The rAga bhairava kriti “mariyAda kAdayya” , the tAratama = non-distinction of rAma & bhairava and the tyAgarAjas Ananda-bhairavi kritis
The kAla-bhairava aStakam of the Adi Sankara in stanza 5 describes bhairava as “dharma-pAlaka”..and also as “adharma nASaka”.
dharma sEtu pAlakam tva-adharma mArga nASakam
Clearly the tyAgarAja was listening !!!
In his own rAga bhairava kriti “mariyAda kAdayya” he also sees no distinction between rAma and Siva.
As he says
tanavArula anyunanE tAratamyamu munu ghanudaina dASarathikE galadani kIrti gadA
translation
It is well known that is no distinction/difference for dASarathi = rAma as being ones own (tana vAru) or someone elses…(anyulu).
The key word is “tAra-tamya” deriving from “tAra-tama” = more-or-less,, meaning there is no distinction = no more and no less.
And for the very same tyAgarAja who asks and answers the same question in the “dwaitamu sukhama” ritigaula, this is merely restatement of the non-distinction of rAma and Siva.
Exactly as the kAla-bhairava aStakam defines dharma (the key charasteristic of rAma) as the attribute also of bhairava.
Which leads us to Ananda-bhairavi kritis of the tyAgarAja.
Both bhairava and rAma share a common violent streak when it comes to destroying evil ..they are “adharma mArga nASaka”
Each of the Ananda-bhairavi kritis of the tyAgarAja bring forward this aspect.
In “kSira sAgara vihAra”, the deity rests placidly on the milk-ocean, but is also a rather graphic destroyer of evil..
aparimita ghOra pAtaka vidara – destroyer of infinite severe criminals
Satamakha-ahita vibhanga – destroyer of the enemies of Indra
In "nikE teliyakapOte" he is "lOka-AdhAra" – supporter and protector of the entire world
In “rAma rAma ni vAramu” he is wielder of the kOdanda (which does not shoot flower arrows but real arrows).
sitA and bhairavi/pArvati
There are also some striking similarities between pArvati and sitA
bhairavi and earth
As parvat-aja, pArvati is the daughter of the mountain
As kSiti-ja, sitA is the daughter of the earth.
No less an authority than the Dikshitar conjoins the bhairavi dEvi with the prthvi-linga in the kAnCipuram “bhairavi” kriti “Cintaya mA kanda mulakanda”…..where the deity is described as “bhairavi prasanga”.
The pArvati/bhairavi holds on to the prthvi linga through the deluges and various troubles etc.
Of course the bhU-dEvi as sitA holds on to her dharma/ideals (the idea of rAma) while captive in lanka.
bhairavi and fire
As kAla-bhairavas consort, pArvati is the fire-breather.
As of course, with the agni-parikSA, sitA is also a fire dweller !
Now the embedded rAga mudras for the “Ananda bhairavi” kritis become clear
In "kSira sAgara vihAra" he is “janakajA SrngAra”, the object of sitAs desire and therefore the source of Ananda for siTa , who is tAra-tama with bhairavi, = non-differentiated from bhairavi.
In “nikE teliyaka pOte” he is lOkAdhAra-who gives sitA joy as her protector and her basis. Here the tAra-tama = non-distinction is based on the earth element clasped by both pArvati and sitA.
In “rAma rAma ni vAramu” he is as charming as Cupid..and in doing so gives joy to sitA.
Indeed the rAga mudra appears directly in the phrase kandarpa sundar Ananda kanda.
The kritis of the vAggeyakAras deserve more respect and careful contemplation, instead of the technical swara templates they have become for the music industry.
mariyAda kadayya – rAga bhairavam
TSK
https://www.youtube.com/watch?v=HQAZ0yjja6E
kSira sAgara vihAra – rAga Anandabhairavi
RK murthy
https://www.youtube.com/watch?v=kg_yiogUSnY
nikE teliyaka pOte – rAga Ananda bhairavi
Hyd bros.
https://www.youtube.com/watch?v=RsLCyS4uMZE
rAma rAma ni vAramu – rAga Anandabhairavi
bhakti ranjani
https://www.youtube.com/watch?v=wXn5Mp70wqY
Thyagaraja (Krithis)
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nAdopAsaka
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RSR
- Posts: 3427
- Joined: 11 Oct 2015, 23:31
Re: Thyagaraja (Krithis)
For advaitins, all deities are one, even of a different faith.
However, the nature of Vishnu and Rudra Siva, as mentioned in the earliest scripture of India, Rigveda, nearly,4000 years of antiquity, is the core of Hindu religion.
Maha Vishnu , except in his avathars, is ever calm, kind and pleasant. And among his avathars, the Rama avathar has become, the central ideal for indian people, irrespective of region.
And the axis of ideals of national character. The message is marital fidelity, respect for truth, filiel piety, loyalty to good friends and upholding of justice in public and private life.
Raama and krushna have become the cultural icons of Indian people, as narrated by Raamaayana and Mahabaaratha...in fact, the Gita is the bible of Indian culture. The Gita stresses
Karma yoga and bhakthi yoga which can be practised by all strata of society irrespective of gender.
[b]When we speak of krishna, Mahabaaratha does not say much of gopikas but more of state craft and kshatrjya dharma, in[/b] contrast to the absolute non violence of the earlier great religions of india, Jainism and Buddhism. It does not mean glorification of violence but to fight injustice by violence if absolutely inevitable.
Krushna is lauded by Ilango adikaL for his persistent effort to avoid the war even if it meant loss of a vast empire in exchange for five small villages.
Both Raammyana and Mahabaratha teach the futilty of total war. Where there is neither a victor nor the vanquished.
..(to be continued)
However, the nature of Vishnu and Rudra Siva, as mentioned in the earliest scripture of India, Rigveda, nearly,4000 years of antiquity, is the core of Hindu religion.
Maha Vishnu , except in his avathars, is ever calm, kind and pleasant. And among his avathars, the Rama avathar has become, the central ideal for indian people, irrespective of region.
And the axis of ideals of national character. The message is marital fidelity, respect for truth, filiel piety, loyalty to good friends and upholding of justice in public and private life.
Raama and krushna have become the cultural icons of Indian people, as narrated by Raamaayana and Mahabaaratha...in fact, the Gita is the bible of Indian culture. The Gita stresses
Karma yoga and bhakthi yoga which can be practised by all strata of society irrespective of gender.
[b]When we speak of krishna, Mahabaaratha does not say much of gopikas but more of state craft and kshatrjya dharma, in[/b] contrast to the absolute non violence of the earlier great religions of india, Jainism and Buddhism. It does not mean glorification of violence but to fight injustice by violence if absolutely inevitable.
Krushna is lauded by Ilango adikaL for his persistent effort to avoid the war even if it meant loss of a vast empire in exchange for five small villages.
Both Raammyana and Mahabaratha teach the futilty of total war. Where there is neither a victor nor the vanquished.
..(to be continued)
Last edited by RSR on 15 Aug 2023, 08:34, edited 2 times in total.
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RSR
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- Joined: 11 Oct 2015, 23:31
Re: Thyagaraja (Krithis)
Likewise, matriarchal society is the natural norm even among the birds and animals. Hence the concept of Devi.
Here again, Rigveda being patriarchal,
and more centered on knowledge gives focus on Saraswathy, the goddess of knowledge. And slightly later on material prosperity. Hence Lakshmi as consort of Vishnu.
.
Neither Saraswathy nor Lakshmi have ever been shown as ferocious except in degenerate puranas nearly four thousand years later than Rigveda.
The more ancient matriarchal deity of Durga, is the essence of popular religion of people of India, to this day.
( Shyama Sastry ).
To a lesser extent Sri.MD and very much less in Thyagaraja Swami kruthis,
.
Being a resident of Thiruvaiyaru, for seven decades, his kruthis on the goddess of the place are more ( just ten)but during those five decades as a composer, he rarely sang on Devi.
.
His formative years were deeply indebted to the vaishnavite naama sankeerthanam movement of Sridhra IyerwaaL and Sadasiva brammendram.
When the vaishnavite movement tended to deal more with gopika theme, Thyagaraja swami chose to compose on Lord Raama though during that period, there were no Raama temples in Kaaveri delta. Jayadeva and kshetragya influence was sought to be countered by Thyagaraja.
Only after his seventieth year when he
toured Lalgudi, Srirangam, Kanchipuram, Thiruvotriyur and finally, Nagapatnam, he gave us about a dozen kruthis on Paarvathi.
Considering that he composed more than 650 kruthis, this clearly shows that he was not much of a devi or siva upasaka.
.
In fact his kruthis on krushna even ,are very few and only at Chennai just to please the request of his disciple.
This preamble is provided here to counter the blunder of equating Raama and Rudra.
The same holds true for the travesty of equating Lakshmi and Sita.
.
Fortunately, the pouraanikas spared Saraswathy.
.
The three Ananda bairavi kruthis of Thyagaraja should be understood in that light.
Here again, Rigveda being patriarchal,
and more centered on knowledge gives focus on Saraswathy, the goddess of knowledge. And slightly later on material prosperity. Hence Lakshmi as consort of Vishnu.
.
Neither Saraswathy nor Lakshmi have ever been shown as ferocious except in degenerate puranas nearly four thousand years later than Rigveda.
The more ancient matriarchal deity of Durga, is the essence of popular religion of people of India, to this day.
( Shyama Sastry ).
To a lesser extent Sri.MD and very much less in Thyagaraja Swami kruthis,
.
Being a resident of Thiruvaiyaru, for seven decades, his kruthis on the goddess of the place are more ( just ten)but during those five decades as a composer, he rarely sang on Devi.
.
His formative years were deeply indebted to the vaishnavite naama sankeerthanam movement of Sridhra IyerwaaL and Sadasiva brammendram.
When the vaishnavite movement tended to deal more with gopika theme, Thyagaraja swami chose to compose on Lord Raama though during that period, there were no Raama temples in Kaaveri delta. Jayadeva and kshetragya influence was sought to be countered by Thyagaraja.
Only after his seventieth year when he
toured Lalgudi, Srirangam, Kanchipuram, Thiruvotriyur and finally, Nagapatnam, he gave us about a dozen kruthis on Paarvathi.
Considering that he composed more than 650 kruthis, this clearly shows that he was not much of a devi or siva upasaka.
.
In fact his kruthis on krushna even ,are very few and only at Chennai just to please the request of his disciple.
This preamble is provided here to counter the blunder of equating Raama and Rudra.
The same holds true for the travesty of equating Lakshmi and Sita.
.
Fortunately, the pouraanikas spared Saraswathy.
.
The three Ananda bairavi kruthis of Thyagaraja should be understood in that light.
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nAdopAsaka
- Posts: 892
- Joined: 20 Jul 2020, 17:05
nAdopAsana cE- The bEgada madhyama and the tyAgarAjas masterful rebuke of ALL sectarians
nAdopAsana cE- The bEgada madhyama and the tyAgarAjas masterful rebuke of ALL sectarians
It takes the tyAgarAja less than 25 words to strip away the pretense of the sects.
In his masterful rebuke of the meaninglessness of these divisions, it is nAda-upAsana that offers the proper way forward.
His rAga choice of bEgada itself reveals his core intent.
As a bhASAnga rAga, bEgada derives intermittently from both “hari-kAmbOji” and “SankarAbharana”, using the niSAda of both 28th and 29th mElas.
But there are many such rAgas.
Why bEgada in particular ?
Is it because the word bEgada rhymes with mee-gada, the vernacular for cream, that must always rise to the top (over the petty nonsense).
Or is it because only rAga bEgada has that special “madhyama”, a symbol of the unique “median path”.
The words and ideas of the vAggeyakAras cannot be ignored or swept under the dusty carpet of technical artistry.
And the words cannot be denied or refuted, however much ANY sects want to revise them.
But the vAggeyakAras do offer everyone a choice…either understand their kritis and choices or else simply Do NOT listen to them.
satyam Eva jayatE
nAdOpAsana cE – rAga bEgada
Musiri SI
https://www.youtube.com/watch?v=R3g-6tZIay4
shenkottai HB
https://www.youtube.com/watch?v=BgR2iF6W8eU
sowmya
https://www.youtube.com/watch?v=udHWDu51ACo
It takes the tyAgarAja less than 25 words to strip away the pretense of the sects.
In his masterful rebuke of the meaninglessness of these divisions, it is nAda-upAsana that offers the proper way forward.
His rAga choice of bEgada itself reveals his core intent.
As a bhASAnga rAga, bEgada derives intermittently from both “hari-kAmbOji” and “SankarAbharana”, using the niSAda of both 28th and 29th mElas.
But there are many such rAgas.
Why bEgada in particular ?
Is it because the word bEgada rhymes with mee-gada, the vernacular for cream, that must always rise to the top (over the petty nonsense).
Or is it because only rAga bEgada has that special “madhyama”, a symbol of the unique “median path”.
The words and ideas of the vAggeyakAras cannot be ignored or swept under the dusty carpet of technical artistry.
And the words cannot be denied or refuted, however much ANY sects want to revise them.
But the vAggeyakAras do offer everyone a choice…either understand their kritis and choices or else simply Do NOT listen to them.
satyam Eva jayatE
nAdOpAsana cE – rAga bEgada
Musiri SI
https://www.youtube.com/watch?v=R3g-6tZIay4
shenkottai HB
https://www.youtube.com/watch?v=BgR2iF6W8eU
sowmya
https://www.youtube.com/watch?v=udHWDu51ACo
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RSR
- Posts: 3427
- Joined: 11 Oct 2015, 23:31
Re: Thyagaraja (Krithis)
So Parvathi is wife of Raama!
And krushna married Sita !
Absurd understanding of Advaitha
And krushna married Sita !
Absurd understanding of Advaitha
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nAdopAsaka
- Posts: 892
- Joined: 20 Jul 2020, 17:05
mAyA - illusion that creates artificial differentiation & the tyAgarAjas kriti in mAyA-mAlavagaula
mAyA - illusion that creates artificial differentiation & the tyAgarAjas kriti in mAyA-mAlavagaula
The vAggeyakAras have seen through the veil of mAyA. Their nAda yOga teaches that there are no such artifical differences. But mAyA = illusion still holds sway over the foolish.
It has not dawned on many such that the vAggeyakAras music teaches the unity of devotion.
Indeed, the tyAgarAja uses …what else…the rAga mAyA-mAlavagaula to expose the complete equivalence (the tAra-tama, no more no less) of
kamalA gaurI vAgISvari vidhi garudadhvaja Siva nAradulu amarESa bharata kaSyapa
CandiSa AnjanEya guha gajamukhulu sumrkanduja kumbhaja tumburu vara sOmESvara SAranga dEva
The names are from his kriti “vidulaku mrOkkEda” = “these I salute”
The order is irrelevant, each one is a nAda-upAsaka and an equal recipient of the fruits of nAda-yOga.
The nAda-upAsaka knows that the vAggeyakAras music is completely lost to some, but there are others who recognize its value and essence.
vidulaku mrOkkEda – rAga mAyA-mAlavagaula
MDR
https://www.youtube.com/watch?v=GChAF2ATB0E
mandolin srinivas
https://www.youtube.com/watch?v=vClVeV0lHn8
s rAju
https://www.youtube.com/watch?v=har8-acmKGQ
The vAggeyakAras have seen through the veil of mAyA. Their nAda yOga teaches that there are no such artifical differences. But mAyA = illusion still holds sway over the foolish.
It has not dawned on many such that the vAggeyakAras music teaches the unity of devotion.
Indeed, the tyAgarAja uses …what else…the rAga mAyA-mAlavagaula to expose the complete equivalence (the tAra-tama, no more no less) of
kamalA gaurI vAgISvari vidhi garudadhvaja Siva nAradulu amarESa bharata kaSyapa
CandiSa AnjanEya guha gajamukhulu sumrkanduja kumbhaja tumburu vara sOmESvara SAranga dEva
The names are from his kriti “vidulaku mrOkkEda” = “these I salute”
The order is irrelevant, each one is a nAda-upAsaka and an equal recipient of the fruits of nAda-yOga.
The nAda-upAsaka knows that the vAggeyakAras music is completely lost to some, but there are others who recognize its value and essence.
vidulaku mrOkkEda – rAga mAyA-mAlavagaula
MDR
https://www.youtube.com/watch?v=GChAF2ATB0E
mandolin srinivas
https://www.youtube.com/watch?v=vClVeV0lHn8
s rAju
https://www.youtube.com/watch?v=har8-acmKGQ
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RSR
- Posts: 3427
- Joined: 11 Oct 2015, 23:31
Re: Thyagaraja (Krithis)
Watch "DK Pattammal- Vidulaku Mrokkeda-Mayamalavagaula-Adi-Thyagaraja" on YouTube
https://youtu.be/sBLSJv2cQco
..
Watch "MS Subbulakshmi-Vidulaku Mrokkeda- Mayamalavagaula -Adi- Thyagaraja" on YouTube
https://youtu.be/BQtyje1spJc
...
The kruthi pays homage to famous rasikas and musicians and musicologists .
..
It does treat each deity , individually.
https://youtu.be/sBLSJv2cQco
..
Watch "MS Subbulakshmi-Vidulaku Mrokkeda- Mayamalavagaula -Adi- Thyagaraja" on YouTube
https://youtu.be/BQtyje1spJc
...
The kruthi pays homage to famous rasikas and musicians and musicologists .
..
It does treat each deity , individually.
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nAdopAsaka
- Posts: 892
- Joined: 20 Jul 2020, 17:05
sandEhamu– DOUBT & its resolution–rAma-pAda-priya vs. rAma-pAduka priya–feet or sandals-restating duality vs nonduality
sandEhamu – the DOUBT and its resolution – rAma-pAda-priya vs. rAma-pAduka priya – feet or sandals - a restatement of the duality/non-duality question
In the rAmapriya sandEhamu, the tyAgarAja refines (and resolves) his famous dwaitamu/advaitamu question.
He says..
By worship of the lords feet, rAma-pAda-priya, one acquires the lords abode = vaikuntham
But
By worship of the lords sandals, rAma-pAduka-priya, once acquires the lord !
The message is clear !
Worship his feet to Only become like him
but
Walk in his shoes to become him..
The pAda-yOgi has become the karma-yOgi in the one-ness of the tyAgarAjas vision !!
NO ! There is NO DOUBT, No san-dEha.
Why ?
Because
“san” = joining and dEha = body , san-dEham is the union with the lord
And there are still fools who think the rAga mudra doesn't appear through the kritis words ...or that the words themselves have no meaning to the music !
sandEhamu – rAga rAmapriya
flute t. viSwanAthan
https://www.youtube.com/watch?v=t-LfcRfq-Go
mallAdi bros.
https://www.youtube.com/watch?v=V6Z1Q5O5EL0
MDR
https://www.youtube.com/watch?v=XFdIXKtQa0w
In the rAmapriya sandEhamu, the tyAgarAja refines (and resolves) his famous dwaitamu/advaitamu question.
He says..
By worship of the lords feet, rAma-pAda-priya, one acquires the lords abode = vaikuntham
But
By worship of the lords sandals, rAma-pAduka-priya, once acquires the lord !
The message is clear !
Worship his feet to Only become like him
but
Walk in his shoes to become him..
The pAda-yOgi has become the karma-yOgi in the one-ness of the tyAgarAjas vision !!
NO ! There is NO DOUBT, No san-dEha.
Why ?
Because
“san” = joining and dEha = body , san-dEham is the union with the lord
And there are still fools who think the rAga mudra doesn't appear through the kritis words ...or that the words themselves have no meaning to the music !
sandEhamu – rAga rAmapriya
flute t. viSwanAthan
https://www.youtube.com/watch?v=t-LfcRfq-Go
mallAdi bros.
https://www.youtube.com/watch?v=V6Z1Q5O5EL0
MDR
https://www.youtube.com/watch?v=XFdIXKtQa0w
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RSR
- Posts: 3427
- Joined: 11 Oct 2015, 23:31
Re: Thyagaraja (Krithis)
Smt.D.K.PattammaL
Sujana jeevana, suguna bhooshana
Thyagaraja swami
Kamaaj
Vintage 78rpm record
Sanskfit kruthi with translation
...
https://sites.google.com/site/dkpattamm ... authuser=0
Sujana jeevana, suguna bhooshana
Thyagaraja swami
Kamaaj
Vintage 78rpm record
Sanskfit kruthi with translation
...
https://sites.google.com/site/dkpattamm ... authuser=0
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nAdopAsaka
- Posts: 892
- Joined: 20 Jul 2020, 17:05
Exact Origin of the tyAgarAjas 2 kamAs kritis from the rAmAyana 1. sujana jivana (bAla kAnda sarga 71)
Exact Origin of the tyAgarAjas 2 kamAs kritis from the rAmAyana 1. sujana jivana (bAla kAnda sarga 71)
It only takes a little effort to find the EXACT origin of BOTH the tyAgarAjas kamAs rAga kritis.
The kritis derive from specific kAndas/chapters of the vAlmiki rAmAyana, as will be shown.
kamAs is the dESya rAga deriving from the so-called kamAj “thAt”.
In BOTH the Dikshitar and the tyAgarAjas kritis, the rAga choice is NOT random and influences the words/ideas,
The Dikshitars kamAs kriti mudras
The Dikshitar shows how he embeds the magha-mAs idea (the MONTH of magha) in his 2 kamAs kritis at mannArgudi (see post #808 dated Jan 7, 2023 of the Mutthuswamy Dikshitar thread (on the dakSina dwArkA “rAja-gOpAla”)..
https://www.rasikas.org/forums/viewtopi ... 67#p378467
It has NOT dawned on the unenlightened….the Dikshitar gives two kamAs kritis at mannArgudi because in the mAgha month, there are 2 major festivals, vasant panCami and the bhiSma ekAdaSi.
Both kritis are to krSna (sArasa dala nayana gOvinda and the santAna gopAlakrSna). vasant pancAmi worships saraswati but only a fool can think that the giver of the gitA (krSna) is not also an aspect of vidyA. Similarly the bhiSma ekAdaSi is related to krSna and arjuna as well.
Required Note…Much foolishness attends the Dikshitars mannArgudi kritis (including by viduSiS etc who have not understood the meaning of the words used) ..see the ardhanAri discussion on the SrividyArAjagOpAla ardhanAri that has exposed the sordid, ugly underbelly of sectarian divisiveness.
The tyAgarAjas kamAs kritis and their origin/mudras
1. sujana jivana – How this kamAs derives from the maghA-mAs (month) .
The tyAgarAja IS ALSO using the ma-gha-mAs (the month of magha/mAgha ) as the idea for “sujana jivana" !
In the bAla kAnda of the vAlmiki rAmAyana, sarga 71 stanza 24 gives magha as the month when the marriage of rAma and sitA was DECIDED by vaSiStha and janaka.
Subsequently the actual wedding was conducted 3 days after the decision, in the first part of the phAlguna month.
मघा हि अद्य महाबाहो तृतीये दिवसे प्रभो |
फल्गुन्याम् उत्तरे राजन् तस्मिन् वैवाहिकम् कुरु |
राम लक्ष्मणयोः अर्थे दानम् कार्यम् सुखोदयम् || 1-71-24
vasiSta uvACa:
maghA hi adhya mahAbAhO tritiya divasE prabhO
phalgunyAm uttarE rAjan tasmin vaivAhikam kuru
rAma lakSmananyO artha dAnam kAryam sukhOdayam
translation
vasiStha says …
Today is maghA…O mighty daSaratha.. In 3 days , at start of uttara phAlguna, make happen the marriage of rAma and lakSmana (to sitA and urmila) and distribute grains/cows for this auspicious event.
The tyAgarAja kriti mudras specific to the bAla kAnda
Sri kalAtra – sitA as the spouse which points to the marriage fixing day in magha described in the stanza 24
daSa turanga mAmava – the lineage of daSaratha and the lineage of janaka
The bAla kAnda in other stanzas of sarga 71, gives the lineage of janaka , as he proposes his daughters (sitA and urmila) for rAma and lakSmana. In contrast, daSa turanga is the 10 horses heritage emblem of the daSaratha clan.
It is an interesting stanza, because sitA is not really the birth daughter with the blood-lineage of the janaka clan…merely the foster-child.. and truly an embodiment of the Sri-dEvi (hence Sri-kalAtra)
There can be NO QUESTION that this kamAs kritis is deriving its rAga/sAhitya from the bAla kAnda as described above
“sujana jivana”- the kamAs from “ mA-gha-mAs” in the bala kAnda sarga 71 (stanza 24)
Summary
Why is all this (excrutiating) detail needed ?
