Gūrjarī technical_term
Dictionary: not in dictionary ·
Pages: 3 ·
Occurrences: 6 ·
Affirmations: 9 ·
Graph degree: 14 (in 4, out 10)
Variants (3):
Gūrjarī (4), gurjarī (1), gūrjarī (1)
Generative rules (2) ↗ filter all
R_4p0_006structural · 6 att.
Gūrjarī = deśa-bhāṣā: niṣāda OU gāndhāra aṁśa, ṛṣabha+ṣaḍja OU pañcama concluding, sampūrṇa, concert ṣaḍja-madhyama (descriptions multiples coexistent)gurjari_structurestructural · 3 att.
Gurjarī has niṣāda as aṁśa, ṣaḍja as concluding note, is born of deśa (regional), and shows combinations niṣāda-ṛṣabha and madhyama-ṛṣabha.
Pseudocode (DSL v1.1) ↗ full DSL (raw text)
RULE id: gūrjarī (cluster 115) SCOPE: technical_term family STATUS: empirical CONFIDENCE: empirical PROTECT: false
Essence pseudocode — identity + RECORD. The page citations for each slot value are in the Grammar record table above (audit trail). The full DSL adds ASSERTIONS with verbatim quotes (see Affirmations below) and CITED_RULES (see Graph relations).
Graph relations
Outgoing (9)
--[structural]--> aṁśa (2)--[structural]--> pañcama (1)--[structural]--> niṣāda (1)--[structural]--> ṛṣabha (1)--[relation]--> deśa-bhāṣā (1)--[structural]--> गूर्जरी (1)--[structural]--> concert (1)--[structural]--> gāndhāra as aṁśa (1)--[structural]--> madhyama (1)
Incoming (4)
pañcama --[enumeration]--> (1)mālavakaišika --[enumeration]--> (1)mālavakaišika --[structural]--> (1)deśa-bhāṣā --[definition]--> (1)
Affirmations (9)
Gūrjarī is well-known as a deśa-bhāṣā (regional melodic variety)
"Gūrjarī is well-
known as a deśa-bhāṣā (regional melodic variety)"
TRANSLATION
<sup>141</sup>
Illustration - Sāgāgapā. Pāmapāmagāmāmā rīgasāsā sāsamāgapāpā.
Pādhanidhā. Mapāpāmapāmāmāmagāsa sīvidhānisīsī sadhānīgāvīgāmāpāganisā
nīgārīnisāsā-. Nidhāpāmāgārīgāsā . Mānīdhanīdhāsā. Chevāţī [iv]
Having ṣaḍja as its nyāsa, niṣāda as its amsa, being weak in pancama, there
being the concert of ṣaḍja-gāndhāra and similarly ṣaḍja-madhyama, this bhāṣā
should be known as hexatonic. Mālavesarī bears the name mūlā.
(44)
Illustration - Nīdhāninī sarisāsāgāmāgādhārisamāmāsā gāsārisāsāgadharisā.
Gāmādhāmā māgādhāgā. Sāsāsā. Mālavesarī [v]
Gūrjarī is well- known as a deśa-bhāṣā (regional melodic variety); it is
immensely lustrous, has niṣāda as aṁśa , ṛṣabha and ṣaḍja as its concluding
notes, and is complete. The concert<sup>17</sup> of sadja-madhyama and similarly
pañcama-ṛṣabha should be known there.
(45)
Illustration - Nisāsānipāpānīdhānīnī sānīsāsā. Sārīsāriri. Sāmāgā. Riri.
Nīnīnī. Pāpāpā. Nidhāni. Nigāsā. Gūrjarī [vi]
This bhāṣā, saurāṣṭrī bearing the name deśī (regional) has niṣāda as its
amsa, sadja as its concluding note, is always complete and is sung by people.
(46)
Illustration - Ninidhāninisāsā nirigāsāsā sāgāgāsā dhaninini dhāmāmānini
ninidhāsāsā gāsāsāgāsāsadhāni dhānidhāmāmāmārigāsāsā gāsanīsāsāsā.
Saurāstrī [vii]
Gūrjarī has niṣāda as its amsa
"has niṣāda as aṁśa"
TRANSLATION
<sup>141</sup>
Illustration - Sāgāgapā. Pāmapāmagāmāmā rīgasāsā sāsamāgapāpā.
