Value of OVK's contributions

Carnatic composers (other than performing vidwans)
chitravina ravikiran
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Re: Value of OVK's contributions

Post by chitravina ravikiran »

What is 'dhrta kara ' referring to?
My fault! It is dhrta mrga.
vRta hayakara mukha
Could it be: nata aya kara? - One who bestows good fortune to devotees.

mukha paramandahAsam is a separate phrase.
So does this explode the myth that Kharaharapriya was unknown before Thyagaraja?
Kharaharapriya is one of the earliest ragas known to man - T has composed numerous brilliant songs in it. Since MD and SS were not known to have employed it, the CM world thought it was unknown.
How does OVK handle the raga?
OVK's handling of Kharaharapriya is brilliant I have presented this piece in Carnatica's Album, Sahityaanubhava (taken from a live vocal concert with RKSK and Guruvayur Dorai sir). I have presented the grand rAsa kEli vilAsa in another vocal album (18 Steps - with Delhi Sundar, Aiyappan Venkataraman, T H Subhashchandran and Ganesh Kumar, produced by the SSVT, Washington folks) where the composer has inserted a short chittaswara in the middle of the charanam, as a part of the lyrics (but not as swarakshara).

hamsaa
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Joined: 06 May 2011, 21:32

Re: Value of OVK's contributions

Post by hamsaa »

indu shekhara kuTilAlaka vrta

could mean the moon that is hidden in the curly locks of Shiva

kuTilAlaka - curly locks

vrta - concealed

A similar description has been used by OVK in another beautiful composition in Tamil in Vasanta - neela malar

mOna ezhil kANa nANi vAnamadiyAnadanji moolanAdan shaDai pOnadO

I'll share the lyrics for this in a separate post

hamsaa
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Re: Value of OVK's contributions

Post by hamsaa »

A tamil composition of OVK in Vasanta set to Adi talam

P: neela malar kOla tiru mEni kaNDu mOham koNDu nenjam niraivAnadE - atishaya

AP: shOlai tanil naTamADum tooya kuzhal ishai pADum
MK: sukhamurum asuNamum mahizha virittADum
iragu nizhalamarum ezhilukkezhilAna

C: vAnavillil kANuginra vaNNa vaNNa niramellAm vandu vandu sharaN puhundadO
mOna ezhil kAna nANi vAnamadiyAnadanji moolanAdan shaDai pOnadO
gAna mazhai pozhindiDa gandharuvar kinnararum mAnam anji maraindanarO

MK: tEn aruvi pOl oLirum un vadana teenchuvaiyil viLaiyaDum makaramena

cmlover
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Re: Value of OVK's contributions

Post by cmlover »

Resolved the mystery of 'sangāti shoora' courtesy of our DRS (Dr. ShrIkaanth)
sangAtishUra = sanga (conflict/battle) + atishUra (exceedingly brave)
This is a bahuvrIhicompound meaning 'one who is exceedingly brave in battle = AnjanEya',
atishUra is an avyayIbhAva compound..
The vigraha will be
sangE atyayEna shUratvam iti

cmlover
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Re: Value of OVK's contributions

Post by cmlover »

hamsa
indu shekhara kuTilAlaka vrta
Your explanation is nice and appropriate..
Then the next may be 'bhayakara mukha' or 'abhayakara mukha'....

cmlover
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Re: Value of OVK's contributions

Post by cmlover »

What is the interpretation of
MK: sukhamurum asuNamum mahizha virittADum
iragu nizhalamarum ezhilukkezhilAna

rshankar
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Re: Value of OVK's contributions

Post by rshankar »

My interprettation: In the pallavi, the composer says, "as I behold (kaNDu) the beauty (kOla) of the nilOtpalam (nIla malar)-like complexion (tiru mEni), I am intoxicated (mOham koNDu) and my heart (nejam) is overjoyed (niraivAnadE)."
In the AP (if we link everything back to the pallavi) he continues and says, "in the garden (SOlai tanil), as the exemplary/blemishless (tUya) flute (kuzhal) brings forth (pADum) music (iSai), in the happiness induced by which (sukhamurum), even the mythical creature called asuNam (asuNamum)[1] expresses delight (magizha), as the peacock dances (naTamADum) with its expansively unfolded (virittADum) feathers (iragu), the complexion of the Lord who is sitting (amara) in the shade (nizhal), rivals the beauty (of the blue in the peacock's tail feathers)...."

