sangita ratna kara

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The Adyar Library Series No. 30

General Editor :G. SKINIVASA MURTI, B.A., B.L., M.B. & CM.. Vaidvaratna

Director. Adyar Library

SANGlTARVTNAKARA OF S'ARNGADEVAWITH TWO COMMENTARIES

Vol. IAdhyaya i


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SANGITARATNAKARAOF

S'ARNGADEVAWITHKALANIDHI OF KALLINAT11A ANDSUDHAKARA OF SIMHABHL'PALA

EDITED BYPANDIT S. SUBRAHMANYA SASTRI

Vol. IAdhyaya i

THE ADYAR LIBRARY1943


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SBN 7229-7330-6ISBN 0-8356-7330-8

Printed byC. Sl'BUAKAYUDU,

At the Vasanta Press,Adyak, Madras.


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INTRODUCTIONIn introducing the first volume of S'arhgadeva'sSahgltaratnakara, containing the first adhyaya, alongwith the two commentaries, namely, Kallinatha'sKalanidhi and Siriihabhupala's Sudhakara, my firstduty is to record the gratitude of the Adyar Libraryto that great scholar, the late Pandit S. SubrahmanyaSastri, who undertook the edition of this importantwork. He had corrected the entire material for all theseven adhyayas of the work for the press and the firstadhyaya was completely printed before his death. Inthe normal course, this Introduction would have comefrom his pen. Having regard to his solid erudition,his profound knowledge of music both on the practicaland the theoretical side, his wide reading, his deepinsight into subjects allied to music like dancing, 1must confess that the present Introduction is only a poorsubstitute for what could have been expected from him.

The Sangitaratnakara of S'arhgadeva is one of themost important works on music now available. It isbesides, one oi the longest works on music in Sanskrit.It is a very comprehensive exposition of the subject,dealing with all aspects. Ever since it was written ithas remained the standard work on music ; it has been


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drawn upon profusely, as authority, by all subsequentwriters on the subject. Perhaps it has supersededmany earlier works and obscured them ; and they havedisappeared from the field. But it has never beensuperseded till now.

A complete edition of the work was undertaken byKalivara Vedantavagis'a and S'arada Prasada Ghoshafrom Calcutta with the commentary of Simhabhupalasome time back, and the first volume containing theSvaradhyaya was published in 1879 Irom the New AryaPress, Calcutta. 1 In the Preface to that edition 2 , it hadbeen promised that the remaining portions too would bepublished ; but it does not seem that any further pro-gress had been made in that direction. At that timethey had access only to a very defective copy of thecommentary of Kallinatha, which, as they say, was" very unintelligible, owing to numerous clerical mis-takes." As for Siihhabhupala's commentary appear-ing in this edition, there is no indication of the sourceof the manuscripts. The Preface does not mention thepoint at all. Evidently they must have had access toa complete copy, since they had projected a completeedition. The manuscripts known to us and utilisedfor this edition will be noticed in the course of thisintroduction.

The text of Saiigitaratnakara with the commen-tary of Kallinatha has been edited in the Anandasrama

The book has become very rare and difficult to obtain.2 p. ii.:; p. IV.


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Sanskrit Series as No. 35 in 18%.' In preparing thispresent edition, Pandit Subrahmanya Sastri has madeuse of both the editions. The text has been comparedwith manuscripts available in the various libraries inand near Madras and the commentary of Kallinathahas been compared with the manuscript in the TanjorePalace Library.2 The printed editions have been care-fully compared with these manuscripts and the readingshave been improved.The plan was to add an English translation of thetext at the end of each volume for the portion con-tained in it. It is very unfortunate that the latePandit Subrahmanya Sastri was not able to preparethe translation. That work has devolved on me, alongwith the responsibility to see through the press thematter for the later portions which he had got ready.The English translation for the first adhyaya is ready.The delay in issuing this first volume, which had beenprinted more than a year ago, is due to the timetaken for getting the English translation ready. Atthis stage, the problem of printing-paper became avery acute one and it is not found possible at presentto print the English translation. Therefore the firstvolume containing the first adhyaya is being issued,along with the commentaries and also appendices.The second and the third adhyayas have been printedand the printing of the fourth adhyaya has begun andthe second volume containing these three adhyayas

' In two volumes.! Descriptive Catalogue, Vol. XVI, No. 10749.


