candralekhā technical_term

TRANSLATION ²²⁹ [2. Kāmalekhā] Kāmalekhā is that where there are twenty-two⁶⁰ (dviguņita-rudra) mātrās in the first (foot) and in the foot bearing an even number (second) the same (number of mātrās) obtains, in the foot of odd number (third) there are twenty (mātrās). (445) [3. Bāṇalekhā] If in all the three feet, in a uniform manner there are double the number of mātrās (obtaining in kāmalekhā) (and) where they are composed in bāṇagaṇas,61 that is bāṇalekhā. (446) [4. Candralekhā] Where there are three above forty (forty-three) mātrās in a couple of feet i.e. the first two feet (and where) the number of mātrās is less by one (forty- two) in the foot bearing an odd number (third foot), that is candralekhā. (447) Thus ends the fourfold mātrailā. [C. The varieties of Varnailā] There is no regulation of tāla here, none of msa and none of rāga; there is only the regulation of syllables ^{62} (in their number); hence it is called varyailā. (448) Madanavatī, śaśilekhā, prabhāvatī, mālatī, similarly lalitā, hemavatī, (and) kusumavatī, these seven are the elās regulated on the basis of varņa (syllable). (449) Beginning with eleven syllables and ending with seventeen (syllables in each foot), these seven are sung in sequence, by the gandharvas with beautiful padas (textual units) (and) good sounds. (450) [1. Madanavatī 2. Šašilekhā 3. Prabhāvatī] That madanavatī is composed of non-short (alaghu) gaṇas 63 i.e., has all long (guru) syllables, śaśilekhā is with short (laghu) gaṇas, prabhāvatī is always profuse with long (guni) gaṇas (and) mālatī and lalitā (will be described now). (451)