Thyagaraja (Krithis)

[nAdopAsaka]

The tOdi rAga mudras in the tyAgarAjas kritis 20. kadatEra rAdA – “pick your torment” - the ulukhala/mortar versus temptation

In the classical chariot of surya, the saptaASwa (= 7 horses) are YOKED to the chariot and whipped by surya. The tOdaha pain/instigation derives from this symbolism.

In “kadatEra rAdA” the tOdi choice and the tOdaha mudra is illustrated by the baby krSna accepting the YOKE = the MORTAR tied around his waist by yaSOda, restraining him from mischief.

According to the tyAgarAja, the “torment” of this restraint (ulukhala baddhuni) is needed to relieve the greater torment of the multitude of temptations (khala Citta laukikamu etc)

Indeed, Pick your “torment” wisely.

khala Citta laukikamu-anE, Srnkhalamu-andu dagalakanE ulUkhala baddhuniki

There is zero questioon that the rAga tOdi is chosen deliberately to match this vision of goading/torment, represented by the word tOdaha.

Unerringly, the tyAgarAjas own words beat back the ignorant and the corrupt.

Once again, the rAga word name influences the kriti and appears via the ideas of the kriti.

kadatEra rAdA – rAga tOdi

vipanChee
https://www.youtube.com/watch?v=Zs8ECfj8iMA

[RSR]

dAcukO valenA..

D.K. Pattammal"
.
https://youtu.be/t2yndfru-7g?si=dPaiQIYSiDOdS8ub
.
O Lord Rama! Should you hide Your compassion by slighting me in front of others?
.
1. When, out of affection for Your wife, You kiss her, considering it to be an appropriate moment, even if Sita – daughter of King Janaka – talks about me, should You still hide Your compassion?

2. When You show compassion seeing Bharata prostrating at Your Feet melting with love, if Bharata tells much about me that I am (Your) devotee, should You still hide Your compassion?

3. When You praise the skill of Lakshmana – son of Sumitra - for his service with restrained mind, even if he (Lakshmana) tells about this Thyagaraja, should You still hide Your compassion?

[nAdopAsaka]

The tOdi rAga mudras in the tyAgarAjas kritis 21. The dESiya-tOdi “rukalu padi vElunna” – the dESya (rukalu) coins & the sArataruni hari

rukalu – a dESya coin/currency

Here, the tyAgarAjas marks the dESya aspect with the very first word..

rukalu is a term for currency (silver coins) used in areas of the godAvari valley including bhadrACalam and wArangal.
These areas are well removed (almost 900 kms north) from the tyAgarAjas typical residence , and therefore considered vi-dESa …or dESiya = foreign.

Naturally the tyAgaraja doesn’t forget the tOdi/todah/surya component..

sAra taruni hari

Notably hari is synonym for viSnu and also surya.

Notice the construct t-arun- hari, conceals also the embedded word “arun” also a surya emblem.

21 kritis and counting…tOdi or dESya tODi ..the appearance of the mudras in all 21 (plus the upcoming dozen or so remaining) is no coincidence.

It is (yet again) a reflection of how the rAga name influences the vAggeyakAra’s musical worship.

rukalu padi vElunna – rAga dESiya tOdi

seeta rAjan
https://www.youtube.com/watch?v=zD8TOUB5_XI

[RSR]

Desiya todi is different from todi.
.
https://guruguha.org/author/ravirajess/page/2/

Sri.Ravi Rajagopalan says,

In fact, it is on record that Tyagaraja never revealed the raga names when he taught the compositions to his disciples and only much later after his death with the advent of printing did the assignment of raga names to the melodies happen. The effect was that in quite many cases wrong names came to be assigned to the ragas arbitrarily without taking into account the textual history of the raga concerned.

[RSR]

BV RAMAN and BVLAKSHMAN
.
https://youtu.be/szR3DgzHizc?si=9tPwU_6Xmx86DCU_
.
proddu-poyyeni-
todi
..
Gist

O My Mind!

It is getting late.
Chant the names of Lord SrI rAma with determination.

You have spent –
some time sleeping and
some time with the thoughts of sense enjoyments;

some time extolling people (every day) since morning for securing welfare in pursuit of three desires – wife, children and wealth;
some time eating any and everywhere like a stray bull without understanding anything;

some time sinking and floating in the ocean of Worldly Existence which (for all appearances) looks charming;

some time indulging in utterly useless talks with wicked people who have deviated from the path of righteous conduct;

some time with pride looking joyously at wealth, children and houses;

some time remaining miserable being lost in the sea of utter grief brought about thereof (looking at wealth, children and house with pride);

some time wandering about in the World unable to tolerate looking at others’ prosperity (envying such comforts);

some time, finally, with no sense of direction because of loss of mental faculties due to old age;

some time becoming fatigued with the intent of performing vEdic karmas like sacrificial oblations etc.;
.
some time committing offences therein (vEdic karmas) due to possessive nature - attachment, avarice etc.;
.
some time without understanding that only singing nicely the glory of the Lord is the real fortune; and
.
some time without realising the true nature of Lord SrI rAma - praised by this tyAgarAja.


It is getting late.
Chant the names of Lord SrI rAma with determination.
.......

[nAdopAsaka]

Sri.Ravi Rajagopalan says,

In fact, it is on record that Tyagaraja never revealed the raga names when he taught the compositions to his disciples and only much later after his death with the advent of printing did the assignment of raga names to the melodies happen. The effect was that in quite many cases wrong names came to be assigned to the ragas arbitrarily without taking into account the textual history of the raga concerned. [/color][/i]

[/quote]

Where does this foolishness come from ?
None are reading or understanding the words used by the vAggeyakAras.
Like in the hundreds of kritis already shown, the rAga mudra is woven into the sAhitya and the ideas of the kritis.

dASarathe dayASAradhE – vAlmiki as “kavi-iSa suhrdaya nivESa” , the “mudra” for kOkila-priya from “vandE vAlmiki-kOkilam” in the stOtra “kujantam rAma rAmEti”

Take the kOkilapriya rAga kriti example... stunning in its directness.. (provided one is not brain-dead like these fools or their parrots)
dASarathE dayASAradhE - kOkilapriya
anupallavi
ASaraharana parASara gEya kaviSa suhrdaya nivESa ghrnAkara
caraNam
sarasijanAbha jaladhara SObha paripAlitEbha varabhakta lAbha
pariCArakiSa pApavinASa tarani sankASa tyAgarAjESa

Here the keyword/mudra is "kaviSA suhrdaya nivESa".....kaviSa is vAlmiki.

