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[Roselee Kruppa]

MonierWilliams Dictionary gives the meaning of the root verb śrī as "to cook, boil, to burn, diffuse light", but as a feminine abstract noun, it has received a general meaning of "grace, splendour, beauty; wealth, affluence, prosperity".[3][4]

The word śrī may also be used as an adjective in Sanskrit, which is the origin of the modern use of shri as a title. From the noun, is derived the Sanskrit adjective "śrīmat" (śrimān in the masculine nominative singular, śrīmatī in the feminine), by adding the suffix indicating possession, literally "radiance-having" (person, god, etc.). This is used in modern vernacular as form of address Shrimati (abbreviated Smt) for married women, while Sushri, (with "su", "good", added to the beginning), can be used for women in general (regardless of marital status).

Shri is also frequently used as an epithet of some Hindu gods, in which case it is often translated into English as Holy. Also, in language and general usage, Shri, if used by itself and not followed by any name, refers to the supreme consciousness, i.e. god.[citation needed]

Shri, also rendered Sridevi, is an epithet of Lakshmi.[8][9] The Vedas speak of Shri as a goddess, who personified ten qualities coveted by other divine beings: food, royalty, holiness, kingdom, fortune, sovereignty, nobility, power, righteousness, and beauty. The Vedic Shri is believed to have identified with later conceptions of Lakshmi, as the embodiment of royalty and dignity.[10]

Another usage is as an emphatic compound (which can be used several times: shri shri, or shri shri shri, etc.) in princely styles, notably in Darbar Shri, Desai Shri, and Thakur Shri or Shrii Shrii Anandamurti, the founder of the social and spiritual movement Ananda Marga (the Path of Bliss).

The honorific can also be applied to objects and concepts that are widely respected, such as the Sikh religious text, the Shri Guru Granth Sahib. Similarly, when the Ramlila tradition of reenacting the Ramayana is referred to as an institution, the term Shri Ramlila is frequently used.

The use of the term is common in the names of ragas (musical motifs), either as a prefix or postfix. Some examples are Shree, Bhagyashree, Dhanashree, Jayashree, Subhashree, Itishree, Jiteshree, and Shree ranjani.

In the realm of melodic music the tradition of India is without equal. Nothing else comes close. The Europeans and Americans, the self-appointed adjudicators of every activity under the blazing sun, who once thought their finest melodies to be works of high Art, have now discovered to their utter dismay that they have done no better than wrestle with kindergarten level ditties when they have not been otherwise churning out noise. The vast terrain of Indian ragadari music has nourished and nurtured a teeming web of melodic life of every conceivable level of complexity and aesthetic measure. The very high end of this spectrum is a nest for an aristocracy of ragas that represents the acme in human melodic thought. To this exclusive commonwealth belongs our raga-du-jour, Shree, at once recognizable for its forbiddingly haunting and deeply meditative mien. For the musician, it is among the most difficult ragas to master. For the rasika, it is a fulfilling emotional purchase.

Shree is an ancient raga of the Poorvi that corresponding to the 51st melakarta of the Carnatic paddhati, Kamavardhini, with the following swara set: S r G m P d N. Shree is also a raganga-raga lending seed material to several other sub-melodies (eg., Triveni, Jaitashree, Shree Tanki and so on). Raga Shree of the Carnatic paddhati is an altogether different bloke although there exists a curious relationship: a simple flip-flop of the swaras of the Carnatic Shree from or to their vikrita forms yields an approximate contour of the Hindustani Shree. Notice that a similar correlation holds true for other name-congruent pairs, eg., the Carnatic Hindolam and Hindustani Hindol or the Carnatic Bhoopal and Hindustani Bhoopali.

We have cobbled together two representative chalans, one each for the poorvanga and uttaranga regions. The voice is Nachiketa Sharma. Observe the treatment accorded the rishab, the r-P-r interaction and the meends in descent.

Like other grand ragas, Shree is primarily the province of the vocalist. Nevertheless, the occasional instrumental performance transcends the run-of-the-mill. One such is by the cheej pijja-loving (naked) Emperor of San Rafael, Mr. Alubhai Khan.

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