1. AMonographOnSriTyagarajaSwamysGhanaRagaPancharatnaKeertanas.djvu

A MONOGRAPH

ON

SRI TYAGARAJA SWAMY'S

GHANA RAGA PANCHARATNA KEERTANAS

(A detailed commentary on the literary and

Musical excellence of Pancharatna compositions)

By

Mahamahopadhyaya

Dr. Nookala Chinna Satyanarayana

A MONOGRAPH

ON

SRI TYAGARAJA SWAMY'S

GHANA RAGA PANCHARATNA KEERTANAS

(A detailed commentary on the literary and

Musical excellence of Pancharatna compositions)

By

Mahamahopadhyaya

Dr. Nookala Chinna Satyanarayana

A Monograph on Tyagaraja

Ghana Raga Pancha Ratna Keertanas

Author & Publisher

Mahamahopadhyaya

Dr. Nookala Chinna Satyanarayana.

First Edition - 1995

In India Price - Rs. 250/-

In Other Countries - Price US $ 20.00

All rights are reserved with the Author

For Copies :

Dr. Nookala Chinna Satyanaryana

Sundarakripa

6.1.349/1, Padmarao Nagar

Secunderabad - 500 025. INDIA

Phone : 821061

Printed at Vamsi Art Printers, Visakhapatnam.

This book is printed and published with the financial asistance provided by Sri Tirumala Tirupati Devasthanams and I am grateful to the T.T.D. Management.

Nookala Chinna Satyanarayana

PREFACE

Sadguru Sri Tyagarajaswamy's compositions are regarded as "Sangeetha Upanishads" and "Sahitya Vedanta Prabandhas". They are musical epics and spiritual monuments.

Especially the Ghana Raga Pancha Ratna Keertanas are priceless gems which shine forever. The lyrical and literal marvels and excellences can not be fathomed.

By God's grace, I have the immense fortune of probing into the inner and subtle secrets of these Keerthanas.

At the time when I have been engaged in my research, I had the opportunity to share, my findings with my limited knowledge as a sort of verification - with the knowledgeable, sympathetic, and responsive music lovers of Madras and other important Seats of Music.

I have the honour of being a member of expert committee of Madras Music Academy. Sri T.T. Vasu and other members of Management of Madras Music Academy created an opportunity to me to give Five lecture-demonstrations on these Pancha Ratna Keerthanas for five years consecutively.

The Rasikas gave me an encouraging pat with a note of consonance of approval.

The Rasikas and friends encouraged me to compile these Lecture-demonstrations and bring out in a book form.

The result is the emergence of this humble book, titled "A monograph on Sri Tyagarja Swamy's Ghana Raga Pancha Ratna Keertanas"

While it was taking shape as a book, I imbibed many valuable and critical suggestions and ideas from my friends and well wishers namely : Sri S. Ramanathan, Sri Rangaswamy and Pandit Sri Balasubrahmanya Sastry garu. I am grateful to them.

I am also grateful to Sri N. Pattabhiraman of Sruthi, Smt Usha Mallik of Central Sangeetha Natak Academy of New Delhi, Sri T.T. Vasu and his colleagues of Madras Music Academy.

I offer my grateful Pranams to my beloved brother & guide Padma Vibhushana

I offer my grateful pranams to my

mother Smt. Yagna Chainamma.

father Sri Annaji Rao Garu,

Gurus

Padmasri Dwaram Venkataswamy Naidu Garu,

Padma Bhushan Dr. Pinakapani Garu.

Parma Gurus for their blessings :

Sri Sri Jayendra Saraswathi Swamy, of Kanchi Kamakoti Peetham

Sri Sri Shankara Vijayendra Saraswathi Swamy, of Kanchi Kamakoti Peetham

Sri Sri Shankaracharya Swamy of Pushpagiri,

Sri Sri Shivananda Saraswathi of Hrushikesh,

Sri Sri Dayananda Saraswati of Coimbatore

Sri Sri Bhagavan Satya Sai Baba of Puttaparthi

NOOKALA CHINNA SATYANARAYANA

January 1, 1995.

Tirupathi.

Contents

Introduction

1

Jagadanandakaraka

5

Dudukugala

35

Saadhinchene

51

Kanakanaruchira

67

Endaromahanubhavulu

85

Notations

of Pancharatna Keertanas

105

INTRODUCTION

Sadguru Sri Tyagaraja Swami is a Drashta (seer), a Srashta (creator) and a Maharshi. He is the incarnation of sage Valmiki who composed 24000 slokas in seven (Kandas) chapters, depicting and describing the full personality of Sri Rama and his valourous deeds. It is said of Valmiki that he was a "CUCKOO" (Kokilam). He is described thus :

"Koojantam Raama Raameti madhuram madhuraaksharam

Aruhya Kavitaa saakhaam vande Vaalmiki Kokilam"

Similarly Saint Tyagaraja is believed to have sung 24000 songs in praise of Sri Rama, but, most of these are lost. Tyagaraja's works are classified as Upanishads because they reveal the ultimate truth and reality and a Knowledge of these is believed to lead one to spiritual emanicipation. Tyagopanishat is in a class by itself because of its simiplicity and melody.

Lord Krishna who gave us the Geeta, Adi Sankara who expounded Advaita - the last word in Hindu philosophy are Jagadgurus. So also Tyagaraja Swami is the Sangeetha Jagadguru. Tyagaraja's songs crystalize the essence of the Geeta and Non dualism (Advaita) they are replete with Devotion (Bhakti), Relish (rakti), Salvation (Mukti), Power (Sakti) and Spiritual Knowledge (Gnana).

His works also contain the characteristics of an epic (mahakavya) Tyagaraja's chief raw material is love (for Rama), moralizing and story telling. His poetry is emotive. He uses basic rasas or 'flavours' to provide esthetic enjoyment. These emotions (rasas) are usually classified into Nine - Love, Courage, Anger, Mirth, Disgust, Terror, Pity, Surprise and Serenity (Sringara, Veera, Roudra, Hasya, Bheebhatsa, Bhayanaka, Adbutha and Santa). Tyagaraja has also carefully chosen his words so that they say far more than their bare meanings and induce a whole series of emotions by a single brief verse. By doing so, this saint composer has woven into his lyrics an important element in Sanskrit poetic theory i.e., "Dhvani", which quality alone distinguishes any musical poetical or literary work (Mahakavya).

"Vyasonalgamarchaya Mrudugira Valmeeka Janmamunihi

Vairagye Suka Yeva Bhakthi Vishaye Prahlada Yeva Swayam

Brahmaa Naarada Evacha Aprathimayoh Saahithya Sangeeta yoh

Yo Raamaamrutha Paana Nirjitha Sivaha Tham

Thyaagaraajam Bhaje ".

Vyaso = The saint Vyasa

Naigama = Vedas

Charchaya = Commented upon, explain

Mrudu = Sweet

Vaalmeeka = The 'ant hill

Janma = Took birth

Munihi = Saint (Vaalmeeki)

Vairaagye = Desireless, ascetic

Shuka + Eva = The saint Shuka

Bhakthi + Vishaye = Devotion + aspect

Prahlaada + Eva + } The greatest devotee

Swayam } Prahlada himself.

Brahma + Naarada = Brahma + Naarada

Eva + Cha = Like + That is how

Apratimayoh = Greater than

Saahitya = In letters - literature and poetry

Sangeethayoh = Music

Yo Raama + } In the aspect of + Rama

Anirlitha } Nector

Paana = Drink

Nijita = Win over

Sivah = Lord Sankara

Tham = That person

Thyagarajam = Thyagaaraja Swamy

Bhaje = Prostration

Gist : He who is as great as the saint Vyasa in explaining Vedas, He, who is as great as the saint Vaalmeeki (who wrote Raamaayana) in the sweet and easy expression, He, who is as selfless, desireless as saint Shuka, He, who is as great if not greater than Brahma and saint Naarada in literature and music respectively, He, who is great enough to win Lord Shankara in experiencing and enjoying the bliss by drinking the nector of Sri Rama Naama, To him, who is my Guri, I prostrate.

Sathguru Sri Thyagaraja Swamy is the father and founder of the Golden era of Carnatic Music.

He was a saint composer, creator and thinker. He was among the greatest composers ever lived in the music world. Sri Thyagaraja Swamy composed the lyrics and the solfa (music) notations, for his compositions simultaneously. In fact; it is believed that he did not compose them. But he sang all of them in inspired moments and n a divine trance. Every day his disciples recorded them in solfa (music) notation, which were approved by Thyagaraja Swamy later on that day.

The Circumstantial sequence of the Pancha Ratnas

The great saint composer and the Golden era maker of Carnatic music composed ind sang the five Gem - compositions of eternal value for the upliftment of the carnatic nusic world and for the spiritual development of the mankind.

These compositions display all the values viz. Cultural, literary, musical, spiritual ind aesthetic.

Tyagaraja composed and sang all these five compositions in a sequential order thich can be connected with his experiences with his Lord Sri Rama.

In his first composition "Jagadanandakaraka" in Nata Ragam, Adi Talam in alarous and enthusiastic mood (veera utsaha rasa) Tyagaraja praised Rama with 108 pithets and attributes coined by him. Sime of them also form the Miniature Ramayana samkshipta Ramayanam).

Tyagaraja composed and sang this keertna with utmost devotion and sincerity xpecting that his Lord Rama would answer his prayers by granting his Divya darsanam celestial appearance). But alas Sri Rama was not moved. He would not respond.

Tyagaraja was so disappointed, frustrated, upset and struck with melancholy that e composed and sang "Duduku Gala" in Goula Ragam in Karuna Rasa (Pathos) in hich he poured out all is sorrowful confessions with self introspection (Atma Vichara). uddenly his frustration truned to anger towards Sri Rama.

He started composing what appears to be criticism of Rama, that he was unkind wards him (Tyagaraja). He composed and sang "Sandhinchene" on Lord Krishna 'Ninda Sthuti' (apparent abuse and Satirical praise). He chose Krishna for nagging stead of Rama. He attributed mischief and torment to Krishna. He said that Krishna rmented his parents, Gopis, his devotees (Bhaktas) and Tyagaraja himself mischlevously id delibarately belying his own teachings and preachings in Bhagavatgeetha.

Just, when he completed composing and singing the 8th Charana, in trance id spiritual ecstasy, evidently and according to the reference in the text of the 9th

Charanam, he heard the voice of Sri Rama. He also got the vision of Sri Rama fro a distance. Sri Rama spoke to him. Praised him and advised him. Sri Rama cou not bear his nagging and abuse (Ninda) any more. So, suddenly Sri Rama appeare and spoke to Tyagaraja.

After this third and most unique and the central gem of the five gem composition: Tyagaraja became satisfied, his life's ambition, and longing, the Darsanam of his Lor having been fulfilled.

Immediately, in the same elevated mood, Tyagaraja having seen Sri Rama wit his mortal eyes, he composed and sang "Kana Kana Ruchira" In Varali raga in Ac Tala In Bhakti and Santa Rasa, where in he expressed his joy of experiencing Lor Rama's divine presence. 'O Rama how sweet it is to see you again and again' he wrote and sang.

The fifth and final Gem of a Krithi is "Endaro Mahanubhavulu". He composec this song to offer his salutations, prostrations and obeisances to all the great knowr and unknown Bhaktas of his Lord Sri Rama, sharing his joy with them.

Moreover, by resorting to the free use of ornamentation (alankara) which include similes, metaphors, alliterations of various kinds, synonyms, homonyms and so on Tyagaraja has incorporated into his works yet anotherlement of the Mahakavya.

JAGADANANDAKARAKA

NATA RAGAM - ADI TALAM

FIRST PANCHARATNA KIRTANA

In the first Pancharatna Krithi Jagadaanandakaraka, Nata Ragam, Adi Talam, Tyagaraja by alluding to the Bhagavatham and Mahabharatam, has described Rama using 108 epithets. This ashtotthara sathanaamavali can be recited thus :

TYAGARAJA KRITHA NAATA RATNA

SRI RAMA ASHTOTTHARA SATHANAAMAVALI

pallavi :

1. OM Jagadaanandakaarakaya Namaha

2. OM Jayaaya Namaha

3. OM Jaanakee Prana nayakaya Namaha

anupallavi

4. OM Gaganaadhipa Satkulajaaya Namaha

5. OM Raja Rajeswaraya Namaha

6. OM Sugunaakaraaya Namaha

7. OM Sura Sevyaaya Namaha

8. OM Bhavya Daayakaya Namaha

9. OM Sadaa Sakala Jagadaanandakaarakaya Namaha

10. OM Jayaaya Namaha

11. OM Jaanakee Prana Naayakaya Namaha

aranam I

12. OM Amara Taaraka Nichya Kumuda Hitaya Namaha

13. OM Paripurnaaya Namaha

5

14. OM Anaghaaya Nama

15. OM Suraasura Bhoojaya Namal

16. OM DadhI Payodhi Vasa Haaranaaya Namat

17. OM Sundara Tara Vadanaaya Namat

18. OM Sudhaamayo Vachana Brindaaya Namah

19. OM Govindaaya Namah

20. OM Saamandaaya Namah

21. OM Mavaaraaya Namah

22. OM Ajaraaya Namah

23. OM Aaptasubhakaraaya Namaha

24. OM Aneka Jagadaanandakaarakaaya Namaha

25. OM Jaya Jaanaki Praana Naayakaaya Namaha

Charanam II

26. OM Niganma Neerajaamritaja Poshakaaya Namaha

27. OM AnImlsha Vairivaardla Sameeranaaya Namaha

28. OM Khagaturangaya Namaha

29. OM Satkavi Hridaalayaaya Namaha

30. OM AganItha Vanaraadhipa Nataanghriyugaaya Namaha

31. OM Jagadaanandakaarakaaya Namaha

32. OM Jaya Jaanakee Praana Naayakaya Namaha

Charanam III

33. OM Indraneelamani Sannibaapaghana Namaha

34. OM Chandra Surya Nayanaaya Namaha

35. OM Aprameyaaya Namaha

36. OM Vageendra Jaanakāaya Namaha

37. OM Sakalesaaya Namaha

38. OM Shubraaya Namaha

39. OM Nagendra Sayanaaya Namaha

40. OM Shamana Vairi Sannutaaya Namaha

41. OM Jagadaanandakaarakaaya Namaha

42. OM Jayaaya Namaha

43. OM Janakee Praana naayakaaya Namaha

Charanam IV

44. OM Paada Vijitha Mowni Saapaaya Namaha

45. OM Sava Paripaalaaya Namaha

46. OM Vara Mantra Grahana Lolaaya Namaha

47. OM Parama Saanta Chittaaya Namaha

48. OM Janaka Jadhipaaya Namaha

49. OM Saroja Bhava Varadaaya Namaha

50. OM Akhila Jagadaanandakaarakaaaya Namaha

51. OM Jaya Jaanakee Praana Naayakaaya Namaha

Charanam V

52. OM Srishti Sityantakaarakaya Namaha

53. OM Amitha Kaamitha Phaladaaya Namaha

54. OM Asamaana Gaatraya Namaha

55. OM Sacheepati Nutaaya Namaha

56. OM Abdi Mada Haraaya Namaha

57. Om Nuraaga Raaga Raajitha Katha Saara Hitaya Namaha

58. OM Jagadaanandakaarakaaya Namaha

59. OM Jaya Janakee Praana Naayakaaya Namaha

Charanam VI

60. OM Saijana Maanasaabdhi Sudhakaraaya Namaha

61. OM Kusuma Vimaanaya Namaha

62. OM Surasaa Ripu Karaabja Laltha Charanaya Namaha

63. OM Avaguna Asuragana Madaharanaaya Namaha

64. OM Sanaatanaaya Namaha

65. OM Ajanuthaaya Namaha

66. OM Jagadaanandakaarakaaya Namaha

67. OM Jaya Janakee Prana Nayakaaya Namaha

Charanam VII

68. OM Omkaara Panjara Keeraya Namaha

69. OM Purihara Saroja Bhaava Kesavaadi Roopaaya Namaha

70. OM Vaasava Ripu Janakaantakaaya Namaha

71. OM Kalaadharaaya Namaha

72. OM Kaladharaaptaya Namaha

73. OM Ghrinaakaraaya Namaha

74. OM Sharanaagatha Janapaalanaaya Namaha

75. OM Sumano Ramanaaya Namaha

76. OM Nirvikaaraaya Namaha

77. OM Nigama Saara Taraaya Namaha

78. OM Jagadaanandakaarakaaya Namaha

79. OM Jaya Jaanakee Praana Naayakaaya Namaha

8

Chairman VIII

80. OM Karadhrutha Saraa Jaaalaaya Namaha

81. OM Asura Madaapaharanaaya Namaha

82. OM Avaneesura Suravavanaaya Namaha

83. OM Kaveena Bilaja Mouni Kritha Charitra Sannutaaya Namaha

84. OM Sri Tyagaraajanutaaya Namaha

85. OM Jagadaanandakaarakaaya Namaha

86. OM Jaya Jaanaki Praana Naayakaaya Namaha

haranam IX

87. OM Purana Purushaaya Namaha

88. OM Nri Varaatmajaaya Namaha

89. OM Asrita Paraadeheenya Namaha

90: OM Khara Viraadha Raavana Viraavanaaya Namaha

91. OM Anaghaaya Namaha

92. OM Paraasara Manoharaaya Namaha

93. OM Avikritaaya Namaha

94. OM tyagaraaja Sannutaaya Namaha

95. OM Jagadaanandakarakaaaya Namaha

96. OM Jaya Jaanakee Praana Naayakaaya Namaha

aranam X

97. OM Aganitha Gunaaya Namaha

98. OM Kanaka Chelaya Namaha

99. OM Saala Vidalanaaya Namaha

100. OM Arunaabha Samaana Charanaaya Namaha

101. OM Apaara Mahimaaya Namaha

9

102. OM Adbhutaaya Namaha

103. OM Sukavi Jana Hrit Sadanaaya Namaha

104. OM Sura Muni Gana Vihitaaya Namaha

105. OM Kalasa Neera Nidhi Jaa Ramanaaya Namaha

106. OM Paapa Gaja Nrisimhaaya Namaha

107. OM Vara Tyaagaraajaadi Nutaaya Namaha

108. OM Jagadaanandakaarakaaya Namaha

Another Remarkable feature of this jewel of a song is that it contains components of the seven kaandams of Ramayana, thus, making it a mini Raamayani (Samkshipta). It can be divided thus into seven kandams :

1. Baala Kaanda :

i. Avaneesura Suraaavana - Rama is born to protec the virtuous. (Aavana = to protect)

ii. Jagadaanandakaaraka - He gives happiness to the world

iii. Gaganaadhipa -Sri Rama is born in SUI Surya Dynasty.

iv. Sundara Tara Vadana - Handsome, with a beautlful countenance

v. Sudha Maya Vachao Brinda - Speaks words that ar sweeter than Nectar (Amritha)

vi. Vara Mantra Grahana Lola - Learns letters of spe (mantras) and Arms (Astras). Sciences (Saastras) from Sage Viswamithra.

vii. Sava Paripala - Protects Viswamitra's sacred ritual of high orde (Yaga)

viii. Paada Vijitha Mouni Saapa - Redeems Aahalya from her curse by her husbad Sage Goutama

ix. Jaanaki Praana Naayaka - Sree Rama's marriage with Seeta (Seeta Kalayanam)

x. Apaara Mahima - Subduing Parasu Rama's pride and ego.

2. Ayodhya Kaanda :

i. Parama Saantha Chitta - When Kaikeyi asks that Rama should sacrifice the throne and be banished to the forest, Rama is not distrubed or angry but agrees readily with extraordinary patience and serenity.

3. Aranya Kaanda :

i. Avanee Sura, Suraavana Asura Gana Madaharana - Protects the Brahmins and Dhalvatvam by subduing the demons, evil forces

4. Kishkinda Kaanda :

i. Parama Shaantha Chitta - When Sugreeva delays in fulfilling his promise, Lakshmana is influriated but Rama does not exhibit any anger. He maintains calm.

ii. Aganita Vaanaraadhipa - Meeting and making friends with Hanuman, Sugreeva and other monkeys and making them his army.

iii. Saala Vidalana

5. Sundara Kaanda :

i. Surasa Ripu

6. Yuddha Kaanda :

i. Vaasava Ripu Janakaanthaka

ii. Sharanagatha Jana Paalana

iii. Paramasantha Chitta

1. Fraternal concealing

2. Free offerings

3. Diplomatic

4. Punishment

iv. Abdi Mada Hara

v. Kusuma Vimaana

7. Uttara Kaanda :

i. Anuraaga raaga raajitha kathaa

ii. Subhra Naagendra Sayana

The tempo of Raga Nata is medium fast. Veera Rama is also medium fast. This entire pancharatna song is composed in Samskritam with beautiful and tricky phrases (samasas). Yet the diction and language is easy to follow (saralam).

The swara patterns of the raga Nata have been exploited to the saturation point by Tyagaraja in this pancharatnam. The raga Nata does not generally lent itself to elaborate extemporisation. Yet in this composition, one finds such elaborate and exhaustive permutations of swara. The swara phrases remind us of the beautiful mridanga jatis with different beats and counts 3,4,5 etc., (tisra, chaturasra, Khanda gatis). Some times they flow like a river, other times they sound like waterfalls. Yet some other times they are thunderous and sometimes they resemble the flash of lightning. Which ever way they are phrased, the swaras always reflect the gait of Veera Rama.

EXAMPLES

I. Chaturasra (Run of four letters)

P.N P. N P M / M. P M. P M R/ G. M G. M R S/ N. S G. M P.

DHIM THA DHIM THA THAKA INDRA NEELA MANI

3 3 2 = 8

ii. P P. N P M N P M M. P M G M R I S R. S M G P M I

PU RA NA PURUSHANRU

THA DHIM THA THAKA DHIMI

1 2 1 2 2 = 8

iii. S N P M. N P. I M R S N. R S. : (5 + 3)

Ni ga ma ni ra ja mr ta ja po shaka

THAKI TA DHIM THA DHIM :

KHANDA : (5 COUNT BEATS)

iv. R S N P. : S N P M : N P M R. : P M R S :

THA KI TA DHIM

Unlike in Endaromahanubhavulu, where there is perfect matching between swar and sahitya, in some places in this composition (Jagadanandakaraka) the run of the swaras and the diction (sahityas) are independent of one another. The phrasing of the words does not fit into the framing of the swaras. The diction (Sahityas) contains trick phrases with a kind of grammatical excellence (savarna deergha sandhis). But in the process of singing, because of the independent nature of note and the wording (swar and sahityas) to one another the intonation of sahitya faces a set back. Many a time the meaning is marred. The sentences are broken at the wrong places and mispronounced. They give the wrong and opposite meaning. This also happens because intonation falls on the wrong syllable due to swara distribution.

For example :

I. "Anagha" is sung as "Nagha".

Anagha = Devoid of sin. Nagha does not have any meaning.

ii. "Ajara" is sung as "Jara".

Ajara = Devoid of old age (jara = old age).

iii. "Amritaja" is sung as "Mrithaja".

Amritah = Eternal ; Mritha = Mortal opposite meaning.

iv. "Animisha" Vairi Vaarida is sung as "Nimisha" Vairi Vaarida

Animisha = Celestial beings ; Nimisha = Earthly beings opposite meaning.

v. "Aganitha" Vaanara is sung as "Ganitha" Vaanara

Aganitha = Countless ; Ganitha = accountable - opposite meaning.

vi. "Asura" Madaapaharana is sung as "Sura" Madaapaharana

Asura = Demons, Raakshasas ; Sura = Devathas - opposite meaning.

vii. "Anuraaga Raaga Raajithakatha" is sung as "Nura gara gara Jithakatha".

Anuraaga = Love ; Nura+ gara + gara = distorted words carrying no meaning.

viii. "Avaneesura Suravana" is sung "Vanee sura Sura Vana"

Avani = Earth ; Vani = no meaning.

ix. "Asamaana" gaatra is sung as "Samaana" gaatra Asamaana = Unparalelled;

Samaana = Equal - Opposite meaning.

x. "Avikritha" is sung as "Vikritha'

Avikritha = Natural ; Vikritha = Unnatural.

xi. "Avaguna" is sung as "Vaguna"

Avaguna = Bad qualities ; Vaguna does not have any meaning.

In contrast, there is perfect synchronisation between swara and sahitya

most of the other Pancharatna Krithis.

EXAMPLES :

Endaro Mahaanubhavulu : Keerthana

P N S P. N M P N R M P N P M

HO YA LU MI RA NA DA LU KAL GU SA RA SU NI

Dudukugala : Keerthana

S. \ R \ S\N\S \R.\R \ S\ N\S \R \ M. \ M

Maa \ na \ va \ t \ nu \ dur \ la \ bha \ ma \ nu \ chu \ nen \ chI

SadhInchene : Keerthana

D. \ D. \ P \ D -P \ P. \ D\P\M\M.\P\M G R\R \R\M\M \P. \ P.

\ S. R, \ M

Go \ pi \ ja \ na \ ma\ no.ra \ dhra \ mo \ san \ ga \ le \ ke \ ne \ ge \ li \ yu \ je \ se \ vaa \ du

The possible reason for this may be that in Jagadanandakaaraka Tyagaraja composed the Sahitya first and then clothed it with swaras. While furnishing swarams to the'sahitya, he might have given importance to the Raga and Tana bhava of Nata. It is not impossible to correct the sahitya intonation by small adjustments and with a few little changes in swaras. Another possibility and more probable is that in the course of group singing and in course of time, the musicians might have slowly shifted the wordings from their original notes inadvertantly, not knowing the adverse effect produced on the meaning, as they were not scholars in Samskritam and Telugu.

The swara phrases (prastaras) in jagadaanandakaaraka lend themselves beautifully to "Tanam" singing. The swaras in the charanam are exaotly like rendering the tanam. All 'Pancharatnás' are in Ghana Ragas and as such, they are meant for 'Tanam' rendering. Though there are 10 Charanas in Jagadaanandakaaraka, there is no repetition of swara phrasing (Swaraprastara) at all. Every one of them serves as a model for extempore forms. (Swara kalpana and Tanam). They resemble the Chitta 'swarams' of a 'Varnam' and 'can be compared with the 'Madhyamakala Sahityas' or 'Mitram' in the compositions of Muthuswami Dikshithar.

"Swaminaatha - nata - adi

kaamithaartha Vitharana Nipuna Charana

Kaavya naatakaankaar aa Bharana

Bhoomi Jalaagni Vaayu Gagana Kirana

Bodharoopa Nithyaananda Karana"

16

THE RAGA NAATA

Tyagaraja ohose the Raga for his first Pancharatna Krithi "Jagadaanandakaaraka."

