The Pancharathna Kritis of Thyagaraja
The Ganaraga Pancharathna Kritis
These five major works of art and philosophy have now, by popular usage, become an essential part of the Thyagaraja Aradhana celebrations wherever they are held. They are sung by a group of devotees and any one who knows the songs may participate. Some scholars maintain that these songs were not sung in a particular sequence while others say that they are major set of compositions to be sung in the Veena Sampradaya order -i.e. starting with Nattai and ending with Sri Raga. However, one thing is certain: these songs provide a continuous subject matter for the spiritual
aspirant.
Various reasons have been advanced as to why these five ragas have been called “Ghana ragas.” They were known as “Ghana raga panchakam” in the Vina sampradaya and it has been the practice for Vainikas to acquire expertise in playing tanam in them. One reason is that of the subtle sruti and prayogas of Carnatic music figure in them. Nata contains the Shatsruthi Rishbha and Shatsruti Dhaivata; Gaula has the Ekasruti Rishaba,which is lower then Suddha Rishabha; Arabhi contains the alpa prayogas of Gandhara and Nishada, and Varali has a particularly sharp prati
madhyama known as the Varali Madhyama. Sriraga is considered to be an auspicious raga. From the ettugada swara development in the five kritis, it is clear that Thyagaraja was fully familiar with the Vina sampradaya and was perhaps a good Vainika himself. Venkatamukhi mentions eight ragas as Ghana ragas with the addition of Bauli, Malavasri, and Ritigowla. There is also a second series of Ghana Ragas comprising of Kedaram,
Narayanagaula, and Salanganata.
The Nattai composition is a list of 108 names of the Lord (an astothra satha namavali); gleaned from both the Ramayana and the Bhagavatha. The song is full of phrases and composite words, so well ornamented to fit in with the rhythm. In fact, as far as the laya is concerned, once can write a "sollukattu" for each charana, to fit in with the words and, at the same time, make a laya vinyasa of it. The Sanskrit words, both those of a straight forward nature and those of samarasas and derivation are simply exquisite. "Jaathadipayodi vas harana" and " nigama neerjamruta poshaka" are two examples of the kind of literary beauty which have been woven into the song. One of the Upanyasakartas says that it was composed to help in performing a musical ashtothra archana. A scholar in Andhra Pradesh had constructed a thesis on the assumption that the Pancharathana Kritis are based on the Pancha Kosas in which the soul is enclosed (The pancha kosas are - anna, prana, mana, vignana and ananda). Freely interpreted, they may be termed the physical, emotional, intellectual , spiritual and blissful.
The Gowla Keerthana: "Dudukugala" is a list of man's foibles which bring him sorrow and misery. A long list of "don'ts" which, if not avoided are bound to bring sorrow. The list of weaknesses and bad actions has been given as though the Swami himself was guilty of committing those "don'ts." This composition which speaks of several of such undesirable thoughts and actions of the majority of us, reminds us of the conversation on another aspect of the Swami's teachings (if at all he meant to preach or pontificate). Some of my friends are of the view that Swami, as in this kriti, mostly addresses either his Lord or admonishes his own self, and sometimes pleads on behalf of others. Broadly, this view seems to bee all right. As examples of his plea to the Lord, we may cite just one example - "nee bhajana gana rasikula" (Nayaki) and as examples of admonishing himself or addressing his own mind, we may cite "manasa etulordune" (Malayamarutham) - the words "nijamuga paluku manasa" in Nidichalasukhama (Kalyani) and "Vinave Oh Manasa" (Vivardani).
What a contrast with most of us, lesser mortals, who are only too ready to criticize or offer advise, invited or uninvited, irrespective of his own qualifications to advice.
Arabhi: The composition "Sadinchane" points out that none else but I am responsible both for my happiness and sorrow. When one fails to do the right things and finds oneself in trouble - the words of God in the scriptures seem falsified - "bodinchina sanmarga vachanamula bonku jesi." On the contrary, if one will carefully study the advice of the Lord (in this song) one will know that one is asked to bear the pain or suffering when it comes and refrain from bad deeds. In other words, we should learn to acquire the six righteous qualities of sama, dhana, titeeksha, uparati, sraddha and samadana - the ability to look away from the temptation; to do no evil; practice self-control; bear suffering without complaint and so on. Volumes have been written on the composition by scholars far more qualified and so, I shall leave it to them to add further comment on this composition.
Varali: Many old timers question the authenticity of this composition whether Thyagaraja composed it at all. Their argument is that the kriti alone (within this group) is in "rendu kalai." Over the years, it has been accepted as one of the Ganaraga pancharathnas and widely learnt and sung: "the paatam" has been standardized and, it is a pleasure to listen to the singing by a large group of men and women, in unison, on the basis of an accepted standard paatanthram, authentic or not. The subject matter of the song is that His divine presence is more and more enjoyable as you see Him as did the Devas and sages of yore.
Sri Ragam: This is the crowning jewel of the group of songs and lists the various paths to Ananda. Each of the charanams lists one or more paths by which great souls have attained salvation (moksha, Godhood, etc.). The five yamas and the five niyamas are covered by direct mention and indirect reference as surest way to salvation. The emphasis on singing the first and last charanas makes it amply clear that music and devotion are, together, the supreme marga or path to Bliss.
THE ORDER OF PANCHARATHANA KRITIS
There is a rationale behind the order in which Thyagaraja has arranged the sahita of the Pancha rathna. “Jagadanandakaraka” follows the Thodyamangalam pattern in which the first song starts with “Jaya” and in wholly Sanksrit. Instead of “Janaki Ramana”, we have “Janaki prana nayaka.” The opening line stresses the Upanishadic truth that the Lord is the source of all joy, “Ananda” and the rest of the kriti is a beautiful namavali. The mudra of Thyagaraja is found in three places.
The remaining four kritis are in Sanskritized Telugu. In “Duduku gala” in Gaula, the composer passes into a mood of introspection and self-reproach. After the manner of the earlier saints, Thyagaraja exclaims, “Which Lord will save an incorrigible sinner like me?” Couched in chaste Telugu, the kriti proceeds to catalogue sins of commission and omission like the teaching of music to undeserving dancers, gallants, and women, wasting one’s life in useless arguments and for acquiring wealth.
“Sadinchane” is a bold “ninde stuti” in which Thyagaraja accuses the Lord as being a cunning God who belied his own teachings and achieved his own ends. A unique feature of this kriti is that Thyagaraja alternates between Rama and Krishna, praising Rama for his virtues and reserving his sarcasm for Krishna. The charanam summarizes the Lord’s advice to Thyagaraja, “do not grieve; but take the rough with the smooth.”
In “Kana Kana Ruchira” in Varali, the composer proceeds to describe the divine beauty of the Lord which grows “more and more as one look at him.” Thyagaraja cites a long list of witnesses who has feasted their eyes upon that divine splendor.
“Endaro Mahanubhavulu” in Sri raga comprises Thyagaraja’s salutations to a galaxy of preceptors and purvacharyas of yore, who include nada yogis, mystics, bhagavatas and those who had mastered the mysteries of scriptures. This grand piece rounds off the Pancha ratna group on a soothing note and with a benediction. A continuous rendering of the group in chorus ushers in an atmosphere of peace, tranquility and devotional rapture.
Utsava Sampradaya Kirtanas
As the term "Utsava Sampradaya" indicates, these are songs to aid ritualistic worship. In every Hindu temple, a daily program of rituals is followed by singing to the deity; beginning with "waking Him up; for blessing the world; and, ending with letting his rest at night", after which the temple is closed. Every temple has a "massotsava" or some minor celebration on occassions like Poornima (full moon), pakshotsava or fortnightly festival like Pradhosha and samvatsarotsava or annual festival like the Bharmotsvam and Rathotsavam, etc. In simple by lilting and captivating tunes, the Utsava Sampradaya Keertanas provide "upachara" from "melukolpu" or awakening the Lord (Thirupalli Ezhuchi"; inviting the Lord to come to the Kolumantapa; to ascend the steps to the accompaniment of Veena, "Hetsarika"; to announce that the Lord is in Kolu or Darbar and that all devotees may come and workship - Kalayanam, Nalangu, Oonjal, Aarthi, Pavvali and Melukoluppu. Arranged in this natural and proper order and, sung with devotion, these songs can provide a means of elevating oneself to a suprapersonal level:
sangeetha and bhaktha have again and again been stressed as the easiest means of salvation, for one who has no time for complex ritualistic worship. Singing all the important upachara songs takes a little over an hour and, if one can do this at least on every Bahula Panchami day or during Pushna nakshatra (the Sain't birth star), he is bound to experience the beneficial results as time goes on.
Divya Nama Kirtanas
A Reflection of the Bhajana Sampradaya “I dwell not in Vaikunta, nor in the hearts of great Yogis; Know O: Ye Narada, Where my Devotees sing, There I dwell.”
Of the Nava Vidha Bhakthis or the Nine Paths of Devotion to Godhead, perhaps the best understood, widely practiced and most enjoyed, is KIRTANAM. Singing one’s way to salvation was practiced long before Sri Thyagaraja Swami’s days. The Nayanmars and Alwars, preached and practiced this Marga or path to salvation. We have it on the authority of scholars like Dr. S. Ramanathan that Thevaram and Divya Prabhanda hymns were sung to raga and tala and not merely recited as poetry. To this day, the Oduvars of the Saivite School and the Adhyapakas of the Vaishnavite school, sing the Thevarams and Divya Prabhandams, as part of the temple rituals. Hymns have been composed by various saints and savants, on their Ishta Devathas, songs in praise of Lord Muruga by Arunagirinathaar known as Thiruppugazh, in praise of the Lord of the Seven Hills by Annamacharya, in praise of Purandaravittala by Purandara Dasa, in praise of Lord Rama by Bhadrachala Ramadasa and in praise of Lord Krishna by Narayana Thirtha continue to be part of any bhajans; all of them composed before the time of Sri Thyagaraja Swami.
Bhaja means the worshipping of God or praying to God, singing His praise. This form of Bhakthi was an important part of the daily worship by the Bhagavathas. Members of the public joined in at these Bhajans, repeating the verses and singing in chorus, both at the Uncha Vritti on the streets and at the gathering in the temple. One Divya Nama Kirtana of the Sadguru in Yamuna Kalyani describes the Haridasas setting out on their Uncha Vritti Bhajan on the streets. “Watching the Haridasas getting out on their Bhajan fills our heart with delight. With their waist bands tied well, with metallic cymbals in their hands, with the musical gosham of the mridangams, with Gnana, Rama Dhyana and sweet music, surrendering themselves wholeheartedly to the Lord, and watching them go on the streets fills the heart with delight. Sri Thyagaraja Swami, being a Bhagavatha in the Bhakthi Marga, strongly believed that music and devotion combined, represented the easiest, sweetest and certain path to the attainment of Jeevan Mukthi or liberation from the cycle of birth and death.
Divyanama Keertanas
On his reasons for composing the Divyanama Keertanas, Thyagaraja Swami, in his kriti, “Raga Ratna Malika” in Ritigowla, says “As the sole means of my salvation, with the authority of all Scriptures, as the path to happiness of all Yogis and for all Bhagavathas to sing together, I composed these songs. Come let us sing these together and attain all Sowbhagya.” Collectively a set of songs composed by Thyagaraja Swami as an expression of bhakthi and bhajana tradition came to be known as Divya Nama Kirtanas.
There are some 78 kirtanas that are in the group of keertanas called Divyanama Keertanas. These keertanas are meant for group singing. they are generally in the "lambaka" style with one pallavi and a series of charanams with the "dathu" or tune to facilitate repetition on choral singing. In theme and structure, they are varied. The keertanas are composed on a wide variety of popular ragas such as Todi, Sankarabharanam, Karaharapriya and Saveri, and less well known ragas such as Andhali, Ahiri, and Balahamsa. Even in the rarer ragas, these songs have a simple structure and so any one with an ear for music can very quickly learn and join in the singing.
THE RAMAYANA THEME
Mostly the divyanama keertana themes are based on the Ramayana but as pointed out earlier, there are also songs on human conduct. All important incidents in Srimad Ramayana are narrated in sequence, from Viswamitra Yagasamarakshna to pattabishekam, in the kirtana “Vinayamunanu” in Sowrashtram. The unique beauty of this composition is its poetic excellence. Parayaya Namas or Synonyms for hands, feet, eyes, etc., is employed to narrate the stories. The translation of the two Charanams to explain this point is given hereunder and it is suggested to interested readers to read the complete song and its translation from a book by Swami’s kirtanas.
“When will I see the feet that marched with Viswamitra, when will I see the feet that brought Vimochana to Ahalya, when do I see the foot that pressed down the Siva Dhanus at the Swayamvara of Sita, when do I see the feet that Janaka washed with milk at his daughter’s wedding, when will I see the hands which tied the mangala sutra to Sita, when will I see the hands which took the strength of Parasurama, when will I see the hands which killed Virada and when will I see the hands which gave abhaya to the rishis in the forest?” In this manner, the story of Ramayana is taken from Bala Kanda to Aranya Kanda using synonyms. The singing of this song will be the singing of the whole of Ramayana and so this song is referred to as Samkahepa Ramayana or condensed Ramayana.
In The kirtana “Pahirama” in Kharaharapriya, each stanza is devoted to one of the members of Rama’s parivara or entourage and we are told how Rama gave happiness to Sita with his words, to Lakshmana with his eyes, to Bharata with his embrace, to Sathrugna with his nod of approval and to Anjaneya with praise. This song is full of raghabhava and bring out, within the limitations of a kirtana without sangatis, the nuances of this rakthi raga.
As an example of this, the Yadukula Kambhoji composition “Sri Rama, Jaya Rama” in khanda chapu may be cited. Starting with Kausalya and wandering what great penance she had performed to earn the privilege of being able to kiss the lovely cheeks of Sri Rama, Dasaratha, Sowmitri, Kowsika, Ahalya, Janaka, Sita and Narada are all mentioned in the same manner, mentioning the joy they got out of Rama. Incidentally, the arrangement of the episodes and characters is such that this composition also narrates Ramayana from Yaga Rakshanam to Sita Kalyanam.
TRUE BHAKTHA
The song “Karuna Jaladhe” in Nadnamakriya lists the qualities of a true bhaktha after mentioning that the experience of a true bhaktha is totally different from the findings of one who does not know Rama. The song lists the various sections of a true bhaktha, which ensure his constant thought of Rama and his presence with the devotee. In the last charana, Swami refers to the advaitic experience, which comes to a devotee practicing for
long and Bhakthi marga. “Neevanni teyani Balkudure, Neeve Thannani Kulgukudure.” They (the true devotees) will find and speak of you of you being everything and they themselves being you.” What a worthwhile reward for a waiting bhaktha?
HUMAN FOIBLES
Listing the commonly occurring misconducts and weaknesses of man, in the kirtana “Rama Rama Krishnayanare” in Gowlipanthu, Swami says that even the worst sinners are known to have changed for the better and attained salvation by singing the name of the Lord. “Kaani Panulu Kori Kori, karanguchundu Nannavulu” and “Challani Vakulu Balki Swanthaamanalamaina Varu” meaning that those who hanker for things that are not right and to which are not entitled and those who speak with honey on their tongue but with fire in their hearts, even they will reform and benefit by singingRama, Rama, Krishna.
Manasika Puja
One can go on and on giving examples of the beauty, wisdom and music of these priceless gems have to offer. Let us be contented with one final example of Swami’s stress on purity of thought, unselfishness and un-attachment to fruits of worship, by quoting the kirtana “Paripalaya Paripalaya” in Reetigowlai “O: God, my pure body is your temple; my sthira or nischala chithha (unwavering) is the peeta or asana for you; my pure thoughts are Ganga water for your abhisheka; my devotion is the golden cloth for you to wear. The burning away of the fruits of my past evil deeds is the sambrani dhoopam. My happiness which cannot be separated is the thamboolam for you and so on.
KSHETRA KIRTANAS
Kshetra kirtanas refer to compositions in praise of the deity of a specific town or place. Usually, great composers, when they visit a temple town compose songs in praise of the deity of the temple. Thyagaraja Swami followed a similar practice. Many of Thyagaraja Swami's kshetra kirtanas are very popular and well-known for their musical richness and complexity. At the invitation of a great savant - Srimad Upanishad Brahmam of Kancheepuram, Swami undertook a pilgrimage. Incidentally, it may be mentioned that Srimad Upanishad Brahmam was a great scholar and saint. He wrote commentaries on the 108 Upanishads. He was also the schoolmate of Thyagaraja Swami's father, Sri Ramabrahmam. Being of old age and unable to travel, Sri Upananishad Brahmam, who was then living in Kancheepuram, asked Thyagaraja to visit him at Kancheepuram At about the same time, Lalgudi Rama Iyer, a disciple of Swami, invited him to visit Lalgudi. Swami consented and visited Lalgudi where he composed and sang what are known as the Lalgudi Pancharathnams. He composed five kritis - two on Saptharisheeswar and three on is divine consort, Srimathi. It is interesting to know that Lalgudi is the only kshetra where he sang both on the Lord and his consort. In the other kshetras, the songs are either on the Lord or only on his consort.
The krits sung at Lalgudi are: Easapahimam (Kalyani); Deva Sri Thapastheertha (Madhyamavati) - both on Sri Sapthareeshswara; Lalithe (Bharivai); Gathineevani (thodi); and Mahitha Pravrutha (Kamboji), all three on Sri Ambal.
Other Kshetra Kritis: From Lalgudi, Swami went to Kancheepuram where he composed three songs: Varadhanavaneeta (Pancharam), Varadaraja Ninnukori (Swarabooshani) and Vinayakuni (Madhyamavati). Then, at the invitation f one Kovur Sundaresa Mudaliar, he visited Kovur (near Madras), where he sang Sambo Mahadeva (Panthurvarali), Sundareswaruni (Sankarabharanam): Nammi Vachina (Kalyani); Eevasudha neevanti (Sahana) and Korisevimparare (Karaharapriya). The last mentioned is one of the two "thana sampradaya" compositions, sung by Thyagaraja. The other is Koluvayyunade (Bhairavi).
Thyagaraja Swami also visited Thirupathi. At Thirupathi, he composed "Thera Theeyakaraada" (Gowlipanthu). Here, he also sang "Venkatesaninnu sevimpa" (Madhyamavati). He later went to Thiruvottiyur, near Madras, where sang on the presiding deities -- "Kannathalli" (Saveri); "Sundarininnu" (Arabhi); "Sundarinee divya roopamu" (Kalyani); Sundari nannindarilo" (Begada) and " "Dharini thelusu konti" (Sudha Saveri). At Sirkazhi, Swami sang, "Neevanti Deivamu" (Thodi). At Nagapattinam, he sang "Karmame Balvanthamayenu" (Saveri) and "Evaru theliyapoyaru" (Thodi).
Swami also visited other towns. At Sri Rangam, he sang "Joothamurare" (Arabhi), "Rajuvedala" (Thodi), "Vinradana manavini" (Devagandhari), "Karunajoodumayya" (Saranga) and "O! Rangasayee" (Kamboji). Some scholars include Hetsarikagaraa" (Yadukulakamboji) among the group of Srirangam kritis since the kriti refers to Veena upachara, muthangi seva, etc. But, other scholars believe that is only the "hetsarika" part of the Utsava Sampradaya kirtana, inviting the lord to take his seat in the koluvu that refers to Srirangam and not the entire kriti. Although Swami lived in Thiruvayaru, he composed several kritis that were in praise of the local deity and describing the town of Thiruvayaru. Some of these compositions include: "Karunajoodavamma" (Thodi); "Parasakthi" (Saveri); "Sivepahimam" (Kalyani); "Amma Dharmasamvardhini"
(Atana); Vidhichakradulaku" (Yamunakalyani) "Ehi Thrijagadeesa" (Saranga), "Ilalo pranatharthi" (Atana), "Evarunnaru" (Malavasri),
"Machatabrahma" (Madhyamavati), "Parasakthi manuparada" (Saveri), "Neevee brovavale" (Saveri), and "Bale balendu booshani" (Ritigowla).
There also other compositions praising the beauty of Thiruvayyaru.
Each of these sthala or Kshetra kritis are gems that continue to shine with utmost brightness.
