gīta-vastus technical_term

TRANSLATION ²²¹ [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.²⁹ (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)