1. TxtSkt-svara-mEla-kalAnidhi-Ramamatya-MSRAyyar-AnnamalaiUniv-1932-0075

RÂMÂMÂTYA'S

SVARAMÊLAKALÂNIDHI (A WORK ON MUSIC)

EDITED WITH INTRODUCTION AND TRANSLATION BY 'M. S. RAMASWAMI AIYAR, B.A., B.L., L.T. Extension Lecturer of Music in the Mysore (1926), Madras (1928), and Annamalai (1931) Universities.

WITH A FOREWORD BY IT. R. VENKATARAMA SASTRI, ESQ., C.I.E., B.A., B.L. Ex-Advocate-General, Madras ' and Sometime, Law Member, Executive Council, Madras.

THE ANNAMALAI UNIVERSITY I932

FOREWORD

THE awakening in our country has a much wider significance than most people, with their preoccupation in the struggle for political freedom, recognise. The desire for self-government is only one phase and not the most important phase of this general awakening. The awakening is like a rising flood that covers the whole space between the banks or, more appropriately, like a flood of light that lights every nook and corner. In arts and letters, in music and painting and sculpture, and in fact, in all the departments of life, the new consciousness is doing its work. In the sphere of music, this awakening has been a visible process. For years, Sangitha Sabhas have, in different parts of the Madras City, had their annual celebrations; and their weekly performances have been increasing from year to year. There is now a vast and growingly larger number of men and women in the country taking an interest in music and themselves learning to sing. Academies of music are springing up; and broadcasts of music are being attended by vast crowds. There is evidence, which few can fail to recognise, that in music, as in other spheres, this awakening is at work. That there is a literature dealing with South Indian music is known. Few, outside the small class of experts conversant with the theory of music or music as a science, know even the names of the writers. It is, therefore, a great service at this moment to open up the literature of Indian music and make it available to the public. Mr. M. S. Ramaswami Aiyar, who is an eminent exponent of the present-day music, both in its theoretic and practical aspects, is eminently fitted to undertake this task. And the public owes a debt of gratitude to the Annamalai University for the help and encouragement which it has given to Mr. Ramaswami Aiyar in performing this very useful service. Râmâmâtya, the author of the book here published, recog- nised twenty Mêlas; his successors went on increasing the number; and the present-day theory recognises seventy-two, though it is doubtful whether all of them are in actual use or can satisfy the ear of the people. It is a result of pure mathematics- a question of how many combinations of the seven notes and their

iv FOREWORD

variations can be made. Mr. Ramaswami Aiyar thinks that even the two and thirty were the resulting combination of the seven notes, five of which had a sharp and flat sonance and the word ' raga' itself indicates the number 32, according to the peculiar Indian Notation of numbers by the letters of the alphabet. A question may here arise as to whether the word ' raga' was a new intro- duction into music after the thirty-two Mêlas had come to be recognised. Mr. Ramaswami Aiyar refers to a criticism of the author by a successor of his, that two of his twenty Mêlas have the same notes. I am inclined to agree with Mr. Ramaswami Aiyar that it must be a slip and the manuscripts may be responsible for it. Is it impossible to find out what combination it must be for either the one or the other that has been written amiss and resulted in · the error criticised ? Experts, like Mr. Ramaswami Aiyar, must not only open up the past of music but point the way to its future.

MYLAPORE, T. R. VENKATARAMA SASTRI. 28th March, 1932. }

PREFACE

THE manuscripts of Svaramelakalânidhi are found in Tanjore, Madras, Baroda, and Bikanir. Its bare text, for aught I know, was printed twice-first, at Kumbakonam in 1906 by Mr. S. Narayanaswami Aiyar and secondly, at Bombay in 1910 by Mr. V. N. Bhatkhande, though under the pseudonym of Bharadvaja Sarma. The latter edition contained, at least, a running commentary in Maharati. But both the printed editions happened to be, alike, defective and even misleading. I shall give only one instance and pass on. In the fifth chapter of the work, the two Râgas of Sudhavasantha and Malavasri are correctly defined, in two verses,I thus :- A. रागः शुद्धवसन्ताख्यः सांशः स्यात्सग्रहस्तथा। पवर्जितः षाडवोऽपि ह्यवरोहे पसंयुतः । एवं लक्ष्ये प्रसिद्धोऽसौ गेयो यामे तुरोयके॥ इति शद्दवसन्तः । Sudhavasantha. B. रिवर्जितो माळवश्रीः सांशः स्यात्सग्रहोऽपि च । गोयते सर्वयामेषु सर्वदा मङ्गलप्रदः ॥ इति मालवश्रोः । Malavasri. But how did Messrs. Narayanaswami Aiyar and Bhatkhandê present to us, in their respective editions, the same two Râgas ? Both of them gave us, alike, the following two lines regarding the point under consideration :- रागः शुद्धवसन्ताख्यः सन्यासः स ग्रहोऽपिच। गीयते सर्वयामेषु सर्वदा मङ्रलप्रदः ॥ Here, both of them consciously began with Sudhavasantha but unconsciously ended with Malavasri. In other words, they took the first line of A and the last line of B, mixed them

1 The verse regarding Sudhavasantha is marked A, while that regard- ing Mâlavasri is marked B.

vi PREFACE

together with a little modification, and produced a meaningless jargon which explained neither of the two Râgas. A fresh edition of Svaramêlakalânidhi containing, as it ought, a full and correct text, a true and free translation, and a historical and critical introduction is therefore felt as a desideratum-to supply which mine is an humble contribution or, at best, a provoker of a better one. I feel bound to record here that the credit of having prepared a correct version of the Sanskrit Text of Svaramêla- kalânidhi and enabled me to bring it to the light of the day- belongs to the joint-labour of the two veteran Sanskrit scholars of Tanjore-Messrs. P. S. Sundaram Aiyar and Pundit S. Subrahmanya Sâstri, who are also well-versed in the theory of Indian Music. I heartily thank them therefor and also for the kindness wherewith they went through the proof-sheets and even otherwise gave me very valuable hints and suggestions. Thanks be, also, to the Diocesan Press, Madras, for its prompt and neat execution of the work. It only remains for me to say that, on February I, 1931, I delivered the subject-matter of Svaramelakalânidhi as a Lecture under the auspices of the Annamalai University which, I feel thankful to state, was good enough to give her imprimatur to its publication in the present form.

' BAI BHAVAN TRIPLICANE, M. S. RAMASWAMI AIYAR Ist March, 1932.

CONTENTS

PAGE

INTRODUCTION .... xi to lxxiii .... ...

TEXT ... .... 3 to 37

TRANSLATION .... 4I to 66 .... ....

INTRODUCTION

SVARAMÊLAKALÂNIDHI

INTRODUCTION

Svaramêlakalânidhi is one of the standard works, in Sanskrit, on the Carnatic Music. Râmâmâtya, its author, was a native of Andhradesa and lived in or about Kondavit,I which was not far away from Bezwada, in the principality of which he had a fort of his own and in the vicinity of which he enjoyed the overlordship2 of a large estate of land washed by the eastern sea. He belonged to the Todarmal family; his father was Thimmâmâtya3; and he himself was such an efficient musician-composer that he won the title of ' Abhinava Bharatâchârya '.4 He was associated with Rama Raja of Vijayanagar, perhaps as his minister, as the word amatya indicates. His father too had the same title of ' amâtya' appended to his name. But whether the father and the son were ever real ministers, who moulded the destinies of Vijayanagar, or were so called only by way of courtesy- a glance at the History of Vijayanagar seems to throw a doubt on. Nothing else is known to us of the father than his fatherhood. As for the son, Râmâmâtya, he exhibited his person, in his work, more as a prolific Vaggeyakara than a serious-minded politician. All that he could record of himself was :- (1) He had studied the secret of music.5 (2) He alone, of all others, knew both the theory and art of music.6 (3) The traditional lore of music, in- herited from his grandfather, Kallapadêsika-evidently, Kallinâth,

i Cf. स एव सर्वाधिककोण्डवीटप्रधानदुर्गप्रतिपादनेन । Svaramêlakalânidhi. * Cf. पूर्वार्णवेनैव परीतमूर्तेर्विभुत्वमुर्व्यां विततार मह्यम्-Ibid. 3 Cf. श्रीमदभिनवभरताचार्यवाग्गेयकारतोडर- मछतिम्मामात्यनन्दनरामामात्यन निर्मितः खरमेळकलानिधि :- Ibid. 4 Cf. This means Modern Bharatâchârya. ' Cf. अधीतसंगोतकलारहस्यम्-Svaramelakalanidhi. • Cf. सहक्ष्यलक्ष्मोभयसारवेदी संदश्यते नैव भवानिवान्य :- Ibid.

xii SVARAMÊLAKALÂNIDHI

a Commentator of Sangitharatnakara-palpitated in his pulse.I (4) Râma Râja requested him, in preference to others, to write a new treatise on music reconciling the conflicting views that were then in vogue.2 And (5) the same Râma Râja gave him, in recognition of his (musical) services many a valuable present.3 This, surely, is not the language of a veritable minister, who wielded the mighty empire of Vijayanagar and who, in the intervals of his State-business, managed to write a musical work also, just as Mr. Gladstone wrote his Homer or Vidyâranya, his Panchadasî. Further, a reference to Robert Sewell's Forgotten Empire shows that Achyutha succeeded Krishna Râya Dêva in 1530, that Sadâsiva succeeded Achyutha in 1542, and that the latter (Sadâsiva) was virtually a prisoner in the hands of Râma Râja who was, at first, his minister but `became afterwards inde- pendent.4 By 'independent', Sewell should have meant that Râma Râja was de facto the ruler of Vijayanagar. So he might have been. But de jure the ruler was, undoubtedly, Sadâsiva; for, a very 'large number of inscriptions, ranging from 1542 to 1568, recognize Sadâsiva as the real sovereign.5 Why, Râmâ- mâtya himself admits that Râma Râja helped Sadâsiva to regain his throne.6 Hence, it is submitted, Râma Râja should have

Cf. विद्यानिधि: कलपदेशिकस्ते मातामहो दत्तिलवन्महीयान्। गान्धर्वशास्त्रेषु ततोऽपि तानि तत्संप्रदायेन तव स्फुरन्ति॥ Svaramêlakalânidhi. Cf. संग्रृह्य सल्क्षणकक्ष्ययुक्तं संगीतशास्त्रं सरसं विधेहि। Ibid. ३ Cf. जेलरिसिंहासनपट्टणेन युक्तां सरत्ामिव हारवलीम्। वितीर्य मेऽपश्चिमवारिराशेरधीशतामक्ष्य तुकामतानीत्॥ प्रयच्छति प्रत्यहमत्युदारां संमाननां सादरमेष मह्यम्।Ibid. + Vide Sewell's Forgotten Empire, page 109. $ Ibid-page 179. e Cf. यः खङ्गकसखः सहानुजयुगो निर्गत्य विद्यापुरा- छब्धा गुत्तिगिरो सदाशिवमहीपालं निराकम्बनम्। खामिद्रोहकृतः प्रतीपनृपतीननिर्जित्य भद्रासने कर्णाटे भगवानिव ध्रुवमयं कोरच्या सहास्थापयत् ॥ Svaramelakalânidhi.

INTRODUCTION xiii

been, at least when Râmamatya wrote his work, only a minister, though the king was a puppet in his hands. How, then, could Râmâmâtya afford to be a minister of a minister ? Further again, Ramamatya's description of Râma Râja's pedigree is more fanciful than real and betrays the mentality of a flattering court-poet rather than that of a responsible State-officer. The following Table shows Rama Raja's pedigree, according to Râmâmâtya :- Vishnu Brahma

Athri Moon

Budha Pururava 1

• Ayu

Nahusha 1

Yayâthi - Bharata Sri Ranganath

Râma Râja Thimma Râja Venkatâdri. (FIG. 1) But Sewell's genealogy1, taken from epigraphical records, gives Râma Râja his proper place in the royal line of Vijayanagar thus :- Thimma Îsvara

Narasimha 1

By 1st wife By 2nd wife By 3rd wife

Vira Narasimha Krishna Râya Dêva Ranga Achyutha

Sadâsiva*

Daughter Daughter Married Married Râma Râja. Thimma (Tirumal) Râja. (FIG, 2)

1 Cf. Sewell's Forgotten Empire, page 180.

xiv SVARAMÊLAKALÂNIDHI

It is thus clear that Râma Râja belonged, if at all, to the royal family only by marriage. Râmâmâtya only confirmed it when he observed: "Krishna Râya gave his daughter in marriage to Râma Raja and thereby enhanced the dignity of the parenthood of daughters."I History gives us no pedigree of Râma Râja except that he was a son of one Ranga and that he had two brothers, namely, Thimma Raja and Venkatadri.2 This Thimma Raja is said to have murdered Sadasiva in 1568 and usurped his throne.3 But Râma Râja ruled, if at all, only on behalf of his king, Sadâsiva. True, he was a brave soldier;4 but he was over-ambitious and a little reckless too, with the result that he precipitated the battle of Talikota in 1565 and brought about his own death. I digressed, so far, only to emphasise my doubt whether Râmâmâtya was a minister in fact or only by courtesy, and also to warn the reader against blindly accepting unhistorical, and therefore untruthful, statements. Let us now proceed to study Râmâmâtya as a Vâggêyakâra, pure and simple. His exact date is not available. Being however a contem- porary of Rama Raja, he should have lived in the sixteenth century. He was well-versed in Sanskrit and Music; and in Râma Râja's opinion, he was the best of the then existing musicians. He wrote many musical works, such as for instance, Êla, Râgakadamba, Mâthrika, Sudaka, Panchathalêsvara, Srîranga, Dvipada, Svarânka, Srîvilâsa, Dhruva, Pancharatna, and so forth. No wonder, then, that Râma Râja-at the instance of his brother, Venkatâdri-required Râmâmâtya to write a new work on music. Of this requisition, Svaramelakalânidhi was the result.

Cf. कन्या प्रदोऽस्म स तु कृष्णरायः कन्यापितत्वं बहुमन्यते स्म।

3 Vide Sewell's Forgotten Empire, page 214. Svaramêlakalânidhi. 3 Ibid, page 212. 4 Cf. विजित्य सर्वानपि पारशोकान्रणेषु तत्कोर्त्तिपटच्चराणि। आधूय भूयो हरितो वधूटीर्विशोभयत्येष यशोदु कलै: ॥ Svaramêlakalânidhi.

INTRODUCTION xV

The colophon1, at its end, clearly shows that Ramamatya finished his work in Saka 1472, Sadharana Year, Sravana Month, and the tenth day of Nirmalathara (Sukla) Paksha-all of which correspond to Thursday, August 21, 1550 A.D.2 Now, be it noted, it was in order to reconcile some con- flicting views on music that Svaramêlakalânidhi was written, as evidenced by Venkatâdri, in his request to his brother, Râma Raja :- ' The science of music has, both in theory and practice, degenerated into conflicting views; let Râmamantri (Râmâmâtya), by your command, reconcile all (the conflicting views) and write a (new) science' ;3 and as confirmed by Râma Râja, in his requisi- tion to Râmâmâtya: ' In the science of music, conflicting views have indeed arisen. Bring to a focus all their salient features and write an interesting treatise on music, embodying therein its theory and practice.'4 Be it, again, noted that, about the same time or within the space of about a decade after the publication of Svaramêla- kalânidhi, Pundarika Vittala finished his Sadrâgachandrôdaya. Even in that book, the same note of complaint was sounded that the theory and practice of music did conflict with each other and that, therefore, Burhan Khan asked Vittala to re- concile them.5 Again, in 1609, the self-same note of complaint

1 Cf. शाके नेतधराघराब्धिधरणोगण्ये च साधारणे वर्षे श्रावशमासि निर्मलतरे पक्षे दशम्यां तिथौ। रामामात्यविनिर्मित: खरततेः संगीतरन्ाकरा- तसोडयं मेलकलानिधिर्मतिमता माकल्पमाकल्पताम्॥ Svaramêlakalânidhi. 2 Vide L. D. Swamikannu Pillai's Indian Ephemeris, Vol. V., page 303. 3संगीतशास्त्रे बहुधा विरोधाः सन्त्येव कक्ष्येषु च लक्षणेषु। -सर्व समोकृत्य स राममन्त्री तनोतु शास्त्रं वचसा तवेति॥ Svaramelakalânidhi संगीतशास्त्रेषु मतान्तराणि सन्त्येषु सारांशमुपाददानः । संग्रृह्य सल्लक्षणलक्ष्ययुक्तं संगीतशास्त्रं सरसं विधेहि। Ibid. 5सन्त्यस्मिन्बहुधा विरोधगतयो लक्ष्ये च लक्ष्मोदिते। Sadrâgachandrôdaya.

xvi SVARAMÊLAKALÂNIDHI

was resounded when Somanath declared: ' I write Râgavibôdha only to reconcile the conflict between the science and the art of music.'I Even the recently published Sangithasudha contains a similar note of complaint.2 A question, therefore, naturally arises, namely, ' Why should the musical views conflict, at all, with one another?' To put the same question sarcastically: 'Why should the harmonious music produce disharmony amongst its votaries ?' Because the old order changes, giving place to the new ; and, in the transition-period, both the orders struggle with each other -the one anxious to get in and the other unwilling to get out. But why should the ' old order' change? In addition to Tennyson's philosophical answer, there is here an important truth to be grasped. Into two broad divisions, Sciende falls-exact and non-exact. The rules of an 'exact' science are inflexible and never change with the times. H2O, for instance, was, is, and shall ever be water and never anything else. But as regards a 'non-exact' science, such as for example Music, it is always progressive; and, a fortiori, its rules do change from time to time, in order to suit the growing taste of the people. Mark! I said ' from time to time' and not from day to day. For, if music-like dream-changes from day to day; surely, like dream, it will be labelled as mere phantasy and treated as such. Being, however, too momentous for his own welfare, man learnt to so mould and fashion music as to make it grow only very slowly and even imperceptibly, as well as to imprint every one of the stages of its growth with its peculiar technique. This position Mr. P. C. Buck explains in his History of Music in a felicitous language, which I shall re-state with a little modification thus: The various stages of musical progress are not the inventions of the learned few imposed on, and adopted by, the unlearned many; but rather, a summing-up and organization by the former of those practices and usages at which the latter had arrived by instinct.

'रागविबोधं विदधे विरोधरोधाय कक्ष्यळक्षणयोः । Râgavibôdha. *लक्ष्यखरूपे हि विचिन्त्यमाने नानाप्रभेदः परिदृश्यते हि। नकोऽपि शास्रानुगुणो विभाति. Sangithasudha.

INTRODUCTION xvii

Hence, the technique of music of a particular age means and includes the summary of the music of the preceding age plus the conventions engrafted, from time to time, upon the original stock, by the masses, as enabling them to attain an ideal dimly seen in the distance. A real musician cannot therefore afford to ignore the aspirations of the people at large, fly at a tangent and pooh-pooh the technique of his age which is the natural growth of years and sometimes of centuries and to which he is tied and bound, whether he wills it or not. It is, however, true that, oft and on, a genius like Thiâgarâja arises and gives his countrymen not only a summary of the music of the past but also a programme for the music of the future. In that sense, he may be said to have interfered with, and even changed or modified, the musicalttechnique of his age. Such a rare exception is due to the fact that the particular ' genius' has had the intuition to see and realise that all the possibilities of the code of convention, prevailing in his time, had been exhausted; that ' the orange had been sucked dry'; that the period, in which he happened to live, had come to a natural end; and that he had been impelled to inaugurate a fresh period, in which the new formula of music arose, as it were, from the ashes of the old. To sum up: The musicians of a particular age stick, under ordinary circumstances, to the technique of that age. Extraordi- nary circumstances occasionally arise when a new age sets in with a new technique of music. Both the techniques-old and new-struggle, for a while, after which the old dies and the new flourishes, till a still newer age brings with it its own newer technique to supplant it. In all these cases of succession, the struggle between the old and the new techniques lasts only during the transition-periods. It is this inevitable struggle that goes by the name of ' the conflict of musical views' which, in the nature of things, does arise from time to time. The same truth Mr. Bhatkhande expressed at Lucknow in another way: Our music has undergone changes, from time to time, according to the tastes of the different ages. We find the system propounded in Sangitharatnâkara of Shârngadêv is a con- siderable advance on that described in Bharata's Natya Sâstra, being more exhaustive, more scientific, and expressive of greater national culture. A mere glance at Lôchana, Pundarika, Hridaya 3

xviii SVARAMÊLAKALÂNIDHI

Narayana, Ahobala, and Srinivasa will be enough to show us that the systems of music propounded by them mark a still further advance and that they considerably differ from the systems appearing in Natya Sastra and Ratnakara. We ourselves are in the twentieth century and the system of music, now in vogue, has left the other systems far behind.' I We are, at this stage, tempted to inquire whether Râmâmâtya recognised the progressive nature of music and whether he enunciated, in his work, any principle of guidance, wherewith he could emphasise the importance of such recognition. A study of Svaramelakalânidhi enables us to answer both the questions in the affirmative. The principle of guidance, spoken of, has already been referred to, though in another connection, but can bear repetition; and it runs as follows: ' The various stages of musical progress are not the inventions of the learned few imposed on, and adopted by, the unlearned many; but, rather, a summing-up and organisation by the former of those practices and usages at which the latter had arrived by instinct.' The idea, conveyed hereby, Shârngadêv first put, in his own way, thus: The learned men are of opinion that the Science follows the Art and must respect the current practice. If any discrepancy arises between the two, the proper procedure is to interpret the science in such a way as it can be reconciled with the practice.'2 But, unfortunately, he relegated this principle almost to the end-to the sixth chapter-of his work and made it appear as a mere suggestion for any one to take it for what it was worth. Râmâmâtya, however, brought it to the forefront of his book and laid such an emphatic stress on it that it developed in his

1 Vide the Report of the 4th All-India Music Conference of Lucknow, page 117. One word of caution is here necessary. The changes, referred to, are in connection with the superstructure of Indian Music, while its foundation or basic principle remains as constant as ever. It is, in fact, this basic principle that distinguishes the Indian system from all other systems of music. Cf. यद्वा लक्ष्यप्रधानानि शास्त्राण्येतानि मन्वते । तस्माद्ृक्ष्यविरुद्धं यत्तच्छास्त्रं नेयमन्यथा । Sangitharatnâkara.

INTRODUCTION kix

hands into a star-like maxim for all future writers to follow. Here is what he wrote on the point: ' The Gândharva-music is ever employed in conformity with the (inflexible) rules of its theory. But if the violation of those theoretical rules, inflexible though, do not lead to any absurdity; and if, again, the contravention of any of the rules of practice does not give pleasure, but jars, to the ear; then, the practice of music shall be preferred to its theory. And it is in conformity with the 'practical' rules of music (as opposed to its 'theoretical' ones) that the Gana-music prevails. In his chapter on Instruments, Shârngadev, well-versed in music-lore, argued that the practice of music was more impor- tant than its theory.'! If Shârngadev originated this principle, which may-for future guidance-be called ' the Principle of Lakshya'; if, again, Râmâmâtya elaborated and developed it into a maxim; Pundarika Vittala chose to condense it into an aphorismic form, namely :- कक्ष्यप्रधानं खल शास्त्रम्। (Science only follows Art ; isn't it ?) Let us proceed to see how Ramamatya applied the principle* of Lakshya to the development of his musical system. Before so doing, we shall first get to know which system of music he took up for study. Even a cursory glance at his work will show that he referred only to Shârngadêv's system of music and made it clear that he wanted to modify and bring that system alone in line with the condition of his own times. The reason is not far to seek. Almost all the musical works that are now coming into prominence, such as for instance, Sadrâga- chandrôdaya, Râgavibôdha, Sangithadarpana, Sangithasudha,

Cf. तत्र लक्ष्मानुरोधेन गान्ध्व संप्रयुज्यते। यत्र लक्ष्मपरित्यागे प्रत्यवायो न विद्यते।। तस्मा लक्ष्यप्रधानं तन तु कक्ष्मप्रधानकम्। परित्यागेऽस्य लक्ष्यस्य रञ्जनं नैव जायते। तस्माल्लक्ष्यप्रधानेन गानं लोके प्रवर्तते। सर्वसंगीतशास्त्रार्थवेदिना शार्ङ्गसूरिणा। गोते लक्ष्यप्रधानत्वं वाद्याघ्याये निरुपितम् । Svaramêlakalânidhi.

xx SVARAMÊLAKALÂNIDHI

Chathurdandiprakasika, Sangithapârijâtha, Sangithasârâmritha, Nagmut-es-Asphi, Sangithakalpadruma, and Lakshyasangitha- all these works came successively one after another, but mark ! only after the time of Svaramelakalânidhi. And Râmâmâtya had no other work to criticise before him than Sharngadev's Sangitharatnâkara. No doubt, Bharata's Nâtya Sâstra and Narada's Sangitha- makaranda had been in existence long before Sangitharatnakara. But, evidently, Râmâmâtya did not mind the former and could not mind the latter. For, the one lay involved in a debris at Gadwal, till Mrs. Ananthakrishna Sastri discovered it in 1919 and brought it to the light of the day; while, the other was a treatise more on dramaturgy than on music. Could, then, Lôchanakavi's Râgatarangini have come to his notice? We have no definite answer to give. For, the date of Râgatarangini is uncertain, inasmuch as its colophon points to the twelfth century, while its reference to Vidyapati points to the fourteenth century and even later. Even assuming that the book was before him, we can easily conjecture that he should have brushed it aside; for, it was an out-and-out North Indian book and dealt with the Hindustani music. Hence Râmâmatya looked, for guidance, to none else than Sharngadev and even averredI that he would, like his own chosen guide, make the Principle of Lakshya the chief thing in his book. And he did make his averment good. Let us see how. The first point of conflict between Shârngadev and Râmâ- mâtya was with reference to the Sudha-Vikritha svaras. At any rate, both of them agreed with regard to the Sudha-svaras and allocated them, alike, thus :- A. तत्र तुर्यश्रुती षडजः सप्तम्यामृषभो मतः । ततो नवम्यां गान्धारस्त्रयोदश्यां तु मध्यमः॥ पञ्चमः सप्तदश्यां तु घेवतो विंशतिश्रुतो। द्वाविंशे तु निषाद: स्याच्छ्रुतिष्वित्थं खरोद्भवः । Svaramêlakalânidhi.

Cf. तस्माहवक्ष्यप्रधानत्वं कृत्वा वक्ष्येऽस्य लक्षणम्। Svaramêlakalânidhi,

INTRODUCTION xxi

B. वीणादूये खराःस्थाप्यास्तत्र षड्जश्चतुःश्रुतिः । स्थाप्यस्तन्त्यां तुरोयायामृषभस्त्रिश्रुतिस्ततः ॥ पञ्चमोतस्तृतीयायां गान्धारो द्विश्रुतिस्ततः । अष्ठमोतो द्वितीयायां मध्यमोऽथ चतुःश्रुतिः ॥ दशमीतश्चतुर्थ्या स्यात्पञ्चमोऽथ चतुःश्रुतिः । चतुर्दशोतस्तुर्यायां घेवतस्त्रिश्रुतिस्ततः ॥ अष्ठादश्यास्तृतोयायां निषादो द्विश्रुतिस्ततः । एकविश्या द्वितीयायां वीणकाऽलघ्रुवा भवेत् ॥ Sangitharatnâkara. The idea conveyed by both A and B, quoted above, is the same and may be stated thus :- ' The svaras arise from the srutis in such a way that Shadja takes the 4th sruti of the Vina, Rishabha the 7th, Gandhara the 9th, Madhyama the 13th, Panchama the 17th, Dhaivatha the 20th, and Nishada the 22nd.' The Sudha-svaras, which were common between Sharngadev and Ramamatya, may be tabulated thus :-

Number of Srutis Sudha-Svaras.

1

3 4. Sa 5 6 7 Ri 8 9 Ga 10 11 12 13 Ma 14 15 16 17- Pa 18 19 20 Dha 21 22 Ni

(FIG. 3)

xxii SVARAMÊLAKALÂNIDHI As regards the Vikritha-svaras, both Sharngadev and Ramamatya differed from each other. While Sharngadev presented to us so many as twelve Vikritha-svaras, Râmâmâtya found, in actual practice, only seven. He therefore recognised only those seven and left out the remaining five. Sharngadev worked up his twelve Vikritha-svaras thus :- ' The twelve Vikritha Svaras are explained. The four-srutied Shadja becomes two-srutied Vikrithas, namely, Chyutha Sa and Achyutha Sa. When Ni takes the Kaisiki sruti, it is Chyutha; but when it takes the Kakali sruti, it is Achyutha. That Rishabha which is four-srutis from Chyutha Pa is regarded as a Vikritha. Gândhâra is declared by Shârngadêv to fall into two divisions, three-srutied Sadharana and four-srutied Anthara. Madhyama, like Shadja, falls into two divisions viz., Chyutha and Achyutha. Panchama of Madhyamagrâma is three-srutied and has one more variety, namely, four-srutied Kaisiki Pa. Dhaivatha, in Madhya- magrâma, becomes a four-srutied Vikritha. The three-srutied Nishâda and the four-srutied Nishâda are treated of as Vikrithas of Sa and named Kâisiki Ni and Kâkali Ni respectively.' I

Cf. त एव विकृृतावस्था द्वादश प्रतिपादिताः। च्युतोऽच्युतो द्विधा षड़जो द्विश्रुतिर्विकृतो भवेत् । साधारणे काककीत्वे निषादस्य च दृश्यते॥ साधारणे श्रुतिं षाड्जीमृषभः संधितो यदा। चतुःश्रुतित्वमायाति तदको विकृतो भवेत् । साधारणे त्रिश्रुतिः स्यादन्तरत्वे चतुःश्रुतिः । गान्धार इति तद्गेदो द्वो निःशङ्केन कोर्तितो ॥ मध्यम: षड्जव द्दधाऽन्तरसाधारणाश्रयात्। पञ्चमो मध्यमग्रामे त्रिश्रुतिः कैशिके पुनः ॥ मध्यमस्य श्रुतिं प्राप्य चतुःश्रुतिरिति द्विधा। धैवतो मध्यमग्रामे विकृतः स्याच्चतःश्रुतिः ॥ कैशिके काकलीते च निषादस्त्रिचतुःश्रुतिः। प्राप्ोति विकृती भेदो द्वाविति द्वादश स्मताः॥ Sangitharatnâkara.

