Jayachamaraja Odeyar (Mysore Maharajah) - Part I

drshrikaanth · Post by **drshrikaanth** » 25 Aug 2006, 23:32

SarvAdi praNavalinga nAyakIm
-------
I liked the clevar interpretation of svara as the vedas (I assume it is your own!).

Thanks for the explanation ,and the appreciation of my interpretation.

cmlover · Post by **cmlover** » 25 Aug 2006, 23:32

How come we have not yet discussed the very first composition of Odeyar
shree mahAgaNapathiM bhajEhaM' in rAga aThANa ?

I would like to know whether this has been rendered by senior artists. It is a wonderful lyric to be on the top list of Ganapathi lyrics.

drshrikaanth · Post by **drshrikaanth** » 25 Aug 2006, 23:33

ShaDvidhamArgiNi is the 46th sampUrNa mELa. The corresponding asampUrNa mELa is stavarAja which is quite different in structure. Its scale is

SR1G2M2PD2N2S* | S*NDPMGRS ||

It is the pratimadhyama rAga of nATakapriya. it differes from rAmapriya only in the gAndhAra swara and the uttarAnga is very reminiscent of latter. The pUrvAnga brinngs to mind SubhapantuvarALi which is from the same cakra(Obviously if pUrvAnga is identical!).
Thee is some jAru gamaka in the pUrvAnga. The uttarAnga is bright.
R.R.Keshavamurthy says that the rAga brings SAnta rasa. The rAga can give more than one rasa and actually seems a medley of emotions. It is a pleasing rAga and can be expanded at length.
oDeyar has again brought out the essence of the rAga in his kRti. His deft introduction of the rAgamudre is also noteworthy.

drshrikaanth · Post by **drshrikaanth** » 25 Aug 2006, 23:34

Coolkarni
While you hopefully locate other pieces in ShaDvidhamArgiNi, would you by any chance have the "stavarAjAdi", the stavarAja piece by MD ( the only known kRti!)? Please post it if you do.

meena · Post by **meena** » 25 Aug 2006, 23:34

Dasara festivities @ Mysore

http://www.kutcheribuzz.com/news/20050930/mysore.asp

drshrikaanth · Post by **drshrikaanth** » 25 Aug 2006, 23:34

The next one in narAyaNadESAkShi.

http://rapidshare.de/files/5744400/nArA ... i.mp3.html

coolkarni. Please feel free to do some doctoring on the clips I post.

coolkarni · Post by **coolkarni** » 25 Aug 2006, 23:34

Bhavathu Aham Karishyami
Was this Correct ?

cmlover · Post by **cmlover** » 25 Aug 2006, 23:35

Bravo!
saadhu, mayaa kriyataaM!
(Very good, it will be done by me) is more classical Sanskrit!
However
jayatu, yaddEva A~nApayati
(victory! as my master commands )
will be more appropriate for DRS
(one that will make kaaLidaasa jealous! )

drshrikaanth · Post by **drshrikaanth** » 25 Aug 2006, 23:35

Well
what can I (a mere senior) say when superseniors are commenting

Raja Chandra · Post by **Raja Chandra** » 25 Aug 2006, 23:35

Hope the senior won't mind a sub-junior interjecting I am only obliging a super senior !

CML,

d/l

http://rapidshare.de/files/5755248/aThA ... M.mp3.html

also:

http://www.musicindiaonline.com/l/3/m/composer.208/

cmlover · Post by **cmlover** » 25 Aug 2006, 23:35

Thanks RC

Who is the singer?

