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Tellings and Texts

 | 
Francesca Orsini
, 
Katherine Butler Schofield

Index

Texte intégral

abhang 171

Ādigranth 397, 399

Afsānah-i Shāhān (of Muhammad Kabir) 225

Agra 15, 69, 84, 95, 285, 287

Ā’īn-i Akbarī (of Abu’l Fazl) 286

Ajmer 192

Akbarnāma (of Abu’l Fazl) 288

alankara 369

alankarashastra 249, 265, 275, 279

Alaol 424, 430-431, 434, 437, 442

Allahabad 215

‘ Amal-i Sòāliḥ (of Muhammad Salih Kanbo) 301

Amber 262, 364

Apabhramsha 89, 104, 365

Arabic 9, 129, 322

Arakan 424

Ardhakathānak (of Banarsidas) 70, 72, 75, 100

Argalpur jinvandanā (of Pandit Bhagavatidas) 69

arilla 16, 360

Assam 442

audience. See connoisseur, patron, etc.

addressed in texts 380

music attracting an 479

participation in kirtan 172

represented in texts 425

Auliya, Nizamuddin 107, 445, 449, 460, 463, 479

Avicennian classifications 195

Awadh 204

Awadhi 151, 354, 359, 424, 442

badas 174

Baghelas 337

bahurupiya (street performers) 420

Bajid 360

Bakhana 36, 44, 47, 437

Banaras 323, 336

Bangladesh 424

Bedil, Mirza 313, 314, 317, 321, 323

Bengal 25, 34, 245, 312, 389, 428, 442

Bengali 14, 68, 423, 429, 430, 436

Bhāgavad gītā 170

Bhāgavata Māhātmya 210, 217, 227, 230 and performance standards 211

Bhāgavata-purāṇa 19, 22, 37, 90, 126, 209-210, 218, 220-221, 223, 226-227, 230, 355

