It was in 2005 that the Kuppuswami Sastri Research Institute (KSRI) brought out “Some Aspects of Sanskrit Drama and Dramaturgy,” a collection of 20 articles (published and unpublished) by Janaki who had served as its Director for many years and contributed remarkably to the field of Indology. The volume under review is the second, published in commemoration of Janaki's ‘Sathabhishekam'.
The first three of the 12 articles in this collection deal with Samskrita and its relationship with Sangita. While the first discusses the role of Sanskrit in the development of Indian music, the second is a very scholarly endeavour to present the relationship between the two in all its varied dimensions and nuances. Quite fascinating is the third piece where she analyses the place and state of Sangita in the Vedic period, an area that could be handled competently only by a scholar of Janaki's stature. Witness the verses she has quoted from the Vedas and the wealth of information she has provided.
The compositions of Muthuswami Dikshitar come in for detailed study from different angles in as many as six articles. The first gives an overview and it is followed by an analysis of Tiruvarur-specific compositions. While discussing the kritis dedicated to Ganesa, Janaki draws profusely from the Agamas, the Silpa Sastra, and the Puranas. She points out how Dikshitar employs vibhaktis in these compositions, as he does in Kamalamba Navavarana and several others also. Incidentally, no other composer has written as many as 26 pieces on Ganesa.
In ‘Caturdasa Ragamalika of Dikshitar', Janaki makes a commendable study of the ragas employed by the composer in this piece. Explaining how Muthuswami Dikshitar inherited the skill and methodology of composing ragamalika from his father, Ramaswami Dikshitar, she lists by way of illustration the four ragamalikas of his father figuring in Sangita Sampradaya Pradarshini of Subbarama Dikshitar.
The author then goes on to give details of Muthuswami Dikshitar's four ragamalikas comprising four, six, 10 and 14 ragas respectively; the last eulogising Lord Viswanatha is hailed as the best in the entire gamut of such compositions in Carnatic music. Dikshitar's scholarship, his gymnastics with declensions, vocabulary, unusual compounds, raga selection, practice of building the name the raga into the composition, et al., are very ably handled.
Profound scholarship
Janaki's profound scholarship in astrology comes across clearly in the way she brings out the intricate nuances of Dikshitar's ‘Navagraha kritis', as for instance the insight she provides into the vocabulary and compounds Dikshitar has employed — such as sundarachayadhipate, madanacchatram, and paraadi chatvari vaaksvaroopaka.
The concluding three articles deal with Indian classical dance and temple tradition, Brihaddesi and the contribution of Tamils to Alankara, Sangita and Natya Sastras, and the author has done full justice to every one of these themes. Tracing the history of Tamil Nadu's contribution to Sanskrit, she thinks the 7th century is the period when it started. The works of Tamil Nadu scholars in these fields are catalogued.
Samskrita and Sangita is indeed a treasure-house of information and knowledge on music as well as literature, and will enhance the value of any collection.
SAMSKRITA AND SANGITA:
S. S. Janaki; Pub. by the Kuppuswami Sastri Research Institute, 84, Thiru.Vi. Ka. Road, Mylapore, Chennai-600004. Rs. 400.
