Thyagaraja (Krithis)

nAdopAsaka · Post by **nAdopAsaka** » 30 Sep 2023, 05:06

The panCa bhUta in the tyAgarAjas ghana rAga panCa ratna – 1. Why “jagadAnanda kAraka” in the rAga nAta carries the vAyu bhUta mudra

Each ghana rAga panCa ratna kriti will be taken up in a sequence of posts to explain the relevancy of the rAga choice shown in prior post.

The series begins with “jagadAnanda kAraka” in the rAga nAta which carries the vAyu bhUta mudra = samira....as noted in prior post ..jagadAnanda kAraka jaya jAnaki prANa nAyaka nigama nirajAmrutaja pOSakA nimiSavairi vArida samIrana .

Why rAga nAta for the vAyu bhUta ?

The word "nAta" is synonymous with acting or dancing (nAtya).

nAta therefore is a fundamental characteristic of ANIMATED beings.

And all ANIMATED beings breathe as in prAna, depending on vAyu.

jagadAnanda kAraka – rAga nAta (vAyu bhUta)
priya sisters
https://www.youtube.com/watch?v=DFf8NQx-wsA

flute n ramani
https://www.youtube.com/watch?v=VQy9Cl0jfww

veena gAyatri
https://www.youtube.com/watch?v=gVcG7c66SNc

RSR · Post by **RSR** » 01 Oct 2023, 07:57

Just defiling a grand kruthi in Naattai.
Nattai ..Naatyam?
Where is Naatyam in Naattai?
.
What a profane interpretation for a sublime and deeply moving phras
' Jaanaki pràaNa ' !

"Jagadanandakaraka
- Smt. M.S.Subbulakshmi

https://youtu.be/1JVS55pw0es?si=UFx-q4Mm0nZ44qqw
.

nAdopAsaka · Post by **nAdopAsaka** » 01 Oct 2023, 15:11

panCa bhUta in the tyAgarAjas ghana rAga panCa ratna – 2. Why “duduku gala” in rAga gaulA carries the Apa/water bhUta

The water bhUta mudra defined by the word Apa is found in the gaulA ghana rAga panCa-ratna.

(https://www.rasikas.org/forums/viewtopi ... 97#p380297)

janula kOri paritApamulacE

gaulA is the paleness/whiteness associated with purity and purification.

No less an authority than the Dikshitar gives in his “Sri viSwanAtham” rAgamAlika gaulA rAga section, this pale white purified nature as represented by

Milk-white flowers-moon-camphor-white Ash covered arms !
kSIra-kunda-indu-karpurAdi-vijaya-bhAsita-uddhULita-gaulAngam

In "duduku gala", the tyAgarAja seeks a CLEANSING of his many flaws = duduku gala.

And the proper agent for this CLEANSING is water = Apa.

The tyAgarAja says
WASH away my accumulated sins/dirt ...to PURIFY me..appropriately in gaulA rAga and therefore with the Apa (water) bhUta mudra.

The similar phonetics of the rAga word “gaulA” and the initial word “gala” at the start of the kriti is also not a coincidence.
Case closed

duduku gala – rAga gaulA – Apa bhUta

flute sikkil sisters
https://www.youtube.com/watch?v=E1XN70uRRUk

violin LGJ
https://www.youtube.com/watch?v=Z7lm3GexTHE

mallAdi bros
https://www.youtube.com/watch?v=lFYOJfvgf28

nAdopAsaka · Post by **nAdopAsaka** » 02 Oct 2023, 16:20

panCa bhUta in the tyAgarAjas ghana rAga panCa ratna – 3. “kana kana ruCira” – varAli & the agni bhUta - sOma and hOma

The agni bhUta mudra defined by the word “arka” is found in the varAli ghana rAga panCa-ratna kriti…kana kana ruCira..

In Carana 3 as
bAlArkAbha sucEla maNimaya mAlAlankrta kandhara

There is zero doubt that the panCa ratna kritis of the tyAgarAja are the product of CAREFUL deliberation.
The deliberation extends far beyond the technical swara content of the many stanzas in each of the 5 kritis.

For the first time in 200 years, it is being shown that the rAgas of the 5 kritis are linked to a careful pujA of the 5 fundamental elements..the panCa bhUta pujA.

It is now made clear why the tyAgarAja picks the varAli rAga for the agni bhUta in his ghana rAga panCa ratna kriti.

Read on to rejoice....(or weep if you are an ignorant criminal )

varAli is the synonym for the moon…also known as indu.

The moon as indu is also known as sOma.
Why ?
Because the moon is regarded as the repository of the ambrosia known as sOma.

Why ? How ? (... ask the ignorant , illiterate fool/s)

The 9th mandala of the rig vEda establishes the relationship between indu and sOma.

sUkta rig Veda 9.2.1 is one example

पव॑स्व देव॒वीरति॑ प॒वित्रं॑ सोम॒ रंह्या॑ । इन्द्र॑मिन्दो॒ वृषा वि॑श
pavasva devavIr ati pavitraṃ sOma raṃhyA | indram indo vrSA viSa
Short Translation
sOma flows as purifier, sOma as indu showers on Indra

Several other sUktas also give similar relations.

Why/How is the moon =varAli = indu = sOma related to fire = agni.

Again, read on to rejoice (or weep)

sOma and hOma

No less an authority than the sacred gitA gives the relationship between sOma and the ritual yagna.
hOma is exactly this agni ritual.

bhagavad gitA 9.20 gives

त्रैविद्या मां सोम पा: पूतपापा
यज्ञैरिष्ट्वा स्वर्गतिं प्रार्थयन्ते |

trai-vidyA mAm sOma-pA pUta-pApa
yagna-air iStvA svar-gatiṁ prArthayante
translation
drinkers of sOma, perform the karma kanda ritual yagna , where the fire = agni = hOma.

hOma is exactly the fire ritual where sOma is worshipped/consumed

Summary

There is no point "mumbling" the words of the kritis (or the sUktas of the vEdic etc. mantras) if one does not understand the meaning/context of the words and ideas involved.

There is NO QUESTION that the tyAgarAja (carefully and deliberately) brings the nectar of sOma through his varAli rAga kriti as he celebrates the agni bhUta.

The lord manifests through each of the 5 fundamental elements.

Yet again....Case closed

kana-kana ruCira – rAga varAli for the agni bhUta

brinda
https://www.youtube.com/watch?v=FWb-T_LEjOQ

Hyd bros.
https://www.youtube.com/watch?v=NSVTpDeza4o

flute jayant
https://www.youtube.com/watch?v=YAcmd-BfxLE

RSR · Post by **RSR** » 03 Oct 2023, 10:54

The VaraaLi kruthi is among the most moving kruthis of Sathguru. Not only in its great music but the theme of fhe kruthi as well.
Surprisingly, varaaLi kruthi is of a vivadhi Mk Raga.
How a vivaadhi raaga is made so moving and melting is testimony to the spontaneous musical creativity of Thyagaraha Swamy...this kruthy to be sung in slow tempo with total immersion of the sentiment of adoration , is a real masterpiece in theme, lyrics, sentiment, raagam and devotion.
The music takes maximum precedence. Over the other great aspects.
..
It is tragic that such a great work of devotional creation is being massacred by quarter-baked conceited cranks.
How can this sublime kruthi be associated with AGNI ?
.
Rigvedic chants were mostly war-field chants seeking victory in tribal war.
Indra ,is just the leader of the battle., on such different occasions over centuries. 'Indra' perhaps is -vaendhan- in Tamizh.

.
And soma was just inebriating liquor.
..it invigourated the soldiers and it was a custom, that the cup was given in the hierarchy of valour in the battle field.
This custom has been sung in numerous short poems of
PuRa NaanooRu.
Exact equivalents can be found in Homeric passages.

Rugvedic priests believed that Agni was the agent who took the offerings in the fire of Homa kundam to the celestials and make them offer boons to the performer of such homa offering.
He was jaathavedhas.
.
In their naivette, they believed that even the gods relished the somarasam.
..
Why the crescent moon is always associated with Siva is not known,
Soma-sekaran. ..chandra sekharan.
What exatly is meant by sekharan ?
Wearer?
.
Soma ofcourse takes many meanings one of them is the liquor and the other is the moon.

The 'crescent moon', .piRai coodi' is not the monopoly of saivites alone. It is an ancient imagery from the

Mesapotamian-(iraqui-Sumerian-Chaldean-assyrian )civilizations dating back to 3000 BC.

Very likely that most of saivite lore and even of hindu religion is of the Levant origin..

The Far South of India provides the continuity of ancient tradition..of hindu religion.
.
We have come a long long way in our spiritual quest , practices and realizations.
.
Thyagaraja swami gives the essence of that spiritual quest through music.
.
After all, he passed away in 1847 only.

Let us not desecrate his edifice by 'silly beyond words' , straw analysis ignoring his music.
Let us not try to see Shyaama Saastry and Thyaagaraja , through the prism glasses of MD.
There basics were distinctly different.
.
Read and see for yourself.
( Sri.V.Govindan gives the gist ..) now
Continued,

RSR · Post by **RSR** » 03 Oct 2023, 12:07

Thyagaraja Kriti - Kana Kana Ruchira - Raga Varali - Pancharatna Kriti
.
http://thyagaraja-vaibhavam.blogspot.co ... -raga.html

Gist

O Lord wearing golden attire!
O Lord with the splendour of rising Sun, wearing fine garments!
O Lord whose neck is adorned with gem studded necklace!
O Lotus eyed!
O Lord with beautiful cheeks!
O Lord wearing brilliant crown!
O Lord with auspicious forehead adorned with musk (kastUri) tilaka!
O Bestower of emancipation to the blessed jaTAyu!
O Abode of Comfort!
O Gale that scatters the cloud called enemies!
O Lord abiding in the hearts of celestials!
O Wish-tree (kalpa vRksha) of those who are dear to You!
O Lord marked with respected qualities!
O Lord effulgent as consciousness or intellect and bliss!
O Lord who has garuDa as carrier!
O Wielder of discus (or wheel)!
O Supremely compassionate Lord!
O Ocean of compassionate feeling!
O Destroyer of fear! O Lord SrI raghupati!
O Acme of beauty!
O Lord comfortably resident in the Milk Ocean!
O Lord praised by this tyAgarAja who is ever replete with Supreme Love towards You!
O Lord whose face surpasses the (lustre of) moon! O Bestower of boons!

