Jayachamaraja Odeyar (Mysore Maharajah) - Part I

drshrikaanth · Post by **drshrikaanth** » 26 Feb 2006, 01:10

kAmavardhini is the 51st mELa. It is called (kASI)rAmakriya in the asampUrNa scheme. Its scale is

SR1G3M2PD1N3S* | S*NDPMGRS ||

It is the pratimadhyama complement of mAyAmALavagauLa but here again there is hardly any overlap between the 2. This rAga is an ancient one (rAmakriya) and has been handled by most composers. The rAga is vIrarasa pradhAna and sounds particularly good when sung in the afternoon. It also admits SRngAra. All swaras are jIva and nyAsa. The rAga can easily be used to brighten a concert.

oDeyar`s kRti begins on the pancama note very much like MD`s rAmanAtham. In contrast tyAgarAja`s kRtis begin on the tARa ShaDja with an anusvAra of dhaivata ( as if "DS*). Note that in rAmakriya, some vakra & varjya phrases are used (such as SGRG, PDS). The kRti is stately in pace and the rAga mudre is very meaningful. kAMavrdhini is called pantuvarALi in Tamilnadu which is a misnomer. pantuvarALi is the pre-kaTapayAdi name for Siva/Subha pantuvarALi. oDeyar has employed the straight scale.

drshrikaanth · Post by **drshrikaanth** » 26 Feb 2006, 01:11

Does anyone have MD`s "ucchiShTa gaNapatau" in rAmakriya? Also would like to hear an RTP. Thanks

srkris · Post by **srkris** » 26 Feb 2006, 01:11

Could not find an RTP or Uchishta Ganapatau immediately. Here is an interesting ashtapathi "chandana charchita" rendered in Kamavardhini by Santhanam.

http://rapidshare.de/files/5121560/Ashtapathi.mp3.html

drshrikaanth · Post by **drshrikaanth** » 26 Feb 2006, 01:12

Thanks for the aShTapadI srkris. Will wait for the others.
Here is the next one for discusson;- in lalita.

http://rapidshare.de/files/5121823/Lali ... m.mp3.html

rshankar · Post by **rshankar** » 26 Feb 2006, 01:12

Here are 2 renditions of the majestic lalithA:
vINa Dhanmmal playing SS's 'nannu brOvu lalithA':
http://rapidshare.de/files/4960932/nann ... u.mp3.html

And KVN singing ST's 'paramupurusham':
http://rapidshare.de/files/5127217/02_p ... u.m4a.html

drshrikaanth · Post by **drshrikaanth** » 26 Feb 2006, 01:12

Ravi
Thanks for nannu brOvu by veena Dhanammal. "parama puruSham" is in lalitapancama, not lalita. Note the distinct use of pancama (bhA of bhAvayE in pallavi is on the pancama note).

drshrikaanth · Post by **drshrikaanth** » 26 Feb 2006, 01:13

mAtu for
|| SrI rAjarAjESvarIm ||

rAga: lalita; rUpaka tALa

SrI rAjarAjESvarIm ASrayAmi SubhadAm lalitAm hRllEkhamaNIm sadA ||P||

SrIvidyA tattvaSaktIm mahAShODaSIm |
SrI pati Siva virincAdyupAsita mantramayIm jaganmOhinIm ||AP||

sarvasampatpradAyinIm |
navAvaraNa SrIcakravAsinIm |
sadayAm lOpAmudrapatyAgastyAdi |
mahAmunipungava prapUjita ShaDAdhArAmnAya kShEtrasthitAm |
SrInAgalinga priyAm bhramarAmbikAm SrIvidyA citprabhAnanda rAjayOgIndra vanditAm ||C||

rshankar · Post by **rshankar** » 26 Feb 2006, 01:13

Dr. Shrikaanth,
Thanks for the correction. The kAnsEn that I was, I was not able to tell the difference! I will correct it in my database.
Ravi

abadri · Post by **abadri** » 26 Feb 2006, 01:13

A couple of renditions of Dikshitar's grand opus Hiranmayeem Lakshmeem

First DKJ:- http://rapidshare.de/files/5132573/DKJ- ... lalitA.ogg
then MSS:- http://rapidshare.de/files/5132716/MSS- ... lalitA.ogg

Raja Chandra · Post by **Raja Chandra** » 26 Feb 2006, 01:14

drs,

it is interesting to note oDeyar ending the kRuti with:

shree vidyA chiprabhAnaMda rAjayOgIMdra vaMditAM.

