In Volume 2: Mathematics; Weights, and Measures; Astronomy, and Astrology; Geography; Medicine; Encyclopaedias, and Miscellanies; Arts and Crafts, Science, Occult Arts

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§ 701. The author of the G̲h̲unyat al-munyah, who wrote in the time of Sulṭān Abū ’l-Muẓaffar Fīrōz-S̲h̲āh [Tug̲h̲luq, ah 752–90/ 1351–88: cf. Vol. i p. 508] had shortly before translated into Persian an Arabic work on Persian music, Farīd al-zamān fī maʿrifat al-alḥān, at the request of his learned patron, the Governor of Gujrāt, Amīr S̲h̲ams al-Daulah wa-’l-Dīn Ibrahīm [b.] Ḥasan Abū Rajā.¹

G̲h̲unyat al-munyah, a treatise on Indian music based on Indian sources and divided into two qisms ((1) in two bābs, (a) dar maʿrifat i surūd, (b) dar maʿrifat i mazāmīr, (2) likewise in two bābs, (a) dar bayān i raqṣ, (b) dar s̲h̲arāʾiṭ u ādāb i majlis i surūd u aṣḥāb i maḥāsin u maʿāyib i baʿḍī aṣḥāb u juz i ān): Ethé 2008 (lacks first leaf and begins: Dārā-yi haft kis̲h̲war Anūs̲h̲irwān i ʿahd u zamān Iskandar-muknat u Jams̲h̲īd-imkān … Abū ’l-M.F.-S̲h̲. al-Sulṭān. Foll. 92. Some illustrations), Browne Suppt. 884 (Corpus 219).

§ 702. K̲h̲wājah Kamāl al-Dīn Abū ’l-Faḍāʾil ʿAbd al-Qādir b. G̲h̲aibī al-Ḥāfiẓ al-Marāg̲h̲ī, “the greatest of the Persian writers on the theory of music” (Farmer), is said by M. ʿAlī “Tarbiyat”, on unspecified authority, to have been born on 20 D̲h̲ū ’l-Qaʿdah 754/16 January 1354. If, however, as Blochet states, he was fifty-nine when he completed his Jāmiʿ al-alḥān early in 816, he must have been born in 756/1355. In Ramaḍān 779/Jan. 1378 by order of Sulṭān Ḥusain Mīrzā [b. S̲h̲. Uwais Jalāʾir] he composed thirty naubats, one for each day of that month. In the reign of Sulṭān Aḥmad b. Uwais [784–813/1382–1410] he became one of the king’s nudamāʾ and was constantly in attendance on him at Tabrīz and Bag̲h̲dād. When Tīmūr captured Bag̲h̲dād in 795/1393, ʿAbd al-Qādir was transported to Samarqand. In 801/1399 he was at Tabrīz, in the service of Tīmūr’s son Mīrāns̲h̲āh, whence he fled to Bag̲h̲dād, only to fall again into Tīmūr’s hands in 803/1401. He was then taken to S̲h̲āh-Ruk̲h̲’s court, whence he set out for the Ottoman court in 824/1421 to present a music treatise to Sulṭān Murād ii. Later he returned to Samarqand, dying at Harāt in 838/March 1435. In addition to the Jāmiʿ al-alḥān and the Maqāṣid al-alḥān he wrote works ¶ entitled Fawāʾid i ʿas̲h̲arah, Laḥnīyah, Kanz al-alḥān and Zubdat al-adwār fī s̲h̲arḥ Risālat al-adwār, most of which according to M. ʿAlī “Tarbiyat” are preserved in the Nūr i ʿUt̲h̲mānīyah Library at Istānbūl.

(See M. ʿAlī “Tarbiyat” Dānis̲h̲mandān i Ād̲h̲arbāyjān, where a reference is given to the same author’s Mūsīqī-s̲h̲ināsān i Īrān (published or unpublished?); Ency. Isl. Suppt. p. 5 under ʿAbd al-Ḳādir (H.G. Farmer), where much further information and numerous references will be found; Ency. Isl. new ed.).

