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MUSIC IN THE VAYU PURANA 22 The Vayu Purana has two chapters (86.14 ff and 87) devoted entirely to the science of Music. These two chapters especially deal with the theoretical side of Indian Music. Chapter 86 deals with 'Gandharva-murcchanalaksana-kathanam' and the whole of chapter 87 is on the 'Gitalamkaranirdesa' or determination of the Gita and Alankara. It should be noted that some manuscripts of the Vayu Purana omit this portion. In connection with these two Chapters, it will be proper to refer to some findings of Mr. V.R.R. Dikshitar "Taking the first chapter we find that the rules which are laid down are a mingling of both the schools, orthodox and secular. The purana does not mention either the famous author Bharata or his treatise. We have to credit these portions of the purana as materials of an earlier epoch, earlier than Bharata Natyasastra. It may be noted in passing that in some respects the injunctions agree with those 1.1 #53 of the Naradi Siksa. This theoretical description of music has been brought in with reference to Revati, the daughter of king Reva who was given in marriage to balarama, the brother of Vasudeva Krsna. 54 Here we get reference to the important technical terms in Indian music viz. Svaramandala, which contained in it Svara, Grama, Murcchana and Tana. According to the Purana there are seven svaras, three gramas, twenty-one murcchanas and forty nine tanas. It is obvious that the description of Svaramandala which occurs in the Naradi siksa is repeated by The seven svaras mentioned by the Vayu our Purana. 55

23 Purana are sadja, Risabha, Gandhara, Madhyama, Pancama, Dhaivata and Nisada which we find in the Naradi Siksa and also in the Matyasastra. 56 The Vayu Purana has referred to the three traditional gramas viz. Sadja grama, Madhyama grama and the Gandhara grama. I have already mentioned that as Gandharagrama had gone out of practice at the time of Bharata's Natyasastra, Vayu Purana does not give any further explanation of the nature of these three gramas and starts to describe the Murcchanas of these three gramas. The seven mure chanas of the madhyama grama given by the Vayu Purana are as follows : (1) Sauviri (2) Harinasva (3) Kalopanata (4) Suddhamadhyama (5) Margi (6) Pauravi (7) Rsyaka. 57 The Natyasastra also referred to these seven murcchanas of the madhyama grama. But there is Hrsyaka instead of Rsyaka. Naradi siksa admits the twenty-one murcchanas, Seven of the Gods, seven of the Pitaras and seven of the sages. The description of the murcchanas of the Madhyama-grama as given by the Naradi siksa, differs from that of the Natya sastra and of the Vayu Purana and the Visnudharmottara Purana. As told by the Naradi siksa, the seven murcchanas of the gods are

- 24 Nandi, visala, sumukhi, citra, citravati, Sukha, and Bala. The seven murcchanas of the Pitaras are Apyayini, Visvabhrta, Candra, Hema, Kapardini, Maitri, Vahrti and the seven murcchanas of the sages are uttaramandra, Abhirudgata, Asvakranta, Sauvira, ir sy aka, Uttarayata and Rajani. The murcchanas of the sages are the 'Laukika' murcchanas. 58 The murcchanas of Sadjagrama given by the Vayu Purana are seven but mention is made only of four. It must be a copyist's mistake. (1) Uttaramandra (2) Rajani (Janani) (3) Uttarayata and (4) Suddhasadja. 59 Under the Gandharagrama - ten murcchanas occur instead of seven. (1) Agnistoma (2) Vajapeya (3) Paundrika (4) Asvamedha (5) Rajasuya (6) Cakrasuvarnaka (7) Gosavam (8) Mahavrstikam (9) Brahmadanam (10) Prajapatyam. According to Naradi 60 Siksa also the Gandhara-grama is prevalent only in 'Svarga' (heaven). The murcchanas of the gods are naturally the murcchanas of the Gandharagrama viz. Nahdi, Visala, Sumukhi, Chitra, Citravati, Sukha and Bala. The text of the murcchanas of the Gandharagrama in the Vayu Purana given by Alain Danielou and N.R. Bhatt is altogether different. 61 V.R.R. Dikshitar has mentioned the ten murcchanas described above and says that the remaining three murcchanas apart from the seven are to be taken as belonging to the Sadjagrama where we 62 noticed an omission. But this explanation does not seem to be acceptable, because these names are not found in the Natyasastra or in the Naradi Siksa. On the contrary, these are the names of the Tanas as found in the Visnudharmottara Purana.

