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NOVEMBER, 1912.] KALIDASA AND THE HUNAS OF THE OXUS VALLEY
This must be looked upon either as having its origin in the imagination of the author, an occurrence by no means very rare, or as having been quoted from a previous writer, equally imaginative. According to the S. R., however, this was the constitution of the gandharagrama of Narada, which had already fallen into desnetude (see above). For, this authority gives the following arrangement of rutis in this grama. The 'gandharagrâma.' ga ma pa dha ni
ga
3; 38
33
48
33
23
Here it would seem that ga was the keynote, and in that case it is not very difficult to attach aplausible meaning to the scale. For, on comparing it with the shajagráma it will be observed that it is identical with it except for the fact that the interval between the second and the fourth notes, which amounts to or a minor third, is sought to be equally divided. If this conjecture be correct, it reminds us of a similar division introduced by Zalzal (8th century A. D.) in the Arabic scale and said to be still in use.75 In India, however, it fell into disuse, which probably gave rise to the myth that it was prevalent in heaven (svarga) and not on the face of the earth.'76 It is said to have originated with Nârada, a writer on music, but there is no inherent improbability in its having been borrowed by the Hindus from the Persians and Arabs, like so many other things in music (see below)."
ma
The S. P. having thus given a constitution for the midhyamgrama, which according to the S. R. belongs to the gandharagrama, proceeds to define the gandharagrama as follows with ga for the keynote:
[ga]
3;
33
43
35
3&
Sá
3; No other Sanskrit treatise on music, available to us, mentions a grama with this structure. If we examine, however, the original gandharagrama as given in the S. R. (which is the same as the malhyamagrama as defined in the S. P.), we find that the seventh note is the just Fourth of the fourth note but is not the just Fifth of the third. In the gandharagrama, according to the S. P., it would appear, the seventh note is made the just Fifth of the third note, sacrificing its relation of the just Fourth to the fourth note, the other relations remaining the same.
(To be continued.
pa
In order to enable the following three well-known
8a
dha
ri [ga]
ni
265
8α
ri
KALIDASA AND THE HUNAS OF THE OXUS VALLEY. BY PROF. K. B. PATHAK, B.A.; POONA.
KSHIRASVAMI, the well-known commentator on the Amarakosa, who belongs to the second half of the eleventh century, explains váhlika, meaning saffron, thus: यकदेशजं यद्रोहत्तरदिग्विजये gegrifen AGYMAMARI
reader to understand the view of Kshirasvâmi, I shall quote the verses of Kâlidâsa:
ततः प्रतस्थे कौबेरीं भास्वानिव रघुर्दिशम् | atsaftdidizagafter canfaa|| feisen defied | Tygaitun: exijo protrenere || तत्र हूणावरोधानां । भर्तृषु व्यक्तविक्रमम् । कपोलपाटनादेश बभूव रघुचेष्टितम् ॥
Raghuvamia IV.
14 8. R. p. 46, slokas 3, 4, and 5.
15 In the 13th, 14th and 15th genturies, however, Zalzal's neutral third was not in favour. (Prof. Land's Gramine Arabe).
168 R. p. 45, sloka 5.
17 If we are to believe, however, that this grama was in existence in India at the time when the Panchatan tra was first translated into Pahlavi (see above), the Hindus could not have borrowed it from the Arabs.
1 He quotes Bhoja and is quoted by Vardhamana, the author of the Ganaratnamahodadhi.
2 Mr. K. G. Oka's Ed. of the Kehtrasvamt, p. 110.
Some manuscripts of allabha's commentary read g.
