SANGÍTA

is the art of singing, accompanied by music and dancing. The subject is treated in seven chapters (adhyáyas).

THE FIRST is Svarádhyáya, on musical tone which is of two kinds. (1). Anáhata, sound produced without cause (i. e., otherwise than by per­cussion). This is considered to be one and eternal. If a man close both orifices of his ears with his fingers, he will be conscious of a resonance, and this is signified by the above term. They believe this to proceed from Brahmá, and when the consciousness of it becomes habitual and it is heard without mediate aid, final liberation (mukti) is then attained. (2). A´hata, sound produced by a cause, which, like speech, is accounted a quality of air and is produced by percussion and protrusion. They say that in each of the three locations of the abdomen, the throat, and the head, twenty-two fibres or chords have been divinely created. The primary movement of air is from the navel, and the volume of sound produced depends upon the strength or softness of the initial force exerted.*

They consider that the fifth, sixth, eighteenth and nineteenth chords are mute and the remaining eighteen are classed under the seven primary notes in the following order:—

(1). Shaḍja,* is taken from the note of the peacock (and extends to the fourth chord). (2). Ṛishabha, is taken from the note of the Papíha (Coccystes Melanoleucos), and beginning after the fourth chord (omitting the fifth and sixth), extends from the seventh to the tenth. (3). Gán­dhára, is from the bleating of a he-goat and its compass extends from the ninth to the thirteenth. (4). Madhyama, resembles the cry of the Coolen Crane* (Ardea Sibirica), and its compass is from the thirteenth to the sixteenth. (5). Paṇchama, is taken from the note of the Ko'il (Cuculus Indicus), and is attuned on the seventeenth. (6). Dhaivata, is like the croak of the frog, and its compass extends from the twentieth* to the twenty-second. (7). Nisháda is taken from the sound of the elephant* and its compass is from the twenty-second to the third of the next series (of twenty-two). Each heptachord occurs successively in each series, and in the third, Nisháda, cannot, of course, go beyond the twenty-second chord.

A system of intervals in which the whole seven notes of the gamut are employed, is termed Sampúrṇa. If there be only six, the fundamental must be one of them, and it is styled Sháḍava; if five, Auḍava, the funda­mental being of necessity one of them. None has fewer than these, but the tána which is a separate intonation may consist of two.*

THE SECOND is Rága-vivekádhyáya, on divers musical compositions and their variations.*

Their origin is ascribed to Mahádeva and (his wife) Párvati. The first-mentioned had five mouths,* from each of which issued a melody in the following order:—

(1). ´Srí-rága. (2). Vasanta. (3). Bhairava. (4). Pañchama. (5). Megah. (6). Nata-Naráyaṇa was produced by Párvati. Each of these six modes is called in Sanskrit Rága, and they are reckoned the primary orders of sounds. Each of them has numerous variations.

The ´Srí-rága has the whole seven notes (sampúrna) of the gamut. In this, Rishabha has a compass to the eighth chord, Gándhára to the tenth, Madhyama to the thirteenth, and Dhaivata to the twenty-first: Nisháda is allotted but one. And in like manner other changes occur throughout all the modifications.

1. VARIATIONS OF ´SRÍ-RÁGA:—(1). Málaví. (2). Tirovaní.* (3). Gaurí. (4). Kedárí. (5). Madhu-mádhaví. (6). Vihárí.

2. VARIATIONS OF VASANTA:—(1). Desí. (2). Devagirí. (3). Vairátí.* (4). Toḍí. (5). Lálitá. (6). Hindólí.

3. VARIATIONS OF BHAIRAVA:—(1). Madhya-mádi*. (2). Bhairaví. (3). Bángah. (4). Varátaka.* (5.) Sindaví.* (6.) Punarjṅneya.*

4. VARIATIONS OF PA@~NCHAMA:—(1). Vibhása.* (2). Bhúpáli. (3). Kánará.* (4). Baḍhansiká. (5). Malaśri. (6). Padhamanjari.*

5. VARIATIONS OF MEGHA:—(1). Malár. (2). Sorathí. (3). A´sávarí.* (4). Kaisukí.* (5). Gándhárí. (6). Harsingárí.*

6. VARIATIONS OF NÁṬA NARÁYAṆA:—(1). Kámodí. (2). Kalyáṇ.* (3). Ahírí.* (4). ´Suddhanáṭa.* (5). Sálak.* (6). Naṭ-Hamíra.*

Some allow only five variations to each mode and numerous other differences occur. Others in place of Vasanta, Pañchama and Megha, substitute Málakauśika,* Hindola and Dípaka, and make five instead of six variations to each, with a few other discrepancies of less importance. Others again, in place of the second, third, fourth and fifth modes, have ´Suddha-bhairava, Hindola, Deśakára and ´Suddha-náṭa.

