāmadhā māmā (madhyama) gamadhama magāgariri

gāmamagā gari ri gāmamagāgari ri nini dhanī sārī magāmā - This is the ālāpa.

रर (ऋषभ) रर ननधा (पञ्चम) ननध धा (मध्यम) मपर (ऋषभ) र धापा (पञ्चम) नी नी

सा नी र सानन रर (ऋषभ) र र गसननधनन (पञ्चम) धनन मा (मध्यम) म (पञ्चम) पपप

सनी नन ननगरर ररग ररग सारररर सानी नी (गान्धार) रर गा गार सानी नन रर पगमामा रर रर

मगर समगरर सनन (ऋषभ) रर र ररमा (मध्यम) गं मन्नीं पा (पञ्चम) नी नी र र गामा

मम मध मगग म र र नी नी गप (षड्ज) स (पञ्चम) माप मध धस मासमरर पाप मग

नीर रर गसनी नननन मरररर गम गर रर मसानन पमम मग मर र । रररर नन ननगम मररमग

गरररर मा माध ननधा। धम धनन पा पाम पा। पसनी नन सनी नन ग रर रर गरर नी रररर स

नन नन रर गा रर गर रर रर गारर सनी ननर मारर सनी नन रर नन ननध पम मप गर मम

गमा ननरर गमगार मानी ननम गामामा - इनत करणम।्

ri (ṛṣabha) ri nidhā (pañcama) nidha dhā (madhyama) maparī (ṛṣabha) rī dhāpā

(pañcama) nī nī sā nī rī sāni ri (ṛṣabha) rī rī gasanidhani (pañcama) dhani mā (madhyama)

ma (pañcama) papapa sanī ni nigari riga riga sāriri sānī nī (gāndhāra) ri gā gārī sānī ni ri

pagamāmā ri ri magarī samagari sani (ṛṣabha) ri rī rimā (madhyama) ga mannī pā

(pañcama) nī nī rī rī gāmā mama madha magaga ma rī rī nī nī gapa (ṣaḍja) sa (pañcama)

māpa madha dhasa māsamari pāpa maga nīrī ri gasanī nini mariri gama garī ri masāni

pamama maga marī rī. riri ni nigama marimaga gariri mā mādha nidhā. dhama dhani pā

pāma pā. pasanī ni sanī ni ga ri ri gari nī riri sa ni ni ri gā ri garī ri ri gāri sanī nirī māri sanī ni

ri ni nidha pama mapa garī mama gamā niri gamagārī mānī nima gāmāmā - This is the

karaṇam.

(ऋषभ) रर गमा (मध्यम) गा र ं नन पापनन पापनन पापमा सा नन पाप नन र रर गा पां।

पनन स नन रर ग नन रर र र रर रर नन मागां र ं र ं र ं रर रर मापां धामा गांर ं र र ममा

माररग ननधधनन पाप ननगा रर। ग ननधसधनन पधमप म मर र गमपनन पधसनन रर धधा म

पगरर मग पा मा सां मां गां मं मं पां सां मां गां पं मां। मम पम । ध पाध धपमर र

नीर गामररगम ररगमां मां (मध्यम) गा धा र र स स रर रर मानी नन नन स सरर रर नन नन

137
नन स सग गनी नन नन स स रर सनी नन ससस रर धरर नन पगम मरर ग सरर नन सनन धप

धनन सनन मधा गरर म गरर मा मार स नी रर मधामामा - इनत द्वितीयकरणणम।्

(ṛṣabha) ri gamā (madhyama) gā rī ni pāpani pāpani pāpamā sā ni pāpa ni rī ri gā pā.

pani sa ni ri ga ni ri rī rī ri ri ni māgā rī rī rī ri ri māpā dhāmā gārī rī rī mamā māriga nidhadhani

pāpa nigā ri. ga nidhasadhani padhamapa ma marīrī gamapani padhasani ri dhadhā ma

pagari maga pā mā sā mā gā ma ma pā sā mā gā pa mā. mama pama. dha pādha

dhapamarī rī nīrīgāmarigama rigamā mā (madhyama) gā dhā rī rī sa sa ri ri mānī ni ni sa sari

ri ni ni ni sa saga ganī ni ni sa sa ri sanī ni sasasa ri dhari ni pagama mari ga sari ni sani

dhapa dhani sani madhā gari ma gari mā mārī sa nī ri madhāmāmā - This is the second

karaṇam.

र र (षड्ज) स र र मम मागामप। ग ममाम मग मनी गम गप गम मग र ग र रर

ग (मध्यम) म (गान्धार) ग (ऋषभ) र ननध धनन (पञ्चम) मपमधनन (मध्यम) ममनन धनन

पा पसनन नन स नी नन रर रर सनी। नन रर सा सनी नन नन नन रर रर नन नन रर रर रर रर रर

रर मम (मध्यम) (गान्धार) गमगाग (मध्यम) ग गग मम रर धम मध मग गर र । रर रर

गगग म गरर मगग रर रर नन नन धधनन नन ससरर रर ग ग मगमगगमां मां मां - इनत

तत
ृ ीयकरणम।्
rīrī (ṣaḍja) sa rī rī mama māgāmapa. ga mamāma maga manī gama gapa gama maga rī

ga rī ri ga (madhyama) ma (gāndhāra) ga (ṛṣabha) rī nidha dhani (pañcama) mapamadhani

(madhyama) mamani dhani pā pasani ni sa nī ni ri ri sanī. ni ri sā sanī ni ni ni ri ri ni ni ri ri ri ri

ri mama (madhyama) (gāndhāra) gamagāga (madhyama) ga gaga mama ri dhama madha

maga garīrī. ri ri gagaga ma gari magaga ri ri ni ni dhadhani ni sasari ri ga ga

magamagagamā mā mā - This is the third karaṇam.

१. नी धा पा पा नी नी नी नी
ग रु अ खण अं ब म

२. सा नी सा र र र र र
णो ह रर आ त णु

३. सा गा र र मा गा र र

138
 अं गी पी ण प

४. गा र सा सा नी सा नी नी
ओ ह रर आ

५. मां मां गां गां पा पा नी धा

म अ1 ण वि ला भस णी

६. पा मा गा र गा र सा नी
र ति उ अ पह2 उ

७. सा सा र नी सा नी सा र
गो र म दह स वि

८. गा र गा म ग मा मा मा मा
आ र खण आ
- इत्याक्षिक्प्तका।

1. nī dhā pā pā nī nī nī nī
ga ru a ṇi aṃ ba ma

2. sā nī sā rī rī rī rī rī
ṇā ha ri ā ta ṇu

3. sā gā rī rī mā gā rī rī
aṃ gī pī ṇa pa

4. gā rī sā sā nī sā nī nī
ō ha ri ā

5. ṁā ṁā ġā ġā pā pā nī dhā
ma a ṇa vi lā si ṇī

AA- य
1

AA- ह्म
2

139
 6. pā mā gā rī gā rī sā nī
ra kkha u a mha u

7. sā sā rī nī sā nī sā rī
gō rī ma hi sa vi

ma mā mā mā
8. gā rī gā mā
ga
ā ra ṇi ā
- This is the Ākṣiptikā.

इनत रे िगुप्तः।

This is Rēvagupta.

दे शी

तज्जा दे शी ररग्रहांशन्यासा पञ्चमिक्जथता।।१०२।।

गान्धारमन्द्रा करुणे गेया मननसभूयसी।

इनत दे शी।

Dēśī

Born of that (Rēvagupta), Dēśī has ri functioning as graha, aṁśa and nyāsa, and is

devoid of pañcama. The melodic movement goes up to gāndhāra in the lower register. It

employs ma, ni and sa profusely. It should be sung in the karuṇa rasa. (102cd-103ab)

This is Dēśī.

(सं) दे शीं लियनत - तज्जेनत। गान्धारो मन्द्रो यस्याम।् मध्यमननषादषड्जबहुला।।१०२-१०३।।

(Saṁ) He describes Dēśī - Born of that . . . In it gāndhāra is mandra. Plentiful in madhyama, niṣāda

and ṣaḍja. (102-103)

गान्धारपञ्चमः

गान्धार रततगान्धार जन्यो गान्धारपञ्चमः।।१०३।।

गान्धारांशग्रहन्यासो हाररणाश्िाख्यमूिथनः।

प्रसन्नमध्यालंकारः संचाररखण सकाकभलः।।१०४।।

140
 राहुवप्रयोऽित
ु े हास्ये विस्मये करुणे भिेत।्
Gāndhārapañcama

Born of Gāndhārī and Raktagāndhārī jātis, Gāndhārapañcama has gāndhāra functioning

as aṁśa, graha and nyāsa. Its scale is provided by the mūrchanā called Hāriṇāśvā. It is

elaborated mainly in sañcārī varṇa, adorned by prasannamadhya alaṅkāra. It admits the

kākalī svara modification. Dear to Rāhu, it should be employed in adbhuta, hāsya, vismaya

(!) and karuṇa rasas. (103cd-105ab)

(सं) गान्धारपञ्चमं लियनत - र्ान्धारीनत। हाररणाश्िा मध्यमग्रामे द्वितीया मि

ू थ ना।।१०३-
१०५।।

(Saṁ) He describes Gāndhārapañcama - Gāndhārī . . .. Hāriṇāśvā is the second mūrchanā in

madhyamagrāma. (103-105)

गा सा सा नन सनन स गम गा गा। पामा गा सा सा नन सनन स समम गा गानी धानी

सा नीधा पानी मा पा मा। गा स नन स नन सग मगा - इत्यालापः।

gā sā sā ni sani sa gama gā gā. pāmā gā sā sā ni sani sa samama gā gānī dhānī sā

nīdhā pānī mā pā mā. gā sa ni sa ni saga magā - This is the ālāpa.

गममग ननगमापपपननममपामप पा पानी नन मधा मम धम ममा गा गा गम मम गामा

(षड्ज) सनन स स ग ग मग मम मगागा र गा नी स सनी पानी नी मप मा गम पा पग

मम गं ननधनन सम पपप मम। गा स गनन मसा सा सा गम धप धम ममा धा नी पनी नन

म मप नन मगा (षड्ज) स नन सा सां सम गपगम - इनत करणम।्

gamamaga nigamāpapapanimamapāmapa pā pānī ni madhā mama dhama mamā gā gā

gama mama gāmā (ṣaḍja) sani sa sa ga ga maga mama magāgā rī gā nī sa sanī pānī nī

mapa mā gama pā paga mama ga nidhani sama papapa mama. gā sa gani masā sā sā

gama dhapa dhama mamā dhā nī panī ni ma mapa ni magā (ṣaḍja) sa ni sā sā sama

gapagama – This is the karaṇam.

141
 अथ िा - गागार र सनी सपनीसगागा (पञ्चम) सगा मामग पाधानन धानन पमनन धनन स

पनन ननध ननधपापमगागा मसास साम गमधगम गा गागर सननपनन सगापमपसगागा -

इत्यालापः।

Otherwise – gāgārīrī sanī sapanīsagāgā (pañcama) sagā māmaga pādhāni dhāni pamani

dhani sa pani nidha nidhapāpamagāgā masāsa sāma gamadhagama gā gāgarī sanipani

sagāpamapasagāgā - This is the ālāpa.

मगरररर ससनन ननससगागाग ममगगममस गसगा गममगमनन धधधनन मध ममापपधनन

नीधा (पञ्चम) पाममपा मम ननधसाम ममपा मपपममा मा सां सस ससगागा - इनत करणम।्

magariri sasani nisasagāgāga mamagagamamasa gasagā gamamagamani

dhadhadhani madha mamāpapadhani nīdhā (pañcama) pāmamapā mama nidhasāma

mamapā mapapamamā mā sā sasa sasagāgā - This is the karaṇam.

१. सा नी सा गा सा गा गा गा
वपं ग ल ज टा क

२. मा पा मा पा गा गा गा गा
ला पे नन प तं

३. गा पा सा गा गा गा गा ग नन
ती ज य नत जा ह्न

४. नी पा मा प म गा गा गा गा
नी स त तं

५. गा गा गा ग नन नी नी नी नन स
पू णाथ हु नत रर ि

६. नी पा मा प म गा गा गा गा
हु त भु क्ज सु स भम चध

७. मा पा सा गा गा गा मा ग नन
प य सः क प ददथ

142
 ८. नी पा मा प म गा गा गा गा
नो प (घ) नु दे
- इत्याक्षिक्प्तका।

1. sā nī sā gā sā gā gā gā
piṃ ga la ja ṭā ka

2. mā pā mā pā gā gā gā gā
lā pē ni pa taṃ

3. gā pā sā gā gā gā gā ga ni
tī ja ya ti jā hna

mā pa
4. nī pā gā gā gā gā
ma
nī sa ta taṃ

5. gā gā gā ga ni nī nī nī ni sa
pū rṇā hu ti ri va

pa
6. nī pā mā gā gā gā gā
ma
hu ta bhu ji su sa mi dhi

7. mā pā sā gā gā gā mā ga ni
pa ya saḥ ka pa rdi

pa gā gā gā
8. nī pā mā gā
ma
nō pa(gha) nu dē
- This is the Ākṣiptikā.

इनत गान्धारपञ्चमः। इनत रागाङगानन।

This is Gāndhārapañcama. These are the rāgāṅgas.

143
 दे शाख्या

तज्जा स्फुररतगान्धारा दे शाख्या िक्जथतषथभा।।१०५।।

ग्रहांशन्यासगान्धारा ननमन्द्रा च समस्िरा।

इनत दे शाख्या।
Dēśākhyā

Born of that (Gāndhārapañcama), Dēśākhyā employs gāndhāra in the sphurita form, and

lacks ṛṣabha. It has gāndhāra serving as graha, aṁśa and nyāsa. Its ni is in the mandra

register. Its other svaras are equal, (not assigned particular roles). (105cd-106ab)

This is Dēśākhyā.


(सं) दे शाख्यां लियनत - तज्जेनत। स्फुररतो गान्धारो यस्याम।् िक्जथत ऋषभो यस्याम।् मन्द्र-

ननषादा।।१०५-१०६।।

(Saṁ) He describes Dēśākhyā - Born of that . .. In it the gāndhāra is rendered in the sphurita manner,

and ṛṣabha is dropped. Niṣāda is mandra. (105-106)

त्रिणा

त्रिणा भभन्नषड्जस्य भाषा धननसभूयसी।।१०६।।

धननसैिभथ लता धांशग्रहन्यासा ररपोक्ज्िता।

गमद्विगखु णता मन्द्रधैिता विजये मता।।१०७।।

Travaṇā

Travaṇā is a bhāṣā of Bhinnaṣaḍja. It employs dha, ni and sa profusely. Its dha, ni and

sa are rendered with valita (gamaka). It has dha serving as aṁśa, graha and nyāsa. It drops

ri and pa. Its ga and ma are rendered in twos. Its dhaivata is in the mandra region. It is

considered suitable for portraying victory. (106cd-107)

(क) भभन्नषड्जभाषायास्त्रिणाया लिणे - धन सरवमग लतेनत। िभलतभमह िक्ष्यमाणलिणो गमकभेदः।

तद्यत
ु तैधनथ नसैः प्रयत
ु तेत्यथथः। र्मद्ववर्खु णतेनत। गमयोरत्र मध्यमापेिया द्विगण
ु त्िं वििक्षितं,

मन्द्रापेिया मध्यस्थयोस्तयोः तारािचधप्रदशथनाथथम।् ननत

ू तभसद्धत्िादत्र गमयोबथहुत्िविधानाथथभमनत चेत;्
न; धननसभय ृ वबहुत्िविधानात।् अतस्तारगान्धारमध्यमितीत्यथथः। िादहतावन्याददषु
ू सीनत तददतरे षामेि पथ

144
इनत परननपातः। नन्ित्र तारािचधत्िेनक
ै क्स्मन्नेि स्िरे िततव्ये क्रकं गमद्विगखु णतेनत

स्िरद्ियग्रहणभमनत चेत;् सत्यम;् धांशग्रहन्यासेनत त्रिणाया धैितग्रहत्िात ् तदारपभिशेन यो मध्यमः स

एिात्र तारािचधः। गान्धारग्रहणं तु तारक्स्थतेतरस्िरापेिया तस्य प्रयोगबहुत्िप्रदशथनाथथम।् गमेनत

समभभव्याहारे ण मध्यमस्य बहुत्िमपीत्यिगन्तव्यम।।१०६-१०७।।

्
(Ka) In the description of the bhāṣā of Bhinnaṣaḍja, namely, Travaṇā, the words ‘with dha-ni-sa

rendered valita’ occur. Valitam is a type of gamaka whose description will be done (later in this work).

The meaning is ‘it is performed with dha, ni and sa rendered with that (gamaka)’. ‘With doubled ga-

ma’ means that with respect to the madhya (register), doubling should be done. They (ga and ma) in

the madhya sthāna are twice (as high as) those in the mandra sthāna, and (the instruction has been

given) to show that they should reach the tāra sthāna. But as instruction establishes practice, this

could be to sanction the plentiful occurrence of ga and ma. No, that is not the intention, as the plentiful

occurrence of dha, ni and sa has been separately prescribed. So the intent is to prescribe gāndhāra

and madhyama in the tāra region. [The next sentence alluding to a rule of grammar is not clear.] But

the tāra limit could have been prescribed with one svara (ma), why should the two svaras, ga and ma

have been mentioned? True. Since Travaṇā has been prescribed dha as aṁśa, graha and nyāsa,

dhaivata being the graha, and serving as the commencing svara, madhyama serves as the tāra limit.

The mention of gāndhāra is only to show that, in comparison with the other svaras in the tāra region, it

should be employed profusely. As both have been mentioned together as ‘ga-ma’, the conclusion is

that madhyama too should occur plentifully. (106-107)

(सं) त्रिणां लियनत - िवणेनत । धैितननषादषड्जबहुला । तैरेि िभलतैयत

ुथ ा । धैितग्रहांशन्यासा ।
ऋषभपञ्चमह ना । गान्धारमध्यमद्िैगण्
ु ययत
ु ा ।।१०६-१०७।।
(Saṁ) He describes Travaṇā - Travaṇā . . . It has dhaivata, niṣāda and ṣaḍja occurring frequently.

The same are rendered ‘valita’. It has dhaivata for graha, aṁśa and nyāsa. It lacks ṛṣabha and

pañcama. It has gāndhāra and madhyama doubled. (106-107)

धाधाधामानी सा नी सासनी सा सासनी धाध साससनन सासनन धानी नन धानी सासा सनन

सनी ननधाधा मां गा गं सां स। सननधाध मां गां मां मां नी धामां मगाग सा स सनन धानी

धानी ननध ननध गागमां ससनी नीननधानीननधानी धानन सनन। धाधधमाधाधा - इत्यालापः।

dhādhādhāmānī sā nī sāsanī sā sāsanī dhādha sāsasani sāsani dhānī ni dhānī sāsā sani

sanī nidhādhā mā gā ga sā sa. sanidhādha mā gā mā mā nī dhāmā magāga sā sa sani

145
dhānī dhānī nidha nidha gāgamā sasanī nīnidhānīnidhānī dhāni sani. dhādhadhamādhādhā -

This is the ālāpa.

धननधगगांग सानीनी ननननसननसननधनी ननधा धा। समनी ननध ननधा धा धसगमा

मगमगा सासा। नननननन गसनन धनन ननधा धा। गाधनन सनन धननधग सगसनन धनन मम

धननधा - इनत रूपकम।।

्
dhanidhagagāga sānīnī ninisanisanidhanī nidhā dhā. samanī nidha nidhā dhā

dhasagamā magamagā sāsā. ninini gasani dhani nidhā dhā. gādhani sani dhanidhaga

sagasani dhani mama dhanidhā - This is the rūpakam.

इनत त्रिणा
This is Travaṇā.

डोपबकृनतः

तज्जा डोपबकृनतः सांशा धान्ता दै न्ये ररपोक्ज्िता।

इनत डोपबकृनतः।

Dōmbakṛti

Born of that (Travaṇā), Dōmbakṛti has sa serving as aṁśa and dha as nyāsa <anta>. It

lacks ri and pa. It is suitable for portraying wretchedness. (108ab)

This is Dōmbakṛti.

(सं) डोपबकृनतं लियनत - तज्जेनत । षड्जोंऽशो यस्याम ् । धैितन्यासा । ऋषभपञ्चमह ना ।।

(१०८कि)।।

(Saṁ) He describes Dōmbakṛti – Born of that . . . Its aṁśa is ṣaḍja; and nyāsa is dhaivata. It lacks
ṛṣabha and pañcama. (108)

ककुभः

मध्यमापञ्चमीधैित्यि
ु िः ककुभो भिेत।।१०८।।
्
धांशग्रहः पञ्चमान्तो धैिताददकमि
ू थ नः।
प्रसन्नमध्यारोदहभ्यां करुणे यमदै ितः।।१०९।।

Kakubha

146
 Kakubha is born of Madhyamā, Pañcamī and Dhaivatī jātis. It has dha serving as aṁśa

and graha, and pañcama as nyāsa <anta>. Its scale is provided by the mūrchanā

commencing on dhaivata. It is mainly expressed in the ārōhī melodic direction, adorned by

the prasannamadhya alaṅkāra. It is employed in karuṇa rasa. Its presiding deity is Yama.

(सं) ककुभं लियनत - मध्यमेनत। धैितांशग्रहः। पञ्चमन्यासः।।१०८-१०९।।

(Saṁ) He describes Kakubha – Madhyamā . . . It has dhaivata for aṁśa and graha, and pañcama for

nyāsa. (106-109)

धमां मं मगार रररर ससनन ननधा गामापापगामा धा धगामाममनी सनन ननधाननधनन ननगा

धागधागा ररसासनन मगाग ररररसासनननन। धधधपाधपा - इत्यालापः।

dhamā ma magārī riri sasani nidhā gāmāpāpagāmā dhā dhagāmāmamanī sani

nidhānidhani nigā dhāgadhāgā risāsani magāga ririsāsanini. dhadhadhapādhapā - This is

the ālāpa.

धा(धैित)नीधा(पञ्चम)गामा(ऋषभ)रररर रर गारर(षड्ज)सधनी नी (धैित)धाधाधानीर

ररसानन ररसनन सनन सधा नीनी(धैित)धा। धा धनी ररररसा ननररसाननधानी ममगमगार

ररसानी ररसानी धाननपपमगपमधाधा। नी ननसनन ननधध(षड्ज)सगधररग(मध्यम)मनीनन मानन

ननधध(पञ्चम)मपनन मगागर ममपमगमधाधा। गाधाम गमररमागा(ऋषभ)ररमाग(षड्ज)सा।

धानी नन(धैित)धा। धामाध सररगमगपगमनन-धानी पधापनन पधमगरर ममपगरर गां मां

रर(ऋषभ)ररमाग (षड्ज)स। धानी म(धैित)धा माधसरर गमगपगमनन ननधाननप धापनीप

धमगररममपगररगामांमां(ऋषभ)सधननम(धैित)गा पमपमा(षड्ज)सधनन धनन सननधाधपा - इनत

करणम।्

dhā(dhaivata)nīdhā(pañcama)gāmā(ṛṣabha)riri ri gāri(ṣaḍja)sadhanī nī

(dhaivata)dhādhādhānīrī risāni risani sani sadhā nīnī(dhaivata)dhā. dhā dhanī ririsā

nirisānidhānī mamagamagārī risānī risānī dhānipapamagapamadhādhā. nī nisani

nidhadha(ṣaḍja)sagadhariga(madhyama)manīni māni nidhadha(pañcama)mapani magāgarī

mamapamagamadhādhā. gādhāma gamarimāgā(ṛṣabha)rimāga(ṣaḍja)sā. dhānī

ni(dhaivata)dhā. dhāmādha sarigamagapagamanidhānī padhāpani padhamagari

mamapagari gā mā ri(ṛṣabha)rimāga(ṣaḍja)sa. dhānī ma(dhaivata)dhā mādhasari

gamagapagamani nidhānipa dhāpanīpa dhamagarimamapagarigāmāmā-

147
(ṛṣabha)sadhanima(dhaivata)gā pamapamā(ṣaḍja)sadhani dhani sanidhādhapā - This is the

karaṇam.

अथ िा - धाधाधसं ससससधाध साध साधससधार र ममररग सासंधाधाध

पधसधपधधममामा। मरर मारर मां माधा धाधाधाधपधननध पधामां मधापाधा सार मर सं गं

सां गं गांध पधपमपापा - इत्यालापः।

Otherwise – dhādhādhasa sasasasadhādha sādha sādhasasadhārīrī mamariga

sāsadhādhādha padhasadhapadhadhamamāmā. mari māri mā mādhā

dhādhādhādhapadhanidha padhāmā madhāpādhā sārī marī sa ga sā ga gādha

padhapamapāpā - This is the ālāpa.

धधसासमधधधसर गा सांधा पाधापापा मामापा मापाधा पामां मां। सरर मरर ममाधप धापप

मां मां पध सरर मरर गासां धामा पार मा पां पां - इनत करणम।्

dhadhasāsamadhadhadhasarīgā sādhā pādhāpāpā māmāpā māpādhā pāmā mā. sari

mari mamādhapa dhāpapa mā mā padha sari mari gāsā dhāmā pārīmā pā pā - This is the

karaṇam.

१. धा धा सा सा धा धा र र
यो ना म य त्र

२. धा धा धा धा पा धा पा मा
नन ि स नत क रो नत

३. र र मा मा पा धा पा मा
प रर र ि णं स

४. पा धा पा मा मा मा मा मा
ि लु त स्य

५. र र मा मा धा धा पा मा
मु वधे ि स भस च

148
६. पा मा पा पा धा धा पा मा
हृ द ये द ह भस च

७. पा धा पा मा सा र सा र
स त तं नृ शं

८. गा सा पा पा पा पा पा पा
सा भस
- इत्याक्षिक्प्तका।

1. dhā dhā sā sā dhā dhā rī rī
yō nī ma ya tra

2. dhā dhā dhā dhā pā dhā pā mā

ni va sa ti k rō ti

3. rī rī mā mā pā dhā pā mā
pa ri ra kṣa ṇaṃ sa

4. pā dhā pā mā mā mā mā mā
kha lu tu sya

5. rī rī mā ṃā dhā dhā pā mā
mu gdhē va sa si ca

6. pā mā pā pā dhā dhā pā mā
hṛ da yē da ha si ca

7. pā dhā pā mā sā rī sā rī
sa ta taṃ nṛ śaṃ

8. gā sā pā pā pā pā pā pā
sā si
- This is the Ākṣiptikā.

इनत ककुभः।

149
 This is Kakubha.

रगन्ती

गेयः शरदद तज्जाता भिेिाषा रगक्न्तका।

धन्यासांशग्रहा भरू रधैितैः स्फुररतैयत

ुथ ा।।११०।।
अतारमध्यमा पापन्यासा श्रीशाङथचगणोददता।

इनत रगन्ती।
Ragantī

The bhāṣā born of that (Kakubha), Ragantī is to be sung in the autumn. It has dha serving as

nyāsa, aṁśa and graha. It is full of dhaivatas rendered with sphurita shake. It does not

reach madhyama in the upper register. Pa serves as apanyāsa. This is how the rāga has

been prescribed to be rendered by śārṅgadēva. (110-111ab)

This is Ragantī.

