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A Comparative Study of Some of the Leading Music Systems of the 15th, 16th, 17th & 18th Centuries c8.s2: Explanatory Notes

A Comparative Study of Some of the Leading Music Systems of the 15th, 16th, 17th & 18th Centuries c8.s2

Language
English

Explanatory Notes

c8.s2.1

शुद्ध री & शुद्ध ध Northern कोमल री & कोमल ध शुद्ध ग & शुद्ध नि " तीव्र री & तीव्र ध साधारण ग & कैशिक नि " कोमल ग & कोमल नि पतसा, पतम & पतप " तीव्रतम नि, तीव्रतम ग & तीव्रतम म श्रुति ग & श्रुति नि कोमल ग & कोमल नि

c8.s2.2

After dealing with the Raga the author proceeds to some matters of general interest.

c8.s2.3

रागास्ते त्रिविधाः प्रोक्ताः शुद्धच्छायालगस्ततः ।
संकीर्णाश्च पृथक् तेषां लक्षणं प्रतिपद्यते ॥
अन्यै रागेर्युक्तास्ते रागाः शुद्धप्रकीर्तिताः ।
छायालगा मताः प्राज्ञैः परत्रिकुताश्च ये ॥
द्वयो रक्तियुता ये तु संकीर्णास्ते निरूपिताः ।

c8.s2.4

The author does not say which Ragas come under each of these classes and why.

c8.s2.5

The Qualifications of male and female Singers are mentioned as follows:—

c8.s2.6

नानारागकलाकलापकुशला दिबाधरेणोज्ज्वलाः ।
गायिन्योऽखिलगीतवाद्यनिपुणस्ताले हि दक्षा लये ।
रम्याः कोकिलकंठमंजुतरस्वानाः प्रगल्भा रसे ।
साक्षात् कामजयधियः सदसिताः क्षोमां धरा तन्वते ।
स्वरपाणिपरिस्फुटममिलसत्केपुरमामान्विताः ।
वीणावादनचातुरीचयधमकारैः समामोहिनी ।
श्रीसंदागबकेसरोज्ज्वलसरंत्यन्तमारवधुः ।
कौशेयांबरराजितातिमधुरा गाने रता गायिनी ॥
त्रिस्थानापदक्षो गमललयकलाकुविदोतिधीरोऽ ।
न्यस्त्री दोषरित्रः सकलजनमनोरंजकः सावधानः ।
शुद्धच्छायालगज्ञः भ्रमरहिततनुः कोकिलस्पष्टकंठः ।
तालाभिज्ञो महज्ञः सुमुवि निगदिते गायकानां वरेण्यः ।

c8.s2.7

The different classes of Singers are described in the following Shlokas:—

c8.s2.8

रतं यो शिक्षते गीतं विषमं प्रांजलं तथा ।
शुद्धे वा सालगे सम्यक् शिक्षाकारः स उच्यते ॥
सुभाष्यं गीतमाकर्ण्य यो भवेतुलकान्वितः ।
सानंदप्युमिराकीनौ रसिको गायकः स्मृतः ॥

