Gāndharva / The sacred vīṇā
The sacred vīṇā (वीणा)
Summary
These sittings are the lines that name a vīṇā (वीणा). One name of Lalitā (ललिता) says that the sweetness of her own speech has put kacchapī (कच्छपी) to shame. Māgha (माघ) shows Nārada (नारद) looking again and again at mahatī (महती). On that verse Mallinātha (मल्लिनाथ) quotes a Vaijayantī (वैजयन्ती) line calling kacchapī (कच्छपी) the vīṇā (वीणा) of Sarasvatī (सरस्वती) and mahatī (महती) the vīṇā (वीणा) of Nārada (नारद). The Saṅgīta (सङ्गीत) Makaranda (मकरन्द) lists many vīṇā (वीणा) names and says that Sarasvatī (सरस्वती)'s vīṇā (वीणा) carried the seven notes. A line that builds the Rudra (रुद्र) vīṇā (वीणा) on the reclining body of Pārvatī (पार्वती) is not among these texts.
नेपालीमा
यी बैठक वीणाको नाम दिने पङ्क्ति हुन्। ललिताको एउटा नामले भन्छ, उहाँको आफ्नै बोलीको मिठासले कच्छपीलाई लजाएको छ। माघले नारदलाई महती हेर्दै गरेको देखाउँछन्। त्यही श्लोकमा मल्लिनाथले वैजयन्तीको पङ्क्ति उद्धृत गर्छन्, जसमा कच्छपी सरस्वतीकी वीणा हो र महती नारदकी वीणा हो। सङ्गीतमकरन्दले धेरै वीणाको नाम गन्छ र सरस्वतीकी वीणाले सात स्वर बोकेको भन्छ। पार्वतीको ढल्केको शरीरमा रुद्र वीणा बनाउने पङ्क्ति यी ग्रन्थहरूमा छैन।
Players tell a story in which Śiva (शिव) shapes the Rudra vīṇā (वीणा) on the reclining body of Pārvatī (पार्वती). That story is not a verse in the Bṛhaddeśī (बृहद्देशी), the Saṅgīta (सङ्गीत) Makaranda (मकरन्द), the Lalitā (ललिता) name, or Māgha (माघ). It is not recited. The bowed room of this practice is the sarangi, the Nepali fiddle kept among Gāndharva (गान्धर्व) players. The fretted room is the guitar. Lengths of strings are the tuning page. The practice rooms live outside this library, so this page cannot put a link back inside them.
Lalitā (ललिता) 11
This sitting is Lalitāsahasranāma (ललितासहस्रनाम), verse 11. The reading kept here is nijasaṃlāpa (निजसंलाप).
निजसंलापमाधुर्यविनिर्भर्त्सितकच्छपी ।
मन्दस्मितप्रभापूरमज्जत्कामेशमानसा ॥ nijasaṃlāpamādhuryavinirbhartsitakacchapī |
mandasmitaprabhāpūramajjatkāmeśamānasā ||
The line
She is the one who has put Kacchapī (कच्छपी) to shame by the sweetness of her own speech, and the one in whose flood of gentle smile light the mind of Kāmeśa (कामेश) sinks.
नेपालीमा
उहाँ आफ्नै कुराकानीको मिठासले कच्छपीलाई लजाउने हुनुहुन्छ, र उहाँकै मन्द हाँसोको प्रभाको पूरमा कामेशको मन डुब्छ।
Where it sits
The line says kacchapī (कच्छपी). It does not say Sarasvatī (सरस्वती). The quotation sat below is the line that joins that vīṇā (वीणा) to her. Another reading of the first name has sallāpa (सल्लाप), conversation, where this text has saṃlāpa (संलाप). The recital keeps saṃlāpa (संलाप).
Split: nijasaṃlāpamādhuryavinirbhartsitakacchapī (निजसंलापमाधुर्यविनिर्भर्त्सितकच्छपी) + mandasmitaprabhāpūramajjatkāmeśamānasā (मन्दस्मितप्रभापूरमज्जत्कामेशमानसा)
Sanskrit, in depth
The words
| Word | Grammar | Sense |
|---|---|---|
| nijasaṃlāpamādhuryavinirbhartsitakacchapī (निजसंलापमाधुर्यविनिर्भर्त्सितकच्छपी) | nominative singular feminine | she by whom Kacchapī (कच्छपी) is put to shame by the sweetness of her own conversation. |
| mandasmitaprabhāpūramajjatkāmeśamānasā (मन्दस्मितप्रभापूरमज्जत्कामेशमानसा) | nominative singular feminine | she in the flood of whose gentle smile's light the mind of Kāmeśa (कामेश) is immersed. |
The phrases
Both words are names in the nominative, standing as epithets. The first name holds kacchapī (कच्छपी) as the thing put to shame. The second name is the other half of the same verse, so it is recited with the first.
