1. Spiritual Heritage of Tyagaraja Swami Prajanananda R.K. Mutt

THE

SPIRITUAL HERITAGE

OF

TYAGARAJA

Text in Devanagari & English Translation of the Songs of Tyagaraja by C. RAMANUJACHARI

&

An Introductory Thesis by Dr. V. RAGHAVAN

With a Foreword by Dr. S. RADHAKRISHNAN Vice-President of India

THE RAMAKRISHNA MISSION STUDENTS' HOME

MYLAPORE, MADRAS-A

Copyright First Edition, 2000 copies, 1957

RUPEES TEN

Printed at Sri Ramakrishna Printing Works, 19-B, Woods Road, Madras-2

FOREWORD

The Spiritual Heritage of Tyaga-raja. was prepared jointly by the late C. Ramanujachariar and Professor V. Raghavan of the Madras University. Professor Raghavan in his preface to the work describes the varied qualities of the late Sri C. Ramanujachariar who was " a bhagavata in every sense of that term." The Introductory Thesis written by Professor Raghavan shows his vast and varied learning and devout enthusiasm for Tyaga-raja. This learned and scholarly work is bound to extend the influence of Tyaga-raja on the minds and hearts of our people.

In the present parlous condition of the world which may blow up at any moment if we are not careful and restrained in our irternational behaviour, it is necessary for us to rethink our fundamental ideas. The problem of the world is not a political one which can be answered by statesmen with their pacts and alliances. Our. law rana politics, our arts and sciences, our manners and morals are derived from our funda- mental faith. It is this faith which makes for the spiritual unity of any community. It is our faith that will save or destroy us. The decline of faith has for its natural accompani- ment decadence of culture.

Gibbon writes : "The Greeks, after their country had been reduced into a province imputed the triumphs of Rome, not to the merit but to the fortune of the Republic. The inconstant goddess who so blindly distributes and resumes her favours had now consented (such was the language of envious flattery) to resign her wings, to descend from her globe, and to fix her firm and immutable throne on the banks of the Tiber."* Polybius deprived the Greeks of this delusive comfort and traced the

*Gibbon : The Decline and Fall of the Roman Empire. Ch. 38

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greatness of Rome to her moral qualities. Gibbon adds, " Honour as well as virtue was the principle of the Republic." According to Polybius, " the Romans were incapable of fear and impatient of repose." Gibbon says that " the decline of Rome was the natural and inevitable effect of immoderate greatness. Prosperity ripened the principle of decay and the causes of destruction multiplied with the extent of the conquest." When Rome fell, her downfall was attributed to the spread of barbarism and Christianity. There is a moral law which governs the rise and fall of nations. Adherence to the moral law, the law of dharma elevates a nation : non- adherence to it degrades it. If we are to progress we must adopt the path of virtue.

We have had in our country from the time of the Rg Veda down to our own days a long line of torch bearers who stress the primacy of spiritual values, who point out that even as the human being is above the animal, the spiritual man is above the human. We are not yet; we hope to be. At a time like this when we are faced with conflicting ideologies, national dissensions and international intrigues, it is good to be reminded of the supreme values of knowledge, discipline and devotion. The exponents of pure abstract speculation find their way into the minds of men through song and poetry. The poets, singers and saints with their passionate devotion to the ideals of beauty, harmony, freedom and aspiration have had the strongest impact on society. We have had a few great spirits in the last century who emphasised the ideals of the race and demonstrated their vitality and power of survival and one of the most notable of these saint-singers was Tyaga-raja.

The name Tyaga-raja means the prince of renouncers, of those who give up worldly desires. Tyaga or renunciation is the way to mental peace and freedom. So long as we are incapable of withstanding the snares of fear, greed, ambition, vanity, we will have disquiet in our minds and violence in the world. In one of his songs 'tera tiyagarada' Tyaga-raja says

" O Supreme Being, Tirupati Venkataramana, could you not remove the screen of pride and envy, which is taking a firm stand within me, keeping me out of the reach of dharma and the like."

In the case of Tyaga-raja, renunciation is the result of undistracted devotion to God. anuragat viragah. Bhakti or devotion to the Supreme leads to renunciation and concentration on the Divine. The attainment of life in God is achieved more easily by bhakti than by other means. Incessant loving meditation of God is bhakti, says Ramanuja. sneha-pūrvam anu-dhyanam bhaktir ityabhidhiyate.

The soul of man is the stage for triumph and defeat, suffering and joy. It is the point of intersection between the divine and the human. Each human being has his roots here below though he is also a reflection of the celestial light. The demand for self-realisation through self-renewal is an appeal from the creature to the creator in us. As a creature each one of us is given to inertia, staleness, distractedness. It is the corrupt state of narrow selfishness. The creative spark in us gives us the power of reinteg ration, renewal. Until the conflict is resolved and reconciliation effected, the soul passes through moods of self-pity, anger, distraction, devotion. In the unregenerate condition, it feels estranged from itself, from others, from the creative ground of all being. Tyaga-raja describes the moods of the soul with great delicacy of feeling. He describes social splendour as well as abject misery.

Tyaga-raja was a person of great humility, utter self- effacement. He expresses the truths of the Upanisads and the Bhagavad-gita in simple and appealing language. He addresses the Supreme as Rama. The kingdom of God acquired through devotion is the greatest of all treasures: rama bhakti samrajyammu. He brings Rama before our eyes as he steps forward with his waving hair to bend the bow of Siva or when he aims an arrow at Marīca to subdue his pride. Religion is

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the sädhana or discipline by which we make a whole of our being, when our thought, speech and action, manas, vak and kaya work together. Tyaga-raja speaks of Rama as an integrated person. oka mata, oka banamu, oka patnī-vratude manasā oka cittamu galavade oka nādunu maravakave.

He sings out of the depths of his experience. Even as the Upanisad writer says : vedāham etam puruşam mahantam adıtya-varnam tamasah parastat

Tyaga-raja says: giripai nelakonna ramuni guri tappaka kanti: Unerringly have I seen Rama installed on the hill. In his yearning for seeing the Divine his body was thrilled, tears of joy rolled down his cheeks and he dreamed his desire to see the Divine, unable to give adequate expression to it. pulakankitudai anandāsravula nımpucu mata ladavalenani kaluvarincagani.

If we have faith in the Divine, there is no need to worry : mā kelarā vicaramu.

The vision of eternity must penetrate all spheres of life. It exposes our insufficiency, our littleness. The secular must be invaded by the spiritual; only then is life dignified. The seers are not strangers on earth. Self-realisation is through sell-giving. paropakaraya phalanti vrkşāh paropakaraya vahanti nadyah paropakaraya caranti gavah paropakarartham idam sariram.

Through the exercise of compassion all beings become our fellow-beings. When any one suffers we also suffer. This is

religious socialism as distinct from religious individualism. If man is not to be lost, he should not be collectivised. He must have the freedom of spirit, the freedom to renounce, the courage to own nothing. We must love without grasping, give without expecting.

Civilisation is not a static condition : it is a perpetual movement. The heritage we possess includes not only elements which make for greatness but also forces of reaction, narrow- mindedness, disunion which enslave us. The world over, religion has often degenerated into superstition, sectarianism, enslavement. It gets confused with the codification of custom, the consecration of usage, the dead hand of the obsolete. Tyaga-raja distinguishes the spirit of religion from its trappings. For one who sees God in everything, there is no need for asramas. annı niv anucu yencina vaniki asrama bhedamulela. "If bathing, fasting, closing one's eyes constitute all that requires to be done, surely there are others, birds, animals who will get to heaven first." We should not refuse to acknowledge our wrongs.

The human spirit with its standards and values is the key to the progress or the downfall of the human race. History is a never-ending struggle between good and evil. Mankind is divided into those who co-operate with the forces of light and those who refuse to co-operate. The conflict is meaningful. We must continue the struggle toward a nobler civilisation through the understanding of the hopes, ambitions and efforts of our leaders in the past.

3-6-1958 Madras S. RADHAKRISHNAN

C. Ramanujachariar

PREFACE

This publication entitled 'The Spiritual Heritage of Tyagaraja ' is the result of an idea conceived and pursued for many years with devoted zeal by Sri C. Ramanujachari. Administrator, actor, musician and public worker, the late Ramanujachariar was primarily a sadhaka, who strove on the spiritual path not only through his tireless karma-yoga in the cause of the Ramakrishna movement and the education and upbringing of the young, but through the path of bhakti and bhajana; he was a bhagavata in every sense of that term and it is this fact which gave meaning to the dedicated life that he led to the last minute of his existence. The wide public knew Ramanujachariar as the Secretary of the Ramakrishna Mission Students' Home; his contribution as an actor, alike to the growth of the amateur Tamil stage and the funds of the Ramakrishna Students' Home, was also known to many ; perhaps it is only those more closely connected with him that knew the musical side of his personality and the part he played in promoting the study of Carnatic music as a University subject. He was not only deeply devoted to this art but was, very early, drawn to the time-honoured way of cultivating it as an aid to devotion, bhajana; for many years, he was responsible for the organisation and maintenance of the bhajana-goshti that went round the Kapali temple and tank in Mylapore every day at the break of dawn, during the month of Margasirsha. It was in connection with the conduct of this bhajana- goshti in Mylapore that Ramanujachariar came in contact with the Umayalpuram Brothers, Sundara Bhagavatar and Krishna Bhagavatar, the direct disciples of Tyagaraja. During his association with these disciples of Tyagaraja and their own pupils and descendants, Ramanujachariar learnt a considerable number of the songs of Tyagaraja and developed a passion for them. In the subsequent years in which his musical activities widened, he was seized with a desire to collect the

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texts of as many songs of Tyagaraja as were known to different musicians, repositories of musical traditions and representatives of the different schools of Tyagaraja's own disciples. The musical appeal of Tyagaraja was well known; as compositions embodying the trials and yearnings, the religious fervour and devotional experience of one of the greatest saints and devotees, the songs of Tyagaraja, Ramanujachariar rightly thought, should be presented to the wider cultured public and scholars and devotees outside the part of the country forming the provenance of Carnatic music. He therefore proposed to prepare English renderings of the songs and for this, took the help of the late Sri V. Krishna Rao, Retired Government Telugu Translator. Sri V. Krishna Rao was assisted in the translation by his nephew Sri T. L. Narasimha Rao. Sangita Kalanidhi T. V. Subba Rao was also consulted by them in the course of their work of translation. In 1946, the centenary of the passing away of Tyagaraja was being celebrated all over the country, and music institutions especially in South India, were making special preparations for the occasion. The Madras Music Academy had resolved to dedicate its annual conference in the December of that year exclusively to Tyagaraja and his music, and as the Secretary of the Academy connected with its academic and literary work, I was planning a stock-taking of the songs of Tyagaraja known to musicians, and a series of papers and studies on the different aspects of the life, music and contribution of Tyagaraja. With my own literary and cultural interests, I was studying the songs of the composer on the background of the great musico- devotional movements that deepened the life of the Chola-desa and Kaveri delta in the 17th, 18th and 19th centuries. It was at this juncture that, along with Krishna Rao, Ramanujachariar brought to me a number of small volumes containing type-copies of English renderings of the songs of Tyagaraja and proposed that I must sit with them and go through the songs in their English version one by on e; and in the same compelling way in which he used to enlist support

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to his Students' Home, he demanded of me two things: á scheme to analyse and classify the songs so as to bring out their varied contents in proper perspective, and an introductory thesis expounding the meanng and message of these songs. Without a break, we sat together, day after day, for some months ; it was a regular spiritual sattra for us. In the course of the work, translations were revised and additional songs noted from all available sources, printed texts, manuscripts and representatives of different schools and tradi- tions. In the Tyagaraja Centenary Conference of the Madras Music Academy, December 1946, Ramanujachariar made the first public announcement of the nature and scope of the proposed work. Tyagaraja was both a devotee and an artist; the combination of Vedanta, devotion and literary treatment in his songs naturally reminded one of the Bhagavata Purana and the religio-aesthetic approach that Bopadeva and Madhusudana Sarasvatī gave. Following them, I adopted a synthetic scheme of the Vedantic Bhakti Sastra and the Rasa or Alankara Sastra, for analysing and studying the outpourings of Tyagaraja. With this approach, I presented my study of the contribution of Tyagaraja as a series of nine lectures which I delivered, at Ramanujachariar's instance, during the nine days of the Navaratri festival of 1947 at the Ramakrishna Students' Home. These lectures were published serially in the Vedanta Kesari, Madras (December 1947-August 1948) and were well received. Subsequently I collected a good deal of additional material, and revised and amplified my study for the purpose of the present book. When the text of the songs and their English renderings were taken up for printing, I decided that, from the point of view of the all-India public which the publication was intended to serve, the text of the songs should be in Devanagari script ; in addition to some compositions which are purely in Sanskrit, there are numerous songs in which the Telugu diction is dominated by Sanskrit and even in the other remaining pieces,

there is a considerable amount of Sanskritic expression ; the Devanagari version of these songs would therefore help their being understood more easily by those whose mother-tongue is not Telugu. Besides, I am one of those who hold the view that the most significant classics in the different regional literatures, particularly of the South, should be brought out in Devanagari script. There are on the whole 565 pieces in this volume. Stray pieces of Tyagaraja have appeared in English version, but this is the first time that in a single volume such a large number of songs is given with English translation. Similarly, there have been stray articles on some aspects of Tyagaraja, but this is the first attempt to give, from a scholarly point of view, an exhaustive exposition of the contents of the songs of this great composer. The book in its entirety has been called The Spiritual Heritage of Tyagaraja according to the decision of Ramanujachariar. I have seen the work through the press except during the period when I was away in Europe. Sri T. L. Narasimha Rao assisted in the reading of the proofs and the checking of the translations ; Prof. Vissa Appa Rao went through the transla- tions at the manuscript stage and offered many helpful sugges- tions. Dr. K. Nagarajan, M.Sc., Ph. D., the devoted chela of Ramanujachariar not only assisted in the reading of the proofs but was looking after the press-work during the whole period ; his industry and consistent work had been a great help in bring- ing out this publication. Thanks are also due to Sri Rama- krishna Printing Works who undertook the printing of this book. In bringing this out as a publication of the Rama- krishna Mission Students' Home, not only has the intention of the late Ramanujachariar been carried out but a fitting souvenir has been presented, commemorating his long associa- tion with the Home. As the detailed scheme of classification according to which the songs have been arranged has been given at the outset, a table of contents enumerating the songs in the order of their

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appearance has been omitted; instead, two alphabetical indices, in Devanagari and English, of the songs are given at the end. It is natural that in these songs, there are numberless epithets and addresses of Rama or other deities. In the course of the translation only a few of these could be put into English. In fact some of the songs which are wholly in the form of epithets and addresses -and among them are some very popular ones- had to be omitted owing to the difficulty of senting them in English. It was the desire of Ramanuja- chariar that the descriptive epithets and addresses should all be collected, analysed under an appropriate scheme and pre- sented in a separate appendix; the epithets and addresses are not only huge in number but significant, and would form a separate study by themselves ; though a collection of these has been made, they could not be added as an appendix to this volume. It may be possible to give them in a subsequent edition of this book. It is a matter of sincere regret to all those connected with Ramanujachariar that this book, which he considered to be the crown of his undertakings, could not be issued while yet he was with us. Various unavoidable causes were responsible for the delay, but before he closed his eyes, he had the satisfaction of knowing that the printing had nearly been completed. It was the desire of both Ramanujachariar and myself that the book should be introduced by Dr. S. Radhakrishnan, and on my behalf and on behalf of the spirit of the late Ramanujachariar, I express our profound gratitude to Dr. Radhakrishnan for enriching the volume with his Foreword. It only remains for me to express the hope that-in the words of Tyagaraja- " munu nīvu anatichchina panulasagoni ne manasāraga nidānamuga salpi- nānu" I have fulfilled satisfactorily the task which Ramanujachariar entrusted to me. V. RAGHAVAN

CONTENTS

Pages FOREWORD: DR. S. RADHAKRISHNAN i- v

PREFACE: V. RAGHAVAN vil .- xi

INTRODUCTORY THESIS-SAINT TYAGARAJA: V. RAGHAVAN

Chapter I: Life ... I- 35

II : Nada Yoga ... 36- 55 III : Sadhana 56- 74 ...

IV Reformist Zeal ... 75- 98

V : Nama Mahātmya ... 99-I24 VI : Ishta Devata ... I25-I48 VII : Forms of Bhakti ... 149-167 VIII : Phases of Bhakti I68-185 ...

IX : Devotional Ecstasy 186-206 ...

SCHEME OF CLASSIFICATION OF THE SONGS

TEXT AND TRANSLATION OF THE SONGS. ... I-604

INDEX OF SONGS 607-623 ...

ERRATA ... I-8

INTRODUCTORY THESIS: V. RAGHAVAN

TYAGARAJA (Portrait worshipped in the family of the Umayalpuram pupils)

SAINT TYAGARAJA

CHAPTER I

LIFE " Sumati Tyagaraja"

HISTORICAL BACKGROUND WITH the fall of Vijayanagar, South India was fast disintegrating in political life ; the banners of the merchantships of foreigners from the western hemisphere were already fluttering thick in the Indian waters, signalling the entry of India into a fresh period of slavery to the second great invader from the west. In the arts of painting and sculpture, the deterioration that set in led to such rapid decay that today our painters and sculptors have to go back to Ajanta to rebuild a lost tradition ; in literature writers were after those classical features that had long been lengthened out to aberrations and avid vernacular productions were outdoing in the same line. But fortunately this politically declining and otherwise shrinking age in South India was noteworthy in two important departments of the cultural life of the people, the spiritual and the musical, two departments which developed a vital mutual relation and produced numerous saint-singers who at once developed the musical art and elevated the society with their exalting songs couched in popular poetic style. If Purandaradasa may be said to dominate one end of this period of musical-spiritual efflore- scence, Tyagaraja may be said to dominate the other end. It is said that in view of the progressive decline of human powers, and the consequent need for easier paths, the path of Bhakti was devised for the present age. In the sphere of music too, the period under review showed a tendency to evolve simpler media of enjoying music. If we look at the Prabandha chapters of the Sanskrit treatises on music, we find described 1

there huge edifices of compositions in numerous parts, sometimes handling a long series of Ragas and Talas ; and even Ragas, our bygone musical giants went on singing for days together, introducing it for hours, unfolding it a whole night, emphasising its contours a whole day and crowning it with effects another twenty four hours! Their capacious mind and the equally capacious mind of the connoisseur then comprehended and digested huge musical meals of which we today have no conception. Music had gradually to bring itself into more and more concretised and condensed forms, and reduce itself into tinier and tidier crystals. The age of the Chaturdandi of Gita, Prabandha, Thaya and Alapa had to give place to the age of the Pada, Kirtana and the Kriti. Within the compass of a handy piece, effective capture and picturisation of a Raga, the mounting of it on a rhythmic setting, increasingly of the medium tempo, Madhyama-kala, and giving it an exalted poetic medium-all were achieved. In the process of achieving this musical vitamin tabloid of Kriti, which has preserved our music for us today and saved the extensive art from being lost to us by its sheer prodigiousness, Tyagaraja stands foremost with his marvellous contribution. HIS PERSONALITY AND CONTRIBUTION MANY indeed have been the great music-makers of this period in South India, who have helped the country to keep its music; of all these Tyagaraja, the latest, is also probably the greatest. His powerful genius comprehended the several and varied excellences of all, the early masters, the giants that immediately went before him, and his own brilliant contem- poraries. In sheer volume of output, he essays in the direction of Purandaradasa and Kshetragna; in devotion, religious fervour, reformatory zeal and spiritual realisation, his songs approach those of Purandaradasa ; when we think of him singing in anguish to his Rama, we find in him a second Ramdas of Bhadrachala; in his lyrical moods, he takes a page off Kshet- ragna; in his Pancharatnas and some of his heavier compositions, he treads the path of the earlier Prabandha-karas and later

SAINT AND TEACHER 3

Varna-karas ; turning out pieces now and then in the language of the gods, he seems to beckon his contemporary Dikshitar; when he sings of Mother Tripurasundarī it appears as if Syama Sastri of Tanjore was sojourning at Tiruvotriyur; and he could sustain himself through the task of a dramatic composition like Narayana Tīrtha or Merattur Venkatarama Bhagavatar and pay his homage to a sampradaya sanctified by Jayadeva.I From simple compositions set in metrical patterns to elaborate Pancharatnas which have long sentences, piled one upon another, we have in Tyagaraja a wide variety of song- types showing manifold architectonic experimentation, design and skill. This variety again is a speciality which marks Tyagaraja among his contemporaries. From plain Divyanama sankirtana, full of words, epithets and long and difficult com- pounds, he soars to artistic creations in which, into a few words, an eddying flood of music is thrown. Such variety, it is said, the composer adopted to suit the varying capacities of the learners that came to him; whatever the truth of that assump- tion, that variety has contributed to the wide appeal of his productions. THE MUSICIAN AS SAINT AND TEACHER A FURTHER remarkable feature of Tyagaraja's compositions is their poetic excellence and spiritual value. When an impos- sible combination happily comes about they say in Sanskrit that gold has acquired fragrance, हेत्रः परमामोदः। Gold is great by its own high value; fragrance is something wonderful, but only real flowers have it; flower-like ornaments of gold cannot give forth flowers' fragrance, but if they should, then it is a miracle indeed. This consummation of fragrant gold has indeed been achieved in the creations of some composers like

I. Besides Purandaradasa, Kshetragna, Bhadrachala Ramadas, Narayana Tirtha, Sadasiva Brahmendra, Upanishad Brahmendra and Merattur Venkata- rama Bhagavatar, there was the great Margadarsi Sesha Iyengar, composer in Sanskrit, who as his title shows paved the way as it were for the Carnatic Music tnnity in Krit composition. Expressions in Tyagaraja like Narada Ganalola, Kanakachela-Karunalavala-Bala are echoes from Sesha Iyengar,

4 BIOGRAPHICAL DETAILS

Jayadeva, Purandara, Kshetragna and Tyagaraja. Evening after evening we sit and listen to our artists rendering pieces of Tyagaraja; neither the artists nor we have any idea of the wealth of precious fancy, sublime thought and poignant feeling that lie hidden in the many familiar lines, catching turns and exhilarating effects to which our musical hunger makes us return again and again ! It is as if the dazzling charms of a lady's beauty should blind us to or make us never curious about her infinite qualities of head and heart; it is as if, revelling in the joys of a poet's masterly style and diction, we care not for the noble thoughts in the poem ; it is as if, stunned by the grandeur of a gopura, soaring tier upon tier, each studded with mouldings, we stop there gazing, missing the evening service at the sanctum of the Deity. But were one to resist or renounce the overwhel- ming joys of the sangita of Tyagaraja, were one to get boldly to the sahitya, he would come across a treasure of thought the contemplation of which would make one forget everything about his music. Poetic fancies, learned allusions, moral precepts, enunciation of doctrines, high Upanishadic truths, condemnation of sham, hypocrisy and false paths, happy similes, wordly wisdom, popular sayings, and above all every shade and mood of religious, devotional and spiritual experience,-renun- ciation of worldly good and the flattery of the rich, prayer, plain- tive pleading, yearning, anguish, remonstrance, sportive rebuke, despair and dejection, self-depreciation, faith, hope, exhila- ration, ecstacy of realisation, endearment, joy of service, surrender and dedication, satisfaction at his own devout life, gratitude-these make his songs an endless epic record of the mind of a great Bhakta which was, till the end, erupting like a ceaseless volcano. BIOGRAPHICAL DETAILS IT is a full hundred and nine years since Saint Tyagaraja shuffled off the mortal coil and became one with effulgent Godhead which he sought through his steadfast and consuming devotion to his favourite divine form of Sri Ramachandra. Moved by the deep anguish of this devotee, Sri Ramachandra

THE LORD'S ASSURANCE 5

appeared before him and assured him of moksha within a few days. The Saint himself tells us of this in two of his last pieces : Giripai in Sahana and Paritāpamu in Manohari. " Giripai nelakonna Rāmuni guri dappaka kanti- * * * pulakānkitudai anandāsruvula nimpuchu mātaladavalenani kaluvarinchagani padipūtalapai gachedananu Tyāgarājavinutuni “ " Unerringly I have seen Sri Rama, who is installed on the hill .... He promised to give me salvation in five days. My body was thrilled, tears of joy rolled down my cheeks and I merely mumbled unable to give expression to my thought "I. The other song in which Tyagaraja refers to the promise made by the Lord is : Paritapamugāni yadina palukula marachitivo sarileni Sītato Sarayu madyambuna nā varamagu bangaru vodanu merayuchu padipūtalapai karuninchedananuchu kreganulanu Tyagarājuni"

I. The scene depicted by Tyagaraja in this song refers to Rama getting on top of the Suvela mountain, after crossing the sea, 'and resting there for a time before the war actually began, a scene of special significance obviously to the school of Rama-worshppers; and also in this song, we have probably evidence of the influence of Tulasidas, the great apostle of Rama Bhakti; for in the Ramacharitamanasa we find Tulası saying of this scene (Lanka, Doha II-a). एहि विधिकृपारूपगुनधामरामु आसीन। धन्य ते नर एहिं ध्यान जे रहत सदा लयलीन।। " Blessed are those that ever remain immersed in the thought of the Lord as depicted (i.e., as resting on the Suvela)", on which Growse adds in a foot- note in his Enghsh translation: "This scene affords a very favourite subject for Hindu painters; partly no doubt, on account of the blessing which Tulsidas here promises to those who contemplate it."

6 SANNYASA

"Have you forgotten the words of assurance which you, seeing my anguish, lovingly expressed, when you were on the golden boat on the Sarayu, in the company of the incomparable Sita, the assurance that you would take me to you in another five days." In accordance with this promise I the Lord took this Bhakta, on Pushya Bahula Panchami in Prabhava (6th January 1847) when the Saint was almost 88 years old. Sometime before he attained this Brahmibhava, one-ness with Godhead, the Saint had taken to the orange robes and become a Sannyasin. Crude mythologists of the Saint's life will tell us that God Ramachandra told him that salvation was for him only in another birth and the resourceful Tyagaraja short-circuited the scheme by taking to Apat-Sannyasa, which was technically equal to a second cycle of life ! What could be more against the promise of salvation given by the Lord in the two songs just now quoted ? Tyagaraja became a Sannyasin because he very much yearned to embrace that high spiritual order and in this, he was prompted by the noble example of the many Sannyasins whose samadhis keep company with his own on the bank of the Kaverī at Tiruvaiyyaru. Many Sannyasins ot that time had sought Brahman-realisation not only through their Vedantic Jnana, but through the worship of Nada also. The renowned Advaitic Avadhuta author, Sri Sadasiva Brahmendra, was also a musician who sang of his bliss of Brahmananda in "चिन्ता नास्ति किल" "खेलति ब्रझ्माण्डे भगवान्" and so on 2. Narayana Tirtha also who composed the musical play on the sports of

, I. In Nadadinamata', Tyagaraja refers to another occasion when the Lord appeared before him and assured him of succour : " you should not go back on the assurance you gave me a year ago that you would' certainly protect me and never abandon me.' That Tyagaraja revelled in the thought of a Yogin like Sadasıva Brahmam is clear enough; one of Tyagaraja's Divyanama sankirtanas, in Punnăgavarali and Chapu, opens with the refrain of a well-known piece ot Sadasiva Brahmam, मानस सश्चर रे.

INTERNAL EVIDENCE

Krishna-the Krishna-lila-tarangini-was a Sannyasin and that his personality influenced Tyagaraja's is clear not only from Tyagaraja's efforts in the dramatic line but from echoes of his songs in Tyagaraja's expressions too 1. More than these, the well-known recluse of Kanchipuram, Upanishad Brahmendra, seems to have exerted the greatest influence on Tyagaraja in music as well as adoration of Rama's Name 2. And one of Tyagaraja's own Gurus saluted by him in his musical play Naukacharitra is a Sannyasin named Ramakrishnananda.

Though Tyagaraja lived just a little over a century ago, we have unfortunately no authentic account of the full details of his life. Hagiologists have tried to make up by legends and miracles, some of which are still growing ! 3 We shall try to glean such details of his life as we can from refer- ences in his own songs and add to these some particulars that have been handed down by tradition in the families of his pupils.

I. See the present writer's article on Sri Tyagaraja and Sri Narayana Tırtha in the Tyagaraja Centenary Volume (p p. 87-88) published by the Andhra Gana Kala Parıshat, Gautami Vidya Pitha, Rajahmundry. Narayana Tirtha's songs were then, as now, regularly sung at annual festivals of Radha- kalyana, Rukmini Kalyana and Sītā-kalyana celebrated in Bhajana-mathas and it was but natural that the strains of the Tarangas of this Saint were on the ears of our composer. Echoes of expressions from the Sanskrit composition of Narayana Tirtha are found in Tyagaraja's songs; 'Giri-raja-suta-tanaya' in Tyagaraja's simple song on Vighnesvara in Bangala is from the Mangala Sloka on Ganesha at the beginning of the Krishna-lila-tarangini. In a Bhairavi piece in the opening Taranga, the elder Sannyasin has ' Yaga-yoga-raga-bhoga- tyaga ' which has its echo in the anupallavi of Tyagaraja's "Ragasudharasa ". ( Nikhila-loka-nidana' in Tyagaraja's Saranga-piece is an echo from an Anandabhairavi piece in the eleventh Taranga. Compare also Vinatāsuta- vahana' of Tyagaraja with 'Vinatasuta ghana vahana' in a Saurashtra piece in the first Taranga. 2. I have dealt with Upanishad Brahmendra, his contribution to music and mfluence on Tyagaraja and Dikshitar in a special papcr elsewhere.

3. Some anecdotes are still in flux! There is no unanimity even about the first song the Saint composed or the anecdotes relating to it.

8 PARENTAGE

One may recollect that at the end of every piece of his, the composer has signed his name as Tyagaraja. Tyagaraja is the name of the presiding deity at the famous shrine at Tiruvarur, a place whose musical associations go back to the time of Saint Sundaramurti Nayanar and where the music trinity of South India, Syama Sastri, Muttuswāmi Dīkshitar and Tyagaraja were all born. Tiruvarur at that time was one of the cultural head-quarters of the Kaverī delta and God Tyagaraja was worshipped by the Tanjore Kings as their patron Deity as can be seen by the numerous musical compositions, padas and natakas, in Tamil, Telugu, Marathi and Sanskrit on God Tyagaraja, composed by the poets, musicians and kings of the Tanjore court lying among the manuscripts in the Sarasvati Mahal Library, Tanjore I. One of the poet-composers attached to the Tanjore court was an Andhra Brahman settled at Tiruvarūr, Sri Giriraja Kavi 2. To his daughter was our composer, Sri Tyagaraja, born at Tiruvarur. Giriraja was Tyagaraja's maternal grandfather and not paternal grand- father. Tyagaraja's father was Ramabrahmam, of a Telugu Vaidika Muriginadu family of Tiruvayyaru; that his house name, Inti-peru, is Kakarla, is khown from his Naukacharitra. Kakarlāmbudhi-chandrudu Srikarudaku Tyagarāja etc. It is said that Ramabrahmam was living in Tiruvaiyyaru, in a house gifted by the Tanjore king, from which we can infer that the father too was one of no small attainments. To his maternal grandfather Giriraja, Tyagaraja may be taken to make an indirect allusion in his Ganesa song in Bangala " Giri- raja-suta-tanaya ". To his own father, Tyagaraja makes more than one direct reference in his compositions ; towards the end

I. See the English Introduction to my editión of Sndhara Venkatesa Ayyaval's biographical poem on King Sahajı of Tanjore, the Sahendravilasa mn the Tanjore Sarasvat Mahal Series, as also my Introduction to the Sangita- saramrita of Tulaja, Madras Music Academy Series. 2. Among the Telugu manuscripts in the Tanjore Libiary, we have musical compositions and musical plays and poems by a Giriraja Kavi with the family name Garbha.

BIRTH AT TIRUVARUR 9

of one of his early pieces Dorakuna ituvanti seva in Bilahari, he says 'Ramabrahma-tanayudanu Tyagaraja '-' Tyagaraja, son of Ramabrahmam '; in his dramatic composition, Prahlada Bhakti Vijaya, he pays obeisance to his father both at the beginning and at the end ; and in the initial reference Tyagaraja describes Ramabrahmam as God Rama himself which again shows that his father too was a person of high spiritual attain- ment. The Srimukham that Upanishad Brahma Yogin of Kanchipuram sent to Sri TyagarajaI mentions Ramabrahmam as the classmate of that renowned Sannyasin-scholar. While one tradition calls Tyagaraja's mother Santamma, another gives her name as Sitamma. When later Tyagaraja sang of Rama and Sīta as his parents-' Sītamma mayamma Srī Ramudu ma tandri'-the poet probably meant it in a double sense. Tyagaraja was born in Sarvajit, Chaitra, 27th Monday, Sukla Saptami, Pushya, corresponding to 4th May, 1767, according to one tradition ; but in 1759, according to others. If Tiruvarur, his birth place, was an ancient kshetra, renowned alike for its traditions, saints, devotees and musicians, Tiruvaiyyaru or Panchanada, where he lived, was a place of no less sanctity and traditions of learning and spirituality. If the land of the Five Rivers in the North proved a fertile soil for the creative output of the Vedic Rishis, this land of the Five Rivers in the South was not less productive of poets, philo- sophers, saints and musicians. Tyagaraja was fully conscious of the blessing that made him a native of a region which was so renowned for its cultural importance, for he proudly sings of the Tanjore-region as the Chola-sima, the beautiful land in this world '-' I mahilo sogasaina Cholasīmayandu' (Muripemu- Mukhari) .. Tyagaraja knew the great value of the kshetra where he lived and strove for his salvation. In his song

I This Srimukham is found among the Walajapet Manuscripts preserved now at the Saurashtra Sabha, Madura, these are manuscripts of Tyagaraja, of his own songs and those of others, and of diverse works, used by Tyagaraja and preserved by the Walajapet pupds of the Saint. See Journal of the Music Academy, Madras-Tyagaraja Centenary Number 1947, PP. II4-I29.

TIRUVAYYARU ON THE KAVERI

in Athana, Epapamu jesitira, by playing a clever pun on the word Nada, he says that this place of rivers, Nadapura (or Nadapura (arg7) is verily the Lord's own place, as the Lord is the embodiment of Nada (a). In the Mukhari song, Muripemu galige gada, he says that his God Rama should be proud of a place in beautiful Panchanada kshetra, worthy of being coveted by Siva, on the banks of the Kaverī over which the mild Zephyr blows and where holy persons perform homas and chant vedas. " Iduleni malaya marutamuche gūdina Kaveri tata mandu- Sivudu goru yogyamaina sundaramagu puramu." And on the fertile Kaveri itself whose waters made the Choladesa not only a granary of grain, but a granary of brain too, Tyagaraja sang in Asaveri I: "This lady Kaveri gloriously proceeding to the place of her Lord, the sea, fulfilling the desires of all, without difference; now speeding fast, now roaring terribly and now placid with grace; with cuckoos singing on either side, touching shrine after shrine and worshipping deity after deity, with holy men worshipping her with flowers on either side and extolling her verily as Rajarajes- vari, she goes ! Look at her !" " Sarivedalina i Kaverini judare vāru vīranuchu jūdaka ta navvarigabhīshtamula nosanguchu duramuna noka tāvuna garjana bhīkara moka tāvuna ninđu karunato

I. Note the grin of ironical humour on the Saint's face as he sings this Kaveri piece in A-saveri. The adage goes'in Tanjore district that the banks of the Kaveri and the melody of Saveri are equally transporting; and as if recording this saying, Dikshitar sings in his " Karikalabhamukham"-" Kaveri- tata-sthitam saveri-rāganutam."

DESCENDANTS

niratamuga noka tavuna naduchuchu vara Kaveri Kanyakāmani vedukaga Kokilalu mroyaganu veduchu Rangesuni juchi mari īredu jagamulaku jīvanamaina mūdu rendu nadi nāthuni jūda Rajarājesvari yani pogaduchu jūchi sumamula dharāmaraganamulu pūjalirugadala seyaga Tyāgarāja sannuturalai mudduga In the motherly concern of the Kaveri to feed the people with the freshes, Tyagaraja sees the very image of Divinity anxious to save the human beings; the springs of the Kaverī which well up with water and the high western winds which harbinger her freshes are compared by the composer to the abiding kindness of the Lord which can always be tapped by the devotee and to the intimations of the Lord's coming grace. In the second charana of Ennado Rakshinchite in Saurashtra, Tyagaraja says : Nīru leka sajjana ganamulu mana dārini jūcheranuchu delisi Kaverī tānu rānu jellu nanuchu vichārahridayurālai sāreku vacchunanuchu santoshamu vīrula kellanu galga badamati maruta chanchalamula banipi chalama lūrajeya ledā ? Some of the other mundane particulars of Tyagaraja's life, known mostly from tradition, are briefly told. Tyagaraja is said to have married a lady named Parvati, who pre-deceased him. According to one school of pupils, this wife died early and issueless and Tyagaraja married her sister, Kanakambal and begot a daughter named Sītalakshmi. Sītalakshmi was married to one Kuppuswami of Ammal Agraharam and a son Tyagaraja was born to them. When this Tyagaraja married one Guruvammal and died issueless, the direct line of Saint Tyagaraja became extinct.

SOME INCIDENTS

Tyagaraja had an elder brother named Japyesa, who is very easily made a villain to set off the greatness of Tyagaraja. It is said that Japyesa, realising the musical greatness of Tyagaraja, was overanxious to make capital out of it; that Tyagaraja, however, would not yield to his brother's pressure to go to the royal court, sing the praise of mortal man and receive sumptuous presents and riches and that, enraged at the youngster's obstinate devotion to Rama, Japysea took the Rama-idol that was being worshipped by Tyagaraja and threw it into the flood of Kaveri. It is also said that after the floods subsided, Tyagaraja searched for his precious idol in the sands and that many of his moving songs were sung at this time in the anguish of his separation from the Rama-idol ; particularly, the song Nenendu vedukudura is assigned to this context. While story tellers are very sure of the context of this song, it is strange they do not know the real Raga of this piece. Let us see the text of the song once, and we shall find that it has no lower incidental reference but has only the higher spiritual significance. Tyagaraja says here : " Sri Hari! Where could I effectively search for you ? Even Brahma could not have a response from you to his prayers for a similar purpose. I have been a sinner, have done wicked deeds, have indulged often in vulgar talks and have imposed on the world as a great Bhakta." The refusal to sing in praise of the King and submitting oneself to punishment are rather standing motifs with which the path of adoring the Lord through music, gana-yoga, is emphasised. This may be verified by referring to the music sections in the Linga Purana and the Adbhuta Ramayana to which I have drawn attention elsewhere. I The blackening of the elder brother who is said to have partitioned the house and the belongings between himself and I. See Journal of the Madras Music Academy, Vols XVI, XIX, pp. 65-72, 203-5.

UNCONGENIAL SURROUNDINGS 13

Tyagaraja, seems, however, to have an ultimate basis on some form of domestic conflict. For one of the details that we can directly gather from the Saint's songs refers to the trouble that his elder brother gave him. In his Anyayamu seyakura in Kapi, the Saint says at the end: 'Would you not free me from the trouble that my elder brother gives me ? " Na parvaju badhadīrpa leda ". Also, in his Madhyamavati song Nadupai, Tyagaraja refers to accusations against himself that he forced the partition of the house and property and wanted to celebrate daily festivals for Rama. The repeated reference by Tyagaraja to the difficulties Sugriva and Vibhishana had with their brothers and the way the Lord came to their rescue may also be taken as an indirect evidence of a certain obsession in Tyagaraja's mind caused by this harassment by his own brother (e.g. Munnu Ravana). That Tyagaraja suffered much is clear from a large number of songs .; that there were many not well disposed to him is equally clear from songs in many of which he is very critical of men around him. He says in the Purnachandrika piece, Palukavemi that while his parents bestowed devotion and protected him, everybody else had tormented him (Takkina- varalento himsinchiri). That there was constant strife with cousins (dayadis) who were inimical to his devotional life is borne out by the Nabhomani piece, Nayeda vanchana, where he says in the Anupallavi : Dayadula poraina gāni dāsudanai vedukonna. In the Āhiri piece, Etula gapaduduvo, he speaks of the harassment from Dayadis. The ridicule from these around to which he was exposed finds repeated mention : e.g., the charana of Toline jesina (Suddha Bangala). It is said that Tyagaraja sang the well-known Kalyani piece Nidhichala sukhama as a reply of refusal to an invita- tion from the King. Similar sentiments of vairagya towards seeking the patronage of the King or rich men are given expres- sion to by all poets and saint-singers; for instance we may look at Tyagaraja's contemporaries and compeers, Syama Sastri and Muttuswami Dīkshitar; Sastri prays in his beautiful Ananda

I4 VAIRAĞYA

Bhairavi address to the Mother, Oh Jagadamba, that he should be saved from the calamity of singing for the low rich- ' Manavini vinumā mariyāda lerugani dushprabhula kori vinu- timpaga varambosagi.' In his invocation to the Goddess of learning and music Vinapustakadharinim in. Vegavāhinī, Dikshitar praises the Goddess as one who frees man from the calamity of looking up to the faces of small men नराधमाननविलोक- arauem and starts a regular song in Lalita, with the idea ' I shall resort to Goddess Lakshmi and shun the resort to low men'-'हिरण्मयीं लक्ष्मी सदा भजामि हीनमानवाश्रयं त्यजामि.' Similarly, although both on his paternal and maternal sides and on the side of his own music teacher, Tyagaraja had much contact with the Tanjore court and though the Kings of Tanjore were themselves highly cultured and gifted persons whose association would hardly have devaluated his vairagya, Tyagaraja took the vow (vrata) as part of his sadhana, to lead the life of a daily mendicant, go about singing the praise of Rama (bhajana) and live on Unccha-vritti (alms). In Varidhinīku in his Prahlada Bhakti Vijaya, he says in the second foot that he stretches not his hand for wealth. At the end of Kattujesinavu, he calls himself the desireless Tyagaraja, ' Nishkama Tyagaraja '. As pieces like Rajuvedala and Mucchhata Brahmadulaku show, the greatest delight that Tyagaraja yearned for was to follow the deities in the festival processions, singing songs on them. The sufferings, however acute, did not make him deflect from his path and his steadfast pursuit of the spiritual ideal, for as he says in Ennallu Nitrova, one born to that high mission cannot change over to a low calling, under stress of adversity ; the vendor of fragrant flowers cannot start selling firewood: 'Pūlammi bratuke varu pullalamma vilvaiaru.' Besides his own brother, Tyagaraja had, as already indicated, about him at Tiruvaiyyaru, detractors who ridiculed his ways of devotion, as well as his music. This is clear from his pieces in which he criticises and complains against these adversaries, calls into question their competence and exposes

ADMIRERS AND PUPILS I5

their false devotion. In many a song, given here in this book under the headings of Nirveda, Dainyokti and Roshokti, Tyaga- raja refers to the harassment from those around him; for example bemoaning his fate in Prarabdhamittundaga (Svaravali), Tyagaraja exclaims: 'Those whom I help turn against me; when I treat them charitably, they level unfounded charges against me. He asks Rama in some songs why He should be a witness to His devotee being humiliated among his compeers.' There is a Sanskrit saying that the composition of a contemporary poet and the beauty of one's own wife do not appeal to man, and it is indeed true generally that neither a saint nor an artist is ever recognised and honoured in his own time or clime. I But though there was a critical or hostile opinion, Tyagaraja's songs and his name spread far and wide during his own life time. A number of pupils came to him and he imparted to each a corpus of his compositions according to the student's voice-quality and musical equipment. It is to these pupils, primarily to the representatives of the three branches of his Sishya-parampara of Umayalpuram, Tillaisthanam and Walajapet, starting with Sundara Bhagavatar and Krishna Bhagavatar, Rama Iyengar and Venkataramana Bhagavatar respectively, that we owe the propagation of the songs of the Saint. Of famous musicians who called on him, special mention is made and a story told of a Kerala musician called Shatkala Govinda; it is said that Tyagaraja commemorated the occasion of the visit of this musician of prodigious gift of voice, with one of his five main long pieces, referred to as the Pancha-ratnas, the song Endaro ʼ mahanubhavalu andariki Vandanamu in Srī Raga. The song is an omnibus obeisance to the vast galaxy of realised souls, devotees, sages, saints and singers of the praise of the Lord and can have hardly any trace of an incident like the visit of Govinda.

