Folk Music in Mahabharata

LEELA OMCHERY
Department of Music and Fine Arts, Delhi University

Mahabharata is a monumental work of Maharshi Vyasa. It was written by him to instruct, inspire, amuse and to lead. His handling of the topics is masterly and his observations and analysis shed piercing light on the different aspects of the life and culture of ancient India. A powerful and brilliant branch of this ancient culture is music and the sage handles it with admirable skill and understanding.

Three distinctive styles of music are described in this great epic, viz., the music of the gods, the music of the high-class people and the music of the masses. The music, at the highest level was called Deva Gaandharva 13-19-47* or celestial music and it was performed by the gods (13-14-89) sages (6-6-20) and the devapsaras, gandharvas (2-7-24). At the higher level, the music was called Naanaa-desa-geeta or, the music of the different kingdoms (7-85-20) which was patronised by the kings (1-143-9) and performed by sutas, magadhas, vandis (7-7-8) and vaitalikas (2-4-7). Vyasa considers these two styles as the two branches of the old Gaandharva Veda (3-91-15) which was originally the creation of gods (12-210-21). Only traditionally trained masters could impart these styles (3-91-14) and that too to the Astikas only (13-17-17).

Along with these two styles, there existed an equally prominent and, perhaps, a more popular style of music. Though it was not a cultivated style of singing, it had imbibed many of the essential qualities of the Gaandharva Veda. Like the classical styles, this was also a harmonious combination of dance, song (8-44-12) and instrumental music (8-44-19). It too had a varied stock of songs (844-13) meant for different moods and occasions. There were neither systematic voice training methods nor resources for developing sweet voices even then, most of its musicians had susvara (11-25-8) which did not fail them even at times of weeping. There , were no traditional masters or initiated students; yet there were brilliant musicians. Royal patrons ignored it; but the enthusiastic rustic cherished and nourished it.

This was the music of the masses, and through allusive verses Vyasa brings out a colourful picture of the same. The different kingdoms of ancient India had a vast repertoire of folk songs and artists, and the regions Saakala (8-44-10), Maadra (8-44-5), Aaratta, (8-44-41) Kerala (8-44-43) etc., were exceptionally noted for their rich traditions of the art. To some of these places, Vyasa gives direction (8-44-17) while for others, location (8-44-7, 32, 40). The origin and other whereabouts of certain sects, like the Vaahika are also given (8-44-41). The folk as a whole were a set of simple people without much of caste restrictions and professional differences (8-45-45). Since anybody among them could belong to any jaati and practise any Dharma (8-45-6, 7, 8, 9), the high-class people who observed the jaati-dharma principles vehemently, refused to include or admit them in their social, religious and cultural activities. The folk, according to the “High brows,” were born not out of Brahma (8-44-42,) but were born out of the Devils (8-44-41). They were not only Paapadesodbhava, Mleschaa, Dharmaanaam avichakshanaah (8-40-43)but also Ghasmara, Nashta-saucha, Nirhreeka-(8-40-43) Mitradhruk-Kshudrakaah (8-40-23) Duraatmaah (8-40-24) and Kukarmaah (8-40-42), without any sense of morality (8-40-35) honesty (8-40-24) and dignity (8-44-14). They were proud (8-44-15) and sometimes indulged even in robbery (8-4-21, 22). As such they were unqualified to do Dharmakaryas and their offerings were refused by Devas, Dvijas and Pitrus (8-44-34).

The women folk, though they were looked down upon by the members of the high society, were famous for their sturdy build (8-40-40) and buoyancy (3-44-18) which perhaps were the gifts of their natural surroundings. They enhanced these charms by applying Manassila on their faces (8-44-18) Anjana on their eyes (8-44-18) and some local lepana on their bodies (8-44.12). Being middle-class people with limited income they could not
afford to have any Viseshavastrabharanas as the celestials. They had to be satisfied with Kambalajinas (8-40-40) Samkha-keyura-s (8-44-18) Vanyamaalas (8-44-12) etc. Yet, like the Apsaras, these women also were Priyadarsanaah (8-44-19), Subhastriyaah (8-44-18) and Gauravarnaah (8-44-27). As every where, here too, there were a few exceptions who were huge enough to wear Maholookela as mekhala (8-44-44) and to be called as Rakshasis (8-44-26).

The women, along with men and children, flocked together during some festivals, and spent their time in singing and dancing along with foods and drinks (8-40-24, 25, 26). The festivals included religious and social ceremonies (8-44-13) and household activities (8-40-26). Sometimes they met to congratulate birth, (6-3-7) or to condole death (11-25-8) through appropriate music. The singing consisted of solo recitals and chorus. The solo pieces were performed by males (8-44-16) or females (8-44-25) while the group songs were sung either by men (8-44-29) or by women (8-44-13) or by both (8-40-28).

The songs, being the spontaneous expressions of their life, sentiments, rites and customs, were characterised by an unusually emotional glow and this made them extremely moving in spite of their being set in simple tunes.

Here is a touching love song that depicts the pangs of separation. Vyasa records this as the outpourings of a lonely young Vaahika who left his beloved to serve the kingdom of the kurus.
Saa nunam brihatee gauree sookshmaa kambala vaasinee
Maam anusmaratee Jete vaaheekam kurujaangale
Satadrukaamaham teertvaa taam cha ramyaamiraavateem
Gatvaa svadesam drakshyaamee sthoola sankhaah subhaah striyaah Manassilojvalaapaangyo gaurya strikakudaanjanaah
Kambalaajina samveetaah koordantyah priyadarsanaah
Mridangaanaka sankhaanaam mardalaanaam cha nissvanaih
Kharoshtraasvataraischaiva mattaa yaasyaamahe sukham
(8-44-16 to 20).

