devi NAVARATHRI Keerthanams of Svati Tirunal

[Guest guest]

Namaste, and HAPPY NAVARATHRI SEASON to all readers of .

 

Navaratri is a festive season for music and dance, and for

singing the Glory of Goddess in the form of Durga, Lakshmi

and Sarasvati. For this purpose, various music composers

have composed divine songs, kIrtanams, kR^iti, bhajans, and so forth.

SOme of the popular ones are the Kamalkamba Navavarana series by

Muthuswami Dikshitar, the navaratnamAlikas of Suama Sastri,

and the Kamakshi Navavarana songs by

Uthukkadu Venkatasubba Iyer. Also, Maharaja Svati Tirunal

has composed nine sparkling gems, known as "devi navarAtri

kIrtanaMs", which he specifically composed for singing on the

nine days of the Navaratri, one on each day.

 

Since we are entering another navarAtri season,

I shall, in this article, attempt to describe the

salient features of these brilliant compositions of

mahArAjA svAti tirunAL.

 

Narayanaswami

*****************************************************

 

dEvI navarAtri kIrtanaMs

of

mahArAjA svAti tirunAL

 

INTRODUCTION

^^^^^^^^^^^^

 

If one happens to be in Trivandrum, the capital city of Kerala,

during the navarAtri Season,

one could experience the magic of the "navarAtri utsavaM "conducted

at the Royal Palace, with the singing of the "navarAtri

kIrtanaMs", composed by the composer maharAjA svAti tirunAL.

When one thinks of mahArAjA svAti tirunAL, one is invariably

reminded of Lord PadmanAbhasvAmi of the mammoth temple of

syAnandUrapuraM (presently known as Thiruvananthapuram).

The mahArAjA used the various "paryAyaM"s (equivalent

phrases) of the proper name "padmanAbha" as the mudra

(author's signature) in most of his musical compositions.

While a bulk of his kR^itis are outpourings of his devotion to

Lord PadmanAbha, there are some kR^itis that he composed on

various other divinities in and around the courtyard of the temple.

Among these, the nine kIrtanaMs he composed, for singing the

praise of Goddess during the NavarAthri festival stands out

as a distinct and precious collection.

 

This series of nine devi kR^itis, to be sung on each day of the

Navaratri season are as follows:

 

Day 1. dEvi jagajjanani (shaN^karAbharaNaM, Adi)

Day 2. pAhi mAM shrIvAgIshvari (kalyANi, Adi)

Day 3. dEvI pAvanE (sAvEri, Adi)

Day 4. bhAratI mAmava (toDi, Adi)

Day 5. jananI mAmava (bhairavi, cApu)

Day 6. saroruhAsanajAye (pantuvarALi, Adi)

Day 7. jananI pAhi sadA (suddhasAveri, cApu)

Day 8. pahi janani satataM (nATTAkura~nji, cApu)

Day 9. pAhi parvatanandini (Arabhi, Adi)

 

Each day, the singing is usually preceded by the

rendition of "toDaya maN^gaLaM", (in fact, "toDAyaM",

and "maN^gaLaM"), and the kR^iti, "paripAhi gaNAdhipa"

(sAveri, Adi) on Lord gaNapati.

 

NAVARATRI UTSAVAM

^^^^^^^^^^^^^^^^^^

The story goes that

the famous tamil poet Kambar (of the kamba rAmayaNaM fame)

used to offer worship to the idol of Goddess sarasvati in a temple

situated in Padmanabhapuram. When he was frailing in health, he

approached the rulers, and got a promise from the ruling Chera King

that the NavarAtri festival for the Sarasvati would be conducted

every year without any interruption. To this day, the Royal family of

Travancore have honored this promise. During the regime of

svAti tirunAL mahArAjA, the capital was shifted from Padmanabhapuram

(now in Tamilnadu) to Thiruvananthapuram.

To keep the promise to sage kambar, it was arranged that every year,

the idol of Goddess sarasvati would be brought in grand procession

(with elephants and all the gala) to the new capital at

Thiruvananthapuram, and the festival conducted

there in equal grandeur, thus fulfilling the wishes of sage Kambar.

