pāṭas technical_term

TRANSLATION ²⁰⁹ prabandha svarārtha. Karaņa⁵ has been said to be the fortieth, combined with five (forty-five). (377-378) This varņasvara is known to be (numbered) forty combined with six (forty-sixth); that which is muktāvalī should be known to be (numbered) forty, combined with seven (forty-seven). (379) Pratāpavardhana is said to be the forty-eighth. Eight combined with forty(forty-eight) are (the prabandhas) spoken of by the muni. (380) I shall speak of their characteristics in brief for the sake of scholars. They should be sung by those adept in music in accordance with the rules related to svara-tāla and the like as well as r\bar{a}gas^6. (381) [The description of Prabandhas] [1. Kanda] That which is bereft of tāla and is combined with pāṭas and birudas, that is kanda, mixed with the pada (text) of the Karpāṭa⁷ language and the like. (382) Prabandhas like kanda are verily well-known in practice. [2. Vṛtta] There is never a regulation (or specification of tāla in) vṛtta (composed in) āryā, dvipatha, vṛtta, gāthā, dodhaka and similarly toṭaka. The prominence of metre has been clearly specified in them, by the munis. In the end the placing of svaras⁹ is (prescribed), others hold it to be devoid of svara. Others say that it is (formed) in the vitta metre; that is also acceptable. (383-384) - ---

²¹³ TRANSLATION [9. Dodhaka] Having sung the (first) half, the latter half is comprised of a stretching of svaras. (391) [10. Totaka] [11. Vastu] Where there are pāṭas and tennas 16 and the rest is comprised of a stretching (elaboration) of svaras, that is vastu¹⁷ used in desī gītas as well as in drama. (392) [12. Krauńcapada] Krauñcapada is known to those proficient in gandharva as that which is sung in pratitāla, being comprised of pada and svara. (393) [13. Haṁsapada] Where there is one foot in Sainskṛta and the second (foot) is composed in a regional (language) (and) which is sung with rhyme, that song is known as hamsapada. (394) [14. Śukasārika] That which is combined with tāla (and) pada, bedecked with pada (and) pāṭa (and) comprised of question and answer, is said to be śukaśārika. 19. (395) That which is composed in the Karnāta language or is mixed (with other languages) (and) is comprised of pada (text) embodying dialogue, is śukasārika. (396)

²¹⁵ TRANSLATION [15. Hayalīlā] Where the (first) half is sung with svaras, in turagalīla (tāla), (and the latter) half is sung with birudas, that is known as hayalīlā. (397) [16. Gajalīlā] That which is completely composed according to gajalīlā but where the tāla is gajalīla, that should be known by the name gajalīlā. (398) [17. Simhalīlā] Composed in simhalilā metre, combined with svara and tena, that which is sung with birudas is sinihalīlaka. (399) [18. Śarabhalila] Where eight feet are composed with svaras and pāṭas, that is held to be śarabhalīla, having eight rāgas and tālas. (400) [19. Śukacańcu] In the beginning there is r\bar{s}ga^{20} with gamaka, that which is endowed with t\bar{a}la, is sung with svaras and p\bar{a}tas (and) is sung in the languages of various regions, is named śukacańcu, that is dear to the people. (401)