Kohala in the Sanskrit textual tradition (Study)
by Padma Sugavanam | 2011 | 95,782 words
This page relates ‘Kohala and Gita (9): The concept of Raga� of the thesis dealing with Kohala’s contribution to the Sanskrit textual tradition of ancient Indian performing arts. The study focuses specifically on music (Gita), dance (Nritya), and drama (Natya). Although Kohala’s original works have not been found, numerous references to him across Lakshana-Granthas (treatises) and works by modern scholars indicate his significance.
Go directly to: Footnotes.
Kohala and Gītā (9): The concept of Rāga
1 Gauḍa 岵
गौडस्य द्वैविध्यं कोहलॶये�
तुरुष्कगौड� द्राविडगौड इत� �
तुरुष्कगौडस्तु औडवे वक्ष्यते �
मूर्तिस्तु निबन्धान्तरे �gauḍasya dvaividhya� dzī�
ٳܰṣkḍo 屹ḍaḍa iti |
ٳܰṣkḍastu auḍave vakṣyate |
ūپtu nibandhāntare |�(ṅgīٲⲹṇa, Vol. I, p.88)
This reference to dzīⲹ occurs in the work ṅgīٲⲹṇa in the section describing the ṣaṇa and ūپ (images) of the ṣāḍava 岵s.
This statement forms a ṛtپ on the following verse describing the ṣaṇa of 屹ḍaḍa 岵.�
निषादांशग्रहन्यासः षड्जपञ्चमसङ्कुलः �
गेयो द्राविडगौडोऽयं वीरशृङ्गारयोर्निशि � �.१८� �niṣādāṃśagrahaԲ� ṣaḍjapañcamasaṅkula� |
geyo drāviḍagauḍo'ya� īśṛṅgārayorniśi || 1.185 ||(Trans: ٰ屹ḍaḍa has ni as graha, ṃśa and Բ, and prominent use of sa and pa. It is sung at night in ī and śṛṅgāra rasas[1])
At this juncture the author mentions that the work dzīⲹ speaks of two varieties of gauḍa-岵£�
- 屹ḍaḍa and
- ٳܰṣkḍa.
And also says that the description of ٳܰṣkḍa can be found under the ḍa-岵s.
तुरुष्कगौडः�
वीरे � रौद्रे � तुरुष्कगौड� निषादांश� रिपवर्जितश्च �
मूर्तिस्तु निबन्धान्तरे�
तुरुष्कगौड आरूढहय� पक्वेष्टकारुचि� �
शारचापधरश्चण्ड उष्णीषी क्वचावृत� � �.२९� ॥—इबिद्.: प्.१४�ٳܰṣkḍa��
vīre ca raudre ca ٳܰṣkḍo niṣādāṃśo ripavarjitaśca |
ūپtu nibandhāntare�
ٳܰṣkḍa ārūḍhahaya� pakveṣṭakāruci� |
śāracāpadharaścaṇḍa uṣṇīṣ� kvacāvṛta� || 1.293 �ibid.: p.148
2 ḵ-岵
उडून� वान्तीत्युडुवाभिधानं व्योमेरितं तत� खल� पञ्चमं स्यात् � �.५८� �
भूतेषु तस्मादिह पञ्चसंख्या जातौ � संख्या पुनरस्ति येषाम् �
अमी स्वरास्त� स्वरनामधेय� जाताश्� ते यत्र तदेव गीतम� � �.५८� �
मुनीश्वरैरौडुविताभिधान� निरूपितं याष्टिककोहलाद्यै� �uḍūni vāntītyḵvābhidhāna� vyomerita� tat khalu 貹ñ� syāt || 1.582 ||
bhūteṣu tasmādiha pañcasaṃkhyā jātau ca saṃkhyā punarasti yeṣām |
amī svarāste svara峾dheyā jātāśca te yatra tadeva gītam || 1.583 ||
munīśvarairaḵvitābhidhāna� nirūpita� yāṣṭikakohalādyai� |�(ṅgīٲܻ, p. 62)
In the section on پ, Govinda īṣiٲ deals with śܻ پs, ṛt-پs and saṃsargajā پs. He then starts explaining the thirteen aspects of 岵 (岵ṇām ٰǻ岹ś ṣaṇam�) while commenting that these are applicable to the پs as well as to 岵s (which are off-shoots of the پs).