The more I behold You, the sweeter it is.
The more I behold You, every day in my mind, with love, unceasingly, to my heart’s content, the sweeter it is.

The more I behold You –
with guile-less face shining with prosperity and limitless glory,
whom sItA, having cheerful facial glow, looks elegantly by side glances –

the sweeter it is.

Did not dhruva, unable to bear harsh words of step-mother suruci pinching his ears, attain comfort by meditating on Lord SrI hari?
Was not sItA enraptured with longing, listening to hanumAn describe Your glory?

In the same manner, the more I behold You, the sweeter it is.

For whatever I have said –
hanumAn – who holds Your Feet Lotus in his hands with overflowing love and longing – is a witness;
Lord Siva – resident of kailAsa and enjoyer of the name ‘rAma’– is a witness;
sages nArada, parASara, Suka, Saunaka, indra, pArvatI and
important personages on the Earth are witnesses – aren’t they?

For those who are dependent on You, the more they behold You, the sweeter it is.

nAdopAsaka · Post by **nAdopAsaka** » 03 Oct 2023, 16:58

panCa bhUta in the ghana rAga panCa ratna – 4. “sAdhinCanE” –Arabhi & AkASa- uSa = dawn is daughter of dhyO = sky

There can be NO QUESTION that EACH of the rAgas of the tyAgarAjas panCa ratna kritis is chosen with care and deliberation.

It is not a subject for ignorant, illiterate fools, who also have no regard or sense for Words.

The AkASa bhUta mudra defined by the word “ambara” is found in the Arabhi ghana rAga panCa-ratna kriti…sAdhincAnE.

Carana 7
kanakAmbara dhara lasan-makuTa kuNDala virAjita harE

It is now shown how/why the tyAgarAja picks this rAga for this bhUta.

The word Arabhi implies the First, the beginning , the start
It derives from the word Arambhana.

Once again the rig vEda gives all the meaning (provided of course one reads and understands its words)

rig vEda 6.64.5 gives the worship of dawn as the first pujA = the pUrva huta, the first daily rite

सा व॑ह॒ योक्षभि॒रवा॒तोषो॒ वरं॒ वह॑सि॒ जोष॒मनु॑ । त्वं दि॑वो दुहित॒र्या ह॑ दे॒वी पू॒र्वहू॑तौ मं॒हना॑ दर्श॒ता भू॑:
sA vaha yokSabhir avAtA uSO varaṃ vahasi joSam anu | tvaṃ divO duhitar yA ha devi pUrvahUtau mamhanA darSatA

uSa the dawn which brings prosperity and boons ..this uSa, daughter of the sky is to be worshipped as the first rite of the day

first rite = pUrva huta, uSa = divO duhitar – daughter of dhyO = sky - AkASa

rig vEda 1.90.7 also gives uSa as the dawn that spreads over the sky

मधु॒ नक्त॑मु॒तोषसो॒ मधु॑म॒त्पार्थि॑वं॒ रज॑: । मधु॒ द्यौर॑स्तु नः पि॒ता ॥
madhu naktam utoṣauSO madhumat pārthivaṃ rajaḥ | madhu dyaur astu naḥ pitA

rig vEda 6.64.2 says “uSa shines and spreads its bright rays over the sky”

भ॒द्रा द॑दृक्ष उर्वि॒या वि भा॒स्युत्ते॑ शो॒चिर्भा॒नवो॒ द्याम॑पप्तन्
bhadrA dadṛkṣa urviyA vi bhAsy ut te śOCir bhAnavo dyAm apaptan

The word Arabhi implies the First, the beginning , the start which is exactly this uSa = dawn that spreads over the sky = AkASa.

Summary

The ghana rAga panCa ratna is organized as panCa bhUta pujA. There is nothing random about the kritis or their rAgas.
The insipid translators and all their foolish agents have no explanation for the organized choices made by the vAggeyakAra.

The 5 kritis of this set cannot be viewed in isolation, even by a fool. The 5 rAgas are chosen in alignment with the bhUtas.

The choice of each of the 5 rAgas is traced to the proper reference by understanding the bhUta mudras used in each case.

The corrupt denial of Words goes hand-in-hand with the ignorance of the meaning of Words.

sAdhinCanE – rAga Arabhi

flute ramani
https://www.youtube.com/watch?v=sOHwr3u9BqI

GNB
https://www.youtube.com/watch?v=j9KtiagsYn8

veena gAyatri
https://www.youtube.com/watch?v=t5Si0Bgk8vE

RSR · Post by **RSR** » 04 Oct 2023, 08:01

Funny stuff. An insult to the poets of Rugveda and Thyagaraja swami.
.
The crankiness begins with Aarabi =aarambam=beginning.
There is no such equivalence anywhere.
.
Ofcourse, there are very fine poems about the Dawn and Sun , in Rugveda.
Decades back , when the company rule began in 1757, ten years before the birth of Sathguru, Rugveda had not been translated in English and published,
So, only a few professional priests knew the passages. ( more often, without knowing the meaning).
Vedic language over a period of many centuries , got changed gradually. ( there is a nice article about Yaska and Panini by srinivasaraos for the reference of bogus pandithas).
Kalidasa lived in 300 AD.
Thus there is a huge time span from 3000 BC to 300 AD.
It happens in all the world langjages.
Chaucer is almost unreadable today.
How many can read mu,raaghava iengar?
Sathguru is very contemporary composer.
Neither Sathguru nor Shyaama saastry were anchored in vedic studies . Nor did they care and hold it in awe , the entire essence of the bhakthi movement initiated from 600 Ad in the peninsula, is a rebellion against , the vedic rituals including cow skaughter and so many evils of so called sutras like aapasthamba sutras..
It was a rebellion against brahminism.
.
Thyagaraja swami has spoken derisively about such vedic 'pundits'.
In so many of his kruthis.
.
No bhootha, yantra, tantra stuff in Sathguru's kruthis. No grahabalam.
.

nAdopAsaka · Post by **nAdopAsaka** » 04 Oct 2023, 15:18

panCa bhUta in the ghana rAga panCa ratna – 5. “endarO mahAnubhAvu” – the gravity of Sri rAga and the prthvi bhUta

Again, the foolish troll denies the facts.

The fifth and final element = the prthvi bhUta is celebrated by the tyAgarAja with Sri rAga.

Why ?

Because Sri itself is the synonym of the earth goddess, the bhUdEvi (the "kSitijA" who is inseparable from the lord).

The tyAgarAja gives the mudra “bhU” for the earth element in

Carana 7
sarOjabhava bhU-suravarulu

Indeed he acknowledges the gravity (of prthvi and of Sri) with the opening word – the “gambhiram” of the “mahA-anubhavi”.

And for the foolish , ill-informed troll he reserves the Caranas stating the value he places on the scripture

The sAma, and the Sruti SAStra in the tyAgarAjas kritis (and in the Sri rAga kriti)

Carana 1
sAma gAna lOla manasija lAvanya dhanya murdhanyul
Caranam 9
bhAgavata rAmAyaNa gItAdi Sruti SAstra purAnamu marmamulanu SivAdi sanmatamula

The denial of the tyAgarAjas words comes from those with a variety of insecurities, and those with an essential contempt for the vAggeyakAras ideas (as seen in the ardhanAri posts)

One cannot deny the words of the vAggeyakAras and in the same breath call for kritis in other “languages”.

Another sign of inconsistent and failed traditions.

Yet again the music exposes the truth/Sruti versus this apa-Sruti.

endarO mahAnubhAvu – rAga Sri

MDR
https://www.youtube.com/watch?v=_oRLmJGY1QI

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

flute ensemble
https://www.youtube.com/watch?v=r0vevZFXLC0

Pratyaksham Bala · Post by **Pratyaksham Bala** » 04 Oct 2023, 15:43

A large volume of materials for research scholars who study Apophenia.

nAdopAsaka · Post by **nAdopAsaka** » 04 Oct 2023, 16:12

There has been no comprehension until now of.... Why a particular rAga is picked by a vAggeyakAra for a kriti.

Even though the vAggeyakAras leave ample clues..

The rAga word name is EXACTLY related to the theme of the kriti in scores of the tyAgarAjas kritis....its not random or coincidence.

Denying words and their relationships to the ideas is a sign of illiteracy.

Anyone alienated by the languages need not listen to or try to understand the vAggeyakAras kritis.

kaikAvaSi, jayanta-SyEna, tivra-vAhini, nalina-kanthi , pUrna-lalitA , mArga-hindOla, rasAli, malaya-mArutam etc etc etc. shown already ..dozens more can be seen in other posts on the tyAgarAjas kritis.

For the Dikshitar the connection is even more obvious and surfaces in the rAga mudras he uses.

And it results in discovering his navAvaranas of tiruttani guruguha and abhayAmbA apart from many other navAvaranas.