Nata is a vivadi raga. Vivadi means discordant. In the 72 Melakarthas there are 40 vivadi ragas. These ragas take vikrita swaras.

The following are the Vikrita Swaras :

Sudda Gaandhara (Chatusrithi Rishabha) - D

Shatsrithi Rishabha (Saadharana Gaandhra) - D sharp

Suddha Nishaadha (Chathisruthi Daivatha) - A

Shatsrithi Daivatha (Kaisiki Nishaada) - A sharp

Naata takes Shatsrithi Rishabha and and Shatsrithi Daivatha.

During Tyagaraja's time and even now there is a taboo on the singing of Vivadi Ragas. The reason for this may be the inadequacy of the musician and the using of the discordent notes (consecutive notes) in this Raga "Naata".

In the first place it is extremely difficult to sing a vivadi raga without sacrificing the melody. Because most musicians can not deliver a vivadi with pleasing effect, they avoid it completely and conveniently, saying that it would bring them impurity and harm "dosham". If vivadis are harmful, why are they included in the 72 melakartas? And why should have Tyagaraja composed songs using these ragas? To prove that the taboo is quite unfounded, Tyagaraja Swamy has composed several krithis in Vivadi Ragas suoh as Ganamoorthi (ganamoorthe), Jhankaradhvani (Phanipathi Sayi), Naganandini (Sattalen Dinamu), Maanavati (Evarito), Nasikabhooshani (Maravairi Ramani), Sulini (Praarna Naatha) and of course Jagadaanandakaaraka in Naata.

Singing a Vivadi Raaga requires absolute mastery and a thorough knowledge of pure notes (Swara swaroopa gnanam). One can sing Vivadi Ragaas without the discordant touch if an aesthetic approach is adopted. There is beauty in negotiating Vivaadi Swaraas which none but the masters know.

The word Naata denotes and is associated with all kinds of dramatic activity eg., dance, drama and acting. In Jagadaanandakaraka, Thyagaraja has almost personified the swaras and made them appear like damsels tossing their heads in sprightly dance.

Though Sri Rama is the hero of this song, Tyagaraja never makes a direct reference to Him any where in the song. His majestic and powerful personality is depicted using the extra sharp (Ati teevra) notes of the raga Naata with the exception of perfect fourth (suddha madhyamam) which is delicate and soft. Rama is both a

Dheerodatta and Dheerlalitha Nayaka depending on the circumstances and situation.

Dheerodatta nayaka is powerful, courageous and majestic. Hence, Shatsruthi Rishabham and Antara Gandharam, Shatsruthi Daivatham and Kakali Nishadham are used to depict these qualities. A Dheera lalitha nayaka is tender, charming, handsome and sweet - represented by suddha madhyama.

Tyagaraja composed Jagadaanandakaraka in Naata and the last of the Pancharatnam's (Endaro) in Raga 'Sri', thus conforming to the traiditional format of beginning in Nata and ending in Sri (or Surati or Madhyamavati).

'Adi Nata and Antya Surati' is the conventional and traiditional saying.

PALLAVI

JAGADAANANDAKAARAKA JAYA JAANAKI PRAANA NAAYAKA

Jagat + Aananda + Kaaraka = The universe + Happiness + the source

Jaya + Jaanaki + Praananayaka = Victory + Lord of Jaanaki (daughter of Janaka).

The name "Rama is derived from the Samaasa "Ramayathi Ithi Ramaha." It indicates that Rama is the bestower of immense happiness to one and all. Based on this divine quality of Rama, Thyagaraja has addressed Rama as "JAGADAANANDA KAARAKA" in this krithi. (o ! Raama), Lord of Jaanaki, the cause of happiness to the universe, victory be to THEE !

This Pallavi is the benediction by Tyagaraja on Sri Rama, in his ecstasy, an extreme form of Bhakthi, where the Lord and the Bhakta get interchanged in their positions. A similar spontaneous outpouring is seen in the case of "Thiruppallaandu" of "Periaalwaar", a benedictory address on the Lord, when the Lord, seated on Garuda, gloriously manifested Himself (saakshaatkaara) before Periaalawaar with all his paraphernalia (Sankha, nandaki, Chakra, Saaranga, and Gada).

In the immediacy of such revelation, the outpourings of the Divine qualities set into the succeeding Anupallavi and Charanams, and all these attributes culminate into the main quality in the Pallavi which starts with the word "Jagadaanandakaraka".

ANUPALLAVI

GAGANADHIPA SATKULAJA RAAJA RAAJESWARA

SUGUNAAKARA SURASEVYA BHAVYADAAYAKA SADAA SAKALA

Gagana + Adhipa + Sat + Kula + Ja

=The sky + The Lord Sun

(Surya) (The Lord of the sky is the sun) + pious + dynasty + born.

Raja + Raja + Eswara

= The lord of the Lords and the Ultimate. The Highest.

Sugunaakara

= The abode of virtues.

Sura Sevya

= Celestial beings + Served by; Celestial beings serve Sri Rama.

Bhavya + Daayaka

= Righteousness + giver

Sadaa + sakala

= Always + all

GIST :

(O ! Rama), (Sadaa Sakala jagadaanandakaaraka) - Ever source of bliss to the entire universe, (sugunaakara) abode of vitues, (sura Sevya) worshipped by Devas, (Bhavya Daayaka) bestower of humillity i.e. destroyer of ego, (Raaja Raajeswara) King of Kings (Gaganaadhipa sat Kulaja) born in the virtuous Surya dynasty - - - - - (Jaya) victory be to THEE !

O Lord of lords, you are the abode and embodiment of virtues and you are the giver of prosperity and you are worshipped by Devas.

Rama not only belongs to the Surya Vamsa, the dynasty of Sun but also dwells in. the centre of surya mandala. He is the soul of surya.

"Dhyeyas sada savitr mandala madhya varthi Narayana" : He is the source of happiness for mortals ; He is the source of life.

When Rama is described as belonging to the surya vamsa, the notes are in upper Shadja to represent the sky and also the lofty stature of this vamsa.

However, when the same Sri Rama is compared to the moon, the notes are generally in adhara shadjam to denote his calm and serene nature.

EXAMPLE :

When representing the sun :

S N, S,N, P N, S, S, N, S,

GA GA NA DI PA SAT KU LA JA

When representing the moon :

S S N P, MP N S R S S M M R S M M, P

FIRST CHARANAM

AMARA TAARAKA NICHAYA KUMUDAHITA PARIPOORNAA

NAGHA SURA SURABHOOJA DADHI PAYODHI VAASAHARANA

SUNDARATARA VADANA SUDHAMAYA VACHO

BRINDA GOVINDA SAANANDA MAAVARA AJARAAPTA SUBHAKARA ANEKA

Amara = Eternal, immortal

Taarakaa + Nichaya = Stars + Group

Kumuda + Hitha = Lotus + Well wisher

Paripoorna = Fully evolved, complete

Anagha = Devoid of sins

Sura = Heavenly beings (Devathas)

Sura Bhooja = Celestial tree (Kalpa Vriksha) which has the power of giving what ever desired. Bhoojava = tree.

Dadhi + payodhi + vasa + harana = Curd + milk (ocean) + dwell + stealer

Sundara + Tara + Vadana = Beautiful, handsome + more

Sudha + Maya + Vach + Brinda = Sweet, honeyed + full of + words speech + cluster, bunch.

Govinda = Epithet for Vishnu

Sa + Ananda = Together with + Happiness

Ma + Vara = Lakshmi's + Bridegroom

Ajara + Apta

= Devold of old age, Celestial beings + intlmate friend.

Subhakara

= Bestower of auspeciousness.

Aneka + Jagat

= Many worlds

(Rama) you are like the moon to the galaxy of celestial beings. you are devoid of sins. You are like the kalpavriksha (the tree that fulfils the desires). you reside in the milky ocean and you also steal milk and curd; in Krishna avathaara, you have a beautiful face and your speech is so sweet like nectar. You are the dispeller of sins; You are full of joy ; You are the Lord of Lakshmi ; You are the friend of Bramha; You are the bestower' of auspeciousness for those who have faith in YOU.

The Kalpa vriksha is referred to in this verse as "Sura Bhooja". this tree gives unceasingly whatever one desires. It is inexhaustibl. The Kalpa Vriksha, Kaama Dhenu, Iravatham, Uchalsravam and Sree Lakshmi emerged from the ooean of milk at the time of churning the ocean (samudra madhanam) by Devathas and asuraas to get Amritha.

(Mahavishnu) "Rama is "Ajara Aapta" i.e. a wellwisher of Devathas. He is intimate with Devas who are belleived to be always young. They attain the maximum age of 30 (Tridasa). They do not blink their eyes and therefore have no count of moments or minutes (Animisha). SRI RAMA (Mahavishnu) is the loving kinsman and protector of the celestial beings.

SECOND CHARANAM

NIGAMA NEERJAA AMRITHAJA POSHAAKAA ANIMISHA VAIRI VAARIDA SAMEERANA KHAGA TURANGA SATKAVI HRIDALAYA AGANITHA VAANARAADHIPA NATHANGHRI YUGA

Nigama + Neeraja + Amrithe + ja = (Vedas) the eternal scriptures + Lotus + The nector + born

Poshakaa = Perpetuator ; patron

Animisha + Vairi = Celestial beings (who do not wink their eye lids) on whom time has no influence; they are always youthful ; They are always 30 years of age (Tridasa) enemies (Danavas)

Vaarida + sameerana = Vaari + da = water giving clouds + Wind. (The winds dispel the clouds.)

Khaga + Turanga = Eagle + Vehicle, The

Sat + Kavi + Hrit + Alaya = Virtuous + poets + Heart + Dwelling place.

Aganitha + Vanara + Adhipa = Countless + Monkeys + King

Natha + Anghri + Yuga = Salute + Hands + Two or pair

In this Charanam we find that the word POSHAKA has to be interpreted to qualify Nigama and Amrithaja Neerja as 1. Nigama Poshaka, 2. Amrithaja Neerja Poshaka. In the Matsya Avathara (manifestation in the form of fish) Lord Vishnu protected the Vedas at the time of Pralaya. In the Kurma Avathara (manifestation in the form of tortoise) Lord Vishnu helped Devas and Asuras to churn the ocean of milk by holding the mountain Mandhara on his back. He accepted the hand of Lakshmi who was bron in the ocean of milk along with several other divine objects such as Kalpa Vriksha etc. This is the poetic excellence in the composition of this Charanam.

You protected the Vedas at the time of Pralaya (deluge) and handed them down to Bramma at the time of creation (Srishti). You accepted Lakshmi who was born at the time of churning the ocean of milk by the celestials and demons and protected her. Like the wind that destroys the hordes of clouds, you destroyed the Raakshasaas who were the enemies of Devathas. Your vehicle Is Garuda (Celestial eagle). The hearts of great poets is your abode. (Great poets always preserve your name and form in their hearts.) Sugreeva who is the king of innumerable monkeys, prostrated before you.

The rhythmic pattern of this charanam is a combination of 3 and 5 beats i.e, Thakita : Dheemthakita : (3+5=8)

THIRD CHARANAM

INDRA NEELAMANI SANNIBHAAPA GHANA

CHANDRASURYANAYANAA PRAMEYA

VAAGEENDRA JANAKA SAKALESA

SUBHRA NAAGENDRA SAYANA

SHAMANA VAIRI SANNUTHA

Indraneelamani = The best of blue gems, Sapphire

sannibha + Apaghana = Shining + form, body

Chandra + Surya + Nayana = The moon + The sun + eyes

Aprameya = Unparalleled, unique, independent

Vaagendra + Janaka = Father of Brahma = Brahma the husband of Sarasvathi (Vaageendra) was born from the navel (naabhi) of Vishnu.

Sakalesa (Sakala + Esa) = Lord of every thing.

Subhra + Naagendra + Sayana = Clean + King Cobra + lying on (Vishnu)

Shamana + Vairi + Sannutha = Yama + Enemy + Praised (Worshipped by Lord Shiva. The enemy of Yama).

In appearance, you are as radiant as a blue star sapphire. You have the sun and the moon as your two eyes. You are incomparable, unparalleled. You are the father of the Creator Brahma (Vageendra). You are the omniscient ruler. You are pure. You reoline on Adisesha - the king of cobras and you are praised by Lord Shiva the enemy of Yama.

FOURTH CHARANAM

CARA DHRITHA SARA JAALAA ASURA MADA APAHARANA

AVANEESURA SURAAVANA

KAVEENA BILAJA MOUNI KRITHA CHARITRA

SANNUTHA SRI TYAAGARAAJA NUTHA

ritha + Sara + Jala = Hand + Holding + Arrows + group, You hold number of arrows in you hand.

ada + Apaharana = Demons + Pride + Remover, You remove the arraogance of demons.

īra = Earth + Celestials = Brahmins (Brahmins are considered as the celestials on earth)

avana = Celestial people with spiritual knowledge, Gods, You are their welwisher and protector. You are the protector of earthly beings and celestials also.

= The greatest of the poets (Valmiki).

uni = Born of the ant hill. The greatest saint poet Valmeeki (Adikavi) emerged from the ant hill for a cause - to write the eternal Ramaayana.

aritra = Written + Story (Ramayana).

= Praised.

a + Nuta = Praised by Lord Shiva.

old a number of arms in your hands. You subdue the pride and ego of isaas and protect the Brahmins and celestial beings. You are the Hero yana Mahaakaavya written by Valmiki, the greatest of the poets. You are by Sri Tyagaraja.

The reference to Tyagaraja here is not to the composer himself but to Lord Shiva, the presiding diety of Tiruvaaroor. Whenever Sadguru Tyagaraja swamy describes Rama as worshipped or praised by Tyagraja, the reference is to Shiva. The Sadguru does not have the ego or the audacity to describe Sri Rama with the adjective of 'Praised by myself', the composer.

The rythmic pattern of this charanam is

Takadhimi Taka dheem dheem

4 2 2 2

FIFTH CHARANAM

SRISHTI STHITHITAYANTHAKAARAKA AMITHA KAAMITHA PHALADAA ASAMAANA GAATRA SACEEPATHI NUTHA ABDHI MADA HARA ANURAAGA RAAGA RAAJITHA KATHAA SAARA HITHA

Srishti + Sthithi + anthakaaraka = Creation + Maintenance + Dispelling deeds

Amitha + Kaamitha + Phalada = Countless + Boons or desires + Bestower

Asamaana + Gaathra = Unique + Form, body, countenance.

Sachee + Pathi = Sachi's + husband (Indra)

Nutha = Worshipped, praised.

Abdhi + Mada + Hara = Ocean + Pride + Reducer

Anuraaga + Raaga + Raajitha + Katha + Saara= Lover + Musical + Shining + Story (Ramayanam)

Hitha = Universal friend.

O Lord Rama ! you perform the three fold functions of creation, preservation and destruction. You give unlimited boons to the deserving. Your beauty is unparalleled. You are worshipped by Indra. you subdued the pride of the Ocean King at the time

of crossing the ocean for reaching Lanka. You are the essence of the Ramayana which is glorified through music and devotion. You always do good to every one who has faith in divinity and humanity.

At two places in this song, Rama is described as the unified form of Brahma, Vishnu and Siva. This unique feature is to be found only in this song and no where else. In this charanam, Tyagaraja describes Rama as the embodiment of the Trinity of the charanams (Omkara Panjarakeera) a similar reference is made "Pura hara, Saroja bhava, Kesavadi roopa." However, in the Raaga Isamanohari krithi, "Manasaa Sree Ramachandruni," he says:

"Srishti, Pushti, Nashti Jeyu Panulu Nikrishta manuchunu Tirmoorthulakosagi"

Here he assigns the duties of creation, preservation and destruction to the Trinity as being of a lower order and elevates Rama to the ultimate and unmanifested "Brahman", the ABSOLUTE and the ULTIMATE, who contents himself with the work of fulfilling the desires of the good devotees.

In the Yuddha Kandam of Ramayana, prior to building the bridge for crossing the ocean to reach Lanka, Rama prays to Varuna the Ocean King, so that their efforts for the passage would be free from obstacles. For a long time, there was no response from Varuna. When Rama aimed an Astra towards the Ocean, Varuna appeared before him, profusely begged of his pardon and said that he deliberately delayed in appearing, so that, the Astra once set to aim, would not go waste, and as such, it could be used beneficially to rid the ocean of all the evil influences.

Rama enjoyed listening to Ramayana, especially when it was sung by his twin sons Lava and Kusa in his court. It moved him. Rama was overwhelmed with tears.

Valmiki's Anushtup slokas can also be set to Talam and sung.

These are slokas having 16 syllables (aksharas) for each line (Gayathri Chandas)

"Raamaaya Raamabhadraaya Raamaohandraaya Vedhase Raghunaadhaaya Naadhaaya Seethaayaah Pathaye Namaha"

"Koojantham Raama Raamethi Madhuram Madhuraaksharam Aaruhuya Kavita Saakhaam Vande Vaalmiki Kokilam"

SIXTH CHARANAM

PAADA VIJITHA MOUNI SAAPA

SAVA PARIPAALA VARA MANTHRA GRAHANALOALA

PARAMA SAANTHA CHITTA

JANAKAAJAA ADHIPA SAROJA BHAVA VARADAA AKHILA

Paada + Vijitha = Feet + Despelling, Winning

Mouni + Saapa = Sage gouthama + Curse

Sava + Paripaala = Yaga + Saviour

Vara + Manthra + Grahana + Loala = Virtuous + Mantra (mystical letters) + Initiation + pleased

Parama + Baantha + Chitta = Utmost + peaceful + heart

Janaka + Ja + Adhipa = King janaka + Born (Husband of Janaki --- Rama)

Sarojá + Bhava + Varada = Lotus + Born (Brahma) + Boon giver

Akhila + Jagat = Entire + Universe

By the touch of yoúr feet, Pativrata Ahalya was redeemed from the curse of her husband Gautama. Having been initiated into the marshal arts and sciences (Sastras, Astras and Mantras) you, together with Lakshmana protected the Yaga of Viswamitra. You are the embodiment of patience and serenity. You are the Lord of Janaka's daughter and you are always granting boons to Brahma the Lotus - born (Saroja Bhava).

When Vishwamitra took Rama and Lakshmana for the protection of his sacred sacrificial ritual (Yaaga Rakshana), he initiated them into Astras, Sastras and Mantras. Viswamitra also imparted to Rama and Lakshmana the two very important mantras namely, Bala and Athi Bala, which enabled them to withstand hunger and thirst for a prolonged period. By meditating upon and uttering these Mantras, one could get enormous strength. The weapons appeared before them in the form of Devathas ready to carry out any command. As a result of this, Rama and Lakshmana were able to have at their disposal any weapon needed to fight the demons. This was how the divine brothers were able to subdue Taataka, Maareecha, Subaahu and other demons.

In the Bhavapriya Krithi "Sree Kaantha Neeyeda", Tyagaraja refers to these Mantras.

"Sreekantha Neeyeda balaathibala Chelaganga Leda."

Rama's great quality of unperturbed composure (Parama Saanta) is exhibited on several occasions in the Ramayana. The most important of these occasions are :

When Rama was asked to sacrifice the throne and go into exile, his countenance, according to KAMBAN, was like a friendly bloomed lotus.

When Sugreeva delayed the fulfilment of his promise to assist Rama in the search for Sita, Rama remained serene and calm.

In the battle field, Raavana, having lost all his sons, relatives and powers, was fighting alone with Rama. He fainted, unable to withstand Rama. Then Rama, who could have killed him, maintained his composure and advised Raavana to go back, relax and come the next day ("INRUPOI NALAI VAA" to be precise in the words of KAMBAN). In the words of Valmiki :-

"Gacchaanujaanaami Ranaardithasthvam

Pravisya Raathrimchara Raja Lankaam

Aaswaasya Niryahi Radhecha Dhanvee

Thadaa Balam Drakshyasi Me Radhsthaha " : Yuddhakaanda, 59th canto, 143.

In this gesture, Rama still hoped that good counsel would prevail upon Ravana who might change his evil thoughts and rectify himself.

Sree Rama was the embodiment of serenity (Satvika). It is believed that Rama invited anger (Rajasa) to be possessed by it for the purpose of killing Raavana.

In his Kapinarayani Krithi, Tyagaraja praises Rama as "SARASA SAAMA DAANA BHEDA DANDA CHATHURA," an adept in the application of the four DANDA NEETHIS.

SEVENTH CHARANAM

PURANA PURUSHA NRI VARAATMAJA

ASRITHA PARA ADHEENA

KHARA VIRAADHA RAAVANA VIRAVANA

ANAGHA PARAASARA MANOHARA

AVIKRITHA TYAGARJA SANNUTHA

Purana + Purusha = Epics + Hero. You are the Hero. A first man of all ethics.

Nri + Vara + Atma + ja = The greatest of the men Dasaradha Self + Born. You are the son of the great king Dasaradha.

Aasritha + Paradheena = Refugees + At the service of. You are always at the service of your Bhaktas who take refuge in you.

Khara + Viraadha + Raavana + Viraavana = Khara + Viradha + Raavana the demons + dispeller.

Anagha = Devold of sins; Agha is sin (opposite of Anagha).

Paraasara + Manohara = Paraasara the saint + delighter. Winner of the heart.

Avikritha = Changeless

Tyagaraja + Sannutha. = Praised by Lord Shiva.

You (Rama) are the Hero of Vishnupuranam and all other puranas. You are the son of Dasaradha who is a class by himself amongst men. You are always available to your Bhaktas, especially at times of crisis. You are sinless. You are worshipped by Lord Shiva (Tyagaraja).

The Vishnupuranam was written by Paraasara Maharshi who was the father of Bhagavan Vyasa. The Vishnupuranam is the source for the Bhagavatham.

Paraasara is the most affectionate devotee of Vishnu. According to the GITA, Paraasara is also a "Sthitha Prajna". Parasara's son Vyasa, who wrote the Bhagavatham and Bharatham is believed to be an incarnation of a portion of Narayana himself. That was one of the reasons why he had such a deep insight into the Narayana philosophy. With his divine powers it is believed that he resurrected all those brave warriors who had perished in the Kurukshetra battle of Maha Bharata.

EIGHTH CHARANAM

SAJJANA MAANASABDHI SUDHAKARA KUSUMA VIMAANA

SURASA RIPU KARAABJA LAALITHA CHARANA

AVAGUNA SURA GANAA MADA HARANAA

SANAATHANAA AJANUTHA

Jana + Maanasa + Abdhi + Sudhaakara= Good + Men + Hearts + Ocean + Moon.

• Vimaana = Pushpaka + Vimaana, The aeroplane made of flowers.

• Ripu + Kara + Abja = The demon called Surasa + Enemy (Anjaneya) + Hands + Lotus = The hands of Hanuman caressed by Anjaneya

• Charana = Caress + Feet

a = Bad qualities

Gana + Mada + Harana = Demon + hoards + pride + Dispeller.

ana = Immortal and eternal. As old as time.

Juta = Brahma + Worship

ou are like the moon to the ocean, to the hearts and minds of good people ). You possess the Pushpaka Vimaana which you got from Raavana. Your caressed by Anjaneya who won over the demon Surasa when he was crossing an. you subdued the pride of the cruel minded demons. You are eternal and l. You are worshipped by the four faced Brahma.

30

NINTH CHARANAM

OMKAARA PANJARA KEERA PURAHARA

SAROJA BHAVA KESAVAADI ROOPA

VAASAVA RIPU JANAKA ANTHAKA

KALAADHARA KALAADHARA APTA GHRINAAKARA

SHARANA AAGATHA JANA PAALANA SUMANO RAMANA

NIRVIKAARA NIGAMA SAARA THARA

Omkara = Pranava Naada

Panjara = Cage (mortal body)

Keera = Parrot (Jeevaathma)

Purahara = Lord Shiva

Sarojabhava = Brahma

Kesava = Vishnu

Adi = etcetera, and so on

Roopa = Form

Vasava + Ripu = Indra's foe = Indrajit's

Janaka + Anthaka = Father (Raavana) + Killer

Kalaadhara = Perpetuator of art : Lord Shiva who wears crescent moon as an ornament on his head = Chandra Kalaadhara

Kalaadhara + Apta = Intimate friend of Lord Shiva.

Ghrinaakara = (You are the) abode of compassion.

Sarana + agatha + Jana + paalana = Refuge + who + approach + men + protect. (You protect the men who come and seek refuge in you).

Sumanoramana

= Protector of virtuous minded people. (sumano = Good minded, Ramana = protector).

Nirvikaara

= Unchanging, constant

Nigama + Saara + Tara

= Vedaas + Essence + Quintessence.

"Omkaara" is Pranava naada (sound Divine) which is responsible for the existence of the entire unlverse. Panjara is the frame of the mortal human body. Keera is jeevaatma.

The sound divine (Pranava Naada) comes out from Jeevaatma, the parrot through the mortal body (Panjara). you are Shiva (Pura Hara), Brahma (Sarojabhava) and Vishnu (kesavaadi roopa) all in one. You slew Raavana, the father of Indrajit. you are abode of knowledge and esthetics. you are friend of Lord Shiva.. you are compassionate, you protect and look after those who take refuge in you. You bring happiness to the good hearted. You are always the same, fair and consistent. You are the quintessence of the Vedas.

When referring to Rama as Pranava, Tyagaraja uses the Octave (saptaswara mandala) to denote that Omkara is all pervading, which represents the entire unlverse.

The whole gamut of swaras correlates to the whole gamut of the Universe. No swaras are used beyond the Saptaswara Mandala. Only the same swaras repeat in other octaves. Another important aspect worthy of note is that the "OM" should, when chanted, start from Moolaadhaara in the Aadhaara Shadja and rise through all the 'slx' chakras, touching finally the Sahasraara represented by "Tara Shadja."

There is perfect synchronisation between swara and saahitya in this charanam. Such matching of notes and words is not present any where else in this krithi. The synchronisation is deliberate. It is not incidental or casual. When Rama is addressed as Pranava it has direct reference to "Manthra Pushpam" In which it is described that Lord Vishnu is Pranava swaroopa.

Rama protects those who seek his help. Rama proclaims that he will never let down any one who approaches him for help, ("Mithra Bhavena Sampraaptham Na Thyaajeyam Kadamchana") leave alone Vibheeshana, even Ravana who is his archaic enemy. Hence, when Sugreeva, Angada and others doubted sincerety of Vibheeshana in seeking refuge, Rama accepts him as his brother and promises to crown him as the King of Lanka after vanquishing Raavana.

