Pre-Buddhist India: A Political, Administrative, Economic, Social and Geographical Survey of Ancient India Based Mainly on the Jataka Stories c6.s3.93

c6.s3.93

1. e. g., J., I, p. 470; V. pp. 249, 261, 506-7-G. 478.
2. J., I, p. 134: gāyitvā gāyitvā; a boy of 7 years at J., V, p. 249.
3. J., IV, p. 231. madhurena surena gāyanti; see also II, p. 329.
4. J., IV, p. 255: cf. also IV, p. 160-G. 13.
5. J., V, p. 290: Even the ascetics indulge in it: J., I, p. 362-G. 80.
6. J., IV, p. 252: ete madhurena surena gāyanti, manuññaṃ naccanti.
7. J., II, pp. 248 ff.
8. J., III, pp. 188 ff.
9. J., II, p. 329: III, p. 188 "tantissarena gītassarena tantissaram anattikkamite madhurena surena gāyi or gandhabbam ādāyi.
10. The primary idea of turiya, tura or tūrya, is instrumental music, that is vādita, or orchestra, as we might term it. Cf. Pārisaram Kumbhathūnaṃ nisithe, atho pi ve nippurisaṃ hi tūriyam: J., V, p. 506-G, 478; generally the term is used for any musical instrument, as vīṇādini turiyāni. III. p. 40: nānā turiyāni gahetvā: VI, p. 289: the word appears to have been used in the Buddhist literature in the triple sense of musical measure (tāla) musical instrument, and playing on musical instruments with or without the accompaniment of dancing, singing and the rest. See Barua, Barhut Inscriptions, p. 51: the label on the Barhut railing reads: Sādika sammadam-turam devānam: Ibid., p. 47.
11. Cf. Ananda K. Coomaraswamy, J. A. O. S., 50, pp. 244-53: 51, pp. 47, 284: 57, pp. 101-3; N. B. Divatia, Annals B. O. R. I., XII, pp. 362-71.
12. Cf. J., VI, p. 580-G. 2389: Vādantu ekapokkharaṃ.
13. J., II, pp. 225: Vīṇādaṇḍako viya saṃkuṭito, 226-G. 163. So' yaṃ saṃkuṭito seti chinnalantiyathā vīṇā 252 (suddhadaṇḍa).
14. J., II, pp. 252-3-G. 184; VI, p. 51-G. 234 "Kadā visaṃ virujako sattatantimanoramam."