The navAvarana is NOT the result of some random unconnected kritis..it is a deliberate organized CONNECTED pujA.

Similarly, the ghana rAga panCa ratna of the tyAgarAja is united by a common theme (found ONLY by examining the words used and the rAgas chosen as shown in the posts above)

RSR · Post by **RSR** » 04 Oct 2023, 19:35

"Popular Thyagaraja Keerthanalu by M.S. Subbulakshmi | Nagumomu | Hecharika | Divine | Carnatic Music"

https://youtu.be/lzkUr1w7Mak?si=4IbQL39ULDlt-cFq

RSR · Post by **RSR** » 04 Oct 2023, 19:44

sAma gAna lOla manasija lAvanya dhanya murdhanyul
Caranam 9
bhAgavata
rAmAyaNa
gItAdi Sruti SAstra
Means srutis like
Bhaagavatham, raamaayanam, bagavath gita
...
And sathguru is not referring to ritualistic sootrams and smruthis

purAnamu marmamulanu SivAdi sanmatamula

nAdopAsaka · Post by **nAdopAsaka** » 04 Oct 2023, 20:59

CAru kESi – How the description of rAmas hair (= kESa) by AnjanEya in the kiShkindha kAnda of the vAlmiki rAmAyana influences “AdamOdi galadE”

Yet another kriti can be added to the list of those kritis of the vAggeyakAras that relate the rAga word name to the lyric itself.

CAru-kESi is the name for the 26th mEla, celebrated in the ONLY kriti of tyAgarAja in this rAga = “AdamOdi galadE”

And even though it is a widely heard kriti , the underpinning of the kriti is lost on
[a] those who deny the value of words
b those who are alienated because they do not understand the words or the languages
[c] those who would try to dismiss the organized musical legacy/words/choices as random coincidences
[d] those who would try to dilute the essence and motivation of the vAggeyakAras choices and music.

CAru = pleasing/charming
kESi = hair

The reference is to the hair of rAma = “jatA mandala dhArinau” as described by AnjanEya in the kishkindha kAnda sarga 4.

padma patra ikShanau virau jatA mandala dhArinau 4-3-12

This is precisely the sarga where
1. AnjanEya is first introduced to rAma and lakSmana…
2. both parties are disguised as ascetics (where the description of CAru-kESi = jatA mandala comes from)
3. both parties suspect each other !
and
4. where rAma snubs AnjanEya , requiring him to approach lakSmana first. (verses 4-3-15 onwards)

The tyAgarAjas words in the kriti are UNAMBIGUOUS

caduvulanni telisi SankarAmSudai
sadayudAsuga sambhavudu mrokka kadalu tammuni palka jEsitivi

rAma is suspicious of “the highly enlightened AnjanEya” (who is also concealed as an ascetic )

So what does all this uncovering of the word CAru-kESi and the kriti in CAru-kESi mean ?

Is it some random unconnected coincidence that somehow , MIRACULOUSLY, the tyAgarAja produces in rAga CAru-kESi a kriti with words and ideas that are related to the very section where the “hair of rAma” is key to (vEdic scholar & enlightened) AnjanEya’s apprehension ?

Absolutely not !

What is the underlying idea of the vAggeyakAra in this kriti ?

It is this...

Even the highly educated AnjanEya (described as a great scholar , well versed in Sruti = vEdas etc. = an incarnation of Siva) does NOT get instantaneous access to the “obstinate” rAma !

The kritis (their words, ideas and music) were NOT made for kutChEris or vidwAns or notation-mongers or kalAnidhis or SiSya-paramparAs etc. etc. They are an individuals pujA.

Question - What does all this mean to those who are alienated by ignorance of the language ?
Answer - Nothing
Question - What does it mean to those who are only interested in the swaras associated with the words ?
Answer - Nothing

But it cannot be argued by anyone ( fool or knave or both ) that the rAga name “CAru-kESi” is not associated with the “hair of rAma” and his snub of AnjanEya reported in the kriti “AdamOdi galadE” in the tyAgarAjas own words.

AdamOdi galadE – rAga CAru-kESi

LGJ
https://www.youtube.com/watch?v=5aM8N7lMnbk

TVS
https://www.youtube.com/watch?v=3sYAoXQiuOo

nAdopAsaka · Post by **nAdopAsaka** » 05 Oct 2023, 07:03

varAlandukOmmani – the rAga gurjari kriti of tyAgarAja with its gO-Cara basis and mudra

Post # 875 of the Mutthuswamy Dikshitar shows how the Dikshitar wields the rAga name “gurjari” as a concealed kSEtra mudra for the kadamba-vana

See https://www.rasikas.org/forums/viewtopi ... 41#p380341

The tyAgarAja also has a kriti in the rAga gurjari.

It is now shown that in this kriti, the tyAgarAjas, like the Dikshitar, also derives the rAga name gurjari from the word “gO-Cara”.

And this gO-CarA is given as a sUcita mudra (embedded/concealed) in the words of the kriti

The celestial cowherd = gO-CarA /krSna/gOpAla.

“varAlandukOmmani” refers simultaneously to multiple avatAras of viSnu through different legends (prahlAda and dhruva).

But it is the prahlAda reference “kanaka kAsipi suta” that is key to the rAga choice.

Why ?

prahlAda is connected to the narasimha avatAra by the legends

But the gitA (stanza 10.30) asserts that
Of the daityas krSna is prahlAda and of the beasts krSna is the lion.
prahlAdaS Casmi daityAnAm , mrgAnAm Ca mrgEndro ham

The choice of “gurjari” deriving from the word “gO-Cara” for this kriti becomes clear upon understanding this aspect of the krSna avatAra.

The gO-CarA , the celestial cowherd is the version of the boon-granting (varAla) viSnu.

Notably the tyAgarAja uses the word “CarA-CarAtmaka” in the final stanza, a vestige of the gO-CarA cowherd tending to his UNIVERSAL flock !

Which fool is going to say these are “coincidences” ?

varAlandukOmmani – rAga gurjari

mandolin srinivAs
https://www.youtube.com/watch?v=lVqe9UXoMWM

baby Sriram
https://www.youtube.com/watch?v=ubNQx-QvHyw

RSR · Post by **RSR** » 05 Oct 2023, 19:21

Varaalandukommani - Raga Ghurjari
.

Isn’t prahlAda witness to Your appellation of making him an eminent person, because minds of those who have truly trusted You mentally, will not stoop to desire trivial results?

Isn’t dhruva witness to Your prowess which confers ever-lasting results even if, due to non-discrimination, one, knowingly or un-knowingly, desires Worldly comforts

.
Gurjari -> gujarath . It is common view that this raaga , originated in gujarath.

In which region was Dhruva born?
.
Prahalada and Dhruva are shining examples of devotion to Hari.
.
In no way, is krushna avathar brought into this kruthi.

Normally, Thyagaraja swami does not mix up krushna avatar in his kruthis.

nAdopAsaka · Post by **nAdopAsaka** » 05 Oct 2023, 20:19

Only the foolish are unable to see that….gujarAt and the gujjars etc. derive from the word “gO-cAra”, based on the location of dwArkA, the abode of krSna/gOpala, the cowherd.

The relationship between prahlAda and krSna is established by the gitA (10.30) .

Ignorance of words/languages of the scriptures and of the vAggeyakAras kritis leads naturally to denial of the ideas they describe.

Dictionaries and translations cannot help the dim-witted.

RSR · Post by **RSR** » 05 Oct 2023, 21:51

As a further reflection, it can be noted that though Thyaagaraaja swami is all adoration for Prahalada, he does not extol Narasimha avatar. It is said that he was put off by the gory details.

His opera, ' Prahlaada bakthi vijayam' is an altogether different picture from the one given in bhaagavatham.
-
Sri.V.Govindan has given a nearly full summary of that opera.
It can be found in the early pages of this thread.

Presumptuous little minds do not have the humility to read through so many great posts by real scholars like him ,in the earlier years, of this site.
.
Go chara ..is not goorjaram. Even if it is goorjaram, it does not mean krushna.
Was he a go paalan in Dwaraka too?

RSR · Post by **RSR** » 05 Oct 2023, 22:17

Tyagaraja is also believed to have visited Sholinghur during his travels. His songs on Narasimha (Narasimha Nanu Brovave/ Sri Narasimha Mam Pahi) do not mention any kshetra by name.
https://thyagaraja-vaibhavam.blogspot.c ... -raga.html
..
..

nAdopAsaka · Post by **nAdopAsaka** » 06 Oct 2023, 00:15

RSR wrote: ↑05 Oct 2023, 21:51 As a further reflection, it can be noted that though Thyaagaraaja swami is all adoration for Prahalada, he does not extol Narasimha avatar.

What nonsense ! Where does this foolishness come from ?

Any reading (even by a language-challenged cretin) of the kritis "Sri narasimha" or "narasimha nannu" will show the reverence of the tyAgarAja for the narasimha avatAra.

the "gujjars" are cattle-herders = gO-CarA...

The influence of krSnA on dwArkA (and therefore the gujjars/gujarat etc) as the celestial gO-CarA is irrefutable

nAdopAsaka · Post by **nAdopAsaka** » 06 Oct 2023, 03:04

The kSEtra mudras for the CAVE kSEtra & the MOUNTAIN kSEtra of the tyAgarAjas two lakSmi-narasimha kritis

The tyAgarAja’s kSEtra mudras are clear in several of his group kritis (e.g. kOvUr, Sri-tapastirtha, tiruvaiyAr-dharmasamvardhani, tiruvOtriyur, Srirangam, nAgapattinam, kAnCi, tirupati, brahmapuri…).