(सं) रगक्न्तकां लियनत - तज्जातेनत। धैितन्यासांशग्रहा। बहुभभः स्फुररतैधैितैयत

ुथ ता। एतस्यां तारो
मध्यमो नाक्स्त। पञ्चमापन्यासा।।११०-१११।।

(Saṁ) He describes Ragantikā - Born of that . . . . It has dhaivata as nyāsa, aṁśa and graha. It is

profuse in dhaivata rendered with sphurita (shake). In this melody madhyama does not occur in the

tāra region. Pañcama is the apanyāsa. (110-111)




सािर

तििा सािर धान्ता गतारा मन्द्रमध्यमा।।१११।।

मग्रहांशा स्िल्पषड्जा करुणे पञ्चमोक्ज्िता।

इनत सािर ।

Sāvarī

Born of that, Sāvarī has dha serving as nyāsa. The melody can move up to ga in the

upper register and madhyama in the lower. It has ma serving as graha and aṁśa. It uses

ṣaḍja sparingly and drops pañcama. It is suitable for karuṇa rasa. (111cd-112ab)

This is Sāvarī

150
(सं) सािर ं लियनत - तभवेनत। धैितन्यासा। तारगान्धारा। मध्यमग्रहांशा।।१११-११२।।
(Saṁ) He describes Sāvarī - Born of that.. It has dhaivata for nyāsa; with tāra gāndhāra; with

madhyama serving as graha and aṁśa. (111-112)

भोगिधथनी

विभाषा ककुभे भोगिधथनी तारमन्द्रगा।।११२।।

धैितांशग्रहन्यासा गापन्यासा ररिक्जथता।

धननभ्यां गमपैभरूथ रिैरावये विननयुज्यते।।११३।।

Bhōgavardhanī

A vibhāṣā of Kakubha, Bhōgavardhanī has ga ocurring in the upper and lower registers.

It has dhaivata serving as aṁśa, graha and nyāsa, and ga as apanyāsa. It lacks ri, and

employs dha, ni, ga, ma and pa profusely. It is used in the mood of renunciation. (112cd-

113)

(सं) भोगिधथनीं लियनत - ववभाषेनत। तारो मन्द्रश्च गान्धारो यस्याम;् मध्यगान्धारशन्

ू येत्यथथः।
गान्धारापन्यासा। धैितननषादगान्धारमध्यमपञ्चमबहुला।।११२-११३।।
(Saṁ) He describes Bhōgavardhanī - Vibhāṣā . . . In it gāndhāra is tāra and mandra; i.e., it does not

employ gāndhāra in the madhya region. It has gāndhāra for apanyāsa. It uses dhaivata, niṣāda,

gāndhāra, madhyama and pañcama profusely. (112-113)

धाधाधाध गामापा पप मम पापापम मा गा मानी धासनी गासनी। धा पामागामानीधा

पामा धाधप मध पममधा धाधगापामागा मापापापपगा मपगमनी धासनी गासनी धापमा

गामानीधाधा। धपमधपमधाधा - इत्यालापः।

dhādhādhādha gāmāpā papa mama pāpāpama mā gā mānī dhāsanī gāsanī. dhā

pāmāgāmānīdhā pāmā dhādhapa madha pamamadhā dhādhagāpā-māgā māpāpāpapagā

mapagamanī dhāsanī gāsanī dhāpamā gāmānīdhādhā. dhapamadhapamadhādhā - This is

the ālāpa.

गामधापामगा मगममध धनन नननन(षड्ज)सधध धनन पपपगगा मधा पा मधापा मधनन

धाधानी साधधनन धमपप ममधगागा। मगमममधनन नननन(षड्ज)सधधनी नननन

धमपपपगगामधा पामधापम धननधा - इनत रूपकम।्

151
 gāmadhāpāmagā magamamadha dhani nini(ṣaḍja)sadhadha dhani papapagagā madhā

pā madhāpā madhani dhādhānī sādhadhani dhamapapa mamadhagāgā.

magamamamadhani nini(ṣaḍja)sadhadhanī nini dhamapapapagagāmadhā pāmadhāpama

dhanidhā - This is the rūpakam.

इनत भोगिधथनी।
This is Bhōgavardhanī.

िेलािल

तज्जा िेलािल तारधा गमन्द्रा समस्िरा।

धाद्यन्तांशा कपप्रषड्जा विप्रलपभे हररवप्रया।।११४।।

इनत िेलािल ।
Vēlāvalī

Born of that, Vēlāvalī has dha in the upper register and ga in the lower. Its svaras are

equal, (with no particular roles / shakes?). It has dha serving as graha <ādi>, nyāsa <anta>

and aṁśa. Its ṣaḍja is shaken. It is employed in lovers’ separation. It is dear to Hari. (114)

This is Vēlāvalī

(सं) िेलािल ं लियनत - तज्जेनत। तारधैिता। मन्द्रगान्धारा। धैितग्रहन्यासांशा।।११४।।

(Saṁ) He describes Vēlāvalī - Born of that . . . It has tāra dhaivata, and mandra gāndhāra. It has

dhaivata serving as graha, nyāsa and aṁśa. (114)

प्रथममञ्जर

पञ्चमांशग्रहन्यासा धररतारा गमोत्कटा।

गमन्द्रा चोत्सिे गेया तज्ज्ञैः प्रथममञ्जर ।।११५।।

इनत प्रथममञ्जर ।

Prathamamañjarī

Prathamamañjarī has pañcama serving as aṁśa, graha and nyāsa. Dha and ri occur in

the upper register. It employs ga and ma profusely. Ga is the limit in the lower region. It

should be sung in festivity by those who have mastered it. (115)

152
 This is Prathamamañjarī

(क) प्रथममञ्जयाथ लिणे - धररतारे नत। धर तारे यस्याः सा तथोतता। अत्र ग्रहत्िेनारब्ध-पञ्चमिशात ्

तारधैितस्योततर त्या बहुत्िमेि। तारऋषभस्य तु बहुत्िमिचधत्िं चेत्यथथः। एिमन्य-त्राप्यह्

ू यम।।११५।।
्
(Ka) In the description of Prathamamañjarī - the words ‘dha-ri-tāra’ occur. It is described thus as dha

and ri are tāra in it. Since the commencement is with pañcama as graha, in the manner prescribed,

dhaivata naturally occurs profusely in the tāra region. The frequency of tāra ṛṣabha is because it sets

the limit. This interpretation must be done elsewhere too (for this description). (115)

(सं) प्रथममञ्जर ं लियनत - पञ्चमांशने त। तारऋषभधैिता। गान्धारमध्यमबहुला।।११५।।

(Saṁ) He describes Prathamamañjarī - With pañcama as aṁśa . . . It has ṛṣabha and dhaivata in the

tāra region. It is profuse in gāndhāra and madhyama. (115)

बाङगाल

धन्यासांशग्रहा भाषा बाङगाल भभन्नषड्जजा।

गापन्यासा द घथररमा धमन्द्रोद्दीपने भिेत।।११६।।

्
Bāṅgālī

Born of Bhiinaṣaḍja, the bhāṣā, Bāṅgālī, has dha serving as nyāsa, aṁśa and graha. Ga

serves as the apanyāsa. Its ri and ma are elongated. Dha sets the lower limit. It may be

employed in the heightening of the situation. (116)

(सं) बाङगाल ं लियनत - धन्यासेनत। गान्धारापन्यासा। द घथऋषभमध्यमा।।११६।।

(Saṁ) He describes Bāṅgālī - With dha as nyāsa . . . . It has gāndhāra for apanyāsa. It has

lengthened ṛṣabha and madhyama. (116)

धा गा गा धध ननगां ध गांगागमसा मा मा माम मा धामागा मागा स स र गा मा पम

गरर सनी र मर गासनी सा सा। ध स धा नी नी धा ध मा धा धा धधनी मा धा नी गा।

गा गागममा सस मा सा सा सा पमा धा माम गा गा स स र गा माप म गर सनी रर गार

सनी सा सा। स धानी नीधा धा धमा धा धा - इत्यालापः।

dhā gā gā dhadha nigā dha gāgāgamasā mā mā māma mā dhāmāgā māgā sa sa rī gā

mā pama gari sanī rī marī gāsanī sā sā. dha sa dhā nī nī dhā dha mā dhā dhā dhadhanī mā

153
dhā nī gā. gā gāgamamā sasa mā sā sā sā pamā dhā māma gā gā sa sa rī gā māpa ma garī

sanī ri gārī sanī sā sā. sa dhānī nīdhā dhā dhamā dhā dhā - This is the ālāpa.


धम गमम ध धधा मा मा गामा(षड्ज)सस धा धा धानन सनी साममध मधा। धा धा धनी

नी गा धमास स र र गगम मपप ममपपर र स स र र गग र र (षड्ज)ससनी नी

सनन सासाधमगम धगम स नी धा धा धा नी सानी साम मध मधा धा - इनत रूपकम।्

dhama gamama dha dhadhā mā mā gāmā(ṣaḍja)sasa dhā dhā dhāni sanī sāmamadha

madhā. dhā dhā dhanī nī gā dhamāsa sa rī rī gagama mapapa mama-paparī rī sa sa rī rī

gaga rī rī (ṣaḍja)sasanī nī sani sāsādhamagama dhagama sa nī dhā dhā dhā nī sānī sāma

madha madhā dhā - This is the rūpakam.

इनत बाङगाल ।
This is Bāṅgālī.

आडडकामोददका

आडडकामोददका तज्जा ग्रहांशन्यासधैिता।

ममन्द्रा तारगान्धारा गुिाथज्ञायां समस्िरा।।११७।।

इत्याडडकामोददका।
Āḍikāmōdikā

Born of that, Āḍikāmōdikā has dhaivata serving as graha, aṁśa and nyāsa. It can go up

to ma in the lower register and gāndhāra in the upper. It is employed in a situation of

exhortation by an elder. Its svaras are equal, (having no particular role / modification?). (117)

This is Āḍikāmōdikā.

(सं) आडडकामोददकां लियनत - आडिकामोददकेनत।।११७।।

(Saṁ) He describes Āḍikāmōdikā - Āḍikāmōdikā.. (117)

िेगरञ्जी

टतकभाषा िेगरञ्जी ननमन्द्रा धपिक्जथता।

154
 सांशग्रहान्ता माने स्याक्न्नषड्जररगमैबह
थ ु ः।।११८।।
Vēgarañjī

A bhāṣā of Ṭakka, Vēgarañjī has ni in the lower register, and lacks dha and pa. Sa

serves as the aṁśa, graha and nyāsa. Profuse in ni, ṣaḍja, ri, ga and ma, it should be

employed in situations of pique. (118)

(सं) िेगरञ्जीं लियनत - टतकभाषेनत। मन्द्रननषादा। धैितपञ्चमिक्जथता। षड्जग्रहांशन्यासा।

ननषादषड्जऋषभगान्धारमध्यमबहुला।।११८।।

(Saṁ) He describes Vēgarañjī - bhāṣā of Ṭakka . . . . . With mandra niṣāda. Lacking dhaivata and

pañcama. Having ṣaḍja for graha, aṁśa and nyāsa. Plentiful in niṣāda, ṣaḍja, ṛṣabha, gāndhāra and

madhyama. (118)

सा सा सनी सा ररगा नीगगम स नी गा सगसा सनी सार नी सार नी सार सनी सासा

मामागागा गा र सनन सानी सार सार सार सार सनी सनी समागार सनी नी सरर गानी

गागमासनी सासा - इत्यालापः।

sā sā sanī sā rigā nīgagama sa nī gā sagasā sanī sārī nī sārī nī sārī sanī sāsā

māmāgāgā gā rī sani sānī sārī sārī sārī sārī sanī sanī samāgārī sanī nī sari gānī gāgamāsanī

sāsā - This is the ālāpa.

मममगगर र स सनी नी सनी(षड्ज)सनी सर गरर गगगनी सगरर मासामागा गा र र

सा रर ग र सनी नी नी नी नी(षड्ज)सस(ऋषभ)रर गमरर स ररगम म र गसमर गर नी

सा ममर गा सा सा - इनत रूपकम।्

mamagagarī rī sa sanī nī sanī(ṣaḍja)sanī sarī gari gagaganī sagari māsāmāgā gā rī rī sā

ri ga rī sanī nī nī nī nī(ṣaḍja)sasa(ṛṣabha)ri gamari sa rigama ma rī gasamarī garī nī sā

mamarī gā sā sā - This is the rūpakam.

इनत िेगरञ्जी भाषा।

This is Vēgaraṅjī bhāṣā.

नागध्िननः

नागध्िननं तदि
ु त
ू ं षड्जन्यासग्रहांशकम।्

155
 धपत्यततं रसे िीरे शाङथचगदे िः समाददशत।।११९।।
्

इनत नागध्िननः।

Nāgadhvani

Born of that, Nāgadhvani, with ṣaḍja serving as nyāsa, graha and aṁśa, and dropping

dha and pa, has been prescribed for vīra rasa by śārṅgidēva. (119)

This is Nāgadhvani

(सं) नागध्िननं लियनत - ार्ध्वन ममनत। धैितपञ्चमत्यततम।।११९।।

्
(Saṁ) He describes Nāgadhvani – Nāgadhvani . . . Dropping dhaivata and pañcama. (119)

सौिीरः

षड्जमध्यमया सष्ृ टः सौिीरः काकल युतः।

गाल्पः षड्जग्रहन्यासांशकः षड्जाददमूिथनः।।१२०।।

प्रसन्नाद्यिरोदहभ्यां संयतानां तपक्स्िनाम।्

गदृ हणां च प्रिेशादौ रसे शान्ते भशिवप्रयः।।१२१।।

प्रयोज्यः पक्श्चमे यामे िीरे रौद्रे ऽित

ु े रसे।
Sauvīra

Fashioned with (the svara content of) ṣaḍjamadhyamā jāti, Sauvīra admits kākalī

modification and is sparse in ga. It has ṣaḍja serving as graha, nyāsa and aṁśa, and takes

for its scale the mūrchanā commencing from ṣaḍja. It is expressed chiefly in the avarōhī

direction, adorned by the prasannādi alaṅkāra. It is employed in announcing the entry etc. of

ascetics and hermits, and householders, chiefly in śānta rasa situations. It is dear to śiva. It

ought to be made use of for the latter part of the day, in vīra, raudra and adbhuta rasas.(120-

122ab)

(सं) सौिीरं लियनत - षड्जमध्यमयेनत। अल्पगान्धारः। संयतानां ननयमिताम।।१२०-१२२।।

्
(saṁ) He describes Sauvīra – With ṣaḍjamadhyamā.. Sparse in gāndhāra. Of ascetics, ie., persons

who practise self-control. (120-122)

156
 सां सपा पधानी धापा पधा सा सपाप धा सा सपापधा ध गारर मा गा रर सनन स पा धा

सनन सां। मां मां मगार रर मा म पा प ध ननधा पापधा सां स पापधा धगा रर मा गा र

सननधा धपा सा सनी सां सां। मम समम(षड्ज)ससं सां ग सं ग ग र ग सा सं सं स ध ध

नन ननध सनन धनन धा ध प। पपपधध ध स नन सां सां सं सं सं सम(षड्ज)ससं ससं ग सस

मरर ररग सस गध धनन ध ध ग सं सं सं धनन ध सनन धनन धध (पञ्चम)पापप रर पपनन ध

ध स सा सस धम रर रर धम रर रर धस सप। धध नन ग धध सस धध नन ध स नन धनन

धधपा। पापपप-(गान्धार)गा गग मरर स ग सननध सस। पपधध सननसा। स सं स प पप नन

नन नन (षड्ज) स स स रर रर रर रर परर पा धध स ननसा। सध म रर रर धम मा रर रर ग

सस ग धध नन धध गस सस धध ननध सनन धनन ध धप धध रर नन धधध ग रर म ग रर

स ननध स ननध स ननध ननध पपंध रर ननध सध गरर मगरर मगरर सनन ध समापपधध

सननसा - इत्यालापः।

sā sapā padhānī dhāpā padhā sā sapāpa dhā sā sapāpadhā dha gāri mā gā ri sani sa

pā dhā sani sā. mā mā magārī ri mā ma pā pa dha nidhā pāpadhā sā sa pāpadhā dhagā ri

mā gā rī sanidhā dhapā sā sanī sā sā. mama samama(ṣaḍja)sasa sā ga sa ga ga rī ga sā sa

sa sa dha dha ni nidha sani dhani dhā dha pa. papapadhadha dha sa ni sā sā sa sa sa

sama(ṣaḍja)sasa sasa ga sasa mari riga sasa gadha dhani dha dha ga sa sa sa dhani dha

sani dhani dhadha (pañcama)pāpapa ri papani dha dha sa sā sasa dhama ri ri dhama ri ri

dhasa sapa. dhadha ni ga dhadha sasa dhadha ni dha sa ni dhani dhadhapā.

pāpapapa(gāndhāra)gā gaga mari sa ga sanidha sasa. papadhadha sanisā. sa sa sa pa

papa ni ni ni (ṣaḍja) sa sa sa ri ri ri ri pari pā dhadha sa nisā. sadha ma ri ri dhama mā ri ri

ga sasa ga dhadha ni dhadha gasa sasa dhadha nidha sani dhani dha dhapa dhadha ri ni

dhadhadha ga ri ma ga ri sa nidha sa nidha nidha nidha papadha ri nidha sadha gari magari

magari sani dha samāpapadhadha sanisā - This is the ālāpa.

(षड्ज)स(पञ्चम)नीधा धा धा नी(पञ्चम)नीधा धा धनी(षड्ज)ससार रर रर पपनन धाधा

धधस स धनन ध पा। पप नन ध पं पं ननं ररं ररं ग रर मरर सासा मम रर ग सा स सस स

रर ग सा ससनन ध(पञ्चम)धा नन(षड्ज)स स। मम स सस स मस सां ससरर ग गसं ग सां

ग सं गां सस गसननधननधाधध ननपा। पगां धगां धगां गगगसमार (षड्ज)सननधापा पापाधापा

धनननन(षड्ज)समां मां गगार (ऋषभ)रररर मममधमम। मासांस (पञ्चम)

157
धासाधननननपानीधपार पपपपध धध सं सं सं धं धं धध ममम रर रर रर रर गरर गरर गस

सधनन धसा धननधधरर पपपप। पधधधध नननन(पञ्चम)पम धध धनन(षड्ज)ससां - इनत

करणम।्

(ṣaḍja)sa(pañcama)nīdhā dhā dhā nī(pañcama)nīdhā dhā dhanī(ṣaḍja)sasārī ri ri papani

dhādhā dhadhasa sa dhani dha pā. papa ni dha pa pa ni ri ri ga ri mari sāsā mama ri ga sā

sa sasa sa ri ga sā sasani dha(pañcama)dhā ni(ṣaḍja)sa sa. mama sa sasa sa masa sā

sasari ga gasa ga sā ga sa gā sasa gasanidhanidhādhadha nipā. pagā dhagā dhagā

gagagasamārī(ṣaḍja)sanidhāpā pāpādhāpā dhanini(ṣaḍja)samā mā gagārī(ṛṣabha)riri

mamamadhamama. māsāsa (pañcama)dhāsādhaninipānīdhapārīpapapapadha dhadha sa

sa sa dha dha dhadha mamama ri ri ri ri gari gari gasa sadhani dhasā dhanidhadhari

papapapa. padhadhadhadha nini(pañcama)pama dhadha dhani(ṣaḍja)sasā - This is the

karaṇam.

१. सां सां सां सां सां सां सां सां

त रु ण त रु भश ि र

२. नी नी धा धा पा पा पा मा
कु सु म भ र न भम त

३. नी धा सा धा नी धा पा पा
मृ दु सु र भभ प ि न

४. धा गा धा सा सा सां सां सां

धु त वि ट पे

५. सां सां सां नन सा सा र गा

का न ने

६. सा गा धा धा नी धा पा पा
कंु ज रो

७. नी धा सा धा नी धा पा पा
भ्र म नत म द ल भल त

158
 ८. गां गां धा सां सां सां सां सां
ल ला ग नतः
- इत्याक्षिक्प्तका।

1. ṡā ṡā ṡā ṡā ṡā ṡā ṡā ṡā
ta ru ṇa ta ru śa kha ra

2. nī nī dhā dhā pā pā pā mā
ku su ma bha ra na mi ta

3. nī dhā sā dhā nī dhā pā pā

mṛ du su ra bhi pa va na

4. dhā gā dhā sā sā ṡā ṡā ṡā
dhu ta vi ṭa pē

5. ṡā ṡā ṡā ni sā sā rī gā
kā na nē

6. sā gā dhā dhā nī dhā pā pā

kuṃ ja rō

7. nī dhā sā dhā nī dhā pā pā

bhra ma to ma da la li ta

8. ġā ġā dhā ṡā ṡā ṡā ṡā ṡā
lī lā ga tiḥ
- This is the Ākṣiptikā.

इनत सौिीरः।

This is Sauvīra.

सौिीर

सौिीर तििा मल
ू भाषा बहुलमध्यमा।।१२२।।

159
 षड्जाद्यन्तात्र संिादः सधयो ररधयोरवप।
सा गा सा सा नी धा सा सा मा धानी धा पा पाधा मा धा समधानन धाननररगा ररमामा

गार सा सा माधानीधासासा।

इनत सौिीर ।

Sauvīrī

Born of that, Sauvīrī, which is its main bhāṣā, uses madhyama profusely. It has ṣaḍja

functioning as graha <ādi> and nyāsa <anta>. In it sa and dha, as well as ri and dha are

concordant pairs. (122cd-123ab)

sā gā sā sā nī dhā sā sā mā dhānī dhā pā pādhā mā dhā samadhāni dhānirigā rimāmā

gārīsā sā mādhānīdhāsāsā.

This is Sauvīrī.

(सं) सौिीर ं लियनत - सौवीरीनत। षड्जग्रहन्यासा। अत्र षड्जधैितयोः संिादः। ऋषभधैित-योश्च

विकल्पेन पि
ू ोततसंिादापिादः।।१२२-१२३।।
(Saṁ) He describes Sauvīrī - Sauvīrī . . .. With ṣaḍja as graha and nyāsa. In this there is consonance

between ṣaḍja and dhaivata. Alternatively, as an exception to the earlier mentioned consonance,

there is ṛṣabha-dhaivata (consonance) too. 122-123)

िराट

तज्जा िरादटका सैि बटुकी धननपाचधका।।१२३।।

सन्यासांशग्रहा तारसधा शान्ते ननयुज्यते।

इनत िराट ।
Varāṭī

Born of that, Varāṭī, also called Baṭukī, uses dha, ni and pa profusely. It has sa serving

as nyāsa, aṁśa and graha, and has sa and dha occurring in the tāra region. It is employed

in śānta rasa. (123cd-124ab)

This is Varāṭī.

(सं) िरादटकां लियनत - तज्जेनत। सरव िरादटका बटुकीत्यच

ु यते। धैितननषादपञ्चमबहुला।

षड्जन्यासांशग्रहा। तारषड्जधैिता।।१२३-१२४।।

160
(Saṁ) He describes Varāṭikā - Born of that . . . The same, Varāṭikā, is called Baṭukī. It is profuse in

dhaivata, niṣāda and pañcama. It has ṣaḍja serving as nyāsa, aṁśa and graha. It contains tāra ṣaḍja

and dhaivata. (123-124)



वपञ्जर

दहन्दोले वपञ्जर भाषा गांशा सान्ता ननिक्जथता।।१२४।।

गागारर सा धारर सा सार गां मां मामा र रर साधासापामागापाधासार गापामागार सा

सानन साधार सासार गासार गागामामागार सार रर गरर र स रर मां। पां धापासारर गामारर

र सा।

इनत वपञ्जर ।

Piñjarī

Piñjarī is a bhāṣā of Hindōla. It has ga serving as the aṁśa, and sa as nyāsa. It drops ni.

(124cd)

gāgāri sā dhāri sā sārī gā mā māmā rīri sādhāsāpāmāgāpādhāsārī gāpāmāgārī sā sāni

sādhārīsāsārīgāsārī gāgāmāmāgārīsārī ri gari rīsa ri mā. pā dhāpāsāri gāmāri rīsā.

This is Piñjarī.

(सं) वपञ्जर ं लियनत - दहन्दोल इनत। गान्धारांशा। षड्जन्यासा। ननषादिक्जथता।।१२४।।

(Saṁ) He describes Piñjarī - Hindōla . . ... With gāndhāra for aṁśa, ṣaḍja for nyāsa, dropping niṣāda.

(124)

नट्टा

तज्जा समस्िरा नट्टा तारगान्धारपञ्चमा।

सन्यासांशग्रहा मन्द्रननषादा तारधैिता।।१२५।।

इनत नट्टा।
Naṭṭā

161
 Born of that, Naṭṭā has equal (with no specified roles?) svaras, and has gāndhāra and

pañcama occurring in the upper region. It has sa functioning as nyāsa, aṁśa and graha, and

has its mandra limit at niṣāda and tāra limit at dhaivata. (125)

This is Naṭṭā.

(सं) नट्टां लियनत - तज्जेनत।।१२५।।

(Saṁ) He describes Naṭṭā - Born of that.. (125)

 
कणाथटबङगालः

अङगं कणाथटबङगालं िेगरञ्ज्याः पिक्जथतम।्

गांशं सान्तं च शङ
ृ गारे िक्तत श्रीकरणेश्िरः।।१२६।।
इनत कणाथटबङगालः। इनत भाषाङगाखण।

Karṇāṭabaṅgāla

Karṇāṭabaṅgāla is an (bhāṣā-)aṅga of Vēgarañjī.It has ga serving as aṁśa and sa as

nyāsa, and lacks pa. It is prescribed for śṛṅgāra rasa by the lord of śrīkaraṇas (śārṅgadēva).

(126)

This is Karṇāṭabaṅgāla. These are the bhāṣāṅga rāgas.

(सं) कणाथटबङगालं लियनत - अङ्‌र्ममनत। पञ्चमिक्जथतम।् गान्धारांशम।् षड्जन्यासम।।१२६।।

्
(Saṁ) He describes Karṇāṭabaṅgāla – Aṅga . . ... Lacking pañcama, with gāndhāra as aṁśa; ṣaḍja as

nyāsa. (126)

रामकृनतः

आपञ्चमं तारमन्द्रा षड्जन्यासांशकग्रहा।

ररषड्जाभ्यचधका धीरै रेषा रामकृनतमथता।।१२७।।

इनत रामकृनतः।

Rāmakṛti

162
 Rāmakṛti goes up to pañcama in the upper and lower registers. It has ṣaḍja serving as

nyāsa, aṁśa and graha. It employs ri and ṣaḍja profusely. This is how the experts conceive

of Rāmakṛti. (127)

This is Rāmakṛti.


(सं) रामकृनतं लियनत - आपञ्चमममनत। एतस्यां षड्जमारभ्य पञ्चमस्िरपयथन्तं पञ्च स्िरास्तारा

मन्द्राश्च। मध्या न भिक्न्त। ऋषभषड्जबहुला।।१२७।।

(Saṁ) He describes Rāmakṛti - Goes up to pañcama.. In this, the five svaras from ṣaḍja to pañcama,

occur in the tāra and mandra regions. They do not occur in the madhya range. It is profuse in ṛṣabha

and ṣaḍja. (127)

गौडकृनतः

षड्जांशग्रहणन्यासां मतारां मपभय

ू सीम।्
ररधत्यततां पमन्द्रां च तज्ज्ञा गौडकृनतं जगुः।।१२८।।

इनत गौडकृनतः।
Gauḍakṛti

Gauḍakṛti is described by the experts as having ṣaḍja serving as aṁśa, graha and

nyāsa. Its tāra limit is at ma and it uses ma and pa profusely. It drops ri and dha and has its

mandra limit at pa. (128)

(सं) गौडकृनतं लियनत - षड्जांशेनत। तारमध्यमा। मध्यमपञ्चमबहुला। ऋषभधैित-

त्यतता।।१२८।।
(Saṁ) He describes Gauḍakṛti – With ṣaḍja as aṁśa. With tāra madhyama. Plentiful in madhyama

and pañcama; dropping ṛṣabha and dhaivata. (128)

दे िकृनतः

ननमन्द्रा मध्यमव्याप्ता ररपत्यतता समस्िरा।

सन्यासांशा धग्रहा च िीरे दे िकृनतभथिेत।।१२९।।

्
इनत दे िकृनतः। इनत क्रियाङगाखण।

163
 Dēvakṛti

Dēvakṛti has ni in the mandra region, is full of madhyama, drops ri and pa, and its

(other?) svaras are equal. Sa serves as nyāsa and aṁśa, and dha as graha. It is employed

in vīra rasa. (129)

This is Dēvakṛti. These are the kriyāṅga rāgas.

