Introduction

Saṅgīta Pārijāta of Ahōbala is one of the earliest North Indian texts which includes many South Indian musical elements. This treatise discusses in detail about gīta-s and prabandha-s. It gives insights on the dhatu-s, aṅga-s, classification, structure, tāḷa-s and sāhitya of prabandha-s. Etymologically, Prabandha means that which is bound (Prabandhyatē iti Prabandhaḥ). It is a musical form that is not in vogue today.

The aim of this article is to study the aspects of Prabandha-s mentioned in the treatise, Saṅgīta Pārijāta of Ahōbala. It also aims at studying the variations in these aspects with the characteristics of Prabandha-s mentioned in other treatises.

Rāga-Gīta-Vicāra-Kāṇḍa is the first chapter of the treatise Saṅgīta Pārijāta. The characteristics of Prabandha-s or Gīta-s are mentioned after the Rāga prakaraṇa in the ślōka-s numbered from 500 to 598, encapsulating the various aspects of Gīta-s or Prabandha-s. 

Gīta-s

Gīta-s are the ones which can be sung. Ahōbala mentions the origin of Gīta to be sāma vēda and that Gīta-s are brought down to us by Nārada through his Vīṇa. 

Gīta-s are of two types namely Anibaddha and Nibaddha. Ahōbala mentions that Nibaddha gīta-s are the same as Prabandha-s. Gīta-s are known by five other names namely Rūpa, Rūpaka, Vastu, Prabandha and Ajēya.

Three types of Gīta-s are mentioned namely, Daivata, Dēvamānuṣa and Mānuṣa. Daivata is composed in Samskṛta language and is set to Mārga tāḷa while Dēvamānuṣa is composed in Samskṛta and is set to dēśi tāla. Mānuṣa is composed in regional (dēśi) languages and is set to Dēśi tāla.

The author explains that a Good Gīta should possess the following 10 qualities. 

The author also mentions the following qualities of a good gīta

• There should not be any variation in the sentiments expressed in the raga to which the Gīta was tuned and the time measure to which it was set.

• Repetitions should be avoided.

• It should be polished and should not contain any indecent expressions.

• It should be a creation of distinction, according to the commonly or universally accepted doctrines.

• It should have the recognition of distinctive people.  

Prabandha-s

Prabandha-s form a part of the Nibaddha saṅgīta. The following are the five dhātu-s or parts of Prabandha-s. 

• Udgrāha

• Mēlāpaka

• Dhruva

• Antara

• Ābhōga 

Udgrāha is the introductory section of the Prabandha. Mēlāpaka is a bridge between Udgrāha and Dhruva. Dhruva is the one which stays constant. Antara brings together Mēlāpaka and Ābhōga. Ābhōga is the concluding portion (Gītapūrti) of the Prabandha. Ahōbala mentions the following 6 aṅga-s of prabandha.

• Pada

• Tāla

• Svara

• Pāṭa

• Tēna

• Biruda 

Pada-s are the words or the sāhitya of the composition. Tāla is the time measure. Svara-s are the solfa passages like sa, ri, ga, ma, etc. Pāṭa refers to the sounds originated from the percussion instruments like ta, dhi, tōm, etc. Tēna includes auspicious words. Biruda includes the words that are in praise of the deity or the person referred to in the composition. 

The author describes the varṇa-s and gaṇa-s that are used in the gīta-s. There are four Gīta varṇa-s in a laghu, eight in a guru, twelve in a pluta, two in a dhruta and one in an anudhruta. The deities associated with the gaṇa-s and the good and bad effects of using these gaṇa-s in the gīta-s are explained in this treatise.

Classification of Prabandha-s

1. Prabandha-s have difference in the number of aṅga-s being included in them. A Prabandha must have atleast 2 aṅga-s. The following table lists the types of Prabandha-s based on the number of aṅga-s. 

36 Viprakīrṇa prabandha-s are mentioned namely Śrīraṅga, Śrīvilāsa, Bhaṅgīrata, Pañcānana, Umātilaka, Udīrita, Vijaya, Vastu, Tripadi, Catuṣpadi, Ṣaṭpadi, Simhalīla, Hamsalīla, Caturmukha, Sudarśana, Tribhaṅgi, Tripatha, Daṇḍaka, Sampaṭa, Kanduka, Āryā, Cañcari, Harṣavardhana, Śrīvardhana, Kharāṅga, Harivilāsaka, Rāhaḍi, Maṅgalācāra, Vadanam, Paddhaḍi, Dhavala, Maṅgala, Lōlī, Vīraśrī, Ḍhōllari and Vādanti.

Structure of Sūḍa, Ali and Viprakīrṇa Prabandha-s

• Lambha (Sūḍa) has an udgrāha with one or two sections; Dhruva is sung once or twice. It has 2 ābhōga-s and ends with the Dhruva section.

