1. Pallaki Seva prabandham_Thesis

THE LITERARY AND MUSICAL VALUES IN THE OPERA, SANKARA PALLAKI SEVA PRABANDHAM OF SHRI SHAHAJI

S. ANNAPURNA B.A., B.Ed., M.A.(Music) Asst. Professor Dept. of Music & Fine Arts SRI PADMAVATHI MAHILA VISWAVIDYALAYAM TIRUPATI

Under the Guidance of Dr. PRAPANCHAM SITA RAM, Ex. I.B.S. M.A., Ph.D., P.G.D.P.R., G.C.O.A., G.P.S. & S., Professor, Head, Chairperson (BOS) Dept. of Music & Fine Arts, S.P.M. UNIVERSITY, TIRUPATI - 517 502.

is submitted for the degree of DOCTOR OF PHILOSOPHY

IN

MUSIC

SRI PADMAVATHI MAHILA VISWAVIDYALAYAM TIRUPATI - 517 502, (A.P.) INDIA.

2002

DECLARATION

This thesis entitled "The Literary and Musical Values in the Opera

Sankara Pallaki Sēvā Prabandham of Shri Shahaji" is my original research

work carried out under the guidance and supervision of Dr. Prapancham

Sita Ram, Professor, Head, Chairperson (BOS), Dept. of Music and Fine

Arts, S.P.M.Viswavidyalayam, Tirupati.

I declare that this has not been submitted either in full or in parts to

any other university or other institutions for the doctoral degree, publication

or for any other purpose.

(Dr. Prapancham Sita (S. ANNAPURNA)

GUIDE Research Scholar

CERTIFICATE

Dr. Prapancham Sita Ram, Ex. I.B.S., M.A., Ph.D., P.G.D.P.R., P.G.C.O.A., G.P.S., & S., Professor, Head, Chairperson (BOS) Department of Music & Fine Arts, S.P.M. University, Tirupati - 517502.

This is to certify that Smt. S. ANNAPURNA has done research work

and completed the 'THESIS ON THE LITERARY AND MUSICAL VALUES IN

THE OPERA, SANKARA PALLAKI SEVA PRABANDHAM OF SHRI SHAHAJI'

under my guidance and supervision. This work has not been submitted for any

degree or diploma to any University, either in full or in parts.

Date : 30-4-2002 Place Tirupati.

( Dr. PRAPANCHAM SITA RAM )

ACKNOWLEDGEMENTS

My father is late Sistla Satyanarayana Rajasekharam, "Sangeetha

Bhushanam" and "Vaggeyakara Ratna". As a Gandhian he adopted music

for social reformation. He trained me from priliminary stage upto the post

graduate level in vocal music. As such I am fortunate enough to plunge deep

into the ever flowing waters of music. It is he who taught me to locate the

pearls of light and the jewels of sound in the vast ocean of Nada. Hence I do

remember him along with my mother Umadevi in this context.

I am deeply indebted to my guide, Dr. Prapancham Sita Ram,

Professor, Head and Chairperson (BOS) of the Department of Music and

Fine Arts, without whose wholehearted help, encouragement and critical

analysis at each and every moment, the present work would not have been

done.

For the practical teaching of songs from Sankara Pallaki Seva

Prabandham, I pay my respects to Sangitha Vidwan, Sapthagiri Vidwanmani

Sri M.S.Balasubrahmanya Sarma.

As student, teacher and researcher I owe a lot to my Institution Sri

Padmavathi Mahila Viswavidyalayam, Tirupati. The present research work

for the award of Ph.D. is another benevolent privilege bestowed upon me.

iii

I am thankful to my colleagues in the department for all the concern

they have shown for my academic pursuance.

My sincere thanks are due to my husband, Er. J.S. RAGHUPATHI

RAO who always stands by and encourages me in all my endeavours.

I make a special mention about and show gratitude to

Dr.Madhuranthakam Narendra, Associate Professor, Dept. of English,

S.V.University for his continued support, particularly, in going through the

thesis and making necessary corrections in my English. I should not forget

the assistance of my brothers, Dr.S.Nataraja Murthy and S.Vijaya

Kumar in this connection.

My sincere thanks are due to Dr. Bethavolu Ramabrahmam,

Professor, Telugu University and Sri N. Viswanathan, music and dance

critic and Telugu Pandit of Saraswati Mahal Library, Tanjavur for their

kind suggestions. I am always feel at heart to be grateful to

Dr.Mangalampalli Balamurali Krishna for his valuable inspiration to me

and to my family members in the pursuit of aesthetics.

I thank every one duly who has given me apt support and

cooperation directly or indirectly in the completion of this research work.

(S. ANNAPURNA)

1V

Inpyarmn tonple. "ith the Kamalalsam the famous tank ip lrom

SPECIAL NOTE ON SHĀHAJI WRITTEN BY A PRINCE OF HIS DYNASTY

Shahaji (1684-1712 AD) : Shahaji was the eldest son of Rajah Venkoji.

His literary works in several languages are numerous. SANKARA PALLAKI

SEVA PRABANDHAM a mellifluous dance drama is one of his works meant

to be enacted in the shrine of Thyagaraja at Tiruvarur. He endowed several

villages with Agraharam and named them after eminent scholars or poets. In

addition to contributions of this court Poets, his own output of literature by

way of dramas, kavyas and nritya sahityas is stupendous. He composed

PALLAKISEVA PRABANDHAM, THYAGARAJA KURAVANJI in Telugu and

THYAGESAPADAS in honour of the presiding deity of Tiruvarur. His other

compositions are SONGS ON THANJAVUR BRUHADEESVARA. His

endowments in Thiruvisanallur for 48 Scholars are among his note worthy acts

of patronage of poets.

Shahaji's own compositions in several languages and that of his court

Poets have enriched the literature of Thanjavur and infact his period was a

golden era of literary activities. He is the father of Drama literature in

Marathi Language. Shahaji was described by all as "Abhinava Bhoja" for his

attainments in Fine Arts. Shahaji wrote Telugu opera entitled

"SĪTAKALYANAMU".

Ref: "RAJAH SARFOJI-II" by Prince Tulajendra Rajah P. Bhosale, Chapter XXV, p.139 - Published by Shivaji Rajah T.Bosale Prince, Sadar Mahal Palace, Tanjavur - 613 009 (1999).

Tukoji or Tulaja I (1728-1736 A.D.)

Serfoji II (1798-1832 A.D.)

PREFACE

The impact of music on the human being can hardly be exaggerated. It

elevates the human mind and soothes the human heart. Music leads the man

towards sublimation. Music is always acknowledged as the most superior of the

fine arts as the musician along with writer, painter and sculptor, can rise up

to the heaven and whisper some thing in the ears of the Eternal.

While learning the songs of Sankara pallaki seva prabandham, I felt

deeply immersed to understand and enjoy the depth of music and the loftiness

of lyrical formation . I could ponder over the immence value of music, literary

excellence and dance potentialities. I desired to study further and do some

more work on the book if opportunity arised as it was found to be of Pre-

Trinity time with its impact. It was said to be a full-pledged yakshagana and

the first Indian opera in Telugu as Prof. P. Sambamoorthy presented.

The thesis is divided into 9 chapters with subheads and sectionheads in

each I have mentioned about the aim and the nomenclature of the work, in the

1st Chapter. The 2nd chapter is alloted for dealing with the evolution of

Prabandham and for giving definitions for various terms such as yakshagana,

Kuravangi, drama, opera, ballet and their development. After writing about

the life history of Shahaji, the patronage of the Maharattha kings and their

contribution to music in the 3rd chapter, I have dealt with the affluent

beauties in the text which is based on a simple poetic imagination in the 4th

V

Chapter. The original thalapatra grandham has been verified by me in

Saraswathi Mahal Library in Tanjavur. The full text is given in the 5th

chapter with meanings, paryayapadas, Patthantaras and notations. A study

of the laudible qualities of Shaha Maharaj is made in the 6th chapter. An

analysis of his lyricism and music is carried out in the 7th chapter. The 8th

chapter is a comparitive study of Sankara Pallaki Seva Prabandham with

Vishnu Pallaki Seva Prabandham. In the concluding chapter 9, the highlights

of the opera with its influence over the later writers and its resourcefulness

are presented.

For practical purpose I have also recorded the darus of the Prabandham

with necessary assistance of violine and mrudangam in a cassette which is

appended to the thesis for ready reference.

V1

DIACRITICAL MARKS I. SWARAS

Sa pa 12

ri da

62 ga ni

ma så

ri ga

mă (gamakam) ma ga ri - Higher Speed

Note : For facilitating the use of the text by dance students and Choreographists too also, swaras are given in their full form like pa for "Pa" instead of P as denoted by Prof. P. Sambamorthy. This notation is the same as given for Navarathna Prabandham in "An Anthology of Indian Music" Ref. No.1 of bibliography. Hyphen over the Wovel of swara indicates deerghakshara.

U. KUDIMIAMALAI INSCRIPTION (SWARASTĀNAMS)

Sa -> Shadjam (Constant)

ra -> Suddha rishabham

ri -> Chatusruti rishabham

ru Shatsruthi rishabham

ga -> Suddha gandharam

gi Sadhrama gandharam

gu -> Anthara gandharam

ma -> Suddha madhyamam

mi -> Prathi madhyamam

pa Panchamam (Constant)

da -> Suddha dhaivatham

di Shatsruthi Dhaivatham

du -> Chatusruthi dhaivatham

na -> Suddha nishadam

n1 -> Kaisiki nishadam

nu Kaakali nishadam

sa Thaaraasthayi Shadjam

vii

TABLE OF TRANSLITERATION

a pa

ã, aa pha i, e ba

I, ee bha

u ma

u, uu, 00 ya

8 ri ra

5 m la

h va

ka sa

kha sha

ga sa

gha ha

3 cha la

chha ksha

chcha nri, nru

33 ja sri, sru

jja Tyā, Thyā

jha kā, kaa

ta ki

tta kī, kee

ttha ku

da kū, kuu, koo

dha ko

na kō

tha ke

ttha kē

ththa S kai

da gna

dha ini

na

viii

INDEX

Chapter Title Page No. No.

1. DECLARATION

2. CERTIFICATE ii

3. ACKNOWLEDGEMENTS iii

4. PHOTOES

5. PREFACE V

6. DIACRITICAL MARKS vi

7. TABLE OF TRANSLITERATION vii

1111234444 I INTRODUCTION 1

1.1 Aim

1.2 Prabandham as opera

1.3 South Indian Nritya Sangeetham 1

1.4 Dance Drāma

1.5 Language of the Text

II DEFINITIONS

2.1 PRABANDHAM

2.1.1 Meaning

2.1.2 Prabandham as Kāvya

2.1.3 Telugu Prabandham 5

2.1.4 Musical Composition as Prabandham 6

2.1.5 Angās 6

2.1.6 South Indian Prabandhams 7

2.2 EVOLUTION OF PRABANDHAM ART FROM 7 YAKSHAGĀNA

2.2.1 Yakshagāna

2.2.2 Indian Opera

2.2.3 Difference between Prabandham and Yakshagana

Chapter Title Page No. No.

2.9 BALLET 28

2.9.1 Definition 28

2.9.2 Origin 29

2.9.3 Indian Ballet 30

2.9.4 Ballet in India against the Ballet in the 31 West

2.9.5 South Indian Ballets 31

2.10 BALLET VERSES OPERA 32

2.11 DISTINCTION BETWEEN EUROPEAN AND 32 INDIAN MUSIC AND DANCES

III SHAHAJI AND MAHRATTA KINGS 36

3.1 LIFE HISTORY OF KING SHAHAJI 36

3.1.1 The Dynasty 36

3.1.2 Birth of Shahaji 37

3.1.3 The Genius 37

3.1.4 The King of Tanjore 38

3.1.5 The 'Apara Bhoja' 39

3.2 SHAHAJI'S PATRONAGE 40

3.2.1 The Scholars patronised 41

3.2.2 The Poets in the Court 43

3.3 SHAHAJI'S ACHIEVEMENTS AND OTHER 45 WORKS

3.4 MAHRATTA RULER'S CONTRIBUTION 49

3.4.1 Tulajaji (1728-1736) 50

3.4.2 Raja Serfoji (1798-1832) 51

IV THE AFFLUENT TEXTUAL BEAUTIES 55

4.1 THE OPERA 55

4.2 THE HISTORY 55

4.3 THE AUTHOR 57

4.4 THE PLOT 57

4.5 THE TONE 59

Chapter Title Page No. No.

4.6 THE STRUCTURE 60

4.7 THE LANGUAGE 62

4.8 THE MUSIC 64

V THE TEXT, MEANINGS AND NOTATION 68

5.1 THE ACTUAL TEXT (TELUGU) WITH THE 68 MEANING (ENGLISH)

5.1.1 Meanings of difficult Words 113

5.1.2 Paryāya Padamulu : Synonymous words 123

5.1.3 Patthäntharamulu : Deviations 137

5.1.4 Introduction to Darūs and Poems 147

5.1.5 Notations to Darūs 159

VI LAUDABLE QUALITIES OF SHĀHAJI 222

6.1 SHAHAJI'S ART OF LIVING 222

6.2 SHAHAJI'S RELIGIOUS TOLERANCE 223

6.3 SHAHAJI'S RELIGIOUS INTEGRATION 224

6.4 SHAHAJI'S LINGUISTIC INTEGRATION 225

6.5 SHAHAJI'S COSMOPOLITAN OUTLOOK 226

6.6 SHAHAJI'S DEVOTION 228

6.7 SHAHAJI'S SOCIAL OUTLOOK 232

VII ANALYSIS 235

7.1 ANALYTICAL VIEW OF LITERATURE 235

7.2 ANALYTICAL VIEW OF LYRICS 238

7.3 LITERARY AND AESTHETIC VALUES 241

7.4 PROSODY OF THE VERSES 243

7.5 ANALYTICAL VIEW OF THE RĀGĀAS 246

7.6 BRIEF RAGA LAKSHANAS IN THIS OPERA 260

7.7 MUSICAL EXCELLENCE 264

7.8 DANCE FEATURES 266

Chapter Title Page No. No.

VIII COMPARITIVE STUDY 268

8.1 COMPARITIVE STUDY OF SANKARA 268 PALLAKI SEVĀ PRABANDHAM WITH VISHNU PALLAKI SEVĀ PRABANDHAM

8.2 SIMILARITIES IN THE TWO PRABANDHAS 272

IX CONCLUSION 276

9.1 INFLUENCE OF THE OPERA OVER THE 276 LATER WRITERS

9.2 SUITABILITY OF THE OPERA TO MODERN 277 TASTE AND THEATRE

9.3 HIGHLIGHTS OF THE OPERA 278

ANNEXURES 284

1. BIBLIOGRAPHY 284

2. GENEALOGY (4 TREES) 294

3. ENGLISH EQUIVALENTS FOR TELUGU WORDS 298 OF ORNAMENTS

4. SARASWATI MAHAL LIBRARY OF TANJORE 300 (3 STATEMENTS)

5. CASSETTE OF THE DARŪS Encl.

CHAPTER - 1

INTRODUCTION

1.1 AIM

The aim of the dissertation is to make a comprehensive study of a music

and dance play or an opera called "Sankara Pallaki Sēva Prabandham" written

by Shahaji Maharaj of Tanjore Kingdom. As a harmonious blend of lyricism,

description, dance and dramatic effects Sankara Pallaki Sēvā Prabandham can

be considered a many faceted opera. As it is short and varied in music and

literature, there is every need to probe into various dimensions of its vision.

King Shahaji proved himself as a worthy, predecessor to Sri Muthu Swāmi

Dikshitār, Sri Syāma Sāstri and Sri Tyagaraja, the great Trinity of the golden

period (1762-1847) of Karnatic music, by turning out a marvelous music play.

1.2 PRABANDHAM AS OPERA

The prabandha as it is named by Shahaji "can be also called an opera,

for it is presented with scenery, decorations acting, dancing, singing and

recitations". The writer has chosen an appropriate theme for his opera i.e. the

efforts of Parvathi to win the heart of Lord Siva and their ultimate union.

1.3 SOUTH INDIAN NRITYA SANGEETHAM

It is Bharatha who developed natya by combining Abhinaya with music.

As opera comprises of Nritya, it is called Nritya Sangeetha. Nritya involves

acting (abhinaya) only to a certain extent. Thus there is a slight difference

between Nätya & Nritya, though there is not much difference in their

narratives. Nritya includes spectacle where as Natya stresses upon the

communication of rasa by means of body movements.

The operas came into existence after the dance drāmas like Gīta

Govindam of Jayadeva and Krishna Leela Tharangini of Narayana Thirtha.

Opera can be called a musical play or Sangeetha Nātaka, which is an

offshoot of the drama. The usual theme of an opera deals with the Gods. The

opera was generally performed in the temples. Afterr some time the production

of the operas was stopped for want of lady singers. The Bhagavatha mēla

nātakās were enacted in front of temples. Some of the mēla nātakās as well as

Nritya Natakas contained music, Sahitya and dance of high order.

To put it in a nutshell the main feature of a ballet is dance, of an opera

is song and of a Drama is dialogue. Both the opera and the drama are action

oriented performances.

1.4 DANCE DRĀMA

The Kuravanji Nātaka is written in a lighter vein as its principle motive

is only to entertain. The yakshagāna and kathā kali are also dance dramas.

Ganga Charitra which is in the form of songs and Nritya Nataka are almost

same with a little difference. In the former, dance is incidental and in the later

dance is an integral part. Dance drama needs the frequent recitals of passages

of Jatis. Adīdwipada is a feature of Nrityataka.

Jayadeva's Geetha Govinda (12th Century) is the first opera in Sanskrit.

Tīrtha Narayana Swamy's Krishna Leela Tharangini can be considered one

of the greatest of the operas of the 16th century. The pallaki seva prabandham

is the first opera of Telugu Literature. It was followed by Prahlada Bhakti

Vijayam and Nowka Charitra of Tyagaraja. Sitarama Vijayam of the same

author is now obsolete. Ramanatakam of Arunachala Kavirayar is the earliest

Tamil opera (18th century).

Though both the European and Indian Operas give importance to areas

recitative duets orchestra is dominant in European operas and it is of less

importance in Indian Operas. The Indian Opera is enriched with overtures and

leit-motifs.

1.5 LANGUAGE OF THE TEXT

The Pallaki Seva Prabandham is composed in Telugu language which

is of South India. The language is scholarly, the descriptions are poetical and

music is mellifluous. It contains 22 darus.

This thesis makes a humble attempt at the discussion of the literary and

the musical aspects of the opera Pallaki Seva Prabandham.

CHAPTER II

DEFINITIONS

2.1 PRABANDHAM

2.1.1 Meaning

Pra plus (+) bandha is prabandha or Prabandham

Prabandha is a twin word with 'pra' and 'bandha' combined. It is a

Sanskrit word. 'Pra' means well or very or extra. 'Bandha' means attachment

or binding. So the meaning of the word 'Prabandha' is very well bound with.

It can be said as strongly attached with.

Prabandha connotates bandha in between the padams or words. Bandha,

in this context, is in between the words. Padam is word as well as song. As

such, it can be said that in PRABANDHA, PADAM and PADABANDHAM are

put together. This explanation goes in tune with the world of music also.

The word Prabandha' is etimologically derived from the word bandha'

which means binding together. Prof. P.Durgaiah in his "Prabandha Vangmaya

Vikasamu" points out that the word prabandha was in vogue in Sanskrit

literature even before the 5th Century B.C in the ordinary sense. (Ref.1)

2.1.2 Prabandham as Kāvya

The word prabandha was first used as a synonym for kāvya (Kādambari

• Katha Kāvya) by poet Bāna during 7th Century B.C. It was followed by

Bhāmani's Shrāvya Kāvya. Jayadeva's Gita Govinda, a 12th Century work was

also called prabandham meaning Shravya Drushya Geyatmaka Kavya.

Mahabharatha was called a prabandham, where as even a single sloka -

"Amaruka kavya" was known as prabandham. Works on Alankara Natya

Vedanta and other Sastras were called prabandhas. In general sense any thing

composed by a kavi was meant kavya in sanskrit literature. (Ref.2)

Prabandha is a literary work called Kavya written by a Kavi (i.e poet).

And it is called "Sravya Kavya" as it is meant for recitation. It is also evolved

into a "Drusya Kavya" when it is finally performed on the stage. Sahithya

(literary) Prabandha is developed into Sangitha Prabandha when it interacted

with the other arts like music, dance and dialogue.

2.1.3 Telugu Prabandham

In Telugu literature Kavyas (drusya - Shravya Kavyas with certion

dictions of dance adoptability etc.) were termed as prabandhas. During the

15th and 16th Century which is also called the age of Sri Krishnadevaraya, the

Telugu Prabandhas established the forms from Sanskrit puranas, Itihasas and

Natakas. They maintained original flavour of treatment, style of presentation,

formation of structure, dignity of diction, rhetorical ornamentation and

elaborated descriptions. These lakshanas were used profusely by the later

Telugu poets and the Telugu poets and the kings of Tanjore, Madurai etc. The

Nayaka kings of Tanjore followed by Maharastrian kings of Tanjore followed

the foot steps of Krishnadevaraya and composed and patronised many

prabandhams, yaksna ganas, together with the other forms of poetry and

twenty one other yakshaganas which contain all the lakshanas or

characteristics of Telugu Prabandham. Sankara Pallaki Seva Prabandham and

Tyagesa Vinoda Chitra prabandha of shanaji are the four characteristic

prabandha yakshaganas.

5

2.1.4 Musical Composition as Prabandham

Similarly musical compositions were also known as prabandhas.

Musicologists like Mathanga in "Brihaddesi", sarangadeva in "Sangeeta

Ratnakara" mentioned 49 types and 75 types of different prabandhas

respectively.

2.1.5 Angas

According to later musicologists a prabandha had 6 angas and 4 dhatus.

Aagns: 1. Swara or the soft passage. 2. Biruda, words of exclamation or

praise of Nayaka's valour, skill, courage etc. 3. Pada or words 4. Tenaka or

auspicious works like Tena 5. Patam or rhythmical sounds associated with

Rudraveena, couch and a kind of drum 6. Tala or the time beats according to

metre. (Ref.4)

Depending upon the number of angas getting reduced up to two angas,

prabandha are classified as Medinijati (6) Anandinijati (5), Dipinijati (4),

Bhaminijati (3) and Taravali (2).

Dhatus: 1. Udgaha, the essential section (pallavi) 2. Dhruva, the

essential section (Charava), 3. Metapaka, the section which unites the above

two (Anupallavi) 4. Abhoga, the concluding section (Madyama tala sahitya or

the chittaswara of a Kriti).(Ref.5)

2.1.6 South Indian Prabandhams

Niryukta prabandha (confirmed to the tala) and Anirukta (not confirmed

to tala) are two classifications. Their lakshanas are in sanskrit prabandhas.

In South Indian languages Saranga Deva classified prabandhas as

Suddha, Alikrama, and Viprakeerna. Someshwara stipulates "that prabandhas

should be composed and sung out of deep devotion to the gods like Vishnu,

Shankara or the goddesses like Gouri". As a musicologist shahaji's work

confirmed to this view in technical sense.

2.2. EVOLUTION OF PRABANDHAM ART FROM YAKSHAGANA

2.2.1 Yakshagana

Yakshagana is the combination of different features of opera, ballet and

Drama. But it is not merely a mixture, as it has a unique nature and

emergence of its own. Its presentation is entirely different from that of opera,

ballet and drama.

2.2.2 Indian Opera

Since Yakshagana is also interact with music, dance and dialogue it is

acknowledged as a kind of Indian opera. Thus the prabandha is technically

called a yakshagana which is also called as the Indian Opera.

2.2.3 Difference Between Prabandham and Yakshagana:

Though prabandha and yakshagana are called as the one and the same

there is a difference between them Musical prabhandha is possessed with

lyrical beauty, vast descriptive value, mythological development and wide

range of sahitya and sangeetha features which can't be seen in the

yakshagana. It is a Sangitha Natakam containing both the theatrical and non-

theatrical, operation.

2.3 SANKARA PALLAKI SEVA PRABANDHAM AS PRABHANDAM

2.3.1 Fitness as Prabandham

As already mentioned "Bandha" means binding, thus prabandha is a

visual composition, drisya kavya. Sankara Pallakiseva Prabandham describes

the devotion for sankara with music, dance and dialogue. And it is in the

poetical form. It is a literary piece which follows the definition of kavya in

Sanskrit literature.

As already mentioned pallaki Seva prabandha has the Angas like Swara,

Biruda, Pada, Tenaka, Patam and Tana. It is fit to be Medini Jati. It has

invariably dhatupushti, powered with the required dhatu. Since it is confirmed

to tala it can be classified as Niryukta prabandha. It is exactly fitting to the

definition of prabandha stipulated by Someswara. Just as kavya, pallaki Seva

has taken purana purushas as central figures for its theme. Appropriate

language is used in the 'daru's.

8

Madhurabhakti and sringar rasas are exposed in the prabandham. Fine

diction, beautiful description, captivating plot, and poetic imagination are the

main features of this prabandham called Yaksshigina. This work is aptly called

Prabandha in which a small theme is expanded into an elaborate story by

means of poetic descriptions. It was performed by the devadasis every year in

the temples at the conclusion of the annual Brahmostava (Ref.6).

2.3.2 As Sangitha Prabandham

'Sankara pallaki Seva' is a music prabandha with composer's "Mudra",

as "Saha", "Bhosala", Sri Saha Bhupurandharudu Virachinche". There is

"Thodiyam", a song in praise of that particular duty as "Jaya Jaya", and then

dwipada containing brief content of the story. And then comes Ganesh prayer.

It contains Dorus, Dwipedas, Sandhivachana, Kanda Seesa, Desichandassu,

and other forms of padyas. Like a typical yakshagana it also concludes with

the desi form of song called "Sobhanam" or "Mangalam".

Daru contains pallavi and then Anupallavi followed by charanams.

Pallavi is udgraham, Anupallavi is melakalpam. First two charanas are

Dhruvam and third charanam is Aabhogam. First daru is so called

chaturdhatuka daru. The second daru with Udgraham, Melapakam and

Aabhogam is three dhatukam. The third daru is chaturdhatukam. The fourth

one is three dhatukam. The twentieth daru with Udgraha and Melapaka is

dwidhatuka daru.

Desi chandus with Sanskrit poems is called Udaharana prabandham. It

contains seven vibhaktis and sambodhan (addressing) vibhakti. Three

vibhaktis are available in Darus and Vrittas. Udaharana prabanadham

describes hero's qualities, with all saptha swaras. It can be also called a tala

sruti prabandham (Ref-7).

2.3.3 As Sahityaprabandham

As in literary prabandha there are descriptions of hero's personality, his

dress, palanquin, royal ornaments and so on. It is srungara-rasa-prabandha in

which marriage of Siva and Parvathi is described.

Prabandha in literature means extraordinary binding. The literary

characters for Prabandham are (i) Unity of theme (Vastaikatha) (ii)

prominence of Sringara rasa (iii) Eighteen descriptions (iv) Limited chapters.

2.4 GLIMPSES OF YAKSHAGANA

2.4.1 Folk Dance Drama

Yakshagana is a folk-dance-drama, a semiclassical audio-visual play of

song and dance. It can also be considered something of a combination of the

opera and the ballet like kathakali, a street, music play. Its origin can be

traced back to the 10th century, though it attained its full shape maturity in

the 16th Century. Though it was an indigenous type of opera originated in

Andhra, it was adopted, patronized and distinctly changed in Tamil Nadu and

Karnataka (Ref.8).

10

Yakshagana means the song of the yakshas, who were demi-gods.

Yakshas are also said to be the tribal folk or a sect flourished amongst the

Jains and Bhuddhas. They are also called 'Ekkala ganas' in Andhra Pradesh

and "Ekkadigas" in Karnataka. They are adepts in a folk - Musical concerts.

There is Jakkula community coming from ancient times in Andhra Scholars

like Sri S.V.Joga Rao considered that the term Jakka was a corrupt form of the

Sanskrit word "Yaksha". There is a convincing argument that Yakshagana was

originated from the Jakkula tribe or the kuravangi or the Bommalata

(puppetry).

Sankara pallaki Seva Prabandha is "Yakshagana". It is a drusya kavya

which gives importance to song, dance action, scenery and setting. (Ref.9)

2.4.2 Bharata's Concept

Bharatha, while exploring Natya Sastra conceived Dhruvaganas based

on certain music discipline.

"Yadha varna drutha chitre sobhathe na nivesanam

Yevamenam vinaganam natyam ragam nagachchathi"

There is no charm in painting without mixer of colours. So also Natyam

is not cherished without dhruva ganam (Ref.10).

Dhruvas are described by Narada. It is syllable based indication.

Dhruvas are single syllable word, double syllable word, three syllable word and

four syllable word. The druva word has certain chandus. It has swara and tala.

From such druvas, githas are developed. Daru is said to have been derived

from Dhruva. And these darus with music and dance accomplish

Yakshaganam.

11

2.4.3 Kuchipudi Style

Yakshagana is a musical entertainment in Andhra Pradesh. It is there

in vogue since six to seven centuries though it has fully developed only in the

16th century. It has attained two forms distinctly as classical and folk type

(desi). The latter which is considered as street play, is adopted by Bhavagatulu

of Kuchipudi and transformed into a classical dance-drama in the 19th

century. In the hands of Telugu rulers of south Indian provinces of Tanjore and

Madurai mainly the Nayaka Kings and the Maharashtrian Kings of Tanjore,

Yakshagana became a perfect musical theatrical art form (Ref - 11).

2.4.4 Development of Yakshagana from other Forms of Art

Yakshagana is originally a tribal art. But it is gradually developed into

a full fledged theatrical art form entertaining both the rural as well as the

urban people. The dramatic aspect of opera with its vocal and instrumental

music is fully utilised in yakshagana. Thus it is a feast to eye as well as to

ear.

2.4.5 Some Ballet Aspects in Yakshagana

The main feature of dance in ballet is adopted in Yakshagana.

Mythological aspect is there in yakshagana as in Ballet. Similarly

choreography is effective in Yakshagana. Action aspect of drama is inclusive

of Yakshagana. The direct dialogue aspect of drama is not the same in

yakshagana. There are multiple art displays. The story connecting prose in

yakshaganais also set to some music while rendering. Yakshagana is at once

12

an entertainment and edifying as it stresses the importance of devotion to the

God. Thus yakshagana is developed as an entertainment which includes all

other art forms expressively. So the ballet aspects are also included in

yakshagana.

2.4.6 Classical Dance Drama

As already mentioned yakshagana means the song and music of yakshas

which is performed by the jakkula tribe since 6th century. It took the shape of

classical dance drama in course of centuries gradually. And finally it became

a perfect musical theatrical art in Tanjavur region.

2.5 NATURE OF KURAVANJI

Kuravanji a folk theatre mixed with classical elements, producing thus

a semi-classical affair. It is mainly originated in Tamil Nadu. It resembles

yakshagana of Andhra Pradesh.

Vanji means "feet" and "women" in Tamil language. Kurava is a tribe.

Kuravanji denotes women belonging to kurava Tribe. This koratti (Kuraththi)

or kuravanji is also known as a fortune teller of the gipsy community

(Erukula), Korathi and Kuravanji. The tribal people of Andhra, Karnataka and

Tamil Nadu were known by different names like kuravalu, koyyalu, chenchulu

etc. They used to dance (chindu, ande, anje, gantu etc.) in the hilly areas.

Slowly the tribal people came to the cities on trade and spread their dance and

music thus establishing 'kuruvanji' in the cities. The tribe, their dance and

their literature, all the three were called 'kuravanji' yakshagana was first a

13

narration set to music. Next it became a theatrical form of trained dancers and

later into a full play. In the play there were singi (heroine) and singadu (hero)

of chenchu community.

According to late Veturi Prabhakara Sastry, kurava, kuruva, Gorava,

Korava, Goraga, Kuriba are the different names of a tribe in Andhra and

Karnataka. "Anje" means dance speciality and koranji is a dance of korava

tribe leading to drama.

2.6 RUPAKAS

2.6.1 Nature of Sangitarupaka

Rupaka is a drama according to the great sage Bharatha of 2nd Century

A.D. who wrote the first treatise on Dramaturgy called Natya Sastra dealing

with drama, music and dance. Bharata's drama is an operatic type containing

the aspects of music and dance. Ten major types of drama are called rupakas

and twentyfour minor types called Uparupakas. Music and dance play minor

part in Rupaka and major or detailed part in Uparupaka.

Natyam is a rupakam which is intended to enact and exhibit. Generally

Natakam, Natyam, Nrityam are synonymous words to Rupakam. On keen

observation it is said that Natakam is one of the ten rupakas. Natyam is

created by Brahma and Nrityam orignated by Parameswara. Body movements

(Angavinyasam) in Natakam and action (Abhinayam) in Natyam put together

form Nrityam. Yakshagana is a combination of Nataka, Natya and Nriththa

and Nrithya. Dialogue, song, action and Nrityam create thrill and enjoyment.

14

As such Yaskaganam is called Natakam, Natyam as well Rupakam. When

music is profensively set in rupakam it is Sangeetha rupakam and singing is

major aspect in it. Shahaji's pallaki Seva Prabandham is the best and the first

example originated in Telugu in 17th Century (Ref-12).

2.6.2 Nritya Rupaka

Nritya Rupakam contains more of Natyam and less of music and

Sangeetha rupakam more of music and less of Natyam. Couplets (Dwipada)

are there in both the features which denote the story.

2.7 NATURE OF DRAMA

2.7.1 Definition

According to the Chambers 20th Dictionary;

"Drama is a story of life and action for representation by actors. A

composition intended to be represented on the stage, dramatic literature;

theatrical entertainment".

Drama means action through dialogue. It is an imitation of a known or

imagined role. It is rather a depiction of a character, incident, event, history

and a story. Drama has more stage effects and it is completely theatrical art.

Action supported by rendering poems or verses and singing songs has

additional influence on the audience and spectators. Some times the art of

dancing is also extended into drama. Drama comprises more than one act. A

multiple act display is observed in a drama.

15

Drama is a set of visible and audio representations which communicate

a meaning (vakyardha) which is ultimately rasa as experience. Imitation or

the naturalistic representation of some reality is relevant upto giving some

information. Drama is a source of wisdom, which throws light on the

vicissitudes of life. At the same time it is the source of parennial delight and

amusement. It instructs and entertains. Drama is the mimesis of action and

plot. It is its structure which is the most important element as per Aritstotle.

Bharatha regards plot as body rather than the soul of drama. Story content

is regarded as plot. Speech is described as the bodyof drama and vachika

abhinaya is central. "Style is the mother of drama" which is a mannerof

department (Vrith). 'Avesa' is characteristic inspirations.

2.7.2 Origin of Drama from Brahma to Bharata

The origin of drama is traced to the creator Brahma himself. As an

alternative Veda to sudras, Natyaveda was created by Brahma drawing

dialogues from Rigveda, music from Samaveda, acting (abhinaya) from

Yajurveda and the rasa from Adharvaveda. The Natya Veda, thus created, was

connected with the Vedas as well as the Upanishads.

Dramaturgy called Natya Sastram goes back to the operatic type of

drama conceived by the Sage Bharata (2nd Century A.D) containing some

aspects of music and dance. He described 10major types of dramas containing

minor portionof music and dance of drama (Uparupakas) containing music and

dance in more detail.

16

Bharata's concept of NATYA is mythical in nature and it gives

expression to a number of traditional beliefs. Natya emphasises natural and

primaeval character of the human instinct of communicating and entertaining

by dramatizing. The roleof imaginative creativity is natural and it is latent in

a dramatist. Greek tragedy and comedy as per Aristotle goes back to the

ancient originof dithyrambic cores and some organised singing and dancing

respectively. The earliest Indian drama celebrated the conflict between the

gods and demons with a number of characters. Bharatha describes Natya as

bhavanukirthana and its Abhinaya regards as its real characterisation.

2.7.3 Drama as Mimicry

According to Bharatha "A mimicry of the exploits of gods, Asuras, Kings

as well as house holders in this world, is called drama". It is a mimmicry of

action and conducts of people in rich emotions of situations giving courage,

amusement, happiness and counsel. There is wise maxim, learning, art of craft,

device and action in drama.

2.7.4 Dramatic Element in Vedic Literature

The Indian theatrical activity was primitively commences from tribes.

The dramatic elements are prominent in performing various rituals. The

rituals and rites related to yagnas of the Vedic age contain song, dance,

musical instruments and decorative material and they are referred in the

Vedic literature. The people connected with the activities are like Gandharva,

suta, Shailush, Kari Apsara etc. There are references to drama, dances,

musicians, actors in Ramayana, Mahabharatha, Harivamsha, Bhagavatha and

Markandeya Purana.

17

Panini, Pathanjali and Koutilya mentioned about the musical

performances and art. The texts must have been composed between 600 B.C

to 300 A.D. Then came the comprehensive treatise or compendium on the

dramatic or by Bharatha Muni who said that he prepared the Natyaveda of

Devas and Daityas.

In the historic periods of the Buddhist and Jain as per the texts, monks

are prohibited from watching dramatic performances. The reason was that

such performances were tempting and disturbing the concentration of the

monks.

2.7.5 Sanskrit Drama

There are Sanskrit Dramas like VENISAMHARA in which verses are

set to music. Such ones are called sangita natakas. Abhinaya is important in

a drama. But when music plays prominent role through verses, it is possible

that sense of Abhinaya is badly effected. In Sanskrit play prose is generally a

connecting line between different verses. In Sanskrit dramas verses are mostly

recited by male characters with music and for compensation some tunes, or

songs are produced by female characters MALAVAKAGNI - MITRA and

SAKUNTALA of Kalidas are the best examples of such sanskrit dramas. They

have the rules of Natya Sastra of Bharata. Bharata has mentioned music and

dance as important elements in the dramatic performance. Hair style, costume

and make up are to be distinctive of the character represented.

18

Sanskrit plays regard drama as make-believe. They have two techniques

Natyadharmi and Lokadharmi. The sanskrit theatre emphasized on music and

dance. The Bhakti movement has utilised song and dance more objectively in

the theatre. Other natyas emphasize main sentiments like love, valour and

humour.

2.7.6 Nata

The term 'nata' is held to have denoted a variety of allied professions;

viz., Dancer, Pantomime, acrobat, juggler and actor and the precise history of

their meaning and the social history of the professions is not clear. The

evidence of Panini, Bodhayana, Kautilya and Pathanjali clearly indicates that

the 'natas' were professional actors with their own tradition, customary laws

and teachers who gave instructions in a variety of skills. They were organised

in troupes under a leader often styled 'Sutradhara'. Natya is a movement,

different from Nrithya.

2.8 OPERA

2.8.1 Definition

According to The Oxford Dictionary opera means 'a drama of vocal and

instrumental music'. Blooms Bury concise English Dictionary considers opera

as a 'dramatic work involving Music by voice and orchestra of greatest

importance'. "Opera is the plural form of opus which means a musical

composition". (Ref.13)

19

Opera also means a place or a building for performance of a musical

drama. Consernently the word opera extended to the type of performance in

the kind of theatre. In general it is called SCHAUSPIEL AND OPER. Opera

is basically of European origin. In Indian context the opera can be called

MUSICAL DRAMA or a SANGITA NATAKA. So one can come to the

conclusion that the opera gives much importance to the music rather than to

the literature. Music is the sound of the opera where as 'Sangitha Nataka' is

a harmonious blend of liferetine and music. It can also be called NATYA

KATHA GANAM as it contains a narrative in the form of songs.

Music as well as spectacle is very much important in an opera. Ragas

and the appropriate talas to those ragas are carefully selected in a suitable

way. As the opera is a harmononious blend of all viz., music, literature, dance

painting and sculpture, the writer must be well versed in all these forms of

literature. He should be an adept in the art of dramatargy and music. (Ref.7).

Opera can be considered as an off short as well as an emulation of a

play.

2.8.2 The Chronological Development of Opera in Europe

(A) The study of the form called opera from its zenesis to its complete

establishment will present facts and figures of its roots and components.

Robert and Celia Dealingwith Brain Rust in their "The Guinness Book

of Music, Facts and Feats" clearly dessert the chronological development

of the opera. (Ref.14).

(B) Even in 400 B.C, Euripides wrote a play called ORESTES and it was

performed with accompanying music.

20

Adam De la Hale, a French trouvere wrote "LA FEU DE ROBIN ET DE

MARION". Which was performed in Naplaes in 1283 A.D. Then in 1472 a play

called ORFEO containing many number of poems for singing was produced by

Angelo Poliziano in Mantua.

"The Italian composer Vincenzo Galilei, the father of the astronomer

Galileo Galilei, produced songs and lute solos which may have assisted in the

developed of opera as a distinct art form. During the century, the setting off

sacred texts and miracle plays to music gradually took there separate ways,

these resulted in the following concepts which, despite elements from each

which could be found in the others, had crystalised in early sixteenth century

into Masqaue, oratorio and opera.

