Ragas and Raginis: A Pictorial and Iconographic Study of Indian Musical Modes Based on Original Sources c9.28

c9.28

(1) “Vire ca raudre ca Turuska-Gauḍo Nisāda-jāmśo ri-pa-varjitaśca| mūrtistu nivandhāntare| Turuska-Gauḍa āruhya haya-prṣṭhe’ runa-dyutih| Saṅkha-kaṇṭhopanītaśca soṣṇīṣaḥ kavacā-vritaḥ|| S. N. Tagore, “Saṅgīta-sāra-samgraha,” p. 106. Translation: Turuska-Gauḍa is employed in heroic and martial sentiments. The expressive note is ni, and the antiphonic notes are ri & pa. The image is thus described: ‘Turuska-Gauḍa has a complexion rosy as the dawn, He is mounted on a horse, clad in armour and carries a turban.’ The corresponding Hindī verse furnished by Harivallabha does not agree with the above in iconographic conception: [Turuska-Gauḍa is a melody different from Turuska-Toḍi]: “Aṅga lasai bhukhana vasana Turakhāneki rīt| Kahe Turaka-Toḍi hai pive surā kari prīt”|| Translation: ‘Bedecked with jewelleries and dressed in Turkish modes (he) drinks with great zest. Such, it is said, is Turaka-Toḍi.’