Pir-o-Murshid Inayat Khan now begins to speak about the mysticism of rhythm. The previous post in the series is here.

Motion is the significance of life, and the law of motion is rhythm. Rhythm is life disguised in motion, and in every guise it seems to attract the attention of man; from a child who is pleased with the moving of a rattle and is soothed by the swing of its cradle, to a grown person whose every game, sport and enjoyment has rhythm disguised in it in some way or another, whether it is a game of tennis, cricket or golf, as well as boxing and wrestling. Again, in the intellectual recreations of man, both poetry and music, vocal or instrumental, have rhythm as their very spirit and life. There is a saying in Sanskrit that tone is the mother of nature, but that rhythm is its father. An infant once given the habit of a regular time for his food demands it at that time, although he has no idea of time. This is accounted for by the fact that the very nature of life is rhythm. The infant begins his life on earth by moving its arms and legs, thus showing the rhythm of its nature, and illustrating the philosophy which teaches that rhythm is the sign of life. The inclination to dance shown by every man illustrates also that innate nature of beauty which chooses rhythm for its expression.

Rhythm produces an ecstasy which is inexplicable, and incomparable with any other source of intoxication. This is why the dance has been the most fascinating pastime of all people, both civilized and savage, and has delighted alike saint and sinner. The races which show a tendency for strongly accentuated rhythm must be vigorous by nature. Jazz has come from the Negroes, and the syncopation is the secret of its charm and is the natural expression of their racial rhythm. Its rhythm arouses a kind of life among performers and audience alike, and it is the love of this life that has given such popularity to jazz. The dances among many wild tribes in different parts of the world show a most pronounced rhythm, which proves that rhythm is not a culture, but is natural. Among Europeans, the Spanish, Poles, Hungarians and Russians show the greatest tendency toward rhythm.

The secret of the success of the Russian ballet and the Spanish dance lies in their exquisite rhythm. Among the Asiatic races the music of the Mongolians is chiefly based on rhythm, it being more pronounced than melody in their music. In Turkish and Persian music rhythm is also pronounced, and among the Arabs the variety of rhythms is very vast. In India however the culture of rhythm has reached perfection. An expert musician in India improvises a melody, keeping the same time throughout the whole improvisation. In order to become a master musician in India, one must master thoroughly not only raga, the scale, but also tala, the rhythm. Indians as a race are naturally inclined to rhythm; their dance Tandava Nritya, the dance of the South, is an expression of rhythm through movement.

In the Hindu science of music there are five different rhythms which are generally derived from the study of nature:
Caturasra, the rhythm of four beats, which was invented by Devas or divine men. 
Tisra, the rhythm of three beats, invented by Rishis or saints. 
Khanda, the rhythm of five beats, in vented by the Rakshasas,
Mishra, the rhythm of seven beats, invented by the people.
Sankirna, the rhythm of nine beats, invented by the commercial class.

Mahadeva, the great Lord of the Yogis, was the dancer of Tandava Nritya and his consort Parvati danced the Lasya Nritya. 

To be continued…