nirvahana technical_term

VIMARŚA ³⁰⁷ 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