Brajbhasha versions 213

exposition in Kannada 210

literary activity in Sanskrit 214

performances of 209, 216

vernacular adaptations 214

Bhaktamāl (of Raghavdas) 37, 38, 45, 362, 363

Bhaktāmara stotra (of Manatunga) 88

Bhaktapur 232, 236, 238

Bhaktavijay (of Mahipati) 180

bhakti 5, 6, 8, 11, 23, 25, 170, 249, 280, 347, 373, 399, 405, 421, 485

and disdain for writing 174

as public experience 176, 184

as superior to dharma 223

poetry, and raga 396

Bhāṣā dasamskandh (of Bhupati) 213

Bhāṣā dasamskandh (of Nanddas) 96, 212, 229

Bhasha grammatical and lexical flexibility compared to Sanskrit 273

bhāva 351

Bhaviṣya-purāṇa 10, 109

Bihar 193

bishnupad 274, 351

Biskah festival and dapha 241

Bombay 147

Brajbhasha 7, 71, 249, 300, 359, 367, 370, 380, 408-411, 413, 419

as a language of refinement 229

translations from Sanskrit 78, 88, 94

Brindavan 210, 216

Buddhism 34, 64, 243

Bundelkhand 102

Burma. See Myanmar

Candāyan (of Daud) 354

Caurāsī baiṭhak caritra 217

Caurāsī bol (of Hemraj) 87

Caurāsī vaiṣṇavan kī vārtā 215, 224

censorship 101

Chahār ‘ Unṣūr (of Mirza Bedil) 324

chronology 112, 114, 120, 134

composite culture music as constitutive of 11

connoisseur 412

connoisseurship 5, 347, 350

exclusive domains of 408

cosmopolitan local 308

court etiquette partial reproduction in gatherings 424

Dadu Dayal 360

Dadupanth 172, 364, 368

fascination with writing 380

Dadupanthi 23

Dādūvāṇī 58

Dòaṅgvai kathā (of Bhima Kabi) 328, 331, 335, 337, 346

dapha 15, 24, 231, 241

adoption by farming communities 237

groups as social networks 242

groups, initiation into 242

meanings generated through performance 244

origins of 233

darud 150

Das bībiyoṉ kī kahānī 149

dastan 185

Delhi 15, 285, 306, 312-313, 317, 319, 322, 324, 445, 457, 474, 479

Dhammapada 64

Dhar 287

ḍhol 455-456, 458, 462, 465, 469, 472, 474, 478

dhrupad 267, 274, 351, 393, 400, 419, 420

and Surdas 225

Dhundhari 367, 381

Do sau bāvan vaiṣṇavan kī vārtā (of Hariray) 228

dotār 453

drishtant 38-41, 43-44, 46

as exemplum 41

drumming. See lalakhin, tasha, etc.

and communication of texts 446

as sinful 459, 462

Dṛṣṭānt-saṅgrah (of Champaram) 46

elite tastes for popular genres 16

English 171

epic-Puranic framing of tales 330

Farrukhabad 312

Futuvvat-nāma-yi Sulṭānī (of Husain Va’iz Kashifi) 285

gandharva

as knowledgeable intermediary 440

Gañjanāmā (of Jagannathdas) 366

ghazal 13, 298, 319

and performance in multiple contexts 294

performances, Jahangir’s fondness for 296

Gītagovinda (of Jayadeva) 234

Gītapañcāśika (of Jagajjyoti) 234

go’inda (poet-musician) 393

Gokarn 209

Golconda 291

Gommaṭasāra (of Nemichandra) 71, 79

gossip 5, 315

and storytelling 312

Gujarat 12, 34, 270, 291, 387, 440, 441

Gujarati 147

gunigana as knowledgable audience 432

Gwalior 12, 287, 393, 401

hagiography 303

Haqā’iq-i Hindī (of ‘Abdul Wahid Bilgrami) 420

Haridas, Mandaleshwar 40

Hariram, Swami 40

Herat 287

heteroglossia in the qissa 205

Himmatbahādurvirudāvalī of Padmakar 264

Hindavi 8, 9, 14, 75, 93, 151, 300, 330, 354, 393, 395, 424

Hindi 9, 36, 39-40, 55, 57, 67, 77, 88-89, 92, 100, 147, 151, 153, 160, 177, 179, 209, 249, 279-280, 284, 290, 300-301, 309, 315, 322-324, 354, 359-361, 364-365, 367, 369, 381, 408, 471

in Persian tazkiras 322

Hindi court culture aural landscape of 250

Hindī sāhitya koś (of Dhirendra Varma) 63

Hosay (Muharram) 455, 480

Husain as “Guru Husain” 161

hypermetre 466, 471, 473

interiority/exteriority 145

intermedial 12

intermediality 5

intertextuality

and generic purity 204

Iraq 158

Jahāngīrjascandrikā (of Keshavdas) 256, 266, 281

Jainism 10, 15, 22, 32, 34, 35, 36, 62, 64, 69, 72, 74, 79, 81, 85, 88-92, 96-98, 100-102, 387, 392, 488

Terapanth 102

Jaipur 16, 364

Janāb-e sayyida kī kahānī 149, 151, 153, 495

jati 448

Jats 55, 57

Jaunpur 13, 92, 317, 337, 385, 389, 402, 404, 442

jhulna 360

Jinasahasranām (of Banarsidas). See Sahas Aṭhottar Nām (of Banarsidas)

