gītaśāstra technical_term

²²⁷ TRANSLATION [General Prescription] The name pāda (foot) is given to a group of three padas (textual-cum-melodic units) which is brimming with mūrchanā bindu (?),⁵² the gamaka should be made sthita⁵³ (slow?); this is the prescription in respect of elās. (439) Then one should properly put in the name of the one being described. It (elā) is lalitā (beautiful) (and) full of rasa; the name of self (composer) comes after this. (440) Thus ends the fourfold ganaila. [5. Saṅkarailā] If the fourth foot 'grows' (gets elaborated) like the third foot, then the elā spoken of by Matanga Muni becomes sankara (mixed). Here the fifth elā is said to be named sankara. (441) [Thus ends gaņailā.] [B. The varieties of Mātrailā] Ratilekhā, kāmalekhā, bāṇalekha and similarly candralekhā are (the varieties of) mātrailā spoken of by Vallabha.54 (442) [1. Raulekhā] Where there are rudra 55 numbered (eleven) mātrās in (each of the first) two feet and ten (rudrahasta?)56 mātrās measured according to the gaņa named rati⁵⁷ (and) endowed with dhātu⁵⁸ (tonal-cum-rhymthic structure) (and) mātu⁵⁹ (text), on account of this (ratigaņa) (this elā) is given the name ratilekhā by the experts in the science of music (gītaśāstra). (443-444)