INTRODUCTION xxiii

On the other hand, Râmâmâtya worked up his seven Vikritha- svaras thus :- ' How is it that only seven Vikritha-svaras are given here, while Shârngadêv mentioned, in his Ratnâkara, so many as twelve? It is true that, from the theoretical point of view, the number twelve may be desirable. But, in actual practice, that is, . according to the principle of Lakshya, there are only seven? , . Vikritha-svaras different from the seven Sudha-svaras. If the basic notes are left out, there does arise a difference in sound, as regards the remaining five Vikritha-svaras. But if they (the basic notes) are retained, the said difference disappears in practice, though not in theory, by the process of taking the preceding-but not the next preceding-srutis. I shall tell you how. Achyutha-Shadja does not differ from Sudha-Shadja; nor does Achyutha-Madhyama differ from Sudha-Madhyama. Again, Vikritha-Rishabha does not differ from Sudha-Rishabha; nor does Vikritha-Dhaivatha differ from Sudha-Dhaivatha. Further again, Vikritha-Panchama which is taken from Madh. yama-Sruti does not surely differ from the other Vikritha- Panchama. Hence under the category of the above-mentioned fourteen (Sudha-Vikritha) svaras, no separate mention was made of these five svaras, inasmuch as they had effected a merger, as indicated above. We shall enunciate the seven Vikritha-svaras by mentioning their names :- (1) Chyutha Shadja (2) Chyutha Madhyama (3) Chyutha Panchama (4) Sâdhârana Gândhâra (5) Anthara Gândhâra (6) Kaisiki Nishâda and (7) Kâkali Nishâda. Chyutha Shadja is the name given to that Shadja which gives up its own fourth sruti and takes the third one. The same rule applies equally to Chyutha Madhyama and Chyutha Panchama. When Sudha-Madhyama takes the first Gândhâra-sruti, it is called Sadharana-Gandhara; but when the same Sudha-Madhyama takes the second Gandhara-sruti, it goes by the name of Anthara Gândhâra. When, again, Sudha-Shadja takes the first Nishâda- sruti, it is called (by expert musicians) Kaisiki Nishâda; but when the same Sudha-Shadja takes the second Nishada-sruti, it goes by

xxiv SVARAMÊLAKALÂNIDHI the name of Kakali Nishada. Thus, the seven Vikritha-svaras have been described.' 1 1 Cf. ननु रत्नाकरे शार्ङ्गदेवेन विकृताः खराः। द्वादशोक्ता: कर्थ ते तु सप्तेव कथितास्त्या॥ सत्यं लक्षणतो भेदो द्वादशानामपोष्यते। शुद्धेम्यस्तत्र भेदस्तु सप्तानामेव लक्षितः ।

पञ्चानां परिशिष्टानां खराणां विकृतात्मनाम्।

अपि लक्षणतो भेदे पूर्वोक्तश्रुतिसंहते: ॥ आधारश्रुतिनिष्ठत्वाल्लक्ष्यभेदो न विद्यते। कथ न भेद इति चेत्स लक्ष्यस्थो निरृप्यते॥ शुद्धषडजादच्युतस्तु षड़जो नैव विभिद्यते। अच्युतो मध्यमः शुद्धान्मध्यमान्न भिदां भजेत्॥ शुद्धर्षभाच्च विकृतरिषभो न पृथग्भवेत्। विकृतो घैवतः शुद्धाद्वैवतान्नातिरच्यते॥ मध्यमश्रुत्युपादाने विकृतः पञ्चमस्तु यः । त्रिश्रुतेर्विकृतान्नव पञ्चमाद्गेदमश्रुते॥ तस्माच्चतुर्दशस्ेवं पूर्वोक्तेष्वेव पञ्चकः । अन्तर्भूतो यतस्तस्मान्न पृथक्कथितो मया॥ सप्तानां विकृतानां तु सोददेशं ल्क्ष्म चक्ष्महे। च्युतः षड्जश्चयुतो मध्यमश्युतः पञ्चमस्तथा ॥ स्यात्साधारणगान्धारोऽन्तरगान्धार इत्यपि । स्यात्के शिकनिषादोऽथान्यः काकलिनिषादकः ॥ हित्वा चतुर्थी खाधारश्रुतिं षड़जो यदा श्रुतिम्। तृतीयामाश्रयेदेष च्युतषडजोऽभिधीयते।

INTRODUCTION XXV

We closely trod in the footsteps of both Shârngadêv and Râmâmâtya, only to correctly formulate the following table and rightly determine their respective Sudha-Vikritha Svaras :-

1 2 3 4

Number Vikritha-Svaras Râmâmâtya's special of Sudha- Srutis Svaras Shârngadêv. Râmâmâtya. Nomenclature.

Kaisiki Ni Shatsruti Dha Kâkali Ni Kaisiki Ni Kâkili Ni Chyutha Sa Chyutha Sa Chyuthashadja Ni Sa Achyutha Sa

6 7 Ri. Vikritha Ri 8 9 Ga. Panchasruti Ri 10 Sâdhârana Ga Sâdharana Ga Shatsruti Ri 11 Anthara Ga Anthara Ga 12 Ma. Chyutha Ma Achyutha Ma Chyutha Ma Chyuthamadhyama Ga 13 14 15 S Vikritha Pa 16 Kaisiki Pa Chyutha Pa Chyuthapanchama Ma 17 Pa. 18 19 20 Dha. Vikritha Dha 21 22 Ni. Panchasruti Dha

(FIG. 4.)

एवं लक्षणकावेव च्यतमध्यमपञ्चमो। शुद्धस्य मध्यमस्याथ गान्धारः श्रतिमाश्रितः॥ स साधारणगान्धारोऽन्तरगान्धार उच्यते। यो मध्यमस्य शुद्धस्य श्रुतिद्वयमुपाश्रितः ॥ प्रथमां शुद्धषडजस्य निषादशेच्छ्ुतिं श्रितः । स केशिकनिषादाख्यः कथितो गीतवेदिभिः ॥ निषादः शुद्धषड़जस्य क्रमते चेच्छ्रृतिद्वयम् । स काकलीनिषाद: स्यादेवं सप्ापि लक्षिता । Svaramelakalânidhi. 4

xxvi SVARAMÊLAKALÂNIDHI

The fourth column of Fig. 4, namely, ' Ramamatya's special Nomenclature' was drawn with the help of the following verses in the text :- चतुर्दशस्रेष्वेषु वक्ष्ये लक्ष्यानुसारतः । नामान्तराणि केषांचिझ्वहारप्रसिद्धये ॥ च्युतषडजस्तु लोकेऽस्मिन्निषादल्वेन कीर्तितः । च्यतषडजनिषादाभिधानं तस्य विधोयते।। च्युतस्य मध्यमस्यापि गान्धारव्यवहारतः । च्युतमध्यमगान्धारसंज्ञास्य क्रियते मया॥ च्युतपञ्चममाचष्टे लोको मध्यमसंज्ञया। अस्माभि: कथ्यते सोऽतक्ष्युतपञ्चममध्यमः ॥ लक्ष्ये तु कुत्र चिच्छुद्धगान्धारस्थानमाश्रयन्। रिषभः कोर्त्यतेऽस्माभिः पञ्चश्रुत्यषभाक्ञयः ॥ स साधारणगान्धारस्थानस्थ ऋुषभो यदि। लक्ष्यानुसारतः प्रोक्तस्तदा षट्श्रुतिकर्षभः ॥ एवं शुद्धनिषादस्य स्थान घैवत आस्थितः । लक्ष्यानुरोधाद्गदितः स पञ्चश्रुतिधवतः ॥ चोत्कैशिकनिषादस्य स्थाने तिष्ठति घैव्रतः । क्कचित्स कथितोऽस्मामिस्तदा षटश्रृतिधैवतः ॥1 Having learnt the points of agreement and disagreement between Shârngadêv and Râmâmâtya with regard to the Sudha- Vikritha svaras and having noted that, in all cases of disagree- ment, Râmâmâtya invariably invoked the help of the principle of

1 ' In fulfilment of a usage, I shall now mention a few different nomen- clatures to some of these 14 Svaras obtaining elsewhere. On account of its identity with Nishada, Chyutha Shadja is also called Chyutha Shadja Nishâda. On account of its identity with Gandhara, Chyutha Madhyama is also called Chyutha Madhyama Gandhara. On account of its identity with Madhyama, Chyutha Panchama is also called Chyutha Panchama Madhyama. Inasmuch as Rishabha is, in practice, known to identify itself with Sudha Gândhâra, the latter is also called Panchasruti Rishabha. When however, Rishabha identi- fies itself with Sadharana Gandhara, that (Sadharana Gandhara) is, in practice, also called Shatsruti Rishabha. Likewise, when Dhaivatha identifies itself with Suddha Nishada, that Sudha Nishada is called Panchasruti Dhaivatha; but when it identifies with Kaisiki Nishada, that Kaisiki Nishada is called Shatsruti Dhaivata.

INTRODUCTION xxvii

Lakshya; we shall now proceed to deal with the next question which happens to be five-fold :-- (1) Why were the Sudha-Vikritha svaras so-called ? (2) Wherein lay their importance? (3) Are they extant to-day ? If not, why not? (4) What, if any, are their modern proto-types ? and (5) What part, if at all, do they now play in actual practice ? These five questions we shall now consider. First, why were the Sudha-Vikritha Svaras so called? No doubt, the time-honored verse, transmitted to us from author to author, namely- चतुश्चतश्तुश्चेव षड़जमध्यमपञ्चमाः । द्वे द्वे निषादगान्धारो त्रिस्त्री रिषभधैतरतौ।। sums up 'the Rule of the ancient Sudha-Svaras,' according to which the seven Sudha-Svaras were Sa, Ri, Ga, Ma, Pa, Dha, Ni, made up-as they were-of 4, 3, 2, 4, 4, 3, 2, srutis respectively. Or, as Râmâmâtya would have it, out of the 22 srutis, numbers 4, 7, 9, 13, 17, 20, 22 were alone spoken of as Sudha-svaras; and they were technically called Sa, Ri, Ga, Ma, Pa, Dha, Ni, respectively.I All other numbers were called Vikritha-Svaras, of which Râmâmâtya chose seven. But the question is: How did the Sudha-svaras, mentioned above, come to be called Sudha-svaras ? One explanation is that those seven svaras-which formed, as they even now form, the scale of Samaganam-were called Sudha-svaras, because they were used in singing the pure music of Sâma-Vêda. There seems, here, to be a confusion of ideas. What did the 'pure' music of Sama-Veda indicate-the purity of the music or of the sentiment expressed thereby? If the former, what was the standard ? But, if the latter, what connection was there between musical notes and Vedic sentiments ? Another explanation Mr. E. Clements attempted to give. The ancient text-books on music took the Vina-point of view; 2 and almost all the ancient terms of music were derived from stringed instruments with frets, which gave a series of semitones

1 Vide Fig. 3, page xxi. Cf. सुव्यक्तमेत्र वीणायामस्यार्थस्य निदर्शनम् Svaramelakalanidhi.

xxviii SVARAMÊLAKALÂNIDHI

up to a certain point and, then, a scale of tones and semitones. This latter scale (of tones and semitones) was, in the normal position of the frets, known as the Sudha-Scale and the notes it comprised were called Sudha-Svaras.I The following tabular statement2 of Mr. Bulwant Trimbuck seems to strengthen the position of Mr. Clements :-

Svaras Intervals Srutis 11 Sa 5.3 4 Ri 4.16 3 Ga 2.3 2 Ma 3.9 4 Pa 3.12 4 Dha 3-12 3 Ni 1.5 2

(FIG. 5) How delicate and accurate,' remarked Mr. Trimbuck, ' must have been the organs of hearing of the Aryans, when they could reach so near the truth, unassisted by the paraphernalia of the modern science !' As between these explanations, there emerges a truth that a Svara, according to our ancients, was called Sudha, when it remained in its appointed position and was made up of the exact number of srutis assigned to it; that, when it left off any of its srutis or took any sruti from its preceding or succeeding note, it became a Vikritha-Svara; and that, sometimes, a Sudha-svara, though it retained its own seat, lost its Sudha-character and became a Vikritha, when it lost any of its own srutis and was thus reduced in value. Finally, just as in Western Music, though a scale may be formed in more ways than one, namely : (1) 1, 9 5 15 4' 3' 3 8 2; 9 (2) 1, g' 6 3 5 15 5 3' 2;

(3) 1, g' 9 6 4 8 9 2;

(4) 1, 8' 64' 3' 9 81 27 243 16' 128, 2;

1 Cf. Ragas of Tanjore, page 15. 2 Vide Hindu Music, page 15.

INTRODUCTION xxix

yet, the first scale alone is held to be important and ever brought into the forefront for any kind of musical discussion; so too, in Indian Music, from amidst a variety of its scales, the Sudha-Scale alone was considered to be important and was, in fact, constituted to be the basis of the ancient Indian musical system. Secondly, we shall determine the importance of the Sudha- svaras and of the Sudha-scale formed thereby. I may state it, as a general rule, that just as a tourist, on entering a new country, finds it convenient, nay, necessary to study its language with a view to understand the real nature of that country; so too, a music-student, on opening any one of our ancient books on music, finds it convenient, nay, necessary to study the terms or phraseo- logy employed therein, with a view to understand the real nature of the Raga System I which its author finally built. A mere glance at those texts will show that one and all their authors spoke of their Ragas only in terms of Sudha-svaras and also employed therein the Sudha-Vikritha phraseology. Take, for instance, Srirâga, of which Râmâmâtya wrote :- ' The Mêla of Sriraga consists of these seven svaras, namely, Sudha Sa, Panchasruti Ri, Sadharana Ga, Sudha Ma, Sudha Pa, Pancha- sruti Dha and Kaisiki Ni.2 Surely, none could understand this kind of description without a previous knowledge of the meaning of the terms employed therein. Hence, the Sudha-Vikritha Svaras of our ancient authors formed, as it were, a key to open, and see for ourselves, the rich treasures of their musical systems. Are those ancient Sudha-Vikritha Svaras extant to-day? If not, why not? What, if any, are their modern prototypes? What part, if at all, do they now play in actual practice ? 1 Raga was, as it even now is, the soul of Indian Music. The Srutis, the Svaras, and even the Melas form so many means, while the Ragas alone form the end. Even the compositions and their various types are so many Raga-manifestations, perhaps with the additional elements of rhythm and poetry. Hence the determination of the Ragas and their Lakshanas forms the main, if not the sole, portion of our musical system. 2 Cf. शुद्षड जोऽथ पञ्चश्रुत्यृषभश्च ततःपरम्। स्यात्साधारणगान्धारः शुद्धो मध्यमपञ्चमो।। पञ्चश्रुतिर्धेवतश्च वशिक्याख्यनिषादकः ॥ एतैः सप्तस्वरैर्यक्तः श्रीरागस्य च मेलकः॥ Svaramelakalânidhi.

xxx SVARAMÊLAKALÂNIDHI

These questions may be grouped together and discussed as such. Now, the ancient Sudha-Vikritha Svaras are not extant to-day. Because, according to Mr. Clements's opinion, they had been looked at only from the Vina-point of view, while their modern prototypes have had an entirely different principle to stand upon; because the ancient Sudha-Vikritha system was based upon Bharata Matha which had ' Dha' for keynote, while its modern prototype has been based on Hanumanta Matha which has ' Sa' for keynote; because, in Bharata Matha, the frets were so moved and adjusted as to give the exact scale required, while, in Hanumanta Matha, the increase of tension is one of the chief means of getting the right notes; and lastly because the Sudha- Vikritha system allowed itself to be differently interpreted, while its modern prototype has only one interpretation to view it with. The last reason requires explanation. Three different authors, Ramamatya, Ahobala, and Bhatkhande, chose the same Sudha-Svaras, from Fig. 3, for their Sudha-scales and, yet, arrived at three different Ragas, viz., Mukhari, Kaphi, and Bilâval which are said to respectively correspond to Kanakângi, Kharaharapriya and Sankarabharanam of the Carnatic Music. I A question, at once, arises as to why the self-same Sudha- scale, formed out of Sa (4th sruti), Ri (7th), Ga (9th), Ma (13th), Pa (17th), Dha (20th), and Ni (22nd) gave rise to three different Râgas. Mr. D. K. Joshi made an attempt to answer it and observed : ' Suppose a man in Bombay buys a seer of sugar and a man in Poona buys a seer of sugar; they will find that the quantities of sugar, though identical in having the name seer, in each case 1 Cf. सर्वेयु रागमेलेष मुख्वारोमेल आदिमः । शुद्धैः सप्तसवरर्यक्तो मुखारीमेल ईरितः॥ एनयेव व्यवस्थित्या ह्यत्पन्नः खरमेलकः । कनका द्रगेति संप्रोक्त: कर्णाटकीयपण्डितैः । तयव च व्यवस्थित्या शुद्धमेल: सुसाघितः । हरप्रिय: समाख्यातो ह्यहोबला दिपण्डितैः॥ हिन्दुस्थानीयपद्धत्यां श्रुतिक्रमविपर्ययात्। शंकरा भरणाख्यातो मेल: शुद्धः सुनिश्चितः ॥ Lakshya Sangitha.

INTRODUCTION xxxi differed in their weight-Bombay seer weighing 28 Tolas and Poona seer 76 Tolas. If the quantities of sugar differed in their value or weight, why should they be identical in having the same name seer? The answer to this question is sure to satisfy the question suggested in our case. And I think the answer, in both the cases, is one and the same. It is Convention'.I Apart from the vibrational values2 which Mr. Joshi gave each of the Sudha-Svaras of each of the three authors he selected, the analogy, that he took, seems to be a little unhappy and does. not, I fear, strengthen his position. In the case of seers, there is a clear difference, according to Mr. Joshi, of 48 Tolas between Bombay and Poona. Even in South India, there is a wide difference, in quantity, between the measures of Madras and Coimbatore. Whereas, in the seer or measure, there is the same- ness only in name but not in quantity; in the Sudha-Scale, there was the sameness not only in name but also in quantity. For, whether the Râga that emanated was Kanakângi, Kharaharapriya, or Sankarabharanam, the original stock of the Sudha-Scale gave Sa, Ri, Ga, Ma, Pa, Dha, Ni respectively srutis 4, 3, 2, 4, 4, 3, 2. Unless, therefore, the 4th sruti-to take one for example-does not mean only the 4th sruti but also anything above or below, no clue presents itself to explain why three different Râgas were said to emanate from one and the same Sudha-Scale. From all standpoints of view, the ancient theory of Sudha- Scale was given up, as being practically useless for the modern requirements. To-day there is no scale, called Sudha-Scale, unless the first Mela of Venkatamakhi's System counts for such. Even that first Mela (Kanakangi), had to give way to Purandra Das's Mâyâ- malavagowla which the very Ramamatya proclaimed in his book, as 'the best of all Ragas' Of this ' Mayamalavagowla,' Mr. Clements remarked: I am not in favour of Sankarabharanam as the Sudha-Scale. Un- scientific writers put Bihag in the same family. We do not want any ambiguity in our Sudha-Scale. Mayamalavagowla is entirely

1 Vide Report of the Second All-India Music Conference, Delhi (1918), page 44. 2 Mr. E. Clements questions the correctness of Mr. Joshi's ' vibra- tional values,' in his Ragas of Hindustan, vol. II, page 37.

xxxii SVARAMÊLAKALÂNIDHI

free from this defect. Further, to adopt the Mâyâmâlavagowla- scale as the Sudha-Scale does no violence to the feelings of the musicians. I Here came Mr. A. H. Fox Strangways, as it were, to help Mr. Clements and observed: Mâyâmalavagowla only developed from Mukhari by way of modal shift of tonic, as in the case of the modern Greek Scale.2 And here, again, Mr. H. A. Popley amplified that the modal shift of tonic was made by one semitone higher and, having illustrated his point by the following diagram Mâyâmâlavagowla

BCDbEFGA bBC

Mukhâri (Kanakângi) (FIG. 6) wrote, by way of explanation,-' B to B form Mukhari and C to C is Mâyâmâlavagowla'.3 All the three, I fear, overshot the mark, inasmuch as the Mukhari of the above Fig. 6 points only to Kharaharapriya wherein alone Ga (D) and Ni (A) are Komal or flat and surely not to Kanakângi, wherein Ga and Ni are really conspicuous by their absence, though Ri Thivra and Dha Thivra are made to falsely personate them. The trend of the modern view is that, while Bilâval is the Sudha-Scale of North India, Mayamalavagowla is that of South India. But, be it noted, that neither of them is the Sudha-Scale in the sense in which our ancient writers held, viz, that its seven svaras had their respective sruti numbers 4, 7, 9, 13, 17, 20 and 22, but that the elementary songs have been traditionally taught to the children in those Ragas. Such traditional teaching began, at first, as a matter of convenience or, better, inclination; but, then, it took root by force of habit.4 Now, though the old seven Sudha-Svaras and the Sudha- Scale formed therebyhave, doubtless, become obsolete; yet, we have 1 Vide Mr. Clements's Ragas of Tanjore, p. 15. 2 Vide Mr. Fox Strangways's Music of Hindostan, p. 120. 3 Vide Mr. Popley's Music of India, p. 43. It may be that Purandra Das wanted that the beginners of music should not be troubled with the controversial svaras (Ri2 or Sudha Ga), (Ga1 or Shatsruti Ri), (Dha2 or Sudha Ni), and (Ni1 or Shatsruti Dha) but should be confined, at the outset, only to the non-controversial svaras (Ri, and Ga2) (Dha1 and Ni2) and also Sudha Ma.

INTRODUCTION xxxiii

now Sa and Pa as Sudha (or better, Prakrithi) Svaras, inasmuch as they are fixed or admit of no varieties at all; while Ri, Ga, Ma, Dha, Ni are Vikritha-Svaras, inasmuch as each of them admits of twot clear varieties, viz, Komal and Thivra, that is, flat and sharp. These modern !Sudha-Vikritha Svaras, twelve2 in number, may be tabulated thus :-

Sa Ri, Rig Gaz Ga Ma1 Ma2 Pa Dha1 Dha2 Ni, Ni.

3 11 4 5 6 - 9 10 12 FIG. 7) And, again, these modern Sudha-Vikritha Svaras enable us to formulate, according to the Principle of Lakshya, the following working scheme which may be styled Laghumelakartha (siaeaf) as distinguished from the Brihanmelakartha (aznomaf) of Ven- katamakhi :-

Poorva Melas. Svaras. Uthara Melas. scheme. scheme. Number in Number in Serial Number. Serial Number. Venkatamakhi's Venkatamakhi's

Tôdi R1G M PDN Bhavapriya 44 Dhênuka ... S R1G, M PD,N, Subhapanthuvarali 45 10 3 Nâtakapriya R, 1G1MP M PD.N Shadvidhamargini. 19 46 11 4 Kôkilapriya ... Svarnângi 20 47

5 Vakulabharanam ... GM PDN. Nâmanârayani ARAA 21 50 15 6 Mayamalavag owla. ... 22 Chakravâka G2 M P Kâmavardhani 16 Râmapriya ... 23 51 52 ... 17 8 Suryakântha ... R. G.M Gamanapriya ... 24 52 ZzZZ

20 9 Natabhairavi S R R G1M P G1M D, N. Shanmukhapriya ... Simhendramadhya. 25 21 26 56 10 Girvâni S G,M PD2 P 57 22 SR D,N Kharaharapriya 23 11 12 Gowrimanohari IR 58 P ... 27 G, M Hêmavathi Dharmavathi ... 28 59

26 13 Châru kêsi P DIN1 Rishabhapriya Latângi ... 29 62 27 S R2 28 14 Sarasângi PD, ... 63

29 15 Harikâm bhôji 30 ... S R.G. MPD 1 Vâchaspathi 31 64 16 Sankarabharanam. S P D. N Mêchakalyâni ... ... 32 65

(FIG. 8)

1 A third variety is added by Venkatamakhi. 2 Cf. आहत्य शुद्दविकृता: खरा द्वादश कीर्तिताः । Chathurdandi Prakasika. 5

xxxiv SVARAMÊLAKALÂNIDHI

In order to be able to compare the Mêlas of Fig. 8 with those of Râmâmâtya, it is desirable that we should, first, know how Fig. 8 was worked up and, secondly, learn how the Mêlas of Svaramêlakalânidhi were formulated. Now, Ri and Ga may be combined in four different ways, viz, (1) Ri, and Gar (2) Ri1 and Ga2 (3) Ri2 and Gar and (4) Ri2 and Ga2. Similarly Dha and Ni may be combined in four different ways. By tacking the four varieties of Dha and Ni to each of the four varieties of Ri and Ga, we have sixteen varieties of Ri, Ga, Dha, and Ni. These sixteen varieties, when further manipulated with the two varieties of Ma, yield thirty-two1 work- ing Melas, for which see Fig. 8, where it will be seen that Mêlas I to 16 are Sudha-Madhyama or Poorva Melas, while Mêlas 17 to 32 are Prathi-Madhyama or Uthara Mêlas. Râmamatya, on the other hand, merely specified the names of his Twenty Melas and stopped with explaining their character- istics. Here is what he wrote :- लक्षणं वक्ष्यते पश्चादुद्देशः क्रियतेऽधुना । सर्वेषु रागमेेषु मुखारीमेळ आदिमः ॥ ततो मालवगोलस्य मेल: श्रोरागमेलकः । सार ङ्न्नाटमेलश्र मेलो हिन्दोळकस्य च।।

शुद्धरामक्रियामेलो देशाक्षोमेळकोडपरः । मेल: कनडगौलस्य शुद्धनाव्याश् मेलकः ॥

आंहरोमेलकश्चव नादरामक्रिया परः। मेल: शुद्धवराल्याश्च रोतिगौळस्य मेलकः ॥ वसन्तभरवीमेलो गीतज्ञैः संप्रकीर्तितः । केदारगोलमेलश्च हेजुज्ीमेलकस्ततः ॥

1 Even the Katapayadi-Sankhya seems to point to 32 as being the original number of the prime-Râgas (or Mêlas); inasmuch as Ra (T) represents 2, and Ga ("T) represents 3, and therefore Râga (ITT) represents, according to the said formula, 32.

INTRODUCTION XXXV

मेल: सामवराल्याश्च रेवगुप्तेश्च मेलकः । सामन्तनाममेलश् काम्भोजोमेलकरततः ॥ मेला विंशतिरेवैते॥1 And continued Râmâmâtya :- तेषां लक्षणमुच्यते। शुद्धसप्तखरैर्युक्तो मुखारोमेळको भवेत् ॥2 In this way Râmamâtya went on. Evidently he did not care to deduce his twenty Mêlas from any kind of principles, but perhaps recorded such of the Mêlas as were in vogue during his time. Even in so doing, he happened to slip into a palpable mistake of giving the same identical characteristics to two of his twenty Mêlas, viz., Sâranganâta and Kêdâragowla thus :-

Sâranganâta Kêdâragowla

पञ्चश्रुत्युषभः शद्दषडजमध्यमपञ्चमाः । शुद्धाश्च समपा: पञ्चश्रुतो चर्षभघैवतो। पञ्चश्रुतिघवतश्च च्युतषडजनिषादकः ॥ च्युतमध्यमगांधारक्ष्युतषड्जनिषादकः ॥ च्युतमध्यमगांधार एतैः सप्तखरयुतः । केदारगोलमेल: स्यात्खररेभि: समन्वितः ॥ सारङ्गनाटमलोडयं रामामात्येन लक्षितः । ' Râmâmâtya characterises the Mela of Sâranganâta as consisting of ' The Mela of Kedaragowla con- sists of these svaras, viz., Sudha these seven svaras, viz., Sudha Sa, Sa, Panchasruti Ri, Chyutha Madhya- Panchasruti Ri, Chyutha Madhyama ma Ga, Sudha Ma, Sudha Pa, Ga, Sudha Ma, Sudha Pa, Pancha- Panchasruti Dha and Chyutha Shadja sruti Dha, and Chyutha Shadja Ni.' Ni.

(FIG. 9) The veriest tyro will not fail to note the identical sameness in the characteristics of both the Melas in Fig. 9. Inasmuch, therefore, as Sâranganâta and Kêdâragowla merged, in point of

1 ' I shall now specify the names (of the Mêlas) and then explain their characteristics. Of all the Melas, Mukhari is the first. Other Mêlas are as follows :- Malavagowla, Srirâga, Sâranganâta, Hindôla, Sudharâmakriya, Desâkshi, Kannadagowla, Sudhanâti, Âhari, Nâdarâmakriya, Sudhavarâli, Rithigowla, Vasanthabhairavi, Kedâragowla, Hêjujji, Sâmavarâli, Rêvagup- thi, Samantha, and Kambhoji. Thus there are twenty Melas.' 2 ' And their characteristics are explained thus : the Mela of Mukhari, for instance, consists of seven Sudha-svaras.'

xxxvi SVARAMÊLAKALÂNIDHI

their characteristics, into one; how could Ramamatya count twenty different Melas? Quickly, therefore, did Venkatamakhi hasten to lash him on this vulnerable point and wrote : त्वदु क्तरीत्या सारङ्गनाटकेदारगोलयोः । संप्राप्तमेकमेलत्वं मेला: स्युर्विशतिः कथम्॥1

Nor did Venkatamakhi stop here. But he proceeded to attack Ramamatya, using even rough language, on nine more points. We shall deal with them, one by one, and place the views, thereon, of both Râmâmâtya and Venkatamakhi in juxta- position :- (1) As regards some derivatives of SRIRAGA MÊLA' Ramamatya .- The Mela of Sriraga consists of these seven Svaras, viz., Sudha Sa, Panchasruti Ri, Sadharana Ga, Sudha Ma, Sudha Pa, Panchasruti Dha, and Kaisiki Ni. Then do I enumerate some of the Ragas derived from this Mela, and they are :- Sriraga, Bhairavi, Gowli, Dhanyâsi, Sudhabhairavi, Vêlâvali, Mâlavasri, Sankarâbharanam, Andôli, Dêvagandhâri, and Madhyamâdi.'2 Venkatamakhi .- ' You said that Bhairavi, Sankarabharanam, and Gowli were derived from Sriraga Mela. Inasmuch as Bhairavi has Sudha Dha, Sankarabharanam has Anthara Ga, and Gowli has Kakali Ni, and inasmuch

1 Cf .:- ' According to yourself (addressing Râmâmâtya) Sâranganâta and Kedaragowla merged into one MEla. How then could there be twenty Melas?' 2 Cf. शुद्धषडजोडथ पञ्चश्रुत्यूषभश् ततः परम्। स्यात्साधारणगांधारः शुद्धो मध्यमपञ्चमौ॥ पञ्चश्रुतिर्घेवतश्च कैशिक्याख्यनिषादकः । एतैः सप्तसवरयुक्तः श्रीरागस्य च मेलकः ॥ आस्मिन्मेले संभवन्ति ये रागास्तानथ ब्रुवे श्रोरागो भैरवी गोलो धन्यासी शुद्धभैखो। वेलावली मालवश्रोः शङ्गराभरणोऽपि च॥ आन्दोली देवगांधारो मध्यमादिस्तथापरः । एवमाद्याश्च कतिचिद्रागा मेलाद्भवन्त्यतः ॥ Svaramelakalânidhi.

INTRODUCTION xxxvii

as (the last mentioned) Gowli may (rightly) be derived from Malavagowla, how can you (dare to) say that these Ragas were derived from the Mêla of Srirâga? O! Râma! Râma! Râma !. How confused (is your head) !!! '1

(2) As regards some derivates of 'SUDHARAMAKRIYA MÊLA'

Ramamatya .- ' Some of the Ragas derived from the Mela of Su- dharâmakriya are :- Sudharâmakriya, Pâdi, Ardradesi, and Dipaka.'2 Venkatamakhi .- 'Inasmuch as you (wrongly) said that Padi and Ardra- dêsi were derived from Sudharâmakriya, and inasmuch as the truth is that they were derived from the Mela of Gowla, O! Rama, you have committed a great sin, to remove which, you should contemplate the name of (that great) Râma.'3

• Cf. तथा हि भैरवोरागः शंकराभरणस्तथा। गोलिरागश्च कथितास्त्या श्रीरागमलजाः ॥

तत्कथ भैरवी शुद्धघवतेनान्विता खल। शंकराभरणो रागोऽन्तरगांधारवांस्तथा॥

सकाकलीनिषादश्च गोलीरागस्त्वयं पुनः । जातो माळवगोलाख्यरागमेलादिसंस्थितः ।

रागाणां पुनरेतेषां जन्म श्रीरागमेलकः । कथं विकत्थसे राम राम राम तव भ्रमः Chathurdandiprakâsika.

Cf. शुद्धरामक्रिया पाडिरार्द्रदेशी च दीपकः । इत्याद्याः संभवन्त्यत्न मेले रागाश् केचन। Svaramêlakalânidhi.

Cf. यच्चोक्तं भवता शुद्धरामक्रीरागमेलकः । पाडीरागार्द्रदेशाख्यरागजन्म भवेदिति॥

तद्दोषजातये राम रामस्मरणमातनु। पाध्यार्द्रदेशिरागो च प्रसिद्धो गोलमेलजो।। Chathurdandiprakâsika.

xxxviii SVARAMÊLAKALÂNIDHI

(3) As regards the Mêla of KANNADAGOWLA' Ramamatya .- ' As between the characteristics of Desakshi and Kan. nadagowla, there is one point of difference, viz., the latter (Kannadagowla) has Kaisiki Ni, as practised by the experts (instead of Chyutha Shadja Ni of Desâkshi).'1 Venkatamakhi .- ' The statement that Desakshi, when it attains Kaisiki Ni, becomes Kannadagowla leads to an absurdity. The fact is that Kannadagowla belongs to the Mela of Srirâga.'2

(4) As regards ' GHANTRAVA RÂGA.' Râmâmatya .- Some of the Ragas derived from this Mela (of Kan- nadagowla) are :- Kanndagowla, Ghantârava, Sudhabangâla, Châyânâta, Turushka Tôdi, Nâgadhvani, and Dêvakriya.'3 Venkatamakhi .- ' The statement that Ghantarava was derived from Kannadagowla has involved you in a heinous sin, from which, O! Râma, you cannot escape even though you go (on a pilgrimage) to Râmasêtu (Râmesvaram). The fact is that Ghantârava is derived from Bhairavi.'

