नारदविरचितः
सङ्गीतमकरन्दः ।
SANGÎTA-MAKARANDA
OF
NÂRADA
EDITED WITH INTRODUCTION AND APPENDICES
BY
MANGESH RÂMAKRISHNA TELANG,
Retired Head Shirastedar of the Bombay High Court,
EDITOR OF SANGÎTA RATNÂKARA,
MAHÂVIDYÂ-VIDAMBANA, &c.
PUBLISHED UNDER THE AUTHORITY OF THE GOVERNMENT OF
HIS HIGHNESS THE MAHARAJA GAEKWAD OF BARODA.
CENTRAL LIBRARY,
BARODA.
1920.
THE ORIENTAL BOOK-SUPPLYING AGENCY
15, SHUKRAWAR PETH, POONA CITY INDIA.

INTRODUCTION

The present book entitled Sangīta Makaranda by Nārada is
one of the very few Sanskrit works on Music that have been
hitherto printed and published.
Materials for a history of ancient Indian Music—
If the reader will just have a glance at the list, which is by no
means complete, of Sanskrit works specially appended to this
edition for the information of the researchers in the Department of
Music, he will have an idea of the extent of the literature on the
subject. The list does not include the names of a number of works
written by many ancient masters of Music such as Venâ, Mataṅga,
Kohala, Tumburu, Yâshtika, Vis'vâvasu, Hanumân alias Ânjaneya,
Dantila, Kambala, As'vatara, Rudraṭa, Kâs'yapa, Umâpati¹,
Gopala Nâyaka &c. from whose works quotations have been made by
Chatura Kallinâtha (about A. D. 1400–1500) in his commentary
on Sangīta Ratnâkara. Unfortunately Kallinâtha mentions only
the names of the authors and not the names of their works. Hence
the names of the works of these authors could not be included in
the list. In the above commentary Chatura Kallinâtha has
quoted one whole chapter from a work called ‘Sangīta Meru’ by
Kohala². In this chapter Kohala mentions the names of the
following writers on Music (probably dancing)—Bhatta Tandu,
S'ambhu, Sumantu, Purâli, Kshemarâja and Lohita Bhatta. He
also mentions the name of a work entitled Des'i Nritta Samudra
by Nārada. S'arṅgadeva mentions a work called Brihaddes'i by
Yâshtika³. Besides these, names of numerous other authors have
been mentioned by Sârngadeva in his Sangīta Ratnâkara without
specifying their works. As research work is being carried on by
various Scholars and Institutions, it is likely that many of these
works may come to light hereafter.
1 The Baroda Central Library has secured a copy of Umâpati's work entitled ‘Aumâpatya’ from the Ms., in the Madras Govt. Library.
2 Vide Sangīta Ratnâkara Vol. II, p. 679.
3 Vide Sangīta Ratnâkara Vol. I, p. 154.

II INTRODUCTION
If all this vast hidden literature on Music existing in manus-
cripts at present be published, it will supply sufficient material to
scholars to construct an authentic history of the origin and develop-
ment of Aryan Music in India. Besides these works, the Vedas,
Bramhanas, Āranyakas, the various Suttras, Smritis, Purānas,
and the Kavyas and all such ancient literature, if studied critically
with a view to collect materials for a history of Music, will surely
disclose much interesting and valuable information. As an
instance I may quote here the following passage from Aitareya
Ārnyaka which incidentally furnishes a description of the Vīnā
that was in vogue in those times —
“ अथ खल्वियं दैवी वीणा भवति, तदनुकृतिरसौ मानुषी वीणा भवति । यथास्याः शिर
एवममुष्या शिर , यथास्या उदरमेवममुष्या अम्भणम् । यथास्यै जिह्वा एवममुष्यै वादनम्, यथा
अस्यास्तन्त्रय एवममुष्या अङ्गुलय । यथास्या स्वरा एवममुष्या स्वरा , यथास्याः स्पर्शा एवम-
मुष्या स्पर्शा , यथा ह्येवेयं शब्दवती तर्द्मवती एवमसौ शब्दवती तर्द्मवती, यथा ह्येवेयं लोमशेन
चर्मणाऽपिहिता भवति एवमसौ लोमशेन चर्मणाऽपिहिता । लोमशेन ह स्म वै चर्मणा पुरा वीणा
अपिदधति । स यो हैतां दैवीं वीणां वेद श्रुतवदनो भवति, भूमिप्राऽस्य कीर्तिर्भवति, यत्र क्वचार्या
वाचो भाषन्ते विदुरेनं तत्र ” इति
ऐतरेयारण्यक आ० ३ अ० २ ख० ५
( आनन्दाश्रमपुस्तक पृ० २०२ )
Now this passage furnishes a good deal of information about
the Vīnā then in vogue. The words Ambhana, Vādana, Tantra-
yah, Svarāh, Spars

