Thyagaraja (Krithis)

cmlover · Post by **cmlover** » 21 Mar 2007, 22:20

Visit
http://www.tinypic.com/
u/l your picture there and copy the link into this brower. Your picture will appear here! good luck!
(Reduce the size of the picture to fitin here as otherwise the page formats will be screwedup!

jayaram · Post by **jayaram** » 21 Mar 2007, 22:54

Sub - if these are jpeg files, why don't you upload them to one of the standard yahoo or google photos sites. That way you can keep adding stuff there, and we can use the same link to view the newer files:
photos.yahoo.com/
picasaweb.google.com/
www.kodakgallery.com/
etc.

mahakavi · Post by **mahakavi** » 22 Mar 2007, 03:16

This is the house of T before demolition. Let us see if it views OK.
The motor bike is NOT mine!

cmlover · Post by **cmlover** » 22 Mar 2007, 05:50

That is fine! One can right click on the link and open it in a new window to see the picture!

vasanthakokilam · Post by **vasanthakokilam** » 22 Mar 2007, 09:18

Mahakavi, I just edited your post so that the picture is displayed inline with your post. If you would like to continue this way for rest of your pictures, you can select the full link and then click on the Img button available in the posting window ( between the "http://" button and the "Code" button ).

maniomani · Post by **maniomani** » 22 Mar 2007, 09:36

Dear Jayaram,

I had the darshan of the Sri Rama Vigraha worshipped by Saint Thyagaraja at 4,Varahappaaier Street, Tanjore in 1960. I do not know whether it is stil there.
maniomNI

meena · Post by **meena** » 22 Mar 2007, 09:39

mahakavi · Post by **mahakavi** » 22 Mar 2007, 09:48

Here is an idol of the saint himself found in the house before demolition.

mahakavi · Post by **mahakavi** » 22 Mar 2007, 10:02

Wall pictures in T's house.
There are some photos (group and individual) which must have been of his disciples(?) some of you might identify. I couldn't get a closeup.

mahakavi · Post by **mahakavi** » 22 Mar 2007, 10:17

The Thamizh folks would appreciate this bio. If non-Thamizh folks want a brief description (in English) of the items mentioned I will do so.
I will post some Tiruvaiyaru temple pictures and a couple of samadhi pictures later.

drshrikaanth · Post by **drshrikaanth** » 22 Mar 2007, 13:42

Its a shame the biodata does not include the mother's name but only the father's name.

mahakavi · Post by **mahakavi** » 22 Mar 2007, 19:14

Well it was a sign of the times! What about assigning gOthrams? It is patrilineal even today, although we all know that the traits come from both mother and father. When the girl married into a family she and her offsprings were automatically assigned the gOthrams of the man she married. It was/is true even in western countries when one gets the last name of the father's side. The only exception I find nowadays is that the birth certificate of every individual contains the mother's name ( with the last name of the husband appended after her first name!)

cmlover · Post by **cmlover** » 22 Mar 2007, 19:17

I was looking for objects/pictures that would belong to his period but so for have not located any! I doubt whether the wall pictures (not photographs) belong to his time. I wish there is more clarity in the photos so that we can discriminate. Only person I can identify clearly is veena dhanammaaL.

mahakavi · Post by **mahakavi** » 23 Mar 2007, 04:51

Here is T's memorial on the banks of Cauvery in Tiruvaiyaru

drshrikaanth · Post by **drshrikaanth** » 23 Mar 2007, 05:01

mahakavi wrote:Well it was a sign of the times!

Sign of what times? Surely this board was not written during the time of tyAgarAja? His mother also played a significant role in shaping his musical inclinations. And her name "sItamma" is known. Would it take a great effort to include her name as well on the board?

mahakavi · Post by **mahakavi** » 23 Mar 2007, 05:20

Here is the last picture in the series--PanjcanadIswarar (aiyARappan) temple gopuram.

mahakavi · Post by **mahakavi** » 23 Mar 2007, 05:30

drshrikaanth wrote:
mahakavi wrote:Well it was a sign of the times!
Surely this board was not written during the time of tyAgarAja?

