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

Page 342

342 Treatment of Svara
अस्यां कैशिक्यां गान्धारपञ्चमनिषादा न्यासाः । रिवर्ज्याः षट्
सप्त वा स्वरा अपन्यासाः । अस्याः प्रस्तारः—
१३. कैशिकी
१. पा धनि पा धनि गा गा गा गा
के ली ह त
२. पा पा मा निध निध पा पा पा
का म त नु
३. धा नी सां सा री री री री
वि भ्र म वि ला सं
४. सा सा सा री गा मा मा मा
ति ल क यु तं
५. मां धां नीं धां मां धां मां पां
मू र्धो र्ध्व बा ल
६. गा री सा धनि री री री री
सो म नि भं
७. गा री सा सा धा धा मा मा
मु ख क म लं
८. गा गा गा मा मा निधनि नी नी
अ स म हा ट
९. गा गा नी नी गा गा गा गा
क स रो जं
१०. गां गां नीं नीं नींधं पां पां पां
हृ दि सु ख दं
११. मां पां मां पां पां पां मां मां
प्र ण मा मि लो च

---

Page 343

Section 1 : Jati-s (Melodic types) 343
१२. सां मां गां निधंनिं नो' नो' मां गां
न वि शे षं
[ तत्र साकल्येन पदयोजना ]
[केलीहतकामतनुविभ्रमविलासं तिलकयुतं मूर्द्धोर्ध्वबालसोमनिभम् ।
मुखकमलमसमहाटकसरोजं हृदि सुखदं प्रणमामि लोचनविशेषम् ॥]
(xiii) Kaiśikī : (95-98)
In kaiśikī, excepting rṣabha¹, all are fundamental notes;
when however, niṣāda and dhaivata are the fundamental notes,
then only pañcama² is the final note, otherwise³ niṣāda and
gāndhāra are accepted (as the final notes). Others, however,
think that in case niṣāda and dhaivata are the fundamental
notes niṣāda, gāndhāra and pañcama can be the final notes.⁴
The hexatonic and the pentatonic formations are accepted
to be (caused) by the respective elimination of rṣabha, and
rṣabha and dhaivata. Ṛṣabha is rare⁵, niṣāda and pañcama are
profuse⁶ and the fundamental notes are in concert with each
other. Pañcama and dhaivata are repugnant⁷ respectively to
the hexatonic and the pentatonic formations. Pañcapāṇi etc.

1. That is, sa, ga, ma, pa, dha and ni.
2. This is ordained by Bharata who says: "Gāndhāra and niṣāda
   are the final notes. When dhaivata is the fundamental note
   as also niṣāda, the final note is desired to be pañcama" (as quot-
   ed by 'K' and also Bom. Ed., pp. 452, 453).
3. That is when sa, ga, ma and pa are the fundamental notes.
4. Such as Mataṅga who says : "When dhaivata and niṣāda are
   fundamental notes, pañcama is also a final note." Thus in
   this view also the special position of pañcama in relation to
   dha and ni as the fundamental notes, is retained in addition to
   ni and ga as the final notes.
5. That is, in the state of completeness.
6. Obviously they are very profuse since they are also included
   in the fundamental notes.
7. That is, pañcama is repugnant to the formation of the hexatone
   and dhaivata to that of the pentatone, 'K' explains that it is
   so because ri and pa are in consonance in the madhyama-
   grāma. So ri cannot be eliminated while pa is the funda-
   mental note and dha cannot be eliminated while dha is the
   fundamental note.