Ashta Vibakthi Krithis on Lord Ramachandra by Sri Mutthuswamy Dikshithar

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Sangitham & Bhakthi

 

|| Sri Ramaashtakam by Mutthuswamy Dikshithar ||

 

 

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Sri Venkatesa Sthotram celebrates the Archaa murhti of the sacred seven hills as Daasarathi through this following verse:

 

ABHIRAAMA GUNAAKARA DAASARATHEH JAGDEKHA DHANURDHARA DHEERAMATEH I RAGHUNAYAKA RAAMA RAMESA VIBHO VARADHO BHAVA DEVA DHAYAAJALADEH II

 

Sri Venkataraman , the precious son of emperor Dasarathaa, the unmatched bowman wielding Kodhandam, the scion of the vamsam of Raghu, the Lord of the Universe , the ocean of mercy , the boon giver , the one who never changes His mind once he has offered refuge under His lotus feet , the consort of Maha Lakshmi is hailed here. With the choice of the words, " Abhiraama GuNaakara " He is recognized as the home of samastha KalyANa guNAs. These GuNAs are not only auspicious as described in Sri RamaanujA's Gadhyam passage, but hey are also of great comfort to the Prapannas. They are thus of a desired quality (Abhiraamam). They are of a hope giving nature and hence desired by all of those , who climb those sacred hills from wherever they are. This slokam reminds Him of His promise " Dhadhaam Yethath Vratham Mama " and appeals to Him to fulfill that commitment.

 

Sri Venkataachalapathy and service to Him as envisaged by the Acharya of Ahobila Mutt in the context of his 71st birthday is some thing we come across once in our life time. When some one sits under the shade of the Lord 's comforting presence at Thiruppathi and enjoys the sweet experience of the meditation of Him and his Abhiraama GuNaas , we are also part of that PuNyam , if our contributions to that Kaimkaryam gets mixed with that pilgrimage to those holy hills. Hence, I encourage you to contribute whatever you can to this timely effort. The Kaimkaryam is not confied to one Acharya or a tradition. It is universal in scope. When I met this Acharya in August at Kanchi, he made an observation that stuck in my mind. He said: " Satakopan, when people contribute to the different Kaimkaryams , what do I do with the money that they entrust me ? I am not making a diamond ring for myself. It is still the same KaashAyam (ochre robes) for me.".

 

When the 44th Jeeyar of Ahobila Mutt completed His Kaimkaryam of building the southern Gopuram of Sri Ranganatha, the contributors were from every faith and tradition including ILaya RaajA, Kanchi Sankara Mata peetathipathi, the two Andavans et al. Hence, I will encourage you to make a symbolic contribution to this lodge building effort at Thirumalai and when you visit Thiruppathi stay at this new building under the shade of the Sumukhan of the seven hills.

 

In the spirit of salutation to the lotus feet of the Raghuveeran covered with fresh flowers of undiminsihing fragrance due to their association with the Lord's CharaNaaravindham, I will summarize the Krithis of Dikshithar on Sri Ramachandra. Although Dikshithar was "outdone" by Thyagaraja swamigaL in the krithis dedicated to Sri Ramachandra, there are some jewels in the repertoire of Dikshithar regarding his salutations to Sri Venkataraman. They are set in the eight vibakthis of Sanskrit grammar. There are a few more also and the Rama Bhakthi of Dikshitar reaches its peak with the MaNirangu Krithi dedicated to sri Pattabhi Raman.

 

The Krithis of Dikshithar on Lord Ramachandra , the Raghuveeran are:

 

1. RAMA RAMAKALI KALUSHAVIRAAMA --RAGAM: RAMA KALI 2. KSHITHIJAA RAMANM CHINTAYEH--DEVAGHAANDHAARI 3. SRI RAMACHANDROH RAKSHATHU--SRI RANJANI 4. SRI RAMAM RAVIKULAABDHI SOMAM--NARAYANA GOWLAI 5. RAMACHANDRENA SAMRAKSHITHOHAM --MAANJI 6. RAMACHANDRAQAYA NAMASTEH RAAJIVA LOCHANAAYA--THODI 7. RAMACHANDRAADHANYAM NA JAANEHAM--DHANYAASI 8. RAMACHANDRASYA DAASOHAM --DHARMAVATHI 9. RAMEH BHARATHA PAALITHA RAAJYAM ARPAYAAMI--JYOTHISVARUPINI 10. RAMACHNADRAM BHAVAYAAMI RAGHUKULA TILAKM UPENDRAM ---VASANTHA. 11. MAAMAVA PATTABHI RAMA --MANIRANGU

 

KRITHIS 3,4,5,6,7,8,9 AND 10 ARE GENERALLY CONSIDERED AS THE RAMAASHTAKA KRITHIS SET IN DIFFERENT VIBAKTHIS. THERE IS A REASON FOR CHOICE OF EACH VIBAKTHI TO BRING OUT THE DIFFERENT ASPETS OF BHAKTHI AND PRAPATTHI OF A DEVOTEEE.

 

I WILL ATEMPT TO GIVE THE MEANINGS AND COMMENTS ON THESE PRECIOUS RAAMAASHTAKA KRITHIS OF SRI MUTTHUSWAMI DIKSHITHAR NEXT.

 

The compositions in the eight Vibakthis (cases)

 

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The significance of choosing different vibakthis to salute the Lord can be understood by a study of the slokam attributed to the grantha Karthaa of Srimad NaarayaNeeyam , Sri NarayaNa Bhattadhiri of Kerala.