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Jāmiʿ al-alḥān (beg. Ḥ. i bī-g̲h̲āyat u S̲h̲ukr i bī-nihāyat Qādirī rā kih anwāʿ i maujūdāt rā), completed on 11 Ṣafar 816/13 May 1413 and divided into a muqaddimah, twelve bābs and a k̲h̲ātimah: Bodleian 1842 (ah 816/1413, autograph), Blochet iv 2411 (lacks Bābs i–iii ah 1067/1657), Nūr i ʿUt̲h̲mānīyah 3644–5, 3651, 3656 (cf. Horn Pers. Hss. p. 330).

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Maqāsid al-alḥān (beg. al-Ḥ. l. ’l. zaiyana ’l-aṣwāt bi-ṭīb al-alḥān wa-’l-nag̲h̲amāt), an abridgment of the Jāmiʿ al-alḥān completed in 821/1418, divided similarly to the original work and dedicated differently in different mss.² see below): Bodleian 1843 (beginning as in the Jāmiʿ al-alḥān. No title mentioned. No muqaddimah or k̲h̲ātimah. Twelve faṣls (not bābs). Dedication to Amīr Bāysung̲h̲ur b. Sulṭān S̲h̲āh-Ruk̲h̲ (d. 837/1434). ah 821/ 1418, autograph), 1844 (No dedication. Transcribed at Akbarābād (i.e. Āgrah) in 1077/1666 from a ms. dated 842/1439), Mas̲h̲had iii fṣl 17, mss, no. 163 (autograph), Āṣfīyah ii p. 1224 no. 320 (= Nad̲h̲īr Aḥmad 288. Old), Leyden iii p. 302 no. 1426 (Dedication to Sulṭān Murād b. M. (ah 824–55/1421–51). ah 988/1580), Blochet ii 913 (1) (Dedication to Muʿīn al-Dīn S̲h̲āh-Ruk̲h̲ Bahādur. 18th cent.), Madrās i 520 (Dedication to S̲h̲āh-Ruk̲h̲).

Description (based on the Leyden ms.): Alii Ispahanensis Liber Cantilenarum magnus … arabice editus adjectaque translatione adnotationibusque illustratus ab J.G.L. Kosegarten tom. 1 (Greifswald 1840), prooemium pp. 35 sqq.

§ 703. Nūr al-Dīn ʿAbd al-Raḥmān b. Aḥmad Jāmī, who died at Harāt in 898/1492, has already been mentioned as the author of the S̲h̲awāhid al-nubuwwah (pl. i § 234), the Nafaḥāt al-uns (pl. i § 1274) and other works.

Risālah i mūsīqī (beg. Baʿd az tarannum bi-nag̲h̲amāt i sipās), in a tamhīd (on the origin of music), two qisms ((1) dar ʿilm i taʾlīf, (2) dar ʿilm i īqāʿ) ¶ and a k̲h̲ātimah (on the twelve dawāʾir): D̲h̲arīʿah viii p. 168 no. 688, Blochet iii 1676 fol. 430a (ah 896/1491, from an autograph), Bodleian 894 (34) (ah 941/1534), 895 (34) (ah 963/1556), 896 (21) (ah 979/1571–2), Flügel iii 2010 (9) (ah 983/1575), Ivanow 612 (10) (16th cent.), Bānkīpūr ii 180 (19).

§ 704. Mīr Ṣadr al-Dīn Muḥammad [probably Ṣ. al-D. M. b. G̲h̲iyāt̲h̲ al-Dīn Manṣūr S̲h̲īrāzī, who died in 903/1498: see Majālis al-muʾminīn p. 350²²; Haft iqlīm p. 259 (no. 203); Brockelmann ii p. 204, Sptfd. ii p. 279; D̲h̲arīʿah i p. 108 no. 526.

(Risālah dar mūsīqī) (beg. Ḥ. i bī-ḥ. Parwardgār i azal u abad rā … īn risālah īst mujmal), dedicated to Sulṭān Ḥusain Mīrzā and divided into a muqaddamah, five faṣls and a k̲h̲ātimah: Bodleian iii 2827 (2) (ah 1008/1599).