[1] AFAIK, asuNam is a creature who is affected extraordinarily by music. Sri Ravikiran, Hamsa, Rajani, or Keerthi may be in a position to explain more.

Another interseting thing about this vasantA composition is that Sri OVK refers to Siva as mUlanAthar. Typically, it is vishNu who is refered to as AdimUlam*.

* Pardon a digression, but the epithet AdimUlam always conjures up the image of Smt. MSS as mIrA singing 'yAnai anru Adi mUlamE yenru OlamiDavum ODi vandanayE', in the song, 'arangA un mahimaiyai arindavar yAr?'

rshankar
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Re: Value of OVK's contributions

Post by rshankar »

cmlover wrote:'bhayakara mukha'
could be bhayankara mukha, because typically Siva is described as one with a fearsome appearance (in the naTESa kauttuvam, the descriptor used is 'rUpa bhayaMkara')

cmlover
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Re: Value of OVK's contributions

Post by cmlover »

Good work Shankar!
I was stumped by asuNam and now checked with my Tamil lexicon. You are quite right!
bhayakRu = terrify --> bhayakara is quite legal as is bhayamkara of course..

Pratyaksham Bala
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Re: Value of OVK's contributions

Post by Pratyaksham Bala »

rshankar wrote:Another interseting thing about this vasantA composition is that Sri OVK refers to Siva as mUlanAthar. Typically, it is vishNu who is refered to as AdimUlam*.
The chief deity of tiruppaRRuRai (tiruppalaturai) Shiva temple is called Sri Moolanathar.
There is another Sri Moolanathar (Shiva) temple in Tenkarai, Madurai District.
One more Sri Moolanathar (Shiva) temple is located at Bahoor, near Pondicherry ...

Pratyaksham Bala
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Re: Value of OVK's contributions

Post by Pratyaksham Bala »

Tamil Lexicon:-
"அசுணம் acuNam -- A creature believed to be so susceptible to harmony that when it is fascinated by notes of music, a sudden loud beat of the drum causes its instantaneous death."

Suji Ram
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Re: Value of OVK's contributions

Post by Suji Ram »

Pratyaksham Bala wrote:Tamil Lexicon:-
"அசுணம் acuNam -- A creature believed to be so susceptible to harmony that when it is fascinated by notes of music, a sudden loud beat of the drum causes its instantaneous death."
Could it be a bird(s)? In the book "The forgotten Empire-Vijayanagara", I remember reading this-During Navaratri festival in the kingdom (500 y ago) loud drum beats and sounds of trumpets caused birds to fall dead from the sky.
And recently we heard birds falling dead after New year's eve from firecrackers(?).

hamsaa
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Re: Value of OVK's contributions

Post by hamsaa »

lovely interpretation of asuNam and the whole song, rshankar.

This shows the lovely imagination and scholarship of OVK that opens up avenues for intellectual discussions amongst rasikas too.

cml,

I think it should be aya kara - meaning one who bestows good fortune, as Shri Ravikiran had pointed out in post # 126. I know this song and bhayakara, bhayankara or abhayakara does not seem to fit into the meter in that line. Perhaps Shri Ravikiran can throw more light on this !!

cmlover
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Re: Value of OVK's contributions

Post by cmlover »

Yes Hamsa
ayakara fits good. OVK appears to use expressions not seen elsewhere. His depth of knowledge in sanakrit (and Tamil) is commendable and we should think twice before messing with his lyrics. Unfortunately the lyrics come to us from manuscripts written much later mostly by folks not having good language skills. I would like to know whether the 'NKB notes' were written by him or by his predecessors (at least some). Linguistically more vedic sanskrit was prevalant 250 years ago which are no longer current. I would like to know whether there are quotations from vedas in his compositions. I am sure RK will share more and more of these lyrics in original as he uncovers them...