1. प्रत्यक्षकविकाव्यं च रूपं च कुलयोषितः । गृह्वैद्यस्य विद्या च कमैचियदि रोचते॥ Rajasekhara an his Kavyamimarsa.

I6 PILGRIMAGES

There were also invitations to Tyagaraja to go to several places and in the latter part of his life, Tyagaraja undertook a pilgrimage which extended from Tirupati in the North to Srirangam and Lalgudi in the South. At Tirupati again, a story is told that when he was eagerly approaching the sanctum for darshan, the priest had drawn the curtain and this occasioned the song in Gaulipantu, Tera tiyagarada. " Oh ! Tirupati Venkataramana ! Could you not remove the screen of anger, arrogance and jealousy which, taking a firm stand in me, keeps out of my reach Dharma, Moksha etc?" It may be noted that it is the veil of matsara and ajnana from which one suffers that is further elaborated in the song. From Tirupati, the Saint came to Madras and its neighbourhood. The musical importance of Madras is not a matter of the present-day Sabhas and Academies. At that time, there were in Madras great patrons of music, like Manali Muttukrishna and Chinniah Mudalıars, Devanayakam of Nungambakkam, Veda- chalam, Pindakuri Venkatadri of Coral Merchant Street who patronised stalwart musicians of the times - Ramaswami Dīkshitar and his three sons, Sonthi Venkataramayya, son of Sonthi Subbayya and Guru of Tyagaraja, Doraiswami and others 1. One of these enlightened gentlemen of Madras at that time was Kovur Sundara Mudaliar whose village was visited by Tyagaraja. At Kovur, Tyagaraja sang five songs on God Sundaresa there, I Vasudha nivanti in Sahana, Sambho Maha- deva in Pantuvarali, and others. At Tiruvotriyur, the place of Siddhas and Saints, the shrine having a duplicate of the Deity after whom Tyagaraja was named, Tyagaraja was drawn by the presence of the Goddess Tripurasundari on whom he sang the pieces Sundari nī divya rūpa in Kalyani, Darini telusu konti in Suddha Saveri and others. He then went to the holy

I. See the present writer's article ' Some Musicians and their Patrons in Madras about 1800 A.D.' as revealed' in a Sanskrit manuscript work called ' Sarvadevavilasa' 1n the Journal of the Madras Music Academy, Vol. XVI, pp.127-136.

PILGRIMAGES I7

city of Kanchi, where at that time lived a noble Sannyasin and Ramabhakta named Upanishad Brahmam, an author of Advaitic works and a votary of Nada-brahmam. He had sent a Srimukham inviting Tyagaraja to his place, and as already stated, we still have the original Srīmukha. At Kanchi, Tyagaraja sang a few pieces on Varadaraja like Varadaraja ninnukori in Svarabhūshani I and Vinayakuni in Madhya- mavati, on Kamakshi. Stories are told of how, during his itinerary in these northern districts, he once revived, with a song, a dead person and how at another time, when thieves harassed him, Rama himself appeared and walked by his side as guard. There is a song on Subrahmanya at Brahmapuri (Ni vanti daivamu-Todi) which may refer to Sirhali. At Negapatam he sang of Goddess Nilayatakshi, in two pieces 2. Chūtamu rare in Ārabhi, O Rangasayi in Kambhoji and Rajuvedala in Todi are some of his songs on Sri Ranganatha, at Srirangam. It is not known what took Tyagaraja to the village of Lalgudi, known as Tapastīrthapura; on the Goddess Mahita- pravriddha at that place, Tyagaraja sang three pieces 3, I. The piece ' Varada navanitasa', in Raga Panjara, more in the style of a Divyanama filled with epithets, does not appear to have any connection with Varadaraja of Kanchi. Similarly, his Narasimha-peces do not seem to be connected with any specific Narasimha shrine like Sholingar, there is hardly any clue in such pieces to relate them to any place that Tyagaraja might have visited. 2. While praising the Goddess in his Saveri piece 'Karmame balavanta- maya', Tyagaraja refers to a local legend pertaining to this deity that She subdued the pride of the Sea (see charana 2); Dikshitar also refers to this story of the Divinities at Negapatam subduing the pride of the sea; see his piece 'Saundara- rajam' in Brindavani, where Dikshitar associates the local Perumal also with this exploit : 'Ambudhi-garva-nigraham'. I have tred to verify this from the Sthala Mahatmya of Nagapatnam but not succeeded. - -- = 3. The piece 'Lalite Sripravriddhe' on this Goddess is couched in Bhairavi; according to the Sthala Mahatmya, Lalgudi is known also as Bhairavi-vana. In the Kambhoji piece on this Goddess, 'Mahtapravriddha', the third charana has a knot (see p. 82 of text in this book-padarthe?) So also in 'Gati nivani', - the Todi piece on this Goddess, the first charana alludes to a legend of the lords of some place entreating Devi and She manifesting Herself in that form for their sake. On these two knots, the Sthala Purana of Lalgudi which I secured could not throw any light. 2

I8 HIS MISSION

and on the God here Saptarishīsvara also, Tyagaraja sang two pieces I. During the visits of admirers and pupils and during these travels, he came to realise how his fame as a musician had spread all over the country and in the fullness of his satisfaction and gratitude to his beloved Deity, he says in his song in Todi, Dasarathi ni rinamu dirpa na tarama, that Rama was the greatest savant, ' Rasika-Siromani', who discerned the worth of Tyagaraja's songs, enjoyed them and spread them to the distant lands to the full satisfaction of His devotee : 'Āsa dīra duradesamulanu prakāsimpa jesina Rasikasiromani Dasarathī, nī rinamu dīrpa na tarama'- and asks ' Is it possible for me to repay the debt I owe you for this?' Tyagaraja had a full consciousness of the mission with which his life was charged on this earth; as he says in his Asaveri piece, Epaniko janminchiti, he clearly saw that he was born with the mission of singing of Rama even as sage Valmīki and others did of yore; and with full knowledge, carefulness and joy, he carried out to his soul's content, the task to which he was called; in his song in Ganavaridhi, Dayajūchutaku, he gives expression to this supreme gratification of a self-conscious artist, born to fulfil a noble mission entrusted to him by the Lord : I. In the piece 'Isa pahı mam' in Kalyānı on Saptarishīsvara, Tyagaraja says in the second charana: " Vyasarchita palıta-nijadāsa Bhuloka kailasam- banu" etc., which is confirmed by the local Kshetra Mahatmya, a ms. of which I secured from Lalgudi. The Sthala Mahatmya says of Lalgudi : Bgor- कैलासममुमेघ तपोधना:। The reference to Vyasa and Indra worshipping Siva at Lalgudi 1s supported by the mss. of the Sthala Mahatmya. At the end of the first charana of this piece, the text of the song as available in different editions reads " Paramanandarnava Deva ! yanapa janaka " which has been so reproduced in the body of this book also (page 79) with a query. On thinking over this textual knot, I found that the correct text is ' Devayanapa-janaka' meaning ' father of the husband of Devayana' or Devasena, the consort of Subrahmanya, son of Sıva,

STRENGTH AND FAITH I9

' Munu nīvanatichchina panulu asagoni ne manasaraga nidanamuga salpinanu'. The anguish and the plaintive strain of many of his songs may lead one to think of Tyagaraja as a meek and frail spirit. But a large number of his songs, in which his bold spirit is seen, show the strength of his mind and his firm faith in God and himself, and the knowledge of his own musical excellence and the consciousness of himself being in the right. In the familiar piece Nidhi chala sukhama, he refers to himself as the wise Tyagaraja; 'Sumati Tyagaraja'. In the other familiar piece, in Devagandhari, Namoralagimpavemi, he plays a poetic pun on the word Sugrīva and asks Rama, that if Sugriva should be protected for his beautiful neck, 'Su-grīva', for the same reason of his own su-grīva, (excellent musical voice), he, Tyagaraja, should also be protected. In Sitavara sangita, he refers to himself as one revelling in 'Susvara'-' Susvaraloludau Tyagaraja'. Look especially at his Mukhari piece, Chintist unnade, in which he dwells on the anxiety of the weeping Yama, the lord of hell who is unable to claim any victim, because people have all taken to singing the saving songs of Tyagaraja: ' Sāramani Tyāgarāju samkīrtanamu baderanuchu chintistunnade Yamudu '.

In Dasarathi ni rinamu already cited, he refers to his songs as capable of endowing on one happiness here and in the hereafter: ' Bhukti-mukti galgunani kīrtanamula bodhinchana Tyagaraja- kararchita.' For the sense of balance and true appreciation of what is of fundamental value, he calls himself one of the foremost Rasikas -- Rasikagresara (at the end of Grahabalamemi- Revagupti). He no doubt broke down in a meek way in numerous pieces bemoaning his lot, but among the various moods in which he addressed his Deity are not wanting those in which he confidently affirms his qualifications and argues for his right for His grace; for example in Atukaradani (Manoranjani), he refers to himself in the charana as one well-versed in Veda,

20 LEARNING AND POETRY

Sastra and Upanishad and one who is treading the true path- ' vedasastropanishadvidudaina nijapu dārini batti dasudaina '. In Evarimata, he describes himself as one who knows the injunctions of Sruti and Smriti (Ārsheya and Paurusheya Chodyas). Just as he describes himself here as one who treads the true path, he calls himself also 'a true servant'-'nijadasa'- of the Lord (Cf. end of Kadatera in Todi). Just as Tyagaraja was conscious of the high spiritual value of his songs, he was conscious also of their great musical excellence. His music was the natural climax of an age of giants at Tanjore, the musical atmosphere there having been enriched by the contributions of Kshetrajna, Narayana Tīrtha, Vīrabhadrayya 1, to mention only a few of the first rank. According to one tradition Tyagaraja was himself the grandson of Vina Kalahastayya. He had his musical lessons from Sonthi Venkataramanayya, son of Sonthi Subbanna, of whose music a Sanskrit contemporary work 2 says that it would make barren trees sprout. No wonder that popular imagination speaks of Tyagaraja having been personally initiated by sage Narada himself. No wonder also, that in his own Mukhari piece, Elavataramettukontivi, Tyagaraja makes bold to say finally that Rama incarnated himself only to enjoy and bless Tyagaraja for his songs sung in hundreds of Ragas. LEARNING AND POETRY AN IDEA of Tyagaraja's knowledge of the literature belonging to Rama-Bhakti and the musical-cum-spiritual heritage handed down through the compositions of the succession of saint-singers of different parts of India has already been given. More on the same may be seen below in the chapters on Nama-mahatmya and Ishta-devata. The foregoing account of Tyagaraja's works would have also given an indication of the composer's mastery of the linguistic media in which he I. On him, see the present writer's article in the Journal of the Music Academy, Madras, Vol. XVII, pp 153-56 and Vol. XXIV, pp. 151-154. 2, Sarvadevavilasa: see the present writer's article in the Journal of the Madras Musię Academy, Vol, XVI, p. 135.

OF VALMIKI'S LINÉ

expressed himself. As already said, the composer had made his songs the means of communicating his deep feelings and the varying moods of a devotee and spiritual aspirant, one who underwent poignant experiences in life; all this calls for an amount of effective expression which is not possible for one who is not endowed with poetic gifts. Whether he was pouring forth his agony or breaking into joy or elaborating a piece of teaching or condemning worldly things and vices or coming down heavily upon hypocrites and depraved persons, his expression was equal to the occasion. Like a regular poet, Tyagaraja not only played on words but sustained himself through continuous sound effects, some of which were part of the art of musical composition. From what has been already said, it would have been clear that frequently Tyagaraja placed himself by the side of the great Rama-poets, beginning with Valmīki himself. While in some pieces, he calls Rama as abiding in the hearts of the good poets-Satkavi-hridalaya and Sukavijana-hrit-sadana in Jagad- ananda-karaka (Nata, charanas 2, 10), Kavīsa-suhridaya-nivesa in Dasarathe (Kokilapriya) and Sukavi-manasarchitapada in Okapari (Kalavati), all of which refer to the great popularity of the Rama-theme with the poets, he makes special mention more than once of Valmiki who gave us Rama and the Ramayana. In the same Nata Pancharatna (8th charana), he calls Rama one whose story was set forth by the anthill-born sage who was also the king of poets: Kavīna-bilaja-mauni- krita-charitra. In Entanuchu in Yadukulakambhoji, he refers to Rama having saved the king of poets-Kavirajarakshaka- which is of course a reference to the traditional story of Valmīki's earlier life as hunter and his being redeemed by Rama-nama. ' Satata-palita-adbhuta-Kavaye' in Namo namo Raghavaya is again a reference to the same wonderful poet Valmīki. In Gatamoha, he gives Rama himself the designation ' Satakoticharitra ' after Valmīki's work. That Tyagaraja was steeped in the religious and spiritual lore goes without saying. He was a lover of the learned, the

22 SANSKRIT LEARNING

truly learned, even as his God was, Budha-jana-dhana (in Saranu sarananuchu-Madhyamavati). Complaining to the Lord about His being slow to come to the rescue of one like him who is attacked by people, Tyagaraja refers to himself as one learned in the Vedas, Sastras and Upanishads, Veda-sastropani- shadvidudaina (in Atukaradani-Manoranjani); elsewhere also, as has been already referred to, he speaks of himself as qualified in the teachings of Sruti and Smriti. How far Tyagaraja underwent formal instruction in these is however a different matter. When all this learning lived by word of mouth, was recited and expounded publicly and the religious congregations and activities were resounding with it, one growing in that atmosphere naturally grew into that learning, called significantly ' sruta' in Sanskrit and ' kelvi' in Tamil. If a fair degree of ability to handle Sanskrit could be considered as an acceptable ground for one's claim to scholar- ship, we may say that Tyagaraja would pass the test. For not only has he composed a Sanskrit gadya on the Lord and Sanskrit verses in his plays and a number of songs wholly in Sanskrit 1, but his Telugu pieces are surcharged with Sanskrit and sometimes even bilingual 2. Particularly in songs full of epithets, Tyagaraja goes out of the way to exhibit his ability to use rare Sanskrit words and rarer compounds and to make puzzling synonyms out of these, so that it requires the attention and imagination of a sound Sanskritist to interpret these songs.

I. Eg. Nadatanumanisam, Samajavaragamana, Jagadānanda Kāraka, Varasikhıvāhana, Varalıla ghanalola, Dehi tava padabhaktım, Ehi Trijagadīsa, Māmava Satatam, Namo Namo Raghavaya, Niravadhı Sukhada, Phanipatisāyi, Sujanajivana, Sri Narasimha, Raghupate, Bhajare bhaja manasa, Tulasibilva, Devadeva, Mahitapravriddha, Sambho Mahādeva, Sri Janakatanaye, Pāhi Ramduta, Rama eva Daivatam. 2. While a few are m a mixed style,-e.g. Tava daso'ham, Pah Paramātma, many take off in Sansknt. in the. Pallavi and go into Telugu, in the main body: Isa pāhı mām, Sive pāhi mām, Mamava Raghurāma, Re mānasa chıntaya, Rama pahi meghasyama, Sri Ramachandra Raghava, Bhaja re Raghuviram, Sri Raghuvara, Pahı Kalyanasundara,' Dasarathanandana, and Divyanamas starting' with Pahi. Ela nidayaradu is an example of a piece with Telugu opening and Sanskrit body.

COMMAND OF SANSKRIT 23

Certain words rare in Sanskrit poetic usage have gained rather free currency in the vocabulary of our music composers and Tyagaraja has resorted to them frequently, words like Samaja (elephant), Apaghana (body), Raja and Abja I (moon), Sara (water) in Saradhi (ocean) 2, Vana (water) in Vanaja and Vanaruha (lotus) and Vanadhi (ocean) 3, Vi (bird) in Viraja- turaga and Vivaha, Bha (star) in Bha-raja and Bhesa 4, and Asuga (wind) 5. Vi-vaha 6 in the sense of one riding a bird is confusing and expressions like Bha-raja-mukha and Bhesa-sankasa are inelegant. Even so are involved compounds like Upavalāri-māyavilasini 7 which means Vishnu-maya-vilasini. All this, like some other features too, may fall within the scope of literary flaws according to Alankara Sastra, but it should be noted that a predilection for these bespeaks an author's ability to handle the language freely. Even very recondite and pedantic Samasas are indulged in by him 8 but here again, it appears that the composer relied more on the knowledge of Sanskrit one gathered from gencral acquaintance with literature and religious texts and by keeping one's ears open and not from any formal study of Sanskrit grammar and lexicography ; for the forms used by Tyagaraja, while displaying wide vocabulary, are not free I. See Rakabja-mukha in Lokavanachatura, this is confusing as Abja is more commoly used for lotus. 2. See Daya-saradhe, Saradhi-bandhana, Saradhi-mada-vidara. 3. Tyagaraja would use, for lotus, even Saraja (Saraja-anana in Gatamoha), (Sarajalochana ın Ramāramana bhāramā) and Jīvanajadalāyatāksha (Evidha mulaınagani). Bısa-ruha in Lālilalayya (Kedāragaula) is also lotus. 4. See Sujana-hrit-Kumuda-bha-rāja in Mātımātiki (Mohana), Bharāja- mukha in Melukovayya and Bhesa-sankasa in Sri Nārada (Kanada). 5. See Ghanagha-jimutasuga in Nenarunchinanu. Asuga is more com- monly used for arrow. 6. In Nidayarāvalegāka (Todi). 7. See also Manda-janaka-sata-sankasa in Jayamangalam-Nadanāmakriya, meaning 'bright like a hundred Suns' in which Manda is Saturn and his Janaka 18 Sun; Vārivāhavāhana-tanaya ın Endudākinado is Indra-putra or Vālin, Varivāha being Megha and one riding it (vahana), Indra. It is also far fetched to use such lakshanika-prayogas as Kanja-ja-astra for Brahmastra (in Sri Kanta, Bhava. priya) and Vagisa-ananda (in Rama nipai) for Brahmananda. Instances could : be multiplied but the subject is to be dealt with fully in a different context. 8. See foot note 7 above.

24 FELICITY OF EXPRESSION

from solecisms 1; in this respect, like his contemporary Dikshitar 2 who composed more completely in Sanskrit, Tyagaraja used a popular and easy form of Sanskrit which admitted of vernacularisms 3.

But it must be granted that, compared with his contem- poraries, Tyagaraja generally commands a greater felicity of expression and grace and flow in style and he could, with much ease and effect, manage many alliterations and sound effects, especially those that are necessary for the second letter assonance or those with which he makes the ends of a line dovetail itself perfectly into the opening of the line or the Pallavi when it is sung and repeated, or for the yatis of Gopuccha or Srotovaha 4. In his Divyanamas there are numerous pieces with lines upon lines displaying his skill for alliteration and double entendre,

I. Eg. Rama namam Bhaja re; Rajam (standing by itself in Ramam bhaje'ham in Saveri), Bhusama-santam and Tyagaraja-hrıd-bhantam in Bhaja re bhaja manasa, Phanipatisayi mam patu where we do not know if the epithets are in nominative or vocative and how the verb patu in 3rd person fits; Pahi paramātma satatam mām (Varāli). 2. For a strange coincidence of almost idential expressions in Tyagaraja and Dikshitar see Varasıkhıvahana Varijalochana (Supradīpa) in the former and Varasıkhivahanam Varijalochanam' in the latter's Yamunakalyani piece ' Paramasivātmajam '.

3. See Ranı, Pavitri, Durandhari, Parātpari, Sāgari, Ādhāri, Udan, Chārı Lokasakshi (all feminine); these forms are sanctioned only in popular vernacular usage.

4. A large number of striking examples can be given to show the ability of Tyagaraja in all these respects : Nidhi-Sannıdhi; Dantunikaina-Vedantuni- kaina; Dari-Sundan-Tripurasundari; Dehi tava pāda-Vaidehi; Rāma-Abhirāma; Savamu-Putrotsavamu (Emi Jesite-Todi) ; Varana-nıvarana (Sri Raghuvara- Devagāndhārı). Grahabala (Revagupti) shows this effect all through ; Graha- Anugraha - Vıgraha - Navagraha - Nıgraha; Khala-Ulukhala in Kadatera; Vıdulaku-Kovıdulaku; Manasa-Mana samarthya; Manamu-Abhimanamu ; Kanta-Krekanta; Madama-Kamadama and Kulama-Vyākulama (in Rama Rama-Huseni) ; Mitri-Saumitri; Tera, Matsaramuna Tera, Madamatsaramuna Tera; Sodhanaluku-Yasodhanulaku (Pāhi Rāmachandra, Yadukula Kāmboji); Bhavansannuta-Abjabhavasannuta. ' Easier examples lıke Guru-Sadguru, Raju-Rangaraju; Meru-Mahameru and epithets and prefixes going with Rama a bound of course.

POETIC ABILITY 25

(slesha) 1. Indeed the more one scrutinises these highly Sanskritic compositions, the more textual problems does one face, many of which have been aggravated by bad transmission of the text through non-Sanskrit knowing hands and could probably be solved by examination of more manuscripts and patient reconstruction. 2 Some Telugu scholars do not attach equal importance to the Telugu of Tyagaraja 3 but it should be remembered that Tyagaraja was born in a Telugu family long domiciled in Tamil districts and he wrote the simple colloquial Telugu that was spoken by these Telugu families in Tamilnad. Taking a larger view we find of course no difficulty in accepting Tyagaraja as one endowed with definite and conspicuous poetic abilities. We have already referred to the general felicity of his expression; in ideas too, Tyagaraja who intentionally meant to communicate a large volume of thought through his songs, shows his capacity to expand an idea with beauty, logic and effect; he can take a central idea or an effective end of a thought in the Pallavi and elaborate it to an extent in the Anupallavi and embellish it further in the charanas with the same architectonic skill as in expounding a Raga through opening, progression and further sweeps. If as a

I. To cite a few examples; ın Palaya Sri Raghuvira, ın Devagandhari, Pālaya-Krıpālaya; mn Tarādhīsa-vadana and Tārādhīsa-damana (ın Pālayasrī Raghu) the first Taradhisa is moon and the second Valin; Rakshasa-jana- Makaraksha-samara ; Srı Dasaratha-kula and Sri da-sara-dhi (because he was a Telugu who pronounced Th as Dh, Dasaratha and Dasarathi rhymed with words- havingdhi; for another instance see dadhi and Dasarathi in Nidhichala); Hımakara Ehi makaraharana, Tyagaraja-nuta and Nitya-agarajadhara, the latter meaning ' lifting and supporting constantly the king of mountains viz., Govaradhana'. Janakajā-māta and Janaka-jāmātā, Kanaka-patadhara, kana-kapata, Tanu kanaka; Kamalāhita, and nata-kamalāhita-dhara; see also the small pieces : Deva Rama Rama in Saurashtra, as also Entamuddo, where all the lines of the charanas rhyme at the beginning; also in Sri Raghuvara (Devagandhari) the lines of the Anupallavi and charanas are in Yamakas. For sustained Prāsa, a piece like Palukavemi patitapāvana in Arabhi can be seen. For a piece with more difficult and obscure combinations, Pahi Pahi in Saurashtra may be seen. 2. I shall deal with these elsewhere on another occasion. 3. The Telugu part of the texts also has some knots still unsolved.

26 EFFECTIVE EXPRESSION

master musician, Tyagaraja takes off his Pallavis with a characteristic and suggestive phrase of the Raga, even so, in his Sahitya, he takes off his Pallavis with an emphatic phrase or a compact idea which admits of reinforcement or illustration in the further parts of the song. Many of his songs open with striking Pallavi-words; some of the more musically celebrated masterpieces are also examples of this merit of Sahitya: A few examples will suffice: Emi Jesite-Todi is an illustration of how Tyagaraja can'develop a leading idea, enriching it with a long series of supporting ideas. The analogies with which the idea is driven home in Nidhichala are really effective; for similar apt illustra- tions and striking similies we can cite a number of his songs: Guruleka, Chakkani, Karuvelpulu, Tanayuni, Mīvalla, Telisi Rama, Nalinalochana, Sarasīruhanayana, Nanu brovakanu. The fecundity of his imagination is conspicuous in songs like Melu Melu and Nanu brovakanu where long chains of similes are strung. In Pahi Ramaramana, he says that he is too delicate a creature to bear the amount of suffering he has been subjected to and adds a series of three illustrations that the jasmine blossom cannot withstand a stone, that one cannot tighten an iron-belt round a cucumber and that the Brahmastra cannot be aimed at a poor parrot. In songs where the preaching is pronounced, we see Tyagaraja producing within the song almost a compact essay; e. g., Proddu Poyyenu, Samsarulaite; Ide Bhagyamu; Adikadu bhajana; Atade Dhanyudu; Bhaktuni Charitramu; Karuna Elagunte; Padavinī; Paripalaya (on higher puja). For working striking fancies on ideas, songs lıke Varijanayana (Kedāragaula), Nadasudharasambilanu on the personification of music and its concepts, Sandehamunu on Rama's feet and sandals, Endundi Vedalitivo which speculates on the native place wherefrom Rama might have come and contrasts him with the Trimurtis etc., can be seen. There are indeed numerous passages which exemplify Tyagaraja's poetic fancies. Special attention may be drawn to a few examples : In Brovabharama. he asks if he is too much of a burden for Rama to bear and points out the huge burdens that the Lord had borne in the past, the mountains of

DESCRIPTIVE POWERS 27

Mandara and Govardhana on his back and palm, and the entire universe in his stomach. In Srīkanta nīyada, Tyagaraja asks Rama why He who chastised Kaka-asura does not pay any heed to the erring Dvijas (Brahmans); Tyagaraja intends a pun here, for the mischievous Kakasura was a bird and ' Dvija' (Brahman) means also a bird. In the first charana of Anupama- gunambudhi, he refers to Rama as the son-in-law of Mother Earth and implies that he should not be inert like Earth ! In Manamuleda, he observes that the father of Kusa-Lava should be a connoiseur of music. At the end of Kada tera rada (Todi), another deft touch of his is seen when he suggests that those who are true servants of the Lord who was bound to the mortar (by Yasoda) get freed from the bonds of vicious worldliness, ' Khala chitta laukikamane srinkhalamandu dagalakane- Ulukhalabaddhunikinijadasudai velasillu',-a fancy which reminds us of Vedanta Desika's verse on Krishna-Damodara in his poem Yadavabhyudaya I. Sarasasamadana contains an original flash of Tyagaraja that if, after the promise of the kingdom of Lanka to Vibhishana, Ravana should surrender, the magnanimous Rama would give him the kingdom of Ayodhya itself. Srī Ramadasadaso'ham has a series of fancies on the Samudrika-lakshanas of Rama, and in Yuktamu gadu, a series of reasons for Rama's indifference is imaginatively worked out. In the Kiranavali song, Paraku nī kelara, his fancy comes out with an added glimmer of fun in the reference to Sabari and Guha and in Sitanayaka (Rītigula), a more pronounced expression of this tendency gives us a fine song of the type called Ninda-stuti. In Evaramadugudura, he works out the fancy that, every boon and blessing he might ask of the Lord having already been taken by one celebrated Bhakta or another, he, Tyagaraja has nothing left which he might request for himself. In some other 'songs the play of fancy combined with the power for graphic depiction presents us excellent pictures: The portrayal of Rama as a boy playing with his बद्धं तथा भावयतां मुकुन्दमयत्नविच्छेदिनि कर्मबन्धे। तपस्विनी तत्क्तुनीतिराद्या मव्रीडमारण्यकथासु तस्थौ।।

28 REALISM AND HUMOUR

mates in the street in Rama Rama Rama lali (Sahana) is one such. For a masterpiece of exquisite miniature painting, we have in his Kaikavasī piece Vachamagocharame a brilliant example; the tenderness and compassion with which the Lord combines His power is effectively reflected in the light and shade of this masterpiece. Tyagaraja presents a sylvan scene in which, guessing Sita's longing for the tail of a chamara-deer, Rama swiftly sends a shaft at its tail, but finding that the deer would rather lay down his body than lose his tail, Rama despatches more swiftly a second arrow to strike down the one aimed first at the tail. For his descriptive gifts, one should see pieces like the one on the river Kaverī (Sari vedalina). We should evaluate the poetry of Tyagaraja by the heights to which his imagination has reached, as indeed we should judge the achievement of all genius. The literary quality of Tyagaraja's composition is also evident in the touch of realism and humour which enliven his expression and bespeak the Saint's keen eye on things around him. Attention may also be drawn to the popular idioms, proverbs, sayings, parables and maxims which are strewn all over his songs *. In Nīke dayaraka, Tyagaraja observes that

*I. Gomukha-vyaghra-Tiger with a cow's face- Bhaja re Raghuviram. 2. Dutta palu ruchi deliyu samyame-Like the vessel trying to know the taste of milk-Enta muddo. 3. Vennaiyunda netikevvarama vyasana padura-With butter in hand, will one worry himself about ghee >-Kanna talli. 4. See the whole of the songs Rukalu padıvelu, Chakkani rajamargamu, Melu Melu, Rama niyada, Nalinalochana (Madhyamavatı), Samayamu delisi, Balamu kulamu, and the sımiles in Pahi Ramaramana (Varali). 5. Vrishabhadulukatukula ruchi deliyu-Expecting bulls to know the taste of aval-Kalınarulaku. 6. Prānamulenidānıki bangaru baga chutti etc., in Bhaktı bichcha-Like dressing and decorating dead bodies. 7. Charanas I and 2 of Mivalla : If the gold is not of requisite quality, why blame the goldsmith ? If your daughter cannot bear the labour pain, why blame the son-in-law ? . 8. As much fun as there is money to spend-Vittamunaku daginattu veduka naduchunu-Ninnadanela. 9. Gananatha jeya goraga gadu vanarudai tirega-trying to make the image of Ganesa and producing one of a monkey-Evarito ne delpudu. (Continued on next page)

SATIRE 29

it is only a person wanting in sense or propriety who would hope to gain forcibly the love of a woman whom he has failed to interest by the mere sign of his eye, or who would not bury within himself hearsay reports but begin to act upon them. His sense of humour and satire are seen especially in the songs in which he criticises the imposters or those wallowing in worldly things. In Manasu vishaya, he refers to the fool who lends the door of his own hut to a neighbour to enable him to close his own hut and go to witness a drama, and himself keeps an all- night vigil for driving dogs from his own open hut. See the series of illustrations in Samayamu delisi: " It is immaterial if a mad man is or is not pleased at hearing good poetry ; it is immaterial if blind eyes, however large, remain open or closed; it is immaterial if a panaka-pūja is done in the Turushka-vithi". Look at this in Mivalla: "If one's daughter is not able to stand the labour-pain, why blame the son-in law ?" Tyagaraja can also employ a scathing style when he wants to denounce vehemently : Look at his references to the Somayaji performing sacrifices and his wife running after beautiful paramours (Manasu nilpa), to the success that experts in pornography (Koka sastra) have in this world, to those who run after women like dogs, to the sukara-vritti of those who worship not with pure minds, to the hired mistresses who foment domestic chaos I0. Like an orphaned girl clinging to her husband: Talli Tandri leni bala tana nadhu goru riti-Chera rava. II. Pulammi bratuke varu Rama pullamma bilvararu-One selling flowers will not care to sell firewood-Ennallu. 12. Rocking the baby with one hand and pinching it with another-Totla narbhakula nutuvu, marı mari tochinattu gılliduvu-Atta balukudu. 13. The purchased wife-Rukalosag konna satı- Gara vimpa rāda 14. Talaku vachchina badha talapagaku setu-the danger that came for the head just took the turban thereon-Nadadina mata. 15. The bull in the oilmill going round and round in the same track- Sri Rama Ramasritulamu. 16. Is it possible to draw out easily a cloth cast over the thorns-Gajja (Varāli). mundla mida dagulu konna batta grakkuna dıya vasama-Sri Rama Jayarama

17. See also Palamunchina nītamunchina in Bhuvini dāsudane, Niraina palaina in O Rama O Rama. 18. Pouncing like the grain on the frying pan - Ramaramana in Vasanta- Māti mātiki. bhairavi and the Sthal pulāka nyaya, one grain enough test for a potful-

30 HIS WORKS

(Evaru Teliyanu), to those who prostitute their mother, viz., the mind, to the libertines called senses for earning some money (Nijamuga in Sahāna). HIS WORKS TYAGARAJA's musical contribution is remarkable for its quantity and variety, as much as for its quality. The highest musical excellence is found in his compositions which we have come to call kritis, in which he captured and effectively picturised the essence of Ragas. In these the words are reduced and scope is afforded for musical elaboration, variations and embellishments. In his compositions, as stated in the beginning, there is a wide variety of form and type, from metrical com. positions and settings suggested by the European band-tunes that were then familiarised at Tanjore, e.g., Girirajasuta and Raminchurarevarura to creations like Koluvaiyunnade, where sangatis are heaped and the Sahityas are moulded like Pallavis. As part of the daily worship of the Rama idol, he composed a series of songs expressing the several services, the shodasa-upacharas, forming part of the worship. At that time, there was widely prevalent in the Tanjore area the practice of celebrating in Bhajana mathas, the festivals of Radhakalyanam and Sītakalyanam. Tyagaraja composed a series of songs referred to as the Utsava-sampradaya-kirtanas and Divya- nama-samkirtanas for a full festival like these. The Divya- nama-samkirtanas are in simpler, metrical setting, so as to help congregational singing ; but it is in them that much of Tyagaraja's thought is thrown and the composer exhibits also his command of Sanskrit, its rare words and compounds, and sound-effects. Above all Tyagaraja attempted also to produce full musical plays. During his times, in temples and certain villages of Tanjore, like Merattur, there was the practice of enacting in abhinaya, musical plays by troupes of Bhagavatas I

I. See the present writer's Bhagavata Mela Nataka in the Journal of the Indian Society of Oriental Art, Calcutta, Vol. V. 1937, pp. 167-170. Also Journal of the Madras Music Academy, Vol. XVII. pp. 150-151.

THE PRAHLADA-BHAKTI-VIJAYA 31

proficient in music and dance. Tyagaraja had much fascina- tion for this devotional dramatic tradition sanctified by the association of Jayadeva and his Gita Govinda and, much nearer his time, Narayana Tirtha and his Krishna-lila-taran- gini. An elder contemporary of Tyagaraja was an accom- plished music composer of Merattūr named Venkatarama Bhagavatar who enriched this Bhagavata-mela-nataka-sam- pradaya with his musical plays like the Prahladacharitra. Inspired by these, Tyagaraja composed two musical plays, bringing out the greatness of devotion, called the Prahlada- bhakti-vijaya and the Nauka-charitra.

The Prahlada-bhakti-vijaya and the Nauka-charitra are modelled on the same plan as the natakas of the Bhagavata tradition with descriptive songs, dialogue-songs, introductory verses, and prose-passages; but there is no tradition of either of these works of Tyagaraja having been played. They were only sung by devotees ın. Bhajanas, continuously as well as in parts. It would give a wrong impression to call them operas. Sometimes an attempt is made to distinguish them from Nataka-compositions such as those of Merattar Venkatarama Sastri; the distinction will hold good only so far as practice is concerned, as Tyagaraja's two dramatic compositions were never enacted; but in theory, Tyagaraja's composition differed not, for he expressly says in his Prahlada- bhakti-vijaya that it was to be sung and rendered in abhinaya.

The story of Prahlada is of primary importance to all votaries of the Bhakti-marga, and when we consider the fact that Tyagaraja was a Rama-bhakta from his young years and was subject to many trials in the pursuit of the path of single- minded devotion to the Lord, there seems to be a special significance in Tyagaraja's fascination for Prahlada's story which is, so to say, the prototype of the story of his own devotional life. Further, the great popularity of the Prahlada- story in the dance-drama tradition which gave rise to the Prahlada charitra of Merattūr Venkatarāma Sastri must have

32 THE NAUKA-CHARITRA

also induced Tyagaraja to write this musical play which, as its title shows, tries to bring out the triumph of Prahlada's devo- tion to Hari over the many trials to which his demoniac father, Hiranyakasipu, submitted Prahlada. The pieces here are both heavy and light, and some of them have become popular in our concerts also. It may be noted that, following the practice in the nataka-compositions, Tyagaraja employs here many Rakti- ragas: Huseni, Sahana, Punnagavarali, Ghanta, Nīlambari, Gaulīpantu, Asaveri, Âhiri, and Paras. Shorter but more dramatic and more noteworthy as an artistic achievement is the musical play Nauka-chartra which brings out the idea of complete surrender to the Lord through a finely worked out story. The Gopis desire to go on a boat excur- sion on the Yamuna, with Krishna in their midst. They are exhilarated with his love and become intoxicated with pride. The Lord who desires to render them humble and purify them, conjures up a gale which tosses the boat on the turbulent waters of the river; consternation seizes the women; suddenly they find that the craft springs leaks and the Lord grimly asks them to remove their garments, symbolic of all material trappings, and plug the holes with them. When the Gopis had surrendered their pure spirit to the Lord in meek prayer that He was the sole saviour, the Lord calls off the storm and blesses His devotees. The motifs through which the ideas are worked out are variations of those in the wellknown episodes of Vastra- paharana and Rasalila. There is a Sanskrit version of this theme by one Venkatasuri which is an inferior production and is obviously not the source of Tyagaraja's inspiration, but was probably a post-Tyagaraja attempt. It is well-known that in the Bhajana-tradition there was continuous contact among the schools in different parts of India. At different stages the Assam - Sankaradeva and the Bengal - Chaitanya school on the one hand and the South Indian schools on the other had contacts of give and take. It has come to light that the theme of Nauka-charitra is wellknown in Bengal Vaishnavite devotional literature and as the Bengali productions on the

SPIRITUAL HERITAGE 33

theme are earlier, it stands to reason to suppose that Tyagaraja took his inspiration from the Bengali originals 1. Pious tradition believes that, on the whole, Tyagaraja composed, to be on a par with the 24,000 slokas of Valmiki's Ramayana, 24,000 songs on the glory of Rama. Even the songs that are now available, 800 or so, form quite a substantial contribution.

THEIR SPIRITUAL HERITAGE WE are, however, not primarily concerned on this occasion with any detailed study of Tyagaraja as a musical genius. Among musicians of his time, Tyagaraja was one who underwent a poignant life of devotional and spiritual striving and by the meaning and message packed in the passages of his songs, he takes his place among the musician-saints of our country, like Kabir and Purandaradasa, the latter of whom exerted a very large influence on him, or the pioneers of devotional poetry in this part of the country, the Alvars and the Nayanmars. Among the music composers of his time, Tyagaraja was a poet, preacher and philosopher. Those that have heard his songs again and again and have been carried away by their music, have no suspicion of the wealth of idea that lies underneath, like gems within the ocean. Time and again, we sit before our favourite songster and wait for the thrill of a particular sangati or sanchara in his song ; neither the listener nor the singer realises the equally thrilling poetic fancy or philosophic truth which that musical flourish hides within itself. When one looks at this aspect of his songs, one will not be reminded of the musical setting of his age, of the heritage of Sonthi Venkataramanayya, Adippayya and so on, but one will recall a different background,

I. Sri Suresh Ch Chakravarti, Calcutta, writes to me on this subject: " Regarding Nauka Vilas or Nau Vihar, it provides an important chapter of what we call Pala Kirtan or Lila Kirtan of Bengal. There are many Padas or compositions from the pen of various Vaishnava poets known as Mahajans." I may draw attention also to a Sanskrıt Giti-kavya on the same theme called Tarani-vihara by Bhaskarananda Sarasvatı publıshed in the Samskrita Sahitya Parishat Parrıka, Calcutta, XXX. Nov. 1947 ff. 3

34 IMPORTANCE OF THE MEANING

of a religious and spiritual revival on the banks of the Kaveri, of Narayana Tirtha, Sadasiva Brahmendra, Ayyaval and Bodhendra and of the rise of the cult of the Lord's Name, Nama Siddhanta, as the most potent means of realising God. His reformist zeal for true devotion and discarding of sham and meaningless form and ritual, derived its direct inspiration from the Padas of Purandaradasa I; and an entire school of Rama Bhakti developed by saints and books, like Ramananda, Tulasidas, the Adhyatma Ramayana and Ramadas gave his imagination everything that was needed in his pilgrim's progress for the realisation of Ramachandra 2. It is not as if mere singers alone took up and spread the songs of Tyagaraja. Devoties in Bhajana-mathas and in the Bhajana-parties accompanying the deities in procession in great festivals sang them and Bhagavatas who expounded Harikathas found in his instructive pieces many apt songs which they could use in their discourses; many of the songs, by their theme and teaching, appear verily to be shaped like apt Nirūpanas, as they call them, intended for use in such devotional and spritual exposi- tions. The view, I hope none holds such, that we should look to his music and not to his meaning is expressly contradicted by Tyagaraja who emphasises in his own definition of a Kriti that it should expound the true words of the exalted Upani- shads : 'Nigama - sirorthamu - galgina - nija - vakkulato ...... kritiche bhajiyimchu'. In fact, in respect of singing his songs, it is the devotional word Bhajana that he uses. The gusto with which he preached and the volume of valuable wisdom and

I. For example ct. Tyagaraja's 'Dhyaname varamaina gangasnaname' and Purandaradasa's 'Smarana onde salade' in whose third charana we read 'sakala- tirtha yatreyamatidamdha nikhila punyada phalavu .... smarane'; Tyagaraja's 'Manasunilpa' and Purandara's 'Manava nilisuvadu balu kasta'; Tyagaraja's 'Sogasuga' and Purandara's 'Talabeku'; Tyagaraja's 'Dvaitamu sukhama' and Purandara's 'Dvaitavu sukhava' and Tyagaraja's 'Grahabalamemi' and Puran- dara's 'Sakalagrahabala nine'. There are similar parallels between Tyagaraja and Kanakadasa also. 2. In his Prahlada Bhakti Vijaya, Tyagaraja salutes Tulasidās, Puran- daradās, Bhadrāchala Rāmadās, Nāmadeva, Jnānadeva, Jayadeva, Tukārām and Narayana Tirtha.

POPULAR SCRIPTURE 35

experience he impounded in his songs place him among the saints whom we revere for the service they performed by periodic spiritual rehabilitation of our land. Tyagaraja's songs will therefore be not only a huge dam storing for us our precious musical heritage, but one more of the bibles which our saints have given to the community at large for their spiritual salvation. One is therefore justified in making a detailed study of the entire though :- material in the songs of Tyagaraja with a view to bring out the richness and the varied aspects of the spiritual heritage of Tyagaraja and to draw attention to the message of the songs that Tyagaraja composed for the salvation of humanity. Ragaratna malikache ranjillunata bāga sevinchi sakala bhagyamondu damu rāre naigama shat chastra purana agamārtha sahitamata yogıvaruluyanandamunonde sanmārgamata bhagavatottamulu gūdi bāde kīrtanamulata Tyagarāju kadatera tārakamani chesina sata (Ritigaula) " Come one and all and sing the hundreds of gem-like melodies which Tyagaraja composed for the salvation of humanity; songs which contain the essence of the Vedas, the six Sastras, Puranas, and Agamas, which the Bhagavatas congregate and sing forth and which show the right path to attain the bliss realised by the Yogins ! " Oh come, one and all, sing them well and be blessed !"

