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1400
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TRANSLATION
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49
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citra (mārga) there is māgadhī (gīti), with the dvikala (tāla) in the vārtika
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(mārga) there is sambhāvitā (gīti), with the catuṣkala (tāla) in the dakṣiṇa
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(mārga) there is pṛthulā (gīti). Vīra, raudra, adbhuta are the rasas. Its
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application (viniyoga) is (prescribed) in the singing of the naiskrāmiki<sup>65</sup>
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(associated with exit) dhruvā in the first scene (or act).
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[3. Dhaivati]
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[Anu. 150]
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In dhaivati, dhaivata and ṛṣabha are the two grahas and aṁśas. In the śuddhā
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state, dhaivataitself is the apanyāsa and in the vikrtā state, dhaivata, ṛṣabha and
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madhyama are the apanyāsas, dhaivata is the nyāsa. The ṣāḍava formation is
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devoid of pañcama and the auduva formation is devoid of pañcama, șadja.
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The same two svaras, viz. şadja and pañcama should be made weak and should
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sometimes be leapt over. The tara is upto five svaras. The mandra is upto the
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nyāsa<sup>66</sup> or upto the svara next to nyāsa.
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[Anu. 151]
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It (dhaivatī) is seven-fold. There are seven amśas. Śuddhā (is one), vikṛtās
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in the complete state are two and ṣāḍava-auḍuva are two each. The mūrchanā
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beginning with ṛṣabha obtains (in it). Pañcapāṇi is the tāla. Ekakala (tāla),
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citra mārga and māgadhī gīti (go together). Dvikala (tāla), vārtika (mārga) and
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sambhāvitā (gīti) (go together). Catuṣkala (tāla), dakṣiṇa (mārga) and pṛthulā
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(gīti) (go together). The kalās are twelve in the citra (mārga), twenty-four in
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the vārtika (mārga) and forty-eight in dakṣiṇa (mārga). Vīra, bībhatsa,
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bhayānaka are the rasas. Its application is (prescribed) in the singing of
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dhruvā in the first scene (or act).
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[4. Naisādī]
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[Anu. 152]
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In niṣādavatī,67 niṣāda, ṛṣabha and gāndhāra are the grahas and aniśas.
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Niṣāda, gāndhāra and ṛṣabha are apanyāsas. Niṣāda alone is nyāsa. The ṣāḍava
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formation is devoid of pañcama and the auduvita formation is devoid of
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