1. Sangita Sampradaya Pradarsini Vol 5

SAŃGĪTA SAMPRADĀYA PRADARŚINI

SUBBARĀMA DĪKSITAR

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The magnum opus, Sangīta Sampradāya Pradarśini of Subbarāma Dīksitar has celebrated 100 years of its publication. To commemorate the event, this is our humble attempt to provide an English (electronic) web-version of the work, for the benefit of students and Rasikas of music.

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g1 guhã śrī

namah

Subbarāma Dīksitar (1839 A.D - 1906 A.D)

CONTENTS

333 Vāggēyakāra Caritram 3 1 Śrī Śārńgadēva . 3 2 Ahōbala 3 3 Rāmāmātya 4 Kallinatha - the author of the commentary on "Sańgīta Ratnākaram" 4 4 5 Govinda Dīksitar 4

6 Vēṅkatamakhi 6 7 Gōvindāmātya .... 7 8 Purandaravithaladāsa 7 9 Rāmadāsa 8 10 Talapāka Cinnayya 8 11 Kșētrajña 8 12 Śrīnivāsa 9 13 Jayadēva 9 14 Ghanam Śīnayya 10 15 Mārgadaśi Śēşayyangār 10 16 Girirāja Kavi 10 17 Sāhāji Mahāraja 11 18 Laksmīkānta Mahārāja 11 19 Vīrabhadrayya 11 20 Kavi Mātrbhūtayya . 11 21 Ādippaiyya 12 22 Vēṅkațarāmayya 12 23 Sonti Vēnkatasubbayya 12 24 Rāmasvāmi Dīkșitar 13 25 Śyāmā Sāstri 14 26 Gurumūrti Śastri 15 27 Vīņa Perumaļlayya 15 28 Tyāgarājayya . 15 29 Tyāgaraja's Disciples 18 30 Govindasāmayya 18 31 Kūvanasāmayya 18

1

2

32 Vaikuntha Śāstri 18 33 Vijayagōpāla 18 34 Kuppusvāmi Ayya 19 35 Pallavi Gōpālayya . 19 36 Muddusvāmi Dīksitar 19 37 Muddusvāmi Dīksitar's disciples 20 38 Cinnasvāmi Dīksitar 21 39 Bālasvāmi Dīksitar 21 40 Caukam Sīnuvayya 22 41 Dorasāmayya 22 42 Madhyārjunam Pratāpasimha Mahārāja 22 43 Kulaśēkhara Perumāļ 22 Vengu Bhāgavata 22 44 45 Śēsācala Bhāgavata 22 23 46 Rāmānandayatīndra 47 Nārāyaņatīrtha 23 48 Sadaśiva Brahmam 23 49 Akkil Svami 23 50 Svayamprakāśa Yatīndra 23 51 Śivarāmāśrama 24 52 Yuvarańga . 24 53 Parimalarańga 24 54 Sārangapāņi 24 55 Meratțūru Vēnkatarāma Śāstri . 24 Poetic composers of telugu padams based on śrngara rasam 24 56 57 Todi Sītārāmayya . 25 58 Taccūr Śińgārācārya 25 59 Arunācala Kavirāya 25 60 Muttuttandavar 25 61 Pāpavināśa Mudaliyār 25 62 Ghanam Krsnayya 25 63 Śańkarabharaņam Narasayya 26 Ānatāndavapuram Bālakrsņa Bhārati 26 64 65 Vaidīśvarankoil Subbarāmayya 26 26 66 Vēńkațēśvara Ettēndra Mahārājā Jagadīśvara Rāmakumāra Ețtappa Mahārājā 26 67 Jagadīśvara Rāma Vēnkațēśvara Ettappa Mahārājā 28 68 28 69 Muddusvāmi Ettappa Mahārājā 70 Rājā Jagadvīra Rāma Kumāra Ettappa Mahārājā 28 71 Rājā Jagadvīra Rāma Vēnkațēśvara Ettappa Mahārājā 28 72 Subbarāma Dīkșitar 30 73 Sadasiva Rao . 31 74 Pattanam Subrahmaņya Ayya 31 75 Vēnkațēśvara Śāstri 31 76 Garbhapurivāru, Dharmapurivāru 31 77 Rao Bahudūr C. Nagoji Rao, B.A., F.M.U. 31

VĀGGĒYAKĀRA CARITAM - BIOGRAPHY OF COMPOSERS

1 Śrī Śārngadēva

Śārngadēva was from the country of Kāśmir, and was the grandson of Bhāskara, born in the varsa gaņa rși gōtram. He was the son of Soddaladeva. He belonged to the clan of yädava. He lived during the period of Simhaņarāju who reigned Dēvagirinagaram, also known as Daulatābād, from the saka year of 1132 (1210 A.D.) to saka year of 1169 (1247A.D.). With his great scholarship in music and Sanskrit, Sārngadēva had au- thored a vēdānta treatise titled "Adyātma vivēkam". In the book "Sangīta Ratnākaram" authored by him, he mentioned that he was addressed by the title of 'niśsanka'*, and that he found proofs for the theories of Bharata, Matańga, Kīrtidhara, Kōhala, Kambaļa, Aśvatara, Āñjanēya, Abhinavagupta, and Sōmēśvara. The "Sangīta Ratnākaram" has seven chapters:

1. Svaragatādhyāyam 2. Rāgavivēkādhyāyam 3. Prakīrņādhyāyam 4. Prabandhādhyāyam 5. Tāļādhyāyam 6. Vādyādhyāyam 7. Nṛtyādhyāyam

The "Sangīta Ratnākaram" has seven commentaries, four in Sanskrit - written by Simhala, Śārngadēva, Kumbhakarņanarēndra, Kallinātha, one in Hindustani by Gangārāma and two in telugu, one of which seems to be authored by Hamsabhupala. Out of these, the commentary written by Kallinatha was well- known in many countries. It was stated by Rāmāmātya and Vēnkatamakhi that some parts of "Sangīta Ratnākaram" are not the same as the laksyam and laksanam (music grammar and the science of notation) used in the current times. The traditionalists too agreed that this is the case in practice also.

2 Ahōbala

This vedic brahmin scholar is the author of "Sangīta Parijatam" which was written along the theory of "Sangīta Ratnākaram" and the theory of "Āñjanēya". Some of the music grammar and the science of

• one without any doubts

3

Vāaggēyakāra Caritram 4

notations (laksyam and laksanam) in this book are in line with current usage. It was believed that this brahmin scholar from Ahobalam lived in the Ahobalam region, approximately four hundred years beforet.

3 Rāmāmātya

Rāmāmātya, son of Timmāmātya, was a niyōgi brāhmin born in the todaramalla clan. Krsnadēvarāya, who was famously addressed as ' Andhra Bhoja', conquered quite a few kings of kingdoms and ruled the country of Vidyānagaram, also known as Vijayanagaram. Rāmadēvarāya married Krsnadēvarāya's daughter and ruled the country of Vijayanagaram, as successor to Krsnadēvarāya after his time. He, along with his brother Vēnkatādriraju, listened to the sonorous renditions of the texts written by Rāmāmātya such as "Ēla, Rāgakabamdamu, Gadyaprabandhamu, Pañcatāļēsvaramu, Sarvānkamu, Śrīrangavilāsamu", in his court. During that time, inspired by Rāmāmātya who bore the title of ' Abhinava Bharatācārya', Vēnkațādrirāyalu recited the following ślōkam:

sańgīta śāstrē bahudā virōdha samtyēva lakśyēsu ca lakśaņēsu sarvam samīkrtya sarāma mantrī tanōtu śāstram vacapātanēti ||

and, since there were many discrepancies in the music grammar and science of notation (laksyam and laksanam), he requested Rāmāmātya to resolve those and write a book on the science of music. As it was being said, Ramadevaraya seconded the proposal and gave him many gifts including the 'karpūra tāmbūlam' (as in tradition - camphor, betal leaves, areca nuts and fruits etc.). Subsequently, Rāmāmātya wrote "Svaramēļakalānidhi" in seven cantos, dedicated it to Rāmadēvarāya and recited it to him. ŚLŌKAM:

śāke nētra dharādharābdi dharaņi ganyetha sādhāraņē varsē śravanamāsi nirmalatarē paksē dasamyam tithau Rāmāmātya vinirmitassvarārthatērnirmadhyaratnākaram sōyam mēļakalānidhirmatimatāmākalpamākalpatām ||

From the above ślokam, it is evident that the period during which "Svaramēlakalānidhi" was written was in saka year of 1472 (1550 A.D.). None of his works mentioned above are to be found now.

4 Kallinatha - the author of the commentary on "Sańgīta Ratnākaram"

Kallinātha is the son of Laksmaņācārya, who was born in todaramalla clan. He was Catura Kallinātha, who earned the title of ' Abhinava Bharatācārya Rāyadu'. He was the court laureate of Emmadidēvarāyalu who ruled Vidyānagaram. In saka year of 1475 (1553 A.D.), he wrote a commentary on "Sangīta Ratākaram" with the name "Kalanidhi". This commentary became popular in all countries.

5 Gōvinda Dīksitar

The kings of Nyaka clan obtained their kingdom with the help of the Rayalu clan - who ruled Vijayana- garam also known as Vidyānagaram, and ruled Tañjāvūr Samsthānam (land of Tañjāvūr) with distinction from śaka year of 1452 (which is 1530 A.D.) to śaka year of 1592 (1670 A.D.). Cevappa Nāyaka, who was the first emperor of the Nāyaka clan, ruled the Colamandala region within the tenets of law, from śaka year of

t before Sańgīta Sampradāya Pradarśini (telugu) +The following is the version found in "Svaramēlakalānidhi" of Rāmāmātya, published in 1910 A. D by Bharadvāja Śarma :- Rāmāmātya vinirmitē svaratatē saṅgītaratnākarāt sōyam mēļakalānidhirmatimatāmākalpamākalpatām |

Vāaggēyakāra Caritram 5

1452 (1530 A.D.) to śaka year of 1494 (1572 A.D.). This information is inscribed on a stone pillar installed in the Nasappiru Mosque, in close proximity to the Tañjavūr railway station. This is part of a donation notice inscription, which states that a land of seven acres was donated to the mosque. Cevappa Nāyaka's son emperor Acyutappa Nāyaka ruled the Colamandalam from śaka year of 1499 (1577 A.D.) to śaka year of 1536, (1614 A.D.) with Govinda Dīkşitar as his minister. Gōvinda Dīksitar was a great personality who belonged to a karņātaka smārta brāhmin caste, āsvalāyana sūtram, and vāsista gtram, and obtained the grace of Sāvitri Devi by chanting the gāyatri mantram, with single minded con- centration. As was indicated in the scriptures, Govinda Dīksitar not only made emperor Acyuta Nāyaka donate many acres of lands that lay on the two banks of Kāvēri to pious brähmins (who observed the ritu- als), help the brähmin educational institutions with cash and kind and build steps on the banks of Kāveri from Pañcanada Kşētram (TiruvaiyyāRu) to Māyavaram with sandhyā mandapams (shelters in which the Brähmins perform the rituals like sandhya vandanam), but also with his wise counsel, helped the king rule the land between Vrddācalam and Rāmasētu (Rāmēśvaram). The fact that, with the consent of Acyuta Nāyaka, Gōvinda Dīkșitar drāvidized (translated into Dravidian language - tamil) the sthala purāņam (story of the land) "Pañcanadakşētra Māhātmyam" in śaka year of 1527, (1605 A.D.) is known from the work of a poet in "Tiruvayyeti Drāvida Purāņam"$ (Tiruvayyeti refers to TiruvaiyyARu). A descriptive ślokam (a Sanskrit poem), written at the time when Acyuta Nāyaka and Govinda Dīkșitar were the king and minister, is seen here. ŚLÖKAM:

trināmādyantanāmānau mahīksidhiksitāvubhau śastre śāstrēca kuśalā vāhaneșu haveșu ca ||

The meaning of the ślokam is: Out of the three names (of dvādaśa nāmas of Nārāyaņa) acyuta - ananta - govinda, the two people who bore the first and last names, namely, Acyuta Nāyaka and Gōvinda Dīksitar, the king and the minister, were very able in sastram (weaponry), śāstrams (scriptures), war and in performing the yāgams. It is evident from the great personage "Appayya Dīksitula Caritramu" that the above Gōvinda Dīksitar and the great personality Appayya Diksitar were contemporaries. It appears that the life span of Appayya Dīksitar was from śaka year of 1476 (1554 A.D.) to śaka year of 1548 (1626 A.D.) Nāgamāmba was Gōvinda Dīksitar's wife. The oldest of his sons was Yajña Nārāyana Dīksitar and the youngest was Vēnkatamakhi. The third king in the clan of Nayaks was Raghunātha Nāyaka. He achieved great fame. He was a great scholar and as was in the old times, he got coronated in a traditional manner in the saka year of 1536, (1614 A.D.) and with the help of Govinda Diksitar ruled the kingdom. From the following ślokam, ŚLOKAM":

tallakșaņantu sangītasudhānidhipradŕśyatē | cevvayāccyuta bhūpāla raghunātha nṙpāṅkitē | asmattātakrtē granthē proktān ślokān likhāmi tān

which was from a chapter on 'vīna' in the book called "Caturdandī Prakāśikā", written by Vēnkatamakhi, it is evident that Govinda Diksitar, who was an expert in musical education, wrote a book on music grammar called "Sangīta Sudhanidhi" and dedicated it to the above said king Raghunātha Bhūpala. This book is not to be found anywhere ** now. Raghunātha Nāyaka Mahārājā patronized many celebrated scholars such as

malipunal cūzh coņātu tañcayiR kāttițu maracar matiyamaicca nolimaRaitēr gōvińta tīksita rāyan Riruvākkutaimaiyālē kaliyukattuc cakanāņtu mūvaijnjñūRRirupatinmēR kāņumēzhāyip polivarutattai yāRRuppurāņa vatamozhi tamizhāR pukala luRRēn

1 sastra = weaponry, sāstra = scriptures l ED: - The Music Academy Publication, "The Chaturdandi Prakashika" (1934, 1986) has a slightly altered text, as given below: tallakșaņam tu samgītasudhānidhiriti śrutē || 153|| cevvayācyutabhūpālaraghunāthanrpāṅkitē asmattātakitē granthē proktam ślēkān likhāmi tām || 154||

** ED: - a copy of this work was found and has been published by the Music Academy, Madras.

Vāaggēyakāra Caritram 6

· Appayya Dīksitar,

· Rājacūdāmaņi Dīksitar, the son of Ratnakēta Dīksitar,

· Yajñanārāyana Dīksitar, who was the son of Govinda Dīksitar and was the author of (i) "Sāhitya Ratnākaram", (ii) "Raghunātha Bhūpa Vijayam' (campu kāvyam), and (iii) the drama "Raghunātha Vilāsa Nātakam",

· Kumāra Tātācāryar, the author of "Pārijatāpaharana Nātakam" (drama),

· Bhāskara Dīksitar, who was the author of " Atmaparīksam", "Tapta Mudrā Vidrāvaņam",

· Cemakūra Laksmaņāmātya, who authored "Sārngadhara Caritramu" and "Vijayavilāsam" in telugu, and dedicated them to the king.

