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

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Treatment of Svara
5. तालाश्रिता गीतयः
यद्वा यथाक्षरे युग्मे गुर्वोः प्रथमयोर्यदा ॥२०॥
एकैकं चित्रमार्गाह्नं प्रयुज्य चगणात्मकम् ।
मात्राभिरष्टाभिर्युक्तं दक्षिणे ध्रुवकादिभिः ॥२१॥
प्रयुज्यते तदा गीतिर्मागधीत्यभिधीयते ।
तृतीयं लघु युग्मस्य च्छगणार्धयुतं यदा ॥२२॥
आद्याभ्यामन्तिमाभ्यां च मात्राभ्यां संप्रयुज्यते ।
ततः प्लुतं सार्धगणयुक्तं कृत्वा प्रयुज्यते ॥२३॥
ध्रुवकादिभिरष्टाभिर्द्विरुक्तान्त्यद्वयेन च ।
तदाऽर्धमागधी ते द्वे तद्गतान्तर्रेष्वपि ॥२४॥
संभाविता भूरिगुर्वाढ्कले वार्तिके पथि ।
चतुष्कले भूरिलघुर्दक्षिणे पृथुला मता ॥२५॥
इति प्रथमे स्वरगताध्यायेऽष्टमं गीतिप्रकरणम् ॥८॥
इति श्रीमदनवद्य-विद्याविनोद-श्रीकरणाधिपति-श्रोसोढलदेवनन्दन-
निःशङ्कश्रोशाङ्गदेव-विरचिते संगीतरत्नाकरे स्वरगताध्यायः प्रथमः ।
5. Gīti-s based on tāla :
Alternatively, if the initial two guru-s of the namewise
(yathākṣara) caccatpuṭa¹⁶ (tāla), having been employed one by
one in the citra mārga¹⁷, are converted into ca-gaṇa¹⁸ and
ru and dram. Thus, the phrase devam is sung for the second time and
the four syllables are sung in four mātrā-s (units). The number of
notes taken in one mātrā (unit), whether one or two, is immaterial. In
the third kalā the first and the second phrases are sung along with the
additional third, viz. vande which is split into two syllables, van and de.
Thus, the first mātrā of the third kalā is sung with the phrase devam, the
second with rudram and the third and the fourth with the syllables van
and de making for the phrase vande. The third kalā being in the fast
16. Yugma is caccatpuṭa.
17. Citramārgārhaṁ seems to be the reading of the text available
to 'K' as it is evident from his commentary which is supported
also by the interpretation presented by 'S'. The Ad. ed. of
S. R. reads citramārgādi which does not grammatically fit in
the verse to be adequately meaningful.
18. That is, each guru to be sung in four mātrā-s by the vārtika mārga.

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Right Column

Section 8 : Gīti-s 383
then being provided with eight mātrā-s (units) are employed
in the dakṣiṇa mārga with dhruvaka¹⁹, etc. then the gīti is
called māgadhī. (20c-22b)
When, the third laghu of the caccatpuṭa²⁰ (tāla) is aug-
mented by half the cha-gaṇa²¹ and is used with the initial
tempo is the quickest in action as well as rest with reference to the first
and the second. Also in the third kalā the phrase devam is sung for the
third time. In this way, because in this gīti a phrase is sung for three
times, it is called trirāvṛttapadā. (16c-18b)
Ardha-māgadhī is obviously a modification of māgadhī. When the
second half of the first two phrases respectively is repeated successively
in the second and the third kalā-s of māgadhī, it becomes ardha-māgadhī.
The process of its formation is illustrated by an example according to
which the first kalā is like that of māgadhī with the phrase : Devam
(de+vam); in the second kalā the phrase is rudram (ru+vam); which
is preceded by the second half of the phrase of the first kalā, viz.
vam, reading on the whole as vam rudram. Similarly, in the third kalā
the phrase is vande (vam+de) which is preceded by the second half of
phrase of the second kalā, viz. dram, reading on the whole as dram vande.
However, the author quotes another opinion as well. In this
view, just as māgadhī is called trirāvṛtta, i. e. the one in which a pada
(phrase) is sung thrice, so ardha-māgadhī is dvirāvṛtta, i. e. the one in
which the two pada-s (phrases of the 1st and the 2nd kalā-s) are sung
twice. Accordingly devam is repeated in the second kalā and rudram
is repeated in the third kalā. However, 'K' points out that according
to Mataṅga, some consider the twice-repeated phrases also to be charac-
teristic of māgadhī. (18c-19b)
Sambhavitā is said to have abridged phrases, by which it is meant
that the pada-s used are few and far between. Moreover, they consist
of long syllables : a syllable is considered to be grammatically long
19. Dhruvaka, sarpiṇī, patitā, etc. are the names of the actions of
hand to be explained in Chapter V. But 'K' gives, the follow-
ing as pertaining to the three steps spoken of above.
1st step : Dhruvaka and patitā
2nd step : Dhruvaka, sarpiṇī patākā and patitā
3rd step : Dhruvaka, sarpiṇī, kṛṣyā, padminī, visarjitā, vikṣiptā,
patākā and patitā.
20. Yathākṣara is understood.
21. That means, three mātrā-s.