§ 705. Yaḥyā al-Kābulī.

Lahajāt i Sikandar-S̲h̲āhī u laṭāʾif i nā-mutanāhī (beg. S̲h̲. u sp. i bi-q. Parwardgārī kih gardan i ḥamāmah i jān … a. b. k̲h̲ādim i duʿā u nās̲h̲ir i t̲h̲anā bandah i dargāh i azalī ḥammād i nām i muṣannif i ʿumr i samāʾ Yaḥyā al-Kābulī), based on Sanskrit works, dedicated to Sulṭān Sikandar-S̲h̲āh b. Buhlūl-S̲h̲āh [Lōdī, who reigned 894–923/1489–1517] and divided into seven bābs: Lucknow Univ. Lib. (defective at end and elsewhere. 206 foll. 16th cent.), Madrās Univ. Lib. (mentioned without further particulars in Islamic culture xxviii/3 p. 417 n.24).

Description: The Lahjat [sic] -i- Sikandar Shahi …, by Nazir Ahmed [Nad̲h̲īr Aḥmad, Lecturer in Persian, Lucknow University] (In Islamic culture xxviii/3 (July 1954) pp. 410–17).

§ 706. Maulānā Kaukabī.

Risālah i mūsīqī, composed at the request of the S̲h̲aibānid ʿUbaid Allāh K̲h̲ān (ah 940–6/1533–9): Tashkent Acad. i 723 (10 foll. Early 19th cent.).

§ 707. Qāsim b. Dōst-ʿAlī al-Buk̲h̲ārī.

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Kas̲h̲f al-autār (beg. Nag̲h̲amāt i ḥamd i kāmilah Ḥakīm i Kārsāzī rā), a short treatise dedicated to Akbar (ah 963–1014/ 1556–1605) on the divisions of the strings in musical instruments, being an exposition of the sixth maqām of the work entitled Duwāzdah maqām, which was dedicated to Humāyūn (ah 937–63/1530–56) by Darwīsh Ḥaidar Tūniyānī: Rieu Suppt. 162 (ah 1073–5/1662–4).

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(Risālah dar ʿilm i mūsīqī), perhaps identical with the preceding: Lindesiana p. 172 no. 707 (ah 1078/1667).

¶ § 708. ʿInāyat Allāh b. Mīr Ḥājj al-Harawī.

Tuḥfat al-adwār (beg. Ḥamdī bīrūn az dāʾirah i iḥṣā), a short tract, partly in prose and partly in verse, dedicated to Akbar (ah 963–1014/1556–1605): Bodleian 1845 (foll. 50–52. ah 1077/1666).

§ 709. Darwīs̲h̲ ʿAlī, surnamed C̲h̲angī i K̲h̲āqānī, b. Mīrzā ʿAlī b. ʿAbd al-ʿAlī b. M. Muʾmin i Qānūnī b. K̲h̲wājah ʿAbd Allāh b. K̲h̲wājah M. Marwārīd.

Risālah i mūsīqī, dedicated to the As̲h̲tark̲h̲ānid Imām-qulī K̲h̲ān (ah 1017–50/1608–40 and divided into twelve chapters: Tashkent Acad. i 725 (breaks off in ch. x.121 foll. Early 19th cent.), 726 (an abridgment. 44 foll. Early 19th cent.).

Edition (or description?): A.A. Semenov Sredneaziatski traktat po muzyke Dervisha Ali (XVII v.), Tashkent 1947.

§ 710. Daurah i Sufrajī (Sufrac̲h̲ī according to Mis̲h̲kāt).

