Similarly - sanga-tungEna, which OVK seems to use a lot.
Yes, it is one of his typical usages. tunga:
prominent , chief, lofty etc. samudita madhuvana sanga tungēna
= prominent among those who revelled in madhuvana. After Seeta was located by Anjaneya in Lanka, the vanaras had a feast there before meeting Rama. (This may not necessarily be taken literally as Anjaneya was the most prominent reveller... The incident is merely being referred to in a poetic manner.)
sādhaka viha sama tāraka pāṭhanēna - this is not clear
Sadhaka: Effective, productive, energising, magical etc...
sādhaka viha sama tāraka pāṭhanēna
= one who is intent on the taraka nama, whose effectiveness/magic is as immense as the sky.
Most sandhis, as CML says are other's interpretations - sometimes for musical convenience. [In fact, in some of NKB's books, they have even made sandhis out of Raga and Tala - Sahana - Adi has been written as SahanAdi].
What is the take on - janaka sutā shishira vachana pātra chalita gagana vara sādhu mitrēṇa
I covered this earlier in post #96.
P S: sandhi is a where most of us musicians tend to slip up. For instance, there are numerous sandhis in Tyagaraja swami's Jagadanandakaraka. But we singers have no qualms murdering it at will - so that we can continue to breath and survive. Even in aradhanas, we collectively draw our breath exactly at the wrong time... Just a few (out of several dozen) examples:
1. jagadA.....-------......nanda kAraka (Ananda)
2. paripUrNA.....-----.............nagha (anagha)
3. shubhakarA....--------....... nEka (anEka - jagadAnanda)
It is easier to educate smaller groups of artistes/students about not splitting phrases like this:
4. anurA .......---------......... garA garA jita (anurAga rAga rAjita)