cmlover
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Re: Value of OVK's contributions

Post by cmlover »

The reference to 'அசுணம்' is intriguing. Is that a Tamil (or even Telugu) word and if so what is the etymology.
Can PB delve deeper and check other references. Probably it will help us get a fix on the timeline of OVK!

keerthi
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Re: Value of OVK's contributions

Post by keerthi »

1. In the tODi kRti anjanAnandAmbOdhi-candraM -

- The anupallavi must begin sancita-bhava-bhaya etc.It isn't sanjita. taraNa seems problematic tAraNa would seem appropriate, but that would cripple the prAsa.

- jitEndra can be taken as a dEsya influence leading to a truncation of jitEndriya to jitEndra. It is a coomon enough term(while ungrammatical), used as a name in north India. Our trying to patch it up will spoil the prAsa with candra.

- tapana-mukha-sanga - agnimukha is a term for the dEva-s [since agni serves as the mouth/ portal for them to recieve their havirbhAga-s]. tapana is a synonym. tapanamukha-sanga can be read as one who associates with the gods.

The other interpretations don't account for tapana.


2. sundara-naTarAja -
indu shekhara kuTilAlaka vrta

could mean the moon that is hidden in the curly locks of Shiva
hamsaa,

samAsa-s (compounds) that have the noun (vishESya) before the adjective (vishESaNa) aren't common in SanskRt, and its family of languages. This is seen in languages like french though.. the international system of units is called 'Système international d'unités'.

3. asunaM,

rshankar,

never heard of this beast, but there are accounts in the hill folk of the North East, and in Himachal of how the kastura deer can be hypnotised by flute/drum music. This is recorded in kAvyas too.

I studied this poem which laments the use of music as a poaching tool. St. Cecilia is the patron of music.

http://www.poetrylibrary.edu.au/poets/h ... us-0559004

4. hayakara- mukha-para..etc

While trying to interpret manuscripts and single source texts, we can't just try and fit in a suitable word with the right metric frame or number of syllables. It is important to consider the scripts used for the language of composing, as well as the script used to record the text, and then, good, sensitive editors get insights like na and va being similar in handwritten codices in dEvanAgari. Similarly a ka- ca - ku - ta conflation is possible if the tamizh script is used.

I say this respectfully, but aya/bhaya/haya -kara seem like unrestrained speculations.

rshankar
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Re: Value of OVK's contributions

Post by rshankar »

Keerthi that is a very powerful poem. Although disturbing, I am glad you shared. But this asuNam, as far as I know, is a mythical beast (possibly of the same ilk of hippogriffs and thestrals)....

Pratyaksham Bala
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Re: Value of OVK's contributions

Post by Pratyaksham Bala »

cmlover:

In kambarAmAyaNam - kitkinda kANDam, there is reference to ashuNam:
அசுணம் துயில்வுறும் ஏமகூடம் எனும் மலை

In naTRiNai (244):-
வண்டின் நயவரும் தீம் குரல்
மணம் நாறு சிலம்பின் அசுணம் ஓர்க்கும்

In aganAnURu (88):-
யானைக் கவுண்மலி பிழிதரு காமர் கடாஅம்
இருஞ்சிறைத் தொழுதி ஆர்ப்ப, யாழ்செத்து,
இருங்கல் விடர்அளை அசுணம் ஓர்க்கும்
.

chitravina ravikiran
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Re: Value of OVK's contributions

Post by chitravina ravikiran »