c8.s2.9

नीरसं सरसं कुर्वन् निर्माणं भावसंयुतं । ज्ञात्वा श्रोतृमभिप्रायं यो गायेत् सतु भावुकः ॥ मनोहरति गीतेन विदित्वा श्रोतुराशयम् । रंगं गीते विधत्ते यो रंजकः सोऽभिधीयते ॥ यथा शास्त्रप्रयोगेण मार्गं दर्शयमेव च । यो गायति क्रियाक्षमान् कथ्यतेऽसौ क्रियापरः ॥ स्वरो वर्णश्च तालश्च स्पष्टं घाटयति स्वयं । सुन्दरंनिर्गमंयुक्तः सुघटं तं प्रचक्षते ॥ आलापदिषु द्विधापि कुर्यात् सौख्यविधायिनीं । आलापगायकः सोऽयं निर्दिष्टो गीतवेदिभिः ॥ आलापपि यद्गीतं भवेदातिमनोहरं । उक्तो गायकभेदैः सोऽयं रूपकगायकः ॥ नानाविधं विभक्तं च ध्वनीं यस्य सवेद्रतम् । निबंधः सतु विज्ञेयो गीततत्वविचक्षणैः ॥ रागे रागांतरच्छायां मिश्रयेदोषवर्जितः । प्रवीणत्वेन सगायन बुधैर्मिश्र उदाहृतः ॥ गायकदोषाः । रसानुरूपरागाणामतत्वविदग्धता । ग्राम्योक्तिरपशब्दश्च प्रबंधज्ञानहीनता ॥ विविधकाकुमेदाः । श्रुतिमानाधिकतया रागे स्वरस्य कुमचित् । छाया या दृश्यते ता तु स्वरच्छायां जगुर्बुधाः ॥ या रागस्य निजच्छया रागच्छायां तु तां विदुः । रागे रागांतरच्छाया सैव स्यादन्यरागजा ॥ रागस्योत्पत्तिभूक्षेत्रं शरीरं जगुर्बुधाः । तस्यैवानुकृतित्वाच्च क्षेत्रच्छायेति सा मता ॥ वीणावंशादियंतोत्था वंशच्छाया स्मृता बुधैः । देशच्छायायिता रागे देशच्छायाप्युच्यते बुधैः ॥

c8.s2.10

Shrikantha then describes the old स्वस्थान चतुष्टय of the ancient writers and adds:—

c8.s2.11

सर्वगीतप्रधानामादावालप्तिरिप्यते । आलप्तिः सा द्विधा प्रोक्ता विपगा सरला तथा ॥ साक्षरा नाक्षरा सापि चतुर्धा भिद्यते ततः । सतालातालभेदेन चतुर्धाप्यधता ततः ॥

c8.s2.12

It is quite possible that Shrikantha like Pundarika Vithala came from the Southern Presidency and then settled in Kathiawar:—

c8.s2.13

The Works of Bhava Bhatta Pandit

c8.s2.14

We shall now proceed to consider the three works of Pandit Bhavabhatta, namely Anupa Sangita Vilas, Anupa Ratnakara, and Anupankusha. Bhavabhatta was in the service of the Rathod Rajput King Anupa Singh, the son of Karan Singh of Bikaner. Anupa Singh was a contemporary of the Emperor Aurangzeb. Bhavabhatta's father, Janardan Bhatta was in the service of the Emperor Shah Jehan, the great Mogul-Emperor of Delhi. It is quite possible that during the reign of Aurangzeb, who was not over fond of music, the Court musicians of Shah Jehan, got scattered and Janardan Bhatta or his son Bhava Bhatta took service at Bikaner. Bhava Bhatta in his Anupa Vilasa, mentions his family and residence as follows —

c8.s2.15

कृतांजलिपुटो भूत्वा नमस्कृत्य द्विजोत्तमान् ।
सबहुमानमाहूय प्रस्थापितः स्वदासिने ॥
ततः पप्रच्छ तं राजा नामगोत्रकुलानि च ।
क्षण विमृष्य तत्सर्वं ब्रूमे भावः सविस्तरम् ॥
कृष्णात्रगोत्रसभूतं कुलमाभीरदेशजम् ।
पुरधवलमित्याहुः प्रपिता तानमट्टकः ॥
पिता जनार्दनः साक्षाज्जनार्दन इवापरः ।
मातुः स्वप्रभवा नाम मातुःपुत्रः स्वपूर्वजेः ॥
विकारे मानसो भावः पदवी भट्टसंज्ञिका ।
भट्टः पूज्ये स्मृतः कोशे धीमदमरकोशके ॥
तेनेदं भावभट्टेति कीर्तितं शास्त्रमवम् ।
तौर्यत्रिकं तु संगीतं संगीनी तत्र उच्यते ॥
घनश्यामेन चानुष्टुपचक्रवर्तीति कीर्तितम् ।
धीमान्द्विजभूपतिलकोऽनुतमानुना ॥
श्रीमन्मादिसुजाभूपदत्त रायपदं ततः ।
श्रीभावभट्टसंगीतरायानुष्टुपचक्रवर्ती ॥
एवं नामेदं जातं श्रीमदनुपविभो मम ।

