Aparajitaprucchha

SR No.: 008438
Original Sutra Author: N/A
Author: B Bhattacharya
Publisher: Oriental Research Institute Vadodra
Total Pages: 810
Language: Sanskrit, Hindi
Classification: Book_Devnagari, Culture, & Art
File Size: 12 MB

Page 112

cvii
आयतछंद का कार्या विनाघंटे भूमिका त्रयम् ।
गजपृष्ठाकृतिः कुर्यात् बलभीनां तु कामदाम् ||२५|| इति वलभी || दलविभक्तिभद्राढ्या उदकांतरवर्जिता ।
फोसाक रास्तथैवोर्ध्वाः कर्तव्याः सुनपुंसकाः ||३६|| इति नपुंकाः ॥ छायछाद्योद्भवादू सिंहकर्णे विभूषिताः ।
घंटा कूटाकू ते कुर्यात् सिंहावलोकनसंभ्रमाः ॥३॥ इति सिंहावलोकन: ॥ शकटोपरिकर्तव्या छंदैस्तु नागरोद्भवैः ।
त्रिचकं शकटं कार्य रथारुहाः सकामदाः ॥ ३८ ॥ इति रथारुहाः ॥ प्रसादानां च सर्वेषां जातयो देशभेदतः । चतुर्दश प्रवर्तते 'यूह्या लक्ष्यानुसारतः ॥३९॥ नागरा द्राविडाश्चैव भूमिजा छतिनास्तथा । साबंधारा बरादाश्च विमाना नागरा अपि ॥४०॥ एतेष्टौ जातिशुद्धाश्च प्रोक्ताः श्रीविश्वकर्मणा ।
सू. 237 V. 16-18 seem to describe the dimensions of the instru ment. called are which is associated with are (measuring musical time). These dimensions which are possibly confused or erroneous, differ from those in the Sangita Ratnakara, vol. 2. Cf. p. 618 verses - 1170-73.
Verses 20-21 evidently show the origin of five ares from the five mouths of Siva. According to the संगीतमन्द्र of नारद ( Gaekwad's O Series, p. 32. Verses 40 to 48 ) and संगीतरत्नाकर Vol I pp-357-359, the five ares named (१) चञ्चत्पुट, (२) चाचपुर, (३) टट्पतापुत्र, (४) संपक्वेष्टाक and (५) उद्द्घ originate respectively from the सद्योजात, वामदेव, अघोर, तत्पुष and ईशानमुखs of Siva. The first two चचत्पुट and चादपुर are common while the last three in the present work differ from those mentioned above. It is difficult to detect any alfinity between them and their substitutes in the संगीतमकरन्द.
Verse 33 cf. अमरकोश which has the following
ततं वीणादिकं वाद्यमानद्वमुरजादिकम् ।
वंशादिकं तु सुषिरं कांस्यतालादिकं धनम् ॥ But better than that will be the following verse in the chapter on वाद्यविनोद in the मानसोल्लास or अभिलषितार्थ farafa of Somesvara in the B. O. R. I. Ms. (unpublished portion) - -ततं च विततं चैत्र घनं सुखि (षि) रमेव च ।
चतुर्भदमिदं वाद्यं तस्य वक्ष्यामि लक्षणम् ॥ It may be noted that the word वितत is used here for आनद्ध or अवनद्ध which is the more common word as found in अमरकोश, नाट्यशास्त्र, संगीतरत्नाकर etc.
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Verses 34-37. As far as possible, corrections are made in the light of the names in the संगीतरत्नाकर.
Verses after the 37 th indicate what are known as Rs or technical phrases peculiar to various musical instruments.