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

Page 344

344 Treatment of Svara
are like those of ṣaḍjī, the mūrcchanā commences with gāndhāra
and the proper application is in the dhruvā (song) of the fifth
act. (95-98)
In this kaiśikī, gāndhāra, pañcama and niṣāda are the final
notes and six notes leaving aside ṛṣabha, or even all the seven$^8$
notes, are the semifinal notes.
Its prastāra$^9$ :

1. pā dha-ni pā dha-ni gā gā gā gā
   Ke li ha ta
2. pā pā mā ni-dha ni-dha pā pā pā
   ka ma ta nu
3. dhā nī sā sā rī rī rī rī
   vi bhra ma vi la sam
4. sā sā sā rī gā mā mā mā
   ti la ka yu tam
5. mā dhā nī dhā mā dhā mā pā
   mū rdho rdhva ba la
6. gā rī sā dha-ni rī rī rī rī
   so ma ni bham
7. gā rī sā sā dhā dhā mā mā
   Mu kha ka ma lam
8. gā gā gā mā mā ni-dha-ni nī nī
   a sa ma ha ta
9. gā gā nī nī gā gā gā gā
   ka sa ro jam

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8. The alternative for the seven semifinal notes has been provided
   by the author in view of Bharata's statement that, "sometimes
   even ṛṣabha becomes the semifinal note" (as quoted by 'K'
   and also see N. S., G., O. S. XXVIII 138, p. 63). 'K' presents
   another view as well according to which the expression 'some-
   times' refers to the state of completeness.
9. The purport of the song is as under :
   Obeisance to the lotus face with the tilaka mark on the
   forehead resplendent with the new moon on the head, graced
   by the amorous perturbance that playfully destroyed the
   physical frame of cupid, having a special eye beautiful as the
   unparalleled golden lotus and bestowing comfort to the
   heart.

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Page 345

Section 7 : Jāti-s (Melodic types) 345
10. gā gā nī$^{10}$ nī ni-dha pā pā pā
hṛ di su kha dam
11. mā pā mā pā pā pā mā mā
pra va ma mi lo ca
12. sā mā gā ni-dha-ni nī nī$^{11}$ mā gā
na vi śe ṣam

14. मध्यमोदीच्यवा जातिः

पञ्चमांशा सदा पूर्णा मध्यमोदीच्यवा मता।
लक्ष्म शेषं विजानीयाद् गान्धारोदीच्यवागतम् ॥९९॥
मूर्च्छना मध्यमादिः स्यात्तालश्चच्चत्पुटो मतः।
चतुर्थस्य प्रेक्षणस्य ध्रुवायां विनियोजनम् ॥१००॥
अस्यां मध्यमोदीच्यवायां मध्यमो न्यासः। अस्याः प्रस्तारः-
१४. मध्यमोदीच्यवा
१. पा धनि नी नी मा पा नी पा
दे हा धं रु प
२. री री री गा सा रिग गा गा
म ति कां ति म म ल
३. नी नी नी नी नी नी नी नी
म म लँ दु कं द
४. नी नी धप मा निध निध पा पा
कु मु द नि भं
५. पा पा री री री री री री
चा मी क रां बु
६. मा रिग सा सधं नीं नीं नीं नीं
रु ह दि व्य कां ति

10 & 11. S. R. reads nī but it has been modified to read as nī̇ with the
tārasign on the basis of 'K' and K. R. as it is technically sound.