Govinda Dīksitar, with the help of this emperor, renovated the Kumbakonam temple water tank with 64 lingams, renovated many other temples, and made him help the brahmin pandits by donating the lands entirely free of rent.

6 Vēṅkatamakhi

He was the second son of Govinda Diksitar, and was named as Venkatesvara Dīksitar. It was he who was also known as Venkatamakhi. He was the disciple of his older brother Yajnanārayana Dīksitar. He wrote "Vartikābharanam", a narration of tuppika (This is known as "Mīmāmsa Sāstram" - a discussion or disputation held to find out the truth about anything). With his father's permission he became a brilliant learner of the science of music with its grammar and notation, under the able guidance of Srī Tānappācārya, who was the greatest among all vāggēyakāras (composer-singers) who came from the northern part of the country, and he wrote a "gītam" on his teacher Tānappācārya11, "gandharva janatakarva durvāra garv- abhañjanure", in three parts for the first time, in the ragam ärabhi and sang it before his father, brother and guru. Today this gītam is being sung popularly. Nīlakantha Dīksitar, the grandson of Acchā Dīksitar who was the brother of Appayya Dīksitar, men- tioned in his book of poetry called "Gangāvataranam" that he was the disciple of Vēnkatēśvara Dīkșitar (Vēnkațamakhi). ŚLŌKAM:

śrīkaņthacaraņāsakta 'srīmānappayya dīkșitah vidhithrayī yadāksiptā nānyatra labhatē gatim tatsamāna prabhāvasya tadanantara janmanah āsidācchā dīkșitasya putrō nārayaņādhvarī jayanti tanayastasya pañca saubrātra śālinah ||

tēsāmaham dvitīyosmi bhūmidēvitanūbhuvam nīlakaņtha iti khyātim nītāśśambhō prasādatah vārtikābharaņagrantha nirmāņavyakta nipuņah śrī vēṅkțēśvaramakhi śisyē mayyama kampatē kurvatī śravaņē vāņī kōmaļām yasya sāhitīm karņapūra śirīsēpi kāthinyamiva paśyati | bhānti śisyah purō yasya pānivinyastapustakāh | tatsūkti jāhnavīpūra trāsēnēva dhrutaplavah ||

The period during which Nīlakantha Dīksitar wrote the book "Nīlakantha vijayam" was in śaka year 1560 (1638 A.D). After Raghunātha Mahārājā, his son Vijayarāghava Mahārājā, an eminent scholar, ruled cōlamaņdala as his successor. ttThis Tanappācarya is Honnayya's son. In the third section of this gītam, it is mentioned that he was also called Vēnkatamantri.

Vāaggēyakāra Caritram 7

With the encouragement of Vijayarāghava Mahārājā, Vēnkatamakhi wrote a book on musical gram- mar and notation called "Caturdandī Prakāśikā", with 10 sections - vīņa, śruti, svaram, mēļam, rāgam, ālāpanam, thāyam, gītam, prabandham, and tālam. It was this Vēnkatamakhi who explained the laksanams (grammar) of rāgānga, upānga, bhāsānga rāgams in form of ślōkams and lakshyam (science of notation) in the form of gītams. By carefully observing the notations of the upānga - bhāsānga rāga gītams in this book one can get to know the skillfulness of the notation, signs that indicate the difference between śuddha and vikrta svarams, the signs that indicate the cakram and mēlams and also the intricacies imbibed in the sāhityam (lyrics) of the gītams composed in the ragas and its derivatives. From the records/inscriptions, it is evident that Nagapattanam was handed over to Dutch by Vija- yarāghava Mahārājā in 1660A.D. Vijayarāghava Mahārājā and Vēnkatamakhi were contemporaries. He too had written gītams and prabandhams. It is understood that this Venkatamakhi also wrote twenty four astapadis (songs of eight lines) on Srī Tyāgarāja, similar to the "Gītagōvindam" by Śrī Jayadēva. When he undertook a pilgrimage to Rāmēśvaram (sētu yātra) and was attacked by thieves, it was believed that he sang the gītam 'are nibidakantaka duspra- dēśa' in the rāgam lalita and at once Rāma and Laksmana appeared with their bows and arrows and protected him. This gītam could be put in the māyāmālavagaula upānga rāgam section (derivative of māyāmāļavagauļa). At one time Vijayarāghava Mahārājā ordered that all his country people should have śankha - cakra mudra (cakrānkitam). Then, Vēnkațamakhi prayed to Mahālingamūrti in Madhyārjuna kșētram, by singing the gītam 'śankha cakrānkana tyaca rērē' in the rāgam rītigaula. Immediately the king suffered from stomach pain. When he prayed to Venkatamakhi and also ordered that his country people could pray according to their religion, he was relieved from the pain and became well. Thus, there were many miracles in the life of Venkatamakhi that proclaimed his greatness. In some gītams one could find mudras such as 'Muddu Vēnkatamakhi' and 'Vēnkata Vaidyanāthudu'. It appears that they also hailed from the immediate family of Venkatamakhi. The time periods of Tañjāvūr, Āndhra, and Mahārāstra Mahārājās were known from Tañjāvūr govern- ment normal school tamil pandit Brahmaśrī Kuppusvāmi Śāstri.

7 Gōvindāmātya

He was an āruvēla niyōgi brāhmin belonging to the āpastambha sūtram, and kaundinya gōtram. He was the son of Obayāmātya. He wrote "Padya kāvyam" (a book of poetry) on the science of music (Sangīta Sāstram) in telugu and dedicated it to Srī Ramacandra by using the lord's name as mudra. Some sections of this book were written in accordance with "Sangīta Ratnākaram" and the sections on mēlam and rāgam were written in accordance with Rāmāmātya's "Svaramēļakalānidhi". It appears that he belonged to the period after the time of Rāmāmātya but before the time of Vēnkatamakhi.

8 Purandaravithaladāsa

He was a madhva brāhmin hailing from Karņātaka. He was an expert in karņātaka bhāșa (Kannada) and was foremost among the bhaktas. He, at first, was a very wealthy merchant in Poona and then, by the intensity of his devotion to lord Pandurangavithala, became averse to worldly possessions and became a great devotee. With expert knowledge in the fields of music and literature, he composed songs on many occasions and thus obtained the grace of Pandurangavithala. It is not possible for anyone to recount all his miraculous stories. The sarali variśas, alamkārams and pillāri gītams, which are in practice until today, were said to be created by this great man. It could be seen even today that, as vaisnava brähmins sing the divya prabandhams composed by the Ālvārs such as tiruvāymozhi, the pontiffs of mādhva maths made arrangements to sing the songs of Purandaradāsa in their respective sanctums. There are a number of śūlādis written by him. His songs dwell in philosophical ideas. It is impossible to put a number on the count of his songs. Purandaravithaladasa may have belonged to the time before Ahobala. His musical, literary and epical style would be clear from the śūlādis in this book.

Vāaggēyakāra Caritram 8

9 Rāmadāsa

He was a niyōgi brāhmin hailing from kamcarlla kula. He was the son of Gopanāmātya. He was an expert in sangītam and sāhityam (music and literature). He was the head of Bhadrācalam municipality and, with the government's money he not only renovated the Rama temple of Bhradracalam but also fed all the brahmins who praised the lord every day. He wrote a number of songs on lord Śri Rama and engrossed himself in the devotion of the lord along with the brahmins. It was said that when the Navab came to know of this, he imprisoned him for twelve years. At that time, he composed unlimited number of songs on Räma and worshipped him by singing. Ever-compassionate Rama, along with Laksmana, came to the Navāb during a night when he was asleep, as a pair of servants and paid the debts that were due and disappeared. There are a number of his songs in telugu.

10 Taļapāka Cinnayya

He was a telugu brahmin and a devotee of Venkatācalapati. He lived in Tirupati. His was the great soul that composed many kīrtanams on lord Venkataramana and formalized the tradition of festivity. Those include tōdayam (morning rituals), mangalam (concluding rituals), śaranu (surrender), heccarika (intima- tion), kīrtanamulu (praise), dhūpadīpālankāranaivēdyadūpācāramula kīrtanamulu (songs that described serving the lord with incense, light, decoration, offerings and other rituals), pavvalimpu (songs for lord's resting), divyanāma kīrtanamulu (songs with synonyms of lord's name), vasantōtsavamula kīrtanamulu (songs for the spring time celebrations), svāmini mēlukoluputakai kīrtanamulu (song for waking up the lord) and others. Apart from these, there were other songs too. It was believed by the elders that, because of his extreme devotion, Venkataramana frequently appeared in front of him and conversed with him. He was the initiator of the bhajana (worship by singing the praise of the lord) style. It is believed that he belonged to the time before Rāmāmātya.

11 Kșētrajña

He was a trilinga brahmin. He hailed from Muvvapuri. He had great scholarship in telugu language. He was a great scholar with knowledge in music and literature. In his childhood he was initiated with the original "gopāla mantram" by a great saint. While Ksētrajña lived in the gōpāla temple of Muvvapuri and spent a long time by reciting the mantram as his profession, Gopala, who was the lord of passion (srngāra) and other colours (rasas), blessed him by appearing before him, at once he started praying the lord by singing the padam (song of love for lord) composed extempore "śrīpatisutu bāriki nē nōpalēka ninu vēditi gōpāla, muvva gōpāla" ("As I am unable to escape the pangs of cupid, I sought your protection gopāla, muvva gōpāla"). It could be said with certainty that neither before him nor after him that one had composed padams in the kaisiki (a certain rhetorical figure) form augmented with amorous colour, delicate wordings, by observ- ing the hero - heroine characteristics, sensible meaning, ragas appropriate to the colour of the situation and with essential elements (dhätus). Only those padams which are sung in a slow tempo (vilamba kālam) by understanding the meaning of the words would be delectable. When dhatus are written down, they look as if they are repetitive. This is an essential trait of pada sāhityam (lyrical content of a padam). Non-repetitive dhātu is the essential trait of kīrtanam. This Ksētrjña, in order to reveal that he presented many, many padams in the royal courts of Madhura, Tañjāvūr and Gōlkonda, composed a padam in the rāgam dēśīya dēvagāndhāri, "vēdukatō naducukonna vitarāyudē'. Apart from this, at the request of the Tañjāvūr king Vijayarāghava nāyaka, he composed five padams called "ksētrayya pañcaratnamu" and dedicated them to him. A lot of his padams would have the mudra (signature) of muvvagōpāla. A few other padams, even though have the mudra of "kañci varadudu" or "cēvvandilingadu", would not be without the mudra of "muvvagōpāla" also. Vijayarāghava bhūpāla, a person with impeccable taste, waited upon him with valuable presents and other gifts. The other court laureates who were experts in writing the epics, with feelings of jealousy ques- tioned the king by saying "idēmī? ērā, rārā, pōrā ani ceppeddi ksētrayamīda inta mōhamā? ītaniki inta

Vāaggēyakāra Caritram 9

bahumānyādyupacāra gauravamā?" ("what is this? For this Ksētraya, one who writes 'you, come, go' you have this kind of attraction? And for him you give this kind of your attentive respect with valuable presents and other gifts?"). After hearing these words those were communicated to Ksētraya, as soon as he arrived. Ksētraya agreed that what they said was right. After that, he composed a song in the kāmbhōji rāgam, "vadaraka povē" with pallavi, anupallavi and two caranams. In the third caranam, he just wrote "bhāmarō, sakunamuladigiti muvvagōpāludu vaccunani, kāmiñci nāthulakalayu cēlulajūci karagi cintanonditi" and told that king that the last part of this caranam should be completed by the court laureates and told the king that he would go on pilgrimage to sētu (Rāmēśvaram) and come back, and left. As soon as the laure- ates came to the court, the king gave them the padam and told them to complete the last part of the third caranam. In spite of thinking about it until Ksētraya's return, all those court laureates were worried as even together they could not come up with appropriate wording/ meaning to the last part. As soon as Ksētraya arrived, it is said that all those laureates went to him and supplicated to Ksētraya. By hearing Ksētraya fin- ish the part of the padam with "rāma rāma, ēmenito vānimōmu jūdavalenā, modatipondecālu", all those laureates praised him saying that he was the manifestation of gopala and went to the king and praised him again by informing the occurrence. In the old book that we possess, there are 700 padams including the above "pañca ratnam". In the printed books of today, wordings are changed for many words. Apart from that, the new generation of singers, who do not know the meaning and the colour of the situation, are changing the ragams. He belonged to the period of the above said Vijayarāghava bhūpāla.