Thursday, July 12, 2007
Wednesday, July 11, 2007
Tyagaraja Swami's view on Religion and God
NADOPASANA FOR LIBERATION
Nadopasana is bhakthi, worship, and devotion through music. As the article on Thyagaraja’s musical plays pointed out, Sri Thyagaraja Swami used his compositions to energize our inner spiritual forces or nadopasana to attain moksha or salvation in this life. There are several references to nadopasana in Indian musicology, philosophy, and epics. For example, in The Sangita Rathnakara, the opening slokas explain how nada and Kundalini1 are interrelated and how this comprehension is necessary for salvation. Sri Thyagaraja Swami took the first three slokas and composed the following kritis, Nada Thanum Anisam, Sobhillu Saptha Swara, and Nadopasana, using the first, second, and third sloka respectively.
According to Hindu sastras, Naabhi, Hrith, Kanta, Rasana, and Naasa are the sources of sound which originate from the Mooladhara or the inner soul. The recognition of this Mooladharaja naada is itself moksha says Sri Thyagaraja in the Sankarabharanam kriti, Swara Raga Sudharasa. Thyagaraja Swami says "Mooladaraja" naada "Merungutaye mudamagu mokshamura"; the realization of the existence and experience of the sound generated at the base of the spine is itself blissful heaven. Again, in the same kriti, he reiterated this again, "kolahala saptaswaramula gruhamula guruthe mokshamura."
In this connection, it is interesting to note that Sir John Sparrow, in his book titled, Serpent Power, equates Kund alini with endogenous sound. The identification of the correct srutis as the home of the swaras is also important for experiencing moksha or liberation “Saptha Swarmula Grhuhamula guruthe mokshamura.” The worship of pure sound emanating from within you and identifying yourself with it and being in consonance with it is liberation or moksha. This is Nada Yoga.2
Sri Thyagaraja Swami not only stresses the importance of recognizing and developing the ability to experience Mooladhara nada, but also more specifically asks the votaries to practice sangitopasana as a means and prelude to enjoying nadopasana. In his composition, Sribapriya Sangeethopasana in Atana, he conjures up visions of the mind traveling in the swaras - “Sapthaswara Chaari” and melodic ragas manifesting themselves in delightful forms - “Ranjimpa Jesedu ragambulu, manjulamagu navatarambulethi.” He stresses other and nearer terrestrial benefits of sangita gana - “Prema Bhakthi, Sujana Vathsalyamu, Srimath Ramaa vara Katakshamu, Nema Nishta Yasodhanamu” as the rewards of acquiring Sangita Sastra gnana.
These discussions on nadopasana thus point to how Sri Thyagaraja was not only an excellent musicologist conforming to the traditional sastras but who, through simple songs with pristine purity, taught us the nature and purpose of music. Indeed , through sangita he urged us to acquire the wisdom of perceiving Brahman, the intelligence to analyze and experience Him; the diligence to seek Him; and the patience to wait for enlightenment. He described his Rama as an embodiment of Nada. No other composer has in such a simple and appealing ways taught music as art, science, philosophy and ultimately, as a means to salvation.
1 According to Yoga sastras, we humans are a microcosmic image of the universe. This universal energy that each human carries within oneself is the Kundalini. The Kundalini lies dormant until awakened. The object of certain forms of yoga is to awaken this dormant force and to let it lead us to the path of salvation. Liberation, therefore, is unity with the universe from which we originated; the individual spirit becomes part of the universal spirit. It is the highest experience that a yogi to a saint to an ordinary individual is striving to reach. One of the yogic approaches that awakens the Kundalini is the nada or nadopasana or devotion through music.
2 Kritis such as Mokshamu Galada (Sarmathi) and Swara Raga Sudha rasa (Sankarabharanam), Raga Sudha Rasa (Andolika) and Sitavara (Devagandhari) deal with the subject of nada yoga. It is believed that the root of our spinal column, there is a chakra or stahanam (place/location). Starting from here and going up to the crown of a person's head, Prana, passes through knots or granthis. There are three knots, Mooladhara Kshetra, Manipoora or Vishnu Granthi and Agnya chakra or Rudra granthi. The path, sound takes through these granthas is called srotha. And, the practice of taking the sound to the prana and achieving liberation is called nada yoga.
As A Poet
Thyagaraja Swami’s compositions are described as poetry set to music. He was the only poet among our composers. He has considerably enriched Telugu literature of the 19th century. He has composed verses of every known kind from simple kanda padyams to the more elaborate and complex varieties. Among the verses, both introductory and invocatory, appearing in the two operas or song dramas are Seesa padyams, Utpalamalas, dwipadis, sardhoola vikruditham and kandapadyam. There are over 160 padyams in all between the two Gaya Natakas – Prahlada Bhakthi Vijayam and Nowka Charitham.
It is said that Swami composed a third natakam by name Seetharama Vijayam. This claim is made by Professor Sambamurthy and others based on a license granted to one Wallajapet Loka Narayana Sastrulu for printing a poetry drama, Seetharama Vijayam at Gnanabhanu Achukootam, Choolai, Madras. Professor Sambamurthy and his team of dedicated students did their best to locate this press but without luck. Either the work was never printed or the manuscript was lost. Professor Sambamurthy and other scholars believe that the kritis, “maa Janaki” in Kamboji and “Varnaja Nayana” in Kedaragowla belong to this opera and that these two songs depict sambandi kelikkai.
The greatness of Swami’s poetic skill is in that all his verses and songs can be read as prose and do not need to be rendered into prose form or anvaya. The lakshanas (attributes) of pure poetry are all there and so they can be read with meter and prosody with equal felicity. Another noteworthy skill is his mastery over dwitiyakshara prasa or prosody based on the second letter of the opening word in each line. Ha, Ksha, and similar dwitiyaksharas are handled with amazing ease and fluency. “Kaddana Variki” (Thodi), “Gruhabalamemi” (Revagupti) and the only Tisra Triputa kriti, Lalgudi Sthala kriti, “Mahita pravruta Sreemathi” (Kamboji) are good examples.
His description of the Yamuna, with the gopis sporting; of the Kaveri as it flows from the hills and dales; his description of Thiruvayyaru” reflect his poetic skill and imagery, both in Telugu and Tamil. His Satodalankara too is marvelous; in creating an onomatopoeic effect. This skill, one could say, he had acquired by his study of Pothana - “Kala kala mukha kala sokkuche palukulolam ruthamu lolikadu swamiki” in Gandhamu Poyyagara (Punnagavarali) and the charana of the Saranga kriti “Emi deva balkuma” creating a battle scene effect.
Swami has used parayayanams or synonyms very skillfully in narrating the Ramayana. Basing the progress of the story on the Lord’s feet, hands, weapons, eyes, etc., the story is told from Viswamitra yoga Samrakshanam to Pattabishekam.
To give an example, the parayayanams “angrulu, kalyu padamulu” and “charanmulu” are used to say “when am I going to see the feet that walked beside Viswamitra; the feet which made Ahalya come back to life; the feet which pressed and broke the Shiva dhanus and the feet which Janaka washed with milk at the wedding. The story then moves from yagasamrakshanam to Sita Swayamvaram (Please also refer to the kriti Vinayamunu in Sowrashtram). Some people use this as daily parayanam of the full Ramayana.
Swami has used words and combination of words of his own creation. This needs some examination to be fully understood. For example, in the divyanama kirtana “Manasa Sancharare” (Punnagavarali), he uses the word “bharye” to mean Chandra. This is derived from “ba” Nakshartram and “arya” or leader or the great one; meaning “sreshta” indicating here the moon. Hence “mukhajita bharye” for mukhajita soma or Chandra. In the adamantine kriti “RamanSalaam Brova”, he uses the expressions, yantha, bantha, nishantha – to mean Ramachandra. This is arrived at by “yantha" or the letter after "ya" that is "ra" in bhantha; the letter after "bha" is "na" and "nisantha" meaning dispeller of darkness (the moon). This explanation was provided by His Holiness the Paramacharya of Kanchi Mutt when his clarification was sought. He explained that Swami was well versed in mantra sastra also where such techniques are employed to guard the secret and sanctity of the mantras.
Nava Rasas and Proverbs in his compositions
Emotions: To justify his being hailed as one of the foremost poets of his time, Thyagaraja Swami has brilliantly captured all rasas in his compositions. Many people think that studying Swami's kritis means only listening to long faced and serious aphorisms and homilies. Few know that he has used Sringara (Romance), Soka (Sorrow), Saantha (Tranquil, Peace), and Haasya (Humor)with equal felicity.
Before him and indeed even after his time, Mukhari was used only for the sokha rasa; but Swami proved that this need not be so, by using Mukhari to produce Haasya or humor in the kriti, Chinthisthunaade Yamudu. The description of the dowwarika in the music drama, Prahlada Bhakthi Vijayam, is full of hasya. In the kriti, "Vasudevayani Vedalani" (Kalyani), while describing the entry of the dowarika, he says "Mati Matikini Meesamu duvvi, manmatha roopudu thanani krovvi, dati dati paduchuna" is hilarious. Translated, it shows the ridiculuous behavior of the Dwarapalaka. He is walking here and there, twirling his moustache, posing as if he is Manmata (the God of Love and Beauty), jumping here and there and talking and laughing to himself posing like a handsome guy.
One of the scholars studying the Nowka charithram, responding to the criticism of Thyagaraja by some purists about the excessively sringara rasa ra in this drama, says that Sri Swami has walked the razor edge in keeping strictly in ethical and moral values and his srungara rasa. Unlike Jayadeva, Thyagaraja did not step outside the canons of decency. Whatever the rasa employed, the ultimate objective is bakthi and rasas have been employed only to emphasis the need for Bhakthi.
Proverbs: Thyagaraja Swami also uses a number of proverbs in his compositions to emphasize the underlying meaning in his compositions. Here are two examples:
1. To test a pot of rice in order to find out if it is well cooked, he cites the familiar proverb in Tamil - "Oru paanai sothukku oru soru padham" - in the Mohanam kriti "Maati Maatiki". To know my sincerity, Rama, do you need me to plead again and again? Is not one sincere pleading adequate? Do experienced individuals test every rice before finding it is cooked? How many times do I need to plead to you before you would bless me?
2. "Rock the cradle and at the same time pinch the baby." In the Atana kriti, "Atla Baluguthu", he says, "Atla baluguthu, nitla baluguthu" "Thotla narbagula Noodhuvu mari mari Thosi natulu killudhuvu Srirama". You will talk one way and then you will talk the other way. What can I do? You will rock the cradle to make the child sleep and then you will also stealthily pinch the kid." These lyrics are not only examples of the humor employed by Thyagaraja Swami but also the utter devotion, bhakthi and the personal oneness that shows with his deity, Sri Rama.
3. "In an attempt to make an idol of Ganesha, we end up making the figure of a monkey." In the Evarito ne delpudu" (Manavagthi", Thyagaraja Swami says, "Gananadhu Jeya Goraka kaduva narudai dheeraka"; I am constantly doing bhajana in your name and yet I am turning out to be not saved and am ending up as something else. Rama, won't you save me?"
These are a few example of many such proverbs that Thyagaraja Swami uses in his kriti to bring forth his true emotions and purpose behind a composition.
"On Knowledge"
About knowledge, Thyagaraja Swami says that it is not worth acquiring knowledge which does not improve the quality of man. A very well read man who has not benefited from his erudition and knowledge is an ass that carries a load of books. Humility and vinaya is essential for spiritual progress.
About which path to tread for enlightenment, he says that all paths of discipline, humility, love of God and environment lead to salvation. The replacement of the six enemies which haunt us are: desire, hatred, miserliness, attachment to ephemeral values, egotism, and acquisitiveness. The six gunas that we must acquire are: sama or equanimity; dharma or self control; titiksha or willingness to bear suffering; uparati or looking away from evil; sradha or dedication; and samadhana or satisfaction. These six gunas help us attain liberation from bondage. The happiness one person derives from taking one kind of food is no better or worse than the happiness of another person eating another kind of food.
All schools of philosophy are good, provided the fundamental qualities of genuine love and dedication, compassion and understanding are practiced. This thought is expressed in Anuragamuleni in Saraswathi. In this kriti, Thyagaraja Swami says that you can acquire all the knowledge in the world. But, if an individual does not have bhakthi, he would not develop good qualities. the peIn "Endaro Mahanubhavalu" Swami mentions the different ways of attaining liberation. "Bhagawata, Ramayana, Geethathi, Sruthi Sastra Puranabu mamula Sivadhi Shanmathamula Gootamula Muppadhi Mukkodi Surandarangamula Bhavamula Neriki Bhavaraga Layadhi Sowkyamulche Jiravuyal Kaliki Niravadhi Sugathmulai". Freely translated, it says that there are several ways to attain knowledge and linberation. By learning the Bhagavatham, Ramayanam, Bhagawath Geetha, the Srutis, and Puranas; by finding out the secrets hidden in the six religions (shanmatha); by finding the inner meaning from the Devas and so on. But, the easiest way to obtain knowledge is bhakthi and sangeetha.
He explains why he chose Rama Nama as Taraka mantram for japam in his kriti, "Saaramegani Anya Marga Vicharamatike" (Panthuvarali). In this kriti, he refers to Sivas advise to Parvathi (familiar to all those who recite Vishnu Sahasharanamam) that by reciting Rama's name thrice, one may attain the benefit of repeating the hymns a thousand times. In the Thodi kriti, Endu DAginado (Rama! Where are you hiding?), he says, "that it has become the practice and play of the Lord to hide himself before saving his devotees and wonders where he is hiding today to save Thyagaraja. Perhaps, he hid behind the seven trees to help and save Sugriva. Perhaps, he hid himself in an iron pillar to save Prahalada (Prahladhu goraku kambamulo palanundagaledha).
On Prayer
Aldoux Huxley classified prayer into petition, intecession, mediatation, and contemplation. Of these, petition, he said, was the lowest form of prayer; intercession the next best; mediation still higher and contemplation, the ideal. This closely follows Sri Thyagaraja Swami's views on prayer. In the kriti, "Mari Mari Ninne" in Kamboji, he refers to the bhakthis of Gajendra, Druva, and Prahalada. Gajendra merely wanted to be physically saved (tamasika bhakthi). Druva wanted a boon which was almost asking for revenge or taunt his step mother and weak father - Rajasika bhakthi. Prahlada who merely wanted his father to know the omni presence of God Stavika bhakthi. In the Devamanohari kriti, "Kanni thandri Naapai, " Swami says people will just continue to do what they have been doing day in day out without realizing that man is his own friend or foe; the friendship and strength being derived from control of the senses, thereby stressing the point that the human mind is a very powerful instrument which if tame and properly utilized, can lift man up from sorrow. He tells us that all rituals are directed towards this sure method of obtaining control of the mind but that such control can only come from concentrating on the purpose of the ritual.
Perfunctory performance of ritual will give no benefit. Two kritis explain this. In "Telisi Rama Chinthanatho" (Poorna Ravichandrika), he draws attention to the dual meanings of words and says that what the mind is meditating on is more important than words itself. Rama means woman and also Brahman; Arka means the sun god and a poisonous plant and Aja means Brahma or goat. So, just chanting Rama nama without at the same time benefiting your mind with the right image in your thoughts is of no use.
Another important ingredient of prayer is love of God and fellow human beings. In "Rama Neeyeda" (Karaharapriya) and "Smarane Sukhamu" in Janaranjani, he stresses this point. In the pancharathna kriti, "Sadinchene" in Arabhi, he refers to this and says "boidnchina sanmarga vachana mulu bonku chesi" meaning that God falsified his own teaching which means that he falsified what you believed was an invulnerable situation for yourself.
Rituals and Religion
Frequently one hears the largely justified accusation that religion has failed to make man, moral or compassionate and that, it has divided man from man. All religions give us some code of ethics; of love of fellow human beings and all creatures. Religion cannot be faulted if man has misinterpreted or misused religion to serve his interest, at the cost of others. For that matter, politics and even science have been abused and misused to serve selfish interests of men. Well, this is not the subject under discussion now, though it is, we believe, not an irrelevant digression.
Thyagaraja Swami stresses the point that for a true votary of any religion, there is no division or isolation from the essentials. He stresses again and again, "bedharahita vedanthamu," "matha bedhamuleka" and "dhaiva bedhamuleka" - all of them meaning that there should be no quarrel over deities or denominations. In other words, the seeker after realization should love god equally, devoutly, even when the deity is not the one he or his religion proclaims as the supreme one. His advise to the seeker after salvation is to find the ultimate through purity of thought, humility, compassion, and love for all fellow human beings: and, all that is in one's environment.
Among several kritis in which he asks us to eschew bedhas, differences and differentiations, we will cite only two here: "Krupalavala" in Nadhatarangini -- "Aapavargapala kamamulanu joochi addamai animadi siddhula mosapu chedarayya," - while I seek only mosha, people around are putting stumbling blocks in the way by trying to tempt me with ashtasiddhis and such other ersatz, the fake and the spurious. In "bhajana seyave (Kalyani), he addresses his own mind thus (of course, it is really for lesser mortals like us): "human birth endows one with the capability to learn the significance and secret of naadha, pranava, the seven swaras, the vedas, the mantras, sastras, puranas, etc., comprising the 64 kalas. Why then should one seek pleasure and fulfilment in debates and dialectics instead of seeking moksha - " modakara sareeramethi mukthi margamunu theliyani - vaadha tharkamela."
This emphasis on right, ethical conduct, egolessness, the pursuit of truth and the need to give up purposeless learning, debate and discussion, occurs in many other kritis among which we may cite some of the well known ones like "Manusunilpa Sakthileka pothe" (Abhogi), "Manasu Swadeenamaina (Sankarabharanam) and "Emijesithenemi." If space would permit, we would have been happy to give a full and detailed translation of the entire kritis; kritis which compel contemplation of the meaning for those who seek the ultimate and are not interested in the divisions and spurious attractions on the way to the goal.
In "Emijesithenemi" he says that, whatever one's learning, whatever one's wealth and comforts, whatever the yagas one may have performed, though one may be a great guru teaching esoteric mantras to others, such a one gains nothing, at any rate not Salvation or Grace, unless one gives up kama, moha (desire and elusion) and the like. In "Manusunilpa" and "Manasu Swadheenamaina", he says that irrespective of all and any qualifications, it is the mind which is to be conquered, kept under control and check. In the former - with some sarcasm, he asks, "What is the use of doing pooja, sounding the bell (for others to hear) if one cannot stop the mind (stop procession of thoughts, images, and ideas as Sri Ramana Maharishi states), how does one benefit by a bath in the Ganga or Cauvery if one has not erased the ego; what is the use of thapas if one's mind is full of kama, krodha, etc. Will these protect me?
In "Manasu Swadeenamaina," he categorically states that nothing will prevail one unless the mind is in control. In this song, he says that there is no need for mantras and tantras for the man who has controlled and subdued his mind; there is no need to do thapas for the man who has realized that the body is not the self (dehatmabedha); there is no need to take to sanyasa or adopt different ashramas at different times for the man who has realized that God is everything (Vishishtadwaita: Saranagati and Prapatti); for the man for whom there is no attraction of wealth or woman; for him who knows that everything is blind illusion (impermanent; ephemeral); there is no need for a man to worry about the future if he has taken care of the past and the present through good conduct. Though Swami was well versed in the sastras and puranas (or because of it, he could separate the essential from the inessential), he lays greater emphasis on a simple, truthful, dharmic life and advises us not to attach too much importance to rituals and ceremonies, differences, distinction and debates, learning and preaching. The advise he has given can be followed even by a simple minded, unlearned person, provided he seeks sincerely and with steadfastness.
Nadopasana is bhakthi, worship, and devotion through music. As the article on Thyagaraja’s musical plays pointed out, Sri Thyagaraja Swami used his compositions to energize our inner spiritual forces or nadopasana to attain moksha or salvation in this life. There are several references to nadopasana in Indian musicology, philosophy, and epics. For example, in The Sangita Rathnakara, the opening slokas explain how nada and Kundalini1 are interrelated and how this comprehension is necessary for salvation. Sri Thyagaraja Swami took the first three slokas and composed the following kritis, Nada Thanum Anisam, Sobhillu Saptha Swara, and Nadopasana, using the first, second, and third sloka respectively.