Fascinating stuff from all of you about asuNam, including the Kamba Ramayana reference.
jitEndra: Our trying to patch it up will spoil the prAsa with candra.
I agree. This is where the contextual knowledge (rather than only textual) knowledge is so important. For instance, a lexicon like even Monier Williams does not talk about the metamorphosis of such words.
sancita-bhava-bhaya etc. It isn't sanjita
Yes, we see sancita even in several compositions such as GNB's Ranjani niranjani. But is there a meaning difference between the two words or does sanjita become sancita?
tAraNa would seem appropriate, but that would cripple the prAsa.
But isn't the prAsa on the 2nd syllable here - anjana and sancita? Even were it to be antyakshara in AP, wouldn't the 'Na' alone be considered?
hayakara- mukha-para etc:
The books of NKB and students have said hayakara (though it's written in Tamil).
It is important to consider the scripts used for the language of composing, as well as the script used to record the text,
I completely agree. I have frequently waded through such typo/transliteration-related issues. Sometimes, it is as simple as an individual's handwriting/hearing if someone writes it during class/recording, even when the script of composing and documenting are the same.

keerthi
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Re: Value of OVK's contributions

Post by keerthi »


Yes, we see sancita even in several compositions such as GNB's Ranjani niranjani. But is there a meaning difference between the two words or does sanjita become sancita?

The correct word in sanskRt is sancita. sanjita is a result of the Tamizh influence. Using another example from the GNB song - cancalamu becomes sanjalamu, which is prevalent but wrong.

But isn't the prAsa on the 2nd syllable here - anjana and sancita? Even were it to be antyakshara in AP, wouldn't the 'Na' alone be considered?
anjanA and sancita is the dvitIyAkSara-prAsa. ramaNa and taraNa represent the ant(y)a-prAsa. Here it isn't so much prAsa as we conventionally understand it, as much as metric consonance - as used by OVK in words like muraLIdhara and murabhIkara and musalAdhara.

srikant1987
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Re: Value of OVK's contributions

Post by srikant1987 »

as used by OVK in words like muraLIdhara and murabhIkara and musalAdhara.
So it is muraLI and not muralI?

bkishore
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Re: Value of OVK's contributions

Post by bkishore »

Some songs on Anjaneya have also been found out. One is in Vasantha "Pavanakumara" and another one in Madhyamavathi "Baktha Baagadeya Anjaneya".
Oottukadu Venkata Kavi has composed songs on Tiruvallikeni Lord ParthaSarathy "Parthasarathy Paramadhayanidhi", "Allikeni karaiyinile", "Gathiyaaha Vendum", on Lord Surya "Padmini Vallabha ", on Goddess Saraswathi of Koothanur "Sarasija Bhava Jaye"

Is there any audio availabe for these?pl share
bk_7in@yahoo.com

cmlover
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Re: Value of OVK's contributions

Post by cmlover »

keerthi
Using your interpretation how can we explain
dēva tapana mukha sanga in the context of AnjanEya

I interpret as independantly
tapana mukha = firy red face (atipATalAnanam)

sanjita can be correct meaning 'well conquered'
sanjita bhava bhaya = one who has expertly conquered the fear of rebirth = chiranjIvi
Next line 'sAgara taraNa' is separate meaning his crossing the ocean...
The books of NKB and students have said hayakara (though it's written in Tamil).
based on this I surmise it is 'bhayakara' in tamil script where the grantha letter for 'bha' was written originally which indeed resembles 'ha' in Tamil. Check
http://en.wikipedia.org/wiki/Grantha_script

I agree with keerthi that we should try to interpret the lyrics as it is before our guessing variations.

I woudl appreciate RK telling us about the 'age and authorship' of the notes.
Are there more than one set of notes?
Are there any musical (swara notations in the notes}?

cmlover
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Re: Value of OVK's contributions

Post by cmlover »

PB
Thanks for the research..
asuNam appears to be old Tamil word used in ancient Tamil. Shows OVK's familiarity with old Tamil literature. The word must have been used among scholars during OVK's time and then fallen into disrepute..
Old Tamil refers to asunam as either an animal (mA) or as a bird (puL). OVK appears to subscribe to the latter view...