Because the nAdayOgis kritis should be comprehended in all their aspects of which their pujA is the foremost.
The threads have shown that, even now, there are those who would dilute, distort and disgrace the vAggeyakAras pujA.
But truth always asserts itself when untruth reaches a peak.
The nAda-upAsaka thanks the rasikas forum founders and managers for this important platfrom that brings forward the absolute truth of the all the vAggeyakAras kritis.
sujana jivana – rAga kamAs
sowmya
https://www.youtube.com/watch?v=iDWJJapXwEs
flute ramani
https://www.youtube.com/watch?v=Rk4y6G9xD04
LGJ
https://www.youtube.com/watch?v=ZKY6v9g-GgE
It only takes a little effort to find the EXACT origin of BOTH the tyAgarAjas kamAs rAga kritis.
The kritis derive from specific kAndas/chapters of the vAlmiki rAmAyana, as will be shown.
kamAs is the dESya rAga deriving from the so-called kamAj “thAt”.
In BOTH the Dikshitar and the tyAgarAjas kritis, the rAga choice is NOT random and influences the words/ideas,
The Dikshitars kamAs kriti mudras
The Dikshitar shows how he embeds the magha-mAs idea (the MONTH of magha) in his 2 kamAs kritis at mannArgudi (see post #808 dated Jan 7, 2023 of the Mutthuswamy Dikshitar thread (on the dakSina dwArkA “rAja-gOpAla”)..
https://www.rasikas.org/forums/viewtopi ... 67#p378467
It has NOT dawned on the unenlightened….the Dikshitar gives two kamAs kritis at mannArgudi because in the mAgha month, there are 2 major festivals, vasant panCami and the bhiSma ekAdaSi.
Both kritis are to krSna (sArasa dala nayana gOvinda and the santAna gopAlakrSna). vasant pancAmi worships saraswati but only a fool can think that the giver of the gitA (krSna) is not also an aspect of vidyA. Similarly the bhiSma ekAdaSi is related to krSna and arjuna as well.
Required Note…Much foolishness attends the Dikshitars mannArgudi kritis (including by viduSiS etc who have not understood the meaning of the words used) ..see the ardhanAri discussion on the SrividyArAjagOpAla ardhanAri that has exposed the sordid, ugly underbelly of sectarian divisiveness.
The tyAgarAjas kamAs kritis and their origin/mudras
1. sujana jivana – How this kamAs derives from the maghA-mAs (month) .
The tyAgarAja IS ALSO using the ma-gha-mAs (the month of magha/mAgha ) as the idea for “sujana jivana" !
In the bAla kAnda of the vAlmiki rAmAyana, sarga 71 stanza 24 gives magha as the month when the marriage of rAma and sitA was DECIDED by vaSiStha and janaka.
Subsequently the actual wedding was conducted 3 days after the decision, in the first part of the phAlguna month.
मघा हि अद्य महाबाहो तृतीये दिवसे प्रभो |
फल्गुन्याम् उत्तरे राजन् तस्मिन् वैवाहिकम् कुरु |
राम लक्ष्मणयोः अर्थे दानम् कार्यम् सुखोदयम् || 1-71-24
vasiSta uvACa:
maghA hi adhya mahAbAhO tritiya divasE prabhO
phalgunyAm uttarE rAjan tasmin vaivAhikam kuru
rAma lakSmananyO artha dAnam kAryam sukhOdayam
translation
vasiStha says …
Today is maghA…O mighty daSaratha.. In 3 days , at start of uttara phAlguna, make happen the marriage of rAma and lakSmana (to sitA and urmila) and distribute grains/cows for this auspicious event.
The tyAgarAja kriti mudras specific to the bAla kAnda
Sri kalAtra – sitA as the spouse which points to the marriage fixing day in magha described in the stanza 24
daSa turanga mAmava – the lineage of daSaratha and the lineage of janaka
The bAla kAnda in other stanzas of sarga 71, gives the lineage of janaka , as he proposes his daughters (sitA and urmila) for rAma and lakSmana. In contrast, daSa turanga is the 10 horses heritage emblem of the daSaratha clan.
It is an interesting stanza, because sitA is not really the birth daughter with the blood-lineage of the janaka clan…merely the foster-child.. and truly an embodiment of the Sri-dEvi (hence Sri-kalAtra)
There can be NO QUESTION that this kamAs kritis is deriving its rAga/sAhitya from the bAla kAnda as described above
“sujana jivana”- the kamAs from “ mA-gha-mAs” in the bala kAnda sarga 71 (stanza 24)
Summary
Why is all this (excrutiating) detail needed ?
Because the nAdayOgis kritis should be comprehended in all their aspects of which their pujA is the foremost.
The threads have shown that, even now, there are those who would dilute, distort and disgrace the vAggeyakAras pujA.
But truth always asserts itself when untruth reaches a peak.
The nAda-upAsaka thanks the rasikas forum founders and managers for this important platfrom that brings forward the absolute truth of the all the vAggeyakAras kritis.
sujana jivana – rAga kamAs
sowmya
https://www.youtube.com/watch?v=iDWJJapXwEs
flute ramani
https://www.youtube.com/watch?v=Rk4y6G9xD04
LGJ
https://www.youtube.com/watch?v=ZKY6v9g-GgE
Last edited by nAdopAsaka on 22 Aug 2023, 20:08, edited 2 times in total.
-
nAdopAsaka
- Posts: 892
- Joined: 20 Jul 2020, 17:05
Exact Origin of the tyAgarAjas 2 kamAs kritis from the rAmAyana 2. sitApati (kiskindha kAnda sarga 11/12)
Exact Origin of the tyAgarAjas 2 kamAs kritis from the rAmAyana 2. sitApati (kiskindha kAnda sarga 11/12)
This post continues the previous post on the origin of the second of the 2 kamAs kritis of the tyAgarAja.
sItApati nA manasuna siddhAntamani unnAnurA – the kamAs for the samAs /samAj = meeting /assembly
In the kiShkindha kAnda sarga 11/12, rAma gives his word to sugriva in the presence of hanumAna, to free him from the oppression of vAli.
The kriti refers to hanumAna as vAt-Atmaja = at the meeting of sugriva and his army with rAma and lakSmana. The operative word for this sarga of the kiShkindha kAnda is MEETING = ASSEMBLY (where all these parties get together).
samAs (also samAj) is the exact word describing such assemblies. (sam-Asana = sitting together).
The connection of samAs to kamAs (or samAj to kamAj) becomes obvious.
sitApati – rAga kamAs
veena KS narAyanaswAmy
https://www.youtube.com/watch?v=hIVtFx7F1Eg
GNB
https://www.youtube.com/watch?v=xRu0glHKrm
This post continues the previous post on the origin of the second of the 2 kamAs kritis of the tyAgarAja.
sItApati nA manasuna siddhAntamani unnAnurA – the kamAs for the samAs /samAj = meeting /assembly
In the kiShkindha kAnda sarga 11/12, rAma gives his word to sugriva in the presence of hanumAna, to free him from the oppression of vAli.
The kriti refers to hanumAna as vAt-Atmaja = at the meeting of sugriva and his army with rAma and lakSmana. The operative word for this sarga of the kiShkindha kAnda is MEETING = ASSEMBLY (where all these parties get together).
samAs (also samAj) is the exact word describing such assemblies. (sam-Asana = sitting together).
The connection of samAs to kamAs (or samAj to kamAj) becomes obvious.
sitApati – rAga kamAs
veena KS narAyanaswAmy
https://www.youtube.com/watch?v=hIVtFx7F1Eg
GNB
https://www.youtube.com/watch?v=xRu0glHKrm
-
RSR
- Posts: 3427
- Joined: 11 Oct 2015, 23:31
Re: Thyagaraja (Krithis)
https://sites.google.com/site/dkpattamm ... authuser=0
Thanks to Sri.V.Govindan for translation
..
தாமரையிதழ்க் கண்ணா! அரசர்க்கரசனே, இராகவா! தியாகராசனால் போற்றப் பெற்றோனே! சாதுக்களைக் காப்போனே!
(மன) அமைதியின்றி சௌக்கியமில்லை;
தவசிக்காகிலும், வேதாந்திக்காகிலும் (மன) அமைதியின்றி சௌக்கியமில்லை;
மனைவி, மக்கள், செல்வம், தானியங்களுடைத்தாயினும்,
எவ்வமயமும் செப, தவச் செல்வங்களுண்டாகினாலும்,
ஆகம சாத்திரங்களனைத்தினையும் கற்றிடினும்,
பாகவதரெனச் சிறக்க பெயர் பெற்றிடினும்,
வேள்வி முதலான கருமங்களனைத்தும் இயற்றிடினும்,
(அவற்றின்) உட்கருத்தினையெல்லாம் நன்கறிந்திடினும்,
(மன) அமைதியின்றி சௌக்கியமில்லை;
தனக்கு உபசாந்தமின்றி சௌக்கியமில்லை.
Thanks to Sri.V.Govindan for translation
..
தாமரையிதழ்க் கண்ணா! அரசர்க்கரசனே, இராகவா! தியாகராசனால் போற்றப் பெற்றோனே! சாதுக்களைக் காப்போனே!
(மன) அமைதியின்றி சௌக்கியமில்லை;
தவசிக்காகிலும், வேதாந்திக்காகிலும் (மன) அமைதியின்றி சௌக்கியமில்லை;
மனைவி, மக்கள், செல்வம், தானியங்களுடைத்தாயினும்,
எவ்வமயமும் செப, தவச் செல்வங்களுண்டாகினாலும்,
ஆகம சாத்திரங்களனைத்தினையும் கற்றிடினும்,
பாகவதரெனச் சிறக்க பெயர் பெற்றிடினும்,
வேள்வி முதலான கருமங்களனைத்தும் இயற்றிடினும்,
(அவற்றின்) உட்கருத்தினையெல்லாம் நன்கறிந்திடினும்,
(மன) அமைதியின்றி சௌக்கியமில்லை;
தனக்கு உபசாந்தமின்றி சௌக்கியமில்லை.
-
nAdopAsaka
- Posts: 892
- Joined: 20 Jul 2020, 17:05
How the tyAgarAjas 34th mEla kritis are imprinted by rAga name 1. paramAtmudu-vAgadhiSwari & 2. idi samayamu-chAyAnAta
How the tyAgarAjas 34th mEla kritis bear the imprint of the rAga name 1. paramAtmudu in vAgadhiSwari and 2. idi samayamurA in chAyAnAta
1. paramAtmudu in vAgadhiSwari
The 34th mEla vAgadiSwari kriti is one of the darSana kritis of the tyAgarAja (along with giripai-sahAna, kanugontini-bilahari etc.).
It is now shown that the name vAgadiSwari for the rAga directly influences the key theme of the sAhityam.
vAgadiSwari is the goddess of speech/voice = vAk-dEvi
The historical record suggests this kriti was produced in the twilight of the tyAgarAjas mortal life.
And in the shining awareness “vEligE muccata”,of the paramAtmA, the tyAgarAja raises his own voice to speak the truth he discovers through his nAdayOga.
The paramAtma is found in all of the deities and all celestials, all humans and all universes.
In the anupallavi, the tyAgarAja makes it clear (“ata” is the vernacular for “that which is said” or “that which is described as”)
hari-ata harudu-ata surulu-ata narulu-ata akhila-aNDa kOtulu-ata andarilO paramAtma
In the Carana the tyAgarAja makes it clear. For again he Says..
The paramAtmA is found in all the 5 fundamental elements and in all creatures and in everything with form and also formless..
Can there be any doubt that the iconic rAga carrying the emblem of speech = vAg-adiSwari HAD to be used to speak this essential truth?! ... nO!
2. idi samayamurA in chAyAnAta
chAyA-nAta is the janya of the 34th mEla vAgadiSwari.
idi samayamurA inakula tilaka
vidalita kali durmada gajagamana modata balkinadi nijamuga jEya
kali puruSudu nAtakamunu gatta dalacinAdu SrI tyAgarAjanuta
khala matamulane yAgamulaku mEkaluga narula jEsi nI dayajUda
It is now shown that the name chAyAnAta for the rAga directly influences the key theme of the sAhityam.
Post dated Aug 20, 2023 on the Mutthuswamy Dikshitar thread examines the chAyanAta rAga used by the Dikshitar in his “bhOga-chAya-nAtaka-priyE” to express the finality of the eclipsing of the chOlas at the tanjAvUr brhat kSEtra, as the play of shadows, which the goddess feasts on. See
https://www.rasikas.org/forums/viewtopi ... 21#p380021
In “idi samayamurA” the tyAgarAja is ALSO concerned with a nAtaka !
He is anxious that the "kali puruSa" is conspiring to reduce mankind to brain-dead goats.
The inferrable (suCita) rAga mudra for chAya-nAta appears via “kali puruSudu nAta-ka”.
The tyAgarAja also maintains the Sun/shade motif when he summons the light of the Sun (the solar dynasty “inakula tilaka”) to chase away this play of shadows = the play of darkness as in the chAya-nAta-ka.
Is it possible to think that the rAga choice for this kriti is random ? absolutely NOT.
Just like the Dikshitars bhOga-chAyA-nAtaka, the tyAgarAja recognizes the meaning of chAya-nAta and weaves it into his kriti and his message.
No ..the kritis are not mere air-pressure variations along musical frequency scales.
It is the Words of the vAg-geyakAras that frame their choices and deliver their intent..
For the nAda-upAsaka, the Words cannot be denied nor can they be diluted or distorted
paramAtmudu – rAga vAgadiSwari
KVN
https://www.youtube.com/watch?v=ghLOqQnL5Hc
Veena ramana b
https://www.youtube.com/watch?v=y1iOrxfkY1A
flute SaSANk
https://www.youtube.com/watch?v=3eDtNYjmT6Y
AlatUr bros.
https://www.youtube.com/watch?v=eHovyCzuKhk
idi samayamurA – rAga chAyAnAta
MDR
https://www.youtube.com/watch?v=WPk4P4sT01M
Veena jayanti
https://www.youtube.com/watch?v=dNt6J9nC60E
1. paramAtmudu in vAgadhiSwari
The 34th mEla vAgadiSwari kriti is one of the darSana kritis of the tyAgarAja (along with giripai-sahAna, kanugontini-bilahari etc.).
It is now shown that the name vAgadiSwari for the rAga directly influences the key theme of the sAhityam.
vAgadiSwari is the goddess of speech/voice = vAk-dEvi
The historical record suggests this kriti was produced in the twilight of the tyAgarAjas mortal life.
And in the shining awareness “vEligE muccata”,of the paramAtmA, the tyAgarAja raises his own voice to speak the truth he discovers through his nAdayOga.
The paramAtma is found in all of the deities and all celestials, all humans and all universes.
In the anupallavi, the tyAgarAja makes it clear (“ata” is the vernacular for “that which is said” or “that which is described as”)
hari-ata harudu-ata surulu-ata narulu-ata akhila-aNDa kOtulu-ata andarilO paramAtma
In the Carana the tyAgarAja makes it clear. For again he Says..
The paramAtmA is found in all the 5 fundamental elements and in all creatures and in everything with form and also formless..
Can there be any doubt that the iconic rAga carrying the emblem of speech = vAg-adiSwari HAD to be used to speak this essential truth?! ... nO!
2. idi samayamurA in chAyAnAta
chAyA-nAta is the janya of the 34th mEla vAgadiSwari.
idi samayamurA inakula tilaka
vidalita kali durmada gajagamana modata balkinadi nijamuga jEya
kali puruSudu nAtakamunu gatta dalacinAdu SrI tyAgarAjanuta
khala matamulane yAgamulaku mEkaluga narula jEsi nI dayajUda
It is now shown that the name chAyAnAta for the rAga directly influences the key theme of the sAhityam.
Post dated Aug 20, 2023 on the Mutthuswamy Dikshitar thread examines the chAyanAta rAga used by the Dikshitar in his “bhOga-chAya-nAtaka-priyE” to express the finality of the eclipsing of the chOlas at the tanjAvUr brhat kSEtra, as the play of shadows, which the goddess feasts on. See
https://www.rasikas.org/forums/viewtopi ... 21#p380021
In “idi samayamurA” the tyAgarAja is ALSO concerned with a nAtaka !
He is anxious that the "kali puruSa" is conspiring to reduce mankind to brain-dead goats.
The inferrable (suCita) rAga mudra for chAya-nAta appears via “kali puruSudu nAta-ka”.
The tyAgarAja also maintains the Sun/shade motif when he summons the light of the Sun (the solar dynasty “inakula tilaka”) to chase away this play of shadows = the play of darkness as in the chAya-nAta-ka.
Is it possible to think that the rAga choice for this kriti is random ? absolutely NOT.
Just like the Dikshitars bhOga-chAyA-nAtaka, the tyAgarAja recognizes the meaning of chAya-nAta and weaves it into his kriti and his message.
No ..the kritis are not mere air-pressure variations along musical frequency scales.
It is the Words of the vAg-geyakAras that frame their choices and deliver their intent..
For the nAda-upAsaka, the Words cannot be denied nor can they be diluted or distorted
paramAtmudu – rAga vAgadiSwari
KVN
https://www.youtube.com/watch?v=ghLOqQnL5Hc
Veena ramana b
https://www.youtube.com/watch?v=y1iOrxfkY1A
flute SaSANk
https://www.youtube.com/watch?v=3eDtNYjmT6Y
AlatUr bros.
https://www.youtube.com/watch?v=eHovyCzuKhk
idi samayamurA – rAga chAyAnAta
MDR
https://www.youtube.com/watch?v=WPk4P4sT01M
Veena jayanti
https://www.youtube.com/watch?v=dNt6J9nC60E
-
RSR
- Posts: 3427
- Joined: 11 Oct 2015, 23:31
Re: Thyagaraja (Krithis)
https://sites.google.com/site/dkpattamm ... authuser=0
D.K.PattammaaL vintage 78 rpm records-1938-1952
D.K.PATTAMMAL-songs
SRI.V.GOVINDAN-NADACHI
தியாகராஜர், இந்த கீர்த்தனையில், இறைவனை எவ்விடத்தில் தேடினால் கிடைப்பான் என்று தெரிவிக்கின்றார். தீர்த்த யாத்திரை செய்வதனால் - புண்ணிய ஸ்தலங்களுக்குச் செல்வதனால்
மட்டும் இறைவனைக் காண இயலாது.
இவையெல்லாம் ஆரம்ப கட்டமே. இறைவன் உள்ள இடம் நமது இதயத்திலே.
எடுத்த எடுப்பிலேயே இறைவன் உள்ளே இருக்கின்றான் என்று பாமரர்களுக்குக் கூறினால்
அவர்களுக்கு அது விளங்காது. அது மட்டுமல்ல அதனையே மக்கள் தவறாகப் பொருள் கொண்டு,
இறைவன் வேறெங்குமில்லை, என்னுள்ளேயே இருக்கின்றான்,
நான் என்ன வேண்டுமானாலும் செய்யலாம் என்ற அசுர எண்ணங்கள் தோன்ற வாய்ப்புண்டு.
ஆகவே, நமது முன்னோர்கள் 'சத்யம் வத, தர்மம் சர' - 'உண்மை பேசு, அறவழி நட' என்றார்கள் - அறஞ்செய விரும்பு என்பது குழந்தைகளுக்குப் படிப்பிக்கும் ஆத்திச்சூடி வசனம். அதன் பின் கோவிலுக்குச் செல்லுதல், உண்ணும் உணவை இறைவனுக்கு நைவேத்தியம் செய்தல், பூஜைகள் செய்தல் ஆகிய வழக்கங்களை மேற்கொள்கின்றோம். ஆனால்,
இந்த நடவடிக்கைகளை ஏன் செய்கின்றோம் என்று அறிந்துகொள்வதற்கு நாம் சிறிதாவது முற்படவேண்டும்.
நம் அன்றாட வாழ்க்கை வெறும் சடங்குகளாக மாறிவிடக்கூடாது.
அதன் உட்பொருள் அறிய வேண்டும்.
அப்போதுதான் நாம் செய்யும் காரியங்களின் உண்மைப் பொருளும், நோக்கமும் விளங்கும்.
ஆனால் பொதுமக்கள் வாழ்நாள் முழுதுமே இப்படிப்பட்ட சடங்குகளிலே கழித்துவிடுகின்றனர்.
சிலர் அற்ப அறிவு பெற்று, ற்றுமுணர்ந்தவர் போன்று வேடமிடுகின்றனர்.
இவர்கள் எல்லோருக்கும் ஒரு சாட்டையடியாக, தியாகராஜர் இந்தப் பாடலை இயற்றியுள்ளார். இறைவன் இதயத்திலுள்ளான் என்பதை உபநிடதங்களும், உபநிடத சாரமான கீதையும், மற்றும் நமது முன்னோரும்,
துறவிகளும் ரிஷிகளும் தெள்ளத்தெளிவாகக் கூறியுள்ளனர்.
இறைவனுக்கு அந்தர்யாமி என்று பெயர் - அதாவது உள்ளியங்குவோன் என்று.
அந்த இயக்கம் எப்படிப்பட்டது என்று அறியவேண்டுமானால் சான்றோரின் அண்மை அவசியம்.
அல்லது புத்தகங்கள் மூலமும் ஓரளவுக்கு உண்மையை நாம் அறிந்துகொள்ளலாம். பரமான்மா எனப்படும் வஸ்து பூரணம் என்று அழைக்கப்படும்.
இதற்கு ஆங்கிலத்தில் சரியான மொழிபெயர்ப்பில்லை.
Infinity என்ற சொல் ஓரளவுக்கு இதனைச் சுட்டுகின்றது. இந்த பூரணம் எங்கும் பரிணமித்துள்ளது.
அதுதான் இந்த அண்டங்களாகவும், நட்சத்திரங்களாகவும், சூரிய மண்டலமாகவும், பூமியாகவும்,
ஐம்பெரும் தத்துவங்களாகவும் -
ஆகாயம், நெருப்பு, நீர், காற்று, பூமி - விரிந்து அதனின்று தோன்றிய
அசைவன மற்றும் அசையாத பொருள்களாகவும் பரிணமித்துள்ளது.
அந்த வகையில் மனிதப்பிறவியும் அந்த பூரணத்தின் பரிணாமமே. மனிதனுக்கு ஆறாவது அறிவுள்ளது.
அந்த அறிவு அவனை கேள்வி கேட்கவைக்கின்றது.7
அந்தக் கேள்வியினால் பிறந்ததுதான் இறைவன் என்பது.கேள்வி கேட்பவன், கேட்கும் கேள்விகளையெல்லாம் கேட்டுவிட்டு,கேள்வி கேட்பவன் யார் என்று ஒரு கேள்வியும் கேட்பானேயாகில் அவனுடையே கேள்விக்கு விடை கிடைக்கும்.
இதைத்தான் ரமண மகரிஷி, 'நான் என்றால் யார்' என்று தேடு என்கின்றார். இந்த 'நான்' எனப்படும் ஆன்மாதான் அந்த பூரணத்தின் உறைவிடம்.
ஆனால் அதனை உடல் என்று பலர் பொருள் கொள்கின்றனர். அது மிகவும் தவறு. உடல், மனம், அறிவு இவற்றைத் தாண்டி, வெறும் பிரக்ஞை consciousness வடிவமாக உள்ள அந்த ஆன்மாவும், பூரணம் எனப்படும் பரமான்மாவும் ஒன்றே.
அந்த உணர்வுதான் முக்தி என்றும் வீடு என்றும், realisation என்றும் கூறப்படும்.
இது ஒரு நிலையல்ல (status).
எப்படி சிறையிலிடப்பட்டவன் விடுதலைப்பட்டால் உணர்வானோ அத்தகைய உணர்வுதான்.
பூரணத்திற்கு எந்தத் தளையுமில்லை.
அதுபோன்றே இந்த ஆன்மாவுக்கும் எந்தத்தளையுமில்லை.
ஆனால் எதுவரைக்கும் நமக்கு ego எனப்படும் உடலுணர்வு இருக்கின்றதோ அதுவரை நாம் சிறையிலிருப்பது போன்றதே. கீர்த்தனைக்கு வருவோம்.
தியாகராஜருக்கு ராமன்தான் பரமான்மா.
அவன் பிறந்த இடம் அயோத்தியா.
வைணவர்கள் அதனை வைகுண்டம் என்பர்.
சைவர்கள் கயிலாயம் என்பர்.