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will appear very soon. Unfortunately we have to holdup printing any further matter on account of difficultyin securing the needed paper. It is proposed to pub-lish the remaining portion in a few convenient volumesand the English translation will appear in a separatevolume for the entire text.

The appendices added in this volume from page293 illustrate certain details given in the text. Ofthese the Svaraprastaras from page 297 and the nextone on p. 394 are given at the end of the whole workin the Anandasrama edition ; since the matter relatesto the first adhyaya, it is given at the end of thisvolume containing the adhyaya. It is hoped that theseand the other appendices which were prepared by PanditSubrahmanya Sastri, and the index ol half verseswill be of help to the readers in making use of thebook.

As is well known, the Sahgltaratnakara is dividedinto seven adhyayas dealing with :

1. Svara 4. Prabandha 7. Nrtya2. Kaga 5. Tala3. Prakirnaka C. Vadya

The first adhyaya containing the Svara is divided intoeight sections, called prakaranas and they deal with

1 Padarthasangraha2. Pindotpatti3. Nada - sthana - s'ruti-svara-jati-kula-daivata-rsi-

chando-rasa4. Grama-murchana-krama-tana


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5. Sadharana6. Varnalahkara7. Jati8. Giti

In the Calcutta edition, 1 the first of these prakaranasis called the Introductory section and the rest ofthe adhyaya is divided into seven sections. In thePreface" there, the fifth section is called Sadharanaand the Varnalarikara is spoken of as the fourth ; butin the text itself the order of these sections is asgiven in the present edition. I am adding a detailedlist of contents, which, it is hoped, will be of use tothe readers to understand the whole subject matterat a glance.

S'arngadeva, the author of the Sangltaratnakara,.gives some information about himself in the beginningof the work/' before he begins the summary of the work,in the first prakarana of the first adhyaya. The firstverse is a mahgala. Then he speaks of his family,'which traces its origin to Kashmere.' The family goesback to the sage Vrsagana." In that family there wasone Bhaskara, 7 who migrated to the south. 8 His son

' Preface, p. ii.'"' p. iii.a Verses 2-14.4 3lfel wfeRR erci: verse 2."fta^T5i*fk*wsr: Ibid.f

' isfylWITaira: Ibid.' crenjgrcsRSUssr: verse 4.* ami ^.fqmw f**% ?%inr!nj; ibid.


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was Sodhala.1 He was patronised by King Sihghana.2This is a king of the Yadava dynasty, who ruled inDeogiri (modern Doulatabad) from 1210 to 1247 A.D. :1S'arrigadeva was the son of this Sodhala.' He speaksabout his own learning in detail. 5

Many commentaries are known to have been writtenon this work of S'arrigadeva. The editors of the workfrom Calcutta say 1 ' that they have known of seven com-mentaries, of which four are in Sanskrit, one in Hindiand two in Telugu. But they had seen only two of theSanskrit commentaries (evidently those by Kallinathaand Sirhhabhupala) and the one in Hindi. The late Dr.M. Krishnamacharyar mentions the following commen-taries on it, in his Classical Sanskrit Literature' : Sirhha-bhupala, Kes'ava, Kallinatha, Harhsabhupala, Chandrika,and the Hindi commentary by Garigarama. Of thesethe commentaries by Sirhhabhupala and Kallinatha willbe taken up for detailed consideration presently.

