Chapter : V

Root, Structure and Method of Bargeet

The bargeets of Sankaradeva and Madhabadeva have been their excellent

compositions. The beautiful lyrics, language and its raga-based music keep it in a
position untouched by any music prior to them or composed after them. Their place in
standard of music and expressing the devotion to Lord is undoubtedly the greatest.
However, Assam was a land of music from time immemorial. The charyageets the
devotional songs of the Sahajana Buddhism were also raga based music. The Pachali
songs were also present in contemporary period of Sankaradeva. There were also the
Ojapali songs. These songs were prevalent in pre-Sankaradeva period, in his period and
even after him. The prevalent music helped or influenced Sankaradeva to compose his
lyrics largely. Sankaradeva’s father Kusumbar Bhuyan was given the title Gandharba1.
This suggests that the practice of music was already there in his house. The ojapalis were
also raga-based music. The ojapalis carried the tradition of guru (teacher). The pachali
were the prayer songs in praise of goddess Manasa (goddesses of snake). Durgabar,
Sukabi Narayan is found in this regard. Sankaradeva however never appreciated these
kinds of songs. Once Narayana Thakur told Sankaradeva, that Pitambar Kabi has
translated the pada of Dashama. Sankaradeva asked him to sing the pada from Rukmini
Harana. The pada goes like ‘Bilapa kari kande Rukmini kunu ange khun dekhi naila
Jadumani’ 2(Rukmini cries and ask Krishna (Jadumani), in which part of my body did
you see blood3). Sankaradeva could not listen to such erotic expression of love of
Rukmini for Krishna. This kind of music praises the other goddesses, which was
probably the reason for un- appreciation of Sankaradeva. There was also the prevalence
of folk music like Deh-bisarar geet. The main theme of these songs was apathy towards
worldly attachments. This human body is transitory and illusionary and this world is
maya. This is also the main subject matter of Sankaradeva’s bargeet. The similarity of
bargeet and jikir is also very interesting. Jikir are the devotional songs of Muslim people.
1
. Goswami K.D.(1997) Bargit: Parampara Aru Parivesan paddhati, LBS, Guwahati, p. 7
2
.Lekharu U.C.(ed)( 1952) Katha Guru Charita,(6thed),DuttaBaruah Publishing Company Pvt.Ltd,
Guwahati, p. 74
3
. Free translation

109
Ajan Pir wrote the jikirs to spread the doctrine of Islam among the people. Jikir means
remembrance or japa. There are about hundred and sixty jikir songs. Both the songs
express the devotion to one God, path of bhakti. The Vaishnava songs influenced the jikir
geet. The words like Nama, Deva, Guru, Mukuti, Brahmananda are found in jikir. These
words used by Sankaradeva in his compositions. However, except thematic similarity,
there was lot of difference in the method of singing. Bargeet were sang by a single person
whereas jikir by a group. Both the songs express the transitory life.
Bargeet says
‘Athira Dhana Jana Jivana Jauvana
Athira Ehu Sansara
Putra Paribara Sabahi Asara
Karibo Kaheka Sara’ 4
(Money, man, life, youth, world is all instable including family and son, 5why to run after
them)

Jikir says
Duniya Edinar Duniya Duniar
Duniya Fulani Bari
Kataka Salabale Kar Toi Duniyai
Rakhibo Kheyali Mari’ 6
(world is of one day, two day, it is like a garden ,but is very transitory7)

Both these songs describe the transitory and illusionary life. It is observed that the theme
of these songs had a great similarity.

The bargeets however remained the greatest devotional lyrics among all other
devotional lyrics prevalent prior to Sankaradeva and even in his contemporary period.

4
. Chakravarty, Manju and Hazarika, Karabi Deka (1993) Charyapada Aru Bargeet, Banalata, Dibrugarh ,
p. 38
5
Free translation
6
. Chakravarty, Manju and Hazarika, Karabi Deka, ibid, p.38
7
Free translation

110
The uniqueness of the bargeet is seen in its languages. Sankaradeva used brajwali
language to compose his verse. This language by rhythmic in nature gave the lyrics a
flow, which gave them its sweetness. In the structure of the bargeet, the first two line i.e.
refrain is repeated after every pada infuse the devotion to the lord in the common people.
To keep its rhythm the musical instrument of khol, tala, rebab, and charengdar were
used. The singing method of bargeets binded in ragas with the mention of the time, when
the ragas needed to be sung gave them a melodious tune.

5.1 Root:

Assam was a seat of music from ancient times. Prevalence of music in the region
of pre-historic period is indicated by the Puranas, Mahabharatas etc. Mention can be
made of Chitralekha8, she was an exponent of music and dance. In addition, Naraka, from
whom the three dynasties of Assam Varmana, Salastambha and Pala trace their descent,
is depicted as music lover by the early literature. His son Bhagadatta is said to have sent
musicians, dancers and singers to attend the Rajsuya yagna of Yddhisthira9. The
excavation of various terracotta figures also indicates the prevalence of music in this
land.