INTRODUCTION. III
developed into the more refined Music practised at the time of
Bharata who is known as the founder of the present system of
Music, although subsequent professors of the art may have further
developed it and established different schools of Music by introdu-
cing innovations by their talents
Bharata's Nâtya Sâstra—Bharata's Nâtya Sâstra is the
most ancient of the books on Music handed down to posterity.
Some scholars assign it to the first century after Christ, others to
the fourth century It is well known that it is difficult to decide
precisely the dates of ancient authors Although as already hint-
ed above many writers on Music came after Bharata, we have no
means of giving any historical account of their lives and works
S'ârngadeva's Sangita Ratnâkara—the next author, whose
work is available in print, is S'ârngadeva, the author of Sangita
Ratnâkara, who lived in the reign of King S'inghana of Devagiri
Modern Doulatâbâd (A. D 1210–1247) Among the authors
of books on Music, besides the names of deities such as Sadâs'iva
&c, S'ârngadeva mentions the following names —
Bharata, Kas'ypa, Matanga, Yâs'tika, S'ârdûla, Kohala,
Vis'âkhila, Dantila, Kambala, As'vatara, Vâyu, Vis'vâvasu,
Arjuna, Nârada, Tumburu, Ânjaneya, Matrigupta, Swâti, Guna,
Bindurâja, Kshetrarâja, Râhala, Rudrata, Nanya bhupala, Bhojarâja
and Paramardi Somes'a Mahîpati Among the commentators
on Bharata's Natya Sastra he mentions the names of Lollata,
Udbhata, Sankuka, Abhinavagupta and Kîrtidhara
I do not take any account of several other books such as
Sangita Pârijâta, Ragavibodha, Sangita Darpana, Hridaya Kou
tuka, Hridaya prakâs'a &c , because all of them are of a later date
Nârada, the author of the present work Sangita Maka
randa—The present work viz , Sangita Makaranda is said to be the
work of Nârada on the authority of the manuscript It is difficult
to say anything with certainty about Nârada's life and time. I
shall place before the reader whatever can be gathered from inter-
nal evidence available in the book itself

II INTRODUCTION
If all this vast hidden literature on Music existing in manus-
cripts at present be published, it will supply sufficient material to
scholars to construct an authentic history of the origin and develop-
ment of Aryan Music in India. Besides these works, the Vedas,
Bramhanas, Âranyakas, the various Suttras, Smritis, Purânas,
and the Kavyas and all such ancient literature, if studied critically
with a view to collect materials for a history of Music, will surely
disclose much interesting and valuable information. As an
instance I may quote here the following passage from Aitareya
Ârnyaka which incidentally furnishes a description of the Vînâ
that was in vogue in those times —
" अथ खल्वियं दैवी वीणा भवति, तदनुकृतिरसौ मानुषी वीणा भवति । यथास्याः शिर
एवममुष्या शिर, यथास्या उदरमेवममुष्या अम्भणम् । यथास्यै जिह्वा एवममुष्यै वादनम्, यथा
अस्यास्तन्त्रय एवममुष्या अङ्गुलयः । यथास्या स्वरा एवममुष्या स्वरा, यथास्या स्पर्शा एवम-
मुष्या स्पर्शा, यथा ह्येवेयं शब्दवती तर्द्यवती एवमसौ शब्दवती तर्द्यवती, यथा ह्येवेयं लोमशेन
चर्मणाऽपिहिता भवति एवमसौ लोमशेन चर्मणाऽपिहिता । लोमशेन ह स्म वै चर्मणा पुरा वीणा
अपिदधति । स यो हैतां दैवीं वीणा वेद श्रुतवदनो भवति, भूमिप्राऽस्य कीर्तिर्भवति, यत्र क्वचार्या
वाचो भाषन्ते विदुरेनं तत्र " इति
ऐतरेयारण्यक आ० ३ मं० २ ख० ५
(आनन्दाश्रमपुस्तक पृ० २९२)
Now this passage furnishes a good deal of information about
the Vînâ then in vogue. The words Ambhana, Vâdana, Tantra-
yah, Svarâh, Spars'ah, S'abda and Tardma as applied to Vînâ have
a technical sense and prove that the Modern Vînâ (Bîna) has
much in common with the ancient Vînâ. Besides, the passage
specially records the fact that in earlier times prior to the compo-
sition of the work (Aitareya Bramhana) a part of the Vînâ was
covered with leather and that the practice had disappeared at
the time of the said work.
Origin of Aryan Music—The elements of the art of Music
seem to have originated with the Vedic songs called "Samas"
which were sung at the time of performing particular ceremonies
during a sacrifice. The rules about the singing of these "Sâmas"
are recorded in some ancient Sanskrit treatises. We have no
means of ascertaining the process by which the "Sâma" Music

INTRODUCTION III
developed into the more refined Music practised at the time of
Bharata who is known as the founder of the present system of
Music, although subsequent professors of the art may have further
developed it and established different schools of Music by introdu
cing innovations by their talents
Bharata's Nátya Sástra—Bharata's Natya Sástra is the
most ancient of the books on Music handed down to posterity
Some scholars assign it to the first century after Christ, others to
the fourth century It is well known that it is difficult to decide
precisely the dates of ancient authors Although as already hint-
ed above many writers on Music came after Bharata, we have no
means of giving any historical account of their lives and works
S'ârngadeva's Sangita Ratnákara—the next author, whose
work is available in print, is Sárngadeva, the author of Sangita
Ratnákara, who lived in the reign of King Singhana of Devagiri
Modern Doulatâbâd (A D 1210-1247) Among the authors
of books on Music, besides the names of deities such as Sadâs'iva
&c , S'ârngadeva mentions the following names —
Bharata, Kas'ypa, Matanga, Yâs'tika, Sârdula, Kohala,
Vis'akhila, Dantila, Kambala, As'vatara, Vâyu, Vis'vâvasu,
Arjuna, Nârada, Tumburu, Anjaneya, Matrigupta, Swâti, Guna,
Bindurâja, Kshetrarâja, Râhala, Rudrata, Nânya bhupala, Bhojarâja
and Paramardi Somes'a Mahipati Among the commentators
on Bharata's Nátya Sastra he mentions the names of Lollata,
Udbhata, Sankuka, Abhinavagupta and Kirtidhara
I do not take any account of several other books such as
Sangita Pârijâta, Rágavibodha, Sangita Darpana, Hridaya Kou
tuka, Hridaya prakâs'a &c , because all of them are of a later date
Nârada, the author of the present work Sangita Maka
randa—The present work viz , Sangita Makaranda is said to be the
work of Nârada on the authority of the manuscript It is difficult
to say anything with certainty about Nârada s life and time I
shall place before the reader whatever can be gathered from inter-
nal evidence available in the book itself