A unique feature is that the idol is not an "utsava vigraham",

so when the idol is taken out to the capital, a lamp was lit in

its place and regular puja was offered there.

 

In the earlier days, The NavAratri festivel used to feature

devotional music, dance offerings to the Goddess, vedic

chanting, grantha puja, ayudha puja, scholarly discussions,

and debates on the puranas. But these days, most of the activities

have vanished, except the puja, and the music concerts.

The music for the NavarAthri concerts was codified by

mahArAjA svAti tirunAL himself. For this occasion, he composed

these nine gems in weighty rAgams shaN^karAbharaNaM, kalyANi, sAveri,

toDi, bhairavi, pantuvarALi, shuddhasAveri, nATTakura~nji, and Arabhi,

to be sung as main piece on each day in front of Goddess Sarasvati.

 

The venue is the Navaratri Mandapam in the Fort Palace of the

mahArAjA of Trivandrum, and the event takes place during the

musical performances in the evenings. On each day, the particular

song assigned for that day is sung very elaborately, with detailed

rAga AlApana, neraval, svara prasthAraM, and so forth.

These songs used to be rendered in Group singing,

the rAgaM and tAnaM being rendered by the chief musician.

But, nowadays, the entire song is rendered by one musician.

Also, in those days, all the lengthy caraNaM lines were sung,

whereas these days, people sing only one of the

chosen caraNaMs.

 

During the first three days, Devi is worshipped as

Sarasvati, the next three days as Lakshmi, and as Durga

on the last three days. The concerts are in

the form of offerings to Devi.

There is no applause and everything is kept very

calm and the atmosphere is very serene and devotional.

Till early 1900s, the concerts were given by the

"MullamUDu" Bhagavathars, where one musician would lead the

chorus, and each one took in turn to do the

rAga Alapana, neraval, svara kalpana, etc.

The concerts are usually preceded by the rendition

of toDaya maN^gaLaM, and the Ganapathi Stuti,

"paripAhi gaNadhipa" in rAgaM sAveri (composed

by svAti tirunAL), again by Mullamoodu Bhagavathars.

These Bhagavathers are families of musicians,

whose ancestry and musical tradition dates back to the

time of MahArAjA svAti tirunAL himself. In fact

we are deeply indebted to these musicians for handing

over to the present generation, numerous compositions of

svAti TirunAL, in their original authentic forms.

 

But, during later years, the system has changed.

Competent musicians from outside were invited to give

the main concert, and MullamUDu Bhavathars were restricted

to singing just the toDaya MaN^gaLaM.

 

The scene of the Navaratri Mandapam is equally superb. Oil

lamps are lit, and the atmosphere is filled with

subtle fragrance of fresh flowers, sandalwood, incenses,

and camphor fumes. The concerts start exactly at 6pm and

end precisely at 8.30 pm. Strict punctuality iss maintained,

and no one was allowed to come late, or leave early.

 

NAVARATRI KIRTANAMS

^^^^^^^^^^^^^^^^^^^^

Unlike MuttusvAmi dIkshitar, who used to compose Group

kR^itis on a single unified theme, in all eight vibhaktis

(declinations) of the Sanskrit language,

svAti tirunAL chose to use only the Sambodhana (vocative case)

and prathama vibhakti (nominative case) in these krithis.

All these nine kR^itis are of the "pahi mAM" type, calling out to

the Goddess to protect him, and the bulk of the words employed

in each kR^iti is just the description of the Goddess and her virtues

at great length, using flowery poetic language.

 

These compositions belong to the "kIrtana" pattern, with

a short pallavi, and anupallavi followed by lengthy caraNaMs.

The first song has four caranams, while the remaining have only three.

While the first six songs indulge in very long caraNaMs

using very lenghty phrases, the last three, devoted to pArvati,

are rather shorter, and simpler.

 

POETICAL BEAUTIES

^^^^^^^^^^^^^^^^^

Being a poet himself, the mahArAja indulged in all sorts

of poetical beauties in these kR^itis.

The songs are carved out very meticulously, and svATi

tirunAL excels in poetry in these compositions. The

language is simple, charming both in sound and meaning.

