The music of the Hindoos includes eighty-four modes, each supposed to have a peculiar expression, capable of moving some particular sentiment or affection. The modes take their denomination from the seasons, or from the hours of day or night. Musical composition is supposed capable of adaptation to the different periods of the day, and therefore its provisions are regulated by the hours. The ideas of the Hindoos on music, as promoting the pleasures of imagination, may be inferred from the names applied by ancient authors to their musical treatises. One is called Rágárnava, the Sea of the Passions; another, Rágaderpana, the Mirror of Modes; and a third, Sóbhavinóda, the Delight of Assemblies; a fourth, Sangítaderpana, the Mirror of Song; and another, Rágavibódha, the Doctrine of Musical Modes. Some of these works explain the law of musical sounds, their divisions and succession, variations of scales by temperament, and the enunciation of modes; besides a minute description of the different vínás (lute), and the rules for playing them. This is a fretted instrument of the guitar kind, usually having seven wires or strings, and a large gourd at each end of the finger-board. Its extent is two octaves, and its invention is attributed to Náredá, the son of Brahma. There are many varieties, named according to the number of their strings. Of one of them we give an engraving below.
Music, like everything else connected with India, is invested with divine attributes. From the sacred Veda was derived the Upaveda, or subsidiary Veda of the Gandharbas, the heavenly choristers. The art was communicated to mortals by Sarasvati, the consort of Brahma. She, as before stated, is the patroness of the fine arts, the goddess of speech. Their son, an ancient lawgiver and astronomer, invented the Víná. The first inspired man, Bherat, invented the Drama.
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FOOTNOTES:
[ [1] Thus we have the origin of Twelfth-day.
[ [2] A good specimen was demolished at Tottenham not long ago.