According to Hindu sastras, Naabhi, Hrith, Kanta, Rasana, and Naasa are the sources of sound which originate from the Mooladhara or the inner soul. The recognition of this Mooladharaja naada is itself moksha says Sri Thyagaraja in the Sankarabharanam kriti, Swara Raga Sudharasa. Thyagaraja Swami says "Mooladaraja" naada "Merungutaye mudamagu mokshamura"; the realization of the existence and experience of the sound generated at the base of the spine is itself blissful heaven. Again, in the same kriti, he reiterated this again, "kolahala saptaswaramula gruhamula guruthe mokshamura."
In this connection, it is interesting to note that Sir John Sparrow, in his book titled, Serpent Power, equates Kund alini with endogenous sound. The identification of the correct srutis as the home of the swaras is also important for experiencing moksha or liberation “Saptha Swarmula Grhuhamula guruthe mokshamura.” The worship of pure sound emanating from within you and identifying yourself with it and being in consonance with it is liberation or moksha. This is Nada Yoga.2
Sri Thyagaraja Swami not only stresses the importance of recognizing and developing the ability to experience Mooladhara nada, but also more specifically asks the votaries to practice sangitopasana as a means and prelude to enjoying nadopasana. In his composition, Sribapriya Sangeethopasana in Atana, he conjures up visions of the mind traveling in the swaras - “Sapthaswara Chaari” and melodic ragas manifesting themselves in delightful forms - “Ranjimpa Jesedu ragambulu, manjulamagu navatarambulethi.” He stresses other and nearer terrestrial benefits of sangita gana - “Prema Bhakthi, Sujana Vathsalyamu, Srimath Ramaa vara Katakshamu, Nema Nishta Yasodhanamu” as the rewards of acquiring Sangita Sastra gnana.
These discussions on nadopasana thus point to how Sri Thyagaraja was not only an excellent musicologist conforming to the traditional sastras but who, through simple songs with pristine purity, taught us the nature and purpose of music. Indeed , through sangita he urged us to acquire the wisdom of perceiving Brahman, the intelligence to analyze and experience Him; the diligence to seek Him; and the patience to wait for enlightenment. He described his Rama as an embodiment of Nada. No other composer has in such a simple and appealing ways taught music as art, science, philosophy and ultimately, as a means to salvation.
1 According to Yoga sastras, we humans are a microcosmic image of the universe. This universal energy that each human carries within oneself is the Kundalini. The Kundalini lies dormant until awakened. The object of certain forms of yoga is to awaken this dormant force and to let it lead us to the path of salvation. Liberation, therefore, is unity with the universe from which we originated; the individual spirit becomes part of the universal spirit. It is the highest experience that a yogi to a saint to an ordinary individual is striving to reach. One of the yogic approaches that awakens the Kundalini is the nada or nadopasana or devotion through music.
2 Kritis such as Mokshamu Galada (Sarmathi) and Swara Raga Sudha rasa (Sankarabharanam), Raga Sudha Rasa (Andolika) and Sitavara (Devagandhari) deal with the subject of nada yoga. It is believed that the root of our spinal column, there is a chakra or stahanam (place/location). Starting from here and going up to the crown of a person's head, Prana, passes through knots or granthis. There are three knots, Mooladhara Kshetra, Manipoora or Vishnu Granthi and Agnya chakra or Rudra granthi. The path, sound takes through these granthas is called srotha. And, the practice of taking the sound to the prana and achieving liberation is called nada yoga.
As A Poet
Thyagaraja Swami’s compositions are described as poetry set to music. He was the only poet among our composers. He has considerably enriched Telugu literature of the 19th century. He has composed verses of every known kind from simple kanda padyams to the more elaborate and complex varieties. Among the verses, both introductory and invocatory, appearing in the two operas or song dramas are Seesa padyams, Utpalamalas, dwipadis, sardhoola vikruditham and kandapadyam. There are over 160 padyams in all between the two Gaya Natakas – Prahlada Bhakthi Vijayam and Nowka Charitham.
It is said that Swami composed a third natakam by name Seetharama Vijayam. This claim is made by Professor Sambamurthy and others based on a license granted to one Wallajapet Loka Narayana Sastrulu for printing a poetry drama, Seetharama Vijayam at Gnanabhanu Achukootam, Choolai, Madras. Professor Sambamurthy and his team of dedicated students did their best to locate this press but without luck. Either the work was never printed or the manuscript was lost. Professor Sambamurthy and other scholars believe that the kritis, “maa Janaki” in Kamboji and “Varnaja Nayana” in Kedaragowla belong to this opera and that these two songs depict sambandi kelikkai.
The greatness of Swami’s poetic skill is in that all his verses and songs can be read as prose and do not need to be rendered into prose form or anvaya. The lakshanas (attributes) of pure poetry are all there and so they can be read with meter and prosody with equal felicity. Another noteworthy skill is his mastery over dwitiyakshara prasa or prosody based on the second letter of the opening word in each line. Ha, Ksha, and similar dwitiyaksharas are handled with amazing ease and fluency. “Kaddana Variki” (Thodi), “Gruhabalamemi” (Revagupti) and the only Tisra Triputa kriti, Lalgudi Sthala kriti, “Mahita pravruta Sreemathi” (Kamboji) are good examples.
His description of the Yamuna, with the gopis sporting; of the Kaveri as it flows from the hills and dales; his description of Thiruvayyaru” reflect his poetic skill and imagery, both in Telugu and Tamil. His Satodalankara too is marvelous; in creating an onomatopoeic effect. This skill, one could say, he had acquired by his study of Pothana - “Kala kala mukha kala sokkuche palukulolam ruthamu lolikadu swamiki” in Gandhamu Poyyagara (Punnagavarali) and the charana of the Saranga kriti “Emi deva balkuma” creating a battle scene effect.
Swami has used parayayanams or synonyms very skillfully in narrating the Ramayana. Basing the progress of the story on the Lord’s feet, hands, weapons, eyes, etc., the story is told from Viswamitra yoga Samrakshanam to Pattabishekam.
To give an example, the parayayanams “angrulu, kalyu padamulu” and “charanmulu” are used to say “when am I going to see the feet that walked beside Viswamitra; the feet which made Ahalya come back to life; the feet which pressed and broke the Shiva dhanus and the feet which Janaka washed with milk at the wedding. The story then moves from yagasamrakshanam to Sita Swayamvaram (Please also refer to the kriti Vinayamunu in Sowrashtram). Some people use this as daily parayanam of the full Ramayana.
Swami has used words and combination of words of his own creation. This needs some examination to be fully understood. For example, in the divyanama kirtana “Manasa Sancharare” (Punnagavarali), he uses the word “bharye” to mean Chandra. This is derived from “ba” Nakshartram and “arya” or leader or the great one; meaning “sreshta” indicating here the moon. Hence “mukhajita bharye” for mukhajita soma or Chandra. In the adamantine kriti “RamanSalaam Brova”, he uses the expressions, yantha, bantha, nishantha – to mean Ramachandra. This is arrived at by “yantha" or the letter after "ya" that is "ra" in bhantha; the letter after "bha" is "na" and "nisantha" meaning dispeller of darkness (the moon). This explanation was provided by His Holiness the Paramacharya of Kanchi Mutt when his clarification was sought. He explained that Swami was well versed in mantra sastra also where such techniques are employed to guard the secret and sanctity of the mantras.
Nava Rasas and Proverbs in his compositions
Emotions: To justify his being hailed as one of the foremost poets of his time, Thyagaraja Swami has brilliantly captured all rasas in his compositions. Many people think that studying Swami's kritis means only listening to long faced and serious aphorisms and homilies. Few know that he has used Sringara (Romance), Soka (Sorrow), Saantha (Tranquil, Peace), and Haasya (Humor)with equal felicity.
Before him and indeed even after his time, Mukhari was used only for the sokha rasa; but Swami proved that this need not be so, by using Mukhari to produce Haasya or humor in the kriti, Chinthisthunaade Yamudu. The description of the dowwarika in the music drama, Prahlada Bhakthi Vijayam, is full of hasya. In the kriti, "Vasudevayani Vedalani" (Kalyani), while describing the entry of the dowarika, he says "Mati Matikini Meesamu duvvi, manmatha roopudu thanani krovvi, dati dati paduchuna" is hilarious. Translated, it shows the ridiculuous behavior of the Dwarapalaka. He is walking here and there, twirling his moustache, posing as if he is Manmata (the God of Love and Beauty), jumping here and there and talking and laughing to himself posing like a handsome guy.
One of the scholars studying the Nowka charithram, responding to the criticism of Thyagaraja by some purists about the excessively sringara rasa ra in this drama, says that Sri Swami has walked the razor edge in keeping strictly in ethical and moral values and his srungara rasa. Unlike Jayadeva, Thyagaraja did not step outside the canons of decency. Whatever the rasa employed, the ultimate objective is bakthi and rasas have been employed only to emphasis the need for Bhakthi.
Proverbs: Thyagaraja Swami also uses a number of proverbs in his compositions to emphasize the underlying meaning in his compositions. Here are two examples:
1. To test a pot of rice in order to find out if it is well cooked, he cites the familiar proverb in Tamil - "Oru paanai sothukku oru soru padham" - in the Mohanam kriti "Maati Maatiki". To know my sincerity, Rama, do you need me to plead again and again? Is not one sincere pleading adequate? Do experienced individuals test every rice before finding it is cooked? How many times do I need to plead to you before you would bless me?
2. "Rock the cradle and at the same time pinch the baby." In the Atana kriti, "Atla Baluguthu", he says, "Atla baluguthu, nitla baluguthu" "Thotla narbagula Noodhuvu mari mari Thosi natulu killudhuvu Srirama". You will talk one way and then you will talk the other way. What can I do? You will rock the cradle to make the child sleep and then you will also stealthily pinch the kid." These lyrics are not only examples of the humor employed by Thyagaraja Swami but also the utter devotion, bhakthi and the personal oneness that shows with his deity, Sri Rama.
3. "In an attempt to make an idol of Ganesha, we end up making the figure of a monkey." In the Evarito ne delpudu" (Manavagthi", Thyagaraja Swami says, "Gananadhu Jeya Goraka kaduva narudai dheeraka"; I am constantly doing bhajana in your name and yet I am turning out to be not saved and am ending up as something else. Rama, won't you save me?"
These are a few example of many such proverbs that Thyagaraja Swami uses in his kriti to bring forth his true emotions and purpose behind a composition.
"On Knowledge"
About knowledge, Thyagaraja Swami says that it is not worth acquiring knowledge which does not improve the quality of man. A very well read man who has not benefited from his erudition and knowledge is an ass that carries a load of books. Humility and vinaya is essential for spiritual progress.
About which path to tread for enlightenment, he says that all paths of discipline, humility, love of God and environment lead to salvation. The replacement of the six enemies which haunt us are: desire, hatred, miserliness, attachment to ephemeral values, egotism, and acquisitiveness. The six gunas that we must acquire are: sama or equanimity; dharma or self control; titiksha or willingness to bear suffering; uparati or looking away from evil; sradha or dedication; and samadhana or satisfaction. These six gunas help us attain liberation from bondage. The happiness one person derives from taking one kind of food is no better or worse than the happiness of another person eating another kind of food.
All schools of philosophy are good, provided the fundamental qualities of genuine love and dedication, compassion and understanding are practiced. This thought is expressed in Anuragamuleni in Saraswathi. In this kriti, Thyagaraja Swami says that you can acquire all the knowledge in the world. But, if an individual does not have bhakthi, he would not develop good qualities. the peIn "Endaro Mahanubhavalu" Swami mentions the different ways of attaining liberation. "Bhagawata, Ramayana, Geethathi, Sruthi Sastra Puranabu mamula Sivadhi Shanmathamula Gootamula Muppadhi Mukkodi Surandarangamula Bhavamula Neriki Bhavaraga Layadhi Sowkyamulche Jiravuyal Kaliki Niravadhi Sugathmulai". Freely translated, it says that there are several ways to attain knowledge and linberation. By learning the Bhagavatham, Ramayanam, Bhagawath Geetha, the Srutis, and Puranas; by finding out the secrets hidden in the six religions (shanmatha); by finding the inner meaning from the Devas and so on. But, the easiest way to obtain knowledge is bhakthi and sangeetha.
He explains why he chose Rama Nama as Taraka mantram for japam in his kriti, "Saaramegani Anya Marga Vicharamatike" (Panthuvarali). In this kriti, he refers to Sivas advise to Parvathi (familiar to all those who recite Vishnu Sahasharanamam) that by reciting Rama's name thrice, one may attain the benefit of repeating the hymns a thousand times. In the Thodi kriti, Endu DAginado (Rama! Where are you hiding?), he says, "that it has become the practice and play of the Lord to hide himself before saving his devotees and wonders where he is hiding today to save Thyagaraja. Perhaps, he hid behind the seven trees to help and save Sugriva. Perhaps, he hid himself in an iron pillar to save Prahalada (Prahladhu goraku kambamulo palanundagaledha).
On Prayer
Aldoux Huxley classified prayer into petition, intecession, mediatation, and contemplation. Of these, petition, he said, was the lowest form of prayer; intercession the next best; mediation still higher and contemplation, the ideal. This closely follows Sri Thyagaraja Swami's views on prayer. In the kriti, "Mari Mari Ninne" in Kamboji, he refers to the bhakthis of Gajendra, Druva, and Prahalada. Gajendra merely wanted to be physically saved (tamasika bhakthi). Druva wanted a boon which was almost asking for revenge or taunt his step mother and weak father - Rajasika bhakthi. Prahlada who merely wanted his father to know the omni presence of God Stavika bhakthi. In the Devamanohari kriti, "Kanni thandri Naapai, " Swami says people will just continue to do what they have been doing day in day out without realizing that man is his own friend or foe; the friendship and strength being derived from control of the senses, thereby stressing the point that the human mind is a very powerful instrument which if tame and properly utilized, can lift man up from sorrow. He tells us that all rituals are directed towards this sure method of obtaining control of the mind but that such control can only come from concentrating on the purpose of the ritual.
Perfunctory performance of ritual will give no benefit. Two kritis explain this. In "Telisi Rama Chinthanatho" (Poorna Ravichandrika), he draws attention to the dual meanings of words and says that what the mind is meditating on is more important than words itself. Rama means woman and also Brahman; Arka means the sun god and a poisonous plant and Aja means Brahma or goat. So, just chanting Rama nama without at the same time benefiting your mind with the right image in your thoughts is of no use.
Another important ingredient of prayer is love of God and fellow human beings. In "Rama Neeyeda" (Karaharapriya) and "Smarane Sukhamu" in Janaranjani, he stresses this point. In the pancharathna kriti, "Sadinchene" in Arabhi, he refers to this and says "boidnchina sanmarga vachana mulu bonku chesi" meaning that God falsified his own teaching which means that he falsified what you believed was an invulnerable situation for yourself.
Rituals and Religion
Frequently one hears the largely justified accusation that religion has failed to make man, moral or compassionate and that, it has divided man from man. All religions give us some code of ethics; of love of fellow human beings and all creatures. Religion cannot be faulted if man has misinterpreted or misused religion to serve his interest, at the cost of others. For that matter, politics and even science have been abused and misused to serve selfish interests of men. Well, this is not the subject under discussion now, though it is, we believe, not an irrelevant digression.
Thyagaraja Swami stresses the point that for a true votary of any religion, there is no division or isolation from the essentials. He stresses again and again, "bedharahita vedanthamu," "matha bedhamuleka" and "dhaiva bedhamuleka" - all of them meaning that there should be no quarrel over deities or denominations. In other words, the seeker after realization should love god equally, devoutly, even when the deity is not the one he or his religion proclaims as the supreme one. His advise to the seeker after salvation is to find the ultimate through purity of thought, humility, compassion, and love for all fellow human beings: and, all that is in one's environment.
Among several kritis in which he asks us to eschew bedhas, differences and differentiations, we will cite only two here: "Krupalavala" in Nadhatarangini -- "Aapavargapala kamamulanu joochi addamai animadi siddhula mosapu chedarayya," - while I seek only mosha, people around are putting stumbling blocks in the way by trying to tempt me with ashtasiddhis and such other ersatz, the fake and the spurious. In "bhajana seyave (Kalyani), he addresses his own mind thus (of course, it is really for lesser mortals like us): "human birth endows one with the capability to learn the significance and secret of naadha, pranava, the seven swaras, the vedas, the mantras, sastras, puranas, etc., comprising the 64 kalas. Why then should one seek pleasure and fulfilment in debates and dialectics instead of seeking moksha - " modakara sareeramethi mukthi margamunu theliyani - vaadha tharkamela."
This emphasis on right, ethical conduct, egolessness, the pursuit of truth and the need to give up purposeless learning, debate and discussion, occurs in many other kritis among which we may cite some of the well known ones like "Manusunilpa Sakthileka pothe" (Abhogi), "Manasu Swadeenamaina (Sankarabharanam) and "Emijesithenemi." If space would permit, we would have been happy to give a full and detailed translation of the entire kritis; kritis which compel contemplation of the meaning for those who seek the ultimate and are not interested in the divisions and spurious attractions on the way to the goal.
In "Emijesithenemi" he says that, whatever one's learning, whatever one's wealth and comforts, whatever the yagas one may have performed, though one may be a great guru teaching esoteric mantras to others, such a one gains nothing, at any rate not Salvation or Grace, unless one gives up kama, moha (desire and elusion) and the like. In "Manusunilpa" and "Manasu Swadheenamaina", he says that irrespective of all and any qualifications, it is the mind which is to be conquered, kept under control and check. In the former - with some sarcasm, he asks, "What is the use of doing pooja, sounding the bell (for others to hear) if one cannot stop the mind (stop procession of thoughts, images, and ideas as Sri Ramana Maharishi states), how does one benefit by a bath in the Ganga or Cauvery if one has not erased the ego; what is the use of thapas if one's mind is full of kama, krodha, etc. Will these protect me?
In "Manasu Swadeenamaina," he categorically states that nothing will prevail one unless the mind is in control. In this song, he says that there is no need for mantras and tantras for the man who has controlled and subdued his mind; there is no need to do thapas for the man who has realized that the body is not the self (dehatmabedha); there is no need to take to sanyasa or adopt different ashramas at different times for the man who has realized that God is everything (Vishishtadwaita: Saranagati and Prapatti); for the man for whom there is no attraction of wealth or woman; for him who knows that everything is blind illusion (impermanent; ephemeral); there is no need for a man to worry about the future if he has taken care of the past and the present through good conduct. Though Swami was well versed in the sastras and puranas (or because of it, he could separate the essential from the inessential), he lays greater emphasis on a simple, truthful, dharmic life and advises us not to attach too much importance to rituals and ceremonies, differences, distinction and debates, learning and preaching. The advise he has given can be followed even by a simple minded, unlearned person, provided he seeks sincerely and with steadfastness.
Tyagaraja
Sri Tyagaraja Swami
(1767 - 1847 AD)
Tyagaraja (Telugu: శ్రీ త్యాగరాజ; d. 1848) was one of the most important composers of Carnatic music. He is regarded as one of the "trinity" of Carnatic music composers, along with Muthuswami Dikshitar and Syama Sastri. He was a devotee of Rama.
Sri Tyagaraja, the most celebrated Carnatic Music saint was a great devotee of Lord Sri Rama. Tyagaraja lived to the full extent that God realization is best achieved through Nadopasana (music with devotion). His songs are filled with an intimate devotion to Rama, all through revealing his deep understanding of the tenets of the Vedas and Upanishads.
Saint Purandaradas is considered as the grandfather of Carnatic Music. Sri Tyagaraja, along with Muthuswami Dikshitar and Syama Sastri are considered as the "Trinity of Carnatic Music." Sri Tyagaraja has composed more than 800 songs in his long devoted life to Lord Rama, most of them written in his Mother tongue Telegu, but a few in Sanskrit, including the masterpiece "Jagadanandakaraka" composed of 108 names describing Lord Rama's attributes. But, his songs are well loved in Tamil Nadu, the seat of South Indian (Carnatic) Music scholarship and performance.
Biography
In Thiruvarur in the Thanjavur district of present-day Tamil Nadu, in the Hindu lunar year Sarvajit 27th Soma, on Chaitra Sukla Sapthami, the 7th day of the bright half of the Hindu month of Chaitra, under the Pushya nakshatram [star], that is on May 4, 1767, a son was born to Kakarla Ramabrahmam and his wife Seethamma. According to another tradition, the year of his birth was 1759.