(सं) दे िकृनतं लियनत - न मन्द्रे नत। मन्द्रननषादा। मध्यमव्याप्ता मध्यमबहुला। ऋषभपञ्चम-

त्यतता।।१२९।।

(Saṁ) He describes Dēvakṛti – with ni mandra . . . i.e., with mandra niṣāda, covered by madhyama,
i.e., profuse in madhyama; leaving out ṛṣabha and pañcama. (129)

कौन्तल िराट

स्युिरथ ाट्या उपाङगानन सन्यासांशग्रहाखण षट्।

समन्द्रा कौन्तल तत्र ननभूररः कपप्रधा रतौ।।१३०।।

इनत कौन्तल िराट ।

Kauntalī Varāṭī

There are six upāṅga rāgas of Varāṭī, with sa serving as nyāsa, aṁśa and graha. Of

them, Kauntalī Varāṭī has its mandra limit at sa, is full of ni, and has its dha shaken. It is

employed in situations of love. (130)

This is Kauntalī Varāṭī.

(सं) िराट्या उपाङगानन विभजते - स्यरु रनत। कौन्तल ं िराट ं लियनत - समन्द्रे नत। मन्द्रषड्जा।

ननषादबहुला। कक्पपतधैिता। रतौ विननयोगः।।१३०।।

(Saṁ) He distinguishes the upāṅgas of Varāṭī - There should be . . . He describes Kauntalī Varāṭī -

with mandra sa . . ., i.e., with mandra ṣaḍja, profuse in niṣāda; with shaken dhaivata. It is prescribed

in love. (130)

द्राविडी िराट

िराट द्राविडी भूररननमन्द्रा स्फुररतषथभा।

164
 इनत द्राविडी िराट ।

Drāviḍī Varāṭī

Drāviḍī Varāṭī employs ni profusely in the mandra region and has ri rendered with the

sphurita shake. (131ab)

This is Drāviḍī Varāṭī.

(सं) द्राविडीिराट ं लियनत - वराटीनत। भरू रन मन्द्रा मन्द्रननषादबहुला। स्फुररतषगभा स्फुररतः ऋषभो

यस्याम।।१३१।।
्
(Saṁ) He describes Drāviḍīvarāṭī - Varāṭī . . . . profuse-ni-mandra, i.e., plentiful in mandra niṣāda;

with sphurita ṛṣabha, i.e., in it ṛṣabha is rendered (with the) sphurita (shake). (131)

सैन्धिी िराट

िराट सैन्धिी भूररगान्धारा सधकक्पपता।।१३१।।

शाङगथदेिेन गददता शङ
ृ गारे मन्द्रमध्यमा।
इनत सैन्धिी िराट ।

Saindhavī Varaṭī

Saindhavī Varaṭī employs gāndhāra profusely and has sa and dha shaken. It has its

mandra limit at madhyama. It is prescribed for śṛṅgāra rasa by śārṅgadēva. (131cd-132ab)

This is Saindhavī Varaṭī.

(सं) सैन्धिीिराट ं लियनत - वराटीनत। भरू रर्ान्धारा गान्धारबहुला। सधक्पपता कक्पपत-

षड्जधैिता।।१३१-१३२।।
(Saṁ) He describes Saindhavīvarāṭī - Varāṭī . . . with plenty of gāndhāra, i.e., with gāndhāra

occurring many times. With shaken sa and dha, i.e., with its ṣaḍja and dhaivata rendered with a

shake. (131-132)

अपस्थानिराट

मक्ण्डता मननधैमन्
थ द्रै रपस्थानिरादटका।।१३२।।
इत्यपस्थानिराट ।

Apasthānavarāṭī

165
 Apasthānavarāṭī is adorned with ma, ni and dha in the mandra region. (132cd)

This is Apasthānavarāṭī.

(सं) अपस्थानिराट ं लियनत - म्डितेनत। मन धरमध्

थ यमननषादधैितैमन्ग द्रर म्ग डिता।।१३२।।
(Saṁ) He describes Apasthānavarāṭī - Adorned by . . i.e., By ma-ni-dha, i.e., adorned by mandra

madhyama, niṣāda and dhaivata. (132)

हतस्िरिराट

हतस्िरा धमन्द्रा कपप्रपसा हतपञ्चमा।

इनत हतस्िरिराट ।

Hatasvaravarāṭī

Hatasvara(varāṭī) has its mandra limit at dha. It has its pa and sa shaken and its

pañcama rendered with strike <hata> (gamaka?). (133ab)

This is Hatasvaravarāṭī.

(सं) हतस्िरिराट ं लियनत - हतस्िरे नत। धमन्द्रा मन्द्रधैिता। कपप्रपसा कक्पपतपञ्चमषड्जा ।।१३३।।
(Saṁ) He describes Hatasvaravarāṭī - Hatasvara . . . . Dha-mandra, i.e., with mandra dhaivata; with

kampra pa-sa, i.e., with shaken pañcama and ṣaḍja. (133)

प्रतापिराट

स्यात ् प्रतापिराट तु धमन्द्रा कपप्रपसोरुपा।।१३३।।

इनत प्रतापिराट । इनत िराट्युपाङगानन।

Pratāpavarāṭī

Pratāpavarāṭī has its mandra limit at dha, its pa and sa shaken, and profuse occurrence

of pa. (133cd)

This is Pratāpavarāṭī. These are the upāṅgas of Varāṭī.

(सं) प्रतापिराट ं लियनत - स्याददनत। उरुपा पञ्चमबहुला।।१३३।।

(Saṁ) He describes Pratāpavarāṭī - It should be . . . profuse-pa, i.e., with plenty of pañcama. (133)

िायातोडी

166
 ररपत्यतता तु तोड्येि िायातोडीनत कीनतथता।
इनत िायातोडी।

Chāyātōḍī

Tōḍī itself, dropping ri and pa, is called Chāyātōḍī. (134ab)

This is Chāyātōḍī.

(सं) िायातोडीं लियनत - ररपत्यततेनत। तोड्येि ऋषभपञ्चमत्यतता िायातोडी भिनत।।१३४।।

(Saṁ) He describes Chāyātōḍī - Dropping ri and pa. Tōḍī itself, dropping ṛṣabha and pañcama,

becomes Chāyātōḍī. (134)

तुरुष्कतोडी

तोड्येि ताडडता गाल्पा तौरुष्की ननधभूयसी।।१३४।।

इनत तुरुष्कतोडी। इनत तोड्युपाङगे।

Turuṣkatōḍī

Turuṣkatōḍī is Tōḍī itself, with tāḍita (shake of svaras?), sparse in ga, profusely

employing ni and dha. (134)

This is Turuṣkatōḍī. These two are the upāṅgas of Tōḍī.

(सं) तरु
ु ष्कतोडीं लियनत - तोड्येवने त। ताडिता ताडडतस्िरा। अल्पगान्धारा ननषादधैित-बहुला।।१३४।।
(Saṁ) He describes Turuṣkatōḍī - Tōḍī itself . . .. With tāḍita, i.e., with svaras rendered with the tāḍita

(shake). Sparse in gāndhāra, profuse in niṣāda and dhaivata. (134)

महाराष्रगुजरथ

पञ्चमेनोक्ज्िता मन्द्रननषादा ताडडतोत्सिे।

गीयतामष
ृ भान्तांशा महाराष्र तु गुजरथ ।।१३५।।
इनत महाराष्रगुजरथ ।

Mahārāṣṭragurjarī

Mahārāṣṭragurjarī is without pañcama, and has its mandra limit at niṣāda. It is rendered

with tāḍita (gamaka?). It has ṛṣabha serving as nyāsa and aṁśa. it should be sung in

festivities. (135)

167
 This is Mahārāṣṭragurjarī.

(सं) महाराष्र ं गज
ु रथ ं लियनत - पञ्चमे ेनत।।१३५।।
(Saṁ) He describes Mahārāṣṭrī Gurjarī - With pañcama. (135)

सौराष्रगुजरथ

गुजय
थ ेि ररकपप्रा स्यात ् सौराषर् गुजरथ भिेत।्
इनत सौराष्रगुजरथ ।

Saurāṣṭragurjarī

Gurjarī itself, with ri shaken, becomes Saurāṣṭragurjarī. (136ab)

This is Saurāṣṭragurjarī.

(सं) सौराष्र ं गज
ु रथ ं लियनत - र्ज
ु य
ग ेवने त। गज
ु य
थ ाथमेि ऋषभः कक्पपतश्चेत ् तदा सौराष्र-

गज
ु रथ नत।।१३६।।
(Saṁ) He describes Saurāṣṭrī Gurjarī - Gurjarī itself . . . If, in Gurjarī itself, ṛṣabha is shaken, then we

have Saurāṣṭragurjarī. (136)

दक्षिणगुजरथ

दक्षिणा गुजरथ कपप्रमध्यमा ताडडतेतरा।।१३६।।

इनत दक्षिणगुजरथ ।

Dakṣiṇagurjarī

Dakṣiṇagurjarī has its madhyama shaken and the other svaras rendered with tāḍita

(gamaka?). (136cd)

This is Dakṣiṇagurjarī.

(सं) दक्षिणगज
ु रथ ं लियनत - दक्षिणेनत। ताडडता इतरे मध्यमादन्ये स्िरा यस्याम।।१३६।।
्
(Saṁ) He describes Dakṣiṇagurjarī - Dakṣiṇā.. In it the others, i.e., the svaras other than madhyama,

are rendered tāḍita, (136)

द्राविडगुजरथ

ररमन्द्रतारा स्फुररता हषे द्राविडगुजरथ ।

168
 इनत द्राविडगुजरथ । इनत गज
ु य
थ प
ुथ ाङगानन।
Drāviḍagurjarī

Drāviḍagurjarī has its mandra and tāra limits at ri, and (its svaras are) rendered sphurita.

It is employed in situations of joy. (137ab)

This is Drāviḍagurjarī. These are the upāṅgas of Gurjarī.


भुचिी

मत्यततान्दोभलतसपा धन्यासांशग्रहाक्न्िता।।१३७।।

विप्रलपभे भिेिच
ु िीत्यिोचत ् सोढलात्मजः।
इनत भच
ु िी।
Bhucchī

Bhucchī drops ma, and has its sa and pa rendered with āndōlita (gamaka?). It has dha

serving as nyāsa, aṁśa and graha. It should be employed in lovers’ separation, according to

śārṅgadēva (lit. son of Sōḍhala). (137cd-138ab)

This is Bhucchī.

(सं) भच
ु िीं लियनत - मत्यततेनत। मध्यमह ना। आन्दोभलतषड्जपञ्चमा। धैित-न्यासांशग्रहा।।१३७-
१३८।।
(Saṁ) He describes Bhucchī - Leaving out ma . . . i.e., without madhyama. With āndōlita ṣaḍja and

pañcama, with dhaivata as nyāsa, aṁśa and graha. (137-138)

िपभाइनतः

मध्यमेन ननषादे नान्दोभलता त्यततपञ्चमा।।१३८।।

िपभाइनतस्तदं शान्ता शङ
ृ गारे विननयुज्यते।
इनत िपभाइनतः।
Khambhāiti

Khambhāiti has its madhyama and niṣāda rendered āndōlita, and drops pañcama. Its

aṁśa and nyāsa are as in that (Bhucchī?). It is employed in śṛṅgāra. (138cd-139ab)

This is Khambhāiti.

169
(सं) िपभाइनतं लियनत - मध्यमे ने त। मध्यमेन ननषादे न आन्दोभलतेन यत
ु ता। त्यततपञ्चमा
पञ्चमह ना। तदं शान्ता ननषादांशन्यासा।।१३८-१३९।।

(Saṁ) He describes Khambhāiti – With madhyama . . .. Endowed with āndōlita madhyama and

niṣāda. Dropped-pañcama, short of pañcama. With that aṁśa and anta, i.e., with niṣāda for aṁśa and

nyāsa. (138-139)

िायािेलािल

िायािेलािल िेलािल ित ् कपप्रमन्द्रमा।।१३९।।

इनत िायािेलािल ।
Chāyāvēlāvalī

Chāyāvēlāvalī is like Vēlāvalī, with ma shaken in the mandra region. (139cd)

This is Chāyāvēlāvalī.

(सं) िायािेलािल ं लियनत - वेलावलीवददनत। कपप्रमन्द्रमेनत। कक्पपतो मन्द्रश्च मध्यमो

यस्याम।।१३९।।
्
(Saṁ) He describes Chāyāvēlāvalī - Like Vēlāvalī . . . Shaken-mandra-ma, i.e., in it the madhyama is

shaken and is in the mandra region. (139)

प्रतापिेलािल

सैि प्रतापपूिाथ स्यादाहता ररपिक्जथता।

इनत प्रतापिेलािल । इनत िेलािल्यप

ु ाङगानन।
Pratāpavēlāvalī

The same (Vēlāvalī), rendered with āhata (gamaka) and dropping ri and pa, gets he

pratāpa prefix (becomes Pratāpavēlāvalī). (140ab)

This is Pratāpavēlāvalī. These are the upāṅgas of Vēlāvalī.


भैरिी

धांशन्यासग्रहा तारमन्द्रगान्धारशोभभता।।१४०।।

भैरिी भैरिोपाङगं समशेषस्िरा भिेत।्

इनत भैरिी।

170
 Bhairavī

Bhairavī, an upāṅga of Bhairava, has dha serving as aṁśa, nyāsa and graha. It is

adorned by gāndhāra in the tāra and mandra regions. The remaining svaras are equal

(plain?). (140cd-141ab)

This is Bhairavī.

(सं) भैरिीं लियनत - धांशने त। धैितांशन्यासग्रहा तारमन्द्रगान्धारा। शेषाः स्िराः; धैितगान्धा-

राभ्यामन्ये।।१४०-१४१।।
(Saṁ) He describes Bhairavī - With dha-aṁśa . . . . With dhaivata as aṁśa, nyāsa and graha, with

tāra-mandra-gāndhāra. The remaining svaras, i.e., other than dhaivata and gāndhāra. (140-141)


भसंहल कामोदा

कामोदोपाङगमाख्याता कामोदा भसंहल बुधैः।।१४१।।

कामोदलिणोपेता ममन्द्रा कपप्रधैिता।

इनत भसंहल कामोदा।

Siṁhalīkāmōda

Siṁhalīkāmōda, an upāṅga of Kāmōda, has the features of Kāmōda, with ma figuring in

the mandra region, and dha shaken, according to the experts. (141cd-142ab)

This is Siṁhalīkāmōda.

िायानट्टा

िायानट्टा तु नट्टै ि मन्द्रपञ्चमभूवषता।।१४२।।

नट्टोपाङगं ननषादे न गान्धारे ण च कक्पपता।

इनत िायानट्टा।

Chāyānaṭṭā

Chāyānaṭṭā is Naṭṭā itself, adorned by pañcama in the mandra region. An upāṅga of

Naṭṭā, it is shaken at niṣāda and gāndhāra. (142cd-143ab)

This is Chāyānaṭṭā.

कोलाहला

171
 कोलाहला ट्तकभाषा सग्रहांशा पिक्जथता।।१४३।।

सधमन्द्रा मभूनयष्ठा कलहे गमकाक्न्िता।

सासा सासा मासा सास सर गामा मामगर सर र ध मार गर धममगमामार धा साधासागा

र माधगा मर गसा सासा सास ननग सार मागामामा र गर ध मधममार धा सागा साधा सामा

र माधा गासा - इत्यालापः।

र गसध सर मम धमगम गामसर सनी धासा र गर ग माधध सससं सगर ममधमगररस

नीधासर गामाधमर गमसाधनी धसर गा माम गमधम गार सनन धासर गासर गासा मागर

मा र गा सासा - इनत रूपकम।्

इनत कोलाहला।

Kōlāhalā is a bhāṣā of Ṭakka. It has sa serving as graha and aṁśa, and drops pa. Sa

and dha occur in the mandra region. It uses ma profusely. It is full of gamaka, and is

employed in situations of strife. (143cd-144ab)

sāsā sāsā māsā sāsa sarī gāmā māmagarī sarīrīdha mārīgarī dhamamaga-māmārīdhā

sādhāsāgā rīmādhagā marī gasā sāsā sāsa niga sārī māgāmāmā rīgarīdha

madhamamārīdhā sāgā sādhā sāmā rīmādhā gāsā - This is the ālāpa.

rīgasadha sarīmama dhamagama gāmasarī sanī dhāsā rīgarīga mādhadha sasasa

sagarī mamadhamagarisa nīdhāsarī gāmādhamarī gamasādhanī dhasarīgā māma

gamadhama gārī sani dhāsarī gāsarī gāsā māgarī mā rīgā sāsā - This is a rūpakam.
This is Kōlāhala.

(सं) कोलाहलां लियनत - कोलाहलेनत। षड्जग्रहांशा। पञ्चमिक्जथता। मन्द्रषड्जधैिता। मध्यमबहुला।

गमकाः प्रकीणथकाध्याये लिनयष्यन्ते।।१४३-१४४।।

(Saṁ) He describes Kōlāhalā - Kōlāhalā . . . . . . Having ṣaḍja for graha and aṁśa; lacking pañcama;

with mandra ṣaḍja and dhaivata; profuse in madhyama. The gamakas will be described in the

Chapter on Miscellaneous Topics. (143-144)


रामकृनतः

तज्जा रामकृनतिीरे मांशा सान्ता पिक्जथता।।१४४।।

भाषाङगत्िेऽप्यप
ु ाङगत्िमनतसामीप्यतोऽत्र च।

172
 शाङगथदेिेन ननणीतमन्यत्राप्यह्
ू यतां बध
ु ैः।।१४५।।
इनत रामकृनतः

Rāmakṛti

Born of that, Rāmakṛti is employed in vīra rasa. It has ma serving as aṁśa and sa as

nyāsa, and drops pa. Although it is bhāṣāṅga in nature, it has been brought under the

upāṅga class by śārṅgadēva, because of its extreme proximity (to the parent rāga?) The

experts must keep this in mind in the other cases (of shifted classification?), too. (144cd-

145)

This is Rāmakṛti

(क) तज्जेनत बहुल पयाथयभत

ू ां रामकृनतं लिनयत्िा भाषाङ्‌र्त्वेऽप्यप
ु ाङ्‌र्त्वमनतसामीप्यतो-ऽि चेत्यत
ु तम।्
अस्यायमथथः - कोलाहलोत्पन्नाया रामकृतेभाथषाङगत्िेऽप्यनतसामीप्यतः; सामीप्य-मत्र सादृश्यं वििक्षितम;्
तेन - यत्र क्रकं चचत ् सादृश्यं तत्रोपाङगत्िं; यत्राङगत्िसादृश्यं तत्रोपाङगत्िभमनत न्यायेन - अत्रोपाङगत्िं च

ननणीतभमनत। बहुल पयाथयत्िं चास्या रामकृतेिाथद्या-ध्याये िक्ष्यते।।१४४-१४५।।

(Ka) Born of that - After describing Rāmakṛti, which is synonymous with Bahulī, thus, he says – In this

case, even though it is a bhāṣāṅga, the status of upāṅga obtains because of its close proximity . . .

This is what he means – Rāmakṛti that is born of Kōlāhalā, has the bhāṣāṅga status, but because of

its extreme closeness, by closeness similarity is meant; hence – following the reasoning ‘Where a little

similarity obtains, there the upāṅga status results; where the similarity to the upāṅga status obtains,

there, the upāṅga status is granted – in this case, the upāṅga status is determined. The synonymity

with Bahulī, of this Rāmakṛti, will be explained in the chapter on Instruments. (144-145)

(सं) रामकृनतं लियनत - तज्जेनत। मध्यमांशा। षड्जन्यासा। पञ्चमिक्जथता। ननु स्ियं भाषाङगे

प्रयत
ु ता; अत आह - भाषाङगत्िेऽपीनत। भाषाङगत्िेऽप्यभ
ु यरूपत्िमेतस्या इत्यथथः। अनतसामीप्यतः;
समानस्थायत्िात।।१४४-१४५।।
्
(Saṁ) He describes Rāmakṛti – Born of that . . . With madhyama for aṁśa; with ṣaḍja as nyāsa;

lacking pañcama. But it is performed as a bhāṣāṅga . . So he says – Even though having bhāṣāṅga

status . . . Even though having bhāṣāṅga status, it has both forms. This is the import. Because of

extreme proximity, i.e., because of having the same sthāyās. (144-145)

िे िाट

दहन्दोलभाषा िे िाट गापन्यासा धभूयसी।

173
 ररह नांशग्रहन्यासषड्जा सगममन्द्रभाक् ।।१४६।।

सगतारोत्सिे हास्ये गेया गमकसंयुता।

सासा सासगम पापा पापम गापमगापाधागा धानी पापगम नीधापापामगपगा गसासासा

सगमपपापा पमगापमगा धानीपपमगपम गपमगागसा सपानीसा सासागासा मगामप पनन

सासा - इत्यालापः।

सम गम गपा पाम पमपम गागा गागससासगमनन ननसननसससगस मम नननन सनन

साससगसगमपपसननसागासा धानन पानी नीपा मगा गपमम गामसांसां गांगां पानी मासा

गासनी सासा - इनत रूपकम।्

इनत िे िाट ।

Chēvāṭī

Chēvāṭī is a bhāṣā of Hindōla. It has ga serving as apanyāsa, and dha in plentiful

occurrence. It lacks ri, and has ṣaḍja srving as aṁśa, graha and nyāsa. Sa, ga and ma occur

in the mandra register, and sa and ga in the tāra. Endowed with gamaka, it should be sung

in festivities and in situations of hāsya rasa. (146-147ab)

sāsā sāsagama pāpā pāpama gāpamagāpādhāgā dhānī pāpagama nīdhā-

pāpāmagapagā gasāsāsā sagamapapāpā pāmagāpamagā dhānīpapamagapama

gapamagāgasā sapānīsā sāsāgāsā magāmapa pani sāsā - This is the ālāpa.

sama gama gapā pāma pamapama gāgā gāgasasāsagamani nisanisasasa-gasa mama

nini sani sāsasagasagamapapasanisāgāsā dhāni pānī nīpā magā gapamama gāmasāsā

gāgā pānī māsā gāsanī sāsā - This is the rūpakam.

This is Chēvāṭī.


(सं) िे िाट ं लियनत - दहन्दोलभाषेनत। गान्धारापन्यासा। धैितबहुला। मन्द्रषड्जगान्धार-

मध्यमसंयत
ु ा।।१४६-१४७।।
(Saṁ) He describes Chēvāṭī - Bhāṣā of Hindōla. It has gāndhāra for apanyāsa; profusion of dhaivata,

and mandra ṣaḍja, gāndhāra and madhyama. (146-147)

िल्लाता

िल्लाता तदप
ु ाङगं स्याद् ररह ना मन्द्रधैिता।।१४७।।

174
 सन्यासांशग्रहा गेया शङ
ृ गारे शाङचथ गणोददता।
इनत िल्लाता।

Vallātā

Vallātā is its upāṅga. It lacks ri and goes up to dhaivata in the mandra register. It has sa

serving as nyāsa, aṁśa and graha. It ought to be sung in śṛṅgāra rasa, as prescribed by

śārṅgadēva. (147cd-148ab)

This is Vallātā.

शुद्धपञ्चमः

मध्यमापञ्चमीजातः काकल्यन्तरसंयत
ु ः।।१४८।।
पञ्चमांशग्रहन्यासो मध्यसप्तकपञ्चमः।

हृष्यकामूिथनोपेतो गेयः कामादददै ितः।।१४९।।

चारुसंचाररिणथश्च ग्रीष्मेऽह्नः प्रहरे ऽचग्रमे।

शङ
ृ गारहास्ययोः संधाििमशे प्रयुज्यते।।१५०।।
Śuddhapañcama

Śuddhapañcama is born of Madhyamā and Pañcamī jātis. It includes kākalī and antara

svara modifications. It has pañcama serving as aṁśa, graha and nyāsa. It has pañcama

(prominently?) in the middle octave. Its svara content is provided by the Hṛṣyakā mūrchanā.

Its presiding deity is Kāma. Its melody progresses beautifully in the sañcārī movement. It

ought to be sung in the first watch of a summer day in śṛṅgāra and hāsya rasas.It is

employed in the avamarśa juncture (of nāṭya?) (148cd-150)

पाधा मांधा नीधापापा। पधनीररमपधामा धनन ध पापार ंगां सांसां। मांपमागां र र ं। र ंमांपधा

मा पननधपापा। सांगां नीधा पप ननर मां पाधामाध ननध पापा - इत्यालापः।

pādhā mādhā nīdhāpāpā. padhanīrimapadhāmā dhani dha pāpārīgā sāsā. māpamāgā

rīrī. rīmāpadhā mā panidhapāpā. sāgā nīdhā papa nirī mā pādhāmādha nidha pāpā - This is

the ālāpa.

पापधपधमधधननध पापा। पापाधनन ररगपापा मधननध पापा पपधनन र र गंगं संसं गग

र ंर ं र ंर ं मम पप धम धध ननध पा - इनत करणम।्

175
 pāpadhapadhamadhadhanidha pāpā. pāpādhani rigapāpā madhanidha pāpā papadhani

rīrī gaga sasa gaga rīrī rīrī mama papa dhama dhadha nidha pā - This is the karaṇam.

१. सां सां सां सां रं रं गां गां

ज1 य वि ष म न य न

२. मा गा प म गा रं रं रं रं

म दा न त नु द ह न

३. मां सां सां सां रं रं गां सां

ि र िृ ष भ ग म न

४. मा गां प म गा रं रं रं रं

पु र द ह न

५. र ं रं मां मां पा मा2 धा मा

न त स क ल भु ि न

६. मा धा सां सां नी धा पा मा3

भस त क म ल ि द न

७. धां नीं रं मां रं मां पा पा

भ ि म म भ य ह र

८. धा मां धा नीं पा पा पा पा

भ ि श र णं


1
AA- The text of this song is similar to that of the pañcamī kapālagāna notated in SHAH of Nānyadēva
2
AA - पा
3
AA - पा

176
 - इत्याक्षिक्प्तका।

1. ṡā ṡā ṡā ṡā ṙī ṙī ġā ġā
ja ya vi ṣa ma na ya na

2. mā gā pa ma gā ṙī ṙī ṙī ṙī
ma dā na ta nu da ha na

3. ṁā ṁā ṡā ṡā ṙī ṙī ġā ṡā
va ra vṛ ṣa bha ga ma na

4. mā ġā pa ma gā ṙī ṙī ṙī ṙī
pu ra da ha na

5. ṙī ṙī ṁā ṁā pā mā dhā mā
na ta sa ka la bhu va na

6. mā dhā ṡā ṡā nī dhā pā mā
si ta ka ma la va da na

7. ḋhā ṅī ṙī ṁā ṙī ṁā pā pā
bha va ma ma bha ya ha ra

8. धा मां धा नीं पा पा पा पा
bha va śa ra ṇaṃ

- This is the Ākṣiptikā.

इनत शुद्धपञ्चमः।

This is śuddhapañcama.

(सं) शद्ध
ु पञ्चमं लियनत - मध्यमेनत। मध्यस्थानस्थपञ्चमोऽ्ंशन्यासो ग्रहो यस्य। हृष्यका

मध्यमग्रामे सप्तमी मि
ू थ ना।।१४८-१५०।।
(Saṁ) He describes śuddhapañcama – Madhyamā . . .. The pañcama in the madhya sthāna serves
as its aṁśa, nyāsa an d graha. Hṛṣyakā is the seventh mūrchanā of madhyamagrāma. (148-150)

177
 दाक्षिणात्या

तिाषा दाक्षिणात्या स्याद् ग्रहांशन्यासधैिता।

ऋषभोऽस्यामपन्यासस्तारा ननपमधैिताः।।१५१।।

वप्रयस्मत
ृ ौ ननयोगोऽस्या विभाषान्धाभलका मता।
Dākṣiṇātyā

Dākṣiṇātyā is its bhāṣā. It has dhaivata serving as graha, aṁśa and nyāsa. In this

melody, ṛṣabha serves as the apanyāsa. Ni, pa, ma and dhaivata occur in the tāra register.

