Kinnaras other

TRANSLATION ¹⁵⁹ [4. Bhāṣās in hindolaka] Combined with ṣaḍja as aṁśa and nyāsa, weak in dhaivata, this vesarī bhāṣā is formed with the (profuse) use of gandhara. The to and fro movement between şadja and gandhara should be arranged there by the performers. (83) Illustration Sāsāgāsāsanipāni.Mādhāmāgāsamāsāsāsā. Samagāsapamarigāsā ninimāsāgāsāsā. Dhanipāpāpanisāsā. Vesarī [i] Having pancama as aṁśa, şadja as the concluding note, being devoid of ṛṣabha and having concert between ṣaḍja-pañcama and the svaras comprised of two śrutiseach, this bhāṣā called prathamamañjarī is (based on ) hindolaka. (84) Illustration - Pāpāpāpādhamapānīsā pañcamapādhani dhāsāsāpāpānisāsāsā gāsāpāgāmānisanipāpānisā gānisānisāsā. Prathamamanjarī [ii] Combined with sadja as amsa and nyāsa, complete, weak in dha(dhaivata), thus has been described chevāțī and concert between șadja-madhyama and similarly şadja-gāndhāra should always be put up. (85) Illustration - Sāpāsā. Māgāsāsā gāmanimāpāmāsā sāmāmānīmāmāmā nīmāmāpāpāgāmāsāsāsāgāsānī. Sāgāsānīsanīdhāmadhāmāpāpāpādhāmāmādhama pamagarisā sānīnīnīsāgārīmāmārīnīsāsā. Chevāţī [iii] Having şadja às aṁśa and madhyama as concluding note, being weak in niṣāda and ṛṣabha (which are also perhaps omissible), there being concert between ṣaḍja-madhyama and similarly gāndhāra-pañcama, this bhāṣā, said to be şadjamadhyamā, should be known to be hexatonic and pentatonic by nature. It is sung also by Kinnaras.³³ (86-87)

¹⁷⁵ TRANSLATION Illustration-.....Sādhāritā [iii] Gāndhārī has niṣāda as aṁśa, ṣaḍja as the concluding note, (and) is complete in svaras. This is a bhāṣā in sauvīraka (rāga) and is always sung in karuna (rasa).⁵⁷ (123) Illustration - Ninigāgāpāmāmānisāmāgānī dhāsāsāsā. Gāndhārī [iv] Thus end the bhāṣās of sauvīraka. [8. After this are being described the bhāṣās in bhinna-paācama] Śuddhabhinnakā has dhaivata as aṁśa and the same as the concluding note, is complete, there is concert between dhaivata-ṛṣabha and similarly between șadja-madhyama. This śuddhabhinnā is said to be born of bhinnapañcama. It is always sung by the Kinnaras⁵⁸ in view of its being delightful to the people. (124-125) Illustration - Dhānidhānisasadhā nīdhānisāgāsanigānidhā pāpāninimapāmāpāpamādhā dhāpādhāpādhādhā. Śuddhabhinnā [i] Having madhyama as aṁśa, dhaivata as the concluding note, weak in ṛṣabha, this bhāṣā is hexatonic with profuse dhaivata and madhyama. There is concert between şadja-dhaivata and the svaras comprised of two śrutis each alongwith dhaivata. It is well-known as varāṭī and is verily sung by the vidyādharas. 59 (126-127) Illustration - Mādhāsadhānidhā pānimāmāgāsāsāgāmāgā sādhānīdhā. Dhādhā dhādhāsādhānī pāpāmāgāsāsāgāmā [dhādhā]. Varāṭī [ii] Lower (mandra) ṛṣabha should be used and so also dhaivata again and again. (The gamaka) sphurita60 should be used there as fast, medium and One should bring about movement in high and low and similarly slow.⁶¹ ascentand descent. Eshould be known as a vibhāṣā born of bhinnapañcama. (128-129)