Kłłł f Šattušalya of Jain Dynasty—which ruled f Rasakaumudi, (Srikantha's work) is dated )0 A. D. The author says:— 1मः श्रीनुिश्ाल्यत्सकलजनमनोरञ्जकः पुण्यराशिः । न ौढप्रमेयव्यतिकसुभगं रच्यते काव्यमेतत् ॥" i of Sangita and Sahitya each containing five l sections of Saṁgīta, viz., Gita, Wādya and ribes also three Viņas current in his day and :0 Swayambhu tones which his father proved to deva. Śrīkaņțha is verbose and periphrasticin e Śāstric way of thoughtin discussions. further, he devides into Sarvaikurdgamelas. 'ery well analysed. He calls Patapañcama तदिरित्येते प्रोक्ता मन्द्रम्वरा मया॥" was on these two Vinas and describes Rāgas avibodha to our notice. He wrote his work in that he is an author of a Māmāmsa work but iņa, Suddha and Madhyamela Viņas at length. rising Svara, Viņa, Meļa, Prastāra and imporas predominent out of nine hundred and sixty created new signs for their modes of fingering. £asamālīkā in three chapters. In the third first two chapters he illustrates Swaras. His produced his Sangitasudha about 1620 A. D. under his able minister, Govindadıkşiţa, who ion of Sahgitasudhã. The work as available 1 in Stara, Gita, Raga, Prakirma and Praar in Sanskrit and Telugu and had geniuses in in Telugu and Sanskrit were even produced by rank. Karnāţa music attained its highest as (Šuddha and Madhyamela type) and then dhyamela. He names fifteen Melas as impor'e popular in his day. He was fond of Nāţas two hundred and sixty-four Rägas as given pon the works of Nandi, Bharata, Mațañga, a. Then he proceeds to deal at length with Swara-Śruti value to them, he classified them jiy it what are those current Ragus He names :e what time are they current Is it from the till later? He says:-- Iाभ्य: । आरभ्य रागान्प्रचुरप्रयोगान ॥" uraprayoga) from the days of Vidyāranya and )f Ablative case (agranibhyah and årabhya) was borrowed by Raghunatha from Vidyāra. ) A. D. In older days Jāti classification existed s were arranged into sexes, male, female and he male in the chief characteristics. Six, eight, who possess each six to ten wives. The musito assume. This classification appealed to the Śrutis for each Raga, which itself is possible d with each author till it was finally fixed by nown man who made a permanent instrument. ihpur) wrote his Nāgendra Sangita about 1700 cer, Rupini and Kusumavati and has touched in Southern India. ived in the court of Vijayarāghava, son of ațamakhin was son of Govindadīkṣita, Raghujñānārāyana, a good Sanskrit poet and a great ämsä and Advaita Scholar. In his Cuturdandii Meļu Viņas and introduces his own Venkațāhis lifetime. He is said to have founded seventations of variable Svärds while he reduced the done by the author of RügaSāgara before him. lived about a century before him, is absolutely nce of Rāma's basis of Melas. Unpardonable ) Raghunatha whose work is attributed by him lot of course the divine one who saved all manVita (Prabandha) and Tāla portions of Sangita. Sangitadarpana, hails from the Maharāţţa Gita, Tāla and Nrtta, and in the last section ed from the Mughal courts, are given promida, the pupil of Ananta, son of Dămodara, has elops Dāmodara's dancing postures and adds Jnised by king Shāhi, father of the celebrated arāţa Scholar, Imani, should find a glace in our notices, though court and himself a poor scholar in Sanskrit. But it is he who made all the modifications in
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