Through the words of Karna, Vyasa brings to us a picture of a woman of the Saakala regions who used to sing in the stillness of those Krishna chaturdasi nights (8-44-25) when there would be no moon and stars. Her solo recital was accompanied by her own laying on the Dundubhi (8-24-26) and except for the subdued sound the same there was nothing but gripping silence and solitude.

While the songs of passion were more often rendered thus by a male or female, the songs of devotion on social occasions were performed by groups of men and women. Might be because the folk celebrated these functions in their own rustic ways, which did not have much in common with the similar activities of the towns and the capitals. They were generally held away from the citizens and outside the city limits. Vyasa illustrates one such social activity through the verse:

Gaayantyatha cha nrityanti striyo mattaa vivaasasah
Nagaraagaara vapreshu bahir maalyaanulepanaah              (8-44-12).

Besides the songs of sentiments and festivals, there were songs to suit the natural happenings of the day-to-day life such as birth, death etc. Since these were personal affairs, they were conducted in private houses or in some particular spots which were directly connected with the events.

A happy household ceremony has been described by Vyasa in which persons including:

pitaa putraascha maataacha svasru svasura maatulaah
Jaamaataa duhitaa bhraataa naapyanyee te cha baandhavaah
Vayasyaabhyagataaschanye daasi daasam cha samgatam
Pumbhirvimisra naaryascha jnaataajnaataah svayecchayaa.
(8-40-25. 26)

assembled to dine, dance and to sing.

In the words of Gandhari in Streeparva, there is a hint of those vilaapa ganas sung by women at times of death. The grief-stricken queen mother while moving around the battlefield with Sri Krishna, happens to listen to a group of women mourning melodiously by the side of their dead lord. Gandhari is very much moved by their touching tones and tells Krisnna:

Aasaam aayatanetraanaam susvaraanaam janaardana
Manasruti haro naado manomoohayateeva me                     (11-25-8).

It is worth while to point out here, that in Kerala and also in some southern regions, the practice of singing vilaapa ganas or funeral songs is still in vogue. The songs are collectively called Oppaaru and are performed by village ladies when kings, queens, lords, chief of the villages and the eldest of the families die. Sitting or standing in a circle, the women folk with spreaded locks and careless dress, sing these songs with stobhaksharas and stobha-phrases like; Ammaadi, Jaayaare, O, Ayyo etc., in between. The compositions can be a praise of the departed leader, or a prayer for his salvation or even the pangs of his separation. The singing starts as the person dies and continues for a few days at a particular time, till all the funeral observances are over.

The Suchana songs which predicted auspicious and inauspicious times formed an interesting variety in the field of folk songs. The songs sung by the mothers who gave birth to more than five girls in successive years denoted a period of calamity (6-3-7). The songs and dance of the Kshudrakas preceded a state of alarm and anxiety (6-3-8).

Being unsophisticated and uncultured, the behaviour and expression of the village people sometimes crossed the limits and levels put up by the torch bearers of the “High” society on the ground of cultured thinking and civilised living. The songs being the voice of their life in all its variety and diversity incidentally became reflective of these elements too and the puritan mentality of the top-class people did not hesitate in putting a sort of social stigma over these songs and in tarring them as Asabhya ganas (8-44-13) and Abaddha ganas (8-40-27).

The following slokas give expression to one of these Abaddha ganas. Vyasa presents this as a favourite group song of the Sakalites:

Gavyasya triptaa maamsasya peetva gaudyam suraasavam
Guribhissaha naareebhir brihateebhissvalamkritaah
Palaandugamdushayutaah khaadanti chaidakaan bahoon
Varaaham kaukkutam maamsam gavyam gardabha maushtikam
Eedyam cha yena khaadantee teshaam janma nirarthakam
(8-44-27, 28, 29).

A section of the songs of the Madri-vanitas too were subjected to the high brow censure which is illustrated through the words of Kama when he tells Salya:

Peetvaa seedhu gomaamsam
Krandanti cha hasanti cha
Gaayantichaa pyabaddhaani
Pravartante cha kaamatah (8-40-27).

Rhythm played a significant role in all these songs and hence the maximum prominence for percussion instruments in this field of music. Mridanga, Mardala, Aanaka (8-44-19) and Dundubhi (8-44-26) etc., were some of the drums that accompanied the songs. Quite often Sankha also was used (8-44-19). But the Venu and the valieties of the Veenaa which were inseparable from the classical music Gaandharva Veda were rarely used, if not completely avoided.

(Not only in the regional singing of those times, but in most of the genuine styles of the present day rural India also this is the case. The reasons are many.)

Thus, in the scattered references of Mahaabharata is hidden a glorious representation of the simple art of the ancient Indian village. The expressions of the master mind are so powerful and realistic that they often transport the reader to the very situations described therein to be an eye-witness to them.

* Mahabharata edited by the Gita Press, Ghorakpur, has been followed here. The reference to Parva-Addhyaaya-Sloka are given in their respective order at appropriate places within brackets.