I received this response from a scholar Dr Shankar Rajaraman:

Shankar Rajaraman

Mon, Mar 28, 1:26 PM (2 days ago)
to me
Namaste
निरवद्य here seems to refer to the use of purely संस्कृत words which do not retain the same form in प्राकृत. 
Verse 51 is पादनिरवद्य since, except the last पाद (सुराङ्गनादक्षकटाक्षमोक्षैः), all the remaining 3 पादs - (गभीरधीरारवरीणभीरु) (रणादरा दारुणवारणा सा) (अभङ्गुरा वीरविरूढहाव) are composed of संस्कृत words that retain the same form in प्राकृत.
Verse 52 is प्रागर्धनिरवद्य because, in contrast to its first half, the second half (उत्तरार्ध) - विरूढसंरंम्भसुरारिबाणसंभारसंरुद्धकरीरकुंजा - is again composed of संस्कृत words that retain the same form in प्राकृत. The first half, in that sense, has pure संस्कृत forms (which, if rendered by their respective प्राकृत equivalents, will undergo a morphological transformation that will alter them substantially from those Sanskrit forms). 
Verse 53 is चरमार्धनिरवद्य because, in contrast to its second half, the first half - आरूढरीढामरबाणविद्धतुरंगमाला रणरागमूढा - in a way similar to the one described above, is composed of संस्कृत words that retain the same form in प्राकृत. The second half, in this case, is therefore conposed of "pure" Sanskrit forms and therefore निरवद्य
Thank you
Regards
Shankar Rajaraman

On Fri, Mar 25, 2022 at 6:26 PM Peter Pasedach <peter.pasedach@uni-hamburg.de> wrote:
Dear all,

the 48th canto of the Haravijaya, one of two called 
“Citrayuddhavarṇanam” in it, contains three verses in which different 
variants of a technique called Niravadya are applied:

gabhīradhīrāravarīṇabhīruraṇādarā dāruṇavāraṇā sā |
abhaṅgurā vīravirūḍhahāvasurāṅganādakṣakaṭākṣamokṣaiḥ || 51 || 
(pādaniravadyaḥ)
prabhāmayenāricamūs tadānīṃ salīlam āsphālitacāpayaṣṭiḥ |
virūḍhasaṃrambhasurāribāṇasaṃbhārasaṃruddhakarīrakuñjā || 52 || 
(prāgardhaniravadyaḥ)
ārūḍharīḍhāmarabāṇaviddhaturaṃgamālā raṇarāgamūḍhā |
nītā vihastatvabhibhaiḥ sahātha suvarṇasānor gahanāny avikṣat || 13 || 
(caramārdhaniravadyaḥ)

V. Balasubramaniam lists these in his Citram book (2007, vol. I, p. 
313f.), but unfortunately without explaining the restriction. I have 
not yet found any other instances of this technique being used. Is 
anybody familiar with this technique, or can spot a pattern, and could 
explain what is the “blameless” element in these stanzas?

Best wishes

Peter Pasedach


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