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

Page 306

306 Treatment of Svara
अस्यामार्षभ्यामृषभो न्यासः । अंशा एवापन्यासाः । देशीमधुकर्यौ
दृश्येते । अस्याः प्रस्तारः—
२. आर्षभी
१. री गा सा रिग मा रिम गा रिरि
गु ण लो च ना धि
२. री री निध निध गा रिम मा पनि
क म न न्त म म र
३. मा धा नी धा पा पा सा गा
म ज र म क्ष य
४. नी धनि री गरि सधं गरि री री
म जे यं
५. री मा गरि सधं सस रि रिग मम
प्र ण मा मि दिव्य
६. निध पा री री रिप गरि सधं सा
म णि द र्प णा म
७. रिस रिस रिग रिग मा मा मा गरि
ल नि के तं
८. पा नि री मा गरि सधं गरि गरि
भ व म मे यं
[तत्र साकल्येन पदयोजना]
[गुणलोचनाधिकमनन्तमममजरमक्षयमजेयम् ।
प्रणमामि दिव्यमणिदर्पणामलनिकेतं भवममेयम् ।। ]
(ii) Ārṣabhī : 64c-66
In ārṣabhī, however¹, there are three fundamental notes,
viz. niṣāda, dhaivata and ṛṣabha; gāndhāra and niṣāda are in

1. The use of the indeclinable tu, as pointed out by ‘K’, distin-
   guishes the order of ārṣabhī from that of ṣāḍjī.

---

Page 307

Section 7 : Jāti-s (Melodic types) 307
concert² (saṅgati) with the rest (of the notes), and pañcama
is to be overstepped³. The elimination of ṣaḍja (causes) the
hexatonic (form) and that of ṣaḍja and pañcama, the penta-
tonic one; its mūrcchanā commences with pañcama and caccatpuṭa
is accepted as its tāla. It has eight kalā-s and its proper
application is like that of ṣāḍjī⁴ (lit. as before) (64c-66).
In this⁵ ārṣabhī the final note is ṛṣabha, the fundamental
notes⁶ are the semifinal notes, and deśī and madhukarī are
seen (in it)⁷. Its prastāra⁸ :

1. ri gā sā ri-ga mā ri-ma gā ri·ri
   Gu ṇa lo ca na dhi⁹
2. ri rī ni-dha ni-dha ga ri-ma ma pa-ni
   ka ma na nta ma ma ma ra
3. mā dhā nī dhā pā pā sā gā
   ma ja ra ma kṣa ya
4. nī dha·ni rī ga-ri sa-dha ga-ri ri rī
   ma je yaṃ
5. rī ma ga-ri sa-dha sa-sa ri-sa ri-ga ma-ma
   Pra ṇa mā mi divya
6. ni·dha pā rī rī ri-pa ga-ri sa-dha sā
   ma ṇi da rpa ṇa ma
7. ri-sa ri-sa ri-ga ri-ga mā mā mā ag-ri
   la ni ke taṃ
8. pā nī rī mā ga·ri sa-dha ga·ri ag-ri
   bha va ma me yaṃ
9. ‘K’ elucidates that each of them is separately in concert with the other notes.
10. ‘K’ takes laṅghana in the sense of alpatara, ‘being very rare’ and ‘S’ takes it in the sense of īṣat-sparśa ‘slight touch’. This is applicable only to its state of completeness.
11. That is, in the naiṣkrāmikī dhruvā.
12. The one that has been described above.
13. That is, niṣāda, ṛṣabha and dhaivata.
14. ‘K’ says ārṣabhī gives the impression of deśī and madhukarī when ṛṣabha is dominant.
15. The number of different notes employed can be computed from the prastāra, and the prastāra-s oriented by other fundamental notes of ārṣabhī (i. e. ni and dha) can be worked out on the above pattern.
    — The purport of the text is as under :
    Obeisance to Bhava (Śiva) having the three guṇa-s for his eyes, the endless, immortal, undecaying, indestructible and invincible, the pure abode of mirror-like divine jewels and the immeasurable (one).
16. ‘K’ reads adikam instead of dhi[kam]...