Thyagaraja (Krithis)

[nAdopAsaka]

The light of the lunar dynasty – the rAga CandrajyOti , the bhagavad gitA and the tyAgarAjas pujA to krsna – bAgAyanayya

As clear an example as any of the rAga name influencing the kriti, is the rAga CandrajyOti.

krSna is considered the icon of the lunar dynasty – (as opposed to rAma of the solar /raghu vamSa).

In bAgAyanayya, arjuna expresses his hesitance at opposing his own kin even if they are at fault (on the eve of the great battle)

As the tyAgarAja says “alari dOSamu”

The bhagavad gitA 1.45 gives this as
mahat pApaM kartum vyavasitA vayaM

The gitA is the light and wisdom presented to this faltering arjuna, by krsna, the lunar dyanasty icon,
who is CandrajyOti.

The tyAgarAja doesn’t need to spell out the exact word of the rAga, to give its mudra.

Its (word) meaning and content is FULLY captured in the ideas.(just as the musical scale is fully expressed by his melody)

Is there a better example of an inferrable rAga mudra, deliberately placed by the tyAgarAja, than the tyAgarAja using the gitA to represent krsna as CandrajyOti.

No !

The kritis are not for language-challenged knaves with contempt for the vAggeyakAras ideas.

bAgAyanayya – rAga CandrajyOti

aiSwarya and soundarya
https://www.youtube.com/watch?v=tfdIKH70b8s

[RSR]

A few points,
Thyaagaraaja swami has , on a very few rare occasions, sung of Krushna indeed. But which Krushna? Krushna the Gitaacharyan. Not the krushna of
Boatsong.
Thamizh tradition is that the Pandyan kings were descendents of Pandavas, and of Chandravamsam.
Explicit reference in sangam literature PuraNaanooru.
.
The real challenge is to find raaga mudraa words in kruthi, for ALL the TODI kruthis of the sathguru .
..
Lord Raama is known for ' one word, one arrow, one consort'.
Is it consistent with the refrain of the Arabhi pancharathnam.? How authentic are those passages, mixing up with the Double-tongued playful person?
.
In the cited kruthi also, the bard accuses the Lord as giving confusing call to fight with cousins,
..
With so much stress on wordplay and disregard to music and musicians, where is the need for giving actual song links? That too, very often of instrumental rendition?
.

[nAdopAsaka]

Before the clueless can understand words and their meaings, they have to be aware of the kritis..

hari hari ni okka divya pAdAravindam iyavE – rAga punnAgavarAli is a pujA to krSna from the naukA Caritram
(also for the clueless , the punnAga flower is synonymous with the aravinda noted in the opening line)..

Its highly likely none of these words (or the word of this post) wil be comprehended by these fools, but the points have to be made, however loathsome the task of engaging with these perverts.'

-rAga is an item of pujA just like the words for the nAdayOgis
-rAga is not the forum for worship of vidwAns/vidUSis , talent competitions, or giving each other awards, that a vapid fan-base has turned it into.
-Hundreds of kritis of the vAggeyakAras show the direct relationship between the specific pujA/kriti and the rAga name itself , either through kSEtra icon or deity icons etc.
-The idea that the kriti in rAga CandrajyOti (as an example) should NOT be sung but merely recited is a complete travesty and opposed to the specific pujA that the vAggeyakAra is offering.
-The rAga is inseparable from the kriti simply because of the manner in which the kriti was constructed.
-Just like Word is inseparable from its meaning and also inseparable from its melodic place in the kriti.
-The language-challenged (and therefore idea-challenged) have not understood the reason why the kritis exist.
-The inconsistency strikes home when these clowns realize that one cannot promote other vAggeyakAras in other languages when one denies the value of Words.
-The audio examples are not given to extol any performers /play-back singers.
-Indeed the modern cyber stage allows all singers to be heard as well..not just those propped up by this or that fan group.
-The instrumental pieces follow the track determined by the words of the kriti.
-Any narcissistic riffing or crooning is not part of the kriti.

Summary
-CandrajyOti is bAgAyanAyya and bAgAyanayya is CandrajyOti.
-That this kriti should not be sung , but just read out is another attempt by miscreants to diliute the vAggeyakAras musical sadhana and legacy.
-Just like some miscreant vidwAns/vidusis attempt to sing the kritis in rAgas of their own choice.

In a series of upcoming posts the tOdi mudras will be shown for the tyAgarAja kritis. But what will that prove to someone who doesnt understand Words ??

[RSR]

My consistent stand is that Nouka Charitham , is not the creation of Thyaagaraja swamy.
.
Why do you have to give videos of vocal renditions or instrumental renditions, as the thrust of all your posts so far in all the threads by you, are only about the lyrics and semantics of words.?
.
Who told you that the chandrajothi kruthi should not be sung?
.
Glad that you are finally preparing to give raga mudra semantics for ALL the TODI kruthis of the Sathguru.
.
Good Luck to you and condolences in advance.

.

[nAdopAsaka]

vEda vAkyamani – the naukA Caritra mOhana to krSna

Senility = insanity = dementia…in no particular order.