The boy was named Tyagaraja, after Lord Tyagaraja, the presiding deity of Thiruvarur. Tyagaraja's father Rama Brahmam taught him to worship Rama daily and initiated him in Rama taraka mantra. Even as a boy, Tyagaraja composed his first song on Rama, Namo Namo Raghavaya when he was only 13 years old. Sri Tyagaraja continued to recite the Rama Nama every day and had many darsans of Sri Rama, which inspired him to write songs on his beloved Lord, Sri Rama. His maternal grandfather, Giriraja Kavi, at whose residence in Tiruvarur Thyagaraja was born, was a poet-composer attached to the court of Thanjavur. The family was a pious Telugu-speaking smartha brahmin family of the vaidiki Mulukanadu sub-caste. They are said to have hailed from a village named Kakarla in the Prakasam district of present-day Andhra Pradesh, but had long been settled in Thiruvaiyaru in the Thanjavur district of present-day Tamil Nadu, which is the scene of the life and work of the great composer.
At 18 years of age, Tyagaraja married Parvati, who died when he was only 23. He then married Kamalamba (sister of Parvati). They had a daughter named Sitamahalakshmi, through whom he had a grandson, who died progeniless. Seetalakshmi's only child, also named Tyagaraja, died at a young age; with that, the line of direct descent from Tyagaraja came to an end.
Thus we do not have any descendant of Saint Tyagaraja. But, his tradition is kept alive by his musical disciples and their followers.
Thyagaraja had an elder brother, Japyesa, whose descendents still abide in the same area of Tamil Nadu. Japyesa is often made the villain in stories about Tyagaraja, in the role of the brother who could not understand Tyagaraja's devotion to Sri Rama, a characterization that smacks of caricature and may well be inaccurate. Thyagaraja attained release from the material world on Pushya Bahula Panchami, the fifth day of the dark half of the month of Pushya, in the Hindu lunar year Prabhaava (January 6, 1847).
Tyagaraja started his musical training under Sri Sonti Venkataramanayya at an early age. Tyagaraja regarded music as a way to experience the love of God. His objective while performing music was to repeat the name of God and contemplate on His Divine Pastimes, thereby reducing the vices of the mind, not to display his mastery over Raga and Tala. He had to struggle quite a bit to compose music in which Bhava, that is, emotion, was crowned. (He always felt that Bhava was not to be compromised for Raga and Tala). The legend goes that he was blessed by the divine sage Narada with great musical knowledge.
Being a great devotee of Lord Rama, the only things that mattered to Tyagaraja were Music and Bhakti. In fact, they were synonymous to him. "Is there a sacred path than music and bhakti?". "O Mind, salute the gods of the seven notes". "The knowledge of music, O Mind, leads to bliss of Union with the Lord". Music was to him the meditation on the Primordial Sound:
"I bow to Sankara, the embodiment of Nada, with my body and mind. To Him, the essence of blissful Samaveda, the best of the vedas, I bow. To Him who delights in the seven swaras born of His five faces I bow".
Sri Tyagaraja had the highest reverence for great bhakthas like Prahlada, Dhruva, Hanuman and Narada. Sri Tyagaraja's life is an illustration to the dictum that music and devotion combined make the best path to the understanding of the Supreme Brahman.He is said to have sung Sri Naarada Mouni, a song in praise of Narada, on this occasion.
Career
As a 13-year-old, he composed Namo Namo Raghava in Desikathodi. Much later in life, his guru, Sonti Venkataramanayya, wanted to listen to Tyagaraja's new talent and invited him to perform at his house in Thanjavur. On that occasion, Tyagaraja presented Endaro Mahaanubhavulu(ఎందరో మహానుభావులు), the fifth of the Pancharatna Krithis.
Intensely pleased with Tyagaraja's song, Sonti Venkataramanayya told the king about the genius of Tyagaraja. The king sent an invitation, accompanied as was traditional with many rich gifts, to Thyagaraja, inviting him to grace the royal court. To the unworldly Tyagaraja, the prospect of wealth or fame was no incentive; he clearly had no inclination for a career life at court, which doubtless in that age, as in every other, entailed petty rivalries and jealousies. He rejected the kings invitation outright, composing another gem of a kriti, Nidhi Chala Sukhama on this occasion.
Angered at his rejection of the royal offer, Tyagaraja's brother took revenge by throwing his idols of Rama Pattabhisheka in the nearby River Cauvery. Tyagaraja, unable to bear the separation with his Lord, made a pilgrimage to all the major temples in South India and composed many more songs in praise of the deities of those temple. He is said to have finally found the idols with the help of Rama himself. Tyagaraja attained Moksha on a Vaikunta Ekadasi.
At another time, he sang at the request of his guru, beginning at 8 p.m. and finishing only at 4 a.m. Serfoji Maharaja heared of his performance and invited him to visit the temple to be rewarded, but Tyaagaraaja rejected the offer, singing "Nidhi caala sukhama?" in kalyaaNi, which means Does abundance of wealth bring happiness? The king realized his mistake and visited the saint-composer, who cured him of a stomachache.
In 1805 Tyaagaraaja lost an idol of Raama, thrown into the river Cauvery by his brother, but got it back after 3 months. When he lost the idol, he sang sadly "Endu daagi naado," Where has He gone and hidden Himself? Tyaagaraaja usually went from street to street singing and begging for rice. Once a sage named Haridas asked him to recite the name of Raama 960 million times. After doing so, Tyaagaraaja went to offer his prayer when he heard a knock on his door. Raama, Seeta, and Hanumaan were entering his prayer room and he was blessed to see the coronation of Raama. Moved with wonder and devotion, he sang "Baalakanagamaya" (the anupallavi of the kritis "Ela nee dayaraadhu" and "Bhavanuta"). In 1810 his daughter was married, and his disciple WalajapeTTai Vekataramana Bhaagavatar brought a picture of Raama, walking all the way from WalajapeTTai to Tiruvaiyaar. Tyagaraaja sang "Nannu paalimpa," overwhelmed by this act. Once he visited Tirupati, but when he went to the temple, it was closed. In sadness, he sang "Teratiyagaraadaa" and the temple officials gathered round in admiration when they saw the dorr opening by itself and the screen falling aside. He sang "VenkaTEsha ninu sEvimpa" in his happiness at seeing the Lord. Tyaagaraaja's compositions include the Ghana Raaga Pancaratnam (5 gems) in raagams naaTTai, gowLa, aarabi, shreeraagam, and varaaLi, his most famous and scholarly contributions to Carnatic music, and he delighted in singing them. At the request of KOvoor Sundaram Mudaliaar, he sang the 5 kritis of the KOvar Pancaratnam. When he visited TiruvOTTiyoor at the request of his disciple Veenai Kuppayyar, he sang the TiruvOTTiyoor Pancaratnam. At the invitation of his disciple LaalguDi Raamayya, he composed the LaalguDi Pancaratnam. He also composed the Shreeranga Pancaratnam in praise of Ranganaata of Shreerangam and 5 kritis in praise of Sage Naarada.
His ideas in the field of Rama-bhakti have their literary antecedents not only in the Valmiki Ramayana, his familiarity with whose details is clear from many a song, but in the Ramanadiya school, the Adhyatma Ramayana, the Adbhuta Ramayana, and the connected stories, beliefs and ramifications, such as the hundred-head Ravana, referred to in two pieces, Sri Jamakatanaye in Kalakanti and Dehi tava pada in Sahana, the Seeta carried away Ravana being a shadow Seeta, referred to in Majanaki in Kambhoji and Siva imparting the Rama taraka nama to everyone visiting Kasi; in fact this last idea of Siva glorifying Rama and his name is vital to his songs, for it is on the basis of Tyagaraja meaning both Siva and himself that he has used the Tyagaraja mudra in his songs. Two other significant facts may also be mentioned here; the first bhakta to be saluted by Tyagaraja in his Prahlada Bhakti Vijaya is Tulasidas; and even when he speaks of Valmiki's Ramayana, as in his Isamanohari piece, Manasa Sri Ramachandruni, which draws our attention to chapters three and six of the work, Tyagaraja really means the Adhyatma Ramayana.
Remembrance and celebration
Having composed an innumerable number of keerthanas (songs) that explored all the possibilities within the rules of the Carnatic music tradition, Tyagaraja is truly regarded as the cornerstone of Carnatic music.
To this day, a commemorative music festival called the Tyagaraja Aaradhana is held at Thiruvaiyaru in the months of January to February every year. In the US, there is a Cleveland Tyagaraja Aradhana held in Cleveland, Ohio every April. There is also a Chicago Thyagaraja Utsavam. Usually, dozens of Carnatic musicians preside and perform in this festival. With the large influx of Indians in the United States in the late 20th and early 21st century, many other cities in the USA with large Telugu/Tamil/Kannada populations now regularly hold the Tyagaraja Aradhana festivals every year.
The Musical Plays or Operas
Saint Thyagaraja’s contribution to music includes, in addition to his composition, the Uthsava Sampradaya kirtanas and the Divyanama kirtanas. These two are examples of classical Carnatic music in their pristine purity. Not folk music, but common classical music is the substance of these compositions.
Saint Thyagaraja also created two musical plays, commonly called operas. However, I call them music plays as neither Geya Nataka nor opera seems correct and appropriate. Prahlada Bhakthi Vijaya, a play without Hiranya Kasipu or Narasimha, has some 48 songs and over 120 padyams. It has in addition, invocative, descriptive and introductory gadyas, choornikas, and other forms of prose passages of great merit. Nowka Charitha, the other play is equally fascinating and once again a creation without any basis derived from Bhagavatham. This play has 21 songs and many padyas and gadya passages. Swami's poetic genius is brought out vividly in these plays and the language he has used in some of the lengthy passages highlight this opinion.
Magnum Opus
Some scholars believe we have inherited only the less important natakas of the Swami and that the magnum opus is missing or are available only in fragments, awaiting some scholar to put the pieces together. In support of this view, they mention that in 1876, a printing license was issued to a Loka Narayana Sastrulu of Wallajahpet, to print “Seetha Rama Vijayam” by one Thyagaraja Brahmam of Tiruvayaru. They cite the kritit Eppaniko in Asaveri, where the saint refers to his desire to write the Ramayana in song and ask whether after such a statement, he would have failed to carry out what he considered his mission. One scholar in urging researchers to look for and put together the songs to make the sampoorna Ramayana drama suggests, that Ma Janaki was sung in the drama by Janaka; Rara Seetha Ramani Manohara by Soorpanaka; Sri Rama Padama by Gauthama and so on. Of course, there is nothing more than belief to justify this view. Prof. Sambamurthi, who made great efforts to locate the press in Choolai, Madras, mentioned in the printing license gave it up in despair. He however, suggested that Ma Janaki in Khamboji and Vanaja Nayana in Kedara Gowla were songs from Seetharama Vijayam, the songs representing “Sambandhi Kelikka” or benign taunting of the sambandhis by groups belonging to both sides.
While the bulk of the songs are in praise of Rama and a few on other deities, there are numerous songs on ethics and morals, worldly wisdom, mental control etc. One important group of songs is those based on his study of the Sangita Sastras and his practice of Nadopasana. Some composers have made passing reference to the occult and mystic aspect of nada, sangita, and swara, but it is only the Sadguru Thyagaraja Swami, who has left nearly 25 songs on the origin (divine) structure and purpose of music and how the knowledge of Sangita could by itself offer liberation from bondage of the cycle of birth and death. As Mr. T. S. Parthasarathi says, arranging these kritis in the order of their subject matter, one can create a text book on the subject of Nada upasana, Sangita upasana, and attaining moksha in this life itself. A discussion of these kritis is matter enough for a separate paper, and so I shall content myself with briefly mentioning some of the songs and their appropriateness. Such a list would include songs such as: Nadopasana, Mokshamau Galada, Seethavara, Sangita Sastra Gnanamu, Sobhillu Sapthaswara, Nada Thanumanism and Swara Raga Sudharasa.
The importance of these and other songs and how Sri Thyagaraja Swami used his compositions to energize our inner spiritual forces and attain moksha in this life are discussed in the article “Nadopasana for Salvation.”
The Messenger of Rama
Saint Thyagaraja’s life and kirtanas are the heritage of Indian culture expressed in classical Carnatic music. This heritage can be described as the eternal verities of divinity. His contribution to posterity is at once devotional, religious and philosophical. His songs are frozen melodies intuited in the inspired depths of a saintly soul. His way of life was illumined by rock-like bhakti, invigorated and sustained by his unshakable faith in Rama. A true understanding of Sri Thyagaraja’s kirtanas serves to deepen the purpose of our existence.
The centre of Thyagaraja’s existence and the summit of his aspirations was to experience in every breath the bliss of Rama bhakti and thereby gain a vision of his Ishta Devata. In many of his songs, this longing finds eloquent expression. The dimensions of his music include not only sangita sastra, but also contain a core of spirituality. It is because of this great quality that his compositions, like the Atman, endure. The consummation of spirituality in his songs is really the Voice of the Eternal.
Through the apertures of his songs, the depth of his bhakti is revealed. The inspirational potentialities of his kirtanas to lead a sincere votary in the bhakti marga are infinite, because every song breathes the fragrance of one aspect or other of the nava vidha bhakti. It is only a devotional approach to Sri Thyagaraja that can unlock the treasures of his spirituality.
Sri Thyagaraja’s life was a confluence and symphony of three streams – spirituality, saintliness and sangita and the harmony of these find spontaneous self-expression in every syllable of his sahityas. The divine words come vibrating from his soul. To describe them as kirtanas would be superficial for his utterances are authentic revelations of what he directly experienced. They comprehend the one and only purpose of music, that is, moksha sadhana. The value of his music is instrumental, a means, but the goal is intrinsic, to lay one’s soul at the feet of Sri Rama.
The greatness of Sri Thyagaraja is the way he linked the human to the divine. What is the saint’s message to humanity? Aspiration is human. Grace is divine. Only through God’s grace can one realise his aspiration, bhakti in the case of a saint. The ascent of human aspiration has to be facilitated by the descent of divine grace. The echoes of this Truth reverberate in many of his songs. The saint has emphasised that man in samsara is like one who has lost one’s identity, lost track of his goal of existence and is in a trance. Through his kirtanas, Sri Thyagaraja has taken on himself to guide, admonish and appeal to erring humanity. His songs give a thrust to open man’s inward eye.
Sri Thyagaraja with his rich gift of felicitous expression in his sahityas, takes us to the very empyrean of poetry. His is the greatest single achievement in music – the most perfect pieces of musical compositions existing in the world. The astonishing vigour and reach of his music touch our hearts and address strongly our admiration. Sahityas fall from his lips full of wisdom and devotional fervor. The most moving songs owe their composition to particular incidents and the state of his mind. The process of his creations are far beyond our comprehension. But the product is before us, each a jeweled beauty.
While all his kirtanas are soulful, Sri Thyagaraja has outclassed himself in his Pancharatnas where he is at his greatest and perhaps touched the pinnacle of Carnatic music.
The fusion of lyrics and melody, the fusion of bhakti and sangita form the very essence of his songs. The melody and sahityas are outwardly distinct, the depth of spirituality is embedded in them. One can well discern from the effusion of his songs that his was not tame bhakti but heroic bhakti. A consideration of the diction in the Pancharatnas and other songs shows that Sri Thyagaraja was not after tricks of rhetoric or a fondness for word play.
In all his compositions, Sri Thyagaraja’s style shows a greatness of manner which marks him as a vaggeyakara par excellence. The outward form and inner meaning is so well meshed that the kirtanas remain unexcelled. At Sri Thyagaraja’s hand each song, each raga gains individuality and in every one of them is reflected the working of a bhakta’s yearning in his soul.
While hearing a Thyagaraja song we are introduced to a world of divinity and each syllable, the pulse of bhakti beats strongly. The sublime relations between the human and the divine, which lie beyond our comprehension find an eternal place in his kirtanas.
We recognise in Sri Thyagaraja a master spirit combining in himself the bhakti of Prahlada, the music of Narada and the vakpatutva of Valmiki. Sentiments are passionate, his reflections on music and life profound. His works therefore stand apart in the history of vaggeyakaras.
His Contributions to Raga Lakshana and Musicology
Thyagaraja Swami had made significant contributions to raga lakshana, raga lakshya, and raga swaroopa, or in general, to the development of musicology. A support for this claim is provided to us by Sri A. Vasudeva Sastry of the Saraswathi Mahal Library, in a book titled “Ragas”. The Ragas study examines the manuscripts of Sahaji, who died in 1710, about sixty years before Swami was born. After analyzing the work of Sahaji and all the materials available on raga lakshanas, Sri Vasudeva Sastri concludes that thirty of the 72 melakarta ragas were given a raga swarupa and acquired their ranking solely from Saint Thyagaraja Swami giving them these qualities. Quoting from Madikeswara Samhita, a work on srutis of which only extracts are now available, Sastry points out that 12 swara moorchanas were in existence and Swami used it to give Karaharapriya great charm in his composition, Rama Nee Samana mevaru. Quoting the sangatis of this composition in great detail, Sri Vasudeva Sastry points out that the “closed curve” melodic effect which can be got by the vadi-samvadi usage.
As it is believed, Swami created many new ragas. Many scholars however believe that he activated or unearthed many ragas which has been labeled and were lying dormant because their lakshanas or characteristics were not defined in clear terms. However, the fact that only one composition exists in a certain ragas and these compositions have been composed in these ragas only Sri Thyagaraja Swami lends credence to the claim that ragas like Pratapa Varali, Nabhomani, Jaya Narayani and many others, were Swami’s creations.
Similarly, sangatis or usages that enrich the musical context of a kriti, are mostly found in Swami’s compositions. Although some scholars point out that sangatis are as old as music itself and were known under the name prayaogas. However, since they became widely used only through the kritis of Swami, it will not be wrong to assume that sangatis were Swami’s innovations. He used sangatis to bring out the raga bhava or their fundamental characteristics.
Mrs. Vidya, in an excellent paper presented to the centenary session of the Madras Music Academy (Swami’s death centenary), has used a number of examples to illustrate how Swami used sangatis to highlight the use of right srutis. He used these also in kritis intended for children so that they can learn the sruti values early and by understanding the proper imitation of the instrument or voice teaching them. Let me point out one example provided by Mrs. Vidya. In the kriti, Mariadagadura (Sankarabharanam), she points to the numerous sangatis used in the pallavi and shows how the tri-sruti gandhara of Sankarabharanam is deftly handled by Swami. Both Sankarabharana and Kalyani have the same gandharas in their structure but Kalyani use the Chatursruthi and the note clings to the Madhyama. She also points out how the sahitya splits perfectly into the right tisra syllables and how the visesha prayoga, Sa Da, Pa in the sangatis just preceding the complete avaroha brings out the bhava.
Mrs. Vidya also says that by using a deerga daivata, Swami has skillfully managed to bring out the raga bhava of Kambhjoji in Evari Mata, although he uses only the swaras common to Sankarabharanam and Khamboji. The commencement of the charana of this song also brings out the value of Khamboji’s deerga daivata prayogam.
Often, when using a new raga, Swami employs the arohana and avarohana in the opening phrase itself. For example in Binna Shadjam, raga derived from the ninth mela, Dhenuka, the opening words Sari Varilona, fit in with Sa Ri Ga Ri Pa Ma Pa Da Sa Da Pa Ma Ri Ga Ri Sa. The opening phrase in Evaraina lera peddalu (Raga: Siddha Sena), the notes are Sa Ga Ri Ga Ma. Take Bahudari, is there a more appropriate characteristic phrase than Pa Da Ni Pa Ma Ga?
When employing vivadi swaras, Swamiji makes sure that the vivadis occur in the opening phrase itself, e.g. Paramatmudu in Vagadheeswari; Evare Ramayya in Gangeya Bhushani. Even for an ancient and well known raga like Bhairavi, he uses common swaras to great effect. For example, in the short rupaka tala kriti, Upacharama Jese Varu, he opens with Ri Ma Ga without the slightest trace of Karaharapriya. The chatsruthi rishabha of Karaharapriya is aligned to the Madhyama, a fact so well demonstrated. Karaharapriya and Hari Kambhoji are Swami’s gifts to Carnatic music. The Tana Sampradaya Kirtanas and indeed even the simple rhythmic ones teach the ease with which all or most of Swami’s songs fall into the sarva laghu ,in addition to demonstrating the scope of the raga alapana, swara singing paddathi and neraval. Koluvayyunnade in Bhairavi and Kori Sevimparare in Karaharapriya are examples.