The commentary by Kes'ava is called Kaustubha,according to Dr. Krishnamacharyar." A commentaryby Kes'ava is mentioned in the Sarigitasudha

' ^mi?W*J: - - . "-farted: verse 5.' 3ta . . . . raift v%\ sftfafSt sffcft ibid.'s'aka 1132-1169.' &fn


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of Govinda Dikshita, 1 which is published by the MusicAcadamy. Madras.* For the commentary of Hamsabhu-pala, Dr. Krishnamacharyar gives no reference. Thismust be the commentary mentioned in the Catalogueof Sanskrit Manuscripts from Gujerat, Karachi, Sindhand Kandesh. 3 Evidently this is a mistake for Simha-bhupala. For the commentary by Kumbhakarna, thereis not enough evidence.4 For Chandrika also Dr.Krishnamacharyar gives no reference and simply saysthat it is anonymous." Dr. V. Kaghavan says that hehas information that there are two commentaries, onecalled Kaustubha and another only a paraphrase of thetext. 1' According to Dr. Krishnamacharyar, Kaustubha

' This is given as by King Raghunatha of Tanjore, in thecolophon ; but Govinda Diksita's son Venkatamakhin says that thework was by his father in the following verses of his Caturdandi-prakisika.

p. 14, verses 154,in the edition of the Music Academy, Madras, No. 3. The versesquoted are found on p. 155, verses 440-443 in the edition of theMusic Academy, Madras.

2 No. 1.;l p. 274.4 Dr. V. Raghavan also mentions this commentary in the

Journal of the Music Academy, Madras, Vol. iv, p. 18. In thisarticle he mainly gives the information he had himself gathered inhis researches ; but he records also what information he had receivedfrom others. This is a point of the latter vnriety.

" Foot-note 4 on p. 853. Oppert mention this as No. 6258.* Journal of the Music Academy, Madras, Vol. iv, p. 19.


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seems to be the work of Kes'ava. 1 The commentaryin Hindi is by Gangarama, of which there is a goodmanuscript in the Tanjore Palace Library." A Tamiltranslation of the work also is available in the TanjorePalace Library.''

Of the two important commentaries, those byKallinatha and Sirhhabhupala, the commentary ofSirhhabhupala is earlier. Simhabhiipala belongs tothe Recherla dynasty. His father was Anapota, whohad a younger brother called Mada. They built up astrong kingdom and they divided the kingdom betweenthemselves, the northern part going to Anapota withthe capital at Rajukonda and the southern part toMada with the capital at Devarakonda.' Anapotahad two sons; Devagiris'vara was the elder, who musthave died young since it is Sirhhabhupala who suc-ceeded Anapota.' About Simhabhupala there isenough material available in his own works. In thecommentary on Sangltaratnakara itself, there is notmuch information available. He simply says that hehas discussed the matter with scholars well-versed in

1 See foot-note 8 on p. X.2 Descriptive Catalogue, Vol. XVI, No. 10754.' Tamil Catalogue by L. Olaganatha Pillai, No. 634, b." See Velugotivari Vams'avali, edited by Dr. N. Venkata

Ramanayya, No. 6, Bulletin of the Department of Indian History,University of Madras, p. 13. for this information. For namesAnapota and Mada see note 6 on p. XIV. below.

' This is not mentioned in the book referred to in the note justabove; but see note 12 on p. XIV. below.


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xmthe science of music. 1 He adds that he has studiedall the subjects also. 2 But he has written other workswhich are now available in print.A great Alankara work called Kasarnavasudhakaraby Sirhhabhupala has been published in the TrivandrumSanskrit Series by the late Mahamahopadhyaya Dr.T. Ganapati Sastri as No. 50 in 1916. Here there isa long introductory portion '' where the author givesmuch information about himself. There is the casteborn of the feet of Visnu (the Sudra caste).' Belongingto that caste there is the dynasty of Recalla wherethere was the king named Dacana/' He defeated thePandya king, and he had the Title of Khadga-narayana.' His wife was Vocamamba* who belongedto the Tamarasa dynasty.' They had three sons, 1

"

1 g^ftaRTflRfwf^fsB: Sm fa^FR ^gsq; verse 9 in the com-mencement of his commentary.

"' foaRRlfaJiTrcs: Ibid.' verse 1-44.' m% (%"ft:) W*fi!T5irt sjof: verse 4." era >^^#if>Ki^?raigqr^: i^Tftfa^Rtfarcft^


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S'inga Prabhu, Vennama Nayaka, and Reca. 1 S'ingabecame the king' after the death of Dacana. Hisbrother Reca had a son named Nagaya Nayaka'1 whohad the Title of Kuthariraya ' and who was also calledRahuttaraya.'' S'inga Prabhu had two sons namedAnanta and Madhava.'' This Madhava had manysons' of whom Vedagirlndra was the eldest." Theelder brother of Madhava, namely, Ananta becameknown as Anapota also.' His wife was Annamamba. 10They had two sons; 11 the elder was Devagiris'vara '"and the second was Sirigabhupati. 11 He lived in hisanscestral city of Rajacala." His kingdom laybetween the Vidhya mountains and the S'ris'aila. 1 '

1 fafstgifcwrara^ ^fl^?fe: ....


