Jayachamaraja Odeyar (Mysore Maharajah) - Part I

Carnatic composers (other than performing vidwans)
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drshrikaanth
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Post by drshrikaanth »

drshrikaanth

This kRti is again rendered by M.S.Sheela

Here is the sAhitya

rAga: bhOgavasanta ; Adi tALa

P: ambA SrI rAjarAjESvari |
ambujAkShi SrI kAmAkShi||

AP: lambOdara janani kAmESvari |
sammOhini surESvari ||
SAtOdari SAkambhari SrIpati sOdari Srita jana Subhakari
SivaSankari

C: EkAnEkAkShara manu rUpiNi |
EkAgracittArcita tOShiNi |
SOka SamanakAriNi kalyANi |
SAmbhavi ramAdhi SaktivAsini |
vikArarahita vimalESvari vinuta SrI vidyA
ShODaSAkShari
akArAdikShakArAnta vAgISvari bhOgavasanta bhOgESvari ||

cmlover
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Joined: 02 Feb 2010, 22:36

Post by cmlover »

cmlover

coolkarni

Your accounting is correct. Now we do need the lyric and explanation for
Bhairavam bhavaye from DRS to straighten our sequencing!

rshankar
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Joined: 02 Feb 2010, 22:26

Post by rshankar »

rshankar

I seemed to have missed the links for Bairavam BAvayE (that is the one in BairavI, right?). Can someone post that link again, please!

THANKS.
Ravi

drshrikaanth
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Joined: 26 Mar 2005, 17:01

Post by drshrikaanth »

drshrikaanth

rshankar

The kRtis bhairavam bhAvayE is in rAga bhairava not bhairavi.
I have uploaded it for you on rapidshare. Here is the link
But let us finish the discussion on bhOgavasanta kRti first.

http://rapidshare.de/files/2581298/BHAI ... E.MP3.html

cmlover
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Post by cmlover »

cmlover

meena
Where is your u/l?

meena
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Post by meena »

meena

sorry,

i did not realize, when i received the 'full history' by email, i accidently clicked on the delete link, oops moment!

Your Download-Link for:
Hathakeswaram_Bhaje-Hathakambari

http://rapidshare.de/files/3762802/Hath ... i.mp3.html

cmlover
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Joined: 02 Feb 2010, 22:36

Post by cmlover »

cmlover

DRS

Even if the uploading goes ahead, the lyrics, explanations and discussions should proceed sequentially. I look forward to your explanation of Bhogavasanta. I have a question for you. Do some folks in Karnataka believe that Subramanya was older than vinaayaka? I had a big discussion thie weekend with a kannada friend who insisted. I do not want to sidetrack but would appreciate a short answer out of curiosity. Thanks

cmlover
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Post by cmlover »

cmlover

Thanks meena!

Homer nods

Raja Chandra
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Post by Raja Chandra »

Raja Chandra

dear drshrikaanthji , you have been doing such a profound job, words fail me. thanks to meenaji, i

know about this new thread.

the paper clip is from a local paper Mysore Mail from Mysore, not from Deccan Herald.

you have mentioned about SrI Chennakesavaiah having published the notated kRuti's of sri oDeyar. it is not true. he is stated to have submitted the works as he was personally requested by srI oDeyar during his lat days. though the promised finanancial help by the palace was denied by one nArayana swAmy, who was then huzur secretary,SrI Chennakesavaiah is said to have completed the assignment . srI oDeyar is understood to have been elated and promised to get it published and allow all royalties to SrI Chennakesavaiah. alas! within a few day of this the maharaja passed away and no one knows what happenned to this manuscript. but all original work of the maharaja is said to be in western notations as written by maharaja himself and this is said to be with vidvAn vasudevacArya's grand son krishna moorthy. even this has not seen the light of the day.

recently the above mentioned sri nArayana swAmy instituted a family trust and donated a corpus to the the mysore university and this year on the occasion of the 87th birthday of the maharaja a two days sangeethotsva in memory of the maharaja was organised by the university on july 18 and 19.

Raja Chandra
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Post by Raja Chandra »

Raja Chandra

Among the kin of the late maharaja, only his sister rani vijayadevi is known to have been a highly proficient piano player and has given concert performances all over the world. She is the president of ?international music & arts society?- founded on the suggestion of her brother in 1974 ( but founded after his death) as she herself has said in an article her father - a great connoisseur and patron of arts and music- yuvaraja kanteerava narasimha raja wadiyar used to introduce them to his friends as ? my two highbrow children? she further states : had my brother not been the heir apparent, i expect he would have gone seriously into studying the piano.

He stopped after he had completed his diploma because of his other studies and commitments.

writing his introduction to the maharaja?s book dattatreya ? the way and the goal, dr. s. rAdhakrishna: the writer?s translations and notes reveal his vast learning and deep devotion. The writer is not merely a theoretical student but a practicing disciple, a sAdhaka

Raja Chandra
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Post by Raja Chandra »

Raja Chandra

here is an anecdote:

Chitti Babu was giving a veena concert at the Palace before the Royal Connoisseur, Jeya Chamaraja Wodeyar of Mysore in 1967. The virtuosity and excellence of his play was so enthralling that the reaction of the Maharajah was spontaneous. His hands imperceptibly removed the Golden Pendant from his neck, while he proclaimed. We have been waiting to give this pendant, and the title 'Vainika Sikhamani' which was given to Sri Veena Seshanna a hundred years back to some renowned Vainika who reminds us of the Great Vainika and that Day has come now'. The illustrious royal patron and man of letters honoured Chitti Babu with the pendant and the title

meena
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Post by meena »

meena

rajachandraji
welcome! pl. just meena will do :D

thanku for sharing with us the anecdote. Hope to hear more.

drshrikaanth
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Post by drshrikaanth »

drshrikaanth

One interesting thing about this kRti is that it has no verb/kriyApada and is thus in all effect a nAmAvaLi;- just like an aShTOttara. There are some kRtis of dIkShitar as well which fall into this category. However kRtis of this kind are rare and in fact are frowned upon by purists.

