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

Page 350

350 Treatment of Svara
१३. मा पा मा परिग गा गा गा गा
न वि नो दं
१४. नी नी पा धनि गा गा गा गा
प्र ण मा मि दे व
१५. सां रीं गां सां नी' नी' नी' नी'
य ज्ञो प वी त
१५. नी' नी' धां धां पां पां पां पां
कं
[तत्र साकल्येन पदयोजना]
[तं स्थाणुललितवामाङ्गसक्तमतितेजः-प्रसरसौधांशु कान्ति-फणिपति-
मुखमुरोविपुलसागरनिकेतं सितपन्नगेन्द्रमतिकान्तम् ।
षण्मुखविनोदकरपल्लवाङ्गुलिविलासकोलनविनोदं
प्रणमामि देवयज्ञोपवीतकम् ॥ ]
(xv) Kārmāravī : (101-103b)
In kārmāravī, the fundamental notes are niṣāda, ṛṣabha,
pañcama and dhaivata. Due to antaramārga the non-fundamental
notes¹ are said to be profuse, gāndhāra² is very profuse and
all the fundamental notes are in concert with each other.
Caccatpuṭa is the tāla and there are sixteen kalā-s in it. The

1. The non-fundamental notes are sa, ga, and ma, and as such they
   should be weak, but they are said to be profuse because of
   antaramārga (see verses 52-53 for the definition). 'K' raises
   the question, "If the fundamental as well as the other notes
   are characterised by profusion, what would be the distinction
   in-between them ?" and he answers, "the fundamental notes
   are used by way of sthāyī (stable pattern of tonal movement)
   and other notes, even though frequently repeated are employed
   as sañcāri-s (circulatory). Moreover, this is provided in view of
   Bharata's statement, "The non-fundamental notes are always
   strong because of usage" (as quoted by 'K').
2. Because gāndhāra is in concert with all the notes as stated
   by Bharata; "Gāndhāra specifically moves everywhere. (i. e.
   among all the notes)" Cf. N. S., G. O. S. Ed. XXVIII 136,
   p. 62.

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Page 351

Section 7 : Jāti-s (Melodic types)
mūrcchanā commences with ṣaḍja and its proper application
is in the dhruvā of the fifth act. (101-103b)
Pañcama is the final note in this kārmāravī and its funda-
mental notes are the semifinal notes.
Its prastāra³ :

1. rī rī rī rī rī rī rī rī
   Taṃ sthā nu la li ta
2. mā gā sā gā sā nī nī nī
   vā māh ga sa kta
3. nī mā nī mā pā pā gā gā
   ma ti te jaḥ pra sa ra
4. gā pā mā pā nī nī nī nī
   sau dhaṃ śu kan ti
5. rī gā sā nī rī gā rī ma
   pha ṇi pa ti mu kham
6. rī gā rī sā nī dha-ni pā pā
   u ro vi pu la sa ga
7. mā pā mā pa-ri-ga gā gā gā gā
   ra ni ke taṃ
8. The purport of the song reads as under :
   Obeisance to that sacred thread of Lord (Śiva) which is
   attached to the graceful left side of His and is extremely
   resplendent, radiating the splendour of its silvery rays, having
   the king of serpents (vāsuki) as its mouth (knot), which has the
   ocean of the vast chest (of Śiva) for its abode, which is
   (made of) the white serpent of extraordinary brilliance and
   which serves for the amusement of Ṣaṇmukha, who, in his
   graceful play, engages his artful fingers in toying with it.
   An alternative interpretation :
   Obeisance to the hood of that king of serpents (Vāsuki),
   the lovely white snake, who, like the sacred thread of the
   Lord, as it were, is attached to the graceful left side of Śiva
   and is extremely resplendent, radiating the splendour of
   its silvery rays, who has the ocean of the vast chest (of Śiva)
   for its abode, and who amuses Ṣaṇmukha engaged in toying
   with it by the sportive movement of the fingers of his graceful
   hands.
9. Comp. S. Raj (Vol. I, p. 235) which reads कोपाग्निकान्ति (i. e.
   the splendour of the fire of anger) instead of सौधांशु कान्ति of the
   Ad. ed. of S. R.