Bhāṣā varieties are distinguished by their amśa (characteristic note) and concluding note
"Having pañcama as the initial and concluding note vibhāvinī is born of a
region"
ŀ
TRANSLATION
<sup>191</sup>
[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
region<sup>11</sup> (and) is sung in (the context of) hair - dressing (and) restrained
union with an amorous woman.<sup>12</sup>
(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)