அயோத்தியா, ராமன் பிறந்ததனால் ஒரு புண்ணிய ஸ்தலம்.
ஆனால் அயோத்திக்குச் சென்றால் ராமனைக் காணமுடியுமா என்று கேட்கின்றார். ஐயா, பல காத தூரம் நடந்து நடந்து அயோத்திக்குச் சென்றீரே,
ராமனைக் கண்டீரோ என்று கேட்கின்றார் பல்லவியில். எதற்காக அயோத்திக்குச் செல்லவேண்டும் -
இறைவனுடன் கூடுவதற்கு -
இறைவன் அங்கிருந்தால்தானே அவனுடன் கூடமுடியும் -
அந்தப் பூரணன், ஆன்மா எனும் ராமனாக இங்கு -
நமது இதயத்திலல்லவோ இருக்கின்றான்
என்கின்றார் அனுபல்லவியில். சரணத்தில்
தியானயோகம் பயில்வோரைக் கிண்டல் செய்கின்றார்.
தியானம் செய்வது குரங்கு மனதைக் கட்டுப்படுத்துவதற்கு.
ஆனால் அப்படி கட்டுப்பாடு செய்வதன் தாத்பர்யம் -
உண்மைப் பொருள் - அறியாது போனால் தூக்கம்தான் வரும்.
எனவே, தியானத்தில் நாம் இறைவனைத் தேடுகின்றோம்.
ஆனால் லலிதா சகஸ்ரநாமத்தில் தாயாருக்கு
'த்யான-த்யாத்ரு-த்யேய' என்று பெயருண்டு -
அதாவது - தியானிக்கப்படும் பொருள் - தியானமெனும் செயல் -
தியானிப்பவன் இவை மூன்றுமே இறைவியென்ற பொருள்.
ஆக, தியானம் செய்வது ஒரு சடங்காகிவிடக்கூடாது.
பிறப்பு இறப்பற்ற இடம் அந்த ஆன்ம உணர்வுதான். தியாகராஜர் பக்தி மார்க்கம் ஒன்றே
எளிதான முறையில் இறைவனிடம் கூடும் முறை
என்பதனை சரணத்திலே வலியுறுத்துகின்றார்.
சரணத்தின் முதலிரண்டு வரிகளும்
தியான முறையை சடங்காக செய்பவரும்,
அத்தகைய வேடமணிபவரையும் குறிக்கும்.
இறைவன் கண்ணெதிரே இருக்கின்றான் -
நமது மனச்சாட்சியாக -
உலகத்தில் காணும் பொருள் யாவும் இறைவனின் பரிணாமமே -
காண்பவன், காட்சி, காணும் செயலாக உள்ள
இறைவனை பக்தி மார்க்கத்தினால்
சுலபமாக அடையலாம் என்பது சரணத்தின் பொருள்.
D.K.PattammaaL vintage 78 rpm records-1938-1952
D.K.PATTAMMAL-songs
SRI.V.GOVINDAN-NADACHI
தியாகராஜர், இந்த கீர்த்தனையில், இறைவனை எவ்விடத்தில் தேடினால் கிடைப்பான்
என்று தெரிவிக்கின்றார். தீர்த்த யாத்திரை செய்வதனால் - புண்ணிய ஸ்தலங்களுக்குச் செல்வதனால்
மட்டும் இறைவனைக் காண இயலாது.
இவையெல்லாம் ஆரம்ப கட்டமே. இறைவன் உள்ள இடம் நமது இதயத்திலே.
எடுத்த எடுப்பிலேயே இறைவன் உள்ளே இருக்கின்றான் என்று பாமரர்களுக்குக் கூறினால்
அவர்களுக்கு அது விளங்காது. அது மட்டுமல்ல,
அதனையே மக்கள் தவறாகப் பொருள் கொண்டு,
இறைவன் வேறெங்குமில்லை, என்னுள்ளேயே இருக்கின்றான்,
நான் என்ன வேண்டுமானாலும் செய்யலாம் என்ற அசுர எண்ணங்கள் தோன்ற வாய்ப்புண்டு.
ஆகவே, நமது முன்னோர்கள் 'சத்யம் வத, தர்மம் சர' - 'உண்மை பேசு, அறவழி நட' என்றார்கள் - அறஞ்செய விரும்பு என்பது குழந்தைகளுக்குப் படிப்பிக்கும் ஆத்திச்சூடி வசனம். அதன் பின் கோவிலுக்குச் செல்லுதல், உண்ணும் உணவை இறைவனுக்கு நைவேத்தியம் செய்தல், பூஜைகள் செய்தல் ஆகிய வழக்கங்களை மேற்கொள்கின்றோம். ஆனால்,
இந்த நடவடிக்கைகளை ஏன் செய்கின்றோம் என்று அறிந்துகொள்வதற்கு நாம் சிறிதாவது
முற்படவேண்டும்.
நம் அன்றாட வாழ்க்கை வெறும் சடங்குகளாக மாறிவிடக்கூடாது.
அதன் உட்பொருள் அறிய வேண்டும்.
அப்போதுதான் நாம் செய்யும் காரியங்களின் உண்மைப் பொருளும், நோக்கமும் விளங்கும்.
ஆனால் பொதுமக்கள் வாழ்நாள் முழுதுமே இப்படிப்பட்ட சடங்குகளிலே கழித்துவிடுகின்றனர்.
சிலர் அற்ப அறிவு பெற்று, முற்றுமுணர்ந்தவர் போன்று வேடமிடுகின்றனர்.
இவர்கள் எல்லோருக்கும் ஒரு சாட்டையடியாக, தியாகராஜர் இந்தப் பாடலை இயற்றியுள்ளார். இறைவன் இதயத்திலுள்ளான் என்பதை உபநிடதங்களும்,
உபநிடத சாரமான கீதையும், மற்றும் நமது முன்னோரும்,
துறவிகளும் ரிஷிகளும் தெள்ளத்தெளிவாகக் கூறியுள்ளனர்.
இறைவனுக்கு அந்தர்யாமி என்று பெயர் - அதாவது உள்ளியங்குவோன் என்று.
அந்த இயக்கம் எப்படிப்பட்டது என்று அறியவேண்டுமானால் சான்றோரின் அண்மை அவசியம்.
அல்லது புத்தகங்கள் மூலமும் ஓரளவுக்கு உண்மையை நாம் அறிந்துகொள்ளலாம். பரமான்மா எனப்படும் வஸ்து பூரணம் என்று அழைக்கப்படும்.
இதற்கு ஆங்கிலத்தில் சரியான மொழிபெயர்ப்பில்லை.
Infinity என்ற சொல் ஓரளவுக்கு இதனைச் சுட்டுகின்றது.
இந்த பூரணம் எங்கும் பரிணமித்துள்ளது.
அதுதான் இந்த அண்டங்களாகவும், நட்சத்திரங்களாகவும், சூரிய மண்டலமாகவும், பூமியாகவும்,
ஐம்பெரும் தத்துவங்களாகவும் -
ஆகாயம், நெருப்பு, நீர், காற்று, பூமி - விரிந்து அதனின்று தோன்றிய
அசைவன மற்றும் அசையாத பொருள்களாகவும் பரிணமித்துள்ளது.
அந்த வகையில் மனிதப்பிறவியும் அந்த பூரணத்தின் பரிணாமமே. மனிதனுக்கு ஆறாவது அறிவுள்ளது.
அந்த அறிவு அவனை கேள்வி கேட்கவைக்கின்றது.
அந்தக் கேள்வியினால் பிறந்ததுதான் இறைவன் என்பது.
கேள்வி கேட்பவன், கேட்கும் கேள்விகளையெல்லாம் கேட்டுவிட்டு,
கேள்வி கேட்பவன் யார் என்று ஒரு கேள்வியும் கேட்பானேயாகில்
அவனுடையே கேள்விக்கு விடை கிடைக்கும்.
இதைத்தான் ரமண மகரிஷி, 'நான் என்றால் யார்' என்று தேடு என்கின்றார். இந்த 'நான்' எனப்படும் ஆன்மாதான் அந்த பூரணத்தின் உறைவிடம்.
ஆனால் அதனை உடல் என்று பலர் பொருள் கொள்கின்றனர்.
அது மிகவும் தவறு.
உடல், மனம், அறிவு இவற்றைத் தாண்டி,
வெறும் பிரக்ஞை consciousness வடிவமாக உள்ள அந்த ஆன்மாவும்,
பூரணம் எனப்படும் பரமான்மாவும் ஒன்றே.
அந்த உணர்வுதான் முக்தி என்றும் வீடு என்றும்,
realisation என்றும் கூறப்படும்.
இது ஒரு நிலையல்ல (status).
எப்படி சிறையிலிடப்பட்டவன் விடுதலைப்பட்டால் உணர்வானோ அத்தகைய உணர்வுதான்.
பூரணத்திற்கு எந்தத் தளையுமில்லை.
அதுபோன்றே இந்த ஆன்மாவுக்கும் எந்தத்தளையுமில்லை.
ஆனால் எதுவரைக்கும் நமக்கு ego எனப்படும் உடலுணர்வு இருக்கின்றதோ
அதுவரை நாம் சிறையிலிருப்பது போன்றதே. கீர்த்தனைக்கு வருவோம்.
தியாகராஜருக்கு ராமன்தான் பரமான்மா.
அவன் பிறந்த இடம் அயோத்தியா.
வைணவர்கள் அதனை வைகுண்டம் என்பர்.
சைவர்கள் கயிலாயம் என்பர்.
அயோத்தியா, ராமன் பிறந்ததனால் ஒரு புண்ணிய ஸ்தலம்.
ஆனால் அயோத்திக்குச் சென்றால் ராமனைக் காணமுடியுமா என்று கேட்கின்றார். ஐயா, பல காத தூரம் நடந்து நடந்து அயோத்திக்குச் சென்றீரே,
ராமனைக் கண்டீரோ என்று கேட்கின்றார் பல்லவியில். எதற்காக அயோத்திக்குச் செல்லவேண்டும் -
இறைவனுடன் கூடுவதற்கு -
இறைவன் அங்கிருந்தால்தானே அவனுடன் கூடமுடியும் -
அந்தப் பூரணன், ஆன்மா எனும் ராமனாக இங்கு -
நமது இதயத்திலல்லவோ இருக்கின்றான்
என்கின்றார் அனுபல்லவியில். சரணத்தில்
தியானயோகம் பயில்வோரைக் கிண்டல் செய்கின்றார்.
தியானம் செய்வது குரங்கு மனதைக் கட்டுப்படுத்துவதற்கு.
ஆனால் அப்படி கட்டுப்பாடு செய்வதன் தாத்பர்யம் -
உண்மைப் பொருள் - அறியாது போனால் தூக்கம்தான் வரும்.
எனவே, தியானத்தில் நாம் இறைவனைத் தேடுகின்றோம்.
ஆனால் லலிதா சகஸ்ரநாமத்தில் தாயாருக்கு
'த்யான-த்யாத்ரு-த்யேய' என்று பெயருண்டு -
அதாவது - தியானிக்கப்படும் பொருள் - தியானமெனும் செயல் -
தியானிப்பவன் இவை மூன்றுமே இறைவியென்ற பொருள்.
ஆக, தியானம் செய்வது ஒரு சடங்காகிவிடக்கூடாது.
பிறப்பு இறப்பற்ற இடம் அந்த ஆன்ம உணர்வுதான். தியாகராஜர் பக்தி மார்க்கம் ஒன்றே
எளிதான முறையில் இறைவனிடம் கூடும் முறை
என்பதனை சரணத்திலே வலியுறுத்துகின்றார்.
சரணத்தின் முதலிரண்டு வரிகளும்
தியான முறையை சடங்காக செய்பவரும்,
அத்தகைய வேடமணிபவரையும் குறிக்கும்.
இறைவன் கண்ணெதிரே இருக்கின்றான் -
நமது மனச்சாட்சியாக -
உலகத்தில் காணும் பொருள் யாவும் இறைவனின் பரிணாமமே -
காண்பவன், காட்சி, காணும் செயலாக உள்ள
இறைவனை பக்தி மார்க்கத்தினால்
சுலபமாக அடையலாம் என்பது சரணத்தின் பொருள்.
D.K.PattammaaL vintage 78 rpm records-1938-1952
D.K.PATTAMMAL-songs
SRI.V.GOVINDAN-NADACHI
தியாகராஜர், இந்த கீர்த்தனையில், இறைவனை எவ்விடத்தில் தேடினால் கிடைப்பான் என்று தெரிவிக்கின்றார். தீர்த்த யாத்திரை செய்வதனால் - புண்ணிய ஸ்தலங்களுக்குச் செல்வதனால்
மட்டும் இறைவனைக் காண இயலாது.
இவையெல்லாம் ஆரம்ப கட்டமே. இறைவன் உள்ள இடம் நமது இதயத்திலே.
எடுத்த எடுப்பிலேயே இறைவன் உள்ளே இருக்கின்றான் என்று பாமரர்களுக்குக் கூறினால்
அவர்களுக்கு அது விளங்காது. அது மட்டுமல்ல அதனையே மக்கள் தவறாகப் பொருள் கொண்டு,
இறைவன் வேறெங்குமில்லை, என்னுள்ளேயே இருக்கின்றான்,
நான் என்ன வேண்டுமானாலும் செய்யலாம் என்ற அசுர எண்ணங்கள் தோன்ற வாய்ப்புண்டு.
ஆகவே, நமது முன்னோர்கள் 'சத்யம் வத, தர்மம் சர' - 'உண்மை பேசு, அறவழி நட' என்றார்கள் - அறஞ்செய விரும்பு என்பது குழந்தைகளுக்குப் படிப்பிக்கும் ஆத்திச்சூடி வசனம். அதன் பின் கோவிலுக்குச் செல்லுதல், உண்ணும் உணவை இறைவனுக்கு நைவேத்தியம் செய்தல், பூஜைகள் செய்தல் ஆகிய வழக்கங்களை மேற்கொள்கின்றோம். ஆனால்,
இந்த நடவடிக்கைகளை ஏன் செய்கின்றோம் என்று அறிந்துகொள்வதற்கு நாம் சிறிதாவது முற்படவேண்டும்.
நம் அன்றாட வாழ்க்கை வெறும் சடங்குகளாக மாறிவிடக்கூடாது.
அதன் உட்பொருள் அறிய வேண்டும்.
அப்போதுதான் நாம் செய்யும் காரியங்களின் உண்மைப் பொருளும், நோக்கமும் விளங்கும்.
ஆனால் பொதுமக்கள் வாழ்நாள் முழுதுமே இப்படிப்பட்ட சடங்குகளிலே கழித்துவிடுகின்றனர்.
சிலர் அற்ப அறிவு பெற்று, ற்றுமுணர்ந்தவர் போன்று வேடமிடுகின்றனர்.
இவர்கள் எல்லோருக்கும் ஒரு சாட்டையடியாக, தியாகராஜர் இந்தப் பாடலை இயற்றியுள்ளார். இறைவன் இதயத்திலுள்ளான் என்பதை உபநிடதங்களும், உபநிடத சாரமான கீதையும், மற்றும் நமது முன்னோரும்,
துறவிகளும் ரிஷிகளும் தெள்ளத்தெளிவாகக் கூறியுள்ளனர்.
இறைவனுக்கு அந்தர்யாமி என்று பெயர் - அதாவது உள்ளியங்குவோன் என்று.
அந்த இயக்கம் எப்படிப்பட்டது என்று அறியவேண்டுமானால் சான்றோரின் அண்மை அவசியம்.
அல்லது புத்தகங்கள் மூலமும் ஓரளவுக்கு உண்மையை நாம் அறிந்துகொள்ளலாம். பரமான்மா எனப்படும் வஸ்து பூரணம் என்று அழைக்கப்படும்.
இதற்கு ஆங்கிலத்தில் சரியான மொழிபெயர்ப்பில்லை.
Infinity என்ற சொல் ஓரளவுக்கு இதனைச் சுட்டுகின்றது. இந்த பூரணம் எங்கும் பரிணமித்துள்ளது.
அதுதான் இந்த அண்டங்களாகவும், நட்சத்திரங்களாகவும், சூரிய மண்டலமாகவும், பூமியாகவும்,
ஐம்பெரும் தத்துவங்களாகவும் -
ஆகாயம், நெருப்பு, நீர், காற்று, பூமி - விரிந்து அதனின்று தோன்றிய
அசைவன மற்றும் அசையாத பொருள்களாகவும் பரிணமித்துள்ளது.
அந்த வகையில் மனிதப்பிறவியும் அந்த பூரணத்தின் பரிணாமமே. மனிதனுக்கு ஆறாவது அறிவுள்ளது.
அந்த அறிவு அவனை கேள்வி கேட்கவைக்கின்றது.7
அந்தக் கேள்வியினால் பிறந்ததுதான் இறைவன் என்பது.கேள்வி கேட்பவன், கேட்கும் கேள்விகளையெல்லாம் கேட்டுவிட்டு,கேள்வி கேட்பவன் யார் என்று ஒரு கேள்வியும் கேட்பானேயாகில் அவனுடையே கேள்விக்கு விடை கிடைக்கும்.
இதைத்தான் ரமண மகரிஷி, 'நான் என்றால் யார்' என்று தேடு என்கின்றார். இந்த 'நான்' எனப்படும் ஆன்மாதான் அந்த பூரணத்தின் உறைவிடம்.
ஆனால் அதனை உடல் என்று பலர் பொருள் கொள்கின்றனர். அது மிகவும் தவறு. உடல், மனம், அறிவு இவற்றைத் தாண்டி, வெறும் பிரக்ஞை consciousness வடிவமாக உள்ள அந்த ஆன்மாவும், பூரணம் எனப்படும் பரமான்மாவும் ஒன்றே.
அந்த உணர்வுதான் முக்தி என்றும் வீடு என்றும், realisation என்றும் கூறப்படும்.
இது ஒரு நிலையல்ல (status).
எப்படி சிறையிலிடப்பட்டவன் விடுதலைப்பட்டால் உணர்வானோ அத்தகைய உணர்வுதான்.
பூரணத்திற்கு எந்தத் தளையுமில்லை.
அதுபோன்றே இந்த ஆன்மாவுக்கும் எந்தத்தளையுமில்லை.
ஆனால் எதுவரைக்கும் நமக்கு ego எனப்படும் உடலுணர்வு இருக்கின்றதோ அதுவரை நாம் சிறையிலிருப்பது போன்றதே. கீர்த்தனைக்கு வருவோம்.
தியாகராஜருக்கு ராமன்தான் பரமான்மா.
அவன் பிறந்த இடம் அயோத்தியா.
வைணவர்கள் அதனை வைகுண்டம் என்பர்.
சைவர்கள் கயிலாயம் என்பர்.
அயோத்தியா, ராமன் பிறந்ததனால் ஒரு புண்ணிய ஸ்தலம்.
ஆனால் அயோத்திக்குச் சென்றால் ராமனைக் காணமுடியுமா என்று கேட்கின்றார். ஐயா, பல காத தூரம் நடந்து நடந்து அயோத்திக்குச் சென்றீரே,
ராமனைக் கண்டீரோ என்று கேட்கின்றார் பல்லவியில். எதற்காக அயோத்திக்குச் செல்லவேண்டும் -
இறைவனுடன் கூடுவதற்கு -
இறைவன் அங்கிருந்தால்தானே அவனுடன் கூடமுடியும் -
அந்தப் பூரணன், ஆன்மா எனும் ராமனாக இங்கு -
நமது இதயத்திலல்லவோ இருக்கின்றான்
என்கின்றார் அனுபல்லவியில். சரணத்தில்
தியானயோகம் பயில்வோரைக் கிண்டல் செய்கின்றார்.
தியானம் செய்வது குரங்கு மனதைக் கட்டுப்படுத்துவதற்கு.
ஆனால் அப்படி கட்டுப்பாடு செய்வதன் தாத்பர்யம் -
உண்மைப் பொருள் - அறியாது போனால் தூக்கம்தான் வரும்.
எனவே, தியானத்தில் நாம் இறைவனைத் தேடுகின்றோம்.
ஆனால் லலிதா சகஸ்ரநாமத்தில் தாயாருக்கு
'த்யான-த்யாத்ரு-த்யேய' என்று பெயருண்டு -
அதாவது - தியானிக்கப்படும் பொருள் - தியானமெனும் செயல் -
தியானிப்பவன் இவை மூன்றுமே இறைவியென்ற பொருள்.
ஆக, தியானம் செய்வது ஒரு சடங்காகிவிடக்கூடாது.
பிறப்பு இறப்பற்ற இடம் அந்த ஆன்ம உணர்வுதான். தியாகராஜர் பக்தி மார்க்கம் ஒன்றே
எளிதான முறையில் இறைவனிடம் கூடும் முறை
என்பதனை சரணத்திலே வலியுறுத்துகின்றார்.
சரணத்தின் முதலிரண்டு வரிகளும்
தியான முறையை சடங்காக செய்பவரும்,
அத்தகைய வேடமணிபவரையும் குறிக்கும்.
இறைவன் கண்ணெதிரே இருக்கின்றான் -
நமது மனச்சாட்சியாக -
உலகத்தில் காணும் பொருள் யாவும் இறைவனின் பரிணாமமே -
காண்பவன், காட்சி, காணும் செயலாக உள்ள
இறைவனை பக்தி மார்க்கத்தினால்
சுலபமாக அடையலாம் என்பது சரணத்தின் பொருள்.
D.K.PattammaaL vintage 78 rpm records-1938-1952
D.K.PATTAMMAL-songs
SRI.V.GOVINDAN-NADACHI
தியாகராஜர், இந்த கீர்த்தனையில், இறைவனை எவ்விடத்தில் தேடினால் கிடைப்பான்
என்று தெரிவிக்கின்றார். தீர்த்த யாத்திரை செய்வதனால் - புண்ணிய ஸ்தலங்களுக்குச் செல்வதனால்
மட்டும் இறைவனைக் காண இயலாது.
இவையெல்லாம் ஆரம்ப கட்டமே. இறைவன் உள்ள இடம் நமது இதயத்திலே.
எடுத்த எடுப்பிலேயே இறைவன் உள்ளே இருக்கின்றான் என்று பாமரர்களுக்குக் கூறினால்
அவர்களுக்கு அது விளங்காது. அது மட்டுமல்ல,
அதனையே மக்கள் தவறாகப் பொருள் கொண்டு,
இறைவன் வேறெங்குமில்லை, என்னுள்ளேயே இருக்கின்றான்,
நான் என்ன வேண்டுமானாலும் செய்யலாம் என்ற அசுர எண்ணங்கள் தோன்ற வாய்ப்புண்டு.
ஆகவே, நமது முன்னோர்கள் 'சத்யம் வத, தர்மம் சர' - 'உண்மை பேசு, அறவழி நட' என்றார்கள் - அறஞ்செய விரும்பு என்பது குழந்தைகளுக்குப் படிப்பிக்கும் ஆத்திச்சூடி வசனம். அதன் பின் கோவிலுக்குச் செல்லுதல், உண்ணும் உணவை இறைவனுக்கு நைவேத்தியம் செய்தல், பூஜைகள் செய்தல் ஆகிய வழக்கங்களை மேற்கொள்கின்றோம். ஆனால்,
இந்த நடவடிக்கைகளை ஏன் செய்கின்றோம் என்று அறிந்துகொள்வதற்கு நாம் சிறிதாவது
முற்படவேண்டும்.
நம் அன்றாட வாழ்க்கை வெறும் சடங்குகளாக மாறிவிடக்கூடாது.
அதன் உட்பொருள் அறிய வேண்டும்.
அப்போதுதான் நாம் செய்யும் காரியங்களின் உண்மைப் பொருளும், நோக்கமும் விளங்கும்.
ஆனால் பொதுமக்கள் வாழ்நாள் முழுதுமே இப்படிப்பட்ட சடங்குகளிலே கழித்துவிடுகின்றனர்.
சிலர் அற்ப அறிவு பெற்று, முற்றுமுணர்ந்தவர் போன்று வேடமிடுகின்றனர்.
இவர்கள் எல்லோருக்கும் ஒரு சாட்டையடியாக, தியாகராஜர் இந்தப் பாடலை இயற்றியுள்ளார். இறைவன் இதயத்திலுள்ளான் என்பதை உபநிடதங்களும்,
உபநிடத சாரமான கீதையும், மற்றும் நமது முன்னோரும்,
துறவிகளும் ரிஷிகளும் தெள்ளத்தெளிவாகக் கூறியுள்ளனர்.
