10. Musical Estimate (f): Individual identification of the Ragas

The article on Gitagovinder Gita (Bengali) by Suresh Chandra Chakravurty presents about the ragas of Gitagovinda He is of the opinion that the melodic forms of the ragas have considerably been changed and they should be carefully represented according to the forms, current in the present Hindustani system of music. 116 As per the text Sangitanarayana the rule and figure of each raga used in the Gitagovinda are given here. i. The Malavaraga: : It is included in the gaurisamsthana, which coincides with the modern Bhairava 117. This raga is regarded as a best for the beginning of any lyric 118. The rule to sing this raga is prescribed by the text Sangitanarayana¹19. This raga may be sung in the evening or night of the summer season. Jayadeva has used it to describe the ten incarnations of Lord Visnu and the song 6,13. The figure of this raga is nitambinicumbita- vaktrapadmah sukadyutih kundalavan pramattah | samgitasalam pravisan pradose maladharo malavaragarajah | | 120. 116. Svami. Prajnanananda, Historical development of Indian music, p.322 117. Ibid, p.324 118. Mishra, Alka, Mahakavi Jayadeva (Hindi), p.75 119. ri-pa- hinastakkavamsyogabhurih sa-dha-kampitah | ni- nyasamsagrahah sayamnisciाmalavah sucau | | Sangitanarayana, 237, p.34 120. Sangitanarayanah, 238, p.34 73

The colour of this raga is parrot green and it holds earrings, garlands, being kissed by a woman having beautiful hips it enters the musical hall. It is lotus-faced, excited and regarded as the king of other ragas. In the sixth song of Gitagovinda Jayadeva used this raga to explain the desire of Radha and in the thirteenth song he elaborate the eagerness of Radha without Krsna. ii. The Gujjari raga: According to some Odishan works on the music there were ten varieties of this raga 121. According to Lochana Kavi the writer of Ragatarangini, it is included in the gauri-samsthana, that coincides with the modern Bhairava-thata, possessed of rsabha and dhaivata flat 122. The raga creates affection and erotic feeling. It's time is the very first morning from four to six a.m. 123 It is originated from the Pancama-sadava group The figure is: syama sukesi malayadrumanam mrdullasat pallavatalpayata | sruteh svaranam dadhati vibhagam tantrimukhi daksinagujjariyam ||h 124 It is originated from the south. It has beautiful hair, a dark or swarthy complexion and belongs to the creeper-bed of sandalwoods. It holds the division. 121. Rath, B.M., A Study or. Srikrishna lilamritam, p.184 122. Svami, Prajnanananda, Historical development of Indian music, p.322 123. Mishra, Alka, Mahakavi Jayadeva, p.75 124. gujjaririgrahamsantajatapancamapadavat | kvacinmamsapighasradaugeyasrngaravarddhini | 1160 Sangitanarayana, p.21 74

of tunes in her ear with a peculiar position of the hand. Jayadeva has used this raga for six times 125 iii. TheVasanta raga Vasanta is an ancient seasonal raga. It evolved between the time of Matanga (fifth-seventh A.D) and Parsvadeva (Seventh or nineth-eleventh A.D) 126 This raga and its raginis should be sung in the months of March and 127 April, that is in the spring season Alaka Mishra defines the time of this raga is between the last prahara (12-3.00 a.m.) of night 1 .128 Vasanta belongs to the sadaja-madhyama category 129. The figure of this raga is defined as: sikhandavarhoccayavaddhacudah pusnan pikam cutalatankurena | bhraman mudaramamanangamurttirmata matangasya vasantaragah || 130 Pandit Damodara described Vasanta as a male raga. He is absorbed in the divine contemplation of lord Krsna and is dressed himself as Krsna. In the top of his turban, the peacock feather is attached. He made his earrings of mango-leaves. His body is shining like a blue lotus. He is luxurious, yet at the same time a true worshipper of divine beauty. The glow of his body looks like a 125. Gitagovindam, Song 2,5,7,11,15,18 126. Svami, Prajnanananda, Historical development of Indian music, p.148 127. Bandopadhyaya, S., The Origin of Raga, p.30 128. Mishra, Alka, Mahakavi Jayadeva (Hindi), p.75 129. sadajamadhyamika - jatah sadjanyasa- grahamsakah | RICKS RR 11136 Sangitanarayana, p.18 130. Sangitanarayana, p.18 75

