SANGEETHA BHAKTISAARA

[Guest guest]

SANGEETHA BHAKTISAARA

 

Dear Bhagavatas,

I wish to supplement Sri Sadagopan's brilliant and spirited posts on the

subject. In this series, he has once again excelled himself and convinced how

Saint ThyAgarAja is a not only a perfect Parama Vaishnava and a perfect

ParamaikAnti sArvabhouma but also a perfect Prapanna par excellence.

 

{These are based on the excerpts from the Book "Sangeetha Bhaktisaara" by Sri

K. Sridharan translated in Tamil by U.Ve. Ammaal Sri TiruvEnkatAcharya SwAmi

and published by Sri S. KrishnaswAmy Iyengar, Editor of "Sri Vaishnava

Sudarsanam" Trichy.}

 

Dasoham

Anbil Ramaswamy

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Everyone who is acquainted with classical Carnatic music of South India knows

that Sri ThyAgarAja is a great devotee of Sri Rama. Most of his songs are in

praise of Sri Rama. His songs were written in three distinct styles, namely -

(A) Sanskrit, as seen in "JagadAnanda kAraka", the popular Pancharatna kriti

in the Raaga "Naattai"

(B) Sanskitised Telugu as seen in "EndarO MahaanubhAvulu" in "Sri Raaga" and

© Spoken Telugu with words in vogue in the rural areas like "Chinna NADE

naa cheyi bhaDDithive" in the Raaga "Kalaanidhi".

 

Vedic scholars (as different from Sanskrit scholaras) know that Lord Vishnu is

'Sarva VyApi' (all pervading). He is omnipotent and omniscient. He is the

indwelling spirit of everything as proclaimed by PrahlAda, who is the guide

and philosopher of ThyAgarAja. This will become clear when we read his musical

drama "PrahlAda Bhakti Vijayam"- which echoes the Vedic tradition "Sarvam

Vishnu mayam Jagat".

 

ThyAgarAja, a Vedic scholar is quite conversant with Valmiki Ramayana and in

the song in "DevAmrutavarshini" Raaga "Evarani Nirnayinchedira?, he clearly

shows the distinction between the whole and the part. Sri Rama, the

incarnation of Vishnu is the whole and everything else is the part. It is

pertinent to mention here that Sri ThyAgarAja on the advice of his father had

recited the Rama Naama 960 million times to win the grace of the Lord.

 

In the song in "Karaharapriya" Raaga, "ChakkaniRAjamArgamulundaga" he asks -

" When the well laid out royal road is available, why should the mind tread

narrow paths?" The royal road is the path towards Rama and the narrow lanes

are the ways leading to minor deities. The worship of the Supreme Lord is like

partaking pure creamy milk and the worship of minor deities is like drinking

toddy, which offers temporary intoxication. In the charanam of this kriti, he

draws attention to Siva, who revels in chanting the name of Rama.

 

In the kriti, "Nitya roopa yevari pAndithyamu emi neduchura" in the Raaga

"KApi" says ThyAgarAja that the Lord of KAsi administers the Rama ThAraka

mantra to every devotee visiting KAsi.

 

In the kriti "Yentha raani tana kEntha pOni"in the Raaga "HarikAmboji", says

ThyAgarAja that Lord Siva in order to serve Rama had taken the birth as

HanumAn.

 

In the popular raga "KApi", there is a moving song "Yintha Sowkhya munine", he

admits his inability to describe the ecstasy of the name of Rama and begs Lord

Siva to help.

 

As his devotion to Rama matured, he took to the practice of "Uncha Vritti".

Singing kritis in praise of the Lord, he went round the streets of

ThiruvaiyAru seeking bikshai. He did not seek bikshai for sustenance, but to

follow the traditional practice enjoined upon a Vedic Brahmin.

 

[Contrast this sacred practice of the Parama Srivaishnava BhAgavata, Saint

ThyAgarAja with the lure of lucre that has brought us across the seas !]

