Jayanand Keval Charitrana 10 Ma Sargma Sangit Vishayak Samgri Vichar

This is a comprehensive summary of the provided Jain text, "Jayanand Keval Charitrana 10 ma Sargma Sangit Vishayak Samgri Vichar" by Babulal S. Shah:

The article, written by the late Pt. Babubhai Savchand Shah, delves into the musical content found in the tenth canto (Sarg) of the Sanskrit composition "Shri Jayanand Keval Charitra." This work was authored by the Tapagachchiya Muni Sundarsuri, likely in the first quarter of the 15th century CE.

The core of the article focuses on a dialogue in the tenth canto between Vaman (the protagonist, Jayanand) and King Shripati, the father of three princesses. In response to the king's inquiry about music, Vaman presents information that is generally found in Indian and West Indian musicological texts. However, the author highlights that this particular account includes some subtle yet significant details, such as the concept of "Guru-raag." Furthermore, it quotes from a presently unavailable Prakrit text on music, making it valuable for scholars of medieval Indian musicology.

The article also mentions advice given to singers on maintaining vocal health through dietary recommendations. It notes that these suggestions later appear in folk literature in the form of "Sorathas." The author states that the original text is provided, followed by its Gujarati translation.

The Sanskrit verses (from 49 to 74) and their Gujarati translation detail Vaman's explanation of music. He describes Gandharva music as having three origins: string instruments (tantri), wind instruments (venu), and human voice (narodbhavam). He elaborates on various types of string instruments like the Veena, Trisari, and Sarangi. Vaman explains how ragas (melodic frameworks) are developed from the vibrations of strings, influenced by the placement of fingers on the instrument. He also discusses the purification and proper tuning of instruments like the flute and Veena, emphasizing the importance of quality materials and skillful craftsmanship.

Vaman then shifts to the human aspect of music, outlining the ideal qualities of a singer. This includes being neither too lean nor too stout, having a healthy throat, being free from ailments, possessing a joyful disposition, and being in the prime of youth. He also specifies a diet that avoids certain foods like sesame seeds, oil, urad dal, and jaggery, while favoring milk and water. He stresses the importance of a clean mouth, free from the habit of chewing betel leaves.

The physiological process of singing is described as the expulsion of prana-vayu (life-breath) from the navel, guided by the vocal cords and manipulated by the tongue, teeth, lips, and palate to produce various sounds and varnas (letters/syllables). These sounds are categorized into three registers: mandra (low), madhya (middle), and tara (high). The text further elaborates on the seven types of swaras (notes) and their variations based on pitch. It mentions three gramas (melodic scales) and twenty-one murchhanas (modes) derived from them.

The explanation then moves to the classification of ragas, stating that 42 ragas are produced from these notes. It distinguishes between agamiya (classical) and deshiya (folk or regional) music. The agamiya music is further divided into seven categories, each with specific sub-classifications (seven sigadas, seven bhaniao, and two female companions for each bhania). The deshiya music is described as varied, including types like Elamashthit and Dvipadi.

The article lists the six primary ragas: Shri, Vasant, Pancham, Bhairav, Megh, and Nattanarayan. It then details 36 raginis (female counterparts or derivatives of ragas) associated with each of these primary ragas. Finally, it identifies six guru-ragas (primary ragas that influence others) associated with each of the six main ragas, bringing the total to 42.

The author concludes by emphasizing that this musical knowledge is the result of extensive study over a long period. He notes that in music, both praise (stuti) and criticism (ninda) are often present. However, he chooses not to discuss criticism originating from virtuous individuals, as it is rare. Praise, he explains, can be of two types: acknowledging existing virtues and attributing non-existent virtues. The latter is considered appropriate in contexts like weddings or by less virtuous individuals, but not by the righteous.

In essence, the article provides a detailed academic analysis of the musical discourse presented in the Jayanand Keval Charitra, highlighting its historical and theoretical significance within the broader context of Indian musicology.