Sanskrit in this line
The printed name is one compound. vinirbhartsitā (विनिर्भर्त्सिता) is put to shame. A hyphenated printing of the same name is not the recital. The notes on a vīṇā (वीणा) are the seven notes.
Say it back
What has Lalitā (ललिता)'s speech put to shame?
Śiśupālavadha (शिशुपालवध) 1.10
This sitting is Māgha (माघ), Śiśupālavadha (शिशुपालवध) 1.10.
रणद्भिराघट्टनया नभस्वतः पृथग्विभिन्नश्रुतिमण्डलैः स्वरैः ।
स्फुटीभवद्ग्रामविशेषमूर्च्छनामवेक्षमाणं महतीं मुहुर्मुहुः ॥ raṇadbhirāghaṭṭanayā nabhasvataḥ pṛthagvibhinnaśrutimaṇḍalaiḥ svaraiḥ |
sphuṭībhavadgrāmaviśeṣamūrcchanāmavekṣamāṇaṃ mahatīṃ muhurmuhuḥ ||
The line
He is looking again and again at Mahatī (महती), by notes that sound from the wind's striking, notes with distinct clusters of śruti (श्रुति), the vīṇā (वीणा) on which the mūrcchanāḥ (मूर्च्छनाः) of particular grāma (ग्राम) groups are becoming clear.
नेपालीमा
हावाको आघातबाट बज्ने, छुट्टाछुट्टै श्रुतिको मण्डल भएका स्वरले, खास ग्रामका मूर्च्छना स्पष्ट हुँदै गरेकी महतीलाई उहाँले बारम्बार हेरिरहनुभएको छ।
Where it sits
The verse says mahatīm (महतीम्). Mallinātha (मल्लिनाथ) reads her as Nārada (नारद)'s own vīṇā (वीणा). The next sitting is the line he quotes for the gods' names. The fretted and bowed rooms are the guitar and the sarangi.
Split: raṇadbhiḥ (रणद्भिः) + āghaṭṭanayā (आघट्टनया) + nabhasvataḥ (नभस्वतः) + pṛthak (पृथक्) + vibhinnaśrutimaṇḍalaiḥ (विभिन्नश्रुतिमण्डलैः) + svaraiḥ (स्वरैः) + sphuṭībhavadgrāmaviśeṣamūrcchanām (स्फुटीभवद्ग्रामविशेषमूर्च्छनाम्) + avekṣamāṇam (अवेक्षमाणम्) + mahatīm (महतीम्) + muhurmuhuḥ (मुहुर्मुहुः)
Sanskrit, in depth
The words
| Word | Grammar | Sense |
|---|---|---|
| raṇadbhiḥ (रणद्भिः) | instrumental plural | by sounding ones. Recited raṇadbhir (रणद्भिर्) before a vowel. |
| āghaṭṭanayā (आघट्टनया) | instrumental singular | by the striking. |
| nabhasvataḥ (नभस्वतः) | genitive singular | of the wind. |
| pṛthak (पृथक्) | indeclinable | separately. Recited pṛthag (पृथग्) before v. |
| vibhinnaśrutimaṇḍalaiḥ (विभिन्नश्रुतिमण्डलैः) | instrumental plural | by distinct clusters of śruti (श्रुति). |
| svaraiḥ (स्वरैः) | instrumental plural | by notes. |
| sphuṭībhavadgrāmaviśeṣamūrcchanām (स्फुटीभवद्ग्रामविशेषमूर्च्छनाम्) | accusative singular feminine | her, on whom the mūrcchanāḥ (मूर्च्छनाः) of particular grāma (ग्राम) groups are becoming clear. |
| avekṣamāṇam (अवेक्षमाणम्) | participle accusative masculine | looking at. Agrees with Nārada (नारद), whom the canto has just recognized. |
| mahatīm (महतीम्) | accusative singular feminine | Mahatī (महती). |
| muhurmuhuḥ (मुहुर्मुहुः) | indeclinable | again and again. |
The phrases
avekṣamāṇam (अवेक्षमाणम्) is Nārada (नारद), the one being seen in this canto. mahatīm (महतीम्) is what he looks at. The instrumentals are the notes by which she sounds. muhurmuhuḥ (मुहुर्मुहुः) marks the looking.
