Thyaagaraaja swami did not give us many kruthis on Devi. Among his nearly 660 kruthis, he sang about Devi only during his visit to Lalgudi-3, kanchipuram-1,
Tjiruvotriyur-5( very selectively, not on Thyagesa temple there but on Thrjpura sundari), Nagaparptnam-2 , again , not on Siva but on ambaaL.,
All these kruthis were sung only during his tour after his 75th year.
He had ofcourse sung on the goddess at Thiruvaiyaaru, -10, having lived there for many decades.
In the Paraasakthi krutui, he clearly indicates the primacy of the mother goddess whom even Siva worships.
.
It is noteworthy that Thyaagaraaja has not sung any kruthi explicitly on Sarawathy or Lakshmi.
For him, Devi is important as sister of vishnu. This is perfectly in agreement with ancient Thamizh sangam poetic tradition.
Thyagaraja (Krithis)
-
nAdopAsaka
- Posts: 890
- Joined: 20 Jul 2020, 17:05
The tyAgarAjas 5 pairs of dEvi kritis that are EACH connected to the 5 panCanadiSa panCabhuta Siva kritis of tiruvaiyAru
The tyAgarAjas 5 pairs of dEvi kritis that are EACH connected to the 5 panCanadiSa panCabhuta Siva kritis of tiruvaiyAru
------------------------------------------------------------------------------------------
First an unfortunate but necessary digression regarding yet another foolish and inaccurate statement.
The previous post states .."It is noteworthy that Thyaagaraaja has not sung any kruthi explicitly on Sarawathy or Lakshmi"
Nothing could be further from the truth ! ....Where does this ignorance come from ?
tulasi is EXACTLY lakSmi. (Sri hari's consort)
It is therefore proper to remind all (EXCEPT the brain-dead), of the TULASI kritis of the tyAgarAja (tulasi = she who BALANCES Sri-hari.. )
As he says nivulEka trAsu-na Sri hari sari nilvaka poyyEna" in his "dEvi Sri tulassammA" mAyamAlavagaula kriti (trAsu = tarAju = tulA = BALANCE = ardhanAri )
--------------------------------------------------------------------------------------
On the occasion of dEvi navarAtri...this post is reiterated from when it was first made Jul 22, 2023.
The tyAgarAjas 5 pairs of dEvi kritis are EACH connected to the 5 panCanadiSa panCa bhuta Siva kritis of tiruvaiyAru.
For the last 200 years , the pujA of the supreme nAdayOgis has been submerged in insipid, parroted translations that have lost and obscured the basic connections between the kritis and the essential motivations of the vAggeyakAras.
The unfortunate focus of the music has become the worship of vidwAns and viduSis.
The tiruvaiyAru kSEtra is a prime example of this neglect, with its ridiculous Aradhana spectacle ....none of "vidwAns/viduSis" truly understands the words they are "mumbling". The purpose is to showcase technical skills and compete in talent contests pursuing applause.
But the situation is changing, at least in terms of understanding the intent of the kritis.
A post dated Jul 18, 2023, on this thread, establishes beyond a shred of doubt that the tyAgarAja conducts a panCa bhuta pujA offering 5 kritis , one to each bhuta , to the panCAkSara deity the panCanadiSa pranatArtihara Siva of tiruvaiyAru.
https://www.rasikas.org/forums/viewtopi ... 17#p379817
This panCa bhUta pujA At tiruvaiyAru is also known from the tEvAram (and will be discussed in an upcoming post)
The tiruvaiyAru Siva-Sakti also forms an ardhanAri, the concept of balance and Siva-Sakti union, expressed more than a 1000 years ago by the tEvAram. The tyAgarAja himself acknowledges the tiruvaiyAru ardhanAri with the words “Siva sAmba dEhi” in the “Ehi trijagadiSa” SAranga and with “SambarAri vairiki ardha Saririni” in the “karuna judavamma” tOdi. And he uses several other potent words for this conceptual union (parASakti, parAtpari, OmkAri, SAmbhavi, SivE ) in the dharmasamvardhani dEvi kritis to cement his vision of the conjoined deity of this kSEtra.
The 10 dharmasamvardhani kritis of the tyAgarAja are organized as 5 pairs
1. “ninu brOva” in sAvEri and “parASakti manupardha” in sAvEri
2. “amma dharmasamvardhani” in athAna and “bAle balendu” in ritigaula
3. “karuna judavamma” in tOdi and “innAla vale” in dESya tOdi
4. “SivE pAhimAm” in kalyAni and “vidhi SakrAdulaku” in yamunA kalyAni
5. “amba ninu” in Arabhi and “nannu kanna” in kEsari
The pairing is further confirmed when each pair is aligned with one bhuta (and one Siva kriti)
The jala bhuta (and the kAvEri river)
“ninu brOva” in sAvEri and “parASakti manupardha” in sAvEri with the madhyamAvAti “muccata brahmAdulaku”
The 2 sAvEris represent water., with their phonetic similarity to the kAvEri, the main river of the pancAnadi.
Indeed, the tyAgarAjas gives a SEPARATE kriti to the river kAvEri, “sAri vedalina”… in what else…rAga a-sAvEri.
The prthvi bhuta (and the elephant)
“amma dharmasamvardhani” in athAna and “bAle balendu” in ritigaula with the athAna “ilalO pranatArtihara”
Here the riti-gaulA is the “walk” (= riti/way) of the gaula dEvi which is always elephantine, the gaja-gAmini.
The athAna rAga choice is explained in the post linked above.
The AkASa bhuta (the track of the sun and the moon thru the sky)
“karuna judavamma” in tOdi and “innAla vale” in dESya tOdi with the pantuvarAli “Siva Siva Siva yanarAda”
tOdi is the sun, especually as it travels thru the sky, as the god of all activity and life.
And pantuvarAli is the path of the moon also thru the sky.
Both the tOdi’s and the pantu-varAli form a natural set related to the AkASa bhuta.
The agni/tEja bhuta (the flame/lamp of enlightenment)
“SivE pAhimAm” in kalyAni and “vidhi SakrAdulaku” in yamunA kalyAni with the nArAyana gaula “darSanamu sEya”.
darSana always implies light and enlightenment. Indeed “vidhi SakrAdulaku” is also regarded as one of the tyAgarAjas darSana kritis…(really… aren’t they all). Indeed, the word “kalya” is root for this light as dawn or daybreak.
Why is kalyAn/kalyAni associated with light and therefore agni bhuta ?
The answer comes from no less than the vAlmiki rAmAyana… In the aranya kAnda of the rAmAyana 2-7-26 where the daSaratha installs rAma at dawn (kalyAn) after sending bharatA off – a key point of the Epic.
apa vAhya sa duShtAtmA bharatAn tava bandhuSu , kAlyAn sthApayitA rAmaM rAjyE nihatakantakE
The vAyu bhuta (the purifying “wind” of tripurahara and also of the lion rider durga-kEsari)
“amba ninu” in Arabhi and “nannu kanna” in kEsari with the SAranga “Ehi trijagadiSa”
kEsari is the lion vAhana of the vengeance filled lion riding durgA intent upon punishing the evil and purifying the worlds.
The roar of the lion is of course “rambhana”, leading naturally to the rAga Arabhi.
And SAranga has been shown to be tripuraharas bow and arrow cleaning up of the three cities.
All are emblems of the purifying wind., the pAvanam.
Summary
Only an unimaginative fool (or worse) can attempt to deny the careful structure of the tyAgarAjas pujA to the Siva-Sakti deities at the tiruvaiyAru kSEtra.
No one should listen to any of these kritis or ANY of these vAggeyakAras if they have contempt for any of the ideas expressed in the kritis.
On the occasion of dEvi navarAtri, the composite pujA of the vAggeyakAras must be comprehended.
In an upcoming post it will be explained WHY THERE ARE EXACTLY 10 dEvi kritis by the tyAgarAja at tiruvaiyAru !
hint: A SIXTEENTH kriti at tiruvaiyAru ( after 5 for Siva/pranatArthi + 10 for dEvi/dharmasamvardhani) gives the clue !!
The nAda-upAsaka rejoices in the gifts of the vAggeyakAras.
1. “ninu brOva” in sAvEri
b. SreerAm
https://www.youtube.com/watch?v=9B4Im99jK8Q
2. “parASakti manupardha” in sAvEri
sowmya
https://www.youtube.com/watch?v=cpWSiYxdZZU
3. “amma dharmasamvardhani” in athAna
S rAjam
https://www.youtube.com/watch?v=Gk9DDiK8kwI
4. “bAle balendu” in ritigaula
niSA r
https://www.youtube.com/watch?v=GhEL6EwN9KE
5. “karuna judavamma” in tOdi
mallAdi bros.
https://www.youtube.com/watch?v=Yz1lfi9QIVQ
6. “innAla vale” in dESya tOdi
prEma r
https://www.youtube.com/watch?v=zQLjP5hqQLg
7. “SivE pAhimAm” in kalyAni
Rk Murthy
https://www.youtube.com/watch?v=wm0VUZ2RSsU
8. “vidhi SakrAdulaku” in yamunA kalyAni
prasanna v
https://www.youtube.com/watch?v=e_AW_bQQjf8
9. “amba ninu” in Arabhi
Bombay sisters
https://www.youtube.com/watch?v=O_hckrHfNcw
10. “nannu kanna” in kEsari
Bombay jayaSri
https://www.youtube.com/watch?v=lbXIKPZvrtE
------------------------------------------------------------------------------------------
First an unfortunate but necessary digression regarding yet another foolish and inaccurate statement.
The previous post states .."It is noteworthy that Thyaagaraaja has not sung any kruthi explicitly on Sarawathy or Lakshmi"
Nothing could be further from the truth ! ....Where does this ignorance come from ?
tulasi is EXACTLY lakSmi. (Sri hari's consort)
It is therefore proper to remind all (EXCEPT the brain-dead), of the TULASI kritis of the tyAgarAja (tulasi = she who BALANCES Sri-hari.. )
As he says nivulEka trAsu-na Sri hari sari nilvaka poyyEna" in his "dEvi Sri tulassammA" mAyamAlavagaula kriti (trAsu = tarAju = tulA = BALANCE = ardhanAri )
--------------------------------------------------------------------------------------
On the occasion of dEvi navarAtri...this post is reiterated from when it was first made Jul 22, 2023.
The tyAgarAjas 5 pairs of dEvi kritis are EACH connected to the 5 panCanadiSa panCa bhuta Siva kritis of tiruvaiyAru.
For the last 200 years , the pujA of the supreme nAdayOgis has been submerged in insipid, parroted translations that have lost and obscured the basic connections between the kritis and the essential motivations of the vAggeyakAras.
The unfortunate focus of the music has become the worship of vidwAns and viduSis.
The tiruvaiyAru kSEtra is a prime example of this neglect, with its ridiculous Aradhana spectacle ....none of "vidwAns/viduSis" truly understands the words they are "mumbling". The purpose is to showcase technical skills and compete in talent contests pursuing applause.
But the situation is changing, at least in terms of understanding the intent of the kritis.
A post dated Jul 18, 2023, on this thread, establishes beyond a shred of doubt that the tyAgarAja conducts a panCa bhuta pujA offering 5 kritis , one to each bhuta , to the panCAkSara deity the panCanadiSa pranatArtihara Siva of tiruvaiyAru.
https://www.rasikas.org/forums/viewtopi ... 17#p379817
This panCa bhUta pujA At tiruvaiyAru is also known from the tEvAram (and will be discussed in an upcoming post)
The tiruvaiyAru Siva-Sakti also forms an ardhanAri, the concept of balance and Siva-Sakti union, expressed more than a 1000 years ago by the tEvAram. The tyAgarAja himself acknowledges the tiruvaiyAru ardhanAri with the words “Siva sAmba dEhi” in the “Ehi trijagadiSa” SAranga and with “SambarAri vairiki ardha Saririni” in the “karuna judavamma” tOdi. And he uses several other potent words for this conceptual union (parASakti, parAtpari, OmkAri, SAmbhavi, SivE ) in the dharmasamvardhani dEvi kritis to cement his vision of the conjoined deity of this kSEtra.
The 10 dharmasamvardhani kritis of the tyAgarAja are organized as 5 pairs
1. “ninu brOva” in sAvEri and “parASakti manupardha” in sAvEri
2. “amma dharmasamvardhani” in athAna and “bAle balendu” in ritigaula
3. “karuna judavamma” in tOdi and “innAla vale” in dESya tOdi
4. “SivE pAhimAm” in kalyAni and “vidhi SakrAdulaku” in yamunA kalyAni
5. “amba ninu” in Arabhi and “nannu kanna” in kEsari
The pairing is further confirmed when each pair is aligned with one bhuta (and one Siva kriti)
The jala bhuta (and the kAvEri river)
“ninu brOva” in sAvEri and “parASakti manupardha” in sAvEri with the madhyamAvAti “muccata brahmAdulaku”
The 2 sAvEris represent water., with their phonetic similarity to the kAvEri, the main river of the pancAnadi.
Indeed, the tyAgarAjas gives a SEPARATE kriti to the river kAvEri, “sAri vedalina”… in what else…rAga a-sAvEri.
The prthvi bhuta (and the elephant)
“amma dharmasamvardhani” in athAna and “bAle balendu” in ritigaula with the athAna “ilalO pranatArtihara”
Here the riti-gaulA is the “walk” (= riti/way) of the gaula dEvi which is always elephantine, the gaja-gAmini.
The athAna rAga choice is explained in the post linked above.
The AkASa bhuta (the track of the sun and the moon thru the sky)
“karuna judavamma” in tOdi and “innAla vale” in dESya tOdi with the pantuvarAli “Siva Siva Siva yanarAda”
tOdi is the sun, especually as it travels thru the sky, as the god of all activity and life.
And pantuvarAli is the path of the moon also thru the sky.
Both the tOdi’s and the pantu-varAli form a natural set related to the AkASa bhuta.
The agni/tEja bhuta (the flame/lamp of enlightenment)
“SivE pAhimAm” in kalyAni and “vidhi SakrAdulaku” in yamunA kalyAni with the nArAyana gaula “darSanamu sEya”.
darSana always implies light and enlightenment. Indeed “vidhi SakrAdulaku” is also regarded as one of the tyAgarAjas darSana kritis…(really… aren’t they all). Indeed, the word “kalya” is root for this light as dawn or daybreak.
Why is kalyAn/kalyAni associated with light and therefore agni bhuta ?
The answer comes from no less than the vAlmiki rAmAyana… In the aranya kAnda of the rAmAyana 2-7-26 where the daSaratha installs rAma at dawn (kalyAn) after sending bharatA off – a key point of the Epic.
apa vAhya sa duShtAtmA bharatAn tava bandhuSu , kAlyAn sthApayitA rAmaM rAjyE nihatakantakE
The vAyu bhuta (the purifying “wind” of tripurahara and also of the lion rider durga-kEsari)
“amba ninu” in Arabhi and “nannu kanna” in kEsari with the SAranga “Ehi trijagadiSa”
kEsari is the lion vAhana of the vengeance filled lion riding durgA intent upon punishing the evil and purifying the worlds.
The roar of the lion is of course “rambhana”, leading naturally to the rAga Arabhi.
And SAranga has been shown to be tripuraharas bow and arrow cleaning up of the three cities.
All are emblems of the purifying wind., the pAvanam.
Summary
Only an unimaginative fool (or worse) can attempt to deny the careful structure of the tyAgarAjas pujA to the Siva-Sakti deities at the tiruvaiyAru kSEtra.
No one should listen to any of these kritis or ANY of these vAggeyakAras if they have contempt for any of the ideas expressed in the kritis.
On the occasion of dEvi navarAtri, the composite pujA of the vAggeyakAras must be comprehended.
In an upcoming post it will be explained WHY THERE ARE EXACTLY 10 dEvi kritis by the tyAgarAja at tiruvaiyAru !
hint: A SIXTEENTH kriti at tiruvaiyAru ( after 5 for Siva/pranatArthi + 10 for dEvi/dharmasamvardhani) gives the clue !!
The nAda-upAsaka rejoices in the gifts of the vAggeyakAras.
1. “ninu brOva” in sAvEri
b. SreerAm
https://www.youtube.com/watch?v=9B4Im99jK8Q
2. “parASakti manupardha” in sAvEri
sowmya
https://www.youtube.com/watch?v=cpWSiYxdZZU
3. “amma dharmasamvardhani” in athAna
S rAjam
https://www.youtube.com/watch?v=Gk9DDiK8kwI
4. “bAle balendu” in ritigaula
niSA r
https://www.youtube.com/watch?v=GhEL6EwN9KE
5. “karuna judavamma” in tOdi
mallAdi bros.
https://www.youtube.com/watch?v=Yz1lfi9QIVQ
6. “innAla vale” in dESya tOdi
prEma r
https://www.youtube.com/watch?v=zQLjP5hqQLg
7. “SivE pAhimAm” in kalyAni
Rk Murthy
https://www.youtube.com/watch?v=wm0VUZ2RSsU
8. “vidhi SakrAdulaku” in yamunA kalyAni
prasanna v
https://www.youtube.com/watch?v=e_AW_bQQjf8
9. “amba ninu” in Arabhi
Bombay sisters
https://www.youtube.com/watch?v=O_hckrHfNcw
10. “nannu kanna” in kEsari
Bombay jayaSri
https://www.youtube.com/watch?v=lbXIKPZvrtE
-
RSR
- Posts: 3427
- Joined: 11 Oct 2015, 23:31
Re: Thyagaraja (Krithis)
Tulasi is NOT Lakshmi. To remind the puraNa-misled vulgar minds, according to Vishnu puraaNa, when the ocean was churned, Lakshmi appeared and chose totally unmoved Mahaa vishnu as husband .
When the churning continued, Tulasi appeared and she too chose Vishnu as consort.