Pādhanidhā. Mapāpāmapāmāmāmagāsa sīvidhānisīsī sadhānīgāvīgāmāpāganisā
nīgārīnisāsā-. Nidhāpāmāgārīgāsā . Mānīdhanīdhāsā. Chevāţī [iv]
Having ṣaḍja as its nyāsa, niṣāda as its amsa, being weak in pancama, there
being the concert of ṣaḍja-gāndhāra and similarly ṣaḍja-madhyama, this bhāṣā
should be known as hexatonic. Mālavesarī bears the name mūlā.
(44)
Illustration - Nīdhāninī sarisāsāgāmāgādhārisamāmāsā gāsārisāsāgadharisā.
Gāmādhāmā māgādhāgā. Sāsāsā. Mālavesarī [v]
Gūrjarī is well- known as a deśa-bhāṣā (regional melodic variety); it is
immensely lustrous, has niṣāda as aṁśa , ṛṣabha and ṣaḍja as its concluding
notes, and is complete. The concert<sup>17</sup> of sadja-madhyama and similarly
pañcama-ṛṣabha should be known there.
(45)
Illustration - Nisāsānipāpānīdhānīnī sānīsāsā. Sārīsāriri. Sāmāgā. Riri.
Nīnīnī. Pāpāpā. Nidhāni. Nigāsā. Gūrjarī [vi]
This bhāṣā, saurāṣṭrī bearing the name deśī (regional) has niṣāda as its
amsa, sadja as its concluding note, is always complete and is sung by people.
(46)
Illustration - Ninidhāninisāsā nirigāsāsā sāgāgāsā dhaninini dhāmāmānini
ninidhāsāsā gāsāsāgāsāsadhāni dhānidhāmāmāmārigāsāsā gāsanīsāsāsā.
Saurāstrī [vii]
Gūrjarī has ṛṣabha and ṣaḍja as its concluding notes
"ṛṣabha and ṣaḍja as its concluding
notes"
TRANSLATION
<sup>141</sup>
Illustration - Sāgāgapā. Pāmapāmagāmāmā rīgasāsā sāsamāgapāpā.
Pādhanidhā. Mapāpāmapāmāmāmagāsa sīvidhānisīsī sadhānīgāvīgāmāpāganisā
nīgārīnisāsā-. Nidhāpāmāgārīgāsā . Mānīdhanīdhāsā. Chevāţī [iv]
Having ṣaḍja as its nyāsa, niṣāda as its amsa, being weak in pancama, there
being the concert of ṣaḍja-gāndhāra and similarly ṣaḍja-madhyama, this bhāṣā
should be known as hexatonic. Mālavesarī bears the name mūlā.
(44)
Illustration - Nīdhāninī sarisāsāgāmāgādhārisamāmāsā gāsārisāsāgadharisā.
Gāmādhāmā māgādhāgā. Sāsāsā. Mālavesarī [v]
Gūrjarī is well- known as a deśa-bhāṣā (regional melodic variety); it is
immensely lustrous, has niṣāda as aṁśa , ṛṣabha and ṣaḍja as its concluding
notes, and is complete. The concert<sup>17</sup> of sadja-madhyama and similarly
pañcama-ṛṣabha should be known there.
(45)
Illustration - Nisāsānipāpānīdhānīnī sānīsāsā. Sārīsāriri. Sāmāgā. Riri.
Nīnīnī. Pāpāpā. Nidhāni. Nigāsā. Gūrjarī [vi]
This bhāṣā, saurāṣṭrī bearing the name deśī (regional) has niṣāda as its
amsa, sadja as its concluding note, is always complete and is sung by people.
(46)
Illustration - Ninidhāninisāsā nirigāsāsā sāgāgāsā dhaninini dhāmāmānini
ninidhāsāsā gāsāsāgāsāsadhāni dhānidhāmāmāmārigāsāsā gāsanīsāsāsā.
Saurāstrī [vii]
Gūrjarī is complete (sampūrṇa)
"is complete"
TRANSLATION
<sup>141</sup>
Illustration - Sāgāgapā. Pāmapāmagāmāmā rīgasāsā sāsamāgapāpā.
Pādhanidhā. Mapāpāmapāmāmāmagāsa sīvidhānisīsī sadhānīgāvīgāmāpāganisā
nīgārīnisāsā-. Nidhāpāmāgārīgāsā . Mānīdhanīdhāsā. Chevāţī [iv]
Having ṣaḍja as its nyāsa, niṣāda as its amsa, being weak in pancama, there
being the concert of ṣaḍja-gāndhāra and similarly ṣaḍja-madhyama, this bhāṣā
should be known as hexatonic. Mālavesarī bears the name mūlā.
