tTbe Journal Of ^Tbe /Iftudc Hcabennp /Ifoa&ras. A QUARTERLY
DEVOTED TO THE ADVANCEMENT OF THE SCIENCE AND ART OF MUSIC.
Vol. II] 1931 [No. 2
THE JOURNAL COMMITTEE. Editor. Ml*. T. V. SUBBA Row, B.A., B.L. Editorial Committee. ,, Vidwan T iger Vakadachakiak. „ M. S. Ramaswamy Aiyau. „ P. S. SUNDARAM AlYAR. ,, Pandit S. Subramanya SaStri, ,, T. L. Venkatarama Aiyau, b.a., b.L. Manager. „ K. S. VlSW ANATHA SASTRI, B.A., B.L.
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5% discount for cash with order. Contents. PAGE. My Musical Reminiscences—By Mr. T. Lakshmana Pillai, b.a. (Continued from page 244). 81
T he E arly W riters on Music—By Mr. Vinjamuri Varaha Narasimhachary, Cocanada {Continued from page 262) 85
Sangita SUDHA—Sanskrit {Continued from page 44). 89
Sangita Sudha—Translation {Continued from page 212). 113
T he Super Veena.—Invented by Prof. S. M. Jayaraj Pillai, Vellore. 116 Correspondence:— Mr. P. Sambamurty {Germany). 118 Mr. T. R. Viswanatha Sastri Mayavaram: T he Katapayadi Chakram and the Mela Karta Ragas.—Some inconsistencies. ... 119
L ectures delivered by Mr. P. S. Sundaram Aiyar, Tanjore, under the auspices of the University of Madras {Tamil Translation). 122
Venkatamakhi oa Veena.—Tamil Translation of “ Veena-Lakshana in Chatur- dandiprakasika,” {Vide) p. 24 Vol. II, No. 1 by Pandit S. Subramania Sastri Tanjore. 131
S ruti determination (Sruti Nirnaya)—[Tamil). By Sangeeta Vidwan Umayal- puram Swaminatha Iyer. ... 135 H ari Keertana Vimarsa {Continued from page 57)-{Tamil). By Gayana Patu Keertana Patu Srimati C. Saraswati Bai. 138
Xist of portraits. F acing Page Maha Vaidyanatha Aiyar 81 Raghava Aiyar Do The Super Veena Illustration 1 116 Do 2 & 3 117 MAHA VAIDYANATHA AIYER. RAGHAVA AIYER. 91 TEbe Journal Of ZEbe /Ibusic Hcabemif? flbabras. A QUARTERLY DEVOTED TO THE ADVANCEMENT OF THE SCIENCE AND ART OF MUSIC.
VOL. II ] ^ 3)® - I 931 - & 1® [NO. 2.
MY MUSICAL REMINISCENCES. Ill
Mr. T. Lakshmana Pillai, b. a. (Continued from page 244.) We shall now make a brief reference to the of the theory and commendable skill in the career of Maha Vaidyanatha Iyer (popularly practice of music. During the latter part of known as Maha Vaithi), a Brahman of Tanjore his life, he lived at Tiruvayar (Tiruvadi), and a famous musician, who was one of the the native place of the great Tyagayya, where combatants in the celebrated musical duel also lived the celebrated composer and which took place during the time and in the musician, Patnam Subramania Iyer. presence of His Highness Ayillium Tirunal, Maharajah of Travancore. Young MahaVaithi, Almost the first time that Maha Vaithi Iyer while he was in his teens, underwent a sound gave a public performance after his training, training in music under the guidance and su was at the temple Mantapam, Tinnevelly, pervision of the then Pandarasannidhi* of the before the deity Nelliyappan. “ Is there any Tiruvaduturai Matam, Tanjore, which is one Mridangam player hereabouts, who can of the celebrated seats of Tamil learning and accompany me in my singing?" he enquired, Carnatic Music in South India. It may be “ for I have not brought one with me.” He known that some time afterwards, the great scarcely expected that any.playerin Tinneve- Nagaswaram player Natesan, underwent a si velly could keep pace with him, for he was milar training at the said matam. As for Tamil a fast and fertile singer, and with all,conscious learning, Maha Mahopadhyaya V. Swamina- of his superiority as such. None came forward tha Iyer, the great Tamil scholar received his and this fact of itself raised him in the esti Tamil instruction first under the auspices of mation of those around him. But there was this matam. Maha Vaithi Iyer, through this one ill-clad, unpretentious man of the name training, came to possess a sound knowledge of Sundaram Iyer of Shermadevi,-a player on * Maha Vaidyanalha Aiyar is said to have learnt all his music at the feet of his father and this may be seen from a publication of his life in 1894 by his brother Ramaswamy Aiyar.—Ed. 82 THE JOURNAL OF THE MUSIC ACADEMY the Ghata Vaidyam, who offered to accompany Maha Vaithi, felt that neither he nor any other the singer on that instrument. This was not musicians then in Trivandrum, could come the Ghatam Sundaram Iyer of recent fame. forward and sing so as to match him in “ Can you indeed accompany me, with that pallavi. That being the case, to name any poor unpromising instrument ?” asked Maha one would be to expose himself and that one Vaithi. to imminent danger. So, with a tremor in “ With your benediction, Sir, I shall make his lips, he answered, “Your Highness, I must a trial ”, answered the man. The fact that confess that there is none in Trivandrum at no Mirdangam player was bold enough to present who can come forward as a rival to offer to play with him and that a player on a Maha Vaithi.” “ Is there none in the whole of subordinate and a rather contemptible per Travancore?” asked His Highness again. cussion intrument like the Ghatam, had the The Bhagavatar reflected for a moment; a. audacity to do so, raised a smile of scorn thought flashed across his mind and he then mingled with pity in Maha Vaithi, and he felt replied, “ There is one, Your Highness, at that he could make an easy prey of this player, Haripad, by name Raghavan. who, I think, But what was his surprise when he actually can meet Maha Vaithi on equal footing. played on that instrument! Sundaram Iyer There is none else. That’s certain.” “ O! showed that he was not merely' superior to Raghavan ! I know him. Is he not still one any Mridangam player, but that he was more of our Court Musicians ? ” queried his High than a match for the singer himself! In ness. “ He is, your Highness,” was the his Tani Avritam performance especially, answer, “nominally, for he receives the usual Sundaram Iyer carried the applause of the allowances. But^he is an exile at Haripad audience and evinced such consummate under command”. “ Then,” said His High skill that it turned the feeling of disdain on ness, “ let him be recalled. Write to him the part of Maha Vaithi, into one of open under my command and ask him to come to admiration. “ Well done, Sundaram Iyer!” Trivandrum forthwith. Let a cabin boat be said he, “ I never expected that so much sent at once for his use.” When Parames- could come out of that earthern pot.” vara Bhagavatar’s letter and the cabin boat Maha Vaithi paid three visits in all to Tra- reached Haripad, Raghava Iyer had not yet vancore during the reigns of three successive fully recovered from a late attack of fever. sovereigns, H. H. Ayillium Tirunal, H. H. Still in obedience to the Royal command he Visakham Tirunal and H. H. Moolam Tirunal started and reached Trivandrum in ten hours, Maharajahs. It is the musical duel that took He went straight to his old guru Parames- place during his first visit that is here vara Bhagavatar and fell prostrate at his described. It was in the year 1047 M.E. feet. The latter, on sight of his gifted pupil, (1873 A.D.) during the Poojayeduppu (Das- felt greatly relieved and wept tears