Essence

‘Appa, I am not able to sleep’, said the young boy.

‘Dont’t worry. I will sleep only after you sleep’, replied the father.

‘How will you know if I have fallen asleep or not’, asked the nervous boy.

Pat came the reply-‘I know. That is why I am your father’.

 Do fathers know everything?

Not really. However, when it comes to conversing with his child and when it comes to comforting his child, a father does seem to know everything. At least, in my case, it is true.

Needless to say the conversation mentioned in the beginning happened between me and my father when I was just around 6 or 7. I was timid, shy and was scared of darkness then.

Somehow in India, the relationship between a father and a son is not as widely written or discussed as the one between a mother and a son or the one between a mother and a daughter or even the one between a father and a daughter.

My relationship with my father was somewhat special, intriguing and even weird. Being the only son, I was ‘protected’ by my mother who would not even let me go out and play without her monitoring and supervision. My father would be away at his workplace but whenever he was at home, he would ‘protect’ me too, and this continued even when I went to school. Probably, this explains the reason for my timidity when I was young.

However, once I started growing up and once I was in my formative years, I started developing independent thinking and was slowly shedding the conservative outlook , much to the chagrin of my mother. But my father encouraged my independent thinking.

There are many things a son can pick up from his father. I essentially picked up two things- Reading habit and appreciation of music. When I was a child, I would wonder what he was up to when he would literally burn the midnight oil to be engrossed in a book. After watching him do this for many years (‘many’ here would be about 8 years), one fine day I went to the cup- board where some old books were stocked, picked up the one with a glossy cover, dusted it and started reading it. On top of the front cover there were these wordings- ‘The Adventures of Sherlock Holmes’.  

Thus began my tryst with books and it still continues.

He would also tune in to ‘Madras A’ radio station at 8.20 am everyday even as he was getting ready for work. Carnatic music would fill the air. Honestly, this was not music to the ears of Yours Truly then, a fact which would surprise many now. I found it to be boring and even irritating. How my perspective changed after the entry of one gentleman in 1976 and how it transformed me, are all known to people who have been following my posts here. However, in hindsight, I feel if I was able to appreciate the music of that gentleman right from the beginning and was also quick to identify and appreciate the intricacies, it was because of the musical environment I grew up in and the influence it had on my subconscious.

It is not that I have not had difference of opinion with my father. In fact, there were many. However, he respected my views and opinions. During the later years, he even went to the extent of saying, ‘the amount of knowledge my son has, is hard to fathom’.

Cut now to Circa 2019.

The gentleman who pacified and put his little son to comfort long ago, was lying down on the hospital bed struggling to breathe and this time he was calling out his son’s name repeatedly. Is it a case of role reversal? However, the son could not do much as he was already briefed on his father’s medical condition. Unable to see his father suffer like this, the son also started praying for his suffering to end. This is another case of ‘reversal’, for obvious reasons, reasons which are better left undisclosed.

Finally, on the 21^st of June- which is celebrated as World Music Day, a connoisseur of music, a gentleman who believed in and who practised giving unconditional love, a father who guided his son to the right path, left this mortal world peacefully with his son by his side.

The only song which came to my mind instantly that time was a song which without a doubt, is part of my Top 25, and the reason is not far to seek.

In life, simple things are always beautiful and the most beautiful things are simple. If someone were to ask me an example, I would cite ‘Kaattuvazhi Kaalnadiyaa Pora Thambi’ from ‘Adhu Oru Kanaakkaalam’(2005), without batting an eyelid.

Now, see this.

The third and fourth lines of the Pallavi are a replica of the first two lines. The CharaNams are almost mirror images of the Pallavi. Both the interludes are the same. Coming as it does from a composer who is known for his dislike for ‘repetitions’ and who is known for his proclivity for ‘variety’, this is a huge surprise.

And yet, even repeated hearing of this song is unlikely to tire anybody. On the other hand, it can only soothe the pain, soothe the senses and soothe the soul. This is made possible not just by the tune but also by the lyrics and most importantly by the singing style and quality. What is more special is the fact that all these three are done by the same gentleman.

Based on the major scale (ShankarabharaNam), the composition has the flavour of an Irish folk song. The two sets of strings(one in lower octave and the other in middle- octave) playing simultaneously, depicts life itself, in my opinion.