Risālah i Kirāmīyah i Daurah (beg. Nag̲h̲mah i ūlā-st zi faiḍ i Karīm … Ḥ. u sp. u st. i bī-q. Pāds̲h̲āhī rā kih bisāṭ … A. b. c̲h̲ūn sar-gas̲h̲tah i har wādī … D. i S. mi-k̲h̲wāst), in three aṣls dedicated to the sulṭān i tāj-bak̲h̲s̲h̲ i s̲h̲āh-nis̲h̲ān ʿAlī-Qulī K̲h̲ān: Blochet iv 2163 (foll. 11–14. ah 1080/1669–70), Browne Coll. R. 1 (2) = Houtum-Schindler 54 (2) (foll. 23–29. ah 1280–1863), Mis̲h̲kāt iii 2 pp. 931–2 no. 1135 (ah 1287/1870) Tashkent Acad. i 730 (defective at end. 19th cent.).

§ 711. Saif al-Dīn Maḥmūd known as (maʿrūf bi-) Faqīr Allāh and entitled Saif K̲h̲ān was the second son of that Tarbiyat K̲h̲ān (Fak̲h̲r al-Dīn Aḥmad) who went from Tūrān to India in Jahāngīr’s reign and was appointed 2nd Bak̲h̲s̲h̲ī in S̲h̲āh-Jahān’s tenth year (see Maʾāt̲h̲ir al-umarāʾ i pp. 486–90). Saif K̲h̲ān held several governorships in Aurangzēb’s reign, the last two being those of Bihār, to which he was appointed in the twenty-first year and Ilāhābād, which he held at his death early in 1095/1684. (See Maʾāt̲h̲ir al-umarāʾ ii pp. 479–85.)

Rāg-darpan³ (beg. Ḥ. u sp. i bī-q. mar Āfrīdgārī rā sazad), an amplified translation of a Sanskrit work composed for Rājah Mān Sing’h,⁴ of Gwalior, and entitled Mān-kutūhal,⁵ which came to the translator’s notice in 1073/1662–3 and of which the translation, divided into ten bābs, was completed in 1076/1665–6: Maʾāt̲h̲ir al-umarāʾ ii p. 484¹⁰, Browne Suppt. 646 (King’s 195), Eton 212, Ethé 2017 (ah 1196/1782), Ross-Browne ¶ 71 (18th cent.), Bodleian 1847 (ah 1200/1786), Ivanow Curzon 639 (ah 1213/1798), Būhār 235 (2) (beg. Tarānah i ḥamd Nawāzandah rā. 19th cent.), Nad̲h̲īr Aḥmad 286 (Rāmpūr), Āṣafīyah ii p. 1224 no. 139 (Qawāʿid i mūsīqī composed in 1073 by Faqīr Allāh), ʿAlīgaṛh Subḥ. mss. p. 29 no. 4 (Risālah i rāginī musammā bah Mān-kutūhal), p. 29 no. 1 (Rāg-darpan).

§ 712. ʿAbd al-Muʾmin b. Ṣafī al-Dīn b. Aʿazz al-Dīn b. Muḥyī ’l-Dīn b. Niʿmah b. Qābūs b. Was̲h̲mgīr Jurjānī is said to have translated (so Browne) or compiled from Greek and Arabic sources (so Blochet, Bodleian) the Bahjat al-rūḥ for Sulṭān Maḥmūd of G̲h̲aznah (reigned ad 998–1030). The actual date of the work is likely to be during the mid 9th/17th. cent. For a discussion see Browne Coll. p. 204, Blochet iv p. 123 and Bodleian col. 1056.

Bahjat al-rūḥ,⁶ (beg. al-Ḥ. l. R. al-ʿā…. fa-hād̲h̲ihi risālah s̲h̲arīfah wajīzah al-Bāhirah fī ʿulūm al-adwār) in a muqaddimah, ten bābs and a k̲h̲ātimah: D̲h̲arīʿah III p. 162, viii p. 169¹, Bodleian 1841 (Iṣfahān ah 1036/1626–7), Blochet iv 2163 (ah 1080/1669–70), Mis̲h̲kāt iii/2 pp. 839–41 no. 1056 (foll. 55–172. Circ. ah 1287), Browne Coll. R. 1 (1) (late 19th cent.) = Houtum-Schindler 54 (1).

