To day's Subhashit.

क्वचिद्विद्वद्गोष्ठी क्वचिदपि सुरामत्त कलहः 

क्वचिद् वीणावादः क्वचिदपि हाहेति रुदनं 

क्वचिद्रम्या रामा क्वचिदपि जराजर्जर तनुम 

न  जाने संसारे किम मृत मयः किं विषमयः 

Kwachidvidwadgoshtee kwachidapi suraamatta kalahh

kwachid veenavadah kwaqchidapi haaheti rudanam

kwachidramyaa raama kwachidapi jaraajarjar tanum

na jaane sansare kimmrutamayah kim vishmayahh.

i.e. Some where there is an assembly of learned persons (vidwadgoshthee) and somewhere drunkards are creating a row, whereas at another place people are mourning and weeping (over the death of a person). Somewhere a person is enjoying youth in the company of a beautiful woman (Raama) in stark contrast to an aged person with a badly wasted body due to old age. So no body is able to tell what is like 'Amrit' and what is like 'Visha' in this fickle world (asaar Sansaar).

(Amrit = A heavenly nector produced during "Samudra Manthan" (already referred in a 'shloka' posted previously). It is believed that one becomes immortal after drinking 'Amrit' So here 'Amritmaya' means a thing that is very pleasurable and beneficial.  In contrast 'Visha" means a very potent poison which results in immediate death. So 'visha-maya' means a thing which brings all sorts of problems and sorrow to a person.)

सुखार्थी वा त्यजेत विद्याम विद्यार्थी वा त्यजेत  सुखं 

सु:खार्थिनो कुतो विद्या कुतो विद्यार्थिनः सुखं 

Sukhaarthi wa tyajeeat vidyam vidyarthi wa tyajeat sukham

sukharthinah kuto vidya kuto vidyarthinah sukham.

i.e.   Those who are in pursuit of a comfortable life (sukh) should forget about learning (vidya) and those who are in pursuit of learning should forget about comfortable living. Those who are after pleasures of life never become learned and those who want to be learned should never expect to lead an easy life as they have to toil to gain knowledge.

To day's Subhashitpanchaan

गणिका गणकौ समान धर्मो  निजपन्चान्ग निदर्शकावुभौ 

जन मान समोहकारिनौ   तौ  विधिना वित्तहरौ विनिर्मितौ 

Ganikaa ganakou samaandharmou nijpanchaang nidarshkaawobhou

Janamaansamohakarinou tou vidhinaa vittasharou vinirmatou.

i.e.  A prostitute and an Astrologer have similar traits and both look after their 'Panchaanga'. God has created both of them to befool and rob persons of their wealth.

Ganika = a prostitute                
Ganak = an astrologer (not an astronomer) who predicts the future of persons against payment of a fee.    
 Panchaang =  An almanac wherein five different elements of time are recorded, which is used by the astrologer as an aid to predict the future of a person.

 Here 'panchang' has also reference to five parts of one's body such as face, ears ,eyes, nose and entire body structure. A prostitute has to always take care of her body to look beautiful and attractive

Some important points regarding Raag Bhairavi

     Although Bhairavi is a very popular Raag, there is some difference of opinion about it's chalan,vadi samvadi swaras,use of all shuddha and kopmal swaras in the Raag.  So, for the benefit of all Members I have summarised these points after going through the opinion of various Scholars available with me.
1. Jaati      All agree that it is Sampoorna-Sampoorna.
                 Aaroha - S r g m P d n S'
                 Avaroha- S' n d P m g r S
2 Vaadi -Samvadi


     Pt.Omkar Nath Thakur has opined that depending upon the'Bhava' and 'Rasa' being expressed by the singer, these will change accordingly. In the 'poorvang' r and in the 'uttarang d will be Ansha swara, g and m will be 'Anugami' (follower). By general rule n will be 'Graha' swara, because the taans are usually taken starting from 'n.  (Shri Thakur follows the old system of classification by Bharat Muni i.e.Grah, Ansh, Nyaas, Apanyas)
     Pt.V.N.Bhatkhande has classified m as Vaadi and S as Samvadi but he says that some scholars are of the opinion that d and g should be vaadi and samvadi respectively and he has also recommended this classification.
     Pt.Vinayak Rao Patvardhan as treated S as Vaadi and P as Samvadi.
     Pt.Ramashrya Jha has also treated d as Vaadi and g as samvadi.