25. The "Textes des Purana Sur la theorie musicale" accepted these names as of the tanas of the Madhyama-grama. It is likely that after the verse "gandharagranikamca nya kirtyamana P-TaTERI" the two lines namely. athapa krtrima caiva trtiya nandini tatha | tatha visudhdagandhari gandhari cottara punah sadna pancayata #a" are omitted by the copyist and then the verses -- 'Agnistomika' etc. follow which give the names of 49 tanas in that long paragraph. By accepting this there does not remain the question of explaining the ten murcchanas of the Gandhara grama instead of seven. This view is supported by Sangita Ratnakara of Sarangadeva also. 63 The Purana has given the presiding deities of murcchanas and the significance of their names. The presiding deity of Sauviri is Brahma. The notes (tats) of this murechana are Ma, Pa, Dha, Ni, Sa, R 1, Ga. Harinasva is said to be special for the Hari country and the deity is Indra. notes are Ga, Ma, Pa, Dha, Ni, Sa, Ri). The deity of the murcchana Kalopanata is Maruts. The notes are Ri, Ga, Ma, Pa, Dha, Ni, sa). (the The Suddhamadhyama is said to be peculiar to Maruddesa or desert region and its deity is Gandharva. (The notes are Sa, Ri, Ga,Ma, Pa, Dha, Ni). Mrgendra is the presiding deity of Margi (Its notes are Ni, Sa, Ri, Ga, Ma, Pa, Dha) Pauravi is the murcchana of the Yogi. The deity is Vidhi or Brahma. (The notes are Dha, N 1, Sa, Ri, Ga, Ma, Pa).

- - 26 Rsyaka is the murcchana of the Rsis (The notes are Pa, Dha, Ni, Sa, Ri, Ga, Ma). Sadja-grama murcchanas Uttaramandra - The presiding deity is Yaksa and the notes are Sa, Ri, Ga, Ma, Pa, Dha & Ni. Uttarayata - This murcchana is of the 'Pitaras' and the notes are Dha, Ni, Sa, Ri, Ga, Ma, Pa. Suddha - Sadja - Pa, Dha, Ni, Sa, Ri, Ga, Ma. Matsarikrta - The deity is Nagadevata and notes are Ma, Pa, Dha, Ni, Sa, Ri, Ga. Asvakranta - The deity is Asvin and notes are Ga Ma Pa, Dha, Ni, Sa, Ri Gandhara -grama Murcchanes Alapa Ga, Ma, Pa, Dha, Ni, sa, Ri Krtrima (Uttama) The deity is Paksiraja Nandini Ri, Ga, Ma, Pa, Dha, Ni, sa. The deity is Visvedevah. The notes are Sa, Ri, Ga, Ma, Pa, Dha, N 1. Visuddha Gandhari - The presiding deity is Gandharva and notes are Ni, Sa, Ri, Ga, Ma, Pa, Dha. Uttara Gandhari - The deity is Vasu and the notes are Dha, Ni, Sa, Ri, Ga, Ma, Pa. Sadja - The deity is Anala and the notes are Pa, Dha, Ni, Sa, Ri, Ga, Ma. Panchiyata - The deity is Pancama, and the notes are Ma, Pa, Dha, Ni, Sa, Ri, Ga.