And vAlmiki is associated with the kOkila (cuckoo) by the rAma rakSa stotra (stanza 34)

कूजन्तं राम रामेति मधुरं मधुराक्षरम्।आरुह्य कविताशाखां वन्दे वाल्मिकि-कोकिलम्॥
kUjantam rAma rAmEti madhuram madhurAkSaram...Aruhya kavitA SAkhAM vandE vAlmiki-kOkilam ..

I bow and prostrate to the cuckoo-like Valmiki who was always cooing the sweet and sweet-lettered sounds ‘Rama, Rama’ and thus ascended the pinnacle of poetics.

ps.. note also the Dikshitars kOkilAravam kriti “kOdandarAmam” at dhanuSkOti and its relationship with the vAlmiki rAmayanas “kOkila” references from the yuddha kAnda.

https://www.rasikas.org/forums/viewtopi ... 39#p380839

Case closed.

Summary

Nefarious characters and perverts with no understanding of words and ideas have tried to dilute and deny the pujA and heritage of the vAggeyakAras.

Their ignorance and dishonesty is fully exposed now.

satyam Eva jayatE

dASarathE dayasArathE – rAga kOkilapriya

p rAmprasAd
https://www.youtube.com/watch?v=Nr9z7LSF2RQ

[nAdopAsaka]

How the tyAgarAjas 2 kOkiladhwani kritis ALSO carry the vAlmiki kOkila mudra like kOkilapriya

As shown for the tyAgarAjas kOkilapriya kriti, the icon is “kavi-Isa” = “vAlmiki kOkilam”, originating from the rAma rakSa stOtra.

It will now be shown that both the tyAgarAjas kritis in rAga kOkila-dhwani ALSO carry mudras specific for vAlmiki.

The stOtra says …
kUjantam rAma rAmEti madhuram madhurAkSaram...Aruhya kavitA SAkhAM vandE vAlmiki-kOkilam
vAlmiki as the kOkila/cuckoo extolling the story of the rAmAyana.

1. kOniyAdE nAyEda ……pongucunu-antarangamunanu-ati prEmatO ninu (anayamuna)
kOniyAde nAyeda - the act of praising (through sweet words = madhurAkSara) , overflowing with constant heartfelt love
vELanu nI Subha Caritamunu - always reveling in the story of rAmAyAna (Carita)

2. tOli nEnu jEsina pujA - this is the mudra for past sins (tOli) of vAlmiki – the hunter
vAlmiki was a hunter (and a highway robber) , before being instructed by nArada…(to chant “mara mara “ etc)
vara bhakta vESamu vEyu vELa varja kAlamEmO -The salvation of the vAlmiki the hunter/robber , does not occur immediately…The chanting and converting to rAma-bhakta takes time .

The tyAgarAja varAli kriti “I mEnu galigina” gives the details of this instruction of the hunter vAlmiki by nArada (here varAli is the proper rAga since the deity grants each of the 4 examples of the boon = vara..and will be discussed in the upcoming posts)

samsAramunu brOva dArini para-himsa jEndu kirAtuDu hamsa rUpula gatinAduga rAma nAma praSamsa jEsi upadESinCa


Summary
vAlmiki cannot be disconnected from the kOkila/cuckoo word/idea..…vAlmiki is the the Adi-kavi… singing the praise and story of rAma..….The kOkila link is established by the rAma rakSa stOtra and IT IS MAINTAINED in the tyAgarAjas kritis in rAga kOkiladhwani (and rAga kOkilapriya already shown)

The discovery confirms (yet again) that the rAga name is invariably linked to at least one idea of the kriti and often is the central theme of the kriti.

ps The kriti “samukhAna nilva” in rAga kOkilavarAli will be dealt with separately.

kOniyAdE nAyEda – rAga kOkiladhwani

srividya and sudha
https://www.youtube.com/watch?v=6slynplXkvo

toli nEnu jEsina pujA – rAga kOkiladhwani

KVN
https://www.youtube.com/watch?v=3tc1k-RDRiE

flute KSG
https://www.youtube.com/watch?v=uu_2ZkFTSz4

[RSR]

Only a hopelessly conceited crank can be dismissive and abusive of a great scholar like sri.Ravi Rajagopalan of guruguha.org.
Just go through all the great articles and analysis of so many kruthis and ragas , in that website and see the diffrrence in approach and style of presentation. He is writing about MUSIC and kruthis while ardhas are weeving old wives tales , barely believable and
mostly mulish. Idiots pat themsekves on the shoulder that they have given explanation for ALL the thodi kruthis conveniently keeping mum about the dozen kruthis left out, even when the kruthis gist and fine orthodox rendering are given as prompts.
Is it any mudhra if surya occurs in most kruthis about Raama.? Afterall, he was of solar vamsam
Take DinamaNi vamsa kruthi in harikaamnoji. Is it todi then?
Silly half. Polluting the pages and prattling endlessly. Old trick of sanskritic, vedic lines, mostly torn out of context just to hoodwink people with mumbo jumbo. Nobody is taken in by this chicanery.
The word torture (todi) was simply atrocious.
.

[RSR]

ninnu vinaa sukhamugaana
.

ninnu vinA
sukhamu gAna
nIraja nayana

anupallavi

manasukentO Anandamai mai pulakarincagA

caraNam 1

rUpamu pratApamu
shara cApamu sallApamu gala

caraNam 2

karuNArasa paripUrNa varada
mrdu vArtalu gala

caraNam 3

rAga rasika rAga rahita tyAgarAja bhAgadEya

Meaning:
Meaning:
O Lotus-eyed one! I do not find happiness in anything else but you.
The joy you give me thrills me.
Your extraordinary beauty, the manner in which you wield the effulgent KODANDA – bow and the unfailing arrows.
The intimacy with which you move with your subjects,
the soft and soothing way you talk!
All these traits combined make you peerless.
Enjoyer of music!

You are full of compassion, without any trace of worldly attachment.
Are you not the very personification of Tyagaraja’s fortune?

[nAdopAsaka]

The tOdi rAga mudras in the tyAgarAjas kritis 22. Enduku daya rAdu – where the pain of bhava-sAgara reduces tyAgarAja to half = ardha

In “Enduku daya rAdu”, the tyAgarAja is reduced to half = sagam (ardha for perverts) in his tortured existence.