P: ambA SrI rAjarAjESvari - Mother rAjarAjESvari (another name for lalitA)
ambujAkShi SrI kAmAkShi- lotus-eyed Lady, kAmAkShi (beautiful eyed)

AP: lambOdara janani kAmESvari - Mother of gaNapati, kAmESvari (again lalitA)
sammOhini- She that attracts/enchants; surESvari- Leader of the Gods.
SAtOdari- Slim-waisted; SAkambhari- She that gave food(vegetation) to this world at the time of famine; SrIpati sOdari- sister

of ViShNu; Srita jana Subhakari - She that does good to those that approach her.
SivaSankari

C: EkAnEkAkShara manu rUpiNi- She Who is in the form of one letter (OmkAra) and many letters(varNamAle)
EkAgracittArcita tOShiNi- She That is pleased by a mind with oneness of purpose (That thinks of Her with concentration)
SOka SamanakAriNi- She That destroys/pacifies sadness/distress;kalyANi- auspicious
SAmbhavi- Wife of Sambhu; ramAdhi SaktivAsini- She that resides in the lakShmi Sakti (Or is the abode of lakShmi Sakti as

part of the 3 Saktis. lakShmi signifies the mangaLa, prosperity and fertility aspect as also the drive behind the senses. recall

"sampatkarANi sakalEndriya nandanAni " from kanakadhArA stOtra. Also note the SlOka in sundarya lahari
girAmhurdEvIm druhiNagRhiNImAgamavidO
harEh patnIM padmAm harasahacarIm adritanayAm
turIyA kApi tvam duradhigama nissIma mahimA
mahAmAyA viSvam bhramayas parabrahma mahiShi ||);
vikArarahita vimalESvari- She That is pure and without any imperfection or anomaly
vinuta SrI vidyA- extolled/worshipped SrIvidyA
ShODaSAkShari -One Who is in the form of the 16 letters
The 16 letters (ShODaSAkShari mantra is said to be indistinguishable from lalitAparamESvari. They are the pancadaSAkShara -ka, E, I, la-forming the agni khaNDa, ha-sa-ka-ha-la forming sUrya khaNDa and sa-ka-la forming sOma khaNDa + 3 hrImkAras giving her the name of pancadaSAkShari . The 16th letter is turIya and is a secret known only to intiates into th SrIvidyA.
akArAdikShakArAnta vAgISvari - The Ruler(Mistress) of all the language originating from the letters of the alphabet/varNamAle from akAra to kShakAra.
Note the word akShara acomes from a and kSha as the first and last letters and also means indestructible/irreducible.
bhOgavasanta bhOgESvari -The Lady who enjoys bhOgavasanta?

drshrikaanth
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Post by drshrikaanth »

drshrikaanth

CML
I am not sure if the belief that ShaNmukha is elder to gaNESa is widespread. But I am aware that some believe so as I have come acroos this as part of an explanation to kanakadAsa muNDige (I m sure you remember some of the wonderful muNDiges that we discussed on sangeetham. Will check again and let you know.

Rajachandra
namsakAra hAgu swAgata.
I was aware of the financial twist (huzur) to the notations by Chennakeshaviah. I did not mention that here as it was beside the point. But thanks for clarifying he did not publish it. He has of course published several other wwonderful books like the haridAsa sampuTa for the 4 centenary of purandaradAsa`s Birth- notated dEvaranAmas. I also knew his grandson vocalist, the late Chennakeshava.
S.Krsihnamurthy, vAsudEvAcArya`s grandson is busy publishing SrI vAsudEvacArya`ss compositons in books and cassettes in collaboration with R.K.Padmanabha apart from translating his books to english and writing his own books.
So I guess he does not have the time for oDeyar

cmlover
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Post by cmlover »

cmlover

A consummate job!
The last line reminds one of the biblical quote:
"I am the alpha and the omega"

I was stumped by the line
EkAnEkAkShara manu rUpiNi
It is EkAnEkAkSharam anurUpiNi.
The first tatpuruSha compound is Eka ca anEka akSharAH yasya sA EkAnEkAkSharA.
Why did he use the neutre noun? But then i realized Panini (2.4.1) (dvigurEkavacanaM).
Ekasya ca anEkAnAm akSharANAm samaahaaraH EkAnEkAsSharaM (she is the aggregate of the one letter (OM) and the multiple letters (varNamaala)). Wodeyar is a great and accurate sanskrit scholar!

May I also welcome Raja Chandra and his continuing contribution to our understanding and appreciation of the scholarly works of the late Maharaja!

drshrikaanth
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Post by drshrikaanth »

drshrikaanth

bhOgavasanta is a pancamavarjya ubhaya kramaShADava upAnga janya of the 51st mELa

kAmavardhini.
Scale SR1G3M2D1N3S*| S*NDMGRS ||

gAndhAra and to a lesser degree, niShAda are nyAsa swaras(resting notes) as apparent in tis kRti. Needless to say that ShaDja is a nyAsa swara too. G,M,N are the jIva swaras not so much R and D. N is rendered with a mild kampana. There is scope for a jArugamaka in the phrase "NDM". In this kRti, the rAga expanse has a lower limit in the mandra niShAda. It of course goes up to the tAra madhyama.

