Part Seven ( of 22 ) – Music in Natyashastra
Gandharva and Gana
1.1. Gandharva and Gana were two major Musical genres of the ancient times. The Gandharva, as we saw in the previous segment, was the type of songs that was sung during the worship of gods. And, the music performed in the course of play (Natya) was termed as Gana by Abhinavagupta. In the Natyashastra, the term Gana is employed to denote any song; but, in particular to Dhruva songs performed during the play. In other words, broadly, Gitikas were considered Gandharva and Dhruva as Gana.
1.2. Abhinavagupta said; Gandharva and Gana flourished side by side even during later times. And he also pointed out that during the time of Bharatha, the Gana adopted regional tunes for its Dhruva songs. In support of his argument, Abhinavagupta quotes another authority Vriddha (Senior) Kashyapa to show that changes in the Sruti scheme of Bharatha were freely made in Desi ragas.
(kiyad vā rāga-bhāṣā-deśī-mārgādi-gatānāṃ svarāṇāṃ śruti vaicitryaṃ brūmah |)
1.3. In the later times, Sarangadeva (13th century) classified Parbandha and other Musical forms of Desi–samgita also under Gana. He speaks of Gana as being of two kinds: Nibaddha (structured) and A-nibaddha (unstructured). Nibaddha refers to compositions governed by rules, say as in a Prabandha. And, the A-nibaddha is free flowing improvised music, say as in Aalapti (Aalap). But, both the modes had to work within the accepted ambit of Music (Samgita).
[Let’s talk of Prabandha in the next segment of this series.]
2.1. The Gana of Natyashastra had its roots in Gandharva. And Gandharva songs were also used before the play proper. For instance; in the Purvanga, that is during the preliminaries before the commencement of the Drama per se, the Gandharva songs of the type Nirgita were sung, to the accompaniment of instruments, offering prayers to Shiva. This was followed by a song in Gitaka format; and by a Tandava dance of Shiva or a Lasya of Shiva and Devi to another Gitaka-song. Thereafter, the Sutradhara (a sort of compère) and his troupe enter the stage, move in a rhythmic dance like steps and sing Gandharva-songs ( Gitikas) to delight the gods; bowing to Sakra i.e. Indra (in the East), Yama in the South, Varuna in the West, and to Kubera in the North ; and praying to gods for successful enactment and completion of the play. However, during the course of the play the Gana was used.
2.2. Though Gana owed much to the Gandharva, the two differed in a number of ways. The Gandharva was regulated Music (niyata), while Gana was relatively free, improvised or incidental Music. Gandharva songs were sung to invite the blessing of gods before the commencement of the play. And, Gana music was tailored to the various dramatic requirements of the performance. And, since Gana was meant for entertainment, it was moulded, largely, by the taste of the spectators at the play.
2.3. In his commentary on the 33rd chapter of Natyashastra, Abhinavagupta draws a four-fold distinction between Gandharva and Gana Music-s. According to Abhinavagupta , the two differ in their : in Svarupa – structure and ways of employing Svara, Taala and Pada; in Phala – the benefits or the objectives ; the one is in praise of Shiva and pleasing gods while the other strives to gladden the hearts of the audience in a theatrical performance; in Kaala – the context or the occasions of their rendering , one is for worship and the other is for entertainment; and , in Dharma – in their distinctive nature and functions.
Let see this in a little more detail:
Svara, Taala, Pada and Phala
3.1. As regards the Musical aspects, in Gandharva the Svaras were employed at fixed intervals (Sruti); and the Sruti intervals were well defined. For instance; in the Shadja Grama, Ri was on the third Sruti above Sa; Ga was on the second Sruti above Ri and so on. Such rigidity was not needed in Gana (Kim ca antarāla-niyamo….gāndharve’vaśya-samvedhaḥ | na tv evaṃ gāne). Abhinavagupta while explaining this aspect says that he is elaborating what was in actual practice (pratita) during those times (uktam api pratītam anucitrīyate).
3.2. In Gāndharva, the Taala, which measured time through a fixed number of demarcations, was also governed by rigid rules. Its main aim was to establish Saamya or equipoise. Taala occupied a secondary position (angāngibhāva) to Svara. In the case of Gana, the Taala enjoyed more flexibility. The Taala in a play could aesthetically be improvised to suit the dramatic situations and also to provide entertainment through colourful rhythmic play.
