Musical instruments in the Naishadha Charita of Harsa

Harsa [in his Naisadhiyacaritam or Naishadha Charita] mentions Music as a Science, Gandharva Vidya, in the Tenth Canto. He mentions for types of musical instruments as Tata, Avanaddha, Susira and Celika. Murchana (I.52), a technical term is used in the line below. sasaka nihnotumayena tatpriyamayam babhase yadlikaviksitam | samaja evalapitasu vainikairmumurccha yatpancamarmucchanasu ca || (Naisadha I-52) Luckily, even while in company, he was unable to conceal what he addressed to his beloved seen under illusion, as well as the fact that he feasted, while the lute players played the cadences of the fifth note of the Gamut.

201 Vipanci is a lute mentioned in the verse below. kanthe vasanti catura yadasyah sarasvati vadayate vipancim | tadeva vagbhuya mukhe mrgaksyah srotuh srutau yati sudharasatvam || (Naisadha VII-50) As the clever Sarasvati, residing in Damanyanti's throat, plays on her lyre, its sound, becoming the voice of the gazelle-eyed girl in the latter's mouth, acquires the sweetness of nectar in the hearer's ears. Sri Harsa refers to types of drums called Alingya and Urdhvaka (Naishadha.VII- 66). Alingya is a kind of drum like Mrdanga. grivadbhataivavadusobhitapi prasadhita manavakena seyam | alincatamapyavalambamana sarupatabhagasilorddhakaya || (Naisadha. VII-66). Wonderful is her (Damanyanti) neck: it is beautiful with the nape (back of the neck) and adorned with a necklace of pearls; it assumes a shape worth embracing, and by it the entire upper portion of the body looks beautiful. Damanyanti is described as beautiful as a whole Urdhvaka drum, though assuming the form of an Alingya drum. The apparent contradiction is to be removed by taking these words in a more appropriate sense. Shri Harsha refers to Dakka, a small drum, which is almost similar to Damaru associated with Lord Siva. Other instruments like lutes, flutes, cymbals, tambours, drums and tabour are also mentioned here. vipanciracchadi na venubhirna te pranitagite rna ca te'िpa jharjhara | na te hudukkena so'िpa takkaya na mardalaih sapi na te'िpa takkaya || (Naisadha XV-17)

202 Vipanci (lute) and Venu (flute) are also mentioned in the above verse. Hudukka (Tabour) is explained as may be equated with modern Manjiram, which is smaller in size than Jharijhara (Cymbal), both of which are referred to in the above verse. Jharjhara is explained by Narayana as cand seem to correspond to the modern Gujarati word Jhanjha. The poet in the above verse also refers to Mardala. Turya (Trumpet) is referred to in the following line. priptaravivasya manah sthiraphurat suravagataprasnitaturyanisvana || (Naishadha XVI-8) Kahala is a Dhattura-Flower shaped trumpet is beautifully cited in the verse below. hemanamakathuruprasavena tryambakasthadupakalpitapujah | attaya yudhi vijitya ratisam rajitah kusumakahalayeva || (Naisadha XXI-34) Siva's idol then looked beautiful, worshipped by Nala with the Dhattura, flower, as if it were a flowery trumpet acquired by Nala, defeating cupid in a battle. Technical terms such as, Niskala, Kakali are employed as below. tasamabhasata kurangadrsam vipanci kincit purahkalitaniskalakakalika | bhaimitathamadhurakanthalatopakanthe sabdayitum prathamamapratibhavativa || (Naisadha XXI - 125) The lyre of the gazelle-eyed maidens shone forth, having just uttered an indistinct, soft and low air, as if that at the outset felt too nervous to produce any sound near Damanyanti's creeper like throat, full of melody.

203 sakalaniskalarupakamekavanti vinabadyam dvidha bhavati | niskalah gabhbhira-mandra- svara - srutivarnavisesa - abhivyakti-rahita || Based on Naisadha, Vidyadhara seems to understand one-string lute as of two types Sakala & Niskala. Prof. Handiqui translates the word Niskala as 'inarticulate'. Parivadini a seven stringed lyre is referred below. svarena vinetyavisesanam pura'sphurattadiya khalu kanthakandali | avapya tantriratha sapta mauttikasaranarajat parivadini sphutam || (Naisadha XV-44) The svaras coming out like seven shining pearls from Damayanti's sweet voice sounds like a lyre with bright pearls embedded in its seven strings. The fine usage of the word 'Parivada' denoting an instrument as well as talking ill can be seen in the verse below. Parivadini a lyre with seven strings is mentioned here also. sa yaddhata'khilakalagunabhumabhumi bhaimi tula'dhigataye svarasangata''sit | tam pragasavavinayam parivadametya loke'dhuna'pi vihita parivadiniti || (Naisadha XXI -127) The lyre had joined a self to tunes in order to acquire resemblance to Damanyanti, who was the abode of protection of all the arts and qualities possessed by her. So even now the lyre is known among people as full of disgrace', for it had first occasioned a scandal, as own impudent act.

204 Harsa refers to an elephant giving out the note at the Nisada tune and the art of playing upon lute in the lines below. nadam nisadamadhuram tatamujjagara sa'bhyasa bhagavanibhrtkulakunjarasya | stamberamiva krtasasrutimurddhakampa vina vicitrakaracapalamabhajanti || (Naishadha XXI-128) Like a female elephant, the lyre resting close to the mighty king, sent up a high-pitched note melody with the Nisada tune, while it vibrated at its top to the accompaniment of quartertones, and underwent a wondrous play of the hand. Alaya is mentioned in a twin manner in the lines below. akrsya saramakhilam kimu vallakinam tasya mrdusvaramasarji na kanthanalam ? | tenantaram taralabhavamavapya vina hina na konamamucat kimu va layesu ? || (Naisadha XXI -129) Did extracting the entire quintessence of lyres make not Damanyanti's sweet-toned throat. Perhaps on account of this, the lyre, realizing its inner hollowness, kept to the corner in houses being ashamed. (kona 'corner' also means 'the bow with the lyre is played'. va alayesu - in houses, va layesu - during cadences)