(44)
Illustration - Nīdhāninī sarisāsāgāmāgādhārisamāmāsā gāsārisāsāgadharisā.
Gāmādhāmā māgādhāgā. Sāsāsā. Mālavesarī [v]
Gūrjarī is well- known as a deśa-bhāṣā (regional melodic variety); it is
immensely lustrous, has niṣāda as aṁśa , ṛṣabha and ṣaḍja as its concluding
notes, and is complete. The concert<sup>17</sup> of sadja-madhyama and similarly
pañcama-ṛṣabha should be known there.
(45)
Illustration - Nisāsānipāpānīdhānīnī sānīsāsā. Sārīsāriri. Sāmāgā. Riri.
Nīnīnī. Pāpāpā. Nidhāni. Nigāsā. Gūrjarī [vi]
This bhāṣā, saurāṣṭrī bearing the name deśī (regional) has niṣāda as its
amsa, sadja as its concluding note, is always complete and is sung by people.
(46)
Illustration - Ninidhāninisāsā nirigāsāsā sāgāgāsā dhaninini dhāmāmānini
ninidhāsāsā gāsāsāgāsāsadhāni dhānidhāmāmāmārigāsāsā gāsanīsāsāsā.
Saurāstrī [vii]
Gurjarī has niṣāda as aṁśa and ṣaḍja as the concluding note
"Having niṣāda as aṁśa, ṣaḍja as the concluding note, gurjarī is born of deśa"
<sup>153</sup>
TRANSLATION
Being combined with sadja as the initial and concluding note, being
complete and born of deśa (region), having concert between ṛṣabha and
șadja, the svaras comprised of two śrutis each being of sparse nature, this
ābhīrī<sup>26</sup> is sung by the people as sādhāraņakṛtā, i.e., it uses antara and kākalī.
(68)
Illustration - Sāsārīrī, Sāsārīrī, Sāsārīsārī, Sāsānīsārīrī,
Sārīsārīsāsānīsarīrīgārīgārī. Sanisāsā. Gārīrī. Gāmāgarī. Gapāpagārī. Sanisāsā.
Sanīsāsā dhārīgagamāsā. Pamāgārī. Sanīsāsā. Dhanīdhānī. Sādhanisā.
Ririgāmā. Gāmāriri. Gāpāmāpā, Māgārīrī. Sāsārisārī. Sāsānīsārī. Rīrīsāsā
sānirīrigāri. Rigāriri. Sani. Sāsāgārīri. Gāmagārī. Sāni. Gārīrī. Māgāgārī.
Gāpāgārī. Sanīsāsāsanī. Sāsā. Rigagamāsā. Pamāgārī. Sanisasā. Sadhanisāsā.
Sanidhānidhādhanisārīrī. Gāmāgamārirī. Gāpāmāpā. Mapamā. Magārirī.
Mapāgāri. Sanisāsā. Ābhīrī [vi]
Khañjanî has pañcama as aṁśa, ṣaḍja as the concluding note, is devoid of
dhaivata, there is concert between ṣaḍja and niṣāda and similarly between
madhyama-ṛṣabha. It should be known as hexatonic and saṅkīrṇā (mixed),
giving delight to all people.
(69)
Illustration - Pānīmarīsari. Sāsāsarīri. Sani. Rirī. Sanisani. Ri. Pāpāpāni.
Sarisani. Sagasasā. Sanirīsanīrīrī. Māgārigamā. Nīpāpānīsanīpāpāmaga. Pāpā.
Ni. Nimanisarisagasāsā. Khanjanī [vii]
Having niṣāda as aṁśa, ṣaḍja as the concluding note, gurjarī is born of deśa
(region). There is the combination<sup>27</sup> of niṣāda-ṛṣabha and similarly of
madhyama-ṛṣabha. This bhāṣā should be known by the knowledgeable ones
in music as being complete.
(70)
Illustration - Nidhānīnī. Rigānidhā. Nisāsādhāni. Dhāga. Ri. Sāgarī.
Sānīdhānī. Gadhāsārī. Gārīmāgārī. Sanidhādhānidhāsarigārī. Sanīsāsā.
Nidhāsānīgarī. Magari. Magari. Pāpāgārī.aāmā. Ridhānidhānidhāsari.
