Vayu Purana — Uttarardha — Chapter 25
VaP 2 25.1
पूर्व्वाचार्य्यमतं बुद्ध्वा प्रवक्ष्याम्यनुपूर्व्वशः। त्रिंशतं वै अलङ्कारांस्तान् मे निगदतः श्रृणु
pūrvvācāryyamataṃ buddhvā pravakṣyāmyanupūrvvaśaḥ| triṃśataṃ vai alaṅkārāṃstān me nigadataḥ śrṛṇu
Having learned the view of the earlier teachers, I shall declare (them) in order; hear from me, as I recite them, the thirty ornaments (alaṅkāras).
AI translation rendered from the Sanskrit, not a published edition
VaP 2 25.2
अलङ्कारास्तु वक्तव्याः स्वैःस्वैर्वर्णैः प्रहेतवः। संस्थानयोगैश्च तथा पादानां चान्ववेक्षया
alaṅkārāstu vaktavyāḥ svaiḥsvairvarṇaiḥ prahetavaḥ| saṃsthānayogaiśca tathā pādānāṃ cānvavekṣayā
The ornaments are to be uttered with their own respective syllables, as prompted, and by combinations of arrangement, and with regard to the (metrical) feet.
AI translation rendered from the Sanskrit, not a published edition — the model flagged this verse as uncertain
VaP 2 25.3
वाक्यार्थपदयोगार्थैरलङ्कारस्य पूरणम्। पदानि गीतकस्याहुः पुरस्तात् पृष्ठतोऽथवा
vākyārthapadayogārthairalaṅkārasya pūraṇam| padāni gītakasyāhuḥ purastāt pṛṣṭhato'thavā
The filling out of the ornament (is done) by the purposes of sentence-sense and word-connection; they call these the words (padas) of a song, (placed) either before or after.
AI translation rendered from the Sanskrit, not a published edition — the model flagged this verse as uncertain
VaP 2 25.4
स्थानानि त्रीणि जानीयादुरःकण्ठशिरस्तथा। एतेषु त्रिषु स्थानेषु प्रवृत्तो विधिरुत्तमः
sthānāni trīṇi jānīyāduraḥkaṇṭhaśirastathā| eteṣu triṣu sthāneṣu pravṛtto vidhiruttamaḥ
One should know the three registers: the chest, the throat, and the head; the rule that operates in these three registers is the best.
AI translation rendered from the Sanskrit, not a published edition
VaP 2 25.5
चत्वारः प्रकृतौ वर्णाः प्रविचारश्चतुर्विधः। विकल्पमष्टधा चैव देवाः षोडशधा विदुः
catvāraḥ prakṛtau varṇāḥ pravicāraścaturvidhaḥ| vikalpamaṣṭadhā caiva devāḥ ṣoḍaśadhā viduḥ
In their basic form the varṇas are four, and the modulation (pravicāra) is of four kinds; and (they know) the variation to be eightfold, while the gods know it to be sixteenfold.
AI translation rendered from the Sanskrit, not a published edition — the model flagged this verse as uncertain
VaP 2 25.6
स्थायी वर्णः प्रसंचारी तृतीयमवरोहणम्। आरोहणं चतुर्थन्तु वर्णं वर्णविदो विदुः
sthāyī varṇaḥ prasaṃcārī tṛtīyamavarohaṇam| ārohaṇaṃ caturthantu varṇaṃ varṇavido viduḥ
The stationary varṇa, the moving one, third the descending, and fourth the ascending — thus those who know the varṇas know the varṇa.
AI translation rendered from the Sanskrit, not a published edition
VaP 2 25.7
तत्रैकः संचरस्थायी सचरास्तचरीभवन्। अथ रोहणवर्णानामवरोहं विनिर्दिशेत्
tatraikaḥ saṃcarasthāyī sacarāstacarībhavan| atha rohaṇavarṇānāmavarohaṃ vinirdiśet
Among them one is the stationary-in-movement, being moving and moving thereby; then one should designate the descent of the ascending varṇas.
