Swathi Thirunal

Carnatic composers (other than performing vidwans)
nAdopAsaka
Posts: 878
Joined: 20 Jul 2020, 17:05

Re: Swathi Thirunal

Post by nAdopAsaka »

Two rarely heard kritis of mahArAja construct the pujA of hari = viSnu by other deities.

hari nuta = hari pujA appears in these 2 kritis as

1. "haravidhi - hari nuta !" in dinamanu hrdi –rAga saurAStra
2. "phaNi Sayana ! Sankaravidhi - hari sannuta !" in sArasa suvadana - rAga kalyAni

It will be seen that the exclamation marks are a needed punctuation , otherwise the intent of the pujA is confused !

Indeed, the Dikshitar reverses the order in “narasimha Agaccha” but intends the exact same thing....hari (viSnu = narasimha) is the object of worship of Siva/brahmA and Indra and others ..

"hari ! harabrahmEndrAdi pujita" in the iconic ascending phrase of narasimhAgaccha – rAga mOhana

sArasa suvadana – rAga kalyAni

anantalakSmi S
https://www.youtube.com/watch?v=q0soXJEqWIs

the kriti has the tempo of the dancing kalyAni at Cidambaram seen by the Dikshitar as "SivakAmESwarIm CintayEham".

dinamanu hrdi – rAga saurAStra
unknown
https://www.youtube.com/watch?v=XpecxIloFK4

narasimha Agaccha – the Dikshitar mOhana
r. rAja
https://www.youtube.com/watch?v=2gsJJ7BmI_k

nAdopAsaka
Posts: 878
Joined: 20 Jul 2020, 17:05

Re: Swathi Thirunal (the only ganapati kriti of the mahArAja)

Post by nAdopAsaka »

As ganESa Caturthi approaches, the ONLY ganapati kriti by the mahArAja is worthy of examination.

“paripAhi ganAdhipa” in rAga sAvEri has the following additional unique features.

1. It does NOT use any typical, well-known descriptors like ganESa , ganapati, Ekadantam or lambOdara.

My goodness…Who ever heard of “ganAdhipa Caturthi” ?!

2. The ganAdhipa holds his own glittering tusk “hasta lasita nija danta”

3. bhAginEya vs. mAtula

The mahArAja prefers the maternal nephew descriptor “pankajanAbha manOhara bhAginEya” over the maternal Uncle descriptor ( for e.g. as in “mAtula govindam” of the Dikshitar’s dandAyudhApani)
This is perhaps due to mahArAjas nArAyana-centric focus

4. The conventional word for the vehicle of the deity “mUSika vAha” is replaced by the rarer usage “Akhu vAha
“Akhu” is a particular descriptor based on the “digging” ability of a rodent/rat/mouse. No wonder the very next word following this is “guha” = cave ! as in “sugunAkhu vAha guha sOdara

5. “mastaka vigalita dAna jala madhu-kara samudAya

like the “juice oozing from a rutting elephants forehead that attracts bees, so does the ganapati attract his devotees”

The “rutting elephant” is one of the many descriptors of elephants found in the harSaCarita of bAna from a millenia ago.

Naturally, the mahArAja wants to remind us the deity has an elephant head, (...with an image that “sticks” in the head)

And finally

6. As post # 200 of this thread notes, there is a kriti in rAga sAvEri by the mahArAja to EVERY major deity.

But the choice of sAvEri for the ONLY ganapati kriti of the mahArAja is the most interesting !

Why ?

Because rAga sAvEri carries the unmistakeable early morning sign of a dawn.

And just as shown by the hastivadanAya “navarOz” = “new day” and its basis in the ganESa Caturthi of the scripture, (per post # 766 of the Mutthuswamy Dikshitar thread), the mahArAja is also welcoming the dawn of the shining ganapati.

Why else would he say “paripAhi ganAdhipa bhAsura mUrtE” in the opening line !

For the nAda-upAsaka, the kritis of the vAggeyakAras are so much more than mere platforms for the vocal or instrumental gymnastics they have been reduced to.

They are the assembly of images and ideas central to the communion of the vAggeyakAra and the deity.

They do not come together without the pujA of one and the blessing of the other.

The vAggeyakAras are NOT vidwAns, counting out their “notes” like the king in his counting house, counting out his money.

The vAggeyakAras are worshippers.

On this ganESa/ganAdhipa Caturthi may all nAda-upAsakas remain devotees of this wondrous worship.

paripAhi ganAdhipa – rAga sAvEri

nandini nj
https://www.youtube.com/watch?v=2T7wHGSpDTw

violin vaishnav
https://www.youtube.com/watch?v=RPamsRep6dg

vid. parAsala p
https://www.youtube.com/watch?v=nxuDdlXZcY8

nAdopAsaka
Posts: 878
Joined: 20 Jul 2020, 17:05

Re: Swathi Thirunal (The “Eye-cons” of viSnu and the ancient rAga name pAntha-varAli = the sun and the moon)

Post by nAdopAsaka »

The “Eye-cons” of viSnu and the ancient rAga name pAntha-varAli (= the sun and the moon)

Adi-sESa Sayana and garuda-vAha

No wonder the lord viSnu is the preserver, keeping everything in balance.

Why ?

Because the lord reclines on the great serpent and he flies on the great bird that is the enemy of that same great serpent…

The vi-nAyaka (the king of birds) balances the viS-a (the poison of the worlds)

The mahArAja brings forward this unique (and well known) contrast in two terrific kritis.

In the rare kAmbOji “CAru pankaja”, the usage is “pannaga vairi vAhana” (sadly it is in the 2nd Carana, so will never be heard)….the kriti merits listening.

CAru pankaja – rAga kAmbOji

NP rAmaswAmy

https://www.youtube.com/watch?v=EOQorzbDkxM

But in the more widely heard kAmavardhani ( = kASirAmakriyA = pantuvarAli ), i.e. the high octane “paripAlaya sarasiruha lOCana”, it comes early, right after the pallavi…

The “Eye-cons” of viSnu

bhAnu Sarvari-nAtha nEtra yuga pannagAri vara vAhana

Naturally, the vAggeyakAra/upAsaka first sees the lords eyes (nEtra), and immediately after that summons him , which is why the bird = garuda is invoked.

The usage "Sarvari-nAtha" (for the moon as the “king” of the night = Sarvari = sharvari ) itself shows how the mahArAja is a poet of the first magnitude.

But it also conceals the rAga name !

Why ?

Because the ancient rAga name “pantuvarAli” is derived exactly from the combination “pAntha” and “varAli” which is the effective synonym for “sun-moon” = “bhAnu Sarvari-nAtha” equated to the eyes of the lord !

since pAntha = sun derives from the sun as wandering the sky, where pAnth itself is generically the traveller = way-farer also the root for the word “path = pantham” = way etc., and varAli is the moon.

Indeed another timeless kriti of the mahArAja “sArasAkSa paripAlayamAm” also reflects this same focus on the eyes of the lord and is naturally also in “pAntha-varAli”.

Could the other hugely sensitive great vAggeyakAras be completely unaware of this ancient name of this rAga, with its sacred reference to the eyes of the lord ?

Impossible !

Why ?

Because in “vAdErA daivamu”, the tyAgarAja notes the “ACandrArka muga kirti”, the lords everlasting brilliance, as permanent as the sun (Arka) and the moon (Candra)

And in "SrI sundara rAjam bhajEham", the Dikshitar refers to this same brilliance as “sOmasUrya nEtram shubhagAtram”.

Naturally both "vAdErA daivamu" and "Sri sundararAjam" are in pantuvarAli = kASirAmakriya.

paripAlaya sarasiruha lOCana- rAga pAntha-varAli

mAtangi S
https://www.youtube.com/watch?v=QU3psjQfP1c

GNB
https://www.youtube.com/watch?v=0mGMtJiOlcw

sArasAkSa paripAlayamAm – rAga pAntha-varAli

Hyd bros.
https://www.youtube.com/watch?v=Jovh39o0JrI

TNK
https://www.youtube.com/watch?v=O5hBU0dOv1U

veena mk kamala
https://www.youtube.com/watch?v=gNoJ934VP5s

nAdopAsaka
Posts: 878
Joined: 20 Jul 2020, 17:05

Re: Swathi Thirunal (mani-ranga = the Jewel of the Lord)

Post by nAdopAsaka »

mani-ranga = the Jewel of the Lord

Only the vAggeyakAras vast imagination and humility is equal to the task of properly worshipping the deities with rAgas.

Indeed, in the nAda-yOga , rAga has no other purpose.

No self-indulgent “crooning”, no narcissistic vocal or instrumental gymnastic exercises, no synthetic frequency modulations.

Only this…God given breath, the prAna vAyu, is returned to the deity as the kriti song and word.

So how does the unique “mani-ranga” jewel shine in the light of the vAggeyakAras vision.

Each one is slightly different !

In “rAnidi rAdu” the tyAgarAja asserts the nature of karma and the futility of desires , as well as the uselessness of wishes to avoid fate (pOnidi pOdu !).

For the tyAgarAja the mani-ranga jewel is held up as a talisman, as the emblem of his faith in lord rAma that is the only sure thing in the uncertain world.

In “mAmava pattAbhi rAma”, the Dikshitar adorns the lord, with the jewel directly on his head and body, at …where else ?! …lord rAma’s coronation !

He says so himself , viSnu as rAma is “maniranga-valayAlankrita” And is seated on the throne “navaratna manTapE viCitra manimaya sihmAsanE

But the mahArAja flips the script !

Why ?

Because in “jaya jaya padmanAbhAnujA-ESa”, he instead honors the lord of the sister of viSnu, namely Siva.

His very next line gives a further clue on the unique nature of this alternate “mani-rangA”.

Why ?

Because he says “jaya jaya mOhana-rAja vESa”.

There is only one place in the universe where the words “rangA” and “Siva as actor = mOhanarAja vESa” can be thought of in the same breath.

At triSirAgiri = tiruCirApalli, which is adjacent to Sri-rangam, the Siva is indeed the fabled king of actors (discussed in post # 760 and # 759 of the MutthuswAmy Dikshitar thread in the context of the kannada = “kar-nata” kriti "Sri mAtrubhUtam").

Notably the word ranga also means “stage”.

Naturally, the “mani-ranga” Siva is adorned with gems etc to rival Cupid …he is “kandarpa-sundarAnga” which mirrors the Dikshitar line “kAmAdi vijaya kamaniya-angam” from the "Sri mAtrubhUtam" kriti.

The SivA at tiruCirApalli is also in ardhanAri form (see post # 760 of the MutthuswAmy Dikshitar thread for how his better half creates the real stress of the stri-vESa act).

Naturally, the mahArAja echoes this with the usage “jaya pArSva gata mALasa

Verily has the “mani-rangA” become the Siva acting the role of the mAtrubhUtESwara but still resplendent as the decorated lord of the sister of the Sri-ranga-nAtha.