The tOdi mudra (from tOdaha etc explained in the 21 examples above) is for the pain experienced not only from the evils of bhava-sAgara but also the delay in receiving grace..…daya.

Anyone who does not read the words , or understand the languages and tries to deny the pujA expressed by the kritis is deserving of condemnation.

Especially those who hold the very ideas of the tyAgarAja (including the ardhanAri) in contempt.

The nAda-sampradAya ALWAYS exposes untruth.

Enduku daya rAdu – rAga tOdi

TVS
https://www.youtube.com/watch?v=47I4ZplKjO8

[nAdopAsaka]

The tOdi rAga mudras in the tyAgarAjas kritis 23. ninnu vinA sukhamu – pratApa of the kOdanda

Again and again, the foolish ignorance is exposed.

In “ninnu vinA sukhamu gAna” the tyAgarAja gives MULTIPLE mudras for the tOdi word and idea. Naturally the mudras elude all those who have no clue.

pratApamu Sara CApamu – the kOdanda of rAma is his insistent goad, the "tOdaha" tormenting the sinful and the dishonest .

But the tyAgarAja is aware of the monumental duffers of later generations..…whether belonging to this or that .org or simply perverts.

He adds the word “pratApa” with its own roots in the word “pratapa” = surya.

And he ends the kriti with the “gati” reference , the passage of time = the nature of destiny as ….bhAga-dhEya

Trying to foolishly suggest that the pujA and choices/words of the vAggeyakAras is random is a crime and offensive to the careful dedicated sAdhana of the nAdayOgis.

satyam Eva jayatE

ninnu vinA sukhamu gAna – rAga tOdi

ranjani/gAyatri
https://www.youtube.com/watch?v=LvAJy3A2F0A

[nAdopAsaka]

samukhAna nilva – Why this “kOkila-varAli” is vAlmiki’s boon = vara to the tyAgarAja (and all nAda-upAsakas)

In “samukhAna nilva”, the tyAgarAja asks and answers the most profound question..

Can rAma exist for the tyAgarAja without vAlmiki and his cuckoo-song rAmAyana ?

The answer is …NO !

The kritis words give the answer…! …provided they are read and understood.

The details are given as individual points..
1.kOkila-varAli …Indeed, the rAga name/word/choice itself gives the first clue..
kOkila = vAlmiki, vara = boon
2. Why is vAlmiki the kOkila (an ignorant fool or some dot.org moron might ask)
The rAma rakSa stOtra of viSwAmitra stanza 34 gives
kUjantam rAma rAmEti madhuram madhurAkSaram...Aruhya kavitA SAkhAM vandE vAlmiki-kOkilam ..
3. What is the vAlmiki’s “boon” = vara ?
The bAla kAnda sarga 15 of vAlmiki is one of the most important points in the Entire rAmAyana !
It is when viSnu is propitiated to become the man-like avatAra = rAma ...…as the only way to stop rAvana.....the perverted icon of dishonesty and untruth.

In “samukhAna nilva”, the tyAgarAja notes this event as

“kamalAsanAdyamara dik-patulu kalaSa vAridhilO jUda nEraka gumi gUdi moralida kAryamulu kona sAgenata”

And this event is given only by vAlmiki in his rAmAyana….it is his boon, his vara to all devotees.

4. The nAdayOgi does not need Facetime or “samukhAna”, indeed he says this is reserved only for sitA and lakSmana. But the nAdayOgi is not disturbed..

Because the nAdayOgi knows he is saved, by the inevitable coming of this rAma avatAra..…announced by this famous sarga of the bAla kAnda…the vAlmiki kOkilas vara.

And that is why the rAga is kOkila-varAli for this profound idea.

Only a fool (dot.org or otherwise) can continue to say that the rAga mudras are not given by the vAggeyakAras or that the rAga name is not essential to the kriti ideas.

The nAda-sampradAya ALWAYS exposes dishonesty, ignorance, apa-Sruti and untruth.

satyam Eva jayatE

samukhAna nilva – rAga kOkilavarAli

s AdityanArayanan
https://www.youtube.com/watch?v=OVIQa8TuQs8

k gAyatri
https://www.youtube.com/watch?v=FXloK6rFuLE

[Pratyaksham Bala]

.
Gramophone record of 1929 –
tyagaraja kritis rendered by three different singers :-
https://youtu.be/4PoR1VPDesk

rAma kOdaNDa rAma - bhairavi
rAma rAma nIvAramu – Anandabhairavi
vina rAdA nA manavi - dEvagAndhAri

[RSR]

dASarathE dayA
-kOkilapriya.
.
Gist

O Son of King daSaratha!
O Ocean of mercy!
O Slayer of demons!

O Lord sung by sage parASara!
O Lord who has entered into the sacred heart of vAlmIki!
O Merciful Lord!
O Lotus navelled!
O Splendorous like rain-cloud!
O Protector of gajEndra!
O Gain of great devotees!
O Lord served by vaanaraas
O Annihilator of sins!
O Lord resplendent like the Sun!
....O Lord of this tyAgarAja!
The word sun occurs here. '
So it is todi '
.
may shout the ardha.
But by convention, it happens to be another raagam.,for his bad luck
.

.
..........

https://sites.google.com/site/dhyanaslo ... am-valmiki
..

https://sites.google.com/site/dhyanaslokam/home
......
.
Imbecile halfwits aways assume that all others are fools.
Dhyyana slokam of sundara kaandam paarryanam is very much well known. See the links.

In fact its sweet cadence is captivating.
And for all its beauty, it as ANONYMOUS.
..
The half desperately searched for the word kokilam in some context and the easiest line he could remember is just the opening line of dhyaana slokam.
.
The boors cannot refrain from abusing well known scholars of the site guruguha.org. because he is totally innocent of the musical tradion of the trinity and the musicians.
.
Of his hundreds of posts, it is so rare to find even one without abusive language.
.
This is the intellectual and cultural level of the self-appointed savior of the sacred tradition of the trinity !

We can never find such aberration in a single article in h
Guruguha.org.
That site is by and for serious lovers of music and tradition.

The blabber of the halfwit is just stinking filth.
It is neither about music nor about devotion and tradition.
.
Just a boorish boasting of quarter.
. .