The flow of words is slow in some places, and swift

elsewhere, but always graceful. He employs various

kinds of prAsam (alliteration), such as dvitIyAkshara prAsaM

(alliteration in the second letter of each line), AdyapAda

prAsaM (alliteartion in the first segment), and so forth

in the different AvartaMs in every caraNaM, as well

as the rhyme at the end of these AvarthaMs.

Also, employing some common alaN^kAraMs (figure of speech)

such as upama (simile), rUpakaM (metaphore), utprekSha (fancy),

the poet expresses the ideas very elegantly, and in lucid language.

 

THE ESSENCE OF THE KIRTANAMS

^^^^^^^^^^^^^^^^^^^^^^^^^^^^

The first six songs in the series are addressed to Sarasvati,

and the last three to pArvati. All of them, as mentioned

earlier, are of the 'pAhi mAM" style, where the mahArAjA

bows to the Goddess, seeking Her blessings , with an earnest

request to protect him (and everyone else too), and save

him from the sins and torments. All these songs form

praise for the Deity, description of Her beauty, and

prayers for undivided Bhakti towards her.

 

Sarasvati is appropriately described as spotless white in complexion,

riding on a white swan, wearing white silk, bearing the lute

(vINa), the book, the rosary, and the symbol of

protection in her four hands, and having a crescent moon

on her head. This reminds us of the famous shlokam

 

yA kundEndu tuShAra hAra dhavaLA

yA shubhravastrVvR^itA

yA vINa vara daNDa maNDitakarA

yA shvetha padmAsanA

yA brahmArcita shaN^kara prabhR^itibhir-

dEvaiH sadA pUjitA

sA maM pAthu sarasvatI bhagavathI

nishsheSha jADyApahA.

 

She is the embodiment of all beauty, and the abode of

all learning. She is the consort of Brahma, and is worshipped by

Gods like Indra, and sages like Shuka, Sanaka, Narada.

She is kindness incarnate, and generous in her gifts to her

devotees.

 

Goddess pArvati is described in the last three songs as very

charming in form, having a crescent moon on her head, bearing

the trident in her hand, and riding a lion. She is the

consort of shiva, and the slayer of the demon canDa, munDa,

and mahiSha. She grants all desires to her true devotees.

 

 

*****************************************

 

AUDIO CASSETTES

^^^^^^^^^^^^^^^

The devi navarAtri kIrtanaMs are available in some

commercial audio cassettes. One, sung by Bombay Sisters

(Keerthana 6CA 534), another by V. Ramachandran (Sangeetha 6ECDB 424),

each of one hour duration, are popular.

Obviously, they render only one selected caraNaM in each song,

 

*******************************************

 

REFERENCES

^^^^^^^^^^

1. "Swati Tirunal's Kirtanamalas"

by Dr. S. Venkatasubramonia Iyer, MA, PhD,

College Book House, Trivandrum, 1984

 

2. The Navaratri Mandapam experience, by

Rama Varma, MUSIC, Nov 29, 1998 (Special

issue with the SUnday Magazine of THE HINDU)

*************************************

 

TEXT OF THE NAVARATRI KIRTANAMS

^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^

toDayaM

maN^gaLaM

gaNesha gItaM

First Day kIrtanaM

Second Day kIrtanaM

Third Day kIrtanaM

Fourth Day kIrtanaM

Fifth Day kIrtanaM

Sixth Day kIrtanaM

Seventh Day kIrtanaM

Eighth Day kIrtanaM

Ninth Day kIrtanaM

maN^gaLaM

 

**************************************

toDayaM

^^^^^^^

rAgaM: nATa tALaM: jhaMpa

 

jaya devakIkishora! jaya koTismarAkAra !

jaya kAlindItaTavihAra! jaya gopikAjAra ! ||1||

jaya jaya

 

jaya muraLIgAnalola! jaya suvarNarucicEla !

jaya salIladhR^itashaila! jaya vAridanIla ! ||2||

jaya jaya

 

jaya caritradhutapApa ! jaya khaNDitAsurATopa !

jaya yAdavakuladIpa ! jaya gopAlarUpa ! ||3||

jaya jaya

 

jaya kuTilAsitakesha ! jaya munimAnasanivesha !