' (ru with long u) or 'रूं' or 'रू'?
Wait, between 'नि' and 'रू':
Is there an anusvara on 'नि'?
There is a tiny speck above the top bar between 'नि' and 'रू', or is it an anusvara over 'नि'?
Actually, looking at it: it's slightly to the right of 'नि', right above the space. It might be an ink dot / stray mark, but in standard Sanskrit it is 'रागनिरूपण'.
Wait, look at line 3:
"2 रागनिरूपण and 3 नारदसंहिता."
Yes!

Let's check every single line carefully:
Line 1:
IV INTRODUCTION.
Line 2:
But before doing so I must mention that three works on music
Line 3:
are ascribed to Nârada viz., 1 नारदी शिक्षा, 2 रागनिरूपण and 3 नारदसंहिता.
Line 4:
Of these the first is available in print. On comparing it with the
Line 5:
present work, I am of opinion that the authors of both these works
Line 6:
are not identical. The Nâradî Sikshâ appears to be an older work.
Line 7:
For its language is archaic and it treats more of " Sâma-gâna "
(Note: space after opening quote: " Sâma-gâna ")
Line 8:
( Vedic

INTRODUCTION. v
above principle. In that system the Râgas are divided according
to the different scales on which they are based Sangîta Ratnâk ara,
Sangîta Pâryâta, Râgavibodha &c , follow this system
**Division of Râgas followed in the present work—**The
present book (Sangîta Makaranda) mentions two different divisions
of the Râgas into six principal Râgas and their wives¹ This
division of the Râgas suggests that the book belongs to the North-
ern India system But it must be observed that the current
Râgas obtaining in the practice of modern Music of Northern
and Southern India differ widely from the definitions given in all
the ancient Sanskrit Books such as Sangîta Ratnâkara, Sangîta
Pâryâta, Râgavibodha, Sangîta Darpana &c
**A few observations on the present work—**The text of
Sangîta Makaranda is inaccurate in many places as it is based on
only one manuscript supplied to me by the Baroda authorities
The manuscript is full of the mistakes of the copyist I have cor-
rected many of these mistakes as far as possible with the help of
Sangîta Ratnâkara, &c But in many places there are apparently
deviations from the rules of syntax I did not think it proper to
correct these in the absence of another copy. But in such cases I
have given the suggested readings in brackets or in footnotes or
made a query against the words of the text
Our author seems to have been different from the Nârada
Rishi of the Purânas as his name is mentioned by our author in the
Mangala verse 2 on page 1
Our author divides musical sounds into five kinds viz 1 नखज
sound produced by playing Vînâ strings with nails, 2 वायुज sound
produced by means of wind through wind instruments, 3 चर्मज sound
produced by means of leather through instruments, such as drums,
&c , 4 लोहज sound produced by metal pieces, such as cymbals &c ,
5 शारीरज sound produced by the human throat As far as I know
none of the printed ancient works introduce this peculiar division of
Musical sounds
1 Vide verses 68 to 78, pages 19 and 20
2

VI INTRODUCTION.
The families, castes, colours Dweepas ( birth-places ), Rishis,
deities, Chhandas ( metres ), Gottras, constellations, Râs'is ( zodiac
signs ), Grahas ( planets ) and Rasas ( sentiment ) of the seven-
notes are mentioned in this work¹. These are not mentioned
in Bharatas Nâtya S'âstra But S'ârngadeva has extracted all
these in his Sangita Ratnâkara, except the Gottras, constellations,
Ras'is and planets²
It is strange that the names of the 22 S'rutis given in this
book are quite different from those usually mentioned in other
books on music such as Bharata Natya S'âstra, Sangita Ratnâkara,
Sangita Pârijata and Sangita Darpana The names of the 22
S'rutis as stated in the present book are ³
( षड्जे )—१ सिद्धा २ प्रभावती ३ कान्ता ४ सुप्रभा
( ऋषभे )—५ शिखा ६ दीप्तिमती ७ उग्रा
( गान्धारे )—८ ह्रादी ९ नियरी
( मध्यमे )—१० दिरा ११ सर्पसहा १२ क्षान्ति १३ विभूति
( पञ्चमे )—१४ मालिनी १५ चपला १६ बाला १७ सर्वरला
( धैवते )—१८ शान्ता १९ विकलिनी २० हृदयोन्मलिनी
( निषादे )—२१ विसारिणी २२ प्रसूता
But the names given in Bharata, Sangîta Ratnâkara &c are:
( षड्जे )—१ तीव्रा २ कुमुद्वती ३ मन्दा ४ छन्दोवती
( ऋषभे )—५ दयावती ६ रञ्जनी ७ रतिका
( गान्धारे )—८ रौद्री ९ क्रोधा
( मध्यमे )—१० वज्रिका ११ प्रसारिणी १२ प्रीति १३ मार्जनी
( पञ्चमे )—१४ क्षिति १५ रक्ता १६ सन्दीपिनी १७ आलापिनी
( धैवते )—१८ मदन्ती १९ रोहिणी २० रम्या
( निषादे )—२१ उग्रा २२ क्षोभिणी
Thus all the names differ except उग्रा But this name though
common is assigned to the 7th S'ruti by our author while others
give it to the 21st S'ruti.
This circumstance clearly shows that our author must have
borrowed these names from some older book which is not now available.
1 Vide page 3 verses 24 48
2 Vide Sangita Ratnâkara Vol I pages 45 & 46.
3 Vide page 8 verses 78-84.