Three forms of play developed into opera in 16th century:

1. Mosque is usually a mythological play with poetry, music and dancing

and other stage presentations in which the actors were masks.

2. "Oratorio is a presentations of a liturgical story with music, so called

because it would be performed in any oratory rather than in a church

or theatre.

3. "Opera is the Italian word for 'work' (Compara opus). The Italian word

for opera is Melodrama = 'Melody' + Drama'. It is concern with stories

of gods and heroes has already been described. "Opera was a virtually

and exclusively Italian possession for the first three - quarters of a

century after its commonly accepted begining and it took a further 75

years before any serious attempts at opera in a different language was

made".

21

The earliest true opera was DAPHNE by Jacopo Peri in 1597. "Although

the music is lost, the libretto by Rinuccini survives together with some of the

directions for the production".

Another one was the surviving opera called EURYDICE IN 1600 by Peri

and Giulio Caccini. It was later reset by Caeeini. These works were performed

in Florence. The earliest opera of which performance are still occasionally to

be seen is Monteverdi's ORFEO. There was heavy instrumentation for this

work. It was in 1607.

"The first German opera was DAPHNE written by Heinrich, Schutz in

1627. It was produced at Torgau but it has since entirely disappeared'.

(Ref.15).

"The first great German composer to use a German text Mozart in the

ABDUCTION FROM THE SERAGLIO. This is the first great German comic

opera. The dominatinng figure in German opera, in the period between

Mozart and Wanger, was KarlMaria Von Weber. For many years Weber wrote

Italian operas while nursing the ambition to create an authentically German

work (Ref.16). The first public Opera house, at which an admission fee was

charged. was opened in Venice in 1637. "This opera house became the focal

point for the operatic activity in Venice. Between 1641 and 1649 approximately

thirty different dramatic works were heard, written by Monteverdi and his

disciples. Thus there arose the first school of opera composers, the Venetian

School headed by Monteverdi. His pupil, Francesco Cavalli, became its most

famous composer after Monteverdi himself". "In 1639, Cavalli refered to his

22

LE NOZZE DE TETIAS as an "Opera Scenica". (Ref.17). Though the Venetian

School was the first in the history of opera, the first major school was the

Neapolitan. In Naples the traditions of Italian opera composers were

established. The founder of the Neopolitan School was Alexxandro Scarlatti.

Scarlatti's first opera was heard in Rome in 1679.

"With the Neapolitan School, many new elements entered into opera

form and style. The most important was the ARIA DA CAPO,a medium for the

projection of melodic expressiveness hitherto unknown. With Cavelli, a greater

distinction was made between recitative and aria, the latter acquiring greater

expressiveness, emotional force and decorated elegance. The orchestra was

assigned increasing importance in projecting atmosphere and dramatic effect

(Ref.7). From this emerged the traditional Italian Opera aria with its mobile

flow of beautiful lyricism to encourage beautiful singing. Consequently, the

structure and the form of Italian opera was now fully realised.

The first English Opera, and the first opera everheard in England was

AFTER THE MANNER OF THE ANCIENTS produced by Devenanth in 1656.

THE SIEGE OF RHODES, a libretto written by Sir William Devenanth, who

later became poet laureate was set to music by Henry Lawes and others. It

was described as the first dayes entertainment at Rutland House by

Declamation and Musick. The first French Opera was POMONE by Robert

Cambert in 1671.

1674 was the first occasion in England upon which the opera orchestra

was brought to its present position in the theatre. It was for a performance

23

of Locke's TEMPEST at Dorset Gardens Theatre, London. Hitherto the band

had played on a concealed platform above the stage; now it was brought down

to a position just below the line of sight of the audience, immediately in front

of the stage. The first foreign opera heard in England on the Wedding of the

Duke of York and Maryof Modena English translation was ARIANE BY LOUIS

GRABU. The first opera to be based on a Shakespeare story was Purcell's

THE FAIRY QUEEN adopted from A Mid Summer Night's Dream and was

givenn at the Dorset Gardens Theatre, London in April, 1692. The first Italian

Opera performed in London (1710) was ALMAHIDE on which Dr. Johnson's

famous description was that it was "An exotic and irrational entertainment".

The first comic operas were written and designed to be performed between the

acts of 'opera seria' during 1750.

The first Russian opera was Melmik, Koldun, Obmanschchik i Svat "by

Evstignei Ipatovich Fomin and it was done in 1779. Nationalism in opera was

seeded, took root and flowered in Russia. The father of the Russian folk opera

was Michael Glinka, the first composer aroused by the ideas to write Russian

music.

The first Amercian opera was TAMMANNY by James Hewitt written

during 1794. The first Spanish opera (1819) was Los Esclavos Felices by

JUAN CRISOSTOMO ANTONIO ARRIAGAY BALZOLA. French Opera,

distinguished from the Italian was first evolved by an Italian-born composer,

Jean-Baptiste Lully. Lully, who had been brought to Paris in his boyhood

became director of the Opera House which had been established in 1669. For

this theatre he wrote operas in which a French style was formulated for the

first time. His model was, of course, Italian opera (Ref.19).

24

The first true Czech Opera was the Bartered Bride (1866) by Smetana,

one of eight operas by this composer. The first Portuguese opera named

SERRANA was written in 1899 by Alfredo Keil, a German composer working

in Portuagal.

By the early 19th century a conventrion had grown up concerning

terminology. Grand Opera was defined as that in which all the words are set

to music, from recitative, through aria, duet, trio, and other resembles to

chorus.

In comic opera some of the worlds were spoken. BEETHOVEN'S Fidelio

and manyother serious operas are deprived of the description 'grand' and are

lumped together with 'Comic' Operas.

2.8.3 Expansion of Opera

(A). Toy Robert considered that an opera is a "Poetical Tale or fiction

represented by Vocal and Instrumental Music, adorn'd with scenes,

Machines and Dancing. The suppos'd persons of their Musical Drama,

are generally supernatural as Gods and Goddesses, and Heroes, which

at least are descended from them, and in due time are to be adopted

into their number'. (Ref.20)

(b) The first favourite settings were mythological, and later they included

Rome, ancient Gaul, Spain, Russia, Switzerland and further included

magic. They dealt with politics in 18th century and with patriatism by

the time of French Revolution. Due to the performance of

25

MASANIELLO written by Auber in Brussels on August 25, 1830

patriotic feelings crystallised into revolution. Begaium won

independence from Holland. Operas are meant to stir emotions.

(c) The first opera to call for a church organ was Hero ld's ZAMPA, given

at the Paris opera-comique on 3, May 1831. The longest opera even

written is the seven-act THE LIFE and TIME of JOSEPH STALIN by

a Russian composer given at the Brook in Academy of Music on 14-15

December 1973 for 13 hr, 25 min. The world's shortest opera is

Milhawd's THE DELIVERANCE OF THESEUS, in 1928 for a mere 7

min 27 sec. (Ref.21).

(d) Opera is that type of theater when music is the central dramatic agent,

and where, through music, character is made understandable. The

heroine speaks singing music dramatically and the situation is

interpreted by music. Opera has become a national form of theater in

Italy for several years and in England the species of opera (lyric theatre)

called musical commodity claims status of indigenous theater. A play

must be converted into a libreto just as notion picture reconstitutes

script as scenario before use. An opera-libretto is like a film script. They

can not be judged independently as literature since neither was intended

to have a esthetic meaning or merit apart from the opera or the film for

which it was designed. Music in opera is composed in tunes of the stage

and its function as theater is permanent.

(e) In an opera concert performance of music is not required and it is

detrimental to the operatic play on the stage. To avoid such

misconceptions, it should the stressed that "opera, is a special kind of

26

theater'. "It shares certain fundamentals with drama of every type. It is

concerned, as theater must necessarily be, with the projection of

characters; with the situation in which these relationships develop; with

the reactions to and solutions of situations; and with the motivations for

such reactions and solutions. In summery, opera is concerned with the

real complex of character and situation, which is called plot'. (Ref.22).

Theater must co-ordinate complex dramatic mechanisms, like, word,

song, gesture, physical movement etc.,

2.8.4.Importance of Music in Opera

A. Opera is a play with music. What does exactly it means? In an opera,

particularly of the West, there is a play and there is also music. But

there are plays with music like Shakespear's Merchant of Venice or

Richard II which are hardly operas, although the music, when called for,

is an important component of the drama. Nor is opera necessarily the

kind of play when all the words, or nearly all are sung: for Mozart's

Magic Flute is an opera, all though much of the text is spoken".(Ref.23).

B. While words and music are inseparable partners in opera, it is always

the music that fills the staring role .... Good opera, then, places stress on

music rather than play. And a good operatic score places stress on

melody rather than on any dramatic element. For a great opera next to

melody, follows dramatic interest, characterisation, atmosphere and

variety of mood. If the song is all important in opera, the singer is also

all-important.

27

2.8.5.The Libretto

There would be no opera without 'libretto' = 'little book' and comes from

the time, near the beginning of operatic history, when the story and the music

were bound separately. Instead of making a book unnecessarily cumbersome

by having music and words bound together, the little book of music portion is

separately maintained and it is made a specialty of the operatic libretto. The

most successful librettist was Pietro Antonio Domenico Bonaventura Trepassi,

the Italian poet otherwise also called Metastasio.(1698-1782). (Ref.24).

2.9 BALLET

2.9.1. Definition

(1) According to Chambers, 20th Dictionary (New Edition 1983)Editedby

Emkerk-Patric, Allied Publications Limited Ahmedabad, "Balled (cot.

ballant, ballat, ballet) is a song accompanying a dance; a simple

narrative poem is short stanzas (four lines, eight lines and six syllables

alternatively) a popular song, often seurrilous, referring to contemporary

persons or events (chiefly historical); formerly a drawing room song,

usually sentimental, in several verses song, to the same melody, any

slow and sentimental song".

Ballade is a poem of one or more turns or triplets of stanzas, each of

seven, eight, or ten lines, including refrain, followed by an envoy, the whole on

3(or) 4 thymes.

28

Ballet is a theatrical performance of dancing with set steps and

pantominaic action (a suit of) music for it; a troupe giving such performances;

the art or activity of dancing in this way; Dance, a form of madrigal.

(ii) Ballet is the result of concerted action, the talents of all the

participants-the dancers, musicians, lightman, even the curtain puller-

taken as a whole, go into it. But above all, there is the choreographer

whose vision, foresight, merit showmanship, and meticulous care in

every aspect of the performance, speak of the success.

2.9.2 ORIGIN

(1) The history of the ballet can be easily compared to that of Buddhism of

India, which took its birth in India, but flourished in other countries.

"The ballet originated in Italy, developed in France and was

immortalized in Russia". Again history reveals that the earliest modern

ballet on record is that which was staged by Berganzio di Botta at

Tortona to celebrate the marriage of Duke of Milan in 1489. "The court-

ballet developed into opera-ballet in the seventeenth century - France.

An opera-ballet, at this time was more or less a play with

divertissements between the acts. In it singing and dancing were of

equal importance". (Ref.25).

(2) In the seventeenth century the ballet became very popular in Russia

owing to the patronage of Peter the Great. For a century ballet was

confined to the Royal courts. Men were the sole participants. In 1689

Miss Lafortaine was the first woman to become famous as aballet

dancer (Ref.26). In Russia alone was the great tradition of their old art

29

carefully preserved, especially in the Royal Opera housed of

st.petersburg and Moscow petipa was perhaps the first Russian dancer

to show unusual originality. And it was mainly under his influence that

the Russian ballet was gradually perfected. Choreographer Michel

Fokine may be called the "Father of Russian Ballet". He tuned into a

legend Anna pavlova's (1881-1931) musical ballet THE DYING SWAN

by choreographing it.

(3) American Ballet theatre(ABT) is a restless, nervy kind of company. ABT

is also in the hot property market. There is another called less Ballets

Aftricanis which, is not perhaps, a cultural variety show of ethnic and

folk dances but a terrific example of happy popular theatre. It is less

tidy but packed, very noisy and playing instruments of playing parts to

the hilt. There are three catching girls out of the dazzling throng.

(4) Spanish dance, Europe's reichert traditional form can be innocent, light-

hearted, elegant, sensual. may Flamenco dancers overplay sexuality.

(5) "It was in the middle of the 18th century that the ballet broke away

from the opera, to become an independent art. That means the dancers

themselves began conveying the plot in dance or mime and words

whether spoken or sung were dispensed with". (Ref.27)

2.9.3 Indian Ballet

(1) The Word "Ballet" has been imported to India from the west. It is a

combination of dance, music and tableaux. Ballet discards songs and

dialogues. Main feature in ballet is dance, in opera songs and in drama

dialogues.

30

(ii) Ballet in India meant a pantomimic depiction of certain mythological,

Psychological, Historical, Social and lyrical ideas by means of suitable

music or songs. Ballet may be enacted in one scene or more scenes. The

songs are sung either by one person or in a choras or by orchestral

music; the music should produce the same emotion, sentiment, and

effect as that of the dance.

2.9.4 BALLET IN INDIA AGAINST THE BALLET IN THE WEST

Ballet in India is different from the ballet of the west. Indian ballet is

distinct from the sole classical types and folk-dances, because it is an entity by

itself enjoying a tradition of centuries and highly developed during the last

century. Ballet dancing is a class by itself (Ref.28). The restricted performance

of ballet became popular with ballet creations of Uday Shankar in thirties.

2.9.5 SOUTH INDIAN BALLETS

The first continental dancer who exhibited Indian ballet to the west was

Ruth St.Deris, and she was followed by Anna Pavlova, who in collaboration

with Uday Shankar in the pantomime of Radha and Krishna made Indian

ballet immortal in the eyes of the world. (Ref.29).

In south India there are many types of ballets, important among them

are Bhagawat Mela, Yakshagana, some forms of kuchipudi (having the solo

and the group dances) and kathakali.

31

2.10 BALLET VERSES OPERA

"Ballet is exclusively a dance form, whereas an opera is a story enacted

through the medium of music, and a drama is a story full of conflicts reaching

climaxes as interpreted through the medium of the spoken word i.e. the

dialogue.

Sometimes, in all these three forms, there are certain common features,

e.g a stage-play might have a few songs and a few dance numbers too.

Similarly, it is possible that in an opera, though the main medium of

expression is music, some advantage may have been taken of other media i.e.

the dialogue and also a few dance pieces or dance movements'. (Ref. ). A story

a theme or a central idea are common factors in the three forms to be

expressed.

2.11 DISTINCTION BETWEEN EUROPEAN AND INDIAN MUSIC AND

DANCES

Indian music is purely classical and very systematic. The regulations are

very strict. The European music is shortspread. Singing of lyric is more

important in western type while adoptation of music to lyric is predominent in

Eastern (Indian) music.

32

The art forms of opera and ballet are European in origin while their

adoptations, in India, are sangeetha natakas and dance features. The

Europeon types are more theoretical while Indian music features need not

necessarily be so.

Indian dance has classical basis and mostly mythological themes. It has

ancient back ground. It is unique with facial expression, foot work and

movement of hands and finger gestures. The Europeon dance is of folk type

with modern and social development with total bodily rythemic movements.

Drumming is dominating in the later case and is theotrically suited.

33

REFERENCES

1. Prabandha Vagmaya Vikasam by Prof.P. Durgaiah.

2. M.A. Research Paper in English. Telugu University of Hyderbad. P.5.

3. M.A. Research Paper in English. Telugu University of Hyderbad. P.7.

4. Natya Sastramu translated by Dr. Ponangi Srirama Appa Rao, 1959.

5. Natya Sastramu translated by Dr. Ponangi Srirama Appa Rao, 1959.

6. M.A. Research Paper in English. Telugu University of Hyderbad. P.44.

7. Sankarapallaki Seva Prabandham Oka pariseelana - M.L. Mythili,

Telugu University, Hyderabad.

8 M.A. Research Paper in English Telugu University, Hyderabad P.

2,8,41.

9. M.A. Research Paper in English Telugu University, Hyderabad P.44.

10 Natyasastram as item 4, P. 824, Slokam 450.

11. M.A. Research Paper in English Telugu University, Hyderabad P.8.

12. Telugu Research Paper - Sankara Pallaki Seva Prabandham - Nritya

Rupakam - M. Gouri Sankar, Telugu University, Hyderabad. P. 39.

13 Understanding Music by Fleming and Veins published by Henry Holt

and Co.New Yark, 1958/P.183.

14. The Guinness book of music, facts and feats by Robert and Celia Dealing

with Brain Rust published by Guinness Superlatives limited. 2 Ceeil

Court, London Road Enfield Middlesex Britain, 1976. P.152.

15. Item 4 above/P.154

16. Item 7 above/P.212,213

17. The Home book of Musical knowledge bx David EWEN published by

Grolier. Incorporated New Yark, 1954.P.210 & 202.

34

18. Item 17 P. 202

19. Item 7 above P. 205

20. Item 14, abvoe P. 152.

21. Item 14 above P.162

22 Item 13 above P.180

23. Item 13 above P.179

24. Item 14 above P. 160

25. Indian Ballet Dancing by Benergy - Abhinava Publications, New Delhi,

1983 P.23

26. Item 20 above P.10, 11, 12

27 An Anthology of Indian Music by Dr. Gouri Kuppu Swamy & Dr. M.

Hariharan - Sundeep Prakasam, B 3 - 53, Ashok Vihar Phase II, Delhi -

52 (1983) P.9.

28 Item 20 above P.5

29 Indian Music by Mohammed Haroon published by Indian Bibliographies

Bureau, 219 Kadambari 19/IX Rohini Delhi-85. P.184, 185, 189.

30. A historical and Natural Study of the Natya Sastra of Bharat by Anupa

Pande published by Kusumanjali Prakasam Jodhpur, 1992 P.33, 34.

31 Indian Theatre by Nemi Chandra Jain published by Vikas Publishing

House Pvt. Ltd., 1992. P. 21.

32. Going to the Opera by LIONELSALTER published by Poenix House

limited, London/P.28.

33 Indian Ballet dancing by Benergy published by Abhinava Publications,

New Delhi, 1983. P.7,8,4

34 Item 2 above P.215.

35

CHAPTER - III

SHAHAJI AND MAHRATTA KINGS

3.1 LIFE HISTORY OF KING SHAHAJI

Shahaji was a Maharashtrian King, who ruled Tanjore from 1684 to

1710 A.D. He was a composer who greatly fostered music and fine arts. He was

honoured as ABHINAVA BHOJA. His actual name was BHOSALA SHAHA

MAHARAJ. He was the author of Sankara Pallaki Seva prabandham,(Ref.1).

It is learnt from the Commentators (1 & 40 - Bibliography) that Shahaji

was enthroned in 1686 at the age of 13 years and he died at the age of 40

years in 1712 A.D. He ruled the Kingdom for about 27 years. He attained

heights in arts and devotion and also in safe reign within a short span of life.

He was the eldest son of Venkoji (alias Ekoji : 1678 - 1683), as mentioned by

him " Eka vasudhisa dharma patni Dipamba garbhasnigdha peti ratnambu"

(ref. last lines of the Prabhandhum). He had two younger brothers; one was

Tulajaji who came to power in 1728 and the other was Serfoji who ascended

the throne in 1798. Both of them were poficient in letters and music and

became prominent for their yeomen service and creative activity in the arts.

3.1.1 The Dynasty

Shahaji Bhonsle I was a ruler of Maharastra. He had two sons

namely Chatrapathi Sivaji (by Jijiya) and Venkoji alias Ekoji I (by Tulaja

Devi). Tanjore kingdom (now in Tamilnadu) was under the ruler of Nayaka

kings. The last ruler of the Nayaka dynasty was Mannaru Deva. Venkoji under

36

the orders of Chatrapathi Sivaaji killed Mannaru Deva in a war and seiged

Tanjore kingdom. He established the Mahraatha rule from 1674 A.D. in the

South. His elder son was Shahaji (by Dipambika). Shahaji's younger brother

was King Tulajaji who compiled Sangita Saramruthra. So Shahaji was the

grand son of Bhonsle I and the younger brother's son of Sivaji, the famous

maharashtra ruler. (Ref.2)

3.1.2 Birth of Shahaji

Shahaji was actually born in Bangalore and then taken back to his

father's capital Tanjore. The Bhosala rulers accepted Telugu as their official

language, following the Nayaka Rulers. Ekoji educated his son especially in

languages and literature and trained him in warfare. With passion and

perseverance Shahaji learnt all Sanskrit Kavyas, Natakas, Vyakarana,

Vaiseshika and Alankara Sastras and gained proficiency. He became adept in

prosody Telugu like Dwipada, Seesam, Kandam, Utpalamala, Champakamala

etc., He studied literature, music and dance. He also read the philosophical

books of Marati language and the Tamil Bhakti literature. He also learnt

archery, horse riding, chariot driving, elephant controlling, wrestling and other

Royal skills. He had commendable scholarship in Marathi, Sanskrit, Telugu,

Tamil and also to an extent Kannada.

3.1.3 The Genius

Shahaji Maharaj was an extraordinary genius who had may facets.

He resembles Krishnadevaraya, the great Vijayanagara King, in many ways.

He authored many devotional compositions. Thyagaraja (Tyagesa), the

presiding deity of the temple of Tiruvarur was also the family deity of the

37

Maratha rulers of Tanjore. King Shahaji composed in praise of Tyagesa several

Telugu and Maratthi Padas, Jāvalīs, Gitas, Swarajatīs, Kritis, Kirthanas,

Dance pieces, Ragamalikas and also different literary forms including dandaka

and Ashtaka. (Ref.3)

3.1.4 The King of Tanjore

It is given to understand that Shahaji was crowned as the king of

Tanjore by his father in 1684 A.D at the age of about thirteen years. He was

given a permanent minister to assist him. He was also assisted by the

talented ministers of his father and he respected their valuable advice. The

poems " Sahendra Vilāsa Kavya " of Srīdhar Venkatesa describes that he

invited many scholars of different skills and languages and adorned his court

with different compositions. He patronised the scholars of Sanskrit and Telugu

languages. He also respected the scholars of Tamil and Kannada languages

and conducted many literary discussions and discourses in his court. He wrote

many compositions in Telugu, Maratthi and a few in Tamil.

As a scholar and poet greatly interested in Music, Dance and Drama,

Shahaji produced many dramas most of which were enacted in his palace or

in the temples. He had twenty dramas to his credit in Telugu interespred with

songs.

The reign of Shahaji Maharaja suffered some setbacks. During his

period the palace of Mahrattha rulers at Bangalore was sold away to Mysore

Mahāraja. Deccan Sultans lost their strength in war with Aurangazeb and they

were almost vanished. There was no king like Chatrapati Shivaji to resist the

muslim invasions. The Moghal generals almost paralysed the Mahrattha rule

38

in the West. Shahaji had to shift his allegiance from Marattha to the Mugal

kings. By his policy of aggression towards Rani Mangamma of Madurai, he had

to face defeat in a war with her. His army could conquer only a part of the

kingdom ranging from Pattukottai to Pambanar.

With the help of his experienced ministers, Shahaji maintained good,

efficient and successful administration. He encouraged agriculture which

resulted in good yeildings. He was always kind towards subjects and servants

inspite of high land-taxes. He set up criminal and civil courts and managed

well. He appointed foreign doctors from Arabia in the Hospitals established by

him for his people. In administration and in many other policies and political

activities he was ahead of his times. The less he was burdened in

administrative activities, the more he absorbed in cultural activities.

3.1.5 The Apara Bhoja

As Shahaji Maharaja patronised music and literature his period was

acknowledged as " Golden Age ". And he was called "Apara Bhoja". He was

considered as Krishnadevaraya-II. He himself was styled as "Sri Saha Chola

King". He was respected as the crest of jewel or the best amongst the great

intellectuals. Within a short span of his life consisting of 40 years his

achievements were marvelous, and praise-worthy in the fields of music and

literature. Shahaji Maharaja demised in Nandana in 1712 A.D according to a

Mahratthi inscription.

39

3.2 SHAHAJI'S PATRONAGE

Among so many royal composers, royal musicians and royal

musicologists Shahaji Maharaja of Tanjore occupies prestegious place. He was

a great man of letters and patron of scholarship and fine arts. Because of his

natural interest and royal capacity he used to invite scholars, poets and

musicians to his darbar and arranged gatherings. After discourses, discussions

and performances they were amply honoured and presented. Like Krishnadeva

Raya, Shahaji had religious tolerance as well as language tolerance. It was not

merely a tolerance as in the case of great Akbar so to say, but a real

understanding and adaptation of other religions and other languages. He

worshipped both Vishnu and Siva and produced compositions on both the Gods.

Shahaji's father was originally a feudatory of the Sultan of Bijapur where the

court language was Arabic or " Hindustani ". Nayakas court language was also

mainly Telugu. Shahaji's mother tongue was Maratthi but he was more at

home in Telugu He also wrote in Maratthi, Tamil and Hindustani. He invited

men of letters of all possible languages of the community. He was compared

with Raghunandha Nayaka who following the foot steps of Krishna Raya,

patronised fine arts.(Ref.4)

Shahaji's patronage of literature and music did not stop with

occasional honouring of the pandits. Bhosala-Maharastthrians who ruled the

land of Tamils adopted Telugu for official and social purposes. Shahaji

completely severed his connections with home-land as his fore fathers were

mutually engaged in jealousy and petty quarrels after the death of Shivaji. As

a result of which he could firmly and totally identify himself with the country,

culture, music and language of his stay and choice.

40

Thus Shahaji patronised many Sanskrit writers, poets and musicians

of different languages and forms. He offered many gifts and granted many

agraharams to Vedic Scholars. He founded a colony at Tiruvisanallur for forty

six learned men hailivg from different places. He named the new colony as

Saha(ji)rajapuram. He effected grant-allotments in 1693 A.D. to the scholars

who mastered sastras. (Ref.5)

3.2.1 The Scholars Patronised

Some of those reputed scholars were:

Vaasudeeva Dikshita Tippa Dikshita Prastivasantha Dikshita Ramabhadra Dikshita

Ayyavaru Dikshita Vedakaveeswara Kondavavadanin Periappa Kavi Appa Dikshita Narayana Sastrin Bhaskara Dikshita

Iswara Sastrin

Kachapeswara Dikshita Viraraghava Dikshita

Kuppa Dikshita Mahadeva Kavi Trivedi Bhattacharya Narayana Dikshita Pancharatna Anantanarayana Venkateswara Vajapeyi

41

Rajavalliabha Sastrin Dvivedi Narayana Kupa Pandita Ganapati Somayajin Madhurarama Sastrin Venkatadri Dikshita Ramajosi Srinivasa Sastrin Venkateswara Kavi

Vijaya Raghava Dhikshita Mahadeva Vajapeyin Sri Venkateswara Sastrin (Sri Dhava Venkatesa Ayyaval) Venkata Krishnavadhanin Viswapati Sastrin Margasahaya Dikshita Narasimha Sastri

Ranganatha Sastrin Samavedi Venkateswara Sastri Sattanadha Kavi

Lakshmana Sastrin

Adinarayana Sastrin

The grants of inaam (honourable presentations in coin or land) to the

families in Tanjore District were due to his charity. He was eulogised in scores

of kavyas, hundreds of songs. They are now preserved in the Tanjore

Saraswathi Mahal Library. His period was highly acclalaimed as the golden

age of literature, art and philosophy.

Ramabhadra Dikshita was on important scholar among them. He was

the author of Janaki Parinaya, Patanjali Charitra etc., The next were Sridhara

42

Venkatesa, Bhaskara Dikshita, Periappa Kavi etc., All these scholars composed

many works in Sanskrit. Most of the works are available in the Saraswathi

Mahal Library. Shahaji appointed committees of scholars of repute to

investigate the theories of the different schools of philosphy and recorded their

findings and conclusions.

Shahaji's Patronage to Telugu is extraordinary and praise worthy. He

himself was a poet - musician who wrote about 23 yakshaganas, hundreds of

padas, Kirthanas in Telugu. His court poets wrote works in Telugu which are

well known under his encouragement and guidance. Similarly he pationired

other languages like Kannada, Tamil and Maratthi. His interests in Drama

and Music were also equally great.

3.2.2 The Poets in the Court

The poets of his court wrote many dramas and they were enacted in

the temples and in his palace for which the music was conducted by his court

musicians. The manuscripts are still available in the Saraswati Mahal Library.

He conducted intensive research on the works of music and drama which

throw a light on contemporary musical forms especially during the pre-Trinity

era. Most of the music composers of the later period have drawn Lakshanas

and Lakshyas of the prevailing ragas from them. The poets in the court

produced number of musical prabandhas. Girija Kavi, Vasudeva Kavi,

Dhandiraja Vyasa, Vedasuri were some of the well known musicologists. The

other poets in the court were Balakavi Subbanna, Nivriti Seshachala Kavi,

Kavigiri, and Ashtavadhana Kavi.

43

GIRIRAJA KAVI: Most well known poet and musicologist among them was

Giriraja Kavi. He was the grand father of Tyagaraja Swami. He composed

number of padas and Yakshaganas like Shahaji Vijayamu, Shaharaja

Kalyanamu, Shaharaja Vilasamu, Sahendra Charitamu, Raja Mohana

kuravanji and Sarvanga Sundari Vilasamu.

VASUDEVA KAVI: He is the author of a drama, entitled "Parvati

Parinayamu " and padas known as " Dautya panchakam ".

DHUNDI RAJA VYASA: He wrote musical compositions known as " Saha

Vilasa Gita " and some Ashtapadis.

VEDASURI: He wrote treatise on music, which is entitled " Sangeeth

Makaranda"

BALAKAVI SUBBANA: He composed a yakshagana, called " Leelavathi

Saharajiyamu".

NIVRITHI SESHACHALA KAVI: He was the foremost among the poets in

the court 'He was also called " Andhra Panini ", as he produced a gramatical

work on sutras in Telugu. His reputed works are Saharaja Vilasamu,

Saraswathi Kalyanamu, and Andhra Vyakaranamu. His sanskrit poem is "

Bhosala Koosaleya". He composed not only in Sanskrit and Telugu but also in

eight other languages. He was honoured with " Kanakabhisheka (showering

golden leaves on him), palanquin and many other gifts.

KAVIGIRI: He was the Brother of Giriraja Kavi, who was well versed in

music and literature. He wrote " Rukmangada Chitra " (Dwipada), " Abinava

Darpana " (Telugu translation of Sanskrit work).

44

ASHTAVADHANA KAVI: He wrote a drama called "Chandra Sekhara Vilasa

Natakam ". It includes some Marattha Passages.

3.3 SHAHAJI'S ACHIEVEMENTS AND OTHER WORKS

Among the distinguished monarchs like Harsha Vardhana, Bhoja, the

Chalukya King Bhulokamala Someswara, Sri Krishnadevaraya, Raghunatha

Nayaka, and Vijaya Raghava Nayaka, who patronised fine arts, king Shahaji

stands unique. Though his mother tongue was Maratthi he was wellversed in

Sanskrit and Telugu. He chose the latter to write his works as he felt at home

with it.

Shahaji Maharaja was a prolific composer in Telugu and Sanskrit. He

was a Vaggeyakara and also a great devotee of Tyagesa, the God of Tiruvarur.

He wrote 20 dramas (Yakshaganas & Prabandhas) in addition to hundreds of

padas and keertanas, Swarajatees, Tillanas in Sanskrit, Telugu and Maratthi.

The Yakshaganas are in prose, poetry and in music. They are ...

1. Kiratha Vilasamu 2. Krishnaleela Vilasamu

2. Ganga Parvathi Samvadamu 4. Bhakta Vastala Vilasa

5 Jalakrida 6. Vigneswawra Kalyanamu

7. Sachipurandaramu 8. Vallikalyanamu

9 Santā Kalyānamu 10. Draupadi Kalyanamu 11. Sati Pati Dāna Vilasamu 12 Sītā Kalyana 13. Rama Pattabhishekha 14. Rati Kalyana

15. Rukmini Satyabhama Samvada 16. Sati Dana Sura

16. Pancharatna prabhandham 18. Tyagavinodachitra Prabandham 19. Vishnupallakiseva prabandham 20. Sankarapallakiseva Prabandham

45

They are all Madhura Bhakthi rasa and Srungara rasa Krithees. All the

plays contain his name, ' Saha ' as ' Mudra'. He also composed Tamil Dance-

Drama called "Kaveri Kalyanam ".

In the article, "King Sahaji and other Maratha Rulers of Tanjore" written

by Gowri Kuppuswamy and M. Hariharan published in the book " Royal

patronage to Indian music " it is mentioned that Shahaji is said to have

composed more than 500 padas in Telugu, about a hundred in Maratthi, a few

in Hindi and Tillaana, Svarajatees etc.,(Ref.6)

He had his own circle of musicians and had collected almost all the

Geetaas, Traditional Alaapanas etc., of almost all the Raagas current in his

time which are in about 20 manuscripts preserved in the Tanjore Library. He

determined that the lakshanaas are contained in 10 manuscripts. In one of

these 10 manuscripts Shahaji has selected 20 ragaas as Mela ragaas and

grouped the then current ragas 100 in number under them ". (Ref.6)

The number of Swaraas mentioned in this as well as in 9 other lakshana

manuscripts are greater in number than those of Venkatamakhi. He and his

musicians had added 4 more Swaraas to the already existing 16 swaraas".

(Ref.7).

Shahaji Maharaja was a compiler of two lexieons in Sanskrit by name "

Sabdaratna Samanvaya " and " Sabdaratna Samagraha". He composed 200

padas in Sanskrit, Telugu and Maratthi known as " Thyaagesa Padmulu ", of

these there are 50 " Bhakti padaas ". 5" Bhava Padaas ", 9 " Vairagya Padaas",

103 " Srungara Padaas ".

46

Gowri kuppuswamy in " An Anthology of Indian Music says " Sahaji's

contribution to music and dance is no less important or abundant than that of

the Trinity of Music of the Subsequent age. But it has not been adequately

recognised. He occupies a significant place in the history of carnatic music of

the pre-trinity period. He has his own circle of musicians and collected almost

all the gitas, " Traditional " Alapas " etc. of all the ragas current in his time.

They are in about 20 manuscripts consisting of more than 5000 pages of palm

leaf, all of which are now preserved in the saraswathy mahal. They contain the

results of the intensive researches in music carried out by his court musicians

and further more one manuscript in fact contains Shahaji's own observations

and conclusions on the subject. In addition to this, collection of " Lakshyās "

king Shyahaji had, with the help of his musicians determined the " Lakshanas

" of all the ragas in vogue during his time ".

He wrote a treatise in Hindi, giving the Lakshanas of both Hindustani

and Karnatic Ragaas, which had been very useful for the later musicologists

as a reference source. Using these characteristics, Shahaji composed many

Prabandhaas like "Sapta suladi Prabandha "Sapta Talamallika", "Panchatala

Prabandha" etc., along with Thillanas and Swarajathis".

He composed many " Kshetra Kritees " or Keerthanaas " also in praise of

the deities enshrined in different holy places and local temples. They are

popular with " Saha" "Mudra" in " Apoorva Raagaas". Some Sanskrit songs in

praise of gods Brihadeeshwara, Shanmukha Goddess Brihanayaki etc., were

composed by him.

47

This keerthana style was followed by Deekshitar and others of the later

age. The kshetra kritees are in Telugu as follows:

" Emoyani ", " Chaalaadhanyulu". " Amba Varamulimma ", " Adarimpave

maatalli ". " Ilagu Talune " etc.

Shahaji's period was a Golden era even in the history of Telugu literature

in which yakshagana flourished. It was an immeasurable and immense period

of karnatic music development. It was a period of entertainment and

enlightenment. Pada-Yakshagaana-Music paved the way for the modern dance

and music. The yakshagaanaas and other musical operas known in his time

were the forerunners of the operas of Sri Tyaagaraaja and Swati Tirunal.

'Syanandoora Puravarnanaa Prabandham' of Swati Tirunaal has striking

similarity to the operas of king Sahaji, especially the Pallaki Seva

Prabandham. While we look into the compositions of saint Tyaagaraaja, we are

surprised to see sets of phrases and lines borrowed from the compositions of

king Shahaji.

Shahaji was the initiator of Nadopaasana (worship by music) adopted by

the Trinity of music. They are all born in Tiruvarur. That itself is the proof

of the blessing of the Lord Tyaagesa who was abundantly praised and pleased

by Shahaji's staunch music showering. King Shahaji was mostly responsible

for the Golden age of karnatic music which reached its zenith in the age of

'Trinity'. The world of Telugu music is very much indebted to the Marati king,

Shahaji Maharaja for its growth and development.

48

The titles " Abhinava Bhoja " " Saahitipumbhaava Saarada ", " Sakala

Bhaashaa Chaturvidha " and " Saahiti Nirvaahaka " and many more conferred

on him by the contemporary scholars were deserving to this great patron-king-

creator - lover of Fine arts.

3.4 MAHRATTA RULERS' CONTRIBUTION

Among many dynasties of the past Maharthas rank first in fostering music

and fine arts. They themselves have contributed much to the literature and

music and ,patronised musicians, poets, scholars and research work in the

South especially in Tanjore. King Ekoji was the first Mahrati Ruler of Tanjore

from 1678 to 1683 A.D.

Even though the court poets wrote in Sanskrit the court language was a

mixture of 5 languages, Tamil, Telugu, Marathi, Sanskrit and Hindustani.

Shahaji preferred Telugu as a medium for his prayers and compositions. Thus,

Shahaji was the first to patronise Telugu literature in music. (Ref.8)

Shahaji paved the way for the development of Karnatic music at the hands

of the musical quartette viz., Tyagaraja, Muthuswami Deekshitar, Syaama

Sastri and Swaati Tirunal Mahaaraaja. The last of the three was an intimate

childhood friend of Sahaji's brother Serfoji.(Ref.9) If we consider the

contribution made by the musical quartette, we get convinced that each one of

them has modelled their style of music compositions from the great patron

king Shahaji. (Ref.10)

49

3.4.1 TULAJAJI (1728 - 1736)

King Tulajaji I was the youngest brother of king Shahaji and Serfoji. He

ruled Tanjore from 1728 to 1786 A.D. Prior to his kingship, that is, during the

rule of his two brothers he acted as a Viceroy at Mahaadevapattana, a fort

town during which time he wrote an opera "Sivakaama Sundari Parinaya".

He mentioned in his works that Ekoji II was his son, Yuvaraja. His works are;

1. Dhanvantari Vilaasa (Medicine)

2. Dhanvantari Saranidhi (Medicine)

3. Inakularaaja Tejonidhi (Jotisha)

4. Vakyamruta (Jotisha)

5. Dharmaseara Sangraha (Sastra)

6 Rajadharma Sarasangraha (Dharma)

7. Mantrasastra Sangraha (Mantra)

8. Ramadhyana Paddhati (28 Verses to music)

9. Bahula Katha Churnika

10. Sangita Saramruta

11 Padas with mudras like Tulaja bhupa, Tulajendrapala

12. Sivakaamasundari Parinaya (Yakshagana)

Sangita Saramruta is a very important lakshana grandha' to study the

nature of music of the Pre-trinity period. It deals with various Sruties, Ragas,

Tala & Laya and mentions the development of music from Mathanga upto that

date. Raaga lakshanas and names of musicologists and authors till his period

are recorded in it. It is an extensive and note worthy work elaborating and

establishing the Karnatic music in all in it's aspects.

50

The work consists of 14 chapters in all which are called prakaranas. The

9th chapter discusses the Mela Prakaranas, its definitions, origin and

development of Raagaas, classification into Raagaanga, Bhaashaanga,

Kriyaanga etc. He discussed two gramas (leaving out gaandhaara graama) and

10 lakshanaas of a Raaga and enumerated Melaas. The 10th chapter is the

most important one, which deals with the Raagaas of 10 traditional

classifications. He describes 10 raagalakshaanaas and mentions that only 19

melaas existed against 72 melaas of Venkatamakhi. In the 11th chapter he

deals with Vaadyaas on suddhamela veena. The vadyaas are classified into 4

groups. Geetaas and its varieties are described in the 12th chapter together

with a couple of Purandara Daasaa's Geethas. The 13th chapter deals with

Taala, Maarga and Desi and the last one describes 4 kinds of voice, gaayakaa

gaana doshaas, classification of singers, groups of singers etc. (Ref. 11)

3.4.2 Raja Serfoji (1798-1832)

King Serfoji belongs to the Mahratha - Tanjore-Kings who fostered fine

arts during 18th century. He was born in 1777. Tulajaaji adopted him at the

age of ten and declared him as his heir afterwards. He ascended the throne in

1798. He was a typical Eastern Raja in his patronage to music as rightly

commented by Lord Valentin. Several scholars all over the world visited his

court and praised his talents.