But, Vishnu could not accept her as he ,as in his Raama avatar later, was also aeka-pathni vrathan,
Out of compassion, Vishnu declared that tulasi is dear to him for her devotion and hence she will be used by devotees in their poojas as the main flower.
it is auspicious and fragrant.
And just like Thaayaar , Thulasi being very easily accessible to the common people, is a proxy for worshipping Lakshmi.
Read the kruthis on Tulasi by Thyagaraja swami carefully. And see the difference in treatment from that of annamacharya.'s amorous kruthis.
There is no kruthi, which extols Tulasi as consort of vishnu.
As she is dear to Vishnu as a devotee, she is adored by other devotees too.
.
Is there any day allotted to Tulasi during Navarathri? NO.
.
Read all the nine kruthis of Thyaagaraaja swaami on Dharmasamvardhani at Thiruvaiyaaru.
carefully, throwing off the obsession with 50% and vaama.( in fact, 'vaamachaari' has a very bad connotation even among tantriks).
KaaLi is the primordial deity.
Panchanadheeswaran is lord of that territiry but ambaaL is the upholder of justice.
Navarathri is Durga pooja.
.
It is ri'ug-vedic hint, just a sparse hint that Uma is the consort of Rudra/Siva.
Uma is never portrayed as ugra-devi in ruig veda. But the sangam portrayal is always as ugra devi for the evil doers and infinitely compassionate and protective of HER universal children as all mothers are. That is the Thamizh tradition , faithfully sung by shyaama saastry,
The visualizarion of Rudra/Siva in Rui'gveda is infinitely greater than the pre-aryan phallic portrayal.
The ruig-veda explicitly spews contempt, generally on all icons .It is iconoclastic. It derides the indus group as 'sisna-vaadins'.
Even parts of ancient lore glorify correctly, the grand role of Siva as Neela kantan, and his protection of people , by taking the torrentially descending Ganga in his matted locks,
for ever engraved in our minds by the glorious painting of Ganga, Siva, bagiratha.
.
Even the Nataraja icon is grand.
Where is any such stone icon , except the 'lingam' in siva temples?
When the churning continued, Tulasi appeared and she too chose Vishnu as consort.
But, Vishnu could not accept her as he ,as in his Raama avatar later, was also aeka-pathni vrathan,
Out of compassion, Vishnu declared that tulasi is dear to him for her devotion and hence she will be used by devotees in their poojas as the main flower.
it is auspicious and fragrant.
And just like Thaayaar , Thulasi being very easily accessible to the common people, is a proxy for worshipping Lakshmi.
Read the kruthis on Tulasi by Thyagaraja swami carefully. And see the difference in treatment from that of annamacharya.'s amorous kruthis.
There is no kruthi, which extols Tulasi as consort of vishnu.
As she is dear to Vishnu as a devotee, she is adored by other devotees too.
.
Is there any day allotted to Tulasi during Navarathri? NO.
.
Read all the nine kruthis of Thyaagaraaja swaami on Dharmasamvardhani at Thiruvaiyaaru.
carefully, throwing off the obsession with 50% and vaama.( in fact, 'vaamachaari' has a very bad connotation even among tantriks).
KaaLi is the primordial deity.
Panchanadheeswaran is lord of that territiry but ambaaL is the upholder of justice.
Navarathri is Durga pooja.
.
It is ri'ug-vedic hint, just a sparse hint that Uma is the consort of Rudra/Siva.
Uma is never portrayed as ugra-devi in ruig veda. But the sangam portrayal is always as ugra devi for the evil doers and infinitely compassionate and protective of HER universal children as all mothers are. That is the Thamizh tradition , faithfully sung by shyaama saastry,
The visualizarion of Rudra/Siva in Rui'gveda is infinitely greater than the pre-aryan phallic portrayal.
The ruig-veda explicitly spews contempt, generally on all icons .It is iconoclastic. It derides the indus group as 'sisna-vaadins'.
Even parts of ancient lore glorify correctly, the grand role of Siva as Neela kantan, and his protection of people , by taking the torrentially descending Ganga in his matted locks,
for ever engraved in our minds by the glorious painting of Ganga, Siva, bagiratha.
.
Even the Nataraja icon is grand.
Where is any such stone icon , except the 'lingam' in siva temples?
Last edited by RSR on 23 Oct 2023, 17:16, edited 2 times in total.
-
RSR
- Posts: 3427
- Joined: 11 Oct 2015, 23:31
Re: Thyagaraja (Krithis)
https://youtu.be/6aFFa6fHoiY?si=36cL8RiYZ--yZjvV
"M S Subbulakshmi -
Tulasi Dalamulache - Mayamalavagaula -
Tyagaraja Swami"
Gist
I shall joyously worship with tulasI leaves.
For a long time, I shall always joyously worship the holy feet of the Supreme Lord with tulasI leaves.
In this birth on the Earth, I shall joyously worship Lord SrI rAma –
dharmA embodied, resident of ayOdhyA town, extolled by this tyAgarAja,
with these best fragrant flowers - lotus, punnAga, campaka, pATala, henna, oleander, jasmine, and tulasI leaves.....
............
Thyagaraja Kriti -
Tulasi Jagajjanani - Raga Saaveri
"M S Subbulakshmi -
Tulasi Dalamulache - Mayamalavagaula -
Tyagaraja Swami"
Gist
I shall joyously worship with tulasI leaves.
For a long time, I shall always joyously worship the holy feet of the Supreme Lord with tulasI leaves.
In this birth on the Earth, I shall joyously worship Lord SrI rAma –
dharmA embodied, resident of ayOdhyA town, extolled by this tyAgarAja,
with these best fragrant flowers - lotus, punnAga, campaka, pATala, henna, oleander, jasmine, and tulasI leaves.....
............
Thyagaraja Kriti -
Tulasi Jagajjanani - Raga Saaveri
-
RSR
- Posts: 3427
- Joined: 11 Oct 2015, 23:31
Re: Thyagaraja (Krithis)
Tyagaraja (1767-1847) has probably left behind the largest corpus of songs in praise of Tulasi.
Among these
Amma Ravamma (Kalyani, Jhampa) is perhaps the most popular.
https://youtu.be/Cyo2X_U5Tvg?si=D_C2tkmnn3MObcYg
"Amma Ravamma-
Kalyani- Jhampa- Thyagaraja-
Alathur Brothers"
vishNu bestowed boon to tuLasi – You will be worshipped by everyone; You will be worn on everybody’s head; You will be worthy of my worship and respect.” (Translation by Anna – in Tamil) (retranslated to English)
..,.,
Tulasi Jagajjanani ([/b]Saveri, Rupakam) was a favourite of Semmangudi Srinivasa Iyer’s and his elaborate treatment of the song in his Music Academy concert of 1967 (Tyagaraja’s bi-centenary) stands out. This song describes the greatness of Tulasi and states that the root of the Tulasi is like Vaikunta (the abode of Vishnu) for all rivers, while the stalk is the abode of the Gods and the tip is where the Vedas and the scriptures reside.
"Semmangudi Srinivasa Iyer -
tuLasI jagajjananI duritApahAriNI - sAvEri - tyAgarAja"
https://youtu.be/PmBONp6KLjY?si=4ZL7D0bpvrDe7HZZ
..
Tulasi Dalamulache (Mayamalavagaula, Adi) is really not so much on Tulasi as it is on the worship of the Lord..
Another song in this category is
Tulasi Bilva (Kedara Gaula, Adi) which again describes the worship of the Lord with several flowers.
The Alathoor Brothers made it their own.
https://youtu.be/usAGRf825Ak?si=gJMRLdIZc_mz1qfD
"Alathoor Brothers-
Tulasi Bilva-KedaraGowla-Adi-Thyagaraja"
Coming back to songs on Tulasi, Tyagaraja gave us two more,
Devi Sri Tulasamma (Mayamalavagaula, Adi) and Sritulasamma (Devagandhari, Adi), but these are rarely heard in concerts.
( courtesy..sriramv)
Among these
Amma Ravamma (Kalyani, Jhampa) is perhaps the most popular.
https://youtu.be/Cyo2X_U5Tvg?si=D_C2tkmnn3MObcYg
"Amma Ravamma-
Kalyani- Jhampa- Thyagaraja-
Alathur Brothers"
vishNu bestowed boon to tuLasi – You will be worshipped by everyone; You will be worn on everybody’s head; You will be worthy of my worship and respect.” (Translation by Anna – in Tamil) (retranslated to English)
..,.,
Tulasi Jagajjanani ([/b]Saveri, Rupakam) was a favourite of Semmangudi Srinivasa Iyer’s and his elaborate treatment of the song in his Music Academy concert of 1967 (Tyagaraja’s bi-centenary) stands out. This song describes the greatness of Tulasi and states that the root of the Tulasi is like Vaikunta (the abode of Vishnu) for all rivers, while the stalk is the abode of the Gods and the tip is where the Vedas and the scriptures reside.
"Semmangudi Srinivasa Iyer -
tuLasI jagajjananI duritApahAriNI - sAvEri - tyAgarAja"
https://youtu.be/PmBONp6KLjY?si=4ZL7D0bpvrDe7HZZ
..
Tulasi Dalamulache (Mayamalavagaula, Adi) is really not so much on Tulasi as it is on the worship of the Lord..
Another song in this category is
Tulasi Bilva (Kedara Gaula, Adi) which again describes the worship of the Lord with several flowers.
The Alathoor Brothers made it their own.
https://youtu.be/usAGRf825Ak?si=gJMRLdIZc_mz1qfD
"Alathoor Brothers-
Tulasi Bilva-KedaraGowla-Adi-Thyagaraja"
Coming back to songs on Tulasi, Tyagaraja gave us two more,
Devi Sri Tulasamma (Mayamalavagaula, Adi) and Sritulasamma (Devagandhari, Adi), but these are rarely heard in concerts.
( courtesy..sriramv)
Last edited by RSR on 23 Oct 2023, 17:37, edited 3 times in total.
-
nAdopAsaka
- Posts: 890
- Joined: 20 Jul 2020, 17:05
Re: Thyagaraja (Krithis)
The foolish statement that the tyAgarAja has no explicit kritis to lakSmi is refuted by the tyAgarAjas kritis to tulasi.
The tyAgarAja is abundantly clear that in his kritis , tulasi is EXACTLY Sri-haris consort ( = lakSmi)
In the mAyAmAlavagaula kriti "dEvi Sri tulassamma” - “Sri-hari loses his balance without tulasi”
In the kalyAni “amma rAvamma” - “Sri hari (father of Cupid) does not part with tulasi even in his dreams”
In the dEvagAndhAri “Sri tulasamma” - “vara-dudu ninu prEma judu”, i.e. viSnu looks at tulasi with love.
(the usage “vara” within varada is notable)
The words are not being read or understood, as expected. The words and ideas are being denied due to ignorance.
The issue has nothing to do with dEvi navarAtri.
But it must also be added..”Those who have contempt for the ardhanAri should not utter ANY dEvis name”
The tyAgarAja is abundantly clear that in his kritis , tulasi is EXACTLY Sri-haris consort ( = lakSmi)
In the mAyAmAlavagaula kriti "dEvi Sri tulassamma” - “Sri-hari loses his balance without tulasi”
In the kalyAni “amma rAvamma” - “Sri hari (father of Cupid) does not part with tulasi even in his dreams”
In the dEvagAndhAri “Sri tulasamma” - “vara-dudu ninu prEma judu”, i.e. viSnu looks at tulasi with love.
(the usage “vara” within varada is notable)
The words are not being read or understood, as expected. The words and ideas are being denied due to ignorance.
The issue has nothing to do with dEvi navarAtri.
But it must also be added..”Those who have contempt for the ardhanAri should not utter ANY dEvis name”
-
RSR
- Posts: 3427
- Joined: 11 Oct 2015, 23:31
Re: Thyagaraja (Krithis)
In continuation of Thyaagaraaja swami kruthis on Tulasi, here are the renditions.
..
"Devi Sri Tulasamma - Mayamalavagaula - Adi | Tulasi Krithis of Thyagarajar" on YouTube
https://youtu.be/8Nw6pZ_wtnI?si=fC5wRVY30yqKuMi2
...
Gist
O dEvi! O Mother SrI tuLasi! O Our Mother!
O Sanctifier! O Great dEvi!
O Mother praised by this tyAgarAja!
This indeed is the opportune moment to protect me (us).
brahmA, indra and others are effulgent because of their devotion to You.
Without You, Lord Siva and Lord vishNu don’t like lotus and other flowers.
(So, siva also is half of such a chaste lady?..brutish boors only can spoil the sanctity of the Sathguru, like this).
Sanctified water, served (or partaken) without You, is called ‘water’ only – (not sanctified water).
Without You, nothing could balance Lord SrI hari on the scale.
(Simply refers to a story ..of how tulasi leaf, added to one side of thulam, is so weighty, due to its being pure and devoted).
(Typical kilpauk semis and lunars interpret in vandi style. )
Without You, does anyone call a garland 'vanamAla'?
Who is equal to You?
This indeed is the opportune moment to protect me (us).
...
Sri Devi Tulasamma in Mayamalawagowla is composed by Saint Thyagarja.
Tulasamma Ma Inti in Devagandhari is composed by Mysore Vasudevachar
..
This thread is for Thyaagaraaja swami.
When 50% drunks , give their perverted interpretations, it is right to throw out such filth.
..
"Devi Sri Tulasamma - Mayamalavagaula - Adi | Tulasi Krithis of Thyagarajar" on YouTube
https://youtu.be/8Nw6pZ_wtnI?si=fC5wRVY30yqKuMi2
...
Gist
O dEvi! O Mother SrI tuLasi! O Our Mother!
O Sanctifier! O Great dEvi!
O Mother praised by this tyAgarAja!
This indeed is the opportune moment to protect me (us).
brahmA, indra and others are effulgent because of their devotion to You.
Without You, Lord Siva and Lord vishNu don’t like lotus and other flowers.
(So, siva also is half of such a chaste lady?..brutish boors only can spoil the sanctity of the Sathguru, like this).
Sanctified water, served (or partaken) without You, is called ‘water’ only – (not sanctified water).
Without You, nothing could balance Lord SrI hari on the scale.
(Simply refers to a story ..of how tulasi leaf, added to one side of thulam, is so weighty, due to its being pure and devoted).
(Typical kilpauk semis and lunars interpret in vandi style. )
Without You, does anyone call a garland 'vanamAla'?
Who is equal to You?
This indeed is the opportune moment to protect me (us).
...
Sri Devi Tulasamma in Mayamalawagowla is composed by Saint Thyagarja.
Tulasamma Ma Inti in Devagandhari is composed by Mysore Vasudevachar
..
This thread is for Thyaagaraaja swami.
When 50% drunks , give their perverted interpretations, it is right to throw out such filth.
-
nAdopAsaka
- Posts: 890
- Joined: 20 Jul 2020, 17:05
tulasi = sitA = lakSmi -ALL other NONSENSE is dismantled with exact references from vAlmiki, tulasidAsa & the tyAgarAja
tulasi = sitA = lakSmi - ALL other NONSENSE is dismantled with exact references from vAlmiki, tulasidAsa and the tyAgarAja
1. The equivalence of sitA with lakSmi and rAma with viSnu is cited in none other than the vAlmiki rAmAyana- yuddha kAnda 6-117-28
sitA lakSmirbhavAn viSnurdEvaḥ krSnah prajApatih
vadhArtham rAvanasyeha praviSto mAnuSim tanum
translation
"sitA is no other than lakSmi (the divine consort of Lord viSnu), while you (rAma) are Lord viSnu.
2. tulasi-dAsa considers tulasi = sitA = tulasamma, his mother and the mother of the universe (see rAmaCaritamAnas)
sikha hamAri suni parama punita, jagadambA jAnahu jiyA sitA bAla kAnda Caupai 245
Also
tulasikA hari-hi priya, sunu sitA tava nAma sumiri nAri patibrata
3. It is this mother (sitA = lakSmi = tulasi) that appears in amma rAvamma tulassama (of the tyAgarAja) which gives the unmistakeable line
“Sri hari (father of Cupid) does not part with tulasi even in his dreams”...
(WHY is the clown avoiding translating this line ?)
4. BOTH tulasi-dAsa and saraswati are noted by the tyAgarAja in the invocation preceding the prahlAda bhakti vijayam
It is the 3rd stanza for saraswati
vAnI ninu vEdedanu, purAnI nA rasanayandu ranjillavE, kalyAni vInA pustaka pAnI
mAdhurya vAni padmaju rAnI
The 5th stanza specifies tulasi-dAsa.
tuLasI kAnanamanduna vilasita muga harini jUci vismaya yutudai pulakI kRta tanudagunA
tulasI dAsa varu sannutulu sEtu madin
Please do not try to distort the vAggeyakAras kritis or the vAlmiki rAmAyana or the tulasidAsa rAmaCaritamAnas, simply because you do not understand the words or ideas..
amma rAvamma – rAga kalyAni
rk murthy
https://www.youtube.com/watch?v=LzENX4DFyJw
veena jayanti
https://www.youtube.com/watch?v=yXW-08CWYtg
1. The equivalence of sitA with lakSmi and rAma with viSnu is cited in none other than the vAlmiki rAmAyana- yuddha kAnda 6-117-28
sitA lakSmirbhavAn viSnurdEvaḥ krSnah prajApatih
vadhArtham rAvanasyeha praviSto mAnuSim tanum
translation
"sitA is no other than lakSmi (the divine consort of Lord viSnu), while you (rAma) are Lord viSnu.
2. tulasi-dAsa considers tulasi = sitA = tulasamma, his mother and the mother of the universe (see rAmaCaritamAnas)
sikha hamAri suni parama punita, jagadambA jAnahu jiyA sitA bAla kAnda Caupai 245
Also
tulasikA hari-hi priya, sunu sitA tava nAma sumiri nAri patibrata
3. It is this mother (sitA = lakSmi = tulasi) that appears in amma rAvamma tulassama (of the tyAgarAja) which gives the unmistakeable line
“Sri hari (father of Cupid) does not part with tulasi even in his dreams”...