Question- What is a mudra ?
A mudra is a sign (or a signature) indicating a particular aspect. It can be a word or a set of ideas conveyed by words…whatever..that allows identifying the vAggeyakAras intentions or identifying the rAga itself or the kSEtra of worship. It doesn’t have to be direct..it can be indirect…and it can also be phonetic (e.g. bE- gala for a rAga )

Question - Should the 2 lakSmi-narasimha kritis of the tyAgarAja carry the kSEtra mudra ?
Answer – At first it might seem that these kritis do not have kSEtra mudras … Indeed most of the tyAgarAjas other kritis do not carry overt or covert kSEtra mudras (other than the groups above).

But the vAggeyakAras are always about imagination, curiosity and stimulating the nAda-upAsakas.

Do the lakSmi-narasimha kritis of the tyAgarAja carry the kSEtra mudra ? If so, what are the kSEtras ?

Read on to rejoice (or weep if you are lazy and ignorant)

narasimha nannu – rAga bila-hari

The foremost lakSmi narasimha shrine is ahO-bila.

It is easily argued that the choice of rAga bila-hari for “narasimha nannu” is exactly the kSEtra mudra for the ahO-bila matha.

No further mudra (or word or anything else is needed). The rAga name and the deity name lakSmi-narasimha are necessary and sufficient for the ahObila kSEtra.

“Sri narasimha” - rAga phala-manjari – ghatikACalam/SOlingur and the “phala” of the sAgara-mathana
It is now shown here how multiple mudras are placed in this short kriti that allow identifying the kSEtra.

The kriti is reproduced here so there is NO ESCAPE from the conclusions
rAga phala-manjari
pallavi - SrI narasimha mAm pAhi kSIrAbdhi kanyakA ramaNa
anupallavi- dInArtti nivAraNa bhavya guNa diti tanaya timira sUrya trinEtra
Caranam- prahlAda parASara nArada hrt-pankEruha nIraja bandhO, ahlAda kara bhavarOga samhAra varada tyAgarAjAdi vinuta

the phala of amrta that results from the mountain churning the kSirAbdhi

In “Sri narasimha” the specific reference appears to “kSIrAbdhi” – the milk ocean of the sAgara manthana – the legend of the churning of the ocean.

The amrita = nectar created by the churning is celebrated by the tyAgarAja as "phala-manjari" , the blooming fruit = the rAga name.

The key to churning the ocean is a mountain. This reference to a legend with a mountain is indicative of the mountain site = the ghatikACala. It is an indirect mudra.....to be evaluated along with all the other mudras being seen.

the phala of amrta that is the elixir to the passage of time

Indeed “ghatika-ACala” is not a simple mountain.

ghatika is a reference to a measure of time.

The amrita of the sagara-manthana is the elixir that fights the passage of time.

amrta is the antidote to mrta = kAla = death measured by ghatikA.

The word "kSirAbdhi" conceals the "amrta" mudra for this aspect of the ghatikA kSEtra.

Indeed, “bhavarOga samhAra” the destruction of the ills of samsAra, is also an icon for amrta – the elixir of immortality

An even more potent mudra is also observable

the 3 eyes of narasimha = trinEtra

This is the only viSnu deity to carry 3 eyes, reported in the kriti as “tri-nEtra”.

The "trinEtra" reference is NOT given in the bilahari kriti at ahObila !

The usage is indicative of the origins of the SOlingur name kSEtra.

Why?

Because the SOlingur kSEtra gets its name from the name “chOla linga-puram” where the chOla kings established a Siva sthala.

And of course the trinEtra is the unmistakeable mark of the Siva (who is represented by the linga icon)

Case closed.

Summary

The vAggeyakAras send their messages in many different ways. Humility is needed to accept their teachings. Their imagination must be matched to comprehend their messages. The kritis are short although packed with details. Some effort is needed to unlock these messages.

The lazy and the ignorant need not make the effort. The kritis are NOT written for them. Please find other avenues. Please stay away from the vAggeyakAras.

narasimha nannu – rAga bila-hari (ahObila)

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

Sri narasimha – rAga phala-manjari (SOlingur/ghatikACalEswaram)

rAman and lAkSmanan
https://www.youtube.com/watch?v=3CUJP0ji0Z4

rudrapatnam bros.
https://www.youtube.com/watch?v=ak8K46MHT8E

nAdopAsaka · Post by **nAdopAsaka** » 06 Oct 2023, 06:34

Summary of the kSEtras of the tyAgarAjas two lakSmi-narasimha kritis

1. narasimha nannu – rAga bila-hari at ahO-bila

2. Sri narasimha – rAga phalamanjari at ghatikACalESwaram/SOlingur

Here the “trinEtra” of narasimha is the deliberate mudra for the “trinEtra” Siva site with the name “chOla-linga-puram” = SOlingur (narasimha and Siva are considered similar in their destructive power)

Other details in previous post

RSR · Post by **RSR** » 06 Oct 2023, 06:59

Thyagaraja Kriti -
Sri Naarasimha -
Raga
Phala Ranjani[/b]
.
Gist

O Lord SrI nArasiMha! O Beloved of lakshmI!

O Reliever of distress of the humble! O Lord of Auspicious qualities! O Sun who destroyed the darkness called hiraNya kaSipu! O three Eyed!

O Sun who blossoms the lotus of hearts of prahlAda, and sages parASara and nArada! O Lord who causes joy! O Lord who destroys vicious diseases! O Bestower of boons! O Lord praised by tyAgarAja and others!

Please protect me.

Note
Rudra is the destructive deity.
SIva is auspicious.

Raga name is not pala manjari.
Sathguru may not have visited Sholingar, during his visit to madras region.
Only his Kovoor and Thiruvotriyoor pancharathnams are authentic.

..
Similarly, he may not have visited ahobilam either.
Even his thiruppathy visit is questionable.
Many of his supposed kruthis in places like madras are likely to be spurious.
.
When he has left us a full opera , though named Prahalada bakthi vijayam, talking mostly about Raama as Vishnu and hardly any thing about narasimha avatar, we have a better clue as to his perception.
.
VANDHANAMU RAGUNANDHANA
.
https://sites.google.com/site/dkpattamm ... authuser=0

RSR · Post by **RSR** » 06 Oct 2023, 13:13

30 Apr 2008, 14:31
I am reproducing the great post by Sri.V.Govindan here, on Prahalada Bhakthi vijayam .
.......
Part I
(1) Invocation -
kRti SrI gaNapatini -
rAga saurAShtraM
(2) visit of dvAra pAla to the assembly - kRti - vAsudEvayani -
rAga kalyANi
(3) The dvAra pAla questions the sUtradhAri (of drama); the sUtra dhAri explains about the purpose of drama.
(4) On questioning by sUtradhAri, dvArapAla tells that varuNa (Lord of Oceans) has ordered the town to be beautified for greeting prahlAda who has been saved by samudra rAja.
(5) visit of samudra rAja -
kRti - sAgaruNDu veDalenu -
rAga yamunA kalyANi
(6) samudra rAja calls on garuDa to release prahlAda from nAga pASa - kRti - vinatA suta rArA -
husEni.
(7) Arrival of garuDa -
kRti - vishNu vAhanuNDu -
rAga SankarAbharaNam
(8) After being released from nAga pASa, prahlAda pays obeisance to samudra rAja. prahlAda requests samudra rAja to tell him the path by adopting which Lord hari would manifest Himself. -
kRti - vAridhi nIku -
rAga tODi.
(9) samudra rAja assures prahlAda that Lord hari would come if he prays to Him with total dedication -
kRti vaccunu hari -
rAga kalyANi.

Part II
(10) prahlAda prays to Lord hari -
kRti - vandanamu raghunandana - rAga sahAna.
(11) As Lord does not manifest, prahlAda becomes sad -
kRti - indukAyI tanuvunu -
rAga punnAga varALi.
(12) Further prahlAda laments -
kRti - eTla kanugondunO -
rAga ghaNTA
(13) prahlAda hears the music of the vINa of sage nArada - prahlAda asks him to come before him -
kRti - nijamaitE mundara -
rAga bhairavi.
(14) Arrival of sage nArada -
kRti - nArada muni veDalina -
rAga kAmavardhini.
(15) After paying obeisance to sage nArada, prahlAda tells his anguish. The sage tells him about the conversation he heard at vaikuNTha and that the Lord is aware of his (prahlAda's) bhakti.
(16) Hearing the sweet words, prahlAda feels happy -
kRti - ipuDaina nannu -
rAga Arabhi.
(17) prahlAda wants to know the details of conversation between Lord hari and Mother lakshhmI. As the Lord explains the call of prahlAda, mother feels sad that the Lord leaves her frequently and she feels sad that the Lord might remain at bhUlOka and not come back. Thus sage nArada explains that the Lord is very eager to come to Earth.

