Dākşiņātyā technical_term

¹⁶⁹ TRANSLATION Illustration-Dhādhāsāsāgadharigārisāganirīsāsādhāsānīnīnīnī. Dhādhādhā- nidhāpāpāmādhāsādhā ninidhādhāpāgāgādhāridhāmāmādhā ninidhādhā. Dākşiņātyā [ii] Combined with dhaivata as the initial and concluding note, embellished with thesvara gāndhāra, this bhāṣā gāndhārī has been said to be sankīrṇā. (Mutual) movement between gändhära and dhaivata is seen here in a dense manner. (107) Illustration - Dhādhāgāgāgāririgamagāmādhā ririririgāmāpāmā. Māpāmāpāmāpāsagāririgāgāgādhā pādhagāgārīsāsāsā. Nisāsānigāmāpāsā sānīgārīmāgamāgāmāmāmāmānininini. Madhādhādhādhā. Gāndhārī [iii] Combined with dhaivata as the initial and concluding note, hexatonic, devoid of pañcama, the vibhāṣā śrīkaṇṭhī, is performed in the panegyric of Lalitā. 48 Concert between madhyama-ṛṣabha and the svaras comprised of two śrutis each is sung. (108) Illustration-Dhānimāgāgādhā rimāgāgādhā rimāgarigāririgānināgārigādhā ririrīnisāninidhādhā. Šrīkaņţhī [iv] Having madhyama as aṁśa, dhaivata as the concluding note, weak in ṛṣabha, this vibhāṣā, paurālī, is beautiful and very charming. It is sung by the Nāga⁴⁹ people and is made of sweet svaras alongwith gamakas. (Mutual) movementamong madhyama, ṛṣabha and pañcama is seen in a dense manner. (109-110) Illustration - [Mā]pāpādhā ninisāsāmānidhā pādhādhādhādhā nisāririmāgārisārimā gāsārisārimāmārigārimāsāsāsāsāninininīdhādhā māpāmāpāpāpāniniririsānidhā pādhādhāninidhāniniririniririmāgārisā nirisānisāsāninidhādhāgamāpādhāninisānisānidhādhā. Paurāli [v]