FOLK MUSIC IN MAHABHARATA
LEELA
OMCHERY
Department
of Music and Fine Arts, Delhi University
Mahabharata
is a monumental work of Maharshi Vyasa. It was
written by him to instruct, inspire, amuse and to lead. His handling of the
topics is masterly and his observations and analysis shed piercing light on the
different aspects of the life and culture of ancient India. A powerful and
brilliant branch of this ancient culture is music and the sage handles it with
admirable skill and understanding.
Three
distinctive styles of music are described in this great epic, viz., the music
of the gods, the music of the high-class people and the music of the masses.
The music, at the highest level was called Deva Gaandharva 13-19-47* or
celestial music and it was performed by the gods (13-14-89) sages (6-6-20) and
the devapsaras, gandharvas (2-7-24). At the higher level, the music was called Naanaa-desa-geeta
or, the music of the different kingdoms (7-85-20) which was patronised by
the kings (1-143-9) and performed by sutas, magadhas, vandis (7-7-8) and
vaitalikas (2-4-7). Vyasa considers these two styles as the two branches of the
old Gaandharva Veda (3-91-15) which was originally the creation of gods
(12-210-21). Only traditionally trained masters could impart these styles
(3-91-14) and that too to the Astikas only (13-17-17).
Along
with these two styles, there existed an equally prominent and, perhaps, a more
popular style of music. Though it was not a cultivated style of singing, it had
imbibed many of the essential qualities of the Gaandharva Veda. Like the
classical styles, this was also a harmonious combination of dance, song
(8-44-12) and instrumental music (8-44-19). It too had a varied stock of songs
(844-13) meant for different moods and occasions. There were neither systematic
voice training methods nor resources for developing sweet voices even then,
most of its musicians had susvara (11-25-8) which did not fail them even
at times of weeping. There , were no traditional masters or initiated students;
yet there were brilliant musicians. Royal patrons ignored it; but the
enthusiastic rustic cherished and nourished it.
This
was the music of the masses, and through allusive verses Vyasa brings out a
colourful picture of the same. The different kingdoms of ancient India had a
vast repertoire of folk songs and artists, and the regions Saakala (8-44-10),
Maadra (8-44-5), Aaratta, (8-44-41) Kerala (8-44-43) etc.,
were exceptionally noted for their rich traditions of the art. To some of these
places, Vyasa gives direction (8-44-17) while for others, location (8-44-7, 32,
40). The origin and other whereabouts of certain sects, like the Vaahika are
also given (8-44-41). The folk as a whole were a set of simple people without
much of caste restrictions and professional differences (8-45-45). Since
anybody among them could belong to any jaati and practise any Dharma (8-45-6,
7, 8, 9), the high-class people who observed the jaati-dharma principles
vehemently, refused to include or admit them in their social, religious and
cultural activities. The folk, according to the “High brows,” were born not out
of Brahma (8-44-42,) but were born out of the Devils (8-44-41). They were not
only Paapadesodbhava, Mleschaa, Dharmaanaam avichakshanaah (8-40-43) but
also Ghasmara, Nashta-saucha, Nirhreeka-(8-40-43) Mitradhruk-Kshudrakaah
(8-40-23) Duraatmaah (8-40-24) and Kukarmaah (8-40-42),
without any sense of morality (8-40-35) honesty (8-40-24) and dignity
(8-44-14). They were proud (8-44-15) and sometimes indulged even in robbery
(8-4-21, 22). As such they were unqualified to do Dharmakaryas and their
offerings were refused by Devas, Dvijas and Pitrus (8-44-34).
The
women folk, though they were looked down upon by the members of the high
society, were famous for their sturdy build (8-40-40) and buoyancy (3-44-18)
which perhaps were the gifts of their natural surroundings. They enhanced these
charms by applying Manassila on their faces (8-44-18) Anjana on
their eyes (8-44-18) and some local lepana on their bodies (8-44.12).
Being middle-class people with limited income they could not
afford to have any
Viseshavastrabharanas as the celestials. They had to be
satisfied with Kambalajinas (8-40-40) Samkha-keyura-s (8-44-18) Vanyamaalas
(8-44-12) etc. Yet, like the Apsaras, these women also were Priyadarsanaah
(8-44-19), Subhastriyaah (8-44-18) and Gauravarnaah (8-44-27).
As every where, here too, there were a few exceptions who
were huge enough to wear Maholookela as mekhala (8-44-44) and to
be called as Rakshasis (8-44-26).
The
women, along with men and children, flocked together during some festivals, and
spent their time in singing and dancing along with foods and drinks (8-40-24,
25, 26). The festivals included religious and social ceremonies (8-44-13) and
household activities (8-40-26). Sometimes they met to congratulate birth,
(6-3-7) or to condole death (11-25-8) through appropriate music. The singing
consisted of solo recitals and chorus. The solo pieces were performed by males
(8-44-16) or females (8-44-25) while the group songs were sung either by men
(8-44-29) or by women (8-44-13) or by both (8-40-28).
The
songs, being the spontaneous expressions of their life, sentiments, rites and
customs, were characterised by an unusually emotional glow and this made them
extremely moving in spite of their being set in simple tunes.
Here
is a touching love song that depicts the pangs of separation. Vyasa records
this as the outpourings of a lonely young Vaahika who left his beloved
to serve the kingdom of the kurus.