Other examples of where Swami had used sangatis to bring out the raga bhava 'include: Najeevadhara, Chetulara Srungaramu, Thappi Brathiki Brova Tharama; in these compositions, the sangatis are in the passage containing the message of the kriti. In the Pratapa Varali song, Vinanasa Koniyannanu, the phrase Da Pa Sa is used for Aa Aa in words to emphasize that Swami wants to not only have sweet words, but to also as he says “Madhuramaina Palukulu,” the sweet words that Vathathmaju (Anjayaney) and Bharatha heard.
The compositions of Sri Thyagaraja Swami make the largest contribution to our knowledge of Carnatic music today. In volume and variety, no other composer has given us so much material covering so wide a range of ragas, their lakshanas, that allows singing even by those with limited voice range and limited music knowledge. Examples are: Jaya Jaya Sri Raghu Rama, in Mangala Kaisiki which any one can sing (even little children), Naa Jeevadhara, Endhu Daakinado, and Mari Mari Ninne, that demand excellent voice qualities and sangita gnana or musical knowledge.
Sri Thyagaraja seized all the sense of musical heritage and fused them into one brilliant world of classical elegance. He has bestowed on his kirtanas all the solid graces of Carnatic music. As every song is rendered in concerts, we as listeners are conscious of the power of the saint’s spiritual stature and our moral sense drives us to lift ourselves up, but find it difficult to find the saint’s sense of devotion. His kirtanas are purged of all grossness but he gives them an incandescent glow. If Sri Thyagaraja’s music is sublime it is because it emerged from the privacy of his soul. It is one of the greatest aspects of Sri Thyagaraja that he made the infinite (Sri Rama) finite for us and the ideals of music real.
His numerous kritis include beautiful raagam, bhaavam and taaLam, with lovely lyrics, music, and devotion. 690 kritis in 160 raagams are available today.
Sangeetha and Bhakthi - Swami's Last Days
Sangeetha and bhakthi should be acquired and practiced with humility. Genuine humility brings with it detatchment, suppression or conquest of the baser instincts of Man and, ultimately annihilation of the ego to brring enlightenment. Mere scholarship without humility and music without devotion is according to Thyagaraja Swami, akin to decorating a corpse. In the Sankarabharana kriti, "bhakthi bhiksha meeyavayya," Swami says that the most well sung song, if sung without devotion is like brocades and diamonds on a dead man. In another kriti, "Samayamu thelisi," (Asaveri), he draws another comparison - he who misses an opportunity to do good, performs only an act similar to that of an open, but sightless eye. In the Malavsri kriti, "Enallu thirigethi," he mentions the case of a scholar who, having been invited to lunch by his admirers, neighbours and friends, settled down to a long winded pooja, just to demonstrate his scholarship and erudition, while keeping his hosts waiting.
The emphasis in our music is humility (Vinaya) and devotion, and the giving up of pride and vanity ("showing off" in common parlance", ego projection, etc. In the Mukhari composition, "Sarasseruhasana," he laments that Brahmotsavam has gone in Kaliyuga and that people have taken to neecha karma; they learn the scriptures, not to practice virtues taught by the scriptures but to show off and to make a living out of their learning. The simple path to salvation is forgotten and, little interest is shown towards Truth. For some, their interest is in the relative merits of saguna-nirguna upasana; the secret of the ashta siddhis; the choice among the Shanmathas, etc. Few choose the easy path to moksha or liberation from the cycle of life and death. This is specifically referred to in "nadachi nadachi" (Karaharapriya). In this composition, he refers to the state of Nirvana "puthu chavvu lem thavvu," the place where there is netiehr birth nor death. In the divyanama keertana "Rama Rama Krishnayanere", Thyagaraja lists the common weaknesses of men and women and adds that, to get over the consequences of these sins and to avoid committing them again and again, we need to repeat the nama of the Lord. Then, he also tells us why he chose Rama naama for chanting the name of God. It is relevant to mention here that all schools of bhakthi recommend this path.
We have already seen the dogmatic approach of various mathaas and how Sri Thyagaraja prayed for knowledge or "bedarahita Vedanta" - an approach that can bridge the gulf separting the various schools, with different dogmas. Debate and discussion however erudite, are of no real use if they don't do good to society, as a whole. Naama Sankeerthanam or bahajana which is the basis of the first three forms of "nava vidha bhakthi" mentioned in the Bhagavata, is ideal. In the Kalyani kriti, "Bhajana Seyave", he asks why debate and discuss endlessly; realize that the body is subject to the goodness of saptaswara, pranava naadha; realize bliss through Rama naama bhajana. After advising in many kritis that namabhajana is the easiest marga, he also tells us why he chose Rama as his chosen deity (Ishta Deiva) and, Rama naama, for parayana.
Rama, the perfect man: The kriti, "manivinaalakincha raa dhate" (Nalinakanti), says that at a time when men were reeling under mere rituals of the Karma Khaanda and wandering directionless in the forest of "bhava," rama appeared as a man and taught manking, the conduct that will lead to salvation. "Mummoorthulu" (Atana), "Maakelara vicharamu" and "Rama Rama" (Saveri) are compositions close to this theme.
Here, I may refer to the 5th Prana in the 4th Khanda of the Yajur Veda which contains the sacred Rudram. In Riudram itself, it is namasmarana which is emphasized. The name is stressed in "Namah Sivaya." It is said that namasamarana confers on the devotee, the "panchaswaroopa gnana." These are: Parmatma swaroopa gnana, Jeevatma swaroopa gnana, Upaya swaroopa gnana, Purushartha swaroopa gnana and Vidriti swaroopa gnana. In common parlance, this means that a devotee who recites the name regularly and with devotion, will get knowledge of the ultimate and, before that, of the path to it; the obstacles in the way, and, the benefits or fruits of taking that path.
The Nayanmars too have sung these ideas in their "Devarams;" particularly Appar in his "Aindezhuthu Pathikam" -- Aindezhuthu means fiveletters and they are, na ma si va ya." Also, Thirumangai Azhwar, in his Thiruvaymozhi has stress this - the Vishnumantram - Namo Narayanaya. Thyagaraja combined these two; the Siva mantra and Madhava mantra, to form the "Rama mantra." In "evarani nirnayinchira" (Devemrutavarshini), he s ays that the most important letter is nama sivaya is "ma" and the most important letter in Vishnumantra is "ra". If "ra" and "ma" are removed, both mantras would become meaningless and absurd. So, he combined both these two important jeeva letters to derive the word "Rama."
Thus, he created a common plank for namasankeertana for both the Saivite and Vaishnavite schools. In a light-hearted way, he says that his Rama is superior even to the Hindu trinity - Brahma, Vishnu, and Siva as these three Gods, all have some "defect" or other while, his Rama has none: "endunti vedalithiro" (Durbar) lists the weakness of Siva, Vishnu, and Brahma and, praises Rama's virtues (also refer to "emani pogadu thura" (Veera vasantham). To Thyagaraja, Rama is a distinctly superior person: the kritis "eka maata oka bhanamu oka pathni vrathude�22; (Harikamboji); "Vaadera daivamu manasa" (Pantuvarali) and "Sarmegani anya marga vicharameti ke Oh manasa" (Pantuvarali) etc., he asserts that Rama is the embodiment of virtures and that the Trimurthis worshipped him. Hence, repeating his name in groups, with music, is the surest and most pleasant way to moksha.
Here, a note of caution in interpreting the Swami's approach and attitude to other gods - the Trinity - is warranted. Scholars say that such comparisons and extolling only Rama may be due to the fact that he might have been somewhat fanatical in his earlier years, like any one of us, lesser people; and , it may also be that in his exhuberant devotion to his chosen Deity, he spoke (rather humourosly) highly one of his Rama. In this conflict, we may also cite kririts such as "Laavanya Rama kanu lara joodave - nee manasu, nee sogasu mee dinusu vere - thaamasa matha daiva mele, etc. (Poorna shadjam). On the other hand, it was at a very later stage of his life that he composed songs like "Paramathmudu velige" (Vagadeeshwari) in which he stresses the immanence and universality of God in everything, the animate and the inanimate, by whatever name we may choose to call Him. To stress this, he explains these further in the charana of the kriti. This kriti is well worth reading several times and understanding fully.
In the kriti "Ragaratna malikache" (Ritigowla), he says that the Lord will be pleased with the garland of a hundred gems which have been created as the sole means for Thyagaraja's salvation. Thsese gems of compositions have been created from the truths propounded in the scriptures and of the kind that yogis see and experience - Ananda. Many such songs are meant for singing in chrosus by the devotees. Hence, even though elaborately ornamented compositions of the Swami are there for the virtuouso to demonstrate his voice range and quality, and artistic skill, it is the songs composed for goup singing which will elevate the common man higher to planes of divine experience. In "melu melu Rama nama" (Sourashtram), Swami explains the ananada experiences at every level i.e. physical, emotional, intellectural and spiritual, by singing Rama nama.
The last few kritis: It is said that when Swami felt that his mission on earth was completed, he sang the Ganavardini kriti "Daya choochutakidi vela " meaning that it is time for you to take me into you, oh Lord, as I have completed diligently and with devotion, the mission with which you charged me on this planet." Aftert this, Swami had a vision of Sri Rama with the entourage (Giripainelakonna - Sahana). In this song he says that he surely saw Sri Rama who assured him that he would nbe absorbed in Him in ten days time. Swami then entered snayasarama. When nothing happened as assured by the Lord, on the tenth day, he sang a reminder - the kriti "Parithapamu Kaniyadina" (Manohari).
Mr. Shyama Rao, one time thasildar of Thiruvayaru, records that after Swami sang this kriti, an Omkara Naadha was heard and a jytoi was seen to emanate from the head of Swami and travelled upward. Swami then slumpted on the thambura he was holding, and become one with the Lord. In 1847 Tyaagaraaja became a hermit, and the next day, on January 6, he died in the presence of his disciples at the age of 80.
Om Tat Sat
(1767 - 1847 AD)
Tyagaraja (Telugu: శ్రీ త్యాగరాజ; d. 1848) was one of the most important composers of Carnatic music. He is regarded as one of the "trinity" of Carnatic music composers, along with Muthuswami Dikshitar and Syama Sastri. He was a devotee of Rama.
Sri Tyagaraja, the most celebrated Carnatic Music saint was a great devotee of Lord Sri Rama. Tyagaraja lived to the full extent that God realization is best achieved through Nadopasana (music with devotion). His songs are filled with an intimate devotion to Rama, all through revealing his deep understanding of the tenets of the Vedas and Upanishads.
Saint Purandaradas is considered as the grandfather of Carnatic Music. Sri Tyagaraja, along with Muthuswami Dikshitar and Syama Sastri are considered as the "Trinity of Carnatic Music." Sri Tyagaraja has composed more than 800 songs in his long devoted life to Lord Rama, most of them written in his Mother tongue Telegu, but a few in Sanskrit, including the masterpiece "Jagadanandakaraka" composed of 108 names describing Lord Rama's attributes. But, his songs are well loved in Tamil Nadu, the seat of South Indian (Carnatic) Music scholarship and performance.
Biography
In Thiruvarur in the Thanjavur district of present-day Tamil Nadu, in the Hindu lunar year Sarvajit 27th Soma, on Chaitra Sukla Sapthami, the 7th day of the bright half of the Hindu month of Chaitra, under the Pushya nakshatram [star], that is on May 4, 1767, a son was born to Kakarla Ramabrahmam and his wife Seethamma. According to another tradition, the year of his birth was 1759.
The boy was named Tyagaraja, after Lord Tyagaraja, the presiding deity of Thiruvarur. Tyagaraja's father Rama Brahmam taught him to worship Rama daily and initiated him in Rama taraka mantra. Even as a boy, Tyagaraja composed his first song on Rama, Namo Namo Raghavaya when he was only 13 years old. Sri Tyagaraja continued to recite the Rama Nama every day and had many darsans of Sri Rama, which inspired him to write songs on his beloved Lord, Sri Rama. His maternal grandfather, Giriraja Kavi, at whose residence in Tiruvarur Thyagaraja was born, was a poet-composer attached to the court of Thanjavur. The family was a pious Telugu-speaking smartha brahmin family of the vaidiki Mulukanadu sub-caste. They are said to have hailed from a village named Kakarla in the Prakasam district of present-day Andhra Pradesh, but had long been settled in Thiruvaiyaru in the Thanjavur district of present-day Tamil Nadu, which is the scene of the life and work of the great composer.
At 18 years of age, Tyagaraja married Parvati, who died when he was only 23. He then married Kamalamba (sister of Parvati). They had a daughter named Sitamahalakshmi, through whom he had a grandson, who died progeniless. Seetalakshmi's only child, also named Tyagaraja, died at a young age; with that, the line of direct descent from Tyagaraja came to an end.
Thus we do not have any descendant of Saint Tyagaraja. But, his tradition is kept alive by his musical disciples and their followers.
Thyagaraja had an elder brother, Japyesa, whose descendents still abide in the same area of Tamil Nadu. Japyesa is often made the villain in stories about Tyagaraja, in the role of the brother who could not understand Tyagaraja's devotion to Sri Rama, a characterization that smacks of caricature and may well be inaccurate. Thyagaraja attained release from the material world on Pushya Bahula Panchami, the fifth day of the dark half of the month of Pushya, in the Hindu lunar year Prabhaava (January 6, 1847).
Tyagaraja started his musical training under Sri Sonti Venkataramanayya at an early age. Tyagaraja regarded music as a way to experience the love of God. His objective while performing music was to repeat the name of God and contemplate on His Divine Pastimes, thereby reducing the vices of the mind, not to display his mastery over Raga and Tala. He had to struggle quite a bit to compose music in which Bhava, that is, emotion, was crowned. (He always felt that Bhava was not to be compromised for Raga and Tala). The legend goes that he was blessed by the divine sage Narada with great musical knowledge.
Being a great devotee of Lord Rama, the only things that mattered to Tyagaraja were Music and Bhakti. In fact, they were synonymous to him. "Is there a sacred path than music and bhakti?". "O Mind, salute the gods of the seven notes". "The knowledge of music, O Mind, leads to bliss of Union with the Lord". Music was to him the meditation on the Primordial Sound:
"I bow to Sankara, the embodiment of Nada, with my body and mind. To Him, the essence of blissful Samaveda, the best of the vedas, I bow. To Him who delights in the seven swaras born of His five faces I bow".
Sri Tyagaraja had the highest reverence for great bhakthas like Prahlada, Dhruva, Hanuman and Narada. Sri Tyagaraja's life is an illustration to the dictum that music and devotion combined make the best path to the understanding of the Supreme Brahman.He is said to have sung Sri Naarada Mouni, a song in praise of Narada, on this occasion.
Career
As a 13-year-old, he composed Namo Namo Raghava in Desikathodi. Much later in life, his guru, Sonti Venkataramanayya, wanted to listen to Tyagaraja's new talent and invited him to perform at his house in Thanjavur. On that occasion, Tyagaraja presented Endaro Mahaanubhavulu(ఎందరో మహానుభావులు), the fifth of the Pancharatna Krithis.
Intensely pleased with Tyagaraja's song, Sonti Venkataramanayya told the king about the genius of Tyagaraja. The king sent an invitation, accompanied as was traditional with many rich gifts, to Thyagaraja, inviting him to grace the royal court. To the unworldly Tyagaraja, the prospect of wealth or fame was no incentive; he clearly had no inclination for a career life at court, which doubtless in that age, as in every other, entailed petty rivalries and jealousies. He rejected the kings invitation outright, composing another gem of a kriti, Nidhi Chala Sukhama on this occasion.
Angered at his rejection of the royal offer, Tyagaraja's brother took revenge by throwing his idols of Rama Pattabhisheka in the nearby River Cauvery. Tyagaraja, unable to bear the separation with his Lord, made a pilgrimage to all the major temples in South India and composed many more songs in praise of the deities of those temple. He is said to have finally found the idols with the help of Rama himself. Tyagaraja attained Moksha on a Vaikunta Ekadasi.
At another time, he sang at the request of his guru, beginning at 8 p.m. and finishing only at 4 a.m. Serfoji Maharaja heared of his performance and invited him to visit the temple to be rewarded, but Tyaagaraaja rejected the offer, singing "Nidhi caala sukhama?" in kalyaaNi, which means Does abundance of wealth bring happiness? The king realized his mistake and visited the saint-composer, who cured him of a stomachache.
In 1805 Tyaagaraaja lost an idol of Raama, thrown into the river Cauvery by his brother, but got it back after 3 months. When he lost the idol, he sang sadly "Endu daagi naado," Where has He gone and hidden Himself? Tyaagaraaja usually went from street to street singing and begging for rice. Once a sage named Haridas asked him to recite the name of Raama 960 million times. After doing so, Tyaagaraaja went to offer his prayer when he heard a knock on his door. Raama, Seeta, and Hanumaan were entering his prayer room and he was blessed to see the coronation of Raama. Moved with wonder and devotion, he sang "Baalakanagamaya" (the anupallavi of the kritis "Ela nee dayaraadhu" and "Bhavanuta"). In 1810 his daughter was married, and his disciple WalajapeTTai Vekataramana Bhaagavatar brought a picture of Raama, walking all the way from WalajapeTTai to Tiruvaiyaar. Tyagaraaja sang "Nannu paalimpa," overwhelmed by this act. Once he visited Tirupati, but when he went to the temple, it was closed. In sadness, he sang "Teratiyagaraadaa" and the temple officials gathered round in admiration when they saw the dorr opening by itself and the screen falling aside. He sang "VenkaTEsha ninu sEvimpa" in his happiness at seeing the Lord. Tyaagaraaja's compositions include the Ghana Raaga Pancaratnam (5 gems) in raagams naaTTai, gowLa, aarabi, shreeraagam, and varaaLi, his most famous and scholarly contributions to Carnatic music, and he delighted in singing them. At the request of KOvoor Sundaram Mudaliaar, he sang the 5 kritis of the KOvar Pancaratnam. When he visited TiruvOTTiyoor at the request of his disciple Veenai Kuppayyar, he sang the TiruvOTTiyoor Pancaratnam. At the invitation of his disciple LaalguDi Raamayya, he composed the LaalguDi Pancaratnam. He also composed the Shreeranga Pancaratnam in praise of Ranganaata of Shreerangam and 5 kritis in praise of Sage Naarada.
His ideas in the field of Rama-bhakti have their literary antecedents not only in the Valmiki Ramayana, his familiarity with whose details is clear from many a song, but in the Ramanadiya school, the Adhyatma Ramayana, the Adbhuta Ramayana, and the connected stories, beliefs and ramifications, such as the hundred-head Ravana, referred to in two pieces, Sri Jamakatanaye in Kalakanti and Dehi tava pada in Sahana, the Seeta carried away Ravana being a shadow Seeta, referred to in Majanaki in Kambhoji and Siva imparting the Rama taraka nama to everyone visiting Kasi; in fact this last idea of Siva glorifying Rama and his name is vital to his songs, for it is on the basis of Tyagaraja meaning both Siva and himself that he has used the Tyagaraja mudra in his songs. Two other significant facts may also be mentioned here; the first bhakta to be saluted by Tyagaraja in his Prahlada Bhakti Vijaya is Tulasidas; and even when he speaks of Valmiki's Ramayana, as in his Isamanohari piece, Manasa Sri Ramachandruni, which draws our attention to chapters three and six of the work, Tyagaraja really means the Adhyatma Ramayana.
Remembrance and celebration
Having composed an innumerable number of keerthanas (songs) that explored all the possibilities within the rules of the Carnatic music tradition, Tyagaraja is truly regarded as the cornerstone of Carnatic music.
To this day, a commemorative music festival called the Tyagaraja Aaradhana is held at Thiruvaiyaru in the months of January to February every year. In the US, there is a Cleveland Tyagaraja Aradhana held in Cleveland, Ohio every April. There is also a Chicago Thyagaraja Utsavam. Usually, dozens of Carnatic musicians preside and perform in this festival. With the large influx of Indians in the United States in the late 20th and early 21st century, many other cities in the USA with large Telugu/Tamil/Kannada populations now regularly hold the Tyagaraja Aradhana festivals every year.