இறைவனுக்கு அந்தர்யாமி என்று பெயர் - அதாவது உள்ளியங்குவோன் என்று.
அந்த இயக்கம் எப்படிப்பட்டது என்று அறியவேண்டுமானால் சான்றோரின் அண்மை அவசியம்.
அல்லது புத்தகங்கள் மூலமும் ஓரளவுக்கு உண்மையை நாம் அறிந்துகொள்ளலாம். பரமான்மா எனப்படும் வஸ்து பூரணம் என்று அழைக்கப்படும்.
இதற்கு ஆங்கிலத்தில் சரியான மொழிபெயர்ப்பில்லை.
Infinity என்ற சொல் ஓரளவுக்கு இதனைச் சுட்டுகின்றது.
இந்த பூரணம் எங்கும் பரிணமித்துள்ளது.
அதுதான் இந்த அண்டங்களாகவும், நட்சத்திரங்களாகவும், சூரிய மண்டலமாகவும், பூமியாகவும்,
ஐம்பெரும் தத்துவங்களாகவும் -
ஆகாயம், நெருப்பு, நீர், காற்று, பூமி - விரிந்து அதனின்று தோன்றிய
அசைவன மற்றும் அசையாத பொருள்களாகவும் பரிணமித்துள்ளது.
அந்த வகையில் மனிதப்பிறவியும் அந்த பூரணத்தின் பரிணாமமே. மனிதனுக்கு ஆறாவது அறிவுள்ளது.
அந்த அறிவு அவனை கேள்வி கேட்கவைக்கின்றது.
அந்தக் கேள்வியினால் பிறந்ததுதான் இறைவன் என்பது.
கேள்வி கேட்பவன், கேட்கும் கேள்விகளையெல்லாம் கேட்டுவிட்டு,
கேள்வி கேட்பவன் யார் என்று ஒரு கேள்வியும் கேட்பானேயாகில்
அவனுடையே கேள்விக்கு விடை கிடைக்கும்.
இதைத்தான் ரமண மகரிஷி, 'நான் என்றால் யார்' என்று தேடு என்கின்றார். இந்த 'நான்' எனப்படும் ஆன்மாதான் அந்த பூரணத்தின் உறைவிடம்.
ஆனால் அதனை உடல் என்று பலர் பொருள் கொள்கின்றனர்.
அது மிகவும் தவறு.
உடல், மனம், அறிவு இவற்றைத் தாண்டி,
வெறும் பிரக்ஞை consciousness வடிவமாக உள்ள அந்த ஆன்மாவும்,
பூரணம் எனப்படும் பரமான்மாவும் ஒன்றே.
அந்த உணர்வுதான் முக்தி என்றும் வீடு என்றும்,
realisation என்றும் கூறப்படும்.
இது ஒரு நிலையல்ல (status).
எப்படி சிறையிலிடப்பட்டவன் விடுதலைப்பட்டால் உணர்வானோ அத்தகைய உணர்வுதான்.
பூரணத்திற்கு எந்தத் தளையுமில்லை.
அதுபோன்றே இந்த ஆன்மாவுக்கும் எந்தத்தளையுமில்லை.
ஆனால் எதுவரைக்கும் நமக்கு ego எனப்படும் உடலுணர்வு இருக்கின்றதோ
அதுவரை நாம் சிறையிலிருப்பது போன்றதே. கீர்த்தனைக்கு வருவோம்.
தியாகராஜருக்கு ராமன்தான் பரமான்மா.
அவன் பிறந்த இடம் அயோத்தியா.
வைணவர்கள் அதனை வைகுண்டம் என்பர்.
சைவர்கள் கயிலாயம் என்பர்.
அயோத்தியா, ராமன் பிறந்ததனால் ஒரு புண்ணிய ஸ்தலம்.
ஆனால் அயோத்திக்குச் சென்றால் ராமனைக் காணமுடியுமா என்று கேட்கின்றார். ஐயா, பல காத தூரம் நடந்து நடந்து அயோத்திக்குச் சென்றீரே,
ராமனைக் கண்டீரோ என்று கேட்கின்றார் பல்லவியில். எதற்காக அயோத்திக்குச் செல்லவேண்டும் -
இறைவனுடன் கூடுவதற்கு -
இறைவன் அங்கிருந்தால்தானே அவனுடன் கூடமுடியும் -
அந்தப் பூரணன், ஆன்மா எனும் ராமனாக இங்கு -
நமது இதயத்திலல்லவோ இருக்கின்றான்
என்கின்றார் அனுபல்லவியில். சரணத்தில்
தியானயோகம் பயில்வோரைக் கிண்டல் செய்கின்றார்.
தியானம் செய்வது குரங்கு மனதைக் கட்டுப்படுத்துவதற்கு.
ஆனால் அப்படி கட்டுப்பாடு செய்வதன் தாத்பர்யம் -
உண்மைப் பொருள் - அறியாது போனால் தூக்கம்தான் வரும்.
எனவே, தியானத்தில் நாம் இறைவனைத் தேடுகின்றோம்.
ஆனால் லலிதா சகஸ்ரநாமத்தில் தாயாருக்கு
'த்யான-த்யாத்ரு-த்யேய' என்று பெயருண்டு -
அதாவது - தியானிக்கப்படும் பொருள் - தியானமெனும் செயல் -
தியானிப்பவன் இவை மூன்றுமே இறைவியென்ற பொருள்.
ஆக, தியானம் செய்வது ஒரு சடங்காகிவிடக்கூடாது.
பிறப்பு இறப்பற்ற இடம் அந்த ஆன்ம உணர்வுதான். தியாகராஜர் பக்தி மார்க்கம் ஒன்றே
எளிதான முறையில் இறைவனிடம் கூடும் முறை
என்பதனை சரணத்திலே வலியுறுத்துகின்றார்.
சரணத்தின் முதலிரண்டு வரிகளும்
தியான முறையை சடங்காக செய்பவரும்,
அத்தகைய வேடமணிபவரையும் குறிக்கும்.
இறைவன் கண்ணெதிரே இருக்கின்றான் -
நமது மனச்சாட்சியாக -
உலகத்தில் காணும் பொருள் யாவும் இறைவனின் பரிணாமமே -
காண்பவன், காட்சி, காணும் செயலாக உள்ள
இறைவனை பக்தி மார்க்கத்தினால்
சுலபமாக அடையலாம் என்பது சரணத்தின் பொருள்.
-
RSR
- Posts: 3427
- Joined: 11 Oct 2015, 23:31
Re: Thyagaraja (Krithis)
https://sites.google.com/site/dkpattamm ... authuser=0
rAma nannu brOva-harikAmbhOji
DK.PattammaaL vintage 78rpm
From Thyagaraha vaibavam blog by Sri.V.Govindan
In the kRti ‘rAma nannu brOva’ – rAga harikAmbhOji, SrI tyAgarAja extols Lord and asks for His protection.
P
rAma nannu brOva
1rAv(E)makO lOk(A)bhi(rAma)
A
cImalO brahmalO
Siva kESav(A)dulalO
prEma mIra melagucuNDE
birudu vahincina sItA (rAma)
C
meppulakai kanna tAvun-
(a)ppu paDaka virra vIgi
tappu panulu lEka(y)uNDE
tyAgarAja 2vinuta sItA (rAma)
Gist
O Lord rAma! O Delighter of the World!
O Lord sItA rAma who bears the title as the One moving about, very lovingly, in the ants, as also in the Trinity – brahmA, Siva and vishNu and others!
O Lord sItA rAma praised by this tyAgarAja!
I am not indebted (monetarily) to any and everyone for the sake of fame;
I am not committing any sinful acts, being conceited.
Therefore, why is it that You wouldn’t come to protect me?
rAma nannu brOva-harikAmbhOji
DK.PattammaaL vintage 78rpm
From Thyagaraha vaibavam blog by Sri.V.Govindan
In the kRti ‘rAma nannu brOva’ – rAga harikAmbhOji, SrI tyAgarAja extols Lord and asks for His protection.
P
rAma nannu brOva
1rAv(E)makO lOk(A)bhi(rAma)
A
cImalO brahmalO
Siva kESav(A)dulalO
prEma mIra melagucuNDE
birudu vahincina sItA (rAma)
C
meppulakai kanna tAvun-
(a)ppu paDaka virra vIgi
tappu panulu lEka(y)uNDE
tyAgarAja 2vinuta sItA (rAma)
Gist
O Lord rAma! O Delighter of the World!
O Lord sItA rAma who bears the title as the One moving about, very lovingly, in the ants, as also in the Trinity – brahmA, Siva and vishNu and others!
O Lord sItA rAma praised by this tyAgarAja!
I am not indebted (monetarily) to any and everyone for the sake of fame;
I am not committing any sinful acts, being conceited.
Therefore, why is it that You wouldn’t come to protect me?
-
nAdopAsaka
- Posts: 892
- Joined: 20 Jul 2020, 17:05
ahalyA and the amrta-vAhini - Sri rAma pAdama - rAmas nectar-bearing feet that transform the stone
ahalyA and the amrta-vAhini - Sri rAma pAdama - rAmas nectar-bearing feet that transform the stone
To even the monumentally brain-dead, the rAga name amrta-varSini, must carry the image of rain, especially, life-giving rain, captured completely by the Dikshitar in hi "AnandAmrtakarSini" kriti.
But what about the rAga amrta-vAhini ?
Once again , the tyAgarAja gives these dim-witted no respite.
The insipid translations are unable to perceive that the rAga name is key to the kriti, its ideas and its words
As already seen for scores upon scores of kritis....e.g. see
https://www.rasikas.org/forums/viewtopi ... 75#p380075 ).
vAhini derives from vAha/vAhin = the bearer = that which carries.
It is the river sometimes as vAhini, it is the vAhana sometimes as in the vehicle.
And it is also the feet of rAma that touch the stone , which is nothing but ahalyA cursed by gautama.
And so the tyAgarAja sings “Sri rAma pAdama” properly in amrta-vAhini, bringing him to ahalyA.
The pitter-patter of feet and the pitter-patter of rain
The esoteric equivalence of amrta-vAhini and amrta-varSini
At once the equivalence of the lords feet and the life-giving rain is observed.
The salvation of ahalyA - THE STONE by the lords feet is nothing but a metaphor for the salvation of a ROCK-filled parched UNPLOUGHED desert by life-giving rain (also the lords bounty).
Notice that “ahalyA” is not just the name of the legendary woman, it also means that which is UNPLOUGHED = a-hala.
Both the feet and the rain , the amrta-vAhini and the amrta-varSini give and sustain life.
This is why the nAda-sampradAya is a-mrta = immortal.
satyam Eva jayatE
Sri rAma pAdama- rAga amrta-vAhini of the tyAgarAja
mandolin SrinivAs
https://www.youtube.com/watch?v=5UD74t0pMyE
chArulata R
https://www.youtube.com/watch?v=0TF-5rHtYeo
for completeness
AnandAmrtakarSini – rAga amrta-varSini of the Dikshitar
veena bAlacandar
https://www.youtube.com/watch?v=oMKjaNqsuIs
hariprasad – (viSwaSri dance)
https://www.youtube.com/watch?v=FiRIhnf-0Es
To even the monumentally brain-dead, the rAga name amrta-varSini, must carry the image of rain, especially, life-giving rain, captured completely by the Dikshitar in hi "AnandAmrtakarSini" kriti.
But what about the rAga amrta-vAhini ?
Once again , the tyAgarAja gives these dim-witted no respite.
The insipid translations are unable to perceive that the rAga name is key to the kriti, its ideas and its words
As already seen for scores upon scores of kritis....e.g. see
https://www.rasikas.org/forums/viewtopi ... 75#p380075 ).
vAhini derives from vAha/vAhin = the bearer = that which carries.
It is the river sometimes as vAhini, it is the vAhana sometimes as in the vehicle.
And it is also the feet of rAma that touch the stone , which is nothing but ahalyA cursed by gautama.
And so the tyAgarAja sings “Sri rAma pAdama” properly in amrta-vAhini, bringing him to ahalyA.
The pitter-patter of feet and the pitter-patter of rain
The esoteric equivalence of amrta-vAhini and amrta-varSini
At once the equivalence of the lords feet and the life-giving rain is observed.
The salvation of ahalyA - THE STONE by the lords feet is nothing but a metaphor for the salvation of a ROCK-filled parched UNPLOUGHED desert by life-giving rain (also the lords bounty).
Notice that “ahalyA” is not just the name of the legendary woman, it also means that which is UNPLOUGHED = a-hala.
Both the feet and the rain , the amrta-vAhini and the amrta-varSini give and sustain life.
This is why the nAda-sampradAya is a-mrta = immortal.
satyam Eva jayatE
Sri rAma pAdama- rAga amrta-vAhini of the tyAgarAja
mandolin SrinivAs
https://www.youtube.com/watch?v=5UD74t0pMyE
chArulata R
https://www.youtube.com/watch?v=0TF-5rHtYeo
for completeness
AnandAmrtakarSini – rAga amrta-varSini of the Dikshitar
veena bAlacandar
https://www.youtube.com/watch?v=oMKjaNqsuIs
hariprasad – (viSwaSri dance)
https://www.youtube.com/watch?v=FiRIhnf-0Es
-
RSR
- Posts: 3427
- Joined: 11 Oct 2015, 23:31
Re: Thyagaraja (Krithis)
https://www.rasikas.org/forums/viewtopic.php?t=35106
https://thyagaraja-vaibhavam.blogspot.c ... -raga.html
Smt.D.K.PattammaaL
Rare kruthi in amruthavaahini raagam
https://youtu.be/R9y5MJkSiD8?si=n6fQEY3YP9U8EUmM
..
Gist
O Holy feet of SrI rAma - worshipped by brahmA, sages sanaka, sanandana, nArada, indra and others - sung about by this tyAgarAja!
Your grace is indeed enough; be firmly implanted in my mind.
.
You protected finding the brave ahalya who, ever shed tears unable to withstand distress as a wayside stone;
.
deign to beatify me too in the same manner.
https://thyagaraja-vaibhavam.blogspot.c ... -raga.html
Smt.D.K.PattammaaL
Rare kruthi in amruthavaahini raagam
https://youtu.be/R9y5MJkSiD8?si=n6fQEY3YP9U8EUmM
..
Gist
O Holy feet of SrI rAma - worshipped by brahmA, sages sanaka, sanandana, nArada, indra and others - sung about by this tyAgarAja!
Your grace is indeed enough; be firmly implanted in my mind.
.
You protected finding the brave ahalya who, ever shed tears unable to withstand distress as a wayside stone;
.
deign to beatify me too in the same manner.
-
nAdopAsaka
- Posts: 892
- Joined: 20 Jul 2020, 17:05
How the tyAgarAjas 40th mEla kritis are imprinted by rAga name 1. lEmi telpa-navanitam & 2. nAyeda vAnCana-nabhOmani
How the tyAgarAjas 40th mEla kritis bear the imprint of the rAga name 1. lEmi delpu in navanitam & 2.nAyeda vAnCana in nabhOmani
1. “lEmi telpa” in rAga navanitam (the 40th mEla)
navanita is freshly churned butter, which gradually separates from milk in the churn.
The tyAgarAja notes the rAga word name in not one but 2 ways..
A mahimalu-ella mAni I mahilO puttirO
The reference to those who shed their ego and emerge as the enlightened
And
dhArA-dharAbha SarIra
The reference is to the cloud-like form of the lord, exactly like the foaming cloud of butter produced from the churning.
2. “nAyeda vanCana” in rAga nabhOmani (a janya rAga of the 40th mEla)
The relationship of nabhOmani , as the sun, has already been observed in the Dikshitars kriti at tanjAvUr brhat kSEtra (see https://www.rasikas.org/forums/viewtopi ... 16#p380016)
It is no different for the tyAgarAja.
Again, the tyAgarAja notes the rAga word name in not one but 2 ways..
nAyeda vanCana sEyakurA O rAghava
He addresses the lord as rAghava, the scion of the Sun/Solar dynasty, as in raghu-kula
And
He notes his own siblings/cousins who are persecuting him…yet he sees his parents as watching over all the family exactly like the Sun that watches over all life.
Once again ALL the insipid translations and ALL vidwAns/musicologists including v. rAghavan and their agents of the last 200 years have missed the sensitive connection between the rAga choice and the vAggeyakAras worship. Instead their foolish focus has been the technicians who merely playback these kritis. (And the kritis and sAdhana of the vAggeyakAras have been degraded also by the lewd perversions of individuals who have ulterior agendas)
But this vapid cult of the performer cannot destroy the essence of the kritis and the understanding of why they were created and where they come from. The nAdayOgis karma cannot let that happen.
The nAda-sampradAya, the river of truth, Sruti, light and sound flows without bound.
satyam Eva jayatE
“lEmi telpa” - rAga navanitam (the 40th mEla)
gaurinAtha
https://www.youtube.com/watch?v=3nL1QzDmKHU
“nAyeda vanCana” - rAga nabhOmani
nishA R and group
https://www.youtube.com/watch?v=y_W8_1Tb6D0
1. “lEmi telpa” in rAga navanitam (the 40th mEla)
navanita is freshly churned butter, which gradually separates from milk in the churn.
The tyAgarAja notes the rAga word name in not one but 2 ways..
A mahimalu-ella mAni I mahilO puttirO
The reference to those who shed their ego and emerge as the enlightened
And
dhArA-dharAbha SarIra
The reference is to the cloud-like form of the lord, exactly like the foaming cloud of butter produced from the churning.
2. “nAyeda vanCana” in rAga nabhOmani (a janya rAga of the 40th mEla)
The relationship of nabhOmani , as the sun, has already been observed in the Dikshitars kriti at tanjAvUr brhat kSEtra (see https://www.rasikas.org/forums/viewtopi ... 16#p380016)
It is no different for the tyAgarAja.
Again, the tyAgarAja notes the rAga word name in not one but 2 ways..
nAyeda vanCana sEyakurA O rAghava
He addresses the lord as rAghava, the scion of the Sun/Solar dynasty, as in raghu-kula
And
He notes his own siblings/cousins who are persecuting him…yet he sees his parents as watching over all the family exactly like the Sun that watches over all life.
Once again ALL the insipid translations and ALL vidwAns/musicologists including v. rAghavan and their agents of the last 200 years have missed the sensitive connection between the rAga choice and the vAggeyakAras worship. Instead their foolish focus has been the technicians who merely playback these kritis. (And the kritis and sAdhana of the vAggeyakAras have been degraded also by the lewd perversions of individuals who have ulterior agendas)
But this vapid cult of the performer cannot destroy the essence of the kritis and the understanding of why they were created and where they come from. The nAdayOgis karma cannot let that happen.
The nAda-sampradAya, the river of truth, Sruti, light and sound flows without bound.
satyam Eva jayatE
“lEmi telpa” - rAga navanitam (the 40th mEla)
gaurinAtha
https://www.youtube.com/watch?v=3nL1QzDmKHU
“nAyeda vanCana” - rAga nabhOmani
nishA R and group
https://www.youtube.com/watch?v=y_W8_1Tb6D0
-
RSR
- Posts: 3427
- Joined: 11 Oct 2015, 23:31
Re: Thyagaraja (Krithis)
ENTHA NERCHINAA
D.K.PATTAMMAALL
https://sites.google.com/site/dkpattamm ... authuser=0
entha naerchchina entha joochina
entha vaaralaina kaantha daasule
santhathampu Sreekaantha swaantha
siddhaantha maina maargachintha laeni vaa
para himsa ,para bhaamaanyadhana
para maanavaapavaada
para jeevanaadula
kanr^thamae bhaashimchaedar ayya,
.
However learned some persons are ,
they are slaves to lust and avarice.
They do not follow the path of dharma
,laid down by Lakshmipathi.
They hurt others.,
covet the wealth and women of others.
They speak falsehood
and slander others.
(Thyagaraja implores the Lord (to save him from such)
D.K.PATTAMMAALL
https://sites.google.com/site/dkpattamm ... authuser=0
entha naerchchina entha joochina
entha vaaralaina kaantha daasule
santhathampu Sreekaantha swaantha
siddhaantha maina maargachintha laeni vaa
para himsa ,para bhaamaanyadhana
para maanavaapavaada
para jeevanaadula
kanr^thamae bhaashimchaedar ayya,
.
However learned some persons are ,
they are slaves to lust and avarice.
They do not follow the path of dharma
,laid down by Lakshmipathi.
They hurt others.,
covet the wealth and women of others.
They speak falsehood
and slander others.
(Thyagaraja implores the Lord (to save him from such)
-
nAdopAsaka
- Posts: 892
- Joined: 20 Jul 2020, 17:05
gAna = gita - Why the tyAgarAjas “gAnamurti” is to krSna who is the “gita-murti”
gAna = gita - Why the tyAgarAjas “gAnamurti” is to krSna who is the “gita-murti”
There can be NO doubt that the gAna-murti kriti derives from krSna as the gita-murti, the emblem of the sacred song, the bhagavad-gitA.
Not only is arjuna , the recipient of the gitAs wisdom, noted (as the "nara" of nara-mitra), a reference to narasimha also occurs in the kriti.
For it is in the gitA that krSna proclaims (stanza 10.30) that he is the king of animals, the lion.
prahlAdaS Casmi daityAnAm , mrgAnAm Ca mrgEndro ham
translation
Of the daityas I am prahlAda, of the beasts I am the lion.
As usual several foolish textbooks (and several pathetic translations ) have tried to create confusion about this kriti..(with ZERO understanding of the words/choices made).
There is no question this is the tyAgarAjas kriti.
Yet again, the value of recognizing the rAga word/name as inextricably intertwined with the sAhityam and ideas of the vAggeyakAras becomes evident. (now proven in hundreds of posts on these threads to the dismay of these scoundrels).
The words and choices are the vAggeyakAras mudras, their stamp of their intellectual property.
And it also becomes clear why the distortionists want to disregard the value of words….so that the sAdhus kritis can be “stolen”, mis-appropriated and mis-represented by these criminals....shame on them..
But the nAda-sampradAya ALWAYS asserts itself.
After all, it is the same gitA that the tyAgarAja symbolizes in his “gAna-murti”, which also gives the famous line (stanza 4.7)
yadA yadA hi dharmasya glAnir bhavati bhArata
abhyutthAnam adharmasya tadAtmAnam srjAmyaham
paritrAnAya sadhunAm vinASAyaCa duSkritAm
dharma sansthApanArthAya sambhavAmi yugE yugE
namely
Truth always asserts itself, especially when unchecked untruth becomes unbearable.
satyam Eva jayatE
gAnamurte Sri krSna – rAga gAnamurti
aiSwarya and soundarya
https://www.youtube.com/watch?v=WYwxNqMt5tQ
TS kalyAnarAman
https://www.youtube.com/watch?v=tDWP4JMho0U
violin padma S
https://www.youtube.com/watch?v=VQ4GNl_nTWQ
There can be NO doubt that the gAna-murti kriti derives from krSna as the gita-murti, the emblem of the sacred song, the bhagavad-gitA.
Not only is arjuna , the recipient of the gitAs wisdom, noted (as the "nara" of nara-mitra), a reference to narasimha also occurs in the kriti.
For it is in the gitA that krSna proclaims (stanza 10.30) that he is the king of animals, the lion.
prahlAdaS Casmi daityAnAm , mrgAnAm Ca mrgEndro ham
translation
Of the daityas I am prahlAda, of the beasts I am the lion.
As usual several foolish textbooks (and several pathetic translations ) have tried to create confusion about this kriti..(with ZERO understanding of the words/choices made).
There is no question this is the tyAgarAjas kriti.
Yet again, the value of recognizing the rAga word/name as inextricably intertwined with the sAhityam and ideas of the vAggeyakAras becomes evident. (now proven in hundreds of posts on these threads to the dismay of these scoundrels).
The words and choices are the vAggeyakAras mudras, their stamp of their intellectual property.
And it also becomes clear why the distortionists want to disregard the value of words….so that the sAdhus kritis can be “stolen”, mis-appropriated and mis-represented by these criminals....shame on them..
But the nAda-sampradAya ALWAYS asserts itself.