Part III
(18) Hearing the nectarine words, prahlAda extols Lord -
kRti - ennaga manasuku -
rAga nIlAmbari.
(19) As the Lord does not manifest, prahlAda laments -
kRti - ETi janmamidi -
rAga varALi.
(20) Hearing the lamentation of prahlAda, Lord proceeds to Earth -
kRti - entanucu varNintu -
rAga saurAShTram - (sung by the commentator)
(21) Lord hari comes to Earth and embraces prahlAda -
kRti - E nATi nOmu -
rAga bhairavi. (prahlAda sings)

Part IV
(22) Lord hari asks prahlAda to ask for boons. -
kRti - aDugu varamulu -
rAga Arabhi (Lord sings).
(23) Hearing these words, prahlAda feels sad that the Lord is trying to cheat him by granting boons. He tells the Lord that he desires no such boons -
kRti - vArija nayana -
rAga kEdara gauLa.
(24) prahlAda explains what he wants - He wants to be merged with the Lord for ever -
kRti - tana lOnE -
rAga dEva gAndhAri.
(25) As the Lord further tests prahlAda, prahlAda says that he is not ready to accept any such deceipts -
kRti - O rAma rAma sarvOnnata -
rAga nAga gAndhAri.
(26) As the Lord wants to leave, prahlAda pleads to Him -
kRti - SrI rAma jaya rAma -
rAga madhyamAvati.
(27) prahlAda sees Atma jyOti and extols Lord -
kRti - sarasIruha nayana -
rAga bilahari.
(28) prahlAda asks Lord to remain with him always; prahlAda explains how he will keep the Lord happy -
kRti - vaddayuNDunadE -
rAga varALi.
(29) The Lord seats prahlAda in his lap and asks what he wants and prahlAda explains further -
kRti - tIrUnA nA lOni -
rAga sAvEri.
(30) Lord further tests him - He says that he will grant him other boons which will make him famous. But prahlAda would have none of it. He wants only bhakti.
kRti - rAmAbhirAma - rAga sAvEri.
(31) prahlAda prays to Lord further - kRti - daya rAni -
rAga mOhanam.
(32) Lord wants to know from prahlAda what exactly he wants -
kRti daya sEyavayya -
rAga yadukula kAmbhOji
(prahlAda sings).
(33) Lord bestows on prahlAda what he desired and also ciranjIvatva etc. prahlAda becomes happy -
kRti - AnandamAnanda -
rAga bhairavi.
(34) prahlAda extols Lord hari -
kRti jaya mangaLam -

rAga ghaNTA.

Part V
(35) Lord wants to take leave of prahlAda, but he would not leave Him - kRti - nannu viDaci -
rAga rIti gauLa.
(36) Lord says that he will go to vaikuNTha, meet lakshmI and then come back. prahlAda suspects again some trick. He seeks promise from Lord that He would come back -
kRti anduNDaganE -
rAga kAmavardhini.
(37) As the Lord departs, prahlAda becomes worried -
kRti - Emani vEgintunE -
rAga husEni.
(38) Further lamentation of prahlAda - kRti - enta pApinaiti -
rAga gauLipantu.
(39) prahlAda searches where the Lord could be. As he recollects the wording of the Lord 'madbhaktA: yatra gAyanti tatra tiShThAmi nArada'. Realising that the Lord is resident in the hearts of bhAgavatAs, he prays to Lord -
kRti - O jagannAtha -
rAga kEdAra gauLa.
(40) As the Lord did not turn up, he looks at each and every one whom he sees and asks them to convey to the Lord his anguish -
kRti - celimi jalajAkshu -
rAga yadukula kAmbhOji.
(41) Lord hari comes along with mother lakshmI - prahlAda extols the Lord - kRti - pAhi kalyANa rAma -
rAga kApi.
(42) As the Lord embraces prahlAda, he calls the Lord to his house - kRti - rArA mAyiNTidAka -
rAga asAvEri.
(43) In order to behold Lord talking to prahlAda, brahmA comes to Earth - kRti - kamala bhavuDu -
rAga kalyANi. (sung by commentator)
(44) Indra follows brahmA -
kRti dorakunAyani
rAga tODi. (sung by commentator)
(45) prahlAda offered the sixteen-fold upacAra to the Lord -
kRti callarE ramAcandruni paini -
rAga Ahiri.
(46) As the drama concludes, the Sun rises - as if to watch the spectacle of Lord hari being worshipped by prahlAda -
kRti - varamaina -
rAga paraju.
(47) mangaLam -
kRti - jaya mangaLam -
rAga mOhanam.
(48) Conclusion -
kRti - nI nAma rUpamulaku -
rAga saurAShTram.

The dialogue of dance-drama has not yet been digitised. As soon as it is done, I shall let know all.
By V.GOVINDAN
( reproduced here by RSR)

RSR · Post by **RSR** » 06 Oct 2023, 14:12

Sharing a nice article here on Prahalada bakthi vijayam by sriram.v
.
Tyagaraja’s Opera on Prahlada #Tyagaraja250 - Madras Heritage and Carnatic Music

https://sriramv.com/2017/06/02/tyagaraj ... garaja250/

Several of the opera’s songs have made it to the concert platform as individual pieces.
Sri Ganapathini (Saurashtram), Vasudevayani (Kalyani),
Vandanamu Raghunandana (Sahana), Naradamuni (Pantuvarali),
Ennaga Manasukurani (Nilambari),
Eti Janmamidi (Varali),
Enati Nomu (Bhairavi),
Dayarani (Mohanam),
Nannu Vidachi (Ritigaula),
Emani Vegintune (Huseni)
and
Ra Ra Ma Intidaka (Asaveri)
are some of them.
Even the ubiquitous concert closer — Ni Nama Rupamulaku (better known as Pavamana, in Saurashtram) is from the ‘Prahlada Bhakti Vijayamu.’

nAdopAsaka · Post by **nAdopAsaka** » 06 Oct 2023, 16:49

"rAma nAmam anE vara khadga" of bantu-riti – How the hamsa-nAdam like the 2 hamsa-dhwani kritis invokes the sOham mahAvAkya

Background

There is a reason BOTH the tyAgarAja's hamsadhwani kriti address raghu-rAma i.e. "Sri raghukula" and "raghunAyakA".

The 2 hamsadhwanis derive from the sOham mahAvAkya - the relation of Aditya and the sOham, shown here in post dated Jun 24, 2023

https://www.rasikas.org/forums/viewtopi ... 48#p379548

The sun or Aditya is extensively related in the scriptures to the Om/pranava and also to the “sO ham” mantra.

Indeed the mahAvAkya upAniSad, specifies that the knowledge that “Sun (= Aditya) is brahman” is obtained by chanting the ajapa mantra “hamsa sOham”.

In the very first stanza it says
vidyA hi kAnda antara AdityO jyOtirmandala grAhyAm
asAv AdityO brahmOtya ajapa yOpahitam [color=#FF0000]hamsa sOham[/color]

And at once the impact of this upAniSad is seen in the tyAgarAjas EXACT choice of rAga for BOTH "Sri raghu-kula" and "raghunAyaka" as rAga “hamsadhwani”.

Why ?

Because “raghu” represents the Sun or the solar dynasty to which rAma belongs.

And invoking the rAga hamsa-dhwani (as an emblem of hamsa sOham)is the tyAgarAjas way of achieving his own Sun = raghu-rAma !

The rAga hamsa-nAdam and the kriti bantu riti

The impact of the rAga name on the “bantu riti” for precisely the same reason is seen in the hamsa-nAdam kriti.

The widely known kriti “bantu-riti” carries the specific reference to the rAma nAmam.

rAma nAmam anE vara khadga
Give me the sword that is the rAma nAma….

It is with this “rAma nAmam”, that the tyAgarAja achieves the hamsa sOham in the hamsa-nAdam, same as the 2 hamsadhwani kritis.

It cannot be refuted that the rAga word name influences the kriti through its meaning and idea.

Naturally these meanings are lost on the dim-witted and ALL the insipid translations of the last 200 years.

bantu-riti – rAga hamsanAdam

r suryaprakAsh
https://www.youtube.com/watch?v=pGaFRZ64ZpI

priya sisters
https://www.youtube.com/watch?v=1Hmw9EK1Ylc

RSR · Post by **RSR** » 07 Oct 2023, 10:19

Thyagaraja Kriti -
Bantu Reeti
by
M. S. Subbulakshmi"

https://youtu.be/N7PIrQwIR2A?si=GXytsGFVF1Sjtfs8
..
சேவையருளுமய்யா, இராமா!

கரும்பு வில்லோன் (காமன்) முதலான, செருக்கு
ஆகியவற்றைப் புடைத்து, மண் கவ்வச் செய்யும் உண்மையான
(அரச) சேவகனாகச் சேவையருளுமய்யா, இராமா!

மெய்ப் புல்லரிப்பெனும் கனமான கவசம்,
இராமனின் தொண்டனெனும் முத்திரை வில்லை,
இராம நாமமெனும் உயரிய வாள் - இவை
திகழுமய்யா, தியாகராசனுக்கே
(அரச) சேவகனாகச் சேவையருளுமய்யா, இராமா!
...
காமன் முதலான செருக்கு ஆகியவை - உட்பகை அறுவர் -
(இச்சை, சினம், பேராசை, மோகம், செருக்கு, காழ்ப்பு)
..
Gist

O Lord rAma!

Give me the privilege of being in Your service as a (royal) guard.
Give me the privilege of being in Your service as a true (royal) guard who would thrash the six interanal enemies – desire, conceit etc., and make them bite dust.
Give this tyAgarAja the privilege of being in Your service as a (royal) guard on whose person would shine these -
a heavy armour of horripilation,
royal badge of being rAma’s devotee, and
divine sword called rAma’s name.

https://thyagaraja-vaibhavam.blogspot.c ... -raga.html

RSR · Post by **RSR** » 08 Oct 2023, 09:05

details of the song list---
"Popular Thyagaraja Keerthanalu by M.S. Subbulakshmi | Nagumomu | Hecharika | Divine | Carnatic Music"

https://youtu.be/lzkUr1w7Mak?si=4IbQL39ULDlt-cFq

00:00:00 - Start
00:00:05 - Nagumomu
00:08:34 - Ninnuvina
00:14:20 - Enati Nomu Phalamo
00:38:22 - Swara Raga Sudha
01:01:54 - Hecharika
01:06:17 - Kaligiyunte

nAdopAsaka · Post by **nAdopAsaka** » 08 Oct 2023, 16:02

“Evarani nirnaya” - why the tyAgarAja uses the rAga devAmritavarSini to describe the origin of the rAma name

In “Evarani nirnaya” the tyAgarAja asserts that the LIVE NOTES of the ancient mantras give the sacred name itself..