jaya paN^kajanAbhAdhIsha ! jaya bhUmIramesha ! ||4||

jaya jaya

 

*************************************

maN^gaLaM

^^^^^^^^^

rAgaM: pantuvarALI tALaM: Adi

 

pallavi

 

mAtaN^gatanayAyai maN^gaLaM

 

anupallavi

 

bhUyO manasijArikantAyai maN^gaLaM

 

caraNaM

 

bahalakuN^kumapaN^kapATalitakucAyai

mahiShAsurahAriNyai maN^gaLaM ||1||

 

karirAjagamanAyai varatApasama~ncaya-

smaraNIya caraNAyai maN^gaLaM ||2||

 

varanadItaTagAyai vanajanAbhanujAyai

marakatamecakAN^gyai maN^gaLaM ||3||

 

*************************************

 

gaNesha gItam

^^^^^^^^^^^^^

rAgaM: sAveri tALaM: Adi

 

pallavi

 

paripAhi gaNAdhipa bhAsuramUrte !

 

anupallavi

 

sharaNAgatabharaNa sAmajopama sundarAsya

 

caranaM

 

himakiraNa shakala shekhara tanubhava

shamala nivaha shamana

kamalajamukha suravR^inda nuta carita

kAmitapUraka pAdasaroruha ||1||

 

mastaka vigaLita dAnajalamilita-

madhukara samudAya

hasta lasita nijadanta mahita sugu-

NAkhuvaha guhasodara nirupama ||2||

 

pAvana paN^kajanAbha manohara

bhagineya deva

sevaka janatatividyA samadhika-

shrI sukhadAyaka bhUri kR^ipAkara

 

***********************************

 

navarAtri kIrtanaM 1 (First Day)

^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^

 

rAgaM shaN^karAbharaNaM (meLaM 29) Adi tALaM (2 kaLai)

 

pallavi

 

devi jagajjanani dehi kR^ipayA mama

tAvakacaraNabhaktim

 

anupalavi

 

devamakuTamaNidedIpyamAnapAde

kevalAnandapuurNe kIrasuvANi vANi

 

caraNaM

 

vINApustakara~njitakaratalavihasita ku~njavarembike

veNIma~njimapu~njavinirjitavitataghanAghanamAlike

eNImadavinivAraNanipuNatarekshaNahR^itanatapAtake

shANollIDhamahAmaNibhuuShaNashAlini budhajanapAlike

prINitamunigeye druhiNajAye paramameye nirapAye ||1||

 

sakalakalAlayashAradahimakarasadR^ishavilAsayutAnane

makaravarAN^kasharAsanamaurvimahitatarALakamohane

shukasanakAdimunIshvaraviracitasundarapadayugapuujane

vikatajaTAlasitendukalApini vimalasarojavarAsane

vikacakamalapAde vihatabhede nihatakhede bhR^itamode ||2||

 

jyotirmayanavahArAyitasajjyotiShatantravibhuuShite

mAtarmeduramImAMsAgamamAMsiLitoruyugA~ncite

cetoharatarashabdAgamakA~ncIlatikAguNashobhite

pAtakaharapAdmAdipurANapAditapANivirAjite

vItashamalahR^idye kalitavidye trijagadAdye niravadye ||3||

 

aruNatarAdharaparilasadatimR^iduhasitadyutipaTalojjvale

sharaNasamAgatajanaparipAlanasatatodyatakaruNAkule

parijanaviracitanavarAtrotsavaparitoShitahR^idayAmale

kuru karuNAmayi bhajanapare mayi kundamukuLaradane tule

bhuurishubhakarANi aghaharANI nutiparANi karavANi ||4||

 

************************************************

 

navarAtri kIrtanaM 2 (Second Day)

^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^

 

rAgaM kalyANi (meLaM 65) Adi tALaM (2 kaLai)