The parallel drawn between river and life conveys layers and layers of meanings albeit in very simple terms.

Life is neither a dream nor a reality. It is Truth itself, says the last term.

For a person who was scared of darkness when he was a child, for a person whose father was an inspiration, for a person who turned more philosophical after the recent episode, can anything be truer than this?

After all, doesn't Truth drive away darkness?

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Amygdala

‘Aapko wahaan se Bharat kaisa dikh raha hai?'

(How does India look to you from there?)

‘Saare jahaan se accha’

(Most beautiful).

People who grew up in the ‘80s can never forget this conversation which was broadcast ad nauseam on AIR just before the 9pm news bulletin. The person who asked the question was the late Prime Minister Indira Gandhi and the one who replied was Rakesh Sharma, the first ever Indian citizen to go to space. This conversation took place when the latter was still in space (he spent 7 days in space).

Though 35 years have passed since this happened, the conversation still rings in my ears not least because of the excitement in the voice of the cosmonaut; ‘excitement’ which is difficult to define. As a matter of fact, I was too excited as well when the first Indian went to space but my excitement is different from the excitement of a man who was seeing the entire world from top. And even now when that voice is replayed in my mind as I write this, I can easily make out that the cosmonaut did not quote that first line of Iqbal’s poem just for the sake of doing it or for grabbing headlines (he had already grabbed the headlines because of his achievement anyway!). I could feel that unmistakable genuineness which stemmed from not just a sense of pride but also from that sense of ‘wow’. It was a kind of expression reserved for people who have that sense of aesthetics. In any case, the expression was very special.

So, very recently when I read that researchers from the University of Pennsylvania’s positive psychology centre are involved in a mission of studying the emotions astronauts commonly recount when they look at that oblate spheroid shaped body called as the Earth from space, I felt very excited. They call this as ‘Overview effect’ and it seems the researchers watch sunsets in beautiful places to understand the emotions and feelings of the people on the spacecraft who ‘watch’ the earth from top. They are in the process of studying the excerpts of interviews given by the astronauts. Though the research is still on, they are unanimous in saying that the experience of the astronauts(and therefore the emotions) are more extreme than any general or natural phenomenon and that it is overwhelming and even life changing.

In a way- or rather in many ways- certain human emotions during certain experiences cannot be defined nor can it be explained. I have often written here about the emotions evoked by music in general and certain songs or background pieces in particular. It might surprise many if I say that what matters to me the most are the feelings/emotions when I listen to music more than the raga or the swaras. No doubt a song is composed using swaras and concomitantly a raga/scale, but these play a lesser role when it comes to the overall experience. There is something more than just swaras/ragas which give us that overwhelming experience. And when we have that experience, everything loses its meaning and ceases to exist.

Whenever I listen to ‘Adhikaalai nerame’ from ‘MeeNdum oru kaadhal kathai’(1985), I undergo such an experience. Of course, it doesn’t mean it doesn’t happen with many other songs but somehow this song is very special.

What makes it special is its unpredictability. 

Generally, his pallavi and charaNams follow a logical pattern. The lines may not be predictable but at the same time these will be organised. Most importantly the tune doesn’t deviate. Same is the case with the interludes. In other words, the composition will be unpredictably predictable. Then there are songs which can be called as predictably unpredictable. I shall talk more about this category in one of my future posts. But there are also compositions where the tune deviates from the original and may not look organised (at least on paper). These fall under the unpredictably unpredictable category. And it is such compositions which give that very special feeling. ‘Adhikaalai nerame’ is one such composition.

If you listen to the song, I am sure you will understand the real import of my statement. As per the story of the movie, the hero and the heroine are special children. They live in their own sweet world totally oblivious to the noise in the external world. The tune is suffused with that special innocence. But more importantly it is very unpredictable.

Take the pallavi. The first line makes us see the dew drops on the petals of flowers. The second line shows the light and darkness and the third line shows the moonlight. Feeling wise, it is happiness, pain and pleasure and nostalgia.

No, beyond this I cannot define the feelings/emotions I undergo when I listen to the lines in the charanams.

Even the beginning is so beautiful and very different. The three sets of strings rise slowly but steadily one after the other with the keys that follow giving a special bell sound and moving constantly. Is there a connection between the strings pieces and the keys sound?