The Musical Plays or Operas
Saint Thyagaraja’s contribution to music includes, in addition to his composition, the Uthsava Sampradaya kirtanas and the Divyanama kirtanas. These two are examples of classical Carnatic music in their pristine purity. Not folk music, but common classical music is the substance of these compositions.
Saint Thyagaraja also created two musical plays, commonly called operas. However, I call them music plays as neither Geya Nataka nor opera seems correct and appropriate. Prahlada Bhakthi Vijaya, a play without Hiranya Kasipu or Narasimha, has some 48 songs and over 120 padyams. It has in addition, invocative, descriptive and introductory gadyas, choornikas, and other forms of prose passages of great merit. Nowka Charitha, the other play is equally fascinating and once again a creation without any basis derived from Bhagavatham. This play has 21 songs and many padyas and gadya passages. Swami's poetic genius is brought out vividly in these plays and the language he has used in some of the lengthy passages highlight this opinion.
Magnum Opus
Some scholars believe we have inherited only the less important natakas of the Swami and that the magnum opus is missing or are available only in fragments, awaiting some scholar to put the pieces together. In support of this view, they mention that in 1876, a printing license was issued to a Loka Narayana Sastrulu of Wallajahpet, to print “Seetha Rama Vijayam” by one Thyagaraja Brahmam of Tiruvayaru. They cite the kritit Eppaniko in Asaveri, where the saint refers to his desire to write the Ramayana in song and ask whether after such a statement, he would have failed to carry out what he considered his mission. One scholar in urging researchers to look for and put together the songs to make the sampoorna Ramayana drama suggests, that Ma Janaki was sung in the drama by Janaka; Rara Seetha Ramani Manohara by Soorpanaka; Sri Rama Padama by Gauthama and so on. Of course, there is nothing more than belief to justify this view. Prof. Sambamurthi, who made great efforts to locate the press in Choolai, Madras, mentioned in the printing license gave it up in despair. He however, suggested that Ma Janaki in Khamboji and Vanaja Nayana in Kedara Gowla were songs from Seetharama Vijayam, the songs representing “Sambandhi Kelikka” or benign taunting of the sambandhis by groups belonging to both sides.
While the bulk of the songs are in praise of Rama and a few on other deities, there are numerous songs on ethics and morals, worldly wisdom, mental control etc. One important group of songs is those based on his study of the Sangita Sastras and his practice of Nadopasana. Some composers have made passing reference to the occult and mystic aspect of nada, sangita, and swara, but it is only the Sadguru Thyagaraja Swami, who has left nearly 25 songs on the origin (divine) structure and purpose of music and how the knowledge of Sangita could by itself offer liberation from bondage of the cycle of birth and death. As Mr. T. S. Parthasarathi says, arranging these kritis in the order of their subject matter, one can create a text book on the subject of Nada upasana, Sangita upasana, and attaining moksha in this life itself. A discussion of these kritis is matter enough for a separate paper, and so I shall content myself with briefly mentioning some of the songs and their appropriateness. Such a list would include songs such as: Nadopasana, Mokshamau Galada, Seethavara, Sangita Sastra Gnanamu, Sobhillu Sapthaswara, Nada Thanumanism and Swara Raga Sudharasa.
The importance of these and other songs and how Sri Thyagaraja Swami used his compositions to energize our inner spiritual forces and attain moksha in this life are discussed in the article “Nadopasana for Salvation.”
The Messenger of Rama
Saint Thyagaraja’s life and kirtanas are the heritage of Indian culture expressed in classical Carnatic music. This heritage can be described as the eternal verities of divinity. His contribution to posterity is at once devotional, religious and philosophical. His songs are frozen melodies intuited in the inspired depths of a saintly soul. His way of life was illumined by rock-like bhakti, invigorated and sustained by his unshakable faith in Rama. A true understanding of Sri Thyagaraja’s kirtanas serves to deepen the purpose of our existence.
The centre of Thyagaraja’s existence and the summit of his aspirations was to experience in every breath the bliss of Rama bhakti and thereby gain a vision of his Ishta Devata. In many of his songs, this longing finds eloquent expression. The dimensions of his music include not only sangita sastra, but also contain a core of spirituality. It is because of this great quality that his compositions, like the Atman, endure. The consummation of spirituality in his songs is really the Voice of the Eternal.
Through the apertures of his songs, the depth of his bhakti is revealed. The inspirational potentialities of his kirtanas to lead a sincere votary in the bhakti marga are infinite, because every song breathes the fragrance of one aspect or other of the nava vidha bhakti. It is only a devotional approach to Sri Thyagaraja that can unlock the treasures of his spirituality.
Sri Thyagaraja’s life was a confluence and symphony of three streams – spirituality, saintliness and sangita and the harmony of these find spontaneous self-expression in every syllable of his sahityas. The divine words come vibrating from his soul. To describe them as kirtanas would be superficial for his utterances are authentic revelations of what he directly experienced. They comprehend the one and only purpose of music, that is, moksha sadhana. The value of his music is instrumental, a means, but the goal is intrinsic, to lay one’s soul at the feet of Sri Rama.
The greatness of Sri Thyagaraja is the way he linked the human to the divine. What is the saint’s message to humanity? Aspiration is human. Grace is divine. Only through God’s grace can one realise his aspiration, bhakti in the case of a saint. The ascent of human aspiration has to be facilitated by the descent of divine grace. The echoes of this Truth reverberate in many of his songs. The saint has emphasised that man in samsara is like one who has lost one’s identity, lost track of his goal of existence and is in a trance. Through his kirtanas, Sri Thyagaraja has taken on himself to guide, admonish and appeal to erring humanity. His songs give a thrust to open man’s inward eye.
Sri Thyagaraja with his rich gift of felicitous expression in his sahityas, takes us to the very empyrean of poetry. His is the greatest single achievement in music – the most perfect pieces of musical compositions existing in the world. The astonishing vigour and reach of his music touch our hearts and address strongly our admiration. Sahityas fall from his lips full of wisdom and devotional fervor. The most moving songs owe their composition to particular incidents and the state of his mind. The process of his creations are far beyond our comprehension. But the product is before us, each a jeweled beauty.
While all his kirtanas are soulful, Sri Thyagaraja has outclassed himself in his Pancharatnas where he is at his greatest and perhaps touched the pinnacle of Carnatic music.
The fusion of lyrics and melody, the fusion of bhakti and sangita form the very essence of his songs. The melody and sahityas are outwardly distinct, the depth of spirituality is embedded in them. One can well discern from the effusion of his songs that his was not tame bhakti but heroic bhakti. A consideration of the diction in the Pancharatnas and other songs shows that Sri Thyagaraja was not after tricks of rhetoric or a fondness for word play.
In all his compositions, Sri Thyagaraja’s style shows a greatness of manner which marks him as a vaggeyakara par excellence. The outward form and inner meaning is so well meshed that the kirtanas remain unexcelled. At Sri Thyagaraja’s hand each song, each raga gains individuality and in every one of them is reflected the working of a bhakta’s yearning in his soul.
While hearing a Thyagaraja song we are introduced to a world of divinity and each syllable, the pulse of bhakti beats strongly. The sublime relations between the human and the divine, which lie beyond our comprehension find an eternal place in his kirtanas.
We recognise in Sri Thyagaraja a master spirit combining in himself the bhakti of Prahlada, the music of Narada and the vakpatutva of Valmiki. Sentiments are passionate, his reflections on music and life profound. His works therefore stand apart in the history of vaggeyakaras.
His Contributions to Raga Lakshana and Musicology
Thyagaraja Swami had made significant contributions to raga lakshana, raga lakshya, and raga swaroopa, or in general, to the development of musicology. A support for this claim is provided to us by Sri A. Vasudeva Sastry of the Saraswathi Mahal Library, in a book titled “Ragas”. The Ragas study examines the manuscripts of Sahaji, who died in 1710, about sixty years before Swami was born. After analyzing the work of Sahaji and all the materials available on raga lakshanas, Sri Vasudeva Sastri concludes that thirty of the 72 melakarta ragas were given a raga swarupa and acquired their ranking solely from Saint Thyagaraja Swami giving them these qualities. Quoting from Madikeswara Samhita, a work on srutis of which only extracts are now available, Sastry points out that 12 swara moorchanas were in existence and Swami used it to give Karaharapriya great charm in his composition, Rama Nee Samana mevaru. Quoting the sangatis of this composition in great detail, Sri Vasudeva Sastry points out that the “closed curve” melodic effect which can be got by the vadi-samvadi usage.
As it is believed, Swami created many new ragas. Many scholars however believe that he activated or unearthed many ragas which has been labeled and were lying dormant because their lakshanas or characteristics were not defined in clear terms. However, the fact that only one composition exists in a certain ragas and these compositions have been composed in these ragas only Sri Thyagaraja Swami lends credence to the claim that ragas like Pratapa Varali, Nabhomani, Jaya Narayani and many others, were Swami’s creations.
Similarly, sangatis or usages that enrich the musical context of a kriti, are mostly found in Swami’s compositions. Although some scholars point out that sangatis are as old as music itself and were known under the name prayaogas. However, since they became widely used only through the kritis of Swami, it will not be wrong to assume that sangatis were Swami’s innovations. He used sangatis to bring out the raga bhava or their fundamental characteristics.
Mrs. Vidya, in an excellent paper presented to the centenary session of the Madras Music Academy (Swami’s death centenary), has used a number of examples to illustrate how Swami used sangatis to highlight the use of right srutis. He used these also in kritis intended for children so that they can learn the sruti values early and by understanding the proper imitation of the instrument or voice teaching them. Let me point out one example provided by Mrs. Vidya. In the kriti, Mariadagadura (Sankarabharanam), she points to the numerous sangatis used in the pallavi and shows how the tri-sruti gandhara of Sankarabharanam is deftly handled by Swami. Both Sankarabharana and Kalyani have the same gandharas in their structure but Kalyani use the Chatursruthi and the note clings to the Madhyama. She also points out how the sahitya splits perfectly into the right tisra syllables and how the visesha prayoga, Sa Da, Pa in the sangatis just preceding the complete avaroha brings out the bhava.
Mrs. Vidya also says that by using a deerga daivata, Swami has skillfully managed to bring out the raga bhava of Kambhjoji in Evari Mata, although he uses only the swaras common to Sankarabharanam and Khamboji. The commencement of the charana of this song also brings out the value of Khamboji’s deerga daivata prayogam.
Often, when using a new raga, Swami employs the arohana and avarohana in the opening phrase itself. For example in Binna Shadjam, raga derived from the ninth mela, Dhenuka, the opening words Sari Varilona, fit in with Sa Ri Ga Ri Pa Ma Pa Da Sa Da Pa Ma Ri Ga Ri Sa. The opening phrase in Evaraina lera peddalu (Raga: Siddha Sena), the notes are Sa Ga Ri Ga Ma. Take Bahudari, is there a more appropriate characteristic phrase than Pa Da Ni Pa Ma Ga?
When employing vivadi swaras, Swamiji makes sure that the vivadis occur in the opening phrase itself, e.g. Paramatmudu in Vagadheeswari; Evare Ramayya in Gangeya Bhushani. Even for an ancient and well known raga like Bhairavi, he uses common swaras to great effect. For example, in the short rupaka tala kriti, Upacharama Jese Varu, he opens with Ri Ma Ga without the slightest trace of Karaharapriya. The chatsruthi rishabha of Karaharapriya is aligned to the Madhyama, a fact so well demonstrated. Karaharapriya and Hari Kambhoji are Swami’s gifts to Carnatic music. The Tana Sampradaya Kirtanas and indeed even the simple rhythmic ones teach the ease with which all or most of Swami’s songs fall into the sarva laghu ,in addition to demonstrating the scope of the raga alapana, swara singing paddathi and neraval. Koluvayyunnade in Bhairavi and Kori Sevimparare in Karaharapriya are examples.
Other examples of where Swami had used sangatis to bring out the raga bhava 'include: Najeevadhara, Chetulara Srungaramu, Thappi Brathiki Brova Tharama; in these compositions, the sangatis are in the passage containing the message of the kriti. In the Pratapa Varali song, Vinanasa Koniyannanu, the phrase Da Pa Sa is used for Aa Aa in words to emphasize that Swami wants to not only have sweet words, but to also as he says “Madhuramaina Palukulu,” the sweet words that Vathathmaju (Anjayaney) and Bharatha heard.
The compositions of Sri Thyagaraja Swami make the largest contribution to our knowledge of Carnatic music today. In volume and variety, no other composer has given us so much material covering so wide a range of ragas, their lakshanas, that allows singing even by those with limited voice range and limited music knowledge. Examples are: Jaya Jaya Sri Raghu Rama, in Mangala Kaisiki which any one can sing (even little children), Naa Jeevadhara, Endhu Daakinado, and Mari Mari Ninne, that demand excellent voice qualities and sangita gnana or musical knowledge.
Sri Thyagaraja seized all the sense of musical heritage and fused them into one brilliant world of classical elegance. He has bestowed on his kirtanas all the solid graces of Carnatic music. As every song is rendered in concerts, we as listeners are conscious of the power of the saint’s spiritual stature and our moral sense drives us to lift ourselves up, but find it difficult to find the saint’s sense of devotion. His kirtanas are purged of all grossness but he gives them an incandescent glow. If Sri Thyagaraja’s music is sublime it is because it emerged from the privacy of his soul. It is one of the greatest aspects of Sri Thyagaraja that he made the infinite (Sri Rama) finite for us and the ideals of music real.
His numerous kritis include beautiful raagam, bhaavam and taaLam, with lovely lyrics, music, and devotion. 690 kritis in 160 raagams are available today.
Sangeetha and Bhakthi - Swami's Last Days
Sangeetha and bhakthi should be acquired and practiced with humility. Genuine humility brings with it detatchment, suppression or conquest of the baser instincts of Man and, ultimately annihilation of the ego to brring enlightenment. Mere scholarship without humility and music without devotion is according to Thyagaraja Swami, akin to decorating a corpse. In the Sankarabharana kriti, "bhakthi bhiksha meeyavayya," Swami says that the most well sung song, if sung without devotion is like brocades and diamonds on a dead man. In another kriti, "Samayamu thelisi," (Asaveri), he draws another comparison - he who misses an opportunity to do good, performs only an act similar to that of an open, but sightless eye. In the Malavsri kriti, "Enallu thirigethi," he mentions the case of a scholar who, having been invited to lunch by his admirers, neighbours and friends, settled down to a long winded pooja, just to demonstrate his scholarship and erudition, while keeping his hosts waiting.
The emphasis in our music is humility (Vinaya) and devotion, and the giving up of pride and vanity ("showing off" in common parlance", ego projection, etc. In the Mukhari composition, "Sarasseruhasana," he laments that Brahmotsavam has gone in Kaliyuga and that people have taken to neecha karma; they learn the scriptures, not to practice virtues taught by the scriptures but to show off and to make a living out of their learning. The simple path to salvation is forgotten and, little interest is shown towards Truth. For some, their interest is in the relative merits of saguna-nirguna upasana; the secret of the ashta siddhis; the choice among the Shanmathas, etc. Few choose the easy path to moksha or liberation from the cycle of life and death. This is specifically referred to in "nadachi nadachi" (Karaharapriya). In this composition, he refers to the state of Nirvana "puthu chavvu lem thavvu," the place where there is netiehr birth nor death. In the divyanama keertana "Rama Rama Krishnayanere", Thyagaraja lists the common weaknesses of men and women and adds that, to get over the consequences of these sins and to avoid committing them again and again, we need to repeat the nama of the Lord. Then, he also tells us why he chose Rama naama for chanting the name of God. It is relevant to mention here that all schools of bhakthi recommend this path.
We have already seen the dogmatic approach of various mathaas and how Sri Thyagaraja prayed for knowledge or "bedarahita Vedanta" - an approach that can bridge the gulf separting the various schools, with different dogmas. Debate and discussion however erudite, are of no real use if they don't do good to society, as a whole. Naama Sankeerthanam or bahajana which is the basis of the first three forms of "nava vidha bhakthi" mentioned in the Bhagavata, is ideal. In the Kalyani kriti, "Bhajana Seyave", he asks why debate and discuss endlessly; realize that the body is subject to the goodness of saptaswara, pranava naadha; realize bliss through Rama naama bhajana. After advising in many kritis that namabhajana is the easiest marga, he also tells us why he chose Rama as his chosen deity (Ishta Deiva) and, Rama naama, for parayana.
Rama, the perfect man: The kriti, "manivinaalakincha raa dhate" (Nalinakanti), says that at a time when men were reeling under mere rituals of the Karma Khaanda and wandering directionless in the forest of "bhava," rama appeared as a man and taught manking, the conduct that will lead to salvation. "Mummoorthulu" (Atana), "Maakelara vicharamu" and "Rama Rama" (Saveri) are compositions close to this theme.
Here, I may refer to the 5th Prana in the 4th Khanda of the Yajur Veda which contains the sacred Rudram. In Riudram itself, it is namasmarana which is emphasized. The name is stressed in "Namah Sivaya." It is said that namasamarana confers on the devotee, the "panchaswaroopa gnana." These are: Parmatma swaroopa gnana, Jeevatma swaroopa gnana, Upaya swaroopa gnana, Purushartha swaroopa gnana and Vidriti swaroopa gnana. In common parlance, this means that a devotee who recites the name regularly and with devotion, will get knowledge of the ultimate and, before that, of the path to it; the obstacles in the way, and, the benefits or fruits of taking that path.
The Nayanmars too have sung these ideas in their "Devarams;" particularly Appar in his "Aindezhuthu Pathikam" -- Aindezhuthu means fiveletters and they are, na ma si va ya." Also, Thirumangai Azhwar, in his Thiruvaymozhi has stress this - the Vishnumantram - Namo Narayanaya. Thyagaraja combined these two; the Siva mantra and Madhava mantra, to form the "Rama mantra." In "evarani nirnayinchira" (Devemrutavarshini), he s ays that the most important letter is nama sivaya is "ma" and the most important letter in Vishnumantra is "ra". If "ra" and "ma" are removed, both mantras would become meaningless and absurd. So, he combined both these two important jeeva letters to derive the word "Rama."
Thus, he created a common plank for namasankeertana for both the Saivite and Vaishnavite schools. In a light-hearted way, he says that his Rama is superior even to the Hindu trinity - Brahma, Vishnu, and Siva as these three Gods, all have some "defect" or other while, his Rama has none: "endunti vedalithiro" (Durbar) lists the weakness of Siva, Vishnu, and Brahma and, praises Rama's virtues (also refer to "emani pogadu thura" (Veera vasantham). To Thyagaraja, Rama is a distinctly superior person: the kritis "eka maata oka bhanamu oka pathni vrathude�22; (Harikamboji); "Vaadera daivamu manasa" (Pantuvarali) and "Sarmegani anya marga vicharameti ke Oh manasa" (Pantuvarali) etc., he asserts that Rama is the embodiment of virtures and that the Trimurthis worshipped him. Hence, repeating his name in groups, with music, is the surest and most pleasant way to moksha.
Here, a note of caution in interpreting the Swami's approach and attitude to other gods - the Trinity - is warranted. Scholars say that such comparisons and extolling only Rama may be due to the fact that he might have been somewhat fanatical in his earlier years, like any one of us, lesser people; and , it may also be that in his exhuberant devotion to his chosen Deity, he spoke (rather humourosly) highly one of his Rama. In this conflict, we may also cite kririts such as "Laavanya Rama kanu lara joodave - nee manasu, nee sogasu mee dinusu vere - thaamasa matha daiva mele, etc. (Poorna shadjam). On the other hand, it was at a very later stage of his life that he composed songs like "Paramathmudu velige" (Vagadeeshwari) in which he stresses the immanence and universality of God in everything, the animate and the inanimate, by whatever name we may choose to call Him. To stress this, he explains these further in the charana of the kriti. This kriti is well worth reading several times and understanding fully.
