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

322 Treatment of Svara
[तत्र साकल्येन पदयोजना]
[तं सुरवन्दितमहिषमहासुरमथनमुमापतिं भोगयुतं
नगसुतकामिनीदिव्यविशेषकसूचकशुभनखदर्पणकम् ।
अहिमुखमणिरचितोज्ज्वलनूपुरबालभुजंगमरवकलितं
द्रुतमभिव्रजामि शरणमनिन्दितपादयुगपङ्कजविलासम् ॥७७॥]
(vii) Naiṣādī : (77c—78)
In naiṣādī, the fundamental notes are niṣāda, ṛṣabha and
gāndhāra and the rest of the notes (lit. non-fundamental
notes) are known (in it) to be weak¹ (lit. not profuse). The
hexatone, the pentatone and the notes to be overstepped are
like in the previous one², as also its proper application. (The
tāla) is caccatpuṭa; it has sixteen kalā-s and its mūrcchanā begins
with gāndhāra. (77c-78)
In this naiṣādī³, the final note is niṣāda, the very funda-
mental notes are the semifinal notes and cokṣasādhāritā, deśī
and velāvalī are seen.

1. The expression "anaṁśabahula" of the text is interpreted in
   two different ways by the two commentators. 'S' reads it as
   "anaṁśa + bahula" which means the non-fundamental notes,
   viz. sa, ma, pa and dha are profuse. But 'K' points out that
   this reading is in contradiction with the statement of Mataṅga
   —"in the state of completeness sa, ma, pa and dha are weak, in
   the hexatones sa, ma and dha are weak and in the pentatones
   ma and dha are weak" and also author's own statement—"the
   non-fundamental notes are not to be repeated." He therefore
   reads it as "anaṁśa + abahula" which has been adopted in this
   translation. Both the readings are grammatically possible,
   but the latter seems to be technically more appropriate.
2. That is, the hexatone is by the elimination of pañcama, the
   pentatone by that of ṣaḍja and pañcama, sa and pa are the
   notes to be overstepped in the ascending movement; and its
   proper application is like that of ṣaḍjī, i.e. in the naiṣkrāmikī
   dhruvā of the first act.
3. Naiṣādī is the last of the seven śuddhā jāti-s described here.
   Their actual formation in practice has been demonstrated in
   so far as the arrangement of notes in different kalā-s set to a
   definite time-measure in a particular tāla etc. has been indi-
   cated. Their modified forms are not similarly illustrated but
   may be worked out on this pattern.
   Section 7 : Jāti-s (Melodic types) 323
   Its prastāra⁴ :
4. ni ni ni ni sā dha ni ni
   Tam su ra van di tam⁵
5. pā mā sā dha ni ni ni ni
   ma hi ṣa ma ha su ra
6. sā sā gā gā ni ni dha ni
   ma tha na mu mā pa tim
7. sā sā dha ni ni ni ni ni
   bho ga yu tam
8. sā sā gā gā mā mā mā mā
   na ga su ta kā mi ni
9. ni pā dhā pā mā mā mā mā
   di vya vi śe ṣa ka
10. ri gā sā sa ri gā ni ni
    sū ca ka śu bha na kha
11. ni ni pā dha-ni ni ni ni ni
    da rpa ṇa kam
12. sā sā gā sa mā mā mā mā
    A hi mu kha ma ṇi kha ci
13. mā mā mā ma ni dhā mā mā
    to jjva la nū pu ra
14. The purport of the song is as under :
    I hasten to take shelter in Him, who is adored by the
    gods, who vanquished the great demon Mahiṣa, who is the
    lord of Umā, who is associated with serpents*, who reflects in
    the mirror of his auspicious nails, the special mark of extra-
    ordinary excellence (tilaka) borne by the most beautiful
    maiden, the daughter of the mountain (Pārvatī), who puts on
    the young serpents that by their hissing sound like the anklets
    (as it were) shining with inlaid jewels (extracted) from the
    mouths of snakes, and who is endowed with the grace of
    the praiseworthy lotus feet.

• Comp. S. Raj (Vol. I, p. 201) which reads उमापतिभोगयुतं meaning
  "associated with the enjoyment of Uma's company" instead of
  उमापतिं भोगयुतं of the Adyar ed. of S. R.

5. The anusvāra is supplied editorially to make an intelligible
   reading of the text which as per the Adyar ed. of S. R.
   reads as :
   तं सुरवन्दितमहिषमहा ऽसुरमथनमुमापतिं भोगयुतं etc.