अध्याय ८६
श्लोक 1
॥ इति श्रीस्कान्दे महापुराण एकाशीतिसाहस्र्यां संहितायां पञ्चम आवन्त्यखण्डे रेवाखण्डे सोमनाथतीर्थमाहात्म्यवर्णनं नाम पञ्चाशीतितमो ऽध्यायः ॥ र्क्व् अध्याय ८६ श्रीमार्कण्डेय उवाच: ततो गच्छेन्महाराज पिङ्गलावर्तम् उत्तमम् ।सङ्गमस्य समीपस्थं रेवाया उत्तरे तटे ।हव्यवाहेन राजेन्द्र स्थापितः पिङ्गलेश्वरः
|| iti śrīskānde mahāpurāṇa ekāśītisāhasryāṃ saṃhitāyāṃ pañcama āvantyakhaṇḍe revākhaṇḍe somanāthatīrthamāhātmyavarṇanaṃ nāma pañcāśītitamo 'dhyāyaḥ || rkv adhyāya 86 śrīmārkaṇḍeya uvāca: tato gacchenmahārāja piṅgalāvartam uttamam / saṅgamasya samīpasthaṃ revāyā uttare taṭe / havyavāhena rājendra sthāpitaḥ piṅgaleśvaraḥ
हिन्दी अर्थ
४७६ -वायुपुराणभ्
English
After knowing the views of earlier teachers, I shall explain in due order, the thirty embellishments of music. Listen to them while I am expounding. The Alankaras (embellishments of music) are to be explained along with their Varnas (movements of notes such as 'steady', 'ascending' and others) as their specific basis and also along with their associated configuration ( Samsthana ), always in regard to dramatic performance 2 etc. The SSdharana Svaras are: Vide Bharata's NafyaSastra Volume. IV, p -92 (Baroda Edition) The fulfilment of embellishment is achieved by the implications of sentences and connotations of the word-com- binations. One should understand that there are three place of utterance. They are the chest, the throat and the head. The best procedure (of production of notes) begins in these three places. In the original stage (Prakftau), there are four varnas (tone-patterns) with fourfold movement. The alternative movement is eightfold; 1 and gods know it as sixteenfold. [ The designations of Varnas: ] There is one (Varna viz. Sthayin) which has steady employment. Sancara is a mixed movement. One should indicate the descent of Varnas (i.e. Svaras) as Avarohana. There are four embellishments, viz. Sthapani, These are mentioned in the Puranas, only later writers do not refer to them. The exigencies of the metre have led to the change in the order of Vardas. The order should have been: Although I have referred to the section on Alankdras in Sangita Ratnakara (I.VI) only a few Alankaras like Sycna ( of S. R.) shed some light. Though S.R. is much later than Va.P or Bd.P., I consulted it m S.R. preserved some of the PurAuic traditions. (Names of Alankaras still continue as follows:) Visoara, Asfakala 2 3 which has an interval of one place (from its original place?). Avarta and Kramolpalti —these two should be effected according to their proportion.