Listen to the first interlude. The first section is dominated by the different sets of strings with each one playing different melodies. Suddenly, the flute takes over and plays a melody with unobtrusive energy. It reminds one of a plaintive wail of a bird in a forest which is separated from its mate. The guitar/keys lead to the charaNam, but again how different each melody sounds.

The strings appear again in the second interlude yet again in different sets welling up a gamut of emotions. It hurts; it pains; it makes us cry; it makes us sob; it makes us smile. But what follows is magical and also mystical. The twin-violin to the backing of some bass instruments plays a melody. Is it a lullaby? Is it peppy? Is it melancholic? Is it lovable? Is it love itself?

The strings join together and play thrice giving a pause in between.

Are there pauses in emotions?

 Isn’t silence itself emotional?

Are emotions predictable?

Do these questions carry any meaning?

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Being a wo(man)

‘’Is God a man or a woman?’’

When a little kid asked me this question, I did not know how to react. I was shocked too. Somehow, I got reminded of the dialogue from one of the most popular Tamizh films- ‘Are you a good person or a bad person?’. Like the protagonist in that movie, I too replied ‘I don’t know’, though not in his tone.  Sadly enough,I did not have the backing of the leitmotif of the Maestro.

But jokes apart, the question made me think. ‘Why should a 10 year old girl worry about the gender of God? What would have made her do this?’

I asked her the reason. She said ‘’ I am sure it is He. Otherwise why do only girls have some problems? If it was a She, this wouldn’t happen’’.

The reply left me dumbfounded. She was of course talking of physiological problems unique to women. Nowadays, schools educate the children about many things and this includes certain things considered as taboo traditionally. Forward thinking people should definitely welcome this. Therefore, I had no qualms about her getting to know about some details regarding the anatomy and physiology. But what troubled me is the way a girl perceives her being a girl. Is it a healthy trend or not?

Is it a fact that women undergo a lot of hardships in the world when compared to men? Is it then a sin to be born as a girl? Then why did the Mahakavi sing ‘Mangaiyaraai piRappadhaRkku maathavam seithida veNdumamma’?(it needs a lot of penance indeed to be born as a girl). This is a very vast subject and requires reams of pages to discuss. Therefore, let me try and touch some pertinent points here.

The main point in my opinion is not so much the physiological problems as the emotional and the mental trauma. By this I mean the way the society looks at and treats women. The term society has a larger connotation and without any doubt, includes women too. We Indians have a confused mind when it comes to women. I am not exaggerating when I say that we are a bundle of contradictions. At one end of a spectrum, we put a woman on a pedestal, make her an epitome of patience, tolerance, love, compassion and shower encomiums on her. At the other end, we look down upon her giving some stereotyped roles and go to the extent of saying ‘Being a woman, you can’t and shouldn’t do this’. 

It is in this band of spectrum that we see her as a glamourous creature created for men and to satisfy men in all aspects. We expect women to act as per the whims and fancies of men. No, not just ‘of men’ but also ‘of women’ who carry the tag of ‘mother’ by law (or is it in-law?).

Both the ends of the spectrum are dangerous. We deify women so that they remain on the pedestal like statues without any emotions. ‘Oh , how many sacrifices a woman makes!’ we shed crocodile tears. We trample them at the other end, first by branding them as symbols of beauty and then setting rules. How confused we are!

Isn’t there a disconnect between the two ends here? Yes and no. ‘Yes’ because the two are contradictory. ‘No’ because the other is responsible for the one.

No, I am not contradicting here. We put women on the pedestal because we know that if we do that, we can get away with everything. ‘God created mother because He can’t be present all the time’, we say (here itself there is a contradiction anyway as God is supposed to be omnipresent). After saying this, we go ahead and disrobe women (literally and figuratively).

That is why, we have men who say ‘If a diamond is displayed on the road, dogs will surely take it’, ‘ It is the girl who invites the boys with ‘inappropriate dress’’, ‘ There is nothing wrong in a rape. Boys just want to have fun’.

Mind you, these were said by men who are supposed to be ‘leaders’.

But when we have the leader of the country himself saying ‘Depite being a woman…’, can’t we understand the kind of stereotyped images we all have in our mind?

So, where are we now?

‘ Durga’ to ‘Maa / behenji’ to ‘kya maal hai yaar’ to ‘girls should not wear jeans’!!

If this is not a bundle of contradictions, what else is?