(WHY is the clown avoiding translating this line ?)
4. BOTH tulasi-dAsa and saraswati are noted by the tyAgarAja in the invocation preceding the prahlAda bhakti vijayam
It is the 3rd stanza for saraswati
vAnI ninu vEdedanu, purAnI nA rasanayandu ranjillavE, kalyAni vInA pustaka pAnI
mAdhurya vAni padmaju rAnI
The 5th stanza specifies tulasi-dAsa.
tuLasI kAnanamanduna vilasita muga harini jUci vismaya yutudai pulakI kRta tanudagunA
tulasI dAsa varu sannutulu sEtu madin
Please do not try to distort the vAggeyakAras kritis or the vAlmiki rAmAyana or the tulasidAsa rAmaCaritamAnas, simply because you do not understand the words or ideas..
amma rAvamma – rAga kalyAni
rk murthy
https://www.youtube.com/watch?v=LzENX4DFyJw
veena jayanti
https://www.youtube.com/watch?v=yXW-08CWYtg
-
RSR
- Posts: 3427
- Joined: 11 Oct 2015, 23:31
Re: Thyagaraja (Krithis)
A definite NO.
Lakshmi is not Sita devi.
Raamaa is not Vishnu.
.
It is an avataar only.
..
Tulasi is not Lakshmi. She is a devotee of vishnu.
.
.
Lakshmi is not Sita devi.
Raamaa is not Vishnu.
.
It is an avataar only.
..
Tulasi is not Lakshmi. She is a devotee of vishnu.
.
.
-
nAdopAsaka
- Posts: 890
- Joined: 20 Jul 2020, 17:05
Re: Thyagaraja (Krithis)
Lets see...vAlmiki, tulasi-dAsa , the tyAgarAja versus some ignoramus (who has no clue or understanding of Words/languages)....no contest...!
-
RSR
- Posts: 3427
- Joined: 11 Oct 2015, 23:31
Re: Thyagaraja (Krithis)
A silly kudumi, who misses the wood for the trees. That is what some semis are.
.
Though it is futile, here are a few points.
An incarnation should not be equated with the Almighty, especially, when the incarnation is human.
.
Parasurama was an incarnation. He did not hesitate to kill his own mother as ordered by his father. Is it a role model?
.
Mahabali was a great 'asura' emperor and a steadfast devotee of Hari. He came in the same lineage as that gem of hari-bhaktha, Prahladha. Why should Hari as vaamana, dethrone Mahaabali? What sins did he commit?
.
Why did Raamaa kill Vaali, just to get the help of Sugriva, in getting Sita back?
.
Why did Raamaa order the fire ordeal of Sita ,before taking her back? Not
once but twice?
Just imagine if MahaVishnu has any such dark spots , except in cheap dirty and filthy puraanaas. dime a dozen.
Is there any instance where the vedic-sanctified Lakshmi, ever sheds tears?
Is she ever 'tested' by MahaVIshnu?
Would a Lakshmi-incarnate doubt and abuse, Lakshmana as in the mareesan episode?
.
Thyaagaraaja had his own vision and version of Raamaayanam. He was not following any previous texts blindly.
If the Gita's message is so very transparent that it can be understood correctly even by ardhas, why every aachaarya had to begin their work with their own bhaashyam?
Sankara, Raamaanuja , Maadhwa, gnyaaneswar,?
Does any really pious vaishnavite give credence to the filthy story of MahaVishnu seducing Tulasi in the assumed form of her asura husband?
.
.
What is the use of using numerous wrong pictures from idiotic puraanas , mostly sectarian rubbish?
.
This thread is for sharing the MUSIC of Thyaagaraja swami .
.
Raagam choice is intutive for inspired vak geya karas. It is not based on words but on emotions and rasa. Even then some raagams can find suitabilty in portraying many rasas.
It will be a resounding defeat of your pet-theory, if you try to explain how there are verbal associations in the lyrics for ALL the 30 Todi kruthis of the Swany.
Similarly, for dozens of his kruthis in Harikambodhi or Karaharapriya.
.
This hair-brained and inane attempt of the incorrigible and insane imbecile simply diverts the rasikas from music into mere verbiage.
And belittles the main contribution of the greatest saint-composer of carnatic music.
.
The crook misuses sacred texts for his own 'gay' gushings.
.
Seems to be the spokesman of the current hippie cult of the western world
LGBT (lesbian, gay, bisexual, and transgender)
.
Though it is futile, here are a few points.
An incarnation should not be equated with the Almighty, especially, when the incarnation is human.
.
Parasurama was an incarnation. He did not hesitate to kill his own mother as ordered by his father. Is it a role model?
.
Mahabali was a great 'asura' emperor and a steadfast devotee of Hari. He came in the same lineage as that gem of hari-bhaktha, Prahladha. Why should Hari as vaamana, dethrone Mahaabali? What sins did he commit?
.
Why did Raamaa kill Vaali, just to get the help of Sugriva, in getting Sita back?
.
Why did Raamaa order the fire ordeal of Sita ,before taking her back? Not
once but twice?
Just imagine if MahaVishnu has any such dark spots , except in cheap dirty and filthy puraanaas. dime a dozen.
Is there any instance where the vedic-sanctified Lakshmi, ever sheds tears?
Is she ever 'tested' by MahaVIshnu?
Would a Lakshmi-incarnate doubt and abuse, Lakshmana as in the mareesan episode?
.
Thyaagaraaja had his own vision and version of Raamaayanam. He was not following any previous texts blindly.
If the Gita's message is so very transparent that it can be understood correctly even by ardhas, why every aachaarya had to begin their work with their own bhaashyam?
Sankara, Raamaanuja , Maadhwa, gnyaaneswar,?
Does any really pious vaishnavite give credence to the filthy story of MahaVishnu seducing Tulasi in the assumed form of her asura husband?
.
.
What is the use of using numerous wrong pictures from idiotic puraanas , mostly sectarian rubbish?
.
This thread is for sharing the MUSIC of Thyaagaraja swami .
.
Raagam choice is intutive for inspired vak geya karas. It is not based on words but on emotions and rasa. Even then some raagams can find suitabilty in portraying many rasas.
It will be a resounding defeat of your pet-theory, if you try to explain how there are verbal associations in the lyrics for ALL the 30 Todi kruthis of the Swany.
Similarly, for dozens of his kruthis in Harikambodhi or Karaharapriya.
.
This hair-brained and inane attempt of the incorrigible and insane imbecile simply diverts the rasikas from music into mere verbiage.
And belittles the main contribution of the greatest saint-composer of carnatic music.
.
The crook misuses sacred texts for his own 'gay' gushings.
.
Seems to be the spokesman of the current hippie cult of the western world
LGBT (lesbian, gay, bisexual, and transgender)
-
nAdopAsaka
- Posts: 890
- Joined: 20 Jul 2020, 17:05
vijayadaSami – Victory over Untruth and apa-Sruti – the lion-riding mahiSAsura mardinI and the tyAgarAjas kEsari kriti
vijayadaSami – Victory over Untruth and apa-Sruti – the lion-riding mahiSAsura mardinI and the tyAgarAjas kEsari kriti
The purpose of the vAggeyakAras and their music and words, is always to expose and destroy apa-Sruti = untruth.
On vijayadaSami, no finer illustration of this victory than seen on this thread.
Fittingly, this “mahiSAsura mardini” is celebrated by the tyAgarAja with the rAga of the same name = kEsari for the lion-rider.
nannu kanna talli – rAga kEsari
BMK
https://www.youtube.com/watch?v=fwZ0i1tcxiw
Bombay jayaSri
https://www.youtube.com/watch?v=bWzoZRAzT-o
The purpose of the vAggeyakAras and their music and words, is always to expose and destroy apa-Sruti = untruth.
On vijayadaSami, no finer illustration of this victory than seen on this thread.
Fittingly, this “mahiSAsura mardini” is celebrated by the tyAgarAja with the rAga of the same name = kEsari for the lion-rider.
nannu kanna talli – rAga kEsari
BMK
https://www.youtube.com/watch?v=fwZ0i1tcxiw
Bombay jayaSri
https://www.youtube.com/watch?v=bWzoZRAzT-o
-
RSR
- Posts: 3427
- Joined: 11 Oct 2015, 23:31
Re: Thyagaraja (Krithis)
https://youtu.be/s3DvNshn_Is?si=CY0jTXz1rQgzcWXg
MS Subbulakshmi-
Nannu Kanna Talli-
Sindhukannada-
..
One of the NINE kruthis on the Goddess of Thiruvaiyaaru.
Hailed as sister of Vishnu.
Absolutely no mention about Siva.
Note the raagam name.
..
Mother who bore me! O My Fortune! O nArAyaNi! O dharmAmbikE! O Mother whose limbs are golden hued! O Sister of vishNu! O kAtyAyani! O Lotus Eyed! O Mother who always grants boons - praised by this tyAgarAja!
Please protect me;
While I entreat You again and again to protect me and (I am) dissipating, if You remain without protecting me, who else will protect?
MS Subbulakshmi-
Nannu Kanna Talli-
Sindhukannada-
..
One of the NINE kruthis on the Goddess of Thiruvaiyaaru.
Hailed as sister of Vishnu.
Absolutely no mention about Siva.
Note the raagam name.
..
Mother who bore me! O My Fortune! O nArAyaNi! O dharmAmbikE! O Mother whose limbs are golden hued! O Sister of vishNu! O kAtyAyani! O Lotus Eyed! O Mother who always grants boons - praised by this tyAgarAja!
Please protect me;
While I entreat You again and again to protect me and (I am) dissipating, if You remain without protecting me, who else will protect?
-
nAdopAsaka
- Posts: 890
- Joined: 20 Jul 2020, 17:05
vijayadaSami - the Victory of truth/Sruti & the destruction of untruth/apa-Sruti
vijayadaSami - the Victory of truth/Sruti & the destruction of untruth/apa-Sruti
EVERYTHING this monumental fool says is untrue..
1. There are 10 dEvi kritis by the tyAgarAja at tiruvaiyAru (not 9)
2. The kriti “nannu kanna talli” is ONLY in rAga kEsari (sindhu-kannada is a bogus name this kriti)
Why ?
because kEsari applies to durgA who is both kEsari-vAhana and kEsari-varna (indeed, the tyAgarAja gives her the name = kanakAngi for the golden color in the kriti) ..Of course the lion is golden maned hence kEsari vAhana.
3. And the cretin says ..there is no mention of Siva in :"nannu kanna talli" ?!
This is the problem with not knowing Words or the scripture.
kAtyAyana = Siva as Cave dweller and kAtyAyani refers to the Cave dwelling goddess.
How, the stunned cretin might ask…?
Because when she is described as “Sumbha nASini”, durgA takes the name kAtyAyani…
skanda purAna arbuda khanda, stanza 24 defines kAtyAyani as the CAVE dweller = guha madhya vAsini
who is also Sumbha’s destroyer
tatO gaChEnrpaSrEStha guha madhyavAsini dEvi kAtyAyani yatra SumbhadAnava-nASini
translation
one must visit the goddess dwelling inside the cave. The Goddess kAtyAyani , killer of demon Sumbha
Indeed the origin of the Word kAta for CAVE = guha etc is ancient..
Rig Veda 1.106.6 gives
इन्द्रं॒ कुत्सो॑ वृत्र॒हणं॒ शची॒पतिं॑ का॒टे निबा॑ळ्ह॒ ऋषि॑रह्वदू॒तये॑
indram kutsO vrtrahanam SaCipatim kAtE nibAlha rSir ahvad UtayE
“Kutsa, the ṛṣi, is thrown into a cave..... = kAta”.
guha = kAta , kAtyAyana = Siva, kAtyAyani (= Sumbha nASini) = durgA.
Case closed..
In fact the mahiSAsura mardini stOtra of the Adi Sankara gives the durgA as ardhanAri (in stanza 10)
jaya jaya hE mahiSAsura mardini ramya kapardini Saila sutE
Stanza 10
नटित नटार्ध नटी नट नायक नाटितनाट्य सुगानरते
natita natArtha nati nata nAyaka nAtitanAtya sugAnaratE
Notably the Dikshitar applies the same idea as “SankarArdhaSaririni” in his kriti “mahiSAsura mardinim”.
None of this is for lewd perverts of course.
Summary
saraswati/durgA ALWAYS destroys untruth.
On vijayadaSami, no better example than this moron.
ps..Have some self-respect, stay silent instead of taking this abuse.
nannu kanna talli - rAga kEsari
Hyd bros.
https://www.youtube.com/watch?v=Waem78icU_w
EVERYTHING this monumental fool says is untrue..
1. There are 10 dEvi kritis by the tyAgarAja at tiruvaiyAru (not 9)
2. The kriti “nannu kanna talli” is ONLY in rAga kEsari (sindhu-kannada is a bogus name this kriti)
Why ?
because kEsari applies to durgA who is both kEsari-vAhana and kEsari-varna (indeed, the tyAgarAja gives her the name = kanakAngi for the golden color in the kriti) ..Of course the lion is golden maned hence kEsari vAhana.
3. And the cretin says ..there is no mention of Siva in :"nannu kanna talli" ?!
This is the problem with not knowing Words or the scripture.
kAtyAyana = Siva as Cave dweller and kAtyAyani refers to the Cave dwelling goddess.
How, the stunned cretin might ask…?
Because when she is described as “Sumbha nASini”, durgA takes the name kAtyAyani…
skanda purAna arbuda khanda, stanza 24 defines kAtyAyani as the CAVE dweller = guha madhya vAsini
who is also Sumbha’s destroyer
tatO gaChEnrpaSrEStha guha madhyavAsini dEvi kAtyAyani yatra SumbhadAnava-nASini
translation
one must visit the goddess dwelling inside the cave. The Goddess kAtyAyani , killer of demon Sumbha
Indeed the origin of the Word kAta for CAVE = guha etc is ancient..
Rig Veda 1.106.6 gives
इन्द्रं॒ कुत्सो॑ वृत्र॒हणं॒ शची॒पतिं॑ का॒टे निबा॑ळ्ह॒ ऋषि॑रह्वदू॒तये॑
indram kutsO vrtrahanam SaCipatim kAtE nibAlha rSir ahvad UtayE
“Kutsa, the ṛṣi, is thrown into a cave..... = kAta”.
guha = kAta , kAtyAyana = Siva, kAtyAyani (= Sumbha nASini) = durgA.
Case closed..
In fact the mahiSAsura mardini stOtra of the Adi Sankara gives the durgA as ardhanAri (in stanza 10)
jaya jaya hE mahiSAsura mardini ramya kapardini Saila sutE
Stanza 10
नटित नटार्ध नटी नट नायक नाटितनाट्य सुगानरते
natita natArtha nati nata nAyaka nAtitanAtya sugAnaratE
Notably the Dikshitar applies the same idea as “SankarArdhaSaririni” in his kriti “mahiSAsura mardinim”.
None of this is for lewd perverts of course.
Summary
saraswati/durgA ALWAYS destroys untruth.
On vijayadaSami, no better example than this moron.
ps..Have some self-respect, stay silent instead of taking this abuse.
nannu kanna talli - rAga kEsari
Hyd bros.
https://www.youtube.com/watch?v=Waem78icU_w
-
RSR
- Posts: 3427
- Joined: 11 Oct 2015, 23:31
Re: Thyagaraja (Krithis)
Daughter of Sage Katyayana, hence known as Katyayani
Katyayani (कात्यायनी) is an aspect of Mahadevi and the slayer of the tyrannical demon Mahishasura. She is the sixth among the Navadurgas, the nine forms of Hindu goddess Durga who are worshipped during the festival of Navaratri.[1] She is depicted with four, ten or eighteen hands. This is the second name given for Goddess Adi Parashakti in Amarakosha, the Sanskrit lexicon (Goddess Parvati names- Uma, Katyayani, Gauri, Kali, Haimavati,
Katyayani (कात्यायनी) is an aspect of Mahadevi and the slayer of the tyrannical demon Mahishasura. She is the sixth among the Navadurgas, the nine forms of Hindu goddess Durga who are worshipped during the festival of Navaratri.[1] She is depicted with four, ten or eighteen hands. This is the second name given for Goddess Adi Parashakti in Amarakosha, the Sanskrit lexicon (Goddess Parvati names- Uma, Katyayani, Gauri, Kali, Haimavati,
-
nAdopAsaka
- Posts: 890
- Joined: 20 Jul 2020, 17:05
panCabhuta pujA at tiruvaiyAru - in the tEvAram & the Dikshitar & the tyAgarAja
panCabhuta pujA at tiruvaiyAru - in the tEvAram & the Dikshitar and the tyAgarAja
The tEvAram (1st tirumurai, 8th stanza) establishes the panCa bhUta pujA at tiruvaiyAru.... more than a thousand years ago !
And both the tyAgarAja and the Dikshitar show the influence.
The Dikshitars 5 kritis at tiruvaiyAru (to the pranatArthi / dharmasamvardhani) EACH carry a unique bhUta mudra.
1. paramESwara jagadISwara rAga nATa - Apa bhUta
panCabrahmahatyAdi pApahara
2. dharmasamvardhani danuja – rAga madhyamAvati - prthvi bhUta
dharA dharAtmajE ajE (see also vasun-dharA etc)
3. pranatArttiharam namAmi rAga nAyaki – AkASa bhUta
mudita m-anantam (anantam is the sky)
4. pranatArttiharAya namastE rAga sAmantAm - agni bhUta
ghrni SaSi vahni nayanAya
5. narmadA kAvErI - rAga nAmadESi – vAyu bhUta
narmadA kAvErI tIranilayE maNivalayE kalayE
These 5 kritis will be taken up on the Mutthuswamy Dikshitar thread
The tyAgarAja treats the panCa bhUta pujA in a different manner !
