Umādevī proper_noun

¹⁸⁹ TRANSLATION panīsani sāsāni gāgā pamamamārī māpādhāpā pāpamamapārī mapānisā rinisāsā. Ravicandrā [ii] Having madhyama as aṁśa and ṣaḍja as the concluding note, (that which) is known as complete in hindola (lit. swing) by the spectators (of drama), is bhinnapaurālī bhāṣā, always sung with proper svaras. (10) Illustration-Māmāmadhyamāmā māmāpāmāpānisāsā gamagā nisādhādhāgāmā maparisā ninisā māgari sāmāgari sānipasasā. Bhinnapaurālī [iii] Having pañcama as aṁśa and ṣaḍja as the concluding note, this (bhāṣā) born of drāvida region is always sung in the (context of the ) search on the part of one who has lost his way.8 (11) Illustration - Pāninidhāsā sāgarimā garisāsānirinipāpāni sāgari māsari sāsāsā nirimadhāpāpā nininidhāsāsā. Drāviḍī [iv] Having gāndhāra as aṁśa and ṣaḍja as the concluding note, the vibhāṣā pinjarī is auspicious. It is hexatonic and devoid of ni (niṣāda) and is sung by Umādevī.9 (12) Illustration - Gāgāgāri sādhāsāsī rīgāgā māgārisī. Dhāsāpādhā pagāpādhāsu irigāpā. Māgarisāmā risādhārisāsāri. Dhāsārigāgā māmāgarisā ririgā ririsā rīsāpā. Dhāsapā. Sārīmāpā. Dhāpāsārigā māririsā. Pinjarī [v] Combined with ṣaḍja as aṁśa and nyāsa, complete, born in the mountainous region, (this) auspicious bhāṣā is sung in hindolaka (rāga) in (the context of) women excelling in bashfulness or men excelling in fame.¹⁰ (13) Illustration - Sāsānima. Pāmāpānidhāni dhāpāmāpā. Rīsāpānini mārimāgani sāninisāgā pānisāsā ninipāmāpānimā. Dhānidhāpā māmārimāmā pānisāmāgā. Risāmāgāri sānīsāsāsā. Pārvatī [vi] Thus end the bhāṣās in hindolaka according to the opinion of Śārdūla.