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Punjab and Vraj. These lines may alos serve as recognition-tags, as in the following:
ai pritamśun ekwar, saluņi bolo ho'
L
aj anand thayo, premanān vādal varsyān, dahādo sohilo'
avo hari lasariyāvālā '
Odhav mādhavane kahejo'
'kahan avoji ora re, kahun ek vātaldi '
These lines preserve the rare remnants of the folksongs of those days and hence very valuable. These desis are significant 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 rag which was mentioned at times. Deśis also used to be cast in classical rag. To cite a few instances
pāsaji ho aho mere lalană, division 5 Dhal 2 This is sung in Dhamāla rāg also.
be karjodi tām re bhadra vinve, division 5 Dhal 9
This desi is also sung in gauḍi rāg.
One more thing to be noted about this rag or desi is that they are not moulded into any rag or desi without any rhyme or reason. Propriety of the occassion is always kept in view. As we know, Śikhariņi and vasantatilaka are appropriate for devotional compositions, or mandäkräntä is fit for the message-theme, or upajāti or ārya is fit to be the vehicle for descriptive theme or vasantatilaka 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 fifth division. 19th Dhal.
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