Kamarupa occupies a very special place in field of music. Lakshminath

Bezbaruah has said that “Kamarupa was the birth place of king and queen of Raga and
Ragini i.e. Bhairav and Bahiravi”10. Kalika Purana and Yogini Tantra give valuable
information regarding music of Kamrupa. It refers that in the place of Narasaila,
Chitrasal, Urvasisaila etc. the exponents of music and dance Danava, Gandharva, Kinnar
practiced their music11. Yogini Tantra mentions how in the seat of Hayagriba-Madhava
(now in present situated in Hajo (Kamrup district of Assam) temple the musical

8
. A legend goes that, there was a king Bana in Tezpur, who was a ardent devotee of Siva. He had a
daughter Usha. Usha was in love with Aniruddha, nephew of Krishna. Chitralekha was friend of Usha, who
used to draw pictures of Anirrudha for Usha.
9
. Choudhary C.(2009) Bargeet Aru Bhaktitatva, Guwahati, Sahityam , p. 9
10
. Choudhary C. ibid, p.10
11
. Choudhary C. ibid, p.10

111
instruments of Bina, Benu, Mridanga was used. The people of Kamarupa were mainly
believers of Shakti and Shiva. They worshipped their god and goddesses with music and
dance. The devadasi form of music developed while worshipping the duo. This kind of
music was however limited to temples only.

In 7 th century A.D during the time of Bhaskaravarmana, the Chinese traveler

Hieun Tsang in his account has referred that music was practiced in a great number he
mentions that a famous song of China in praise of their prince was also equally popular
in Kamarupa. In the Kutnimat work of Damodar Gupta, the prime minister of the king of
Kashmir Jayapirar mentions that the danseuse committed sati at the funeral pyre of
Kumar Bhaskaravarmana12. The kings of 9th century Banamala Varama, Ratnapala,
Indrapala were fond of music. They built temples and the devadasi music got a boost in
these temples. In 10th, 11th century king Eshwar Ghosh of western Kamarupa asked the
Sutas to sing song in praise of him. All this suggests that music was very much prevalent
in ancient Assam,

There was prevalence of raga based music in pre-Sankaradeva period. There were
charya pada composed from 8th- 12 th century by the Buddhist poets. A branch of Tantric
Buddhism, Sahajana Buddhism developed in Nepal, Tibet, Bengal, Kamarupa and
Kalinga13. The Buddhist siddhas wrote a lot number of religious books in this period.
Twenty-four Buddhist Siddhacharyas wrote the Charyapada or charyageets14. This
Buddhist Siddhacharya are Luipada, Sarahpada, Darikapada, Kanupada, Kukkuripada,
Bhusukepada, Subarapada, Dombipada Chatilapada, Santipada, Kamabalambara pada,
Kakanopada, Aryadevapada, Birubapada, Madidharapada, Bhadepada, Binapada,
Dhamapada, Gunduripada, Tarakapada, Dhenadhanpada, Jayanandipada, Tantripada.
Among all the Siddhacharyas Luipada is considered as the greatest. These songs were
essentially devotional songs. The main aim of these songs was to propagate and preach
12
. Choudhary C. opcit, p. 11
13
.Chakravarti, Manju and Hazarika Karabi.Deka(1993),Caryapada Aru Bargeet, Banalata, Dibrugarh, p.3
14
.There is confusion regarding the number of Buddhist Siddhacharyas. In charya charya Binisachay
founded by Haraprasad, Sashtri mention is made of 23 siddhacharya.

112
the Tantric Buddhism. However, the songs also reflect the social life of the Ancient
Kamrupa. The charya geets were binded in raga. The name of the raga is mentioned at
the top of the song. The same is seen in the bargeets of Sankaradeva and Madhavadeva.
In the charya geets, there is dhrumor refrain, which is repeated after every pada. In the
bargeets also the dhrum or refrain is repeated after every pada. The pattern of singing
both the charyageets and bargeets, were similar largely. However, charya geets along
with its devotional lyrics also have lyrics of praising the nature, which is completely
absent in bargeet.

Charyageets and bargeet were devotional songs. Many similarities are found
between them. The main reason of the composition of bargeet was to preach and
propagate the doctrine of bhakti. These songs reflected a strong philosophy and spiritual
character. The main aim of Buddhism is to attain nirvana. And the bargeets also
expresses the same feelings, the freedom of the soul from this world and to aatain union
with the lord. Both the songs expresses that the world is illusion and full of sins. Only by
surrendering at the feet of the lord, one can attain salvation. In the bargeet the lord was
depicted in the form of Krishna, but in charyageets the absolute lord is not given any
form or structure. Both kind of songs wanted to achieve this aim and for it, it was
necessary to control the mind.

Luipada says –
Charya: 1
Raga-Patamanjuri
Kaa tarubara panchabidala
Chancala chitta paithu kala
Driha kariu mahasuha pariman
Lui vanai guru pucchiu jana
Saal samahiu kahi karioi
Sukha dukhata nisita marioi
Edi eeu chandaka bandha karanaka patare aasa
Sunupakhi vidi lahure pasa

113
 Vanai Lui amahe jhane ditha
Dhamana chamana beni pandi baitha 15
(If the body were a tree it would have five branches. Time enters the restive mind-soul.
One should consolidate the degree of eternal bliss by keeping one’s mind firm. Luipada
says that one should learn from the master (guru).The real purpose of all kinds of yogic
exercises, joy and sorrow, birth and death, are only the certainities of life. One is to
abandon the demands of the flesh in order to obtain knowledge about the
meaninglessness of this life16).

Bargeet:
Raga-Kedara
Kamala dala jala, chitta chancala, sthira nuhe tile eka
Nahi bhayo bhaba bhoga Hari Hari 17
Parama pada parateke.
(Our mind is water drops in the lotus leaf, it keeps on moving. God’s image cannot be
reflected in such a frickle mind, one is so engrossed in worldly pleasures, that one takes
shelter in god only after disappointment and repentance.18)

Both the songs say that by controlling mind one can get joy. After controlling the
mind, people can free themselves from the illusion of the world. The charyageets reflects
that the world is illusionary and says about the agony from the worldly sufferings. There
is no importance of this life.