In the kriti "Ragaratna malikache" (Ritigowla), he says that the Lord will be pleased with the garland of a hundred gems which have been created as the sole means for Thyagaraja's salvation. Thsese gems of compositions have been created from the truths propounded in the scriptures and of the kind that yogis see and experience - Ananda. Many such songs are meant for singing in chrosus by the devotees. Hence, even though elaborately ornamented compositions of the Swami are there for the virtuouso to demonstrate his voice range and quality, and artistic skill, it is the songs composed for goup singing which will elevate the common man higher to planes of divine experience. In "melu melu Rama nama" (Sourashtram), Swami explains the ananada experiences at every level i.e. physical, emotional, intellectural and spiritual, by singing Rama nama.
The last few kritis: It is said that when Swami felt that his mission on earth was completed, he sang the Ganavardini kriti "Daya choochutakidi vela " meaning that it is time for you to take me into you, oh Lord, as I have completed diligently and with devotion, the mission with which you charged me on this planet." Aftert this, Swami had a vision of Sri Rama with the entourage (Giripainelakonna - Sahana). In this song he says that he surely saw Sri Rama who assured him that he would nbe absorbed in Him in ten days time. Swami then entered snayasarama. When nothing happened as assured by the Lord, on the tenth day, he sang a reminder - the kriti "Parithapamu Kaniyadina" (Manohari).
Mr. Shyama Rao, one time thasildar of Thiruvayaru, records that after Swami sang this kriti, an Omkara Naadha was heard and a jytoi was seen to emanate from the head of Swami and travelled upward. Swami then slumpted on the thambura he was holding, and become one with the Lord. In 1847 Tyaagaraaja became a hermit, and the next day, on January 6, he died in the presence of his disciples at the age of 80.
Om Tat Sat
Monday, July 9, 2007
Tyagaraja Swami's view on Religion and God
NADOPASANA FOR LIBERATION
Nadopasana is bhakthi, worship, and devotion through music. As the article on Thyagaraja’s musical plays pointed out, Sri Thyagaraja Swami used his compositions to energize our inner spiritual forces or nadopasana to attain moksha or salvation in this life. There are several references to nadopasana in Indian musicology, philosophy, and epics. For example, in The Sangita Rathnakara, the opening slokas explain how nada and Kundalini1 are interrelated and how this comprehension is necessary for salvation. Sri Thyagaraja Swami took the first three slokas and composed the following kritis, Nada Thanum Anisam, Sobhillu Saptha Swara, and Nadopasana, using the first, second, and third sloka respectively.
According to Hindu sastras, Naabhi, Hrith, Kanta, Rasana, and Naasa are the sources of sound which originate from the Mooladhara or the inner soul. The recognition of this Mooladharaja naada is itself moksha says Sri Thyagaraja in the Sankarabharanam kriti, Swara Raga Sudharasa. Thyagaraja Swami says "Mooladaraja" naada "Merungutaye mudamagu mokshamura"; the realization of the existence and experience of the sound generated at the base of the spine is itself blissful heaven. Again, in the same kriti, he reiterated this again, "kolahala saptaswaramula gruhamula guruthe mokshamura."
In this connection, it is interesting to note that Sir John Sparrow, in his book titled, Serpent Power, equates Kund alini with endogenous sound. The identification of the correct srutis as the home of the swaras is also important for experiencing moksha or liberation “Saptha Swarmula Grhuhamula guruthe mokshamura.” The worship of pure sound emanating from within you and identifying yourself with it and being in consonance with it is liberation or moksha. This is Nada Yoga.2
Sri Thyagaraja Swami not only stresses the importance of recognizing and developing the ability to experience Mooladhara nada, but also more specifically asks the votaries to practice sangitopasana as a means and prelude to enjoying nadopasana. In his composition, Sribapriya Sangeethopasana in Atana, he conjures up visions of the mind traveling in the swaras - “Sapthaswara Chaari” and melodic ragas manifesting themselves in delightful forms - “Ranjimpa Jesedu ragambulu, manjulamagu navatarambulethi.” He stresses other and nearer terrestrial benefits of sangita gana - “Prema Bhakthi, Sujana Vathsalyamu, Srimath Ramaa vara Katakshamu, Nema Nishta Yasodhanamu” as the rewards of acquiring Sangita Sastra gnana.
These discussions on nadopasana thus point to how Sri Thyagaraja was not only an excellent musicologist conforming to the traditional sastras but who, through simple songs with pristine purity, taught us the nature and purpose of music. Indeed , through sangita he urged us to acquire the wisdom of perceiving Brahman, the intelligence to analyze and experience Him; the diligence to seek Him; and the patience to wait for enlightenment. He described his Rama as an embodiment of Nada. No other composer has in such a simple and appealing ways taught music as art, science, philosophy and ultimately, as a means to salvation.
1 According to Yoga sastras, we humans are a microcosmic image of the universe. This universal energy that each human carries within oneself is the Kundalini. The Kundalini lies dormant until awakened. The object of certain forms of yoga is to awaken this dormant force and to let it lead us to the path of salvation. Liberation, therefore, is unity with the universe from which we originated; the individual spirit becomes part of the universal spirit. It is the highest experience that a yogi to a saint to an ordinary individual is striving to reach. One of the yogic approaches that awakens the Kundalini is the nada or nadopasana or devotion through music.
2 Kritis such as Mokshamu Galada (Sarmathi) and Swara Raga Sudha rasa (Sankarabharanam), Raga Sudha Rasa (Andolika) and Sitavara (Devagandhari) deal with the subject of nada yoga. It is believed that the root of our spinal column, there is a chakra or stahanam (place/location). Starting from here and going up to the crown of a person's head, Prana, passes through knots or granthis. There are three knots, Mooladhara Kshetra, Manipoora or Vishnu Granthi and Agnya chakra or Rudra granthi. The path, sound takes through these granthas is called srotha. And, the practice of taking the sound to the prana and achieving liberation is called nada yoga.
As A Poet
Thyagaraja Swami’s compositions are described as poetry set to music. He was the only poet among our composers. He has considerably enriched Telugu literature of the 19th century. He has composed verses of every known kind from simple kanda padyams to the more elaborate and complex varieties. Among the verses, both introductory and invocatory, appearing in the two operas or song dramas are Seesa padyams, Utpalamalas, dwipadis, sardhoola vikruditham and kandapadyam. There are over 160 padyams in all between the two Gaya Natakas – Prahlada Bhakthi Vijayam and Nowka Charitham.
It is said that Swami composed a third natakam by name Seetharama Vijayam. This claim is made by Professor Sambamurthy and others based on a license granted to one Wallajapet Loka Narayana Sastrulu for printing a poetry drama, Seetharama Vijayam at Gnanabhanu Achukootam, Choolai, Madras. Professor Sambamurthy and his team of dedicated students did their best to locate this press but without luck. Either the work was never printed or the manuscript was lost. Professor Sambamurthy and other scholars believe that the kritis, “maa Janaki” in Kamboji and “Varnaja Nayana” in Kedaragowla belong to this opera and that these two songs depict sambandi kelikkai.
The greatness of Swami’s poetic skill is in that all his verses and songs can be read as prose and do not need to be rendered into prose form or anvaya. The lakshanas (attributes) of pure poetry are all there and so they can be read with meter and prosody with equal felicity. Another noteworthy skill is his mastery over dwitiyakshara prasa or prosody based on the second letter of the opening word in each line. Ha, Ksha, and similar dwitiyaksharas are handled with amazing ease and fluency. “Kaddana Variki” (Thodi), “Gruhabalamemi” (Revagupti) and the only Tisra Triputa kriti, Lalgudi Sthala kriti, “Mahita pravruta Sreemathi” (Kamboji) are good examples.
His description of the Yamuna, with the gopis sporting; of the Kaveri as it flows from the hills and dales; his description of Thiruvayyaru” reflect his poetic skill and imagery, both in Telugu and Tamil. His Satodalankara too is marvelous; in creating an onomatopoeic effect. This skill, one could say, he had acquired by his study of Pothana - “Kala kala mukha kala sokkuche palukulolam ruthamu lolikadu swamiki” in Gandhamu Poyyagara (Punnagavarali) and the charana of the Saranga kriti “Emi deva balkuma” creating a battle scene effect.
Swami has used parayayanams or synonyms very skillfully in narrating the Ramayana. Basing the progress of the story on the Lord’s feet, hands, weapons, eyes, etc., the story is told from Viswamitra yoga Samrakshanam to Pattabishekam.
To give an example, the parayayanams “angrulu, kalyu padamulu” and “charanmulu” are used to say “when am I going to see the feet that walked beside Viswamitra; the feet which made Ahalya come back to life; the feet which pressed and broke the Shiva dhanus and the feet which Janaka washed with milk at the wedding. The story then moves from yagasamrakshanam to Sita Swayamvaram (Please also refer to the kriti Vinayamunu in Sowrashtram). Some people use this as daily parayanam of the full Ramayana.
Swami has used words and combination of words of his own creation. This needs some examination to be fully understood. For example, in the divyanama kirtana “Manasa Sancharare” (Punnagavarali), he uses the word “bharye” to mean Chandra. This is derived from “ba” Nakshartram and “arya” or leader or the great one; meaning “sreshta” indicating here the moon. Hence “mukhajita bharye” for mukhajita soma or Chandra. In the adamantine kriti “RamanSalaam Brova”, he uses the expressions, yantha, bantha, nishantha – to mean Ramachandra. This is arrived at by “yantha" or the letter after "ya" that is "ra" in bhantha; the letter after "bha" is "na" and "nisantha" meaning dispeller of darkness (the moon). This explanation was provided by His Holiness the Paramacharya of Kanchi Mutt when his clarification was sought. He explained that Swami was well versed in mantra sastra also where such techniques are employed to guard the secret and sanctity of the mantras.
Nava Rasas and Proverbs in his compositions
Emotions: To justify his being hailed as one of the foremost poets of his time, Thyagaraja Swami has brilliantly captured all rasas in his compositions. Many people think that studying Swami's kritis means only listening to long faced and serious aphorisms and homilies. Few know that he has used Sringara (Romance), Soka (Sorrow), Saantha (Tranquil, Peace), and Haasya (Humor)with equal felicity.
Before him and indeed even after his time, Mukhari was used only for the sokha rasa; but Swami proved that this need not be so, by using Mukhari to produce Haasya or humor in the kriti, Chinthisthunaade Yamudu. The description of the dowwarika in the music drama, Prahlada Bhakthi Vijayam, is full of hasya. In the kriti, "Vasudevayani Vedalani" (Kalyani), while describing the entry of the dowarika, he says "Mati Matikini Meesamu duvvi, manmatha roopudu thanani krovvi, dati dati paduchuna" is hilarious. Translated, it shows the ridiculuous behavior of the Dwarapalaka. He is walking here and there, twirling his moustache, posing as if he is Manmata (the God of Love and Beauty), jumping here and there and talking and laughing to himself posing like a handsome guy.
One of the scholars studying the Nowka charithram, responding to the criticism of Thyagaraja by some purists about the excessively sringara rasa ra in this drama, says that Sri Swami has walked the razor edge in keeping strictly in ethical and moral values and his srungara rasa. Unlike Jayadeva, Thyagaraja did not step outside the canons of decency. Whatever the rasa employed, the ultimate objective is bakthi and rasas have been employed only to emphasis the need for Bhakthi.
Proverbs: Thyagaraja Swami also uses a number of proverbs in his compositions to emphasize the underlying meaning in his compositions. Here are two examples:
1. To test a pot of rice in order to find out if it is well cooked, he cites the familiar proverb in Tamil - "Oru paanai sothukku oru soru padham" - in the Mohanam kriti "Maati Maatiki". To know my sincerity, Rama, do you need me to plead again and again? Is not one sincere pleading adequate? Do experienced individuals test every rice before finding it is cooked? How many times do I need to plead to you before you would bless me?
2. "Rock the cradle and at the same time pinch the baby." In the Atana kriti, "Atla Baluguthu", he says, "Atla baluguthu, nitla baluguthu" "Thotla narbagula Noodhuvu mari mari Thosi natulu killudhuvu Srirama". You will talk one way and then you will talk the other way. What can I do? You will rock the cradle to make the child sleep and then you will also stealthily pinch the kid." These lyrics are not only examples of the humor employed by Thyagaraja Swami but also the utter devotion, bhakthi and the personal oneness that shows with his deity, Sri Rama.
3. "In an attempt to make an idol of Ganesha, we end up making the figure of a monkey." In the Evarito ne delpudu" (Manavagthi", Thyagaraja Swami says, "Gananadhu Jeya Goraka kaduva narudai dheeraka"; I am constantly doing bhajana in your name and yet I am turning out to be not saved and am ending up as something else. Rama, won't you save me?"
These are a few example of many such proverbs that Thyagaraja Swami uses in his kriti to bring forth his true emotions and purpose behind a composition.
"On Knowledge"
About knowledge, Thyagaraja Swami says that it is not worth acquiring knowledge which does not improve the quality of man. A very well read man who has not benefited from his erudition and knowledge is an ass that carries a load of books. Humility and vinaya is essential for spiritual progress.
About which path to tread for enlightenment, he says that all paths of discipline, humility, love of God and environment lead to salvation. The replacement of the six enemies which haunt us are: desire, hatred, miserliness, attachment to ephemeral values, egotism, and acquisitiveness. The six gunas that we must acquire are: sama or equanimity; dharma or self control; titiksha or willingness to bear suffering; uparati or looking away from evil; sradha or dedication; and samadhana or satisfaction. These six gunas help us attain liberation from bondage. The happiness one person derives from taking one kind of food is no better or worse than the happiness of another person eating another kind of food.
All schools of philosophy are good, provided the fundamental qualities of genuine love and dedication, compassion and understanding are practiced. This thought is expressed in Anuragamuleni in Saraswathi. In this kriti, Thyagaraja Swami says that you can acquire all the knowledge in the world. But, if an individual does not have bhakthi, he would not develop good qualities. the peIn "Endaro Mahanubhavalu" Swami mentions the different ways of attaining liberation. "Bhagawata, Ramayana, Geethathi, Sruthi Sastra Puranabu mamula Sivadhi Shanmathamula Gootamula Muppadhi Mukkodi Surandarangamula Bhavamula Neriki Bhavaraga Layadhi Sowkyamulche Jiravuyal Kaliki Niravadhi Sugathmulai". Freely translated, it says that there are several ways to attain knowledge and linberation. By learning the Bhagavatham, Ramayanam, Bhagawath Geetha, the Srutis, and Puranas; by finding out the secrets hidden in the six religions (shanmatha); by finding the inner meaning from the Devas and so on. But, the easiest way to obtain knowledge is bhakthi and sangeetha.
He explains why he chose Rama Nama as Taraka mantram for japam in his kriti, "Saaramegani Anya Marga Vicharamatike" (Panthuvarali). In this kriti, he refers to Sivas advise to Parvathi (familiar to all those who recite Vishnu Sahasharanamam) that by reciting Rama's name thrice, one may attain the benefit of repeating the hymns a thousand times. In the Thodi kriti, Endu DAginado (Rama! Where are you hiding?), he says, "that it has become the practice and play of the Lord to hide himself before saving his devotees and wonders where he is hiding today to save Thyagaraja. Perhaps, he hid behind the seven trees to help and save Sugriva. Perhaps, he hid himself in an iron pillar to save Prahalada (Prahladhu goraku kambamulo palanundagaledha).
On Prayer
Aldoux Huxley classified prayer into petition, intecession, mediatation, and contemplation. Of these, petition, he said, was the lowest form of prayer; intercession the next best; mediation still higher and contemplation, the ideal. This closely follows Sri Thyagaraja Swami's views on prayer. In the kriti, "Mari Mari Ninne" in Kamboji, he refers to the bhakthis of Gajendra, Druva, and Prahalada. Gajendra merely wanted to be physically saved (tamasika bhakthi). Druva wanted a boon which was almost asking for revenge or taunt his step mother and weak father - Rajasika bhakthi. Prahlada who merely wanted his father to know the omni presence of God Stavika bhakthi. In the Devamanohari kriti, "Kanni thandri Naapai, " Swami says people will just continue to do what they have been doing day in day out without realizing that man is his own friend or foe; the friendship and strength being derived from control of the senses, thereby stressing the point that the human mind is a very powerful instrument which if tame and properly utilized, can lift man up from sorrow. He tells us that all rituals are directed towards this sure method of obtaining control of the mind but that such control can only come from concentrating on the purpose of the ritual.
Perfunctory performance of ritual will give no benefit. Two kritis explain this. In "Telisi Rama Chinthanatho" (Poorna Ravichandrika), he draws attention to the dual meanings of words and says that what the mind is meditating on is more important than words itself. Rama means woman and also Brahman; Arka means the sun god and a poisonous plant and Aja means Brahma or goat. So, just chanting Rama nama without at the same time benefiting your mind with the right image in your thoughts is of no use.
Another important ingredient of prayer is love of God and fellow human beings. In "Rama Neeyeda" (Karaharapriya) and "Smarane Sukhamu" in Janaranjani, he stresses this point. In the pancharathna kriti, "Sadinchene" in Arabhi, he refers to this and says "boidnchina sanmarga vachana mulu bonku chesi" meaning that God falsified his own teaching which means that he falsified what you believed was an invulnerable situation for yourself.
Rituals and Religion
Frequently one hears the largely justified accusation that religion has failed to make man, moral or compassionate and that, it has divided man from man. All religions give us some code of ethics; of love of fellow human beings and all creatures. Religion cannot be faulted if man has misinterpreted or misused religion to serve his interest, at the cost of others. For that matter, politics and even science have been abused and misused to serve selfish interests of men. Well, this is not the subject under discussion now, though it is, we believe, not an irrelevant digression.
Thyagaraja Swami stresses the point that for a true votary of any religion, there is no division or isolation from the essentials. He stresses again and again, "bedharahita vedanthamu," "matha bedhamuleka" and "dhaiva bedhamuleka" - all of them meaning that there should be no quarrel over deities or denominations. In other words, the seeker after realization should love god equally, devoutly, even when the deity is not the one he or his religion proclaims as the supreme one. His advise to the seeker after salvation is to find the ultimate through purity of thought, humility, compassion, and love for all fellow human beings: and, all that is in one's environment.
Among several kritis in which he asks us to eschew bedhas, differences and differentiations, we will cite only two here: "Krupalavala" in Nadhatarangini -- "Aapavargapala kamamulanu joochi addamai animadi siddhula mosapu chedarayya," - while I seek only mosha, people around are putting stumbling blocks in the way by trying to tempt me with ashtasiddhis and such other ersatz, the fake and the spurious. In "bhajana seyave (Kalyani), he addresses his own mind thus (of course, it is really for lesser mortals like us): "human birth endows one with the capability to learn the significance and secret of naadha, pranava, the seven swaras, the vedas, the mantras, sastras, puranas, etc., comprising the 64 kalas. Why then should one seek pleasure and fulfilment in debates and dialectics instead of seeking moksha - " modakara sareeramethi mukthi margamunu theliyani - vaadha tharkamela."
This emphasis on right, ethical conduct, egolessness, the pursuit of truth and the need to give up purposeless learning, debate and discussion, occurs in many other kritis among which we may cite some of the well known ones like "Manusunilpa Sakthileka pothe" (Abhogi), "Manasu Swadeenamaina (Sankarabharanam) and "Emijesithenemi." If space would permit, we would have been happy to give a full and detailed translation of the entire kritis; kritis which compel contemplation of the meaning for those who seek the ultimate and are not interested in the divisions and spurious attractions on the way to the goal.
In "Emijesithenemi" he says that, whatever one's learning, whatever one's wealth and comforts, whatever the yagas one may have performed, though one may be a great guru teaching esoteric mantras to others, such a one gains nothing, at any rate not Salvation or Grace, unless one gives up kama, moha (desire and elusion) and the like. In "Manusunilpa" and "Manasu Swadheenamaina", he says that irrespective of all and any qualifications, it is the mind which is to be conquered, kept under control and check. In the former - with some sarcasm, he asks, "What is the use of doing pooja, sounding the bell (for others to hear) if one cannot stop the mind (stop procession of thoughts, images, and ideas as Sri Ramana Maharishi states), how does one benefit by a bath in the Ganga or Cauvery if one has not erased the ego; what is the use of thapas if one's mind is full of kama, krodha, etc. Will these protect me?