The thirteen characteristic features of 岵 according to Govinda īṣiٲ are:
Each of these characteristic features has then been explained individually, the last of which is ḵ. Govinda īṣiٲ traces the etymology of the word ḵ. He says that the word �ḵ� means �star�. The place where these stars move freely (uḍūni vānti iti) is the sky (ḵvam). Since the sky is the fifth among the elements, this word has been used to indicate the pentatones. Thus a group of five notes is called ḵ and a song based on these is termed as �aḵvita�. And, Govinda īṣiٲ says that this has been established by ṣṭ첹 and Kohala. The verses of Govinda īṣiٲ appear to be a mere paraphrasing of Śṅg𱹲’s definition of ḵ.
Abhinavagupta seems to be the first to propose such a vyutpatti for this term. He says�
तत्प्रयोगात् पञ्चस्वर� औडुविकाः, उडवो नक्षत्राणि, वान्ति गच्छन्त्यस्मिन्नित� उडुवमाकाशं, ते� पञ्चसंख्या, तै� सप्त लक्ष्यन्ते �
tatprayogāt pañcasvarā aḵvikā�, uḍavo nakṣatrāṇi, vānti gacchantyasminniti ḵvamākāśa�, teva pañcasaṃkhyā, tai� sapta lakṣyante |[2]
Śṅg𱹲, following Abhinava’s footsteps also gives this vyutpatti for the term ḵ in his work�ṅgīٲٲ첹. Also, neither Abhinava nor Śṅg𱹲 mention ۲ṣṭ첹, Kohala or any other authority in this regard.
Govinda īṣiٲ’s source for making such a claim seems to be doubtful. Also, Śṅg𱹲 has given this (ḵ) as one of the 峾Բⲹ-ṣaṇa for پs, but perhaps due to the greater currency of 岵s (and outdated-ness of the پs) during his times, Govinda īṣiٲ calls all these ṣaṇas for 岵s while just making a passing mention of their relevance to پs also.
3 Sampūrṇa-岵-gāna-phala
एतद्गानफलमाह कोहल�
आयुर्धर्मयशः-कीर्ति-वृद्धि-सौख्�-धनान� � �
राजाभिवृद्धि� सन्तान� पूर्णरागेष� जायत� � �.१६� �ٲ岵Բ dz�
ܰⲹś�-īپ-ṛd-saukhya-dhanāni ca |
rājābhiṛd� santāna� pūrṇarāgeṣu jāyate || 1.160 ||�(ṅgīٲⲹṇa, Vol. I, p.74)
ʳܰṣoٳٲ Miśrā brings out the fruits of singing pūrṇa-岵s by quoting the above verse of Kohala. He says that as a result of singing pūrṇa 岵s, one gets long life, merit, fame, good repute, success, health, wealth and long lineage which brings prosperity to the kingdom[3].
It is interesting that the very same verse is also found in the second chapter of the work ṅgīṇaԻ첹 but it does not acknowledge Kohala:
अथ सम्पूर्णरागगायनफलमाह कोहल�
आयुर्धर्मयशः कीर्तिबुद्धि� सौरव्यधनान� � �
राजाभिवृद्धि� सन्तान� पूर्णरागेष� जायत� � �. ४५ �atha sampūrṇa岵gāyanaphalamāha dz�
ܰⲹś� īپbuddhi� sauravyadhanāni ca |
rājābhiṛd� santāna� pūrṇarāgeṣu jāyate || 2. 45 ||—ṅgīṇaԻ: 1995: p.52
4 Ṣāḍ-岵-gāna-phala
षाडवगणने फलमा� कोहल�
संग्रामे वीरतारूप-गुणलावण्यकीर्त्तनम् �
गाने षाडवरागाना� गदित� पूर्वसूरिभिः � �.२२� �ṣāḍavagaṇane phalamāha dz�
saṃgrāme ītārūpa-guṇalāvaṇyakīrttanam |
gāne ṣāḍavarāgānā� gadita� pūrvasūribhi� || 1.224 ||�(ṅgīٲⲹṇa, Vol. I, p.108)
The benefits of singing ṣāḍava 岵s is brought out through the above verse of Kohala. He says that according to the ancient seers/sages, one would acquire valour in battle and can glorify virtue and beauty by singing ṣāḍava 岵s. This verse is found verbatim in the works ṅgīṇaԻ[4] as well as ṅgīٲṇi[5] and both these works acknowledge the authorship of Kohala.
