I make obeisance to the Devīl who bears a red hue like that of the bandhūka (flower), has three eyes, wears a crest of the kalā (part) of the one having rays of ampta (nectar) (crescent moon), wears red clothes, is bent with the weight of breasts that are becoming plump and elevated, is conventionally associated with the begininning of youth, is adorned with all ornaments, has abode in the lotus, whose body bears association with the citron fruit, whose (two) hands hold the snare (pāśa) (and) hook (ankuśa) (and the other two) hands are held in the abhaya (granting of freedom from fear) and vara (granting of boons) gestures and who is the yoni (origin, birth-place) of the universe. After this I shall speak of the group of desī rāgas, which embodies the combination of practice (laksya) and theory (laksana) and is threefold¹⁰4; viz. rāgānga, bhāṣānga and kriyānga as the third one.² (346, 347) I shall speak of the description of each of them one after another. All rāgāngas are so called by the experts in music because they bear only a reflection or shadow (chāyā) of the grāmarāgas⁸³ that have been spoken of.⁶ Bhāṣāṅgas are so called by the singers devoted to the rendering of panegyrics because they are based on the reflection or shadow (châyā) of bhāṣās⁷ and hence become similar to the same (bhāṣās).⁴ Kriyāngas are so called because they are born of the kriyā<math>^8</math> (special way of rendering), born of karuna (pathos), utsāha 9 (enthusiasm) and the like. The set of regulations prescribed earlier for the mārga-rāgas, could sometimes become otherwise in desī-rāgas, bhāṣās and the like.⁷ Kacchelli 11 is known to have madhyama as amsa, graha (and) nyāsa, has low(mandra) ri (rṣabha) (and) has leaning towards high (tāra), is devoid of ga-dha (gāndhāra-dhaivata) and should be known to have profuse movement of pa-ri (pañcama-ṛṣabha).