He was a scholar in English, French and German languages. He was

a great scholar in various Indian languages. His capacities and interests were

wide and varied He authored a standard book on Raagas and Raginis in

51

Maraathi called "Kavtache Saahityaache Jinnaas". He composed hundreds of

songs in it. He wrote hundreds of songs in Maraathi and Telugu for which he

composed music also. Alarippu, Jatiswara, Sabdam, Varnam, Padams etc. are

some among the several dance forms created by him.

It is amazing to note that king Serfoji was credited with the

composition of English tunes and in training an English Band that included

European and Indian instruments. His Indian songs were set in Western

Orchestra and were given European staff notation. They were recorded in his

books under the able leadership of his Minister Varahappier who played the

'main Veena'. King Serforji established The Tanjore Band also with Western

and Indian musical instruments.

King Serfoji richly patronised the traditional Bhaagavata Melaas of the

South and endowed number of the Village - Melaas with gifts of land and cash.

His court was attached with more than 360 reputed musicians Venkata

Subbaiah, Anna and Ayya brothers, Vedanayakam, Raamadaas the

Hindustani Singer, Veena Subbakutti Iyer, Veena Kalahasti Iyer, Pallavi

Gopalayyar, Ayyanaiyyar, Todi Seturamaiyer, Subbaraya Sastri,

Shyamasastri's Son, Doraisami Iyer, Erattai Pallavi Sivarama Iyer, Melattai

Venkatarama Sastri, Ghanam Krishnayyar, the Tanjore quarttlle, are some

among them. (Ref.12)

Serfoji had a great regard and admiration for Swaati Tirunaal

Maharaja, his contemporary ruler of Travancore. They maintained cordial

relationship and exchanged scholars and musicians.

52

Saint Tyaagaraaja, the prolific composer of Tirivaiyyaar who lived

during his time loved & respected him.

During his pilgrimage to Benaras in between the years 1820 and 1822,

Serforji brought very valuable and rare manuscripts and got them fair copied

and established a library consisting of the largest single collction of

manuscripts. As a tribute to king Serfoji, the Tanjore Saraswathi Mahal

Library is named after him.(Ref.13)

53

REFERENCES

1. An Anthology of Indian Music edited by Dr. Gouri Kuppu Swamy and

Dr.M. Hariharan published by Sandeep Prakasham B. 3/53, Ashok

Vihar, Phase II, Delhi-110052, 1989. P.91.

2. An Anthology of Indian Music edited by Dr. Gouri Kuppu Swamy and

Dr.M. Hariharan published by Sandeep Prakasham B. 3/53, Ashok

Vihar, Phase II, Delhi-110052, 1989. P.91.

3. Item 1 above P.40

4. Item 1 above P.42

5. Item 1 above P.91

6. Item 1 above P.92

7. Item 1 above P.92

8. Item 1 above P.95

9. Item 1 above P.101

10. Item 1 above P.102

11. Item 1 above P.103, 104

12. Item 1 above P.106,107

13. Item 1 above P.108.

54

CHAPTER - IV

THE AFFLUENT TEXTUAL BEAUTIES

4.1. THE OPERA

Pallaki Seva Prabandha of Shahaji Maharaj is a musical feature called

Sangita Natakam (or Nataka) and it is classified as OPERA of the Western

type. It is a dramatic work involving music and orchestra to which a story and

dialogues are added. This opera is concerned with ritualistic music of the

temple of Tiruvarur on festive occasions. It was performed for over two

hundred years in Tiruvarur. The theme deals with a simple story about the

gods. As result of which it becomes predominantly devotional work. It was

written in sweet, simple and pure Telugu. As it is totally a musical feature it

contains scenes, decorations, recitations, action, dance and songs. It is

prabandha, a drusya, sravya kavya, to be heard and witnessed.

This opera is otherwise can be called a Geya-Nataka. It can be considered

the earliest opera in the history of South Indian Music.(Ref.1) It is also

considered as Yakshagana.

4.2. THE HISTORY

Pallaki Seva Prabandham was performed in Tyagesa Temple in

Tiruvarur annually for more than two centuries under the royal patronage and

then it ceased to be performed as, in course of time, the singers were not

readily available and even the few ladies who knew the music were not willing

55

to perform. Prof. P.Sambamoorthy, Head of the Dept. of Indian Music in

Madras University traced out the text and got the book which was printed in

1896 by Subbarama Dikshitar, the author of the great musical work called

Sangeetha Sampradaya Pradarsini. There was a lady in Tiruvarur by name

Veerammal who could sing and dance abhinaya. On request she sung most of

the songs for recording in 1953. Some other songs which were not included in

the Album were rendered by Mrs. Tilakam of Tiruvarur. Finally the complete

opera was produced over All India Radio, Madras on the 15th April 1953 and

it enthralled every one who heard it. Dr. S. Radha Krishnan who witnessed the

performance of the opera on an occasion was said to have showered laurels on

it. His profound surprise and expression was "A Mahratha King, ruling over

Tamil Nadu and writing in Telugu and that too the very first opera in that

language!" (Ref.2).

Subsequently the Central Sangeetha Nataka Acadami, New Delhi

sanctioned a grant for the publication of the text of the opera with notation.

It was published in December 1955 by the Indian Music publishing house, No.4

Bunder Street, Madras-1. It was edited by professor P.Sambamurthy. The

reprint of it includes Vishnu Pallaki Seva Prabandham also. (Ref.3).

The manuscript copy of (sri) Pallaki Seva Prabandham is available in the

Sarasvathi Mahal library, Tanjore. Shahaji endowed 10 veils of land to the

Temple in Tiruvarur for the sake of performance of the opera (Ref.4).

56

4.3. THE AUTHOR

The King Sahaji Maharaj was the grand son of Raja Sahaji Bhonsle, and

son of Venkoji alias Ekoji. Sivaji and Venkoji were born to Sahaji Bhonsle, one

through Jijabai and the other through Tulajaj Devi. These kings by policy and

interest, learnt and encouraged local art-forms of Karnataka style of music and

dance instead of bringing with them the art-forms of the Hindustani style of

music of their own homeland. They produced scientific treatises in local

languages Tamil and Telugu. Shahaji as Shankar Kali Natan Samvada Natak

is stated to be a monumental piece of work which uses all the five languages

Telugu, Tamil, Sanskrit, Hindi, Marati and Hindustani. (Ref.5).

Shahaji was a devotee of Shiva and Vishnu. He wrote Sankara Pallaki

seva Prabandham in Telugu Verse, song, prose and Daru all set to music. He

also wrote another opera called Vishnu Pallaki Seva Prabandham.

Thyagaraja who was born 57 years after Shahaji Maharaja, might have

written Nowka Charitra and Prahlada bhakta vijayam following the models

of Shahaji Maharaja who wrote Pallaki Seva Prabandham.

4.4 THE PLOT

There is a SIVA Temple in Tiruvarur in which the presiding deity is

Tyagesa or Tyagaraja. In the same premises there is also diety called

Kamalamba who is facing the Isanya, North-East direction, as though she is

praying for the union with the Lord, Siva. The poet-cum-composer, King

Shahaji imagines that Parvathi, wife of Lord Siva has turned her face aside

57

from her husband as she is in grief because he is away from her. The king

wished for their union once again. He portrays Kamalamba, the other name

given to Parvathi as a woman sending message to Siva on requesting him to

come back to her. It is ultimately fulfilled when her friends (sakhis) go to

Parameswar and bring him to her. The opera is developed around this slender

theme.

The play starts with a traditional invocation to Ganesa, the god who

protects from all kinds of interruptions and hurdles. Paravati who is unable

to bear the separation form her Lord, longs to see him. She requests her

'sakhis' to go and entreat Paramasiva to go over to her. The sakhis set out and

find that Paramasiva is seated on the throne surrouned by Divine personages.

They discuss among themselves how to approach the lord. A suggestion has

come forth to see whether Siva can be approached through Ganga Devi

adorning his head. One sakhi replies that Ganga will not respond to their call

as she is jealous of Parvathi. Then they think of approaching the Lord through

the deer adorning his hand. They request the deer to inform

("VINNAVIMPAVE") the Lord of the sad state of the Devi. Then sakhi realises

that it is too much to expect of an animal who has no wisdom to accomplish

this delicate task in a successful manner. Another suggestion is made to

approach the serpent adorning his neck for the purpose. Forthwith follows the

banging reply from another sakhi that the poisonous snake can never be

trusted. Then they think of approaching the moon adoring the plight of Siva.

A sakhi says that the Chandra is also untrust worthy as there is a blot in his

character who deceived his own teacher. Thus they find themselves helpless,

58

as they can not depend confidently on any one. They finally decide to make a

bold approach to Parameswara directly. They humbly, go to him and present

their request to him through a couple of moving songs. Paramasiva who is

pleased with this, orders to keep ready a palanquin. It is luxuriously decorated

and lavishly furnished. The lord leaves the court and gets into the palanquin.

The palanquin bearers lift it on tc their shoulders and make a journey while

singing and cautioning among themselves. As they are very much concerned

of their Lord's safety, they say, "let us carry the palanquin quite safely. Let us

move step by step slowly. While changing the shoulder positions, let us be

attentive. Carelessness on our part will result in a shock to the Lord, and due

to the shock the entire universe which is within his stomach may shake".

In her palace Parvathi is ready to welcome him by dressing herself well

and putting on valuable jewellery. Her bed room and the surroundings are well

decorated. As the Parameswara approaches the palace of Parvathi, the angels

come one by one and offer their prayers to the Lord. Parvathi appears in all

her spiritual glory, sings in praise of the Lord and offers herself.Finally the

expected uniontakes place. The play ends hailing the victory of the Lord and

with a 'mangalam' to the Lord as "Maapali Devuniki".

4.5 THE TONE

The tone of the opera is that of devotional and earnest. It proves that the

author is basically an ardent devotee of Lord Shiva. The media of worship he

has choosen is art and literature. The chariot of his devotion runs on two

wheels of poetical language and mellifluous music. The language and music are

59

harmoniously blended. The felicity of language perfectly suits the music

rendered to it.

Shahaji understood that a virtuous person must have a knowledge of

music besides fervent devotion for the God. Sri Thyagaraj who belonged to

later period expressed it when he sung the popular song "Sangeetha Gnanamu

Bhakti vina Sanmargamu Kalade Manasa"?

4.6 THE STRUCTURE

Shankara Pallaki Seva Prabandham is basically Drushya kaavya; a

performing art. It has to be presented with song, dance, action, scenery,

decoration and recitation. The lyrics in the work are interspersed and

consorted with recitative words. It is unlike Gita Govinda where the lyrics are

connected with recitatives alone. Pallaki Seva Prabandham is structured as

Yakshagana in which musical and literary forms are combined in which poetry,

music, dance and symbolism are given equal importance.

The characters in the opera are Siva, Parvathi, Parvathi's mates, and a

host of Gods like Indra, Vishnu and Brahma. Two rasaas predominate the

opera. They are Bhakti and Srungara. Bhakti is expessed by Paarvathi and her

companions and Srungara is portrayed in the relationship between Parvati and

Parameswar. They are the heroine and hero as Goddess Nilotpalaamba and

Lord Vithi Vitanka Tyagesa Swami of Tiruvarur.

60

The entire story is presented through dialogue between the characters.

The nature of the ornaments of Siva like Ganga, Moon, Deer, Snake are

described by the companions. The theme is simple and appropriate to an opera.

It consists of 22 darus, 4 dwipadaas, 1 sisa padya, 2 utpalamalaas, 3

champakaamalaas, 8 Kanda Padyaas, 2 teta gitas and 1 churnika. Some darus

are in the form of couplets. Total verses are 21. There are number of charanaas

in each daru and there are short prose passages in between the verses.

It has all the Lakshanaas of a Prabandham with beautiful descriptions

and the all the other requirements already stated before. Having all the

characteristics of a Prabandha along with Yakshagaana chandas, this

composition is properly shaped into a Yakshagaana Prabandham.

Construction of the opera is made according to the situation and rasa of

the song. Folk tunes are also used. Twelve (12) ragas which are the favourites

of Siva are used.

The opera was enacted by Devadasis every year at the annual

Brahmostsava festival in Tirvarur. - Even now Devadasis perform dance and

sing songs during the palanquin service of the Lord every Friday at Tiruvarur

Temple.

The darus are set to appropriate raga and tala according to the

expression and feeling to the situation.

King Shahaji designed the Prabandham praising Siva and Parvati in

such a manner that it is applauded by the artists, followed by the scholars and

sung by the devotees.

61

4.7 THE LANGUAGE

Like Sankara Pallaki Seva Prabhandam, Vishnupallaki Seva

Prabandham is also written in Telugu. Having Marathi as his mother tongue

and having born in Bangalore, Shahaji had to learn Telugu. He had an

advantage in learning Telugu as it was the court language in the kingdom of

Tanjore ruled by Mahratta Kings. The opera illustrates that he mastered

Telugu appreciably. (Ref.6).

The language used in the opera is appropriate, commendable and

scholarly. It is simple, pure and exact. The meaning is straight and easily

understandable. It is also sometimes rhetorical when situation demands. The

vocabulary is also extensive, which includes rare and ordinary words. Many

interesting combinations of words (Samasams) can be found in the poems and

songs of the opera. That the poet experimented with the words is errand in the

numerous allusions it contains.

The Lakshanas of Telugu Kavya are worthily endowed in this Telugu

Prabandham with variety of descriptions, lucid style, sweet narration, apt

imagination and puranic allusions. Though it is very short it is sweet and can

be comparable to great works like Manucharitra, and Vasucharitra as of the

essential Prabandha qualities of the Prabandham be seen in nutshell in it.

Like poetical Khanda-Kavyas of the modern age, Sahaji's Opera is a

musical Khanda Kavya.

62

It contains many attractive descriptions which successfully communicate

delicate feelings to the audience, for example the poet thus describes the royal

palanquin with absorbing decorations, calling one's attention again and again,

with bunches of round shaped glass material and hangings of silken garlands

etc:

"Singarampu Pallaki cheluvu choodave Hurumanji poosala norapaina Kutchulu Paraga kuralamu, pattu toranamulu gala". (daru 9)

In another song it is cautioned "Don't move and do not allow the

palanquin moved, for the delicate Lord's body may be subjected to pain".

"Kadilimpaku royi Pallaki Kadalaniku royi chala Mruduvaina Jangamaiah menu nochchenu" (daru 11)

The musical and linguistic construction of the songs is simple, dignified

and in tune with the rasaas of the several situations. A few folk melodies are

also used in it. In the verse 10, one sees rhetorical beauties in abundance.

Songs like "Lali Lalayya lali" (19) contain fine Anthya Prasas (alliteration).

Almost all the songs have yatis (first letter or syllable coming again at a

particular number of letters in the same line of poem or song) and prasas

(second letter of each line getting repeated in all the lines). Swarakharaas are

also seen here and there as in songs 1,9,14,21,and 22. The song describing the

lavishly decorated and richly ornamented palanquin is the highlight of the

play. The vivid description of the numerous jewels worn by Parvati is also

equally striking it gives a picture of the splendour of the royal court. Delicate

sentiments and refined thoughts are admirably portrayed in the play.

63

4.8 THE MUSIC

Sankar Pallaki Seva Prabandham being a Geyanaataka invariably set to

different forms of music, contains varieties of musical forms in large number.

All forms of compositions including the simplest folk melody find place in it.

The nature of music is wide-spread in an opera from very fast to dead slow

depending upon the compositions, situations, emotions and individuals. There

will be group music and absolute music. It will be suggestive in certain

respects. Dramatic setting and scenic presentation also demand musical

background that includes singing and playing instruments. All these factors

put together constitute the most favourable entertainment of any opera. There

is also group music or Brindagaana in this opera.

Orchestra is not so dominating in Indian operas as in the case of western

operas. A few classical instruments are sufficient for this opera. There is ample

scope for feelings, suitable expressions, ragaas and action and music.

Geyanatika is characterised by high class music and good poetry as it is

intended for being acted.

Darus are maximum in number in the opera and refined music is

involved to convey the meaning of lyrics and also to create a pleasing

atmosphere with suitable raagaa and laya. There are 12 raagaas used in the

play. They are Ghanta, Punnaga Varali, Nadanamakriya, Saveri, Saurashtra,

Bhairavi, Saindhavi, Madhyamavati, Mohana, Sankarabharanam, Kuranji and

Panthuvaraali.

64

Panthuvarali is used for four songs in the opera. It is a favourite raga to

Siva according to the tradition.

Panthuvarali, the Sadaripan of the Tevaram and Ramakriya raga of the

medieval period.

Classical karnatak raagaas are used for all the Darus. The raagaas are

well known by the time this opera was written in the later part of 17th

century. The same ragas are retained even now without any notable changes.

The lakshnanas of the ragas will be discussed afterwards in the following

chapters of this thesis. The Darus are sung in the same raagaas and in the

same manner today.

That the raagaas were well established during the times of Shahaji, is

well established by the following details. After Sahaji Maharaj and Sarafoji,

King Tulajendra- I (or Tulajaji-I, 1729-1735) produced a monumental work in

Sanskrit, called "Sangeetha Saramrutha", which dealt with the same raagaas.

The book was published by the Music Academy of Madras-started by Prof.

P.Sambamoorthy. He further points out that "Venkatamakhi had written his

"CHATURDANDI PRAKASHIKA" in or about 1620 which provided the

Karnatak systems of music with its scientific basis of 72 melas". It was

specially mentioned by King Tulajaji that the melas formulated by

Venkatamakhi remained obscure and that therefore he would deal only with

the melas and ragas which were in actual practice in his own time". (Ref.8).

65

Mukhajati and Antyajati are the two kinds of kalpita jatis (rhythmical

syllablei which are integral parts of Nrityanataka; Mukhajati is recited as a

prelude and it naturally leads on to the commencement of a section of a piece.

The antyajati marks the conclusion of a song or a minor episode in the play.

They are also applicable to the geyanataka of Pallaki Seva Prabandham. It is

stated that the element of music set to chaste norms of dance in the Shahaji's

4 prabandhas. (Ref.9).

66

REFERENCES

Maharashtra's contribution to Music - Vamanrao Deshpande;

Maharashtra Information Centre, Govt. of Maharashtra 30131 York

Hotel Building, Connaught Circus, New Delhi -1. P.70.

Pallaki Seva Prabandham, Telugu Opera of Shahaji Maharaja of Tanjore

• Madras University 1955 - Preface and also the reference (1) above.

3. As ref. (1) - Preface.

4. Item 2 - Introduction.

5. As iem-1, Page 70.

6. An anthology of Indian Music, Royal Patronage to Indian Music, King

Shahaji and other Maratha Rulers of Tanjorfe. Page 42.

7. An anthology of Indian Music, Royal Patronage to Indian Music, King

Shahaji and other Maratha Rulers of Tanjorfe. Page 42.

8. As item 6 page 95.

9. As item 6 page-I

10. Pallaki Seva Prahandham edited by Gowri Kuppuswamy.

67

CHAPTER - V

THE TEXT, MEANINGS AND NOTATION

5.1 THE ACTUAL TEXT (TELUGU) WITH THE MEANING

(ENGLISH)

Subhamastu Avighnamasthu

PADYAM (1) - DWIPADA

Sree Karimkhuni Poshita Chaturmukhuni Ekadantuni Duritebhakesarini

Taaraka daityavidaruni Guhuni Garavambuna ganna GOURI SANKARULA

Pallaki Seva Prabandhambu gaanu Ullaa samuna chaturu dadhula velayu

Sarva sarvam sahaa chakrambunelu

sarva padambuja sannuti parudu

Vāasaravallābhaanvaya raājamouli BHŌSALA SREE SĀAHA BHŪUPURAMDARUDU

Vira chinche kavulella vēnolla bogada

Dharani lōnā chandrataaraārkamu ganu.

MEANING

good be Let no hurdle be

DWIPADA : TELUGU POEM (1)

BHOSALA SRI SAHA, like God Indra on earth, who is king of kings of

Surya Vamsa (Sun race), whose lotus feet are praised by all, who rules the

68

whole earth surrounded by four oceans has composed with enthusiasm

PALLAKI SEVA PRABANDHAM ON GOURI and SANKARA, the affectionate

parents of Sri karimukha and Guha; Karimukha is the elephant faced Lord

(Ganesh), supported by the four-faced Lord (Brahma), having single tusk, and

driving off sins like a lion and guha is the slayer of demons like Taraka. Let

the work be praised by all the poets profusively (thousand ways) on earth as

long as the moon, the stars and the sun exist.

PADYAM (2) SEESAM

Puuvu Vinti Vajiru bhoothi peeriti bukka Norapu kronnela mokka nodalu jadalu Buvva periti vari kavvambu nelamini, Suragaali chelikaani chupu thoopu, Toli velupula yilupu la nella gonuchelu Vilasillu penuchilva vinnu menu, Padi mogam bulavani badalinchu neralavu, neratupu doramta vu villu millu sare vahi yimpa sobhillu chakkarayya kari mukhuni kayya buchula gamulajiyya Sudhalavedajallu kadaganti chu dkicheta Bu duta nelatalpu mana nepdu brochu gata

MEANING

SĪSAPADYAM - POEM (2)

May Lord Siva always protect us. He who is beautiful, who has burnt

Manmatha (Love God), possessing the flower bow and has his ashes smeared

69

all over his body, who has locks of hair adorned with the crest of the moon and

large beautiful snakes all over the body; who has Agni as his eye, and vayu as

his friend, who destroyed even the ancient Gods (including Brahma and

Vishnu) during the time of Mahasamhara (great war total destruction), who

destroyed the strength of the ten-headed Ravana, who has the abode of India

(meru mountain for his bow), who is the father of Karimukha, the Ganesh and

who has the sky for his body may ever protect us.

PADYAM (3) - KANDAM

Chali gottu Patti nādhuni

Valapuna demmanna nindu vachiti midigo

Koluvuna Velayuchu nundedi

Kaluvala dora taalpu cheluvu kanugonavamma

MEANING

This passage is not available in the original manuscript. After the

previous verse it is a connection to begin the actual story as if it is described

by the poet.

Unable to bear the pangs of separation from Lord Siva, Goddess Parvati

requests her friends (hand-maindens) to go and fetch Lord Siva to her abode.

When they go to Parameswara, they find him seated in his court. Seeing this,

Paarvathi's companions talk among themselves describing the grandeur of his

court.

70

KANDA PADYAM - TELUGU POEM (3)

Oh friend sent by the daughter of Himalaya mountain to get her Lord

with affection, we have come here. But see the Lord, he is seated in the court.

He is shinning with the half-disc moon on his head.

DARU 1. KOLUVAI YUNNADE SANKARABHARANA RAGA-TRIPUTA

(CHAPU) TALA

PALLAVI

Koluvaiyunnade devadevudu

ANU PALLAVI

Koluvaiyunnaade Koti surya prakasude

Valaraju pagavaade vanita mohanangude !! (Kolu)

CHARANAMS

1. Balu ponkamagu chiluvala kankanamu lamara naluvankala mani ruchula vanka tanara dalavanka nalaveelupula vanka nelavanka valacheta noka jinka vaikhari meeranga !! (kolu)

2. Meluga ratanampu raluchekkina yunga raalu bhujaga keyuuraalu merayaga baalu garu momuna srilu podama puli tholugatti mummona valubatti chelaga !! (kolu)

3. Aasalagronnana vaasana nindaara bhaasamaana mani simhaasanaantara ni

vaasudaguchu nija daasula pennidhi Bhosala Saaha bhuvaasavu daivamu !! (Kolu)

71

MEANING PALLAVI

God of gods is seated in the Court

ANU PALLAVI

Seated in the court shining with the brightness of crores of suns, the

enemy of the kind of passion-Manmadha 'o friend' he is having a form of

enchantment.

CHARANAM

MEANING

1. The manner he looks is that many coils of snakes are exhibited as

bracelets of his hands and gems glittering in all directions adorn his

body. On one side of his head seated godly woman and on the otherside

moon and his right hand holds the deer.

2. His finger rings and armslets sculptured with high class stones of gems

are glittering brightly. His milky face is possessed with richness. He is

wearing tigerskin and holding three-pronged spear. He is so seated.

3. Fulfilling desires of his devotees being their great refuge-treasure, he is

seated on the throne bedecked with bright gems and he is the God of the

king Shaha belonging to the Bhosala clan.

KANDAM - PADYA (4)

Brindaraku landaru haru-vandanamulonarpan nandi vadi beththamuche

Nandi sadanandi gaminnandi nutinchedini jalajanayanaro Vinavē !!

MEANING

Kandam : Telugu Poem (4) - Simple and Popular

Oh lotus eyed friend, listen to this Lord Hara is saluted by all the gods.

Nandi is with sharp stick in his hand. Nandi with ever-joy praises the Lord

with prayers reaching sky.

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DARU - 2 : HECHCHARIKA (SAAVERIRAGA - ROOPAKATHAALA)

1. Pakari mrokkeeni chekonevayya - lökanaayaka paraaka hechcharika !!

2. Ambujabhavudu jöhaaru jeseeni - sambaraari hara saami hechcharika !!

3. Neelavarnudu vachchi kēlu modcheeni - phaalalochana bhaktapaala

hechcharika !!

4. Dasulu muni dikpatulu dandamidēru - sri saaha vinuta dēvēsa

hechcharika !!

MEANING : DARUVU : HECHCHARIKA

1. Oh Lord of the world accept the salutations offered by Indra. Be alert and

attentive.

2. Oh enemy of demon sambara! Hara! Lord! the lotus-born Brahma hails

there, be alert and attentive.

3. Oh one who is having an eye in the forehead, Oh protector of the devotees,

the blue coloured Lord Vishnu has come and is saluting you with folded

hands, be attentive.

4. Oh Lord of gods, praised by king Saaha, the servants, sages and the

protectors of the directions offer their salutations, be attentive.

PADYAM (5) : UTPALAMAALA

Pikkatilanga nilchi munupettina-paadamu leththi mopa thaa- Vekkadalēka sandadino-kinchuka drōyuchu bōyi mundaran Prakkalajēri dēvatalu-paayaka sankaru tho swakaaryamul Mrokkuchu vinnavinchedaru-mungala joodu kuranga lochanaa| |

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MEANING

UTPALAMAALA - TELUGU POEM (5)

Oh deer-eyed friend! Look in front. There is heavy rush and crowd in the

court. There is no space to stand and even to lay the first step and put. But

some how with enthusiasm, the gods are going forward pushing each other

little by little and standing in front and sides of Sankara without any gap and

presenting their greivances in obedinance and with salutations.

DARUVU - 3 : MOHANA RAGAM, MISRACHAPU TALAM

PALLAVI

Yetula rammanduno vamma yindu dharuni-yetula rammanuduno yamma | |

ANU PALLAVI

Nitala netrudu nedu nindu koluvai yunnadu | | yetula

Charanamulu :

1. Padi vēsamula sami paluka laalinchi chala mudamuna

Natanito muchchata tladeti vēla | | yetula | |

2. Teliyaga lokamula teragella vinna vinche

Naluvanu kanugoni navvu chundeti vela | | yetula | |

3. Kalayaga jaala raacha kaaryamulu vinna vinche

Balavairi madilōni bhayamu dirche vēla | | yetula | |

4. Dinadinamu dēvaadi dēvunipai sri saaha

ghanudu gavinchu mēti kavitalu vinu vēla | | yetula | |

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MEANING

Daruvu : Mohana Ragam, Misrachaapu Taalam

PALLAVI

Oh Woman! How can I call Siva now, who has the moon on his head, how

can I invite him !

ANU PALLAVI

The one who has the third eye on his forehead is seated amidst full

attendance of his court.

Stanzas

1. After very much listening to the words of the Lord (Vishnu) of

Ten-incornations, Siva is happily conversing with him, then how

I can I ask him to come now?

2. While smiling on seeing Brahma who for information is briefing

(Siva) on the ways and affairs of the world, how can I call him?

3. When striving to free the fear in the mind of Indra who is

informing about a lot of political affairs, how can I call him?

4. While he is listening to the grand compositions written by the

great king, Saaha day by day on the god of gods (Siva) how can

I call him?

PADYAM - 6 : CHAMPAKAMALA

Katakata proddu vōye nudukanta sikhaamani devakaaminee natanamu joochi vennuni manambaaran vachiyinchuchunna vadatu tadavaye nanchu manamam dachacatmaja yalga nitti sam| katamuna kemiseyudamu kanjanibhaana vinnavimpavē !!

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TELUGU POEM - 6 : CHAMPAKAMALA PROSODY

Oh lotus - shining faced lady, tell me what can we do at this juncture? It

is getting late as the Lord who is having moon as ornament on his head is

talking happily with Vishnu, while enjoying the dance of the heavenly nymphs

and on the other hand (while) (parvati) the daughter of mountains there might

be angry with us in her mind for the delay.

DWIPADA (7) : Bēgada Raagamu

Kamalaayathakshi Sankarunitō suralu Tamatama manvi nantayu delpalēdo

Yereethi manamachalaatmaja vithamu koorimi rettimpa gosaruchuvadda

Pōyi telupudamanna böneeru veera layēboyivatti yadiyaasa maani

Sannaga haruni bhooshanamula thonu vinnavimpu matanchu vēduda mipudu

Talamida nunna mandakini juchi teliya baluku matanchu delupuda matavē

MEANING

Padya (7) Dwipada : Two lined Telugu Prosody - Bēgada Raga

Oh lotus eyed lady, have not the gods expressed all their desires to Lord

Sankara? In the same manner, say if we want to approach him to inform him

of the state of parvati's mind in a way to increase love and affection, the court

guards will not allow us to enter inside and our attempts will go futile. And

hence without doing that attempt, we shall softly request the ornaments of

Hara to inform him of Parvati's anguish. We see Ganga on his head and shall

we send our message through her ?

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DARUVU - 4 : "IDI VINARAADE - SANKARAABHARANA RAAGAM,

TRIPUTA TAALAM

PALLAVI

Idi vinarade yeemaatalu - Idi vina raade

ANU PALLAVI

Idi vinaraade yimatalu - Idi vinaraade !!

Charanamulu

Idi maha penu ganga yevari naina battu Vadali nappude putti munchu atte Bedarinchi marala telinchu minchi Hrudayesu nadu netti nekki natinchu !! Idi

2. Magani netti motti mari yokka magavaani Tagilinchukonu hontakari, moodu Jagamula mrōgina bhēri ralla Tega gōsi paredi dēsaalamari !! Idi

3. Puttina biddala bottanunchi yega Kotti ledanu balu nili yenta Gattaina junugu karali yidi Mittapallamuleni puttu gayyali !! Idi

MEANING

DARUVU - "IDI VINARADE" - SANKARABHARANA RAAGAM,

TRIPUTA TAALAM

PALLAVI

She (Ganga) should not listen to these words.

ANU PALLAVI

She (ganga) should not listen to these words. She should not listen.

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Charanams

1. This lady is of big waters. She will catch any one. She will drag away

and drown. She will frighten and lift one up. she will repeat like that.

She jumps to the head of the Lord of heart and dances.

2. This ganga has beaten and foresaken her husband (Santanu) and then

she has gone to another man (Siva) for affairs. She is like snake. She is

notorious in the three worlds. She is a nomad flowing all over many

places, breaking even the hardest rocks.

3. This ganga is a deceiptful woman who has thrown her (seven) children

away as soon as they are born. She can deceive even big persons. She

is dreadful. She has no levels, nor she has any standards. She is born

as quarrelsome lady.

Vachanamu : Vinave cheliya! Neevu cheppinadi niluvarame

Sari, Gangaku teliyakunda mrugamuto vinnavintumo.

Dialogue (Prose) : Oh friend! what you said is true. O.K. let us request

the deer without ganga's knowledge.

DARUVU - 5 : Vinnavimpavē - Madhyamavati Raaga, Aadi Talam

Pallavi

Vinnavimpave ma chinni mrugama !!

Anu pallav

Inneladarito nipudu ma manavi !! Vinna

Charanamulu

1. Savinayaguni yani chanuvariyani kani Sivudu dayanu ninu jekonnade Bhuvi ni bhagyamu bogadatarama haru Chevilo namrutamu chilkaga suddini !! Vinna

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2. Doralachentalanu dirige variki Jira punyambulu cherugade Garima mira paropakaramu gavuna Maruvaka raja sikhamaniki ma manavi !! Vinna

3. Makeekaryamu masalaka cheyumu Neeku mrokkedamu nenarunanu

Aakalpamu nitya seva vatilla ga Jokanu sahanuta somaskandha murtito !! Vinna

MEANING

Daru - 5 : "Vinnavimpave" - Madhyamavati Raga, Adi Tala

Pallavi : Oh small animal (deer) ! Please convey convey Anu pallavi : Convey our request now to the wearer of the moon.

Charanams

1. Seeing that you are humble in quality and close to many, Lord Siva has

kindly taken you to his fold. You are fortunate in the world and your

fortune is beyond description. Please put a word of nector into the ears

of Hara.

2. Those that move among noble persons, get much punya. Is it not so,

convey our message without fail to Siva who wears moon on his head.

And it will be a great help.

3. Please do this work for us. Do not say no. We salute you lovingly. Please

make our wish known to lord, somaskandha murti who is praised by

Saaha, (the king) with delight.

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PADYAMU-8: CHAPAKAMAALA

Sakiyaro chalu kurmi daya satyamu palku viveka kirtule |nnikalu

paropakaramulunitiyu buddiyu rayabaramul mekamulakeda nammanika

midati karyamu sanghatillagan| sakalamu kundalladrunaku

sarekudelpudamamma nemmigan.|

MEANING

Padya-8: Champakamala-Telugu Prosody

Oh friend! what you have said is enough How do you expect an animal

to posses qualities of affection, kindness, truth, good word, of intelligence,

awareness of good and bad, helping deeds, morality, intellect and mediation.

Let us approach and tell the king of serpants the whole thing for further action

to take place.

DARUVU-6: TELUPAVAYYA-Saveri Ragamu-Adi Tālamu

Pallavi: Telupavayya mamanavi-chiluvala raya

Anu pallavi: Palumaru sankaruni to-bhaktava sankarunito Telu

Charanamulu

1. Chalapatti kachinatlāye-Samayamintaina lēdayē Talapa rendu jāmulaye-dadu phiryadu lēdaye !! Telu

2. Pdimi samukhamuna-pōniru jējēlēthaina Āduvarani neevaina-adarinchi sāmithona !! Telu

3 Tadavu sēyaka lemmani-tarunipai dayacheyumani vididiki rammani sāha bhu-vibhu daivamuto buni !! Telu

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MEANING

DARU-6: Telupavayya' Saveri Raga-Aditala

Pallavi: Please convey our request, oh serpent king!

Anu pallavi: Tell again and again with Sankara who is in the hold of his

devotees.

CHARANA

1. We have been waiting for a long time like that. We have not been

alloted tttime to talk to the Lord. It isalready two periods (Jāmus) past,

and our request has not been heard.

2. Even if we want to go and meet him, the guards are not allowing us at

all. You, at least take pity on us and inform the lord.

3. Without further delay, let him raise from the court and show kindliness

to the lady; let him go to the abode of parvati. Let the lord of the king

Saha come

PADYAMU-9:

Palu visamu rendu jihwalu-kalavārala kēdanaina galavē nenarul Kalasāmbudhi tanayunitō-telividigānu kārya mikanu telupuda ma mmā !!

PADYAM-9 : KANDA-A TELUGU SIMPLE PROSODY

Oh friends! How could we expect compassion out of a serpent having two

tongues filled with Venom. So let us explain our work wisely to moon, the son

of ocean.

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PADYAMU-10: CHAMPAKAMĀLA

Maruvaka chandamāma vinumā idinīkoka bhārama? ramāļ

tarunisamāna māgirija tāmasamā chalamēlamānumā Karamula mrokku

māmanavi gaikonumā Haru tōda telpumā Veravaka chūduma madini Vīdhi

vitanka sikhānka ratnamā !!

MEANING

PADYA-10: CHAMPAKAMĀLA, A TELUGU PROSODY

Oh chandamama (moon) please listen, without forgetting our message.

It is not a big thing for you to convey. Our Parvati is equal to Lakshmi, your

sister. Let therebe no lethargy and carefreeness in the matter. Take our

message and convey to Hara with folded hands. You are the greatest ornament

on the head of Lord Vithi Vitanka Tyagesa! So you see the situation in the

mind without hesitation and convey our message.

DARUVU-7 : POLATI INTAINA-Panthuvarāli Rāgamu-Ādi Tālamu

Pallavi : Polati intaina daya puttu natavē !!

Anu Pallavi : Halahalamuto puttina Annekāniki !!

Charanamulu

1. Chelleli illu koddi chēsi mellane yojja- pallava pani battina pāpajātiki !! Polati

2. Kūrimi tammula meedi konde gāniki rēla dūri nelathala nēchē dosakāriki !! Polati

3. Chānavīni vēduta chāluchācune povē Mēnu deliyanivāni mēnamāmaku | | Polati

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MEANING

DARU-7: POLATI INTAINA-Panthuvarāli Rāgam-Adi Tala

Pallavi: Oh! lady, would the moon have this much sympathy?

Anu pallavi: He is an injust fellow born along with pioson.

CHARANAMAS

1. He belittles his sister'house by his presence, as the lotus which is

the abode of his sister lakshmi languishes. He is of sinful clan as

he seized the hand Tara who was the wife of his teacher,

Brihaspati.

2. He is quarelsome person of his own loving brothers as he has

deceived Rahu and ketu and punished by lord Vishnu during the

great ocean churning. Further he is a wicked person who

increases the pangs of young women during night times. (Tammi

also means Tämara Pushpa which bloomes inn the absense of

chandra)

3. Enough o friend, enough of praying here. We have prayed him

sufficiently, let us go. He is after all the uncle of the bodyless

Manmatha.

VACHANAMU

(Yevaritō cheppi pamputakunau Veelu gāmi chelikattelu thamē swayamugā

paramēswaru nodda kēgi, thama deviyagu Pārvathini gūrchi yayanatho

manavichēyu chunnāru).

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PROSE

(Not being possible to send word to Lord Sankara through any one, the

companions of Parvathi themselves have proceeded to the presence of

parameswara and obediently informing him about their lordess, Parvathi).

PADYAMU-11: DWIPADA

O Deenamandāra yonagāgarā O dayāsāgara yosubhākara Vāmākshi gouri devara raka gōri Kamunicheduli gāliche sōli Karaguchunnadi chāla kaliki yeevela Kalaya rāvaiah Sankara chakkanayya

MEANING

PADYA:11 DWIPADA: TELUGU PROSODY

O protector of the weak, O dweller of the Kailasa, ocean of compassion,

o graceful bodied Lord, the beautiful eyed Gouri (Parvati) is awaiting your

arrival. The lady is very much moved today. She is much affected by

Manmadha and exhausted by breeze. So, handsome Lord, Sankara, please go

and meet her.

DARUVU-8 YELUKOVAYYA-Sourashtra Ragamu, Misrachāpu Talamu

PALLAVI

Yēlukovayyā chakkanayya thālaledayya mābāla

Yelukovayya intha thadavēla ravayya !!

ANU PALLAVI

Yeluko Sankarā kālagarva hara- Phālalochana Hara leelavihāra !! Yeluko !! @

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CHARANAMULU

1. Molaka themmeralaku kuluku thummedalaku thaluku vennelalaku ulukura chāla melakuva thēniya lolakagā kalakala palukurachilikala kaluku mabala !! Yeluko !!

2. Māru raayadi kentha bārura sayyanu jērura neepēru cheerura chala Meerurāthiriyanidūrurā chelulanu gorurā virulanu gērura bāla !! Yeluko !!

3. Solurā valapuna dūlurā virahabdhi dēlurā mamu bathimalurā chāla Mēlurā yeevaga chālurā sati java rālurā ledeege bōlurā bala !! Yeluko !!

MEANINAG

DARU-8:YELUKOVAYYĀ-Sourashtra Rāga, Misrachāpu Tāla

PALLAVI

O handsome Lord, accept Parvati. She is delicate She cannot bear separation from you. Why so much delay. Please come and have your rule over her.

ANU PALLAVI

O Sankara, the destroyer of the pride of yama, O Hara having the third eye in the forehead, enjoyer, of world-play, please take over her.

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Charanas:

1. Our girl flutters very much for gentle breeze, moves against bees and

frightens for moon light. She gets upset for honey sweet sounds of alert

parrots.

2. She runs on facing the feelings of Manmatha, goes to bed, repeats your

name, can not tolerate late nights, invites her attendant companions

and does not care for charming flowers even.

3. She faints and rebukes in love and lust, floats on the sea of separation,

entreats us very much, yes enough of separation; your mate is young

and she is like a tender creeper.

PADYAMU-12: KANDAMU

Then listen to what has happened.

The lord Siva, who has the sky as crown has listened to our prayer, left

the court and ordered his attendants to bring flower-bedecked-Palanguin

(PALLAKI). It is brought to our joy and delight. You will see wonder day after

day.

