Clarification on sadinchane krithi

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ajaysimha
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#1 Clarification on sadinchane krithi

Post by ajaysimha »

Recently I heard a recording of this Krithi
And found this charanam

sAra-asAruDu sanaka sanandana
san-muni sEvyuDu sakala-AdhAruDu

But why is this omitted in group singing and popular recordings ??

Can any shed some light on this ??

vgovindan
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#2 Re: Clarification on sadinchane krithi

Post by vgovindan »

This svara sAhitya is found only in the book of Sri TK Govinda Rao. May be that this svara sAhitya is not authentic. Please refer to the link -

http://thyagaraja-vaibhavam.blogspot.co ... a.html?m=1

Ps - ajay - I am yet to respond to your email thru adm.

bhakthim dehi
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#3 Re: Clarification on sadinchane krithi

Post by bhakthim dehi »

This caranam can also be seen in a book, Pancaratna krithis edited by Alathur brothers published in early 1960s.

SrinathK
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#4 Re: Clarification on sadinchane krithi

Post by SrinathK »

@vgovindan, Sir, What do you say about the grammar of this charanam compared to the other known ones?

vgovindan
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#5 Re: Clarification on sadinchane krithi

Post by vgovindan »

This SS contains only three epithets - no verbs. It is very difficult to say one way or the other. If it is an interpolation - a clear possibility - then it is a clever job.

vgovindan
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#6 Re: Clarification on sadinchane krithi

Post by vgovindan »

@ajaysimha had raised a query on the kRti through email through Administrator. My response to him is as under -

While undertaking translation, we normally go by the method of accepting the traditional rendering as authentic. For this purpose, we compare various renderings of the same text and find the contradictions and conformities. This is what I have done. I have accepted as true - on face value - the traditional renderings of tyAgaraja kRtis and compared various versions as given in many books. (I have not referred to the book by Alathur Brothers - as given in the thread - because it was not available).

Now coming to the question whether 'samayAniki' is correct or not. First of all, why should I suspect any word unless there is a contradiction? All the books give the same version, which means this is what traditionally accepted as the correct version. Now comes the question of meaning. The word 'samayAniki' is the beginning word of 'caraNa' (samayAniki tagu mATalADenE). It is possible that initially, there was only one caraNa - the last one - and then tyAgarAja himself might have elaborated it by extending and caraNa by adding svara sAhityas to the 'samayAni tagu mATalADenE'.

'samayAniki tagu mATalADenE' means 'talked appropriate to the occasion' Actually this construction shows 'cleverness' and not 'truth'. Please remember that this is a nindA stuti which is a very peculiar and common method adopted by true devotees to praise the Lord and complaining to Him that he is either not protecting or delaying His act.

Further elaboration of this - talking appropriate to the occasion - is explained in each of the svara sAhitya by examples. (Some of the svara sAhityas contain only epithets and these provide no amplification of the phrase).
Accordingly, 'samayAniki tagu mATalADenE' fits with various svara sAhityas. Therefore, I had no reason to doubt that this phrase could be wrong. There is no contradiction or confusion about the meaning either.

Now comes the controversy about 'sAdhincenE' in place of 'samayAniki'. For over 50 years, everybody have been singing the ss ending with 'samayAniki'. Then someone from Andhra seems to have suggested that instead of 'samayAniki', it should be sung as 'sAdhincenE' - probably each of the svara sAhitya being taken as an independent caraNa. Also, they interpreted the meaning of the word 'sAdhincenE' in a totally different manner -'accomplished' and they showed Telugu Dictionary as proof. This was taken up by the musician - Pantula Rama - as an issue.

tyAgarAja was born and brought up in Tamil Nadu and though he is a Telugu by birth, the cultural milieu in which he grew up is out and out that of Tanjore. Further, tyAgarAja's language is colloquial in nature and not like that of Annamayya - which is more literary. Therefore, there are many Andhra Telugus who feel that the kRtis of tyAgarAja are faulty. The case is worsened because Tamilian musicians do not seem to bother about the meanings of tyAgarAja kRtis. In between this neglect by Tamil musicians and intellectualism of Telugus, tyAgarAja kRtis are in 'no man's land' and therefore, could be interpreted anyway one feels like. This is what happened with the kRti 'sAdhincenE'.

The argument given by Rama was three fold - it was sung so by the Telugu musician she respected. And from then on, she constructed arguments to suit that. sAdhincenE is the exact Tamil version of sAdittAn which has a negative connotation. To give it the meaning 'accomplished', is totally ignoring the substance of the kRti. Further, she said that there are contradictions in the kRti - some portions refer to Rama and some to Krishna and that Rama did not violate any rules.

Normally, the names of Lord have a common use - Rama and Krishna refer to the same Lord. Therefore, constructing arguments like that will only render tyAgarAja kRtis meaningless. But that suits the purpose of Pantula Rama as there are no takers among Tamil musicians - who just don't care about the meanings.

Please refer to Post No 26 by KV Chellappa in the thread 'Christian Appropriation of Carnatic Music', as to how meaning has no relevance in CM. Musicians of Tamil Nadu want the melody of tyAgarAja - the emotion (bhAva) and the words have no significance.

For me, music is a communication medium. That communication is totally lost in CM.

I don't know whether I have been able to answer your query. I am not biographer of tyAgarAja. I don't have any source material with me to authenticate or refute. I go by the popular books on the subject. The only advantage I have is that my mother tongue is Telugu - I am from Tamil Nadu - like tyAgarAja - and that's why I ventured to translate tyAgarAja kRtis.

With best wishes,
V Govindan

PS : There may be some errors - spelling errors - I have a new specs for which I should get used to. Pardon me for the errors.

ajaysimha
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#7 Re: Clarification on sadinchane krithi

Post by ajaysimha »

thank you vgovindan sir for clarifying my doubts on
the swara sahityam and authenticity of samayaniki
your explanation was very apt

rajeshnat
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#8 Re: Clarification on sadinchane krithi

Post by rajeshnat »

Govindan Sir
Lovely response . I think lot of musicians even from TN do understand Sadguru words but in general there are three camps . Some prefer to squat with words and lose music (camp #1 - Hyper Thyagaraja), some lose words and try to reach with more music(camp #2 - Hypo Thyagaraja), few give a great balance with both words and music and take both forward (camp #3 - amphotric thyagaraja) .But as years roll by , I see there is a lot of pragmatic variables like energy of vocalist , the sequence of when they take that song , their overcomitment due to travel, the dynamics of when the mrudangam/violin is going to be hyper/hypo, also need to cover not just few more contemporary vageyakkaras to sadguru , they have to cover the latest vaggeykkara who even composed a telugu krithi - rAma nee pattina vAr(d)u dhanyudu (telugu krithi in AbhoGi) .With so many numers to cover, the words may get split /not split right , i think we should just give every artist a bit of space to be in any of the three camps or better yet we will have a new camp (camp #4 - neutral thyagaraja).

Any case i loved your post and your usual conviction. I recollect the very first few words you talked with me when we met in westmambalam . You truly only look at one great angle called anurAga bhakthi angle of sadguru thyagaraja. In your own words which i learnt from you thyagarAga had anurAgha bhakthi towards Lord RAmA.

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