Charya no: 21
Raga- Barari: Bhusukapadnama
Nishiu Andhari Musa Chatara
Aamia Bhakhaa Musa Karau Aahara
Mur Re Joiaa Musa Pabana19

15
. Chakravarty, Manju and Hazarika,Karabi Deka, ibid, p.97
16
Free translation
17
. Bora D.(1996) Caryapad, Guwahati,L.B.S,p.47
18
Free translation

114
(the mouse is considered as the mind which is all frickle, the mind also become restless in
the dark it destroys the ultimate pleasure, which is the union with god20.)

The bargeet says:

Raga Gauri
Kamane ramaya mana bichuri rahu
Birtha mohe bhulaya
Rama charana chinti chittvaku21
(the restless mind,why u got so engrossed in worldly desires that you forget to chant the
rama’s name22.)

Talas are mentioned in the three Sarachanda bargeets of Sankaradeva. However,

there is no mention of tala in any other bargeet. Sankaradeva has mentioned about the
talas of charyagets23. However, the talas are not found in the charyageets. Raga and
Ragini both were used to compose charyageets. In bargeet there is only mention of ragas.
Sixteen raga and ragini is mentioned in the charyageets. These include Patamanjari,
Gaura, Aru, Gurjari, Gunjari or Kahugunjari, Devakri, Desakha, Kamud, Dhansi or
Dhanashri, Ramakri, Balladi or Barari Sabari, Mallabi, Malasi Malasi Gubura, Bangala
and Bhairavi. Some of these ragas like Kamud, Dhansiri, Barasi, Ramagiri is also found
in bargeet.

Many words found in charyageets are also found in bargeet. These includes
Aaisana, Amiya, Are, Aai, Aaila, Aangana, Aakhi, Aaga, Aagi, Aage, Aji Aana, Alu,
Ujuli, Uthi, Uthe, E, Eku, Eve, Ehu, Kaire, Kabai, Karaha, Kheri, Goi, Gela, Ghara,
Gharini, Ghali, Chandisa, Chari, Charana, Charila, Chanda, Chori Chore, Chadi,
Kante, Jani Jahera, Tuli, Thakura, Ure, Toi, Tasu, Tahera, Tuhara, Tuhari, Thakibo,
Thira, Driha, Dekhi, Dela Dhani Nananda, Nahi, Nili, Nisi, Parana. Asio, Pancha, Pasa,

19
. Chakravarti, Manju and Hazarika Karabi.Deka(1993),Caryapada Aru Bargeet, Banalata, Dibrugarh, p.
120
20
Free translation
21
. Bora D. opcit,p 48
22
Free translation
23
. Choudhury C.(2009), Bargeet Aru Bhaktitatlva, Sahityam, Guwahati, p.15

115
Pucchia, Pura, Pekha, Pekhu, Pekhare, Puhai, Tario, Ralchani, Rahia, Rahadi, Randhi
Bap, Bam, Basana, Bisa, Bihana, Bege, Bedhile, Vaile, Bhaile, Bhala, Bhiti, Moi,
Mayajala, Majji, Mali Miccha, Mili, Milila, Mule, Murha, Meri, Meli, Mela, Mura,
Muha, Muhara, Soi, Hai, Hoi, Harina, Hari etc24.However,the charyageets and bargeet
differ from each other in many respects. The theme and the aim of both the songs
completely differ from each other. The charya geets apart from from propagating the
Tantric Buddhism, the elements of praising nature like bird, hills, trees, rivers are
observed. The bargeets though were used in propagating the bhakti faithof Sankaradeva,
these were essentially prayer songs.

As regards the poet of pre-Sankaradeva period mention may be made of Hema

Saraswati, Harihar, Bipra, Kabirtatna Saraswati, Rudra Kandali and Madhaba Kandali.
These poets wrote their compositions in poetry manner. They borrowed their writings
from the Sanskrit Ramayana and Mahabharata. However, the pattern of singing these
poems is not clear. Hem Saraswati composed Prahlada Charita where there was a chapter
on Bamuna Purana chai, Kaliram Medhi considers ‘Prahlada-Charita’ as the first
Vaishnava literature25.Madhava Kandali translated the Ramayana into Assamese.
Madhavadeva composed the Adi and Sankaradeva composed the Uttarkhanda of
Ramayana. The Ramayana of Madhava Kandali was again established and composed in
the bhakti literature of Vaisnavite period26.

The Manasa poets Mankara, Durgabara, and Narayanadeva were contemporary

poets of Sankaradeva. The Manasa poems are together compiled as Padma Purana.
Among the Manasa poets, Mankara is considered as the earliest. He composed his songs
by the end of the 15th century. His songs were not binded by ragas. They were folk songs
in nature depicting the society of Kamarupa through them. Durgabara is considered as the
greatest of all the folk poets. The songs of Mankara and Durgabara are still sung in
worship at Kamakhya27. Two works of Durgabar is known, they are Manasa Kavya and

24
. Choudhury, C, ibid, p.16, Chakravarti, Manju and Hazarika Karabi.Deka(1993),opcit, p.58-59
25
. Neog M.( 1957), Purani Asamiya Samaj Aru Sanskriti, Bani Mandir, Dibrugarh, p. 100
26
. Neog M. ibid, p. 102
27
. Neog P.(ed),(2010)Maheswar Neog Rachnawali vol VII, Chandra Prakashan,Guwahati, p. 599

116
Giti-Ramayana. Four ragas are mentioned in the manasa lyrics of Durgabara. They are
Patmanjari, Bhatiali, Belowara, Suhai28. In the Giti-Ramayana of Durgabara , there is
mention of some ragas. They are Ahir, Akashmanadali, Barari, Belowara, Bhatiali,
Salani, Devajini, Devamohana, Dhansiri, Gunjari, Malsi, Manjuri, Marua,
Meghamandab, Patamanjari, Ramgiri, Sri-raga, Gandhakali, Sri Gandhara, Suhai and
Basanta. The ragas like Sri Gandhara, Suhai, Basanta, Ahira, Dhansari Belowara are
found in bargeets. Though same raga is used there might be difference in their
presentation. The songs of Durgabar tend more to folk nature whereas the bargeets were
more classical in nature. Sukabi Narayanadeva is most famous among all the Manasa
poets. Narayandeva composed Beula-Lakhindar geet and ‘Chaitanya bandana geet’.