And once again the nAda-upAsaka revels in the magic of the vAggeyakAras many gifts.

jaya jaya padmanAbhAnujESa of the mahArAja

mAtangi S
https://www.youtube.com/watch?v=d5T0J-DXles

Although this is the swAti tirunAl thread, it would be improper to not cite examples of the other two kritis. Some good examples are known.

rAnidi rAdu of the tyAgarAja

flute shashAnk
https://www.youtube.com/watch?v=KRpr0KOgROQ

Alatur bros.
https://www.youtube.com/watch?v=k64saQoBoJ4


mAmava pattAbhi rAma of the Dikshitar

bombay jayaSri
https://www.youtube.com/watch?v=CJ2_JS1BAGQ

RSR
Posts: 3427
Joined: 11 Oct 2015, 23:31

Re: Swathi Thirunal

Post by RSR »

https://youtu.be/KV9JY0ZyP5g
MS Subbulakshmi-
Jaya jaya Padmanabha-
Manirangu
-Adi
-Swati Tirunal

nAdopAsaka
Posts: 878
Joined: 20 Jul 2020, 17:05

Re: Swathi Thirunal (the solitary "saraswati-naming" kriti of the mahArAja)

Post by nAdopAsaka »

The solitary “saraswati-naming” kriti of the mahArAja

It is of considerable interest , at least to the nAda-upAsaka, that the exact name “saraswati” seems to appears only once in the mahArAjas kritis.

Even the famous dEvi navarAtri set always refers to her with other synonyms SAradA, bhArati or vAgadhiSwari etc. etc.

For example the bhairavi kriti “janani mAmava mEyE bhArati” stops short of the full word … it ends with
“sadA sarasIruhamukhi sapadi vadanE sarasam-iha vasa sakala varadE”

I only find the “saraswati” word in the Hindi/braj dialect kriti

jai jai dEvi jai jagatjanani jai saraswati mAyi

This is in the rAga yamunA kalyAni , rendered sometimes as rAga yaman.

Indeed, yamunA kalyAni seems highly appropriate.

Why ?

Because the ancient river from the scripture “saraswati” merges (at the trivEni sangam) with yamunA and the gangA (gangA being the symbol of prosperity = kalyAni)

trivEni literally means the braiding of three strands into one.

The goddess represents this braiding !, she is tri-bhuvana sukhadAyi as the mahArAja says.

The fact that the mahArAja reserves the Hindi/braj dialect for the “saraswati” name also suggests the influence of the “trivEni” sangam legend, which is in the area where the dialect prevails.

The kriti has a nice “ending syllable” matching, which was probably childs play for the mahArAja.

These endings are reproduced here

…sarasvati mAyI
…tribhuvan sukh dAyi
…kOyi nahi pAyI
…sab sur gAyi
…vEd shruti up jAyi
…caran ma nAyi
…sEvak kE manbhAyi

The kriti has given rise to many alternate renderings in other rAgas (some are decent, others tolerable).

Generally these miscreants put their own name to the alternate rAga choice, so this is somewhat honorable.

But the spirit of the vAggeyakAra lives in his choices and cannot and should not be denied.

yamunA kalyAni is this natural choice for the saraswati dEvi, as explained above.

Fortunately there are some good examples

jai jai dEvi jai jagatjanani jai saraswati mAyi - rAga yamunA kalyAni

a murali
https://www.youtube.com/watch?v=NO4xZuCwIoY

KNRS
https://www.youtube.com/watch?v=KAvkNVFRz2c

Sachi_R
Posts: 2174
Joined: 31 Jan 2017, 20:20

Re: Swathi Thirunal

Post by Sachi_R »

@nAdopAsaka
Namaskaram sir. You are a treasure house of information.

I just recently heard a Raga Malika on Dashavatara rendered by Vid. Amrutha Venkatesh.

Who would have tuned it? It sounded in many places a spin off of Bhavayami.

Thank you.

(I don't put caps etc. per HK. Hope you don't mind.)

nAdopAsaka
Posts: 878
Joined: 20 Jul 2020, 17:05

Re: Swathi Thirunal (the basis for the rAgas of the daSAvatAra rAgamAlikA "kamalajAsya hrt")

Post by nAdopAsaka »

The basis for the rAgas of the daSAvatAra rAgamAlikA "kamalajAsya hrt"

Thank you for your interest. Best wishes !

As I see it, the vAggeyakAras are the true fountain of ideas and information.

Their information has certainly been around for a long time. It needed some articulation, I felt, in the face of all the technical vidwAns of last 100 years.

No question the kritis are tightly packed with details (history, geography of kSEtras, and of course music) but to me above all they are about an individuals pujA.

As I age into the twilight, I am hoping to convert the information to an understanding , i.e. convert mere knowledge to some form of wisdom.

I am not familiar with the specific daSAvatAra rAgamAlikA you mention.

But in the context of the daSAvatAra rAgamAlikA, I recently posted details of the “mAdhavO mAm pAtu” rAgamAlikA (in post # 785 of the Mutthuswamy Dikshitar thread).

In that connection, the “kamalajAsya hrt nigama” daSAvatAra rAgamAlikA of the mahArAja becomes relevant.

Why ?

Because EXACTLY like the Dikshitar rAga choices can be explained by the icons of the avatArs, so can the rAga choices made by the mahArAja.

It echoes the approach adopted by the mahArAja for the kAnda-mAlikA "bhAvayAmi raghurAmam" (where each rAga is linked to the key aspect of each of the rAmAyana kAndas as noted in post # 189)

I show the choices of both the mahArAja and the Dikshitar (extracted from post # 785 of the Mutthuswamy Dikshitar thread) so that the reasoning of each of these great minds can be compared, at the moment they conceive the kriti.

kamalajAsya hrt – daSAvatAra rAgamAlikA

1. kamalajAsya hrt nigamarAshi hayagRiva damana mIna sharIra mAmavOdAra

The mahArAja picks mOhana because it represents the “charming” little fish (matsya) that ultimately overwhelmed the asura.

The Dikshitar picks nAta to represent the “act” of viSnu for this avatAr

2. dhrta mandara bhUdhara divya kUrma rUpa pIta sudhAmOdita vibudha jAta

The mahArAja picks bilahari for the earth supporting (mandAra bhudhara) tortoise associated with sAgara manthana....bila is code for the cave within the earth , a natural abode of the amphibian.

The Dikshitar picks gaulA for the white milk of the same churning.

3. ghOra hiraNYAkSa dAraNa sukarAkAra vasudhAdhAra jagadAdhAra

The mahArAja picks dh-anyAsi because it captures via phonetics the word of hir-anyAsi = hir-anyAksi , the name of the relevant asura destroyed by the boar avatAra, varAha.

The Dikshitar picks Sri for Sri-dhara, the boar avatAra that supports the earth.

4. prahlAdA vanOpAtta prati bhaya nrharE prahlAdita sajjana daityanidhana

The mahArAja picks sAranga , a synonym for the lion = narasimha.

The Dikshitar picks Arabhi for rambhana, the roar of the lion.

5. kalita vAmana rUpa khaNDitOddhata mahAbali garvajAla suguNapAla

The mahArAja picks madhyamavati where madhyama represents the removal of extremes, in this case it is vAmana subduing/controlling bali’s pride.

The Dikshitar picks varAli, because after the trivikrama of vAmana (the three steps), the sun, the sky and the earth are all consumed, leaving only the moon..

6. shita dhAra ku-thAra ranjita bAhO harAdhItAmita shAstra ripu bhIma bhArgava rAma

The mahArAja picks a-thAna since it is closest phonetically to ku-thArana = the axe action of paraSurAma.

The Dikshitar picks kEdAra for the dAranam = splitting/cleaving that an axe does.

7. manu kula tilaka vancana para dashakaNTha ghanavAta raghuvIra sangaradhIra

The mahArAja picks nAtakuranji which is the symbol of the rAma-nAtaka. Note he also uses nAtakuranji in the first kAnda of the bhAvayAmi rAgamAlikA.

The Dikshitar picks vasantA signifying the springtime of the rAma navami.

8. sIra samAkrSTa sAra hastinApura ghOra pralambaharabaladEva shUra

The mahAraja picks darbAr for the symbol of balarAma digging up the “court” of hastinApur.

The Dikshitar picks surAti for su-radhi the noble digger , the plough bearing balarAma.

9. nanda nIyatama brndAvana racitakunda sAyaka lIla bAlagOpAla

The mahArAja picks Ananda bhairavi, because it naturally implies nanda = krSnA

The Dikshitar picks saurAStram for the vaiSnava-Astra granted by krSnA.

10. kaliyugAnta bhAvi kalki rUpa sajala jaladAbha nija shObha padmanAbha

The mahArAja picks saurAstram as a typical mangalam rAga and also because sAurasa = sArasa derives from the rain-filled clouds that kalki is supposed to represent (sajala jaladAbha)

The Dikshitar picks madhyamAvati both as a typical mangalam rAga and a representation of the balance of viSnu.

So…what is the point of all this deconstruction, which seems almost child-like in its set-up and rather obvious when spelt-out.

What is all this information guiding towards ??

I summarize to the following items (specific to the rAgamAlikA for now, but a microcosm of the entire kriti-making process)

1. The rAgas are being chosen not for any swara basis but purely because their word names are associated by the vAggeyakAra to the deities/avatAra and their legends.

2. No "interlopers" can claim to have produced these kritis because the rAga and the words are intertwined. A cottage industry of making bogus statements on veracity of attributions has evolved. I hold the SSP responsible for attempting to tarnish the Dikshitar legacy in this regard. The process of completely dismantling the credibility of the SSP as a historical record of the Dikshitar in particular, is transpiring on the Mutthuswamy Dikshitar thread. The incredible belligerence of its defendants, seen on that thread, is partly also why all these details are needed. None of these knaves has comprehended the innate choices made only by the vAggeyakAra, as part of a pujA/upAsana.

3. The “information” is protecting the intellectual property of the creator, it acts like a “mudra”. Criminals have no way of establishing alternate authorship, in the face of these facts.

4. The nAda-upAsaka is able to see the choices governing the rAga selections, which is quite likely at the very moment of creation of the kriti.

5. Being a fly on the wall at this huge occasion is a thrill unlike any other.

Why ?

6. Because I believe this is also the moment, when “candy is put in the mouth of the vAggeyakAra”.

kamalajAsya hrt – rAgamAlikA

AlatUr bros.
https://www.youtube.com/watch?v=ski-7dpIpKE

nisha r
https://www.youtube.com/watch?v=Rk6SAe32J9g

nAdopAsaka
Posts: 878
Joined: 20 Jul 2020, 17:05

Re: Swathi Thirunal ( vAg-iSwari and the vAg-geyakAra )

Post by nAdopAsaka »

vAg-iSwari and the vAg-geyakAra

On the auspicious occasion of saraswati pujA and vasanta panCami, “pAhi mAm Sri vAgiSwari” fulfills all nAda-upAsakas.

The name “vAgiSwari” appears only once in the mahArAjas entire collection…just like the rare usage of the name “saraswati” ( post # 206 )

Indeed he uses the synonyms “vAni” and "bhArati" more frequently.

And “vAg-iSa” is invoked only for the consort (brahmA)

But the solitary kriti where the name “vAgiSwari” appears is more than enough to make up for the scarcity of the word itself.

Although "pAhi mAm Sri vAgiSwari" is considered part of the dEvi navarAtri set , the specific mention of this name as a “poets inspiration” is also relevant for saraswati pujA.

Why ?

Because the mahArAja says so himself !