 

That composiiton of Sri NarayaNa Bhattadhiri, constructed his the composition in the 8 vibakthis of Sanskrit (Dative, Possessive, etc, which are deflections of a noun). Let us refer to that verse of Bhattadhiri, who included in one verse all the case terminations, while addressing Lord Krishna:

 

KrishNO rakshathu maam charAchara guru: KrishNam namasEh sadhA KrishNEnaiva surakshitOhamasakruth KrishNAya dhattam mana: KrishNAdhEva samuthbhavO mama vibhO: KrishNasya dAsOsmyaham KrishNeh bhakthirasanchalAsthu Bhagavan Hey KrishNa tubhyam Nama:

 

Sri Narayana Bhattadhiri salutes the Lord of GuruvAyur in eight different ways:

 

May Lord KrishNa the Guru of the universe protect me! I offer my salutations to KrishNa always. I have been saved by KrishNA countless number of times.. My heart has been surrendered only to Him. I am born out of Him (i-e) He is my father. I stay as the servant of KrishNa . May I be blessed with unwavering devotion to Him! O Lord KrishNa ! My salutations are to You . In this elegant and moving Prapatthi verse, Bhattadhiri skillfully uses the 8 Vibakthis of Sanskrit one after the other. There is a reason for using the individual Vibakthis to address the Lord . Each is associated with an aspect of Bhakthi that a devotee offers to the Lord as revealed by the Narada Bhakthi Sutras and NarayaNa Bhattadhiri.

 

The moods of Bhaktha covered by the different Vibakthis are:

 

Nishkaamya Karmam (service without expectation of rewards), Daasyam (servitude), Akinchanathvam (state of Utter helplessness) , Bhagavad Gunaanubhavam, Ishta Daivata Ananya Bhakthi (Exclusive devotion to the chosen form of deity) , Dainyokthi (Plaintive pleading) , Maha Viswasam (Utter trust in being saved by the Deity), Vandanam , Aathma Nivedanam (absolute Surrender) , Vaatsalyam (expression of Devotion/affection just as a child has for its mother) , Kanthaa sakthi (Madhura Bhavam), Tanmaya Sakthi (feeling of oneness with the Lord just as ANdAL stated about her relationship to the Lord that can not be cut asunder in all births ) and finally PallaNdu wishing auspiciousness to the Lord in a state of deep caring. Although the Lord does not need any protection, the Bhaktha prays that no harm comes the Lord's way and sings for long life of the Lord just as Periyaazhwaar in his pallandu did and Saint Thyagraja sang through his Bhiravi Krithi , Raksha Bettare Dhoraku , Vakshasthalamuna velayu lakshmi Ramananuki Jaya (Let us protect our Lord in whose chest shines Lakshmi).

 

These are the moods or Sanchari Bhaavaas that we come across in the Rammashtaka and other Krithis on Rama composed by the Nadhopaasaka Sri Dikshitar in exquisite and chaste Sanskrit.

 

I will start with The Rama Kali raga krithi of Dikshithar first. This ragam is a janyam of MAyA MaaLa GowlA in one tradition and is considered a derivative of Kaasi RamakriyA (KamaVardhini). Even the name of the ragam and its parentage is full of Symbolism as hinted by Dikshitar's choice of this ragam for worshipping Sri Rama in kali age and his prayer for the enhancement of his desire ( kama ) for His lotus feet. The composition is a Kriyaa towards attaing that vardhini aspect of Kama to the destroyer of Kali dhoshams.

 

The Sahitya Vakhyams are as Follows:

 

PALLAVI OF THIS SAMASHTI KRITHI

 

RAAMA RAAMA KALI KALUSHAVIRAAMATARAABHRULLALAAMA

 

CHARANAM:

 

SRI MAHIJAA KAMA SUGUNA DHAAMA PARANDHAAMA SHYAAMA MAAMAVA SIVA GURU GUHA SUDHRAAMA VIBHUTA VINUTHA NAAMA

 

Dikshitar uses choice words to describe Sri Rama's KalyANa guNaas here as they relate to Kali Yugam.

 

He says: O Ramaa who destroys effortlessly the amangaLams that are natural to the age of Kali, when the cow of Dharma stands on one leg only ! O Lord who is the first among all the kings ! O dear consort of Sita Devi ! O the house/seat of all Kalyaana Gunaas! O Lord with unsurpassed and ever increasing beauty (abhinava Soundharyam)! O Supreme Being worshipped by Siva, Guha , Indran and countless sages ! Please protect me !

 

Let us now understand the carefully selected words full of meaning and alliteration in the different sections of the Saahityam.

 

" Rama , Kali Kalusha Viraama" portion of the krithi contains the raga mudra. Kali Kalushas are the ills of Kali yugam. He is the Viraaman or destroyer of those ills . Taara Bhruth refers to His being the supreme king (emperor / chakravarthi) of the kings of the earth.

 

Lalaama means sreshtan or Uttaman. He is the uttama adhikhaari among the kings of this earth. Mahijaa denotes the daughter of Bhumi Devi (i-e), Sita Devi. The salutations to Jaanaki RamaNan is "Sri Mahijaa Kaama Suguna Dhaama". Sudhraama is a title of Indraa. Dikshitar celebrates the Naama Mahaatmyam of Sri Ramaa as that of being hailed by the king of Devas, Indra and other Jnaanis.

 

The Bala Khandham and the many acts of valor of Sri Ramachandra is saluted by Dikshitar in this Krithi. The Sahiya Vaakyams are as follows for this krithi set inRaga Sri Ranjani and TALam Triputa:

 

PALLAVI: SRI RAAMACHANDRO RAKSHATHU MAAM RAKSHASAATHI HARO RAGHUVEERA

 

ANUPALLAVI: BHARATHAKRAJO KOWSIKA YAAGA RAKSHAKO TAATAKAANTHAKA (SRI RAMACHANDRO RAKSHATHU)

 

CHARANAM: MITHILAA NAGARA PRAVESA MAHESWARA DHANUR BEDAKHO SITA KALYANA MAHOTSAVA VAIBHAVA YUTHA CHITRA VESHAKHO MADHURYA GAANAAMRUDHA PAANAPRIYA GURUGUHA VISWASO MAHADEVI BHAKTHA PARASURAMA GARVA HAROLLAASA (sRI rAMACHANDRO rAKSHATHU)

 

The Raghuveera Vaibhavam is very much in the mind of Dikshitar. In the Pallavi and Anupallavi vakhyams , he refers to the valor of the elder brother of Bharatha and salutes him as the destroyer of the rakshasas (RAKSHASAATHI HARO) , the cause of the death of the violent and shameless Tatakaa and her sons (TATAKKANTHAKA). He recognizes and reminisces over the extraordinary skills of the elder brother of Bharatha (BHARATHAKRAJO) in archery and the defense of the yagam of Sage Viswamitra (KOWSIKA YAGA RAKSHAKO) at Siddhaasramam.