This needs some explanation. As stated many times earlier oDeyar was shree vidyA upAsaka and his guru was shilpi siddaliMgaswAmIyavaru. This needs some elaboration !

his guru's name: shilpi siddaliMgaswAmIyavaru.
parama guru: naMjuMDa yOgIMdraru.
paramEShTha guru: nAgaliMga yatIMdrararu.
his dIkShAnAma was "chitprabhAnaMdanAtha".
he followed kAdimArgada , dakShinAmUrthi saMpradAyada shree vidye.

so in many of his compositions he has used his dIkShA nAma also.

coolkarni · Post by **coolkarni** » 26 Feb 2006, 01:14

trying to catch up with you all .
here is the set on kamavardhini

: http://rapidshare.de/files/5134566/dand ... i.mp3.html
: http://rapidshare.de/files/5133198/kaly ... i.mp3.html

and a bmk track with such a scintillating swara prasthara

http://rapidshare.de/files/5133882/bmk- ... _.mp3.html

Raja Chandra · Post by **Raja Chandra** » 26 Feb 2006, 01:14

As a matter of fact in his very first composition:
1. ||shree mahA gaNapatiM bhajEhaM|| in rAga aThANa, he ends kRuti with || shreevidyA citprabhAnaMda rAja yogIMdravaMdita||

other compostions are:

2. || mahAgaNapatiM bhajEhaM|| in rAga amRutavAhini, as || shreeguru citprabhAnaMdadAyakaM shree vidyAnAgaliMgavarasutaM ||

3. || kamalAMbikE|| in rAga nATa , as || shreevidyA citprabhAnaMda rAjayOgIMdra vaMdita caraNa yugaLE||

4. ||chiMtayAmi jagadaMbAM|| in rAga hiMdOLa, as || citta raMjana divya kAMtIM citprabhAM||

5.||shree cAmuMDEshvarIM|| in rAga madhyamAvati, as ||shree vidyAM citprabhAnaMda rAja yOgIMdra kuladEvIM||

6. ||jaganmOhinIM|| in rAga jaganmOhini, as || shree vidyAcitprabhAnaMda rAja yOgIMdra vaMditAM krupAkaTAkSha sahitAM||

in most of them and other kRuti's he also pays obeisance to his guru, parama guru and paramEShTha guru also.

Raja Chandra · Post by **Raja Chandra** » 26 Feb 2006, 01:14

this also indicates a possibility that these were his earliest compositions and he tried to use his dIkSha nAma also as part of his compositions and dropped the idea in later compositions ???

drshrikaanth · Post by **drshrikaanth** » 26 Feb 2006, 01:15

Part 1 of notes on
|| SrI rAjarAjESvarIm ||

rAga: lalita; rUpaka tALa

SrI rAjarAjESvarIm; ASrayAmi- I seek refuge in; SubhadAm- the doer of good; lalitAm;
lalitA occurs both in the sahasranAma and the lalitA triSatI. lalita has the following meanings- beauty, playfulness, sweetness, depth/poise, brightness, magnanimity/benevolence and charm/grace. She has all these attributes.
She is also called lalitA as She is above all the worlds. Here loka/world refers to the AvaraNa dEvatAs. She is lalitA as She is above them all in the bindu sthAna. Here is the quote from the padmapurANa.

lOkAn atItya lalatE lalitA tEna sUcyatE |

hRllEkhamaNIm- Her that is a focus of attraction/attraction of all knowledge.
hRllEkha means knowledge. maNi has the meaning of jewel/gem /magnet among mnay others.

sadA- Ever.

SrIvidyA tattvaSaktIm- Her Who is the power/potency/strenght in the doctrine of SrIviyA;
mahAShODaSIm- That great maiden Who is ever 16yrs old.
There is a deeper meaning to this. There are 16 nityAs namely_ kAmESvarI, bhagamAlinI, nityaklinnA, bhEruNDA, vahnivAsinI, mahAvajrESvarI, SivadUtI, tvaritA, kulasundarI, nityA, nIlapatAkinI, vijayA, sarvamangaLA, jvAlAmAlinI, citrA, tripurasundarI. The first nityA kAmESvarI is none other than lalitA Herself. This lalitA is the mistress of the other 15 nityAs and these nityAs actually form her organs/parts/angas and hence She is ShODaSI. This is the quote from the tantrarAja.

AdyAyA lalitAyAH pancadaSAngagAH |
lalitAngitvarUpENa sarvAsAm AtmavigrahA ||

She is called nityAShODaSikArUpA in the sahasranAma.