However, the solution lies within us. Let us stop deifying women. Let us stop denigrating women. Let us understand and appreciate the problems of women, respect them in the real sense and treat them as fellow human beings without any set of written or unwritten rules.

The rare gem of the day ‘PaavaiyargaL Maan Pole..’ from ‘Ore Muththam’(1980)  precisely talks about this but in a slightly different way.

The brilliantly written song by Kaviyarasar puts across both the viewpoints- the ‘traditional typecasting’ and the modern one. Needless to say that the former is by a man (brilliant rendition as usual by SPB) and the latter by a woman (again a beautiful rendition by Janaki).

What is most striking is the way the composition traverses through two totally different genres, qawwali and modern pop. Brilliantly symbolic!

Qawwali, a genre which was ubiquitous in the old Hindi songs(till late ‘70s) has appeared in some old Tamizh songs too. But here it is very special because of the seamless transition. The Maestro has also tuned it in Mishra Khamaj, a Hindustani raag used prolifically in qawwalis.

The song starts with the harmonium playing with sensitivity and making some smooth glides. It plays without percussion for 3 cycles of chatushra ekam and then moves along spreading warmth for the next 10 cycles.

The pallavi is in anaagata eduppu and the male sings ‘ Women are like the deer; like the Cauvery river; If only they tread the path laid for them and live accordingly, they are angels. Why this modernity?’

The first interlude gives the quintessential flavour of a qawwali with the shehnai, the clapping and the harmonium. It is simple and at the same time zestful.

The first charaNam talks about having beautiful plait decorated with flowers and at the same time says ‘ Jewellery and dress don’t make you beautiful. Sport a smile and walk with a proper gait.Read Tamizh’.

 Let it be understood here that ‘reading tamizh’ is used as a euphemism here for ‘following tradition’.

Musically, the stanza is marvellous with the akaaram after ‘choodungaL’ shining like gems on a nose ring.

There is a sudden shift in the interlude which follows. The electric guitar appears with a grin and moves along dancing. The saxophone follows and traverses upwards. 

The healthy competition between the two is amazing!

The female now sings, ‘ A good woman can live anywhere. I know what I am doing and let there be no barriers . I am like the pure Ganges’.

The TaaLa pattern now changes to tisram as the saxophone again goes on a melodious spree. After a brief intervention by electric guitar, the male sings ‘Wear a silk saree and you are protected. God comes rushing to you when you wear  bindi and flowers’

(Doesn’t this contradiction between the first charaNam and this charaNam typify the mentality of the society?).

The female replies that even if God comes here now, He will accept me as times are changing.

Now, it is the shehnai that follows and moves with a verve.

The stanza that follows has the male sarcastically refer to the smile of a woman.

‘Those days, women would walk with their heads bowed down. And now you all smile directly looking at our faces.’ The old adage about a lady’s laughter being very dangerous, used even in Mahabharata, is used after this.

The saxophone follows with unobtrusive energy.

‘Ok, now let us come to an agreement. Point out if I make a mistake.  And I shall point out your mistakes. After all, are’nt women and men equal?’

This is a beautiful line and one sees Bharati in KaNNadasan.

The last part is rendered by both the male and the female saying ‘Let us be friends. There is good and evil in everything. Let us unite’.

The inherent message is obvious.

So, will we all follow this as well?

And by the way, is God a man or a woman?

Well..Only God Knows!

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Linear and Sinuous

What makes the Sea look so beautiful?

Is it that azure blue colour?

Or is it that grey and green shade?

Or is it that reflection of the sun rays during the day and reflection of the moon in the night?

Is it that sunrise or is it that sunset?

Is it that boat/catamaran/ship floating at a distance?

Yes, all these are beautiful and no doubt embellish the sea but in my opinion, there are two more things which combine to make the sea an eternal beauty.

One is the Horizon and the other is the Wave.

The former is considered to be an imaginary line but whenever I see the sea, I am flummoxed and astounded by the straightness of this line. Whoever has drawn it is the best artistic engineer ever. How can somebody be so perfect?

Talking about the waves, these are formed as a result of the wind blowing over the surface. This is what science says and I would like to be less of a scientist (anyway I know very little of science) and more of an artist(this too, I know I am not but who can stop me from imagining?). When I look at the waves, I look at the zig zag pattern and the way these approach the land, fade away and then come again. What an amount of energy these have! Don’t these tire at all?