In "Manasu Swadeenamaina," he categorically states that nothing will prevail one unless the mind is in control. In this song, he says that there is no need for mantras and tantras for the man who has controlled and subdued his mind; there is no need to do thapas for the man who has realized that the body is not the self (dehatmabedha); there is no need to take to sanyasa or adopt different ashramas at different times for the man who has realized that God is everything (Vishishtadwaita: Saranagati and Prapatti); for the man for whom there is no attraction of wealth or woman; for him who knows that everything is blind illusion (impermanent; ephemeral); there is no need for a man to worry about the future if he has taken care of the past and the present through good conduct. Though Swami was well versed in the sastras and puranas (or because of it, he could separate the essential from the inessential), he lays greater emphasis on a simple, truthful, dharmic life and advises us not to attach too much importance to rituals and ceremonies, differences, distinction and debates, learning and preaching. The advise he has given can be followed even by a simple minded, unlearned person, provided he seeks sincerely and with steadfastness.
Nadopasana is bhakthi, worship, and devotion through music. As the article on Thyagaraja’s musical plays pointed out, Sri Thyagaraja Swami used his compositions to energize our inner spiritual forces or nadopasana to attain moksha or salvation in this life. There are several references to nadopasana in Indian musicology, philosophy, and epics. For example, in The Sangita Rathnakara, the opening slokas explain how nada and Kundalini1 are interrelated and how this comprehension is necessary for salvation. Sri Thyagaraja Swami took the first three slokas and composed the following kritis, Nada Thanum Anisam, Sobhillu Saptha Swara, and Nadopasana, using the first, second, and third sloka respectively.
According to Hindu sastras, Naabhi, Hrith, Kanta, Rasana, and Naasa are the sources of sound which originate from the Mooladhara or the inner soul. The recognition of this Mooladharaja naada is itself moksha says Sri Thyagaraja in the Sankarabharanam kriti, Swara Raga Sudharasa. Thyagaraja Swami says "Mooladaraja" naada "Merungutaye mudamagu mokshamura"; the realization of the existence and experience of the sound generated at the base of the spine is itself blissful heaven. Again, in the same kriti, he reiterated this again, "kolahala saptaswaramula gruhamula guruthe mokshamura."
In this connection, it is interesting to note that Sir John Sparrow, in his book titled, Serpent Power, equates Kund alini with endogenous sound. The identification of the correct srutis as the home of the swaras is also important for experiencing moksha or liberation “Saptha Swarmula Grhuhamula guruthe mokshamura.” The worship of pure sound emanating from within you and identifying yourself with it and being in consonance with it is liberation or moksha. This is Nada Yoga.2
Sri Thyagaraja Swami not only stresses the importance of recognizing and developing the ability to experience Mooladhara nada, but also more specifically asks the votaries to practice sangitopasana as a means and prelude to enjoying nadopasana. In his composition, Sribapriya Sangeethopasana in Atana, he conjures up visions of the mind traveling in the swaras - “Sapthaswara Chaari” and melodic ragas manifesting themselves in delightful forms - “Ranjimpa Jesedu ragambulu, manjulamagu navatarambulethi.” He stresses other and nearer terrestrial benefits of sangita gana - “Prema Bhakthi, Sujana Vathsalyamu, Srimath Ramaa vara Katakshamu, Nema Nishta Yasodhanamu” as the rewards of acquiring Sangita Sastra gnana.
These discussions on nadopasana thus point to how Sri Thyagaraja was not only an excellent musicologist conforming to the traditional sastras but who, through simple songs with pristine purity, taught us the nature and purpose of music. Indeed , through sangita he urged us to acquire the wisdom of perceiving Brahman, the intelligence to analyze and experience Him; the diligence to seek Him; and the patience to wait for enlightenment. He described his Rama as an embodiment of Nada. No other composer has in such a simple and appealing ways taught music as art, science, philosophy and ultimately, as a means to salvation.
1 According to Yoga sastras, we humans are a microcosmic image of the universe. This universal energy that each human carries within oneself is the Kundalini. The Kundalini lies dormant until awakened. The object of certain forms of yoga is to awaken this dormant force and to let it lead us to the path of salvation. Liberation, therefore, is unity with the universe from which we originated; the individual spirit becomes part of the universal spirit. It is the highest experience that a yogi to a saint to an ordinary individual is striving to reach. One of the yogic approaches that awakens the Kundalini is the nada or nadopasana or devotion through music.
2 Kritis such as Mokshamu Galada (Sarmathi) and Swara Raga Sudha rasa (Sankarabharanam), Raga Sudha Rasa (Andolika) and Sitavara (Devagandhari) deal with the subject of nada yoga. It is believed that the root of our spinal column, there is a chakra or stahanam (place/location). Starting from here and going up to the crown of a person's head, Prana, passes through knots or granthis. There are three knots, Mooladhara Kshetra, Manipoora or Vishnu Granthi and Agnya chakra or Rudra granthi. The path, sound takes through these granthas is called srotha. And, the practice of taking the sound to the prana and achieving liberation is called nada yoga.
As A Poet
Thyagaraja Swami’s compositions are described as poetry set to music. He was the only poet among our composers. He has considerably enriched Telugu literature of the 19th century. He has composed verses of every known kind from simple kanda padyams to the more elaborate and complex varieties. Among the verses, both introductory and invocatory, appearing in the two operas or song dramas are Seesa padyams, Utpalamalas, dwipadis, sardhoola vikruditham and kandapadyam. There are over 160 padyams in all between the two Gaya Natakas – Prahlada Bhakthi Vijayam and Nowka Charitham.
It is said that Swami composed a third natakam by name Seetharama Vijayam. This claim is made by Professor Sambamurthy and others based on a license granted to one Wallajapet Loka Narayana Sastrulu for printing a poetry drama, Seetharama Vijayam at Gnanabhanu Achukootam, Choolai, Madras. Professor Sambamurthy and his team of dedicated students did their best to locate this press but without luck. Either the work was never printed or the manuscript was lost. Professor Sambamurthy and other scholars believe that the kritis, “maa Janaki” in Kamboji and “Varnaja Nayana” in Kedaragowla belong to this opera and that these two songs depict sambandi kelikkai.
The greatness of Swami’s poetic skill is in that all his verses and songs can be read as prose and do not need to be rendered into prose form or anvaya. The lakshanas (attributes) of pure poetry are all there and so they can be read with meter and prosody with equal felicity. Another noteworthy skill is his mastery over dwitiyakshara prasa or prosody based on the second letter of the opening word in each line. Ha, Ksha, and similar dwitiyaksharas are handled with amazing ease and fluency. “Kaddana Variki” (Thodi), “Gruhabalamemi” (Revagupti) and the only Tisra Triputa kriti, Lalgudi Sthala kriti, “Mahita pravruta Sreemathi” (Kamboji) are good examples.
His description of the Yamuna, with the gopis sporting; of the Kaveri as it flows from the hills and dales; his description of Thiruvayyaru” reflect his poetic skill and imagery, both in Telugu and Tamil. His Satodalankara too is marvelous; in creating an onomatopoeic effect. This skill, one could say, he had acquired by his study of Pothana - “Kala kala mukha kala sokkuche palukulolam ruthamu lolikadu swamiki” in Gandhamu Poyyagara (Punnagavarali) and the charana of the Saranga kriti “Emi deva balkuma” creating a battle scene effect.
Swami has used parayayanams or synonyms very skillfully in narrating the Ramayana. Basing the progress of the story on the Lord’s feet, hands, weapons, eyes, etc., the story is told from Viswamitra yoga Samrakshanam to Pattabishekam.
To give an example, the parayayanams “angrulu, kalyu padamulu” and “charanmulu” are used to say “when am I going to see the feet that walked beside Viswamitra; the feet which made Ahalya come back to life; the feet which pressed and broke the Shiva dhanus and the feet which Janaka washed with milk at the wedding. The story then moves from yagasamrakshanam to Sita Swayamvaram (Please also refer to the kriti Vinayamunu in Sowrashtram). Some people use this as daily parayanam of the full Ramayana.
Swami has used words and combination of words of his own creation. This needs some examination to be fully understood. For example, in the divyanama kirtana “Manasa Sancharare” (Punnagavarali), he uses the word “bharye” to mean Chandra. This is derived from “ba” Nakshartram and “arya” or leader or the great one; meaning “sreshta” indicating here the moon. Hence “mukhajita bharye” for mukhajita soma or Chandra. In the adamantine kriti “RamanSalaam Brova”, he uses the expressions, yantha, bantha, nishantha – to mean Ramachandra. This is arrived at by “yantha" or the letter after "ya" that is "ra" in bhantha; the letter after "bha" is "na" and "nisantha" meaning dispeller of darkness (the moon). This explanation was provided by His Holiness the Paramacharya of Kanchi Mutt when his clarification was sought. He explained that Swami was well versed in mantra sastra also where such techniques are employed to guard the secret and sanctity of the mantras.
Nava Rasas and Proverbs in his compositions
Emotions: To justify his being hailed as one of the foremost poets of his time, Thyagaraja Swami has brilliantly captured all rasas in his compositions. Many people think that studying Swami's kritis means only listening to long faced and serious aphorisms and homilies. Few know that he has used Sringara (Romance), Soka (Sorrow), Saantha (Tranquil, Peace), and Haasya (Humor)with equal felicity.
Before him and indeed even after his time, Mukhari was used only for the sokha rasa; but Swami proved that this need not be so, by using Mukhari to produce Haasya or humor in the kriti, Chinthisthunaade Yamudu. The description of the dowwarika in the music drama, Prahlada Bhakthi Vijayam, is full of hasya. In the kriti, "Vasudevayani Vedalani" (Kalyani), while describing the entry of the dowarika, he says "Mati Matikini Meesamu duvvi, manmatha roopudu thanani krovvi, dati dati paduchuna" is hilarious. Translated, it shows the ridiculuous behavior of the Dwarapalaka. He is walking here and there, twirling his moustache, posing as if he is Manmata (the God of Love and Beauty), jumping here and there and talking and laughing to himself posing like a handsome guy.
One of the scholars studying the Nowka charithram, responding to the criticism of Thyagaraja by some purists about the excessively sringara rasa ra in this drama, says that Sri Swami has walked the razor edge in keeping strictly in ethical and moral values and his srungara rasa. Unlike Jayadeva, Thyagaraja did not step outside the canons of decency. Whatever the rasa employed, the ultimate objective is bakthi and rasas have been employed only to emphasis the need for Bhakthi.
Proverbs: Thyagaraja Swami also uses a number of proverbs in his compositions to emphasize the underlying meaning in his compositions. Here are two examples:
1. To test a pot of rice in order to find out if it is well cooked, he cites the familiar proverb in Tamil - "Oru paanai sothukku oru soru padham" - in the Mohanam kriti "Maati Maatiki". To know my sincerity, Rama, do you need me to plead again and again? Is not one sincere pleading adequate? Do experienced individuals test every rice before finding it is cooked? How many times do I need to plead to you before you would bless me?
2. "Rock the cradle and at the same time pinch the baby." In the Atana kriti, "Atla Baluguthu", he says, "Atla baluguthu, nitla baluguthu" "Thotla narbagula Noodhuvu mari mari Thosi natulu killudhuvu Srirama". You will talk one way and then you will talk the other way. What can I do? You will rock the cradle to make the child sleep and then you will also stealthily pinch the kid." These lyrics are not only examples of the humor employed by Thyagaraja Swami but also the utter devotion, bhakthi and the personal oneness that shows with his deity, Sri Rama.
3. "In an attempt to make an idol of Ganesha, we end up making the figure of a monkey." In the Evarito ne delpudu" (Manavagthi", Thyagaraja Swami says, "Gananadhu Jeya Goraka kaduva narudai dheeraka"; I am constantly doing bhajana in your name and yet I am turning out to be not saved and am ending up as something else. Rama, won't you save me?"
These are a few example of many such proverbs that Thyagaraja Swami uses in his kriti to bring forth his true emotions and purpose behind a composition.
"On Knowledge"
About knowledge, Thyagaraja Swami says that it is not worth acquiring knowledge which does not improve the quality of man. A very well read man who has not benefited from his erudition and knowledge is an ass that carries a load of books. Humility and vinaya is essential for spiritual progress.
About which path to tread for enlightenment, he says that all paths of discipline, humility, love of God and environment lead to salvation. The replacement of the six enemies which haunt us are: desire, hatred, miserliness, attachment to ephemeral values, egotism, and acquisitiveness. The six gunas that we must acquire are: sama or equanimity; dharma or self control; titiksha or willingness to bear suffering; uparati or looking away from evil; sradha or dedication; and samadhana or satisfaction. These six gunas help us attain liberation from bondage. The happiness one person derives from taking one kind of food is no better or worse than the happiness of another person eating another kind of food.
All schools of philosophy are good, provided the fundamental qualities of genuine love and dedication, compassion and understanding are practiced. This thought is expressed in Anuragamuleni in Saraswathi. In this kriti, Thyagaraja Swami says that you can acquire all the knowledge in the world. But, if an individual does not have bhakthi, he would not develop good qualities. the peIn "Endaro Mahanubhavalu" Swami mentions the different ways of attaining liberation. "Bhagawata, Ramayana, Geethathi, Sruthi Sastra Puranabu mamula Sivadhi Shanmathamula Gootamula Muppadhi Mukkodi Surandarangamula Bhavamula Neriki Bhavaraga Layadhi Sowkyamulche Jiravuyal Kaliki Niravadhi Sugathmulai". Freely translated, it says that there are several ways to attain knowledge and linberation. By learning the Bhagavatham, Ramayanam, Bhagawath Geetha, the Srutis, and Puranas; by finding out the secrets hidden in the six religions (shanmatha); by finding the inner meaning from the Devas and so on. But, the easiest way to obtain knowledge is bhakthi and sangeetha.
He explains why he chose Rama Nama as Taraka mantram for japam in his kriti, "Saaramegani Anya Marga Vicharamatike" (Panthuvarali). In this kriti, he refers to Sivas advise to Parvathi (familiar to all those who recite Vishnu Sahasharanamam) that by reciting Rama's name thrice, one may attain the benefit of repeating the hymns a thousand times. In the Thodi kriti, Endu DAginado (Rama! Where are you hiding?), he says, "that it has become the practice and play of the Lord to hide himself before saving his devotees and wonders where he is hiding today to save Thyagaraja. Perhaps, he hid behind the seven trees to help and save Sugriva. Perhaps, he hid himself in an iron pillar to save Prahalada (Prahladhu goraku kambamulo palanundagaledha).
On Prayer
Aldoux Huxley classified prayer into petition, intecession, mediatation, and contemplation. Of these, petition, he said, was the lowest form of prayer; intercession the next best; mediation still higher and contemplation, the ideal. This closely follows Sri Thyagaraja Swami's views on prayer. In the kriti, "Mari Mari Ninne" in Kamboji, he refers to the bhakthis of Gajendra, Druva, and Prahalada. Gajendra merely wanted to be physically saved (tamasika bhakthi). Druva wanted a boon which was almost asking for revenge or taunt his step mother and weak father - Rajasika bhakthi. Prahlada who merely wanted his father to know the omni presence of God Stavika bhakthi. In the Devamanohari kriti, "Kanni thandri Naapai, " Swami says people will just continue to do what they have been doing day in day out without realizing that man is his own friend or foe; the friendship and strength being derived from control of the senses, thereby stressing the point that the human mind is a very powerful instrument which if tame and properly utilized, can lift man up from sorrow. He tells us that all rituals are directed towards this sure method of obtaining control of the mind but that such control can only come from concentrating on the purpose of the ritual.
Perfunctory performance of ritual will give no benefit. Two kritis explain this. In "Telisi Rama Chinthanatho" (Poorna Ravichandrika), he draws attention to the dual meanings of words and says that what the mind is meditating on is more important than words itself. Rama means woman and also Brahman; Arka means the sun god and a poisonous plant and Aja means Brahma or goat. So, just chanting Rama nama without at the same time benefiting your mind with the right image in your thoughts is of no use.
Another important ingredient of prayer is love of God and fellow human beings. In "Rama Neeyeda" (Karaharapriya) and "Smarane Sukhamu" in Janaranjani, he stresses this point. In the pancharathna kriti, "Sadinchene" in Arabhi, he refers to this and says "boidnchina sanmarga vachana mulu bonku chesi" meaning that God falsified his own teaching which means that he falsified what you believed was an invulnerable situation for yourself.
Rituals and Religion
Frequently one hears the largely justified accusation that religion has failed to make man, moral or compassionate and that, it has divided man from man. All religions give us some code of ethics; of love of fellow human beings and all creatures. Religion cannot be faulted if man has misinterpreted or misused religion to serve his interest, at the cost of others. For that matter, politics and even science have been abused and misused to serve selfish interests of men. Well, this is not the subject under discussion now, though it is, we believe, not an irrelevant digression.
Thyagaraja Swami stresses the point that for a true votary of any religion, there is no division or isolation from the essentials. He stresses again and again, "bedharahita vedanthamu," "matha bedhamuleka" and "dhaiva bedhamuleka" - all of them meaning that there should be no quarrel over deities or denominations. In other words, the seeker after realization should love god equally, devoutly, even when the deity is not the one he or his religion proclaims as the supreme one. His advise to the seeker after salvation is to find the ultimate through purity of thought, humility, compassion, and love for all fellow human beings: and, all that is in one's environment.
Among several kritis in which he asks us to eschew bedhas, differences and differentiations, we will cite only two here: "Krupalavala" in Nadhatarangini -- "Aapavargapala kamamulanu joochi addamai animadi siddhula mosapu chedarayya," - while I seek only mosha, people around are putting stumbling blocks in the way by trying to tempt me with ashtasiddhis and such other ersatz, the fake and the spurious. In "bhajana seyave (Kalyani), he addresses his own mind thus (of course, it is really for lesser mortals like us): "human birth endows one with the capability to learn the significance and secret of naadha, pranava, the seven swaras, the vedas, the mantras, sastras, puranas, etc., comprising the 64 kalas. Why then should one seek pleasure and fulfilment in debates and dialectics instead of seeking moksha - " modakara sareeramethi mukthi margamunu theliyani - vaadha tharkamela."
This emphasis on right, ethical conduct, egolessness, the pursuit of truth and the need to give up purposeless learning, debate and discussion, occurs in many other kritis among which we may cite some of the well known ones like "Manusunilpa Sakthileka pothe" (Abhogi), "Manasu Swadeenamaina (Sankarabharanam) and "Emijesithenemi." If space would permit, we would have been happy to give a full and detailed translation of the entire kritis; kritis which compel contemplation of the meaning for those who seek the ultimate and are not interested in the divisions and spurious attractions on the way to the goal.
In "Emijesithenemi" he says that, whatever one's learning, whatever one's wealth and comforts, whatever the yagas one may have performed, though one may be a great guru teaching esoteric mantras to others, such a one gains nothing, at any rate not Salvation or Grace, unless one gives up kama, moha (desire and elusion) and the like. In "Manusunilpa" and "Manasu Swadheenamaina", he says that irrespective of all and any qualifications, it is the mind which is to be conquered, kept under control and check. In the former - with some sarcasm, he asks, "What is the use of doing pooja, sounding the bell (for others to hear) if one cannot stop the mind (stop procession of thoughts, images, and ideas as Sri Ramana Maharishi states), how does one benefit by a bath in the Ganga or Cauvery if one has not erased the ego; what is the use of thapas if one's mind is full of kama, krodha, etc. Will these protect me?
In "Manasu Swadeenamaina," he categorically states that nothing will prevail one unless the mind is in control. In this song, he says that there is no need for mantras and tantras for the man who has controlled and subdued his mind; there is no need to do thapas for the man who has realized that the body is not the self (dehatmabedha); there is no need to take to sanyasa or adopt different ashramas at different times for the man who has realized that God is everything (Vishishtadwaita: Saranagati and Prapatti); for the man for whom there is no attraction of wealth or woman; for him who knows that everything is blind illusion (impermanent; ephemeral); there is no need for a man to worry about the future if he has taken care of the past and the present through good conduct. Though Swami was well versed in the sastras and puranas (or because of it, he could separate the essential from the inessential), he lays greater emphasis on a simple, truthful, dharmic life and advises us not to attach too much importance to rituals and ceremonies, differences, distinction and debates, learning and preaching. The advise he has given can be followed even by a simple minded, unlearned person, provided he seeks sincerely and with steadfastness.
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