Sangetham & Bakthi

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Sangitham & Bhakthi

 

 

 

 

 

 

 

 

 

 

 

 

Sri Annamyacharya

Sangitham as an UpavedamSangeetham is recognized as an Upavedam or an ancillary to the Vedas. It is one of the four Upavedas dealing with Music, Dance and other fine arts. The other Upavedas are Aayurveda (the Scince of Medicine and Physiology), Dhanurveda (the science of Archery and Warfare) and Artha Saasthra (Political Economy).The Origin of Sangitam"Samgeetham" means that which is sung well. The origin of Sangitam is linked with Saama Vedam. When Sangitam is used in the worship of God, it is recognized as Naadhopaasana or the offering of worship through Naadham (Sound). Vedam is a Pramaanam recognized as Sabdham in Vaidhika darsanams. Upaasana of Sabdha Brahmam can then be considered as the true Sangitham.Until the ninteen thirties, the use of music and dance (nava sandhi Koutthuvam or prescribed dances with music at the nine chosen sites of the Hindu temple with invocation of appropriate devathAs) was in vogue and Deva Daasis (servants of the Lord) performed them. In Kali Yugam, the importance of Sangitham (Naadhopaasana) is highlighted to secure one's path to Moksham. Naadhopaasana develops the Bhakthi to SrIman Narayana and bringsHim closer to us.