CHAPTER II

NĀDA YOGA I " Nadaloludai Brahmananda mandave, manasa" ONE of the distinguishing characteristics of Tyagaraja as a composer is the large number of songs he has given us on the noble art that he handled, and the many references he has made to it in his other songs. These songs and references cover every aspect of the art, musical criticism, elucidation of musical concepts, the best way to practise music, music as a help to spiritual effort and above all, music itself as a Yoga and a Siddhi, a path and a realisation. In his Sriranjani piece, opening with an exclamation on the wonderful effect of the accompaniment by the mridanga : Sogasuga mridanga talamu jatagūrchi ninu sokkajeyu dhīrudevvado 2 Tyagaraja defines, as it were, what the composition-type called Kirtana or Kriti is: Nigamasirorthamu galgina nijavakkulato, svarasuddhamuto, yati-visrama-sadbhakti - virati-drakshārasa-navarasa-yuta, kritiche ' Kritis which expound the true words of the exalted Upanishads, which are marked by correct placements of svaras and rhythmic turns and pauses, which reflect true devotion and vairagya, which are dripping inside and out with juice like grapes and are rich in the nine rasas '.

Tyagaraja has not merely defined here the requirements of a Kriti but has really described the highlights of his own

I. On this subject, see also the present writer's Sanskrit article of this name in the Silver Jubilee Souvenir of the Marris College of Music, Lucknow, 952, pp. 25-6. 2, Cf. Purandaradāsa's pada 'Tālą bekų takka mela beku ' etc.

VADE MECUM TO MUSICIANS 37

compositions in which the Kriti-form attains its perfection. In Sanskrit literary criticism, two main styles of composition are often distinguished: Narikela-paka and Draksha-pāka; a composition whose beauty is deep inside is to be slowly enjoyed with an effort, just as we have to break the shell of the cocoanut to drink its water; and a composition which tastes immediately, whose Rasa flows the moment it is tasted, and which is full of juice, like the grapes-' Bahirantardravad-rasa'. To music, which is the art of all arts, in which form and content coalesce and Rasa dominates from beginning to end, the comparison of Draksha-paka applies excellently. And among our musical compositions, those of Tyagaraja are aptly described by this simile of Draksha-paka. That they are masterpieces of melodic and rhythmic structure needs no elaborate demonstration. That their theme is infinitely varied by the play of the moods and phases of all the nine Rasas and that their ideas are all based on the teachings of our ancient sages and sacred books will be plain from the other chapters of this study. How keenly Tyagaraja enjoyed the rhythms of a finely played mridanga, as referred to in the above-quoted piece, can also be seen from one of the later charanas of his long song on music in Sankarabharana, Svara-raga-sudha-rasa, where he says ; ' What is the pleasure in banging a mridanga, without knowing the rhythms and their varied patterns ?' ' Maddela-talagatulu teliyakaye mardinchuta sukhama ?'

Now listen to this address of his, his vade mecum to musicians, which he gives in the well-known Todi song Kaddanu-variki: ' Niddura nirakarinchi, muddugā dambura batti, suddhamaina manasuche, susvaramuto, baddu tappaga, bhajiyinchu.'

38 SANGATIS, THEIR REAL NATURE

Musicians may well hearken to this advice of their Guru- natha, Tyagaraja : "Cast off your sleep, get up very early in the morning and practise; culture your voice well in the still early hours of the morning. (We may add-do not sleep till 9 A.M. and allow your voice to sink to half a kattai or quarter of a kattai and then requisition the other limbs of your body to make the sancharas which your voice cannot execute): Take a beautiful Tambura for your Sruti (we may add-cast off your Sruti-box). Let your mind be pure, intone the svaras correctly and well, and stick to the sampradaya".

A well-trained voice, perfect Sruti, spotless personal character, Svara-suddhi and faithfulness to tradition,-what else need be said to emphasise the fundamentals of our musical art? The repeated emphasis on Su-svara that Tyagaraja lays may be noted; besides Sogasuga and the above cited piece, one may mention also here Etla dorikitivo in Vasanta, Sukhi evaro in Kanada and Sitavara in Devagandhari in the last of which Tyagaraja describes himself as one revelling in Susvara (susvara- loludau Tyagaraja sannuta). We shall see another note-worthy song of his, Nada-sudha- rasa, in Arabhi. We all know that one of the outstanding features of Tyagaraja's songs is the employment of Sangatis. By harnessing the Pallavi method; he introduced variations in the rendering of the same passage, which besides their value as ' effect' have a meaning of their own in the unfoldment of the Raga-bhava and also of the Bhava of the Sahitya or words of the song. The Sangatis have therefore to be set, limited and made strictly appropriate and they are not merely a matter of the facility of one's voice. Take, for instance, the Pallavi of a song like Namoralagimpavemi. (Why do you not listen to my wailing ?). The variations of the Pallavi vary the shades of the feeling of agony and despair and give a gradual climax

EACH RAGA, A DİVINITY 39

towards which the Sangatis mount. That the musical concept of Sangati has to be thus understood, as a contextual effect, appropriately introduced, is given to us by Tyagaraja himself in his song Nada-sudha-rasa. He conceives that Nada itself has taken human form in Rama and he then proceeds to fit in the elements of music to this conception :- Svaramulārunnokati ghantalu, vara rāgamu kodandamu, dura-naya-desyamu trigunamu, nirata-gati saramura sarasa-sangati sandarbhamu. The beautiful Sangati should also be attended by emotional propriety and contextual relevance. This is confirmed also by the older classical name by which Sangati is known in the texts, Prayoga or Gamakalapti. Of our art of music, the Raga is the very soul. The Ragas constitute the greatest glory of Indian music. Each Raga has a distinct form, a personality of its own, and anybody singing it should make the full personality of that Raga stand before the listener's mind. Any other and defective way of singing the Ragas is to maim and mutilate them and to court Hell which Shaw says is full of musical amateurs. There is the story in the Brihad-dharma Purana, Adbhuta Ramayana and Linga Purana that the Lord showed Narada a huge congregation of beautiful divine damsels lying maimed and mutilated and when he asked about their identity, Narada was told that they were the personified forms, the Adhidevatas, of the Ragas that Narada had mutilated by his singing *. Tyagaraja's songs have some reference to this significant legend, for, in two places, he says that we should worship the Beauties of the Seven Svaras and that each Raga has incarnated as a beautiful damsel and is dancing with tinkling bells. In his Jagan-mohini piece, he

• See my articles ' Music in the Brhad-dharma Purana' and 'Music in the Adbhuta Ramayana ' in the Journal of the Madras Music Academy, Vol. IX. PP. 37-39 and Vol. XVI. pp. 65-73.

40 RAMA AND MUSIĆ

says, ' Sobhillu saptasvara sundarula bhajimpave manasa ' and in his Athana song Sripapriya, he says, 'Rāgambulu manjula- magu avataramuletti manjīramu ghallani natinchu.' There seems to be a peculiar appropriateness in Tyagaraja's selection of the Saguna form of Sri Ramachandra for his Bhakti. Among the infinite excellences, (ananta-kalyana- gunas), with which Valmiki has built up this personality which has bewitched for ages the millions of this country, as it did indeed His contemporaries, one finds specially mentioned a high proficiency in the art of music; गान्धर्वें च भुवि श्रेष्ठः बभूच भरताग्रजः - says Valmīki in the opening of Ayodhyakanda II. 2-34. No wonder that several times Tyagaraja, in his addresses to Rama, calls him a lover of music. In his Varali piece, Eti janmam adi and in the Kambhoji piece, Sri Raghuvara aprameya he calls Rama, ' Sangita-lola'; 'Gana-lola' in the Suddha- sīmantini piece Janakiramana and in the Divyanama, Vara- lila in Sankarabharana; ' Gīta-priya' in the Kedāragaula Divyanama, Ramuni maravakave. In his Srīrāga Pancha- ratna, he describes the Lord as revelling in the sacred music of the Samaveda-'Sama-gana-lola'. In an Athana piece, he calls upon the mind to resort to the upasana of music which is dear to the Lord : 'Sripapriya sangitopasana cheyave, O manasa !' In his appealing Todi piece Ninu Vina sukhamu gan, he describes Rama as one who delights in the Ragas of music, 'Raga-rasika'. It is in the seven notes that the Lord lives and moves and has His being : Saptasvara-chari (in Sripapriya in Athana). If one can manifest the svaras precisely, each one of. them would form a veritable ornament to God (Susvara- mayabhusha in Ni dayache Rama in Yadukula Kambhoji). In Sadhinchene in Arabhi, he refers to Rama as the maintainer of the music-tradition -Sangītasampradayakudu. In the beautiful piece Manamuleda, so well set in music and words, Tyagaraja says to Rama that one so detached in heart like Him could not be found and His attitude towards a musician like Tyagaraja was inexplicable in one who knows the appeal of music and is the father of the musicians, Kusa and Lava.

MUSİC A SADHANA 41

Above all, as I have already said, he conceives Rama, in an Ārabhi piece, as also in Ni daya che Rama in Yadukula Kambhoji, and Talachinantane in Mukhari as the very embodiment of the ambrosial Rasa of Nada, 'Nadasudha- rasambilanu narakritiyaye, Nada-brahmānanda-rasakriti' and ' Nada-brahmananda-rūpa ' I. When Tyagaraja chose Rama for hıs Ishta-devata, he had an additional advantage. In Hanuman, he had a guide and a Guru not only in Ruma-bhakti, but in music as well. It is well-known in Sanskrit musical literature, that Anjaneya is an authority on music and the author of a treatise propounding a school, 'mata'. So Tyagaraja says that when Anjaneya, the devotee and musical votary that he was, resorted to Rama, he knew that he was selecting the personality which not only represented the essence of Gita but also the essence of Sangita and this, Tyagaraja proclaims in his well-known piece in Surati: ' Gītarthamu sangītanandamu nītāvuna jūdarā O manasā Sītāpati charanābjamu nidukonna Vātātmajuniki bāga delusurā'. As has already been mentioned, Tyagaraja belongs to the line of musician-saints who employed this noble art for the moral and spiritual upliftment of themselves and humanity. For a long time before Tyagaraja, music had played in this country an effective role as the handmaid of religion. "The best sort of music is" as Coleridge said, "what it should be-sacred". In fact, the conception of all art in our country has been spiritual and it is in our temples and as part of our Sadhana, that all arts, literature, sculpture, architecture, dance and music have flourished. The rise of the Bhakti movement and the Bhagavata sampradaya popularised this path of

I. As with music so with dance; it is the Lord who is the favourite theme of all dance; and those that do such dance are dear to him. The reference 'Nrityajana-priya' in the Darbar song ' Paripalaya mam ' is noteworthy, particularly mn view of the very few references to the dance-art in Tyagaraja's songs.

42 TRUE MUSÌC

musical devotion all over the country. The books of this school say that the worship of the Lord with song and dance must be done by the devotees as a Nitya-karma. विष्णोर्गांनं च नृतं च नटनं च विशेषतः । . ........ कर्तव्यं नित्यकर्मवत् ॥ This belief is elaborately set forth, with illustrative stories, both in the Linga Purana and in the Adbhuta Ramayana I. It came to be held that any other and lesser use made this art profane. Again and again, Tyagaraja laid emphasis on this teaching, because many among even the accomplished music masters delighted in the art either for displaying their powers and their mastery of it or for propitiating kings and rich men. God was the fittest object of music, and music bereft of devotion to the Lord was useless. In the well known Dhanyasi song Sangitajnanamu, Tyagaraja says that music, without devotion, would lead one astray, that music is something high that great sages and saints have practised and that its real efficacy is known only to a person knowing the right and wrong and the worthlessness of wordly things, and one who has subdued his defects and the six inner enemies, passion, anger, avarice, delu- sion, elation, and intolerance. Sangīta jnānamu bhakti vinā sanmārgamu galade ? manasā Bhringi Natesa Samīraja Ghataja Matanga Naradadulupasinchu nyanyayamulu delusunu jagamulu mayamayamani delusunu durguna kāyajādi shadripula jayinchu kāryamu delusunu, Tyāgarājuniki. In his own masterly manner, Tyagaraja summarily says in his song Samayamu delisi, in Asaveri: ' It is immaterial if a song which does not refer to Sri Rama is sung or not sung.'

I. See my article on 'Music m the Adbhuta Ramayana', Journal of the Madras Music Academy, Vol. XVI, pp. 65-73.

MUSIC AND DEVOTION 43

' Padamu Tyāgarāja-nutunipai ganidi, pādi emi, pādakundina nemi.'

The only song worthy of the name is what is surely in praise of the Lord : ' Rama nī pate pata' (Rāma Kodandarama -Bhairavi).

In his Srī-raga Kirtana, Nama kusuma mulache, he asks us to place the supreme Lord on the bejewelled pedestal of Nada and Svara and worship His feet with the flowers of His names : ' Nadasvaramunu navaratnapu vedikapai ...... Paramātmuni Srī Ramuni Padamulanu ... pūjinche.' If one would spend his time adoring the Lord like this, with music and the singing of His holy name, then, Tyagaraja says, human life is the greatest of all lives- Nara janmame janmamu, O manasa'; and there is none happier than one who, with flawless tuneful music, keeps ceaslessly singing the Lord's Name- Nityamaina susvarapu ganamuto nirantaramu, Tyagarajanuta, sukhi yevaro Ramanāma- sukhi yevaro (Kānada). Mere knowledge of music without Bhakti does not lead one to the right path. ' Sangita jnanamu bhaktı vina sanmārgamu galade manasa,' declares the well-known piece in Dhanyasi. In stories of the Lord that the Bhagavatas expound, there should be both Raga and Anuraga, music and devotion-Anuraga- rāga-rājita-kathāsārahita (Jagadanandakaraka, Nāta). On the other hand, in his true poetic way, Tyagaraja plays on the word Raga and juxtaposes two addresses of the Lord as Raga- rasika and Raga-rahita at the end of Ninu vina sukhamu gana (Todi), suggesting thereby that the musician's rasikya should not descend to levels to which it does among many of them. In his Vasanta song, Etla dorikitivo, Tyagaraja says

44 POWER OF MUSIC

that it is as a fruit of his sweet music that he has been able to realise God-'Susvarapu nada phalamo'. Those musicians who did not have a high conception of their own art, who degraded it and were bereft of devotion or knowledge, Tyagaraja condemned again and again. In his Sankarabharana Kriti, Mariyadagadura, he says that Bhaga- vatas who understand neither Raga nor Tala, who have no love or devotion, knowledge or yogic practice are only destined to be born again and again in this Sumsara. Look at his disgust with such low musicians who do not realise what a divine art they are handling ; in the well-known Sankarabharana song, Svara raga sudha rasa, he says in the Anupallavi: These (meaning the vulgar musicians) are verily the crane and the toad sitting on the lotus called supreme bliss, ' Paramananda- manu kamalamupai baka bhekamu' 1. They are standing by or squatting on the wonderful lotus flower called the supreme bliss, not knowing that it is so; they are not the swans and the bees, the ' Nada-sarasiruha-bhringas ' as he says of Narada, that know how to enjoy the ambrosial Rasa of that lotus of bliss! Those Bhagavatas who are also Rasikas, endowed with taste, become the object of the Lord's protective grace : Bhagavatagresara- rasika-avana (Namoralanu-Ārabhi).

Of all arts, music has the greatest power to take us away effectively, easily, immediately and fully from the mundane plane and keep our Spirit absorbed completely in the Spirit's own inner ineffable essence. Our ancients realised this truth almost at the very dawn of our history. They first extolled the Gods in poetic hymns called Riks, but soon found that the Gods were more easily gratified by the singing of those hymns. Hence they fitted their Riks to tune, i.e., they produced the Sama Veda. Of the many Vidyas or esoteric means of realisation taught in the Upanishads, one is called the Udgitha

I. Cf. Somadeva, Kathasarirsagara, IV, 4, 78. न भेक: कोकनदिनीकिजल्कास्वादकोव्रिदः।

MUSIC THE INNERMOST ESSENCE 45

Vidya, the worship of the Udgitha or Pranava, Omkara. Of it, the Chandogya Upanishad says : ओमित्येतदक्षर मुद्रीथमुपासीत ..... । एषां भूतानां पृथिवी रसः पृथिव्या आपो रसः, अपामोषधयो रसः, ओषधीनां पुरुषो रसः, पुरुषस्य वागरसः, वाचो ऋग रसः, ऋचः साम रसः, साम्र उद्गीथो रसः। स एष रसानां रसतमः परार्ष्यो अष्मो थ उद्गीथः।. ... समस्तस्य साम्न उपासनं साधु। यत्खलु साधु तत्, साम, यदसाधु तदसाम इति। ' This Om, this Imperishable Udgitha, must be worshipped '. ' Of all these of creation, earth is the essence; of earth, the essence is water; of water, the herbs are the essence; man is the essence of herbs; speech is the essence of man; poetry is the essence of speech; music is the essence of poetry; the Udgitha or Pranava is the essence of music'. ' Thus this Udgitha or Omkara is the utmost, the most valuable, final essence of all essences ' I. . Therefore the worship of all Saman or music is good. What is good or perfect is Saman; what is bad and ugly is indeed not Saman'. Hence it is that Siva is said to have been propitiated by Ravana with Sama-gana. Hence it is that in the Gita, the Lord says that he is the Saman amongst the Vedas-aqni सामवेदोऽस्मि। It is from this Sama Veda, Bharata says in his Natya Sastra, Brahma extracted the art and science of music. सामभ्यो गीतमेव च। सामवेदादिदं गीतं सश्वग्राह पितामहः। On a par with the Sama Veda whose notations are unalterable, there were in ancient times, a body of songs on Siva called Gandharva, as distinguished from the variable Gita music; these Gandharva compositions, referred to also as

I Cf. Carlyle " All deep things are song. It seems somehow the very central essence of us, Song, as if all the rest ot us were but wrappages and hulls " .- Heroes and Hero-Worship, III.

46 MUSIC, A SPIRITUAL AID

Margu songs, were supposed to have been created by Brahma himself ; their notations also were not variable and the singing of these songs, called Aparanta, Ullopya, Madraka, etc., conferred great spiritual blessings on the singer. Two Nagas, Kambala and Asvatara, are said to have attained the state of being he ear-ornaments of Siva, by singing these songs. Sage Yajnavalkya, the great Smriti authority, says in his Smriti : Clearing your senses, memory, mind and intellect of all other objects, the Supreme Ätman, which is within oneself, shining like a lamp, should be contemplated upon. ' Intoning the Sama-gana in the proper manner and without break, and practising it with concen- tration, one attains the Supreme Godhead '. ' The constant singing of the songs Aparantaka, Ullopya, Madraka, Prakari, Auvenaka, Saro- bindu, Uttara, Gitaka, Rik, Gathā, Panika etc., verily bestows salvation'. ' He who knows the truth of Vina music, is an expert in Srutis and their varieties and under- stands Tala also, reaches the path of salvation without exertion '. अनन्यविषयं कृत्वा मनोबुद्धिस्मृतीन्द्रियम्। ध्येय आत्मा स्थितो योऽसौ हदये दीपवत प्रभु: ॥ यथाविधानेन पठन् सामगायमविच्युतम्। सावधानस्तभ्यदासात परं ब्रह्माधिगच्छति। अपरान्तकमुल्लोप्यं मद्रकं प्रकरी तथा। औवेणकं सरोविन्दुसुत्तरं गीतकानि च।। ऋगगाथा पाणिका दक्षविहिता ब्रह्मगीतिका। गेयमेतचदभ्यासकरणान् मोक्षसंज्ञितम्। वीणावादनतत्त्वज्ञः श्रृतिजातिविशारदः। तालज्ञश्राप्रयासेन मोक्षमार्ग नियच्छति॥ Yajnavalkya Smriti, N. S. Press Edn. Pp- 349-50, III-5.

GOD, PRIME PROMULGATOR OF MUSIC 47

When Tyagaraja says in his Chenchukambhoji song * Vararāgalayajnulu :........ svarajātimūrcchanā bhedamul svānta- mandu deliyakayundi,' he is only rendering in his own words the last verse of Yajnavalkya quoted above. When he addresses Narada in the opening of the Charana of the Kanada piece as ' Vīna-vadana-tattvajna' he is just embodying in his song, part of the very verse of Yajnavalkya quoted above. It may be observed that in almost all the instances cited above, the reference to music comprehends both melody and rhythm, raga and tala, svara and laya. Yajnavalkya too adds 'arsr'. In the Chenchukambhoji piece of Tyagaraja, we find ' Vara-raga-layajnulu' and in his Srīraga Pancharatna, ' Bhava-raga-layadi-saukhyamuche '. Of the great thrill and transport that the unerring rhythmic accompaniment in music can give, better expression cannot be found than in the Srīranjani piece quoted at the beginning of this Chapter: ' Sogasugā mridanga tālamu jatagūrchi ninu sokka jeya dhīru- devvado'. And on how a lapse in rhythm can ruin the music, hear Shakespeare bursting out: " Ha, ha ! Keep time. How sour sweet music is When time is broke and no proportion kept !". (Richard II, Act V Sc. V.) We are now familiar with the image of Dakshinamurti imparting knowledge, Jnana, to sages, Sanaka and others, found invariably on the southern side of our temples. But if we see our earlier temples in the Pallava and the early Chola periods, we will find on the southern side not the Yoga- Dakshinamurti showing the path of salvation through Know- ledge, but the Vina-Dakshinamurti showing the easier way to salvation through Vina and music which the Yajnavalkya Smriti speaks of in the lines referred to above I, and which Tyagaraja, no doubt, has in mind when he says in his Saramati piece, Mokshamu galadā, Vīnāvādanaloludau Siva-mano-

I. See my article on the 'Vina' in the Madras Music Academy Tyagdraja Centenary Conference Souvenir, 1946, p. 57.

48. NARADA, THE BHAGAVATA PAR EXCELLENCE

vidha merugaru mokshamu galada'-' It is indeed hard for one to attain Moksha if one knows not the mind of Siva who always delights in playing on the Vina'. Hence is Narada represented as going about eternally with his Vina, singing the glory of the Lord and proclaiming to the world that the Lord dwelleth not in Vaikuntha, nor in the sun, nor even in the hearts of yogins, but where His devotees sing. नाहं वस्रामि वैकुण्ठे न योगिहृदये रघौ। मङ्गका यत गायन्ति तत तिष्ठामि नारद।। Narada is the first Bhagavata-musician ; the Lord delights in the beautiful music that Narada is ceaselessly singing in praise of Him: 'Narada-gana-lola' (Athana) and ' Narada- sugana-lola ' (Mapala velasi-Asaveri) ; and no wonder Tyaga- raja venerated him as his Guru in more than one song of his. He feels his relationship with Narada so close that he calls Narada his friend ; Tyagaraja-sakha' (Naradamuni vedalina, Pantuvarali-Prahlada-bhakti-vijaya). The Bhairavi piece Sri Naradamuni is wholly devoted to this Prince of teachers going about with the Vina : Rajillu vīnagala gururaya'; so also the Darbar piece Narada guru-sam in which Narada is described as the master of the entire music- lore-' Sareku sangīta- yoga-naigama - parangatudu'. In the well-known Vijayasrī piece, Vara Narada, Tyagaraja says in the charana that the Lord Himself proclaimed Narada as the greatest Guru and as identical with Himself. In the Kanada piece on Narada, Tyagaraja calls Narada the honey-bee on the lotus of Nada, ' Sri Narada nadasarasīruhabhringa', and one who knows the truth of the music of the Veda-born Vina- 'Veda-janita-vara-vīna-vadanatattvajna' I. In Sri Raghuvara aprameya in Kambhoji, he describes Narada as ' Svara-layadi- murchchanollasita' 2.

I. Tyagaraja has evidently in mind the playing of vina in Asvamedha and other vedic sacrifices and the vedic statement which says that the vina is verily a form of the Goddess of Beauty and Prosperity-'त्रिया वा एतद्रूपं, यद्वीणा' 2. As it is in the text, this may also be taken as a description of Rama Himserf, separating the last bit 'Narada-vinuta'.

OTHER MUSIC TEACHERS 49

The control of breath, mental absorption, and the mainten- ance of a blissful state have all made this art of music a veritable Nada Yoga. Even the later evolved Tantric, Saivite and Yogic schools assign a definite place to Nada and accept the efficacy of its worship in spiritual realisation. The Vijnana Bhairava Tantra says that the mental absorption produced by music gradually leads to the realisation of oneness with the Divine Spirit. गीतादि विषयास्वादसमसौख्यैकतात्मनः। योगिनस्तन्मयत्वेन मनोरुढिस्तदात्मता।। तन्त्र्यादिवाद्यशब्देषु दीर्घेषु क्रमसंस्थिते। अनन्यचेताः प्रत्यन्ते परव्योमवपुर्भवेत॥ The substance of all these teachings is found summarised in the beginning of all music treatises in Sanskrit. Our saint- composer was acquainted with these books and had, in practice, realised the truth and philosophy of Nada Yoga. One music treatise, the Svararnava, written as a dialogue between Siva and Parvatī, which, tradition says, Narada himself gave to Tyagaraja, is taken as mentioned by Tyagaraja, at the end of his song Svara-raga-sudha-rasa, and as having been studied and understood by him. In his Dhanyasi song, Sangīta-jnanamu, Tyagaraja mentions many of the musical authorities found in the books, Narada, Bhringi, Nataraja, Ānjaneya, Agastya I and Matanga; and a longer list of these he mentions in his kritis saluting the great masters in the musical field-Vidulaku mrokkeda; adding here names like Lakshmī, Parvatī, Sarasvatī, Brahma, Vishnu, Siva, Indra, Bharata, Kasyapa, Chandikesvara, Guha, Ganesa, Markandeya, Tumburu, Somesvara, Sarngadeva and Nandi, some of whom are authors of treatises and historical figures. According to time-honoured tradition, the first thing to do is to pay respect to one's elders and teachers and this Tyagaraja does in this song appropriately in the opening Raga, Mayamalavagaula.

I. In 'Dehi tava pada' in Sahana there is a reference to Agastya adoring Sita with music. 4

50 MUSIC AS MOKSHA

Previously, some songs of Tyagaraja which emphasised music as an aid to Bhakti were quoted. Now attention will be drawn to his songs which glorify music itself as the means to Mukti and as Mukti itself. Summing up, as it were, the Phala-sruti of music, he says in his Mukhari song, Sangita sastra jnanamu that the knowledge of musical lore, as handled well by Tyagaraja himself, would confer on one wealth, fame, good conduct, grace of the Lord, love for good men, devotion and love and above all the bliss of oneness with the Lord. Sangīta sāstra jnānamu sārupya- saukhyadame manasa- prema bhakti sujanavātsalyamu, Srīmad-Rama-varakatakshamu, nema nishta yaso dhanamosangune nerpugalgu Tyagarāju nerchina. The bliss of music, which is verily the nectar of immortality lengthens life; in his Srīraga Pancharatna piece, he says : ' Bhava-raga - layadi - saukhyamulache chirayuvul kaligi.' In his song Svara-raga-sudha-rasa, to which reference has been made more than once, Tyagaraja says first that Bhakti, combined with the ambrosial Rasa of Svaras and Ragas, is itself Heaven and salvation. Svara-raga-sudha-rasa-yuta-bhakti svargāpavargamurā manasā. He then points out the origin of Nada in the Muladhara and observes that knowledge and realisation of this Nada is itself bliss and salvation. ' Mūladhāraja nadameruguta mudamagu mokshamura.'

In Enduku peddalavale (Sankarabharana), Tyagaraja juxtaposes Veda and Sastra, Advaita Jnana and the secrets of the Nadavidya, implying thereby that a mastery of the secrets of music confer the same summum bonum as Vedantic know-

MUSIC EASIER THAN JNANA 5I

ledge and spiritual realisation gained by metaphysical pursuits. Sage Yajnavalkya says that one who understands music well reaches easily the path of salvation, the contrast suggested being with one who takes time and trouble to reach the same goal by other processes. Tyagaraja makes this contrast plain, when he says next in the same song that while the Jnani, as the Gīta says, बहूनां जन्मनामन्ते ज्ञानवान् माँ प्रपद्ते। attains liberation after numerous births, he who has by nature a devoted mind and has also knowledge of Ragas is verily a liberated soul here itself i.e., a Jivanmukta. ' Bahu-janmamulaku paini jnāniyai baraguta mokshamura sahaja bhaktito rāgajnānasahitudu muktudurā manasā'. It is in this sense evidently that Beethoven also declared that music is a higher revelation than philosophy. That music itself is Jivanmukti is the implication of his question in the Saveri song ' What if he is a Samsarin, he who can sing of the Lord with Ragas, playing on the Vina?' Bhagavatula gūdi bhogamulella Hari- ke gavimpuchu vīnāganamulato naigamacharuni Srirāgamuna baduchu Tyagaraja-nutuni bāguga nammuvāru -Samsārulaite nemayya ? In his Devagandhari piece Sītavara, Tyagaraja prays that he may be blessed with the knowledge of music so that he might attain to that state of Jivan-mukti which is the teaching of the Gita and all the Upanishads. God protects those devotees who combine divine love with music: Ragasvara-yuta premabhaktajana-rakshaka (Na mo- ralanu, Ārabhi). In his Saramati song, Mokshamu Galada, he affirms that music alone gains Jivanmukti for one, and then he expatiates

52 OMKARA THE BASIS OF MUSIC

on the origin of Nada from Om, by the interaction of Prana and Agni, as expounded in the Sastra 1, and the manifestation of the seven svaras therefrom : ' Nī sad-bhakti-sangīta-jnāna-vihīnulaku mokshamu galadā prananala-samyogamu valla Pranava nadamu sapta svaramulai baraga '. He then observes that one cannot attain salvation if he does not know the mind and intention of Siva who is always delighting in playing on the vina, which reference to the Vina- Dakshinamurti I have already explained. Tyagaraja follows up the idea in his Begada piece, Nadopasanache, where he says that Siva, Vishnu and Brahma attained to their high divine state by the constant worship of Nada. ' Nadopasanache Sankara Nārāyana vidhulu velasiri O manasā '.

That the secret of the thing is the realisation of the truth that the seven Svaras and Nada emanate ultimately from the Omkara, the Pranava, the Udgitha of the Upanishads, is emphasised more than once by Tyagaraja. In his song in Hindola, Samajavaragamana, he describes Krishna as well versed in music-lore which is the nectar that came out of the Sama Veda and as the light shining on the hill of Nada, made up of the seven Svaras born of the Pranava, the matrix of the whole Veda. Sāma nigamaja sudhāmaya gana vichakshana- Veda siro mātrija sapta svara nadāchaladīpa- Tyagaraja's description of Krishna as Nadachaladīpa, 'the līght on the hill of Nada' may be compared to what Upanishad Brahman says of Krishna (not distinguished from Rama) in a

I. See Sangita Ratnakara Ch. I, especially the verse: नकारं प्राणनामानं दकारमनलं विदुः । जातः प्राणाभिसंयोगात तेन नादोऽमिधीयते।।

GOD AS EMBODIMENT OF NADA 53

Dīvyanama sankīrtana of his in Lalita raga (Ādi tala): 'Sam- vidrūpa-nada-pradīpa', the light of the Nada which is of the form of pure consciousness; and in another long Divyanama in Kalyani, Upanishad Brahman addresses the Lord again as ' Nada-pradīpa '. Tyagaraja says again in his song Vara-raga layajnalu in Chenchukambhoji, that the Nada which issues forth is really the divine Pranava: ' Dehodbhavambagu nādamul divyamau pranavākā- ramane.' I His song in Andolika, (the Raga-name rocks us, as is were, on the billows of Nada) Raga sudha rasa, says : ' The nectar of Nada-rasa gives one the blessings of Yoga, Yaga, Tyaga and Bhoga. Drink that Raga-rasa, O mind, and delight.' Tyagaraja knows that those great souls who have know- ledge of Svara, Nada, and Omkara are really Jīvanmuktas : Rāga sudhā rasa pānamu jesi rajillave manasā yaga yoga tyaga bhoga phala mosange Sadāsiva mayamagu nāda omkara svaravidulu jīvanmuktulani Tyāgarāju deliyu In the charana here, Tyagaraja says that Nada, Svara and Pranava are of the very form of Sadasiva. In his Nata

I. There is no doubt in the reading ' Pranavakara' meaning of the form of Pranava', for it echoes a passage in one of the works of Upanishad Brahman. It is one of the tenets of the school which Tyagaraja followed in respect of Rama-nama-siddhanta; Upanishad Brahman with whom Tyagaraja had connec- tions, says in his Divyanama-sankirtana that all the names that issue forth from the ocean of Rama-nama are of the form of Brahma and Pranava-rfdr The manuscript of this musico-religious composition of Upanishad Brahman was secured by me from the Upanishad Brahma Math, Kanchipuram. For Tyagaraja, the Nada that issued forth took a double form : on one side it was musical, on the another of the form of Ramz-namz ; the former solidified itself again as the enchanting personality called Ramachandra.

54 NĀDOPASANA

pancharatna, he describes the Lord as the parrot within the cage of Pranava, 'Omkāra-panjara-kīra'; in Mundu venuka (Darbar) and O Rama (Ärabhi), he addresses the Lord as abiding in Omkara, ' Omkara-sadana' and ' Omkara-dhama'. I have already referred to the saint conceiving Rama as the very embodiment of the ambrosial essence of Nada-' Nada- sudharasambilanu narakritiyaye'. In some other songs, he addresses the Lord as the embodiment of Nada : ' Nadatmaka' in Nibhakti bhagya (Jayamanohari) and ' Nada-rupa' in the Rītigaula piece Ni daya galgute and in the Kalyani piece Nammi Vacchina; in Nidaya che Rama in Yadukulakambhoji and in Talachinantane in Mukhari, he speaks of God as the embodiment of the Brahmanandarasa of Nada-' Nada- brahma-ananda-rasa-akriti', and 'Nada-brahmananda-rūpa '. That all music is but an aspect of the Lord's form has been stated in the Vishnupurana :

काव्यालापाश्च ये केचिद् गीतकान्यखिलानि च। शब्दमूर्तिघरस्यैते विष्णोरंशा महात्मनः ।।

Reference should be made here to Tyagaraja's song in Chittaranjani (sung in Kharaharapriya), a Sanskrit composition, in which he pays obeisance to Siva, whose body is Nada, who is the quintessence of Sama Veda, the delightful and the best of the Vedas, and from whose five faces Sadyojata etc., the Svaras emanated. नादतनुमनिशं शंकरं नमामि मे मनसा शिरसा। मोदकर निगमोत्तम सामवेदसारं बारं वारम्।

विद्यालोलं विदलितकालं चिमलहृदय-त्यागराजपालम् ॥ It may be noted that in this purely Sanskrit piece, Tyagaraja has incorporated part of the Mangalasloka of the Sangita- ratnakara of Sarngadeva (I.i) बन्दे नादतनुं ...... शंकरम्।

We cannot better close this chapter than with two of the composer's songs in which this high conception of music as the

AND BRAHMANANDA 55

supreme Yoga, in which even the Gods revelled, finds best expression. The song in Kalyanavasanta, Nada loludai, calls us forth to attain Brahmananda through Nada Upasana, which is the path followed by the Trimurtis, the gods and sages : Nada loludai Brahmānanda mandave manasā svadu phalaprada sapta svara raga nichaya sahita- Hariharatmabhū surapati Sarajanma Ganesadi Vara maunulupasinchare dhara Tyāgarāju deliyu

In his Garudadhvani kirtana, as if with a clarion call, Tyagaraja proclaims : 'Rama ! One that does not float on the ocean of music, adored by the Gods and Vedas, which is Brahmananda itself, is verily a burden to the earth.' · Srīnayakākhila-naigamārchita- sangīta jnanamanu-Brahmananda- sāgara mīdani dehamu bhūmi bharamu'.

CHAPTER III

SĀDHANA

" Santamu leka saukhyamu ledu"

NEITHER Jnana nor Bhakti is a matter of glib talk or vain claim, but one of sustained practice. One's life has to be entirely geared up to a new scheme of values and reorganised in a manner different from the daily humdrum or dissipation. For a spiritual aspirant or devotee who wants to realise his goal, a new syllabus of conduct is needed and a constant endeavour to acquire these new accessories and an eternal vigil to keep oneself upon the path can alone, in good time, bring him near his objective. As part of the Krishna Jayanti festival we see in some temples a feature called ' Uriyadi' (epwn). A man has to get up a slippery pole smeared with oil, and, all the time, half a dozen men throwing jets of water at him; against these odds, he has to reach the top and knock off the prize tied up there. One's striving on the path of devotion and knowledge is like this; before one step is gained, one slips down ten steps. Just as in the story of our remembering the prohibited monkey when we are to take the medicine, we will find our adversaries coming up exactly when we vow to avoid them. We may vow to fast on Ekadasi ; that morning, somehow our hunger will howl like a wolf. Not to mention the numerous external temptations and misguides, the mind steeped in age-long Avidya suddenly lets us down, the senses take by ambush even the most vigilant and stab him on the back. Prahlada says, in the Bhagavata, that like half-a-dozen wives of a man, the senses, each hankering after its own, tear a man to pieces. जिह्लैकतोऽच्युत विकर्षति माऽवितृप्ता शिश्नोऽन्यतस्त्वगुदरं श्रवणं कुतश्चित। घ्राणोऽन्यतश्रपलदकू क्वच कर्मश कि: बहयः सपत्न्य इव गेहपर्ति लुनन्ति। VII. 9. 40.

SANKARA ON SADHANAS 57

Hence it is that our scriptures and teachers have insisted upon- an elaborate processing of our whole being through Sadhanas of various kinds. The acquisition of the Sadhana- Sampat is the first requisite. In his Bhashya on the Brahma Sutras, Sri Sankara, interpreting the first Sutra ' Athato Brahmajijnasa (armat nw- fre) says that the significance of the word Atha (ar)-'then' -here is that one should embark on an enquiry into Brahman after the acquisition of the required Sadhana sampat.

And he further says that this Sadhana sampat consists of : (I) Nitya-anitya-vastu-viveka, discrimination of the mundane and spiritual values, the perishable and the everlasting. (2) Iha-amutra-phala-bhoga-viraga, or simply, Vai- ragya - non-attachment and the non-desiring of enjoyment of any fruit here or in the hereafter. (3) Sama-dama-adi, mental tranquility, control of senses; Uparati or refraining from further acts; Titiksha, bearing or being unaffected by the dual condition of pleasure and pain, heat and cold, gain and loss and so on; Samadhana or concentrated attention ; and Sraddha or faith. (4) The fourth Sadhana is Mumukshutva or the yearning for release from bondage in Samsara. उच्यते नित्यानित्यवस्तुविवेक:, इहामुत्रफलभोगविरागः, शमदमादिसाधनसंपद्, मुमुश्षत्वं चेति। I While such are the Sadhanas mentioned by a Jnanin, Narada speaks of the following in his Bhakti Sutras :- तस्याः साधनानि गायन्त्याचार्याः। तत्तु विषयत्यागात, सङ्त्यागाच। अव्यावृत्त- भजनात्। लोकेऽपि भगवद्गुणश्रवणकीर्तेनात् मुख्यतस्तु महत्कृपयैध

I. See also Vivekachudamani of Sankara, Slokas 17-31.

58 NARADA ON SADHANAS

भगवत्कृपालेशाद्वा। महत्सङ्गस्तु दुर्लभोऽगम्योऽमोघश्च। लभ्यतेऽपि तत्कृपयैव। तस्मिंस्तव्जने भेदाभावात। तदेव साध्यतां तदेव साध्यताम्। दुःसन्नस्सर्वथैध त्याज्यः । "Of that Bhakti, the Acharyas give the Sadhanas as the avoidance of sense-pleasures and attach- ments; ceaseless worship of the Lord; listening to and singing the Lord's glory ; the grace of the self-realised souls and of God; the company of great souls is very important ; it is difficult to get but once attained it never fails ; for, the good and godly are not different from God himself; therefore, one should strive and strive for satsanga or the company of the good, and avoid completely the company of the bad." Acts of worship, singing of the Lord's glory and listening to it are both means of stabilising one's devotion and forms of that devotion itself. According to the dictum 'यान्येव साधनानि arda agurf' what are means from one point of view and in one stage are the spontaneous emanation of the end itself, from another standpoint and in another stage. In fact, the whole thing is a continuous process, the means rising upon the substratum of the end, like waves on the ocean and then becoming part of it. Therefore, we shall deal with these acts of worship etc., on a later occasion when we study the phases and forms of devotion. Of singing of the Lord's glory, we have already spoken to some extent when we considered music as Sadhana and we shall come to it again later. We shall see now what Tyagaraja has to say on the other Sadhanas quoted above from Sankara and Narada.

The Sahana song Urake is a compendious utterance of all the requisites (sadhanas) of true bhakti : Can Rama-bhakti be had easily by those who always cherish in their minds worldly life as

NITYA-ANITYA-VIVEKA 59 the ideal to be coveted? It must be difficult of attainment except for those blessed souls who regard family, relations and material wealth as evanascent ; those who have the darsana of pious men, serve them constantly, listening to their instructions, meditate in their mind on Hari, realising that everything is full of Hari and thus attain salvation, and those fortunate people who, discarding worship characterised by rajasa-guna, always chant the Mantra of mantras (viz. Rama's Name) shining ever on the tongue of Tyagaraja. Nitya-anitya-vastu-viveka, the discrimation of the mundane and spiritual values, the discarding of the former and the prizing of the latter, and Vairagya or having no desire for enjoyment here or in the heavens, go together. We find Tyagaraja affirming the dew-like evanascence of worldly pleasures in Nadupdi which is believed to be one of the clearly autobiographical pieces; we find him condemning sense- pleasures, wealth, Kama and Artha and the valuing of mundane things in many a song 'of his. Both in teaching and practice, he shunned the rich and their flattery and the wealth that they would give. He asks : 'Nidhi chala sukhama, Rāmuni sannidhi seva sukhamā, nijamuga balku manasā'. " Tell me in truth, O mind, is treasure highly gratifying or the enjoyment of the presence of the Lord ?" By playing on the words Nidhi and San-nidhi, as the true poet that he is, he underlines that God's presence is the better, the greater Nidhi or treasure. Further, ' If you want to glut yourself, take to the more delectable dishes of the nectar of Rama's thought and devotion; why these curds, butter and milk ?' ' Dadhi-navanīta-kshīramulu ruchiyo Dasarathi-dhyana- bhajana-sudharasamu ruchiyo'.

60 NARA-STUTI CONDEMNED

' Mamata-bandhana - yuta - narastuti sukhamā, Sumati- Tyāgarāja-nutuni kīrtana sukhamā.' 'Sing of the Lord whom the wise Tyagaraja has praised. Do not indulge in flattery of mere men stuck up in their own petty egoism '.

He refers again to the fatigue of waiting upon princes, in the Rītigaula song Nidaya galgute.