Garisānīsāsānīdhāsarīri. Nidhā sāsā. Dhanīsāgā. Gārīri. Magarīmagari.
Māpāgari. Magarisanī. Dhādhānidhāsarigari. Sanisāsā. Gurjarī [viii]
Gurjarī is born of deśa (region)
"gurjarī is born of deśa
(region)"
<sup>153</sup>
TRANSLATION
Being combined with sadja as the initial and concluding note, being
complete and born of deśa (region), having concert between ṛṣabha and
șadja, the svaras comprised of two śrutis each being of sparse nature, this
ābhīrī<sup>26</sup> is sung by the people as sādhāraņakṛtā, i.e., it uses antara and kākalī.
(68)
Illustration - Sāsārīrī, Sāsārīrī, Sāsārīsārī, Sāsānīsārīrī,
Sārīsārīsāsānīsarīrīgārīgārī. Sanisāsā. Gārīrī. Gāmāgarī. Gapāpagārī. Sanisāsā.
Sanīsāsā dhārīgagamāsā. Pamāgārī. Sanīsāsā. Dhanīdhānī. Sādhanisā.
Ririgāmā. Gāmāriri. Gāpāmāpā, Māgārīrī. Sāsārisārī. Sāsānīsārī. Rīrīsāsā
sānirīrigāri. Rigāriri. Sani. Sāsāgārīri. Gāmagārī. Sāni. Gārīrī. Māgāgārī.
Gāpāgārī. Sanīsāsāsanī. Sāsā. Rigagamāsā. Pamāgārī. Sanisasā. Sadhanisāsā.
Sanidhānidhādhanisārīrī. Gāmāgamārirī. Gāpāmāpā. Mapamā. Magārirī.
Mapāgāri. Sanisāsā. Ābhīrī [vi]
Khañjanî has pañcama as aṁśa, ṣaḍja as the concluding note, is devoid of
dhaivata, there is concert between ṣaḍja and niṣāda and similarly between
madhyama-ṛṣabha. It should be known as hexatonic and saṅkīrṇā (mixed),
giving delight to all people.
(69)
Illustration - Pānīmarīsari. Sāsāsarīri. Sani. Rirī. Sanisani. Ri. Pāpāpāni.
Sarisani. Sagasasā. Sanirīsanīrīrī. Māgārigamā. Nīpāpānīsanīpāpāmaga. Pāpā.
Ni. Nimanisarisagasāsā. Khanjanī [vii]
Having niṣāda as aṁśa, ṣaḍja as the concluding note, gurjarī is born of deśa
(region). There is the combination<sup>27</sup> of niṣāda-ṛṣabha and similarly of
madhyama-ṛṣabha. This bhāṣā should be known by the knowledgeable ones
in music as being complete.
(70)
Illustration - Nidhānīnī. Rigānidhā. Nisāsādhāni. Dhāga. Ri. Sāgarī.
Sānīdhānī. Gadhāsārī. Gārīmāgārī. Sanidhādhānidhāsarigārī. Sanīsāsā.
Nidhāsānīgarī. Magari. Magari. Pāpāgārī.aāmā. Ridhānidhānidhāsari.
Garisānīsāsānīdhāsarīri. Nidhā sāsā. Dhanīsāgā. Gārīri. Magarīmagari.
Māpāgari. Magarisanī. Dhādhānidhāsarigari. Sanisāsā. Gurjarī [viii]
Gurjarī has combination of niṣāda-ṛṣabha and madhyama-ṛṣabha
"There is the combination of niṣāda-ṛṣabha and similarly of
mādhyama-ṛṣabha"
<sup>153</sup>
TRANSLATION
Being combined with sadja as the initial and concluding note, being
complete and born of deśa (region), having concert between ṛṣabha and
șadja, the svaras comprised of two śrutis each being of sparse nature, this
ābhīrī<sup>26</sup> is sung by the people as sādhāraņakṛtā, i.e., it uses antara and kākalī.
(68)
Illustration - Sāsārīrī, Sāsārīrī, Sāsārīsārī, Sāsānīsārīrī,
Sārīsārīsāsānīsarīrīgārīgārī. Sanisāsā. Gārīrī. Gāmāgarī. Gapāpagārī. Sanisāsā.
Sanīsāsā dhārīgagamāsā. Pamāgārī. Sanīsāsā. Dhanīdhānī. Sādhanisā.