Singer_USA
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Re: Value of OVK's contributions

Post by Singer_USA »

/
Last edited by Singer_USA on 11 Jun 2011, 18:36, edited 1 time in total.

Singer_USA
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Re: Value of OVK's contributions

Post by Singer_USA »

Here is a link for
Sarasija bhava jaye by Savita Narasimhan

http://sangeethamshare.org/tvg/UPLOADS- ... baiyar.mp3

Regards,
Seetha.

chitravina ravikiran
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Re: Value of OVK's contributions

Post by chitravina ravikiran »

Here is another song on Anjaneya. So far I have collected the tunes of 6 out of the Anjaneya Saptaratnas. I am yet to get the tune of this piece. I know another piece by OVK in this raga, Rasamanjari, which is a derivative of Kharaharapriya (distinct from MD-school Rasamanjari which is the asampoorna predecessor of the 72 melakarta, Rasikapriya).

Rasamanjari Adi

P: sattva guNa virachitAnga shailAvatAtanka shubhAnga
satya makuTa dharma kaTaka mangaLa tAraka nAma hArAlankAra shree

A: nitya jeevana jeevana tanaya – nirupama guNa mana nirmala vinaya
bhakta brndAraka bhAvita gaNya

M K: paramOttama raghu rAma doota –
divipati nAthAnuchara kShiti pati natAnuvara – shree

C: shree rAma pAda smaraNAnanda kShiti sutA dukkha hrta hanumanta
ArAdhita sarva sajjanAnanda avanata nArada geeta svachchanda
Anguleeyaka tatheeya jAnaki Anana kamala vilOhita nayana

M K: anagha naga dharaNa vinuta sura charaNa
gaganamapi gamana kali kaluSha haraNa

Apart from the Anjaneya Saptaratnas, I have seen another brilliant piece in Tamil, which is part of OVK's Mahabharata.

chitravina ravikiran
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Re: Value of OVK's contributions

Post by chitravina ravikiran »

I have posted the Anjaneya krti that appears as a part of OVK's Mahabharata (I have only seen a few songs from this opera so far). Here, Bheema talks about Anjaneya's greatness to the 'old monkey' which has blocked his way, not realising its identity...

Madhyamavati Adi

P: sholla vallEnO - maRaiyOdi paravu malar pAdan
seeta nAthan shree rAma dootan perumai (sholla vallEnO)

A: vallavaraippOlum vazhi maRutta Or vAnaramE idu kELum
nalla uRai shonnEn aNNanadu perumai - gnyAnam vandavuDan vazhiviTTu meeLum (sholla vallEnO)

C 1: teLLiya pavana dEvanukkum anjanA dEvi tanakkum mahanAha udittAn
tihamoLi kadiravan kaLiru tilakamODu kaniyena manamODu piDittAn
Arum aRivadAna paDi kadiril mEvi Ayirattil onbadu paDittAn
Ahiri tannil munamE giri uruhavumAkki nAradanin mamadaiyai piDittAn (sholla vallEnO)

C2: tEDi vanam vanda shree rAmachandran enum daivam puhazhinukkAnavai yuTrAan
tirumahaLazhiyinai kaNDu annai tarum chiranjeevi enum Ashiyum peTrAn
nADi purudumoru vELai teeyaiyiDa rAvaNan nagar tanai teeyiDa uTrAan
rAma rAma jayarAma rAma jayarAma ena nAmamum kaTrAn (sholla vallEnO)

C 3: iyann mahizha ivayyam mahizha perum aDarum sanjeevi malaiyODum vandAn
anaivarum uyir pera Anandam tanaiyura attaruNam iyyanadu pAdam paNindAn
uiya vahai aRiya ninRu ninRulava uLLoLi tannoDum engum uvandAn
uRangi iDaRiDu munnaiyum valiyuRa OraruL endanukku uDanukkuDan eendan (sholla vallEnO)
--------------------------------------------------------
1. I could not grasp the full significance of line 2 in Charanam 1. OVK also mentions this in the Anjaneya saptaratna krti in Suruti.