He offers 5 kritis to the pranatArtihara , one in each bhUta.
1. jala bhuta
muccata bharmAdulaku – madhyamAvati
2. prthvi bhuta
ilalO pranatArtihara – atAna
3. AkASa bhuta
Siva Siva Siva – pantuvarAli -
4. agni/tEja bhuta
darSanamu sEya – nArAyana gaula -
5. vAyu bhuta
Ehi trijagadiSa – Saranga
And he creates a corresponding set of 10 dEvi kritis also organized by the bhUtas into 5 pairs.
(the reason for exactly 10 kritis will be explained in a next post)
The mudras /rAga choices (OF ALL 15 kritis) of the tyAgarAja at tiruvaiyAru are given in previous post dated Jul 22, 2023
https://www.rasikas.org/forums/viewtopi ... 17#p379817
Siva is named in EVERY one of the 10 dEvi kritis as shown below..There is a deeper meaning to this naming as well.
1. The jala bhuta (and the kAvEri river)
nivu brova - sAvEri - panCanadiSwara-rAni
paraSakti – sAvEri - rAjaSekhari, SAmbhavi, varAhi-dhara
2. The prthvi bhuta (and the elephant)
amma dharma – atAna - parAtpari, kAtyAyani (Siva is parAtpara)
bAlEndu bhUSani - ritigaulA - kAlavairiki priya
3. The AkASa bhuta (the track of the sun and the moon thru the sky)
karuna judu - tOdi - SambarArivairi ardhaSariri
innAla vale – dESiya tOdi - rAjaSEkhari ( Siva is rAjaSEkhara)
4. The agni/tEja bhuta (the flame/lamp of enlightenment)
SivE pahimam – kalyAni - SivE, kAtyAyani
vidhi Sakradulaku – yamuna kalyAni - sarva rupini
(Siva is "sarva rUpa"…from Siva purAna rudra samhita satikhanda 41 stanza 24
SarvAya sarvarUpAya puruSAya parAtmane )
5. The vAyu bhuta (the purifying “wind” of tripurahara and also of the lion rider durga-kEsari)
amba ninnu - Arabhi – OmkAri
nannu kanna talli - kEsari – kAtyAyani
(Siva is OmkAra and Siva is also kAtyAyana – as cave dweller, explained fully in a previous post)
Summary
Why is ALL this detail necessary ?
Because any number of scoundrels are always lurking to distort , dilute and deny the pujA of the vAggeyakAras through their ignorance and insecurities.
satyam Eva jayatE
bAlE bAlEndu bhUSani - rAga ritigaulA
rAmnAd K
https://www.youtube.com/watch?v=mLTZDy4oACU
padma gurudutt
https://www.youtube.com/watch?v=5_uWAZr1r-4
The tEvAram (1st tirumurai, 8th stanza) establishes the panCa bhUta pujA at tiruvaiyAru.... more than a thousand years ago !
And both the tyAgarAja and the Dikshitar show the influence.
The Dikshitars 5 kritis at tiruvaiyAru (to the pranatArthi / dharmasamvardhani) EACH carry a unique bhUta mudra.
1. paramESwara jagadISwara rAga nATa - Apa bhUta
panCabrahmahatyAdi pApahara
2. dharmasamvardhani danuja – rAga madhyamAvati - prthvi bhUta
dharA dharAtmajE ajE (see also vasun-dharA etc)
3. pranatArttiharam namAmi rAga nAyaki – AkASa bhUta
mudita m-anantam (anantam is the sky)
4. pranatArttiharAya namastE rAga sAmantAm - agni bhUta
ghrni SaSi vahni nayanAya
5. narmadA kAvErI - rAga nAmadESi – vAyu bhUta
narmadA kAvErI tIranilayE maNivalayE kalayE
These 5 kritis will be taken up on the Mutthuswamy Dikshitar thread
The tyAgarAja treats the panCa bhUta pujA in a different manner !
He offers 5 kritis to the pranatArtihara , one in each bhUta.
1. jala bhuta
muccata bharmAdulaku – madhyamAvati
2. prthvi bhuta
ilalO pranatArtihara – atAna
3. AkASa bhuta
Siva Siva Siva – pantuvarAli -
4. agni/tEja bhuta
darSanamu sEya – nArAyana gaula -
5. vAyu bhuta
Ehi trijagadiSa – Saranga
And he creates a corresponding set of 10 dEvi kritis also organized by the bhUtas into 5 pairs.
(the reason for exactly 10 kritis will be explained in a next post)
The mudras /rAga choices (OF ALL 15 kritis) of the tyAgarAja at tiruvaiyAru are given in previous post dated Jul 22, 2023
https://www.rasikas.org/forums/viewtopi ... 17#p379817
Siva is named in EVERY one of the 10 dEvi kritis as shown below..There is a deeper meaning to this naming as well.
1. The jala bhuta (and the kAvEri river)
nivu brova - sAvEri - panCanadiSwara-rAni
paraSakti – sAvEri - rAjaSekhari, SAmbhavi, varAhi-dhara
2. The prthvi bhuta (and the elephant)
amma dharma – atAna - parAtpari, kAtyAyani (Siva is parAtpara)
bAlEndu bhUSani - ritigaulA - kAlavairiki priya
3. The AkASa bhuta (the track of the sun and the moon thru the sky)
karuna judu - tOdi - SambarArivairi ardhaSariri
innAla vale – dESiya tOdi - rAjaSEkhari ( Siva is rAjaSEkhara)
4. The agni/tEja bhuta (the flame/lamp of enlightenment)
SivE pahimam – kalyAni - SivE, kAtyAyani
vidhi Sakradulaku – yamuna kalyAni - sarva rupini
(Siva is "sarva rUpa"…from Siva purAna rudra samhita satikhanda 41 stanza 24
SarvAya sarvarUpAya puruSAya parAtmane )
5. The vAyu bhuta (the purifying “wind” of tripurahara and also of the lion rider durga-kEsari)
amba ninnu - Arabhi – OmkAri
nannu kanna talli - kEsari – kAtyAyani
(Siva is OmkAra and Siva is also kAtyAyana – as cave dweller, explained fully in a previous post)
Summary
Why is ALL this detail necessary ?
Because any number of scoundrels are always lurking to distort , dilute and deny the pujA of the vAggeyakAras through their ignorance and insecurities.
satyam Eva jayatE
bAlE bAlEndu bhUSani - rAga ritigaulA
rAmnAd K
https://www.youtube.com/watch?v=mLTZDy4oACU
padma gurudutt
https://www.youtube.com/watch?v=5_uWAZr1r-4
-
RSR
- Posts: 3427
- Joined: 11 Oct 2015, 23:31
Re: Thyagaraja (Krithis)
https://mslalithanandini.blogspot.com/2 ... saint.html
In this set of 16 compositions, Tyagaraja has composed
six kritis in praise of Lord Panchanadeeswarar,
.
[color=#BF40BF]nine kritis in praise of Goddess Dharmasamvardhin[/color]
i and
one in praise of the Panchanadi Kshetra with reference to his `Ista Deivam’ Lord Rama along with his consort Goddess Sita.
The kriti-s `
Ilalopranatharthi’ (Atana), `
Evarunaru’ (Malavasri),`
Mutsada brahmadulaku’ (madyamavati), `
Darshanamu’ (Narayanagaula), `
Siva Siva Siva Ena radha’ (pantuvarali) and `
Ehitrajaga’ (saranga) are composed in praise of Lord Panchanadeeswara (Lord Siva).
.The songs
Karunajuda (Todi),
Bale balendu (Ritigaula),)
Sarivedalina (Asaveri),
Sivepahimam (Kalyani),
Ambaninu (Arabi),
Amba dharmasamvardhani (Atana), Parasakti (Saveri),
Neevubrova (Saveri), Vidhichakradulaku (Yamunakalyani)
are in praise of Goddess Dharmasamvardhini.
The kriti Muripemu in the raga Mukari is in praise of the Panchanada Kshetra.
In this set of 16 compositions, Tyagaraja has composed
six kritis in praise of Lord Panchanadeeswarar,
.
[color=#BF40BF]nine kritis in praise of Goddess Dharmasamvardhin[/color]
i and
one in praise of the Panchanadi Kshetra with reference to his `Ista Deivam’ Lord Rama along with his consort Goddess Sita.
The kriti-s `
Ilalopranatharthi’ (Atana), `
Evarunaru’ (Malavasri),`
Mutsada brahmadulaku’ (madyamavati), `
Darshanamu’ (Narayanagaula), `
Siva Siva Siva Ena radha’ (pantuvarali) and `
Ehitrajaga’ (saranga) are composed in praise of Lord Panchanadeeswara (Lord Siva).
.The songs
Karunajuda (Todi),
Bale balendu (Ritigaula),)
Sarivedalina (Asaveri),
Sivepahimam (Kalyani),
Ambaninu (Arabi),
Amba dharmasamvardhani (Atana), Parasakti (Saveri),
Neevubrova (Saveri), Vidhichakradulaku (Yamunakalyani)
are in praise of Goddess Dharmasamvardhini.
The kriti Muripemu in the raga Mukari is in praise of the Panchanada Kshetra.
-
RSR
- Posts: 3427
- Joined: 11 Oct 2015, 23:31
Re: Thyagaraja (Krithis)
'50%' is totally lacking in a sense of history.
.
During sangam era( 200 BC to 200 AD)
and the Kalabra interrugnum(200 AD- 600 AD), Siva was unknown in Thamizh territory.
Saivam took root in this area only due to the conversion of Mahendra Pallavan
From jainism to saivism...post gupta era.
.
So, what is easier than simply appropriating all the mother goddess shrines, putting a semi-round stone there, give some fancy and cock and bull story and ...lo! Entire thamizh land is now freed .
That is why we never find any moola murthy icon except the lingam in any saivite shrine. Nàyanmars had 100% state support. ( Chithambaram ..1000 AD..is an exception..perhaps the only exception..or may be the 'symbol' is
Tucked away in some nook.
It is significant that the same spot has a vaishnavite shrine as well.
.
But people do not easily lose their cultual memories. For them, it is still shrine of mother goddess. Madurai, Kanchipuram.
Show some evidence from pre 600 Ad. In tamizh land. You cannot.
.
During sangam era( 200 BC to 200 AD)
and the Kalabra interrugnum(200 AD- 600 AD), Siva was unknown in Thamizh territory.
Saivam took root in this area only due to the conversion of Mahendra Pallavan
From jainism to saivism...post gupta era.
.
So, what is easier than simply appropriating all the mother goddess shrines, putting a semi-round stone there, give some fancy and cock and bull story and ...lo! Entire thamizh land is now freed .
That is why we never find any moola murthy icon except the lingam in any saivite shrine. Nàyanmars had 100% state support. ( Chithambaram ..1000 AD..is an exception..perhaps the only exception..or may be the 'symbol' is
Tucked away in some nook.
It is significant that the same spot has a vaishnavite shrine as well.
.
But people do not easily lose their cultual memories. For them, it is still shrine of mother goddess. Madurai, Kanchipuram.
Show some evidence from pre 600 Ad. In tamizh land. You cannot.
-
nAdopAsaka
- Posts: 890
- Joined: 20 Jul 2020, 17:05
Re: Thyagaraja (Krithis)
Again and again the foolishness is on display !
EvarunnAru is noted by TKG as a SPURIOUS kriti.
It is also not found in the rAghavan/rAmAnujaCAri collection
SAri vEdalina is TO the kAvEri RIVER…not to the goddess dharmasamvardhani
The 5 pranatArtihara kritis and the 10 dharmasamvardhani dEvi kritis are as shown
1. jala bhuta -muccata bharmAdulaku – madhyamAvati
2. prthvi bhuta - ilalO pranatArtihara – atAna
3. AkASa bhuta - Siva Siva Siva – pantuvarAli -
4. agni/tEja bhuta - darSanamu sEya – nArAyana gaula -
5. vAyu bhuta - Ehi trijagadiSa – SAranga
The 10 dEvi kritis (which are 5 pairs of bhUta kritis, shown previously)
1. nivu brova - sAvEri
2. parASakti – sAvEri
3. amma dharmasamvardhani – atAna
4. bAlE bAlEndu bhUSani - ritigaulA
5. karuna judu - tOdi
6. innAla vale – dESiya tOdi
7. SivE pAhimam – kalyAni
8. vidhi SakrAdulaku – yamunA kalyAni
9. amba ninnu - Arabhi
10. nannu kanna talli - kEsari
The panCa bhUta pujA to the panCanadi deities by the tEvAram, the Dikshitar and the tyAgarAja CANNOT be denied.
But the language-challenged and disenfranchised must continue to display their ignorance.
Why persist in defiling these vAggeyakAras with ignorant notions......surely there are other composers etc. whose words are better understood ?.....the forum has other threads
EvarunnAru is noted by TKG as a SPURIOUS kriti.
It is also not found in the rAghavan/rAmAnujaCAri collection
SAri vEdalina is TO the kAvEri RIVER…not to the goddess dharmasamvardhani
The 5 pranatArtihara kritis and the 10 dharmasamvardhani dEvi kritis are as shown
1. jala bhuta -muccata bharmAdulaku – madhyamAvati
2. prthvi bhuta - ilalO pranatArtihara – atAna
3. AkASa bhuta - Siva Siva Siva – pantuvarAli -
4. agni/tEja bhuta - darSanamu sEya – nArAyana gaula -
5. vAyu bhuta - Ehi trijagadiSa – SAranga
The 10 dEvi kritis (which are 5 pairs of bhUta kritis, shown previously)
1. nivu brova - sAvEri
2. parASakti – sAvEri
3. amma dharmasamvardhani – atAna
4. bAlE bAlEndu bhUSani - ritigaulA
5. karuna judu - tOdi
6. innAla vale – dESiya tOdi
7. SivE pAhimam – kalyAni
8. vidhi SakrAdulaku – yamunA kalyAni
9. amba ninnu - Arabhi
10. nannu kanna talli - kEsari
The panCa bhUta pujA to the panCanadi deities by the tEvAram, the Dikshitar and the tyAgarAja CANNOT be denied.
But the language-challenged and disenfranchised must continue to display their ignorance.
Why persist in defiling these vAggeyakAras with ignorant notions......surely there are other composers etc. whose words are better understood ?.....the forum has other threads
-
RSR
- Posts: 3427
- Joined: 11 Oct 2015, 23:31
Re: Thyagaraja (Krithis)
Patently wrong.
.
Will give full details soon.
..
Why defile Thyaagaraaja swami and Shyaama saastry? Leave them alone.
.
Focus on melody and rendition.
.
Swamy guides us abour MUSIC.
.
.. "MS Subbulakshmi:
sobhillu saptaswara"
Jaganmohini
https://youtu.be/soVVnPi2KrM?si=4vU2vAnRItGMJHPj
.
Will give full details soon.
..
Why defile Thyaagaraaja swami and Shyaama saastry? Leave them alone.
.
Focus on melody and rendition.
.
Swamy guides us abour MUSIC.
.
.. "MS Subbulakshmi:
sobhillu saptaswara"
Jaganmohini
https://youtu.be/soVVnPi2KrM?si=4vU2vAnRItGMJHPj
-
nAdopAsaka
- Posts: 890
- Joined: 20 Jul 2020, 17:05
Re: Thyagaraja (Krithis)
This “focus” on melody and rendition has diluted the Words.
It has promoted the worship of technical vidwAns and viduSis.
If the focus is melody, then why should the words and their ideas even matter, especially to those who do not even understand the Words.
No !
The kritis were NOT made for kutChEris or vidwAns or viduSis or the music "industry". They are an individuals pujA.
They have been DEFILED by those who do not respect the words or understand them or want to “focus on melody and rendition”.
It has promoted the worship of technical vidwAns and viduSis.
If the focus is melody, then why should the words and their ideas even matter, especially to those who do not even understand the Words.
No !
The kritis were NOT made for kutChEris or vidwAns or viduSis or the music "industry". They are an individuals pujA.
They have been DEFILED by those who do not respect the words or understand them or want to “focus on melody and rendition”.
-
RSR
- Posts: 3427
- Joined: 11 Oct 2015, 23:31
Re: Thyagaraja (Krithis)
Why then the great vak-geya-kara gave us music? They could very well have left the words without music. We could have just chanted the words .
-
Pratyaksham Bala
- Posts: 4165
- Joined: 21 May 2010, 16:57
Re: Thyagaraja (Krithis)
We are presented here with lot of emphasis and exercise as to how the vaggeyakaras have indicated or given the clues to the ragas with which the songs are to be rendered. The focus is on ragas.
In composing the songs the vaggeyakaras have concentrated in selecting the words and expressions to suit the selected ragas. In a few cases they have also included swaras as a part of the song. They have also trained their sishyas to sing properly focusing on tune and melody.
Here also in every thread links to the music is offered indicating the importance of melody and rendition.
Songs are meant for singing.
Poems are for reading.
The songs of the vaggeyakaras have survived not only because of their expertise in composing, but also due to the contribution of so many great musicians.
It is only due to melody and rendition that we have come to know of so many of these kritis !
In composing the songs the vaggeyakaras have concentrated in selecting the words and expressions to suit the selected ragas. In a few cases they have also included swaras as a part of the song. They have also trained their sishyas to sing properly focusing on tune and melody.
Here also in every thread links to the music is offered indicating the importance of melody and rendition.
Songs are meant for singing.
Poems are for reading.
The songs of the vaggeyakaras have survived not only because of their expertise in composing, but also due to the contribution of so many great musicians.
It is only due to melody and rendition that we have come to know of so many of these kritis !
-
nAdopAsaka
- Posts: 890
- Joined: 20 Jul 2020, 17:05
Re: Thyagaraja (Krithis)
I respond only to this recent post. I respect its tone and position, even though I do not agree with it.