The bhAva is bhakti with some adbhuta and dainya. (Will suit a kRti expressing surprise at not being protected by the iShThadEvatA!). There is much less scope for hAsya and more scope for dainya as compared to hamsAnandi due to the presence of Suddha dhaivata here.The rAga can shine equally well in madhyamakala as well as viLambakAla.

A very pleasing rAga easy to sing although one has to watch ones step to avoid slipping into hamsAnandi, the only difference being dhaivata. This is not too difficult. Another very closley allied rAga is kumudakriya born of the same mELa. Effectively the only difference in scale is that this lacks niShAda also in the ascent making it an auDava-ShADava rAga. But in kumudakriya, R and D are more prominent as compared to G and N.

Lakshman
are there any other kRtis in bhOgavasanta and kumudakriya [apart from MD`s(?) ardhanArISvaram]. Could you post a list of

compositions and composers please?

Coolkarni
Perhaps you could post a rendering of ardhanArISvaram so we can appreciate and compare the 2 rAgas side by side. Also can we have the next one please?

CML
Thanks for the explanations and vigrahavAkyas.

coolkarni

Post by coolkarni »

coolkarni

next one

http://rapidshare.de/files/3792675/Simh ... m.mp3.html

ardhanareeswaram
will get back soon.

abadri
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Post by abadri »

abadri

Here's a rendition of Ardanareeswaram by Smt Sowmya:- http://file.uploadr.com/13c4

drshrikaanth
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Post by drshrikaanth »

drshrikaanth

This kRti has been sung by vid||S. Shankar.
Heres the sAhitya

rAga: simhavAhini; Adi tALa

P: ambujAkShi pAhimAm kAmAkShi |
ambA lOkajanani jaganmOhini ||

kambukaNThi kAmEshvari kRpAkari|
kumbha sambhavAdyupAsita SrIvidyE surAsurAdi vandyE||

mahiShAsurAdi ripu bhanjani |
mahimAnvita manOnmani shUlini |
mahAdEva mAnasOllAsini |
mahASaktitraya svarUpiNi ||
SrIm hrImkArEkAkSharAnuvAgartha svarUpiNi simhavAhini ||

drshrikaanth
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Post by drshrikaanth »

drshrikaanth

This again is a stuti of mahiShAsuramardini, SrI cAmuNdESvari.

P: ambujAkShi-lotus-eyed lady; pAhimAm-protect me; kAmAkShi- Beautiful/comely eyed
ambA-Mother mine; lOkajanani-Mother of the world; jaganmOhini -enchantress of the universe

kambukaNThi-One with a neck shaped like the conch(kambu is conch. It isclassically/traditionally considered a mark of beauty to have a neck shaped like a conch); kAmEshvari; kRpAkari- Compassionate
kumbha sambhavAdyupAsita SrIvidyE- O SrIvidyA practised/followed by sage agastya et al(kumbhasambhava is sage agastya literally meaning "born from the pot". He is one of the celebrated upAsakas of SrIvidyA ); surAsurAdi vandyE- She That is worshipped/worthy of worship by Gods and Non-Gods(Anti-Gods) alike.

mahiShAsurAdi ripu bhanjani -She that vanquished and decimated enemies of the likes of mahiShAsura.
mahimAnvita manOnmani- the Hallowed manOnmani
manOnmani is a secret name of durgA. unmani means lfted up. manOnmani means She is the mind in the unmani state where all sense of time, space & subject-object relationship are lost and the mind becomes thoughtless and one with Her. This state is also called rudra-vaktra, the highest state of consciousness. It is also the name of the cakra in the brain just below the brahmarandhra. It also is the name of a mudre wchich helps upAsakas to reach the unmani state.shUlini- She That wields a spear.
mahAdEva mAnasOllAsini- She That pleases Lord Siva`s mind.
mahASaktitraya svarUpiNi- She That is in the form of the 3 Saktis- icchA, j~nAna and kriyA (Or lakShmi, sarasvati and pArvati)
SrIm hrImkArEkAkSharAnuvAgartha svarUpiNi- She That is in the form of SrImkAra, hrImkAra and OmkAra and all language that stems from Om. simhavAhini- She That rides a lion( Also the rAga mudre)
SrIm is the lakShmi tattvabIjAkShara, hrIm is bIjAkShara for bhUtattva while klIm is the kAma tattva bIjAkShara.

Lakshman
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Post by Lakshman »

Lakshman

Other songs in bhOgavasanta are: arE jaya jaya vihaga (gitam) by Govindacharya and satya sEvaiyE by Periasami Tooran.
Songs in kumudakriyA:
amudam shoriyum tAyE by Bangalore S.Mukund, ennuDan nI eppozhudum by S.Vembu, illai ena naniyulladin by Arunagirinathar and kumudapriyE by Bangalore S.Mukund and of course ardhanArIshvaram.

drshrikaanth
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Post by drshrikaanth »

drshrikaanth

Just a thoght- ambuja means "born of/in water" and can also mean fish or conch among many other things. But it popularly means a lotus. amgujAkShi could also be taken to mean as fish-eyed.