The tyAgarAja celebrates many vAggeyakAras from the generations before him.
e.g. purandara dAsa in the kriti “grahabala” , bhadrACala rAmadAs in “kSira sAgara Sayana”
His words show the influence of nArAyana tirtha of “krsna lila tarangini” and of the annamACArya.
He also refers to tulasidAsa of the rAma CaritamAnas.

Similarly, the tyAgarajas naukA Caritra is inspired by both the gita gOvinda of jayadEva and the muvva gOpAla of kSEtragna, in terms of theme/deity and musical style.

Naturally, none of the above is within the grasp of language challenged perverts.

No need to listen to the vAggeyakAras, if you have contempt for any of the ideas.

vEdavAkyamani – the naukA Caritra mOhana to krSna

swarabhangima group
https://www.youtube.com/watch?v=I2bTmPRERJM

[RSR]

Frontlobe dementia.
Its symptom is transgression of rules of civilized life.
That is what the LGBT stands for. as any ardha does.
By the way, ardhanari may mean that Lord Siva gets his fame and power only through his spouse.,,hardly complimenrary unless one is hen-pecked,
..
We can assert that Thyaagaraaja swami was following Jayadeva ( who sang his gitagovindam , except the opener, on the dancer of Puri Jagannadha temple.,.
..) if we can show a single kruthi of Thyaagaraja , in that genre,outside.
the boat stuff
Kshetragnya padams were all on the
Temple dancers all over andhra and even tamilnadu.

[nAdopAsaka]

There are multiple kritis that illustrate the SrngAra bhAva of the tyAgarAja for rAma beyond his naukA Caritram for krSna.

1. Sri rama jaya rAma SrngAra rAma – madhyamAvati – The 16 lines of this kriti are easily seen to constitute an aStapadi aStapadi = 8x2 for .. And the rAga madhyamAvati is for the mild madhura sweet speech of the nAyikA (= the tyAgarAja)
2. Cani todi tEvE- hari-kAmbOji - where the “maid of the mind”, the sakhi of the nAyikA-nAyaka-sakhi triad is asked to quickly bring rAma to sitA , so that sitA can enjoy peace with him for a long time
kanikaramutO gani CirakAlamu sukham-anubhava vimpa vEgamE...The rAga hari-kAma-bOji is an obvious choice
3. sitAnAyaka – ritigaula where he asks if the lord has stolen the saris of the gOpis, preparing for when the ill-clad kUcEla may come for help...jAlitO vacchu kuCElukani gOpi CElamu etitivO[/color], the rAga ritigaulA is chosen because the tyAgarAja realizes full-and-well the path/riti of the light as he says in the last line ni gunamulagattu bAguga delisenu
4. Both the tyAgarAjas kritis in rAga “navarasa kannada” speak to the SrngAra rasa/bhAva...color=#0000FF]paluku kanda and ninnu vina nAmadendu [/color] Of course the idea of "navarasa" is also lost

Indeed, the nArada bhakti sutras describe the 11 forms of bhakti as Sakti
1 gunamahAtma-Sakti 2 rupa-Sakti 3 pujA-Sakti 4 smarana-Sakti 5 dAsya-Sakti 6 sakhya-Sakti 7 vAtsalya-Sakti 8 kAnta-Sakti 9 AtmanivEdana-Sakti 10 tanmaya-Sakti 11 paramaAvirAha-Sakti

kAnta-Sakti = SrngAra is the fourth essential stage of the adoration of the lord in the sequence of servant-friend-child- beloved (dAsya sakhya vAtsalya SrngAra)


Sri rAma jaya rAma SrngAra rAma – rAga madhyamAvati

sandhyA sankar students
https://www.youtube.com/watch?v=KCm5sX4UbSk

[RSR]

Harikaambodhi -(harikamboji)- for some kabodhis, is hari-kaama-bodhi or bhoji?
Where is hari's kaama in famous kruthis like
DinamaNi vamsa
Rama nannu brovara
.
The difference between lust and love is in the wordings. Unfortunately, 'nithyasumangali' has no familiarity with hundreds of greatest romantic
Poems in sangam literature..aka Naannoru. And then the superb MutthoLLaayiram. Slightly later great
Poems by Nammaazhvaar.
.
Poor pundit..language-handicapped.
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The best example of such tender romance , can be found in kalki classics., 'maalaippizhuthinile oru NaaL' (mss), 'poonkuyil koovidum solaiyil '(dkp).
.
There are just 6 such kruthis in this Naayaki bhaavam, absolutely no coarse and physical stuff.
.
The ardha 's exposition is straight from Spiritual herutage, where this set is grudgingly mentioned. What is more, it is the longing in marital relation, does not mean physical.
Hogs cannot understand refined sentiments.
.
English translation of the cited kruthis will clearly bring out the point .

.

.

[RSR]

Very nice article by Dr.P.P.Naaranaswamy, on kshetra kruthis of Thyagaraja.
..
http://carnatica.net/special/ksetra-tyaga-ppn-i.htm

[RSR]

Thyyagaraaja kruthis in Harikaamboji raagaml
Compiled from sangeethapriya site.
There are ten kruthis.
..
1....AvathAramenduku
2....chanitOditEve
3....dinamanivamsa
4....enduku-nirdaya
5....entarAni
6....lAli-lAliyani
Utsava sampradaaya kirtana
7.....okamAta
8....rAma-nannu-brOva
9....unDedi-rAmuDokadu
10....vinatAsuta
.......