Ririgāmā. Gāmāriri. Gāpāmāpā, Māgārīrī. Sāsārisārī. Sāsānīsārī. Rīrīsāsā
sānirīrigāri. Rigāriri. Sani. Sāsāgārīri. Gāmagārī. Sāni. Gārīrī. Māgāgārī.
Gāpāgārī. Sanīsāsāsanī. Sāsā. Rigagamāsā. Pamāgārī. Sanisasā. Sadhanisāsā.
Sanidhānidhādhanisārīrī. Gāmāgamārirī. Gāpāmāpā. Mapamā. Magārirī.
Mapāgāri. Sanisāsā. Ābhīrī [vi]
Khañjanî has pañcama as aṁśa, ṣaḍja as the concluding note, is devoid of
dhaivata, there is concert between ṣaḍja and niṣāda and similarly between
madhyama-ṛṣabha. It should be known as hexatonic and saṅkīrṇā (mixed),
giving delight to all people.
(69)
Illustration - Pānīmarīsari. Sāsāsarīri. Sani. Rirī. Sanisani. Ri. Pāpāpāni.
Sarisani. Sagasasā. Sanirīsanīrīrī. Māgārigamā. Nīpāpānīsanīpāpāmaga. Pāpā.
Ni. Nimanisarisagasāsā. Khanjanī [vii]
Having niṣāda as aṁśa, ṣaḍja as the concluding note, gurjarī is born of deśa
(region). There is the combination<sup>27</sup> of niṣāda-ṛṣabha and similarly of
madhyama-ṛṣabha. This bhāṣā should be known by the knowledgeable ones
in music as being complete.
(70)
Illustration - Nidhānīnī. Rigānidhā. Nisāsādhāni. Dhāga. Ri. Sāgarī.
Sānīdhānī. Gadhāsārī. Gārīmāgārī. Sanidhādhānidhāsarigārī. Sanīsāsā.
Nidhāsānīgarī. Magari. Magari. Pāpāgārī.aāmā. Ridhānidhānidhāsari.
Garisānīsāsānīdhāsarīri. Nidhā sāsā. Dhanīsāgā. Gārīri. Magarīmagari.
Māpāgari. Magarisanī. Dhādhānidhāsarigari. Sanisāsā. Gurjarī [viii]
Gūrjarī has gāndhāra as aṁśa and pañcama as concluding note
"गूर्जरी पञ्चमान्ता च गान्धारांशाऽल्पमध्यमा"
BŖHADDEŚĪ
<sup>162</sup>
<sup>७८</sup>माङ्गाली <sup>७९</sup>पञ्चमान्ता च धैवतांशा प्रकीर्तिता ।
षड्जधैवतसंवादो ८०मध्यमर्षभयोस्तथा ॥ ९२॥
सम्पूर्णा च मता नित्यं ज?्ञेया वै देशसम्भवा ।
सङ्क्षीर्णा
एषा भाषा च गीतज्ञैरुक्ता पञ्चमसम्भवा ॥ ९३॥
उदाहरणम् -[धाधा]सासासाधासारिरि [मिरि]धासारिरिधासाधासाधासासारिमारिमामाम-
ध म ध पा पा पा धा म पा प म सा सा सा नि ध सा रिरिमागरिसासारिमारिमाममधमपपापापामापापमसा-
सानिधससारिरिगारिमारीसा। धासासाधमासासासासामपमामापापा। माङ्गाली।[३]
पञ्चमांशा तदन्ता च सम्पूर्णा पञ्चमोज?्ज?्वला ।
सिन्धुदेशसमुद्भूता विभाषा सैन्धवी विदुः ॥
सैन्धवीषड्जसम्भूता
षड्जपञ्चमसंवादो दृश्यते च मुहुर्मुहुः८९॥ ९४॥
उदाहरणम् -पापाधसारिगागागरिमारि। स सा नि धा धा स नि धा धा म स रि गा गा ग रि सा धा ध मा पा धा पा ध सा रि गा -
रिपपारिगागारिरीसाधासाधापा मा पा पा धा पा धा पा मा मा मा पा धाधासारीरिसाधापा मा पा पा । सैन्धवी ।[४]
