narta-rāga technical_term

¹¹⁹ TRANSLATION [Anu. ²⁰²] (Contention) Why has Kasyapa Muni described narta-rāga in the beginning? It is being answered. In the opinion of Kasyapa its prominence is due to its application in passionate performance of caris, mandalas and situations of combat. In the opinion of Durgaśakti, on the other hand, sadjakaisika alone is prominent. Why? On account of its falling under the order of the state of sādava (rāga).76 That is thus - [1. Narta-rāga] Having pañcama as its aṁśa and madhyama as its concluding note, being born of pañcamī and madhyamā (jātis), narta-rāga should be known to treat as sparse the svaras comprised of two śrutis each. (333) [Anu. ²⁰³] Its meaning is thus - narta-rāga is related to madhyamagrāma on account of being born of pañcamî and madhyamā (jātis). Pañcama is its graha and aniśa, madhyama is the nyāsa. Niṣāda and gāndhāra have sparseness here. Niṣāda is kākalī here and its application is prescribed in passionate performance of cārī, maṇḍala and combat. Sṛṅgāra and the like is the rasa. The mūrchanā beginning with pañcama obtains. Prasannamadhyama is the alaṅkāra. Sañcārin is the varņa. Thus is it in the opinion of Kaśyapa. [Anu. ²⁰⁴] In the opinion of Durgaśakti this rāga itself is born of pañcamī and dhaivatī jātis. It should be known to be related to şadjagrāma itself. Why? On account of pañcama being comprised of four śrutis (and) dhaivata of three śrutis, it is related to şadjagrāma. [2. Saka] That is said to be śaka which has a weak pañcama, is combined with ṣaḍja as nyāsa and aniśa and is born of ṣāḍjī and dhaivatī jātis. (334) [Anu. ²⁰⁵] Its meaning is thus - śaka is related to şadjagrāma on account of being born of ṣāḍjī and dhaivatī (jātis). Ṣaḍja is its graha, aṁśa and nyāsa. There is the sparseness of pañcama. Niṣāda and gāndhāra are kākalī and antara here. And this (rāga) is complete in svaras. Its application is prescribed in vīra, adbhuta

¹¹⁹ TRANSLATION [Anu. ²⁰²] (Contention) Why has Kasyapa Muni described narta-rāga in the beginning? It is being answered. In the opinion of Kasyapa its prominence is due to its application in passionate performance of caris, mandalas and situations of combat. In the opinion of Durgaśakti, on the other hand, sadjakaisika alone is prominent. Why? On account of its falling under the order of the state of sādava (rāga).76 That is thus - [1. Narta-rāga] Having pañcama as its aṁśa and madhyama as its concluding note, being born of pañcamī and madhyamā (jātis), narta-rāga should be known to treat as sparse the svaras comprised of two śrutis each. (333) [Anu. ²⁰³] Its meaning is thus - narta-rāga is related to madhyamagrāma on account of being born of pañcamî and madhyamā (jātis). Pañcama is its graha and aniśa, madhyama is the nyāsa. Niṣāda and gāndhāra have sparseness here. Niṣāda is kākalī here and its application is prescribed in passionate performance of cārī, maṇḍala and combat. Sṛṅgāra and the like is the rasa. The mūrchanā beginning with pañcama obtains. Prasannamadhyama is the alaṅkāra. Sañcārin is the varņa. Thus is it in the opinion of Kaśyapa. [Anu. ²⁰⁴] In the opinion of Durgaśakti this rāga itself is born of pañcamī and dhaivatī jātis. It should be known to be related to şadjagrāma itself. Why? On account of pañcama being comprised of four śrutis (and) dhaivata of three śrutis, it is related to şadjagrāma. [2. Saka] That is said to be śaka which has a weak pañcama, is combined with ṣaḍja as nyāsa and aniśa and is born of ṣāḍjī and dhaivatī jātis. (334) [Anu. ²⁰⁵] Its meaning is thus - śaka is related to şadjagrāma on account of being born of ṣāḍjī and dhaivatī (jātis). Ṣaḍja is its graha, aṁśa and nyāsa. There is the sparseness of pañcama. Niṣāda and gāndhāra are kākalī and antara here. And this (rāga) is complete in svaras. Its application is prescribed in vīra, adbhuta

¹¹⁹ TRANSLATION [Anu. ²⁰²] (Contention) Why has Kasyapa Muni described narta-rāga in the beginning? It is being answered. In the opinion of Kasyapa its prominence is due to its application in passionate performance of caris, mandalas and situations of combat. In the opinion of Durgaśakti, on the other hand, sadjakaisika alone is prominent. Why? On account of its falling under the order of the state of sādava (rāga).76 That is thus - [1. Narta-rāga] Having pañcama as its aṁśa and madhyama as its concluding note, being born of pañcamī and madhyamā (jātis), narta-rāga should be known to treat as sparse the svaras comprised of two śrutis each. (333) [Anu. ²⁰³] Its meaning is thus - narta-rāga is related to madhyamagrāma on account of being born of pañcamî and madhyamā (jātis). Pañcama is its graha and aniśa, madhyama is the nyāsa. Niṣāda and gāndhāra have sparseness here. Niṣāda is kākalī here and its application is prescribed in passionate performance of cārī, maṇḍala and combat. Sṛṅgāra and the like is the rasa. The mūrchanā beginning with pañcama obtains. Prasannamadhyama is the alaṅkāra. Sañcārin is the varņa. Thus is it in the opinion of Kaśyapa. [Anu. ²⁰⁴] In the opinion of Durgaśakti this rāga itself is born of pañcamī and dhaivatī jātis. It should be known to be related to şadjagrāma itself. Why? On account of pañcama being comprised of four śrutis (and) dhaivata of three śrutis, it is related to şadjagrāma. [2. Saka] That is said to be śaka which has a weak pañcama, is combined with ṣaḍja as nyāsa and aniśa and is born of ṣāḍjī and dhaivatī jātis. (334) [Anu. ²⁰⁵] Its meaning is thus - śaka is related to şadjagrāma on account of being born of ṣāḍjī and dhaivatī (jātis). Ṣaḍja is its graha, aṁśa and nyāsa. There is the sparseness of pañcama. Niṣāda and gāndhāra are kākalī and antara here. And this (rāga) is complete in svaras. Its application is prescribed in vīra, adbhuta