Ragas and Raginis: A Pictorial and Iconographic Study of Indian Musical Modes Based on Original Sources c6.336

c6.336

the well-known verses describing the origin of the six major rāgas from the mouth of Śiva and Pārvatī, already cited here (ante p. 13, foot-note 1). As a characteristic Southern text, it classifies the melodies under the system of melas. As compared with the Caturdaṇḍi-prakāśikā, the text offers several peculiarities. If we compare the mela and janya-rāgas—as given in the Appendices 24 and 2 and we find that the Mukhārī mela, popular in the earlier period, has given up its position of honour to Śrī-rāga.¹ Śuddha-rāma-kriyā, and Sindhu-rāma-kriyā are cited as two independent major rāgas, and a new major rāga (melaka) is cited under the name of Vega-vāhinī. The Saindhavī rāga, an evening melody, is described as giving victory in times of war.² The melody Madhyamādi is said to be very moving and stimulating when played on a flute.³ The melody Kannaḍa-gauḍa, an Upāṅga-rāga, is said to be very popular in Orissa (“Utkalā-nāmatipriyaḥ”). Among the list of derivative melodies the following new names are cited: Mādhava-manoharī, Śrī-rañjanī, Jayanta-sena, Mani-raṅga, Udaya-ravi-candrikā, Ārdra-deśī, Meca-vauli, Pūrṇa-pañcama, Nārāyaṇī, Pūrṇa-candrikā, Sura-sindhu, Chhāyā-taraṅginī, Julāvu (Sanskrit form of Jilaf?), and Manoha. Some interesting varieties of older and familiar melodies are cited, e.g., Yadu-kula-kāmboji, Nārāyaṇī-deśāksī, Naṭa-kurañjī, Mohana-kalyāṇī, Indughaṇṭa-rava. The new names appear to prove that music was still a living science, growing by the development of new melodies.