 

pallavi

 

pAhi mAM shrIvAgIshvari pAhi bhuvaneshvari

 

anupallavi

 

dehi tAvakadayAmayi bhArati

dehi bodhasukhadAyikAmiha

mohabhAratimirasa~ncayAmR^ita-

muurttimamalabudhalokavilasita-

mohanIyakaTakAN^gadabhuuShita-

mugdhagAtri tuhinAMshuvataMsini

bAhulAlasitapustakajapavaTa-

bandhurAbhayavare paracinmayi

 

caraNaM

 

shArade kacapAshaviDaMbitaruciratarAsitanIrade

nijapatIkamalajanirupamatarasukhakaraNavishArade

sphuTataradhavaLamavilasitamukurashakalapaTalIrade vinutanArade

dAruNAdhikarapAtakAvaLidAraNaikanirate subhAShiNi

sArasagarbhadaLAyatalocanapuuritabhaktamanorathavallarI

vAraNakuMbhamadApahakucayuga-

bhAravinamrakR^ishodari mAmaka-

karapadamukhasamakaraNanikaramapi

caraNayugabhajanaparamiha kuru tava ||1||

 

shyAmale bahaLAgarucandanamR^igamadaghusR^iNaparimaLe

parihR^itapadanataparijanasamudayanikhilamanomale

shatamukhamukhasuravarapariNutabahuvidhacarite.amale

madhurakomale

sAmajAdhipamarALikAgaticArumandagamane suhAsini

mAmakamAnasatApasamuuhavirAmamatIva vidhAtumaye pada-

tAmarasadvayamanukalaye hR^idi

tAmasadoSha vilAsini rAsini

samudayadavikalahimakararucimada-

shamanakaraNapaTuvimalahasitamukhi ||2||

 

bhAsite shukashaunakakaushikamukhamunipariShadupAsite

sahR^idayarasakarakavivaranikara hR^idayakamalAsite

shrutiyugapathapathikanayana parilasadaruNasitAsite

kusumavAsite

bhAsamAnanavarAtrikotsavabhAvukopacitimodashAlini

bhAsurasArasanA~ncitaratnavilAsitavisheShavinirjitashakrasha

rAsaruce sakalAgamaruupiNi

dAsamimaM kR^ipayA shishirIkuru

vasa mama sukhamadhirasanamanavarataM

asadR^ishavilasitavisaramayi janani ||3||

 

*************************************************

 

navaratri kIrtanaM 3 (Third Day)

^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^

 

rAgaM sAveri (meLaM 15) Adi tALaM (2 kaLai)

 

pallavi

 

devi pAvane seve caraNe te budhAvane

 

anupallavi

 

bhAvukadAyikaTAkshavilAsini

bhArati dehi sadA kushalaM bhuvaneshvari

 

caraNaM

 

somabimbamadaharasumukhi bhaktajanAkhila-

kAmitadAnanirate kAnta kundadanti

bhImAnantAj~nAnatimirabhedanamihirAyite

mAmaka hR^idi vihara mAnyaguNAvAse

sAmajapuN^gavacArugate sura-

sAdhyanute vimale varade bhuvaneshvari ||1||

 

vAridanibhacikure vAsavopalanayane

mArasharAsanarucicoracillikAnte

sArasakR^itanilaye jAmbunadamayabhuuShe

nAradAdimuninutanAmasamudAye

bhuurimanoj~nakarA~ncitavINA-

pustakabhAsini cAruhAse bhuvaneshvari ||2||

 

pAtitaditisute shrIpadmabhavavilAsini

vItapApajanageyavibhave vidyAruupe

cAtako jaladamiva sAdaramAshrayAmi tvAM

prItiM mayi kuru lokamAtarayi nityaM

dhuutamalaM kuru mAM sadaye pari-

poShitasuuriguNe shubhade bhuvanesvari ||3||

 

***************************************************

 

navarAtri kIrtanaM 4 (Fourth Day)

^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^

 

rAgaM toDi (meLaM 8) Adi tALaM (2 kaLai)