DARUVU-9: SINGĀRAMPU! Sankarābharana Rāgamu-Misrachāpu Tālamu

PALLAVI

Singārampu Pallaki cheluvu Judavē!

ANU PALLAVI

Sangeetha Melamutho Sannuthincheeni devuni !!

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CHARANAMULU.

1. Jigiminchu jalapūtha jini pannāngāmu biguvu nindu buruse pinjelunu niganiga yanu pachchi pagadapu dandiyu magarala nigarala manchi chattamulugala !! Singa

2. Chirutha pachchala gachchu chēsina thabudiki Kuruvindamula kilukona gubbalu jariga kanda nallina jamili nalidindulunu oragu billalu pattu kirulu billalu gala !! Singa

3 Sari jini kuttula sagalaththi meththalu harinilamulanu kaththera kāllanu hurumunji pūsala norapaina kuchchulu paraga gurālamu pattuthoranamulu gala !! Singa

MEANING

PALLAVI, behold the palanquin decorated with beauty twined

Anu Pallavi: The approaching palanquin of the lord with orchestra of

musicians oh friend.

CHARANAMS

1. Resplendent with shining matter And gold-glittering top cover Fully and lavishly attached silk hangings(kutchulu) Shining light red tender coral handlings And high class precious jem-stone bracings.

2. The Inside of the palanquin is with small emaralds And round surfaced projections set with rubies Are there thin pillows made of silk and laces And silken round stickers making small sounds.

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3. The palanguin contains soft cushion beds of golden lace And handles studded with precious blue stones And along the edges soft bunches of special beeds And also lavishing folded cloth and silk thoranams".

PADYAMU-13: THETAGITHI

Vedukalu mira jannampu vetakadu Nedu chediatho muchchatada raga Prodalainatti jejelukudi sami Kudigamucheye jaadalu chudumabala!

MEANING

POEM: THETAGITHI

O girl, look at that siva, the hunter of sacrifice (yagna of Daksha

Prajapathi) in joyous mood and mode has come out today to have sweet

exchanges with lady Parvathi. At that time you see the ways of the young

deities (goddesses) gather together to serve the Lord.

DARUVU-10: BHAIRAVI RĀGAM-ĀDI THALAMU

PALLAVI

Kamalāya thakshiro kanugonavē nēti vintha-kanugonavē!

ANU PALLAVI

Amarulīsuni kūdigamu sēyu vinthalu !! kamala

CHARANAMS

1. Kalavādu gammani kapurampu vidamīya Balavairi kalanji batti rāga Malāyaja pavanudu manchi surati vīva Naluva vinuthi sēya velaya vachchu dēvuni !! Kamala

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3. As the different heads of Garuda, kinnera, yaksha and Gandharva are rendering over-flowing singings, the charming damsels like Rambha are dancing together the great lord of king Saha is approaching smilingly with Vishnu.

DARUVU-11: NĀDANĀMA KRIYA RĀGAM-MISRACHĀPU TĀLAM

PALLAVI

Kadalimpakurōyi Pallaki gadalanīkurōyi chāla kadalimpakuroyi pallaki !!

ANU PALLAVI

Mruduvaina jamgamayya mēnu nochchīni ā ā !! Kada

CHARANAMU

1. Haruvuga mellamellane yadugulidarõyi mā puravairiki badalika buttaboyyini aa !! Kada

2. Marali bhūjāmula dande mārchan valadōyi indra Harivirimchyādi sannuthu dalaya boyyīni āā !! kada

3. Thinnaga nadavanīyarōyi thīvaramēla rōyi kukshi nunna brahmandamulella nūgaboyyini āā !! kada.

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MEANING PALLAVI

Do not shake the palanquin Nor allow it be shaken

ANU PALLAVI

Don't shake the palanquin very much !!

CHARANAMS

1. Step by step move nicely and slowly lest puravairi may get tired.

2. Change not again shoulder bar As the one praised by Indra, Hari, Brahma and others might get exhausted.

3. Let it go straight, Let there be no haste lest the great worlds Resting in his stomach May begin to shake.

PADYAM-14: KANDAM

Eelāgu Vaibhavambula-Palākshudu gouri nagari prānthambulajē jēlu nuthimpaga jēredi-līlanu ganugonave muddulēmaro vinavē

POEM MEANING

Thus look and listen the splenderous way as how the Lord, päläksha is reaching the place of Gouri with great pomp and poise and with all praises by dēvās.

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PADYAM-15: CHUURNIKA

Jaya jaya sakala gīrvana vanditha pādāravinda! Jaya jaya kanaka dharādhara kōdanda! Jaya Jaya danu Jānthaka kanda! Jaya jaya gandasthala niganniganmani kundali kundalasadguna

mandala!

Jaya jaya sahādharādhipa chiththāmbuja pathanga! Jaya jaya dhavalānga! Jaya jaya nijabhaktha bhayanāsa! jaya jaya thyāgēsa! Namasthē namasthē !!

MEANING

Victory to you, lord of lotus feet saluted by all the gods. Victory to the

bearer of bow of Meru mountain (Kanakadhara) Victory to the possesser of ear

rings set with precious Stones reflecting shining on your cheeks Victory to

sāhu king whose lotus-mind attracts sun. Victory to white bodied god Victory

to the destroyer of devotees fear

Victory to Tyagesa, Siva, salutations and salutations to thee.

DARUVU:12 : PAADAAVA DHAANAMU: Panthu varāli Rāgam-Ādi Tālam

1. Pādāvadhānamu Pādagamanamu bāhu Parakechcharika devadi deva !!

2. Pādāmbujamula munulu pujinchēru bāhu parakecheharika dēvadidēva !!

3. Yidigō yindrudu analu didigo samanudu hechcharika parāku devādi dēva !!

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4. Yıdıgó punyajanudıdıgo jalēsudu hechcharika parāku devādideva !!

5. Yidigo gandhavāhu dididgo dhanēsudu hechcharika parāku devadideva !!

6. Yidigo eesānu didigo girvānulu hechcharika parāku dēvādidēva !!

MEANING

1. Be aware, pay attention 'o' god of gods respects to thy feet, we return backwards step by step

2. Be aware, and alert god of gods the saints are worshiping your lotus feet

3. Be aware, and alert god of gods Here is Indra, Fire-god of gods

4. Be aware, and alert 'o' god of gods Here is nairuthi god and here varuna

5. Be aware and alert 'o' god of gods Here is air-god, and here money-god

6. Be aware and alerto O god of gods Here is Eesana god and here Heavenly gods.

PADYAM-16: kandamu: MUDAMUNA-Telugu poem

Mudamuna madananthaku sam- Padalanu kanugonti mipudu pathikeduruga ne gedanani Podaluchnunnadi Sudathīmani padakayillu chudave chelia.

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MEANING

We have beheld the riches of Siva, destroyer of Madana with pleasure Now Pärvathi is getting ready to move towards her husband. O friend, look at the bed-room of parvathi first.

Daruvu-13: ENTHAVĒDUKALĀYE-Panthuvārāli Rāgam-Jampa Tālam

PALLAVI

Enthavēdukalāye nīpadaka yillu chūda-nentha Vedukalāyē !!

ANU PALLAVI

Kanthudamanunaku yogyamuvahimpaganu !! Entha

CHARANAMS

1. Pasidiniggula misamisalēdu kudyamula

Bosagavrāsina jalapūtha chittarula Basakempu pagadampu baluthōra bandhamula

nasamāna vajramula namaru thalupulanu! Entha

2. Chelagu ratnamula guchchina thoranambulanu

Nalaru pachchala minchu narati kambamula Velahechchu veliputtamula melu kattulanu Lalithamuga muttemula rangavallulanu !! Entha

3. Kuruvinda manula chappara kollamanchamula Baragu meththalanu hombattu thalagadala Varusa kasturi javvadi chandanamula dorayu puvvula divya dhūpavasanala !! Entha

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MEANING PALLAVI

How much festive the bedroom to look at, How much celebrative!

ANU PALLAVI

It is quite fitting to the Lord, the destroyer of Manmatha to stay !!

CHARANAMS

1. The walls are shining with golden rays And also with gold and silver painted pictures The doors are of numerous study ties

of ornamental coloured stones and of unparallel costly diamonds.

2. The thoranas are hanging with jem-decorations it is splendid with green coloured banana trees It is also decorated with the best white costly clothes And the fore-front with sketches of pearl rangolies.

3. In the room are crossed legged cots fitted with jewels and mirrors And spread with soft beds and golden laced pillows And filled with various scents of mush, jasmin and sandal And with fragrances of flowers and devine insecents.

PADYAM-17: KANDAM: MINCHI HARURĀKA

Minchi Harurāka kūrimi

chanchala lochanalu thelupa sāreku srungā rinchuka vilasillu chunnadi

chanchala latha rathi sailajanu ganugonavē.

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MEANING

Look at sailaja (Pārvathi) who having been informed of the lord Siva's loving visit by the maids, pleasingly awaits very attractively dressed up like glittering creeper.

DARUVU-14 : IDIGO KOLUVAI UNNADĒ: Kuranji Rāga-Ādi Talam

PALLAVI

Idigō Koluvai unnadi Himagiri kumāri

ANU PALLAVI

Madana haruni rāka madi neevēla gori !!

CHARANAMS

1. Jalakamuladi hechchaina jariga chiragatti

Kuluku muthyala sarula kurulamida chutti

Nelavankabolnuduta niggugalayatti Thilakamu diddi paluku chilukajethabatti !! Idigo

2. Bangaru papata bottu pachchlabugadalu Rangaina rāvi rekalu rathnāla bavirālu Srungārampu vajramula Jesina Kammalu Sangathiga dhari yinchi sankaruni yillālu !! Idigo

3. Murupu Muththempu mungara mohana malikalu Merugu chindu saramulu minnala thīgalu Sarapenalu pathakamulu sarasaharamulu Chirutha kempula kuthikantu chelaga javarālu !! Idigo

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4. Kankana saramula gouda sarālu Kankanamulu sankula gaju lungarālu Ponkaina sandi dandalu posaga keyuralu konkaka thanara mēna gunavanthu rālu !! Indigo

5. Chiru gantalu nodyanamu jigili molanūlu kuruvindamula gajjelu komaraina yandelu poralani pillandlu kuluku bochiri kāyalu paraga sāhendru dēvuni bhāgya vanthu rālu !! Indigo

MEANING

PALLAVI

Here is Parvathi, the daughter of Himalaya mountain, seated in her court.

ANU PALLAVI

Excepting at this time in her heart the arrival of siva, the destroyer of Madana.

CHARANAM:

Having taken bath she is wearning a high class golden laced sāri, she

has glittering string of pearls tied on to her hair locks, she hold bright

"thilaka" on her moon like fore-head and she holds a talking parrot in

her hand.

The wife of Sankara has hair line with golden pendant and has ear

studs and other ear ornaments filled with colourful stones and gems and

also has some more ear rings set in diamonds and in emeralds.

The young lady is wearing nice pearl nose ring and attractive chains;

she is radiant with brilliant golden chains and necklace with pendant

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and also bracelet set with rubies. She is further bright with obsorbing

gardlends, jewel threads lockets, brooches and small nice steds of pearls.

4. The undisturbed good natured lady is wearing hand-wreaths, cheak

medals, bracelets, mixed-conch-bangles finger-rings, beautiful fore-hand

garlends, well set shoulder ornaments.

5. This wealthy lady of Sankara worshipped by king Shahaji wears tiny

bells, glowing weist belt with hanging beads belo lden thread with

ringing round balls of rubies, handsome anklets, ornamental chains on

her hips, finger ornaments well fixed and hanging fruit type beautiful

beed chains.

PADYAM: 18 TĒTAGĪTI: Nigamagocharu

Nigamagōcharudippudu nagaja nagari Vakitanu nilva jējēlu vandanamulu Salupagani somanandi yachcheriga delupu Chunna muchchata jūdumo chinni cheliya!

MEANING OF THE POEM

Oh little friend, look at Siva, who is known by the Vedas standing now at the door steps of Parvathi after reaching her abode. At that time the angels are saluting him and the white one (Nandi) is calling their attention by alerting Hechcharika.

DARUVU-15: AMARAPATHI: Ghanta Ragam, Jhampa Thalam

Amarapathi mrokke yechcharika parāku Analudu mrokke yechecharika parāku Jamudu mrokke yechecharica parāku Chanuvuna Nairuthi mrokke yechcharika parāku

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Jalavibhundu mrokke yechcharika Parāku Dhanadudu mrokke yechecharika parāku Esanudu mrokke yechcarika parāku Yithara dēvathalu mrokkedaramma yechearika parāku Dasulu munulu mrokkedaru parāku Sri Sāhavinutha dēvarāni parāku !!

MEANING

Oh queen of devas(gods) praised by king Shaha. Be attentive, parāku.

Devendra (Amarapathi) saluted (siva), be alert and attentive. Fire-God (Anala)

Salutes be alert and attentive. Death-God (yamudu) salutes, be alert and

attentive South-west-direction-God (Nairuti) salutes be alert and attentive.

Water God (varuna) Salutes, be alert attentive, other Gods salute, be alert and

attentive. Servants and hermints salute, be alert and attentive.

Vachanamu-Conveying): Evidhamuna dēvathala vandanamulu gaikoni

dēvadēvanikeduruganēgu vaga chūdave.

MEANING

This way Parvathi received salutations of Gods. Look at the way how

she goes before God of Gods, Siva.

PADYAM-19: KANDAM: NATANA SIKHĀMANI

Natana sikhāmani kanjali

putamulu ghati yinchi vachuchu puabōnulatho Kuti lālaka sailathmaja Yitula nuthinchēni chūdu mindunibhasya. (Anjali Putamu : Joining the hands in a humble way)

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MEANING

Please see as to how Parvathi followed by her companion women praises

Siva, the supreme dancer in folded hands.

DARUVU-16: NĪVE DAIVASIKHA MANI: Sourāshtra Rāgam, Ādi Tālam

PALLAVI Nivē daivasikhā mani-dēva chidānanda !!

ANU PALLAVI Nīvē nāpennidhi karunā nidhi-somaskanda !!

CHARANAMS:

1. Kadalani tripura mahātavi kalāgniyu nīve Madanunirūpa payõ nidhi galachina Mandaragiri nīve Bedarani gaja danujādhamu nethiki pedda pidugu nīve Gadumuchu dirigē andhakuniki layakālayamudu nīve !!

2. Ghora samana vakshogiri nugguga gottina pavi nīve !! Narasimha bīrammana china unnatha sarabhamu nīve Borana garalamu kabalinchina penu bhūthanādhu dīve Kūrimitho golichina varala munukongu pasindiyu nīve !!

3. Chirutha thapasi pālanu vilasilu sanjēva karani nīve Harivasava Brahmadi devathala kadharamu nive Garimathoda jinabhakthula pāliti kalpatharuvu nīve Guruthuga Bhosalasāha Narēndruni kula daivamunīve

MEANING: Pallavi: You are god of gods Mylord, Chidānanda (Knowledge and Joy)

ANU PALLAVI You are my great treasure, source of compassion and you are with Uma and Skanda (Kumaraswami)

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CHARANAMS:

1. You are the fire to the study gentle wood of tripura(Devil) You are

Mandara mountain in churning the waters of Manmatha's form. You are

big thunder bolt on the head of the worst demon, gajasura. You are

kālayama (destroyer) to the frighteningly moving Andhakāsura.

2. You are the Vajrayudha (fearful weapon) to powder the mountain-chest

of the great Yama. You are the big eight leagged animal (Sarabha) has

suppressed the anger of Narasimha

You are the great lord of beings to have suddenly devoured poison

protecting the world.

You are the immediate attender (like God) to those who worship you

devotedly.

3. You are the antidote in (Poisonous) milk meant for young hermit,

Tirugnansambadhār Tirunavukkarasu.

You are the source for Hari, Indra, Brahma and other Gods

You are the Kalpatharu (Desire fulfilling tree) to the aspirations of your

devotees.

You are the recognised family diety of Bhosala Shaha king.

VACHANAM (DIALOGUE)

Oh, friend, listern, then Lord Parameswara.

Padyam 20 : Uthpalamāla : Srigirivallabhaan

Sri giri vallabhan vinuthi chēsi dhara adhara rajaputrikai lāgu losangi thodkoni milanmani pāalika hamsathu lika bhägamunandu nunchi thanabhavamu ranjila muchchatadaga nāgajarāja gāminulu harathu leththeda ramma chūdave.

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MEANING

Lord Parameswara flatters Pärvathi, takes her by hand, goes to and

keeps her on soft-silk-bed protion and talks to her fondly expressing his

feelings. Oh, look at the way those handsome women take Harathi. It is a

blessed performance by camphor light.

Daruvu - 17: Jaya Mangalam : Ghanta Ragam - Jampa Thala

PALLAVI Jaya mangalam - nithya subha mangalam

CHARANAM :

1. Molaka Chanduru pūvu gala vēlpurayaniki Tholuku jupula gattudora pattiki Chiluka babā routhu biluku mārchinavāni Kalara tholi jējēla nanachu cheliki !! Jaya

2. Paramamuni vinuthānu bhāvuniki dāvuniki Madanarthi haranachana matiki sathiki Karunārasā pagā Kāmuniki Smuniki

Sarasagathi Komalaku syāmalakunu !! Jaya

3. Kadalirādonabunu Kālasamhāruniki Vedada vēnali dālchu vipula kuchaku nudivōni chaduvu līnedu hāramulavāni kadāra shaha nrupu brochu nambikakunu !! Jaya

Chaduvu leenedu :- Chaduvu in ordinary sense is education. Annamacharya used the same word denoting the meaning as vedamu. Maha Vishnu in Matsyavataram saved 'chadavulu' (Vedas) from a demon. Shahaj also might have meant 'chaduvu' as sabdasastram or Chandus otherwise called Veda or part of Veda.

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MEANING PALLAVI

Let it be victorious and auspicious, Let benediction be and let it be anspicious always.

CHARANAM

1. Mangalam to Siva, the Lord of devas who wears the disc of moon on his

head like a flower; Mangalam to Parvathi, the daughter of mountain

who has compassionate looks. Mangalam to Siva, the destroyer of

Manmadha, the parret rider and to Parvathi, our friend who has

destroyed the demons.

2. Mangalam to the lord praised by Rishis, and to Siva's wife who has

brought back Manmadha to life, to Uma's lord interested in the flow of

compassion and to Syamala, who is of dark complexion and of soft

seductive nature.

3. Mangalam to the Lord who has the sea as his quiver (at the time of

Killing Tripura) and who destroyed Kala (Yama) and to goddess who has

hair lock and huge breast, to him who wears snake (Aadi seshu) of

Sabda sastra, and to godess who protects sāha king with prosperity.

VACHANAM - PROSE

Vinavē Chelia, Maheswaruni Kāragimpu sēva jēsē vaga chūdave.

MEANING

Listen oh friend, and see the way how feast service is offered to the lord Parameswara.

DARUVU - 18 : Āragimpa Vayya ! Nādanāmakriya Rāgam, Ādi Tālam

PALLAVI Āragimpa Vayya Mrokkemayya - mayayya

ANU PALLAVI Kūrimi Gouritho kondavīti jangamayya !! Āra !!

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CHARANAMS

1. Thiruvisamulu pongallu thimmanamulunus varugulu nēthiburelu merugu dōseliddenalu !! Āra

2. Ūragāyalu kūralu noluchu pappulunu sāraphalamulu Kanda chakkera lukkeralu !! Āra

3. Kalavantakamulu pāyasamu kalamānnamulu Paramānnamu lānavālu panchadāralu thēnelu !! Āra

4. Polupaina dadhyodanamu pulihōralunu melaku mīgada perugu mēlaina sontti majjiga !! Āra

5. Kamanīya Parimalayutha gangā jalamu gamagamani vāsinchu kapurampu videmulu !! Āra

MEANING PALLAVI

Please accept these foods, we pray our lord !!

ANU PALLAVI Oh Jangamaiah, Siva, along with loving Gouri. !!

CHARANAM

1. Best drinks, pongal, boiled butter-milk, varugulu, puffed vadās prepared of high class ghee, dose and idlies.

2. Pickils, vegetables, broken grams essential fruits, solid sugar made eatables

Good preparations, payasam (sweet liquid food) cooked rice, milk-rice, excess boiled milk, sugars and honey.

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4. Tasteful curd-rice, tamarind-rice, best porridge, curds, class one jinger-

buttermilk.

5. Perfumed ganga (river) water, fragrant betel leaves.

Please take all the offerings

VACHANAM - PROSE

Chelī, Paramēswaruni pavvalimpu sēva chūdave.

Oh friend, see the bed-service offered to

MEANING

Oh friend, seethe bed-service offered to Parameswara.

DARUVU-19: LĀLI MADHYAMAVATHI RĀGA, JHAMPA THĀLAM

PALLAVI Lāli lālayya lāli

ANU PALLAVI

Lāli Vrushabha thuranga lāli bhava bhanga, Lāli karunapānga lali dhavalānga !!. TAM CHARANAM

1. Chanuvu penagona sāha souri kadu bāli danarajēsina mēti thyāgēsa lāli nanabonu landarā nandabdhi dēli vinipinchedaru nīku vinu chandramouli !! Lali

2. Cheliyalaku jūdagannula panduvāye Chaligattu pattikini santhasa māye Kalakanttu lirugadala gānamulu chēya Nelamitho sukhiyimpu mika dēvaraya !! Lali

Paragu bangaru niggu pālindlathōda Sarasamagu ratnāla saramulallāda garime muththemulu mungurulu thūlāda surakānthalūcheru sukhiyimpu mīra !! Lali

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Jalaja shandamulella kala vāsibāse Nalasanja Malliyala nalikulamu mröse Kalaya bulugula gumulu kala ravamu chēse

elanāgagūdi ramiyimpu paramēsa !! Lali

Paddugala mārudu sumabanamulu nura Noddikatho rerāyadudayādri jēra

Muddugummala Kella mohambu mīra

Proddāye sukhiyimpu bhogindra hāra !! Lali

MEANING

PALLAVI Lali to you worthy of lullaby, lullaby to you

ANU PALLAVI

Lāli to the rider of Nandi, to the annihilater of rebirth, to the over

flowing campassionate god, and to the soft white bodied God.

CHARANAM

1. Lali to great Tyagesa who protects the brave saha out of mercy and who gives credit to him. The ladies are ready to sing at you; please listen oh Chandra Mouli.

2. It is feast to the eyes of 'Chelias' and it is so Joyous to Parvathi while the ladies stand of neither side of Kalakanttu (Siva) and sing in

melodious voices on God of gods to be pleased happy.

3. The celestial ladies are pushing your swing. They are doing so very attractively with breasts shining like gold, with laces of jems hanging on them and hair-locks and pearls swinging. So be happy and go to sleep.

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4. The environment is very congenial. The lotus flowers enmass are very bright. The evening jasmins are in full swing with carpenter bees on them. The mixed birds are creating pleasing sounds. So Parameswara

meet and enjoy your lady.

5. Manmadha is showering his flower-arrows. Moon has risen in obedience.

The lovely ladies around you are apssionate. Already delayed, enjoy

pleasure, oh, wearer of Nagaraja.

It is time for sensual pleasures, enjoy yourself.

VACHANAM : PROSE

Cheli Parameswari chelikattelu dēvikichina Vinnapamulu vinavē

MEANING

Oh friend, please listen to the submissions made by the companions of

Parvathi to her.

Daruvu - 20 Baththitho : Punnāgavarāli rāgam, Ādi Thālam Ashtakam

• Eight Lined Song.

1. Baththitho dēvādi dēvuni pādapadmamu loththumī

2. Meththameththaga sankaruni nemmēna gandhamu meththumi

3. Saththuga bangāru sommulu chandradharunaku bettumī

4. Aththipūla saramulanu Haruni siramuna juttumī

5. Chelimithō paramēsu chenthanu jēri sēvalu cheyumī

6. Solapunanu Haru sranthi thīraga surati chēkoni visarumī 7. Velaya sāhavibhudu chēsina vinuthi padamulu pādumī 8. Alayakanu dēvādi devuni kānanadamuga rathi gūdumī

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MEANING

1. Do massage the lotus feet of the God of gods with devotion.

2. Smear sandle wood paste smoothly and delicately to the body of Sankara.

3 Put the best golden ornament to the moon-bearer.

4. Tie garlands of atti flowers on Hara's head.

5. Do services to Paramesa sitting by his side in friendliness.

6. Keep Haru in rest in estascy by providing nice breeze with fan.

7. Sing padas composed by the King Saha in paise of Siva.

8. Give the thrill of conjugation to the God of gods with out getting exhausted.

VACHANAM : PROSE

Sakhi, chelikaththelu devathalaku thelupu hechcharikalu vinave.

Meaning

Oh friend, listen to the hechcharikas (cautions) the companions do to

dēvas.

Daruvu-21 Kanakadri chāpudu. Saidhavi Rāgam - Mistrachāpu Talam

1. Kanakadri chāpudu gouri samethudu yenasi sayyanu sukhi

impuchunnādu.

Venakayya nāmata vinavayya hechcharika.

Panipadi (Panivati) munujāmu bāri thiragavaiah.

Ho, ho yanarayya 'O' suralāra mīru,

Ho, ho, yanarayya 'O' ganamulāra !! Hechacharicka thonu

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2. Khandēndu dhārudu ēkanthamai unnādu rendava jamu pāru rēyi yella dandāla bhairavaiah thanara vākiligāchi yundumu hechcharika !! (ho ho)

3. Mīrina vēduka minusiga dēvara kūrimi Sathithoda kūdi yunnādu Sarekubahu hechacharika mūdo jāmubāri Thirugavamma bhadrakālamma !! (ho, ho)

4. Puraharu dippudu polathi gūdukoni virula chapparamuna velayu chunnādu Sarasatha nālagavajāmu bāri nīvu arasi Thirugavaiah Ayyanārayya !! (ho, ho)

MEANING

1. The lord who had Meru mountain (kanakadri) as his bow at the time of destroying tripura demon is together with Gouri in a bed in happiness. So Vināyakā, you be watching moving about on duty in the first jāmu (the earliest period of night) Oh, Dēvaganās and oh surās you also be alert and cautious and pronounce oho, oho.

Obedient Bhairavaiah, you take watching duty at the threshold giving cautions in the second jamu as chandrasekhara is in solitude with Paravathi. Oh suras and Devaganas, be alert giving sounds.

Bhadrakalamma, you please be, going round giving cautions frequently in the third jamu as the Devara who has the sky as his hair is with his loving mate in extremely joyous mood. And surās and dēvās continue watching.

Oh, Ayyanär (Village god) you be happily watchful, in the fourth period as purahara is in mandapam (decorated place) now in enlightening attitude in closet with his lady. Oh Surās and Devaganas, you pronounce oho, oho !.

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DARUVU - 22 : Mapāli Dēvuniki : Panthuvarāli Rāgam, Triputa Thalam

(Mangalam, song of benediction at the end of the play)

Pallavi

Mapali dēvuniki mangalam Mamuganna thalliki mangalam

CHARANAM

1. Gangādharuniki Karunābdhiki

Divya mangala dehuniki mangalam Sangītha rasikaku jalajākshiki Sarvamangalaku dēviki mangalam = (Māpali)

2. Muditha sankaruniki mōhanākāruniki Madana samhāruniki mangalam Sadayā pāngaku smarajīvana dāyiniki Madavathiki girijaku mangalam !! (Māpali)

3. Rahigala tyāgesūnaku rājamouliki Sāha mahipāla devuniki mangalam Guha karimukhulanu kūrimithoganna Mahitha gunādhyaku mangalam !! (Māpali)

MEANING

PALLAVI

Benediction to the god who protects us Benediction to the mother who has given birth to us !!

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Charanam

1. Benediction to ganagādhara, To the ocean of compassion To the devine bodied one. To devi the music lover, the lotus eyed one And to the lady of all benediction.

2. To sankara who is satisfied, To the fashionate bodied one, and To the killer of Madana, mangalam. To the kind eyed Parvathi, To the rememberable life giving lady To the fully developed bodied woman and to Gouri mangalam.

3. To the famous thyagesu (local god, siva) To the moon-crowned one and To the god of Saha king mangalam. To the loving mother of Kumara swamy and vignesa and To the woman of great qualities, mangalam.

(NĀTYABHĀGAMU SAMAPTHAMU) (The end of dancing portion)

PADYAMU:21: DWIPADA:(DOUBLE LINED POEM) : SRI SANKARUNI

Sri Sankarunipēra sri gouri pēra Vāsavārchithu pēra pārvathi pēra Ēsuni pēra sarvēswari pēra Bhogibhushanu pēra pūbōni pēra Thyāgēsu pēra Kathyāyani pēra PALLAKI SĒVA PRABANDHAM DIVASAVALLABHĀNVAYU Dēkavasudhīsa Dharma Pathni

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DIPAMBA GARBHASNIGDHA PĒTI RATHNAMBU SRI SĀHA CHÖLARAJĒNDRU DONARINCHE KAVULELLA NULLASILANGA DANARUTHA NĀCHANDRA THARARKAMUGANU !! Pallaki Sēva Prabandham Sarvamu Samāpthamu.

MEANING

The PALLAKI SEVA PRABANDHAM is composed by Sri Saha Chola

Rajendra. He is like a jewel born to Dipambika and Ēkavasudhīsa of Sun

Dynasty (surya vamsa). It is written in praise of Sankara and Gouri

mentionining their names in variety such as Sankara-gouri, vāsa vārchithu -

parvathi, kēsavanuthu - giri sutha, Isu-sarveswari, Bhogibhushanu - pūböni

and Thyagesu - Kathyayini. May it please all poets and remain as long as the

sun and the moon endure.

It is notable from the last passage in the book that the author is born

of Dipambica and Ekavasudhisa which he means EKOJI ALIAS VENKOJI. It

is also meant that his father is the only king, Ekaikaraju of the sregion.

The complete Pallaki Seva Prabandha Ends.

(The last Dwipada peom must be read at the end of the feature.

Sisapadyam, the second prayer poem must be read inside the curtain at the

beginning of the drama announcing the subject to the viewers).

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5.1.1 Meanings of Difficult Words

Poem : 1

Sarvan = Parameswara, the supreme Chaturuddhadulu = four seas Vasara vallabha = sun

Poem : 2

Kavvamu = churning staff (Mandara mountain) Penu chilva = Big serpant (Adisēshu)

Poem : 3

Chaligattu = Snow mountain (Himalaya) Kaluvala dora = Moon (Lord of lotus flowers)

Daruvu - 1

Valarāaju = Hero of Love (Manmadha) Mummona = Trisul (Siva's weapon

Poem : 4

Brundāraka = devine gods Haru = Siva Nandi = Siva's Rider (oxen)

Daruvu - 2

Pākāri = Indra Ambujabhavudu = Born of lotus (Brahma) Sambarāri = Enemy (killer) of sambara Phālalőchana = One who has eye in the forehead (Siva)

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Poem : 5

Kuranga löchana = Deer eyed lady

-3

Indu = moon Nitalanētrudu = Having eye in fore head (Trinetrudu - Siva) Padivēsamulu = Dasāvatārās (ten reincarnations) Balavairi = Indra, Lord of Heaven

Poem : 6

Udukantā sikhamani = Having moon on his head as ornament Vennudu = Vishnu Achala + Ātmaja = daughter of mountain, Himālaya (Pārvathi) Kanjanibhanana = Lotus shinning faced lady

Poem : 7

Kamalāyathākshi = lotus eyed lady Adiyāsa = wasting words & exhausting, unfulfilled desire Haru = Siva Mandākini = Ganga (river in the sky)

• 4

Penuganga = big langa river Putti munchu = destroys Honthakari = valorous Dēsālamāri = Vagabond Pottanunchu = obsorbs by swalowing Balunili = deceptive Gattu = hill, mountain

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Junugu = deceies, # karālı = dreadful Puttu gayylı = born as quarelsome

DARUVU - 5

Mrugam = Animal Raājasikhāmani = having moon on his head somaskhandhamūrthi - siva

POEM - 8

Mekamu = animal Kundalīndrudu = serpant

DARUVU - 6

Chiluvalārāya = king of serpants Dāduphiryādu = information Jējēlu = dēvathalu, goddesses Kalasāmbudhi thanayā = born in the ocean (moon)

POEM - 10

chalamela = Why delay Vīdhi vitanka = diety in Tiru, Varur (Tyagesa) sikhānka = moon

DARUVU - 7

Halahalam = poison (Hālāhalam) Annekādu = Wrong doer Ojja = teacher (guruvu) Mēnutheliyanivāni = Manmadha's

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DWIPADA - 11 (POEM)

Nagaāgaāra = Having mountain (Himalaya) as living place Kaămudu = manmadha Kaliki = lady

DARUVU - 8

Kālagarvahara = Siva, who has destroyed the pride of Yama Phaälalochana = Having eye in the forehead Molakathemmeralu = fine small breeze Kuluku = movement Māarurāyadu = Manmadha's Chīru = calling Dūru = scolding vinusikha = sky as ornament in the head

DARUVU - 9

Jīnipannāngam = beautiful roof on the palanquin, gold-glittering top

cover Burusā Pinjelu = red soft thread bunches Kurivindamulu = Rubies Nalidindulu = thin beds Sarijīni = golden Meththalu = beds Kaththerakāllu = cross legs to support palanquin Hurumunji = a place Guralamu = Mandapam, Specially made dias

POEM

Jannam = Yagnam, sacrifice Ūdigamu = service

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DARUVU - 10

Amarulu = devine beings, goddesses Kalavaādu = Kubera, wealthy one Kāapurampu = Karpuram, camphor Kalanji = Flower shade Surati = fan

Naluva = Brahma Jamudu = Yamudu Kēdemu = dalu, protecting shield Varunudu = rain god Padaga = flag

Puravairi = Parameswara, enemy of three towns Harivirinchyādi = Hari, Brahma etc. Kukshi = Stomouch

Chūrnika Poem - 15

Girvana = goddesses Kanakadhara Köndanda = bēaring meru mountain as bow Kānda = arrow Gandasthala = cheeks Pathanga = sun

Analu = Fire god Samanudu = Yama, God of death

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Paraku = alert Hechcharıka = caution Punyajanudu = god of south west, nairuthi

POEM - 16

Madana = Manmadha Sudathi = woman

DARUVU - 13

Kanthudamanudu = parameswara, suppressor of Manmadha Veliputtamulu = white clothes Rangavallulu = muggulu, (white powder designs) Hombatthu thalagadalu = golden head pillows Kasturi = musk Javvāji = animal perfume Chandanam = sandle Divya Dhūpam = devine perfume

POEM - 17

Chanchalalatha = shining wire or creeper.

DARUVU - 14

Muthyaālu = pearls Nelavanka = moon Thilakamu = forehead spotted colour stick Pacchala = emarald, marakathalu Rāvirekalu = hair lock shield type

118

Ratnalu = jems, minnalu. manulu Baviralu = Round ear rings Vajramulu = diamonds Kammalu = steds

saramulu = chains (wreaths) Minnela theegelu = jemthreads Saripenalu = golden chains Hāramulu = garlands Kempulu = Rubies Goudasarālu = cheeck ornaments

Kankanamulu = forehand round bangle like

sandidandalu = Hand garlands Kēyūrāalu = Bhujakeertulu, shoulder ornaments Odyānamu = Abdomine - belt around abdomine Andelu = anklet Pillandlu = foot finger rings Bochchirikāyalu = Hanging ornaments like small fruits Pagadālu = coral Jari = lace

Pathākamu = brooch (medal) Nadumu = Abdomine

Kudyamulu = Walls Sringaaram = amorousness, erogenous, More to love Putha = Coating Kadium = foot wear Gajjelu = small round ringing bells Thoranam = festoons Mallelu = Jasmin

Kurulu, Mungurulu = hair locks

119

DARUVU - 15

Amarapathi = Indra Echcharika = attentive

parāku = alert Jalavibhudu = Varuna, the rain god Dhanadudu = Kubera, god of wealth Īsānudu = North -east god Dēvarāni = goddess of angles, Pārvathi

POEM = 19

Natasikhāmani = paramasiva, master of dance Anjali = folded hands Pūbōni = flower like woman

sailaāthmaja = daughter of Mountain, Paarvathi

DARUVU - 16

Somaskandā = Parameswara, parvathi & kumaraswami gajadanuja = elaphant demon Andhakudu = demon called Andhaka

Samana = Yama

Vakshögiri = chest - mountain Pavi = vajrayudha, wapon called vajra (paramasiva used this

weapon on Yama to save Māarkandēya)

Narasimha = Incarnation of Vishnu, half man-half lion Bīrammanachina = suppression of pride or valor

120

Sarabham = Eight legged animal with eve on its head Parameswara taken the body of sarabha and saved Narasimha while he was uncontrolable after drinking red blood of Hiranyakasipa)

Bōrana = quickly Garalamu = poison Bhuthanadha = Siva, Kongu Pasindi = gold at hand Chiruthapasi = Young mendicant thirunāvukkarasu (Appar) swamy, a great divotee was given poison through milk by jains to kill him. Paramasiva Consumed poison from milk and saved his devotee. Kalpatharu = desire fulfilling tree

DARUVU - 17

Mangalam, Subham = benediction Molakachanduru pūvu = moon shape as flower chilukabābārouthu = Manmadha having parrat ride Tholijējēlu = pūrva dēvathalu, first angles in demons Madanārthi = Manmadha's suffering somudu = Sa+uma = one who is with pārvathi

Syämala = dark coloured lady, pāarvathi

Kadalivādonabūnu = who has ocean as the case of arrows at the

time of Tripurasura Samhaāram

Kālasamhāri = Killer of Kāala or yama, (Mrityunjaya) Vēnali = hair lock

chaduvu līnedu hāramulu = garlands of serpants; certain technicolities of languages have come

from serpants.

121

DARUVU - 18

Thiruvisamulu = best drinks Thimmanamulu = boiled butter milk Varugulu = dried & fried eatables ukkeralu = sugar made variety eatables Kalavantakamulu = preparation with powder Ānavāalu = well boiled milk

Daruvu - 19

Laāli = lullaby singing vrushabha thuranga = Nandi or oxen as his riding Bhavabhanga = destroyer of rebirth Dhava länga = white bodied Jalajashandamulu = group of lotus flowers Alikulamu = the large black carpenter bees Pulugulu = birds Marudu = Manmadha Rērāju = moon Bhôgēndra = serpant

DARUVU - 20

Sattugãa = fine variety Solapu = in estacy Sranti = at rest

122

DARUVU - 21

Kanakadrı chāpudu = one who has taken mēru mountain as his bow

at the time of killing Tripurāsura Venakaiah = Vinaāyaka Khandēndu dharudu = one who has moon part on his head decoratively Bhairavaiah = an inferior manifistation or form of diety Bhadrakaāli = a female form of goddess Ayyanāraiah = village god

DARUVU - 22

Mangalam = benediction, good fortune, well-being, subham Muditha = satisfied, made happy Rahi = this land

Guha = kumara swamy Karimukhudu = vināyaka, elephant headed

POEM (DWIPADA) : 21

Katyāyani = Paārvathi, belonging to kātya dynasty (gōtram) Vāsavārchitu = Paramasiva, worshipped by the son of vasudēva Bhôgi bhūshanu = siva

5.1.2 PARYĀYA PADAMULU : SYNONYMOUS WORDS

Number of synonymous words are used in Pallakisēva Prabandham for Siva, Pārvathi, Chandra, Manmadha etc. The synonymous words for each name are given here for ready reference.