SrI pati Siva virincAdyupAsita mantramayIm- She Who is the embodiment of the mantra worshipped by viShNu, Siva and brahma among many others.
jaganmOhinIm- Her Who attracts and enchants the whole universe.

drshrikaanth · Post by **drshrikaanth** » 26 Feb 2006, 01:16

Part 2 of notes on
|| SrI rAjarAjESvarIm ||

sarvasampatpradAyinIm- Her who grants all kinds of riches and prosperity;
navAvaraNa SrIcakravAsinIm- Her Who resides in the SrIcakra with the 9 AvaraNas.
sadayAm- The compassionate One;
lOpAmudrapatyAgastyAdi mahAmunipungava prapUjita- Her worshipped by sage agastya (the husband of lOpAmudrA) and others; ShaDAdhArAmnAya kShEtrasthitAm- Her present in the sacred 6 cakras with a revered tradition;
SrInAgalinga priyAm- Her fond of ( or dear to) Siav; bhramarAmbikAm; SrIvidyA citprabhAnanda rAjayOgIndra vanditAm- Her saluted by the royal yOgi citprabhAnanda (oDeyar himself). This also can be interpreted as "Her saluted by the great yOgis whose mind/intellect is enlightened and made ecstatic by the radiance of SrIvidyA.

drshrikaanth · Post by **drshrikaanth** » 26 Feb 2006, 01:16

Badri
thx for hiraNmayIm

Coolkarni
Thx for kAmavardhinI pieces. Any chance of ucchiShTa gaNapatau? Also, If i may clutch at straws, are there any RTPs is lalita? And if any rare pieces in lalita (agastISvaram or other even lesser-known kRtis)

Raja Chandra
Your expalantions clarify a few things and also give a personal touch to oDeyar`s kRtis.

drshrikaanth · Post by **drshrikaanth** » 26 Feb 2006, 01:16

lalita is the pancamavarjya upAnga janya of mAyA mALavagauLa, the 15th mELa. Its scale is

SR1G3M1D1N3S* | S*NDPMGRS ||

This rAga is an ancient rakti rAga with SRngAra rasa of vipralambha type(disappointment). I would say it also admits of some adbhuta rasa. It sounds best when rendered in the mornings.
lalitA is a classic example of how the eschewing of pancama effects a remarkable change in the character and bhAva of a rAga. It does sound similar to vasanta in places. M, D & N are the jIva swaras but to a degree all the swaras are jIva swaras. And all the swaras can be used as nyAsas. I havent heard of a pada of kShEtraj~na in this rAga but that would be a surprising omission.

oDeyar`s kRti presents the rAga neatly. But the divisions and demarcations of the sAhitya into pAdas is not too clear.

drshrikaanth · Post by **drshrikaanth** » 26 Feb 2006, 01:17

lalitA has been utilized beautifully by Ilaiyaraja in the song from unnA; muDiyum tambi- "idazhil kadai ezhudum nEramidu". A very meaninful usage (for those who know

) as the heroine`s name is lalita kamalam.

kartik · Post by **kartik** » 26 Feb 2006, 01:17

Collkarni can you kindly post the lalitha-lathangi rtp of tns?the thanam is simply brilliant.

coolkarni · Post by **coolkarni** » 26 Feb 2006, 01:18

: http://rapidshare.de/files/5147535/semm ... a.mp3.html

karthik.
tns... rapidshare is lapping it up now (being uploaded) not so rapidly.
it will be on in few hours time

coolkarni · Post by **coolkarni** » 26 Feb 2006, 01:18

: http://rapidshare.de/files/5150038/06-L ... P.mp3.html
: http://rapidshare.de/files/5148877/07-L ... P.mp3.html
: http://rapidshare.de/files/5149353/08-L ... P.mp3.html

srkris · Post by **srkris** » 26 Feb 2006, 01:18

Thanks a ton for the BMK 'varuga varuga' clip. He deserves a gold medal for that, and so do you.

coolkarni · Post by **coolkarni** » 26 Feb 2006, 01:19

srkris.
thanks.
i had to select this particular track from many renderings (some of them very sweet in the early parts ) but his swaras in this essay , i found wonderful.
i like it ,especially, when bmk goes on a "solo" kind of lengthy swara essay, sometimes slowing, sometimes pausing ,almost telling the viloinist to have a 10 minute break , if he wants to... Laughing Laughing
except for gnbs swara sequence in one of the mansulonis, i have heard any one else sing swaras like this.