Its employment has been prescribed in recollections of the loved one. Its vibhāṣā is

Āndhālikā. (151-152ab)

पापा धासा ननर र र गररमरर गपगग नीसानीमा नीधा पापा पाधा सनी र र र र गर

सगार सनी र र र नीनी गपनीध नीनी सानी सनी मागर र र र मर सनी नीध ननधा पानी

ननधापापमधा पासा पाधासनी र र र र र र गर गग पापानीधा पापापा - इत्यालापः।

पपधधसनी र र गर सनी धनी नीप पध धस नीर र ग नीस नीर र ग नीस ननधा नीनी

पापा - इनत रूपकम।्

pāpā dhāsā nirīrīrī garimari gapagaga nīsānīmā nīdhā pāpā pādhā sanī rīrīrīrī garī

sagārīsanī rīrīrī nīnī gapanīdha nīnī sānī sanī māgarīrī rīrī marī sanī nīdha nidhā pānī

nidhāpāpamadhā pāsā pādhāsanī rīrī rīrīrīrī garīgaga pāpānīdhā pāpāpā - This is the ālāpa.

papadhadhasanī rīrī garī sanī dhanī nīpa padha dhasa nīrī rīga nīsa nīrī rīga nīsa nidhā

nīnī pāpā - This is the rūpakam.

इनत दाक्षिणात्या भाषा।

This is the bhāṣā, Dākṣiṇātyā.

(सं) दाक्षिणात्यां लियनत - तभाषेनत। ननषादपञ्चममध्यमधैितास्ताराः।।१५१-१५२।।

(Saṁ) He describes Dākṣiṇātāya - Its bhāṣā . . . Niṣāda, pañcama, madhyama and dhaivata are

tāra. (151-152)

आन्धाभलका

पञ्चमांशग्रहन्यासा न्यल्पा भूर तरस्िरा।।१५२।।

178
 तारधा मन्द्रषड्जा च धापन्यासा गिक्जथता।

वियुततबन्धने गेया शाङगथदेिेन कीनतथता।।१५३।।

Āndhālikā

Āndhālikā has pañcama serving as aṁśa, graha and nyāsā. It is sparse in ni but profuse

in the other svaras. Its tāra limit is set by dha and the mandra limit by ṣaḍja. Dha serves as

the apanyāsa and ga is dropped. In the reunion of separated lovers it should be sung,

according to the prescription of śārṅgadēva. (152cd-153)

पापामामसर मापा धापा धाप धध पध धपपसा मास सार र मा पाधा पध मास ननधा

पापधपधपपमा मासा सार पाधा पाधा पप धध पध धध धम पापा मसा र मा सार मासार

मा सार मासार माधाप धधपधा पधधप मममाम सार मापा धाप धपा धासा नीधा पाप धप

पपापा - इत्यालापः।

pāpāmāmasarī māpā dhāpā dhāpa dhadha padha dhapapasā māsa sārī rīmā pādhā

padha māsa nidhā pāpadhapadhapapamā māsā sārī pādhā pādhā papa dhadha padha

dhadha dhama pāpā masā rīmā sārī māsārī mā sārī māsārī-mādhāpa dhadhapadhā

padhadhapa mamamāma sārīmāpā dhāpa dhapā dhāsā nīdhā pāpa dhapa papāpā - This is

the ālāpa.

र र सार र सर र सर र स र प र स र स धध पाधधप धधधध पममा ममा पमधा

पधामामपपमाधसधसधपमधा - इनत रूपकम।्

rīrīsārīrī sarīrīsarī rīsa rīpa rīsa rīsa dhadha pādhadhapa dhadhadhadha pamamā mamā

pamadhā padhāmāmapapamādhasadhasadhapamadhā - This is the rūpakam.

इत्यान्धाल विभाषा।

This is the vibhāṣā, Āndhālī.

(सं) आन्धाभलकां लियनत - अस्या इनत। अस्यािः दाक्षिणात्यायाः। ननषादोऽल्पो यस्याम।्

पञ्चमननषादाभ्यामन्ये स्िरा बहुलाः। धैितस्तारः।।१५१-१५३।।

(Saṁ) He describes Āndhālikā - Its . . .. Its, i.e., Dākṣiṇātyā’s. In it niṣāda is sparse. Svaras other

than pañcama and niṣāda are profuse. Dhaivata is tāra. (151-153)

179
 मल्हार

मल्हार तदप
ु ाङगं स्याद्गह ना मन्द्रमध्यमा।
पञ्चमांशग्रहन्यासा शङ
ृ गारे ताडडता मता।।१५४।।
इनत मल्हार ।
Malhārī

Malhārī, its upāṅga, should drop ga, and move down to madhyama in the mandra

register. It has pañcama serving as the aṁśa, graha and nyāsa. It should be employed in

śṛṅgāra rasa, with the tāḍita (gamaka?). (154)

This is Malhārī.

(सं) मल्हार ं लियनत - मल्हारीनत। र्ही ा; गान्धारिक्जथता। ताडिता; ताडडतस्िरा।।१५४।।

(Saṁ) He describes Malhārī - Malhārī . . . . . Without ga, i.e, dropping gāndhāra; tāḍitā, with tāḍita

svaras. (154)

मल्हारः

आन्धाल्युपाङगं मल्हारः षड्जपञ्चमिक्जथतः।

धन्यासांशग्रहो मन्द्रगान्धारस्तारसप्तमः।।१५५।।

इनत मल्हारः।
Malhāra

An upāṅga of Āndhālī, Malhāra lacks ṣaḍja and pañcama. Dha serves as the nyāsa,

aṁśa and graha. Its mandra limit is at gāndhāra, and the tāra limit at niṣāda <saptama>.

(155)

This is Malhāra.

(सं) मल्हारं लियनत - आन्धाल्यप

ु ाङ्‌र्ममनत। षड्जपञ्चमाभ्यां ह नः। औडुिोऽसौ रागः।।१५५।।
(Saṁ) He describes Malhāra - An upāṅga of Āndhālī. Lacking ṣaḍja and pañcama. This rāga is

auḍuva. (155)

कणाथटगौडः

गेयः कणाथटगौडस्तु षड्जन्यासग्रहांशकः।

180
 इनत कणाथटगौडः।
Karṇāṭagauḍa

Karṇāṭagauḍa should be sung, with ṣaḍja serving as nyāsa, graha and aṁśa. (156ab)

This is Karṇāṭagauḍa.

दे शिालगौडः

स एिान्दोभलतः षड्जे दे शिालो ररपोक्ज्ितः।।१५६।।

इनत दे शिालगौडः।
Dēśavālagauḍa

The same, when shaken at ṣaḍja, dropping ri and pa, becomes Dēśavāla(gauḍa). (156cd)

This is Dēśavālagauḍa.

(सं) दे शिालगौडं लियनत - स्‌ एवेनत। कणाथटगौड एि ऋषभपञ्चमोक्ज्ितः, आन्दोभलत-षड्जश्च

दे शिालगौडः।।१५६।।

(Saṁ) He describes Dēśavālagauḍa – The same . . . . Karṇāṭagauḍa itself, dropping ṛṣabha and

pañcama, and shaken at ṣaḍja, is Dēśavālagauḍa. (156)

तरु
ु ष्कगौडः
गान्धारबहुलो मन्द्रताडडतो ररपिक्जथतः।

ननषादांशग्रहन्यासस्तुरुष्को गौड उचयते।।१५७।।

इनत तुरुष्कगौडः।
Turuṣkagauḍa

Turuṣkagauḍa uses gāndhāra profusely, has tāḍita svaras in the mandra register. It

lacks ri and pa, and has niṣāda serving as aṁśa, graha and nyāsa. (157)

This is Turuṣkagauḍa.

(सं) तरु
ु ष्कगौडं लियनत - गान्धारे नत। मन्द्रस्िराः ताडडता यक्स्मन।।१५७।।
्

(Saṁ) He describes Turuṣkagauḍa – Gāndhāra . . . In it the mandra svaras are tāḍita. (157)

द्राविडगौडः

181
 गान्धारनतररपोपेतः प्रस्फुरत्षड्जपञ्चमः।

गेयो द्राविडगौडोऽयं ग्रहांशन्याससप्तमः।।१५८।।

इनत द्राविडगौडः। इनत गौडोपाङगानन।

Drāviḍagauḍa

Drāviḍagauḍa has gāndhāra rendered with the tiripa (gamaka?), and ṣaḍja and pañcama

with sphurita (gamaka?). It has niṣāda <saptama> serving as the graha, aṁśa and nyāsa.

(158)

This is Drāviḍagauḍa. So much for the upāṅgas of Gauḍa.

(सं) द्राविडगौडं लियनत - र्ान्धारनतररपेनत। नतररपेन ििोचचाररतेन गान्धारे णोपेतः। स्फुररत-

षड्जपञ्चमः। सप्तमो ननषादः। इनत जनकसदहता द्िापञ्चाशत ् रागाः।।१५८।।

(Saṁ) He describes Drāviḍagauḍa – with gāndhāra-tiripa . . . With gāndhāra rendered with tiripa, i.e.,

uttered with a curve. With sphurita ṣaḍja and pañcama. The seventh svara is niṣāda. These fiftytwo

rāgas have been described along with their parent melodies. (158)

अधुनाप्रभसद्धदे शीरागाः
Currently Popular Dēśīrāgas

श्रीरागः

षड्जे षाड्जीसमि
ु त
ू ं श्रीरागं स्िल्पपञ्चमम।्
सन्यासांशग्रहं मन्द्रगान्धारं तारमध्यमम।।१५९।।
्

समशेषस्िरं िीरे शाक्स्त श्रीकरणाग्रणीः।

इनत श्रीरागः।
Śrīrāga

Born of Ṣāḍjī jāti in the ṣaḍjagrāma, Śrīrāga is sparse in pañcama. It has sa functioning

as nyāsa, aṁśa and graha. It goes down to gāndhāra in the mandra region and madhyama

in the tāra. The other svaras are equal (with no particular roles). It is directed by śārṅgadēva

to be employed in vīra rasa. (159-160ab)

This is Śrīrāga.

182
(क) अधुनाप्रभसद्धदे शीरागलिणम।् तत्र श्रीरागलिणे - समशेषस्वरममनत - समाः शेषाः स्िरा यक्स्मन ् स

तथोततः। अत्र स्िल्पपञ्चमभमनत पञ्चमस्याल्पत्िविधानात्तददतरे षां स्िराणां बहुत्िे सापयं विधीयते।

यत्र यस्याल्पत्िं विधायेतरे षां समत्िविधानं तत्र तदपेिया बहुत्िं सापयमेि। यत्र बहुत्िविधानाददतरे षां

समत्िविचधस्तत्राल्पत्िं सापयमेिेनत वििेततव्यम।् एतेषु दे शीरागेषु यत्र तारमन्द्रयोरुभयोरे कस्य

िािचधनोचयते, तत्र कामचारो द्रष्टव्यः।

इदानीमधन
ु ाप्रभसद्धरागाङगाद नां लक्ष्ये प्रतीतानां लिणविरोधानां पररहाराथथमद्
ु यमः क्रियते। तत्र

विरोधोिािनाप्रकारस्ताित ् ग्रामद्ियाज्जात्याददपरं परयोत्पन्नानामेतष

े ां रागाणां मध्यमस्थ-

षड्जमध्यमस्थानयोरे ि तत्तन्मि
ू थ नारपभपिाश्रयणे शास्त्रविदहते संभित्यवप मध्यमग्रामोत्पन्नानां

मध्यमाददतोडीप्रभत
ृ ीनां च मध्यमध्यमारपभं विहाय मध्यमषड्जस्थान एिारपभो लक्ष्यते।

लिणविरुद्धतया ग्रहस्िरायत्तोत्तरस्िरसाधारणानामभािश्च। बत्रचतःु श्रनु तकत्िेन ग्रामद्ियभेदकस्य

पञ्चमस्यालोप्यत्िेन प्रयज्
ु यमानस्यावप सिथरागेष्िेकरूपता। क्रियाङगरामक्रियायां मध्यमस्य

पञ्चमश्रुनतद्ियािमणं नट्टदे ििीप्रभनृ तषु ऋषभधैितयोरन्तरकाकल्याददमश्रनु तद्ियािमणेन प्रत्येकं

पञ्चश्रुनतता च शास्त्रवििक्षिता। श्रीरागे गान्धारननषादयोमथध्यमषड्जाददमैकैकश्रुत्याश्रयणेन बत्रश्रनु तत्िे

शास्त्रविदहतेऽवप षड्जमध्यमयोरशास्त्रविदहतबत्रश्रुनतत्िकरणयोरधथिश
ै सम।् तत्रैि

ऋषभधैितयोगाथन्धारननषादादद-मश्रत्ु यािमणेन प्रत्येकं चतःु श्रनु तत्िं िा शास्त्रविदहतम।् आन्धाल्या लिणे

पञ्चमस्य ग्रहांशत्िोतत्या तथैि प्रस्तारे भलखितेऽवप मध्यमग्रहांशत्िेन प्रयोगः। तथा कणाथटगौडस्य

लिणे षड्जग्रहांशत्िोततौ लक्ष्ये ननषादग्रहांशत्िम।् ग्रामरागेषु दहन्दोलस्य लिणे ररधत्यततत्िेनोततौ

ररपत्यागेन प्रयोगः। षाडिौडुिेष्िवप रागेषु तिचचल्लोप्यस्िरप्रयोगः; तिावप जन्यजनकयोमेलनभेदो

रसाददविननयोगाननयमश्चेनत लक्ष्यलिणयोबथहुधा विरोधाः।

एकेषुणा्‌राम्‌इवा्धधसाला क
े ोत्तरे णरव्‌बहू ्‌ववरोधा
््‌ ।््‌
श्रीक्ल्ल ाथिः्‌पररहतुक
ग ामो्‌ब्रूत्‌े मतङ्‌र्ाददरहस्यवेदी।।
दे शीत्िादे तष
े ामननयमो न दोषायेनत। दे शीत्िं च तत्तद्देशमनज
ु मनोरञ्जनैकफलत्िेन कामचार-

प्रिनतथतत्िम।् यथोततं दे शीलिणं ग्रन्थादौ दे शे दे शे जनानां यत ् इनत। तथा चाहाञ्ज ेयिः -

येषां श्रुनतस्िरग्रामजात्याददननयमो न दह।

नानादे शगनतचिाया दे शीरागास्तु ते स्मृताः।। इनत।
एिं िाद्यनत्ृ तयोरवप कामचार-प्रिनतथतयोदे शीत्िमिगन्तव्यम।् ननयमे तु सनत तेषां गीताद नां

मागथत्िमेि, यो्‌माचर्गतिः इत्याददनोततत्िात।।१५९-१६०।।

्
(Ka) Next, the description of currently popular dēśī rāgas. Therein, in the description of Śrīrāga, the

phrase ‘with equal-remaining-svaras’ occurs. (The rāga) in which the remaining svaras are equal is

described thus. Here, since the instruction ‘sparse in pañcama’ prescribes the sparseness of

pañcama, it follows that the svaras other than that should be uniformly profuse. Where, after

183
prescribing the sparseness of one svara, uniformity is prescribed for the others, their plentiful

occurrence in comparison with the sparse svara is uniformly intended. Where, after prescribing

profuseness (of one svara), he prescribes ‘equality’ for the remaining svaras, their uniform

sparseness should be construed. In these dēśī rāgas, where the limit of tāra and mandra movement

or of one of them is not mentioned, it is left to the discretion of the musician.

Now we shall make an effort to resolve the violations of prescription that we observe in

practice in the currently popular rāgāṅga and other rāgas. The (observed) contradictions originate in

this manner – For these rāgas that have emerged from the two grāmas in the line of jātis (and other
melodies?), even though it is with respect to the ṣaḍja or madhyama of the madhya register that the

commencement of the mūrchanā (scale) has been prescribed in the discipline, we find that, for rāgas

such as Madhyamādi and Tōḍī that originate in the madhyamagrāma, instead of from the middle

register madhyama, it is from the middle register ṣaḍja, that the commencement (of the scale?) is

reckoned. And contradicting prescription, the occupation of intermediary positions <svarasādhāraṇa>

by the succeeding svaras, determined by the graha svara (commencing svara of the scale?), is not to

be found. By dropping pañcama, which is the svara distinguishing between the two grāmas by

measuring three-śruti or four-śruti, in practice, all rāgas seem to share one origin. In the kriyāṅga

rāga, Rāmakriyā, the books prescribe that madhyama must occupy the two śrutis of pañcama; and in

rāgas such as Naṭṭa and Dēvakrī, ṛṣabha and dhaivata should occupy the first two śrutis of antara

and kākalī, respectively, and thus become five-śruti. In Śrīrāga, although the books prescribe that

gāndhāra and niṣāda should occupy the first śruti of madhyama and ṣaḍja, to become three-śruti, we

find that, against the sanction of authorities, ṣaḍja and madhyama are rendered three-śruti

(independently?), nearly killing it. In the same, the books prescribe that ṛṣabha and dhaivata occupy

the first śruti of gāndhāra and niṣādha, respectively, and become four-śruti. In the descrition of

Āndhālī, although pañcama has been prescribed to function as gaha and aṁśa, and the written

notation bears this out, in practice we find madhyama serving as graha and aṁśa. And in

Karṇāṭagauḍa, in the textual description of its features, ṣaḍja has been named as the graha and

aṁśa, but in practice, niṣāda performs these roles. Among the grāmarāgas, Hindōla has been

described in the treatises to drop ri and dha, but in practice, it is seen to be lacking in ri and pa.

Among the ṣāḍava and auḍuva rāgas too, sometimes the svara to be omitted appears in practice,

sometimes the parent and offspring melodies are wrongly connected; and often the prescription of

rasas and situations is not followed; in this manner there is much disparity between theory and

practice.

184
 With one arrow Rāma pierced the four sāla trees. In the same way, with one explanation (lit.
reply), Kallinātha who has mastered the purport of Mataṅga and others, sets out to relsolve the
numerous contradictions (between theory and practice).

Because of their dēśī nature, their not being governed by rules is not a fault. This dēśī nature lies

in following the taste of a particular region, with the one aim of entertaining its people, and hence

being guided by one’s own judgement (rather than by rules). As has already been defined in the

introduction to this work, dēśī is that which pleases the people, and changes from place to place . And

Ānjanēya has said –

Dēśī rāgas are those that are not governed by rules regarding śruti, svara, grāma and jāti, but
reflect the practice of different regions.
Similarly, the dēśī nature of the drumming / instrumental music and dance that are directed by the

practitioner’s own judgement, can be comprehended. Where rules govern melody etc., they are of the

mārga standard, and cannot be otherwise, as affirmed by definitions such as ‘that which is directed .

. .’ . (159-160)

(सं) अधन
ु ाप्रभसद्धदे शीरागलिणम।् श्रीरागं लियनत - षड्ज इनत। षड्जे षड्जग्रामे। षाड्जी-समि
ु त
ू त्िेनि
ै

षड्जपञ्चमो(षड्जग्रामो?)त्पन्नत्िे लब्धेऽवप पन
ु ः षड्जग्रामकथनं रागेषु जनकजानतग्रामननयमो नास्तीनत
सच
ू नयतम
ु ।् शेषाः स्िराः ऋषभपञ्चमधैितननषादाः।।१५९-१६०।।
(Saṁ) Next, the description of currently popular dēśī rāgas. He describes Śrīrāga – ṣaḍja . . . . . In
ṣaḍja, i.e., in ṣaḍjagrāma. Because of its emergence from ṣāḍījījāti, the origin in ṣaḍjagrāma obtains;

the reiteration of ṣaḍjagrāma is only because, for the rāgas, this rule is not followed for determining

the parent jāti-grāma. The remaining svaras are ṛṣabha, pañcama (?), dhaivata and niṣāda. (159-160)

प्रथमबङगालः

षड्जग्रामे मन्द्रह नः षड्जमध्यमया कृतः।।१६०।।

बङगालोंऽशशग्रहन्यासषड्जस्तुल्याखिलस्िरः।

इनत प्रथमबङगालः।
First Baṅgāla

Emerging from ṣaḍjamadhyamā jāti in ṣaḍjagrāma, (First) Baṅgāla does not move in the

mandra region, has ṣaḍja functioning as the aṁśa, graha and nyāsa, and all the other

svaras equal (in playing no particular role). (160cd-161ab)

This is First Baṅgāla.

185
(सं) बङगालं लियनत - षड्जग्राम इनत। मन्द्रही िः; मध्यतारस्िरः। तल्
ु यत्िं पि
ू म
थ ेि व्याख्यातम।।।१६०-
्

१६१।।

(Saṁ) He describes Baṅgāla - ṣaḍjagrāma . . . Without mandra.., i.e., with the melody occupying

the madhya and tāra ranges. Equality has been explained earier. (160-161)

द्वितीयबङगालः

मध्यमे कैभशकीजातः षड्जन्यासांशकग्रहः।।१६१।।

बङगालस्तारमध्यस्थपञ्चमः स्यात ् समस्िरः।

इनत द्वितीयबङगालः।
Second Baṅgāla

Born of Kaiśikī jāti in the Madhyama grāma, (Second) Baṅgāla has ṣaḍja functioning as

nyāsa, aṁśa and graha. Pañcama occurs in the tāra and madhya regions. The other svaras

are equally (undistinguished in role). (161cd-162ab)

This is Second Baṅgāla.

(सं) द्वितीयबङगालं लियनत - मध्यम इनत। मध्यमे; मध्यमग्रामे। तारमध्यस्थपञ्चमः; मन्द्र-

पञ्चमह नः।।१६९-१७०।।

(Saṁ) He describes the Second Baṅgāla – Madhyama . . . In madhyama, i.e., in adhyamagrāma..;

pañcama occurring in the tāra and madhya registers, i.e. lacking mandra pañcama. (169-170)

मध्यमषाडिः

ऋषभांशः पञ्चमान्तः स्यादपन्यासधैितः।।१६२।।

िीररौद्राित
ु रसः पाल्पो मध्यमषाडिः।
इनत मध्यमषाडिः।
Madhyamaṣāḍava

Madhyamaṣāḍava has ṛṣabha functioning as aṁśa, pañcama as nyāsa and dhaivata as

apanyāsa. Sparse in pa, it is suitable for vīra, raudra and adbhuta rasas. (162cd-163)

This is Madhyamaṣāḍava.

(सं) मध्यमषाडिं लियनत - ऋषभांश इनत। पाल्पिः; अल्पपञ्चमः।।१६२-१६३।।

186
(Saṁ) He describes Madhyamaṣāḍava - with ṛṣabha functioning as aṁśa; pa-sparse, i.e., Sparse in

pañcama. (162-163)

शुद्धभैरिः

धैितांशग्रहन्याससंयुतः स्यात ् समस्िरः।।१६३।।

तारमन्द्रोऽयमाषड्जगान्धारं शुद्धभैरिः।

इनत शुद्धभैरिः।
Śuddhabhairava

Śuddhabhairava has dhaivata functioning as aṁśa, graha and nyāsa, and the other

svaras equal (with no particular roles). Its tāra and mandra limits are at ṣaḍja and gāndhāra.

(163cd-164ab)

This is śuddhabhairava.

(सं) शद्ध
ु भैरिं लियनत - तारमन्द्र इनत। तारमन्द्रो मध्यमस्िरह नः। आषड्जर्ान्धारं ; षड्ज-पयथन्तं
गान्धारपयथन्तं िा विकल्पेन तारमन्द्रत्िं धैितादं शस्िरादारभ्य।।१६३-१६४।।

(Saṁ) He describes śuddhabhairava – tāramandra . . .. Tāramandra, i.e., without madhyama range of

svara movement; āṣaḍjagāndhāram, i.e., up to ṣaḍja or up to gāndhāra, alternatively, the tāramandra

range extends, commencing from the aṁśa svara dhaivata. (163-164)

मेघरागः

षड्जे धैिनतकोित
ू ः षड्जतारसमस्िरः।।१६४।।
मेघरागो मन्द्रह नो ग्रहांशन्यासधैितः।

इनत मेघरागः।
Mēgharāga

Born of Dhaivatī jāti in ṣaḍjagrāma, Mēgharāga has ṣaḍja marking its tāra limit, and

does not go to the mandra region. It has dhaivata serving as graha, aṁśa and nyāsa. Its

(other) svaras are equal (with no particular roles). (164cd-165ab)

This is Mēgharāga.

187
(सं) मेघरागं लियनत - षड्ज इनत। षड्जे षड्जग्रामे। एतक्स्मन ् षड्जस्तार एि। मन्द्रत्िं मध्यमत्िं च

नाक्स्त। अन्येषां स्िराणां मन्द्रत्िं नाक्स्त।।१६४-१६५।।

(Saṁ) He describes Mēgharāga - ṣaḍja . . . . In ṣaḍja, i.e., in ṣaḍjagrāma. In this melody ṣaḍja is

there only in the tāra range. It does not occur in the mandra and madhyama ranges. The other svaras

do not occur in the mandra region. (164-165)

सोमरागः

षड्जे षाड्जीभिः षड्जग्रहांशान्तो ननगोत्कटः।।१६५।।

सोमरागः स्मत
ृ ो िीरे तारमध्यस्थमध्यमः।
इनत सोमरागः।

Sōmarāga

Born of ṣādjī jāti in ṣaḍjagrāma, Sōmarāga has ṣaḍja functioning as graha, aṁśa and

nyāsa. Ni and ga occur profusely, with madhyama occurring in the tāra and madhya regions.

It is prescribed in the vīra rasa. (165cd-166ab).

This is Sōmarāga.

(सं) सोमरागं लियनत - षड्ज इनत। न र्ोत्कटिः; ननषादगान्धारबहुलः। एतक्स्मन ् मन्द्र-स्थानस्थो

मध्यमो नाक्स्त।।१६५-१६६।।

(Saṁ) He describes Sōmarāga - ṣaḍja . . .. ni-ga-excessive, i.e., with plenty of niṣāda and gāndhāra.

In this melody, madhyama does not occur in the mandra range. (165-166)

प्रथमकामोदः

तारषड्जग्रहः षड्जे षड्जमाध्यभमकोििः।।१६६।।

गतारमन्द्रः कामोदो धांशः सान्तः समस्िरः।

इनत प्रथमकामोदः।
First Kāmōda

Born in ṣaḍjagrāma, from the ṣaḍjamadhyamā jāti, Kāmōda has the tāra ṣaḍja

functioning as the graha. With ga fixing its tāra and mandra limits, it has dha playing the role

of aṁśa, and sa that of nyāsa. Its (other) svaras are equal, (undistinguished in role). (166cd-

167ab)

This is the First Kāmōda.

188
(सं) कामोदं लियनत - तारषड्जेनत। षड्जमाध्यभमका जानतः। र्तारमन्द्र इनत। गान्धारस्य मध्यमत्िं

नाक्स्त। धैितांशः। षड्जन्यासः।।१६६-१६७।।

(Saṁ) He describes Kāmōda – Tāraṣaḍja . . . The (parent) jāti is ṣaḍjamadhyamā. Ga, tāra,

mandra.. i.e., gāndhāra does not occur in the madhya range. With dhaivata as aṁśa; with ṣaḍja as

nyāsa. (166-167)

द्वितीयकामोदः

षड्जे षाड्जीभिः षड्जग्रहांशन्याससंयुतः।।१६७।।

समस्िरोऽन्यः कामोदो मन्द्रगान्धारसन्

ु दरः।
इनत द्वितीयकामोदः।
Second Kāmōda

Born in ṣaḍjagrāma, of ṣāḍjī jāti, Kāmōda has ṣaḍja functioning as the graha, aṁśa and

nyāsa, and its other svaras remaining uniformly (unspecified in role). It is adorned by

gāndhāra in the mandra range. (167cd-168ab)

This is Second Kāmōda.