AI translation rendered from the Sanskrit, not a published edition — the model flagged this verse as uncertain
VaP 2 25.8
आरोहणेन चारोहवर्णं वर्णविदो विदुः। एतेषामेव वर्णानामलङ्कारान्निबोधत
ārohaṇena cārohavarṇaṃ varṇavido viduḥ| eteṣāmeva varṇānāmalaṅkārānnibodhata
And by ascending, those who know the varṇas know the ascending varṇa. Now learn the ornaments of these very varṇas.
AI translation rendered from the Sanskrit, not a published edition
VaP 2 25.9
अलङ्कारास्तु चत्वारः स्थापनी क्रमरेजिनः। प्रमादश्चाप्रमादश्च तेषां वक्ष्यामि लक्षणम्
alaṅkārāstu catvāraḥ sthāpanī kramarejinaḥ| pramādaścāpramādaśca teṣāṃ vakṣyāmi lakṣaṇam
The ornaments are four: sthāpanī, krama, rejin (?), pramāda and apramāda — I shall state their definition.
AI translation rendered from the Sanskrit, not a published edition — the model flagged this verse as uncertain
VaP 2 25.10
विस्वरोष्ट्रकलाश्चैव स्थानादेकान्तरं गताः। आवर्त्तस्याक्रमोत्पत्ती द्वे कार्य्ये परिमाणतः
visvaroṣṭrakalāścaiva sthānādekāntaraṃ gatāḥ| āvarttasyākramotpattī dve kāryye parimāṇataḥ
And the visva, oṣṭra and kalā, which have moved one interval from their place; the two effects of the āvarta, non-sequential arising, (are to be determined) by measure.
AI translation rendered from the Sanskrit, not a published edition — the model flagged this verse as uncertain
VaP 2 25.11
कुमारमपरं विद्याद्विस्तरं वमनं गतम्। एष वै चाप्यपाङ्गस्तु कुतारेकः कलाधिकः
kumāramaparaṃ vidyādvistaraṃ vamanaṃ gatam| eṣa vai cāpyapāṅgastu kutārekaḥ kalādhikaḥ
One should know the other as kumāra, extended and gone to emission; this indeed is the apāṅga, and the kutāreka exceeds by a kalā.
AI translation rendered from the Sanskrit, not a published edition — the model flagged this verse as uncertain
VaP 2 25.12
श्येनस्त्वेकान्तरे जातः कलामात्रान्तरे स्थितः। तस्मिंश्चैव स्वरे वृद्धिस्तिष्ठते तद्विलक्षणा
śyenastvekāntare jātaḥ kalāmātrāntare sthitaḥ| tasmiṃścaiva svare vṛddhistiṣṭhate tadvilakṣaṇā
The śyena (hawk) arises at the interval of one (degree) and stands at the interval of a mere kalā; and in that very note a rise occurs, distinguished from it.
AI translation rendered from the Sanskrit, not a published edition — the model flagged this verse as uncertain
VaP 2 25.13
श्येनस्तु अपरोहस्तु उत्तरः परिकीर्त्तितः। कलाकलप्रमाणाच्च स बिन्दुर्नाम चायते
śyenastu aparohastu uttaraḥ parikīrttitaḥ| kalākalapramāṇācca sa bindurnāma cāyate
The śyena, however, when descending, is declared to be 'uttara' (the higher one); and by the measure of a kalā and a kalā it comes to be called 'bindu' (point).
AI translation rendered from the Sanskrit, not a published edition — the model flagged this verse as uncertain
VaP 2 25.14
बिन्दुरेककला कार्या वर्णान्तस्थायिनी भवेत्। विपर्ययस्वरोऽपि स्याद्यस्य दुर्घटितोऽपि न
bindurekakalā kāryā varṇāntasthāyinī bhavet| viparyayasvaro'pi syādyasya durghaṭito'pi na
The bindu is to be made of a single kalā, and it should stand at the end of the varṇa (tone-figure); and there may be an inverted note (viparyaya-svara) for one for whom it is not badly formed.
