Social Life in Ancient India: Studies in Vatsyayana's Kamasutra c8.s7.t4.5

c8.s7.t4.5

I am inclined to think that Vātsyāyana's *ḍamaru*ka stands here for percussion instruments in general. The *vīṇā* even then formed the most popular of the musical instruments in India, as is apparent from the fact that it formed a necessary piece of furniture in the rooms of every *nāgaraka* on which, as we have seen, he played almost every evening. Such a *vīṇā* in the room of Nanda reminds the bereaved Sundarī of her dear absent husband,¹ and Bhāsa's *Cārudatta* is overwhelmed by its merits and is enthusiastic in its praises.² Of wind instruments, the flute made of a bamboo reed (*vaṃśa*) is mentioned by Vātsyāyana who praises it as capable of winning the heart of any girl when used in the way he prescribes.³ In the *Buddhacarita* and *Lalitavistara* it is called *veṇu* and is generally associated with the *vīṇā*; and women play upon it.⁴ We have seen that music with or without dances was enjoyed by our *nāgaraka* every evening. The *nāgaraka*'s sons received lessons in music at the *gāndharvaśālā* or college of music belonging perhaps to the city or to the *gaṇa* or corporation to which he belonged. Sweet and ravishing songs delighting the ear, form, according to Vātsyāyana, the readiest means of gaining the love of a man or a woman, and sometimes songs were specially composed containing a mention of the name and the family of the lover.⁵ Concerts (*tūryya*) are mentioned by Vātsyāyana, in which a party of musicians of both sexes sang and played together on various instruments. A party of such players was sometimes strengthened by its head (*rangopajīvin*) giving his daughter in marriage to a clever artist who could help in the concert. An actress (*ikṣaṇikā*) is mentioned by Vātsyāyana as a very good carrier of love messages,¹ because, as Cārudatta says, a person making a living by the *kalās*, like her, must be very clever at all sorts of tricks.² Bharata says that sometimes on the stage the female parts were acted by men and an actress sometimes acted that of a man.³ Some actresses were maintained by the king and suitable quarters in the palace were set apart for them.⁴