In the NEVER-TO-BE-HEARD third Caranam , the mahArAja says of this goddess “sahrdaya rasa-kara kavi-vara nikara”, she who "fulfills the imagination of all inspired poets"

And in that potent line he manages an oblique reference to the “rasa” of sa-ras-wati too.

Naturally rAga kalyAni is the apt choice for this fulfillment !

While maintaining the dwitiya akSara rule , each of the three (rather extensive) Caranams also “nests” an exquisite tempo with the words ending in…

radE (Caranam 1)
as in SA-radE , nI-radE, viSA-radE, paTalI-radE, nA-radE

malE (Caranam 2)
as in SyA-maLE, parimaLE, manO-malE, kO-maLE

sitE (Caranam 3)
as in bhA-sitE, upA-sitE, kamalA-sitE, sitA-sitE, vA-sitE

On the auspicious occasion of saraswati pujA and vasanta panCami, “pAhi mAm Sri vAgiSwari” is a fitting tribute to the goddess of all words, all sound, and all music and also of the throat Cakra !

In the nAda-yOga, there is no higher purpose of the vAggeyakAra than to return breath to its giver, as these wondrous kritis.

“pAhi mAm Sri vAgiSwari” – rAga kalyAni

rAdhikA K
https://www.youtube.com/watch?v=ST1KOjI6xG4

hariprasad K
https://www.youtube.com/watch?v=zK6bnw6EHMI

veena saranya m
https://www.youtube.com/watch?v=XrMwYsTvyp0

nAdopAsaka
Posts: 878
Joined: 20 Jul 2020, 17:05

Re: Swathi Thirunal ( bhuvana-traya nAyaka = mAya, mAlava and gaula dESa mahipati )

Post by nAdopAsaka »

bhuvana-traya nAyaka = mAya, mAlava and gaula dESa mahipati

The mahArAjas spectacular mAyamAlavagaula kriti “dEva dEva kalayAmi tE” shines and rises like the mEru mountain (the "mEru-samAna" of the tyagarAjas imagination).

And in his words “bhuvana-traya nAyaka”, the mahArAja borrows the Dikshitars view (from “SrinAthAdi”) of the three worlds as mAya, mAlava and gaula dESa.

As if in tribute to Sigmund Freud (where hidden thinking influences choices) vidwAns/academicians of the last 100 years sing only the third Caranam which begins with the reference to the golden hue of the lord “jAtarupa nibhaCela”.

Why ?

Because they cannot claim to be the sAdhus described in the NEVER-TO-BE-HEARD first Caranam which begins with the word “parama-hamsAli-gEya”, he who is sung to by the paramahamsa = sAdhus.

The mahArAja has another gem in this rAga, the tAna-varna “sarasijanabha murAre” where both the krSna and rAma avatArs find mention (as murAre and rAmAvatAra).

dEva dEva kalayAmi tE - rAga mAyamAlava gaula

Bombay Sisters (Om SAnti on vid. lalitAs recent passing)
https://www.youtube.com/watch?v=xAnir2ayrlQ

Hyd Bros.
https://www.youtube.com/watch?v=wuyoVsvlGX0

flute amit N
https://www.youtube.com/watch?v=wbyMQxxoyx8

sarasijanAbha murarE – rAga mAyamAlava gaula

KVN
https://www.youtube.com/watch?v=GqR-QRFUQGo

veena bhAgyalakSmi
https://www.youtube.com/watch?v=1AYwO2rCiaE

nAdopAsaka
Posts: 878
Joined: 20 Jul 2020, 17:05

Re: Swathi Thirunal (kita taka jham jham ! gOpAlaka pAhimAm - the secret (= gupta) hidden within the mahArAjas rEva-gup

Post by nAdopAsaka »

kita taka jham jham ! gOpAlaka pAhimAm - the secret (= gupta) hidden within the mahArAjas rEva-gupti

Post # 555 of the tyAgarAja thread reveals the “secret” ( = gupta) of the rEva-gupti kritis of BOTH the tyAgarAja and the Dikshitar.

It will be shown in this post that the mahArAjas evergreen “gOpAlaka pAhimAm” is also linked to a “secret”, one that is hiding in plain sight !

And this secret confirms that the original rAga is indeed rEva-gupti for “gOpAlaka pAhimAm”.

Some minor background

Both rEvagupti and bhupAlam are five-swara rAgas (pentatonics) , sharing 4 of the swaras.

They differ only in that the sAdharana gAndhAra applies to bhupAlam versus the antara gAndhAra to rEvagupti.

At first sight, the very starting words of the kriti might suggest an influence of the rAga word bhupAlam.

Indeed the word “gOpanam” implies protection which is directly related to the meaning of “bhupAla” = the protector of the earth.

In fact the word “bhu” appears several times and in EVERY Caranam of this kriti

As in the usages bhu-dhara , bhu-vana , bhu-surArpita , bhu-ri , bhu-jaga

The rEva-guptis gupta mudra/signature

So what is the secret hiding in plain sight that confirms the rAga for gOpAlaka pahimAm as rEva-gupti (and not bhupAlam).

It is the many-splendored universe seen in the babys mouth by the fortunate mother !

The mahArAja specifically says in the very first Caranam

sarOSabhIta mAtru vikSita ( the angry mother sees ) bhudhara jalanidhi mukha (the mountains and oceans) bahuvidha bhuvana jAla (the many wonders of the vast universe) lalita mukhAmbuja (in the lotus mouth of the baby)

In Hindu scripture, the darSana of the deity is considered the supreme attainment of any living mortal.

The baby krSnA avatAra reveals the SECRET of being the incarnation of the lord to the blessed earthly mother in this touching tale.

The candy in the mouth of the vAggeyakAra

In the 21st century, tales of babies with the universe in their mouth might seem out of place or even quaint to some.

Why is it relevant to dwell in detail on the impulses and choices made by the vAggeyakAras ?

Why are the kritis much greater than mere “clothes-horses” , mere swara-patterns to be ridden up and down by vidwAns/vidUSis in narcissistic displays of technical skill ?

Why is all this unraveling needed of the esoteric information coded in the great kritis ?

Because to the nAda-upAsakas all the great kritis are always only “received”.

Because the kriti reflects the magical moment when candy enters the mouth of the vAggeyakAra.

Because the kriti is the surest , purest sign of the union of vAggeyakAra and deity.

gOpAlaka pAhimAm - rAga rEvagupti

pattAbhirAma p
https://www.youtube.com/watch?v=NU1DtKkKwIU

flute KS gOpAlakrSnan
https://www.youtube.com/watch?v=1F8KNCo0UN0

violin tH subramanian
https://www.youtube.com/watch?v=9m2pfQsbz4M

veena soundararajan
https://www.youtube.com/watch?v=MXKY6Pn-Q7c

ps The usage of 4 of the swaras is seen in the prAsa syllables as well.

ri, pA and dhA appear as dwitiya-akSara syllables

And the Sadja = sA is the prathama-akSara of all 3 Caranams.

The kriti is reproduced here in its entirety to properly illustrate these features

pA as dwitiya=akSara

gO-pA-laka pAhimAm anisham tava pAda ratamayi

It is well known that the expanding yati (the SrOtOvAha) pattern is also delivered in this line.

anupallavi
pA-pa vimOCana pavidharAdi nata pada pallava

caraNam 1

dhA as dwitiya-akSara

sA-dhu katitha mrdaSana sarOSabhIta mAtru vikasita
bhu-dhara jalanidhi mukha bahuvidha bhuvana jAla lalita mukhAmbuja

caraNam 2

ri as dwitiya-akSara

sA-ra-sa bhava madahara satIrthya dIna bhUsurArpita
pA-ra-rahita dhanacaya nirUpama pataga rAja ratha kamalAvara

caraNam 3

ri as dwitiya-akSara

sA-ra-sa rasa suvaCana sarOjanAbha lOkanAyakA
bhu-ri karuNa tanujita manasija bhujaga rAja Saya muraSAsana

Noticeably the gAndhara swara is ignored in the placement of these akSara settings…which suggests an awareness of the intersection of rEvagupti with bhupAlam.

Indeed there are other kritis in rAga bhupAlam by the mahArAja (e.g. sAmajEndra bhitiharana).

But it is the secret of the kriti (exposed in this post) which is the essence and the reason for the choice of rAga rEva-gupti for “gOpAlaka pAhimAm”.

nAdopAsaka
Posts: 878
Joined: 20 Jul 2020, 17:05

Re: Swathi Thirunal (The "Sruti of smrti" - the 7 “smara” = remembrance kritis of the mahArAja ..1. smara sadA mAnasa )

Post by nAdopAsaka »

The "Sruti of smrti" - the 7 “smara” = remembrance kritis of the mahArAja 1. smara sadA mAnasa - bilahari

There are 7 wondrous kritis of the mahArAja that open with the word “smara” expressing the idea of “remembrance”.

1. smara sadA mAnasa - rAga bilahari

2. smara mAnasa - rAga darbAr

3. smara janaka - rAga behAg

4. satatam samsmarANIha - rAga nIlAmbari
(the “smaranam” kriti of the nava-vidha bhakti set)

5. smara hari pAdAravindam - rAga sAma

6. smarasi purA - rAga kApi

7. smarati nu mAm sadayam - rAga madhyamAvati

It is no coincidence that the word “smara” is also a synonym of Cupid – manmathA = the Hindu god/messenger of love.

Naturally too, the mahArAjas “memories”, his “smaranam” is steeped in love and devotion.

Indeed, it is this shared remembrance …the "Sruti of smrti", that is transmitted by the nAda-sampradAya.

Each one of these 7 kritis will be taken up in the next few posts..

We begin with the shining bilahari, "smara sadA mAnasa bAlagOpAlam" fittingly to the bAlagOpAla, in line with post # 211 where the same baby avatAra showed his mother the "gupta" , the secret of the universe (the rEva-gupti)

smara sadA - the kriti is reproduced to here point out a dwitiya akSara issue

As can be seen the “ra” syllable dominates…but the first Caranam "ya-du-kulam" doesn’t fit the pattern !!

sma-ra sadA mAnasa bAlagOpAlam
du-ri-tamaya dArunam girikuliSam
ya-du-kula tilakam yamijana vinutam parama guna vasatim vAridhi Sayanam
sa-ra-sija nayanam sAmaja varadam madana janakamiha madhumura daLanam
ga-ru-Da turangam kanaka sucElamparama puruSam shrI pankaja nAbham

It should be remembered that in some textbooks the words “ya-du-kula kAmbOji” are replaced by the words “ya-ru-kula kAmbOji…or even “E-ru-kala kAmbOji”

Which would allow the usage in this kriti to be phonetically “ya-ru-kula”, thus satisfying the dwitya akSara rule across the kriti !

smara sadA mAnasa – rAga bilahari

KVN
https://www.youtube.com/watch?v=KCEq7Cfz2Zk

here Sri KVN (masterfully) does the second stanza/line too which is rarely, if ever, heard..

ambikApuram sivarAman
https://www.youtube.com/watch?v=z8g3ugyW08k

viSnudEv N
https://www.youtube.com/watch?v=QLpyIVAWjgI

violin T harihara s
https://www.youtube.com/watch?v=RBKkU5V4fgA

flute ramani
https://www.youtube.com/watch?v=A4qg4lkOSzQ

r kauSik
https://www.youtube.com/watch?v=K097L2oxnLA

nAdopAsaka
Posts: 878
Joined: 20 Jul 2020, 17:05

Re: Swathi Thirunal (The "Sruti of smrti" - the 7 “smara” = remembrance kritis of the mahArAja.. 2. smara mAnasa )

Post by nAdopAsaka »

The "Sruti of smrti" - the 7 “smara” = remembrance kritis of the mahArAja 2. smara mAnasa padmanAbha Caranam - darbAr

Just like a traditional darbAr (court/pavilion/mandapa) is held up by supporting pillars…the universe is held up and sustained by the feet of the lord.