Here is the SlOka from saundarya lahari mentioning kAma tattva, bhU tattva and lakShmI tattva. (smaram, yOnim, lakShmIm)

smaram yOnim lakShmIM tritayamidamAdau tava manO
rnidhAyaikE nityE niravadhimahAbhOgarasikAH .
bhajanti tvAM cintAmaNigunanibaddhAkShavalayAH
shivAgnau juhvantaH surabhighRtadhaArAhutiSataiH .. 3

drshrikaanth
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Post by drshrikaanth »

drshrikaanth

Thanks Lakshman
Please keep posting list of other kRtis in rare rAgas that come up for discussion here.

simhavAhini is a krama ShADava-sampUrNa upAnga janya of sarasAngi, the 27th mELa. riShabha is absent in ascent but dIrgha/elongated in descent
Scale- SG3M1PD1N3S* | S*NDPMGR2_S ||

This rAga is bhaktirasa pradhAna. This rasa is strengthened by the elongated riShabha in the avarOhaNa. sArvakAlika rAga.

tyAgarAja`s kRti- "nenaruncarA nApaini cAla" is familiar to us.

S.Shankar`s rendition accentuates the bhakti rasa. His singing style notable for bhAva.

This kRti brings out the rAga bhAva very well and is a nice one.

Coolkarni
Next one?

cmlover
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Joined: 02 Feb 2010, 22:36

Post by cmlover »

cmlover

That was comprehensive and profound. Nothing more to be said.

As I understand 'manOnmaNi' is a nitya samaasa for which a vigraha vaakya cannot be given. As such the explanation cited by you is very interesting and esoteric (since manaH + unmaNi = mana unmaNi (should not be combined)).

The quotes from soundarya lahari are delightful and informative. Thank you for the enlightening series.

coolkarni

Post by coolkarni »


drshrikaanth
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Post by drshrikaanth »

drshrikaanth

This kRti on lakShmi has again been rendered by S.Shankar.

The sAhitya
paripAhimAm SrI varalakShmi

rAga: SubhapantuvarALi ; dESAdi tALa

P: paripAhimAM SrI varalakShmi ||

AP: parama pavitrE pankajanEtrE paramESvara vinutE |
parAtpara tattva viditE paramAdbhuta caritE ||

viShNu manOnukUlE vimalE |
viSva mangaLa pradAna kutUhalE |
jiShNu padAdi sanmaMgaLa pradE |
jita manmatha saundaryE SrIvidyE |
nirvikalpa savikalpa samAdhisthE hiraNyAdi garbhasthE |
nirvikAra yOgi hRdayasthE Subha pantuvarALi rAga tOShitE |

Lakshman
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Post by Lakshman »

Lakshman

songs in simhavAhini:

Evarunnaru nannu brochutaku ina?Adi--Patnam Subramania Iyer
Jaganmadhave sharanam?Adi--Nerur Shrinivasachar
Jagannathave sharanam?Adi--Nerur Shrinivasachar
Kala kalame (pv)--Adi--Chitravina N.Ravikiran
Nenarunchara napaini chala ni dasudanu kada?Adi--Tyagaraja
Sarasaksha (tv)--Adi--Chitravina N.Ravikiran
Simha vahane amba simha ketane amba?Rupaka--Muttiah Bhagavatar

drshrikaanth
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Post by drshrikaanth »

drshrikaanth

Meanings
P: paripAhimAM- protect me; SrI varalakShmi

AP: parama pavitrE- Most sacred One; pankajanEtrE- lotus-eyed; paramESvara vinutE- One worshipped by ISvara;
parAtpara tattva viditE - She that is known/representd by the best of the best doctrines(tattva); paramAdbhuta caritE- She with a hallowed character/history.

viShNu manOnukUlE-She tha facilitates/acts according to viShNu`s mind(the female half is the driving force/kinetic energy);
vimalE- pure and untainted One
viSva mangaLa pradAna kutUhalE - She That takes active interest in doing good to the universe.
jiShNu padAdi sanmaMgaLa pradE _She That gives all good and auspicious things including the sannidhi/nearness of hari (this could also be interpreted as One that gives victory)
jita manmatha saundaryE- She That is more beautiful than manmatha (this is an exception to the proverb "tAy eTTaDi pAyndAl kuTTi padinAraDi pAyum"); SrIvidyE-SrIvidyA
nirvikalpa savikalpa samAdhisthE- She that is visualised/realized by various methods of meditation/contemplation [Those not admitting of alterntives (advaita) as well as those that adit alternatives (dvaita)];
nirvikAra yOgi hRdayasthE- She That resides in the hearts of steadfast yOgis (Those whosee mind is not vulnerable to perversions or diversions)Subha pantuvarALi rAga tOShitE- She That is pleased by the rAga SubhapantuvarALi.

drshrikaanth
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Post by drshrikaanth »

drshrikaanth

The kRti is in the dESAdi tALa. SubhapantuvarALi is the 45th mELa. It is called SivapantuvarALi in dIkShitar school but there is no difference otherwise. It is a dESIya sArvakalika rAga thought to have been adapted from hindustAni music. It is mentioned simply as pantuvarALi in caturdaNDiprakASike of venkaTamakhi (no doubts about identity as he clearly describes it as having the sAdhAraNa gAndhAra). Interestingly he dismisses the rAga(dESIya) as likeable by pAmaras/laymen and unfit for standard compositions. Thus one can reasonably surmise that it was still a fairly new entry (as was kalyANi) during this time. mudduvenkaTamakhi calls it SaivapantuvarALI and pantuvarALi without making any derogatory comments. The rAga lakShaNa SlOka is

pUrNA pantuvarALyAkhyA ShaDjagraha samanvitA ||

MD has explored the rAga thoroughly and given us the gem paSupatISvaram. SrI satyanArAyaNam too is attributed to him.

