________________
REVIEWS
65
reviewed by Caland who did not agree with him on the relation of the Uttaragāna to the Puspasūtra (DLZ, 1909, Nr. 30, Sp. 1883 ff.). Simon examined the relations between the Arseyakalpa (published by Caland: Der Arseyakalpa des Samaveda, Leipzig, 1908), the Puspasūtra and the Uttaragāna in his article 'Bemerkungen zum Arşeyakalpa und Puşpasūtra' (ZDMG 63, 1909, pp. 730-738) = Kl. Schr. pp. 769-777. Caland's reply ("Zum Arşeyakalpa und Puspasūtra', ZDMG 64, 1910, pp. 347-348) received only a brief reaction from Simon: 'Schlussbemerkung zum Arşey akalpa und Puşpasūtra' (ZDMG 64, p. 602) = Kl. Schr. p. 778. These chronological problems were discussed by Caland again in his introduction to his translation of the Pancavimsa-Brāhmana (Calcutta, 1931). In a recent study Asko Parpola shows himself in full agreement with Simon with regard to the anteriority of the Uttaragāna to the Puspasutra (The Srautasūtras of Latyāyana and Dráhyayana and their commentaries, Vol. I: 1, Helsinki, 1968, pp. 74-76). In 1913 Simon edited and translated the Pancavidhasūtra which explains how the singing of each verse is divided by the three priests, the prastotar, the udgatar and the partihartar: Das Pañcavidhasutra = Kl. Schr. pp. 779-862. In 1923 he published a translation of Lātyāyāna VI, 10-VII, 13 which deals with the same topic (ZII 2, 1923, pp. 1-33) = Kl. Schr. pp. 905-937. In an article, published in 1913, Simon studied the notations of the gānas by the Kauthumas, the Rāmāyaniyas and the Jaiminiyas: 'Die Notationen der vedischen Liederbücher' (WZKM 27, pp. 305-346) = Kl. Schr. pp. 863-904.
Although most of Simon's publications relate to Vedic music, he did not neglect the later tradition. He published the text and an analysis of the Samgītadarpana by Damodara, an author · who lived after Kallinātha (about 1450) whom he quotes: 'Quellen zur indischen Musik. Damodara' (ZDMG 56, 1902, pp. 129-153 and 262-292) = Kl. Schr. pp. 347-402.
• The Rägavibodha, written in 1609 by Somanātha, contains fifty tunes for the vīnā (5th viveka, verses 37-166). In 1904 Simon published an autographed edition of these fifty tunes: The musical compositions of Somanātha (Leipzig, 1904) = Kl. Schr. pp. 407-444. The 23 signs (samketa) used by Somanātha for his notations were studied by him in 'Die Notationen des Somanātha' (SBAW, 1903, pp. 447-469) = Kl. Schr. pp. 445-469. The chronology of the musical literature was studied in the last article published by Simon: 'Zur Chronologie der indischen Musikliteratur' (ZII 2, 1923, pp. 153-166) = KI. Schr. pp. 938-951. Finally, one must mention two brief articles: a study of a passage in Kallinātha's commentary of Särngadeva's Ratnākara: The Successor of Deva Raya II. of Vijayanagara' (JRAS, 1902, pp. 661-663) = Kl. Schr. p. 344-46; an explanation of two musical terms in the Sisupālavadha: "Māgha, Sisupalavadha II, 90' (ZDMG 57, 1903, pp. 520-523) = Kl. Schr. pp. 403-406.
Rüdiger Schmitt, the editor of this volume, has added several indices (1. Indische Namen; 2. Indische Werktitel; 3. Sachregister; 4. Wortregister (Sanskrit); 5. Stellenregister). According to his preface Simon planned to contribute to the 'Grundriss' a book on ancient Indian music. It is much to be regretted that Simon was unable to execute this task for which he was so well qualified. However, one must welcome the fact that all his publications on Indian music have now been made so much more accessible by this publication. It is a pity that von Glasenapp's obituary on Simon (ZDMG 89, 1935, p. 255-259) has not been reprinted in this volume, because it makes clear that Simon left much unpublished work in the form of copies, collations and translations of manuscripts.
Australian National University
J. W. DE JONG
Helmuth von Glasenapp, Von Buddha zu Gandhi. Aufsätze zur Geschichte der Religionen Indiens, Zu seinem siebzigsten Geburtstag am 8. September 1961 im Namen seiner Schüler herausgegeben von Volker Moeller, Wilfried Nölle und Joachim-Friedrich Sprockhoff. Wiesbaden, Otto Harrassowitz, 1962. 289 pp. DM 76.-.