After all, it is the same gitA that the tyAgarAja symbolizes in his “gAna-murti”, which also gives the famous line (stanza 4.7)
yadA yadA hi dharmasya glAnir bhavati bhArata
abhyutthAnam adharmasya tadAtmAnam srjAmyaham
paritrAnAya sadhunAm vinASAyaCa duSkritAm
dharma sansthApanArthAya sambhavAmi yugE yugE
namely
Truth always asserts itself, especially when unchecked untruth becomes unbearable.
satyam Eva jayatE
gAnamurte Sri krSna – rAga gAnamurti
aiSwarya and soundarya
https://www.youtube.com/watch?v=WYwxNqMt5tQ
TS kalyAnarAman
https://www.youtube.com/watch?v=tDWP4JMho0U
violin padma S
https://www.youtube.com/watch?v=VQ4GNl_nTWQ
-
RSR
- Posts: 3427
- Joined: 11 Oct 2015, 23:31
Re: Thyagaraja (Krithis)
https://thyagaraja-vaibhavam.blogspot.c ... -raga.html
...
ElAvatAra-mukhAri
..
ஏன் அவதரித்தாயோ?
என்ன காரணமோ, இராமனாக?
போர் புரிவதற்கோ? அயோத்தியை
ஆள்வதற்கோ? ஓ இராகவா!
ஏன் அவதரித்தாயோ?
என்ன காரணமோ, இராமனாக?
யோகியர் (உன்னைக்) காண்பதற்கென்றோ? பிறவிப்
பிணியாளிகளைக் காப்பதற்கென்றோ? நூற்றுக் கணக்கான
ராக இரத்தின மாலைகளைப் புனைந்த
தியாகராசனுக்கு வரமருள்வதற்கென்றோ?
ஏன் அவதரித்தாயோ?
என்ன காரணமோ, இராமனாக?
.
Gist
O Lord rAghava!
Why did You incarnate as Lord rAma? What is the reason?
Is it for waging war? Or is it for ruling over ayOdhya?
Is it for the purpose that the ascetics could behold You?
or is it for the purpose of protecting those afflicted by the disease of Worldly Existence?
or is it for the purpose of bestowing boon on this tyAgarAja who has composed garlands of hundreds of exquisite rAgas?
..
Rendered by
Smt.N.C.VAsanthakokilam
https://sites.google.com/site/ncvasanth ... authuser=0
...
ElAvatAra-mukhAri
..
ஏன் அவதரித்தாயோ?
என்ன காரணமோ, இராமனாக?
போர் புரிவதற்கோ? அயோத்தியை
ஆள்வதற்கோ? ஓ இராகவா!
ஏன் அவதரித்தாயோ?
என்ன காரணமோ, இராமனாக?
யோகியர் (உன்னைக்) காண்பதற்கென்றோ? பிறவிப்
பிணியாளிகளைக் காப்பதற்கென்றோ? நூற்றுக் கணக்கான
ராக இரத்தின மாலைகளைப் புனைந்த
தியாகராசனுக்கு வரமருள்வதற்கென்றோ?
ஏன் அவதரித்தாயோ?
என்ன காரணமோ, இராமனாக?
.
Gist
O Lord rAghava!
Why did You incarnate as Lord rAma? What is the reason?
Is it for waging war? Or is it for ruling over ayOdhya?
Is it for the purpose that the ascetics could behold You?
or is it for the purpose of protecting those afflicted by the disease of Worldly Existence?
or is it for the purpose of bestowing boon on this tyAgarAja who has composed garlands of hundreds of exquisite rAgas?
..
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-
nAdopAsaka
- Posts: 892
- Joined: 20 Jul 2020, 17:05
vEda vAkyamani - The tyAgarAjas only mOhana rAga kriti to the krSna
vEda vAkyamani - The tyAgarAjas only mOhana rAga kriti to the krSna
Post dated Mar 20 2022 shows how “charm” = mOhana, translates from the rAmAyanas magical deer to the kriti “nannu pAlimpa”
https://www.rasikas.org/forums/viewtopi ... 51#p375451
But mOhana as a name is also that of the avatAra krSna.
And of the tyAgarAjas 11 kritis in rAga mOhana, only one is to krSna.
“vEda vAkyamani” – describes the leaking boat of the naukA Caritram….the leak itself created by the lord forcing the gOpis to plug the leak with their clothing.. and so stripping themselves…
The kritis of the vAggeyakAras are absolutely not for any Scoundrel/s who have only lewdness in their minds.
“vEda vAkyamani” teaches the shedding of ALL vanity and ego, in the worship of the deities.
vEda vAkyamani - rAga mOhana
trichy samAjam
https://www.youtube.com/watch?v=VvbGwKX9XT4
BMK
https://www.youtube.com/watch?v=iD_-K5Nqy18
Post dated Mar 20 2022 shows how “charm” = mOhana, translates from the rAmAyanas magical deer to the kriti “nannu pAlimpa”
https://www.rasikas.org/forums/viewtopi ... 51#p375451
But mOhana as a name is also that of the avatAra krSna.
And of the tyAgarAjas 11 kritis in rAga mOhana, only one is to krSna.
“vEda vAkyamani” – describes the leaking boat of the naukA Caritram….the leak itself created by the lord forcing the gOpis to plug the leak with their clothing.. and so stripping themselves…
The kritis of the vAggeyakAras are absolutely not for any Scoundrel/s who have only lewdness in their minds.
“vEda vAkyamani” teaches the shedding of ALL vanity and ego, in the worship of the deities.
vEda vAkyamani - rAga mOhana
trichy samAjam
https://www.youtube.com/watch?v=VvbGwKX9XT4
BMK
https://www.youtube.com/watch?v=iD_-K5Nqy18
-
RSR
- Posts: 3427
- Joined: 11 Oct 2015, 23:31
Re: Thyagaraja (Krithis)
http://tyagaraja-vaibhavam-tamil.blogsp ... -todi.html
thamizh translation of this Thyagaraja swami kruthi
கத்3த3னு வாரிகி - ராகம் தோடி - Kaddanu Vaariki - Raga Todi
by Sri.V.GOVINDAN
-----------------------------
Rendered by
Smt.N.C.VASANTHAKOKILAM
https://youtu.be/b6ye1ITHzLY?si=siLBfLGSAowSnGdO
http://tyagaraja-vaibhavam-tamil.blogsp ... -todi.html
தியாகராசன் போற்றுவோனே!
உண்டென்போருக்கு, உண்டுண்டென முறையிடும், பெரியோரின் சொற்கள் இன்று பொய்யாகுமோ?
கண்ணாடிக் கன்னங்களுடன், எழில் வழியும் முகத்தினை நோக்க, எண்ணம் தோன்றியுள்ள, அத்தகைய எமதருகில், வாராயேனய்யா?
உறக்கத்தினைப் புறக்கணித்து,
அழகாக தம்புரா பிடித்து,
தூய உள்ளத்துடனும்,
இனிய சுரத்துடனும்,
நியமம் தவறாது,
பஜனை செய்யும் தொண்டர்களைப் பேணும் அக் கருணையுள்ளத்தோன் நீ.
உண்டென்போருக்கு, உண்டுண்டென முறையிடும், பெரியோரின் சொற்கள் இன்று பொய்யாகுமோ
thamizh translation of this Thyagaraja swami kruthi
கத்3த3னு வாரிகி - ராகம் தோடி - Kaddanu Vaariki - Raga Todi
by Sri.V.GOVINDAN
-----------------------------
Rendered by
Smt.N.C.VASANTHAKOKILAM
https://youtu.be/b6ye1ITHzLY?si=siLBfLGSAowSnGdO
http://tyagaraja-vaibhavam-tamil.blogsp ... -todi.html
தியாகராசன் போற்றுவோனே!
உண்டென்போருக்கு, உண்டுண்டென முறையிடும், பெரியோரின் சொற்கள் இன்று பொய்யாகுமோ?
கண்ணாடிக் கன்னங்களுடன், எழில் வழியும் முகத்தினை நோக்க, எண்ணம் தோன்றியுள்ள, அத்தகைய எமதருகில், வாராயேனய்யா?
உறக்கத்தினைப் புறக்கணித்து,
அழகாக தம்புரா பிடித்து,
தூய உள்ளத்துடனும்,
இனிய சுரத்துடனும்,
நியமம் தவறாது,
பஜனை செய்யும் தொண்டர்களைப் பேணும் அக் கருணையுள்ளத்தோன் நீ.
உண்டென்போருக்கு, உண்டுண்டென முறையிடும், பெரியோரின் சொற்கள் இன்று பொய்யாகுமோ
-
RSR
- Posts: 3427
- Joined: 11 Oct 2015, 23:31
Re: Thyagaraja (Krithis)
https://thyagaraja-vaibhavam.blogspot.c ... -raga.html
...
உனது தயை வாராதா?
கூடாதென்பவர் யார், கலியாண இராமா?
உனது தயை வாராதா?
1. என்னைக் காப்பவர் இவ்வுலகில் (நீயென) அன்றே அறிந்தும்,
இனகுலத் திலகமே! உனக்கித்தனைத் தாமதமா?
உனது தயை வாராதா?
2. அனைத்திற்கும் அதிகாரியென (உன்னை) நான் புகழ்ந்தும்,
(என்னை) மன்னித்தால் உனது மகிமைக்குக் குறைவா?
உனது தயை வாராதா?
3. இராமா! இராமா! இராமா! தியாகராசனின் இதயத்துறைவோனே!
எனதுள்ளம் தடுமாறுகின்றது;
எனதுள்ளம் தடுமாறுகின்றது; நியாயமா? வேகமாக
உனது தயை வாராதா?
....
O Auspicious Lord rAma!
O Most eminent of the Solar dynasty!
O Lord rAma! O Resident in the heart of this tyAgarAja!
Won’t Your mercy descend on me?
Who is there to object?
Knowing long back that You are my protector in this World, should You delay this much?
Even when I extol You as the master of everything, would it diminish Your greatness if You forgive (or respect) me?
My mind is perplexed; is it fair?
....
https://youtu.be/hgnn8jCAAdI?si=KvvBt7bnBglGcX0C
.Rendered by
Smt.N.C.Vasanthakokilam
...
உனது தயை வாராதா?
கூடாதென்பவர் யார், கலியாண இராமா?
உனது தயை வாராதா?
1. என்னைக் காப்பவர் இவ்வுலகில் (நீயென) அன்றே அறிந்தும்,
இனகுலத் திலகமே! உனக்கித்தனைத் தாமதமா?
உனது தயை வாராதா?
2. அனைத்திற்கும் அதிகாரியென (உன்னை) நான் புகழ்ந்தும்,
(என்னை) மன்னித்தால் உனது மகிமைக்குக் குறைவா?
உனது தயை வாராதா?
3. இராமா! இராமா! இராமா! தியாகராசனின் இதயத்துறைவோனே!
எனதுள்ளம் தடுமாறுகின்றது;
எனதுள்ளம் தடுமாறுகின்றது; நியாயமா? வேகமாக
உனது தயை வாராதா?
....
O Auspicious Lord rAma!
O Most eminent of the Solar dynasty!
O Lord rAma! O Resident in the heart of this tyAgarAja!
Won’t Your mercy descend on me?
Who is there to object?
Knowing long back that You are my protector in this World, should You delay this much?
Even when I extol You as the master of everything, would it diminish Your greatness if You forgive (or respect) me?
My mind is perplexed; is it fair?
....
https://youtu.be/hgnn8jCAAdI?si=KvvBt7bnBglGcX0C
.Rendered by
Smt.N.C.Vasanthakokilam
-
nAdopAsaka
- Posts: 892
- Joined: 20 Jul 2020, 17:05
“manasA EtulOrtunE” – Equivalence of the wandering, undisciplined mind & the wandering , unchecked wind = mAruta
“manasA EtulOrtunE” – Equivalence of the wandering, undisciplined mind & the wandering , unchecked wind , (mAruta) , the restless, roaming “kalasi mElasi tiruguCu” tyAgarAja
The highly evocative rAga word name “malaya-mAruta”, demands an explanation of its one-time usage by the tyAgarAja.
That explanation is given in this post.
In manusmriti 9.306 the word “mArutam” is described as the wind = vAyu, that blows everywere (yathA Carati) and enters all life (praviSya sarva bhutAni)
प्रविश्य सर्वभूतानि यथा चरति मारुतः
praviSya sarva bhUtAni yathA Carati mArutaḥ 9.306
And at once it becomes clear, why the tyAgarAja uses the rAga malaya-mAruta for his short kriti on the wandering mind, the “manasA” that mixes indiscriminately with all distractions..
Why ?
Because in the famous Carana he says with zero ambiguity
kalilO rAjasa tAmasa guNamula galavAri Celimi, kalasi melasi tiruguCu
meaning
I have roamed and mixed with those of the rAjasa and tAmasa qualities in this kaliyuga.
There can be no question !! ...the tyAgarAja is equating his wandering, undisciplined mind to the mAruta, the wandering , unchecked wind of the manusmriti that mingles with all
Indeed the tyAgarAja says he is “kalasi mElasi tiruguCu”… exactly like the “roaming” wind.
Additionally, the word “malaya-mAruta” is known as the wind that blows fragrance from flowers/sandal-wood etc. found on mountain slopes. And in this representation, it is associated with the distraction of srngAra…also a rAjasic quality.
Once again, the rAga word name influences the idea of the vAggeyakAras kriti.
All the pitiful unimaginative translations of the last 200 years only pay lip-service to the vAggeyakAras motivations.
They fail to realize the intimate connections between the choices and ideas, undeniably established by the vAggeyakAras themselves.
Instead the kritis have been reduced to “sounds” and air-pressure variations prescribed by swara-notations, in the ongoing worship of technical performers.
For the nAda-upAsakas, the kritis demand a deeper introspection of the words/choices that originates only from respect and reverence for the nAdayOgis sAdhana, ideas and pujA.
manasA EtulOrtunE – rAga malayamArutam
veena jayanti
https://www.youtube.com/watch?v=lkoCAbT7ouM
TS kalyAnarAman
https://www.youtube.com/watch?v=hbgOSiPtrrU
MSG violin
https://www.youtube.com/watch?v=gjWCyIb3R7U
s kammath flute
https://www.youtube.com/watch?v=r6FV33UTwgg
The highly evocative rAga word name “malaya-mAruta”, demands an explanation of its one-time usage by the tyAgarAja.
That explanation is given in this post.
In manusmriti 9.306 the word “mArutam” is described as the wind = vAyu, that blows everywere (yathA Carati) and enters all life (praviSya sarva bhutAni)
प्रविश्य सर्वभूतानि यथा चरति मारुतः
praviSya sarva bhUtAni yathA Carati mArutaḥ 9.306
And at once it becomes clear, why the tyAgarAja uses the rAga malaya-mAruta for his short kriti on the wandering mind, the “manasA” that mixes indiscriminately with all distractions..
Why ?
Because in the famous Carana he says with zero ambiguity
kalilO rAjasa tAmasa guNamula galavAri Celimi, kalasi melasi tiruguCu
meaning
I have roamed and mixed with those of the rAjasa and tAmasa qualities in this kaliyuga.
There can be no question !! ...the tyAgarAja is equating his wandering, undisciplined mind to the mAruta, the wandering , unchecked wind of the manusmriti that mingles with all
Indeed the tyAgarAja says he is “kalasi mElasi tiruguCu”… exactly like the “roaming” wind.
Additionally, the word “malaya-mAruta” is known as the wind that blows fragrance from flowers/sandal-wood etc. found on mountain slopes. And in this representation, it is associated with the distraction of srngAra…also a rAjasic quality.
Once again, the rAga word name influences the idea of the vAggeyakAras kriti.
All the pitiful unimaginative translations of the last 200 years only pay lip-service to the vAggeyakAras motivations.
They fail to realize the intimate connections between the choices and ideas, undeniably established by the vAggeyakAras themselves.
Instead the kritis have been reduced to “sounds” and air-pressure variations prescribed by swara-notations, in the ongoing worship of technical performers.
For the nAda-upAsakas, the kritis demand a deeper introspection of the words/choices that originates only from respect and reverence for the nAdayOgis sAdhana, ideas and pujA.
manasA EtulOrtunE – rAga malayamArutam
veena jayanti
https://www.youtube.com/watch?v=lkoCAbT7ouM
TS kalyAnarAman
https://www.youtube.com/watch?v=hbgOSiPtrrU
MSG violin
https://www.youtube.com/watch?v=gjWCyIb3R7U
s kammath flute
https://www.youtube.com/watch?v=r6FV33UTwgg
-
RSR
- Posts: 3427
- Joined: 11 Oct 2015, 23:31
Re: Thyagaraja (Krithis)
N C Vasanthakokilam,
Emi jEsitEnEmi SrI rAma,
Thodi"
.......
https://youtu.be/o1ZzjTmx7tI?si=_WEpExKKHJDS6Y6K
..
.........
Whatever one might accomplish in this World, what difference does it make if he does not have the grace of Lord SrI rAma?
Having become slaves to desire, delusion etc., those who do not know the commandment of SrI rAma, whatever they might accomplish in this World, what difference does it make?
Of what avail -
whether one performs daily or sacrificial oblations or
whether one is blessed with son for inheriting wealth or
whether one adopts another’s son in this World or
whether one builds (multi) storeyed house or
whether, in there, he lights up with a pair of lanterns or
whether one knows to flatter women or
whether one attains comforts of this World or
whether one provides jewellery to his wife or
whether one knows amorous sports or
whether one rules a kingdom or
whether one becomes worthy of worship among a lot of people or
whether one gives sumptuous feast with abundant flow of ghee or
whether one becomes a preceptor or
whether one’s body appears splendid to look at or
whether one initiates others in sacred syllables?
Those who do not have the grace of sacred SrI rAma -
who causes auspiciousness,
the peerless One,
the Lotus Eyed,
who is worshipful,
praised by this tyAgarAja -
whatever they might accomplish in this World, what difference does it make
Emi jEsitEnEmi SrI rAma,
Thodi"
.......
https://youtu.be/o1ZzjTmx7tI?si=_WEpExKKHJDS6Y6K
..
.........
Whatever one might accomplish in this World, what difference does it make if he does not have the grace of Lord SrI rAma?
Having become slaves to desire, delusion etc., those who do not know the commandment of SrI rAma, whatever they might accomplish in this World, what difference does it make?
Of what avail -
whether one performs daily or sacrificial oblations or
whether one is blessed with son for inheriting wealth or
whether one adopts another’s son in this World or
whether one builds (multi) storeyed house or
whether, in there, he lights up with a pair of lanterns or
whether one knows to flatter women or
whether one attains comforts of this World or
whether one provides jewellery to his wife or
whether one knows amorous sports or
whether one rules a kingdom or
whether one becomes worthy of worship among a lot of people or
whether one gives sumptuous feast with abundant flow of ghee or
whether one becomes a preceptor or
whether one’s body appears splendid to look at or
whether one initiates others in sacred syllables?
Those who do not have the grace of sacred SrI rAma -
who causes auspiciousness,
the peerless One,
the Lotus Eyed,
who is worshipful,
praised by this tyAgarAja -
whatever they might accomplish in this World, what difference does it make
-
nAdopAsaka
- Posts: 892
- Joined: 20 Jul 2020, 17:05
Re: Thyagaraja (the fruit mudra in “aparAdhamulanOrva” – Why the rAga name can only be “rasAli” )
the fruit mudra in “aparAdhamulanOrva” – Why the rAga name can only be “rasAli”
rasAli (the word) refers to sugar.
rasAli also refers to sweet fruit (particularly the mango)
And it no surprise that a word for “fruit” = "phalam" appears in the tyAgarAjas only kriti in rAga rasAli .
rasAli is also the sweet essence of rAga as its rasa.
Indeed, the tyAgarAja says that he distills a hundred kirtanas to produce “aparAdhAmulanOrva”
kIrtana Satakam OnArCu tyAgarAja nuta
There is zero question that the rAga name is rasAli in the tyAgarAjas vision.
(NONE of the other foolish names for this rAga proposed by a variety of textbooks and CLUELESS translations applies)
aparAdhamulanOrva -– rAga rasAli
ambi S violin
https://www.youtube.com/watch?v=ljDUnUoPFf8
pantulA r
https://www.youtube.com/watch?v=H0iuQiPdOI0
rasAli (the word) refers to sugar.
rasAli also refers to sweet fruit (particularly the mango)
And it no surprise that a word for “fruit” = "phalam" appears in the tyAgarAjas only kriti in rAga rasAli .
rasAli is also the sweet essence of rAga as its rasa.
Indeed, the tyAgarAja says that he distills a hundred kirtanas to produce “aparAdhAmulanOrva”
kIrtana Satakam OnArCu tyAgarAja nuta
There is zero question that the rAga name is rasAli in the tyAgarAjas vision.
(NONE of the other foolish names for this rAga proposed by a variety of textbooks and CLUELESS translations applies)
aparAdhamulanOrva -– rAga rasAli
ambi S violin
https://www.youtube.com/watch?v=ljDUnUoPFf8
pantulA r
https://www.youtube.com/watch?v=H0iuQiPdOI0
-
RSR
- Posts: 3427
- Joined: 11 Oct 2015, 23:31
Re: Thyagaraja (Krithis)
https://youtu.be/z1C0mY2tKAg
Rare rare 78 rpm by
Smt.M.S.Subbulakshmi
1934,
shared by @cienu
Thyagaraja kruthi
Manasa..etulortune
Raagam Malayamarutham
Gist. By Sri.V.Govindan
My Mind! O Virtue-less!
How shall I tolerate? Accept my appeal.
Why is it that you wouldn’t listen even when exhorted to spend days by becoming humble and chanting the names of Lord rAma - the adornment of Solar dynasty?
Why is it that you wouldn’t listen to the words of this tyAgarAja who gives you suggestions for being redeemed easily in the kali yuga, instead of wandering here entangled in the company of those endowed with qualities of passion and inertia and thus wasting time?
How shall I tolerate? Accept my appeal.
....
Rare rare 78 rpm by
Smt.M.S.Subbulakshmi
1934,
shared by @cienu
Thyagaraja kruthi
Manasa..etulortune
Raagam Malayamarutham
Gist. By Sri.V.Govindan
My Mind! O Virtue-less!
How shall I tolerate? Accept my appeal.
Why is it that you wouldn’t listen even when exhorted to spend days by becoming humble and chanting the names of Lord rAma - the adornment of Solar dynasty?
Why is it that you wouldn’t listen to the words of this tyAgarAja who gives you suggestions for being redeemed easily in the kali yuga, instead of wandering here entangled in the company of those endowed with qualities of passion and inertia and thus wasting time?
How shall I tolerate? Accept my appeal.
....
-
RSR
- Posts: 3427
- Joined: 11 Oct 2015, 23:31
Re: Thyagaraja (Krithis)
Smt. N. C. Vasanthakokilam
Thyagaraja Swami kruthi
Sive Pahimam -
KalyaNi raagam
uploaded by
Vintage Voices Of South India
https://youtu.be/9u-wmo0fdZc
-MUST HAVE BEEN SOMETIME IN 1945.
Thyagaraja Swami kruthi
Sive Pahimam -
KalyaNi raagam
uploaded by
Vintage Voices Of South India
https://youtu.be/9u-wmo0fdZc
-MUST HAVE BEEN SOMETIME IN 1945.
-
nAdopAsaka
- Posts: 892
- Joined: 20 Jul 2020, 17:05
The hidden rAga mudra in the tyAgarAjas 3 kuntala-varAli kritis.. 1. Sara Sara samaraika
The hidden rAga mudra in the tyAgarAjas 3 kuntala-varAli kritis.. 1. Sara Sara samaraika
It will be shown in a sequence of 3 posts how each of the tyAgarAjas 3 kritis in the rAga kuntala-varAli carry the rAga word name/meaning.
The finding is in keeping with the scores-upon-scores of other similar rAga mudras discovered in the tyAgarAjas kritis (and hundreds of the Dikshitars kritis) only by paying attention to the words and ideas of the nAdayOgis.
In ”Sara Sara samaraika”, the tyAgarAja uses the synonym “kuthAra” for the hoe/spade, to dig out from the accumulated forests of his past sins.
As he says in the Caranam
toli jEsina pApa vana kuthAramA.
The word "kuntala" is precisely also a digging or cutting implement such as a plough/hoe/spade.
There is no coincidence that this implement is cited in the kriti with a rAga having the same meaning.
The tyAgarAja is also a master of nuance...It is not enough to cut down the forests , as a mere axe might… the soil (and the soul) itself must be re-ploughed to renew it.
Hence the meaning of kuntala/kuthAra as the plough.
After hundreds of these examples it is no longer a mystery…
The rAgas being conveyed by the kritis are the pujA offering of the vAggeyakAra.