Interestingly neither of the kRtis is given in SSP. Many scholars are of the view that all pantuvarALi kRtis of tyAgarAja were originally in this rAga but are now being rendered in kAmavardhini which is now called pantuvarALi in tamizhnADu.

Be that as it may, this is a beautiful rAga. It has ample scope for expansion and is well suited for viLambakAla with lots of jarugamaka. It is called tODi in hindustAni and is a morning rAga. The rAga does indeed evoke the mood of dawn.

This rAga blossoms well in this kRti. The tALa is clearly dESAdi in the pallavi. however, in the rest of the kRti, the flow around the tALa is not very smooth and the tALa is no clearly demarcated.

drshrikaanth
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Post by drshrikaanth »

drshrikaanth

For those of you that may be interested, here are some links to Bismillah khan`s tODi

http://www.musicindiaonline.com/p/x/PUb ... vwrOupt7D/

http://www.musicindiaonline.com/p/x/mqb ... vwrOupt7D/

Coolkarni
please post the next song.

drshrikaanth
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Post by drshrikaanth »

drshrikaanth

Has the turn for hATakESvaram (hATakAmbari) tha meena uploaded not come yet?
Coolkarni
Are you posting the next one or shall I go ahead with hATakESvaram?

What do others think?

drshrikaanth
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Joined: 26 Mar 2005, 17:01

Post by drshrikaanth »

drshrikaanth

Cannot wait any longer as nidrAdEvate is taking over. Before retiring for the night, Iam posting the sAhitya of hAtakESvaram.
This kRtis has been sung by R.K.Srikantan-avhA. This appears to be a kRti on madhurai sundarESvara. More of it later.


|| hATakEshvaram bhajEham ||

rAga: hATakAmbari ; triSratripuTa tALa

P: hATakESvaram bhajEham |
hArAlamkRta sphaTika sannibha dEham ||

AP: hATakAmbaradharam parAtparam |
hAlAsyanagarAdhISvaram ||
hAdi kAdi SrI vidyESvaram jaTAjUTadharaM haram ||

C: pArvatI sahitam SaSidharam |
pAtALavAsinam sarvESvaram |
pAvana madhurA rAjESvaram |
pArtha varapradam kirAtESvaram ||

(madhyama kAla sAhitya) (triSranaDe)
paramAdbhuta leelA sucaritram
paramAdvaita pavitram varaguha viSvAsa pAtram ||

drshrikaanth
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Post by drshrikaanth »

drshrikaanth

P: hATakESvaram bhajEham - I sing praise of hATakESvara (hATaka means gold)
hArAlamkRta sphaTika sannibha dEham- Him That has a blemishless crystal-like body adorned by garlands etc.

AP: hATakAmbaradharam- Him Who is attired in golden dress; parAtparam -The best of the best(supreme)|
hAlAsyanagarAdhISvaram- The presiding deity of hAlAsya nagara(madhurai)
hAdi kAdi SrI vidyESvaram- The Lord of kAdi and hAdi matas of SrIvidya.
kAdi vidyA/mata is ka+Adi i.e that which starts with ka. (agni khaNDa), hAdi refers to the sUrya khaNDa and sAdi refers to sOma khaNDa. Please refer to my explanation for the bhOgavasanta kRti "ambASrIi rAjESvari".
Thus there are 3 schools in SrIvidyA- the kAdi, hAdi and sAdi depending on which khaNda is given the prominent/foremost position. Of these the kAdi mata is considered as the best/SrEShTha. It is also called virADanuttara with kALi as the reigning deity while hAdi mata is also called hamsarAja with tripurasundari as the reigning deity.
Recall "kAdi hAdi sAdi mantra rUpiNyAh" from MD`s Ahiri navAvaraNa.
She is called hadividyA in the lalitA triSati
In the 'kakArAdi kALI sahasranAma' w come across kAdikA, kAdividyA, kAdimAtaH, kAdisthA, kAdisundari, kAdividyA

Note that in this kRti hAdi is mentioned before kAdi. Is thie simply for the sake of consonance(hATak, hAra, hAdi) or could it be that oDeyar followed the hAdi mata?
jaTAjUTadharaM- HIm with matted locks; haram-Destroyer

C: pArvatI sahitam-Him That is the consort of pArvati; SaSidharam-im that wears the moon;
pAtALavAsinam-Him That resides in the pAtALa;
Of the 7 nether-world, hATakSvara is the ruler of vitala. pAtALa is a different world(atala, vitala, sutala, rasAtala, talAtala,mahAtala, pAtAla. But pAtAla is also a generic name for all the 7 put together (saptapAtALa). Here it appears to have been used ina genreic sense
sarvESvaram -the Lord of everything
pAvana madhurA rAjESvaram- Ruler of the holy madhurA
pArtha varapradam-Him that blessed arjuna with boons; kirAtESvaram- The Lord Who appeared as a hunter (madhyama kAla sAhitya) (triSranaDe)
paramAdbhuta leelA sucaritram _Him Who has a hallowed character/Story marked by wondrous and miraculous deeds.
paramAdvaita pavitram- The holy One who is One(non-dual) (without allowing for duality); varaguha viSvAsa pAtram- He Who is trusted and loved by skanda/kArtikEya |