“Siva mantramunaku” ma jIvamu…mAdhava mantramunaku rA jIvamu”

The legend is that ma from “na-ma SivAya” and rA from “om namO nA-rA-yana” are the syllables used to form the sacred name rA-ma.

rA-ma is also “ravikula jalanidhi sOma”

rAma = The moon rising from the ocean of the Sun dynasty

And sOma the moon is exactly = amrta from the 9th mandala of the rig vEda

This mandala/sUkta has already been seen in relation to the tyAgarAjas decision to pick rAga varAli for the agni bhUta in the panCa ratna kriti...sOma and hOma

https://www.rasikas.org/forums/viewtopi ... 13#p380313

sUkta rig Veda 9.2.1
पव॑स्व देव॒वीरति॑ प॒वित्रं॑ सोम॒ रंह्या॑ । इन्द्र॑मिन्दो॒ वृषा वि॑श
pavasva devavIr ati pavitraṃ sOma raṃhyA | indram indo vrSA viSa
Short Translation
sOma flows as purifier, sOma as indu showers on Indra

Therefore rAma as the sOma is also this amrta = nectar.

Ergo, the rAga deva-amrta-varSini is the meaningful rAga.

Indeed the sUkta shown above ALSO carries the EXACT word for varSa = vrSa..= shower !! (indicating the varSini aspect of the rAga name)

Case closed..

Yet again, the corrupt word-denying cluless ignorance is beaten back with the words and choices of the vAggeyakAras.

The rAgas of the vAggeyakAras kritis are NOT randomly chosen, they are part of an individuals careful pujA.

Evarani nirnaya – rAga dEvAmritavarSini

KVN
https://www.youtube.com/watch?v=Qhvem96y4MQ

flute ramani
https://www.youtube.com/watch?v=YiO4q95-6Cc

vasumati B
https://www.youtube.com/watch?v=ovVJkJk-IuU

nAdopAsaka · Post by **nAdopAsaka** » 12 Oct 2023, 12:18

kaliki rOta gattunA ?!…The 3 word mahAvAkya of the rAmAyana… How sitA ties rAma to the grindstone of morality and dharma in “appa rAma bhakti”- the kASi-rAmakriya

Every line of the famous kASi-rAmakriya kriti “appa rAma bhakti” refers to the rAmAyana..

Indeed the reference to the ocean crossing of AnjanEya = “kapi vAridhi dAtunA”, gives the clue to the choice of rAga = (kASi)-rAmakriya.

Why ?

Because (at the oceans edge = rAmESwaram), the rAmakriya refers to the pujA of Siva by rAma…

Not surprisingly, a separate reference to Siva also appears in the kriti “Candra-dharudu meccunA”.

appa-goppa-trippa-reppa – The alliteration brings forth the image of lakSmana’s constant service to rAma (like eyelids to eyes).

appa rAmabhakti EntO goppa rA mA
trippa talanu dIrci kanti reppa valEnu gAcu mA
lakSmI dEvI valaCunA lakSmanundu goluCunA

Indeed, the vAlmiki rAmAyana bAla kAnda sarga 18 stanza 30 gives
lakSmanO lakSmi sampannO bahi prAna iva apara 1-18-30
lakshmana , endowed with the wealth of dedication dedicated himself to Rama with bodily service, and while performing all agreeable deeds in respect of Rama, he behaved like Rama's alter ego.

na Ca tEna vinA nidrAm labhatE puruSOttamaḥ 1-18-30
rAma , that best among men, does not get his sleep without lakshmana and he would not eat food brought for him without lakshmana.

At once the reference to nidrA = sleep in the vAlmiki rAmAyana, confirms the icon of the protective lakSmana allowing rAma to close his eyes, while the sleepless lakSmana watches over him (like eyelids = kanti-reppa).

Notice the simultaneous appearance of the words “lakSmi” and “lakSmana” in the tyAgarAja kriti EXACTLY like the vAlmiki rAmAyana stanza !

But the most striking line of the kriti is the last line = kaliki rOta gattunA – the “charming lady” (kali) who ties the lord to the rOta (the grindstone).

kaliki rOta gattunA ? The 3 word mahAvAkya (summary) of the rAmAyana

kaliki rOta gattunA – the “charming lady” (kali) who ties the lord to the rOta (the rotating) grindstone.

Foolish translators, parroted by lewd agents, write this as an image of dAmOdara, the baby krSnA tied to the mortar by yaSOda.

Can a reference to the lunar deity (krSna) appear in a kriti filled from TOP to BOTTOM with the story of the rAmAyana ?

appa rAmabhakti EntO gopparA mA, (rAma etc)
trippatalanu dIrci kanti reppa valEnu gAcu mA (lakSmana as the protective eyelid etc)
lakSmI dEvI valaCunA lakSmanundu goluCunA (sitA as lakSmi and lakSmana)
sukSma buddhi gala bharatudu jUcijUci sOlasunA mA –( bharatA)
Sabari yengili niccunA Candradharudu meccunA - (Sabari)
abala svayamprabhAku daivamacala padavi niccunA mA (swayamprabhA)
kapi vAridhi dAtunA – (Anjaneya crossing the ocean to lanka)
&
kaliki rOta gattunA ??! – THIS ABSOLUTELY CANNOT BE yaSOdA and the baby krSna = dAma-udara reference
(what fool would think of yaSOdA as a charming lady = kali….kali in the rAmAyana is ONLY sitA)

NO !

“kaliki rOta gattunA ?!” is the tyAgarAjas way of summarising the rAmAyana !

It is the mahAvAkya of the rAmAyana.

It is the sitA dEvi who has TIED rAma to the grindstone that is his indelible code of morality and dharma.

appa rA ma bhakti EntO goppa rA – rAga kASi-rAmakriyA

KVN
https://www.youtube.com/watch?v=7RUDBoCx32c

veena padmavati
https://www.youtube.com/watch?v=Cq0UWg2l-7A

violin ambi S
https://www.youtube.com/watch?v=2XXSIjLC-uA

RSR · Post by **RSR** » 12 Oct 2023, 15:02

Thyagaraja Kriti -
Appa Rama Bhakti
- Raga Pantuvarali
....
.
https://thyagaraja-vaibhavam.blogspot.c ... -raga.html
.
If we have read Thyaagaraaja kruthis with reverence, we find that Lord Raama is Lord Vishnu, for the saint. ( prahlaada bhakthi vijayam).
Hence Lakshmi in the above kruthi is Sitadevi.
It also rhymes with Lakshmana in the next line.
..
Thyaagaraja swami , though he avoids frequent reference to Krushna avathaaram leelas, he has sung some kruthis on krushna during his travel near chennai. One of his disciples had built a krushna temple and he sang the kruthis there.

Baalakrushnan is darling of all indians and the story of daamodaran is widely known.
The saint is just stressing the greatness of devotion to Lord Raama, ( vishnu).
.

nAdopAsaka · Post by **nAdopAsaka** » 12 Oct 2023, 20:28

The CAREFUL sequence/evolution of vAlmiki rAmAyana kAndas in “appa rAma bhakti” – “kaliki rOta” is ONLY sitA and NOT yaSOdA

How wonderful is the music of the vAggeyakAras !

At every step and with every breath, it exposes Sruti = truth AS WELL AS apa-Sruti = untruth.

Foolish cretin/s who have no understanding of the words and ideas reveal their ignorance repeatedly.

The tyAgarAja CAREFULLY GIVES the kAnda sequence of the vAlmiki rAmAyana IN ORDER in his key icons of the kriti..

The kriti traces the evolution of the rAmAyana (there is ZERO scope for any reference to yaSOdA/krSna).
.
Read below and rejoice (or weep if you are a cretin)

appa rAmabhakti EntO gopparA mA, trippatalanu dIrci kanti reppa valEnu gAcu mA
lakSmI dEvI valaCunA lakSmanundu goluCunA (sitA's love and lakSmanas devotion from bAla kAnda )
sukSma buddhi gala bharatudu jUcijUci sOlasunA mA –( bharatA from the ayOdhya kAnda )
Sabari yengili niccunA Candradharudu meccunA - (Sabari from aranya kAnda, & Siva as agni/rudra-sarga 12 v. 17)
abala svayamprabhAku daivamacala padavi niccunA mA (swayamprabhA from the kiSkindha kAnda )
kapi vAridhi dAtunA – (Anjaneya crossing the ocean to lanka – sundara kAnda )
& FINALLY
kaliki rOta gattunA (fulfillment of the dharma of rAma – yuddha kAnda)

There is ABSOLUTELY NO Way “kaliki” = "charming woman" can refer to anyone other than sitA and the completion of the rAmAyana per the sequence of the ideas/names organized in the kriti.

The mention of the much lesser known icon “swayamprabha” (for the kiSkindha) is itself a rather obvious clue to the deliberate nature of the organization.

Why would any fool still try to insist there is a yaSOdA reference in this kriti..?

It is not merely the ignorance of a cretin or dim-witted comprehension….

It is ALSO a professed contempt for the values of the vAggeyakAras (see the ugly sectarian sordidness of this poster and his repeated disparagement of (as he says) “ardha-stuff”) ..