 

[We are reminded of how Swami Desika followed this "Uncha Vritti" practice as

a way of life of a true Vedic brahmin and how when he found some gold coins

in his 'bikshaa paatram', he threw them away saying they were like vermin. A

similar incident happened in the life of ThyAgarAja also and he reacted

exactly in the same manner!. Perhaps, Great minds think alike!]

 

His music was pure devotion and was not meant for any commercial purposes. In

the popular kriti in the Raaga "Kalyani', "Nidhi chAla SukhamA- RAmuni

Sannidhi chAla SukhamA" he says that wealth and pleasure are mere tinsel

before the grace of the supreme Lord.

 

[We are reminded ofthe VairAghya Panchakam of Swami Desika which conveys the

same sentiments]

 

ThyAgarAja was a great scholar who was thoroughly acquainted with VAlmik's

RAmAyana, Sukha's Srimad BhAgavatam, Bhakta pOthana's BhAgavatam based on

Sukha Brahmam's work, Vyasa's MahAbhAratam, the Aagama SAstras etc. But he was

a greater musicologist than a scholar and a greater devotee than a musician.

By his own example, he showed the practical way to attain MOKSHAM through the

grace of Sri Rama. The name "ThyAga Brahmam" is quite appropriate because he

was engaged in showing the way to reach the ParamAtman.

 

His literary contributions may be divided into three distinct groups namely

(1) The popular kritis numbering a few hundreds

(2) The two musical dramas namely

(a) PrahlAda Bhakti Vijayam and

(b) NaukA Charitram and

(3) The five Gana Raaga Pancha Ratna Kritis.

 

(1) THE POPULAR KRITIS: These kritis became popular in his lifetime. The saint

passed away in 1847. Paper was just about coming into use. Much of the kritis

were written on slate and memorized by a batch of SishyAs and preserved before

printing later. As early as in 1857, twenty of his compositions were published

with notations in a Telugu work called "Sangeetha SarvArtha SAra sangrahamu'.

An authentic version of his songs was issued in 6 volumes by the Tiger

Varadachariar brothers with an introduction by Sir C.P Ramaswamy Iyer.

ThyAgarAja is an acknowledged devotee of Sri Rama and has mentioned in umpteen

places that he is the incarnation of Lord Vishnu. He has also mentioned in

umpteen places that Lord Vishnu or Lord Hari or Lord NArAyana is the

indwelling spirit.

 

Many would be tempted to affirm that he paid his obeisance to Ganesa

referring to his kriti in "Saurashtra" Raaga, "Sri Ganapathiini SevimparAre" A

careful examination of the kriti reveals interesting details. His conception

of Ganapathi is different from the popular notion. To start with, he uses the

prefix "Sri" to convey that he is thinking of a Ganapathi, who has the

benediction of Goddess Lakshmi, the inseparable consort of Lord Vishnu.

Secondly, in the charanam, he expresses his desire to bow to that Ganapathi

who has in his heart the two lotus feet of Lord Hari. It may be remembered

that in Pancharatram and other Srivaishnava scriptures, one GajAnaana has

been mentioned as one of the Dalapathis (Commanders) of Sri Vishvaksenar, who

always had in his heart the lotus feet of Lord Hari. Research has it that it

is this GajAnana who was later adopted by Saivites as Ganapathi, the son of

Siva.

 

(2) THE MUSICAL DRAMAS:

In both "PrahlAda Bhakti Vijayam" and "NoukA Charitram" can be found adequate

testimony that his evolution towards Vishnu Bhakti reaches hoary heights,

while dealing with the Lord's incarnations as Nrisimha and Krishna.

 

(a) "PrahlAda Bhakta Vijayam" In this, he identifies himself with PrahlAda and

the joy that accrues to a dedicated Bhaagavata. At the beginning, after

offering prayers to Sri Rama, he invokes the blessings of Vishwaksena, who is

always in service to Lord Vishnu. Then comes the description of the sentinel,

who is wearing a crimson-bordered dhoti and Srichoornam on his forehead. He

goes on chanting the name of the Lord "VAsudeva". This is also brought out in

his popular kriti in "Kalyani" Raaga, "VAsudEvayani Vedalina"

 

(b) "Nouka Charitram". In this, ThyAgarAja identifies himself with the Gopikas

and displays the "RAsa Leela" episode of Srimad BhAgavatam. This NAyaka-

NAyaki bhAva has a Vedic tradition in that God alone is considered Man. In

the Krishna prema, ThyAgarAja is completely lost and as a Gopika he is

prepared to lose everything that belongs to him including the proud possession

of the sense of shame.