drshrikaanth
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Post by drshrikaanth »

drshrikaanth

I have some questions about this kRti. There can be little doubt that this kRti is on the Lord of madhure. madhurai is hAlAsya kShEtra/nagara. There is also reference to adbhuta lIles and the 64 lIles at madhurai are renowned. madhurA is also explicitly mentioned. Indeed the moment I heard hATakESvaram, I remembered madhurai. But on 2nd thoughts(and a painstaking internet search) I could not come across the name of hATakESvara for sundarESvara anywhere. On the other hand, tiruvArUr is also called as hATakamayakShEtra, hATaka kShEtra apart from several other names. Also, the names mInAkShi or sundarESa are conspicuously absent in the kRti. The Consort is mentioned as pArvati.
What is more confounding is that there are 3 other hATakESvaras- all ancient. One in a place called Halasi(In Belgaum dt, Karnataka and was once a capital of the powerful kadamba dynasty) which has an ancient temple of hAtakESvara. The names halasi is also close to hAlAsya [but it is said the old name is palasikA. Pa becoming ha is typical of kannaDa when it changed from ancient to modern. But this could equally be a back-formation by the sanskritization of the original kannaDa.

halasi could perhaps have something to do with halasu or the jack-fruit tree? (the sacred tree? here perhaps). What is more interesting is that the sanskrit word for jack-fruit, panasa is derived from the kannaDa word palasu!]

Anyway, without rambling further, The other 2 hATakESvaras are one near SrISaila in AP with a hATakESvara temple(original linga said to have been in gold) and a 3rd ancinet hATakEsvara temple in Orissa`s Khurda Dt. Interestingly, another kRti of oDeyar that is mentioned in the introduction to hATakESvaram is "lingarAja namOstutE". The lingarAja temple of Bhubaneswar, orissa is very famous!

The good thing about the introduction in kannaDa is that she mentions the story of a brahmin kanye dIrghikA and mANDavya RShi (on a kaZhu) and Siva redeeming the curse. Is this one of the 64 lIles of madhurai? I can only remember "samaNarai kazhuvETriya padalam". The peeving bit about the introduction is that she simply mentions it as hATaka kShEtra without clarifying further. Also there seems to be a bit missing in the very beginning as the sentence appears to be incomplete(only second half)

Coolkarni
Heve you got the earlier bit?

CML
Could you throw ore light on the 64 lIles and if cokkanAdar/sundarEsvara has got name of hATakESvra?

I think oDeyar wrote "hAlAsyapurANaM"? I may be wrong and perhaps it was written by one of the court pots/scholars. It has been published by the Mysore University. perhaps Raja Chandra could tell us more?

Good night for now.

coolkarni

Post by coolkarni »

coolkarni

drsrikaanth:
Coolkarni
Have you got the earlier bit?
what does this refer to ,please.
exertions connected with the dkp visit have left me lagging behind.will catch up today.

rshankar
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Post by rshankar »

rshankar

I thought that sundharEshwarar was referred to hAlAsyanATHa, because in kAmAkshi supraBAtham, the dhEvi is referred to as:
'tvAm vishwanATHasya vishAla nethra, hAlAsya nATHasya mIna nethra, ekAmra nATHasya kAma nethra'.
Ravi

cmlover
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Post by cmlover »

cmlover

I agree there is lot of confusion in this lyric as well as the Kannada introduction.

First hATakEshvara= hATakasya Ishvara = Master of gold
translates in Tamil as 'chokka naathar' who is precisely the presiding deity of Madurai. The ancient name of Madurai was 'aalavaay' (aala =poison, vaay = mouth) translates into sanskrit as 'hAlAsya'. All the epithets used in the lyric can be applied to Madurai Sundaresvara mutatis mtandis. 'pAtALavaasinam' may simply refer to the underground temple with the lingam (pAtAlEshvara (I am not sure about this?) inside the myriad idols inside the temple. I guess there is an image of 'arjuna thavam' on the gOpuram (in fact many temples lay claim to the encounter of Siva as kirAta with arjuna). The line 'paramAdbhuta leelA' will refer to the 64 'thiruviLayaadal' as you have cited.

There is a 'hAlAsyapurANaM' with tamil translation as 'aalavay mahaathmiyam' as a sthlapuraaNaam on madurai. But I do not think it was composed by the maharaaja

Having said this I am totally confused about connecting the 'naLaayini' episode with Madurai. NaLaayini was reborn as draupadi after praying to Siva and she asked five times for a husband which is why she got five husbands. But I have not heard it being connected to Madurai. Perhaps the kannada commenter has one up on us.

I enjoyed your hAdi, kAdi,sAdi explanations. It is a quick-and-dirty introduction to the esoteric Sri Vidys. I hope you will explain the specialities of the hATakAmbari Raaga.

