Elā is defined as a form containing alliteration (anuprāsa) in specific feet, four gītis in each foot, and descriptions of renunciation, well-being, beauty, valour, and steadfastness
"Where the first two feet are 'coloured' (embellished) with anuprāsa
(alliteration), there is anuprāsa in the third or fourth foot or there is no
anuprāsa in these two (feet) and the fifth (foot) is with anuprāsa, where four
gītis find place in each foot"
TRANSLATION
<sup>221</sup>
[33. Dvipadī]
That which is (performed) with karaṇa tāla and composed in the dvipadī
metre, that is said to be dvipadī by those adept in vastu.<sup>29</sup>
(414)
[34. Vartanī]
Where graha and nyāsa are used only according to ańiśa, where the name
of the object of (glorified) description (divine or human) and that of the
singer (composer) is put in (and) that which is sung with svaras in a tāla
other than kankāla, pratitāla, druta (fast) maņțha, (and) kudukkaka, is held
to be vartani.
(415-416)
[35. Elā]
Where the first two feet are 'coloured' (embellished) with anuprāsa
(alliteration), there is anuprāsa 30 in the third or fourth foot or there is no
anuprāsa in these two (feet) and the fifth (foot) is with anuprāsa, where four
gītis find place in each foot, (and) after having sung one-half of its foot,
anuprāsa is arranged; where there is the description of renunciation, well-
being or prosperity, beauty, valour, steadfastness etc., that is called clā by the
experts in music.
(417-419)
It is always to be sung within the gīta-vastus, in combination with tālas like
maṇṭha, dvitīya, kaṅkāla and similarly elā should be combined with pratitāla
by the wise. That (clā) is marked with the name of the object of description
and the singer (composer).
(420-421)