Ragas and Raginis: A Pictorial and Iconographic Study of Indian Musical Modes Based on Original Sources c10.237

c10.237

(3) The Sanskrit text cited on Plate VII may be compared with this version. "Madha-mādh| Madha-mādha-rūpe nāhi tulanā| Kanaka-varani pita-vasanā|| Cancala nayane dalitānjana| Svarna-padme yena nāca khanjana|| “Sindhuvī (Saindhavī): She was in expectation of her lord, Sindhuvī, has given up that hope. The appointed hour has gone by, still the beloved has not come. This has led to deep resentment; she assumed the robes of an ascetic. Having cast aside her scarlet robes she has assumed russet ones (proper to ascetics). Casting aside jewelleries she has be-decked herself with strings of rosaries (rudrāksa: Śiva’s rosary) and crystals. She abjured the fragrance of aguru (scented wood and saffrons, and besmeared all her body with ashes. Making pendants from Vandhuka flowers, she wore them on her ears. Taking a trident, and the counting-beads in her hands, Sindhuvī is worshipping Śankara (Śiva). A septatonic melody having its abode in the note ‘sa’, the succession of notes being sa-ri-ga-ma-pa-dha-ni. Proper for the six seasons, beginning with autumn, you should sing it at the end of the day.”¹