Retaining the meaning of the rAga word/name in the context of the kritis main idea ("renewing oneself" in this case) , permits focus on the rAga and maintains the purity of the offering.
For the nAda-upAsakas, all other uses of rAga/kriti are narcissistic and extraneous.
Sara Sara samaraika – rAga kuntalavarali
mallAdi bros.
https://www.youtube.com/watch?v=xmTz3-VOmDc
kanyAkumAri
https://www.youtube.com/watch?v=AUNBX68-AYY
It will be shown in a sequence of 3 posts how each of the tyAgarAjas 3 kritis in the rAga kuntala-varAli carry the rAga word name/meaning.
The finding is in keeping with the scores-upon-scores of other similar rAga mudras discovered in the tyAgarAjas kritis (and hundreds of the Dikshitars kritis) only by paying attention to the words and ideas of the nAdayOgis.
In ”Sara Sara samaraika”, the tyAgarAja uses the synonym “kuthAra” for the hoe/spade, to dig out from the accumulated forests of his past sins.
As he says in the Caranam
toli jEsina pApa vana kuthAramA.
The word "kuntala" is precisely also a digging or cutting implement such as a plough/hoe/spade.
There is no coincidence that this implement is cited in the kriti with a rAga having the same meaning.
The tyAgarAja is also a master of nuance...It is not enough to cut down the forests , as a mere axe might… the soil (and the soul) itself must be re-ploughed to renew it.
Hence the meaning of kuntala/kuthAra as the plough.
After hundreds of these examples it is no longer a mystery…
The rAgas being conveyed by the kritis are the pujA offering of the vAggeyakAra.
Retaining the meaning of the rAga word/name in the context of the kritis main idea ("renewing oneself" in this case) , permits focus on the rAga and maintains the purity of the offering.
For the nAda-upAsakas, all other uses of rAga/kriti are narcissistic and extraneous.
Sara Sara samaraika – rAga kuntalavarali
mallAdi bros.
https://www.youtube.com/watch?v=xmTz3-VOmDc
kanyAkumAri
https://www.youtube.com/watch?v=AUNBX68-AYY
-
RSR
- Posts: 3427
- Joined: 11 Oct 2015, 23:31
Re: Thyagaraja (Krithis)
இப்பாடல் 'பிரஹ்லாத3 ப4க்தி விஜயம்' என்ற நாட்டிய நாடகத்தின் அங்கமாகும். இப்பாடலின் சொற்கள், பிரகலாதன் இறைவனை நோக்கிப் பாடுவதாக.
..
https://tyagaraja-vaibhavam-tamil.blogs ... hlada.html
.
Smt D.K.PattammaaL
https://sites.google.com/site/dkpattamm ... gunandhana
Sahaana raagam
.
VANDHANAMU RAGUNANDHANA
...
https://thyagaraja-vaibhavam.blogspot.c ... haana.html
.
Gist
O Lord raghu nandana who built cause-way across the Ocean! O Lord rAma – the wish tree (or excellent) for the devotees!
O Bestower of prosperity!
O Lord found in the heart of lakshmI!
O Lord sung about by sages!
O Ocean of mercy! O Lord resident in the heart of this tyAgarAja!
Salutations to You.
Why do You dispute with me? Am I alien to You? Does it bring happiness to You?
Is it a burden to protect me? Is it any kind of negotiation (between us)?
I heard about You; I trusted You; I sought refuge in You; and, therefore, I prayed to You to come.
I shall not beseech
shall not accept defeat; I shall not abandon my devotion; I shall not beseech others, because I am Yours.
Please tell me to come, offer You sweet-scented betel leaves and receive Your boons.
Is it fair? Is there any benefit to You? Why further dislike?
Please look at me, protect me, and be united with me befittingly.
The name of rAma is the comfort for me, the sacred abode for me and (chanting of Your name is) daily vow for me.
Please come quickly.
...
..
https://tyagaraja-vaibhavam-tamil.blogs ... hlada.html
.
Smt D.K.PattammaaL
https://sites.google.com/site/dkpattamm ... gunandhana
Sahaana raagam
.
VANDHANAMU RAGUNANDHANA
...
https://thyagaraja-vaibhavam.blogspot.c ... haana.html
.
Gist
O Lord raghu nandana who built cause-way across the Ocean! O Lord rAma – the wish tree (or excellent) for the devotees!
O Bestower of prosperity!
O Lord found in the heart of lakshmI!
O Lord sung about by sages!
O Ocean of mercy! O Lord resident in the heart of this tyAgarAja!
Salutations to You.
Why do You dispute with me? Am I alien to You? Does it bring happiness to You?
Is it a burden to protect me? Is it any kind of negotiation (between us)?
I heard about You; I trusted You; I sought refuge in You; and, therefore, I prayed to You to come.
I shall not beseech
shall not accept defeat; I shall not abandon my devotion; I shall not beseech others, because I am Yours.
Please tell me to come, offer You sweet-scented betel leaves and receive Your boons.
Is it fair? Is there any benefit to You? Why further dislike?
Please look at me, protect me, and be united with me befittingly.
The name of rAma is the comfort for me, the sacred abode for me and (chanting of Your name is) daily vow for me.
Please come quickly.
...
-
nAdopAsaka
- Posts: 892
- Joined: 20 Jul 2020, 17:05
The hidden rAga mudra in the tyAgarAjas 3 kuntala-varAli kritis.. 2. CEntanE sadA
The hidden rAga mudra in the tyAgarAjas 3 kuntala-varAli kritis.. 2. CEntanE sadA
This is the second post of the sequence of 3 posts that show how each of the tyAgarAjas 3 kritis in the rAga kuntala-varAli carry the rAga word name/meaning.
The first post of this sequence dated Sept. 16, 2023 can be seen here.
https://www.rasikas.org/forums/viewtopi ... 92#p380192
CEntanE sadA
In “CEntanE sadA” = the tyAgarAja asks that he ALWAYS (sadA) be close to the lord.
The idea has to be comprehended simultaneously with the meaning of the word “kuntala”.
In the literature the word kuntala is synonymous with head-hair.
Is there a better mudra of the inseparability than of head-hair from the head !
But there is more..
rAma-pAduka and bharatA’s head
The tyAgarAja makes the wonderful reference to bharatA in the very last line of this very short kriti..
It is known that bharatA placed the pAduka/sandals of rAma on his HEAD, to remain INSEPARABLE from the exalted lord during the vanavAsa of rAma.
And it is this constant union that the tyAgarAja summarizes with just the 2 words “CEntanE sadA” and the unique head-hair inseparability described by the word “kuntala” in rAga kuntala-varAli.
The vAggeyakAras are not kutChEri vidwAns interested in air-pressure variations or swara notations, applause from foolish fans or “professional” achievement.
The vAggeyakAras are immersed in realizing the vision of their pujA.
Their words and choices reveal the depth of this immersion.
It is the duty of the nAda-upAsakas to understand these choices.
CEntanE sadA – rAga kuntalavarAli
veena s santOSa
https://www.youtube.com/watch?v=TskCfnEzB4Y
neela rAmgOpal
https://www.youtube.com/watch?v=WPrwKbuQ9t4
This is the second post of the sequence of 3 posts that show how each of the tyAgarAjas 3 kritis in the rAga kuntala-varAli carry the rAga word name/meaning.
The first post of this sequence dated Sept. 16, 2023 can be seen here.
https://www.rasikas.org/forums/viewtopi ... 92#p380192
CEntanE sadA
In “CEntanE sadA” = the tyAgarAja asks that he ALWAYS (sadA) be close to the lord.
The idea has to be comprehended simultaneously with the meaning of the word “kuntala”.
In the literature the word kuntala is synonymous with head-hair.
Is there a better mudra of the inseparability than of head-hair from the head !
But there is more..
rAma-pAduka and bharatA’s head
The tyAgarAja makes the wonderful reference to bharatA in the very last line of this very short kriti..
It is known that bharatA placed the pAduka/sandals of rAma on his HEAD, to remain INSEPARABLE from the exalted lord during the vanavAsa of rAma.
And it is this constant union that the tyAgarAja summarizes with just the 2 words “CEntanE sadA” and the unique head-hair inseparability described by the word “kuntala” in rAga kuntala-varAli.
The vAggeyakAras are not kutChEri vidwAns interested in air-pressure variations or swara notations, applause from foolish fans or “professional” achievement.
The vAggeyakAras are immersed in realizing the vision of their pujA.
Their words and choices reveal the depth of this immersion.
It is the duty of the nAda-upAsakas to understand these choices.
CEntanE sadA – rAga kuntalavarAli
veena s santOSa
https://www.youtube.com/watch?v=TskCfnEzB4Y
neela rAmgOpal
https://www.youtube.com/watch?v=WPrwKbuQ9t4
-
RSR
- Posts: 3427
- Joined: 11 Oct 2015, 23:31
Re: Thyagaraja (Krithis)
M S Subbulakshmi
Dina Mani Vamsha
Harikambhoji"
.
https://youtu.be/kM03606EyfM?si=mkxlQidPXncaf8VN
தினமணி குலத்திலகமே! எழிலோனே!
எளியோரின் புகலே!
வேண்டுகோளை நன்கு மனதில் நினைந்து,
கனிவுடன் ஆள்வாய்; போதுமே தாமதம்;
தினமணி குலத்திலகமே! எழிலோனே!
எளியோரின் புகலே!
சர்வனால் போற்றப் பெற்றோனே! என்னைப் பேணுதற்கு
செருக்கேனோ? காப்பவர் யாரே?
மாற்றம், குணங்களற்றோனே! மாசற்றோனே! கையினில்
மலையை ஏந்தியவனே! தியாகராசனின் அனைத்துமாகிய
தினமணி குலத்திலகமே! எழிலோனே!
எளியோரின் புகலே!
தினமணி - பகலவன்
சர்வன் - சிவன்
Translation by Sri.V.Govindan
Dina Mani Vamsha
Harikambhoji"
.
https://youtu.be/kM03606EyfM?si=mkxlQidPXncaf8VN
தினமணி குலத்திலகமே! எழிலோனே!
எளியோரின் புகலே!
வேண்டுகோளை நன்கு மனதில் நினைந்து,
கனிவுடன் ஆள்வாய்; போதுமே தாமதம்;
தினமணி குலத்திலகமே! எழிலோனே!
எளியோரின் புகலே!
சர்வனால் போற்றப் பெற்றோனே! என்னைப் பேணுதற்கு
செருக்கேனோ? காப்பவர் யாரே?
மாற்றம், குணங்களற்றோனே! மாசற்றோனே! கையினில்
மலையை ஏந்தியவனே! தியாகராசனின் அனைத்துமாகிய
தினமணி குலத்திலகமே! எழிலோனே!
எளியோரின் புகலே!
தினமணி - பகலவன்
சர்வன் - சிவன்
Translation by Sri.V.Govindan
-
RSR
- Posts: 3427
- Joined: 11 Oct 2015, 23:31
Re: Thyagaraja (Krithis)
https://thyagaraja-vaibhavam.blogspot.c ... -raga.html
Smt.M.S.Subbulakshmi
https://youtu.be/N7PIrQwIR2A?si=ILQ3eR89FLUMyCts
Raagam Hamsanaadam
.
Give me the privilege of being in Your service as a (royal) guard.
Give me the privilege of being in Your service as a true (royal) guard who would thrash the six interanal enemies – desire, conceit etc., and make them bite dust.
Give this tyAgarAja the privilege of being in Your service as a (royal) guard on whose person would shine these -
a heavy armour of horripilation,
royal badge of being rAma’s devotee, and
divine sword called rAma’s name
(அரச) சேவகனாகச் சேவையருளுமய்யா, இராமா!
கரும்பு வில்லோன் (காமன்) முதலான, செருக்கு
ஆகியவற்றைப் புடைத்து, மண் கவ்வச் செய்யும் உண்மையான
(அரச) சேவகனாகச் சேவையருளுமய்யா, இராமா!
மெய்ப் புல்லரிப்பெனும் கனமான கவசம்,
இராமனின் தொண்டனெனும் முத்திரை வில்லை,
இராம நாமமெனும் உயரிய வாள் - இவை
திகழுமய்யா, தியாகராசனுக்கே
(அரச) சேவகனாகச் சேவையருளுமய்யா, இராமா!
..
Smt.M.S.Subbulakshmi
https://youtu.be/N7PIrQwIR2A?si=ILQ3eR89FLUMyCts
Raagam Hamsanaadam
.
Give me the privilege of being in Your service as a (royal) guard.
Give me the privilege of being in Your service as a true (royal) guard who would thrash the six interanal enemies – desire, conceit etc., and make them bite dust.
Give this tyAgarAja the privilege of being in Your service as a (royal) guard on whose person would shine these -
a heavy armour of horripilation,
royal badge of being rAma’s devotee, and
divine sword called rAma’s name
(அரச) சேவகனாகச் சேவையருளுமய்யா, இராமா!
கரும்பு வில்லோன் (காமன்) முதலான, செருக்கு
ஆகியவற்றைப் புடைத்து, மண் கவ்வச் செய்யும் உண்மையான
(அரச) சேவகனாகச் சேவையருளுமய்யா, இராமா!
மெய்ப் புல்லரிப்பெனும் கனமான கவசம்,
இராமனின் தொண்டனெனும் முத்திரை வில்லை,
இராம நாமமெனும் உயரிய வாள் - இவை
திகழுமய்யா, தியாகராசனுக்கே
(அரச) சேவகனாகச் சேவையருளுமய்யா, இராமா!
..
-
nAdopAsaka
- Posts: 892
- Joined: 20 Jul 2020, 17:05
How each of the tyAgarAjas 3 pUrvi kalyAni kritis carries the meaning and mudra of the rAga name
How each of the tyAgarAjas 3 pUrvi kalyAni kritis carries the meaning and mudra of the rAga name
The rAga & name pUri kalyAni (aka pUrvi kalyAni) derives from the dESya rAga pUriya kalyAn..
There are 3 pUrvi kalyAni kritis of the tyAgarAja.
Each of the 3 kritis carries the meaning and mudra of the rAga name, as is now shown.
1. pari-pUrna kAma – the ultimate wish and its fulfillment
NATURALLY, the meaning of the words must first be comprehended
pUriya = pUrna = complete fulfillment
kAma = wish
kalyAn = is the fulfillment of that wish
Thererfore “paripurna kAma” is exactly the rAga mudra for pUrvi kalyAni.
2. (rAma bhajana) paralOka sAdhanamE – the way/means to the fulfillment in the after-life
The nAdayOgis do not wish for material objects, or even family affections.
“paralOka” is the supreme wish = purna kalyAna , fulfilled only by path/way of nAma sankirtana
3. gyAnamOsagarAda
In this famous kriti, the unmistakeable words appear
paripurna (niSkalanka) niravadhi sukha dAyaka
gyAnam-Osaga = grant the boon of enlightenment that bestows this complete bliss i.e. purna kalyAna
There can be no question that the rAga word/name is influencing each kritis ideas and flow.
Although quite obvious, these connections have eluded ALL the clueless translators of the last 200 years.
These fools have not realized that the poets Language is not wielded by dictionaries....just like the kritis of the vAggeyakAras are not limited by notations.
paripUrNa kAma - rAga pUrvi kalyAni
brinda/mukta
https://www.youtube.com/watch?v=tC9DO0p-4Cw
paralOka sAdhanamE – rAga pUrvi kalyAni
mandolin srinivAs
https://www.youtube.com/watch?v=Pn-Z3oFxqUM
TS kalyAnarAman
https://www.youtube.com/watch?v=iJDlUKl8cTU
gyAnamOsagarada – rAga pUrvi kalyAni
alamElu mani
https://www.youtube.com/watch?v=iYQGplJvdVM
The rAga & name pUri kalyAni (aka pUrvi kalyAni) derives from the dESya rAga pUriya kalyAn..
There are 3 pUrvi kalyAni kritis of the tyAgarAja.
Each of the 3 kritis carries the meaning and mudra of the rAga name, as is now shown.
1. pari-pUrna kAma – the ultimate wish and its fulfillment
NATURALLY, the meaning of the words must first be comprehended
pUriya = pUrna = complete fulfillment
kAma = wish
kalyAn = is the fulfillment of that wish
Thererfore “paripurna kAma” is exactly the rAga mudra for pUrvi kalyAni.
2. (rAma bhajana) paralOka sAdhanamE – the way/means to the fulfillment in the after-life
The nAdayOgis do not wish for material objects, or even family affections.
“paralOka” is the supreme wish = purna kalyAna , fulfilled only by path/way of nAma sankirtana
3. gyAnamOsagarAda
In this famous kriti, the unmistakeable words appear
paripurna (niSkalanka) niravadhi sukha dAyaka
gyAnam-Osaga = grant the boon of enlightenment that bestows this complete bliss i.e. purna kalyAna
There can be no question that the rAga word/name is influencing each kritis ideas and flow.
Although quite obvious, these connections have eluded ALL the clueless translators of the last 200 years.
These fools have not realized that the poets Language is not wielded by dictionaries....just like the kritis of the vAggeyakAras are not limited by notations.
paripUrNa kAma - rAga pUrvi kalyAni
brinda/mukta
https://www.youtube.com/watch?v=tC9DO0p-4Cw
paralOka sAdhanamE – rAga pUrvi kalyAni
mandolin srinivAs
https://www.youtube.com/watch?v=Pn-Z3oFxqUM
TS kalyAnarAman
https://www.youtube.com/watch?v=iJDlUKl8cTU
gyAnamOsagarada – rAga pUrvi kalyAni
alamElu mani
https://www.youtube.com/watch?v=iYQGplJvdVM
-
RSR
- Posts: 3427
- Joined: 11 Oct 2015, 23:31
Re: Thyagaraja (Krithis)
மறுமொழி பகராதிருப்பதென்னவைய்யா,
இலக்குமியின் உள்ளத்தினை மகிழ்விப்போனே?
காமுகரையும், கள்வரையுமா புகழ்ந்தேன்,
சாகேத நகருறைவோனே?
மறுமொழி பகராதிருப்பதென்னவைய்யா,
இலக்குமியின் உள்ளத்தினை மகிழ்விப்போனே?
நெடுந்தூரத்திலும், எனது இதயக்
கமலத்திலும் (நீ) நிலைபெற்றுள்ள
தன்மையினை யறிந்து களித்திருப்பவனாகிய
தியாகராசனால் போற்றப் பெற்றோனே!
(
மறுமொழி பகராதிருப்பதென்னவைய்யா,
இலக்குமியின் உள்ளத்தினை மகிழ்விப்போனே?
.
https://blog.msstribute.org/ms-repertoi ... hyagaraja/
.
MS REPERTOIRE – MARUBALKA (COMPOSER: THYAGARAJA)
Audio clip given in the page
Marubalka in Ragam Sriranjani composed by Thyagaraja
mAru palkag(u)nnAv(E)mirA
mA manO-ramaNa
A 1jAra cOra bhajana jesitinA
sAkEta sadana (mAru)
C 2dUra-bhAram(a)ndu nA hRday-
(A)ravindam(a)ndu 3nelakonna
4dArin(e)rigi santasillin-
(a)TTi tyAgarAja nuta (mAru)
.
Delighter of the mind of lakshmI! O Resident of ayOdhyA!
O Lord praised by that tyAgarAja who is exulting having understood the method in which You are established (at once) everywhere – in far away places as also in the lotus of my heart!
(OR)
O Lord established (at once) everywhere – in far away places as also in the lotus of my heart - praised by this tyAgarAja who is exulting having understood the right path!
Did I extol adulterers and thieves?
Why is that You are not responding?
இலக்குமியின் உள்ளத்தினை மகிழ்விப்போனே?
காமுகரையும், கள்வரையுமா புகழ்ந்தேன்,
சாகேத நகருறைவோனே?
மறுமொழி பகராதிருப்பதென்னவைய்யா,
இலக்குமியின் உள்ளத்தினை மகிழ்விப்போனே?
நெடுந்தூரத்திலும், எனது இதயக்
கமலத்திலும் (நீ) நிலைபெற்றுள்ள
தன்மையினை யறிந்து களித்திருப்பவனாகிய
தியாகராசனால் போற்றப் பெற்றோனே!
(
மறுமொழி பகராதிருப்பதென்னவைய்யா,
இலக்குமியின் உள்ளத்தினை மகிழ்விப்போனே?
.
https://blog.msstribute.org/ms-repertoi ... hyagaraja/
.
MS REPERTOIRE – MARUBALKA (COMPOSER: THYAGARAJA)
Audio clip given in the page
Marubalka in Ragam Sriranjani composed by Thyagaraja
mAru palkag(u)nnAv(E)mirA
mA manO-ramaNa
A 1jAra cOra bhajana jesitinA
sAkEta sadana (mAru)
C 2dUra-bhAram(a)ndu nA hRday-
(A)ravindam(a)ndu 3nelakonna
4dArin(e)rigi santasillin-
(a)TTi tyAgarAja nuta (mAru)
.
Delighter of the mind of lakshmI! O Resident of ayOdhyA!
O Lord praised by that tyAgarAja who is exulting having understood the method in which You are established (at once) everywhere – in far away places as also in the lotus of my heart!
(OR)
O Lord established (at once) everywhere – in far away places as also in the lotus of my heart - praised by this tyAgarAja who is exulting having understood the right path!
Did I extol adulterers and thieves?
Why is that You are not responding?
-
nAdopAsaka
- Posts: 892
- Joined: 20 Jul 2020, 17:05
mukhAri & asAvEri -rAma of panCanada kSEtra & the kAvEri that brings Srirangam to tiruvaiyAru –muripEmu & sAri vedalina
mukhAri & asAvEri - the rAma of panCanada kSEtra & the kAvEri that brings Srirangam to tiruvaiyAru – muripEmu galigE & sAri vedalina
An entire opera of the tyAgarAja, the “naukA Caritra” describes the krSna avatAr floating on the yamunA.
But when the tyAgarAja travels on the kAvEri from Srirangam to tiruvaiyAru, it is the rAma deity that he installs in the heart of Siva panCanada kSEtra.
"muripEmu galigE” in rAga mukhAri refers to this rAma of tiruvaiyAru…residing in panCanada kSEtra as “cOla sIma yandu varamaina panCa nada pura…”
According to the tyAgarAja , it is the river kAvEri that connects the Srirangam deity to the tiruvaiyAru kSEtra.
And in doing so she (the river) is none other than the goddess rAjarAjESwari !
He says so in the asAvEri kriti “sAri vedalina”.
“rangESuni jUci mari irEdu jagamulaku jivanamain mudu-rEndu nadi nAthun Cuda..rAjarAjESwari !!
the reference "mudu-rendu" is colloquial for 3 + 2 = 5 of the panCAksara deity = the Siva of panCanada.
The choices of mukha-hari for the deity kriti ,and asAvEri for kAvEri are obvious (except of course to the clueless).
Why asAvEri and not sAvEri ?... the fool might ask..
Because it is the night-blooming jasmine that is noted by the tyAgarAja in the kriti as in "jAji suma mula" in the pujA of the kAvEri = rAjarAjESwari
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
An entire opera of the tyAgarAja, the “naukA Caritra” describes the krSna avatAr floating on the yamunA.
But when the tyAgarAja travels on the kAvEri from Srirangam to tiruvaiyAru, it is the rAma deity that he installs in the heart of Siva panCanada kSEtra.
"muripEmu galigE” in rAga mukhAri refers to this rAma of tiruvaiyAru…residing in panCanada kSEtra as “cOla sIma yandu varamaina panCa nada pura…”
According to the tyAgarAja , it is the river kAvEri that connects the Srirangam deity to the tiruvaiyAru kSEtra.
And in doing so she (the river) is none other than the goddess rAjarAjESwari !
He says so in the asAvEri kriti “sAri vedalina”.
“rangESuni jUci mari irEdu jagamulaku jivanamain mudu-rEndu nadi nAthun Cuda..rAjarAjESwari !!
the reference "mudu-rendu" is colloquial for 3 + 2 = 5 of the panCAksara deity = the Siva of panCanada.
The choices of mukha-hari for the deity kriti ,and asAvEri for kAvEri are obvious (except of course to the clueless).
Why asAvEri and not sAvEri ?... the fool might ask..
Because it is the night-blooming jasmine that is noted by the tyAgarAja in the kriti as in "jAji suma mula" in the pujA of the kAvEri = rAjarAjESwari
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)
https://thyagaraja-vaibhavam.blogspot.c ... -raga.html
.
pallavi
nenaru-uncinAnu anniTiki
nidAnuDu-ani nEnu nIdupai
I (nEnu) have placed (uncinAnu) affection (nenaru) (nenaruncinAnu) on You (nIdupai) because (ani) You are the source (nidAnuDu) (nidAnuDani) for everything (anniTiki).
