Kaiśikī has pañcama as nyāsa⁷, madhyama as amśa, is weak in ni(niṣāda), there is (mutual) movement between madhyama-dhaivata and abundance of pancama⁹. This bhāṣā is born of pancama (rāga) and is always sankīrṇā (mixed)⁵³. Illustration-Pรับหลัdhลับidhลัpลีpลิpลิdhลับidhaัdhaัdhลับหลับกลับกลัdhลับกลัdhลัdhลับโรรั- sārirīpāpā mādhāmādhamadhadhamāmādhā. Niripāpā. Kaišikī [x] These are the ten bhāṣās in pancama (rāga) described by Yāṣṭika. After this, I shall speak of the bhāṣās in bhinnaṣaḍja. Having dhaivata as amsa and the same as concluding note, being devoid of pañcama and ṛṣabha,45 having to and fro movement between ṣaḍja- gāndhāra, this śuddhā (bhāṣā) should be known by the performers to subsist in bhinnaṣadja and it becomes pentatonic when devoid of ṣadja.46 lllustration-Dhādhāmāgāmāmāgagasanisanisanidhanidhādhāmānimāmāg ลังกลัฐจรรับก่ฝาลฝาลัปกลับก่รรัปกลเกล้ฐริธาก่าก่าเปกลีปกลิปกลัฐริธาลปกลากลัฐริธาฐริธาลี gamadhamadhasigāsisimādhāmāmadhamagāgamasisisigāsinininismidhādhā dhānidhāmanadhamadhamasīgāmadhāmāsā. Sānidhānidhānīgāsānidhānidhā Suddhā [i] Having dhaivata as amsa, dhaivata as the concluding note, the concert between sadja-dhaivata, there being (mutual) movement between sadja- dhaivata and ṛṣabha-madhyama, the vibhāṣā dākṣiṇātyā bears the name of deśa (region)⁴⁷ and is born of (bhinna) şadja.