Sanskrit in this line
The verse is vaṃśastha (वंशस्थ), twelve syllables to the quarter. The edition joins मूर्च्छनामवेक्षमाणं. Ambuda and the commentated text agree on 1.10. Nārada (नारद) was named in verse 1.3 of the same canto.
Say it back
What is Nārada (नारद) looking at, again and again?
Vaijayantī (वैजयन्ती), quoted
This sitting is Mallinātha (मल्लिनाथ) on Śiśupālavadha (शिशुपालवध) 1.10, quoting a Vaijayantī (वैजयन्ती) line. This book has not opened the Vaijayantī (वैजयन्ती) itself.
विश्वावसोस्तु बृहती तुम्बुरोस्तु कलावती ।
महती नारदस्य स्यात्सरस्वत्यास्तु कच्छपी ॥ viśvāvasostu bṛhatī tumburostu kalāvatī |
mahatī nāradasya syātsarasvatyāstu kacchapī ||
The line
Viśvāvasu (विश्वावसु)'s would be Bṛhatī (बृहती), and Tumburu's Kalāvatī (कलावती). Nārada (नारद)'s would be Mahatī (महती), and Sarasvatī (सरस्वती)'s Kacchapī (कच्छपी).
नेपालीमा
विश्वावसुकी बृहती हुन्छ, तुम्बुरुकी कलावती। नारदकी महती हुन्छ, र सरस्वतीकी कच्छपी।
Where it sits
This is the line that joins the two names to the two gods. It is Mallinātha (मल्लिनाथ)'s quotation, printed in his comment on Māgha (माघ) 1.10, and he calls it the Vaijayantī (वैजयन्ती). The Vaijayantī (वैजयन्ती) book itself has not been opened for this sitting. Tumburu (तुम्बुरु) was the singer of dhaivata (धैवत) and niṣāda (निषाद) in the śikṣā (शिक्षा).
Split: viśvāvasoḥ (विश्वावसोः) + tu (तु) + bṛhatī (बृहती) + tumburoḥ (तुम्बुरोः) + kalāvatī (कलावती) + mahatī (महती) + nāradasya (नारदस्य) + syāt (स्यात्) + sarasvatyāḥ (सरस्वत्याः) + kacchapī (कच्छपी)
Sanskrit, in depth
The words
| Word | Grammar | Sense |
|---|---|---|
| viśvāvasoḥ (विश्वावसोः) | genitive singular | of Viśvāvasu (विश्वावसु). Heard as विश्वावसोस् before t. |
| tu (तु) | indeclinable | and. |
| bṛhatī (बृहती) | nominative singular | Bṛhatī (बृहती). |
| tumburoḥ (तुम्बुरोः) | genitive singular | of Tumburu. Heard as तुम्बुरोस् before t. |
| kalāvatī (कलावती) | nominative singular | Kalāvatī (कलावती). |
| mahatī (महती) | nominative singular | Mahatī (महती). |
| nāradasya (नारदस्य) | genitive singular | of Nārada (नारद). |
| syāt (स्यात्) | optative | would be. Joined to the next word. |
| sarasvatyāḥ (सरस्वत्याः) | genitive singular | of Sarasvatī (सरस्वती). Heard as सरस्वत्यास् before t. |
| kacchapī (कच्छपी) | nominative singular | Kacchapī (कच्छपी). |
The phrases
Each genitive owns one vīṇā (वीणा) name. syāt (स्यात्) is the verb for the second line, and the first line uses the same predication without repeating it.
Sanskrit in this line
The comment prints विश्वावसोस्तु बृहती तुम्बुरोस्तु कलावती । महती नारदस्य स्यात्सरस्वत्यास्तु कच्छपी. The recital follows that joining.
Say it back
Whose vīṇā (वीणा) is Kacchapī (कच्छपी) on this quoted line, and whose is Mahatī (महती)?
Makaranda 1.16
This sitting is Saṅgīta (सङ्गीत) Makaranda, opening chapter, verse 16.
सरस्वत्याश्च वीणायां षड्जादिस्वरसंयुतम् ।
पाठयामास सर्वेषां हृद्यं श्रुतिमनोहरम् ॥ sarasvatyāśca vīṇāyāṃ ṣaḍjādisvarasaṃyutam |
pāṭhayāmāsa sarveṣāṃ hṛdyaṃ śrutimanoharam ||
The line
And on Sarasvatī (सरस्वती)'s vīṇā (वीणा) he taught everyone what is joined with the notes from ṣaḍja (षड्ज) on, pleasing to the heart and delighting the ear.