drshrikaanth · Post by **drshrikaanth** » 26 Feb 2006, 01:19

Here is the next kRti in janaranjani

http://rapidshare.de/files/5158496/Jana ... m.mp3.html

drshrikaanth · Post by **drshrikaanth** » 26 Feb 2006, 01:19

mAtu for
|| kAmAkShi pAhimAm||

rAga: janaranjani ; rUpaka tALa

kAmAkShi pAhimAm harArdhAnga dESAkShi ||

kAmAri sadASivasAkShi karuNAkaTAkShi ||
kAmakOTi pIThasthita kanjadaLAyatAkShi ||

sahasravidyullEkhA samadEhakAnti SAlini |
sahasrAkShAdi sakala surapAlini janaranjani ||
hakAra makAra sakAra rUpa SvAsOcchvAsamaya hamsa mantra rUpiNi SrI vidyAsvarUpiNi ||

drshrikaanth · Post by **drshrikaanth** » 26 Feb 2006, 01:20

Notes on
|| kAmAkShi pAhimAm||

rAga: janaranjani ; rUpaka tALa

kAmAkShi pAhimAm- Protect me kAmAkShi;
harArdhAnga dESAkShi- You Who have taken possession of and reside in half the portion of Siva`s body.
AkShi has the meaning of taking possession of or residing in. This is the meaning in which oDeyar has used it (Not the common meaning of eye)!

kAmAri sadASivasAkShi- You Who are witness to sadASiva, the foe of manmatha.
sAkShi also means ego/internal milieu and hence She is the ego/ahamkAra of Siva.

karuNAkaTAkShi- You with compassionate gaze/glance.
kAmakOTi pIThasthita kanjadaLAyatAkShi- lotu-eyed Lady dwelling in the kAmakOTi pITha;

sahasravidyullEkhA samadEhakAnti SAlini- You with an effulgence egual to a thousand lightnings;
sahasrAkShAdi sakala surapAlini- You Who protect the thousand-eyed indra and the other dEvas; janaranjani;
hakAra makAra sakAra rUpa SvAsOcchvAsamaya hamsa mantra rUpiNi- You Who is in the form of the hamsa mantra(ajapA) that is innate in the breath as hakAra, makAra and sakAra; SrI vidyAsvarUpiNi.

drshrikaanth · Post by **drshrikaanth** » 26 Feb 2006, 01:20

janaranjani is a upAnga janya of dhIra SankarAbharaNa, the 29th mELa. Its scale is

SR2G3M1PN3S* | S*DPMRS ||

This rAga was a find of Sri tyAgarAja`s. R, M, D & N are chAyA swaras. P and R are nyAsas. There is jAru gamaka for D and R. It gives rise to SrRngAra and hAsya rasas. The rAga has an innate brisk pace and a sprightliness. oDeyar`s kRti shows these aspects of the rAga clearly.

drshrikaanth · Post by **drshrikaanth** » 26 Feb 2006, 01:21

The next one in hindOLa

http://rapidshare.de/files/5203661/Hind ... m.mp3.html

drshrikaanth · Post by **drshrikaanth** » 26 Feb 2006, 01:21

|| cintayAmi jagadambAm ||

rAga: hindOLa ; miSra jhampe tALa

cintayAmi jagadambAm cAmuNDAmbAm |
citta ranjana divya kAntIm citprabhAm ||P||

cirAmRta varSha nayanAm harSha varShadAm |
candraprabhA sama mandahAsa vadanAm ||AP||

tattva prakASaka tAraka rUpAm bRhadAtmikAm |
j~nAnAtIta jyOti svarUpAm |
tumburu nAradAdi sEvita caraNAravindAm |
tAnalaya mUrcchanayuta hindOLa prItAm ||
danujamada bhanjanIm dhana dhAnya saubhAgyadAyinIm dharmasamsthApanIm |
durgAm AdyAm tAm SrI vidyAm dharaNi pAlana ratAm matim naH pracOdayAt lalitAm ||

Raja Chandra · Post by **Raja Chandra** » 26 Feb 2006, 01:21

here is a better version:

http://rapidshare.de/files/5210840/rks_ ... a.mp3.html

cmlover · Post by **cmlover** » 26 Feb 2006, 01:22

RC/Kartik
In this context it will be immensely helpful to get posted actual (or links) of these odeyar songs for learning/teaching purposes, especially if there are any more of RKS.

