Vayu Purana

हंसं ज्येष्ठं विजानीमस्तुम्बुरुप्रियमेव च। मनोहरमधात्र्यञ्च गन्धर्वानुगतश्च यः ।। २४.

Haṃsa, Jyeṣṭha, and Tumburu's favorite; the delightful Madhātrya, and the one accompanied by Gandharvas.

अलम्बुषेष्टश्च तथा नारदप्रिय एव च। कथितो भीमसेनेन नागराणां यथा प्रियः ।। २४.

Also, the one dear to Alambuṣā, and the one favored by Nārada; as told by Bhīmasena, the one beloved of the Nāgas.

करोपनीत विनता श्रीराख्यो भार्गवप्रियः। विंशतिर्मध्यमग्रामः षड्जग्रामश्चतुर्द्दश ।। २४.

Karopanīta, Vinatā, Śrīrākhya, dear to Bhṛgu; twenty are of the Madhyamagrāma, and fourteen of the Ṣaḍjagrāma.

तथा पञ्चदशेच्छन्ति गान्धारग्रामसंस्थितान् । ससौवीरा तु गान्धारी ब्रह्मणा ह्युपगीयते ।। २४.

Likewise, fifteen desire those settled in the Gandhara villages; Gandhari, together with Sauvira, is indeed praised by Brahma.

उत्तरादिस्वरस्यैव ब्रह्मा वै देवताऽत्र च। हरिदेशसमुत्पन्ना हरिणास्या व्यजायत। मूर्च्छना हरिणास्यैव अस्या इन्द्रोऽधिदैवतम् ।। २४.

Of the northern tone, Brahma is the deity here; born in the land of Hari, Hari's mouth produced it; the modulation is of Hari's mouth, and Indra is its presiding deity.

करोपनीतवितता मरुद्भिः स्वरमण्डले। सा कलोपनता तस्मान्मारुतश्चात्र दैवतम् ।। २४.

Spread and brought forth by the Maruts in the realm of sound, it is thus brought forth in the age, and Marut is the deity here.

मनुदेशसमुत्पन्ना मूर्च्छना शुद्धमध्यम्। मध्यमोऽत्र स्वरः शुद्धो गन्धर्व्वश्चात्र देवता ।। २४.

Born in the land of Manu, the modulation is pure Madhyama; here, the pure Madhyama tone, and Gandharva is the deity.

मृगैः सह सञ्चरते सिद्धानां मार्गदर्शने। यस्मात्तस्मात् स्मृता मार्गी मृगेन्द्रोऽस्याश्च देवता ।। २४.

It moves together with deer, showing the path for the Siddhas; therefore, it is called Margi, and Mrigendra is its deity.

सा चाश्रमसमायुक्ता अनेकान् पौरवान् रवान्। मूर्च्छना योजना ह्येषा रजसा रजनी ततः ।। २४.

It is associated with hermitages, and many Pauravas and Ravas; this modulation is the union, and thus night is with dust.

ताल उत्तरमन्द्रांशः षड्जदैवतकां विदुः। तस्मादुत्तरतालञ्च प्रथमं स्वायतं विदुः। तस्मादुत्तरमन्द्रोऽयं देवतास्य ध्रुवो ध्रुवम् ।। २४.

The tala is known as Uttaramandra, with six deities; therefore, the first Uttaratala is known as extended; thus, Uttaramandra is here, and its deity is Dhruva.

अपानादुत्तरत्वाच्च धैवतस्योत्तरायणः। स्यादियं मूर्च्छना ह्येवं पितरः श्राद्धदेवताः ।। २४.

Because of its northernness from Apana and of Dhaivata, this modulation is thus; the Pitrs are the deities for the rites to ancestors.

शुद्धषड्जस्वरं कृत्वा यस्मादग्निं महर्षयः। उपतिष्ठन्ति तस्मात्तं जानीयाच्छुद्धषड्‌जिकम् ।। २४.

By establishing the pure Shadja tone, the great sages worship Agni; therefore, know this as pure Shadja.

यः सतां मूर्च्छनां कृत्वा पञ्चमस्वरको भवेत् । यक्षीणां मूर्च्छना सा तु याक्षिका मूर्च्छना स्मृता ।। २४.

Whoever, having made the modulation of the virtuous, becomes the fifth tone; that modulation of the Yakshas is known as Yakshika modulation.

नागदृष्टिर्विषा गीता नोपसर्पन्ति मूर्च्छनाम्। भवन्तीव हृता ह्येते ब्रह्मणा नागदेवताः। अहीनां मूर्च्छना ह्येषा वरुणश्चात्र देवता ।। २४.