[Pratyaksham Bala]

11.... rA rA phaNishayana

[RSR]

The site says that the kruthi is misattribution. Hence left out.

[Pratyaksham Bala]

VinatAsuta is also mentioned 'Misattribution'

[RSR]

Yes. But a nice kruthi. SriRangam.
I will include both with a star..note


11.... rA rA phaNishayana"..**

Rara phani shayana ravijaladhija nayana - harikAmbhOji

GNB
/
https://youtu.be/JzWFtjfX1cA?si=GUxdtFnpJVSN9KqB

[Pratyaksham Bala]

.
Admin/Mods:

Select words used in a single thread, dated 05 Nov 2023 :-

Scoundrel
Fool
MORONS
CRETINS
BRAIN-DEAD
PERVERTS

What sort of communication is this ?

[nAdopAsaka]

Words in posts just like words in kritis cannot be separated from their meaning.

Also words in posts and words in kritis cannot be separated from their context.

This is especially true for the words of the vAggeyakAras, which appear to have been turned into sounds.
In doing so, the origin and intent of the kritis has been diluted.

[nAdopAsaka]

A compendium of the tyAgarAjas naukA Caritram kritis by PR Ramachander

The naukA Caritram of the tyAgarAja is suitably described here.

It helps to combat apa-Sruti and untruth.

https://translationsofsomesongsofcarnti ... araja.html

[RSR]

Smt M.S.Subbulakshmi began her Sangitha Kalaanidhi concert in music academy -1968 with Thyagaraja Swamy's 'entharaanii thana' in harikambodhi.

https://sites.google.com/view/mssubbula ... rikambodhi
..
...Thyagaraja- Harikambodhi -MS ...ideal combination.
----
Except 'chanithodi',no other harikamboji kruthi by Thyaagaraaja is even remotely in Naayaki bhaavam.

Perhaps, it is spurious kruthi..?

[RSR]

https://youtu.be/yxvRTyG9Sx4?si=qvrsnE9AnjK-8vT1

Smt.MS at music academy..1968
enthara neethana
..
https://www.karnatik.com/c2308.shtml
Lord ! Come what may. I will never stray from your proximity.
Who else is Anjaneya, but an offshoot of Siva, the vanquisher of death! Has he not steadfastly attached himself to you and is he not serving you eternally?
Did not Adisesha, the mighty serpent and ornament of Siva incarnate as Lakshmana along with you with the sole aim of serving and worshipping you ?
Was not Vasishtha, supreme among sages, your mentor and guide imparting spiritual wisdom?
O Narayana! Didn't the entire host of celestials come down to earth as Vanaras (monkey men) in anticipation of your incarnation as Rama to elevate themselves by serving you?
Is not Tyagaraja enjoying the Bliss of singing your glory and divine attributes celebrated in the Vedas and other sacred lore?

[RSR]

Is not Thamizh Naadu, especially, Dhanushkodi and Raameswaram, central to Raamaayanam?
.
Thyaagaraaja swami did not depend entirely on Vaalmiki. He freely made use of certain incidents and images, which are prevalent in Thamizh Naadu only.
.
There is an infinitely endearing story of squirrel , doing its part, inbuilding the sethu bridge. This story is not found in vaalmiki.
.
Sathguru alludes to this squirrel story in his Harikaamboji kruthi ' endukunirdhaya'.
....
Why the denial of your grace to me? O Lord! I have no one else to look up to. O Moonfaced one. Benefactor of the solar race. Redeemer, One with a body radiating fragrance! The atmosphere around me is far from being congenial! The distress I am in distracts my worship of you.

Were you not delighted with the service of the tiny squirrel? (which contributed tiny clods of earth to the mighty bridge to Lanka?)

You are known to be free from bias and to treat friends and foes alike. Is not this because /, all the world is in you and you are in the world everywhere.( lovely ).

https://youtu.be/DvzmkVAtfNU?si=MrY30DLeKC6_1MdC

[nAdopAsaka]

hari-kAma-bhOji, the rAga name that unites kAma-janaka (hari) with kAma-dahana and in doing so confirms ALL 9 of the tyAgarAjas kritis

The ILLITERATE cannot judge the authencity of the vAggeyakAras kritis.

One has to know, understand and respect the meaning of Words.

The rAga name hari-kAma-bhOji brings together kAma-janaka = hari and kAma-dahana (he who consumes/bhOja kAma = Siva)

The key word/idea is kAma which is seen in different forms in EVERY ONE of the 9 genuine tyAgarAja kritis in this rAga...keywords extracted here so there is no escape for the dishonest.

