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

Page 262

262 Treatment of Svara
1. तारमन्द्रप्रसन्नः
कलास्तेषां द्वितीयाद्याः पूर्वैकैकप्रहाणतः ।
अष्टमस्वरपर्यन्तमारुह्याद्यं व्रजेद्यदि ॥५६॥
तारमन्द्रप्रसन्नो ऽयमलंकारस्तदोच्यते ।
संरिगमपधनिसंसं ।१।
2. मन्द्रतारप्रसन्नः
मन्द्रादष्टममुत्प्लुत्य सप्तकस्यावरोहणे ॥५७॥
मन्द्रतारप्रशन्नाख्यमाह माहेश्वरोत्तमः ।
संसंनिधपमगरिसं ।२।
3. आवर्तकः
आद्यं द्वितीयमाद्यं च द्विर्द्विर्गत्वा द्वितीयकम् ॥५८॥

1. Tāramandra-prasanna
   Having ascended upto the eighth tone, if one descends to the
   initial (tone), such an embellishment is called tāramandra-
   prasanna⁶, e. g. 'śā-ri-ga-ma-pa-dha-ni-śā-śá'. (56c-57b)
2. Mandratāra-prasanna
   Having jumped from the 'lower' (mandra) to the eighth
   (tone), if seven tones are (sung) in the descending order, it
   is said to be mandratāra-prasanna by Śārṅgadeva⁷, e. g.
   'śā-śu-ni-dha-pa-ma-ga-ri-śá'. (57c-58b)
3. Āvartaka
   Where, in a phrase, one sings the initial (first), the
   second and the initial tone twice, each followed by the
4. Since both the terms, mandra and prasanna are used in this
   name, the interpretation offered by Nijenhuis, 'clear in its
   high and low notes' may be accepted in this context. Prasanna
   has been rendered literally as clear however the notation may
   be understood as defined by the author in the very beginning,
   the words mandra and tāra being only relative.
5. Literally, the best among the devotees of Śiva.

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Page 263

Section 6 : Varṇālaṅkāra 263
सकृदाद्यं यत्कलायां गायेदावर्तकस्तु सः ।
ससरिरिसससरिस रिरिगगरिरिरिगपरि गगममगगमगमग
ममपपममपमपम पपधधपपधपधप धधधिनिनिधधनिध ।३।
4. सम्प्रदानः
एतस्यैव कला ऽन्त्यौ द्वौ स्वरौ संत्यज्य गीयते ॥५९॥
यदा तदा सम्प्रदानमलंकारं विदुर्बुधाः ।
ससरिरिसस रिरिगगरिरि गगममगग ममपपमम पपधधपप
धधधिनिनिधध ।४।
5. विधूतः
युग्ममेकान्तरितयोस्त्यक्तादप्येवमेव चेत् ॥६०॥
द्विर्द्विः प्रयुज्येत तदा विधूतो बुधसंमतः ।
सगसग रिमरिग गपगप मधमध पनिपनि ।५।
second and the initial (tone) once, it is āvartaka⁸, e. g.
'sa-sa-ri-ri-sa-sa-ri-sa, ri-ri-ga-ga-ri-ri-ga-ri, ga-ga-ma-ma-ga-
ga-ma-ga, ma-ma-pa-pa-ma-ma-pa-ma pa-pa-dha-dha-pa-pa-
dha-pa, dha dha-ni-ni-dha-dha-ni-dha'. (58c-59b)
4. Sampradāna
When this⁹ very phrase is sung by dropping the last two
tones, then to the experts, the embellishment is known to be
sampradāna, e. g. 'sa-sa-ri-ri-sa-sa, ri-ri-ga-ga-ri-ri, ga-ga-ma-ma-
ga-ga ma-ma-pa-pa-ma-ma, pa-pa-dha-dha-pa-pa, dha-dha-ni
ni-dha-dha.' (59c-60b)
5. Vidhūta CFR PURANA P. 83
When a pair of two tones, taken alternatively¹⁰, is
employed twice and is followed by similar pairs of tones
commencing with the omitted¹¹ tone, then it is considered
8. Literally, a whirlpool.
9. The phrase of āvartaka, e. g. 'sa-sa-ri-ri-sa-sa-ri-sa.'
10 & 11. In the order of 1-3, 2-4, 3-5, 4-6, 5-7.