TENTH CHARANAM

AGANITA GUNA KANAKA CHELA SAALA VIDALANA

ARUNAABHA SAMAANA CHARANA APAARA MAHIMA ADBHUTHA

SUKAVIJANA HRIT SADANA SURA MUNI GANA VIHITHA

KALASA NEERA NIDHI JAA RAMANA PAAPA GAJA NRISIMHA

VARA THYAGARAJA ADI NUTHA

Aganitha + Guna TENTH = Countless, Virtuous qualitie which are good.

Kanaka + Chela = Golden + Attired

Saala + Vidhalana = A kind of tree + felling

Aruna + Aabha + Samaana + Charana = Sun + Shining + equal + feet The splendour of the feet o Rama is comparable to that o the Sun.

Apaara + Mahima + Adbhutha = Unfathomable + power of divinity + wonderful. One whosE wonderful power of divinity is unfathomable.

Sukavijana + Hrit + Sadana = Great poets + Hearts + Dweller

Sura + Muni + Gana + Vihita = Devathas + seers + group + well wisher

Kalasa + Neera + Nidhi + Ja + Ramana = Milk + Ocean + Born + (Lakhsmi's) husband.

Paapa + Gaja + Nrisimha = Sin + elephant + Nara + Simha (Half man, half lion).

Vara + Tyagaraja + Adi + Nuta = The unique + Shiva + Etcetera + praised.

Your virtuous qualities are infinite. You are attired in gold. You have cut through and uprooted the Saalaa trees (Seven big tress with a single arrow). Your feet are radiant and pink. Your greatnoss and mysteries cannot be fathomed. You dwell in the hearts of saintly poets. You bestow joy and happiness on saints and celestial

beings. You are the Lord of Lakshmi who emerged from the ocean of milk. You

are the man-lion who destroys the elephants namely sins.

You are worshipped by Lord Shiva and other celestial beings. Here, the sin

stands and corresponds to the Elephant. Sri Vishnu Stands for Lion. Lion is the natural

enemy of Elephant. Thus Sri Rama is Paapa Gaja Nrisimha.

The swaras of this charanam have complicated and off beat rythmic patterns.

Rama's ability to uproot and cut through the saala trees is shown in two instances

one in Bhagavatham and the other in Ramayana.

In Krishna Avataram (Bhagavatham), when the child-Krishna is tied to a wooden

pestle by Yasoda, Lord Krishna, to free himself drags the pestle between two saala

trees. Such is the Lord's strength that the two trees fall to the ground and take the

form of two Gandharvas who reveal that they were relieved of their curse by the touch

of the feet of Lord Krishna.

The saala tree (Acacia Pranifrous) is the Umbrella Thorn tree which is called

as Maddi Chettu in Telugu.

In the Kishkinda Kandam of Ramayana, Sugreeva had doubts about Rama's ability

to defeat Vali as he knew that Vali was invincible. Sensing the skepticism of Sugreeva,

Rama aimed a single arrow and cut through and felled seven saala trees simultaneouysly

and proved his prowess.

DUDUKUGALA

GOWLA RAGAM - ADI TALAM

SECOND PANCHARATNA KIRTANA

"Dudukugala Nannu E Dora Koduku Brochura" is the second composition Tyagraja Swamy's Pancharatna Krithis and is in the Gowla Raga.

Gowla Raga is a Janya of the 15th Melakartha Mayamalavagoula. swarasthanams are Suddha Rishabaha, Antara Gandhara, Suddha madhyama Kakali Nishadha. Dhaivatha is absent in this Raga. It's Moorchana is - S R N S - S N P M R G M R S. It is an upanga raga, a Ghana Raga. An Aul Vakra - Shadava Raga.

Its Ri is Ekasruthi Rishabha in terms of sruthis. It is one sruthi above shadja. It's frequency is 256/243 and it is called Pramaana sruthi. This Rishabha in fact is known as Gowla Rishabha and Gowla raga is noted for it's distinct Ri. Gowla Raga produces Karuna Rasa, that is compassion, sympathy and pathos.

Ma is also suddha the (perfect fourth). 3/4.

Kakali Nishadha denotes anxiety, restlessness, longing and uncertainty. But when Ni merges into Shadja, It produces relaxation, rest and certainty, reunion and happiness ending.

This Raga is best suited for introspection and self criticism and this composition is full of repentance and remorse.

Thyagaraaja expresses his doubts and lack of hope about getting Moksha or Salvation because of his misdeeds and undesirable thoughts and acts. Each of the Pancharatna Keerthanas deals with a different mood and emotion. And yet there is a sequence to the thoughts and emotions. There is a connecting thread of thought running through these five compositions.

In Jagadanandakaraka, sri Thyagaraja praises the Lord Ramachandra in a mood of ecstacy and elation. He uses 108 different epithets (Ashtotthara Sata namas) to worship him and he is full of expectations that Sri Rama would grant his DARSHANAM.

Though he sings Jagadanandakaraka several times he find that the Lord is not moved. He does not appear before him.

Then Sri Thyagaraja swamy is frustrated, feels wretched and hopeless. He realises that Sri Rama has not appeared before him because of his own misdeeds.

and wrong thoughts. He remembers and enumerates all his acts of misconduct from his boyhood. He confesses his faults and prays for Rama's protection (Sharangathi). Even then the lord does not budge.

Then Sri Thyagaraja gets angry with Sri Rama. He sings Saadhinchene with apparent sarcasm. (Ninda Sthuthi). When he sings Ninda Sthuuthi, he sees Sri Rama in Sri Krishna. Lord Krishna was a politician. Rama was an ideal and perfect human being. Rama never lied. But Krishna did. Rama was never a philanderer but Kirshna was. Rama never displayed his mystic miracles (Mahima). But Krishna performed miracles "Maya".

When Sri Thyagaraja is doing ninda, the Lord feels irked and embarrassed. He is afraid that Sri Thyagaraja would prolong his ninda, and make a thorough job of scandalisation further. To prevent this, he finally appears before him in golden attire along with Sri Seetha and Anjaneya.

In an elated mood Sri Thyagaraja sings "Kanakanaruchira kanakavasana ninnu" n Varali in the fourth Panchratna, as he sees Sri Rama in all his glory, in different orms. He describes Rama in "Kanakanaruchira" thus. 'O' Lord the more one looks it you the more sweet and handsome you are. Once, one is able to experience the bliss of the Lord's presence, he becomes a Mahaanubhaava himself. He describes all the great souls, whom he is able to see, all of the mahaanubhavas on the same levated plane, because, he is himself on the same plane. He feels their presence ear him. He is a 'Jeevanmukthaha', one who attains salvation (moksha) during his fe time. This is the sequence of these Pancharatnas. There is thus a co-relative equence. Every composition is an epic of sound (nada Kavyam), a musical narrative, angeetha Prabandham a musical epic.

A Mahakavya (epic) must have the following characteristics.

1. Navarasas (9 emotions) 2. Prosody - Bhava Alankaras and Sabdha lankaras. The theme should be celestial (divya katha vasthuvu) - celestial (Nayaka nd Nayaki) Hero and Heroine (Seetha and Rama) (or) Sri Krishna. The story nould be based on the Ramayana or the Bhagavatham. There should be a description seasons (Ruthuvarnana) and of the pancha bhootás (the five elements). The purpose the work should be to inculcate, preach and teach devotion (Bhakthi), the true nowledge or the knowledge of the ultimate (jnana) the celestial knowledge and the irit of renunciation (vairaagya). It should have emotional content, and sweet and abandha. All the Pancharathnas have these qualities. Besides these qualities these ncharathnas have Bhaava-Raaga and Talamulu - Music, emotion, and rhythm.

He begins his musical epics with th word 'Jaya' (sabdha) in Jagadaanandakaaraka

In the last keerthana, Endaro Mahaanuubhaavulu, he describes Phalasruthi or fruit of listening to these compositions (musical epics), in the ninth and tenth

charanams. 9th charanam - 'Bhaagavatha Raamaayana Geethadi' 10th charanam -

Prema Muppiri etc.

In Sanskrit there are five great literary creations (panchakavyamulu). They are

Raghuvamsa, Kumara Sambhavam, Megha Sandesham, Maaghamu and Ritusamharamu.

Here we have five preclous gems (pancharathnamulu). They are diamonds (Vajra),

cat's eye (Vaidhurya), emerald (marakatha), Ruby (manikya) and pearl (moukthikam).

There is another and more important aspect to the Dudukugala Keerthana. He

describes a number of misdeeds he is supposed to have committed and evil thoughts

he is supposed to have harboured. But there is no evidence that Thyagaraja Swamy

ever was guilty of these.

The following is the list of aggressive (Duduku) thoughts that are entertained,

and the misdeeds that are supposed to have been committed by Sri Tyagaraja Swamy

as mentioned in his second keertana "Duduku Gala" in Goula Ragam.

1. Durvishaya + Aakrishtudu = Entangled by vices = Misdeeds.

2. Bhajana + amritha + Rasavheenudu = He is not able to have the

pleasure of tasting the quint

essence of the nectar of singing the praise of the Lord.

3. Kutarkudu =. Ill-logical, irrational unreasonable

4. Para + Dhanamula + Koraku + Orula + Madi + Karuga + Palki = To speak pleasingly with ulterior

motive of acquiring others'

money.

5. Bhuvini + Sowkhyapu + Jeevaname + Anuchu+Sadaa+Dinamulu+Gadapuchu = To think that the earthly

enjoyment and mundane

happiness alone is the end all.

6. Nata + Vita + shudrulu + Swa Vasamu + autaku + Upadesinchi + Santasilli = To pose and impress upon the

ignorant people with sweet

tongued speeches with bad

motives to capture the ignorant

to get undue popularity and get

self satisfaction.

7. Swara + Layambulu + Erungaka = being ignorant of either sweet

note or rhythm.

8. Sila + Atmudai

= To be stone hearted and hard hearted; with out being compassionate.

9. Su + Bhaktulaku + Samaanamu + Anu

= Unduly equating himself with great devotees.

10. Lalana + Sadana + Arbhaka + Sena + Amitha + Dhanadulanu + Nera + Nammithini

= To believe and entangled by earthly possessions like women, home, children, servants, riches etc.,

11. Nee + Pada + Abja + Bhajanambu + Marachina

= To forget the chanting of the Lord's name.

12. Chakkanal + Mukha + Kamalambunu + Sadda + Naa + Madhilo + Smarana + Leka

= Not able to see your Lotus face and entertain the divine thought of chanting you name.

13. Durmadaandha + Janula + Kori

= To make friends with the people blind folded with ego and arrogance.

14. Durvishaya + Duraasalanu + Royaleka

= Not able to discord undue and sensual pleasures and undue desires.

15. Satatamu + Aparaadhiyai

= Always being a criminal and a defaulter.

16. Chapala + Chittudai

= being fickle minded.

17. Maanava + Thanu + Durlabhamu + Anuchu Enchi + Parama + Anandamandaleka

= Without being happy and satisfied, knowing that it is difficult to be born as human being.

18. Mada + Matsara + Kaama + Lobha + Mohulaku + Dasudai = To become a slave to ill thoughts and to vices like, arrogance, jealously, desire, Miserliness infatuation etc.,

19. Modati + Kulajudu + Aguchu + Soodrula + Panulu + Salpuchu + Untini = Though belonging to an upper and priestly class, I am doing the deeds of a mean and low born person.

20. Nara + Adhamula + Cherl = To be friend with undesirable and mean minded people.

21. Saara + Heena + Mathamulanu + Sadhimpa = To strive to achieve worthless faiths and beliefs,

22. Satulakai + Aasthikai + Sutulakai + Dhana + Tatulakai = Striving for the fair sex, property, offsprings and riches.

He, in his Adavitha sthithi might have attributed what ever he saw in other's misdeeds to himself, Thyagaraja Swamy is not only a saint composer. He is also a social reformer. When he saw some individuals (especially musicians without character) around him to be mean and selfish, he wanted to reform them and he described their short comings, as his.

In the same way, all the wonderful qualities described in Endaro Mahanubhaavulu keerthana, attributed and applied to the mahaanubhavulu (The great devotees of Rama and celestial beings) characterise Tyagaraja Swamy himself. Thyagaraja equates evil thought with evil deeds. It hurts him. It destroys his punyam (VIRTUE). Though evil thought by itself does not harm the other person, it pricks his conscience. If the thought translates itself into action, the sin is committed. The thought and action follow in a split second, if one does not check the thought. Between the thought and the action comes a spiritual discipline which checks and saves the situation. Thyagaraja must have undergone this entire process in his mind. Thyagaraja, though born like every other man on earth, did penance for perfection. He did Saadhana for attaining Divyathwam. His path is from mortality to eternity.

PALLAVI

DUDUKUGALA NANNE DORA KODUKU BROCHURA ENTHO

Duduku

= Aggressiveness, misdeed, misbehaviour, impertinence, Given to evil deeds.

Gala or Kala

= To have possessed of

Nannu

= Me

E + Dora + Koduku

= which + Emperor's Son.

Brochura

= will protect?

Which princely boy (Rama) will protect the man of evil character like me. I do not deserve to be protected by Sri Rama, the Prince.

ANU - PALLAVI

KADU DURVISHAYA AAKRISHTUDAt GHADIYA GHADIYAKU NINDAARU

Kadu

= Strong

Durvishaya

= Sensual passions

Aakrishtudu

= Surrounded by ; attracted by

Gadiya + Ghadiyaku

= Every moment, repeatedly, incessantly

Nindaaru

= Plenty of, becoming fuller and fuller (of Duduku)

'O' Lord, the son of an Emperor, How can I expect you to protect me? I am surrounded and entangled incessantly and repeatedly and all the time by worst and most evil desires.

FIRST CHARANAM

SRI VANITHA HRUTH KUMUDAABJA AVAANGMAANASA GOCHARA

Sri Vanitha = Lakshmi devi (Sita Devi)

Hrit + Kumuda + Abja = Heart + Lotus + Flower (Lotus heart)

Avang Maanasa + Gochara = Beyond + Mind + Speech + Mind.+ (A + Vaak). Perception (transcends all these). Cannot be conceived by description or thought.

'O' Lord you can not be conceived by word or mind and you are beyond the scope of perception of human mind unless it is blessed by you. Who will protect me but you? You are the moon to Sri Lakshmi's lotus heart. Vaak has four facets - para, pasyanthi, madhyama, vaikhari. - None of these four stages or facets of perception can understand or describe the ultimate reality. That is you.

SECOND CHARANAM

SAKALA BHOOTHAMULA YANDU NEEVAI YUNDAGA MADI LEKAPOYINA

Sakala + Bhoothamula + Yandu = All + Elements, Being, things + In

Neevai + Yundaga = You + When present

Madi + Lekapoyina = In me + Not present

You are present in every animate and inanimate being. You are in all the elements. (Refer "Paramathmudu Velige Muchchata" Tyagaraja Swamy's krithi In vaagheeswari Ragam). But I can not find you in me (because of my ignorance). It is the turth that He is in you and in me. But we do not realise the fact. Tyagaraja is not able to realise in his depressed mood that his lord is present in him also when he is present everywhere.

THIRD CHARANAM

CHIRUTHA PRAAYAMUNA NAADE BHAJANAAMRITHA

RASAVIHEENA KUTHARKUDAINA

CHIRUTHA + PRAAYAMUNA + NAADE = Childhood or boyhood + at the time

BHAJANA + AMRITHA = Singing in praise of the Lord; Devotional - Singing

RASA + VIHEENA = The nectar or essence + Devoid of

KUTHARKUDU + AINA = Arguing perversely dogmatic + that is given to vain arguments

From my boyhood I was never able to enjoy or experience the bliss of devotional singing of your prayer. I could never taste the nectar of your song of prayer. I have been perverse, dogmatic and irrational, in my approach to the spiritual world, I was always engaged in vain arguments about spiritual truths.

Religious discipline, Bhakti, Yama and Niyamas, should be developed even in childhood by parents. Then children develop spiritual discipline and religious out-look which will reflect abundantly in their conduct, and will mould their character. Then they would not develop perverse ideas and they would not indulge in negative thinking and a purposeless arguments about religion, the existence of God, and right conduct etc. They would have righteous character and conduct. Otherwise, they would grow into confused human beings.

Thyagaraja Swamy used the Word Kutharkudaina to mean the non-believer and rationalist. Vimukkhula In Sadhinchene krithi also means the same.

FOURTH CHARANAM

PARADHANAMULA KORAKU NORULA MADI KARAGA BALIKI

KADUPU NIMPA THIRIGINATTI

PARA + DHANAMULA + KORAKU = People's + Money + for

ORULA + MADI = Others + hearts (minds)

KARAGA + BALKI = Melting + Talking

KADUPU + NIMPA + THIRIGINATTI = Stomach + filling + Wandered.

I have been trying to melt the hearts of rich people by unjust flattery, for the purpose of filling my stomach. Man's weakness is to become overwhelmed by flattery and to become prey to cunning men who, keeping their eye on his riches, carefully observe his weakness and at an opportune moment take the man into their possession

I have been cheating the susceptible people to make myself comfortable and to have worldly possessions and thoroughly satisfied with my worldly achievements thinking that wordly achievements are alone the be all end all. I have been an ignorant man. Who will protect me but you? 'O' Rama !

FIFTH CHARANAM

TANA MADINI BHUVINI SOUKYAPU JEEVANAME YANUCHU SADAA DINAMULU GADIPINA

TANA + MADINI + BHUVINI = His + Mind + In the world

SOUKHYAPU + JEEVANAME + YANUCHU = Comfortable + Living + Thinking

SADAA + DINAMULU + GADIPINA = Always + Days + Spending

I have spent all my life thinking that the comfortable living is every thing in the world which is in fact transitory. I have never thought of the things that have permanent values and which are divine.

Sometimes even well-read, knowledgeable, well educated people think in these terms. Great musicians, renowned scholars who advocate and preach spiritual values, are quite worldly in their real life. Renowned musicians sing "NIDHI CHAALA SUKHAMAA? RAMUNI SANNIDHI CHAALA SUKHAMAA" but, when it comes to payment, demand large amounts and display meanness. They are not generous. They are not charitable. They are stingy. They are mean. Tyagaraja, thinking objectively, transforms himself into that self centered man and prays for him.

Of all the professions, the profession of musicians is divine and spiritual. They can not afford to be mundane. They should always dwell in the elevated and celestial plane, practicing the divine art of music.

Thyagaraja Swamy is sorry for them and prays to Rama on their behalf. His prayers are meant for musicians. He is sympathetic towards them, being a musician himself.

SIXTH CHARANAM

THELIYANI NATAVITA SHOODRULU, VANITHALU

SWAVASAMOWTA KUPADESINCHI SANTHASILLI

SWARALAYAMBU LERUNGAKANU SILAATHMUDAI

SUBHAKTHULAKU SAMAANAMANU

THELIYANI + NATAVITA + SHUDRULU = Ignorant + Artistes, Actors + Men of base and lower nature, belongng to under world, Outcastes

VANITHALU = Women

SWA + VASAMOWTAKU = To capture, To bring(them) under my Influence

UPADESINCHI = Initiating, Preaching,

SANTHASILLI = To get enjoyment, being happy

SWARA + LAYAMBULU + ERUNGAKANU = Ignorant of note and rhythm

SILAATHMUDAI = Stone hearted

SUBHAKTHULAKU = To great devotees

SAMAANAMU + ANU = equal + To claim, arguing to be claim equality with great devotees

Thyagaraja is of the opinion that actors, dancers, and musicians are ignorant. Women are also ignorant and gullible and susceptible. Thyagaraja laments thus :-

I, exploiting the ignorance of such people, posed as a knowledgeable teacher and in the name of initiation kept them in my grip and under my influence and this made me haapy and contended. In fact I did not know what is Swara and what is Laya. I did not know the fundamentals of Music. I am stone hearted. I did not have

compassion or sympathy. Yet I olaimed that I was a great Bhakta and equal to great

devotees and divine people.

Thyagaraja, in my opinion, refers here only to musicians without character during

his times.

In ancient times there was Taboo on the upper class people in mingling with

the musicians, actors, dancers etc.

'Natavitagaayakul pankthi baahyulu' The actors and musicians were not allowed

to mingle with people of the so called higher and upper castes.

They were not considered as belonging to the main stream of society.

SEVENTH CHARANAM

DRISHTIKI SAARAMBAGU LALANA SADANA ARBHAKASENA

AMITHA DHANAADULANU DEVAADI DEVA

NERA NAMMITHINI GAAKANU

PADAABJA BHAJANAMBU MARACHINA

Drishtiki + Saarambagu + Lalana = To look at, for looks + attractive

• The women

Sadana = Abode , House

Arbhaka = Offsprings

Sena = Servants

Amitha + Dhana = Abundant + richness

Aadulanu = etoetera

Devadideva = O Lord of Lords

Neranammithini + Gaakanu = Having put my faith in you +

therefore

(Nee) Pada + Abja = Your + feet + Lotus (Your lotus

feet)

Bhajanambu + Marichina = Singing your prayer,

worshipping + Forget

Oh Lord of Lords Sri Ramachandra - in my ignorance I was attracted to material wealth, the beauty of women, the acquisition of property, my children, my servants. 'O' Lord I am totally blind - folded with all these desires. I completely forgot to worship your lotus feet and to sing your praises.

When we are occupied with transitory worldly possessions, our whole system gets darkened and rusted. It does not shine with divine and noble thoughts. There is no place or time left for the divinity to dwell in our body, mind and heart. It does not have place left for virtuous thoughts and deeds. 'O' Lord you are the only one who can protect me from this pitiable State of degeneration.

EIGHTH CHARANAM

CHAKKANI MUKHA KAMALAMBUNU SADAA

NAA MADILO SMARANA LEKANE

DURMADAANDHA JANULA KORI

PARITHAAPAMULACHE THAGILI NOGILI

DURVISHAYA DURAASALANU ROYALEKA

SATHATHAMAPARAADHIYAI

CHAPALA CHITTUDAINA

Chakkani + Mukha + Kamalambunu = Handsome + Face + Lotus

Sada + Naa + Madilo = Always + In my + Mind

Smarana + Leka = Thinking of and contemplating on + without reacting

Ne + Durmadaandha + Janula + Kori = I + blind folded with arrogance + people + asking, begging

Parithapamulache = With repentance

Thagili + Nogili = Entangled + To grieve

Durvishaya + Duraasalanu = Bad ways + Bad desires

Royaleka = Without leaving them, Unable to give up

Sathathamu = Always

Aparaadhiyal = Being guilty and doing criminal acts

Chapala Chittudaina

= Fickle minded and becoming prey to temptations

'O' Lord - Sri Rama - I could not chant your name or think of your handsome form lustrous countenance in mind. Instead I was seeking the company and favours of undersirable people who were blind-folded with pride and arrogance. I was pitiably caught up in this kind of wretched existence. I repent my misdeeds and wrongful thoughts. I could not control my wordly desires. I am a perpetual sinner and I am a constant prey to temptations and fickle minded. Who can protect such a person but you? 'O' Lord.

NINTH CHARANAM

MAANAVATHANU DURLABHA MANUCHU NENCHI PARAMAANANDA MONDALEKA MADA MATHSARA KAAMA LOBHA MOHULAKU DAASUDAI MOSAPOTI GAAKA MODATI KULAJUDAGUCHU BHUVINI SHUDRULA PANULU SALPUCHUNUNTINI GAAKA NARAADHAMULANU CHERI SAARAHEENA MATHAMULANU SAADHIMPA TAARU MAARU

Maanava + Thanu = The birth as a human being

Durlabhamu = Difficult to get

Anuchunu + Enchi = Thinking + that

Parama + Aanandamu + Ondaleka = Great + bliss, Joy + without attaining or getting or having

Mada + Mathsara + Kaama + Lobha + Mohulaku = Pride + Jealousy + desire + Miserliness + Infatuation

Daasudai = Becoming a slave, yielding to

Mosapothi Gaaka = (I am) being deceived (by the above bad qualities)

Modati Kulajudaguchu = Though born in the priestly class

Sudrula + Panulu + Salpuchunu + Untini + Gaaka

= Low class + work + doing + carrying on + therefore

Nara + Adhamulanu

= men + meanest (Villainous men)

Cheri

= Taking refuge, Joining

Saaraheena + Mathumulanu + Saadhimpa

= useless + religious + practice. practicing useless dogmas and religions.

Taaru Maaru

= (every thing is) upside down, topsy turvy

I did not realise that of all animate things, birth as a human is the best one and God has, to my luck created me as a human being. I did not realise how happy I should be over this. Because, I could not realise the fact that I am the best of all the God's creations. It is once again proved that I am an ignorant man. A realised soul should be and would be very happy.

In the first sloka in 'Viveka Chudamani' it is mentioned as follows :

SLOKĀM : Janthunam Nara Janma Durlabhamathaha

Instead, because of ignorance and stupidity, I became totally a slave to pride, arrogance, haugtiness, jealousy, desire, covetousness, miserliness, greed, infatuation and fascination for Impermanent things. I now realise that I was lead astray by my own Ignorance.

Though I was born in the lineage of priestly class with learned and spiritual ancestry I undertook the work of the low born, the ignorant and the illiterate. It is an undesirable reversal. I took to the company of undesirable people and practiced worthless and stupid beliefs and faiths. 'O' Lord - except you no body can come to my rescue.

TENTH CHARANAM

SATHULAKAI KONNAALLU AASTHIKAI

SUTHULAKAI KONNALLU DHANA THATHULAKAI

THIRIGITHINAYYA TYAGARAJAAPTA ITUVANTI

SATHULAKAI KONNAALLU

= For some time (in my youth) in search of beautiful women

AASTHIKAI (KONNAALLU)

= (In middle age) in the pursuit of acquiring wealth

SUTHULAKAI KONNAALLU

= For some time (at the elderly age) bothering and worrying for the sake of children and

DHANA + THATHULAKAI (KONNAALLU)

= For some time in the old age in search and for the acquisition of wealth and worldly possessions.

THIRIGITHINAYYA

= I wandered

TYAGARAJA + APTA

= You are the favourite god of lord Shankara

ITUVANTI

= Such a person as my self

A man without spiritual discipline is very busy over the ephermeral tntgs in his youth, his thoughts are full of women. In his pre-middle age he is after acqusition of worldly things like property and wealth. In his middle age he is worried and bothered about his children (sons and daughters), their education and their marriages etc. In his elderly age he is worried about his future comfort in old age. This way all through his life, from boy-hood to old age he is only engaged for the fulfillment of different mundane desires. "I was like this throughout my life", confesses Tyagaraja Swamy, though in actual fact he was never heard to be like this at any time in his life.