1. Cani todi tEvE - SambarAri = kAmadEva
2. Oka mAta Oka bAna - Oka patni vrata - the subjugation of lust
3. lAli lAli - niSkAma kAma ripu nuta
4. dinamani vamSa - Sarva vinuta - Sarva is from Sara - who destroys with arrows same as kAma who destroys with (flower) arrows
5. rAma nannu brOva - tappu panulu- tappu are the Sat-ripu = the six enemies starting from kAma ...kAma krodha etc
6. entarA ni tanakanta- antaka-ari yama-antaka/Siva is also kAma-antaka & yama/kAma each destroy
7. undEdi rAmudu - tAmas Adi guna rahita - tAmas guna are qualities of darkness associated with Sat -ripu e.g. kAma
8. enduku nirdaya - parimala apaghana - “apaghana” - kAma is also with beautiful, fragrant limbs (SyAma sundarAnga)
9. rArA phaniSayana - ramaniya apaghana - the name mAra also appears in this kriti

By this same logic for the 9 kritis above the kriti “vinata sutA vAhanudai” is spurious. There are SEVERAL other aspects of “vinatA sutA vAhanudai” that also disqualify it. They will be taken up in later posts.

satyam Eva jayatE

Cani todi tEvE – rAgta hari kAmbOji

Alatur bros.
https://www.youtube.com/watch?v=tCsw_2TE_6M

[RSR]

What can we say about such sinful interpretation of divine kruthis?
.
Sanitodi kruthi is interpreted by sick minds as a longing of a maiden.
.
But, forget that mental presupposition and see it as a plea to one's own mind to bring Lord Rama , to hold his hand and experience the everlasting joy of his company.
This could very well be the sentiment of a bhaktha. It should not be seen as kruthi in Naayaki bhaavam.
..
The meaning is given below . Forget the Naayaki fixation and read it as a longing of a devotee for close communion with God.
https://www.karnatik.com/c2236.shtml
.
.Meaning:
O Mind! GO, seek my Lord and bring Him. He may clasp my hand, compassionately looking at me that I shall derive eternal Bliss by communion with him, so quickly seek him.
Has he not dedicated himself to the task of redeeming the fallen?

He is the unfaltering follower of the sublime teachings of his illustrious mentor and teacher, sage Vasishta.

The teaching covers the entire gamut of human endeavor in the attainment of beatitude.
No wonder the divine halo around Him surpasses the brilliance of a hundred Cupids. He lives in the heart of Tyagaraja.

http://www.sangeetasudha.org/thyagaraja ... MARK_CHANI

[nAdopAsaka]

Forget the Naayaki fixation and read it as a longing of a devotee for close communion with God.

Can say the same thing about naukA Caritram, gita gOvinda, kSEtragna, the SrngAra rasa/bhAva etc etc

All “lewd” fixations are only introduced by those with such inherited tendencies.

Better to find other vAggeyakAras or other so-called “pure-music”.

naukA Caritram some examples

padma S
https://www.youtube.com/watch?v=uy1g3ICSdkw
.

[RSR]

Where is kaama in this great kruthi?
DinamaNi vamsa thilaka laavanya?
Great rendition by
Smt.MS.Subbulakshmi

https://youtu.be/kM03606EyfM?si=cDEAzlHfXEdDqsMd
..
Meaning:
Gem of the solar dynasty of unmatched beauty!
.
Refuge of the meek and oppressed!

You have shown me sufficient indifference and disregard already ! It is time for you to make amends.

Consider my appeal for you grace compassionately and respond with affection.
O Worshipped by Shiva! Why be proud in spite of being indifferent to this helpless devotee? What is it that you have scored? Who else will protect me? O abode of virtues! O spotless one! You lifted by hand the Govardhana hill , you are everything to Tyagaraja.
..

[nAdopAsaka]

dinamani vamSa & Sarva vinuta – where Sarva = kAma-dahana, destroys kAma but who is again re-vived by kAma-janaka (the hari-vamSa)

There is MONUMENTAL lack of understanding of the specific words used by the vAggeyakAras..
The insipid translations lose all context and meaning..

Sarva vinuta
2 words should lead to 2 questions
Why is Siva praising hari ? …..in a hari-kAmabhOji rAga kriti
Why is Siva specifically described as “Sarva – the arrow bearer”

The rAga is hari-kAma-bhOji already described as uniting aspects of kAma-janaka and kAma-dahana

The destruction of kAma by the fire-arrow (the third eye ) is described in the Siva purAna
Section 2.3 - Rudra-samhita (3): pArvati khanda, Chapter 19 - kAmas destruction by Śiva
The stanzas show that ..
Not only does Siva destroy kAma, Siva ALSO notes that viSnu, after suitable propitiation , will revive kAma (as pradyumna, who is enemy of Sambara, also cited in this same chapter)

The specific reason in this kriti to invoke Siva as the (fire) arrow bearer is to refer to the legend of kAma, both as derived from hari, and reborn as kAmadEva/pradyumna. The rAga name/choice is central to this idea.

Indeed, even the word used in the opening “vamSa” is a clue to viSnu as progenitor of kAma, destroyed by Siva, yet revived again by viSnu at Sivas behest = Sarva vinuta.

