şadjodicyavā technical_term

TRANSLATION ³⁵ When pūrvaraiga is performed the organisers of song should use the śuddhā (jātis) in āsārita,⁴⁷ pāņikā ⁴⁸ and the like and after that the formation (alteration) of anisas of jātis (should be taken up). (249) Along with the order of \bar{a}s\bar{a}ritas^{49} and because of that of the angah\bar{a}ras^{50} the formation or variation of amsas in their svaras i.e. in svaras of jatis should be done in the text of vardhamāna⁵¹ (250) [8. The ṣāḍava and auḍava formation of jātis] The sixty-three amsas that have thus been spoken of, out of them each one is accorded the position of ainsa (at a given time) (and accordingly) the ṣāḍava and auḍava formation that is obtained (on account of rule or prescription) is sometimes given up. (251) [ Anu. 134 ] The sixty-three amsas that have been spoken of, out of them each one has to be arranged as anisa (in a given melodic set-up). (In specific situations created by the arrangement of different anisas) sometimes the formation of ṣāḍavita and auḍuvita that is obtained in the context of a given jāti, is given up. He (the author) clarifies this itself. Şādja-madhyamā does not become ṣāḍava on niṣāda being amsaand also on gandhara (being amsa), because ^{52} the omission of a samvadi of the amsa is not accepted. (252) [ Anu. ¹³⁵ ] This means that on niṣāda being the aṁśa, the jāti ṣadjamadhyā does not become ṣāḍava. Why? In ṣaḍja-grāma, in the prescription about ṣāḍava the omission of gandhara is not there. On gandhara being aṁśa, it should be known to be non-ṣāḍava by omission of niṣāda because of the negation of the omission of the sanivādī of the aniśa. Kaiśikī, raktagāndhārī (and) gāndhāri, (these three jātis do not become ṣāḍava) when pañcama is aṁśa, (by the omission of ṛṣabha on account of the negation of the omission of the samvādī of the aṁśa). Similarly, ṣāḍjī does not become ṣāḍava through (the omission of niṣāda) on gāndhāra being the aṁśa and şadjodicyavā should be known not to be şādava (through the omission of ṛṣabha ) on dhaivata being the aṁśa. (253)

TRANSLATION ⁵¹ pañcama and șadja. In the complete state there is the sparseness of șadja, madhyama, pañcama and dhaivata. In the ṣāḍava state, there is the sparseness of şadja, madhyama and dhaivata. In the auduvita form there is the sparseness of madhyama and dhaivata. The tāra extends upto five svaras. The mandra is upto the nyāsa or upto the svara next to it. [Anu. 153] The mūrchanā beginning with gāndhāra obtains. Caccatpuṭa is the tāla. There are thirty-two kalās in the dakṣiṇa (mārga), sixteen in vārtika (mārga), eight in citra (mārga). It is ten-fold. There are ten amśas. Śuddhā (is one). There are three vikṛtās in the complete state, three in the ṣāḍava state and three in the auduva state. Karuna is the rasa. Its application (viniyoga) 68 is prescribed in the singing of dhruvās in the first scene (or act). [5. Şadjakaisiki] [Anu. ¹⁵⁴] Ṣaḍja, gāndhāra and pañcama are the grahas and amsas of ṣaḍjakaisikī. The tāra extends upto five svaras. The mandra is upto the nyāsa or upto the svara next to it. It is always complete. There is the sparseness of dhaivata, niṣāda and madhyama. Ṛṣabha is even more sparse, there is abundance of the remaining ones. Gāndhāra is the nyāsa. And şadja, niṣāda, pañcama are apanyāsas. [Anu. 155] It has no śuddhā state, there are three amśas in the complete state. Caccatpuța is the tāla. În ekakala (tāla), in the citra (mārga), there is māgadhī gīti. In dvikala (tāla), in the vārtika (mārga), there is sambhāvitā (gīti). In catușkala (tāla), in the dakșiņa (mārga), there is pṛthulā (gīti) and the rasa is karuṇa. Its application (viniyoga) is (prescribed) in the first song associated with entry in the second scene (or act). [6. Şadjodicyava] [Apu. 156] Şadja, madhyama, dhaivata and nişāda are the grahas and amsas of şadjodīcyavā. The tara extends up to five svaras. The mandra is upto the nyasa or the svara next to it. The şādava formation is devoid of ṛṣabha, the auduvita formation is devoid of ṛṣabha-pañcama. In the complete state there is the sparseness of