Jnaneshwar 170

Jñāneśvarī (of Jnaneshwar) 170

Jorāvarprakāś (of Surati Mishra) 278

Kabir 25, 53, 55-56, 58, 172, 234

kahani 137

recitation 163

kalawant 20

Kalimāt al-shu‘arā (of Mirza Afzal Sarkhush) 308-309

Kālkī-purānòa 122

kalma 467, 472-473, 480

Kalyāṇamandira stotra (of Banarsidas) 84

Kalyāṇamandira stotra (of Kumudachandra) and Banarsidas’Sivmandir 79

Kanhāvat (of Malik Muhammad Jayasi) 212

Karachi 147, 446, 449, 457, 462-463, 469, 479

karāmat 155

Karbala 141, 154

Kashi. See Banaras

katha 17, 31, 33, 39, 41, 44, 109, 126, 330-335, 337, 344-345, 347, 351, 353-354, 437

as a dialogic genre 333

combination of instruction and entertainment in 328

cyclical pattern of performance 355

kathavachak 228, 361

Kaṭhiyārānāmau (of Bajid) 361

Kathmandu Valley 232

Kavīndrakalpalatā (of Kavindracharya) 274

Kavīndra-mahābhārata (of “Kavindra” Parameshwar Dasa) 429

Kavipriyā (of Keshavdas) 44, 250, 252, 265, 278

kavitt 253, 274, 364

kavya in Sanskrit 250, 430

Kāvyamīmāṃsā (of Rajashekhara) 268

Keshavdas 250, 361

Khari Boli 367

khayal 13, 245, 363, 385, 402, 404

Khorasan 287, 312

kirtan 171, 334, 399 at death ceremonies 173

kirtankar 6, 17, 23, 170, 238

kirtankara 371

Kirtan mārgadarśikā (of Lohiya, Krishnadas) 178

Krishna 12, 177, 340 in sufi contexts 128

kundaliya 360

Lahore 144, 285, 453, 478

lalakhin (barrel drum) 233, 236, 242

listening 139

as a feature of court life 283

as a linguistic feature 153

as meritorious 146, 331

literacy 180

resistance to 170

literary activities

as devotion 363

literary communities

social broadening of in fifteenth and sixteenth centuries 294

Lucknow 15, 308, 312

Ma’ās̱ir al-raḥīmī (of ‘Abd al-Baqi Nihavandi) 290

Ma’ās̱ir al-‘umarā (of Shahnavaz Khan) 289

Ma‘dan al-mūsīqī (of Muhammad Karam Imam Khan) 27

Mādhavānala Kāmakandalā (of Alam) 328

Madhumālatī (of Manjhan) 75, 91, 328

Madhya Pradesh 34

Mahābhārata 97, 109, 125, 220, 331, 335, 338, 343, 345

logic of overturned in katha 344

Maharashtra 172

mahfil 250, 268, 281

and assumed knowledge 279

Mahipati 180

Mai-khāna (of Fakhr al-Zamani) 193

Maithili 234, 238

Majālis-i Jahāngīrī (of ‘Abd al-Sattar

Qasim Lahori) 296, 298

majlis 138, 144, 296, 315, 322, 425, 481

recreated in tazkiras 304

maktab 323

malfuz 107

Malwa 287

Mānakutūhala (attributed to Man Singh

Tomar) 393, 405

Māncarit (of Amrit Rai) 258

manuals for preachers 59

Maratha Confederacy 176

Marathi 170, 177

marsiya 158, 465

marsiya-go 156

Mashhad 287, 310

Masnavī-yi ma‘navī (of Jalaluddin Rumi) 13, 293, 321

matam 458

musical practices associated with 450

Mathura 228

melas 1, 33, 56

Mewar 388

Mir’āt al-asrār (of ‘Abd al-Rahman Chishti) 111

Mir’āt al-makhlūqāt (of ‘Abd al-Rahman Chishti) 10, 108-110, 113, 124, 128-130, 134-136, 334