Get a clue, get an imagination, get some understanding…or better yet, just find other avenues..

dinamani vamSa – rAga hari-kAmabhOji

pattAbhi rAma pandit
https://www.youtube.com/watch?v=ZMucmqMvm4M

[RSR]

As per remarks available in the book 'Compositions of Tyagaraja' by Sri TK Govinda Rao, this kRti is believed to be not written by SrI tyAgarAja, but sung by certain lineage of disciples of SrI tyAgarAja.
Vinata suda vaahanudai
Kruthi about the procession of kaanchipuram varadharaaja swamy
.
Said to be a composition of srinivasa iyengar ( brother of tiger).
.
httpKVs://youtu.be/hs2Ebt98y5M?si=4gHIB2Bn-vsDKwK-

Mani Krishnaswamy -
vinatA suta vAhanuDai - harikAmbhOji -
9

[RSR]

There is a refer3nce to govardhana giri lifter? In dinamani vamsa kruthi.
Which kruthi did Raamaa lift? .dheena charanyaa

[RSR]

https://youtu.be/Ba7fMhauTs4?si=OE2pSmIKSEueAGJC

"Undethi Ramudu - MaharajapuramVishwanatha Iyer
.
https://www.gaanapriya.in/vgovindan/Tya ... bhOji.html
.
My Mind!
It is indeed rAma alone - the pure Existence!
It is indeed rAma alone who is effulgent in the core of the fiercely glowing Sun.
It is indeed rAma alone who pervades the whole Universe!
He is the Lord beyond the darkness (inertness) and other qualities;
He is embodiment of dharma;
He is equal for all;
He is the One who bestows welfare;
He is the benefactor of the mind (or intellect) of this tyAgarAja.
Don’t be ruined needlessly.

[nAdopAsaka]

“tAmasa guna rahita muni”– the “desireless” sanyAsis

“tAmasa guna” are the qualities of “darkness’ which include ignorance, desire and lust in the sAnkhya doctrine.

In his bila-hari kriti , “dorakuna ituvanti” the tyAgarAja applies the description “tAmasa guna rahita” SPECIFICALLY to the munis and sanyAsi’s that have vanquished this kAma.

And “tAmasa guna” is of course the kAma mudra of the hari-kAma-bhOji kriti undEdi ramudu….

undEdi rAmudu okadu Uraka cEdipOku manasA
anupallavi
canda mArtAnda madhya mandalamunanu CElangaCu
caraNam
tAmasAdi guna rahitudu dharmAtmudu sarvasamudu
kSEmakarudu tyAgarAja Citta hitudu jagamu nindi

One can run but one can not hide from Truth.

satyam Eva jayatE

undEdi rAmudu – rAga hari-kAmbOji

ranjani-gAyatri
https://www.youtube.com/watch?v=3rsfhVl2Lhw

[RSR]

Gist

O Lord SrI hari! O Lord rAma! O Bestower of Prosperity! O Most Distinguished of the Solar Dynasty! O Lord well-praised by this tyAgarAja!
My mind would not rest on anything other than You.
Your charm is much captivating to my eyes;
Your stories are filled in my ears;
Your name is shining on my tongue;
wherever I look, it appears to be You;
I have a name that I am Your devotee;
therefore, my mind would not rest on anything other than You.
All Your (earlier, seemingly) cunning words have now become sweet;
You are my penance and the fruit of spiritual practices.
.
Smt.M.S.Subbulakshmi
.Ninuvina Namadendu -
N"avarasa Kannada - .
.
Where is srungara here?

https://youtu.be/jpatiWaRg7c?si=DsI1jfddGU9N-SK0

[nAdopAsaka]

sogasu and SrngAra

Yet another foolish question....

The rAga name “navarasa kannada” should itself be a clue, but there is clearly a problem understanding words and ideas..

The kriti “ninu vinA nAmadEndu” carries the word “sogasu” and also
"kapatamu mAta lella kammanainadi nA tapamu yOga phalamu nIvE "

“kapata mAta” are amorous “deceitful” words uttered by a fickle partner, who is attained as the fruit of the nAyikAs penance “nA tapamu yOga phalam”

“sogasu” is particularly a word with nAyika-bhAva implying comeliness, prettiness..

Indeed the ENTIRE kriti “sogasujuda taramA” is a description of the “comely” beauty of rAma

At some point, it has to dawn on the clueless....this music and these kritis and these vAggeyakAras are not for you !

sogasu juda taramA nI – rAga kannadagaula

RK murthy
https://www.youtube.com/watch?v=zlpkxLooT3g

[RSR]

As Thyaagaraaja swaami sees Raama everywhere in the ninnuvina navarasakansda kruthi, some half-drunk guys/dolls, see 'kaamam' everywhere.

[nAdopAsaka]

sogasu and SrngAra – part 2

Enta muddo Enta sogasO – rAga bindumAlini

bombay Jayasri
https://www.youtube.com/watch?v=4c7YAz4Jido

triCUr bros.
https://www.youtube.com/watch?v=vc9saRAtDPc

ramA P
https://www.youtube.com/watch?v=sEqWVWrtrrI

[RSR]

https://sites.google.com/site/homage2ms ... authuser=0
...Kalki quickly wrote a song for her with niraval possibilities – Vandadum solai tanile

. He was no vaggeyakara and had to be content with setting the words to Tyagaraja’s music in Undedi ramudu

[RSR]

How charming and how elegant is He!
Whoever is capable of describing!

No matter how great people are, they became besieged by thoughts of lust.
Being slaves to lust, they fear their mothers-in-law;
yet, they pretend as true devotees of the Lord.

Much like jug knowing the taste of milk!


How charming and how elegant is He - praised by this tyAgarAja – who bears burden of the Universe!
Whoever is capable of describing!

[RSR]

MS Subbulakshmi-
Sogasuga mridanga-
sriranjani
....
https://youtu.be/Ns_CB48G59g?si=o-ThoBiO2tZm3d9s
..
Who is the valiant one enchanting you by harmonising so pleasurably the drum and the beat?