To Tyagaraja, Sri Ramachandra was not only the great God, but, to the artist in him, God Himself was also the great savant and patron of Letters, who alone could fully enjoy the beauty and worth of his creations. Rama is the Rasika (Deva Rama-Saurashtra), the Rasika par excellence, the Rasika Siromani. To whom else could he then, as an author, dedicate his works? Let me quote the text of a song in the rare Ranjani Raga which has recently attained some popularity : 'O! Dharmatman! When I firmly believe that you are my wealth, you constitute my material needs, you are my God, how can I bring myself to flatter low fellows wallowing in the mire of life or dedicate my work to depraved men of the court'? Durmargacharadhamulanu dora nīvana jalarā Dharmatmaka dhana-dhanya- Daivamu nīvai yundaga paluku botini sabhaļona patita-mānavula kosagu khalula nechchata bogadani Srīkara Tyagarāja-vinuta

The contrast in Dharmatmaka and patitamanavalu is to be noted; God, the patron par excellence is the embodiment of virtue, whereas worldly patrons are the embodiment of vices; and the address Srikara at the end is also to be noted for the real lasting Sri or any reward worth aspiring for by dedicating

KAMA CONDEMNED 61

noe's artistic creations is to be sought from Him, the source of all worldly and non-worldly treasures, not from petty chiefs and local zamindars who could give a few chips. The Raga- name again is signiflcant: Ranjana or pleasing is the end of an art ; while other singers would yearn after the ' ranjana' of rich men of the world, our Saint singers considered God alone as the proper patron for ' ranjana'. In his Yamunā-kalyani song, Narayana Hari, Tyagaraja says : 'Lord! I do not rely on the transient wealth of the world. I shall not beg of rich men, flattering them with compositions in their praise. I shall not frequent places infested by greedy men possessed by the devil of desire and attachment ?' Long before Tyagaraja, King Somesvara, one of the music authorities saluted by Tyagaraja (Vidulaku - Mayamalava - gaula) said in the music section of his work Manasollasa (A. D. 1I31), when dealing with music compositions, that he who, out of avarice, sings of worthless men of the world becomes the object of censure by the good souls; on the other hand, he who sings of the Lord in devotion attains salvation : यस्तु गायति लोमेन प्राकृतान् गुणवर्जितान्। स निन्ध: स्यात सतां मध्ये स हास्यायतनं महत्।। देवान् गायति यो भक्कया तस्य मुक्तिर्भवेद् ध्रुवम्। 1 which shows that not only is this tradition of shunning narastuti long established but has been recognised even in theoretical texts on the art. Having denounced Nara-stuti and Artha in the above ' songs Tyagaraja condemns Kama in another set of songs. In his piece in Bindumalini ' Entamuddo', he contrasts the superb beauty and charm of the Lord and the charms of women, and wonders why even great men allow themselves to be engaged in the thought of the latter. In Menu juchi mosa, whose

I. I am quoting from the ms. of the unpublished portion of this work.

62 VAIRAGYA

Raga, Sarasangi, was probably chosen by Tyagaraja ironically, he debunks the so-called features of attraction in a woman. ' O mind ! Do not get deluded by the illusory personal appearance of women. If you only see their inside, you will realise that it is only a cloak over filth.'

In the Natakuranji song, whose key quietens us down to a calm, Tyagaraja asks: " How could Rama's grace come O Mind, if you give yourself up to the senses, to Natas and Vitas ?". ' Manasu vishaya-nata-vitulaku osangite ma Ramuni kripa galguno manasa.' In a Todi Divyanama Re Manasa chinthaya, Tyagaraja says that the Lord is a delighter of the hearts of only those, who have eschewed lust : 'Gata - kama-jana - hridayarnava- kaladharuni', and in the auspicious Surati piece Patiki harati he describes the Lord as the destroyer of foes like kama, 'Kama- diripuvidariki'; even so, the Lord is inaccessible to those whose hearts are obsessed with pride-' Garva-manasa-dara ' in the Utsava-piece in Sankarābharana I ' Sītakalyana'. We may cite the following pieces to illustrate Iha-amutra- phala-bhoga-viraga, i. e., absence of desire to enjoy any pleasures here or in the heaven: In Varijanayana in Kedara- gaula, he says : ' O Lotus-eyed Lord !. I shall not accept wealth, progeny etc., which will only make me forget you even as Sugrīva did. I shall not accept chariots and horses and defeat kings even as Arjuna did. All the nine treasures that I desire are your japa. I will not get enmeshed in vain material desires.'

I. As 'Gaurikalyanam' is sung in this song the Raga chosen is Sankara- bharana.

HUMAN BIRTH PRECIOUS 63

Varalandu kommani in Gurjari expresses this aversion for all boons and gifts other than Bhakti and Moksha: ' Is it fair for you to trick me by giving me boons when what I want is your Bhakti ? Prahlada stands as a witness for those who do not hanker after small things and on whom the true greatness of devotion was conferred. Even for one like Dhruva who would want temporal gains, you would give the highest and permanent position. Therefore, offer me no boons, offer me your grace.' ' Varālandu kommani nāyandu vanchana seya nyayamā.'

All our poets, teachers and philosophers have observed that it is the most difficult thing to secure human birth, Manushya Janma, and having attained it, one must make good by striving for the summum bonum and not dissipate oneself and let go the grand opportunity given. This hard-earned human life is short and the careful man will be up and making hay while yet the sun shines. Says Tyagaraja:

" Understanding the opportunity afforded, one must acquire merit ; otherwise the fool might as well not exist ". - - Samayamu delisi punyamularjinchani kumati yundiyemi poyi yemi (Asaveri).

In his Proddu Poyenu in Todi, Tyagaraja says: 'Time is fleeting, O Mind ! Set about in earnest to worship Rama. Of the life-time, a portion is spent 'in sleep and another in enjoyment of sense pleasures. Rising early, one spends his time in flattering men at the prompting of his three-fold worry (tapatraya) and goes about like a bull, eating at any place, anything that he can get and wastes himself out in ignorance. Immersed in the

64 ACTIVITY PROPER FOR MAN

seemingly attractive samsara, he spends some time ; then, he spends another portion of time in gossip with other worldly-minded men. For a time, he transports himself in the joys of family and wealth and gets infatuated. Disappointments however come and then he droops down. Suddenly the sight of the successful neighbour oppresses him with jealousy. By this time, old age claims him and renders him decrepit; he attempts now to perform some meritorious rite or ritual and even while doing it, mistakes, greed and miser- liness make him a prey to Rajoguna and without getting any peace thereby, he gets a fresh term of restlessness.'

Cf. Sri Sankara in his Vivékachūdamani : जन्तूनां नरजन्मदुर्लभमतः पुंस्त्वं ततो विप्रता etc.

Also the well known verse in Bhartrihari's Vairagya- sataka- आयुर्वर्षशतं नृणां परिमितं रात्रौ तदर्ध गतं तस्यार्धंस्य परस्य चार्धमपरं बालत्व-वृद्धत्वयोः । शेष व्याधिवियोगदुःससहितं सेवादिभिर्नीयते etc.

The Lord has given us excellent limbs and faculties and in what greater work can we employ them well than in the service of the Lord Himself? Kulasekhara gives each limb of his the following duties : जिहे कीर्तय केशव मुररिपुं चेतो भज श्रीधरं पाणिद्वन्द्व समर्चयाच्युतकर्था श्रोत्रद्य त्वं श्णु । विष्णुं लोकय लोचनद्दय हरेर्गच्छाद्ध्रयुग्मालयं जि्र घ्राण मुकुन्दपादतुलसी मूर्घन्रमाधोक्षजम्॥। Mukundamalā.

"O Tongue! praise the Lord. O Mind! adore him. Ears ! hear the glory of Achyuta. Eyes! see Lord Vishnu. Feet! walk to his temple.

BODY FOR GOD'S SERVICE 65

Nose ! inhale the Tulasi of Mukunda's feet. O head ! bow to the Lord."

The Bhagavata also calls upon the devotee to dedicate every limb and faculty to the service of God. Ambarisha, the Bhagavata says, did so:

स वै मनः कृष्णपादारविन्दयोः वर्चासि वैकण्ठगुणानुवर्णने । करौ हरेर्मन्दिरमार्जनादिषु श्रर्ति चकाराच्युतसत्कथोदये।। मुकुन्दलिंगालयदर्शने दशौ

घ्राणं च तत्पादसरोजसौरमे श्रीमतुलस्या रसनां तदर्पिते॥ पार्दौ हरे: क्षेत्रपदानुसर्पणे शिरो हृषीकेशपदाभिवन्दने। काम च दास्ये नतु कामकाम्यया यथोत्तमश्लोकगुणाश्रया रतिः ।। एवं सदा कर्मकलापमात्मनः परेऽधियज्ञे भगवत्यधोक्षजे। सर्वात्मभावं विदधन्महीमिमां तननिष्ठविप्राभिहित: श्शास ह।। IX. 4. 18-21.

Tyagaraja takes up this idea and pities those misguided men who put their limbs, bodies and faculties to other and despicable uses. ' Is it for these activities that the body has been nurtured' he asks in a Mukhari song. ' Without using the body for Your service and for getting nearer to You, people wander here and there, slaves to desires. Without constantly attempting to earn the grace of Your look, people 5

66 GOD THE SUPREME OBJECT OF THE SENSES

cast wistful eyes upon women. Without always engaging themselves in singing Your name, people waste their time in gossip. Without using their hands for worshipping You, they stretch them for receiving gifts. Without using their legs to make pradakshina of the temple, people run about, for receiving dakshina. They do not acknowledge that they are Your own. Yama, therefore, jubilantly claims them as his own. Is it for this that the body has been nurtured ?'

Indukā Ī tanuvunu benchina nī sevakuleka nīdu chentakurāka āsa dāsudai atulitu dirigu niratamu nī drishti neyārjinchaka orula bhāmalanu orajūpulu jūchu sāreku nāmasmarana jeyaka yūri mātalella yūraka vadaru karamulato pūja gāvimpakadāchi dharalona leni durdānamulaku chāchu vāramu nī kshetra varamula chuttaka bhūriki mundugā pāripāri tirugu nīvādani peru nindu vahinchaga navadani Yamudu navvuchu badhinchu rāvayya Srī Tyāgarāja vinuta ninnu bhāvinchaka proddu bāragottukone

. In his better known Nilambarī song Ennaga manasu- kurani, Tyagaraja asks : "What is the use of the eyes and their brightness if they do not feast upon the beauty of the Lord? What is the use of having a body which is not for embracing with love the blue-hued Lord? Of what use are the hands which do not worship the Lord with flowers? Why have a tongue which does not sing of Rama ?"

Sama 67

As to the acquisition of the sadhanas of mental tranquility, self-control, sama, dama etc., in his well-known Nidhi chala sukhama, quoted already, Tyagaraja asks in the first charana : " Is it happier to bathe in the Ganges of sama and dama, or in the miry, stagnated well-water of evil sense pleasures ?" Dama-samamanu Ganga-snānamu sukhamā kardama-durvishaya-kūpasnānamu sukhamā.

In Samayamu delisi (Asaveri), he insists of sama being present with Bhakti : Samatatodi dharmamu jayamegāni.

That all this incessant avarice, exertion and accumulation is of no point, is the burden of his Desiya Todi song, Rūkalu padivelu. ' Though you may have tens of thousands of rupees, what you actually need is a handful of rice. Though you may have an immense quantity of clothing, you need only one for wearing. Though you may possess extensive territory, you require only three cubits of space to lay your body to rest. Though you may have hundreds of varieties of cakes, you can take only as much as your mouth can hold. Though the river may be full of water, you can draw from it only as much as your vessel can hold.' The great need for sama or mental tranquility is rightly emphasised by Tyagaraja in a whole song, where he drives home the teaching that if the mind has not ceased to be feverish, no learning and no austerity is of any use. Who does not know Tyagaraja's song in Sāma ? " Without santi or tranquility, there is no happi- ness, be he one who has controlled his senses, be he a Vedantin, be he possessed of family and wealth, be he one who has done japa and tapas,

68 Guru

be he a scholar in Vedas and Sastras, be he a performer of Yagas and other meritorious karmas and be he one who has established himself as a renowned Bhagavatar." Santamuleka soukhyamuledu sārasadalanayana dantunikaina vedāntunikaina darasutulu dhanadhānyamulundina sāreku japatapa sampada galgina āgama sāstramulanniyu jadivina bāguga sakala hridbhavamu delisina yāgādikarmamulanniyu jesina bhagavatulanuchu baguga beraina

The active cultivation of these when aided by Lord's grace endows us with the spiritual requisites: In his Arabhi Pancharatna, the Saint says that happiness born of quietude, self-restraint, contentment etc., is a blessing bestowed by the Lord Himself : ' Dama-samadi-sukhadāyakudu'.

'Acharyavan veda' (आचार्यवान् वेद), says the Veda. In all schools of our philosophy and religion, one is to imbibe the teaching from a Guru. The living contact of a teacher is a basic feature, not only of our spiritual knowledge, but also of all our literary and artistic knowledge. I mentioned in the previous chapter how Narada, the first and foremost Bhagavata-musician, was considered by Tyagaraja as his greatest teacher on whom he composed about four pieces. The absolute need of a Guru for any Sadhaka is the subject of a Gaurīmanohari piece : ' Guruleka yetuvanti guniki deliyagabodu karukaina hridroga gahanamuna gottanu Sadguru leka yetuvanti '.

"Without a Guru, whatever might be one's merits and qualities, it will not be possible to cut the deep forest of this mental disease or to acquire knowledge or wisdom ............ A Guru alone will

Sat-sanga 69

. ' 'be able to protect one by administering, with love, the medicine of spiritual initiation and enlighten- ment, and to keep the mind free from attatch- ment ".

In his Dhanyasi song Nīchittamu nirmalamu, Tyagaraja conceives God Himself as the Guru, who like the soap-nut clarified his mind, like the bee stung him and converted the pupil into Himself, like the Sun destroyed the darkness and like the philosopher's stone transformed the base metal of his nature into gold.

Among the Sadhanas mentioned by Narada in his Bhakti Sutras, which I quoted at the beginning, the seeking of the company of the great souls, Sat-sanga, was spoken of as highly efficacious. Narada considers it as the chief Sadhana and deems the good souls as God Himself. The Bhagavata stresses the need for Sat-sanga again and again. Sage Kapila says in his teachings to his mother Devahūti (III. 25-24-5): त एते साध्रवः साध्चि सर्वसङ्गविवर्जिताः । सज्स्तेष्वथ ते प्रार्थ्यः संगदोषहरा हि ते॥ सतां प्रसज्जान्मम वीर्यसंविद: भवन्ति हत्कर्णरसायना: कथाः । तज्जोषणादाश्वप वर्गवर्त्मनि

Again Rishabha, in his teachings, observes that the resorting to great ones is verily the door to liberation. It is a matter of common knowledge that great conversions of worst men have taken place at such holy contacts. महत्सेवां द्वारमाहुर्विमुफ्तेः तमोद्वारं योषितां सझ्निसज्गम्। महाम्तस्ते समचित्ताः प्रशान्ताः विमम्यवरसुहृदस्साधवो ये। V. 5. 2.

70 GODLY SOULS

In the Lord's own Upadesa to Uddhava in the XI book, we read: ततो दुःसश्मुत्सज्य सत्यु सज्जेत बुद्धिमान्। सन्त एतस्य छिन्दन्ति मनोव्यासन्मुक्तिभि:॥ सन्तोऽनपेक्षा मचिताः प्रशान्ता: समदर्शिनः। निर्ममा निरहश्ारा निर्द्वन्द्वा निष्परित्रहाः ॥ तेषु नित्यं महाभाग महाभागेषु मत्कथाः । संभवन्ति हिता नणां जुषतां प्रपुनन्त्यघम्॥ XI. 26.8

Neither Yoga nor Samkhya, neither Dharma nor recital of sacred scriptures, neither Tyaga nor any other benefactions and gifts, neither austerities nor sacrifices, neither holy places nor practice of yogic injunctions, bring God to one as the contact of the great men does, the contact which destroys all other evil associations. The Lord says:

न रोधयति मां योगो न सांख्यं धर्म एव च। न स्वाध्यायस्तपस्त्यागो नेष्टापूर्त न दक्षिणा॥ व्रतानि यज्ञच्छन्दांसि तीर्थानि नियमा यमाः । यथावरुन्धे सत्सज्: सर्वसज्गापहो हि माम्॥ XI. 12. I-2. One of his five epic songs, in the most auspicious Raga, Sri Tyagaraja wholly devotes, most significantly, to the great souls, the Mahanubhavas :

Salutations to all noble souls ! Salutations to all those noble souls who see the beautiful face of the Lord in their own hearts and enjoy infinite bliss !

' Salutations to all those noble souls who have realised the Lord of incomparable beauty, the delighter in the singing of Saman ! All those noble souls who roved the deep forest of their hearts and found the Lord's image !

Bhagavatas 71

' All those noble souls who have offered the lotuses of their hearts at the feet of the Lord; who have necklaces shining with the gem of the Lord's qualities, who with knowledge, friendship and grace, bless the world with their ambrosial looks; who in proper form and with the knowledge of svara, laya and raga, sing sublime songs on the supreme Lord who is the redeemer of the fallen; who have the direct vision of the majestic gait of the Lord and get enthralled and immersed in the ocean of bliss !

All those great ones, the noble Bhagavatas, sages, and gods, the Moon, the Sun, Sanaka, Sanandana, the Dikpalas, the Devas, the Kimpu- rushas, Prahlada, Narada, Tumburu, Ānjaneya, Siva, Suka, Brahma and the Brahmans, the holy ones, the great and imperishable souls that are in eternal enjoyment of Brahmananda ! ' All those who have known Your mind and have discarded the false faiths, and who enjoy the bliss of singing the praise of Your gunas, Your form, the greatness of Your Name, Your prowess, Your tranquil mind and Your truthful word !

' All those who have known the secrets of the Bhagavata, the Ramayana, the Gita, the Vedas, Sastras, Puranas, and the six sects of Siva and other deities, who have understood the mind of all the thirty-three crores of gods, all those who attain to a long life with the joy of Bhava, Raga and Laya and attain endless bliss !

Salutations to all those great souls, the friends of Tyagaraja !

' Salutations to all those who with hearts flooded with love call forth His Name and are the true

72 PERSONAL TOUCH OF THE Guru

servants of the Lord praised by Tyagaraja, saluta- tions to all those great souls !'

The books are mere faggots, it is the Guru and the Sadhus whose contact gives the igniting spark. Says Tyagaraja, in his song Buddhi radu in Sankarabharana : ' Wisdom won't come, even though one has mastered all the great branches of learning, if one does not imbibe them through the words of the great ones. Though one does a good deal of charity with grains and money, if one has not drunk deep of the nectar of the words of the great ones, the single-minded devotees of the Lord, wisdom won't dawn. ' One may read the Bhagavata, Ramayana and other sacred books, but until one associates with those who have a true knowledge of the significance of God's Avatara among men, one will have no wisdom. ' Though one might practice Yoga and attain Siddhis, wisdom will not be his, if one has not gained the friendship of Rama's devotees.' Buddhiradu buddhiradu peddala suddhulu vinaka buddhiradu buddhiradu bhūri vidyala nerchina dhanya dhanamula cheta dharmamentayu jesina nānyachitta bhaktula vāgamritapānamu seyaka (Buddhi) mānaka Bhāgavata Rāmāyanamula jadivina mānushāvatāra charita marmajnula jatagūdaka yogamulabhyasinchina bhogamulento galigina (Buddhi)

Tyagarāja nutudau Rāmadāsula chelimi seyaka.

DUTY OF A Guru 73

We find here an excellent summary of what the Bhagavata has said on the value of and the need for Sat-sanga.

In a Punnagavarali song, Tyagaraja exclaims at the gain of Sat-sanga, as a great good fortune : ' Inta bhāgyamani nirnayimpa Brahmendradula tarama ? Chintanīya Srī Raghava ninu madi chintinchu sujanula pūjinchinavāri.' ' Is it possible to measure the good fortune of those who get and worship the great ones who meditate on the Lord? Dullards and people of unsteady minds, heinous sinners and those who have no hope of salvation, if only they join the company of those that worship you, the Matchless One, they will become equally blessed. ' Those who grovel in Maya Samsara and are immersed in lust and similar vices, if only they seek the darsana of those Bhaktas who have real faith in the Lord and are always floating in the flood of Lord's contemplation, they will be equally blessed. ' Those that follow the drab routine of life without knowledge of the Truth, those that do not tread the path of Dharma, if only they think of the rare fortune of the pure-minded, who meditate upon the bliss of enjoying the Lord's gunas, they will be equally blessed.' While it is imperative on the part of the aspirant to resort to a Guru, the obligation on the part of the great souls has not been left unemphasised. It is generally believed that the ideal of seeking life and trouble, again and again, to be of service and help to erring humanity is Buddhistic. It is really not so. The ideal of saints going about to bless the deserving aspirants,

74 Guru-IDEOLOGY AND SERVICE TO HUMANITY

of Jivanmuktas still continuing here for loka-sangraha, is found in Hindu scriptures. The entire idea of Guru and Sat- sanga, which has assumed this necessary emphasis in our scheme of spiritual endeavour, is a complete refutation of the criticism. Let me quote one of the fine verses in the hymn of Prahlada to God Krishna in the Bhagavata. Prahlada criticises the mute penance-doers, retired in forests, endeavouring for their own single salvation, oblivious of the sufferings of the erring masses, and he says that he does not desire his own absolution until these pitiable people have all been taken along. प्रायेन देव सुनय: स्वविमुक्तिकामा: मौनं चरन्ति विपिने न परार्थनिष्ठाः । नैतान् विहाय कृपणान् विमुमुक्ष एक: नान्यं त्वदस्य शरणं भ्रमतोऽनुपश्ये।। It is in such a mood that Tyagaraja exclaims : ' Are there no great men here to protect these pitiable people Evarina lera peddalu ilalona dīnula brova'

Here again, we may note a sense of irony in the name of the Raga, which is Siddha-sena. 'There are armies of realised souls -Siddha-sena; would not one of these come and uplift these fallen souls ?'-is perhaps the suggestion. I have touched here upon only such songs of Tyagaraja as have a greater or fuller reference to the subject of Sadhana. There is however hardly any song, of his which 'does not point out to us the discrimination between the mundane and spiritual values, does not call upon us to develop Vairagya towards material acquisitions and sensual gratifications and does not show the need to develop contentment, mental poise and love for the godly souls who alone can bring to us the Kingdom of God.

CHAPTER IV

REFORMIST ZEAL " Adi Kadu Bhajana"

IN all walks of life, in the pursuit of any laudable activity, when a large number of persons take to it and with passage of time the prestige of association with that activity grows and could be taken advantage of, the ideals are not always well kept up and corruptions set in. Owing to ignorance, idleness, vanity, avarice and other extraneous motives, there arise among the adherents misguided innocents, formal token- followers, imposters and several categories of exploiters. It therefore becomes necessary for those that realise the ideals in truth to endeavour to emphasise the fundamentals, criticise the non-essential aberrations and condemn all abuse and exploita- tion. In this country, where religious and spiritual pursuits are with the people so much, there is no end to these. kinds of defects developing on a large scale; and time and again, our writers and saints have tried to purge the movements of all accumulations thrown up by the deficiency of men's ability and character,-Purusha-dosha. The true Bhakta and Jnanin that Tyagaraja was, he saw around him dry disputants among scholars, tiresome ritualists among performers of Karmas and those who made a livelihood out of their formal allegiance to the role of Bhagavatas. All these, Tyagaraja denounced thoroughly. Many of these songs form interesting reading, as Tyagaraja empolys in them a large number of similes and analogies. We find in them Tyagaraja's poetic gifts, his satire and sarcasm. We had occasion to refer to Tyagaraja's ideas on how best the art of music should be cultivated and his criticism of those who had no grasp of the high significance of that art and degraded it by their association. We shall presently speak of his reformist zeal manifesting in the field of Bhakti.

76 TRUE DEVOTEE

Tyagaraja bemoans in a number of songs the ignorant, the misguided and the vicious, and how they waste their time and ruin their life. Three long Divyanamas of his may specially be mentioned for the comprehensive survey the saint makes of the ways of these men: Enduko baga teliyadu in Mohana, Evaru teliyanu in Punnagavarali and Rama Ramakrishna yanare in Gaulipantu. They do not realise that the body is perishable, and material possessions evanascent like dew, and go on building big houses, gathering servants, filling their stomachs and fattening their bodies; employing iniquitous ways, they cheat others of their money, run after women like dogs after bitches, fall prey to several diseases, and waste their patrimony and become the object of derision. Others there are, Tyagaraja adds, in Evaru teliyanu, in his scathing style which comes into prominence in songs of this type, who wander from place to place coveting others' money and women; who quarrel with parents at the instance of their wives; and who indulge in falsehood and the flattery of the rich.

Look at this table of vices in the Gaulipantu song above referred to : Indulging exultantly in hypocritical talks, with envy for others' prosperity, but still passing kind words to them, with sweet talk on the lips and poison at heart-vices, losing themselves in which men are unable to take to the path of redemption shown by Tyagaraja. Similarly, in three other pieces, Tyagaraja projects the picture of a true devotee. In a Varali piece, Karuna elagante, Tyagaraja defines the person to whom the grace of God will come: He will not utter a lie, will not approach low people with requests, will not wait on kings even,

DEVOTEE'S CONDUCT 77

will not eat flesh, will not drink, will not do injury to others, will not refrain from study, will not seek the three cravings for wife, wealth and progeny, will not exhibit any exultation even if he should become a Jivanmukta, will not be deceitful or treacherous, will not be fickle-minded, will not make himself unhappy and, believing full well that there is the eternal witness of the Lord, will not swerve from his aim.

The blessed soul is the subject of a Kapi song Atade dhanyudu : He alone is blessed who constantly meditates on the lotus feet of Rama and who, unflaggingly engaged in the singing of the Lord's name to his heart's delight, dances in the Lord's presence; who is cheerful, seeking the company of the good, frees himself of all worries and keeps himself joyous; who, realising that all else is false, wards off the six inner enemies which hide the real Truth from him, and reposes his entire faith in Sri Rama; who knows the real significance of Rama Nama, who turns his high birth to good account, and who does not put on false garbs out of greed and does not deceive himself.

Listen to this conduct of the devotee in Begada, Bhaktuni charitramu : O Mind! listen to the conduct of a devotee of Sītarama ! the devotee who, without attachment to sense-pleasures, seeks Him, becomes a Jivan- mukta and enjoys supreme bliss. Such a devotee should not boast of his having done Japa and Tapas ; he should not behave or speak like a hypocrite; should not be weak, fickle-minded and lost in attachments; should not regard material prosperity as real; should never make distinction

78 TRUE Bhajana

between Siva. and Madhava, should make no profession out of his qualifications; should not allow the sway of Rajas and Tamas, should not desist from yogic practice and should never forget Sri Rama.

Regarding the Lord's Name Tyagaraja says, it should be recited and repeated, but such repetition is to be impelled by constant devotion to the Lord. Otherwise, one does not know the real sweetness of the Lord's Name. A mere lip-repeater is like a male putting on the female's dress; but could he under- stand and enter into the true character of a chaste wife? From such masqueraders, no good will come; one can as well hope to draw milk from a tiger in a cow's skin. This is what he says in his familiar Kharaharapriya song Rama nīyeda :- Rāma nīyeda prema rahitulaku nāma ruchi telusuna, O Sita-Rama kāminī vesadāriki sadhvī nadata emaina telusunā rīti,- ... puli go-rūpamaina ... sisuvu palu galguna.

A song in Madhyamavati, Nalina lochana, asks :

If one does spurious dhyanam like a crane, will his object of salvation be fulfilled ? Konga vanti dhyanamu jesine dana korika gonasāguna.

If one does penance with attachment and avarice, will he attain salvation ? Raga lobhamulato dapamu jesite baragati galuga nerchuna.'

It is not Bhajana as such but true Bhajana of the Lord that is the means of welfare in the hereafter-Para-loka-sadhana; such true. Bhajana. is what one does without lust, avarice,

TRUE DEVOTION 79

delusion and other sins and it is such a Bhajana that is the effective antidote. of the ills of mundane life and the trans- migratory cycle. Smaralobha mohadi papulanu smariyinchake Sri Ramabhajana para loka sadhaname manasa etc. (Paraloka - Pūrvakalyāni)

The futility of Bhajana done for vanity and advertisement is mentioned in Tappagane in Suddhabangala-(Meppulakai koppulugalameti janula jūchi bhajana).

In his Nayakī song Kanugonu saukhyamu which is one of the .pieces containing express mention of Tyagaraja having had direct darsana of the Lord, he says in the charana : "Those who cheat the world by posing themselves as jnanins, unable to control their mind, with body in one place and mind in another, but wearing duly the appropriate garb, these can never succeed." Tanu vokacho manasokacho dagina veshamokacho nidi janula nechu vāriki jayamaune-

The futility of mere learning, Japa, Tapas and Siddhis and the unavailing character of sacrifices, material acquisitions etc., are expressed iņ Padavinī sadbhakti in Salaga Bhairavi : " It is real status if one attains true devotion. Is it status to be learned in Vedas, Sastras and Upanishads ? Is it status to possess wealth, wife, children, chunam-built house, riches and friend- ship with kings? Is it status to impose on the world with one's japa, tapas and miracles ? Is it status to secure temporal enjoyment through Yagas performed with attachment and avarice .? "

80 BOONS, AN IMPEDIMENT

Padavinī sadbhaktiyu galgute chadivi Veda Sastropanishattula satta deliyalenidi padaviya ? dhana dāra sutagāra 1 sampadulu dharanīsula chelimiyoka padaviyā ? japatapādiyanimadi siddhulache jagamula nechutayadi padaviya ? rāga lobhayuta yajnadulache bhogamulabbutayadi padaviyā ? Tyāgarāja nutudau Sri Ramuni tattvamu deliyani doka padaviyā ? The Animadi siddhis referred to here, the miraculous powers one secures by yogic practices, are really impediments to the highest Siddhi of salvation. Patanjali says in his Yoga sutra : ते समाधावुपसर्गा: व्युत्थाने सिद्धयः । In his song in Nadavarāngini, Nripalavala Tyagaraja translates the above sutra of Patanjali : " People desiring salvation adopt the siddhis as means, but they find that these prove obstructive to their real purpose and finally realise that they have been deluded." Apavarga phalakāmamulanu, juchi addamai animadi siddhula mosa buchchedarayya. In Edutanilichite (Sankarabharana), Tyagaraja declares that he cannot ask for boons: Varalu aduga jalara. " Adi kadu bhajana", "that is not adoring the Lord says he in another piece in Yadukula Kambhoji, "if one at the same time hankers after greatness, indulges in sensual enjoyment, puts on false garbs to gain the approbation of people and goes on merrily."

I. Another reading here is 'suta sudhagara'.

• PRETENDERS 8I

"Telialeru Rama" in Dhenuka characterises well those that put on the marks of devotion and are really like bulls driven over long distances by their own greed. " People who roam about with confused mind and with the sole purpose of earning money in the guise of great pious men, bathing early in the morning, smearing their bodies with ashes, count- ing their fingures as if in Japa, can never know the path of devotion."

The Bindumalini song Entamuddo refers to pseudo- Bhagavatas, Bhagavataveshulu, who are like vessels that contain milk, but can never know the taste of milk.

Attamīda kanulu asaku-dasulai satta bhagavata vesulairi dutta pala ruchi deliyu sāmyame.

It is, as the Sanskrit verse says, like an ass that carries a load of sandal and knows the load but not the fragrance of the sandal : यथा खरश्चन्दनभारवाही भारस्य वेत्ता न तु चन्दनस्य। or as the Tamil Siddhar sang "Will the cooking pot know the relish of the curry ?" சுட்ட சட்டி சட்டுவம் கறிச்சுவை தான் அறியுமோ? " Men of Kali can never appreciate the glory of the Lord. Can a bull enjoy aval ?, These people wear the mask of devotees, only for the sake of their family, wealth, name, fame and status ", says a piece in Kuntalavarali : Kalinarulaku mahimalu delipi emi phalamana leda ilanu velayu vara vrishabhādulakatu- kula ruchi deliyu chandamugāni dārasutulakai dhanamunakai yūru peru- lakai bahu pedda tanamukai sāreku bhaktavesamu gonu vāriki-+

82 Manasa Pūja

To those who sail under the cloak (vesha) of Bhaktas and Bhagavatas, Tyagaraja makes many references.

The observance of mere rituals, forms and empty rites receives îts due share of condemnation at Tyagaraja's hands. In his Abhogi piece Manasu Nilpa we read : " If one has not the power to control one's mind, of what avail is ringing the bell and conducting pūja? If one is a scamp, of what avail is it to bathe in the Kaverī or the Ganga? The Soma- yaji's wife has run after a beautiful paramour and the Somayaji expects a berth in heaven! If the voluptuary and the irate perform Tapas, of what avail will it be ?" Manasu nilpa sakti leka bote . madhura ghanta virula pūja emi jeyunu ghana durmadudai tamunigite Kaveri Mandākin yatu brochunu somidamma sogasugandra gorite somayaji svargarhudauna kamakrodhudu dapambonarchite gāchi rakshinchuno Tyagarajanuta.

In Manasu svadhina in Sankarabharana he points out that if the mind is not under control, there is no use of Mantra, Tantra and Tapas and if mental control is achieved, there, is, again, no use of these. Manasu svadhīnamaina yaghanuniki mari mantra tantramu lela ?

On the other hand, in his Rītigaula song Paripalaya, he elaborates 'the idea of the true worship of God in one's own mind, Manasapūjā or Bhava pūjā : My body is your favourite abode (Pujagriha); my steadfast mind, your golden throne; my medita- tion of your beautiful feet is the Ganga water;

GOD'S THOUGHT THE REAL PURIFICATION 83

my attatchment is your beautiful dress; my praise of your glory, your sandal-fragrance; my remembrance and recital of your name is the full- blown lotus for you (cf. Namakusumamulache); the fruits of all my past misdeeds is the incense to be burnt before you; my devotion to your feet is the all-day lamp to you; the very fruit of this kind of superior worship that I do is the food- offering to you; the lasting bliss that I derive is the pan (Tambula) for you; my seeing you (darsana) is the waving of light before you I.

"The adoption of Asramadharma, i.e., Sannyasa is not necessary for one who has realised every- thing in God." Anni nī vanuchu yenchina vāniki asrama bhedamu lela.

In his Jayamanohari song, Ni bhaktibhagyasudha, he says that the mere performance of Vedic rituals will only increase distress and entail further bondage of birth and death.

To those who go on plunging in water like fish, Tyagaraja says, in a Dhanyasi song, there is no merit in such plunges in holy water, but what is really wanted is purity of heart: "Dhyana of the Lord is itself the most efficacious Ganga-snana; but such Dhyana should be done with a mind free from longing for other's wealth and women and which does not injure others by word or deed, but is wholly longing for the Lord. Any number of plunges in Tirthas will not remove the stain of deceit and treachery."

I. This echoes the 'mental adoration'-Rama-mantra purascharana and bhavana described in cantos 13 and 14 of the Sundara Kanda of the Tattvasam- graha Ramayana. See my article on this work in Annals of Oriental Research, University of Madras, Vol. X. Part I,

84 MERE BATHS ETC. MEANINGLESS

I Dhyaname varamaina Gangasnaname manasā vana nīta munuga munuga loni vanchana drohamanu karabonā ? para dhana nārīmanulanu dūri paranindala parahimsalamīri dharanu velayu Srī Ramuni gori Tyāgarāju delusukonna Rāma- Cf. above : ' the contemplation of your blessed feet is the holy Ganga-water '-'Supada-dhyanamu Ganga jalamu '. Similar in import is his equally familiar piece in Todi, Kotinadulu, which emphasises that it is the Lord who is responsible for all sanctity which shrines, holy waters etc., possess, Tirthakara as the Vishnu sahasranama puts it effectively, and it is therefore useless merely to wander on Tirthayatras, without the constant thought of the Lord. It is indeed God who gives us the fruit of all such obser- vances as bath, japa, penance and contemplation : Snanadi japa tapa yogadhyana samadhi sukhaprada Sītanatha' (Ninne bhajana-Nata). Having pointed out the futility of mere Tirtha-snana, Tyagaraja speaks of the meaninglessness of long journeys to Kshetras, when the Lord can be seen in one's own heart; in his song, Nadachi nadachi in Kharaharapriya, he observes : "If bathing often, fasting, closing one's eyes etc., constitute all that is to be done, surely there are others, birds and animals, who will get first places in Heaven."

Tyagaraja elaborates this idea in his Saveri song Balamu kulamu: " Crows and fish dive, does it become the regular morning ablution ? Cranes close their eyes. Does

I. Cf. Purandaradasa's song 'Smarana onde salade' where the Saint says in the third charana . Sakalatirtha yātreyu mātidandha nīkhilapunyada phalavu ...... Vitthalanu namada-smarana onde sālade.

DEVOTION MAKES THESE MEANINGFUL 85

it become divine contemplation ? Goats eat only leaves. Is that Upavasa ? Birds soar high, but do they compare with the sun or the moon? Monkeys residing in forest do not become Vana- prasthas; and unclad children cannot be deemed Avadhūtas,"

Nīta kāki mīnu munuga niratamudayasnānama ? tetakanulu konga gūrcha Devadevadhyanama ? patramalunu meyu meka balamaina upavāsama? chitrapakshu legaya sūrya chandrulaku sāmyamā ? guhala vesha kotulunte gunamu kalgu maunulā ? gahanamunanu kotulunte ghanamau vanavāsamā ? jangamulu baluka kunte sangatigā maunula ? angamu muyyani balulu yapudu digambarula?

Kathakas recite a Sanskrit verse also in this same strain : मीनःस्नानपर: फणी पवनभुक मेषस्तु पर्णाशनः नीराशी खलु पावकः प्रतिदिनं शेते बिले मूषिकः । भस्मोडूलतत्परोऽपि च खरः ध्यानेन युक्तो बक्ः इत्येवं न हि यान्ति मोक्षपदवीं श्रीकृष्णभर्क्ति विना।। Vicariously I making himself the subject, in his Darsanamu seya na tarama in Narayanagaula, Tyagaraja points out I. See also below under the devotional moods in the chapter on phases of 'Bhakti', those songs couched in a confessional style. In fact this chapter on 'Sadhana' can be illustrated by further examples from songs- cited in the chapters to follow couched in penitent mood or affirming his qualifications and asking for God's grace.

86 LORD THE SOURCE OF ALL FORCES !

graphically the difference between seeing the Lord really and the going to a temple, gazing there at the tower, the pillars, the dance of youthful courtesans, the rows of light, the wonderful vahanas and the ladies who come there, and in between talking some scandal about others. How few amongst us can refrain from such sight-seeing and from being Bahir- mukha, and concentrate on muttering the two letters of Siva in the temple? Darsanamu seya na taramā ? parāmarsinchi nīvu nanu manninchavalenu Siva gopurambulanu kadu goppa kambhamula bhū- sthapitambagu silala tarunula yatalanu dīpāla varusalanu divyavāhanamulanu papahara ! sevinchi bahirmukh undaiti Siva tarali padiyaru pradakshanamulonarinchi paraninda vachanamula bāguganāduchunu orula Bhāmala jūchi yuppongitini gāni vara Sivakshara yuga japamu seyanaiti Siva.

It is quite common for even the learned amongst us to set much store by our astrologers and to spend time, energy and money on the propitiation of planets. Not to mention times when we or those nearest fall seriously ill, when astrologers follow, with as little success, the doctors, we indulge in Graha priti at every step in all our religious rites. When we do all this we should not forget that the planets reflect only the power of the Lord and show only the light which they derive from the Great Effulgence,

तमेव भान्तमनुभाति सर्व तस्य भासा सर्वमिदं विभाति। and that Time itself and all its phases are only the All- pervading Lord,

तिथिर्विष्णुस्तथा वारः नक्षत्रं विष्णुरेव च । योगश्च करणं चैव सर्व विष्णुमयं जगत्।।

LORD THÉ ULTIMATE POWER TO BLESS MAN 89

Therefore to meditate on the Lord's feet and do a thing, is to secure for the act the most auspicious time and the strength of all planets and stars : तदेव लग्नं सुदिनं तदेव ताराबलं चन्द्रबलं तदेव। विद्याबलं दैवबलं तदेव लक्ष्मीपतेरंघ्रियुगं स्मरामि ॥ Purandaradas puts in a song of his the verses cited above, which we utter in our Sankalpa at the beginning of all religious acts : Sakala-graha bala nīne sarasijaksha nikhilavyāpaka nīne visvaraksha Ravi Chandra Budha nīne Rahu Ketu nīne Kavi Guru Saniyu Mangalanu nīne divaratriyu nīne etc. Taking after the master's Sakala graha bala nine, there is a piece of Tyagaraja in Revagupti, Grahabalamemi. In this song in which the poet-composer manages the sound-effects excellently, Tyagaraja asks : " What is the strength of planets, Graha-bala ? The strength 'of the Anu-graha, the blessing, of Rama is the real strength. What is the use of Graha-bala to those who contemplate upon the form, Vi-graha, of the All-effulgent Lord? The torment of Grahas is really the effect of A-graha (being seized) by one's own sins and the remedy is the Ni-graha, subjugation, of the inner enemiès and the cultivation of devotion to the Lord. Grahabalamemi Srī Rāmānu- grahabalame balamu graha balamemi Tejomaya vi- grahamunu dhyāninchu vāriki (navagraha) graha pīdala pancha padamulana --: grahamulu galakāmādiripula ni- grahamu jeyu Harini Bhajinchu Tyagarājuniki rasikāgresarulaku.

88 MERE SCHOLARSHIP FUTILE

It may be noted how Tyagaraja refers to himself at the end of this piece, in the mudra, as a foremost Rasika, suggesting thereby that one who has a true insight and sense of proportion will not attach exaggerated importance to astrology, for as he reiterates (in his Purnachandrika Divyanama), it is the Lord who is the ultimate strength and basis of all the forces of planets : Sarvagraha-adhara-bhūta. The doing of meritorious charities is no doubt good, but such charities should not be done for the sake of advertisement. Says Tyagaraja at the end of his Nike dayaraka in Nilambari: Meppulakai bahu dharmamu jesina migula brova tagune.

"Has all my penance been Rajasa?" he asks about himself in Entanuchu (Yadukula kambhoji),

From the Upanishads down, it has been well emphasised that scholarship alone does not bring about realisation. नायमात्मा प्रवचनेन लभ्यः न मेधया न च बहुना श्रतेन।

Tyagaraja's condemnation of mere learning has already been referred to in some of the songs cited above. There are some more songs in which Tyagaraja devotes further attention to this. In his Jaganmohini piece, Mamava satatam, he speaks of the Lord as being too far away from those scholars in Sastras who have no bhakti : भकतिरहितशास्त्रविदतिदूर In his Vinata suta vahana in Jayantasena, he asks : " Does it conduce to happiness or bring any benefit to indulge in disputations about different religious faiths ?" His Dipaka song Kalala nerchina points out that though one may be well-versed in all the sixtyfour arts, they can only serve to earn a livelihood for him; they cannot stem the tide of his karma. Kalala nerchina munu jesinadi gāka emi aravai nālugu.

FALLEN BRAHMANS 89.

" Why disputation and debate-Vada-tarkamela ?" asks his piece Bhajana seyave in Kalyānī.

Indulging in Sastraic disputations, bewildering oneself and others and restlessly roaming about to do an act of dharma for some worldly good are again denounced in Ninu nera namminanura in Pantuvarali, in which all these are said to be unavailing in the absence of the Lord's grace. In a simple Divyanama on Siva in Sankarabharana, he addresses Siva in the end as one who puts down the pride of those that have succumbed to the vanity of disputations of different schools: ' mada-bheda-patita-manava-mada-satata-bhanga.'

"A corpse dressed in lace turban, adorned with precious jewels, so is a worldly-minded clever person, possessing scholar- ship in Puranas, Agamas, Sastras and Vedas and practising; Japa and preaching " says the charana of Bhakti bichcha miyyave in Sankarābharana. Prānamuleni vāniki bangāru pāgachutti ani vajra bhūshana- muramandubetturīti jānalaku burānāgama sāstra veda japa prasanga trana galgi yemi.

He bemoans thus the state to which Brahmans have fallen, in Sarasīruhanana Rama in Mukhāri : " I cannot countenance those who, day in and day out, indulge in revelling with others' women, humouring and feeding them. In the present world, Brahmanavritti is almost extinct except in outward garb and in high-sounding speech. This is the time for the chaff of humanity to thrive." Parabhamalanasinchiyannamıdı pagalureyu sarasamādu vārinolla

90, UNDERSTANDING OF REAL Bhakti

brāhmanikamu bāyu nīchula' bratukāyenadigāka ī kalilo brahmamaina mātalu nerchukoni baragerayya Tyāgarāja-nuta.