of joy and ara) festival in the month of Purattasi. said, “Oh, Raghavan ! you are a godsend to When he first sang, he produced a magnificent me. You must save the situation now, and impression on His Highness, so much so, that the country’s honour which is at stake. There the latter called his chief musician Paramcs- is none else who can do this. Maha Vaithi vara Bhagavatar in the evening and enquir has been working wonders before H.H. and it ed, “ Is there any of our musicians in Travan- is you alone that can play the saviour now core who can sing as a compeer of Maha Vaithi for us, for, otherwise we fear we shall lose in pallavi ? ” The Bhagavatar who had heard our profession.” “ Revered Guru!” said MY MUSICAL KEMINISCENCES 83 Raghava Iyer, “ Pray, do not talk in this ness himself was no ordinary vocalist as testi fashion to your own pupil, but give your fied to by so great a master as Maha Vaithi benediction and take me to this wonder himself, whom he out-rivalled in speed and worker and let me do my best.” facility of singing. Imagine the magnificence Paramesvara Bhagavatar lost no time in of a Court in which the King himself shines intimating the arrival of Raghava Iyer to His as one of the best vocal musicians of the day, Highness who fixed the very next afternoon with a deep, personal interest and enthusiasm for the duel between Maha Vaithi and the new in music, attracting great musicians to his comer. It was to take place in the great hall court and rewarding them with a lavish hand. of Ranga Vilas, H.H’s palace. It may here be What a glorious epoch would it be for music ! mentioned that the reign of H.H. the Maha All the musicians would try to vie with one rajah was one of the most brilliant periods in another in earning the good graces of the Travancore history as regards the practical King and thus advancing the art and practice side of music. If the reign of H. H. Swati of music. Such was the court of H.H. Rama Tirunal Maharajah was great as regards musi Varma Avillium- Tirunal. Besides> the ve- cal composition, that of Ayillium Tirunal teran musicians above named, there were was famous for producing the greatest expon rising stars like Raghupati Iyer, Rama- ents of practical music, both vocal and swamy Bhagavatar and Ramachandra instrumental. There was then a galaxy of Bhagavatar who were then drinking deep at some of the most brilliant musicians that the fountain of music that daily poured from Travancore ever produced, as for instance, the lips of the greatest musicans of the day Paramesvara Bhagavatar, Raghava Iyer and to enable them, in their own turn, to shine as Ganapati Bhagavatar for vocal music, (to the greatest musicians of a later day. Of some extent the first and the last named were course, Paramesvara Bhagavatar, the Guru composers also), Mahadeva Bhaghavatar, of Raghava Iyer, with his mellifluous voice, Ananta Pillai Bhagavathar and -Mahalinga was the veteran leader of the whole band who, Bhagavatar for violin, Kalyanakrishna by his proficiency, saintliness and piety, com Bhagavatar, Sattu Bhagavathar for manded ithe admiration and respect o f one Veena, Violin, Swa-rabit and Jalata- and all. All these musicians and learned men rAngam, besides vocal music. In addition graced the hall of Ranga Vilas on that memo to music, there was, for the art of poetry, rable day, as its high walls resounded with one exponents like Elathur Ramawamy Sastri, of the greatest musical performances, South known as Abhinava Kalidasa. Sanskrit lear India had ever heard or was ever to hear. All ning was represented by Raghava Iyengar, were asked by H. H. to take their respective Kadayam Subba Sastri and Tiruvisanallur seats. Near Maha Vaithi sat his own brother, RamasWami Sastri. Katha performance flou- Ramaswamy Iyer, a Tamil poet (the author of ished under the famous Meruswamy and Periyapuranam Kirtanas). Raghava Iyer sat Ramaswami Gosayi son of Maha Meruswamy, alone on the opposite side. The figures of the Maharatta Brahamans, whose voices could two great, handsome'musicians, surrounded range between four octaves. The Mridangam by the other musicians and scholars, players were Seturama Rao of Tanjore, looked like two shining brilliants, symmetri Sankaran and Somasi of Trivandrum, who cally placed in a necklace, while H. H. the easily topped the list of master players in the Maharajah, with his superbly charming per whole presidency. To crown all His High sonality, sat on a green velvet cushion, facing 84 THE JOURNAL OF .THE MUSIC ACADEMY the whole audience like the main, central into a hundred brilliant starlike melodies and sparkling gem of its pendant. Then there combinations by which the ear was flooded ? followed a calm such as would prevail before The scene was one more to be witnessed or the breaking of a terrible storm. The scene imagined, than described. held the audience in the deepest silence and attention. The ice was broken by H. Highness saying, “You may begin now ”. Raghava Iyer The tug of war was continued on the next then opened the performance by elaborating day. Todi raga was elaborated and a Pallavi the Raga Sankarabharana in his own majes in Adi Tala beginning with, ‘ Emani-matladi- tic style and then singing a pallavi in it in neevit Rama Rama Rama !’ was sung. A pal Ata Tala which ran thus. ‘ Vinavayya Pan- lavi in Kharaharapriya raga, being the initial chandeesa.' The pallavi was taken up by portion of Tyagayya’s Chakkaniraja, was Maha Vaithi and sung with wonderful ease sung. It must be remembered that Maha Vai and fertility. The singing which kept the audi thi was no easy opponent to deal with, being ence spell bound for three hours, closed at the master of many ragas which were yet un 5 P.M. It was resumed after sunset, at about known in Travancore, and gifted with a voice 7 O’clock and lasted till half past ten. unrivalled in clearness and sweetness, coup Kalyani Raga was elaborated by Maha Vaithi led with a special capacity for rapid perfor and a pallavi in it beginning ‘Taraka Brahma’ mances. Raghava Iyer, on the other hand, was sung by both the musicians. could not boast of these natural endowments and facilities. But all the same he impressed * How shall we describe the scene of that the audience .with his originality, manly glorious musical combat, wherein the greatest vigour and ready resourcefulness. His voice, of the Eastern singers was pitched against though somewhat gruff, was yet strong and the greatest or the to be greatest singer of the seemed to suit the boldness and majesty of times in Travancore ? Shall we compare them his style. His method was Ghanarn, while to two prowling fierce lions that, shaking Maha Vaithi’s voice was ‘ Nay am.’ Ghanarn their proud and shaggy manes, rush against means gravity and Nayam means persuasive eaoh other like the furies and fight to ness; the one forces admiration, the other death ? Or shall we liken them to two Roman lures it; the one may be characterised as a gladiators, feeding the eager curiosity of the tower of strength, the other as a well-laid-out spectators with the giant exhibitions of their garden; the one a mighty river, the other a strength ? How can we picture to the reader fresh water lagoon; the one was imposing and the excellence of their singing ? Shall we say sublime, the other mellifluous and dazzling. they were two musical fountains sprouting Indeed Raghava Iyer was so much admired perpetually, rising one above the other, and for his sublimity that he seems to have found falling in magnificent showers on the greedy ed almost a school of his own. Whatever he ears of the audience ? Or shall we say they sang was stamped with his individuality. He were two sky-seeking musical rockets, which, was a man who despised the beaten grooves leaving the sullen earth, one after the other, of singing and cut out his own way, as it coursing through the silent air, and reaching were, through rugged mountain heights and their point of culmination, suddenly burst pathless forests.* It was difficult to say which