I also am looking for a concert style rendering. The lyric is so beautiful and I just cannot wait for a scintillating discussion by DRS. Since you had mentioned this is the very first composed by Odeyar I am also curious why aTHANA instead of Hamsadhvani or nATTai. I guess there is an interesting anecdote buried in there. Again I am at a loss why I have heard it only as a light music and never by the prominant musicians of the day (who must all be aware of it). Is there a curse on Odeyaar kritis

drshrikaanth · Post by **drshrikaanth** » 25 Aug 2006, 23:36

I have heard "SrI mahAgaNapatim" by several seasoned artistes in concerts.
As for aThANa being the rAga of first composition, I dont see anything odd. The mind does not follow rules and inspiration comes uninvited. tyAgarAja`s first composition was in an unconventional rAga. So was the case with SyAmA SAStri.

rshankar · Post by **rshankar** » 25 Aug 2006, 23:36

Here is a 'seasoned' artist's rendering of the aTANA composition:
http://rapidshare.de/files/5763266/02_s ... i.m4a.html
Ravi

cmlover · Post by **cmlover** » 25 Aug 2006, 23:36

Thanks shankar. That was from Santhanam's commercial rendering of vinayaka kritis; not from any concert. We have had over 100 concerts u/led of the old masters and none of them have renderec this song, Unless coolkarni can find it in his archives, which I doubt; I will reserve judgement.

coolkarni · Post by **coolkarni** » 25 Aug 2006, 23:36

CML
well here is one by neyyatinkara vasudevan.
: http://rapidshare.de/files/5769468/neyy ... a.mp3.html

i have given this track right from the varnam so that the effect of the concert is not lost.

elsewhere in the swathi thread, i will put up another krithi which appears further down the road here,some brilliant violin playing...

drshrikaanth · Post by **drshrikaanth** » 25 Aug 2006, 23:37

We have had over 100 concerts u/led of the old masters and none of them have renderec this song, Unless coolkarni can find it in his archives, which I doubt; I will reserve judgement.

Your judgement is your own. Here is oDeyar`s nagadhvani kRti from KVN`s 1981 concert in MA.

http://rapidshare.de/files/5778392/005- ... i.mp3.html

Raja Chandra · Post by **Raja Chandra** » 25 Aug 2006, 23:38

CML,

Your question: Is there a curse on oDeyar kRutis , set me thinking. It appears in his own life time because of his intimate personal contacts with the giants of carnatic music, he was well acknowledged , but it is only in the last 30 years after his death there appears to be a growing vacuum !

Read what Dr.V.doreswamy Iyengar has to say:

It was a memorable concert by Sri Semmangudi Sreenivasa Iyer at Malleswaram Sangeetha Sabha, Bangalore. He cast a magic spell as it were on the huge, appreciative audience when he sang the kriti " Siva SivaSiva bho " in the Raga Nadanamakriya. A thunderous applause followed. "Who could be the author of this delightful composition?" wondered the audience. Sri Iyer could easily read the puzzle. Said he with a smile, combined with a sincere tribute to the genius of the composer, "This is but one of the many precious gems gifted by your
beloved Maharaja (Sri Jayachamaraja Wadiyar) to the treasure house of Karnataka Music". The joy and pride of those assembled knew no bounds.

Ariyakudi Ramanuja Iyengar almost invariably sang the krithis" Chintayami jagadambam " in the Raga Hindola and" Sri jalandhara " in the Raga Gambhiranata in his concerts and thrilled his audience. The inimitable way in which he sang the sarvalaghu chittaswara of the Gambhiranata kriti and the charm added to it by that great Mridangam Maestro Sri Palghat Mani Iyer created an atmosphere which defied description.

The very fact the giants among musicians voluntarily chose to include
Wadiyar's composition in their vast repertoire stands a vivid testimony to the stature of Wadiyar as a music composer

Raja Chandra · Post by **Raja Chandra** » 25 Aug 2006, 23:38

Dr.V.Doresvami Iyengar further states:

1940 was, however, a turning point in his illustrious career. As the Maharaja of the State, Wadiyar came into contact with the great Vidwans of the Royal Durbar. He heard great music from Masters like Vasudevacharya, Tiger Varadacharya, Ariyakudi Ramanuja Iyengar and a host of others. The grace and beauty of Karnataka music now captivated his mind. He decided to adopt Vasudevacharya as his Guru and learn from him the secrets of this great art. The dormant musical instinct in him blossomed forth in no time. His deep knowledge of Indian Philosophy and Sanskrit, coupled with his ardent devotion to God, prompted him to try his hand at musical compositions. The result? 94 kritis of rare beauty and charm! The original manuscripts of these compositions are in the jealous custody of Sri S. Krishnamurthy, Acharya's grandson. How I wish Institutions like the Sangeeth Natak Akademi came forward to publish these invaluable compositions!

