UCTION.
- ఫిఖా:ణsళా
I have not much to say except by way of ya Sastra of Bharata with the most scholarly ised by me that the task was like the lifting minery. Chapters 28 to 34 deal with music all nd one of the greatest thinkers in Philosophy significance of the expression of Bharata and je and deep voice capable of lifting one's soul I had of necessity to acquire and study all yālankāra and a few decades of my life saw at sages who devoted their lives to the science. memory is like the foot-prints on the sands low of intellect. Considering the needs of the ndex of the technical words used in those great ill be of immense help to scholars who devote the advice of the Director of the Institute the ra has shed His divine grace for its completion acted all the resources of my mind, yet, I see studies it involved. Everything has its usés Itterances of great thinkers culled here, and ho is ardent in turning over these pages. re culled from are four, viz., Dramaturgy or Nrtta and Instruments or Vadya with \riginally it was proposed to include Alahkāra erotics or Kāmaśāstra and all the branches n-planning, Painting and Iconography.) But ion of the studies which these subjects would a more powerful factor in the decision is of equal importance and therefore deserve xcluded, prosody is given a minor place; ects are included. It was found necessary i. Bharata deals at length with all these ind never altered or revised by subsequent s compilation is named Bharatakośa. The the extension of each subject, (2) the manner raphical notice of authors who contributed mself to the description of ten kinds of plays. Kohala includes ten more and later ition of the story and the five units with They are called Sandhyangüni. Pitryarañga Wātrgupta, KIrtidhara etc. Rasa and Bhava vara, Gita, Rāga, Prabandha (Musical Comwhat is dealt with in chapter 31 of Bharata songs (Sapta gita) which are now extinct. we defined the subject well. 'oadly into Vinā, Vamsa (Flute), Mrdanga 2 and use in every century and with each user. e see in the sculptures, called Pinaka by ment of a beggar to earn his livelihood in of Matañga, Vipañci of Swāti have all gone given for as many kinds of lute as one can rutijñāna (perfect knowledge of all varieties rets are permanently fixed and each Rāga is much simplified and several conveniences imes when Vinā had seven or more upper ore than one instrument was necessary to Yajñasālū. The case is similar with flute | Suit the player, but which in olden times nd of audience near or distant, Nagara or s of Mordanga) of Bharata was displaced by and carry; but the scope in older instrujert ready knowledge should be pledged for nas undergone great modifications and every mutations. The older Tālas are Mārga and the well the formula to a permutation of six or cts stated above are incorporated in our work ast work on each subject. Some of the definimed to be technical ; but they are defined in tion would involve endless labour and long for every word is really desirable; but when guage, linguists can easily translate it into be necessary for all further research in the t affords ample help to find out what work ithout wandering in the mist. st commentary of Abhinavagupta – Bharata, even earlier, and his work consists of 6000