Another famous poet of contemporary Vaishnava period is Pitambara Dwija. He

composed Usha-Parinaya and Usha Harana. In Usha-Parinaya Pitambara, Dwija used
few ragas. There includes ahira, badari, bhairavi, bhaityali, dhanci (dhanashri), godegiri
or gundagiri, gunjari,malchi (malasri), patmanjari, ramgiri, suhai, basanta, vibhasa29.

In pre-Vaishnavita and Vaishnavite period suggests that there was prevalence of

raga based songs. Though their influence in the compositions of raga based music of
Sankaradeva cannot be established but their influence cannot be completely rejected.
However, Sankaradeva rejected the Pitambar poet’s description of Rukmini as an erotic
lover.

Another kind of raga based music Ojapali were present in Assam before
Sankaradeva. The ojapali music consists of gita, nritya and abinaya. The main theme of
this music was based on the Ramayana, Mahabharata and the Puranas. The ojapali are
sung in groups. The main singer ‘oja’ starts the song, and then the palis join it. The main
narrator starts a story by singing the dhrum or refrain. The chorus singer follows their
leader. In narrating the verses, the oja gives different dramatic postures with his hand and
expression along the songs. The main singer after the Oja is Daina Pali. He is the right
28
. Neog P. (ed)(2010), ibid, p. 600
29
. Barmana B.K., Jha T.K. (1977), Bargit of Mahapurush Shree Shree Sankaradeva, Dutta Baruah & Co.,
Calcutta, p. 13

117
(Daina) hand of the singer. In the whole narration of the story, the Oja communication
with the Daina pali to make it a dramatic dialogue. The Oja’s also communicate it with
the audiences or the viewers to make it more appealing. The palis maintain the rhythm
with their feet’s. The ojapalis are divided into two classes – suknanini ojapali and vyahar
ojapali. The ojapali group of poets is referred as pachali poet30.

Suknani ojapali are the songs of the Manasa poet Sukabi Narayana. The few of
Ragas included in Sukanani ojapali are Sri-raga, Mallara Bhairavi, Malagara,
Patmanjari, Dhanshri etc31. The talas of Sukanani Ojapali includes bandha-tala, dopani-
tala, chitkani-tala, cautala, rupahi tala etc32. The vyahar ojapali are the songs describe in
epics and the puranas, mainly the worship of Vishnu in Vasudeva cult. The music of
viyaha-guwa-ojapali is based on ragas. These include Saranga, Susaranga, Barari,
Calana, Basanta, Bhairavi, Ramagiri, Gandagiri, Pahari, Syamagara, Ahir, Bhatiyali,
Kedara, Karunya-kedara and so on33. The vyaha-gowa-ojapali ends with a prayer to god
Vasudeva. Another kind of ojapali music developed in Sankaradeva period referred to as
Sattriya ojapali.

There was prevalence of a kind of folk music Dehabisarar geet. The poets of this
songs describes that the world is full of sufferings and pain and they want to escape from
this sufferings. These songs are not religious in nature nor do they propagate any religion.
However, the theme of these songs is very spiritual in nature. These songs are also
composed in personified manner. Symbols, pictures depict the world, mind and soul and
the philosophy of the songs.The dehabisarar geet also speaks about the importance of
guru (preacher). Dr. Parikshit Hazarika describes the Deha -bisarar geet as the
connection link between charyageets and bargeet34. The main theme of Sankaradeva’s
bargeet is to get freedom from the worldly sufferings and to surrender oneself at the feet
of the lord. The Dehabisarar geet says the path of attaining salvation,
30
.Paniker,K(ed), (1997),Medieval Indian Literatue An Anthology, Vol I Sahitya Academy, New Delhi p. 8
31
. Goswami B.M. (1997), A study of the Ojapali Art form of Assam, Charu Prakashan, Guwahati,p.164
32
. Goswami B.M. ibid, p. 167
33
. Goswami B.M. (1997) ibid, p. 158, Maheswar Neog has mention that 27 ragas were used in vyahar
ojapali.
34
. Bora D.(1996), Caryapad : Asomiya Giti Aniva Saha Ati Alochana, LBS,Guwahati, p. 53

118
 Sansar-Samudra Maje
Nauka Ek Bahe Kandari,
Madhava, Guru Bhaktak Kahe,
Nakara Bilamba, Bhai, Dhane, Jane, Aase,
Sabahu, Asara Jana Taila Jena Bhase,
Aasa-Pasa, Loile Bhai Nauka Hoiba Bhari
Samudram, Madhye Pari Buribo Kandari,
Guru Bani Sire Loiye Pathe Badha Aage,
Bhaba nadi par hoiya kara mukti lava.
(in the life of sea, one travels in a boat. Madhava guru tells his disciple; do not waste time
in money, family, as it is fruitless. When one carries these things in the boat of lige, the
baot becomes heavy and are drowned in the sea. It suggest to rise above the materialistic
world then only one gets salvation35)

The bargeet says

“Narayana Kahe Bhakati Koru Tera,
Meri Pamaru, Mana, Madhaba Ghana,
Ghana Ghataka papa Nachure
……
Kaku Sankara Kara Kara.
Karunanatha Ja Nu Charanho Ramavani,
Saba aparadhaka badhaka tuwa nama,
tahe sarana lehu jani .
(Narayan, why I pray before you. My mind is full of sin.lord, free me from this
illusionary world, chanting your name will help in removing by misdeeds.Thus, I pray at
your feet36).

