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

Page 260

260 Treatment of Svara
स्वरैरेकोत्तरं वृद्धैः स हुङ्कारो निगद्यते ।
सरिस सरिगरिस सरिगमगरिस सरिगमपमगरिस
सरिगमपधपमगरिस सरिगमपधनिधपमगरिस (२३)
24. ह्रादमानः
ह्रादमाने प्रसन्नान्ता मन्द्रादेस्तु कला मताः ॥५१॥
सगरिस रिमगरि गपमग मधपम पनिधप ॥२४॥
25. अवलोकितः
यदा ऽऽरोहे ऽवरोहे च स्वद्वितीयं परित्यजेत् ।
चतुःस्वरा समा कला तदा स्यादवलोकितः ॥५२॥
सगममरिस रिमपपगरि गपधधमग मधनिनपम ॥२५॥
and the subsequent phrases are (formed, by the progressive
addition of one tone⁵¹, it is called huṅkāra, e. g. ‘sa-ri-sa
sa-ri-ga-ri-sa, sa-ri-ga-ma-ga-ri-sa, sa-ri-ga-ma-pa-ma-ga-ri-sa,
sa-ri-ga-ma-pa-dha-pa-ma-ga-ri-sa, sa-ri-ga-ma-pa-dha-ni-dha
pa-ma-ga-ri-sa.’ (50c-51b)
24. Hrādamāna
In hrādamāna the phrases of Mandrādi are ended with
an added ‘lower’⁵² (prasanna), e. g. ‘sa-ga-ri-sa, ri-ma-ga-ri,
ga-pa-ma-ga, ma-dha-pa-ma, pa-ni-dha-pa.’ (51cd)
25. Avalokita
When the four-tone phrase of samā⁵³ drops⁵⁴ its second
tone⁵⁵ in the ascent as well as in the descent, then it becomes
51. One tone to be added to the preceding phrase before the
descent begins, so that the first phrase, extending upto two
tones (excluding the descending tone), the second upto three,
the third upto four, the fourth upto five, the fifth upto six and
the sixth upto seven tones, is followed by a descent upto the
intial tone in each case.
52. Lower tone, i. e. the first tone in the first phrase, second in
the second phrase and so on.
53. Samā is the name of an embellishment defined and illustrated
vide verse 40c-41b ante, under No. 13 of this series. The first
phrase of samā for example is ‘sa-ri-ga-ma-ma-ga-ri-sa.’
54. A figurative expression, the action is taken by the singer in fact.
55. The second tone of each phrase respectively in the ascent and
in the descent.

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Page 261

Section 6 : Varṇālaṅkāra 261
एवं सञ्चार्यलङ्कारा आरोहेण प्रदर्शिताः ।
एतानेवावरोहेण प्राह श्रीकरणाग्रणीः ॥५३॥
(झ) सप्तान्यलंकारोद्देशः
अन्ये ऽपि सप्तालंकारा गीतज्ञैरुपदर्शिताः ।
तारमन्द्रप्रसन्नश्च मन्द्रतारप्रसन्नकः ॥५४॥
आवर्तकः सम्प्रदानो विधूतो ऽप्युपलोलकः ।
उल्लसितश्चेति तेषामधुना लक्ष्म कथ्यते ॥५५॥
avalokita, e. g, ‘sa-ga-ma-ma-ri-sa, ri-ma-pa-pa-ga-ri, ga-pa-
dha-dha-ma-ga, ma-dha-ni-ni-pa-ma’. (52)
Thus, the circulatory embellishments (sañcāri-alaṅkāra-s)
have been demonstrated in their ascending order. These
very embellishments are conceived in the descending order
as well by Śārṅgadeva.⁵⁶ (53)
(h) Seven other embellishments :
Other seven embellishments have also been indicated¹
by the master musicians, viz. tāramandra-prasanna, mandratāra-
prasanna², āvartaka, sampradāna, vidhūta, upalola³ and ullasita.
They are now being defined. (54-55)
Their phrases subsequent to the first⁴, such as second
and so on, are formed by the progressive loss of one tone⁵.
(56 ab)
56. Śrīkaraṇāgraṇī in the text.

1. Or demostrated.
   2 & 3. The suffix ‘ka’ in the text seems to have been provided for
   completing the metre as it has been dropped in the illust-
   ration.
2. In the case of these seven embellishments the form of the first
   phrase only will be defined, while the rule for the subsequent
   phrases has been stated in general.
3. The initial tone of of the preceding phrase.