Is it any wonder that the mahArAjas kriti “smara mAnasa padmanAbha Caranam” which focuses entirely on the feet of the lord, is in the rAga darbAr !!!

Only the cynical, lazy, ignorant and corrupt can think this is a mere coincidence.

Why corrupt in particular ?

Because several scoundrels and miscreants (including so-called vidwAns and vidUSis) have knowingly and deliberately recast the songs/worship of the vAggeyakAras with spurious tunes.

Since this is a series on “smarana”, it is good to remember what the vAggeyakAra originally intended, instead of shameless forgeries.

These villains admit their inability to find their own words while also disfiguring the original kriti (and creating confusion with misattributions)

The words and the rAga are fused into one inseparable alloy only by the thoughts and pujA of the vAggeyakAra.

The purity and enormity of this accomplishment renders insignificant the puny artificial imitations of these technicians/swara-manipulators…whatever oohs/aahs they get from their “fans” in bizarre kutChEris/darbArs.

smara mAnasa padmanAbha Caranam – rAga darbAr

murali k

https://www.youtube.com/watch?v=LMiuFja2RSY

nAdopAsaka
Posts: 878
Joined: 20 Jul 2020, 17:05

Re: Swathi Thirunal (The "Sruti of smrti" - the 7 “smara” = remembrance kritis of the mahArAja 3. smara janaka )

Post by nAdopAsaka »

The "Sruti of smrti" - the 7 “smara” = remembrance kritis of the mahArAja 3. smara janaka Subha Carita - rAga bEhAg

A flower blooms only where its seed is nurtured.

The seed may be “foreign” = dESya to the soil of the kSEtra, but the flower is the essence of the kSEtra.

So too is the “dESya” rAga bEhAg only the seed for the magical bEhAg kritis blooming in the “kSEtra” of the mahArAjas imagination.

And within the garden of his bEhAg kritis, “smara janaka” has its unique fragrance and color.

With his opening breath the mahArAja captures the essence of smrti and pujA.

“smara janaka Subha Carita” remembers (= smara) the auspicious (Subha) history (Carita) of viSnu who is father (janaka) of Cupid = smara..

It will be noticed that the opening syllables are also distributed one-for-one with the swaras of the bEhAg ArOhana

sa-ni-sa-ma-ga-ma-pA-pA-ni-dha-ni-sA
sma ra-ja na ka Su bha Ca ri tA

A fine alliteration appears in the anupallavi as well

ta-nu -vi-nindita–nira-dAdrta– nArada-nata-bhurida

swara-akSara over dwitiya-akSara

In the Caranams , it can be seen that the dwitiya akSara is cast aside…in favor of the swara akSara (pA) on the prathama akSara (first syllable)

sma-ra janaka shuba CaritAkhila lOkanAyaka mAmava
ta-ru Na sArasadaLa nayana tapanIya rucivasana dhara tanuvinindita nIradAdrta nAradAnata bhUrida

pA-pa dahana sura vimata pATana prasita
shrIpatE jalanidhIshayana bhava tApa nASana paTutara
pA-vana suguNa nirupama bhAnu shashi nayana dEvadEva purAri kamalajati viSadati bhavanti ta
pA-litabhuvana samudaya paramapuruSa harE phAlashObhita surabhi mrgamada padmanAbha jagannuta

smara janaka Subha Carita – rAga bEhAg

MDR
https://www.youtube.com/watch?v=wH7HzEG2PY8

veena krSnavEni
https://www.youtube.com/watch?v=kwO7wZZxy-g

violin chowdiah
https://www.youtube.com/watch?v=XFw4JvogYUc

nAdopAsaka
Posts: 878
Joined: 20 Jul 2020, 17:05

Re: Swathi Thirunal (The "Sruti of smrti" -the 7 “smara” = remembrance kritis of the mahArAja 4. satatam samsmarAnIha )

Post by nAdopAsaka »

The "Sruti of smrti" - the 7 “smara” = remembrance kritis of the mahArAja 4. satatam samsmarAnIha - rAga nilAmbari

“smaranam” defeats “maranam” as in memory defeats death..

But in the nava vidha bhakti “smaranam” is more than about mortals or mortality.

The vAggeyakAras are obviously hugely sensitive to the nava vidha bhakti. (the 9 types of bhakti)

nava vidha bhakti based kritis can be found in the tyAgarAja’s collection (and also in the Dikshitars… see those threads ).

The mahArAja specifically has 9 kritis for nava vidha bhakti, each one using the key word for the type of bhakti within the kriti. (e.g. “ArAdhayAmi” – bilahari for arCana, “vandE dEva dEva” – bEgada for vandanam , pankajAkSa tava sevAm – tOdi for pAda-sEvanam etc. etc.)

For the bhakti-vidha known as “smaranam”, (i.e remembrance or smrti) the kriti is “satatam samsmarAniha” in rAga nilAmbari.

It can be asked (if only by a few) ..

Is there a reason for this choice of rAga nilAmbari and this “memory” kriti ?

As long as the earth has existed, there has always been a sky (ambara) looking down on it and with different shades of “nila” as well, (mostly blue in day and dark blue-black at night)

Indeed the Dikshitar calls the sky the eye of the dEvi, in his supreme classic nilAmbari “ambA nilAyatAkSi”

And he says it is “akhila lOkA sAkSi” …witness to ALL worlds , ALL history and ALL events.

Can there be a better representation for All memory and therefore smrti, than the vast and timeless sky , nilAmbari ? …..IMPOSSIBLE !!

Unerringly, once again, the vAggeyakAras enrich the existence of the nAda-upAsaka, with their choices and their pujA.

satatam samsmarAnIha – rAga nilAmbari

vidUSi sitAlakSmi
https://www.youtube.com/watch?v=mRLLUgqxhgM

nAdopAsaka
Posts: 878
Joined: 20 Jul 2020, 17:05

Re: Swathi Thirunal (The "Sruti of smrti" - the 7 “smara” = remembrance kritis of the mahArAja 5. smara hari )

Post by nAdopAsaka »

The "Sruti of smrti" - the 7 “smara” = remembrance kritis of the mahArAja 5. smara hari pAdAravindam- rAga sAma

"smara hari pAdAravindam mudAniSam"

The constant remembrance of the lords feet is conducive to sAma = one-ness with peace and tranquility.

Just like the exceptional kritis expose the rAga scale immediately and unambiguously (e.g. sAma is NOT allowed to stray into dEvagAndhAri) , the mahArAja reveals his intent right away in the pallavi..

Indeed the rAga sAma finds BOTH its "word-mudra" AND its "meaning-mudra" right away in the anupallavi, where the mahArAja says..

guru sajjana sangama muru punya sama vApyam”

Find your peace by associating (punya sama vApyam) with the sAdhus and pious (guru sajjan sangama)

Only a fool (or worse) can insist these specific choices of words (that reflect the influence of the meaning of the word sAma ) are mere coincidences.

The source of musical inspiration of the sacred Hindu vAggeyakAras is NOT “swara” or swara-knowledge (as corrupt musicologists and countless narcissistic vidwAns/vidUSis would have us believe) …it is a deeper meditation on the value and meaning of Sabda, sound and rhythm as the heartbeat of pujA.

smara hari pAdaravindam – rAga sAma

pudukOde k
https://www.youtube.com/watch?v=BKWW1D50htw

nAdopAsaka
Posts: 878
Joined: 20 Jul 2020, 17:05

Re: Swathi Thirunal (The "Sruti of smrti" - the 7 “smara” = remembrance kritis of the mahArAja 6. smarasi purA )

Post by nAdopAsaka »

The "Sruti of smrti" - the 7 “smara” = remembrance kritis of the mahArAja 6. smarasi purA – the childhood memory of kuCEla and the hard path in the sandipana ASram - rAga kApi

There is no greater emblem of the smaranam bhakti than the pujA of kuCEla ( = sudAma).

The essence of “smarana” here is that the lord does not forget his true devotee.

kuCEla is so important there is an entire kuCElOpAkhyAna in the Srimad bhAgavatam telling his story.

And the mahArAja properly enshrines this memory of the child kuCEla in two of his “smara” kritis.

This post deals with the kApi kriti.

The next post will take up the madhyamAvati.

In the kuCElOpAkhyAna ( the 10th canto of the Srimad bhAgavatam) it is told that the ascetic, the avadhuta kuCEla finds the path from his poverty to the kingdom of his childhood friend , the lord krSna.

Indeed the kuCElOpAkhyAna says how the two young students in the sandipana Asram, collecting firewod find themselves lost in the forest.

As the Srimad bhagavatam Canto 10 chapter 80 verse 40 says

vayam bhrSam tatra mahAnilAmbubhir
nihanyamAnA mahur ambu-samplave
diSO vidantO tha parasparam vane
grita-hastA paribabhrimAturA

Why rAga kApi ?

The choice is inevitable, since the memory exposed by the kuCElOkHyAna and the kriti is of the kA-pathyam, the hard path endured by the two young students in the sandipana ASram while collecting firewood.

In fact the mahArAja says exactly that in the

pallavi

smarasi purA guru vanita vacasa gatamasmAbhirvana mati tarasA

And in the NEVER-TO-BE-HEARD caraNam 1

indhana jAla sama nayanArtham nishi timirENa tadA vitatAyAm, sOdham varSam jatamakAlE bhrAntam vidhta karairayE sahasA

where this hardship is decribed !!

There is absolutely NO basis for singing “smarasi purA” in the rAga Anandabhairavi.

Unthinking and disrespectful entities have been performing this desecration for some decades !

An available rendition of “smarasi purA” in kApi is not easy to find.

Instead mahArAjas "vihara mAnasa rAmE" is a fine kApi.

So far, the miscreants haven’t ruined “vihara mAnasa rAmE” by changing to another rAga, (although they are probably working out some (naturally mediocre) version )

vihara mAnasa rAmE – rAga kApi

MDR
https://www.youtube.com/watch?v=wgUBZA3C5LQ

veena doraiswAmy I.
https://www.youtube.com/watch?v=B-2mCt4w2UE

nAdopAsaka
Posts: 878
Joined: 20 Jul 2020, 17:05

Re: Swathi Thirunal (The "Sruti of smrti" - the 7 “smara” = remembrance kritis of the mahArAja 7. smarati nu mAm )

Post by nAdopAsaka »

The "Sruti of smrti" - the 7 “smara” = remembrance kritis of the mahArAja 7. smarati nu mAm sadayam yadupati
- rAga madhyamAvati

Right away the first thing to notice is that there is NO OTHER kriti by the mahArAja which uses the word “yadu-pati” !