12 Śrīnivāsa

He was a drāvida brāhmin. He was a scholar in Andhra (telugu), drāvida (tamil) languages and in music. He was a servant (priest) of Madhura Mīnaksi temple. He was said to have performed rituals faultlessly and with utmost devotion. At the time he was in that temple, at the Mīnāksi dvaja mandapam a sage was meditating on rāja mātangi dēvi mūla mantram, for a long period of time. It is said that, one day, when the early morning prayers (ardhajāmu means around three) were done, Mīnāksi dēvi came to the sage as was decorated for the early morning prayers and with betel leaves in her mouth full, looking like a concubine and told him to open his mouth which he declined by calling her 'bhrasta' (fallen from virtue). Then she went to Śrīnivāsa, who was sleeping nearby and said to him "hē Śrīnivāsa, open your mouth" and he immediately opened his mouth and she spit the betel pulp into his mouth. Because of the divine mother's extreme blessings, it is said that he started composing kīrtanams by obtaining scholarship in music and literature. There are a number of his krtanams. They were rich in meaning, diction and content. They also contained fine grammar. There are a variety of padams and kīrtanams composed in drāvida language (tamil) with the signature (mudra) of "vijayagopala". It is believed that he belonged to the period of Cokkanātha bhūpāla, the king who reigned the Madhura and Tiruccināpalli.

13 Jayadēva

He was a brahmin hailing from North India. He was the disciple of Govardhanācārya. He was an ar- dent devote with his heart and soul focused on the lotus feet of Sri krsna. He was a poet who had inim- itable scholarship in sanskrit with powerful diction. He is an eminent writer who wrote the drama called "prasanna rāghava" and many other classical volumes. His was the great personality that had written a famous classic treatise called "gīta govindam" (astapadi - with verses containing 8 lines) on Srī krsna, with amour as the main thematic colour (śrngāra rasam) and contained twelve cantos. Just as in the case of rāgams mentioned in the 'rāgādhyāya' chapter of "sangīta ratnākaram", the ragams set by this Jayadeva for the astapadis and his recommendations somehow became out of usage. The ragams, the talams and the recommendation to observe for those ragams and talams, which were set by the music scholars for twenty four astapadis about three hundred years ago, are in usage now. This poet Jayadeva, while he was writing the nineteenth astapadi, as soon as the thought came as

'smaragarala khaņdanam mama śirasi maņdanam dēhi pada pallava mudāram',

Vāaggēyakāra Caritram 10

without writing it down immediately, he handed the talapatram (dry palm leaf that was used for writing, during those times) to Padmavati, oiled his head and went to the river to take his bath. Soon after, Śrī krsna came to Padmāvati, disguised as Jayadēva with oiled head, got tālapatram and the pen and wrote the same wording as occurred to Jayadēva and left. After sometime, Jayadēva came and asked for the tālapatram. When he was told that he just came and took (the talapatram) and wrote, he pulled the talapatram out and saw. He was not only got immersed in the ocean of joy and told her "Oh! Padmavati, the Lord has appeared before you; how can I praise your good fortune?"; but also, in the eighth line of that astapadi and also in the twenty-first astapadi, he mentioned her name before his own, by writing, "jayatu padmāvatī ramaņa jayadēvakavibhāratī bhaņitamitigītam." This kind of mentioning served as the evidence to the lords' appearance before her. It appears that he belonged to Sārngadēva's time.

14 Ghanam Sīnayya

This pure soul was a vaisnavite who belonged to ātrēya gōtram and āpastambha sūtram. He was born in vangala tradition. He was blessed by Vādhūla dēśika. He was the son of Śēsayajva. He was an expert in music and Sanskrit and Andhra (telugu) languages. He had the good fortune of being the favourite of the king "Srī vijayaranga chokkanātha". He was the chief-minister. He attained fame by having the treatise with armour as the thematic colour, "śasanka vijayam", dedicated to him. The following poem from "śaānka vijayam" describes his scholarship in the field of musical education. ŚLŌKAM:

hāhā hūhūlu gāna garvamunahā hāhūhu vanchun svarā rōha prakriyakā turangatanulai rūpambu lānanvrdha | āhamkārula martya gāyakulu jōdā nīku pāņdyēśvara snēhālmkrita vanagalānvaya maņī sīnā kavi grāmaņī | The information that this Sinayya had composed many kīrtanams and padams with the signature of "mannāru ranga" could be derived from the following poem in "śaśānka vijayam"

śhrī mannaru raṅgādhipa nāmāmkita gēyakalpanātatapatiki rāmānuja vijayamkaga nīmadhurasa modamāna vēnkatapatikin

It appears that this Sinayya was the contemporary of Ksētraya.

15 Mārgadaśi Śēsayyangār

He was a vaisnava brahmin. He was an expert in Music and Sanskrit and was a devotee of Lord Ranganātha. He was said to have moved from Ayodhya to Srirangam and lived there, worshipping Lord Ranganātha and singing Sanskrit poetic songs in praise of him. Since he came there after living in Ayodhya, he used the mudra of "kōsala" in his songs. He compiled all the songs written by him into a book and gave it to the arcakas of the Ranganatha temple to be offered to the feet of Ranganatha during the early morning prayers. The next morning he went to the temple of Ranganatha and opened the book and saw it. The book was said have contained only sixty songs. All the other songs lost their identity having been eaten by termites. The sixty songs which were accepted by the Lord became well-known. The learned of that time noticed his musical creations in Sanskrit and praised him by extolling him as "Mārgadarsi (trend setter) Sēsayyangār" He is said to be the predecessor of (ghanam) Sīnayya.

16 Girirāja Kavi

He was a trilinga brāhmin. Tiruvārūr - the place that was praised by the people as "jananātkamalālayē" was the residence of Giriraja Kavi. He was an expert in Sanskrit and Telugu. He possessed the wealth

Vāaggēyakāra Caritram 11

of musical education. He composed many devotional and philosophical songs in Telugu and obtained fame. He received many gifts and laurels from Sāhāji mahārājā, who was the second mahārāstra king that ruled Tañjavūr. He was the grandfather of Tyagaraja, who by the grace of Lord Rama had composed many devotion loaded songs in telugu and obtained unparallel fame. It appears that he lived approximately 170 years ago.

17 Sāhāji Mahāraja

He was the second king among the kings of mahārāstra rājā clan who ruled Tañjāvūr. He was the son of Ekōji mahārāja. He was of bōsala caste. He was well versed in Sanskrit, mahārāstra, āndhra (telugu), hindi and was well versed in music and literature. He was the establisher of justice. He ruled the cola mandalam from the śaka year of 1605 (1684 A.D.) to śaka year of 1632 (1711 A.D.). This sāhā mahārāja composed many songs on religious themes in the languages mentioned above. He also created a palanquin musical drama called "pallaki sēvā prabandham" on the ruling deity of Tiruvārur, śrī vīthī vitanka tyāgarāja swāmi. He made arrangements for this palanquin musical drama to be sung and enacted every Friday when the Lord was taken to the night resting place in a palanquin.This is being continued till this day. In order for this to be observed continuously, Saha maharaja donated ten thousand acres of land with full control.

18 Laksmīkānta Mahārāja

This king was a ksatriya. He possessed extraordinary knowledge in sanskrit and music. His krtis and varnams are replete with musical, lyrical sanskrit and humorous contents. There is no evidence to say that this king ruled this place or that he belonged to this particular period. It is to be guessed that he belonged to either telugu country or northern country and may have lived after Ahobala's time.

19 Vīrabhadrayya

He was a trilingya brahmin. He was talented in telugu. He lived in northern country. He was a great musical and lyrical writer. Mahārājā Pratāpasimha ruled Tañjāvūr from śaka year of 1662 (1741 A.D) to śaka year 1686 (1765 A.D). Amongst the emperors of Mahārästra he was the most intelligent king, connoisseur of arts, generous soul, ruler of cola mandala who followed justice and was the one who donated numerous cash and kind without reservations to the temples of Brähmins. During the early years of his ruling, having heard about his generous character, a composer musician called Vīrabhadrayya travelled to Venneti gatta from the northern country and waited for a long time to get an interview with the king. Having heard about his deserving greatness from a number of people, it was known that one day the king himself came to Vīrabadrayya's room, listened to his music, gave him gifts and took him to Tañjāvūr and gave him a place to live and felicitated him with generosity. From that time on, (Vīrabhadrayya) adopted the 'pratāparāma mudra' - the name of the presiding deity of Tañjavūr and the worshipped deity of kings of bōsala clan and composed a number of songs in many rakti rāgams and many poetic creations in dēśīya rāgams to be cherished. Apart from them, he composed darus, padams and tillānas on emperor Pratāpasimha with unusual poetic songs and got a lot of fame. It is because of this great soul that south Indian music tradition is shining with fame even now.

20 Kavi Mātṙbhūtayya

This trilinga brahmin was a scholar in music and telugu language. He lived in Triśiragiri (Tiruchināpalli). He was a devotee of Sugnandhi Kuntalämba. With her grace he composed many krtis deplete with devo- tion and morality. He not only composed a lot of padams with passion as theme but also created a drama called 'pārijātāpaharanam' in gandharva form. All his krtis and padams would have "trisiragiri" as the stamp signature. His padams were highly meaningful with intimate details. Mātrubhūtayya could not tol- erate his poverty and appealed with a number of krtis at Sugandhi Kuntalamba's presence.When he sang

Vāaggēyakāra Caritram 12

the song "kāśikappaņamēvalenamma", the goddess appeared in his dream and told him that he should go to her devotee called Pratāpasimha in Tañjavūr and that the king would get rid of his poverty. On the same day, Sugandhi Kuntalamba also appeared in the dream of Pratäpasimha and told him that she was sending her bhakta to him and that he should take care of his poverty. The king got up and waited for the arrival of Matrbhutayya. Having come to know about his arrival he felicitated him and gave him ten thousand rupees and sent him to trisiragiri. He lived there comfortably by praising Sugandhi Kuntalāmba with his kŕtis.

21 Ādippaiyya

This karnātaka brāhmin belonged to madhva clan. He was a great scholar in telugu and music. Ādippaiyya belonged to the time of Pratāpasimha Mahārājāa and Tuļaja Mahārājā. Many krtis which were ornate with exquisite and various gamaka prayōgams, and with "śrīvenkataramana" as the stamp signature were com- posed by him. He followed the path of Vīrabhadrayya. It has been said that the rāgālāpanam, madhyama kālam (tānam) and pallavi singing was standardized by him. Even though there were many varnams be- fore, it is extremely difficult to come across a varnam that is as suitable to sing or to play on the vīna as the tāna varnam "viribōni" composed by him. Adippaiyya's son was Vīna Krsnayya. He was a vīna expert. He created three prabhandams called "saptatālēśvaram" (by having all the other tālams embedded in the famous dhruva talam and after singing the prabandham at the next start, the first beat of all the talams also coincided as one beat) on the heads of the principalities of Mysore, Vijayanagaram and Kotthakota. In the mātu (lyrical) part of the prabandhams he used each of the letters of the kings' names as the start letter of each cycle (avrttam) and composed meaningfully. By having 30 cycles of dhruva tälam, at the start all the other six tālams also coincide with the start syllable of the prabandham. Vīņa Krsnayya's son was Vīņa Subbukuțți Ayya. It is impossible for anyone else to play rāgālāpanam, madhyama kālam, pallavi and svara kalpana with gamakams adorned with atīta and anāgata grahams on the vīna like him. It is very difficult for players of vīna (vaiņikas) to have the tāļajñānam (layam). The tālajñānam that he possessed cannot be achieved by any others. He lived for seventy years playing vīna. It should be approximately thirty four years since his demise.

22 Vēṅkațarāmayya

This brähmin was well versed in telugu. He was knowledgeable in music too. Since it was very difficult to sing Vēnkatarāmayya's krti with the knowledge of local adaptation, the great musicians of the time gave him the sobriquet of "inupasanigelavēnkatarāmayya" (Iron chickpeas Vēnkațarāmayya). He composed krtis like "satamani" in the rāgam tōdi on Bōdhēndra Svāmi, some krtis on Madhurāvallūri first saint (Svāmi) and others on deities with the stamp signature of "gopālakrsna". It appears that he belonged to the last part of Ādippaiyya's time.

23 Sonti Vēnkatasubbayya

This trilinga brähmin was an expert in telugu and music. He was with in-depth knowledge of gram- mar of rāgams such as rāgāmgams as defined by Vēnkatamakhi. Even though Vēnkatasubbayya and Ādippaiyya were contemporaries, Vēnkatasubbayya was very young in age. He composed a varnam on Tulāja Mahārājā in the rāgam bilahari with astonishing imagination. He was patronized in the courts of Manali Cinnaya, who was famous for being a connoisseur of arts and of generous heart. There are many compositions and essays of his, which were written with amazing imagination. His son was Vēnkataramana- yya. He was said to be a greater achiever than his father in the line of music, literature as well as in singing. He is said to have lived during Sarabhoji Mahārāja's time also. Sonti is their family name.