From the drift of the song, we may infer that Tyagaraja sang this when he was probably to do some Brahmanasam- tarpana, but could hardly find some worthy person and hence appealed to the Lord's grace, instead of doing the feeding: Sarasīruhānana Rāma samayamu brova, chidghana !

Enta nerchina enta jūchina in Udayaravichandrikā emphasises how in the absence of devotion, even learned men gain no benefit out of their scholarship and become slaves of senses. " One who has not bestowed thought on the path of Bhakti, however learned he may be, is bound to be a slave to women; he will not be able to refrain from vices like injuring others, coveting others' women and wealth, slandering others, ruining others and uttering falsehoods."

Enta nerchina enta jūchina enta vāra- laina kāntadāsule santatambu Srīkanta-svānta-siddhānta- maina mārga chintalenivāru parahimsa parabhāma anyadhana paramānavāpavāda parajīvanādulaku anritame bhashinchedarayya Tyagarajanuta. In a long Punnagavarali Divyanama song, he observes : " Who knows the real Bhaktimarga? People do: puja without knowing the real significance ...... They pretend to possess real capacity to know the truth and declare that the universe is unreal. Such is their false devotion. O, My Father, what

FRUITS OF KARMA SHORTLIVED

sort of renunciation is this ? There are also other classes of yogis, who without knowing the real nature of their material body, feel haughtily that they alone will have salvation." Evaru teliyanu boyyedaru vivaramuleni pūjalu jesedaru. Tyagaraja's Mukhari song Kshīnamai is very well known. In it, he gives expression to the short-lived fruits of acquiring learning and miraculous powers, अन्तवतु फलं तेषाम् as the Gitu says. This is one of the pieces in which we can.clearly see how the musical sanchara and its higher and lower reaches, are used by the musicians to drive home his point that the fruits of all that wonderful and varied and highly prized learning in Sanskrit literature, drama, Alankara, Sastras, Vedas and. Puranas, the performance of Japa and Tapa dwindle; one has to come down, be born again to suffer here. क्षीणे पुण्ये मर्त्यलोकं विशन्ति। Gīrvāna nātaka alamkāra veda purāna yajna japatapādula phalamulu kshīnamai tiruga janminchu siddhi mānura O manasa ! This is again emphasised in the charana of the piece in Jayamanohari, Nibhaktibhagya, that the path of ritual involves one only in going up and coming down: Vedoktambau karmanu vetagalagu gatāgatamau. In Yajnadulu (Jayamano- hari), he condemns the path of sacrifice in a whole piece, calling its votaries as utterly ignorant. Yajnādulu sukhamanu-variki samu- lajņānulu galara. They are. ' bahir-mukhas' who do not know what devotion to Rama is. It is true knowledge and devotion that make all these rites and Iearning meaningful; in their absence, they become mean- ingless. Kulasekhara says :

92 GOD, THE REAL Tirthakara

मेदशच्छेदफलानि पूर्तविधयः सर्वे हुतं भस्मनि। तीर्थानामवगाहनानि व गजस्नानं विना यत्पद- द्वन्द्वाम्भोरुहसंस्मृति, विजयते देवस्स नारायण: ।। (Mukundamalā). " The Lord is all glorious, without the constant thought of whose lotus-feet all recital of scripture becomes a cry in the wilderness, the observance of austerites only exercises for slimming, making gifts etc. an oblation thrown on ashes and the bathing in holy places not different from the proverbial elephant's bath." It is the Lord who is the fountain-head of all sanctity, of holy waters etc., for He is the Tirthakara as the Sahasranama says. In his Nata piece Ninne Bhajana, Tyagaraja states that it is God who makes the bath, the muttering of mantra etc., a source of happiness : ' Snanadi - japa - tapa-dhyana - samadhi - sukhaprada.'

Therefore, it is true Bhakti that one should develop, for that alone can save. When you have this real devotion, it does not matter if you are a samsarin. Have belief in the Lord, surrender all fruits of Karma to Him. Nay, even offer all your pleasures to Him. Banish all thought of injury, all villainous designs (Samsarulaite - Saveri). Samsārulaite nemayyā sikhi- pinchavatamsu deduta nundaga himsadulella rosi-hamsādula gūdi prasamsa jeyuchu ne proddu kamsarini jnāna vairāgyamulu hīnamainatti bhavakānanamuna dirugu mānavudu [nammuvaru

sadā dhyānayoga yutudai nī nāmamu balkuchu-nānākarmaphalamu dānamu

LIBERATION FOR THE DEVOTED IN ALL Asramas 93

jeyuvāru-samsārulaite nemayyā kūrapu yochanalu dīrujesi tana- dāraputrula barichārakula jesi sārarūpuni pada sārasa yugamula Sāresāreku manasāra pūjinchuvāru -samsāru laite nemayya bhagavatula gudi bhogamulella Harike gavimpuchu-samsarulaite nemayyā.

The song is a reply to insistence on orange robe and formal accession to Sannyasa as a means to mukti. Tyagaraja says, even one in Samsara, a Grihastha, attains Mukti if he has these virtues. In the Bhagavata, the Lord calls upon Priyavrata not to renounce, but to lead the life of a Grihastha, controlling his senses, delighting in spirit and acquiring know- ledge; for such a person, the house is no prison.

जितेन्द्रियस्यात्मरतेर्बुधस्य गृहाश्रम: किन्तु करोत्यवद्यम्। V. I. 17.

Abhinavagupta says that men of true knowledge get liberated, whatever their Asrama. So do our Smritis and Srutis say : " One that worships God, has established himself in the knowledge of Truth, attends lovingly to his guest, performs the rites and gifts-he gets liberated even though he is a Grihastha. तत्वज्ञानिनां सर्वेष्वाश्रमेषु मुक्तिरिति स्मार्तेषु श्रतौ च। यथोकम्-

श्राद्धं कृत्वा ददद् द्रव्यं गृहस्थोऽपि हि मुच्यते॥ In one of his beautiful Todi songs, Tappi bratiki, Tyagaraja expatiates on Bhakti as the means to keep one free from temptations and vices. Is it possible to escape from being lost in the pool of sense-pleasures, if one does not worship the

94 DEVOTION, THE SAFEGUARD AGAINST TEMPTATION

Lord with his whole heart and firm mind ? Without Bhakti, is it possible to develop the feeling that valuable metals like gold are poison, to remain unaffected by the sight of wily and well- dressed women, with charming curly hair ?

Tappibratiki pova taramā, Rāma, kalilo muppuna vishayatatāka- muna munugaka dridhamanasai kanchu modalu loha dhana kanakamulanu jūchi visha ....

It is by developing love for God, His surpassing qualities, and His incomparable personality, that one can leave behind his weakness for the glitter of gold and the blandishments of women. The rise of devotion blesses one with a feeling of equanimity which is not disturbed by these attractions; a mansion does not please him more than a forest, a foe pleases him as much as a friend and the red lips of a youthful lady raise as little enthusiasm as a clod of clay.

शिवशिव पश्यन्ति समं श्रीकामाक्षीकटाक्षिता: पुरुषाः । विपिनं भवनममित्रं मित्रं लोष्ट च युवतिबिम्बोष्ठम्॥। Mūkapanchastī.

Whatever quality or act of merit one displays, that which gives meaning and substance to it is devotion to the Lord; driving in this truth with wit and sarcasm, Tyagaraja says in his Samayamu delisi (Asāveri) : "It is immaterial if a mad man hears good poetry or not; it is immaterial whether a niggard, has riches or not; it is immaterial if one devoid of devotion to Rama takes a human birth or some other birth."

In another beautiful and well-known piece in Todi, which Raga Tyagaraja exhausted even as he did the Anuraga of

NOTHING AVAILS WITHOUT DEVOTION 95

Rama, Tyagaraja reiterates the utter worthlessness of anything in the absence of Bhakti: " Of what avail is anything that one does here, if he does 'not have the blessing of the Lord? Of what avail is anything that these slaves of anger and lust do, without knowing the commandments of the Lord? What if they have house and property and have loaded their wives with jewels ? What if they are experts in sexual science ? What if they perform yagnas, procreate, celebrate the birth days of children or (if they are not able to beget), adopt others' children for inheritance? What if a palatial house has been built and fitted with lights ? What if one has mastered the art of pleasing women ? What if one gets a kingdom or is honoured by the people ? What if people are fed by him with a free flow of ghee? What if men attain the position of Gurus, and for appearance are really Gurus (heavy men) and initiate others in Mantras ?"

Note the pun on 'Guru', meaning a teacher and a fat pompous man and the sarcasm in the words ' Anyulaku upade- sinchade' -he imparts Mantras to others but himself does not practice it. Emi jesite nemi Srī Rāmaswāmi karuna leni vārilalo kama mohadāsulai Srī Ramuni kattu teliyani varilalo immu kaligite nemi? illaliki sommu bettite yemi ? kammaviltu kelini delisi emi ? tammi kantivani karunaleni vārilalo savamu jesitėnemi ? kalimini putrotsavamu galigite nemi ? bhuvilonu.

96 DEVOTION ALL-SATISFYING

anyabīja janituni goni emi ? Sivakara Srī Rāmuni dayalenivārilalo meda gattite nemi ? chediyalanu meppincha delisitenemi ? rājyamelite nemi? bahujanulalo pūjyulaite nemi? ajyapravāhamuto nannamidite nemi ? guruvu tānaitenemi, kantiki menu guruvai tochite nemi ? varamantram anyulaku upadesinchite nemi ? vara Tyāgarājanutuni dayalenivārilalo.

To seek salvation in other ways is to resort to bylanes. Not to revel in Bhakti but in mundane pleasures is to leave off rich milk and cream and to drink toddy. Says he in the well- known piece in Kharaharapriyā. Chakkani rajamārgamulundaga sandula duranela? O manasa ? chikkani pālu mīgada yundaga chīyanu gangāsāgara mele ?

The Bhakti of the Lord gives you full satisfaction, says Tyagaraja, in his piece Anuragamu in Sarasvati : Vagavagagā bhujiyinchuvāriki driptiyaurīti saguna dhyānamupaini saukhyamu.

I have specially quoted this song to show how Tyagaraja has included here an idea found in the Bhagavata I, that the all-satisfying nature of the happiness of Bhakti is comparable to that of a rich elaborate dinner; the Lord tells Uddhava : भक्ति: परेशानुभवो विरकि- रन्यत्र चैष त्रिक एककालः ।

I. The frequent references to the 'Bhagavata' in an exposition of a subject of this nature is unavoidable; apart from this, it may also be borne in mind that the ' Bhagavata' in Potana's Telugu was a daily bible of Parayana for Tyagaraja, and the copy he handled has fortunately come to us,

BHAKTI THE SUPREME GAIN 97

प्रपद्यमानस्य यथाश्रतस्स्यु: तुषिः पुष्टिः क्षुदपायोऽनुघासम्। XI. 2.42. It is therefore Bhakti that we should strive for, as the antidote to all the ills of mundane life and as the secret which alone renders all pious acts significant. To have that is real blessedness, exclaims Tyagaraja in a Kannada song ' Ide Bhagyamu'. " This alone is real blessedness to be coveted, the incessant worship of your lotus feet, Oh Lord, with one's whole heart. " To cast aside the bonds of desire, keeping the mind free, giving up the fruits of action, the real blessedness to be coveted is your incessant worship." Ide bhāgyamu gāka yemi yunnadira ? Rāma ! sadā nī pada pankajamulanu sammatamuga pūjinchuvari etc. In another and better known song in Suddha Bangala, Tyagaraja says that Rama bhakti is the greatest kingdom one can wish for and the supreme Brahmananda one should attain. Ramabhakti Samrajyame I .- mānavula kabbeno manasā (Suddhabhangala). "It cannot be explained in so many words; it has to be known by experience alone." Īlāgani vivarimpa lenu; chālā svānu- bhava vedyame. May this Bhakti help us to reform our worldly ways completely. May this kingdom of Rama Bhakti - Rama Bhakti Samrajya,-the supreme Bliss and Experience,-Brah- mananda and Svanubhava,-come to us all by the grace of Sri Rama and Tyagaraja ! I. The description here of 'Ramabhaktı' as a Samrājya and in 'Ramakatha' as a Rajya is perhaps after the expression used by Upanishad Brahmam in his Upeyanamaviveka-श्रीरामनामसाम्राज्यं स्वामेदेनैव भावयेत्। 7

98 TYAGARAJA'S CONCEPTION OF MAN

Before we close this section on Tyagaraja in the role of a reformer, we should draw attention to some of his observations in which we see his conception, not merely of a true musician or a true devotee, but of man as such; the musical endowments and the spiritual virtues should make man superior, fine and universally benevolent. The musical sense is nothing if it has not helped man to develop his keen sensibility, his sympathy and responsiveness, virtues whose absence makes for that callousness which turns man into a brute or a piece of inert matter. This Tyagaraja emphasises when he refers to those who are insensate to melody and rhythm and are no better than stones . Svara- layambulerungakanu silātmulai (Duduku: Gaula). In Sukhī evaro (Kanada), Tyagaraja says that he indeed is blessed and happy, who, with the twin endowments of music and devotion, has developed an ever-pleasing countenance, learnt not to swerve from truth, and making no distinction between one form of worship and another, or between one man and another, makes himself the servant of the whole humanity ! Such men inspire confidence and draw our love by their very benevolent appearance, su-mukha, and can indeed be easily recognised by their looks which pour, as it were, the nectar of love on the entire world.

Jagamella sudha-drishtiche brochu varu endaro Mahanubhavulu.

99

CHAPTER, V

NĀMA - MĀHĀTMYA

" Rama-namame melu"

WHAT is there in the name, one may ask. It is name that is everything. Name is fame. It is by using somebody's name that one has to get on. When one is highly enraged or highly pleased, one calls names, of abuse or of praise. In the excess of one's hate or love, what comes out of one is mere name. In those short exclamations that break forth, the entire surcharged feeling stands compressed.

A name is therefore a tabloid form of a Guna, an attribute of a person. The Vishnu Sahasranama says that Namas are Gaunas, i.e., based on Gunas-यानि नामानि गौणानि; and the Bhaguvata says that the names of the Lord are each marked with the fame, exploit and quality of the Lord. sitsfgaifa (1.4.II). And of the Lord who is possessed of infinite excellences, the names are also infinite.

The earliest outpourings of man praying to the divine powers are seen in the Riyvedic hymns, in the form of praises of the names and qualities of different deities, Agni, Indra etc. In the Satarudriya, the same deity Rudra, who is conceived as everything, is praised with different and numerous names. Even in the Upanishad, Brahman, which is really Nirguna, is yet characterised by expressions like Satya, Jnana, Ananta, which an author named Paramasivendra Sarasvati, the Guru of Sadasiva Brahmendra, collected together as Upanishan- Nama-Sahasra, to be of help in the contemplation and realisation of the Svarupa of Brahman.

It is a matter of common experience, as the Bhagavata says-यतस्तद्विषया मति :- that when one keeps on muttering the name of a thing, one's mind develops a love for and a gradual absorption in it. Tyagaraja similarly says, in his Janaranjani

I00 FORMS OF Nama-Kirtana

piece, Smarane Sukham, that the constant listening to Rama Nama, establishes the form of that name in the heart and fills the heart with love. Rama Nama sravanamu valla nāma rūpame hridayamunindi prema butta jeyaga leda. In a more effective manner, in one of his visions of realisation, Tyagaraja exclaims of his Lord " Are you the letters of the Name I repeat in my Japa, taken shape like this ?" Na japa varna rūpama (Najīvadhara in Bilahari). It is with the help of a word, the name of an object, that one can recollect and fix an object in one's mind. Names, therefore, serve as nails to fasten the Lord's personality in our mind and heart. Varying the metaphor, Tyagaraja compares the drinking of the nectar of the Lord's Name as something that lifts one to the presence of the Lord, verily the flight of steps leading one to God: Nī namamrita-panamuyanu sopānamu dorikenu' (Venkatesa ninu-Madhyamāvatī) I. In seeking a person through praise, there are three forms : firstly to describe in varied and poetic manner, the greatness of the person sought ; secondly, to refer to his varied glory by several significant attributes in the form of manifold names; and lastly, to call him forth for our help by the repetition of only one name of his. Under the first category come all poetic hymns, under the second, the Sahasra Nama, Ashtottara Nama hymns and the Namavalis sung in Bhajans, and under the last comes Nama parayana or the repetition of a single name, Rama, Siva etc.

It has been held that with the gradual deterioration in the faculties and abilities of men, as ages pass on towards Kali, the sages devised further and further easier paths, for the salvation of suffering humanity. It is with this purpose in view that the

I. The imagery is based on the local fact of the numberless steps of the Seven Hilis of Tirupati which devotees mount and traverse uttering the Lord's Name,

LITERATURE ON Nama I0İ

path of Bhakti or devotion was developed. Kali is predomin- antly an age of emotion and it is through this emotion that man has to be saved. This is achieved by turning the flow of his emotion in the direction of a Supreme saving Personality. To draw man's heart in love towards the Supreme Being, the emphasis was shifted from knowledge to devotion and from an abstraction to a Personality endowed with infinite excellences, in fact another human form itself in which Divinity frequently incarnated. When Bhakti was thus evolved and developed, further processes of simplification were introduced, so that anybody and everybody, in whatever standard of equipment of mind and character, might have some means to take to. I Along with temples, worship of images, adoration with acts of worship, the singing of the Lord's glory, the reading of or listening to writings on His glory or even the mere recitation of His Names developed. Thus were the Himalayan waters of the Upanishads brought to the plains, to irrigate the hearts of the masses of the entire country. All glory to these spiritual engineers who undertook these works, the Pauranikas, the Bhagavatas, the Alwars, and Nayanars, the Saints and Bhaktas and musicians of this country, to which galaxy our Tyagaraja belonged ! 2 The literature of Bhakti bearing in particular on the doctrine of the Lord's Name as the supreme means of salvation is quite considerable. Besides some of the later Saguna Upanishads, portions of the Mahabharata, the Gita, the

I. That the doctrine of Name redeems the humble and the learned alike 1s given expression to by Dikshitar in a song of his on Rama in Mahuri (Mamava Raghuvara): पामरपण्डितपावनकर-नामधेय। 2. Like the Mahratta saints on the South West, and Ramananda and his followers in the North, Sri Chaitanya on the East was responsible for making the whole country resound with "Hari-bol". In their doctrines, the Chaitan- yaites go to the length of holding " Name " itself as a form of the Lord; and though capable of other significances also, two passages in Tyagaraja may lend themselves to an interpretation that the composer knew the tenet that Nama was itself a Rupa of the Lord : Na Japa varna rupama' in his ' Najīvadhāra' in Bilahari, and 'Nama rupame hridayamuninti ' in his ' Smarane sukham ' in Janaranjani.

İ02 Japa-yajna

Vishnu Sahasranama, the Puranas and especially the Vishnu and the Bhagavata Puranas form the main authorities of this school of thought. A number of religious writers contri- buted treatises on the theory of the subject of Nama-mahatmya, in which they seek support not only in the above mentioned texts, going up to the later minor Upanishads, but also to the Rig Vedic hymns themselves. The basic Vedic text on which they take their stand is Rig Veda, 2.2.26 : आस्य जानन्तो नाम चिद्विविक्न महत्ते विष्णो सुमति भजामहे।

Of the Upanshads referred to, I shall mention briefly here only one, the Kalisantaranopanishad, which specially concerns itself with the means of salvation appropriate or most efficacious in Kali or to get over Kali. According to this text, at the end of Dvapara and the opening of Kalt, Narada asked his father Brahma how he could cross over Kali. Brahma gave him the remedy: "You can shake off Kali by reciting the Name of the Lord Narayana, the Prime Being."

द्वापरान्ते नारदो ब्रह्माणं जगाम कथं भगवन् गां पर्यटन् कलिं सन्तरेयमिति। स होवाच ब्रह्मा साधु पृष्टोऽस्मि सर्वश्रुतिरहस्यं गोप्यं तच्छृणु येन कलिसंसारं तरिष्यम्ि। भगवत आदिपुरुषस्य नारायणस्य नामोच्चारणमात्रेण निर्धूतकलिर्भवति।

The Gita added its weight to this school of thought when it said that of all forms of Yajna, the Lord was of the form of Japayajna. यज्ञानां जपयज्ञोऽस्मि।

Tyagaraja says that the Lord is never more pleased than when a concourse of devotees raise their voices, singing aloud his Name: Nama-ghosha-janita-santosha (Paripalaya mām- Darbar).

The full significance of this exaltation of Japayajna in the Gita is brought out later in the Great Epic, in the introduction to the Vishnu Sahasranama. Having listened to all sorts of Dharma, Yudhishthira, still not satisfied, asked Bhīshma again: " What do you consider to be the greatest, the Dharma of

ŠUPERIORITY OF Nama-japa to3

all Dharmas? By reciting what will beings as such be liberated from the cycle of birth and transmigration?" Bhishma replied that in his view, the devoted adoration of the Lord with hymns of praise and by His thousand Names is the Dharma that is superior to all other Dharmas. It was in reply to this question of Dharmaputra that Bhishma gave the world the thousand Names of the Lord. The superiority of this Japayajna or Nama-stotra, over other Dharmas and Yajnas meant here is well explained by Acharya Sankara in his Bhashya on the Vishnu Sahasranama. Sankara says: "What is the ground of superiority of this adoration in the form of the hymn ? Its superiority over other kinds of Yajnas consists in the following points in its favour: It does not involve injury to a being in the form of sacrifice ; it is an Ahimsa-yaga. For doing it, you need no collection of men, money or material, nor observe any particular time, place or procedure. अस्य स्तुतिलक्षणस्य अर्चनस्य आधिक्ये किं कारणम् उच्यते-हिंसादि- पुरुषान्तर-द्रव्यान्तर-देशकालादिनियमानपेक्षत्वमाधिक्ये कारणम्। And Sankara then quotes a large number of verses from several Puranas to bear out his explanation. The Vishnu Purana says: "Meditation in Krita yuga, sacrifices in Treta, worship in Dvapara,-what these give, that one attains in Kali by merely uttering the Name of the Lord. ध्यायन् कृते यजन् यज्ञैस्त्रेतायां द्वापरेऽर्चयन्। यदाप्नोति तदाप्नोति कलौ संकीर्त्य केशवम्॥ 6.2.17.

" One can cast off this sheath of sin by uttering the Lord's Name even as one walks, stands, lies down, drinks, eats or bends down. In every Karma, gaps or lapses occur and expiations for them have to be done; if those expiations are further Karmas of penance etc., further lapses are in store and there is infinite regress, Anavastha. So, the expiation of all expia- tions is the thought of the Lord with the uttering of His Name. The singing of His Name reduces all sins, even as fire, all dross. In Kali, Name alone is the means ; there is no other path,"

I04 Kali THE AGE FOR Nama-japa

गच्छंस्तिष्ठनस्वपन् वापि पिबन् भुञ्चन्नमंस्तथा। कृष्ण कृष्णेति संकीर्त्य मुच्यते पापकश्चकात्। प्रायश्चित्तान्यशेषाणि तपःकर्मात्मकानि वै। यानि तेषामशेषाणां कृष्णानुस्मरणं परम्॥ यन्नाम कीर्तनं भक्त्या विलापनमनुत्तमम्। मैत्रेयाशेषपापानां धातूनामिव पावकः।। यस्य स्मृत्या च नामोक्त्या तपोयज्ञक्रियादिषु। न्यूनं संपूर्णतामेति सदो वन्दे तमच्युतम्॥ हरेरनामैव नामैव नामैव मम जीवनम्। कलौ नास्त्येव नास्त्येव नास्त्येव गतिरन्यथा॥

Again, " You need not recite Riks, Yajus, or Samans. Sing the Lord's Name. There is the Lord's Name, there is the tongue under one's control, still men fall into hell, what a wonder !"

मा ऋचो मा यजुस्तात मा साम पठ किंचन। गोविन्देति हरेर्नाम गेयं गायस्व नित्यशः ।। नारायणेति शब्दोऽस्ति वागस्ति वशवर्तिनी। तथापि नरके घोरे पतन्तीत्येतदद्भुतम् ॥

The Bhagavata is the Purana of Puranas for this school of Bhaktas and worshippers of the Lord's Name. Owing to the great facility of attaining salvation through Name, Kali becomes meritorious, in spite of its many defects, and indeed those that know hold Kalt in great regard for this. कलेर्दोषनिधे राजन् अस्ति ह्येको महान् गुणः । कीर्तनादेव कृष्णस्य मुक्तसज्ञ: परं व्रजेत्॥ XII. 3.5I. कलि सभाजयन्त्यार्याः गुणज्ञाः सारभागिनः। यत्र संकीर्तनेनैव सर्वः स्वार्थोऽभिलस्यते॥ XI. 5. 36.

According to the Bhagavata, even the great Jnanins and Paramahamsas, though they have nothing to do or gain, revel in the Personality, Names and songs of the Lord. In fact, the Purana holds that the liberated state of pure Jnana, without

THE CULT OF Nama IN Choladesa 105

any act, if it is to be devoid of the love of the Lord, is not good. To sing of the Lord's glory is the only beautiful thing; it is eternally fresh and charming ; it is an incessant festivity for the mind; it alone removes men's sorrows completely. The speech and writing in which the glorious Names of the Lord are imbedded, that is the flood that washes away the sins of humanity, though every verse of it may be full of grammatical lapses. That literature, however wonderful, which is barren of the glorification of the Lord, is like the pool where crows splash the dirty water, not the Manasa lake in which the swans of liberated souls sport and delight.

तदेव रम्यं रुचिरं नवं नवं तदेव शश्वन्मनसो महोत्सवम्। तदेव शोकार्णवशोषणं नृणां यदुत्तम्रलोकयशोऽनुगीयते॥ XII. 12. 49.

न यद्वचश्चित्रपदं हरेर्येशः जगत्पवित्रं प्रगृणीत कर्हिंचित्। तहायसं तीर्थमुशन्ति मानसाः न यत्र हंसा निरमन्त्युशिक्षयाः । तद्वाग्विसर्गो जनताघविल्ववो यस्मिन् प्रतिश्लोकमबद्धवत्यपि। नामान्यनन्तस्य यशोऽङ्कितानि यत् शृण्वन्ति गायन्ति गृणन्ति साधवः ॥ नैष्कम्र्यमप्यच्युतभाव वर्जितं न शोभते ज्ञानमलं निरजनम्। I. 5. I0-12.

It is in accordance with this that great Advaitic teachers from Sankara downwards have all been Bhaktas and have sung many a hymn of devotion. It is in accordance with this that many distinguished scholars, Bhaktas and Sannyasins gave a fresh fillip to the school of Nama Siddhanta in Chola Desa (Tanjore District) in the seventeenth and eighteenth centuries. The most noteworthy amongst these propagators of this Nama Bhajana is Srīdhara Venkatesa, popularly known by his

to6 RAMA-UPANISHADS

reverential name ' Ayyaval', who wrote the Akhya Shashti I or Sixty verses on Lord's Name, as also a treatise on this subject called Bhagavan Nama Bhushand. He was followed by Sri Bodhendra, a Sannyasin who wrote four works expounding the details of this doctrine, the Namamrita Rasa- yana, the Namamrita Rasodaya, the Namamrita Sūryodaya and the Bhagavan Namamritarnava. The Guru saluted by Tyagaraja in his Nauka Charita, Sri Ramakrishnananda, was also probably an expounder of this Nama Mahatmya. ' Nama-paras', adherents of the path of Name, are mentioned separately from those who take to the six philosophical systems etc., by Tyagaraja in his piece Nijamarmamulanu in Umabharana. And it is significant to note here that one of the manuscripts in Tyagaraja's library, which has come down to us, is of a work called Devata Nama Mahatmya.

Of the Saguna form of Sri Ramachandra, as the object of Tyagaraja's devotion, we shall speak in extenso in the next chapter. Here, we shall cover some ground to understand further the literary and historical background of Tyagaraja, his devotion to Rama Nama, and the ideas he has expressed on this subject in the course of some of his songs. Of the later Saguna Upanishads mentioned by me, three deal exclusively with Rama, the Rama Ruhasya and the Purva and Uttara Rama Tapanis. In those as well as in the Kali Santaranopani- shad cited already, the doctrine of Nama is given to us in the form of Rama-Nama. After Brahma told Narada that Kali could be crossed over by the recital of the Lord's Name, Narada asks again; 'What is that Nama?, and Brahma replies : ' Rama and Hari and Krishna'.

नारद: पुनः पप्रच्छ तन्नाम किमिति। स होवाच हिरण्यगर्भ :- हरे राम हरे राम राम राम हरे हरे। हरे कृष्ण हरे कृष्ण कृष्ण कृष्ण हरे हरे।।

I. See my edition of ' Akhya Shashti' with introduction, translation etc., in the Sri Kamakotı Series, B. G. Paul & Co., Madras.

Rama Nama THE Taraka-mantra 107

In the Rama Rahasyopanishad, Rama says that one escapes from all sins by repeating His Name, ninetysix crores of times:

यो मम षण्णवतिकोटिनामानि जपति स तेभ्यः पापेभ्यः प्रमुच्यते। . Towards the close, this Upanishad expounds the significance of the syllabic constituents of the Name, Rama. It is said Siva knows this significance well. The Name Rama is a synthesis of the essence of the Narayana Ashtakshari and the Siva Panchaksharī, its two letters being extracted from the two Mantras.

श्री राममन्त्रराजस्य सम्यगर्थोडयमुच्यते। नारायणाष्टाक्षरे च शिवपश्चाक्षरे तथा। सार्थकाणद्वयं रामो रमन्ते यत्र योगिनः ।।

It is because Rama Nama is dealt with so fully in the Upanishads that Tyagaraja describes that Name as Veda- varnanīyamau nāmamuto (Evarikai-Devamanohari) and Veda- saramau namadheyamunu (Talachinantane-Mukhāri). The Rama Uttara Tapani says that Rama Mantra is called Taraka, 2 as it enables one to cross over this Samsara. In Raghupate Rama (Sahana), Tyagaraja characterises Rama as Taraka-namadheya, 'He whose Name saves one'. In fact 'Taraka Nama' is a very common epithet of Rama (see pp. I29, I73, 370, 382, 399, 417; also in Sujana jīvana-Khamās). Taraka is Brahman and Rama is Brahman. And this Rama Taraka Mantra is imparted to every dying man at the Avimukta Kshetra or Benares, at the Manikarnika or any part of the Ganges bank, by Siva Himself. Benares or Varanasi,

I. The detailed procedure to be followed for the performance of the Koti- japa of Ramanama is set forth in the Tattvasamgraha Ramayana, Kıshkindha, 9, Siva-Parvati-Samvada. See my article on this work in the Annals of Oriental Research, University of Madras, Vol. X. part I. 2. Indeed Rama has been adored as the Nama-taraka par excellence; cf. Dikshitar also in his Vasanta song on Rama, Ramachandram Bhavayami'- ' Nāma-Kirtana-tārakam'.

108 Nama AS FORM AND Upeya

where the two rivers Varana and Asi meet, is really the juncture of the brows and the nose, and here is the spot to be concentrated upon by Yogis. Rama tells Siva : मुमूर्षोर्दक्षिणे कर्णे यस्य कस्यापि वा स्वयम्। उपदेक्ष्यसि मन्मन्त्रं स मुक्तो भविता शिव।। This imparting of the Taraka Mantra of Rama Nama by Siva at Benares is further dealt with in the Kasīkhanda. When Vasishtha gave the name Rama to Dasaratha's first son, Kalidasa says that the Guru was prompted to do so because of the charming personality of Rama; राम इत्यभिरामेण वपुषा तस्य alfaa: and the poet immediately adds that the name became the foremost auspicious thing of the world: Tyagaraja says that the name chosen was as charming as the person : Ramabhirama Ramanīyanama (Darbar). Rama Nama is also the Victorious Name which bestows success in the mundane as well as spiritual spheres: Jayakara-Nama (Dīnajanavana in Bhupala); cf. the custom of Parayana of the Ramayana or the Sundarakanda that we do according to formulae like ryar विजयं दद्यादू मम सीतापतिः प्रभुः ।

As already observed, one of the tenets of the worshippers of the Lord's Name is that the Nama itself is the Rūpa, the Form. Accordingly, to the worshippers of Name with such a belief, the Name is not merely an Upaya, means to reach the Lord but is Upeya, the end itself. It is this tenet that Tyagaraja refers to, as already pointed out, in the two pieces Smarane Sukham in Janaranjanī and Najīva- dhara in Bilahari, where he says: 'Nama-rūpame hridaya- munindi' and ' Na Japa varna rupama'. This tenet of Name itself being first the means and then the end, both Upaya and Upeya is expounded in the treatise just referred to, the Upeya nama-viveka' of Upanishad Brahmam, which Tyagaraja should have known. Upanishad Brahmam says : श्री राम एव नाम स्यन्नाभिधानमुपेयतः। उपेयरूपावस्थानं नामार्थ इति विश्रुतम्॥ ...

DOCTRINE OF Upeya Nama I09

श्रीराम एव नाम स्यात् श्रीरामस्य नाम इति नाभिधानं कुतः नाम्र उपेयत्वातू। I The Name has two phases, even as the Brahman has the two phases, Saguna and Nirguna. The former is the Upaya, the means and the latter, the Upeya, the Absolute to be attained. उपेयोपायभेदेन नामचिद् द्विविधेरिता। तत्रोपेयनाम सत्तासामान्यमभिघीयते।। नामाभिधानं, नामि चिदभिधेयं, तयोन भिद्। एवं ज्ञानविभातं यदुपायामिधनाम तत्।। न ह्युपायं विनोपेयमाभुं शक्यं मनीषिभिः । * * उपेयाख्यं निर्विशेषं ब्रह्म, उपायाख्यं सविशेषम् इति भेदेन चिन्मात्र- रूपिणी नामचिदू द्विधेरिता * तत्र तयोर्मध्ये उपेयनामस्वरूपमाह- तत्रेति। स्वेतरासहसत्तासामान्यमात्रमुपेयनाम भवतीत्यर्थः। उपाय- नाम निर्दिशति -नामेति। नाम केवलमभिधानं नामास्यास्तीति नामि चिद् अभिधेयं तयोरन्योन्याश्रयत्वाद् भेदो न युज्यते। 2. The Upaya-Nama or the Name as normally understood has itself four phases, from the gross to the subtle, sthūla, sūkshma, bīja and turya, each of which forms, in an ascending order, the object of worship as the aspirant evolves higher and higher. In the fourth, the turya, the devotee sees not any differ- ence between himself and that state which Rama Nama would endow him with ; that is, he has reached the non-differentiating advaitic stage here. On the attainment of this fourth stage, the aspirant becomes qualified to realise complete one-ness in which the body and the world cease to exist for him and he is just the disembodied consciousness itself, Vikalebara-Chaitanya; this is the stage of Nama itself as the Brahman and the goal, the Upeya. विकलबरकैवल्योपेयनामस्वरूपतः। परमाद्वैतरूपेण शिष्यसे नात्र संशयः ।।

I. I got a Ms. of this work from the Upanishad Brahma Math, Kanchi- puram. 2. Frithjof Schuon, The Transcendent Unity of Religions, Faber and Faber, p. 182. "The Divine Name is thus a manifestation of the Supreme Principle, or to speak still more plainly, it is the Supreme Principle manifesting itself; it is not therefore in the first place a manifestation, but the Principle itself."

IIO TRADITIONS ABOUT TYAGARAJA'S Rama Nama japa

The first three stages of adoration of Upaya-Nama are stages of duality of the worshipper and the worshipped; the fourth is a stage of unity but the next stage of Upeya Nama is the final realisation where there is no question of duality or non-duality; it is the absolute impartite state of realisation. उपायनामभागत्रयं द्वैतं, तत्तुर्यभागोड्द्वैतम, उपेयनात्रो निरंशरवेन परमार्थत्वमुचितम् इत्यर्थः । This detailed introduction s needed to understand Tyagaraja's practice of Rama Nama Japa and the full meaning of his songs on Rama Nama. Just as the wanderings and doings of Sri Sadasiva Brahmendra along the Kaverī banks, (still a fragrant memory with us) are a proof to us in recent times of the glory of the high Avadhūta state, so is the life and Siddhi of Tyagaraja a proof of the efficacy of Rama Nama as a potent means of salvation. He was an exponent of the school that the Nama-japa of the Lord is the most effective path and that other paths need not be thought of : Rama-namamu Sarame gani anya - mārga - vichāra metike O Manasa (Sarame, Pantuvarali). According to a tradition in one of the schools of Tyagaraja's pupils, (that of Umayalpuram), Tyagaraja embarked in the prime of his youth, his twentieth year, on the great Tapas of reciting Rama Nama ninety-six crores of times; and it took him twenty-one years and fifteen days to finish this Japa; at the end, Tyagaraja had the darsana of Sri Ramachandra and he sang his first piece, Ela ni dayaradu in Athāna. In this connection, we may bear in mind that the Rama Rahasya Upanishad lays down that Rama Nama has to be chanted ninety-six crores of times for the attainment of Siddhi. Whether the form of the tradition in the Umayalpuram School is true exactly or not, there is no doubt that Tyagaraja did attain Siddhi through the Japa of Rama Nama. In more than one song does Tyagaraja refer to his having had the visit of Rama or His sight: Kanugontini (Bilahari), Bhavanuta (Mohana, in charana I). To utter the Lord's Name became a second nature to him. If the Tamil Saiva Saint prayed to his

TYAGARAJA, A Garbha-Bhagavata III

Lord that even if he forgot the Lord, his tongue should go on repeating the Lord's Name (Narrava Unnai nan marakkinum sollu na Namassivayave), Tyagaraja prays for nothing more than that his tongue should become used to continuous repetition of the Lord's Name: Ma rasanamuna nī nāmamu māru māru balkanu daya cheyumu (Srī Raghuvara-Devagandhari)I. In Ur ake (Sahana), he affirms that this king of Mantras, viz., Rama-Nama, was ever shining on the tongue of Tyagaraja : Tyagarajuni jihvapai rajillu vara-mantra-rajamunu. He should have developed this practice of Nama Japa very early. Attention may be drawn in this connection to those songs of his in which he himself tells us that he was devoted to Rama from his early years : " chinna nade yanusarınchu" in Pahi mam Srī Ramachandra in Kapi; ' chinna nade nīchelimi galuga gori-chintimpa leda Sri Rama' in Nannubrova in Abhogi ; 'anatimodalu ninu vediti' in the Bhairavi-song Ananda- mananda; 'ne chinnatanamu nade' in his Ninne nera nam- minanura in Pantuvarali; in chinnanāta nundi ninne gani nenanylu nammitinā' in Innallu dayarakunna (Nārāyana- gaula); in Nivegani in Bilahari, he describes the Lord as a treasure earned and handed down from the elders of his family (Munu mavamsamuna galugu peddalu tapamulanu jesi yārjin- china dhanamu); and in his Pahi mam Hare, a Divyanama piece in Saurashtra, he even says that he was born into this world with the name Rama on his lips and had steadfastly kept it up. Pahi Rama yanuchu bhuvini bagabuttidi-Pahi Rāma yanuchu gatti pattu battidi. He was thus a Garbha- Bhagavata, like Prahlada. It is not unlikely, when we recollect the fact that his father Rama Brahmam was a classmate of Sri Upanishad Brahmam and both of them were Rama Bhaktas, and Upanishad Brahma Yogi, the author of the treatise on Nama called Upeya-Nama-Viveka, was one of the teachers of the cult of adoring Rama Nama. I. Cf. John Damascenus: "We must learn to invoke God's Name more often than we breathe, at all times and everywhere and during all our labours."

II2 Siva, THE PRIME TEACHER OF Rama Nama

In the same song in Saurashtra quoted above, Tyagaraja says that he had secured the precious pearl of Rama Nama- Pahi Rama Nama muktaphalamuleriti. One of the doctrines of this Rama Nama Siddhanta which we saw mentioned in the Rama Upnishads is that Siva knows the value and taste of the sweet name of Rama and that He imparts it to people dying in Benares. This tenet is basic to the entire body of Tyagaraja's songs. When the composer introduces his Mudra or signature at the end of all his pieces in expressions like 'Tyagarajanutuni', the expression means Rama praised by both poet Tyagaraja and by God Siva, Tyagaraja being the name of Siva at the composer's birth place, Tiruvarur. In his Kāpi song, Inta saukhyamani, Tyagaraja makes an explicit and full reference to this :- " Is it possible for me to describe the ananda one derives from chanting Rama Nama? Who knows its measure and quality ? Only true and great devotees know it. Lord Sankara, who delights in drinking the nectar of music with the sugarcandy of Rama Nama, knows it well." I Inta saukhyamani ne jeppajāla ento emo evariki delusuno svara rāga sudhārasa mandu vara Rama nāma mane kanda chakkera misramu jesi bhujinche Sankaruniki delusunu At the end of the Kapi piece Rama Raghukula jala- nidhe, there is another reference: " You made Sankara utter in the ears of men of this Kali, Your Taraka Mantra." Kaliyugamanujulakunu nī tārakamu nitila-netrunı chetanu vīnula balkanugā jesina.

I. St. Bernard : "The Name of Jesus is not only light ; it is also nourish- ment. All food is too dry to be assimilated by the soul if it is not flavoured by this condiment; it is too insipid unless this salt relteves its tastelessness. I have no taste for thy writings if I cannot read this Name there ...... it is honey for my mouth, melody for my ears, joy for my heart, but it is also a medicine."

THE SECRET OF Rama Nama II3

Nityarūpa in Kāpi says " Kāsīpati nī Nāmamu balkada"; Kana kana ruchira in Varāli cites Siva as a witness to the efficacy of Rama Nama: ' Kailasa sadanudu sakshi'; Vadera, the well-known piece in Pantuvarali says in the third foot that Siva initiates the ignorant folk of the world in this Taraka- mantra so that they might cross over the Samsara: Dari deliyaleni ajnulaku bhava nīradhi dātı moksha mandutaku nīrajari-dharudu upadesinche tāraka Nāmamutonu velasina.

Sarame gani in Pantuvarali is another piece which cites the example of Siva. By making reference to the initiation of Valmīki in Rama Nama by Narada and to Suka teaching Hari Nama to King Parīkshit, the song emphasises to us the primary position which we should give to the Ramayana and the Bhagavata. "Did not Siva, the delighter in Sama Gand, drink with all earnestness the nectar of Rama Nama besides unceasingly uttering it to his holy consort Parvatī and explaining to Her its great efficacy and significance ?" Sama gana loludau rajata giri dhāmudaina Tyagaraja Sivudu atinemamuto nāmāmrita pānamu yemarakanu jesi, Rama Rama Rama yanuchu satatamu Srīmadadi Gaurıki sringariki yā mahimalan ā rahasyamulan ati premanu upadesincha leda.

The reference to Siva explaining to Parvati the greatness of Ruma Nama is to passages like the oft-quoted verse श्रीराम राम रामेति रमे रामे मनोरमे। सहस्त्र नामतस्तुल्यं रामनाम वरानने।।

II4 Rama-Nama ESSENCE OF SIVA AND VISHNU NAMAS

We noted above the interpretation of the significance of Rama Nama given by the Rama Rahasyopanishad, that it is an essence extracted out of both the Narayana Ashtakshari and Siva Panchakshari. The doctrine is set forth fully by Tyagaraja in his Kharaharapriya song Evarani : "What do people determine you to be and how do they worship you ? As Siva, Madhava, Brahma or the Supreme Absolute? I prostrate before those wise ones who found the solution by extracting and combining the soul of each of the two mantras, Ra from Om Namo Narayanaya and Ma from Om Namas Sivaya" I. Evarani nirnayinchirirā nin- etla aradhinchirira, Naravara Sivudano Madhavudano Kamalabhavudano Para Brahmano Siva-mantramunaku Mājīvamu Madhava-mantramunaku Rajīvamu ī vivaramu delisina ghanulaku mrokkeda.