 

The first two lines of Charanam celebrate the joyous events associated with the Sita KalyaNa Vaibhogam. His entry into the city of Mithila as a majestic prince captivating the hearts of the citizens of king Janaka's Capital city to marry Maithili (MITHILAA NAGARA PRAVESA) through the bending and breaking of the mighty bow of Maheswara (MAHESWARA DHANURBHEDAGO) is saluted here.

 

The grand celebration of the marriage festivities (SITA KALYAANA MAHOTSAVA VIBHAVAM) and the many beautiful attires (MAHOTSAVA VAIBHAVA CHITRA VESHAKO) worn by Sri Rama during the different stages of the marriage ceremony (Nalangu, exchange of Garlands , PaaNi GrahaNam, Maangalya DhaaraNam , seven steps around the sacred fire, Lajaa Homam , gruha Pravesam et al) are enjoyed by Dikshitar in his mind's eye and are saluted thru hte first half of CharaNam.

 

The latter half of CharaNam refers to Sri Rama's delight in drinking the nectar of music (MADHURYA GAANAAMRUTHA PAANA PRIYA).

 

Saint Thyagaraja has referred to sri Ramachandra's deep affiliation to delightful music in many of his krithis. The great Rama Bhaktha has alluded to the seven svaras incarnating as beautiful damsels and dancing in front of this sangita -lola with their tinkling bells (Sobhillu Saptasvara krithi in Jaganmohini ragam and the AtaaNa krithi, Sripapriya). The bard ofThiruvayaaru delights in addressing the Lord as Saptha svara chaari in the AtaaNa krithi referred to above. Among the other pieces of the Saint 's krithis we find many references to Sri Rama's supreme talent as a Sangitha Rasika (Sangita Lola in Kambhoji krithi Sri Raghuvara Aprameya, Sama Gana Lola in the Sriranga Pancharatna Krithi). In Arabhi Pancharatnam, The saint refers to Sri Rama as the maintainer of the musical tradition (SANGITA SAMPRADHAYAKUDU). The conception of Rama as Nadha Brahmananda Rupi by Saint Thyagaraja in his krithis Nadasudha rasambhilanu /Arabhi , Talaci nantane/mukhaari and Ni dayace Rama/Yadhukula Kambhoji is very appropriate to Dikshitar's own salutation to Sri Rama as "MADHURYA GANAAMRUTHA PAANA PRIYA).

 

In one of the two remaining salutatons of CharaNam, Dikshitar describes the fond uncle Rama as the one dear to the heart of the nephew, ShaNmugan (GURU GUHA VISWASO).

 

In the last charaNa vakhyam, MAHA DEVI BAHKTHA PARASURAMA GHARVA HAROLLAASA:, Dikshitar refers to the destructionn of the arrogance of the haughty Parasurama, who challenged the newly wed Rama and demanded that Ram ashow his valor by bending the Vishnu Dhanus. He describes Parasurama as the great devotee of Sri Vidya here. The land of Kerala is known as Parasurama Kshetram, since Parasurama recovered that land from the Ocean with his mighty axe. The worship of Bhagvathi in that land is ancient and Dikshitar refers to tht tradition originating from Parasurama.

 

Summary of Krithi: May the Maha Veera Rama, who destroyed evil Rakshasas , Tatakaa and helped sage Viswaitra to complete his sacred yagam at Siddhaasramam protect me ! May the eledest brother of Bharatha, who reached the city of Mithila thereafter and broke the mighty bow of Siva to qualify for the marriage to Mythili offer me his protection ! May the bridegroom Rama , who exhibited his multifaceted beauty during the different stages of his marriage to Sita protect me ! May the Gana Lola , who delights in drinking the divine nectar of music and who is dear to his nephew Guha save me from the ills of samsaara ! May the supreme bowman Sri Rama ,who destroyed the arrogance of Sri Vidya Upasakaa, Parasurama protect me always !

 

In a brilliant piece set in Raga Naarayana Gowlai and TaaLam Aadhi, Dikshitar has a SampoorNa Ramaayana Krithi. He salutes the various incidents described by Srimad RamaayaNam from the birth of Rama to the destruction of RavaNaa.

 

The svarupam of this ragam associatied with the sacred namam of Sriman NarayaNaa is not much in vogue today in concerts due to the ascendance of ragas Kedara Gowlai and Surutti. Dikshithar however made sure that the true from of this sacred Raga is captured in this Krithi.

 

PALLAVI: SRI RAMAM RAVIKULAABDHI SOMAM SRITHAKALPA BHUROOHAM BAJEHAM

 

ANUPALLAVI: DHEERAAGRAGANYAM VARENYAM DHEENA JANAADHAARAM RAGHUVEERAM NARADHAATHI SANNUDHA RAAMAYANA PAARAYANA MUDHITHA NAARAAYANAM (SRI RAMAM)

 

CHARANAM: DASRATHAATHMAJAM LAKSHMANAAGRAJAM DHANAVA KULA BHEEKARAM SRIKARAM KUSA LAVA THAATHAM SITOHBHEDHAM KUVALAYA NAYANAM SUDHARBHA SAYANAM SUSARA CHAPA PAANIM SUDHIMANIM SUNRUTHA BHASHAM GURUGUHA THOSHAM DASA VADHANA BHANJANAM NIRANJANAM DHAANA NIDHIM DAYAA RASA JALA NIDHIM (SRI RAMAM)

 

