गौडकैशिकः technical_term

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)