Pārvatī technical_term

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.

¹⁹⁹ TRANSLATION Illustration-.....Śuddhā[xiv] [.....] Illustration - Dhāpā ninisā nidhānigāmā pāpāripāpā dhānini. Dhānīgārīgāsāgāsāsāsāsāpāpāmāpāpā. Gamasānigāgamasāgāsādhāmāgāmāmā. Madhyamā [xv] Pārvatī (bhāṣā) has pañcama as aṁśa (and) dhaivata as the concluding note and is born of a region³¹; it is sung in the assembly of kşatrīyas, is complete and born of bhinna (şadja). (33) Illustration - Pāpāpāgā māririnirimā dhāpāpāpā sārimā. Pāgāririsani dhāpāpādhā. Pārvatī [xvi] Thus end the sixteen bhāṣās of bhinnaṣaḍja according to the opinion of Śardūla. The proper bhāṣās adorned with vibhāṣās have been spoken of in combination with practice and theory (and) blended with prastāra (lit. elaboration, here notational illustration). (34) Thus ends the description of bhāṣās. [Thus ends the fourth chapter.]

¹⁹⁹ TRANSLATION Illustration-.....Śuddhā[xiv] [.....] Illustration - Dhāpā ninisā nidhānigāmā pāpāripāpā dhānini. Dhānīgārīgāsāgāsāsāsāsāpāpāmāpāpā. Gamasānigāgamasāgāsādhāmāgāmāmā. Madhyamā [xv] Pārvatī (bhāṣā) has pañcama as aṁśa (and) dhaivata as the concluding note and is born of a region³¹; it is sung in the assembly of kşatrīyas, is complete and born of bhinna (şadja). (33) Illustration - Pāpāpāgā māririnirimā dhāpāpāpā sārimā. Pāgāririsani dhāpāpādhā. Pārvatī [xvi] Thus end the sixteen bhāṣās of bhinnaṣaḍja according to the opinion of Śardūla. The proper bhāṣās adorned with vibhāṣās have been spoken of in combination with practice and theory (and) blended with prastāra (lit. elaboration, here notational illustration). (34) Thus ends the description of bhāṣās. [Thus ends the fourth chapter.]