..

[RSR]

https://thyagaraja-vaibhavam.blogspot.c ... -raga.html
..
eduTa nilicitE-SankarAbharaNaM
Smt.M.L.Vasanthakumari
.
https://youtu.be/pgNFgtHT2QM?si=BuMJ79GW63HBWbc6

.shankaabaranam

[nAdopAsaka]

The last few posts show IRREFUTABLY, that the tyAgarAjas kritis in rAgas
kOkila-priya
kOkila-dhwani
&
kOkila-varAli
each carry a relationship with vAlmiki – the Adi kavi as the kOkila (singing the rAmAyana).

The specific words and ideas of each of the 4 kritis show the deliberate connections established by the tyAgarAja, but which elude the language challenged.

SEPARATELY the 30 odd tOdi/dESiya tOdi also each carry the individual "mudras" of the tOdi/dESiya tOdi words.

The “kOkila rAga" kritis (just like the tOdi and dESiya tOdi kritis) are yet another example ..now in the hundreds.. of the influence of the rAga name/word on the pujA of the vAggeyakAras.

This pujA is deliberate, not random.

Continuing to deny this fact is a deeper sign of the essential contempt for the kritis, their words and this pujA.

And quoting the same ignorant insipid nonsense peddled for the last 150 years does not change the discovery.

For the clueless the meaning of “bharana” as burden..

edutA nilaCitE nidu sommu lEmi bOdu
In the very first line, rAma as Sam-kara (or San-kara) = bestower of welfare is established.

Why "Sam-kara bharana"... .a fool might ask.

.Because of the EXACT equality of the 2 questions

Is bestowing welfare a burden ?
&
Will appearing before the tyAgarAja ( = eduta nilaCitE) diminish rAmas glory (nidu sommu lEmibOdu) ?

Stick to word-less sounds, or just find other avenues.

[RSR]

Only super dopes will say Sam-kara bharana"... instead of sankaraabaranam

https://www.wisdomlib.org/definition/abharana
.
Meaning ornaments..decorations

[nAdopAsaka]

dhira-SankarAbharana for rAma

Foolishness and ignorance on display again..

The tyAgarAja would not give about 2 dozen kritis in rAga SankarAbharana to rAma without deliberate basis.

A-bharana (as ornaments) are always borne = bharana by the deity etc. In this case it is the kara /hands/hasta that are themselves the ornaments….the abhaya hasta and varada hasta are well known mudras.

In “San-kara”, the root is San = giving = bestowing…same as "Sam-kara"
As “sana”, the word is ancient, notable in rig vEda 9.4.2 as
सना॒ ज्योति॒: सना॒ स्व१र्विश्वा॑ च सोम॒ सौभ॑गा
sanA jyOti, sanA svarga Ca sOma saubhAga --- give light, give welfare etc.
Along these lines rak-Sana is the giving of protection

Indeed, the tyAgarAja and the Dikshitar are greater authorities than any wiki/dictionary (especially when quoted by the language-challenged), to determine the meaning of Words.

The usage “SankarAya” appears in the Dikshitars “kumbhESwarAya” kEdAram kriti where Siva is the bestower of welfare..

There is another dimension to this rAga choice for rAma by the tyAgarAja

rAma as rana-dhira-SankaraAbharana

The tyAgarAja is also responding to the name dhirA-SankarAbharanam In the NEVER-TO-BE-HEARD 2d Carana when he says..

rAghava idi-ETi Sauryamu

Saurya is unmistakeable mudra for dhira = valour that applies to rAma as rana-dhira...(the brave one leading the army on the battlefield, lanka etc)

The nAda-sampradAya will always expose dishonesty, PERVERTS and apa-Sruti.

edutA nilaCitE – rAga SankarAbharana

gAyatri g
https://www.youtube.com/watch?v=-ZuhaDWx3wc

[RSR]

The gist follows. Where is sankara? Where is aabharabnNam?
The raagam choice is based on the rasam and bhaavam.
.
It is perversity unbounded when the guydoll brands straights as prrverts .
.....

Gist

O Lord of all Gods! O Lord who destroys sins! O Lord of beautiful form! O Lord who is Consort of sItA! O Lord rAghava! O Lord rAma! O Lord praised by this devout tyAgarAja!
If You appear before me at every step, which of Your property would be lost?

But for what is pre-ordained, I shall not exceed my limits; knowing my ability, will I allow myself to be deceived? (OR)

But for what is pre-ordained, is it in my capacity to exceed my limits? will I allow myself to be deceived knowingly?

Is it proper to look at me equally (with others)? Please understand my exigencies; I won't ask for boons; please listen to my appeal.

This indeed is the opportune moment to protect me; my mind shall not beseech other Gods; is it not known to You? What kind of valour is this?

If You show such an unprecedented unconcern towards me, would celestials and even demons appreciate? Why this wickedness now?

[nAdopAsaka]

The gist follows. Where is sankara? Where is aabharabnNam?
The raagam choice is based on the rasam and bhaavam.
.
Gist

O Lord of all Gods!

If You appear before me at every step, which of Your property would be lost?

The dementia is advanced like the perversion.....so the words are not understood...even though they are being parroted...

The explanations are not for this "mudhamatE" (or Anyone else like him)

The "mudra" appears in the very first line .."edutA nilaCitE. nidu sommu lEmi bO"
the "property" is the grace/welfare = sankara bestowed by the lord.
It is NOT diminished (According to the tyAgarAja) if rAma grants him this grace /appearance.
It is therefore not a burden = bharana/Abharana for rAma to bestow welfare/san-kara on the tyAgarAja

[RSR]

Blabber.

[nAdopAsaka]

(dhira)-SankarAbharana of the tyAgarAja – 2. Emi nEramu nannu brOvu entA bhArama

All 30 odd (dhira)-SankarAbharana kritis to the rAma deity of the tyAgarAja carry the “bestowing of welfare” mudra.

Each will be described in the next several posts.

Emi nEramu nannu brOvu entA bhArama

Just like “edutA nilaCitE” , “Emi nEramu” reminds the deity the tyAgarAja is not such a big burden to bear = bharana.

the keyWord/mudra the tyAgarAja gives is “bhAramA”.