( the above is excerpts from his article: The Royal Composer- 1978)

drshrikaanth · Post by **drshrikaanth** » 25 Aug 2006, 23:38

mAtu for
|| O jagadamba ||

rAga-nArAyaNadESAkShi; khaNDa tripuTa tALa.

O jagadamba SaraNAgatavatsalE |
rAjarAjESvari paraSivE citkalE ||P||

OmkArarUpiNi kamalE kOmalE |
Oghatraya nivAriNi (?vidhAyini/ nivAhini?) SrIvidyE bAlE ||
ajarAmara vandita caraNayugaLE agajE brahmANDa sRShTyAdi mUlE ||

akArAdi kShakArAnta svarUpiNi |
akhaNDaikAdvaita tattva prakASiNi |
AkAra rahitE nirupama tEjaswini |
AkASa bhUmyanta vikAsini ||
hrImkArarUpiNi nArAyaNadESAkShI rAgatOShiNi nArAyaNi ||

drshrikaanth · Post by **drshrikaanth** » 25 Aug 2006, 23:38

I have some doubts about the sAhitya which I have marked in italics. The quality of recording does ot help matters.
OghatrayanivAriNi cannot be right. Ogha(augha)traya refers to the 3 streams the divyaugha, siddhaugha and mAnavaugha which are parts of "sampradAya"of which She is the mistress. She is the power behind sampradAya(guru-SiShya tradition) and She is sampradAya herself. I have taken the liberty to correct it and sugesst plausible altenatives that makes sense. nivAhini is an alternative form of vAhini and is close in sound to nivAriNi. I intially thought it was rOgatraya as akin to tApatraya. But no! Ogha is clear and Oghatraya also makes sense. Also there is assonance between OmkAra and Ogha.
Others please chip in with comments or sugestions.

cmlover · Post by **cmlover** » 25 Aug 2006, 23:50

agha means sin.
When you form a dvigu compound it bcomes Ogha. Hence we get the compounded term OghatrayaM which represents the three kinds of sins (pAtakaH). They are minor sins (upapAtaka) such as aSoucaM (uncleanness) etc, ordinary sins (samapAtaka) such as hurting somebody, telling lies etc, and major sins (mahApAtaka) which are five in number:
brahmahatyA surApAnam stEyam gurvEganAgamaH|
mahAnti pAtakAnyAhuH samsargaScApi taiH saha || (manusmriti 11.55)
(killing a brahmin, drinking liquor, stealing (brahmin's ) wealth, commiting incest with (father/eldest brother or preceptor's wife) as also associating with these sinners).

The punishment for these sins in hell are discussed elaborately in Garuda PuraaNa. If you don't read it you may get a good idea watching the movie Anniyan.

yEna Oghatryam nivArayati saa OghatrayanivAraNI

RC

Thanks for that post which clarifies some of mysteries. Perhaps one should not rake up any skeletons from the closets. SSI may have sung it to please the crowds at mallesvaram. Why didn't he sing it elsewhere? There is a jazzy rendering of sri jaalandhara by Nityasree with her characteristic (???) at MIO. They do not comprise concert renderings. Perhaps I am used to calling a spade a spade and too much of a die-hard who would not admit that a clubs is a variant of spades

drshrikaanth · Post by **drshrikaanth** » 25 Aug 2006, 23:51

My understanding of dvigu samAsa (a special type of karmadhAraya) is that the qualifying former half is numerical while the latter half is the qualified noun which is the more important of the two. Oghatraya does not fall in the category. I fail to understand(with my limited knowledge) why agha would become Ogha when it is not preceded by any other word/prefix that might effect the change. Pen your thouhts if you have any.