'O' Lord - the loving friend of Lord Shiva who will protect such a sinner as my-self but ycu?

Sri Thyagaraja Swamy js a great creator, great artist, great thinker, great social reformer and great humanist.

49

He wanted to correct the ills in society. He decided that the best way to do

this was to compose and sing a sung on the theme of the worng doings of men not

only of contemporary society but also of all ages and of all time.

This theme is valid even now and will also be valid in future. This is a perennlal

problem of men and the society. Thyagaraja enumerates all the kinds of (Dudukku)

aggressive and undesirable thoughts and deeds and finds an easy and effective remedy

for us. He is worried about his fellow beings. He is a perfectionist, a disciplinarian

and a social reformer.

He was born as a realised soul. His was the ultimate Janma. He attained

Moksha during his life time. He was a Jeevanmuktha. He attained divinity alive.

Such was his supremacy. His was KAARANA JANMA. He was born for the

cause of Music and to preach Bhagavthbhakti, Jnaana and vairaagya to his contemporary

people and to the posterity, through his music.

DUDUKUGALA composition is his special creation. As a realised soul he was

never capable of being sinful or doing such sinful and wrongful acts as described in

this composition. He deliberately applied and attributed them to himself

the sins of humn kind to himself for the welfare of society. That is the genius and

generous nature of Sadguru Sri Thyagaraja. That is his greatness.

SAADHINCHENE

AARABHI RAAGAM - AADI TALAM

THIRD PANCHARATNA KIRTANA

Its uniqueness

Tyagaraja composed and sang "Sadhinchene, OI manasa" in Arabhi raga, adi tala in Veera Rasa. (Veera utsaha - valorous emotion).

In more than one aspect, this song occupies a unique place when compared with other four gem krithis.

In the necklace of five gem krithis, the position of this third song is like the pendant, because it is situated in the centre.

It is a composition with "Ninda sthuti" ON LORD KRISHNA.

This keertana is a description and praise of Lord Sri Krishna, in a nagging and complaining tone. He conveniently chose Krishna to render Nindasthuti. Tyagraja could not, even for a moment, think that his Lord Rama as mysterious or mischievous. Where as he thought that Krishna was capable of these - why capable? - actually, he was a tantaliser. He tormented his parents in jail, he gave pain to his beloved (Gopis) damsels and his bhaktas. Both Rama and Krishna are the incarnations of Vishnu. Tyagaraja knew this fact fully well, he refused to do Ninda sthuti of Rama. Therefore he chose Krishna to be his scape goat. Tyagraja's conscience would not permit him to lash out at Sri Rama, with unsparing and sharp abuses. Sri Rama was an embodiment of gentleness and the core of humanity. Rama is of suddha satvika swabhavs

It is believed that Tyagaraja had the divine presence (darsanam) of Rama while he was composing and singing this keerthana.

The appropriateness of the choice of Arabhi Raga for Krishna's Characterisation and for Sadhinchene Keerthana

1. Raga Arabhi produces Veera Rasa "Veera Utsaha" and "Veera Sringara". Arabhi is robust manly, and majestic, with its medium fast tempo (Madhya Druta Laya).

Arabhi is a lively raga. It is full of activity with an electrifying effect. Except 'M' all the other swaras are sharp (Teevra) in this Raga. All the above mentioned qualities can be attributed to Lord Krishna. Veerotsaha, Majest, speed, activity and electifying moments and effects, which are all the qualities that are present both in Arabhi and Lord Krishna.

2. And one more coincidence is that there is mystery in Arabhi. There is illusion in Arabhi. Arabhi's G & N are mysterious. The enigma surrounds MG & SN. In these Two Combinations the G & N are obscure and insignificant like the Arundhati star.

3. In one moment it is there. In the next moment not there, now shining and now vanishing. Pydala Gurumoorthy composed his Arabhi geetham without 'N' at all. Tyagaraja also in this 'Krithi' and other Krithis like chala kallaladukonna, has avoided 'N' at many places.

4. G & N are weak and transient (Durbala Swaras). They are of subtle audibility ; momentary life, (Alpatwa prakrithi). They are also dependent notes on M & S respectively.

5. Half of the time that is allotted to G & N is taken by M & S. MGRSR = M MG RSR, SNDPD, = S SN DPD, Lord Krishna's mysterious conduct and character is clearly depicted by and attributed to these prayogas (phrases). Because these are the most important and characteristic phrases which establish the picture of the Raga Aarabhi (Raga Ranjaka Prayoga of Aarabhi Raga.)

6. One more interesting observation from a different angle with regard to G & N in Arabhi Ragam may be pointed out here in the present context.

7. It is already pointed out that in the prayogas MGRS and SNDP, the G & N are dependent notes on M & S respectively. Here the relationships between SN & MG can be likened and attributed to the proximity of the Lord and the Bhakta.

8. G & N are Bhaktas and the M & S are the incarnations of Vishnu both being oonsonants. (Samvadis). M is Rama because of its soft nature (M is soft. Rama is soft) Krishna is S because of the majestic nature of S.S protects and covers N & M protects and covers G.

9. In turn G & N, look forward to identifying themselves with their protectors Rama & Krishna. G & N are Godmen being very near to their lords M & S respectively. G & N are not independent notes. They cannot be rendered as elongated notes independently.

10. G & N have Trisruthi values in Arabhi. The Chyutamadhyama Gandhara (81/64) and Chyuta Shadjama Nishada (243/128) Suddha madhyama and Shdjama are the protective swaras to Nishadha Gandharas as their abodes. That is how the description of "SARVONNATA SAJJANA MANASA NIKETANA" is most appropriate in this context. 'Sarvonnata / Sajjana / manasa' means Bhaktas. Niketana means Abode. The Lord is in the abode of the minds of Bhaktas.

The structure of the composition

The structure of the Keertana 'Sadhinchene' like the other Pancha Ratna keertanas is like a Thana Varnam with Swara Sahityam.

It has the pallavi - 'Saadhinchene O Manasa' and the - Anupallavi - Bodhinchina, and as many as 9 charanas, the first chaaranam being "Samayaaniki - thagu maata laadene".

This keertana is full of Raga Ranjaka prayogas. It helps the student to acquire and understand the Raga - Bhava well. Its tempo is Madhya - Druta (Medium-fast). One can increase the speed a bit faster but it cannot be slowed down which will be detrimental to the Raga Bhawa.

The Procedure of singing

The traditional way of rendering the first charanam of this keertana cannot be accepted scientificaly and rationally. The first charanam "Samayaaniki Thagumaata laadene" is being considered as second pallavi or Ettugada pallavi and the rest of the charanas are made into Chitta swaras (with sahlityam) attched to the first caharanam 'Samayaniki' instead of to the pallavi 'Sadhinchene'.

The meanings of the words of all the charanas are directly connected to the pallavi "Sadhinchene". They are not connected to the first charanam "samayaniki". Therefore it is appropriate to sing the pallavi "Sadhinchene" after every charanam. The author of this monograph is of the opinion that Tyagaraja intended it to be sung in the same way as explained above. There are quite a few scholars who share the same opinion in this regard.

Through out the keertana perfect Swara Sahitya intonation is maintained, except in one or two places, where the 'Sahitya Artha' is disturbed. (due to the swara frame not fitting the syllables of the lyric)

For example : -

In the caharanam the passage is as follows

DDP, DDP, DSS.

Paranaa, riso, daraaja - wrong intonation is the out come.

para, Naree, Sodara, + Aja is the correct intonation.

If this passage is sung as above, there is no distortion of the meaning of the sahityam, and the correct intonation prevails.

Tyagaraja's greatness is apparent throughout this keerthana. He uses his own original epithets to praise and describe Lord Rama as in the 6th, 7th & 8th charanas.

PALLAVI

SAADHINCHENE O! MANASA

Saadhinchene

= Torture, To be obstinate, to cling to one purpose.

O ! Manasa

= O ! Mind

O Mind ! Lord Krishna achieved (Whatever he wanted to achieve).

Tyagaraja is addressing his own mind chiding Krishna in a complaining tone.

This is a statement, complaining Krishna's attitude. The sentence is only half complete.

Together with the traiditonal Sangathis, the Pallavi represents "Akshiptika' of Arabhi Raga. (The 'Pakad') The Pivotal phrase of the Raga is rendered in the opening sangathi and the raga is established.

ANUPALLAVI

BODHINCHINA SANMAARGA VACHANAMULU

BONKU CHESI THAA PATTINA PATTU -

Bodhinchina

= What he (Krishna) preached

Sanmaarga

= Sat + marga = Righteous+path

Vachanamulu

= Teachings, scriptures

Bonku + chesi

= Contradicting, belying

Thaa + pattina + pattu

= (What he) wanted, (confining himself to his dogma) + (dogmatically) what he was insistent on.

Pallavi and Anupallavi together complete the sense. Sri Krishna, not following his own preachings and teachings (in Bhagavat Geeta) achieved what he wanted to achieve, sticking to his dogma.

Muscially this is an extension of earlier Akshiptika of the pallavi, the raga display is further extended stretching it to (Tarasthayi), the Upper octave.

Tyagaraja is chiding that Krishna is unkind to him, to his own parents, and to all his other Bhaktas, deliberately acting indifferently to achieve some thing (the target nobody knows) he wanted to achieve, against his own preachings in his "Geeha". He is dogmatically determined to torment, to give pain and trouble to his faithful Bhaktas.

Thyagaraja is unable to comprehend what Krishna hopes to achieve by this. Krishna has become an enigma to Tyagaraja.

Meaning - All the Vedas pureness, and Agamyas and Sastras together could not even find out the feet of the Lord. Then they all started to pray, plead, beg and implore.

FIRST CHARANAM

SAMAYAANIKI TAGU MAATALAADENE

Samayaniki = For the occasion, Situation

Tagu + Maatalu + Aadene = Befitting + Words, utterences + spoke

Lord Krishna acted and spoke different things in different situations, with out consistency.

Krishna is not consistent in his actions or in his speech. He is not consistent with his own preachings in his Bhagavatgeetha. Tyagaraja, upset with frustration, starts nagging Sri Krishna that he is a llar and a tantaliser. Tyagaraja goes on giving examples in the subsequent charanas of the Keertana of how Krishna is unkind to all his Kith and Kin, near and dear and to himself (Tyagaraja) and to other Bhaktas.

SECOND CHARANAM

DEVAKI VASUDEVULA NEGINCHINATU

Devaki + Vasudevulanu = The names of the real mother

Eginchina + Ātu

= Teasing, troubling + as in.

Sri Krishna gave trouble to his real parents Devaki and Vasudeva, indirectly, when they were in jail. Krishna, silently, enjoyed the love and comforts from his foster parents Yasoda and Nanda.

Devaki and Vasudeva, during their previous birth as Adithi and Kasyapa, prayed for Vishnu to be born as their son in the next birth, thinking that they would have the monopoly of Lord Vishnu's presence and love. Vishnu granted their wish and prayer. Vishnu was born as Krishna in this birth but denied the desired pleasure to them. When they were in jail longing for him, he was with Yasoda and Nanda comfortably, ignoring the torture of his parents. Tyagaraja knew that Krishna was paramaatma himself. Could he not have helped his parents? If he thought for a moment of their release from jail, he could have got them out of jail in a moment. In the Krithi "Adigi Sukhamulu" Tyagaraja gives many examples and accounts of how bhaktas did not get their wishes and desires fulfilled by asking the lord.

Tyagaraja finds fault with Krishna for his indifference to his parents. This is what is "Eginchuta". To torment.

In our tradition, the mother is more important than father. That is why and to show the higher place and importance of the mother, there is an elongation for six 'Akshara Kalas on Devaki on Panchama, where as Vasudeva is on Madhyama for only two Akshara Kalas.

P, , ; P, MGR,

MGRR

DE.... VA KI.

VASU.

THIRD CHARANAM

'RANGESUDU SAT GANGA JANAKUDU SANGEETHA SAAMPRADAAYAKUDU

Rangesudu

= Ranganatha` Swamy,

Paanduranga swamy. He is the Lord of this play field i.e. earth.

Sat + Ganga + Janakudu

= The father of the pious Ganga.

Sangeetha + Sampradaayakudu = Mentor of Traditional music. Perpetuator of good music.

You are the father of Ganga. (Ganga is believed to have been born from the feet of Lord Vishnu). You are the perpetuator of good music. The pious Ganga is said to have been born from the feet of the Lord of Vishnu. "Vishnu Paadodakam paavanam Subham." This mantra is read when Teertham is given in Temples. By sipping one spoonful of the holy water that comes from the feet of the Lord Vishnu, one will get purified and gets auspicious things.

It is the Lord who maintains the celestial character of spiritual music. That is why and how the music, classical music - devotional music, the absolute music - is divine. Music without bhakti is no music at all. It is noise. Music devoid of Bhakti and sampradaya is used by some musicians of mundane character to provoke the lower and base instincts of men. They exploit ignorant men by producing and exposing them to base music to get popularity and wealth.

Sri Krishna was an adept in playing flute, the very first wind instrument. When he was playing on flute the divine and sweet music, the wild animals, the birds, the creatures and the human beings alike in the entire nature were listening to it spell bound and with rapturous attention.

That is the kind of mastery of the Lord over music.

That is why Tyagaraja described him as Sangeeta Sampradaayakudu.

D, D,, SS,, RR,, SRM

Sangeetha Sampradaayakudu

Look at the way "Sangeetha" and "Sampradaayakudu" are composed. There is musical as well as rhythmical grace in the phrase. There are two pairs of Samvadiis with Shadja Madhyama Bhawa and one Akshara Vinyasam (offBeat) ending off with 3 Aksharas. Krishna is not only the Jagadguru in vaidika dharma, but he is also Jagadguru in music. (Sruti & Laya) Two consonents and off beat rhythm suggest the comprehensive music.

A small episode is narrated to say that Krishna was a great master in music. It also narrates how he dispelled the pride of Narada, who had a very high opinion of himself as a master of music.

Krishna took the sage Narada for a walk. On their way they encountered some disabled human beings with mutilated limbs. They were moaning and weeping with pain. The sight looked ghastly. On enquiry it was found that all of them were the personifications of raagas incorrectly rendered by Narada.

Sage Narada in his ignorance, disfigured all the raagas by his faulty singing. Sri Krishna again sang all of those raagas adhering to Sampradaya and made those disfigured raagas regain their original forms. Narada was ashamed of his ignorance.

FOURTH CHARANAM

GOPI JANA MANORADHA MOSANGALEKANE GELIYU JESEVAADU

Gopi + Jana = The cow-herd damsels.

Manoradhamu = wishes, aspirations

Osanga + Lenkane = Without fulfilling, instead of giving, granting /

Gellyu = Made fun of them

Chese + vaḍu. = Ridiculed, mocked at

Tyagaraja complains that Krishna, without fulfilling the aspirations of his devoted, cowherd damsels of Brindavana Gopis made fun of them. He mocked at them. What kind of a lover was he?

Gopis were the greatest devotees of Krishna. In fact they had been the Saints In Tretaa Yuga, who met Sri Rama and expressed their desire to embrace him. (Sri Rama is described as "Pumsam Mohana Roopaya" He made even the men infatuated with his handsomeness). Sri Rama promised that their wishes would be fulfilled in Dwaparayuga. As a result they were born as Gopis and Sri Rama took the form of Krishna. But Alas ! It looks as though he did not keep his promises to them. Gopis were jeevatmas. Krishna was Paramatma. Tyagaraja placed himself in the position of Gopis and pleaded for them. This is Madhura Bhakti.

This charanam begins with D,D, PD PP, DP MM, PMG, RR, R, M MP, P, S, RM.

The descent is methodical with pairs of notes, DD/PP/MM/RR/R,MM/P,P. These phrases consist of (janta swaras) pairs of notes which suggest that Sri Krishna was always with Gopis. No force could separate them. Because they were prakriti and Purusha. Janta Swara Prayogas are Raga Ranjakas in Arabhi. Here the philosophy of jeevatma paramatma Anusandhanam is implied.

FIFTH CHARANAM

VANITALA SADAA SOKKA JEYCHUNU MROKAA JESE PARAMAATMUDADIYUUGAAKA. YASODA THANAYU DANUCHU MUDAMBUNANU MUDDU BETTA NAVVU CHUNDU HARI.

Vanitala + Sadaa = The Gopis + Always

Sokka + Jeyuchunu = Satisfying, Resting with a sense of fulfillment; Enchanting.

Mrokkajese = Made the gopis prostrate and surrender

Paramaatmudu + adiyugaaka = The Lord + moreover

Yasoda + thanayudanchu = Yasoda, taking him to be her son

Mudambunanu with joy

Muddu + betta + navvuchundu + Hari = When kissed + smiling + Krishna

Tyagaraja observes that Krishna gave the Gopis utmost satisfaction by his Divine and enchanting presence, by sporting and music. He also made them surrender to him and prostrate before him. Krishna pretended as though he was the real son of Yasoda, (Keeping Yasoda in darkness), though he knew that he was the son of Devaki and Vasudeva. Actually he was nobody's son. He was birthless and eternal. This is the reality. All other things are illusion (Maaya).

When Yasoda hugged Krishna and kissed him, he was smiling, revealing the whole universe to Yasoda making her dumb-founded with wonder. He was"HARI" himself. The simple utterance of "HARI" would dispel all the sins.

The Sahityam "Vanitala Sadaa" has got perfect swara intonation: DPMPDS. The Swara notation for the wording "sokkajeyuchunu mrokka jese" descends slowly from higher S to lower S to suggest how the Gopis rested their minds with satisfaction and prostrated at the feet of the Lord. This is called 'Sound echoing sense'. 'Naada alankara' or "Sangeetha Alankara'.

When we sing "paramaatmudadiyugaaka" the swaras display the sahityam so marvellously synchronised with intonation of the words. There is a pause after the wording 'Adiyugaaka', at the Adhara shadja and the following passage continues :

'Yasoda Thanyudanchu, Mudambunanu Muddu betta navvuchundu Hari"

Here again the intonation at the pause on the fundamental note is clearly depicted.

The romantic smile is clearly depicted here, in the swara patterns of the sahitya. "Mudambunanu DR, RSS the elevated pitch expresses "Mudamu" Joy.

In all these five charanas, it is full of 'Ninda Sthuti. The next three charanas (VI, VII and VIII) are full of praise of the Lord with many epithets coined by Tyagaraja.

SIXTH CHARANAM

PARAMA BHAKTA VATSALUDU SUGUNAPAARAAVAARUNDAA

JANMA MANAGHUDEE KALI BADHALA DEERCHU VADANUCHU

NE HRIDAMBUJAMUNA JOOCHUCHUNDAGA

Parama + Bhakta + vatsaludu = The utmost , Absolute + Devotee + Protector, affectionate.

suguna + paaraavaarundu = Virtuous + Ocean

AA Janmamu + Anagudu = Throughout life devoid of sins; faultless

Ee + Kalibaadhala + Teerchuvadu = This + troubles of Kalipursuha + dispeller

Anuchu + Ne = Thinking + myself

Hrit + Ambujamuna = Heart + lotus

Joochuchu + Undaga = While beholding, Look forward, hoping + waiting

I was hoping in my heart, that he would protect his absolute devotees with filial affection. He is the ocean of virtues. He is devoid of sins all through his Avataara. He is dispeller of the troubles of Kaliyuga. But he does not come forward to confirm and prove it.

O Lord ! in Kali Yuga, the righteousness (Sanaatanadharma) and virtue have no place. We believe in dharma and virtue and practice them scrupulously. We have no place and we can not thrive without your protection. I look forward always for your protection as you are known as the protector of your Bhaktas, as the ocean of virtues, and as the dispeller of the troubles of Kali Yuga.

The Swara - Sahitya intonation is ideally composed in this charana.

Aajanmanaghudee - Kali - Baadhala - Deerchu - Vaadanuchu Ne Hridambujamuna Joochuchundaga.

Here, the music steadily goes up to upper RI and comes down with a perfect intonation like a speech emotionally charged and delivered with rousing feeling from the inner self.

From VI Charanam, Tyagaraja swamy starts to praise the Lord. He stops tantalising the Lord with the V Charanam.

SEVENTH CHARANAM

HARE, RAMA CHANDRA, RAGHUKULESA, MRIDUSUBHAASHA SESHA SAYANA, PARA NAARI SODARA AJA VIRAAJA TURAGARAAJA RAAJA RAAJA NUTHA NIRAAMAYA APAGHANA, SARASEERUHADALAAKSHA ANUCHU VEDUKONNA NANNU THAA BROVAKANU.

Hare = Dispeller of sins, Vishnu, Rama, Krishna etc. All the Avataaras of Lord Vishnu.

Ramachandra = Sri Rama

Raghu + kula + isa = Lord of Raghu dynasty

Mridu + su + bhaasha = soft and sweet + spoken

Sesha + Sayana = (On) Serpent + Reclining

Para + naari + Sodara = other + women's + brother

Aja + Viraaja + Thuraga = Birthless, self born + eagle, kind of Birds, Garuda + Vehicle, horse

Raaja Raaja + nutha = kings of kings, emperors + Praised by

Niraamaya + apaghana = Healthy, sound, falwless + body, fore

Saraseeruha + dala + aksha

= Lotus + petal + eyes

Anuchu + vedukonna

= With the above epithets + praying

Nannu + thaa + brovakanu

= Me + he, the Lord + without protecting.

Tyagaraja prays the Lord with his own coined original epithets.

Oh ! Lord Sri Rama ! I sang your praise in different ways. You are the dispeller of sins, Ramachandra, the Lord of Raghu dynasty. You recline on the thousand hooded serpent. You treat all women except your wife and mother as your sisters. You are self born and birthless. You have the king of the birds eagle as your vehicle (Garuda Vaahana). You are praised by all kings. You have a flawless form. Your eyes are as beautiful and large as the lotus petals. But the fact remains that you are not moved. You do not protect me and you did what you wanted.

The swara sahitya intonation is perfectly maintained throughout except at one single place "Paranari....", which is already commented upon earlier in the Introduction.

EIGHTH CHARANAM

SRI VENKATESA SUPRAKASA SARVONNATA SAJJANA MAANASA NIKETANA KANAKAAMBARA DHARALA SANMAKUTA KUNDALA VIRAAJITHA HARE YANUCHU NE POGADAGA TYAGARAJA GEYUDU MAANAVENDRUDAINA RAMACHANDRUDU

Sri Venkatesa + Suprakaasa

= Sri Venkatesa + Bright shining

Saravonnata + Sat + Jana + Maanasa + Niketana

= The highest placed, the greatest + Virtuous people (Bhaktas) + minds + abode

Kanaka + Ambara + Dhara

= Golden attired

Lasat + Makuta + Kundala

= Brilliant + Crown + ear ornaments

Viraajitha

Hare + Anuchu

Ne + Pogadagaa

Tyagaraja + Geyudu

Maanava + Indrudu + Ayina

Raamachandrudu

= Shining

= O Hari ! Thus saying; Repeating

= When I praise

= Lord Siva + the song personified Sung by Tyagaraja.

= Human being + Lord Indra + being, The Lord of men.

= Sri Ramachandra

in this charanam also Tyagaraja praises Sri Rama. Surprisingly, when he is praising in these charanams, he mentions Sri Rama instead of Krishna. It is observed that he is conveniently criticising Krishna and praising Rama. How partial Tyagaraja is? How jealously he is disposed towards his Lord Rama?

O Lord ! You are Sri Venkatesa. You are shining, You abode is in the minds of the greatest Bhaktas. Their minds always dwell in you. You are golden attired. You have brilliant and shining crown and ear ornaments. You have taken the highest form of human beings, the prince. (Naa vishnubh prithvi patibi) You are the embodiment of praising melody of Lord Siva. (You are no other than my song). Here is a pun on the word Tyagaraja - The composer Tyagaraja and the Lord Siva also. (Tiruvaarooru Tyagaraja Swamy).You are the form and content. You are the spirit of music, you are the Lyrical beauty of my song. You are my song itself. You are my Lord Ramachandra.

It is said that in Kaliyuga, the only Lord is "Venkatesha" and none else. "Kalauv Venkata Nayakaha".

NINTH CHARANAM

SADBHAKTULA NADATHALITLANENE

AMARIKAGAA NAAPOOJA KONENE ALUGA VADDANENE

VIMUKHULATHO CHERABOKUMANENE - VETHA GALGITHE

THALUKOMMANENE

DAMA SAMAADI SUKHA DAAYAKUDAGU SRI

TYAGARAJA NUTHUDU CHENTA RAAKANE

Sat + Bhaktula = Good + devotees

Nadathalu + Itlanene = Conduct + Should be thus, he said.

Amarikaga + naa + pooja + konene = Willingly in a nice manner + my + worship + accepted, he accepted my worship.

Aluga + Vaddu + Anene = Angry + Should not be + advised. He advised me not to be angry with him (the Lord) any more.

Vimukhulato + cherabokumu + anene = Non believers, Atheists + do not be friendly + he advised. He advised me not to go near non-believers, atheists.

Vetha + galgithe = Misery, pain, difficulty, trouble + if occurs

Thalukommu + anene = endure, bear + advised. Lord Sri Rama further advised me to bear with troubles.

Dama + Sama + Adi + Sukha = Austerities, fortitude + tranquility etcetera + Happiness

Daayakudu + Agu = giver, bestower: Sri Rama is the betstower of Austerities, fortitude, tranquility and there by happiness.

64

Sri Tyaagaraja + nuthudu + chenta + raakane = Tyagaraja swamy (Siva) + praised + near + without coming.

Sri Rama appeared before Tyagaraja in human form, granting Tyagaraja swamy his divya darshanam, but from a distance and with out coming near Tyagaraja Swamy. Sri Rama gave him some advices also.

Satisfied with the devoted worship and praising of Tyagaraja with many attributes in 7th & 8th charanas, Sri Rama further advised Tyagaraja to endure the pain in troubled times. Sri Rama, also promised that he would bestow upon him the powers of austerities, tranquility and happiness.

Sri Rama (Sri Krishna) could not bear the criticism and nagging of Tyagaraja any more, appeared before Tyagaraja and spoke and advised him. He accepted Tyagaraja as his bhakta. Sri Rama approved the virtuous conduct and worship of Tyagaraja and advised him that he should not be angry with him (Sri Rama). Sri Rama advised Tyagaraja not to make friends with atheists. Lord Sri Rama bestowed upon Sri Tyagaraja the powers of fortitude, self restraint and firmness of mind and Tranquility It is quite evident that Sri Tyagaraja Swamy had Sri Rama's divya Darshanam in human form, that he heard Sri Rama speak out his advices to Tyagarja Swamy, and that Tyagaraja worshipped Sri Rama from a near distance in a fitting manner.