AI translation rendered from the Sanskrit, not a published edition — the model flagged this verse as uncertain
VaP 2 25.15
एकान्तरा तु वाद्यन्तु षड्जतः परमः स्वरः। आक्षेपास्कन्दनं कार्य्यं काकस्येवोच्चपुष्कलम्
ekāntarā tu vādyantu ṣaḍjataḥ paramaḥ svaraḥ| ākṣepāskandanaṃ kāryyaṃ kākasyevoccapuṣkalam
But it is to be sounded at the interval of one; from the ṣaḍja the note is the highest. The 'throwing-up-and-leaping' (ākṣepa-āskandana) is to be performed, high and full like a crow's (cry).
AI translation rendered from the Sanskrit, not a published edition — the model flagged this verse as uncertain
VaP 2 25.16
सन्तारौ तौ तु सञ्चार्यौ कार्यं वा कारणं तथा। आक्षिप्तमवरोह्यापि प्रोक्षमद्यन्तथैव च
santārau tau tu sañcāryau kāryaṃ vā kāraṇaṃ tathā| ākṣiptamavarohyāpi prokṣamadyantathaiva ca
Those two are to be moved in the high register, and likewise the effect or the cause; also the 'thrown-up' descended, and the 'sprinkled' and the 'middle', just so.
AI translation rendered from the Sanskrit, not a published edition — the model flagged this verse as uncertain
VaP 2 25.17
द्वादशञ्च कलास्थानमेकान्तरगतन्ततः। प्रेङ्खोलितमलङ्कारमेवं स्वरसमन्वितम्
dvādaśañca kalāsthānamekāntaragatantataḥ| preṅkholitamalaṅkāramevaṃ svarasamanvitam
And the position of twelve kalās, proceeding at the interval of one—thus the ornament called preṅkholita ('swung'), joined with the note.
AI translation rendered from the Sanskrit, not a published edition — the model flagged this verse as uncertain
VaP 2 25.18
स्वरसंक्रामकाच्चैव ततः प्रोक्तन्तु पुष्कलम्। प्रक्षिप्तमेव कलया पादानीतरयोर्भवेत्
svarasaṃkrāmakāccaiva tataḥ proktantu puṣkalam| prakṣiptameva kalayā pādānītarayorbhavet
And from the transition of notes (svara-saṃkrāmaka) the 'full' (puṣkala) is then declared; the 'inserted' (prakṣipta) comes about by a kalā in the case of the pādas of the other two.
AI translation rendered from the Sanskrit, not a published edition — the model flagged this verse as uncertain
VaP 2 25.19
द्विकलं वा यथा भूतं यत्तद् ह्रासितमुच्यते। उच्चाराद्विस्वरारूढा तथा चाष्टस्वरान्तरम्
dvikalaṃ vā yathā bhūtaṃ yattad hrāsitamucyate| uccārādvisvarārūḍhā tathā cāṣṭasvarāntaram
Or that which is of two kalās, being as it is, is called 'shortened' (hrāsita); from the raised utterance mounted on two notes, likewise the interval of eight notes.
AI translation rendered from the Sanskrit, not a published edition — the model flagged this verse as uncertain
VaP 2 25.20
यस्तु स्यादवरोहो वा तारतो मन्द्रतोऽपि वा। एकान्तरहिता ह्येते तमेव स्वरमन्ततः
yastu syādavaroho vā tārato mandrato'pi vā| ekāntarahitā hyete tameva svaramantataḥ
And whatever descent there may be, whether from the high or from the low register—these are (to be) without a single interval, (leading) to that same note in the end.
