Mālavesarī proper_noun

TRANSLATION 133 I will tell you a complete description in essence. First the two grāmas have been spoken of and then the grāma-rāgas born of them. (9) Bhāṣāsare born of grāma-rāgasand vibhāṣās of bhāṣās and similarly from vibhāṣās are born antara-bhāṣās. ¹² (10) [The number and nomenclature of bhāṣās pertaining to grāma-rāgas] In ṭakka-rāga, there are ten and two (twelve) (bhāṣās); some hold them to be sixteen. After this, eight are said to obtain in mālava-kaiśika. (11) In kakubha, seven have been said to be there, five are known to be there in hindolaka, ten are well-known in pañcama, nine are known in bhinnaṣaḍja. (12) In sauvīrākā, on the other hand, there are four, in bhinna-paūcāma four, in boţṭa-rāga even so there is one and similarly in mālavapañcama (one). (13) Three are born of takkakaišika and two are there in vesara-ṣāḍava, similarly one in bhinnatāna and one is there in gāndhārapañcama. (14) There is one in pañcamaṣāḍava and thus bhāṣās and vibhāṣās have been said to be seventy-three in total. (15) Understand the names and descriptions of bhāṣās. Travaṇā is the first one and travaṇodbhavā the second one, veranjikā is the third one and chevāṭī the fourth. Mālavesarikā is the fifth one to be used there. Gūrjarī is the sixth, similarly saurāṣṭrī is the seventh and the eighth one is saindhavī, similarly

TRANSLATION ¹⁴¹ 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 concert¹⁷ 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]

TRANSLATION ¹⁴¹ 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 concert¹⁷ 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]

TRANSLATION ¹⁴¹ 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 concert¹⁷ 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]