27After giving the description of the murcchanas the Vayu Purana has explained the Tanas, the remaining constituent of the Svaramandala. Here mention is made of the forty-nine tanas. The Purana distributes them among the three gramas as follows :-' 64 20 Tanas for madhyama grama. 14 Tanas for Sadja grama. 15 Tanas for Gandhara Grama. 49 Total. The Visnudharmottara Purana and the Naradi Siksa mentioned the 49 tanas. Natyasastra has referred to eighty four tanas forty-nine 'Satsvara tanas' and thirty-five 'Pancasvara tanas'. The four 'Satsvara' tanas in the Sadjagrama and three 'Satsvara tanas' in the madhyama-grama. There are seven murcchanas in a grama. Therefore 7 x 7 = 49 tanas. There are three 'Pancasvara tanas' in the Sadjagrama and two in the madhyama-grama. Seven 'Pancasvara' 66 65 tanas - 7 x 5 = 35 (the application of these five tanas into seven murcchanas). Summarily there will be eighty-four tanas. Sarangadeva has admitted the eighty-four tanas. In Sadjagrama 28 satsvara tanas + 21 Pancasvara tanas = 49 and in madhyamagrama 21 satsvara tanas +14 Pancasvara 67 tanas = 35. Forty-nine tanas as described in the Vaya Purana - (A) Madhyama-grama tanas :- (1) Agnistomika (2) Vajapeyika (3) Paundraka (4) Asvamedhika (5) Rajasuya (6) Bahusuvarnaka

- 28 (7) Gosava (8) Mahavratika (9) Brahmatana (10) Prajapatya (11) Nagayajnasraya (12) Gotara (13) Hayakranta (14) Mrgakranta (15) Visnukranta (16) Manohar (17) Suryakranta (18) Varenya (19) Mattakokilavadina (20) Ujjivaka. In Sangita Ratnakara we get the term 'Suddhatana'. Sarangadeva has mentioned the seven Suddhatanas which are (1) Agnistoma (2) Atyagnistoma (3) Vajapeya (4) Sodasi (5) Pundarika (6) Asvamedha (7) Rajasuya.68 But Sarangadeva has included the tanas namely Gosava, Mahavrata, Prajapatya, Asvakranta, Visnukranta, Suryakranta etc. in the twenty-eight Satsvara tanas in the Sadjagrama. (b) Sadjagrama tanas (1) Prasvapa (2) Paisaca (3) Jivana (4) Savitra (5) Ardhasavitra (6) Sarvatobhadra (7) Suvarna (8) Subhadra (9) Visnu (10) Visnuvara (11) Sagara (12) Vijaya (13) Hamsa (14) Jyestha. Sarangadeva has mentioned the tanas Savitri, Ardhasavitri, Sarvatobhadra in the twenty-one 'Satsvara' tanas in the Madhyama-grama. (C) Gandhara-grama tanas - (1) Tumbaru-priya (2) Manohara (3) Adhatrya (4) Gandharvanugata (5) Alambusesta (6) Narads-priya (7) Bhimasenapriya (8) Nagara-priya (9) Kalopanita-vinata (10) srirakhya (11) Bhargava-priya (12) Abhiramya (13) Sukra (14) Punya (15) Punyakara.

2:3 In the Chapter 87 - "Gitalankara nirdesa", we get information about Varna, Alankara, Paryaya, Itaka, Pada and Vrtti. At first we find the phrase 'Purvacaryamatam budhya'. That means the compiler of the Vayu Purana has followed the ancient teachers. But he does not mention the name of the authority on which he has based his theory of music. He is giving information about the science of music which is handed down to him traditionally. 69 70 It is said that the alakaras (embellishment) are thirty in mumber and these should follow varnas. The Natya sastra mentions thirty-three Alankaras and four varnas. The Vismidharmottara mentions only four Alankaras such as 'Prasannadi', 'Prasannadyanta', 'Prasannanta' and 'Prasannamadhya! The Vayu Purana gives the four requisites of the Alaikaras. They are Sansthana (form) Pramana (measure), Vikara (Modification) and Laksana (definition).71 The importance of Alankara is shown in the attainment of these four requisites. It is said that the relation of Varna to Alankara is comparable to the adornment of different jewels by a woman. The Alankaras depend on the 'Vakyertha' 'Pada' and 'Yogartha'. The Vayu Purana mentions three sthanas viz. Uras (Chest) Kantha (neck), and siras (head). Varna means the melodic movement. The varnas are four Sthayi, Salcari, Avarohanam 72 and Arohanam. Natya sastra says that the Varnas on which the Alankaras depend are of four kinds. Ascending (arohin), Descending (avarohin), Monotonic(sthayin) and Mixed (Sancarin lit.moving together). The varna in which the notes go up