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XVAnother work of Sirhhabhupala is Kuvalayavali or

Ratnapancalika, published in the Trivandrum SanskritSeries by Dr. L. A. Ravi Varma as No. 146 in 1941.This is a small drama in four Acts. In the Prologuethe author is mentioned as S'n S'ihgabhupala, 1 other-wise known as Khadganarayana " who lived at thecapital city named Rajas'aila." His mother wasAnnamata.' It is also stated there that one Vis'ves'-vara had spoken very highly of his poetry/' TheVis'ves'vara mentioned in the Prologue must be theauthor of Camatkaracandrika ; in the colophon of thiswork there is the mention of Sirhhabhupala/

There is a Telugu work called Velugotivarivams'a-vali.

7 In the Introduction to that work, Dr. VenkataRamanayya deals with Sirhhabhupala on pages 13 ff.' sftrai sfifcnppT&i utftcnq; p. 2, ll. 9, 10." IfiFnWI'ta P- 2. 1. 8. His grandfather too had this Title.

See note 7 on p. XIII above. Perhaps this is a Family Title.3 *ISRteTf*reMf U^rafiftn p. 1, last line.4sfta?fflraic>T5T: P- -. verse 4. In his other work the name isAnnamamba. See note 10 on p. XIV above. If 3^1^=3?^^,

the form ought to be 3TtflRIfT5i ; perhaps the word is afSfflTSsrreflsr.

WWW HW $mi fa3tejR^


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Sirhhabhupala is a versatile scholar and a profusewriter. Apart from his Kuvalayavall and Rasarnava-sudhakara, both published in the Trivandrum SanskritSeries, he must have written many other works. In theRasarnavasudhakara, he mentions a work called Kan-darpasambhava as his own composition. 1 In the wholeof this Rasarnavasudhakara, he quotes from his ownworks about twenty five verses in illustration of variousstatements he makes, with the remark, yathcl mamaiva.A few of them are tracable to his Kuvalayavall as ismentioned in the Preface to that Drama in the Tri-vandrum Sanskrit Series. We have as yet no informa-tion about the other verses quoted from his works.

In Aufrecht's Catalogus Catalogorum, there is anentry of Natakaparibhasa as a work of Siiigadharanl-sena. The entry is made on p. 284 as found in Buhler'sReport and on p. 791 as found in the India Office.The manuscripts in the India Office are described byEggeling under Nos. 1201 and 1202. Evidently theauthor is Sirigadharanls'a and Sirigadharanlsena mustbe the Intrumental Singular form with sa for s'a." It isnot a separate work ; it is only a part of Sirhhabhupala'sRasarnavasudhakara beginning from verse 290 on p. 298.

There is no reason to believe that the Rasarnava-sudhakara was written by Vis'ves'vara on the ground that

1 He says : W $?


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in Camatkaracandrika, Vis'ves'vara refers to Rasarnava-sudhakara for details.' It is becoming a fashion nowa days to refer all works bearing the name of a king tosome court poet or court pandit. Unless there isdefinite evidence as in the case of Sangltasudha assignedto king Kaghunatha and mentioned as by GovindaD'iksita by his son Venkatamakhin 2 , we have to acceptthat the king himself wrote these works. The kings inancient and even in medieval India were not merefigure-heads in administration ; nor were they mere ad-ministrators. They were the true representatives of thecivilization of the country. In intellectual equipments,in cultural accomplishments and in every aspect oftheir lives, they represented the civilization in its idealform. They maintained Dharma, which is anotherword for civilization ; they lived according to Dharmaalso. Besides being warriors, conquerors and rulers,they were learned scholars, poets, philosophers andauthors, and patrons of learning and arts. They re-cognized only an Indian Dharma or civilization with-out any racial prejudices. Simhabhupala himself saysthat he belonged to the lowest caste^ ; at the same timehe honoured the Brahmins and protected religion.Neither caste distinction nor sectarian differences inter-fered with the unity of culture under the rule of thosegreat Indian kings.