A further point in this process of extraction of the essences of the two mantras is also suggested by Tyagaraja when he says ' I vivaramu delisina' and calls the two extracted syllables the "jiva" or life of the two mantras. This 'vivara' or further detail of how these two syllables constitute the ' jiva' or life of the two mantras is that if " Ra" is taken out of "Narayanaya", the word becomes " Nayanaya " and would mean " It helps not as the path for the aspirant " and if " Ma" is taken out of "Namas Sivaya " the expression becomes " Na Sivaya " meaning " not for good ". I. In the song the actual order of the syllables as set forth by Tyagaraja is not Ra-ma but Ma-ra which according to some imaginative interpreters is a reference to the sage Valmiki of whom Tyagaraja is adored as an incarnation and the story of Valmiki, who unable to utter Rama, was going on uttering Mara-mara so that in the concatenation, the correct name Rama was auto- matically formed; even such an utterance is considered efficacious according to Nama-siddhanta, as explaned here below,

ON HOW TO RECITE Rama Nama II5

This is all set forth by Upanishad Brahmam at some length in his Upeyanamaviveka :

तत्श्रीरामनामतुल्यं न विद्यत इति। नारायण-शिवमन्त्राणां तारकत्वेन विद्यमानत्वाव रामनामतुल्यं नास्तीति। कथमित्यत आह-नारायणेति सार्धचतुभिः।

नारायणाष्टाक्षरे तु रामनामाद्यवर्ण कम्। न योजितं यदि तदा नायनाय मनुर्भवेत्॥ इति।

'ओं नमो नारायणाय' इत्यष्टाक्षरे रामनामाद्यवर्णरेफयोजनाभावे अयं मनुः नायनाय न मोक्षाय भवेत्।

दिव्यश्रीशिवपश्चार्णे रामनामान्त्यवर्णकम्। न योजितं यदि तदा न शिवाय भवेन्मनुः॥ इति।

'नमःशिवाय' इत्यत्र मकारयोजनाभावे न शिवाय न ब्रह्माप्तये भवति। रामनाम्नि प्रातिस्विकाक्षरयोजनतः किं भवेदित्यत आह-

मनुदयं यदा राम नामद्वयक्षरयोजितम्। तदा शिवायायनाय भवत्येव न संशयः ॥ शिवनारायणमनु मुक्तिदापनशक्तिदम्। तस्मात्प्राधान्यतो नाम स्मरतां मुक्तिदापने। शक्तिरस्तीति किं चित्रं स्मर्तृन्नामोद्धरेत्क्षणात्।। इति।

Another tenet of the Nama-worshippers must now be referred to, as on this question, Tyagaraja keenly asserted his reformatory zeal. One of the further developments in the direction of the glorification of Nama as the easiest of means is the view that just as fire burns even if it is touched without knowledge, the Lord's Name saves one, if it comes from any quarter and in any form, even if it is uttered unconsciously or in play, ridicule etc., and even if the letters constituting the name Rama, Siva, etc., occur as part of other sound-combina- tions in sentences of other meanings. The Vishnu Purana says, and this and other similar verses are quoted by Sankara in his Vishnu sahasra nama bhashya:

II6 THE VIEW OF THE PURANAS

अवशेनापि यन्नाम्नि कीर्तिते सर्वपातकैः। पुमान् विमुच्यते सदः सिंहत्रस्तैमगैरिव। I 6.8.19. ज्ञानतोऽज्ञानतो वापि वासुदेवस्य कीर्तनातू। तत्सर्वं विलयं याति तोयस्थं लवणं थथा। The Bhagavata also upheld this view and illustrated it with the classic story of Ajamila, who, having spent his life in dissipation, called out at the time of his death, the name of his last beloved son, which was Narayana. The moment the sound Narayana came out of that sinner's mouth, all his sins vanished, and the emissaries of Vishnu rushed to prevent those of Yama from claiming Ajamila. It is declared on that occasion that whatever the spirit or manner in which one uttered the Lord's Name, he is saved. The medicine does not expect one to know it, to give him the cure.

सांकेत्यं पारिहास्यं वा स्तोभं हेलनमेव वा। वैकुण्ठनामग्रहणमशेषाघहरं विदुः॥ पतितस्स्खलितो भग्न: संदष्टस्तप्त आहतः । हरिरित्यवशेनाह पुमान्नार्हति यातनाम्॥ यथागदं चीर्यतममुपयुक्त्तं यदच्छया। अजानतोऽप्यात्मगुणं कुर्यान्मन्त्रोऽप्युदाहतः ॥ VI. 2. 14, 15, I9.

Ajamila uttered the whole name, though it was as referring to his son. To illustrate the case Sanketya, Bhagavatas tell some stories and illustrations. One is the conversion of Valmīki by Narada, which incident is referred to by Tyagaraja in the Varāli piece, I menu galiginanduku. But the Bhagavatas say that Valmiki-the hunter could not, as already referred to, utter 'Rama', but, as a man of the forest could utter 'Mara', the tree; Narada ingeniously asked him to repeat fast

I. This verse is echoed by Tyagaraja in his Kāpi piece 'Rāma Pāhi Meghasyama ' where he gives the same simile of Nama-recital being the lion's roar that keeps away the wicked : " Durjana ganamula varjınchutaku Nāmagarjana gatiyantini O Rama" which shows how these texts of the school were constantly in the composer's mind.

TYAGARAJA'S VIEW 1İ7

Mara-Mara-Mara, so that in the chain, as it were, 'Rama' automatically sounded.

Ayyaval, the predecessor of Tyagaraja and one whose teachings on the subject of Nama-Mahatmya held the field in Choladesa, subscribed to this view and in some verses in his hymn on the Lord's name, Akhya Shashti, referred to the Name Siva saving one even if its sounds were somehow introduced in the speech of a man, for instance, अधिवाराशिवसति; ' Where does he live' asks one; 'on the beach', says another; in the answer, the sound combination Siva occurs !

This, Tyagaraja felt, was carrying it too far. The uttering of the Lord's Name, he insisted, should be informed by love for the Lord. Those who do not love the Lord know not the relish of His Name.

Rama nīyeda prema rahitulaku nāma ruchi delusunā (Kharaharapriyā) I

Besides, Rama means the essence of Siva and Vishnu; Rama is Brahman itself; what is the use of repeating the sound Rama, without any knowledge of its meaning or as referring to another person or object? Tyagaraja elaborates his view by a series of telling similes.

" The Name must be uttered with a knowledge of its significance and with contemplation of Rama. Closing the senses up for a minute and realising the real truth of the Taraka-rūpa of Rama, one should utter the Name.

" Rama means a woman; that leads to lust etc. Rama is the name of the Supreme Brahman too; that removes all the distress of mortal birth. " Arka is the name of a poisonous plant; Arka means the Sun that dispels all darkness.

I. See the previous Chapter p. 78.

THE TRUE MEANING OF Rama-Nama

" Aja means a goat; Aja means also Brahman, who would bless you with success". (Song in Pūrnachandrikā).

Telisi Rama chintanato Namamu seyave O manasa- talupulanni nilipi nimishamaina tāraka rūpuni nija tattva mulanu telisi- Rāmā yana chapalakshula peru kāmadula boruvāru veru Rāmā yana Brahmamunaku peru ā mānava jananārtulu dīru arka manuchu jilledu taru peru markata buddhulettu dīru arkudanuchu Bhāskarnuniki beru kutarkamanedu andhakāramu dīru aja manuchu meshamunaku beru nijakorika lella gī deru Ajudani vāgīsvaruniki beru vijayamu galgunu Tyāgarāja nutuni.

It may be noted how Tyagaraja's words here echo those of Upanishad Brahmam in his Upeya nama viveka:

-इति रामशब्देन प्रत्यगभिन्नं ब्रह्मोच्यते।

Cf. Tyagaraja : Rāmāyana Brahmamunaku peru.

Explaining the full implications of the name Rama as the quintessence of the Upanishadic Mahavakhya "Tat tvamasi", Upanishad Brahmam says :

रामनामार्थः क इत्याशंक्य प्रत्यग्ब्रह्मैक्यमि त्याह- सदर्थो रेफ आम्नातः त्वमर्थो मार्ण उच्यते। रार्णेण मार्णसंयोग: भवेदसिपदार्थकः । Again रवाच्यमीशचैतन्यं रलक्ष्यं सत्यचित्सुखम्। मवाच्यं जीवचैतन्यं मलक्ष्यं प्रत्यगीरितम्॥

QUALIFICATIONS OF A NAMA-RECITER İİ9

And for the words of the Pallavi " Telisi Rama Chintanato Namamu ", the following in Upanishad Brahmam may be seen:

य इत्थं रामनामार्थं ज्ञात्वा नाम स्मरेत् सदा। स याति परमाद्वैतमहासाम्राज्यवैभवम्।।

That Nama Kirtana is not a mechanical process, that a real practice of this means a full equipment of knowledge, self-control, purity of mind, devotion, concentration, etc., has also been emphasised in the books. In his comments on the name Visva, which leads the one thousand Names of Vishnu, Sankara says that it is only one who has realised the truth that God is Visva, Everything, that can utter the Nama. Sankara's teaching here in his comments on the Name Visva is summa- rised by Tyagaraja in the last foot of his Bilahari song Intakanna yananda-Nī Japamulu velanī jagamulu nīvai rajillunaya. Such a realisation would make one completely refrain from himsa etc., and such a person deserves to sing the Lord's Name. Some texts go so far as to say that only the realised souls that have become one with the Lord that can take the Name; others should not vainly take it, afasg: कीर्तयेद्विष्णुम्, नारुद्रः कीतयेद रुद्रम्।

We have already drawn attention to the fourth and fifth stages of Nama Parayana which are stages of advaita. Upanishad Brahmam says in his Upeya nama viveka that the repetition of Rama Nama should be attended with the non-dual contemplation, advaita-bhavana.

उत्तमाधिकारिणामैक्यानुसन्धानतो भगवत्प्राप्तिमाह- सदा रामोऽहमस्मीति तत्वतः प्रवदन्ति ये। न ते संसारिणो नूनं राम एव न संशयः॥ Again श्रीरामनामसाम्राज्यं स्वामेदेनैव भावयेत। And तावदेवं रामोडहमहमेष राम इति भावयेत।

I20 Nama - aparadhas

Passages in Tyagaraja giving expression to this advaita- bhavana are quoted below at the end of the last chapter when dealing with the highest phase of Bhakti.

In the Padmapurana, ten pitfalls of the enthusiasts of Nama kīrtana are set forth and their avoidance is insisted upon. They are characterised as ten offences against the Lord's Name, Nama-aparadhas. The first is the deriding of good men, Ninda of Sadhus. The second is to see difference between one form of Divinity and another, e.g. Siva and Vishnu. Then, disregard for Gurus, denouncing the Vedas and Sastras as needless, considering that the glorification of Nama is in fact an exaggeration, committing sins on the strength of the Nama, absence of purity of mind achieved through refraining from injury to others, from lying, stealing, incon- tinence and receiving gifts. The next is to desist from all Karmas and Dharmas on the excuse of the Nama-Japa. Then, teaching the Name to the faithless and the un-interested. And lastly, failing to cultivate benevolence and continuing to be dominated by Ahamkara and Mamakara, the sense of 'I' and ' Mine'. सतां निन्दा नाम्न: प्रथममपरावं वितनुते शिवस्य श्रीविषणोः य इह गुणनामादि सकलम्। घिया भिन्नं पश्येत स खलु हरिनामाहितकरः * * * गुरोरज्ञा श्रतिशास्त्रनिन्दन तथार्थवादो हरिनामकीर्तने। नश्निा बलाद्यस्य स पापबुद्धिः न विद्यते यस्य यमै्विशुद्धि:। धर्मव्रतत्यागहुतादिसर्वगुणक्रियासाम्यमपि प्रमादतः । अश्रद्दधाने विमुखेऽप्यशण्वति यश्चोपदेश :- ।। श्रत्वापि नाम माहात्म्यं यः प्रीतिरहितोऽधमः । अहंममेतिपरमो नाम्नस्सोऽप्यपराधकृत्।। We find in Upanishad Brahmam's Upeya nama viveka :- सन्निन्दासति वैभवान्तरकथा श्रीशेशयोर्भेंदधी: अश्रद्धा श्रुतिशास्त्रदेशिकगिरां नाम्न्यर्थवादभ्रमः । नामास्तीति निषिद्धवृत्तिविहितत्यागौं च कर्मान्तरैः साम्यं नामनि शंकरस्य च हरेनोमापराधा दश॥

Mata-Bheda CONDEMNED I2I

Tyagaraja was one of those who considered the recitation of Nama a high form which only qualified people should resort to, if they should reap the benefit. To the second and partly to the seventh Aparadha referred' to above, Tyagaraja's Sukhi Evaro in Kanada, gives expression : " Who is the blessed one that enjoys the bliss of Rama Nama, the highest of mantras calculated to save men from bondage? Who is that blessed one who, unflinching from truth, serving all humanity and free from hatred towards other Gods, sings sweetly the Rama Nama ?" Sukhi evaro, Rama nama sukhi evaro- satyamu dappaka, sakala lokamulaku bhrityudai daivabhedamu leka nityamaina susvaramu ganamuto There is again reference to the second Aparadha in the essentials of a true devotee described by Tyagaraja in his Bhaktuni Charitra in Begada, Siva Madhava bhedamu jeyagarādu' I. In Vınatasuta (Jayantasena), Tyagaraja condemns as useless disputations about different faiths. In the Sankarabharana song on Siva, Sambho Siva Sankara, he describes the Lord as one who always puts down the pride of those inferior people who revel in sectarian differences : Mata-bheda-patita-manava- mada-santata-bhanga. In Itaradaivamula again, Tyagaraja says that, without any prejudice against other faiths, he is devoted to Rama- ' matabhedamuleka sadā madini marulu gonna tanaku' 2. I. In the Todi song on Dharmasamvardhanı, ' Karuna judavamma', in the third charana, Tyagaraja addresses the Goddess as being Herself Siva and Rama. 2. In the true spirit of one who, while adoring one form as his dearest, held in respect the rest as but other forms of Divinity, Tyagaraja raised Subrahmanya as unequalled among, the Gods 'Nivanti darvamu shadanana' (Todı), and Devi as the refuge of hıs family-Tyāgaraja Kulasaranye (' Amma- d harma samvardhanı ' -- Athana).

TRUE FORM OF Nama-Bhajana

" Only such a Rama Bhajana as is done with a mind free from the six inner enemies, lust, anger etc., will bring salvation, and free one from the ills of this world."

Paraloka sadhaname manasā smara lobha mohadi pāpulanu smariyinchake Srī Rama bhajana, paraloka jananadiroga bhayadulache jagamandu galgu durasalache tanayadi bhandhavula bhramache dagala nīdu Tyagarājanutuni (Pūrvakalyani).

The very fruit of Nama-japa is that the Name purifies one's mind :

Nī Namamuche namadi nirmalamainadi (Jnanamosa- garada-Shadvidhamargini). And hence is Rama Nama the most sanctifying name-Paramapavana-nama (Ramaramana- Vasantabhairavi ; Dasarathi nī rinamu-Todi).

" If there is one who thus worships the Lord truly with His Name,-surely, who can equal him ? nī japamuna hridayamu vega rājillanu jesina ... Hariyanu vāni sari evare (Todi).

" Who can equal that worshipper of the Lord's Name, who has cleared his mind of all its mani- fold lumber, who has steadfast devotion, who discards sectarian disputes, who longs for the Lord, who has established the Lord's feet in his heart, who shuns like poison the company of those who do not enjoy this happiness and who values the company of true devotees? Who can equal those whom the meditation of the Lord transports to ecstasy ? " (Ibid).

THE jOY OF Nama-Kirtana Í23

And "What can equal our own human birth if we could do this adoration of the Lord with the flowers of His Glorious Names." Nama kusumamulache I pujinche nara janmame janmamu (Srīrāga) and if one cannot have true love for Rama-Nama, of what use is his life- Ramachandra nī nāmamandu nija - premaleni bratukemi (Varāli-Pahi paramatma)

The Lord's Name brings prosperity here, and leading one on the right path, it brings one to the abode of Divinity or is itself all prosperity, all austerity and the abode eternal. Kshemamu divya dhamamu nitya nemamu Rama-namamu (Vandanamu-Sahāna).

The most elaborate expression or exclamation relating to the joys of uttering Rama Nama is of course the long Divya- nama in the auspicious Saurashtra in which Tyagaraja simply loses himself as it were :

" Melu melu Rama-nama-sukham ī dharalo manasā " (Text pp. I35-6). Ah Mind! Exceedingly superior in this world is the bliss of Rama's Name to the joy of a thirsty man getting water to drink, of a pauper coming by a treasure, of getting water in draught, 2 of I. cf. in Parıpalaya (Ritigaula) the idea, 'Harınamasmaranamulu viru tamara' and ' Hrit-kumudasumamula' in the last charna of the Ahiri piece ' Challare'. It is necessary to understand fully the significance when Tyagaraja speaks more than once of Nama-Kusuma, of the Name of Lord as the flower of His worship. According to the prescribed directions for the adoration of Rama-Nama (Rama Mantra Purascharana and Krıyāyoga), Rama Mantra itself is to be used as the flowers for the Puja, Nama-Japa is the flower worship (pushpa-archana). See Tattvasamgraha Ramayana already cıted, Sundara, Cantos 13, 14.

यथा वर्षमनूदके। 2. Cf. Valmiki's comparisons of Dasaratha's joy when Visvamitra came :

124 BLISS OF Nama-japa SUPERIOR TO EVERYTHING

a frightened person getting courage, of a hungry man getting a sumptuous feast, of an angry man calming down, of an ignoramus becoming suddenly learned.

Nay, Tyagaraja exalts the bliss of the utterance of the Lord's name above even the sweet devotional music, above even the bliss of contemplating upon God, or the spiritual experience or the realisation of Brahman itself. * * *

Srīkarudau Srī Rāmuni manasuna chintinchu sukhambukante * * *

cheyatagu vedanta vichārana cheyaga galgu sukhambukante bāyaka nirguna bhāvamu galapara Brahmanubhava sukhambukante- Melu melu Ramanamasukham ī dharalo manasa.

CHAPTER VI

ISHTA DEVATA

"Rama ni samanamevaru", "Rama eva daivatam"

No POEM of the world other than the Ramayana has given to a whole country and its countless millions a persona- lity which, despite the passage of ages, remains still a living force of insipiration for individual conduct as well as public life, the mere mention of whose name still thrills, draws tears of joy and makes people break down. Kusa, who did not know the identity of his father, Sri Rama, came in great excite- ment on hearing of a scuffle between his brother Lava and Lakshmana's son, Chandraketu; but there was Rama also standing there; Kusa saw the personality before him, and, as his turbulent spirit calmed down, he said to himself, 'Ah ! What a form to make men's minds settle down in tranquility! Surely, the poet of the Ramayana enriched the divine language through a fitting personality !' अहो प्रासादिकं रूपमनुभावश्च पावनः । स्थाने रामायणकविर्देवीं वाचमवीवृधत। Bhavabhuti: Uttararamacharita VI. 20.

We have known sceptic high-brows of our own times spending the evening of their lives in thraldom to the inimi- table charm of both the Ramayana and Sri Ramachandra. No wonder the Hound of Heaven of Rama and the Ramayana has claimed these, our own men; but witness how even those of other faith have come under the spell of this personality, those lıke Kabīr in the North and in our own parts, the British Collector of Madhurantakam, who had the vision of Sri Rama standing bow in hand and guarding the embankment of the lake from breaches during a storm, and how from the early centuries of the Christian era, the entire South-East Asia, from Cambodia to Java, came under His influence, temples were raised to Valmīki there, the Ramayana was read in public in shrines,

I26 Rama-rajya

and plays on Rama's story still continue to be enacted in the Indonesian Islands by masses who have become Mohammedans.

We in the South have adored Rama for ages in the form in which He came to us, as 'the glorious Young Prince' (Chakravarti-t-tirumahan) who renounced his kingdom without even the slightest fall in the excelling charm of his face. न चास्य महतों लक्ष्मीं राज्यनाशोऽपकर्षति। लोककान्तस्य कान्तत्वाच्छीतरशमेरिव क्षपा॥ न वन गन्तुकामस्य त्यजतश्र वसुन्धराम्। सर्वलोकातिगस्येव दृश्यते चित्तविक्रिया॥ Ramayana II. 19.32.33. दधतौ मङ्गलक्षौमे वसानस्य च वल्कले। दद्दशुर्विस्मितास्तस्य मुखरागं समं जना: ।। Raghuvamsa XII. 8.

In the North, Rama ruled as king over the land and hearts of men, and as Raja Ramachandra, he still continues to do so. 'Rama' 'Rama', said everybody; when Rama ruled, the world was all one Rama :

रामो रामो राम इति प्रजानामभवन् कथाः। रामभूतं जगदभूद् रामे राज्यं प्रशासति । Rāmayana VI. 131.102. -a rule whose description Tyagaraja could not leave out of his songs : Kārubāru Seyuvāru galare nīvale Saketanagarini ūrivaru desajanulu vara munulu upponguchunu bhavukulayye nelaku mūdu vāna lakhilavidyala nerpu galigi dīrghāyuvu galigi chalamu garva rahitulu gāleda sādhu Tyagarājavinuta Rāma (Mukhāri).

RAMA, THE THEME PAR EXCELLENCE FOR POETS I27

" Rama ! Has there been anybody who has reigned over Ayodhya like you, protecting the subjects and securing the happiness and prosperity of the urban and the country folk and the Rishis ? Your subjects had the three rains, they were learned in all arts and lores and learning, lived long, and were above all, free from deceit and arrogance."

And it is the re-establishment in this land of this Ramarajya that Mahatma Gandhi prayed for, a kingdom in which every body, looking at Rama and following him, desisted from mutual injury (himsa) :

राममेवानुपश्यन्तो नाभ्यहिंसन् परस्परम्। Ramayana VI. 131.100.

In the rich field of Sanskrit drama, when one examines the themes, one finds the largest number depicting the life of Rama. It is just as it should be, says Murari, himself the author of the play Anargha Raghava (the Inestimable Raghava). In the prologue to this play, Murari says that no apology is needed for his having chosen the Ramayana as the theme and Rama as the Hero. If one should leave aside Rama's story as a theme much dealt with by the predecessors, where can one find a Hero endowed with so many excellences? And how else can poets endowed with gifts of expression help and gratify themselves than by glorifying Sri Rama ? अयं च प्राचेतसीयं कथावस्तु बहुभिः प्रणीतमपि प्रयुञ्नो नापराध्यति श्रोत्रियपुत्रः। पशय यदि क्षुण्णं पूर्वैरिति जहति रामस्य चरितं गुणैरेतावद्भिर्जगति पुनरन्यो जयति कः। स्वमात्मानं तत्तदणगरिमगम्भीरमधुर- र्फुरद्वाग्ब्रह्माणः कथसुपकरिष्यान्ति कवयः ॥ Our composer varies Murari's verse a little and asks : " What if sages like Valmīki and other poets have described you, Oh Rama, excellently

I28 RAMA-WORSHIP

and in a manner that true devotees of yours applaud? Could my yearning cease for that reason ? I feel the appointed service of my life is to sing your glory." E paniko janminchitinani nan- nencha valadu Srī Rama ne Srīpati Srī Ramachandra nī chittamunaku teliyadā ne Valmīkadi munulu narulu ninna varninchiri nāyāsa dīrunā melmiyai yundunu sadbhaktulu mechchudure Tyagarajanuta ! ne (Asāveri).

Working a further variation of the same idea, Tyagaraja asks the Lord in his Elavatara (Mukhari): " For what purpose did you incarnate as Rama ? Was it to grant boons to Tyagaraja who has strung for you gem-garlands in various Ragas?"-" Sata raga ratnamālikalu rachinchina Tyāgarājuku varamosagutanduka?" Without any such question, he affirms in Chesinadella that the very love of Tyagaraja had taken incarnation as Rama.

When dealing with Rama Nama, we noted some of the literary and historical antecedents of Tyagaraja's adoration of Rama and His Name. In the North, the Ramanandiya school developed the cult of Rama worship to a great extent. Ramananda, Tulasidas and Kabīr contributed to the glory of its lıterature. The Adhyatma Ramayana became one of the important works of this school. Other versions of Rama's story, like the Ananda and Adbhuta Ramayanas and the Brihad-dharma Purana further developed this cult. Special Samhitas or religious compilations like the Agastya Samhita were produced to set forth in great detail devotion to Rama and the conduct of his worship, festival etc. A few works of this considerable Rama-literature, like the Rama-Gita and Rama-

EXTRA-VALMIKI REFERENCES I20

Sahasranama, are referred to in the Ramarahasyopanishad itself. King Visvanatha Simha of Vaghela (Bundlekund) did for this school of Rama Bhakti what Bopadeva and Chaitanya's disciple Rūpa Gosvami did for Krishna-bhakti, by analysing and systematising the Rasa of (Rama) Bhakti on the basis of Alamkara Sastra. A reference to these literary antecedents is made here to enable us to understand some allusions in Tyagaraja's songs which cannot be traced to the Valmiki Ramayana. For instance, the allusion to hunter Valmiki being initiated in Rama Nama by Narada and an Apsaras, turned crocodile and undergoing sufferings, being saved by Anjaneya by the chanting of Rama Nama. In his Kalakanthi piece on Sita, Srī Janakatanaye, Tyagaraja refers to Indra worshipping Sita, (which is an echo of the story of Indra sending Sita divine payasa, during her prison days) and to the hundred-headed Ravana.

Satavadanadyasara jaladharānile satamakha kirīta lasanmani gana nīrājita charane.

In another song of his on Sita, Dehi tava pada bhaktim in Sahäna, he refers to the sage Agastya singing of Sita and to the hundred-headed Ravana again: Kalasaja gīta mudite ...... Satamukha mada damane.

In the well known Kambhoji piece Mā Janaki, he speaks of Sita leaving her real form in Agni and following Ravana only with a Maya form.

Mayakāramunichi sikhi chentaneyundi danavuni ventane chani.

All these references are to other Ramayanas like the Adbhuta, in which Sita has been specially glorified. Similar allusions bearing on the glorification of Hanuman are also to be sought for in the same sources, e.g., the mention of njaneya sitting under the Parijata tree, in Pahi Rama Dūta, in 9

I30 PREDECESSORS IN RAMA-WORSHIP

Vasantavarali, of his reading holy Purana at Rama's bidding, in the piece Kaluguna Pada Niraja in Pūrnalalitā. I The reference to the third and sixth chapters of the work of Valmiki, in the Anupallavi of the Isamanohari piece Manasa Sri Ramachandruni is to the Adhyatma Ramayana, describing the divine origin of Rama and Sita 2. The link with such Rama-literature is also borne out by Tyagaraja paying respects to Tulasidas as the first Bhakta to be saluted in his Prahláda Bhakti Vijaya Nātaka. In South India especially, the Rāmāyana of Valmīki was popularised to a great extent by a long succession of exponents and commentators, beginning with the pioneers of the Vaishnava Bhakti Sampradaya. Among musician-devotees who had chosen the Rama-form for their devotion, there was Bhadrachala Ramadas, whose life and songs exerted influence on the imagi- nation of Tyagaraja. Ramadas especially, Tyagaraja mentions in two pieces : in his well-known Devagandhari song, Kshira sagara sayana, Tyagaraja tells Rama that he knew well how Rama liberated Ramadas of firm mind from the prison. Dhīrudau Ramadasuni bandhamu dīrchinadi vinnānura. In his Emidova Balkuma in Saranga, he tells Rama, "Were I Ramadas, Sita would have spurred you to go to my rescue."-Ramadasuvale naite Sītabhama mandalinchunu nīto 3. Among other Rama devotees, we may also mention here poet Ramabhadra Dīkshita of Tiruvisanallur, a contemporary of Sri Ayyaval, whose hymns on Rama were very popular all I. Cf. the verse recited among preliminary prayers before the reading and recital of the epic, वैदेहीसहितं etc. 2. Bālakanda, cantos 3 and 6: Here in canto 3 the birth of Rama is described like that of Krishna in the Bhagavata, the Lord first appearing in his supreme Narayana form before the mother, and the latter uttering a prayer to Him as Lord Narayana. In canto 6 in which Sita's marriage is described, sage Narada is introduced to point out that Rama and Sita are the eternal Nārayana and Lakshmi.

gadā (Kiravāni). 3. Ramadas is mentioned also among foremost devotees in ' Kaligi Yunte

RAMA AS Para Brahman I3I

over Choladesa. Last but not least was his father's classmate Upanishad Brahmam, a Rama-devotee and his own father, Rama Brahmam, thanks to whom Tyagaraja was a Garbha- bhagavata. At the end of his Rama ni samanam evaru in Kharaharapriya, Tyagaraja calls Rama the treasure of his family, i.e., his family deity, ' Kula-daivata' and at the end of the Purnachandrika piece, Palukavemi, he says "My parents gave Bhakti and protected me." Talli tandri bhakti nosagi rakshinchiri.

In Innallu (Narayanagaula), he calls Rama again his heirloom ' Kuladhana', and adds that from his early years, he had relied on none but Rama 'Chinnanata nundi ninne gāni ne nanyula nammitinā, O Rama.' From the point of view of all this religious literature pertaining to Rama, we may boldly say that among productions distinguished both in quantity and quality, by a single poet- devotee like Kamban or Tulasi, the corpus of Tyagaraja's songs too occupies a prominent place.

Rama, it is well known, was an incarnation of God. But according to this cult of Rama Bhakti, the very word Rama meant Para Brahmam. रमन्ते योगिनोऽनन्ते सत्यानन्दे चिदात्मनि। इति रामपदेनासौ परं ब्रह्माभिधीयते।

says the Rama Purva Tapani Upanishad. In the well-known Purnachandrika song, which is specially significant here, Tyagaraja expressly states that the word Rama means Para Brahmam; and in the twelfth foot of Pahi Kalyanarama, he calls Rama Paramaina Brahmamu. In a very large number of songs, he addresses Rama as the one God, the first God, Lord of everything, source of everything, immanent in every- thing, the essence of everything, and so on and describes him in terms of the Supreme Being, devoid of beginning, middle or end (Ādyantarahita in Ela nī daya and Ädimadhyarahita in Nīdaya rāvalegāka and Edāri sancharinturā), beyond word

I32 RAMA SUPERIOR TO TRIMURTIS

and mind (Avang-manasa-gochara in Duduku), devoid of modification (Avikrita in Jagadānanda), impartite whole (Akhandarupa in Srī Rama Rama-Purnachandrika), one with out second (Advaita in Sundarataradeham), devoid of name and form (Nama-rupa-rahita in Sarvaloka-Huseni), and unqualified absolute (nirguna and nirgunarūpa in Hari Hari nīyokka, Natha brovave and Jo Jo Rama). It is because by Rama, Tyagaraja meant not merely the incarnation of God as Dasaratha's son, but the Supreme Being itself that even when dealing with the Narasimha incarnation in the Prahlāda Bhakti Vijaya, he uses the name Rama. Thus not only did Tyagaraja henotheistically call his Rama the best amidst the Trinity (Muggurilio melaina Rama in Siggumāli) but in accordance with the tenets of the Rama cult considered Rama as being something above the Trinity and the Supreme Being, the one Absolute, of the form of Sat, Chit and Ananda. In his Jagadananda, he speaks of Rama as being of the form of Siva, Brahma and Kesava (Purahara-sarojabhava-kesava- dirūpa). In his Īsamanohari piece, Manasa Srī Ramachan- druni, Tyagaraja speaks of Rama as the Supreme Being beyond the Trimurtis and one who ordains each of the three Murtis to His respective duty.

In Nijamarmamulanu (Umabharana), he says that it was the Supreme Rama who set up the gauna forms of Brahma, Vishnu and Siva and made them play their respective roles and lilas. From the ant to the Trimurtis, Brahma, Siva and Kesava, Rama abides in all (Rama nannu brovara). In Evari- chchirira, in the charana, he says that the Trimurtis could not save Kakasura from Rama's arrow and on the fall of Ravana, the Trimurtis praise Rama (Emidova). In Bhakti bichcha (Sankarabharana), he calls Rama superior to the Trinity: Trimurtulakati melmi Rama; he is the Lord of Hari, Padmaja (Brahma) and Sarva I (Siva)-Haripadmajasarvesah in Rama

I. The text here, in all editions inciuding the one in this book, reads सर्वेश: which should be corrected into शर्वेश:

GREATNESS OF RAMA 133

eva daivatam. So also in Mummūrtulu gumigūdi in Athana. Not only is Rama beyond the three gunas Sattva, Rajas and Tamas, but he is the Supreme God endowed with excellences which are absent from the three Gods Siva, Vishnu (Vamana) and Brahma who has each His blemish, of harshness, of deceitfulness, and of passion. Rama is indeed unique in His excellences and acts. It may be noted, the excellences of Rama with which Tyagaraja contrasts the drawbacks of the Trimurtis, (Endundi vedalitivo-Darbar) are all very significant and based on some of the most noteworthy points of greatness in Rama mentioned by Valmiki; thus as against the severity that Siva would show at the slightest mistake is the guna mentioned by Valmiki in the description of Rama as रिपूणामपि वत्सल-kind- hearted even towards foes. While Vamana had to adopt craftiness to overcome Bali, Rama in the full confidence of his prowess asked the enemy Ravana who was tired and had been rendered destitute to retire for the day and come back refreshed and equipped : गच्छानुजानामि etc .; and with reference to the parti- cular sin ascribed to Brahma Rama stands supreme as the exemplar of sexual purity, one who would not even look at others' women : रामस्तु परदाशन्वै चक्षुर्भ्योमपि नेक्षते। In fact, the things Rama did or said, Rama alone could have done or said-TT स एवाहति तत्रभाषितुम्। as Valmiki says.

The immanence of Rama in all beings from Brahma downwards is mentioned in Nijamuga nī mahimalu in Sahāna. The Vagadhisvari song Paramatmudu is wholly devoted to the immanence of Rama as Paramatman. " Know all well how Paramatma shines in glory in everything, in Hari, Hara, Devas, human beings, the innumerable worlds, species of creations, the five elements, mountains and trees"

(and Tyagaraja adds that) the Lord is in the good as well as in the bad, Sagunamulo vigunamulo satatamu, echoing the Gita अमृतं चैव मृत्युश्र सदसच्बाहमर्जुन।

134 RAMA, TYAGARAJA's Ishta-Daiva

And in the Garudadhvani piece Tattvameruga, he expressly states that Rama is the meaning of the Upanishadic Maha- vākya, 'Tat tvam asi' Tattvamasi yanu vakyārthamu Rāma nīvanu Para tattvameruga taramā. To proclaim this Upanishadic truth, Tyagaraja seems to have pitched upon a Raga with a suggestive name: Garuda, on whom the Lord is riding, is esoterically deemed to be Chandas or the Veda (छन्दोमयं गरुत्मन्तम्) and this 'Tattvamasi' is the Vedic message, the Garudadhvani par excellence. That Rama is the immutable Supreme is also brought out in Kadaluvadu in Nārāyanagaula. That the Rama form, as such, was his ' Ishta Daiva,' favourite deity, Tyagaraja himself says expressly " Ishta Daivamu nīve" in Syama sunduranga in Dhanyasi, and ' Rama eva Daivatam Raghukula tilako me' in a song in Balahamsa. To Tyagaraja, Rama was the God and none else. Vadera Daivamu, Undedi Ramudokadu, etc.

In his Bhairavi song, Ni vanti, he exclaims : " O Rama ! After deep reflection, I see it is impossible for me to find another God like you; if one wants to speak, he should speak about you; if one wants to sing, he should sing in praise of you alone; if one wants to associate with any- body, he must associate with you alone. Nīvanti Daivamu negana Nīrajaksha Srī Rāmayya bhavinch juchu patla Pattabhiramachandra ādina ninnada valegā kūdina ninnu gūdavale "Who is there equal to you, O Rama !" - Rama ni samanam evaru (Kharaharapriya), Dharanu nī sari Daivamu ganara Raghuvara (Varali).

RAMA, THE BEST Avatara İ35

" Who else but you can be the refuge ?" Verevvare gati vemārulaku Sītāpati (Surati). In his Kalyani piece, Karuvelpulu, he says : "No Devata of this universe can be equal to you; to compare any one of them to you will be like comparing the fine table-rice to worthless chaff, a taper to a torch, a canal to the Kaverī, a star to the moon, a man to Manmatha and a lake to the sea." Kāruvelpulu nīku sari kāru kāruku jilakara sampākāntāramai nattugāni dīvatiki dīpamu rīti gāni Kāvetiki kālavala rīti gāni Tammavairiki dārakala rīti kamma viltuniki kānti narula rīti gāni sāgaramunaku sarassu rīti Tyāgarājavinuta dharalo nīku sari.

And in his song in Chhayatarangini, he asks Rama : " To me, whose mind, without harbouring any prejudice towards other faiths, is constantly and passionately in love with you, O Rama, is happi- ness possible of attainment through other Gods?" Itara Daiva mulavalla nilanu saukhyamā, Rāma mata bhedamu leka sadā madini marulu gonnatana.

In his Kolahala song Madi lona yochana, he says that of all the ten Avatara forms that the Lord put on, the Rama form was the best. Padi vesamulalo Rāma vesamu bahu bāganuchu-

It is usual to say that the Krishna incarnation is the most complete one-Pūrnavatāra, but to Tyagaraja, Rama is

136 THE INFINITE EXCELLENCES OF RAMA

the complete incarnation : Purnavatara in Raghupate Rama (Sahana). It is in this incarnation that God exemplified the highest that man could reach and thereby the Purushottama gained for himself the title of the ' foremost man'-Narottama (in Ramayana) or Naravara I as he is referred to in more than one piece (in Evarani etc.). Rama was ' Naravara ' because he was the embodiment of the best and most praiseworthy conduct -Sucharitra, Subhacharitra and Stutyacharitra, of incom- parable qualities and conduct (Nirupamagunasīla, in Narada- ganalola).

In a piece in Vijayavasanta, Ni chittamu, Tyagaraja says that whatever God he sees, he finds in them only his Rama. Paradaivamula juchunantane bhavamandu nīvaı baregedavayya.

In a more telling manner, Tyagaraja says in Raghuvara nannu (Pantuvarali) that to him, the Lord's bride, while other Gods are like other optional jewels, Rama is the very Māngalya sūtra. Para daivamulu bāgu sommulu Suranuta mangala sūtramu launā.

Like Rama's Name, His auspicious story too is endowed with the power to save-Tarakacharitra and Taraka-subhakara- charitra-(in Mariyada-Sankarābharana, Enduku daya- Todi, Pahi Pahi-Saurāshtra).

It is the infinite excellences, Ananta kalyana gunas, of Sri Rama's personality that explain the great fascination for this form 2. In Janakajasameta in Asaveri and in Muripemu in Mukhāri, he calls Rama, the chest of gems of auspicious qualities - bhavya-guna-mani-kosa and suguna-mani-kosa. There are, in Tyagaraja's songs, nearly fifty epithets or addresses

I. Cf. 'Naravaram ' ın Dikshıtar's Ramachandram bhavayami. 2. See my article Rama guna manasa or the Infinite Excellences of Sri Ramachandra, in Vedanta Kesari, Oct. 1937.

RAMA, AS THE HUMÀN PERSONALITY AT ITS BEST I37

referring to Rama as the repository of all good qualities, of wonderful qualities, of auspicious qualities, of countless qualities, of beautiful qualities.

It is to redeem the fallen man that Rama incarnated as a perfect man-Naravara; it is to teach depraved man the high ideals that He embodied in Himself all the infinite virtues. The antithesis of Rama is really the degraded human personality, the evils that beset men ; hence does Tyagaraja address Rama as Ragadi-samhara, Raga-mada-dura, Mada-manava-gana-bhīma, Kamadi-ripu-vidāra, Kamadi-shadguna-hara, Tamāsajana- hridayadūra, Tamasa-rajasa-manasa-dūra; in fact the demons he destroyed may be said to be nothing more than the personifi- cations of the opposites of the qualities, the gunas, which he represented: Avagunasuragana-madaharana (Jagadananda). The infinite excellences, the Dharma and the Satya that Rama stood for constitute the culture of personality; it is the uncultured who are the demons; it is those barren of these virtues that constitute the primitive, the crude and the vulgar ; and far away from these is Rama in whom human personality reached its heights : Pamarasurabhīma (Gaurīkalyanamu) and Pamara(jana)dura in more than one song.

In his Kori vachchina in Bilahari, Tyagaraja says that it is the infinite excellences and the great acts of Rama that had made him his choice Daiva. There are hundreds of epithets and vocatives laden with Rama's gunas, with which Tyagaraja describes and addresses Rama in his songs; in all these, the personal qualities of Rama are extolled, but it is not possible to quote them all here. We can mention here only such important qualities of Rama as are specially described by Tyagaraja in the songs; of these also, not all descriptions bearing out Rama's divinity in general, but such qualities only as are known to be specially associated with the life, nature and actions of Rama.

138 RAMA-GUNAS

Foremost among the qualities comes Rūpa, the personal charm of Rama's appearance. Valmīki himself gave us the etymology of the name Rama as 'the delighter of men' when he said रामो रमयतां वरः। Kalidasa made the explanation plain when he said that Vasishtha named the child 'Rama', being prompted to do so by his beautiful form. राम इत्यभिरामेण वपुषा तस्य चोदितः। Raghuvamsa X. 67. " He captivates the minds and hearts of men by his beauty and magnanimity and is most pleasing to look at." चन्द्रकान्ताननं राममतीव प्रियदर्शनम्। रूपौदार्यगुणैः पुंसां दृष्टिचित्तापहारिणम्॥ Ramayana II. 3.29. " He on whom Rama's eye did not fall and whose eye did not fall on Rama is a cursed man, his own soul loathes him."

यश्च रामं न पश्येतु यं च रामो न पश्यति। निन्दितस्स वसेल्लोके स्वात्माप्येनं विगर्हते॥ Ibid. II. 17.14-15.

When Tyagaraja tells Rama, ' You are my Ishta Daiva', it is the surpassing beauty of this Syamasundara that made him prefer this form.

Syama sundaranga sakala saktiyu nīvera

• • • • Ishta Daivamu nīvera He adds,

" Even Brahma, Indra and other Gods cannot describe the beauty of your benign look, your charming face, surpassing the moon in splendour.

HÌS BEAUTY İ39

Intanuchu varnimpa taramā Brahmendrādulakaina kāntunikanna mā chakkani Kalyana Ramachandra Nī sogasu intanuchu varnimpa taramā (Gundakriya). The song Muddu momu in Suryakanta, speaks of his captivating beauty which bewitches the sages of the forest, when he appears before them. Muddumomu elagu chelangeno- munuletlagani mohinchiro.

"How did that face shine at that time," asks Tyagaraja and he himself gives the reply in the suggestive name of the Raga here, Suryakanta. His reaching the forest was to manifest His prowess, which would blaze forth for the destruc- tion of the Rakshasas, which He promised to the sages as soon as He saw them. Hence His face shone forth with Tejas like the sun and was yet, as it always was, captivating like the moon, Kanta, a rare combination indeed! The all- comprehensive beauty of Rama confounds the devotee, as he is not able to concentrate, so to say, on any one aspect, for everything is equally fascinating. "Every portion of your body, O Rama, is captivating. Which portion shall I embrace? Your speech alone is speech, your lilt. alone is lilt, and your brilliance alone is brilliance. Endu kaugalintura nin- nentani varninturā

Nīdu paluke palukurā Nīdu kuluke kulukurā Nīdu taluke talukurā (Suddhadesi).