INTRODUCTION VII
Nârada only mentions the names of the 18 Jatis¹ described
by Bharata but does not give their definitions or examples as is
done in the Sangita Ratnâkara
As regards the Alankâras (combinations of notes for develop
ing a Râga) he has mentioned only 19², whereas S'ârngadeva
has mentioned about 63 in the Sangita Ratnâkara The Sangita
Pârijâta mentions 68 Alankâras and the Râgavibodha gives only 34
Nârada has enumerated in all 93 different Râgas. Sangita
Râtnâkara contains 264 Râgas in all The Sangita Pârijâta describes
122 Râgas while the Râgavibodha enumerates about 50 Râgas
Nârada mentions 3 species of Râgas viz 1 पुरुषरागा Masculine
Râgas 2 स्त्रीरागा Feminine Ragas and 3 नपुंसकरागा Neuter Râgas³
Again he divides the Râgas into three groups viz 1 मुक्ताऽकम्पिता
Râgas which have quivering (कम्पितगमक) throughout, 2 अर्धकम्पिता
Râgas which have partial quivering, and 3 कम्पविहीना Râgas which
are absolutely free from quivering⁴ The Sangita Ratnâkara and
other later books do not mention these divisions
As regards the Vınâ instrument our author says that there are
18 kinds of it But the number of the names given comes to 19
They are — १ कच्छपी २ कुब्जिका ३ चित्रा ४ वहन्ती ५ परिवादिनी ६ जया ७ घोषवती
८ ज्येष्ठा ९ नकुली १० महती ११ वैष्णवी १२ ब्राह्मी १३ रौद्री १४ कूर्मी १५ रावणी १६ सार-
स्वती १७ किनरी १८ सैरन्ध्री १९ घोषका If we take परिवादिनी as a common
name for Vınâ instead of a particular kind, then the number 18
given by the author can be reconciled with the names He states
that these various kinds are due to the difference in the arrange-
ment of the strings⁵ But S'arngadeva mentions the following 11
kinds of Vınâ — १ एकतन्त्री २ नकुल ३ नितम्बिनी ४ चित्रा ५ वीणा ६ विपञ्ची
७ मत्तकोकिला ८ आलापिनी ९ किन्नरी १० पिनाकी and ११ निःशङ्कवीणा Chatura
Kallınâtha, the commentator of Sangita Ratnakara, says that the
last mentioned Vınâ was invented by Sarngadeva whose honorific
title was निःशङ्क ⁶
1 Vide page 10 verses 106-110
2 Vide page 14 verses 14-17
3 Vide page 18 verses 53 63
4 Vide page 20 verses 84-85
5 Vide page 22 verses 6-8
6 Vide Sangita Ratnâkara Vol II p. 480

VIII INTRODUCTION
The verses 22-40 on pp. 23-25, describing the merits of the
different kinds of singers &c, in this work, are found in Sangîta
Ratnâkara almost word for word.¹ In our text here they are
corrupted by the copyists' mistakes. It is difficult to decide
whether the author of the Sangîta Ratnâkara inserted them in his
work from this book or some one extracted them from the Sangîta
Ratnâkara and interpolated them in the present work. Arguments
might be advanced to support either view. I therefore leave the
point for the decision of the experts.
At the commencement of the Nṛtyādhyāya² Nārada gives the
descriptions of the Nṛtya Sālā (Dancing Hall), Sabhā (audience),
Sabhāpati (Chief of the audience) &c., and all these are indepen-
dent of those given in the Sangīta Ratnākara.
Further he has mentioned 101 Tālas with their definitions³
but has not divided them into Mārga and Deśī as is done by
Śārṅgadeva in the 5th chapter of his Sangīta Ratnākara wherein
the number of Deśī Tālas described is 120.
As regards dancing he has given a very brief account of it.
He has enumerated and defined only 33 postures of a dancer within
a few verses.⁴ But the author of Sangīta Ratnākara has devoted
one whole chapter to the subject and has done full justice to it.
The style of the book is very simple like that of Bharata's
Nāṭya Sāstra. But the Sangīta Ratnākara is written in highly
polished Sanskrit. The arrangement of Sangīta Ratnākara is
scientific and it seems to have been written after the art of Music
had attained a very high stage of development in all its branches.
Date of Sangīta Makaranda—If we take all the above
circumstances into consideration, we are obliged to arrive at the
conclusion that Sangīta Makaranda is an older work than
Sangīta Ratnākara.
1 Vide Sangīta Ratnākara Vol. I, p. 243–246.
2 Vide pages 27 to 29.
3 Vide pages 47, verses 93–100.
4 Vide pages 49 to 51.