Mirigāvatī (of Qutban) 75, 91, 151, 328, 339, 350, 385, 390, 392, 396, 399, 404, 442

mise en abyme as performance within text 430, 432, 438

Mithila 442

mo‘jizat 137, 139, 148, 154, 160-161, 166

Mrauk-U 424, 431, 439, 442

Muharram 139, 142, 445, 453, 457, 459, 462, 467, 476, 478

muktaka (free-standing verses) preference for 267

Multan 287

multilingualism 9, 11, 62, 328, 367

at the Mughal court 300

individual proficiency 271

multiple diglossias 9

Mūnis al-arvāḥ (of Jahanara) 299

Muntakhab al-tavārikh (of ‘Abd al-Qadir Bada’uni) 287

musha‘ira 488

non-courtly 307

music as efficacious 417

musical accompaniment 171

musical exchange between court and sufi circles 402

musicians in kirtan 172

Myanmar 424

Nagas 45

Nairang-i‘ishq (of Muhammad Akram Ghanimat) 420

Nāmamālā (of Banarsidas) 78, 80, 100

Namdev 172, 180, 234

Nāṭyaśāstra 234, 432

Nawādir al-ḥikāyāt (of Fakhr al-Zamani) 194

nayika-bheda 410, 412, 419

translation into Persian 410

Nepal 15, 442

Newar dance-drama 236

Newari 234

nisani 360

nīti (genre) 79, 94

niyaz kahani 7, 137, 155, 162, 164, 488

Nuskha-yi zībā-yi Jahāngīrī (of Mutribi Samarqandi) 297

ontologies affinities between Persianate and Sanskritic 415

oral circulation 136

culture normative rules 284

exposition of written tales 330

orality 170

as a site for experimentation 313

as public 174

in tazkira tellings 320

orality and literacy 5

as symbiotic 183

distinction between 169, 174

oral-literate 6, 20

oral transmission 6, 367

and shift to copying 361

of knowledge systems 256, 277

Orchha 14, 250, 254

Orissa 442

pada 226

Padmāvatī (of Alaol) 438

Padmāvat (of Malik Muhammad Jayasi) 328, 334, 425

painting 390

circulation of 392

pakhavaj 402

Pakistan 453, 463

Pañcamasārasaṃhitā (attributed to Narada) 442

Panchadan (Buddhist festival) 232

panchali 432, 434

as public performance 424

multiple performance styles 438

theatrical setting 430

Panchatantra 370, 376

Pande, Hemraj 87

Panjabi 155

Param jyotī stotra (of Banarsidas). See Kalyāṇamandira stotra (of Banarsidas)

paratextual elements indicating performance 431

pathshala as performance space 210

patron 14, 396

as rasika 414

in kirtan performances 172

royal, of kirtankars 176

patron-performer relationship 281

patrons 410

and their substitution in compositions 267

of katha 336

performance and education 347

and improvisation 270, 278

and worldliness 186

as multivalent 244

as religious instruction 371

described in poetry 260

locations 232

religious performance 199

shaping composition and authorship 426

performance contexts 12

and transmission 427

of Surdas 225

travel of songs between 421

performances and education 274, 277, 301

performative features as clues to reception 252

as embedded in genres 250

Persian 7, 8, 9, 21, 129, 279, 284, 290, 303, 313, 319, 322, 361, 385, 395, 408, 411, 424, 440