*Tlie following is quoted from iny essay on Travancore Music and Musicians"—vide p. 127 of my book of " English Essays." THE EARLY WRITERS ON MUSIC 85 of the combatants carried *the day, but it was applauding him. Kalyanakrishna Iyer, proved beyond doubt, that Maha Vaithi for the greatest Vainika of the day, by his the first time discovered his most formidable genius and perseverence, so successfully re rival. Both the musicians were treated with produced many of the splendid combinations equal courtesy and equally honoured by his of Raghava Iyer on a later day, as to compel Highness, who gave them pairs of bangles, the admiration of the latter. Mahadeva Iyer, laced shawls and other valuable presents> another genius, equally distinguished himself besides a monetary reward of 1500 Rs. each. on the violin. Not a week passed, but There was no doubting that His Highness Raghava Iyer’s music was heard before His gained his object which was to show that Highness, or elsewhere in Trivandrum. Thus Travancore could meet Maha Vaithi on his own ground. This incident added wings to lived this great musician, admired and the fame of Raghava Iyer, which from this honoured by all till he retired of his own moment knew no bounds. Everyone was accord to Haripad.
THE EARLY WRITERS ON MUSIC. By Mr. Vinjamuri Varaha Narasimhachary. Coconada. (Continued from page 262). Till now we saw how the few above men work on music, even though, it was consr tioned authors on music, out of a galaxy of dered, that he drew much of his information classical writers, were independent in their from Abhinavagupta and Nanyadeva. writings and produced their own theories and So we see, even in the early period and explanations on ~the subject. They only during a considerable part of it, there flourish quoted, here and there, their predecessors ed original writers like Bharata, Kohalk, either to support their views of to criticise Matanga and others, while the remaining them in order to make their own theories ab period up to the 12th century, witnessed solute. This period might have run up to the commentators like, Lollata, Udbhata, Abhi 5th or 6th century, when the great commenta navagupta and others. It is to be noted that, tors like Lollata, Udbhata, Sankuka, Abhina- as in every case, the original works shone vagupta and others took upon themselves the bright in the musical firmament, only in the task of commenting on the works that light shed by the numerous commentators. already existed. This commenting business Thus,the above works became popular only in continued till the 12th century, when the the hands of the able interpreters that lived great Nanyadeva brought forth his monu for 6 or 7 generations, when again, the old mental work “ Bharata Bhashyam,” which is order changed and new theories had to find almost an independent work, although it place in accordance with the taste and suscep- strikes one as a commentary on Bharata’s tibilites of the people of those times. work. In the next 13th century, the great But it is a curious irony that many of. the Sarangadeva again brought forth his original commentators took upon themselves the task
• Note.—We learn that an eye-witness to the combat, Mridangam Seturama Row of Tanjore, remarked that Raghava Aiyar’s music contained a little admixture of Desiya style compared to the pure Carnatic one of Maha Vaidyanatha Aiyar—(Ed.) 86 THE JOURNAL OF THE MUSIC ACADEMV of commenting only on Bharata, as if his were his personal theories into his commentary. In the only work worthy of their task. Unfor order to support his views, he even quoted tunately, for an unknown reason, the other some instances from old authors like, Kohala, works of Kohala, Nandi, Kasyapa and others Dattila and others, whenever he could see were not given due consideration, so much so, that they agreed with his views. These the original works existed for some time and works are therefore neither commentaries, nor then passed away into ‘dark oblivion.’ We original compositions and, for that reason, cannot trace any single writer on music in the have occupied a place secondary to the real six centuries that followed the last writer commentaries like that of Abhinavagupta. Matanga, attempting to scan the classical The above facts go to show that the art of works, other than that of Bharata. His was music, as every other art in India, was chan the only work they took up for consideration. ging from time to time, in order to be in con There were none to follow or criticise the ciliation with the changing minds of the other works in toto. Only a few stray quo people. Nowhere do we find a better appli tations are found, from the works here cation of the saying, and there, in their commentaries on ‘ Natya- Sastra'. And it is no wonder that ‘ Natya " The old order changeth yielding place to new Sastra’ acquired a great fame in the hands of And God fulfils^ Himself in many ways, Lest one good custom should corrupt the world.” the commentators, while the other works were gradually unrecognised and unremem than in the domain of our Music. As tastes bered, till at last they found a place in the un and sentiments of the people varied from time known regions, which it is too difficult for us to time and from country to country, new to explore, living as we do, at a great distance theories and principles had to be introduced of time. Yet, happily, some glimpses of a few into the art. The views of Bharata, which of these works are now to be seen in some lib were once agreeable to the people, were dis raries, where the enthusiastic explorer had se tasteful to those that lived in the 12th or cured, for the information of the curious. 