Emi nEramu – rAga (dhira)-SankarAbharana

SRJ
https://www.youtube.com/watch?v=VUtvwSz7cqQ

[nAdopAsaka]

(dhira)-SankarAbharana of the tyAgarAja – 3. manasu svAdhina – where the nAdayOgi calls for the gift of self-control

Is the welfare in San-kara ( or Sam-kara), material wealth or property or a good singing voice or mere good fortune or the other meaningless , illusory symbols of “prosperity”.

No !

The nAdayOgis are sAdhus who ask for something else…it is the gift of control of the mind..

Indeed no less an authority than the sacred gitA says in 6.36
a-san-yat-Atmana yOgO duSprApa
It is difficult for the uncontrolled mind to attain yOga (the union)

Here the word san (or Sam) refers to this “self-control” = swAdhina
The tyAgarAja echoes exactly this idea with the very first words of the famous kriti – manasu swAdhina

Summary

There is NO disconnecting the kritis of the vAggeyakAras from the meaning of the rAga word. The kriti ALWAYS carries the essential imprint/mudra of that meaning/idea.

Any dot.org morons and their foolish parrots are unable to understand the words or the ideas. The kritis do not exist for the promotion of this-or-that playback singer/technical performer. The kritis exist because they are the sAdhana of the nAdayOgis. Their messages cannot be diluted or denied by the ignorant.

satyam Eva jayatE

manasu svAdhina – rAga SankarAbharana

sugandha K
https://www.youtube.com/watch?v=pKPDwFk5r9Y

r kauSik
https://www.youtube.com/watch?v=2f3iq3YSXAU

[nAdopAsaka]

(dhira)-SankarAbharana of the tyAgarAja – 4. swara rAga sudhA = swar-ga-apavarga swar-Arnava – San-kara as the bestowing of welfare as liberation through nAda

According to the tyAgarAja, the path to the “heavens” = swar-ga is “swara-rAga sudhArasa bhakti”.

Indeed, in the final crescendo of this famous kriti the tyAgarAja says

rajata giriSudu nagajaku delpu swarArnava

It is natural to think of “rajata” when the ornament of Siva (he of the pure silver/snow peak) is passed to the goddess “nagaja”.

The river of the nAda-sampradAya leads to the Ocean of nAda = nAdArnava.

Is there a better illustration of San-kara, the bestowing of welfare through liberation (apavarga) than this kriti in this rAga ?

No !

swara rAga sudhA – rAga SankarAbharana

TRS
https://www.youtube.com/watch?v=1KsAlOrCqaE

[nAdopAsaka]

(dhira)-SankarAbharana of the tyAgarAja – 5. viSnu vAhana – rangapati’s patanga-rAja – the garuda that carries the bestower of welfare

rangapati patanga-rAja

Can the king of birds, the great eagle, the vehicle of the lord be ignored in the meaning of the word “bharana” as bearing/carrying ?

No !

And so the tyAgarAja produces the “SankarA-bharana” kriti “viSnu-vAhana”, for the garuda at Sri-rangam..
and also one of the prahlAda bhakti vijaya set.

Shame on all those who deny and dilute the words and choices of the vAggeyakAras.

viSnu vAhana – rAga SankarAbharana

savitA N
https://www.youtube.com/watch?v=iSsOfEaQ7Wo

vipanCi
https://www.youtube.com/watch?v=Kz5xbnLlHlU

[nAdopAsaka]

(dhira)-SankarAbharana of the tyAgarAja – 6. enduku peddala– rAmayya as rAmanAtha & the bhEda rahita vEdAnta of the Adi Sankara

enduku peddala valE

This famous kriti is easily seen as an ornament of Siva/Sankara.

Why ?

Every line has a reference to Siva or Sankara as the bearer of welfare = Sankara bharana..

enduku peddala valE buddhi - The wisdom of elders is naturally associated with Siva.

The deities are generally ageless…..but Siva is never thought of as a young man, whereas rAma is.

andari vale dAti dAti vadariti
rAma roams the subcontinent from ayOdhya to lanka (under the banner of search for sitA) looking for his own salvation/welfare finally found in the rAmayya = rAmanAtha

vEda SAstra tatvArthamulu telisi
Notably Siva is the name of the first of the 36 tatvas

bhEda rahita vEdAntamulu telisi
non-differentiating advaita is the cornerstone of the Adi Sankara’s teaching

nAda vidya marmambulanu telisi
Siva is promulgator of music and of course nAdOpAsana leads to the ultimate welfare

nAtha tyAgarAja nuta nijamuga
There is no coincidence that the word “nAtha” appears in this kriti along with the word “rAmayya”.
nAtha is a synonym of Siva (and he is also known as rAma-nAtha)

Indeed, if this kriti was not in rAga SankarAbharanam, it would be an atrocity !

Yet again, the choices of the vAggeyakAras cannot be disconnected from their pujA.

Yet again, this pujA cannot be dismissed as random, artistic impulse.

satyam Eva jayatE

enduku peddala valE – rAga SankarAbharanam

violin vaikom padma
https://www.youtube.com/watch?v=YoEhdBMoGxY

there is a reason this violinist has over 20000 subscribers !

vaikom padma extended version wonderful
https://www.youtube.com/watch?v=gQxz7EgjRgI

flute ramani
https://www.youtube.com/watch?v=dN7Nm1e1yNw

hEma S
https://www.youtube.com/watch?v=WeCujMHsTRg

[RSR]

Writer Chaaru in a recent interview.
"
தியாகராஜர் எதற்காகவும் அரற்றவில்லை. அவர் வாழ்நாள் பூராவும் ராமனைக் குறித்துத்தான் அரற்றினார்; ராமன் பௌதிக ரூபத்தில் தனக்குக் காட்சியளிக்கவில்லையே என்றுதான் அரற்றினார். மற்றபடி சமூகம் அவரை வெகுவாகக் கொண்டாடியது. சரஃபோஜி மகாராஜா அவரைத் தன் அரண்மனையில் வைத்துக்கொள்கிறேன் என்று கெஞ்சினார். தியாகராஜரின் தந்தை சர்ஃபோஜி மன்னரின் அரண்மனையில் அரசவைக் கவிஞராக இருந்தவர். தியாகராஜர் உஞ்சவிருத்தியைத் தேர்ந்தெடுக்கவில்லை.
.
அப்போதைய பிராமணர்கள் – குறிப்பாக ஆசிரியர்கள் - தமக்கென்று அடுத்த நாளுக்குக்கூட அரிசியோ பருப்போ எதுவும் வைத்துக்கொள்ளலாகாது என்பது விதி. அரிசி பருப்புக்கே அப்படியென்றால் பணம் காசு பற்றிச் சொல்லவே வேண்டாம். மாற்று உடையைத் தவிர வீட்டில் எதுவுமே இருக்கலாகாது. பிச்சை எடுத்துத்தான் உண்ண வேண்டும். தியாகராஜரின் தந்தை சாகும்போது உஞ்சவிருத்தி செய்வதற்கான பாத்திரத்தைத்தான் ஆஸ்தியாகத் தன் பிள்ளையிடம் கொடுத்தார்.


