Srotogatā yati begins with slow laya and accelerates to fast, resembling a river's increasing current
"Srotogatā yati is that where there is slow laya in the beginning
followed by fast, like the source of a river that gradually gains speed in its
current."
VIMARŠA
<sup>319</sup>
57. Ratigana is fourfold and is composed of two syllables each – SS, IS,
SI, II.
58, 59. Dhātu-mātu stand for tonal-cum-rhythmic and verbal structure
of a composition respectively.
60. Twice Rudra would mean 11 \times 2 = 22.
61. Bāṇagaṇa is of 16 kinds, each one composed of four syllables.
62. Here only the number of syllables is regulated and not their long
and short order.
63. Alaghu - that which is not laghu or short.
64. No regulation of the order of long and short syllables is
prescribed.
65. See notes 46, 52.
66. 'Yati' is a word that stands for splitting or pause in metre. In tāla,
yati means the order or sequence of layas. Here the first meaning seems to
be relevant.
67. This is again a reference to Matanga within the text. See note 3.
68. Samā yati is that where one and the same laya is sustained from
the beginning to the end.
69. Şaţpadī means 'one having six feet '. Śaṅkarācārya's şaţpadī
beginning with 'avinayamapanaya viṣṇo' is well - known.
70. Srotogatā yati is that where there is slow laya in the beginning
followed by fast, like the source of a river that gradually gains speed in its
current. Samā has been explained in note 68.
71. Gopucchā yati is the opposite of srotogatā; it is fast in the
beginning and gradually becomes slow, like the end of the cow's tail which
is first thin and then ends up with a thick bunch of hair.
72. See note 46.
73. 'Varṇadhvani' would literally mean 'the sound of syllables';
perhaps the contrast of a cluster of syllables in song, followed by a text-free
tonal rendering is implied.
74. Mūrchanā is not known as a kind of gamaka. The combination of
'mūrchanā' with gamaka requires further investigation.
75- 79. Lāţa (approximately present Gujarat), Karṇāta (roughly
present Karnataka), Gauda (roughly present Bengal), Andhra (roughly
present Andhra Pradesh) and Dravida (roughly present Tamilnadu) are the
regions selected for description of types of elā prabandha. Important
omissions are Pāṇcāla, Avantī or Mālavā, Vidarbha etc. SR also mentions only
the above five regions in this context.
80,81. The description of the regional specialities in the use of rhyme
and alliteration is interesting indeed.