3.3. The importance of Pada also varied in the two types of Music. In Gandharva, the Svara and Taala had predominance over Pada. In Gana, the text of the songs, the Pada, needed much attention as its words were of importance. The role of Pada is, thus, different in Gana and Gāndharva.
3.4. The Gandharva is pleasant and it also bestows merit (punya). But Gana is used only for its effect and not for its intrinsic merit. ‘It is, therefore, unjust to identify the two.’
(anāditvād dṛṣṭādṛṣṭa-phalatvāc ca pradhānaṃ gāndharvam… | gānaṃ hi prīti-kārye vartate | tena tādātmyaṃ tāvad ayuktam)
3.4. As regards the context (Kaala) in which Gandharva and Gana are used , Gandharva could be used only in the Purvanga (ritual prologue to the play) . But , during the course of the play Dhruva songs were sung in Grama-jaatis .
Thus, the function or the nature (Dharma) of the Gandharva and Gana differed: Gandharva to please the gods and Gana to entertain humans.
Before we speak of its Samgita a few words about Natyashastra
4.1. Natya-Shastra is a detailed compendium of more than about five thousand verses spread over thirty-six chapters dealing with all aspects of play production. The text was meant as practical manual imparting technical instructions about the performing arts; and, for production of successful theatrical performances. It is said that the text which we now know as Natya-Shastra was based on an earlier text that was much larger (Adi-Bharata or Dwadasha-sahasri, because it contained twelve thousand verses). There are also frequent references to the writers of the earlier time and other views.
4.2. Natya-Shastra describes itself as Natyaveda, the fifth Veda that would be accessible to all the four castes (1:12). It claims that the text imbibes in itself the articulated- spoken word or text (patya) from Rig-Veda ; the ritual and the body-language (abhinaya) from Yajur Veda ; musical sound , the song-notes, from Sama Veda; and Sattvika (understanding of the relation between mind and body-expressions) – for conveying various bhavas through expressions exuding grace and charm – from Atharva Veda (Natya-Shastra – 1:17-19) .
4.3. The text is permeated with the Vedic symbolism and the imagery. The theatrical production is compared to Yajna; with the stage being the vedika, the altar. The dramatic spectacle, just as Yajna, is said to have a moral and ethical purpose. The object of the drama was to show men the proper way, a way in which one could live and behave, so that one might become a better ‘man’.
4.4. The text reveres and worships Vedic gods such as Indra, Varuna and Vayu (not the gods celebrated in Puranas); talks mainly in terms of the symbolism and imagery of the Vedic Yajna following the Vedic ethos; and it consistently projects the world-view cherished by the Rig-Veda: of the one formless or unformed (Arupa) evolving in to multiple forms (rupa prati rupa) and then on to the form beyond (Para rupa),
4.5. It is, therefore, generally believed that the text was articulated at a time when the Vedic life-style tempered by the sombre contemplative speculation of the Upanishad, was still alive.
The mention of the Buddhist Bhiksus and Jain Samanas indicate that Natya-Shastra was of post – Buddha and Mahavira period. And, its Dhruva songs are in a form of Prakrit, which predates the great poet Ashvaghosha’s play (first century).
For these reasons, the scholars generally believe that Natya-Shastra might have been composed sometime around the first or second century BCE, but not later.
5.1. The compiler of Natya-Shastra calls it a prayoga Shastra – a framework of principles of praxis or practice. Bharata makes a significant opening statement: “I am creating a theory and text of performance; of practice and experimentation” .He also underlines the fact that the efficacy of its formulation lies in practice (prayoga).
5.2. There is a certain flexibility built in to the structure of the text. It provides for varied interpretations and readings. The author himself encourages innovations and experimentations in production and presentation of plays. He even permits modification of his injunctions; and states the rules “can be changed according to the needs of time (kaala) and place (desha)” .The text accordingly makes room for fluidity of interpretation and multiple ways of understanding it. The intellectual freedom that Bharata provided to his readers/listeners ensured both continuity and change in Indian arts over the centuries.
6.1. The term Natya is derived from the root Nat (= to act); and the one who acts is a Nata. And, Natya is the art of the Nata, which is the dramatic art. The actor re-lives the ‘life’ of the character he plays, and presents before the spectators his interpretation of that character, by means of dramatic-art.