- 30 - (in the scale) is called Ascending. For example 'sa, ri, ga, ma, pa, dha, and ni. The varna in which the notes go down in the scale is called descending, for example - ni, dha, pa, ma, ga ri, sa. The monotonic varna is that in which notes are the same and are equal in pitch - Sa, Sa, sa or ma, ma, ma etc. and when the various notes come together they constitute what is called a mixed Varna Sa ri ga,ga ri sa, ri ga ma, ma ga 73 ri etc. These varnas relate to the quality of the three voice registers (sthanani) mentioned above. The text of the Vayu Purana is extremely corrupt. Hence I am trying to explain the discussion of Alahkaras with the help of the Natyasastra. Matyasastra has discussed the list of thirty-three Alankaras. We get some names of these Alankaras in the Vayu Purana. First there is an omission of the four important Alankaras viz. 'Prasannadi', 'Prasannant a', 'Prasannadyanta' and 'Prasannamadhya'. But it must be a mistake of the copyist. Then Pramada and Apramada look like the Alahkaras Prasvara and Prasada in the Natya sastra which are the sthayi (monotonic) Alankaras. When in a Kala, notes ascend gradually by one note, it is a Prasvara Alankara and when in a Kala notes descend gradually by one note, it will be a Prasada Alankara. Avarta (Avartaka in the Natya sastra) in which there are eight kalas of four consecutive notes ascending and descending. It is also formed with two alternative notes. In that case four Kalas will have ascending and descending notes. Krama Alamkara is formed when successive kalas include one, two, three, four, five, six and seven consecutive notes

- 31 which ascend. Uavabita is formed when in a kala,two consecutive notes ascend, and two such kalas make one unit. Hunkara (instead of kumara) is formed by ascending at least two or four notes in each kala. When a note of one kala of low pitch, after touching a high pitch comes back to its original place, it is the Alankara named Bindu. In kala. notes. Prenkholita, the notes ascending and descending occur in each Hasita constituted with double kalas of two consecutive Sandhipracchedana is formed having group of four kalas with notes ascending from it to the original one and there being no throwing up. 74 Some other names of the Alankaras like Vemu, Aksipta, Udgita, Ranjita, Recita, Praksipta, Parivarta, Kuhara, Vidhuna can be found. The Vayu Purana says that the Alankaras are thirty in number and they are dependent on Varna, Sthana and measures like Kala and Matra. 75 In The Natyasastra says that a song without any Alankara will be like a night without the moon, a river without water, a creeper without a flower and a woman without any ornament. other words the Vayu Purana also says that the relation of Alankara to Varna is just like the ornament on the body of a 76 woman. Alamkaras should be attached to proper places, for example the girdle should not be placed over the breast and the kundala in a foot. 77 The Purana refers to the terms 'Paryaya' and

- 32 - 'BahirgItam'. 'Paryaya' means the alterations. 'Paryaya' derives from the melodic movement (varna). Bahirgitam is said to be 'Pancadaivatam' which implies scenic performance on the stage. 'Bahirgitam' is the song sung in front of the stage before the regular dramatic performance begins. 78 The Then there is a reference to the 'Gitakas'. The seven traditional types of songs are the Madraka, Ullopyaka, Aparantaka, Prakari, Ovenaka, Rovindaka and Uttara. technical terms called Pada and Vrtti occur in the Purana. The four Padabhagas are technically called Matra. are three kinds of Vrttis Citra, Vrtti and Daksina determined by two matras, four Matras and eight Matras respectively. All these Vrttis are used in the Sauviri Murcchana. 79 80 There