About the use of all shuddha and komal swaras in the Raag.
      Now a days musicians use both the variants of Re Ga Ma Dha Ni in Bhairavi. This is acceptable to other scholars but not to Pt.Patewardhan. He is against this practice and has sarcastically remarked that fortunately Sa and Pa have no variants, otherwise these would also hav been used. He is of the opinion that only R and M  may be used  in such a way that the structure and 'maadhurya' of the Raag remains intact.  According to Pt.Omkar Nath Thakur, through these experiments one can express different moods of a 'Naayika' in different situations of 'Naayika bheda' suchb as 'mugdha'  'navodha' 'abhisaarika' 'prodha' etc.
     Shri Jha has stated that during the 50's Shuddha Rishav was used as a Vivadi swara and musicians treated m as vaadi swara, but the structure of the Raag has changed since then by the use of Shuddha Rishav as anuvadi swara and now Punjabi Bhairavi or better to say Sindhu Bhairavi is more prevalent due to frequent use of shuddha Rishav.
     Bhairavi using all the notes is now called Mishra Bhairavi.
   
     Shri Jha has explained as to how other swaras should be used in Bhairavi detailed hereunder:-
1. Shuddha Rishav  -  Only in Aaroha as 'd 'n S R g R (g) r S
2. Shuddha Gandhaar - g m P d n d P, m G m M m g - r S
.3 and Teevra Madhyam   g m d Pgm M m (g) r   as a Vivadi swara.
4. Shuddha Dhaiwat - g mP D n D n d P, nD m -r m P D n S' (d) P.
5. Shuddha Nishad -  (attached to Sa)  -, g, S r S r 'NS N S r S
     Bhairavi has evolved from folk music. it is used mainly for non-serious popular music like Thumris, Dadra,bhajan,Tappa,Ghazal and light music and use of all swaras helps in this process, which is not liked by purists.
Some other interesting observations
     In practice aaroha is  not done as S r g m P...but as 'n S g m P d n S' with Malkauns ang as this form is convenient and easy for doing taans.
     If from thisa swarawali r a d are removed from aaroha it will bring Raag Dhanashri.  If m and n are removed both in aroha and avaroha , we get Bhoopal Todi.   S r g, r g r S, 'n sS r g, m g r g r S brings in Bilaskahni bTodi and  S r m P d S, r' n d P m g r S brings in Komal Rishav Asavari
 
   


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To day's Subhashit

यत्राभ्यागतदान मान चरन प्रक्षाल नम  भोजनं 

सत्सेवा पित्रदेवतारचनविधिः सत्यं गवाम्  पालनं 

 धान्यमपि संग्रहो न कलह शचित्तानुरुपा प्रिया 

हृष्टा प्राह  हरिं वसामि कमला तस्मिन  ग्रहे निश्चला 

Yatrabhyaagata daanmaan charan prakshalanam bhojanam

Satseva pitradevataarchanavidhih satyam gavam paalnam

Dhanyaamapi sangraho na kalahh chittanurupaa priyaa

hrushtaa praah harim vasami kamala tasmin grahe nishchala.

i.e.  In a household where the guests are honored and greeted by washing their feet, giving them food and gifts, ancestors and Gods are worshiped , cows are reared, foodgrains are stocked, and there is no quarrel among it's members, the lady of the household is obedient, Lakshmi (the Goddess of riches and affluence) permanently stays in such a household.

To day's Subhashit

जाड्यं धियो हरति सिञ्चति वाचि सत्यं 

मानोन्नतिम   दिशति पापमकरोति 

चेतः प्रसादयति दिक्षुः तनोति कीर्तिः 

सत्संगति: कथय  किं न  करोति पुन्साम  

Jaadhyam dhiyo harati sinchati vaachi satyam

maanonnatim dishati paapmkaroti

chetahh prasaadayati dikshuh tanoti keertih

satsangatih kathay kim na karoti punsaam

i.e.   Dullness of a person results in loss of his intelligence (dhiyo) , whereas association with noble persons improves (sinchati) his diction (way of speaking) ,makes him truthful, gives him honor and progress, deters him from doing sinful deeds (Paap), increases his intelligence (cheta) and expertise (dikshuh) and makes him famous (keerti). 

So you tell me what else can the association with noble persons (satsangati) not do to a person ?

To day's Subhashit

अव्यवसायिनमलसं   दैवपरं साहसच्च परिहीनं 

प्रमदा पतिमिव वृद्धं नेच्छति   लक्ष्मीरुपस्थातुं 

Avyavasaayinamalasam daivaparam saahaschh pariheenam

pramada patimiwa vruddham necchati lakshmirupasthaatum.

i.e.   Lakshmi  (the goddess of Riches and affluence) never stays in a household where the head of the family is an aged person wedded to a young woman,  is unenterprising , bereft of courage,and leaves every thing to his fate.