[Anu. 169]
It means -
the rāga called śuddhakaiśika is related to madhyamagrāma on
account of being born of kaišikī and kārmāravī jātis7. Tāra (high) şadja is its
graha and amśa,
pańcama is the nyāsa11,
nisāda is kākalī here8 and this (rāga) is
with complete svaras. Its application is prescribed in the
nirvahana
(conclusion) of citra (
pūrvaranga?) 42 comprised of eighteen angas
(components).43
Rasas like vīra and raudra are there.15 The mūrchanā
beginning with sadja obtains12.
Arohin (ascending) is the varṇa13.
Prasannādi is
the
alankāra. The kalā (time-unit) is formed in the
dakṣiṇa (mārga), the kalā
obtains in the
vṛtti (mārga), the kalā prevails in the
citra (mārga). A tāla like
caccatputa obtains in the songs composed of svara and pada.
[The assignment of grāmas to śuddha rāgas]
[Anu. 170]
(Contention) These (rāgas) are related to particular grāmas. From where
is this particularity obtained? It is being answered - this particularity is
obtained from the statement of
Bharata himself. Thus has said
Bharata
Muni-
"
On account of grāma-rāgas being born of jātis4"; "
whatever is sung in the
world, all of that is contained in the jātis5"44 on account of this statement.
And it has also been said by
Kasyapa -
"
Şādava, pañcama and kaiśika obtain in madhyamagrāma.9 Sādhārita and
kaišikamadhyama, similarly, obtain in sadja (grāma)."
[The application of suddha ragas]
[Anu. 171]
(Contention) From where are these specific applications obtained? They
are obtained from the statement of the Muni. And thus has said
Bharata -
"
Madhyamagrāma (rāga) should be in the mukha (sandhi)6, şadja (grāma)
rāgain the
pratimukha (sandhi), and
sādhārita alone in the garbha (sandhi)2,
pañcama in the avamarśa (sandhi)3. In samhāra (conclusion), kaiśika has been