And unerringly, the vAggeyakAras, Sruti , the music and the forum exposes the untruthful and the ignorant.

appa rAma bhakti – rAga kASi-rAmakriya

ranjani-gAyatri
https://www.youtube.com/watch?v=PWhroeJ3n2U

MDR
https://www.youtube.com/watch?v=Sr14hDsPmdk

RSR · Post by **RSR** » 15 Oct 2023, 10:35

"Venugana -
[
M.S Subbulakshmi

Kedargowla
.........
https://youtu.be/P3KaHlDKSi4?si=qtHU2YHGitYzyX54
..
The contempt is not for the TRINITY but for the idiotic interpreters.
..
https://thyagaraja-vaibhavam.blogspot.c ... -raga.html
..
Gist
A thousand eyes are needed to behold kRshNa – one who is very fond of flute music.

A thousand eyes are needed to behold kRshNa while all the damsels, having braids like black-bees, come warding off evil sight over the Lord and saluting Him.

A thousand eyes are needed to behold kRshNa who comes –

as damsels, with faces like fully blossomed lotus, dance in different tempos, and holding each other's hands, look by side glances at the Lord,

as the damsels having parrot-like voices elegantly sing, and

as all celestials pray to the Lord - friend of this tyAgarAja.

..

nAdopAsaka · Post by **nAdopAsaka** » 15 Oct 2023, 17:14

“Sambara-ari vairi–ki ardha Saririni” – the “kAma dahana” ardhanAri of tiruvaiyAru and the durgA navarAtri

The dharmasamvardhani of tiruvaiyAru is HALF of the Siva who destroys kAma ( who is the enemy of Sambara).

In his tOdi kriti “karuna judavamma” the tyAgarAja is quite clear (except to the brain-dead) when he says

Sambara-ari vairi – ki ardha Saririni

And she is also the destroyer (ari) of the untruthful and the deceitful (ignorant trolls etc)

madamuna teliyaka jEsina karma vida -ari

The vAggeyakAras and their ideas confront everyone with choices and force a self-realization.

If one disparages the ardhanAri concept, they cannot accept this kriti and by extension ALL the kritis....since Sruti = truth is not selective...

On the occasion of dEvi navarAtri it is useful to remind ourselves that the durga/destroyer aspect of the goddess ALWAYS exposes and punishes the untruthful.

karuna judavamma – rAga tOdi

Hyd bros.
https://www.youtube.com/watch?v=ZYzS9laDfEw

RSR · Post by **RSR** » 15 Oct 2023, 19:02

Fools do not ponder why the semi-woman concept is exclusively associated with Siva , that too only in far south.
The reason is all these Siva temples were originally of KALI.
In Bengal, it is stand-alone DURGA that is worshipped, quite distinct and un-connected with Siva.
May be the case with Devi worship in Mysore and even in Kerala.
In Maharashtra, it is Bhavani.
.
Siva is a very late arrival in Tamil country, .it all began only after 500 AD.
.
All the sivan temples, were originally, KALI temples.
.
Like KALI, .Krushna and Murugan were ancient deities of Thamizh land.
So, in sangam period ( 200 BC to 200 AD), and during the Kalabra interrugnum,(200 AD to 600 AD)there was very little of SIVA in ThamiZh country.
Siva stories were direct import from Gupta empire., especially, the puranic .
Even Vaasudeva cult was the work of a greek- related king in northeast.
.
Pooja days reflect the most ancient culture of the country..an indication of matriarchal form of society.
.
.Devi worship is the religion of ALL Indian patriots. Who is the deity in Ujjain?
It is from this perspective, that we should approach Shyama SAastry.
.
Thyaagaraaja swami, concentrated on Lord Raama, as an antidote to geethagovinda coarseness, and to focus in monogamy for men.
.

nAdopAsaka · Post by **nAdopAsaka** » 15 Oct 2023, 22:57

mElukOvayya rAma - sitA samEta – The tyAgarAja wakes the United deity

No less an authority than the sacred gitA gives verse 9.17 where krSna asserts "I am Father and also Mother"

पिताहमस्य जगतो माता धाता पितामह: ....pitAham asya jagatO mAtA dhAtA pitAmaha

No further evidence is needed of the BALANCE expressed by this statement (known ALL over the sub-continent).

As an expression of BALANCE, there is no difference between the ardhanAri and the statement made in the gitA 9.17.

Of course, the gitA may not be known in some areas where its language is not understood. And likely even after translating, the meaning of the words will still elude the dim-witted. Too bad.

Various other examples e.g. lakSmi sahasranAma etc. echo the same idea.

For example..the annamACArya similarly describes the “conjoined = kalasina” alamElu and venkatESa in “paluku tEnEla talli” – rAga AbhEri as

paluku tEnela talli pavalinCEnu. kaliki tanamuna vibhuni kalasinadi gAna

In his "mElukOvayya rAma" bAuli rAga kriti, the inseparable unity of rAma and sitA is also proclaimed by the tyAgarAja as he wakens the conjoined = samEta ...sita and rAma .

mElukOvayya mammElukO rAma
mElaina sItA samEta nA bhAgyamA

Summary

Bringing ones own lewd imagery and uncouth thinking into these threads is unseemly..…especially when one is severely language-challenged.

Denigrating the bhagavad gita, the gita gOvinda or annamACArya or the tyAgarAja or any other vAggeyakAras for their ideas yet continuing to hang around the kritis like an under-fed puppy is another sign of inconsistency.

Just find other avenues in words/languages that are comprehensible.

mElukOvayya rAma sitA samEta – rAga bauli

sandhyAvandana Sr
https://www.youtube.com/watch?v=qlHul8nlGwE&t=2932s

vedavalli group
https://www.youtube.com/watch?v=td9S0AxQHuU

RSR · Post by **RSR** » 16 Oct 2023, 10:11

Is he describing bridal chamber? Cracked halfpots, will then assert that Thyagaraja is describing 'joining'.
Not only a conceited crank but a vulgar brat at that.

RSR · Post by **RSR** » 16 Oct 2023, 10:28

"O Ranga Sayee
M.S. Subbulakshmi
.
https://youtu.be/6qLp35v27gY?si=Hm_sPjo8ARiPDyhX

..
Gist
O Lord reclining in ranga vimAna! O Lord who is the adornment of the heart of this tyAgarAja!

When I call You, can’t You come responding ‘O’?

Didn’t Lord Siva become the Lord of kailAsa by beholding You?

Considering this place to be vaikuNTha on the Earth, exulting all by Yourself, if You remain enamoured with lakshmI, pray tell me when our worries would be relieved?
Having suffered a lot among people who could not withstand others’ excellence, I have come to behold Your divine form and Your chest with pearl necklaces shining therein.

.
https://thyagaraja-vaibhavam.blogspot.c ... -raga.html

nAdopAsaka · Post by **nAdopAsaka** » 16 Oct 2023, 12:03

“mA jAnaki CEta battaga” – the sitA who never leaves rAma…only the mAyA-AkAra = illusory sitA is abducted

The education must continue...even though the class is backward.

The essence of “mA jAnaki” is that sitA NEVER LEAVES rAma..only her illusory form was abducted to lanka…
The words used are “mAyA-AkAra”

This never-ending union of rAma and sitA is seen in the AdyAtma rAmAyana (which tulasi-dAsa cites in his ramaCaritamAnas) , which the tyAgarAja has obviously read and incorporated.

And the tyAgarAja is well aware of tulasi-dAsa, referring to him in the prahlada bhakti vijayam

tulasI kAnanamanduna vilasita muga harini jUci vismaya yutudai pulakI kRta tanudagunA
tulasI dAsa varu sannutulu sEtu madin

Yes, the same tulasi-dAsa of the tulasi name ! (cf. the BALANCE/scales/tula/tarAju/ardhanAri).

the inseparability of the divine parents

The divine parents are always considered inseparable and since they are “equal” to each other, they embody the “ardhanAriSwara” concept.

It’s the same idea when the Dikshitars sings “Sri pArvati paramESwarau” and builds his sOpAna.
It’s the same idea when the tyAgarAja sings “sitamma mAyamma Sri rAmudu mA tandri”.
And it is the same idea in “O rangaSAyi”.

In bhUlOka as vaikuntha, the divine father and mother are wrapped up in each other, ignoring the tyAgarAja.

In addition, the equivalence of sitA with lakSmi and rAma with viSnu/rangaSAyi is cited in none other than the vAlmiki rAmAyana- yuddha kAnda 6-117-28
sitA lakSmirbhavAn viSnurdEvaḥ krSnah prajApatih
vadhArtham rAvanasyeha praviSto mAnuSim tanum
translation
"sitA is no other than Goddess lakSmi (the divine consort of Lord viSnu), while you (rAma) are Lord viSnu.

The divine parents are always inseparable..

As krSna says in the gitA (9.17) …I am Father and also Mother"
पिताहमस्य जगतो माता धाता पितामह: ....pitAham asya jagatO mAtA dhAtA pitAmaha

mA janaki - rAga kAmbOji

ananya a
https://www.youtube.com/watch?v=mVfl-JkSdEE

RSR · Post by **RSR** » 16 Oct 2023, 14:41

Dopish understanding. The entire life of Ramaayanam through the nearly 25
centuries is about the pangs of separation. ..emotional. there is nothing physical about it. Disgusting dungheaper.

nAdopAsaka · Post by **nAdopAsaka** » 16 Oct 2023, 15:51

rAmAyana is about dharma..

The only “separation” is that of an individual from their duty.

When one doesn’t understand words, naturally ideas are also lost.

Get a clue...

The divine parents are ALWAYS inseparable, to ALL vAggeyakAras.