c8.s2.16

It would thus appear that the poet was born in Dhavalpur in the Abhir district, (Malwa). He was a Brahmin by caste and his gotra was Knshnatra. His mother's name was Swapnabhava and his father's name was Janardan Bhatta. Janardan Bhatta was given by the Emperor Shah Jehan, the title of Sangeeta Raj. According to research scholars, Anupa Singh ruled in Bikaner from 1674 A. D. to 1709 A. D. Bhava Bhatta's own title was "Anushtupa-Chakravarti-Sangeeta-Rai." The whole material of the Swaraadhyaya of Anupa Vilas has been borrowed from the Sangeeta Ratnakara of Sharang Deva. The author does not give us the impression that he clearly followed the theories of the Ratnakara. He quotes from several other treatises both anterior and subsequent to the Ratnakar. It is said by some of our modern scholars that Pandit Bhava is more of a compiler than an original author. To some extent, I think they are right. In the Anupa Vilas, the author, after describing "Nada" and "Sangeeta" in the usual way, copies the whole of the पिंडोत्पत्तिप्रकरण from the Ratnakara, under the name शरीरभावप्रकाश. Next he deals with the theory of the productions of 'Nada'. Then comes the description of the 22 srutis and the swaras based on them. He brings in a lot of unnecessary detail from the commentary of Kallinath too, on the sruti-swara, Prakarana. Srutis are divided into two classes "gatraja", and "yantraja".

c8.s2.17

कैश्चिदन्यानि नामानि श्रुतीनां कथितानि तु ।
तन्मते गात्रजाश्चोर्ध्वं यंत्रजाश्चापरा मताः ॥

c8.s2.18

The usual तीव्रा, कुमुद्वती, मंदा, छंदोवती । and others are the 'गात्रज' Srutis; the Srutis are,

c8.s2.19

| निष्कला | रसगीतिका (ह्रस्वगीतिका) | नादांता |
| गूढा | रंजिका | सौम्या |
| सकला | पूर्णा | भाषाणिका |
| मधुरा | अलंकारिणी | वार्तिका |
| ललिता | वैनिका | व्यापका |
| एकाक्षरा | वालिता | प्रसन्ना |
| श्रृंगजाति | त्रिस्थाना | सुभगा |
| | | नंदना |

c8.s2.20

The distinction between the sruti and the swara is attempted to be explained by quotations from Parijata, Ratnakar, Sringara-har, and Raga Kutuhala. It is not necessary to go into these quotations here. Each of the seven swaras is then described with its picture, presiding deity, "dwipa," in a wealth of detail, of hardly any practical use. The definitions of 'grama', 'murchhana', 'jati', 'varna', 'shuddha tana', 'kuta tana', and 'alankara', are all taken from the Sangeeta Ratnakara and the Parijata. Sharangdeva Pandit in the description of his vikrit swaras has used the term 'chyuta' and with reference to it, Bhava Bhatta says:—

c8.s2.21

ग्रामस्वरो मेरुसंस्थो ध्रुवत्वात्स्यात् कथं च्युतः ।
च्युतस्यापि कथं तस्याच्युतत्वं परिकीर्तितम् ॥
उच्यते भावभट्टेन ग्रामस्वरश्रुतिर्नहि ।
षड्जग्रामे मध्यमस्य षड्जस्यापि च मध्यमे ॥
भिन्नग्रामे च्युतिरसति स्वग्रामे न कदाचन ।

c8.s2.22

This only shows that Bhava Bhatta was unable to follow the music system expounded by Sharangdeva. There is reason to believe that the suddha thata of Bhava Bhatta was the same as that of Pundarika. It is no doubt extremely difficult to find out what was really the author's own system. I admit, he adds in some places the expression सम्मते to the quotation But the question what was his own system of music still remains.