( I ignore everything said from those who are contemptuous of the very ideas and words of the kritis and incapable of understanding the Words)
Songs for singing, poems for reading.. but kritis are for “thinking”.
Word with its meaning is essential to this “thinking”.
What is the intent of the vAggeyakAra with their particular choices ?
The kritis are not mere songs or poems…
Each kriti is an individuals pujA offering. rAga is the vehicle for this offering.
This is why rAga names themselves derive from scriptural origins.
In the navAvaranas or panCabhUta sets or navagraha sets, this pujA is connected over several kritis.
The “thinking” aspect permeates the word choice and surfaces in rAga mudras and kSEtra mudras.
The word and the music cannot be disconnected, as the language-challenged would have us believe.
The heritage of vAggeyakAras has survived only because every 100 years , someone decides to focus on exactly their spiritual component, inspite of all those who are challenged by the languages.
It is the same with what is called “Sruti”, that passed-down-collected-wisdom..…mumbled by many meaninglessly as mere sounds, but surviving through the centuries only because of a few bhASya/interpretations that parse the words used.
( I ignore everything said from those who are contemptuous of the very ideas and words of the kritis and incapable of understanding the Words)
Songs for singing, poems for reading.. but kritis are for “thinking”.
Word with its meaning is essential to this “thinking”.
What is the intent of the vAggeyakAra with their particular choices ?
The kritis are not mere songs or poems…
Each kriti is an individuals pujA offering. rAga is the vehicle for this offering.
This is why rAga names themselves derive from scriptural origins.
In the navAvaranas or panCabhUta sets or navagraha sets, this pujA is connected over several kritis.
The “thinking” aspect permeates the word choice and surfaces in rAga mudras and kSEtra mudras.
The word and the music cannot be disconnected, as the language-challenged would have us believe.
The heritage of vAggeyakAras has survived only because every 100 years , someone decides to focus on exactly their spiritual component, inspite of all those who are challenged by the languages.
It is the same with what is called “Sruti”, that passed-down-collected-wisdom..…mumbled by many meaninglessly as mere sounds, but surviving through the centuries only because of a few bhASya/interpretations that parse the words used.
-
RSR
- Posts: 3427
- Joined: 11 Oct 2015, 23:31
Re: Thyagaraja (Krithis)
Whatever makes the 'ardha' assume that people who disagree with his conceited obsession with mudhra words in the kruthis of Shyaama Saastry and Thyaagaraaja swami, are language-challenged?
.
Both these divine composers gave 90% of their kruthis in Telugu.
Sathguru sang about 600 of his 660 kruthis in his mother-tongue, Telugu.
.
Thanks to the dedicated work of Sri.V,Govindan, whose mother tongue is Telugu , non-telugus are able to understand the theme and words of the composers.
.
For that matter, how much of Thamizh literary works have the non-tamils really read and assimilated?
.
In a sense, all of us are language-handicapped, with respect to one or other of most languages of CM composers.
.
This forum has quite a few great translators and composers even,
besides melody and layam researchers and scholars, who wear their scholarship up their sleeve.
.
Surely, any student of Sathguru kruthis would have read the works like Spiritual heritage and Govinda Rao...
CRITICALLY too.
.
Thyaagaraaja swami is greatest composer, because, he combined the best of music with devotional theme.and ethical values.
.
So did Shyaama Saastry.
.
The great thing about them was that their kruthis were all emotional outpourings , with not much concern for conscious prosody, . Quite a few were even in colloquial idiom.
.
Not that they were language-deficient and ignorant, but, because they were more of saint-composers rather than poets. They sang for the people.
.
Coming now to vidwans and vidhushius,
Where is Carnatic music without the glorious lineage of disciples of Thyaagaraaja swami..especially the ORAL TRADITION of Manambuchaavadi,
his disciples, mahaa vaidhyanaatha sivan, patnam, -> poochi iengar, vaasu devaachaar?
Without vocalists like ARI, Chembai, MVI,
Musiri..... GNB, SSI, MMI,Alatthoor?
.
And dedicated lady vocalists of that generation, like MSS, DKP, NCV, MLV.?
And quite a few instrumentalists?
.
We are not atall dismissing the importance of lyrics in CM. We are only stressing that the lyrics must be ennobling and spiritually uplifting...
Like those of Dasas, Badraachakam, the Trinity and their multi-generarional lineage of disciples and learners.
.
Sathguru never bothered about inserting any mudhras in his outpourings.
Searching for and inventing esoteric mudras in the kruthis of MD may be a contribution but not in the case of Thyaagaraaja and SS.
.
They were never pilgrims. Never attached any importance to esoteric ideas and practices,
The two were true representatives of bhakthi movement. Sathguru, has ridiculed pilgrimages, manthra-thanthra, misusing music for mere exhibitionism, narasthuthi , entertainment of patrons and non-spiritual purposes. ..in his own explicit injunctions.
.
Any semantic analysis of such great composers is an insult.
.
.
.
Both these divine composers gave 90% of their kruthis in Telugu.
Sathguru sang about 600 of his 660 kruthis in his mother-tongue, Telugu.
.
Thanks to the dedicated work of Sri.V,Govindan, whose mother tongue is Telugu , non-telugus are able to understand the theme and words of the composers.
.
For that matter, how much of Thamizh literary works have the non-tamils really read and assimilated?
.
In a sense, all of us are language-handicapped, with respect to one or other of most languages of CM composers.
.
This forum has quite a few great translators and composers even,
besides melody and layam researchers and scholars, who wear their scholarship up their sleeve.
.
Surely, any student of Sathguru kruthis would have read the works like Spiritual heritage and Govinda Rao...
CRITICALLY too.
.
Thyaagaraaja swami is greatest composer, because, he combined the best of music with devotional theme.and ethical values.
.
So did Shyaama Saastry.
.
The great thing about them was that their kruthis were all emotional outpourings , with not much concern for conscious prosody, . Quite a few were even in colloquial idiom.
.
Not that they were language-deficient and ignorant, but, because they were more of saint-composers rather than poets. They sang for the people.
.
Coming now to vidwans and vidhushius,
Where is Carnatic music without the glorious lineage of disciples of Thyaagaraaja swami..especially the ORAL TRADITION of Manambuchaavadi,
his disciples, mahaa vaidhyanaatha sivan, patnam, -> poochi iengar, vaasu devaachaar?
Without vocalists like ARI, Chembai, MVI,
Musiri..... GNB, SSI, MMI,Alatthoor?
.
And dedicated lady vocalists of that generation, like MSS, DKP, NCV, MLV.?
And quite a few instrumentalists?
.
We are not atall dismissing the importance of lyrics in CM. We are only stressing that the lyrics must be ennobling and spiritually uplifting...
Like those of Dasas, Badraachakam, the Trinity and their multi-generarional lineage of disciples and learners.
.
Sathguru never bothered about inserting any mudhras in his outpourings.
Searching for and inventing esoteric mudras in the kruthis of MD may be a contribution but not in the case of Thyaagaraaja and SS.
.
They were never pilgrims. Never attached any importance to esoteric ideas and practices,
The two were true representatives of bhakthi movement. Sathguru, has ridiculed pilgrimages, manthra-thanthra, misusing music for mere exhibitionism, narasthuthi , entertainment of patrons and non-spiritual purposes. ..in his own explicit injunctions.
.
Any semantic analysis of such great composers is an insult.
.
.
-
nAdopAsaka
- Posts: 890
- Joined: 20 Jul 2020, 17:05
Language challenged-Idea challenged-Defilement of vAggeyakAras
Language challenged-Idea challenged-Defilement of vAggeyakAras
Just a few stunning examples (hundreds more available)
the Dikshitar’s Sri-vidyA rAjagOpAla – rAga sAvEri
nAri-vESa dhara vAma bhAga
When the Dikshitar uses the words nAri and ardha (= vAma bhAga) in the same breath DENYING HIS (the Dikshitars) vision of the Sri-vidyA rAjagOpAla (and its well known history/legend of the Sri Cakra etc) , that is defilement. That it gives the sAvEri rAga mudra in REVERSE (representing the unique nature of the conjoined deity) is also lost on fools/knaves/cretins.
(see https://www.rasikas.org/forums/viewtopi ... 43#p379943)
the tyAgarAjas “appa rAma bhakti” – kASi-rAma-kriyA (the duty of rAma)
kaliki rOtu gattunA – when sitA ties rAma to the grindstone of dharma, his moral code
Thinking (actually even insisting ! ) that this is a reference to yaSOda !!! when the entire kriti is a Sequential build up of the kAndas of the vAlmiki rAmAyana. Not only is this language challenged it also defiles the idea of the vAggeyakAra who is summarising the rAmAyana
(see https://www.rasikas.org/forums/viewtopi ... 99#p380399)
tarunamidamma - SyAmA SAStris kAmAkSi ardhanAri – gaulipantu
sOmaSEkhara pAdi sundari kaumAri
gauri-pa is Siva (= gauri-nAtha)....( see for e.g. as gO-pa, pa the suffix has this meaning of protector)
The rAga name gaulipantu = “gauripantha” carries BOTH the names gauri and gauri-pa , united as one . 3 generations of kAnCi arCakas /SyAmA SAStri family describe the kAmAkSi ardhanAri.
They do not deserve the contempt of this fool.
(see https://www.rasikas.org/forums/viewtopi ... 22#p380422)
Continuing to disparage the ardhanAri idea which is clearly in the vision/Words of the vAggeyakAras kritis & rAga choices is DEFILEMENT. There are hundreds of other examples of this foolish and insolent attitude.
The music of the vAggeyakAras ALWAYS exposes apa-Sruti and untruth.
Just a few stunning examples (hundreds more available)
the Dikshitar’s Sri-vidyA rAjagOpAla – rAga sAvEri
nAri-vESa dhara vAma bhAga
When the Dikshitar uses the words nAri and ardha (= vAma bhAga) in the same breath DENYING HIS (the Dikshitars) vision of the Sri-vidyA rAjagOpAla (and its well known history/legend of the Sri Cakra etc) , that is defilement. That it gives the sAvEri rAga mudra in REVERSE (representing the unique nature of the conjoined deity) is also lost on fools/knaves/cretins.
(see https://www.rasikas.org/forums/viewtopi ... 43#p379943)
the tyAgarAjas “appa rAma bhakti” – kASi-rAma-kriyA (the duty of rAma)
kaliki rOtu gattunA – when sitA ties rAma to the grindstone of dharma, his moral code
Thinking (actually even insisting ! ) that this is a reference to yaSOda !!! when the entire kriti is a Sequential build up of the kAndas of the vAlmiki rAmAyana. Not only is this language challenged it also defiles the idea of the vAggeyakAra who is summarising the rAmAyana
(see https://www.rasikas.org/forums/viewtopi ... 99#p380399)
tarunamidamma - SyAmA SAStris kAmAkSi ardhanAri – gaulipantu
sOmaSEkhara pAdi sundari kaumAri
gauri-pa is Siva (= gauri-nAtha)....( see for e.g. as gO-pa, pa the suffix has this meaning of protector)
The rAga name gaulipantu = “gauripantha” carries BOTH the names gauri and gauri-pa , united as one . 3 generations of kAnCi arCakas /SyAmA SAStri family describe the kAmAkSi ardhanAri.
They do not deserve the contempt of this fool.
(see https://www.rasikas.org/forums/viewtopi ... 22#p380422)
Continuing to disparage the ardhanAri idea which is clearly in the vision/Words of the vAggeyakAras kritis & rAga choices is DEFILEMENT. There are hundreds of other examples of this foolish and insolent attitude.
The music of the vAggeyakAras ALWAYS exposes apa-Sruti and untruth.
-
RSR
- Posts: 3427
- Joined: 11 Oct 2015, 23:31
Re: Thyagaraja (Krithis)
Your interpretation is wrong for all three kruthis cited, especially wrt to krushna temple at mannarkudi . There are websites for the vaishnavite kshetram which clearly refute your contention. Neither the moola vigraham nor the urchava vigraham show anything 'half'.
There is also a nice kruthi on the deity by OVK.
Thyaagaraaja kruthi thread is hardly the place for talking about MD.
.
So far as the other two kruthis are concerned, it is certain that the divine composers were referring to the conventional epithet in saivite lore and nothing in moola murthy or urchava murthy.
GoodBye.
There is also a nice kruthi on the deity by OVK.
Thyaagaraaja kruthi thread is hardly the place for talking about MD.
.
So far as the other two kruthis are concerned, it is certain that the divine composers were referring to the conventional epithet in saivite lore and nothing in moola murthy or urchava murthy.
GoodBye.
-
Pratyaksham Bala
- Posts: 4165
- Joined: 21 May 2010, 16:57
Re: Thyagaraja (Krithis)
RSR:
Response is measured and to the point.
God Bless You.
Best Wishes.
Response is measured and to the point.
God Bless You.
Best Wishes.
-
nAdopAsaka
- Posts: 890
- Joined: 20 Jul 2020, 17:05
Why there are exactly 10 dEvi kritis at tiruvaiyAru by the tyAgarAja
Why there are exactly 10 dEvi kritis at tiruvaiyAru by the tyAgarAja
The saraswati pujA just completed bears fruit. A beacon of light shines on the panCanadi kSEtra.
At panCanadi kSEtra the number 5 (= panCa) dictates the panCa bhUta pujA of the tyAgarAja..(and of the tEvAram and of the Dikshitar)
In his pujA, the tyAgarAja gives the panCa akSara deity (= pranatArtihara) 5 kritis , each with a panCa bhUta mudra.
But he gives 10 kriti to the dharmasamvardhani dEvi ..
The choice is also interesting because the 10 dEvi kritis are organized as 5 pairs (with each pair having a specific bhUta assigned..shown previously)
The key to understanding why there are exactly 10 dEvi kritis is given by the tyAgarAjas OTHER kriti in panCa nadi kSEtra namely “sArI vEdalina” in asAvEri rAga…. to the kAvEri river.
The kAvEri river comes into panCanadi kSEtra (from Srirangam after worshipping the viSnu there !)
Asd the tyAgarAja says…
“rangESuni juCi, mari irEdu-jagamulaku jivanamaina, mudu rendu nadi nathuni judu”
But it is in the last stanza of “sAri vEdalina” that he gives the real clue ..
As he says…The kAvEri is praised/worshipped as if she was rAja-rAjESwari !
rAja-rAjESwari yani pogaduCu
And it is worshipped FROM EACH of its TWO banks..
He says “jAji sumamulu dharAmara-gana pujA iru-dagala sEya”
iru = TWO , iru-dagala – TWO banks
At panCanadi kSEtra, "kAvEri" represents all 5 of the distributaries that make up the 5 rivers.
5 rivers = 10 river-banks.
And each of these 10 river-banks becomes a tirtha and location for the worship of the panCanadi dEvi in the tyAgarAjas unique vision.
Summary
-Understanding the language/idiom is key to maintaining the sanctity of the vAggeyakAras kriti.
-The cynical “focus on melody and rendition” has diluted the value and meaning of Words.
-Indeed, MOST of the stanzas of the tyAgarAja ARE IGNORED by the kutChEri performers.
-Yet it is the Words that bring forth the motivations of the vAggeyakAras.
-Miscreants who have no understanding of the words/choices and no clue to the underpinning of the vAggeyakAras pujA try to create mis-attributions and distort the kritis.
-As now shown (with the tyAgarAjas OWN words) ..his dEvi kritis number exactly 10 just as his Siva kritis are exactly 5....at panCanadi kSEtra.
The vAggeyakAras protect their pujA and kritis with various mudras/signatures embedded in the choice of words/ideas that will always expose the truth (and also the untruth)
sAri vEdalina – rAga asAvEri
kum. abhinaya
https://www.youtube.com/watch?v=hjfbb_j5k3g
The saraswati pujA just completed bears fruit. A beacon of light shines on the panCanadi kSEtra.
At panCanadi kSEtra the number 5 (= panCa) dictates the panCa bhUta pujA of the tyAgarAja..(and of the tEvAram and of the Dikshitar)
In his pujA, the tyAgarAja gives the panCa akSara deity (= pranatArtihara) 5 kritis , each with a panCa bhUta mudra.
But he gives 10 kriti to the dharmasamvardhani dEvi ..
The choice is also interesting because the 10 dEvi kritis are organized as 5 pairs (with each pair having a specific bhUta assigned..shown previously)
The key to understanding why there are exactly 10 dEvi kritis is given by the tyAgarAjas OTHER kriti in panCa nadi kSEtra namely “sArI vEdalina” in asAvEri rAga…. to the kAvEri river.
The kAvEri river comes into panCanadi kSEtra (from Srirangam after worshipping the viSnu there !)
Asd the tyAgarAja says…
“rangESuni juCi, mari irEdu-jagamulaku jivanamaina, mudu rendu nadi nathuni judu”
But it is in the last stanza of “sAri vEdalina” that he gives the real clue ..
As he says…The kAvEri is praised/worshipped as if she was rAja-rAjESwari !
rAja-rAjESwari yani pogaduCu
And it is worshipped FROM EACH of its TWO banks..
He says “jAji sumamulu dharAmara-gana pujA iru-dagala sEya”
iru = TWO , iru-dagala – TWO banks
At panCanadi kSEtra, "kAvEri" represents all 5 of the distributaries that make up the 5 rivers.
5 rivers = 10 river-banks.
And each of these 10 river-banks becomes a tirtha and location for the worship of the panCanadi dEvi in the tyAgarAjas unique vision.
Summary
-Understanding the language/idiom is key to maintaining the sanctity of the vAggeyakAras kriti.
-The cynical “focus on melody and rendition” has diluted the value and meaning of Words.
-Indeed, MOST of the stanzas of the tyAgarAja ARE IGNORED by the kutChEri performers.
