Dhaivatabhūṣitā technical_term

TRANSLATION ¹⁷⁷ Illustration-Dhādhānidhāsāsānidhādhānidhādhādhāpā māgāriririgāmāpā pādhāpagārīdhamādhāpāpādhāpāmarigāmānīdhāpādhādhāmapādhāpāniriga risāridhāridhāripādhādhādhādhāni. Sāsārigāgā masāmapamādhā- dhādhāpādhāsānidhaivatadhādhā. Dhaivatabhūṣitā [iii] Viśālā has pañcama as aṁśa and dhaivata as the concluding note, (and) is charming. This is complete in svaras and has to and fro movement between sa-dha (ṣaḍja-dhaivata). This bhāṣā is always sung by the Kinnaras.⁶³ (130) Illustration - Pādhāsāsādhānī gāsānidhādhā.Pādhādhā. Nisāsānīdhāpā māgānininirigāmāmāgāmamadhānīdhānisārigārisāsānidhārigasāsanisānidhāni- nīdhāpadhadhadhapāpāmāgāriridhāririmamadhyamagamāpāpāpāpānidhadhad- hadhapāmādhānisāsāsāriririmamamapamapāpādhānīsānīdhāpādhādhāpānininī. Sāsāmadhāpādhānidhā. Viśālā [iv] These are the bhāṣās of bhinnapañcama spoken of by Yāṣṭika. [9. Now in Bottaraga] Having pañcama as amsa, madhyama as the concluding note, being complete and brilliant with madhyama, this baṅgāla bhāṣā is sung in boṭṭa-rāga. To and fro movement is always seen in profusion. It is sung by the n\bar{a}yakas^{64} on all auspicious occasions. Since it is auspicious and commendable, it is known as mangalā. (131-132) Illustration - Pādhāpādhāmā dhāpāmā gāriririgamapā dhāsāgāsānidhāpā- pāmā. Maṅgalā [i] [10. Bhāṣās in mālavapañcama] .....[Bhāvinī]