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The Concept of Music-hall is found in Mrcchakatika [=Mrichchhakatika] also. This can be found in the expression such as aye sunyeyamasmsamgitasala - Oh, The Music hall of ours is quite empty. Mrcchakatika (Act-I. Between verse 7&8) The Musical Concert is referred as Sangitakam in Mrcchakatika (Act-I) - krtam ca samgitakam maya Well, I have furnished the musical concert. In the same act, the The Importance of Practice is stressed in the following sentence. anena cira sagitopasanena Having thus practised music for a long time.

207 Spiritual In Mrcchakatika (Act-III), The high spritual status of Music as a form of worship is understood when Sangita is described as the Upasana. 办补'啶缝补 vela''ryacarudattasya gandharvam srotum gatasya A long time has passed since the noble Carudatta went to attend the musical concert. The divine nature of Vina can be inferred in the following sentence such as carudatta = vina hi namasamudrotthita ratnam | The lute is indeed a jewel, (not produced) from the ocean. ( carudattah ) api ca tam tasya svarasamkamam mrdugirah slistam ca tantrisvanam varnanamapi murcchanantaragatam taram virame mrdum | helasamyamitam punasca lalitam ragadviruccaritam yatsatyam virate'啶縫a gitasamaye gacchami srrnvanniva || Mrcchakatika (Act- III.5-206) The lingering effect of Music is explicit in the above passage. Moreover, To tell, the truth, I feel that, although the time of the musical concert is over, I am as it were listening, as I walk, to the cadence of the notes of his sweet voice, and to those well-blended notes of the lute, high-pitched when following up with the harmonious swell and fall of the sounds of the syllables (of the song), but low towards the close and the song, sing with due regard to the pitch of the sound, graceful and repeated twice where the raga (passion) required it. repetition It is a common experience connoisseur of music savour the music long after the concert is over. The reference to the repetation of notes is also noteworthy. Even today, the singers repeat each sangatis (musical phrases) twice during the concert.

208 The following passage lists some of the musical instruments. aye katham mrdangah | ayam dardurah | ayam panavah | iyamapi vina | ette vamsah | ami pustakah | katham natyacaryasya grhamidam | (Mrcchakatika Act III) Ah! How now! Here is a tabour; here is a flute, and here a Panava ! Here too is a lute; here are reedpipes and here these puppets how? This turns out to be the house of a professor of music. The Vidusaka in Mrichchhakatika is reminded of many things on hearing the sound of drum and other musical instruments. ( vidusakah ) ascarya bhoh | ihapi caturtham prakosthe yuvatikaratadita jaladhara iva gambhiram nadanti mrdangah, ksinapunya iva gaganattaraka nipatanti kamsyatalah, madhukaravirutamiva madhuram vadyate vamsah | iyamaparersyapranyakupitakaminivankaropita kararuhaparamarsena saryate vinah | (Mrcchakatika Act IV) Vidusaka: Oh! Wonderful! Here too, in this fourth quadrangle, the tabars struck by the hands of ladies are sounding deep like clouds; cymbals of bell-metal beating time a falling (like a flash), like the stars from heaven when their merit is exhausted; and the bamboo-pipes are being sweetly played upon (sounding) like a hum of bees; on the lap like a maiden angered in jealous love, is being played upon (stroked) with the touch at the nails (Singers ). (cetah vihasya ) vamsa vadayami saptacchidram susabdam vinam vadayami saptatantrim nadantim | gitam gayami gadarbhasyanurupam ko me gane tumbururnarado va || (Mrcchakatika Act V) (Cheta says laughlingly) I can play upon the loud-sounding flute with seven-holes, and also upon the resending Vina with seven-strings. I can sing songs just like an ass. What is Tumburu or Narada as compared to me in singing?

209 There is humour in the sentence comparing singing and shouting of an ass. pavanacapalavegah sthuladharasaraudha stanitapatahanadah spastavidyutpatakah | harati karasamuham khe sasankasya megho nrpa iva puramadhye mandaviryasya satroh | (Mrcchakatika Act V.17) The Vita says: Cloud, having its speed, augmented by the breeze, discharging a stream of arrows in the form of big torrents, with its rumbling serving as the beat of drums, and displaying banners in the some of lighting seizes the moons rays, in the sky, like a king receiving form an every, weak in valour, large tributes, in the latter's capital- (a King) having movements shaped like those at the wind, discharging streams of arrows like big torrents, with sounds of drums like the rumbling at clouds, and displaying banners like lighting. The importance of Tala or time measure is highlighted below. Carudatta says: talisu taram vitapesu mandram silasu ruksam salilesu candam | samgitavina iva tahyamanastalanusarena patanti dharah || (Mrcchakatika Act V.52) Shrilly on the tala leaves, rumbling on the branches, harshly on stores and hercely on the waters, thus do the showers fall resembling lutes played upon in musical concerts to the keeping of time. In Mrcchakatika Act VI - Verse-23 (Viraka addressing Candanaka) we can find an interesting good-humored comparison of persons with musical instruments. jatistava visaddha mata bheri pitapi te patahah | durmukha karatakabhatra tvamapi senapatirjatah || Your parentage is most pure (indeed)! Your mother was a kettledrum, and your father was a drum; and you had a tambourine for your brother, Oh you ugly-faced once! And (now) you have become an officer in the army.

210 acoustics In Mrichchhakatika Act X, the sound sense or the fine taste of aoustics can be inferred from the verse seen below, as the sound from a cracked bell is not relished. bhinnakimsyavatkhankhanayascandalavacayah svarasamyogah | yatha caisa udgito vadhyadindimasabdah patahanam ca sruyate | It seems to be the voice of a Candala speaking, as it has the ring at a cracked bell metal. And this loud noise of drums and Kettledrums beaten at the time of execution is heard. In the same act, we have another interesting reference as follows: tadbhanayatanena jarjaravamsakhandena sankhalena tadayitva tadayitva Make him speak by repeatedly striking him with that brokenpiece of old bamboo, your drumstick. Here the musical instrument Jharjhara is refered. We also find this same musical instrument refered by Saint composer Muthusvami Diksitar in his Akhilandesvari Kriti. There is a reference to nuptial drum here: raktam tadeva varavastramiyam ca mala kantagamena hi varasya yatha vibhati | ete ca vadhyapatahadhvanayastathaiva jata vivahapatahadvanibhih samanah || (Mrcchakatika Act X.44) By the arrival of you (O dear Vasantasena), my beloved, the same red garment has become bridegroom attire, and this garland decks me as though were a bridegroom. And similarly these sounds of drums of execution now resemble those of nuptical drums.