Of course not. Perhaps in the mid 20th century(1947 perhaps?--centenary year of T's death). This is not a challenge question but let me ask it anyway. How many of us have our mothers' names mentioned in our SSLC book? I am talking about the period from 1940-1990(?). To be sure the father's name is found.

meena · Post by **meena** » 23 Mar 2007, 06:05

mahakavi

post 18 and 20 did u u/l more then 1 pic?

mahakavi · Post by **mahakavi** » 23 Mar 2007, 06:34

No. My hp scanning was misbehaving. I used Microsoft Publisher and not only did it reduce the size but also put it in a corner. I just let it go.

meena · Post by **meena** » 23 Mar 2007, 06:53

mahakavi

i've edited ur post 18 and 20 , now the pic will show up right.

mahakavi · Post by **mahakavi** » 23 Mar 2007, 07:10

Thanks meena! They now look much better and very much like my own prints.

divakar · Post by **divakar** » 23 Mar 2007, 08:15

mahakavi
thank you very much for all the photos. appreciate your effort in taking them and posting.

thanks to meena, the editor..

shripathi_g · Post by **shripathi_g** » 28 Mar 2007, 01:59

I'm curious to know if St.Thyagaraja ever sang alapanas.

ramakriya · Post by **ramakriya** » 28 Mar 2007, 02:14

I am sure he would have

At least, his life chronicles say that he sang dEvagAndhAri rAga every day for 7 days when he visited Veena Kuppayyar's house, and followed up with one of his kritis.

-Ramakriya

knandago2001 · Post by **knandago2001** » 28 Mar 2007, 13:33

That is truly amazing! I wonder if Tyagaraja followed up on these "sparks of creativity" by didactic teaching as well... Ramakriya, do the chronicles say anything in this regard?

jayaram · Post by **jayaram** » 02 Apr 2007, 16:28

namO namO rAghavAya in Desiya Todi
This is considered to be the very first composition by Saint Tyagaraja - when he was just 13!
Is there a rendiiton of this kriti available online somewhere?
(Smt Visakha Hari, in her recently concluded series [in London] on Ramayanam, mentioned this fact at the last program that was on Tyagaraja's life.)

ramakriya · Post by **ramakriya** » 02 Apr 2007, 21:32

jayaram - I think there is a recording of MLV - although I am a bit lazy now to search

-Ramakriya

vgvindan · Post by **vgvindan** » 02 Apr 2007, 22:48

Jayarama
There is a Bombay Sisters' Cassette - Divyanama Kritis - in which this kRti features.

vgvindan · Post by **vgvindan** » 03 Apr 2007, 00:13

kRti 'nIku sari evarurA' - rAga maNirangu - is listed as a Thyagaraja Kriti in the website http://www.karnatik.com/c2663.shtml - however, this kRti is not found in any of the books I refer. Further, the mudra says 'tyAgarAja suta'. Can someone clarify? I am not able to understand as to whom the kRti is addressed.

drshrikaanth · Post by **drshrikaanth** » 03 Apr 2007, 00:19

It is on ISvara, praNatArtihara. I doubt very much if it is a tyAgarAja kRti.

vijayagopal · Post by **vijayagopal** » 03 Apr 2007, 14:58

Adrija vinutudu is sure Bhadra girIshudu.
Rama is venerated by PArvati,.
In the Vishnu sahasra nAmam at the end, Lord Siva tells that an alternative to sahasra namam is Rama Namam.
RamE RAme manO ramE.

vageyakara · Post by **vageyakara** » 03 Apr 2007, 17:56

Hi vijayagopal, Emo0ko if altered " as emoka" should present a more appropriate meaning i,e.
what a tender lip (tender)- chiguru (lip}- pedavula) I think it is typographical error
Ramaraj

vijayagopal · Post by **vijayagopal** » 04 Apr 2007, 14:01

Dear Friend!

It can not refer to one lip.
Because the "chigurutadharamula yedaneda" talks about both the lips. in plural.
Am I right?
It is very much EmokO.
The beauty with this old language is the usage of expressions that are not in use any more.
Some words from the modern language also are used by them.
Tyagayya uses a word Karubaru in a kRti starting with the same word.
It is the Hindi or Urdu word kArObAr.
That is Official activity.
Can you beat it?
Let us look into the rare words used by the composers and bring them to the notice of all.

mnsriram · Post by **mnsriram** » 05 Apr 2007, 16:33

Is there any chance of getting any non-commercial recordings of these 2 krithis?

endukO bAga teliyadu - mOhana - Adi - tyAgarAja
mATi mATiki delpavalenA - mOhana - chApu - tyAgarAja

Thanks in advance
Sriram

shishya · Post by **shishya** » 05 Apr 2007, 18:42

mATi mATiki in mOhana is available in one of Malladi brothers' CDs. IIRC the CD is called Sukhanubhav. Very beautiful rendition.

mnsriram · Post by **mnsriram** » 05 Apr 2007, 19:24

Thanks shishya. I will try to get the CD.

chetana · Post by **chetana** » 06 Apr 2007, 13:46

vijayagopal wrote:Dear Friend!