[RSR]

46-NE NENDHU VEDU KUDHURA
UPLOAD BY V.SRINIVASAN

(NICE SLIDES TOO)

KARNATAKA BEHAG

(ALSO HARIKAMBOJI)

Published on Dec 27, 2011

This is a recording of
Smt M.S.Subbulakshmi's recital at the Tyagaraja Aradhana Celebrations in Thiruvaiyaaru on 7th January, 1980. She was accompanied by:
Smt Radha Viswanathan - Vocal

https://sites.google.com/site/homage2ms ... authuser=0
...........
Gist
O Lord hari! O Lord worshipped by this tyAgarAja!
Where will I search for You?
Where will I search for You who did not come heeding the appeal of even that brahmA?
Remaining here as -
(a) an impure minded,
(b) a person given to evil deeds,
(c) often a foul-mouthed, and
(d) a pretender as the foremost of devotees,
where will I search for You?
..
This kruthi , though listed as in karNaataka behag, is also said to be the same as harikaamboji.

[nAdopAsaka]

sogasu and SrngAra – part 3

Naturally, more ignorant foolishness…

The word “sogasu” is indelibly linked to SrngAra…

lAvanya rAma kanulAra CudavE

lAvaNya rAma kanulAra CUdavE ati
anupallavi
SrI vanita citta kumuda SItakara SatAnanyaja
CaraNam
nI manasu nI sogasu nI dinusu vErE tAmasa mata deivamEla tyAgarAjanuta divya

notice the references made also to Cupid = SatAnanyaja ....and (ati) lAvanyam and... tAmasa )

sogasugA mrd-anga

The usage “sogasugA mrd-anga” also refers DELIBERATELY to the charming/captivating limbs same as the “SyAma-sundara-anga” used for Cupid and also as “ramaniya apaghana” in the hari-kAmboji kritis. (mrd = sweet, anga = limb)

In “sogasugA mrdanga” the protagonist throbs as the pulsating drum-beat (tAla).
Even the rAga word/name chosen = Sriranjani carries the captivating charm theme of SrngAra bhAva.

As previously noted, the kritis are NOT for those who have contempt for the words and ideas of the vAggeyakAras.
Just find other avenues.

One can run but one can not hide from Truth.

sogasugA mrd-anga – rAga Sriranjani

TRS
https://www.youtube.com/watch?v=vbJ7mbgvffc

[RSR]

Intolerably silly slander of Sathguru's words.
Search for the meaning in web. Elegance is the most found meaning.
...As if swamy is admiring the mrudangam player !
Total ruɓbish.
..

[nAdopAsaka]

sogasu and SrngAra – part 4

Elegance/sogasu is synonymous with Cupid/kAma and charm/lAvanya.

The common theme is attractiveness/comeliness/captivation/mOha.

And since this is a lesson on Words..

“kapata mAta” = fickle Words of the navarasa kannada kriti “ninu vinA nAma” confirms the mOha and reinforces the use of sogasu as the kAma mudra.

Of course, as with any class, the teachings will always elude the back-benchers. There is always someone who gets a failing grade.

Words and their import/meaning are central to the vAk-gEyakAras music, pujA, sAdhana and upAsana.

Notably (though not to clueless fools) he refers to the "nava-rasas" in the "sogasugA mrd-anga" Sriranjani kriti. Try "translating" your way around that.

In fact he directly uses the word SrngAra in the other kriti "paluku kanda" in rAga "navarasa kannada". Try "translating" around that .

And is there any chance that the tyAgarAja ignores the meaning of the Word “nava-rasa” (the 9 rasas which includes the SrngAra rasa) when he picks this rAga “navarasa kannada” for the kriti “ninu vinA nAmadEndu”.

Or that the tyAgarAja ignores the significance of the word “kAma” in the rAga name "hari-kAma-bhOji" for EACH of his 9 kritis in this rAga already shown.

Impossible !!

Lewdness is brought to sacred kAnta-Sakti /SrngAra only by perverts.

The vAggeyakAras are NOT for the language challenged who have contempt for their words and ideas. Please find other avenues.

ninu vinA nAmadEndu – rAga navarasa kannada

r suryaprakAS
https://www.youtube.com/watch?v=RxSQRRlL_C4

[RSR]

Jaundice case.
When you go through many of the kruthis, the Bard complains that Lord has not kept his word.
.
Let us try to understand why this is a common mental state of all mystics.
.
Mystic perception is an intensely subjective and emotional state of mind.
.
Let us hear about the experience of great mystics like Raamakrushna
Paramahamsa. He had experimented with not only hindu deities but with other religions as well..
.
When the mystic is constantly contemplating his ishta devatha, he gets flashes of blissful presence of his deity, in the form in which he contemplated. The deity is real for him and to his sensory perception.
.
To Paramahamsa, Balakrushnan dances when he does abishekam to the vigdaham . He even talks to him.