İ40 LAVANYA-RAMA

All his near relatives and associates, who enjoyed the beauty of Rama in different ways, - - Kausalya, who kissed him on his shining cheeks, Dasaratha who called him endearingly - रामेति मधुरां वाणों व्याहरन् as Valmiki says,- Lakshmana who served, Visvamitra who led, Ahalya, Siva's bow, Janaka,- and Janakī who held him by the hand in ecstacy-for the fortune of these in getting such enjoyment, Tyagaraja yearns in his Yadukula Kambhoji song Sri Rama Raghu Rama Sringara Ramayani chintinche rade O manasa.' He envies Visvamitra specially, who had the fortune to enjoy the beauty of Rama's face, when its curly forelocks waved as Rama shot his arrows at Marīcha or broke Siva's bow. " O, What raputurous delight did that sage have !" Alakalallaladagagani a Ranmuni yetu pongeno.

Probably when Tyagaraja chose the Raga Madhyamavati for this piece, he thought of the middle state of freedom from love and hate, madhyamavastha, in which sages lived and he meant that even for such people as are above attachment, the charm of Rama was overpowering. Has not the Bhagavata said :

आत्मारामाश्च सुनयो निर्ग्रन्था अप्युरुकमे। कुर्वन्त्यहैतुकीं भक्तकिमित्थंभूतगुणो हरिः ॥

We may see a more probable suggestion of the appropriate- ness of the Raga-name in the Raga Rudrapriya, ' dear to Siva', of the song Lavanya, for Rama and his beauty were dear to Siva who imparted Rama mantra to everybody. " O Charming Rama! Bless me with your benign looks! Your mind, your charm, your ways are all unique."

MAJESTY I4I

Lāvanya Rāma, kanulāra jūdave ati lavanya Rama Nī manasu, nī sogasu, nī dinusu vere Tyagaraja nuta divya lāvanya Rāma. " Is it possible to see the beauty of your face shining with glittering cheeks, your red lip, your smile, your forelock and the brilliance of your eyes ?"

Compare Tyagaraja's expression Ati-lavanya Rama with Valmiki's 'अतीव प्रियदर्शनम्'.

Sogasu jūda taramā nī niganiga manuchu kapola yugamuche merayumomu vara bimba sama adharamu chiru nagavulu mungurulu mari kannula teta Vara Tyāgarāja vandanīya ituvanti sogasu jūda taramā. (Kannadagaula). The song Mohana Rama on the captivating beauty of this incarnation, to see which the denizens of the entire heavenly regions rushed to mortal world in the several guises of birds, beasts, monkeys etc., is appropriately in Mohana Raga. In Devagandhari, he asks his own mind not to forget Rama of bewitching beauty, His dignified bearing, His soft words, H1s brilliant eyes, His graceful movements. Maravakarā nava Manmatha rūpuni Nīto, mellani māto, kannula teto * kuluko, paluko, chekkula taluko, and so on. * *

The captivating beauty of all these various aspects of Rama are again sung in the truly majestic song Meru samana, where Tyagaraja describes all these and asks Rama to come to him, so that he might feast his eyes with that beauty.

I42 CASTS A SPELL ON ALL

Meru samana dhīra Varada Raghu- vīra jūtāmu rārā - mahā (meru)- Sarasāra oyyārapu nadalanu, nīrada kāntini nī thīvini alakala muddunu, tilakapu tīrunu taluku jekkulache danaru nemmomunu 'Come, let me see all that: ' Jutamu rare'. Just as Hanuman showed off to Sita his great acquaintance with the intimate details of the personal features of Rama, the Rekhas and Samudrika lakshanas, so also Tyagaraja delights in describing Rama's Samudrika lakshanas in the Dhanyasi piece, Sri Rama dasa daso'ham. This description of the personal charms of Rama to Sita by Hanuman in the Sundara- kanda is cited by Tyagaraja to show what a joy one is transported into, like Sīta herself, on even hearing the descrip- tion of Rama's beauty; far sweeter indeed the pleasure if one should be seeing that beauty daily. Kanakana ruchira kanaka vasana ninnu dina dinamunu manasuna chanuvuna ninnu * * * * * Pavamāna sutudu nīdu mahima delpa Sīta delisi valachi sokka ledā yārīti ninnu kanakana ruchirā. In Lekana (Asāveri), he refers to the several aspects of Rama's attractiveness, as a result of which everybody was hover- ing round him, one to enjoy his beauty as his wife, (Sita), one to carry out the commands of his eyes (Lakshmana) and so on. Lekanā ninnu juttukonnāru ? eka hridayulai nityānandamu. Otherwise, how could they, with single-minded devotion and constant delight, crowd round you like that? Look at me. I cannot move out of you and see another. You have cast a spell, mantra, as it were, and bound me.

HIS SPEECH: SWEET I43

Kattu jesinavu Rāmabandu kattu jesināvu (Athana).

No wonder, Tyagaraja calls Rama in many a piece ' Sringara Rama ', ' Sringara jaladhe' and 'Sringara Sekhara ', and piles epithets and addresses on the charm and appeal of every limb of Rama and says that His form is such that it gratifies everyone of the senses : Indriyamulakahladakaru michchu rūpamu (Nammakane).

Next to Rama's personal beauty, comes the charm of his speech. To speak softly and sweetly, always and to everybody, is a rare virtue and those who have to serve or to wait on somebody who is superior know this very well. Next to a confidence-inspiring form, are soft pleasing words. Valmīki says again and again of Rama, that he spoke first when he met another, (and did not stand stuck up in his own importance), spoke endearingly and always prefaced his words with His smile.

स्मितपूर्वाभिभाषी, पूर्वभाषी प्रियंवदः, स्मितपूर्व च भाषते, मृदुपूर्व च भाषते, प्रियवादी च भूतानाम्। (Valmīki).

One may speak harsh things to Him, He would not reply. उच्यमानोऽपि परुषं नोत्तरं प्रतिपद्यते। Ramayana II. I.I0.

These qualities of Rama's speech Tyagaraja mentions frequently: Mridubhasha in Jaya Jaya Sri Raghurama (Gaurī); Mellani matalu in Intanuchu; Mellani mato in Maravakara; Mridu subhasha in the Arabhi Pancharatna and in Rama ni samanam evaru. " How wonderful is your power of winning people by sweet words, suited exactly to the person addressed !" Emani mataditivo Rama. (Todi).

I44 SOFT AND PLEASING

The sweetness of Rama's words makes Tyagaraja exclaim about it in ecstatic terms. "See, the sweetness of Rama's speech surpasses that of sugarcandy." Paluku kanda chakkeranu gerune panatulāra jūdare

and in yet another song, he addresses Rama as one whose speech is sweet like nectar : Sudha madhurya bhashana (Sindhuramakriyā).

and in still another (Jagadananda-Nata) : Sudhāmaya- vachobrinda and Madhuralapa in Bhavasannuta. The high value attached to the soft pleasing word is borne out by more references to this quality: Subhashana in Nalinalochana (Madhyamavati); Mridubhashana in Paripalaya Dasarathe (Sankarabharana) and Varalīla (Sankarabharana); Mridutara- bhasha in Jo Jo Rama (Rītigaula); Varamridubhasha in three pieces (Muripemu, Ni dayache, Tava daso'ham) and Sanmridubhashana I (Srī Raghuvara Karunakara). Another aspect of the attractiveness of Rama's speech is referred to when Tyagaraja describes Him as Lalitabhasha (Kshirasagara- vihara) and Salalitavachana (Dīnajanavana). Negatively also Tyagaraja describes Rama as not countenancing people who indulge in traducing others (Para - dushana-janagana- bhishana in Narayana Hari). When he performs Harati to Rama, the first attribute of Rama, the Master, which Tyagaraja mentions is ' Atimridutara-sattva-bhashana'. Rama's speech was not only sweet but appropriate to the occasion : Yukta- vachana (Mamava satatam-Jaganmohini).

In some songs, Tyagaraja yearns to listen to Rama's words and to enjoy conversation with him.

I. Cf. Vlmikı II. i. While describing Rama's gunas : 'न दुर्वचाः'

EASY ACCESSIBILITY I45

Palukavemi nā Daivamā parulu navvunadi nyayama aluga kāranamemirā Rāma nī vadinchinatu yadina nato (Pūrnachandrikā). The smile that prefaced his words and sweetened his expression-स्मितपू्वोभिभाषी-is referred to in the Saveri piece Sri Rama Ramasritulamu-chiru navvuvadanu ni.

When I draw attention first to Rama's qualities, as described by Valmīki, I request readers to bear in mind the fact that Tyagaraja himself speaks of such descriptions by Valmīki, for instance, in Natha Brovave in Bhairavi, he asks: " Have the words of Valmiki, who had described you as one of an easy and accessible disposition, proved false ?" Salalitudani munu palikina Vālmīkula vākkulu kallalāyenā ?"

This quality of easy accessibility of Rama, Saulabhya, is to be seen in many a passage in the Ramayana. As he returns from an engagement, he alights and enquires after the domestic welfare of every citizen as if he were his own kith and kin. शुचिवेश्यस्समाधिमान् I. I. I2. पौरान्सजनवन्नित्यं कुशलं परिपृच्छति। II. 2. 38.

It is also illustrated by his behaviour towards Guha, Sabari and the monkeys; when, after the fall of Ravana, Sita was being brought by Vibhishana in a palanquin, to Rama, and Vibhīshana had the monkeys lathi-charged for rushing to see the lady for whom they had waged that war, Rama flared up, criticised Vibhīshana for treating the monkeys like that and asked Sīta to get down and walk. He called the monkeys 'his own'- जनोडयं खजनो मम। Such saulabhya came natural to Rama, as he treated everybody equally; this again is a quality of Rama specifically 10

I46 RIGHTEOUSNESS

mentioned by Valmiki-आर्य: सर्वसमश्रैव and Tyagaraja echoes it in Undedi when he says Sarva-samudu. Next to his matchless appearance, lovable speech and easy behaviour, come the qualities for which He took incarnation. It is for the re-establishment of Dharma whenever it gives way before the forces of Adharma that the Lord incarnates. It was above all to exemplify Dharma that Rama appeared; and of all the characterisations of Rama by Valmīki, " Dharmatma" is the basic and the most important. धर्मात्मा, रामो धर्मभृतां वरः, साक्षाद्रामाद्विनिवृत्तो धर्मः (ii 2. 29.), धर्म सर्वात्मना श्रितः, एष विग्रहवान् धर्मः । etc.

In his song (Undedi in Harikambhoji) in which he says that there is one, Sri Rama, thanks to whom we need not go to ruin, Tyagaraja characterises Rama as 'Dharmatma'. This chief epithet of Rama occurs in other songs too. The same is emphasised negatively by Tyagaraja's description in several places, of Rama as opposed to and as the destroyer of evil forces : Dalita-durmānava, durjana-dūra, dushtajana-dūra, krūra- jana-vidūra, kumanojanaganabhīma etc. Close upon Dharma comes Rama's Satya. Rama was a Satya-sandha: धर्मात्मा सत्यसन्धश्र. In Paripālaya mam (Darbar), Tyagaraja uses the same expression of Valmiki-Satyasandha (Charana 2) and adds that Rama protected those that were truthful-Satyajanavana. In Endaro (Ch. 8) appears again, along with other qualities, I the I. Of the other qualities mentioned here may be noted Rama's capacity for being unruffled in the face of extreme provocation. 'Santamanasa', There could be no greater event than the coronation-crisis and Valmiki describes the composure which reigned supreme on Rama's face in memorable verses : न वनं गन्तु कामस्य श्यजतश्र वसुन्धरामू। सर्वलोकातिगस्येव मनो रामस्य विव्यथे।। न चास्य महतीं लक्ष्मी राज्यनाशोऽपकर्षति। लोककान्तस्य कान्तत्वाच्छीतरश्मेरिव क्षपा।

TRUTHFULNESS I47

' Vachana-satya ' of Rama. Rama did not speak twice; once he spoke and he carried it out and did not go back upon his word: रामो द्विर्नाभिभाषते, which Tyagaraja translates in Eti yochanalu (Kiranāvali). Rendu matalade vadu gadani * * * * chandamounulu ada '.

It is for the protection of the Satya of his father that he went to the forest.

" Such a one is the God who has earned undying fame for all time, for never failing the word spoken." Ādina matalu dappadanuchunu a chandrarkamu gīrti galigina vadera Daivamu manasā.

Rama's authority had Satya for its basis ; how can anybody transgress it ? Satyamaina yājna mīra sāmarthyamu galada, Nityarūpa (Kāpi).

Ekapatnivrata was another chief Dharma that Rama came to establish. When Bharata, not finding Rama, asked his mother Kaikeyi why Rama had been banished to the forest and whether he had violated the person of any lady, Kaikeyi tells Bharata, "Others' wives, Rama does not even see with his eyes."

रामस्तु परदारान्वै चक्षु्भ्यामपि नेक्षते। Ramayana II. 72.49.

In Natha brovave Tyagaraja says that he cannot forget Rama for this reason : " When women, charmed by your radiant face approached you, you treated them as your daughters, O Matchless One !"

I48 Ekapatnivrata

Kalakalamanu mukha kalakani purabhāmalu valachaga tana sutalavale juchu Raghunatha brovave. ' Paranarīsodara '-' One who treats other's women as his sister ' and ' Parabhamini-dura' ' one who keeps himself away from others 'women', are addresses to Rama in the Arabhi Pancharatna and the Sahana piece Raghupate Rama. The matchless prowess, chastity and truth of words-One arrow, one woman and one word,-these three, the essence of Rama's personality, are given to us in the song, Oka mata: ' Oka māta yoka bānamu, oka patnīvratude manasā - Oka chittamu galavāde, oka nādunu maravakave'. (Hari Kambhoji). It is for these that not only Tyagaraja but none amongst us could ever forget Sri Rama. Not for Tyagaraja alone, but for this whole country is Rama the prop of its life, 'Nā Jīvadhāra'.

CHAPTER VII

FORMS OF BHAKTI "Vaga vagaga bhujiyinchu varīkī yauriti Saguna-dhyanamu-"

THE sentiment of devotion takes manifold forms, and the main emotion of Bhakti is also made up of a variety of accessory feelings, which appear as billows on the sea and go to strengthen the main emotion. We shall deal in another chapter with the various Bhavas through which Tyagaraja's Bhakti Rasa expresses itself, analysed according to the Alankarikas of the Bhakti School. We shall presently speak of the major forms or Prakaras of Bhakti according to the Acharyas of the Bhakti School. The well known classification of Bhakti in these major forms occurs in the Bhagavata: Hiranyakasipu comes to Prahlada at school and asks him to tell him the best thing that he had learnt during those days. Prahlada says : ' That I consider the best lesson, worthy to be learnt, if man could practise devotion to the Lord, characterised by nine forms: listening to the Lord's song and glory, singing of the Lord, contemplation of the Lord, worshipping His feet especially, saluting Him, serving Him like a servant, moving with him as a friend, and offering oneself to Him'. श्रवणं कीर्तनं विष्णोः स्मरणं पादसेवनम्। अर्चनं वन्दनं दास्यं सख्यमात्मनिवेदनम्॥ इति पुंसार्पिता विष्णो भक्तिश्चेन्नवलक्षणा। क्रियते भगवत्यद्धा तन्मन्येऽधीतमुत्तमम् ॥

Narada, in his Bhakti Sutras, says that though Bhakti is a single emotion, it takes eleven forms. They are of the form of attachment to the several aspects of the Lord, as well as attachment to Him in different capacities or roles; (a) Attach- ment to the Lord's qualities or Gunas and to His Form or Rūpa (two); (b) Attachment to three acts of devotion towards the

İ50 SUKA AND NARADA ON FORMS OF BHAKTI

Lord, viz., worship or Puja, constant memory or contemplation, i.e., smarana and surrendering oneself to Him, atmanivedana, (three); (c) Attachment in four roles, as servant, dasya; as friend, sakhya; as child, vatsalya; and as beloved, kantasakti, (four) (d) lastly, two stages of Divine Love in its climax, viz., seeing everything as the Lord or being completely absorbed in and becoming one with Him, Tanmayasakti; and inability to bear His separation, Aviraha (two, making a total of eleven).

रूपा एकधापि एकादशधा भवति। Of these eleven forms of Narada, his pupil Prahlada, mentions in the Bhagavata, as we say above, Pūja or Archana, Sakhya, Smarana, Dasya and Atmanivedana; Prahlada's Sravana and Kirtana-the listening to and singing of the Lord's exploits and personality comprehend Narada's first two forms, of loving Lord's Gu na and Rupa. The Lord's infinite excellences and the incomparable attraction of His Form, we have already dealt with. Taking the Narada Bhakti Sūtras and the Bhagavata together, we have thus on the whole, Sravana, Kirtana, Smarana, Padasevana, Archana, Van- dana, Dasya. Sakhya, Atmanivedana, Vatsalya and Kantā- sakti. Of Narada's Tanmayatva and Aviraha, we shall speak in the end. The roots of some of these forms of devotion can be seen in the several devotional attitudes and similes employed by the earlier poets, beginning from the Vedic Rishis 1. We may remind ourselves here of one of the closing verses of Arjuna's hymn to the Lord on his seeing the Lord's Visvarūpa, in the Bhagavadgita, when Arjuna asks the Lord to excuse his own shortcomings, even as a father would those of his son, a friend of another friend and a lover of his beloved. , पितेव पुत्रस्य सखेव सख्युः प्रिय: प्रियायार्ईसि देव सोढुम्। I. See my article 'The Vedas and Bhakti', in the Vedanta Kesari, Dec. 1955.

Śravana I51

Here we have Vatsalya, Sakhya and Kanta forms of Bhakti and of these, Arjuna himself is the exemplar of Sakhya or love in the role of a friend. I. While different persons may specialise in anyone of these different forms, it is also possible that the same devotee experiences or passes through all the states characterised by these terms. In his long and rich enjoyment of Rama Bhakti, Tyagaraja exemplified all these forms. Sravana, the listening to the glory of the Lord, comes first ; it is the starting point. Of the Acharyas of Bhakti, Garga accords it such foremost place as to define Bhakti itself as love for the Lord's story-enfasafa Th: 1 It is by hearing about the Lord, again and again, that we can slowly convert ourselves and take ourselves away from all mundane pre-occupations. If one develops a taste for it, gradually his ears educate themselves against tuning themselves to anything else. ' The drinking of the ambrosial Rasa of Rama's story would confer on one a veritable kingdom. It would give one Dharma and all other fruits; it would give one firmness of mind, spiritual bliss, material happiness and destroy all the shackles of Karma and the many ills of Kali,' sings Tyagaraja. Rāma kathā sudhā rasa pānamu oka rājyamu jesune dharmady akhila phaladame, manasā dhairyānanda saukhya niketaname karmabandhajvalanabdhi navame kaliharame Tyāgarājavinutudagu. In Sudha madhurya bhashana in Sindhuramakriyā, Tyagaraja says that his long hunger had been appeased by the ambrosial story of Rama, to listen to which he had avoided the wicked and resorted to the devotees of the Lord. Kathāmritamuche bahukālamu yākali dīri yunnanu brovumu etc.

152 Kirtana, Śmarana

2. The entire life and output of Tyagaraja exemplifies the second form,-Kirtana. In Elavatara, he goes to the extent of saying that the Lord Himself incarnated to draw out Tyagaraja's Kirtana. In Intasaukhyamani (Kapı) and Intakannayananda (Bilahari) Tyagaraja says that there can be no joy greater than that of singing of the Lord and dancing with the praise of the Lord on one's lips. We have spoken of this form of devotion, in the chapter on Nama and Nama- kirtana, and also to some extent in the chapter on Reformist Zeal.

3. The third is Smarana, the constant memory of the Lord and meditating upon Him, Dhyana. The constant thought of the Lord has been emphasised by Tyagaraja in any number of songs. While dealing with his conception of Nama-japa, we saw how according to him, Nama-japa was futile if not lighted up all through by the glow of the thought of Rama. In his Nagasvaravali piece, he specially mentions Chintana or Smarana as his very life. Srīpate nī pada chintana jīvanamu. The thought of the Lord is the best thing - 'Rama chintane chalu' (Rama Kodanda Rama-Bhairavi). Smarane sukhamu in Janaranjani says that happiness is in the constant memory of the Lord and His Name. In Mara- chuvadaņā, Tyagaraja speaks of it as an impossibility to forget Rama. Marachu vadana Rama ninu Madanajanaka Marakatānga nī yokka madinenchavaladu. According to Narada, a poignant pang, even in a momentary gap in the Lord's constant thought, is the true criterion of Bhakti. नारदस्तु तदर्पिताखिलाचारता, तद्विस्मरणे परमव्याकुलतेति। 4. Padasevana or the worship of the Lord's feet in. particular is a devotional mode exemplified by Bharata and the adoration of Rama's Paduka. The adoration of the Lord's

Padasevana I53

feet is a common form of worship in both Hinduism and Buddhism. Literary, historical and monumental evidences bear out the prevalence in ancient India of the wide-spread practice of worshipping the divine foot-prints at particular holy spots, Vishnu pada, Buddha pāda, Siva pāda and Rama pāda. Rama's feet had two great exploits to their credit : the re-crea- tion of Ahalya from her accursed stone-state, and through their sandals, ruling over the kingdom of Ayodhya. Poets have spent their fancies over both these episodes and Tyagaraja has two songs to adore both these exploits of Rama's feet. Both are cast in Ragas of appropriate names, Amritavahinī, the feet that bring immortality and ambrosial bliss and, Ramapriya, Rama's beloved sandals :

'O Blessed feet of Rama! Suffices it if I could secure your grace. Come and take your home in my mind. Taking compassion on Ahalya, you redeemed her and restored her human form. Can I not crave to be blessed similarly ?'

Srī Rāma pādamā nī kripa jalune chittaniki rāve darini silayai tāpamu talaka vāramu kannīrunu ralchaga sūra Ahalyanu jūchi brochitivi ya rīti danyuseyave Tyagarajageyama !

'O Rama, pray clear my doubt. Are your holy feet, worshipped by Nanda, great, or your elegant sandals great? The great sages who worshipped your feet secured a status equal to yours, but Bharata who worshipped your sandals got yourself '.

Sandehamunu dīrpumayya Saketanilaya Ramayya Nandarchita padayugamulu melo nāgarīkamagu pādukāyugambulu melo

154 Padasevana

vara maunulella charanambulanu smariyimpa nīdu padamosangene Bharatarchanache pādukalu dharani ninnosage Tyagarāja bhāgyama.

Note how Tyagaraja qualifies the sandals, as the elegant or refined sandals ; nāgarīkamagu pādukā. Nāgarīka is the exact Sanskrit word for civilisation, the refinement of the city or nagara; Rama's sandals, Tyagaraja deftly suggests, were not destined to tread the jungle, they belonged to the city and to the city they naturally hastened back, as soon as possible. Also, the address here to Rama as Saketanilaya, ' stationed in Ayodhya', is significant, for, though absent in body, at the forest, Rama was personally residing and ruling in Ayodhya, through his sandals.

In a third song, in Begada, Tyagaraja cites again the case of Ahalya, as also the third exploit of Rama's foot, the easy kicking off, with ease, the huge carcass of Dundubhi to relieve poor Sugriva's anxiety about Rama's capacity to give fight to Vali; and on the strength of these, Tyagaraja says he has reposed implicit faith in the lotus feet of Rama. Nī padapankajamulane nera namminānu kopamuto munu tapasi yichchina sapamunanahalya anudinamu chaparāti tanu tapa morvani yapenu gani paritāpamu dīrchina Sankrandana tanayuni badha sahimpani Virochana sutu madi galigina bhaya megayaga ghanatama Dundubhi benutala dannina etc. In his Raghunayaka in Hamsadhvani, Tyagaraja says that he could never give up Rama's lotus feet. " Raghunāyaka nī pādayuga rajīvamula ne vidajala". In Sri Manini manohara in Pūrnashadja, Tyagaraja affirms that his only long cherished desire, which needs no

Archana 155

reiteration, is to do Rama's padaseva, even as it was done by His brothers. Srī māninī manohara chirakala maina māta yokatirā vemāru balka jālarā Srīmantulau nī sodarulu jeyu rīti pāda seva koritini

Will my passionate longing be fulfilled until I stroke your lotus feet everyday ? Anudinamu nīdu pādābjamula nottuchunu tīrunā nāloni (sāverī).

In a Devagandhari piece, Tyagaraja says that the constant thought of the Lord's feet constitute his very life and breath-nī pada chintaname jīvanamu.

5. The fifth form of devotional propitiation of the Lord is to do His worship daily and incessantly-Archana. Parasarya, i.e., Vyasa, an authority on Bhakti defines Bhakti itself as the constant delight in the worship of the Lord. पूजादिष्वनुराग इति qRRT: I In Induka i tanuvu quoted in an earlier chapter, Tyagaraja says that the supreme thing for which one has been endowed with hands is to do the Lord's worship. This form, Archana, is exemplified by two important factors of Tyagaraja's jife and work, -one is Tyagaraja's daily pūja of the Rama idol, and the other, the collection of the songs, called Utsava sampradaya kīrtanas, composed for the several items of the celebration of a Rama festival, including the songs that he sang for the several stages of his own puja and its sixteen kinds of Upacharas offered to the Lord. Of these songs, Hechchari- kaga rara he Ramachandra in Yadukulaķāmbhoji expresses welcome, svagata, to the Lord. Rara Sitar amani manohara in Hindola vasanta, and Chetulara Sringara in Kharahara- priya, deal with the alamkara or the dressing and decorating of the Lord. See what a delight Tyagaraja had in decorating the Lord !

I56 ARCHANA-UPACHARAS

Chetulara sringaramu jesi chūtunu Srī Rāma. I shall decorate you with my own hands so beautifully as to elicit the admiration of even Brahma and other devotees and enjoy the sight myself. You shall have golden anklets for your feet, laced clothes, fragrant Parijata for your tuft, a golden girdle, a charming tilaka on youl forehead, pendants for the forelocks and sweet sandal paste for your body. Having finished your make-up to my heart's content, I shall kiss you and hug you to my bosom. Sarasvatī will come and fan you. In that exultation, I shall exclaim, 'Well done, well done' and so doing, I shall cut asunder all my bonds.

With a Kedaragaula song, Tyagaraja performs the Archana of the Image, offering Tulasi, Bilva, Malli and other flowers to the several parts of the Lord's body, Angapuja. Tulasī bilva mallikādi jalaja sumapūjala gaikonave uramuna, mukhamuna, siramuna, bhujamuna karamuna, netramuna, charanayugambuna karunato nenaruto-paramānandamuto niratamunu Srī Tyagaraju-nirupādhi- kudaiyarchinchu.

' Aragimpa' in Todi offers the Lord Naivedya, butter, milk, chitrānna, cakes etc., and 'Vidamau seyave' in Kharaharapriya requests the Lord to accept Pansupari. Of the other upacharas of the Puja, Upacharamulanu in Bhairavi, offers the following : Chatra, (umbrella), Chamara (chowries) and Vyanjana (fan made of flower). Lali lali in Harikambhoji, offers the upachara of Andolika or swing and rocks the Lord. Uyyala in Nilambari, Lali gave in the same raga and Rama Sri Rama in Sankarabharna offer the same swing and express Tyagaraja's great delight in waiting upon Rama as He rests on the swing. Note the appropriate Raga here, Sankarabharna, which means

Vandana I57

the ornament of Siva, i.e., serpent; it is the serpent that the Lord rests on. Next, Tyagaraja performs Harati to the Lord in the auspicious Raga of Surati, Patiki Harati re. In Pūla panpu mida in Ähiri, he offers a bed of jasmine flowers, milk, pan and sandal paste and in the appropriate Nilambari again, Sri Rama Rama Rama, sings Rama to sleep. Bowli then heralds the break of dawn and Tyagaraja prays to Rama to wake up and protect the world. Melukovayya mammeluko Rama

Another piece in Saurashtra is also sung asking the Lord to wake up, Meluko dayanidhi, and teach the guardians of the quarters how to rule. Rājarājadi digrājulella vachchināru Raja nīti teliya Meluko.

Koluvamare in Todi and Lali Lalayya in Kedaragaula are two more songs offering Puja with all the upacharas.

6. The sixth form, Vandana or paying obeisance to the Lord, is illustrated by Vandanamu in Sahana, and Dandamu pettedanu ra in Balahamsa.

7. Lakshmana, in whose form also the Lord incarnated, exemplified the ideal of service as servant, Kainkarya or Dasya. The word Lakshmana etymologically means 'one endowed with Lakshmi' and the Lakshmi with which Lakshmana was endowed is Kainkarya Lakshmi, the wealth or beauty of service. Tyagaraja, while describing Rama, mentions Lakshmana also often as attending upon him as the most accomplished servant of Rama, who knows Rama's inner intention, Ingita, as it were, and who, at the mere glance of Rama, would carry out his idea. This is specially referred to in the kriti Lekana. Saumitri ganula jadala sukhamu.

For the sheer delight of enjoying the sign of the eye of Rama, Lakshmana would serve him. The mention of this

I58 Kainkarya

capacity of Lakshmana to understand Rama's Ingita is based upon what Valmiki has said in the original Ramayana. As soon as the brothers and Sita reached the forest, Lakshmana, of himself, built a hermitage, carefully planning all its details according to the needs and desires of Rama, on seeing which Rama was so pleased that he embraced him and called him Bhavajna, i.e., own knows the Ingita.

In other songs, depicting Rama resting privately, for instance, Vidamuseyave, Lakshmana is said to hold the jewelled spittoon for Rama. Hanuman is another Bhakta, exemplifying Dasya Bhakti and in both his songs wholly devoted to Hanuman, Tyagaraja portrays him as sitting at Rama's feet and doing Padaseva: Pahi Rama in Vasantavarali and Kaluguna Pada Nīraja in Pūrnalalitā. Besides these, there are numerous references in many other songs to Hanuman as the servant of Sri Rama.

Tyagaraja now and then yearns to join this company of Rama's servants, singing ' Tava daso'ham '. Tava daso'ham ...... dhara nīvanti daivamu ledanti sarananu konti

' I am your servant'. Finding that there is no God like you, I have taken refuge in you, Tyaga- raja approaches you for service.

In his Bhairavi piece Upacharamu, he requests Rama not to reject his application for an attendant's place in his presence on the plea of 'no vacancy', as already he has too many around him, Sīta, the servant of Ekanta, privacy, the brothers to carry out his general orders, and the gatekeeper, Ānjaneya. Upachāramu chesevāru unnārani maruvakurā vakitane badilamuga vātātmaju unnādani Srikarulagu nī tammulu

Kainkarya I59

jeri yunnarani ekantamunanu Janaki yerpadi unnādani Srī Kānta parulelani Srī Tyagarajavinuta.

Tyagaraja then imagines that he should state his qualification and state also whether he knew the insignia of Rama's service ; and replies, "Yes, I know. Pray vouchsafe that I may serve you as a true servant; I am free from lust, arrogance, or other defects. I shall put on the following insignia of your service: horripilated hair is my coat of mail; my metal badge has the words "Rama Bhakta " and in my hands is the sword Rama Nama."

Banturīti kolu viyya vayya Rama tuntavintivāni modalaina madā- dula gotti nela gūla jeyu nija romancha manu ghana kanchukamu Ramabhaktudanu mudrabillayu Rāma nāma manu varakhadga mivi rājillunayya Tyagarajunike (Hamsanada).

At the end of his piece Koluvai unnade in Devagandhari, Tyagaraja says that for Rama sitting in court, he could, as his servant, spread the carpet for treading upon. He asks in another piece, (Chentanesada in Kuntalavarali), 'Just keep me by your side, as you do Hanuman and Bharata. You need not tell me much or often. I shall understand whatever work you think of and cheerfully carry it out.' Chentane sadā yunchuko vayya mantukekku srīmantudau Hanu- mantu rītiga Srīkānta

I60 Sakhya, Ätma-Nivedana

talachina panulanu ne delisi talato nadachi santasillidura palumāru balka paniledu Rāmā Bharatunivale Tyagarajanuta.

No wonder Tyagaraja designates himself the 'head-peon ', the foremost of the Lord's servants, ' dasajana - agresara- Tyagaraja' (Varada Navanitasa-Ragapanjara). Following the traditional way, emphasised particularly in Srivaishnavism, Tyagaraja loves to be servant of the servants of the Lord: Ramadāsadāsa - Tyagaraja ( (Brindavanalola - Todi). More expressly and in an emphatic Pallavi, he declares in a divya- nama in Dhanyasi-' Srī Ramadasadaso'ham.' Addresses to Rama as 'Natha', 'Prabho' and the like are also expressions of this bhava of dasya.

7. Sakhya: Besides references in inany songs to friends of Rama like Sugrīva and Vibhīshana and their devotion, there is a mention in Chelimini jalajaksha, Sami-ki-sari and O Rama O Rama to Rama as Tyagaraja's friend, ' Tyagaraja- sakhudu ', and ' Tyagarajunimitra ',

8. We now come to the important form called Atmani- vedana, or surrender of one's self to the Lord as the Lord's own, 'Tavasmi' 'aarfen' as has been said in the Saranagati text in the Ramayana. In fact, Rama is the incarnation par excellence the Supreme exemplar of protection of those that surrender unto the Lord, Saranagata-rakshaka, and Tyagaraja does not fail to make express mention of this special feature; in Saramegani (Pantuvarali), he describes Rama as 'Saranagatas jana-paripalana-birudanka', the Lord who has the special title of the protector of those who take refuge under him; Tyagaraja speaks of Rama in many pieces as the protector, friend and saviour of the Saranagata. This complete surrender to the Lord is the final teaching of the Gita too.

सर्वधर्मान् परित्यज्य मामेकं शरणं व्रज।

KINDS OF Saranagati I6I

The Srivaishnava teachers of the South have developed this school of Prapatti to a great extent. That he had taken refuge in Rama, Tyagaraja says numberless times in his songs. A few pieces may be cited here, which specially bring out the significance of Saranagati. When the devotee surrenders, he is to surrender everything he possesses: हित्वा पुत्रांश्च दारांश्व as it is said. Tyagaraja says in Kalaharana (Suddha Saveri): I have wandered day in day out and finding refuge nowhere, I have sought your feet and surrendered myself, my body and its possessions as your own. Dinadinamunu tirigi tirigi dikkuleka saranu jochchi tanuvu dhanamu nīde yanti Tyagarājavinuta. That he had surrendered himself and all his good deeds to the Lord, Tyagaraja says in his Rama Pahi Meghasyama (charanas 2 and 9). In Nannu vidachi and Enatinomu phalamo, he declares that he and his body are the Lord's property : " Tanuvu nī sommu " and " Nijamugā ne ni sommaītini " When the devotee declares himself as a complete Saranagata, he is to have no more anxiety for anything; all his burdens have been laid on the Lord and it is for the Lord to come and help and save his refugee. "Why should I feel any concern ?" asks Tyagaraja of Rama. " Makelara vicharamu ". The anxiety is His, for has He not promised अनन्याश्चिन्तयन्तो मां ये जनाः पर्युपासते। तेषां नित्याभियुक्तानां योगक्षेमं वहाम्यहम्॥ I

I. In the same song, in support of his bhara-nyasa or laying the burden on the Lord, Tyagaraja describes Rama as the Sutradhara, echoing the Gita and the Lord's other declaration therein that He indwells and moves beings, rotating them as on a yantra. 11

I62 Markata AND Marjara Nyayas

" O Lord ", says Tyagaraja, " I am yours and your will is my fortune. Why should I be meaning- lessly brooding, when I have, once for all, taken refuge in you ?"

Nī chittamu na bhagyamayya yojinchi karyamuledanuchu noka pāri sarananu kontinayya.

One of the angas of Saranagati is the faith that the Lord would save-रक्षिष्यतीति विश्वासः। This faith in Rama, Tyagaraja expresses at many places. e.g., charana 2 of O Rama O Rama, Arabhi-Ninne nera nammiti.

With this Saranagati is intimately connected the doctrine of the Lord's grace, on which the Srivaishnavas developed two schools of thought : the Markata-nyaya, expounding the view that God helps those who help themselves; and the Marjara- nyaya, holding the view ' Who is man to help himself ? It is for the Lord to come of His own accord and, seeing the devotee completely surrendered to Himself, and meek and helpless, save him'. According as his mood varied, Tyagaraja gave expression to both the views. Sometimes he set forth his qualifications and demanded his due from the Lord; sometimes, he declared himself small, sinful, meek and helpless and appealed to the Lord for protection, as we shall see later, under the head Naichyanusandhanam.

In his Kīravani piece, Kaligi unte gada he mentions the Markata-view.

' Your grace will come only if I have earned it through meritorious actions in the past and if I worship you as earnestly and devotedly as Narada, Prahlāda, Parasara and Rāmadasa'.

The Kapi song Mivalla guna dosha inclines to this Kapi- view, where Tyagaraja fixes responsibility on himself for his

EITHER VIEW ACCORDING TO THE MOOD I63

pathetic state and says that he has done nothing to deserve the Lord's grace.

' Merits and blemishes are of my own making and not of yours, O Rama! If the gold is not of the required standard why blame the goldsmith ? If one's daughter cannot stand labour pain, why blame the son-in-law ? If one failed to do charity to deserving persons and worship God in previous births, why should one blame the gods for one's lot ? My trouble is my own making '.

Mī valla guna dosha memī Srī Rama na valla ne gani Nalinadalanayana bangaru baguga padi vanne gagunte angalarchuchu bachchunadukonela tana tanaya prasava vedana korvalegunte anaya yallunipai yahankara badanela e janmamuna pātra merigi dānambīka pūjincha marachi velpula nādu konela nā manasu nā prema nannalaya jesina rājillu Srī Tyāgarāja nuta charana.

But he sings at other times in a different manner.

'O Rama, Your grace must come of its own accord. Man's capacity to earn it by his own exertions is poor and ineffective ', in Ni daya ravale in Todi. Tanayuni brova in Bhairavi, poses the two views in a series of similes, but inclines to the Marjara-view.

" Which is it ? Does the mother go to the child or the child to the mother? Does the cow go after the calf ? Do the paddy fields go up to the clouds for water ? Does the lover go after the beloved ? O Lord ! come, solve my doubt and show me your beautiful face ".

I64 Vatsalya

Tanayuni brova janani vachchuno tallivadda baludu bono Inakulottama ī rahasyamunu yerigimpumu momunu ganupimpumu vatsamu venta dhenuvu chanuno varidamunu gani pairulu chanuno matsyakantiki vitudu vedaluno mahini Tyagaraja vinuta rammu delpumu. In fact in one piece, Aparadhamula in Vanavali, Tyagaraja inclines to this view so much that he apologises for even having made an attempt to appeal to the Lord with his songs. "Does not the Lord know? Why should I be impatient ?" Aparadhamulanu norva samayamu kripa jūdumu ghanamainanā chapala chittudai manaserugakane jali bettukoni moralanidu sakalalokula phalamula nerigi samrakshimchuchu nundaga nannokani brova teliya gīrtana sataka monarchu Tyagarajanuta na aparadhamulanu norva.

9. Vatsalya or love towards God who is conceived as a child or a little boy, is a form of Bhakti pertaining primarily to the Krishna-incarnation. In Tyagaraja's songs there are a few in which the love of Rama's parents, especially Dasaratha, figures. In the Lali songs of the Utsava-series, in which the Lord is to be put to the swing or cradle and rocked, we can see this Vatsayla-bhava as in Rama Rama Rama in Sahana. Here Tyagaraja conceives of his favourite deity as a little boy and enjoys a father's affection for him. Tyagaraja describes, with some fine fancies, Rama as a boy playing with His mates.

DEVOTEE AS CHILD I65

From the play, he calls him forth to come to the cradle; asks Him if He is hungry, if His discomfiture is due to His playmates finding Him unsuitable for the game and sending Him back. "Did they try to cover your eyes for the hide-and-seek game and find your eyes too big to cover? Why are your eyes red ? Why this perspiration ?"

The reverse form of this Vatsalya, i.e., God as Father and devotee as child, is found in Tyagaraja to a greater extent. Besides frequently addressing Rama as Father (e.g., Janaka, Tandri, Mayappa, Natandri, Nayanna) he devotes a special song making himself the son and a member of Rama's family. Sītamma māyamma Srī Rāmudu ma tandri Vatātmaja Saumitri Vainateya ripumardana Dhata Bharatadulu sodaralu maku O manasa! (Lalita).

In Nayeda vanchana in Nabhomani Tyagaraja compares himself to a boy harassed by others on the street and calls upon God that like parents, He should come to his rescue.

In O Rama Rama (Nagagandhari), Tyagaraja calls Rama his most precious kith and kin-Bandhuratna.

In Rama ninuvina (Sankarabharana) he calls Rama his mother, father and brother and in Rama nipai (Kedara) he describes Rama as mother, father, friend, wealth etc.

The remaining three forms of Bhakti mentioned by Narada, love as from a beloved, Tanmayata, and poignant suffering on separation from the Lord, represent higher stages of the emotion of Bhakti and as such, we shall deal with them in the last chapter.

Whether in one of these forms or in all these forms, one's devotion has to stabilise itself into a steadfast, uninterrupted emotion for the Lord, the Sthayi-Bha va of Sthira-Bhakti.

I66 Sthayi Bhavd

Then the Lord possesses the devotee completely; it becomes impossible to shake Him off, whatever the counter forces; and whatever the devotee does, sees or enjoys, becomes part of his love of the Lord. " I will not leave hold of you until and unless you protect me "-" Nanu brovakanu vidavanura Rama ".

" O Rama ! It is not possible for my mind to let go its hold on your holy feet Whatever tasks I might undertake, whatever rare sights I might see, all that I deem as You, and I feel delighted.

Vidajaladurā nā manasu vinarā tanuvepanulaku janina mari kanarānidi kanugonina ninuga bhavanchi santa silliti Srī Tyāgarāja nuta.

Repeatedly, he protests that he could not seek any other God or any other path. (E.g. Koniyadedu). " My mind does not rest upon any thing other than you .. wherever my eyes fall, there I see only you"- Ninuvina namadi yendu niluvade ... Nenu echata jūchinanu nīvai unnadi.

Again, " Weal or woe, I have not given way to grief. Well-treated or ill-treated, I have held fast to your blessed feet ".

Chala saukhyamo kashtamo nenu jali jenditinā sarivārilo pāla munchina nīda munchina padamule gati Tyagaraja nuta (Bhuvini dasudane-Sriranjani).

Sthira Bhakti 167

The Lord becomes the prop of one's life, the strength of one's body, one's wealth, one's mind's joy, and one's satis- faction. The Lord becomes everything to the devotee,- Tyagaraja-sarvasva in Dinamanivamsa. Even one's enjoy- ments, one considers as God : My youth, my love, my beauty and its display, my dressing, - everything is the Lord. Nā jīvādhāramu nā subhakāramu nā menu balamu na chittanandamu nadu santhoshamu na muddu vesamu nā manoharamu nadu sringaramu nādu yauvanamu Pahi Kalyānarāma Pavana guna Rama (Kāpi).

' The light of our eyes, the fragrance of our nose is all Himself. Means and End, Sadhana and Sādhya, it is all Himself'.

Nā jīvādhāra nā chūpu prakāsamā nā nāsika parimalamā nā japa varna rūpamā Nādu pūjā sumamā Tyagarājanuta, Na jīvādhāra ī (Bilahari).

I. Cf. also Na prakasama ('Evarura'-Mohana), Na jīvādhāra ( Neramā '- Saurāshtra), Na bhāgyamā (Melukovayya-Bauli)·

168

CHAPTER VIII

PHASES OF BHAKTI

' Nava rasa yuta kritiche bhajiyinchu

IN THE last chapter, I dwelt on the various forms of Bhakti as the teachers of Bhakti-marga had described them. These I called Bhakti-prakaras, the same thing in different forms, like the same sweet substance being once sugar, sugarcandy at another time and so on. The subject of study in the present chapter is another aspect of the varied expression of the senti- ment of devotion in the songs of Tyagaraja ; it will be from the point of view purely of their richness of feelings and moods, which imparts to them a lyrical appeal and brillance and add a third dimension to Tyagaraja's genius, that of poetry to his music and saintliness. In these songs depicting the rich variety of feelings and their subtle and varying shades, we also find Tyagaraja's musical forte of the Sangatis coming into full play, serving to underline and accentuate the variations of the moods. In the study of this aspect, which marks him off prominently from his two other fellow composers, we shall seek the legiti- mate guidance of the Alankarikas or the Sanskrit rhetoricians and aesthetic critics.