2. In line 4, he mentions the raga Ahiri - so I wonder if the song was in Ahiri. I have not located the audio so far.

cmlover
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Re: Value of OVK's contributions

Post by cmlover »

1. Apparently refers to Anjaneya thinking (manamODu) the Sun (kadiravan) for a fruit (kani) and trying to catch it (piDittAn). The story is wellknown.
But OVK states that he mistook the Sun for aan elephant (kaLiru) with a bright (tiha'zh'oLi ?) tilakam. I have not heard such a version of the story...

2.There is no record of the raga in which Anjaneya defeated Narada in the
musical context.
OVK's guess is as good as any..

chitravina ravikiran
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Re: Value of OVK's contributions

Post by chitravina ravikiran »

In the Suruti song, he says: paripIDita airAvata sindUra tilakam.
I wondered where the connection was between airAvata and anjanEya. Then I saw the Mahabharata song which mentions something similar. Must be some rare story...

I agree, there is no documentation of the raga in the original story. Since I have not heard anyone sing this song and only copied the lyrics from NKB's student's book, which said Madhyamavati, I wondered if she had got the raga name wrong.

Ponbhairavi
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Re: Value of OVK's contributions

Post by Ponbhairavi »

The continuation of CML's story appears to throw some light;
first song: thigazhoLi kadiravan= bright sun
kaLiru thilagam to be joined together. = the best or the chief of all elephants that is airAvatham of devendiran. Hanuman reached for the bright sun along with the airavatham which came as obstruction The continuation of the story is when Hanuman tries to catch the sun mistaking it for a fruit, Indran sends his elephant airAvatham which is also beaten by Hanuman.then Indiran himself comes personally and hits hanuman with his gathayudham which accounts for his swollen cheek and the overall sindhura smear.
this seems to account also for the Suruti song mentioned by RK. பரி has dozens of meaning one of which is strong, very poweful. pari pIditha is very angry ,full of rage etc
rajagopalan

cmlover
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Re: Value of OVK's contributions

Post by cmlover »

Beautiful Ponbhairavi! That explains it.
Indeed the word 'thilagam' is used to indicate the best of its kind
e.g., naDikar thilagam = Sivaji Ganesan ( a bahuvrIhi compound)
paripIDita is a sanskrit word meaning 'oppressed'. OVK freely uses sanskrit words and even sanskrit grammar in Tamil showing his versatility in both the languages!

Actually the story I know is where Indra rushes to protect the Sun riding on his airAvata and the baby Anjaneya oppresses the elephant and then Indra smacks him on the face with his vajrAuta which produces the swollen face whence he is called 'hanumAn'(the one with a swollwnface hanu =chin).

Ponbhairavi
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Re: Value of OVK's contributions

Post by Ponbhairavi »

Thank you
rajagopalan

cmlover
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Re: Value of OVK's contributions

Post by cmlover »

I am intrigued by
'Arum aRivadAna paDi kadiril mEvi Ayirattil onbadu paDittAn'
What is the significance of 1009 ?

uday_shankar
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Re: Value of OVK's contributions

Post by uday_shankar »

cmlover wrote:There is no record of the raga in which Anjaneya defeated Narada in the musical context
And there can't be. Ragas were first mentioned by mAtanga in the 5th century...

Singer_USA
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Re: Value of OVK's contributions

Post by Singer_USA »

Thanks to Ponbairavi and cmlover for the story of Hanuman.

mukta
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Re: Value of OVK's contributions

Post by mukta »

*pari pidita* is afflicted{?}

hamsaa
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Re: Value of OVK's contributions

Post by hamsaa »

samAsa-s (compounds) that have the noun (vishESya) before the adjective (vishESaNa) aren't common in SanskRt, and its family of languages. This is seen in languages like french though.. the international system of units is called 'Système international d'unités'.
I totally agree with this Keerthi. But in the same line, we have a similar usage - mukha para mandahAsam.

So there must be a specific purpose as to why OVK has used it this way. I was only looking looking at possibilities of how this could be interpreted.