§ 713. Qāḍī Ḥusain (or Ḥasan) b. K̲h̲wājah Ṭāhir b. K̲h̲wājah M. was Qāḍī of the parganah of Antūr in the sarkār of Daulatābād, province of Aurangābād.

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Miṣbāḥ al-surūr (in the colophon called also Miftāḥ al-surūr according to Ivanow. Beg.: Sipās i bī-ḥadd u sitāyis̲h̲ i bī-ʿadd mar K̲h̲ālīqī rā sazad), a treatise on Indian music, composed in 1074/1663–4, in Aurangzēb’s reign, and divided into four bābs: Ivanow 1629 (foll. 24. 18th cent.).

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Miftāḥ al-surūd (beg. Sitāyis̲h̲ i bī-ḥadd u ṣifat i bī-ʿadd mar K̲h̲āliqī rā sazad kih nag̲h̲mah-pardāzān i qudrat), composed in Aurangzēb’s sixteenth regnal year, ah 1084/1673–4, and divided into four bābs ((1) dar bunyād i rāg dānistan u āwāz u sāz u surūd u mūrc̲h̲hanā u srut u grām wa-g̲h̲airah, (2) dānistan i rāg u zanān u pisarān u ṣūrat u pūs̲h̲āk u waqt wa-g̲h̲airah …): Berlin 34 (2) (ah 1209/1795), Bodleian iii 2846 (97 foll. ah 1218/ 1803), Āṣafīyah ii p. 1224 no. 323 (ah 1249/1833–4).

§ 714. Abū ’l-Ḥasan “Qaiṣar” is apparently identical with the poet “Qaiṣar” whose dīwān (Ethé 1602) contains a chronogram for 1071/1660–1.

Maʿrifat al-nag̲h̲am (beg. al-Ḥ. li-Ṣāni‘ al-ʿālam), in a muqaddimah, two maqālahs and a k̲h̲ātimah, based on some works on Persian and Indian ¶ music which the author came across in 1087/1676: Bodleian 1850 (2) (foll. 72–4. ah 1174/1761).

§ 715. The date of the S̲h̲ams al-aṣwāt is indicated as 1109/ 1697–8 by the chronogram Jā-yi nag̲h̲mah. In Ross and Browne’s catalogue (but not in Ethé) it is described as a translation from a Hindī original entitled Sangīt and the author (presumably of the Hindī original) is said to have been rs brs. According to the same catalogue the translator compares his father as a musician to Tān Sēn [a celebrated musician of Akbar’s time].

S̲h̲ams al-aṣwāt (beg. Qaul i awwal kih ʿibārat-ast az ḥamd i mak̲h̲ṣūṣ), a treatise on Indian music divided into six bābs: Ethé 2022 (ah 1196/1782), Ross-Browne 70 (ah 1200/1786), Edinburgh New Coll. p. 12.

§ 716. Rāy-C̲h̲and Aḥmadābādī. Uṣūl i g̲h̲inā (a chronogram = 1178/1764–5, the date of completion, Beg. Baʿd i iqrār u iʿtirāf bi-ʿajz u quṣūr), a short tract on “the different tunes and melodies of music”, written for Rāy Dāl C̲h̲and Ṣāḥib and divided into three chapters: Būhār 236 (1) (foll. 1b–14a. 18th cent.).

§ 717. Ṭ’hākur Dās [that being presumably the correct reading of the name given by Ethé as NHĀKR Dās].

Risālah i Rāg-mālā (beg. Dar bayān i rāg u rāginīhā-yi nag̲h̲amāt u maqāmāt i ahl i Hind), compiled in Muḥarram 1188/ 1774: Ethé 2018 (ah 1193/1779).

§ 718. Ḥasan ʿAlī “ʿIzzat”⁷ Dak’hanī is the author of two mat̲h̲nawīs, the first of which, La‘l u Gauhar, was composed at the request of Tīpū Sulṭān on the basis of older sources⁸ and completed in 1192/1778 (ms.: Ethé 1717), while the second, Bahār i dānis̲h̲ i manẓūm, a paraphrase of ʿInāyat Allāh Kambō’s tales, was dedicated to Ṭīpū Sulṭān (ms.: Ethé 818). (See Garcin de Tassy i p. 187, under ʿAlī (Haçan)).