It can not refer to one lip.
Because the "chigurutadharamula yedaneda" talks about both the lips. in plural.
Am I right?
It is very much EmokO.
The beauty with this old language is the usage of expressions that are not in use any more.
Some words from the modern language also are used by them.
Tyagayya uses a word Karubaru in a kRti starting with the same word.
It is the Hindi or Urdu word kArObAr.
That is Official activity.
Can you beat it?
Let us look into the rare words used by the composers and bring them to the notice of all.

emoko chigurutadharamula is an annamacharya kriti. not tyagaraja's.

vgvindan · Post by **vgvindan** » 06 Apr 2007, 17:56

chetna,

What vijyagopal is mentioning about the word 'karubaru' is from tyAgarAja kriti -'kArubAru sEyuvAru' - rAga mukhAri.

The word 'karubaru' is derived from Urdu word 'kar-o-bar' - meaning 'business'.

Sri tyAgarAja uses the word 'harAmi tanamu' in the kRti 'eduTa nilicitE' - rAga SankarAbharaNam. This word 'harAmi' is a Urdu word. Though Sri tyAgarAja uses the word 'harAmi tanamu' in the sense of 'wickedness', the actual word 'harAmi' is considered abusive - 'born of harem' - a bastard.

vgvindan · Post by **vgvindan** » 06 Apr 2007, 19:30

In the kriti - Sobhillu Sapta svara - rAga jaganmOhini Sri tyAgarAja mentions about sapta svara as under -

nAbhi hRt kaNTha rasana
nAsAdula(y)andu
SObhillu sapta svara sundarula
bhajimpavE manasA

"O Mind! Worship the sapta svara divinities which are effulgent in navel, heart, throat, tongue and nose etc."

In the kRti svara rAga sudhA - rAga SankarAbharaNam, he further says -

mUlAdhAraja nAdam(e)ruguTa
mudamagu mOkShamurA
kOlAhala sapta svara gRhamula
gurutE mOkShamurA O manasA

"Understanding the nAda emanating from mUlAdhara is, indeed the blissfull emancipation; recognising the locations (in the body) of primal sounds of the seven svaras is indeed emancipation."

In this regard, I came across the following partial explanations of the above statements in a book. I am giving hereunder the version, as it is, in Tamil. As the version contains many Sanskrit verses and words, may I request DRS or CML or others who are knowledgeable in both these languages to kindly translate the same into English for the reference of the viewers?

5. .....மூலாதாரத்தில் குண்டலினிரூபமாகவும் யாதொரு பிரிவுமில்லாமலிருக்கும்
காரணபிந்துவானது கார்யபிந்து முதலிய (மேலே சொல்லிய) மூன்றையும் உண்டுபண்ண முயலும் போது அது பேதிக்கப்பட்டு (வெடித்து அல்லது மலர்ந்து) அந்த ஸமயம் அதிலிருந்து அவ்யக்தமானதும் சப்தப்ரஹ்மமென்று செல்லப்படுவதுமான ஒருவித ஓசையானது உண்டாகின்றது.

'பிந்தோஸ் தஸ்மாத் பித்யமானாத் அவ்யக்தாத்மா ரவோSபவத் |
ஸ ரவ: ச்ருதிஸம்பன்னை: சப்தப்ரம்ஹேதி கீயதே ||'

இவ்வித ஓசையானது காரணபிந்துவோடு தாதாத்மயமாக இருப்பதால் எங்கும்
பரவியிருந்தபோதிலும் மூலாதாரத்தில் தான் முதல் முதலாக வெளிப்படுகின்றது.
தேஹத்தில் ப்ராண வாயுவானது மூலாதாரத்தில் தான் முதலில் உதயமாகிறதென்றும் பேசவேண்டுமென்கின்ற ஆசையுண்டாகும்போது அந்த முயற்சியினால் தூண்டப்பட்ட வாயுவானது எங்கும் நிறைந்த சப்த ப்ரம்ஹமாக ஏற்படுகிறதென்றும் சொல்லப்பட்டது.