After he had Sri Rama's Darsanam Tyagaraja became satisfied and he achieved what he wanted. He had Sri Rama divya Darshanam.

When Tyagaraja completed this eternal song he became a realised soul by the Divya Darsanam of Sri Rama.

In this composition the word 'Sadhana' is used with its different meanings by Tyagaraja.

Sadhana = To practise

Sadhana = To achieve

Sadhana = To nag, to tantalise, to, complain, to criticise, to persist.

Sadhana = To torment, to torture

Tyagarja rendered Sadhana at Sri Krishna that he (Krishna) tormented and gave pain to his parents, Gopis, and his Bhaktas and Tyagaraja himself.

Tyagaraja realised at the end of this composition that he was not right. He felt guilty. He in his fit of illusion (Maya) got frustrated and became angry and thereby lost balance and poise. He started nagging Krishna. But it worked wonders, Tyagaraja got Sri Rama's Darsanam. He recieved commending's and commandments from Sri Rama.

Rama (Krishna) being the Paramatma - the Supreme and the infinite, knows his bhakta's minds well. He cannot be unkind to his bhaktas.

The actual truth is that mortals act ignorantly and on.their own. They reap and experience the reactions for their own doings either good or bad.

The paramaatma, The Supreme is only a witness (Sakshi). A witness to every thing that happens. Krishna cannot be branded as guilty. But it is our ignorance to call him indifferent and un-responsive. In the present context Krishna was so kind and understanding that he could not see the agony of Tyagaraja any longer. He immediately responded to the prayers of Tyagaraja.

The Lord's acts and utterances seem and look enigmatic and mysterious for superficial thinking of ordinary people, possessed by illusion and ignorances. It requires insight, intution and spiritual approach and thinking to undersnd the Lord, and his actions. Here, means are not important but the end.

At the end, the bhaktas win, they achieve Victory.

Krishna subjects his bhaktas to various perilous and turbulent tests. At the end the Nija Bhaktas (True devotees) would come out like polished gems, shining with their inner light.

'Ninda stuthi' is the ultimate weapon of the real Bhakta. With that the Lord would come round and bestow desired boons upon his devotees.

KANAKANA RUCHIRA

VARALI RAGAM - ADI TALAM

FOURTH PANCHARATNA KIRTANA

This is the 4th Pancharatna Krithi of Sri Tyagaraja Swamy.

The significance and uniqueness of this Jewel Krithi is that Tyagaraja composed and sang this Krithi spontaneously in ecstasy and in spiritual emotion, soon after he had the Divya Darsanam of Lord Sri Rama, and moments after his composing the last charanam of the 3rd Pancharatna Krithi, "Saadhinchene". Tyagaraja was now a fulfilled man. He was overwhelmed with Sri Rama's divya darsanam.

In this Krithi Tyagaraja gives a detailed description of Sri Rama as a child, as young man, as the prince, as visualised by Sita devi as bride, as visualised by Sita devi under the Ashoka Tree in Lanka during her distress over the unbearable separation from Lord Rama, as visualised and worshipped by the Celestial Gods like Shiva, Paarvathi, Aanjaneya, Indra and as visualised by saints Naarada, Paraasara, Suka and Shownaka.

Tyagaraja Swamy quotes these Gods and Seers as witnesses who can vouch for his spiritual experience of the divya darsanam of Lord Sri Rama.

"Kanagana Ruchidra Kanagavasana Ninnu"

Tyagaraja starts this krithi with this opening statement in pallavi. Whenever he wants to emphasise his belief, faith and conviction, he sings the statement on or above the 'Tara shadyamam'. 'Kanagana' and 'Dinadinamunu' are examples.

O ! Rama, to see you again and again is a divine experience, which is sweet like (Amritha) the Nectar by which my soul gets spiritually enlightened and my joy gets enhanced every time that I see you. "KHSANE KSHANE YAN NAVATAAMUPAITI TADEVAROOPAM RAMANEEYA TAAYAAH". It means that 'A real beauty inspires newer tastes every moment in the beholder'.

Tyagaraja perceives Sri Rama as child and as intimately as Kowsalya and Dasaratha saw him. Sri Rama here is "Kowsalya Rama" and "Dasaratha Rama". "Paalugaru Momuna Apaara Mahima Tanaru".

Tyagaraja perceives him as an young Prince (Raj Kumara) and as a handsome and romantic youth full of vigour and grace as Seetha saw him with her large eyes with side long looks.

Here Sri Rama is Kalyana Rama, Seetha Rama and Janaki Rama. "Seetha Ora Kannula Jooche Ninnu".

Tyagaraja describes Rama as the handsome Prince with magnificent shining crown and with diamond necklace.

Here Sri Rama is Raajaa Rama. He is Suruchira Kireetadhara, which is Manimaya Maalalankritha.

Tyagaraja visualises Sri Rama as Sri Hari himself as young Dhruva perceived him.

"Sriharini Dhyaninchi sukhiyimpagaleda"

In SUNDARAKANDA Sri Anjaneya describes Sri Rama to Seetha Devi to prove his identity and to instill confidence in Seetha, who, while listening to the description of her Lord Sri Rama by Sri Hanuman, remembers the days of their sweet love and is overwhelmed with grief and is depressed.

Tyagaraja could visualise Sri Rama as Seetha Devi visualised him in her state of long separation.

This incident is movingly depicted by Tyagaraja as though he could read the feelings of Seetha Devi and was present at the site and heard Sri Hanuman's description of Sri Rama as though he witnessed the whole episode.

Tyagaraja, by the grace of his Lord Sri Rama, was endowed with the divine power of reading the feelings of other Bhaktas about Sri Rama. Tyagaraja was envious of the other bahaktas vision of and nearness to Sri Rama. He tortured himself in penance for a vision of Sri Rama. He ultimately achieved his desire to see and feel Rama as intimately as the heavenly gods like Shiva, Paarvathi, Indra, Dasaratha, Kowsalya, Sita, Naarada, Druva, Suka, Shownaka etc., saw and felt of Sri Rama.

"Kana Gana Ruchi Raa"

Ruchi means Light and also Taste.

Ruchi - Kanthi, the light

Sri Rama is the light of spiritual knowledge.

He is the divine enlightenment.

He is sweet as NECTAR (Amritha).

By his vision one gets IMMORTALITY (Amritatwa)

If any mortal has the fortune and the divine blessing to have the Sri Rama Saakshaatkaaram, he becomes immortal.

Tyagaraja experiences Sri Rama's effulgence (Ruchi) through his eyes and also taste through his tongue all at the same time. His Manasika guru, Bhadrachala Ramadasa, sings that utterance of Sri Rama's name is sweet : - "Sri Rama Nee Nama Menta Ruchira, Emi Ruchira"

Sri Hanuman says that Sri Rama's "Naama" is sweeter and more powerful than Sri Rama himself.

Tyagaraja draws inspiration "Nama Ruchi" from his ideal teacher (guru) Bhadrachala Ramadasa.

The celestial Lord Tyagaraja Swamy The Presiding deity of Tiruvarur, according to Sadguru Tyagaraja of Tiruvayooru, is "Rama Nama Rasikudu" KAILASA SADANUDU.

It may be mentioned here that Our Sadguru Thyagaraja, the composer of these Pancharatnas was named after the TIRUVAROORU THYAGARAJA SWAMY.

"Pibare Rama Rasam Rasane" sings Sadasiva Brahmendra Saraswati, who is also Tyagaraja Swamy's guru and mentor in philosophy.

Tyagaraja sings in another krithi, "Inta Sowkhyamani Ne Cheppa Jala, Ento Emo Evariki Telusunu".

"Smarane Sukhamu - Rama Nama Smarane Sukhamu - Narudai Puttinanduku" Thus sang Tyagaraja in Janaranjani Ragam.

1. The Sweet taste of chanting of Rama's name is experienced through the tongue - NAMA RUCHI

2. The love of taste of Sri Rama's presence is experienced through the eye - DARSANA RUCHI

3. The aesthetic taste of listening to the chanting of Sri Rama's name is experienced through the ear - SRAVANA RUCHI

4. The touch of Sri Rama's feet is experienced through the hands - SPARSA SUKHA

5. The fragrance of Sri Rama's countenance is experienced through the nose - AGHRANA SOWKYA

All these (Jnana Indriyas) sense organs at once know and feel and experience the divine love of Sri Rama. They work together. They become one in experiencing Sri Rama's Naama Amritha, Darsana Amritha, Sravana Amritha, Sparsa Amritha and Aghraana Amritha.

All these sense organs forget their individual faculties and transcend their limitations and get to the centre of unified field. They identify themselves with their Antaraatma

and thereby merge into Paramaatma. That is Nirvana. That is Moksha. In that state

there are no two. There is only one. It is "Adwaltha" "soham" or "Twamevaham"

Sthiti. It is non duel state. "Tatwam Asi".

Actually the one who experiences these feelings is the Atma. These experiences

lead the Atma to "Paramatma - Aikyaanusandhaarnam" - "Identifying with the intimate"

in four different stages. They are

1. SALOKYA 2. SAMEEPYA

2. SAROOPYA and 4. SAYUJYA.

Sadguru Tyagaraja has got the greatest quality of sharing his knowledge, his

experience with Rama. His music excellences and his immortal compositions with the

deserving and the desiring.

He divided his students into several groups, according to their individual taste,

talent and grasping power.

He taught all of them compositions - Difficult krithis to the more gifted and easy

krithis to the ordinarily talented group and still easier to the less talented.

But he never discorded any disciple who came to him to learn.

That is why we find his krithis are the most popular today.

Some of his compositions are simple but effective, easy but interesting, plain

but replete with Raga Bhava.

Some of his compositions are tough, difficult and intricate in form and in content.

They are intended for the highly gifted few.

Varali Ragam and Kanakana Ruchira are intended for committed and gifted

musicians with intensive learning, hard practice and experience.

Today, there is a sentimental taboo attached to Varali Ragam and Kanakana

Ruchira Krithi, namely, that it should not be taught by the teacher to his disciple.

The underlying fact is that the students at the graduate level would not be able

to comprehend it in its subtleties. Post graduate level gifted students will be able

learn it by simply listening to the krithi once or twice from their Guru or from a Senior

Vidwan.

This belief started with the krithi "Kanagana Ruchira" and slowly extended into

the Raga Varali itself. The superstition is that, if this krithi or this raga is taught, the

teacher and the taught will become separated with misunderstandings. This belief is

unfounded.

But now-a-days this wrong belief is losing ground. Similarly Mangalam krithi also is not taught for fear of discontinuance of learning. Ahiri Ragam is not rendered before meal, lest the singer should miss it. My gurujee did not want to teach me mukhari Ragam. He said "Why weeping Ragam". J Mukhari produces "Karuna Rasa" Its bhava is "Soka".

But, in reality, Ahiri Ragam is so sweet and satisfying that we can skip the meal if we listen to the sweet Ahiri.

LAKSHANA OF VARALI RAGA

Varali Ragam is a subtle Ragam. It has got a character of its own. Its picture is clear. It is scholarly and difficult to negotiate. It's Gandhara is significant. It is Sadharana Gandhara but, one sruthi less in terms of sruties. It can be called as Komala Sadharana Gandhara. 32/27 is its frequency. It occurs in many of Varali prayogas. However, in a few prayogas, sadharana Gandhara also appears. Its swarasthanams are: -

S | R | - | G | - | - | M | P | D | - | - | N | Ṡ.

Some scholars are of the opinion that Varali is the (Janya) derivative of Jhala Varali (with Sudha Gandhara) 39th Melakaratha. In the opinion of this author it is not right. Sudha Gandhara (Chatusruthi Rishabam) should be sung as a pure note. It should not be given even a small shake or an oscillation. The moment Sudha Gandhara is given an oscillation it becomes Saadharana Gandhara and ceases to be Sudha Gandhara.

In Varali, Komala Sadharana Gandhara is rendered with a small beautiful kampitha which is the 'pakad' and Ragaranjaka or Amsa Prayoga of Varali. Without the Kampita of Gandhara Varali Raga bhava is not established.

'P M G, R' & 'S N G, R' are the two prayogas

Therefore, it is evident that Varali is the Janya of Subha Panthuvvarali and not Jhaala varaali.

The meaning of Varali :

VARA + ALI = The unique bee, Bumble bee.

The sound of the bee is like the 'Jhankara Naada' of the Mandra Shadja of the Tambura. The bee by its constant and continuous sounding can effect the

metamorphosis in the beetle. It is mentioned in our scriptures as "Bhramara Keetaka Nyaayam".

The true student of music will shape into a 'Vidwan' by listening to his Guru's music constantly.

There is another meaning for Varaali.

VARA + ALI = Boons + Many, Many Boons, a bunch of boons & blessings.

To be able to sing is a boon and to be able to sing Varaali Ragam is equal to a bunch of boons.

The experience of singing Varaali Ragam is like visualising Sri Rama after a severe penance.

Thyagaraja had the Divya Darshanam of Sri Rama the hard way. The ability to sing Varali Ragam or to compose a great krithi like 'Kanagana Ruchira' is also acquired only by severe practice (saadhana). The experience is purely personal, both Sri Rama Darshanam and Varaali Raga Darshanam. It is 'Swaanubhava Vedyam'.

Therefore, in a nutshell, the inference is that Varaali Ragam identifies itself with Sri Rama Darshanam.

Hence the propriety of choosing Varali Ragam for this unique krithi of Kanagana Ruchira with Sri Rama's divine description is justified.

Sri Rama is kanagana ruchi. Beauty to the eye.

Varali is vinaga vinaga ruchi. Beauty to the ear, i.e. sweet. It is sweeter and sweeter every time the more one beholds and every time the more one hears.

Dinamu dinamu - day in and day out.

Jnanayoga is Varaali Raagam ; Bhaktayoga is the Krithi - The Text.

Varali Ragam produces serenity and hence suited for meditation.

This composition is in slow tempo and is set to Two Kalaas Tempo (chouka) of Adi Talam. (Each Kriya is put in two divisons for convenience). It runs 4 Aksharas for kriya.

This composition is in slow tempo. There is scope for rendering rich and subtle Gamakas in the Sangathis. This composition is better suited for individual singing rather than collective singing, because of its nuances. Yet it is a sentimental practice to sing it in Brinda Gaanaa as in the case of other Pancha Ratna Krithis. But the fact remains that this compositon is best suited for solo singing. In Tiruvayyur or else whereever Pancha Ratna Keertanas are rendered in Group, when the turn of the singing of this

krithi comes there are many dropouts. Because it requires expertise and specialisation and scholorship with subtle knowledge. This krithi is most difficult of all the Pancha Ratna Krithis - and equally the Raga also.

After learning this composition along with the swaram thoroughly, we can avoid singing swaras to enrich the composition with the right Gamakas and with an individual approach. While it is sung in Group singing the swaras should be sung. While it is sung individually the swaras need not be sung for the charanas.

For example - take the Padavarnam of maha Vaidyanath Iyer's Kambhoji "PANKAJAKSHI" in Adi Talam or Sri Raghuvara Aprameya in Kambhoji Ragam Adi Talam of Sri Tyagaraaja. In both the cases, the swaras singing mars the richness of these compositions. Some musicians sing the solfa notes for Sri Raghuvara's pallavi, Anupallavi and charanas, and they also teach them to their students. This practice is detrimental to the original grand structure of the composition. If we sing only the Sahityam (and not the swaras) justice is done to the composer and the composition.

But while learning 'Kana Kana Ruchira', one will have to learn the swara and sahitya regularly and systematically to achieve accuracy.

Especially while 'Kana Gana Ruchira' is rendered by group of Vidwans, perfect UNISON and understanding among them is possible only if the Swaras are sung for the Charanas.

Swaras should be the guiding force of Sahitya. If swaras are not learnt, there is a possibility that musicians may slowly drift from original tune, in course of time.

In many ways and from many angles and view points, Varali Ragam is best suited for the Krithi 'Kana Kana Ruchira' and in describing Sri Rama in his many different stages, ages, and forms and as witnessed by many Bhaktas.

PALLALVI

KANA GANA RUCHIRA KANAKAVASANA NINNU

Kana + Kana + Ruchi+ Ra = See + See + Taste O golden attired Sri Rama, every time one sees you, the experience is sweeter.

aka + Vasana + Ninnu , = Golden + Attired + You

ANUPALLAVI

DINA DINAMUNU MANASUNA CHANUVUNA NINNU

• Dinamunu + Mansuna = Every day , Day in and day out + in my mind

Jvuna + Ninnu = with indulgence + you

When I see you again and again with the affection of a mother for her child,

ill my mind on you, I feel that the light of my desire is fulfilled, and my cherished

is satisfied.

Whenever Tyagaraja wants to make an assertive statement he renders it in upper

’(Thaara Shadja) and above - Eg. 'Dhara Bhajane Bhagyamura' Arabhi Krithi's

llavi. Here, both the Pallavi Kana Gana Ruchira and the Anupallavi start in Thara

a.

Tyagraja's Pallavi is always the (Akshiptika) - introduction of the Raga. The

llavi is complementary to the Pallavi. But he prefers it, up-side down. He gives

rding (Avarohana) first and then the ascending (Arohana).

Gana Ruchira = Avarohana - Descending

a Vasana· Ninnu = Arohana - Ascending

-te composes this way, only in unfamiliar ragas and Apoorva Ragas,

-tis pallavi not only works as an introduction to the Raga essay, but to the Sahitya

also.

-tere the pallavi is a statement, the anupallavi is the complementary or the

ing statement with the extended idea of the pallavi. The charana is the subject

of the portrayal of the essay with detailed explanation.

When it comes to the aspect of the music of the Pallavi, it is the introduction of Raga. The Anupallavi is the extension of the introduction (Akshiptika) of the Raga. The charanas are the different stages in the development of the Raga.

They are called Raga Vardhanis. There are 4 such stages (Raga Vardhanis) of Alapana namely, Pradhama, Dviteeya, Thritheeya and Chaturdha Raga Vardhanis.

FIRST CHARANAM :

PAALU GAARU MOMUNA SRI APAARA MAHIMA TANARU NINNU

Paalu + garu + Momuna + Apara = Milk + Oozing + face + infinite

Mahima + Thanaru + Ninnu = mysterious power + present + you.

'O' Rama ! Your face is milky. milk is emanating from your face. It has got abudent miraculous power. I am fortunate to have you before me, whose picture of childish innocence, sweetness and beauty shines with great splender.

(O Rama - Baala Rama ; Kousalya Rama, Dasaratha Rama, Ayodhya Rama).

Tyagaraja is describing the Lord Sri Rama as a little child. "Palugaaru Momu" is an expression that desclbes the innocence of a small boy's face. And yet the child had (Apaara Mahima) abudent powers. Tyagaraja had the vision of the Child Rama. Tyagaraja imagined himself as Dasaratha and Kousalya. The parental love is pouring from his heart. The continuous swara flow of this charana suggests the flowing of Milk.

SECOND CHARANAM

KALAKALAMANU MUKHA KALA KALIGINA SEETHA

KULUKUCHU NORAKANNULANU JOOCHE NINNU.

Kalakalamanu + Mukha + Kala + Kaligina +

Seetha + Kulukuchu

=

Shining + Face + impressive +

possess + seetha + Romantic

Ora + Kannulanu + Jooche + Ninu

=

side long + eyes (looks) + seeing

• you

Seetha, with shining countenance through romantic sidelong glances in appreciation towards your handsome self.

(Sringara Rama ; Seetha Rama ; Kalyana Rama - is depicted)

The beautiful Seetha with her shining face looks at your handsome figure out of the corners of her eyes with appreciation.

Tyagaraja is now describing Rama as a handsome youth. Tyagaraja in his Imagination saw Rama and Seetha as a romantic celestial young couple.

The scintillating run of the swaras in sparkling combinations suggest the romantic expression of Seetha Devi on her face. There is a sound echoing sense in the swaras.

The entire song is running in slow speed (in vilamba kala) to enjoy the beauty of Sri Rama in a leisurely mood, as one would linger over and enjoy delcious dishes.

Tyagaraja is experiencing the heavenly beauty of Sri Rama and Varali Raga in a very slow pace. While he is doing so he is also making us feel and enjoy Sri Rama's beauty and the beauty of the Raga. We are experiencing the bliss of both Rama and Raga. Rama through raga and the Raga through the description of Rama.

In all the five jem compositions (Pancharathnas) this is the only composition that runs in the (vilamba laya) slow tempo.

Though the song is slow, the inner fabric is studded with subtle graces to make it interesting. It is slow but not bland, But electrifying.

THIRD CHARANAM

BAALAARKAABHA SUCHELA MANIMAYA

MAALAAALANKRUTHA KANDHARA SARASIJAAKSHA

VARA KAPOLA SURUCHIRA KIREETADHARA

SANTHATAMBU MANASAARAGA

Bala + Arka + Abha + Su + Chela = early + sun + splendour + fine + Attired

Mani + Maya + Mala + Alankritha = Gems + full of + Necklaces + decorated

Kanthara + Sarasijaksha = Neck + Lotus eyed

Vara Kapola + suruchira + Kireetha + Dhara = Lovely + cheeks + Magnificient + crown + wearing

Santatambu + Manasara + Ninnu = Always + with my heart + You

'O' Rama ! Your golden attire has the splendour of the rising sun. your neck is adorned by a necklace which is studded with precious gems. Your eyes are blue and large like the lotus petals. Your cheeks are rosy and beautiful. You are wearing a magnificent Crown. When I gaze at you to my heart's content, the sight is sweeter every time.

Rama described thus always dwells in me. I am ever able to cherish you 'O' Rama.

Tyagaraja in this charana visualises Sri Rama as the handsome prince with a gem set necklace, a magnificent crown, Rosy cheeks and large eyes like lotus petals, and clad in golden attires and shining like the rising sun.

FOURTH CHARANAM

SAAPATNI MAATHAYOW SURUCHICHE KARNA

SHOOLAMAINA MAATA VEENULA

CHURUKKANA TAALAKA

SRI HARINI DHYANINCHI SUKHIYIMPAGA

LEDA YATU

Saapatni Maathayow + Suruchi + Che = Step - mother + Suruchi + by

Karna + Shulamaina + Mata = Ear + spear + word

Blistering his ear, To burn with scathing words.

Veenula + Churukkana = In the ears + Piercin

Talaka + Sri Harini + Dyaninchi = Not able to bear + Sirhari + to meditate upon

Sukhiyimpaga + leda + Atu = feel happy + is it not ? + like that

Tyagaraja is depicting the episode of Dhruva (Dhruva Upaakhyanam) from Bhaagavatam. Dhruva was a small boy. Suruchi was his step-mother, the younger wife of his father, king Uttaanapaada.

Once Dhruva went and sat on the lap of his father along with his step-brother, the son of Suruchi. Suruchi on seeing her step-son, Druva, along with her own son sitting on the lap of her husbad, abused him and dragged him away from the lap of his father.

Dhruva could not bear the insult and immediately renounced the world, went to the Madhuvana forest and went into severe penance praying to Sri Hari. Sri Hari moved by his penance, appeared before him and granted him eternal, unchanging and celestial immortal position of the polar (Dhruva) Star on the horizon. It has become proverbial in our traditional saahityam and the daily life of Hindu religion as "Dhruva Nakshatra" for its celestial and eternal speldor.

Tyagaraja expressed his appreciation for the young Dhruva for his Bhakti,

Tyagaraja says that to see Sri Hari as seen by Dhruva is an experience of highest spiritual value. It is implied that Tyagaraja could see Sri Rama as Sri Hari and as visualised by Dhruva.

The swara arrangement in this charana conveys pathos in the beginning to suggest

the occurance of the insult of Dhruva and then the swaras rise slowly and come to

stay in the upper octave like the Dhruva Star, which once more establishes the great

power of Tyagarja Swamy.

This charanam is full of Karuna and Bhakthi rasas. Tyagarja pours out his

heart with compassion and appreciation for Dhruva.

FIFTH CHARANAM

MRIGA MADA LALAAMA SUBHANITALA VARA

JATAAYU MOKSHA PHALADA

PAVAMAANA SUTHUDU NEEDU MAHIMA DELPA

SEETHA TELISI VALACHI SOKKALEDA AA

REETHI NINNU.

Mriga + Mada + Lalaama

= A kind of deer + MUSK + Mark

or dot (Tilak) put on the forehead

Subha + Nitala

= Auspicious + fore-head

Vara + Jatayu + Moksha + Phala + Dha

= The great + eagle Jatayu +

Salvation + fruit + bestow

Pavamaana + Suthudu

= The wind God's + son (Anjaneya)

Needu + mahima + Delpa

= Your + celestial powers + when

narrated

Seetha + Telisi + Valachi + Sokkaleda

= (Rama's consort) seetha +

learning your powers + her love

for you + not enchanted?

Aa + reethi + Ninnu

= The same way + you. (The

more one sees you; the sweeter

you are)

'O' Sri Rama ! You wear deer musk (Kasthuri Tilak) on your forehead. (Kasthuri

is a natural pefume, comes out of one kasturi mriga musk animal) you have an

auspicious fore-head. You bestowed upon Jataayu the boon of (moksha) salvation.

(Jatayu the eagle, was an intimate friend of Dasaratha. He fought with Raavana in

an attempt to prevent him from taking away Seetha Devi to Lanka and was killed in

the duel).

When Hanuman narrated Sri Rama's greatness and his valourous deeds,

his sweet utterances Seetha's love for Rama overwhelmed her.

Seeing again and again the Rama described by Hanuman to Seetha Devi,

the Rama who bestowed salvation upon Jataayu, I find the sight sweeter every t

SIXTH CHARANAM

SUKHAASPADA VIMUKHAAMBUDHARA PAVANA

VIDREHAMAANASA VIHAARARAPTHA

SURABHOOJA MAANITHAGUNANKA

CHIDAANANDA KHAGA TURANGA

DHRUTARATHAANGA, PARAMADAYAAKARA

KARUNAARASA VARUNAALAYA

BHAYAAPAHARAA SRI RAGHUPATHE.

Sukha + aaspada

= Happiness + Abode - you a the abode of happiness.

Vimukha + Ambudhara + Pavana

= Atheists (Those who dislike yo + Cloud + Wind ; You dispel E the wind does the clouds thos who deny you.

