taught orally by the Hindoos, and therefore did not pass down from the old minstrels in any noted form. Yet there existed an elaborate science of melody among the ancient Indians; although, like the Greeks, they understood little or nothing of harmony. The distinguishing feature of Hindoo airs was, and still is, an extremely fine gradation of notes; the semitone could be accurately divided into demi-semitones by the ear and voice of a practised "Gundharb" or "Goonee."
This even now imparts a delicacy to the otherwise monotonous temple-singing, which all musicians would recognise; and they might find in such treatises as the "Sungeet Durpun," "Ragavibodha," and "Râg-mala," or "Chaplet of Melodies," complete and curious explanations of the Hindoo orchestra. In that fantastic system the old Aryan composers established six ragas, or divine fundamental airs, having each five wives or raginees, and each of these producing eight melodious children; so that the orthodox repertory contained two hundred and forty separate songs. These songs had their fixed occasion, subject, and season; all to be reverently observed; otherwise the deity presiding over each was not thought likely to attend and give perfect effect to the music. These lyric divinities are per-
