Ragas and Raginis: A Pictorial and Iconographic Study of Indian Musical Modes Based on Original Sources c6.73

c6.73

The author then gives a series of verses describing the structure of the following melodies : Śrī-rāga, Soma-rāga, Mālava-kauśika, Harṣa-purī(?) Hindola, Deśi-Hindola, Bhairivī, Mahlāra, Sāverī, Valiti (? Vahuli), Vaṅgāla, Karṇāṭa-Vaṅgāla, Gurjarī, Saurāṣṭrī, Pun-nāṭa, Kaiśiki, Śuddha-varāṭī, Karṇāṭa-varāṭī, Drāviḍa-varāṭī, Śuddha-naṭī, Megha-rāga, Āhirī, Chāyānaṭī, Toḍi, (?), Dullī-Toḍī, Vahlānā, Vahuri, Velā-ullī, Chāyā-velā-ullī, Cundī, Haṃsa, Kham-bhārī, Kāmoda, Siṃhalī-Kāmoda, Deśanaka (? Deśākhya), Danthibhi(?), Kolāhala, Saindhavī, Dāṃva-kṛti, Rāmakṛti, and Nuṇḍa-(? Tuṇḍa)-kṛti. This is an interesting list and helps us to realise that many of the melodies had come into existence of a century before Śārṅgadeva wrote his treatise. The different varieties of Toḍis are of interest. The original form of the name Velā-ullī, apparently an aboriginal melody, later sanskritized into Velāvalī, also deserves notice.