Cf. देशाक्षीरागमेकस्य लक्षणं यदुदाहृतम्। मेले कन्नडगोलस्य तस्माद्गदोऽस्ति कश्चन ॥ कैशिक्याख्यनिषादोऽत्र प्रयुक्तो लक्ष्यवेदिभि: ॥ Svaramelakalânidhi. Cf. देशाक्षीमेल एवैष कशिक्याख्यनिषादकम्। प्राप्य कनडगोल: स्याद्गोलस्यातिमृषावहा ॥ कन्नडगोल: श्रीरागमेलनतो मतो न किम्॥ Chathurdandiprakâsika. Cf. अस्मिंस्तु मेळे संजातान्रागान्कतिचन ब्रुवे। एक: कनडगीळाख्यस्तथा घण्टारवोडपि च ।

शुद्धबङ्गालनामा च च्छायानाटस्ततः परः । तथा तुरुष्कतोडी च नागध्वनिरतः परम् ॥ दवक्रिया ह्येवमाद्या रागाः केचिद्दवन्त्यतः । Svaramêlakalânidhi. Cf. यच्च कन्नडगोलस्य मेले समुपजायते। घण्टाखव इति प्रोक्तं पातकेनामुना पुनः ॥

INTRODUCTION xxxix

(5) As regards 'NÂDARÂMAKRIYA' Râmamatya .- ' The Mela of Nadaramakriya consists of these Svaras, viz., Sudha Sa, Sudha Ri, Sadharana Ga, Sudha Ma, Sudha Pa, Sudha Dha, and Chyutha Shadja Ni.'1 Venkatamakhi .- ' The statement that Nâdaramakriya has Sâdharana Ga discloses, O! Râma, your strange (that is, un-) fitness to hold the title of Bayakâra (or Vâggêyakâra). The truth is that Nâdarâmakriya has Anthara Ga.'2 (6) As regards RITHIGOWLA' Râmamâtya .- ' The Mela of Rithigowla consists of these seven svaras, viz., Sudha Sa, Sudha Ri, Sudha Ga, Sudha Ma, Sudha Pa, Panchasruti Dha, and Kaisiki Ni.'3 . Venkatamakhi .- ' While Ramamatya has spoken of Rithigowla as a MEla with Sudha Sa, Ri, Ga, Ma. Panchasruti Dha, and Kaisiki Ni, the truth is that Rithigowla is (not a Mela) but a Raga derived from the Mela of Bhairavi.' 4

सत्यं विमोक्ष्यसे राम रामसेतुं गतोडपि न। भैरवोमेलसंभूतो रागो घण्टाखव: खल ॥ Chathurdandiprakâsika. Cf. शद्धाः समपधा रिंश्च च्युतषड्जनिषादकः ॥ साधारणोऽपि गांधारः खरेरेभिः समन्वितः I नादरामक्रियामेलः॥ Svaramêlakalânidhi. Cf. यद्यप्युक्तं त्वया नादरामक्रीरागमेलके। साधारणाख्यगांधारः संग्राह्य इति तत्त्वतः ॥ अपूर्वबयकारत्वमावेदयति राम ते। नादरामक्रियामेलगांधारोडप्यन्तराभिधः॥ Chathurdandiprakasika. 3 Cf. शुद्धाः सरिगमा: पश्च पञ्चश्रुतिकधवतः । कैशिक्याख्यनिषादश्वेय्येतैर्यक्तः खरैस्तु यः ॥ स रोतिगौलमेल: स्यात् ॥. Svaramelakalânidhi. Cf. यच्चोक्तं रोतिगोलाख्यरा गमेलस्य लक्षणम्। शुद्धा: सरिगमा: पश्च पञ्चश्रुतिकधवतः॥

x1 SVARAMÊLAKALÂNIDHI

(7) As regards ' KÊDARAGOWLA.' Râmâmâtya .- ' The Mela of Kedaragowla consists of these Svaras, viz., Sudha Sa, Panchasruti Ri, Chyutha Madhyama Ga, Sudha Ma, Sudha Pa, Panchasruti Dha, and Chyutha Shadja Ni.' 1 Venkatamakhi .- ' I feel sorry for your name (of Râma); for, you mistakenly placed Chyutha Shadja Ni in the Mela of Kedaragowla. The right Svara of the Mela is Kaisiki Ni.' 2

(8) As regards

Râmâmatya .- ' The Mela of Hejujji consists of these Svaras, viz., Sudha Sa, Sudha Ri, Anthara Ga, Sudha Ma, Sudha Pa, Sudha Dha, and Kakali Ni.' 3 Venkatamakhi .- ' It is stupid to place Kâkali Ni in the Mêla of Hejujji ; for the right Svara of the Mêla is Sudha Ni.' 4

कशिक्याख्यनिषादश्चेययत्र रामक्रियस्तथा। भरवीरागमेलोत्थो रीतिगोल: प्रकीर्यते॥ Chathurdandiprakâsika. 1 Cf. शुद्धाश्च समपाः पञ्चश्रुती चर्षभघैवतो। च्युतमध्यमगांधारक्ष्युतषडजनिषादकः ॥ केदारगोलमेल: स्यात्खरैरेभिः समन्वितः ॥ Svaramêlakalânidhi. Cf. यच्च केदारगोलाख्यरागमेलस्य लक्षणे। संग्राह्यश्च्युतषडजाख्यनिषाद इति कल्पितम् ॥ तत्नस्थानेच शोचामि तव रामाभिधां पुनः । कैशिक्याख्यनिषादो हि मेले कदारगोलके।। Chathurdandiprakâsika. * Cf. शुद्धो च षड़्जरिषभी शुद्धाश्च मपधास्तथा। गांधारोऽन्तरसंज्ञश्च काकल्याख्यनिषादकः । एतावत्स्रसंयुक्तो हेजुज्जीमेलको भवेत्। Svaramêlakalânidhi. * Cf. यदप्युक्तं त्वया राम हेजुज्ीरागमेलके। काकल्याख्यनिषादस्तु संग्राह्य इति तत्पुनः ॥ अतितुच्छं यतस्तस्मिन्मेळे शुद्धनिषादकः ॥ Chathurdandiprakâsika.

INTRODUCTION xl

(9) As regards ‘KÂMBHÔJI! Râmâmâtya .- 'The Mela of Kambhoji consists of these Svaras, viz., Sudha Sa, Panchasruti Ri, Anthara Ga, Sudha Ma, Sudha Pa, Panchasruti Dha, and Kâkali Ni.' 1 Venkaiamakhi .- ' Does not even the maid-servant of a Vainika know . that Kambhoji has Kaisiki (and not Kâkali) Ni?' 2 The reader will, at this stage, do well to guard himself against entertaining any mistaken notion that Râmâmâtya was all wrong or that Venkatamakhi was all right. He will further do well to remember that, between Svaramelakalânidhi and Chathur- dandiprakasika, there elapsed a full century and a little more; that the musical systems, worked out in both the books, must-on account of the progressive nature of the art-be necessarily different from each other; and that some of the views of both the authors might therefore be right and wrong-right in their own times, and wrong in other times. Living, as I do, three centuries after Venkatamakhi who insisted on having only Kaisiki Ni for Kâmbhôji, I may repay the author of Chathurdandiprakasika in his own coin and retort : ' Does not even the cook of a Vainika know that the Kâmbhôji of the present day has not only Kaisiki Ni but also Kâkali Ni, as in the case of the phrase Sa-Ni-Pa-Dha-Sa ? Again, in your chapter on Râgas, you dared to write- कांभोजोरागः संपूर्णोऽप्यारोहे मनि वर्जितः।3 From this heinous sin, O! Venkata, you cannot escape even though you go on a pilgrimage to Tirupati, the abode of Lord Venkateswara. For, whether your Kâmbhôji corresponds to our

Cf. गनी चांतरकाकल्यो रिघो पञ्चश्रुती तथा। शेषा: शुद्धास्तु समपाश्चैव ह्येतेः कांभोजिमेलकः ॥ Svaramêlakalânidhi.

2Cf. कांभोजीरागमेलस्य के शिक्याख्यनिषादकः । इति नो वेत्ति किं वोणावादिनां गृहदास्यपि॥ Chathurdandiprakâsika. 3 Cf. Kambhoji Râga, though Sampurna, leaves out in the ascent Ma and Ni. 6

xlii SVARAMÊLAKALÂNIDHI

Kambhoji or Harikambhoji, Ma is never left out, though Kambhoji leaves out Ni in the ascent.' Surely, then, Venkatamakhi threw stones at Ramamatya, while himself was living in a glass-house; I and his strictures on Svaramêlakalânidhi are unjust, uncalled-for, and even offensive to a degree. Still, a Venkata may persist in reminding us as to why Râmâmâtya, having merged, into one, Sâranganâta and Kêdâra- gowla, ventured to count twenty Mêlas? This, as I said, is no doubt a vulnerable point. But be it, at the same time, noted that, during the long period of a full century, after which Venkatamakhi criticised it, Heaven alone knows what changes or modifications the manuscripts of Svaramelakalânidhi underwent in the hands of different indifferent copyists and what sort of a copy finally fell into our critic's hands. Even assuming that Râmamatya committed the blunder attributed to him, I am disposed to think that it is a matter only of a slip of the pen and that he had no time to revise what he wrote. For, does not Fig. II show that the Graha, Amsa, and Nyasa, as well as the time of singing, of both Sâranganâta and Kêdâragowla are quite different from each other? I said that Râmâmâtya did not care to deduce his Mêlas from any kind of principles but perhaps recorded such of the Mêlas as were in vogue during his time. My view seems to be confirmed, when we note, that, at the end of his fourth chapter on Mela, Ramamatya felt that, in actual practice,2 Anthara Ga and Kâkali Ni were not only of very small or occasional use but also were represented3 by Chyutha

1 Surely, Venkatamakhi did live in a glass-house; for, did he not solemnly record, in his book, without any attempt on his part to inquire, a mere hearsay-matter, which turned out to be altogether false? In his Ragaprakarana, he stated रागास्तावद्दशविधा भरतादयरुदीरिताः ॥, that is, ' Bharata and others say that Ragas are of ten kinds.' But in Bharata's Nâtya Sâstra, there is no mention of the word Râga at all, much less of its ten kinds ! 2 That is, according to the Principle of Lakshya. 3 Cf. अन्तरस्य च काकल्या ग्राह्यः प्रतिनिधिः क्रमात् । च्युतमध्यमगांधारक्ष्युतषडजनिषादकः ॥ Svaramêlakalânidhi.

INTRODUCTION xliii

madhyama Ga and Chyuthapanchama Ni respectively, and, therefore, chose to reduce, as an alternative, his twenty-into fifteen-Mêlas, and also stated that the remaining five must be deemed to be implied in the fifteen. To illustrate, Hejujji must be deemed to be implied in Vasanthabhairavi; Sâmavarâli, in Sudhavarâli; Rêvagupthi, in Bowli; Sâmantha, in Kannada- gowla; and Kâmbhôji, in Sâranganâta. I Further, the recognition of the theory of representation, referred to, is tantamount to almost identifying Chyuthamadhyama Ga and Chyuthashadja Ni respectively with Anthara Ga and Kakali Ni and also to driving, out of the field, one of the two pairs of svaras, preferably the latter. As regards Râgas, Râmâmâtya divided them into three kinds -Superior, Middling, and Inferior. The 'superior' Ragas are said to have been free from any kind of mixture and also suitable for singing, composition, elaboration and for Taya; and they were twenty in all. The ' middling' Ragas were employed to sing fragmentary portions of songs and were fifteen in all; while, the ' inferior' Râgas, plentiful though, were calculated to dazzle (and not illumine) the masses and were [dis-] regarded as being unsuitable for compositions. These three divisions were once repeated by Sômanâth in his Râgavibôdha; but they disappeared from the time of Venkatamakhi, with the result that they are unknown to, and unrecognized by, the modern musicians. For, which musician of to-day will reconcile himself to blackmark and taboo, for instance, Sankarabharana-unless it be that it does not tally with our

1 Cf. शेषा:पञ्चदशखेषु पञ्च लोनास्तदुच्यते॥

वसन्तभैरवीमेले लीनो हेजुज्जिमेलकः । अथ सामवराल्याश्च मेलो यः प्रागुदोरितः ॥ अन्तर्भूतः स्फुट शुद्धवरालोमेलके च सः । बोल्याश्च मेलके लीनो रेवगुप्तेस्तु मेलकः ॥ मेले कन्नडगोलस्य लोन: सामन्तमेलकः । सारद्गनाटमेळे च लोन: काम्भोजिमेलकः॥ Ibid.

xliv SVARAMÊLAKALÂNIDHI

own-as an 'infêrior', and therefore disregardable, Râga as Râmâmâtya had done ? Let us now tabulate the Mêla and Râga systems of Râmamatya and make a closer study of his work.

I. Râmâmâtya's ' Genus-Species' System

Melas-(20) Janya-Râgas-(64) No.

1 Mukhâri Mukhari and a few Grama Râgas

(1) Malavagowla (2) Lalitha (6) Mêchabowli (11) Kuranji (12) Kannadabangala 2 Mâlavagowla (3) Bowli (7) Palamanjari

(4) Sourâshtra (8) Gundakriya (13) Mangalakowsika l (5) Gurjari (9) Sindhuramakriya (14) Malhari, etc. (10) Châyâgowla

(1) Srirâga (5) Sudhabhairavi (9) Ândoli 3 Srirâga (2) Bhairavi (3) Gowli (6) Vêlâvali (10) Devagandhari (4) Dhanyâsi (7) Mâlavasri (8) Sankarâbharana (11) Madhyamâdi, etc.

4 Sâranganâta ( (1) Saranganata (2) Saveri (4) Natanârâyani (7) Kunthalavarâli ( (3) Sâlagabhairavi (5) Sudhavasanta (6) Purvagowla (8) Bhinnashadja (9) Nârayani, etc.

5 Hindôl 6 Sudharamakriya (1) Hindôl (2) Mârga Hindôl (1) Suddharâmakriya (2) Pâdi (3) Bhûpala, etc. (3) Ardradêsi (4) Dipaka Desakshi Dêsâkshi

8 Kannadagowla (1) Kannadagowla (2) Ghantârava (4) Châyanâta (7) Dêvakriya, etc. (3) Sudhabangala (5) Turushka-Todi (6) Nâgadhvani

9 Sudhanâta 10 Ahiri Sudhanâta, etc.

11 Nâdarâmakriya Ahiri, etc.

12 Sudhavarali Nâdaramakriya, etc. 13 Rithigowla Sudhavarali, etc.

14 Vasanthabhairavi Rithigowla, etc. 15 Kêdaragowla (1) Vasanthabhairavi (2) Sômarâga, etc. (1) Kêdâragowla (2) Nârayanagowla, etc.

16 Hêjujji 17 Sâmavarâli Hêjujji and a few Grâma Râgas 18 Rêvagupthi Sâmavarâli Rêvagupthi do. do.

20 19 Sâmantha Kâm bhôji Samantha, etc. Kâmbhôji, etc.

(FIG. 10).

vI INTRODUCTION xlv

III. The Characteristics of a few of Râmamatya's Derivative Râgas

Mêlas Time of Reasons Râgas Singing Rank for the Rank Amsa Graha Nyâsa No. if any Remarks,

1 Lalitha ... Mâlava- Sa Sa | Sa First Watch S. Sh Pa omitted.

2 Bowli gowla Do. Ma Ma Ma of the Day. First Half of S. Sh Pa omitted. Ma the Day omitted 3 Gurjari Do. Ri Ri Ri First Watch S. Sh Pa omitted in of the Day. though re- another tained in version. descent. 4 Gundakriya. Do. Sa Sa Sa Former Part M. Sh Dha omitted of the Day. though re- tained at

5 Kannada- Do. Ga Ga Ga Morning M. Sh times ... Ri omitted. bangala. 6 Malhari Do. Dha Dha Dha Day-Break ... s. o Ga and Ni omitted. 7 Sourashtra ... Do. Sa Srirâga Sa Sa Evening 8 Bhairavi Sa Sa Sa Latter Part of S S ...

the Day. 9 Dhanyâsi Do. Sa Sa Sa Morning s. o Ri and Dha omitted. 10 Vêlâvali Do Dha Dha Dha Day-Break ... S Ri and Pa omitted in descent. 11 Sankara- Do. Sa Sa Sa ... I. S ... Resem- bharana. bles Saman- tha. 12 Ândoli ... Do Pa Pa Pa ... I. 0 Ga and Ni omitted. 13 Madhyamadi. Do. Ma Ma Ma Latter Part of M. O Ri and Dha the Day omitted.

Do. time. 14 Mâlavasri Sa ? 15 Sâvêri Sâranga- Always Day-Break ... S. Sh Dha Dha Dha Sa I. Ga and Ni nata omitted 16 Sudha- Do. Sa Sa ? Fourth Part S. Sh Pa omitted vasantha. of the Day. though re tained in descent. 17 Bhinna- Do. Sa Sa Always ... I. Sh Ma omitted. shadja. 18 Narâyani Do. Ga Ga Ga Morning S Ri omitted in descent. 19 Bhûpal Hindôl Sa Sa Sa Morning M. O Ma and Ni omitted. 20 Ghantârava. Kannada- Dha Dha Dha Always ... |I. Sh Ga omitted. 21 Nagadhvani. gowla Do. Sa Sa Sa Always I. S 22 Sômarâga ... Vasantha- Sa Sa Sa Always I. S Sounds with bhairavi Ma nicely in Mandra. 23 Pâdi Sudha- Sa Sa Sa Fourth Watch M. Sh Ga omitted. ramakriya of the Day.

(FIG. 12)

xlvi SVARAMÊLAKALÂNIDHI

IV. Râmâmâtya's 20 Mêlas, interpreted in terms of the Modern Mêlas N.B .- In this Figure 13, three points should be remembered :- (1) Anthara Ga and Chyuthamadhyama Ga should be deemed to be practically identical; and so also, in the case of Kakali Ni and Chyuthashadja Ni. (2) Panchasruti Ri and Dha should be deemed to be the modern Chathusruti Ri and Dha. (3) Venkatamakhi's Sudha and Shatsruti Svaras should be deemed to be the same as Ramamatya's.

Modern Mêlas Râmâmâtya's Twenty Mêlas Carnatic Hindustani Number

Mukhâri Kanakângi Mâlavagowla Mayâmâlavagowla ... Bhairava. 3 Srirâga ... Kharaharapriya Kâfi. Sankarâbharana ... 4 Sâranganâta ... Bilâval. 5 Hindôla Nâtabhairavi Asâvêri. 6 Sudharâmakriya ... Kåmavardhani ... ... Poorvi. 7 Dêsâkshi Soolini 8 Kannadagowla Vâgadisvari 9 Sudhanâta ... Chalanâta 10 Ahiri Girvâni 11 Nâdarâmakriya Dhênuka 12 Sudhavarâli Jâlavarâli 13 Rithigowla ... Vanaspathi 14 Vasanthabhairavi Kêdâragowla Vakulâbharana 15 16 Hêjujji Sankarâbharana

17 Sâmavarâli Mayamalavagowla ... Gânamurthi 18 Rêvagupthi ...

19 Sâmantha ... Gâyakapriya

20 Kâmbhoji Chalanâta Sankarabharana

(FIG. 13) In the above Fig. 13, Mâyamâlavagowla occurs twice and San- karabharana thrice ! If Râmâmâtya had given Kaisiki Ni to Kâm- bhôji, we could have interpreted that Râga in terms of the modern Harikambhoji. But he chose to give it Kakali Nil! We feel puzzled. Again, as regards the twenty-three Derivative Râgas delinea- ted in Fig. 12, most of his arrangement seems to have been upset by his successors. Though, for instance, Lalitha, Sourashtra and the like are, even now, retained under the same category as Râmâ- matya's; most of the other Ragas, such as for instance, Sâveri, Dhanyâsi and the like, have been made to change their categories. Further, what did Ramamatya mean by proclaiming Bhairavi and

INTRODUCTION xlvii

Sankarâbharana to be each a Sampurna and, yet, a derivative of Srirâga, which was (also as it ought to have been) a Sampurna? Furthermore, Râmâmâtya's Srirâga corresponds, as per Fig. 13, to the modern Kharaharapriya. Could, then, Bhairavi or Sankarâ- bharana come out of Kharaharapriya? We feel, again, puzzled. There, yet, appears a way-out. Gentle reader, follow. In the first place, I would put you in mind of what I had said in connection with Venkatamakhi's unwarranted onslaught on Râmâ- mâtya, namely, Heaven knows what changes or modifications the manuscripts of ' Svaramelakalânidhi' underwent in the hands of different indifferent copyists and what sort of a copy finally fell into our-own-hands. In the second place, the names of the Ragas and, for that matter, of the Thalas, of the Svaras, and of even the 22 Srutis-have been from time to time changing, like chameleon's colour. Here are, for instance, two sets of names, given in two different periods of time, to one and the same time-honored 22 Srutis, wherein all the names differ, except Ugra, even which figures itself in the 7th Sruti in the one case and in the 21st Sruti in the other :-

Svara Nârada's Names Sharngadev's Names Svara Sruti

1 Sidhâ Thivrâ 2 Prabhâvathi Kumudvathi 3 Kanthâ Mand 4 Suprabhâ Chandôvathi Sa 5 Sa Sîkâ Dayâvathi 6 Dipthimathi Ranjani 7 Ri Ugrâ Rathikâ Ri 8 Hlâdi Rowdri 9 Ga Nirviri Krôdha Ga 10 Dirâ Vajrikâ 11 12 Sarpasahâ Prasarini Kshânthi Prithi 13 Ma Vibhuthi Mârjani Ma 14 Mâlini Kshithi 15 Chapalâ Rakthâ 16 Bâlâ Sândipini 17 Pa Sarvaratna Alâpini Pa 18 Shânthâ Madanthi 19 Vikalini Rôhini 20 Ramya Dha .21 Dha Hridayônmalini Visarini Ugrâ 22 Ni Prasunâ Kshôbini Ni

(FIG. 14).

xlviii SVARAMÊLAKALANIDHI Hence, Ramamatya's Sankarabharana is not the modern Sankarabharana; nor is his Bhairavi or even Sriraga our own. The only sensible inference, that we can draw under the circum- stances, is that we should not allow ourselves to be [mis-] led by the mere names of Ramamatya's Ragas but should delve deep and study the characteristics of each of them and find out its modern prototype and its modern name as well. Will a study of Ramamatya's Vina help us to understand his Râga-system, especially as he assures us it would ? Let us, then, take up the subject of Vina, which Râmâmâtya dealt with, in his third chapter, at the very outset of which he emphasised the importance of Vîna, as creating a nice taste for, and a fine discrimination in, Srutis, Svaras, Mêlas, and Râgas; besides being a means of attaining Dharma, Artha, Kâma, and Môksha. Be it noted that Râmâmâtya fundamentally differed from Sharngadev in the matter of constructing his Vina and thereby cut a new path for his successors to follow. While Shârngadêv presented to us a Vîna of twenty-two strings; Râmâmâtya simpli- fied the process by requiring only four strings to produce all his Sudha-Vikritha svaras in all the three registers. While, again, Sharngadev's Vina was only of two kinds, viz., Sruti Vina and Svara Vîna; Râmâmâtya's Vîna was of six kinds, which may conveniently be tabulated thus :- Rudra Vîna

Sudha Mêla Madhya Mela Achyutharajendra Mêla Vîna (I) Vîna (II) Vîna (III)

Sarvaraga Êkarâga Sarvarâga Êkarâga Sarvarâga Êkarâga (1) (2) (3) (4) (5) (6) (FIG. 15.)

All the six kinds of Ramamatya's Vina were provided with frets. In the Sarvaraga Mêla Vina, they were fixed and immov- able, as in the case of our modern Tanjore Vina; while, in the Ekaraga Mela Vina, they were not fixed and therefore movable, as in the case of the modern Sitar of North India. In fact, the frets of the latter kind were moved or changed every time a Râga was changed; while, those of the former kind were fixed and

INTRODUCTION xlix

yet made to produce all the Râgas in all the registers. Hence their respective names. As for the construction and characteristics of Râmâmâtya's Vina; first, there was a Cross-Bar, called Danda, on the left-hand . side of which there was a Gourd, called Thumba, attached thereto by means of a round piece of metal, called Nâbhi. Over and along the cross-bar, four metallic wires were fastened between the left-hand bridge, called Mêru, and the right-hand piece of wood at the end of the cross-bar, called Kakubha; and these (four) wires were also made to run over a metallic piece, on the right-hand side, called Pathrika. The Dôraka-strings intervened between Pathrika and Kakubha and held the four wires tightly from the basis of the latter; while, bits of cotton (or woollen or even silken) threads, called Jîva, were used over the Pathrika and under the (four) wires, with a view to refine the sound. All over the cross-bar but underneath the (four) wires were placed metallic frets, called, Sarikas, by means of which alone proper sounds could be produced on the (four) wires. Below the cross-bar, but near the four wires and on the right-hand side, three additional wires were fastened for Sruti-purposes. What Svaras did each of the four upper-wires and of the three lower-wires speak, when sounded? The answer depends on whether the Vina was Sudha Mêla, Madhya Mêla, or Achyutha- râjendra Mela. For, while the order of the three lower-wires was the same in all the three kinds of the Vina, namely, Madhya Sa, Mandra Pa, and Mandra Sa, except an additional Madhya Pa was tacked on to the lower-wires of the third kind of the Vina; the order of the four upper-wires, in Sudha Mela Vina, was :- Anumandra Sa, Anumandra Pa, Mandra Sa, and Mandra Ma: that, in Madhya Mela Vina, was :- Anumandra Pa, Mandra Sa, Mandra Pa, and Madhya Sa ; and that, in Achyutharajendra Mela Vîna, was :- Anumandra Sa, Anumandra Pa, Mandra Sa, and Mandra Pa. Confining, now, our attention to the Sudha Mêla Vina, we note that, over its cross-bar, six frets were placed in such a manner as they produced, in order, by the first (Anumandra Sa-) wire, the following svaras :- I. Sudha Ri 4. Chyuthamadhyama Ga 2. Sudha Ga 5. Sudha Ma 3. Sadharana Ga 6. Chyuthapanchama Ma; 7

1 SVARAMÊLAKALÂNIDHI

by the second ( Anumandra Pa-) wire, the following svaras :- I. Sudha Dha 4. Chyuthashadja Ni 2. Sudha Ni 5. Sudha Sa

3. Kaisiki Ni 6. Sudha Ri; by the third ( Mandra Sa-) wire, the following svaras :- I. Sudha Ri 4. Chyuthamadhyama Ga 2. Sudha Ga 5. Sudha Ma 3. Sadharana Ga 6. Chyuthapanchama Ma; and by the fourth (Mandra Ma-) wire, the following svaras :- I. Chyuthapanchama Ma 4. Sudha Ni 2. Sudha Pa 5. Kaisiki Ni 3. Sudha Dha 6. Chyuthashadja Ni. Even for other registers, such as, Madhyathara and Anuthara, the same method was pursued and suitable frets were fixed. But, be it remembered, in those higher registers, the only wire that could possibly produce sweet or agreeable svaras was the fourth and not any of the other three upper-wires. Be it also remembered that Sudha Sa and Sudha Ri of the second-wire occurred again on the third and were therefore of no use on the second and that, similarly, Sudha Ma and Chyutha- panchama Ma of the third wire occurred again on the fourth and were therefore of no use on the third. Finally, Râmâmâtya made reference to what were called Svayambhus, which were self-produced svaras or which, in the language of Râmamâtya himself, ' emanated of their own accord.'I Could Râmâmâtya's 'Svayambhus' be the same as what, in Physics, is known as the ' Harmonics,' inasmuch as even the latter emanate of their own accord? It is said that, while there are more ways than one to hear the Harmonics on a string, only one of them is implied by the term Svayambhus. How far this statement is true can be judged only by studying the Harmonics, at first, and by seeing whether and, if so, how far they tally with the Svayambhus. What are the Harmonics? If you strike a string of any instrument-provided it is in a proper state of tension-you will observe that it vibrates not only in its entire length but also in segments. All these motions are simultaneous and the sounds

Cf- सयंभुवः खराः ह्येते न खबुद्धया प्रकल्पिताः । Svaramêlakalânidhi.

INTRODUCTION li

proceeding therefrom are blended into one note. The funda- mental Sa, that is struck, is the loudest and is called the prime or the prime partial tone, while others are called the upper partial tones or the overtones ; and the whole series of the upper partial tones form the Harmonics. The first upper partial tone is the higher octave of the fundamental Sa and makes twice as many vibrations as the prime in the same time; and it is Så. The second upper partial tone is the fifth of the octave Sa and makes thrice as many vibrations as the prime in the same time; and it is På. The third upper partial tone is the second higher octave and makes four times as many vibrations as the prime in the same time; and it is Sä. The fourth upper partial tone is the major third of the second octave and makes five times as many vibrations as the prime in the same time; and it is Ga. The fifth upper partial tone is the fifth of the second octave and makes six times as many vibrations as the prime in the same time; and it is Pa. And so on and on. Thus, the relative numbers of the vibrations which make the Harmonic Series of sounds, are as I : 2: 3: 4: 5: 6 and so on. You can hear this series in the wire of any instrument-say, of the sonometre-if you vibrate it after it has been successively shortened 4, }, Ł, ₺, ₺, etc., of its whole length. But the point to be remembered is what we, in this connec- tion, began with. If a wire is struck, it vibrates not only in its whole length but also in its aliquot parts .. In other words, if you, by striking a wire, produce the fundamental Sa; all the upper partial tones, mentioned above, namely, Så-Pà-Sä-Ga-Pä, etc., etc. are simultaneously produced on the same wire by a natural process. A trained ear will surely detect the upper partial tones, sounding of their own accord and blending with the prime or fundamental Sa-at least the first few partials which are loud enough to be heard, if not the other ones which become fainter and fainter as they rise higher and higher in pitch. We, thus, find that the striking of a wire, the production thereby of the fundamental Sa and the detection, with a trained ear, of the upper partial tones which sound of their own accord by a natural process on the same wire-all these jointly form the first or natural way to hear, and thereby recognize the existence of, the Harmonics.

lii SVARAMÊLAKALÂNIDHI It is not, however, impossible to artificially produce and distinctly hear each of the upper partial tones. If, for instance, you strike a wire and touch the said wire at its middle with your finger (or better still with a feather) ; you will distinctly hear the higher octave of the fundamental Sa. Other upper partial tones may similarly be produced by touching the said wire at a third, a fourth, a fifth, a sixth and so on, of its length. There is, yet, a third way of hearing the Harmonics. Stretch, for instance, the two wires-A and B-of a sonometre and tune them to exact unison. Place, then, a moveable bridge underneath the wire B, so as to gently touch it at its middle point and to produce, if vibrated, the first upper partial tone, namely, the octave Så. Now, set the whole wire A in vibration and make it produce the fundamental Sa. You will note that even the neigh- bouring wire B, though untouched, vibrates of its own accord and produces the harmonic first higher octave Så. This remarkable fact that a vibrating body may cause another elastic body, in tune with it, also to vibrate is called the Co-vibration. We are, now, in a position to arrive at the following conclu- sions regarding the Harmonics :- (1) The Harmonics co-exist, in nature, with the note of a string. (2) Those Harmonics may be heard in more ways' than one, such as for instance :- (a) Hearing the fundamental Sa, struck in the wire of any instrument-provided it is in a proper state of tension-along with its naturally-arising upper partials, all in a happy blending; or (b) Striking the wire and at the same time touching it at a half, a third, a fourth, a fifth, a sixth and so on, of its length and hearing the corresponding upper partials, in order, as well as separately; or (c) Striking one of the two wires of a sonometre, both of them being tuned to exact unison, and touching the other wire at a half, a third, a fourth, a fifth, a sixth and so on, of its length and hearing the correspond- ing upper partials by virtue of the co-vibration.

1 In every one of those ways, only the first few partials will be loud and heard, while the other ones become fainter as they rise higher in pitch.