 

pallavi

 

bhArati mAmava kR^ipayA natajanArtti-

bhAraharaNaniratayA

 

anupallavi

 

shAradavidhumaNDalasadR^ishamanoharamukhi

 

caraNaM

 

vAsavAdisuravinute taraNisata-

bhAsurabhuuShaNalasite

hAsajitakundavitate vimalamuktA-

hArakaNThi gajendragate

dAsabhuutajanavidyAdAnalole paradevi

bhAsuracandanamR^igamada kusuma su-

vAsitagAtri supAvanashIle ||1||

 

nAradAdimanonilaye bhuvanatraya-

nAyike kR^itAj~nAnilaye

cArubAhudhR^itavalaye vikaca-

sArasAkshi toShitabhuuvalaye

mArakArmukhasuShamAcoracilliyuge vANI

vArijabhavadayite varavINA-

vAdanalolakarAN^gulijAle ||2||

 

sakalAgamamayaruupe nikhilaloka-

janani sudhAmadhurAlApe

akalaN^kaguNakalApe karuNArasa-

hatavivashajanavilApe

sakale padmanAbhasarasijasevakavara-

shukasanakAdimunIshvaravinute

somakalAsadR^ishAmalaphAle ||3||

 

********************************************

 

navarAtri kIrtanaM 5 (Fifth Day)

^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^

 

bhairavi rAgaM (meLaM 20) cApu tALaM

 

pallavi

 

jananI mAmavAmeye bhArati jaya

sarasijAsanajAye

 

anupallavi

 

anupamitakamalAvAse

cAruhasita kR^itakandanirAse devi

munivareDitavimalacarite

mohanIyaguNaughabharite

 

caraNaM

 

taruNavAridanibhaveNi devatarukisalayopamapANi

kalitavaradAbhItimudre kalyANi puurNasharadindusamakAnte vANI

suruciranayanajitaiNi paramakaruNArasashishiraveNi

caraNagatajanabharaNanipuNe paramAmR^itamadhurabhAShiNi ||1||

 

ghanasAratilakAN^kitaphAle atikamanIyavishadadukuule vinata-

janavidyAvitaraNalole sAdhusmaraNIyatamapAdamuule

kanakabhuuShaNe shubhashIle sarvAgamamayi sujanAnukuule

nAnAmunimanomayavanajanilaye vinihatAshritavividhashamale ||2||

 

parihR^itaghanAj~nAnakhede kR^itapadmanAbhasevakamode

satataparicitavINAninAde mama kuru matimayi tava pAde

suragaNamahitavinode shItakarapotadhare

sadA sarasIruhamukhi sapadi vadane sarasamiha vasa sakalavarade ||3||

 

***********************************************

 

navarAtri kIrtanaM 6 (Sixth Day)

^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^

 

rAgaM pantuvarALi (meLaM 51) Adi tALaM

 

pallavi

 

saroruhAsanajAye bhavati sAmodamamba namAmi

 

anupallavi

 

purandarAdisurotttamasurucirakirITa-

maNikiraNA~ncita caraNe

 

caraNaM

 

yAminIshamanoj~natamarucibhramamadavinivAraNapaTusita

tAmarasamR^idukoTaravAsini sAmajarAjasadR^ishagamane

kAmama~njusharAsananirupamakAntiharacillicalananihata-

bhImanibiDAj~nAnamale sulalAmashobhiphAlatale vara-

hemacArubhuuShaNalasite madahInamaunihR^idayaikapade sura-

bhAminInivahagItaguNe shashidhAmamandahasite jaya bhagavati ||1||

 

maN^gaLAvarashAlivINAsaN^gikaramR^idulAN^guLidalajita-

tuN^gakalpakakisalayanivahe duritasevakatApabhare

bhR^iN^gasa~ncayavalayitasumasurabhIkR^itadhammillara citamada-

bhaN^gasajalAmbhodakule navapaN^kajopama nayanayuge lasa-

daN^garAgaghanasArahariNamadahArabhAsi kucakuMbhayuge hari-

puN^gavopamitamadhyatale parabodharuupiNi pare jagadIshvari ||2||

 

bAlacandravataMsini parijanapAlanaikapare ghanapAtaka-

shailabhidhurAyitacarite karuNAlavAlAyitahR^idaye

lolarucirALakaparivR^itasuvishAlaniTilAyitavadane

nAlamiha phaNinAyakopi batAlapitumayi mahimAnaM te

ntuulatAM naya mamodyadavidyAjAlamAshu nanu bhArati sakalaM

phAlalocanamukhAkhilavanditapadmanAbha padasevakanirate ||3||

 