Do you have any suggestions?

Thanks cml and ponbhairavi for some lovely interpretations about the airavatha and Sun God related incidents.

'Arum aRivadAna paDi kadiril mEvi Ayirattil onbadu paDittAn'
What is the significance of 1009 ?
It says Ayirattil onbadu !

uday_shankar
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Joined: 03 Feb 2010, 08:37

Re: Value of OVK's contributions

Post by uday_shankar »

Could it be related to the fact that Hanuman was a "nava-vyakarna panditah"?

kaapi
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Joined: 05 Jun 2005, 14:32

Re: Value of OVK's contributions

Post by kaapi »

Possibly it is "Ariyattil onbadu" meaning nava vyAkaraNa paNditha

chitravina ravikiran
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Re: Value of OVK's contributions

Post by chitravina ravikiran »

Possibly it is "Ariyattil onbadu" meaning nava vyAkaraNa paNditha
Very good point.

I will now share the lyrics of a song that may be familiar to many of you, Padmavati ramanam, which is a tribute to Jayadeva. This has been a part of bhajana sampradaya tradition for many years.

pUrvikalyANi Mishra chApu

P: padmAvati ramaNam jayadEva kavirAja bhOja dEva suta
padmapAda smaraNam kuru mAnasa

A: yad gOpi vadanEndu maNDala ramitam
tad gOvinda pada candra cakOram shrI

C: kindubilva sadanam - ati
divya mangaLa vadanam
sundarAnga shubha shObhita madanam
sumukhi ramAdEvi priyakara sudhanam

M K: saha paNDita samUha sEvyam
shata manmatha jita mahanIyam
satata krSNa prEma rasa magna
samAna rahita gIta gOvinda kAvyam

1. The excellent dviteeyakshara prasa on the half syllable 'd' in P and AP reveal not only the poet's competence in rhyme but also his scholarship and original approach in Sanskrit (when viewed against the backdrop of CM literature). So also the word play sEvyam and kAvyam in the final MK.

2. The composer has mentioned most salient aspects of Jayadeva's life including his town, parents and his geeta govindam.

3. The final MK begins on the beat and ends 4/14 units after the beat - a subtle pointer that only the original composer tuned it as well.

4. Melodically, a brilliant treatment of the raga covering most of its familiar phrases in the first few sections and giving a refreshing turn in the final MK.

5. NKB notation has the whole pallavi in normal speed only (as opposed to some artistes singing parts of it fast).

Ponbhairavi
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Re: Value of OVK's contributions

Post by Ponbhairavi »

My guess is as follows;
Arum aRivadAnabadi= ஆறு அறிவு படைத்த வர்கள் கற்றுகொள்வதைப்போல்
கதிரினில் மேவி = travelling through the rays(SUN was the guru of Hanumaan)
Ayirathil= The Sama veda was supposed to have 1000 sakas
onbadu =nine grammars as you have said nava vyakarana ( pandithar)
Ariyathil is also possible because Ariyam indicates the sanscrit language in which he has learnt the 9 grammars.
rajagopalan

cmlover
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Re: Value of OVK's contributions

Post by cmlover »

Good work folks!
MD refers to Hanuman as Nava VyAkaraNa nipuNa in PavanAthmaja aagaccha
There is somewhere a reference to the Sun being the Guru of Hanuman.
Though I like 'Ariyathil' I think we should kkeep the lyric as it is.
In this case 'Ayirathil' perhaps mean 'many' indicating numerous vyakarnas wherein vyakarna gets the extended
meaning of the grammar of all arts and skills and Hanuman being a versatile genius on several aspects especially nine among them,
See also our own discussions
http://rasikas.org/forums/viewtopic.php?t=4029 ... ranas.html

cmlover
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Joined: 02 Feb 2010, 22:36

Re: Value of OVK's contributions

Post by cmlover »

Thx RK. A quick question
Has OVK composed any on the Ashtapadi style of lyrics?