INTRODUCTION

Before we proceed to compare the ' Harmonics' with the ' Svayambhus,' we will do well to study the connotation imported into the term Svayambhu by Râmâmâtya. And on this point, I shall let Râmâmatya himself speak :- 'The Mandra Sudha Pa, produced on the fourth wire by the second fret is called Svayambhu. Hence all the svaras produced (on all the four wires) by the second fret are Svayambhus and cannot be otherwise. Inasmuch as the Anumandra Sudha Ni, produced on the second wire by the second fret, is of the same value as the Mandra Sudha Ni, produced on the fourth wire by the fourth fret; all the svaras, produced (on all the four wires) by the fourth fret are determined to be Svayambhus; and they cannot be otherwise. Inasmuch, again, as the Anumandra Chyuthashadja Ni, produced on the second wire by the fourth fret, is of the same value as the Mandra Chyuthashadja Ni, produced on the fourth wire by the sixth fret; all the svaras produced (on all the four wires) by the sixth fret are determined to be Svayambhus; and they cannot be otherwise. The Sa-Ma svaras, produced (on the first three wires) by the fifth fret are all Svayambhus. Inasmuch, again, as the Mandra Kaisiki Ni, produced on the fourth wire by the fifth fret, is of the same value as the Anumandra Kaisiki Ni, produced on the second wire by the third fret; all the svaras, produced (on all the wires) by the third fret are Svayambhus. Inasmuch, further again, as the Mandra Sudha Dha, produced on the fourth wire by the third fret is of the same value as the Anumandra Sudha Dha, produced on the second wire by the first fret; all the svaras have been shewn to be of definitely determined values. In this manner Râmâmâtya determined the values of all the svaras produced on all the four wires by all the six frets.'I

1 Cf. चतुर्थतन्त्या संभूतः शुद्धोडयं मन्द्रपञ्चमः । द्वितोयायां सारिकायां स्यंभूरिति कथ्यते।। तस्माद्दितीयसार्यां ये जाता: सर्वेऽपि ते खराः । स्यंभुवः प्रमाणस्थाः कर्तु शक्या न चान्यथा॥ द्वितीयसार्यां जातस्य तन्त्या चापि द्वितीयया। अनुमन्द्रस्य शुद्धस्य निषादस्य प्रमाणतः ।

liv SVARAMÊLAKALÂNIDHI In so many words, Râmâmâtya meant to drive home to his reader's mind that, among the twenty-four svaras, compressed in all the six frets on all the four upper-wires of his Vina, very many pairs would, on close scrutiny, be found to be related to each

चतुर्थसार्यां संजाते तन्त्या चापि तुरोयया। मन्द्रे शुद्धनिषादाख्ये सप्रमाणे कृते सति॥ चतुर्थसार्यां संजाता: खराः सर्वे स्यंभुवः । प्रमाणयुक्ता: केनापि न शक्या: कर्तमन्यथा ॥ तुरीयसार्यां तन्त्या तु संजातस्य द्वितीयया। च्युतषडजनिषादस्य चानुमन्द्रप्रमाणतः । षछ्ठसार्या तन्त्रिकया चतुर्थ्यां जनिते खरे। च्युतषडननिषादार्ये मन्द्रे मानयुते कृते। षष्टसार्यां समुत्पन्नाः खराः सर्वे सयंभुवः । प्रमाणयुक्ता: शक्यन्ते नान्यथा कतुमञ्जसा॥ पञ्चम्यां सारिकायां तु षड्नमध्यमसंभवात्। तज्जानां प्रविभागाश्च ते सर्वे स्युः स्यंभुवः ॥ पञ्चम्यां सारिकायां तु तन्व्या जातस्य तुर्यया। मन्द्रस्य कैशिकाख्यस्य निषादस्य प्रमाणतः ॥ तृतोयायां सारिकायां जाते तन्व्या द्वितोयया। अनुमन्द्रे कैशिकाख्ये निषादे मानसंयुते। कृते सति तदुद्भूताः खराः सर्वे सयंभुवः। तृतोयायां सारिकायां संजातस्य तुरीयया। तन्त्या मन्द्रस्य शुद्धस्य धैवतस्य प्रमाणतः । आद्यसार्यां समुद्रूते तन्त्या चापि द्वितीयया। अनुमन्द्राभिधे शुद्धे धैवते मानयोगिनि। कृते सति समुत्पन्नाः सर्वे प्रामाणिकाः खराः ॥ अयं प्रकार: सारीषु षट्सूत्पन्नख्रावकेः । प्रमाणनिर्णयकृते रामामात्येन दर्शितः ॥ Svaramêlakalânidhi.

INTRODUCTION İv other as the fundamental or prime tone would be to its upper partial tone; such as for instance, the Sudha Dha in the first fret on the second wire to the Sudha Dha in the third fret on the fourth wire. Evidently, therefore, Râmamâtya's Svayambhus had a close affinity with the Harmonics, inasmuch as the former belonged to the second, and perhaps even third, category of the latter, mentioned above. Further, does not Râmâmâtya's method of merely tuning the four upper-wires, as well as the three lower- wires, of his Vina into Sa-Pa-Sa-Ma, on the one hand, and into Sa-Pa-Sa, on the other, testify to the fact that he did recognise the harmonic relation between those svaras? Sômanâth too, harped, in his Râgavibôdha, on the same point; and it was Mr. K.B. Deval of Sangli that showed it to the music-world, in the face of his two opponents, Messrs. V. N. Bhâtkhande and P. R. Bhandarkar. Having taken so much pains to show that our ancient text- book writers, such as Râmâmâtya and Sômanâth, knew, each in his own way, the (modern) Harmonics; we should like to know what part the Harmonics or, for that matter, the Svayambhus played-and even now play-in music. In other words, what is the value of the discovery of the Harmonics or the Svayambhus in the actual or practical singing? Prof. Blaserna answers, in his Theory of Sound in relation to Music: ' A note, not accompanied by its harmonics, may sometimes be sweet; but it is always thin and poor and, there- fore, but little musical. This is the case with tuning forks (and even with the flutes). The richest in harmonics are the sounds of the human voice and of strings'. And Sômanâth adds, in his Râgavibôdha: The larger the number of the har- monics in a musical note, the more sonorous (and agreeable) it is'.I Having studied the subject of the Vina in almost all the aspects pointed out in Svaramelakalânidhi, we shall now revert to the original question as to how far that study helped us to under- stand Ramamatya's Raga-system.

Cf. श्रावणयोग्यता अनरणनात्मकस्य खराख्यस्य दीर्घत्वे न वर्तते। Commentary to I. 14 of Râgavibodha.

1vi SVARAMELAKALÂNIDHI

The following Diagram,I which represents Râmamâtya's Vina-system, shows that, from among the fourteen svaras which Ramamatya had originally taken up to build his Svara-system, Anthara Ga and Kâkali Ni were eliminated, for the reason that

Names of the four Frets

Upper-wires I II III IV V VI

Anumandra Sa S. R. S. G. Sa. G. Ch. G. S. M. Ch. M. Anumandra Pa S. D. S. N. K. N. Ch. N. s. S. S. R. Mandra Sa S. R. S. G. Sa. G. Ch. G. S. M. Ch. M. Mandra Ma Ch. M. S. P. S. D. S. N. K. N. Ch. N.

(FIG. 16) Chyuthamadhyama Ga and Chyuthashadja Ni were deemed to practically represent them2 and that, therefore, the whole of his Raga-system was built up, only with the twelve remaining svaras, mentioned in Fig. 16. If, now, you look at Ramamatya's twelve svaras and the modern3 twelve svaras, at a glance, thus-

Names Twelve Svaras

Râmâmâtya's. S. SS. R S G. Sa. G|Ch. GS. M Ch. MS. PS. D S. N K. N Ch. N Modern S. SS. R Cha. R Sa. G A. G S. M P. M S. PS. D Cha. DK. N Ka. N

(FIG. 17)

1 The abbreviations used in this Diagram Fig. 16 and in the next Fig. 17, are explained as follows :- S. R. = Sudha Ri S. G. = Sudha Ga Sa. G. = Sâdhârana Ga S. M. = Sudha Ma S. S. = Sudha Sa Ch. G. = Chyuthamadhyama Ga S. D. = Sudha Dha S. P. = Sudha Pa Ch. M. = Chyuthapanchama Ma S. N. = Sudha Ni Ch. N. = Chyuthashadja Ni K. N. = Kaisiki Ni Cf. च्यतमध्यमगांधारच्युतष ड्र निषादको। क्रमादन्तरकाकल्योः स्थाने प्रतिनिधी विदुः । Svaramelakalânidhi. 3 The five new abbreviations introduced in the Fig. 17 are explained as follows :- Cha. R. = Chathusruti Ri Cha. D. = Chathusruti Dha A. G. = Anthara Ga P. M. = Prathi Ma Ka. N. = Kâkali Ni

INTRODUCTION Ivii

and if you refresh your memory of the special instructions given in connection with Fig. 13; you will not find it difficult to interpret almost all the Râgas of Râmâmâtya in terms of the modern Râgas. Suffice it, therefore, for me to repeat once again . and emphasise the importance of what I said a little while ago, viz., we should not allow ourselves to be [mis-] led by the mere ' names' of Râmamatya's Râgas but should delve deep and study the ' characteristics' of each of them and find out its modern prototype and its modern name, as weil. - It now remains for us to estimate the nature of the services rendered by Ramamatya to the music world. Râmâmâtya, Sômanâth, and Venkatamakhi, the respective authors of Svaramelakalanidhi, Ragavibodha, and Chathurdandi- prakasika, were all South Indian musicians and wrote for South India. They might, therefore, be grouped together and called by a generic name-the Carnatic Trio. All these three authors were, alike, shrewd enough to realise the futility of writing a v-o-l-u-m-i- n-o-u-s treatise, as Shârngadev had done, on the ever-progressive, and therefore ever-changing, art of music; and they prudently chose to be agreeably brief in their works and confined their atten- tion to the most fundamental portion of the Carnatic Music, viz., the Raga-system. Hence the ' Ragaprakarana' of each of their works formed, as it were, a pivot round which all other prakara- nas or chapters revolved. Râmâmâtya, no doubt, led the way, by comprising his book into five short chapters dealing with (I) Pre- face, (2) Svara, (3) Vîna, (4) Mêla, and (5) Râga, by not allowing the number of his verses to rise over 328, and by making each successive chapter lead ultimately to the last. Sômanâth went one step further and made the very name of his book indicate the object of his writing.1 Again, Râmâmâtya was the first to break loose from Shârng- dêv's theory of twelve Vikritha-svaras and reduce those twelve into seven, which Sômanâth chose to retain, but which, in the hands of Venkatamakhi, came further down to (the modern) five. In so breaking loose, he justified his position by invoking the help of a principle, learnt from Shârngadêv himself, viz., the principle of Lakshya.

*Cf. ननु रागविबोधायारब्धे ग्रन्थे भवत् नामैव वस्तुसंग्रहः।- Râgavibodha. 8

Iviii SVARAMÊLAKALÂNIDHI Calculating at least from Shârngadêv's time, this ' Principle of Lakshya' is, to-day, about seven centuries old. But long, long ago, Kâlidas had given us, in his Mâlavikâgnimitra, a popular version of the same principle in the following inspiring verse :- पुराणमित्येव न साधु सर्वं न चाऽपि काव्यं नवमित्यवद्यम्। सन्तः परीक्ष्यान्यतरद्भजन्त मूढः परप्रत्ययनेयबुद्धिः ।1 This verse, like the Principle of Lakshya, sounds to us a note of warning that we cannot afford to live on our heritage, however great it may be, except at the peril of stagnation but must ever progress and conquer fresh fields and pastures new. Thanks be, therefore, to Ramamatya for his having set, to the music-world, a wholesome example by mercilessly attacking the old theories, however time-honored they might be, if only they contravened the eternal Principle of Lakshya. For, did he not make, in his second chapter on Svara, the following state- ments :- 2 ' Achyutha Shadja does not differ from Sudha Shadja; nor does Achyutha Madhyama differ from Sudha Madhyama. Vikri- tha Rishabha does not differ from Sudha Rishabha; nor does Vikritha Dhaivatha differ from Sudha Dhaivatha. Vikritha Panchama, which is taken from Madhyamasruti, does not surely differ from the three-srutied Vikritha Panchama. Hence, under the category of the above-mentioned fourteen (Sudha- Vikritha) svaras, no separate mention was made by me of these five svaras, inasmuch as they had effected a merger'? Did he not, thus, eliminate from his system, on the plea of merger, the five (unnecessary) svaras, viz., Achyutha Sa, Achyutha Ma, Vikritha Ri, Vikritha Dha, and Vikritha Pa? Did not, again, Sômanâth and Venkatamakhi regard such elimination as a good precedent and piously follow the example set by Râmâmâtya ?

1 ' All is not good, because it is old; nor is a poem bad, because it is new. The wise men examine the things, old or new, and accept what they approve of; while, the fools allow themselves to be [mis-] led by others.' 2 The reader will do well to refer to Fig. 4, while perusing the state- ments.

INTRODUCTION lix

Why, then, should any one demur-if, to-day, we proceed, on the strength of the same time-honored Principle of Lakshya, to break loose from Venkatamakhi's Melakartha-system and advocate, on the plea of merger, the elimination therefrom of his four (unnecessary) svaras, viz., Shatsruti Ri, Sudha Ga, Shatsruti Dha, and Sudha Ni? Hence it was that I suggested the formation of a new working scheme, called Laghumelakartha, as distinguished from the Brihanmelakartha of Venkatamakhi. On this controversial point, however, I shall reserve a full discussion to the Introduction to my edition of Chathurdandiprakasika. Suffice it, now, for me to state, once again, that we feel highly indebted to Râmâmâtya for his having developed the Principle of Lakshya into a star-like maxim for all future musicians to follow. Now, the credit of having first presented to us a four-stringed Vîna, instead of the old, antiquated twenty-two-stringed one, surely belongs to Râmâmâtya;1 and the tuning, especially, of his Madhyamela Vina, almost corresponds with that of the modern Vîna. I say almost, because the order of the three lower-wires of the Madhyamêla Vîna seems, as per the following diagram, to have undergone, from time to time, a little change; though the order of the four upper-wires thereof remains intact even to-day- as for example :-

Three Lower-wires

No. Four Upper- wires Venkata- (1550 to 1932) Râma- Sômânâth Modern mâtya (1550) (1609) makhi time (1660) (1932)

1 Anumandra Pa Madhya Sa Mandra Sa Thâra Sa Madhya Sa

2 Mandra Sa Mandra Pa Mandra Pa Madhya Pa Madhya Pa

3 Mandra Pa Mandra Sa Madhya Sa Madhya Sa Thâra Sa

4 Madhya Sa2

(FIG. 18)

1 Mr. K. B. Dêval fondly attributed this credit to Sômanâth, forgetting that Ramamatya preceded Somanath by more than half a century. 2 Never mind Venkatamakhi's unfounded charge against Râmâmâtya that the latter called the fourth upper-wire, Mandra Sa, instead of Madhya Sa. This, again, furnishes us with an additional reason that the mistake, if any, should be attributed to the different indifferent copyists of the manuscripts of Svaramelakalânidhi, rather than to its author. Râmâmâtya who must, in all

1x SVARAMÊLAKALÂNIDHI

Again, of the eighteen svaras which appear in the seventh column of Fig. II, it will be seen that Panchasruti Ri and Sudha Ga overlap each other; and so do Shatsruti Ri and Sadhârana Ga, Panchasruti Dha and Sudha Ni, and Shatsruti Dha and Kaisiki Ni.I Eliminating, then, the four overlapping svaras, ~ we have only fourteen svaras left. If again, as per Ramamatya's suggestion, the last five of his twenty mêlas are omitted, even Anthara Ga and Kakali Ni may have to be eliminated. In that case, the fourteen svaras will have to be further reduced into twelve. Hence, there seems to be a grain of truth in Mr. D. K. Joshi's remarks that almost all ancient authors invariably used only twelve svaras in their Rågaprakarana, irrespective of the number of svaras described by them in their Svaraprakarana.2 Indeed, in his Svaraprakarana, Râmâmâtya professed he would make use [at least-] of fourteen svaras 3 in his Râga system; and hence, his final use of only twelve svaras, despite his profession to the contrary, shows that he anticipated, even in his own time, the modern tendency of reducing all the musical sounds into twelve notes. If Râmâmâtya was the first to recognize the convenience of using only twelve svaras to build the Râga system ; Ahôbala was the first to describe those twelve svaras in terms of the length of the speaking wire. As for the Melas, Ramamatya rightly discarded the antic and antiquated method of deriving Ragas from the complicated system of Grama-Moorchana-Jati, as well as the later puerile method of bringing them under the fanciful system of Raga-Râgini-Putra. On the other hand, he had the genius to discover unity in variety, that is, a unifying principle in the variety of Râgas that came under his notice; and he therefore felt that the old cataloguing method of enumerating the Râgas must give way to the new classifying method of reducing them into what might be called the

fairness, be deemed to have written Madhya Sa for the fourth upper-wire and not Mandra Sa. Indeed, Venkatamakhi's criticism on this point smacks of the old trick of a gladiator who would even offensively pick a quarrel only with the (innocent) object of giving his muscles the wanted exercise. 1 For such overlapping, see Fig. 4. 2 Vide Report of the Second All India Music Conference, Delhi, page 42. Cf. चतर्दशसरा ह्येते रागे रागे भवन्त्यमी। Svaramelakalânidhi,

INTRODUCTION 1xi

Genus-Species system.I Indeed he was the first to open, in his book, a separate chapter on Mêla, called 'Mêlaprakarana.' Somanath and Venkatamakhi but followed him in this respect, though the latter formulated the Mêlas into, and thereby raised them to the dignity of, a regular code. So far, however, as Râmâmâtya was concerned, he merely hinted the principle he had discovered; did not care to work it out; but recorded, in his book, only such of the Mêlas as were in vogue during his time. We are thankful for the hint that he threw; for, it enabled Venkatamakhi to work it out to its logical consequence. As for the Râgas, Râmâmâtya avoided getting into the labyrinth of their ancient classifications or of their ancient characteristics, but straightaway went to mention the prevailing characteristics of his Ragas as well as the time in which they were usually sung. Though, perhaps to err on the safe side, he recit- ed the traditional story of Mukharr being the Sudha-Scale; his whole mind leaned on Mâlavagowla which he described as ' the bestof all Ragas'.2 Could this 'leaning' of Râmamâtya have caused Purandra Dâs to heighten the importance of [Mâya-] Mâlavagowla and enable it, later on, to brush aside Venkatamakhi's Kanakângi. Commit mistakes Râmâmâtya did. His slipping, for instance, into the out-of-the-way Mukhari, as his Suddha scale, is said to have created a lot of confusion and involved Pundarika Vittala, Sômanath, and even Venkatamakhi into the same mistake, Ahôbala alone escaping. Again, in a vain attempt to follow Shârngadêv, he labelled the two-srutied Sudha Ri-' Trisruti Ri' and was therefore forced to call Sudha Ga-' Panchasruti Ri'-instead of 'Chathusruti Ri'-and thereby misled Govinda Dikshitar and his son Venkatamakhi into the same pitfall. Venkatamakhi's ten charges against Râmâmâtya regarding ten Râgas have been already shown to be unjust, uncalled-for, and even offensive to a degree. Even his eleventh charge, which he

1 Doubtless, the germ of the idea of the Genus-Species system may be found to have existed long before Râmamâtya. But it was covered by some such rubbish as the Râga-Ragini-Putra system. Hence I state what was allowed to be latent for a long time was made patent by Râmâmâtya and was, later on, codified by Venkatamakhi. 2 Cf. रागो मालवगौळश्च रागाणामुत्तमोत्तमः । Svaramêlakalânidhi.

1xii SVARAMÊLAKALÂNIDHI

made in the first chapter of his Chathurdandiprakâsika,-namely, ' Râmâmâtya egregiously got down to Anumandra Sa and restric- ted his svaras only to two registers of voice, viz., Anumandra and Mandra; while the proper or usual way was to distribute them among three registers, viz., Mandra, Madhya, and Thâra'-even this eleventh charge may be shown to be, again, futile ; if we regard the names of Anumandra, Mandra, Madhya, and Thâra as only relative terms, whereby we can call the same notes by different names from different standpoints of view. On the whole, be the demerits of Râmâmâtya what they might-as compared with the good he had done and the lead he had given, such as for instance, (I) the holding up, for future guidance, of the Principle of Lakshya, (2) the displacing of the old cataloguing method of merely enumerating the Ragas, by his own novel classifying method of reducing the same into a 'Genus- Species System' which, as said above, developed in the hands of Venkatamakhi, into the modern ' Mêlakarta Scheme', (3) the opening of a special chapter on Mêlas, called Mêlaprakarana, even in respect of which Sômanâth and Venkatamakhi followed suit and (4) the final heightening of the importance of Râgaprakarana as the quintessence of the Carnatic Music-all his demerits pale into insignificance and are, in the language of Kâlidâs-

एको हि दोषो गुणसन्निनाते। निमज्जतोन्दो: किरणेष्विवाङ्ग: । ' drowned in the ocean of good qualities, even as the spot of the moon is lost in the midst of its splendrous light.' .Before I finish this Introduction, I should like to draw my reader's attention to the seventeenth verse of the fifth chapter of Râmamatya's Svaramelakalânidhi. For, it throws a flood of light on a hitherto-vexed question and shows the way-out to many a wandering inquirer, tired of groping from blunder to blunder. In fact, Ramamatya did, by this one verse, what his predecessor, Sharngadev, could not do by his six verses (two in the first chapter and four in the fourth chapter of Sangitharatnakara) and what even the latter's Commentator, Kallinath, could not do in his Kalânidhi, except in a vague manner. Does it not, therefore, surpass our wonder to know that almost all the later Sanskrit writers on music chose to

INTRODUCTION 1xiii

egregiously follow, in this respect, the Mirage of Shārngadev rather than the Polar-Star of Ramamatya? Why, is it not curious . for us that the very Ramamatya followed, in the beginning, the same Mirage, although, at the end, he succeeded to give up following the illusion and constitute himself to be a Polar-Star? The reader will, at this stage, be anxious to know what I am driving at, unless it be that he referred to the said seventeenth verse and appreciated the suggestion, thrown therein. On account of the present revival of musical taste, in India, on rational lines, a demand has recently and rightly arisen that the various Terms occurring in the Science of Music should, at first, be lucidly explained. But I fear that this is not the place for me to undertake such an onerous task. Nevertheless, I shall -as.a Test Case-try to inquire here into the connotation of a pair of oft-quoted, but very-much-misunderstood, musical terms, viz., Mârga and Dêsi, especially because Râmâmâtya brought them into prominence in his seventeenth verse of the fifth chapter of his book. How far I succeed in my attempt I leave for my reader to judge. I shall begin from the very beginning of music and succinctly trace it to Râmâmâtya's time, with an occasional peep even into a later time, and show that the said seventeenth verse clarified, for the first time, the otherwise feculent matter under consideration. We shall, at first, understand the nature of the feculence, referred to, and shall, for this purpose, study the definitions of Marga and Desi, as given by Sharngadev and realise how disappointed an eager inquirer will naturally feel at the muddle created thereby. Here are the definitions :- Chapter I. I. 'Music is of two kinds-Marga and Dêsi. That kind was called Marga which was sought after by Brahma and other gods and practised by Bharata and other sages in the presence of Siva and which would yield everlasting prosperity.' 2. ' That kind was called Dêsi which consisted of the vocal- instrumental-dance music and which pleased the people of diffe- rent countries according to their different tastes.' Chapter IV. 3. ' That was called Gita or vocal music which consisted of pleasing svaras; and it fell into two divisions-Gandharva and

1xiv SVARAMÊLAKALÂNIDHI

Gana (which were the other names of Mârga and Dêsi respect- ively).' 4. ' The wise men understood ' Gandharva ' to be that music which was, from time immemorial, practised by the Gandharvas and which was the means of acquiring everlasting reputation.' 5. That was called Gana-music which was sung in Desi- Ragas and which was scientifically improvised by Vaggeyakaras.' 6. ' Gandharva has been described; now Gâna would be described. This, again, was recognised by wise men to fall into two divisions, Nibadha and Anibadha.' Be it noted that this long, and even tiresome, description of Marga and Desi, after all, fails to satisfy a crucial point. What were the essential characteristics of Mârga and Desi? In what way could they be unfailingly recognised as such ? Shärngadev and most of his successors, it must be admitted, failed to answer these questions adequately but merely observed : ' Brahma sought after Marga; Bharata practised it; even Gandharvas practised it from time immemorial; it forms the means of acquiring everlasting reputation. As for Desi or Gâna it was improvised by Vaggeyakaras and was differently pleasing to the people living in different countries.' Are these answers worth the name? Have they furnished us with a key whereby we could discern the essential characteristics of Marga and Desi, by which alone they could be unfailingly recognised ? An emphatic No is my reply. So, as I said, I shall trace our music from the very beginning and show how and when Marga and Desi came into existence, what confused mess was made of them, and how Râmâmâtya de- fecated the whole situation by one stroke of his.single (the said seventeenth) verse and gave us a wholesome lead in the matter of getting a correct conception of those hitherto-misleading terms. Into two natural divisions, music first falls, viz, Anâhatha and Ahatha. Anâhatha' literally means that which is not beaten, as in a drum; while, ' Ahatha ' means that which is beaten. The real point of difference between them is that, while the former represents the sound produced without the intervention of man, the latter is the very result of man's work. Hence ' Anahatha' may be translated as nature-made music and ' Âhatha,' as man-made music.

INTRODUCTION 1xv

This classification, then, is rightly the first division that could possibly be made of music. So, indeed, did the text-book writers, such as Nârada and Shârngadêv, do in their respective works." In his Sangithamakaranda, Nârada defined ' Anahatha' as ' the sound that emanates (directly, that is, without the interven- tion of man) from the sky2 such as the birds' warbling, and proceeded even to describe its use to man, thus: " Sages, high- minded souls, and even Devas, having controlled their mind and concentrated their attention on the Anahatha Music, get the rest they require and attain salvation".3 In other words, nature is loved as the city of God, although (rather, because) there is no citizen. No unwanted noise is here or none that hinders thought. The larks warble and the cuckoos join the chorus; while the mighty waterfall furnishes a continuous drone. Again- " Stillness, accompanied with sounds so sweet, Charms more than silence. Meditation here May think down hours to moments. Here the heart May give a useful lesson to the head, And learning wiser grow without the books ".' Shârngadêv, too, harped on the same point and came to the same conclusion that ' the sages worship Anahatha in the manner in which they were taught by the gurus.'4 Even the music-proof- brained Dr. Johnson seems to appreciate Anâhatha, when he observed, in his Rasselas, ' From the cataract, nothing more was heard than a gentle uniform murmur, such as composes the mind to pensive meditation'.

'Cf. (1) अनाहतो हतश्चैव से नादो द्विविधो मतः । Sangithamakaranda. (2) आहतोऽनाहतश्चेति द्विधानादो निगद्यते। Sangitharatnâkara. *Cf. आकाशसंभवो नादो यः सोऽनाहतसंज्ञितः । Sangithamakaranda. 3 Cf. तस्मिन्ननाहते नादे विरामं प्राप्य देवताः । योगिनोऽपि महात्मानस्तदानहतसंज्ञके। मनो निक्षिप्य संयान्ति मुक्तिं प्रयतमानसाः ॥ Sangithamakaranda. Cf. अनाहतं गुरुपदिष्टमार्गेण मुनयः समुपासते। Sangitharatnâkara. 9

1xvi SVARAMELAKALANIDHI

However much the sages and the high-minded souls might have been charmed and helped on to meditation by the Anahatha or nature-made music, a question arises as to whether that music was ever relished by mankind as a whole, whether it was ever entitled to be called ' music' from the modern point of view, and whether, in short, it was pleasing to our ears. The answer is by no means simple. For, to an ordinary man, the waves of the sea may produce nothing but unpleasant noise; but a poet will find in them an agreeable harmony. In fact, all those that love to hold communion with nature, as indeed the ancient sages did, will ever find the Anahatha-music pleasant; while the major portion of the work-a-day world will ever find it unpleasant. Hence Shârngadev branded it as unpleasant;I and Kâsinath followed suit.2 Further, the bent of man's mind has been, in all ages, to imitate the voice of nature; and hence he did not-could not- allow nature to have all the monopoly of music to itself, contribut- ed his own share to its development and thus brought into exist- ence another kind of music, called Ahatha or man-made music, the development of which I shall now trace. The primitive man must have hummed like a bee and sung, at the outset, only on a single note. Witness, for instance, the courtiers' Panegyric which remains in vogue, even to-day, in almost all the Native States of India and which those courtiers invariably sing, as they had all along been singing, on all ceremonious occasions, such as for instance, their Sovereign's entry into the Durbar Hall. The whole ' Panegyric' will, on analysis, be found to be sung on one single note and rarely on more. It was in due course of time that the other notes were tacked on, as amply evidenced by our ancient text-books which trace the music of India from Archika of single note to Gathika of double note, Sâmika of triple note, Svarânthara of quadruple note,

1Cf. सोडपि (i.e. अनाहतोऽपि) रक्तिविहोनत्वान्नमनोरञ्जको नृणाम्- Sangitharatnâkara. * Cf. सः (i.e. अनाहतः) नरञ्ञक :- Sangithasudhâkara. .

INTRODUCTION lxvii

Oudava of quintuple note, Shâdava of sextuple note, and finally Sampurna of all the seven notes. I All these seven stages, music did pass through. But, in the first four stages, it pleased only the producers; while, in the last three, it pleased the hearers as well. ' Animal Music', if I may so call it, marked the earlier stages ; and such animal music could please only the animals that produced it. The braying of an ass is very harsh to man but very sweet to the ass itself; for, is not such braying an expression of its elation, frolic, and joy ? That was why Shakespeare wrote :- ' The crow doth sing as sweetly as the lark When neither is attended.' Man, when he wallowed-so far at least as music was concerned-in the animal condition of life, revelled only in the earlier stages of music and could not get beyond singing on four notes. The ancient Hindus, like the ancient Greeks,2 had their music confined only up to four notes. The Vêdic Chant, for instance, was all along sung on three notes; and special names were given to those three svaras, viz., Udâtha, Anudâtha, and Svaritha.3 Except, perhaps, the Samagânam which, at a later stage, came to be sung in all the seven notes, all other kinds of the Vedic Chant remain, even to-day, mostly within three notes,

• Cf. आर्चिको गाथिकश्चव सामिकश्च खरान्तरः । ओडुवं षाडवश्चेव सम्पूर्णश्वेति सप्तमः ॥ एकस्वरप्रयोगो ह्यार्चिकः सोऽभिधीयते। गाथिको द्विखरो ज्ञेयस्त्रिसरश्चैव सामिकः॥ चतुःसरप्रयोगोहि कथितस्तु खवरान्तरः ॥ Brihad Desi. 2 ' The early Greek Lyre had four strings and was confined to four notes.'-Vide Herbert Spencer's Origin and Function of Music.

उच्चरदात्तोनीचरनुदात्त: समाहारः खरितः॥ In his Siksha, Pânini dilates on the point thus :- उदात्तोनिषादगांधारो । अनुदात्तरिषभधवती । खरितप्रभवाह्यत षडजमध्यमपञ्चमाः॥ That is to say, Udatha includes Ni and Ga; Anudâtha includes Ri and Dha ; and Svaritha includes, Sa, Ma, Pa. This view fits in with the theory of Vadi-Samvadi and explains how the primal Samika, viz., Ga-Ri-Sa became expanded into all the seven notes.

lxviii SVARAMÊLAKALÂNIDHI

with a labouring struggle to touch occasionally a fourth. The whole of the Vedic Chant would, by this time, have been-from the modern musical point of view-consigned to oblivion, had not a sacredness, bordering upon holiness, been attached to the Vedas, as containing Divine Wisdom. It goes without saying that our ancients entertained, as we ourselves do even to-day, an unshaken faith that the Vêdas emanated out of Parabrahma; that they were eagerly sought after by gods like Brahma, and chanted by sages like Bharata; that they formed, as it were, a talisman to do away with the necessity of being born*, and that they were deemed, on that account, to be worthy of the highest respect. All these attributes of the Vedas got themselves, later on, imperceptibly transferred to the very music by which they were chanted. Hence, the Vedic Chant, to which the text-book writers gave the name of Marga,I has been described in all the Sanskrit books on music, such as, for instance, Sangitharatnakara :- ' That kind (of music) is called Mârga, which was sought after by Brahma and other gods and practised by Bharata and other sages in the presence of Siva and which would yield everlasting prosperity.'2 In his Prabandhâdhyâya, Shârngadêv called Mârga by a different name, viz., Gandharva,3 which latter name Râmâ- mâtya adopted and made use of in his Svaramelakalânidhi.