Mufarriḥ al-qulūb (beg. Ḥ. i Ṣāniʿī kih c̲h̲ūn āftāb i jahān- tāb), on the music of Mysore and its different tunes and melodies, with specimens of Persian and Rēk̲h̲tah poetry, begun in the first year of Ṭīpū Sulṭān’s ¶ reign [ah 1197–1213/1783–99] under his direction, completed in 1199/1785 and divided into a muqaddimah, six bābs and a k̲h̲ātimah: Ethé 2024–31 (2029–31 being copies of a shorter redaction).

§ 719. M. Rūḥ Allāh b. S̲h̲āh Wajh Allāh.

Tuḥfat al-nag̲h̲amāt (beg. Baʿd az ḥamd u t̲h̲anā-yi Qādir i Muṭlaq), compiled for Nawwāb Wālā-Jāh [of the Carnatic, ah 1162/1749–1210/1795. Cf. pl. i § 1083] and divided into two sections, of which the first deals with Persian music and the second with Indian: Madrās i 514, iii 774.

§ 720. The author of the Uṣūl al-nag̲h̲amāt i Āṣafī is called G̲h̲ulām-Riḍā b. M. Panāh in the Būhār catalogue (in agreement with Nad̲h̲īr Aḥmad, who, however, adds “of Lucknow”), but the Āṣafīyah catalogue calls him G̲h̲ulām-Riḍā b. Ṣābir ʿAlī in one place (ii p. 1218) and Ṣābir ʿAlī b. M. Panāh in another (iii p. 492). In one of the mss. (Ethé 2023) his name is not mentioned. These variations are evidently accompanied by other differences in the preface.

Uṣūl al-nag̲h̲amāt or Uṣūl al-nag̲h̲amāt i Āṣafī (beg. Wajd-angīz tarannumī), a treatise on Indian music existing apparently in at least two forms, one (as represented by Ethé 2023) divided (according to the index) into five aṣls ((1) dar bayān i sur-ad’hyā, (2) … rāg-ad’hyā, (3) … prakīrnak-ad’hyā, (4) … tār-ad’hyā, (5) … nād-ad’hyā) and containing in the preface no mention either of the author’s name or of Āṣaf [al-Daulah] but a statement that the work was written at the request of Richard Johnson, while another (as represented by Būhār 235 (1)) is divided into six aṣls and contains in the preface a statement that it was written for a wazīr entitled Āṣaf (Ba-Āṣaf laqab ān Sulaimān-sarīr * ba-maʿnī-st s̲h̲āh u ba-ṣūrat wazīr) and in one ms. at least (Āṣafīyah iii p. 492) the year 1207/1792–3 as the date of composition: Ethé 2023 (Aṣl i only), Būhār 236 (3) (breaks off in Aṣl v. 18th cent.), 235 (1) (19th cent.), Nad̲h̲īr Aḥmad 285 (Rāmpūr ah 1280/1863–4), Āṣafīyah ii p. 1218 no. 325 (ah 1323/1905), iii p. 492 no. 432.

§ 721. Of unknown authorship is:

K̲h̲ulāṣat al-ʿais̲h̲ i ʿĀlam-S̲h̲āhī (beg. Baʿd i ḥamd i kibriyā), a compendium of Indian music compiled in S̲h̲āh-ʿĀlam’s fortieth regnal year, ah 1213/1798–9, from the Sangīt-darpan and many other sources: Bodleian 1853 (foll. 80. Lucknow, ah 1213/1798, probably autograph).

¶ § 722. M. Naṣīr “Ranj” Muḥammadī a grandson of “Dard”⁹ and a great-grandson of M. Nāṣir “Andalīb”,¹⁰ is the subject of notices in the Majmūʿah i nag̲h̲z (i p. 277) and the Guls̲h̲an i bī-k̲h̲ār. In the former, completed in 1221/1806–7, he is described as a young man, and in the latter, completed in 1248/1832–3, he is stated to have given up writing poetry (see Sprenger p. 280).