drshrikaanth · Post by **drshrikaanth** » 25 Aug 2006, 23:52

RC

Thanks for that post which clarifies some of mysteries. Perhaps one should not rake up any skeletons from the closets. SSI may have sung it to please the crowds at mallesvaram. Why didn't he sing it elsewhere? There is a jazzy rendering of sri jaalandhara by Nityasree with her characteristic (???) at MIO. They do not comprise concert renderings. Perhaps I am used to calling a spade a spade and too much of a die-hard who would not admit that a clubs is a variant of spades

Perhaps your spades and clubs are different from the spades and clubs in Malleswara. To a degree, all artistes vary their choice of sings dependng on where and to whom they are singing. I am not as sure as you are that SSI did not sing SivaSivaSivabhO elsewhere. While there is no denying the fact that oDeyar`s kRtis are not as popular as they should be, the scenario does not seem as bad as you seem to make it out. I thik part (a big one!!!) of the reason why you think the way you do is because you are thinking of Chennai stage when you think of "the happening Carnatic music scene". That is simply incorrect. In Bangalore, you woul tend to hear substantially less pApanASam Sivan kRtis as compared to Chennai and therefore they are "not famous" in Bangalore.

drshrikaanth · Post by **drshrikaanth** » 25 Aug 2006, 23:52

Meaning of
|| O jagadamba ||

rAga-nArAyaNadESAkShi; khaNDa tripuTa tALa.

O jagadamba- O mother of the universe;
SaraNAgatavatsalE- You Who is affectionate and caring towards those who surrender to You;
rAjarAjESvari; paraSivE- The female counterpart of paraSiva;
citkalE;

OmkArarUpiNi- You in the form of OmkAra;
kamalE; kOmalE- You Who is tender;
Oghatraya vidhAyini/ nivAhini- You Who directs and invigorates the guru-SiShya parampare;
SrIvidyE; bAlE;
ajara amara vandita caraNa yugaLE- You with the a pair of feet worshipped by the immortals;
agajE- Daughter of the mountains;
brahmANDa sRShTyAdi mUlE- The primordial origin of the universe.

akArAdi kShakArAnta svarUpiNi- You in the form of the letters in the alphabet from akAra to kShakAra;
akhaNDa Eka advaita tattva prakASiNi- You Who throw light on the unique and eternal doctrine of advaita/nonduality that is a source of eternal bliss and salvation;
AkAra rahitE- You Who is formless;
nirupama tEjaswini- You with unrivalled radiance;
AkASa bhUmyanta vikAsini- You Who is the cause of the development/bloomimg of the pancabhUtas (pRthivyApastEjO vAyur AkASAt)
hrImkArarUpiNi- You Who is in the form of the bIjAkShara hrIm; nArAyaNadESAkShI rAgatOShiNi- You Who is pleased by the rAga nArAyaNadESAkShi; nArAyaNi.

drshrikaanth · Post by **drshrikaanth** » 25 Aug 2006, 23:53

Meanwhile, can someone locate a rendering of the rare MD kRti SankaranArAyaNam in nArAyaNadESAkShi?

Raja Chandra · Post by **Raja Chandra** » 25 Aug 2006, 23:53

CML,

Thanks for your observation. I agree with you that one summer does not make a swallow! Yet it is my duty to correct part of your remark ! Pardon me for my obduracy !

As for as SSI, probably it is difficult to find fault with him. He has a commercial release of this very kRuti. Kindly check at ww.hamaracd.com and if you search under jayachamaraja, it will yoeld only three entries and one of them is :MOULAV GANGA (SLOKA) SEMMANGUDI R.SHRINIVASA IYER,M.S.SUBBULAKSHMI NADANAMAKRIYA MISRA JHAMPA 8:02 . In fact it contains a rendering of shiva shiav bhO both by SSi and MSS ! Any way i suppose no one will say MSS was not trying to please any one when she chose to render this same kRuti at UN !

Second entry is that of MSS rendering the same kRuti at UN.

surprise packet is the thillana !