नेपालीमा
सरस्वतीकी वीणामा षड्जदेखिका स्वरसँग जोडिएको, हृदयलाई मीठो र कानलाई लोभ्याउने कुरा उहाँले सबैलाई पढाउनुभयो।
Where it sits
The line says Sarasvatī (सरस्वती)'s vīṇā (वीणा). It does not use the name kacchapī (कच्छपी). The two sittings above are where that name is joined to her. The seven notes are the śikṣā (शिक्षा) page.
Split: sarasvatyāḥ (सरस्वत्याः) + ca (च) + vīṇāyām (वीणायाम्) + ṣaḍjādisvarasaṃyutam (षड्जादिस्वरसंयुतम्) + pāṭhayāmāsa (पाठयामास) + sarveṣām (सर्वेषाम्) + hṛdyam (हृद्यम्) + śrutimanoharam (श्रुतिमनोहरम्)
Sanskrit, in depth
The words
| Word | Grammar | Sense |
|---|---|---|
| sarasvatyāḥ (सरस्वत्याः) | genitive singular | of Sarasvatī (सरस्वती). Recited sarasvatyāś (सरस्वत्याश्) before c. |
| ca (च) | indeclinable | and. |
| vīṇāyām (वीणायाम्) | locative singular | on the vīṇā (वीणा). |
| ṣaḍjādisvarasaṃyutam (षड्जादिस्वरसंयुतम्) | accusative singular | what is joined with the notes beginning from ṣaḍja (षड्ज). |
| pāṭhayāmāsa (पाठयामास) | periphrastic perfect | he made them recite, he taught. |
| sarveṣām (सर्वेषाम्) | genitive plural | of everyone. |
| hṛdyam (हृद्यम्) | accusative singular | pleasing to the heart. |
| śrutimanoharam (श्रुतिमनोहरम्) | accusative singular | delighting the hearing. |
The phrases
vīṇāyām (वीणायाम्) locates the teaching. pāṭhayāmāsa (पाठयामास) is the verb. The accusatives are what was taught, joined to the notes from ṣaḍja (षड्ज), and pleasing. sarveṣām (सर्वेषाम्) is for whom.
Sanskrit in this line
The subject of pāṭhayāmāsa (पाठयामास) is Brahmā (ब्रह्मा), from the verses just before this one in the Makaranda (मकरन्द). The edition prints सरस्वत्याश्च वीणायाम्.
Say it back
On whose vīṇā (वीणा) are the notes from ṣaḍja (षड्ज) taught?
Makaranda, vīṇā (वीणा) 6
This sitting is Saṅgīta (सङ्गीत) Makaranda, the vīṇā (वीणा) section, verse 6.
कच्छपी कुब्जिका चित्रा वहन्ती परिवादिनी ।
जया घोषावती ज्येष्ठा नकुलीष्टेति कीर्तिता ॥ kacchapī kubjikā citrā vahantī parivādinī |
jayā ghoṣāvatī jyeṣṭhā nakulīṣṭeti kīrtitā ||
The line
Kacchapī (कच्छपी), Kubjikā (कुब्जिका), Citrā (चित्रा), Vahantī (वहन्ती), Parivādinī (परिवादिनी), Jayā (जया), Ghoṣāvatī (घोषावती), and Jyeṣṭhā (ज्येष्ठा) are listed. The word printed after Jyeṣṭhā (ज्येष्ठा) is not clear.
नेपालीमा
कच्छपी, कुब्जिका, चित्रा, वहन्ती, परिवादिनी, जया, घोषावती र ज्येष्ठा गनिएका छन्। ज्येष्ठापछि छापिएको शब्द स्पष्ट छैन।
Where it sits
The preface of this transcription says the author speaks of eighteen kinds and then gives nineteen names, and that parivādinī (परिवादिनी) may be a common word rather than one kind. The verse itself is a list. The count is settled in the next verse, which says ten, while the names run on.
Split: kacchapī (कच्छपी) + kubjikā (कुब्जिका) + citrā (चित्रा) + vahantī (वहन्ती) + parivādinī (परिवादिनी) + jayā (जया) + ghoṣāvatī (घोषावती) + jyeṣṭhā (ज्येष्ठा) + nakulīṣṭeti (नकुलीष्टेति) + kīrtitā (कीर्तिता)
Sanskrit, in depth
The words
| Word | Grammar | Sense |
|---|---|---|
| kacchapī (कच्छपी) | nominative singular | Kacchapī (कच्छपी). |
| kubjikā (कुब्जिका) | nominative singular | Kubjikā (कुब्जिका). |
| citrā (चित्रा) | nominative singular | Citrā (चित्रा). |
| vahantī (वहन्ती) | nominative singular | Vahantī (वहन्ती). |
| parivādinī (परिवादिनी) | nominative singular | Parivādinī (परिवादिनी). |
| jayā (जया) | nominative singular | Jayā (जया). |
| ghoṣāvatī (घोषावती) | nominative singular | Ghoṣāvatī (घोषावती). |
| jyeṣṭhā (ज्येष्ठा) | nominative singular | Jyeṣṭhā (ज्येष्ठा). |
| nakulīṣṭeti (नकुलीष्टेति) | as printed | not a clear name. The edition marks the line with a question. |
| kīrtitā (कीर्तिता) | nominative singular feminine | is praised, is listed. |
The phrases
The clear names are a list of vīṇā (वीणा) kinds. kīrtitā (कीर्तिता) is the verb. nakulīṣṭeti (नकुलीष्टेति) is left as the edition prints it, and it is not given a translation.