INTRODUCTION ix
Further, the names of writers, mentioned in this work are
Hari, Bramhâ, Matanga, Kâs'yapa, Kamalâsya, Chandî, Vyâla,
S'ârdûla, Nârada, Tumburu, Shanmukha, Bhringi, Devendra,
Kubera, Kus'ika, Mâtrigupta, Ravana, Samudra Sarasvatî, Bali,
Yaksha and Vikrama¹ Many of these names are names of deities
and Purânik personages and it is beyond our means to determine
their time But the names of Vikrama and Mâtrigupta are
historical As there have been several Vikramas, it is difficult
to say what Vikrama is meant But the mention of the name of
Mâtrigupta, who is also mentioned by Sarngadeva in his Sangîta
Ratnâkara as one of the writers on music, enables us to infer that the
present work must have been written not earlier than 7th century
A D Mâtrigupta, who was a poet and writer on poetics, is said
to have lived about the first half of the sixth century being a
contemporary of S'ilâditya Pratâpas'ila of Mâlva (A D 550-600)
My esteemed friend, T M Tripathi Esqr B. A of Bombay,
informs me that from the Nâtya Pradîpa of Sundara Mis'ra it
appears that Mâtrigupta has written a commentary on Bharata's
Nâtya S'âstra
But there is one circumstance which may help us in deciding
the priority of this work to Sangîta Ratnâkara For, Nârada
mentions the name of only Mâtrigupta among the names of the
historical personages as writers on music, and does not mention
the names of the later writers such as Rudrata, Nanya Bhûpâla,
Paramardî Somes'a, Lollata, Udbhata, S'ankuka, Abhinava Gupta
&c. If Nârada had copied the names of authors from Sangîta
Ratnâkara, he would not have omitted them It is likely that
S'ârngadeva copied the names of older authors from Nârada's book
and added these later names known at his time to the list in his
book Nârada does not seem to have borrowed any verses from
Sangîta Ratnâkara The treatment and order of the topics
observed in Sangîta Makaranda is quite different from that in the
Sangîta Ratnâkara
This view is supported by another circumstance which seems
to be a stronger proof Sarngadeva while giving the definition of
1 Vide p 13 verses 18-21

x INTRODUCTION.
the Gāndhāra Grāma states that it is according to Nārada's
opinion —
यदा धस्त्रिश्रुति षड्ङ्गे मध्यमे तु चतु श्रुति ।
रिमयो श्रुतिमेकैका गान्धारस्त्वसमाश्रित ।
पञ्चति धो निपादस्तु धश्रुतिं सध्रुतिं श्रित ॥ ४ ॥
गान्धारग्राममाचष्टे तदा त नारदो मुनि ।
प्रवर्त्तते स्वर्गलोके ग्रामोऽसौ न महीतले ॥ ५ ॥
सङ्गीतरत्नाकर पृ० ४६
Now this very definition is to be found in this Sangīta Maka-
randa of Narada as follows —
यदा धस्त्रिश्रुति षड्ङ्गे मध्यमे तु चतु श्रुति ।
रिमयो श्रुतिरेकैका गान्धारस्य समाश्रया ॥ ५४ ॥
पञ्चमश्रुतिरेका च निपादश्रुतिसश्रया ।
गान्धारग्राममाचष्टे तदा त नारदोऽब्रवीत् ॥ ५५ ॥
प्रवर्त्तक स्वर्गलोके ग्रामोऽसौ न महीतले ।
सङ्गीतमकरन्द पृ० ५-६
From these circumstances we must conclude that Sangita
Makaranda of Nārada is an older work than the Sangīta Ratnā-
kara and that it was known to S'ārṅgadeva (A D 1210-1247)
Until we get further proof to establish the exact date, we must
hold that Nārada, the author of Sangīta Makaranda lived some-
time in the interval between Mātṛgupta A D 550 and Sārṅga-
deva A D 1210-1247, that is, he must have lived between the
7th and 11th centuries
The Manuscript.
Source of the Manuscript—The present edition of the
Sangīta Makaranda of Narada is based upon one single manuscript
furnished to me by the Central Library of Baroda
The credit of having discovered this rare manuscript is due to
the wife of Mr R Ananta Krishna Shāstry, the officer employed
by the Baroda Central Library for search of Sanskrit manuscripts.
Mr Shāstry, while on an official tour in H E H. the Nizam's
Territory in 1919, was examining Mss in an old Pandit's house
at Gadwāl with his wife when the latter noticed this Ms
Through the kindness of the Hon Sir Stuart Fraser, K. C. S. I ,

INTRODUCTION. XI

C. I. E., the then Resident of Hyderâbâd Mr. Shâstrî obtained a
note on H. H. The Raja Saheb of Gadwal through Mr. M. A.
N. A. Hydari, B. A., Judicial Secretary, Hyderabad. Thus
Mr. Shâstry got the loan of the manuscript through the kind
influence of the Râjâ Sâheb to whom are due the sincerest thanks
of all lovers of Indian music.
Description of the Manuscript—The manuscript is written
in Devanâgarî characters on old Ahmedabad paper of a yellowish
tinge. It consists of 32 folios, the size of the folio being 10¼ × 5½
inches and each side of the folios containing 9 lines. The hand-
writing is fair and the headings of the subjects in the body of the
text are written in red ink the colour of which has not faded,
though the manuscript was written in the Shake year 1599 (A.
D. 1677) that is 243 years ago. On the last three pages the
copyist has painted 9 different designs of a rosette in black, yellow,
red and green colours.
The manuscript begins as follows:—
धीमहागणपतये नमः । श्रीसाम्बसदाशिवाय नमः । श्रीनादब्रह्मणे नमः ।
The colophon is as follows:—
इति सङ्गीतमकरन्दः समाप्तः । शुभमस्तु । शके १५९९ शालिवाहे पिङ्गलनामसंवत्सरे
आश्विनमासे शुक्लपक्षे विजयादशम्यां विद्यापुरमहानगरे श्रीमन्महागणपतिदासकृष्णाजीदत्तेनेदं
सङ्गीतमकरन्दाख्यपुस्तकं लिखितम् । महागणपतिर्जयति ॥
From this colophon it is evident that the manuscript was
copied in Shake 1599 (A. D. 1677) by one Krishnâjî Datta who
was a devotee of the deity Mahâganapati and lived in Vidyâpura.
This Vidyâpura is no other than Vijayanagara which was the
capital of the late Vijayanagara Empire and which is now in ruins.
The present manuscript was discovered at Gadwâl which, though
now a feudatory of the Hyderabad State, was in former times
a feudatory or a part of the Vijayanagara Empire. It is probable
that after the complete ruin of Vidyâpura alias Vijayanagara the
manuscript must have come to Gadwâl which is not very far from
the ruined capital. For this information I am indebted to my
friend Mr. J. S. Kudâlkar of Baroda Central Library.

