सङ्गीतरत्नाकर: प्रथम भाग (शार्ङ्गदेव - स्वरगताध्याय सविस्तार व्याख्या व अनुवाद सहित)

Page 244

244 Treatment of Svara
सा द्वितीया पञ्चमाद्यास्त्रयो ऽन्तश्चेत्कला परा ।
एवं कलात्रयेणोक्तो ऽलङ्कारः क्रमरेचितः ॥१२२॥
संरिसं संगमस संपधनिसं । (५)
6. प्रस्तारः
दीप्तान्तश्चेत्रिकलं प्रस्तारः सो ऽभिधीयते ।
संरिसं संगमस संपधनिसं । (६)
7. प्रसादः
तारमन्द्रविपर्य्यासात्तं प्रसादं प्रचक्षते ॥१२३॥
संरिसं संगमस संपधनिसं । (७)
end with the second (tone) in-between⁷; the third and the
fourth (tones) are placed in-between in the second phrase;
while in the third phrase the three tones commencing with
pañcama are placed in-between⁸, e. g. 'sa ri sa, sa ga ma sa,
sa pa dha ni sa' (11-12).
(6) Prastāra
If this⁹ ends in the higher (tone) in every phrase it is
called prastāra, e. g. 'sa ri sȧ, sȧ ga ma sa, sȧ pa dha ni sȧ'
(13ab).
(7) Prasāda
If the order of the lower and the higher is reversed in
this¹⁰, then it is called prasāda, e. g. 'sȧ ri sa, sȧ ga ma sȧ,
sȧ pa dha ni sa' (13cd).
to recita significant. This same is true of prastāra and prasāda. Thus, it
would seem that the first four (i. e. 1 to 4) and the last three (i. e. 5 to
7) embellishments form two groups having a certain feature common to
all the members. The first group of four is distinguished by the same
note being in the beginning, in the middle and at the end, though with
the difference in the placement of high and low registers.
7 & 8. In-between the first tones of the mūrcchanā placed at the begin-
ning and the end of the phrase.
9. 'This' refers to kramarecita.
10. 'This' refers to prastāra.

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Page 245

Section 6 : Varṇālaṅkāra 245
(ङ) आरोहिवर्णगतालंकारोद्देशः
स्यातां विस्तीर्णनिष्कषौ बिन्दुरभ्युच्चयः परः ।
हसितप्रेङ्खिताक्षिप्तसन्धिप्रच्छादनास्तथा ॥१२४॥
उद्गीतोद्वाहितौ तद्वत्त्रिवर्णा वेणिरित्यमी ।
द्वादशारोहिवर्णस्थालङ्काराः परिकीर्तिताः ॥१२५॥

1. विस्तीर्णः
   मूर्च्छनाऽऽदेः स्वराद्यत्र क्रमेणारोहणं भवेत् ।
   स्थित्वा स्थित्वा स्वरैर्दीर्घैः स विस्तीर्णोऽभिधीयते ॥१२६॥
   सा री गा मा पा धा नी । (१)
2. निष्कषो, गात्रवर्णश्च
   ह्रस्वैः स्वरैः स निष्कर्षो द्विरुक्तैर्निरन्तरैः ।
   सस रिरि गग मम पप धध निनि । (२)
   (e) The embellishments of the ascendant tone-pattern :
   (14-25)
   The 12 embellishments pertaining to the ascendant
   tone-pattern (ārohī varṇa) are known as vistīrṇa, niṣkarṣa, bindu,
   abhyuccaya, hasita, preṅkhita, ākṣipta, sandhipracchādana, udgīta,
   udvāhita, trivarṇa and veṇi. 14-15
   (1) Vistīrṇa
   Where the ascent takes place from the first note of the
   mūrcchanā in successive order, by notes elongated through
   repeated staying¹, it is called vistīrṇa, e. g. 'sā rī gā mā pā
   dhā nī.' (16)
   (2) Niṣkarṣa and gātravarnam
   If short notes are employed twice at a time without
   break it² become niṣkarṣa, e. g. 'sa-sa ri-ri ga-ga ma-ma pa-pa
3. The significance of the original expression sthitvā sthitvā
   (repeating sthitvā) is brought out by the word repeated, i. e.
   an elongated tone is analogous to a long vowel taking twice
   as much time as the short one. Accordingly, in notation the
   tones are written with long vowels. Thus after staying for
   twice as much time on a single tone one proceeds to the next
   higher tone.
4. It refers to the pattern of vistīrṇa.