The Importance of Sangitham in SrI VaishnavamSruthi (" the adjustment of the tone to the tune") and Laya (rhythm) are the corner stones of Sangitam. Swamy Naatha Muni set the entire dhivya Prabhandham of the twelve Azhwars to music and ThaaLam (rhythm) and taught it to to his two nephews. Therfore Swamy Natha Muni is saluted as “Nal kaathal adiyavarkku, thaaLam vazhangi, Tamizh MaRayi innisai thantha VaLLal" (The most generous Aachaaryan, who blessed his two dear sishyaas with ThaaLa Vidhya and the beautiful tunes to the dhivya Prabhandhams). Through that evolved the Arayar sevais at the temples of Lord Ranganatha at Srirangam , Thirukkuruhur , Melkote, Srivilliputthur and other dhivya desams.Nava Rasaas(Sentiments) and the seven Svaraas (scales) of MusicVishNu dharmOttara PurANam sums up the links of nine rasaas, Haasya, Sringaara, Veera, Roudhra, Adhbhutha, Kaarunya, Beebhathsa, Bhayaanaka and Saantha with the seven svaraas of music (Shadjam, Rishabhan, Ghaandhaaram, Madhyamam, Panchamam, Dhaivatham, Nishaadham) this way:"Nava rasaa: tathra Haasya-srungaarayO: Madhyama-Panchamou Veera-roudhra-adhbhuthEshu Shadja-Panchamou, KaruNO NishAdha-Gaandhaarou Bheebathsa-BhayaanakhayO: Dhaivatham, SaanthE Madhyamam"The Bhajana system of offering worship to the Supreme Being evoking the different moods of a devotee has been the corner stone of Bhakthi movement throughout Bharata desam during the fifth to the tenth centuries and thereafter.In recent times, Saints TaLapAkkam Annamacharya, Purandara Daasa ofPurandaraghaad, Thyagaraja of ThiruvayaaRu, Ootthukkaadu Venkatasubbaiyer and a great many NaadhOpaasakaas have offered their Naama Kusumaanjalis to SrIman NaarAyana .Steadfast devotion to an Ishta Devata (ananya bhakthi to an Ishta dhaivam) ,celebration of that Dhaivam's Rupa (Form), GuNa (auspicious attributes such as Grace, Dayaa , Kshama , Soulabhyam etc), Svaroopam is a well trodden path by our Sangitha Pithaamahaas. For instance, TaLapaakkam Annamayya focused on Lord Venkatesa of Thirumala, Thyagaraaja had ananya bhakthi to Lord Raamachandra, Ootthukkaadu Mahan and Leela Sukhar enjoyed KrishNa exclusively.Sangitham and Bhakthi*********************The moods of Bhaktha are intricately interwoven with various Sanchaari Bhaavaas that engage the mind of the NaadhOpaasaka. Late Dr:V.Raghavan summarized these moods of a Bhakthan engaged in NaadhOpaasana this way:1. Outhsukya or longing for the union with the Lord. This mood can express itself as the longing for His constant company (Sannidhi Saameepyam), Seeing Him and receiving His merciful glances (Darsana soubhAgyam), Singing about Him (Keertanam), Listenig about His Mahima (SravaNam), conversing with Him (SambhaashaNa) and serving Him (SEvanam and Kaimakryam as a Daasan).2. Nirvedam (Dejection and despondency over separation from the Lord and not receiving His Dayaa). Out of this Vipralambha Sringhaaram arose the Paasurams sung by Swamy NammAzhwAr (Paraankusa Naayaki), Thirumangai Azhwaar (Parakaala Naayaki) and Andal's NaacchiyAr Thirumozhi.3. Athma GarahaNa and Naicyaanusandhaana (Self-depreciation and recounting one's shortcomings and unfitness as a servant of the Lord).4. Dhainya and DhainyOkthi (Hear rending and plaintive pleadings for becoming the object of the Lord's Compassion).5. Amarasha, Rosa RosOkthi (Taking the liberty in despair to express grievance and remonstrate against the Lord's heartlessness to come to their rescue).6. Vitarka (cogitation and consequent development of doubt about Lord's interest to come to their rescue).7. Sraddha /Visvaasa (Development of steady Faith in the Lord as the unfailing protector and thanking Him for that RakshaNam in a mood of Mahaa Viswasam, an important angam of SaraNAgathy).8. Narma (Playful exchanges with the Lord in a mood of close relationship). This can take the form of Sthuthi (Praise), PrArTanaa (Prayer), RoshOkthi (protests in playful anger) and Leela VarNanaa (Playful descriptions of the leelaas of the Lord as a cowherd etc).9. Sva-yOgya-KaTanaa (Letting the Lord know of the BhakthA's claims and qualifications to stress why the Lord should prioritize His attention).10. BHakta Sodhana (Trails and tribulations during the spiritual journey).11. Maanasa SambhOdhana (Exhortations to the BhakthA's mind /Nenju/ Manas to focus on the Lord).12. Krutaj~nata and MangaLaasAsana (Ezpression of Gratitude over the Lord's anugraham and pronouncing blessing on the Lord in a deep mood of devotion like PeriyAzhwAr in His ThiruppallANDu).Thus mingle Sangitham and Bhakthi in Bhagavath anubhavam of NaadhOpAsakaas.In the Navarasa Kannada Krtihi of Saint Thyagaraja (NInnu vinaa--), we witness the dhriti mood (Contentment and hapiness born out of Bhagavath anubhavam) of a great Raama BhakthA: "My ears are full of Raama’s stories. My lips feel blessed in His Naama sankeerthanam, I see Raama in whatever I see, even distasteful things become relishable and I have secured the fruit in Raama".The PunnagavarALi krithi of Saint ThyagrAja sums up the ideal Sanchaari Bhaavam (mood) of a BhakthA in whom NaadhOpaasana found its home:Pallavi:Tava DaasOham Tava DasOham Tava DaasOham DhAsaraTECharaNams:VaramrudhubhAsha VirahithadhOsha Naravara vEsha DhAsaraTESarasija nEthra Parama Pavithra Surapathi mithra DhaasaraTENinnu kOrithirA Nirupamasoora nannElukOrA DhAsaraTEManavini vinumA marava samayamA Inakula dhanamA DhAsaraTEGhanasamaneela Munijanapaala Kanakadhukoola DhasaraTEDhara NeevaNDidhaivamu lEdhaNDi SaraNanu kODi DhAsaraTEAagama vinutha rAgavirahitha ThyaagarAjanutha DhAsaraTEMeaning: Oh Son of DhAsaraTa! I am our Daasan (Liege and servant). I have been seeking You and You alone all my life. Pray, Protect me, come to my rescue and listen to my appeals! This is not the time to forget me. Convinced that here is no God equal or superior to You, in the entire universe I have surrendered at Your sacred feet. Oh Soft-spoken Lord! Oh Blemishless One! Oh Lord who has taken the garb of a human! Oh Lotus-eyed One! Oh Most sacred One! Oh Lord of DevAs! Oh One with matchless valour! Ninnu kOrithiraa! NannElukOrA! Manavini vinumA marava samayamaa? Oh Lord of Soorya Kulam! Oh protector of the Sages of DaNDakAraNyam! Oh Lord of beautiful blue hue! In the world, there is no God like You! I perform SarNAgathi at Your Lotus feet (Dahra neevaNDi Dhaivamu lEdhaNDi, SaraNanu koNDi DhAsaraTE). Aagama vinutha rAga virahitha ThyAgarAja-nutha DhAsaraTE (Oh Lord slauted by Aagamaas and free of any blemishes and the One worshipped and sung by ThyagarAja) ! I have taken refuge in You. BhajarE Raguveeram Sara-bharitha DhasaraTa KumAram ,Daasan , Oppiliappan Koil VaradAchAri SadagOpan

 

 

 

 

 

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