२ सङ्गीतमकरन्दे ।
श्लोकाङ्काः विषयः पृष्ठं
६६-७७ मूर्च्छनालक्षणं तद्भेदन्निरूपणं च ... ... ... ... ... ७
७८-८९ षड्जादिस्वराणां श्रुतिसंख्यातद्ग्रामकथनम् ... ... ... ... ... ७
९०-११० मूर्च्छनाविभागादिविचारः ... ... ... ... ... ७
१११-११२ स्वरप्रकृतिविकृतयः ... ... ... ... ... ... ११
११३-११४ तन्त्रीप्रकृतिविकृतयः... ... ... ... ... ... ११
सङ्गीताध्याये द्वितीयः पादः ।
१ मङ्गलश्लोकः ... ... ... ... ... ... ११
२-४ गीतस्वरूपवर्णनम् ... ... ... ... ... ... ११
५-१७ वीणादेहत्तदङ्गादिनिरूपणम् ... ... ... ... ... ... १२
१८-२१ सङ्गीतशास्त्रप्रणेतृदेवतादिनामानि ... ... ... ... ... ... १३
२२-२४ गीतमाहात्म्यम् ... ... ... ... ... ... १३
सङ्गीताध्याये तृतीयः पादः ।
१ स्वरलक्षणम् . ... ... ... ... ... १४
२-९ स्वरग्राममूर्च्छनारागादिनिर्देशः ... ... ... ... ... १४
१०-१२ प्रातःकाले गेयानां सूर्यांशरागाणा नामानि ... ... ... ... ... १४
१३-१४ मध्याह्नगेयरागनामानि ... ... ... ... ... ... १५
१५-१९ सायङ्काले गेयानां चन्द्रांशरागाणा नामानि ... ... ... ... ... १५
२०-२३ उदयान्तरमेकप्रहरोपरिनेयरागाः ... ... ... ... ... १५
२४-२६ रागवेलातिक्रमफलादिवर्णनम् ... ... ... ... ... १५
२७-३४ अन्यरागनामानि ... ... ... ... ... ... १६
३५-३९ सम्पूर्णरागाणा प्रस्तराः ... ... ... ... ... ... १६
४०-४५ षाडवरागाणा प्रस्तरा ... ... ... ... ... ... १७
४६-५२ औडवरागाणा प्रस्तराः ... ... ... ... ... ... १७
५३-५६ पुंल्लिङ्गरागाः ... ... ... ... ... ... १८
५७-५९ स्त्रीरागाः ... ... ... ... ... ... ... १८
६०-६३ रागाणा रसप्रयोगविवेकः ... ... ... ... ... ... १९
६४-६७ रागाङ्गनिरूपणम् ... ... ... ... ... ... १९
६९-७२ षट्पुरुषरागाणा तत्स्त्रीणा च नामानि ... ... ... ... ... १९
७३-७९ मतान्तरेण षट्पुरुषरागाणां तत्स्त्रीणा च नामानि ... ... ... ... २०
८०-८३ प्रसङ्गानुप्रसङ्गविचारः ... ... ... ... ... ... २०
८४ कम्पितादिभेदेन रागविभागः ... ... ... ... ... २०
८५-९३ शास्त्रविरोधेन तथा शास्त्रानुरोधेन रागादिप्रयोगे फलश्रुतिः ... ... ... २१
सङ्गीताध्याये चतुर्थः पादः ।
१-५ मृदङ्गलक्षणम् ... ... ... ... ... ... २१
६-८ वीणाभेदाः... ... ... ... ... ... २२

४ सङ्गीतमकरन्दे ।
श्लोकाङ्काः विषयः पृष्ठं
३३-४७ अङ्गताललक्षणानि ... ... ... ... ... ... ४२
४८-५० तालशब्दनिष्पत्तिः ... ... ... ... ... ... ४३
५१ दशतालप्राणनिर्देशः... ... ... ... ... ... ४३
५२-५५ काललक्षणम् ... ... ... ... ... ... ४३
५६-५९ मार्गलक्षणम् ... ... ... ... ... ... ४३
६०-६७ मात्रालक्षणम् ... ... ... ... ... ... ४४
६८-७१ देशीक्रिया ... ... ... ... ... ... ... ४४
७२-७३ दक्षिणमार्गमात्रानामानि ... ... ... ... ... ... ४५
७४-७५ अङ्गानि ... ... ... ... ... ... ... ४५
७६-७७ ग्रहाः ... ... ... ... ... ... ... ४५
७८-८३ जातिनिरूपणम् ... ... ... ... ... ... ४५
८४-८८ लयकालनिरूपणम् ... ... ... ... ... ... ४६
८९-९५ प्रस्तारनिरूपणम् ... ... ... ... ... ... ४७
९६-१०० द्रुतादितालाङ्गाना पर्यायाभिधानि च ... ... ... ... ४७
नृत्याध्याये चतुर्थः पादः ।
१-९ मृदङ्गोत्पत्तितद्वादनप्रकारादिकथनम् ... ... ... ... ४८
१०-४३ नटीभावनिरूपणम् ... ... ... ... ... ... ४९

