Fundamental of Ancient Indian Music and Dance

Author(s): Sureshchandra Benarji
Publisher: L D Indology Ahmedabad

Page 94

Appendix É
85
Hindola---Mayuri, Dipika, Desakāri, Pāhidā.
Vārāļi, Mārāțhí. Karņāta-Năţikā Bhūpālī, Rāmakeli, Kāmodī, Kalyāṇī,
Gatā (?). Next follow the dhyānas (figures to be medidated upon) of the different rāgas and rāgiņīs. These are in various metres and couched in elegant language which reveal the poetic gifts of the author.
The above account is based on the manuscript belonging to the Bangiya Sahitya Parişat. The other manuscript appears to represent a shorter version. It omits many of the preliminary verses. After two introductory verses, both of which are absent in the Sahitya Parisat MS., it sets forth the names of rāgas followed by those of the rāginis. The other noteworthy divergences between the two manuscripts are set forth below.
For Sinduďā of the Parişat MS., the Society Ms. reads Sindhujā, Aśvart of the formeris Āśoārı of the latter. Kaumārikā of the former corresponds to Kumārikā of the latter.
Among the rāgiņis, to be sung in the morning, the first is Vibhāṣā in the Parişat MS., while it is Ahiri in the other one; the latter name does not occur in the Parişat MS. Among the rāgas to be sung at noon, the Mãyūrī of the Parisat MS.
laced by Madhavi in the Society MS. Ragini Dhānusi of the former corresponds to Dhànasi of the latter.
As regards the time appropriate for singing the rāgas, while the Parişat MS. provides the night after leaving the first ten daņdas, the Society MS. ordains two periods, viz. within ten dandas of pradosa (nightfall). In connexion with the rāga Meghamallāra, the Parişat MS reads sarvāsu sarvadā; the Society MS. reads, evidently with more aptness, varsāsu for sarvāsu. As regards the period suitable for Vasanta rāga, the Parisat MS. ordains the time from Śripañcamí up to the śayana of Hari. The Society MS, extends the limit up to the time of Durgapūjā.