swarm of dark-blue bees, mad for honey and the green grasses and flowery creepers are the symbols of nature. Jayadeva used this raga in a befitting style. Lord Krsna is the hero of the vernal spring and the raga Vasanta represents the beatific grandeur of the spring' .131 iv. The Ramakeri /Ramakiri raga The name of this raga is known as Ramakrti in Sanskrit 132 It is included in the bhairava-samsthana 133. The time of this raga is dawn, from the last period of night to the sunrise 134. The figure of this raga is: svarnaprabha-bhasura-bhusanadhya nilam nicalamvapusa bahanti | kante sadapanta (pradeाsanta ) madhisrite'pi manannata ramakiri pradista || 135 The colour of this raga is golden and it wears glowing ornaments on her body. It looks greedy with a blue garment, the edge of which is occupied by the lover or desired person. Jayadeva has used this raga two times in his poem. In the fourth song, the joyful Krsna is described being surrounded with a crowd of charming girls 136. In the last song, the request of Radha to the joyful Yadu hero to decorate her body is explained by this raga 137. 131. Svami, Prajnanananda, Historical development of Indian music, p.157 132. praharabhyantare geya sadajanyasagrahamsaka sadajarsabhagraharambha tajjne ramakrtirmata | 1172 Sangitanarayana, p.23 133. Svami, Prajnanananda, Historical development of Indian music, p.323 134. Mishra, Alka, Mahakavi Jayadeva, p.75 135. Sangitanarayanah, p.24 136. candanacarcitanilakalevara ...// Gitagovinda 4 song 137.......//Gitagovinda 24 song kuruyadunandana . 76

v. The Karnataraga The rule to sing this raga is similar to the Nataraga 138. It coincides with the modern raga Khambaj. According to Lochana, 'ni' is flat and all other notes are sharp 139 The figure of this raga is: krpanapanirgajadantakhandamekam vahan daksinakarnapuram | samstuyamanah suracaranodyai karnataragah sikhikanthanilah || The colour of this raga is like the neck of a peacock. It is prayed by divine personalities. It holds a sword and the tooth of an elephant. Jayadeva has used this raga in the eight song only to describe Radha clings to Krsna in fantasy 140. VI. The Desakhya raga: It belongs to the category of Gandhara Pancama. It is used in the sentiment of peace and eroticism 141 It is the raga of the megha-samsthana and it appeared before as the modern form of the Vrndavani-saranga, though the note gandhara is used in it. 142 The figure of this raga is: aspheाtanaviskrtaleाmaharso niyuddhasamnaddha-visalavahuh | pramsuh pracandadyutihemagauro desakhyaragah sa hi mallarajah | | 143 138. karnatah tadavadakhyatoni-nyasa- grahanamsaka / / Sangitaratnakara, p. 17 139. Svami Prajnanananda, Historical development of Indian music, p.323 140. nindaticandana // Gitagovinda Song 8 141. gandharapancamajjata desakhyarsabhavarjita | gandharamsa - grahanyasa santasrrngarayoh prage || 206 Sangitaratnakara, p.29 142. Svami Prajnanananda, Historical Development of Indian music, p.323 143. Sangitanarayana, p.29 77

This raga is regarded as the king of wrestlers. It is impetuous, busy for duel, clapping the arms which are very strong. Its body colour is glowing like the mixing of golden and white. Jayadeva has used this raga in the nineth song to describe that Radha suffers in the desertion of Krsna. Again in the sixteenth song he describes about cunning Krsna by this raga¹44. vii. The Desavaradi raga According to Kirtan Narayan Padhi an expert in Odisi music at present the Desakhyaraga in the Hindustani system is known as Desavaradi/ Desivaradi in the Odisi system of music 145. There is no definition or figure of this raga found in the Sangitanarayana or in the Sangitaratnakara. Lochana and Hrdayanarayana did not mention this raga. Matanga (5th 7th Century) and Parsvadeva (9th -11th century) described different types of the Varati in their works. Pandit Somanatha (1609 A.D.) gave the melodic form of the Sudoha-varati, but it is not different from the Desavaradi146 VIII. The Nataraga It is opined by the text Somesvaramata that the Nata Narayanaraga and its Raginis must be sung in the months of November and December that is in the winter season (Hemanta) 147. The varieties of this raga are Kamodi, Kalyan, Ahira, Suddha-Nata, Salaka, Nata Hambira. A common opinion among majority 144. stanavinihitamapi ... Gitagovinda 9 Song anilataralakuvalayanayanena ... Gitagovinda 16 song 145. Parhi, K.N., Odishi Sangita, Ragara Udbhava O Vikasa (Odia), p.155 146. Svami, Prajnanananda, Historical Development of Indian music, p.323 147. Bandopadhyaya, S., The Origin of Raga, p.30 78