.
He is then in ecstatic euphoria. For outside observers, he is but a mad man. They see the mystic conversing with someone but not seen by them.
.
Alas. The vision is transitory.
.
That loss of mystic experience, every now and then, plunges him into despair and dejection,
.
The very mention of the name of KaLi was often , enough to throw Paramahamsa into a 'samaadhi'..trance. You and I , cannot feel that,
,
A visitor to Dhakshineswar did ask him why . Paramahamsa told him, that it depends on the intensity of the contemplation.
.
Thus, for cheap minds , the anguish, ecstasy and dejection, appears similar to the guys/dolls in viraha thaapam. Mere animals as they are with just a sixth sense, which nature has given them, they cannot think of non physical experience of unity with the godhead.
.
Sensible people , understand their limitation and desist from interpreting the words of a mystic , in their own limited animal-level understanding.
.
Kaama anthakaas have no such humility, they rely on mere words. Only miracles can make them believe.
.
Thyaagaraaja swami was a mystic. He is just narrating his anguish, occasional bliss and most often .. occuring despair. and dejection.
which is understood by mere pundits as sexual yearning..the curse of nayaki bhaavam.
.
Naaradha bhakthi sutram is not about navarasa.

[nAdopAsaka]

Extraneous drivel…...does not change the fact that the tyAgarAja gives rAga mudras or that the rAga word name is influencing the kriti/sAhitya/theme.

(as shown IRREFUTABLY and repeatedly in hundreds of the vAggeyakAras kritis)

The music and the nAda-sampradAya always exposes ignorance, apa-Sruti, untruth and dishonesty.

[RSR]

KalyANi Raagam ( mEla Raagam ) . One of the 19 krithis
composed by Saint ThyAgarAja is this Dhivya Naama Krithi:
" BhajarE Raghuveeram Sara-bharitha DasaraTa KumAram" with 10
charaNams.

Here the athyantha Raama Bhakthan invites us us to worship
the Raghu Veeran , the RaajAthi Raajan , who has blessed
him with many boons.The UpadEsams of the Saint in this krithi
are universally appropriate as an AchAryan:
..
mind SrI Raama ,who is
outside the three guNAs and worship Him. Subjugate lust
and other inner enemies and achieve your lofty goal
(parama PurushArTam)

[RSR]

Talk sense to a fool and he calls you foolish...': Mohammad Hafeez's retort to Michael Vaughan on 'selfish Kohli' remark
Former Pakistan captain Mohammad Hafeez has given it back to legendary English batter Michael Vaughan in his recent tweet indirectly calling the the latter a fool.

[nAdopAsaka]

The word “sogasu” in “manasu nilpa Sakti” – the reverse psychology kriti on the essence of true enjoyment = AbhOga

As should be clear (except to the clueless), sogasu is ALWAYS associated with desire/captivation/mOha.

Yet another kriti of the tyAgarAja illustrates this.

"manasu nilpa Sakti" - rAga AbhOgi
In manasu nilpa Sakti, “sogasu” is used to describe the paramour that runs away with the sOmayajis wife in the tyAgarAjas own words… Indeed he follows that image with the exact word kAma..

sOmidamma sogasu-gAndra gOrite sOma-yAji svargArudaunO
kAma krOdhudu tapambOnarcitE

(try “translating” your way around that)

No chump with zero understanding of the words/choices can make any valid statements about the vAggeyakAras sAdhana.

Why is the rAga AbhOgi for manasu nilpa Sakti ?

Once again, the answer is EXACT provided one realizes that the word AbhOga = enjoyment

The reverse psychology of the tyAgarAja

"manasu nilpa Sakti" summarizes the essence of AbhOga – true enjoyment...by describing what is NOT enjoyment..
as in
[1] meaningless ritual pujA with bells and flowers when the mind is not restrained
[2] lustful kAma with “sogasu”-paramours (elegant…charming etc)

And once again, ALL sullen, dis-enfranchised & language-challenged are reminded…..
….the vAggeyakAras are ABSOLUTELY not for those who have contempt and zero understanding/respect of their ideas.

Please find other avenues..

manasu nilpa Sakti – rAga Abhogi

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

MDR
https://www.youtube.com/watch?v=w6fIlLDa-AI

veena bAlaCandar
https://www.youtube.com/watch?v=Kp76_ArHYtE

[RSR]

For some conceited half-pundits , finding the semantics of raga names is more important than the music of the composition, rendition and the message.
For 99 % of true rasikas, such things as the basis for raaga names, rationale , are least important.
.
In fact, such bookishness,distracts from the music snd rendition. Music even of the Trinity , is more important than the words, message and analysis.
.
How can one cite examples of instrumental rendition while deruding all musicians?
.
On a very personal note, i was captivated by DKP 'maanasa guru guha ' kruthi, in my 10th year by a radio record. Long back in 1952. I never knew much about DKP, less about the composer, meaning of the kruthi, raagam name, rationale of the raagam name, and such things.
.
Even today, there are plenty of rasikas in the forum who hold that mano dharma sangeetham as in an RTP is true music and Swamy himself celebrates Naadhabrammam, as the manifestation of divinity.
.
In your vanity,you are ,vulgarizing the words of the Sathguru. Why do you have to give audio samples? When you deride the music renditions?
.
Decribing a person as elegant , charming and easy on the eye if not
mesnerizing, has no libidinous overtone.
.

[RSR]

"DK Pattammal-
Sri Rama Padama -

Amritavahini-
.
https://youtu.be/mvRmI8zKAyU?si=pcBzooDelIFF5uz5
.
Meaning - Gist
O Holy feet of SrI rAma - worshipped by brahmA, sages sanaka, sanandana, nArada, indra and others - sung about by this tyAgarAja!
Your grace is indeed enough;
Be firmly implanted in my mind.

