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

Page 362

362 Treatment of Svara'
३०. री' री' री' री' मा पा धा मा
ते जो धि क सु
३१. नी नी नी नी धा पा मा मा
ग ति यो
३२. मा परिग गा गा गा गा गा गा
र्नि
[तत्र साकल्येन पदयोजना]
[सौम्यं वेदाङ्गवेदकरकमलयोर्नि तमोरजोविवर्जितं हरं
भवहरकमलगृहं शिवं शान्तं सन्निवेशनमपूर्वं
भूषणलोलमुरगेशभोगभासुरशुभपृथुलम् ।
अचलपतिसुतकरपङ्कजामलविलासकीलनविनोदं
स्फटिकमणिरजतसितनवदुकूलक्षीरोदसागरनिकाशम् ।
अजशिरःकपालपृथुभाजनं वन्दे सुखदं
हरवेहममलमधुसूदनसुतेजोऽधिकसुगतियोनिम् ॥]
(xviii) Nandayanti : (107-109)
In nandayantī, the fundamental note is pañcama and the
initial note is known to be gāndhāra¹; but however pañcama
is said to be the initial note in this by some vocal masters.
There is a profusion of low ṛṣabha², the hexatone is (caused)
by the elimination of ṣaḍja, hṛṣyakā is the mūrcchanā, tāla is

1. It may be observed that even according to Bharata, as also
   Śārṅgadeva the general rule for all the jāti-s is that the funda-
   mental note is also the initial note; this however, is an excep-
   tion made by Bharata himself, "in a particular jāti, gāndhāra
   may be used as the initial note" (as quoted by 'K').
2. Here 'K' elucidates, "Since nandayantī is a jāti of madhyama-
   grāma, it is not ordinarily accessible to movement in the lower
   register upto ṛṣabha, yet because it is based on hṛṣyaka
   mūrcchanā which commences with the low pañcama that has
   ṛṣabha as the only consonant note, it becomes permissible to
   make a profuse use of low ṛṣabha. Moreover, Bharata has also
   said, "There is a profusion of ṛṣabha here, and that pertains
   to the lower register" (as quoted by 'K').

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Page 363

Section 7 : Jāti-s (Melodic types) 363
like that of the previous one³, the kalā-s are twice as many⁴
and its proper application is in the dhruvā (song) of the first
act. (107c-109).
In this nandayantī the final note is gāndhāra and madhyama
and pañcama are the semifinal notes.
Its prastāra⁵ :

1. ga gā gā gā pā pā dha-pa ma
   Sau
2. dhā dhā dha dhā dhā ni sa-ni-ni dha
   O
3. pā pā pā pā pā pā pā pā
   myam
4. dha ni nā pā gā gā gā gā
   ve daṅ ga ve da
5. mā rī ga gā ga gā ga gā
   ka ra ka ma la yo nim
6. mā mā pā pā dhā ni-dha pa pā
   ta mo ra jo vi va
7. dha nī mā pā gā gā gā gā
   rji tam
8. ga-ma pā pā pā mā mā ga gā
   haram
9. That is, like that of āndhrī, viz. caccatpuṭa.
10. That is, twice sixteen, viz. thirtytwo.
11. The purport of the song is as under :—
    Obeisance to Hara (Śiva) who is gentle, who is as it were,
    Brahmā in the manifestation of the Vedāṅga-s and the Veda-s
    and who is devoid of inertia and activity (tamas and rajas),
    the liberator of the phenomenal existence, having the lotus
    for His abode, benevolent, tranquil, beginningless, the
    promulgator of law and order, sporting with ornaments,
    extending in virtue by the brilliance of his sports with the
    chief of serpents (Vāsuki), enjoying the pure graceful play
    with the lotus hands of the daughter of the mountain
    (Pārvatī), and (obeisance) to His body which is (sparkling)
    like a crystal, jewel silver, a (piece of) white new cloth and
    the ocean of milk, which has made a vessel of the skull of the
    goat-headed (Dakṣa), which is brilliant like the purity of
    Madhusūdana (Viṣṇu) and is the cause of the highest state
    of being.