आम्रपञ्चमः

गान्धारांशग्रहन्यासो मन्द्रमध्य(मध्यमान ्््रा्ी)समि

ु िः।।१६८।।
ननगतारो मन्द्रह नो रागः स्यादाम्रपञ्चमः।

शाङगथदेिेन गददतो हास्याित

ु रसाश्रयः।।१६९।।
इत्याम्रपञ्चमः। इनत प्रभसद्धरागाः।
Āmrapañcama

Āmrapañcama has gāndhāra acting as aṁśa, graha and nyāsa. Born of mandra and

madhya (Madhyamā and Āndhrī jātis), Āmrapañcama rāga has ni and ga occurring in the

tāra range, and lacks the mandra movement.It has been prescribed in the hāsya and

adbhuta rasas by śārṅgadēva. (168cd-169)

This is Āmrapañcama. These are the popular rāgas.

189
(सं) आम्रपञ्चमं लियनत - र्ान्धारांशने त। मन्द्रे भ्यो मध्यमेभ्यश्च स्िरे भ्यः समि
ु िो यस्य।
तारननषादगान्धारः। मन्द्रह नो िेनत पिान्तरम,् मन्द्रमध्यसमि
ु ि इत्यत
ु तत्िात।।१६८-१६९।।
्

(Saṁ) He describes Āmrapañcama – With gāndhāra as aṁśa.. Its origin is from mandra and madhya
svaras. With tāra niṣāda and gāndhāra. The other view that it is without mandra movement (is

unacceptable), for it has been described as originating from the mandra and madhya regions.(138-

139)

कैभशकी

शद्ध
ु पञ्चमभाषा स्यात ् कैभशकी मपभय
ू सी।
पन्यासांशग्रहा मापन्यासा सगमतारभाक् ।।१७०।।

ईष्याथयां विननयोततव्या भाषाङगं केचचदचू चरे ।

समस्िरा ररतारा सा ममन्द्रा चोत्सिे भिेत।।१७१।।

्
Kaiśikī

A bhāṣā of śuddhapañcama, Kaiśikī employs ma and pa profusely. It has pa serving as

nyāsa, aṁśa and graha, ma as apanyāsa. Sa, ga and ma occur in the tāra region. It ought to

be employed in situations of envy. According to some, it is a bhāṣāṅga, with ri occurring in

the tāra range and ma in the mandra, and its other svaras remaining equally

undistinguished. It ought to be employed in festivity. (170-171)

पापापा समधा सानी सासासाधा माससम धास नीसर गासासा सधम मामासस धसमनी

नीधा मामगमा पाप समधासा मा धासा। पाधासामाधासमाधासनन र सनी गसा। सधमागा गस

सास धमासस धसमनी नीधामाम गामा पापा - इत्यालापः।

pāpāpā samadhā sānī sāsāsādhā māsasama dhāsa nīsarī gāsāsā sadhama māmāsasa

dhasamanī nīdhā māmagamā pāpa samadhāsā mā dhāsā. pādhāsāmā-dhāsamādhāsani

rīsanī gasā. sadhamāgā gasa sāsa dhamāsasa dhasamanī nīdhāmāma gāmā pāpā - This is

the ālāpa.

190
 पामामा धससनन धसनन धसननधा माध गाग स सननध पापाररगसररग मा ररगसधननधा

माननधससास ममा ननधा सपा धमररग ररमाधमधननधनन धनन ध (मध्यम)मननधा सास ममा

ननध स पापा - इनत रूपकम।्

pāmāmā dhasasani dhasani dhasanidhā mādha gāga sa sanidha pāpāriga-sariga mā

rigasadhanidhā mānidhasasāsa mamā nidhā sapā dhamariga rimādhamadhanidhani dhani

dha (madhyama)manidhā sāsa mamā nidha sa pāpā - This is the rūpakam.

इनत कैभशकी।

This is Kaiśikī.

(सं) कैभशकीं लियनत - शद्ध

ु पञ्चमभाषेनत। मध्यमपञ्चमबहुला। पञ्चमन्यासांशग्रहा।
मध्यमापन्यासा। षड्जगान्धारमध्यमैस्तारै यत
ुथ ता। तेषां मन्द्रमध्यमत्िं नाक्स्त। मतान्तरे ण
कैभशक-भाषाङगभागत्िेन लिणम ् - समस्वरे नत।।१७०-१७१।।
(Saṁ) He describes Kaiśikī - bhāṣā of śuddhapañcama . . . It is plentiful in madhyama

and pañcama. With pañcama serving as nyāsa, aṁśa and graha, and madhyama as

apanyāsa; with tāra ṣaḍja, gāndāra and madhyama, i.e., they do not occur in the mandra

and madhya regions. According to another view, Kaiśika is a bhāṣāṅga, and the description

done accordingly – With equal svaras. (170-171)

प्रथमसौराष्र

पञ्चमादे ि सौराष्र भाषा पान्तग्रहांशका।

ररह ना सगधैस्तारा ममन्द्रा सपभूयसी।।१७२।।

ननयत
ु ता सिथभािेषु मनु नभभगथमकाक्न्िता।
First Saurāṣṭrī

Born of the same Pañcama, the bhāṣā Saurāṣṭrī has pa serving as nyāsa, graha and

aṁśa. It drops ri, and has sa, ga and dha occurring in the tāra region, and ma in the mandra.

It employs sa and pa profusely. Full of gamaka, it is prescribed by the sages in all emotions.

(172-173ab)

पापापापमधनी सासासनीग सासासनन गानी गानी धाधा धध सास पापा पपधा पा

धापामापा। मधनी मांधानी मां धनीसा सा। सनी गानी गां सासा स नी गा नी धा धाधधसा

191
धममपा पप धापा धापामामा। मधनी मधनी। मां धनन सा सापमानी ननधापम धापमध पापा -

इत्यालापः।

pāpāpāpamadhanī sāsāsanīga sāsāsani gānī gānī dhādhā dhadha sāsa pāpā papadhā

pā dhāpāmāpā. madhanī mādhānī mā dhanīsā sā. sanī gānī gā sāsā sa nī gā nī dhā

dhādhadhasā dhamamapā papa dhāpā dhāpāmāmā. madhanī madhanī. mā dhani sā

sāpamānī nidhaphama dhāpamadha pāpā - This is the ālāpa.

पा पम स नीसा सनी गग सस नी गगनी नीगमग नीधाधाध धध मध सस । पाधा पाधा

पामा मामा ममधम धधनी सा सनन गग सास। ननधधस ननधमपा पमधध पमधस पमधध

धग मनी धध पा। पमनी नी नीधा पम धध पम धध पा - इनत रूपकम।्

pā pama sa nīsā sanī gaga sasa nī gaganī nīgamaga nīdhādhādha dhadha madha sasa.

pādhā pādhā pāmā māmā mamadhama dhadhanī sā sani gaga sāsa. nidhadhasa

nidhamapā pamadhadha pamadhasa pamadhadha dhaga manī dhadha pā. pamanī nī nīdhā

pama dhadha pama dhadha pā - This is the rūpakam.

इनत प्रथमसौराष्र ।

This is First Sauāṣṭrī.

(सं) सौराष्र ं लियनत - पञ्चमादे वेनत। पञ्चमन्यासग्रहांशा। ऋषभह ना षट्स्िरा। षड्ज-

गान्धारधैितैस्तारै यत
ुथ ता। मन्द्रमध्यमा। षड्जपञ्चमबहुला। सवगभावेष;ु ननिेदाददष।ु ।१७२-१७३।।

(Saṁ) He describes Saurāṣṭrī - From Pañcama itself . . . With pañcama serving as nyāsa, graha and

aṁśa; lacking ṛṣabha, and so six-svara; containing ṣaḍja, gāndāra and dhaivata in the tāra region;

with madhyama in the mandra range; profuse in ṣaḍja and pañcama. In all emotions, i.e., (even in?)

disenchantment etc. (172-173)

द्वितीयसौराष्र

सांशग्रहान्ता सौराष्र टतकरागेऽनतभरू रननः।१७३।।

भरू तारा ममन्द्रा च पह ना करुणे भिेत।्

Second Saurāṣṭrī

192
 Saurāṣṭrī originates in Ṭakkarāga. It has sa serving as aṁśa, graha and nyāsa, and uses

ni excessively. and the other svaras frequently; ma occurs in the mandra region. It drops pa.

It ought to be employed in karuṇa rasa. (173cd-174ab)

सा सा सानी धनी नीध नीनी मां नी धनी धानी धानी धनी नी मां नीधा नीसा साध

नीधमध नीधनीध माधनीध मं गागाग मंगां सगा सनी धनी नीध नी नी धनी नी नी मां

नीधा नीसा सा - इत्यालापः।

sā sā sānī dhanī nīdha nīnī mā nī dhanī dhānī dhānī dhanī nī mā nīdhā nīsā sādha

nīdhamadha nīdhanīdha mādhanīdha ma gāgāga magā sagā sanī dhanī nīdha nī nī dhanī nī

nī mā nīdhā nīsā sā - This is the ālāpa.

सनन धनन नी नी मां नी धनन सासा धनी नी मां नी धनीसा धससध र र र ध मम। धम-

मं(मध्यम)म (गान्धार)ग (षड्ज)ससा गासागाध नी नी नी धनी मधास नीसा गानी धध सासा

- इनत रूपकम।्

sani dhani nī nī mā nī dhani sāsā dhanī nī mā nī dhanīsā dhasasadha rīrī rīdha mama.

dhamama(madhyama)ma (gāndhāra)ga (ṣaḍja)sasā gāsāgādha nī nī nī dhanī madhāsa nīsā

gānī dhadha sāsā - This is the rūpakam.

इनत द्वितीयसौराष्र । इनत सौराष्र ।

This is the Second Saurāṣṭrī. So much for Saurāṣṭrī.

(सं) द्वितीयसौराष्र ं लियनत - सांशग्रहान्तेनत। टतकरागस्य भाषा। अनतभरू रन िः; अनतबहुलो ननषादो

यस्याम।् ननषादषड्जाभ्याभमतरे स्िरा बहुलाः। पञ्चमह ना।।१७३-१७४।।

(Saṁ) He describes the Second Saurāṣṭrī - with sa as aṁśa, graha and anta . . . It is a bhāṣā of

Ṭakkarāga. with excess of ni, i.e., with very frequent occurrence of niṣāda in it; with svaras other than

niṣāda and ṣaḍja (just?) frequent; without pañcama. (173-174)

प्रथमलभलता

टतकभाषैि लभलता लभलतैरुत्कटै ः स्िरै ः।।१७४।।

षड्जांशग्रहणन्यासा षड्जमन्द्रा ररपोक्ज्िता।

धीरै िीरोत्सिे प्रोतता तारगान्धारधैिता।।१७५।।

193
 First Lalitā

A bhāṣā of Ṭakka again, Lalitā is made up of an excess of delicate svaras. It has ṣaḍja

serving as aṁśa, graha and nyāsa. The mandra limit is at ṣaḍja. It lacks ri and pa; gāndhāra

and dhaivata occur in the tāra region. It is prescribed in the vīra rasa and in festivity, by the

experts. (174cd-175)

सासा सास मम धधा धधमधा माम गाग मसा सग मसगम धधा धाधा धमधनी

नीधामाम गागमां सां सधनीनी धनी नीध नीगागस सागासनी धनी सासा सासममसा मसगम

धधा धाध मधानीनी धामामगा गमसास धानी नीध नीनीधध नीगागसा। सागां सनी धानी

सासा - इत्यालापः।

sāsā sāsa mama dhadhā dhadhamadhā māma gāga masā saga masagama dhadhā

dhādhā dhamadhanī nīdhāmāma gāgamā sā sadhanīnī dhanī nīdha nīgāgasa sāgāsanī

dhanī sāsā sāsamamasā masagama dhadhā dhādha madhānīnī dhāmāmagā gamasāsa

dhānī nīdha nīnīdhadha nīgāgasā. sāgā sanī dhānī sāsā - This is the ālāpa.

सममध धाधामंध धमामा(गान्धार)गसासासग मधधनी नीधामा। धामामध गागागस

साससस गगसग मसगम धाधाधनी धधनीम मप(?)धमा गससमस गसासाससनीधधनी

धनीगागागसां ग धानीं सासा - इनत रूपकम।्

samamadha dhādhāmadha dhamāmā(gāndhāra)gasāsāsaga madhadhanī nīdhāmā.

dhāmāmadha gāgāgasa sāsasasa gagasaga masagama dhādhādhanī dhadhanīma

mapa(?)dhamā gasasamasa gasāsāsasanīdhadhanī dhanīgāgāgasā ga dhānī sāsā - This is

the rūpakam.

इनत प्रथमलभलता।

This is the First Lalitā.

(सं) लभलतां लियनत - टतकभाषरवेनत। लमलतरिः मसण

ृ ःै । उत्कटर िः बहुभभः। ऋषभपञ्चम-ह ना।।१७४-
१७५।।

(Saṁ) He describes Lalitā - Bhāṣā of Ṭakka, again . . . . With delicate, i.e., soft, excess of, with a

great number of; lacking ṛṣabha and pañcama. (174-175)

द्वितीयलभलता

194
 भभन्नषड्जेऽवप लभलता ग्रहांशन्यासधैिता।

ररगमैलभथ लतैस्तारमन्द्रै युत

थ ता धमन्द्रभाक् ।।१७६।।

प्रयोज्या लभलते स्नेहे मतङगमनु नसंमता।

Second Lalitā

A Lalitā emerges in Bhinnaṣaḍja too. It has dhaivata serving as graha, aṁśa and nyāsa.

It is articulated with ri, ga and ma, rendered delicately in the tāra and mandra ranges. Dha

occurs in the mandra region. According to the sage, Mataṅga, it ought to be employed in

gentle attachment. (176-177ab)

धाधाधाध सनी धाधाधध नीर गासनीसा नीधाधाध सनी र गामा। गर मागा र र र र र र

गमपधाधप नींधा पामा गार । मागार । र गर ग मगमर गामागार धनी र गासनी। धाधाधम

धाधाधध नीर र धा नीर धानी र गा सनी सनी धाधाधध सररग मगरर मामा र र र र र

मगपधा पधनीधापामा गार मागा र र गमगमं र गामागा र धानीर मा सनी सनी धाधा -

इत्यालापः।

dhādhādhādha sanī dhādhādhadha nīrī gāsanīsā nīdhādhādha sanī rīgāmā. garī māgā

rīrīrīrīrīrī gamapadhādhapa nīdhā pāmā gārī. māgārī. rīgarīga magamarī gāmāgārī dhanī

rīgāsanī. dhādhādhama dhādhādhadha nīrī rīdhā nīrī dhānī rīgā sanī sanī dhādhādhadha

sariga magari māmā rīrīrīrīrī magapadhā padhanīdhāpāmā gārī māgā rīrī gamagama

rīgāmāgā rīdhānīrīmā sanī sanī dhādhā - This is the ālāpa.

(धैित) सननगननस ररग ररम सनन धनन धममाध धमनननन धधधध र र र र गम। मंमं

गार धापामगर मागार सनी धधनी धधनी गगा। सनी सनी धानीमांधा सनीनीधाधा - इनत

रूपकम।्

(dhaivata) saniganisa riga rima sani dhani dhamamādha dhamanini dhadhadhadha rīrīrīrī

gama. mama gārī dhāpāmagarīmāgārī sanī dhadhanī dhadhanī gagā. sanī sanī dhānīmādhā

sanīnīdhādhā - This is the rūpakam.

इनत द्वितीयलभलता। इनत लभलता।

This is the Second Lalitā. So much for Lalitā.

195
(सं) द्वितीयलभलतां लियनत - मभन् षड्जेऽपीनत। ऋषभगान्धारमध्यमैः लभलतैः क्रकंचचद्िक्रितै-

स्तारमन्द्रै यत
ुथ ता। मन्द्रधैिता।।१७६-१७७।।
(Saṁ) He describe the Second Lalitā - In Bhinnaṣaḍja too . . . . Endowed with delicate, i.e., slightly

curved, tāra and mandra ṛṣabha, gāndhāra and madhyama; with mandra dhaivata. (176-177)

प्रथमसैन्धिी

चतुधाथ सैन्धिी तत्र टतकभाषा ररपोक्ज्िता।।१७७।।

सन्यासांशग्रहा सान्द्रा गमकैलथङनघतस्िरै ः।

सगतारा षड्जमन्द्रा गेया सिथरसेष्िसौ।।१७८।।

First Saindhavī

Saindhavī has four forms. A bhāṣā of Ṭakka, it drops ri and pa. It has sa serving as

nyāsa, aṁśa and graha. It is full of gamakas and skipping of svaras. Sa and ga occur in the

tāra register, and ṣaḍja marks the mandra limit. It may be sung in all the rasas. (177cd-178)

सासासासा मांसा मांसा सा। मंस गामा गासा सागां सामां सासमम गामा गममस नीगससा

सनी मांस नीगां नीधांधां। धमाधांधाधं मानी नीनी धमाधाधा धाध मनी नीनीं धनी धनी सासा

- इत्यालापः।

sāsāsāsā māsā māsā sā. masa gāmā gāsā sāgā sāmā sāsamama gāmā gamamasa

nīgasasā sanī māsa nīgā nīdhādhā. dhamādhādhādha mānī nīnī dhamādhādhā dhādha manī

nīnī dhanī dhanī sāsā - This is the ālāpa.

(मध्यम)म(षड्ज) स सागाससा। नीनीनीनी सधंनीस नीधाधा धमा धममनी धाधाधममनन

नीनीनीनीनीनी सनी सनी गगसासा ममगममम धग गगसम नीनीधध ममधम धनीनीनी

मधनीनी नीधनीसगमधध गध मग सनी सनी ससनीध नीनीनीसनीधमम धध नीनी समगग

नीनीनीम नीधममधधनीनीगगसा सा - इनत रूपकम।्

(madhyama)ma(ṣaḍja) sa sāgāsasā. nīnīnīnī sadhanīsa nīdhādhā dhamā dhamamanī

dhadhādhamamani nīnīnīnīnīnī sanī sanī sanī gagasāsā mamagamamama dhaga gagasama

nīnīdhadha mamadhama dhanīnīnī madhanīnī nīdhanīsagamadhadha gadha maga sanī sanī

196
sasanīdha nīnīnīsanīdhamama dhadha nīnī samagaga nīnīnīma

nīdhamamadhadhanīnīgagasā sā - This is the rūpakam.

इनत प्रथमसैन्धिी।

This is the First Saindhavī.

(सं) सैन्धिीं विभज्य लियनत - चतध

ु नै त। टतकभाषा या सैन्धिी सा ऋषभपञ्चमह ना।
र्मकरिः सान्द्रा व्याप्ता। लङ्‌नितस्वरर िः द्रत
ु स्िरै ः।।१७७-१७८।।
(Saṁ) He describes the different Saindhavīs - Four fold . . . . The Saindhavī which is a bhāṣā of

Ṭakka lacks ṛṣabha and pañcama. It is dense with, i.e., pervaded by gamakas; with skipped svaras,

ie. with fast svaras. (177-178)




द्वितीयसैन्धिी

सैन्धिी पञ्चमेऽप्यक्स्त ग्रहांशन्यासपञ्चमा।

ररपापन्याससंयुतता रपया सगमकैः स्िरै ः।।१७९।।

ननतारा ररबहुस्तारपा पूिवथ िननयोचगनी।

Saindhavī is possible in Pañcama (rāga) too. Its graha, aṁśa and nyāsa functions are

performed by pañcama. Ri and pa serve as apanyāsa. It is delightful with gamaka-laden

svaras. Ni marks the tāra limit. Ri occurs profusely and pa occurs in the tāra region. Its use

is prescribed in the same contexts as the first (Saindhavī).

पापापा स पध सर र र र र पमधपम धपापास पधसर र र र सर गार । मार पाधा

सार गासा रररर गापां रं र गाससर र माधा पमधपमध पापासपधम पधमपध

मपधसनीर र मर सर र पमध पमधपापा। सपधसर । र र र स र र र स र गार माधापाधासार

गासार र धर र गां पां र र माससर र सा धापमधापमधापापा - इत्यालापः।

pāpāpā sa padha sarī rī rī rī rī pamadhapama dhapāpāsa padhasarī rīrīrīsarīgārī. mārī

pādhā sārī gāsā rīrīrīrī gāpā rī rī gāsasarī rīmādhā pamadhapamadha pāpāsapadhama

padhamapadha mapadhasanīrīrī marīsarī rīpamadha pamadhapāpā. sapadhasarī. rīrīrīsa

rīrīrīsa rīgārīmādhāpādhāsārī gāsārīrīdharīrī gā pā rīrī māsasarī rīsā

dhāpamadhāpamadhāpāpā - This is the ālāpa.

197
 पधसधसर गसररगर सर । गर सध मधं धंप पसर र र र पार पपपार ररममामांमाससार

सर र र र ससधा धपपपधधसग पंधं सर सर गम धधपाधा पमधध पमधधपापा - इनत

रूपकम।्

padhasadhasarī gasarigarīsarī. garīsadha madha dhapa pasarīrī rīrīpārī papapārī

rimamāmāmāsasārī sarīrīrī rīsasadhā dhapapapadhadhasaga padha sarī sarīgama

dhadhapādhā pamadhadha pamadhadhapāpā - This is the rūpakam.

इनत द्वितीयसैन्धिी।

This is the second Saindhavī.



(सं) द्वितीयसैन्धिीं लियनत - सरन्धवीनत। पञ्चमस्यावप भाषा सैन्धिी। ऋषभपञ्चमापन्यासा।

ननषादधैितपञ्चमैः सगमकैः रपया। ऋषभबहुला। ननषादपञ्चमैस्तारा चेनत पिान्तरम।।१७९-१८०।।

्
(Saṁ) He describes the Second Saindhavī - Saindhavī . . . Saindhavī is a bāṣā of Pañcama too; with

ṛṣabha and pañcama as apanyāsa; delightful with gamaka-laden niṣāda, dhaivata and pañcama;

profuse in ṛṣabha. Another view is that it has niṣāda and pañcama in the tāra range. (179-180)

तत
ृ ीयसैन्धिी
मालिे कैभशकेऽप्यक्स्त सैन्धिी मद
ृ प
ु ञ्चमा।।१८०।।
समन्द्रा ननगननमत
ुथ ता षड्जन्यासग्रहांभशका।
प्रयोज्या सिथभािेषु श्रीसोढलसुतोददता।।१८१।।
Third Saindhavī

Saindhavī is possible in Mālavakaiśika too. It takes diminished <mṛdu> pañcama. Its

mandra limit is at sa, and it drops ni and ga. It has ṣaḍja serving as nyāsa, graha and aṁśa.

According to śārṅgadēva, it may be employed in all feelings. (180cd-181)

सासासासा समर मा पापापप धापधापा मा र र मा र र सां सां समर मा पापा पप

धापामा। पप धापा मा पापा पपधा सा पप धासा धार । र मपाधापम रर

मर र सर सार ससासार मासार मामार मापापापपधापाधापधापामार र मार मासा। समर मा पापा

पप धापापामा धापामापा पप पधा सां पपधा पमार ंर ं मपाधापमर मार र सासा - इत्यालापः।

sāsāsāsā samarīmā pāpāpapa dhāpadhāpā mā rīrī mā rīrī sā sā samarīmā pāpā papa

dhāpāmā. papa dhāpā mā pāpā papadhā sā papa dhāsā dhārī. rīmapā-dhāpama rīrī

198
marīrīsarīsārīsasāsārī māsārīmāmārī māpāpāpapadhāpādhāpadhā-pāmārīrīmārīmāsā.

samarīmā pāpā papa dhāpāpāmā dhāpāmāpā papa padhā sā papadhā pamārīrī

mapādhāpamarīmārī rīsāsā - This is the ālāpa.

सम रर ममरररर पप ररप पपाधाप मर र समममरर पप पप धध (षड्ज)सं

पाधापामार मर मर सर साधधसध(षड्ज)सस मम रररर पप रररर स ररस रर सास धस ससं मं

रररर मम रररर पाधापम ररररसररसामररररररसा - इनत रूपकम।्

sama rīrī mamariri papa ripa papādhāpa marīrī samamamari papa papa dhadha

(ṣaḍja)sa pādhāpāmārīmarīmarīsarīsādhadhasadha(ṣaḍja)sasa mama riri papa riri sa risa ri

sāsa dhasa sasa ma riri mama riri pādhāpama ririsarisāmariririsā - This is the rūpakam.

इनत तत
ृ ीयसैन्धिी।
This is the Third Saindhavī.

(सं) तत
ृ ीयसैन्धिीं लियनत - मालव इनत। न र्न मत
ुग ता ननषादगान्धारह ना।।१८०-१८१।।
(Saṁ) He describes the Third Saindhavī - Mālava . . . . . Free of ni and ga, i.e., lacking niṣāda and

gāndhāra. (180-181)

चतथ
ु स
थ ैन्धिी

सैन्धिी भभन्नषड्जेऽवप न्यासांशग्रहधैिता।

उद्दीपने ननयोततव्या धमन्द्रा ररपिक्जथता।।१८२।।

Fourth Saindhavī

Saindhavī is possible in Bhinnaṣaḍja too. It has dhaivata serving as nyāsa, aṁśa and

graha. It is to be employed in fanning (feelings). Dha sets its mandra limit, and it drops ri and

pa. (182)

धाधा धध गमधनन नननन धानी सानी सनन सधा नीधा नीनी धाधमामगमा सानी धाधा

पमा धाधाधगसधगमगधमधनीनी। नीनीनी। धनीसधानीनीमधासानीधाधमधाधा - इत्यालापः।

dhādhā dhadha gamadhani nini dhānī sānī sani sadhā nīdhā nīnī dhādha-māmagamā

sānī dhādhā pamā dhādhādhagasadhagamagadhamadhanīnī. nīnīnī.

dhanīsadhānīnīmadhāsān-īdhādhamadhādhā - This is the ālāpa.

199
 धाध गम धनी नीनी सनी धनी नीनीनीध(षड्ज)सं सनीनी सनी धध गम धग मध नीनी

मनी धनी नीध नीध गां सगमा नीसनी धनीधगमधगमधनीनीमनीधनीनीध धासा धमनी सनी

धनीध गमधगमधनी। नीमनीधनीनीधनीधाधा - इनत रूपकम।्

dhādha gama dhanī nīnī sanī dhanī nīnīnīdha(ṣaḍja)sa sanīnī sanī dhadha gama dhaga

madha nīnī manī dhanī nīdha nīdha gā sagamā nīsanī dhanīdhaga-

madhagamadhanīnīmanīdhanīnīdha dhāsā dhamanī sanī dhanīdha gamadhaga-madhanī.

nīmanīdhanīnīdhanīdhādhā - This is the rūpakam.

इनत चतथ
ु स
थ ैन्धिी। इनत सैन्धिी।

This is the Fourth Saindhavī. So much for Saindhavī.

(सं) चतथ
ु स
थ न्
ै धिीं लियनत - सरन्धवीनत। मन्द्रधैिता। ऋषभपञ्चमिक्जथता।।१८२।।
(Saṁ) He describes the Fourth Saindhavī - Saindhavī . . . . . with mandra dhaivata; devoid of ṛṣabha

and pañcama. (182)

प्रथमगौडी

दहन्दोलभाषा गौडी स्यात ् षड्जन्यासग्रहांभशका।

पञ्चमोत्पन्नगमकबहुला धररिक्जथता।।१८३।।

षड्जमन्द्रा प्रयोततव्या वप्रयसंभाषणे बुधैः।

First Gauḍī

Gauḍī is a bhāṣā of Hindōla. It has ṣaḍja serving as the nyāsa, graha and aṁśa. It is full

of gamakas at pañcama, and drops dha and ri. Its mandra limit is at ṣaḍja. It may be

employed in sweet exchanges, according to the experts. (183-184ab)

सां मां सां स मगामापापामापामापा मागामसांसां सस सगामापापागमगा मगापगामपापा।

मागागसासनीसागामामगासनीसामास सगासासा सस गामा सागामाप मगा सापा पापा मामा

गाग सासा समगा। मापा मापा पा पमगा। पमागम पगापमा गमपगा पमापगा

पासासासगसामागा-सननसां सां - इत्यालापः।

200
 sā mā sā sa magāmāpāpāmāpāmāpā māgāmasāsā sasa sagāmāpāpāga-magā

magāpagāmapāpā. māgāgasāsanīsāgāmāmagāsanīsāmāsa sagāsāsā sasa gāmā

sāgāmāpa magā sāpā pāpā māmā gāga sāsā samagā. māpā māpā pā pamagā. pamāgama

pagāpamā gamapagā pamāpagā pāsāsāsagasāmāgāsanisā sā - This is the ālāpa.