In addition to this kindly recollect my earlier posting on SSI and VDI as AIR directors were responsible for popularizing oDeyar's compositions in the 50's and 60's. in those days when AIR was the only source of daily entertainment, as an youngster I remember the voice "AkashavAni, shAstrIya saMgeetha, jayachamaraja oDeyar Kruti etc being heard very often". Incidentally the term Akashavani was coined by Prof.Gopalaswamy, a psychology professor at Mysore University when he started a low powered transmitting station at Mysore.

so it will be unkind to SSI to say he did not do his bit.

Raja Chandra · Post by **Raja Chandra** » 25 Aug 2006, 23:53

As for as Nityasree's rendering of srI jAlaMdhara , I remember meena mentioning at forum that this kRuti was part of a CD by Nityasree's grandmother smt. D.K.Pattamal also!

Raja Chandra · Post by **Raja Chandra** » 25 Aug 2006, 23:53

In a nutshell if you were to sit and analyze the life of oDeyar, it becomes obvious he did not get his due from life in general- whether from his people -they are a legion- who exploited his generosity and cheated him, whether from his work as a composer or whether his passion- western music. Most unfortunate was he died a very sad man and under very mysterious circumstances away from all his kith and kin ! Curse ! you are free to say so!.

Just to make you see a part of this statement in correct perspective

d/l
http://rapidshare.de/files/5835424/phil ... a.pdf.html

As you can see he was the first president of philharmonia-London. It is currently celebrating it's 60th year and claims to have the highest number of recordings. This started with his recordings of Medtner's composition and when Walter Regge trudged all the way to Mysore for support for his orchestra oDeyar was magnanimous with a initial contribution of 10,000 pounds and helped Walter regge to engage Karajan and bring out many memorable recordings. Yet you search at its web site under jaya chamaraja wadiyar, you will draw a blank.

probably ODeyar would have been happier if he had become a concert pianist . He was accepted by the famous Rachmaninoff as a pupil but the untimely death of his father and uncle changed the course of history. May be he was destined to learn carnatic music and compose his humble offerings to devi !

Hope DRS ( at UK) will make them realise how ungrateful they could be if they do not even know the name of their benefactor ! CURSE, I am beginning to hate that word.

Friends

It has been a wonderful journey trying to reconstruct the life of oDeyar thro' this thread. Hope I am doing justice to that great man .

As he himself was known to often exclaim after a discussion: to serve without the thought of reward is part of Indian tradition and then quote the Bhagavatgeeta : thy right is to the action only, not to the fruit thereof.

Happy Navaratri, May the mother chamundeswari bless one and all.

Sorry for my repeated digressions , but as CML said some time back( or is it DRS) you cannot separate the man from his works .

drshrikaanth · Post by **drshrikaanth** » 25 Aug 2006, 23:53

nArAyaNa dESAkShi is a upAnga janya of dhIraSankarAbharaNa, the 29th mELa. It is a very interesting rAga as its scale is sampUrNa-sampUrNa and yet the melody is very distinct from the parent scale. oDeyar has used this scale-

SR2M1G3RGMPD2N3S* | S*NDPMGRS ||

D, M, R are jIva and nyAsa swaras. G, although very much present, is not given prominence. It is for these reasons that this rAga stands out from SankarbharaNa. prayOgas like "PDS", "DRS", "SNP" are seen. D is given a characteristic wide oscillation. D and R usually come as jaNTI or dIrgha. The dhaivata is similar to that in kannaDa.
The rAga is very bright in mood and beautiful and has a western lilt to it. oDeyar has clearly defined this rAga in his kRti

drshrikaanth · Post by **drshrikaanth** » 25 Aug 2006, 23:54

Sorry for the delay in posting. I am still hoping that someone will post MD`s "SankaranArAyaNam" in the rAga. Here is a tillAna (the cause for the delay in posting)

http://rapidshare.de/files/5885708/tillAna.mp3.html

cmlover · Post by **cmlover** » 25 Aug 2006, 23:54

Thanks RC
for those fascinating details.

It has been said

Some are born great
Some achieve greatness and
Some have greatness thrust upon them

I believe there is a fourth category

Some have greatness which is not recognized by the world!