(Meaning) : May I have blessings of meditaing on Sri Rama of limitless auspicious qualities and subha Charitam ! He is the moon that causes the tides of Surya Kulam to rise with Joy. He is like a kalpaka tree to his devotees in his boon-granting power. He is the first among the valorous ones ! He is the anaatha Rakshakan, who comes quickly to the rescue of those, who seek his refuge. He is the crown jewel of the dynasty of Raghu Kulam. He is the Sriman Narayanan, who accepts with delight the recitation of Srimad Ramayanam by Rama Bhakthas, a tradition that goes back to sage Naarada. He is the son of Dasaratha (Daasarathi) and the eleder brother of Lakshmana. He is the father of Kusa and Lava , who sung Ramayana to the accompaniment of Vina in his court. He is the one , who is offering his Darsanam as Sita Sametha Raman in Pattabhisheka Kolam. He is the destroyer of the evil Asuraas . He has the eyes that are like the blue lotus that greets the moon with joy. He laid on the sacred grass at ThiruppullaaNi and requested the assistance of Samudra Rajan for completing his avathara mission (ie), RavaNa Samhaaram. He is the mighty Kodhanda Raman known for his beautiful hand holding the mighty bow of Kodhandam. He is the essence of Jnana, which shines as the brilliant lamp on the hill. He is a Satya seela (Dharmo Vigrahavaan) and the embodiment of righteousness. He is the ocean of mercy and the greatest benefactor through his generosity of boons to devotees. May this Lord of limitless, auspicious GuNaas be the object of my meditation!

 

P.S: This krithi is a Naama Kusumaanjali to Sri Rama by Dikshitar. He installs Sri Rama on a golden throne in his heart and meditates upon the legendary incidents described by Sage Valmiki. With Prema Bhakthi, Dikshitar offers the ambrosia of Svara and sahityam. He travels on the royal road (Raja Margam) of Rama Bhakthi like many that preceded him such as sages Naradaa , Valmiki and his students Kusa and Lava and offers his Nada Naivedyam to Sri Rama. Like Saint Thyagaraja, he seems to point out that the blessings of meditation on Sri Rama is the real blessing to be coveted by us whole heartedly. He seems to say like Saint Thyagaraja in his Kannada Krithi " Ideh Bhagayamu gaaka -yemi yunnadhiraa! Rama !" (This alone is the real blessedness to be sought after - to meditate incessantly your holy feet with the whole heart).

 

MAANJI RAAGA KRITHI

 

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Sri Dikshithar composed a beautiful krithi in Ragam Maanji, which is a janya ragam of Nata Bhairavi. There are a lot of ideas here that recall the Krithis of a great Rama Bhaktha, who was a contemporary of Sri Dikshithar by the well known name of Thyagaraja SwamigaL.

 

The Maanji krithi is a tribute to the bewitching beauty of Sri Rama and reminds one of the many krithis of Saint Thyagaraja such as "Mohana Ramaa mukhajita Somaa" in Ragam Mohanam, Sundaratara Deham Vandeham Raamam" in ragam PanthuvaraaLi, " Kana Kana Ruchi tara " in Ragam VaraaLi , " Naapaali Sri Rama Bhupaalaka Sthoma " in Navaros Ragam , where he salutes the matchless beauty of Sri Rama as more than that of crores of Manmatha: " Koti Manmathulaina Saatigaa Nee Sogasu , Naadiunnithi Madhini medi Sri Raamaa". Sri Dikshitar sings about this Athi LaavaNya Raman in his Maanji Krithi. The Sahitya VaakyangaL are as follows:

 

PALLAVI: RAMACHANDRENA SAMRAKSHITHOHAM (SITAA)

 

ANUPALLAVI: RAMAA BHARATHEE GOWREE RAMANA SVARUPENA SRI

 

CHARANAM: KAAMAKOTI SUNDARENA KAMANEEYA KANTHARENA KOMALA GANA SHYAAMENA KODHANDARAAMENA MAAMAKA HRUDHAYA STHITENA MAARUTHI GITAAMRUTENA MAANJI MANI MANDITHA MADH GURUGIHA MAANITHENA (SRI SITAA)

 

In Pallavi, Sri Dikshitar reveals that he is well protected by the Dayaasaagaran, who has taken the vow to protect every one, who sought the refuge of His lotus feet once.

 

In Anupallavi, Sri Dikshitar touches on the thoughts made famous by Sadguru Thyagaraja swamigal in his krithis such as " Paramaathmudu " in raga vagadhEswari , " Mummurthulu Gumigoodi " in Raga AtaaNa , "Dvaitamu Sukhamaa " in Ragam Reethigowlai.

 

In these Krithis, Sadguru points out that Sri Rama, his Ishta Daivam sports in the form of Trimurthys and far exceeds them in KalyaNa guNaas. He points out that Sri Ramachandra is the Antharyaami Brahman empowering the trimurthys and bidding them to carry out their duties as creator, protector and destroyer. After relegating all these uninteresting works to the Trimurthys, Sri Rama according to Thyagaraja concentrates on His Varada or Boon giving aspect.

 

In the Ritigowali krithi, Sadguru states that Sri Rama is sporting in this universe as gods like Vishnu, Brahma and Siva. In the Vagadheeswari song, he salutes Sri Rama as the Paramathma, who shines as the antharyaami of Hari, Hara and Devas (Hariyata Haradata surulata --akhilaanda kotilata yantharilO Paramaathmudu velagu mucchata bhaaga telusukorE).

 

In his Ataanaa krithi , " Mummurthulu " , Saint of Thiruvaiaaru says that the Trimurthys were dumbfounded when they found that Sri Rama's guNaas outweighed their own on weighing. They sang His praise as the supreme among them and were at a loss to understand how a mere son of a king could possess those guNaas.

 

Sri Dikshitar tersely summarizes the above thoughts of Saint Thyagaraja, when he salutes in Anupallavi: " Ramaa Bharathee Gowree RamaNa svarupeNa Sri RamachandreNa Samrakshithoham ". Ramaa RamaNan is Vishnu; Bharathi RamaNan is Brahma and Gowree RamaNan is Siva. Sri Dikshitar recognizes Sri Rama as the one who has the svarupam of Trimurthys through his residence in them as Antharyaami.

 

In the charana Vaakyams, Sri Dikshitar eulogizes the beauty of Sri Rama as being superior to crores of Manmathaas. The effulgence of this Mega SyamaLa murthy sporting His mighty Kodhandam in His hand captivates Sri Dikshitar. He states that the majestic mien of Sri Rama is enshrined in his heart. Sri Dikshitar also visualizes Sri Rama enjoying the nectar like VeeNaa music of His dear devotee, Hanumaan.