123

ABOTHU = OX. BULL

Alapōthu Gibba

Basavadu Gopathi

Edwaramu Itcharamu

Ethwaramu

AKĀSAGANGA = RIVER IN THE SKY, THE RIVER OF HEAVEN

Kadaliveladuka Swarnadi

Kūthurubidda Thatipidamuvani thalli

Mandākini Velputēru

Minnuvāka Vennu nadugu pāpa

Muthrovadimmari Viyadganga

Suradīrghrika

CHANDRA (MOON)

Abju Kumudābāndhava

Biththarijinkadālupu Mrugānku

Chalivelungu Mukkanti Thalupuvvu

Chaluvaryadu Nakshatrēsu

Chandramouli Nela

Chīkativēruviththu Nisāpathi

Choukamulapālla thelimudda Oshadhīsu

Chukkala dora Pālkadālipatti

Dwijarāja Pantapairuluekimīdu

Himāmsuvu Proddujodukede

Indu Rērēdu

Jābilli Rēvelgu Chandamāma

Jaivatruka Sasidhara

124

Jakkava Kanuvıppu Sıkhanka

Jantadanta Sömu

Kadalivennu Subhrāmsu

Kalānidhi Sudhāmsu

Kalasambudhithanayu Thaapasikānpapa

Kaluvarēdu Thammulapagavādu

Kammavilthunimāma Vēlupulabuvva

Karivēlpudākannu Vennelarayudu

Kshēmākara Vidhu

DEVATHALU (ANGLES, GODDESSES)

Adithēyulu Divoukasulu

Amarthyulu Gīrvānulu

Amarulu Jannampudindlu

Amruthandhasulu Jējēlu

Aswapnulu Krathubhukkulu

Bahirmukhulu Nirjarulu

Brundārakulu Sumanassulu

Daivathamulu Suralu Suparvanulu

Dānavāvairulu

Devullu Thridivēsulu

Dēvulu Vēlupulu

Divijulu Vibudhulu

DEVENDRA = KING OF HEAVEN AND OF GODS

Āakhandaludu Pulomajiththu

Amarapathi Purandarudu

Bālārāthi Puruhūthudu

125

Bidoujāsudu Sachipathı

Divaspathı Sahasraākshudu

Dusehyavanudu Sakrandanudu

Gothrabhiththu Sakrudu

Harihayudu Sathamanyuvu

Indrudu Sunāsīrudu

Jambhabhēdi Surapathi

Jishnuvu Suthrāmudu

Lëkharshabhudu Swārāttu

Maghavudu Thellayēnugu dora

Maruthvanthudu Thurāshāhudu

Mēghavaāhanudu Vajri

Odalichūpodayudu Vāsavudu

Pākasāsaanudu Vāsthoshpathi

Pāruthapasi intipanchakōdi Velpurāyadu

Potti thammudu gala vēlpu Vruddhasravasudu

Prächīnabarshi Vruthrahantha DHANUSSU = BOW

Chāpamu Sarāsanamu

Dhanuvu Singāni.

Ishvāsamu Villu

Ködandamu

EESWARA

Ahirbrudhnya Pasupathi

Andhakaripuvu Pināki

Ashtamòrthi Pramadhādhina

126

Bhargav. Puravairi

Bhava Rudra

Bhima Sambhu

Bhūthēsa Sankara

Chandrasēkhara Sarva

Dhuurjatı Sarva

Esa Sarvaagna

Esāēna Sathānuva

Gangādhara Sithikantha

Giriisa Siva

Hara Smarahara

Jadimudijangama Somaskhadamurthi

Kadidēsangapariyavyada Srikantha

Kapālabhruththu Sūladhara

Kapardi Sūli

Khandaparasuvu Thrisūladhara

Krathudhvamsi Trilōchana

Krusānurēthasu Tripurānthaka

Kruththivāsa Tryambaka

Mahaadēva Ugra

Mahākāla, Mahaānata Umāpathi

Mahēswara Vamadēva

Mruthyunjaya Vāsavārchithudu

Nagāgaara Vidimudiga Vēlupuchelila

Nilalhőhitha Viruupāksha

Pāpathoodavulanidiyedivelpu Vrushadhwaja

Vyōmakēsu

127

GANGA = RIVER GANGES

Bhadra Suranimnaga

Bhāgiradhı Trijagathkalyāni

Bhīshmasuvu Tripadhaga

Jāhnavi Trisrôtha

Janhuthanaya Vishnupādi

Pāvani

HIMAVATHPARVATHAMU - HIMALAYA MOUNTAIN

Adrirājamu Mukkantimāma

Chali mala Sīthanagamu

Duggi kannayya Vali mala

Himavanthama Validibba

KALUVA = WATER LILY OR LOTUS

Indīvaramu Kuvalamu

Kahlāramu Kuvalayamu

Kairavamu Thammi

Kalhāramu Thoga

Kaluhāramu Thova

Kumudamu Uthpalamu

KANNU = EYE

Akshi Drushti

Chakshuvu Nayanamu

Darsanamu Netramu

Drukku

128

KUMAR SWAMY = SON OF SIVA BORN AT THE TIME OF DAKSHA YAGNAM

Aarguru thallula komarudu Punjudalupu

Agnibhuvu Relluchūlu

Bāhulēyudu Rendāru Chēthula dandi magadu

Dinuvaruvamu ronthu Sakthidhārudu

Gādpu sangadikani koduku Sarajanmudu

Gattulakimīni patti patti Sēnāni

Guhudu Shadāsanudu

Janta mummōmula danta Vēlpu Shanmāthurudu

Kandudu Sikhivāhanudu

Kārthikēyudu Skandudu

Krounchadāranudu Tharaka Jiththu

Kumara sāmi Vēlpugamikāadu

Kumārudu Velupulamūkapēriti veladimagadu

Māhāsēnudu Velupulareyidalavāyi

Pārvathi nandanudu Visākhudu

LEDI = DEER

Ajinayoni Priyakamu

Chamūruvu Prushathamu

Chīnamu Rankuvu

Erri Rohithamu

Gökarnamu Ruruvu

Harinamu Sambaramu

Kandali Samūruvu

Kurangamu Sārangamu

129

Mrugamu Vāathāyuvu

Nyankuvu Vrujinamu MANMADHA

Alaruvilthu Māru

Anangu Marudu

Āthmabhuvu Mēnutheliyani vādu

Brahmāsuvu Nārivilukādu

Chakkera vintivādu Pachchavilthu

Chandamāma yalludu Panchasara

Cherukuvilthudu Pradyumna

Chouvanchamulukulugaladanta Pushpa dhanva

Darpaka Rāchilkanekkedu

Inchuvillutelupu Rathipathi

Jamili Rāyarouthum Menumosalisidembula mēti

Kāma Rushyakēthuvu

Kammavilukādu Sambarāri

Kandarpa Smara

Kannula Vilthu Soorpakārāthi

Kanthudu Sriputra

Kenjiguruvilthudu Srungārayoni

Kusumēsha Ananyajā Thiyyavilkādu

Lachchikoduku Thuntavilukodu

Madana Valaraju

Makaradhwaja Vedalivilthu,

Manasija Viswakēthu

130

NADI - RIVER

Āapaga Nirjharini

Abdhivadhuvu Sāgaragāmini

Adhvaga Saivalini

Dhuni Sariththu

Dwīpavathi Sravanthi

Haimavathi Srothaswini

Hrādini Thalōda

Jhari Tharangini

Kadaliveladi Tharani

Kūlankasha Thatini

Nadamu Vāhini

Nāka Varada

Nimnaga

PADMAMU = LOTUS

Ambhöruhamu Rājīvamu

Aravindamu Sahasrapatramu

Bisaprasū namu Sārangamu

Kamalamu Sārasamu

Kusēsayamu Sārasīruhamu

Mahōthpalamu Satapatramu

Nalīkamu Srīparnamu

Nalinamu Thāmarapuvva

Pankēruhamu Thāmarasamu

Pundarīkamu Thammi

Pushkaramu

131

PARVATHAMU = MOUNTAIN

Achalamu Mahīdharamu

Adri Mahīdhramu

Ahāryamu Mala

Chikuramu Meruvu

Gattu Metta

Giri Nagamu

Gotramu Patri

Grāvamu Sailamu

Gubbali Sikhari

Ilathaālu Silachchayamu

Konda Thippa

Kshmabhruththu

PARVATHI

Ambika Kātyāyani

Aparna Lōkamātha

Ārya Mēnakāthmaja

Bhārgavi Mrudālini,

Bhavāni Mukkanti Veladi

Chandika Narāyani

Dākshayani Pārvathidevi

Dhēnuka Rudrāni

Durga Sāmisāmēnu jēkonna Chāna

Enugulagonga Sārada Jaya

Eswari Sarvamangala

Gatlarāyanipatti Sarvāni

132

Girija Siva

Gouri Theththedinekkudanta

Haimavathi Uma

Kāli PUSHPAMU = FLOWER

Alaru Puvu

Kusumamu Puvvu

Prasavamu Sumamu

Prasūnamu Sumanasamu

Pũ Viri

RĀJU = KING

Bhūpālūdu Mahīkshithudu

Bhūpudu Mannerayadu

Bhūpurandarudu Mannī

Bhūramanudu Manniyadu

Dunēdāri Nrupudu

Ekimīdu Odayadu

Elika Pārdhivudu

Gōpaludu Prabhuvu

Gōpathi Rārāju

Guruvu Rāyalu

Indrudu Rēdu

Inudu Sāmi

Janapāludu Thupāsi

Kshmäbhruththu

133

RĀKSHASULU = DEMONS

Asurulu Punyajanulu

Daitheyulu Purvadēvulu

Daithyulu Sökumūkalu

Dānavulu Sukrasishyulu

Danujulu Suradveshulu

SARPAMU = SERPENT

Bhōgi Kundali

Bhögi Lalihānamu

Bhujagamu Nāgarāju

Bhujangamamu Nidupadu

Bhujangamu Padagādāri

Bilēsayamu Pāmu

Chakri Pannagamu

Chashusravamu Pavanāsanamu

Chilva Phani

Dandasųkamu Prudakuvu

Darvīkāramu Puttaditta

Dīrghavrushtamu Puttakāpari

Dwirasanamu Sarīsrupamu

Gālimēthari Srivishamu

Gūdhapamu Uragamu

Hari Vīnulakanti

Jivhāgamu Vishadāri

Kakoodaramu Vishadharamu

Kānarāni Kāllayidi Vyālamu

Kumbhīnasamu Vyalamu

134

STRI - WOMEN

Āadudi Nithambini

Abala Padathi

Alaru bōdi Paidali

Angana Pōböni

Annuva Polathi

Athiva Polathuka

Bhīruvu Ponnikomma

Bōti Pramada

Chāna Prathipadarsini

Chēdia Prathipadarsini

Cheluva Prāyalu

Chiguborākubōdi Rāma

Chilukala Koliki Ramani

Elanāga Simanthini

Inchubōdi Sudathi

Inthi Sundari

Kaluvakanti Thalirubōdi

Kāmini Therava

Kāntha Thīgabodi

Krālganti Thoyyali

Lalana Ugamali

Lēma Uvida

Machchakanti Vādhuvu

Maguva Vadhuvu

Mahila Vālganti

Mānini Vāmalochana

Merugu bōni Vanitha

135

Muddiya Veladibōni

Muddula gumma Veladuka

Nāri Vyāma

Yāsha Nāthi

Navala Yoshitha

Nelatha Yoshiththu

Nelathuka

VIGHNESWARUDU - SON OF PARVATHI AND SIVA

Chetachevulu Vēlpu Lambodarudu

Dwaimāthurudu Mukkanti bidda

Ekadanthudu Ontikommu Dēvara

Enugu mogamudēvara Panicherupula dora

Gabbi Vēlupu Pāpa jandemulameti

Gajānanudu Pedda Kadupu Vēlpu

Ganādhipudu Pillāri

Gujjivēlupu Vankarathondamuvāadu

Hērambudu Venakayya

Iddaru Thallula muddula biddadu Vināyakudu

Kokkuthiji routhu

VILLU = BOW

Asthramu Kārmukamu

Chāpamu Kodandamu

Dhanuvu Signini

Dhanvamu Singāni

Dharmamu Vilu

Ishvāsamu

136

YEDDU = OX, BULL

Anadwahamu Nasyothamu

Balivardamu Prāsangamu

Bhadramu Prashtavāhamu

Dhourēyamu Rushabhamu

Dhūrvamu Sourabhēyamu

Dhurīnamu Ugyamu

Dhuryamu Ukshamu

Durandharamu Usramu

Kakudmanthamu Vāhanamu

Mukkanti māvu (Vāhanamu) Vrushabhamu

Nasthithamu Vrushamu

5.1.3 PATTHĀNTHARĀMULU AND DEVIATIONS*

Reference As per the original As per the printed (from attested copy) text

DWIPADA-1

Line-2 Daitya Vidārini Daitya Vidāruni

Line-3 Chaturōdadhi valaya Chaturudadhula velayu

Line-4 Savar (sarva = Siva)

Line-4 Sarva (scribal error) sharva

Line-5 Bhosala Srishãha Bhosala Srishaha (shaha is proper)

Line-6 Vēyi ( = thousand) Vēnölla

Line-6 Vēyinolla Vēnolla (thousand voices)

The edited text referred here is pallaki Sēva Prabandham published by the Indian music publishig house, 4 Bunder road, Madras

137

Reference As per the original (from attested copy) As per the printed text

POEM-2

Line-1 Puvvu, Bhūdi, kannula Pūvu, Būthi, kronnela

Line-1 Norapu Kannula Mokka Norapu Kronnela mokka

Line-2 Vinumēnu Vinnumēnu

Line-2 .... mini Nela mini

Line-2 Chelimini Chelikaãni

Line-2 Puvvupēritivāri Buvvapēritivāri

Line-3 Badalāneralāvu Badalinchu neralāvu

Line-3 Elupula Eluvula

Line-4 Chilva Chelvu

Line-4 Nilathūrpu doravu nillu Nenathūpu dorattāvunillu

Line-6 Bhū chulagaramula jiyya Budula gamula jiyya

Line-7 Sudhalu Sudhala

DARUVU-1 CHARANAM-2

Line-3 Strīlu Srīlu

Line-4 cheluvuga Chelaga

CHARANAM-3

Line-3 Bhōsala Saha Bhosala Shāha

POEM-4

Line-2 Nimikonandi Sadānandini Gami nnandi Sadānadiga min-nandi minnandi

DARUVU-5 Line-4 Dasāmuni Dāsulu muni

DARUVU-3

Rāgam Rēvagupthi Mōhana

Line-1 Vōsamma Etularammandunōyammā

Line-1 Etuval a Etula Rammanduno Hammandamamma Yammā Indudharuni - Voyamma Indudharuni - Etule

138

Reference

Line-7 Kalayadesala raācha. Kalayaga jāla rāch:

Line-10 Kavithālu vinēvēla Kavithalu vinuvela

POEM-6

Line-2 Vennunitho navvuchu muchchatalādu chunnava vennunimanambalaran Vachiyinchuchunnava

Line-3 Tadavēlananchu Manayandu dharātmaja Tadavayenanchu

Yalgu nitti manaman dachalatmaja yalga nitti

DWIPADA-7

Line-1 Manuvu lanthayu delpalēde Manavinanthayu delpalēdo

Line-2 Ārithi Yārīthi

Line-4 Vinnavimpudatanchu vinnavimpumatanchu

DARUVU-4 (Anupallavi missing) Indivinarāde Emātalu.

Line 5&6 Hanthakāri, mujjagamu Honthakari, Vāyinchina bhēri Mūdujagamula mrōgina bhēri

Line-6 Parunidēsadrimmari Parēdidisalamāri

VACHANAM Nīvucheppēdi kāryamē sari, Niluvarame, sari, ālāgunne mikatho, gangaku theliyakundā Vinnavinthāme mrugamutho vinnavinthumē

DARUVU-5

Line-1 Meghamā Mrugamā (It might be Mekamu in the original, meaning deer)

Line-3 :hanavā yani Ninnu Chanuvāri yani Ninu Jēkonade Jēkonnādē

Line-4 'hinduma suddi Chilkaga nuddini

|Line-6 manithō māmāta maniki Māmanavi

Line-8 Ākalapāmunikaramu Ākalpamu nithya Sēva ghatillunu vātillaga

139

POEM-8 Uthapalamāla Champakamāla

Line-1 sakivinavamma Sakiyaro chālu

Line-3 Kedademma Kēdanamma

Daruvu 6 Line-3 Chelati Chalapatti

Kādaya Lēdāye

Line-4 Dāthu birādu lēdāya Dādu phiryādu lēdāye Line-5 Samukhāmutōna ponīrijējē Samukhamunabōniru jējē linthaina lenthaina

Line-8 Daivamaina pasupathi Daivamuthō bụni thõbųni

Line-2 Hālahalamuthō Halahalamutho

DARUVU-7 Hāriki Annekāniki

Line-4 Kontevāniki Ethuri Kondegāniki Rēla dūri

VACHANAM Vinavē Cheliā vīndlatho jeppi prayōjanamēmi? paramēswarunitho thelupu dāmē !!

Different version is followed now as shown in the printed tet that is, (Evaritho jeppi panputakunu Vīlugāmi chelikattelu thāmēswayamugā paramēswarunoddakēgi thamadēviyagu pārvathini gūrchi yāyanathō manavi chēyu chunnāru.) This might have been written by the editor / compiller of the text.

DWIPADA-11

Line-2 Kalaguchunnadi Kariguchunnadi

DARUVU-8

Line-1&2 (lukōvayya chakka naya Ęlukōvayya chakkanaiah thalaledayya Intha thāllaledayya Mābala thadavēla rāvaiah) Mābāla Elukovaiah Intha nēluko vaiah !! thadavēla rāvaiah !!

Line-4 Kulukurachanila Nulukulachāla

140

CHARANAM-2 Vīrulanu jeerurāchāla Nīpēru chīrura chāla

Porurā vīrulanu gōrura virulanu

POEM-12 Vachanam Kandam

Line-1 Vinu sikki dēvara Vinusika dēvara

DARUVU-9

Line-1 Srungārampu Singārampu

Line-2 Chanu dencheni nu sannuthinchīni devuni !!

Line-3 Burusa vinjāriyu Burusā pinjelunu

Line-4 Dandiya chattamugala Dandiyu .. chattamulugala

Line-5 Thabikini Thabukidi

Line-6 Sarigakande nallinajamidi Jariga kandanallina jamili

Line-7 Katterakolalu Kattera kallanu

Line-7&8 Kirudu billalu Kirulu billalu

Prose Adōne jējēlu vandanamujēse Not there in the printed vagajūdare text.

PEOM-13

Line-1 Vēdukalaranga Vēdukalumīra

POEM-13 Vedukalaranga Vēdukalu mīra

Line-1

DARUVU-10

Line-3 Vidamiyya Vidamīya

Line-6 Padigelu, godugulu Padaganu, godugunu

Line-9-11 Shahadaiva pasupathīsuni Varāsahēndru dēvuni

141

DARUVU-11 Vasantham Nādanāmakriya (Nādanāmakriya)

Line-1 ----- Kadala nīku rōyi chāla ----- Kadala nīku rōyi chāla kadalimpaku royi pallaki !!

Line-3 mruduvaina mājangamayya Mruduvaina jangamayya

Line-3 Ha Hã

Unit-6 Dandamula Danndemārcha vala doyi mmarchukōkaröyi

Last line Vīdan Vinavē

POEM-14

Line-1 Nagari prānthyambuna Nagariprānthambula

Line-2 Jeredi līlalu Jeredi līlanu

VACHANAM Cheliya vinave nandi Missing in the printed hechchrinchē vaga Jūdare text

CHURNIKA-15

Line-1 Vanditha sundara Vanditha pādāravinda padāravinda

Line-2 Jaya jaya sachchidānanda Jaya jaya kanakadharā jaya (jaya) kanakadhara

Line-4 Niganmani bhōga Kundalī Niganamani kundali kundalā jayajaya sadguna Kundala sadguna

Line-6 -- (NIL) Jaya jaya dhavalānga

Line-8 Jaya jaya thya pasupathīsa Jaya jaya thyagesa namastē ---- namaste, namastē ---- namastē,

namaste namah

DARUVU-12

Line-4 --- (NIL) Bahuparākechcharika dēvādidēva !!

142

Line-6 ---. -- (NIL) Parāku devādidēva

Similarly in 8, 10, 12 lines.

POEM-16

Line-1 Vachchu pathikeduru konē Mipudu pathikeduruga vithamuna nēgedanani

DARUVU-13

Line-1 - (NIL) -- nentha vēdukalāyē

Line-2 Dalimpanganu Vahimpaganu

Line-4 Balu dora bandhamula Thõra bandhamula

Line-7 Lalithamagu mutyamula Lalithamagu muttemula

Line-10 Javvādi Javvāji

DARUVU-14

Line-7 Mēnulu thīgalu minnala thīgalu

Line-3 sarige mutyāla sarulu Jariga mutyāla sarula

Line-4 Chiluka Chēthabatti chilukajētan batti

Line-8 Merugu banna Merugu chindu

Line-9 Manula minnala

Line-10 Saripenalu Sarapenalu

Line-16 Poraleni poralani

Giluku bobbili kāyalu kuluku bochiri kāyalu

Shahēndra dēvuni Sāhēndru dēvuni

POEM-18

Line-2 Sēyagani sōmunandi Salupagani sömanandi

Hechcharikaga Yechchariga

143

DARUVU-15

Line-2 ------ --- (NIL) Chanuvuna nairuthi mrokke hechcharika parāku

Line-3 Aniludu mrokke ---- ------- (NIL) hechcharike parāku Echchrika paraka

Line-4 Hechcharika parāku hechcharika parāku

VACHANAM

Line-1 Vinavē chelia Ēvidhamuna

----- dēvadēvuni kedurukonē Dēvarani dēvadēvuni keduruganēgu

POEM-19 Vaga chūdarē Vagajūdavē

Line-1 Putamu ghatimpuchunu Putamulu ghatiyinchi vachchi vachchu

Line-2 Etula nuthinchini Yitulanuthinchini

DARUVU-16

Line-2 Karuna somaskandanīve Karunānidhi māpennidhi, somaskanadā somaskanda !! nivena pennidhi, somāskandā

Line-3 Pōrigonu kālagnivi ----- Kālāgniyu

Line-4 Tharachina galachina

Line-9 Bhūthanētha nīvē Bhūthanādhu dīvē

Line-13 Girimēnu garimathōda

VACHANAM Chelī, vinavē, antha

POEM-20

Line-3 Muchchataducho muchchatădagā

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DARUVU-17 HĀRATHI DARUVU, (NIL) manudārti madanārti

Pllavi Jaya mangalam-nithya subha mangalam

2nd Charanam 2nd Line Marudārthi harachana Madanārthi haranachana

DARUVU-18

Line-2 Gouri thôguda' Gourithō

Line-4 gurugulu varugulu

Line-9 Puliyōgara Pulihõralunu

VACHANAM --- Chelī paramēswaruni pavvalimpu sēva chūdavē

Line-8

(2nd Charanam Cheliagattu pattikini chelialaku jūda 1st Line)

VACHANAM Chelī paramēswari chelikaththelu deviki chēyu vinnapamulu vinavē!

DARUVU-19

Line-9 Santhoshamāye Santhoshamāye

Line-14 Muthepu mungurulu muthemulu, mungurulu

DARUVU-20

Line-1 Bhakthi thô Bhakthi thô

Line-4 Haththu pūvvula saramu aththi pūla saramulanu lellanu

Line-6 Sēda dīranu Sranthi thīraga

Line-7 Sāha bhūvibhudu Sāha vibhundu

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Line-8 Andamuga Kanandamuga

DWIPADA-21

Line-4 Sēvā prabandhamu Sēvā prabandhambu

Line-4 Vasudhīsa vasudhīsa

Line-5 Sri shāharāja Sri sāhachola

dēvendru rajēndru

DARUVU-21

Line-3 Hosūrulāra Hõhô yanarayya Ösurulāra

Line-5 Hechcharika höyanavayya Hechcharika

Line-9 Ayinārayya Ayyanārayya

DWIPADA

Line-5 Sri saha Rāja Sri Sāhā Chōla

Dēvendru Rajēndru

NOTES

1. The original work was written by Bhosala Shaha Mahāraja (1684-1712) in Telugu as a musical feature or rūpakam (opera). 2. The text as available in Saraswathi Mahal Library, Thanjavur was first published by Prof. P. Samba Moorthy in 1955 with necessary corrections or deviations. 3 The text in the leaf-let has been studied by me carefully and a xerox copy of the manuscript has been taken by me. 4. Scribal errors are corrected and the deviations in comparison with the original are listed out above. 5. There are still some more telugu words used by Sri Shaha Maharaja which need further examination to arrive at correct and proper meaning. 6 The writer-king is to be remembered for even by Telugu people as in case of Bhōja, Krishnadēvarāya, Raghunādha etc. who did remarkable service to literature. 7. The Telugu poets patronised by the king and all the Telugu works written by him have to be found out in order to know the stage by stage development of Telugu dramatic literature.

146

5.1.4 Introduction to the Darus and the Poems

POEM - DWIPADA - 1

Before commencing the composition of 'Pallaki Seva Prabandham', the

writer Sri Bhosala Saha Maharaj offers his prayers to Ganesh, Brahma,

Guha, Gouri and Sankara.

It is in couplets (Dwipada), a typical Telugu poem in a specific metre.

Chandus for this verse is given separately (Chapter 7.4)*

POEM-2

Sri Shaha Maharaja invocates Lord Siva who is worthy of much praise

for his benediction.

It is in Sīsa Padyam. After this verse, the actual story is introduced

as usual in Sangītha Naatakams. The introductory passage indicates that

Pärvathi, unable to bear the pangs of separation from Lord Siva, requests her

maids to go and fetch Lord Siva to her abode, but he is found seated in his

court.

The introduction is brief and it is in simple Telugu Prose.

POEM-3

In this verse the grandeur of the court is described.

The chandus of the poem is like that of dwipada (Chapter 7.4).

• Chandus for all important Padyams is given in Chapter 7.4

147

DARUVU-1

The grandeur of Sankara's darbar is described in this daru. Shāhaji

Maharaja has described the style and manner of Lord Sankara by which the

Lord is conducting the darbaar. The greatness of Sankara is also explained.

The accompanying persons and the things around him are also mentioned

attractively.

POEM-4 : KANDA PADYAM

A simple stanza with four lines with a specific metre for the first and

third lines and a different metre for second and fourth lines. The chandus of

the verse is explained separately.

DARUVU *- 2

The song gives an account of gods who are with the Lord, one by one.

Number of devotees are going to the Lord who is in the court and the

devotees are expressing their problems and also their desires and works. The

companions of Pärvathi are witnessing the salutations offered by the

devathaas in the sabha and are alerting giving necessary cautions.

POEM-5 : UTHPALAMAĀLA

It is called a vruththam in Telugu Poetry with four lines of equal

metre.

Chandus of the poem is separately explained.

Daruvu is the same as Daru

148

The companions are observing the crowd gathering round the Lord in

the court. There was no place for standing. The gods are worshipping the

Lord and informing him of their grievances. The companions are put into lot

of predicaments. They are thinking of themselves as to how to divert the

Lord's attention at this juncture.

DARUVU-3

This song also explains the same position as in the foregoing verse.

While the Lord is discussing the issues of the world with Vishnu and

Brahma, the companions are beweldering as to how to approach the Lord

with the request of Paarvathi. Another difficulty is faced by the friends of

Pärvathi. As the Lord is listening to the songs composed by Shahaji himself,

how can they disturb the Lord to putforth the entreatment of Pärvathi to the

Lord. The fine artfeeling of Siva is indicated here.

POEM-6

This is Champakamala poem in which there are four lengthy lines of

equal metre. This is same as Uthpalamala with a change in chandus which

is given separately. For byhearting and pronouncing the verse, it is rhythmic

and convenient and gives very good scope for raagam that is for melodiously ging.

This verse explains the predicament of the sakhis as it is getting late

and their mistress, Parvathi may be restless and angry for the delay. But the

149

Lord is busy in the court with his matters. They are discussing among

themselves looking forward for a way out to meet the Lord. They are in a fix

to get over the situation.

POEM-7 : DWIPADA

This verse describes the conversation among Parvathis's companions.

They want to approach him just as other devathas, but they are feeling as to

how to present this private matter amidst official proceedings going on in the

court where the Lord is very busy. The court officers are not letting them to

go near the Lord. At this restless juncture they get an idea whether they

could send Pärvathi's message to Lord Siva through ornaments or staff of the

Lord Siva. They think of the messengers one by one about the suitability and

sincerity of each one.

POEM-8 : DWIPADA

The sakhīs feel like requesting Ganga first to take the message of

Parvathi to Lord Siva as mentioned in this verse as Mandakini is very near

to the Lord exactly on his head.

DARUVU-4

In this song one sakhi explains the bad qualities of Ganga that she is

wicked, merciless, quarrelsome and that she is involved in nefarious

activities. As such she is branded as an undesirable messenger.

150

DARUVU-5

Now the turn of deer has come to the minds of sakhis for sending

message to the Lord. The companions of Pärvathi have come to a decision, to

request the deer in this regard. They salute and plead with it asking to do

them this favour as the deer is of soft nature and full of humility. This is the

main idea in the song.

PADYAM-8, Poem : Champakamāla

In this verse, it is noticed that maidens have felt whether the deer,

being an animal, is capable of possessing the qualities of mercy, love,

presence of mind and ability to convey the message to the Lord properly. So

they have their miss-givings. Then they decide to approach the serpant king

for help.

DARUVU-6

The song denotes the request of Parvathi's companions to Nagaraja for

sending a word to the Lord through Nagaraja as they have no chance to go

to the Lord directly. They are in a hurry to send word to Sankara some how

or other as much time has passed.

POEM-9 : KANDAM

In this verse the companions entertain doubt on Naagaraaja. They feel

whether the serpant can describe the situation of Parvathi correctly without

twisting as the servant has double tongue and further it is venomous. And

then they turn their attention to the moon.

151

POEM-10 : CHAMPAKAMĀLA

The request of sakhis to moon to convey their purpose to the Lord is

expressed in this stanza. They are very obediently praying to the moon to

fulfill their desire as that of Parvathi.

DARUVU-7

In this song the difference of opinion the sakhīs with regards to the

reliability of the moon is portrayed. They lack faith in the moon as he is a

crooked fellow and born along with poison. So they feel that the moon may

not have any sympathy.

The prose text informs that the companions have finally decided to go

to Parameswara themselves instead of futile dependency.

POEM -11 : DWIPADA

By this stanza (couplet) they praise Lord Siva, worship him and

entreat him to go to the abode of Pärvati as she is in anguish.

DARUVU - 8

The ardent persuation of the sakhīs is continued in this daruvu. They

request Sankara again and again to kindly visit the abode of Parvathi and

please her. They praise the Lord in so many ways describing his qualities and

informing the condition of Parvathi. This is about this song.

152

POEM-12 : KANDAM

Sakhīs are talking to one another. One sakhi is saying that the lord has adjourned the court and asked the servants to bring palanquin. They are waiting for further proceedings.

DARUVU-9

The narration in this song is very spectacular. It is full of description of the beauty of the palanquin. It is very informative and the material used

for the decoration of the palanquin is varied and attractive.

POEM-13 : THĒTAGĪTHI

The wonder that is taking place is described in this verse. It is to note

that dēvathās (deities) are present to do various services to the Lord while he

is talking to Pārvathi.

DARUVU-10

In this Daruvu the friends describe the services done to the Lord by

gods like Kubēra, Vāyu, Varunā, Yamā by Gandharvās, Yakshās and

Apsarās.

DARUVU-11

This song is a very nice and cautious advice of the companions to the palanquin bearers among themselves in naive simplicity on the safety of carrying the Lord in it without a shock. Wise instructions to the palanquin carriers are contained in this song in order to maintain perfect safety to the

Lord. This literary piece of fine feelings is the highlight of the opera.

153

POEM-14 : KANDAM

In this poem one sakhi is asking another to see how the Lord

Phalaksha arrives at Parvathi's place with great pomp and poise.

POEM-15 : CHŪRNIKA

It is a free style poetry not bound by prosody (Chandus) as in the case

of Kandam, Geetha, Champakamaala etc. The harmony in this composition

is that similarly sounding words are frequently used and last syllable in each

line or for every two lines is maintained to be the same. Even this rule is not

strict. Some metrical arrangement or other is there that the reading or

rendering of the stanza sounds very pleasant and systematic. Yathi is

maintained in churnika. In this poem " Jaya Jaya" is found in every line. The

last syllable is "da" or "da" prefixed by 'o'.i.e. Vaida, Danda, Kanda likewise.

It is in high flown language. Gods flatter the Lord in this verse, as, the

"Sath" Chith "Anand", as the possessor of beautiful feet, as the god who

protect devotees from fear and as one having white body.

DARUVU-12

The daru describes how the sages and Gods go forward near Eswara

and after finishing their worship, they retrace their steps in the same

manner. The grandeur of saying Hechcherica and Paraku is portrayed in this

song when gods like Indra, Agni worship the Lord.

154

POEM-16 : KANDAM

The poem indicates to observe the anxiety of Parvathi to meet Siva

after having made fittingly attractive arrangements in her bed-room

matching to the riches of Paramasiva as already shown.

Sakhīs are saying to one another to go and see the situation of

Pärvathi's private room where she desires to meet her husband.

DARUVU-13

The daru gives a picturous view of Parvathi's bed room which is

exceedingly beautiful. A stylish description is presented. It is of royal stature.

It is very much entertaining. It is much engaging to hear and visualise. A

pleasant and pointed presentation is given.

POEM-17 : KANDAM

This verse presents a romantic style of Pärvathi on the arrival of her

Lord. She is so neat, clean, keen and glittering.

DARUVU-14

Here is a charming description of Pärvathi who is thrillingly dressed,

decorated, made up, and ready to receive Parameswara in all her youth, gay,

passion and devotion. A picturesque description of Parvathi's beauty is given

in this song.

155

POEM-18 : GĪTAM

The chelias, that is, friends of Pärvathi are announcing the arrival of

Parameswara in front of Parvathi's house and that the devas are saluting and

doing obeisance.

DARUVU-15

The daru "Amarapathi" tells us how Nandi announces hechcharika and

parāku that is calling for attention and alertness that the dēvaās salute

Pārvathi with great humility.

POEM-19 : KANDAM

This padya describes how Parvathi surrounded by the companions

offers her salutations to the Lord. She stands in folded hands and praises him

many ways.

DARUVU-16

Parvathi addresses him as the supreme god and the like, in this song.

She goes on describing him in many ways out of fulfillment and devotion. In

this daru there are about twelve allusions referring to the anecdotes and

stories told in the purans which are described in a single line essentially.

The next prose is added in the text now followed for easy

understanding of the context. But it is not there in the original script.

156

POEM-20: UTHPALAMĀLA

The friends of Pärvathi take Harathi for both Siva and Girija when the

Lord takes her near the cot talking to her fondly hand in hand.

DARUVU-17

In the Daru "Jayamangalam" Parvathi's companions say "mangalam"

to Paramēswara and Gouri alternatively. Siva is described as the destroyer

of Manmadha and Parvathi as life-giver to Manmadha.

Mangalam is benediction and 'Jaya mangalam' is wishing victory and

benediction, rather victorious benediction. Mangalam is said by the

companions of Parvathi alternatively means that in the first line of Daru to

Parameswara and in the next line of Daru to Parvathi in all the charanams.

DARUVU-18

Detailed description of the feast of high class foods presented to

Paramēswara by Pärvathi is given in this song. The feast-food consists of

pongal, puri, chitraanna, dosa, idly, fruits, sweets porridge, honey. thick

curds, Gangawater, and fragrent betel nuts and leaves.

DARUVU-19

The companions of Parvathi, in this daru, praise Lord Siva. They

please him; they pleade with him and they pray him to go to rest. The Daru

is in a lullaby style.

157

DARU-20

The Daru describes that the companions of Paarvathi advise her to

serve her husband with devotion by performing all services in 'pavvalimpu

seva'. This is an Ashtakam, eight lined song.

DARUVU-21

This song gives an account of care that is taken while Parvathi and

Paramēswara are alone in sexual mood. Ganesh, Bairava, Bhadrakāli and

Ayyanär are asked to be on watch and ward. While Parameswara and

Paramēswari are in union in body-mind-spirit mutually meeting on an

arranged bed during the night, the companions take all precautions to

maintain absolute silence and to see that no one disturbs them in the

surroundings. In making necessary arrangements they have alloted duties in

this regard to various gods covering the whole night.

DARUVU-22

Closing the episode, the sakhīs of Parvathi sing 'mangalam' song

wishing benediction to Gouri and Gouripathi in the most traditional and

devotional way. The chelias worship the great God and Goddess.

POEM-21:DWIPADA

This double lined verse tells about the composition and the composer.

In conclusion it is mentioned that king Shahaji composed this opera in praise of Siva and Sakti. The composition is designed in such a manner that it

pleases all poets and lasts as long as the moon and the sun exist.

158

5.1.5 NOTATION TO DARUS

DARUVU - 1. "KOLUVAI

Sankarābharana Rāgam - Chāputhālam ri gu ma di nu sa ri ga ma pa da ni sa sa ni da pa ma ga ri sa

PALLAVI

· sa sa ri ri gā mā gā ma ga ri ri ga rī sā Ko lu vai · · yu nnā .... de ...

; · · ga ma pa pa pa ma ma gā-ma ga ri ma ga ri-ga ri

· · · dē · va dē · · · vu du ·

sa n1 „

(Kolu) .

ANU PALLAVI

· sa sa ri ri gā mā gā · ma ga ri ri ga rī sā

· ko lu vai · · yu nnā ... . dē · · .

sa ni sa rī sa sa ri ri sa sā ri sā ri ri gā . ko · ti ·· sū . .. rya pra kā su· dē

ma ma mā pa ma gā ma pa ; ;

va la rā ju · . pa ga · ·

159

ma ma mā da pa ma ga ma pã; sa ni dā va la rā ju . . . pa ga . ...

· ma ma mā da pa ma ga ma pā mā pā

· va la ra ju . . . pa ga vā dē

· sa ni da pa mā ma da pä ma ga ma ga ri ga ma ga ri ma

· va ni tha · mō ha . nam . gu · de · . .

ga ri (Kolu)

CHARANAMS

pā · pa pa ma ma gā gā · ma ga ri - ri ga rī sā

a · sa · · · la gro .. . nna · · · na

sa ni sa rī sa sa ri ri sa sā sā · sa ri gā

vā · . · · sa · · na nin dā ra

· mā mā da pa ma ga ma pā mā pā

· Bhāsa mā · · · na ma ni sim

· sa ni da pa pa ma da da pa ma gā ma ga ri ga ma ga ri ma

· ha · sa · nā m tha . ra . . . . . . ni .. .

ga ri-pā pa pa ma ma gā gā · ma ga ri ri ga rī sā · · vā su · · · · · · da gu . chu . . ni . . . ja

160

sa ni sa rī sa-sa ri ri sa sã sā · sa ri gā dã · · . · · su · · · la pe · nni · dhi

· mā-mā da pa ma ga ma pā mā pā · Bhōsa la · . . sā · ha bhũ

· sa ni da pa pa pa da da pa ma gā ma ga ri ga ma ga ri ma · va · sa vu · dai · · · · · va ... mu ...

ga ri (Kolu)

The above one is called mudra charanam. The other two charanams may be taken as the same.

1. Ba lu po n ka ma gu chi lu

va la ka n ka na mu la ma ra

na lu van ka la ma ni ru

chula va n ka tha na ra

da la va n ka na la ve lu

pu la van ka ne la va n ka

va la chẽ tha no ka ji nka

vai kha ri mī ra nga Kolu

2. mē lu ga ra tha na m pu

ra lu che kki na yun ga

rā lu bhu ja ga kē yū

rā lu me ra ya ga

bālu gā ru mô mu na

srī lu po da ma puli

thō lu ga tti mu mmo na

vā lu ba tti che laga

161

Full notation is given to the third charanam where in the name of the

composer (that is Bhosala Maharaja) is mentioned. Mentioning the name of

the composer or the name of the composer's personal deity is called mudra.

The same notation holds good to the other two charanams.

162

DARUVU - 2. "PĀKĀRI"

Sāveri Rāgam - Rūpaka thālam

ra ma da

sa ri ma pa da sā

nu da ma gu ra

sa ni da pa ma ga ri sa

1. sa ri sā ni da sa ri mā ma ga rī

pā · kā · · ri mro · kki ni · ·

ma ga mā ga ri sa ri ma pa dā;

chē · · · · ko na va · yyā

pā pa ma pa da sa sa pa da pā · ma ga ri

lo · · ka · nā · ya · kā · . pa .

sa ri pā pa ma ga ri ma ga mā ga ri sā

rā . ka . . he · chcha · ri kā · ·

163

The other steps (lines) may be sung in the same way

2. A m bu ja bha vu du jō

ha ru je si ni

Sa m bha rā ri · ha ra

sā mī he chcha ri kã | |

3. Nī la var nnu du va chchi

kē lu mō dchī ni

phāla lō cha na bha ktha

pā lā he chcha ri kā | |

4. dā su lu mu ni di kpa

thu lu da nda mi dē ru

srī sā ha vi nu tha dē

vē sa . . he . chcha ri ka | |

164

DARUVU - 3. "ETULA RAMMANDU NÖ"

Mōhana rāgam-chāpu thālam

ri gu di

sa ri ga pa da . sa

sa da pa ga ri sa

PALLAVI

· ga pa pa ga ga ri sa sa da sã sa ri

· e tu la · ra mma ndu nõ ya

gā · ; ga ri ga pā -pa ga pa da

mmā.in du dha ru · ni ·

sa sa sa sa da da pa pa ga ri ga ga da pa

. e tu la · ra m ma n du nô · ya m

ga rī sā ;

mā · . .

