Vayu Purana

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.

यस्तु स्यादवरोहो वा तारतो मन्द्रतोऽपि वा। एकान्तरहिता ह्येते तमेव स्वरमन्ततः ।। २५.

But whether it is lower, or higher, or even deeper, if it is without a single interval, all these are considered as the same note in the end.

मक्षिप्रच्छेदनो नाम चतुष्कलगणः स्मृतः। अलङ्कारा भवन्त्येते त्रिंशद्ये वै प्रकीर्त्तिताः। वर्णस्थानप्रयोगेण कलामात्रा प्रमाणतः ।। २५.

The group of four divisions is known as 'makṣipracchedana'; these are called embellishments, thirty in number, described according to the application of the place of articulation and the measure of time units.

संस्थानञ्च प्रमाणं च विकारो लक्षणन्तथा। चतुर्विधमिदं ज्ञेयमलङ्कारप्रयोजनम् ।। २५.

Formation, measure, modification, and characteristic—these fourfold purposes of embellishment are to be understood.

यथात्मनो ह्यलङ्कारो विपर्यस्तोऽतिगर्हितः। वर्णमेवाप्यलंकर्त्तुं विषमं ह्यात्मसम्भवात् ।। २५.

Just as an ornament that is misplaced on oneself is greatly censured, so too is it improper to embellish a syllable in a way that is contrary to its own nature.

नानाभरणसंयोगाद्यथा नार्या विभूषणम्। वर्णस्य चैवालङ्कारो विपर्यस्तोऽतिगर्हितः ।। २५.

Just as a woman's ornament, when combined in various ways, is inappropriate if misplaced, so too is the embellishment of a syllable, if misplaced, greatly censured.

न पादे कुण्डले दृष्टे न कण्ठे रसना यथा। एवमेव ह्यलङ्कारो विपर्यस्तो विगर्हितः ।। २५.

Just as earrings are not seen on the feet, nor a necklace at the waist, so too is an embellishment, if misplaced, to be condemned.

क्रियमाणोऽप्यलङ्कारो रागं यश्चैव दर्शयेत्। यथोद्दिष्टस्य मार्गस्य कर्त्तव्यस्य विधीयते ।। २५.

Even when an embellishment is being made, it should display the proper mode, and should be applied according to the prescribed path and method.

लक्षणं पर्य्यवस्थापि वर्णिकाभिः प्रवर्त्तनम्। याथातथ्येन वक्ष्यामि मासेद्भवमुखोद्भवे ।। २५.

I shall now describe, as it truly is, the definition, the proper application, and the practice by singers, not arising from mere oral tradition.

त्रयोविंशत्यशीतिस्तु तेषामेतद्विपर्ययः। षड्जपक्षोऽपि तत्त्वादौ मध्यो हीनस्वरो भवेत् ।। २५.

The reversal of these is said to be eighty-three in number; at the beginning, even the ṣaḍja group, if lacking, becomes the middle or lower note.

षड्जमध्यमयोश्चैव ग्रामयोः पर्य्यपस्तथा। मानोयोत्तरमन्द्रस्य षडेवात्राविकस्य च ।। २५.

And in the two tonal systems of ṣaḍja and madhyama, the reversal is likewise; the measure of the higher and lower registers is to be known for ṣaḍja and āvika as well.

स्वरालंप्रत्ययश्चैव सर्व्वेषां प्रत्ययः स्मृतः। अनुगम्य बहिर्गीतं विज्ञातं पञ्चदैवतम् ।। २५.

The application of embellishment to all notes is considered proper; by following the external song, the fifteen deities are recognized.

गोरूपाणां पुरस्तात्तु मध्यमांशस्तु पर्य्ययः। तयोर्विभागो गीतानां लावण्यमार्गसंस्थितः ।। २५.

In the case of the cow-notes, the madhyama portion is the reversal; the distinction between these in songs is the beauty established in the path.

अनुषङ्गं मयोद्दिष्टं स्वसारञ्च स्वरान्तरम्। पर्य्ययः संप्रवर्त्तेत सप्तस्वरपदक्रमम् ।। २५.

I have described the connection and the related note; the reversal proceeds through the sequence of the seven notes.

गान्धारांशेन गीयन्ते चत्वारि मन्द्रकाणि च। पञ्चमो मध्यमश्चैव धैवते तु निषादजैः। षड्जर्षभैश्च जानीमो मन्द्रकेष्वेव नान्तरे ।। २५.

By the portion of gāndhāra, four deep notes are sung; the fifth is madhyama, and in dhaivata, by niṣāda; by ṣaḍja and ṛṣabha, we know, only in the deep notes, not in the intermediate.

द्वे चापरान्तिके विद्याद्धयशुल्लाष्टकस्य तु। प्राकृते वैणवैश्चैव गान्धारांशे प्रयुज्यते ।। २५.

One should know that there are two in the lower register of the horse and the aṣṭaka; in the natural and the vaiṇava, the gāndhāra portion is used.

पदस्य तु त्रयं रूपं सप्तरूपन्तु कौशिकम्। गान्धारांशेन कार्त्स्न्येन पर्ययस्य विधिः स्मृतः । एवञ्चैव क्रमोद्दिष्टो मध्यमांशस्य मध्यमः ।। २५.

The word has three forms, and the kauśika has seven forms; by the entirety of the gāndhāra portion, the rule of reversal is established; thus, the sequence of madhyama is prescribed for the madhyama portion.

यानि गीतानि प्रोक्तानि रूपेण तु विशेषतः। तत्तु सप्तस्वरं कार्य्यं सप्तरूपञ्च कौशिकम् ।। २५.

The songs that are described as having a special form—those should be composed of seven notes, and the kauśika should have seven forms.

अङ्गदर्शनमित्याहुर्माने द्वे समके तथा। द्वितीयभावाचरणा मात्रा नाभिप्रतिष्ठिता ।। २५.

This is called the indication of limbs; there are two measures of equal value, and from the second position, the measure is not established at the navel.

उत्तरे च प्रकृत्येवं मात्रा तल्लीयते तथा । हन्तारः पिण्डको यत्र मात्रायां नातिवर्त्तते ।। २५.

And in the north, just as in nature, the measure is thus absorbed; where the killers are in the lump, the measure does not exceed.

पादेनैकेन मात्रायां पादोनामति वीरणा। संख्यायाश्चोपहननं तत्र यानमिति स्मृतम् ।। २५.

With one foot in the measure, and the other not in the vīraṇa, the reduction in number there is known as 'movement.'