35
Free translation
36
Free translation

119
 Both kinds of songs thus describes that the person is so binded by the worldly
things that he becomes sinner. In addition, wants freedom from his sufferings by
surrendering him at the feet of lord.

Another common theme of both the songs is the uselessness of the human body
‘O Bhai Asana Manabi Janam Re,
Asara Jagata Amu Mukuti Asara.
Misatei nare bande Sansar Apara.
(o friend, transitory is human life, the world is transitory. One wants freedom from this
life. The people are uselessly involved in worldly affair and wasting their time37)

The bargeet says

Adhira Jivana dhana jauvana jaya
bhakati birodhi bisaya saba maya.
(The life, family, money is all illusion. They distract one from devotion and waste the
time for one’s devotion to lord. All these are mere illusion38.)

Both the songs emphasized on taking the name of the lord and there is no path
other than this. The dehabisarar geet says:
Dinabandhu Damodara Rama Nama Sar,
Kalijuge Nama bine dharma nahi aar
Dhanajanaka Korisu Asa Kaite Robo Pari
Putra Bhaijyak Korisu As a Sange Najay Mori39
(the friend of poor ,Damodara there is no path accept chanting the rama-nama. In the
kali-age, there is no faith other than it.the materialistic thing like money, family will not
follow in the death-bed40)
.

37
Free translation
38
Free translation
39
. Sarma H.K. (1998), Asamiya Lokogiti-Sanchayan , (3 rd ed),Bina Library, Guwahati, p.152
40
Free translation

120
 The bargeet says:
Raga Dhanasri
Bolahun Rama namese mukuti nidana,
Bhava Baitarani tarani sukha sarani
Nahi nahi nama samana
(chanting the rama’s namewill give salvation, one will cross the sea of lifeby taking his
name. There is no greater thing than chanting Rama’s name41)

Though the subject matter of the deha bisarar geet and bargeet had much
similarity. The deha bisarar geets are essentially folk songs but bargeet are raga based
music. Bargeets apart from the subject of apathy towards worldly attachments describes
the beauty of god and his various activities. However, Sankaradeva was probably
influenced by the theme of the songs but not the singing pattern.

In the tune of bargeet, some element folk music of South east Asia is observed.
The tune of music of china and music of nama prasanga had music similarities42. The
prevalent music of ancient Kamarupa like Giti Gobinda, translated by Rama Saraswati
from the Giti-Gobinda of Jayadeva’s, Sangeet-Ratnakara, Gita-Prakasha, Sri-hasta
Mukutavali, Sangeet Damodara were very popular. Sankaradeva was influenced by these
music while composing his musical works. The influence of charya geet and giti gobinda
is seen in his music. Sankaradeva used the ‘bhot-tala’ or bhurtala, in the singing of
bargeet and nama-kirtana from the land of Bhutias43. Though Radha –Krishna love as
seen in the Giti-Gobinda was never seen in the bargeets of Sankaradeva. Radha was
never mentioned in his bargeet. In addition, the charya geets were songs for propagation
of Tantric Buddhism. Therefore, though both suggests the path for salvation. The path for
attaining it is very different. In addition, the charyageets are not longer practiced but
bargeets even after five hundred years of its composition retained its originality and is
still sung not only in sattras but also by the common people. Chilarai, the brother of
Koch king Naranaryan was a exponent of music. He wrote saravati tika of Giti-Gobinda.

41
Free translation
42
. Gogoi L. (1994) Asamar Sanskriti(revised edition),Banalata, Dibrugarh, p.82
43
. Gogoi L. ibid, p.82

121
He mentioned a few ragas of Sangeet Damodar in his work. Ram Saraswati too used raga
for singing his compositions of Giti-Gobinda. Similarity ia seen in the name of the ragas
used in Saravati-tika, Kalika-Purana, Giti-Gobinda, Bargeet, Ankiya geet and Pachali
geet. The folk literatures refer to the presence of raga music in Assam. These music had
influenced Sankardeva a lot and provided the root for the composition of raga based
music in Assam. However, his bargeets from all aspects remained unique and highest
among them. It had its own special features, which made them the greatest composition
of Sankaradeva and one of the strongest modes to propagate his faith.

5.2 Structure and Compositional Grammar of bargeet:

Language of bargeet:

Bargeets of both Sankaradeva and Madhavadeva was written in an artificial

language44brajawali. Few bargets of Madhavadeva were written in Assamese. Brajawali
was the language used by the bhakti poets of North India especially the poets of Eastern
India between 14 th and 16 th C. The main aim was to infuse the doctrines of bhakti the
worshipping of one personal God i.e. Krishna in the mind of the people. The main theme
of the brajawali compositions is Sri Krishna and his activities in the Braja land. Dr.
Sunitikumar opines that the Brajabhasa which is a dialect of western Hindi spoken in the
places of Barali, Aligarh, Agra, Mathura is not related to the Brajawali language45.
However, the aim of both Brajabhasa and Brajawali is the same, to infuse the doctrines
of bhakti among the masses. ‘Braja” is the homeland of Krishna. The Vaishnavite poets
of Assam, Bengal and Orissa used this language, brajawali to propagate their philosophy.
Brajawali was not a spoken language but a language specially developed by the bhakti
poets to propagate their doctrines. The bhakti saints composed and their lyrics and
established the spiritual prayer songs were a beautiful medium to express the beauty of
lord to the common people. The bhakti saints who were also excellent poets used the

44
. Kaliram Medhi has opined brajwali as an artificial language
45
. Neog P.(ed),(2010)Maheswar Neog Rachnawali vol VII,Chandra Prakashan, Guwahati, p. 386

122
songs composed in brajawali as prayer songs in one angle and also used them ‘as the best
medium to propagate their faith.

