Ragas and Raginis: A Pictorial and Iconographic Study of Indian Musical Modes Based on Original Sources c10.244
Rāgas and Rāginīs: A Pictorial and Iconographic Study of Indian Musical Modes Based on Original Sources c10.244
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c10.244
(1) “Toḍī Mālkausa-priyā Toḍī vālā pīta varaṇā| Keśara karpūra ange sveta-vastra paraṇā|| Kuca pīn su-kathin, madhya ksin valanā| nābhi-kūp sarovar, svarna-kānti lalanā||” Kādamvinī keśa-pāś, pūrna-candra-vadanā| Tāhāte kuraṅga caksu, muktā-pangti-radanā|| Manmaya ābharan nāhi tār tulanā| Rati vale anaṅgere,—dekho yena bhulanā|| Daś dig ālo kare hena rūp sājanā| prāntare vasiyā kare vīnā-yantra vājanā|| Vinār samūha tantra dipti-rūpe mājanā| Madhur pañcama svare rāg bhāg bhāñjanā|| Ālāp-cārir vole rāg-rūp-sādhanā| note ‘Sa’(c) is the starting and prevailing note, the rule is to sing it at noon.”¹