AI translation rendered from the Sanskrit, not a published edition — the model flagged this verse as uncertain
VaP 2 25.21
मक्षिप्रच्छेदनो नाम चतुष्कलगणः स्मृतः। अलङ्कारा भवन्त्येते त्रिंशद्ये वै प्रकीर्त्तिताः। वर्णस्थानप्रयोगेण कलामात्रा प्रमाणतः
makṣipracchedano nāma catuṣkalagaṇaḥ smṛtaḥ| alaṅkārā bhavantyete triṃśadye vai prakīrttitāḥ| varṇasthānaprayogeṇa kalāmātrā pramāṇataḥ
The group of four kalās is known by the name makṣipracchedana. These are the ornaments, which are proclaimed to be thirty, (defined) by the application of the tone-position and by measure in terms of the kalā-unit.
AI translation rendered from the Sanskrit, not a published edition — the model flagged this verse as uncertain
VaP 2 25.22
संस्थानञ्च प्रमाणं च विकारो लक्षणन्तथा। चतुर्विधमिदं ज्ञेयमलङ्कारप्रयोजनम्
saṃsthānañca pramāṇaṃ ca vikāro lakṣaṇantathā| caturvidhamidaṃ jñeyamalaṅkāraprayojanam
Configuration, measure, modification, and likewise the defining mark: this fourfold matter is to be known as the employment of ornament.
AI translation rendered from the Sanskrit, not a published edition
VaP 2 25.23
यथात्मनो ह्यलङ्कारो विपर्यस्तोऽतिगर्हितः। वर्णमेवाप्यलंकर्त्तुं विषमं ह्यात्मसम्भवात्
yathātmano hyalaṅkāro viparyasto'tigarhitaḥ| varṇamevāpyalaṃkarttuṃ viṣamaṃ hyātmasambhavāt
For just as one's own adornment, when reversed, is much censured, so too it is difficult even to adorn a tone-figure, since it arises from oneself.
AI translation rendered from the Sanskrit, not a published edition — the model flagged this verse as uncertain
VaP 2 25.24
नानाभरणसंयोगाद्यथा नार्या विभूषणम्। वर्णस्य चैवालङ्कारो विपर्यस्तोऽतिगर्हितः
nānābharaṇasaṃyogādyathā nāryā vibhūṣaṇam| varṇasya caivālaṅkāro viparyasto'tigarhitaḥ
Just as a woman's ornamentation (comes) from the fitting together of various pieces of jewellery, so also the ornament of a tone-figure, when reversed, is much censured.
AI translation rendered from the Sanskrit, not a published edition — the model flagged this verse as uncertain
VaP 2 25.25
न पादे कुण्डले दृष्टे न कण्ठे रसना यथा। एवमेव ह्यलङ्कारो विपर्यस्तो विगर्हितः
na pāde kuṇḍale dṛṣṭe na kaṇṭhe rasanā yathā| evameva hyalaṅkāro viparyasto vigarhitaḥ
As earrings are not seen on the foot, nor a girdle on the neck, just so an ornament, when reversed, is censured.
AI translation rendered from the Sanskrit, not a published edition
VaP 2 25.26
क्रियमाणोऽप्यलङ्कारो रागं यश्चैव दर्शयेत्। यथोद्दिष्टस्य मार्गस्य कर्त्तव्यस्य विधीयते
kriyamāṇo'pyalaṅkāro rāgaṃ yaścaiva darśayet| yathoddiṣṭasya mārgasya karttavyasya vidhīyate
An ornament, even while being performed, is one that displays the colouring (rāga); it is prescribed in accordance with the path indicated, as it is to be done.
AI translation rendered from the Sanskrit, not a published edition — the model flagged this verse as uncertain
VaP 2 25.27
लक्षणं पर्य्यवस्थापि वर्णिकाभिः प्रवर्त्तनम्। याथातथ्येन वक्ष्यामि मासेद्भवमुखोद्भवे
lakṣaṇaṃ paryyavasthāpi varṇikābhiḥ pravarttanam| yāthātathyena vakṣyāmi māsedbhavamukhodbhave
The defining mark, and also the settled arrangement, (and) the proceeding by means of the varṇikās—I shall declare exactly as it is, in (the matter of) what arises from the mouth of...