Brajawali was a mixure of Maithali and Avahatta dialect. The language

developed by the eastern bhakti poets can be considered as influenced from the Maithali
poet Vidyapati. The use of Maithali element is seen in this language. The bhakti poets of
Assam, Bengal and Orissa created brajawali language in the last part of the 15th and early
part of 16 th century. They composed songs verses and dramas in this language but also
retaining the elements of their own region. People accepted this new language and were
greatly attracted towards it. The name of the language helps the people to connect with
the land of Krishna. It was easier to express the divine play (leela) of Lord Krishna in the
language and people would consider themselves present at the homeland of Krishna. The
poets therefore used the language became a common language of expression for the
eastern bhakti poets.

Sankaradeva used brajawali in most of his compositions. He used this language

probably to connect the peoples mind with the doctrine of Krishna, as Braja was his
homeland. It would make a greater impact in the mind of the people. Another reason was
probably Sankaradeva did not want to confine himself in the region. He considers himself
to be a person of Bharatadesha. In addition, wanted that his compositions to be known
and accepted by the people outside Assam. Sankaradeva before preaching the doctrines
of bhakti went to pilgrimage for twelve years. He met few North Indian bhakti saints and
was inspired by them to compose the bargeet in the language of Krishna homeland. The
brajawali language used by Sankaradeva some Maithali, Arabic and Persian words.
“Brajawali was used as it had lesser used of compound consonant a preponderance of
vowels and alliterative expressions and a subtlety of implication, and these phonetic and
other traits may be said to have made it a more flexible medium for lyrical compositions.
Moreover, along with the element of sacredness associated with as the language of Braja,
spoken by Krishna and Gopis”46. Brajawali was popular among the common masses

46
. Barua.B.K.(2009),(4th ed),History of Assamese Literature, Sahitya Academy, Kolkata,p.30

123
because of its sweetness. The use of Sanskrit language is also seen in bargeet47. Based on
the infusion of the Sanskrit and Brajawali element. Birendra Nath Datta has divided the
language used in bargeet into five categories48. Their first category includes the elements
of Sanskrit words marginalized the brajawali words like the bargeet ‘Jaya Jadaba
Jalanidhi Jadava Dhata’. In some bargeets the Sanskrit word and Barajawali words have
equal footage like ‘Bulahu Rama Namase Mukuti Nidana, Bhaba Baitarani, Tarani,
Sukha Sarani Nahi Nahi Nama Samana. The third category includes where the brajawali
elements surpasses the other elements like Uddhava Bandhur Madhupuri Rahala
Muraru, Kahe, Naheri Rahaba Aba Jibana, Bana Bhayo, Bhabana Hamaru. The fourth
category includes where brajawali element is not much distinct but the elements of
traditional Assamese poetry is seen ‘Gopale ki gati koile Gobinda ke mati dile, Natha he,
bifale basaya, saba galire re. The fifth category includes the element of Kamrupa and
Goalpara language is observed. But this is not seen in the bargeets of Sankaradeva. In
Madhavadeva’s bargeet the use of Kamarupa ad Goalpariya language is observed.

Structure of bargeet:

The bargeets of Sankaradeva generally have six to sixteen lines. The first two
lines of the songs are referred as dhrum or refrain. In addition, the rest of the lines or the
main body of the text is referred to as the pada. The first two line i.e. dhrum is repeated
between the two succeeding verses. In the last couplet (two lines), the poet mentions his
name and concludes the bargeet with a prayer for shelter at the feet of the Supreme Being
(Krishna) and to free him from the worldly sufferings. Sankaradeva has composed three
Sarachanda geets where each is divided into three independent songs having three
dhrum, three padas. Mention is also made of the rhythm (tala) in these bargeets.
Whereas, tala(rhythm) is not mentioned in any other bargeets of Sankaradeva.

47
. Goswami P. (2001), Bargeet ; A Musicological explorations, Author, Jorhat, p. 3
48
. Datta B.( 2008) Sankr-Madhavar Manica Aru Asamar Sanskritik Uttaradhikari , Publication Board of
Assam,Guwahati, p.8

124
Ragas used in bargeet:

The bargeets of Sankaradeva were binded in raga. All the ragas are mentioned in
the top of the bargeet. However, there is no mention of ragini in his bargeet. 36 ragas or
melodies are mentioned in the ‘geets’ of Shankaradeva and Madhavadeva49. Among
them six ragas viz Gandhara, Karunya, Kedara, Kau – Kalyan – Sindhura, Saranga, Sri
– Gauri and Sri – Pyara are used in the ankiya geets50. Sankaradeva have used fourteen
ragas in his bargeets51. the most of the bargeets were composed in raga Dhanashri
(twelve), six in raga Gauri, five in raga Asowari, two in Sri- raga, and one in each raga of
Ahira, Kalyana, Kedara, Tur – basanta, Nata – mallar, Basanta, Bhupali, Mahur,
Mahur- Dhanashri and Suhai52. Some of the ragas are unitary in character some others
have mixed or compound nature53. Raga Kou is unique in bargeet and is not seen in the
other classical music. All the ragas of Sankaradeva had unique and different expressions.
Raga Kalyana is sang asking the blessing of God for the benefit of life. Kedara reflected
the pain and suffering of human and asking freedom from them. Raga Gauri reflects the
significance and importance of the Supreme – being and deep devotion to God. Tur –
basanta describes the beauty of the lord in the manner of spring. The raga, which
describes freedom from the worldly desire is Basanta. The description of Krishna with
his ornaments and his features is expressed in raga Mallar. The pain of people after
separation from God is expressed in Madhur Mahur Dhanashri. Suggesting advice to the
people engrossed in the worldly desires is raga Bhupali. Devotion to god is expressed in
Raga Suhai. The prayer to god from the worldly desires is Sri-raga. The Sarachanda
geets reflects the mixture of six rasas in devotion to God54.

