Vayu Purana

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.'

द्वितीयं पादभङ्गञ्च ग्रहेणाभिप्रतिष्ठितम्। पूर्व्वमष्टतृतीये तु द्वितीयं चापरीतके ।। २५.

The second foot's break is established by grasping; previously in the eighth and third, and the second in the other arrangement.

अर्द्धेन पादसाम्यस्य पादभागाच्च पञ्चके। पादभागं सपादं तु प्रकृत्यामपि संस्थितम् ।। २५.

With half of the foot's symmetry and the portion of the foot in the fifth, the portion with a foot is also established in the original form.

चतुर्थमुत्तरे चैव मद्रवत्यां च मद्रके। मद्रके दक्षिणस्यापि यथोक्ता वर्त्तते कला ।। २५.

In the fourth in the north, and in Madravatī and Madraka, in Madraka of the south as well, the specified measure prevails.

पूर्व्वमेवानुयोगन्तु द्वितीया बुद्धिरिष्यते। पादौ चाहरणं चास्मत् पारं नात्र विधीयते ।। २५.

The application is first, and the second is considered understanding; the taking of the feet from us—there is no crossing over here.

एकत्वमुपयोगस्य द्वयोर्यद्धि द्विजोत्तम। अनेकसमवायस्तु पताकाहरिणं स्मृतम् ।। २५.

The unity of application, O best of twice-born, is of two; but the combination of many is known as 'patākā-hariṇa.'

तिसॄणां चैव वृत्तीनां वृत्तौ वृत्ता च दक्षिणा। अष्टौ तु समवायास्ते सौवीरा मूर्च्छना तथा। कुशत्यनुत्तरः सत्यं सप्त सत्त्वस्वरं तु यः ।। २५.

And of three metres, the metre is the right one; there are eight combinations, called sauvīra and also mūrcchanā; the one who is truly superior to kuśatya is said to have seven pure notes.

सूत उवाच।। ककुद्मिनस्तु तं लोकं रैवतस्य गतस्य ह। हताः पुण्यजनैः सर्व्वा राक्षसैः सा कुशस्थली ।। २६.

Sūta said: When Raivata departed for that world, all the virtuous people were slain by the rākṣasas, and thus Kuśasthalī was destroyed.

तद्वै भ्रातृशतं तस्य धार्म्मिकस्य महात्मनः। निबध्यमाना रक्षोभिर्दिशः संप्राद्रवन् भयात् ।। २६.

Then the hundred brothers of that righteous, great-souled one, being bound by the rākṣasas, fled in all directions out of fear.

तेषान्तु ते भयाक्रान्ताः क्षत्रियास्तत्र तत्र हि। अन्ववायस्तु सुमहान् महांस्तत्र द्विजोत्तमाः ।। २६.

Those kṣatriyas, overcome by fear, scattered here and there; but a great lineage arose there, O best of twice-born.

प्रयता इति विख्याता दिक्षु सर्व्वासु धार्म्मिकाः। धृष्टस्य धार्ष्टकं क्षत्रं रणधृष्टं बभूव ह ।। २६.

They became known in all directions as the Prayatās, righteous ones; from Dhṛṣṭa came the Dhārṣṭaka kṣatriyas, who were bold in battle.