(although Sri-pati, rati-pati, raghu-pati and other variations occur often)

Why is this one-time usage of the word “yadu-pati” relevant to this “smaranam” kriti ?

Because, as yadu-pati, krSnA is the king of the yAdavAs…and yAda-va conceals the dESya word for memory = yAda…

The mahArAja is known to be adept at multiple languages, including producing khayAl and thumri.

In fact the stated tAla for this kriti is “bilandi”, also a dESya word.

So the only kriti invoking “yadu-pati” has its roots firmly in memory = remembrance = smaranam.

Indeed, the kUCElOpAkhyAna describes kuCEla wondering whether the lord will remember him and their childhood studies together.

And the mahArAja preserves exactly this idea in “smarati nu mAm sadayam yadupati”.

It cannot be a coincidence that several words in the kriti carry the ending syllable “-ati” as in..

sma-rati
paS-yati
vakSa-yati
dAs-yati
and
yadu-pati

Why ?

Because they all carry the same last-syllable sound as the rAga madhyamA-vati.

As usual, countless miscreants have desecrated this kriti over several decades !

If these miscreants feel they have to deface the mahArAjas kritis with spurious rAgas they should replace the mahArAjas mudra (sarasijanAbha, padmanAbha etc) with something else when they perform the disfiguring and defacement in kutChEris/sabhAs etc.

“smarati nu mAm sadayam yadupati” in rAga madhyamAvati is not easy to find as an audio example that can be suitably linked here. If a decent version is found it will be linked later.

Another less-heard madhyamAvati of the mahArAja is “bhAvayE padmanAbham”

bhAvayE padmanAbham – rAga madhyamAvati

mAtangi s
https://www.youtube.com/watch?v=vBIxnSQ5ly0

nAdopAsaka
Posts: 878
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Re: Swathi Thirunal (narasimha kritis to the 3-eyed avatAra of viSnu on the occasion of narasimha jayanti)

Post by nAdopAsaka »

On the occasion of narasimha jayanti upcoming later this week…… 5 “narasimha” kritis to the (3-eyed) avatAra of viSnu

The legend of the narasimha avatAra cannot be delinked from the story of prahlAda.

Although this is the swAti tirunAl thread, the kritis of the tyAgarAja and the Dikshitar to this unique avatAra cannot be ignored.

bila-hari and prahlAda’s call to the lord- The “narasimha” bilaharis of the mahArAja and the tyAgarAja

Both the tyAgarAja and the mahArAja apply (naturally) the rAga bila-hari as their direct call to hari = narasimha, almost as if it is prahlAda himself seeking the viSnu.

1. Sri narasimha jaya harE trinayana - the mahArAja - rAga bilahari

As the vengeful wrath filled avatAra of viSnu, narasimha possesses a third eye, properly enshrined in the bilahari of the mahArAja, “Sri narasimha jaya harE trinayana”

2. narasimha nannu brovavE Sri lakSmi – the tyAgarAja - rAga bilahari

For the tyAgarAja, the consort is inseparable from viSnu, so “Sri lakSmi narasimha” is addressed in this bilahari.

The “roar of the lion = rambhanam

3. narasimha mAmava – the mahArAja - rAga Arabhi

And finally, the rambhanam = roar of the lion is captured in the Arabhi (which word is a synonym of Arambhanam , which conceals the word “rambhanam” ). Absolutely not a random choice !

prahlAdaS Casmi daityAnAm , mrgAnAm Ca mrgEndro ham – Why the mOhana at Solingur ?

4. narasimha Agaccha – the Dikshitar - rAga mOhana

The Dikshitar gives the rAga mOhana to the SOlingur ghatikACalESwara in “narasimha Agaccha”

mOhana for the narasimha avatAra springs naturally from the timeless bhagavad gitA where stanza (10.30) states that the lord krSnA (aka mOhana) describes himself as

prahlAdaS Casmi daityAnAm , mrgAnAm Ca mrgEndro ham

translation
Of the daityas I am prahlAda, of the beasts I am the lion.

Case closed…

The vivAdi deity and the Dikshitars vivAdi rAga kriti offering

5. naraharim ASrayAmi – the Dikshitar - rAga jayaSuddhamAlavi

The Dikshitar is of course sensitive to the unique vivAdi = dissonant situation…..a father bent upon murdering his own son ! , a half-man/half-lion deity , the krSnA avatAra aspiring to be both prahlAda and a lion. (noted in the Mutthuswamy Dikshitar thread posts dated 30 July 2022 , 14 Sep 2022 etc.) as well as the somewhat non-standard 3 -eyed avatAra of viSnu

Naturally the Dikshitar gives the jayaSuddhamAlavi (vivAdi mEla # 18) rAga to this “dissonant” nara-simha deity in the esoteric “naraharim ASrayAmi”

On the occasion of narasimha jayanti….unerringly, the vAggeyakAras find their way again into the nAda-upAsakas consciousness.

Sri narasimha jaya harE trinayana – the mahArAja - rAga bilahari

meera krishnan
https://www.youtube.com/watch?v=6Z1vLR2pJqA

narasimha nannu – the tyAgarAja – rAga bilahari

TVS
https://www.youtube.com/watch?v=zpH-g5rFNww

s naveen
https://www.youtube.com/watch?v=jb-wKm4IzbI

narasimha mAmava – the mahArAja - rAga Arabhi

sruti sAgar flute
https://www.youtube.com/watch?v=A3iOTZ1VzTQ

SSI
https://www.youtube.com/watch?v=-YXx9mNH4xA

narasimha Agaccha –the Dikshitar – rAga mOhana

jayanti veena
https://www.youtube.com/watch?v=IQVJZW1OLck

naraharim ASrayAmi – the Dikshitar - rAga jayaSuddhamAlavi

TV rAmprasAd
https://www.youtube.com/watch?v=KrmfcmRBEpw

nAdopAsaka
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Re:Swati Tirunal (pada & gama –step and gait in “padasAnati munijana sugama” -the kAmbOji with the swara-akSara opening)

Post by nAdopAsaka »

pada and gama – step and gait in “padasAnati munijana sugama” - the mahArAja’s slow-dance kAmbOji with the swara-akSara opening

The mahArAja has many wonderful kAmbOji rAga kritis.

But only one begins with the swara-akSara opening, “padasAnati munijana su-gamapA-vana”, where the padas (feet) of padmanabhA are worshipped (Anati) by sages (muni).

The swara akSara mapping "pa-da-sA-na-ti" continues further into the pallavi with "ga-ma-pA" phrase.

The words “pada” and “gama” imply feet and gait and the miSra cApu tAla carefully meters the passion of the rAga kAmbOji.

Notably the rAga mudra appears as “kAmini jana kAma”, in the never-to-be-heard second stanza

Can there be any doubt that the mahArAja (as kAmini) is conducting a slow dance with his eternal love, the padmanAbha.

What wretch will make a lewd image out of this ?

padasAnati munigana – rAga kAmbOji

viSnudEv N
https://www.youtube.com/watch?v=3Xt1Ou2Dd1o

nAdopAsaka
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the mahArAjas "sArasAkSa" kritis to the lotus eyed deity . 1. sArasAkSa paripAlayamAm –rAga kAmavardhani

Post by nAdopAsaka »

the mahArAjas "sArasAkSa" kritis to the lotus eyed deity . 1. sArasAkSa paripAlayamAm – rAga kAmavardhani

The names “sAras-AkSa” along with rAjivAkSa, sarasiruhalOCana and ambujAkSa find their way into a dozen or so of the mahArAjas kritis.

Several of these are located in syAnandura, the ancient kSEtra name given to anantapuram aka padma-nAbha-puram.

Clearly, for the vAggeyakAra, the lotus is not just on the navel, it is also the eyes of the lord.

In the next few posts these “sArasAkSa” kritis will be looked at.

Naturally the sequence begins with the one-of-a-kind “sArasAkSa paripAlayamAm” - rAga kAmavardhani

The anupallavi line “nirAjAstra janakAdhika mECaka niradAbha karinAyaka bhayahara” is second to none in keeping the momentum of the opening.

And it fits the lotus theme, since “niraja” is also the lotus flower.

The reference to Cupid (nirajAstra) = the flower-arrow bearer is completely aligned with the rAga kAma-vardhani choice.

Unfortunately, the first 2 stanzas of this great kriti are very rarely heard.

In the first stanza, the mahArAja notes the deer musk tilaka, = mrga-mada , “mada” being the intoxication that is part of kAma….of course the rAga is kAma-vardhani.

In the second stanza , the word "kAma" itself appears.

The mahArAja is also tongue-in-cheek..

Despite the preservative powers of the viSnu, the destructive prowess of the deity is on full display with words like hara, sudana, vinASa, antaka and nASa.

karinAyaka bhaya-hara (the gajendra mOkSa)
sUditAri-gana nirupama bala
pUrna kAma kalidOSa vinASa-kara
gabhIra murAntaka
bhIti nASana


Notably the kriti ends with the word “kama-lA-dharani-var” which carries most , if not all, of the syllables of the rAga name “kAma-var-dhani”, though not in the exact order.

sArasAkSa paripAlayamAm – rAga kAmavardhani

Hyd bros.
https://www.youtube.com/watch?v=8yPvl-U6m9g

rAmnAth (the rare second stanza is presented)
https://www.youtube.com/watch?v=SfvJzEzDhTk

TNS
https://www.youtube.com/watch?v=Gh1AX8y78do

nAdopAsaka
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the mahArAjas "sArasAkSa" kritis to the lotus eyed deity . 2. rAjIvAkSa bArO krSna – rAga SankarAbharanam

Post by nAdopAsaka »

the mahArAjas "sArasAkSa" kritis to the lotus eyed deity . 2. rAjIvAkSa bArO krSna – rAga SankarAbharanam

rAjIv-AkSa = sArasAkSa = lotus eyed

The idea appears also in the very last line of the tyAgarAja’s famous mangalam kriti “ni nAma rupa mulaku” as “rAjiva-nayana tyAgarAja vinuta maina”

The kriti also displays a version of the dwitiya akSara rhyme, but where each half of the 4 Caranas has the second syllable matched. (shown in red below)

pallavi
rA-jI-vAkSa bArO krSna rAdhA ramana bArO krSna
anupallavi
mu-jj-aga sthiti vilaya mUla mukunda bArO

caraNam 1
a-hi-varana phanadalli Adida dEva bArO
sa-hi-sa kudada samsAra sAgarapOta bArO
caraNam 2
ci-nn-ada bhuSavitacikka svarUpa bArO
be-nn-e caurya mADida SrI venkatramana bArO
caraNam 3
ma-ts-ya kUrma rUpadhara mAdhava ranga bArO
ku-ts-ita ripujanara kondasurESa bArO
caraNam 4
nI-ra-da sannibha gAtra nityaharE nI bArO
vA-ri-ja pAdadi mereva vArijanAbha bArO

rA-jIvAkSa bArO krSNa – rAga SankarAbharanam

madhu m
https://www.youtube.com/watch?v=QjBJcZTGHz0

KVN
https://www.youtube.com/watch?v=z-qXk_yOMBY

nAdopAsaka
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the mahArAjas "sArasAkSa" kritis to the lotus eyed deity . 3. sEvE SrIkAntam – rAga mOhanakalyAni

Post by nAdopAsaka »

the mahArAjas "sArasAkSa" kritis to the lotus eyed deity . 3. sEvE SrIkAntam – rAga mOhanakalyAni

In “sEvE SrIkAntam”, the mahArAja gives life breath to the unique rAga mOhanakalyAni.