5 Auḍava-岵 gāna-phala
औडवगणन� फलमा� कोहल�
व्याधिनाशे शत्रुनाश� भयशोकविनाशने �
औडवास्तु प्रगातव्या ग्रहशान्त्यर्थकर्मणि � �.२६� �ḍagaṇane phalamāha dz�
vyādhināśe śatrunāśe bhayaśokavināśane |
auḍavāstu pragātavyā grahaśāntyarthakarmaṇi || 1.268 ||�(ṅgīٲⲹṇa, Vol. I, p.33)
The phala of singing ḍa 岵s according to Kohala is brought out by ʳܰṣoٳٲ Miśrā in ṅgīٲⲹṇa. He says that the singing of ḍa 岵s can bring about eradication of diseases, destruction DzԱ’s enemies, destruction of fear and sorrow and appeasement of the planets. This verse is also found verbatim in ṅgīṇaԻ[6] as well as ṅgīٲṇi[7]. The former does not mention the name of Kohala whereas the latter does.
6 Time theory of 岵s
6.1 Sūryāṃśa-Candramāṃśa 岵s
दाक्षिणात्यस्त� कोहलनामग्राह� पठन्ति
देशाख्या भैरवी शुद्धा शारङ्गाख्य� � भैरवी �
देवक्री रक्तहंसी � माहुला रक्तरञ्जिक� � �.२८� �
एताः सूर्यांशुत� जाता� सायंकालेषु निन्दिता� �
प्रभात� ये� गीयन्त� � नर� सुखमेधते � �.२८� �
शुद्धा नट्ट� � सारङ्गी शुद्धा नट्ट� वराडिक� �
वरालिक� द्राविडी � तथ� नागवरालिका � �.२८� �
छाया गौली तथ� चान्या बाहुल्यान्दोलिता तथ� �
मल्लारिक� तथ� छाया-गौली कर्णाटिकाह्ववय� � �.२९� �
गौलो मालवगैलश्च रामकिरीस्तथैव � �
छायारा� कृते रञ्जी छायासर्ववरालिक� � �.२९� �
कर्णाटाह्ववयवङ्गाल इत्येत� चन्द्रमोंऽशुजा� �
एत� रागा� विशेषे� प्रातःकालेषु निन्दिता� �
सायमेषान्त� गाने� महती� श्रियमाप्नुयात� � �.२९� �dākṣiṇātyastu kohala峾� 貹ṻԳپ
ś ī śܻ śāraṅgākhyā ca ī |
𱹲ī raktahaṃsī ca ܱ ٲñᾱ || 1.287 ||
etā� sūryāṃśuto � sāyaṃkāleṣu ninditā� |
prabhāte yena gīyante sa nara� sukhamedhate || 1.288 ||
śܻ Բṭṭ ca ṅgī śܻ Բṭṭ ḍi |
屹ḍ� ca ٲٳ nāga || 1.289 ||
ܱī ٲٳ cānyā bāhulyԻDZ ٲٳ |
ٲٳ -ܱī 첹ṇāṭhvavayā || 1.290 ||
gaulo mālavagailaśca rāmakirīstathaiva ca |
rāma kṛte ñī sarva || 1.291 ||
karṇāṭāhvavayavaṅgāla ityete candramo�'śujā� |
ete rāgā� viśeṣeṇa prātaḥkāleṣu ninditā� |
sāyameṣāntu gānena mahatī� śriyamāpnuyāt || 1.292 ||�(ṅgīٲⲹṇa, Vol. I, p.166,168)
ʳܰṣoٳٲ Miśrā lists out the names of 岵s based on the time they are to be sung.
He says that these prescriptions differ from one region to another and then proceeds to enumerate the views of 峾ǻ岹, 岹 (ʲñ), Kohala, Lakṣmaṇabhaṭṭa and ܻܳī:
अत्र केष्वप� रागेषु गानसमय उक्त� � तथाप� प्रतिदेश� भिन्नतया क्वचिद� दृष्ट्वत्वात्तद् विवेका� शिशुबोधनाय � पुनर्लिख्यते �
atra keṣvapi rāgeṣu gānasamaya ܰٲ� | ٲٳpi پś� bhinnatayā kvacid dṛṣṭvatvāttad vivekāya śiśubodhanāya ca punarlikhyate |
—ṅgīٲⲹṇa: 2009: Vol. I: Vṛtti on V. 1.321: p.162
In this context Kohala has classified 岵s as ū峾ṃśa (岵s to be sung in the day time) and Իṃśa (岵s to be sung at night).
