Download Hindi Poetry In A Musical Gere: Thumri Lyrics (Royal Asiatic by L. Du Perron PDF

By L. Du Perron

Indian classical track has lengthy been interesting to Western audiences, so much prominently because the Beatles' classes with Ravi Shankar within the Nineteen Sixties. This fascination with the musical style nonetheless prevails within the twenty-first century. Hindi Poetry in a Musical style examines Thumri Lyrics, a huge style of Hindustani song, from a basically linguistic viewpoint. On a cultural point, it discusses the interface among devotional and secular poetry. in addition, it explains the effect of social and political switch at the musical existence on North India. Well-written and carefully researched, this publication is a necessary contribution to the sector of South Asian studies. it is going to be attention-grabbing to teachers around the self-discipline, together with linguistics, politics, sociology, cultural and gender reviews.

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Example text

Assuming that those texts that address Krishna or an unnamed lover have a female speaker, we are left with a small number of texts in which the gender of the narrator needs to be assessed. In some texts the clarification is grammatical whereas in other texts it is the context that reveals the details of the speaker’s identity. 1 1 2 3 4 5 6 7 8 9 Going along the road he poured colour on my new wrap. He’s so cruel, the forest-garlanded one. He’s so fearless, doesn’t fear anybody, the rascal. He fearlessly does his brawling— oh my god!

B5 tells of the speaker’s tender wrist (‘narama kalāī’) being caught, again intimating that a woman is speaking: Hindi poetry in a musical genre 28 B5 1 2 3 4 5 6 My wrist began to ache. Grabbing my arm, my tender wrist, ‘Sanad Piya’, Kanhaiya did not heed my words. Why do you pull tricks on me? You twisted my arm and tugged my clothing. Why do you do this? Now my heart is pounding. Some texts are ambiguous in terms of both the identity and the gender of the narrator. B23 describes Krishna playing his flute in Braj, thereby attracting gods and men, whereas his beautiful form causes the sakhīs to forget home and hearth: B23 1 2 3 4 He played his flute in the middle of Brindaban; Shy am beguiled gods and men.

The occasional inclusion of dhrupad and khyāl texts and the abundant suggest that these small collections represented songs presence of gazals and that were popular in mujrās and mahfils, attendance at which would at that time have been a matter of some socio-economic prestige. Nevertheless, as there is no actual evidence that the texts found in these anthologies were performed, and certainly not in more recent years, they are not included in the ‘Main corpus’. At the same time, their existence has certainly informed the present study, and they are referred to where relevant.

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