vesaraṣāḍava technical_term

¹⁴.⁰⁰ TRANSLATION ¹¹¹ [Anu. 193] This means - Sauvīraka is related to sadjagrāma on account of being born of ṣaḍjamadhyamājāti Ṣaḍjaisitsgraha,amśandnyāsa. Thereisthe sparsenessof gāndhāra and niṣāda. Niṣāda is kākalī and this (rāga) is complete. Its application is prescribed in the context of entry and the like in the behaviour of those who perform domestic sacrifices, who practise restraint and perform penance and in sinta rasa Vira 66 and the like are the rasas. The mürchanā beginning with sadja obtains. Arohin is the varna. Prasumādiis the alarikāra. The kalā is formed in the dakṣiṇa („nārga), the kalā obtains in the vitti (mārga) and the kalā prevailsin the citra (mārga). A tālalike caccatputa obtains in the songs comprised of svara and pada. [3. Mālavapañcama] Mālavapancamashould be known to have pancamaasits anistand concluding note and is born of pañcami and madhyamā jātis. It has, as sparse, the svaras that are comprised of two śrutis (gāndhāra and niṣāda). (322) [Anu. 194] This means-Mālavapañcamais related to madhyamagrāma on account of being born of madhyamā and pañcamī jātis. Pañcama is the aṁśa, graha and nyāsa. There is the sparseness of niṣāda and gāndhāra. Niṣāda is kākalī and this (rāga) is complete in svaras. Its application is prescribed in vipralambha śṛṅgāra (love in separation) in the entry of the kañcukin (attendant of the female apartments). The mūrchanā beginning with pañcama obtains. Śringāra⁶⁷ and hāsya are the rasas. Ārohin and the like are the varņas. Prasannādi is the alaṅkāra. The kalā is formed in the dakṣiṇa (mārga), the kalā obtains in the vṛtti (mārga) and the kalā prevails in the citra (mārga). A tāla like caccatputa obtains in the songs comprised of svara and pada. [4. Vesarașādava] Vesaraṣāḍavahas madhyamaas its amsaand nyāsa, ṣaḍjamadhyamā is the cause and it is devoid of the svaras comprised of two śrutis each (gāndhāra, niṣāda). (323) [Anu. 195] This means - vesaraṣāḍava is related to ṣaḍjagrāma on account of being born of ṣaḍjamadhyamā. Madhyama is the graha, aṁśa and nyāsa. There is the sparseness of gāndhāra and niṣāda. Gāndhāra and niṣāda are antara and kākalī. It is always complete in svaras. It is used in sānta rasa. Šriigāra⁶⁸ and hāsyaare the rasas. The mūrchanā beginning with madhyama obtains. Ārohin is the varņa. Prasannādi is the alaṅkāra. The kalā is formed in the dakṣiṇa (mārga), the kalā obtains in the vṛtti (mārga) and the kalā prevails in the citra (mārga). A tāla like caccatpuṭa obtains in songs comprised of svara and pada.

¹³⁷ TRANSLATION Sauvīrī should be known as the first one, vega-madhyamā the second, sādhāritā is the third one and gāndhārī the fourth. Thus should be known the four bhāṣās born of sauvīraka. (30c-31) Suddhabhinnā, vārāṭī, similarly dhaivatabhūṣitā and then viśālā are said to be born of bhinnapañcama. (32) The bhāṣā called māṅgalī is born of boṭṭa-rāga. In mālavapañcama is born bhāvinī, the one that is beautiful for the people. (33) Mālavā (and) bhinnavālikā should be known to be born of ṭakkakaiśika, and drāvidī is the third bhāṣā there that is described with characteristics (lakṣaṇas). (34) The two known as bāhyaṣāḍavā and nādākhyā are born in vesaraṣāḍava. Tānodbhavā should be known as being assigned to bhinnatāna. (35) In gāndhārapañcama, gāndhārikā is the one bhāṣā that is accepted. Gāndhārī is with profuse gāndhāra and is delightful to the people in pañcama (gāndhārapañcama). In revagupta¹³ (?) śakākhyā is the one spoken of in pañcamaṣāḍava. (36) Thus are obvious the bhāṣās that are born in manifold ways. Now listen to their description alongwith illustration for each one. (37) [The description of bhāṣās] [1. Bhāṣās in ṭakka-rāga] It has madhyama as its aṁśa, şadja as its concluding note, is devoid of pañcama and there is to be seen here again and again the mutual movement¹⁴ of dhaivata-niṣāda and similarly ṣaḍja - dhaivata. This should be known as hexatonic. Travaņā should bear the name mūlā. (38-39)