Composing songs on royalty was not new in Carnatic music.  An ode to Queen Victoria had been composed in the 1880s under the auspices of the Madras Jubilee Gayana Samaj. Much earlier, in the 1820s, Ghanam Krishna Iyer had composed a song on Sir Thomas Munro, Governor of Madras. But King George was to have perhaps had the largest number - at least three, taking into account the two pieces by Poochi Iyengar and Tirukkodikaval Krishna Iyer and a mangalam Jayajaya sarvabhouma George Nama which is published with notation but no raga indicated, in P.S. Ramulu Chetty's book for music on the harmonium.
(V Sriram in ‘A Carnatic coronation centenary,’ The Hindu, Dec 18, 2011)

It is no surprise that the saptaswaras were conceptualised out of the music heard from nature - the sounds of animals. Thus sa came from the peacock, ri from ox, ga from goat, ma from the krouncha bird, pa from the cuckoo, dha from horse and ni from the elephant.
(Ramanan in ‘Sleeping on a poet’s lips,’ The Hindu, Dec 13, 2011)

In any of the arts of a performance of a play, if the abhinaya, bhava, rasa, along with embraces and kisses of the nayaka and nayika happen, it is called Sphurith or Churith. If several dancers independently show the attractiveness of erotic love in court, it is called ‘yauvat.’
(‘The story of lasya’ by Dr. Vibha Dadheech, Nartanam, Apr-July 2006)

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