49
. K.D. Goswami has mentioned that both the poets have probably used 29 ragas in there bargeet,
Pabitrapran Goswami, p.3
50
.Goswami P., (2001), Bargeet ; A Musicological explorations, Author, Jorhat, p. 3
51
.Goswami K.D.,(1997), Bargit:Parampara Aru Paribeshan Paddhati, L.B.S, Guwahati, p. 28
52
.Goswami K.D., ibid. p. 28, Maheswar Neog has opined that Sankaradeva used Ahira, Asowari, Bhupali,
Dhanasri, Gauri, Kalyan, Kedar, Mahur-Dhanasri, Nata-Mallar, Suhai, Tur Bhatiali, Basanta. Birendra
Kumar in his work, Title Bargit: As form of Raga Music has given the list of ragas used in bargeet of
Sankaradeva and Madhavadeva mention that more than 30 ragas were used in their bargeets.
53
. Goswami P.,opcit. p. 3
54
. Goswami K.D., opcit., p.16

125
 Most of the ragas used in bargeet are found in the Hindustani and Karnataki
classical music. But raga kau is not found in any other classical music and also doesn’t
appear on the Sanskrit treatise55.

The singing of the bargeet begins with guru-ghat, recital on khol56. This is
followed by alapa of the particular raga. In alapa, the words like Hari, Rama, Tana, ne,ni
etc are used, Birendra Phukan mentions that the alapa in bargeet are pre-composed. And
that the alapa utilizes the swara used in the songs with particular stress on the dominant
notes. With the alapa the singer can bring the general outline of the raga before the
song57.

Time of singing the bargeet:

Bargeet are the prayer songs. They are sung in the Vaishnava sattras in almost
every hour. They are sung in fourteen units. (chadhya prasanga). The day begins with a
singing of bargeet and also ends with a bargeet. According to the nature of the raga, they
are grouped together for singing at different hour of the day.
The ragas of the songs are classified according to time and are sung thereby:
From dawn until noon, the ragas of Ahira, Kalyana, Kau, Gauri.Lalita, Syam and
Syam-Gera are sung.
The ragas of Kedera, Gandhara, Gauri, Tur basanta, Tur-Bhatiali, Dhanism,
Payara, Varadi, Vasanta, Bhatiali, Mahur, Sri, Sri-Gandhara, Sri-Pyara are sung from
noon till sunset.
In the evening ragas like Asowari Calengi, Parajari, Belowara, Sareng are sung.
In the night Kanada, Nata-mallara,mallara, Sindhura, Suhai, Kamud,Bhupali,
Madhyayati,
And in the early morning Dhupali and Purvi.

55
. Dutta B.N.(ed), (1990)Traditional performing Arts of North-East India, Assam Academy for Cultural
Relations, Guwahati, p. 80
56
. Dutta B.N.(ed), (1990)ibid, p. 80
57
. Dutta B.N.(ed), (1990) ibid, p. 80

126
Rhythm of bargeet:

Bargeet were binded by rhythm. However, few exceptions are also observed.
Bargeets binded by their rhythm are bandha-geet and without rhythm is mela-geet.
Tala’s are not mentioned in the songs of Sankaradeva except the three Sarachanda geets,
which have three talas in the same song. These are Ekatala, Parital, Kharmans and
Manchok. The ojas have referred to twelve main rhythm (talas) for bargeet viz ektala,
kharman, chutitala, dasabari, domani, dharma-yati, bar-yati, bar-bisham, saru-bisham,
pari-taal, rachaekatal and rupak. The reference of twelve minor rhythm has also been
found viz. ach-tala, adsari, ar-visama, una-yati, olota-ganjala, rupa-ganjala, suda-
ganjala, cab-tala, cuta-tala, jur-visama and matha-tala58.

The tala played in bargeet mainly comprises of three parts. The first past is the
ga-man, the seond part ghata and the third part is called cok or man59. Ga-man or mul
bajana, the main body of the tala is repeated in most of the time60 while singing the
bargeet. The ghata indicates the completion of the tala61.After ghat there is cok.

In the ankiya geets following talas are mentioned Ektala, Kharman, Rupaka, Yati,
Visama, Chutikala, Chutia, Domani, Manchok62. Maheswar Neog refers that the name of
tala has its own meanings, in ekatala there is one beat, which is followed by empty beat,
khar-means swift, dasarbi has ten beats and so on63. The paritala has 14 beats or 7 ektali
has 12 beats or 24 joti has 14 or 28 beats, Bisam has 10 or 20 beats, Rupak 6 or 12 beats,
Dahbari-20 beats, Sudha-ganjali-8 or 16 beats.Bar-Bisham-16 or 32, Hasra ek tala-16
beats, Aathatala 14 or 28 beats64.