1 The word 'Marga' is derived from HT (Mrig) ' to seek or search after.' That the search was in regard to the Vedas is clear from Kallinath's commentary :- मार्गित्वं चतुर्ष वदष्व न्विष्यकृतत्वात्। Hence the word Marga refers to the Vedic Chant and, I may add, refers-by way of courtesy-even to the chanting of the Ramayana which, along with the Mahabharata, was regarded as holy as the Vêdas themselves and which Kusa and Lava, there- fore, sang in the Marga-style. For, Vâlmîki said :- ततस्तु तो रामवच:प्रचोदितावगायतां मार्गविधानसंपदा। 2 (a) See page lxiii. (b) cf. * ···· * मार्गसउच्यते। योमार्गितो विरिञ्चयादैः प्रयुक्तो भरतादिभिः । दवस्यपुरतः शंभोर्नियताम्यदयप्रदः ॥ Sangitharatnakara. 3 Cf. गांधर्व गानमित्यस्य भेदद्वयमुदीरितम्- Tbid. In his commentary, Kallinath interprets ' Gandharva' only as Mârga- Cf. गांघर्वमार्गः । गानं तु देशीत्यवगन्तव्यम् ।

INTRODUCTION 1xix

Gândharva or Mârga-the descriptive name given to it by Shârngadev and copied by Râmâmâtya, viz., Anâdisampradâya,1 clearly shows that the Vedic Chant or, for that matter, the Mârga-music had been practised from time immemorial and should therefore be regarded as holy and spiritual as the Vêdas themselves. Hence, I venture to call ' Mârga', Vêdic Music. Now, Marga or Gandharva or Vedic Music-call it what you may, the one important point which I desire to rivet upon the reader's attention is that the so-called Marga-music, apart from its having been sought after by Brahma and practised by Bharata and apart from its having been used in connection with such a holy purpose as the chanting of the divine Vêdas, I submit that the Marga-music was almost never sung beyond four notes; and that this limitation of the range of the scale from one to four notes must be deemed to be the peculiar and essential characteristic of Marga-Sangitham.2 These imperfect scales of the Mârga-music belonged, as said above, to the earlier stage of music which pleased only the producers and not the hearers. Further, as Râmâmâtya suggests,3 the rules of Siksha (Phonetics) and other time-honored Lakshanas were scrupulously observed in chanting the Vêdas; and these very rules and lakshanas clogged, on account of their inflexible nature, the further growth of music from its Marga-stage. The Principle of Lakshya, by which alone the artistic charm of music could be preserved, was never applied to the Mârga-music but only to the Desi-music, of which we shall speak presently.4 It is no

1 Cf. Kallinath's commentary on Anâdisampradâya. अनादिसंप्रदायमित्यनेन गांधर्वस्य वेदवदपौरुषेयत्वमिति सूचितं भवति। 2 That the Vedas were chanted almost on the systems of Archika, Gathika, and Samika, is evidenced by such assertions in the Rig-Veda as ' Archinô Gâyanthi'; 'Gâthinô Gâyanthi'; ' Sâminô Gâyanthi.' The Rig-Veda makes no reference to Oudava, Shâdava, and Sampurna. 3Cf. तत्नलक्ष्मानुरोधेन गांधर्व संप्रयुयते- Svaramlakalânidhi. Cf. यद्वालक्ष्यप्रधानानि शास्त्राण्येतानि मन्वते। तस्मालक्ष्यविरुद्ध यत्तच्छास्त्रं नेयमन्यथा ।। See Footnote 2, page xviii. Here, Kallinath interprets एतानिशास्त्राणि to be देशीविषयाणोंत्य्थः ।

1xx SVARAMÊLAKALÂNIDHI

wonder, therefore, that the Marga-music, the rules of which were inflexibly stiff and did not adjust themselves to the practice in vogue, became, in the course of time, less and less pleasant, less and less popular, and finally extinct.I The latter three stages of music, viz., Oudava, Shâdava, Sampurna, have been, however, preserved even to-day as being human2 music which pleases, alike, the producers as well as the hearers. To the music of these ' latter three stages', our ancients gave the name of Dêsi. In the first place, the style of 'Dêsi' varied from province to province; and it was therefore defined in Sanskrit text-books, such as for instance, Sangithadarpana :- ' That kind of music is called Dêsi, which adjusts itself from country to country (Dêsa to Dêsa), so as to please the fancy of the people there '.3 In the second place, the fact that Shârngadêv and Ramamatya employed Hridayaranjaka4 and Janaranjana 5 as their respective epithets to Dêsi-music-shows that they regarded it as a fascinating style of music, as opposed to the dry, monotonous, and sing-song style of the Marga-music. If any proof is wanted for the fact that the first four stages of music, covered by the generic name of Marga, belonged-purely from the modern musical point of view-to the lower rung of the ladder and that the second three stages, covered by the generic name of Dêsi, belonged to the higher rung; a reference may be made to what Hridayanarayana wrote-' Sampurnas are Brahmins ;

• Cf. (1) मार्गगीतं पुरवासीत- Sangithasudhakara. (2) इह तु मार्गाभावानोदाहृत :- 2 As opposed to the animal music. Râgatharangini.

3 Cf. तत्तदेशस्थया रोत्या यस्मालोकानुरञ्जनम् । देशेदेशे तु संगीतं तद्देशीत्य भिधीयते।। Sangithadarpana. Cf. देशेदेशे जनानां यद्रुच्या हृदयरअ्जकम् । गानं च वादनं नृत्यं तद्देशीत्यभिधीयते।।

5Cf. देशीरागादिभि: प्रोक्तं तद्गानं जनरञ्जनम्। Sangitharatnâkara.

Svaramêlakalânidhi.

INTRODUCTION 1xxi Shadavas are Kshatriyas; Oudavas are Vaisyas; and the scales of lesser notes are Sudras '.I Summing up, we arrive at the following tentative conclusion with regard to the essential characteristics of Mârga and Dêsi, . viz., ' while the scale of the Marga-music ranged from one to four notes; that of the Desi-music ranged from five to seven notes.' I called this conclusion tentative, because, on closer scrutiny, it seems to need a little reconsideration. Two facts (I was going to say two premises), viz. (1) Sâmagânam has been, all along, Mârga-music, and (2) Sâmagânam came, at a later stage, to be sung in all the seven notes (which were, then, called Krushta, Prathama, Dvithiya, Thrithiya, Chathurtha, Mandra, and Athisvâra)-these two facts or premises compel us to modify the above tentative conclusion to a final form thus: ' The scale of the Marga-music ordinarily ranged from one to four notes but, during the later Sâman-period, rose to seven notes ;2 while that of the Dêsi-music completely eschewed the scale of one to four notes but confined itself only to the scale of five to seven notes.' The seventeenth verse of the fifth chapter of Râmâmâtya's - Svaramelakâlânidhi, to which, I said at the outset, I desired to draw my reader's attention, amply bears out my conclusion and is, in fact, an authority for my position. It runs thus :- देशोरागाश्चसकळाः षडजग्रामसमद्भवाः । ग्रहांशन्यासमन्द्रादि षाडवौडुव पूर्णकाः ॥ which means ' All the Desi-Ragas are those of Shadjagrama and have each its Graha, Amsa, Nyâsa, Mandra, and so forth. Further, they fall into three divisions-Oudava, Shâdava, and Sampurna.' Sômanâth followed Râmâmâtya in this respect. Another Sanskrit text-writer who, like Râmâmâtya, ven- tured to cut this Gordian Knot was the author of a very recent publication, Sangithasudhakara. Kâsinâth (for that was the author's name) wrote in his book :- अधुना देशोगीतं तु दृश्यते क्वचन क्वचित्। प्रथितानि पुनस्त्रोणि रागाणां लक्षणानि हि । Cf. संपूर्णा ब्राह्यणाः प्रोक्ता: क्षत्रियाः षाडवा मताः । औडवाः कथिता वैश्याः शूद्रास्तदितरे क्वचित् ॥ Hridayakouthuka. 2 But, be it remembered, the Sâman seven notes were, unlike the modern seven notes, in descending order of pitch.

İxxii SVARAMÊLAKALÂNIDHI

संपूर्णत्वं षाडवत्वमौडवत्वं च सर्वदा। संपूर्ण: सप्तभि: प्रोक्त: खरः षड्भिस्तु षाडवः ॥ औडवः पञ्चमिर्जेयो राग एतदिह स्फुटम्॥ which means ' Desi-music is prevalent to-day, the three charac- teristical Râgas of which are Sampurna of seven notes, Shâdava of six notes, and Oudava, of five notes.' Let us, in conclusion, compare and contrast the two kinds of music, we have been considering, viz, Mârga and Dêsi :- (1) The Mârga-music was confined to the chanting of the Vedas ; while, the Desi-music had no such limits. (2) The Marga-music identified itself with the Vêdas, got all their attributes transferred to itself, and was therefore regarded as having been sought after by the gods and practised by the sages ; while the Desi-music had no such reputation. (3) The Marga-music was, on account of its strict and inflexible rules, sung uniformly throughout the country; while, the Dêsi-music, untrammelled by such rules, varied its style from province to province. (4) The Marga-music followed the principle of Lakshana and therefore became less and less pleasant, till at last it degenerated into a dry, monotonous, and sing-song style of singing ; while, the Desi-music followed the principle of Lakshya and has therefore acquired a more and more fascinating style of singing. (5) The Mârga-music is now practically I extinct; while the Desi-music flourishes to-day. (6) The Marga-music used all the three Grâmas-Shadja, Madhyama, and Gandhara; while the Desi-music is confined only to one Grâma, viz. Shadja. (7) The scale of the Mârga-music ordinarily ranged from one to four notes but, during the later Sâman-period, rose to seven notes; while the scale of the Dêsi-music completely eschewed the scale of one to four notes but confined itself only to the scale of five to seven notes.

1 I say ' practically', because the Mârga-music is found, even to-day, in the hands of Vaidika-Brahmins who employ it whenever, on ceremonious occasions, they chant the Vedas.

INTRODUCTION Ixxjii

(8) The three-fold classification of Music into Gita, Vâdya, and Nrithya applies-not to Marga-but only to Desi.I (9) Later on, the word 'Mârga' has come to mean whatever is old and out-of-date; while the word ' Desi' has come to mean whatever is new and up-to-date.2 . Just as I called Mârga, Vedic Music; so, I shall call Dêsi, Modern Music. The following Table, I trust, fixes Marga and Dêsi in their proper places :- Music

Anâhatha Âhatha (Nature-made) (Man-made)

Mârga Dêsi (Vêdic) (Modern)

Carnatic 3 Hindustani 3

1 Cf. (a) देशेदेशे जनानां यद्रुच्या हृदयरञ्ञकम्। गानंच वादनं नृत्यं तद्देशीत्यभिघोयते। Sangitharatnâkara. (b) नृत्तं तु वादयंच तथवगीतं देशीतिशब्देन निगद्यते तत्। Sangithasudha. 2 Compare, for instance, Venkatamakhi's classification of Râgas into six kinds of Mârga-Râgas and four kinds of Dêsi-Râgas. So also is the case with the Marga-Thalas and Desi-Thâlas. 3 Cf. अधना गोयते यच्चानियतं कामचारतः । देशेदेशे प्रचरितं तत्सर्वं देशिसंमतम्॥ तदपि द्विविधं ज्ञेयं दक्षिणोत्तरभेदतः । कर्णाटकं दक्षिणे स्याद्विन्दुस्थानि तथोत्तरे। Sangithasudhâkara. N.B .- This verse is quoted, with approval, in Abhinavarâgamanjari. 9A

TEXT

। श्री: !!

श्रीरामामात्यविरचितः

स्वरमेलकलानिधिः।

उपोद्धातप्रकरणम् ॥ १ ॥

श्रीरागकनिधिर्गभीरललिताकारः खराप्तिश्रुति- ग्रामोदारपद कतान विलस दक्तिप्रवोणावृतः । श्रीरङ्गप्रणयो सनातनसमुत्ताकाभिरमक्रियो नादब्रह्ममयः प्रसाधितवपुर्नारायणस्त्रायताम्॥१॥

पुरा पुराणो मुनिरा विरासोन्मुरारिनाभोनलिनान्तरालात्। संगोतसारः किल सामवेदाद्वदान्तशास्त्रादिव तत्त्वबोध: ॥२॥ अस्मादभूद त्रिरमुष्य नेत्ादमर्त्यबन्धुर्विधुरा विरासीत्। यत्पादस ङ्रादखिलाश्च गङ्गा नद्योऽभवन्साह्यकृते पयोधे:॥३॥ अक्षोभवन्कुक्षिभुवो मुरारेरदर्शयत्कारणकार्यसाध्यम्। कलानिधिर्योऽनवगोतरत्ाकरं च पुष्णाति कनत्प्रवालम्॥४॥

ततो बुधोऽभत्तनयोऽस्य तस्मात्पुरुखा: पुण्यकृदायुरस्मात्। ययातितातो नहुषोऽपि तस्य वंशे बभूवुर्भरतादयोऽन्ये । ५॥ एषां कुलालंकृतिरेष जज्ञे श्रीरङ्रराजो जितराजराजः । तया सदाचारदशा विविन्ते राजर्षिभावं रमितक्षमो यः ॥६ ॥ तिम्माम्बिका तस्य बभूव देवो साध्वी गुणानामिव या समष्टिः । सतो यशोदा विनतानसूया सुदक्षिणा सत्यवतो सुभद्रा॥ ७॥

4 स्वरमलकला निधि:

तपोविशेषेण तयोरशेषराजाधिराजोऽजनि रामराजः । कन्या प्रदोऽस्मे स हि कृष्णरायः कन्यापितृत्वं बहुमन्यते स्म ॥ ८॥

अजातशत्रोर भिजातवृत्तर्भीमार्जनी भोमभुजा विवार्यौ । ९॥ भुजो यदीयो भुनगेन्द्रजेता भुवं बिभर्तीति न विस्मयाय । चेतोऽणुमात्रं जगदेकधुर्य शेषाचलेशं वहतीति चित्रम्। १० ॥ यः खङ्गकसखः सहानुजयुगो निर्गत्य विद्यापुरा- लब्ध्वा गुत्तिगिरो सदाशिवमहोपालं निरालम्बनम्। सामिद्रोहकृतः प्रतोपनृपतोन्निर्जित्य भद्रासने कर्णांटे भगवा निव ध्रुवममुं कोर्त्या सहास्थापयत् ।११ ॥। दधोचिराधेय शिबिक्षितोशजीमूतवाहा दिमजीवनाङ्ग:। अवाप्तमूर्तेरिह येन कोर्त्तेरभांति प्रणोतं भुवि वल्भत्वम्॥ १२ ॥ अमुक्तपार्श्व्वद्वितयोऽनुजाम्यां रामावतारो भुवि रामराजः । दिवा निशं दोव्यति शीतभानुदिवाकराम्यामिव रत्सानुः ॥१३॥ विजित्य सर्वानपि पारसोकान्रणेषु तत्कोर्तिपटच्चराणि। आधय भूयो हरितो वधूटोर्विशोभयत्येष यशोदुकूलै: ॥ १४ ॥ श्रोरामयामाय्यवरेण रत्नकूटा भिधं कारितमेष सौधम्। आलोकय ननिर्जितवजयन्तं हर्षोद्ुरो विस्मितमानसोऽभूत् ॥ १५ ॥ अनेकतेजोनिधिराजहंससमाकुलं नित्यमनन्तजिष्णुम्। नानासुधर्मावलिनर्मवासमन्यं सुमें समुदाहरन्ति॥ १६॥ मन्दानिलाकम्पितवैजयन्तोमन्दारशाखाव्यतिघट्टनेन । आरामलक्ष्म्या मरुतां तनोति हलोसलीलामिव यस्य कक्ष्मीः ॥१७ ॥ पर्वेन्दुबिम्बोपलसोन्नि पादानारोप्य यस्मिन्नधिवासवत्यः । पाञ्चालिकानां मिथुनानि कन्याः पाणिग्रहं प्रापयितं यतन्ते। १८ ॥ सौधान्तरेऽस्मिन्कुर्ते प्रमोदात्स रामराजः समयापनोदम् । संगीतसाहित्यकळा विशेषशेषावतारेर्विबुधैरुपेतः॥१९ ॥

उपोद्दातप्रकरणम् 5

सेलारा गकदम्बमात कलस द्रद्यप्रबन्धादिम- द्वा विंशद्व रसू डकान धिगतश्रीपञ्चतालेश्वरान्। श्ररङ्र द्विपदखराङ्गसहितान्सश्रीविलासादिकां-

चेतोरञ्जनषोडशध्रुव मुखाने कार्थगम्भोरषट- चत्वा रिंशदु दा रसाळगमहा सूडप्रबन्धान्वितान्। अन्यान्विंश तिरागविश्रुततमश्रोपञ्चरत्नस्फुर- द्रीतालंकृतसाक्षरा लपनपर्यायैरूपेतानपि । २१॥ स वैणिकः संसदि गोयमानान्समञ्जसश्रावककण्ठनादैः । श्रोरामयामात्यकृतप्रबन्धानाकर्ण्य कर्णाभरणान्यनन्दत् ॥२२॥

अन्नान्तरे संसदि रामराजं संगीतसा हित्यविनोदभाजम् । वेलानुरपं विनयादवादोच्छ्रोवे ुटाद्रिक्षितिपालसिंह: ।॥। २३ ॥ संगोतशास्त्र बहुधा विरोधाः सन्त्येव लक्ष्येषु च लक्षणेषु। सर्व समोकृत्य स राममन्त्री तनोतु शास्त्रं वचसा तवेति॥ २४ ॥

अथासनस्या न्तिकभा जमेनमधोतसंगोत कलारहस्यम। श्रीरामयामात्यमिदं बभाषे श्रोरङ्गराजाघिपरामराजः ॥२५॥ विजानते लक्षणमात्रमेके विदन्ति लक्ष्यं कतिचिज्जगत्याम्। सलक्ष्यलक्ष्मोभयसारवेदी संदृश्यते नैव भवानिवान्यः ॥२६॥

विद्यानिधि: कललपदेशिकस्ते मातामहो दत्तिलवन्महोयान्। गान्धर्वशास्त्रेषु ततोऽपि तानि तत्संप्रदायेन तव स्फुरन्ति ॥२७॥ संगोतशास्त्रेषु मतान्तराणि सन्त्येषु सारान्समुपाददानः । संग्ृह्य सलक्षणलक्ष्ययुक्तं संगीतशास्त्रं सरसं विधेहि॥ २८॥

मतानुवृत्त्या भरतादिमानां खवरप्रमाणं सुलभ कुरुष्व।। पतञ्जलि: पाणिनिशास्त्रदध्च्या शब्दव्यवस्थां कृतवान्यथादौ ॥ २९॥

हृत्पूरितानन्दमिति ब्रुवाण: कर्पूरवोटीमददादमुष्मे। आदाय तामारचितानुमोदो विचारयामास स राममन्त्नी । ३० ॥

6 खरमलकला निधि:

स एव सर्वा िककोण्डवोटप्रधानदुर्गप्रतिपादनेन। पूर्वार्णवेनैव परीतमूर्तेर्विभुत्वमुर्व्यां विततार मह्यम्। ३१। अस्य प्रसादाद मिताग्रहारप्रतिष्ठयानेकमहोसुराणाम्। आळम्बनं तत्न विधाय तेषामनुग्रहादापदपारकोर्तिम् ॥ ३२॥ 6

जेलूरिसिंहासनपट्टणेन युक्तां सरतामिव हारवलीम्। वितोर्य मेऽपश्चिमवारिराशेरधोशतामस्य तुलामतानोत् ॥३३ ॥

प्रयच्कति प्रत्यहमत्युदारां संमाननां सादरमेष मह्यम्। सन्नं जगत्यामुपकतकामः स राजभूरस्य पटुमुदेऽहम् ॥३४॥ अचिराद्विरचय्याहं खरमेलकला निधिम्। तमस्मै चोपदीकृत्य गभ्यासं कृतकृत्यताम्॥ ३५ ॥

सोडहं संगोतसाहित्यलक्ष्मोदक्षिणनायकः । इत्थं विचिन्त्य तं राममन्त्री वत्तुं प्रचक्रमे। ३६॥ रामामात्यप्रणोतेऽस्मिन्स्वरमेलकला निधो। उपोद्धातप्रकरणं स्वरप्रकरणं ततः । ३७॥

वोणाप्रकरणं चातो मेळप्रकरणं परम्। रागप्रकरणं चेति पञ्चप्रकरणी मता ॥३८॥

उपोद्वातप्रकरणानन्तरं राममन्त्रिणा। तत्र खरप्रकरणे द्वितीये प्रतिपादते ॥ ३९ ॥

गोतप्रशंसा गान्धर्वगानभेदौ ततः परम्। स्थानानि श्रुतयः शुद्धाः खराश्च विकृता अपि ॥ ४० ॥ सकलस्रसंज्ञाश्च लक्ष्यलक्षणसंमताः । अथ वोगाप्रकरणे तृतोये प्रतिपादते । ४१॥ वीणा प्रशंसा वोणाया मेळनप्रक्रिया ततः । प्रमाणकरणं शुद्धविक्कृतस्वरसंहते: ॥ ४२ ॥ शुद्धमेलाख्यवीणादो मध्यमेळाइया ततः । तृतोयाच्युतराजेन्द्रमेलवोणेति लक्षिता ॥४३॥

उपोद्धातप्रकरणम् 7

अथ मेलप्रकरणे तुरीये प्रतिपाद्यते। मेळानां विंशतिर्भेदा रागास्तन्मेलसंभवाः॥४४॥ तेषां नामानि च पृथग्यन्त्रे पक्षान्तरे ततः । मेळा: पञ्चदशेत्येवं गात्रे विंशतिरेव तु ॥४५॥ उत्तमे तु प्रकरणे पञ्चमे प्रतिपाद्यते। रागाणां च लयो भेदा उत्तमाधममध्यमाः ॥४६॥ उत्तमानां मध्यमानां रागाणां लक्षणं ततः । अधमानां च केषांचिदेतावान्वस्तुसंग्रहः ॥४७॥ इति श्रीमदभिनवभरता चार्यवाग्गेयकारतोडरमलतिम्मामात्य- नन्दनरामामात्यनिर्मिते सरमेलकका निधावुपोद्दात- प्रकरणं प्रथमं संपूर्णम्।

स्वरप्रकरणम् ॥ २ ।

सामवेदादिदं गीतं संजग्राह पितामहः । गीतेन प्रोयते देवः सर्वज्ञः पार्वतोपतिः ॥१॥

गोपोपतिरनन्तोऽपि वंशध्वनिवशं गतः । सामगोतिरतो ब्रह्मा वीणासक्ता सरस्वती ॥२॥ किमन्ये यक्षगन्घर्वदेवदानवमानवाः । अज्ञातविषयाखादो बाल: पर्यद्गिकातले॥३॥ रदन्गोतामृतं पोत्वा हर्षोत्कर्ष प्रपद्यते। वने चरंस्तृणाहारश्चित्रं मृगशिशः पशुः ॥४॥ लब्धो लुब्धकसंगोते गोते यच्कति जीवितम्। कृष्णसर्पोडपि तद्वीतं श्रुत्वा हरषं प्रपद्यते ॥ ५॥ तस्य गीतस्य माहात्म्यं के प्रशंसितुमीशते ।

इति गोतप्रशंसा ।

रञ्जकः सरसंदर्भो गीतमित्यभिधोयते ॥६ गान्धवं गानमित्यस्य भेदद्वयमुदोरितम्। अनादिसंप्रदायं यद्रन्धर्वैः संप्रयुज्यते॥७॥ नियतं श्रेयसो हेतुस्तद्वान्घर्वं प्रचक्षते। यत्तु वाग्गेयकारेण रचितं लक्षणान्वितम् ॥ ८॥ देशोरागादिभि: प्रोक्तं तद्गानं जनरञ्जनम् । तत्न लक्ष्मानुरोधेन गान्धर्व संप्रयुज्यते ।९। यत्र लक्ष्मपरित्यागे प्रत्यवायो न विद्यते। तस्माल्क्ष्यप्रधानं तन्न तु लक्ष्मप्रधानकम्॥ १०॥

स्वरप्रकरणम्

गानं लक्ष्यप्रधानं स्यान्न तु लक्ष्मप्रधानकम् । परित्यागेऽस्य लक्ष्यस्य रज्नं नैव जायते। ११ ॥ तस्मालक्ष्यानुरोधेन गानं लोके प्रवर्तते। सर्वसंगोतशास्त्रार्थवेदिना शार्ङ्गसूरिणा ॥१२ ॥ गाने लक्ष्यप्रधानत्वं वाद्याध्याये निरूपितम् । यद्वा लक्ष्यप्रधानानि शास्राण्येतानि मन्वते । १३ ॥

तस्मालक्ष्यविरुद्धं यत्तच्छास्त्रं नेयमन्यथा। ग्रहांशन्यासनियमो यद्वा शास्त्रस्य गोचरः ॥ १४ ॥ गुम्फः खवरान्तराणां तु लक्ष्यस्थो न विरुध्यते। सर्वत्र परिहारोडयं लक्ष्ये लक्ष्मविरोधिनि ॥१५ ॥ देशीरागेषु निर्णीतः शार्ङ्गदेवेन सूरिणा। तेनैव कथिता गाने कक्षणान्विततापि च ॥१६।

तस्माछक्ष्यप्रधानत्वं कृत्वा वक्ष्येऽस्य कक्षणम्। इति गीतस्य सर्वस्य विभाव्यं स्याद्भिदाद्वयम्॥ १'

इति गीतभेदौ।

आत्मा विवक्षमाणोऽयं मनः प्रेरयते मनः । देहस्थं वह्निमाहन्ति स प्रेर्यति मारुतम् ॥ १८ ॥ ब्रह्मप्रन्थिस्थितः सोऽथ क्रमादूध्वपथे चरन् । ना भिहृत्कण्ठमूर्धास्येष्वा विर्भावयति ध्वनिम् ॥ १९ ।

नादोऽतिसूक्ष्मः सूक्ष्मक्ष पुष्टोऽपुष्टश्र कृत्रिमः । इति पञ्चाभिधा धत्ते पञ्चस्थानस्थितः क्रमात् ॥ २० ॥ व्यवहारे तवसो तेधा हवदि मन्द्रोऽभिधोयते। कण्ठे मध्यो मूर्धि तारो द्विगुण्वोत्तरोत्तर: । २१ ॥

इति स्थानानि।

11

स्वरमेलकला निधि:

तस्य द्वाविंशतिर्भेदाः श्रवणाच्छरृतयो मताः । हृद्यूर्ध्वनाडोसंलन्ना नाध्यो द्वाविगतिर्मताः ॥ २२ ॥ तिरञ््यस्तासु तावत्यः श्रुतयो मारृताहताः । उच्चोचतरतां याता: प्रभवन्त्युत्तरोत्तरम्॥ २३ ॥ एवं कण्ठे तथा शोर्षे श्रतिद्वाविशतिर्मता।

इति श्रुतयः ।

श्रुतिभ्यः स्युः खराः षड्जर्षभगांधारमध्यमाः ॥२४॥ पञ्चमो घैवतश्चाथ निषाद इति सप्त ते। तेषां संज्ञा: सरिगमपधनीत्यपरा मताः ॥२९॥

श्रृत्यनन्तरभावी यः स्त्निग्घोऽनुरणनात्मकः । खतो रञ्जयति श्रोतृचित्तं स खर उच्यते॥ २६॥ सुव्यक्तमेव वोणायामस्यार्थस्य निदर्शनम्। तत्र तुर्यश्रुती षडजः सत्म्यामृषभी मतः ॥२७॥ ततो नवम्यां गांधारत्त्रयोदश्यां तु मध्यमः । पञ्चमः सप्तदश्यां तु धैवतो विंशतिश्रुतौ। २८ ॥ द्वाविशे तु निषादः स्याच्छ्रृतिष्वित्थं खरोद्भवः । द्वाम्यां निषादगांधारो तिसृम्यो वैवतर्षभो ॥ २९ ॥ चतसुम्यस्त्रयस्तु स्युः षड्जमध्यमपञ्चमाः । ननु श्रुतिश्चतुर्थ्यादिरस्त्ववं सवरकारणम्। ३० ॥ तर्यादीनां तत्र पूर्वांसां श्रुतीनां हेतुता कथम्। ब्रूमस्तुर्यतृतीयादिश्रुतिः पूर्वाभिकाडक्षया ॥ ३१ ॥ निर्धार्यतेऽतः श्रुतयः पूर्वा अप्यत्न हेतवः । एते षड्जादयः सप्त खराः शुद्धाः प्रकोर्तिताः ॥३२॥ विकृताश्चापि सप्तवेत्येवं सर्वे चतुर्दश । ननु रक्नाकरे शाद्गदेवेन विकृता: खराः ॥३३ H

स्वरप्रकरणभ् 11

द्वादशोक्ता: कर्थ ते तु सप्तेव कथितास्त्वया। सत्यं लक्षणतो भेदो द्वादशानामपोज्यते। ३४ ॥।

शुद्देम्यस्तत् भेदस्तु सप्ानामेघ लक्षितः ।

पञ्चानां परिशिष्टानां खराणां विकृतात्मनाम्। पूर्वस्वरश्रुतिग्राहात्सपूर्वश्रुतिवर्जनान् ॥ ३६ ॥ अपि लक्षणतो भेदे पूर्वोक्तख्वरसंहते: । आधारश्रुतिनिष्ठत्वाल्क्ष्यभेदो न विद्यते ॥ ३७॥ कथं न भेद इति चेत्स लक्ष्यस्थो निरचप्यते। शुद्धषड्जादच्युतस्तु षडजो नैव विभिद्यते ॥ ३८॥ अच्युतो मध्यमः शुद्धान्मध्यमान्न मिदां भजेत्। शुद्धर्षभाच्च विकृत ऋषभो न पृथग्भवेत् ॥ ३९॥ विक्ृतो घैवतः शुद्धाद्ववतान्नातिरिच्यते। मध्यमश्रुत्युपादाने विकृतः पञ्चमरतु यः ॥४० ॥ त्िश्रुतेर्विकृतान्नव पञ्चमाद्गदमश्रुते। तस्माच्चतुर्दशस्वेवं पूर्वोक्तेष्वेव पञ्चकः॥४१॥ अन्तर्भतो यतस्तरमान्न पृथक्कथितो मया। सप्ानां विकृतानां तु सोद्ेशं लक्ष्म चक्ष्महे । ४२॥।

च्युतः षडजश््युतो मध्यमश्युतः पञ्चमस्तथा। स्यात्साधारणगांधारोऽन्तरगांधार इत्यपि ॥४३ ॥ V स्यात्कगिकनिषादोऽथान्यः काकलिनिषादकः । हित्वा चतुर्थी साधारश्रुतिं बड़जो यदा श्रुतिम्॥४४॥ ततोयामाश्रयेदेष च्युतषडजोऽभिधोयते। एवंलक्षणकावेव च्युतमध्यमपञ्चमो॥४५॥ शुद्धस्य मध्यमस्याथ गांधारः श्रुतिमाश्रितः । स साधारणगांधारोऽन्तरगांधार उच्यते ॥४६॥

12 खवरमेलकला निधि:

यो मध्यमस्य शुद्धस्य श्रुतिद्वयमुपाश्रितः । प्रथमां शुद्धषड्जस्य निषादश्ेच्छुतिं श्रितः ।४७ ॥ स कैशिकनिषादाख्यः कथितो गीतवेदिभिः । निषादः शुद्धषडजस्य क्रमते चेच्छुतिद्वयम् ॥ ४८॥ स काकलीनिषादः स्यादेवं सप्तापि लक्षिताः । चतुर्दशस्वरेष्वेषु वक्ष्ये लक्ष्यानुसारतः ॥४९ ॥ नामान्तराणि केषांचिङ्मवहारप्रसिद्धये। च्युतषडजस्तु लोकेऽस्मिन्निषादत्वेन कोर्तितः ॥ ५० ॥ च्युतष ड्जनिषादाभिधानं तस्य विधोयते। च्युतस्य मध्यमस्यापि गांधारव्यवहारतः । ५१। च्युतमध्यमगांधारसंज्ञास्य क्रियते मया। च्युतपञ्चममाचष्टे लोको मध्यमसंज्ञया॥५२॥ अस्माभि: कथ्यते सोऽतक्ष्युतपञ्चममध्यमः । लक्ष्ये तु कुत्रचिच्छुद्धगांधारस्थानमाश्रयन् ॥५३॥ रिषभः कोर्त्यतेऽस्माभि: पञ्चश्रुत्यषभाकयः । स साधारणगांधारस्थानस्थ ऋषभो यदि ॥५४ ॥ लक्ष्यानुसारतः प्रोक्तस्तदा षट्श्रुतिकर्षभः । एवं शुद्धनिषादस्य स्थाने धैवत आस्थितः ॥ ५५॥ लक्ष्यानुरोधाद्गदितः स पञ्चश्रुतिधेवतः । चेत्कैशिकनिषादस्य स्थाने तिष्ठति धवतः ॥ १६॥ कचित्स कथितोऽस्माभिस्तदा षटश्रुतिघैवतः । अथानुवाद: क्रियते क्रमादुक्तखरावले: ॥५७॥ वक्ष्यमाणेऽग्रतो रागमेलने सुखबुद्दये। शुद्धा: सप् खराः शुद्धपूर्वया तत्तदाख्यया ॥ ९८॥ विज्ञेया: क्रमशः शुद्धषड़जः शुद्धर्षभस्तथा। शुद्धगांधार इति च शुद्धमध्यम इत्यपि ॥ ५९ ॥

