1. After knowing the views of earlier teachers, I shall explain in due order, the thirty embellishments of music. Listen to them while I am expounding.
2. The Alankāras (embellishments of music) are to be explained along with their Varņas (movements of notes such as ‘steady’, ‘ascending and others) as their specific basis and also along with their associated configuration (Samsthāna), always in regard to dramatic performance2 etc.
2. Vide Bharata’s Natyashāstra Volume. IV, pp. 79-92 (Baroda Edition)
3. The fulfilment of embellishment is achieved by the implications of sentences and connotations of the word-combinations.
The words of a song are said to be either preceding or following the embellishment.
4. One should understand that there are three place of utterance. They are the chest, the throat and the head. The best procedure (of production of notes) begins in these three places.
5. In the original stage (Prakrutau), there are four varņas (tone-patterns) with fourfold movement. The alternative movement is eightfold;1 and gods know it as sixteenfold.
1. These are mentioned in the Puranas, only later writers do not refer to them.
6. [The designations of Varnas:]
The first Varna is Sthayin; the second is Pra-sañcārin, the third is Avarohaņa (= Avarohin) and the fourth Varna is known by the experts in the knowledge of Varnas to be, Archana (= Arohin).2
2. The exigencies of the metre have led to the change in the order of Vargas. The order should have been:
(i) Sthayin (i.e. Sa Sa Sa)
(ü) Arohin (e.g. Sa Ri Ga etc.)
(iii) Avarohin (e.g. Ni Dha Pa etc.)
(iv) Saricharin (e.g. Sa Ri Sa Ri Ga Ri Sa etc.).
7. There is one (Varna viz. Sthāyin) which has steady employment. Sañchara is a mixed movement. One should indicate the descent of Varņas (i.c. Svaras) as Avarohana.
8a. And the experts in the knowledge of Varnas know (that Varna) as the Arohana Varna by the ascent of notes.
8b. Now understand the embellishments of these specific Varnas.3
3. Although I have referred to the section on Alankdras in Sangita Ratnākara (I.VI) only a few Alankāras like Shyena (p. 133 of S.R.) shed some light. Though S.R. is much later than Va.P or B.P., I consulted it u S.R. preserved some of the Puránic traditions
9. There are four embellishments, viz. Sthapani, kramarejina, Pramāda and Apramāda. I shall (henceforth) explain the characteristics of these.1
1. Some verses after this must have been lost as neither our text nor Bd.P. explains these anywhere.
10. (Names of Alankaras still continue as follows:) Visvara Ashtakala2 which has an interval of one place (from its original place?). Avarta and Kramotpalti-these two should be effected according to their proportion.
2. Ushtrakala in the text being obscure, is emended as per Bd.P.
11a. One should know the other one to be Kumāra and Vistara,3
3. The text is obscure both here and in the Bd. P.
11b. And this indeed is the Apānga (Alankāra) and Kutāreka (?) possesses one more kală (time-measure).
12. Shyena is originated as having one interval and situated in the midst of Mātrās of a Kala. In it there abides the increase in the order of the note different from it (e.g. Sa Pa, Ri-Dha, Ga-Ni).
13. The descent of the Shyena Alankāra is called Uttaru. The Alankāra called Bindu is originated due to the measure of Kalās.
14a. One Kalà (measure of time) should be employed of the Varnas. Then it would be Sthapita (Sthayin?) (established).
14b. Durghatita is that which has the note even in the reverse order.
15a. Ekántara (Ekottara-suara) has the highest note from Şhadja.
15b. Akshepāskandana should be effected as having high amplitude like the (harsh) crowing of the crow.
16a. The two Santāras belong to the Sañchärin Varna either as the cause or the effect.
16b. Akshipta belongs to the category of the descending (Avarohin) Varna.
17. The Alankara called Prenkholita has the twelfth place of Kală having one interval. Thus it is endowed with Svaras (Notes).
18a. Puşhkala is said to be due to the transfer of the notes.
18b. Prakshipta is due to Kala--(?)
19a. It is called Hrāsita (Bhāşhita in Bd. P.) in which there is the use of two Kalās as before.
19b. Visvarārūdhā (Visarārūdha) has got eight notes in ascendance.
20a. That1 which is a descent from high or low register.
1. If the reading from Bd.P. is referred to the name of this Alankara is Vapa. But I am not sure of the correctness of the reading in the Bd.P.
20b. These are placed verily with one interval and have the same note at the end,
21ab. The Alankāra called Makshipracchedana is declared to have a group of four Kalās. Thus, these are the thirty Alankāras explained.
21c-22. Due to the employment of Varna and Sthāna having the measures of Kala and Mátrà are the configuration, proportion, modification and characteristics. This should be known as the purpose of embellishments (of music)2
2. Vide Sangita-ratnākara I. 6.64 which enumerates Raktilabha etc.
23. Just as in the case of beautification (of one’s person) it is extremely censured if it is used at the wrong place, similarly unfavourable (discordant) embellishment of the Varņas also (is censurable) as it is produced by oneself.
