Ragas and Raginis: A Pictorial and Iconographic Study of Indian Musical Modes Based on Original Sources c7.5

c7.5

The conception of rāgiṇī, as a graceful, or a diminutive phase of a rāga, and designated with a feminine ending appears to be a peculiarity of the Northern system. Śārṅgadeva does not recognize rāgiṇīs, but only bhāṣās, vibhāṣā and antarabhāṣās. The differentiation of female melodies is first come across in the Saṅgīta-makaranda of Nārada, who gives three classes of melodies under the headings of (i) male rāgas (puṃliṅga-rāga), (ii) female rāgas (strī-rāgas), and (ii) neuter rāgas (napuṃsaka-rāgas). This classification is ascribed to Brahmā, and the three groups are allocated to three different types of emotive values. The male melodies are assigned to the sentiments of Wonder, Courage, or Anger, the female melodies are assigned to the sentiments of Love, Laughter, and Sorrow, while the neuter melodies are assigned to the sentiments of Terror, Fear, Disgust, and Peace.¹