meena · Post by **meena** » 26 Feb 2006, 01:22

For those interested:
List of Kritis in order discussed:

kRuti/ rAga/ tALa

1.dEvi shrI mInAkShi-cakravAka-khaNDa tripuTa tALa
2.cintayAmi santatam -dhEnuka-triSra jhampe
3.SrI vidyAm lalitAm -nAdabrahma-Adi tALa
4.ambA SrI rAjarAjESvari -bhOgavasanta -Adi tALa
5.ambujAkShi pAhimAm-simhavAhini-Adi tALa
6.paripAhimAm SrI varalakShmi-SubhapantuvarALi -dESAdi tALa
7.hATakEshvaram bhajEham -hATakAmbari- triSratripuTa tALa
8.manOnmani-udayaravicandrike -caturaSra dhruva tALa
9.SrI cAmuNDESvari pAlayamAm-RShabhapriya-khaNDatripuTa tALa
10.pAhimAm varalakShmi -guNDakriya-khaNDatripuTa tALa
11.bAlE bRhat-sRShTi mUlE-simhEndramadhyama-AditALa.
12.SrI lalitAm -nAgadhvani-khaNDa tripuTatALa.
13.swAminAtha pAlayamAm sadASiva -cArukESi-khaNDa tripuTatALa.
14.SrIcakrapura nivAsini -Suddhalalita -AditALa
15.bAlakRSNaM bhAvayEhaM -nIlavENi -Adi tALa
16.rAjarAjESvarIm-hindOLa vasanta -miSra jhampe tALa
17.suj~nAnadAyinIm -SuddhasALavi-Adi tALa
18.gam gaNapatE namastE-dUrvAnki -tRiSratripuTa tALa
19.kAmAkShIm varalakShmIm-vasanta-rUpaka tALa
20.rAjarAjESvarIm-bAlacandrike-khaNDatripuTa tALa
21.SrI lingarAja namOstutE -(nava)amRtavarShiNi -Adi tALa
22.suranandinIm-suranandini-dESAditALa
23.chitayasadA vAraNa vadanam -sindhurAmakriya-dESAdi tALa
24.kShIrasAgaraSayana vakShasthaLa nivAsinIm -mAyAmALavagauLa-caturaSra dhruva tALa
25.SivaSivaSivabhO -nAdanAmakriya (nAtharAmakriyA)-miSra jhampe tALa
26.SrI vidyA mOdinI -kOkilabhAShiNi-triSra tripuTa tALa
27.amba vimdhyAchalavAsini -rAmapriya-miSrajhampe tALa
28.mAtanga kanyAm-SuddhatODi-khaNDatripuTa tALa
29.nAdarUpiNIm-kOkilapancama-dESAditALa
30.SrI gAyatrI dEvi -gamanaSrama-caturaSra dhRuvatALa
31.pAhimAm satatam -hindOLadESika-Adi tALa
32.pAhimAm SrI paramESvari -hindOLadarbAr-khaNDa rUpaka tALa
33.mRtyunjayam bhAvayEham -rAgavardhini-khaNDa tripuTa tALa
34.nIlakaNTham-gamakakRiyA-khaNDa tripuTa tALa
35.SrI rAjarAjESvarIm -dEvagAndhAri-AditALa
36.gajAnanaM gaNapatiM bhajEhaM-hanumatODi-caturaSra maThyatALa
37.umAm namAmi -hEmavati -miSra Jampe tALa
38.lambOdara pAhimAm-nArAyaNagauLa-miSra tripuTatALa rAga
39.SrI guru dakShiNAmUrtE-bhavapriya-caturaSra maThya tALa
40.paripAhimAm siddhivinAyaka -vakuLAbharaNa-AditALa
41.gaurimanOharI-gaurimanOharI-miSra jhampe tALa
42.SrI lalitE -latAngi-triSra tripuTa tALa
43.durgAdEvi -dharmavati-Adi tALa
44.kAmESvarIm-kAmavardhini -miSra jhampe tALa
45.SrI rAjarAjESvarIm -lalita-rUpaka tALa
46.kAmAkShi pAhimAm-janaranjani -rUpaka tALa
47.cintayAmi jagadambAm-hindOLa-miSra jhampe tALa

drshrikaanth · Post by **drshrikaanth** » 26 Feb 2006, 01:22

Meaning of
|| cintayAmi jagadambAm ||

rAga: hindOLa ; miSra jhampe tALa

cintayAmi jagadambAm- I contemplate on the Mother of the universe; cAmuNDAmbAm- cAmuNDESvari;
citta ranjana divya kAntIm- Her with a divine effulgence that delights the intellect; citprabhAm- Her Who is the luminosity of the intellect;

cirAmRta varSha nayanAm- Her Whose eyes shower everlasting immortality/nectar/riches; harSha varShadAm- Her That provides rain of pleasure and delight;
candraprabhA sama mandahAsa vadanAm- Her with a smiling face like the bright moon (or Her with a face, the smile on which is like the moonlight);