• Daṇḍaka (Viprakīrṇa) is the one where the Antara section is not seen.

• Kanda (Ali) has one khaṇḍa.

• Dvipada (Ali) has two khaṇḍa-s. 

• Tripada, Catuṣpada and Ṣaṭpada (Viprakīrṇa) have 3, 4 and 6 khaṇḍa-s respectively. 

Tāla-s in Sūḍa, Ali and Viprakīrṇa Prabandha

• Sapta tāḷa-s beginning with Dhruva tāḷa are incorporated in Sūḍa prabandha-s.

• Lambha (Sūḍa) is composed in Ēka tāḷa. 

• As the name suggests, few prabandha-s are named after the tāla. For example, Rāsa (Sūḍa), Simhalīla, Vijaya, Kanduka, Hamsalīla (Hamsa tāla), Sampaṭa (Śampa tāḷa) (Viprakīrṇa)

• Śampa tāḷa is used in Turagalīla (Ali). 

• Dhruva tāḷa is used in Gajalīla (Ali). 

• Gātha (Ali) is composed without any tāḷa. 

• Kalahamsa (Ali) is composed in Hamsanāda tāḷa.

• Combination of tāḷa-s is used in Tālārnava (Ali) and Rāhaḍi (Viprakīrṇa).

• 2 tāla-s are used in Pañcānana (Viprakīrṇa); 3 tāla-s in Umātilaka and Tribhaṅgi (Viprakīrṇa); 4 tāla-s in Caturmukha (Viprakīrṇa); 5 tāla-s in Pañcatāla (Ali), Śrīvilāsa and Bhaṅgi (Viprakīrṇa). 

• 3 gati-s are incorporated in Tripatha prabandha (Viprakīrṇa)

Text of Sūḍa, Ali and Viprakīrṇa Prabandha

• Vartani (Sūḍa) has both svara and sāhitya in it.

• Varṇa (Ali) is composed in Karṇāṭa bhāṣa (Kannaḍa).

• The concept of Svarākṣara is used in Svarārtha (Ali).  

• In Mātruka (Ali), the syllables of the sāhitya occur in a sequence or krama.

• Tripada, Catuṣpada and Ṣaṭpada (Viprakīrṇa) are composed in Dēśi language. 

• Auspicious words are used in Maṅgalācāra (Viprakīrṇa). 

• Ḍhōllari (Viprakīrṇa) is composed in Lāṭa bhāṣa.

• Syllables are less and svara-s are seen more in Urvi (Viprakīrṇa). 

• Pāṭa varṇa-s are used in Vādanti (Viprakīrṇa).

• In Kaivāḍa (Ali), pāṭa is used in the udgrāha and dhruva; pada is used in antara and ābhōga.

Melody in of Sūḍa, Ali and Viprakīrṇa Prabandha

• In Jhōmbaḍa (Sūḍa), the udgrāha begins at pañcama and dhruva begins at ṣaḍja.

• Combination of rāga-s is used in Rāgamiśraka (Ali). 

• 2 rāga-s are used in Pañcānana (Viprakīrṇa); 3 rāga-s in Umātilaka and Tribhaṅgi (Viprakīrṇa); 5 rāga-s in Śrīvilāsa and Bhaṅgi (Viprakīrṇa).

Observations 

• Karaṇa (Sūḍa) is listed under Sūḍa prabandha-s but the characteristics of it are not discussed. 

• There are variations in the names of the prabandha-s while listing and explaining it later. For example, Aṅkacāriṇi (Ali) - Aṅgacāriṇi, Kanduka (Ali) – kanda, Umātilaka (Viprakīrṇa) - Umāpūṛṇaḥ tilaka, Bhaṅgīrata (Viprakīrṇa) - Bhaṅgi, Harivilāsa (Viprakīrṇa) – Haravilāsa.

• Urvī (Viprakīrṇa) is not mentioned in the list but is described later.

• Kanduka and Ārya are mentioned under both Ali and Viprakīrṇa prabandha-s.

Variation from other Lakṣaṇa Grantha-s

Saṅgīta Ratnākara of Sāraṅgadēva mentions 3 synonyms for Gīta-s namely Rūpaka, Vastu and Prabandha while Ahōbala mentions five synonyms for Gīta-s namely Rūpa, Rūpaka, Vastu, Prabandha and Ajēya. While Ahōbala mentions 5 dhātu-s of Prabandha-s namely Udgrāha, Mēlāpaka, Dhruva, Antara and Ābhōga, Sāraṅgadēva only mentions 4 dhātu-s, leaving out Antara as he considered them to be a part of Sālaga Sūḍa Prabandha-s only. Sāraṅgadēva mentions Prabandha-s to be of Dēśi saṅgīta classification.

Depending upon the number of Aṅga-s, the following classification of Prabandha-s is seen in these two treatises.