Videha + Manasa + vihaara

= Saints + minds + dweel - Yo dwell in the hearts of saints wh believe that they are not the body but, the spirit or Atma.

Aapta + surabhooja

= Dear (friends those dear to you + celestial tree - Kalpa Vriksha. you are the celestial tree which grants all wishes to those who are dear to you.

Maanitha + Gunanka

= Respected + Virtuous qualities. You are identified by virtuous qualities that are respected. Your virtuous qualities are your ornaments.

Chith + Ananda

= Mind + Bliss. Your mind always dwells in the heavenly bliss.

Khaga + Turanga

= Bird (Garuda) Eagle + Vehicle. Your have garuda the Royal eagle as your vehicle.

Dhrita + Ratha + Anga

= To hold + the wheel. you hold the Chakra in you hand. He is Chakrapani, Chakri, Chakradhara.

Paramadayaakara

= Very kind, very compassionate.

Karunaa + Rasa + Varunaalaya

= Compassion + Kind hearted + Ocean - Your kindness knows no boundaries like the ocean. It is deep and large. You are the ocean of compassion.

Bhaya + Apaharaa

= Fear + Dispeller - You are the one who can dispel fear.

Sri Raghupathe

= You are the greatest in the entire lineage of Raghu Vamsha.

'O' Sri Rama - you are the abode of happiness and spiritual and eternal bliss. You dispel atheists as the wind does the clouds. You dwell in the hearts of seers and saints. You fulfill all the wishes of your dear bhaktas. You are virtuous. You always dwell in divine bliss. You have the Garuda as your vehicle. The Chakra is your weapon. You are very kind. Your heart is an ocean of kindness. You dispel fear. You are 'Abhaya Varada'. You are the greatest of all the princes of your Raghu dynasty.

Tyagaraja describes various qualities,various forms and various virtuous qualities of Sri Rama. He says Sri Rama is so sweet to see him once and again and any number of times.

SEVENTH CHARANAM :

KAAMINICHI PREMAMEERA KARAMULA NEEDUPAADA

KAMALAMULA BATTUKONUVAADU SAAKSHI,

RAAMANAAMA RASIKUDU KAILASA SADANUDU

SAAKSHI. MARIYU NAARADA PARAASARA

SHUKA SHOUNAKA PURANDARA

NAGAJAADHARAJA MUKHYULU SAAKSHIGAADA

SUNDARESA SUKHA KALASA AMBUDHIVAASA

AASHRITHULAKE

Kaminchi + Prernameera = Desiring you + with love

Karamula = with hands

Needu + Padakamallu + Pattukonu + Vadu = your + lotus feet + hold + He who may

Saakshi = bear witness

Anjaneya who holds your feet with his hands will witness to the sweet experiencice

of your divine presence.

Raamanaama + Rasikudu + Kailasa + = Ramanama + connoisseur +

Sadanudu + Saakshi Heaven + Dweller + Witness

The greatest connoisseur of Rama nama, the Kailasa dweller, namely, the lord

Shiva is also witness. He knows the greatness and the sweetness of the experience

of your vision.

Mariyu + Naarada + Paraasara + Suka + = And also + Narada + Parasara

sounaka + Purandara + Nagaja + Dharaja + Shuka + Shounaka + Indra +

Paarvathi + Seetha

Mukhyulu = Important

These important celestial beings and Devathas.

Saakshi + gada = Witnessess + are they not?

Sundaresa = Oh - Beautiful Rama

Sukha + Kalasambudhi + Vasa = Bliss + Ocean + Dwell

Ashrithulake = To those who take refuge in you, beseech you. Every time one sees you, the sweeter it is.

Tyagaraja is suggesting that if any body has any doubts about the bliss of the divine presence and vision of Sri Rama, Hanuman is the first witness. Lord Shiva is another witness and naarada, Paraasara, Shuka, Shounaka, Indra, Parvathi and Seetha are all witnesses. They shall vouch for the sweet, blissful experience of the vision of Sri Rama.

Finally he says that Rama's divya darsanam is only possible to his bhaktas and saints who take refuge in Sri Rama nama - (Taraka Manthra).

Bhadrachala Ramadas Sang thus : 'O' Rama Nee Nama Mentho Ruchira - Emi Ruchira

Tyagaraja remembers his ideal Gurus 'Purandara Daasa' and Bhadraachala Ramadasa.

Tyagaraja Swamy praises the great and celestial chain of Rama Bhaktas and metions them as witnesses for his faith and the bliss of Rama's divine vision.

EIGHTH CHARANAM

SATATAMU PREMA POORITHUDAGU TYAGARAJA NUTHA MUKHA JITA KUMUDAHITA VARADA NINNU

Satatamu = Always

Prema + Poorithudagu = Loving + fully (To those full of love)

Tyagaraja Nutha = Worshipped by Lord Shiva

Mukha + Jita = Face + defeated

Kumuda + Hita + Varada + Ninnu = Lotus + friend (Moon), granter of boons + you

'O' Rama - You are worshipped by Lord Shiva. You are the embodiment of love (premapoortihudu) your face defeats the Moon in beauty.

'O' Rama - it is lofty and heavenly to see you any number of times.

It is is (Baahya Soundarya) Physical beauty or mundane happiness, that will slowly reduce and vanish. It is only the "Anthah soundarya' 'Atha Soundarya' which goes on increasing every time that we experience and taste it.

Sri Rama's inner beauty (Anthah soundarya) is like Amritha. The moment we taste it, we attain Amaratwa, Amrutatwa.

Tyagaraja experienced and tasted the nector of the utterance of Rama's Name. (Rama Naamamritha Panamu.)

He experienced Sri Rama Divya Sandarshana Amritha.

Who ever sings or listens to this Krithi with devotion, would have the benefit and sacred return of performing virtuous (Punya) deeds. He will have the same result as in listening to Bhagavatha, Bharata, Ramayana and Bhagavad Geeta. He will grow from humanity to divinity.

ENDAROMAHAANUBHAAVULU

SRI RAGAM - ADI TALAM

FIFTH PANCHARATHNA KEERTHANA

The raga Sri in particular is unique because it is the only raga denoted by a single letter. Sri means auspicious. It is equivalant to 'Thiru' In Tamil and when addressing someone it is considered polite to prefix Sri to his name. Sri also means lustre, radiance, splendour, glory, beauty, grace and wealth and Lakshmi. In short, Sri stands for all that is sweet, noble cultured and refined.

The arohana and Avarohana of Sri are :

Sa ri ma pa ni ṣa - - Ṣa ni pa ma ri ga ri sa

Present day musicians do not conform to this scale and when singing the raga Sri they use the following order in the Avarohana :

Ṣa ni pa da ni pa ma ri ga ri sa

This prayoga must have been a later addition to the raga as it is not to be found in ENDAROMAHANUBHAVULU.

The raga Sri is a derivative of the 22nd Melakaratha KHARAHARAPRIYA, which is originally Harapriya in ancient times. Harapriya means that which is dear to the killer of Khara, the demon, Rama. Therefore, could there have been a better choice than Sri for describing Rama bhakthas?

With the exception of rishabam, all the swaras of Sri are komal in nature i.e. they are tender, soft and gentile. These are qualities which Sri personifies and which bhakthas have imbibed. Though the rishabam is sharp, because it is an anuvadhi (supporting ; nearly consonant) to adhara shadjam, its prayogam bestows on it Komalathvam. The prayoga is similar to that of the raga Sahana where the teevra rishabam is the Jeevaswaram and is used ingeniously to evoke pathos.

According to Thyagaraja, only men who are compassionate, affectionate and wise quality to be 'Mahanubhavulus' (the great experiencers). The term 'Mahanubhavulu' can be analysed thus :

Bhava = inner experience

Anubhava = feeling of oneness with other beings

Mahanubhava

= Identification with the infinite (exalted experiencer)

Hence, mahanubhavulu are those who have identified themselves completely with the ultimate and it is these souls who form the subject matter of ENDAROMAHANUBHAVULU.

PAALLAVI

ENDARO MAHANUBHAVULU ANDARIKI VANDANAMULU

Endaro

= A great many indeed (are) unknown to me

Mahanubhavulu

= Great men, Great devotees, Great Saints, Great Celestial gods

Andariki

= To all of them, To every one of them known and unknown to me

Vandanamulu

= Prostrations, Salutations

To all those known (and unknown) great souls, my salutations.

The swarams used in the first line of the pallavi are mostly either shadjam or notes in the mandrasthayi (lower octave). These notes have both weight and depth. They are like temple idols. So are the countless Mahanubhavulu who, should be worshipped for their knowledge, their scholarship and above all, for their realisation of the Ultimate Truth.

ANUPALLAVI

CHANDURU VARNUNI ANDA CHANDAMUNU HRIDAYAARAVINDAMUNA JOOCHI BRAHMAANANDAMANUBHAVINCHU VAARU

Chanduru

= The moon

Anda + Chandamu = Beauty, Handsomeness + (and) Grace

Hridaya + Aravindamuna = In heart + Lotus Flower

Choochi = To visualise, To experience, to see.

Brahma + Anandamu = The spiritual and ultimate + Bliss, Happiness

Anubhavinche + Varu = Who experience + Those

The colour of Rama's body and countenance is described as blue, like the cloud, the sky, and the sapphire.

But he is also addressed as Ramachandra. Chandra the moon, is yellow and fair.

Tyagaraja in Anupallavi of "Endaro Mahanubhavulu" composition, describes him "Chunduru Varnuni".

It looks paradoxical for superficial knowledge. But Thyagaraja is deep and scholarly.

Here Varna means the quality but not the colour - - "VARNO DVIJAADI SUKLADI YAGNE GUNA KADHASU CHA" according to Samskrita Dictionary.

Therefore it is clear that "Chanduru Varnuni" means that it is the quality of the moon which is pleasant, cool, shining by which the entire humanity on the earth feels happy.

Valmiki describes Sri Rama as "SOMAVAT PRIYA DARSANAHA" which means that Sri Rama is as pleasant as the moon. By this it is once again proved that Thyagaraja is the incarnation of Valmeeki.

In the 30th sloka of Vishnu Sahasra Namam, CHANDRAAMSUHU (Chandraha Amsuhu Yasya) is the name assigned to Lord Vishnu, meaning that Chandra is born out of the 'Amsa' of Lord Vishnu.

Lastly, Sri Rama is PAARAMAATMA who pervades in every thing. Moon is not an exception.

Chandra imbibes his pleasant shining quality from Vishnu (Rama).

To those bhakthas, who visualise the handsome Rama (who is as beautiful as the moon) in their lotus hearts and experience Brahmananda, to them my salutations.

FIRST CHARANAM

SAMAGANA LOLA MANASIJA LAVANYA DHANYA MQORDHANYULU

Sama + Gana

= The hymns of Sama Veda

Lola

= You who are enamoured of, in love with;

Manasi + Ja

= Mind + To be born, Born in the mind, Manmatha, Cupid

Lavanya

= You who are as beautiful, Handsome

Dhanya

= Virtuous

Moordhanyulu

= The top most and the best of virtuous people.

The devotees of Rama are said to be emperors of Rama Bhakti Samrajyam.

They are the rulers of the world of devotion to Rama, They are the top most and best of virtuous.

Blessed are those bhakthas, whose minds are eternally fixed on Sri Rama, who is fond of Samagana (music) and who surpasses Manmatha in beauty.

Since Rama is described as Samaganaiola in this charanam, only such Swaras used in the recitation of Samavedam are employed here.

Sa, ; ; ; sa, sa ni ni sa ni ni sa ni pa, ; ; pa, ma pa ni sa ri, ; ; ; ri, ; ga ri ri ga ri ri ga ri ri ga ri ri sa, ; ; ga ri ri sa ni

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SECOND CHARANAM

MANASA VANACHARAVARA SANCHAARAMU NILIPI

MOORTHI BAAGUGUA PODAGANEVARU

Maanasa + Vanacharavara + Sanchaaramu = The Mind + The Monkey + Wandering

Nilipi = Stopping. Arresting the fickle, wandering - Monkey like mind.

Moorthi = The Form, Saguna Upasana

Baguga + Podagane = Correctly + Visualise To concentrate and dwell upon the Parabrahma

Varu = Those, The Mahanubhavas - (The Bhaktas who do Saguna upaasana)

Blessed are the saints who have control over their minds who, instead of allowing their minds to wander hither and thither like a monkey, concentrate with the oneness of mind on the form of Sri Rama.

The arrangment of the swaras in this charanam to denote the fickle mindedness of monkey (vanachara) and the subsequent control of the mind is brilliant. The fickle mindedness of a monkey is denoted thus :

ree ga ri ri ga ri ri sa ni sa, sa, ri sa sa ri sa s n p

ma na sa va na cha ra va ra san cha ra mu ni li pi moorthi

The subsequent control of mind over matter is represented thus :

pa ga , ga ri sa ri ga ri , , ri sa ni

ba , gu ga po da ga ne . , va - ru

Here a 'plutam' (triphone) is used to emphasise the point. 'Plutam' is a grammatical device found only in Sanskrit and it refers to the lengthening of a vowel to three matras. Had tyagaraja just sung it as :

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pa ga ga ri

ba gu ga

If the 'Ba' is not started from lower 'Pa' and if it is given two Aksharas the emphasis in the meaning would have been lost.

THIRD CHARANAM

SARAGUNA PADAMULAKU SVANTHAMANU SAROJAMUNU SAMARPANAMU SEYUVARENDARO

Saraguna = Immediately, unhesitatingly

Padamulaku = To the feet (of Sri Rama)

Svanthamanu + Sarojamunu = Heart, Lotus (Hridaya Kamala)

Samarpanamu + Seyu + Varu = Dedication + To do + Those

Endaro = Many

Prostrations to those bhakthas who surrender their lotus hearts (swanthamanu sarojamunu) at your sacred feet. Plutam is again used to emphasize the point, i.e.,

pa , , pa ma ri sva , , ntha ma nu

In Sivanandalahari, Sankaracharya brings out the analogy of an ignorant man who wanders over valleys and hills, lakes and lonely woods in search of flowers to offer to Siva. That poor man does not know that surrendering his lotus heart (chethas sarasijam) is the most priceless offering to Umanatha as this would symbolize the surrendering of his ego.

Bhakthi which is characterised by an intense devotion to a personal God had its beginnings in Big Vedic times. The Upanishads and literature of later times elaborated on this theme of devotees longing for a union with God. But bhakthi as a doctrine was preached and popularised for the first time in the Bhagavad Gita - the great spiritual classic, forming chapters XXIII - Xl of the Bhishmaparvan of the Mahabharatha.

Derived from the root 'bhaj', to serve, Bhakthi means Service of the Lord. The Narada Bhakthi Soothra describes the forms which Bhakthi may take :

i. SRAVANA ; Listening repeatedly to the glory of god so that mundane preoccupations are forgotten.

ii. KIRTANA ; Singing praises of the Lord

iii. SMARANA ; Constant memory of the Lord and meditating upon Him (dhyana)

iv. PADASEVANA ; Adoration of the Lord's feet.

v. ARCHANA ; Performing the Lord's worship daily. It is said that we are endowed with hands only for archana

vi. VANDANA ; Paying obeisance to the Lord

vii. KAINKARYA OR DASYA ; Service as a servant, attending to all the needs of the Lord even without his commanding.

viii. ATMANIVEDANA ; Surrendering one's self to the Lord. This is the final teaching of the Gita too :

"abandoning all duties come to me alone for shelter" (Gita. Ch. vs 66)

ix. VAATSALYA ; Showing love towards God who is conceived of as a child.

FOURTH CHARANAM

PATHITHAPAAVANUDANE PARATHPARUNI GURINCHI

PARAMAARTAMAGU NIJA MARGAMUTHONU PADUCHUNU

SALLAPAMUTHO SWARALAYDI RAGAMULU DELIYUVARU

Pathitha + Pavanudu + Ane = The down trodden. The less privileged + The one who uplifts, who takes care of and protects + The one who is

Parathparuni = The God

Gurinchi = About (whom)

Paramaarthamu + Agu + Nija + margamu + Thonu = The real purpose, for the ultimate and spiritual aim + which is the real + path + through

Paduchunu

= Singing

Sallapamutho

= With joy, Rejoicingly, with a happy mood ; Plesantly, Interestingly

Swara + Laya + Adi + Ragamulu + Teliyu + Varu

= The knowledge of musical notes + The knowledge of rhythms + etcetera + The knowledge of Ragas (Scales) + To know + Men or persons

These great men know Rama as the supreme god who protects the weak and the under developed and they sing of him adoptirig the only genuine path namely Bhakthi that grants the ultimate purpose. They sing of him as though in intimate communion. They are masters of Swara, Laya and Raga etc., (They are the masters of music).

When referring to the meek and the oppressed Thyagaraja uses notes in the lower octave,

sa sa ni pa, ri sa ni pa, ri ri, sa ni pa ma pa, pa pa thi tha pa va nu da ne pa rath pa ru ni gu rin chi

Then to show, that the seeker has attained knowledge and enlightenment through Rama's grace, Thyagaraja employs notes in the higher octave :

ri sa ni pa, ga ri, sa ni pa ma ri ga ri sa ni sva ra la ya di ra ga mu lu de li yu va . . . ||Rendaroll

A 'plutam' (Three Akshara Kalam) is employed in paramartha magu: to emphasize the superiority of paramarthamu over arthamu.

(ni sa ri , , ga ri sa)

(pa ra ma ----rtha ma gu)

Arthamu - refers to the meaningful pursuit of riches. 'Paramarthamu' refers to a spiritual pursuit to attain not worldly riches, but the kingdom of god. For anyone the search for 'arthamu' can have a beginning and an end. But the search for 'paramarthamu' is almost endless.

It is only those exponents with a knowledge of paramartha tattvam (swaralayadiragamulu) who have the ability to invoke a raga, please that particular raga devata and identify themselves with the raga. Every raga is a living celestial being.

It has all the qualities of an enlightened being. Hence, when handling a raga one has to treat that raga with respect, love and tenderness. To do this one needs swarajnana and sangeethajnana - qualities Thyagaraja attributes to the MAHANUBHAVULU (Numerous Great souls)

Music is god's gift and it is a short cut to Moksha. When Narada once asked Vishnu where can I find you?' Vishnu's reply as 'Mat bhaktha yathra gayanthi, tatra thishtami narada', meaning, I am where My devotees sing (about Me).

'of a man who is devoid of music, Shakespeare says

The man that hath no music in himself, Nor is not moved with concord of sweet sounds - is fit for treasons, strategems and spoils, - The motions of his spirit are dull as night - And his affections dark as Erebus : Let no such man be trusted.

(Merchant of Venice-Act 5 :Sc I)

FIFTH CHARANAM

HARIGUNA MANIMAYA SARAMULU GALAMUNA SOBHILLU BHAKTHA KOTU LILALO THELIVITHO CHELIMITHO KARUNAGALGI JAGAMELLANU SUDHAA DHRISHTICHE BROCHUVAARU

Hari + Guna + Mani + Maya = the god Vishnu. + Qualities, Attributes + Precious gems + full of

Saramu + Lu + Galamuna = The necklaces + around the neck (i.e. Lord's song in the voice)

Sobhillu + Bhaktha + Kotulu + Ilalo = Shining + Devotees + Many of them + on the earth

Thelivitho + Chelimitho = With understanding + with the friendly affection

Karuna + Kalgi = Compassion + Possessing

Jagamu + Ellanu = The world + All

Sudha + Dhrishti + Che = Nector + View + with

Brochu + Varu = Protect + they (Protectors)

(sing Harikeerthanas). These Bhaktas, with their wisdom, affection and compassion look upon the world with nectar-filled eyes and protect it. Here the singing of Harigunas are compared with wearing of gem neckalce. If one sings of Harikeertana it is the real wearing of necklace studded with precious gems of the qualities of Hari.

Two aspects of this charanam are worth pondering over. First, it lists the qualities of the true Rama Bhaktas i.e. wisdom, fraternity, compassion - all of which are hallmarks of greatness. Secondly, the manner in which Thyagaraja has visualised the necklaces worn by the Bhakthas is simply superb.

Taking the first aspect into consideration, though Thyagaraja lists wisdom (thejivi) first, fraternity (chelimi) second and compassion (karuna) third, his priority is for compassion. He illustrates this by moving from lower to higher octaves - reserving the highest octave for compassion.

pa ni sa ri, (lower) ri ma pa ni, (middle) ma pa ni sa, ri (high)

thelivi tho (lower) chelimi tho (middle) ka ru na ga! gi (higher).

It is very clear that Thyagaraja gives very less importance to intelligence. Friendliness is more important than intelligence. The most important quality that one should possess is compassion.

The second aspect of this charanam pertains to the 'Hariguna manimaya saramulu' worn by the bhakthas.

The first necklace has gems laid out in groups of four. The Swaras begin in Madhya Panchamam, go down to Mandhra Panchamam and come up to Madhya panchamam, thus forming a garland.

The second necklace is patterned with the gems set in groups of five. It is therefore, longer than the first and begins in Mandhra Panchamam, comes up to Taara Gandhara and again going to Mandra Nishada, forming a bigger necklace.

SIXTH CHARANAM

HOYALU MEERA NADALU KALGU SARASUNI

SADAA KANULA JOOCHUNU PULAKA SABEEHULAI

AANANDA PAYODHI NIMAGNULAI MUDAMBUNANU YASHAMU GALAVARU

HOYALU + MEERA = Graceful + Redoubled, enhanced

NADALU + KALGU = Gait, Pace + having; possessing

SARASUNI + SADA = The handsome hero. Gentlman + Always

KANULA + CHUCHUCHUNU = With the eyes + looking, visuallsing

PULAKA + SAREERULAI = Goose pimples with bites + Having on the body

AANANDA + PAYODHI + NIMAGNULAI = Bliss + Ocean + immersed in

MUDAMBUNANU = With happiness

YASHAMU = Glory, Fame

KALA + VARU = To have + They (Those who have)

To the bhakthas, the handsome Lord with the graceful galt is ever present in their mind's eye. Just gazing at him is as delightful to them as being submerged in an ocean of bliss.

The swara patterns in this charanam depict the varied but graceful gaits of Sri Rama - sometimes like a horse, sometimes like an elephant, sometimes like a peacock and so on. The swaras take unexpected but beautiful twists and turns and are very onomatopoesis.

They can be broken up thus :

i) pa ni sa

ii) pa, ni

iii) ma pa ni

iv) ri, ma pa ni pa ma

v) ri ri, ga ri sa

vi) ni,, ga ri sa ni pa ni sa

vii) ri,, ma ri ma pa,, ni ma pa

viii) ni sa, ri

ix) ga ri, sa ni pa

x) sa ni, pa ma ri

xi) pa ma pa ri ga ri sa ni

The last solfa cluster in this charanam (xi) is the crowning glory to an ingenious build up of solfa patterns, following traditional patterns. Thyagaraja could have phrased it thus :

ga ri, sa ni pa / sa ni, pa ma ri / ri ga, ri sa ni

But then Thyagaraja was no ordinary mortal. The arrangement he has chosen is actually the stroke of a genius ;

ga ri, sa ni pa / sa ni, pa ma ri / pa ma pa ri ga ri sa ni.

SEVENTH CHARANAM

PARAMA BHAAGAVATHA MOUNIVARA SASI VIBHAAKARA

SANAKA SANANDANA DIGEESA SURA KIMPURUSHA

KANAKAKASIPU SUTHA NAARADA TUMBURUL PAVANASOONU

BAALACHANDRA DHARA SUKA SAROJABHAVA

BHOOSURAVARULU PARAMAPAAVANULU GHANULU

SAASVATHULU KAMALABHAVASUKAMU SADAANURBHAVULU GAAKA

Parama + Bhaagavatha = The absolute + the great Devotees

Mounivara = The important and famous salnts, foremost among

Sasi = The moon

Vibhaakara = The sun

Sanaka = The saint Sanaka

Sanandhana = The saint Sanandana

Digeesa = Dikpalakaa, the rulers of the eight sides (directions) of the earth

Sura = The celestial Gods

Kimpurusha = The heavenly beings

Kanakakasipu + Sutha

= Hiranyakasipa + son (Prahlada)

Naarada

= Narada, the musician saint

Tumburul

= Tumburu, the musician saint

Pavana + soonu

= The wind god + son (Hanuman)

Baalachandra + Dhara

= Crescent moon + Wearer (Shiva)

Suka

= Suka, the parrot faced saint

Saroja + Bhava

= The lotus + Born, The creator (Brahma)

Bhoosura + Varulu

= Earth + Gods, the famous few, the heavenly beings on earth, Brahmins, the priestly class

Parama + Paavanulu

= The unique purifiers, the holiest.

Ghanulu

= The great

Saasvathulu

= The eternal beings

Kamala + Bhava + Sukhamu

= The lotus + Born + Bliss, (Brahmananda) the unique and spiritual bliss

Sadaa + Anubhavulu

= Always + Those who experience (the spiritual bliss)

Gaaka

= Besides these

This is perhaps the most important of all the charanas, as the essence of ENDAROMAHANUBHAVULU is summarised in just one word i.e., GAAKA. While the importance of this word can never be over emphasised, it is sad to note that a number of musicians hardly bother to enunciate this word when singing Endaro. They tend to neglect it.

Thyagarja begins the charanam by giving a long list of bhakthas and devas who Include the Moon and the Sun Chandra, Surya, Sanaka, Sanandana, Prahlada, Narada, Thumburu, anjaneya, Shiva and Suka. They are in a constant state of bliss. Over and above them, he offers prostrations to the unknown and hitherto unheard of bhakthas (GAKA)

Here one is reminded of John Keat's Ode on a Gracian Guru where he says

: 'Heard melodies are sweet, but those unheard are sweeter'. Thyagaraja's prostration are meant more for the unheard melodies of unknown mahanubhavulu than for th known and the heard.

