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Punjab and Vraj. These lines may alos serve as recognition-tags, as in the following:
ai pritamśun ekwar, saluni bolo ho' 'āj anand thayo, premanān vādal varsyän,
dahādo sohito' *ăvo hari lāsariyāvālā Odhav mādhavane kahejo" kahān avoji orā re, kahun ek vātaldi
These lines preserve the rare remnants of the folksongs of those days and hence very valuable. These desis are signiticant from the historical point of view also.
Some of the folksongs, garbā, rās can be traced to these lines and accordingly we can get an idea about their age.
If a tradition of singing these desis is maintained, then it should be recorded and studied, as their essence lies in its being lyrical. Similar is the case with its classical rág which was mentioned at times. Deśis also used to be cast in classical råg. To cite a few instances
pāsasi ho aho mere lalanā, division 5 Dhal 2 This is sung in Dhamāla rāg also. be karjodi tām re bhadrā vinve, division 5 Dhal 9 This desi is also sung in gaudi răg.
One more thing to be noted about this rāg or desi is that they are not moulded into any rāg or deśi without any rhyme or reason. Propriety of the occassion is always kept in view. As we know, Sikharini and vasantatilakā are appropriate for devotional compositions, or mandakrānta is fit for the message-theme, or upajāti or āryā is fit to be the vehicle for descriptive theme or vasantatilaki is suitable for love-in-separation. The same view is kept in the classical music also. If there is a description of battle. kadakhani desi is suitable as in the titth division. T9th Dhal.
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