Part 77
Among the fine arts of India, music holds a distinguished place; and although its cultivation has declined, and but few are now found who have attained to eminence either in the science or art of this unequalled source of recreation, refinement, and pleasure, yet no people are more susceptible of its charms than the Hindoos. Reading is with them invariably, as with the Arabians and other Eastern nations, a species of _recitativo_, a sort of speaking music, delivered in dulcet though not measured tones. The recitation of lessons in a school or academy always takes this form. The man at the oar, women beating lime, the labourer engaged in irrigation, alike accompany their toil with song.
The word _sangita_, symphony, as applied to music by the Hindoos, conveys the idea of the union of _voices_, _instruments_, and _action_. Musical treatises accordingly treat of _gana_, _vadya_, _uritya_, or _song_, _percussion_, and _dancing_; the first comprising the measures of poetry; the second, instrumental sounds; and the third, theatrical representation. The ancient dramas of the Hindoo exhibited the union of these in their unequalled poetry, modulated with the accompaniments of voice, and instruments, and the attractions of appropriate scenery.
The music of the Hindoos includes eighty-four modes, each supposed to have a peculiar expression, capable of moving some particular sentiment or affection. The modes take their denomination from the seasons, or from the hours of day or night. Musical composition is supposed capable of adaptation to the different periods of the day, and therefore its provisions are regulated by the hours. The ideas of the Hindoos on music, as promoting the pleasures of imagination, may be inferred from the names applied by ancient authors to their musical treatises. One is called _Ragarnava_, the Sea of the Passions; another, _Ragaderpana_, the Mirror of Modes; and a third, _Sobhavinoda_, the Delight of Assemblies; a fourth, _Sangitaderpana_, the Mirror of Song; and another, _Ragavibodha_, the Doctrine of Musical Modes. Some of these works explain the law of musical sounds, their divisions and succession, variations of scales by temperament, and the enunciation of modes; besides a minute description of the different _vinas_ (lute), and the rules for playing them. This is a fretted instrument of the guitar kind, usually having seven wires or strings, and a large gourd at each end of the finger-board. Its extent is two octaves, and its invention is attributed to Nareda, the son of Brahma. There are many varieties, named according to the number of their strings. Of one of them we give an engraving below.
Music, like everything else connected with India, is invested with divine attributes. From the sacred Veda was derived the Upaveda, or subsidiary Veda of the Gandharbas, the heavenly choristers. The art was communicated to mortals by Sarasvati, the consort of Brahma. She, as before stated, is the patroness of the fine arts, the goddess of speech. Their son, an ancient lawgiver and astronomer, invented the Vina. The first inspired man, Bherat, invented the Drama.
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TRANSCRIBER'S NOTE:
Minor typographical errors have been corrected without note.
Punctuation and spelling were made consistent when a predominant preference was found in this book; otherwise they were not changed.
Ambiguous hyphens at the ends of lines were retained.
Mid-paragraph illustrations have been moved between paragraphs and some illustrations have been moved closer to the text that references them. The Index to Engravings paginations were not corrected.
Superscripts are enclosed in brackets.
[++] indicates a caption added by the transcriber.
VARIANTS UNCHANGED:
-- Pages xiii and 201: Colebrook and Colebroke.
-- Page 51: Tchang-tchin and Tchang-tching.
-- Pages 108, 390 and others: Southwark and Southwarke.
-- Pages 498 and 571: Mahomed, Mahommed and Mahomet.
-- Pages 298, 306 and others: Hindostan and Hindoostan.
-- Pages 322 and 452: Rossellina, Rosselini and Rossellini.
-- Pages 370 and 371: ivil and ivel.
-- Pages 432, 537 and others: Brama and Brahma.
-- Pages 416 and 422: Bolinbroke and Bollinbroke.
-- Pages 634 and 635: Clothseck and clothsek; Gambaldyn and gambaldynge.
-- Page 635: Krees and Kreez.
-- Multiple pages: Shakespere/Shakspeare/Shakspere.
OTHER NOTES:
-- Pages v and xi: Removed entry "Architecture for Earthquakes" as no such engraving or description could be found.
-- Page 85: beneficiare changed to beneficiaire.
-- Page 128: Hatherly changed to Hatherley.
-- Page 246: Sackvile changed to Sackville.
-- Page 250: Clarencieux changed to Clarenceux.
-- Page 330: Shaftsbury to Shaftesbury.
-- Page 339: Hasselquiet changed to Hasselquist.
-- Page 346: + IONA + IHOAT + IONA + HELOI + YSSARAY + 11 + MEPHENOLPHETON + AGLA + ACHEDION + YANA + BACHIONODONAVALI M ILIOR + 11 BACHIONODONAVLI M ACH +
changed to
+ IONA + IHOAT + LONA + HELOI + YSSARAY + || + MEPHENOLPHETON + AGLA + ACHEDION + YANA + BACHIONODONAVALI [M*] ILIOR + || BACHIONODONAVALI [M**] ACH +
[M*] denotes counter-clockwise rotated M and [M**] clockwise rotated M. Also rendered in other texts as the letter Z or the number 3. Sources: Thomas R. Forbes, "Verbal Charms in British Folk Medicine." Proceedings of the American Philosophical Society, Vo. 115, August 20, 1971, p. 308. And Frederick W. Fairholt, Ancient, Medieval, and Renaissance Remains in the Possession of Lord Londesborough. Drawn, Engraved and Described by Frederick W. Fairholt. London: Chapman and Hall, 1857, p. 83.
-- Page 451: Strasburgh changed to Strasburg.
-- Page 502: "drake coloured satin, and [illegible word] coloured satin." Changed to "drake coloured satin, and [...] coloured satin."
-- Page 546: "into his elar;" changed to "into his celar.
-- Pages 549-550: "the slaughtered sun hulls become...." "hulls" changed to "bulls."
-- Page 550: "according the the indication" changed to "according to the indication."
-- Page 558: "as with the [illegible word]" changed to "as with the [...]."
-- Page 630: "It said to have been made...." changed to "It was said to have been made...."