'தேஹேSபி மூலாதாரேஸ்மின் ஸமுதேதி ஸமீரண: |
விவக்ஷோரிச்சயோத்தேன ப்ரயத்னேன ஸுஸம்ஸ்க்ருத: |
ஸ வ்யஞ்ஜயதி தத்ரைவ சப்தப்ரம்ஹாபி ஸர்வகம் || '

இம்மாதிரி காரணபிந்துவாத்மகமான சப்தப்ரம்ஹமானது ஆவிர்பவித்தபோதிலும் தான் உற்பத்தியான இடத்திலேயே (மூலாதாரத்தில்) அசைவற்று (நிஷ்பந்தமாக) இருக்கிறது. இதையேதான் பரா வாக்கென்று சொல்லப்படும்.

6. பின்பு இந்த சப்தப்ரம்ஹமானது வாயுவினால் மேலே வரும்போது நாபிக்கு ஸமீபம் வந்தவுடன் அங்கே விமர்சருபமான (ஆராய்ந்து பார்க்கும் ஸ்வபாவமுள்ள) மனஸ்ஸுடன் கலந்து ஸாமான்ய ஸ்பந்தத்துடன் (கொஞ்சமான சலனத்துடன்) கூடிய கார்யபிந்துமயமாக ஆகிறது. அப்போது அதை பச்யந்தீவாக்கென்று சொல்லப்படும்.

7. பிறகு அந்த சப்தப்ரம்ஹமானது அதேமாதிரி வாயுவினால் நாபியைத்தாண்டி அதற்குமேல் ஹ்ருதய பர்யந்தம் வந்தவுடன் அங்கு நிச்சயாத்மகமான (தீர்மானம் செய்யும் சக்தியையுடைய) புத்தியுடன் கலந்து விசேஷமான ஸ்பந்தத்துடன் கூடிய நாதமயமாக ஆகிறது. அப்போது அதை மத்யமாவாக்கென்று சொல்லப்படும். அதற்கப்புறம் அந்த சப்தப்ரம்ஹமானது அதேமாதிரியாக வாயுவினால் கழுத்து முதலிய ஸ்தானங்களின் வழியாகவந்து வாயின் மூலமாக வெளியேவருகிறது. அப்போது அது அகராதி வர்ணங்களின் (அக்ஷரங்களின்) ரூபத்துடனும் காதில் கேட்கக்கூடியதாகவும் பீஜாத்மகமாகவும் இருக்கிறது. அதைத்தான் வைகரீ வாக்கென்று சொல்வது.

'மூலாதாரே பரா ப்ரோக்தா பச்யந்து நாபிஸம்ஸ்திதா |
மத்யமா புத்திஸம்யுக்தா அஷ்டஸ்த்தானேஷு வைகரீ ||'

8. இதையேதான்,

'மூலாதாராத் ப்ரதமமுதிதோ யச்ச பாவ: பராக்ய:
பச்சாத் பச்யந்த்யத ஹ்ருதயகோ புத்தியுங் மத்யமாக்ய: |
வ்யக்தே வைகர்யத ருருதிஷோரஸ்ய ஜந்தோ: ஸுஷும்ணா
பத்தஸ் தஸ்மாத் பவதி பவனே ப்ரேரிதா வர்ணஸம்க்ஞா ||'

என்று ஆசார்யாளாலும்

'மூலாதாரே ஸமுத்பன்ன: பராக்யோ நாதஸம்பவ: |
ஸ ஏவோர்த்வதயானீத: ஸ்வாதிஷ்டானே விஜ்ரும்பித: ||
பச்பந்த்யாக்யாம் அவாப்னோதி ததைவோர்த்வம் சனை: சனை: |
அனாஹதே புத்திதத்வஸமேதோ மத்யமாபித: ||
ததா தயோர்த்வனுன்ன: ஸன் விசுத்தௌ கண்டதேசத: |
வைகர்யாக்ய: ...........|| '

என்று நித்யாதந்த்ரத்திலும் சொல்லப்பட்டிருக்கிறது.

From 'Translation of Bhashya of Lalita Sahasranama' by GV Ganesa Iyer, B.A., B.L.,
Published by Sri Janardhana Mudra Sala - Kumbakonam - 1938.
PP 259, 260

Vimala Bulusu · Post by **Vimala Bulusu** » 06 Apr 2007, 20:12

vgvindan wrote:kRti 'nIku sari evarurA' - rAga maNirangu - is listed as a Thyagaraja Kriti in the website http://www.karnatik.com/c2663.shtml - however, this kRti is not found in any of the books I refer. Further, the mudra says 'tyAgarAja suta'. Can someone clarify? I am not able to understand as to whom the kRti is addressed.