(1)

Aṣl al-uṣūl, on the theory of music, composed under the auspices of the author’s patron, Miyān Himmat K̲h̲ān b. Miyān La‘l K̲h̲ān and divided into two fanns ((1) dar bayān i ḥaqīqat i tāl, in two muqaddimahs, two bābs and a k̲h̲ātimah, (2) dar bayān i lai): Ethé 2975 (breaks off at beginning of Bāb 2 in Fann i 35 foll.).

(2)

Risālah i ʿilm i mūsīqī, perhaps identical with the preceding: Āṣafīyah ii p. 1222 no. 326.

§ 723. Mīr Ṣadr al-Dīn Muḥammad.

Risālah i mūsīqī, completed in 1230/1815 in the time of Nawwāb Sikandar-Jāh [Niẓām of Ḥaidarābād 1803–29]: Āṣafīyah iii p. 492 no. 393 (ah 1242/1826–7).

§ 724. M. Wājid ʿAlī S̲h̲āh “Ak̲h̲tar” succeeded his father Amjad ʿAlī S̲h̲āh as King of Oudh in 1263/1847 at the age of twenty-five. His inglorious reign of extravagance, licentiousness and misgovernment was brought to an end in 1272/1856 by the annexation of Oudh to British India, and he spent the rest of his life as a pensioner at Calcutta, (cf. pl. i § 820), where he died on 3 Muḥarram 1305/21 September 1887. He wrote a large amount of Urdu poetry and some Persian. [Wazīr-nāmah (see pl. i § 950); Būstān i Awad’h pp. 137–67; Ṣubḥ i guls̲h̲an pp. 19–20; Ḍiyā-yi Ak̲h̲tar (in Urdu), by M. Ḥasan, Lucknow 1878°*; Sawāniḥ i S̲h̲āh i Awad’h (in Urdu), by M. Sajjād Ḥusain, Meerut 1887*; Qamūs al-mas̲h̲āhīr (in Urdu), by Niẓāmī Badāyūnī, ii p. 274; R.B. Saksena History of Urdu literature pp. 117–20; T. Grahame Bailey History of Urdu literature p. 66; etc., etc.].

(1)

Nājū dar fann i mūsīqī in Persian and Urdu, written in 1285/1868–9.

Edition: place? date? (Āṣafīyah iii p. 494).

(2)

Ṣaut al-mubārak, on music, from Indian and Persian works: [Lucknow 1853°] (163 pp.).

¶ § 725. S. M. Naṣīr “Furṣat” S̲h̲īrāzī died in 1339/1920 (see pl. i § 465, pl. ii § 652).

Buḥūr al-alḥān.

Edition: Bombay 1332/1914°* (335 pp. Muẓaffarī Pr. Cf. D̲h̲arīʿah iii p. 50).

§ 726. ʿAlī-Naqī K̲h̲ān Wazīrī.

(1)

Dar ʿālam i mūsīqī u ṣanʿat: Tihrān a.h.s. 1304/1925–6 (70 pp. D̲h̲arīʿah viii p. 142 no. 543).

(2)

Dastūr i tār, in two parts ((1) mūsīqī i Uropāʾī, (2) Mūsīqī i waṭanī): Berlin 1922 (Kaviani Pr. Cf. zdmg. 78 (1924–5) p. liii).

(3)

Dastūr i wiyulin: Tihrān a.h.s. 1313/1934–5 (150 pp. D̲h̲arīʿah viii p. 170 no. 701).

§ 727. Abū ’l-Ḥasan Ṣabāḥī.

(1)

Daurah i santūr: printed Tihrān recently (2 vols. D̲h̲arīʿah viii p. 278 no. 1180).

(2)

Daurah i wiyulin: Tihrān a.h.s. 1327/1948–9 (2 vols. D̲h̲arīʿah viii p. 278 no. 1183).

§ 728. Rūḥ Allāh K̲h̲āliqī.

