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The 艣l艒ka 'qu鈥︹�� cited in the NKD as example for
raudra is not correct. As in the line '啶班ぞ啶掂ぃ啶� 啶膏ぐ啷嬥し啶� 啶膏す啶膏�嬥い啷嵿ぅ啶距��... [r膩va峁嘺岣� saro峁�a峁� sahasotth膩ya... ] the emphasis
is on kr艒dha. As艒kavanik盲nka 膩峁�峁璦prak膩ra prescribes that this sl艒ka is
to be recited in Kaisiki; the bhava as one could gather from the meaning
also corroborates the same.
8. The Kapali named Satyasoma smeared sacred ash all over his body
and wearing only a loin cloth (kaupina) dances, plays on the drum called
damaru, takes liquor from his kap膩la, gives it to his wife, drinks it himself,
shouts loudly and approaches with Devas艒ma, with faltering, slipping
steps. This verse is hasyarasa-oriented, the play is in the dramatic
category of Prahasana; the entry is of Kap膩li, the main character; the
embodiment of humour. In some texts of Mattavilasa a峁�峁璦prak膩ra there
is a clear record that this 膩岣纺乵a艣l玫ka is recited by humming and singing
it twice in Kai艣iki. Any way it is clear that the humming and singing of
this 艣l艒ka is done only in Kaisiki.
9.
In the NKD, the observation that the sloka. '-
which is an example of Inda岣穉 is also not correct .The first part is recited
in Indala and the second part in 膧rta. There is a reason for this. When the
curtain is removed, Arjuna examines his bow and arrow, thinks, leaves a
sigh, describes the beauty of Subhadr膩 - the sister of K峁涐梗na - and is overcome
by the arrows of K膩ma. Then s峁沶g膩ra is relevant here. In the second part,
鈥�啶曕�冟し啷嵿ぃ啶距く啶距ざ啷嵿ぐ啷嵿�� 啶曕�熰ぞ啶曕�嵿し啶掂��啶曕�嵿し啶｀じ啷佮�栢��.. [k峁涐梗峁嚹亂膩艣rca ka峁�膩k峁�av墨k峁�a峁嘺sukha峁�..] ' is recited in 膧rta, while the first part is in
Indala.
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