Songs are of two kinds. The first is called Márga or the lofty style as chanted by the gods and great Ṛishis, which is in every country the same, and held in great reveration. The masters of this style are numer­ous in the Dekhan,* and the six modes abovementioned with numerous variations of which the following are examples, are held by them to appertain to it.

(1). Surya-prakáśa. (2). Pañcha-táleśvara. (3). Sarvato-bhadra. (4). Chandra-prakáśa. (5). Rága-kadamba. (6). Jhúmara. (7). Svara­vartaní.

The second kind is called Deśi or applicable to the special locality, like the singing of the Dhurpad in Agra, Gwalior, Bári and the adjacent country. When Mán Singh* (Toṇwar) ruled as Rájá of Gwalior, with the assistance of Náyak Bakshú, Macchú, and Bhanú, who were the most distinguished musicians of their day, he introduced a popular style of melody which was approved even by the most refined taste. On his death, Bakshú and Machhú passed into the service of Sulṭán Maḥmúd of Gujarát where this new style came into universal favour.

The Dhurpad* (Dhruva-pada) consists of four rhythmical lines with­out any definite prosodial length of words or syllables. It treats of the fas­cinations of love and its wondrous effects upon the heart. In the Dekhan these songs are expressed in their language by the term Chind, and consist of three or four lines, and are chiefly laudatory. In the Tilanga and Carnatic dialects they are called Dhruva, and their subject is erotic. Those of Bengal are called Bangula, and those of Jounpúr, Chuṭkala, while the songs of Dehli are called ḳaul and tarána. These last were introduced by Amír Khusrau, of Dehli, in concert with Ṣámit and Tatár, and by combining the several styles of Persia and India, form a delightful variety. The songs of Mathura are called Bishn-pad, (Vishṇu-pada) consisting of four, six and eight lines, sung in honour of Vishṇu. Those of Sind are styled Kámi and are amatory. Those in the dialect of Tirhút are called Lahchárí, and are the composition of Biddyá-pat, and in character highly erotic. In Lahor and the adjacent parts, they are called Chhand; those of Gujarát, Jakri.* The war songs and heroic chants called Karkha, they term Sádara, and these consist also of four, six, and eight lines, and are sung in various dialects.

Besides these that have been named, there are numerous other modes, amongst which are the following:—

Sárang; Púrbí; Dhanáśrí; Rámkalí; Kuráí, (which His Majesty has styled Sughrái);* Súha; Deśakála and Désákha.

THE THIRD is called Prakírṇádhyáya or a chapter of miscellaneous rules and treats of Alápa,* which is of two kinds. (1). Rágálapa, the development of the rága, commonly termed (in Persian) adá and taṣarruf, and (2). Rúpálápa: which comprises the metrical setting of the words to the air and their vocal expression.

THE FOURTH, or Prabandhádhyáya, is on the art of composing a rhythmic measure (gíta)* to vocal music. It consists of six members, viz. (1). Svara, (notes as sa, ṛi, &c., taken at their proper pitch). (2). Viruda, panegyric. (3). Pada, name of its object. (4). Tená, a cadence of notes on a symbolic standard, as tena, tená, and the modulation of the lines. (5). Páṭa, the continuous imitation of sounds (proceeding from percussion instruments) as tena, tená, máná, &c., from three letters to twenty, in a specific order as a supplementary guiding measure. (6). Tála, rhythm expressed by beat. If the whole six members be present, the composition (prabandha) is called mediní;* if one less, it is termed ánandiní; if two less, dípaní; if three less, bhávaní, and if four less, tárávalí; but with only two it does not (commonly) occur.

These four adhyáyas treat of the various refinements of melody.

THE FIFTH is Táládhyáya, on the nature and quantity of the musical beats.

THE SIXTH is Vádyádhyáya, on the various musical instruments. These are of four kinds.

(1). Tata, stringed instruments. (2). Vitata, instruments over which skin is stretched. (3). Ghana, all that gives resonance by the concussion of two solid bodies. (4). ´Sushira, wind instruments.