Sargud̲h̲as̲h̲t i mūsīqī i Īran: pt. 1, [Tihrān,] a.h.s. 1333/ 1955‡ (S̲h̲irkat i C̲h̲āp-k̲h̲ānah i Firdausī. 516 pp.).

§ 729. Appendix

(1)

Dastūr al-nag̲h̲am, an Indian work in four bābs on singing to the accompaniment of the ṭanbūrah (guitar): Berlin 34 (3) (ah 1209/1795).

(2)

G̲h̲unc̲h̲ah i rāg (possibly on music), by M. Mardān-ʿAlī K̲h̲ān: Lucknow 1889 (70 pp. N.K. Mus̲h̲ār i 1146).

(3)

Ilhām al-ṭarab (beg. Baʿd i nawā-yi tarānah i ḥhr (ḥamd?) i jazīl), a general compendium of music: Ethé 2033 (1).

(4)

Manfaʿat al-ṭālibīn, in four bābs ((1) dar s̲h̲as̲h̲ rāg u sī u s̲h̲as̲h̲ rāginīhā, etc.): Ethé 2033 (2).

(5)

Mūsīqī i daurah i Sāsānī. L’art Sassanide base de la musique arabe. [In Persian and French] by M. Barkeshely (spelt Barkecheley in lol.: Ṭihrān 1947 (pp. 34, 26. See Probsthain’s Orientalia nova 2 (1946–8) p. 26 and Luzac’s Oriental List 1948 p. 67).

(6)

Nag̲h̲amāt al-asrār, by Mīr Aḥmad b. Mīrzā M.: ʿAlīgaṛh Subḥ. mss. p. 29 no. 2.

(7)

Nuqāwat al-adwār, by ʿAbd al-ʿAzīz b. K̲h̲wājah Kamāl al-Dīn ʿAbd al-Qādir: Leningrad Univ. no. 446 (Salemann-Rosen p. 20).

(8)

¶ (Rāg u rang-hā-yi Hind): Eton 211 (ah 1181/1767–8).

(9)

Risālah dar ʿilm i mūsīqī (beg. Ḥamdī kih lāʾiq i dargāh i kibriyā), a short treatise in four chapters and some faṣls, by G̲h̲ulām-Muḥammad Waḥīdpūrī: Nad̲h̲īr Aḥmad 287.

(10)

(Risālah i duwāzdah maqām): Tashkent Acad. i 724 (defective at both ends. 370 foll. ah 1264/1848 (?)).

(11)

Risālah i mūsīqī, by ʿAbd al-Raḥmān b. Saif al-Dīn G̲h̲aznawī: Tihrān 1300/1882–3 (appended, as pp. 195–203, to K̲h̲usrau’s Qirān al-saʿdain. See Mus̲h̲ār i 1529 penult).

(12)

Risālah i Rāg-mālā (beg. Mastūr na-mānad kih īn risālah īst dar bayān i mujmalī az ʿilm i mūsīqī), a short tract by M. Ḥasan ʿAlī: Madrās i 507 b.

(13)

Ṣaut al-nāqūs, on Persian and Indian music, by M. ʿUt̲h̲mān K̲h̲ān “Qais” (cf. pl. i § 100 (7)): Āṣafīyah ii p. 1222 no. 331, Lucknow (N.K.) 1874°* (Risālah dar ʿilm i mūsīqī. 15 pp. Cf. Mus̲h̲ār i 1131, Āṣafīyah ii p. 1222 no. 140); Cawnpore 1878†. (N.K. R. i ʿi. i m. 15 pp.).

(14)

Taʿlīm al-nag̲h̲amāt wa-bayān al-daraj wa-’l-s̲h̲uʿab wa-’l-maqāmāt (beg. Har nag̲h̲mah kih rūḥ az nafas i nai s̲h̲inawad * … Sp. i bī-q. Ṣāniʿī rā), an anonymous work in seven faṣls: Flügel ii 1516 (1) (foll. l–41a).

next chapter: 7.10 Arts of War and Swordsmanship