समन्वितलयस्त्वेकतालो वीणा तु वल्लकी । विपञ्ची सा तु तन्त्रीभिः सप्तभिः परिवादिनी ।। ३६०.
When rhythm is combined, it is called 'ekatala'; the vina is also called 'vallaki'; the 'vipanchi' is that which is strung with seven strings and is called 'parivadini'.
ततं वीणादिकं वाद्यमानद्धं मुरजादिकं । वंश्यादिकन्तु शुषिरं कांस्यतालादिकं घनं ।। ३६०.
Stringed instruments like the vina are called 'tata'; percussion instruments like the drum are 'anaddha'; wind instruments like the flute are 'sushira'; and metallic instruments like cymbals are 'ghana'.
चतुर्व्विधमिदं वाद्यं वादित्राताद्यनामकं । मृदङ्गा मुरजा भेदास्त्वङ्क्यालिङ्ग्योऽर्द्धकास्त्रयः ।। ३६०.
These four kinds of instruments are named as 'vadya' or musical instruments; the varieties of drums are 'mridanga' and 'muraja'; the types are those played with hands, arms, or half-hands—three in number.
स्याद्यशःपटहो ढक्का भेर्य्यामानकदुन्दुभिः । आनकः भेदा झर्झरीडिण्डिमादयः ।। ३६०.
The 'yashah-pataha', 'dhakka', 'bherya', 'amanaka', and 'dundubhi' are types of drums; 'anaka' is another type, and varieties like 'jharjhara', 'dindima', and others are also included.
मर्द्दलः पणवस्तुल्यौ क्रियामानन्तु तालकः । लयः साम्यं ताण्डवन्तु नाट्यं लास्यञ्च नर्त्तनं ।। ३६०.
'Marddala' and 'panava' are similar; 'talaka' is an instrument played by hand; 'laya' is rhythm, 'samya' is harmony, 'tandava' is vigorous dance, and 'natya', 'lasya', and 'nartana' are forms of dance.
तौर्य्यत्रिकं नृत्यगीतवाद्यं नाट्यमिदं त्रयम् । राजा भट्टारको देवः साभिषेका च देव्यपि ।। ३६०.
'Tauryatrika' is the combination of dance, song, and instrumental music; this is called 'natya', the threefold art. The king, the lord, the deity, and the queen with consecration are also included.
श्रृङ्गरवीरकरुणाद्भुतहास्यभयानकाः । वीभत्सरौद्रे च रसाः श्रृङ्गारः शुचिरुज्ज्वलः ।। ३६०.
The rasas are: erotic, heroic, compassionate, marvelous, comic, terrifying, disgusting, and furious; among these, the erotic is pure and radiant.
उत्साहवर्द्धनो वीरः कारुण्यं करुणा घृणा । कृपा दया चानुकम्पाऽप्यनुक्रोशोऽप्यथो हसः ।। ३६०.
Heroism is that which increases enthusiasm; compassion is kindness, sympathy, mercy, pity, and also empathy, as well as benevolence and laughter.
हासो हास्यञ्च बीभत्सं विकृतं त्रिष्विदं द्वयं । विस्मयोऽद्भुतमाश्चर्य्यं चित्रमप्यथ भैरवं ।। ३६०.
Laughter and the comic are one; disgust is the grotesque, both are of three kinds; wonder is the marvelous, astonishing, and strange, and also the dreadful.
दारुणं भीषणं भीष्मं घोरं भीमं भयानकं । भयङ्करं प्रतिभयं रौद्रस्तुग्रममी त्रिषु ।। ३६०.
Cruel, frightful, formidable, terrible, fearsome, horrifying, causing fear, and dreadful—these are the forms of the furious rasa.
चतुर्द्दश दरत्रासौ भीतिर्भीः साध्वसम्भयं । विकारो मानसो भावोऽनुभावो भावबोधनः ।। ३६०.
There are fourteen forms of fear: terror, fright, dread, alarm, mental disturbance, emotional state, response, and recognition of feeling.
गर्व्वोऽभिमानोऽहङ्कारो मानश्चित्तसमुन्नतिः । अनादरः परिभवः परिभावस्तिरस्क्रिया ।। ३६०.
Pride, arrogance, egotism, self-respect, elevation of mind, disrespect, insult, humiliation, and rejection.
व्रीडा लज्जा त्रपा ह्राः स्यादभिध्यानं धने स्पृहा । कौतूहलं कौतुकञ्च कुतुकञ्च कुतूहलं ।। ३६०.
Modesty, shame, embarrassment, bashfulness, envy, desire for wealth, curiosity, wonder, and amazement.
स्त्रीणं विलासविव्वोकविभ्रमा ललितन्तथा । हेला लीलेत्यमी हावाः क्रियाः श्रृङ्गारभावजाः ।। ३६०.
In women, playfulness, coquetry, charm, and grace; teasing, playful gestures—these are actions arising from the erotic mood.
द्रवकेलिपरीहासाः क्रोड़ा लीला च कूर्द्दनं । स्यादाच्छुरितकं हासः सोत्प्रासः समनाक्स्मितं ।। ३६०.
Gentle play, jesting, playful acts, and banter; laughter with implication, and a slight smile.
अधोभुवनपातालं च्छिद्रं श्वभ्रं वपा शुषिः । गर्त्तावटौ भुवि श्वभ्रे तमिशन्तिमिरं तमः ।। ३६०.