tattva prakASaka tAraka rUpAm- Her of the form that illuminates and illustrates all tenets and doctrines and carries one across the ocean of worldly ties; bRhadAtmikAm- Her Who is lofty, mighty and big in every sense of the word;
j~nAnAtIta jyOti svarUpAm- Her in the form of the divine brigthtness(of brahman) tha is beyond all knowlede;
tumburu nAradAdi sEvita caraNAravindAm- Her Whose lotus-feet are served by tumburu, nArada and others;
tAna laya mUrchanayuta hindOLa prItAm- Her affectionate towards hindOLa embellished with tAna, laya and mUrchana;
danuja mada bhanjanIm- Her Who destroys the hauteur and arrogance of the demons; dhana dhAnya saubhAgyadAyinIm- Her Who gives wealth, food and prosperity; dharmasamsthApanIm- Her Who establishes and maintains virtue & order.
durgAm; Adyam tAm- The primary One; SrIvidyAm; dharaNi pAlana ratAm- Her engaged in protecting the world; matim naH pracOdayAt- inspire and illumine our minds; lalitAm.

Raja Chandra · Post by **Raja Chandra** » 26 Feb 2006, 01:23

[Your explanations clarify a few things and also give a personal touch to oDeyar`s kRtis]

drs,

Now I am attempting something based on events in oDeyar's life, I do not know if it makes any sense or not:

I do feel there are many such personal touches one can conjure from the personal life of oDeyar.

"varakaMThIrava" is a phrase you have already alluded to some time back. This being a reference to his revered father Yuvaraja kanteerava Narasimha Raja Wadiyar. and also to the illustrious ancestor Ranadheera Kanteerva Narasa Raja Wodeyar.

Here is an account of his personal life, which will throw? some interesting possibilities !

He married HH Maharani Sathya Prema Kumari ( princess from Charkhari/Jigni a bundela kingdom in madhya pradesh) on 17th May 1938 at a very young age of 19 years! .In 1940 due to the sudden death of his father and uncle he was catapulted to the mythological throne of mysore at an very young age of 21 years. However, the marriage failed and the Maharani left him and settled at jaipur.(no issues). This must have left him shattered.

After this Maharaja married again to HH Maharani Tripura Sundari-ammanni-avaru, on 30-4-1944.

According to their daughter Indrakshi Devi, she had a mellifluous voice and was an accomplished veena player too. Mysore Palace has separate pooja rooms for the Maharani and Maharaja. Maharani was known to play veena and sing while doing pooja.

This must have been a happy turn of phase in maharaja?s life.

Juxtapose these facts with the fact that the first kRuti - ?shree mahAganapathiM? was composed on 17-8-1945. . Maharaja was blessed with a daughter on 10th Oct 1946. She was named as Gayatri Devi. The last kRuti - shree raMganAtha pAhimaM? was composed on 19-2-1947. You certainly see a personal trail!

It is quite possible that the name of his wife tripurasundari must have aroused some curiosity and interest in maharaja and this led him to become a shree vidya upasaka. One should also know that goddess Tripurasundari has another interesting connection with the history of wadiyar?s. On the foothill of chamundi hill there is another temple known as uttarahalli jwalamukhi. For a full length story on this read it at : http://www.deccanherald.com/deccanheral ... 4/spt8.asp

( All the temples inside the palace,jwalamukhi temple, temples atop the hill and kamakameshwari temple-built by oDeyar and his guru at Ramanuaja Road, Mysore was the personal property of the Royal family. But after the death of the Maharaja on 23-9- 1974, the Karnataka Government took away these temples even before the embers had died on 26-9-74 !! )

It is also interesting to note that later on he named his other children as meenakshi devi, kamakshi devi, srikanta datta narasimharaja, indrakshi devi, vishalakshi devi.

By a sheer coincidence meena(!) was responsible for me to transliterate the compositions in forum hub and in the end Dr.shrikant(!) called it as: nIvu mADiruva kelasa mecca takkadu !!

Now he himself ended up in doing such a stupendous work that words fail. If there is something like e-doctorate he should get one !!

drshrikaanth · Post by **drshrikaanth** » 26 Feb 2006, 01:24

Meena
Thanks for compiling the list. That was very helpful.

The usage "matim naH pracOdayAt" is so reminiscent of the gAyatrI mantra "dhiyO Yo naH pracOdayAt".

CML
can you please clarify if the meaning of the last line is "I contemplate on jagadambe lalitA to inspire and stimulate our mind/intellect".