-Yet it is the Words that bring forth the motivations of the vAggeyakAras.
-Miscreants who have no understanding of the words/choices and no clue to the underpinning of the vAggeyakAras pujA try to create mis-attributions and distort the kritis.
-As now shown (with the tyAgarAjas OWN words) ..his dEvi kritis number exactly 10 just as his Siva kritis are exactly 5....at panCanadi kSEtra.
The vAggeyakAras protect their pujA and kritis with various mudras/signatures embedded in the choice of words/ideas that will always expose the truth (and also the untruth)
sAri vEdalina – rAga asAvEri
kum. abhinaya
https://www.youtube.com/watch?v=hjfbb_j5k3g
-
RSR
- Posts: 3427
- Joined: 11 Oct 2015, 23:31
Re: Thyagaraja (Krithis)
Sri.P.B
Thank you. Best regards.
Thank you. Best regards.
-
RSR
- Posts: 3427
- Joined: 11 Oct 2015, 23:31
Re: Thyagaraja (Krithis)
Thyagaraja kduthi, on Kaavery river is indeed a gem.
Muripemu also is about Lord Raamaa and the river at Thiruvaiyaaru.
It is intriguing.
Is there perhaps a temple of Raamaa in that area?
Swami is referring to Raama with Sita and Lakshmana being served by the river, and being NEAR Siva kshetram at Thiruvaiyaaru.
Is he referring to his own pooja vigraham at his home? Or some vaishnava kshetram close to Thiruvaizaaru?.
Muripemu also is about Lord Raamaa and the river at Thiruvaiyaaru.
It is intriguing.
Is there perhaps a temple of Raamaa in that area?
Swami is referring to Raama with Sita and Lakshmana being served by the river, and being NEAR Siva kshetram at Thiruvaiyaaru.
Is he referring to his own pooja vigraham at his home? Or some vaishnava kshetram close to Thiruvaizaaru?.
.Having decided in Your mind to live near Siva – resident of the sacred town of tiruvaiyAru, iin the beautiful land of cOla, in this Earth, isn’t it that You feel pompous that, in such a comfortable and prosperous town, Your wife sItA and Your brother lakshmaNa are serving You on Your both sides?
-
Pratyaksham Bala
- Posts: 4165
- Joined: 21 May 2010, 16:57
-
RSR
- Posts: 3427
- Joined: 11 Oct 2015, 23:31
Re: Thyagaraja (Krithis)
Sri.P.B,
Absolutely great find, Sir!
Only now, the kruthis meaning and context become clear.
How many of us devotess would have known about this temple for Lord Raamaa, in Thiruvaiyaaru?
Thank you very much.
Absolutely great find, Sir!
Only now, the kruthis meaning and context become clear.
How many of us devotess would have known about this temple for Lord Raamaa, in Thiruvaiyaaru?
Thank you very much.
-
nAdopAsaka
- Posts: 890
- Joined: 20 Jul 2020, 17:05
Suka mukha and var-akAvEri - The rAga mudra and the rAga choice for the tyAgarAjas 2 kAvEri river related kritis
Suka mukha and var-akAvEri - The rAga mudra and the rAga choice for the tyAgarAjas 2 kAvEri river related kritis
The kAvEri related kritis of the tyAgarAja are NOT good examples for anyone (knaves etc) trying to suggest that the tyAgarAja does NOT give rAga mudras (deliberately) or that his rAgas are randomly chosen..
As shown in post dated Sep. 19 2023. BOTH muripEmu galigE and sAri vEdalina show the careful choice made by the vAggeyakAra.
https://www.rasikas.org/forums/viewtopi ... 13#p380213
muripEmu
Facetime with the lord
mukha for mukhAri
Suka mukha - muripEmu carries the rather pointed usage “Suka mukha”
And the references to karivarada (the gajEndra mOksa) and kAma-janaka indicate the over-arching status of viSnu, celebrated as the hari in mukha-hari..
Yes.. it is a Facetime = darSana kriti.
sAri vEdalina
the nighttime flower reference “jAji suma” confirms the asAvEri rAga (versus the morning rAga name sAvEri)
And “sAri vEdalina” carries the usage "vara kAvEri" to give the rAga mudra for "a-sAvEri" via "var a-kAvEri".
Perhaps it is a teaching moment ?
Why ?
Because saraswati (as vAni) is also noted by the tyAgarAja in “muripEmu” !!
Or perhaps it is not..
Like in most kritis, the focus on "melody and rendition" has suppressed the Words of the vAggeyakAras.
The stanzas where these mudras appears are rarely if ever noted or sung in kutChEris.
And even if noted, there context is lost in insipid translations.
muripEmu galigE – rAga mukhAri
s rAjam
https://www.youtube.com/watch?v=PFbO1j_n4_4
MLV
https://www.youtube.com/watch?v=Nc2-R_Ow228
sAri vedalina – rAga asAvEri
gAyAtri V
https://www.youtube.com/watch?v=EQfGfJHA-kE
priti K
https://www.youtube.com/watch?v=6IZBAY7Jb3k
The kAvEri related kritis of the tyAgarAja are NOT good examples for anyone (knaves etc) trying to suggest that the tyAgarAja does NOT give rAga mudras (deliberately) or that his rAgas are randomly chosen..
As shown in post dated Sep. 19 2023. BOTH muripEmu galigE and sAri vEdalina show the careful choice made by the vAggeyakAra.
https://www.rasikas.org/forums/viewtopi ... 13#p380213
muripEmu
Facetime with the lord
mukha for mukhAri
Suka mukha - muripEmu carries the rather pointed usage “Suka mukha”
And the references to karivarada (the gajEndra mOksa) and kAma-janaka indicate the over-arching status of viSnu, celebrated as the hari in mukha-hari..
Yes.. it is a Facetime = darSana kriti.
sAri vEdalina
the nighttime flower reference “jAji suma” confirms the asAvEri rAga (versus the morning rAga name sAvEri)
And “sAri vEdalina” carries the usage "vara kAvEri" to give the rAga mudra for "a-sAvEri" via "var a-kAvEri".
Perhaps it is a teaching moment ?
Why ?
Because saraswati (as vAni) is also noted by the tyAgarAja in “muripEmu” !!
Or perhaps it is not..
Like in most kritis, the focus on "melody and rendition" has suppressed the Words of the vAggeyakAras.
The stanzas where these mudras appears are rarely if ever noted or sung in kutChEris.
And even if noted, there context is lost in insipid translations.
muripEmu galigE – rAga mukhAri
s rAjam
https://www.youtube.com/watch?v=PFbO1j_n4_4
MLV
https://www.youtube.com/watch?v=Nc2-R_Ow228
sAri vedalina – rAga asAvEri
gAyAtri V
https://www.youtube.com/watch?v=EQfGfJHA-kE
priti K
https://www.youtube.com/watch?v=6IZBAY7Jb3k
-
RSR
- Posts: 3427
- Joined: 11 Oct 2015, 23:31
Re: Thyagaraja (Krithis)
I was wondering how Sathguru says Raamaa is elated to be in the same town Thiruvaiyaaru of Siva temple. That has been convincingly answered. Moreover, there are two more SIva temples, it seems, in the same area.
-
nAdopAsaka
- Posts: 890
- Joined: 20 Jul 2020, 17:05
The tyAgarAjas vangAlla kritis (= dynasty of deities) & Suddha vangAlla kritis (= dynasty of pure devotees)
The tyAgarAjas vangAlla kritis (= dynasty of deities) & Suddha vangAlla kritis (= dynasty of pure devotees)
The poorly pronounced bangAla word conceals the true intent of the tyAgarAja in ALL SIX of his kritis with this word in the rAga name (3 in bangAla and 3 in Suddha bangAla).
This post sets the record straight, after 200 years of mis-information and mangling by
[a] those who do not think
(b) those who lack imagination
[c] those who have reduced the vAggeyakAras legacy to mere sounds
[d] the untruthful
and
[e] all of the above
The so-called rAga name bangAla has nothing to do with the region bangAla or any starchy vegetable.
It is a corruption of the word “vanga-Alla” for members of a lineage/dynasty/tribe
Where vanga = lineage/dynasty and
where “Alla” = “that/those belonging to... this lineage”
Every one of the tyAgarAjas 6 kritis shows the influence of this meaning….it appears as a covert rAga mudra .
Read on and rejoice (or weep if you are a knave)
vanga-Alla – where the deities (ganapati/rAma) belong to the dynasties named
girirAja sutA tanaya
The very first words describe 3 generations of a vanga = “dynasty”, the lineage of girirAja, pArvati and ganapati.
munupE teliyaka pOyenA muninuta
Here the lineage mudra for he who is worshipped by the munis comes in the Caranam as…
ina-kula tilaka..The lineage of the solar dynasty
sAkSi lEdanuCu
In the anupallavi the tyAgarAja gives the clue
jagat sAkSi vamSa nIradhi pUrnaCandra
rAma rising as the moon over the ocean of the solar dynasty..
And now for the 3 Suddha van-gAlla kritis
Here the rAga name refers to the dynasty/lineage/tribe of pure devotees
rAma bhakti sAmrAjyam EmAnavula
Only a fool can think this rAma bhakti sAmrAjya is not the tyAgarAjas mudra for the dynasty of pure-minded devotees = the Suddha vanga-Alla
toli nE jEsina pUja phalamu
Here the tyAgarAja says in Caranam..that he has been placed in a place devoid of the pure devotees (haridAsas = Suddha vangAlla)
haridAsa rahita pura muna
And finally some reverse psychology – aSuddha vangAlla
The tyAgarAja indicts those who DO NOT belong to Suddha vangAlla..
He describes them with the opening line !
tappag anE vaccunA tanavuku lampaTa nI krpa
Those (tana) who speak untruth (tappag anE) have great difficulty (lampata) receiving the lords grace..These are the aSuddha vanga Alla, as opposed to the pure minded devotees.
Unerringly, once again, the nAda sampradAya protects the teachings and words of the vAggeyakAras, diluted, denied and disgraced by all those challenged by the languages and the ideas.
Naturally lazinesss and lack of imagination and contempt for the ideas go hand in hand with these untruthful.
satyam Eva jayatE
girirAja sutA tanayA – rAga bangAla
MDR
https://www.youtube.com/watch?v=3hu33afwuPc
munupE tEliyaka – rAga bangAla
SRJ
https://www.youtube.com/watch?v=o89oAVmgY_M
sAkSi lEda – rAga bangAla
BMK
https://www.youtube.com/watch?v=Na-tSP97uM0
rAma bhakti sAmrAjyam – rAga Suddha bangAla
RK murthy
https://www.youtube.com/watch?v=33Yu__-yIv8
toli nE jEsina pUja – rAga Suddha bangAla
nEdunuri K
https://www.youtube.com/watch?v=c0cB9gcWvSM
tappaganE vaccunA tanavuku – rAga Suddha bangAla
GNB
https://www.youtube.com/watch?v=bHwPIp8ih_I
The poorly pronounced bangAla word conceals the true intent of the tyAgarAja in ALL SIX of his kritis with this word in the rAga name (3 in bangAla and 3 in Suddha bangAla).
This post sets the record straight, after 200 years of mis-information and mangling by
[a] those who do not think
(b) those who lack imagination
[c] those who have reduced the vAggeyakAras legacy to mere sounds
[d] the untruthful
and
[e] all of the above
The so-called rAga name bangAla has nothing to do with the region bangAla or any starchy vegetable.
It is a corruption of the word “vanga-Alla” for members of a lineage/dynasty/tribe
Where vanga = lineage/dynasty and
where “Alla” = “that/those belonging to... this lineage”
Every one of the tyAgarAjas 6 kritis shows the influence of this meaning….it appears as a covert rAga mudra .
Read on and rejoice (or weep if you are a knave)
vanga-Alla – where the deities (ganapati/rAma) belong to the dynasties named
girirAja sutA tanaya
The very first words describe 3 generations of a vanga = “dynasty”, the lineage of girirAja, pArvati and ganapati.
munupE teliyaka pOyenA muninuta
Here the lineage mudra for he who is worshipped by the munis comes in the Caranam as…
ina-kula tilaka..The lineage of the solar dynasty
sAkSi lEdanuCu
In the anupallavi the tyAgarAja gives the clue
jagat sAkSi vamSa nIradhi pUrnaCandra
rAma rising as the moon over the ocean of the solar dynasty..
And now for the 3 Suddha van-gAlla kritis
Here the rAga name refers to the dynasty/lineage/tribe of pure devotees
rAma bhakti sAmrAjyam EmAnavula
Only a fool can think this rAma bhakti sAmrAjya is not the tyAgarAjas mudra for the dynasty of pure-minded devotees = the Suddha vanga-Alla
toli nE jEsina pUja phalamu
Here the tyAgarAja says in Caranam..that he has been placed in a place devoid of the pure devotees (haridAsas = Suddha vangAlla)
haridAsa rahita pura muna
And finally some reverse psychology – aSuddha vangAlla
The tyAgarAja indicts those who DO NOT belong to Suddha vangAlla..
He describes them with the opening line !
tappag anE vaccunA tanavuku lampaTa nI krpa
Those (tana) who speak untruth (tappag anE) have great difficulty (lampata) receiving the lords grace..These are the aSuddha vanga Alla, as opposed to the pure minded devotees.
Unerringly, once again, the nAda sampradAya protects the teachings and words of the vAggeyakAras, diluted, denied and disgraced by all those challenged by the languages and the ideas.
Naturally lazinesss and lack of imagination and contempt for the ideas go hand in hand with these untruthful.
satyam Eva jayatE
girirAja sutA tanayA – rAga bangAla
MDR
https://www.youtube.com/watch?v=3hu33afwuPc
munupE tEliyaka – rAga bangAla
SRJ
https://www.youtube.com/watch?v=o89oAVmgY_M
sAkSi lEda – rAga bangAla
BMK
https://www.youtube.com/watch?v=Na-tSP97uM0
rAma bhakti sAmrAjyam – rAga Suddha bangAla
RK murthy
https://www.youtube.com/watch?v=33Yu__-yIv8
toli nE jEsina pUja – rAga Suddha bangAla
nEdunuri K
https://www.youtube.com/watch?v=c0cB9gcWvSM
tappaganE vaccunA tanavuku – rAga Suddha bangAla
GNB
https://www.youtube.com/watch?v=bHwPIp8ih_I
-
RSR
- Posts: 3427
- Joined: 11 Oct 2015, 23:31
Re: Thyagaraja (Krithis)
One among the most tranqil kruthis of Thyaagaraaja swami. Great lyrics.
Sri raagam
..
pallavi
nAma kusumamulacE pUjincE nara janmamE janmamu manasA
anupallavi
shrIman mAnasa
kanaka pIThamuna
celaga jEsikoni vara sivarAma
caraNam
nAdasvaramanu vara navaratnapu vEDikapai sakala lIla vinOduni
paramAtmuni srI rAmuni pAdamulanu tyAgarAja hrd bhUShaNuni
.
Meaning:
pallavi
nAma kusumamulacE pUjincE - worshipping with chanting the name as flowers
nara janmamE -
birth as a human form
janmamu manasA - is the blessed one
anupallavi
shrIman mAnasa kanaka pIThamuna - making heart as a golden throne
celaga jEsikoni vara sivarAma - installing sivarama
caraNam
nAdasvaramanu - in the music generated from the auspicious nAda
vara navaratnapu vEDikapai - on the stage decked with the nine gems
sakala lIla vinOduni - one who enjoys universal drama
paramAtmuni srI rAmuni - srE rAma and paramAtma
pAdamulanu - his holy feet
tyAgarAja hrd bhUShaNuni - one that adorns thyAgarAja’s hear
.
Summary
Oh Mind! The birth as human form is the blessed life as one can install rAma in the golden throne of their hearts and worship him by offering his holy names as flowers.
ParamAtma, who enjoys the universal drama, is installed on a stage decked with the nine gems while music is generated from the “nAdamâ€. His (rAma) holy feet adorn tyAgarAja’s heart as well.
Semmangudi Srinivasa iyer
.
https://youtu.be/-sAEUvAwr5A?si=jc1E149ZsLmOFNR6
Sri raagam
..
pallavi
nAma kusumamulacE pUjincE nara janmamE janmamu manasA
anupallavi
shrIman mAnasa
kanaka pIThamuna
celaga jEsikoni vara sivarAma
caraNam
nAdasvaramanu vara navaratnapu vEDikapai sakala lIla vinOduni
paramAtmuni srI rAmuni pAdamulanu tyAgarAja hrd bhUShaNuni
.
Meaning:
pallavi
nAma kusumamulacE pUjincE - worshipping with chanting the name as flowers
nara janmamE -
birth as a human form
janmamu manasA - is the blessed one
anupallavi
shrIman mAnasa kanaka pIThamuna - making heart as a golden throne
celaga jEsikoni vara sivarAma - installing sivarama
caraNam
nAdasvaramanu - in the music generated from the auspicious nAda
vara navaratnapu vEDikapai - on the stage decked with the nine gems
sakala lIla vinOduni - one who enjoys universal drama
paramAtmuni srI rAmuni - srE rAma and paramAtma
pAdamulanu - his holy feet
tyAgarAja hrd bhUShaNuni - one that adorns thyAgarAja’s hear
.
Summary
Oh Mind! The birth as human form is the blessed life as one can install rAma in the golden throne of their hearts and worship him by offering his holy names as flowers.
ParamAtma, who enjoys the universal drama, is installed on a stage decked with the nine gems while music is generated from the “nAdamâ€. His (rAma) holy feet adorn tyAgarAja’s heart as well.
