which are perhaps somewhat out of general reach, that a special accompaniment of music was prescribed for the "Gîta Govinda" when composed, which, could it be recovered, would add immensely to the interest of the Sanskrit Canticle; and indeed, even at present, any competent inquirer into the existing melodies of India, popular and sacred, might be rewarded by many exquisite airs worth the ear of European maestri themselves. The Indians of to-day have still their dhoorpuds, or heroic ballads; their kheals, ghuzuls, and rekhtahs, love-songs of Mogul derivation; their dadras and nuktas, serenades of Hindoo origin; the tuppah, hummed by Hindi and Punjabi camel-drivers; the terana, or "song without words;" the palna, or cradle-song; the sohla, or marriage-strain; the stooti, or eulogistic chants; and the zikri, which are hymns of morality. Probably among these some echoes of the antique melodies of Jayadeva may be preserved; at any rate, such a list—and it might be largely extended—shows that Indian music well merits professional study.
Jayadeva, a native of Kinduvilva or Kendôli, in Burdwan or Tirhoot (for the locality is doubtful), wrote, according to Lassen, about 1150 A.D. The theme of the Indian poet's musical mystery-play is found in the
