ohāṭī is sound produced by placing the chin on the chest and combining 'ha' and 'o' sounds, mentioned in context of gaudi gita
"SR (II.1.4,5) also mentions it while describing the gaudi gita and defines it as the
"Sound combining 'ha' and 'o' produced b, placing the chin on the chest.""
VIMARŚA
<sup>307</sup>
52. The word gamaka seems to stand for shake here.
53. Dānavīra is one of the four varieties of vīra, the other three being
dharmavīra, yuddhavīra and dayāvīra.
54. The import seems to be that śuddha-bhinna has an independent
form and that it is not the modified form of a suddharaga.
55. Here the distinction of a bhinna raga is established only on the
basis of giti or distinctive tonal rendering.
56. Syasthāna is a word used in SR III.140 and III.191-192 in the
context of sthāya and ālapti respectively; it stands for the sections of rāgālapti
formed on the basis of the units of tonal range within an octave, the first unit
being formed in the range from the tonic and from below it upto the svara
preceding the fourth, the second unit touching the fourth, the third
reaching below the octave and the fourth touching the octave.
57. 'Leaving the svasthana' seems to imply that the lower register will
be used in this rāga, as distinct from śuddhakaiśika which is performed with
tāra svaras. Here svasthāna does not seem to signify the units of tonal range
described in note 56 above, rather it appears to mean ' the own sthana or
register' of a raga.
58. "Niṣāda taking up the two śrutis of pañcama" is a prima facie
fallacious statement because pañcama is not adjacent to niṣāda. But there
could be a hidden meaning, taking the two grāmas together, as follows -
Şadjagrāma sa - ri- antaraga - ma - pa - dha - ni.
Madhyamagrāma ma - pa - dha - ni - sa - ri - ga.
Niṣāda of madhyamagrāma is adjacent to pañcama of ṣadjagrāma. The
above statement could be valid in terms of the two grāmas taken together.
59. The 'omission' of pancama comprised of three śrutis in
ṣaḍjagrāma actually means that this pañcama is not admissible in ṣaḍjagrāma.
60. 'Mature' karuṇa rasa is a notable expression.
61. Our text mentions ohāṭī for the second time here. SR (II.1.4,5)
also mentions it while describing the gaudi gita and defines it as the
"Sound combining 'ha' and 'o' produced b, placing the chin on the chest."
62. There is a striking contradiction between the viniyoga or
application in terms of śringāra and the rasas mentioned separately, viz.
bībhatsa and bhayānaka that are incompatible to śṛṅgāra.
63. Here again the viniyoga is given in terms of karuņa and the rasa
is mentioned as vīra in accordance with the aṁśa that is ṣaḍja.
64. 'Rāga' is another name for vesarā gīti; this alternative name is also
mentioned in later texts like SR II.1.6. The basis of this alternative name as
cited in the name of Kasyapa seems to be that the ragas that are not