 

This is brought out also in his kriti in "SAranga" Raaga " Odanu Jaripedu

Muchuda Ganare", he enjoys the singing of the Gopikas in praise of Lord Hari.

At the end of the play, he offers mangala Aasaasanam to Lord Krishna. In the

Pallavi itself, he mentions the relationship of all the beings to the Lord

(which includes himself) "BhAndavA Vishnu BhaktAs cha SwadesO Bhuvanatrayam"

 

In the Raaga "PunnagavarAli", he begs the Lord to give him His feet. The kriti

starts with the Pallavi "Hari Hari Nee Yokka Divya PAdha"

 

SRI RAMA AND OTHER DEITIES::

In the Raaga "Jayanthasree" ThyAgarAja begs of Sri Rama to reveal Himself. He

says that he had found out after a careful search that Sri Rama is the Supreme

Lord. The Pallavi for the song is "MarukElarA".

 

There may be a few kritis attributed to ThyAgarAja which praise the glory of

the minor deities, the number of which could be counted on the fingers. In

fact, the Saint has kritis on Sri LalithA, SriDharma Samvardhini of

ThiruvaiyAru and Subramanian also. Most of them have been found to be

spurious. These must be construed , even if authentic, as only those composed

BEFORE he realized the futility of worshipping them.

 

[Are not some of our Azhwars shown as having faltered in their early lives

before they turned towards the Lord? Was not the great Thirumazhisai Azhwar, a

devotee of Siva assuming the title of ' Siva VakhyA' before being transformed

by Pey Azhwar into BhaktisAra? This shows the truth in the saying "Every Saint

has a past and every sinner a future"]

 

In the kriti in "ChAyA Tharangini" Raaga, "Ithara Deivamu valanaIlanu

SowukhyamA Rama?", he asks "Is it possible to derive comfort in worshipping

other deities?". Says he in the Anupallavi" Mathabhedamu lEka sadhA madini

Marulukonna" which means " Oh! Rama ! To me whose mind without harbouring any

prejudice against other faiths, is constantly and passionately in love with

you. I am always thinking of you regardless of religious differences".

 

In the kriti in "Revagupthi" Raaga, "GrahabhalamEmi", he says "The grace of

Sri Rama, which vanquishes the five great sins (the PanchmahA pAthakAs) is far

superior to the powers of planetary deities. It is noteworthy that this

sentiment is coming from Thyagaraja, the astrologer.

 

In the kriti in "Kalyani" Raaga, "KAru Velpu Neeku Sari kAru" ThyAgarAja

compares Rama with 'Jilakara Sambha' which is a smooth fine quality of paddy

grown in ThanjAvur and compares the minor deities to "KAru Samba", which is a

coarse reddish rice. In the same kriti, he compares Rama with a torch of flame

and the other deities with tiny lamps; Rama is like the river Kaveri and the

other deities are like narrow canals; Rama is like the most beautiful

celestial Manmatha and other deities are like handsome human beings; Rama is

the Ocean and the other deities are like lakes; He concludes that there is

nothing on earth to compare with Rama.

 

In the kriti "PAhi KalyAna Rama Sundara Rama MAm Paahi" in the Raaga

"PunnagavarAli" says ThyAgarAja " All these days, I have strayed from the path

of Sri Rama, having lost my mind.... I have committed a number of mistakes and

had also prayed to you to correct me" Significantly, he addresses the Lord as

the God worshipped by Saint Sukha and points out that he had already offered

his SARANAGATHI to Him. The tone of a Bhaagavata and earnestness to be a true

devotee of Sri Hari is easily discernible.

