naiskrāmiki technical_term

Dictionary: not in dictionary · Pages: 1 · Occurrences: 2 · Affirmations: 1 · Graph degree: 2 (in 1, out 1)

Variants (2): Naiskrāmikī (1), naiskrāmiki (1)

Generative rules (1) ↗ filter all

R_759_naiskramiki_exit_dhruva assignment · 1 att.
naiṣkrāmikī dhruvā is associated with exit, used in singing dhruvā of first scene

Pseudocode (DSL v1.1) ↗ full DSL (raw text)

RULE id: naiskrāmiki (cluster 759)
SCOPE: technical_term family
STATUS: empirical
CONFIDENCE: empirical
PROTECT: false

Essence pseudocode — identity + RECORD. The page citations for each slot value are in the Grammar record table above (audit trail). The full DSL adds ASSERTIONS with verbatim quotes (see Affirmations below) and CITED_RULES (see Graph relations).

Graph relations

Outgoing (1)

--[relation]--> dhruvā (1)

Incoming (1)

dhruvā --[enumeration]--> (1)

Affirmations (1)

relation

p.vol_II_p033

english

conf 0.95

[show source]

naiskrāmiki is associated with exit and is used in the singing of dhruvā in the first scene

"naiskrāmiki (associated with exit) dhruvā in the first scene (or act)."

1400 TRANSLATION 49 citra (mārga) there is māgadhī (gīti), with the dvikala (tāla) in the vārtika (mārga) there is sambhāvitā (gīti), with the catuṣkala (tāla) in the dakṣiṇa (mārga) there is pṛthulā (gīti). Vīra, raudra, adbhuta are the rasas. Its application (viniyoga) is (prescribed) in the singing of the naiskrāmiki65 (associated with exit) dhruvā in the first scene (or act). [3. Dhaivati] [Anu. 150] In dhaivati, dhaivata and ṛṣabha are the two grahas and aṁśas. In the śuddhā state, dhaivataitself is the apanyāsa and in the vikrtā state, dhaivata, ṛṣabha and madhyama are the apanyāsas, dhaivata is the nyāsa. The ṣāḍava formation is devoid of pañcama and the auduva formation is devoid of pañcama, șadja. The same two svaras, viz. şadja and pañcama should be made weak and should sometimes be leapt over. The tara is upto five svaras. The mandra is upto the nyāsa66 or upto the svara next to nyāsa. [Anu. 151] It (dhaivatī) is seven-fold. There are seven amśas. Śuddhā (is one), vikṛtās in the complete state are two and ṣāḍava-auḍuva are two each. The mūrchanā beginning with ṛṣabha obtains (in it). Pañcapāṇi is the tāla. Ekakala (tāla), citra mārga and māgadhī gīti (go together). Dvikala (tāla), vārtika (mārga) and sambhāvitā (gīti) (go together). Catuṣkala (tāla), dakṣiṇa (mārga) and pṛthulā (gīti) (go together). The kalās are twelve in the citra (mārga), twenty-four in the vārtika (mārga) and forty-eight in dakṣiṇa (mārga). Vīra, bībhatsa, bhayānaka are the rasas. Its application is (prescribed) in the singing of dhruvā in the first scene (or act). [4. Naisādī] [Anu. 152] In niṣādavatī,67 niṣāda, ṛṣabha and gāndhāra are the grahas and aniśas. Niṣāda, gāndhāra and ṛṣabha are apanyāsas. Niṣāda alone is nyāsa. The ṣāḍava formation is devoid of pañcama and the auduvita formation is devoid of