366 A. H. Francke— A language map of West Tibet with notes . [No, 4, 
The following is my attempt at a restoration of the text according 
- to the Dard-dialect of Da : 
Dargyassi de tija namo hla zhuni 
Shuni bhi tija namo hla zhuni 
Sinani bhi tija namo hla zhuni 
Translation: 
Give abundance ! Honour to thee, oh god Zhuni! 
Crops also ! Honour to thee, oh god Zhuni ! 
A son also ! Honour to thee, oh god Zhuni ! 
Notes on the Dard text: 
Dar-rgyas is a Tibetan synonym compositum meaning about ‘ abun. 
dance ;’ di was probably in course of time contracted from de , give, and 
ti, thee ; tizha or tija means 1 to thee, ’ zha and ja are frequently used 
terminations of the dative case; nomo instead of namo is a case of 
assimilation of the vowel of the first syllable to that of the second 
syllable; namo as well as nomo often occur in the sense of ‘ glory, 
honour ’ in the Bono-na-songs, Ladakhi Songs, No. XXXI ff; hla is 
the Tibetan lha , a Pre-Buddhist god ; Zhuni is the proper name of the 
house god, Shuni means ‘ harvest ’ ; hi is supposed to be the same as 
Urdu bhi, meaning ‘ also.’ Also in the second and third lines the ti of 
tizha was lost in the preceding word. The ni in sinani is the emphatic 
syllable of Tibetan. 
(4) Bard customs. —To the present day the Mamani-festival 
is considered as a Dard custom. It is held 1J months after the 21st 
of December. In Khalatse it is celebrated in this way:—Cooked 
heads of goats and sheep, and omelettes called ten ten , are brought 
.before an ancient row of mchod rten (mchod rtengyi sgang) which goes 
back to Dard times, and a feast is given to everybody who will partake 
in it. Strangers are welcome. 
Also the Ladakhi music and art of dancing is so entirely different 
from Tibetan music and dancing that non-Tibetan influences must be 
suspected here. In Ladakhi music, besides the Chinese scale,-—classical 
s cales are in frequent use. Of classical scales I have discovered the 
following in my collection of Ladakhi tunes : Ionian, Aeolian, Lydian, 
Mixo-Lydian. It is easier to believe that these scales came here through 
a Dard channel than from Tibet. Although the metre of the Tibetan 
Ladakhi songs is almost invariably trochaic, the metre of the Ladakhi 
tunes is iambic. 
I have tried to prove the Dard origin of one single West Tibetan 
village only. It would probably be easy to accumulate similar reasons 