Vāaggēyakāra Caritram 13

24 Rāmasvāmi Dīksitar

This drāvida brāhmin who was born in the śaka year of 1657 (1735 A.D.) belonged to auttara, kāśyapa gōtram and āpastambha sūtram. His father was Vēnkatēśvara Dīksitar. Mother was Bhāgīrathiyamma. When he was seven years old, due to their dispute with the family of gurram, along with his aged par- ents he moved from Kāñcīpuram to Gōvindapuram which was close to Madhyārjuna Ksētram, and lived there performing rituals meticulously. After that, with six months difference in time, both his mother and father deceased. He improved very much in sanskrit and learnt telugu language too. Since he naturally possessed a good voice, he learnt to sing melodiously by just listening. Due to his attraction to music, he went to Tanjavur and stayed with Vīrabhadrayya for two years and learnt the krtis composed by him in rakti rāgams and dēśīya rāgams. He also learnt to sing with knowledge of svarams, ālāpana, pallavi and svarakalpana and went to Māyūram (Māyavaram). At that time he was pre-occupied with the de- sire of learning the grammar of music. One day, one elderly man came and blessed him saying "go to Madhyārjuna Kșētram, all your worries will be resolved and you will become learned grammarian". He immediately went to Madhyārjuna Ksētram and there he met with Vēnkata Vaidyanātha Dīksitar, who was a nityāgnihōtri (one who performed ritual with fire every day) and the grandson of the minister Venkatamakhi. There, due to his blessings he learnt vīna within one year and later he thoroughly stud- ied "caturdandiprakāśika" with its rāga, upānga, bhāșānga rāga gītams, all the rāga, tāļa laksanams. Then, by the orders of his guru, he travelled to Tañjavūr and was much praised, respected, gifted and felicitated by the king's court there. He then went back to Mayuram and then went to Tiruvarur in connection with the celebration of Śrī Tyāgarāja's festival, had the darsanam of Śrī Kamalāmbā and Tyāgarāja and stayed there worshipping them. Amarasimha Mahārāja who came there to visit the temple heard the rāgamālika on him composed by him and respected him with gifts. Due to the extreme devotion of this Rāmasvāmi Dīkşitar, Śrī vīthī vitanka Tyāgarājasvāmi appeared in his dreams gave him instruction as to, when the deity is taken through the streets, from the start at the dvaja mantapam to return back to dvaja mantapam, where, when and how the nādasvara vidvans should play. The same instructions are being followed even today through the generations. Since he did not have children till the age of forty, along with his wife he went to the temple of Srī Vaidyanatha and stayed praying in the sanctum of Śrī Muddukumārasvāmi. Within a few days his wife Subbamma became pregnant and they went back to Tiruvārūr and in an auspicious time she delivered a boy. They named that child as Muddusvāmi. They named the second son, Cinnasvāmi Dīksitar who was born after a few years, as Venkatavaidyanātha Sarma after his guru. The girl baby who was born along with this Cinnasvāmi Dīksitar was named as Bālāmba and the youngest son as Bālasvāmi. Among his sons, Muddusvāmi Dīksitar progressively learnt music after learning jewels such as kāvyam (Epics), nātakālamkāram (dramas, etc.), and also studying kaumudi, which dealt with grammar. His brothers got the education that was appropriate to their age. At that time, a wealthy man called Manali Muddukrsna Mudaliār came to Tiruvārur for visiting the temple and noticed the scholarship of Rāmasvāmi Dīksitar. He not only gave him gifts but also took him, along with his family, to Manali and kept them there, with all due respects and comforts, for a few years. After that, his son Cinnayya Mudaliār, called Vēnkatakrsna, who was well versed in many educations, who was a promoter and appreciator of arts and who was also kind hearted, listened to the hundred and eight 'rāgatālamālika' (a garland of a song composed in 108 rāgams and 108 talams) composed by Rāmasvami Dīksitar and felicitated him with a shower of gold. Not only that, he also appreciated and took care of Cinnasvāmi and Bāluswāmi Dīksitars, who sang that song for him, with many gifts. During that time, Mudalir also appreciated and took care of Gōvinda Dīksitar, who came there saying that he was the great-grandson of Venkatamakhi, and expressed his desire to see "caturdandiprakāśika", and other books. For that Govinda Dīksitar answered that he would give him the books only if he could figure-out the name of the ragam from the mūrcchana (combination of svarams) that he gives him. Rāmasvāmi Dīksitar took the mūrcchana given by him and composed a padam, "nannu parīksiñcanēla" (why do you have to test me?), as if written by Mudaliär himself and in the end he in- cluded the mūrcchana given by Govinda Dīksitar and made both Cinnasvāmi and Bālusvāmi Dīkșitars sing it. After hearing that song, Gövinda Dīksitar praised them saying that "this is the same mūrcchana as I have given; he (Mudaliār) too is our Vēnkatamakhi's disciple". Since his second son Cinnasvāmayya could not see (blindness), he was very much worried and along with his family he travelled to Tirupati. There, he spent forty-five days in the prayer of Vēnkatācalapati by composing a rāgamālika (a song gar-

Vāaggēyakāra Caritram 14

land of rāgams) in forty-eight rāgams as "manasā vēritaruladalacaka" (Oh my soul, do not think of any one else), and a krti in the rāgam vēgavāhini as "inka dayarākunnanu" ( have not got your mercy yet). Cinnasvamayya got his sight and lived happily till the end of his time. This Rāmasvāmi Dīksitar, on every ēkādaśi (11th day after full moon and new moon) day would observe the day by reciting the twelve cantos of "gitagovindam" (astapadi) with devotional reverence. He composed a rāgamālika of forty-four rāgams on Śri Mīnāksi, cauka varņams in the rāgams of rītigauļa, hindōļam, manōhari, and pūrņacandrika, tāna varņam in the rāgam śankarābharanam, and many other krtis with the stamp signature of "vēnkatakrsna". He coined a ragam called "hamsadhvani", and authored a prabandham in that ragam and became famous. Realizing that his time on earth has come to an end, this Rāmasvāmi Dīksitart, along with his family trav- elled to Tiruvārūr and with fame as his body (yasahkāyulai), in the śaka year of 1739 (1817 A.D.), in the dhātu year, māgha māsam (February/March) during the auspicious time of sivaratri obtained the heavenly abode.

25 Śyāmā Śāstri

Due to the disturbances caused by some evil muslims, the icon of Srī Bangāru Kāmāksīdēvi, the utsava idol (the one that is taken out in processions) of Śrī Kāñci Kāmāksi Dēvi, travelled along with native drāvida brahmins who hailed from Northern regions, to the pious land of Tiruvārūr, also known as Srīpuram, and stayed there for approximately thirty-five years accepting the prayers and other rituals facilitated by the kings of Tañjāvūr. The mother and father of this Śyāmā Śāstri, not only worshipped Śrī Kāmāksi with utmost devotion, but since they did not have a son, they performed the ritual of feeding the brāhmins, as a devotional offering to Venkatācalapati, during the last full week of every month,. In one of those brāhmin- feeding feasts, a brähmin was possessed by Venkatācalapati and spoke through him, saying: "Oh couple, within one year you will get a son who would attain fame.". As was predicted by the brähmin, soon his mother got pregnant, and after she completed ten months, in the śaka year of 1685 (1763 A.D.) in the year named citrabhānu and in star of krttikā, Syāmā Sāstri was born in Tiruvārūr, known as Śrīpuram. Even at a tender age, he became an expert in the languages of sanskrit and telugu. Soon, along with Bangāru Kāmāksi, he travelled to Tañjāvūr, learnt music from a relative, starting from sarali svarms, and attained proficiency in svara jñānam. At that time, he obtained the divine blessings of being initiated into śrīvidya. It was his fortune that a saint, Sangīta Svämi, who was an expert in musical education, came from the northern country, took him as his disciple for three years, and taught him all the intricacies of musical grammar and lyrics. This Sangīta Svāmi, having realized Syāmā Sāstri's musical talents, blessed him, saying that he would become very famous. He further told him to go and listen to the music of Ādippayya for sometime, and proceeded to Kāśi. After some years, by the grace of Śrī Kāmāksi Dēvi, with "śyāmakrsna" as his stamp signature, he composed many krtis, svarajatis and tāna varnams, which were imbued with magical lyrical beauty, poetic felicity, and talam intricacies. He got them propagated through many of his disciples. In the śaka year of 1740 (1827 A.D.) in the year of vyaya, on makararavi śukla daśami day he reached Śrīpuram (heavenly abode). I will write his amazing story in detail, when I get his more than one hundred krtis printed as a book. Since his compositions are like "nārīkēapākam" (as tough as breaking a coconut) with rich poesy, con- taining atīta, anāgata grahams, and with beautiful words, some lazy musicians, who could neither compre- hend nor had the mettle to sing them in the manner that pleased the audience, called them tough. This state- ment is proven by the meaning of the following poem contained in the first chapter of "śingāranaisadha kāvyam", which was translated into telugu by poet Śrīnātha. ŠLŌKAM:

panivadi nārīikēļapākamunum daviyaina battahā rșuni kavitānugumbhamulu somaripōtulu kondarayyalaū panikoni yādanēri rajayattida lējavarālu cekkugī ina sava nalpa bālakudu dendamunum galuganga nērcunē|

*Ālanūru Krsnayya, who got the fame as the greatest singer, was the disciple of this Rāmasvāmi Dīksitar

Vāaggēyakāra Caritram 15

Śyāmā Sāstri had two sons. Out of them, the second son Subbarāya Sāstri was born in the śaka year of 1725 (1803 A.D.), in the year of dundubhi, simharavi daśa and in krittikā star. He was an expert in sanskrit and telugu languages, and also in music. Many krtis and svarajatis composed by him, which are characterized by the use of clever telugu language and musical and poetic expressions, are being practiced very popularly. He attained śrīpuram in the śaka year of 1784 (1862 A.D.) during the year of durmati, cāparavi daśa and on krsna daśami day. Annāsvāmi Sāstri, the son of the brother of this Subbarāya Sastri, was a music composer who was well- versed in the intricacies of kāvyams, dramas, grammar, music and telugu language. He not only composed many krtis, darus and tāna varnams but also was an expert in playing the fiddle (violin). He was born in the śaka year of 1749 (1827 A.D) in the year of vyaya, in the mīna ravi tithi in āślēsa star and attained Srīpuram at the age of seventy-three, in the saka year of 1822 (1900 A.D) in the year of vikāri in kumbharavi and on the krsna titīya day (third day of kŕsņa paksam).

26 Gurumūrti Sastri

He was a trilinga brāhmin of muriki nādu sect. The village of Kayattāru belonging to the county of Tirunalvēli was his birth place. He was well-versed in catur śāstrams. He was very proficient in music. Even at an early age, he attained fame by travelling to Cennapattanam and was grandly felicitated by Manali Cinnayyā Mudaliyār. He was an exceptional writer of gitams, prabandhams and kīrtanams. He was an intelligent man with expertise in many ragams. He was a younger contemporary of Rāmasvāmi Dīkșitar.

27 Vīņa Perumallayya

There was a great soul called Perumallayya who had unattainable expertise in vīna playing. He belonged to vīna Kālahasti Ayya's family. He was an āndhra brāhmin. He was a vīna player, which was passed on as family tradition. He was the court musician of Tanjavūr. He received many land donations with full powers. He was an expert in playing the ghanarāga tānam. He could play rakti rāgams like bhairavi each night until the early hours, without reputation, and he would play this for ten days and finish. He played in the courts of northern country, and obtained many honors such as chatram (umbrella), cāmaram (hand held fan), pallakī (palanquin) and ratnakhacita vīņa (vīna decorated with gem stones). He then went to Kottakōța to Raghunātha (Toņdaman) Mahārājā, played one rāgam for twenty days continuously, and was felicitated with a purse of ten thousand rupees. Apart from that, each day he would play the krtis and other compositions of elders, all in one ragam per day and entertain people. He composed ata tāla varnams in saurāștram and sāvēri. Not many can aspire to obtain his song-creative abilities. He was an expert in playing the vina without deviating from the rhythm (tālam). He lived until Muddusvāmi Dīksitar was thirty years old. His brother vīna Nārāyanasāmayya was qualified just like him. His brother Kondayya composed a svarjati in sāvēri.