Saa
nunam brihatee gauree sookshmaa kambala vaasinee
Maam
anusmaratee Jete vaaheekam kurujaangale
Satadrukaamaham
teertvaa taam cha ramyaamiraavateem
Gatvaa
svadesam drakshyaamee sthoola sankhaah subhaah striyaah Manassilojvalaapaangyo
gaurya strikakudaanjanaah
Kambalaajina
samveetaah koordantyah priyadarsanaah
Mridangaanaka
sankhaanaam mardalaanaam cha nissvanaih
Kharoshtraasvataraischaiva
mattaa yaasyaamahe sukham
(8-44-16
to 20).
Through
the words of Karna, Vyasa brings to us a picture of a woman of the Saakala regions
who used to sing in the stillness of those Krishna chaturdasi nights
(8-44-25) when there would be no moon and stars. Her solo recital was
accompanied by her own laying on the Dundubhi (8-24-26) and except for
the subdued sound the same there was nothing but gripping silence and solitude.
While
the songs of passion were more often rendered thus by a male or female, the
songs of devotion on social occasions were performed by groups of men and
women. Might be because the folk celebrated these functions in their own rustic
ways, which did not have much in common with the similar activities of the
towns and the capitals. They were generally held away from the citizens and
outside the city limits. Vyasa illustrates one such social activity through the
verse:
Gaayantyatha
cha nrityanti striyo mattaa vivaasasah
Nagaraagaara
vapreshu bahir maalyaanulepanaah (8-44-12).
Besides
the songs of sentiments and festivals, there were songs to suit the natural
happenings of the day-to-day life such as birth, death etc. Since these were
personal affairs, they were conducted in private houses or in some particular
spots which were directly connected with the events.
A
happy household ceremony has been described by Vyasa in which persons
including:
pitaa
putraascha maataacha svasru svasura maatulaah
Jaamaataa
duhitaa bhraataa naapyanyee te cha baandhavaah
Vayasyaabhyagataaschanye
daasi daasam cha samgatam
Pumbhirvimisra
naaryascha jnaataajnaataah svayecchayaa.
(8-40-25.
26)
assembled to dine,
dance and to sing.
In
the words of Gandhari in Streeparva, there is a hint of those vilaapa
ganas sung by women at times of death. The grief-stricken queen mother
while moving around the battlefield with Sri Krishna, happens to listen to a
group of women mourning melodiously by the side of their dead lord. Gandhari is
very much moved by their touching tones and tells Krisnna:
Aasaam
aayatanetraanaam susvaraanaam janaardana
Manasruti
haro naado manomoohayateeva me (11-25-8).
It
is worth while to point out here, that in Kerala and also in some southern
regions, the practice of singing vilaapa ganas or funeral songs is still
in vogue. The songs are collectively called Oppaaru and are performed by
village ladies when kings, queens, lords, chief of the villages and the eldest
of the families die. Sitting or standing in a circle, the women folk with
spreaded locks and careless dress, sing these songs with stobhaksharas and
stobha-phrases like; Ammaadi, Jaayaare, O, Ayyo etc., in between.
The compositions can be a praise of the departed leader, or a prayer for his
salvation or even the pangs of his separation. The singing starts as the person
dies
and continues for a few days at a particular time, till all the funeral
observances are over.
The
Suchana songs which predicted auspicious and inauspicious times formed
an interesting variety in the field of folk songs. The songs sung by the
mothers who gave birth to more than five girls in successive years denoted a
period of calamity (6-3-7). The songs and dance of the Kshudrakas preceded a
state of alarm and anxiety (6-3-8).
Being
unsophisticated and uncultured, the behaviour and expression of the village
people sometimes crossed the limits and levels put up by the torch bearers of
the “High” society on the ground of cultured thinking and civilised living. The
songs being the voice of their life in all its variety and diversity
incidentally became reflective of these elements too and the puritan mentality
of the top-class people did not hesitate in putting a sort of social stigma over
these songs and in tarring them as Asabhya ganas (8-44-13) and Abaddha
ganas (8-40-27).
The
following slokas give expression to one of these Abaddha ganas. Vyasa
presents this as a favourite group song of the Sakalites:
Gavyasya
triptaa maamsasya peetva gaudyam suraasavam
Guribhissaha
naareebhir brihateebhissvalamkritaah
Palaandugamdushayutaah
khaadanti chaidakaan bahoon
Varaaham
kaukkutam maamsam gavyam gardabha maushtikam
Eedyam
cha yena khaadantee teshaam janma nirarthakam
(8-44-27,
28, 29).
A
section of the songs of the Madri-vanitas too were subjected to
the high brow censure which is illustrated through the words of
Kama when he tells Salya:
Peetvaa
seedhu gomaamsam
Krandanti
cha hasanti cha
Gaayantichaa
pyabaddhaani
Pravartante
cha kaamatah (8-40-27).
Rhythm
played a significant role in all these songs and hence the maximum prominence
for percussion instruments in this field of music. Mridanga, Mardala, Aanaka
(8-44-19) and Dundubhi (8-44-26) etc., were some of the drums that
accompanied the songs. Quite often Sankha also was used (8-44-19). But
the Venu and the valieties of the Veenaa which
were inseparable from the classical music Gaandharva Veda were rarely
used, if not completely avoided.
(Not
only in the regional singing of those times, but in most of the genuine styles
of the present day rural India also this is the case. The reasons are many.)
Thus,
in the scattered references of Mahaabharata is hidden a glorious
representation of the simple art of the ancient Indian village. The expressions
of the master mind are so powerful and realistic that they often transport the
reader to the very situations described therein to be an eye-witness to them.
* Mahabharata edited
by the Gita Press, Ghorakpur, has been followed here. The reference to Parva-Addhyaaya-Sloka
are given in their respective order at appropriate places within brackets.