Raja Chandra · Post by **Raja Chandra** » 26 Feb 2006, 01:24

cml.

i appreciate your suggestions on the web site and also will post rks and others as and when possible. You have been a source of encouragement and your timely clarifications have embellished the quality of this thread.

drshrikaanth · Post by **drshrikaanth** » 26 Feb 2006, 01:24

Raja Chandra
Thanks for all that added information. Me being SrIkAnta, Is it any surprise that I am attracted to SrI!

Incidentally, indrAkShi and viSAlAkShi are the names of the 2 consorts of SrI rAmESvara of rAmanAthapura in arkalagUDu Taluk of Hassan district I had mentioned earlier. oDeyar was a great devotee of this deity too and has written a book on this kShEtra(do you hae details?). No wonder he has named his daughters after Them. This is the vahni puShkariNi kShEtra celebrated in the purANas. eDatore/krishnarAja nagara is arka puShkariNi while SrIrangam in Tamilnadu is the candra puShkariNi.
The huge fish in the kAveri river at rAmanAthapura are famed and are a great attraction. They are not seen elsewhere even in adjacent villages and towns. In fact the fish in koNanUru are very small. The fish in rAmanAthapura are reckoned to be the dEvas worshipping Him. Actually, one particularly large fish attracted the eye of oDeyar(I think it wdsa HHJC) and he is said to have honoured the fish by adorning it with a golden nosering(cinnada mUguti)!!!.
Now the curse on the oDeyar family is well known (talakADu maraLAgali! mAlangi maDuvAgali! maiSuru oDeyarige makkaLu illadAgali!). And true to the curse, alternate generations have not had issues. Now is SrIkaNTha born to or adopted by HHJC oDeyar?

drshrikaanth · Post by **drshrikaanth** » 26 Feb 2006, 01:25

I have just found out that the muttina mUguti was from HH mummaDi kRShNarAja oDeyar. Can you explain more about guru, parama guru and paramESHTha guru?

cmlover · Post by **cmlover** » 26 Feb 2006, 01:26

matim naH pracOdayAt lalitAm

I was certainly puzzled by this line. I thought exactly like you on the analogy of Gayatri. But the usage is ungrammatical since 'matim' is in the accusative singular whereas 'naH' is genitive plural (our). I was unwilling to accept that Odeyar a sanskrit scholar would make a silly grammatical error! After thinking seriously I parsed it as:

(saa) lalitAm matim naH pracOdayAt.

now pracOdayAt is benedictory ( may she(saa) impel or direct)
impel what?
The answer is lalitAm matim i.e., the inteelect/mind/knowledge/thought.. of the (sportive/playful/charming..)Goddess lalitA

where?
naH ( to us) (note this is dative (4th vibhakti)).

In other words

Odeyar says that let jagadamba on whom I contemplate (cintayAmi) focus her intellect towards us! This is passive or mArjAra nyAya

This is the reverse of gAyatri where we are actively invoking our intellects to be directed towards parabrahmam which is the markaTa nyAya.

A minor correction in the lyric:

it must be 'AdyAm'.

meena
Thanks a lot for the excellent organization!

RC

Thanks for those fascinating historical details which illuminate the context of these compositions!

drshrikaanth · Post by **drshrikaanth** » 26 Feb 2006, 01:26

CML
Thanks for pointing out the typo.

I liked your comparison with mArjAra and markaTa nyAya.

You are right about matim and naH. And I too am disinclined to think oDeyar would have made a grammatical mistake. But the dictionary meaning of impel/direct does not in the least reflect the true meaning of the word pracOda/pracOdana IMHO. pracOdisu is a commonly used word in kannaDa and means encourage/inspire/instigate/urge/ enthuse. The equivalent word in tamizh will be Ukkuvittal (pracOdane= Ukkam). This is precisely the sense in which it occurs in the gAyatrI mantra (not a mere disinterested directing but actively inspiring and illuminating!). In that sense, it would be inappropriate to ask Her to inspire Her own intellect.
Perhaps the sAhitya has been wrongly transcribed. I think the correct form should be "matIH naH pracOdayAt". (mati being ikArAnta strIlinga pada).

drshrikaanth · Post by **drshrikaanth** » 26 Feb 2006, 01:27

hindOLa is a pancama varjya upAnga janya of naTha bhairavi, the 20th mELa. Its scale is