165

ANUPALLAVI

, da ri sā sā sa da sa da pa da

· ni ta la nē thru . du ne . du

da sā sa da da pa ga da pa ga pa ga ri

ni n du · ko lu vy yu . nna . du .

ri | | (Etula)

CHARANAMS

, sa ri ga ga gā ga gã ga ga ga ri

, di na di na mu dē · vā · di ·

· ri ga pā pā pa pā da pa da,

· dē · vu ni pai sri sā · ha

· da ri sā sā da da sa da pa dã

· gha nu du ga vi n chu me · ti

166

da sã sa da da pa ga da pa-ga pa ga ri | | ri

ka vi tha . lu . vi nu · vẽ · la (Etula)

This is mudrächaranam. The same notation holds good for the other 3

charanams.

1. Pa di vē sa mu la sā mi

pa lu ku lā lin chi chã la

mu da mu na nã tha ni thõ

mu chcha tā dē ti vē la | |

2. The li ya ga lô ka mu la

the ra ge lla vi nna vin chẽ

na lu va nu ka nu go ni

na vvu chu n dē ti vē la | |

3. Ka la ya ga jā la rā cha

kā rya mu lu vi nna vin chẽ

ba la vai ri ma di lo ni

bha ya mu thĩ rchẽ vē la | |

167

KAMALĀYA THĀKSHI

Dwipada.7 - Bēgade rāgam - Khanda chāpu thālam.

gu ri ma di

sa ga ri ga ma pa da pa sa

nu di ma gu ri

sa ni da pa mā ga ri sa

1. ga ma pā ma pā da pā

ka ma lā ya tha kshi sam

pa da nī da pa ma ga ma ri

ka ru ni thō su ra lu · .

ga ma da pā ga, ma pa ga ri sa

tha ma tha ma ma na · vi · nam

ma ga ma pa ma da da pā,

tha yu de . lpa le · do ·

168

The other lines in the same way to be sung

2. Aa rī thi ma na ma cha

lā thma ja vi tha mu

ku ri mi re ttim pa

ko sa ru chu va dda

3. pō yi the lu pu da ma nna

bō nĩ ru vī ra

la ye bō yī va tti

ya di yā sa mā ni

4. sa nna gā ha ru ni bhu

sha na mu la thô nu

vi nna vim pu ma tamchu

vē du da mi pu du

5. tha la mī da nu nna mam

dā ki ni jū chi

the li ya ba lu ku ma tam chu

the lu pu da ma ta vē | |

169

DARUVU - 4. "IDI VINARĀDĒ"

Sankarā bharana rāgam - Thriputa thālam (As in Daruvu-1)

sa ri ga ma pa da ni sa

sa ni da pa ma ga ri sa

PALLAVI

, sa sa ri ri ga ga ma pa da pa pa ma gā ga ri sā

I di vi na ra · · dé . .. .

sa rī sā ; sa sã ri ri gā

mā ta · lu · .

ri-sa ni sā ri ri gā ga ma pa da pa pa ma gā ga ri sā

· I · di vi · · na, rā · · de .....

sa rī sā ; da ni, sã ; | |

mā ta . lu . |

170

ANUPALLAVI

, sa sa sā sā sa ni dā ni, sā ;

· i di vi na rā · · · de ·

pa sa ni da pa pa ma ga ma pa ga ma ga ri

I · · ma · · . ta · li · . ·

sa-sa ni sā ri ri gā mā pa da pa pa ma gā ga ri sā

· I · di vi · · na ra · dé . . .

sa rī sā ; da nī sā; | |

I ·· mã · ta . lu . | |

171

CHARANAMS

1. · pa ma ma ga ga ri sa nī sā sā

· I di ma · hā · pe nu gan ga

, sa sa ri ri gā ga gā ga ma ga ma

· ye va ri · nai na . ba . ttu .

ri ga ma pa da da pa pa ma gā rī sa ni sā

· va da li · na. · ppu · de · pu · tti

sa rī sa nı sā da nī sa ; .

mu n chu . . a · ttē ·

· sa sa sa ni dā pā pa ma gā mā pa da ni sa

· be da ri n · chi ma · ra la · . .

· sa ni sa ri ri sa sa ni dā ni, sā ;

· dē · lim · · chu mi n . . chi .

172

· ma pa da ni sā sā sa ni da pa pa ma

· hru da yē · su na du · ne · ththi .

ga mā pa da pa ma ga ma pa ga ma ga ri

ne . kki · na . ti · . mchu . . .

sa-sa ni pā ri ri gā mā da pā ga ri sā

I · di vi · · na rā · · dē · · .

sa ri, sa ; da ni sa;

Ī · mā · ta · lu,

(2nd and 3rd charanams to be sung in the same way)

2. ma ga ni ne ththi motti

ma ri yo kka magavani

da gi linchu konu hom

tha kā ri mū du

ja ga mu la mrõ gi na

bhẽ rī rā lla

173

de ga gô si pā rē ti

dē sā la ma ri | |

3. pu tti na bi dda la

bo tta nu n chi ye ga

go tti lē da nu ba lu

ni li ye n tha

ga ttai na ju nu gu

ka ra li · · yi di

mitta pa lla mu le ni

pu ttu ga li | |

174

DARUVU - 5. "VINNA VIMPAVĒ MĀ"

Madhya māvathi rāgam-Adi thālam. ri ma ni sa ri ma pa ni sa ni ma ri sa ni pa ma ri sa

PALLAVI

ri ma ri sa sā sa ni pā ri ma ri ma pa ma rī ri sa

vi nna vim pa vē mā · chi nni mru . ga . mā ·.

ANUPALLAVI

ri ma ri ma pa ni sa ri sa sa ni- pa pa ma ri sa

yi · nne la dā · rithō ni pudu- mā · ma navi

CHARANAMS

1. ri ri ri ri-ri ri ri sa ri ma pa ma ma ri ri sa

sa vi na ya gu ni ya ni cha nu va ri ya ni ka ni

ni sa ri-sa sa sa nı pa ni sa rĩ ri ma pa ma ri sa

si vu du da ya nu ni nu jē · · ko · nnā . dē · ·

ri ma ri ma pā pa pa pa pa pa-pa pa ni ma pa

bhu vi ni · bhã gya mu bo ga da tha ra mā ha ru

175

pa ri sā ni pa ni sa pa ni sa ni pā pa ma ma ri ri sa

che vi lo namru thamu chi . . . lka ga . su · ddi ni

(2nd and 3rd charanams to be sung in the same way)

2. do ra la chen tha la nu di ri gē vā ri ki

ji ra pu nyam bu lu chẽ ru ga dē ·

ga ri ma mi ra pa rô pa kā ra mu ga vu na

ma ru va ka rā jā sikha ma ni kima · ma na vi

3. mā kī kā rya mu ma sa la ka chẽ yu mu

nī ku mro kke da mu ne na ru na nu . .

a ka lpa mu ni thya sē va và ti lla ga

jō ka nu sā ha nu tha sō ma skandha mu rthi tho

176

DARUVU - 6. "THE LU PA VA YYĀ" (As in Daruvu-2)

Sāvēri rāgamu - Ādi thalam sa ri ma pa da sa sa ni da pa ma ga ri sa

PALLAVI

;pa da sā; sā; sa ni da pa dā

· thelu pa . va . . . . yya

; pa ma pa da ni da pa da pa ma pā da pa dā

· mā ma . na . vi

; pa da sa ri ga ri-sā sā sa ni da pa dã

. thelu pa . . . va · · yya

; pa ma pa da ni da pa da pa ma pā da pa dā

ma Ima . na . vi

; pa da ni da pa - ma ma ga rī sa ri pa ma

· chilu va · la · rā

177

ga ri .; ri;

ANUPALLAVI

; pa da sā ;- sa ri sā sa ri sā

· pa lu mā ru

; sa ri ga ri sā sā ; sa ni da pa dā

· sam · · ka ru ni · thô . . . .

; pa dā ri sā -sā sā sa ni da pa dā

. bha . ktha va sam. ka . . . ru

pa ma pa da ni da pa ma ma ga rī-sa ri ma pa | | dā

ni · tho . . . (Thelupa)

178

CHARANAMS

1. ;pa da pā ; - pā pa ma da pa dā

· chala pa · tti · · ka · · chi

; pa ma pa da ni da pa da pa ma ga ri rī

· na · tla · .. ye

; sa ri pa ma ga ri-sā sā sa ni dā

· sa ma ya · min · thai . · .na

; sa ri mā mā pa ma pa da pā ;

· lē · dā ·

; pa da sā ;- sā ; sa ri šā

· thala pa · ren du

; sa rı ga rı sā sa ; sa ni da pa dā

· ja · · · mū lā ye

179

; pa dā ri sā- sā ; sa ni da pa dā

da · du phi ryā du

pa ma pa da ni da pa ma ma ga rī-sa ri ma pa | |dā | |

lē dã · · ye · · . . . | | · (Telupa)

(The 2nd and 3rd charanams in the same way to be sung)

2. pō di mi sa mu kha mu na

bō nī ru le n thai na

ā du vā ra ni nī .. vai na

na da rin chi sā mi thô na (thelupa)

3. tha da vu sē ya ka le mma nı

tha ru ni pai da ya chē yu ma ni

vi di di ki ra mma ni sā ha bhũ · .

vi bhu dai va mu thõ · · · bū ni | | (thelupa)

180

DARUVU - 7. "PO LA THI INTAI NÃ"

Panthuvarāli rāgam - Ādithālam

ra gu mi da nu

sa ri ga ma pa da ni sa

sa ni da pa ma ga ri sa

PALLAVI

; sa ri gā pa ma-gā gā rī rī sā ; ; - pā pā pa ma-ga ma ga ri

· po la thi yin. thai. nã da ya . . pu ttuna · ta · vē . . .

sa ni-sa ri gā pa ma-gā gā rī rī sā ; ; ;

· · po la thiyin · thai · nā da ya

ANUPALLAVI

; pa da pā dā-sa ni sā sa ni sa ri sã; ;;

ha la ha la mu . thô bu . tti . na

; pa da pā dā sa ni sā sa ni sa ri sā ;;- sā ni da pa ma ga ma ga ri | |sa ni

ha la ha la mu . tho bu . tti . na · · a nne · kā ni · ki · .

181

CHARANAMS

1. ; sa ri gā pa ma-ga ma gā rī rī sā ; : -pā på pa ma-ga ma ga ri

chelleli i · llu · ko ddi chē si · · me lane · yo · jja . .

sa ni-pa da pā dā-sa ni sā sa ni sa ri sā; ; -sā ni da pa ma-ga ma ga ri | |sa ni

· · pa · lla va pā · ni ba · tti · na · · pā pa · ja · thi . ki (polathi)

(2nd and 3"d charanams to be sung in the same way)

2. kū ri mi tha mmu la mee di · · kon de gā ni ki

la-dū ri ne la tha la nē chē · dô sa kã ri ki | | (Polathi)

3. cha na vi ni vē du ta chã lu · . chã nẽ pô vẽ

mē nu theli ya ni vā mni · · mē na măma ku | | (Polathi)

182

DWIPADA - 11: "OH DĪNA MANDĀRA"

Yadukula kambhōji rāgam - Ādi thālam (Khandagathi) ri ma di

sa ri ma pa da sa

ni di ma gu ri

sa ni da pa ma ga ri sa

pa da sā sa sa ni dā pā pa - pa da sa pā-ma ga ga ri ri

oh · dī naman. · · dā ra yo . . na gā gā · ra ...

sa sa rī ri-ri ri pa ma gā rī sã sa sã sả sã ,

oh · da yā sā · ga · ra · yô su bhả kả ra ·

(other lines to be sung in the same way)

vã mã kshi gouri dē-va ra rã ka gō ri

kā mu ni chẽ dooli gã li chē sli

ka ra gu chunna di chā la kaliki yīvē la

ka laya rā va yya san kara chakkanayya

183

DARUVU - 8. "YĒ LU KO VA YYÃ"

Sourashtra rāgam - Misrachāpu thālam

ra gu ma di nu

sa ri ga ma pa da ni sa

sa ni dā pa ma ga ma ri sa

Sā, sa ni da, .. sa rī ma ga mă ga ri

ye · lu · kō va .

rī · pā pa ma ga mā ma ga rī

· ·cha kka . na · yya . .

da dā sã sã sa ni da ; ni da pā

thã · la lẽ

pā, da pa pa ma ga mã ga ri rī

bā la . .

sã · sa ni dā sa rī ma ga mā ga ri .. nē · lu · ko va · yyā . . . .

rī, pā pa ma ga mā ga ri rĩ

· · in tha · tha . da . .

sā , sa ni dā sa ri, ma ga mă ga ri .. vẽ · la · rā va . yya . . . . . .

sā, ; ; l

....

184

ANUPALLAVI

dā, sa sā sa sā sa ri sā

yē · lu kō sam · ka · ra

dā, sā sā sa ni dã ; ni da pā

kā · la ga rva · · · ha · ra

da,, sā sā sa ni dā ; ni da pā phã · la lô cha · na · ha · ra

pā, da pa pa ma |ma ga ma ; ga ri ri, | | lī · lā . vi . hā · · · ra · · | | (Yēluko) CHARANAMS

1. pa pā pā pa ma ma ga mā ; ga ri ri,

mo la ka the . mme . ra . la . ku

sa rī ma ga ri, sa sā sa ni da, gu lu ku · thu mmeda la · ku

sa ni da ; da, sā sa ni sā ; ri sa ri,

tha . lu . ku ve Inne · la . la . ku

sa rī ga ma pa ma pā, da da pā

nu lu ku . ra . chā la . .

da dā sa sā sa sā sa ri sā

me la ku va dē · ni · ya

da dã sã sã sa ni dā ; ni da pā

lo lu ka ga ka · la · ka · la

185

da dā sã sā sa ni dā ; ni da pā

pa lu ku rā chi · lu · ka · la

pa pā da pa pa ma ma ga mā ; ga ri rī

ka lu ku · mā . bā · · la · . (nēlukō)

(2nd and 3rd charanams to be sung in the same way)

2. Mã ru rã yi di ken tha

bā ru rā sa yya nu

jē ru rā nī pē ru

chī ru rā chã la

mī ru rā thi ri ya ni

dū ru rā che lu la nu

gō ru rã vī ru la nu

gē ru rā bā la (Nēluko)

3. Sô lu rā va la pu na

dū lu rā vi ra hā bdi

dē lu rā ma mu ba thi

mā lu rā chã la

mē lu rā yī va ga

chā lu rā sa thi ja va

rā lu rā lē dī ge

bō lu rā bā la | / (Nēluko)

186

DARUVU - 9. "SINGĀRAMPU PALLAKI"

Sankarābharana rāgam- Misrachāpu thālam

ri gu ma di nu

sa ri ga ma pa da ni sa

sa ni da pa ma ga ri sa

PALLAVI

1. · sa ri gā ga ma ma ga ri ri sa sa ni

· sin gā ram pu pa . . lla . ki

sa rī sa ni da ni sã, ma ga ga ri

chelu vu · jū da vē .....

sā,-sa sa gā ma pā ma ma ga ri ri sa sa ni

· sin gā ram · pu pa · · lla · ki ·

sa rī sa ni da ni che lu vu · jū da vē

ANUPALLAVI

, ma pa da ni sā sā sa ni dā pā pā

· sa m gĩ · tha mē la · · mu thô

ma-ma ga mā pa da pa ma ga ma pā ; ga ma ga ri | | sa | |

nu sa, nnu thi n chỉ ni · dē . vu · ni . . 11. 11 (Singärampu)

CHARANAMS

1. · ma ga mã pā pā pa pā pā pa ma

· ji · gi min chu ja la pu tha ·

pa sā sa ni dā pa ma ga ma pa ga ma ga ma

jī · ni · · pa · nnan · . ga . mu .

187

ri-ga ma pa da pa ma ga ma pa-ga ma ga ri · bi gu vu · nin · du bu · ru · sã ·

sa-pā pa ma gā ma ga rī ga ma pā; ; ; · pinje · . lu · . nu .....

ma pa pa ma gā mā pa da ni sā sā

ni ga ni · ga ya nu · · pa chchi

, sa ni sa ri ri sa sā sa ni dã nī sā

· pa ga dam · · pu dan · · · di yu

ma pa da ni sā da ni sa ni dā pā pa ma

ma ga rā · la ni · ga . . rā la

pa sā sa ni dā pa ma ga ma pa; ga ma ga ri | | sa | |

ma n chi . . cha . tta . mu . ga . la . . . 11 (Singārampu)

(2nd and 3rd charanams to be sung in the same way)

2. chi ru tha pa chcha la ga chchu

chẽ si na tha bu ki di

ku ru vin da mu la kī lu

kō nu gu bba lu . .

ja ri ga kan da na lli na

ja mi li na li din du lu nu

o ra gu bi lla lu pa ttu

ki ru lu bi lla lu ga la | |

3. sa ri jī ni ku ttu la

sa ga lā th thi me ththa lu

ha ri nī la mu la nu ka

ththe ra kā llu nu

188

hu ru min ju pū sa la no ra paina ku chchu lu

pa ra ga gu rā la mu pa ttu thô ra na mu lu gala

189

DARUVU - 10. "KAMALĀYA THĀ KSHI RO" Bhairavi rāgam - Ādi thalam ri gi ma di ni

sa ri ga ma pa da ni sa

ni da ma g1 ri

sa ni da pa ma ga ri sa

PALLAVI

. ; ri ri sā sā-nī sā ri sa sa ni ni da · ka ma lā ya tha . . . kshi . ro .

da pa sa ni ni da pā ma ga ma pa ma ga rī

· · ka nu go na vē nē · ti · vin · tha

sā-sa ri sa ni dā-nī sā ri ga ma pa da pa · ka nu go na vē nē ti vin . . . .

pa ma gā rī ; sā ; ; ; |

tha . . . . ....

190

ANUPALLAVI ; pa ma pā da ni-nī sā sā sā · a ma ru lī · su ni kū di

; ni ri sā, ni ni ni da pa-pa ma pā | | da ni | | · ga mu sē · yu vin . . . tha . lu . . .

(Kamalāya) CHARANAMS

1. ; pa pa dā pā-pā ; pa da nī

· ka la vā du ga · mma · ni

; - da ni sā sā nī sā ri sa sa ni ni da · ka pu ram pu vi da · · mī · ya ·

da pa-pa ma ni ni da pa-ma ga ma pa ma ga ga ri

· · ba la vai · ri · kā · · lā n ji . * ..

sā-ri ga mā mā pa ma pa da pā pā

· ba · · tti rã · · . ga .

; pa ma pā dā-nī nī sā sā

· ma la ya ja pa va nu du

; nī · sa rī sā sa ni ni da pā

; man chi su ra ti · vī · va

; ni gā ri sā-nī sa ni ni da pā · na lu va vi nu thi · sẽ · ya

; sa nī da pā ma ga ri ga ma pa da pa | | da ni

· ve la ya va chchu . de . vu . ni . . (Kamalaya)

191

(2nd and 3rd charanams to be sung in the same way) 2. ga ri ma ja mu du kun che

kath thi kē de mu bū na

va ru nu du cha lu va pã

va da lu vē ya

gu ri kā dai na chan dru du

go du gu nu ba da ga nu

dhari yim pa som pu na

da na ru de Iva dē vu ni

3. ga ru da ki nna ra ya ksha

gan dha rva pa thu le lla

mu ru pu min chi na gā na

mu lu chẽ · · ya ga

sa ra sa ram bhā du lu

ja tha gū di na ti yim pa

ha ri thõ na vvu chu va chchu

va ra sã hēm dru dē vu ni

192

DARUVU - 11. "KADALIMPAKU RÖYI"

Nādanāmakriya rāgam - Ādi thālam

ra gu ma da nu

sa ri ga ma pa da ni

ni da pa ma ga ri sa ni

; sa ri mā ma ma-ma ga mā ga ri rī -ka da lim pa ku ro · yi pa · lla

sā-ga ma pa da pa ma ga ma pa ma-ga ma ga ri

ki ga da la · nī ku rō · yi · chã la

sa ni-sa ri mā ma ma-ma ga mā ga ri rī · · ka da limpa ku-rō · yi pa · lla

sã ; ; ;

ki ...

ANUPALLAVI

; pa da dā dā-pā pa ma da pa dā

.mru du vai na jam ga . ma · yya

pā pa ma pā dā pa da pa ma ga ma ga ri | | sa ni

mē nu · no chchi ni · · · aa · aa (Kada)|

CHARANAMS

1. ; sa ri mā mā-ma ga mā ga ri rī

. ha ru vu ga me . lla me . lla

sā-ga ma pa da pa ma ga ma pa ma-ga ma ga ri

ne ya du gu · li da rõ · yi · mā . ..

193

sā-pa da dā da da-pā pa ma da pa dā

· pu ra vai ri ki ba da · li · ka

pā pa ma pā dā pa da pa ma ga ma ga ri | sa nil bu tta · po yyi ni · · · · ā · ā . . . .

(Kada)

(2nd and 3rd charanams to be sung in th same way)

2. ma ra li bhu ja mu la dan

de-mār cha va la do yi-indra

ha ri vi rin chyā di sa nnu thu

da la ya bo yyī ni-ā ā (Kada)

3. thi nna ga na da va nĩ ya rõ

yi-thī va ra mē la rõ yi-ku kshi

nu nna brahmā da mu le lla

nũ ga bo yyi ni - ā ā (kada)

194

DARUVU - 12. "PÀ DÃ VA DHÃ NA MU"

Panthuvarāli rāgam-Ādi thālam. ra gu mi da nu sa ri ga ma pa da ni sa sa ni da pa ma ga ri sa

1. pa da pā; mā-gā pa ma ga ri sa ni

pā · dā · va dhã · . na. mu

sã ga ri gã mã pā mā dā pa ma

pã · da ga ma na mu ba hu ·

pā dā pā sa; sa ni rī šā

pa rā · ke · chcha · ri ka

pā sa ni dā pa ma pa da pa ma ga ri ga ma

dē vā · di . dē · . . va · · · | |

(The other lines in the same way to be sung)

2 pā dām bu ja mu la

mu nu lu-pū jin che ru . ba hu

pa rā ke chcha ri ka

dẽ vā di de va !!

3. I di gõ in dru du na lu

di di gō sa · ma nu du

pa rā ke chcha ri ka

dē va di dē va !!

4. I di go punya ja nu

di di gō ja lē su du

pa rā ke chcha ri ka

dē vā di dē va !!

195

5. I di gõ gan dha vã hu

di di gō dhanẽ sudu

pa ra ke chcha ri ka

dē vā di : va !!

6. I di gō yī sã nu

di di gō gī rvā nu lu

pa rā ke chcha ri ka

dē vā di de va !

196

DARUVU - 13. "YENTHVEDUKA LĀYE"

Panthuvarāli rāgam-Jampa thālam. ra gu mi da nu sa ri ga ma pa da ni sa sa ni da pa ma ga ri sa

· pa pa pa ma ga ma ga ri sa

· yen tha vē · du ka lā · ye

sa ri ga ga ma pa ma pa ma ga ri-sa r

ni · pa da ka yi llu chū · · . da

ga ma-pa da pa ma ga ma ga ri sa

· · nen thavē · du ka lā · ye

sā . .

ANUPALLAVI

· sa sa sa sa sa ni da ni sa

· kan thu da ma nu na ku yō .

sa sa ni da pa pa ma pa ma ga ri-sa ri | |ga ma

gya mu, va him pa ga nu ·

(Yentha) CHARANAMS

1. pa pa pa pā pa pa da pa ma

pa si di ni lggu la, mi sa *

pa da ni da ni sa ni ni da pa

mi sa lā · du ku · dya mu la

sa sa sa sa ni da ni da pa ma

bo sa ga vrā · si na ja la ·

197

sa ni da pa ma ga ma ga ri sa pu · tha, chi . ththa ru la . .

pa pa pā da sa ni dā ni sa sa ba sa kem pu pa · ga dam pu

sa ni sa ri sa sa ni dã ni sa sa pa lu thō · ra ba n · dha mu la

sa ni sa ri sa sa ni dā ni sa sa

na sa mā · na va · · jra mu la

sa sa ni da pa pa ma-pa ma ga ri-sa ri | | ga ma|

na ma ru tha lu pu lanu . . . .. .

(Yentha)

(2nd & 3rd charanams in the same way to be sung)

cha la gu rā thna mu la gu

chchi na thô ra nam bu la nu

na la ru pa chcha la min chu

na na ti kam ba mu la

ve la he chchu ve li pu tta

mu la mẽ lu ka ttu lanu

la li tha muga mu th the mu la

ran ga va llu la nu !!

ku ru vin da ma nu la cha

ppa ra kō lla man cha mula

ba ra gu me ththa la nu hum

ba ttu tha la ga da la

va ru sa, ka stū ri ja

vvā ji cham da na mula

do ra yu pu vvu la di vya

dhũ pa vã sa na la !!

198

DARUVU - 14. "YIDIGÕ KOLUVAI UNNADI"

Kuranji rāgam-Ādi Thālam.

nu ri gu ma di sa ni sa ri ga ma pa da da pā ma ga ri sa ni sa

PALLAVI

; sa ri gā mā-ma ga ga ri sa ni nī

· yi di gō ko lu · vai · · u · nna

sã ; ; -ga ma pā pa ma-ga ma ga ri

di · . hi ma gi ri · ku · mā ·

sa ni-sa ri gā ma pā ma-ma ga ga ri sa ni nī

ri · yi di go ko . . iu . vai . u . nna

sa ; ; -ga ma pā pa ma-ga ma ga ri

di · . hi ma gi ri . ku . mā .

sa ni "

ri · " (Yidigo)

sā ; ; ;

di · . · =

ANUPALLAVI

; ma pa ma ga mā-pā pā pā pā

· ma da na · ha ru ni rā ka

; ma ga mā pa ma ga ma pa ma ga ma ga ri | | sa ni | |

· ma di nī · · vẽ . la . go ri . .

(Yidigo)

199

CHARANAMS

; sa ri gā mā-ma ga ga ri sa ni nī

· ja la ka mu lā · di · he chchai ·

sā ;; -ga ma pā pa ma-ga ma ga ri

na · · ja ri ga chi · ra . ga ·

sa ni-sa ri gā mā-ma ga ga ri sa ni nī

tti · ku lu ku mu thyā · la . sa . ru

sā ; ;- ga ma pā pa ma-ga ma ga ri

la · · gu ru la mī · da · ju .

sa ni-ma pa ma ga ma ri-gā mā pā pa ma

tti . -ne la va n ka · jo l nu du ·

pā ; ;- ma ga mā pa ma-ga ma ga ri

ta · · ni · ggu ga la ya . . .

sa ni -sa sa ri ga gā-gā gā ma ga mā pa ma

tti . -thi la ka . mu di ddi pa . lu . .

pā ; ;- ma ga mā pa ma-ga ma ga ri | | sa nil |

ku · · chi lu ka jē . tha . ba . tti . | | . . | | (Yidigō) (all the other charanams to be sung in the same way)

2. ba n ga ru pā pa ta bo

ttu . . pa chcha la bu ga da

lu ra n gai na rā vi rē ka

200

lu · · ra thnā la ba vi ra

lu - sru n gā ra m pu vajra mu

la · · je si na ka mma lu - sa n gathi ga da ri yi n

chi · . san ka ru ni yi lla lu (Yidigo)

3. mu ru pu mu ththe m pu mu n ga

ra · · mo ha na mā li ka

lu - me ru gu chi n du saramu

lu · . ma nna la thī ga lu - sa ra pe na lu pa tha ka mu

lu · · sa ra sa hā ra mu

lu - chi ru tha kem pu la kuthi kam

tu · . che la ga jā va rā lu | | (Yidigo)

4. ka n ka na sa ra mu

lu ā ā gou da sa ra

lu - kan ka na mu lu san ku

lu · · gã ju lu nga rā

lu-po n kai na san di dan da

lu · · po sa ga kē yū rā

lu-ko n ka ka tha na ra mē

na · · gu na va n thu rā lu !! (Yidigo)

5. chi ru ga n ta lu no dyā na

mu · · ji gi li mo la nū

lu-ku ru vin da mu la ga jje

lu · · ko ma rai na ya nde

lu-po ra lani pillan dlu kulu

ku · · bo chchi ri kā ya

lu-pa ra ga sā hen dru dē vu

ni · · bhã gya vanthu rā lu (Yidigo)

201

DARUVU - 15. "AMARAPATHI MROKKE"

Ghantā ragam-Jampa thalam. gi ri gi ma ni sa gi ri gi ma pa ni sa ni da ma gi ra sa ni da pa ma gi ri sa

1. pa da pā-mā pa da pā ma ga ga ri sa a · ma ra pa · thi mro · kke · .

sā ga ga ri sã sā sa ye chcha ri ka pa rā ku

ga ga ma ma ma mã pa ma gā rĩ a na lu du · mro kke . . .

gā ma pa da pã pā pa ye chcha ri ka pa rā ku

(the other lines to be sung in the same way) 2. ja mu du mro kke

ye chchari ka pa rā ku cha nu vu na nai ru thi mro kke

ye chcha ri ka pa rā ku !!

3. ja la vi bhu du mro kke

ye chcha ri ka pa rā ku dha na du du mro kke

ye chcha ri ka pa rā ku !!

4. yī sā nu du mro kke

ye chcha ri ka pa rā ku

yi tha ra devathalu mro kke daramma

ye chcha ri kka pa rā ku !!

5. da su lu mu nu lu

mro kke da ru pa rā ku

sri sā ha vi nu tha

dē va rā ni pa rā ku | |

202

DARUVU - 16. "NĪ VĒ DAI VA SI KHĀMANI"

Sourashtra rāgam - Adī thālam. ragu ma di nu sa ri ga ma pa da ni sa nu di ma gu ra

PALLAVI sa ni dā pa ma ga rī sa

1. ;da da sā ; - sa ni dā ni da pā

· nī · vē · dai · va · si

mã pā dā pā mā ; ga ri rī

khã · ma ni nī · · · vē

; sā , ni dā - sā rī ga ma pa ma · dē · va chi dā . nan . . .

gā rī rī ; sā rī ga ma pā

dā ·..

2. dā da da sā ri sa sā sa ni dā ni da sā

· nī · vē · · dai · · va · · · si

mā pā ni da da pa pa ma ma ga ga ri rī

kha . ma . ni . nī · . · · · vẽ

; sā, ni dā - sā rī ga ma pa ma

· de · va chi da · nan . . .

gā mã ma ga rĩ

dã .... ANU PALLAVI

; da da sā ; - sā sā rĩ;

· nī · vē · nā · pe ·

; sa sā ri sā sā ; sa ni dā

· nni dhi ka ru na ....

203

pā da da sā ; sa ni dā ni da pā

· ni · dhi . . .....

pā ; da da pa ma ma ga rī sa ri ga ma | | pā | | sō · ma . . . skan · · da ... . . 11. 11 (nī ve)

CHARANAMS

; nî dã pa pā - mā mā ma ga rī · ka da la ni tri pu ra · ma

sā rī gā rī sā ; sa ni dā hã · · ta vi . . .

; da da sā ; sā rī ga ma pa da · kā · lā · gri u nī . . .

nī · da pā;

; da dā sa sā - sa ni dā ni da pā

· ma da nu ni rū · · pa · pa

mā pā dā pā mā mā ga ri rī

yõ · ni dhi ga la chi · na

; sā · ni dā - sā rī ga ma pa ma · ma n da ra - gi ri ni · · .

mā ; ga rī, sā ; ; ;

vē . ....

204

; ni dā pa pā-ma ga mā ma ga rī

· be da ra ni ga · ja da ·a nu

sā rī gā mã pā ; pā mā jā · dha mu ne · ththi ki

; pā · pa mā - dã dã nĩ ; · pe · dda pi du gu nī ·

sā ; ; ;

vē . . .

; da da sa sā - sā rī gā mā

· ga du mu chu di ri gē ·

gã rī rī sā sā sā nī dā

ya n dha ku ni ki la ya

; dā, sa sā sa ni dā ni da pā

· kā · la ya mu · du nī · .

på ; da da pa ma ma ga rī sa ri ga ma | | pā

vē . . . ..

(nī vẽ)

(the other charanams to be sung in the same day)

2. ghō ra sa ma na va

kshō gi ri nu ggu ga

go tti na pa vi nī

vē · .

nā ra si m ha bī

ra mma nā chi na yu

nnatha sarabhamu nī

ve . . .

205

bō ra na ga ra la mu

ka ba li n chi na ve nu bhũ tha nã dhu dĩ

ve . . .

kũ ri mi thõ go li

chi na vā ra la mu nu

ko n gu pa sin di yu

ve · . .

3. chi ru tha tha pa si pā

la mu vi la si lu sa n

jī va ka ra ni nī

ve . . .

ha ri vā sa va bra

hmā di de va tha la

kā dhā ra mu nī

ve . . .

ga ri ma thō da ni ja

bha kthu la pā li ti

ka lpa tha ruvu nī

ve . . .

gu ru thu ga bhô sa la

sã ha na re n dru ni

ku la dai va mu nī

ve · . .

206

DARUVU - 17. "JAYA MANGA LAM" Ghantā rāgam - Jhampa thālam (Same as in Daru - 15) sa ga ri ga ma pa ni sa sa ni da pa ma ga ri sa PALLAVI

da pa ma da pa ma ga ga ri sa

ja ya ma n ga lam ni thya

sa sa ga ga ri sā sa sã | |

su bha man ga lam

CHARANAMS

1. da pa ma da pa ma ga ga ri sa

mo la ka cha n du ru pũ · vu

sa sa ga ga ri sã sa sa sa

ga la v . lpu rā ya ni ki

ga ga ma ma ma ma pa pa ma gā rī

tho lu ku (ju pu la ga · · ttu

ga ga ma pa da pā · .

do ra pa · tti ki . .

ga ga ma ga ma pa pa dā pa

chi lu ka bã bā · rou thu

ma ma pa da pa ma pa pa ma gā rī

bi lu ku mā rchi na vã · · ni

ma ma pa da pa mā pa da pa

ka la ra tho li jē jē . la

207

ma ga ri sa sa pā · . .

na na chu che li ki ..·

(2nd and 3rd charanams to be sung in the same way)

2. pa ra ma mu ni vi nu thã nu bhã vu ni ki dē vu ni ki

ma da nā rthi ha ra na chana

ma thi ki sa thi ki . ..

ka ru nā ra sā pa gã

kä mu ni ki sō mu ni ki

sa ra sa ga thi kō ma la ku

syā ma la ku nu · · . | |

3. ka da li rā do na bū nu

kā la sa m hã ru ni ki

ve da da vē na li dã lchu

vi pu la ku cha ku . . .

nu di vō ni cha du vu lī

ne du hā ra mu la vã ni

ka da ra sā hā nru pu brō chu

na m bi ka ku nu · . . |

208

DARUVU - 18. "ĀRAGIMPAVAYYA" Nādanāmakriya Rāgam - Ādithālam

ra gu ma da nu

sa ri ga ma pa da ni

ni da pa ma ga ri sa ni PALLAVI

; sā ni sa rī - gā ga ma gā rī

· ã · ra gim pa · · · va

sã ; ; ga ma pā pa ma - ga ma ga rī

yya . . mro . kke . . ma · yya .

sa ni - sā ni sa rī - gā ga ma gā rĩ

· · · ā · ra gim pa · · va e

sä ; ; - ga ma pā pa ma ga ma ga ri

yya ; ma . ya · · ya . . .

sa ni - sā ni sa rī - gā ga ma gā rī

· · · ã · ra gim pa · · va ·

sā ; ; ;

yya . . .

ANU PALLAVI

; mā, ma mā - mā mã mã pa ma

· kū · ri mi gou · ri thõ

gã ga ma gā rĩ sā sa ni sa ri gā | | rī

kon da · vī ti janga · ma · yya | | . | (āra)|

209

CHARANAMS

1. ;sa nī sa rī - gā ga ma gā rī

· thi ru vi sa mu lu · pon ga

sā ; ; - ga ma pā pa ma ga ma ga ri llu . . thi m ma na . mu . lu .

sa ni sa rī ma mā - mā mã mā pa ma

mu · va ru gu lu nē thi bū re lu

ga ga mã gã rī sā sa ni sa ri gã | | ri | me ru gu dõ sa li dde. na . lu nu | | . (āra)| (The remaining charanams to be sung in the same way)

2. Uũ ra gã ya lu kũ ra

lu - no lu chu pa ppu lu

mu - sā ra pha la mu lu kan da

cha kke ra lu kke ra lu | |

3. ka la van ta ka mu lu pā ya sa

mu - ka la mā nna mulu

pa ra mā nna mu lā na vā lu

pa n cha dā ralu thē ne lu | |

4. po lu pai na da dhyō da na

mu · pu li hō ra lu nu

me la ku mī ga da pe ru gu

mē lai na so n ti ma jji ga ! |

5. ka ma nī ya pa ri ma la yu

tha ga m gā ja la mu

ga ma ga ma ni vã si n chu

ka pu ra ma pu vi de mu lu | |

210

DARUVU - 19. "LĀLI LĀLAYYA LĀLI"

Madhyamāvathi Rāgam-Jampe thālam rı ma ni sa ri ma pa ni sa sa ni pa ma ri sa

PALLAVI

nī sa rī ri ri sa ri ma ri, sa, ni sa rī sa ni pa

lā li lā la · yya lã . li ..

= nī sa rī ri ri sa ri ma rī sā

lā li lā la · yya lā li ..

ANU PALLAVI

mā ma ri ma pa pa pa pa pa pā pa pa pa pa ni ma ma pa

lā li vru sha bha thu ran . ga lā li bha va bha n . . ga

pā ri sa sa sa ni pā ni sa pa ni sa ni pa pa ma ma ri ri ri sa | |

lā li ka ru nã · · pān ga lā · · . li dhava lā n ga . . . |

211

CHARANAMS

ri ri ri ri ri ri ri ri ri sa cha nu vu pe na go na sã · ha

rī pa pa ma rī rī sa

sou ri · ka du bā li

ni sa ri sā sa sa sa ni pa da na ra jē si na mē · ti

ni sa rī ri pa ma rī sa thya . gẽ sa lā · li ·

rf ma rī ma pā pa pā na na b nu lan da rã

pā pā pa pā ni ma pa nan da bdhi dē · . li

pa ri sā sa ni pa nī sa vi ni pen che da ru nī ku

pa ni sa ni pa pa ma ma ri ri ri sa |

vi · nu · cha n dra mou . li . . (The remaining charanams to be sung in the same way) 2. che li ya la ku jū da ga

nnu la pa n du vā ye

cha li ga ttu pa tti ki ni

sa ntha sa mã ye

ka la ka n ttu li ru ga da la

ga na mu lu chẽ ya

ne la mi thô su khi yi m pu

mi ka dē va rā ya | |

212

3. pa ra gu ba n ga ru ni ggu pā li n dla thô da

sa ra sa ma gu ra thnã la

sa ra mu la llã da

ga ri me mu ththe mulu mu n gu ru lu th ū lã da

su ra kā n tha lũ chẽ ru

su khi yi m pu mī ra | |

4. ja la ja sha n da mu le lla

ka la va si n bã se

na la sa n ja ma lli ya la

na li ku la mu mrose

ka la ya bu lu gu la gu mu lu

ka la ra va mu chē se

yela nā ga ku di ra mi

yi m pu pa ra mē sa | |

5. pa ddu ga la ma ru du su ma

bā na mu la nũ ra

no ddi ka tho rē ra ya n

du da yā dri jē ra

mu ddu gu mma la ke lla

mō ha m bu mī ra

pro ddā ye su khi yi m pu

bho gī n dra hã ra | |

213

DARUVU - 20. "BATHTHI THÔ DĒVĀDI DĒVUNI"

Punnāga varāli Rāgam-Adi thālam nı ra gi ma da ni nı sa ri ga ma pa da nı nı da pa ma ga ri sa nı

· dā pa mā ma pa pa ma ga ri-ri sa sa sa · ba ththi thô dẽ vã · · di dẽ vu ni

sā, sa-ga ga ri sa sa . n sã, pā · dapa · dmāmu lo . ththu mi

, mā ma-mā ma ma-mā pā-pa ma ga ri · me ththa meththa ga sa · nka ru · ni

ga ga ri ga mā pa da pā · da pă ; ne · mmēna gam dhamu me · ththu mi

(The remaining lines to be sung in the same way

· sa ththu gā ba n gã ru so mmu lu

cha n dra dha ru na ku be ttu mĩ

a ththi pū la sa ra mu la nu

ha ru ni si ra muna ju ttu mi | |

che li mi thō ba ra me su che n thanu

jē ri sē va lu chẽ yu mĩ

so la pu na nu ha ru srā n thi thī raga

su ra ti chẽ ko ni vi sa ru mī | |

ve la yu sä ha vi bhu n du chẽ si na

vi nu thi pa da mu la ā du mula

a la yaka nu dē va de va di de vu ni

kā na n da mu ga ra thi gu du mī | |

214

DARUVU - 21. "KA NA KÃ DRI CHÃ PU Saindhavi Rāgam - Chāpu Thālam di ni ri gi ma da ni sa ri ga ma pa pa ma ga ri sa ni da PALLAVI

sā, sā; sa sā sa ni dā hô · hō · ya na ra · yya

ni sā rī sā ri ga ma ma ga rī ōh · su ra lā · ra mī · ru

sa rī gā rī sa sā nī dã ho . ho . . . ya na ra yya

ni sā ri ga mã ma gā rī;

ōh . ga na mu la · ra ·

ga rī ga ma pā ma gā rī ; | |

he · chcha ri ka tho . nu .

