गौडपञ्चमः technical_term

. ⁴ ² a - ¹⁰⁴ BRHADDEŚĪ [ग. गौडरागा] [अनु॰ १८६] नन् गौडा कथम् ? उच्यते, गौडगीतिसम्बन्धत्वात् । कि लक्षणम् ? उच्यते । तद्यथा - ओहाटी मन्द्रजोपात्ता प्रयोगे ध्वनिकम्पितैः। * ओहाडी मन्त्रजा(?)+तु प्रयोगै (दू?र्हू)तकम्पितैः। अविश्रामेण त्रिस्थाने गौडी गीतिरुदाहृता ॥३१५॥ गौह॰ [१.गौडपञ्चमः] गौडपञ्चमस्य लक्षणम् - गौडपञ्चमनिष्पत्तौ धैवतीषड्जमध्यमे । धैवतांशो मध्यमान्तो रहितः पञ्चमेन तु ^६३॥३१६॥ (वि? र)हितः [अन्॰ १८७] अस्यार्थः -गौडपञ्चमः षड्जग्रामसम्बन्धः,धैवतीषड्जमध्यमाज?ात्योः समुत्पन्नत्वात्। धैवतोंऽशो ग्रहश्च। मध्यमो न्यासः। निषादगान्धारौ काकल्यन्तरौ । पञ्चमरहितोऽयं षट्स्वरः । प्र(ह)स उद्भटनाट्ये विप्रलम्भशृङ्गारे चास्य विनियोगः।बीभत्सभयानकरसौ।धैवतादिमूर्छना।आरोही (क)रसो रसः प्रसन्नमध्योऽलङ्कारः । दक्षिणे कला, वार्तिके कला, चित्रे कला । स्वरपदगीते वर्णः। चच्चत्पुटादितालः। चचत्पुटतालः [२.गौडकैशिकः] उत्पन्नः कैशिकीषड्जमध्यमाज?ातितो मतः। षड्ज?ांशः पञ्चमन्यासः सम्प्रोक्तो गौडकैशिकः ॥३१७॥ (सः)

¹ TRANSLATION ¹⁰⁵ [C. Gauda rāgas] [Anu. ¹⁸⁶] (Contention) Why are they known as gaudas? It is being answered, on account of being related to gaudigiti. What is its description? It is being answered. That is thus - Oḥāṭi⁶¹ born in the mandra (low svaras) is employed. In performance with shaken sounds, without pause, in the three registers, gauḍī gīti is said to prevail. *(First line of the verse reconstructed vide c.r. in Sudhā on SR II. 1.2-5). (315) [1. Gaudapañcama] The description of gaudapañcama - Dhaivatī and ṣadjamadhyamā operate in the formation of gauḍapañcama. It has dhaivata as its aṁśa and madhyama as its concluding note; it is devoid of pañcama. (316) [Anu. ¹⁸⁷] This means - gaudapañcama is related to sadjagrāma on account of being born of dhaivatī and şadjamadhyamā jātis. Dhaivata is the aniśa and graha. Madhyama is the nyāsa. Niṣāda and gāndhāra are kākalī and antara. It is hexatonic, being devoid of pañcama. Its application is prescribed in passionate acting (or dance) and in vipralambha śringāra (love in separation). Bībhatsa62 and bhayānaka are the rasas. The mūrchanā beginning with dhaivata obtains. Ārohin is the varņa. Prasannamadhya is the alaṅkāra. The kalāis formed in the dakṣiṇa (mārga), the kalā obtains in the vṛtti (mārga) and the kalā prevails in the citra (mārga). A tāla like caccatpuța obtains in the songs comprised of svara and pada. [2. Gaudakaisika] Gauḍakaiśika is known to be born of kaiśikī and ṣaḍjamadhyamā jātis. It is said to have şadja as the aṁśa and pañcama as the nyāsa. (317)