13th century. Even those who followed him Even these are not complete or clear, or ac could not agree with him in all his views and cessible to the avaricious music lover. so many authors ljke Sarada-tanaya, Bhoja- To comment or criticise an original work deva, Rudrata, Bhatt'anayaka, Mommata and was not the only task of the later critics, as others have at times differed from the sage we can presently see, but they had their inde and introduced their own views into their pendent opinions and theories inserted in all works. The early commentators on Natya their works. Some of the works appear to be Sastra, Lollata,Udbhata, Sankuka and others, compositions full of the theories of the author, also had introduced their own theories here although they purported to be commentaries and there into the original works of Bharata. on the original one. The grand work of This throws some light on the process of Nanyadeva is thus an independent composi gradual interpolation and recasting of the tion like Ratnakara. Nanyadeva introduced text of ‘ Natya Sastra ’. The process of in new matter in his treatment of the various troducing new matter into their commen subjects. In commenting upon the theories taries continued for sometime, till at last, of Bharata he even deviated from him in original works like those of Natya Bhupala, some places, where he could not agree with Sarangadeva, and others appeared in the the author and was bold enough to introduce musical world. THE EARLY WRITERS ON MUSIC 87 Till now I have been taking a bird’s eye wake, in that line. So we come across view of the conditions and the circumstances two kinds of followers of Bharata; first, that led to the various commentaries and those' that were fond of drama, histrionics original works based on ‘ Natya Sastra and music and second, those that were And it is for me to substantiate the above fact interested in Rasa Bhava and all that was by mentioning each of the commentators in connected with poetics. Some laid stress on an orderly form. the importance of Rasa in poetry, an impor tant section of dramaturgy, while, some ela In my last article in this Journal, on page borated and magnified the ennobling musical 194, I have mentioned Lollata, Udbhata. section of it. Authors like Bhama, Udbhata Sankuka, Kirtidhara, Bhattanayaka, Bhatta- Rudra, Rudrabhatta, Bhattanayaka, Dhanan- yantra, Matrigupta and Abhinava, were the jaya, Bhoja, Sarada-tanaya, Mommata and great commentators on the ‘Natya Sastra of others had advocated and enlarged that por Bharata. Sarangadeva has testified that tion of Bharata’s ‘Natya Sastra’ which treated Lollata, Udbhata, Sankuka, Bhatta, Abhi- of dramaturgy and Rasa ; while waiters like riavagupta, Kirtidhara were the real commen Abhinava, Nanya, Lollata, Kirtidhara, Matri tators on the work. He says, gupta, Somesvara, Sankuka and others had developed the histrionic and musical portion ;qr^TiTTRT w rcffa i of the same ‘ Natya Sastra ’. The works of the former authors have been useful to all The other authors mentioned by him viz. Rasa Vadins and to those interested in Rudra.ta, Nanya Bhupala, Bhoja Bhupala, Alankara Sastra, whereas, the treatises of Paramarthi, Somesa, Jagadeka Mahipati and the latter, have been advocated by all who are others, might have been independent writers, in sympathy with dramaturgy and music. according to him, on dramaturgy. But it is to be seen that even these writers, It is said that Bharata in his 'Natya Sastra' were not independent in tjte execution of had dealt equally and adequately with all their subject, and some, either followed, or topics concerning dramaturgy, in all his 37 criticised, the topics in the 'Natya Sastra' of chapters. But he divided his work into 4 Bharata. There are no doubt independent main sections viz, i. Satvika, ii. Angika, iii. passages of their own in their works and Vachika, iv. Aaharya*. Of all the later wri they only called in the evidence of Bharata ters and critics on 'Natya Sastra ’ some had, whenever they needed him to support their as has been said till now, developed either cause. These were not thus almost idependent Satvika or Angika or both, while some had in their dealings with the subject. Taking into enlarged portions of Vachika and Aaharya of Bharta’s work. So the treatment of the sub- account all those authors (other than Bha- A- rata’s commentators) that followed Bharata ject of Sangeeta in the classical works may or only called in his evidence whenever they generally be on the following heads, i. Sva- found it necessary, we get a good many of radhyaya, ii. Ragavivekadhyaya, iii. Prakir- them. It is important to note here that many nakadhyaya, iv. Prabandhadhyaya, v. Ta- who were interested in Alankara Sastra, a ladhyaya, vi. Vadyadhyaya, vii. Nartanadh- part of dramaturgy, owed their allegiance to y ay a, as in Sangita Ratnakara of Sarangadeva. our Bharata and built up their works in his But the topics may still vary in all the works. See the Journal of the Music Academy, Vgl. I. No. 3. Page 194. 88 THE JOURNAL OF THE MUSIC ACADEMY
Matrigupta. Udbhata. or Udbhata was recognised as the next writer Matriguptacharya. on music and poetics and was assigned to the Numerous quotations are to be found, in 8th century A.D. Although his work on many of the works on damaturgy, including Music, as in the case of that of the above that of the great Abhinavagupta, from the Matrigupta, has been lost in oblivion, yetf work of Matrigupta, which might have had his other work on poetics, ‘Kavyalanbara Sara its eminence by the fact, that it was the first Sangraha’ is now extant. But many stray commentary on Bharata’s ‘ Natya Sastra.' quotations from his work on music He was considered not only as a poet and a have been since given by many of the writer on poetics, but also as an author on later writers on music. Rudra or Rudrabha- music. F rom the work of ‘Natyapradipa’ of tta followed his theories in regard to poetics “Sundara Misra " we understand his work on when he introduced Santi Rasa among other music was only a commentary onNatyaSastra. Rasas. So much so, he was considered as a He has been assigned to the 6th century representative of the Rasa school in poetics. A.D., and considered as a contemporary of In his time the Rasa school gained sufficient Siladitya Pratapasila of Malwa (who lived importance and was regarded as the worthy between 550 A.D. and 600 A.D.). Matrigupta’s revival of the Alankara school. His work on work is not available now and only some stray music was considered nothing but a commen quotations are given from it in many of the tary on ‘ Natya Sastra,' which unfortunately, musical works of later writers. It is con is not available now. He was often quoted sidered that it shared the same fate as by Mommata in his illustrious work * Kavya that of Kohala and others. Yet, some Prakasa.’ During the five centuries interven hold that one ‘ Ralna Kosamrita ’ was the ing between the time of Udbhata and that of work of Matrigupta. Some extracts Sarangadeva, there existed a large number of from Matrigupta’s work are given in eminent authors like Nanyadeva, Bhojadeva, ‘Manasollasa by the king of Venkatagiri, Somesvara, Abhinvagupta, Sarada-tanaya and about 4 decades ago. Yet some consider others who composed large works on drama ‘ Sangita Kalpavalli' was the work of our turgy and built up a grand literature. Saranga author. It is therefore for us, to secure the deva testified to the fact that his work above copies to have an insight into their on music was a commentary on ‘ Natya authorship. Sastra.’
