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

316 Treatment of Svara
rare¹, ṛṣabha and madhyama are in concert (saṅgati) and in
case of completeness one may proceed from gāndhāra to
niṣāda². The hexatones and pentatones³ are accepted to be
(formed) by the respective elimination of gāndhāra, and niṣāda
and gāndhāra. Ṛṣabha is not conducive to pentatonic forma-
tion when it is the fundamental note⁴, and eight kalā-s are
accepted (in it). Its mūrcchanā etc. is like the previous one⁵,
excepting that it is used in the third act. (73-75b)
In this pañcamī, the final note is pañcama; ṛṣabha, pañcama
and niṣāda are the semifinal notes; and cokṣapañcama, deśī and
āndhalī are seen.
Its prastāra⁶ :

1. pā dha-ni nī nī mā nī mā pā
   Ha ram⁷ mū rdha ja na
2. gā gā sā sā mā mā pā pā
   nam ma he śa ma ma ra
3. This obviously applies to the complete formations.
4. 'K' infers that ga and ni should be brought in concert with
   each other and also that this should not be attempted in the
   hexatonic and the pentatonic forms because ga and ni-ga are
   respectively to be eliminated in them.
5. Ṣāḍavauduvata is an abstract noun indicating the state of being
   hexatonic and pentatonic.
6. The pentatonic forms can be obtained by the elimination of
   ga and ni, so in the case of ṛṣabha being the fundamental
   note, even though there is no question of its consonant being
   omitted, yet by the authority of muni (Mataṅga ?), as quoted
   by 'K', pentatonic forms are not permitted.
7. That is, like that of madhyama, i. e. commencing in ṛṣabha.
   By etc., is included the caccatpuṭa tāla and the viniyoga, i. e.
   its application in the dhruvā song.
8. The purport of the song is as under :—
   Obeisance to that Śiva whose (fifth) face (emerges from)
   his (four) heads, the Lord of lords, the paralyser of the power
   of the chief of gods (Indra), the endless, the invincible, lord
   of Ambikā who robs Viṣṇu of the grace of his countenance*.
9. The anusvāra of Haram has been supplied to make the text more
   intelligible. The Adyar ed. of S. R. reads Haramūrdhaja etc.

• Comp. Bh. Bhāṣya of Nānyadeva Chap. VI which reads
  प्रणमामि पुरुषमहमलङ्कृतिभरं etc. meaning "I bow to the Being
  that bears profuse ornamentation" etc. instead of तं प्रणमामि
  पुरुषमुखपद्मसक्मीहरं etc.
  Section 7 : Jāti-s (Melodic types) 317

3. pā pa dhā nī nī nī ga sā
   pa ti ba hu stam bha
4. pā mā dhā nī ni-dha pā pā pā
   na ma nan tam
5. pā pā rī rī rī rī rī rī
   pra ṇa mā mi pu ru ṣa
6. mā ni-ga sā sa-dha nī nī nī nī
   mu kha pa dma la kṣmī
7. sā sā sā mā pa pā pā pā
   ha ra mam bi ka pa
8. dhā mā dha nī pā pā pā pā
   ti ma je yam
9. धैवती जातिः
   स्तो धैवत्यां रिधावंशौ लङ्घचावारोहिणौ सपौ ॥७५॥
   पलोपात्षाडवं प्रोक्तमौडुवं सपलोपतः ।
   ऋषभादिमूर्च्छना स्यात्तालो मार्गश्च गोतयः ॥७६॥
   विनियोगश्च षाड्जीवत्कला द्वादश कीर्तिताः ।
   अस्यां धैवत्यां धैवतो न्यासः । ऋषभमध्यमधैवता अपन्यासाः ।
   चोक्षकैशिकदेशीसिंहल्यो दृश्यन्ते । अस्याः प्रस्तार :--
   ६. धैवती
   १. धा धा निध पध मा मा मा मा
   त रु णा म लें डु
   २. धा धा निध निसं सां सां सां सां
   म णि भू षि ता म
   ३. सध धा पा मध धा निध धनि धा
   ल शि रो जं
   ४. सा सा रिग रिग सा रिग सा सा
   भु ज गा धि पे क