At least for the second item, I may have a possible suggestion. It is possible you may have a dance style being referred to by the term agamārtha which seems to have undergone some changes going from Tamil into Sanskrit either due to different forms of hypercorrection or possible transcription errors.  The source word in the Tamil tradition is akamārkkam (transliterated in Tamil Lexicon style) which is a hybrid made up of Tamil akam and Sanskrit mārga. If one were to transliterate it based on pronunciation, it could be transliterated as ahamārga or agamārga. (The classical Tamil text, the Akanāṉūṟu (transliterated in Tamil Lexicon style) is variously transliterated as the Ahanāṉūṟu and the Aganāṉūṟu.) The Bharatārṇava of Nandikeśvara transliterates this as ahamārga. (See pp. 34 and 137) in the attachment. In the same attachment, Mahākāla is said to be invoked at the entrance to the stage during the first performance or installation of the stage (pp. 472-474). 

South Indian Inscriptions vol. 23, inscription no. 306 transliterates it as agamārgga.

Was the ascetic from the Tamil country? What is the date of the text?

Regards,
Palaniappan

-----Original Message-----
From: Michaels, Axel <michaels@asia-europe.uni-heidelberg.de>
To: indology <indology@list.indology.info>
Sent: Mon, Feb 16, 2015 6:05 am
Subject: [INDOLOGY] two questions

Dear all, 

In preparing the editio princeps of the so called Wright Chronicle, a Chronicle in Nepali translated by Daniel Wright in 1877, we (Manik Bajracharya and me) came across two apparently Śaiva phrases which do not make much sense to us: 

This ascetic built another house near the place, invoked Svatantra-mÅ«lamÅ«rti-Å«rddhāmnāya and continued to perform the daily worship  of Paśupatinātha

The ascetic, too, caused the tāṃḍamantra together with Mahākālokta-agamārtha-nṛtyalÄ«lā-prasannārtha to be inscribed on the parasol, and this unprecedented parasol was then offered to Paśupatinātha.

Can anybody help us in understanding it (better)?

Best,
Axel Michaels 
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