CHARANAMS

1. sa sā sā sã sa sā sa ni dā

ka na kā dri chā · pu . du

ni sā rī sā ri ga ma ma ga ri,

gou · rī sa mē · · thu . du

sa rī gā rī sa sã nī dã

ye na si sa yya nu su khi

215

ni sā rī ga ma ma gā rī ;

yi m pu chu . nnā · du .

sa sā gã gā ga gā gā gã

ve na ka yya nā · mā ta

sa gā sa ga ma pa mã ga mã mā

vi na va · yya . he chcha ri ka

ga rī ga, ga, ga gã ga ma pā

pa ni va ti mu nu jā . mu

mā ga ma ma pā ma gā rī ; |

bā ri thi ru ga va · yya .

(Remaining charanams to be sung in the same way)

kha n dē n du dha ru du yē

ka n tha mai yu nnā du

re n da va jā mu pā ru

rē yi ye lla

da n dā la bhai ra va yya

tha na ra vā ki li gã chi

yu n du mu . .

he chcha ri ka | |

mī ri na vē du ka

mi nu si ga dē va ra

kū ri mi sa thi thô da

gū di yu nnā · du

sā re ku ba hu he chcha

ri ka mū du jā mu

216

nuri thi ruga vamma

bha dra kā la mma | |

4. pu ra ha ru di ppu du

po la thi gū du ko ni

vi ru la cha ppa ra mu na

ve la yu chu nnā du

sa ra sa tha nā la va

jā mu bā ri nī vu

a ra si thi ru ga va yya

a yya nā ra yya | |

217

DARUVU - 22. "MÃ PÃ LI DĒ VU NI KI" Panthu varali Ragam - Chapu tha lam. (As in Daruvu - 7)

sa ri ga ma pa da ni sa

PALLAVI sa ni da pa ma ga ri sa

pā, pā pa ma ga ga ma ga ri sā

mā · pā li · dē · · vu ni ki

pā, pa ma ga ma pā . ;;

man · · · ga · lam . . .

sa sa ni sa ri sā sa ni da pā pa ma

ma mu · ga ·a nna tha . . lli ki .

ga mā pa da pa ma ga ga ma ga ri ga ma

man · · . ga · lam .....

pā, pā pa ma ga ga ma ga ri sã

mā · pā li · dē · · vu ni ki

pā, pa ma ga ma pā . ;; | |

man . . . ga . lam · · . [ |

218

CHARANAMS

1. pā, pā pā pa pā pa da pa ma

gan · gā dha ru · ni · ki ·

pa dā ni sa ni da ni sa ni da da pa ma

ka ru nā · bdhi · ki · · di · vya .

ga mā pa da pa ma ga ga ma ga ri sā

man . ga . la . de · · hu ni ki

pa, pa ma ga ma pā .;;

man . . . ga . lam ...

dā, pā dā ni sā rī sã

san · gi tha ra si ka ku

ni sā rī sā sa ni dã ; nī sā

ja la jā kshi ki · · · sa rva

ni sā sa ri sā sa ni dā ; nī sā

ma n ga la ku dê · · · vi ki

ni sa ni ni da pa ma ga ga ma ga ri ga ma

ma n · · · ga · lam ......

(The remaining charanams to be sung in the same way)

mu ditha sa m ka ru ni ki

mō ha nã kā ru ni ki

ma da na sa m hã ru ni ki

man ga lam · ·

sa da yā pā n ga ku

smara jī va na dā yi ni ki

219

madavathi ki girijaku

ma n ga lam . . . | |

3. ra hi ga la thya ge su na ku

rā ja mou li ki sā ha

ma hi pā la dē vu ni ki

ma n ga lam . .

gu ha ka ri mu khu la nu

kü ri mi thõ ga nna

ma hi tha gu nā dhya ku

ma n ga lam . . | /

220

REFERENCES

1. Pallaki Sēvā Prabandham, a Telugu Opera of Shāhaji Maharaja of

Tanjore - Edited by Prof. P. Sambamoorthy, Department of Music,

Madras University.

The Indian Music Publishing house, 4 Bandar Street, Madras -

1 (1955).

2. Pallaki Sēvā Prabandham, Edited by Gouri Kuppu Swamy - Geetha

Book House, New Station Circle, Mysore - 570 001.

3. Pallaki Sēvā Prabandham of Bhosala Saha - Thalapatra grandham and

manuscript preserved in Saraswarti Mahal Library, Tanjavur.

4. Vidyardhi Kalpatharuvu -by Musunuri Venkata Sastry - Venkatrama

& Co., Vijayawada ( 1959).

5. An Anthology of Indian Music - Edited by Dr. Gouri Kuppuswamy &

Dr. M.Hariharan - Sandeep Prakashan B 3-53, Ashok Vihar, Phase II,

Delhi - 110052 (1989).

6. Parisodhana Vidhanam (Telugu) - S. Jayaprakash - Sri Divya

Publications, 7/26, Rajaj Street, Nagamalai, Madurai - 625 019.

7. The Rāgas of Karnatic Music - N.S. Ramachandran - University of

Madras. 1938.

8. Telugu Reasearch Paper i.e., Sankara Pallaki Sēvā Prabandham - Nrityarupakam -M. Gouri Sankar, Telugu University, Hyderabad. Text of Shankara Pallaki Sēvā Prabandha (Sanskrit with English

Meaning), Telugu University Library, Hyderabad.

221

CHAPTER VI

LAUDABLE QUALITIES OF SHAHAJI

6.1. SHAHAJI'S ART OF LIVING

The capital of Shahaji's kingdom was Tanjore where there was big Siva

temple, called Bruhadiswaralaya. There were a number of Siva and Vishnu

temples in his domaign. One such temple in Tiruvarur about 20 K.M. away

from Tanjore, was called Tyagesa temple. "Tyaga" means sacrifice,

detachment, ever giving, donating , loosing for the benefit of others. The diety

of the temple was Thyagesa otherwise called Siva. The saint Tyaagaraaja wac

named after this deity since he ws born in Tiruvarur. King Shahaji was Siva's

devotee attached to Tyaageesa temple. His personal as well as the family god

was Tyaageesa. The story in Pallaki Seva Prabandham was woven round Siva

and Parvathi. Oppostie to the Siva temple was the temple of Parvathi called

Kamalambika.

Shahaji had both poectic imagination and musical talent. He was

successful in weaving a small story, leading fitting characters, dialogues,

darus and dramatical form and brought out a lasting sangitha Nritya

Nataaka. Pallaki Seva Prabandham is a musical dance - drame par excellence

which had been enacted in the streets of Tiruvarur on the occasion of

Brahmostava celebrations of Thagesa God of the temple yearly for long.

222

6.2 SHAHAJI'S PHILOSOPHY OF LIFE

Shahaji Mahaaraaj is a noble man who is well versed in sastras. He is

an adept in music. he has composed many songs. He has learnt a number of

languages. He is a theist who worshipped all Gods. His darbar is adorned by

pandits just as in the case of Krishna Devaraaya. He has encouraged and

favoured different learned persons in his country. Above all he is a good

ruler.

The Sankara Pallaki Seva Prabandham, the Vishnu Pallaki Siva

Prabhandham and Tyagesa Padams, to quote a few famous compositions of

him are devotional works. The devotion in these works is very ardent. Hari

and Hara are the same for him as he has the abheda drushti. He can't be

catagorised as saivite due to Sankara Pallaki Seva Prabhandham or as Vaishnavite on account of Vishnu Pallaki Seva prabandha. He is a true Hari- Hara bhaktha (devotee). He praised Brahma also. He did not leave any God or Goddess without due traditional respect. All the Gods are same for him. He is a man of monism as he has seen oneness in every devine being.

It is difficult to fix him in any of the three categories, adwaitham, dwaitham and visishtadwaitham. He neither discussed the three schools of thought nor patronised any one school of thought. That he is not very particular of any of them, shows that he is more a philosophical ponderer

than a religious practitioner

223

One can observe that there is some internal and devine force guiding

him through out his work. He has simply lived in a devotional fervour not to

set any example in philosophical creeds. He worshiped his own family deity

Kamalamba of Tiruvarur throughout his life and his devotion was always

pure and ardent.

6.3 SHAHAJI'S RELIGIOUS TOLERANCE

Shahaji's religious outlook is unique. His is a typical Hindu devotee.

There were people of other religions in his country and other sectarians in his

court. He has no ill will for those people. As a devotee he saw godliness in all

religious practitioners. As a ruler he respected and protected all equally.

Religion is different from philosophy. Religion is god centered and

home practice oriented. It is traditional. Belief is the central point in a

religion. There may be a theory behind to explain all the issues and

conclusions to harmonise them. The theoritical issues have a limited rational

approach to the extent that there is no internal contradiction in the methods

and practices in a religion. Further, faith dominates every argument.

Religion has a physical support and protecting strength developed among the persons of the same faith. It comes by their practices and movements. When faith in religion goes beyond its limits of rationality it

becomes superstitions.

224

That is why every religion at one time or other becomes superstitious. Religion has some philosophy behind. But philosophy can be with out

religious support. Philosophy can guide a person without religious

attachment. So philosophy is independent. The common factor in religion and

philosophy is spirituality. Religion's basic nature as already stated is belief.

Philosophy's basic nature is spirituality. Religion to sustain itself has to give

a form to spirituality.

Spirituality is an external light in religion. Spirituality is its own

candle. Thus spirituality is light and lamp in philosophy. Spirituality is self

primer and self explanatory in one's life. The meaning of life, the manner of

life, the aim of life, and the end of life and life after the life if any are

explained by philosophy. The sweetness of life is philosophy and the truth of

life is philosophy. The search for life is philosophy. Love of truth is philosophy

and the love of theories is never a true philosophy.

6.4 SHAHAJI'S LINGUISTIC INTEGRATION

Born in a royal family with Marathi as mother tongue Shahaji ruled Tanjore country where the native language was Tamil and the official language was Telugu. He used Telugu as his medium as he felt at home with it. Language is for communication between one and the other. It is a base for expression. It is source for creating understanding. It is a root for any art. Shahaji understood that all languages are equally good and respectable. No language is pure and no language is impure. Knowing exactly the nature and utility of the language, Shahaji Maharaja is not madly attached to any

225

language. He has not entertained any partiality for a particular language. There is no linguistic fanatism in him. He has learnt Hindi and Kannada

languages in addition to Maratthi, Telugu and Tamil and Sanskrit. He has

equal respect and passion for all languages.

The linguistic integration in him has eliminated regional differences

also. The king encouraged some other languages also. He composed songs in

more than one language. Thus the country was peaceful without language

problems during his reign.

6.5 SHAHAJI'S COSMOPOLITAN OUTLOOK

The idea of national integration is more or less spread from the

beginning of the struggle for freedom against the British. But from the times

immemorial there is a feeling in the minds of the people of this land that they

belong to "Bharatha Khanda " in "Jamboo Dwipam". Bharatha Khanda is one,

though, it is recognised as northern part and southern part devided by the

mountains range called "Vindhya". It is also believed that Bharatha Khanda

was ruled by Bharatha, the son of king Dushyantha after whom the country

was named as one unity.

There might be different states, dominions, towns, regions or hillside places in Bharatha khanda ruled by various kings and their sub-ordinates. But the whole country was treated as one because of its unique civilisation. The same sastras, languages, mountains, rivers and pilgrim centres, Gods and Goddesses are adorened by the people through out the country.

226

Ramayana dealt with a war between Bharatha Khanda and Simhala island. Bharatham depicts a national war organised between the two groups of kings of the whole country. Though there were some quarrels among neighbouring kings in the country there were occasions that kings or princes from all countries were invited for yagnas, for coronations and for swayamvaras (marriages of Princesses). Religion 1 and civilization were successful in shattering the barriers between the small countries in India.

The spiritual feeling had been one and the same through out the country. Some of the rishies, saints and priests toured all over the country receiving the same honour, respect and worship. Buddism born in a small

dominion state spread through out the country and extended even to the

other domains. So philosophically, spiritually, devotionally and religiously the

whole country had been tied down as one. The spirit of oneness of the country

is nourished from time immemorial by so many ways and means.

As a king of a small country in India, Shahaji had the same spirit of national integration. Though he was a Maharashtrian he was enthroned to the state of Thanjore in Tamil region. He never showed any difference between Maharshtrians, Tamilians, Andhras, Karnatakas and Malayalis. Rather he learnt South Indian languages and invited pandits of various languages and also people to his place for deliberations and festivals. He treated all the people with equal respect. As a composer and musicologist in the art of music he brought unity among people of different languages and regions. He understood that art showed no disparity among regions, languages, castes, and creeds and for that matter the art united people and brought integration among them. He wrote compositions in number of

languages.

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The king maintained friendly relations with the kings of the neighbouring states. The Maharashtrian kings of Tanjore even invited foreigners to their darbars with love and affection. The way the king ruled the country, the manner in which the king treated his subjects, the diplomacy through which the king maintained his relationship with the kings of other states and the learning with which the king entertained himself and

imparted knowledge to the public, illustrate that the great king, Shahaji had

the spirit of National integration and understanding.

Shahaji Maharaj inherited the spirit of national out look from his

forerunners. Like the emperor, Chatrapathi Shivaji who was a great hero of

national defence, Shahaji maharaja maintained his kingship for the peace

and happiness of the people of his country. King Shahaji set an example to

his successors in keeping up the national outlook for the integration of the

country. His successors followed him in this respect.

6.6 SHAHAJI'S DEVOTION

The Sanskrit word for devotion is "BHAKTI". The word bhakti is derived from the sanskrit root word "BHAJ" which means " to serve". As such service with love is devotion. "Pujyeeshu anuraagoo bhakthihi " - The love for the respectable and for the things of great respect is said to be devotion. It is also said that "anurakthihi pareethathva bhakthi ri rithyabhi dhiiyathee" - devotion is that by which man is fulfilled immortal and satisfied. These quotations are taken from "Naarada bhakthi suthras".

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Vyaasa said that interest in worship is devotion. Gargaacharya said that interest in the tales of god is devotion. The sage, saandilya said that to be in true bliss of soul is devotion. The attitude of Vraja gopikaas towards Lord Krishna is devotion. The great scholar Madhusudana Saraswathi

defined devotion as the uniform attendance of mind emanated in the

rememberance of the almighty. In the Bhaagavatha it is said that "Bhakti

is love, inexplicable, desireless, incessant and pure".

Sri Adi Sankaracharya stressed in his "Sivanandalahari" that devotion

is one which takes the devotee to the lotus feet of the lord Shiva just as the

fallen seeds are attracted to the mother tree (Ankola), metal neddle is pulled

by magnet, a chaste wife attached to her husband, creeper is bound around

tree and just rivers bounce towards ocean. Bearing no malice towards any

being, to be friendly and compassionate, to be free from "i" ness and egoism,

to see pleasure and pain alike, to be content and mentally united with Lord,

surrendering mind and intellect and to be firmly resolved in mind and senses

with subdued body is true devotion. In Narada Bhakthi sutra eleven systems

of devotions are explained:

Gunamahaathmaasakthi - interest in the qualities & glories ( of god)

Rupaasakthi - Interest in form

Pujasakthi - interest in the worship

Smaranaasakthi - interest in memorising

Daasyasakthi - interest in the service

Sakhyasakthi - interest in friendship

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Vaatsalyasakthi - interest in love and affection

Kanthaasakthi - interest in a lady

Aathmanevedanaasakthi - interest in self surrendering

Thanmayaasakthi - interest in meditation

Paramavirahaasakthi - interest in pangs of separation

The popular code of Navavidha Bhakthi (nine types of devotion) is

explained in Bhaagavatha.

The nine types of Bhakthi with the meanings are detailed with examples as under:

Type of Meaning Name of the devotee devotion examples

1. Sravanam Listening to king parikshith

2. Kirthanam Chanting Sage Suka

3. Smaranam Pondering over Devotee prahlada

4. Paadaseevanam Service at the feet Lakshmi Devi

5. Archanam Worship Emperor prwdhu

6. Vandanam Prostration Akroora

7. Daasyam Servitude Hanuman

8. Sakhyam Friendship Arjuna

9. Athmanivedaman Self-surrender Balichakravarti

Devotion is psychological and metaphysical. It has to be expressed through thought and physical action. There are physical exercises as well as mental exercises in devotion. Meditation is also one of them and the most

effective one.

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Music is treated as a pure and screne art in India as it is considered

to be derived from the Samaveda. Indian Music is intertwined with devotion

and also with philosophy. The art of music is also a science that endears bliss

to ears and to the soul or inner consciousness. Narada, Tumbura and

Nandikeswara were the best exemplary devotees in the Indian mythologies

for whom music was meant to joy, bliss and salvation.

Jayadeva poured his heart of music in Githa Govindam in the form

of ashtapadis, probably the first music compositions. Later came the padas,

yakshaganas, Keerthanas and other musical forms. Even before the 'great

trinity' of Karnatic music Shaahaji Maharaj expressed his devotion through

padas and probandhas. His devotion was of no lesser grade as it was in the

order of the great seers of the indian tradition. He was a fervent devotee of

Siva. Who worshipped him in the great Bruhadiswaralaya in Thanjore and in the temple of Thyagesa in Thiruvarur. As he felt that knowledge should lead to the G.N. he used all his scholarship in literature and music to praise and pray him. Shahaji was a devotee of Vishnu also, as he belived in the

oneness of all gods.

The compositions of Shahaji Maharaj show that his devotion touched "Nava vidha bhakthi". It is also in the great order of eleven types of devotion mentioned by Naarada. He extolled by his compositions all types of devotion to his satisfaction to please the gods. It was a direct communion with the Lord. And through Prabandhams he praised the Lord in so many ways. He lost no opportunity to describe the different forms, dresses, nature, character, activities and deeds of gods like Shiva, Vishnu, Paravathi, and Lakshmi. He

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chanted the different names of each god and goddess in all his works by referring to different mythologies. Shahaji is a great Vaggeyakara, a composer musician who established smarana-sakti and keerthanasakti in respect of the compositions.

Shahaji composed padas and darus suitable for dance (both nritya and natya). The expression of devotion is also made by body movement coupled with music. Sangitha rupakas of Shahaji were also devotional pieces.

6.7 SHAHAJI'S SOCIAL OUT LOOK

According to the Indian tradition the King is like a father who looks

after his children well. King is compared to god to whom all subjects are one

and the same. He maintains the equalibrium of the society which people are

bound to.

Shahaji rightly understood that his duty was to see that no disturbance

took place in the kingdom and that the known inequalities in the society

should not give rise to severe problems in the state. The king had to maintain

law and order in all respects and at all costs. He must be impartial. Shahaji

belongs to a place where there were castes and creeds in the society and he

invariably belonged to one of them. But he never looked down upon others

who belonged to other sections.

Shahaji never showed any caste difference nor he allowed such feelings to creep up in his reign. By his courage, power, and valour he proved to be a worthy King to protect and treat his subjects equally as a father.

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Shahaji Maharaja addressed the palanquin carriers in his opera very respectfully. The menial workers of siva like Nandi, Snake and deer were not insulted inspite of their low qualities. The public approaching the court of Paramasiva with their grievances was treated cautiously inspite of the

commotion. The court of Paramasiva reflects the court of the King Shahaji in

all respects. Women are also allowed in to the court and to represent their

grievances to the Lord directly. As such the social outlook of the great King

composer is noteworthy.

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REFERENCES

1. Pallaki Sēvā Prabandham, Telugu Opera of Shahaji Maharaja of Tanjore - Introduction - Edited by Prof. P. Sambamoorthy, - Madras

University, Madras.

2. Pallaki Seva Prabandham - Edited by Gowri Kuppuswamy - Geetha

Book House, New Stalin Circle, Mysore - 1.

3. An Anthology of Indian Music - Edited by Gouri Kuppuswamy and Dr.

M. Hariharan - Sandeep Prakashan B.3-53, Ashok Vihar, Phase II,

Delhi - 2.

4. Talapathram and manuscript - "Thyaagesa Padamulu" - Saahaji Raaju

Saahithyam (Telugu) - Saraswathi Mahal Library, Tanjore.

5. Indian Music - Essays of G.T. Desh Pande and Prof. P. Sambamoorthy

and others.

6. Arts Patronage in India.

7. Maharashtra's contribution of Music - Vamanarao Desh pande. S.V.

University Library, Tirupati.

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CHAPTER - VII

ANALYSIS

7.1 ANALYTICAL VIEW OF LITERATURE

Shankara Pallaki Seva Prabandham is a street play. It was written 300

years back. As it was a period of rapid changes in the forms of literature

(Sahitya), it can be said that it was formation stage. Rhythemic words

arranged acording to the 'tala' and laya' formulated the yakshagana in the

initial stage. With suitable modifications musical expression was used for

dance, drama, nataka and other forms of rupakas.

As a matter of fact the comprehending definition of Prabandha to day

is entirely different from the concept of shahaji when he named his work as

'Sankarapallaki Seva Prabandha'. The meaning of the term prabandha was limited. The prabandha as a form was in an unfolding stage at the time To- day prabandha is considered to be a comprehensive poetic work consisting of Vivid characterisation, unique style, descriptions, new imaginative additions with powranic story based on some rasa, full of poems and connecting prose. Manucharitra Vasucharitra and Amuktmalyada are some of the prabandhas.

This matter has been discussed in detail in chapter two. However the works composed by Shahaji Maharaj are original and commendable works.

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7.1(A) SOME OF THE ALLUSIONS

In the "daru" regarding Mandakini, in the scene of suggesting of sending Mandakini (Ganga) to the Lord Siva as an ambassador to convey a message of parvathi's virahabadha, Shahaji uses the word (about Ganga) Mariyokka Magavani, Tagilinchu konu 'Honthakari'. And condemns her that she is not fit to mediate.

In the context of Santhana asking her to marry him and Ashta vasus being thrown into River Ganga, this description will have to be imagined.

Separating from santhana she again married Lord Siva. This event has been

utilised in cursing the nature of Ganga.

In the daru "Polathi inthaina daya" Menu Teliyani vani Menamamaku.

In this daru Menu Teliyani Vani means Manmadha's. Manmadha is the son

of Sri Mahavishnu and Sri Lakshmi. Chandra is the brother of Sri

Mahakshmi who is born in the pala samudram. In this way the allusion is

taken. Siva with anger changed Manmadha into ashes. So Manmadha lost

his body and turned out as a person without a physical body.

Chelleli illu koddichesi - Mellane yozza pallava pani battina - papa ja

thiki.

Chelleli illu means Tamara pushpa, where Lakshmi sits. With the appearance of the sun the Tamara will bloom. With the appearance of the moon, the Kaluva will bloom. With the appearance of the moon, the Tamara flower shrinks. That means that moon has intentionally or unintentionally caused the closure of his sister Lakshmi's house. The greatness of Shahaji lies in this imagination and taking this as a reason to ridicule the moon.

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Padimogambulavani Badalinchu Neralvu (V2 line 7): Ravana intended to uproot mount kailasa, the abode of Lord Siva. He tried to shake the mountain with his lengthy hands and got bogged down under the earth. Lord Siva on being praised by him, released his hands. Thus Ravana's pride was humbled.

Narasimha beerammāda china yunnata Sarabhamu - daru 16, line (8).

Sarabha is the legendary of eight legged animal. Of all animals

Sarabha is feared most by the mankind.

7.1 (B) MIXED WORDS

The influence of Hindi - and Telugu languages and Maratha - is

fusioned some times in the opera. This is linguistic fusion in a beautiful

manner.

Poovu vinti Vazeeru: Vazir is Urdu padam.

In Singarampu Pallaki Sari Jeeni. We say cheeni cheenambaranulu -

normally.

Huru Maji poosala: Huru means one region of land. The Burusa pinjalu. The

muslim culture in Aharyam. The pallaki description is in the fusion of the

cultures of Maratha and Telugu languages.

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7.2 ANALYTICAL VIEW OF LYRICS

Sankara pallakiseva prabandham is full of songs and poems. Prose portion in the work is very limited and it is used only for connecting the proceedings in the story. The songs are called Darus. The Telugu word Daru is derived from sankrit word Dhruva. The darus are set to ragas.

There are 22 darus most of which are of folk type. The yakshagana

music was originally of folk type. The darus are developed from yakshagana.

With ample knowledge in musicology, the writer shahaji might have set the

ragas himself. The original music set to the darus, in course of time, must

have been much improved, Prof. P. Sambamurthy who edited "Pallaki Seva

Prabandham in 1955 says : "The Performance of the Opera had been stopped

in the temple for some decades. With the lapse of time, the number of singers

who remembered the music of the songs became fewer and fewer. Coupled

with this, was the unwillingness an the part of the few ladies who know the

songs to sing them and allow them to be recorded in notation. Luckily for us, the bare text of the opera was printed in 1896 by Subbarama Dikshitar, the author of the great Musical work, SANGITA SAMPRADYA PRADARSINI". The lyrics were restored to the publisher by Prof. P. Sambamurthy. He further mentioned that he produced this opera over the Madras Radio on the 15th April 1953 and its beautiful music and its literary grandeur immediately attracted a lot of attention. It is to be noted, that the manuscript of the opera is available in Saraswathi Mahal Library, Tanjavur and some errors were rectified by P.V. Chalapatiswara Rao, the then Professor, Pachaiappas

College, Madras.

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The vocabulary used in the darus is highly extensive. The author has command over the language. Rare words, attractive combinations, interesting samasas and numerous allusions are used in the darus. Yati prasas are there in all the songs though it is not compulsory as in the case of poems. The yatiprasas provide pleasing sound for hearing. There are swaraksharas in the songs, 1, 9, 14, 21 & 22. Antyaprasas are there in songs 6, 8, 11, 14, 16 & 18. The selected words used for describing palanquin are splendid. Daru 1

contain invariably prasa and mostly prasa yati. In charanam of daru 1 the first word in the 3 lines end with similarly souring syllables which are very

pleasing.

The bedroom is described with rare words (13) and like wise the court

of Parvathi (14). Very proper words are chosen to describe food material in

daru 18. Daru 19 is another example for prasa and prasa yati. The poems are

written according to Telugu chandas.

see a charming description in this small prabandha of Shahaji in

the following daru (No.9)

"Singärampu pallaki cheluvu choodave Hurumanji pūsala norapaina kutchulu paraga kuralamu pattuthoranamulugala"

In another daru (11) an imaginative idea is exhibited in simple words:

"Kadalimpaku rōyi pallaki kadalanīkurōyi chāla Mriduvaina jangamaiah mēnu nochchini" Thinnaga nadavanīrōyi thīvaramēlarōyi kukshi nunna brahmāndamulella nūgaboyīni" !!

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See another description while parvati is in her court (daru 14)

"Yidigō koluvai yunnādi Himagirikumāri Madana haruni rāka madi nivelagōri Nelavanka bolnuduta niggulu galayathi Thilakamu diddi paluku jiluka chēthabatti".

The usage of words "bettam" in poem "mungala" in 5 are very

commonly rare and are yet much suitable. In the same poem the phrases

"nandi sadanandigminnandi", and in poem 15 "gandastala

niganniganmarikundali kundala, sadgunamandala" are in beautiful

combination.

The usage of words like "Veedhi Vitanka Sikhanka Rathama" (for

Tyagesa) in poem 10, "jejelu" (for devatas) in poem 13 "chaligattu" in poem

3 is new in this respect though they are commonly available in other ordinary

contexts.

The usage of words like "nuthenchini" in poem 10 in and pallavi of

daru 9 and an poem 10 "nochchini" & "boyyini" in daru is rare and old.

"Nuthinchenu", "ochchenu", poyyenu are the words used now-a-days.

The words ayyanarayya for (village God) in daru 21, Venakayya (for

ganesh) in daru 21 are new.

All the words used in daru 17 (Mangalam) are wonderful in coining.

Pallaki Seva Prabandham has a short and sweet story inherited with

dance drama of literary excellence.

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7.3 LITERARY AND AESTHETIC VALUES

Shankara Pallaki Seva Prabandham is a comprehensive, and

devotional, work which reveals the literary aptitude and aesthetic sense of

the author Shri Shahaji Maharaja. The depth of knowledge of the writer in

literary field and the royal dignity involved in the work can be easily judged

by this single work.

Literature lives long in songs and verses. The opera is in the form of

songs and verses coupled with abhinaya. This is geya nataka as well as nritya natika. The songs which are darus in this opera lead us to understand raga and rasa. This dance drama remains alive by the frequent recital of

passages in rhythmical manner.

The kula daiva (Family Deity) of Mahratta Rulers was Tyagaraja, the presiding Deity of the Temple at Tiruvarur. That being so the Maharaja apart from devotion has great aesthetic sense in worshipping the deity and preparing a dramatic plot around the deity. While describing the Court, the Palanquin and the bed room of Parvathi highly rhetorical language was used and aesthetic beauty was exhibited. The delicacy in characterisation of each ambassador and the assistants thought of to be sent to Lord Siva for mediation itself gives abundant scope to grasp the aesthetic sense in the matter. The words used for description of the Lord and Parvathi Devi are so appropriate and mellifluous. There is aesthetic sense in the refined manner that the poet had brought union between those universal couple. There is sense of Sringara which is of aesthetic value. Abhinaya to the darus and the

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verses definitely presents aesthetic out look through out the play. Not only

delightment and also a sense of enlightment results in the aesthetic

presentation of the opera as planned by the author.

The work is rich with numerous allusions, samasas and constructions.

The delicate sentiments and thoughts and refined words and expressions

definitely add the beauty to literature and derive rich aesthetic values. The

highly knowledgeable king took care to see that his work would be

appreciated by the Scholars in his Court. He might have observed the

performance of the play number of times himself with due instructions without leaving it to be a street-play for the public. The values of the play

were royal.

The king was capable to present clear cut characters with suitable descriptions, words and passages for literary and aesthetic expressions. There is charishma in his literary imagination and aesthetic presentation in most

of the darus and verses.

For example, see the thinking of the chelis in the court of the Lord

Shiva

Verse-6

"Katakata produvoye nudukantha sikhamani devakamini natanamu juchi vennuni manambalaran Vachinchuchunna Vadatu thadavayuenanchu manamandachalathmaja yalga nitti sam katamuna kemiseuyudamu

kanjanibhanana Vinnavimpave".

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7.4 PROSODY OF THE VERSES

Verses are set to chandas. 'Gana' is a group of 3 letter or 3 or 2 lettered

word.

The ganas are Ya ma tha ra ja bha na sa la gam

Yaganam - 1 Laghu & 2 ganas (laghu-fine of finger sound ) guru -2

such sounds)

Maganam - 3 gurus

Thaganam - 2 gurus and 1 laghu - gagamu - 2 gurus

Raganam - 1 guru 1 laghu 1 guru - galamu - 1 guru, 1 laghu

Jaganam - 1 laghu 1 guru 1 laghu - Lalamu - 2 laghus

Bhaganam - 1 guru 1 laghu 1 laghu - Lagamu - 1 laghu 1 guru

Naganam - 3 laghus

Saganam - 1 laghu 1 laghu 1 guru

Inaganam - Naganam & haganam

Indraganas - Nagamu Nalamu, Salamu, Bha, Ra, tha ganas.

Chandraganas - Naya, Naha, Salala, Bhala, Bhagu, laghu, Sava, Saha, thala, Rala, Raga, Nava, Nalala, Thaga.

KANDAM

The verse, Kanda padya is very small compared to other verses occuring in operas and is like a little child compared to them Kanda padya is widely used in champukavya. It has four padas.

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Astakam: It is like stotram in a particular laya. It runs in speed. It is a

descriptive one.

Dvipadi is also called dvipada. The verse is in musical form figuring

normally to loose rhythm. It has two padas each consisting of 3 Indra ganas

and one suryagana. In each pada the first letter of the first gana and third

gana is yati (Yati means Similarly Somding). There are 4 Dwipadas in the

opera.

1. Sri Karimukhuni

2. Kamala Yati asksh (Beyada)

3. O Dina mandara (Edukula)

4. Sri Sankarunipera

Sisapadya : Sisa padya has four padas followed by either Tetageethi or Ataveladi. There are 6 Indra ganas 2 Suryaganas in each pada the first letter

of his 1st and third gana is yate.

Tetageethi has one Suryagana, 2 Indraganas and 2 Suryaganas and it consists of four padas. The first letter of the 1st and 4th gana is yati.

Ataveladi has 4 padas in the first and 3rd padas 3 Suryaganas and 2 Indraganas occur. In the second and fourth padas 5 Suryaganas occur. The 1st letter of the 1st and 4th gana is yati on this opera only one seesa padyam.

KANDAM The verse, kanda padya is very small compared to other varses occuring in operas and is like a little child compared to them, kanda padya is widely used in champukavya. It has four padas.

Ex: Brindarakulandaru (Padya 4)

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VRUTTA PADYAS

Champaka mala Na Ja Bha Ja Ja Ja Ra

Ganas will occur Ma ru va ka chanda ma

Na sa la ga bha na

1st and 11 letter yati -

There are two champaka mala vruttas.

Ex: 1. Katakata podupoye

2. Maruvaka chandamama

Utpala mala - being with

Bha Ra na bha bea ra va 1, 10 - Yati.

There are two at palamalas.

Ex: Sri girivalla bhan - Padyal

Churnika - There is one churnika

it is related to Gadya bhagam

Ex: Jaya jaya sakala gana vaditha

It is usually rendered in Ārabhi, Devagandhari

ASHTAKAM

Ashtakam is a song consisting of eight sections. The daru Baththito devadidevuni is like a few verses figuring in the opera and saken and

analisal.

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7.5 ANALYTICAL VIEW OF THE RAGAS

There was great difficulty to know the ragas fixed to the Darus in his Pallaki Seva E Prabandham by SHAHAJI Maharaja. It was Prof. Sambamoorthy, B.A.,B.L., Head of the Department of Music, University of Madras who could some how manage to get at the ragas practiced in

Shahaji's court. (Reference : Preface to Pallaki seva prabandham published

by Prof. P.Sambamoorthy in 1955). By his insistent and constant persuation

he was able to get some of the songs recorded in notation sung by an old lady

veerammal. Mrs. Tilakam of Tiruvarur, subsequently, sang those songs,

which Veerammal had forgotten. Thus he was able to get at the full music of

the opera. He then produced the opera over the Madras Radio on the 15th

April 1953. The notations of the Darus are given in this thesis (Chapter 5).

Daru I :- Koluvai unnade Deva Devudu

It is set to Sanarabharana ragam - Triputa tala which is a

Melakartaraga

Pallavi starts with Sa Sa ri ri ga ma with Ta, ka gap. It is indicated

normally like this;

This shows the soft statement about the Lord Siva's position expressed

in peaceful melody of rage, sankarabharanam.

In a Anupallavi Valaraju Pagavade' Starting with ma Swara gives spirit of Strong Opposition of siva towards Manmadha -. ma ma ma. This is

the notation given.

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In charanam (1) 'Asala gronna na' starts with pa Swara. It looks like climbing from sa to pa giving a jump like a serpant. This is very beautiful application of Swara which gives a picture in our vision.

The music composition of made in Sankarabharana gives the magnificent impression of Lord's sitting pasture and inculcates devotion for Him. On hearing, one has an impression to feel that the commencement is

Subhakaram and further proceedings in the nritya natika would be pleasing.

Other well-known Krithis in this raaga are:

'Swara raga sudha of Thyagaraja and

'Sri kamalambi kaya' of Dikshitar

Daru 2. Pakari

It is set to Saveri Raga in rupaka tala. It is a janya raga of

Mayamalavagoula. Generally Saveri reveals the feeling of Sorrow. But in this

drama due to the application of Swaras in a different way, it creates a court scene with humble dedication of his admirers like Indra Brahma, Vishnu. The

Prayoga application of Ma ga ma is very attractive.

The feeling of devotion and of the great attachment to the supreme Lord is expressed very well by the composition of Swaras in this raga. It can

be sung very easily and pleasingly.

Example:

"Chalu chalu" - Thyagaraja

"Sankari Sankuru" - Shyama Sastri.

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DARU 3. ETULA RAMMANDUNO

The daru is set to Mohana raga Janya of Hari Kambhoji. It is a

beautiful raga which can be modulated to any situation. Here the situation

is that the attendants of parvathi are discussing among themselves as to how

to invite the lord under present circumstances. The raga starts with ga pa ga-

etula-with a gap, which gives beautiful sense like in questioning some thing.

In Anupallavari, Da ri sa raga bhava and Swara bhava show the uppertinge

showing the phala bhaga - so this type of swaras - application to give such an

impression shows Shahaji's skill in composing the tune.

In charanam (1) starting with sa - ri ga ga -goes with calm and

peaceful statement.

The swaras in the raga denote doubt as well as thinking of what to do.

Other exemplary Krithīs in this raga are

'Nanu Palimpa' - Thyagaraja

'Raja gopalam' - Dikshitar

DWIPADA: KAMALAYA THAKSHI (Verse 7)

Dwipada composition is a two fold lined poem with prasa and yati. Kamalāyathākshi is in khanda chapu tala and is set to Begada, janya raga

of Sankarabharana.

This is type of poem running speedly describing the situation in a narrative way. Accordingly music composition is done ga ma pa ri pa da pa (kama la ya ta kshi ro). Really Begada raga goes like a soft wave and the

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abhinayam for foot work is suitable for dance. Bēgada is a manificient raga at the same time with some lalitya. If the first two lines are set to music, the other lines can be similarly sung without any difficulty. Other prominent Krithīs in Bēgada are are

E.g: 'Vallabha nāyakasya' - Dikshitar 'Nadopasana' - Thyagaraja

DARU 4

IDIVINARADE EMATALU

This song set in Raga Sankarabharanam. In this context, Ganga

(mandakini) was suggested to become a media to inform the condition of

parvathi to Lord Siva. Ganga is an Abharana of Sankara and so Ganga's

nature is described in Sankarabharana raga.

The raga is started with the swaras sa sa ri ri ga (Pallavi) and in anu

pallavi it is set to Sa Sa Sa Sa. It goes like a wave jumping up and down.

This type of imagination in the application of Swara itself shows the

extraordinary skill of king Shahaji.

VINNAVIMPAVEMA

The daru is set in Madhyamavathi raga, a janya of Kharaharapriya. It is set in Adi tala with Samagraha as ri ma ri sa (vi nna vim pa).

In anu pallavi, are used ri ma rima pa ni sa ri swaras. Inneladaritho has some aesthetic beauty in swaras like ri ma ri ma repeat again & again

with tarasthayi Ni Sa and ri.

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The swaras in 1st stanza are the same as in the remaining Stanzas: ri ri ri (sa vi na ya).

The tempo of expression is in a humble way as normally expressed by

innocent beings. The way of expression of Madhyamavathi raga is very fine.

Well known Krithīs in this rāga are

Vinayakunivale' - Thyagaraja

'Palimpu Kamakshi Pavani' - Shymasastri

DARU 6

TELUPAVAYYA

This song is set to raga Saveri which is somewhat different from the

saveri raga composition set to 2nd daru. The application of Swaras in this

daru begins with pa da sa with gap of 2 (taka) which runs in keerthana style.

The Anupallavi begins with padasa. It is continued in tarasthayi as sa

ri sa with a tinge of devotional method.

The charanam begining with pa da pa pa is showering aesthetic melody

and soft (Ardram) sense of saveri.

Requesting mood is expressed in this raga with such swaras to give

maximum effect.

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DARU 7

POLATHI INTHAINADAYA

The daru is set in raga panthuvarali - which is 51st Mela kartha or Kamavardhani.

The pallavi starts with sa ri ga pa ma -with beautiful application of

aesthetic Swara like pratimadhyama and ma added with pa - It is set in

Aditalam with gap of 2 syllables. Anupallavi starts with pa da pa da sa ni

sa ri with kakalinishadam. It gives melodic rasa bhava.

The 1st stanza - Chelleli the same notation as given to pallavi and the

next sentence follows Anupallavi.

The daru is a great lyric with literary value here chandra, the moon is

degraded of his qualities and the expression resembles so in a fitting manner.

Other prominent compositions in this raga are

'Ennaganu ramabhajana' - Ramadasu 'Siva Siva Siva anarada' - Thyagaraja

Dwipada (verse 11): "Oh deenamandara" this verse is set to yadukula raga

in Khanda gathi tala.

