Sanskrit Subhashitas: About Raag Malkauns

Tuesday, 26 June 2012

About Raag Malkauns

I can not suppress the temptation of sharing some comments by the famous musicologist and Guru, Pt.Ramashrya Jha 'Ramrang', about the Raaga Malkauns with the members of the group 'Classical Music in Hindi Films. Here they are:-
1. It is one of the six main Raags of the old 'Raaga-Raagni System'
2. In olden times it was Sampoorna and changed to Shaadav and now Audava by common consensus.It is a Ragaang Raaga and according to Thaat system comes under Bhairavi Thaat.
2.In our Classical Music there is no other Raag where there is 'nyaasa' at every Swara. For this reason in spite of it being an 'Audava' (pentatonic) Raag, its range of elaboration is very wide. About the Raags there is a rule that the more nyasa swaras are there in a Raag the more will be the scope for its elaboration e.g. Raag Yaman has 5 swaras namely S R G P and N as nyaas swaras. There fore it is considered a great Raga. So is the case with Bhairavi, GurjariTodi and Todi.
3.Another reason of this Raag being very prominent is the grouping of Shadja Madhyam Bhava, because the general rule is that in those Raags where the grouping S>m and S>P is there, they have more scope of elaboration ('vistaar'). In Malkauns we have pairing of S>m, g>d, m>n having S>m Bhava and g>n , m >S' relating to S>P bhava. For this very reason while mixing the swaras of Poorvanga and Uttaranga (lower and upper portion of the octave) the structure of the Raag is not distorted. So this is a unique quality of this Raag.
4. These finer points can be experienced and appreciated only after continued 'swara saadhana' over many years.
5.Malkauns is a Raag of 'Gambhir" (sombre)nature and its gayakee is 'Meend pradhaan'. The Raag is supposed to evoke 'Veera Rasa', but it has compositions of other 'Rasas' like shringaar, karuna and bhakti .
6. According to old Sanskrit Texts Raag Kaushik (old name of Malkauns) by treating Gandhaar as Shadja and using 'moorchnaa' system we get the original Malkauns but according to the Thaat system by making r and P 'varjit' i Bhairavi we will ge this Raag Malkauns.
7. This Raag is totally independent and no other Raag comes near it and is considered a 'shuddha Raaga'
8. Many Raagang Raags based on Malkauns are there e.g. Kaunsi Kanhra, Malkauns Bahar, Madhu Kauns, Nand Kauns, Jog Kauns, Sampoorna Malkauns,Gopika Vasant etc. Among these Raags kaunsi Kanhra is a Kanhra prakar and Malkauns Bahar a prakar of Bahar, Gopika Vasant a mishras prakar,Madhu kauns, nana kauns jog kauns etc prakars of Malkauns.

1 comment:

Bhagyashree Utgi Kulkarni18 March 2022 at 19:40
So nicely explained! Thanks so much for sharing.
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Preface

If there is a language on the earth, dead or living, which may preeminently deserve, by its compressibility of thought, richness of expression, and euphony of words, to be entitled the Language of Poets , it is undoubtedly Sanskrit. The Sanskrit writers cultivated poetry to such an extent , that every work, whether on the philosophy of the soul , or on the theory of Music and Dance, on a battle deciding the fate of the Country for a thousand years to come and shedding the blood of millions of human beings, or on the prosaic sacrifice of an animal offered to appease the hungry demons or the reluctant gods, came to be written in verse. Logic and grammar no less than the art and science of medicine, were thought worthy of being written in verse. Shortness and capability of being easily committed to memory were the chief objects in preferring verse to prose as regards the subjects for which poetry as such had no sympathy. But real poetry was by no means not neglected and among other kinds , epigrammatic poetry received special attention. The Panchatantra is full of short epigrammes on all possible topics relating to humanity viewed in all possible aspects. Thousands of couplets and stanzas embodying in the most laconic style - the choicest thoughts of serious as well as humorous minds , are floating on the surface of what is called learned conversation among our country-men , and a man is not considered learned, and perhaps rightly, unless he is able to repeat some celebrated saying of a poet or a dramatist illustrating either side of a question that may form the subject of conversation in which he is taking part. And though very few of these popular sayings can be verified as the productions of known authors,they are nevertheless greedily learnt by heart by the generality of Shastries (scholars of Sanskrit Language), and may be heard repeated by them in the course of their conversation. As they are very generally used among the well informed and well read of the passing generation of Shastris, they may freely be described as containing a faithful reflection of the modes of thoughts and of the sentiments of the Indian mind busy in a civilization that is now in the state of transition. Not infrequently , these epigrammatic pieces serve as authorities with the ignorant classes, to whom every thing written in the sacred tongue has the authority of Shastras.

It is trusted that what is said above will be sufficient excuse for placing before the public the following collection of 'SUBHASHITAS' . The collection is arranged under various heads and some times sayings both praising and censuring a custom or a state of things are separately given. It is one of the characteristics of subhashita poetry that, coming as it does from various hands, it is both one sided and exhaustive - one sided when viewed only in parts, and exhaustive when viewed as a whole. The reader will doubtless remember the shatakas of Bhaartrihari, who writing in praise of pleasures of the company of young women will raise them to highest heaven; but speaking of indifference to the pleasures of the world will almost in the same breath send his angels to the lowest depth of bottomless perdition. The same may be said of the epigrammatic verses of the Panchatantra, the interlocutors in which are never at loss to support their conflicting views by authoritative verses either quoted from old writers or composed for the occasion by the author. Both sides of every subject touched by the subhashitas are well, some-times perhaps too well, illustrate and the truth always lies between the two extremes.

(The above preface is from a book "SUBHASHITA RATNAKARA" -a collection of witty and epigrammatic sayings in Sanskrit -complied and edited by KRISHNA SHASTRI BHATAVADEKAR - published in the year 1888. The book belonged to my Grandfather , who was a Sanskrit scholar. I inherited the book from my father and all the Subhashitas to be posted by me are from this book, which is in Sanskrit. The translation of the Subhashitas has been done by me to the best of my ability. As I do not possess deep knowledge of Sanskrit, I may be excused of any discrepancies in the translation, if any. I hope that my humble effort will be appreciated by discerning readers going through my blog.Your suggestions in the matter are most welcome. Many thanks for your patronage.)

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