Lakshman
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Post by Lakshman »

Lakshman

Kritis in hATakAmbari

Alalagada adiyenai natha ni tan?Adi--Kotishvara Iyer
Gadadharan padam panivome gaya nagaril tayangi?Adi--D.Pattammal
Hatakakeyuradhara --Bangalore S.Mukund
Hatakeshvara?Adi--Bangalore S.Mukund
Hatakeshvaram bhajeham--T/Triputa--Jayachamaraja Odeyar
Himagiri nilaye?Adi--Dokka Sriramamurti
Mahesham namami anisham minakshi sundara?Adi--Ashok R.Madhav
Naraharim ashrayami satatam naradadi muni?Triputa--Muttusvami Dikshitar
Radha hrudayanu gunamuruti (lkg)?Dhruvarupakam--Venkatamakhi
Rakshasu mam shri laksmipate kari rakshaka--T/Triputa?Balamuralikrishna
Shivakameshvarim chintayeham shringara?Adi--Cuddalore Subramaniam
Shri raja rajeshvari shritajana palini?Rupaka--R.K.Suryanarayana
Tan taniyai ninriyangum atral?Triputa?Tamizhnambi
Vishveshvara (lng)?Triputa--Govindacharya

coolkarni

Post by coolkarni »

coolkarni

http://rapidshare.de/files/3819392/Uday ... u.mp3.html

sorry for posting shubhapanthuvarali twice.

Raja Chandra
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Post by Raja Chandra »

Raja Chandra

to the best of my knowledge shree oDeyar has not written any book titled "hAlAsyapurANaM", Any way it could never have been published by mysore university. but shree Odeyar has published many books under the series " shree jayachAmarAjEndra vEdaratNamAlA (around year 1953) this was a first ever attempt to translate the vEdA's and upansihad's to kannaDa. AsthAn mahAvdvAn h.p.venkata rao was the translator and editor and he was assisted by a galaxy of vidvAn's like shree g.n.chakravarthi, shree g. vishnumoorthybhattaru, shree h.ganagdharashastri, shree srinivasa shastri, shree hittavaLLi bilgiriraMgajOyisaru, shree hittavaLLi dEvarabhattaru, shree veMkataramaNAchAr, shree s.raMganAthan, shree puttoor anaMthakRushNamAchAr, shree seetArAmashastri.

interesting thing is each sookta has translation in kannada and english with explanation and meaning etc.

these were published after independence, it was funded by his personal funds.
unfortunately copies are avaialble any where.

Raja Chandra
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Post by Raja Chandra »

Raja Chandra

i understand hAlAsya nagrAdeeshvara menas lord of chidaMbaraM , i.e., lord nataraja.

the kRuti is more in the nature of a stOtra.

shree oDeyar was a devout shivabhakta and visted pilgrimage centres routinely and very often and i undertand used to spend many hours daily doing pooja.

here one can see a lot of hidden meaning. hatakAMbara may mean shiva behind a golden curtain. gold may have been a reference to earth and ambara to sky. the lord of paMchabhoota hAtakEshvara with a blesmishless crystal like body and adorned with garlands is chidaMbram. as per shaivAgama chidaMbram is one of the panchakshEtra. it is said behind the curtain at chidaMbaram is shoonya and open to sky !chidaMbara rahasya !......

later in the kRuti, refernce to madhura may mean just sweet ....rajeshvara who is soft and sweet.

drshrikaanth
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Post by drshrikaanth »

drshrikaanth
I agree there is lot of confusion in this lyric as well as the Kannada introduction.

First hATakEshvara= hATakasya Ishvara = Master of gold
translates in Tamil as 'chokka naathar' who is precisely the presiding deity of Madurai
CML
There is no confusion in what is said in the kannaDa introduction- just i our understanding it
The story she mentions is that dIrghikA is a mature brahmin kanyA witha a lot of tapas Sakti who, having spent her youth in meditation, is unable to obtain a suitable husband. She offers half the fruits of her meditation to anyoe who marries her. An old man with leprosy agrees to marry her. He request her to take him to various tIrtha kShEtras. As he is weak, she carries him on her head in a basket. She reaches hATakESvara in the dark where Sage mANDavya has been raised on a SUla(kazhu for whatever reasons) and is in pain. Owing to the darkness, dIrghike bangs against the SUla which makes sage mANDavya moan in pain. Enraged, he curses her saying her husband will die at daybreak. With her tapas Sakti, dIrghike prevents the sun from rising. The Gods then appeal to her to let the sun dawn which she gracefully grants. The Gods in turn grant her husband a new lease of life and make them both young. Watching all this. Lord Siva(hATakESvara) appears before them and grants long life to the husband and also remove sthe curse of sage mANDavya.

hATakESvara doe not translate to cokkanAthar in tamizh. In fact, cokkanAthan is identical in meaning to sundarESvara! cokka is" beautiful, pure, neat" and is identical in pronunciation and meaning to the kannaDa word cokka. I think you are thinking of "cokkat tangam". which only means "pure gold".


As for the quick & dirty xplanation, I couldnt do any better if you asked for a detailed pravacana.

As for the hAlAsya purANa, I was not talking of the samskRta original (sorry if I was not clear). Raja chandra has cleared some of the doubts regarding this.

drshrikaanth
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Post by drshrikaanth »

drshrikaanth

Raja Chandra
to the best of my knowledge shree oDeyar has not written any book titled "hAlAsyapurANaM", Any way it could never have been published by mysore university.
I am now fairly sure it was written by a court scholar poet in kannaDa. You mistook what I said about it being published by the Mysore University. I did not say it was published during his time. I am sure the book was published by the university as I bought it when I went to Mysore this time!!