The setting of the dwipada is very magnificent and beautiful for foot work. The commencement of the daru is with pa da sa. (oh. di na) is a phrase used in yadukulakambhoji followed by another sentence or pada with sa sa ri ri - appearing a beautifully khanda gathi tala runs melodiously for skillful abhinaya and in modulated manner of singing. Other well known

compositions in yadukula Kambhoji are.

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'Hechcharikagarara' - Thyagaraju 'Abhayambi kaye' -Dikshitar

Daru 8

ELUKOVAYYA

This daru is set in Sourashtra which is janya raga of Surya kantham

(17) and in Mishra chapu thala. Pallavi begins with sama graha sa sa ni da

(E lu ko). Anupallavi starts with da swara which has authentic and

magnificent value in Sourashtra. The whole daru goes on like slow time old

kriti, with valuable phrases and Adi-prasa as Maru rayidi kentha barura

Sayyanu cherura nee peru cheerura chala.

The raga is used in a requesting manner giving such impression of

prayerful mood. Other well known Krithīs in this raga are:

'Sriganapathini' - Thyagaraja 'Suryamurthe' - Dikshitar

DARU 9

SINGARAMPU PALLAKI This is a beautiful description of palanquin set in Sankarabharanam -

Misrachapu talam.

Sa ri ga ga ma

to pronounce : Sin ga ram pu

Anupallavi starts with beautiful swara prayoga Ma pa da ni sa

Sa n gi . tha

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The charanam Jigiminchu Jala pootha starts with

ma ga ma pa pa

zi gi minchu

All the stanzas are in the same equal notation, with Sankarabharana raga

rasa bhava fully.

Rāga Sankarabharanam is exhaustively used for Sankara pallaki seva

songs.

DARU 10

KAMALAYATHAKSHIRO

The daru is set in Bhairavi raga which is a Bhashanga raga. Really it

is very well suited. The whole essence of Bhairavi is pored in singing this

daru. Aditala is comfortably used in calmly describing a thing or situation.

The other charanams are sung as in the case of first charanam.

Ragabhava is undisturbed and softly flows through out the singing.

Other prominent Krithis in this raga are:

'Upacharamu' - Thyagaraja

'Balagopala' - Muthuswamy

DARU 11

KADALIMPAKUROYI PALLAKI

This daru is set in Nadanama kriya which is derived from the melakartha Mayamalavagoula as Sa ri -ma - ma - ma ga ma ga ri ri. The starting of the daru is showing the movement of pallaki in our imagination.

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Anupallavi Mruduvaina Jangamayya pa da da da gives the soft and melodious appearance.

The raga selection Nadanamakriya itself shows the spirit of this Prabhandha so that the sequence of palanquin lifting by carriers spreading the feeling of folk tinge.

This daru 'kadalimpakuroyi' - is the keynote of the Prabandha composition. As the lyric warns the carriers to be very careful while in movement. The räga feeling also gives caution to be alert and serious. Other compositions in this passionate rāga include:

'Karunajaladhe' - Thyagaraja

'ye theerana nanu daya chuchedavo' - Ramadasu

DARU 12

PADAVADHANAMU

This is a simple daru set in Panthuvaraliragam, Aditalam. This

contains announcement in the form of Hetchcharika as noted persons are

worshipping the feet of the Lord Vishnu. The whole daru contains 6 stanzas

or charanas which are similar to one another. The starting swaras are Pa da

pa pa da.

In the charanams 3 to 6 the word 'Idigo' indicates direction and the

swaras are suitably composed to suit abhinaya like stretching the hands and

showing directions.

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DARU 13

ENTHA VĘDUKALAYE

This daru is also set in ragam Panthuvarali and Jampe thalam which

is different in modulation than the previous one (daru 12). The bed room is

described with beautiful portraits and so the swaras in Panthuvarali raga are

leading to the feeling of kamavardhanam (Manmadha tapam). Perhaps in

implication of this raga Shahaji might had viewed the spread of

Manmadhatapa under the situation.

This raga gives much scope for monodharama sangitha to suit the

occasion.

DARU 14

IDIGO KOLUVAIUNNADI

Here comes Kuranji ragam, in Adi tala to describe Pärvathi seating in

her court. The kuranji ragam with Arohana and Avarohanam is like this: sa

ni Sa ri ga ma pada da pama ga ri Sa ni sa.

Normally it is set up into Madhyama sruthi Sa ri ga ma I di go ko.

Sa - Ma- Sa ri ga ma.

The charana's commencement with "Jalakamuladi Hetchaina" goes softly in accordance with the description. All other charanams are similar to the first

one in music composition.

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Kuranji is a janya raga of Sankarabharanam. The ascending order is ending with 'da' and descending order is ending with 'sa' followed by mandra ni in this raga. This is special feature of the raga which is considered to be a variety one. This is very much suited to this song and the strange feeling is realised while singing actually.

Other prominent composition in this rāga is Seethakalyana - of Thyāgarāja

DARU 15

AMARAPATHI MROKKE

The daru is set in ragam Ghanta, Janya raga of Todi - The Ascending and descending is like this.

Sa ga ri ga ma pa ni Sa Sa ni da pa ma ga ri Sa

Ghanta is an ancient raga with soft nature. It is traditionally sung.

Here it is adopted for alerting or hechcharica which is last but one in every

line. Paraku is 'anthya' word. The raga is very much suited to this daru

though the ragam is rare one. The beauty lies in singing the daru in Ghanta

ragam with ghantanadam. Other prominent compositions in Ganta include:

'Srikamalambika ava ava' -Dikshitar 'Nilothpalambika' - Dikshitar

DARU 16

NEEVE DAIVASIKHAMANI

This daru is set up in Sourashtra raga in Aditalam.

The starting swara da da Sa

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Nee Ve is applied . This raga is very much favourable to abhinayam and footwork. It is suitable for prayer of Lord.

The Pallavi starts with da da sa with the gap of (taka). Anupallavi

starts with the same gap, same swara, but starts with Nida pa pa( ka da la

ni) in which the räga bhäva and Swarabhäva are expressed in a high-sense

foot of work.

DARU 17

JAYA MANGALAM

It is set in Ghanta raga and jhampa tala. This daru has no Anupallavi.

Charanas follow the pallavi manner. Lord Siva and Goddess Parvathi are

described each in 4 lines one after the other in the stanzas.

The swaras in this Ghanta raga run in speed giving better expression.

This is a janya raga of Thodi. Plain folk forum of Thodi is ghanta raga just

of Nadanamakriya as Mayamalavagoula, Kuranijiraga and navarozu of Sankarabharanam and Sandhavi of Kharaharapriya. As a matter of fact the

latter ragas are improvised based on the former ragas.

DARU 18

ARAGIMPAVAIYYA

Nadanamkriya is soft and melodious. It is generally used for folk songs. The gap employed in this daru is 2 Aksharakalas (Taka). The Swaras

adopted are :

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Sa ni sa ri ga ga ma ga ri sa; ga ma

thi ru vi sa mu lu ponga

In this raga we find a soft and melodic tinge and a remarkable

notation in "Me ru gu do sa" in lalitya.

Sā ni sa ri - Ga ga ma ga ri (ti ru vi sa mu lu pongallu) is good for

charanas, prayoga. Charana begins with the same notation of pallavi with a

little difference - i.e., -Sa nee sa ri.

DARU 19

LĀLI LALAYYA LĀLI

The song is set in Madhyamavathi ragam. This raga is fit for a lullaby,

with starting swara Ni Sa ri (Lā li) Anupallavi starts with ma ma ri ma (lā

li vri sha bha thu ra n ga) and the prayoga of this swara is like the

movement of cradle the melodic sound of ri ri ri from the charana is like

lullaby.

It is soft beautiful raga which pleases the mind while singing

particularly lullabies or any closing songs for that matter.

DARU 20

BATHTHI THO

The song is an ashtakam. It is set up in Ragam punnagavarali with Arohana and Avarohana as Ni Sa ri ga ma pa da ni - Ni da pa ma ga ri sa ni - It is Janya taga of

Todi (8).

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It begins with ta ka gap Da pa ma ma pa.

The charanas are like pallavi. All the charanas are with the same

notation.

This raga runs in tune with the Ashtakam in speedy manner and gives

inspiration. In this raga beautiful application is implied.

There is melody in pa da pa (me ththu mee)

The Swara ma ma ma ma reveals raga rasa bhava of punnagavarali.

E.g :- 'Gandhamu puyaruga' - Thyagaraja

DARU 21

KANAKADRI CHAPUDU

There is no anu pallavi for this song. All the charanams are same in

tune and notation.

It is set in saindhavi, Janyra rāga of Kharaharapriya - Arohana: Da ni

sa ri ga ma pa

Avarohana: pa ma ga ri sa ni da Pallavi is followed by charanams. It has a special feature ending with pa and again begining with pa. This type of implication of ragas shows the

scholarliness of king Shahaji in music. Saindhavi is a rare raga. This is one of the ancient ragas. It is not used much in modern age. The saindhavi raga is utilised to describe the Lord Siva while in bed rest and mostly suited to such occasions. This raga is in

folk forum.

Other compositions include Itusahasamu - Swati Tirunal.

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DARU 22

MA PALI DEVUNIKI

This is the last daru in the opera. This is last Mangalam song set in panthuvarali ragam.

There is pallavi only followed by charanams. Panthu varali is dearest

raga to parama siva. And in literary sense it is suited to the story of

parvathi and parameswara in their reunion. Panthu varali is also called

kamavardhani raga as told before i.e., in the Daru Enthavēdukalaaye. (13).

Pallavi begins with pa pa pa ma with Samagraha

Charana begins with pa pa pa (Gangadhara)

and this adoptation is very pleasing while seeking blessing of Siva and

Parvathi.

7.6 BRIEF RAGALAKSHANAS IN THIS OPERA

Important Ragas

1. Sankarabharanam :- (Darus 1, 4, 9)

It is 29th Melakartha. Dheera Sankarabharanam, according to kata payadi Sutram. In this, the following Swarasthanas will occur. It is in

Sampoorna Scale -

Sa Shadja

ri Chatursruti Rishabha

ga Anthara gandhara

ma Suddhamadhyama Pa Panchama

da Chatusruti dhaivatha

ni Kakali nishadam

Sa Tara Sthayi Shadjam

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2. SAVERI: (Darus 2, 6)

This is Janya raga for Mayamalavagoula; 15th Melakartha. In this, the

Swarasthanas will occur as follows:

Sa Shadjam

ri Suddharishabha

ma Suddha madhyama

pa panchama

da Suddha dhaivatam

Sa Tharasthayi Shadya (in Arohana)

Sa Tharasthayi Shadja

ni Kakali nishada

da Suddha dhaivata

pa panchamam

ma Sudha dhaivatam

ga Anthara gandhara

ri Suddha rishabha

Sa Shadja - (in Avarohana)

It is upanga raga - (Shadavasampurnam)

3. MOHANA :- (Daru 3,)

It is Janya raga in Hari Kambhoji 28th Melakartha

Sa ri ga pa da sa

Sa Shadja

ri Chatusruti rishaba

ga Anthara gandhara

pa panchamam

da Chatusriti dhaivatha

sa Tara sthayi Shadja

sa Tarasthayi Shadja

da

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pa

ga with same swarasthanas.

ri

sa

It is a beautiful and aesthetic raga.

BEGADA Janya of Sankarabharana (Verse 7)

sa ga r1 ga ma pa da pa sa

sa ni da pa ma ga ri sa

Vakra Bhashanga ragam

1. Sa Shadja

2. ga Anthara gandharam

3. ri Chaturstruti Rishabham

4. ma Suddha Madhyamam

pa panchamam

da chatusruti dhaivatham

pa Panchamam 1

sa Tharasthayi Shadja

Nee Nee will be some what lesser in position to kakali nishada - i.e

Kaisiki - indicates - Bhashanga.

da chatursriti dhaivatha

pa

ma Suddha madhyamam

ga Anthara gandharam

ri Rishabham (chatusruti)

sa Shadja

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5. MADHYAMAVATHI 5,19)

Sa ri ma pa ni sa

ni pa ma ri sa

Mangala prada ragam.

12, 13,22 )

sa ri ma pa da ni sa ni da pa ma ga r sa

7. YADUKULAKAMBHOJI - Harikambhoji janyam (Verse 11)

sa rı ma pa da sa

sa ni da pa ma ga rı sa

8, SOURASHTRA - Janya of Suryakantha (Daru 8 16

sa ri ga ma pa da ni sa

sa ni da pa ma ga sa

It is a bhashanga rāga with Kaisiki Nishada as anyaswaram.

9, BHAIRAVI: (Daru-10); Janya in Kharaharapriya.

sa ri ga ma pa da ni sa

sa ni da pa ma ga ri sa.

It is a bhashanga raga with dharvatham as anyaswaram

10, NAADANAMAKRIYA: Janya of Maayamalavagaula (Daru 11, 18 )

Sa ri ga ma pa da ni

ni da pa ma ga ri sa ni

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11, KURANJI: Janya of Sankarabharana (Daru 14 )

sa ni sa ri ga ma pa da

da pa ma ga ri sa ni sa

12, GHANTA: Janya of Hanumathodi, 8th Melakartha. (Daru 15, 17 )

sa ga ri ga ma pa ni sa

sa ni da pa ma ga ri sa.

There is a wide bhashanga usage for both dha and ri. Dikshitar's

Krithi's "Kamalamba - ava-ava" one of the Navaavarana Krithīs gives a good

description of this pracheena raga.

13. PUNNAGAVARALI: Janya of Hanumathodi : (Daru 20 )

ni sa ri ga ma pa da ni

ni da pa ma ga ri sa ni

There is a wide bhashanga usage in this raga also, in rishabha.

14. SAINDHAVI Janya of Kharaharapriya (Daru 21 )

da ni sa ri ga ma pa

pa ma ga ri sa ni da

7.7 MUSICAL EXCELLENCE

Shahaji's contribution of music is of abundant value. He occupies a significant place in the history of carnatic music of the pre-trinity period. He has his own circle of musicians and collected almost all the gitas, traditional

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alapas etc. They are about twenty manuscripts consisting of more than five thousand pages of palm leaf all of which are now preserved in Saraswathi library. Along with these lakshyas, Shahaji is expert in Lakshanas also. He himself has written a treatise in Hindi about raga lakshanas both in Carnatic and Hindusthani music.

In this opera, he showed his scholarliness and expertisation in music

with suitable ragas in the particular seenes. The commencement of

Sankarabharana it self shows the suitability of the title.

The ancient ragas like Saindhavi, Ghanta, Punnagavarali with special

nature of Ascending and Descending, are applied in this opera with suitable

rasa bhava.

The major ragas like sankarabharanam, panthu varali, sudha

madhyama prati madhyama ragas are used and Janya ragas like sourashtra,

Mohana, saveri. Nadanamakriya etc., are used with melodic and soft raga

Rasabhava.

His selection of ragas in the Scenes are also in a great manner, showing devotion towards God-Siva, who is fond of the rasa bhava of Panthu

varali and Sankarabharanam in a sweet melody.

In addition to pallaki Seva Prabandham he wrote 25 Yakshaganas kiratavilasam, krishna leela vilasam etc. and wrote in different languages like Tamil, Marathi, Hindi and Sanskrit.

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7.8 DANCE FEATURES - ABHINAYA

Abhinayam means Hastha movement. It relates to Saareeraka - Completly physical. This Hastha movement and abhinayam is applied in the darus of this opera for example.

Daru - Neeve Sourashtra.

da da sa - Showing hands towards lord Siva.

Again Showing Neeve with some change in notation

da da sa ri sa sa

In "Etula rammandunoyamma" the dancer shows Abhinayam in

questing pasture. With hands in a suitable manner

In the folk lore-type-darus like kadalimpakuroyi, Aragimpavayya - the

Abhinaya plays very attractive part.

The Maratah influence of regional atmosphere shows that the

Veshadharana and traditional way of movements in Nrutta might be in

Maratta Sanpradaya. But it is an imaginable one when it is not played actually. The lokadharmi and Natya dharmi were mentioned by Bharata in his Natya Sastra. The Hasthalalitya comes under Natya dharmi. The Natyam which is followed by lokanusara is called loka dharmi. The Abhinayam and also foot work in the pallaki seva Prabandham are equally beautified in this

opera.

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REFERENCES

1. Pallaki Seva Prabandham, a Telugu opera of Shahaji, Mahārāja of Tanjore - Pfor. P. Sambamoorthy, - published by Madras University (1995) - Telugu introduction.

2. Authology of Indian Music - Gouri Kuppaswamy and Dr. M. Hariharan

• Sandeep Prakashan B. 3/53, Ashok Vihar, Phase II, Delhi - 110 052

(1989).

The Home Book of Musical Knowledge - David Ewen - Groier

Incorporated, New Yark (1954).

4. Indian Music - Essaya

5. History of Indian Opera by Prof. P. Sambamoorthy, p. 194.

6 Thalapatra of Pallaki Seva Prabhandham Shahaji - Sarswathi Mahal

Library, Tanjore.

7. Sangeetha Lakshana Grandham - Shahaji

8. Ragas of the Sangeetha saramrita. King Tulaja of Tanjore. - Edited

by Part I by T.V. Subbarao, Part II Dr. S. R. Janakiraman, S.V.

University, Tirupati.

9. Vidyardhi Kalpa Tharuvu

10. Thyāgarāja Krithulu

11. Natya sastra - Kusumanjali Prakasan; Jodhapur, 1993 - Romain

Rolloud Library, Pondichery.

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CHAPTER VIII

COMPARITIVE STUDY

8.1. COMPARATIVE STUDY OF SANKARA PALLAKI SEVA PRABANDHAM WITH VISHNU PALLAKI SEVA PRABANDHAM

Of numerous works Shaahaji has produced, "Vishnu pallaki seva Prabandham" is a celebrated work. This work goes hand in hand with Sankara Pallaki Seva Prabandham as it has a parallel theme. This is written

later. It is a bigger one and it is more carefully designed. The aim of the opera

which is a drisya kavya is the portrayal of the re-union of Lakshmi and

Vishnu.

Shaahaji starts the opera with a praise of the good poets and a

condemnation of the bad poets and thus followed the order of the great poets.

This work is written with greater confidence. Shahaji's many sided talents are

seen in this work. The descriptions in this opera are entirely different from

that of Sankara Pallaki Seva Prabandham.

As Lakshmi Devi is unable to bear the pangs of separation, she sends her sakhis to Lord Vishnu. The sakhis praise the Lord, inform him of the suffering of Lakshmi and convince him to go to Lakshmi. Vishnu later on

comes to Lakshmi and the union takes place.

Vishnu pallaki seva prabandham contains 38 darus, 4 dwipadas, 24 verses including churnikas & Ashtakas.

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This opera starts with a song in praise of vishnu. "Jayaramapuravasa, Jayachandrikahasa, Jaya sumeru sarasa, Jaya Krittivasa".

The prasa, yati and anthyaprasa in the song are well maintained. In the same way the next song goes in the praise of God.

The Choice of the works and the rhythemic phrases of this kanda

padyam are commendable.

"Veenāpānini phanitha vanini Vanajātha garbha vanini Supāda srinini susronini vānini Bhajinthu subhamula gan thun"

For a verse or a song or for prose or for stotram epigramatic and

rhythmic words were at his command. The Royal writer was fond of

mentioning his name where ever it was possible not merely in the beginning

and ending of the opera. A long passage is seen describing his qualities,

capabilities and parentage as king and his deep knowledge in languages,

literature, music and composition.

Chathura dadhi vasana valayitha rasathala rajamana rajanya

masthakanyastha manimakuta kuttimasara marichi manjaripunja

mailaidamalika manohara padarvindudunu, sundari brunda makaranda sayakundunu, makara makaranda jasha mukha pramukha birudankuduru, bhosala kula jalanidhi sasankundunu, parasara prabhava, kanasana

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phanisasutha pathanjali gavigurabhana jhanirumbha duttankana samudhruta radhantha kalanadithiyundunu, maharaga vilasa mivasa nibarisa nikuvela vandana malika rachanachana kataksha lakshmi vasamvadundunu, kalitha sangith thanasreethi swarasthana raganga gana kriya sthayi gamake prabandha dhathugayana gunathathanaddha, ghana sushira gathru bhedariya grahajathi margathala desithala thatwagnundunu, sarvaguna bharitha sakalbhasha chathurvidha sahitya nirvaha kundunu, deepanbikagarbha seekthi mukhthaphalambagu Sri Shahavasundhara purandarundu rachinchina Pallaki seva Prabandhamuna dolutha

The story commences as Lakshmi sends her companions to bring Vishnu to her as he is away from her.

A beautiful description of the court where Vishnu is seated is given in

daru 6 in panthu varali raga set to Aditala. This resembles the description of

the court in sankara Pallaki Seva Prabandham.

About Vishvaksina, Alvaars and other Vishnavites and about their

devotion for Vishnu, the companions of Lakshmi praise at length.

There are darus 11, 12 and 13 for which ragas are not directly mentioned but similar independent like wise songs probably written by Shahaji

previously are mentioned.

The companions do not have opportunity to go to Vishnu as he is pervaded by Garud Gandharva Kinnera Yakhas and other gods. They desire to send their messages to Vishnu through Narada, Sesha, Garuda and

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Anjaneya. But they could not carry the message to Lord Vishnu. Then the chelias Mangubhashini and Priyamvada and others make their way to the Lord and express the feelings of Lakshmi to Vishnu.

Then Vishnu is pleased and expresses his consent to proceed to

Lakshmi. A palanquin is decorated very well as in the case of sankara Pallaki

Seva prabandham and kept ready.

The palanquin carriers caution among themselves in daru 21.

"Mellani tharlanįroyi, pallaki"

mellane tharlanjroyi " which means

"Let the palanquin move slowly".

Vishnu thus comes to the abode of Lakshmi followed by friends, servants

and chelias of lakshmi. The chelias praise him again and again, and send. Him

to the bed room of Lakshmi who is properly advised by them.

The story ends with melkolpu song the next day early morning.

The music of songs and verses in Vishnu pallaki Seva Prabandham is

not available. No notation is available. The darus have to be set to talas and ragas now for singing and for performing. This opera gives opportunity and creates necessity for full research work by intelligent scholars who are of

creative out look.

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8.2 SIMILARITIES IN THE TWO PRABANDHAS

Of the two prabandhas, Sankara Pallaki Seva Prabandham is the first

work. The work is superb in respect of lyrics, verses and music set forth. It is

a literary piece of excellence and it is so in music too. It is literary musical

drisya dance drama mostly called as sangitha rupakam.

Vishnu Pallaki Seva Prabandham is written afterwords. It is a bigger

one and more improvised. The words used are a bit difficult. The verses are

some what hard. Prayer portion is more and self style description is also

elaborate. It is a superior work in respect of literature.

Music composition was set for all darus in Sankara Pallaki Seva prabandham where as no music was set for Vishnu Pallaki Seva Prabandham. The first one was for number of years performed during the Tyagesa temple

festivals and the second one might not had been performed. Based on the ragas

of previous songs, some darus are written in this later Prabandham.

Both the prabandhas are similar in many aspects. The theme is the same for both the prabandhas. Both are operas containing music features suitable for abhinaya. Shahaji had no discrimination between Siva and Vishnu. He was an ardent devotee of both the Gods. 'Siva Vishnu abhedatatwam' was

his policy and creed.

In the first opera Parvathi craves for the union of Lord Siva and so she sends her chelias to him. Likewise in the second opera Lakshmi, longing for the union of Lord Vishnu, sends her companions to Vishnu. In both the cases

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the chelias try to persuade the attendants of the respective Lords to carry the messages of the Devis to their respective Lords. Since the attendants fail to do so, the chelias themselves dare to approach the concerned Lords and convince them to go to see their wives. The manner of description and the method of

continuation of the story are exactly the same in both the operas.

Just as Siva goes to Parvathi in a palanquin, Vishnu goes to the bed

room of Lakhsmi in a palanquin and the union takes place similarly. The

story ends in both the cases on a note of happiness.

Description of Siva seated in his court in Daru 1 is same as Daru 6 by

which Vishnu is described. The raga for the former daru is Sankarābharanam

and for the later Panthuvarali.

Daru 6 in the first prabandham is same as daru 16 in the second

prabandham wherein request is made to convey message to the Lords.

Description of palanquin in Daru 9 (Sankarabharanam) in the first work

is the same as daru 18 (Kēdāragoula) in next work.

The manner in which instructions are given to the palanquin carries in the first book (daru 11 - Nada nama kriya) is the same as in the second book

(daru 21)

Bed room description (Daru 13 first book) is the same as in the second

book (daru 23)

273

The description of the court scene of Parvathi (daru 14 ) is not there for

Lakshmi in Vishu Pallaki Seva Prabandam. Just as lalipata (daru 19) in

Sankarapallaki Seva Prabandham, there is similar song (daru 29 ) in the other

Prabandham.

Melukolpu songs (darus 35,36,37) in the second prabandham are added.

Such songs are not there in the first prabandha. In many aspects Sankara

Pallaki Seva Prabandham is similar to Vishnu Pallaki Seva Prabandham.

274

REFERENCES

1. Sankara Pallaki Seva Prabandham, a Telugu opera of Shahaji,

Mahāraja of Tanjore, Edited by Prof. P. Sambamoorthy, University

of Madras.

2 Vishnu Pallaki Seva Prabandham of Shahaji, Maharaja of Tanjore,

text given by Prof.P. Sambamoorthy, University of Madras.

3. Thyagesa Padamulu of Shahaji, Mahāraja of Tanjore.

4. Thalapatrams of Sankara Pallaki Seva Prabandham and Vishnu Pallaki Seva Prabandham - Saraswathi Mahal Library Tanjavur.

275

CHAPTER-IX

CONCLUSION

9.1 INFLUENCE OF THE OPERA OVER THE LATER WRITERS

Shahaji Maharaja's pallaki Seva Prabandhams (both Sankara Pallaki Seva Prabandham and Vishnu Pallaki Seva Prabandham) are condsidered to be brilliant and artistic operas which influenced the later writers very much. Arunachalakavirayar's Ramanakant in Tamil was considered a very successful temple dance concert piece with lively dances inclusive of intricate foot work.

Thyagaraja has also got inspired to take up similar Geyanatakam form, when

has composed Bhakti Vijayam and Nowkacharitram, probably on a request

from his contemporaries to write a play that suits the festival days in the

temples.

Attempts have been made to enrich these operas by introducing light

motifs, mukhageetha, patra vadaya, patrageetha, patra jathi and other

features. Gopala krishnabharathi has taken up a socially - concious theme

named Nandanarcharitram.

Siddhendra has written many yakshaganas namely Ushaparinayam,

Bhama kalapam etc. Taking puranic stories as a base to give over night dance drama performance in temples. He has also followed Shahaji's pattern of kanda, daru, dwipada. chaurnika to be set to different talas, special with

vruttams of Sanskrit origin.

276

In recent past Yakshaganas are presented successfully as they suited the modern days. Light make up and lighter musical melody has come into practice. In Telugu, Devulapalli Venkata Krishna Sastry has written several gēyanatakams taking a clue from traditional Prabandhas. Vipranarayana, Parvathi parinayam, which have been widely presented by several kuchipudi

dance artists. Several translated poems of Ravindranadha Tagore are also

being staged in the form of Yakshaganams or Geyanatakams with socially concious artists. Chandalika is very famous and successful geyanataka of this

kind.

9.2 SUITABLITY OF THIS OPERA TO MODERN TASTE AND

THEATRE

Operas are prominent literary and lyrical pieces with different facets such as kalāpams, street plays, kadha ganāms. According to the theme special, historical, social and philosophical issues can be brought before the ordinary audience in convincing and concluding way, taking aid of Navarasas such as Srinagara, Veera, Karuna, and Hasyarasa Most of the successful opera artists sought approval and encouragement from ordinary public though at some times has royal patronage. Hence any successful opera should first have approval and encouragement of general public. This should be more so, with regard to classical plays such as Shähaji's Prabandhas which have been widely acclaimed as hard stuff with old ragas and intricate laya patrons. Present day selection of entertainment mode is droping towords lighter and non-serious way of Presentation. Hence suitability of this opera for public performance before present day audience is not encouraging.It can only remain as a classical and resourceful work. It is useful for higher studies in tracing back

277

the history of musicology. The darus can be practised with certain modifications in 'manodharma'. Playing the opera in public now may need lot of changes for theatrical effect and abhinaya style. The modern stazing technic of Kuchipudi Dance process perhaps may be more suited for performing this opera. A deeper study of the practical aspect for stazing the opera may not be redundant.

1. However the ragas such as Ghanta, Kuranji, Saindhavi with Todi, Sankarabharanam, and Kharaharapriya may require a lighter image

and a little modification in presentation.

2. There may be some difficulty in laya-patterns and there is no one to

teach now. The ordinary style of footwork as in Kuchipudi and Odissy

may throw some light in adopting the methods of this opera.

3. Background stage decoration and make up of the artists may have to be

done according to modern taste, and circumstances.

4. The Raagaas in particular taalaas as learnt from masters have beem

sung and cassetted for practical fulfilment.

9.3 HIGH-LIGHTS OF THE OPERA

1. The Shahaji's work titled "Sankara pallaki Seva Prabandham" has been studied in depth and noted that it is a harmonious blend of

lyricism, music, dance and dramatic effects.

2. The opera is a worthy successor to the dance dramas like Geetha Govindam, Krishna Leela Tarangini, etc.

278

3. Different types and lakshanas of dance dramas have been discussed in the thesis. Prabandha as Kavya and its literary hights and musical values are also discussed. As such this opera is established to be a prabandha.

4. While following the evolution of opera as European and Indian, a study of its comparison with Ballet and Geyanatakas is also made.

5. Shahaji's patronage of music and literature is found to be commendable

and ideal. There are historical and literary evidences of his patronage

and his compositions. He is called Apara Bhoja. Also the contribution of

other Mahratha rulers like Tulajaji and Serfoji is mentioned. His role in

national, religious and linguistic integration is an ideal one even today.

6. The unfolding of the plot of the opera with the establishment of different

characters has provided ample opportunity for musical planning and

poetic features. The prosody of the verses and musical features of the

songs along with meanings in English is given also carried out in the

dissertation.

7. Description of the ragas used for this play along with rāga lakshanās, highlighting the musical features has been detailed and the rāgās are

found to be very apt.

8 Meanings of difficult words as used in this work have been given separately along with a list of synanimous words mostly for popular

names of gods.

279

9. The original thalapathra script has been verified by me in TMSSM

library in Tanjore and a manuscript copy has been taken. Number of

patthantharams and deviations are found when it is compared with the

present text and they are listed out. The notation for all the songs has

been taken from prof. P. Sambamoorthy's book as published by the

Madras University.

10. Shahaji's involvement with the present work, his philosophy of life and

his devotion have been dealt based on his works, actions and patronage and are observed to be transparent and at the same time deep rooted.

11. An analytical view of ragas used in this opera along with analytical view of literature in the lyrics has been carefully discussed to understand his inherent knowledge in music and literature. The literary and musical values of the opera are highly appreciated stage by stage as indicated

in the thesis.

12. A brief note is given on the other works of shahaji, and on the suitability of the opera to the taste and theatre of the present day.

general public.

13. Shahaji wrote kritis starting from the first Telugu syllable, 'Aa' to the last one 'ksha' with a quality of Prabandha rachana. In his Dharmaraju Padas', each line ends with 'helapadam' as "Dharmaraju". His "Thyāgēsa padamulu" are famous for the speciality of 'prasa'

14. It can be candidly seen that while Jayadeva exhibited in his Geetha Gövinda, srinagara bhakthi, Shahaji in his Pallaki Seva Prabandha exhibited bhakthi sringaram. The subtle change and transformation

280

from sringarabhakthi to bhakthi sringar is note worthy and later devotees followed the same. He may be treated as the first composer of the Telugu Yakshaganas, the metre and laya sound of which is followed by Kuchipudi School of dance.

15. Shahaji's selected coinage of words (Padabandhas) convey bhakthi,

sringara, vairagya and morality and Thyagaraja used his vocabulary in

the same way. Shahaji specially infused the names and characteristics

of rāgās in his literary works and rāgamālikās.

16. A point is noted interestingly that Shahaji was the contemporary to

Sadāsiva Brahmendra, the great saint poet who said.

" Chadivithēne gnāni ā yenā" Padilamiana vāde parama gnāni"

But Shahaji mentioned in his padam " Pāmarabuddhi chūdarōyi paramahamsalāra Seema seema thirigē manasu Sivunipai nilapalēru"

17. While being a king and a scholar of name and fame, Shāhaji was a man of detachment. He became a sanyasi (ascetic) in 1710 and achmen died in 1712.

18. The ancestrial interest and his own love of scholarship motivated king Serfoji to establish Saraswathi Mahal library in Tanjore which has become a rare worthy house of archives preserving the thalapathra grandhas and other unforgetable works of our heritage.

281

19. The influence of this opera on later composers, including Thyagaraja

and Krishna Sastry, who adopted his style in presentation of their

operas is also studied. The undisputable point that Shahaji became an

ideal predecessor of the great music Trinity is well established in

dissertation.

20. An indepth study of the "Sankara Pallaki Seva Prabhandham" clearly

shows that it is a well written and well performed Indian opera that

can enthrall the audience of all times and all places.

282

REFERENCES

1. Pallaki Seva Prabandham Edited by Prof.P. Sambamoorthy.

2. Prahlada Bhakthi Vijayam of Thyāgarāja.

3. Nowka Chritram of Thyāgarāja.

4. The Village voice, Research paper (Ballet) - Telugu University,

Hyderabad.

5. Sāharāja Vilāsamu of Shahaji - Talapatram in Saraswathi Mahal

Library, Tanjore.

6. "RAJAH SERFOJE II" by prince Tulajendra Rajah P. Bhosale, - Sadar

Mahal Palace, Tanjore - 613009 (1999).

7. Andhra Yakshagana Vagmaya Charitra S.V. Jogarao and J.J.

Swāmiji - 1957, Andhra University, Hyderabad.

283

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293

GENEOLOGY OF THANJAVUR NAYAKAS

Chevappa 1535 - AD

Ippa 1580 -

Ragunatha 1600 - 35 AD

Achuta Ramabhadra

Vijaya Raghava Nayaka 1633 - 73 AD

Chengamala Dasa

(Saraswathi Mahal Library)

294

Babaji Maloji

Vittoji Triembakaji Serfoji (No issue)

Shåhaji

Gangaji Venkoji (1676-1684 Ad)

Sambhaji

Great Shivaji

Bubbaji (THANJAVUR)

(Born to Jijabai-Jadhav family)

Gangaji Subhanji 295

Sahaji

Sarabhoji Tukkoji (a) Tulaja I Sambhaji Rajaram (1684-1712 AD) (1712-1728 AD) (1728-1736 AD) (SATARA) (KOLHAPUR)

Shahai Sujan Bai X Aekoji I (a) Baba Saheb (1737-1738 AD) (1736-1737 AD) Pratapasingh (1739-1763 AD)

Sayaji (1738) Amarsingh (1787-1798 AD)

Tulaja II (1763-1787 AD) Serfoji Il (Adopted son) (1798-1832 AD) Sivaji II (1832-1855 AD) Serfoji III (Adopted) (1855-1903 AD)

GENEOIOGY OF TANJORE MARATHAS

Shahaji

Sambhaji Shivaji Ekoji-or Vyankoji 1674 - 83 ad

F

SHAJAJI 1684 - 1712 AD Serfoji I Tukoji or Tulajaji 1711 - 29 AD 1729 - 36 AD

Baba Saheb 1736 - 37 AD

Sujan Bai 1737 - 40 AD

Pratapa Simha 1765 AD

Tulajaji 1765 - 88 AD Amarasimha 1788 - 98 AD

Sarbhoji II 1798 - 1833 AD

Shivaji II 1833 - 55 AD

296

THE GENEALOGY OF THE BHOSALA VAMSA OF TANJAVUR

M. Jijabai Shahaji Bhansle M. Tukkaba Mohite alias Tulajaji Devi

Chhatrapati Sivaji Venkoji alias Ekoji (1674-85 AD)

SHAHAJI Sarabhoji I Tukkoji alias (1685 - 1712 AD) (1712 - 28 AD) Tulajaji I (1728 - 36AD)

Ekoji Il alias Baba Pratapa simha Sahib (1736-37 AD) (1739-63 AD)

Tulajaji II Amar Singh Alias (1763-87 AD) Ramaswami (1787-98) AD

Sarabhoji II (adopted Son) (1798-1833 AD)

Sivaji (1833 - 1855 AD)

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III. ENGLISH EQUIVALENTS FOR TELUGU WORDS OF ORNAMENTS

Vajramu Diamond

Minnala Rathnalu Jems

Manikyam, Hanulu Jems

Muthyalu Pearls

Pagadalu Coral

Kuruvindamulu, Kempu Rubies, Ruby

Pachachalu Emarald

Marakathalu Emarald

Jari Lace

Saramu Chain (Wreath)

Pathakam Brooch (Medal)

Vaddanam Abdomine Belt

Andhelu Anklet

Kammalu Steds

Kudyamu Wall

Kasturi Musk

Javvadi Animal perfume (from one type of

cat)

Chandanam Sandle

dhupam Perfume

srungaram Amorousness, erogenous move to love

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Vajramu Diamond

Putha Coating

Keyuralu Bhujakeerthulu (shoulder ornaments)

Nadumu Abdomine

Sanjeevi Help or a thing for eternal life

Devathalu Angles

Madanudu Cupid

Kurulu, Mungurulu Locks of hair

Thummedalu Carpenter bee

Thenetigalu Honeybees

Tuniga Dragonfly

Subham, Mangalam Benediction

Paraaku Alert

Vandanam Salutation

Jayam Victory

Joharu, Jai Hail

Thoranam Festoon

Mallelu Jasmin

Jigili Glittering material

Putamu Cloth,(Puttam) paper, joining hands (Anjali)

Gajjelu Round anckles

Hechcharika Attentive

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IV.(A) SARASWATI MAHAL LIBRARY OF TANJORE

The Saraswati Mahal Library which was also one of the suit properties in O.S. 26 of 1912 has been a compromise and unanimous consent, between the contending parties to the suit was made over as a trust for perpetual preservation of the library for use to the posterity, in that year. The grandsons Shivaji Rajah and Pratapasingh Rajah, took prominent part in making over the library as a trust for public utility and use by posterity. All the parties to the suit agreed to endow a lakh of rupees for its up keep a court scheme was drawn up with the concurrence of all the contending parties, by which the library should be located only in Thanjavur palace, and an administrative committee was formed with five members to manage the affairs of the library. One out of the five members, represent the successful claimant as the Rajah's

descendant as life member and he was given the power to appoint another

member as his nominee. The other members are the District Collector, The

district judge and another Hindu member as ex-officio member of the

administrative committee in pursuance of the compromise between the parties

in the suit, the government issued a G.O.M.S. 1306/Home/ Education/dated 5th

October 1918, constituting the library as a public trust and entrusted the

administration of the said library in the hands of the administrative

committee. In 1983 the Library was declared as an Institution of National

importance. The Govt. of Tamil Nadu abolished the five member committee of administration and ordered to register this under the registered society Act of 1975. The society consists of ex-officio members of both central and state govts., nominated scholars, members from the Royal family and Director of the Library. The library receives fund from the Govt. of Tamilnadu for

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maintenance and for development of the library. It will be significant to record here that if the parties to the suit had not agreed to such a compromise what fate the library would have met with is to be imagined than expressed. The entire library would have been partitioned among the successful claiments as was done in respect of other properties and estates. Sagacious move to make this library as a public one for the use of concurrence of the other parties is

a memorable even in the history of Maharatta rule in the South and posterity

owe a great deal of debt to these two indomitable brother Shivaji Rajah and

Pratapasingh Rajah. They were the first to give their whole hearted consent

for such a move to preserve the library from partition among the parties. The

library at that time was valued at several millions of pounds by British

experts. Inspite of adverse financial condition of the claiments they had agreed

to sacrifice their share of value of the Library for use of the future generation

to owe a debt of gratitude to those generous parties It will not be out of place

to record that the author of this work, great grandson of Serfoji is the present

Life Member of this famous Library.

What was a simple and small Library prior to Rajah Serfoji was transformed into an Institution. He expanded the Library to such an extent that it had acquired World fame, and is now considered to be one of the rarest and finest Oriental Manuscript Library in the World. He collected and added thousands of manuscripts in native languages on various Sciences and Subjects. This converted the Library into a verietable treasure house. He gathered in his Library books on foreign languages like English, French, German and Latin on all conceivable subjects like Science, Medicine, Gynecology, History, Chemistry and such allied subjects and every such book bear his signature in English with the dates showing that he had read those

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