Boṭṭarāgashould be known to be born of ṣaḍjamadhyamājāti and pancamī2,
has pañcama as its amsa and madhyama as the concluding note7.
(324)
[Anu. 196]
This means-bottarāga is related to
ṣaḍjagrāma on account of being born of
şadjamadhyamā and pancamī jātis.
Although it is born of two jātis arising out
of the two grāmas, yet it is related to sadjagrāma because of pañcama being
comprised of four śrutis5.
Pañcama is the graha and aniśa,
madhyama the nyāsa.
There is sparseness of niṣāda and
gāndhāra.
Niṣāda is kākalī here11 and this
(rāga) is complete in svaras.
Its application is prescribed in festivities8.
Śānta
69 and the like is the rasa.
The mūrchanā beginning with paūcama
obtains9. Ārohin is the varņa.
Prasannānta is the
alankāra. The kalā is formed
in the
dakṣiṇa (mārga), the kalā obtains in the
vṛtti (mārga), and the kalā
prevails in the
citra (mārga). A tāla like caccatpuţa obtains in songs comprised
of svara and pada.
Hindolais combined with ṣaḍja as amśa and nyāsa, is devoid of
dhaivata and
ṛṣabha and is formed with jātis excepting
dhaivatī and
ārṣabhī, in drama.
(325)
[Anu. 197]
This means -
hindolaka is related to madhyamagrāma3. (Contention) Its
relation with the two grāmas alone is proper on account of its being born of
all the jātis (of both the grāmas) bearing the names of svaras excluding
dhaivatī and
ārṣabhī and carrying the residue of relationship with
ṣaḍjagrāma.
Why is it said to be based on
madhyamagrāma? (Answer)
On account of its
being devoid of dhaivata and ṛṣabha, its relation with madhyamagrāma alone
is justified because authorities like Bharata and Kohala have treated the
omission of dhaivata and ṛṣabha in ṣadjagrāma as undesirable1.670
Some hold that it is based in
sadjagrāma alone because
pañcama comprised
of four śrutis is obtained here. The inomissibility of
dhaivata should be
viewed only with respect to tāna and does not hold good everywhere. This
is improper. If this be so,
then there would be no distinction between grāma
and mürchanā471
,