28 Tyāgarājayya

Approximately 250 years ago, there was a great brāhmin called Girirāja Kavi in Tiruvārūr. He had five sons. The youngest son was named Ramabrahmam. He was an expert in the science of vedas. He had three sons called Pañcāpakēśa, Rāmanātha and Tyāgarāja. Rāmabrahmam was in poverty, and along with his wife and children, he left Tiruvārūr and went to the Pañcanada ksetram (land of five rivers) called Tiruvaiyāru. He spent time there by cashing in on his good nature and character. His two older sons took to material jobs. The third son followed the path of the father, and studied vēdādhyanam (studies of vēdas) and sanskrit. When he was fourteen years old, his father , and within a year, his mother too passed away. Meanwhile, progressively he learnt performing rituals, and the art of developing kāvyams, nātakams, etc. After that, desirous of learning music, he started learning music from Sonti Vēnkataramanayya, the musician of the city, who lived in the same street as himself. Being an "ēka santāgrāhi" (one who could grasp by just listening once), within one year, he learnt the grammar of music, singing the raga elaborations,

Vāaggēyakāra Caritram 16

pallavi singing, and talams, and he obtained the fame and name as "no one else is equal to him in the field of music". At that time, he was initiated into rāmanāma mantram by a brāhmin scholar who came to Pañcanadam from Kāñcīpuram. The brāhmin scholar told him that a person who chants ninety-six crores of (rāma) nāmam would obtain eternal bliss while still alive, and said that if he did that, he too would attain bliss, and blessed him. Accordingly, he (Tyāgarāja) chanted 125,000 rāma nāmam per day and completed 96,000,000 by his twenty-first year. After that, Lord Śrī Räma appeared before him thrice, and blessed him to write lyrics. One day when he was sitting in front of Lord Śri Rama and was chanting his name, he heard a noise at the front door. When he looked with intensity, Śri Raghava with Laksmana appeared in the garb of accompanying Sage Viśvāmitra, for protecting the yāga, and disappeared within a minute. Immediately, he started praising Srī Rāma extempore, with the song, "bāla kanakamaya cēla sujana paripāla jaladhi gambhīra", in the ragam athana. That was his first composition. After hearing this song in athāna, which was composed with intricate and exquisitely descriptive words, the musical luminaries and the sanskrit scholars like Rāma Sēsa Sāstri and Bhāshyam Krsna Sāstri, who were used to hearing composite words loaded with meaning, praised him wondering if he was indeed a gandharva or Nārada munīndra. After that, he composed "rāmā ninnē namminānu" in the rāgam husāni and many other krtis in telugu language. Then, one day, early in the morning, Nārada mahā munīndra came to this Tyāgarāja's house and looked at him, and said: "I believe there is a music vidvān called Tyāgaraja, I have come with the desire of listening to his music". Immediately, Tyāgarāja, who had prepared himself to take oil bath, prostrated before him, took care of his needs and told him that he was the same Tyagaraja. He then sang in front of the munīndra so well that for a second, one could believe that it was sung by a gandharva. The saint supreme was very pleased, and told him that "there was no other person in this earth that could sing as delectably as him. He gave him a book, and told him that he would complete his rituals and came back for alms, and disappeared. Later, since he could not find that saint anywhere after searching all over, he (Tyāgarāja) was worried, spent the day without food until sunset, performed the night worship, and went to bed. While in sleep, the great person who appeared that morning before him as a saint, appeared in his dream, and said "Oh respected man, I am Nārada. I was very pleased with your expert educational value, your devotion and your ritualistic life, and so I appeared before you this morning. The book that I gave you is a musical treatise known as "svarārnavam". Until now, no one on this earth knows about it. Other than you, no one else deserves to look at this book. With the thought that through you, music should attain prominence on this earth, I gave this "svararnavam" to you. Now all your worries should rest". Saying thus, he disappeared. He (Tyāgaraja) got up in the morning, and saw the book to be the same as it appeared in his dream, he was extremely happy and composed the krtis - "nārada guru swāmi" in the rāgam darbār, "śrī nārada nāda sarasīruha" in kānada, and "nārada gāna lōla" in athāna. As he proceeded to read the book "svarārnavam" again and again, the exceptional secrets of the rāgams became evident. He thus could compose many thousands of kŕtis in many apūrva and mēļakartā rāgams without deviating from the grammar of music.This paved a path to bhakti, and he attained extraordinary happiness and bliss. These (writings) are unattainable to others. This is information about Sadkāla Gōvindadās. He belonged to golla clan. He was a kēraļa citizen, and was an expert in music and was a great devotee. When he was living in Kērala, Śrī Rāghava appeared in his dream and ordered him, saying:, "In the pious land of Pañcanada, my greatest devotee called Tyāgarāja is living, shining as a great musician. You should go to him and exhibit your musical expertise, and your true devotion". As per the order, he (Satkāla Gōvindasāmi) went in search of Tyāgarāja. While travelling to Tiruvaiyāru, he stopped at Ettayāpuram, and by the introduction of Bālusvāmi Dīksitar, was felicitated by the Mahāraja. Pleased by their devotion, he stayed there for some months, spending the time in singing the devotional songs. Thereafter, he went to Tiruvaiyāru, listened to Tyāgarāja's singing, made him listen to his singing, and was extremely happy. With such joy, he declared that he (Tyagaraja) was nothing but īśvarāmśa mūrti (embodiment of īśvara), who took birth to propagate the knowledge of devotion (bhakti jnanam) and the intricacies of the science of music and to bless sincere devotees. Thus he praised him, and told his dream and other incidents, so that all the people were aware of it, and he worshipped the feet of Tyāgarāja, prostrated before him, took his blessings, and travelled to Pandrāpuri (Pandarīpuram). Afterwards, just in the same way, from the banks of river ganga, a superior devotee had the dream, and also travelled to Tiruvaiyāru, visited the respected soul (Tyāgarāja) and got his blessings. As he narrated his story to him, Tyāgaraja had the vision of the todi krti "dāsarathi". Thus, as the divine incident of this

Vāaggēyakāra Caritram 17

Tyagaraja spread to the whole land, the rulers of the lands of Mysore and Tañjavūr, with a desire to meet him, sent invitations. But he refused them saying that he does not desire shelter (protection) from anyone else other than Śrī Rāghava. Once when Sarabhoji Mahārāja came to Tiruvaiyāru, wanted to see Tyāgarāja, and sent ambassadors to him, Tyāgarāja did not accept it and, not only wrote the krti "nidhi cāla sukhamā, rāmuni sannidhi cāla sukhamā", but also wrote a krti with the meaning: "Rāma, could you not spare me from this type of abuse from others?", and completed it. In this manner, he composed many varieties of krtis, some suitable to the circumstances, and others with themes of his being blessed. To elaborate those would make this (story) long. When he visited Śrīrangam, he composed a krti, "ō rangaśāyī", and also another kiti, "rāju vedale jūtāmu rārē", and when he visited Tirupati, he composed a krti, "teratīyaga rādā" One day, his brothers were angry at him saying, "he is refusing even the invitations from the kings, what is the use of having such scholarship? He is running around with the idol of pattabhisekam, without any interest in riches. All these are because of this idol", and without his knowledge, they threw it into the well. Having come to know about it, he (Tyāgarāja) composed a krti, "ī pāpamu jēsitinō" (What ghastly things have I done?). He appealed (to Lord) saying that such brothers were born with him, who harass him, by not letting him practice his devotion. In another krti, "etlā dorikitivo", he wonders how he could get rāma (devotion to Räma) when all around him are people who do not understand the path of devotion. He praised the Lord by singing in many different ways such as "enta rāni tana kenta pōni, cinta viduva jāla, śrīrāma". Thus, he composed a krti, "koluvamaregada". which depicts his daily routine of doing good deeds, performing rituals and devotional singing through all his lifetime. He composed many krtis in the mode of a friend, and with questions and answers, which reflect his feeling that Śrī Raghunātha was like a close friend to Tyāgarāja. Śrī Raghunātha appeared three times before him. Ten months before his demise, Śrī Rāma is said to have appeared in his dream, and insisted that he should live on this earth for ten more months. The next morning he composed a krti "giripai nelakonna rāmuni", which elaborates the dialogue that happened between himself and Śrī Räma in his dream the previous night. After ten months, one day Śrī Raghunātha appeared in his dream and told him that he has one more birth (reincarnation) to take but he (Tyāgarāja) refused it, saying after worshipping him all this long he would not like to be re-born. Śrī Raghunātha, with sympathy told him to take renunciation (become a saint) the following day, and promised that he would make him become one with himself (attain moksam) the very next day. As per the advice of the Lord, the very next day, he informed all, and in the presence of learned, devotees, and saints, he took to paramahamsaśramam. The next day during the morning hours, he composed a song called "syāma sundarānga" and informed everyone including his disciples, learned musicians, devotees, citizens and brahmins that he would attain niryanam (final journey) at 12 noon that day, and that was how God had arranged for him. Having heard about that, innumerable number of people from all around places near to Tiruvaiyāru, such as Tañjāvūr, came to celebrate this grandeur. As the time mentioned by Tyāgarāja ap- proached, many sang krtis, brahmins chanted the vedams and the devotees chanted the namavali (God's name). As the place reverberated with all that sound, Srī Tyagaraja informed the people to light the lamp saying "that was the time assigned by the Lord for himself. They lit the lamp for Pattābhirāma. Imme- diately, he uttered the Lord's name as "jānakī kānta smarane", and as all the people chanted "jaya jaya rama". With folded hands, he prostrated before the God, and when all the people went closer to see him, he appeared lifeless. Soon after, with a lot of festivity, the blissful body of Tyāgaraja was laid to rest at the platform of the Tiruvaiyāru Śrī Bāvāsvāmi steps. He left his mortal body at age of seventy-seven. He did not have a male child. When he was thirty-five years old, his first wife was deceased. His second wife, whom he married later, passed away well before him, after leaving a female child behind. That girl had a boy baby. He was named Tyagaraja. He also passed away at the age of thirty-five. There is no other child. The grammar and the rāgam, as that are mentioned in the "rāgādhyāyam" of "sangīta ratnākaram" are not in use for the past seven-hundred years. Mahārāja Rājaśrī S. Rādhākrsnayya, who was the principal of Kottakōta Mahārājā College, and who, with the determination to bring those into popularity with their laksyam and laksanam, researched books such as "ratnākaram, and wrote about them. Through him, this Tyagaraja's story in tamil prose form has been given to me. The ultimate source of "sangītasäram, the one who was the initiator of tāraka mantram, and the incar- nation of Sadāśiva, Śrī Tyāgarājasvāmi himself, with the intention of facilitating eternal bliss to learned and the ignorant, took birth, in his own abode of Kamalālayam, as the above mentioned Tyāgaraja, and spread

Vāaggēyakāra Caritram 18

the nectar of the intricacies of music and devotional path to Śrī Rāma.

29 Tyagaraja's Disciples

1. The great Tiruvattūr Vīņa Kuppayya was an eminent singer, a vīna player, and writer of many telugu lyrics containing beautiful word play, tāna varnams, and kīrtanams. He named his son as Tyāgayya after his guru. This Tyagayya became an expert in telugu and music, and he composed a few tāna varnams and kīrtanams. He also wrote a book called "Pallavi Svarakalpavalli", and got it published, and made it available. He is still living.

2. The most learned of musicians was Bālājipēttta (Vālājapētta) Vēnkațarāmana Bhāgavatar. Because of him, many people from Saurāstra became proficient in music and learnt many Tyāgarāja krtis and attained fame.

3. Ayyā Bhāgavatar

4. Subbarāma Bhāgavatar

5. Tillasthānam Rāmayyangār

6. Umayāpuram Krsna Bhāgavatar

7. Sundara Bhagavatar1

30 Gōvindasāmayya

He was a trilinga brähmin, and possesses great scholarship in the trailinga language (telugu), and in music. His telugu padam creations were full of embellishments and mainly on amorous theme. Of these, one varnam composed on the king of Kāvētinagaram in mōhana rāgam, and two other similar varnams in navarōj and kēdāragauļa rāgams became very famous. It is said that Govindasāmayya lived earlier than Ādiappayya and belonged to Kāvētinagaram.

31 Kūvanasāmayya

He was a master of music, and telugu lyric. The tāna varnam composed by him in the rāgam nātakurañji alone became well-known. He is said to be the brother of the aforementioned Govindasāmayya.

32 Vaikuntha Sāstri

Vaikuņtha Śāstri was a drāvida brāhmin. He had great scholarship in the fields of writing epics, dramas, in sciences such as grammar and music. He was said to be a pinnacle among sanskrit composer musicians. He composed many ktis in sanskrit in rakti and dēsīya rāgam. It has been said that he was from the land of cōlas, and from the same period as Rāmasvāmi Dīksitar. The stamp signature of "vaikuntha" could be seen in his krtis.

33 Vijayagōpāla

This Vijayagopāla was a great devotee. He was very capable in sanskrit, telugu and music. Many krtis deplete with devotion, with the stamp signature of "vijayagōpāla", are seen which are written in sanskrit and telugu lyrics. It is said that he belonged to the time of two hundred years ago. Need to be researched.

1The last two persons are still living.

Vāaggēyakāra Caritram 19

34 Kuppusvāmi Ayya

He was a drāvida brāhmin. He was an expert in telugu. He was believed to have lived during the reign of Amarasimha Mahārājā and at the beginning of Sarabhoji Mahārājā. His krtis are based on the emotion of devotion. He also composed some padams with the emotions of romance. His lyrical creations were with magical and delicate words, and with "varada venkata" as his stamp signature.

35 Pallavi Gōpālayya

He was a drāvida brāhmin from the north. Tañjāvūr was his place of stay. He is a expert in music and telugu. Since there was no other expert in the musicians who could sing the pallavi with as much com- mand as him, he became famous as "pallavi Gopālayya". When one studies his creative genius in musical creations and the ata tāla varnam, "vanajāksi" in the rāgam kalyāni, his talent in the usage of gamakams and the beauty of his creation of the citta svarams would become very clear. Apart from these, he attained fame by composing ata tāļa tāna varņams in kāmbhōji and tōdi rāgams, and some kŕtis in rakti rāgams with the stamp signature of "venkata". He lived during the time of king Amarasimha and during Sarabhōji Mahāarājā, for a long time.