of the musicians is that the ragas and raginis are created by God and Goddess. It is very difficult to say anything definitely how far they are correct in their statement, perhaps which is more or less based upon the conjectures of the authors of Puranas and upa-puranas 148 The rule to sing this raga is similar to the Sriraga.14 Jayadeva used this raga in the twelfth song where the lady messenger reports Krsna that Radha suffers in her retreat while longing for Krsna. Radha sees Krsna everywhere and sinks in a sea of erotic mood 150. The Figure of the raga is: ankastradhanva rjutam nayan vanan sukadyutih | asanastho yuva caruveso nattastu vahujah || 151 ||151 It has its origin from the arm. This parrot green coloured raga is youth and wears beautiful costume. Sitting on a carpet it keeps the straight arrows and the bow on his lap. It expresses simplicity. ix. The Bhairavi raga time 152 The time of this raga is defined as the morning. But it can be sung at any It is derived from Bhairavi Mela. The Jati of this raga is SampurnaSampurna. This raga is sung in the second prahara of morning between nine 148.Bandopadhyaya, S., The origin of raga, p.31 149. sriragavattathanatah kintuh naiso'lpapancamah | dha-ri-taronimandascagamakairutkatairyutah 134 Sangitanarayana,p.17 150. pasyatidisidisirahasi bhavantam Gitagovinda 12 song ...sidatiradhavasagrhe | | 151. Sangitaratnakarah, p.35 152. Misra, Alka, Mahakavi Jayadeva, p.75 79

153 a.m. to twelve, noon. This raga is to be sung in the auspicious occasions. The last tune should be the madhyama. 154 It is said by the text Sangitadamodara that this raga is regarded as the beloved of Vairavaraga. 155 It is included in the Bhairavi-samsthana, which coincides with the modern form of the Kaphi-raga or 156 thata, to some extent. The figure of this raga is sarovarasthe sphatikasya mandape saroruhaih samkaramarcayanti | talaprayogaih prativaddhagita gairitanurnaradabhairaviyam || 157 Position of this raga is inside a pond, on a crystal pavilion. It is worshipping Lord Siva by lotuses and singing with accurate rhythm and tune. The white glow of the body resembles Narada. Jayadeva has used this raga in the seventeenth song to describe the jealousy of Radha deceived by passion. She denounces her lover bitterly 158. x. The Varadi raga This raga is to be sung after the first prahara of the night that is a period of three hours after the sunset 159. It has not been mentioned in the Ragatarangini. In the Sangitaparijata, there are various types of Varadi 160. In the text Ratnamala, three varieties of this ragais described as- Suddhavaradi, 153. Bandopadhyaya, S., The Origin of Raga, p.71 154. bhinnasadjasamutpanno bhairavo'pi ri-dhojjhitah dha-grahamsa madhyamanto geya mamgalakarmani | | Sangitanarayana, p.35 155. bhairavikaisikicaiva bhairavasyaivavallabhah |Sangitadamodara, 2.10 156. Svami, Prajnanananda, Historical Development of Indian music, p.24 157. Sangitanarayana, p.35 158. rajanijanitagurujagara ... | Sangitanarayana, p.35 159. praharadurdhrtogeyabhinna-pancama-sambhava | sadajanyasagrahamsaisavaradibharatodita || 157 Sangita-narayana p.21 160. Svami, Prajnanananda, Historical Development of Indian music, p.324 80

Dravidavaradi, Desivaradi 161. The The figure of Varadiraga as in the Sangitanarayanah quoted from the Naradasamhita is: karne dadhana surapuspayugmam suvrttivaksojamanoharamgi | smeranana caru vileाlanetra gaurangayastih kathita varadi || 162. It holds the divine flowers on her ears. It has attractive figure with beautiful and charming eyes. It has a smiling face and her fair, slim body resembles a white stick. Jayadeva has used this raga for two times. In the twenty-first song he describes the urge of the companion of Radha to enter Madhava's intimate world 163. In the twenty-second song Radha enters near Madhava and saw her passion reach the soul of Hari's mood, the weight of joy strained his face xi. The Vibhasa raga: 165 In this raga there are six padas or songs and the seventh pada or song begins with raga Vilabala. The night is defined as the time of this raga 166. It is included in the bhairava-samsthana. The catch-tunes of this ragadiffers with different authors 167. Jayadeva used this raga once in the Gitagovinda In the twenty-third song he described Krsna speaks to his love that Narayana is faithful now, so Radha may love him Some scholars say that Jayadeva has used the Malava- " 161. Sangitanarayana, p.21 162. Ibid, p.21 163. mamjutarakumjatalakelisadane | ... pravisa radhe madhavasamipamiha ||Gitagovinda 11.21 164. radhavadanavilokana 11Gg 11.22 165. Svami, Prajnanananda, Historical Development of Indian music, p.204 166. Misra, Alka, Mahakavi jayadeva, p.75 167. Svami, Prajnanananda, Historical Development of Indian music, p.324 168. kisalayasayanekurukamini ... 11Cg. 12.23 81

gauda raga. But that is not found in any song of the Gitagovinda Textwise difference is found regarding this opinion.