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

Left Page (p. 258)

258 Treatment of Svara
19. रञ्जितः
द्विरुक्ता यदि मन्द्रान्ता मन्द्रादेः स्युः कलास्तदा ।।४६।।
रञ्जितः,
सगरिसगरिस रिमगरिमगरि गपमगपमग मधपमधपम
पनिधपनिधप । (१३)
20. संनिवृत्तप्रवृत्तकः
, अथ भवेदेष संनिवृत्तप्रवृत्तकः ।
यत्राद्यपञ्चमौ गीत्वा तुर्यात्त्रीनवरोहति ।।४७।।
क्रमात्कला सा यत्रान्यास्तद्वदेकैकहानतः ।
सपमगरि रिधपमग गनिधपम । (२०)
19. Rañjita
If the phrases are such that mandrādi⁴⁰ is sung twice
followed by the 'lower'⁴¹ in the end, then it is rañjita, e. g.
'sa-ga-ri-sa-ga-ri-sa, ri-ma-ga-ri-ma-ga-ri, ga-pa-ma-ga-pa-ma-ga,
ma-dha-pa-ma-dha-pa-ma, pa-ni-dha-pa-ni-dha-pa'. (46c-47a)
20. Saṃnivṛttapravṛttaka
Where, having sung the first⁴² and the fifth⁴³ (tones)
one descends by three consecutive tones from the fourth⁴⁴
(tone) in the first phrase, and where other phrases are
similarly framed by dropping one tone⁴⁵ in each, it becomes
saṃnivṛttapravṛttaka, e. g. 'sa-pa-ma-ga-ri, ri-dha-pa-ma-ga, ga-
ni-dha-pa-ma.' (47a-48b)
40. This embellishment is based on the tonal embellishment called
mandrādi illustrated vide verse 22 ante, and numbered as 6.
41. The lower tone i. e. the initial of the phrase in this case.
42. The first of the mūrcchanā.
43. Ascending from first to the fifth tone.
44. The three tones to be counted from the fourth one; for the
descent, as it is, is from the fifth.
45. The inital tone of the preceding phrase.

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Right Page (p. 259)

Section 6 : Varṇālaṅkāra 259
2.0 वेणुः
यत्राद्यः स्याद् द्विर्द्वितीयचतुर्थकतृतीयकाः ।।४८।।
सकृत्कला ऽन्याश्चैकैकहानाद्द्वेणुरसौ मतः ।
ससरिमग रिरिगपम गगमधप ममपनिध । (२१)
22. ललितस्वरः
गीत्वा ऽऽद्यौ द्वौ चतुर्थं च यस्यां ताववरोहति ।।४९।।
सा कला ऽन्याश्च तादृश्यो यत्रासौ ललितस्वरः ।
सरिमरिस रिगपगरि गमधमग मपनिपम । (२२)
23. हुङ्कारः
आदिमेन कला यत्र द्विस्वरा ऽऽद्या गतागतैः ।।५०।।
21. Veṇu
Where the (first) phrase is (formed) with the first
tone⁴⁶ (sung) twice and then the second, fourth and the
third once, and is followed by other similar phrases dropping
one tone in each case, it is considered to be veṇu, e. g.
sa-sa-ri-ma-ga, ri-ri-ga-pa-ma, ga-ga-ma-dha-pa, ma-ma-pa-
ni-dha'. (48c-49b)
22. Lalitasvara
Having sung the first two tones⁴⁷ followed by the
fourth, if one descends by those very (two) tones⁴⁸ in a
phrase, with the other similar⁴⁹ phrases following, it is
lalitasvara, e. g. 'sa-ri-ma-ri-sa, ri-ga-pa-ga-ri, ga-ma-dha-ma-ga,
ma-pa-ni-pa-ma'. (49c-50b).
23. Huṅkāra
Where the first phrase is of two tones followed by the
initial (tone) arranged in the forward and backward order⁵⁰,
46. The first tone of the preceding phrase.
47. The first two of the mūrcchanā.
48. That is, the first two of the phrase.
49. The rule that the other phrases would drop the first tone of the
preceding phrase, though not stated, is implied in the illustration.
50. Forward movement is ascending and backward movement is
descending, sa to ri in the first phrase is as ascent and ri to sa
is the descent.