Also, did not the mahArAja write "vahni puShkariNI mahAtmya" on the dEvatA &kShEtra mahime of rAmanAthapura rAmEsvara (The holy and purANa prasiddha village on banks of kAveri in Hassan Dt)?
i understand hAlAsya nagrAdeeshvara menas lord of chidaMbaraM , i.e., lord nataraja
I think this is incorrect. Any reasons for this belief? The other details you have given are interesting and thought-provokng.
later in the kRuti, refernce to madhura may mean just sweet ....rajeshvara who is soft and sweet.
Note the word used is madhurA and not madhura. madhurA is the name of the madurai city (as also mathurA in the north). Also IMHO the sense of sweetness does not fit very well in this context.

drshrikaanth
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Post by drshrikaanth »

drshrikaanth

rshankar
Thanks for what you said. (the quote)

Coolkarni.
What i meant by "Have you got the earlier bit?" was-
The introduction by the compere seems to begin mid-sentence. I wondered if the early part had got edited and if you could post it in cas you had it?

Lets get back to the main business now.

CML and others, thaks for the encouragement and responses.

Raja Chandra
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Post by Raja Chandra »

Raja Chandra

prof. v.ramarthnaM in his book mysoora oDeyaru mattu karnataka sangeetha at page 179 while discussing the kRuti hAtakAMbari states thus in kannada ...hAlasyakshEtra chidaMbravadudariMda nataraja moorthiyannu kuritu varNisuva yee Kruti...

rshankar
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Post by rshankar »

rshankar

shokka nAthan: I assumed that this refered to the fact that sundharEshwarar was so handsome that everyone who looked at him swooned (shokki pOnAr)....did not know that chokka/shokka meant gold in Tamizh!
Ravi

drshrikaanth
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Joined: 26 Mar 2005, 17:01

Post by drshrikaanth »

drshrikaanth

CML
Before I forget, thanks for AlavAy & hAlAsya. It had slipped me. Madurai is calle AlavAi as legend has it that a snake encircled the ancient city and brought its tail into its mouth to define the boundaries of the city. (Serpent/snake is a symbolsm of kuNDalini Sakti. Recall

atah SESah SEShIti ayam ubhaya sAdhAraNatayA"

Alam has meaning of poison in tamizh and vAi is mouth. Asya in sanskrit is mouth/face but hAla does not have meaning of poison AFAIK but of a plough! hAlAhala is of course poison..

Lakshman
Thabks for the list. You have howevr missed out C.Rangaiah and Balamuralikrishna`s kRtis in it

The kRtis is set in rAga hATakAmbari, the 18th mELa.
Scale SR1G1M1PD3N3S* |S*NDPMGRS ||

This rAga not ancient but come into use since the sampUrNa mElas started becoming popular. In the rAga R and D3 must be shown prominently to bring out the rAgabhAva. it is a SOka rasa pradhAna rAga (R1 is the biggest influence here). Singing the uttarAnga alone will bring about adbhutarasa owing to D3 but would fail to show the rAga clearly as it would sound like nATi (The most ancient & famous rAga with D3)
The equivalent in dIkShitar`s school is jayaSuddhamALavi which brings aout vIrarasa which is however again mitigated by the R1.

The kRti here is an elaborate exposition of the rAga. I paticularly liked the dhAtu for "pAtALa vAsinam";- PMGRS.N.D._N.-" where it dips into the mandrasthAyi as if going into the pAtALa. A lovely prayOga indeed.

Another attractive feature is the change of naDe and the use of triSranaDe which gives the effect of madhyamakAla sAhitya. This is a rare but welcome usage.

drshrikaanth
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Post by drshrikaanth »

drshrikaanth

rAja candrare
rAmaratnamravaru barediruvudu tappugrahikeyindirabEku. cidambaravannu halAsya kShEtravendu karediruvudakke nanage tiLida maTTige yAva grantha AdhAragaLu illa. idaralli nanagantU samSayavilla.

cmlover
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Post by cmlover »

cmlover

DRS

aalaM for poison is an ancient tamil word which may have passed on to sanskrit. In Tamil aalaalaM was the poison spewed during the amritamathanam which became halaahalam in sanskrit (perhaps reverse assimilation aa--> haa).

Siva protecting Madurai from the sea by demarcating the city limits through the encircling snake with its tail in the mouth is described in the ThiruviLayaadal (kadalchuvaRa vEl viTTa padalam). Perhaps there was a TsuNami in ancient times!

drshrikaanth
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Post by drshrikaanth »

drshrikaanth

This kRti in udayaravicandrike has been renders by ViduShi T.S.Sathyavathi and R.Chandrika. Sathyavathi is the one who enunciates the sAhitya initially. She is profound scholar and lecturer of sanskrit (and of course music). She is on of the torchbearers (so is M.S.Sheela) of Srikantan tradition. Chandrika is a younger artiste but well known in music circles. She has learnt from viduShi G.N.Nagmani Srinath among others.

The sAhitya is here.

|| manOnmani||

rAga: udayaravicandrike ; caturaSra dhruva tALa

P: manOnmani mAmavatu mAnasOllAsini ||

AP: mahAdEva mOhini madhurAnagara nivAsini |
mahiShabhaNDa tripurAsura pramukha mada bhanjani |
mahArAj~ni mahAdEvi mahAmAnini mAdhavi mAtangi ||



SrIpuravAsini SrIvidyA kaivalyadAyini |
SrI girISakAmini SrI SaSiSEkhara mOdini |
SrI durgAmbikAdyamartyAdi vanditA SrIlalitA |
SrIkarOdayaravicandrikA prakASitA |
harivirincAdi samsEvita hiraNmaya kamalapadA paradEvatA ||

In the 3rd line in the caraNa, the part I have marked in Italics is where I have some doubts. Could others listen and tell me what is the sAhitya there?

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