He says that the [following] 岵s are born of the sun’s rays and therefore should not be sung in the evening:
One who sings these 岵s in the morning attains joy.
[The following 岵s] are born of the rays of the moon and should not be sung in the morning:
- śܻ,
- Բṭṭ,
- ṅgī,
- śܻ-naṭṭa-ḍi,
- ,
- 屹ḍ�,
- nāga,
- ,
- ܱī,
- ܱ,&Բ;
- ԻDZ,
- ,
- 岵ܱī,
- 첹ṇāṭ,
- gaula,
- ܱ,
- 峾쾱,
- rāmakṛti,
- ñī,
- sarva and
- 첹ṇāṭṅg.
Singing these 岵s in the evening brings about great prosperity.
It is interesting to note that the same verses are found in the manuscripts of Kohala-mata [Kohalamatam][8] and Kohala-rahasya [Kohalarahasyam][9]. This could be presumed as an indication that the work of Kohala which ʳܰṣoٳٲ Miśrā and other Orissa authors referred to and the works Kohalamata and Kohalarahasya were one and the same (or at least had the same source material).
Also the [following] statement is of interest�
दाक्षिणात्यास्तु कोहल-ना�-ग्राहं पठन्ति
“The Southerners attribute this to Kohala�.
This would mean that the above extract was known as the work of Kohala in South India. The manuscripts of Kohalamatam and Kohalarahasyam also belong to South India. So there exists a possibility of a link between the work dzīⲹ (mentioned in the Orissa works) and the manuscripts of Kohalamatam and Kohalarahasyam. But on the other hand, the rest of Kohala’s material available in the Orissa works finds no match in the manuscripts of Kohalamatam and Kohalarahasyam and vice-versa. Therefore, no concrete theories about these works can be made out based on this solitary instance of commonality. At best, it can be considered that these works bear a link to each other.
6.2 Time theory of Rāgas (ṅgīṇaԻ)
कोहलॶये
रागे यत� प्रोक्तमस्माभि� समयादि रसाद� � �
तत� सर्वमन्यथापि स्याद्राज्ञामाज्ञावशादिव � �.१२� �dzī
rāge yat proktamasmābhi� samayādi rasādi ca |
tat sarvamanyathāpi syādrājñāmājñāvaśādiva || 2.125 ||�(ṅgīṇaԻ첹, p.65)
Having spoken about the time-theory and prescription of rasas to 岵s, ī첹ṇṭ quotes a verse from dzīⲹm which states that they (the 岵s) can be performed otherwise also. In other words, he seems to indicate that adherence to these regulations is optional. This optionality has been put across in a simple way through this citation from dzīⲹm. However, the comparison of this optionality to the order of a king (rājñām ajñā) is unclear.
7 ʲ for not singing ragas in the prescribed time
परिहारमा� कोहलॶये
लोभान्मोहाच्� ये केचिद् गायन्त� � विरागत� �
सुरस� गुज्जरी तस्य दोषं हन्तीति कथ्यते � �.२९� �parihāramāha dzī
lobhānmohācca ye kecid gāyanti ca vi岵ta� |
surasā gujjarī tasya doṣa� hantīti kathyate || 1.299 ||�(ṅgīٲⲹṇa, Vol.I, p.33)
After mentioning the time for singing the different 岵s, ʳܰṣoٳٲ Miśrā proceeds to explain the ṣa which will accrue by neglecting the time theory. Then, he mentions the remedial solution in case of singing in the wrong time as found in the work dzīⲹ. Here, Kohala says that the charming ҳᲹī destroys the ṣa of those who sing the wrong 岵s due to greed or ignorance. The same verse is also found in ṅgīٲṇi[10] and ṅgīṇaԻ[11] but only the former acknowledges Kohala.
Footnotes and references:
[1]:
ṅgīٲⲹṇa: 2009: Vol. I: p.89
[3]:
Translation of terms as given by Mandakranta Bose
[4]:
ibid.: V. 2.24: p. 49
[5]:
ṅgīٲṇi: 2002: pp.79-80
[6]:
ṅgīṇaԻ:1995: V.2.32: p.50
[7]:
ṅgīٲṇi: 2002: p.80
[8]:
Kohalamatam: ORI Tvm: Acc. No. T822: Fol.13-14
[9]:
Kohalarahasyam: GOML: Acc. No. R787: Fol. 2
[10]:
ṅgīٲṇi: 2002: p.87
[11]:
ṅgīṇaԻ: 1995: V. 2.126: p.65