58
. Neog M.(2008), Early Hisory of The Vaishnava Faith and Movement in Assam, Sankaradeva and His
Times,LBS,Guwahati, p 287
59
. Goswami P. (2001), Bargeet ; A Musicological explorations, Author, Jorhat, p.6
60
. Goswami P. ibid, p. 6
61
. Goswami P. ibid, p. 6
62
. Neog P.(ed), (2010), Maheswar Neog Rachanavali, Vol VII, Chandra Prakash, Guwahati, P. 627
63
. Neog P.(ed), (2010) ibid, p. 628
64
. Goswami K.D., (1997), Bargit: Parampara Aru Pariveshan Paddhati,LBS, Guwahati, p. 39-41

127
Musical Instruments:

The main string instrument used while singing the bargeet were Charangdar and
Rabab. Guru charit refers that Kamalapriya wife of Chilarai had sung the bargeet
‘Pamaru mana rama charana citta dehu on Charangadar. Bhaskar Vipra one of the
disciples of Sankaradeva was a skill player of rabab65 . Mridanga, khol was also used to
keep the rhythm of the songs. Mridanga was commonly used by the bhakti poets in the
whole of India to maintain the rhythm of songs. Charitputhis refers to the use of
mridanga while singing the prayer songs. Khol was the brainchild of Sankaradeva. He
himself designed the instrument and asked some potters to make the same for the
performance of Cihna-yatra.

Although the present work has made an elaborate study on the ragas used
in different bargeets such as Raga Asowari in Jaya jaya jadava jalindhi jadhava dhata,
Suna suna re sura bairi pramana , nichasari nasa nidana, etc. Raga – Dhanasri in
Narayana kahe bhakati koru tera, narayana charane koruhu guhari, bisaya bilasa pasa
chandi, Sarangapani pahe pamara mati hami, Narayana leela janaba koi, Bulahu Rama
namase mukuti nidana,etc. Raga- Gouri in Nahi nahi ramaya bine tapa taraka koi,
paramanda pada makaranda sebohu mana moi, Soi soi thakur moi jo hari para kasa etc.
Raga Suhai in Siri rama moi hari papi, Raga – Basanata in Koise narahari tarana upai,
Raga- Shree in Gopale ki gati koile, gobinde ki mati dile, raga- Kedara in Pawe pari hari
, karohu katari ,prana rakhabi mura etc. It is not directed towards the comparison of the
singing style of the bargeets along with the ragas in different sattras. In the course of
visit to the different sattras, it has been observed that the singing style varies from one to
another. However, each of the sattras emphasizes that they are following the singing
pattern of Sankaradeva. As, the present study is not done in a comparative singing style
or the method of the sattras , the notations of few ragas and bargeets are given to give an
idea of the singing style, use of talas (rhythm) in bargeet.

65
. Neog M.(2008) ,opcit p.289

128
Raga –Asowari
Prominent notes Re, Pa, Dha

Notation taken from Mrs. Khana Das (an exponent of bargeet of Barpeta Thul)

129
Raga- Dhanasri
Ga Ni is flat, Ga, Ni and Pa are prominent notes

Taken from Bhuyan D. (2003), Sastriya Sankari Kantha Sangeet (1st ed), Sri Saventy Bala Bhayan and Shri
Sutradhar Bhuyan, Barpeta, p.88

130
Raga- Ahira

Taken from Goswami K. D. (1997), Bargit : Parampara Aru Parivesan Paddhati, LBS, Guwahati, P. 91

Raga- Basanta

Taken from Goswami K.D. (1997),Bargeet Parampara Aru Parivesan Paddhati, LBS, Guwahati,p.94

131
Raga- Kalyana
Prominent notes-Ga, Dha, Re

Notation taken from Mrs. Khana Das (an exponent of bargeet of Barpeta Thul)

132
Raga- Shree

Taken from Mahanta G.(2009 4 th ed), Borgeet Mukur, Srimanta Sankaradeva Sangha, P.204

Raga-Gauri

Taken from Mahanta G.(2009 4 th ed), Borgeet Mukur, Srimanta Sankaradeva Sangha, P.109

133
Raga-Mahur

Taken from Mahanta G.(2009 4 th ed), Borgeet Mukur, Srimanta Sankaradeva Sangha, P.126

Raga-Suhai

Taken from Mahanta G.(2009 4 th ed), Borgeet Mukur, Srimanta Sankaradeva Sangha, P.177

134
Raga-Mallar

Taken from Mahanta G.(2009 4 th ed), Borgeet Mukur, Srimanta Sankaradeva Sangha, P.194

135
The notations of few Bargeets of Sankaradeva
Raga- Asowari

Taken from Mrs. Khana Das (an exponent of bargeet of Barpeta Thul)

136
Notation taken from Mrs. Khana Das (an exponent of bargeet of Barpeta Thul)

137
Raga-Dhanasri

Notation taken from Mrs. Khana Das (an exponent of bargeet of Barpeta Thul)

138
Raga- Kalyana

139
 st
Taken from Bhuyan D. (2003), Shastriya Sankari Kantha Sangeet (1 ed), Shri Saventy

Bala Bhuyan and Shri Sutradhar Bhuyan, Barpeta, p.85

140
Raga- Gauri

141
Taken from Mahanta G.(2009 4 th ed), Borgeet Mukur, Srimanta Sankaradeva Sangha, P.111

142
Raga- Kedar

143
Taken from Mahanta G.(2009 4 th ed), Borgeet Mukur, Srimanta Sankaradeva Sangha, P.216

144
Raga- Shree

145
Taken from Mahanta G.(2009 4 th ed), Borgeet Mukur, Srimanta Sankaradeva Sangha, P.207

146