 

Sri Dikshitar places his raga Mudra and the composer's mudra in the last line of Charana Vaakyam this way: "Maanji MaNi manditha madh Guruguha Maanithena Sri Sita Ramachandrena Samrakshithoham". He pays tribute to his Upaasanaa murthy, Guru Guhan, the nephew of Sri Raama. He places his Guru Guhan in a Mantapam decorated with the precious stones of Maanji (Svarasthaana Devathais) and states that SubrahmaNyan pays homage to His uncle, Sri Sita Sametha Ramachandran.

 

I close this posting with two slokams of Sri Rama KarNaamrutham of a Kanchi Kamakoti Peetaathipathi:

 

SRIRAMACHANDRETHI SALAKSHMANETHI NEELOTHPALA SYAAMALA KOMALETHI I AKOROSAYUKTHAA TVADHUNAIVA JIHVAA SITAAPATEH RAAGHAVA RAAGHAVETHI II

 

VEDA VEDANTHAVEDYAAYA MEGASYAAMALA MURTHAYEH I PUMSAAM MOHANARUPAAYA PUNYA SLOKAAYA MANGALAM II

 

Sri Mutthuswamy Dikshithar composed the fourth Krithi on Sri Ramachandra in Ragam Thodi and TaaLam Triputa. This is one of the 8 krithis composed by him in Raga Thodi devoted to different Gods and Godesses. Two of the above eight are on Sri Krishna of Guruvaayur and on Sri Rama as the fourth Vibakthi krithi of Raamaashtakam. The remaining six are on Kamalaambikai of Thiruvaarur (Navavarana Krithi), Dakshyaayini, Maha Ganapathi , Subramanya , Brihadeeswari of Tanjore and VedaraNyeswarar (Siva) of VedaaraNyam.

 

Saint Thyagaraja on the other hand has left us atleast 32 krithis in (Hanuma)Thodi to illustrate the various , glorious aspects of this evening Rakthi raagam. He pours out his heart to Sri Rama in most of his krithis in his unique conversational mode. Among the 32 of his krithis in Thodi, we find three addressed to Rama Sahodari / AmbAL (Dharma Samvardhani of Thiruvaiuru , Neelathayaakshi of Nagapattinam , Pravruddha Srimathi of Lalgudi) and ShaNmugan . Rest of them are addressed to Sri Rama , his Ishta Daivam . The most poignant of these krithis is in Thodi , where he confesses to Rama About his worthlessness. He says: O Rama , What value do I have without your DAYA ( Nee Daya Ravalegaga neh nentha vaadanu Rama ?). Sri Dikshitar is not used to emotional dialogs with his Ishta daivams. Hence in his Thodi krithi in exquisite Sanskrit , he appproaches Rama with reverence and formalitiy and offers his salutations.

 

The sahitya Vaakyams of Dikshitar's Thodi krithi are as follows:

 

PALLAVI:

 

RAMACHANDRAAYA NAMASTEH RAAJIVALOCHANAAYA VARAAYA

 

ANUPALLAVI:

 

SAMA GAANA LOLAAYA SADHU JANATHI PAALAYA KOMALATARA GURUGUHANUTAAYA KOTI MAARA LAAVANYAAYA

 

CHARANAM:

 

DASARATHA RAJAKUMAARAAYA DHANDAKAARANYA VIHAARAAYA KOWSIKA KRUTHA MAGA RAKSAKAAYA KANAKAMANI MAALAADHARAAYA DASAGREEVA PRAANA HARAAYA DAASA VIBISHANA PAALAKAAYA KUSA LAVA SITAA SAMETHAAYA KAPI BRUNDHAADHI MANOHARAAYA

 

In Pallavi, Sri Dikshitar offers his salutations to the eyes of Sri Ramachandra that remind him of the beauty and tenderness of a Lotus flower. He salutes Him as a supreme being (RamachnadrAya VARAAYA Namasteh). The choice of the word Varaaya meaning that he is a Sreshtan is consistent with the Sundara Khandam verse , Where Hanumaan describes Him as :

 

RAMO NAMA VISESHAJNA: SRESHTA: SARVADHANUSHMATHAAM RAKSHITAA JEEVALOKASYA DHARMASYA CHA PARANTHAPA :

 

In Anupallavi , Dikshitar salutes Rama's attachment to Sama Gaanam (Sama Gaana Lolaaya Namasteh ) ; His protection of Sadhu Janaas is next saluted as saadhu janaathi paalaaya namasteh. Adi Kavi Valmiki praises Rama's protection of all the Lokas and the Sadhus this way:

 

RAMO BHAMINI LOKASYA CHATURVARNASYA RAKSJITHAA I MARYADHAANAAM CHA LOKASYA KARTHAA KAARAYITHAAA CHA SA: II

 

The Dharma Vigraha Svarupam of the Lord and Bhaktha Daakshinyam of Sri Rama is celebrated here.

 

In the remaining portion of the Anupallavi , the unmatchable beauty of Rama and His worship by the beautiful Guruguha is referred to. Sage Valmiki has aptly described Rama's beauty in another Sundara Khaandam verse this way:

 

AADITYA IVA TEJASVEE LOKAKAANTHA: SASEE YATHAA I RUPAVAAN SUBHAGA: SRIMAAN KANDARPA IVA MURTHIMAAN II

 

In the charana Vakyams, Dikshitar pays his tribute to the prince of Ayodhya and the son of emperor Dasaratha, who roamed the forests of DandakaaraNyam protecting Saadhu Janam (Dasaratha Rajakumaaraaya Dandakaaranya Vihaaraya namasteh). This beautiful prince wearing golden chain studded with precious stones is recognized next as the brave one, who fought the asuras at Siddhaasramam and protected the Yajnam of Sage Viswaamitraa (Kowsika krutha maka rakshaakaaya kanaka mani maalaadharaaya namasteh). The bravery of Rama, who protected Vibhishana and took the life of the evil RavaNaa is saluted next with the words "Dasagreeva praaNa haraaya VibhishaNa Paalakaaya Namasteh".. The final line of CharaNam sees him as Pattabhi Raman , whose appearance as the emperor on the throne of Ishvaakus captivated the heart of the asembled army of monkeys that assisted Him in the battle (Kapi Brundhaathi Manoharaaya Naamsteh). The final salutation is to Sri Rama as Jaanaki RamaNan in the company of His consort Sitaa Devi and their two sons, Kusa and Lava who mastered the singing of Srimad RamaayaNam from Sage Valmiki (Kusa Lava Sitaa Samethaaya Sri Ramachandraaya Namasteh).