श्रीनारदविरचितः
सङ्गीतमकरन्दः ।
सङ्गीताध्याये प्रथमः पादः ।
प्रणम्य शिरसा देवं शङ्करं लोकशङ्करम् ।
सङ्गीतशास्त्रं सङ्गृह्य वक्ष्ये लोकमनोहरम् ॥ १ ॥
ब्रह्मा तालधरो हरिश्च पटही वीणाकरा भारती
वंशज्ञौ शशिभास्करौ श्रुतिधराः सिद्धाप्सरःकिन्नराः ।
नन्दीभृङ्गिरिटादिमर्दलधराः सङ्गीतको नारदः
शम्भोर्नृत्तकरस्य मङ्गलतनोर्नाट्यं सदा पातु नः ॥ २ ॥
गीतं वाद्यं च नृत्यं च त्रयं संगीतमुच्यते ।
नारदेन कृतं शास्त्रं मकरन्दाख्यमुत्तमम् ॥ ३ ॥
आदौ नादोत्पत्तिर्निरूप्यते ।
अनाहतो हतश्चैव स नादो द्विविधो मतः ।
यत्रोभयोस्तयोर्मध्येऽनाहतोऽपि निरूप्यते ॥ ४ ॥
१ एतच्छ्लोकात्पूर्वमादर्शपुस्तके निम्नलिखितः श्लोको वर्तते—
“सङ्गीतमकरन्दाख्यपुस्तकं लिख्यते मया ।
कुर्वविघ्नं महादेव लेखनाय नमोऽस्तु ते ॥ १ ॥”
परं तु स ग्रन्थप्रतिरूपकत्र्रा निबद्धः न तु ग्रन्थकर्त्रा इति तदर्थतः सुविशदम् । अतो मूले स न
निवेशितः । २ ०प्सराः किन्न० इत्यशुद्धः पाठः आदर्शपुस्तके विद्यते ।

२ सङ्गीतमकरन्दे
आकाशसंभवो नादो यः सोऽनाहतसंज्ञितः ।
तस्मिन्ननाहते नादे विरामं प्राप्य देवताः ॥ ५ ॥
योगिनोऽपि महात्मानस्तदानाहतसंज्ञके ।
मनो निक्षिप्य संयान्ति मुक्तिं प्रयतमानसाः ॥ ६ ॥
सोऽप्याहतः पञ्चविधो नादस्तु परिकीर्तितः ।
नखवायुजचर्माणि लोहशारीरजास्तथा ॥ ७ ॥
नखं वीणादयः प्रोक्ता वंशाद्या वायुपूरकाः ।
चर्माणि च मृदङ्गाद्या लोहास्तालादयस्तथा ॥ ८ ॥
देहनादेन ते युक्ता नादाः पञ्चविधाः स्मृताः ।
गीतं वाद्यं च नृत्यं च त्रयं सङ्गीतमुच्यते ॥ ९ ॥
आदौ ब्रह्मा विचार्यैव नाट्यं लोके प्रपञ्चितम् (?) ।
अनाहतात्समाकृष्य सप्तनामानि योजितः ॥ १० ॥
तं नादं सप्तधा कृत्वा तथा षड्जादिभिः स्वरैः ।
नाभिहृत्कण्ठतालुषु नासादन्तोष्ठयोः क्रमात् ॥ ११ ॥
षड्जर्षभगान्धारौ मध्यमः पञ्चमस्तथा ।
धैवतश्च निषादश्च स्वराः सप्त प्रकीर्तिताः ॥ १२ ॥
षड्जं मयूरो वदति चातको ऋषभं तथा (?) ।
अजो विरौति गान्धारं क्रौञ्चः क्वणति मध्यमम् ॥ १३ ॥
पुष्पसाधारणे काले पिकः कूजति पञ्चमम् ।
अश्वश्च धैवतं चैव निषादं च गजस्तथा ॥ १४ ॥
एवं स्वरान् समाकृष्य वीणादिषु निधाय च ।
तेन चाहतनादेन सङ्गीतमकरोत्तदा ॥ १५ ॥
सरस्वत्याश्च वीणायां षड्जादिखरसंयुक्तम् ।
पाठयामास सर्वेषां हृद्यं श्रुतिमनोहरम् ॥ १६ ॥
— रूपालसी रागालसिरिति स द्विविधः स्मृतः । —
रोगास्तल्लनतानाथरूपतः शब्द उच्यते ॥ १७ ॥
१ अस्य श्लोकस्य पाठोऽशुद्धः वर्तते । पुस्तकान्तराभावात् आदर्शपुस्तके यथा दृष्टः तथैवात्र नि-
वेशितः । २ °चातको रिषभं° इति पाठे सन्धिदोषो न स्यात् । ३ 'रागलभनतानाथो रूपकः
शब्द उच्यते' इति शुद्धः पाठः स्यात् ।