I Cf. Dr. M. Krishnamacharyar's Classical Sanskrit Literature,para 879, p. 771.

II See note 1 on p. XI. above.:> See note 4 on p. XIII. above.


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XVIuDr. M. Krishnamacharyar says that Simhabhupala

who wrote the commentary on the Sarigltaratnakara isdifferent from the author of Rasarnavasudhakara'. Hedoes not give any explanation. It is true that while hegives an elaborate description of his ancestry in theintroductory portion of the Rasarnavasudhakara, hegives little information about himself in his com-mentary. This must be due to the fact that he wrotethe commentary after he wrote the Rasarnavasudha-kara. It is not possible at this stage to investigate thepoint on the basis of any internal evidence. I mustwait for that till the whole of the commentary ispublished. But the colophon in the two works provesthe identity of the authors beyond any doubt." Thequestion of a work called Natakaparibhasa, the ques-tion of Rasarnavasudhakara having been written byanother person who was a favourite in the court andthe question of the authors of the two works beingdifferentsuch questions should not have been raised,and if the points had been properly investigated suchdoubts would not have been raised. But since theyare found in works well known and relied on by many,it has become necessary for me to investigate thepoints and make certain remarks on them.

' See Classical Sanskrit Literature, footnote 1, p. 853."' The colophon in Rasarnavasudhakara read as follows :

faifjTT55fa*fa% TOTiisrgsrrcaaTfa etc.This may be compared with the colophon at the end of the firstchapter of the commentary. Further the identity of the namesgqRR in both works too point out to the identity of the authors.


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Three manuscripts of Simhabhupala's commentaryon the Sahgltaratnakara have come to our notice.One is in the collection at the Fort at Bikaner and wewere able to secure a transcript of it. 1 There isanother work in the Oriental Library at Baroda andfor this also, we were able to have a transcript/ Thethird is in the Bhandarkar Research Institute, Poona.'1It is found that this last manuscript consists of a fewstray leaves and so we did not utilise it. Anothermanuscript is known to exist in Kashmere. 1 We triedvery much to secure a loan or a transcript of it. But weare informed that the manuscript is not available there.

Kallinatha also gives some information abouthimself in the introductory portion of his com-mentary.' He speaks about the Karnataka country''with the Kaverl and the Krsna on the south and thenorth of the country,' which extends to the easternand the western coasts/ Here on the banks of the

' Simhabhupala's commentary is not noticed in RajendralalMitra's Catalogue. No. 1120 there is a part of Kallinatha's com-mentary. A new and complete Catalogue is under preparation.But the numbers have not been finally assigned and as such nonumber is given here for the Manuscript.

2 The Catalogue has not yet been printed.1 Descriptive Catalogue, Vol. XII, No. 327.' The MS. is not noticed in any catalogue. Hut its existence

in the Kaghunath Temple, Srinagar is known through privateinformation.

:' Verses 5-14 in the commencement of the commentary.

,;

3fli=a '+.oifa%^: verse 5.7 T%ft?ftft^a?a3m^fa*ra : Ibid.* 2: ef%rar 'prq^TSRfiT STF-q


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XXTuhgabhadra there is the city called Vidyanagari(Vijayanagar) 1 where there ruled the king Devaraya,son of Vijaya of the Yadava dynasty.'2 Devaraya'sson was Immadi Devaraya." Kallinatha lived there atthat time' His grand-father was Vallabhadeva ;' hismother was Narayanl' 1 and father Laksmldhara.' Hebelonged to the S'andilya Gotra." Under the ordersof the king, he commented on the Sarigitaratna-kara."

Vijaya I, mentioned by Kallinatha reigned from1418 to 1423; his son Devaraya II reigned from 1423to 1446. 1" Immadi Devaraya reigned from 1446 to1465. Thus Kallinatha must have lived in the secondhalf of the fifteenth century.