versions of Hindi verses 301

pictures as visual aids in storytelling 289

pir as storyteller 108

pluralism in Hinduism and Islam 135

poet. See vaggeyakar as divinely inspired 19, 428

as performer 347, 428, 431

poetry as performance 74, 84, 98

poets and social mobility 291

as musicians, storytellers, and calligraphers 286

contrasts drawn between 313

itinerant 265

Pokhardas, Mahant 24, 40, 57

postmodernism and power 169

Prakrit 65, 73, 81

Pratāpsiṃhvirudāvalī (of Padmakar) 262

pravachan 31

preacher 7, 23, 31-33, 36-37, 39-43, 48-49, 55, 57-59, 144, 149, 164

print culture and changing literary tastes 360

puja 243

Pune 176

Punjab 2, 34, 401

Qābūsnāma (of Amir ‘Unsur al-Ma‘ali Kay Kavus) 284

qasida 283

replacement with masnavi 292

qaum 448

qawwali 299, 399, 463, 471

Qazvin 477

qissa 7, 24, 151, 185

and identification with English 194

and qissa-khwani 198, 289

as a master genre code 205

as a performative genre 186

as performative 198

endurance of “generic code” 186

genre codification 190

qissa recitation benefits for the audience 201

Rādhāmādhavavilāsacampū (of Jayarama Pindye) 271

raga 5, 8, 13, 26, 59, 235, 241, 245, 385, 388, 393, 404, 417, 432

and Surdas 226

and Unani medicine 418

in Namdev’s songs 179

ragadhyana 385, 387, 389-390, 404

ragamala 351, 385, 387, 390, 393, 414

as aggregation of courtly arts 392

musical meaning of 392

Rāgamālā (of Kshemakarna) 389, 393

Rāgamālā (of Pundarika Vitthala) 389

Rāgatālanāmā (of Alaol) 432

Rāg darpan (of Saif Khan” Faqirullah”) 393, 414

Raghavdas 362

ragini 385

Rajasthan 32-35, 38, 49, 79, 360, 364, 366, 368, 399

Rāmāyaṇa 380

Rāmāyaṇa (of Krittibas) 429

Rāmcaritmānas (of Tulsidas) 17, 90, 329, 334, 355, 376

Ranī Ketakī kī kahānī (of Insha) 151

rasa 5, 26, 50, 52, 53, 77, 250, 327, 335, 346-347, 369, 408, 410-421, 430

theory of, at the Mughal court 410

vira, and martial spirit 262

rasika 5, 408-409, 411-413

as nayak 419

Rasikapriyā (of Keshavdas) 44

ravi (declaimer) reciting others’ poetry 283

readership as central to literary culture 254

recitation and war 264

in Persian literary culture 283

recitations of religious texts 255

rekhta 323, 360

Rewa 13, 337

Rigveda 338

riti 10, 249, 268, 274, 408

ritigranth 24

ritigranth (poetry manual)

as signature genre 249

ritual storytelling 146

sabha 424, 430, 438

Sadhukkari 367

Safīna-yi Hindī (of Bhagvan Das Hindi) 308-309, 311, 318

Safīna-yi Khwushgū (of Bindraban Das Khwushgu) 308, 311, 314, 319, 323

Sahas Aṭhottar Nām (of Banarsidas) 81

Sāhityadarpaṇa (of Vishvanatha Kaviraja) 44

sakhis (as “testimonies”) 44

sama‘ 449

samasyapurti 250, 265, 269, 272

as entertainment 271

Samayasāra Kalaśa (of Amritachandra) 82

Samayasāra (of Kundakunda) 72

Samaysār Nāṭak (of Banarsidas) 71, 74, 82, 86, 94

sangita as “lyrical arts” 425, 432, 434, 441

Saṅgīta-cintāmaṇi (of Jagajjyoti) 235

Saṅgītadāmodara (of Shubankara) 389, 435

Saṅgītadarpaṇa (of Damodara Misra) 436

Saṅgītapārijāta (of Ahobala) 413

Saṅgītarāja (of Maharana Kumbha of Chitrakut) 388, 392

Saṅgītaratnākara 234, 392, 400-401, 440

sangitashastra Sanskrit sources for 234

Saṅgītopanisatsāroddhāra (of Sudhakalasha) 387

Sanskrit 7-9, 14, 21-22, 37, 39, 43, 64-65, 67-68, 70, 72, 76, 78-80, 82-83, 89, 91, 94-98, 100, 102-104, 123, 126, 129, 130, 132-133, 175-177, 209, 218, 234, 249, 258, 271, 272, 354, 361, 380, 385, 389, 389-390, 395, 400, 409-410, 413, 424, 426, 429, 430, 434, 435, 436, 440