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ITT 5TT ITT 5rfiiT ITT UT ITT ITT iT fft ftT ft — iftrN^ — ?ETift HOWT^r ftft ^srTftirfa^fft^TIT3rft55iTfftift3[II, II %&* II — 3T»J STTisft STTfft: — 3 1 # ! ^ ^ T oriW^T^'gqT W T fiPTT^ftlT’TiJIlTSJ | UTmK^SJT5!! flftl fiPTr?: ITsNrT: ^nfgTJTrg^T II \ \ o || STmTITtfHTguiftgTrTt ItTT^ITT^qT'^TrTT I mrm«nT«Tfir*^^5TT'yr iftftTfm^iT fe* irwinfft: n ^W r^z^rnr FTT^r^r ^isncTsr urns; i 3% gftft jtt^ w irrft s£?tftt fftf?ifttaft i u t ^ n 11 «TF«nr^r f^T^r rctfftftt.s?TT «Tsr???TT?m^?T?ir srftifTr: i — am stictti: — i. m r< 6' it 6' 3ft 3ft 5T * or I ^ ^ *T 112 THE jo u r n a l o f t h e m u s ic a c a d e MV 2. a ITT a nr a a a a qT R rT 5T i 3. a a m qT a a itt qT f q R q q ifY TT 5! 4. a *TT q fq a a a a q 3 a 5. a a a a q R q R qr qT q IT 3 q q q 6. ITT qT ITT R q qT q r ITT ITT q 3 R f q 7. a a *tt *r q m q r qr qr q R OTT R 3 R q 8. ITT qT ITT KIT q r itt itt ITT 5T 55 3 s: 9. VTT a ITT a q r itt itt ITT ar 3 q q q 10. 16. R q ITT ITT ITT q r itt qT itt q — — Rqsre RRqqanfa^qW rprq; i qqTjjqqq ^ R fq qRorrRrjRqtrey^cn n 3T^rfq Sadharana. a matter of fact, you pronounce OT, touch (346-7) The modulated (Sadharana) notes Kakali f t in the middle and pronounce *TT if used in actual singing, effect the differences in the end. Then you see in this group it is in Raga and similarities in variety. Hence Kakali Ni that occurs. we proceed to show what the Sadharanas Similarly, you pronounce H I , touch *T are with reference to Svara & Jati. in the middle and pronounce in the end. Svara-Sadharana. Then you have Antara *T in the middle. (348-50) Svara-Sadharana (modulation) is 361. You pronounce ’ll touch the notes the basis of differentiation of Ragas e.g., Ni in the middle and pronounce f t in the end; takes two Srutis from Sa and becomes Ka- then too, there is neither discord nor Raga- kali Ni, as also, Ga becomes Antara Ga with deviation. two Srutis taken from Ma. These two are called Sadharana or common because their The Varna. position belongs to two Svaras—Ga and Ma, (362-5) We have done with Sadharana. Let or Ni and Sa. us then describe what Varna is. Singing con. sists in the 1 Grouping of notes ’ or Varna, as (351-2) When Ri takes one Sruti of Sa, it it is called. It is of four kinds—Sthayi, Aro- is Sadharana between Sa and Ri. The Svara hi, Avarohi, and Sanchari. If you repeat the"1 is Shadja-Sadharana. This occurs in the Ma- same note thrice and in the Vilamba-Kala (or dhyama Grama. slow time), it is styled Sthayi-Varna e.g. 353. When Ga takes two Srutis of Ma, or n r n r n r - Arohi-Vama is the re Ma takes one Sruti of Pa ; and then we have gular ascent of notes in their natural order ; Madhyama Sadharana. while Avarohi-Varna is the descent of the notes in their natural order. And Sanchari- Jati-Sadharana. Varna is the promiscuous mixture of Arohi 354. The common feature between two and Avarohi Varnas for singing purposes. Jatis of the same Grama is termed Jati-Sa dharana by the musicians. Some say that Alankara. they are different Ragas of the same Jati. (366-7) Let us see what Alankara is, after (355-60) W hat' Sadharana means—with having known the nature of Varna. Even reference to the use of Ni and Ga— and how as a woman adds to her natural beauty by the other Svaras are thereby affected, we means of ornaments like Tatanka (ear-ring) have studied. There is neither discord nor and others, the act of singing becomes Raga-deviation when Ni is Kakali as when sweeter to hear with the 36 Alankaras you pronounce ^T-(ft) ^T. Some say that (arrangement of Svaras) added thereto. it is SIT (ft) sn by way of explanation. As Others say that there are 60 Alankaras. ~U4 THE JOURNAL OF THE MUSIC ACADEMY The Sthayi-Alankaraa. Varnas (b) and (c) are also styled as Gatra (368-70) Of the 36 Alankaras let us know Varnas. about the Sthayi Alankaras first. If the first Note:—The (b) variety is a repetition of and the last note are the same, then it is No. 12, (where f t is omitted). called Sthayi Alankara. They are seven in number. (3) Bindu—'STSTST ft, TOTO, T W I (371-3) In these Alankaras the following ftrftrfa. notation is used:—The Mandra (low) note I (4) Atyuccha—SHT, ftlT, TO, 3TO, trft. has a dot on the head. The Tara (high) has (5) Hasita—ST, ftft, *T*PT, THTTHT, ’TTT- a vertical stroke on the head. These seven t o , qsnroTO, ftrftftfftftrftftr. Alankaras are as follow :— (6) Prenkhita—STft, ft»T, TO, TO, TO, (374-9) ( 0 STSTSTTft— HI STT SIT I — (also called—Krama). AJr r \! I I . (7) Akshipta—HST, IPT, 'TT^f. (2) srsrsn^T— SIT SIT STTI I (8) Sandhi-Prahcchhadana—^ftlT, STTT'T, (3) STSTSTRTPcT—SIT STT SIT I TOft. (4.)/ x STSTSW^T—STT 1 STT • SIT 1 I (9) Udgitha—STSTST, SlftlT I TTTTTT, ITTO I (10) Udvahita—STft f tf tn , *17 (4) Prasta’ra—TO, far, qq, TO, qftf- (16) Syena—Hftqq^q, ftqqqftq, qq- qqqftr, qrofro^r. (5) Prasada— - * l f T O , ftqft, *TJT*T, JTTff, qqq, qfTO. (17) Krama—n ft *lftq SlftTO, ftq ft- TO ftqqq, qq qqq qqTO, JTT (6) Vyavarta—q q ftq q , ftqqqft, qq- qqq qqqftr, t o roft qqfro. qqq, qqqftrq. (18) Uddhaatita—Sift qroft, ftq qTO- (7) Skhalita—TO ftq q ftq q , ftqTO q , t o ftrqqq qq srftrqq- qroft, qqqvi qqqq, qqqftr ftr- (19) Ranjita—TOft$T qftq, ftqqft *T- qro, qfthro TOftq. qft, qqqq qqq, qqqq qqq, q fro q ftrqq, qqftrq *rftq. (8) Parivarta—qTO, ft ITT, qqq, q*T- ftr, q fro . w (20) Sannivritta—Pravarttaka—ti^tTOft, c - r> j . ftqqro, qftqqq, roftrqq. f (9) Akshepaka—^ ftq , ftqq, qqq, qq- (21) Venu—t o ftqq, ftft qqq, q t o vr, qvrftr, sifter. r\ q q , q qq f t q , q t o s ift. (10) Bindu—HTO ft*T, ftftft qft, q q q (22) Lalitasvara—Sift q ftq , ftq qqft, i qq, qq^ qq, qqq qq, vjvpq t o vito, qq ftrqq, qq siqq. ftrq, ftftftr *rft- A (23) Humkara—Sfftsi Sift q ftsi, Slftq (11) Udvahita—'qftqft, ftqqq, qqqq, qqftq, srftqqqqqftsi, Slftqq- qqqq, qqfro, qftrqft. qqqroftsr, srftqqqqftqqroft