EIGHTH CHARANAM

NEE MENU NAAMA VAIBHAVAMBULANU NEE PARAAKARAMA DHAIRYAMULA SAANTHA MANASAMU EEVALANU VACHANA SATYAMUNU RAGHUVARA NEEYEDA SADHAKTHIYU JANINCHAKANU DURMATHAMULANU KALLA CHESINATTI NEEMADI NERINGI SANTHATHAMBUNANU GUNA BHAJANAA ANADA KEERTHANAMU SEYUVARU

Nee = Your

Menu = Form

naama = (Your) Name

Vibhavambulanu = (spiritual) Blissful experience which is great and magnificent

Nee = Your

Parakrama + Dhairyamula = Valour and courage

Santha Manasamu = Peaceful mind; composure ; undisturbed calm ;

Eevulu + Anu = (Your) charitable disposition + known is

Vachana +Satyamunu = The truth of Vedas; the essential truth laid down in holy scriptures

Raguvara = Oh! You star prince of Raghu dynasty

Neeyeda = In you

Sadbhakthiyu = Single minded devotion

Janinchakanu = Instead of taking birth in me,

Duh + Mathamulanu

= Wrong path, mistaken thinking

preventing from flowing in me

Kalla Chesinatti

= Proving to be wrong, proving to be untruth, showing wrong thinking to be untruth and false;

Nee + Madini

= Your mind

Eringi

= knowing

Santhathambunanu

= Always

Guna + Bhajana + Ananda Keerthanamu

= Singing in praise of your divine qualities

Seyuvaaru

= (Those) who do ; Doers (Endaro = Many);

Prostrations to those bhakthas who sing your praises knowing that you have divine qualities countenance ; that your name gives one that protection and comfort; that you are unequalled in valour and show them the righteous path.

Sri Rama's (saanthaguna) quality of peace (peaceful disposition)is crystallised in the following verse by kamban

'May thirupadam mevu endra podinum

ith thirunthurandu eku endra podinum

chithirathin alarntha senthamarai

othirukkum mukhathinal unnuval'

In the Asoka vanam, just before the appearance of Hanuman, Sita Devi is thinking about Sri Rama's beautiful face which remained calm and fresh like a fully bloomed lotus in a picture both when he was asked to become king by Dasaratha and when he was ordered to the forest by Kaikeyi.

Another admirable quality of Sri Rama, that the bhakthas sing praises of, is his 'vachana sathyamunu'. Rama never goes back on his word, what he says is the gospel -Truth. They are 'veda vachanam'.

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Sri Rama is the embodiment of Truth. In the harikamboji Krithi 'Okamate

Thyagaraja says of Rama that he is a man of one word, one arrow, one wife an

one mind.

Rama gave his word to Dasaratha and fulfilled the conditions pertaining t

Kaikeyi's demands. Even when Bharatha comes in search of his brother and beg

him to return to Ayodhya, Rama refuses to go maintaining that it is more importar

to uphold one's promises, especially if the promise is made to one's mother (kaikey

i).

Rama is the prince of self sacrifice. In this 'charanam just one small word i

used to express the infinite extent of Rama's self sacrifice. The word 'eevi' (in eevulant

refers to sacrifice. Rama willingly gave up the throne to Bharatha; he gave up th

comforts of a palace and spent 14 years in the forest in exile and, most importar

of all, he even offered Ayodhya to Ravana. But Ravana would settle for nothing les

than 'Danda or punishment. Thyagaraja describes Rama's 'eevulu' in the Kapinaryar

Krithi 'Sarasasamadana'. What the veda has to say about the nobility of sacrifici

is this

Nakarman na prajaya na dhanena cha

Thyagenaikeva amritatvamanssuhu.

It is not one's actions, one's progeny, nor one's wealth that leads to the attainmen

of eternal bliss. It is only through sacrifice that one attains 'amaratvam'. (Immortality)

Another note worthy feature of this charanam is Sri Rama's 'Naamavalbhavam'

It is a Janma Rakshaka Mantram (Raamanamamu - Atana) ; it brings happines

(Smarane Sukhamu - Janaranjini ; Inta Soukyamani - Kapi).

According to Sri Hanuman, Sri Rama's Naama mahima is many times more

powerful than Sri Rama him-self.

NINTH CHARANAM

BHAGAVATHA RAMAYANA GEETHADI SRUTHI SASTHRA

PURANAPU MARMAMULAN SIVADI SHANMATHAMULA

GOODHAMULAN MUPPADI MUKKOTI SURANTHARANGAMULA

BHAVAMBULANERIGI DHAVA RAGA LAYADI SOWKHYAMUCHE

CHIRAYUVUL GALIGI NIRAVADHI SUKATHMULAI

THYAGARAJAPTHULAINA VARENDARO

Bhaagavatha + Raamayana + Geetha = Bhagavata, Raamaayana and Bhagavad geeta

Aadi = Etcetera

Sruthi = Veda

Saasthra = Scientific scriptures

Puraanapu = Epics

marmamulan = The quintessence, mysteries

Siva + Adi + Shanmathamula = The six different schools of the Vedic dharma i.e. 1. Shiv 2. Shakteya 3. Kowmara 4. Ganapathya 5. Surya 6. Vashnava

Goodhamulan = The secrets

Muppadi + Mukkoti = Thirty Three crore

Sura + Antharangamula + Bhavambulanu = The gist of the inner knowledge of the celestial gods

Erigi = Knowing fully well

Bhava + Raga + Laya + Adi = The aesthetic emotional experience of Raga and Laya (Music and rhythm) etc.

Sowkhyamu + Che = With that happiness and bliss of

Chira + Ayuvul + Kaligi = Attaining the eternity (Immortality) ; Long life

Niravadhi + Sukha + Athmulai

Thyagaraja + apthulainavaru

Endaro

Thyagaraja Swamy offers his salutations to known and unknown devotees who have the supreme knowledge of esoterics of Bhagavatha, Ramayanam, Bhagavadgeetha, the six different inter religious disciplines, the minds of thirty three crores of celestials, and over and above these who live long happily enjoying the bliss of the knowledge of bhava, raga, laya (Music) and who are very dear to Thyagaraja Swamy.

In this charanam Thyagaraja has exploited Samvadathva or the harmony between notes to the limits. This is the epitome of concordancy. No composer, however great, can ever dream of surpassing this supremacy.

The following is an illustration of concordant combinations or samvadhis i.e. the notes have harmony between them.

s s 1st harmonies s ṡs p ... 1st harmonie

s s m ... 2nd harmonie

s , g ... 3rd harmonie

s r ... 4th harmonie

In this charanam, the concordant combinations i.e. s p, r p, s m, s p are given 'deergham' (elongation) simply to emphasize the concordancy.

ri ; ; ; pa ni sa ri; ni sa ri ga ri

ri ; ; sa sa ni pa; pa ri sa ri; pa ni

pa, ri sa ri; ga ri; sa ni sa ri ma pa ni

pa; pa ma ri; pa pa ma ri; ri; ni pa pa;

sa ni pa; ri ri; sa ni pa pa, pa, ga ri

ri ga ri ri; ri ri; ga ri ri ga ri ri; ri

sa sa; pa pa; ri ri; ga ri sa nl pa nl sa

ri sa , sa sa, pa, pa pa pa, ri; ri ri;

ga ri sa nl, : : Endaro

It may be noted that 'Ri' is repeated as a consonent to 'Pa'. 'Pa' and 'Ri' are used as symmertrical notes in this charanam.

TENTH CHARANAM

PREMAMUPPIRIGONNAVELA NAAMAMUNU DALACHE VAARU

RAAMA BHAKTHUDAINA THYAAGA RAAJANUTHUNI

NIJADAASULAINA VAARENDARO MAHAANUBHAVULU

Prema = Love

Muppriri = Threefold (three fold love) (love, benevolence and compassion)

Konnavela = Becomes + (at the) time

Namamunu + Talache + Varu = Those who take to nama japa, chanting of Rama nama

Rama + Bhakthudaina = The devotee of Rama

Thyagaraja + Nuthuni = Thyagaraja the composer (Lord shiva) + Rama; He who is worshipped by Thyagaraja. Shiva and Thayagaraja Swamy also (There is pun)

Nija + Dasulu + Aina + Vaaru = Own; Real + servants

Endaro = many

When bhakti or devotion goes beyond a certain level, it can be divided into three parts i.e. prema, sugunamu and vaatsalyamu. To those bhakthas who have attained this stage and meditate on your name and who have become true Rama Bhakthas who are subservient to the Lord whom Thyagaraja worships - my salutations.

CONCLUDING REMARKS

Thyagaraja's life and works are almost epics in dimension. Just this one piece, ENDARO MAHANUBHAVULU, is but the tip of the iceberg. One life Time (janma) is not sufficient to explore the endless ocean of Thyagaraja's music.

NATA RAGAM - ADI TALAM

Pallavi : Jagadaanandakaaraka

Anupallavi : GaganaSthitha Praana Nayaka

First Charanam : Amara Taaraka Sugunaadaka Sureswara Raajeswara Haajeswara Kumudaha Payodhi VAsaharana Sundarata VAdana Saananda Govinda Vacho BrindaAnekA

Second Charanam : PoshakaA Animisha Vairi Vaarida SameeraNa Turanga Satkavi Hridalaya /Vaaranadhipa NaThangbhi Yuga

Third Charanam : Indra Neelamani Sannibhaapaghana Chandrasuryanyanaprameya Vaageendra Janaka Sakalesa Subhra Sannutha

Fourth Charanam : Kara Dhrita Jaalaa Asura Mada Apaharana Avaneesura Suraavana Kaveena Bilaja Mouni Kritha Sannutha Nutha

Fifth Charanam : Srishti StithityAnthithaakaaraKrtE Amitha PhaladAa Asamaana Gaatra Sacheepathi Nutha Abdhi

Mada Hara AnuragaRajitha Saatha Chitta Janakaja

Sixth Charanam : Pada Vijitha Mouni Grahanaloala Parama Saatha Saapa VaraMandra Akhila

Adhipa Saroja Bhavadaa Khara Viraadhaa Raavana Viraavavana Anagha

Seventh Charanam : Purana Purusha Nri Varaatmaja Aritha Para Adheena Khara Viraadhitha Sannutha

Parasara Manohara Tyagaraja Sudhakara MaanaSaabdhi Sajjana Sannutha

Eighth Charanam : Sura Ganaa Madha Haranaa Sanaathanaa Ajanutha. Karaabija Laalitha Charana Avaguna

JAGADAANANDA KAARAKA

105

Ninth Charanam : Omkaara Panjara Keera Purahara Saroja Bhava Kesavaadi Roopa Vaasava Ripu Janaka Anthaka

Kalaadhara Aapta Ghinnakaara Sharana Aagatha Jana Palana Sumano Nivvikaara Nigama Saara Thara

Tenth Charanam : Aganitha Guuna Kanaka Chela Saala Vidadalana Arunaabha Samaana Charana Apaara Mahima Adhutha

Sukavijjana Hrit Sadanaa Sura Muni Gana Vihitha Kalasa Nereraa Nidhi Jaa Ramanaa Papaa Gaja Nrisimha Vara Thyagaraja

1. P, Ja ga P, Ja ya P, Ja

2. P, da P, ga P, ya

PN, da P, Ja

1. P, Ja ya P, Ja

2. P, Ja

S, P PM P, Nan I S, N da N, S, Na R

S, I P S, I S, S, G Na

S, S, l G M RR M Na

P PM P M P S NP Ja S, S Ja

N, P N, P S, N Ja

P N, da P S, Kee S K ee

S, l P S, l NP l l

S, Pra na Na S, na l

S, S, l G M P M GMP MRS l

S, NP S, NP

Da PM l k ra Ka G MPM II

P MR S G II

RSSNN II

N P M N P N G M : P M G M :

P N ya ka P N G MP Na ya ka MGM II

... ya ka IIJAGAll

Adi Nuta

106

Anupallavi

P I Ku la Ja -do-Raja

S,, Sat I -do- I Kulaja

N, Pa S SR, se.

P Dhi PN, dhipa SN sura

SN .. SN MP .

S, Na S, N, ga SN Gaga

P, .. MG Su gu na PM

Charanams :

S S S N P, Aa Ma Ra taa.. MP .

MRSS, P N P, dhivaasa

R, S Bhooja dadhipayo

107

N Ja I R ! ! Vya

S, N Ra S Da.. ya NN vada

PN Ra eswa ra . . . S na

SN Je. R,,, PM , I, l, rma .l IS na

G Ra II II NP, S,l, kal. NP mayavacho

PM SwM .. MGM Sadaa Sakala II RSNP

II II M P MM su ra sudhaa

S S SM M , , l Pari poo- NS tara

S M R muda hitha SSN undara ISN

SN Bha. . .! M M P, ha ra naa

S vya SR, nichayaku

NSRS N P, dhivaasa

ra ka MRSS, dadhipayo

||JAGA||

||JAGA||

M II Ka Ne. II

RG II MNP II rata na. II

S, I Ptasu I bha ka raa P, I S R S ridasa I

R I NP vairivaa N I S, PP S Gunitha vaa na raa I

M I S, S R, M R S I ChandraSu rya na ya I G, I mee ya vaa

I NP S, N P S N P I PM R S, I, P M R S, NP

SŚ, I Va ra Jara la ya. I G, M I CandraSu naa pra mee ya vaa

I P, S N P S N P S, R S, M R S N, R S, M R S, I

PMRS, I S R S M GM PSNP, tkavihirda M, P S N P M, P, NPM

MR, NP Vinda Saa nanda Maa I S N P S N P M, N P M R S N, R S

SNP, M, Brinda Go Nigama neeraja S, R, S N P S N P

||JAGA||

R G M II dhi pa na taan ghrīyuga II

S, N, S I sama I na vai ri S R G M I P M R S, I, PMRS,

R S dra sayana I, P N P S N P S, S,, S S,

M I G, M R G, I G M I PM R S, I, P M R S, NP

P, N P M, I bhra naa I gen I M R S, NP

M, P S N P M, I G M Sanni R S M, Saka S, S,, S S,

P, N PS N R S N P S N janaka P N P

P, geendra PMRS

P, N Khagatu Ram.Ga.sa P,NPM Indra Neelamani

||JAGA||

|| IIJAGAII

108

P Ka Sri Thyā. | kritacharithra muouni bibilaja na vee |

N, S R,, PM R I PM || nutha. raa... ja |

P M MP, N P G, MP || kaa. mitha piṇṭha dāa. | sa ma... |

S N PM PS, RS, || garaa garaa nuraa |

P, M R S P M R, || kaarakaa tyain ta | sthithi na pati |

S, P S, P N || Chee Si sthi suthi |

|| IIJAGAll ||

M P M || lo.la va ra man ||.l. |

M R, N S, RG | MP, || sa ra hitha jiita | l kathaa sa |

P, P GMPN || tra grahana |

NPM || Akhila |

NP, M PM || bhaavavara | l daa. |

MG S || dhi. na |

|| IIJAGAll ||

SR, I SR, || paraa | l parā |

P N PS, N PM || saroja jaadhipa |

M M P M l, || va ra tma ja. srita |

MM,P NP || varaā tma ja. śrita |

M P N || pa sa ma pari |

P,, N, PM || Chithajanaka |

S, S Saanka || puu |

|| IIJAGAll ||

GM PN || raa vana |

N P M || viraadhā |

I R, S, || khara | l vīradhā |

P M || lo.la |

109

PS̱,

Viraa

S, NP

Sa jiana

P,

laa

S,

Om…

M R S

li ta cha rana.

NP,

S,RS

kaa ra

M̱ R

nagha

vana a

R, S

maa na

SR

S̃RGM

sannuta.

IIJAGĀII

SR,S

parasa

MRS

vaguna

S̃NP,

N, S̱S

kee.. ra pu ra

RSS,

PSNP

janakaam

S̃NPM

ramano.

PP,

R S̃NP

suragana l.

MRS,

kara ku

Saa-bdhi

Sudha

S,

S, NP

ri pukaraabja

II

S̃NPM

haraavi

M G, M

kritathya

l ga raja

PSNP

M, M

sumavi

MMP

saa l naa.

MR, S

S,

S l

maa na

NP

S, N

saro ja

PN

bhava l

S,

S N

sa l ke.

SNPM

tanaa.

PP, a

janutha.

MGM l

R,

va diru

II

P,

RGM

kara sa

II

MGM

ratara.

IIJAGĀII

P̃,

PNM

l nigama saa

S,

R̃

ni:rvi

N,

kaa ra

P, NS,

dhara l a pta ghrina

PP

S̃S,

Su manoo

P

RSS,

M̃R

l mana

M, l

raa

M̃

ta ka laa l.

P̃

panjara

S̃NP,

S,RS

S̃N

paa la na

NP,

S,

S̃W

savariipu

R,

vaa

M PNP

S̃,

ga tajanaa

S,

ra naa

RG,

pa

M , M

110

PPNP

Aganita

P, M

.Raaga

S

Sa

PNPP MP, N

gunakana

ka che la

GM P,

mahi mana

MRS

dbhutatsu

SR S,

nidhijaa

P, N

nee ra

PM,

dala naa

P, MRS

paapagaja

PMRS

kavijalla

NPM,

runaa. I bha sa maa na charanaa

SNP

I M RS PMP SR II

suramu ni gaana Vinata II

N P M R S

hita dala

I NP, P

nrisimha

S N P M II

RS, S, N PM II

I jaadi nut.a.

I gaa ra varathya

DUDUKUGALA

GOWLA RAGAM - ADI TALAM

Pallavi : Dudukugala Nanne Dora Koduku Brochura Enthiyaku Nindaaru

Anupallavi : Kadu Durvishaya Aakrishtudai Ghadiya Ghadmanaasa Gochara

First Charanam : Sri Vanitha Hruth Kumudaabja Kumudaanasa Yundaga Madi Lekapoyina

Second Charanam : Sakala Bhoothamula Yandu Neevai Yundaga Madi Lekapoyina

112

1. Pallavi

2. Ituvanti

Tenth Charanam : Sathulakai Konallu Asthikai Suthulakai Thingithinayya Tyagarajaapta

Cheri Saaraheena Mahamulanu Saadhimpa Taaru Maarud

Ninth Charanam : Mohulaku Dasudai Mosapoti Gaaka Modati Kulajudaguchu Bhuvini Shudruta Panulu Salpuchununtini Gaaka Naraadhimulanu

Manuchu Nanchi Paramaananda Mondaleka MaathSara Kaama Lobha

Eighth Charanam : Parithaapamulache Thagili Nogili Durvishaya Duriabha

Chakkani Mukha Kamalambunu Duraasalanu Royaleka Sathathaparaadhiyai Chapala Chittudaina

Seventh Charanam : Nammithini Gaakanu Padaabja Bhajanambu Marachina

Drishtiki Saarambagu Lalana Sadana ArbhaKasenA Amitha Dhanaadulanu Devaadi Deva Nera

Sixth Charanam : Lerungakanu Silaathmudai Subhakthulaku Samaanamanu Vanithalu Shoodrulu

Theilyani Natavita Yanuchu Soukhyaapu Jeevaname Sadaa Dinamulu Gadipina

Fifth Charanam : Tana Madini Bhuvini Chakkani

Swavasamowta Kupadesinchi Santhasilili Swaralayambu

R, Ko

M, du

RMP, ku

MPNP SN Bro....

P, Chu

1 M,,, Ra .

PM |

RGM | GM

RGM .... tho

RSN ||

||

||

R, ko

M, du

RM P:, ku..

MPNP SN Bro....

PN chu

S, | Ra

PM PN

S.N. ,

EN .... tho

RSN ||

||

||

R M Ko.

R M Du.

PN SR Bro ...

SN PN chu

SR chu

S, R,, | ra

RGM en

RGM tho

RSN ||

||

||

RM Ko

RM du

PN Bro

SR SN ...

GM, | RA...

PMGM | nne .

PMM NP .

em - tho. ||

||

||

R, Du

RRSS, ku .

PNP M , la Ga.

R, sha

R, vi

R,, dhur

R, Ka du

Nan |

do .

ra .

N, S, ||

RSNP | dai

||

||

Anupallavi :

113

ᴀᴅᴜᴛᴀᴋᴜ s, n pmm

ᴀᴅᴜᴛᴀᴋᴜ

ᴀᴅᴜᴛᴀᴋᴜ

ᴀᴅᴜᴛᴀᴋᴜ

ᴀᴅᴜᴛᴀᴋᴜ

ᴀᴅᴜᴛᴀᴋᴜ poyina ᴀᴅᴜᴛᴀᴋᴜ

ᴀᴅᴜᴛᴀᴋᴜ

ᴀᴅᴜᴛᴀᴋᴜ ti rigi natti ᴀᴅᴜᴛᴀᴋᴜ

r m rn ku ::

p n p m

n s np

s, p n

r ss

ni .

l n da...

il

kumudaa...

m r rss

m, rrss

g, m rrss

madi l e ka

ns

mp,

go . cha ra ll

n s rgᴍ

yᴜn.. daga

hṛit.

s,

tarka

n s r

imritha rasavi heena

lku

n s r

r p m

r s

kadupu baliki

p n p m

ya .

s, taa.....

p,

sa ..

i r s

s r ᴍ

neevaai

r p

bhajanaa

n s np

di ga

n s r,

va. ni

r ᴍ p n

maa...na

m,

yandu

s rsn

ya --

s,

tamula

r s r

r, ..

r rs

muna

s s

rs

di

m, vang-

bhu.

r r

muula kora ku no ruḷa madi kara l ga

r s

..

p p m

tapra-ya

r r

sa ka la

r ᴍ

ga

p mm

pa ra dhana

charanams :

sree. r, m . bja

rrs

1. naade

3. chirus

114

NP

RR

Teli

MPN

PP

Tana madini

RMP

RR

yani

N,

nata

PN

PNSR

khyapu Jee vana

N,

RR

l

druḷu

MP

SS

su.

N,

bhuvini Sow

RM P

PMM

me yanuchu

S,

l

swawasa

PN

l

l desinchi

NPMM

MP, N

P,

sa daa

l dinamulu gadiipina

l

kupa

RSS

Muota

NS,

P

subha kthu

MR N

P, M,

l la ki sa maanu

l

ṛmudai shila

l

gakanu

l

lerun

l

layam bu

RRSS

PNSR

l

santasi

MR S

P,

dhanu

RR S

l

dulanu

lS N

P ! SS,

l

mitaa

RN

M,

l

naa

l

rbhaka se naa

N P M R S

l

janambu

l

kaNunu padaa bja

RG,

l

na

l

le

l

ka Nee.

S RM,

l M,

l

madilo

l

naa

NS

l

smara

l

l

SRR,

l

sadaa

SNPM

RP

l

sada.

RGM,

l

lalanaa

MR

l

l

kamalam bunu

RMR,

l

mithinigaa

l

l

N P,

l

ne ra nam

R P,

l

l

S, S

l

shti ki saaram bagu

NS,

P,

l

de

R S

l

mukha

SN

RS

l

swara

PM

l

kkkani

S,

Dri

S,

l

Dee va di

P,

l

Cha

l

lIIDUDUKU!!

l

l

lIIDUDUKU!!

l

lIIDUDUKU!!

S R S

dur ma damdha janula

PMR

S,

kori

M RM

sa lanuro-ya

NS

R,

le

R,

nava

NSR

ka

M

lo

RS

R,

kaama

RMP

NPP,

pari taa

MPM

tsaramo hula

NPNS

Satatama

P S N P,

pamulache

PMR !

tagili !

RS, NPM

nai caraadhi !

MPN

nogili

P, N,

la chitthudai ! tia !

R

M, S R, M !

nenichi ! paramaa nanda

P, M

ku !

R,

bha mo hula

RM

daasu ! dai !

S, R !

mo ! sa !

S,

pothi gaa !!

S,

da lee kaa..

R S,

S,

kaa. !!

S, N P, M, RS

durlaabha manuchu

RPM

R, M

cheri

M

nu

R M P S

daguchu bhuvini soodrula ! panulu

R M

saal

PN

puchu

R M P S

l nuntini

S,

gaa !!

S | N P | M R, S||

l matamula nu Saa dhi ! m pa Taa ru maarul

NPNS

R

Heena

RMPN

saara

SR

M

PNP

kulaju

S

dha

RR

mamula

MPM

madamaa

PPM,

S,

na raa

PNP

Modati

S,

na

S R S

duraa

R R,

Maa

116

" , PM, "

" Sa tu "

PM,

Sutu

la :

RS,

ta tu

RMRS

Thya

PM,

la ...

R,

kai :

SR,

La na

kai.

SRN

ga

R,S,

kai ::

S,

ti.

SNP,

ko ....

MR

ni

NSNP

ra...

RM RM 1P,

ko ......

SRM,

gi

PNPM

jaa.

PMGM

nna ...

PN

llu :

R,

ti

RM

pta...

RGI M,

llaa l...

P,

....

RSNP

Na

PN

M,

naa :

S,

||

P,

dha

N,

yya

||

S, N 1 PM...

yi

tu...

R,

sthi kai ...

RGM

van

= =

= =

, =

= =

RSS ||

ti...

||

117

IIDUDUKU!!

AARABHI RAAGAM - AADI TALAM

Pallavi : Saadhinchene Oi Manasa

Anupallavi : Bodhincina Samhaarga

First Charanam : Samayaaniki Vachanamulu Boruku Cheshi Thaa Pattina Pattu

Second Charanam : Devi Vasudevula Tagu Maatalaadene Neginchinatu

Third Charanam : Rangesudu Sat Ganga Janakudu Sangeetha Saampradaayakudu

Fourth Charanam : Gopi Jana Manoradha Mosangelakane Geliyu Jesevaadu

Fifth Charanam : Vainitala Sadaa Jeychunu Mrokaa Jese Paramaatmutadiyugaaka. Mudambunu Muddu Betta Navvu Chundu Hari.

Sixth Charanam : Parama Bhakta Sugunapaaraarundaa Janaa Managhudee Kalira Naari Viraaja Ne Hridambijamuna Joochuchunduga

Seventh Charanam : Hiire, Rama Chandra, Raghukulesa, Saseeruhadalaaksha Anuchu Vedukonna Nannu Thaa Brovakanu.

Eighth Charanam : Srijaana Maanasa VenkatEsa Suprakaasa Sarvonnataa Tyagaraja Ne Pogadaga Yanuchu Hare

Ninth Charanam : Sadbhaktula Nadathalitanene Amarikaga KonE aluga Vaddanene Vimukhulatho

Cherabokumanene Thalukomanene Dama Samaadi Sukha Daayakudagu Sri Tyagaraja Nuthudu cherita

SADHINCHENE

Yasoda Thanayu Danuchu

Badhala Deerchu Vadanuchu

Para Naari Sodara Aja Viraaja

Kanambara Dharala Sanmakuta

Geyudu Maanavendrudi Ramachandrudu

Amarikaga KonE aluga Vaddanene

Cherabokumanene Thalukomanene Dama Samaadi Sukha Daayakudagu Sri Tyagarala Nuthudu cherita

Pallavi :

P, SND, yche

P, Saa....

P,R, R_PM MG

S,, SDDP

D, P,PMG R, R S

Sa

Dhīm..