 

NAMOSTHU RAAMAAYA SALAKSHMANAAYA DEVYAI CHA TASYAI JANAKAATHMAJAAYAI

 

In the fifth Krithi of Sri Dikshithar's Ramaashtakam, we experience the Ananya Bhakthi of the composer. He says that he does not know any other God other than Sri Rama whom he worships. (Ramachandraadh anyam na Jaaneham --Pallavi). He recognizes Rama as Hari Hara Rupan. He describes Sri Rama as the amsa Bhoothan of both Vishnu and Sivan in the rest of the Pallavi.

 

The whole Sahityam of this Samashti krithi set in Ragam Dhanyaasi and Jampa TaaLam is as follows:

 

PALLAVI: RAMACHANDRAADH ANYAM NA JAANEHAM SRI HARI HARAATHMA RUPINOH

 

CHARANAM:

 

KAAMA JANAKAATH KATINA SUBAAHU MAARICHA KARA dHOOSHANAADHI MADA HARANAARTHKA RUPINO SAMASTHA SURA SANNUTHA SARA CHAPA PAANINO SARASA GURUGUHA SANGEETHA TATVA BODHINO (SR RAMACHANDRADH ANYAM NA JAANEHAM).

 

In the Charanam, Sri Dikshithar refers to the beauty of the Lord and recognizes Sri Rama s the father of the god of beauty, Manmatha. He refers to the Bala Khaandam incident, where Sri Rama as a young prince destroyed the arrogance of Subaahu and Maaricha, who caused havoc to the Yajnam of Sage Viswamitra. He also refers to the later episode in AaraNya Khaandam , where Single handedly , Sri Rama destroyed Kara and Dhooshana as well as the 14,000 ogres that accompanied them from Janasthaanam, the seat of Karaa, the brother of Surpanaka and RavaNaa.

 

Karaa came to avenge the disfiguration of his sister by Lkshmana and to kill Rama. Rama met them single handedly and shined like great flame in the middle of darkness. Sage Valmiki describes Rama's apperance then as " BHABOOVA RAMASTIMIREH MAHAANGNIRIVOTTHITHA: ".

 

A great Rama Bhaktha , Kulasekhara Azhwaar reacted to this passage of Ramaynaa in his court, when Puraanikaas described it. He was ovrcome at the thought of Sri Rama being surrounded by 14,000 ogres, he was overcome with fear for the safety of his upasanaa murthy. In aswift reflex, he ordered his army to accompany him and set forth on the mission to help Rama. The ministers intervened and reminded king Kulasekara of Kolli Naadu that Sri Rama battled the mighty assemblage of Rakshasaas and single handedly destroyed them. Kulasekhara was relieved and dismissed the asssembled army after hearing the news. Such was the Rama Bhakthi of Kulasekhara, who completed SampurNa Ramayanam in his 10 verses on Thillai Thiruchitrakudatthu Emperumaan in his Mangalaasaasanam. The famous slokam of Sage Valmiki that stirred Kulasekhara into instant action is:

 

CHARURDASASAHASRAANI RAKSHASAAM BHEEMAKARMANAAM I EKASCCHA RAMO DHARMAATHMAA KATHAM YUDDAM BHAVISHAYATHI II

 

(HERE ARE 14,000 OGRES OF FEROCIOUS POWER AND DEEDS, WHILE THE DHARMAATHMAA RAMAN IS ALONE. HOW WILL THERE BE A FAIR BATTLE UNDER SUCH CIRCUMSTANCES ?)

 

This was the fear of Adi Kavi Valmiki that found a resonance in Kulasekhara.. Sri Dikshitar refers to this when he salutes Vijayaraghavan as " kara Dhooshanaadhi mata haranaartha rupi ". The devas were watching this battle . Dikshitar refers to the assembly of Devas witnessing the Veeraragahavan' s appearnce in the battle field with his mighty Kodhandam as " SAMASTHA SURA SANNUTHA SARA CHAPA PAANI " . The musicc from the Dankaara dhwani of mighty arrows leaving Sri Rama's Kodhandam adorned with seven bells (saptha Svarams) on top inspired Swami Desikan to compose a moving piece in the Yuddha Khandam section of his Rghu Veera Gadhyam that begins with " KATURATH ATANI DANKRUTHI CHATULA --- ". In the fourth and final line of this Krithi ,Dikshithar connects the musical sound from Kodhandam to the musical genius of Sri Rama, who has been described by Saint Thyagaraja as Sangeetha Sampradhayukudu and Nada Lola. This great Sangeetha PravaNan according to Dikshithar's sahityam is described as the one , who taught Guruguhan the intricacies of Nija Sangeetham (SARASA GURUGUHA SANGEETHA TATVA bHODINA:).

 

The ananya Bhakthi of Dikshitar to Sri Rama is the heart of this Ashtaka Krithi , where he proclaims: " SRI RAMACHANDRADH ANYAM (DAIVAM) NA JAANEHAM "..

 

Sri Dikshitar composed the sixth krithi in his Ramaashtakam series in the 59th Mela Ragam, Dharmavathi. The Chatussruthi Daivatham and Kaakali Nishada svara sthaana Devathais are used in the feminine raga of Dharmavathi to worship the manohara purushan, who is the embodiment of Dharama( Dhrmo Vigrahavaan ). It is an interesting coincidence that the Mela Ragam next to Dharmavathi is Nitimathi with Shatsruthi Daivatham and Kaakali Nishada praadhanya svarupam. Dharmam goes befor e Nithi, it looks! The great emperor, whose rulership was celebrated as Rama Rajyam seems to enjoy Sri Dikshitar's adoration in Raga Dharmavathi.