Sanskrit in this line
The edition prints नकुलीष्टेति कीर्तिता with an editorial question mark. The recital keeps those letters and does not restore nakulī (नकुली) iti.
Say it back
Which of these names is the one Lalitā (ललिता)'s speech puts to shame?
Makaranda, vīṇā (वीणा) 7
This sitting is Saṅgīta (सङ्गीत) Makaranda, the vīṇā (वीणा) section, verse 7.
महती वैष्णवी ब्राह्मी रौद्री कूर्मी च रावणी ।
सारखती किन्नरी च सैरन्ध्री घोषका तथा ॥ mahatī vaiṣṇavī brāhmī raudrī kūrmī ca rāvaṇī |
sārakhatī kinnarī ca sairandhrī ghoṣakā tathā ||
The line
Mahatī (महती), Vaiṣṇavī (वैष्णवी), Brāhmī (ब्राह्मी), Raudrī (रौद्री), Kūrmī (कूर्मी), and Rāvaṇī (रावणी), and the printed sārakhatī (सारखती), Kinnarī (किन्नरी), Sairandhrī (सैरन्ध्री), and Ghoṣakā (घोषका) likewise.
नेपालीमा
महती, वैष्णवी, ब्राह्मी, रौद्री, कूर्मी र रावणी, अनि छापिएको सारखती, किन्नरी, सैरन्ध्री र घोषका त्यस्तै।
Where it sits
Mahatī (महती) is in the list as a kind of vīṇā (वीणा), which is what Māgha (माघ) has Nārada (नारद) look at. The string room is the tuning page.
Split: mahatī (महती) + vaiṣṇavī (वैष्णवी) + brāhmī (ब्राह्मी) + raudrī (रौद्री) + kūrmī (कूर्मी) + ca (च) + rāvaṇī (रावणी) + sārakhatī (सारखती) + kinnarī (किन्नरी) + sairandhrī (सैरन्ध्री) + ghoṣakā (घोषका) + tathā (तथा)
Sanskrit, in depth
The words
| Word | Grammar | Sense |
|---|---|---|
| mahatī (महती) | nominative singular | Mahatī (महती). |
| vaiṣṇavī (वैष्णवी) | nominative singular | Vaiṣṇavī (वैष्णवी). |
| brāhmī (ब्राह्मी) | nominative singular | Brāhmī (ब्राह्मी). |
| raudrī (रौद्री) | nominative singular | Raudrī (रौद्री). |
| kūrmī (कूर्मी) | nominative singular | Kūrmī (कूर्मी). |
| ca (च) | indeclinable | and. |
| rāvaṇī (रावणी) | nominative singular | Rāvaṇī (रावणी). |
| sārakhatī (सारखती) | nominative singular | as printed. The preface list writes सारस्वती in this place. |
| kinnarī (किन्नरी) | nominative singular | Kinnarī (किन्नरी). |
| sairandhrī (सैरन्ध्री) | nominative singular | Sairandhrī (सैरन्ध्री). |
| ghoṣakā (घोषका) | nominative singular | Ghoṣakā (घोषका). |
| tathā (तथा) | indeclinable | likewise. |
The phrases
Another list of names, with no verb of its own. The next verse, not fully sat, says ten vīṇā (वीणा) kinds are listed by a difference in how the strings are set. The names in verses 6 and 7 run past ten.
Sanskrit in this line
The edition prints सारखती, with ख where सारस्वती would have स्व. The recital keeps सारखती. The preface of the same transcription writes सारस्वती in its prose list of these names. Verse 8 says दशवीणाः, ten vīṇā (वीणा) kinds, while the names of verses 6 and 7 are more than ten. The edition's own preface notices the mismatch.
Say it back
Which name in this list is the vīṇā (वीणा) Nārada (नारद) looks at in Māgha (माघ)?