Notice that the rAga relies on mOhana scale for the ArOhana and kalyAni for the avarOhana.

The converse has not worked out as well…i.e. ..There is no rAga “kalyAnamOhana”. ……Why ? that is a separate story...

The “embedded” rAga mudra for mOhAnakalyAni itself appears via the words “gOpa rupam akhila Arti nirasam”, the mOhana (krsna) who bestows welfare (kalyAn).

And also as “SrikAnta varadam”.

The kriti is located in the syAnandura kSEtra of the mahArAjas imagination and the syAnandUra reference in the kriti also gives the "sArasAkSa" icon.

"syAnandUra purAmala dIpam sArasAkSam"

The sesame flower and krSnas nose – tila-suna su-nAsam

"sEvE SrikAntam" also carries the description of krSnas nose as the sesame flower “tilasuna sunAsam”.

At first one might think this reference to the sesame flower is from the gita gOvinda.

However jayadEva gives this description not to krSna but to rAdha

As seen in in the gita gOvinda Chapter 19, verse 13
nAsAbhyEti tila-prasUna

It is another oriya poet, sArvabhauma bhatta, whose 15th century suShloka Satakam verse 59 that gives the sesame flower phrase used by the mahArAja to krSna's nose

vintala-kamala-vaktrah pakva nibadha
tila-kusu na-su-nAsa kambu-kanthah su-dirghah
suvaliuta-bhuja-dando nabhi-gambhira-rup
sphuratu hrdaya-madhye gaura-Candro-natendra


But..enough about the nose, the kriti is for the ears and the inward eye.

sEvE SrikAntam – rAga mOhanakalyAni

veena gAyatri
https://www.youtube.com/watch?v=iS9oLoYF4Oc

TVS
https://www.youtube.com/watch?v=6n12vptzmuE

MSG
https://www.youtube.com/watch?v=7drdRmotpN4

nAdopAsaka
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the mahArAjas "sArasAkSa" kritis . 4. The “sugunAmbuja garbhadala ikSanam” of the “gAngEya vasana dhara" viSnu

Post by nAdopAsaka »

the mahArAjas "sArasAkSa" kritis to the lotus eyed deity . 4. The “sugunAmbuja garbhadala ikSanam” of the “gAngEya vasana dhara” padmanAbha

The mahArAjas hamir kalyAni to the “rangasthala phanipana” padmanAbha, reclining on the great serpent, is a particularly intriguing hamir-kalyAni.

The lotus petal (garbhadala) eyes of the lord are described as “sugunAmbuja ikSana"

Why hamira-kalyAni, the foolish troll might ask ?

Because the prince (= hamira) appears as arjuna in the word pAta-vijaya !

Where arjuna = vijaya and krSna is “pAta-vijaya”, the protector of arjuna.

There can be no doubt the mahArAja is influenced by the hamir-kalyAnis choices of the Dikshitar and the tyAgarAja.

But the masterpiece kriti is entirely his own.

gAngEya vasana dhara – rAga hamir kalyAni

triCUr bros.
https://www.youtube.com/watch?v=UVvyUa5yypE

veena doraiswamy I
https://www.youtube.com/watch?v=5cE6pZhQ8wk

lakSmipriya
https://www.youtube.com/watch?v=06l1kt6hyok

flute Sreejit
https://www.youtube.com/watch?v=ErjjYB3E_m4

nAdopAsaka
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the mahArAjas "sArasAkSa" kritis 5a. sAmajEndra bhitiharana 5b. rAma rAma pAhi-BOTH in rAga bhUpAlam

Post by nAdopAsaka »

the mahArAjas "sArasAkSa" kritis to the lotus eyed deity. 5a. sAmajEndra bhitiharana 5b. rAma rAma pAhi rAma – both in rAga bhUpAlam

5a. “sAmajEndra bhitiharana vikasita sArasAkSa pAhi”

The kriti is properly only in rAga bhUpAlam.

Various vidwAns and viduSis, take EXTREME liberties with the mahArAja’s kritis due to both ignorance and arrogance.

With “sAmajEndra bhitiharana” too, the distortionists have been busy, singing it wrongly in rAga rEvagupti.

The “pAlanam” idea is quite clear from the “gajEndra mOkSa” = “sAmajEndra bhitihara” of the opening words.

As noted on the tyAgarAja thread, the elephant is always related to the earth = bhU.
Indeed, in the scripture, it is the “aSta dik gajAs”, the elephants of the 8 cardinal directions that support the earth.

The mahArAja adds the protection idea in the ending line as well “pAparASi-hara vishvajana Sarana padmanAbha SaranAgata bhaya-hara”.

5b. rAma rAma pAhi rAma

This bhUpAlam rAga kriti obviously influences the opening words..(even this kriti has not been spared by distortionists )

Indeed, the mahArAja gives the embedded rAga mudra for “bhU-pAlam” in the words ‘bhU-valaya Adhipa”.. in the NEVER-TO-BE-HEARD first Carana.

And since when does the music "industry" really respect the intent/pujA of the vAggeyakAras ??

The kriti ends with the words “sarOjAkSa bhrta bhuvana”, indicating the lotus-eye motif.

rAma rAma pAhi rAma – rAga bhUpAlam

triCUr bros.
https://www.youtube.com/watch?v=asEAjHVtNn8

bombay jayaSree
https://www.youtube.com/watch?v=VjZuF2lhDmg&t=243s

nAdopAsaka
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the mahArAjas "sArasAkSa" kritis to the lotus eyed deity 6. paripAlaya sarasiruha lOCana –the kAmavardhani aStapadi

Post by nAdopAsaka »

the mahArAjas "sArasAkSa" kritis to the lotus eyed deity . 6. paripAlaya sarasiruha lOCana – the kAmavardhani aStapadi

When written as an aStapadi (8 sets of couplets = padam), the true intent of this spectacular kAmavardhani emerges !

Can an aStapadi/8 padams not refer to kAma = desire ?.... Impossible !

And so we have the timeless “paripAlaya sarasiruha”

Whats more, the prathama akSara prAsa is followed in each of the 8 padams.(allowing for the sound of “pa” as “bha”)

padam 1
pa-ripAlaya sarasIruha lOcana
bha-va bhaya kAnana bhanjana
padam 2
bhA-nu SarvarInAtha nEtrayuga
pa-nnagArivara vAhana
padam 3
pA-da namrajana kalpasAlanava
pa-nkajAta sadrSAnana
padam 4
gO-pa vAmana nayanAkuca mardana
ghO-ra daityakula nAshana
padam 5
nI-radALi ghana mEcakAnakha
nI-lakaNThanuta mOhana
padam 6
dI-na lOka paripAlaka murahara
di-vasa nAthakula SObhana
padam 7
ka-malA rasAnanAbja madhupa
ka-Lakantha SAranga SarAsana
padam 8
Sr-I padmanAbha nikhila dEvamuni
sE-vya divya guna bhAjana

To produce this gem, after also creating the dEvi navarAtri “sarOruhAsana jAyE” and “sArAsAkSa paripAlaya” indicates the amount of candy put in the mahArAjas mouth, by that which gives all music.

And in a wry twist, the mahArAja embeds the classical rAga name “pantuvarAli” as the sun and moon (eyes of the viSnu) with the words "bhAnu Sarvari-nAtha" nEtra

bhAnu = sun = pAntha and "Sarvari-nAtha" (for the moon is the “king” of the night = Sarvari )

See “The “Eye-cons” of viSnu” post dated 5 Sep. 2022 on this thread linked here
https://www.rasikas.org/forums/viewtopi ... 74#p377374

paripAlaya sarasiruha lOCana – rAga kAmavardhani (= pantuvarAli)

mAtangi S
https://www.youtube.com/watch?v=QU3psjQfP1c

s gOpAl
https://www.youtube.com/watch?v=HLDfZKP--1Y

nAdopAsaka
Posts: 878
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the mahArAjas "sArasAkSa" kritis to the lotus eyed deity . 7a. “alivEni Endu” 7b. “syAnandurESan” both in rAga kuranji

Post by nAdopAsaka »

the mahArAjas "sArasAkSa" kritis to the lotus eyed deity . 7a. “alivEni Endu CEyvu” 7b. “syAnandurESan vihanga-yAna” both in rAga kuranji

ku-ranji is none other than viSnu who delights the bhudEvi – deriving from ku = earth and ranjana = delight.

For the Dikshitar’s ku-ranji at mannArgudi, it is viSnu as “ Sri vEnugOpAla” who is “Sri rukmini lOla”, rukmini being the synonym of the bhU-dEvi/lakSmi.

See post # 808 dated 07 Jan 2023 of the Mutthuswamy Dikshitar thread on “dakSina dwArkA , kuCEla of dwArkA & vEnugOpAla aStakam–kSEtra mudras for ALL 9 mannArgudi kritis”

https://www.rasikas.org/forums/viewtopi ... 67#p378467

Therefore it is an easy choice for the mahArAja to make (but not for the brain-dead)

In “alivEni Endu CEyvu”, the kriti is to lakSmi who consorts with her lord as “sArasAkshanOdu kUdi sAmOdam”
and
In “syAnandurESan vihanga-yAna”, an utsava-prabandha kriti, the garuda-vAha is also “ sArasAkSa bhUri dayAsindhO” and “bhUmi-ramAlOla”.

Yet again, (to the continued dismay of fools) it is the rAga word name that influences both the sAhityam and the pujA.

7a. alivEni Endu CEyvu – rAga kuranji
In a tribute to the “niSAda-anta” status of the kuranji rAga (which makes it different from the rAga SankarAbharana), the mahArajA applies the syllable “ni” multiple times in the very first line (although the phrase is not swara-akSara)..

alivE-ni Endu CEyvu hanta gyA-ni-ni mA-ni-ni

KVN
https://www.youtube.com/watch?v=k22wApSofUk

7b. syAnandurESan vihanga-yAna – rAga kuranji

KVN
https://www.youtube.com/watch?v=c1SorrTQdc8

For completeness, the Dikshitar kuranji is added

Sri vEnugOpAla Sri rukmini lOla - rAga kuranji

KVN
https://www.youtube.com/watch?v=VF4l2zJh8yg

nAdopAsaka
Posts: 878
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the mahArAjas "sArasAkSa" kritis to the lotus eyed deity . 8 pAhi SaurE in rAga nAta

Post by nAdopAsaka »

the mahArAjas "sArasAkSa" kritis to the lotus eyed deity . 8 pAhi SaurE in rAga nAta

The less heard nAta kriti “pAhi SaurE” describes padmanAbha as the “sArasAkSa saridISa Saya”

Where the lotus eyed lord rests (Saya) on the “lord of all rivers” = the ocean (sarid-iSa). Of course this is viSnu who floats on the milk-ocean.

Indeed the rAga nAta is meaningful for the “drama” of the sAgara manthana leading to this very ocean of milk = the kSira-sAgara.