 

The sahitya Vaakyams for this SAMASHTI krithi are as follows:

 

PALLAVI:

 

RAAMACHANDRASYA DAASOHAM SRI SITAA NAYAKASYA GURUGUHA HITASYA

 

CHARANAM:

 

SAAMA DHAANA BEDHAADI CHATURASYA SAJJANA PAALASYA DHUSHTA HARASYA SAMACHARA SAMPRATHAAYAKASYA SABARI MOKSHA PRATHASYA VARASYA (RAMACHANDRASYA DAASOHAM)

 

In pallavi , Sri Dikshitar emphasises Daasyam (one of the nine modes of Bhakthi , the other 8 being SravaNam, Keerthanam, Paada Sevanam, Archanam, vandanam , Sakhyam and Aatma Nivedanam) in this krithi. In the previous krithi , he stated his ananya Bhakthi to Sri Rama. Now, he experiences the Bhavam of Daasyam. Saint Thyagaraja has composed many krithis to express his servitude to Rama in the manner in which Hanuman and LakshmaNaa demonstrated earlier. Some of the Krithis of the bard expressing Daasya mode of Bhakthi are:

 

1.Tava Daasoham --Ragam PunnAgavarALi 2. Upachaaramu cesevAru--Bhairavi 3. Banturiti Kolu--Hamsanaadam 4.Centane Sadaa-- KuntalavarALi

 

The spirit of what Saint Thyagaraja states in the last Krithi is similar to the mood of Dikshitar, when he describes himself as "Ramachandrasya Daasoham". The bard of Thiruvaiyaaru expressed his mental state in the KuntalavaraaLi piece as follows:

 

"O Rama ! Just keep me by your side, as you do Hanuman and Bharata. You need not tell me much or often. I shall understand whatever work you think of and I will cheerfully carry it out."

 

In Charana Vakyams, Dikshithar reminds one of the Kaapi NaarayaNi piece of Saint Thyagaraja " Sarasa Saama Dhaana Bheda Danda Chathura". Dukshitar's choice of words is " Saama Dhana Bhedaadhi chaturasya" , He leaves out Dandam. Both thus celebrate the adeptness of Sri Rama in statesmanship by wielding the four expedients, Conciliation (Saama), Winning over through gifts (Dhaana), Dividing the enemies and conquering ( Bheda) and Punishing by display of valor (Dandam). While thinking about the Chathushtayam (Four means), the fourth expedient is very much on Dikshitar's mind and hence he goes on to eulogize Rama as " Sajjana Paalasya, Dushta Harasya) . The establishment of Dharma thru different incarnations (Dharma Samsthapanaarthaaya Sambhavaami YugE yugE) and the protection of the Sajjanaas (Bhaktha Paalanam) and the destruction of the wicked (Dushta Nigraham) are alluded to by Dikshitar in the second line of CharaNam.

 

In the third line , Dikshitar slautes Rama as " Samayaachara Sampradhaayakasya ". Ramasya Daasoham. Samayaachaaram is the ancient code of conduct defined by Saastraas. Rama never swerves from that Aachaaram.

 

In the final line, Dikshitar refers to another servant of Sri Rama. The lady on the banks of Pampaa river by the name of Sabari served the Lord thru her unique hospitality and received the blessing of Moksham from the Lord Hmself. This Dikshithar refers to as "Sabari Moksha Pratasya ". The Bhagyam of Sabari has been celebrated by Saint Thyagaraja in Mukhari piece (Entaninne varninthunu? Sabari Bhagya). Describing her indescribable bhagyam, the Sadguru says: "She was privileged to see the Lord directly to her heart's content, offer Him delicious fruits, prostrate before His holy feet in thrill and attain freedom from rebirth (Punaraavritthi Rahita Padam) in the presence of the Lord Himself.

 

Sri Dikshitar concludes with the final salutation, "Varasya Ramachandrasya Dasoham". Vara refers to either Sitaavara, the Nada Lola as described by Saint Thyagaraja in his Devagaandhaari krithi or Raghukula Sreshtan. Sri Dikshitar sums up by stating that he is the servant (Daasa) of such a Sreshtan with all of the above KalyaaNa GuNaas.

 

RAAMAABHIRAAMAM NAYANAABHIRAAMAM VAACHAABHIRAAMAM VADANAABHIRAAMAM I SARVAABHIRAAMAM CHA SADHAABHIRAAMAM VANDEH SADHAA DASARATHIM CHA RAAMAM II

 

Sri Dikshitar composed his seventh Ashtaka Krithi in the 68th melakartha Ragam, Jyothi swarupiNi. In Dikshithar's sampradhaayam, it was known as "Jyothi". He had composed one more Krithi in this ragam on Rama sahodari known as "Paramjyothishmathi Parvathi --". This mela ragam belongs to the Aditya chakram and is therefore appropriate for eulogizing the Surya Kula Tilakam, Sri Ramachandran.

 

This is a scintillating krithi dealing with the Padhukaa Pattabhishekam and the return of Sri Ramachandra to Nandigramam and then to Ayodhya to be crowned as Pattabhi Raman.

 

The sahitya Vaakyams are as follows:

 

PALLAVI:

 

RAAMEH BHARATA PAALITHA RAJYAMARPAYAAMI RAJAATHIRAJA PUJITHA CHARANAM NAMAAMI

 

CHARANAM:

 

AMARESAADHI SAKLA DEVATHAA MODHENA ANTHARANGA GURUGUHAANANDA MRUDHU GADHANEH SAMASTHA MUNI GANA SAADHU JANAAADHI VANDHANEH SAANANDHAYUTA SEETHAA MANOHARA MADHANEH (RAAMEH)

 

In pallavi, Dikshitar salutes the family and admirers of Sri Rama in the spirit of "TAM VISHNUM BHARATHAAGRAJAM RAGHUVEERAM SEETHAA SAMETHAM BHAJEH". Dikshitar places at the feet of Sri Ramachandra the kingdom protected by Bharatha for fourteen years with the help of Sri Rama Paadhukaa. Swami Desikan composed more than 1000 verses in honor of the Padhukaa of Sri Ramachnadra (Ranganatha). Those Padukas were the representative of Rama to guide Bharatha to rule the kingdom for fourteen years untl Rama returned from exile in the forest and the conquest of RavaNaa. In hi ssecond verse of Padhukaa Sahasram, Swami Desikan pays his tribute to Bharatha this way:

 

BHARATHAAYA PARAM NAMOSTHU TASMAI PRATHAMODHAAHARANAAYA BHAKTHIBHAAJAAM I YADHUPAJNAMASESHATHA: PRUTHIVYAAM PRATHITHO RAGHAVA PAADHUKAA PRABHAAVA : II

 

(MEANING: The illustrious one, who first wore Sri Ramachandra"s Padhukaas on his head was His brother Bharatha. He conducted the affairs ofthe state as the representative of the sacred padhukaas, when Rama chose to spend fourteen years to honor his father's word.) This verse salutes Bharatha as the first blessed soul, who illustrated the meaning and holiness of the Lord's Padhukaas. Bharatha spread the glory of Rama Padhukaas through his worship of them for fourteen years.

 

Dikshitar joins the ranks of Bharatha in extolling the incident related to Paaadhukaa Pattabhshekam and Bharata's Rajya paripaalanam as the representative of Rama Padhukaas. Dikshitar offers to Sri Rama the kingdom protected by Bharatha and salutes the lotus feet associated with those Padhukaas and worshipped by the emperors of the land (RAJAATHIRAJA PUJITHA CHARANAM NAMAAMI).

 

The charaNa vakhyams describe the Pattabhisheka scene and Rama's gentle gait as he walked to the throne and admired by his nephew Guruguha an dby Indra and all the Devaas (AMARESAADHI SAKALA DEVATHAA MODEHNA, ANTHARANGA GURUGUHAANANDA MRUDHU GADHENA --CHARANMA NAMAAMI). He was seated on the throne of the Ishvaakus with joyous Sita , who was captivateD by his incomparable beauty (SAANANDAYUTA SITAA MANOHARA MADHANEH -- CHARANAM NAMAAMI). The sages and Rishis assembled to witnes sthis pattabhshekam scene were exhilirated by the auspicious darsanam of the Lord with His consort and eulogized Him. Dikshitar salutes the holy feet wearing the Paadhukas revered by Bharatha in this krithi.

 

I conclude this posting with a Slokam of Rama KarNaamrutham composed by a Sankaraacharya of kanchi Kamakoti Peetam:

 

SAKALA SUKRUTHA RATNAM SATYAVAAKYAARTHA RATNAM SAMADHAMAGUNA RATNAM PAATHU MAAM RAMA RATNAM I PRAAYA NILAYA RATNAM PRASPUTADHYOTHI RATNAM PARAMA PADHAVI RATNAM PAATHU MAAM RAMA RATNAM II

 

This is the home stretch for this series of postings on the Ramaashtaka Krithis of Sri Dikshitar. This krithi is set in Ragam Vasantha, a Janya Ragam of the Mela Ragam Surya Kaantham. It is a wonderful choice to the Surya Kula Jyothi , Sri Ramachandra, whose beauty is like the eternal spring. Here Dikshitar offers his salutations to the many kalyana gunaas of Sri Rama displayed during his incarnation as the son of Emperor Dasaratha. The sahitya Vaakyams are as follows:

 

PALLAVI:

 

RAMACHANDRAM BHAVAYAAMI RAGHUKULA TILAKM UPENDRAM

 

ANUPALLAVI:

 

BHOOMIJAA NAYAKAM BHUKTHI MUKTHI DHAAYAKAM NAMA KEERTHANA TARAKAM NARAVARAM GATHA MAAYIKAM

 

CHARANAM:

 

SAKETA NAGARA NIVASANTHAM SAAMRAJYA PRATHA HANUMANTHAM RAAGENDHU VADANAM BHAgaVANTHAM RAMANEEYA KALYAANA GUNAVANTHAM KAKUSTHAM DHEEMANTHAM KAMALAKSHAM SRIMANTHAM NAGESA NUTHAM ANANTHAM NARA GURUGUHA VIHARANTHAM (RAMACHANDRAM BHAVAYAAMI)

 

(MEANING): I meditate on Sri Rama , who is the shining dot on the forehead of Raghu Kulam. That Lord incarnated once as the son of Kasyapa Prajaapathi and the brother of Indra. He is the dear consort of Sita Devi,the daughter of Bhoomi devi. He is the magnanimously generous one , who gives us the boons of prosperity on this earth and Moksham thereafter.

 

He has for His name the glorious Taraka mantram of limitless auspiciousness.. He set an example as the embodiment of righteousness during his incarnation as a human son of Dasaratha. He is the one, who lifts the veil of Maaya for us.

 

He lived in Ayodhya as the emperor of Kosala Desam. He is seen in the company of Hanuman of great boon-giving power. His face shines with the beauty of the full moon. He is the Parabrahmam, who hid His glory as the supreme Lord by declaring "Aathmaanam Maanusham manyeh". I meditate on His Sharp intellect, divine radiance and lotus-like beautiful eyes. He is the supreme being worshipped by Indran. In all the environments that he moved during his Avathaaram -- human assembly, acharya groups, forest, caves --as the son of Dasaratha, he performed His divya Leelas and displayed His anantha kalyaaNa guNaas. I meditate with delight on this Ramachandra of many glorious attributes, who sports with His nephew Guruguhan and gladdens his heart.

 

SRI RAMACHANDRA KARUNAAKARA RAGHAVENDRA RAAJENDRACHANDRA RAGHUVAMSA SAMUDRA CHANDRA I SUGREEVA NETRAYUGALOTHPALA PURNACHANDRA SITAAMANA: KUMUDHA CHANDRA NAMO NAMASTEH II

 

MANGALM KOWSALENDRAAYA MAHANEEYA GUNAABHDHAYEH I CHAKRAVARTHEE TANUJAAYA SARVABHOUMAAYA MANGALAM II

 

SRI SEETHA LAKSHMAN BHARATHA SATHRUGNA HANUMATH SAMETHA SRI RAMACHANDRA PARABRAHMANEH NAMA:

 

Oppiliappan Koil Varadachari Sadagopan

 

 

 

 

 

 

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