abhang 171
Afsānah-i Shāhān (of Muhammad Kabir) 225
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 Ṣāliḥ (of Muhammad Salih Kanbo) 301
Arakan 424
Ardhakathānak (of Banarsidas) 70, 72, 75, 100
Argalpur jinvandanā (of Pandit Bhagavatidas) 69
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
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
vernacular adaptations 214
Bhaktamāl (of Raghavdas) 37, 38, 45, 362, 363
Bhaktāmara stotra (of Manatunga) 88
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 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
Bihar 193
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
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
composite culture
music as constitutive of 11
connoisseur 412
exclusive domains of 408
cosmopolitan local 308
court etiquette
partial reproduction in gatherings 424
Dadu Dayal 360
fascination with writing 380
Dadupanthi 23
Dādūvāṇī 58
Ḍaṅgvai kathā (of Bhima Kabi) 328, 331, 335, 337, 346
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
Do sau bāvan vaiṣṇavan kī vārtā (of Hariray) 228
dotār 453
as exemplum 41
drumming. See lalakhin, tasha, etc.
and communication of texts 446
Dr̥ṣṭānt-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
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
and storytelling 312
Gujarat 12, 34, 270, 291, 387, 440, 441
Gujarati 147
gunigana
as knowledgable audience 432
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
Husain
as “Guru Husain” 161
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
Janāb-e sayyida kī kahānī 149, 151, 153, 495
jati 448
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-purāṇa 122
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
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
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
kavya
Kāvyamīmāṃsā (of Rajashekhara) 268
Khari Boli 367
khayal 13, 245, 363, 385, 402, 404
at death ceremonies 173
kirtankara 371
Kirtan mārgadarśikā (of Lohiya, Krishnadas) 178
in sufi contexts 128
kundaliya 360
lalakhin (barrel drum) 233, 236, 242
listening 139
as a feature of court life 283
as a linguistic feature 153
literacy 180
resistance to 170
literary activities
as devotion 363
literary communities
social broadening of in fifteenth and sixteenth centuries 294
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
and assumed knowledge 279
Mahipati 180
Mai-khāna (of Fakhr al-Zamani) 193
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
marsiya-go 156
Masnavī-yi ma‘navī (of Jalaluddin Rumi) 13, 293, 321
matam 458
musical practices associated with 450
Mathura 228
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
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
Nawādir al-ḥikāyāt (of Fakhr al-Zamani) 194
translation into Persian 410
Newar dance-drama 236
Newari 234
nisani 360
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
and shift to copying 361
Orissa 442
pada 226
Padmāvatī (of Alaol) 438
Padmāvat (of Malik Muhammad Jayasi) 328, 334, 425
painting 390
circulation of 392
pakhavaj 402
Pañcamasārasaṃhitā (attributed to Narada) 442
Panchadan (Buddhist festival) 232
as public performance 424
multiple performance styles 438
theatrical setting 430
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
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 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
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
poetry
poets
and social mobility 291
as musicians, storytellers, and calligraphers 286
contrasts drawn between 313
itinerant 265
postmodernism
and power 169
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
Qābūsnāma (of Amir ‘Unsur al-Ma‘ali Kay Kavus) 284
qasida 283
replacement with masnavi 292
qaum 448
Qazvin 477
and identification with English 194
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
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
Rigveda 338
ritigranth 24
ritigranth (poetry manual)
as signature genre 249
ritual storytelling 146
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
Satyavatī kathā (of Isardas) 331, 335
savaiya 253
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
Shams al-aṣwāt (of Ras Baras Khan) 415
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
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
tala 235, 241, 245, 352, 401, 432, 473
Taleju (Tantric goddess)
song in praise of 239
tamasha 176
Tarjuma-i dāstān-i ṣāḥib-qirān (of Mirza Aman ‘Ali Khan) 187-188
Tarjuma-yi pārijātak (of Mirza Raushan Zamir) 413
tasha 446
as catalogue and archive 303
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
anuvād 67
as a colonial concept 89
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
Turki 290
Ujjain 353
Unani medicine 26
universalism 134
Urdu 7, 147, 151, 153, 164, 284, 408
and Muharram 446
ustad-shagird 306
Utpattināmau (of Bajid) 368
vachana 425
vaggeyakar (poet-composer) 12, 264, 435, 436, 440
vahis 174
Varkari 170
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