No one (and certainly no wretch) can say that the rAga word name does not influence the vAggeyakAra.

pAhi SaurE – rAga nAta

a venkatACalam
https://www.youtube.com/watch?v=73BQNXdjWVU

nAdopAsaka
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the mahArAjas "sArasAkSa" kritis to the lotus eyed deity . 9 "sAramaina mAtala" in rAga bEhAg & the play of fate = bhAg

Post by nAdopAsaka »

the mahArAjas "sArasAkSa" kritis to the lotus eyed deity . 9 sAramaina mAtala in rAga bEhAg and the play of fate = bhAg

In the famous jAvali, the nAyaki tires of the "sweet nothings" whispered by the fickle "sArasAkSa".

sAramaina mAtalanta cAlu cAlu rA sArasAkSa mIm entO santOSamu mElu

The nuances of the rAga bEhAg have been explained in post dated Jan 1, 2023 on the tyAgarAja thread, in with the tyAgarAja bemoaning his own fate (=bhAg = bhAgya) graphically described in “nEnEndu vetakudura”, the kar-nAtaka bEhAg.

https://www.rasikas.org/forums/viewtopi ... 12#p378412

Fate is ones lot = one's portion = bhAg ( = bhAg-ya)

Only a monumental fool can try to refute that the vAggeyakAras are giving the suCita = inferrable rAga mudra for bEhAg with this recognition of fate = bhAg, as well as showing the influence of the rAga word on the sAhityam.

Indeed in the jAvali, the mahArAja notes the word “bhAg” not once but twice !.....because fate can be good and also ill.

The forlorn nAyaki bemoans her own fate while appreciating that of her rivals !

In the rarely first Carana, the words appear ..

“sOmudu daya mAyanEmi sudatiki mahA bhAgya mAyanE
kAmakOti sundara mA bhAgya mitulAyanE

sAramaina mAtalanta cAlu cAlu rA

KVN
https://www.youtube.com/watch?v=1QfsdjLoS3c

veena rEvati S
https://www.youtube.com/watch?v=FEA4s1L1vfE

flute jayant
https://www.youtube.com/watch?v=nZNbEa92nVM

nAdopAsaka
Posts: 878
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the mahArAjas "sArasAkSa" kritis to the lotus eyed deity . 10. "bhOgindra SAyinam” in rAga kuntalavarAli

Post by nAdopAsaka »

the mahArAjas "sArasAkSa" kritis to the lotus eyed deity . 10. "bhOgindra SAyinam” in rAga kuntalavarAli

The lotus-eye mudra appears in the 4th Caranam as “sarasIruhOdara palASAyatAkSi” , the soft inner (udara) lotus petals.

But what very few (indeed, quite likely NO one) realizes is that the rAga mudra itself appear in the 4th Caranam.

In the words “makara kundala tAra hAra kaustubha bhUSitam

i.e. = Adorned with the “fish-shaped” earrings = “makara kundala”.

It is no coincidence that the word “kundala” appears in the rAga kuntala-varAli kriti.

It is a sUCita ( = inferrable) mudra for the rAga.

In contrast ALL 3 of the tyAgarAjas kuntalavarAli kritis will ALSO be shown to be related to the rAga name, but in a different way from the kundala = kuntala phonetic mudra used by the mahArAja. That will be revealed on the tyAgarAja thread in coming posts.

bhOgindra SAyinam – rAga kuntalavarAli

veena gAyatri (3rd kriti in the list)
https://www.youtube.com/watch?v=2Xj51KA-hF0

ranjani gAyAtri
https://www.youtube.com/watch?v=WEuerviGF-I

flute ramani
https://www.youtube.com/watch?v=4kgx1PJ6dn8

nAdopAsaka
Posts: 878
Joined: 20 Jul 2020, 17:05

Re: Swathi Thirunal (“bilahari” - the call to hari = gOpAla)

Post by nAdopAsaka »

bilahari is the Sri rAma “darSana” rAga for the tyAgarAja seen in “dorakuna” and “kanugontini”

But for the mahArAja “bilahari” is the call to hari = gOpAla/krSna..

On the occasion of janmAStami, the ancient rAga welcomes the lord..

smarasadA mAnasa bAlagOpala, - rAga bilahari

flute ramani
https://www.youtube.com/watch?v=A4qg4lkOSzQ

SSI
https://www.youtube.com/watch?v=mupF3ad1vfg

gOpAlam sEvEham - rAga bilahari

m satyamurthy
https://www.youtube.com/watch?v=oDSU0_eiNiE

SAnthala r
https://www.youtube.com/watch?v=MwjHOHSjHWU

flute krSna mOhan
https://www.youtube.com/watch?v=Z3P2NIMNPCk

nAdopAsaka
Posts: 878
Joined: 20 Jul 2020, 17:05

Re: Swathi Thirunal (padmanAbha pAlitEbha – the mahArAjas only kriti in rAga malayamArutam)

Post by nAdopAsaka »

padmanAbha pAlitEbha – the mahArAjas only kriti in rAga malayamArutam

The basis of the tyAgarAjas solitary malayamAruta kriti “manasA EtulOrtunE” , is noted in a recent post on the tyAgarAja thread..

https://www.rasikas.org/forums/viewtopi ... 83#p380183

But what about “padmanAbha pAlitEbha” – the mahArAjas only kriti in rAga malayamArutam.

It is now shown that these 2 words carry UNMISTAKEABLE icons for the words maruta and mAruta.

1. padmanAbha = viSnu is identified as a “marut” in the gitA, in verse 11.6

पश्यादित्यान्वसून् रुद्रानश्विनौ मरुतस्तथा
paSya AdityAn vasUn rudrAn aSvinau marutas tathA


krSna = viSnu says..
Behold in me, the sons of aditi, the vasus, the rudras, the aSwini kumars, as well as the maruts.

Indeed, the kriti devotes the first Caranam to the rAma avatAra and second Caranam to the krSna avatAra.

2. mAruta is also the wind (equated to the wandering mind in the tyAgarAjas “manasA EtulOrtunE’ as discussed in the post linked above)

And Wind = vAyu spreads in all directions.

Notably, in the scripture the 8 cardinal directions are associated with the asta-gaja dikpAlas, the 8 elephants.

3. marut is also a word for the trunk of an elephant, with which the gajEndra raises the lotus (padma) in the gajEndra-mokSa tale.

Is it any surprise that the mahArAjas malayamArutam kriti begins with the word “pAlita – ibha”, denoting this very gajEndra mokSa…ibha being the elephant.

No !

Only a monumental fool (or worse) can continue to insist that the rAga word/name does not influence the vAggeyakAras choices, ideas, words or pujA.

padmanAbha pAlitEbha – rAga malayamArutam

r suryaprakAsh
https://www.youtube.com/watch?v=Ewvq28X5gBY

s mahati
https://www.youtube.com/watch?v=hs62GqkGZQA

nAdopAsaka
Posts: 878
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pad-ma & chad-ma –How the “pressure” of the dwitiya akSara affects the choice of the start of pallavi & anupallavi

Post by nAdopAsaka »

pad-ma and chad-ma – How the “pressure” of the dwitiya akSara affects the choice of the starting words of pallavi and anupallavi

There are only 3 kritis of the mahArAja that start with the word “padma”.

And ALL THREE use the word “chadma” (which means fraudulent/deceitful) in the anupallavi start.

The limited number and the padma/chadma combination is a direct result of the dwitiya akSara rule.

The mahArAja takes the quickest way out by rhyming pad-ma with chad-ma, IN EVERY CASE.

Conveniently the Dikshitar, the tyAgarAja and SyAmA SAStri avoid starting any kriti with the word "padma" !

the hindOla
pad-ma nAbha pAhi dvipapa sAra guNavasana SaurE
anupallavi
chad-ma kalita muni mAnasa (chadma kalita = those that control chadma)

The Arabhi
pad-ma nAbha pAhi padmavilOCana paramapuruSa SaurE
anupallavi
chad-ma rahita sanakAdi hrdayAbja (chadma rahita = those free of chadma)

the malayamAruta
pad-ma nAbha pAlitEbha bhujagAdhipatalpa…..
anupallavi
chad-ma hIna guNagaNa vAsa (chadma hina = those without chadma)

pad-manAbha pAhi dvipapa sAra – rAga hindOla

TVS
https://www.youtube.com/watch?v=ZeKJItbXDL4

viSnudEv N
https://www.youtube.com/watch?v=F-eT13YobBc

nAdopAsaka
Posts: 878
Joined: 20 Jul 2020, 17:05

dArita magadha mahipa yadu uttama – krSna as magadha-puri-kAlana , in what else.. rAga pUri-kalyAni..

Post by nAdopAsaka »

dArita magadha mahipa yaduttama – krSna as magadha-puri-kAlana , in what else.. rAga pUri-kalyAni..

The story of jarAsandha and his SEPARATION on krSnAs suggestion to bhima is told in the mahAbhAratA.

dArita magadha mahipa yaduttama

Only krSna knew the secret of jara-sandhA's creation (as a fusion of two halves) and therefore of his destruction.

The mahArAja makes reference to this SEPARATION with the word “dArita”, since dAranam is exactly this cleaving.

By so destroying jarAsandha, the threat from magadha-pUri was also ended = kAlana

And for this krSna as magadha-puri kAlana , pUrvi kalyAni is the natural choice.

dEva dEva jagadiSwara – rAga pUrvi kalyAni

pattAbhi rAman p
https://www.youtube.com/watch?v=hQJTBURXO9w

MDR
https://www.youtube.com/watch?v=j1vQekPDRtA

bombay jayaSri
https://www.youtube.com/watch?v=vlOYjzUsx6I

RSR
Posts: 3427
Joined: 11 Oct 2015, 23:31

Re: Swathi Thirunal

Post by RSR »

By so destroying jarAsandha, the threat from magadha-pUri was also ended = kAlana
And for this krSna as magadha-puri kAlana , pUrvi kalyAni is the natural choice.
...
How?
How 'puri' and 'purvi' can be related.
.

nAdopAsaka
Posts: 878
Joined: 20 Jul 2020, 17:05

Re: Swathi Thirunal

Post by nAdopAsaka »

The education continues..pUrvi kalyAni the name and the rAga derives from the dESya rAga name and word... puriya kalyAn

RSR
Posts: 3427
Joined: 11 Oct 2015, 23:31

Re: Swathi Thirunal

Post by RSR »

Puri, puram ...town/city
Poorva..earlier

We may as well connect 'the poori masaala' and poorvi kalyaaNI

nAdopAsaka
Posts: 878
Joined: 20 Jul 2020, 17:05

Re: Swathi Thirunal

Post by nAdopAsaka »

All 3 purvi kalyAni compositions of the mahArAja carry the “puri-kAlana” idea = destruction of the city
This post is made for anyone who remains clueless about mudras, including phonetic and sUCita/inferred rAga mudras. Of course one is free to remain clueless even after reading any of this.. If lack of imagination, ignorance of languages or idiom or other facts and a distorted view of the vAggeyakAras origins and motivations limits ones understanding, that cannot be helped. People can believe whatever they want to.

nAdopAsaka
Posts: 878
Joined: 20 Jul 2020, 17:05

POST for the Clueless

Post by nAdopAsaka »

All 3 of the mahArAjas pUrvi kalyAni kritis show the influence of the "puri-kAlana" theme.