c8.s2.23

On the question of the vikrita swaras, Bhava Bhatta says.—

c8.s2.24

द्वादशविकृतान् पूर्वं वदति तत्रतु पृथक् पृथक् ध्वनितः ।
सप्तैव स्युर्मिन्ना नपंच यदिमे समध्वनयः ॥ रागविवोधे ।
चत्वारिशच्च ते प्रोक्ता व्याधिका मावसमताः ॥

c8.s2.25

All these forty-two vikritas, are based on the twenty-two srutis which form the basis of the system We have already seen that Ahobala had twenty-nine swara names Bhava Bhatta goes a step further, and adopts forty-two swara names Strangely enough, he omits to say anything about these vikritas in his raga descriptions

c8.s2.26

In the Raga Adhyaya, the Pandit begins by mentioning the 234 ragas of the Sangeeta Ratnakara by name and then turns to those of the Sangeeta Parijata. The "upanga ragas" of Bilawal, Kedar, Gouri, Puniya, and so forth deserve notice On the different varieties of Kanada, he gives us two excellent Hindi, "sawais", which are —

c8.s2.27

जो दरबारि सो सुद्ध कहावे मलारमिलायके नायक जानो ।
बागेसरी धनासिरिके मिले मेघमिले तै अडाना जानो ।
होत सहानो मिले फबदस्त के पूरिया जेतसिरीसुरजानो ।
मंगल अष्टक सोहि कहावत मावरके घटमेदनजानो ॥
मुद्रिकारोहुसेनिओकाकीमिलेविध मेदवसानत हैजू ।
सोरटि और सवावतिसौ मिले द्वादशभेदयोमानत हैजू ।
कर्नाटगौर ओ कर्नाटमेद द्वौ धुनमेद बखानत हैजू ।
मूर्छना ग्रहअंसओ न्यासवि मेल मिलापविजानत हैजू ।

c8.s2.28

These two verses throw a good deal of light on the Hindusthani varieties of the Kanada Raga

c8.s2.29

In the Anupa Vilas, the Pandit deals with about 70 ragas. In defining each raga, he quotes the opinion of the following treatises:—

c8.s2.30

(१) संगीत रत्नाकर (२) संगीत पारिजात (३) संगीत दर्पण (४) सङ्गीर्णराध्याय (५) नृत्तनिर्णय (६) हृदयप्रकाश (७) रागमंजरी (८) रागतत्वविवोध (९) सदागचन्द्रोदय (१०) रागविवोध.

c8.s2.31

He leaves his readers to find out the Thatas and the Swaras of the Ragas for themselves.

c8.s2.32

We have already discussed some of the authorities of Bhavabhatta. The Ragas described by Bhavabhatta in the Anupa Vilas are:—

c8.s2.33

| अढाना | तुरुष्कतोडी | भूपाल | विभास |
| अजन | तोडी | भैरव | विहंगड |
| आसावरी | मालवी | भैरव भेद | वेलावली |
| कल्याण | दीपक | भैरवी | शंकरारभरण |
| कामोद | देवगांधार | मंगलकौशिक | श्यामनाट |
| कामोदी | देशकार | मंजुघोषा | शुद्ध नाट |
| कोल्हास | नट | मल्लारी | श्री |
| केदार | नटनारायण | मालवश्री | सामंत |
| कुंभ | नीलावरी | मालव कौशिक | सारंग |
| गुर्जरी | नारायण गौड | मालवी | सिहरव |
| गौडसारंग | पटमंजरी | सुवरी | सुरालय |
| गौरी | पारज | मेघानंद | सुधराई |
| घंटारव | पहाडी | रक्तहंस | सुहर्वा |
| धकधर | बंगाल | ललिता | सैंधवी |
| छायानट | बहुली | वरारी | सौराष्ट्री |
| जलावंती | बंगाली | वर्णनाट: | हमीर |
| जैतश्री | भिन्नषड्ज | वसंत | |

c8.s2.34

With the exception of the Ratnakara and Sangeeta Darpana all the authorities quoted by the author have been discussed in this paper and it will therefore not be very difficult to determine the Thatas and the forms of their Ragas.

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