தியாகராஜர் ஒரு இசை மேதை என்பது சர்ஃபோஜி மன்னருக்குத் தெரியும். அப்படிப்பட்ட மேதை தன் ஆட்சியில் இப்படி பிச்சை எடுத்து வாழ்வதா என்று வருந்தி ஒருநாள் பொன்னும் பொருளும் கொடுத்து அனுப்பினார். அதை அப்படியே திருப்பி அனுப்பிவிட்டார் தியாகராஜர். அதனால் மன்னர் , தியாகராஜர் பாடிக்கொண்டே உஞ்சவிருத்தி செய்துகொண்டிருந்த வேளையில் அவரது பையில் தங்கத்தைப் போடச் சொல்லி சேவகனை அனுப்பினார். வீட்டுக்கு வந்து பார்த்த தியாகராஜர் அந்தத் தங்கத்தை எடுத்து வந்து தெருவில் போட்டுவிட்டார். அப்போது அதுபற்றி ஒரு கீர்த்தனையும் பாடினார்.

அது மட்டும் அல்ல, தியாகராஜரின் சங்கீதத்தைக் கேள்விப்பட்டு திருவனந்தபுரம் ராஜா ஸ்வாதித் திருநாள் தன் அரசவையில் இருந்த இசையறிஞரைத் திருவையாறுக்கு அனுப்பி தியாகராஜரைத் தன் அரசவைக்கு அழைத்து வரச் சொல்லி அனுப்பினார். அங்கே போனால் அரச மரபுப்படி அரசரைப் புகழ்ந்து பாட வேண்டும். அதனால், ‘நான் ராமனைத் தவிர மானுடர் யாரையும் பாட மாட்டேன்’ என்று சொல்லி வந்தவரைத் திருப்பி அனுப்பிவிட்டார்.
..
Writer Chaaru in a recent interview.

May not be 100 % correct history but a good sign that the Sathguru is being talked about by popular writers with respect

[nAdopAsaka]

(dhira)-SankarAbharana of the tyAgarAja – 7. nannu brOva kanu - the ratna and the Abharana

In the less heard “nannu brOva kanu”, the (Samkara) welfare borne and bestowed by the lord is described in different ways.

Indeed, the very first example given in this kriti by the tyAgarAja is finding of gems instead of mere coins = kAs

kAsunu vetukaga kanna ratna-mu rIti

ratna..of course is indicative of ornaments = Abharana.

It is important to point out the EXACT truth of the words and choices used by the vAggeyakAras, to prevent distortion and corruption.

Truth always triumphs...

nannu brOva kanu – rAga SankarAbharanam

GNB
https://www.youtube.com/watch?v=nDwP-8y8HfI

[nAdopAsaka]

(dhira)-SankarAbharana of the tyAgarAja – 8. bhaktibiccham iyavE – San-kara & the futility of decorating a corpse

The parade of truth proceeds unabated, to the dismay of the corrupt.

San-kara = the welfare giver ….San or Sam = welfare

And so the less heard kriti in rAga SankarAbharana of the tyAgarAja asks for this welfare with the words “bhakti-biccham iyavE” (give the bhikSa = alms = bhakti-bhikSa)

Indeed, the ornament = Abharana in the rAga name is also not forgotten !

The tyAgarAja sings..

prAnamu lEni vAniki bangAru bAga Cutti Ani vajra bhUSana
=
There is no point decorating (bhUSana) corpses with ornaments (bangAru).

Yet again, the effect of the rAga name on the word choice is obvious.

It is the duty and responsibility of the nAda-upAsaka to learn and protect the vAggeyakAras legacy from all those who would deny their words and choices.

bhaktibiccham iyavE – rAga SankarAbharana

srirAm p
https://www.youtube.com/watch?v=2HMYC5gssio

KVN
https://www.youtube.com/watch?v=3Xq1806zl7Y

[nAdopAsaka]

“nagumOmu kanalEni” and “vinAbhEri” - 2 AbhEri kritis , 2 drum-beats of war and 2 vAggeyakAras

nagumOmu kanalEni and the yuddha kAnda of the vAlmiki rAmAyana

bhEri, the word, is at the heart of A-bhEri, the rAga.

bhEri is the war-drum..its drum beat is auspicious and portends the arrival of deities pursuing demons.

Why ?

Because BOTH the vAggeyakAras agree and say so !!

For the Dikshitars “vinAbhEri” to the lalitA dEvi that destroys bhandAsura, see post # 922 dated Feb 4, 2024 on the Mutthuswamy Dikshitar thread....linked here

https://www.rasikas.org/forums/viewtopi ... 28#p381328

For the tyAgarAjas “nagumOmu kanalEni”, it is rAma vs rAvanAsura…

Why ?

Because....”bhEri ninAda” announces the arrival of rAma in Sri lanka, and signals the start of the final battle of the great epic.

No less an authority than the vAlmiki rAmAyana yuddha Kanda – (Book Of War ) sarga 35 gives the clue..

tEna Sankha vimiSrEna bhEri SabdEna rAghavaḥ…upayatO mahA bAhu rAmah para puram jayaḥ 6-35-1

With the sound of kettle drums and conches, rAma arrives in Lanka with his army.

It is the beat of this war-drum, this “bhEri Sabda”, that is heard first by all….including the helpless sitA, imprisoned, by rAvana.

That tyAgarAja himself identifies with sitA is seen in the construction of the timeless mOhana “nannu pAlimpa”.

See post dated Mar 20 , 2022 on the thyagarAja thread how the charming of sitA by mAriCa, the shape-shifting deer/demon is actually the tyAgarAjas own “mOha” for rAma.

https://www.rasikas.org/forums/viewtopi ... 51#p375451

The “bhEri” when garuda revives rAma and lakSmana

But the yuddha kAnda sarga 35 verse 1 is not the only verse relevant to “nagumOmu”.