AI translation rendered from the Sanskrit, not a published edition — the model flagged this verse as uncertain
VaP 2 25.28
त्रयोविंशत्यशीतिस्तु तेषामेतद्विपर्ययः। षड्जपक्षोऽपि तत्त्वादौ मध्यो हीनस्वरो भवेत्
trayoviṃśatyaśītistu teṣāmetadviparyayaḥ| ṣaḍjapakṣo'pi tattvādau madhyo hīnasvaro bhavet
Twenty-three and eighty—this is the reverse of them; even the ṣaḍja class, at the beginning of the principle, the middle would become a lowered note.
AI translation rendered from the Sanskrit, not a published edition — the model flagged this verse as uncertain
VaP 2 25.29
षड्जमध्यमयोश्चैव ग्रामयोः पर्य्यपस्तथा। मानोयोत्तरमन्द्रस्य षडेवात्राविकस्य च
ṣaḍjamadhyamayoścaiva grāmayoḥ paryyapastathā| mānoyottaramandrasya ṣaḍevātrāvikasya ca
And of the two scales, the ṣaḍja and the madhyama, there is likewise a sequence; ... of the high and low, and just six here, and of the 'āvika'.
AI translation rendered from the Sanskrit, not a published edition — the model flagged this verse as uncertain
VaP 2 25.30
स्वरालंप्रत्ययश्चैव सर्व्वेषां प्रत्ययः स्मृतः। अनुगम्य बहिर्गीतं विज्ञातं पञ्चदैवतम्
svarālaṃpratyayaścaiva sarvveṣāṃ pratyayaḥ smṛtaḥ| anugamya bahirgītaṃ vijñātaṃ pañcadaivatam
And the ascertainment of notes is held to be the ascertainment of all; having followed along, the outer song is known as having five deities.
AI translation rendered from the Sanskrit, not a published edition — the model flagged this verse as uncertain
VaP 2 25.31
गोरूपाणां पुरस्तात्तु मध्यमांशस्तु पर्य्ययः। तयोर्विभागो गीतानां लावण्यमार्गसंस्थितः
gorūpāṇāṃ purastāttu madhyamāṃśastu paryyayaḥ| tayorvibhāgo gītānāṃ lāvaṇyamārgasaṃsthitaḥ
But in front of the cow-forms, the madhyama-portion is the sequence; the division of the two of them belongs to songs, established on the path of loveliness.
AI translation rendered from the Sanskrit, not a published edition — the model flagged this verse as uncertain
VaP 2 25.32
अनुषङ्गं मयोद्दिष्टं स्वसारञ्च स्वरान्तरम्। पर्य्ययः संप्रवर्त्तेत सप्तस्वरपदक्रमम्
anuṣaṅgaṃ mayoddiṣṭaṃ svasārañca svarāntaram| paryyayaḥ saṃpravartteta saptasvarapadakramam
The sequel (anuṣaṅga) has been set forth by me, and the related note, and the interval between notes; the (paryaya) alternation should proceed as the sequence of the steps of the seven notes.
AI translation rendered from the Sanskrit, not a published edition — the model flagged this verse as uncertain
VaP 2 25.33
गान्धारांशेन गीयन्ते चत्वारि मन्द्रकाणि च। पञ्चमो मध्यमश्चैव धैवते तु निषादजैः। षड्जर्षभैश्च जानीमो मन्द्रकेष्वेव नान्तरे
gāndhārāṃśena gīyante catvāri mandrakāṇi ca| pañcamo madhyamaścaiva dhaivate tu niṣādajaiḥ| ṣaḍjarṣabhaiśca jānīmo mandrakeṣveva nāntare
With the gāndhāra as the tonic four mandraka (songs) are sung, and the fifth and the middle (note) as well; but in the dhaivata (they are sung) by those born of niṣāda, and by ṣaḍja and ṛṣabha — thus we know (them) in the mandrakas alone, not in the interval.