सामवेदादिदं गीतं तज्जग्राह पितामहः ।
तद्गीतं नारदायैव तेन लोकेषु वर्णितम् ॥ १८ ॥
गीतेन प्रीयते देवः सर्वज्ञः पार्वतीपतिः ।
गोपीपतिरनन्तोऽपि वंशध्वनिवशं गतः ॥ १९ ॥
सामवेदे ततो ब्रह्मा वीणासक्ता सरस्वती ।
अन्ये च बहवः पूर्वे यक्षदानवमानवाः ॥ २० ॥
अज्ञातहृदयस्वादुर्बालः पर्यङ्कधारकः ।
रुदन् गीतामृतं पीत्वा हर्षोत्कर्षं प्रपद्यते ॥ २१ ॥
वनेचरस्तृणाहारः श्रुत्वा मृगशिशुः पशुः ।
लुब्धो लुब्धक सङ्गीते गीते यच्छति जीवितम् ॥ २२ ॥
कृष्णसर्पोऽपि तं नादं श्रुत्वा हर्षं प्रपद्यते ।
तस्य गीतस्य माहात्म्यं कः प्रशंसितुमर्हति ॥ २३ ॥
सर्वाश्रमाणां जातीनां नृपाणां प्रीतिवर्धनम् ।
धर्मार्थकाममोक्षाणामिदमेव हि साधनम् ॥ २४ ॥
स्थायी स्वरेषु सञ्चारी तथारोह्यवरोहकौ ।
स्वराश्चतुर्विधा ज्ञेया रागोत्पादनगोचराः ॥ २५ ॥
स्वरा वादी च संवादी विवादी च चतुर्विधाः ।
अनुवादी च सर्वत्र प्रयोगे बहुशः स्मृतैः ॥ २६ ॥
वादी स्वरस्तु राजा स्यान्मन्त्री संवादिंरुच्यते ।
स्वरो विवादी वैरी स्यादनुवादी च भृत्यवत् ॥ २७ ॥
देववंशास्तु सगमाः पञ्चमः पितृवंशजः ।
रिधौ ऋषिकुले जातौ निषादोऽसुरवंशजः ॥ २८ ॥
ब्रह्मजाती समौ ज्ञेयौ रिधौ क्षत्रियजातिकौ ।
निगौ वैश्याविति प्रोक्तौ पञ्चमः शूद्रजातिकः ॥ २९ ॥

१ 'सञ्जग्राह' इति पाठः समीचीनः । २ 'रतो' इति समीचीनः पाठः स्यात् । ३ 'स्मृताः' इति
बहुवचनान्तः पाठः समीचीनः । ४ 'संवादी' इति शुद्धं पदं, छन्दोभङ्गभिया 'संवादिः' इति कृतं
स्यादिति भाति ।

४ । सङ्गीतमकरन्दे
पद्माभः पिञ्जरः स्वर्णवर्णः कुन्दप्रभः सितः ।
पीतः कर्बुर इत्येते तेषां वर्णा निरूपिताः ॥ ३० ॥
षड्जः कमलवर्णः स्यादृषभः पिञ्जरस्तथा ।
गान्धारः स्वर्णवर्णः स्यान्मध्यमः कुन्दवर्णकः ॥ ३१ ॥
पञ्चमः सितवर्णः स्याद्दैवतः पीतवर्णकः ।
नैषादः कर्बुरो वर्णः ससवर्णा निरूपिताः ॥ ३२ ॥
जम्बुशाककुशक्रौञ्चशाल्मलीश्वेतनामसु ।
द्वीपेषु पुष्करे चैव जाताः षड्जादयः स्वराः ॥ ३३ ॥
जम्बुद्वीपे च षड्जः स्याच्छाकले ऋषभोदयः ।
कुशद्वीपे च गान्धारः क्रौञ्चद्वीपे च मध्यमः ॥ ३४ ॥
शाल्मलीद्वीपनामाख्ये पञ्चमः स्वर उद्भवः (?) ।
श्वेतद्वीपे तथा जन्म धैवतं नामसंज्ञिकम् (?) ॥ ३५ ॥
पुष्करे चैव जातोऽयं निषादः परिकीर्तितः ।
सप्तस्वरान्समुद्धृत्य वीणादिषु विधाय च ॥ ३६ ॥
दक्षोऽत्रिः कपिलश्चैव वसिष्ठो भार्गवस्तथा ।
नारदस्तम्बुरुश्चैव षड्जादीनां ऋषीश्वराः ॥ ३७ ॥
वह्निर्ब्रह्मा शारदा च शर्वश्रीनाथभास्कराः ।
गणेश्वरादयो देवाः षड्जादीनां तु देवताः ॥ ३८ ॥
क्रमादनुष्टुब्गायत्री त्रिष्टुप् च वृहती तथा ।
पङ्क्त्युष्णिगौ च जगती छन्दांसि परिकीर्तिताः (?) ॥ ३९ ॥
षड्जस्य जमदग्निश्च आत्रेयो ऋषभस्य च (?) ।
गान्धारस्य गौतमस्तु वसिष्ठो मध्यमस्य च ॥ ४० ॥
श्रीवत्सः पञ्चमस्यैव धैवतस्य पराशरः ।
शालङ्कायो निषादस्य गोत्राणि कथितानि च ॥ ४१ ॥
षड्जः शतभिषग्जश्च चित्रा च ऋषभस्य च (?) ।
गान्धारस्य धनिष्ठा भं मध्यमस्य मघा स्मृता ॥ ४२ ॥
१ 'पञ्चमस्य समुद्भवः' इति पाठः समीचीनः स्यात् । २ क्लिष्टान्वयोऽयं पाठः । ३ असम्बद्ध-
मिद भातीदमत्र श्लोकार्धम् ।