In his kriti "dharmAtmA", the tyAgarAja notably refers to illusion mAya.

nIdu mAya-la CEta niSthUramElla

The kritis are not for the brain-dead, and especially not for perverts.

dharmAtmA – rAga kEdaragaula

bombay sisters

https://www.youtube.com/watch?v=KUhHg9cRfIM

RSR · Post by **RSR** » 16 Oct 2023, 16:22

Thyaagaraja's Raama kruthis are about the universally accepted themes of Raamayana- like duty towards parents, brothers, teachers, friends and about chastity towards one's wife.
It is also about dedication to help friends , even among tribals, the poor, and victims of oppressions.
And to harmless animals even.
Even Thyagaraja ridicules donkey carrying fragrant goods?
Thyaagaraja Swami and Shyaama SAsstry are not meant for 'semi'fixated .'chandravamsis'.

RSR · Post by **RSR** » 16 Oct 2023, 17:40

Gist
O My Mind!
Do not be deceived by looking at the body; aren’t the internal indications like these?

Do not be deceived by looking at the delusive natured body of women which is indeed a firm covering for detestable faeces, urine and blood.

Piercing with the arrows called eyes, resting the head on the hills called breasts, it is said that people perform amorous acts; but, you do nicely perform chanting of the names of the Lord praised by this tyAgarAja; do not be deceived by looking at the body of women.
https://thyagaraja-vaibhavam.blogspot.c ... -raga.html

Raga name is ' sarasaangi'!

nAdopAsaka · Post by **nAdopAsaka** » 18 Oct 2023, 22:56

durmArgaCarA – the Song of the sAdhu clad in the rAga with the color of the sAdhus clothing – the ranjani that condemns the use of “saraswati” to praise “hina mAnava”

On the occasion of dEvi navarAtri, the tyAgarAja kriti “durmArgaCarA” is relevant.

Why ?

Because it makes the reference to “saraswati” as the “paluku bOti-ni”, where paluku is considered Sruti = vEdas etc. as speech and bOti is the vernacular for lady as in goddess.

Indeed, the kriti condemns all those who employ “saraswati” = the skills of words/music/poetry etc in praise of dur-mArgi’s and “patita mAnavula”, especially conducted in sabhA’s…(kutCheris ?)

paluku bOti-ni sabhalOna patita mAnavulaku

This of course is the well-known refrain of the Hindu sAdhu....and the dagger in the heart of the entire corrupt Dikshitar family except nAdajyOti Mutthuswamy Dikshitar….

See here how the sordid saga on some examples of deliberate misattribution of the Dikshitars legacy is exposed…
https://www.rasikas.org/forums/viewtopi ... 33#p377633

Notably the Dikshitar himself rejects all these entities …when he says “hina mAnava ASrayam tyajAmi !” in his "hiranmayim lakSmi:…the lalitA raga kriti.

Why the rAga ranjani ?

Because the word ‘ranja” itself is a synonym of saffron, the color of clothing of the sanyAsis.

Orange/yellow color of saffron is traditionally the attire of sAdhus.

Indeed, the rig vEda 10.136.2 gives a description of the attire of such munis

मुनयो वातरशनाः पिशङ्गा वसते मला
munayo vAtarasanA piSangA vasatE mala
“munis, the sons of vAtaraSanA, wear the yellow soiled vestments”

piSanga is related also to “pingala” and “haridra”, the color of turmeric..

In general the word “ranja” associates with yellow/orange dye or pigment.

The Song of the sAdhu is clad in the rAga that has the name of the sAdhus clothing !.....No one can say that this is a coincidence.

The vAggeyakAras and their kritis demand at least some imagination and basic intelligence from the vapid masses.

But as can be seen, the music has been corrupted into an exercise in worshipping this-or-that performer.

Yet again, in the auspicious week of the dEvi navarAtri, the goddess saraswati protects the legacy of her principal devotee, the tyAgarAja, from all those would try to dilute & distort his messages.

satyam Eva jayatE

durmArgaCarA – rAga ranjani

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

flute KSG
https://www.youtube.com/watch?v=hQSivVOT9LI

lAlgudi/ramani duet
https://www.youtube.com/watch?v=oHrRgU4Uebo

veena anjani/aSwini
https://www.youtube.com/watch?v=mswJueFztuA

RSR · Post by **RSR** » 19 Oct 2023, 05:58

But for almost a lifetime of learning at the feet of their teachers and sharing the music with people , by the great galaxy of musicians, past and present, it must be realized that the treasure of the Trinity would have been lost for ever. The musicians did earn wealth by this work but they did and are still sharing the wealth for so many good humanitarian causes, through trusts and in private without publicity.
.
Jealousy was never their trait. The Trinity though they never used it as a means of livelihood, did not frown upon professional performers, even the dancers. Enough of this carping.

RSR · Post by **RSR** » 20 Oct 2023, 16:33

https://youtu.be/mvAkAA9wPCs?si=e6hwlrb8tZg1V5RY

"Intha Sowkhya"

Madhurai MaNi iyeŕ

nAdopAsaka · Post by **nAdopAsaka** » 21 Oct 2023, 15:51

nArada-guruswAmi - The darbAr kriti that refers to the tulAbhAram in the dwArka “court” instigated by satyabhAma and nArada

On the occasion of saraswati pujA, the other great icon of music = nArada cannot be forgotten.

The tyAgarAja reminds us !

In this context see here how the Dikshitar celebrates nAradas pujA of SAradA
https://www.rasikas.org/forums/viewtopi ... 68#p380468

the tulAbhAram at the dwArkA royal court

The tulAbhAram (weighing of krSna) organized by satyabhAma/nArada is conducted in the royal court of dwArka..where one of the many queens (satyabhAma) tries to assert herself over the others…and rukmini prevails.

The tyAgarAjs kriti “nArada-guruswAmi” refers to this tulA-bhAram as

satyabhAma kE-tula galge dyuti-jita SaradAbhra ninu vinA muni ya-tula kEvaru

For those who may not have a clue, darbAr (the word) is exactly a court.

And nArada is also called “dyuti-jita Sarad-Abhra”, a reference to the same Sarad (autumn), that gives SAradA her name !

Only a moron or a knave (or both) will continue to insist that this rAga choice by the vAggeyakAra, (like scores of others already shown) are random and that the rAga name does not influence the kriti/words.

nAradaguruswAmi – rAga darbAr

SSI
https://www.youtube.com/watch?v=kNkDdAJ9NAs

sAketarAman
https://www.youtube.com/watch?v=fU54V1vbPUU

RSR · Post by **RSR** » 21 Oct 2023, 22:48

https://thyagaraja-vaibhavam.blogspot.c ... -raga.html

--
Gist

O Lord praised by this tyAgarAja!
Please listen.
It is not possible for my mind let go Your holy feet.
Even if I come to grief caught in vain hopes, it is not possible for my mind to let go Your holy feet.
Whatever jobs the body might be engaged in, and
even if I happen to see things not to be seen,
apprehending everything to be You alone, I remained happy.
--
https://youtu.be/jl4cN0e59xg?si=OhcZiMdnhdHmGyjK

M.S.Subbulakshmi-
Vidajalathura -
Janaranjani"
..
Wretched idiots will find some story for janaranjani

nAdopAsaka · Post by **nAdopAsaka** » 22 Oct 2023, 01:30

It is the intention of saraswati to educate this week…

And there is at least one dim-wit in need of enlightenment.

Not one but ALL 3 of the tyAgarAja kritis in jana-ranjani display the meaning of the word jana-ranjan(a)

1. jana-ranjani – in smaranE sukhamu
jana = narudai puttina = all those born
ranjana – that which delights = sukhamu

2. jana-ranjani - in vidajAladura
jana – tanu-vu = body
ranjana – that which delights = santasilla

3. jana-ranjani – in nAdAdina mAta
The key phrase is “valaCi nammina vAni valalOna taguludu”
jana – the “body” trapped in the net (of happiness) – vAni valalOna taguludu
ranjana – valaCi nammina (happiness/delight)

For the nAdayOgis, the rAga name itself focuses the pujA and drives the thinking and sAhitya choice.

Their Words and choices are about conveying ideas...(not just sounds for "animals")

Trying to deny this fact is a fools errand..

smaranE sukhamu – rAga janaranjani

rAmnAd k
https://www.youtube.com/watch?v=r4PY6HFXOfg

nAdAdinamAta – rAga janaranjani

musiri SI
https://www.youtube.com/watch?v=EsqFlFjrARg

vidajAladura – rAga janaranjani

KVN
https://www.youtube.com/watch?v=3b7WHVLi0gI

RSR · Post by **RSR** » 22 Oct 2023, 05:56

Parasakti Manupa -

Raga Saaveri[/color][/b]
---
( goddess at Thiruvaiyaru)
.....
Gist

O Mother parA Sakti!
O Ancient One! O Mother dharma saMvardhani! O Presiding Deity of SrI pura! O Mother who wears digit of moon on the head!
O Beautiful Faced (mind-born) daughter of himavAn,
whom even Siva, indra, brahmA and demons etc beseech for boons! O Mother worshipped by best of ascetics!
O Large Eyed Mother SAmbhavi, who watches calmly, while indra and others, having become eternal by happily undertaking Your service, exultingly salute You!
O Excellent One, praised by this tyAgarAja, who bestows auspiciousness! O Sister of Lord SrI rAma! O Daughter of himavAn!

Why don’t You take care of me?
Why this unconcern towards me?
Why don’t You protect me?
Won’t You make those wicked persons, who disregard (or disallow) innocent people, not to come here?

Smt.M.S.Subbulakshmi
.

https://youtu.be/zYd64bwO1jI?si=OuwGzgHkvBSm1aKp