Ponbhairavi
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Joined: 13 Feb 2007, 08:05

Re: Value of OVK's contributions

Post by Ponbhairavi »

I correct myself. arum is small r and not capital R therefore it means precious excellent- so " as precious knowledge " he went to learn etc....
rajagopalan

uday_shankar
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Joined: 03 Feb 2010, 08:37

Re: Value of OVK's contributions

Post by uday_shankar »

cmlover wrote:Though I like 'Ariyathil
Me too! Maybe it might have even been "onbadum" instead of "onbadu" which would make the phrase "kadiril mEvi Ariyattil onbadum padittan" "learned all nine (grammars) of Sanksrit from the Sun's rays"...which squares well with the well-established notion elsewhere that a) there are nine major works on grammar b) Hanuman learned them all from the Sun God. Also maybe "Ariyattil" has a nice quasi-alliterative association with Arum aRivadAna ?? I better shut up :).

Ponbhairavi
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Re: Value of OVK's contributions

Post by Ponbhairavi »

Two more observations:
1-Pl note the beginning word of the pallavi ;Padmavathi ramanam jeyadeva kavi.
It has a special connotation.All the ashtapathis (24) bear the signature of the author as "shri jeyadeva "
The lone exception is ashtapathi 19(Mukhari) where the signature is Padmavathi ramana jeya deva kavi
( the story behind this is well known in bhajanai sampradayam; lord shri krishna favoured Padmavathi with his darshan before bestowing it to Jeyadevar ) O V K has exactly adopted the very same words of Jeyadevar as the opening words of his composition in praise of him.
2- Similarly note the beginning words of the anupallavi: yadgopi vadanendu . These are exactly the same words with which begins the dhyana sloka preceding the recital of the gita govinda maha kavyam. This shows how deeply he is soaked in the bhagavatha Sampradaya.
rajagopalan-

cmlover
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Joined: 02 Feb 2010, 22:36

Re: Value of OVK's contributions

Post by cmlover »

Astute observation Ponbhairavi!
In fact this composition is used as a prelude to singing ashtapadi in some bhajana paddatis. In view of the hoary tradition of the bhajana sampradaaya we may speculate that the incorporation may have been quite ancient refuting OVK being modern according to some speculations.
In fact many of the rhyming patterns of OVK are reminiscent of Jayadeva and hence a lexical analysis of OVK vis-a-vis Gita Govinda may be fruitful...

chitravina ravikiran
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Re: Value of OVK's contributions

Post by chitravina ravikiran »

Excellent points by all of you. Jayadeva was definitely one of OVK's idols - not only in terms of elegant expression but also to the extent that OVK is probably the only CM composer to have composed several songs on Radha and given her pride of place. (I have not seen ashtapadi style lyrics though.)

Yet, we have to remember that Jayadeva was only one of the people who inspired OVK. Here is OVK's salutation to Valmiki, with an equally significant beginning. The song has a samashti charanam. Other examples of such OVK songs include: Senapate (Gowla) and Tyagaraja paramesha (Chakravakam).

aThANa Adi

P. vandE vAlmiki kOkilam
MK. vANiIkara vINA gAna viramita ramaNIya kUjita madhura
varNita karNa manOhara rAghava mAdhurya chAturya charitam

C. ninditAbha ghana nIla sutanum
nirarkaLa charita nIla gaganam
antitAdhikAnanda tapanam - tat
anumOdita prasanna vadanam

MK. ati rUDhita kavitA taru sadanam aparimita kutUhala yuta vachanam
janakajA tanaya kusha lava krtAnu sangIta paramOnnata nidhanam

cmlover
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Joined: 02 Feb 2010, 22:36

Re: Value of OVK's contributions

Post by cmlover »

Obviously inspired by the dhyana shlokam
kUjantam rAmarAmEti madhuram madhurAkSharam |
Aruhya kavitAshAkhAm vandE vAlmIki kOkilam ||


Keerthi:
any idea who composed those dhyanashlokams that we recite before commencing
rAmAyaNa pAThaM..

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