The vision of the Nagas is poison; songs do not approach the modulation; these are indeed taken away by Brahma, and the Nagas are the deities; this is the modulation of the serpents, and Varuna is the deity here.

शकुन्तकानां कृत्वा च उपमां यान्ति किन्नराः । उत्तमां मूर्च्छना तस्मात् पक्षिराजोऽत्र देवता ।। २४.

By making a comparison with birds, the Kinnaras attain; therefore, the highest modulation, and the king of birds is the deity here.

गान्धाररागशब्देन गां च धारयतेऽर्थतः। तस्माद्विशुद्धगान्धारी गन्धर्वश्चाधिदैवतम् ।। २४.

By the sound of Gandhara melody, it sustains the earth in meaning; therefore, the pure Gandhari, and Gandharva is the presiding deity.

गान्धारानन्तरं गत्वा सृष्टेयं मूर्च्छना यतः। तस्मादुत्तरगान्धारी वसवश्चात्र देवताः ।। २४.

Having gone after Gandhara, this modulation is created; therefore, Uttara Gandhari, and the Vasus are the deities here.

सेयं खलु महाभूता पितामह मुपस्थिता। षड्जेयं मूर्च्छना तस्मात् स्मृता ह्यनलदेवता ।। २४.

This indeed is the great element, established by the grandfather; therefore, this modulation of Shadja is remembered as having Agni as its deity.

दिव्येयं चायता तेन मन्दषष्ठा च मूर्च्छने। निवृत्तगुणनामानं पञ्चमञ्चात्र धैवतम् ।। २४.

This is divine and extended, thus the modulation is slow sixth; those named with ceased qualities, and the fifth here is Dhaivata.

पूर्णाः सप्तस्वरा ह्येवं मूर्च्छनाः संप्रकीर्त्तिताः। नानासाधारणाश्चैव षडेवानुविदस्तथा ।। २४.

Thus, the seven tones are complete, and the modulations are described; likewise, six are not common, and six are subordinate.

पूर्व्वाचार्य्यमतं बुद्ध्वा प्रवक्ष्याम्यनुपूर्व्वशः। त्रिंशतं वै अलङ्कारांस्तान् मे निगदतः श्रृणु ।। २५.

Having understood the doctrine of the former teachers, I will declare in order; thirty embellishments, listen to them as I recite.

अलङ्कारास्तु वक्तव्याः स्वैःस्वैर्वर्णैः प्रहेतवः। संस्थानयोगैश्च तथा पादानां चान्ववेक्षया ।। २५.

Ornamentations should be described according to their own syllables and causes, as well as by the arrangement and combination of feet, and by careful examination.

वाक्यार्थपदयोगार्थैरलङ्कारस्य पूरणम्। पदानि गीतकस्याहुः पुरस्तात् पृष्ठतोऽथवा ।। २५.

The fulfillment of ornamentation is said to be through the connection of meaning, words, and phrases; the words of a song are placed either at the beginning or at the end.

स्थानानि त्रीणि जानीयादुरःकण्ठशिरस्तथा। एतेषु त्रिषु स्थानेषु प्रवृत्तो विधिरुत्तमः ।। २५.

One should know that there are three positions: chest, throat, and head; among these three positions, the best method is practiced.

चत्वारः प्रकृतौ वर्णाः प्रविचारश्चतुर्विधः। विकल्पमष्टधा चैव देवाः षोडशधा विदुः ।। २५.

There are four natural syllables, and four kinds of analysis; and there are eight variations, and the gods know them as sixteenfold.

स्थायी वर्णः प्रसंचारी तृतीयमवरोहणम्। आरोहणं चतुर्थन्तु वर्णं वर्णविदो विदुः ।। २५.

Experts in syllables know the steady syllable, the moving one, the third as descending, and the fourth as ascending.

तत्रैकः संचरस्थायी सचरास्तचरीभवन्। अथ रोहणवर्णानामवरोहं विनिर्दिशेत् ।। २५.

Among these, one is both moving and steady, becoming both with and without movement; and for the ascending syllables, the descending is also indicated.

आरोहणेन चारोहवर्णं वर्णविदो विदुः। एतेषामेव वर्णानामलङ्कारान्निबोधत ।। २५.

By ascending, the experts know the ascending syllable; now, learn of the ornamentations belonging to these syllables.

अलङ्कारास्तु चत्वारः स्थापनी क्रमरेजिनः। प्रमादश्चाप्रमादश्च तेषां वक्ष्यामि लक्षणम् ।। २५.

There are four ornamentations: establishment, sequential movement, error, and non-error; I shall now describe their characteristics.