[Pramāṇa](https://indike.org/pramana/) › [Studies](https://indike.org/pramana/ins) › [Architecture and art](https://indike.org/pramana/ins.art) › [A Comparative Study of Some of the Leading Music Systems of the 15th, 16th, 17th & 18th Centuries](https://indike.org/pramana/ins.art.bhatkhande-comparative) › c4 # A Comparative Study of Some of the Leading Music Systems of the 15th, 16th, 17th & 18th Centuries c4: Hrdaya Koutuka and Hrdaya Prakasha A Comparative Study of Some of the Leading Music Systems of the 15th, 16th, 17th & 18th Centuries c4 - **Language:** English ## Contents - [c4.s1 Hrdaya—Prakasha](https://indike.org/pramana/ins.art.bhatkhande-comparative.c4.s1) — 60 parts ### Hrdaya Koutuka and Hrdaya Prakasha ### [c4.1](https://indike.org/pramana/ins.art.bhatkhande-comparative.c4.1) These are two small but interesting treatises. The name of the author is Hrdaya Naraindeva. He describes himself as follows :— ### [c4.2](https://indike.org/pramana/ins.art.bhatkhande-comparative.c4.2) " इति गडादेशनरेश श्री हृदयसाहि विरचितं हृदय कौतुकम् " ### [c4.3](https://indike.org/pramana/ins.art.bhatkhande-comparative.c4.3) No date is given in the book by the author, but we can fix an approximate date for the author with the help of some other works. In the Hrdaya Koutuka, the swara prakarana we find is borrowed bodily from the Raga Tarangini. That means that the work was written some time after the fifteenth century. Dr. Sukthankar, late of the Archaeological Survey, India, at my request tried to ascertain the date of Hrdaya Narain and found that the last named ruler, ruled in Gada desha about the Samvat year 1724, i.e. A.D. 1660. The great importance of Hrdayesha's works lies in the way he fixes the exact places of his shuddha and vikrita swaras. He describes these in terms of the lengths of the sounding string of his Vina The relative pitches of those notes therefore could be easily fixed with mathematical accuracy. Ahobala Pandita the author of the Sangeeta Parijata has also done it, but we are not sure whether he copied from Hrdaya's book or vice versa. ### [c4.4](https://indike.org/pramana/ins.art.bhatkhande-comparative.c4.4) We shall now proceed to the swara prakarana of Hrdaya Koutuka thus. ### [c4.5](https://indike.org/pramana/ins.art.bhatkhande-comparative.c4.5) सस्वशेषश्रुति त्यक्त्वा यदा ऋयमथैवतो । गीयते गुणभिः सर्वैस्तदा तो कोमलो मतौ ॥ गृहणाति प्रथमस्यापि गांधारः प्रथमां श्रुतिम् । यदा तदा जर्नरेष तीव्र इत्यभिधायते ॥ द्वितीयामपि चैदेव तदा तीव्रतरः स्मृतः । तृतीयामपि चैदेव तदा तीव्रतमः स्मृतः ॥ चतुर्थ्योमपि चैदेवमतितीव्रतमः स्मृतः । अतितीव्रतमो गंधु सांगे परिगीयते ॥ षड्जस्य च निषादश्च गृहणाति प्रथमां श्रुतिम् । तदा संगीतिभिः सांजपे तीव्र इत्यभिधायते ॥ द्वितीयामपि चैदेव तदा तीव्रतरः स्मृतः । तृतीयामपि चैदेव तदा तीव्रतमः स्मृतः ॥ षड्जस्य द्वे श्रुती गृहणन् निषादः काकली स्मृतः । तीव्रतरं निषादं गेया सा च विचक्षणैः ॥ ### [c4.6](https://indike.org/pramana/ins.art.bhatkhande-comparative.c4.6) these slokas have been taken by the author from the Raga Tarangini of Lochana and as they have already been translated, it is not necessary to further discuss them here Hrdayesha invents a new raga and calls it Hrdaya-rama He uses two new swaras in it, namely, tri sruti 'ma' and tri-sruti 'ni' and lays down a new Thata for the raga containing these new notes He says -- ### [c4.7](https://indike.org/pramana/ins.art.bhatkhande-comparative.c4.7) रागिणां हृदयेशेन या हृदयमेरिता । उता तदनुगेधेन रयितस्ताम् त्रयोदशी ॥ ### [c4.8](https://indike.org/pramana/ins.art.bhatkhande-comparative.c4.8) Translation --Hrdaya having introduced an altogether new raga under the name of Hrdaya-rama has also added a new Thata to the ancient twelve ### [c4.9](https://indike.org/pramana/ins.art.bhatkhande-comparative.c4.9) The ancient twelve Thatas he takes from the Raga Tarangini. We have already gone through them and shall not repeat them About the Deepaka Thata, the author says ष्ठात्रवर्णे दीपकं मध्यमं स्म्यम्। This shows that Deepaka Raga was not sung also in his time .Th follows a fanciful division of Ragas into four classes एतासु सकला रागा जायन्ते वादनक्रमाः । ब्राह्मणाः क्षत्रिया वैश्याः शूद्रास्ते स्युःश्चतुर्विधाः ॥ संपूर्णा ब्राह्मणाः प्रोक्ताः क्षत्रियाः पाडवा मताः । औडुवाः कथिता वैश्याः शूद्रास्तदितरे क्वचित् ॥ ### [c4.10](https://indike.org/pramana/ins.art.bhatkhande-comparative.c4.10) The janya ragas are fully described in the Hrdaya koutuka. The sloka defining a raga, gives not only the 'varjyavarjya' swaras of it, but also gives its swara-swarupa. ### [c4.11](https://indike.org/pramana/ins.art.bhatkhande-comparative.c4.11) Thus. ### [c4.12](https://indike.org/pramana/ins.art.bhatkhande-comparative.c4.12) गमौ पनी धनी सोरिः सनिसा रिगमाः पधौ । मपौ सरी सनिधपा मपौ गम-गमा रिसौ । हंमीररागाजन्यः संपूर्णः कथितो बुधैः ॥ गमौधसौ सधपगा रिगौ रिसधपा धसौ । रिगौ रिगरिसाश्चैव भूपाली कथितौडुवी ॥ गमौ पनी सनिधपा मगौ रिसगाध मः । खंभावती च संपूर्णा कथ्यते गायकोत्तमैः ॥ सरी गमौ पधनिसा रिसौ धपगमा रिसौ । पधौ निसौ च संपूर्णा प्रोक्ता वेलावली बुधैः ॥ ### [c4.13](https://indike.org/pramana/ins.art.bhatkhande-comparative.c4.13) This is really a very useful method of describing a raga. I have made use of it in one of my publications on the Hnidusthani ragas. ### Hrdaya—Prakasha ### [c4.s1.1](https://indike.org/pramana/ins.art.bhatkhande-comparative.c4.s1.1) This is another work by the same author. It is much more interesting than the Koutuka. In this book the author describes the position of the shuddha and vikrita swaras in terms of the lengths of the sounding strings of the Vina. The classification of the ragas also is instructive and more scientific. Ahobala in his Sangeet Parijata also, describes his swaras in terms of the lengths of the sounding string as we shall see hereafter. But we do not know whether he got that idea from Hrdaya's book. Some scholars on the contrary suspect that Hrdaya took the idea from Ahobala. There is no reliable evidence on the point but there are two facts which may lend some colour to the last mentioned suspicion. Hrdaya in his Koutuka omits to fix the positions of his shuddha and vikrita swaras in terms of the lengths of the strings. And secondly, Sangeeta Parijata is a much more elaborate work than the Hrdaya Prakasha. All will depend therefore upon the question whether or not the Parijat was written before the Prakasha. ### [c4.s1.2](https://indike.org/pramana/ins.art.bhatkhande-comparative.c4.s1.2) We shall now consider some of the leading features of the Prakasha. The author begins by saying:— ### [c4.s1.3](https://indike.org/pramana/ins.art.bhatkhande-comparative.c4.s1.3) सङ्गीतशास्त्रमवेस्तमसाधारणगोचरम् । वीणादौ रागमेलादिर्हृदयेन कथ्यते ॥ आकरे बह्वोमेला द्वादशोपयोगिनः । मेलः स्वरसमूहः स्याद्रागव्यञ्जशक्तिमान् ॥ ### [c4.s1.4](https://indike.org/pramana/ins.art.bhatkhande-comparative.c4.s1.4) Translation — The secrets of the science of music being intelligible only to the specially gifted, Hrdaya proposes to explain them with the help of the Vina. There are innumerable melas or Thatas, described in the Ocean of Music but only twelve of these are useful here. A Thata is a collection of notes capable of producing ragas. ### [c4.s1.5](https://indike.org/pramana/ins.art.bhatkhande-comparative.c4.s1.5) Observation — Ahobala Pandita has mentioned thousands of Thatas in his Sangeeta Parijata. We wonder whether the word "akara" is cunningly used to hint at those. ### [c4.s1.6](https://indike.org/pramana/ins.art.bhatkhande-comparative.c4.s1.6) स्वर प्रकरणम् ॥ स्वराश्च षड्जरूपमौ गंधारो मध्यमस्तथा । पञ्चमो धैवतश्चैव निषाद इति मस्यते ॥ द्विश्रुतिर्निषादश्च प्रत्येकं त्रिश्रुता रिधौ । चतुःश्रुतिमायुक्ताः पूर्ववत्समपाः स्मृताः । स्वलश्रुतिस्थिता शुद्धाः स्युरन्ये विकृताः स्वराः ॥ ### [c4.s1.7](https://indike.org/pramana/ins.art.bhatkhande-comparative.c4.s1.7) All thus represents the universally accepted view, and we need hardly discuss it. ### [c4.s1.8](https://indike.org/pramana/ins.art.bhatkhande-comparative.c4.s1.8) श्रुतिमाधादि तुर्यान्ताः स्वरा ये चोर्ध्ववर्तिनः । तीव्रस्तीव्रतरस्तीव्रतमा भवति हि क्रमात् ॥ स्वोपान्त्यश्रुतिवर्ती तु कोमलः परिकीर्तितः । ### [c4.s1.9](https://indike.org/pramana/ins.art.bhatkhande-comparative.c4.s1.9) Translation — The vikrita swaras are produced when the shuddha swaras rise through one, two, three or four srutis. When the shuddha note rises one sruti, it becomes, tivra, when it rises two srutis it becomes tivratara, when it rises three srutis it becomes tivratama, when it is lowered one sruti, it becomes Komal. ### [c4.s1.10](https://indike.org/pramana/ins.art.bhatkhande-comparative.c4.s1.10) Observation — The process is the same as described in the Koutuka. It is this process which distinguishes the northern music system from the southern. In the southern system the shuddha swara is the lowest position of the note and the vikritas are its higher positions. In the northern system, we have the vikritas on both sides of the shuddha note. In other words the shuddha note occupies the central position. ### [c4.s1.11](https://indike.org/pramana/ins.art.bhatkhande-comparative.c4.s1.11) निस्तारतरसज्ञस्तु काकलीति कथ्यते ॥ सपयोर्यदि गृह्णातिन्यसिनयः श्रुतिनैर्मा । मृदुमो मृदुपधोति तदाग्ये गपयोर्मते ॥ ### [c4.s1.12](https://indike.org/pramana/ins.art.bhatkhande-comparative.c4.s1.12) Translation.—The note tivratara nishada is also called Kakali; when the notes 'ni' and 'ma' take the three srutis of 'sa' and 'pa' respectively, they are called mridu 'sa' and mridu 'pa'. ### [c4.s1.13](https://indike.org/pramana/ins.art.bhatkhande-comparative.c4.s1.13) The स्वर संज्ञा प्रकरण practically ends here. The author next explains the terms vadi, samvadi, anuvadi, and vivadi. ### [c4.s1.14](https://indike.org/pramana/ins.art.bhatkhande-comparative.c4.s1.14) प्रयोगो बहुधा यस्य स स्याद्वादी नृपोपमः । ययोर्मवेयुः श्रुतयो द्वादशाष्टावन्तरे ॥ मिथः संवादिनी तौ स्तौ राज्ञः सचिवसन्निभौ । विवादी रक्तिविच्छेदी शत्रुतुत्यः स कीर्तितः ॥ अनुवादी तटस्थो यः किंकरप्रतिभः स्वरः । सपौ रिधौ मध्यमसौ निगौ संवादिनी मिथः ॥ ### [c4.s1.15](https://indike.org/pramana/ins.art.bhatkhande-comparative.c4.s1.15) Translation.