AI translation rendered from the Sanskrit, not a published edition — the model flagged this verse as uncertain
VaP 2 25.34
द्वे चापरान्तिके विद्याद्धयशुल्लाष्टकस्य तु। प्राकृते वैणवैश्चैव गान्धारांशे प्रयुज्यते
dve cāparāntike vidyāddhayaśullāṣṭakasya tu| prākṛte vaiṇavaiścaiva gāndhārāṃśe prayujyate
And one should know two (songs) in the aparāntika (mode), and (two) of the hayaśulla group of eight; in the Prākṛta (type) and with the flute-players (or: vaiṇava songs) it is employed when gāndhāra is the tonic.
AI translation rendered from the Sanskrit, not a published edition — the model flagged this verse as uncertain
VaP 2 25.35
पदस्य तु त्रयं रूपं सप्तरूपन्तु कौशिकम्। गान्धारांशेन कार्त्स्न्येन पर्ययस्य विधिः स्मृतः । एवञ्चैव क्रमोद्दिष्टो मध्यमांशस्य मध्यमः
padasya tu trayaṃ rūpaṃ saptarūpantu kauśikam| gāndhārāṃśena kārtsnyena paryayasya vidhiḥ smṛtaḥ | evañcaiva kramoddiṣṭo madhyamāṃśasya madhyamaḥ
The form of the pada is threefold, but the kauśika is of seven forms; the rule of the paryaya, in its entirety, is taught with gāndhāra as the tonic; and just so the middle (form) of the madhyama-tonic (songs) has been set out in order.
AI translation rendered from the Sanskrit, not a published edition — the model flagged this verse as uncertain
VaP 2 25.36
यानि गीतानि प्रोक्तानि रूपेण तु विशेषतः। तत्तु सप्तस्वरं कार्य्यं सप्तरूपञ्च कौशिकम्
yāni gītāni proktāni rūpeṇa tu viśeṣataḥ| tattu saptasvaraṃ kāryyaṃ saptarūpañca kauśikam
Those songs which have been declared specifically according to (their) form — that is to be made with seven notes, and the kauśika with seven forms.
AI translation rendered from the Sanskrit, not a published edition — the model flagged this verse as uncertain
VaP 2 25.37
अङ्गदर्शनमित्याहुर्माने द्वे समके तथा। द्वितीयभावाचरणा मात्रा नाभिप्रतिष्ठिता
aṅgadarśanamityāhurmāne dve samake tathā| dvitīyabhāvācaraṇā mātrā nābhipratiṣṭhitā
They call it 'the showing of the limb' when in the measure there are two equal (parts); the mātrā (metrical unit), being the movement of the second state, is not fixed upon.
AI translation rendered from the Sanskrit, not a published edition — the model flagged this verse as uncertain
VaP 2 25.38
उत्तरे च प्रकृत्येवं मात्रा तल्लीयते तथा । हन्तारः पिण्डको यत्र मात्रायां नातिवर्त्तते
uttare ca prakṛtyevaṃ mātrā tallīyate tathā | hantāraḥ piṇḍako yatra mātrāyāṃ nātivarttate
And in the later (portion), by its very nature, the mātrā thus dissolves therein; where the hantāras and the piṇḍaka do not exceed the mātrā.
AI translation rendered from the Sanskrit, not a published edition — the model flagged this verse as uncertain
VaP 2 25.39
पादेनैकेन मात्रायां पादोनामति वीरणा। संख्यायाश्चोपहननं तत्र यानमिति स्मृतम्
pādenaikena mātrāyāṃ pādonāmati vīraṇā| saṃkhyāyāścopahananaṃ tatra yānamiti smṛtam
When by one quarter in the mātrā the vīraṇā goes short by a quarter, and there is a striking down of the count, that is called 'yāna' there.
