Saurāstrī proper_noun

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]