PR MG RRS,

Dhin

M_PM

SND,

..che

RRS,

Dhī

SND,

Che

IS, SND, ..che

IS,

lne

S,

im..che lne

IS,

"

O.

DD

O.

I PM

O. I

SD I

R, M

Ga

na

Ma

RS

MGRS

Manasa

SR

°

DS

Mana

sa

N.

RMP, MPDP

O.

I MPDP

=

SRM.

:

--

lSR

l Ne

:

"

"

RS RM

sa

=

MG... RSRM

S.

RM

:

119

Anupallavi

DDP, Bo

D,SDP, P,DP din..

-Do- Bo

-Do- Dhinchina

MGR, .. ku

S,DDP SDDP ........

R, Bon

S,, Sa.

R,R, china

MG

S,RS S, che

RRSS san

R, R, China

-Do- S, si

S,R, II mulu

-Do- Vachana

S,RS, I S, San... I maarga

PP Pa

P, D, I MPD, na

MGR, . . tti

R, I MPDR, ... ttu

Manasa II.

D, na

MP cha

-DO- I chana mutū

DDP, rgava

MGR, maa

S, S, II mula II

D0 ne

RRSN . . . che

PMG dhin

120

Charanams

P, M, P DP

Sa ma ya P, DS

P,,,

tha gu.

P,

ki ni

P,

yaa

P,

De

P,

va ra

P,

kee...

P, R,

MG

P, MG

Ran ge sudu

l, D,

san gee

D,

PDP

D, P,

saa.

D PM

gan gaa

DP

Va ni

MP

ta la

DS,

sa daa

||ISA||

||ISA||

||

||

||ISA||

||ISA||

SRM R, pra daa yakudu.

||

||

S, RM, I P, je se. vaa. -du

||

GRRS,

l mu dadiyuga

||

l maa tmu dadiyuga

de ne

RSRM

!!

!!

... de

RS MG

!!

!!

DS, S R M

~

gin.. chinatu

S,

l, lmu dadiyuga

l,

saam

ta

RM

li yu

P,

I

DD l

P,

M l

l kka je separa l maa tmu dadiyuga

laa .

PPMG

S,

D,

D P,

l,

Ge

R,

vu la ne. l.

l D,

l san gee

P, l,

ta l iaa

MPDP

kane

RR,

R l, SS, S,

maa .

P,,,

DSISRSDD

SS, de

gu l..

l D'SS

kudu ja na

M, l

le l.

MGR

yu chunu

l jee

..

MP

l

su.

l

RR

M, P

radhamo sanga

P,

DDP

so. kka

ta

MG

MGRR

va.

RPMG

sat!

P, R,

D PM

saa daa

P,

DS,

Go pi jana ma no

PD, P,

DOS,

saa daa

S,

SD,P

ka

ya

so

da

D,

P,

D

Ka

li

ba

dha

la

dee

rohu

va

da

nuchune

SN

D,

P,

M

R

Pa

ra

ma

Bha

kta.

D,

P

S,

SD,P

122

S

Hari

II

SAII

R,

II

ghu

dee

II

II

SAII

RM

II

ndaga

II

DDP,

MGR

Sayana

Paranaa

MGR

S

paghana

II

Chundu

G

na

P

M

ja

nma

GRS

RM

chu

chu

P,

I,

D,

P

Betta

I

Navvu

P,

DIM,

P

run

da

I

S

mayaa

S.

IS

S,

D

IHRidambu

Ja

mu

na

joo

l.

DD

P

S

Raghukulesa

I

Mridu

Su

bha

sha

Se

I

shayana

S

SD,

P,

MGR

D

IP,

R

ja

raa

januta

ni

I

ra

DR,

Gl,

raa.l.

DR,

R

MGRR,

R

ISR,

Mu

dam

bu

tsalu

du

MGR,

S,S

SRM

turaga

MPD

S,

Thanayu

danchu

R

M

Chandra

R

PDR,

M

va

P

D

SN

P,

M,

Ra

DS,S

-So

da

raaja

viraaja

D,

P

S

Hari

e

DDP,

Ri

S, R, S, S, D P M || vakanu || D P M ||

S, S, SS, S, D || mataasa || M I G RR, S R S || yanuchu ne || M G R M || chandrudu. ||

P, bro', S, D || iinjaa || P, M I G RR, dala viraa ji | ta Hare || P, M G R M || Ra ma ||

S, |, S, |, RSR, P, || pratnatasa || D, | R || na || RP, MGR, || ja ||

S, R, S, || nannu || R, S, || vendru || S, R, S, || ii || R, S, || ta. ||

I MGR, | ko. nna || R PM, sa. || PSS, nmakuta || R, S, D || maa na || D, ta. ||

P, P, || yanuchu vedu || MGRR, su prakasa || P, sa || S,S, D || ge yudu ||

DDP, || laaksh || P, DDP, venka || M, SR || na kana kam baradharala || MGRR, S || ja || SRSN, Na.da || SD, ga. ||

S, SRSS, || ruhada || DDPP, || tyagara || R, || kthu || PD, ri ka ||

MGR, || || R, || ta || DDPP, || gaa || DDP, || dhba || RM, Aa ma ||

R, S R S, R MGR, M I S, || ko . || nee. || R, S R S, R MGR, M I S, || ko . || nee. ||

SRSN

D,

RP

MG

A lu ga. dda . ne

SND, Ve. ta.

DD PP

R, Thya

DDP PMGR, MGR

vi mu khu la to...

SR,S, ka.

RM MG

R, lgi te ta.

P, di

RMP, su. kha l daa.

S,S, ja

SDSD nu . tu

R, ra

MGRR

R, bo.. SRS SRS,

S, lu. ko.

MPD, MPD,

I I I

PPMGR,

P, . PPMGR,

ku l ma

MGRSRM

I I

P, ma

D, RS RSS,

ne .. R ,,

M, ne...

RS,R,

I SND

Sri... ya ku Idagu

I I

MPD, MPD,

raa.

P, . ne.II

kane.II

MDR II

(4th Sangathi)

II SADHINCHENEII

124

VARALI RAGAM - ADI THALAM (Vilamba Kalam)

KANAKARA RUCHIRA

Slow Tempo.

Anupallavi :

Dina Dinamunu Manasuna Chanuvuna Ninnu

First Charanam :

Paaalu Gaaru Momuna Sri Apaara Mahima

Second Charanam :

Kalakaalamu Mukha Kala Kaliginna Seetha Kulukuchu Norakannulu Jooche Ninnu

Third Charanam :

Bambu Suchaalaankrutha Kandhara Sarasijaksha Vara Kapola Suruchira

Fourth Charanam :

Kireetadhara Santhathayow Suruchiche Maata Veenula Churukkana Taalaka Sri Harini

Fifth Charanam :

Dhyaaninchchi Sukhiyimpaga Leda Yatu Jataayu Moksha Phalada Pavanaana Suthudu Needu Mahima

Sixth Charanam :

Delpa Seetha Telisi Valachi Sokkaleda Aa Reethi Ninnu-

Sukhaaspada Vihaaraapha Surabhooja Maanithagunanga

Seventh Charanam :

Chidaananda Kharunaarasa Dhrurathaanga, Paramaadaya Vidhehamasa

Charaṇam :

Rasikudu Kaminchi Premameera Karunaalayaa Battukonu Vadu Saakshi, Raama Naama

Eighth Charanam :

Saakshigaada Sundarasa Ambudhi Vaasa Mariyu Kalasa Shounaka Purandara Nagajaa Dharaja Mukhyulu

Sabatathamu Prema Poorithubagu Tyagaraja Nutha Mukha Jita Kumudahita Varada Ninnu

125

Pallavi

: P ; D, DN, Ka na

M, PDN DPM PMR, G, GRR

S, N, G,, I GMP, ka va I sa. na ni nmu...

Anupallavi :

o S, Di na

N : S|N

Ka na..

SRG RSN

DPM

G, I RS

Ra I .

chi....

NSRSN

Ru....

-do-

-do-

Kanak Vasana Ninnu II

GMP, nu

PMG, mu

DPM ..na..

S|N Di

DSN

Ma. Ru

DPM na...

ka. DN,

P, DNSR II

nin nu ... II

GMP, I D,

MPDP I I

N.. su..na..

S RG

cha.

BSN I

nu.

II

II

Kanak Ruchira.

126

R, II Srijaya II MDD II PM + IIKanall

G, na ' P,P,' . . . 1 I MM ru ... G, RR S, R, na mo . S, R, dana I

DP DP MP ru. P, ga.. P, lu '" P, Paa .

I ŘŠDNPNDI Š, I see I tha kulu chunno. ra I kan natu nu joo.che Ninux GM x DPM II nnu.

I ŘG SRG RR G, MG, I D Imaa laaa I che. laa manimaya I,

ŠŇŘSN N, S, hi ma I N, ma I e manu mukha G, G, RGMP kala Kala GG P, M, PDMP rka bhasu

SR II R R kan. dha ra. sara II MP MPDN II DM ni. sa.. ra liga.

I ŘNDPNDI ŠMP varakapo la suruchira kl ree I. bu mana I

PMPDN S I jaaksha Si G R, S Š, P,M, PD P M,

IlKanall sa.. ra Ilga. G R II nu la II SM, R, I G I na maata vee nu la

I ŘGM P, D SR I G I ka ma shoola mai. I na

P M G G, I RGM suruchi chee I Saa pathni maa ta ta yow

127

Ṣ, ṘG, Ṣ, Ṛ, Ṣ, ṚG, Ṣ, Ṛ, G, D, N, Ṣ, Ṡ, ṚS, Ṡ, ṚS, Ṡ, ṚS, I, Ṡ, ṚS, Ṡ, ṚS, Ṡ, ṚS, D, II PM, D, II PM, D, II TU, A II da le . sukhi yim I pagada II Kanakanall, P, D, M II P, D, M II P, D, M II phala da pa va maa na II Kanakanall, Ṇ, Ṡ, I D, D, P, D, Ṇ, Ṡ, I D, D, P, D, Ṇ, Ṡ, I D, D, P, D, + II PM, + II PM, + II PM, nin nu daa ree ti vala chi so kka I lisi de I seeta delpa, M, G, R, II, M, G, R, II, M, G, R, II ha ra raa pta, I D, I D, I D, vi ha maa na sa I vi ha raa pta, Ṛ, Ṡ, ṘG, Ṛ, Ṡ, ṘG, Ṛ, Ṡ, ṘG, Ṛi, Ṛi, Ṛi, Ṛi, Ṛ, Ṛ, Ṛ, Ṛ, Ṛ, Ṛ, Ṛ, Ṛ, + II R, + II R, + II R, dhritara dhaan ga, I Ṡ, Ṡ, Ṡ, Ṡ, Ṡ, Ṡ, Ṡ, Ṡ, ND II, ND II, ND II, I haa ra Sri Raghu II Pate II Kanakanall

Ṣ, ṚG, ṆS,Ṛ, Ṣ, ṚG, ṆS,Ṛ, Ṣ, ṚG, ṆS,Ṛ, ja taa yu moo, I ṆS,Ṛ, I ṆS,Ṛ, I ṆS,Ṛ, I, R, R, R, R, R, R, R, R, MP, MP, MP, ha maa ran, I G, I G, I G, kha ga tu, GRR, GRR, GRR, nan,daa I nan,daa I nan,daa, Ṛ, Ṡ, Ṛ, Ṡ, Ṛ, Ṡ, Ṛ, Ṡ, R, S, R, S, R, S, R, S, I R, I R, I R, I R, rasa varu I na, I Ṡ, I Ṡ, I Ṡ, I Ṡ, S, S, S, S, la ya bha ya pa, GR, GR, GR, GR, I haa ra Sri Raghu II Pate II Kanakanall

Ṛ, G, GR, S, Ṛ, G, GR, S, Ṛ, G, GR, S, ka la nitha la va ra, ND, ND, ND, I, I, I, I, su khaa spa dava I dee, GR, S, GR, S, GR, S, GR, S, GR, S, seeta delpa, S, S, S, S, S, S, S, S, mukkaa mbu dhara pa vana vi I dee, G, R, G, R, G, R, G, R, G, R, G, R, PDM, PDM, PDM, PDM, ja ma nitagu naan ga chi daa I nan,daa, PD MG, PD MG, PD MG, PD MG, yaa ka ra ka runaa, P D M, P D M, P D M, P D M, ma da yaa ka ra karunaa

N, D, Ṡ, N, D, Ṡ, N, D, Ṡ, tha laa ma, D, D, D, D, D, D, D, D, N, D, Ṡ, N, D, Ṡ, N, D, Ṡ, ma hi ma delpa, GR, GR, GR, GR, GR, GR, GR, GR, S, S, S, S, S, S, S, S, DPM, DPM, DPM, DPM, su khaa spa dava I dee, N, N, N, N, N, N, N, N, Ṡ, Ṡ, Ṡ, Ṡ, Ṡ, Ṡ, Ṡ, Ṡ, DN, DN, DN, DN, Pa ra ma da yaa ka ra karunaa

Ṡ, MṠ, Ṡ, MṠ, Ṡ, MṠ, Na kka kka Ru Chu, D, P, D, P, D, P, D, P, D, P, D, P, Mirigamada laa ma, RGMP, RGMP, RGMP, RGMP, RGMP, RGMP, RGMP, Sutuduneedu, 5.

Ṡ, Ṛ, Ṡ, Ṛ, Ṡ, Ṛ, Ṡ, Ṛ, Ṡ, Ṛ, Ṡ, Ṛ, Ṡ, Ṛ, Ṡ, Ṛ, S, S, S, S, S, S, S, S, Ṛ, Ṡ, Ṛ, Ṡ, Ṛ, Ṡ, Ṛ, Ṡ, Ṛ, Ṡ, Ṛ, Ṡ, Ṛ, Ṡ, Ṛ, Ṡ, Ṛ, Ṙ, Ṙ, Ṙ, Ṙ, Ṙ, Ṙ, Ṙ, Ṙ, Ṙ, Ṙ, Ṙ, Ṙ, Ṙ, Ṙ, Ṙ, Ṙ, SRG, SRG, SRG, SRG, SRG, SRG, SRG, SRG, NDM, NDM, NDM, NDM, NDM, NDM, NDM, NDM, NDMW, NDMW, NDMW, NDMW, Surabhoo jamaa nitagu naan ga chi daa I nan,daa, N, N, N, N, N, N, N, N, Ṙ, Ṙ, Ṙ, Ṙ, Ṙ, Ṙ, Ṙ, Ṙ, Ṡ, Ṡ, Ṡ, Ṡ, Ṡ, Ṡ, Ṡ, Ṡ, S, S, S, S, S, S, S, S, Ṛ, Ṛ, Ṛ, Ṛ, Ṛ, Ṛ, Ṛ, Ṛ, 6.

128

S, , P ,

M ,

M, P D,

P D,

DD P M

Kaa mim chi prema meera karamula

D, , N ,

N ,

S, RG, ,

R G,

GMPD

Vaadu saakshi Ramanama rasikudu

R,,

PMGR, ,

PMGR,

DPMG

rada paraa.. mariyu naa ::

R G,

sara sukha

SRGR ,

S,

mukhyu lu saa kshi

N D,

R G,

ND

mahaka puran da Irana gajaa dhara ja

R,

kai la sa

M,G, , R

su kha ka la saam budhi I vaasritula. II ke.

R G,

sun. da. re. sa I su

S R,

S, N

PD I NDP, MDPD II DM +

S R,

sadal nudu

GR S

saakshi... ko nu

GR, S R

nee du paa da kama I lamul battu

R,

ga

RGR II

Tya ..

G, GRB, S, II

ra ja. II

PMG, GPM I DPM I

gu.l

Nu

SNDP, P, DNSH II

ninn ::

S I ND GR,

da

PDN

gha dha ::

PM ,

Ri thu

GPM

ra

RSN

va.

R ND

Hita.

SSN

G, M Poo ..

GMP,

S,

ku. mu I da.

MPDN

Pre..

tha tha mu.

DPMG

jita

GG,

mukha

GMPD

PPM PFM

Sa

PP,

Nuta

SSN

do.

129

IIIKanakanII

IIIKanakana RuchiraII

SRI RAGAM - ADI TALAM

Pallavi : Endaro Maanubhaavulu

Anupallavi : Chanduruni Aita Vamuni Hidayaaravindamuna Joochi Brahmaanubhavinchu vaartu

First Charanam : Saamagaaana Lola Maanasa Vanacharavara Sancaramu Mooradhi Baaguga Podaganevaru

Second Charanam : Saraguna Paadamulaku Pathithapavunadane Paraathparamu Seyuvaaru Gurinci Raagamutho Nija Maanamuthonu Paduchunu

Third Charanam : Sallaapamutho Swaralayadi Galarnumulu Harimaya Saramulu Jagamellanu Sudhaa Drishtiche Brochuvavru

Fourth Charanam : Sobhillu Bhaktha Kotu Lilalo Thelivitho Chelimitho Karunagalgi Sareerulai Aananda Pavodhi Tyouni

Fifth Charanam : Jagamellanu Sudhaa Drishtiche Brochuvavru

Sixth Charanam : Hoyalu Meera Nadalu Kalgu Sarasuni Sadaa Kanula Joochuchunu Pulaka Vibhaakara Sanandana Digesa Kimparusha Bhoosuravarulu

Seventh Charanam : Parama Bhaagavatha Mounivara Sisi Baalachandra Dhara Shuka Sarojaabhava Pavanasoonu Turbula Haarada

Eighth Charanam : Ne Meera Nadalu Kalgu Sarasuni Sadaa Kanula Joochuchunu Pulaka Vibhaakara Sanandana Digesa Kimparusha Bhoosuravarulu

Vachana Charanam : Ne Naama Vaibhavambulanu Nee Sathyamunu Raghuvara Sadbhakthiyu Jainchakanu Durmathamulanu Kalla Chesinattineemadi Neringi

Santhatatambunanu Guna Bhajanaa Ananda Keerthanamu Seyuvavru ENDARO MAANUBHAAVULU 130

Pallavi

S, R, GR,

S N

""

S, R,GR

NS

lu

S,R, + Enda

NS, lu

N S, N

NS, lu

P, nu...

S,

R,G

RMPMR,

ki .. l..

S,,,

Ma...

R,GR

S,

ma

P, bha....

SN

RS

RMP, l,,

S N

haa...

SN

haa....

P, nu

NP

nu

S,,,

bha....

P, SN

bha ....

SGRS

vu....

Ninth Charanam : Bhagavatha Raamayana Geethaadi Sristhi Saasthra Puraanapu Marmamulan Shivadi Shanmathamula

Goodhamulan Muppadi Gukkoti Suraantharangamula Bhaavabulanerigi Bhaava Raaga Layaadi Sowkhyamuche Chiraayyuvul

Tenth Charanam : Pranamuppirigonnavela

Galigi Nirvadhi Sukathamulai Thyagarajaapthulaina Naamamunu

Nijadaasuilaina Vaarendaro Mahanubhavulu

Dalache Vaaru Raama Bhakthudaina Thyaaga Raajanuthuni

131

lu . . . + anda ree

R, MR

S, R, S,

N, S,

NS,

lu . . . Anda re

R,

S, N, S

NS

Anupallavi

P, M, chandu

RMP,

M | PN

MPN,

PNS,

M, ni

P,N, P,

M,, R

RMP,

M,

NNPM

-do- chanduruva

R, G,

GRRS

da .

|| EndarOll

SN

R.G.R.S

M. PM ||

132

P || == == == °S r maa.

M | P, yaa | I °P S N || I . brah chi l.

PM R, da. °S N Ju . | P_ NP M, M .PM R, NNPM chu.

MR . . . l. °G R | I R, | I Hri °N S R G R | I . . . l.

I | N_ S N nu na . | SNS nu . | . . . l.

. . . l. °S N S R G R R | S N S, S °S N S | R G R S R | . . . l.

RGRS mu da. °S R S mu ma . | PM Cha nda °R, + Vinda . | °S, nanda . | . . . l.

NSRM + . P, P . A . Ra . | N + . | . . . l.

||Rendaroll . . . || . . . || va . . . || . . . ||

MPNS %% manasija || . . . || GR " . . . ||

P, ' la . . . | I S, ' I moo nya . | S N P G, I , GR " . . . | . . . l.

P, ° I na . | NNSN %% na dha . | GR " . . . | . . . l.

SNNS %% . . . | S, Gaa va . . . I nya | GRRG I RR " . . . | . . . l.

S, ma ' ' . . . | S, ' ' . . . | R G R R . . . | . . . l.

Saa R, laa . | R, G R . . . | Maa na sa Vana chara ma ' ' . . . | . . . l.

Charanams : 1. S, 2.

133

P P M R, P M R G, G II R SSN + NP M I, MP I, P M R jamunu sama I : se .. yu II . va . :

t NP, I NP, PMR swaan tamanu { sa no G R, I, G R S rdhamagu nijamaa II RMP, lila II II lilu bha I I kta ko.tu

P, I SNP, PPNP, GR, R M PP, PP M R, PNS rgamuto PMMP

PPMR Sa raguna Pa damulaku RSNP, Botlu pa vanune paruni II RGRG NSRG nupadu chunusa.lla RRGR Hanguna manimaya saramulu galamuna I

3. 4. RMPN, PNS R, RMPN I chelinitto telivi to PNS P, N MPN Hoyalu meera nadal u

N S N P, S NP S N P G I R, G I R di I raa swaralaya pamu I to I PNS I sho.. S, R S R N S R I, I S R N, P I P, P N P, I P, I

S N SNP, I, SNP PM, I, PM RG II R, S, N+ PM II chenu varendaroll llainu sudha I dri.s ti che. bro. I jagame karuna galgi I

R G S G R S, I, G R S N P, S NP I, S R GRSN I, G R S N, P, N P, S II N, S II kanula ju.l. chuchunu pu la ka salla I sadaa I

R, R, R R, GRR, I GRR PNPM ga Igu sarasuni

134

n, , ree. . .

P P, di gee

N S R, shasura kim . .

R M P N, MP N, Paramabha gavata R, mou

NMR, lai. ru

P, nuw

IN>, H payodhi

S N P, CiH, ghnu lai . mudam l,

PMR PMPR yashamuga

7. 135

P, ""

N P N Pa. vana

M,P soonu

R, M, Baalachandra 'dharasuka

GRS purusha kanakaka I shipusuta

MPNS

S, Saro

N S, ghanulu sa

RMP, V ai..

SNP 'swatulu

M R PMR, I kamalabha vasu khamu I sada nu bhavu luga II ak aa.

R G RR, RG RR,

N S o G R S naarada

S N P I,

GR, I vibhaa kara sana ka

RGRS

I ja bhava bhoo

N P M R M P I PS,

I sura vanu lu.

N S o N S,

I sa nan.da ma.

NN MP l,

PM bu tum.

I MP

N o N S

S, S, ni varasasi

PNPM

M ni

NMR nanda

R M P NMP Pusuta

R ""

P, "" Nee'

jBBR,

oGBS

Paramapa vanulu R, M Naama.

R MP Me.nu

||Endaroll

GRSN + la va.. + Rendaro

GRSNPNS o para.kramadhai II luga II ak aa.

Bhavaṃ bulanunee l.

P, N S , P, N S ,

ryamula sanita

maana samu Eevuanu

I vacchana satyamunu

I raghuvara mihi.yeda II

S R M P N, P N II

R, M P N

P, P M R

R, G R S

P, N S

S N S,

S N,

NSRR

RGR

RGR

RGR

Sadbhā krityajitha

I durmata I mulahu kalla

bunanu gunabhaja

tatam gisan

S, N

NPM

RMPN

S, N

RS,

GR,

R,

PNS

NSR

GRS

je. I si na tti ni madi II

I keertnamu se.

I Gee... yana ...

Bhaa

S, S

R, S

R,

P, R

NPP,

PN

RS, R

l sa. strapu ra napu

ta di sruti

S, NP

P I PMR

R,

N SR M P N I P, M R, P

Shan matamu la I gudhamulan

mu I ppadimu.

R, R R,

RR, SNP

GRR

IR GR

galayadi

soukhya II

bhavaraa

I nerigi

bhavam bula

tarangamula

tisuraan

136

SS,

PP, RR,

GRS NPNS

muche chira yuvala galigi niravadhi

P, M, P, Prema mu...

PN PM RGRS mu

naa. MR la

R, R, R,

RMP, SNS nu

R, NS RGR bha

Raa. S, R, S N,

R, ktu. N. SN P,

ni tu.... nu. .

I R S, S, S,

I su khatmulai

I go ::

R, ta .

S, I S, I

SN RS dai .

ja. ni..

OM TAT SAT

P, PMR, nna .

I P, P,

P, "

Rt PM che

I vaa NP

na I Tya

I P, SN

nu.. .

M. PMR, I NNPM

RGRS II

la .

I daa su. lai. na. II

R, G, GRRS II

ve... "

P, "

ru.. .

S, ' , ga . . .

NS, e N, :

R, II GRSN + nai II

R, II Rendroll

thya I ga ra jaa ptu

' 137

About the Author

'Mahamahopadhyaya' Dr. Nookala Chinna Satyanarayana Principal S.V. Music College, Tirupathi

Gurus: Mother, Mangalampalli Pattabhiramayya garu, Dwaram Venkataswamy Naidu Garu, Dr. Pinakapani garu

Posts Held

Professor, Vijanagaram Maharaja's Govt. Music College, Princlpal, Govt. Music Colleges : Secunderabad, Hyderabad, Vijayawada.

Professor & Head of the Dept. of Music, Telugu University, Hyd.

Honours, Titles etc.

Asthana Vidwan, T.T.D. Tirupati, S.V.Devasthanam Pittsburgh, USA. Kanchi Kamakoti Asthanam, Sangeetha Nataka Academy Award, Senior fellow of cultural Dept. Govt. of India.

Member

S.V. University Academic Senate, S.V. Mahila University Board of Studies. Madras Music Academy, Chairman Board of Studies in Music, S.V. University. Top Class Artist of AIR & T.V.

Titles

1. Maha Mahopadhyaya, 2. Sangeetha Sudhamava
2. Telugu Velugu, 4. Sangeetha Vidya Sagara, 5. Sangeetha Sudhakara
3. Gandharva Vidya Visaradha, 7. Lakshya Lakshana Marthanda

Books

Raga Lakshana Sangraham, Monograph on Tyagaraja'a Pancha Ratnas, An Introduction to the Science of Art of Music

Innovations

Non Formal Education of Music

International Professional Multi Tours

To USA, Canada, U.K., Malaysia, Singapore.