—The note most frequently used in a raga, which it like the king of the raga, is called 'Vadi'. Samvadi stands at a distance of eight or twelve srutis from the vadi. It is like a minister to the raja of the raga. Vivadi destroys the beauty of the raga and is therefore called the enemy. Anuvadi is neutral, and is compared to the servant. The following pairs of notes are samvadis to each other. Sa, pa; ri, dha; ga, ni; and ma, sa; ### [c4.s1.16](https://indike.org/pramana/ins.art.bhatkhande-comparative.c4.s1.16) Then we come to an important point and it is this : ### [c4.s1.17](https://indike.org/pramana/ins.art.bhatkhande-comparative.c4.s1.17) द्वौ त्रयो वापि चत्वारः स्युस्ताना रंजकस्वराः । पंचाधैरथ रागः स त्रिधा पंचभिरौडुवः ॥ षड्भिः स्वरैः पाडवः स्यात्पूर्णः सप्तभिः स्वरैः ॥ ### [c4.s1.18](https://indike.org/pramana/ins.art.bhatkhande-comparative.c4.s1.18) Translation.—Combinations of two or three or four notes, will be only pleasing 'tan's, but no ragas. The ragas must have five six or seven notes. A raga with five notes, is 'odava', one with six is 'shadava' and one with seven is 'sampurna'. ### [c4.s1.19](https://indike.org/pramana/ins.art.bhatkhande-comparative.c4.s1.19) Observation.—It is an accepted rule of Indian music that a raga should have at least five notes पंचेनिभ्यः स्वरेभ्यश्च नस्य । द्रागस्य संभवः । A tana may have any number of swaras. ### [c4.s1.20](https://indike.org/pramana/ins.art.bhatkhande-comparative.c4.s1.20) Then follows the most important portion of the work, namely the location of swaras on the sounding wire of the vina. It will be useful to have the sruti swara chart before you in order to follow the details of the next few slokas. ### [c4.s1.21](https://indike.org/pramana/ins.art.bhatkhande-comparative.c4.s1.21) ध्वन्यवच्छिन्नवीणामध्ये तारकसंस्थितिः । त्र्यंशिनस्याधभागांते मध्यमत्य च पंचमम् ॥ ### [c4.s1.22](https://indike.org/pramana/ins.art.bhatkhande-comparative.c4.s1.22) Translation — Exactly in the centre of the wire (that portion of the wire which is capable of producing sound) will stand the tara shadja. If the whole wire is divided into three equal parts, the pan-chama of the middle octave will stand at the end of the first part. ### [c4.s1.23](https://indike.org/pramana/ins.art.bhatkhande-comparative.c4.s1.23) Observation — Supposing the whole length of the speaking wire of the vina to be thirty-six inches, then the Tara 'sa' will be eighteen inches from either end, the pancham will be 12 ins from the meru, and 24 ins from the 'ghodi' (bridge). The whole length will produce the fundamental note or mandra 'sa'. ### [c4.s1.24](https://indike.org/pramana/ins.art.bhatkhande-comparative.c4.s1.24) मध्यम षड्जयोर्मध्ये सपयोर्मध्यमयेत् । अशिनद्वय तयोर्मध्यस्थापांते तथार्धमम् ॥ ### [c4.s1.25](https://indike.org/pramana/ins.art.bhatkhande-comparative.c4.s1.25) Translation — The maddhyama of the middle octave will be exactly between the two shadjas. The shuddha gandhara will stand exactly between 'sa' and 'pa'. If the distance between 'sa' and 'pa' be divided into three equal parts, then the shuddha rishabah, will stand at the end of the first part. ### [c4.s1.26](https://indike.org/pramana/ins.art.bhatkhande-comparative.c4.s1.26) Observation — In the vina wire of thirty-six inches, therefore, the maddhyama of the middle octave will be at a distance of nine inches from the meru, and twenty-seven inches from the lower bridge or ghodi. The shuddha gandhara will stand exactly between 'sa' and 'pa', that is to say, it will be six inches from the meru and thirty-inches from the ghodi. If the distance between 'sa' and 'pa', (which is twelve inches) be divided into three parts, the shuddha rishabha will be at the end of the first part. It will, therefore, be four inches distant from the meru and thirty-two inches from the "ghodi." ### [c4.s1.27](https://indike.org/pramana/ins.art.bhatkhande-comparative.c4.s1.27) तथैव धैवतं मध्ये सपयो स्थापयेद्बुधः । तत्र साद्वयं त्यक्त्वा निषादस्य स्वर नयेत् ॥ ### [c4.s1.28](https://indike.org/pramana/ins.art.bhatkhande-comparative.c4.s1.28) Translation — The shuddha dhaivata ought to be placed in the interval between 'pa' and tara 'sa'. If the distance between the 'pa' and tara 'sa', be divided into three parts, the shuddha nishad will come at the end of the second part. ### [c4.s1.29](https://indike.org/pramana/ins.art.bhatkhande-comparative.c4.s1.29) Observation — The description of the place of the dhaivata, has led to some hot controversy among the scholars. No doubt the description at first sight appears somewhat loose, but the author furnishes the reader later on with the key to the difficulty. He says. ### [c4.s1.30](https://indike.org/pramana/ins.art.bhatkhande-comparative.c4.s1.30) स्वर ज्ञान विहीनैश्च मार्गोऽयं बोधितो मया । स्वारसादिता ज्ञान स्वरस्थापनक्रमम् ॥ षड्जपंचममात्रेण षड्जेभेया. स्वगबुधैः ॥ ### [c4.s1.31](https://indike.org/pramana/ins.art.bhatkhande-comparative.c4.s1.31) Translation.—The note tīvratara nishada is also called Kakali; when the notes 'ni' and 'ma' take the three srutis of 'sa' and 'pa' respectively, they are called mridu 'sa' and mridu 'pa'. ### [c4.s1.32](https://indike.org/pramana/ins.art.bhatkhande-comparative.c4.s1.32) The स्वर संज्ञा प्रकरण practically ends here. The author next explains the terms vadī, samvadī, anuvadi, and vivadi. ### [c4.s1.33](https://indike.org/pramana/ins.art.bhatkhande-comparative.c4.s1.33) प्रयोगो बहुधा यस्य स स्याद्वादी नृपोपमः । ययोर्मवेयुः श्रुतयो द्वादशाष्टावन्तरे ॥ मिथः संवादिनी तौ स्तौ राज्ञः सचिवसन्निभौ । विवादी रतिविच्छेदी शत्रुतुत्यः स कीर्तितः ॥ अनुवादी तटस्थो यः किंकरप्रतिमः स्वरः । सपौ रिधौ मध्यमसौ निगौ संवादिनी मिथः ॥ ### [c4.s1.34](https://indike.org/pramana/ins.art.bhatkhande-comparative.c4.s1.34) Translation.—The note most frequently used in a raga, which it like the king of the raga, is called 'Vadi'. Samvadi stands at a distance of eight or twelve srutis from the vadi. It is like a minister to the raja of the raga. Vivadi destroys the beauty of the raga and is therefore called the enemy. Anuvadi is neutral, and is compared to the servant. The following pairs of notes are samvadis to each other. Sa, pa; ri, dha; ga, ni; and ma, sa; ### [c4.s1.35](https://indike.org/pramana/ins.art.bhatkhande-comparative.c4.s1.35) Then we come to an important point and it is this: ### [c4.s1.36](https://indike.org/pramana/ins.art.bhatkhande-comparative.c4.s1.36) द्वौ त्रयो वापि चत्वारः स्युस्ताना रंजकस्वराः । पंचधैरेथ रागः स त्रिधा पंचभिरोद्भवः ॥ षड्भिः स्वरैः पाडवः स्यात्पूर्णः सप्तभिः स्वरैः ॥ ### [c4.s1.37](https://indike.org/pramana/ins.art.bhatkhande-comparative.c4.s1.37) Translation.—Combinations of two or three or four notes, will be only pleasing 'tan's, but no ragas. The ragas must have five six or seven notes. A raga with five notes, is 'odava', one with six is 'shadava' and one with seven is 'sampurna'. ### [c4.s1.38](https://indike.org/pramana/ins.art.bhatkhande-comparative.c4.s1.38) Observation.