स्वरप्रकरणम् 13

शुद्धपञ्चम इत्येवं शुद्धघैवत इत्यपि। ततः शुद्धनिषादश्चेत्येवं शुद्धखराभिघाः ॥ ६०॥ विकृताः सप् कथ्यन्ते च्युतषडजनिषादकः । च्युतमव्यमगांधारश्युतपञ्चममध्यमः ॥६१॥ ससाधारणगांधारः स्यात्कैशिकनिषादकः । स्यात्का कलिनिषादोऽथान्तरगांधार इत्यपि ॥ ६२॥ शुद्धगांधारके त्वस्य पञ्चश्रुत्यूषभाभिधा। साधारणेऽपि गांधारे षटश्रुत्यषभनाम च ॥ ६२ ॥ अन्यदस्ति क्चिद्रा गमेलने गानसंमितम्। शुद्धे निषादे नामान्यत्स्यात्पञ्चश्रुतिघैवतः ॥६४॥ स्यात्केशिकनिषादेऽन्यन्ाम षटश्रुतिघवतः । चतुर्दश खरा ह्येते रागे रागे भवन्त्यमो। पर्यायेण खराः सप् त्रिस्थाने नाधिकाः क्वचित् ॥ ६५॥

नन्दनरामामात्य निर्मित खरमेलकलानिधौ स्रप्रकरणं द्वितोयं संपूर्णम्।

वीणाप्रकरणम् ॥ ३ ॥

खराणामथ वक्ष्यन्ते ये मेला रागहेतवः । अभिव्यक्ति: स्फुटा तेषां वीणायामेव दृश्यते ॥ १ ॥ Vतस्मा न्निरुप्यते वोणा लक्ष्यलक्ष्मानुसारतः । दण्डः शंभुरुमा तन्त्री ककुभ: कमलापतिः॥२॥ इन्दिरा पत्रिका ब्रह्मा तुम्बो नाभि: सरखती। दोरको वासुकिर्जीवा सुधांशुः सारिका रविः ॥ ३ ॥ सर्वदेवमयी तस्माद्वीणेयं सर्वमङ्गला। पुनीते विप्रहत्यादिपातक: पतितं जनम् ॥ ४ ॥ दर्शनस्पर्शने चास्य भोगस्वर्गापवर्गदे। इति संगोतनिपुणर्मुनिभिर्भरतादिभिः ॥ ५॥ वोणा प्रशंसिता तर्माच्छाघनीयतमा मता । धर्मार्थकाममोक्षाणामियमेव हि साधनम्॥ ६। गायतो ब्राह्मणो वोणागाथिनाविति च श्रुतिः । अश्वमेधप्रकरणे वोणोक्ता धर्मसाधनम् ॥ ॥ वीणावादानुरक्तेम्यो राजम्यो वैणिका जनाः । लभन्ते काङक्षितानर्थास्तस्माद्वीणार्थसाधनम्॥८॥ कामयन्ते हि गायन्तं स्त्रिय इत्युदितं श्रुतौ। गानस्य कामहेतुत्वं गानोत्पत्तिस्तु वोणया ॥ ९ ॥ 'वीणावादनतत्त्वज्ञः श्रुतिजातिविशारदः । तालजश्चाप्रयासेन मोक्षमार्ग स गच्छति ॥ १० ॥ इत्येवं याज्ञवल्क्येन वीणा मोक्षाय शंसिता । सा च रुद्रप्रियत्वेन रुद्रवोणेति गीयते। ११ ॥ इति वोणाप्रशंसा ।

वोणाप्रकरणम् (2) 15

Vसा च वोणा तनिभिर्भेदर्युक्ता लक्ष्ये प्रवर्तते। तत्नाद्या शुद्धमेलाख्या मध्यमेला द्वितोयका ॥ १२ ॥ V तृतीयाच्युतराजेन्द्रमेलवोणेति लक्षिता। तिस्रोऽपि चैता वोणास्तु प्रत्येकं द्विविधा मताः ॥१३ ॥ सर्वस्थानेषु निखिलैः सरैर्युक्ता तु या भवेत् । सा सर्वरागमेलाख्यवीणका परिकीर्तिता ॥ १४ ॥ v ए कैकरागसंब न्धिसवर संमेलनं यथा। मध्ये सारीष्वसावेकरागमेला द्वितीयका ॥ १५॥

V मध्यमेलाख्यवोणायां तृतोयो भेद इष्यते। त्यक्त्ा तिस्रः पूर्वतन्त्रोः षड्जयुक्ता चतुर्थिका ॥ १६ ॥ तन्त्रो त्रिस्थानसारोभिरयोजिता सकतन्त्रिका। सा मध्यमेलान्तर्भावात्पृथग्लक्ष्ये न गृह्यते ।। १७ ॥ शद्धमेला मध्यमेलाच्युतराजेन्द्रमेलका । एतासां तिसृणां लक्ष्म कथ्यते लक्ष्यमार्गतः ॥। १८ । तत्नादो शुद्धमेलाख्यवीणालक्षणमुच्यते। निर्मितायां प्रवोणेन शिल्पिना लक्ष्यवेदिना ॥ १९ ॥ वोणायामपरिस्थाने चतस्रो लोहतन्त्रिकाः ।

J सप्तस्वेतासु तन्त्नोषु वक्ष्यामः खरयोजनम्। तत्ोपरिस्थितानां तु वामे चतसृणामपि ॥ २१॥

आद्यायां स्थापये त् ड जमनुमन्द्रा भिधानकम्। अनुमन्द्रं पञ्चमं तु द्वितोयायां निवेशयेत ॥ २२॥ Vतृतोयायां तन्त्रिकायां मन्द्रषडजं प्रयोजयेत्। कल्पयेच्च सवरं तन्त्यां चतुर्ध्यां मन्द्रमध्यमम्॥ २३ ॥ V अधःस्थानां त्रितन्त्रीणां स्वरयोजनमुच्यते । प्रथमा मध्यषड्जेन समानश्रुतिरिष्यते॥ २४ ॥ .

16 खरमेलकला निधि:

द्वितोया तन्त्रिका ज्ञेया मन्द्रपञ्चमसंमिता। तृतोया मन्द्रषडजेन संमिता कथिता बुधैः ॥ २५ ॥ एतास्तिस्रोडपि तन्त्यस्तु कथ्यन्ते श्रुतिसंज्ञकाः । अथ सारोसंनिवेशं वक्ष्ये वैणिकसंमतम्॥ २६॥

Vआद्यानुमन्द्रषड्जाख्यतन्त्यां शुद्धर्षभो यथा। स्यात्तथा सारिका स्थाप्या प्रथमाथ द्वितोयका ॥ २७॥ Vतत्तन्त्यां शुद्गांधारसिद्धय स्थाप्या च सारिका। तृतीया सारिका स्थाप्या पूर्वतन्त्र्यां यथा स्फुटः ॥ २८ ॥ vस्यात्साधारणगांधारः स्थाप्या सारी चतुर्थिका।

1 च्युतमध्यमगांधारः पूर्वतन्त्यां यथा भवेत् । २९ ॥ शुद्धमध्यमसिद्धयर्थ पञ्चमी सारिका ततः । निवेश्या पूर्वतन्त्रयां च षष्ठो स्थाप्याथ सारिका ॥ ३० ॥ V यथा व्यक्तस्तथा तन्त्यां व्युतपञ्चममध्यमः । अथापराभिस्तिसृभिस्तन्त्रीभिर्ये खराः क्रमात् ॥ ३१॥ एतासु बट्सु सारीषु जायन्ते तानप्रचक्ष्महे। पञ्चमेनानुमन्द्रेण युक्ततन्त्या द्वितीयया॥ ३२ ॥ शुद्धः स्याद्ववतः शुद्धो निषादश्च ततः परम् । कैशिकाख्यनिषादोऽथ च्युतषड्जनिषादकः ॥ ३३ ॥ शुद्धषडजस्ततः शुद्धरिषभः षट् खरा अमी। पूर्वक्षिप्तासु सारीषु षट्सु जाता यथाक्रमम्॥ ३४॥ द्वितीययानया तन्त्या जातो षड्जर्षभावुभी । शुद्धो मन्द्रो प्रजायेते पुनस्तन्त्या तृतोयया ॥ ३५ ॥ तस्मात्प्रयोगे न ग्राह्यो जातो तन्त्या द्वितीयया। अनुमन्द्रस्वराः प्रोक्ता वक्ष्ये मन्द्रखरानथ ॥ ३६ ॥ V तृतोयया मन्द्रष ड़जतन्त्र्या स्युरनुमन्द्रवत् । पूर्वांस षट्स सारीषु क्रमाच्छुद्धर्षभस्तथा ॥ ३७॥

वोणाप्रकरणम् 17

शुद्धगांधारकः साधारणगांधारकरतथा। च्युतमध्यमगांधारः शद्धमध्यमसंज्ञकः ॥३८॥ ।अनन्तरः खरः प्रोक्तथ्युतपञ्चममध्यमः । अयं शुद्धो मध्यमश्च च्युतपञ्चममव्यमः ॥३९ ॥ तृतीयतन्त्या जातोऽपि प्रयोगे नैव गरृह्यते। जायेते तौ पुनस्तन्त्र्या चतुर्थ्यापि खरो यतः ॥४०॥ मन्द्रमध्यमतन्त्र्या तु चतुर्थ्यां स्युरमी खराः । पूर्वांसु षट्स सारोषु च्युतपञ्चममध्यमः ॥४१॥ शुद्धपञ्चमनामा च ह्युत्तरं शुद्धघैवतः । ततः शुद्धनिषादाख्यः कैशिक्याख्यनिषादकः ॥ ४२॥ च्युतष डजनिषादाख्य एते मन्द्रखरा मताः । चतुस्तन्त्रोभिरेताभि: सारीषटके पुरोदिते ॥४३॥ अनुमन्द्राश्च मन्द्राश्च सर्वे जाता: खराः क्रमात्।

इति मेळप्रकारः । 5 स्यंभुवः खरा ह्येते न खबुद्धया प्रकल्पिताः ॥४४॥ (3)

v तस्मात्प्रमाणयुक्तत्वं कर्तु मार्गो निरृप्यते। श्रुतयो द्वादशाष्टी वा ययोरन्तरगोचराः । ४५ ॥ मिथः संवादिनौ तो तु खरो सर्वत्र योजयेत् । एवं स्ताकरप्रोक्तो मार्गोडयं संप्रदर्शितः ॥ ४६॥ स्रप्रमाणतां कर्तु मार्गान्तरमथोच्यते। चतुर्थतन्त्या संभूतः शुद्धोऽयं मन्द्रपञ्चमः ॥४७॥ द्वितोयायां सारिकायां स्वयंभूरिति कथ्यते। तस्माद्दितीयसार्या ये जाताः सर्वेऽपि ते खराः ॥४८॥ सयंभुवः प्रमाणस्थाः कर्तु शक्या न चान्यथा । द्वितोयसार्या जातस्य तन्व्या चापि द्वितोयया ॥ ४९॥ 12

18 खरमे लकला निधि:

अनुमन्द्रश्य शुद्धस्य निषादस्य प्रमाणतः । चतुर्थसार्यां संजाते तन्त्या चापि तुरीयया॥ ५० ॥ मन्द्रे शुद्धनिषादाख्ये सप्रमाणे कृते सति। चतुर्थसार्यां संजाताः खराः सर्वे स्वयंभुवः ॥ ५१॥ प्रामाणयुक्ता: केनापि न शक्याः कर्तुमन्यथा। व्रोयसार्यां तन्त्या तु संजातस्य द्वितोयया ॥ ५२॥ च्युतषड्जनिषादस्य चानुमन्द्रप्रमाणतः । षष्ठसार्यां तन्त्रिकया चतुर्थ्या जनिते खरे॥ ५३ ॥ च्युतषड्जनिषादाख्ये मन्द्रे मानयुते कृते। षष्ठसार्यां समुत्पन्नाः खराः सर्वे स्वयंभुवः ॥ ५४॥ प्रमाणयुक्ता: शक्यन्ते नान्यथा कर्तुमञ्जसा। पञ्ञम्यां सारिकायां तु षड्जमध्यमसंभवात् ॥ ५५॥ तज्जानां प्रविभागाश्च ते सर्वे स्युः खयंभुवः । पञ्चम्यां सारिकायां तु तन्त्या जातस्य तुर्यया ॥ ५६ ॥ 7 मन्द्रस्य कशिकाख्यस्य निषादस्य प्रमाणतः । तृतोयायां सारिकायां जाते तन्त्या द्वितीयया ॥५७॥ अनुमन्द्रे कैशिकाख्ये निषादे मानसंयुते। कृते सति तदुङ्गूताः खराः सर्वे स्यंभुवः ॥५८॥ तृतीयायां सारिकायां संजातस्य तरोयया। तन्त्या मन्द्रस्य शुद्धस्य धैवतस्य प्रमाणतः । ५९ । आदयसार्यां समुद्भते तन्त्या चापि द्वितीयया। अनुमन्द्राभिधे शुद्धे घैवते मानयोगिनि ॥ ६० ॥ कृते सति समुत्पन्नाः सर्वे प्रामाणिकाः खराः । अयं प्रकार: सारीषु पट्सूत्पन्नख्वरावले: ॥ ६१ ॥ प्रमाणनिर्णयकृते रामामात्येन दर्शितः । इति सवखमाणकरणम् ।

वीणाप्रकरणम् (4) 19 एतत्सरप्रमाणेन मध्ये तारेऽनुतारके ॥ ६२ ॥ v स्थाने स्थाप्याः सारिकाः स्युर्यथायोगं विचक्षणैः । मध्यादिस्थानसारीषु जातास्तन्त्या तुरीयया॥ ६३ ॥ ग्राह्याः खराः प्रयोगेषु नान्यतन्त्रीत्रयोद्भवाः । ननु त्वया पुरा प्रोक्ता: स्वराः सर्वे चतुर्दश ॥ ६४॥ v खराणां द्वादशानां तु सारीक्षेपः कृतोऽधुना। काकल्याख्यनिषादस्यान्तरगांधारकस्य च ॥ ६५॥ उत्पत्यर्थ कथं नोक्ते सारिके द्वे तदुच्यते। काकल्यन्तरयोर्व्यक्त्यै स्थापिते सारिके यदि॥६६॥ v तदा संकोर्णभावेन वादने नानुकूळता। तस्मान्नोक्ते पृथक्सार्यौं तदुत्पत्तिस्तु कथ्यते ॥ ६७ ।। च्युतमध्यमगांधारसार्यभमिव श्रुतिर्यथा । कांकल्याः स्यात्तथोत्पत्तिरिति गानविदां मतम् ॥६८॥ Vका कल्यन्तरसंयुक्तो रागः स्यात्प्रस्तुतो यदा । नंदा त्वेवंप्रकारेण तयोरुत्पत्तिरिष्यते॥ ६९।

क्रमादन्तरकाकल्योः स्थाने प्रतिनिधी विदुः ॥ ७॥ ध्वनेरल्पविशेषेण केचिलक्ष्यकतत्पराः । एतदेवाभिसंघाय कथितं शार्ड्रसूरिणा ॥ ७१ ॥ अल्पप्रयोग: सर्वत्र काकलो चान्तरः खरः । लक्षितवं शुद्धमेलवीणा लक्ष्यविदां मता ॥ ७२॥ इति शुद्धमेलबोणा। (5) अथोच्यते मध्यमेकवीणाया लक्षणं स्फुटम्। तत्नैव शुद्धमेलाख्यवीणायामुपरिस्थिता॥ ७३॥

20 खरमेळकलानिधि:

/आद्यतन्त्य नमन्द्राख्यपञ्चमेन युता यदि। द्वितोया मन्द्रषडजेन तन्त्रिका संयुता यदि॥ ७४॥

मन्द्रपञ्चमसंयुक्ता तृतोया तन्त्रिका यदि। ८ तुरोया मध्यषडजेन तन्त्रिका चेत्समन्विता ॥ ७५ ॥

तदा भवेन्मध्यमेलवीणा पार्श्वे त्रितन्त्रिका । उपरिस्थिततन्त्रोभि: समानश्रुतिका यदि॥ ७६॥

इति मध्यमेलवीणा।

V/तदन्वच्युतभू पालमेलवीणा विविच्यते। /शुद्धमेलाख्यवोणायां चतुर्थीतन्त्रिकोपरि ॥ ७७॥

मन्द्रपञ्चमसंयुक्ता शेषास्तन्त्यस्तु पूर्ववत्। अधिका पार्श्वतन्त्रोषु मध्यपञ्चमतन्त्रिका ॥ स्यादच्युतमहारांजमेलवोणा मयोदिता ॥ ७८॥

इत्यच्युतरायमेलवीणा।

इति श्रोमदभिनवभरताचार्यवाग्गेयकारतोडरमल तिम्मामात्य- नन्दनरामामात्यनिर्मिते खरमेळकळा निधो वोणाप्रकरणं तृतोयं संपूर्णम्।

• I venture to correct the original मन्द्रषडजेन into मध्यषडजेन, : believe it is either a slip of the pen or the (later) printer's devil, but sui not a mistake to be pounced upon even by a Venkatamakhi.

मेलपकरणम् ॥ ४ ॥

एवं प्रपञ्चितं लक्ष्म वीणानां तिसृणामपि। अनन्तरं प्रवक्ष्यामो रागमलान्यथाक्रमम् ॥ १॥ v देशभाषाप्रसिद्धेन रागनाम्ना विशेषितान्। तत्तद्रागप्रधानत्वान्मेलान्वक्ष्ये क्रमादिमान् ॥ २ v लक्षणं वक्ष्यते पश्चादुद्देश: क्रियतेऽधुना । सर्वेषु रागमेलेषु मुखारीमेल आदिम: ॥ ३ ॥ ततो मालवगौलस्य मेल: श्रोराममेलकः । सारङ्नाटमेलश मेलो हिन्दोलकस्य च ॥ ४ शद्धरामक्रियामेलो देशाक्षोमेलकोऽपरः ॥ मेल: कन्नडगौलस्य शुद्धनाव्याश्च मेलकः ॥५ आहरीमेलकश्चैव नादरामक्रिया परः । मैल: शुद्धवराल्याश्च रोतिगौकस्य मेलकः ॥६ वसृन्तभैरवीमेलो गीतज्ञैः संप्रकीर्तितः । किदारगोलमेल्श् हेजुजोमेळकस्ततः॥७॥ मेळ: सामवराल्याश् रेवगुप्तेश्व मेलकः । सामन्तनाममेलश्च काम्भोजोमेलकस्ततः ॥ ८॥ मेला विंशतिरेवते तेषां लक्षणमुच्यते।. इति मेलानामुद्देशः ।

शुद्धसप्तस्वरैरयुक्तो मुखारोमेलको भवेत् ॥ ९॥ अस्मिन्मेले मुखारी च ग्रामरागाश्च केचन। संमतः शुद्ध इत्येष शार्ङ्गदेवविपश्चितः ॥१०॥ इति मुख़ारोमेल: ॥१॥

सरमलकला निधि:

शुद्धा: सरिमपाः शुद्धघैवरतश्च ततः परम्। च्युतमध्यमगांधारक्ष्युतषडजनिषादक:। ११ । एतैः सप्तसवरर्युक्त: संमतो रागवेदिनाम्। मिलो मालवगौलस्य रामामात्येन लक्षितः ॥ १२ ॥ अस्मिन्मेले संभवन्ति ये रागास्तानथ ब्रुवे। रागो मालवगोलाख्यो ललिता बौलिका तथा । १३ ॥ सौराष्ट्रो घूर्जरी मेचबौलो च फलमञ्जरी। गुण्डक्रो सिन्धरामक्रो च्छायागोल: कुरञ्यपि ॥ १४ ॥ रागः कनडब द्रगलस्तथा मङ्गलकेशिकः । रागो मल्हरोत्यादिरागा: केचिद्भवन्त्यतः ॥ १९ ॥

इति मालवगोळमेल:।२ ॥

शुद्धषडजोऽथ पञ्चश्रुत्यूषभश्च ततः परम् । स्यात्साधारणगांधारः शुद्धौ मध्यमपञ्चमी ॥ १६ ॥ प्चश्रतिर्घेवतश्च कैशिक्याख्यनिषादकः । एतैः सप्खरैर्यक्तः श्रीरागस्य च मेलकः ॥ १७॥ अस्मिन्मेलें संभवन्ति ये रागास्तानथ ब्रुवे। श्रीरागो भैरवी गोली धन्यासी शुद्धभेखो। १८ ॥ वेलावलो मालवश्री: शंकराभरणोऽपि च । आन्दोलो देवगांधारो मध्यमादिस्तथापरः ॥ १९॥ एवमादाक्ष कतिचिद्रागा मेळाद्भवन्त्यतः । इति श्रोरागमेल: ॥ ३ ।

पञ्चश्रुत्यृषभः शुद्धषड्जमध्यमपञ्चमाः॥२० ॥ पञ्चश्रुतिर्घेवतश्च च्युतषडजनिषादकः । च्युतमध्यमगांधार एतैः सप्तस्वरैर्युतः ॥ ११ ॥

मेलप्रकरणम् 23

सारङ्गनाटमेलोडयं रामामात्येन. लक्षितः । एतन्मलकसंभूतान्रागान्वक्ष्यामि कांश्चन । २२॥ सारङ्गनाटः सावेरी तथा सारङ्गभैरवी। नृद्नारायणो शुद्धवसन्तः पूर्वगोलकः ॥२३ ॥

स्यात्कुन्तलवरालो च भिन्नषड्जस्तथव च । नारायणोलेवमाद्याः केचिद्रागा भवन्त्यतः ॥ २४ ॥

इति सारङ्रनाटमेल: । ४ ॥

श्रोरागमेले यल्लक्ष्म ततस्याद्विन्दोलमेलके । घेवतः शुद्ध एवात्र विशेषोऽयं प्रदर्शितः ॥२५॥ कांश्चित्तदुद्भवान्रगान्वक्ष्य लक्षणसंगतान् ॥ हिन्दोलो मार्गहिन्दोलस्तथा भपाल इत्यमो ॥ २६ ॥ अन्ये च कतिचिद्रागाः संभवन्त्यत्र मेलके।

इति हिन्दोलमेल: ॥ ५॥

शुद्धाः सरिपधाश्चेव च्युतपञ्चममध्यमः ॥ २७॥ 7 च्युतमध्यमगांधारक्ष्युतषडजनिषादकः । शद्धरामक्रियामेळ: स्यादेभिः सप्तभिः खरैः॥२८॥ अत्र मेले संभवन्ति ये रागास्तानथ ब्रुवे। शुद्धरामक्रिया पाडिरार्द्रदेशी च दीपकः ॥ २९ ॥ इत्याद्याः संभवन्त्यत्न मेळे रागाश्च केचन। इति शुद्धरामकियामेल: ॥६॥

षट्श्रृत्यषभकः शद्द्रषडजमध्यमपञ्चमाः ॥ २०॥

पञ्चश्रुतिर्घेवतश्च च्युतषडजनिषादकः ।

खरमलकलानिधि:

देशाक्षीमेलकः प्रोक्तो रामामात्येन धीमता । देशाक्षोप्रमुखा रागा भवन्त्यत् क्वचित्कचित् ॥ ३२ ॥ इति देशाक्षोमेल: । ७॥

देशाक्षीरागमेळस्य लक्षणं यदुदाहृतम्। मेले कन्नडगौलस्य तस्माद्भेदोऽस्ति कश्षन ॥३३ ॥ / के शिक्याख्यनिषादोऽत प्रयुक्तो लक्ष्यवेदिभिः । अस्मिंस्तु मेले संजातान्रागान्कतिचन ब्रुवे ॥ ३४ ॥ v एकः कन्नडगोलाख्यस्तथा घण्टारवोऽपि च । शुद्धबङ्गालनामा च च्ायानाटस्ततः परः ॥३५ ॥ Jतथा तुरुष्कतोडो च नागध्निरतः परम्। देवक्रिया ह्येवमाद्या रागाः केचिद्गवन्त्यतः ॥ ३६॥

इति कन्नडगोलमेल: ॥ ८॥

शुद्धसरास्तु समपा: षट्श्रुत्यृषभघेवती। च्युतमध्यमगांधारक्ष्यु तषड़जनिषादकः ॥ ३७॥ खरैरमोभि: संयुक्त: शुद्धनाव्याश्च मेलकः । शुद्धनाटोप्रभृतयो रागा अत्र भवन्ति च ॥ ३८ ॥ इति शुद्धनाटोमेल: ॥९॥

शुद्धाः समपधाश्चैव पञ्चश्रुत्यृषभस्तथा। साधारणोऽपि गांधारक्ष्युतषड्जनिषादकः ॥ ३९ ॥ खरैरमोभि: संयुक्त आहरीमेलको भवेत् । आहरोप्रमुखा रागा भवेयुरिह मेळके॥ ४० ॥ इत्याहरोमल:॥ १० ॥

मेलप्रकरणम् 25

शुद्धाः समपधा रिश्च व्युतषडजनिषादकः । साधारणोऽपि गांधारः खररैभि: समन्वितः ।४१॥

नादराम क्रियामलस्त स्मिन्रागाश्च केचन 1 . V नादरामक्रियामुख्याः संभवन्ति क्वचित्कचित् ॥ ४२॥

इति नादरामक्रियामेळ: ॥ ११ ॥

च्युतषडजनिषादश्च च्युतपञ्चममध्यमः । शुद्धर्षभस्तथा षडजः शुद्धो पञ्चमघैवतो। ४३॥ शुद्धगांधार इत्येतैरन्वितो यः खरैर्भवेत्। मेल: शुद्धवराल्याश् तत्र शद्धवरालिका॥४४ ॥ V अन्ये च संभविष्यन्ति रागा देशविभेदतः । इति शुद्धवरालोमेक: ॥१२ ॥

शद्धाः सरिगमाः पश्च पञ्चश्रुतिकधैवतः ॥४९॥ कैशिक्याख्यनिषादश्चेव्येतर्युक्तः खरैस्तु यः । स रोतिगौलमेल: स्याद्रीतिगौकादयोडत च॥ ४६ ॥ रागाः केचिद्भवन्तोति संमतं गानवेदिनाम् । इति रोतिगोलमेळ:॥ १३ ॥

च्यतमध्यमगांधारः कशिक्याख्यनिषादकः ॥ ४७ ॥ शुद्धा: सरिमपा धश्च खरैरेभिः समन्वितः । वसन्तभैरवीमेळस्तस्मिन्रागास्तु केचन । ४८ ॥ वसन्तभेखवोसोमरागप्रभृतयो मताः । इति वसन्तभैरवीमेलः ॥१४ ॥

13

26 खरमेलकला निधि:

शुद्धाश्च समपा: पञ्चश्रुतो चर्षभघैवतो॥ ४९. ॥

केदारगौलमेळ: स्यात्खरैरेभिः समन्वितः ॥ ५० ॥ तस्मिन्केदारगौल्श् स्यान्नारायणगौलकः । एवमाद्याः संभवन्ति मेले रागाश्च केचन ॥ ५१॥ इति केदारगोलमेल: ॥ १५ ॥

मेला: पञ्चदश प्रोक्ता: काकल्यन्तरवर्जिताः । काकल्यन्तरसंयुक्तान्पञ्च मेलान्प्रचक्ष्महे। ५२॥

शुद्धो च षड्जरिषभी शुद्धाश्च मपधास्तथा। गांधारोडन्तरसंज्ञश् काकल्याख्यनिषादकः ॥ ५३ ॥ v एतावत्खरसंयुक्तो हेजुज्जीमेलको भवेत्। हेजज्यादा भवन्त्यत ग्रामरागाश् केचन ॥ ५४॥ गांघर्वीपञ्चमेलोडयं शार्द्गदेवस्य संमतः । इति हेजुज्ोमेल: ॥ १ ॥

शुद्धाः सरिगमाश्चैव शुद्धौ पञ्चमधैवतो। ५९॥ निषाद: काकली नामा चैभियक्त: खरस्तु यः। V मेल: सामवराल्याः स्यात्तस्मिन्सामवरालिका ॥ ५६ ॥ / तोण्डिपूर्ववराली च ग्रामरागाश्च केचन। इत्येष शाङ्गदवस्य संमतो मार्गवेदिनः ॥५७ ॥ इति सामवरालीमेल: ॥२ ॥

vशुद्धा: सरिमपाः शुद्धो धनो गांधारकोडन्तर: एतेः सप्तस्र: रेवगुप्तिमेल उदाहृतः ॥ १८॥

मेळप्रकरणम् 27

v तस्मिन्रगे रेवगुप्तिः शुद्धरागाश्च केचन॥ र्नाकरे च मेलोत्थाः शाङ्गदेवेन लक्षिताः । ५९॥

इति रेवगुप्तिमेल: ॥ ३ ॥

Vरिधो षट्श्रुतिको चैव काकल्यन्तरको निगौ। शुद्धा: षड्जमपा एतेः खरैः संमिलितो यदा ॥६०॥ V तदा सामन्तमेल: स्यात्तत रागास्तदादयः । इति सामन्तमेल: ।४॥

गनो चान्तरकाकल्यौ रिधो पञ्चश्रुती तथा ॥६१ ॥ 2 शेषा: शुद्धास्तु समपा ह्येतेः काम्भोजिमेलकः । काम्भोजिप्रमुखा रागा मेळेऽस्मिन्संभवन्ति हि॥ ६२॥

इति काम्भोजिमेल: ॥ ५॥

लक्षिता विशतिर्मेला गात्रे स्युर्नियता अमो। पक्षद्वयं त वीणायां वक्ष्यते लक्ष्यसंमतम्॥ ६२ ॥ /ग्राह्यावन्तरकाकल्यौ खररुपे पृथक्पृथक्। प्रक्षोऽयं प्रथमस्तत्र मेला: स्युर्विशतिघ्रुंतम् ॥६४॥ अन्तरस्य च काकल्या ग्राह्यः प्रतिनिधि: क्रमात् ।

अयं द्वितोय: पक्षोऽत मेला: पञ्चदश स्मृताः । शेषा: पञ्चदशस्वेषु पञ्च लोनास्तदुच्यते ॥ ६६॥ घसन्तभरवीमेले लोनो हेजुज्जिमेलकः । अथ सामवराल्याश्च मेलो यः प्रागुदोरितः ॥६७॥ अन्तर्भतः स्फुटं शुद्धवरालीमेलके च सः । बौल्याश्च मेलके लीनो रेवगुप्तेस्त मेलकः ॥६८॥

28 खरमेलकला निधि:

मेले कन्नडगोलस्य लीनः सामन्तमेलकः । सारङ्रनाटमेले च लोन: काम्भोजिमेलकः ॥६९॥ अत्र प्रतिनिधे: पक्षे मुखारीमेलपूर्वकाः । केदारगोलमेलान्ता मेला: पञ्चदश स्थिताः ॥ ७ ॥

इति श्रोमदभिनवभरताचार्यवाग्गेयकारतोडरमलल तिम्मामात्य- नन्दनरामामाव्यनिर्मिते खरमेलकलानिधो मेलप्रकरणं चतुर्थ संपूर्णम्।

रागप्रकरणम् ॥ ५ ॥

एतेधु रागा ये जाता उत्तमा मध्यमा अपि। अधमाश्चापि सकळाः कथ्यन्ते ते विवेकतः ॥ १ ॥ vमुखारी शुद्धनाटी च रागो माळवगोलकः । ततः शुद्धवरालो च घूर्जरी ललितस्तथा ॥ २ ॥ शुद्धरामक्रिया शुद्धवसन्तो भेखवी तथा। /हिन्दोलरागः श्रीरागो रागः कन्नडगोलकः ॥ ३ ॥ सामन्तरागो देशाक्षी धन्यासी बौकिकेति च। आहरी चापि मल्हारी मालवश्रोस्ततः परम् ॥४॥ सारङ्रनाट इत्येते कथिताश्चोत्तमोत्तमाः । असंकीर्णतया लोके रागा विंशतिरेव च । ५ ॥