When I look at the sea, I don’t look at the horizon first and the waves next(or the other way around) but look at both together. And whenever I do this-looking at the sea from a distance and then looking at the horizon and the waves at the same time- I can’t help marveling at the beauty of this sight. This is a perfect example of contrast. At a far distance, there is that perfect straight line and closer to us is this zig zag curve. Isn’t this poetic and musical?

People familiar with my posts know how much I love the contrasts in poetry and in life. If poetry and life combine together, don’t we get that ‘M’ word without which I cannot breathe?

Contrast in music is a very wide topic and it would serve little purpose if I were to take up that topic- which is full of technical details- here. However, this C word is also so simple that all it need are the ears, a little observation and focus.

What adds beauty to Raaja sir’s music is this C (oh, doesn’t it rhyme with ‘sea’?). People who attended Geetanjali-2014 , I am sure remember my presentation on ‘Contrasts in his music’.

Today, I am taking up a song which typifies the word ‘Contrast’. In my opinion, ‘Kaalaipaniyil aadum malargaL’ from Gayathri(1977) should rank as one of the best compositions in the world.

Let me first mention what all I find to be unique in this composition and then move on to describe some of these. I say ‘some of these’ because certain things don’t need descriptions and this applies as much to music as to life.

First is the tune. Generally, an Indian film song follows a particular raga(not talking about exceptions-which are in fact too many now- which have only ‘rogaa’) or a scale. This topic too is huge and beyond the scope of this post. However, let me say that a composer composes the song in a particular scale which has a repetition of some particular notes while ascending and descending. This particular pattern can be said to follow a raga, but most of the composers take liberty with this and add alien notes.

Raaja sir is known for using some beautiful known, rare and unknown ragas in his compositions with or without alien notes. At the same time, he has also composed tunes which cannot be termed as falling under the classification of any raga. ‘Sendhoorappoove’ and ‘ILamai enum poongaatRu’ are just some examples of this. ‘Kaalaipaniyil’ too falls in this category.

The Pallavi has notes of Kharaharapriya while the CharaNams have the other ‘ga’(ga3) and also the other dha(dha1). What is amazing is the fact that in some phrases, both the ‘ga’ s and both the ‘dha’ s appear one after the other giving that chromatic effect. For example, in ‘kalaigaL aayiram’(first charaNam), the ‘dha’ s appear one after the other and in the third and in the sixth phrases of the humming at the end of the CharaNam, we see both the ‘ga’ s.

There is also change in the shruti in the first segment of the second interlude.

But what is wondrous is the ‘usi’ in the humming at the end of each CharaNam. The concept of ‘usi’ in a taaLa has been explained by me in some of the posts here and also during Geetanjali-2015. Wait for more detailed explanation in this year’s Geetanjali.

‘Usi’ is a speciality of Carnatic Music and we see the pattern is in usi when the stress is on the even count(2,4,6..). ‘Kaalaipaniyil’ is set in the 3-beat cycle tisram or one can even say in the 6-beat rupakam depending on the way we look at it. I know I am getting too technical but certain things surely need explanation so that the brilliance of the composition (and therefore of the composer) can be appreciated more. The pattern changes to the 4-beat cycle chatushram during the humming part towards the end of each CharaNam. Not only does 3 change to 4, but also the stress (percussion) is on the even beats.

Usi at its uchcham (best).

Now, count the contrasting elements-

1. two variants of two swaras occurring one after the other

2.tisram to chatushram

3.usi

4.change of shruti in the beginning of the second interlude.

There is one more (the fifth one) about which I shall explain soon.

So, does it mean that the composition has only the contrasts?

No..

It has a beautiful straight line called as ‘melody’.

One feels the evanescence of the morning mist while listening to the song.

The initial bell sound reminds one of the dew drops falling off the petals of the flowers while the humming of Sujatha(her second Tamizh song after ‘Kaadal oviyam’ from ‘Kavikkuyil’) is like the morning breeze. The santoor depicts the swaying of the branches.

The Pallavi is a blend of intuition and expression with the sangati after ‘maayam’ shining with a special radiance.

I mentioned about a ‘fifth contrast’ while listing out the C, didn’t I?

This occurs at the beginning of the first interlude. The sitar follows tisram while the rhythm guitar which backs it follows the chatushram.