(षड्ज)सगमग पममगगसां(षड्ज)ससागामा मामा पाप मगापम पगा गगसापानी सनीस

मगम गमपम पम गम मम गननसां गगसगसननसामगागसासा - इनत रूपकम।्

(ṣaḍja)sagamaga pamamagagasā(ṣaḍja)sasāgāmā māmā pāpa magāpama pagā

gagasāpānī sanīsa magama gamapama pama gama mama ganisā gagasaga-

sanisāmagāgasāsā - This is the rūpakam.

इनत प्रथमगौडी।

This is the First Gauḍī.



(सं) गौडीं लियनत - दहन्दोलभाषेनत। पञ्चमे स्िरे उत्पन्नैगम

थ कैः बहुला। धैितषथभिक्जथता।।१८३-१८४।।
(Saṁ) He describes Gauḍī - Hindōlabhāṣā . . . With plenty of gamakas produced at the svara,

pañcama; devoid of dhaivata and ṛṣabha. (183-184)

द्वितीयगौडी

ग्रहांशन्यासषड्जान्या गौडी मालिकैभशके।।१८४।।

मतङगोतता तारमन्द्रषड्जा भरू रननषादभाक् ।

प्रयोज्या रणरणके िीरे त्िन्यैः प्रयुज्यते।।१८५।।

The Second Gauḍī

The other Gauḍī, possible in Mālavakaiśika, has ṣaḍja serving as the graha, aṁśa and

nyāsa, According to Mataṅga, its tāra and mandra limits are at ṣaḍja. It employs niṣāda

profusely, It should be employed in a situation of longing for the object of love, but according

to others, it is used in the vīra rasa. (184cd-185)

सांसां सानन धासां पमा गामानी नीधानी धधमपममगम मगा गसासगार सागामगमनीनी

धम पम पाप मम मगर मं सां सनी नीर पा। सनीर स नीसासा। मगमनी गा मा नीगा मानी।

201
नीधसापा मागामनी नीधधनी धमपमगमगामपाम गर र मपगमानीधनीस पामगमापाप सां

ममगार र ं सास नीर र पास नीर सनी र सनी सासा - इत्यालापः।

sāsā sāni dhāsā pamā gāmānī nīdhānī dhadhamapamamagama magā gasā-sagārī

sāgāmagamanīnī dhama pama pāpa mama magarīma sā sanī nīrīpā. sanīrīsa nīsāsā.

magamanī gā mā nīgā mānī. nīdhasāpā māgāmanī nīdhadhanī dhamapamagamagāmapāma

garī rī mapagamānīdhanīsa pāmagamāpāpa sā mamagārīrī sāsa nīrīrī pāsa nīrīsanī rīsanī

sāsā - This is the ālāpa.

सांनीधससपापममगाधननधनन धननध मपम गमम सा मगर र सांसनी र र पांसनी र र पां

स नीर र सागममा गानीधपममपममगमगर सननसास नीसासनन रररर सासा - इनत रूपकम।्

sānīdhasasapāpamamagādhanidhani dhanidha mapama gamama sā magarīrī sāsanī rīrī

pāsanī rīrī pā sa nīrīrīsāgamamā gānīdhapamamapamamaga-magarī sanisāsa nīsāsani riri

sāsā - This is the rūpakam.

इनत द्वितीयगौडी। इनत गौडी।

This is the Second Gauḍī. So much for Gauḍī.

(सं) द्वितीयगौडीं लियनत - ग्रहांशने त। रणरणको विरहः।।१८४-१८५।।

(Saṁ) He describes the Second Gauḍī - With graha and aṁśa . . . . ‘Raṇaraṇaka’ means lovers being

parted. (184-185)

त्रािणी

याक्ष्टके त्रािणी भाषा पञ्चमस्य ग्रहांशसा।

पान्ता सररपमैभरूथ रः संगतद्विश्रुनतमथता।।१८६।।

एषा भाषाङगमन्येषां धग्रहांशा ननपोक्ज्िता।

अतारा प्राथथने मन्द्रधगव्याप्तोरुमध्यमा।।१८७।।

Trāvaṇī

According to Yāṣṭika, Trāvaṇī is a bhāṣā of Pañcama. It has sa functioning as graha and

aṁśa, and pa as the nyāsa. It uses sa, ri, pa and ma profusely, and has the two-śruti-

(svaras, i.e., ga and ni) occurring together. According to others it is a bhāṣāṅga, with dha

serving as graha and aṁśa. It drops ni and pa. It does not reach the tāra register, has dha

202
and ga pervading the mandra region and has plenty of madhyama. It is employed in prayer.

(186-187)

सासासापा पापाधाधानीनी साननधाननधा सार सासानीधनीध सार गार मासनी पापाधानीसा

सनीमध धससननमधमधसननधामागामा सानीससासंसं सननसांसां ननगास ननधामा मामां सरर

सासा साधाननधापापा -

इनत त्रािणी। इनत भाषाङगाखण।

sāsāsāpā pāpādhādhānīnī sānidhānidhā sārī sāsānīdhanīdha sārī gārī māsanī

pāpādhānīsā sanīmadha dhasasanimadhamadhasanidhāmāgāmā sānīsa-sāsasa sanisāsā

nigāsa nidhāmā māmā sari sāsā sādhānidhāpāpā -

This is Trāvaṇī. These are the bhāṣāṅgas.

(सं) त्रािणीं लियनत - या्ष्टक इनत। याक्ष्टकमते ग्रहांशषड्जधैितन्यासा। षड्जषथभपञ्चम-

मध्यमबहुला। संगतौ द्विश्रत

ु ी ननषादगान्धारौ यस्याम।् मतान्तरे णैतस्या भाषाङगत्िे लिणमाह -
एषेनत। अतारा तारिक्जथता। मन्द्रधैितगान्धारव्याप्ता। उरुमध्यमा मध्यमबहुला।।१८६-१८७।।
(Saṁ) He describes Trāvaṇī - Yāṣṭika . . .. In the school of Yāṣṭika, it has ṣaḍja serving as graha and

aṁśa, and dhaivata as nyāsa; plentiful in ṣaḍja, ṛṣabha, pañcama and madhyama; in it the two-śruti

(svaras), i.e., niṣāda and gāndhāra occur together. According to another view, it is a bhāṣāṅga, and

its features are described – This . . . tāra-less, i.e., without tāra; pervaded by mandra dhaivata and
gāndhāra; ‘urumadhyamā’, i.e., with much madhyama. (186-187)

हषथपुर

भाषा हषथपुर षड्जमन्द्रा मालिकैभशके।

सन्यासांशग्रहा तारमपा हषे धिक्जथता।।१८८।।

Harṣapurī

Harṣapurī, a bhāṣā of Mālavakaiśika, has its mandra limit fixed at ṣaḍja, and has ma

and pa occurring in the tāra range. It has sa functioning as nyāsa, aṁśa and graha, and

drops dha. It is suitable for a situation of joy. (188)

सासासासननसननस ररस नीसासा। मगमापापापा। समपापा पममाम म गाग र । र सांसनन

ननपां सनन ममगार नी नी पासनीसांसां सरर र र पां सननर सननर स ननसासा। सननसांर

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ननसानीनी ननसार । सननसां सां। मगा मा पापा। समपापमगा गममार र सा मनीपांसनी

सासागगर नी नीपासनीसांसां। सननर र पांसननर सननर सनीसां सां - इत्यालापः।

sāsāsāsanisanisa ri nīsāsā. magamāpāpāpā. samapāpā pamamāma ma gāga rī.

rīsāsani nipā sani mamagārī nī nī pāsanīsāsā sari rīrī pā sanirī sanirīsa nisāsā. sanisārī

nisānīnī nisārī. sanisā sā. magā mā pāpā. samapāpamagā gamamārīrīsā manīpāsanī

sāsāgagarī nī nīpāsanīsāsā. sanirīrī pāsanirī sanirī sanisā sā - This is the ālāpa.

सानी र सा नी नीगर सा। ननर र ग र मर ग नीर गर नीस (मध्यम)म (गान्धार) गार

गगर सार गर पागर सनी र ग र नीसासा - इनत रूपकम।्

sānī rīsā nī nīgarī sā. nirīrīga rīmarīga nīrīgarī nīsa (madhyama)ma (gāndhāra) gārī

gagarīsārīgarīpāgarī sanī rīga rīnīsāsā - This is the rūpakam.

इनत हषथपुर ।

This is Harṣapurī.

(सं) हषथपरु ं लियनत - भाषेनत। तारमपा तारमध्यमपञ्चमा। धैितिक्जथता।।१८८।।

(Saṁ) He describes Harṣapurī - Bhāṣā . . . . With tāra ma and pa, i.e., with tāra madhyama and

pañcama; without dhaivata. (188)

भपमाणी

पञ्चमस्य विभाषा स्यािपमाणी मन्द्रषड्जभाक् ।

पान्तांशाददः समननपैस्तारत्यततरररुत्सिे।।१८९।।
Bhammāṇī

Bhammāṇī is a vibhāṣā of Pañcama. Its mandra limit is at ṣaḍja. It has pa serving as

nyāsa<anta>, aṁśa and graha <ādi>. It has sa, ma, ni and pa occurring in the tāra register

and drops ri / It uses sa, ma, ni and pa profusely, and avoids ri in the tāra range. It is suitable

for festivity. (189)

पापा पाम गामा पापा। मामा नीधा मामगमा पापा। पगा गमा सनीधपा पापमनी नीधनीसां

सां गममापा पापमपमनीसनीधापापापमपमनीसननधां पा पापा पम ननननधागां मां पमनन

ननधापसधापमधपमधापापा - इत्यालापः।

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 pāpā pāma gāmā pāpā. māmā nīdhā māmagamā pāpā. pagā gamā sanīdhapā

pāpamanī nīdhanīsā sā gamamāpā pāpamapamanīsanīdhāpāpāpama-pamanīsanidhā pā

pāpā pama ninidhāgā mā pamani nidhāpasadhāpamadhapa-madhāpāpā - This is the ālāpa.

पां(पञ्चम)पंग गम पामम गग मम गग ममनन धधमगा पापा। पपगमसमसननधसननधपा-

पमनननननन धनन ननसमम गपमपमनन सानन मननध पापा पम नन पानन ननधनी सस

पमममाधांधम-धधपमधधसमधधपापा - इनत रूपकम।्

pā(pañcama)paga gama pāmama gaga mama gaga mamani dhadhamagā pāpā.

papagamasamasanidhasanidhapāpamaninini dhani nisamama gapamapamani sāni

manidha pāpā pama ni pāni nidhanī sasa pamamamādhādhamadhadhapama-

dhadhasamadhadhapāpā - This is the rūpakam.

इनत भपमाणी।
This is Bhammāṇī.

(सं) भपमाणीं लियनत - पञ्चमस्येनत। पञ्चमांशग्रहा। षड्जमध्यमननषादपञ्चमैस्तारै यत

ुथ ता।
ऋषभह ना। उत्सिे विननयोगः।।189।।

(Saṁ) He describes Bhammāṇī - Pañcama’s . . . . . with pañcama as aṁśa and graha; containing

tāra ṣaḍja, madhyama, niṣāda and pañcama; lacking ṛṣabha. It is recommended in festivity. (189)

टतककैभशकः

धैित्या मध्यमायाश्च संभूतष्टतककैभशकः।

धैितांशग्रहन्यासः काकल्यन्तरराक्जतः।।१९०।।

सारोह सप्रसन्नाददरुत्तरायतयाक्न्ितः।

उिटे नटने कामग्रस्ते कञ्चक्रु ककतक

थृ े ।।१९१।।

प्रिेशे तुयय
थ ामेऽह्नो बीभत्से सभयानके।

प्रयोततव्यो महाकालमन्मथप्रीतये बुधैः।।१९२।।

Ṭakkakaiśika

Ṭakkakaiśika is born of Dhaivatī and Madhyamā jātis. It has dhaivata serving as aṁśa,

graha and nyāsa. It is adorned by kākalī and antara modifications. It is expressed mostly in

the ārohī melodic direction, in prasannādi alaṅkāra. Its scale is provided by Uttarāyatā

205
mūrchanā. It is to be employed in spirited dance, in accompanying a person in the hold of

desire, at entries of the chamberlain, in the fourth watch of the day, in bībhatsa and

bhayānaka rasas. It should form part of the worship offered to Mahākāla and Manmatha.

(190-192)

धासा धपा धमामगार मगाग सासनीम गर गसा धाधाधसा गर र मा माधधधर र र गागमाम

धाधाधसागार र धाधाधास पाधममगर गसासधधससर र ग गममधधर गगसस सनीनीनी

सर गस ननसां सां धांधांधांधां। ससमाम धागसासननसधाधा धाधाधाधा सससस मर धम

मममसरर मररमधपमसा धासासासा सागधासगध सधधसधपरररर ममसरर ममधपमधा

धाधाधस सधसस सस ससाररमधासननगा सासा ननननधा - इत्यालापः।

dhāsā dhapā dhamāmagārīmagāga sāsanīma garīgasā dhādhādhasā garīrīmā

mādhadhadharīrīrī gāgamāma dhādhādhasāgārīrī dhādhādhāsa pādha-mamagarī

gasāsadhadhasasarīrīga gamamadhadharī gagasasa sanīnīnī sarīgasa nisā sā

dhādhādhādhā. sasamāma dhāgasāsanisadhādhā dhādhādhādhā sasasasa marī dhama

mamamasari marimadhapamasā dhāsāsāsā sāgadhāsagadha sadhadhasadhapariri

mamasari mamadhapamadhā dhādhādhasa sadhasasa sasa sasārimadhāsanigā sāsā

ninidhā - This is the ālāpa.

सागररम माररममाधापा धापा धामा धधसास धासामाधापामा धापामाप धम धधपामाररमा

धमधास मामधाधा सागार । मम गग धध पम धाधाधधसा धससा धपसास गधर र र र मम

ममर म मममाम ममररम धपमध मधमध मधपधाधा र धध ररधाधारर धधाधपा पामा ररस

ररररमम ममधप धाधासधा सासागम मधमध सधसम मसधम धाधा - इनत करणम।्

sāgarima mārimamādhāpā dhāpā dhāmā dhadhasāsa dhāsāmādhāpāmā dhāpāmāpa

dhama dhadhapāmārimā dhamadhāsa māmadhādhā sāgārī. mama gaga dhadha pama

dhādhādhadhasā dhasasā dhapasāsa gadharīrī rīrī mama mamarīma mamamāma

mamarima dhapamadha madhamadha madhapadhādhā rīdhadha ridhādhāri dhadhādhapā

pāmā risa ririmama mamadhapa dhādhāsadhā sāsāgama madhamadha sadhasama

masadhama dhādhā - This is the karaṇam.

१. धा धा धा धा धा मा पा पा

206
 श्री म त्क ट त ट

२. धा धा र गा सां सां र गा
वि ग भल त म द म दद

३. धां धां मां धां धां धां धां धां

रा मो द म त्त

४. मां धां मां धां धां धां धां धां

म धु प कु लं

५. धां धां सां सां गा र मा मा

कु भल श ध र क म ल

६. र र मा मा धा र मा मा
यो नन प्र भृ नत नु

७. धा धा धा धा धा धा धा सा
तं ग ण ण प

८. धा पा मा धा धा धा धा धा
नतं िं दे

- इत्याक्षिक्प्तका।

1. dhā dhā dhā dhā dhā mā pā pā

śrī ma tka ṭa ta ṭ

2. dhā dhā rī gā ṡā ṡā rī gā
vi ga li ta ma da ma di

3. ḋhā ḋhā मां ḋhā ḋhā ḋhā ḋhā ḋhā

rā mō da ma tta

4. ṁā ḋhā ṁā ḋhā ḋhā ḋhā ḋhā ḋhā

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 ma dhu pa ku laṃ

5. ḋhā ḋhā ṡā ṡā gā rī mā mā
ku li śa dha ra ka ma la

6. rī rī mā mā dhā rī mā mā
yō ni pra bhṛ ti nu

7. dhā dhā dhā dhā dhā dhā dhā sā

taṃ ga ṇa ṇa pa

8. dhā पा मा dhā dhā dhā dhā dhā

tiṃ vaṃ dē
- This is the Ākṣiptikā.

इनत टतककैभशकः।

This is Ṭakkakaiśika.

(सं) टतककैभशकं लियनत - धरवत्या इनत। उत्तरायता षड्जग्रामे तत

ृ ीया मि
ू थ ना। कञ्चुक्रक-प्रिेशे
विननयोगः।।१९०-१९२।।

(Saṁ) He describes Ṭakkakaiśika – From Dhaivatī . . . . Uttarāyatā is the third mūrchanā in the

ṣaḍjagrāma. The prescription is at the entry of the chamberlain. (190-192)

मालिा

मालिा तस्य भाषा स्याद् ग्रहांशन्यासधैिता।

षड्जधौ संगतौ तत्र स्यातामष

ृ भपञ्चमौ।।१९३।।


धाधासारर सामापामा गार माधा पाधाधानी धासाधा।

इनत मालिा।

Mālavā

Its bhāṣā, Mālavā, has dhaivata acting as the graha, aṁśa and nyāsa. In it, ṣaḍja and

dha, ṛṣabha and pañcama ought to be combined. (193)

dhādhāsāri sāmāpāmā gārīmādhā pādhādhānī dhāsādhā.

This is Mālavā.

208
(सं) मालिां लियनत - मालवेनत। तस्यां षड्जधैितयोः संगनतः ऋषभपञ्चमयोश्च।।१९३।।

(Saṁ) He describes Mālavā - Mālavā . . . . In it there is combination of ṣaḍja and dhaivata, and of

ṛṣabha and pañcama. (193)

द्राविडी

गान्धारांशग्रहा धान्ता द्राविडी तद्विभावषका।

द्विश्रुती संगतौ तत्र भिेतां षड्जधैितौ।।१९४।।



गासागामा धाधा पामा धाधा गास ननधाधास गासनन धापननमागा मननधा।

इनत द्राविडी।

Drāviḍī

Its vibhāṣā, Drāviḍī, has gāndhāra serving as aṁśa and graha, and dha as nyāsa. In it

the two-śruti svaras (ni and ga) should be combined, and so also, ṣaḍja and dhaivata. (194)

This is Drāviḍī.

(सं) द्राविडीं लियनत - र्ान्धारे नत। धान्ता; धैितन्यासा। द्विश्रुत्योननथषादगान्धारयोः संगनतः

षड्जधैितयोश्च।।१९४।।
(Saṁ) He describes Drāviḍī - Gāndhāra . . . . Dha-ending, i.e., with dhaivata as nyāsa; of the two two-

śrutied, i.e. of niṣāda and gāndhāra, combination; as also of ṣaḍja and dhaivata. (194)


इनत रागाङगाददननणथयाख्यं द्वितीयं प्रकरणम ्

इनत श्रीमदनिद्यविद्याविनोदश्रीकरणाचधपनतश्रीसोढलदे िनन्दनननःशङक-

श्रीशाङगथदेिविरचचते संगीतरत्नाकरे रागवििेकाध्यायो द्वितीयः

Thus ends the second topic, namely, the definition of rāgāṅgas etc.

Thus ends the second chapter named Examination of Rāga in Saṅgītaratnākara

written by Doubtfree śārṅgadēva, the blameless lover of learning,

and son of Sōḍhaladēva, the ruler of śrīkaraṇas.

इनत श्रीमदन्रमाण्डलाधीश्िरप्रनतगण्डभैरिश्रीमदनपोतनरे न्द्रनन्दन

भुजबलभीमश्रीभसंहभूपालविरचचतायां संगीतरत्नाकरट कायां

संगीतसुधाकराख्यायां रागवििेकाध्याये द्वितीयः

209
 Thus ends the second chapter Examination of Rāga, in the Commentary on

Saṅgītaratnākara, named Saṅgītasudhākara, written by the mighty śrīsiṁhabhūpāla, son of

Pratigaṇḍabhairava, śrīmad Anapōta, the ruler of Andhra Land.

(क) इह ग्रन्थकारे णोदद्दष्टानामवप लक्ष्ये प्रभसवद्धिैधुयाथत ् अधुनाप्रभसद्धरागाजनकत्िाचचानत

ु त-लिणानां
भाषारागाद नां स्िरूपपररज्ञानाय मतङगाञ्जनेयाद नां मतानस
ु ारे ण लिणानन संक्षिप्य िक्ष्यन्ते।
(Ka) Now, we shall briefly describe the features of those bhāṣās, rāgas etc., which have been

enumerated in the list of topics by the writer of this work, but left undescribed, as they are no longer

popular in practice, and are not the parents of presently popular rāgas, following the thought of

Mataṅga, Āñjanēya etc.

तत्रादौ सौिीरजाः -

िेगमध्यमा सौिीरजा सग्रहान्ता संपण

ू ाथ सपसंगता।
मध्यमांशा स्मत
ृ ा िेगमध्यमा मध्यमोज्ज्िला।।
साधाररता सौिीरा साधाररता स्यान्मन्यासा सग्रहांभशका।

ररमयोः समयोयत
ुथ तगमका सकलस्िरा।।
गान्धार गान्धार करुणे सान्ता संपण
ू ाथ ननग्रहांशका।
सौिीरजा

इनत सौिीरभाषाः।

To begin with, Sauvīra-born (melodies) -

Vēgamadhyamā Vēgamadhyamā, born of Sauvīra, has sa serving as graha and nyāsa, is

complete, with sa-pa combination, madhyama for aṁśa, and is brightened

by madhyama / shines in the madhyama range.

Sādhāritā Coming under Sauvīra, Sādhāritā has ma for nyāsa, sa for graha and aṁśa,

possesses all the svaras. and incorporates gamakas in rendering ri-ma and sa-

ma.

Gāndhārī Gāndhārī, born of Sauvīra, is complete, has sa for nyāsa, ni for graha and aṁśa,

and is employed in karuṇa rasa.

These are the bhāṣās of Sauvīra.

अथ ककुभे -

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 भभन्नपञ्चमी अथ ककुभभाषा स्यानिन्नपञ्चमी।

मापन्यासा ररमपधबहुलाङगोक्ज्ितांभशका।।

कापभोजी कापभोजी ककुभस्य स्यािाषा धांशग्रहाक्न्तमा।

सधसंिाददनी पूणाथ ररपसंिाददनी तथा।।

मध्यमग्रामी ककुभे मध्यमग्रामी भाषा धांशग्रहांभशका।

माध्यमग्राभमकी पण
ू ाथ संकीणाथ ररधसंगता।।
Next, in Kakubha –

Bhinnapañcamī Bhinnapañcamī is a bhāṣā of Kakubha, with ma serving as

apanyāsa, and profuse occurrence of ri, ma, pa and dha, . .

Kāmbhōjī Kāmbhōjī is a bhāṣā of Kakubha, with dha serving as aṁśa,

graha and nyāsa, completle in svara content, and having sa-dha

concordance, as well ri-pa concordance.

Madhyamagrāmī In Kakubha, Madhyamagrāmī is a bhāṣā, belonging to madhyama-grāma,

complete in svara content, of mixed origin, with dha serving as aṁśa,

graha and aṁśa(?), and ri-dha combination (concordance?).

माध्यमग्राभमकीनत। स्िजनकस्य ककुभस्य द्विग्रामत्िेन स्िस्या अवप तथात्िे प्राप्ते अनेन

विशेषिचनेनास्यां षड्जक्स्त्रश्रनु तः प्रयोततव्य इत्यिगपयते। पण

ू ेनत विशेषणेनात्र ग्रामभेदकता न;
प्रयोगाभािात।् संकीणेनत। पि
ू ं भाषाणां 'संकीणाथ दे शजा मल
ू ा िायामात्रेनत नामभभः' इनत
याक्ष्टकमतेन चातवु िथध्यं दभशथतम।् तत्र संकीणथत्िं नाम मतङगमतेन स्िराख्यभमनत पि
ू ं
व्याख्यातम।् तत ् द्रष्टव्यम।्
Mādhyamagrāmikī . . . . Its parent, Kakubha belongs to both grāmas, and so this melody also has

the same property, and this special qualification, we gather, indicates that ṣaḍja should be rendered

three-śruti. The qualification, completeness, is not to distinguish its grāma, as there is no usage

(causing confusion?). Mixed-origin . . Earlier, we saw the four classes into which Yāṣṭika divided the

bhāṣās, namely, saṅkīrṇa, dēśaja, mūla and chāyāmātra. We have already explained that the

saṅkīrṇa class is named svarākhya in Mataṅga’s school. The reader may look into that.

प्रसङगादौमापत्योततं रागाणां त्रैविध्यं प्रदश्यथते। रागास्ताित ् बत्रविधाः - शुद्धाः िायालगाः

संकीणाथश्चेनत। तत्र शुद्धरागत्िं नाम शास्त्रोततननयमाननतिमेण स्ितो रक्ततहे तुत्िम।् िायालग-

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रागत्िं नामान्यचिायालगत्िेन रक्ततहे तुत्िम।् संकीणथरागत्िं नाम शुद्धचिायालगभमश्रत्िेन

रक्तत-हे तुत्िम।् एतत ् प्रकृतसंकीणथत्िादन्यदे ि।

As the context demands it, the classification of rāgas into three types by Umāpati is

being presented. Rāgas are of three kinds - śuddha,chāyālaga and saṅkīrṇa. Of them,

being a śuddha rāga lies in affording delight on its own, without transgressing the rules set

down in the discipline. A chāyālaga rāga is a source of delight by resembling another

melody. And saṅkīrṇa rāga causes delight by combining the śuddha and chāyālaga features.

As this type is by its very nature mixed, it is of a totally different class.

यथोततमुमापनतना - 
As Umāpati has pointed out –

मयैि पञ्चभभिथतत्रैः सष्ृ टाः पूिं कुतूहलात।्

अतः संभूय शुद्धास्ते षट्विंशत ् संख्ययोददताः।।
एतेषां िायया जाताश्िायालगसमाह्ियाः।
असंख्याकास्तु ते तेषु शतमेकोत्तरं िमात।।
्
शुद्धं तु भशिरूपेण शक्ततरूपेण सालगम।्
द्ियोभमथश्रं तु संकीणथमतस्ते बत्रविधा मताः।।
िराट लभलताभ्यां च शुद्धादृषभरागतः।
उत्पन्नोऽयं िसन्तस्तु संकीणथत्िेन लक्षितः।। इनत।
I myself (śiva) have, out of enthusiasm, created, long ago, with my five faces, the

thirtysix śuddha (rāgas). Resembling their appearance were born the innumerable melodies

termed chāyālaga. Of them, a hundred and one (have been granted recognition?), one by

one. The śuddha are of the form of śiva, and the sālaga take the form of śakti. And the

mixture of these two are saṅkīrṇa. So they are of three types. This Vasanta, born of Varāṭī

and Lalitā and the śuddhaṛṣabha rāga, has been described as a saṅkīrṇa melody.

मधरु मधरु ककुभोित

ू ा सांशा धान्ताखिलस्िरा।
गपयोननथधयोयत
ुथ ता संकीणाथ याक्ष्टकोददता।।
Madhurī Madhurī is born of Kakubha. It has sa for aṁśa, dha for
nyāsa, has all the seven svaras, with ga-pa and ni-dha
(combinations?). It is pronounced to be saṅkīrṇa by
Yāṣṭika.

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शकभमश्रा ननपयो ररधयोयथस्यां संिादो ननग्रहांशता।
ररन्यासा ककुभे भाषा शकभमश्रा तु सा मता।।
Śakamiśrā The bhāṣā in Kakubha that displays ni-pa and ri-dha
concordance, and has ni serving as graha and aṁśa, and
ri as nyāsa, is named Śakamiśrā.