You protected ahalya who, lying as a wayside stone, was ever shedding tears unable to withstand the distress;

Deign to beatify me too in the same manner.

[RSR]

SAINT TYAGARAJA-A SPIRITUAL JOURNEY OF A SOUL
THROUGH MUSIC INTO MUSIC
..
https://contentwriteups.blogspot.com/20 ... ey-of.html
.
Sharing an excerpt.
..............
One important group of songs is those based on his study of the Sangita Sastras and his practice of Nadopasana.
.
Some composers have made passing reference to the occult and mystic aspect of nada, sangita, and swara, but it is only the Sadguru Thyagaraja Swami, who has left nearly 25 songs on the origin (divine) structure and purpose of music and how the knowledge of Sangita could by itself offer liberation from bondage of the cycle of birth and death.
.
As Mr. T. S. Parthasarathi says, arranging these kritis in the order of their subject matter, one can create a text book on the subject of Nada upasana, Sangita upasana, and attaining moksha in this life itself.
.
A discussion of these kritis is matter enough for a separate paper, and so I shall content myself with briefly mentioning some of the songs and their appropriateness.
.
Such a list would include songs such as:
Nadopasana,
Mokshamau Galada,
Seethavara,
Sangita Sastra Gnanamu,
Sobhillu Sapthaswara,
Nada Thanumanism and
Swara Raga Sudharasa.
.
The importance of these and other songs and how Sri Thyagaraja Swami used his compositions to energize our inner spiritual forces and attain moksha in this life are discussed in the article “Nadopasana for Salvation.”
.
As his soul was submerged in music both as the medium and goal, however one approaches the kritis of Saint Tyagaraja either technically or devotionally or for mere musical entertainment one is either consciously or sub consciously or unconsciously led to feel the spiritual vibrations because all his compositions are the result and manifestations of spiritual experience of a divinely inspired soul engaged in spiritual journey . There is a superb and sublime simplicity about many of his kritis. Wherein the raga [mode], tala[ rhythm] and lyrics gel seamlessly.

[RSR]

Sharing a valuable page
.....
11.0 Thyagaraja's songs on music
.
11.1 Swara Raga Sudha - Sankarabharanam ragam
.
11.2 Mokshamu galada -
Saramathi ragam
.
11.3 Sobillu saptaswara - Jaganmohini ragam
.
11.4 Naadhathanumanisam - Chittaranjani ragam
.
11.5 Vara raga laya -
Chenchu khambodhi ragam
.
11.6 Sangeetha Saastra gnaanamu - Mukhari ragam
.
11.7 Raga sudhaarasa -
Aandholika ragam
.
11.8 Raga rathna maalikache
Reetigowla ragam

11.9 Sripa priya sangeethopaasana - Atana
.
11.10 Sogasugaa mridanga thaalamu - Sriranjani ragam
.
11.11 Naadhopaasana
- Begada ragam
.
11.12 Naadha sudhaarasmbilanu - Aarabhi ragam
.
11.13 Intha sowkhyamani -
Kapi ragam
.
11.14 Ananda saagaramu - Garudadhwani ragam
.
11.15 Seethaa vara sangeetha gnaanamu -
Devagaandhaari ragam
.
11.16 Naadha Loludai - Kalyanavasantham ragam
.
11.17 Narada guru swami -
Durbar raga
.
11.18 Sri Narada -
Kanada ragam
.
11.19 Sri Narada munee -
Bhairavi ragam
.
11.20 Saamaja vara gamana - Hindolam ragam
.
11.21 Sangeetha gnaanamu - Dhanyasi ragam

11.22 Vidulaku -
Mayamalavagowla ragam
..........

[nAdopAsaka]

nAyikA bhAva and SrngAra rasa in the tyAgarAjas kritis 1. rAmAbhirAma in rAga darbAr

SrngAra is the first of the nine rasas.
For the clueless these are..
SrngAra, hAsya, karuna, raudra, vira , bhayAnaka, bibhatsa, adbhuta and SAnta

Only a fool can think that the tyAgarAja is unaware of the “navarasas”, especially SrngAra.

His kriti rAmAbhirAma in rAga darbAr carries the rAga mudra via the word “sAketa dhama”, the formal court = darbAr of ayOdhya.

But more importantly it also carries the SrngAra rasa mudra through the nAyikA bhAva

How ?
The tyAgarAja is abundantly clear when he says..

kamanIya magu pAnpu kAvinciti nandu ramiyimpaka nannu racca jEsEdavu

He prepares a beautiful flower bed (pAnpu) for the lords enjoyment (ramiyim) but is tormented (racca) when the lord doesn’t appear.

This is a classical theme, the torment of the forlorn nAyikA, employed for centuries by poets and many vAggeyakAras.

Naturally, Perverts can try to warp this imagery whichever way they want, as taught them by their own filthy parents.

But in the vision of the vAggeyakAras, it always remains chaste.

rAmAbhirAma ramaniya nAma – rAga darbAr

ranjani-gAyatri
https://www.youtube.com/watch?v=Z8jGbUbwlv0