' gftl falRnft ^rfFT 3Wrwl?fVTc!: Tfel verse 6.'"' tr?ii sirfca . . . vte: sffcrcnfr fa^qgd mvuni >&&: verse 7.;' a?qrfe 3^: . . . sfwrfli^rcPT: verse 8.' *$ifo mi q& verse 9 and ^JJWfel .... %f&iwmw:

verse 10." ^q^t ft. 3J??f ?nS3RT. ft^TJTf : verse 1 1. Anandasrama

edition reads the name as grj&g^." flrar WlWft qpf verse 12.7 ftai #}?: ^pru /&,


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3'arrigadeva the author of 'the Saiigitaratnakaramentions many previous writers on the subject inverses 15 to 19 in the first prakarana of the first adhya-ya. Of these authorities, some are very well known.A detailed notice of them will be more appropriatewhen the whole book is out. He must have eclipsedmost of them. He styles himself as Nis's'arika, "freefrom doubts." He also refers to himself as Karana-granih, which shows that he was the accountant-generalof his king. Thus the author of the original was ahigh official in the service of the king; the commentatorKallinatha was a prominent figure in the royal court,held in high esteem by the king; the other commentatoris a king. This shows what a close relation there existedbetween the government and the culture ol the country.The Adyar Library has already published two workson Music, the Melaragamalika of MahavaidyanathaS'ivan and the Sarigrahac'udamani which were bothedited by the late Pandit S. Subrahmanya Sastri andwhich appeared as Nos. 10 and 17 in the Adyar LibrarySeries. The Ragavibodha ol Somanatha is alreadyavailable in more than one edition and there is also anEnglish translation. But the book is known to be out ofprint. The Adyar Library has already started printinga fresh edition of the work prepared by the late PanditS. Subrahmanya Sastri, where he has been able toimprove the readings in many places. This edition willbe out very soon.

The plan of the Adyar Library is to publish worksin all aspects of ancient Indian Culture, of which we


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consider music and other fine arts as very importantones. In India, music did not develope as a secularentertainment ; music in India is a fundamental phaseof religion ; rather music has become a religion itself,with a philosophy attached to it. The musical notesare the physical manifestations of the Highest Realitytermed Nada-Brahman. Music is not a mere accom-paniment in religious worship; it is religious worshipitself, likes Yagas and Temple worship. In India therehas never been an antethesis between aesthetics andmorality; there has never been developed an aestheticdoctrine which was not acceptable to the most orthodoxfollower of religion. Thus the Sahgltaratnakara andother works on music undertaken for publication bythe Adyar Library are presentations of orthodoxphases of Hindu religion and of Indian civilization asmuch as the commentaries on the Vedas and the workson religion and philosophy like the AhirbudhnyaSamhita and the Vedantaparibhasa. Through ourpublications we desire to exhibit the unity of Indianculture and the harmony that exists among the variousphases of the Culture.

Now Avhat remains for me is to acknowledge thehelp that has been received in the preparation of thisedition. Our gratitude to Pandit S. SubrahmanyaSastri, who prepared the edition is far beyond words tobe adequately expressed. His whole life was spent inscholarly pursuits; it is a great privilege for me to beable to associate myself with this great work even inthis very humble capacity. Dr. G. Srinivasa Murti,


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the Director of the Adyar Library and the GeneralEditor of the Library Series has all along been takinga keen interest in this publication. There is no detailin which his advice has not been sought, and he wasalways ready with his help. Mr. Ramachandra Sarma,who is on the staff of the Library was working underthe direction of Pandit Subrahmanya Sastri in prepar-ing the edition.' The index at the end has been pre-pared by him. All the credit for the printing andgeneral get up goes to the Vasanta Press, which alwayskeeps up the high standard in all aspects of publication.I express my very sincere gratitude to all of them whoare directly connected with me in my work. I mustalso thank the authorities of the Manuscripts Libraryin Bikaner and the Oriental Institute, Baroda forsupplying the Library with the transcripts of the com-mentary of Simhabhupala.Adyar Library, C. Kunhan Raja12th April 1943


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