इनत ककुभभाषाः।
These are the bhāṣās of Kakubha.

आभीररका आभीररका माद्यन्तांशा पतारा मन्द्रधैिता।

द्रत
ु प्रयोगा ननररसैविथभाषा ककुभोििा।।
ननिेदे विननयोततव्या पूणाथ प्रचरु मध्यमा।
Ābhīrikā Ābhīrikā, a vibhāṣā born of Kakubha, has ma serving as
graha, nyāsa and aṁśa, pa setting the tāra limit and
dhaivata the mandra. It employs quick movements around
ni-ri-sa. It is complete in svara content, using madhyama
profusely. It ought to be employed in a mood of
disenchantment.

मधक
ु र ककुभोत्था मधुकर विभाषा सग्रहाक्न्तमा।
गापन्यासा ननसररधपञ्चमैबह
थ ु लैयत
ुथ ा।।
Madhukarī Madhukarī, a vibhāṣā born of Kakubha, has sa for graha
and nyāsa, ga for apanyāsa, and plentiful use of ni, sa, ri,
dha and pañcama.

इनत ककुभविभाषे।
These are the two vibhāṣās of Kakubha.

शालिाहनी ररग्रहांशा धैितान्ता संपूणाथ ररगसंगता।

ककुभान्तरभाषेयं विज्ञेया शालिाहनी।।
Śālavāhanī Śālavāhanī, an antarabhāṣā of Kakubha, has ri serving as
graha and aṁśa, and dhaivata as nyāsa. It is complete in
svara content and has ri-ga combinations.

इनत ककुभान्तरभाषा।

213
 This is the antarabhāṣā of Kakubha.

अथ टतके -
Next, in Ṭakka –

त्रिणा त्रिणा टतकभाषा सग्रहान्तांशा ररपोक्ज्िता।

समन्द्रा गमतारा सननधभूररददथ नाक्न्तमे।।
Travaṇā Travaṇā, a bhāṣā of Ṭakka, has sa serving as graha,
nyāsa and aṁśa, drops ri and pa, has its mandra limit at
sa and tāra at ga-ma. It has plentiful occurrence of sa, ni
and dha. It ought to be sung in the last watch of the day. It
is sung in vīra rasa and has Rudra as its presiding deity.

त्रिणोििा सान्ता मांशा बहुररधा गापन्यासा पिक्जथता।

टतकभाषा सदा गेया स्पधाथयां त्रिणोििा।
Travaṇōdbhavā Travaṇōdbhavā, a bhāṣā of Ṭakka, has sa for nyāsa, ma
for aṁśa, and ga for apanyāsa. It has plentiful use of ri
and dha and lacks pa. It should always be sung in
situations of conflict.

िेरञ्जी टतकिेरक्ञ्जका सान्ता पग्रहांशाल्पपञ्चमा।

समयो ररगयोश्चावप संगता षाडिा मता।।
Vērañjī The Vērañjī fallling under Ṭakka, has sa as nyāsa and pa
as graha and aṁśa, and sparse use of pañcama(?). It has
sa-ma and ri-ga combination. It is classed as a ṣāḍava
melody.

मध्यमग्रामदे हा टतकजा मध्यमग्रामदे हा मांशग्रहान्तसा।

असंपूणाथ च संकीणाथ समयोः संगता भिेत।।

्
Madhyamagrāmadēhā Born of Ṭakka, Madhyamagrāmadēhā has ma for aṁśa
and graha and sa for nyāsa (or ma for aṁśa and sa for
graha and nyāsa). It is incomplete in svara content and
has sa-ma concord. It is a saṅkīrṇa melody.
मालििेसर सान्ता न्यंशग्रहा पाल्पा सगयोः समयोयत
ुथ ा।

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 मूलाख्या षाडिा टतकभाषा मालििेसर ।।
Mālavavēsarī A bhāṣā of Ṭakka, of the mūla kind, Mālavavēsarī, has sa
serving as nyāsa, and ni as aṁśa and graha. It is sparse
in pa and has sa-ga, sa-ma combinations. It is a ṣāḍava
melody.

िे िाट साद्यन्तांशा समननगसंिादा मध्यमोज्ज्िला।

िे िाट टतकजा मल
ू ा संपूणाथ याक्ष्टकोददता।।
Chēvāṭī Chēvāṭī, born of Ṭakka, of the mūla kind, according to
Yāṣṭika, has sa for graha, nyāsa and aṁśa, sa-ma, ni-ga
concordance, is bright with madhyama / in the madhyama
range, and is complete in svara content.

पञ्चमलक्षिता सग्रहान्ता पञ्चमांशा तारा सगमपञ्चमैः।

ररह ना टतकजा भाषा ज्ञेया पञ्चमलक्षिता।।
Pañcamalakṣitā A bhāṣā born of Ṭakka, Pañcamalakṣitā, has sa serving
as graha and nyāsa, and pañcama as aṁśa, with sa, ga,
ma and pañcama occurring in the tāra range, and is
devoid of ri.

पञ्चमी पांशग्रहा टतकभाषा षड्जान्ता पञ्चमी मता।

ररपयोः समयोयथस्यां संिादः पूणत
थ ावप च।।
Pañcamī Pañcamī, bhāṣā of Ṭakka, has pa serving as aṁśa and
graha and ṣaḍja as nyāsa. It is complete and has ri-pa
and sa-ma concord.

गान्धारपञ्चमी सन्यासा धग्रहा पण

ू ाथ समसङगा गभवू षता।
संकीणाथ टतकजा प्रोतता भाषा गान्धारपञ्चमी।।
Gāndhārapañcamī Gāndhārapañcamī, a bhāṣā born of Ṭakka, is described
as saṅkīrṇa; it has sa for nyāsa and dha for graha, is
complete in svara content, with sa-ma concordance, and
adorned by ga.

तानिभलता षड्जान्ता मध्यमाद्यंशा सपयोमद

थृ ल
ु भलता।
टतकोििा भिेत्तानिभलता मुननसंमता।।

215
Mālavī Born of Ṭakka, Mālavī has pa-dha combination, with the
two serving as nyāsa and aṁśa, respectively. It lacks ri,
and has the tāra gāndhāra, ṣaḍja and madhyama
shaken.

तानिभलता षड्जान्ता मध्यमाद्यंशा सपयोमद

थृ ल
ु भलता।
टतकोििा भिेत्तानिभलता मुननसंमता।।
Tānavalitā Tānavalitā, born of Ṭakka, should, according to the sage,
have ṣaḍja for nyāsa and madhyama for graha and aṁśa,
with sa and pa shaken gently.

रविचक्न्द्रका सग्रहान्ता ररपस्िल्पा संकीणाथ गमकाक्न्िता।

ररसयोः समयोयत
ुथ ता टतकजा रविचक्न्द्रका।।
Ravicandrikā Born of Ṭakka, Ravicandrikā has sa for graha and nyāsa,
sparse occurrence of ri and pa, and ri-sa and sa-ma
combinations, is articulated with gamaka, and is saṅkīrṇa.

ताना तानाख्या सग्रहांशान्ता धापन्यासा ररपोक्ज्िता।

टतकजा करुणे मन्द्रे ननसा तद्गमकाक्ञ्चता।।
Tāna The melody called Tāna is born of Ṭakka; it has sa
serving as graha, aṁśa and nyāsa, and dha as apanyāsa.
It lacks ri and pa, and the ni and sa in the mandra range
adorn it with their gamaka. It is employed in karuṇa rasa.

अपबाहे र गधाचधका मग्रहांशा सान्ता िीरे समस्िरा।

अपबाहे र टतकभाषा दे शाख्या पञ्चमाङक्रकता।।

Ambāhērī Ambāhērī, a bhāṣā of Ṭakka, of the dēśākhya kind,

employs ga a lot, has ma serving as graha and aṁśa, and
sa as nyāsa. Its (other?) svaras are uniform (with no
specific roles?), and it is marked by pañcama (?). It is
prescribed in vīra rasa.

दोह्या दे शाख्या टतकजा दोह्या गाद्या सान्ता ररपोक्ज्िता।

216
Dōhyā Born of Ṭakka, Dōhyā, a melody of the dēśākhya type,
has ga serving as graha and and sa as nyāsa, and drops
ri and pa.

िेसर पह ना सग्रहान्तांशा ननधयोः सधयोयत

ुथ ा।
िेसर टतकभाषा स्याद् िीरे गेया सकाकभलः।।
Vēsarī Vēsarī, a bhāṣā of Ṭakka, lacks pa, has sa serving as
graha, nyāsa and aṁśa, ni-dha and sa-dha
combinations,and includes the kākalī svara. It should be
sung in vīra rasa.

इनत टतकभाषाः।
These are the bhāṣās of Ṭakka.

दे िारिधथनी पञ्चमांशग्रहा षड्जन्यासा दे िारिधथनी।

संपण
ू ाथ टतकरागस्य विभाषा पररकीनतथता।।
Dēvāravardhanī Dēvāravardhanī is a vibhāṣā of of Ṭakka rāga, complete
in svara content, with pañcama serving as aṁśa and
graha, and ṣaḍja as nyāsa.

आन्री मध्यमांशग्रहा टतकविभाषा पञ्चमाक्न्तमा।

प्रहृष्टे विननयोततव्या स्यादान्री चान्रदोशजा।।
Āndhrī Āndhrī, a vibhāṣā of Ṭakka, originating in Āndhra land,
has madhyama for aṁśa and graha, and pañcama for
nyāsa. It should be employed in scenes of joy.

गुजरथ संगता समयो ररन्योः संपूणाथ ननग्रहांभशका।

षड्जान्ता दे शजा टतकविभाषा गुजरथ मता।।
Gurjarī Gurjarī, a vibhāṣā of Ṭakka, has sa-ma and ri-ni concord,
is complete in svara content, has ni for graha and aṁśa,
and ṣaḍja for nyāsa. It is a dēśaja (regional?) melody.

भिानी पांशग्रहान्तसा टतकविभाषा भािनी स्मत

ृ ा।
Bhavānī Bhavānī, a vibhāṣā of Ṭakka, has pa for aṁśa and graha
and sa for nyāsa (or pa for aṁśa, and sa for graha and

217
 nyāsa).

इनत टतकविभाषाः।
These are the vibhāṣās of Ṭakka.

अथ शद्ध
ु पञ्चमे -
Next in Śuddhapañcama–

तानोििा मांशाल्पऋषभा पान्ता संकीणाथ धमसंगता।

तानोििा पञ्चमस्य भाषा प्रबलपञ्चमा।।
Tānōdbhavā Tānōdbhavā is a bhāṣā of Pañcama, with ma serving as
aṁśa, sparse ṛṣabha, pa as nyāsa, and dha-ma
combined. It is a saṅkīrṇa melody, strong in pañcama.

आभीर पग्रहांशाक्न्तमा पूणाथ न्यचधका समयोयत

ुथ ा।
आभीर पञ्चमोित
ू ा रणे काकभलसंयत
ु ा।।
Ābhīrī Ābhīrī, born of Pañcama, has pa serving as graha, aṁśa
and nyāsa, is complete in svara content, with profuse
occurrence of ni, sa-ma combination, and admits the
kākalī svara. It ought to be employed in scenes of war.

गज
ु रथ शद्ध
ु पञ्चमभाषा स्याद् गुजरथ पग्रहांभशका।
पान्ता समोचचा संपण
ू ाथ गपापन्यासभवू षता।।
Gurjarī Gurjarī, a bhāṣā of śuddhapañcama, has pa serving as
graha and aṁśa, and again as nyāsa, with much sa-ma
combination, complete in svara content, adorned by ga
and pa serving as apanyāsa.

आन्री ररग्रहा काकल युतता पञ्चमान्ता सदब

ु ल
थ ा।
शुद्धपञ्चमभाषा स्यादान्री क्रकंनरिल्लभा।।
Āndhrī Āndhrī, a bhāṣā of śuddhapañcama, has ri for graha,
pañcama for nyāsa, includes the kākalī svara, is weak at
sa, and is dear to the kinnaras.

माङगल धग्रहा पञ्चमे भाषा माङगल सधसंगता।

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 ररपसंिाददनी धान्ता संकीणाथ काकल युता।।
Māṅgalī Māṅgalī, a bhāṣā of Pañcama, has dha for graha and
nyāsa, sa-dha combination, ri-pa concord, and includes
the kākalī svara. It is a saṅkīrṇa melody.

भािनी शुद्धपञ्चमभाषा स्यािािनी पग्रहाक्न्तमा।

ररह ना मन्द्रसा मापन्यासा समननभय
ू सी।।
Bhāvanī Bhāvanī, a bhāṣā of śuddhapañcama, has pa serving as
graha and nyāsa, and ma as apanyāsa, lacks ri, has its
mandra limit at sa, and employs sa, ma and ni plentifully.

इनत शुद्धपञ्चमभाषाः।
These are the bhāṣās of śuddhapañcama.

अथ भभन्नपञ्चमे -
Next in Bhinnapañcama
–

धैितभूवषता पूणाथ धांशग्रहन्यासा सधयो ररधयोयत

ुथ ा।
भभन्नपञ्चमसंभूता भाषा धैितभूवषता।।
Dhaivatabhūṣitā Dhaivatabhūṣitā, a bhāṣā born of Bhinnapañcama, is
complete in svara content, has dha for aṁśa, graha and
nyāsa, and sa-dha and ri-dha combinations.

शद्ध
ु भभन्ना भभन्नपञ्चमजा शद्ध
ु भभन्ना धांशा ग्रहाक्न्तमा।
ररधयोः समयोयत ू ाथ क्रकंनरिल्लभा।।
ुथ ता पण
Śuddhabhinnā Śuddhabhinnā, born of Bhinnapañcama, has dha serving
as aṁśa, graha and nyāsa, is complete in svara content,
and includes ri-dha and sa-ma combinations. It is dear to
the kinnaras.

िराट भभन्नपञ्चमभाषा स्याद् िराट धमभय

ू सी।
धान्ता ररदब
ु ल
थ ा मांशा सधयोननथगयोयत
ुथ ा।।
Varāṭī Varāṭī, a bhāṣā of Bhinnapañcama, employs dha and ma
profusely, has dha for nyāsa and ma for aṁśa, is weak at

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 ri, and has sa-dha and ni-ga combinations.

विशाला सधसंचाररणी पूणाथ पांशा धान्ता धभूवषता।

भभन्नपञ्चमभाषा तु विशाला क्रकंनरवप्रया।।
Viśālā Viśālā, a bhāṣā of Bhinnapañcama, has sa-dha
movement, is complete, has pa for aṁśa and dha for
nyāsa, is adorned by (much use of?) dha. It is dear to the
kinnaras.

इनत भभन्नपञ्चमभाषाः।
These are the bhāṣās of Bhinnapañcama.

कौशल ननषादांशग्रहा भभन्नपञ्चमस्य विभावषका।

कौशल धैितन्यासा ऋषभेण वििक्जथता।।
Kauśalī Kauśalī, a vibhāṣā of Bhinnapañcama, has niṣāda for
aṁśa and graha, and dhaivata for nyāsa, and is devoid of
ṛṣabha.

इनत भभन्नपञ्चमविभाषा।
This is the vibhāṣā of Bhinnapañcama.

अथ टतककैभशके -
Next, in Ṭakkakaiśika –

मालिा धाद्यान्तांशा मालिा स्यात ् संपण

ू ाथ टतककैभशके।
संचारः सधयोयथस्यां ररधयोश्चैि दृश्यते।।
Mālavā Mālavā, in the fold of Ṭakkakaiśika, has dha for graha,
nyāsa, aṁśā, is complete in svara content, and displays
movements between sa and dha, and ri and dha.

भभन्निभलता धान्ता सांशग्रहा भभन्निभलता टतककैभशके।

भाषा भिेिरू रननधा तत्संगनतमती मता।।
Bhinnavalitā A bhāṣā of Ṭakkakaiśika, Bhinnavalitā has dha serving as
nyāsa, and sa as aṁśa and graha, is plentiful in ni and

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 dha and their combination.

इनत टतककैभशकविभाषा।
These are the two bhāṣās of Ṭakkakaiśika.

द्राविडी मग्रहांशा धैितान्ता ननगयोः सधयोयत

ुथ ा।
टतककैभशकरागस्य विभाषा द्राविडी मता।।
Drāviḍī Drāviḍī, the vibhāṣā of Ṭakkakaiśika rāga, has ma for
graha and aṁśa, and dhaivata for nyāsa, and combines
ni-ga and sa-dha.

इनत टतककैभशकविभाषा।
This is the vibhāṣā of Ṭakkakaiśika.

अथ दहन्दोले -
Next in Hindōla –

िेसर दहन्दोलभाषा सान्तांशा िेसर ररधदब

ु ल
थ ा।
संगता सगयो ररन्योः प्रेिणे विननयुज्यते।।
Vēsarī Vēsarī, a bhāṣā of Hindōla, has sa serving as nyāsa and
aṁśa, is weak in ri and dha, has sa-ga and ri-ni
combinations. It is prescribed for (the scene of) watching
a show.

चत
ू मञ्जर सपसंचाररणी सान्ता पग्रहांशा ररिक्जथता।
दहन्दोलभाषा ननगयोयत
ुथ ा स्याचचत
ू मञ्जर ।।
Cūtamañjarī Cūtamañjarī, bhāṣā of Hindōla, has sa-pa movement, sa
for nyāsa, pa for graha and aṁśa, lacks ri, and combines
ni-ga.

षड्जमध्यमा षड्जाद्या मध्यमान्तांशा दहन्दोले षड्जमध्यमा।

भाषा ननररविह ना स्यात ् समयोगथमयोयत
ुथ ा।।
Ṣaḍjamadhyamā Ṣaḍjamadhyamā, bhāṣā of Hindōla, has ṣaḍja for graha,
and madhyama for nyāsa and aṁśa, lacks ni and ri, and

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 combines sa-ma and ga-ma.

मधरु मांशा सान्ता बहुपधननसा दहन्दोलसंभिा।

मधरु ऋषभाल्पा स्यात ् प्रेिणे विननयुज्यते।।
Madhurī Madhurī, born of Hindōla, has ma for aṁśa, sa for nyāsa,
uses pa, dha, ni and sa profusely, and ṛṣabha sparsely. It
is prescribed in a scene of show-watching.
भभन्नपौराल मध्यमांशग्रहा षड्जन्यासा सप्तस्िराक्न्िता।
दहन्दोलभाषा स्यानिन्नपौराल प्रेिणे मता।।
Bhinnapaurālī Bhinnapaurālī, bhāṣā of Hindōla, has madhyama for aṁśa
and graha, and ṣaḍja for nyāsa, and has all the seven
svaras. It is recommended for show-watching scenes.

मालििेसर गापन्यासा सग्रहान्ता मपयोगथमकाक्न्िता।

ररधत्यतता च दहन्दोलभाषा मालििेसर ।।
Mālavavēsarī Mālavavēsarī, bhāṣā of Hindōla, has ga for apanyāsa,
and sa for graha and nyāsa, ma and pa rendered with
gamaka, and lacks ri and dha.

इनत दहन्दोलभाषाः।
These are the bhāṣās of Hindōla.

अथ बोट्टे
Next in Bōṭṭa –

माङगल मान्ता पांशग्रहा पूणाथ माङगल मध्यमोज्ज्िला।

बोट्टजा ररधसंचारा गीयते सिथमङगले।।
Māṅgalī Born of Bōṭṭa, Māṅgalī has ma for nyāsa, and pa for aṁśa
and graha, is complete in svara content, is bright with
madhyama (/in the madhyama range?), moves between ri
and dha, and is suitable for singing at all auspicious
occasions.

इनत बोट्टभाषा।

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 This is the bhāṣā of Bōṭṭa.

अथ मालिकैभशके -
Next, in Mālavakaiśika –

बाङगाल सान्ता मांशग्रहा पण

ू ाथ बाङगाल मध्यमोज्ज्िला।
ररमसंिाददनी भाषा भिेन्मालिकैभशके।।
Bāṅgālī A bhāṣā of Mālavakaiśika, Bāṅgālī has sa for nyāsa, ma
for aṁśa and graha, is complete in svara content, is bright
with madhyama (/in the madhyama range?), and has ri-
ma concordance.

माङगल साद्यन्तांशा मपाल्पा तत्स्फुररता द घथधि

ै ता।
ररमतारा माङगल स्याद् भाषा मालिकैभशके।।
Māṅgalī Māṅgalī, bhāṣā of Mālavakaiśika, has sa for graha, nyāsa
and aṁśa, sparse occurrence of ma and pa, which are
rendered with sphurita shake, elongated dhaivata, ri and
ma in the tāra range.

मालििेसर धिक्जथता साद्यन्तांशा जाता मालिकैभशकात।्

ररतारा मन्द्रपा कपप्रमपा मालििेसर ।।
Mālavavēsarī Mālavavēsarī, born of Mālavakaiśika, lacks dha, has sa
for graha, nyāsa and aṁśa, tāra limit at ri and mandra at
pa, shaken ma and pa.

िञ्जनी सान्ता पांशा धरदहता ननसयो ररमयोयत

ुथ ा।
संकीणाथ िञ्जनी भाषा जाता मालिकैभशकात।।
्
Khañjanī Khañjanī, a bhāṣā born of Mālavakaiśika, has sa serving
as nyāsa, and pa as aṁśa, lacks dha, and has ni-sa and
ri-ma combinations. It is a saṅkīrṇa melody.

गज
ु रथ ररन्योश्च ररमयोश्चैि संगता ननग्रहांभशका।
षड्जान्ता गज
ु रथ पण
ू ाथ भाषा मालिकैभशके।।
Gurjarī Gurjarī, a bhāṣā of Mālavakaiśika, complete in svara
content, has only ri-ni and ri-ma combinations, with ni

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 serving as graha and aṁśa, and ṣaḍja as nyāsa.

पौराल पौराल सग्रहांशान्ता षड्जमध्यमभूयसी।

संपूणाथ चैि संकीणाथ जाता मालिकैभशकात।।
्

Paurālī Paurālī, a saṅkīrṇa melody born of Mālavakaiśika, has sa

serving as graha, aṁśa and nyāsa, uses ṣaḍja and
madhyama profusely, and is complete in svara content.

अधथिेसर षड्जन्यासा मध्यमांशग्रहा पूणाथधि

थ ेसर ।
ननदब
ु ल
थ ा बहुसमा भाषा मालिकैभशके।।
Ardhavēsarī Ardhavēsarī, a bhāṣā of Mālavakaiśika, has ṣaḍja serving
as nyāsa, and madhyama as aṁśa and graha, is
complete in svara content, weak in ni, and employs sa-ma
profusely.

शुद्धा मध्यमांशग्रहा षड्जन्यासा सप्तस्िरै यत

ुथ ा।
शुद्धा प्रहषे ननयुतता जाता मालिकैभशकात।।
्

Śuddhā Śuddhā, born of Mālavakaiśika, has madhyama serving

as aṁśa and graha, and ṣaḍja as nyāsa, has all the
seven svaras, and is prescribed for scenes of joy.

मालिरूपा गान्धारप्रबला षड्जग्रहांशान्ता ननधोक्ज्िता।

भाषा मालिरूपा स्यादे षा मालिकैभशके।।
Mālavarūpā Mālavarūpā, bhāṣā of Mālavakaiśika, is strong in
gāndhāra, has ṣaḍja serving as graha, aṁśa and nyāsa,
and lacks ni and dha.

आभीर साधारणकृताभीर ननगाल्पा सररसंगता।

पूणाथ सान्तग्रहा िीरे भाषा मालिकैभशके।।
Ābhīrī Ābhīrī, bhāṣā of Mālavakaiśika, of the sādhāraṇa kind,
uses ni and ga sparsely, combines sa-ri, is complete in
svara content, and has sa serving as nyāsa and graha. It
is employed in vīra rasa.

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 इनत मालिकैभशकभाषाः।
These are the bhāṣās of Mālavakaiśika.

कापभोजी साद्यन्तांशा ननबहुला गमकोत्था ररपोक्ज्िता।

कापभोजी मन्द्रषड्जा विभाषा मालिकैभशके।।
Kāmbhōjī Kāmbhōjī, a vibhāṣā in Mālavakaiśika, has sa serving as
graha, nyāsa and aṁśa, uses ni profusely, laden with
gamaka, lacks ri and pa, and has ṣaḍja marking the
mandra limit.

दे िारिधथनी दे िारिधथनी मान्ता जाता मालिकैभशकात।्

विभाषा त्यततगान्धारननषादा पञ्चमाक्न्तमा।।
Dēvāravardhanī Dēvāravardhanī, the vibhāṣā born of Mālavakaiśika, has
ma for nyāsa, drops gāndhāra and niṣāda, and iss
pañcama-ending (too?).

इनत मालिकैभशकविभाषे।
These are the two vibhāṣās of Mālavakaiśika.

अथ गान्धारपञ्चमे -
Next in Gāndhārapañcama

गान्धार गान्धारपञ्चमे भाषा गान्धार सगभूवषता।

धाद्यन्ता सिथलोकस्य हृद्या स्त्रीणां विशेषतः।।
Gāndhārī Gāndhārī, the bhāṣā of Gāndhārapañcama, is adorned
by sa-ga, has dha serving as graha and nyāsa, and
delights all the people, especially the women.

इनत गान्धारपञ्चमभाषा।
This is the bhāṣā of Gāndhārapañcama.

अथ भभन्नषड्जे -
Next, in Bhinnaṣaḍja –

225
गान्धारिल्ल गान्धारिल्ल भाषा स्यानिन्नषड्जस्य धाक्न्तमा।
मांशा पूणाथ सधयुता गीयते वपतक
ृ मथखण।।
Gāndhāravallī Gāndhāravallī, bhāṣā of Bhinnaṣaḍja, has dha serving as
nyāsa, ma as aṁśa, is complete in svara content,
combines sa-dha. It is sung in obeisance to forefathers.

कचिे ल षड्जग्रहांशा मन्यासा कूटतानसमाश्रया।

गधह ना भभन्नषड्जे कचिे ल ं तां विदःु परे ।।
Kacchēlī Kacchēlī, in the fold of Bhinnaṣaḍja, has ṣaḍja for graha
and aṁśa, and ma for nyāsa, is expressed mainly in
kūṭatānas (zigzag svara progressions?), lacks ga and
dha. This is according to the view of others.(?)

स्िरिक्ल्लका मग्रहांशा मन्द्रतारऋषभा गननिक्जथता।

ररह ना ननग्रहा धांशन्यासा स्यात ् स्िरिक्ल्लका।
भभन्नषड्जस्य भाषेयं मद
ृ ल
ु ा मनु नसंमता।।
Svaravallikā Svaravallikā, bhāṣā of Bhinnaṣaḍja, has ma serving as
graha and aṁśa, ṛṣabha setting the mandra and tāra
limits, lacks ga and ri, ni as graha and dha as aṁśa and
nyāsa. According to the sage, it is a gentle melody.

ननषाददनी ननषाददनी भभन्नषड्जभाषा धांशग्रहाक्न्तमा।

Niṣāḍinī Niṣāḍinī is a bhāṣā of Bhinnaṣaḍja, with dha serving as
aṁśa, graha and nyāsa.

मध्यमा मध्यमा भभन्नषड्जस्य भाषा मान्ता ग्रहांशधा।

Madhyamā Madhyamā is a bhāṣā of Bhinnaṣaḍja, with ma for nyāsa
and dha for graha and aṁśa.

शुद्धा धांशग्रहान्ता मद
ृ ल
ु धैिता ररपिक्जथता।
पिक्जथता िा सगयोः संबद्धा भभन्नषड्जजा।
सापन्यासा मन्द्रसगधा शुद्धा द घथपञ्चमा।।
Śuddhā Śuddhā, born of Bhinnaṣaḍja, has dha serving as aṁśa,
graha and nyāsa, dhaivata softened, lacking ri and pa or
lacking pa, combining sa-ga, with sa as apanyāsa, and

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 sa, ga and dha in the mandra range, and elongated
pañcama.