In the Carana , the khaga-rAja = garuda is mentioned.

The reference is apt.

Why ?

Because when garuda revives rAma and lakSmana in the yuddha kanda sarga 50, the sound of this same drum is heard.

vAlmiki rAmayana yuddha kAnda sarga 50 (translation from vAlmiki rAmAyan.net)

निरुजौ राघवौ दृष्ट्वा ततो वानर यूथपाः …सिम्ह नादांस् तदा नेदुर् लान्गूलम् दुधुवुश् च ते 6-50-61
Seeing rAma and lakSmana healed of their wounds, the chiefs of monkeys howled like roars of lions and lashed their tails.

ततो भेरीः समाजघ्नुर् मृदन्गांश् च व्यनादयन् …दध्मुः शन्खान् सम्प्रहृष्टाह् क्ष्वेलन्त्य् अपि यथा पुरम् 6-50-62
Thereupon, gongs were beaten, drums resounded, and couches were blown amid jumping in joy of the monkeys as before.

ps In the anupallavi, the mandara mountain = “nagarAja-dhara” is noted which is responsible for churning the kSira-sAgara.

It is of some note that the yuddha kAnda sarga 50 verses 31/32 mention this kSira-sAgara as well as hanumAn, who like garuda is considered offspring of Wind.

Why ?

Because
hanumAn = pavanAtmaja
and
garuda = vinatA-suta

चन्द्रसः च नाम द्रोणश् च पर्वतौ सागर उत्तमे…अमृतम् यत्र मथितम् तत्र ते परम ओषधी 6-50-31
तौ तत्र निहिते देवैः पर्वते परम ओषधी…अयम् वायु सुतो राजन् हनूमांस् तत्र गच्चतु 6-50-32

Summary

The vAlmiki rAmayana’s yuddha kAnda brings the great epic towards its crescendo…where rAma fulfills his inevitable destiny as upholder of dharma.

The tyAgarAja (like sitA ) beseeches the deity rAma, to show his face = “naguOmu kanalEni”, which is heralded by the bhEri – the war drum-beat announcing rAmas arrival at the final battle-ground.

The tyAgarAja (like sitA ) rejoices in the revival of rAma by garuda, thereby preparing him for the destruction of rAvana, announced also by “bhEri”

Fittingly this “bhEri” is enshrined in the A-bhEri rAga by the tyAgarAja.

Only a fool and/or a knave can think all this is coincidence or that the kritis exist for mere air-pressure variation exercises by “vidwAns/vidUSis”.

It is the duty of the nAda-upAsakas to seek, understand and protect the nAdayOgis legacy from the corrosion of ignorance, arrogance, neglect, and sectarian scum.

satyam Eva jayatE

nagumOmu kanalEni – rAga AbhEri

priya sisters
https://www.youtube.com/watch?v=oaXE5NEc5BY

SSI
https://www.youtube.com/watch?v=ofgoh6Ef3io

flute ramani
https://www.youtube.com/watch?v=7gMrtyROOJ4

[nAdopAsaka]

nAta (Act)-kuranga (Deer) – the charming seductive Act of the Deer – A tale of two kritis – sensual aStapadi “kuvalaya dala” vs. the cautionary “manasu viSaya nata”

There are exactly 2 kritis in rAga nAtakuranji by the tyAgarAja.

The contrast of the theme and structure of each kriti brings out the influence of the rAga word name !

nAta = act
kuranga = deer

The "Act of the Deer" is the most important point in the epic rAmAyana.

With mAriCa, the seduction of sitA is achieved after which her abduction follows, after which the code of rAmas dharma emerges.

The shape-shifting asurA mAriCa assumes the form of the golden deer to charm the senses of sitA.

In post dated Mar 20, 2022 it is shown how the “mOhana” kriti nannu pAlimpa is exactly the charming of rAma by the tyAgarAja mapped to the charming of sitA by the fabled deer, exactly as described in vAlmikis rAmayana.

See..
https://www.rasikas.org/forums/viewtopi ... 51#p375451

titled “kanaka-vasana vs. kanaka-mrga – what is the true measure of “attraction” or mOhana”

A tale of two kritis

It is now shown that the each of the "nAta-kuranga" kritis carries this emblem/mudra of “sensual attraction”

But one kriti (kuvalaydala nayana) extols it, whereas the other kriti (manasu viSaya nata) warns against it.

kuvalayadala nayana

The tyAgarAja gives a first clue in “kuvalayadala nayana” by setting it up like an aStapadi with 8 two-line stanzas following the pallavi. The aStapadi is classical format for the nAyikA..see jayadEvas gita gOvinda etc..

The very opening words are the "love lorn" tyAgarAja (as he himself says …marulu konna…minCi mamata ! ) describing the lotus petal eyes and jasmine bud teeth of his beloved.

Indeed, the tyAgarAja goes on to invoke the “heart melting” = karaga image not once but TWICE.

pada 2 gives kamanIya Ananamunu talaci nE karagi
pada 6 gives SrIrAjanya bhajana jEsiti madi karaga

In fact the “aStapada” theme of enrapture and “charm” dominates even his traditional dwitiya akSara rhyming rule, which only surfaces in the latter half of “kuvaladala nayana” in padams 4 through 8. (see below)

manasu viSaya nata

Contrast all this heat and passion with the formal “manasu viSaya nata” where the tyAgaraja issues a cold warning against the indulgence of the senses !

Indeed he does not mince words !! ...deploying the fairly graphic expression...

nata vitulakOsangitE !!

Here the "nAta-kurangi" kriti is an admonition of seductive Act of the Deer !

