upalolaka technical_term

⁹⁷ TRANSLATION sanidhapamagaririgamapadhanisa, sanidhapamagarisasarigamapadhanisa. Or, saninisa, nidhadhani, dhapapadha, pamamapa, magagama gaririga risasari. Thus (16) is (ends) prasāda. (Anu. ⁸⁶) (Pairs of) two svaras each moving to and fro in the order of ascent 53 and descent and forming units of two kalās (phrases) each (form) udvāhita. As - sari riga, gama mapa, padha dhani, nisa sani, 54 nidha dhapa, pama maga, gari, (17) risa. Thus is (ends) udvāhita. (Anu. ⁸⁷) This (udvāhita) itself is (called) upalolaka with (the pairs of svaras) being repeated twice. As - sari sari, riga riga, gama gama, mapa mapa, padha padha, dhani dhani, nisa nisa, sani sani, nidha nidha, dhapa dhapa, pama pama, (18) maga maga, gari gari, risa risa. Thus is (ends) upalolaka. (Anu. ⁸⁸) There, krama is that, where having reached the sthayin55 (steady) svara after ascending in the svaras in successive order beginning with one, without any gap, svaras are pronounced in the order of prastara, increasing one by one (in successive phrases). This is not different from prastara, being identical in form.56 As - saririsa, sarigagarisa, sarigamamagarisa, sarigamapapamagarisa, sarigamapadhadhapamagarisa, sarigamapadhaninidhapamagarisa, sarigamapadhanisa 57 sanidhapamagarisa. Or, having ascended to the antara (gandhāra) and in the same order having ascended to the kākali (niṣāda) the sthāyi-svara (steady note) is reached, that is krama. As- sagani-nigasa. Thus is (19) (ends) krama. (Anu. ⁸⁹) Niṣkūjita is (formed) on having ascended (in the order of) first-third, then second-fourth and others also in the same order. In the opinion of Kohala niṣkūjita is (formed) by ascent with a gap of one svara (each time). As -saga (20) rima gapa madha pani dhasa. Thus is (ends) nişküjita.

111 TRANSLATION Udvāhita is dvikala⁹⁴ (with two-unit phrases), (it) moves (in) two gapless svaras (forming each phrase-unit), ascends by one kalā 95 (phrase-unit and time- (148) unit) (and) again descends (lit. clarifies) by one kalā. Udvāhita itself may become the one named upalolaka, when (its units are) repeated twice. That should be known as krama, which moves to one, two or (149) three svaras in successive order. That which (moves to) each svara with one gap, having ascended (a svara) with one gap, should be known by the wise as the alankara named nişkūjita. (150) In combination with this (the above) order (the alankara) that moves with the gap of one svara (in descent) in dvikala 96 (form i.e. two-unit phrase and two time-units for each phrase) (and) is followed by two or six (svaras?)97 (and) (151) is similar in ascent, is hrādamāna. After this is ranjita which is half a kalā (time-unit) in ascent and again the same in descent, after having stayed on two (consecutive) svaras without a gap (152) for two kalās 98 (time-units). Avartaka comes into being in four (consecutive) svaras without a gap with the act of ascent (and) descent, or also in (svaras) with a gap of one (each).99 (153) (Or) āvartaka should be made by the experts with eight kalās (phrases and time-units) 100 without a gap, similarly (in) four kalās with a gap (of one each); it is (named thus viz. āvartaka) on accout of āvrtti (repetetion or rotation), 101 (154) Having ascended three svaras, parivarta omits another (fourth) svara and in nivṛtti (lit holding back, here descent) again with parāvṛtti (lit. interchange or reversion, here the change in the omitted svara in descent which is the fourth again in descending order), it is composed of eight kalās (phrases). 102 (155) Udghattita is always that in which there is an omitted svara after two svaras (156) become past (have been pronounced) and which is ekakala.103 Ākṣiptaka should be made with three svaras in each kalā; its measure of kalā is sixfold. The lower one is ekakala 104 and the other (higher) is şaṭkala (with six (157) kalās).