AI translation rendered from the Sanskrit, not a published edition — the model flagged this verse as uncertain
VaP 2 25.40
द्वितीयं पादभङ्गञ्च ग्रहेणाभिप्रतिष्ठितम्। पूर्व्वमष्टतृतीये तु द्वितीयं चापरीतके
dvitīyaṃ pādabhaṅgañca graheṇābhipratiṣṭhitam| pūrvvamaṣṭatṛtīye tu dvitīyaṃ cāparītake
And the second is the breaking of the quarter, established by the graha (initial beat); the earlier one in the third of the eight, and the second in the aparītaka.
AI translation rendered from the Sanskrit, not a published edition — the model flagged this verse as uncertain
VaP 2 25.41
अर्द्धेन पादसाम्यस्य पादभागाच्च पञ्चके। पादभागं सपादं तु प्रकृत्यामपि संस्थितम्
arddhena pādasāmyasya pādabhāgācca pañcake| pādabhāgaṃ sapādaṃ tu prakṛtyāmapi saṃsthitam
By a half of the equality of the quarter, and from the quarter-part, in the fivefold (measure); the quarter-part with a quarter added is fixed in the prakṛti too.
AI translation rendered from the Sanskrit, not a published edition — the model flagged this verse as uncertain
VaP 2 25.42
चतुर्थमुत्तरे चैव मद्रवत्यां च मद्रके। मद्रके दक्षिणस्यापि यथोक्ता वर्त्तते कला
caturthamuttare caiva madravatyāṃ ca madrake| madrake dakṣiṇasyāpi yathoktā varttate kalā
The fourth (occurs) in the uttara, and in the madravatī and in the madraka; in the madraka of the southern (style) too the kalā proceeds as stated.
AI translation rendered from the Sanskrit, not a published edition — the model flagged this verse as uncertain
VaP 2 25.43
पूर्व्वमेवानुयोगन्तु द्वितीया बुद्धिरिष्यते। पादौ चाहरणं चास्मत् पारं नात्र विधीयते
pūrvvamevānuyogantu dvitīyā buddhiriṣyate| pādau cāharaṇaṃ cāsmat pāraṃ nātra vidhīyate
The connection (with what precedes) comes first; the second is held to be the (mental) apprehension. As for the two quarters and the carrying-over — the limit of that is not laid down here by us.
AI translation rendered from the Sanskrit, not a published edition — the model flagged this verse as uncertain
VaP 2 25.44
एकत्वमुपयोगस्य द्वयोर्यद्धि द्विजोत्तम। अनेकसमवायस्तु पताकाहरिणं स्मृतम्
ekatvamupayogasya dvayoryaddhi dvijottama| anekasamavāyastu patākāhariṇaṃ smṛtam
O best of the twice-born, the oneness of the application of two (things) — but the combination of many is called the 'banner-carrying' (patākāharaṇa).
AI translation rendered from the Sanskrit, not a published edition — the model flagged this verse as uncertain
VaP 2 25.45
तिसॄणां चैव वृत्तीनां वृत्तौ वृत्ता च दक्षिणा। अष्टौ तु समवायास्ते सौवीरा मूर्च्छना तथा। कुशत्यनुत्तरः सत्यं सप्त सत्त्वस्वरं तु यः
tisṝṇāṃ caiva vṛttīnāṃ vṛttau vṛttā ca dakṣiṇā| aṣṭau tu samavāyāste sauvīrā mūrcchanā tathā| kuśatyanuttaraḥ satyaṃ sapta sattvasvaraṃ tu yaḥ
And of the three modes of procedure (vṛtti), the dakṣiṇā turns in the (proper) turning; those combinations are eight, and likewise the sauvīrā mūrchanā; ... the unsurpassed truth, and that which has the sevenfold sattva-note.
AI translation rendered from the Sanskrit, not a published edition — the model flagged this verse as uncertain