vesarā gīti technical_term

TRANSLATION ¹⁰⁷ [Anu. 188] This means-gaudakaiśika rāga is related to madhyamagrāma and is born of kaiśikī and şadjamadhyamā. Şadja is its graha and aṁśa. Pañcama is nyāsa. Niṣāda is kākalī here. This (rāga) is complete. Such is its performance. On account of pañcama being comprised of three śrutis, dhaivata being comprised of four śrutis, this rāga is related to madhyamagrāma alone. Although it is born of the jātis of two grāmas, yet its grāma is madhyama, not ṣaḍja, because it is seen as such. Its application is prescribed in karuna (rasa). Vīra⁶³ and the like is the rasa. The mūrchanā beginning with ṣaḍja 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 caccatputa obtains in the songs comprised of svara and pada. [3. Gaudakaisikamadhyama] Gaudakaisikamadhyama is said to have şadja as its amsa, madhyama as its nyāsa and to be formed by ṣaḍjamadhyamā (jāti) and to have complete svaras. (318) [Anu. 189] This means – gaudakaišikamadhyama is related to şadjagrāma, on account of being born of şadjamadhyamā jāti. Şadja is its graha and aṁśa. Madhyama is the nyāsa. Niṣāda is kākalī here and this (rāga) is complete. Its application is prescribed in bhayānaka (rasa). Vīra and the like is the rasa. The mūrchanā beginning with sadja obtains. Arohin is the varna. Prasannamadhya 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 the songs comprised of svara and pada. [The assignment of gaudaragas to gramas] Now he (the author) has spoken of the assignment of gauda (ragas) to grāmas- Gaudapañcama is in ṣaḍja (grāma) and so is gaudakaiśikamadhyama. Gaudakaisika, on the other hand, is based on madhyamagrāma. The three gauda (rāgas) have been dealt with. After this, I will speak of rāgas (pertaining to vesarā gīti). (319)

. ..... ... ... ....................... r . TRANSLATION ¹⁰⁹ [D. The rāgas pertaining to rāga-gīti or vesarā-gīti] [Anu. 190] (Contention) Why is the word 'rāga' 64 used for the vesara (rāgas)? On account of the statement by the authorities. Similarly has said Kaśyapa - "Where the raga that is attractive in all the four varnas, is seen in its totality, they are known as rāgas." [Anu. ¹⁹¹] In the opinion of Durgaśakti , 'rāgas' themselves are known as being 'vesara'. Thus has said Durgaśakti - "Vesaras are known to be so because the svaras move with speed." In the opinion of Durgaśakti vesaraṣāḍava alone is prominent on account of having 'inherited' the state of ṣāḍava (from śuddhaṣāḍava). In the opinion of Kasyapa, on the other hand, takkarāga alone is prominent on account of being gratifying to Laksmi.65 That is thus - [1. Takkarāga] Takkarāga is combined with şadja as aṁśa and nyāsa and is weak in pañcama. Dhaivatī and ṣadjamadhyamā are indicated as its cause. (320) [Anu. 192] This means—takkarāga is related to ṣaḍjagrāma on account of being born of dhaivatī and ṣadjamadhyamā. Ṣaḍja is its graha, aniśa and nyāsa. There is the sparseness of niṣāda and pañcama. Niṣāda and gāndhāra are kākalī and antara here and this (rāga) is complete. It is used in the yuddhavīra (rasa). Vīra and adbhuta are the rasas, the mūrchanā beginning with ṣaḍja obtains. Sañcārin is the varṇa. Prasannānta 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. [2. Sauvīra] Şadjais the aṁśa and nyāsa and ṣadjamadhyamā is the cause of sauvīra. Gāndhāra and niṣāda also is weak. (321)