36 Muddusvāmi Dīksitar

He was born in Tiruvārūr, during the manmatha year and in the śaka year of 1692 (1775 A.D), as the son of Rāmasvāmi Dīksitar. His mother was Subbamma. Before he was sixteen years old, he progressively learnt practicing vēdas, intricacies of kāvyas and nātakas, kaumudi, some interpretations, music, and also became an expert in the sciences of astrology, medicine, and mantram, and became very famous. When he was married and was staying with Manali Cinayyā Mudaliyār, due to his good deeds in his previous births, a siddha yōgi called Cidambaranātha Yogi, came to Manali and stayed there for sometime. Im- pressed by his (Muddusvāmi Dīksitar's) devotion, he initiated him into śrīvidyā mahā mantram, and took him to the shores of ganges with him. There, for five years, he gradually made him attain maturity with the help of mantram, and taught him the asta maha siddhis. Realizing that he was a great soul, he also taught him the science of philosophy. After that, Muddusvami Dīksitar took permission from the pious man, went back to Manali, and in order to please the gods and goddesses, he gradually performed internal and external purification rituals. Then he went to Tiruttani, and while he was reciting the subrahmanya pañca daśākșarī mantram in the sanctum, one day Cengalvarāya came there as a great soul, asked him to open his mouth, put some sugar candy in his mouth, and disappeared. Immediately, Diksitar started com- posing a kŕti in sanskrit and in the rāgam māyāmāļavagaula, "śrīnāthādi guruguhō jayati jayati", set in the prathama vibhakti (nominative case). Apart from this, he composed seven more krtis on "guruguha", starting with sambuddhi prathama. Then he went to Kañcīpuram, and stayed with his brothers for four years. In the presence of Kāmāksi, he practiced the śrīvidyā meditation and composed many krtis, such as "kañjadaļāyatākși", "ēkāmranātham", etc., adorned with poetic words, and made them famous through his younger brothers. He conducted philosophical dialogues with the expert in upanisads who lived there, and set the rāma astapadis written by him, to music including the talam and notation. Later when he was living in Tiruvārūr with his family, he composed many krtis on 'Srī Tyāgarājasvāmi, with "guruguha" as his stamp signature. He also composed kŕtis on ānandēśvara, siddhīśvara, acalēśvara, hātakēśvara, valmīkēśvara, on sōdaśa Ganapatis who reside in that pious land, on the Siva and Visnu deities of the pious lands that belonged to cola empire, on the deities of earth and other pañca bhūta temples. He also composed on Azhagar Koil and other pious lands that belonged to Pāndya empire, and also on Kāśi, and other holy places. He composed the krtis in sanskrit language with commanding power of words, with- out deviating from the advaita philosophy, without deviating from Vēnkatamakhi's rāga tradition, using gamakas, embedded with rāgam's jīva svarams, and also including the name of the rāgam. He also com- posed navagraha kŕtis composed in ūlādi sapta tāļams, and nine krtis called "navāvaraņa krtis", that are composed in the order of the ritualistic celebration of Kamalämba and, through his disciples he made them famous. When his younger brothers, Cinnasvāmi and Bālasvami, who were learning music from

Vāaggēyakāra Caritram 20

him, were invited by the patron kings, they went to Madhurai and stayed for some years. During that time Cinnasvāmi Dīksitar passed away. Bālasvāmi Dīksitar was dejected and was affected by the death of his brother. So, along with a disciple called Hari, he went to Sētu (Rāmēśvaram) and from there went to Ettayapuram where he was taken care of by the Mahāraja there. Dīksitar thought of his brother's demise to be a natural occurrence but, as he considered his younger brother (Bālasvāmi Dīksitar) as his own child, he was worried about his whereabouts and his dejection. Hence, he, along with his two wives and a dis- ciple called Subrahmanyayya went to Sāttūr via Madhurai. There, at a gazebo that was in front of the entrance to the temple of Sättūr deity, while he was performing his prayers, he heard a few sixteen year old vaisnava brahmins talking about the marriage that was to be celebrated the next day by the Mahārājā of Ettayāpuram, for a musician called Bālasvāmi, of Tiruvārūr with a girl from Rāmēśvaram and said "come on! Let us all go". As soon as he heard this conversation, Diksitar was overwhelmed and in the presence of the Lord, he composed a krti, "vēnkatēśvara ettappa bhūpatimāśrayēham", in the rāgam mēgharañji, and taught it to Subrahmanyayya. Then he asked the vaisnava brähmins there to take them along with them to Ettayapuram. As he was proceeding to Ettayapuram, on the way he noticed crop that was dry- ing due to lack of rains. He felt pity for that and prayed to Amrteśvari with devotion and composed a krti, "ānandāmrtakarșiņi, amrtavarșiņi", in the rāgam amritavarsini. It was said that, even while he was teaching the song to his disciple, there appeared a black cloud in the sky (which was until then clear) and it progressively developed into a massive one and rain started pouring down heavily. As the ground was wet, the cart got stuck in the mud and stopped. The accompanying vaisnava brahmins pushed it with dif- ficulty, and slowly he reached Ettayäpuram by the evening. There, he saw his brother and felt very happy. Having come to know about the arrival of Dīksitar, the Mahārāja came to the residence that was built by him and given for them to reside, felicitated him, made him sing the krti composed by him in the rāgam mēgharañji, felt extremely happy, came back the next day and had the marriage performed. As soon as the marriage was performed, Diksitar left his older wife as support to his bother's wife, took leave of the Mahārājā, and went back to Tiruvārūr and lived there. After sometime, he got the invitation asking him to attend the impending wedding of the eldest son of the Mahārāj of Ettayapurm. Since he was nearing the end of his life, he took leave of his friends and disciples saying that he would not be returning back, and went to Ettayäpuram along with his family. The third month after the wedding of the prince, śaka year of 1757 (1835 A.D), manmatha year, on the day of tulākrsna caturdaśi, he left his mortal body and reached skanda giri. This Muddusvāmi Dīksitar was this author's older uncle (his father's older brother).

37 Muddusvāmi Dīksitar's disciples

1. Tirukkadayūr Bhārati, who was an expert in tamil and music.

2. Āvudayārkoil vīņa Vēnkațarāmayya.

3. Tēvūr Subrahmanyayya.

4. Tiruvārūur uddha mrdangam Tambiyappa, who was well versed in music, mrdangam, laksyam and laksaņam.

5. Tañjapuri Ponnayya, exponent of bharatam (nātyam).

6. Vadivēlu.

7. Koranādu Rāmasvāmi, who was an exponent of laksyam and laksanam of bharatam.

8. Tiruvaļandūr Bilvavanam, who was an expert nādasvaram player.

9. Tiruvārūr Ayyāsvami, who had composed many tāna varņams.

10. Tiruvārūr Kamalam, who was very famous in the arts of music and dance.

11. Pallālūrugudi Ammani, who was well versed in music.

Vāaggēyakāra Caritram 21

38 Cinnasvāmi Dīksitar

He was Muddusvāmi Dīksitar's brother. He was well educated in sanskrit and telugu. He was an expert in music. He was the greatest in vīna playing. This great soul possessed expertise in vocal as well as in instrumental music. He was felicitated in the courts of Manali Cinnaya Mudaliyär, and in the court of other kings. While he was living in Tiruvärūr along with his family, one night in a gathering of patrons, kings and other experts, when he played a ragam called "nāgavarali", a huge snake dropped from the roof in front of him, and started dancing with its hood opened and lifted high. When all the people started getting scared, Dīksitar, who was there told them not to be afraid and told (Cinnasvami) not to stop the vina and continue to play. As he continued his playing, the snake with a yard long hood highly lifted, danced, got tired and slowly stopped and put the hood down to earth. After witnessing that, Dīksitar told them, "Everyone prostrate to him(the snake)". (And to Cinnasvāmi) "You too put the vīna down and prostrate to him", and they all obliged. Immediately the snake crawled away. This story was narrated by Subrahmanyayya and other disciples of Diksitar, who were eye-witnesses to this incident. He composed two krtis, namely, a krti on Nārada, "gānalōla karuņālavāla", in the rāgam tōdi, and another, "nārāyaņānanta", in kalyāņi rāgam. He went to Madhurai along with his younger brother, and on his forty-fifth year, he passed away.

39 Bālasvāmi Dīksitar

He was born as the third son of Rāmasvāmi Dīksitar in the śaka year of 1708 (1786 A.D) in the year of prab- hava, in mithuna ravi, aśvinī naksatram and in kanyā lagnam. He was the youngest son of Rāmasvāmi Dīksitar. He was known as Bālakrsna Sarma. He was an expert in telugu and very well versed in music. He was an expert in playing the instruments such as vīna, svarabattu, fiddle, sitār and mrdangam. He knew the intricacies of musical laksyam and laksanam. Even when he was very young, Cinnayā Mudaliyār at first arranged for him to learn violin from an English man. He learnt western music as well as Indian mu- sic for three years and played very well in front of Manali Mudaliyar and other music-lovers. During his childhood, one day in a gathering of Mudaliyār, Sonti Vēnkatasubbayya played the gītam, and tānam in the rāgam takkā, looked at the Mudaliyar and told him that that ragam is known only in their family. Imme- diately, the young Bālasvāmi Dīksitar looked at the Mudaliyār and told him that he was going to sing that takkā rāga gītam and to listen. As he sang it as "aramajju aparādha", he was felicitated with a pearl (tight to the neck) necklace and a pair of earrings (kadukku). Afterwards, he along with his intelligent brothers, lived in Kañci and other holy places and went to Tiruvārur and lived there for sometime. Then, with a disciple called Hari, who was with him since his childhood, and with his second older brother he went to Madhurai and lived there for sometime. When his brother passed away, he went to Setu with Hari and from there reached Ettayāpuram and visited the Mahārāja. There, when he played fiddle, the instrument that was new for those times, the Mahāraja was very pleased and felicitated him greatly. He also recognized his talents in the field of music laksyam and laksanam, his delicate playing on the vīna. The Mahārājā also built him a house for him, made him the court musician and got him married a second time. The oldest son of the then Mahārājā, Kumāra Ettappa Mahārājā, learnt laksanam and laksyam of music from him. That Mahārājā was coronated. For the krtis he had composed in sanskrit, in many ragams following the pat- terns of varņams, he (Bālasvāmi) composed muktāyī svarams with intricate innovations, which pleased the Mahārājā. Apart from that, he composed krtis in telugu on Śrī Grdhrācala Kārtikēya in the rāgams sāranga, darbār, kannada and rudrapriya. With the permission of Kumāra Ettappa Mahārājā, who was well versed in astrology, he took me under his wings as his grandson, and initiated me to brahmopadēśam, taught me vīņa and educated me in musical laksyam and laksanams. He composed an ata tāļa varnam in the rāgam nāta, and made every svaram in that tana varnam shine with magical effect and in the last four cycles (āvartams) of svarams he embedded the four jatīsvarams having one in each of the avartam. After hearing this varnam, the Mahārājā felicitated him with a pair of tōdās (bangles) , which were valued at one thou- sand gold coins and which were adorned with rubies and the face of lion. He also presented him with a pair valuable (shawls) cloths. He also rewarded the people who sang the varnam. After that Mahārājā, his brother was crowned and he too learnt music from him. He composed daruvus on Vēnkatēśvara Ettappa Mahārājā, who was the embodiment of music, in the rāgams rudrapriya, darbāru, and vasanta, with the subject of pātava muktāyi svarms. After listening to them, the Mahārāja felicitated him by presenting him

Vāaggēyakāra Caritram 22

with two shawls and thousand gold coins for each daruvu. He used to sing "gītagovindam" (astapadi) and chant the name of God on every ēkādaśi day without fail. As the days passed thus, in the śaka year of 1931 (1859 A.D) in pingali year and on kumbha ravi śukla trtīya day, he attained the heavenly abode.

40 Caukam Sīnuvayya

He was a drāvida brāhmin. He was well versed in music. Since no other singer could sing in the slow tempo (vilambam-caukam) as he could, the kings and the learned of those times praised him as ' caukam' Sīnuvayya. He lived after the time of Sarabhoji Mahārājā and at the start of time of Sivāji Mahārājā.

41 Dorasāmayya

He was a drāvida brahmin from northern country. He was an expert in telugu and music. His krtis were in simple language and very pleasing and carried the stamp signature of "subrahmanya". He lived in Pañcanada ksētra, after the time of Sarabhōji Mahārājā and at the beginning of the time of Sivāji Mahārājā.

42 Madhyārjunam Pratāpasimha Mahārājā

He was the son of Amarasimha Mahārājāa who ruled Tañjāvūr. He knew sanskrit and mahārāstra lan- guages. He was very well-versed in music. He was an expert in mrdangam playing. He composed a rāgatāļamālika in mahārāstra language with intricate svara patterns and with beautiful language. He passed away some time before the time of Sivāji Mahārājā.

43 Kulaśēkhara Perumāl

He was the crowned king who ruled the state of Tiruvamkur. This capable king of Kerala country learnt many languages like sanskrit, āndhra (telugu), hūņa, kēraļa (malayāļam), and hindusthāni (Hindi). He pos- sessed expert ability in music. His was the great soul that composed, in rakti rāgams and dēśīya rāgams, many cauka varnams, and a vast number of krtis in sanskrit language which were replete with poetic beauty, and which bear the stamp signature of "padmanabha". He is said to have authored many kāvyams such as campu. He composed cauka varna padams in telugu. He also composed many krtis in kēraļa lan- guage. It is almost seventy years since this devotee of Padmanabha reached the lotus feet of Padmanābha.

44 Vengu Bhāgavata

He was a drāvida brāhmin from northern country. He belonged to Tirunelveli. He was an expert in telugu and music. He mastered innumerable number of krtis of the older times. He would sing rāgālāpanam, pallavi, and svarams very well. Apart from this, he also composed daru, krti and tāna varnams. This great devotee lived for seventy years and passed away during the past ānanda year.

45 Śēsācala Bhāgavata

He was the court musician of the state of Kottakota. He was the disciple of Śyāmā Sāstri. He was an expert in music. He composed krtis in poetic form. His brother Ramanadasa was an expert in music and literature. There are telugu krtis composed by him that are adorned in the poetic form and with the stamp signature of "rama". His son was Matrbhūtayya. He had the wealth of musical education. His son was Gopālasāmiayya. He was a great musician who knew the laksyam and laksanam of music. He is still serving as the court musician of Kottakota state. It can be said that, in the present day musicians, there is

Vāaggēyakāra Caritram 23

no one who could sing krtis or pallavi trends of olden times like him, with the shape and effect of those rāgams, and with varieties of gamaka prayōgams.

46 Rāmānandayatīndra

Rāmanandayati had the ability to create music in sanskrit. His expertise would be well evident when one studies the "gauri raga prabandham", authored by him. He appears to belong to the time after Ahobala Pandita.

47 Nārāyaņatīrtha

This great devotee-saint was an expert in music and literature. This is evident from the tarangams, which were composed by him. He is said to have lived three hundred years.