limits of comprehension 238

mixed with Newari 239

Sanskritic 16, 171, 230, 257, 361, 396, 400, 408, 409, 417

textual engagement with its past 280

sant 16, 19, 23, 32, 36, 41, 170-172, 175-177, 359, 365, 368, 371, 373

Sarvāṅgī (of Gopaldas) 369, 373

satsang 33, 490

Satyavatī kathā (of Isardas) 331, 335

savaiya 253

Sayyid 145, 157, 166

script and literacy 152-153

sermon 2, 5, 16, 20, 22-24, 31, 35-36, 39, 40-41, 57, 70, 73, 79, 87, 103, 115, 125, 145, 154, 163-165, 211, 256, 282, 488

in poetry (“tattvajñān”) 274

Shāhnāma (of Firdausi) in prosimetrum form 293

shahr-ashub 317-318

Shams al-aṣwāt (of Ras Baras Khan) 415

Shi‘ism 138, 162

Sikhism 19, 399

Sindh 453

Siyar al-aqṭāb (of Shaikh Allah Diya) 300

social mobility and tension with lineage 295

songbook in dapha 233

songs. See bishnupad, khayal, qawwali, etc. multilingual 234

speech imitation by instruments 448, 452, 456, 465-466, 469, 471, 473, 478, 481

storyteller Akbar’s enjoyment of 287

and repertoire 354

exposition of kathas 344

storytelling 10, 12

and performance as validating the canon 288, 296

as entertainment 360

as sinful 197

Subodhinī (of Vallabhacharya) 215

sufism 8, 11, 19, 75, 93, 107, 112, 136, 151, 171, 285, 295, 297, 304, 313, 318-319, 327, 330, 349, 363, 402, 404, 406, 410-412, 417, 420-421, 445, 449, 451, 453, 463

sukhan 425

Sūktimuktāvalī (of Banarsidas and Kaunrpal) 84

Surdas 234

Sūrsāgar 223, 230

tah (cymbals) 233, 241

tala 235, 241, 245, 352, 401, 432, 473

Taleju (Tantric goddess) song in praise of 239

tamasha 176

Tansen 265, 287

Tarjuma-i dāstān-i ṣāḥib-qirān (of Mirza Aman ‘Ali Khan) 187-188

Tarjuma-yi pārijātak (of Mirza Raushan Zamir) 413

tasha 446

tazkira 7, 307, 313, 317

as catalogue and archive 303

territoriality 49, 59

texts as clues to meaning 244

as evidence about performance 8, 271, 280

as evidence for performance 284

as evidence of performance 361

as replicating performance 178

as subordinate to performance 240

bearing traces of orality 327

oral traces in 380

textuality expansion of 21

Timurid influence of forms at Mughal court 283

past in Mughal oral culture 299

Ṭirāz al-akhbār (of ‘Abd al-Nabi Fakhr al-Zamani) 24, 186, 206

translation 61, 79, 93 anuvād 67

as a colonial concept 89

as commentary 90, 94, 104

as performance 62

bhāṣāntar 68

from Sanskrit, claims to be 130

in seventeenth-century England 95, 99

tarjumo/tarjuma 68

transmission 231

multiple technologies of 231

Trinidad 453, 465

Turki 290

Ujjain 353

Unani medicine 26

universalism 134

Urdu 7, 147, 151, 153, 164, 284, 408

‘ urs 451, 463

and Muharram 446

ustad-shagird 306

Utpattināmau (of Bajid) 368

vachana 425

vaggeyakar (poet-composer) 12, 264, 435, 436, 440

vahis 174

Varkari 170

varnashrama dharma 33, 123

verbal limits of 25

vernacular 96

vernacularisation 90

Vikramorvaśīya (of Kalidasa) 338

viraha 50

Vīrsiṃhdevcarit (of Keshavdas) 253

vrat kathas 149

Vrindaban 12

women’s religiosity 152

yuga. See chronology

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