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INTRODUCTION.
The verses 22-40 on pp. 23-25, different kinds of singers &c., in this Ratnakara almost word for word1. corrupted by the copyists' mistakes. whether the author of the Sangita Ratnakara inserted them in his work from this book or some one extracted them from the Sangita Ratnakara and interpolated them in the present work. Arguments might be advanced to support either view. I therefore leave the point for the decision of the experts.
VII
At the commencement of the Nrityadhyaya Nârada gives the descriptions of the Nâtya S'âlâ (Dancing Half), Sabha (audience) Sabhapati (Chief of the audience) &c. and all these are independent of those given in the Sangita Ratnakara.
describing the merits of the work, are found in Sangita In our text here they are It is difficult to decide
Further he has mentioned 101 Talas with their definitions but has not divided them into Marga and Des'i as is done by S'arngadeva in the 5th chapter of his Sangita Ratnakara wherein the number of Des'i Talas described is 120.
As regards dancing he has given a very brief account of it. He has enumerated and defined only 33 postures of a dancer within a few verses. But the author of Sangita Ratnakara has devoted one whole chapter to the subject and has done full justice to it.
The style of the book is very simple like that of Bharata's Natya S'astra. But the Sangita Ratnakara is written in highly polished Sanskrit. The arrangement of Sangita Ratnakara is scientific and it seems to have been written after the art of Music had attained a very high stage of development in all its branches.
Date of Sangita Makaranda-If we take all the above circumstances into consideration, we are obliged to arrive at the conclusion that Sangita Makaranaa is an older work than. Sangita Ratnakara.
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1. Vide Sangita Ratnakara Vol. I. p. 243-246.
2. Vide pages 27 to 29.
3.
4.
Vide pages 47 verses 93-100.
Vide pages 49 to 51.