Bharatha explains: when the nature of the world possessing pleasure and pain both is depicted by means of representations through speech, songs, gestures , music and other (such as, costume, makeup, ornaments etc ) it is called Natya. (NS 1.119)
6.2. The text employs Natya as a generic term, which broadly covers drama, dance and music. At the time the NatayaShastra was compiled, the arts of poetry, dance, music and drama; and even painting, and sculpture were not viewed as separate and individualized streams of art forms. It was an integral vision of art, which blossomed in multiplicity. All art expressions were viewed as vehicles of beauty providing both pleasure and education, through refinement of senses and sense perceptions. The reason that theatre-arts were discussed specifically was that, in the ancient Indian context, drama was considered the most comprehensive form of art-expressions.
7.1. The compiler of the Natyashastra, whoever he might be, comes across as a person of great learning, culture and rooted in good tradition (sampradaya, parampara). He was well grounded not merely in Vedic learning and its ethos , but also in kavya (literature) , fine arts, Ayurveda (medicine), jyothisha (astrology), ganitha (mathematics), vastu- shilpa (architecture) and hathayoga, His understanding of the human anatomy- particularly the motor and sensory systems and the joints; the relation between the physical stimulus and psychic response; as also the relation between psychic states and expressions through physical movements ; were truly remarkable.
7.2. Natya-Shastra has provided a sustainable foundation and framework for development of theory and practice of arts in India. It also touches on the related areas of cultural life of India. It is the foundation on which Indian philosophical thinking squarely rests. Just as Panini standardized the classical form of Sanskrit, Bharata standardized the classical form of drama. He gave it status and dignity; a form and an objective; a vision and finally a technique. His brilliant intuition and intellect has inspired generations of artists over several centuries.
[The attempt to explain Bharata as an acronym for three syllables Bha (Bhava), Ra (Raga) and Ta (Taala) somehow does not seem convincing. At the time Natya-Shastra was composed, music was discussed in terms of pada (words), svara (notes) and tala (time-unit) which formed the components of Gandharva music. The term Raga (in the sense we understand it now) did not come into circulation until Matanga’s Brihaddesi, (about sixth century).]
8.1. Natyashastra is composed in a cryptic Sutra form; and is not easy to read or to understand. As Shri Adya Rangacharya remarked, the text is rather rambling and repetitive; and the word-to-word translation would not be of much use since its terms could be interpreted in more than one way. One does, therefore, need the guidance of a commentary to wade through Natyashastra. The earliest commentary on Natyashastra that has survived and that which is most celebrated is the Abhinavabharati of Abhinavagupta (11th century).
8.2. Abhinavagupta was a visionary and a philosopher who combined in himself the experiences of a mystic and a Tantric. He was gifted with extraordinary incisive intellectual powers of a logician, as also the skills of a commentator and an art critic. He illumines and interprets the text of the Bharata at many levels: conceptual, structural and technical. In addition, he summed up the views of his predecessors (that is, the scholars who earlier commented on Natyashastra), before presenting his own arguments. Abhinavagupta brought fresh perspectives to the concepts of Bharata, particularly on aesthetic experience (Rasa) and art creation. Although Abhinavabharati is a commentary, it is for all purposes an independent treatise on aesthetics in Indian dance, poetry, music and art.
9.1. Natyashastra was mainly concerned with Drama. And, the role of Music in it, in conjunction with other components, was primarily to heighten the dramatic effects of the acts and scenes in the play. Music, in that context, was another beautiful, artistic, effective device to articulate the moods of various theatrical situations through appropriate thematic tunes and songs. Therefore, Natyashastra was more interested in applied-music than in Music per se (Samgita-shastra).
9.2. The ‘Music’ that the Natyashastra talks about is indeed the Samgita. The term Samgita in the early Indian context denoted a composite art-form comprising Gita (vocal singing), Vadya (instrumental accompaniments) and Nrtta or Nartana the limb movement or dance (Gitam, Vadyam, Nrtyam Samgita-mucchyate). In the latter times, the scope of the term Samgita narrowed down to what we now call ‘music’. Dance became a separate art form. And, within Music the vocal remained the more dominant aspect. The instrumental music follows what is rendered vocally.
[The third component of Samgita (that is Nrtta, the limb movement) involves: Natya which refers to its physical aspects); and, Nrtya the expressive dance movements- in contrast to pure, abstract style of dancing. The key ingredient in these is the elaborate gesture-language Abhinaya (lit. To bring near, that is to present before the eyes) which involves pose, gesture and facial expressions, finger movements foot work etc.]
10.1. Natyashastra pays considerable importance to aspects of Music. It devotes eight of its (chapters 27-34) to Music in the play and Music in general. In fact, chapters 28-36 offer one of the earliest sources of Indian music theory.