The underworld, the nether regions, a chasm, a pit, a cavity, a hollow, a trench, an abyss on earth, and darkness, gloom, and obscurity.
सर्पः पृदाकुर्भुजगो दन्दशूकों विलेशयः । विषं क्ष्वेडश्च गरलं निरयो दुर्गतिः स्त्रियां ।। ३६०.
Serpent, snake, viper, venomous one, destroyer, poison, hissing, deadly toxin, hell, and misfortune for women.
पयः कीलालममृतमुदकं भुवनं वनं । भङ्गस्तरङ्गु ऊर्म्मिर्व्वा कल्लोलोल्लोलकौ च तौ ।। ३६०.
Milk, saliva, nectar, water, the world, forest, wave, surge, billow, and the two—ripple and swell.
पृषन्तिविन्दुपृषताः कूलं रोधश्च तीरकं । तोयोत्थितं तत् पुलिनं जम्बालं पङ्ककर्दमौ ।। ३६०.
Raindrop, water-drop, spray, bank, dam, and shore; that which rises from water is a sandbank, mud, and mire.
जलोच्छ्वासाः परीवाहाः कूपकास्तु विदारकाः । आतरस्तरपण्यं स्याद्द्रोणी काष्ठाम्बुवाहिनी ।। ३६०.
Water currents, overflow, wells, and fissures; a trough, a wooden water-carrier, and a water channel.
कलुषश्चाविलोऽच्छस्तु प्रसन्नोऽथ गभीरकं । अगाधं दासकैवर्त्तौ शम्बूका जलशुक्तयः ।। ३६०.
Turbid, unclear, clear, pure, and deep; unfathomable, boatman, fisherman, conch, and freshwater mussels.
सौगन्धिकन्तु कह्लारं नीलमिन्दीवरं कजं । स्यादुत्पलं कुवलयं सिते कुमुदकैरवे ।। ३६०.
Saugandhika, blue lotus, indīvara, kaja; utpala, kuvalaya, white kumuda, and kairava.
शालूकमेषां कन्दः स्यात् पद्मं तामरसङ्कजं । नीलोत्पलं कुवलयं रक्तं कोकनदं स्मृतम् ।। ३६०.
Of these, the root is shālūka; lotus is the red water-lily; blue lotus is kuvalaya; the red one is called kokanada.
करहाटः शिफा कन्दं किञ्चल्कः केशरोऽस्त्रियां । खनिः स्त्रियामाकरः स्यात् पादाः प्रत्यन्तपर्व्वताः ।। ३६०.
Karahāṭa is the pod, the root is called kanda; kiñcalka is the stamen, and in women, khani means mine; pāda refers to the outer mountains.
उपत्यकाद्रेरासन्ना भूमिरूद्र्ध्वमधित्यका । स्वर्गपातालवर्गाद्या उक्ता नानार्खकान् श्रृणु ।। ३६०.
The land near the foothills of a mountain, rising upwards, is called a plateau; now listen to the various terms used for heaven, the netherworld, and other such divisions.
अग्निरुवाच आङीषदर्थेऽभिव्याप्तौ सीमार्थे धातुयोगजे । आ प्रगृह्यः स्मृतौ वाक्येऽप्यास्तु स्यात् कोपपीड़योः ।। ३६१.
Agni said: The particle 'āṅ' is used to indicate a slight sense, pervasiveness, boundary, or when joined with a root to mean 'to the limit'; it is also employed in statements of memory, in speech, and in situations of anger or pain.
पापकुत्सेषदर्थे कु धिग्जुगुप्सननिन्दयोः । चान्वाचयसमाहारेतरेतरसमुच्चये ।। ३६१.
'Ku' is used to express evil, contempt, reproach, disgust, and censure; 'ca' is used for accumulation, collection, and mutual combination.
स्वस्त्याशीः क्षएमपुण्यादौ प्रकर्षे लङ्घनेऽप्यति । स्वित्प्रश्ने च वितर्के च तु स्याद् भेदेऽवधारणे ।। ३६१.
'Sva' is used for blessings, welfare, merit, excellence, and also for transgression; 'svid' appears in questions and doubts, as well as in cases of distinction or specification.
सकृत्सहैकवारे स्यादाराद्दूरसमीपयोः । प्रतीच्यां चरमे पश्चादुताप्यर्थविकल्पयोः ।। ३६१.
'Sakṛt' means 'once', 'saha' means 'together', 'ekavāra' means 'one time'; 'ārāt' and 'dūra' refer to distance, 'samīpa' to nearness; 'pratīcyām' means 'in the west', 'carame' means 'last', 'paścāt' means 'afterwards', and 'utāpi' is used for alternatives of meaning.
पुनःसदार्थयोः शश्वत् साक्षात् प्रत्यक्षतुल्ययोः । खेदानुकम्पासन्तोषविस्मयामन्त्रणे वत ।। ३६१.
'Punah' is used for repetition, 'sadā' for constancy, 'śaśvat' for perpetuity, 'sākṣāt' for directness, and 'pratyakṣa' for what is evident; 'kheda' for fatigue, 'anukampā' for compassion, 'santoṣa' for contentment, 'vismaya' for wonder, and 'amantraṇa' for consultation, indeed.