1. dEva dEva jagadiSwara – shown in post above

2. The stanza beginning with “vAnarOttama” in the “bhAvayAmi raghurAmam” rAga-mAlika where hanumAn sets fire to lanka in the sundara kAnda...https://www.rasikas.org/forums/viewtopi ... 95#p373695

3. “panCabAnatanuhara” which describes Siva with the word “purAntaka”. Here the puri-kAlana choice comes from the “tripura” destroyed /burnt by Siva.

panCabAnatanuhara – rAga purvi kalyAni
s mahati
https://www.youtube.com/watch?v=F69oGkgdt4E

veena s mahAdEvan
https://www.youtube.com/watch?v=J8EQSv3lxns

nAdopAsaka
Posts: 878
Joined: 20 Jul 2020, 17:05

janaka sutA kalita vAma bhAgam, dhyAyAmi Sri raghurAmam –the mahArAjas madhyamAvati rAga kriti with an “ardhanAri” mudra

Post by nAdopAsaka »

janaka sutA kalita vAma bhAgam, dhyAyAmi Sri raghurAmam – the mahArAjas madhyamAvati rAga kriti with an “ardhanAri” mudra

In the kriti “dhyAyAmi Sri raghurAmam”, the maharAja starts the Caranas with the words

janaka sutA kalita vAma bhAgam”, indicating the sitA dEvi joined (kalita) as the left half of the lord…(much to the dismay of the narrow-minded)

And there is no mistaking his usage “vAma bhAga” for left half/portion.

Why ?

Because the mahArAja also uses it for the (pArvati) dEvi as “nagajAbhUSita vAma-tanO” in his asAvEri “bhagavan samayOyam”…these examples are distinct from the girijArdhAng in the viSwESwara darSan kriti.

THE ESSENCE OF THE ARDHANARI

The madhyamAvati kriti itself abounds with “contrasts” and their "balance".

hata bhavarOgam niSicara daLana catura Who removes the misery of both life and death
janaka vAkya paripAlam sAkEtapura mahIpam Who gives up the kingdom to uphold his vow yet returns as king
manuja rUpadharamamalam manu vamsha tilakam Who takes human form yet is also the manu vamSa god/deity
niSi CarAgryatama vibhiSaNa Who is also worshipped by niSiCara demons like vibhiSana,
yamivara vasiSThAdi vinutam kumuda sharaba adi kapi yUta parivrtam Who is praised by munis like vaSiStha yet surrounded by monkeys/vAnaras/kapi

Appropriately the rAga is madhyamAvati which represents the “madhyama”, the “median” which divides two halves.

The vAggeyakAras do not allow narrow-minded thinking to limit their imagination.
Their kritis are made by individuals, absolutely no sectarian nonsense is involved.
They worship ALL deities uniformly , whether in deccan or in kASi or guruvAyur or ANYWHERE else.
The kritis are NOT for those with unfortunate hangups.

dhyAyAmi Sri raghurAmam – rAga madhyamAvati

PSN
https://www.youtube.com/watch?v=t5UHm1g47Mk

RSR
Posts: 3427
Joined: 11 Oct 2015, 23:31

Re: Swathi Thirunal

Post by RSR »

This post is in bad taste.
In all the traditional paintings, Sita devi STANDS to the left of Lord RAmaa .
Or portrayed as sitting on the left .
The moderators have put the 50% thread in hold. It has already been stated that the Thiruchengode icon is LITRALLY fifty-fifty. It is very special.
It should not be misused bringing discredit to the real significance of the term and tradition.

nAdopAsaka
Posts: 878
Joined: 20 Jul 2020, 17:05

Re: Swathi Thirunal

Post by nAdopAsaka »

The ONLY bad taste brought to these threads is by those with certain images in their own head.

The kritis cannot be censored by anyone… and certainly not by the illiterate.

In the madhyamAvati, the vAggeyakAra (who is a supreme devotee of padmanAbha), has brought out the concept of balance essential to the ardhanAri in several ways.

He says the same thing using Words in another language..

viSwESwara darSan kar – the sindhubhairavi to the kASi girijAardhAng

KVN
https://www.youtube.com/watch?v=MW1zwMfPkm0

ranjani-gAyatri
https://www.youtube.com/watch?v=x1aLwDLwn_M

Alatur bros.
https://www.youtube.com/watch?v=kHonaeX0YbI

RSR
Posts: 3427
Joined: 11 Oct 2015, 23:31

Re: Swathi Thirunal

Post by RSR »

Appropriately the rAga is madhyamAvati which represents the “madhyama”, the “median” which divides two halves.
.
What halves?
There are any number of great kruthis.
In this auspicious raagam. This interpretation for the meaning of this raagam is criminal.

nAdopAsaka
Posts: 878
Joined: 20 Jul 2020, 17:05

Re: Swathi Thirunal

Post by nAdopAsaka »

It can take time for ideas to sink in, to those who don’t understand the words..

The “madhyama” is the median (between the 2 halves of the ardhanAri = "vAma bhAga") expressed REPEATEDLY in the mahArAjas madhyamAvati kriti.

The two halves of the BALANCE are carefully and deliberately illustrated as contrasts

Carana of “dhyAyAmi Sri raghurAmam”
1.hata bhavarOgam niSicara daLana catura
Who removes the misery of BOTH life and death

2.janaka vAkya paripAlam sAkEtapura mahIpam
Who gives up the kingdom to uphold his vow YET returns as king

3. manuja rUpadharamamalam manu vamsha tilakam
Who takes human form YET is also the manu vamSa god/deity

4. yamivara vasiSThAdi vinutam kumuda sharaba adi kapi yUta parivrtam
Who is praised by munis like vaSiStha YET surrounded by monkeys/vAnaras/kapi

Similarly sindhu-bhairavi is chosen for the kASi ardhanAri, fittingly a dESya rAga.

Why ?

sindhu in the classics is a river. sindhu is the goddess, as the river meeting the Siva/bhairava (at kASi) and quenching his anger, balancing his tAndava with her lAsya.

The vAggeyakAras do not allow narrow-minded thinking to limit their imagination.
Their kritis are made by individuals, absolutely no sectarian nonsense is involved.
They worship ALL deities uniformly , whether in deccan or in kASi or guruvAyur or ANYWHERE else.
The kritis are NOT for those with unfortunate hangups.

nAdopAsaka
Posts: 878
Joined: 20 Jul 2020, 17:05

"pAhi jagatjanani pAhimAm" - hamsAnandi - The other janya of gamanASrama mEla 53

Post by nAdopAsaka »

"pAhi jagatjanani pAhimam" - rAga hamsAnandi - The other janya of gamanASrama mEla 53

The tyAgarAja, the Dikshitar and SyAmA SAStri All have kritis in pUrvi/puri kalyAni, a janya of gamanAsrama mela 53 but none in hamsAnandi, the other major janya of this mEla.

Only the mahArAja explores “hamsAnandi” in “pAhi jagatjanani pAhimAm”.

The choice of rAga and deity for "pAhi jagatjanani pAhimAm" is instructive.

hamsa and padma - The swan and the lotus

sArasa and pankEruha are synonyms for both the swan = hamsa and the lotus = padma

Accordingly the embedded rAga mudra appears in the words “ "sArasa padanata ghana sukha dAyini" where ghana sukha also means Ananda. The kritis pallavi also refers to "pankEruha"

The deity is lakSmi also addressed as kamalE hari vilOlE.

hamsAnandi omits the pa = panCama of the mEla 53 scale.

Of course this same panCama via the characteristic “pa-da-pa” phrase gives pUrvi kalyAni its uniqueness.

And therefore two rAgas ,although from the same mEla 53, are quite dissimilar.

The "dissimilarity" of the 2 rAgas is amplified by the mahArAja

He uses one rAga as the “puri kAlana” metaphor = destruction of the city (in all his kritis in purvi kalyAni), whereas the other rAga is the hamsAnandi = lakSmi dEvi giving joy to padmanAbha.

Words matter and choices matter. (Language-challenged cretins do not matter)

pAhi jagatjanani – rAga hamsAnandi

ranjani-gAyatri
https://www.youtube.com/watch?v=K4BWMVBuc6c

veeba anjani/aSwini
https://www.youtube.com/watch?v=aTOPMNBwXrA

RSR
Posts: 3427
Joined: 11 Oct 2015, 23:31

Re: Swathi Thirunal

Post by RSR »

Thyagaraja swami and Shyaama saastry are a class apart from all the earlier, contemporary and later CM composers. Besides being trend setters, they were spontaneous devotional poets and near-saints.
There was very little conscious craft in their compositions.

nAdopAsaka
Posts: 878
Joined: 20 Jul 2020, 17:05

karunAkara mAdhava - The mahArAjas bEgada to mAdhava – the madhu of the Spring season of manOja = Cupid

Post by nAdopAsaka »

karunAkara mAdhava - The mahArAjas bEgada to mAdhava – the madhu of the Spring season of manOja = Cupid

First an unfortunate but necessary condemnation.

The vAggeyakAras are COMPLETE saints !

Only the foolish can consider any of the vAggeyakAras “near-saints” …

Are they only “near-saints” because the tyAgarAja and SyAmA SAStri write kritis to the ardhanAri ?!

No one with lewd images in their own head and repeatedly professed contempt for the vAggeyakAras has any business listening to the vAggeyakAras, or commenting on them.

No !

The vAggeyakAras are COMPLETE saints…their words should be understood instead of being diluted as mere “sounds” and air-pressure variations by the language-challenged.

The mahArAjas bEgada to mAdhava – karunAkara mAdhava

The word “mAdhava” deriving from the word madhu (honey bees) is also a symbol of spring, the season of mAra/Cupid.

Indeed mAdhava is also described as “manOja tAta” in the mahArAjas crisp begada.

And bEgada is the properly chosen rAga for this mAdhava, the progenitor of Cupid.

Why ?

Because “kambugriva” is an epithet for kAma/Cupid from the scripture (see for e.g. Siva purana rudra-samhita 2.2 verse 28)

And kambugriva is the long exquisite neck = bE-gala with multiple folds like a shell

karunAkara mAdhAva – rAga bEgada

Rk murthy
https://www.youtube.com/watch?v=gioRyd9jNqg

r kAuSik
https://www.youtube.com/watch?v=yDKmzzNXmlk

rAdhika K
https://www.youtube.com/watch?v=xxFSWlPCmSs

RSR
Posts: 3427
Joined: 11 Oct 2015, 23:31

Re: Swathi Thirunal

Post by RSR »

There is a difference between saints like NaaraayaNa Theertha , numerous dasar poets and wandering minstrels , and other composers.
...Only SANYAASINS can be considered to be saints.
Thyagaraja himself aspired for that.
Shyama Sastry was a gruhastha, though detatched .
like PURANDHARADASA.
Kanakadasa. was a saint.

Pratyaksham Bala
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Joined: 21 May 2010, 16:57

Re: Swathi Thirunal

Post by Pratyaksham Bala »

What is the Sanskrit term for 'Saint' ?

Pratyaksham Bala
Posts: 4164
Joined: 21 May 2010, 16:57

Re: Swathi Thirunal

Post by Pratyaksham Bala »

And the equivalent Tamil term ?

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