drāviḍī technical_term

¹³⁷ TRANSLATION Sauvīrī should be known as the first one, vega-madhyamā the second, sādhāritā is the third one and gāndhārī the fourth. Thus should be known the four bhāṣās born of sauvīraka. (30c-31) Suddhabhinnā, vārāṭī, similarly dhaivatabhūṣitā and then viśālā are said to be born of bhinnapañcama. (32) The bhāṣā called māṅgalī is born of boṭṭa-rāga. In mālavapañcama is born bhāvinī, the one that is beautiful for the people. (33) Mālavā (and) bhinnavālikā should be known to be born of ṭakkakaiśika, and drāvidī is the third bhāṣā there that is described with characteristics (lakṣaṇas). (34) The two known as bāhyaṣāḍavā and nādākhyā are born in vesaraṣāḍava. Tānodbhavā should be known as being assigned to bhinnatāna. (35) In gāndhārapañcama, gāndhārikā is the one bhāṣā that is accepted. Gāndhārī is with profuse gāndhāra and is delightful to the people in pañcama (gāndhārapañcama). In revagupta¹³ (?) śakākhyā is the one spoken of in pañcamaṣāḍava. (36) Thus are obvious the bhāṣās that are born in manifold ways. Now listen to their description alongwith illustration for each one. (37) [The description of bhāṣās] [1. Bhāṣās in ṭakka-rāga] It has madhyama as its aṁśa, şadja as its concluding note, is devoid of pañcama and there is to be seen here again and again the mutual movement¹⁴ of dhaivata-niṣāda and similarly ṣaḍja - dhaivata. This should be known as hexatonic. Travaņā should bear the name mūlā. (38-39)

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.