sr, srftq q q q fteftq 'iq q ftsT . (12) Urmi—t o q q t o , ftq qq ftq, qq q q t o , q ft ftrft qftr, t o t o (24) Hladamana—TOftsi, ftTOft, qq- q*r. qq, qqqq, qftrqq, qgftrq. (25) Avalokita—HTO qf^SI, ftq q Jjqft, (13) Sama—qftqq qqftq, fttlJN qq- 7 *tto ftiftr, TOftr' ftrqq, qftsr qft, qqqq qqqq, qroft ftq- j TOq. r.v qq, roftw *rftqq. These are Arohi Saiichari Alankaras. (14) Prenkha—qftftq, ftqqft, qqqq, Wise men could easily form for themselves qqqq, qqqftr, qftftq. the corresponding twenty-five Avarohi Saii chari Alankaras by reading these notes in the (15) Nishkujita—^rft^TTO, ftq ftq ft, q . inverse order-^-vtz., changing the Aroha into qqqq, qqqqq, qsrq^r«q. Avaroha. (To be continued). * f HE SUPER-VEENA. Invented by P rof. S. M. J ayaraj Pil l u , Vellore. (All Rights Reserved). “ And this is he for whom the world could ments, and the stringed instruments in find no fitter business than guaging ale particular. Veena playing is certainly a barrels,” so wrote Carlyle while estimating difficult art, and one that has mastered it the genius of Robert Burns. It is almost a can give infinite pleasure to the hearers. truism that men with ideas suffer in their The Veena does not produce that richness own days for want of timely help and succour. of sound which is necessary for a big or an Somewhere in the last decade, Mr. Fox overflow audience. The low tonal effects, Strangways remarked that Indian music and the subtleties of the art, could be appre followed the time-honoured methods, the ciated only by the musically inclined few, science of music remained where it was for and as such the big audience have but a several generations, and that the Indians careless, and indifferent appreciation of the were apt to follow the classic musicians with merits of the Veena. The Super-Veena seeks blind faith, and carry on the vocation from to obviate this handicap. The Veena is generation to generation, either preserving constructed on the principle of sympathetic the spirit of the masters, or jealously guarding vibrations. any of the secrets which they, imparted to Illustration No. 1, gives a clear idea of them. The criticism levelled against the the instrument invented by Mr. Jayaraj. This musicians was either exaggerated or made instrument is made from a single piece without reference to the conditions of the of finely seasoned and scientifically tested country where talents of a high order were tough jack wood. The selection of the wood either not recognised, or could not be recog was made after elaborate experiments. The nised by the patrons of music for obvious wood was preferred because of its toughness, reasons. flexibility, and durability. The modern Feelings such as these, are bound to vanish Veena has ivory borders duly ornamented. But when one steps into the studio of one Prof. ivory, on account of its hardness was known S. M. Jayaraj, a music teacher of the old and to interfere with high musical effects. In historic town of Vellore, to have a look into this Super Veena, the ivory was abandoned, the superb Super-Veena, lying majestically in and the ornamental work is done in the wood a finely varnished wooden box, velvet cushioned itself. and measuring 54" x 13" x 12", The Super- The ordinary Veena has only seven strings Veena, as it is called, is a big improvement on while this new Veena has 23 strings. The the old time-honoured Veena, on modern scien form of the Veena is kept in tact, and the tific principles. One should be a bold man to seven major svaras are held as usual in the alter the Veena in shape and principles, espe seven strings. Four of the strings run on cially in a conservative, and orthodox-ridden the top of the bridge, while three run on the musical world. The Veena is held in high side. Underneath the frets are the 16 addi esteem, and is patronised by the Goddess tional wires. The design leaves nothing to Saraswati, the Queen of all musical instru * be desired. It is artistically worked out, and *Described with illustrations by Mr. N. Ramabhadran, B. A. The Super-Veena. Illustration No. 1 The Super-Veena. Illustration No. 2. Illustration No. 3. THE SUPER-VeENA ■will compare with any of the best factory continuing for some time, even though the productions (of the musical instruments) of mother string ceases to vibrate. western countries. In the sound box, (the Illustration 2. The Mela is opened by a kudam) are the two presiding deities simple contrivance after releasing the four Saraswati, and Gaja Lakshmi, beautifully major upper strings, running above the carved. The borders are ornamentally deco frets. The wires are self-tuned accord rated with a floral design of the parrot, ing to the Prakriti, and the Vikriti flower, and leaves. On the sides are svaras of the parent strings. The 16 carved the Masi-patram, vine stems, and flags. strings are intended to amplify and enrich The crown of the kudam, or the sound box the Madhyama, and the Tara Sthayis by has a kodi billai. The gourd shell is dispensed producing the harmonics of each parent with, and a finely shaped wooden substitute note. Each of the 16 wires represents the is screwed to the shaft of the instrument. Suddha and Shatsruti Rishaba, the Sadha- This could be removed from the Veena, and rana, and the Antara Gandhara, the the gourd shell may be substituted quite Suddha and the Pratimadhyma, the Suddha easily whenever desired. and the Shatsruti Dhaivata, the Kaisiki, The Yali, or the face of the new Veena, as and Kakali Nishada of the Madhyama Sthayi, will be seen in the illustration, is turned and the Suddha, and Shatsruti Rishabha, upwards as if it is there to listen to the music the Suddha, and the Antara Gandhara, emanating from the instrument. It rises the Suddha, and