 

In the kriti in "SAveri" Raaga " Sri Rama RamAsrithulamu kAma", he asks "Are

we not entitled to His grace?". In this, he speaks not only of Atma Samarpanam

and Bhara Samarpanam but also of Phala samarpanam - the three dedications that

are the sheet anchors of SaranAgathi

 

(3) GANA PANCHARATNA KRITIS

The first kriti, "JaganAnandakArakA" in the Raaga " Nattai" he provides a

panoramic presentation of the 'Kingdom of God', who is the cause and

repository of universal bliss. ThyAgarAja's references to Vedic texts are

scholarly and authoritative.

 

The second kriti "Dudukugula' in the Raaga "Gowla" he repents over the sins

committed (or not committed) by him. In fact, he gives a fairly exhaustive

list of sins. The object of ThyAgarAja is not difficult to perceive.

 

[This reminds us of the Naichya AnusanthAnam expressed by the Azhwars and

AchAryas especially, Swami Desika]

 

In a magnificent tribute to the Lord's grace (KArunya) he asserts that sins of

any dimension and magnitude will vaporize as soon as His grace is attained.

Interestingly and significantly, he points out that music or any fine art

should be employed for the pleasure of the Lord only. It is a sin to employ

music for gain and personal pleasure.

 

In the third kriti, "SadhinchanE" in the Raaga "Aarabhi", ThyAgarAja excels as

a master poet. Says he that he was advised by Sri Rama not to mingle with

those who are not His devotees.

 

[This reminds us of PeriyAzhwar's "KoozhAtpattu Ninrreergalai Engal Kuzhuvinil

PuguuthalottOm"]

 

In the fourth kriti, in "Varaali" Raaga, "Kana Kana RuchirA", he reaches the

stage of self-surrender.To his surrender, he calls upon a number of witnesses,

which include Lord Siva, NArada and Purandara.

 

[Obviously, he was such an evolved soul that he could perform ' SVANISHTA',

the exclusive privilege of only the most highly evolved souls. It is said that

the saint took TuriyAsramam and changed his name to "NAdha Brahmam" on taking

SannyAsam. And, consequently, we can conclude that he attained MOKSHAM which

others less qualified like us can attain only through ' Uktinishta ' or '

Acharya nishta ']

 

In the fifth kriti, in "Sree" Raaga, "yentarO mahAnubhAvulu", he is in ecstasy

that he is in the select band of devotees dedicated to Lord Hari. Among the

BhAgavatas, he makes special mention of Lord Siva, NArada, Sukha, Saunaka,

Thumburu, PrahlAda and ParAsara etc."punyAn ImAn Parama BhAgavatAn SRAYAAMI",

he says. It needs the grace of the Lord, who sports the conch and the disc to

belong to the tradition of Saint ThyAgarAja.

 

CONCLUSION

ThyAgrAja's love of Rama is not mere infatuation of a particular deity (Ishta

Deivam) but the devotion of an erudite Vedic scholar. In his evolution towards

NArAyana Bhakti, he reminds us of one of the Azhwars. He may be appropriately

called the "BhaktisAra" of the 19th century.

 

[if the word "Azhwar" means "one who is immersed in Haribhakti" or one who has

drowned himself in such Bhakti as A.K Ramanujam puts it while referring to

Nammalwar in his "Hymns for the drowning", Saint Thyagaraja is eminently

qualified to be reckoned as a modern Azhwar]

 

[There is a Slokam in Sanskrit which says that one who has no knowledge or ear

for music is like an animal minus its tail: "Sangeetha Saahitya kalaa

viheenah SAkshAth Pasu pucha VishAna heenah". Shakespeare also echoes saying

"The man that hath no music in himself nor is moved by the concord of sweet

music is fit for treason, strategem and spoils". It, therefore, requires at

least a basic inclination for, if not a thorough knowledge of, music to

appreciate what a glorious musician, an ardent Mumukshu, Parama BhAgavata and

Perfect Prapanna was Saint Thyagaraja]

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