******************************************************

 

navarAtri kIrtanaM 7 (Seventh Day)

^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^

 

rAgaM shuddhasAveri (meLaM 29) cApu tALaM

 

pallavi

 

janani pAhi sadA jagadIshe devi

suraharavallabhe

 

anupallavi

 

anavadyataranavahArAlaMkR^ite ma~nju-

vanajAyatalocane vAhinItaTavAse

 

caraNaM

 

shailarAjatanaye caNDamuNDanAshini

shuulashobhitakare sundararuupe

phAlarAjitilake paramakR^ipAvati

pAlitasujanamAlike sura-

sAlakisalaya cArunijapAde ||1||

 

mahitabAhubalamahiShAsurAdi-

gahanadahanAyite gatamadasevye

suhasitajitakunde shoNajapAdhari

vihara mama hR^idi vidhusadR^ishamukhi

bahaLamalayajabandhure loka- ||2||

 

paramapAvana shrI padmanAbhasahodari

nIlacikure kesarivaravAhe

caritaduritabhaktadaranikare gauri

kuru kR^ipAM mayi kalishadharamukhapariNute

ghanaduritahR^itilole ||3||

 

**********************************************

 

navarAtri kIrtanaM 8 (Eighth Day)

^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^

 

rAgaM nATTakura~nji (meLaM 28) cApu tALaM

 

pallavi

 

pAhi janani santataM mAmihAmalapariNata-

vidhuvadane

 

anupallavi

 

devi sakalashubhade himAcalakanye

sAhasikadAruNa caNDamuNDanAshini

 

caraNaM

 

bAlasomadhAriNI paramakR^ipAvati

nIlavAridanibhanetre rucirashIle

phAlalasitavarapATIratilake shrI-

nIlakaNThadayite nigamavanamAtaN^gi ||1||

 

surabhikusumarAjishobitakacabR^inde

varade vAsavamukhavandyamAnacaraNe

aruNajapAkusumAdhare kaumudi-

paramojjvalahasite bhaktakalpalatike ||2||

 

kamanIyatamaruupe kanyAkubjavAsini

shamitapApanikare shAntahR^idayagehe

amitavimalarucihAre nIla

vAridopamaveNi shrIpadmanAbhasodari ||3||

 

*****************************************

 

navarAtri kIrtanaM 9 (Ninth Day)

^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^

 

rAgaM Arabhi (meLaM 29) Adi tALaM (1 kalai)

 

pallavi

 

pAhi parvatanandini mAmayi

pArvaNendusamavadane

 

anupallavi

 

vAhinItaTanivAsini kesari-

vAhane ditijALividAraNe

 

caraNam

 

jaMbhavairimukhanate kari-

kumbhapIvarakucavinate vara-

shaMbhulalATavilocanapAvaka-

sambhave samadhikaguNavasate ||1||

 

ka~njadaLanibhalocane madhu-

ma~njutaramR^idubhAShaNe mada-

ku~njaranAyakamR^idugatima~njima-

bha~njanAticaNamantharagamane ||2||

 

ca~ncadaLilalitALake tila-

kA~ncitashashidharakalALike nata-

va~ncinR^ipAlakavaMshashubhodhaya-

sa~ncayaikakR^itisatataguNanike ||3||

 

************************************

 

maN^gaLam (Traditional)

^^^^^^^^^

 

rAgaM yadukulakAmbhoji (meLaM 28) rUpaka tALaM

 

bhujagashAyino nAma maN^gaLaM

paramajAnatApIha kIrtitam |

dahati pApmanAM jAlama~njasA

bhuvi shikhI yathA dAru sa~ncayam ||

 

************************************

Narayanaswami

***********************************

[Guest guest]

Thanks to Dr. P.P Narayanaswami for this beautiful post.

 

 

>Swami Pallasena <swami

>

>

>CC: lotus

> devi NAVARATHRI Keerthanams of Svati Tirunal

>Tue, 26 Sep 2000 13:54:24 -0230 (NDT)

>

>Namaste, and HAPPY NAVARATHRI SEASON to all readers of .

>

 

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