JCW belongs to the fourth category!

Raja Chandra · Post by **Raja Chandra** » 25 Aug 2006, 23:54

Here is what Mr. S.Krishna Murthy say’s about the cultural atmosphere at Mysore Palace before independence:

Music is part of the heritage of the Mysore Royal Family. Jayachamaraja Wadiyar's uncle Krishnaraja Wadiyar IV was a connoisseur of music: Western music, Hindustani Music, Karnatic music. His predecessor, Chamaraja Wadiyar was a violin virtuoso and the Royal family was a patron of learning and arts. The palace was a Royal academy in perpetual session: artists from far and near not merely came but were sought.

{ extract from " A prince Among Composers" ( 1978)}

drshrikaanth · Post by **drshrikaanth** » 25 Aug 2006, 23:54

I am taking it slow as the Navaratri thread is also running in parallel. Will post leisurely while reading CML`s posts on the other thread.

CML
you havent said anything about my remark on dvigu samAsa. Are you sulking? Its extremely unlike you.

Coolkarni and Lakshman
You can add the tillAna I posted, to your collection and list respectively. It is my humble offering to the feet of sangIta SArade.

cmlover · Post by **cmlover** » 25 Aug 2006, 23:54

DRS

You took me by a delightful surprise by posting your own composition and the excellent rendering of the thillana in Narayanadesakshi. Unquestionably it is a very bright raga (with the western tilt (C Major)). Surprisingly there is no trace of sankarabharanam since the notes are practically straight. You have made effective use of "DRS" ( I am not joking here).
CONGRATULATIONS!
(Do post the lyric as well)

I am happy you caught the red-herring in my post on dvigu. But you may not relish a chastisement if I express my frank views! Let sleeping dogs lie

drshrikaanth · Post by **drshrikaanth** » 25 Aug 2006, 23:54

Chastisement !! What a strong word!
As for not relishing- symbiosis
Let sleeping dogs lie ZZZZZZZZZZZZ

drshrikaanth · Post by **drshrikaanth** » 25 Aug 2006, 23:55

DRS

You took me by a delightful surprise by posting your own composition and the excellent rendering of the thillana in Narayanadesakshi. Unquestionably it is a very bright raga (with the western tilt (C Major)). Surprisingly there is no trace of sankarabharanam since the notes are practically straight. You have made effective use of "DRS" ( I am not joking here).
CONGRATULATIONS!
(Do post the lyric as well)

Thanks for the appreciative words. Here is the lyric;-

tOm tadaradAni dindillAna nAdirdAni dhIm dirtOm dirdirtOm dirdirdir|
tOm tadaradAni dhIm taJham taNam tadingiNatOm dingiNatOm giNa||P||

taJham tanaudana dhIm JhoNu takiTa dhIm dhImtana udanadhIm udaratAni |
tOm taJhaNu JhaNu dhIm dhimitakiTa tAmtAmta dhImdhImta jhamJhamta namnamta||AP||

SrIkAntanA rAyana dESa kShitiya siri sampadagaLa nivESa|
sAkEtaviDI sukha santOSha santatavu rAma nAmada ghOSha||C||

solkaTTu
tanamta tajjhaNu tAm takajhamta taddhimi tAm
kiTakiTatOm kiTakiTatOm tattari taddaNa tajjhaNu taddimi |
takkiTa dhikkiTatOm tOmkiTa namkiTdhIm taddittaLAngu dittaLAngu tOm dittalAngu taLAngu tOm taLAngu talAngu ||

cmlover · Post by **cmlover** » 25 Aug 2006, 23:55

Thanks

SrIkAntanA rAyana dESa kShitiya siri sampadagaLa nivESa|
sAkEtaviDI sukha santOSha santatavu rAma nAmada ghOSha||C||

Meaning please!
I guess this is Kannada though mostly sanskrit engulfed. You have nicely woven in your mudra with the raga name. I am not sure there is a shlEShma alankaaram here! Pl enlighten!
(is it intentionally nA rAyana or typo for nArAya*N*a?)