48 Sadasiva Brahmam

Approximately one hundred and sixty three years ago, there lived a wise great soul called Sadāśiva Brah- mam, who roamed the pious lands of Karuvūr on the banks of Amarāvati, Nērūr Kodumudi, on the banks of Kavēri, naked and immersed in ecstatic happiness. During that time he composed many krtis in poetic genre. Now they are very famous. There are many enchanting stories about him. In the year 1890 A.D. on the 20th day of October, Sadasiva Brahmam's life story was printed as prose in tamil at the Jagadāmbā Vilās printing office of Kottakāta. The greatness of this pious soul would be evident when one looks at that book. Due to the blessings of this great soul, the principality of Kottakta progressively became well known. By the contribution of the kings of this principality, even today, there are yearly and daily prayers being performed at the samädhi of this great soul which is in Nerūr. According to his orders, the ritual of giving cooking ingredients to unmarried girls on every Friday and the ritual of feeding the public every year on the navarātri day celebration, with substantial expenses, are being carried on even today.

49 Akkil Svāmi

This great saint is said to have lived about sixty years ago. He was a devotee of Lord Krsna. For a long period he lived in Kolladam on the banks of river Kaveri and in close proximity to Cidambaram. Due to his wrong deeds in his prior births, he suffered from a severe disease of his body. One morning, he looked at his disciples and told them to lift him up and carry him to the banks of the Kolladam river, and leave him there on the sands, and to come back in the evening and see him. The disciples followed his desire and did accordingly. This great saint then prayed to Śrī Krsna in his heart, and composed a krti, "tāvaka kara kamalē, in kalyāni. As he praised the Lord by singing that song, by the grace of God, as the heat came down, his ailment also came down, and his body became free of the disease. The disciples then came, saw him, paid their respects to him took his back to his town. After that, Akkil Svāmi spent a lot of time praising the Lord with his krtis written in sanskrit, and attained heavenly abode.

50 Svayamprakāśa Yatīndra

He was an expert in sanskrit and telugu. He was also well- versed in music. His expertise as a composer musician is evident from the sanskrit krtis he composed. It is believed that he lived in Mayūra Ksētram, about fifty years ago.

Vāaggēyakāra Caritram 24

51 Śivarāmāśrama

This saint supreme was born in a trilinga brahmin family, in Laksmīpuram, a town that belonged to Rāmanāthapuram. He became a disciple of the saint of Marudānallūr, and studied krtis of the divine path bhāgavatam krtis of the festival celebrations, astapadis, tamil Rāmāyana krtis, and sanskrit epics. By the time he was twenty, he became a saint. He visited all the holy lands and reached Tiruvarur. With his unlimited devotion towards Tyāgēśvara, he lived on the Vignēśvara Ghat and composed many krtis in san- skrit and telugu. Apart from those, he also wrote a book called "nija bhajana sukha paddhati" in the poetic form, and got it printed in Cennapuri and made it famous. In the year 1897 A.D., he attained heavenly abode in Tiruvārūr itself. This Sivarāmāsrama lived for seventy years.

52 Yuvaraṅga

During the time of Tulajā Mahārājā, Yuvarangēndra lived as the 'samstānādhipati' of Udayārpā ļayam. He was a connoisseur of music, and was very intelligent. The poetic creations that were written in telugu by many composer musicians as padams are known as "yuvaranga" padams.

53 Parimalaraṅga

He was the great expert who created many padams in telugu with poetic beauty of words, rhythm and diction and with the stamp signature of "parimalaranga". It is believed that he belonged to the outskirts of Cennapattanam and lived within the past two hundred years.

54 Sāraṅgapāņi

There are many of this padams with śrngāra rasam (erotic themes), and hāsya rasam (themes of humour). These padams, with hāsya rasam as the main theme, have many village sayings, and with "vēnugōpāla" as the stamp signature. He was a telugu brähmin from the northern country and belonged to the time within the last two hundred years.

55 Merattūru Vēnkatarāma Śāstri

He was a trilinga brāhmin. He was the resident of Merattūr, a village that was close to Tañjāvūr. He lived during Sarabhoji Mahārāja's time, and for some years during Sivāji Mahāraja's time. He possessed unattainable scholarship in telugu language. His padams would be in the form of kaiśiki, adorned with exemplary words which contain śrngāra rasam.

56 Poetic composers of telugu padams based on śingāra rasam

Name mudra

1. Ghatapaļli kailāsapati 2. Bollapuram bollavaram 3. Jatapalli jatapaļli gōpāla 4. Śōbhanagiri śōbhanagiri 5. Inukōnda inukōņda vijayarāma 6. Śivarāmapuram Vēm̧amgi śivarāmapuram, rāmapuram 7. vēņamgi 8. Mallikārjuna mallikārjuna

Vāaggēyakāra Caritram 25

These are trilinga brähmins from the andhra country. They are said to belong to the period of the last 200 years.

57 Todi Sītārāmayya

The ragam todi was said to be his treasure. It is said that he would pawn todi ragam, borrow money for interest, and spend. The kings and the heads of state, who were eager to listen to his music, would pay the debt with the interest that had been pawned for, release the todi ragam, ask him to sing and felicitate him. It is said that there are some compositions of poetic creations of him. He seems to have lived during the beginning Sarabhoji Mahārājā's time.

58 Taccūr Singārācārya

He was an andhra vaisnava brahmin. He was the disciple of Subbaraya Sastri, who was the son of yāmā Śastri. He was a great expert in music, telugu and sanskrit. There are some sanskrit compositions created by him, which were adorned with poetic creative beauty. He was a great artist in playing the fiddle. He, as well as his younger brother Taccūr Cinna Singārācārya, who was also an expert in playing the fiddle, were help- ful to the people. They were made to write and publish five books, with details of laksyam and laksanam of music, some gītams, varnams, kīrtanams, and padams of older composers. These were: (1) 'svaramañjari', (2) 'gāyaka pārijātam', (3) 'sangītakalānidhi', (4) 'gāyakalōcanam', and (5) 'gāyaka siddhāñjanam'. Cinna Śingārācārya is now alive.

DRĀVIŅA VĀGGĒYAKĀRA

59 Aruņācala Kavirāya

He belonged to Siyyāli. He was a clever man who knew all the five laksanams in tamil. He was an expert in giving meaningful discourses on 'Kamba Rāmāyaņam. He lived during Tuļajā Mahārājā's time. In the 'Śrīmad Rāmāyanam', without deviating from the story line, he composed varņa mettu to six kāņdams, composing as tamil krtis using appropriate ragams based on the mood of the story. He rendered those in the court of Muddukrsna Mudaliyār, in the presence of my grandfather Rāmasvāmi Dīksitar, and other musical stalwarts, and was felicitated with a shower of gold. He was an efficient musician.

60 Muttuttāndavar

He was an expert in tamil and music. He was a great devotee of Siva. He composed many padams and krtis on the heads of the court of Cidambaram, in śrgara and bhakti rasams. He is said to have belonged to the time before Aruņācala Kavi.

61 Pāpavināśa Mudaliyār

He had expertise in music and tamil. With the stamp signature of "pāpavināsa", he composed many padams in nindā stuti. He lived during the time of Tulajā Mahārājā.

62 Ghanam Krsņayya

He was a brähmin. He had knowledge in music and tamil. He was an expert in singing pallavi. His padams were in śrngāra rasam, with intricate varņa mettu and with beautiful form. His land was Udayārpāļayam.

Vāaggēyakāra Caritram 26

There are his padams on the king of that region. He lived during (saint) Tyāgarāja's time.

63 Śankarābharaņam Narasayya

The rāgam Sankarābharanam was this brāhmin's treasure. There are some padams of his in tamil, with beautiful words. He belonged to the time of Sarabhoji Mahārājā.

64 Ānatāndavapuram Bālakŕsņa Bhārati

This brahmin was a devotee of Siva. He was an expert in tamil and music. He composed many krtis, not only in rakti and dēśīya rāgams, but also in some apūrva rāgams replete with beautiful poetic words, and with "gopālakrsna" as the stamp signature.

65 Vaidīśvarankoil Subbarāmayya

This brähmin was well-versed in tamil and music. With the stamp signature of "muddukomāruni", he composed many padams in the śrngāra rasam. He lived forty years ago.

66 Vēnkatēśvara Ettēndra Mahārājā

Vēnkatēśvara Ettapa Mahārājā had great knowledge in sanskrit, telugu, tamil and music. He was a great vīna player. It was due to him that the stone steps were built for the north Theppagunta in Ettayāpuram, at an expense of 30,000 rupees. Apart from that, in the śaka year of 1755 (1833 A.D.), during the time of 'astabandhanam' celebration for Śālināthēisvara svāmi and Kantimatī dēvi of Tirunelvēli, with the expense of 50,000 rupees, he fed the brāhmins. In Kazhugumala, for the Kārttikēya svāmi, he got a palanquin made with Karnātaka ivory and gold, silver chariots, and golden lamps at an expense of 20,000 rupees. Apart from these, he made a lot of donations. This Jagadīśvararāma Ettēndra composed a tamil kŕti in the rāgam mukhāri, and many other tamil viruttams.

67 Jagadīśvara Rāmakumāra Ettappa Mahārājā

He was the first son of Vēnkatēśvara Ettappa Mahārājā, who was a righteous man, endowed with education of sanskrit, telugu, tamil and music. He was a great expert in kāvyam, nātakam, alamkāram, and other fields. He was a great soul, who knew the aspects of the six śāstrams. He was a great vīna player, who also knew the laksyam and laksanam of music. He was very knowledgeable in tamil and telugu. With "rī kārttikēya" as his stamp signature, this great soul had composed numerous cūlikas, ślōkams, and krtis, on Ganapati and other deities, in rakti rāgams and dēśīya rāgams, adorned with poetic imagination. In his court, he had many stalwarts such as :

· Vidvān Śrirangam Kuppaņayyangār - a scholar in the four śāstrams,

· Tiruvālamkādu Viśvēpuri Dīksitar - a scholar in the four śāstrams and who was from the clan of Appayya Dīksitar,

· Tirukkodikāval Kōdaņdarāma Śāstri - who was knowledgeable in mīmāmsa and other sciences,

· grammarian Śrīvilliputtūr Vīrarāghava Tātācāriar,

· Tārkika Śirōmaņi Vițlāpuram Mannārayyangār.

He also had

Vāaggēyakāra Caritram 27

· Kazhugumalai Ahōbala Sāstri - an expert in telugu, sanskrit and in eighteen 'āgamanams' (such as kāmika), and other sanskrit scholars,

· telugu expert grammarian Villāttikuļam Krsnayāmātya,

· the great poet in tamil and telugu, Avalnattam Rāmalingayya,

· telugu scholars, Bālayya and Gōpālayya,

· expert telugu poets like Kēśavarāju,

· other Bhattrājus,

· Kudikai Pulavar,

· Mūkku Pulavar,

· Astāvadhāni Muddukumāra Pulavar,

· Paramaśiva Pulavar,

· Namahśśivāya Pulavar,

· Pāndya Pulavar, and

· other tamil poetic giants.

He also had great composer musicians :

· the great vaiņika, Bālasvāmi Dīkșitar,

· the greatest of the vainika clan, Subbukutti Ayya,

· vīņa Mīnāksi Sundaram Ayya, who was a court musician through the family tree and a disciple of Bālusvāmi Dīksitar, a great vainika, and also a court musician of this king's court,

· vīņa Subbayya Aņņāvi,

· great singers such as Tirunelvēli Vēngu Bhāgavatar, Madhura Rāmayya

· Tēvūru Subrahmaņya Ayya, and

· the great singer disciples of Muddusvāmi Dīksitar.

As his court was adorned with all these scholars, everyday, according their abilities in education and deliberation, he would felicitate them and take care of them with compassion, not only by arranging salaries according their qualifications, but also according to the status of their family situation, and helped them with necessities. Apart from this, he renovated the temple of Grdhrādri Kārttikēya, the top portion of the pagoda adorned with golden pots, silver lamps that are used for the sixteen rituals, many chariots and the gem studded crown and ear ornaments worth one lakh gold coins, ornaments adorned with the nine gems, pearl necklaces and other ornaments. Apart from the villages (donated for the maintenance of the temples) that were there before, he arranged for many more villages for performing special worship, offerings and other rituals. The extra endowments that he arranged, which were much more than what were there before, for the renovations and establishments of the golden vimanams for the Siva and Visnu temples in this Ettayapuri, is continuously being used even today. This Mahārāja spent his own money up to 25,000 rupees and built bridges on the rivers of Gangakondān Citram and Kayattāru Pāśam, for the benefit of citizens. In this Ettayapuri, he got the roads with strong rocks to cover the marsh, got trees planted, got stone steps built to the water tanks, and acted as the savior of the people in need. It can be said with certainty that there never was another one in this king's clan, who was as pious as this one. After this Mahārājā , the eldest of younger brothers, Jagadīśvara Vēnkatēśvara Ettappa Mahārājā was coronated.

Vāaggēyakāra Caritram 28

68 Jagadīśvara Rāma Vēnkatēśvara Ettappa Mahārājā

He was an expert in tamil. He knew many other languages too. He was learned in music. He could play on vīņa, svarapattu, sitār, jalatarangam, mrdangam, and ghatam with intricate innovative creations. He could be called second 'Narada' for his singing, as he could sing the rāgālāpanam, madhyamakālam, and pallavi, replete with extraordinary innovative phrases and in such a melodious voice as if precious pearls were thrown dazzling around. He not only enjoyed the divine music all the time, but also intellectually shone by spending the time in philosophical dialogues and concentrated worship of Brahman. In the śaka year of 1778 (1856 A.D.), during the visākha month of ananda year, by spending 7,000 rupees, he got "sōmayāgam" performed for Sāmi Dīksitar, who was a priest, a scholar of vaiyākaranam, and was a decorated expert in the four types of poetic creations, who authored a "campū prabandham","Vallīparinayam", and who was known as "kavikēsari" (lion in poetry). Just like his older brother, he obtained enormous fame by taking care of many experts of all arts, by ruling with justice, and by having his upper arm as a branch of kalpa tree to the people in need (being generous to the needy). This Jagadīśvara Rāma Vēnkatēśvara Ettappa Mahārājā composed the kŕti, "murugā unai nān nambinēnayyā", in tamil language, in the rāgam rudrapriya, and some svarajatis. Finally he a became saint with no desires, and got united with 'paramjyoti'. After that, his brother Muddusvāmi Ettappa Mahārājā ruled.