24. Just as with the use of various ornaments, a woman gets herself beautified, so are the musical) embellishments to a Varna, (but) if discordantly used, it is bitterly denounced.
25. The ear-ring is not seen (worn) on the feet; nor a girdle round the neck. So also the embellishment in music) if used in the wrong place, is reproached.
26. When the embellishment is effected, it should indicate the Raga (melody); just as the path intended to be undertaken is characterised.
27a. The characteristics, its opposites are indicated (with business?) by scribes (Varņika?)
27b. I shall describe realistically (as it is)----? (Obscure).
28a. (Obscure) Twenty-three and eighty is the inversion (of their order?)
28b. (Obscure) Even the Şhadja becomes a deficient note (in the middle?)
29a. Similarly these result in the confusion between the Gråmas of Şhadja and Madhyama.
29b. Obscure.
30. Obscure*.
*(A tentative translation:) The embellishment of Svaras is remembered, as the experience (?) of all following. The external music(?) is known to have five deities,
3la. (Obscure) A part of the note Ma-Madhyama-is the deviation before Ruşhabha?
31b. (Obscure) Their division is a guide (märgasamsthita) to songs?
32a. (Obscure) [Svasara and Svarāntara have been indicated by me.]
32b. The reverse would take place in the case of the order of seven notes.
33a. The four Mandraka gitas (songs) are sung with Gandhāra as the key note.
33bc. In Mandraka gitas, we know the notes Pañcama (Pa), Madhyama (Ma), Dhaivata (Dha), Nişhāda (Ni), Şhadja (Sa), Ruşhabha (Ri) as the remaining notes.
34a. One should know two Aparantika songs. -(The rest is obscure).
34b. (Obscure but with Bd.P. text) In the Aparantika songs, Gāndhāra (Ga) is employed in the original and modified form by flute players (Vainava). [Bd.P: Gāndhāra is employed in the original and modified forms. ]
35a. The Pada has got three forms (?). The Kaishika [Ki] song has seven forms.
35b. The key-note procedure is declared with the entire use of Gandhara.
35c. This is also the order intended for its Madhyama as the key note.
36. The songs which have been mentioned with particular emphasis on the form should be effected with seven notes and the Kaishiki [-ka] of the sevenfold form.
37a. This is called the indication of the component parts (of songs?)
(The Topic of Tala)
There are two even measures.
37b. (Obscure) --- the mālrā is not advanced (abhipratishthitā)?
38. In Uttara songs in the original form, the Mātra is thus deleted (the rest of the verse obscure).
39. With one foot (Pada) in the Matrā and with one foot deficient -----------when there is the Upahanana (deficiency, error?) of numbers in it, it is called Yäna.
40. The second break in the foot is well established with Graha (the starting point of the song) and in the Aparāntika (songs). The first, the eighth, the third and second are established with Graha (?)
41. (Obscure) With half of the equivalent of a Pada and in the one-fifth portion of the Päda, the Pàda-bhāga (one fourth of the Pada) also along with the one and a quarter of a pada) (?) is established in the original form)
42. In the Uttara and Mandraka songs in their original form, the Kala exists as explained of the Dakşhiņa Märga (way of the Tala-procedure).1
1. Some lines are perhaps missing (vide Bd.P. 2.3-62.40-41).
There were three Margas (ways of the Tala-procedure) viz. Chitra, Vartika and Dakshina, having the Kala of two mātrās, four matras and eight matras respectively. The forms Ekakala, Dvikala and Chatuşhkala were associated with Margas.
432. Obscure (both here and in Bd.P.)
2. (Tentative translation): The two feet and their Aharana(?) beyond this are not laid down.
44. When there is the use of one and the use of two, O best of Brāhmaṇas, and when there is the combination of many Patāka3 etc. are declared.
3. Pataka was one of eight matras, which was indicated by moving the hand upwards. These matras were to be employed in the margas as specifically directed, In Chitra the music of stringed instrument was prominent and song (vocal) subservient. In Dakshina, the song was prominent and instrumental music subservient and in Villi both were employed with equal prominence. souled Kshatriyas. Nabhaga’s successor Nabhäga was very powerful
45a. There are three Vruttis4-Citra, Vrutti and Dakşhiņa (the text is obscure and hence emended).
4. The Vruttis are the styles of rendering songs. They were three in number viz. Citra. Vrutti and Dakshina. They were associated with the three
45b. The Samavāyas (combinations of?) are eight; similarly, the Mūrcchanā is Sauvira.
45c. Obscure.
(Last foot of 45c.) Thus the Svara-mandala of seven Svaras (notes) is explained).