Pre-Buddhist India: A Political, Administrative, Economic, Social and Geographical Survey of Ancient India Based Mainly on the Jataka Stories c6.s3.102

c6.s3.102

This old *vīṇā* was used equally by men and women, either as a solo instrument,⁷ or as an accompaniment to song,⁸ but even more often to accompany dancing,⁹ whether dramatic or professional.¹⁰ It was held under the left arm or in the lap, with its thin arm projecting forwards and upwards. It was played upon by the finger-nails (*agganakhehi*)¹¹ (of the right hand). From the *Guttila Jātaka*,¹² which presents before us the two master-musicians, playing the *vīṇā*, we also know something of the tuning of the harp. Musila plays the *vīṇā*, first having tuned it to a high pitch (*uttamamucchanāya mucchetvā vādesi*); then he tunes it lower to a medium pitch (*majjhimamucchanāya*) and finally plays with the strings slack (*sithila*).¹³ Evidently all the seven strings resounding make a music powerful and divine.¹ In the case of a harp for charming elephants—*Hatthikantā-vīṇā*,² three of the strings have magical affects when struck.