69 Muddusvāmi Ettappa Mahārājā

Muddukumāra Ettappa Mahārājā was coronated, was involved in musical education, became an expert in the areas of color, expression and acting, took care of the scholars who were there trough generations, and became a 'cintāmani' (deliverer of boons) to the scholars who came there from other countries in such high proportion that citizens thought of him as the mighty Iravati (the white divine elephant) that came down to the earth from the heaven in his form. To Grdhrādri Śrī Kārttikēya Svāmi, at the expense of about 10,000 rupees, he got a silver elephant vahanam made, and by spending another 10,000 rupees, he got a large chariot made, and obtained enormous fame by offering them. This king had two sons. Out of them, the older, Rājā Jagadvīra Rāmakumāra Ettappa Mahārājā was coronated.

70 Rājā Jagadvīra Rāma Kumāra Ettappa Mahārājā

He was an expert in hūna, telugu, and tamil. He was an intelligent man who knew the science of rules and justice (law). In his court, he took care of all the scholars who were there through generations. He was de- voted to Śrī Mahābhāratam. The (telugu) Mahābhāratam that was composed in telugu by the 'kavitrayam (Nannayya, Tikkaņa, and Ellapragada) with the permission of this Mahārājā was written in tamil prose by me, and got published. When Kānci Kāmakoti Pīthādhipati, Jagadguru Śrī Śankarācārya Svāmi travelled through south Indian on a pilgrimage, due to this king's excessive reverence, he came to him and at that time, he performed "pādapūja" to this Jagadguru, and gave him to the tune of 10,000 rupees. After a few years, the son of this king Rājā Jagadīśvara Rāma Vēnkațēśvara Ettappa Mahārājā took over.

71 Rājā Jagadvīra Rāma Vēnkatēśvara Ettappa Mahārājā

This Mahārājā was coronated in the śaka year of 1821 (1899 A.D.), in the year vikāri, mārgaśira month and during the star time of jyēsta. He was adept in hūna, tamil and telugu. He was a great vīna player and a devotee at the feet of Kārttikēya. He was the caretaker of learned citizens and was adorned with the quality of patience. While he was ruling the kingdom without deviating from the tenets set by manu, he got a golden armor made for the utsava idol of Kārtikēya, at an expense of 12,000 rupees and at an expense of 10,000 rupees got a silver kailāsa vāhanam made and dedicated them to the Lord. He composed two kŕtis, "murugā tarukilaiyā", in the rāgam kamās, and "vā vā vā nī" in rāgam bhairavi. Even though from the year 1885 A.D. musicologists considered Indian music as a language, in order to make people sing with understanding, Cinnasāmi Mudaaliyar, M.A. not only transcribed himself with notation, the 800

Vāaggēyakāra Caritram 29

krtis of Śrī Tyāgarāja, which were with Bālājipēttta Krsna Bhāgavatar, but also got about 40 krtis printed in staff notation. Apart from that, he also included some miscellaneous krtis mentioned by others with the rules of grammar, spent a lot of money and got them printed .Then he called me (Subbarāma dīksitar) and told me to write the staff notation to the rāgānga, upānga, bhāsānga gītams, that followed Vēnkatamakhi's method, along with the krtis of Diksitar, and get them printed. Realizing that one could not sing without knowing the structure of gamakam, he mastered about the structures of gamakams along with laksyam and laksanam for four years, with my help, and defined the symbols for gamakams. With this, he got the appreciation of the king and was also afflicted with blindness. Once when I came to Ettayāpuram, within a few days, Cinnasāmi Mudaliyār came there, met the king and requested him that the work he started should be finished in at least the telugu language. Not only that, he also met with the uncle of the king (younger brother of his father) and the younger Mahārājā Vēnkatēśvara Ettappāndya who was an expert in the five grammar rules of tamil, who was well versed in the five mahākāvyams, who was the admirer and promoter of music and literature, and acted as the treasure trove for the poor and desolate, expressed his desire and also requested him. As soon as he requested the younger Mahārāja, he got the telugu typesets brought and ordered that this "Sangīta Sampradāya Pradarsini" should get printed. It was estimated that from the time of that order to the completion of the printing of this book would cost about 10,000 rupees. The musical, literary and poetic creations of the composer-musicians belonging to the period from 250 A.D. to the present time were thus protected from being destroyed, made to shine to the heavens, and would become an example for the future composer-musicians to establish their musical, literary and poetic creation just as in this book where the interested persons could know about them by just having a look at it. And, those people would praise the blessed king who is responsible (for the publication) and all the scholars who visited this "Sangīta Sampradaya Pradarsini", and bless them with the prosperity of sons, grandsons, many years of life, and health While he was planning to improvise the school that belonged to this kingdom, Rājā Jagadīśvara Rāma Vēnkațēśvara Mahārājā, , got the invitation to proceed to Delhi darbār, for the celebration of the coronation of the viceroy of India, Edward VII. Immediately as the Mahārāja proceeded to Delhi to participate in the celebration of the coronation of the viceroy to be held on the first of January 1903, here in Ettayapuram, the relatives of the Mahāraja, with his permission, praised the coronation day and in order to make that day permanently memorable and to complete the school curriculum, they added the matriculation and thus improved the school. In the front porch of the building, they constructed a court called "Victoria Memorial Athenaeum", to remember the Late Queen Victoria. And, in memory of the day of travel to the coronation of the viceroy, the school's largest hall was named as "Coronation Hall". The photographs of the viceroy and the other viceroys were hung and decorated that hall. In the same hall, a library was created for the benefit of the students. It was named as "Edward VII Alexandra Library". When the instruments that were necessary to teach science were purchased, with the permission of the king, the application for recognition (of the school) was submitted to the government. The government was pleased and the very first-time itself they included it in the permanent list and recognized it. The very same year, 10 children appeared for matriculation and 15 children appeared for lower secondary school exams. Apart from that, at the choultry near by, he arranged for charity meals and other amenities for the poor students who were getting educated at the above mentioned school. With the intention of improving many other ways, in order to introduce cricket, tennis, football and other English sports, he included the land in the north of the school that lead to Koilpatti into school land. In the same land, he built hostel accommodations for the convenience of the students who come there to study, from other lands, . Due to the above reasons, as the time passed, the Mahārāja became famous. With the plan of implementing in this manner, right upfront, he with good qualities of determination, bravery, truth and patience, wrote to the famous gentleman of that district Rev. C. A. Margoschis, and requested for honorable S. Rāmakrsnayya , B.A, L.T, who for 20 years worked with the schools and colleges, and helped for their improvement. Immediately he, who was the favorite of the reverend, was sent. He, with necessary steps, prepared for the improvements. The Mahārājā also established the Vēda Pathaśā (vēdic schools).

Vāaggēyakāra Caritram 30

72 Subbarāma Dīksitar

With the name Bālasubrahmanya Sarma, I am the son of Bālasvāmi Dīksitar, the youngest brother of Mud- dusvāmi Dīkşitar. Bālasvāmi Dīksitar's youngest daughter's name is Annapūrnamma. Her husband is Śivarāmayya, who belonged to bhāradvāja gōtram, and āsvalāyana sūtram. Rāmaswāmi Ayya, who was born as the first son to him was very talented in music and vina was felicitated by kings and attained heav- enly abode at the age of 45. I was born as the second son in Tiruvārūr in the śaka year of 1761 (1839 A.D.) during the year of vilambi, tāra ravi, and hasta star. When I was seven years old, Bālasvāmi Dīksitar took me to Ettayāpuram, and got me tutored in sanskrit, telugu, and music. At that time, Jagadīśvara Rāma Kumāra Ettappa Mahārājā, who was very well versed in astrology, summoned the great astrologers, and studied my horoscope. He looked at Bālasvāmi Dīksitar, and told him, "This horoscope carrier is the son to all the three of you. So, adopt him. He will be famous like Dīksitar.". Just as his command, my grandfather, Bālasvāmi Dīksitar adopted me during plavanga year, makara ravi, and initiated me into brahmōpadēśam and śrīvidyopadēśam. I learnt the sciences of epics and drama, great epics like manu caritram and vasu caritram, grammar, and poetic meters from Vilattukolam Krsnāmātya, who was a great sanskrit and telugu scholar. I not only learnt vīna from my father, but also learnt in detail the secrets (intricacies) of laksyam and laksanam of music. On my seventeenth year, I composed an ata tāļa varnam in the rāgam darbār, and sang in the presence of Jagadīśvara Rāma Vēnkatēśvara Ettappa Mahārājā, who was well versed in music. Some people in that court commented that my father himself might have composed that, in order to obtain fame for me. After that, one day the Mahārāja called me and gave me the order, "I am going for a ride. I will be back in an hour. Stay here and compose a jatīsvaram in the rāgam yamuna, where the pallavi and anupallavi should be composed with svarams, then there should be another svaram that starts with dhaivatam, the next svaram should contain the order of first, second, third and third, second, first speeds, and finally the muktāyi svaram", and went for the ride. With the blessings of the elders, a second before the Mahārāja's conveyance came back, I finished the jatīsvaram, and as soon as the Mahārājā came, I made him listen to it in his court. He was pleased, and took me to my house, looked at my father and told him, "Sir, you should listen to a jatīsvaram in the ragam yamuna", and looked at me and ordered me to sing. As he listened to my singing of the jatīsvaram, realizing it to be my composition, my father said that it was due the greatness of the court of Mahāraja. The Maharaja felicitated me with two shawls and ten sovereigns (10 grams each) of gold. After a few years, I have composed, sang and obtained many felicitations as per the order of Muddusvāmi Jagadīśvara Rāma Ettappa Mahārājā to compose, in his name, compositions that are suitable for dance, cauka varnams in the rāgams ānandabhairavi, surați, and a rāgamālika, compris- ing of nine rāgams. I composed a tāna varņam in the rāgam rāmakriya, and a krti, "śankarācāryam" in the rāgam śankarābharanam, and visited Kumbhakonam Jagadguru. There, in that court, in the presence of vīna Subbukutti Ayya, Tirumala Rājan, Pattnam Rāmudu Bhāgavatar, Tirukkadayūr Bhārati, and other musicians, and also scholars of the four saastrams, I sang there as they all listened. Later, here in this book, you could find many cauka varņams, tāna varņams, krtis, rāgamālika, and rāga sañcārams, that were com- posed by me before. With the intention of making music as language, A.M. Cinnasāmi Mudaliyār, M.A. started writing a book called 'prācīna ganam", in English notation, in the year 1895, and published it. At that time, he came to know about me, brought me to him, stopped his projects and for three years, learnt the intricacies of gamakams and the traditions of Venkatamakhi from me. Later he came to Ettayāpuram, visited the Mahārājā, and requested him that he should order Subbarāma Dīksitar to complete this "Sangīta Sampradāya Pradarśini" in telugu, which would prevent the loss of Vēnkatamakhi's rules of laksyam and laksanam, and also include the symbols for the gamakam, tāļam (rhythm), and kāla pramāņams (time scale), and have it printed in the music printing press "Vidyā Vilasini", belonging to the court. As per the command of the Maharaja to me, I started on the 19th of December 1901, and not only completed the "Vāggēyakāra Caritamu", but also the information that is contained in this book, "Sangīta lakșana samgraham", that supports the symbols of gamakams and talams, which was started on 17th December, 1903, and is being continued. I have a son called Muddusvāmi, who is learned in music.

Vāaggēyakāra Caritram 31

73 Sadāśiva Rao

He was a mahārāstra brāhmin. He belonged to the principality of Mahinūr. He was a scholar in music, sanskrit and telugu. There are many krtis, varnams, and tillānās composed by him that are famous. He lived 20 years ago.

74 Pattanam Subrahmanya Ayya

This tamil brahmin's homeland was Pañcanadam (Tiruvaiyyāru). He was well versed in music and telugu. There are quite a few krtis composed by him in telugu. He passed away five years ago.

75 Vēnkatēśvara Sāstri

He was a scholar in music, sanskrit and telugu. He was a vainika. In 1892 A.D., he got printed and released a book called "Sangīta Svayam Bodhini". There are a few sanskrit krtis composed by him. He passed away 7 years back.

76 Garbhapurivāru, Dharmapurivāru

They, with the stamp signatures of "garbhapuri", and "dharmapuri", composed many jāvalis in telugu, which contained śrngaram as the main color. It is a little time since they passed away.

77 Rao Bahudūr C. Nāgōji Rao, B.A., F.M.U.

He was a mahārāstra brāhmin, and English educated man. Apart from that he was also well versed in many other languages and music. He was the Inspector of Schools, Southern Circle. In 1900 A.D. he had written a music book with notation in tamil, got it printed and released. Paļamāvahari Svāmināth Ayya was learned in musical education and was the disciple of Mahā Vaidya- nātha Ayya - who attained fame by knowing the musicallaksyam, laksanams, and being a great musician. He, with the encouragement of this Rayalu, had written a book in tamil called "Rāga Vibōdhini", and got it printed by Rāyalu in the year 1901 and released it.