गीतप्रबन्धकाळापठाययोग्या भवन्ति हि। इत्युत्तमरागाः ।

केदारगोल: काम्भोजो बङ्गाल: कन्नडाक्य: ॥६। • वेलाव किर्मध्यमादिनरिणो रीतिगोलकः । नादरामक्रिया पाडिर्भपाली रेवगुप्तिकः ॥ ७॥

V गुण्डक्रिया हिजूजी च वसन्तादिश्च भैरवो। रागः सामवरालिश्ववेत्येते पञ्चदशैव च ॥ ८।।

रागा: प्रबन्धखण्डारहा मध्यमाश्चाल्पकास्तथा। इति मध्यमरागाः ।

30 स्रमलकला निधि:

सोराष्ट्रो मेचबोली च च्छायागौल: कुरखिका ॥ ९ ॥ > सिन्धुरामक्रिया गौडी देशी मद्रलकशिकः । पूर्वगोल: सोमराग आन्दोली फलमञ्जरी ॥ १० ॥ शंकराभरणं देवगांधारी दीपकस्तथा। नट्टनारायणी शुद्धभैखवो भिन्नषड्जकः ॥ ११ ॥ J स्यात्कुन्तलवराळी च रागः सारङ्गभैखो। शुद्धबड्गगलको नागध्व निर्घण्टारवस्तथा ॥ १२ ॥ v मार्गहिन्दोलकश्छायानाटी देवक्रियापि च । नारायणी गोलरागस्ततस्तोडी वरालिका ।। १३ ॥ तुरुष्कतोडीरागश्च रागः सावेरिका तथा। आर्द्रदशीत्यादयक्ष रागा: स्युरधमाः क्रमात् ॥ १४ ॥

इत्यधमरागाः ।

सर्वेष्वेतत्पुरोक्तेषु मध्यमेषूत्तमेष च । अन्तर्भ ताश्च संकीर्णाः पामरभ्रामकाश्च ते॥१५ ॥ ठायालापप्रबन्धानामयोग्या बहुलाश्च ते। तर्र्मान्न ते परिग्राह्या रागाः संगोतकोविदः ॥१६ ॥

देशीरागाश्च सकला: षडजग्रामसमद्भवाः । ग्रहांशन्यासमन्द्रा दिषाडबौडुवपूर्णकाः । १७ ॥

देशोत्वात्सर्वरागेषु भवन्ति न भवन्ति वा । व्रथापि लक्ष्यमाश्रित्य गानलक्ष्मानुसृत्य च ।। १८ । V विंशत्युत्तमरागाणामसंकोर्णस्वरूपिणाम्। मध्यमानां तथा पञ्चदशानां च ततः परम्॥ १९ ॥

अधमानां च केषांचिल्लक्षणं लक्ष्यतेऽघुना ।

रागप्रकरणम् 31

संपूर्णसरसंयुक्त: षड्जन्यासग्रहांशकः ॥ २० ॥ यो गेयः पश्चिमे यामे नाटीरागः स उच्यते। इति नाटोरागः ॥ १॥

पडजांशा सग्रहा षड्जन्यासा संपूर्णतां गता । २१॥ सर्वयामेषु या गेया सा वरालोति कोर्तिता। इति वरालीरागः । २।

सारङ्गनाटी संपूर्णा सन्यासा सग्रहापि च ॥ २२॥ षड़जांशा पश्चिमे यामे गेया सा कथिता बुधैः । इति सारङ्गनाटोरागः ॥ ३ ॥

शद्धरामक्रियारागः संपूर्ण: सग्रहोऽपि च॥ २३॥ षड्जांशन्याससंयुक्तो गेयो मध्यंदिनात्परम्। इति शुद्धरामक्रियारागः ॥४॥

सग्रहा सांशिका षड्जन्यासा संपूर्णतायुता । २४ ॥ मुखारो सर्वकालेडपि गातुं योग्या प्रकीर्तिता। इति मुखारोरागः ॥ ५॥

संपूर्णो भैरवोरागः सन्यासः सांशको मतः ॥२९॥ षड़जग्रहस्तथा गेयो यामेऽह्नः पश्चिमे च सः । इति भैरवोरागः ॥ ६ ॥

सन्यास आहरोरागः सांशः षड़जग्रहोडपि च॥ २६॥ संपूर्णश्चरमे यामे गातव्योऽसौ विचक्षणैः । इत्याहरोरागः । ७॥

सामन्तरागः षडजांशः षड्जन्यासश् सग्रहः॥२७॥ दिनस्य चरमे यामे गेयः संपूर्णतायुतः । इति सामन्तरागः ।८। नa

खरमेलकला निधि:

निन्यासांशप्रहोपेतो रागः कन्नडगोलकः ।२८॥ संपूर्णोऽपि कदाचित्स्यादारोहे त्यक्तघैवतः । गेयोऽहः पश्चिमे याम उत्कलानामतिप्रियः ॥ २९॥ इति कननडगोलरागः । ९।

सन्यासांशग्रहः पूर्णो देशाक्षीराग उच्यते। आरोहे मनिवर्जोऽसौ पूर्वयामे च गीयते॥ ३० इति दशाक्षो॥ १० ॥ इत्युत्तमसंपूर्णा दश। मध्यमांशग्रहन्यासा बोली पञ्चमवर्जिता। षाडवी सा च गातव्या दिवसस्यादिभागतः ॥ ३१ ॥ इति बोलोरागः॥ १ ।।

रागः शुद्धवसन्ताख्यः सांशः स्यात्सप्रहस्तथा। पवर्जितः षाडवोडपि ह्ववरोहे पसंयुतः । ३२ ॥ एवं लक्ष्ये प्रसिद्धोडसी गेयो यामे तुरोयके। इति शद्वसन्तः॥२॥

रिर्जितो मालवश्रीः सांशः स्यात्सग्रहोऽपि च॥ ३२॥ गोयते सर्वयामेषु सर्वदा मङ्रलप्रदः । इति मालवश्रीः ॥३॥

पवर्जिता रिग्रहांशन्यासा षाडविका मता ॥३४॥ कदाचिदवरोहे सा पयुता घूर्जरो भवेत्। दिनस्य प्रथमे यामे गेया सा गानकोविदः ॥३५॥ इति घूर्जरी ।। ४ ।

सग्रहांशन्यासयुक्ता लकिता पञ्चमोज्जिता। षाडवी प्रथमें यामे गेया सा शोभनप्रदा । ३६ । इति ललिता॥ ५ ।

रागप्रकरणम्

हिन्दोलको रिधत्यक्त औडवः सम्रहांशकः । सन्यास: शुभदो गेयः स रागः सार्वकालिकः ॥ ३७॥ इति हिन्दोल: । १॥

घवतांशग्रहन्यासो रागो मल्हारिसंज्ञकः । औडवो गनिवर्जोडसी प्रमाते गीयते बुधैः ॥ ३८ ॥ इति मल्हारी ॥ २ ॥

रागो धन्यासिसंज्ञो यो बहुशो रिघवर्जितः । गेयः प्रातरसौ तज्ज्ञैः सन्यासांशग्रहौडुवः ॥ ३९॥ इति धन्यासी॥ ३॥

रागो मालवगोलथ निन्यासांशग्रहो मतः । औडुवो रिपवर्जश्च कदाचिद्रिपसंयुतः । ४०॥ गेयः सायाह्हसमये रागाणामुत्तमोत्तमः । इति माळवगोल: ।४।

श्रीरागः सग्रहः सांशः सन्यासो गधवर्जितः ॥४१॥ औडवोऽपि भवेद्रागः कदाचिद्गवसंयुतः । सायाह्े गोयतामेष सर्वसंपत्प्रदायकः ॥४२॥ इति श्रीरागः ॥ ५ । इत्युत्तमौडवा: पञ्च।

केदारगौल: संपूर्णो निन्यासो निग्रहोडपि च। निषाद्रांशश्चतुर्थेडह्वः प्रहरे गोयते बुध: ॥४३॥ इति केदारगौलः ॥ १ ॥

नादरामक्रियारागः षडजन्यासस्त सग्रहः । षड़जांशकश्ष संपूर्णो गेयो यामे तुरोयके ।४४। इति नादरामक्रिया ।२ 2000500 14

34 खरमलकळा निधि:

सन्यासा सग्रहा सांशा संपूर्णापि कचिद्भवेत् । आरोहे मनिवर्जासी काम्भोजो सायमोरिता ॥ ४५॥ इति काम्भोजी 1२ 2009505

षडजांशा सग्रहा षड्जन्यासा सामवरालिका। संपूर्णा सर्वदा गेया सामवेदसमुद्धवा ॥। ४६॥ इति सामवराली ॥४ ॥

रीतिगौलो निषादांशो निन्यासग्रह एव च । संपूर्णो गोयते सायं मुखारोमेलमाश्रितः ।४७॥ इति रोतिगौलागः ॥ ५॥

हजुज्ोराग: संपूर्णो मन्यासो मग्रहांशकः । गेयोहः पश्चिमे यामे काकल्यन्तरभूषितः ।४८॥ इति हजब्जीरागः ।६॥

v गांशो नारायणीरागो गांधारन्यासकग्रहः । संपूर्ण: प्रातरुद्वेयोऽवरोहे रिच्युतः कचित् । ४९। इति नारायणी ।७ ॥

पूर्णो वेळावलीरागो धांशन्यासस्तु धग्रहः । कचिद्रिपाम्यां न्यूनः स्यादवरोहे प्रभातजः ॥ ५०.॥ इति वेलावलो ॥ ८ ॥ L.

इति मध्यमरागेषु संपूर्णा अष्टो ।

रागः कनडबद्गाळो गांधारग्रहगांशकः । गन्यास श्र्षभन्यूनः प्रातर्ग्रेयः स षाडवः ॥५१॥ इति कन्नडबड्रगल: ॥ १ ॥

रागप्रकरणम् 35

पाडीरागस्तु सन्यासः सांशः षड्नग्रहः स्मृतः । तुरीययामे गेयोऽसौ गहीन: षाडवो मतः ॥ ५१॥ इति पाडीराग: । २ ।

वसन्तभखवोरागः सन्यास: पञ्चमोज्झितः । सग्रहः षड्नकांशश्च प्रातर्गेयः स षाडवः ॥ ५३॥ इति वसन्तभैरवो । ३ ॥

सांशो गुण्डक्रियारागः सग्रहन्यासषाडवः । धवर्जितः पूर्वयामे गेयो धैवतयुक् कचित् ॥ ५४ ॥ इति गुण्डक्रिया ॥४ ॥ इति मध्यमरागेषु षाडवाश्त्वारः ।

मध्यमादिर्मग्रहांशो मन्यासो रिधवर्नितः । औडुवः पश्चिमे यामे दिनस्य परिगोयते ॥१५ ॥ इति मध्यमादिरागः॥१॥

भूपालरागः सन्यासः सांशः सग्रह एव च । मनिलोपादोडवः स्यात्प्रातःकाले च गोयते ।। ५६॥ इति भूपाल: ॥ २॥

रिग्रहो रेवगुप्तिः स्याद्रिन्यासो मनिवर्जितः । ओडवश्चरमे यामे दिवसस्य स गीयते ॥ ५७॥ इति रेगुप्तिः॥ ३ ॥ इति मध्यमरागेष्वौडुवरागास्यः 1

अथाधमानां रागाणां केषांचिल्लक्ष्म कथ्यते।

सौरा्ररागः संपूर्णः षडनन्यासथ् सग्रहः । षड़्जांशो गोयते सायंसमये गीतकोविदेः ।५८॥ इति सोरादराग:।१म

86 खरमलकळानिधि:

रागो नागध्वनिः पूर्णः षड्जांशः सग्रहोऽपि च । षडजन्यासो गोयतेऽसो सर्वदा गोतकोविदैः ॥ ५९॥ इति नागध्निः ।२॥ सन्यासः सग्रहश्ेव सांशः संपूर्ण एव च । सोमरागः सदा गेयो मन्द्रमध्यमभूषितः ॥६०॥ इति सोमराग: ॥। ३ ॥ V शंकराभरणो रागः संपूर्ण: सांशकः स्मृतः । षड्जन्यासग्रहः सोऽयं सामन्तच्छाययाश्रितः ॥ ६१॥ इति शंकराभरणः । ४ ॥ इत्यधमरागेषु संपूर्णाश्चत्वारः ।

घण्टारवो धैवतांशो धग्रहन्यास एव च। गलोपात्षाडवः प्रोक्तः सर्वकाळे प्रगोयते ॥ ६२॥ इति घण्टारवः ॥ १॥ भिन्नषड्जाख्यरागोडयं सग्रहः परिकीर्तितः । षड्जन्यास: षाडवोडयं मलोपाद्गीयते सदा॥ ७३॥ इति भिन्नषड्ज: ॥ २ ॥ इत्यधमरागेषु षाडवो हौ।

सावेरिरागो धन्यासो धांशो धग्रह एव च। औडवोगनिलोपेन प्रगे गेयो विचक्षणैः ॥६४॥ इति सावेरिराग: । १ ॥ पञ्चमांशग्रहन्यास आन्दोलीराग ईरितः । निगलोपादौडवोडयं मध्यमादिवदुञ्वलः ॥ ६५ ॥ इत्यान्दोली ॥ २ ॥ इत्यघमरागेब्वोडवो द्वी। इत्यधमरागा: केचित्।

रागप्रकरणम् 37

एवंप्रकारेणोन्नेयाः शेषा रागा विचक्षणेः । अतिसंकीर्णभावेन नास्माभिर्लक्षिता: पृथक् ॥६६। गानोपयोगिनां तालप्रबन्धानां तु लक्षणम् । रत्नाकरे शाङ्गदेवसूरिणा कथितं स्फुटम्। गांधर्वमखिलं चापि तत्रव स्पष्टमोरितिम् । तत एवावगन्तव्यं तस्मान कथितं मया ॥६७॥

शाके नेत्नधराधराब्धिघरणीगण्येऽथ साधारणे वर्षे श्रावणमासि निर्मलतरे पक्षे दशम्यां तिथो। रामामात्यवि निर्मितः खरततेनिर्मथ्य रत्ाकरं सोडयं मेलकलानिधिर्मतिमतामाकल्पमाकल्पताम्। ६८।

नन्दनरामामात्यनिर्मित खरमेलकलानिधो रागप्रकरणं पञ्चमं संपूर्णम् ।

समाप्तश्चायं प्रन्थः ।

॥ श्रीरस्त ।।

TRANSLATION

SVARAMÊLAKALÂNIDHI

CHAPTER I

PREFACE

Benediction I. May Nârâyana protect us all-Nârâyana, whose unrival- led wealth consisted in Srî-râga, that is, in his love for Lakshmi; whose form is sublime and beautiful; who is surrounded by devo- ted experts in the matter of Svara, Sruti, Grâma, Style, and so forth ; who is a lover of the Theatre; who delights in the eternal rhythm; who is himself Nâdabrahmam; and whose body is full of decorations.

Râma Râja's Pedigree 2. Formerly, the ancient Brahma, appeared from amidst the Lotus that emanated from the navel of Vishnu, just as the essence of music did from Sama Vêda or the philosophy from Vêdânta Sâstra. 3-4. To this Brahma, was born Athri from whose eyes was, again, born the Moon, who was a friend of the Dêvas and by virtue of whose rays the waters of all the rivers are of help to the ocean (by flowing into it); and who forms one of the eyes of Vishnu in whose belly the earth exists, and also who showed it to the world that he (moon) invariably 'enables the irreproachable ocean, which is full of shining corals, to more and more swell and flow, by dint of the law of causation. 5. To this Moon, then, was born a son named Budha; to Budha was born Pururava; and to Pururava was born the virtuous Âyu. It was, again, to the dynasty of this Ayu that Yayathi's father, Nahusha, as well as Bharata and others, belonged. 6. As an ornament to the family of those mentioned above, was born Sri Ranga Râja, who surpassed Kubera in point of wealth, who enjoyed the contented earth (that is, whose subjects led a contented life); and who, by dint of his good conduct, attained the status of Râjarshi. 7. Thimmâmbika was Sri Ranga Râja's wife; and she was the embodiment of all the good qualities of the virtuous 15

42 SVARAMÊLAKALANIDHI women-chaste, illustrious, modest, unjealous, clever, truthful, and happy. 8. To Sri Ranga Râja and his Queen Thimmâmbikâ was born, as a result of their penance, Râma Râja, the king of all kings. Rama Raja's Father-in-law and his two Brothers Krishna Râya gave his daughter in marriage to this Râma Râja and thereby enhanced the dignity of the parenthood of daughters. 9. Râma Râja had two royal brothers, the well-known Thimmarâja and Srî Vênkatâdri, just as Dharmaputra of unblem- ished conduct, had two of his noble brothers, Bhima and Arjuna of dreadful arms.

Râma Râja's Devotion and Prowess 10. Inasmuch as Râma Râja's arms were powerful enough to conquer even Âdisêsha, there was nothing marvellous in his ruling the earth. But the real wonder lay in the fact that his mind, atomic though, was able to bear the foremost God of the world, Lord Seshâchala. II. With only a sword in hand, Râma Râja set out from Vidyâpura, accompanied by his two brothers; met at Guthigiri the helpless king, named Sadâsiva; defeated all the traitorous and inimical princes; placed the said Sadâsiva on the auspicious Carnatic Throne, as Vishnu had done Dhruva; and thereby became all the more famous. 12. And, having got the same energies as actuated Dadhichi, Râdhêya (Karna), Sibi, Jimûthavâhana (Indra), and others into noble action and having thereby acquired wide fame, he (the king) grew, in this world, more and more strong. 13. With his two brothers never leaving his two sides, he- who was, as it were, an avatâr of Râma-shone in the earth, day and night, just as Meru shone with its (never-leaving) Sun and . Moon. 14. Having defeated in battle all the Persians and thrown, forcibly into the air, the raiments of their rotten fame, he adorned the Girls of Directions with the silken garment of his (own sohid) fame.

PREFACE 43

Rama Raja's Palace and his Enjoyment therein 15. Having noted that the palace, called Ratnakûta and built under the guidance of the noble Râmâmâtya, beat, in point of beauty, even the palace of Indra; Râma Râja became lost in wonder and joy. 16. People declared this palace to be another Mêru; inas- much as both of them had a variety of lustrous flamingos, were so strongly built as to last for ever, and were also provided with many an Indra-Sabha-like Hall and many a Play-Ground. 17. The splendour of the flags of the palace, which were moved by gentle breezes, looked-by coming in contact with the branches of the Mandâra trees-like a circular dance of the celes- tial nymphs wandering in the grove. 18. The unmarried girls, residing in that palace, proceeded to celebrate the marriage of their several pairs of dolls by placing their (the dolls') feet on the fringe of the stone-like disc of the full moon. 19. It was in this palace that Râma Râja, surrounded by experts and Sesha-like musicians, spent his time with joy. 20-21-22. And he (the king) gave Ear-ornaments to Râmâ- mâtya, after having heard the Prabhandas composed by him and sung, in the assembly, by Vainikas accompanied by the accurate vocal music of his pupils-Prabhandas, technically known as Ela, Ragakadamba, Mathrika, thirty-two Sudakas, the well-known Panchathâlêsvaras, Srîranga, Dvipada, Svarânka, Srîvilâsa, the thirty illuminating, elaborate, and very valuable Prabhandas, the sixteen interesting Dhruvas, the forty-six Sâlagasudas written in majestic style, Pancharatnas containing twenty Râgas, and other works, such as Gita, Alankara, and Alapana with letters sounded.

Venkatâdri's Request to Râma Râja 23. When, in the assembly, Râma Râja was enjoying the pleasure of (hearing, or making, or even helping to make) musical compositions; Sri Vênkatâdri, the lion of kings, availed himself of a favourable opportunity and addressed the king with all humi- lity thus :- 24. 'The Science of Music has, both in theory and practice, degenerated into conflicting views. Let Râmamantri (Râmâmâtya) reconcile, by your word of command, all (the conflicting views) and write a (new) science.'

44 SVARAMÊLAKALÂNIDHI Râma Râja's Requisition to Râmâmâtya 25. Then, Râma Râja, King of Srirangam, addressed Râmâ- mâtya, who was seated in the vicinity of the king and who had studied the secret of the art of Music, thus :- 26. 'In this world, some know only the theory of music, while others know only its practice; as for the person who knows both of them, I have not come across anybody else than you. 27. ' Inasmuch as the learned Kallapadêsika, who was as famous in music as Dathila, is your grand-father, that traditional lore of music palpitates in your pulse. 28. ' In the science of music, conflicting views have indeed arisen. Bring to a focus all their salient features and write an interesting treatise on music, embodying therein its theory and practice. 29. 'Just as, in former times, Patanjali evolved, with his knowledge of Pânini's works, the science of words; you had better standardise, and thereby facilitate, the study of Svaras, in confor- mity with the views of Bharata and others.' Râma Raja's Encouragement to Râmâmâtya 30. Saying 'let this please your heart,' Râma Raja gave Râmamatya the camphor-smelling betels. While, Râmamantri received them and, having thereby agreed to comply with the king's command, contemplated (about the new book). 31. The king (meanwhile) granted to me a chief fort in the principality of Kondavita and also made me the Overlord of an estate washed by the eastern sea. 32. On the strength of this royal grant, Ramamatya caused many agraharas to be built and thereby gave shelter to many a Brahmin, by whose blessings he obtained boundless popularity. 33. As though it were only a gemmed garland, he (the king) gave me, again, the Overlordship of the non-western (ż. e. eastern) ocean, along with the town of Jeloorisimmasana and thereby made me equal in rank to the king himself. Râmamatya's Project, in gratitude, of Svaramêlakalânidhi 34- Inasmuch as the king graciously gave me magnificent presents from day to day, I-now made equal in rank to the king and able to please him-am a little anxious to return the good office of the king and also be of some service to the world at large.

SVARA 45 35. Ere long, I shall write Svaramelakalânidhi, dedicate it to the king and discharge my debt of deep gratitude to him. 36. Having thus resolved, I-Râmamantri, an able leader in the accomplishment of Sangithasahithya-undertake to speak . about it, that is, relate the contents thereof.

Contents 37-38. In this Svaramelakalânidhi, written by Râmâmâtya, there are five chapters, namely, Preface, Svara, Vina, Mêla, and Râga. 39-40-41. After the chapter on Preface, the following are expounded by Râmamantri, in conformity with the theory and practice of music. In the second chapter on Svara :- The value of music, the difference between Gândharva and Gâna, Registers of voice, Srutis, Sudha-Vikritha svaras and their nomenclatures. 41-42-43. In the third chapter on Vina, a good exposition has been made of-the value of Vina, the method of tuning it, the standardization of Sudha-Vikritha svaras, and the three kinds of Vina, namely, Sudha Mela, Madhya Mela, and Achyutha- rajêndra Mêla. 44-45. In the fourth chapter on Mêlas, twenty Mêlas and the Mela-derived Râgas are discussed. And their nomenclatures too are severally given. As an alternative, only fifteen Mêlas are recognized; but, in the main, there are twenty Mêlas. 46-47. In the fifth chapter, which is the chief one in this work, the three kinds of Ragas into Superior, Middling and Inferior are discussed; as also their special characteristics. These are the contents of the book.

CHAPTER II

SVARA

The Origin and Value of Music 1-6. Brahma got this music from Sama Veda. While the all-knowing Siva, Parvati's Lord, is pleased with the Vocal Music; the eternal Krishna, the Lord of the Gôpis, is amenable to the music of the Flute. While, again, Brahma is fond of the Sâman Chant; Saraswathi is desirous of the Vina. Why should there be-indeed, need there be-any mention at all of the musical

46 SVARAMÊLAKALÂNIDHI

tastes of the Yakshas, the Gandharvas, the Dêvas, the Râkshasas and the Human Beings? Further, children who are ignorant of the sensual enjoyment and crying in a cradle, become ecstatic, on drinking the milk of music. And again, beasts and their young ones, roaming in the forest with grass for their food, yearn for the hunter's music; and when they hear it, mark! they give up their lives for it. Even the venomous serpent is rejoiced with hearing music. Who, then, can adequately describe the peculiar virtues of the art of music?

Music and its two kinds A group of Svaras capable of ravishing the ear constitutes music. 7-8-9. And it is said to be of two kinds-Gândharva and Gana. That kind of music is called Gandharva, which has been, from time immemorial, practised by the Gandharvas and which surely leads to Môksha. Again, that kind of music is called 'Gana', which is composed by Vaggeyakaras (that is, by those who are capable of composing as well as singing) in Dêsi Ragas and in conformity with the recognised rules and which is also pleasing to the people. The Gândharva Music is ever employed in conformity with the (inflexible) rules of the theory. The Principle of Lakshya IO-II-I2. But if the violation of those theoretical rules, inflexible though, do not lead to any absurdity; and if, again, the contravention of any of the rules of practice does not give pleasure, but jars, to the ear; then, the practice of music shall be preferred to its theory. Hence, the Gana Music prevails in this world in conformity with the rules of practice. Indeed, its chief thing has been all along the principle of Lakshya and never the inflexible theoretical rules. 12 to 17. In his chapter on Instruments, Shârngasuri, who was well-versed in all the music-lore, argued that the practice of music was more important than its theory, thus :- ' The learned men are of opinion that the chief thing of the whole (Dêsi) music is the Lakshya or practical side of it, that the practice of any science is more important than its theory and that, in case of any difference between the two, there seems to be no other way-out than readjusting the science with the art. Since the laws of

SVARA 47

Graha, Amsa, Nyâsa, and so forth are within the scope of the musical science and since the arrangement of the other Svaras (such as Apanyâsa), stands on the principle of Lakshya, without however doing any kind of injustice to the science; Shârngadêv . Suri determined, in all the Dêsi Ragas, the method of how to remove the differences between the theory and practice of music.' Inasmuch as the same Shârngadêv clearly stated the broad prin- ciples of the Gâna Music, I shall also follow suit, make the ' Principle of Lakshya' the chief thing in my book and proceed to describe its characteristics. Thus the whole music seems to fall into the two divisions spoken of. Sound 18-19. The soul, desirous of speaking out its intention, excites the mind; and the mind operates on the vital heat of the body by setting the air in motion; and the air, remaining in the Brahmagranthi (?), rises up and produces ' Sound,' through the navel, the heart, the neck, the head, and the face.

Registers 20-21. The sound, thus defined, falls into five divisions- very subtle, subtle, developed, undeveloped, and artificial. But, for all practical purposes, there are only three kinds of sound, called Registers-' Mandra' in the chest, ' Madhya' in the neck, and 'Thâra,' in the head; each succeeding register being doubly louder than its preceding one. Srutis 22-24. This sound (of each of the three registers) stands divided into twenty-two Srutis, all within the limits of audibility. And the Nadis, connected in the chest with the higher Nadi, are also twenty-two. Those Srutis, impinged by the air across those Nâdis, rise up progressively in pitch. So is the case with those of the neck as well as with those of the head. The Srutis are thus twenty-two in number. Svaras 24-25. From the Srutis arose the seven Svaras-Shadja, Rishabha, Gândhâra, Madhyama, Panchama, Dhaivatha, and Nishâda. And their respective symbols are-Sa, Ri, Ga, Ma, Pa, Dha, Ni.

48 SVARAMÊLAKALÂNIDHI 26. That is called Svara, which is by itself pleasing to the ear and the mind; which permeates the Srutis; and which is tender and harmonic. 27. The significance of this statement is better explained in terms of the Vina. Allocation of the seven Svaras 27-30. The Svaras arise from the Srutis in such a manner that Shadja takes the fourth Sruti of the Vina; Rishabha, the seventh; Gandhara, the ninth; Madhyama, the thirteenth; Panchama, the seventeenth; Dhaivatha, the twentieth; and Nishâda, the twenty-second. Gandhara and Nishâda take each two Srutis; Rishabha and Dhaivatha take each three Srutis; while, Shadja, Madhyama, and Panchama take each four Srutis. An Objection 30-31. Be the above allocation, namely, of giving Shadja four Sruthis and so forth, what it may; how are the three Srutis preceding the fourth accounted for? An Answer to the Objection 31-32. We shall answer: The fourth Sruti. anticipates as a matter of fact all its preceding Srutis and means and includes them. Thus, it is settled that, as regards Srutis, every succeed- ing one anticipates all that precede it and means and includes them. Sudha-Vikritha Svaras 32-33. These seven Svaras, I beginning with Shadja, are called Sudha Svaras. While, the Vikritha Svaras are also seven. In all, there are fourteen Svaras-Sudha and Vikritha.

A Second Objection 33-34. How is it that you have given only seven Vikritha Svaras, while Sharngadev mentioned, in his Ratnâkara, so many as twelve? An Answer to the Second Objection 34-38. It is true that, from the theoretical point of view, the number twelve may be desirable. But, in actual practice, there

1 As indicated in verses 27 to 30.

SVARA 49

are only seven Vikritha-Svaras, as being different from the seven Sudha-Svaras. If the basic notes are left out, there does arise a difference in sound, as regards the remaining five Vikritha- Svaras. But if they (the basic notes) are retained, the said difference disappears in practice, though not in theory, by the . process of taking the preceding-but not the next preceding- Srutis. I shall tell you how.

How the 12 Vikritha Svaras became 7 38-42. Achyutha Shadja does not differ from Sudha Shadja; nor does Achyutha Madhyama differ from Sudha Madhyama. Vikritha Rishabha does not differ from Sudha Rishabha; nor does Vikritha Dhaivatha differ from Sudha Dhaivatha. Vikritha Panchama, which is taken from Madhya- masruti, does not surely differ from the three-Srutied Vikritha Panchama. Hence, under the category of the above-mentioned fourteen (Sudha-Vikritha) Svaras, no separate mention was made by me of these five Svaras, inasmuch as they had effected a merger. Seven Vikritha Svaras 42-44. We shall enunciate the seven Vikritha-Svaras by mentioning their names and also state their characteristics. The names are -- (1) Chyutha Shadja (2) Chyutha Madhyama (3) Chyutha Panchama (4) Sâdhârana Gândhâra (5) Anthara Gândhâra (6) Kaisiki Nishâda and (7) Kâkali Nishâda

Their Characteristics 44-49. ' Chyutha Shadja' is the name given to that Shadja which gives up its own fourth Sruti and takes the third one. The same rule equally applies to 'Chyutha Madhyama' and ' Chyutha Panchama'. When Sudha Madhyama takes the first Gândhâra Sruti, it is called 'Sâdhârana Gândhâra'; but when the same Sudha Madhyama takes the second Gândhâra Sruti, it goes by the name of ' Anthara Gandhara.' When, again, Sudha

50 SVARAMÊLAKALÂNIDHI

Shadja takes the first Nishâda Sruti, it is called by expert musicians 'Kaisiki Nishâda'; but when it takes the second Nishada Sruti, it goes by the name of ' Kakali Nishâda'. Thus, the seven (Vikritha Svaras) have been described. Another Nomenclature 49-57. In fulfilment of a usage, I shall now mention a few different nomenclatures to some of these fourteen Svaras obtain- ing elsewhere. On account of its identity with Nishâda, Chyutha Shadja is also called Chyutha Shadja Nishâda. On account of its identity with Gandhara, Chyutha Madhyama is also called by me Chyutha Madhyama Gândhara. On account of its identity with Madhyama, Chyutha Panchama is also called by me Chyutha Panchama Madhyama. Inasmuch as Rishabha is, in practice, known to identify itself with Sudha Gandhâra; the latter (Sudha Gândhara) is called by me Panchasruti Rishabha. When, how- ever, Rishabha identifies itself with Sâdhârana Gândhâra; that Sâdhârana Gândhâra is, in practice, also called Shatsruti Rishabha. Likewise, when Dhaivatha identifies itself with Sudha Nishâda, that Sudha Nishada is called Panchasruti Dhaivatha; but when it identifies itself with Kaisiki Nishâda, that Kaisiki Nishâda is called Shatsruti Dhaivatha. Recapitulation 57-65. For the better understanding of the chapters on Râga and Mela, that are going to be related, the above-mentioned Svaras are herein duly recapitulated. The seven Sudha Svaras are to be known, in order, thus :- Sudha Shadja, Sudha Rishabha, Sudha Gandhara, Sudha Madhyama, Sudha Panchama, Sudha Dhaivatha, and Sudha Nishada. The seven Vikritha Svaras are declared to be :- Chyutha Shadja Nishada, Chyutha Madhyama Gandhara, Chyutha Panchama Madhyama, Sadharana Gândhâra, Anthara Gandhara, Kaisiki Nishada and Kakali Nishada. Sudha Gandhara is known as Panchasruti Rishabha, while Sâdhârana Gandhara is known as Shatsruti Rishabha. In some places, another view obtains in regard to the association of Râgas accord- ing to the Gâna Music. Sudha Nishâda is known as Panchasruti Dhaivatha, while Kaisiki Nishâda is known as Shatsruti Dhaivatha. These fourteen Svaras occur in every Râga; while, now and then, the seven Svaras have, in some places, more than three registers.