SG2M1D1N2S* | S*NDMGS ||

The phras SMGM is often used (sometime quoted as the ArOhaNa) but SGM is very much allowed as is clear from RKS`s swaraprastAra. The equivalent rAga in hindUstAni is mAlkauns. Interestingly, MD has used "SGMNDNDS" as the ArOhaNa in nIrajAkShi. This is the ArOhaNa seen in the gIte of mudduvenkaTamakhi, the caukavarNa of rAmaswAmi dIkShitar and the sancAri of subbarAma dIkShitar as well giving a different quality to hindOLa.
hindOLa is a beautiful rAga with several vAdi-samvAdi pairs in it. Th rAga has scope both for dainya/karuNA as well as vIra/adbhuta depending on the pace rendered and the gamakas used. Interestingly, performing SrutibhEda on each of the swaras of hindOLa yields a popular rAga [dEvakriyaSuddhasAvEri), SuddhadhanyAsi, mOhana and madhyamAvati).

oDeyar`s kRti is very popular and evokes vIra and adbhuta rasas. It is a lovely piece. The svara samyOjane for "danuja mada bhanjanIm--" is full of vIra rasa. oDeyar has very efficiently and effectively used the pauseds after bhanjanIm and dAyinIm in this line. He appears particularly inspired when composing on the family deity Sri cAmuNDESvari.

coolkarni · Post by **coolkarni** » 26 Feb 2006, 01:27

RTP by MLV

: http://rapidshare.de/files/5225467/07-H ... i.mp3.html

and other short one by kalyanraman

: http://rapidshare.de/files/5226378/RTP- ... m.mp3.html

cmlover · Post by **cmlover** » 26 Feb 2006, 01:27

One can justify by considering jagadamba as the boss and lalita as a 'upadevata'(you will recall lalitA is just one of the fifteen nityA) in which context prcOdana (persuasion) may be meaningful.

If you want to alter the lyric it must be "matayaH naH pracOdayAt" (ikArAnta strIli^Nga bahuvacanam)

cmlover · Post by **cmlover** » 26 Feb 2006, 01:28

coolkarni

please provide us the best of malkauns that you have! (I am sure there will be an anecdote to go with it

)

cmlover · Post by **cmlover** » 26 Feb 2006, 01:28

DRS

Is cAmuNDAmbA a legal name for dEvi or is it a name coined by Odeyaar?

drshrikaanth · Post by **drshrikaanth** » 26 Feb 2006, 01:28

DRS

Is cAmuNDAmbA a legal name for dEvi or is it a name coined by Odeyaar?

cAmuNDAmbA is cAmuNDA + ambA which I am sure you know. cAmuNDA is one of the sapta mAtRkAs. Iconographical representations of cAmuNDA and cults of cAmuNDESvari are seen in various parts of India, not just Mysore or Karnataka. There are also mantras for propitiating her. cAmuNDA is so called a sShe killed the asuras canDa and muNDa. In kannaDa, she is called cAmuNDi and of cours ecAmuNDESvari.
There is an interesting derivation for the word cAmuNDA. Now Siva is also called as cAvuNDa rAya, cAmuNDa rAya, cauNDarAya which are male names in kannaDa. Likewise cauDa and cauDi(female) are sgortened versions of cAmuNDa and cAmuNDi. Now it is said that this word entered the sanskrit lexicon from kannaDa. cAmuNDa is sA+uNDa i.e He/She who consumed/ate death! Thus Siva(slayer of yama) is cAvuNDa/cAmuNDa and She is cAmuNDA.

srkris · Post by **srkris** » 26 Feb 2006, 01:29

CML, what's a 'legal name' and what's not? What's wrong in Chamunda-Amba as compared with Chamunda-Ishvari?

cmlover · Post by **cmlover** » 26 Feb 2006, 01:29

DRS

Thanks for that clarification. I had assumed (as in Kannada) the name to be cAmuNDI and was trying for a justification of cAmuNDA. When I referred to the Classical Dictionary of Hindu Mythology, it was stated that as per mArkaNDEya purANA an emanation from Durga killed both the demons caNDa and muNda and durga named that emanation cAmuNDA. Hence naming Siva as cAmuNDa will be the standard sanskrit technique of reverse derivation!

Guest · Post by **Guest** » 26 Feb 2006, 01:30

Malve

Please can anyone upload the song Nirashakshi of Dikshitar's in hindolam song. thx.

cmlover · Post by **cmlover** » 26 Feb 2006, 01:30

chembai

Names of Gods (or Goddesses) cannot be arbitrary. They have an origin and a justification. For example though Bhishma narrated the vishnu sahasranaama each of those thousand have been derived and justified by Sankara. These are 'legal' names. Though a rose may smell just as sweet when called by any other name, according to mantra shaastra invocation of Gods have to be done 'legally' to obtain the desired fruit: In fact

mananEya trAyatE iti mantraH
makAram mananamcaiva
trakAram trANam ucyatE
mananAt trANam iti Ahur
mantram iti abhidhIyatE