drshrikaanth · Post by **drshrikaanth** » 25 Aug 2006, 23:55

Are you suffering from cold and running nose? Is that why your thoughts (and nose?) are filled with SlEShma?
On a serious note, I guess you could call it SlEShAlankAra (silEDai). And you are right-there is no typo. Here is the meaning.
SrIkAntanu- Lord of LakshmI/riches; A- that; rAyana- king`s;
dESa- kingdom; kShitiya- world`s; siri sampada- riches and prosperity;
nivESa- abode; sAkEta- ayOdhyA; iDI- fully/everywhere (muzhudum);
sukha santOSha- happiness, peace and comfort; santatavu- ever;
rAmanAma- rAma`s name; ghOSha- recital/proclamation/jayajayakAra.

This is a brief description of rAmarAjya. That emperor, the Lord of LakShmi`s kingdom is the abode of all the world`s riches and prosperity. sAkEta is filled with peace, comfort and joy and the jayajayakAra/chanting of the name of rAma.

meena · Post by **meena** » 25 Aug 2006, 23:56

wow DRS i see u have 'loosened' a bit

Cracking jokes /teasing / and 'sneeking' in ur comp/clips

.......why not i'll throw in my smilies too.

cmlover · Post by **cmlover** » 25 Aug 2006, 23:56

Yes indeed 'shlEShmAt pIDayAmi' (I am gripped with phlegmatism(slow understanding)). But now 'shlEShAt pIDayAmi' (I am tormented by the double entendre.
The alternative explanation (currently applicable) is:
wheareas
SrIkAntanA rAyana dESa kShitiya siri sampadagaLa nivESaH |
but
sAkEtaviDI sukha santOSha santatavu rAma nAmada ghOShaH ||

Whereas the abode of that emperor, the Lord of LakShmi`s kingdom is the abode of all the world`s riches and prosperity, (ironically at present)
Ayodhya is filled with (pseudo) peace, comfort and joy and the shouting/slogan of the name of rAma. In other words only empty words fill the lives of people rather than real prosperity! And the 'tom tadirdhAni dhIM' are the sounds of bullets flying around

That is naH (our) rAyana (king or ruler's) dEsa AkShi (country administration)

Raja Chandra · Post by **Raja Chandra** » 25 Aug 2006, 23:56

rAyanO, nArayaNanO, nAn ariye

tanna kAvyake tAn mahAkavi maNidaMte namma shrIkAMtaru saMtoShadiMda iddare nAvellaru svalpa sAvakAshavAgi usirADabahudu

congratulations shrIkAMta avare, keep it up

cmlover · Post by **cmlover** » 25 Aug 2006, 23:56

RC/Others

Please join us also on the HMB (Muththiah Bhagavatahar) thread. Would very much enjoy your contributions.

cmlover · Post by **cmlover** » 25 Aug 2006, 23:56

DRS

I have looked at several etymological derivations of 'nArAyaNa'. For the first time I found your delightful
nA (our) rAyana (king) (fits kannada(?) as well as Tamil)
(of course na-->Na transformation is not necessary!)

Thanks!

drshrikaanth · Post by **drshrikaanth** » 25 Aug 2006, 23:56

CML
Are you talkig about alternative etymological derivations of nArAyaNa ? Or forming the name by SlEShA? I suppose you are aware of the original derivation of the word in sanskrit- referring to him being born from.surrounded by sweat/water. I forget the accurate details- whether He was born from sweat of Siva/virAT puruSha or whether he was surrounded by his own sweat when doing penance/yOganidre.
nAra means water. Interestingly the Cologne dictionary opines that nAra meaning water might have been invented to explain nArAyaNa.

If you are thinking of deriving it by SlEShA, I have a few other ways to derive it.

drshrikaanth · Post by **drshrikaanth** » 25 Aug 2006, 23:57

|| SrI mahAgaNapatim bhajEham ||

rAga: aThANa ; Adi tALa.