Prati Madhyama of the from a graceful curve out of the main body Tara Sthayi or the higher octave respective of the instrument, and the sparkling eyes tell ly. The different notes of the scale produced a great lesson, which is otherwise absent in the by the vibrations of the main strings resonate ordinary type of the Veena, where the face of through these minor strings for some time. the Yali looks down. In the bend are two small boxes fancifully concealed for the The Langar, or the head arrangement musician to keep the ghee, strings, and spare (illustration 3) is a vast improvement over parts. The peacock, the bull, the goat, the the ordinary type of the instrument. Instead paddy bird, the Kuil (@i9ev), the horse, the of the usual beads for maintaining the proper elephant and the prime beings that are tension there are 23 minor screws made of supposed to be controlling the seven notes rolled gold and brass suitably blended to are finely chiselled round the neck of the impart tightness, rigidity, and stability. The Yali. The shaft portion of the Yali accom top bridge accommodates the four major modates eight of the bigger screws for tigh strings, while the lower bridge supports the tening the strings. 16 lower strings. On the side runs the three other wires. All these wires are attached to Below the seven major strings and con the fine and delicate 23 screws in four rows. cealed under the Melmn with suitable air While the big screws on the shaft of the escapes, is the second set of 16 wires, which Super Veena adjust the wires to their proper impart sympathetic vibrations to the mother position, the screws at the Langar are used strings. The wires are of varying lengths, for tuning, and keeping the wires in the and are controlled by side screws. When a required tension while playing on the instru noteisstruck, the corresponding lower strings ment. Each of the screws has capacity for •automatically respond, ~ keeping the sound about seven windings before the final limit of 118 THE JOURNAL OF THE MUSIC ACADEMY endurance of the wire is reached, and each old one. In the hands of a practised player winding raises the pitch by one higher note. the instrument is bound to give such rich The elaborate arrangement at the Langar is modulations of the human voice as to raise to adjust the tune of the several strings by a Saint Manickavachakar from his grave once mere turn of the screw. Listeners of music more, to sing in praise of the Supreme Being are often irritated at the adjustment of the as seen dwelling in the sweet strains of that beads by the musicians to get the proper queen of the musical instruments, the Super tune, and sometimes the tunes are not to the Veena. ( ‘: Jg)6OT6afla« * sffSswraSei) ^esnFiiCSfinear satisfaction of the player for several minutes arame.”) — “ Inttisai Veettayil Isaindon and even hours. The beads often slip and kanga." the tunes once set require further adjustment Mr. Jayaraj is arranging to give a demons at the beginning of every new song, and the tration of his Super-Veena before the Music patience of the audience is tried to its utmost Academy, Madras. He is sanguine of success, limit. The mechanical contrivance, which and wishes to invite an encouraging criticism stands on a par with the finest factory produc of his effort. He is also spending his time tion, has the final word on the proper tunes, perfecting and making Veenas on a large and it is but just a fraction of a minute for scale. He has by his own unaided efforts made the practised Veena player to have the instru some sound boxes for the gramaphone, and ment set to the proper pitch. has many other schemes on the anvil. It is only The Super Veena is from every point of a question of time as to when the rising wave view an improvement on the time-honoured, of national enthusiasm will come to his aid. never changing Indian Veena. It belies the “ Full many a gem of purest ray serene, ” charge against the Indians that they are not still lies untarnished beneath the unfathomed inventive. The instrument when played gives deep, only to be picked up and raised to their a richer and more sonorous note than the proper places. Correspondence. Studentenheim , The Music Academies here are huge orga nisations. with several professors and Asst. 58, Turkenstrasse, Professors for the several branches of the Munich. Germany. theory and practice of music and students 19th May '31. flock to them for instruction. I hope one day our Academy also will become one such. Dear Sir, At what stage is the Training College Scheme? I reached Munich safely on the 2nd of Please let me have a copy of the first number May after a pleasant voyage and I have of the Journal of this year. Kindly convey commenced my studies in right earnest here. my respects to the members of the Academy. CORRESPONDENCE 119 If any of our friends are passing through keen interest in Indian music, for they have Munich please let me know. I shall very been ignorant of the same till now. At their gladly meet them. request I am writing, in staff notation, some Yours sincerely, of the simple Kritis of Sri Tyagaraja and (Sd.) P. SAMBAMURTY. other composers and they delight in playing * * # * them. I would request you to send one or two numbers of our Journal to Dr. E. M. V. Studentenheim, Hornbostel, University Professor. Berlin 58. Turkenstrasse, University and Prof. E. J. Dent, Music Pro Munich, Germany. fessor, Cambridge University. They are both 15th July '31. much interested in Oriental Music. I shall Dear Sir, later on write to you about other professors Thank you very much for your kind letter and institutions to whom the Academy’s of the 24th June. I am very glad to hear Journal might be sent with profit to us. of the further progress made re : ‘ The Thank you for all