.anupallavi
O Gale (ASuga) that blows away the clouds (jImUta) (jImUtASuga) of hghana-agha jImUta-ASuga jaladhi
gambhIra nI pAdamulapai (nenaru)einous (ghana) sins (agha) (ghanAgha)! O Lord who is majestic (gambhIra) like the Ocean (jaladhi)!
I have placed affection at Your (nI) feet (pAdamulapai) because You are the source for everything.
.
caraNam
In the kali (kalilO), for the sake of protecting (brOcuTakai) wife (kAntalanu) and children (tanayula), I shall not happen (nEranura) to speak (paluka) as a stone (SilA) hearted (AtmuDu) (SilAtmuDai) by learning (nErcukoni) elocution (mATala);
O Benefactor (Apta) of this tyAgarAja (tyAgarAjApta)! I have placed affection towards You (nIyeDa) because You are the source for everything.
..
https://youtu.be/WtElqTEGscA?si=aN4LPHHesdAyBup9
.
"M S Subbulakshmi -
1964
Nenarunchinaanu -
Maalavi -
Tyagaraja Swami"
.
pallavi
nenaru-uncinAnu anniTiki
nidAnuDu-ani nEnu nIdupai
I (nEnu) have placed (uncinAnu) affection (nenaru) (nenaruncinAnu) on You (nIdupai) because (ani) You are the source (nidAnuDu) (nidAnuDani) for everything (anniTiki).
.anupallavi
O Gale (ASuga) that blows away the clouds (jImUta) (jImUtASuga) of hghana-agha jImUta-ASuga jaladhi
gambhIra nI pAdamulapai (nenaru)einous (ghana) sins (agha) (ghanAgha)! O Lord who is majestic (gambhIra) like the Ocean (jaladhi)!
I have placed affection at Your (nI) feet (pAdamulapai) because You are the source for everything.
.
caraNam
In the kali (kalilO), for the sake of protecting (brOcuTakai) wife (kAntalanu) and children (tanayula), I shall not happen (nEranura) to speak (paluka) as a stone (SilA) hearted (AtmuDu) (SilAtmuDai) by learning (nErcukoni) elocution (mATala);
O Benefactor (Apta) of this tyAgarAja (tyAgarAjApta)! I have placed affection towards You (nIyeDa) because You are the source for everything.
..
https://youtu.be/WtElqTEGscA?si=aN4LPHHesdAyBup9
.
"M S Subbulakshmi -
1964
Nenarunchinaanu -
Maalavi -
Tyagaraja Swami"
-
nAdopAsaka
- Posts: 892
- Joined: 20 Jul 2020, 17:05
anAthudanu gAnu – the orphan in the “desert” - the rAga jingala as the mudra of the desolate = jangala
anAthudanu gAnu – the orphan in the “desert” - the rAga jingala as the mudra of the desolate = jangala
The word “jangala” means a desolate wasteland , forsaken and deserted.
Indeed the word “jungle” derives from it.
And so does the word “jingala” the rAga
Why ?
Because the only kriti by the tyAgarAja in this rAga “jingala” starts off with the word anAtha = orphan, abandoned in such a “jangala”.
The tyAgarAjas estrangement from his family
ALL the vAggeyakAras have registered their estrangement from their families and other “hina mAnava”!
The tyAgarAjas separation from his own “criminal” family trying to monetize his kritis for commercial gain, is well known from many of his own words.
Not surprisingly, the tyAgarAja picks this “forsaken” image for the kriti that begins with the word “orphan” = anAtha.
In “anAthudanu gAnu”, he goes on to say “ nirAdaravu jUci, yi kali narAdhamulanEru”.
Notice the same usage “narAdhamAnana vilOka SOkApaham” in the Dikshitars “vinAyaka vighnanASaka”
Or the “hina mAnava ASrayam tyajAmi” in his “hiranmayim lakSmim” .
These references are to others in the Dikshitars family including the zamindar-pandering SSP authors. Indeed the “fiddler” bAluswAmi , (his own brother) studiously sings praises of the Ettayapuram scoundrel zamindars as he boot-licks them in all his kritis. Noticeably this bAluswAmi finds a use for the fiddle = violin as he panders to the English troops.
The Dikshitar is always associated only with the veena.
SyAmA SAStris Anandabhairavi “O jagadambA” also reveals this same rejection of the “low kings”…“manavini vinuma, mariyAdaga dUSprabhula kOri vinutimpaga varamosagi”
But absolutely None of the vAggeyakAras are orphans = anAtha…
They are always protected by the deities of the nAda-sampradAya.
And so the tyAgarAja proclaims ..anAthudanu gAnu ..I am NO orphan
anAthudanu gAnu – rAga jingala
mandolin U srinivAs
https://www.youtube.com/watch?v=TFA8nQ-NOp8
SrutirAvali
https://www.youtube.com/watch?v=CxdRejfZqEA
The word “jangala” means a desolate wasteland , forsaken and deserted.
Indeed the word “jungle” derives from it.
And so does the word “jingala” the rAga
Why ?
Because the only kriti by the tyAgarAja in this rAga “jingala” starts off with the word anAtha = orphan, abandoned in such a “jangala”.
The tyAgarAjas estrangement from his family
ALL the vAggeyakAras have registered their estrangement from their families and other “hina mAnava”!
The tyAgarAjas separation from his own “criminal” family trying to monetize his kritis for commercial gain, is well known from many of his own words.
Not surprisingly, the tyAgarAja picks this “forsaken” image for the kriti that begins with the word “orphan” = anAtha.
In “anAthudanu gAnu”, he goes on to say “ nirAdaravu jUci, yi kali narAdhamulanEru”.
Notice the same usage “narAdhamAnana vilOka SOkApaham” in the Dikshitars “vinAyaka vighnanASaka”
Or the “hina mAnava ASrayam tyajAmi” in his “hiranmayim lakSmim” .
These references are to others in the Dikshitars family including the zamindar-pandering SSP authors. Indeed the “fiddler” bAluswAmi , (his own brother) studiously sings praises of the Ettayapuram scoundrel zamindars as he boot-licks them in all his kritis. Noticeably this bAluswAmi finds a use for the fiddle = violin as he panders to the English troops.
The Dikshitar is always associated only with the veena.
SyAmA SAStris Anandabhairavi “O jagadambA” also reveals this same rejection of the “low kings”…“manavini vinuma, mariyAdaga dUSprabhula kOri vinutimpaga varamosagi”
But absolutely None of the vAggeyakAras are orphans = anAtha…
They are always protected by the deities of the nAda-sampradAya.
And so the tyAgarAja proclaims ..anAthudanu gAnu ..I am NO orphan
anAthudanu gAnu – rAga jingala
mandolin U srinivAs
https://www.youtube.com/watch?v=TFA8nQ-NOp8
SrutirAvali
https://www.youtube.com/watch?v=CxdRejfZqEA
-
nAdopAsaka
- Posts: 892
- Joined: 20 Jul 2020, 17:05
The hidden rAga mudra in the tyAgarAjas 3 kuntala-varAli kritis.. 3. “kalinarulaku mahima"
The hidden rAga mudra in the tyAgarAjas 3 kuntala-varAli kritis.. 3. “kalinarulaku mahima”– the barley eating bull cannot understand the taste of rice
This is the last post of the sequence of 3 posts that show how each of the tyAgarAjas 3 kritis in the rAga kuntala-varAli carry the rAga word name/meaning..
See here for the previous post of this sequence
https://www.rasikas.org/forums/viewtopi ... 07#p380207
Here the word "kuntala" is applied deriving its meaning from the word "kunta-ha" = “a grain, typically barley”.
kuntaha – barley is typically a (coarse) feed for cattle including of course cows and bulls = vrSabha.
Unerringly, the kriti says in its anupallavi !
vrSabhAdula katu kula ruci teliyu
Can the bull (which usually eats kuntaha = barley) appreciate or understand the taste of rice = katu kula.
The tyAgarAja has DELIBERATELY turned the rAga word meaning into a condemnation of “kali-nara” , the sinners of the kaliyuga !
kunta-ha (barley) is hidden/implied as the inverse of katukula = rice !
Can these “kali-nara” understand the glory of the lord === Can the “kuntala/barley” eating cow understand the value of rice.
The analogy is a grim one…and can be extensively applied….even in the current/ongoing context..
Indeed cows & bulls are also aptly chosen since they easily represent “brain-dead” herds.
Summary
Herds of “fools” and “criminals” who live a “coarse” existence , subsisting on “kunta-ha”, have no access to the refined taste of the lords grace.
kalinarulaku – rAga kuntalavarAli
pAlghAt rAmprasAd
https://www.youtube.com/watch?v=Lw1-eWk8pks
This is the last post of the sequence of 3 posts that show how each of the tyAgarAjas 3 kritis in the rAga kuntala-varAli carry the rAga word name/meaning..
See here for the previous post of this sequence
https://www.rasikas.org/forums/viewtopi ... 07#p380207
Here the word "kuntala" is applied deriving its meaning from the word "kunta-ha" = “a grain, typically barley”.
kuntaha – barley is typically a (coarse) feed for cattle including of course cows and bulls = vrSabha.
Unerringly, the kriti says in its anupallavi !
vrSabhAdula katu kula ruci teliyu
Can the bull (which usually eats kuntaha = barley) appreciate or understand the taste of rice = katu kula.
The tyAgarAja has DELIBERATELY turned the rAga word meaning into a condemnation of “kali-nara” , the sinners of the kaliyuga !
kunta-ha (barley) is hidden/implied as the inverse of katukula = rice !
Can these “kali-nara” understand the glory of the lord === Can the “kuntala/barley” eating cow understand the value of rice.
The analogy is a grim one…and can be extensively applied….even in the current/ongoing context..
Indeed cows & bulls are also aptly chosen since they easily represent “brain-dead” herds.
Summary
Herds of “fools” and “criminals” who live a “coarse” existence , subsisting on “kunta-ha”, have no access to the refined taste of the lords grace.
kalinarulaku – rAga kuntalavarAli
pAlghAt rAmprasAd
https://www.youtube.com/watch?v=Lw1-eWk8pks
-
RSR
- Posts: 3427
- Joined: 11 Oct 2015, 23:31
Re: Thyagaraja (Krithis)
https://youtu.be/1oPQmo-AZ9Q?si=vbrYe7xJ5iEidcwO
.
"MS Subbulakshmi-
Graha Balam Emi-
Revagupti-
Adi-
Thyagaraja"
.........
https://thyagaraja-vaibhavam.blogspot.c ... -raga.html
..
Gist
Of what significance the potency of the planets?
Only the potency of grace of Lord SrI rAma is the real potency.
Of what significance the potency of the nine planets to those who meditate on the radiant, beautiful form of the Lord SrI rAma?
Of what significance the potency of the planets to this tyAgarAja, as also to those eminent rasikas (of music) who worship Lord hari who quells -
the afflictions caused by the planets,
the five great sins, and
the obstinate (six-fold) enemies - desire etc (kAma, krOdha, lObha, mOha, mada, mAtsarya)?
Only the potency of grace of Lord SrI rAma is the real potency.
.
"MS Subbulakshmi-
Graha Balam Emi-
Revagupti-
Adi-
Thyagaraja"
.........
https://thyagaraja-vaibhavam.blogspot.c ... -raga.html
..
Gist
Of what significance the potency of the planets?
Only the potency of grace of Lord SrI rAma is the real potency.
Of what significance the potency of the nine planets to those who meditate on the radiant, beautiful form of the Lord SrI rAma?
Of what significance the potency of the planets to this tyAgarAja, as also to those eminent rasikas (of music) who worship Lord hari who quells -
the afflictions caused by the planets,
the five great sins, and
the obstinate (six-fold) enemies - desire etc (kAma, krOdha, lObha, mOha, mada, mAtsarya)?
Only the potency of grace of Lord SrI rAma is the real potency.
-
nAdopAsaka
- Posts: 892
- Joined: 20 Jul 2020, 17:05
Calam-ElarA – the devious SWAYING ways = the hindOla-mArga of the mArga hindOla
Calam-ElarA – the devious SWAYING ways = the hindOla-mArga of the mArga hindOla
Not only does the tyAgarAja summarise the MEANING of the rAga name with ONE WORD ...He also GIVES the rAga mudra in Calam-ElarA.
Calam of course is the devious ZIG-ZAG = swaying, inconsistent , fickle lord.
And hindOla is exactly the swing, that zigs and zags..from one direction to another……and mArga of course is way = path.
And the words “bhakti-mArga” appear in the short kriti, giving the mudra for the rAga mArga-hindOla..
And there are still the clueless who do not understand the words, relying on equally cluleless & meaningless translations and diluting the kritis simply because the languages elude them.
Not surprisingly these same fools have also no regard for the words or ideas of the vAggeyakAras...
Calam-ElarA – rAga marga-hindOlam
veena M. doraiswamy I.
https://www.youtube.com/watch?v=_oiHA_TclaI
violin vittal r
https://www.youtube.com/watch?v=PWau8JMWvPo
gAyatri g
https://www.youtube.com/watch?v=pDZhdJ8jpLk
Not only does the tyAgarAja summarise the MEANING of the rAga name with ONE WORD ...He also GIVES the rAga mudra in Calam-ElarA.
Calam of course is the devious ZIG-ZAG = swaying, inconsistent , fickle lord.
And hindOla is exactly the swing, that zigs and zags..from one direction to another……and mArga of course is way = path.
And the words “bhakti-mArga” appear in the short kriti, giving the mudra for the rAga mArga-hindOla..
And there are still the clueless who do not understand the words, relying on equally cluleless & meaningless translations and diluting the kritis simply because the languages elude them.
Not surprisingly these same fools have also no regard for the words or ideas of the vAggeyakAras...
Calam-ElarA – rAga marga-hindOlam
veena M. doraiswamy I.
https://www.youtube.com/watch?v=_oiHA_TclaI
violin vittal r
https://www.youtube.com/watch?v=PWau8JMWvPo
gAyatri g
https://www.youtube.com/watch?v=pDZhdJ8jpLk
-
RSR
- Posts: 3427
- Joined: 11 Oct 2015, 23:31
Re: Thyagaraja (Krithis)
Watch "M S Subbulakshmi - Nidhichaala Sukhama - Kalyani - Tyagaraja Swami" on YouTube
https://youtu.be/28TFewwamK8?si=IF_2QQCjNRJpoxhK
Gist
O My Mind!
Tell me truthfully -
whether wealth is very comforting or the service in the holy presence of Lord SrI rAma comforting?
Are curd, fresh butter and milk etc. tasty or the nectarine juice of meditation and bhajana of dASarathi tasty?
Is a bath in the (holy) river ganga called (practice of) self control and tranquility comforting or a bath in the water of well ,called the filthy, evil natured objects of senses comforting?
Is extolling humans bound by egotism comforting or singing songs of the pure minded Lord praised by this tyAgarAja comforting?
https://youtu.be/28TFewwamK8?si=IF_2QQCjNRJpoxhK
Gist
O My Mind!
Tell me truthfully -
whether wealth is very comforting or the service in the holy presence of Lord SrI rAma comforting?
Are curd, fresh butter and milk etc. tasty or the nectarine juice of meditation and bhajana of dASarathi tasty?
Is a bath in the (holy) river ganga called (practice of) self control and tranquility comforting or a bath in the water of well ,called the filthy, evil natured objects of senses comforting?
Is extolling humans bound by egotism comforting or singing songs of the pure minded Lord praised by this tyAgarAja comforting?
-
nAdopAsaka
- Posts: 892
- Joined: 20 Jul 2020, 17:05
Sri janaka-tanayE in rAga kalakanthi – the cuckoo and the lotus of the puSpa vAtikA of tulasidAsa
Sri janaka-tanayE in rAga kalakanthi – the cuckoo and the lotus of the puSpa vAtikA of tulasidAsa
kalakanthi is the cuckoo, an emblem of Cupid.
kamala the lotus flower is also the emblem of Cupid.
And in Sri janakatanayE in rAga kalakanthi , sitA is “Srita kamalAlayE” = residing in the lotus of the puSpa vAtika (flower garden) where sitA and rAma first see each other…as per tulasi-dAsa’s rAmCaritamAnas.
And Cupid ensures it is love at first sight……
The flower supplies the fragrance of the first encounter but it is the tyAgarAja who supplies the melody of the cuckoo-song = kalakanthi.
ps
Note added so that no ignorant language-challenged fool can misrepresent the facts.
The tyAgarAja is quite aware of tulasi-dAsa.
Indeed he refers directly to tulasi-dAsa in his “prahlAda bhakti vijayam”….in the kriti “Sri jAnakI manOhara” (quite naturally in rAga ISa-manOhari)
specifically in the 5th opening stanza as
tulasI kAnanamanduna vilasita muga harini jUci vismaya yutudai pulakI kRta tanudagunA
tulasI dAsa varu sannutulu sEtu madin
Summary
Yet again the relationship between rAga name, its meaning and a specific icon of scripture described in the kriti is visible for anyone who is not blind or deaf.
There are no other kritis by the tyAgarAja in rAga kalakanthi.
Therefore the construct of this kriti as described above is quite deliberate….there is no coincidence in the choice of rAga or the words used.
Sri janakatanayE – rAga kalakanthi
S rAjam
https://www.youtube.com/watch?v=gePX3KMcmTc
gAyatri V
https://www.youtube.com/watch?v=lMZlQM0hz9A
kalakanthi is the cuckoo, an emblem of Cupid.
kamala the lotus flower is also the emblem of Cupid.
And in Sri janakatanayE in rAga kalakanthi , sitA is “Srita kamalAlayE” = residing in the lotus of the puSpa vAtika (flower garden) where sitA and rAma first see each other…as per tulasi-dAsa’s rAmCaritamAnas.
And Cupid ensures it is love at first sight……
The flower supplies the fragrance of the first encounter but it is the tyAgarAja who supplies the melody of the cuckoo-song = kalakanthi.
ps
Note added so that no ignorant language-challenged fool can misrepresent the facts.
The tyAgarAja is quite aware of tulasi-dAsa.
Indeed he refers directly to tulasi-dAsa in his “prahlAda bhakti vijayam”….in the kriti “Sri jAnakI manOhara” (quite naturally in rAga ISa-manOhari)
specifically in the 5th opening stanza as
tulasI kAnanamanduna vilasita muga harini jUci vismaya yutudai pulakI kRta tanudagunA
tulasI dAsa varu sannutulu sEtu madin
Summary
Yet again the relationship between rAga name, its meaning and a specific icon of scripture described in the kriti is visible for anyone who is not blind or deaf.
There are no other kritis by the tyAgarAja in rAga kalakanthi.
Therefore the construct of this kriti as described above is quite deliberate….there is no coincidence in the choice of rAga or the words used.
Sri janakatanayE – rAga kalakanthi
S rAjam
https://www.youtube.com/watch?v=gePX3KMcmTc
gAyatri V
https://www.youtube.com/watch?v=lMZlQM0hz9A
-
nAdopAsaka
- Posts: 892
- Joined: 20 Jul 2020, 17:05
“vinatA-suta vAhana” – How & Why the rAga is jayanta-SyEna
“vinatA-suta vAhana” – How & Why the rAga is jayanta-SyEna for the kriti where the eagle rider destroys differences = "mata-bhEdamanE"
Yet another rAga/kriti joins the list of the tyAgarAjas rAga choices being determined by the rAga word meaning ( to the dismay of the fool/s, corrupt distortionists and other language-challenged).
The word “SyEna” is exactly the eagle and jayanta is a synonym for viSnu
With the very first word of the kriti , the tyAgarAja establishes the garuda as viSnus eagle = jayanta-SyEna !
Since vinatA-suta = garuda = jayanta-SyEna.
The colloquial usage “jayanta-sEna” derives from this formal word "jayanta-SyEna"
Why ?
Because another synonym of garuda = su-parna (that with excellent wings)
And the mahAbhArata 1.59.41 associates suparna = eagles with the armies of bhimA and ugrasEna..
भीमसेनोग्रसेनौ च सुपर्णो वरुणस्तथा (bhimasEnOgrasEnO Ca suparnO varunastathA…)
suparna is the sEna …as the winged army of viSnu.
In this representation, suparna-vAhana = vinata-suta-vAhana = viSnu/jayanta
and therefore
suparna = viSnus eagle army..= jayanta-sEna
According to the tyAgarAja, the destruction of artificial differences “mata-bhEda” requires a war footing !
And this is why the tyAgarAja picks this uniquely named rAga that symbolizes the avenging nature of the garuda/suparna.
There is nothing random about this choice of rAga. Only a fool with zero understanding of Words can think these choices are coincidence/speculation. The kritis were NOT created for these distorting duffers.
vinatA suta vAhana – rAga jayanta-SyEna ( = rAga jayanta-sEna)
TVS
https://www.youtube.com/watch?v=fguPfFkP2ps
r rAja
https://www.youtube.com/watch?v=ylF684XGfAs
Yet another rAga/kriti joins the list of the tyAgarAjas rAga choices being determined by the rAga word meaning ( to the dismay of the fool/s, corrupt distortionists and other language-challenged).
The word “SyEna” is exactly the eagle and jayanta is a synonym for viSnu
With the very first word of the kriti , the tyAgarAja establishes the garuda as viSnus eagle = jayanta-SyEna !
Since vinatA-suta = garuda = jayanta-SyEna.
The colloquial usage “jayanta-sEna” derives from this formal word "jayanta-SyEna"
Why ?
Because another synonym of garuda = su-parna (that with excellent wings)
And the mahAbhArata 1.59.41 associates suparna = eagles with the armies of bhimA and ugrasEna..
भीमसेनोग्रसेनौ च सुपर्णो वरुणस्तथा (bhimasEnOgrasEnO Ca suparnO varunastathA…)
suparna is the sEna …as the winged army of viSnu.
In this representation, suparna-vAhana = vinata-suta-vAhana = viSnu/jayanta
and therefore
suparna = viSnus eagle army..= jayanta-sEna
According to the tyAgarAja, the destruction of artificial differences “mata-bhEda” requires a war footing !
And this is why the tyAgarAja picks this uniquely named rAga that symbolizes the avenging nature of the garuda/suparna.
There is nothing random about this choice of rAga. Only a fool with zero understanding of Words can think these choices are coincidence/speculation. The kritis were NOT created for these distorting duffers.
vinatA suta vAhana – rAga jayanta-SyEna ( = rAga jayanta-sEna)
TVS
https://www.youtube.com/watch?v=fguPfFkP2ps
r rAja
https://www.youtube.com/watch?v=ylF684XGfAs
-
RSR
- Posts: 3427
- Joined: 11 Oct 2015, 23:31
Re: Thyagaraja (Krithis)
Thyaagaraaja vaibavam blog by Sri.V.Govindan
Vinatha sutha..
Is it comforting (sukhamA) to utter (palkuTa) agreeable (sammata) words (vAkkulu) without (first) extinguishing (Arcaga) the flame (seganu) of (anE) differences (bhEdamu) (bhEdamanE) in modes of worship (mata) (literally opinion)?
..
2mata bhEdam(a)nE 3segan(A)rcaga
sammata vAkkulu palkuTa sukhamA
kshitilO 4sat-sangati saukhyamu
pAlita tyAgarAj(A)mara pUjita (vinatA)
மத வேற்றுமையெனும் தழலினைத் தணிக்காது
சம்மதச் சொற்கள் பகர்தல் சுகமா?
புவியிலே நல்லோரிணக்கம் இனிதன்றோ!
தியாகராசனைப் பேணுவோனே! அமரரால் தொழப்பெற்றோனே!
வினதை மைந்தன் வாகனனே! திருமகளுக்கினியோனே!
(உன்னை) மனதார சேவித்தேன்
..
My note. Follows.
Historical perspective is very important.
It must be remembered that even in 1500 AD, at the time of vijayanagar empire, there was hostility and danger from the five splinter groups of Bahmani kingdom..
.
At the height of its splendour, the city of Vijayanagar was a wonder even to european visitors. ( it was destroyed utterly and cruelly by the then northern deccan kingdoms of arabian faith).
This was one of the reasons for the emergence of music of Dasa poets and minstrels.
.
Purandaradasa himself has tried and pleaded for ignoring RELIGEOUS differences among people.