SrImahA gaNapatim bhajEham |
SivAtmajam ShaNmukhAgrajam||P||

siddhagaNa sEvitam vighnanASakam|
SIghravara prasAdadAyakam ||
sadayam kapila munivaradAyakam gurusEvAsaktam hErambam ||AP||

j~nAnamudrAlankRtam mUlAdhAranivAsinam ||C1||

gajAraNyavAsinam jyOtirmayam upaniShatsAram|
pancabhUtAtmakam sindUrapriyam pancamAtangamukham ||C2||

kAmESanayanAhlAdakam nAgalingavaraputram |
SrIvidyA citprabhAnanda rAja yOgIndravanditam ||C3||

Rajachandra says this kRti was Composed on Aug 17, 1945

drshrikaanth · Post by **drshrikaanth** » 25 Aug 2006, 23:57

Meaning of
|| SrI mahAgaNapatim bhajEham ||

rAga: aThANa ; Adi tALa.

SrImahA gaNapatim bhajEham- I sing praise of mahAganapati.
SivAtmajam- Son of Siva; ShaNmukhAgrajam- Elder brother of ShaNmukha

siddhagaNa sEvitam - Him served by the siddha gaNas;
vighnanASakam- Destroyer of all obstacles;
SIghravara prasAdadAyakam- Him Who quickly bestows boons;
sadayam- Compassionate One;
kapila munivaradAyakam- Him Who gave boon to sage kapila; gurusEvAsaktam- Him keen on service to the preceptor/father;
hErambam

j~nAnamudrAlankRtam- Him adorned with the sign of knowledge; mUlAdhAranivAsinam- Him residing in the mUlAdhAra cakra.

gajAraNyavAsinam- Him abiding in the forest f elephants
(tlakADu near Mysore is called gajAraNya . It is the revered pancalinga sthaLa. It is also the name of tiruvAnaikkAval near SrIrangam in Tamil Nadu[/i );
jyOtirmayam- The effulgent One; upaniShatsAram- The essence of the upaniShads;
pancabhUtAtmakam- Him Who is the soul of the 5 elements/pancabhUtas; sindUrapriyam- Him fond of vermilion/red colour;
pancamAtangamukham- Him with a wide elephant face.

kAmESanayana AhlAdakam- Him Who is the apple of Siva`s eyes;
nAgalingavaraputram- Son of nAgalinga aka Siva;
SrIvidyA citprabhAnanda rAja yOgIndravanditam - Him worshipped by citprabhAnanda who is king and yOgi at the same time (this is a clear reference to oDeyar himself)

cmlover · Post by **cmlover** » 25 Aug 2006, 23:57

Thanks DRS.
Is this the first composed by odeyaar?
I would appreciate other etymological derivations of nArAyaNA!

kapila munivaradAyakam
Kapila was a great devotee of Vinaayaka who blessed him and gave him the cintAmaNi (wishing stone) which he gave to Indra. He was the one who burned the 60,000 sons of sagara and bhagIrata brought the ganges to purify and send them to heaven

Are there other renderings of this fine lyric?

Raja Chandra · Post by **Raja Chandra** » 25 Aug 2006, 23:57

Yes this is indeed the first composition by oDeyar and it was composed on 17-8-1945.

SrIvidyA citprabhAnanda rAja yOgIndravanditam - Him worshipped by citprabhAnanda who is king and yOgi at the same time (this is a clear reference to oDeyar himself) - Yes - citprabhAnanda being his dIksha nAma.

meena · Post by **meena** » 25 Aug 2006, 23:57

SrI cAmuNDESvari dEvi-kannaDa-Adi tALa rendered by Rudrapattnam Bros - posted on bboard by simhapuravasi

http://rapidshare.de/files/6095258/02-s ... annada.mp3

kartik · Post by **kartik** » 25 Aug 2006, 23:57

DRS ji,
I was interested to know the meaning of 'Sindhurapriyam'.What is the relevance of this line?
Interestingly,HMB refers to Ganapathi as 'Kumkuma Sharira' in his Kanada composition-'Vara Siddhi Vinayaka.Sumuka'.