karuṇa technical_term

ŀ TRANSLATION ¹⁹¹ [3. Now in mālavapancama] Vibhāvinī, paurālī, vegavantī, pañcamī, āndhrī and gāndhārikā alone are the six (bhāṣās) in mālavapañcama. (14) Having pañcama as the initial and concluding note vibhāvinī is born of a region¹¹ (and) is sung in (the context of) hair - dressing (and) restrained union with an amorous woman.¹² (15) Illustration - Paninimāgā risānirinisārigāmāpāpāmāgārisānini dhānīnīdhāmāpāpā. Vibhāvinī [i] .....Paurālī [ii] The auspicious vegavatī should be known to have pañcama as amsa, being complete, (this) vibhāṣā is sung in karuṇa (rasa) 13 in which dainya (depression or affliction) is profuse. (16) Illustration - Pāpānidhādhāni dhāgāsāsāsāsāni dhādhāninipā dhāmā. Gāgādhāmā māpāpādhā nīsāsārīgārī. Sanidhāpāpā. Vegavatī [iii] Having pañcama as amsa and concluding note (and) being complete, pañcamī is a mūlabhāṣā. It is a bhāṣā in mālavapañcama (rāga) in (the context of) the song of (one with) a mature mind. 14 (17) Illustration - Pāpāpāmāsā ririgāninidhādhā. Dhādhārinigārimāgarinīdhā pāpāpādhā pāmāmāpā mādhānirimā gāmāgārī sāsānisāni dhāpāpā. Pañcamī [iv] Having madhyama as aṁśa (and) pañcama as the concluding note, andhri is a bhāṣā born in the Āndhra region, well-known among the people (and) is sung in (the context of) those who are corrupted by disease. 15 (18)