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A Comparative Study of Some of the Leading Music Systems of the 15th, 16th, 17th & 18th Centuries c10: Anupa-Ankusha

A Comparative Study of Some of the Leading Music Systems of the 15th, 16th, 17th & 18th Centuries c10

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Anupa-Ankusha

c10.1

This is comparatively a small work. In the sruti-swara prakarana the author says:—

c10.2

सरिगमाः पधौ नीति सरिगमाः पधौ नि च ।
सरिगमाः पधौ नीति स्थानत्रयमिदं जगुः ॥
प्रथमं सप्तकं मंद्रं द्वितीयं मध्यमं स्मृतम् ।
तृतीयं तारसप्तकं स्यादेवं स्थानत्रयं मतम् ॥
मंद्राधर्धं तु मध्यं स्यान्मध्यार्धं तारसप्तकम् ।
उत्तरोत्तरसंकोचस्त्वकाशे भवतिस्फुटम् ॥

c10.3

सममात्रकल्पोऽत्र न साधु मन्यते बुधैः । तस्माद्वास्तुविभमाः कल्पिता भरतादिभिः ॥ वक्ष्यिगाः श्रुतयोऽप्यत्र स्युश्चानन्यममागमे । द्वाविंशतिप्रभेदेन संख्या द्वाविंशतिर्मता ॥

c10.4

The sruti is defined thus—

c10.5

स्वरूपमात्रश्रवणादनुगुणं विना । श्रुतिरित्युच्यते मदास्तस्या द्वाविंशतिर्मताः ॥

c10.6

The ancient writers are fond of defining the sruti as a sound devoid of "anuranan". When a shruti has the "anuranan" added to it, it becomes a swara. I do not think they had any clear notion of this fine distinction. This leads to the question what is "anuranan". Some of our modern scholars, read the modern "harmonics" into that ancient term. I do not think, of course their view is right. The ancients so far as could be judged from their writings had no knowledge of our modern harmonics, "Anuranan" according to them was nothing more than a prolonged or sustained note. Pandit Kallinatha I think, in one place calls it "pratidhwani". In the vadyadhyaya while describing the different "guna's or qualities of वश प्रकरण in the फूत्कार Sharangdeva says —

c10.7

स्निग्धता घनता रक्तिर्व्यक्तिः प्रचुरता ध्वनेः । लालित्य कोमलत्व च नादानुरणन तथा ॥ त्रिशानत्वं श्रावकत्व माधुर्यं सावधानता । द्वादशेति गुणाः प्रोक्ताः फूत्कारे सुविशारिणा ॥

c10.8

Kallinath explains the "anuranan" referred to here in his commentary on the Ratnakara, at page 251. A 'nada' accompanied by its "anuranan", he calls स्रुणनाद. And says —

c10.9

स्रुणस्तु तैलधारावत् अविच्छिन्नो धीरसमतः । रत्नाकरे ।

c10.10

This evidently is not what we understand by the modern Harmonics.

c10.11

In the Raga Adhyaya of the Sangeeta Anupankusha, Bhava Bhatta adopts the classification of the ragas given in the Sangeeta Darpana and without taking the least trouble to solve these ragas according to the definition given in that book, cites under each raga, the opinions of Sangeeta Parijata, Hridaya Prakasha and Raga Manjari. This is no doubt unpardonable and even misleading. But we do not know what the motive of the author really was in resorting to this procedure and so can give no further explanation. To illustrate —

c10.12

श्रीमज्जनार्दनं नत्वा संगीताथफलप्रदं । तन्मते भावभट्टेन रागालपनमंजरी ॥ भैरवः कौशिकश्चैव हिंदोलो दीपकस्तथा । श्रीरागो मेघ रागश्च पडेते पुरुषाः स्मृताः ॥ मध्यमादिभैरवौच बंगाली च वराटिका । सैधवी पंचमी प्रोक्ता भैरवस्य वरांगनाः ॥ टोडी खंबावती गौडी गुणक्री ककुभा तथा । मालकौशिकरागस्य योषितः पंच कीर्तिताः ॥

c10.13

इ. इ. इ. अथ भैरवः । पारिजाते—भैरवे तु रिपौ नस्तो धादिमे न्यासमध्ये । तथोक्तौ तु गनी तीव्रौ कोमलो धैवतः स्मृतः ॥ हृदयप्रकाशे—संपूर्णो भैरवः प्रोक्तो गांधारादिक मूर्च्छनः मंजर्याम्—रिहीनो भैरवः सत्रिः प्रातर्गेयो मुनीश्वरैः ॥

c10.14

अथ मध्यमादिः ।

c10.15

पारिजाते—मध्यमादौ धगौ नस्तो मूर्छना मध्यमादिका तत्र त्वंशस्वराः प्रोक्ता रिमनयो मुनीश्वरैः ॥ मत्रिः प्रातरसौ गेया रिधास्त मध्यमादिका ॥ हृदयप्रकाशे—मध्यमादिर्हीनत्वात् पाडवा मध्यमादिका ॥

c10.16

This procedure is most ridiculous. It certainly is not such as would enhance the reputation of a scholar, who adds to his name the title of "Anushtupa-Chakravarti-Sangeeta-Rai".

c10.17

Many of these definitions will be contradictory and leave the reader at sea.

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