EAP VINA TIRUPATI. 51

CHAPTER III 11197

VINA I-2. The Svaras having been explained, an account of how the Melas and Ragas are formed, is given. Since that account can be clearly expounded only with the help of the Vina, I shall now describe the Vina in conformity with the theory and practice of music. Its Construction and Importance 2-4. Danda (or the Cross-Bar of the Vina) is Sambu; Thanthri (or the Wire) is Uma; Kakubha (or the Piece of Wood at its end) is Kamalâpati; Pathrika (or the Metallic piece for the wires to run over) is Lakshmi; Thumba (or the Gourd attached to the Cross-Bar) is Brahma; and Nâbhi (or the Round piece of metal which connects the gourd with the cross-bar) is Saraswathi. Dôraka (or the strings used for fastening the wires) is Vâsuki; Jiva (or Bits of cotton or woollen or even silken threads used for refining the sound) is the Moon; and Sârikas (or the Metallic frets placed over the cross-bar) form the Sun. Hence, Vina is the embodiment of all the gods and is therefore very auspicious. 4-6. It is capable of purifying the wicked persons that com- mitted the sin of murdering the Brahmins and is also capable of giving, at mere touch or sight, Svarga and Apavarga (that is, temporary enjoyment and eternal bliss). Since, thus, the expert musicians and Munis, like Bharata and others, praised the Vina, I am also of opinion that the Vina is really praiseworthy. 4 6-II. This (Vina) is verily a means of procuring (the four Objects of Life, namely), Dharma, Artha, Kâma and Môksha. It procures Dharma (or Righteousness), inasmuch as it is laid down in the Vedas that, in connection with the Horse-Sacrifice, ' two Brahmins should play on the Vina (in concert with a third Brah- min singing)'. It procures Artha (or Wealth), inasmuch as the Vainikas obtain their expected money from the kings who are enamoured of the Vina. The Vêdas declare that ' women love the musicians'; and hence the Vina procures Kâma. Yagnavalkya praised the Vina thus: 'Whoever knows the secrets of Vina- play, whoever is an adept in the matter of Srutis- and Jathis, and whoever is well-versed in Thala easify does he get into the way of Môksha.'

52 SVARAMÊLAKALÂNIDHI

The Name of the Vina and its Kinds 11-17. That Vina is called RUDRA VINA; for Rudra (Siva) is fond of it. It is, in practice, found to be of three kinds, namely, (1) Sudha Mêla Vina, (2) Madhya Mêla Vina and (3) Achyutharajendra Mela Vina. Each of these three kinds falls into two varieties, namely, (i) Sarvarâga Mêla Vina and (ii) Êka- raga Mela Vina. That Vina is called Sarvaraga Mêla Vina, the frets of which are fixed and, yet, made to produce all the Râgas in all the registers. While, it is called Êkarâga Mêla Vina, the frets of which are moved or changed, every time a Raga is chang- ed. A third variety in Madhya Mela Vina is suggested thus :- ' Leave the first three wires of the Madhya Mela Vina and take up the fourth wire of Shadja; and, on this fourth wire, make use of all the frets in all the three registers.' Since this (suggested) variety is already comprised or implied in Madhya Mêla Vina, no separate mention of it has been made. The Characteristics of the various kinds of Rudra Vina (a) Sudha Mêla Vina 18-20. The characteristics of these three kinds of the Vina, namely, Sudha Mela, Madhya Mela, and Achyutharajendra Mêla, are (now) described from the standpoint of practice. First, the characteristics of Sudha Mela Vina are dealt with. Let four metallic wires be fastened on the upper part of the Vina, construc- ted by a clever mechanic who knows his business well. Below, but near (the four wires) and on the right-hand side, let three wires be fastened. 21-23. The arrangement of the Svaras (speaking) on these seven wires is (now) told. Of the four upper wires, the first-on the left-hand side-may be named Anumandra Shadja ; the second, Anumandra Panchama; the third, Mandra Shadja; and the fourth, Mandra Madhyama. 24-26. The arrangement of the Svaras (speaking) on the three lower wires is (then) told. The first (of the three lower wires) is of the same Sruti as Madhya Shadja (that is, produces Madhya Shadja); the second, Mandra Panchama; and the third, Mandra Shadja. These three side-wires are called ' Srutis.' 26-31. Then, the arrangement of the Frets is described in conformity with the views of the Vainikas. On the first Anumandra Sa-wire, should be placed frets Nos. I, 2, 3, 4, 5, 6,

VINA 53 so that they may produce respectively the following Svaras :- Sudha Ri, Sudha Ga, Sadhârana Ga, Chyuthamadhyama Ga, Sudha Ma, and Chyuthapanchama Ma. 31-34. We shall consider what Svaras these six frets . produce on the other three (upper) wires. On the second wire, called Anumandra Panchama, the same six frets produce respec- tively the following Svaras :- Sudha Dha, Sudha Ni, Kaisiki Ni, Chyuthashadja Ni, Sudha Sa, and Sudha Ri. 35-36. The two Svaras, namely, Sudha Sa and Sudha Ri produced on the second wire, occur again on the third wire, in Mandra, and are therefore of no use on the second wire. The Anumandra Svaras have been described; now, I shall deal with the Mandra Svaras. 37-39. The Svaras, which the same six frets produce on the third Mandra Sa-wire, are, as in the case of Anumandra Sa wire, as follows :- Sudha Ri, Sudha Ga, Sâdhârana Ga, Chyu- thamadhyama Ga, Sudha Ma, and Chyuthapanchama Ma. 39-40. Since Sudha Ma and Chyuthapanchama Ma occur, again, on the fourth wire, they are of no use on the third wire. 41-43. The Svaras, which the same six frets produce on the fourth Mandra Ma-wire, are :- Chyuthapanchama Ma, Sudha Pa, Sudha Dha, Sudha Ni, Kaisiki Ni, and Chyuthashadja Ni. These are considered to be Mandra-Svaras. 43-44. In this manner, all the Anumandra-and-Mandra- Svaras are duly produced by the said six frets on the said four wires.

Svayambhus 44-62. The following Svaras are Svayambhus, that is, those of natural creation and not of man's making. The method of determining their values is now explained. It is agreed on all hands that the two Svaras between which there is an interval of twelve or eight Sruthis are Samvadis to each other. This point has been well explained in Ratnakara. Another method of determining the values of Svayambhus is as follows :- The Mandra Sudha Pa, produced on the fourth wire by the second fret, is called Svayambhu. Hence all the Svaras produced (on all the four wires) by the second fret are Svayambhus and cannot be otherwise. Inasmuch as the Anumandra Sudha Ni, produced on the second wire by the second fret, is of the same value as the Mandra Sudha

54 SVARAMÊLAKALÂNIDHI

Ni, produced on the fourth wire by the fourth fret; all the Svaras, produced (on all the four wires) by the fourth fret are determined to be Svayambhus; and they cannot be otherwise. Inasmuch, again, as the Anumandra Chyuthashadja Ni, produced on the second wire by the fourth fret, is of the same value as the Mandra Chyuthashadja Ni, produced on the fourth wire by the sixth fret ; all the Svaras produced (on all the four wires) by the sixth fret are determined to be Svayambhus; and they cannot truly be other- wise. The Sa-Ma Svaras, produced (on the first three wires) by the fifth fret, are all Svayambhus. Inasmuch, again, as the Mandra Kaisiki Ni, produced on the fourth wire by the fifth fret, is of the same value as the Anumandra Kaisiki Ni, produced on the second wire by the third fret; all the Svaras, produced (on all the wires) by the third fret are Svayambhus. Inasmuch, further again, as the Mandra Sudha Dha, produced on the fourth wire by the third fret, is of the same value as the Anumandra Sudha Dha, produced on the second wire by the first fret; all the Svaras have been shewn to be of definitely determined values. In this manner Ramamâtya determined the values of all the Svaras produced on all the four wires by all the six frets. 62-64. In the same manner, suitable frets were fixed by learned men in the other registers also, such as, Madhyathâra and Anuthâra. The Svaras, produced on the frets of the Madhya Register and above are agreeable and therefore accepted in practice, only if they are produced on the fourth wire but not on the other three wires. 64-72. While all the hitherto-discussed Svaras have been fourteen in number, the theory of twelve Svaras will now be explained, without any confusion. First, the question as to why a couple of frets was not fixed to produce Kâkali Ni and Anthara Ga may be taken up. If two frets were fixed to produce Kâkali Ni and Anthara Ga, the resulting sound is a disagreeable beat; and hence the absence of the two frets to produce those two

learned musicians are of opinion that Kâkali Ni can be produced, Svaras. How then can they be otherwise produced ? The

in a way, even by the Chyutha Madhyama Ga-fret. In fact, all the Ragas, in which Kakali Ni and Anthara Ga play any part, may likewise be sung. Some practical musicians consider Chyutha- madhyama Ga and Chyuthashadja Ni as the representatives respectively of Anthara Ga and Kâkali Ni, on account of the very

MÊLA 55

small difference in sound between them. Thus has Sharngadev expressed himself agreeably that Kakali Ni and Anthara Ga are of occasional use. This is the view of the practical musicians regarding the characteristics of Sudha Mela Vina.

(b) Madhyamêla Vina 73-76. The characteristics of Madhyamela Vina are herein clearly given. If the first wire of the Sudha Mela Vina produces Anumandra Pa; the second wire, Mandra Sa; the third wire, Mandra Pa; and the fourth wire, Madhya Sa; then, Madhya- Mela-Vina is the result. As for the three side-wires, their arrangement should be such as to produce the same sound as the upper-wires. (c) Achyutharâja Mêla Vina 77-78. Then, the Achyutha Bhûpâla Mêla Vina is describ- ed. If the fourth upper wire of the Sudha Mêla Vina produces Mandra Pa and the other three upper wires produce the same Svaras, as in the case of Sudha Mela Vina; then, Achyuthamahâ- râja Mêla Vina is declared by me to be the result. As for the side-wires, an additional Madhya Pa-wire should be tacked on.

CHAPTER IV

MÊLA I-2. Having thus explained the characteristics of the three kinds of the Vina, I shall duly proceed to speak about the Mêlas, which cause their respective Râgas to be formed and which are distinguished by Râga-names, coined after the fashion of the languages prevailing in various provinces.

The Name of the first Mêla 3. I shall first specify the names of the Mêlas and then explain their characteristics. Of all the Mêlas, MUKHÂRI is the first. The Names of other Mêlas 4-9. Other Mêlas are as follows :- Mâlavagowla, Srirâga, Sâranganâta, Hindôla, Sudharâmakriya, Desâkshi, Kannadagowla, Sudhanâti, Âhari, Nâdarâmakriya, Sudhavarâli, Rithigowla, Vasanthabhairavi, Kedaragowla, Hêjujji, Sâmavarâli, Rêvagupthi, Samantha, and Kambhoji. Thus, there are twenty Mêlas.

56 SVARAMÊLAKALÂNIDHI

The Characteristics of the twenty Mêlas 9-10. And their characteristics are explained thus :-

(I) Mukhâri The Mela of ' Mukhari' consists of seven Sudha svaras. According to the learned Shârngadev, Mukhâri and a few Grâma- Râgas are deemed to be Sudha. (2) Mâlavagowla II-I2. Râmâmatya characterises, with the approval of those that are well-versed in Râga (-Lakshana), the Mêla of ' Malavagowla' as consisting of these seven svaras, namely, Sudha Sa, Sudha Ri, Sudha Ma, Sudha Pa, Sudha Dha, Chyuthamadhyama Ga, and Chyuthashadja Ni. 13-15. Then do I enumerate some of the Râgas derived from this Mela (of Malavagowla); and they are :- Malavagowla, Lalitha, Bowli, Sourashtra, Gurjari, Mechabowli, Palamanjari, Gundakri, Sinduramakri, Châyâgowla, Kuranji, Kannadabangâla, Mangalakaisika, and Malhari.

(3) Srirâga 16-17. The Mela of ' Sriraga ' consists of these seven svaras, namely, Sudha Sa, Panchasruti Ri, Sâdhârana Ga, Sudha Ma, Sudha Pa, Panchasruti Dha, and Kaisiki ' Ni'. 18-20. Then do I enumerate some of the Râgas derived from this Mela (of Sriraga); and they are :- Srirâga, Bhairavi, Gowli, Danyâsi, Sudhabhairavi, Vêlâvali, Mâlavasri, Sankarâ- bharana, Ândôli, Devagândhâri, and Madhyamadi. These and a few others also are derived from this Mela.

(4) Sâranganâta 20-22. Râmâmâtya characterises the Mêla of ' Sâranga- nata' as consisting of these seven svaras, namely, Sudha Sa, Panchasruti Ri, Chyuthamadhyama Ga, Sudha Ma, Sudha Pa, Panchasruti Dha, and Chyuthashadja Ni. 22-24. Then do I enumerate some of the Râgas derived from this Mela (of Saranganata); and they are :- Saranganata, Sâvêri, Sârangabhairavi, Natanârâyani, Sudhavasantha, Poorva- gowla, Kunthalavarâli, Bhinnashadja, and Nârâyani. a few others also are derived from this Mêla. These and

MÊLA 57 (5) Hindôla 25. The characteristics of Srirâga are equally applicable to this Mela of ' Hindola'; and the only exception is (that instead of Panchasruti Dha of the former) Sudha Dha is used (in the latter). 26-27. I now enumerate some of the Râgas derived from .

this Mela (of Hindola); and they are :- Hindola, Margahindola, and Bhûpâla and also a few others.

(6) Sudharâmakriya 27-28. The Mêla of ' Sudharâmakriya' consists of these seven svaras, namely, Sudha Sa, Sudha Ri, Chyuthamadhyama Ga, Chyuthapanchama Ma, Sudha Pa, Sudha Dha and Chyutha- shadja Ni. 29-30. Then do I enumerate some of the Râgas derived from this Mela (of Sudharamakriya) ; and they are :- Sudharâma- kriya, Pâdi, Ârdradêsi, and Dipaka, and also a few others.

(7) Dêsâkshi 30-32. The learned Râmâmâtya characterises the Mêla of ' Dêsâkshi' as consisting of these seven svaras, namely, Sudha Sa, Shadsruthi Ri, Chyuthamadhyama Ga, Sudha Ma, Sudha Pa, Panchasruti Dha, and Chyuthashadja Ni. Dêsâkshi and other Râgas are, here and there, the derivatives of this Mêla (of Dêsâkshi). (8) Kannadagowla 33-34. As between the characteristics of Dêsâkshi and Kannadagowla, there is one point of difference, namely, the latter (Kannadagowla) has Kaisiki Ni, as practised by the experts (instead of Chyuthashadja Ni of Dêsâkshi). 34-36. I now enumerate some of the Râgas, derived from this Mela (of Kannadagowla) ; and they are :- Kannadagowla, Ghantârava, Sudhabangâla, Châyânâta, Thurushkathôdi, Nâga- dhvani, and Dêvakriya and a few others.

(9) Sudhanâti 37-38. The Mela of ' Sudhanati' consists of these svaras, namely, Sudha Sa, Shadsruti Ri, Chyuthamadhyama Ga, Sudha Ma, Sudha Pa, Shadsruti Dha, and Chyuthashadja Ni. Sudhanâti and other Râgas are the derivatives of this Mêla (of Sudhanâti). 17

58 SVARAMÊLAKALÂNIDHI (10) Ahari 39-40. The Mela of 'Ahari' consists of these svaras, namely, Sudha Sa, Panchasruti Ri, Sadharana Ga, Sudha Ma, Sudha Pa, Sudha Dha, and Chyuthashadja Ni. Ahari and other Râgas are the derivatives of this Mela (of Ahari).

(11) Nâdarâmakriya The Mela of 'Nadaramakriya' consists of these svaras, namely, Sudha Sa, Sudha Ri, Sadharana Ga, Sudha Ma, 4I-42.

Sudha Pa, Sudha Dha, and Chyuthashadja Ni. Nâdarâmakriya and other Ragas are the derivatives, here and there, of this Mêla (of Nâdarâmakriya). (12) Sudhavarâli 43-45- The Mêla of ' Sudhavarâli' consists of these svaras, namely, Sudha Sa, Sudha Ri, Sudha Ga, Chyuthapanchama Ma, Sudha Pa, Sudha Dha, and Chyuthashadja Ni. Sudhavarâli and other Râgas are, in different provinces, the derivatives of this Mêla (of Sudhavarâli).

(13) Rithigowla 45-47. The Mela of ' Rithigowla' consists of these svaras, namely, Sudha Sa, Sudha Ri, Sudha Ga, Sudha Ma, Sudha Pa, Panchasruti Dha, and Kaisiki Ni.Rithigowla and other Râgas are, according to the views of the musicians, the deriva- tives of this Mêla (of Rithigowla).

(14) Vasanthabhairavi 47-49. The Mêla of ' Vasanthabhairavi' consists of these svaras, namely, Sudha Sa, Sudha Ri, Chyuthamadhyama Ga, Sudha Ma, Sudha Pa, Sudha Dha, and Kaisiki Ni. A few Râgas, such as Vasanthabhairavi and Sôma, are deemed to be the derivatives of this Mela (of Vasanthabhairavi).

(15) Kêdâragowla 49-51. The Mêla of ' Kêdâragowla' consists of these svaras, namely, Sudha Sa, Panchasruti Ri, Chyuthamadhyama Ga, Sudha Ma, Sudha Pa, Panchasruti Dha, and Chyuthashadja Ni. Kêdâragowla, Nârâyanagowla and a few other Râgas are the derivatives of this Mêla (of Kêdâragowla).

MÊLA 59

Nota Bene 52. Having discussed the (above-mentioned) fifteen Mêlas, wherefrom Anthara Ga and Kakali Ni were excluded; we shall (now proceed to) deal with the (following) five Mêlas wherein . Anthara Ga and Kakali Ni will be included.

(16) Hejujji-I 53-55. The Mêla of ' Hêjujji' consists of these svaras, namely, Sudha Sa, Sudha Ri, Anthara Ga, Sudha Ma, Sudha Pa, Sudha Dha, and Kâkali Ni. Hijujji (Hêjujji) and other Râgas and a few Grâma-Râgas too are the derivatives of this Mela (of Hejujji). This Mela of the Gandharva (or Mârga) type, which comes under the category of the five (special) Mêlas, has been approved of by Sharngadev. (17) Sâmavarâli-2 55-57. The Mêla of ' Samavarali' consists of these svaras, namely, Sudha Sa, Sudha Ri, Sudha Ga, Sudha Ma, Sudha Pa, Sudha Dha, and Kakali Ni. Samavarali, Thondi, Purvavarali, and a few Grama-Ragas are, according to Shârngadêv, who was well-versed in the Mârga-music, the derivatives of this Mêla (of Sâmavarâli). (18) Rêvagupthi-3 58-59. The Mêla of ' Rêvagupthi' consists of these seven svaras, namely, Sudha Sa, Sudha Ri, Anthara Ga, Sudha Ma, Sudha Pa, Sudha Dha, and Sudha Ni. Rêvagupthi and a few Sudha Râgas are mentioned by Shârngadev, in his Ratnakara, as derivatives of this Mêla (of Rêvagupthi).

(19) Sâmantha-4 60-61. The Mêla of ' Samantha' consists of these svaras, namely, Sudha Sa, Shadsruti Ri, Anthara Ga, Sudha Ma, Sudha Pa, Shadsruti Dha, and Kakali Ni. Samantha and other Râgas are the derivatives of this Mela (of Samantha). (20) Kâmbhôji-5 61-62. The Mêla of ' Kambhôji' consists of these svaras, namely, Sudha Sa, Panchasruti Ri, Anthara Ga, Sudha Ma, Sudha Pa, Panchasruti Dha, and Kâkali Ni. Kâmbhôji and other Râgas are the derivatives of this Mêla (of Kâmbhôji).

60 SVARAMÊLAKALÂNIDHI

A Controversy 63-70. The characteristics of these twenty Melas have been, in the main, described. (As for the controversy that has arisen, namely, whether there are twenty or fifteen Melas)-I now proceed to state both the sides of the question, with the helpoof a Vina. If, on the one hand, Anthara Ga and Kâkali Ni are taken into account; there surely arise twenty Mêlas. But if, on the other hand, Chyuthamadhyama Ga and Chyuthashadja Ni are deemed to represent Anthara Ga and Kâkali Ni respectively; there arise only fifteen Melas. In the latter case, the remaining five Melas must be deemed to be implied in the fifteen. For, Hêjujji is implied in Vasanthabhairavi; Sâmavarâli, in Sudha- varâli; Rêvagupthi, in Bowli; Sâmantha, in Kannadagowla; and Kâmbhôji, in Sâranganâta. If the (above-mentioned) theory of representation is accepted, there are only fifteen Mêlas from Mukhâri to Kêdâragowla, both inclusive.

CHAPTER V

RÂGA

I. All the Râgas, derived from these Mêlas, fall into three divisions, namely, Superior, Middling, and Inferior. They will now be dealt with, in detail.

(i) Superior 2-6. The following twenty Râgas are declared to be ' Superior', on account of their being free from any kind of mixture and also of their being suitable for use in singing, composition, elaboration, and for Tâya; and those Râgas are :-

1. Mukhâri. 11. Srirâga. 2. Sudhanâti. 12. Kannadagowla. 3. Mâlavagowla. 13. Sâmantha. 4. Sudhavarali. 14. Dêsâkshi. 5. Gurjari. 15. Dhanyasi. 6. Lalitha. 16. Bowli. 7. Sudharâmakriya. 17. Âhari. 8. Sudhavasantha. 18. Malhari. 9. Bhairavi. 19. 10. Hindôla. Malavasri. and 20. Saranganata.

RÂGA 61

(ii) Middling 6-9. The following fifteen Râgas are called ' Middling'; and they are of little use or, if at all, used to sing fragmentary portions of songs. Those Râgas are ;- . 1. Kedâragowla. 9. Pâdi. 2. Kâmbhôji. 10. Bhupâla. 3. Kannadabangâla. 11. Rêvagupthi. 4. Vêlâvali. 12. Gundakriya. 5. Madhyamâdi. 13. Hêjujji. 6. Nârâyani. 14. 7. Rithigowla. Vasanthabhairavi. and 15. Sâmavarâli. 8. Nâdarâmakriya.

(iii) Inferior 9-14. The following Râgas are called ' Inferior' :- 1. Sourashtra. 18. Bhinnashadja. 2. Mechabowli. 19. Kunthalavarâli. 3. Châyâgowla. 20. Sârangabhairavi. 4. Kuranji. 21. Sudhabangala. 5. Sindurâmakriya. 22. Nâgadhvani. 6. Gowdi. 23. Ghantarava. 7. Dêsi. 24. Mârgahindôla. 8. Mangalakaisika. 25. Châyanata. 9. Purvagowla. 26. Dêvakriya. 10. Sômaraga. 27. Nârayani. 11. Andoli. 28. Gowlarâga. 12. Palamanjari. 29. Thôdi. 13 Sankarâbharana. 30. Varâli. 14. Dêvagândhari. 31. Thurushkathôdi. 15. Dîpaka. 32. Sâvêri. 16. Natanârâyani. and 33. Ârdradêsi. 17. Sudhabhairavi. 15-16. These mixed Râgas which intervene between the superior and the middling ones-that is to say, these inferior Râgas-are plentiful but calculated only to dazzle (and not illumine) the masses. They are further unsuitable for composi- tions like Tâya, Alâpa, and Prabandha. Hence it is that the musicians do not countenance them.

The Characteristics of the Râgas 17. All the Desi Ragas are those of Shadjagrama and have each its Graha, Amsa, Nyasa, Mandra, and so forth. Further, they fall into three divisions-Oudava, Shâdava, and Sampurna.

62 SVARAMÊLAKALÂNIDHI

18-20. Whether these Dêsi Râgas are used, as such, in all the (three kinds of) ragas or not, I shall now in conformity with the theory and practice of music, state a few of the characteristics of the twenty superior Râgas which are free from any mixture, of the fifteen middling ones, as well as of the inferior ones.

(1) Superior-Sampurna-I0 20-21. That Râga is called Nâti, which is Sampurna, which has Sa for its Graha, Amsa, and Nyasa, and which is sung in the latter part of the day. 21-22. That Râga is called Varali, which is Sampurna, which has Sa for its Graha, Amsa, and Nyasa, and which may be sung at all times. 22-23. That Raga, the wise men call Saranganata, which is Sampurna, which has Sa for its Graha, Amsa and Nyâsa and which is declared, by the wise men, to be sung in the latter part of the day. 23-24. That Raga is called Sudharamakriya, which is Sam- purna, which has Sa for its Graha, Amsa, and Nyasa, and which is sung after the noon. 24-25. That Raga is called Mukhari which is Sampurna, which has Sa for its Graha, Amsa, and Nyâsa, and which may be sung at all times. 25-26. That Raga is called Bhairavi, which is Sampurna, which has Sa for its Graha, Amsa, and Nyâsa, and which is sung in the latter part of the day. 26-27. That Raga is called Ahari, which is Sampurna, which has Sa for its Graha, Amsa and Nyasa, and which, according to the wise men, should be sung in the last watch of the day. 27-28. That Râga is called Sâmantha, which is Sampurna, which has Sa for its Graha, Amsa, and Nyasa, and which is sung in the last watch of the day-time. 28-29. That Râga is called Kannadagowia, which is Sam- purna, though, in ascent, it sometimes leaves Dha; which has Ni for its Graha, Amsa and Nyasa; which is specially liked by the people of Orissa; and which is sung in the latter part of the day. 30. That Raga is called Desakshi, which is Sampurna, though, in ascent, it leaves Ma and Ni; which has Sa for its Graha, Amsa, and Nyâsa; and which is sung in the former part of the day.

RAGA 63

(2) Superior-Shâdava-5 31. That Râga is called Bowli, which is Shâdava, for it leaves Pa; which has Ma for its Graha, Amsa, and Nyâsa; and which should be sung in the first half of the day. 32-33. That Râga is called Sudhavasantha, which is Shâdava, for it leaves Pa, though, in descent, Pa is included; which has Sa for its Graha and Amsa; and which is sung in the fourth part of the day. 33-34. That Raga is called Malavasri, which leaves Ri (and is therefore Shadava); which has Sa for its Graha and Amsa; which may be sung at all times; and which is auspicious. 34-35. That Râga is called Gurjari, which is Shâdava, for it leaves Pa, which is sometimes retained in descent; which has Ri for its Graha, Amsa, and Nyâsa; and which is sung by the musicians in the first watch of the day. 36. That Râga is called Lalitha, which is Shâdava, for it leaves Pa; which has Sa for its Graha, Amsa, and Nyâsa; which is sung in the first watch of the day; and which is auspicious.

(3) Superior-Oudava-5 37. That Râga is called Hindôla, which is Oudava, for it leaves Ri and Dha; which has Sa for its Graha, Amsa, and Nyasa; which may be sung at all times; and which is auspicious. 38. That Raga is called Malhari, which is Oudava, for it leaves Ga and Ni; which has Dha for its Graha, Amsa, and Nyâsa; and which is sung by the wise men at day-break. 39. That Raga is called Dhanyasi, which is Oudava, for it generally leaves Ri and Dha; which has Sa for its Graha, Amsa, and Nyasa; and which is sung by the wise men in the morning. 40-41. That Râga is called Mâlavagowla, which is Oudava, for it leaves Ri and Pa, though, at times they are retained; which has Ni for its Graha, Amsa, and Nyâsa; which is sung in the evening; and which is the best of all râgas. 41-42. That Râga is called Srirâga, which is Oudava, for it leaves Ga and Dha, though, at times, they are retained; which has Sa for its Graha, Amsa, and Nyâsa; which is sung in the evening; and which is the giver of all prosperity.

64 SVARAMÊLAKALÂNIDHI (i) Middling-Sampurna-8 43. That Raga is called Kedaragowla, which is Sampurna; which has Ni for its Graha, Amsa, and Nyasa; and which is sung by the wise men, in the fourth watch of the day-time. 44. That Raga is called Nadaramakriya, which is Sampurna; which has Sa for its Graha, Amsa, and Nyasa; and which is sung in the fourth watch of the day. 45. That Râga is called Kâmbhôji, which is Sampurna, though, in certain places, it leaves, in ascent, Ma and Ni; which has Sa for its Graha, Amsa, and Nyasa; and which is sung in the evening. 46. That Raga is called Samavarali, which is Sampurna; which has Sa for its Graha, Amsa, and Nyasa; which may be sung at all times ; and which originated with the Sama Veda. 47. That Raga is called Rithigowla, which is Sampurna; which has Ni for its Graha, Amsa, and Nyasa; which is sung in the evening; and which is allied with Mukhâri. 48. That Raga is called Hejujji, which is Sampurna; which has Ma for its Graha, Amsa, and Nyâsa; which is sung in the latter part of the day-time; and which sounds nicely with Kakali Ni and Anthara Ga. 49. That Râga is called Nârâyani, which is Sampurna, though, at certain places, it leaves, in descent, Ri; which has Ga for its' Graha, Amsa, and Nyâsa; and which is sung in the morning. 50. That Raga is called Velâvali, which is Sampurna, though, at certain places, it leaves, in descent, Ri and Pa; which has Dha for its Graha, Amsa, and Nyâsa; and which is sung at day-break. (ii) Middling-Shâdava-4 51. That Raga is called Kannadabangala, which is Shâdava, for it leaves Ri; which has Ga for its Graha, Amsa, and Nyâsa; and which is sung in the morning. 52. That Râga is called Pâdi, which is Shâdava, for it leaves Ga; which has Sa for its Graha, Amsa, and Nyâsa; and which is sung at the fourth watch of the day. 53- That Raga is called Vasanthabhairavi, which is Shâdava, for it leaves Pa; which has Sa for its Graha, Amsa, and Nyâsa; and which is sung in the morning.

RÂGA , . 65 54. That Râga is called Gundakriya, which is Shâdava, for it . leaves Dha, though, at certain places, it is retained ; which has Sa for its Graha, Amsa, and Nyasa; and which is sung in the former part of the day. (iii) Middling-Oudava-3 55. That Raga is called Madhyamadi, which is Oudava, for it leaves Ri and Dha; which has Ma for its Graha, Amsa, . and Nyasa; and which is sung in the latter part of the day-time. 56. That Raga is called Bhupala, which is Oudava, for it leaves Ma and Ni; which has Sa for its Graha, Amsa, and Nyâsa; and which is sung in the morning. 57. That Râga is called Rêvagupthi, which is Oudava, for it leaves Ma and Ni; which has Ri for its Graha and Nyâsa; and which is sung in the latter part of the day-time.

(A) Inferior-Sampurna- -4 58. Now, the characteristics of a few inferior Râgas are described. That Râga is called Sourâshtra, which is Sampurna; which has Sa for its Graha, Amsa, and Nyasa; and which is sung by the singers in the evening. 59. That Raga is called Nagadhvani, which is Sampurna; which has Sa for its Graha, Amsa, and Nyasa; and which is sung by the singers at all times. 60. That Râga is called Sômaraga, which is Sampurna; which has Sa for its Graha, Amsa, and Nyasa; which is sung at all times; and which sounds nicely with Ma in Mandra. 61. That Râga is called Sankarabharana, which is Sampurna; which has Sa for its Graha, Amsa, and Nyasa; and which resembles, as it were, Sâmantha.

(B) Inferior-Shâdava-2 62. That Râga is called Ghantârava, which is Shâdava, for, it leaves Ga; which has Dha for its Graha, Amsa, and Nyasa; and which is sung at all times. 63. That Raga is called Bhinnashadja, which is Shâdava, for it leaves Ma; which has Sa for its Graha and Nyasa; and which is sung at all times. 18