.
Similarly, the period of Thyaagaraaja swami , was the one in which the nawab of arcot ( vellore )aided by the english company mercenary forces attacked Tanjore fort.. Three armies owing allegiance to hinduism (tanjore mahratta), Islam (arcot-vellore nawaab) and christianity (east india company) were fighting in cauvery delta.
.
It must not be portrayed as any war of faiths. For, it was the tanjore mahrattas who waged war first on maravar kingdoms of saethu Naadu, hindus, first.
.
And the dutch, danish, french, portugese and english, mutually warring among themselves were all christians though of different sects.
There was widespread famine in, of all places, cauvery delta. ,,,!
.
Danish missions had done much good work and Serfoji himself was taught by one such missionary. It was the periid of East India company(1757 -1857).
Thyagaraja (1767-1847)could not reconcile himself to the prevalent docility of the tanjore mahratta court. That is why he dissociated himself from the then rulers.
To really understand, a bit of study of the history of the Ramnad sethupathys is necessary.
Is not Rameswaram area the eternal sacred spot for hindus ..?
Were not the sethupathis the guardian soldiers to protect the sacred land from dacoits.?
.
Gnaana soonyams ignore the geographical, economic, political and cultural environments and forget that the base and superstructure are closely dielectical.
.
The period of the Trinity and Swathi falls exactly under the rule by the East India Company.
Political developments are difficult to fathom. At that time, even as it is today and has ever been, common people are mere pawns of powermongers , who always misused RELIGION for their selfish gains.
The same mysore army
led by hyder ali helped the queen velu Naachiyar of sivaganga zamin to defeat the East India COmpany and wrest back her kingdom.
The Mysore horsemen targeted the cauvery delta and the company forces gave some protection.
Complex history.
..
This kruthi of Thyaagaraaja swami , shows that he felt sad at pillage and plunder in the name of religion in tanjore areas.
Just as he denounced frauds in his own religion, he grieved over the atrocities by marauding armies in the name of their religion.
.
This is how the kruthi of Sathguru should be understood.
..
Here Thyagaraja Swami shines as a true secularist. And spiritualist.
Vinatha sutha..
Is it comforting (sukhamA) to utter (palkuTa) agreeable (sammata) words (vAkkulu) without (first) extinguishing (Arcaga) the flame (seganu) of (anE) differences (bhEdamu) (bhEdamanE) in modes of worship (mata) (literally opinion)?
..
2mata bhEdam(a)nE 3segan(A)rcaga
sammata vAkkulu palkuTa sukhamA
kshitilO 4sat-sangati saukhyamu
pAlita tyAgarAj(A)mara pUjita (vinatA)
மத வேற்றுமையெனும் தழலினைத் தணிக்காது
சம்மதச் சொற்கள் பகர்தல் சுகமா?
புவியிலே நல்லோரிணக்கம் இனிதன்றோ!
தியாகராசனைப் பேணுவோனே! அமரரால் தொழப்பெற்றோனே!
வினதை மைந்தன் வாகனனே! திருமகளுக்கினியோனே!
(உன்னை) மனதார சேவித்தேன்
..
My note. Follows.
Historical perspective is very important.
It must be remembered that even in 1500 AD, at the time of vijayanagar empire, there was hostility and danger from the five splinter groups of Bahmani kingdom..
.
At the height of its splendour, the city of Vijayanagar was a wonder even to european visitors. ( it was destroyed utterly and cruelly by the then northern deccan kingdoms of arabian faith).
This was one of the reasons for the emergence of music of Dasa poets and minstrels.
.
Purandaradasa himself has tried and pleaded for ignoring RELIGEOUS differences among people.
.
Similarly, the period of Thyaagaraaja swami , was the one in which the nawab of arcot ( vellore )aided by the english company mercenary forces attacked Tanjore fort.. Three armies owing allegiance to hinduism (tanjore mahratta), Islam (arcot-vellore nawaab) and christianity (east india company) were fighting in cauvery delta.
.
It must not be portrayed as any war of faiths. For, it was the tanjore mahrattas who waged war first on maravar kingdoms of saethu Naadu, hindus, first.
.
And the dutch, danish, french, portugese and english, mutually warring among themselves were all christians though of different sects.
There was widespread famine in, of all places, cauvery delta. ,,,!
.
Danish missions had done much good work and Serfoji himself was taught by one such missionary. It was the periid of East India company(1757 -1857).
Thyagaraja (1767-1847)could not reconcile himself to the prevalent docility of the tanjore mahratta court. That is why he dissociated himself from the then rulers.
To really understand, a bit of study of the history of the Ramnad sethupathys is necessary.
Is not Rameswaram area the eternal sacred spot for hindus ..?
Were not the sethupathis the guardian soldiers to protect the sacred land from dacoits.?
.
Gnaana soonyams ignore the geographical, economic, political and cultural environments and forget that the base and superstructure are closely dielectical.
.
The period of the Trinity and Swathi falls exactly under the rule by the East India Company.
Political developments are difficult to fathom. At that time, even as it is today and has ever been, common people are mere pawns of powermongers , who always misused RELIGION for their selfish gains.
The same mysore army
led by hyder ali helped the queen velu Naachiyar of sivaganga zamin to defeat the East India COmpany and wrest back her kingdom.
The Mysore horsemen targeted the cauvery delta and the company forces gave some protection.
Complex history.
..
This kruthi of Thyaagaraaja swami , shows that he felt sad at pillage and plunder in the name of religion in tanjore areas.
Just as he denounced frauds in his own religion, he grieved over the atrocities by marauding armies in the name of their religion.
.
This is how the kruthi of Sathguru should be understood.
..
Here Thyagaraja Swami shines as a true secularist. And spiritualist.
-
nAdopAsaka
- Posts: 892
- Joined: 20 Jul 2020, 17:05
Why the tyAgarAjas only kriti in rAga purna-lalitA is to hanumAn = AnjanEya ?
Why the tyAgarAjas only kriti in rAga purna-lalitA is to hanumAn = AnjanEya ?
In the sundara kAnda of the vAlmiki rAmAyana, sarga 32 gives the description of hanumAn as first seen by sitA…
tatah SAkhA antarE linam drStvA calita mAnasA
veStita-arjuna-vastram tam vidyutsamghAta piṅgalam 5-32-1
The celestial monkey shines like lightning (vidyut-samghAta piṅgalam ) and is clad in white..
sA dadarSa kapim tatra praSritam priya vAdinam
phulla-aSOkOtkara bhAsam tapta CAmikarekSanam 5-32-2
sitA sees AnjanEya, who is glowing like a cluster of aSOka flowers wide opened, and with eyes like refined gold. He speaks pleasantly and is charming.
Every descriptor of AnjanEya is one of dazzling, shining charm and beauty.
And this complete radiance is exactly = purna-lalitA. !!.
Once again, the rAga name is intrinsic to the kriti idea…in this case the rare kriti to AnjanEya in the rare rAga purna-lalitA.
And the tyAgarAjas comprehension of the rAmAyana again comes into focus....seen earlier for the nature of mOhana = charm in post dated Mar 20, 2022
https://www.rasikas.org/forums/viewtopi ... 51#p375451
kaluguna pada niraja sEva – rAga purnalalitA
vid sowmyA
https://www.youtube.com/watch?v=hZ0XY73qJEg
s sastry
https://www.youtube.com/watch?v=gKO15vDqw58
In the sundara kAnda of the vAlmiki rAmAyana, sarga 32 gives the description of hanumAn as first seen by sitA…
tatah SAkhA antarE linam drStvA calita mAnasA
veStita-arjuna-vastram tam vidyutsamghAta piṅgalam 5-32-1
The celestial monkey shines like lightning (vidyut-samghAta piṅgalam ) and is clad in white..
sA dadarSa kapim tatra praSritam priya vAdinam
phulla-aSOkOtkara bhAsam tapta CAmikarekSanam 5-32-2
sitA sees AnjanEya, who is glowing like a cluster of aSOka flowers wide opened, and with eyes like refined gold. He speaks pleasantly and is charming.
Every descriptor of AnjanEya is one of dazzling, shining charm and beauty.
And this complete radiance is exactly = purna-lalitA. !!.
Once again, the rAga name is intrinsic to the kriti idea…in this case the rare kriti to AnjanEya in the rare rAga purna-lalitA.
And the tyAgarAjas comprehension of the rAmAyana again comes into focus....seen earlier for the nature of mOhana = charm in post dated Mar 20, 2022
https://www.rasikas.org/forums/viewtopi ... 51#p375451
kaluguna pada niraja sEva – rAga purnalalitA
vid sowmyA
https://www.youtube.com/watch?v=hZ0XY73qJEg
s sastry
https://www.youtube.com/watch?v=gKO15vDqw58
-
nAdopAsaka
- Posts: 892
- Joined: 20 Jul 2020, 17:05
sari jEsi vEduka – The tyAgarAjas call to take the Higher Way = tivra-vAhini
sari jEsi vEduka – The tyAgarAjas call to take the Higher Way = tivra-vAhini
the rAga word name tivra-vAhini derives from the words tivra and vAhini..
tivra is Higher
Why higher ? …the fool (or even a non-fool) might ask…
Typically "tivra" implies intense or sharper.
But to the vAggeyakAras, tivra is always associated with the “higher” note... as in kOmala versus tivra etc. or mandara vs. tivra..
vAhini is the road or path…deriving from vAha/vAhin = the bearer = that which carries/conveys.
It is the "river" sometimes as vAhini, it is the vehicle sometimes as in vAhana.
But to the vAggeyakAras it is the Way (vaha = path)
Right with the starting word “sari jEsi “ the tyAgarAja emphatically gives the lord (and really...everyone else) the choice.....
Take the higher way !
Instead of equating (sari jEsi) the low with the high..!
Choose the “CakkagAnu bhakti SAstra vidulu” devotees instead of the lust filled “kandarpa kAdula”.
The rAga (as melody) and the rAga name (as idea) are both illuminated ONLY in the vision of the tyAgarAja.
Once again, it is impossible to separate the kritis idea from the meaning of the rAga name.
Insipid word-for-word translators and all musicologists/vidwAns of the last 200 years have been unable to see the connections established by the vAggeyakAras words/choices. The cluelessness comes from disrespect of the nAdayOgis motivations. The kritis were not created for technical exercises in kutCheris or talent competitions.
tivra-vAhini (just like the hundreds of other rAgas/kritis shown on these threads) is NOT a mere technical swara scale.
It is the carefully chosen expression of a nAdayOgi asking a basic question, and giving a basic choice… to the lord and to any mortal.…Can you take the Higher Way ? = tivra-vAhini
sari jEsi vEduka – rAga tivra-vAhini
Alatur bros.
https://www.youtube.com/watch?v=srveIMV-eg4
s p rAmanAthan
https://www.youtube.com/watch?v=j2uneQmnXCU
the rAga word name tivra-vAhini derives from the words tivra and vAhini..
tivra is Higher
Why higher ? …the fool (or even a non-fool) might ask…
Typically "tivra" implies intense or sharper.
But to the vAggeyakAras, tivra is always associated with the “higher” note... as in kOmala versus tivra etc. or mandara vs. tivra..
vAhini is the road or path…deriving from vAha/vAhin = the bearer = that which carries/conveys.
It is the "river" sometimes as vAhini, it is the vehicle sometimes as in vAhana.
But to the vAggeyakAras it is the Way (vaha = path)
Right with the starting word “sari jEsi “ the tyAgarAja emphatically gives the lord (and really...everyone else) the choice.....
Take the higher way !
Instead of equating (sari jEsi) the low with the high..!
Choose the “CakkagAnu bhakti SAstra vidulu” devotees instead of the lust filled “kandarpa kAdula”.
The rAga (as melody) and the rAga name (as idea) are both illuminated ONLY in the vision of the tyAgarAja.
Once again, it is impossible to separate the kritis idea from the meaning of the rAga name.
Insipid word-for-word translators and all musicologists/vidwAns of the last 200 years have been unable to see the connections established by the vAggeyakAras words/choices. The cluelessness comes from disrespect of the nAdayOgis motivations. The kritis were not created for technical exercises in kutCheris or talent competitions.
tivra-vAhini (just like the hundreds of other rAgas/kritis shown on these threads) is NOT a mere technical swara scale.
It is the carefully chosen expression of a nAdayOgi asking a basic question, and giving a basic choice… to the lord and to any mortal.…Can you take the Higher Way ? = tivra-vAhini
sari jEsi vEduka – rAga tivra-vAhini
Alatur bros.
https://www.youtube.com/watch?v=srveIMV-eg4
s p rAmanAthan
https://www.youtube.com/watch?v=j2uneQmnXCU
-
nAdopAsaka
- Posts: 892
- Joined: 20 Jul 2020, 17:05
manavi nAlaginCa – The “nalina-kanthi” = “flowery words” = “puSpita vACam” of the gitA’s karma kAnda 2.42
manavi nAlaginCa – The “nalina-kanthi” = “flowery words” = “puSpita vACam” of the gitA’s karma kAnda 2.42
The widely-heard kriti "manavi nAlaginCa: carries the reference to the karma kAnda.
pallavi
manavi nAlaginca rAdatE marmamella delpedanE manasA
anupallavi
ghanudaina rAmaCandruni karunAnta rangamu delisina nA
caranam
karma kAnda mata krStulai bhava gahana cArulai gAsi jendagA
gani mAnavA vAtArudai kanipinCi nAdE nadata tyAgarAju
It is now shown that the often used name nalina-kAnti is not accurate.
The tyAgarAjas kriti itself shows the proper origin as well as the proper name.
The proper word is nalina-kanthi related to the karma kAnda noted in the kriti !!
The gitA (2.42) describes the karma kAnda as the “flowery words” of vEdic rituals that are misleading in their advocation of enlightenment.
यामिमां पुष्पितां वाचं प्रवदन्त्यविपश्चित: |
वेदवादरता: पार्थ नान्यदस्तीति वादिन: || 42||
yAmimAm puSpitAm vACam pravadanty-avipaSCita
vEda-vAda-ratAḥ pArtha nAnyad astiti vAdinaḥ
translation
krSna advises pArtha that ...
the flowery words of the Vedas, advocate ostentatious rituals for elevation to the celestial abodes, and presume no higher principle is described in them.
The usage “puSpita vACam” is noteworthy !
Why ?
Because
nalina = lotus = flowery
AND
kanthi = throat = associated with speech and words..
And it is these “flowery words” = “nalina-kanthi “ = "ostentatious rituals" that the tyAgarAjas kriti “manavinAlaginCa” warns against !
The MANGLING of the rAga name (from nalina-kanthi to nalina-kAnti) goes hand-in-hand with the MANGLING in "manavyAlaginCa" substituted for the proper "manavi nAlaginCa" by pronunciation-challenged and ignorant vidwAns.
manavi nAlaginCa – rAga nalina-kanthi (from the puSpita vACam of the gitAs karma kAnda)
MSG
https://www.youtube.com/watch?v=vZ2GL9gmZDM
veena jayanti
https://www.youtube.com/watch?v=ucWhoTTeB3Q
rk murthy
https://www.youtube.com/watch?v=5SDX3VEy0xU
The widely-heard kriti "manavi nAlaginCa: carries the reference to the karma kAnda.
pallavi
manavi nAlaginca rAdatE marmamella delpedanE manasA
anupallavi
ghanudaina rAmaCandruni karunAnta rangamu delisina nA
caranam
karma kAnda mata krStulai bhava gahana cArulai gAsi jendagA
gani mAnavA vAtArudai kanipinCi nAdE nadata tyAgarAju
It is now shown that the often used name nalina-kAnti is not accurate.
The tyAgarAjas kriti itself shows the proper origin as well as the proper name.
The proper word is nalina-kanthi related to the karma kAnda noted in the kriti !!
The gitA (2.42) describes the karma kAnda as the “flowery words” of vEdic rituals that are misleading in their advocation of enlightenment.
यामिमां पुष्पितां वाचं प्रवदन्त्यविपश्चित: |
वेदवादरता: पार्थ नान्यदस्तीति वादिन: || 42||
yAmimAm puSpitAm vACam pravadanty-avipaSCita
vEda-vAda-ratAḥ pArtha nAnyad astiti vAdinaḥ
translation
krSna advises pArtha that ...
the flowery words of the Vedas, advocate ostentatious rituals for elevation to the celestial abodes, and presume no higher principle is described in them.
The usage “puSpita vACam” is noteworthy !
Why ?
Because
nalina = lotus = flowery
AND
kanthi = throat = associated with speech and words..
And it is these “flowery words” = “nalina-kanthi “ = "ostentatious rituals" that the tyAgarAjas kriti “manavinAlaginCa” warns against !
The MANGLING of the rAga name (from nalina-kanthi to nalina-kAnti) goes hand-in-hand with the MANGLING in "manavyAlaginCa" substituted for the proper "manavi nAlaginCa" by pronunciation-challenged and ignorant vidwAns.
manavi nAlaginCa – rAga nalina-kanthi (from the puSpita vACam of the gitAs karma kAnda)
MSG
https://www.youtube.com/watch?v=vZ2GL9gmZDM
veena jayanti
https://www.youtube.com/watch?v=ucWhoTTeB3Q
rk murthy
https://www.youtube.com/watch?v=5SDX3VEy0xU
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nAdopAsaka
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- Joined: 20 Jul 2020, 17:05
The panCa bhUta in the tyAgarAjas ghana rAga panCa ratna
The panCa bhUta in the tyAgarAjas ghana rAga panCa ratna
Background
The panCa bhUta pujA (5 fundamental elements) has been discovered in several kSEtra pujAs of the tyAgarAja and the Dikshitar as revealed in these posts
the tyAgarAjas Srirangam panCa ratna with its panCa bhUta mudras
https://www.rasikas.org/forums/viewtopi ... 94#p379794
the kOvUr sundarESa panCa ratna with its panCa bhUta mudras
https://www.rasikas.org/forums/viewtopi ... 81#p377881
The Dikshitars panCa bhUta pujA at Srirangam
https://www.rasikas.org/forums/viewtopi ... 47#p376247
The Dikshitar panCa bhUta pujA at kAnCI – the five vEgavAhini kritis
https://www.rasikas.org/forums/viewtopi ... 29#p376929
The Dikshitar panCa bhUta pujA at mAyavaram
https://www.rasikas.org/forums/viewtopi ... 20#p378720
The panCa bhUta in the tyAgarAjas ghana rAga panCa ratna
The present post reveals the panCa bhUta (5 elements) , one each in the ghana rAga panCa ratna set of 5 kritis of the tyAgarAja.
1. vAyu as samira/prAna for wind in "jagadAnanda kAraka" – rAga nAta
Carana 2 gives the mudra samira
nigama nirajAmrutaja pOSakA nimiSavairi vArida samIraNa
Other mudras for vAyu appear as prAna and OmkAra (the pranava)
jagadAnanda kAraka jaya jAnaki prAna nAyaka
Noticebly Carana 7 gives the OmkAra icon for prAna as well.
OmkAra panjara kIra pura hara sarOja bhava kESavAdi rUpa vAsavaripu janakAntaka kalA
2. Apa for water in "duDuku gala" – rAga gaulA
Carana 8
Cakkani mukha kamalambunu sadA nA midilO smaraNa lEkanE durmadAndha-
janula kOri paritApamulacE dagili nogili durvisaya durAsalanu rOyalEka
satata maparAdhinai capala cittuDanaina
3. Agni for fire as Arka in "kana kana rucirA" – rAga varAli
Carana 3
bAlArkAbha sucEla maNimaya mAlAlankrta kandhara
sarasijAksa varakapOla surucira kirITadhara santatambu manasAraga
4. AkASa for sky as ambara in "sAdhinCanE O manasA"- rAga Arabhi
Carana 7
kanakAmbara dhara lasan-makuTa kuNDala virAjita harE
5. prthvi for earth as bhU in "endarO mahAnubhAvu"- rAga Sri
Carana 7
sarOjabhava bhUsuravarulu
Summary
The music “industry” (and its worship of “performers”) pays lip-service to the tyAgarAja by making a big fuss about singing all the many verses of the extensive panCa kritis in the so-called Aradhana. At more than hundred ArAdhanas, the words of the ghana rAga panCa ratna are “mumbled” by performers who barely understand what they represent. In 200 years none of these “dignitaries” = mahAnubhava ? has realized that each kriti carries a particular bhUta element reference.
The many Words of the voluminous panCa ratna kritis were given to be meditated upon..just like the Words in each and every kriti of the vAggeyakAras, big or small. The Words carry several aspects of the vAggeyakAras intentions, including rAga mudra, kSEtra mudras and pujA mudras.
A foolish notion that the Words of the kritis are secondary to their Sounds has been fostered through ignorance.
The nAda-upAsaka thanks the rasikas forum founders and managers for the platform to bring forward these hitherto unknown aspects of the vAggeyakAras legacy.
The question remains ..Why is a particular bhUta associated with a particular ghana rAga by the tyAgarAja..This will be taken up in a series of posts.
Background
The panCa bhUta pujA (5 fundamental elements) has been discovered in several kSEtra pujAs of the tyAgarAja and the Dikshitar as revealed in these posts
the tyAgarAjas Srirangam panCa ratna with its panCa bhUta mudras
https://www.rasikas.org/forums/viewtopi ... 94#p379794
the kOvUr sundarESa panCa ratna with its panCa bhUta mudras
https://www.rasikas.org/forums/viewtopi ... 81#p377881
The Dikshitars panCa bhUta pujA at Srirangam
https://www.rasikas.org/forums/viewtopi ... 47#p376247
The Dikshitar panCa bhUta pujA at kAnCI – the five vEgavAhini kritis
https://www.rasikas.org/forums/viewtopi ... 29#p376929
The Dikshitar panCa bhUta pujA at mAyavaram
https://www.rasikas.org/forums/viewtopi ... 20#p378720
The panCa bhUta in the tyAgarAjas ghana rAga panCa ratna
The present post reveals the panCa bhUta (5 elements) , one each in the ghana rAga panCa ratna set of 5 kritis of the tyAgarAja.
1. vAyu as samira/prAna for wind in "jagadAnanda kAraka" – rAga nAta
Carana 2 gives the mudra samira
nigama nirajAmrutaja pOSakA nimiSavairi vArida samIraNa
Other mudras for vAyu appear as prAna and OmkAra (the pranava)
jagadAnanda kAraka jaya jAnaki prAna nAyaka
Noticebly Carana 7 gives the OmkAra icon for prAna as well.
OmkAra panjara kIra pura hara sarOja bhava kESavAdi rUpa vAsavaripu janakAntaka kalA
2. Apa for water in "duDuku gala" – rAga gaulA
Carana 8
Cakkani mukha kamalambunu sadA nA midilO smaraNa lEkanE durmadAndha-
janula kOri paritApamulacE dagili nogili durvisaya durAsalanu rOyalEka
satata maparAdhinai capala cittuDanaina
3. Agni for fire as Arka in "kana kana rucirA" – rAga varAli
Carana 3
bAlArkAbha sucEla maNimaya mAlAlankrta kandhara
sarasijAksa varakapOla surucira kirITadhara santatambu manasAraga
4. AkASa for sky as ambara in "sAdhinCanE O manasA"- rAga Arabhi
Carana 7
kanakAmbara dhara lasan-makuTa kuNDala virAjita harE
5. prthvi for earth as bhU in "endarO mahAnubhAvu"- rAga Sri
Carana 7
sarOjabhava bhUsuravarulu
Summary
The music “industry” (and its worship of “performers”) pays lip-service to the tyAgarAja by making a big fuss about singing all the many verses of the extensive panCa kritis in the so-called Aradhana. At more than hundred ArAdhanas, the words of the ghana rAga panCa ratna are “mumbled” by performers who barely understand what they represent. In 200 years none of these “dignitaries” = mahAnubhava ? has realized that each kriti carries a particular bhUta element reference.
The many Words of the voluminous panCa ratna kritis were given to be meditated upon..just like the Words in each and every kriti of the vAggeyakAras, big or small. The Words carry several aspects of the vAggeyakAras intentions, including rAga mudra, kSEtra mudras and pujA mudras.
A foolish notion that the Words of the kritis are secondary to their Sounds has been fostered through ignorance.
The nAda-upAsaka thanks the rasikas forum founders and managers for the platform to bring forward these hitherto unknown aspects of the vAggeyakAras legacy.
The question remains ..Why is a particular bhUta associated with a particular ghana rAga by the tyAgarAja..This will be taken up in a series of posts.