The structure of the 2 kritis is also notably different.

aStapadi style of kuvalayadala nayana with split akSara prAsa in 2 halves of the kritis

prathama akSara prAsa in first half of kriti
P. kuvalaya daLa nayana brOvavE
kunda kuDmala radana
1. mamata minci nIdu paini
marulu konna nEnendu pOdu
2. kamanIyAnanamunu talaci nE
karagi nilva jUdavEti gunamu
3. manasu telisi nIvu nannu
maraci maravanatunnAvu
-----------------------------------
dwitiya akSara prAsa in second half of kriti
4. ma-hilO kali bhayamO rAvu
ma-hima lEni daivamA nIvu
5. dE-va SirO-mani nIvanucunu
E-vELa madini pAduCunTi
6. an-ya matamuleruga SrIrAj
an-ya bhajana jEsiti madi karaga
7. nE-nu bhuvini mAni nIvu ghRNa
he-nudanucu pEru rAdO(y)ani
8. bu-ddhinOsagi tyAgarAjuni
va-dda nilici pUja konumu bAga


In contrast "manasu viSaya nata" has the more formal traditional second syllable rhyming (dwitiya akSara)

pallavi
ma-na-su viSaya nata vitulakOsangitE mA rAmuni krpa kalgunO manasA
anu-pallavi
ta-na-talupOkarintiki tisi pEtti tA kukkalu tOlu riti kAdO
Carana
ta-vi-tiki rankAda pOyi kUtitapila kOti kOni pOyinatu kAdO
CE-vi-tikinupadESinCinatu kAdO SrityAgarAja nutuni talaCaka

Summary
As always the magic is in trying to understand why the tyAgarAja does what he does..

By illuminating the seduction of the senses in both positive light and negative light , the tyAgarAja has presented the essence of the rAga “nAta-kurangi”…in its music and in its meaning.

Conclusion
Unerringly, once again, the vAggeyakAras motivations are identified only upon contemplation of their words.

The kritis were NOT assembled as a mere collection of swaras/scales…as the technical experts, narcissistic vidwAns/pundits etc. and "talent competition" winners would have us believe.

The kritis are formed from the thoughts, anxieties, words, ideas and worship of the Hindu vAggeyakAras. rAga itself is but a tool in this worship.

The nAda-sampradAya demands an understanding of the words and choices of the vAggeyakAras.

The nAda-sampradAya, the tradition of truth, cannot and will not be denied.

manasu viSaya nata – rAga nAtakuranji

R kauSik
https://www.youtube.com/watch?v=iUuSQ1NlIQo

MDR
https://www.youtube.com/watch?v=bElZTh-1nSY

kuvalaya dala nayana – rAga nAtakuranji

veena ramana B
https://www.youtube.com/watch?v=HLxWSuotUdk

sundarrAman B
https://www.youtube.com/watch?v=ecuoTGJXi1o

[nAdopAsaka]

bEgada as migada – “bhaktuni CAritramu vinavE” the tyAgarAjas 12 commandments that are the cream and essence of devotion

In his bEgada “bhaktuni CAritramu” , the tyAgarAja summarizes the essence of devotion.

cream = essence
bEgada = migada = cream

Is there any doubt that the tyAgarAja would pick the rAga bEgada to illustrate this “cream", in his 12 commandments given in ‘“bhaktuni CAritramu" ..?

ABSOLUTELY NOT !!

vAk-gEya karana – when word, song, laya, meter, rhythm and idea are fused in worship

Notice that the kriti structure introduces…(in addition to the dwitiya akSara)…another pattern (shown in red) that repeats in each Caranam.

The “tone poets" of the Hindu nAda sampradAya, are the finest examples of vAk-gEya karana…imbuing “word” with song and meter and rhythm..and “idea"

pallavi

bhaktuni CAritramu vinavE manasA sItArama

anupallavi
ASaktilEka tA gOruCu jIvanmuktudai Anandamu nondu

C1
japa tapamula tA jEsiti nanarAdu adigAka mari kapatAtmudu manamai balkarAdu
upama tanaku lEka undavale nani yUra yUra tirugAga rAdu
Capala Cittudai yAlu sutulapai sUreku bhrama kArAdan hari

C2
bhava vibhavamu nijamani yencagarAdu adigAka mari Siva mAdhava bhEdamu jEyagarAdu
bhuvana mandu dAne yOgyudanani bonki potta sAkaga rAdu
pavanAtmaja dhrtamau sItApati pAdamulanu Emara rAdanu hari

C3
rAjasa tAmasa gunamulu gArAdu adigAkanu avyAjamunanu rAlEdana gArAdu
rAjayOga mArgamu nI Cittamu rAjUCuTa vidavaga rAdu
rAja SikhAmaniyaina tyAgarAja sakhuni marava rAdanE hari

bhaktuni CAritramu - rAga bEgada

deepika j
https://youtu.be/enGce5JzswQ

bAlAji S
https://youtu.be/icDUVS78yOM

[nAdopAsaka]

varamaina nEtrOtsava = veritable Feast for the Eyes ..the horse motifs of the tyAgarAjas only paras rAga kriti

varamaina nEtrOtsava-munu kanugona tarani vedale jUdarE

With his opening breath, the tyAgarAja gives not one but TWO mudras of the horse..which has already been shown as the paras rAga root word…see the Dikshitar thread…

1. nEtrOtsava
nEtrOtsava = Feast for the Eyes is traditionally associated with the “ratha yAtra”
…where the ratha = chariot is invariably pulled by …..you guessed it …..horses

2. tarani vedale jUdarE
The sun arrives in a chariot drawn by 7 horses..the sapta aSwa ratha.

Can there be any doubt that the rAga name meaning has not influenced this paras rAga kriti.

No.

The rAga choices for the kritis reveal the strategy, intent and motivation of the Hindu nAdayOgis.

The vAggeyakAras music cannot be separated from the vAggeyakAras words.
The vAggeyakAras music cannot be separated from their worship.
Atheists and similar infidels need not listen to or try to understand the vAggeyakAras music and kritis.

The kutChEri “industry” and allied academicians have promoted generations of hero-worship of mere performers and playback-singers.

Practitioners of this technical gymnastics of air-pressure variation, have sought to deliberately deny, dilute or distort the inherent and essential meaning of the kritis of the vAggeyakAras.

Fittingly, this hero-worship of some is matched by the villain-condemnation of other equally heinous charlatans.. as the many sects and non-sects vilify their antagonists while simultaneously awarding themselves.

The resulting cacophony is not music or musical, though it is carnatic.

The music of the vAggeyakAras is not for these corrupt institutions, sects and non-sects...it belongs only to the individual nAda-upAsakas.

varamaina nEtrOtsava – rAga paras

savita n
https://youtu.be/6Yn-N1uXyl8

[sam]

"Thyagaraja Kriti-
Elavatara-
Mukhari -
Adi-
DK Pattamal"

https://youtu.be/7sUKUVYGD0Q?si=O4ntyhCpsR777dJY