 Cross-rhythm!

Crossing others’ path is not good manners generally but if the rhythm crosses like this, isn’t it lovable?

The violins and santoor-to the backing of the tabla in tisram - guide us to the first CharaNam.

This Laya Raaja can never rest. Or at least he will not let us rest. He loves to play with the TaaLa and he does it in the CharaNams too. The tisram  which goes as ‘1 2 3’ on the tabla in the first part of the first line(paarvaiyodu paarvai seRum ) changes as ‘1 2 3 4/1 2 3 4/ 1 2 3 4’ in the next half(bhavam mudhalil and siRu naaNam manadhil).

And ah yes..that wonderful humming where the notes go in pairs with the percussion in usi.

The second interlude is more powerful than the first with the santoor sounding like a bird in the beginning and the violins moving ardently. But the piece I love is the one by the violins after the sitar- which sounds with sobriety. There is a very brief classical touch in that piece of violins which always touches a chord in my heart. 

The brief rendezvous between the  sitar and the keys in the end, is musically romantic.

In fact, everything in this world is romantic- sky, sea, horizon, waves, music.. and.. ..contrasts.

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Regal

Can romance ever be Majestic?

It is a question difficult to answer and not so difficult to answer. But rather than trying to find an answer, let us first listen to this song from ‘Aayiram Vaasal Idayam’(1980), a song which I have listened to ‘pallaayiram’ (several thousand) times and would like to continue listening to for ‘pallaayiram’ years( I am sure I will have that many births J).

What amazes me the most in ‘MaharaNi Unai Thedi..’ is the beginning. It is not uncommon for his songs to start with an akaaram. But this opening akaaram is very different. A mix of swaras is followed by a single sustained swara. Now, there is a pause between the two sections. And it is this silence which is very intriguing (silence is always intriguing anyway!).

Remember that this was recorded in 1980(or probably end of 1979) when the ‘punching’ system was unheard of in India.. The way Janaki adjusts her voice to the two different sections speaks volumes of her versatility. It speaks volumes of the brilliance of the composer too. Though the sustained akaaram almost sounds the same, the ones which precede it, sound different each time. After 4 sets, the higher octave notes are touched, sustained and then podi sangatis sung. . At least I have not come across any song opening like this and in case you have, please feel free to enlighten me.

The strings start gradually now to the backing of bass guitar, and reach a crescendo. 

The special keys sound takes over and the percussion joins now in tisram. Earlier the strings too play to the count of 3 but without percussion.

The flute responds to the keys in its style. The strings now play the first line of the Pallavi with a very subtle set of strings backing these. Another sound from the keyboard signals to the other instruments and finally the Pallavi arrives.

Grand prelude!

The Pallavi in the voice of Jayachandran sounds as melodious as ever. The violins peep in after each line. The lover of variety uses two different sets of percussion with each one sounding ‘ta ka dhi mi/ta ka’ one after the other.

I am reminded of a taanam of  a carnatic vidwan’s when I listen to the strings in the beginning of the first interlude. A taanam is built step-by-step and it follows logic. The strings too build the melody step-by-step here though it is brief. In between, there is that sound from the special keys and also the subtly powerful bass guitar. The flute takes over and levitates. The brief interception of the strings is more to appreciate that flute magic and less to show their prowess.

The guitar enters now and combines with the special keys and of course the bass guitar, to produce a rocking melodic piece. The strings in higher octave complete the experience with the ‘bang’ sound in the beginning giving the impetus.

The CharaNams are in three segments with the first segment going higher, the second one flowing like a calm stream and the third one oozing with romance. Note that unlike the Pallavi, it is the tabla which provides the rhythm, playing ‘ta ka dhi i/ta ka’ in 3 different ways in the 3 segments. The backing of the strings and the bass guitar-which sounds sharper in the third segment- add a special colour to the lines.

How he conceives his orchestration has always baffled me. The second interlude starts with a set of strings. After 1 ¾ tisrams, the second set of strings join. After another 1 ¾  tisrams, the third set joins. A different relay race indeed!

The romance between two different key sounds follows, but it is the flute which steals the heart again. With the strings responding after 4 tisrams initially and after 2 tisrams later on, it traverses a path which is curvilinear and then linear.

Can romance be Majestic?

Why not, if the person who kindles it is Majestic?

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