दाक्षिणात्या धाद्यन्तांशा दाक्षिणात्या भाषा पञ्चमदब

ु ल
थ ा।
सधयोः समयोयत
ुथ ता षाडिा भभन्नषड्जजा।।
Dākṣiṇātyā Dākṣiṇātyā, a bhāṣā born of Bhinnaṣaḍja, is a ṣāḍava
(six-svara) melody, with dha serving as graha, nyāsa and
aṁśa, weak in pañcama, combining sa-dha and sa-ma.

पुभलन्द सान्ता धांशा ह नगपा पुभलन्द भभन्नषड्जजा।

सधयोः समयोयत
ुथ ता पुभलन्दजनिल्लभा।।
Pulindī Pulindī, born of Bhinnaṣaḍja, dear to the people of
Pulinda, has sa serving as nyāsa, and dha as aṁśa, lacks
ga and pa, combines sa-dha and sa-ma.

तुपबुरा तुपबुरा भभन्नषड्जस्य भाषा ऋषभिक्जथता।

धैितांशग्रहन्यासा गीयते ब्रह्मचाररणी।।

Tumburā Tumburā, bhāṣā of Bhinnaṣaḍja, lacks ṛṣabha, has

dhaivata serving as aṁśa, graha and nyāsa. It is sung in
the celibate stage of life.

षड्जभाषा षड्जभाषा भभन्नषड्जभाषा धांशग्रहाक्न्तमा।

सकाकल्यन्तरा त्यततररपा दे िाचथने मता।।
Ṣaḍjabhāṣā Ṣaḍjabhāṣā, bhāṣā of Bhinnaṣaḍja, has dha serving as
aṁśa, graha and nyāsa, includes kākalī and antara
svaras, drops ri and pa, and is suitable for the worship of
Gods.

काभलन्द गांशा ननदब

ु ल
थ ा धान्ता पररह ना चतःु स्िरा।
हृद्यारोहािरोहा तु काभलन्द भभन्नषड्जजा।।
Kālindī Kālindī, born of Bhinnaṣaḍja, has ga serving as aṁśa,
dha as nyāsa, is weak in ni, lacks pa and ri, and is
practically four-svara-ed, with delightful ascent and
descent.

227
श्रीकण्ठी धाद्यन्तांशा परदहता श्रीकण्ठी भभन्नषड्जजा।
भाषापन्यासऋषभा ररमयोः संगता भिेत।।
्
Śrīkaṇṭhī Śrīkaṇṭhī, bhāṣā born of Bhinnaṣaḍja, has dha serving as
graha, nyāsa and aṁśa, and ṛṣabha as apanyāsa, lacks
pa, and combines ri-ma.

गान्धार गान्धारांशा मध्यमान्ता गान्धार मध्यमोक्ज्िता।

गेयैकान्ते भभन्नषड्जभाषा शादथ ल
ू संमता।।
Gāndhārī Gāndhārī, bhāṣā of Bhinnaṣaḍja, has gāndhāra serving
as aṁśa, and madhyama as nyāsa, and drops madhyama
(?). It should be sung in solitude, according to śārdūla.

इनत भभन्नषड्जभाषाः।
These are the bhāṣās of Bhinnaṣaḍja.

पौराल विभाषा भभन्नषड्जस्य मांशा धान्ता ररदब

ु ल
थ ा।
नागवप्रया स्यात ् पौराल मररपैः संगता भमथः।।
Paurālī Paurālī is a vibhāṣā of Bhinnaṣaḍja, with ma serving as
aṁśa and dha as nyāsa, weak in ri, and combining ma-ri-
pa, dear to Nāga.

मालिी पण
ू ाथ सररगमैबह्
थ िी ग्रहांशन्यासधैिता।
धमन्द्रा भभन्नषड्जोत्था विभाषा मालिी मता।।
Mālavī Mālavī is a vibhāṣā born of Bhinnaṣaḍja, complete in
svara content, profusely employing sa, ri, ga and ma, with
dhaivata serving as graha, aṁśa and nyāsa, and dha
setting the mandra limit.

काभलन्द गग्रहा धाक्न्तमा न्यल्पा पररह ना समस्िरा।

विभाषा स्यात्तु काभलन्द विस्मये भभन्नषड्जजा।।
Kālindī Kālindī is a vibhāṣā born of Bhinnaṣaḍja, with ga serving
as graha, and dha as nyāsa, sparse in ni, lacking pa and
ri, and (other) svaras equal. It should be employed in a
mood of wonder.

228
 दे िारिधथनी भभन्नषड्जे विभाषा तु भिेद् दे िारिधथनी।
ननषादांशा धैितान्ता ऋषभेण वििक्जथता।।
Dēvāravardhanī Dēvāravardhanī is a vibhāṣā of Bhinnaṣaḍja, with niṣāda
serving as aṁśa, and dhaivata as nyāsa, and dropping
ṛṣabha.

इनत भभन्नषड्जविभाषाः।
These are the vibhāṣās of Bhinnaṣaḍja.

अथ िेसरषाडिे -
Next, in Vēsaraṣāḍava –

नाद्या संकीणाथ सग्रहा मान्ता गबह्िी पञ्चमोक्ज्िता।

सायाह्ने गीयते नाद्या भाषा िेसरषाडिे।।
Nādyā Nādyā, bhāṣā of Vēsaraṣāḍava, is a saṅkīrṇa melody,
with sa serving as graha and ma as nyāsa, abounding
in ga, and dropping pañcama. It is sung in evening time.

बाह्यषाडिा ननगयो ररगयोयत

ुथ ता संपण
ू ाथ बाह्यषाडिा।
मध्यमांशग्रहन्यासा भाषा िेसरषाडिे।।
Bāhyaṣāḍavā Bāhyaṣāḍavā, bhāṣā of Vēsaraṣāḍava, combines ni-ga
and ri-ga, is complete, and has madhyama serving as
aṁśa, graha and nyāsa.

इनत िेसरषाडिभाषे।
These are the two bhāṣās of Vēsaraṣāḍava.

पािथती विभाषा पािथती पूणाथ सांशा िेसरषाडिे।

Pārvatī Pārvatī, a vibhāṣā of Vēsaraṣāḍava, is complete in svara
content, and has sa serving as aṁśa.

श्रीकण्ठी ननधयो ररधयोयत

ुथ ता श्रीकण्ठी मग्रहाक्न्तमा।
विभाषा पञ्चमत्यतता जाता िेसरषाडिे।।

229
 Śrīkaṇṭhī Śrīkaṇṭhī, a vibhāṣā born of Vēsaraṣāḍava, combines ni-
dha and ri-dha, has ma for graha and nyāsa, and drops
pañcama.

इनत िेसरषाडिविभाषे।
These are the two vibhāṣās of Vēsaraṣāḍava.

अथ मालिपञ्चमे -
Next, in Mālavapañcama -

िेगिती सग्रहान्ता िेगिती धांशा मालिपञ्चमे।

सप्तस्िरा विभाषेयमञ्जनासूनुसंमता।।
Vēgavatī Vēgavatī is a vibhāṣā in Mālavapañcama, possessing all
seven svaras, with sa serving as graha and nyāsa, and
dha as aṁśa, according to Hanumān.

भािनी भािनी पञ्चमांशान्तग्रहा मालिपञ्चमात।्

जाता विभाषा षड्जापन्यासा ऋषभिक्जथता।।

Bhāvanī Bhāvanī, a vibhāṣā born of Mālavapañcama, has

pañcama serving as aṁśa, nyāsa, and graha, and ṣaḍja
as apanyāsa, and drops ṛṣabha.

विभािनी विभािनी विभाषा स्यात ् पूणाथ मालिपञ्तमे।

पञ्चमांशग्रहन्यासा मगधाल्पा पमन्द्रभाक् ।।
Vibhāvanī Vibhāvanī, a vibhāṣā of Mālavapañcama, is complete in
svara content, with pañcama serving as aṁśa, graha and
nyāsa, sparse in ma, ga and dha, and pa determining the
mandra range.

इनत मालिपञ्चमविभाषाः।
These are the vibhāṣās of Mālavapañcama.

अथ भभन्नताने -

230
Next, in Bhinnatāna –
तानोििा भभन्नतानोििा तानोििा ऋषभिक्जथता।
पञ्चमांशग्रहन्यासा साधारणकृता मता।।
Tānōdbhavā Tānōdbhavā, born of Bhinnatāna, lacks ṛṣabha, and has
pañcama serving as aṁśa, graha and nyāsa. It is
sādhāraṇa in origin.

इनत भभन्नतानभाषा।
This is the bhāṣā of Bhinnatāna.

अथ पञ्चमषाडिे -
Next, in Pañcamaṣāḍava –

पोता ऋषभांशग्रहन्यासा धह ना ननसभूयसी।

पोता प्रोतता मतङगेन भाषा पञ्चमषाडिे।।
Pōtā Pōtā is described by Mataṅga as a bhāṣā of
Pañcamaṣāḍava, with ṛṣabha for aṁśa, graha and nyāsa,
devoid of dha, and employing ni and sa plentifully.

इनत पञ्चमषाडिभाषा।
This is the bhāṣā of Pañcamaṣāḍava.

अथ मतान्तरे ण रे िगुप्ते -
Next, in Rēvagupta, according to the other school –

शका सन्यासा रे िगुप्तस्य भाषा मांशा शकाह्िया।

गपाभ्यां बहुला पूणाथ ररधाभ्यामवप भूयसी।।
śakā The bhāṣā of Rēvagupta, called śakā, has sa for nyāsa
and ma for aṁśa, is complete, and profusely employs ga-
pa and ri-dha.

इनत रे िगुप्तभाषा।
This is the bhāṣā of Rēvagupta.

231
अथानुततजनकाः -
Next, the melodies of unknown origin –

पल्लिीविभाषा धान्तांशा पल्लिी पूणाथ गतारा ररसभूयसी।

Pallavīvibhāṣā Pallavī is complete, with dha for nyāsa and aṁśa, ga
marking the tāra limit, and plentifully employing ri and sa.

अन्तरभाषाः
Antarabhāṣās

भासिभलता धाद्यन्तांशाल्पररभाथसिभलता पञ्चमोक्ज्िता

Bhāsavalitā Bhāsavalitā has dha serving as graha, nyāsa and aṁśa,
is sparse in ri, and drops pañcama.

क्रकरणािल धग्रहांशा तारगननननथमन्द्रा क्रकरणािल ।

Kiraṇāvalī Kiraṇāvalī has dha serving as graha and aṁśa, tāra ga
and ni, and ni setting the mandra limit.

शकिभलता शकाद्या िभलता मांशा धन्यासा धननसंगता।

Śakavalitā Śakavalitā has ma serving as aṁśa and dha as nyāsa,
and combines dha-ni.

इत्यन्तरभाषाः। इत्यनुततजनकाः।
These are the antarabhāṣās.
These are the parent-unrecorded melodies.

अथोपरागाः -
Next, the uparāgas –

शकनतलकः स्यात ् षाड्जीधैितीजात्योः षड्जांशन्याससंयुतः।

दब
ु ल
थ ः पञ्चमो यत्र शकाद्यक्स्तलकस्तु सः।।
Śakatilaka Śakatilaka, born of ṣāḍjī and Dhaivatī jātis, has ṣaḍja
serving as aṁśa and nyāsa, and is weak in pañcama.

232
 टतकसैन्धिः स्यात ् षाड्जीकैभशकीजात्योः संभूतष्टतकसैन्धिः।
षड्जांशन्याससंयुततः पञ्चमेन तु दब
ु ल
थ ः।।
Ṭakkasaindhava Ṭakkasaindhava, born of ṣāḍjī and Kaiśikī jātis, has ṣaḍja
serving as aṁśa and nyāsa, and is weak in pañcama

कोक्रकलापञ्चमः पञ्चमीमध्यमाजात्योः कोक्रकलापञ्चमो भिेत।्

पञ्चमांशग्रहः पूणो मध्यमन्याससंयुतः।।
Kōkilāpañcama Kōkilāpañcama, born of Pañcamī and Madhyamā jātis,
has pañcama serving as aṁśa and graha, madhyama as
nyāsa and is complete in svara content.

भािनापञ्चमः गान्धारपञ्चमीजातेभाथिनापञ्चमो भिेत।्

गान्धारग्रहसंयुततः पञ्चमांशः समस्िरः।।
Bhāvanāpañcama Bhāvanāpañcama, born of Gāndhārapañcamī jāti, has
gāndhāra serving as graha, and pañcama as aṁśa, and
other svaras of equal status.

नागगान्धारः गान्धार रततगान्धायोनाथगगान्धारको भिेत।्

गान्धारांशग्रहन्यासः काकल्यन्तरसंयत
ु ः।।
Nāgagāndhāra Nāgagāndhāra, born of Gāndhārī and Raktagāndhārī, has
gāndhāra serving as aṁśa, graha and nyāsa, and
includes kākalī and antara svaras.

नागपञ्चमः नागपञ्चमरागोऽयमाषथभीधैितीभिः।
ऋषभांशग्रहस्त्यततगान्धारो धैिताक्न्तमः।।

Nāgapañcama Nāgapañcama rāga is born of Ārṣabhī and Dhaivatī jātis,

and has ṛṣabha serving as aṁśa and graha, dhaivata as
nyāsa, and drops gāndhāra.

इत्युपरागाः।
These are the uparāgas.

अथ ननरुपपदरागाः -
Next, Prefixless / Unqualified Rāgas –

233
नट्टः मध्यमोद चयिाजातेनट्ट
थ स्तारस्थषड्जकः।
मध्यमांशग्रहन्यासः संपूणश्थ च समस्िरः।।
Naṭṭa Naṭṭa, born Madhyamōdīcyavā jāti, has ṣaḍja in the tāra
range, madhyama serving as aṁśa, graha and nyāsa, is
complete in svara content, and has equal (other) svaras.

भासः आन्रसीमुििो भासो ग्रहांशन्यासधैितः।

Bhāsa Bhāsa is born of Āndhrī, and has dhaivata serving as
graha, aṁśa and nyāsa.

रततहं सः रततगान्धाररकाजातो रततहं सो ररिक्जथतः।

धैितांशग्रहन्यासस्तारगान्धारमेदरु ः।।
Raktahaṁsa Raktahaṁsa, born of Raktagāndhārī, drops ri, has
dhaivata serving as aṁśa, graha and nyāsa, and is
beautified by the tāra gāndhāra.

कोल्हासः नैषाद धैितीयुततशुद्धजानतसमुििः।

षड्जन्यासग्रहांशश्च कोल्हासो ररधदब
ु ल
थ ः।।
Kōlhāsa Kōlhāsa, born of the śuddha jātis, Naiṣādī and Dhaivatī,
has ṣaḍja serving as nyāsa, graha and aṁśa, and is weak
in ri and dha.

प्रसिः नन्दयन्तीसमुित
ू ः प्रसिो मग्रहांशकः।
सन्यासो ननधयोयत
ुथ तः पूणो िीरे ननयुज्यते।।
Prasava Prasava, born of Nandayantī jāti, has ma serving as graha
and aṁśa, and sa as nyāsa, combines ni-dha, is complete
in svara content, and is employed in vīra rasa.

ध्िननः गान्धारपञ्चमीजातो ध्िननः पूणःथ पधाचधकः।

पञ्चमांशग्रहन्यासो ननगाल्पो मन्द्रमध्यमः।।
Dhvani Dhvani, born of Gāndhārapañcamī, is complete in svara
content, profuse in pa and dha, has pañcama serving as
aṁśa, graha and nyāsa, uses ni and ga sparsely, and has
madhyama in the mandra range.

234
 कंदपथः कंदपथः षड्जकैभशतया जातः षड्जग्रहांशकः।
षड्जान्तो मन्द्रषड्जश्च पञ्चमेन वििक्जथतः।।
Kandarpa Kandarpa, born of ṣaḍjakaiśikī, has ṣaḍja serving as
graha, aṁśa and nyāsa, ṣaḍja setting the mandra limit,
and lacks pañcama.

दे शाख्यः धैितीमध्यमाजात्योजाथतो धांशग्रहाक्न्तमः।

दे शाख्यः स्िल्पगान्धारो ममन्द्रो ह नपञ्चमः।।
Dēśākhya Dēśākhya, born of Dhaivatī and Madhyamā jātis, has dha
serving as aṁśa, graha and nyāsa, sparse gāndhāra,
mandra ma, and no pañcama.

कैभशकककुभः धैितांशग्रहन्यासो गतारो मन्द्रपञ्चमः।

स्यात्तत्र हे तुजात्युततः ककुभान्तस्तु कैभशकः।।
Kaiśikakakubha Kaiśikakakubha, born of (Kaiśikī?), has dhaivata acting as
aṁśa, graha and nyāsa, ga in the tāra range and
pañcama in the mandra.

नट्टनारायणः नट्टनारायणः पूणःथ षड्जन्यासग्रहांशकः।

मध्यमापञ्चमीजातः सकाकल्यन्तरः सदा।
करुणे कालदै ित्यो गेयः शरदद तारगः।
Naṭṭanārāyaṇa Naṭṭanārāyaṇa, born of Madhyamā and Pañcamī, is
complete in svara content, has ṣaḍja serving as nyāsa,
graha and aṁśa, includes kākalī and antara, has ga in the
tāra range, and is employed in karuṇa rasa, with Kāla as
the subject, and in autumn.

इनत ननरुपपदरागाः।
These are the Unqualified Rāgas.

अथ प्रातप्रभसद्धदे शीरागाः -
Next, the Dēśīrāgas of Earlier Fame –

शंकराभरणः यदायं मध्यमाददश्चेत ् स्यान्मन्द्रस्िरमुदद्रतः।

235
 िायान्तरे ण युततः स्याचिं कराभरणस्तदा।।
Śaṅkarābharaṇa If it commences on madhyama, and does not have any
melodic movement in the mandra range, then
śaṅkarābharaṇa has the shade of another melody.

घण्टारिः घण्टारिो धग्रहांशो मन्द्रगान्धारमेदरु ः।

ननतारो भभन्नषड्जाङगं मध्यमन्यासमक्ण्डतः।।
Ghaṇṭārava Ghaṇṭārava is an aṅga of Bhinnaṣaḍja, with dha serving
as graha and aṁśa, and madhyama as the beautiful
nyāsa, and adorned by mandra gāndhāra and tāra ni.

हं सकः हं सको भभन्नषड्जाङगं धग्रहांशः सिक्जथतः।

Haṁsaka Haṁsaka, aṅga of Bhinnaṣaḍja, has dha for graha and
aṁśa, and lacks sa.

द पकः संपूणो द पको जातो भभन्नकैभशकमध्यमात।्

गपाल्पः सग्रहो मान्तः संकीणो द प्तमध्यमः।।
धन्नाभसकैिोचचतरा द पकोऽन्यैबध
ुथ ःै स्मत
ृ ः।
Dīpaka Dīpaka, born of Bhinnakaiśikamadhyama, is complete in
svara content, sparse in ga and pa, with sa serving as
graha and ma as nyāsa, and bright madhyama. It is a
saṅkīrṇa melody. Dhannāsī itself, of a high order, is
known as Dīpaka, according to other experts. [?]

र नतः सन्यासांशग्रहा पूणाथ र नतः स्यानिन्नषड्जजा।।

Rīti Rīti, born of Bhinnaṣaḍja, has sa for nyāsa, aṁśa and
graha, and is complete in svara content.

पण
ू ाथदटका षड्जन्यासग्रहा धांशा सतारा मन्द्रमध्यमा।
समस्िरा च संकीणाथ पण
ू ाथ पण
ू ाथदटका मता।।
Pūrṇāṭikā Pūrṇāṭikā, a saṅkīrṇa melody, has ṣaḍja serving as nyāsa
and graha, and dha as aṁśa, sa setting the tāra limit, and
madhyama the mandra, complete in svara content, with
equal svaras.

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 लाट सन्यासांशग्रहा पूणाथ लाट स्याल्लाटदे शजा।
Lāṭī Lāṭī, originating in the land of the Lāṭas, has sa serving as
nyāsa, aṁśa, and graha, and is complete in svara
content.

पल्लिी धैितांशग्रहन्यासा गतारा मन्द्रमध्यमा।

पल्लिी नाम पण
ू ेयं सगररप्रचरु ा भिेत।।
्

Pallavī Pallavī has dhaivata serving as aṁśa, graha and nyāsa,

with ga setting the tāra limit and madhyama, the mandra,
is complete in svara content, with a profusion of sa, ga
and ri.

इनत रागाङगाखण।
These are the rāgāṅgas.

अथ भाषाङगाखण -
Next, the bhāṣāṅgas –

गापभीर षड्जग्रहांशा गापभीर पञ्चमान्ता समस्िरा।

संपूणाथ तारषड्जा च स्िरे ष्िल्पाददिक्जथता।।

Gāmbhīrī Gāmbhīrī has ṣaḍja serving as graha and aṁśa, and

pañcama as nyāsa, with equal svaras, is complete in
svara content, with ṣaḍja setting the tāra limit, and none
of the svaras distinguished by sparseness etc.

िेहार मध्यमांशग्रहन्यासा षड्जान्ता च ननिक्जथता।

समस्िरा च िेहार सतारा मन्द्रमध्यमा।।
Vēhārī Vēhārī has madhyama serving as aṁśa, graha and
nyāsa, and ṣaḍja too as nyāsa, lacks ni, is equal in
svaras, with sa setting the tāra limit, and madhyama the
mandra.

श्िभसता गान्धारग्रहणन्यासा षड्जांशा तारिक्जथता।

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 समस्िरा समन्द्रा च श्िभसता स्यादद्रपोक्ज्िता।।
Śvasitā Śvasitā has gāndhāra serving as graha and nyāsa, and
ṣaḍja as aṁśa, no tāra movement, is equal in svaras, with
sa setting the mandra limit, and dropping ri and pa.

उत्पल मध्यमांशग्रहन्यासा संपूणाथ तारधैिता।

ननमन्द्रा सपतारा स्यादत्ु पल यं समस्िरा।।
Utpalī Utpalī has madhyama serving as aṁśa, graha and nyāsa,
is complete in svara content, with dhaivata setting the tāra
limit, and ni the mandra, sa-pa occurring in the tāra
region, and equal svaras.

गोल धैितांशग्रहन्यासा गननह ना ररतारजा।

धररसैबह
थ ु ला गोल गातव्या गीतिेददभभः।।
Gōlī Gōlī should be sung with dhaivata for aṁśa, graha and
nyāsa, dropping ga and ni, ri setting the tāra limit, with
profuse employment of dha, ri and sa.

नादान्तर मग्रहांशा च पन्यासा ररतारा मन्द्रसंमता।

बहुल ननधसैः पूणाथ गाल्पा नादान्तर मता।।
Nādāntarī Nādāntarī has ma serving as graha and aṁśa, and pa as
nyāsa, with ri in the tāra range, including the mandra
range, profuse in ni, dha and sa, complete in svara
content, but sparse in ga.

नीलोत्पल धैितांशग्रहा तारषड्जन्यासा पमन्द्रजा।

समस्िरा ह नननगा ज्ञेया नीलोत्पल बुधःै ।।
Nīlōtpalī Nīlōtpalī has dhaivata serving as aṁśa and graha and the
tāra ṣaḍja as nyāsa, pa in the mandra range, equal
svaras, lacking ni and ga.

िाया मध्यमांशग्रहन्यासा ररमन्द्रा तारगा परा।

अल्पशेषा पभूनयष्ठा िाया स्याद्िीतषड्क्जका।।
Chāyā Chāyā has madhyama serving as aṁśa, graha and
nyāsa, ri in the mandra range and ga in the tāra, with

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 plenty of pa and the other svaras rare, and lacking ṣaḍja.

तरङचगणी ऋषभान्तग्रहा धांशा संपूणाथ सममन्द्रभाक् ।

समस्िरा तारररधा संकीणाथ स्यात्तरङचगणी।।
Taraṅgiṇī Taraṅgiṇī is a saṅkīrṇa melody, with ṛṣabha serving as
nyāsa and graha, and dha as aṁśa, is complete in svara
content, with sa and ma in the mandra region and ri and
dha in the tāra, with the (other) svaras equal.

गान्धारगनतः गांशा सान्ता पग्रहा च स्यात्तारननररधैिता।

गान्धारगनतका प्रोतता संकीणाथ च समस्िरा।।
Gāndhāragati Gāndhāragati has ga serving as aṁśa, sa as nyāsa and
pa as graha, tāra ni, ri and dhaivata, moving around
gāndhāra, and the other svaras equal. It is a saṅkīrṇa
melody.

िेरञ्जी सन्यासांशग्रहा पूणाथ समन्द्रा ननधभूयसी।

पाल्पा पतारा िेरञ्जी िीरे संकीणथलिणा।।
Vērañjī Vērañjī has sa serving as nyāsa, aṁśa and graha, is
complete in svara content, sa setting the mandra limit,
profuse in ni and dha, sparse in pa, pa occurring in the
tāra range. It is classed as saṅkīrṇa and is employed in
vīra rasa.

इनत भाषाङगाखण।
These are the bhāṣāṅgas.

अथ क्रियाङगाखण -
Next, the kriyāṅgas –
भाििीप्रभत
ृ ीनां तु द्िादशानां तु लिणम।्
षड्जन्यासग्रहांशश्च समानभमतरत ् पुनः।।
संपूणत्थ िाददकं तद्ित ् स्िराल्पत्िाददकं तथा।
तत्तद्गमकयुततत्िाददकं ज्ञेयं दह लक्ष्यतः।।
The distinguishing features of the twelve (kriyāṅgas) such

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 as Bhāvakrī are – ṣaḍja serving as nyāsa, graha and
aṁśa, and other equal svaras. Features such as
completeness of svara content, and, likewise, sparseness
etc. of svaras, the particular gamakas with which
particular svaras have to be rendered, have all to be
learnt from practice.

इनत क्रियाङगाखण।
So much for the kriyāṅgas.

अथोपाङगानन -
Next, the upāṅgas –

पूणाथटः धग्रहो मध्यमन्यासपूणो बहुलपञ्चमः।

पूणाथटो भभन्नषड्जे स्यादन्ये तं सालगं जगुः।।
Pūrṇāṭa Pūrṇāṭa has dha for graha and madhyama for nyāsa, is
complete, with plenty of pañcama, and originates in
Bhinnaṣaḍja. Others qualify it as sālaga.

दे िालः मांशग्रहान्तो ररधयोमद

थृ म
ु ध्यमकक्पपतः।
ननररधाल्पश्च दे िालो बङगालोपाङगभमष्यते।।
प्रयुञ्जतेऽक्स्मन ् प्राचीनाः कामोदोततं च लिणम।्
मतङगो दे िलामाह तमेतं गीतकोविदः।।
Dēvāla Dēvāla has ma for aṁśa, graha and nyāsa, gentle at ri
and dha, shaken at madhyama, sparse in ni, ri and dha. It
is an upāṅga of Baṅgāla. But practitioners of earlier times
rendered it with the features of Kāmōda. Mataṅga, the
expert on music, has named it Dēvālā.

कुरञ्जी पञ्चमांशग्रहन्यासा गमन्द्रा ररननिक्जथता।

कुरञ्जी लभलतोपाङगं षड्जपञ्चमभूयसी।।
Kurañjī Kurañjī has pañcama serving as aṁśa, graha and nyāsa,
ga setting the mandra limit, lacking ri and ni, with plenty of
ṣaḍja and pañcama. It is an upāṅga of Lalitā.

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 इत्युपाङगानन।
इनत प्रातप्रभसद्धदे शीरागाः।
These are the upāṅgas.
These are the dēśī rāgas that were popular once.

चतुरः कक्ल्लनाथायो गानविद्याविशेषवित।्

शेषं रागवििेकस्य लिणैररत्यपूरयत।।
्
Thus Catura-Kallinātha, specialist in the science of music, has completed the Study of
Rāgas, supplementing it with the descriptions that had not been covered (by the author).

इनत रागाङगाददननणथयाख्यं द्वितीयं प्रकरणम ्

Thus ends the Second Topic named Determination of Rāgāṅgas etc.

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