10.2. The chapter twenty seven deals with music employed in theatre. The next five Chapters 28-33 are devoted to Gandharva Music and its applications. Of these:
:- Chapter twenty eight covers Jaati (melodic types), Sruti (micro-intervals), Svara (notes), Grama (scales), Murcchana (arrangement of the Svaras) and Sthanas (registers).
:- Chapter twenty nine describes the techniques of plying stringed instruments like the Veena; and distinctions between vocal and instrumental music, further dividing vocal into two types, Varna (colour or syllables) and Giti (‘song’ with lyrics).
:- Chapter thirty which has only thirteen verses describes wind instruments like the Vamsa (flute) and ways of playing it.
:- Chapter thirty-one deals with Taala (time-units or rhythm), Laya (three types of tempo), Yati (three types of movements), Pani (three ways of beginning), Ghana (cymbals), and Chhandas (metrical cycles).
:- Chapter thirty two ( which pertains directly to this post) defines Dhruva songs, their specific employment, forms, and illustrations; definition of song form (Gana); qualities of singer (guna); defects (dosha) of a singer; qualities of a Veena player; qualities of a flute player; qualities of male and female voices; and, qualities of teacher and pupil.
: – Chapter thirty-three deals with Avanaddha – various types of rhythmic instruments – Mrdanga, Pavana and Dardura – their techniques and their application in Drama. Its next, the Chapter thirty-four relates the origin and nature of drums.
: – And, the last three chapters of the treatise, 34 to 36 (inclusive of 36) provide details regarding the different characters, varieties of costumes and popularization of the art of histrionics. The concluding two chapters lay down the principles for distributing roles and the qualifications for members of the troupe.
[Natyashastra provided rules not merely for singing but also for speech delivery (Vachika) . It mentions that in order to bring out the right effects the speech should be well articulated and should respect the virtues (Dharma) of: Svara (notes), Sthana (voice registers), Varna (pitch of the vowel), Kaku (intonation), and Laya (tempo) – NS.19.43-59.
It specifies that the scenes involving humour (Hasya) and erotic or love (Srungara) the speech should be modulated by Madhyama and Panchama Svaras (notes); acute pitch (Udatta and Svarita); and , medium tempo (Madhya Laya). Where as in the scenes depicting heroics (Vira) and wonder (Adbhuta ) the speech should be in Shadja and Rishabha Svaras; acute and trembling pitch (Udatta and Kampita) ; and , quick tempo (Druta Laya). And, in the scenes of pathos (Karuna) the speech should in slow tempo (vilamba).
As regards the voice registers (Sthana), they vary according to the space (distance) on the stage between the characters. It is said: to call a character that is at a distance, the voice should proceed from the top register (Siras); to call one who is a short distance the voice register should emanate from chest (Uras); and, to speak to one who is standing next the voice register should be from the throat (Kanta). ]
11.1. For the limited purpose of this article, let’s assume that Music here refers to singing and the playing of wind and stringed instruments that produce a melody; and to the percussion instruments.
11.2. Music was an essential part of the Indian dramatic art. Natyashastra mentions groups of music-makers or Kutapa-s who brighten (ujjvala-yati) the stage (ranga). These were: Tata, the singers and players of stringed instruments; Susira players of wind-blown instruments; Avadhana, players of percussion instruments such as Mrudanga, Pavana, Dardura and Ghana (cymbals); and the Natyakrta, the group of actors who took part in the play. During the play, Dhruva songs were sung by the actors on the stage as also the singers in the wings, to the accompaniment of musical instruments.
The Gita (song), Vadya (instruments) and Natya (enactment of play) should, ideally, coordinate and perform harmoniously – supporting and strengthening each other with great relish. And, the three Kutapa-s, in combination should suggest a seamless movement like a circle of fire (Alaata chakra); and should brighten (Ujjvalayati) the stage.
Let’s talk about Dhruva Gana in the next Part.
Continued in Part Eight
— Dhruva Gana
Sources and References
Studies in the Nāṭyaśāstra: With Special Reference to the Sanskrit Drama…
By Ganesh Hari Tarlekar
Sonic Liturgy: Ritual and Music in Hindu Tradition
By Guy L. Beck
Poetics of performance by TM Krishna
Language of Sanskrit Drama Language of Sanskrit Drama by Saroja Bhate
Dattilam: A Compendium of Ancient Indian Music edited by Emmie te Nijenhuis
Pictures are from Internet