Vayu Purana

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.

विस्वरोष्ट्रकलाश्चैव स्थानादेकान्तरं गताः। आवर्त्तस्याक्रमोत्पत्ती द्वे कार्य्ये परिमाणतः ।। २५.

The visvara, uṣṭra, and kalā are those that move to the next position; in the cycle, two arise in sequence, determined by measure.

कुमारमपरं विद्याद्विस्तरं वमनं गतम्। एष वै चाप्यपाङ्गस्तु कुतारेकः कलाधिकः ।। २५.

One should know kumāra as another, which extends and moves away; and this, called apāṅga, is one more than the kalā.

श्येनस्त्वेकान्तरे जातः कलामात्रान्तरे स्थितः। तस्मिंश्चैव स्वरे वृद्धिस्तिष्ठते तद्विलक्षणा ।। २५.

The śyena arises at the next interval, remaining within the measure of a kalā; and in that note, an increase occurs, distinct from the previous.

श्येनस्तु अपरोहस्तु उत्तरः परिकीर्त्तितः। कलाकलप्रमाणाच्च स बिन्दुर्नाम चायते ।। २५.

The śyena is the descending one, called the superior; and by the measure of kalā and its group, it is known as bindu.

बिन्दुरेककला कार्या वर्णान्तस्थायिनी भवेत्। विपर्ययस्वरोऽपि स्याद्यस्य दुर्घटितोऽपि न ।। २५.

The bindu should be made as one kalā, remaining at the end of a syllable; even a reversed note may occur, but not with difficulty.

एकान्तरा तु वाद्यन्तु षड्जतः परमः स्वरः। आक्षेपास्कन्दनं कार्य्यं काकस्येवोच्चपुष्कलम् ।। २५.

The highest note is the one at the next interval from the base ṣaḍja; the act of raising and lowering should be done, as in the high note of the crow.

सन्तारौ तौ तु सञ्चार्यौ कार्यं वा कारणं तथा। आक्षिप्तमवरोह्यापि प्रोक्षमद्यन्तथैव च ।। २५.

The two, called santāra, are to be moved, and so too the cause; even when raised or lowered, they are to be sprinkled in the same way.

द्वादशञ्च कलास्थानमेकान्तरगतन्ततः। प्रेङ्खोलितमलङ्कारमेवं स्वरसमन्वितम् ।। २५.

The place of twelve kalās is at the next interval; the ornamentation called preṅkholita is thus endowed with notes.

स्वरसंक्रामकाच्चैव ततः प्रोक्तन्तु पुष्कलम्। प्रक्षिप्तमेव कलया पादानीतरयोर्भवेत् ।। २५.

From the transition of notes, puṣkala is then described; it is inserted by a kalā between the feet and the others.

द्विकलं वा यथा भूतं यत्तद् ह्रासितमुच्यते। उच्चाराद्विस्वरारूढा तथा चाष्टस्वरान्तरम् ।। २५.

Whatever is diminished by two kalās, that is called reduced; and when pronounced, it rises to the note called visvara, as well as to the eighth note.