Electric and the
[Anu. 208]
Its meaning is thus -
Rūpasādhārita is related to şadjagrāma on account of
being born of şadjamadhyamā and niṣādavatī.2 Şadja is its graha and amśa.
Madhyama is the nyāsa. There is the sparseness of
pañcama and ṛṣabha.
Niṣāda is kākalī here and this (rāga) is complete. It is used in vīra and karuņa
(rasas). Vīra and the like is the rasa84 The
mūrchanā begininng with ṣaḍja
obtains. Arohin is the varna.
Prasannamadhya is the
alankāra. The kalā is
formed in the
dakṣiṇa (mārga), the kalā obtains in the
vārtika (mārga) and the
kalā prevails in the
citra (mārga). A tāla like
caccatpuṭa obtains in the songs
comprised of svara and pada.
(338)
Gāndhārapañcama isborn of
gāndhārī and
raktagāndhārī (jātis).
Gāndhāra is
its
amśa and
gāndhāra alone is
nyāsa.
[Anu. 209]
Itsmeaning is thus-
gāndhārapañcama is related to madhyamagrāma on account
of being born of gāndhārī and raktagāndhārī jātis7. Although it is born of dhaivatī
(jāti) in the opinion of Durgaśakti1, yet on account of pañcama being comprised
of three śrutis, it is related to madhyama (grāma) alone in spite of being born of
jātis belonging to both the grāmas.4 Gāndhāra is its graha, amśa and nyāsa. With
relevance to the performer,
gāndhāra may become
dhaivata.85 Niṣāda is
kākalī here and this (rāga) is complete. Its application is prescribed in
adbhuta, vismaya
86 and hāsya (rasas). Karuṇa is the rasa
87 The
mūrchanā
beginning with
gāndhāra obtains.
Sañcārin is the varņa.11 Prasannamadhya is
the
alankāra. The kalā is formed in the
dakṣiṇa (mārga), the kalā obtains in
the
vārtika(mārga) and the kalā prevails in the
citra (mārga). A tāla like
caccatputa obtains in the songs comprised of svara and pada.
***************
Pañcamaṣāḍavaisborn of
dhaivatī and
ārṣabhī jātis. It is combined with ṛṣabha
as the amśa and
madhyama alone is the nyāsa.
(339)