—It is an accepted rule of Indian music that a raga should have at least five notes पंचोनेभ्यः स्वरेभ्यश्च नस्य । द्रागस्य संभवः । A tana may have any number of swaras. ### [c4.s1.39](https://indike.org/pramana/ins.art.bhatkhande-comparative.c4.s1.39) Then follows the most important portion of the work; namely the location of swaras on the sounding wire of the vina. It will be useful to have the sruti swara chart before you in order to follow the details of the next few slokas. ### [c4.s1.40](https://indike.org/pramana/ins.art.bhatkhande-comparative.c4.s1.40) ध्वन्यवच्छिन्नवीणायां मध्ये तारकसंस्थितिः । व्यंशिनस्यायभागाते मध्यमस्य च पंचमम् ॥ ### [c4.s1.41](https://indike.org/pramana/ins.art.bhatkhande-comparative.c4.s1.41) Translation — Exactly in the centre of the wire (that portion of the wire which is capable of producing sound) will stand the tara shadja If the whole wire is divided into three equal parts, the panchama of the middle octave will stand at the end of the first part ### [c4.s1.42](https://indike.org/pramana/ins.art.bhatkhande-comparative.c4.s1.42) Observation — Supposing the whole length of the speaking wire of the vina to be thirty-six inches, then the Tara 'sa' will be eighteen inches from either end, the pancham will be 12 ins from the meru, and 24 ins from the 'ghodi' (bridge) The whole length will produce the fundamental note or mandra 'sa'. ### [c4.s1.43](https://indike.org/pramana/ins.art.bhatkhande-comparative.c4.s1.43) मध्यम् षड्जयोस्तु सपर्योर्मध्यमानयेत् । व्यशितस्य तयोर्मध्यस्यापाशान्ते तथार्धम् ॥ ### [c4.s1.44](https://indike.org/pramana/ins.art.bhatkhande-comparative.c4.s1.44) Translation — The maddhyama of the middle octave will be exactly between the two shadjas The shuddha gandhara will stand exactly between 'sa' and 'pa' If the distance between 'sa' and 'pa' be divided into three equal parts, then the shuddha rishabah, will stand at the end of the first part. ### [c4.s1.45](https://indike.org/pramana/ins.art.bhatkhande-comparative.c4.s1.45) Observation — In the vina wire of thirty-six inches, therefore, the maddhyama of the middle octave will be at a distance of nine inches from the meru, and twenty-seven inches from the lower bridge or ghodi The shuddha gandhara will stand exactly between 'sa' and 'pa', that is to say, it will be six inches from the meru and thirty-inches from the ghodi If the distance between 'sa' and 'pa', (which is twelve inches) be divided into three parts, the shuddha risbabha will be at the end of the first part It will, therefore, be four inches distant from the meru and thirty-two inches from the "ghodi" ### [c4.s1.46](https://indike.org/pramana/ins.art.bhatkhande-comparative.c4.s1.46) तथैव धैवतं मध्ये सपयोः स्थापयेद्बुधः । तत्र भागद्वयं त्यक्त्वा निषादस्य स्वर नयेत् ॥ ### [c4.s1.47](https://indike.org/pramana/ins.art.bhatkhande-comparative.c4.s1.47) Translation — The shuddha dhaivata ought to be placed in the interval between 'pa' and tara 'sa'. If the distance between the 'pa' and tara 'sa', be divided into three parts, the shuddha nishad will come at the end of the second part ### [c4.s1.48](https://indike.org/pramana/ins.art.bhatkhande-comparative.c4.s1.48) Observation — The description of the place of the dhaivata, has led to some hot controversy among the scholars No doubt the description at first sight appears somewhat loose, but the author furnishes the reader later on with the key to the difficulty He says, ### [c4.s1.49](https://indike.org/pramana/ins.art.bhatkhande-comparative.c4.s1.49) स्वर ज्ञान विहीनैस्तु मार्गोऽयं बोधितो मया । स्वरसंवादितः ज्ञानं स्वरस्थापनकारणम् ॥ षड्जपञ्चमभावेन षड्जमेषा. स्वरगुधैः ॥ ### [c4.s1.50](https://indike.org/pramana/ins.art.bhatkhande-comparative.c4.s1.50) Translation.—I have adopted this simple method of locating the swaras in the interests of those who have not a good swara-dnyana. The exact places of the swaras, have to be fixed with the help of स्वरसंवादिता ज्ञान. It must always be remembered that the swaras in my shadja grama (shuddha scale) must stand in samvadi relationship. He means to say that the swaras in the 'uttarang' of the scale must be the samvadis or the fifths of those in the purvanga.) ### [c4.s1.51](https://indike.org/pramana/ins.art.bhatkhande-comparative.c4.s1.51) Observation.—This explanation of the author easily solves the difficulty. The shuddha dhaivata which is to be placed between panchama and tara 'sa' will have to be so placed that it will stand as a proper samvadi or the fifth to the shuddha rishabha. The shuddha rishabha has already been definitely fixed and so there will be no difficulty in fixing the position of the shuddha dhaivata. The reason why the author could not fix the exact length of the wire for the dhaivata appears to be that he could not obtain a convenient division of the string for that swara. We see that he has adopted the simplest way of dividing the wire into two or three parts. Such a division would not have given him the right place of the shuddha dhaivata. He knew that his reader could easily determine the position of the dhaivata with the help of the shuddha rishabha, dhaivata being the samvadi of the rishabha. ### [c4.s1.52](https://indike.org/pramana/ins.art.bhatkhande-comparative.c4.s1.52) The shuddha scale of Lochana and Hrdaya may be correctly expressed in terms of the lengths of the speaking wire and in the number of comparative vibrations as follows. ### [c4.s1.53](https://indike.org/pramana/ins.art.bhatkhande-comparative.c4.s1.53) | Note | Length of the wire. | Comparative vibrations. | | sa | 36 | 240 | | ri | 32 | 270 | | ga | 30 | 288 | | ma | 27 | 320 | | pa | 24 | 360 | | dha | 21 1/2 | 405 | | ni | 20 | 432 | | sa | 18 | 480 | ### [c4.s1.54](https://indike.org/pramana/ins.art.bhatkhande-comparative.c4.s1.54) This is exactly the modern Kafi Thata of the Hindusthani musicians. The author of Koutuka and Prakasha has laid the whole of the Indian Music loving world under obligation to him for this clear exposition of the scale. As I said, however, the great question remains whether he copied all this from the Sangeet Parijata of Ahobala Pandit. The Parijata is a much more elaborate treatise and strikes the reader as an older treatise than the Prakasha. But until, some conclusive evidence is forthcoming on the point, we may reserve our judgement. ### [c4.s1.55](https://indike.org/pramana/ins.art.bhatkhande-comparative.c4.s1.55) भागत्रयोदिते मध्ये मेरो ऋषभमंत्रितः । भागत्रयोत्तरं मेरोः कुर्यात् कोमलरिस्वरम् ॥ मेरुधवतमध्ये तीव्रगाधारमाचरेत् । भागत्रयविशिष्टेऽस्मिन् तीव्रगाधारपञ्चयः ॥ पूर्वभागोत्तरं मध्ये म तीव्रतमाचरेत् । भागत्रयान्विते मध्ये पंचमात्तरपञ्चयः ॥ कोमलो धैवतः स्थाप्यः पूर्वभागे मनीषिभिः । तथैव धसयांमध्ये भागत्रयममान्विते । पूर्वभागद्वयादूर्ध्वं निषाद तीव्रमाचरेत् ॥ ### [c4.s1.56](https://indike.org/pramana/ins.art.bhatkhande-comparative.c4.s1.56) Translation — If the distance between the meru and the shuddha rishabha be divided into three parts the komal ri will fall at the end of the second part The tivra gandhara will come exactly between the meru and the shuddha dhaivata If the distance between the tivra ga and tara sa be divided into three equal parts, the tivratara ma will appear at the end of the first part If the distance between pa and tara sa be divided into three parts, the komal dhaivata will stand at the end of the first part If the distance between the dhaivata and the tara sa is divided into three parts, the tivra nishada will come at the end of the second part ### [c4.s1.57](https://indike.org/pramana/ins.art.bhatkhande-comparative.c4.s1.57) Observation — The placing of the shuddha swaras being satisfactorily effected by the author, it is needless to work out the exact places of his five vikrta swaras here It is a purely mathematical calculation ### [c4.s1.58](https://indike.org/pramana/ins.art.bhatkhande-comparative.c4.s1.58) Hrdaya accepts the twelve Thatas of the Raga Tarangini and adds his own Hrdayarama to them But he arranges the Thatas in different groups according to the vikrta swaras they contain His classification is as follows — ### [c4.s1.59](https://indike.org/pramana/ins.art.bhatkhande-comparative.c4.s1.59) Group No | मेल नाम --- | --- (1) | शुद्धमेल . . . . . (1) भैरवी (2) | एक विकृतौ द्वौ मेलौ । | (a) | गांधारस्वरिततर. | (2) कर्णाट (b) | धैवतस्वरकोमलः । | (3) मुगारी (3) | द्विविकृतौ द्वौ मेलौ । | (a) | कोमलंमंधर्वती | (4) तोडी, (b) | तीव्रगाधारनिषादौ | (5) केदार (4) | त्रिविकृतयो मेला } | (a) गांधारमध्यमनिपादानां तीव्रतरत्वे । (6) इमन्: (b) गांधार धैवतनिपादानां तीव्रतरत्वे । (7) मेघ (c) गांधारमध्यमनिपादानां तीव्रतरत्वे । (8) हृदयर्मा (5) चतुर्विकृतसयो मेला: । (a) तत्र ऋषभधैवतयो: कोमलत्वे गांधारनिपादयो स्तीव्रतरत्वे । (9) गौरी (b) गांधारस्यातितीव्रतमत्वे, मध्य- मध्यवतयोस्तीव्रतरत्वे, निपाद- स्यकाकलीत्वे । (10) सारंग (c) गांधार धैवतमध्यमानां तीव्र- तरत्वे, निपादस्यकाकलीत्वे । (11) पूर्वा (6) पंचविकृत एक मेल: । गमौ तीव्रतरौ यत्र रिवौ कोमलसंज्ञकौ । निपाद: काकली: पूर्णा धनाश्रीस्तत्र कीर्तिता ॥ (12) धनाश्री । . . . . . Omitted दीपक . . . . . ### [c4.s1.60](https://indike.org/pramana/ins.art.bhatkhande-comparative.c4.s1.60) The author then classifies his janya ragas, under the groups according to their vikritas. In describing the lakshana (distinguishing feature) of each raga, he adds a short string of notes, something like the aroha-avaroha-swarup of the raga which is really very interesting. I have already said that in my Abhinava-raga-manjari, I have imitated this method of raga definition. The manjari deals with the modern Hindusthani ragas and naturally follows the modern raga rules. The Janya ragas dealt with in the Prakasha, are the same as those, given in the Hrdaya Koutuka. ## Linked texts (4) - [Saṅgītaratnākara](https://indike.org/pramana/in.art.sangita.sangraha.sangitaratnakara) — Śārṅgadeva, Sanskrit - [Saṅgītapārijāta](https://indike.org/pramana/in.art.sangita.sangraha.sangitaparijata) — Ahobilasūri 1600, Sanskrit - [Rāgataraṅgiṇī](https://indike.org/pramana/in.art.sangita.raga.ragatarangini) — Locana Paṇḍita 1706, Sanskrit - [Hṛdayakautuka](https://indike.org/pramana/in.art.sangita.raga.hrdayakautuka) — Hardayanārāyaṇa 1642, Sanskrit --- Source: [https://indike.org/pramana/ins.art.bhatkhande-comparative.c4](https://indike.org/pramana/ins.art.bhatkhande-comparative.c4) · Pramāṇa