your good wishes. -Have Training College of Music ’. I am herewith you received a copy of my book on the sending a message for the opening function, musical instruments from the Superinten but I am afraid it may be too late. I shall dent of the Madras Government Museum for send you a detailed article later on, on the review in the Journal ? Musical education in Europe, for publication Yours sincerely, in the Journal. Music professors here evince (Sd.) P. SAMBAMURTY. THE KATAPAYADI CHAKRAM AND THE MELAKARTA RAGAS. Some inconsistencies. Dear Sir, Padi-pancha (’TT^TIT) and Yady- The famous Katapayadi formula which is a ashta is generally applied only to the device to find out the serial number of any first two letters of any Mela-raga, for finding given Melakarta raga, has been in existence out their respective numbers. The numbers and usage from the time of Venkatamakhi so found, if reversed, give the rank for the down to our day. Some opine that it was Mela-raga. Now the difficulty lies when we being used even before the time of Venkata apply the formula to a Mela-raga in whose makhi. Anyhow it has become a very name, a Samyuktakshara (fcgrfTTSrc) or popular formula to-day, known and under conjunct consonant occurs in the first two stood by one and all of the musicians and letters or anywhere between them. There are music-lovers. There is not at present a single some inconsistencies here, and I shall point music book which does not treat about it. out below, such ragas of the 72, which are The Katapayadi formula which explains all alike subject to the Katapayadi appli itself as Kadi-nava Tadi-nava cation. 120 THE JOURNAL OF THE MUSIC ACADEMY Serial Name. Mela First two letters. No. No. Pronunciation as adjusted. 1 1 Ratnangi 2 Ra - t - na | Rat-nan-gi. f t - * - * ) J *2 Chakra vakam 16 Cha - k - ra j Chak-ka-ra vakam. f t ' S *) J 3 Suryakantam 17 Su - t - ya ) Sur-ya-kantam. f t ' * ' * ) j 4 Jhankaradhvani 19 Jha - n - ka | Jhan-ka-ra dhvani. 0? - ^ - ^T) j 5 Gangeya-bushani 33 Ga - n - gey j Gan-ge-ya bhushani. (*TT - ^ - *t) j 6 Shadvidha Margini 46 Sh - d - vi | Sha-dvi-dha margini. ft - ^ - f^r) 1 *7 Divyamani 48 Di - v - ya 1 Di-vi-ya mani. (ft - ? - *) 1 54 *8 Visvambhari Vi - s - va ) Vi-su-vam bhari. ( f t - 5T - <*) J *g Syamalangi 55 S - ya - ma j Sa ma-langi. ft ' - IT) j 10 Shanmukhapriya 56 Sha - n - mu 1 . Shan-mukha-priya f t ' ° l - 3 ) J *11 Si mhendramadhyama 57 Si - m - he j Si-mhen-dra-madhyama. (ft - ^ - %) j 12 Dharmavati 59 Dha - r - ma 1 Dhar-ma-vati. f t " * ' | 13 Kantamani 61 Ka - n - ta j Kan-ta-mani. ftT-*-?TT) } *14 Chitrambari 66 Chi - t - ra j Chit-ta-ram-bari. j *15 Jyotisvaroopini 68 j - yo - ti Jo-ti-svaroopini. f t - f t) ( In the above list of 15 ragas, those that are marked with asterisks (*) are one set and the remaining are another. In the former, the formula applies to the first sounding letter of the conjunct consonant, whereas in the latter, to the second of that. CORRESPONDENCE 121 Examples. run as (l) (8) (3) Former set-—Chakravakam ^ ^ ^ (Cha- flrsjW ft (*) (6) ferTCfaft k-ra)—Cha ( ^ ) is 6, and k (^ ) is 1. 61 and (6) never occur as such reversed gives 16. Here, in the conjunct in Sanskrit language. Besides, Natcibhair- consonant kra (5K=^+^) * or the avi , Jhalavarali (srnjssrcifas) and first letter only is taken into considera some such names are also improbable. (In tion. This application holds good to all one of the prominent music-books of to-day, the rest of the first group. I was very much surprised to see the name of Mechakalyani being converted in to Mesha Latter set—Dharmavati - r - JT (Dha-r- (ita) Kalyani. Why can it not turn even as ma) Dha («r) is 9, and Ma (*) is 5. 95 Sesha ($r*) Kalyani, sometime hence, so reversed gives 59. Here, in the conjunct long as the number is not disturbed ?) Tradi consonant rma ( * = ?+ *) *T or the tion has it, that the names for all the Melakar- second letter only is taken into conside ta ragas were carefully given by Gqvinda ration. The same application is to the Dikshitar, a profound scholar of Sanskrit and rest of the second group. the father of the illustrious Venkatatamakhi. He would not have gone wrong. There must This sort of applying the formula one way have been another set of names for the 72 to some ragas and another way to some others Melas, I am sure. Under the above circum is quite against rule and principle. We must stances, one has to suspect a foul play in the stick to only one principle. As such we have affair. Will the Vidvat-Goshti or the Expert- now either to change the names of ragas so Committee of the Music Academy take this as to suit the traditional formula, or take matter into consideration, and clear the away the formula itself from usuage. way ? The names of the ragas of the first set, as T. R. VlSWANATHA SASTRI, adjusted to the formula of Katapayadi, which Sangeeta Vidwan. [Note :—There are two systems of mnemonic mathematical method of computation ^TTO^s?JT*T and The former method is the one used in Melakarta nomenclature. In the latter system, »T^'j JJOT «IT,n’ etc., denote the numerals 2, 3, 4, 5 etc. Again another principle is also observed i.e. in Sanskrit syllabification, the consonant immediately preceding the vowel is the important letter. Hence the objection raised against 1, 3, 4, 5, 6, 10, 12 and 13 cannot stand. The irregularities in 2, 7, 8, 9, 11, 14 and 15 are indeed valid. But out of respect for time-honoured usage and sanction by the Parampara school of musicians—who knew this irregularity and have kept it on—the nomenclature need not be interfered with.]—Editor. #Qff6Bi2soi ouii&j a6orrff(T?50 61Pihj^ ^ i5'irs(urEjafaa>6iP65r ^ii?Lp Cldul^Guujitljli. lS*. CTen). 6n)_Djl^iiix) ^ ujujit ajajSidr, 0>g.Jirsy,if'. 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