Semmangudi Srinivasa iyer
.
https://youtu.be/-sAEUvAwr5A?si=jc1E149ZsLmOFNR6
-
nAdopAsaka
- Posts: 890
- Joined: 20 Jul 2020, 17:05
vara rAga laya – where the tyAgarAja DENOUNCES the CEnCu-kAma bhOjana – the SAVAGES who feast on the sensory/sensual
vara rAga laya – where the tyAgarAja DENOUNCES the CEnCu-kAma bhOjana – the SAVAGES who feast on the sensory/sensual instead of the cerebral
CEnCu (the word) means SAVAGE in the vernacular.....(all the insipid translations and their parroting by fools are unable to realize or translate this unique word )
CEnCu-kAma-bhOjana are the SAVAGES who feact on the sensory/sensual
Indeed the tyAgarAja uses the rAga meaningfully !
He DENOUNCES as savages all those who claim knowledge of music as “swara, rAga, laya, murCana bhEda” gyAna , as mere sense stimulation !
It takes him only about 25 words to emphasize that the purpose of music is cerebral, that nAda is the expression of breath as the pranava OmkAra, and the expression of thirst for the self (dAham) !
The rAga choice CEnCu-kAmboji is a particularly savage denunciation of all those who deny this concept of nAda.
Not only does the tyAgarAja expound the rAga as musical scale, he is also giving the meaning of the rAga word via the choice of his kriti words.
And there are still fools who think the tyAgarAja does not give deliberate rAga mudras !
It is claimed the kritis were “taught” by the tyAgarAja... If so, the gem of wisdom built into this important kriti (the only one in CEnCu kAmbOji) has been completely lost on paramparAs of “performers” , all hell-bent upon winning awards at talent competitions.
The lack of understanding of the languages and ideas has been compounded by a lack of imagination and a laziness.
None of these fools has even asked what the odd rAga word name “CEnCu-kAmbOji” means... ..just like the meaningless word bangAla has been substituted for the vangaAla, (defined thoroughly as the "dynasty" in all 6 of the tyAgarAjas kritis as already shown)
The ignorance has allowed MISCREANTS (with their perverted images) to attempt to distort the motivations of the individual vAggeyakAras essential pujA and musical legacy, anchored by their words and rAga choices.
All that nonsense has been thoroughly exposed......the vAggeyakAras music always exposes truth/Sruti as well as untruth/apa-Sruti.
satyam Eva jayatE
vara rAga layagnulu dAmanucu vadarErayA SrI rAma
anupallavi
svara jati murCana bhEdamula svAntamandu deliyaka uNDina
caraNam
dEvOdbhavambagu nAdamula divyamau pranavAkara manE
dAhamberugani mAnavula tyAgarAjanuta EcEru rAma
vara rAga laya – rAga CEnCu kAmbOji
ranjani gAyatri
https://www.youtube.com/watch?v=KVCSwqtzWuc
CEnCu (the word) means SAVAGE in the vernacular.....(all the insipid translations and their parroting by fools are unable to realize or translate this unique word )
CEnCu-kAma-bhOjana are the SAVAGES who feact on the sensory/sensual
Indeed the tyAgarAja uses the rAga meaningfully !
He DENOUNCES as savages all those who claim knowledge of music as “swara, rAga, laya, murCana bhEda” gyAna , as mere sense stimulation !
It takes him only about 25 words to emphasize that the purpose of music is cerebral, that nAda is the expression of breath as the pranava OmkAra, and the expression of thirst for the self (dAham) !
The rAga choice CEnCu-kAmboji is a particularly savage denunciation of all those who deny this concept of nAda.
Not only does the tyAgarAja expound the rAga as musical scale, he is also giving the meaning of the rAga word via the choice of his kriti words.
And there are still fools who think the tyAgarAja does not give deliberate rAga mudras !
It is claimed the kritis were “taught” by the tyAgarAja... If so, the gem of wisdom built into this important kriti (the only one in CEnCu kAmbOji) has been completely lost on paramparAs of “performers” , all hell-bent upon winning awards at talent competitions.
The lack of understanding of the languages and ideas has been compounded by a lack of imagination and a laziness.
None of these fools has even asked what the odd rAga word name “CEnCu-kAmbOji” means... ..just like the meaningless word bangAla has been substituted for the vangaAla, (defined thoroughly as the "dynasty" in all 6 of the tyAgarAjas kritis as already shown)
The ignorance has allowed MISCREANTS (with their perverted images) to attempt to distort the motivations of the individual vAggeyakAras essential pujA and musical legacy, anchored by their words and rAga choices.
All that nonsense has been thoroughly exposed......the vAggeyakAras music always exposes truth/Sruti as well as untruth/apa-Sruti.
satyam Eva jayatE
vara rAga layagnulu dAmanucu vadarErayA SrI rAma
anupallavi
svara jati murCana bhEdamula svAntamandu deliyaka uNDina
caraNam
dEvOdbhavambagu nAdamula divyamau pranavAkara manE
dAhamberugani mAnavula tyAgarAjanuta EcEru rAma
vara rAga laya – rAga CEnCu kAmbOji
ranjani gAyatri
https://www.youtube.com/watch?v=KVCSwqtzWuc
-
RSR
- Posts: 3427
- Joined: 11 Oct 2015, 23:31
Re: Thyagaraja (Krithis)
Saint Tyagaraja expresses to the Lord that people go about prattling that they are the Masters of sacred raga and laya even though people might not have experienced, the differences in undulations of 7 notes and their derivatives within themselves.
...
even though people might not have experienced, the differences in undulations of 7 notes and their derivatives within themselves...tone-deaf idiots , denounce music and musicians. Evidently, they have never experienced thebliss of music. No one can make them understand what music is.
It may be carefully noted that Thyaagaraaja swaami is laying stress on raagam, layam and rendering, and not so much on parrot-like babbling and out of context, bizarre word-sandhis and similarities.
Intha sowkyamu !
Chenchu are tribal people. Guhan and Sabari were tribal. But among the noblest persons in the epic.
Valmiki was of tribal origin. And hunter.
.
Indian classical music has a lot of centuries-old raagams, which are broadly grouped as desi tunes.
Tamizh country had its own paNNs.
What the contemptible cranks call -'savage', they were the creators of these desi tunes. Even the trinity have drawn inspiration from such folk music and tunes. Daasa saints drew heavily from such folks tunes and enriched them.
.
Knaves are people who out of conceit and jealousy pretend to be great srividya students..
Last edited by RSR on 01 Nov 2023, 21:45, edited 2 times in total.
-
nAdopAsaka
- Posts: 890
- Joined: 20 Jul 2020, 17:05
CEnCu kAma-bhOjanam and the sanyAsi of the dhanyAsi “sangita gyAnamu bhakti vina”
CEnCu kAma-bhOjanam and the sanyAsi of the dhanyAsi “sangita gyAnamu bhakti vina”
What utter nonsense..
For vara rAga laya, CEnCu kAmabhOji is chosen (DELIBERATELY) only because it refers to SAVAGES..= those who are mired in sensory pursuits...
The key word is kAma in CEnCu kAma, the sensual , superficial perception of music, merely through its science/swaras.
If only the foolish could understand the words and their meaning…
Indeed, the tyAgarAjas “sangita gyAnamu bhakti vinA” CONFIRMS the view he gives in “vara rAga laya” !
The tyAgarAja says so CLEARLY with the line “kAyajAdi Sadripula jayinCE”…One must win over the SIX fold evils such as kAma …krOdha, etc…to understand the true wisdom of sangita and sanmArga.
And noticeably he picks the rAga dhanyAsi for the sanyAsi who rejects this kAma….the sensory pursuit..in music and in everything else…
No ! …nAda-OmkAra is not available to animals, nor to SAVAGES , and also not to those who deny the words of the vAggeyakAras
sangita gyAnamu – rAga dhanyAsi
ranjani-gayatri
https://www.youtube.com/watch?v=yQXiNjUxr70
What utter nonsense..
For vara rAga laya, CEnCu kAmabhOji is chosen (DELIBERATELY) only because it refers to SAVAGES..= those who are mired in sensory pursuits...
The key word is kAma in CEnCu kAma, the sensual , superficial perception of music, merely through its science/swaras.
If only the foolish could understand the words and their meaning…
Indeed, the tyAgarAjas “sangita gyAnamu bhakti vinA” CONFIRMS the view he gives in “vara rAga laya” !
The tyAgarAja says so CLEARLY with the line “kAyajAdi Sadripula jayinCE”…One must win over the SIX fold evils such as kAma …krOdha, etc…to understand the true wisdom of sangita and sanmArga.
And noticeably he picks the rAga dhanyAsi for the sanyAsi who rejects this kAma….the sensory pursuit..in music and in everything else…
No ! …nAda-OmkAra is not available to animals, nor to SAVAGES , and also not to those who deny the words of the vAggeyakAras
sangita gyAnamu – rAga dhanyAsi
ranjani-gayatri
https://www.youtube.com/watch?v=yQXiNjUxr70
-
RSR
- Posts: 3427
- Joined: 11 Oct 2015, 23:31
Re: Thyagaraja (Krithis)
..One must win over the SIX fold evils such as kAma …krOdha, etc…to understand the true wisdom of sangita and sanmArga.
Very embodiment of krodha etc is using the sathguru's words.
Funny.
-
nAdopAsaka
- Posts: 890
- Joined: 20 Jul 2020, 17:05
kusuma Sarambu vEsEnE – the flower arrow kAma mudra of the tyAgarAjas kAmavardhani CudarE CElulAra
kusuma Sarambu vEsEnE – the flower arrow kAma mudra of the tyAgarAjas kAmavardhani CudarE CElulAra
There are 10 separate lines in this graceful kriti to the yamunA river, which is part of the tyAgarAjas naukA Caritram.
In the vision of the tyAgarAja, the river becomes the goddess, yamunA dEvi whose every curve and ripple is worthy of the nAdayOgis pujA.
Only a few of the lines have ever been heard…thanks to the “lip-service” by self-promoting vidwAns and the so-called paramparAs.
And concealed in the 8th stanza is the rAga mudra for the rAga kAma-vardhani, with the words “kusuma Sarambu vEsEne” - for kAma - he who casts the flower arrow
The purpose of miscreants to ignore the words of the vAggeyakAras is to
1. Dilute the value of the words
2. Deliberately introduce mis-attributions
3. Create a false narrative , for example that the tyAgarAja does not use rAga mudras etc. Indeed it has been shown repeatedly for hundreds of kritis that the mudras he uses are either direct or indirect and are deliberate
4. Spread untruth at the expense of the nAdayOgis sAdhana
5. Deny the pujA of the vAggeyakAras
6. Introduce their own perversions and other lewd imagery
and
7. Desecrate the kritis and pujA as "BOAT stuff" or "ardha stuff" or other contemptuous abuse.
This is the untruth/apa-Sruti that the music, the forum and the nAda-sampradAya has exposed.
Is there any punishment or condemnation that is too small for such miscreants ?
No !
satyam Eva jayatE
CudarE CElulAra – rAga kAmavardhani
devanathan
https://www.youtube.com/watch?v=SqDzjIaGHns
m. abhinaya
https://www.youtube.com/watch?v=o9z1SXBa1pc
There are 10 separate lines in this graceful kriti to the yamunA river, which is part of the tyAgarAjas naukA Caritram.
In the vision of the tyAgarAja, the river becomes the goddess, yamunA dEvi whose every curve and ripple is worthy of the nAdayOgis pujA.
Only a few of the lines have ever been heard…thanks to the “lip-service” by self-promoting vidwAns and the so-called paramparAs.
And concealed in the 8th stanza is the rAga mudra for the rAga kAma-vardhani, with the words “kusuma Sarambu vEsEne” - for kAma - he who casts the flower arrow
The purpose of miscreants to ignore the words of the vAggeyakAras is to
1. Dilute the value of the words
2. Deliberately introduce mis-attributions
3. Create a false narrative , for example that the tyAgarAja does not use rAga mudras etc. Indeed it has been shown repeatedly for hundreds of kritis that the mudras he uses are either direct or indirect and are deliberate
4. Spread untruth at the expense of the nAdayOgis sAdhana
5. Deny the pujA of the vAggeyakAras
6. Introduce their own perversions and other lewd imagery
and
7. Desecrate the kritis and pujA as "BOAT stuff" or "ardha stuff" or other contemptuous abuse.
This is the untruth/apa-Sruti that the music, the forum and the nAda-sampradAya has exposed.
Is there any punishment or condemnation that is too small for such miscreants ?
No !
satyam Eva jayatE
CudarE CElulAra – rAga kAmavardhani
devanathan
https://www.youtube.com/watch?v=SqDzjIaGHns
m. abhinaya
https://www.youtube.com/watch?v=o9z1SXBa1pc
-
RSR
- Posts: 3427
- Joined: 11 Oct 2015, 23:31
Re: Thyagaraja (Krithis)
Anybody who has read my posts in this thread , can easily, see my great adoration of the kruthis, teachings and values, of Thyaagaraja swami.
When i disown the boat stuff opera, i do it with the utmost reverence for the Sathguru,
I strongly believe that the imagery and wordings of the boat opera , are totally out of tune with the aversion and disgust that Sathguru had for the amorous gopika theme .
My surmise is that some atleast of the kruthis in that opera, are the handiwork of one of his disciples.
Actually, I am defending the puritanical
values and preachings of the swami.
.
He was a Raama bhaktha and not a bhaktha of krushna except as a mere child and as the teacher of the Gita and as a statesman. as portrayed in the Mahaabhaaratha.
Especially endearing and ennobling are the bhaagavatham episodes of vanabijanam, kaaLiya nardhanam, akroovar visit, govardhana giridhari, rukmani swayamvaram, kamsa vadham, reinstating his real parents to the throne, kuchela upakyaanam .
saviour of dhrowpathy 's honour in the assembly of disrobers.
Krushna the 'robe giver' !
how very different from the krushna the disrober of the boat chronicle.!
Thyaagaraaja swami could not have written such lines surely.
It is quite possible that one among his disciples, most probably, the walajapet people, have inserted those kruthis.
.
I am led by the life episodes of Balakrushnan, as sung inlovely and chaste Thamizh of Periyaazhvaar.
Thamizh tradition celebrates the childhood pranks of the baalakrushnan.
And does celebrate the enchanting flute music to which the ladies and girls of the village danced in unison.
The tradition of cowherd maiden's group dance is described beautifully in aaychiyar kuravai -madurai canto -silappathikaaram by Ilango adikaL. It is from that the heart-melting rendition of ' vadavaraiyai matthaaki' raagamaalika of Smt.MS , is taken,
After all, krushna as maayon is the ancient deity of sangam literature , of people of mullai Nilam- pasture land.
While Murugan is the lord of hilly regions..known as kurinji.
.
Scholars reject quite a few of Thyaagaraaja kruthis as spurious, because of veneration to Sathguru and not because of disrespect.
.
Kindly note that they are not thereby rejecting Thyaagaraajaa but the plagiarists.
Some people are claiming in this thread, that a particular kruthi ' ' is not found in the Spiritual heritage book
and so is not of Sathguru.
..
.
https://medium.com/@chitrapu1955/thyaga ... 25fcb7a399
-
When i disown the boat stuff opera, i do it with the utmost reverence for the Sathguru,
I strongly believe that the imagery and wordings of the boat opera , are totally out of tune with the aversion and disgust that Sathguru had for the amorous gopika theme .
My surmise is that some atleast of the kruthis in that opera, are the handiwork of one of his disciples.
Actually, I am defending the puritanical
values and preachings of the swami.
.
He was a Raama bhaktha and not a bhaktha of krushna except as a mere child and as the teacher of the Gita and as a statesman. as portrayed in the Mahaabhaaratha.
Especially endearing and ennobling are the bhaagavatham episodes of vanabijanam, kaaLiya nardhanam, akroovar visit, govardhana giridhari, rukmani swayamvaram, kamsa vadham, reinstating his real parents to the throne, kuchela upakyaanam .
saviour of dhrowpathy 's honour in the assembly of disrobers.
Krushna the 'robe giver' !
how very different from the krushna the disrober of the boat chronicle.!
Thyaagaraaja swami could not have written such lines surely.
It is quite possible that one among his disciples, most probably, the walajapet people, have inserted those kruthis.
.
I am led by the life episodes of Balakrushnan, as sung inlovely and chaste Thamizh of Periyaazhvaar.
Thamizh tradition celebrates the childhood pranks of the baalakrushnan.
And does celebrate the enchanting flute music to which the ladies and girls of the village danced in unison.
The tradition of cowherd maiden's group dance is described beautifully in aaychiyar kuravai -madurai canto -silappathikaaram by Ilango adikaL. It is from that the heart-melting rendition of ' vadavaraiyai matthaaki' raagamaalika of Smt.MS , is taken,
After all, krushna as maayon is the ancient deity of sangam literature , of people of mullai Nilam- pasture land.
While Murugan is the lord of hilly regions..known as kurinji.
.
Scholars reject quite a few of Thyaagaraaja kruthis as spurious, because of veneration to Sathguru and not because of disrespect.
.
Kindly note that they are not thereby rejecting Thyaagaraajaa but the plagiarists.
Some people are claiming in this thread, that a particular kruthi ' ' is not found in the Spiritual heritage book
and so is not of Sathguru.
..
Thyagaraja Then & Thyagaraja Now. Discerning the Thyagaraja as a man from… | by Prabhakar Chitrapu |Even among published works, there is not a complete agreement. One of the first books that I referred to was “The Spiritual Heritage of Thyagaraja”, written by C. Ramanujachari & V Raghavan (published by Sri Ramakrishna Math, Madras in 1981). This book cataloged but only 564 songs, with several well known songs missing, including the famous Nata raga kriti Jagadanandakaraka.
.
.
https://medium.com/@chitrapu1955/thyaga ... 25fcb7a399
-
Last edited by RSR on 03 Nov 2023, 16:43, edited 3 times in total.
-
nAdopAsaka
- Posts: 890
- Joined: 20 Jul 2020, 17:05
gauri-manOhara = Siva - The guru in “gurulEka”, the tyAgarAjas gaurimanOhari kriti
gauri-manOhara = Siva - The guru in “gurulEka”, the tyAgarAjas gaurimanOhari kriti
The vAggeyakAras distribute and express their adoration for ALL deities.