TDP published 'tyAgarAja keertanalu' in 5 parts (611 kritis) with swara by kaLAprapUrNa Dr maMcALa jagannadharao (edited by vAdrevu purushottaM). The song 'nIku sari yevarurA nivEgAni vErevaru' in rAg maNiraMgu and tAL jhaMpe is available in this book -3rd part Page 210.

Last line: tyAgarAja nutuniki sthiramagu padamuliccina

Regards

Vimala

meena · Post by **meena** » 13 Apr 2007, 10:47

rshankar · Post by **rshankar** » 20 Apr 2007, 20:34

Can someone explain the settings of the saint's gEya nATakam - prahlAda bhakti vijayam please?
What is the story behind the lengthy conversation between 'samudramahArAjA' and prahlAd, and when did prahlAd have a face-to-face discussion with nArada? I have to 'fess up that my knowledge of this story (narasimhAvatAra) is based mainly on the story told in the Amar Chitra Katha series!

vgvindan · Post by **vgvindan** » 20 Apr 2007, 22:53

rs,
I have the complete kRtis of the dance-drama. But the dialoge part is yet to be digitised.
The sequence is as under -
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 pAza - kRti - vinatA suta rArA - husEni.
(7) Arrival of garuDa - kRti - viSNu vAhanuNDu - rAga SankarAbharaNam
(8) After being released from nAga pAza, 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 lakShmI. 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 want 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 complete set of songs along with meanings, if desired may be obtained by e-mail. However, these are yet to be fully vetted. These are in MS Word version right now.

PS : The whole dance-drama is available in the book 'Sadguru Sri Tyagaraja Swami Keerthanaigal' by Sri TS Vasudevan and Sri AK Gopalan (Tamil) - AK Gopalan Publishers.

rshankar · Post by **rshankar** » 21 Apr 2007, 01:03

Thanks, Govindan. So, this just looks like an episode that the Saint imagined...for instance, is there a reference to the story of prahlAd being constrained by nAga pASa, and being rescued by samudramahArAjA etc.?

vgvindan · Post by **vgvindan** » 21 Apr 2007, 12:58

Srimad-bhAgavatam contains a brief reference to spells of snakes. The following quote from ibid Book 7, Chapter 5, would illustrate the point -

The statement of sons of SukrAchArya to hiraNya kaSipu -

"Until our guru S'ukrÃ¢cÃ¢rya returns, just keep him bound with the ropes of Varuna so that he, afraid, may not run off;" (Verse 50)

However, there seems to be certain amount of dramatisation of these. The sequence of events described in the dance-drama, IMHO, is the poetical imagination of bard, of course in keeping with the eminence of prahlAda as bhaktAgresara.

Please visit the following websites for more information -
http://www.srimadbhagavatam.org/canto7/chapter5.html
http://www.geocities.com/profvk/VK2/SBAB9.html

vgvindan · Post by **vgvindan** » 05 May 2007, 20:13

Sri Vijyagopal has commented -

Tyagayya was more a composer than a poet

As I am not knowledgeable in the yardsticks applied in categorising persons as 'composer' or 'poet' or 'both', I invite views of the viewers.

mohan · Post by **mohan** » 06 May 2007, 07:43

A composer is a person who writes music, especially classical music.
A poet is a person who writes poems.

Probably these terms in English are not adequate but I would equate it more with a composer. He was a "vAgEyakAra" composing both lyrics and the music that goes with the lyrics.

coolkarni · Post by **coolkarni** » 06 May 2007, 08:24

Mohan
And sang them too.Taught them , too.

Yes Vgvindan
I would also like to know if
Edmund Hillary was an Adventurer or a rock climber
Einstein was a Scientist or a Philosopher
Ramakrishna Paramahamsa was a Story teller or a Priest..

Time for the Sanksrit Pundits-here- to lead us on to the full meaning of Vaggeyakara

coolkarni · Post by **coolkarni** » 07 May 2007, 07:20

http://www.sendspace.com/file/wjmv7c
Vijayanagaram Vardhini

a few pointers here, perhaps
haridAsulu vEDalE yamunAkalyANi

More tracks from this later.Absolutely stunning singer.

arasi · Post by **arasi** » 07 May 2007, 07:37

Very nice, Cool! Never heard her before.

Govindan,
The charaNam starting with gnAnamuthO, I have as:
gnAnamuthO rAma dhyAnamuthO manchchi
gAnamuthO mEnu dAna mosanguchu...