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LIFE IN ANCIENT INDIA (48) maddaya, (49) tala, (50) tāla, (61) kaṁsatāla, (52) ringirisiyd, (53) lattiya, (54) magariya, (55) suisumariya, (56) varsa, (57) veļu, (58) vālā, (59) parillí and" (66) baddhagd.
DANCE
Music is incomplete without dance and expression. Dance has found copious mention in Indian literature from the earliest period.1 We are told that Meghakumāra after marrying eight girls passed the time happily in his palace, having before him plays of thirty two performers, accompanied with song and music of drums played by damsels. The Rayapaseniya describes thirty two kinds of dramas: (1) The first dance drama was shown with the accompaniment of orchestral music representing the eight symbols, viz. sotthiya (svastika*) sirivaccha, nandiyāvatta, 3 vaddhamanaga,* bhaddasana, kalasa, maccha and dappana.
(2) In this dance drama were shown avada, paccāvada, sedhi, pasedhi, sotthiya, sovatthiya, pūsa, mänavaka, vaddhamanaga, macchanda, magaranna, jära, mara phullávali, paumapatta,* sāgarataranga, vasantalată and paumalayabhatticitta.*
(3) In this they showed thāmiga, usabha, naraturaga, magara,* vrhaga, vālaga, kinnara, turu, sarabha, camara, kuñjara,* vanalayā, and puamalayabhatticitta.
(4) In this they showed egao vanka, egao cakkavāla, duhao cakkavála, cakkaddhacakkavāla.
(5) In this was the representation of avalis such as candāvali, sūrāvalı, valıyāvali, hansävalı, * egāvali, tārāvali, muttāvalı, kanagavalı, and rayanāvalı.
(6) In this was shown the rise of the sun and the moon such as canduggamana and suruggamana.
90 Sū 64. The Brh. Bhã Pi (p. 12) mentions the twelve musical instruments bham. bha, mukunda, maddala, kadamba or kadava, jhallari, hudukka, kamsālc, kähala, talima, vamsa, panava and senkha , see also Bth Bha Pi 24, also Bhag 54, Jiva 3, p 145 a , Jambu 2, P 100 f, Anu Si 127, Nrsi củ 17, p 1158. The last mentioned work adds damaruga, vina, dhankuna and the like The dcă (II 391) adds littsya and kurtkiriya The Süya (4 2 7) mentions kukkayaya (lute) and venupalasiya lute, the latter was a thin piece of bamboo or bark held between the teeth and the left hand, and played by the right hand just like a vina (com) Also see Sangularatnākara, chapter 6 where the details of the musical instruments are given. The Rāmāyana, V 11, 38 ff. mentions madduka, pataha, vamsa, vipajici, mrdanga, panava, dındıma, ādambara and kalasi , also see Mahābhā. VII 82 4.
01 Three types of Siva dances are mentioned in Hindu literature (1) evening dance in the Himālaya with a divine chorus which was the source of all movement within the cosmos, (2) Tāndava dance was performed in cemeteris and burning grounds which released the countless souls of men from the snare of illusion, (3) Nadanta dance of Nataraja was performed before the assembly in the golden hall of Chidambaram or Tillai, the centre of the universe which shows that the place of dance, the centre of the universe is within the heart (Coomaraswamy, op cit, pp 56 f, 65, also CR Srinivasa Anyangar, Cultural aspects of Indian Music and Dancing, The Cultural Heritage of India, Vol. III, p 586. 03 Naya 1, P 23. 9a Svastika, vardhamana and nandyavarta are also mentioned in the Mahābha. (VII, 82. 20) In the com, of the Anguttara, nandiyāvatta 19 mentioned as the name of a fish (Malalsekara, op. cit., Vol. II, p. 29).
