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

Page 250

250 Treatment of Svara
प्रेङ्खनिष्कूजितश्येनक्रमोद्घट्टितरञ्जिताः ।
संनिवृत्तप्रवृत्तोऽथ वेणुश्च ललितस्वरः ॥२८॥
हुङ्कारो ह्रादमानश्च ततः स्यादवलोकितः ।
स्युः सञ्चारिण्यलङ्काराः पञ्चविंशतिरित्यमी ॥२९॥

1. मन्द्रादिः
   त्रिस्वरा ऽद्या कलैकैकमन्द्रत्यागेन चापराः ।
   त्रिस्वराश्चेत्कला मन्द्राद्या मन्द्रादिस्तदा भवेत् ॥३०॥
   सगरि रिमग गपम मधप पनिध (१)
   vyāvṛtta as well as skhalita; parivarta, ākṣepa, bindu, udvāhita,
   ūrmi and sama; preṅkha, niṣkūjita, śyena, krama, udghaṭṭita and
   rañjita; sannivṛtta, pravṛtta and veṇu; lalitasvara, huṅkāra and
   hrādamāna followed by avalokita. (22c-29)
2. Mandrādi
   When the first phrase of three tones beginning with the
   lower¹ one is followed by other similar² phrases formed by
   dropping the lower tone one by one³, then it becomes
3. The word lower is used in the technical sense in this section as
   already explained (vide verse 6 cd—8 ante). ‘S’ puts the
   three tones in the order 1, 3, 2. i.e. sa-ga-ri and so on, but there
   is no indication of this order of notes in the text.
4. The text repeats the formation, viz. each phrase has to be of
   three tones and is to commence with the lower tone.
5. That is, in the 2nd phrase sa is dropped, in the 3rd phrase ri
   is dropped, in the 4th phrase ga is dropped and finally, ma is
   dropped. So as a rule the lower tone is progressive. It may
   be observed here that the definition of this tone-pattern does
   not explicitly seem to correspond with the given illustration.
   The definition only prescribes that the first tone of every
   phrase of three tones will be lower (mandra) but does not at the
   same time lay down the order of the other two tones which is
   left to be inferred. Since the first tone is specified to be low, the
   implication is that the following two tones are not to be placed
   in their natural order and the specification with regard to the
   first one would be redundant ‘S’ has brought out this
   implication clearly by elucidating that the first phrase consists
   of three tones in the order of first, third and second etc.
   obviously his interpretation is inspired by the given illustration.
   But Kumbhā has defined this tone-pattern in very clear and
   explicit terms which leaves no room for ambiguity. He says

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Section 6 : Varṇālaṅkāra 251
2. मन्द्रमध्यः
ताः कला मन्द्रमध्यान्ताः क्रमाच्चेदपरौ तदा ।
मन्द्रमध्यो यथा--
गसरि मरिग पगम धमप निपध । (२)
3. मन्द्रान्तः
मन्द्रान्तो यथा--
रिगस गमरि मपग पधम धनिप । (३)
4. प्रस्तारः
त्यक्त्तान्तरं स्वरयुगं त्यक्तादारभ्यते पुनः ॥३१॥
युगं तादृक्समारोहेत्तया प्रस्तार उच्यते ।
सग रिम गप मध पनि । (४)
_mandrādi_⁴, e.g. ‘sa-ga-ri ri-ma-ga ga-pa-ma ma-dha-pa pa-
ni-dha.’ (30)
2, 3. Mandra-madhya and mandrānta
In these very phrases⁵ if the ‘lower’ (mandra) is placed
in the midst⁶ or at the end⁷ (the initial phrase) being
followed by others in due order, then it is called mandra-
madhya or mandrānta, e.g. ‘ga sa-ri ma-ri ga, pa-ga-ma dha-
ma-pa ni-pa-dha’ or ‘ri-ga-sa ga-ma-ri ma-pa-ga pa-dha-ma
dha-ni-pa, respectively. (31ab)
4. Prastāra
When a pair of tones is formed by dropping the tone
in-between them and is followed by another pair similarly
formed but initiated by the tone omitted (in the previous
“In mandrādi there are five phrases of three tones each beginn-
ing with sa etc., while the third (tone) in each is placed in the
middle (S. Raj. II 1. 3. 69). Here the order of all the three
tones is explicitly laid down. Of course his definition and
illustration both correspond to S. R. in substance.
4. Lit. having the lower tone in the beginning.
5. In all the five phrases illustrated above.
6. That is, the middle tone of (1) is placed in the beginning.
7. The last (3rd) tone of (1) is placed as the 1st and the commenc-
ing tone.