No ignorant pervert can try to change the all-encompassing pujA of the nAdayOgis.
The primacy of rAma in the tyAgarAjas kritis co-exists with the tyAgarAjas unalloyed devotion to other deities.
Indeed, many potent iconic kritis of the tyAgarAja address the entire pantheon from the scripture. For example..
sAmaja vara gamana – hindOla to the yadava kula murali
EtAvunarA nilakada – kalyAni to gOvinda
Enta ninnE varnintunu – mukhari to Sabari
Sri ganapatini – saurAstra to ganapati
nivanti daivamu – tOdi to subramanya
karuna judavamma – tOdi to the ardhanAri of tiruvaiyAru (which perverts dismiss as ardha stuff)
There are many others such as all the panCa bhUta pujA sets or the tiruvOtriyUr tripurasundari panCa-vAra or kOvur sundareSa panCa-bhuta. Naturally... a fool who does not read or understand the words is not expected to be aware of these kritis and their teachings.
An equally important kriti is the gauri-manOhari guru-lEka, where the tyAgarAja teaches the value of a guru – as guide and teacher.
Who is this guru in this kriti "gurulEka" ?
Once again it is the rAga name that is the key !
gauri-manOhara is only truly Siva who is also considered as the promulgator of all music.
Why ?
Because in his equally properly chosen Sankara-Abharana kriti “swara rAga sudhA” , the tyAgarAja describes Siva as the one who teaches pArvati the essence of the nAda-yOga and swarArnava
rajata giriSudu nagaja-ku delpu swarArnava marmulu.
And the tripurahara is also the destroyer of the tApatraya - the hrd-rOga gahana kotta found in the gaurimanOhari kriti
Case closed…
Summary
The guru of the kriti “gure-lEka” is gauri-manOhara = Siva deliberately set by the tyAgarAja to rAga gauri-manOhari
The guru of pArvati in the kriti “swara rAga sudhA” is Siva deliberately set by the tyAgarAja to rAga Sankara-Abharana
Yet again, it is comprehending the words and choices of the vAggeyakAras that properly celebrates their sAdhana.
And yet again, ALL miscreants are put on notice…… Any attempts to distort the musical and spiritual legacy of the nAdayOgis will fail. The nAdayOgis pujA cannot be divided between this or that deity.
Their vision is all-encompassing (not the ignorant, inconsistency of failed traditions)
Ignorant, language challenged, disillusionment should be taken elsewhere.
satyam eva jayatE
gurulEka Etuvanti – rAga gauri-manOhari
KVN
https://www.youtube.com/watch?v=1CRzY2vs8Ig
violin VVS
https://www.youtube.com/watch?v=Se0V3u1QBIM
veena jayanti
https://www.youtube.com/watch?v=aGzHbHUlinU
flute ramani
https://www.youtube.com/watch?v=i6uDqvsw51I
mandolin SrinivAs
https://www.youtube.com/watch?v=iYikGohMLWY
The vAggeyakAras distribute and express their adoration for ALL deities.
No ignorant pervert can try to change the all-encompassing pujA of the nAdayOgis.
The primacy of rAma in the tyAgarAjas kritis co-exists with the tyAgarAjas unalloyed devotion to other deities.
Indeed, many potent iconic kritis of the tyAgarAja address the entire pantheon from the scripture. For example..
sAmaja vara gamana – hindOla to the yadava kula murali
EtAvunarA nilakada – kalyAni to gOvinda
Enta ninnE varnintunu – mukhari to Sabari
Sri ganapatini – saurAstra to ganapati
nivanti daivamu – tOdi to subramanya
karuna judavamma – tOdi to the ardhanAri of tiruvaiyAru (which perverts dismiss as ardha stuff)
There are many others such as all the panCa bhUta pujA sets or the tiruvOtriyUr tripurasundari panCa-vAra or kOvur sundareSa panCa-bhuta. Naturally... a fool who does not read or understand the words is not expected to be aware of these kritis and their teachings.
An equally important kriti is the gauri-manOhari guru-lEka, where the tyAgarAja teaches the value of a guru – as guide and teacher.
Who is this guru in this kriti "gurulEka" ?
Once again it is the rAga name that is the key !
gauri-manOhara is only truly Siva who is also considered as the promulgator of all music.
Why ?
Because in his equally properly chosen Sankara-Abharana kriti “swara rAga sudhA” , the tyAgarAja describes Siva as the one who teaches pArvati the essence of the nAda-yOga and swarArnava
rajata giriSudu nagaja-ku delpu swarArnava marmulu.
And the tripurahara is also the destroyer of the tApatraya - the hrd-rOga gahana kotta found in the gaurimanOhari kriti
Case closed…
Summary
The guru of the kriti “gure-lEka” is gauri-manOhara = Siva deliberately set by the tyAgarAja to rAga gauri-manOhari
The guru of pArvati in the kriti “swara rAga sudhA” is Siva deliberately set by the tyAgarAja to rAga Sankara-Abharana
Yet again, it is comprehending the words and choices of the vAggeyakAras that properly celebrates their sAdhana.
And yet again, ALL miscreants are put on notice…… Any attempts to distort the musical and spiritual legacy of the nAdayOgis will fail. The nAdayOgis pujA cannot be divided between this or that deity.
Their vision is all-encompassing (not the ignorant, inconsistency of failed traditions)
Ignorant, language challenged, disillusionment should be taken elsewhere.
satyam eva jayatE
gurulEka Etuvanti – rAga gauri-manOhari
KVN
https://www.youtube.com/watch?v=1CRzY2vs8Ig
violin VVS
https://www.youtube.com/watch?v=Se0V3u1QBIM
veena jayanti
https://www.youtube.com/watch?v=aGzHbHUlinU
flute ramani
https://www.youtube.com/watch?v=i6uDqvsw51I
mandolin SrinivAs
https://www.youtube.com/watch?v=iYikGohMLWY
-
RSR
- Posts: 3427
- Joined: 11 Oct 2015, 23:31
Re: Thyagaraja (Krithis)
Has he sung any kruthi except on siva
at thiruvaiyaaru and at kovoor, and lalgudi.,only after his travel in his 75th year? No. But as a musician, there is nothing surprising if he admires Siva as a musucian.
Naadha tham anisam sankaram
Gist
I ever and repeatedly salute with my mind and body Lord Sankara –
(a) the embodiment of the pleasurable, eternal nAda, which is the essence of the sAma vEda - the best of vEdas.
(b) the enjoyer of the art of sacred sapta svara - sa-ri-ga-ma-pa-dha-ni - born of His five faces - sadyOjAta etc.,
(c) the destroyer of yama,
(d) the pure hearted, and
(e) the protector of this tyAgarAja
at thiruvaiyaaru and at kovoor, and lalgudi.,only after his travel in his 75th year? No. But as a musician, there is nothing surprising if he admires Siva as a musucian.
Naadha tham anisam sankaram
Gist
I ever and repeatedly salute with my mind and body Lord Sankara –
(a) the embodiment of the pleasurable, eternal nAda, which is the essence of the sAma vEda - the best of vEdas.
(b) the enjoyer of the art of sacred sapta svara - sa-ri-ga-ma-pa-dha-ni - born of His five faces - sadyOjAta etc.,
(c) the destroyer of yama,
(d) the pure hearted, and
(e) the protector of this tyAgarAja
-
nAdopAsaka
- Posts: 890
- Joined: 20 Jul 2020, 17:05
manasA SirasA mOdakara – the rAga mudra of the tyAgarAjas only Citta-ranjani kriti
manasA SirasA mOdakara – the rAga mudra of the tyAgarAjas only Citta-ranjani kriti
Yet another inaccurate clueless post, illustrating how the words of the vAggeyakAras are squandered by the language-challenged...
The words and rAgas are chosen by the vAggeyakAras with a deep sense of purpose. They deserve better than these insipid translations.
“manasA SirasA” is the pinnacle of the mind which is Citta/CEta, the supreme thought/consciousness .
nAda-OmkAra “colors” the Citta of the nAda-upAsaka, in the vision of the tyAgarAja.
This coloring/dyeing is…exactly = ranjana.
The tyAgarAja chooses the rAga precisely because of this idea..
Citta-ranjana = the ability of nAda to enter and dye/color the highest consciousness.
And with the sequence “manasA SirasA mOdakara”, the tyAgarAja gives the mudra for this Citta-ranjana, the pinnacle of bliss.
nAda-tanumaniSam – rAga Cittaranjani
aiSwarya/soundarya
https://www.youtube.com/watch?v=bmUdwU0S_Os
sikkil mAla
https://www.youtube.com/watch?v=cPeJLXnjPuo
Yet another inaccurate clueless post, illustrating how the words of the vAggeyakAras are squandered by the language-challenged...
The words and rAgas are chosen by the vAggeyakAras with a deep sense of purpose. They deserve better than these insipid translations.
“manasA SirasA” is the pinnacle of the mind which is Citta/CEta, the supreme thought/consciousness .
nAda-OmkAra “colors” the Citta of the nAda-upAsaka, in the vision of the tyAgarAja.
This coloring/dyeing is…exactly = ranjana.
The tyAgarAja chooses the rAga precisely because of this idea..
Citta-ranjana = the ability of nAda to enter and dye/color the highest consciousness.
And with the sequence “manasA SirasA mOdakara”, the tyAgarAja gives the mudra for this Citta-ranjana, the pinnacle of bliss.
nAda-tanumaniSam – rAga Cittaranjani
aiSwarya/soundarya
https://www.youtube.com/watch?v=bmUdwU0S_Os
sikkil mAla
https://www.youtube.com/watch?v=cPeJLXnjPuo
-
RSR
- Posts: 3427
- Joined: 11 Oct 2015, 23:31
Re: Thyagaraja (Krithis)
https://youtu.be/A6FASCHddAY?si=VE3BwGcsNg3S4kPQ
This a concert by MMI at Bombay 1956.
He made the Kruthi very famous and popular..Naadha thanumaisham
This a concert by MMI at Bombay 1956.
He made the Kruthi very famous and popular..Naadha thanumaisham
-
RSR
- Posts: 3427
- Joined: 11 Oct 2015, 23:31
Re: Thyagaraja (Krithis)
Which are the genuine kruthis of Thyaagaraaja swami? The article by Prabhakar Chitrappu, cited above, raises studied concerns.
.
Too much reliance has been placed by prof.saambamurthy on the walajah manuscripts. Soutashtra sabha. Most kruthis have been HANDWRITTEN by walajapet. How far were they really created by thyaagaraaja swami?
It is the textual basis..
But Manambuchavadi venkatasubbier was a cousin of Sathguru. And a devoted disciple at the feet of sathguru.
.
The most well known stars of the Thyaagaraaja school are Maha Vaidyanaatha SIvan and Patnam Subramanya Iyer.
.
Safhguru did not take any female disciples. Nor did Manambuchaavadi
whose father himself was a dedicated musician,
Manambuchaavadi 's disciple Maha Vaidyanatha Sivan also did not take female disciples.
.
Great musicians ,many of them Sangita kalaanidhis ,wers all disciples of vaidyanatha sivan.
Saraba saastry was among the greats in that lineage.
Musiri Subramanya Iyer came in that lineage.
It was only Patnam Subramanya iyer who took female disciples of those times.
Association does color our values.
The ORAL TDADITION of the genuine thyyagaraaja kruthis belongs to the manambuchaavadi stream. No one in that tradition sang any kruthi from boat stuff.
Vaidyanatha sivan as is well known was a very orthodox and disciplined
singer, unrivalled by any other musician of his time.
He was patronized by famous saivite aadheenam. And he and his elder brother Ramaswamy Sivan ,who himself was a great composer in Thamizh, were both staunch saivites.
.
It will be legitimate to question if they had ever sung any kruthi in ARDHA connotation...even about 'umai oru baagan.'
.
Too much reliance has been placed by prof.saambamurthy on the walajah manuscripts. Soutashtra sabha. Most kruthis have been HANDWRITTEN by walajapet. How far were they really created by thyaagaraaja swami?
It is the textual basis..
But Manambuchavadi venkatasubbier was a cousin of Sathguru. And a devoted disciple at the feet of sathguru.
.
The most well known stars of the Thyaagaraaja school are Maha Vaidyanaatha SIvan and Patnam Subramanya Iyer.
.
Safhguru did not take any female disciples. Nor did Manambuchaavadi
whose father himself was a dedicated musician,
Manambuchaavadi 's disciple Maha Vaidyanatha Sivan also did not take female disciples.
.
Great musicians ,many of them Sangita kalaanidhis ,wers all disciples of vaidyanatha sivan.
Saraba saastry was among the greats in that lineage.
Musiri Subramanya Iyer came in that lineage.
It was only Patnam Subramanya iyer who took female disciples of those times.
Association does color our values.
The ORAL TDADITION of the genuine thyyagaraaja kruthis belongs to the manambuchaavadi stream. No one in that tradition sang any kruthi from boat stuff.
Vaidyanatha sivan as is well known was a very orthodox and disciplined
singer, unrivalled by any other musician of his time.
He was patronized by famous saivite aadheenam. And he and his elder brother Ramaswamy Sivan ,who himself was a great composer in Thamizh, were both staunch saivites.
.
It will be legitimate to question if they had ever sung any kruthi in ARDHA connotation...even about 'umai oru baagan.'
-
nAdopAsaka
- Posts: 890
- Joined: 20 Jul 2020, 17:05
The bhava-sAgara of the tyAgarAjas gAna-vAridhi daya juCUtakidi
The bhava-sAgara of the tyAgarAjas gAna-vAridhi daya juCUtakidi
Yet another example of the tyAgarAja deploying the rAga name as an idea within the kriti.
Ocean crossing symbolizes the traversing the experiences of samsAra, which are the afflictions preventing self-enlightenment.
The vAggeyakAras (and others) call this bhava-sAgara.
vAridhi is a synonym for ocean.
Unerringly in the kriti daya juCutakidi, the tyAgarAja rings forward the idea with the anu-pallavi
bhAva vAraNa mrgEsha jalajOd-bhavArtihara manjuLAkAra nanu
bhava vArana is the mudra for bhava-sAgara, the vAridhi of the ocean crossing, and effectively the raga mudra for gana-vAridhi.
daya juCutakidi – rAga gAnavAridhi
alamElu mani
https://www.youtube.com/watch?v=U7Hj0fEc6uA
Yet another example of the tyAgarAja deploying the rAga name as an idea within the kriti.
Ocean crossing symbolizes the traversing the experiences of samsAra, which are the afflictions preventing self-enlightenment.
The vAggeyakAras (and others) call this bhava-sAgara.
vAridhi is a synonym for ocean.
Unerringly in the kriti daya juCutakidi, the tyAgarAja rings forward the idea with the anu-pallavi
bhAva vAraNa mrgEsha jalajOd-bhavArtihara manjuLAkAra nanu
bhava vArana is the mudra for bhava-sAgara, the vAridhi of the ocean crossing, and effectively the raga mudra for gana-vAridhi.
daya juCutakidi – rAga gAnavAridhi
alamElu mani
https://www.youtube.com/watch?v=U7Hj0fEc6uA
Last edited by nAdopAsaka on 04 Nov 2023, 14:26, edited 1 time in total.
-
nAdopAsaka
- Posts: 890
- Joined: 20 Jul 2020, 17:05
siddha-sEna – the tyAgarAjas call to the army of accomplished souls - Evaraina lEra
siddha-sEna – the tyAgarAjas call to the army of accomplished souls - Evaraina lEra
The rare rAga siddhasEna is irrigated ONLY by the tyAgarAjs vision.
In Evaraina lEra he seeks the guidance of All those who are capablle of leading the helpless through the bhava-sAgara and the kaliyuga
And he recognizes the enormity of the problem, calling for an army (sEna) of such enlightened gurus (siddhas)
No wonder the rAga chosen has the siddhas and the army built into it..siddha-sena
At every step and with every breath, the nAda-sampradAya confronts and exposes apa-Sruti and untruth.
Miscreants who deny the puja and words of the vAggeyakAras, through their ignorance are put on notice.
At every step and with every breath, the nAda-sampradAya confronts and exposes apa-Sruti and untruth.
P Evaraina lErA peddalu, ilalOna dInula brOva
A bhava sAgaramuna Carincu
balu gAsi rAmunitO telupa
C kali mAnavAdhamula kAryamulu
kAma matsarAdula kRtyamulu
cala cittamu lEni vAripuDu
cAla tyAgarAja nutinitO telupa
evaraina lEra – raga siddhasEna
sp ramh
https://www.youtube.com/watch?v=YHW83uj2hWc
The rare rAga siddhasEna is irrigated ONLY by the tyAgarAjs vision.
In Evaraina lEra he seeks the guidance of All those who are capablle of leading the helpless through the bhava-sAgara and the kaliyuga
And he recognizes the enormity of the problem, calling for an army (sEna) of such enlightened gurus (siddhas)
No wonder the rAga chosen has the siddhas and the army built into it..siddha-sena
At every step and with every breath, the nAda-sampradAya confronts and exposes apa-Sruti and untruth.
Miscreants who deny the puja and words of the vAggeyakAras, through their ignorance are put on notice.
At every step and with every breath, the nAda-sampradAya confronts and exposes apa-Sruti and untruth.
P Evaraina lErA peddalu, ilalOna dInula brOva
A bhava sAgaramuna Carincu
balu gAsi rAmunitO telupa
C kali mAnavAdhamula kAryamulu
kAma matsarAdula kRtyamulu
cala cittamu lEni vAripuDu
cAla tyAgarAja nutinitO telupa
evaraina lEra – raga siddhasEna
sp ramh
https://www.youtube.com/watch?v=YHW83uj2hWc