Then comes the medieval age with the commentators of Bharata that is Udbhata in the eighth century Lollata and aiikuka in the ninth then in the tenth century the monumental work of Abhinava Gupta and that of Nanya-deva in the eleventh and of arnga-deva in the thirteenth century not forgetting the contemporary commentary on the Safigita Ratnakara by Siipha Bh5pala the very protector of Sarng [...] and probably the musical theory found in the earlier Puranas the Vayu Purana the Markancleya Purana as well as such works as the Gitalathkara which is attributed to Bharata but is the work of a Bharata distinct from the presumed author of the Natya 6iistra. [...] This short fragment explains the theory of music on the basis of the Mahelvara saia in terms very similar to the explanation of the theory of language by Nandikegvara on the same basis in a work known as Nandikegvara Mita& which is sometimes incorporated in the Mahäbhasya. [...] The tender and lovely goddess the flowers the sunshine the presence of Siva at times in the background ; the calm and devoted prayer on the crystal throne of the Pleasure Mountain. [...] But on the other hand the dissonant chord of 4th and 5th keeps the character of the raga and so does the chord of 4th and 6th.
|Indian and Western Music||83-100||Alain Danielou|
|Two Tortoise-Shell Inscriptions in the Dacca Museum||101-i||Dines Sircar|
|Date of the Paraśurāmeśvara Temple at Bhubaneśvara||109-vi||Krishna Panigrahi|
|The Deśāvalivivrti and the Digvijayaprakāśa||119-124||Dinesh Bhattacharyya|
|‘vedic India and the Middle East’ and the Date of Śiśunāga||125-128||Dines Sircar|
|The Confluence of the Gangā and the Yamunā||129-136||R.C. Majumdar|
|Reviews and Notices of Books||137-141||K. A. Sastri|