गूर्जरी पञ्चमान्ता च गान्धारांशाऽल्पमध्यमा<sup>८२</sup>।
षड्जमध्यमसंवादा सम्पूर्णा नित्यमेव हि ॥
८३विभाषेयं समाख्याता सम्पूर्णा पञ्चमोद्भवा ॥९५॥
उदाहरणम् - गरीमामामधानिधापापा धा धा नी धा मा मा मा धा गारीरीसरिगरिमाधामापा धपधनिधाधाधधप-
रीरी सारिमागारिमामामाघा नीधरिपघानीधापापा नीधामामामधमधमगारिरीमामारीसा सागारीमामापाधा-
नी स नी स नी धा म पा पा । गूर्जरी । [५]
८४पञ्चमाद्यन्तसंयुक्ता दाक्षिणात्या मनोरमा ।
८५सम्पूर्ण[कथिता]होषा ज?ाता गान्धारप[ञ्च]मे ॥
८६विभाषेयं सदा ज?्ञेया देशाख्या पश्चमोद्भवा ॥ ९६।
उदाहरणम् -पापानीरी। निरिगारिगरिमामरिरिनिनिरि। धा पा पा प पा निरिरिगरिगरिमगरिरिरि।ध -
नि ध ध नि धा ध नि धा पा पा नि रि रि गा रि गा धा मा गा रि रि सा निरिगामागारीनिधापापा।दाक्षिणात्या।[६]
Gūrjarī has concert between ṣaḍja and madhyama and is always complete
"षड्जमध्यमसंवादा सम्पूर्णा नित्यमेव हि"
BŖHADDEŚĪ
<sup>162</sup>
<sup>७८</sup>माङ्गाली <sup>७९</sup>पञ्चमान्ता च धैवतांशा प्रकीर्तिता ।
षड्जधैवतसंवादो ८०मध्यमर्षभयोस्तथा ॥ ९२॥
सम्पूर्णा च मता नित्यं ज?्ञेया वै देशसम्भवा ।
सङ्क्षीर्णा
एषा भाषा च गीतज्ञैरुक्ता पञ्चमसम्भवा ॥ ९३॥
उदाहरणम् -[धाधा]सासासाधासारिरि [मिरि]धासारिरिधासाधासाधासासारिमारिमामाम-
ध म ध पा पा पा धा म पा प म सा सा सा नि ध सा रिरिमागरिसासारिमारिमाममधमपपापापामापापमसा-
सानिधससारिरिगारिमारीसा। धासासाधमासासासासामपमामापापा। माङ्गाली।[३]
पञ्चमांशा तदन्ता च सम्पूर्णा पञ्चमोज?्ज?्वला ।
सिन्धुदेशसमुद्भूता विभाषा सैन्धवी विदुः ॥
सैन्धवीषड्जसम्भूता
षड्जपञ्चमसंवादो दृश्यते च मुहुर्मुहुः८९॥ ९४॥
उदाहरणम् -पापाधसारिगागागरिमारि। स सा नि धा धा स नि धा धा म स रि गा गा ग रि सा धा ध मा पा धा पा ध सा रि गा -
रिपपारिगागारिरीसाधासाधापा मा पा पा धा पा धा पा मा मा मा पा धाधासारीरिसाधापा मा पा पा । सैन्धवी ।[४]
गूर्जरी पञ्चमान्ता च गान्धारांशाऽल्पमध्यमा<sup>८२</sup>।
षड्जमध्यमसंवादा सम्पूर्णा नित्यमेव हि ॥
८३विभाषेयं समाख्याता सम्पूर्णा पञ्चमोद्भवा ॥९५॥
उदाहरणम् - गरीमामामधानिधापापा धा धा नी धा मा मा मा धा गारीरीसरिगरिमाधामापा धपधनिधाधाधधप-
रीरी सारिमागारिमामामाघा नीधरिपघानीधापापा नीधामामामधमधमगारिरीमामारीसा सागारीमामापाधा-
नी स नी स नी धा म पा पा । गूर्जरी । [५]
८४पञ्चमाद्यन्तसंयुक्ता दाक्षिणात्या मनोरमा ।
८५सम्पूर्ण[कथिता]होषा ज?ाता गान्धारप[ञ्च]मे ॥
८६विभाषेयं सदा ज?्ञेया देशाख्या पश्चमोद्भवा ॥ ९६।
उदाहरणम् -पापानीरी। निरिगारिगरिमामरिरिनिनिरि। धा पा पा प पा निरिरिगरिगरिमगरिरिरि।ध -
नि ध ध नि धा ध नि धा पा पा नि रि रि गा रि गा धा मा गा रि रि सा निरिगामागारीनिधापापा।दाक्षिणात्या।[६]