Bharata, in his Natya Sastra, spoke only of eight Rasas, Sringara, Vira, Karuna, Hasya, Adbhuta, Raudra, Bhayanaka and Bibhatsa. The Santa or the Rasa of quietude had to undergo a good deal of struggle between the sixth and the tenth centuries, before it could be accepted by the majority of Alankarikas and the expression Nava-rasas could come into wide vogue. It is not as if that before its acceptance, poets did not revel in it or that literature of the highest order did not depict the Santa Rasa ; in this land of spirituality, the sentiment of Santa had a dominant place from the earliest times; but what is meant is that it was only later that it was recognised and dealt with by theorists as a major sentiment capable of being shown as the leading motif of a literary

Bhakti Rasa I69

production like a poem or drama. Similar is the story of the emotion of Bhakti. Despite its great vogue from the earliest times in this country's life, in literary compositions, the emotion of Bhakti as a feeling of adoration towards God, was long considered only as a minor feeling, a Bhava, a fit theme for Stotras but not capable of being developed into a full-swung Rasa as the sole theme of a whole poem or drama. In the tenth century, it was still struggling and Acharya Abhinava- gupta, a great devotee, philosopher, Tantrika and aesthete, mentions Bhakti, in his commentary on the Natya Sastra, as an important accessory sentiment of the Santa Rasa which he strove with great effort to establish. But just as the much- denied Santa slowly attained to such state of primacy that it was considered the Rasa of Rasas, Bhakti also soon began to loom large and despite the lukewarmness of the general run of Alankarikas, had the service of some distinguished advocates. It is not necessary to go further into this history of Bhakti Rasa, but I may refer such of those as may be further interested to my book, The Number of Rasas I. It is the Bhagavata that gave the great impetus to the study of Bhakti from an increasingly aesthetic point of view. Bopadeva, patronised by Hemadri, the minister of the Yadavas of Devagiri, was the pioneer in analysing the Bhayavata in a topical manner, and if Bhaktas cannot ignore the Bhagavata, they can as little afford to ignore Bopadeva's analysis and concordance of the Bhagavata, called the Bhagavata Mukta- phala and Harilila. Bopadeva and his literary associates were the pioneers to study the emotion of Bhagavad-bhakti as a Rasa. It is from them that it went forth to the Bengali circle of Sannyasin-devotees, among whom Sri Chaitanya Mahaprabhu appeared to set another part of the country aflame with God-Love. The Alankaric elaboration of Bhakti Rusa reached its maximum magnitude at the hands of the distin- guished follower of Chaitanya, Rūpa Gosvāmin, whose contribution to this subject consists of the two works Bhakti- 1. Published in the Adyar Library Series.

170 Rasa DOCTRINE

rasamritasindhu and Ujjvalanilamani. We cannot omit to mention in this connection the work of Sri Madhusudana Sarasvati, the renowned Advaitic dialectician, who after scaling the heights of the Nirakara-vada, establishing the Formless Absolute, quietly wrote at the end of that section in his Advaita Siddhi :

वंशीविभूषितकरात् नवनीरदाभात पीताम्बरादरुणबिम्बफलाघरोष्ठात। पूर्णेन्दुसुन्दरमुखादर विन्दनेत्रात कृष्णात्परं किमपि तत्त्वमहं न जाने।।

This Advaitin-Bhakta has given a book on Bhagavad Bhakti dealt with as a Rasa, called the Bhagavad-bhakti- rasayana. What the rhetoricians of the Chaitanya-school did for Krishna Bhakti, the Vaghela King, Visvanatha Simha did for Rama Bhakti, but his works are known only in manuscript. We shall take the help, therefore, of these leading Bhakta Alankarikas in analysing and evaluating the emotional richness of the outpourings of the Rama-filled heart of our poet- saint-musician.

A Rasa is the developed relishable state of a permanent mood which is called Sthayi Bhava. This development towards a relishable state results by the interplay on it of attendant emotional conditions which are called Vibhavas, Anubhavas and Vyabhichari or Sanchari Bhavas. Vibhava means Karana or cause; it is of two kinds: Alambana, the personal or human object and substratum, and Uddipana, the excitants. Anu-bhava, as the name signifies, means the ensuants or effects following the rise of the emotion. Vyabhichari or Sanchari Bhavas are those crossing feelings which are ancillary to a permanent mood. A well-known illustration will make these concepts plain. If we take the case of Sringara Rasa, say between Dushyanta and Sakuntala, the Sthayi Bhava, which is a permanent and steadfast mood in the heart of the individuals, which does not go under, even on the rise of any number of

Bhavas EXPLAINED

similar or dissimilar emotions, is Rati, the love which the hero and heroine have for each other. The human factors here form the Alamband Vibhavas; Dushyanta is the Alambana of Sakuntala's Rati and vice versa. The Uddīpana Vibhava or the exciting causes in love are the beautiful background, stimulants of nature, like the moon, the breeze, the vernal season etc., as also the personal endowments, charms and blandishments of the lovers. The ensuant conditions of individuals in love, like their mutual side-long glances, the sighing, the exchange of sweet chat etc., form the Anubhavas. As it is by these consequential conditions that one has to portray a Rasa on the stage, Anubhavas form the realm of Abhinaya; appropriate vocal expression as speech or song is Vachika-abhinaya; appropriate physical action, Angika- abhinaya; and lastly, Sattvika abhinaya, representation of Sattvika bhavas, which I shall explain presently. What are the Vyabhichari or Sanchari bhavas? They are, as already stated, these feelings which rise as accessory feelings to heighten the permanent mood; they have been given as thirty-three in number and are despondency, fatigue, suspicion, jealousy, intoxication, exhaustion, languor, dejection, anxiety, bashful- ness, exultation, pride, sadness, yearning, anger, fear, cogitation, and so on.

निर्षेदग्लानिशङ्गाख्याः तथासूयामदश्रमा: etc.

How these feelings arise, say, in a state of love, needs no elaborate elucidation. Eight more emotional features are to be added, namely the Sattvika-bhavas; these are separately mentioned, because they are prominent reactions in the condition of the body when it becomes overfilled with a particular emotion. They are stupefaction, tears, hair standing on end, perspiration, pallor, trembling, choked voice and loss of consciousness. These again need no elucidation. By the inter. action of all these, the permanent mood of a Sthayi Bhava like Rati gets nourished into a delectable state of relish called the Sringara Rasa.

172 Bhakti AS Rasa EXPLAINED

We may now easily apply these terms to our Bhakti Rasa. At the end of the last chapter we spoke about the steadfast devotion of Rama-bhakti in Tyagaraja. The Sthayi Bhava of Bhakti is the mental state of either Rati, love, for God, as distinguished from Rati for a mortal personality or, as Madhu- sudana Sarasvati explains in his Bhakti Rasayana, it is the mind attaining the Lord's Form, भगवदाकारता. This is a permanent state not disturbed by any condition. The object of this devotional emotion is the Lord Rama. He is therefore the Alambana Vibhava. Of this Lord, the Alambana, His infinite endowments of Rupa and Guna, which excite the devotee's love and adoration, come under Uddipana-Vibhava. Of these also, we have spoken in the chapter on Ishta Devata. The other excitants are the company of Bhaktas, Sadhus and Bhagavatas, holy places like Kshetras and Tirthas, which we have dealt with in the chapters on Life and Sadhana. Love feeds and grows on itself and what issuc forth as outward manifestations or Anubhavas, themselves act as further stimulants, even as the side-long glance, the smile and a one- third profile of the beloved excite the lover's feeling further. Therefore, the Anubhavas or Lakshanas of Bhakti or Bhaktas, like listening to the Lord's story, Katha-sravana, Kirtana or singing His glory-these also would excite and intensify the devotion further and thus come both under Anu-bhava and Uddipana Vibhava. Some of the forms of Bhakti dealt with in the previous chapter like the act of worshipping Rama, worshipping His feet, serving Him, hearing of His glory, would all come under Anu-bhava too, as these are the spontaneous manifestations of acts resulting from Bhakti. Some of the Anu-bhavas have also been dealt with under Sadhana. The most manifest Anu-bhava of Tyagaraja in his state of Bhakti is in the realm of Vachika, namely his Kīrtanas. The eight Sattvika bhavas referred to, such as becoming benumbed, perspiration, horripilation, tears etc., are manifesta. tions of an advanced state of emotion and will be illustrated in the last chapter.

MOODS OF Bhakti I73

Now we shall tackle the Sunchari Bhavas, or the different moods of the devotee. When I say ' tackle' I do so purposely; for it is somewhat of a task to sift and analyse the outpourings of the Saint under this head, and these are the most numerous among his songs. One mood shades off into another and in the same song, there is the play of more than one feeling. Leaving; the order of these Sanchari Bhavas, as enumerated by Bharata, we shall proceed in our own sequence and illustrate some of the more important moods. Broadly classified, these moods fall into two classes, those of union or gain or success and those of separation or loss or frustration. Let us first take the initial condition of longing for the Lord, Autsukya as this has been named by Bharata. Here, of the songs of Tyagaraja expressing his longing in specific forms - to recite Rama's name, hear and sing of His glory, to adore His feet, to worship Him and serve Him, we have already spoken under ' Nama-mahatmya', ' Sravana', ' Kirtana', ' Pada-seva', ' Archana' and Dasya'. Now, to some other specific longings of Tyagaraja, as also some songs depicting longing in a general form. For anybody representing a thing to another or expecting somebody's favour, the first thing needed is to catch the eye of the listener. The devotees always long for and pray for the Kataksha of God. Look at this in Latangi : "Pray, cast your benevolent look at least once on me, your faithful servant who is ever free from all evil. A look just like the one which trans- ported Lakshmana to ecstasy as soon as it was conferred on him, with Sita's concurrence, while he was ardently doing Padaseva to you". Kanta jūdumi okapāri krekanta jūdumi bantudai velayu bagugāni tappu tantalella manukonna nannu alanadu Saumitri padaseva chelaregicheyuvela Sītato balki chūchinanta

baragina yadu Tyāgarājuni pulakānkitudai (Krekanta).

I74 Autsukya

In the Kalavati piece, his yearning is for atleast a single glance of the Lord. Okapāri jūdaga rādā.

Longing for the sight of the Lord, Darsana in general, is expressed prominently in some other songs. In O Raghava in Pantuvarali, he asks the Lord to swear that he would come to him, whenever needed. In another Kalavati song, he asks : " When shall I have the privilege of seeing your exquisitely beautiful moon-face ? Your intimate devotees, your brothers, Sīta etc., would be calling you away". Ennadu jūtuno Inakulatilaka-nin

punnama chanduru bolu mukhamunu.

A passionate longing for Rama's darsana is expressed in Ra ra ma intidaka in Asaveri.

" Pray, come to my house; I cannot stand the separation any longer. Give me the darsana of your enchanting face." Ra ra ma intidaka-talalera-muddu garu nī momunu jūchuchu

That the Lord did come to Tyagaraja's house and that Tyagaraja did have darsan of the Lord are seen in the pieces Bhavanuta and Kanugontini.

In a long Divyanama in Saurashtra, Vinayamu nanu, Tyagaraja expresses his longing to have the darsana of the limbs of Rama, from foot to head, giving, in an epitome of the epic, the exploits of each of these limbs. Rama Kodanda Rama in Bhairavi, yearns for a single glance of Rama and for a word from Him. Sarvabhauma in Raga Panjaram yearns to listen to Rama's charming words.

Nirveda I75

" O King of Kings! Can you not heartily talk a few words to me? The charming words you spoke before had not reached my ears and I have been uneasy with an unfulfilled desire. Am I to keep on living, hoping to have that privilege on some future occasion !" Sarvabhauma Saketa Rāma manasāra balka rāda, Devatā

muddu mudduga mātalādi nadi mundurāka sadā veta jenduchunu kaddukaddanuchu chirakalamunu karagu chunda valena ? Tyagarajanuta " Why is it, O Lord, you do not talk to me, though I have always danced to your tune ? Why are you angry with me ?" Palukavemi nā daivamā, parulu navvunadi nyāyamā ? aluga kāranamemi rā Rāma nī vadinchinatuyadina nāto (Pūrnachandrikā)

Nirveda is a state of despondency which overtakes one when a longing is not fulfilled or takes time to be gratified. There are quite a good number of instances of Tyagaraja crying in despair, being not able to get his Rama. See here Tyagaraja losing faith even in Bhajana, for whenever he tried, he failed to find Him. Nī bhajana gāna rasikulane nendu gānarā Rāma

saguna nirguna nijamudabbaralanu shanmata mula marmamashtasiddhula vagalu jūpa santasilla gantini varānana Tyāgarāja vinuta (Nayakī)

I76 DEPRESSION OF SPIRITS

Hear his broken-hearted wail -- "To whom shall I unburden my agonv ? My constant Bhajanu has not produced the desired result. The reverse has happened. Starting to make a Ganesa idol, I have finished by making a monkey". Evarito ne delpudu Rama nāloni jālini kavagoni sadā bhajanaseya garvamulanni veraye Gananathu jeya goraga gadu vānarudai tīruga. (Manavatī).

In four songs : Toline jesina mn Suddha Bangala, Tolinenu jesina in Kokiladhvani, Toli janmamu in Bilahari, and Prarabdha mittundaga in Svaravali, he bemoans the absence of the Lord from him and attributes his failure to his own past Karma. He has broken down so much that he who elsewhere asked : " What are the planets and their strength ?" -'Graha balamemi',-now says in 'Toli nenu' towards the end, that he has failed because of starting his Bhakti at an inaus- picious time. ' Bhaktavesamu veyu vela varja kalamemo'.

He then runs himself down, in a number of kritis, as an undeserving man; piles, one upon another, his manifold disqualifications, to explain why the Lord does not show his grace to him. These take the character of confession. Tyagaraja certainly did none of these evil acts ; such confessional verses are found in the hymns of the most distinguished saints and Acharyas. Their real purpose it to serve as confessions for us, the reciters, who revel in these sins. Hymnists like Parasara Bhatta and Ayyaval, in their hymns on the Lord's Grace I, tell us that the Lord's Grace I. See my Tamil translation (with introduction) of Ayyavāl's Dayasataka, Kāmakotı Kosasthāna Series,

Dainya I77

comes mostly to such sinners. For, what is there in the spotless for the grace of the Lord to do? The sins are said to be the feed of the gluttonous Grace of the Lord, which goes about to appease her hunger. Of songs in this class, a full Pancharatna song gives a catalogue of the sins, i.e., Dudukugala in Gaula, Etula brotuvo in Chakravaka, Ennallu tirigeti in Malavasrī, Nenendu vetukudura in Harikambhoji, Ninnana valasina in Kalyani, Noremi in Varali, and Gattiganu nanu in Begada, illustrate this mood well. As an example, I shall cite only one song: " O Rama, I do not really know how you are going to save me. Alas! Mine is a despicable record, detestable for the ear. Like a bull astray, I have been roaming about anxious for my food. I have flattered born misers to earn only my sustenance, doing wicked deeds in the company of wicked men ".

Etula brotuvo teliya Ekānta Rāmayya katakata nā charitamu karna kathoramayya pattigottu rīti bhakshinchi tirigiti puttu lobhulanu pottakai pogaditi dushtalato gūdi dushkrityamu salpi rattu jesina Tyāgarājuni dayato.

This self-depreciation would, from the point of view of Prapatti, come under Karpanya and Naichyanusandhana.

Another run-down state is that of dejection and meekness, Dainya, another important Sanchari bhava. Ty agaraja's plaintive pleadings to Rama run to about seventy songs, amongst which are to be found some of our oft-heard pieces. Some of these have a biographical interest, as they contain references to Tyagaraja's revilers, foes in friends' guise, harassing kinsmen and critics. It is hardly possible even to cite their Pallavis, not to mention their texts to any extent. Suffice it to 12

178 Vitarka

observe that to have worked so many variations on the single mood speaks highly indeed of Tyagaraja as a poet Just one song, I shall quote to bear this out.

A wonderful act of the Lord in His great love for His devotee, a unique act of God, Devakriya, is remembered by Tyagaraja in Nati mata marachitivo in the appropriately named Raga, Devakriya. Tyagaraja reminds the Lord of it and asks whether He has forgotten those words of His.

"Why are you frequently worrying yourself ? All this prosperity of mine (i.e., of the Lord's) is yours, so you said, and have you forgotten those words? Do you not remember when you said those words? Your coronation was over ; dancing girls had come in and you were witnessing their exquisite dance. Suddenly your eye fell on me, in that gathering. I was at some corner, standing entranced by the dursanu of your blessed feet. At once, you asked Bharata, who was waving the chowrie for you, to stop lest it should hide your view of me! And then you told Bharata that you contemplated giving me some boons. All that, have you forgotten ?"

Nati māta marachitivo O Rama chinna māti mātiki nāpai mannana jeyuchu etiki yochana ī bhāgyamu nīdanu tarunula bāgu nartanamula jūchu vela charanamulanu gani ne karaguchu sevimpa Bharatuni kara chāmaramunu nilpuchu kurunanu Tyāgaraja varadudani palkina. Vitarka is the feeling of doubt and cogitation. E Ramuni nammitivo in Vakulabharana, he asks himself In

whether he has worshipped the correct Rama. And in Palintuvo Palimpavo in Kantāmani, Tyagaraja says that he has, of course, followed his Gura's teachings and worshipped

Amarsha 179

accordingly but he was not sure if Rama will protect him or not, In the Kalyani song, Rama ni vadu, he says that he does not know whether Rama would come or not or what the effect of his past worship of the Lord was going to be.

On a different plane, he expresses his doubt in the two pieces, Edari sancharintura (Kantamani) and Dvaitamu sukhama (Rītigaula), whether he should follow the dualistic or the monistic paths.

Amarsha or anger is another leading Sanchar bhava. Here again, as in Dainya, there are some seventy pieces, many of which are popularly sung. Here too is to be appreciated the play of Tyagaraja's fancy. From gentle ventilation of grievance and remonstrance, these go up to anger and abuse. Again and again Tyagaraja asks Rama, if Rama could protect and help a mere monkey (and that, one who forgot his promise), a Rakshasa, a hunter Guha, who could spread only leaves for bed, and a huntress Sabari, who could only give her Uchchishta, why could He not come to Tyagaraja's rescue. (Mari mari ninne, Manamu leda, Yochana, and Paraku Nīkelara.) See some of his other accusations :

"You have no love for the poor and the holy" (Nī dasanudasuda); "Is there none to question you?" (Ennallu ūrake); "Who has bitten your ears? Your mind has changed " (Nikevari bodhana) ; " You are capable of saying one thing at one time and another at another time" (Atta balukudu) ; " What pleasure do you derive by speaking untruth to me?" (Chala Rallalada) ; "Have you no self-respect? Have you no attachment?" (Manamu leda).

I80 Mati

"When I approach you with familianty you get stuck up, like the king that you are" (Rama Rama Rama); " Should you show enmity to me?" (Rama- bhirama in Saveri). " Why do you stint in blessing with your grace, as if you have to purchase it and dole it out ?" (Koniyadedu). In Tanamidane in Bhushavali, Tyagaraja accepts that he has to lose temper and abuse the Lord. Okavela kopaginchi ninu dūru- chuntigani Rama Tyagarājanuta. In another song too (Palintuvo-Kantamani), Tyagaraja accepts that he had found fault with the Lord but asks him not to attach any blame to him on that score. Finally, look at this in Rama Rama Rama Sita in Huseni, where, after having said all this, Tyagaraja says : " Having affectionately sung your praises, should I, in the end, have to say all these things ?" Mati is clarity of understanding born of proper learning and valuation of things and the reaching to correct solutions by deliberation. According to Abhinavaguptacharya, this is a very intimate accessory mood of Santa and, hence, of Bhakti Rasa too. The reflection of a clear cultured mind that has appreciated clearly the issues involved in this Bhakti Yoga is evident in the many songs that we considered under Sadhana- sampat, showing Nityanity-vastu-viveka, Vairagya, Sama- damadi, as also those that we considered in the chapter on the Saint's reformist zeal. Here we shall particularly note some of the songs in which Tyagaraja tells the Lord about his own equipment and qualifications. In Nive nanneda jesite in Saurashtra, Tyagaraja says that he has fully understood that he had taken to the right path,

Šmriti 181

when he chose devotion to Rama and proposes to continue to court Satsanga and chant the Lord's Name. Rama ninu vina in Sankarabharana says that Tyagaraja has understood well the truth that Rama and His Sattvic Bhakti were the only means of crossing the Samsara. In Anandamanandamayenu in Bhairavi, he gives quite a long list of his own qualifications : firm installation of the Lord's feet in his heart, prayer, abandoning bad company, resignation to God, fear of sins, subjugation of passions and sex, faith in Rama Nama, conquest of worries, discrimination of the real worth, or rather, the worthlessness of material wealth, meditation and so on. Manavini vinuma in Jayanarayani is another statement of Tyagaraja's spiritual equipment.

Allied to this is Dhriti or contentment and happiness born of realisation of the objects and the absence of sorrow, even when some are not realised. In Ninu vina in Navarasa- kannada, Tyagaraja expresses a mood of satisfaction-that his ears are full of Rama's stories, his lips feel blessed in uttering His Name, whatever he sees, he sees as Rama and even distasteful things become relishable and verily he has secured his fruit in Rama.

Similarly in Nanu palimpa in Mohana, he expresses his gratification at the Lord coming, walking all the way, to bless him. His gratification (in Dasarathi ni rinamu-Todi) at seeing his own songs on Rama popular in distant parts and his expression of gratitude to the Lord who thus spread his fame, is also an aspect of this Sanchari bhava of Dhriti. More of this we shall see in the next chapter, when we review the spiritual experience or Bhagavad-anubhava of Tyagaraja.

Smriti: While Mati is just an intimate accessory of Bhakti, Smriti, the Sanchari bhava of memory or remembering is one of the forms or is of the very nature of the Bhakti- consciousness. This also we have illustrated under forms of Bhakti, Smarana, dealt with in the previous chapter.

I82 ' Vishada

Harsha or delight goes with Dhriti, which manifests itself as soon as the object longed for in Autsukya is gained. The minor feeling of delight in ancillary gains alone would constitute the accessory feeling or Sanchari bhava of harsha; for, the joy of attaining the main object itself would be of the form of the main Rasa. Thus, joy at meeting Sadhus and in doing the various acts of devotion such as Sravana, Kirtana, Padasevana, Archana-in fact, in all the Anubhavas of Bhakti - would constitute this Harsha. Of these joys, we have already spoken. The joy on obtaining the vision of the Lord or on the coming of the Lord Himself is the Rasa of realisation itself, which we shall deal in the next chapter.

Mada : Elation on obtaining the Lord or anything pertaining to Him is the only kind of elation possible in Bhakti. This closely follows Dhriti and Harsha, the satisfaction and joy on obtaining the Lord's grace, vision etc. It often expresses itself in the words " Blessed am I " and similar forms of self- congratulation. For instance, in Sitamanohara in Rama- manohari, we find Tyagaraja saying :

" I feel blessed to hear people say that I am your own. I have been supremely fortunate"

These are all Bhavas intimately related to realisation ; we have to reserve fuller reviews of these to the final stage dealt with in the next chapter.

Other Sunchari bhavas like fatigue, suspicion, exhaustion, carewornness, sadness are found in many of the songs expressing Nirveda, Dainya and Amarsha. Sadness or Vishada is an under-current in all these complaints, mild or wild, uttered by Tyagaraja in his suffering. "How long am I to bear this? How long am I to suffer," are expressions of sorrow that frequently occur in these songs. We shall see just one piece as a sample of this suffering and sorrow, Pahi Rama- ramana in Varali, which also shows Tyagaraja's poetic gifts for similes and analogies :

Chapalata 183

" How long am I to suffer and how long to bear it ? Can a gentle delicate jasmine flower stand the hit of a rough stone? How can a cucumber fruit bear a tight iron belt? Should a parrot be assailed by Brahmastra ? If parents abandon, what is the son to do? Can butter stand the blow of a sword?" Entani sairintune nemani vegintu Hare Rāma cheti malle puvu gundrati korva bodu dosa pandu kettu Rama tochu ninupakattu ahaha ! chilukakuna brahmāstramunaku taguna talli tandri brova kunte tanayuni kedova Deva-deva! venna katti debba korchu konuna Hare Rama. Chapalata is impatience in rushing to do a wrong thing, under the sway of emotion. This could be illustrated by Apuradhamulanu in Vanavali, quoted by me in the last chapter in which Tyagaraja asks Rama to pardon him for his impatience and importunity. Aparadhamulanu norva samayamu kripa jūdumu ghanamaina nā chapala chittudai manaserugakane jali bettu koni moralanidu. In fact much of what Tyagaraja said in anger, remonstrance and grievance, which we considered under Amarsha is caused by the Sanchari bhava of Chapalata.

In another series of songs, we find Tyagaraja taking some liberty with the Lord and giving a jocular turn to his expression of the praise of the Lord or his pleading with Him, or his venting his anger on Him. Some of these are like the well- known Ninda-stuti; for instance, this: Sita Nayaka in Rītigāula: "O Lord of Sita! Have you got up the mountain (like Tirupati), unable to stand the worrying by

I84 Narma

the Bhaktas! Have you run away to the island of Srirangam to sleep there and prevent devotees coming to you with appeals of distress? Have you yourself started begging Bali Chakravarti, foreseeing that you were likely to be troubled by devotees begging of you? Have you joined the monkeys to scare those who come to see you ? Have you stolen the saris of Gopis, seeing that Kuchela, the ill-clad Bhakta, may come to you for being relieved of his poverty ?"

The fancy pertaining to the stealing of the Gopis' sarees, in order to help a devotee later on, reminds us of an older Sanskrit verse, in which the poet says that the Lord collected the sarees with the knowledge that later he would have to send them to Draupadi in her distress. घासांसि व्रजचारिवारिजदशां हत्वा हठादुचकैः यः प्राग भूरुहमारुरोह स पुमान् वस्त्ाणि विस्तारयन्। व्रीडाभारमपाचकार सहसा पाच्चालजायाः खयं को जानाति जनो जनार्दनमनोवृत्ति: कदा कीटशी॥ In a Narma-Prarthana, Tyagaraja refers to Rama's long wanderings in the forest and asks him to lay himself down to rest in Tyagaraja's heart. Badalika dīra pavvalinchave sadalani duritamunu tegagosi Sarvabhauma Saketa Rama.

In Ramachandra nidaya in Surati, he asks Rama why His grace does not flow towards Tyagaraja : " Is it because you are dispirited by the fatigue of forest life and its rigours, or because you are angry that you have been called a woman ?" The last is a reference to Sīta asking Rama in Valmīki's original whether he was a woman to be so afraid of taking her along with him to the forest. राम जामातरं प्राप्य स्त्रयं पुरुषविग्रहमू।

Nindastuti I85

In Mamava Raghurama in Saranga, he asks Rama if his store of mercy had been washed away by the ocean, when Rama was lying there, whether his arrows had been broken in the battle, if his truthfulness had gone with the forest and if his divinity got lost when he took the human form. See this, another Nindastuti, Adigi sukhamu in Madhyamavati. " Who has ever enjoyed happiness by asking you for it, O Lord! Sita was attatched to you and she went to the forest, was taken away by Ravana and then you yourself sent her away. Surpanaka desired to marry you and lost her nose. Narada wanted to know your Maya and you made him a woman. Durvasas asked for food and lost his appetite. Devakī asked for a son and you gave him to Yasoda. To attain the Lord, Gopīs had to give up their lords".

Referring to the drama on earth that the Lord was playing in Ramavatar, along with the partners, Sīta, His brother, Hanuman, etc., Tyagaraja asks the Great Actor, "Why are you going about enacting this play ? Did your wife ask of you diamond ornaments or did your brothers or parents want food? Or, have your devotees been inviting you for a long time to stage this Nataka of Yours ?" Etavuna nerchitivo Rama endu kinta gāsi Sīta Lakshmana Bharata Ripughna Vātātmajulato nādu nātakamu alu vajrāla sommulu adigiro anujulu dalli dandralu annamadigiro? sīlulaina varabhaktulu bilachiro ? chirakalamu Tyāgarāja nuta nĩ (Yadukula Kambhoji).

CHAPTER IX

DEVOTIONAL ECSTASY " So'hamainade Chalu"

OF THE forms of Bhakti set forth in the previous chapter three were left over for treatment later as they formed the higher stages of devotion. They are the inability to endure separation from the Lord, (Aviraha), the love as that of a beloved, (Kantasakti), and Tanmayatva, mentioned by Narada in his Bhakti Sutras. The emotion of Love has two main phases, separation and union, Vipralambha and Sumbhoga. Separation is indeed the touchstone of all attatchment and according to the theory and practice of Sanskrit Alankarikas and poets, there is no nourishment of the sentiment of Love without the portrayal of separation, Vipralambha. न विना विप्रलम्भेन संभोग: पुष्ठिमश्नुते। Poets love to dwell on the presentation of love in separation, showing the lovers yearning and pining and struggling to obtain each other, rather than on love in union, Sambhoga. It is a well-known device adopted by Sanskrit dramatists to separate the first-met lovers, submit them to a process of separation and suffering, smelt their hearts, as it were, in the furnace of this separation, purge their hearts of all carnal dross, spiritualise their love and re-unite them finally in an inseparable union,- "तप्तेन तप्तमयसा घटनाय योग्यम्" as Kalidasa says. It is well-known how, in the Bhagavata, the Lord, seeing the pride of the Gopis, suddenly disappears, to rid their hearts of dross, प्रशमाय प्रसादाय तत्रैवान्तरधीयत। and after they had all wept themselves out in the Gopika Gita, He presented Himself before them again and began His Rasalilā.

Aviraha 187

तन्मनस्काः तदालापाः तद्विचेश्टस्तदारिमकाः। तहुणानेव गायन्त्यः नात्मागाराणि सस्मरुः। इति गोप्यः प्रगायन्त्यः प्रलपन्त्यश्न चित्रधा। रुरुदुः सुस्वरं राजन् कृष्णदर्शनलालसाः। तासामाविरभूच्छौरि: स्मयमानमुखांबुजः। पीतांबरघर: खग्वी साक्षान्मन्मथमन्मथः ।

A separation from the Lord is also mentioned as having occurred as part of the life-incidents of Tyagaraja. The idol of Rama which he was daily worshipping is said to have been taken forcibly by his irate brother and thrown into the Kaveri. Various songs are said to have been sung by Tyagaraja during this time of poignant suffering caused by the separation from his beloved Rama-idol. In the stories of Nada-Bhakti-Yoga in the Linga Purana and the Adbhuta Ramayana, mentioned by me already, we are given incidents answering exactly to this incident in the life of Tyagaraja : When the materially minded king wants the singer-saint to sing of his own royal splendour and this is refused, the idols of the singer-saint's worship are confiscated by the King. Some of the songs which we reviewed in the last chapter under ' plaintive pleading' show Tyagaraja in search of his Ishta-Devata. While they might have as well been sung while Tyagaraja was searching for his lost idol, there is nothing to prevent us from considering them as songs by the devotee, who had the vision of the Lord, suddenly lost it, and is crying out in agony to re-capture the vision. In whatever manner we take them, these songs depict well the form of Bhakti called Aviraha by Narada, poignant suffering when one is separated from his God. In Sasivadana in Chandrajyoti, where the Pallavi-address and Raga-name echo each other, Tyagaraja asks if he could bear this separation. Sasivadana bhaktajanāvana Sankara ne tāla galanā " What a sinner have I become that the Lord whom I used to worship with ecstatic love is not with me now! What shall I do? How can I

I88 Sattvika Bhavas

bear? Having once had Darsand of Sri Hari, the dispeller of all sorrows, can anyone bear separation from Him? Having treated me with affection before, is He now set with a deceitful mind ? Was it ordered by Brahma that I should undergo suffering, abandoning my hopes ? I do not find my beloved Lord. I have been regarding service to Him as my life's sustenance. My fate has come to this." Enta pāpinaiti nemi seyudu hā yelagu daludune-Oh Rama anta duhkha mulanu dīrchu harini jūchi yentavarainanu bāya sahinture etc. (Gaulīpantu).

In Andundakane in Pantuvarali, Tyagaraja is not exactly separated, but tells the Lord whom he sees, not to leave him to the pangs of separation. " O Raghava, swear to me in the presence of the sea, that you will promptly come to me whenever needed. If you should forget me in the company of your chosen, what could I do? If you do not come when I want your darsana, tears will flow down my cheek in streams, my whole house will look empty and every minute will appear a yuga." Kanavale nanu vela lekunna gannīru kālu vagā bārune. " When I get bewildered at your not responding to my prayers, I shall only be the laughing stock of others ". ' Napai garuna ledani kannīrāye'- I have wept before you with tears in my eyes that I have not been able to secure your grace' (Idinīku meragadura-Punnāgavarāli).

Vyadhi I89

The Sattvika bhava of tears, 'asru', occurs here: In Nivada negana, he asks,

"Since I am your own, can I bear even a moment's separation from you ?"

Sri Rama Jayarama in Madhyamavati is another song in Vipralambha. Vyadhi or failure of normal health and causing emaciation etc. is a Sanchari bhava which occurs in separation and we can see it here.

" O Rama of captivating beauty! Why do you not take note of my suffering ? When will you be pleased to talk to me? When will be that blessed day when you will make me happy? I cannot bear any more delay. Is your hesitancy due to my forcing my affection on you? Can anybody have this happiness and blessedness anywhere else ? Can he have the vision of this beauty elsewhere ? Is it my faulty Japa or Tapas or have I offended you ?

" You are my tilaka. For whom is my beauty? Separation from you even for a minute makes life useless. My mind has turned away from worldly comforts. By separation from you, my body has been reduced to half. Sit by me, remove my troubles and protect me. I beg of you. I am in your hands ".

Srī Rama Jaya Rama Sringara Rāma ... ... ... Pankajanayana nā kumkuma nīve Avanijadhipa na sogasevaride Rama nīvu nimishamu leni

I90 GOD-INTOXICATION

bhavukamele ... ... pāyaga menu sagamāyeno Rāma ... ...

In Chelimini Jalajakshu (Yadukulakambhoji) again he says that owing to separation from Rama, he had become much reduced in body. Till now we have been dealing with the phase of seeking of and separation from the Lord, in which the play of emotions is of Sanchari bhavas like Autsukya (longing), Nirveda, (despondency), Dainya (dejection), Amarsha (anger). When seeking and separation end and the devotee is transported to joy on union with the Lord, another series of Sanchari bhavus overtake him, Mada-elation, Dhriti-gratification, Harsha -- delight, and in the excess of this over-powering joy when one's whole being is, inside and out, filled with the Lord, tears of joy roll down his cheeks, voice gets choked, he breaks down or laughs, sings and dances. This is the state of God-intoxication, which is the highest state one reaches. Of what use is any Bhakti in which one's voice does not break, eyes do not moisten, hair does not horripilate and one is not able to proceed ? If one could go about in this divine madness, now weeping, now laughing, now, without any shame, sing and dance, verily such a Bhakta will sanctify the whole world. कथ विना रोमहर्ष द्रवता चेतसा बिना। विनानन्दाश्रुकलया शुद्धथेद्भक्त्या विनाशयः।। वागगद्गदा द्रवते यस्य चिसं रुदत्यभीक्षणं हसति क्वचिच्च। विलज्ज उद्गायति नृत्यते च मद्भक्तियुक्तो भुवनं पुनाति।। (Bhagavata) Here is Bhakti in the ecstatic state, and here is the realm of the Sattvika bhavas, of horripilation, tears of joy, choking of voice, perspiration etc.

REALISATION OF GOD I9I

Besides the realisation of the darsana of Rama at the end of his Sadhana by Namajapa, Tyagaraja refers to his having seen the Lord, in many songs. We have already noted in the first chapter, on Life, how in Paritapamu and Giripai Tyagaraja had the vision of the Lord. The songs referring to his sakshat- kara depict all the Sanchari bhavas of joy and elation and the Sattvika bhavas. See Tyagaraja's great delight on getting Rama and the series of poetic similes he uses to bring out his great delight in the beautiful Rītigaula song, Nannu vidachi: " I have found you just as a diver dives deep into the sea and holding his breath fast, secures the pearl. I feel now as if I have come under the shade of a Kalpaka tree, from the unbearable heat of the sun. I have come by you, as a man who digs the earth finds pure gold buried deep. It is like the break of a hailstorm in the midst of hot summer I.

The Sankarabharana song, Nannu brovakanu similarly expresses the great joy of Tyagaraja on getting the Lord : ' O Rama, I will not leave hold of you unless and until you protect me. I have secured you to rid myself of impurity, just as a man searching for a lost coin of trifling value comes by a precious gem, just as one expecting ragi-gruel comes by nectar, just as an exhausted swimmer finds a float for his hold and rest, just as a pilgrim starting for a Tirtha finds it at his feet, just as a woman about to lose her modesty comes by a cloth '. Vadda nundunade (Varali) again expresses the rapture of the Lord's company: Tyagaraja exclaims here that he would embrace the Lord and dance about,

I Cf. Valmiki : घर्माभितप्ताः पर्जन्यं ह्रादयन्तभिव प्रजाः ।

I92 AND ITS JOY

When this vision comes, the devotec knows not what to do. The bliss overpowers him and he loses control of himself. He cannot do anything. "Is it an unpardonable offence on my part, O Prop of my life, if I forgot myself for a while ? The effulgence of your blessed feet dazzled me and I was at a loss to know whether I should hug them to my bosom or press them to my eyes ".

This, in Nerama Rama Rama is the Sattvika bhava of Stambha or becoming benumbed. Kori kori nīdu koluvuseyu vela saramaina pada sārasamula bon- gara juchi yuramuna nunchudāmo kanula nottudāmo yani kūrimini brahmānanda manduchunu konta mayi marachiyuntini gani Tarakādhipānana Pāvana Sītānāyaka Srī Tyāgarājunipai (Saurashtra)

Giripai records the Sattvikas of Asru, Svarabhanga, Romancha and Stambha : " Unerringly I have seen Rama on the hill. He promised me salvation in five days. My body was thrilled and tears of joy rolled down my cheeks, I merely mumbled and I could hardly speak out my thought ". Pulakangitudaiyānandāsruvula nimpuchu mātalada valenani kaluvarinchagani. " When I think of you, my whole body becomes thrilled. When I have your darsana, tears of joy roll down from my eyes. When I embrace your feet, I forget my body ",

Bhagavad unubhuva ALL SATISFYING 193

" Talachite menella pulakarinchenu kanugona nanandamai kannīru nindenu charana kaugilivela jelagi maimarachenu " in Dayarani, appropriately in Mohana, the state of God-trance. See also the fifth charana of Rama pahi Meghasyama (Kapi) where he says : The moment I think of you, my body gets thrilled with hair standing on end. Talachinantane menu pulakarinchaka. When such a realisation comes, the things around look trivial. " When your love comes over, the universe looks trivial, as a blade of grass. Āsinchu vela jagamanta trinamāyenu (Dayarani-Mohana).

As Kulasekhara says : "When the Lord's Sakshatkara comes, the entire universe becomes a mere speck of dust; all the encircling oceans, a little drop; the fires, a tiny spark; the wind, a whiff of breath; the skies, a pinhole," पृथ्वी रेणुरणुः पयासि कणिका फल्गुः स्फुलिङ्गो लघु: तेजो निशश्वसनं मरुत्तनुतरं रन्ध्रं सुसूक्ष्मं नभः।

One of the rare feelings of the great devotee is found in his divine experience also being a complete gratification, compre- hending within it the realm of the senses too. This rare idea, gets expressed in some moods of Tyagaraja, when he feels his whole spiritual, mental and physical being completely trans. ported with God-bliss. Ninnubasi in Balahamsa expresses 13

194 YEARNING FOR EXPERIENCE OF THE LORD

this rare idea that the vision of the Lord gratifies all the senses, including the mind, Kanulaku chaluva chevulakamritamu vinu rasanaku ruchi manasuku sukhamu tanuvuku yānandamunu galga jeyu.

The song significantly has its final address to the Lord as 'Purna kama'; as the image of God is stationed in his heart, 'Tyagaraja hriddhama', Tyagaraja too becomes in this manner, a Purna kama, with all his pleasures fulfilled simultaneously by that single divine object of attachment.

In two other songs, Tyagaraja expresses in a different form, this sublime all-round sense-gratification from the Lord. In Nammina varini marachedi in Bhairavi and Rama nī pai in Kedāra, Tyagaraja says : " Even when enjoying material pleasures my mind was anchored only in you." Bhogamu landu vela buddhi nī yada nunche (Nammina varini) and " Even when I enjoy material pleasures, my mind is only on you ". Bhoganubhavamulandu bāguga buddhi nīyandu (Rama nī pai).

We have previously illustrated the Bhava of Autsukya, longing, in the pre-union and pre-realisation state. Having got his beloved Lord, Tyagaraja gets into a different kind of longing now. He desires to enjoy and serve the Lord in His ekanta. This delicate and delicious desire of the devotee can be seen in some of the pieces. In Vinanasagoni in Pratapavarali, see this longing which takes the form of a curiosity to feast his ears with the sweet and loving chat that takes place privately between the Lord and Sita, while they were playing together. And mentioning Anjaneya and Bharata as having had that privilege, Tyagaraja presses his claim too.

Kantasakti 195

Vinanāsagoni yunnānurā; Visvarūpuda ! ne manasāraga vīnula vinduga madhuramaina palukula Sītāramanito noma nagunta ladi gelchuta cheta nokari kokarujūchi yabhāva merigi Saketādhipa nijamagu premato balkukonna muchchata Vatatmaja Bharatulu vinnatula Tyāgarāja sannuta.

A similar yearning of his is seen in Ramabhirama in Dhanyasi. Here Tyagaraja longs that when Rama and Sīta are in private, sitting on the golden bed, Rama should order Tyagaraja to come in and sing to Him some music. Rāmabhirāma manasu ranjilla balkarada ? bangāru meti pānpupai bhāmāmani Jānaki sringarinchukoni cheluvondaga ninnugani ponguchu malle virula būjinchuvela sangītamu bādumani svāmi Tyāgarājunito. We have thus far dealt with the Avirahasakti mentioned by Narada. We first reviewed the state of separation and then spoke also of the state of union with the Lord. And, while on the latter, we also saw the heights of ecstasy Tyagaraja reached on obtaining the Sakshatkara of the Lord.

Now, to the Kantasakti, mentioned by Narada. Like Vatsalya, this form of Bhakti too, pertains pre-eminently, to the Krishnavatara, where the cowherd damsels attained Mukti through their Kama or love for the Lord:

गोप्य: कामाद् भयात्कंस: द्वेषाच्चैद्यादयो नृपाः । संबन्धाद्वृष्णय: स्नंहावयं भक्तया वयं विभो।।

In its essence, the emotion of devotion which a devotee has towards the Lord is feminine in nature, The love of a woman for a man has occurred to the sages and saints of all climes and

196 Madhura Rasa

ages, as the best image of the love which the individual soul should have for the Supreme Soul. To the Supreme Soul, the sole Enjoyer, the whole universe is the object of enjoyment; the entire creation, masculine as well as feminine, is like unto a woman to that Lord, the sole Purusha. स्त्रीप्राय मितरज्जगत।

The Gopis are, in fact, not women; mythologically, they are incarnations of Rishis : esoterically, they are the individual souls drawn by the magnetic Supreme Soul, to itself. This is made plain by the Bhagavata itself at the end of the famous Rasalila, by three similes employed by Sri Suka. When the Lord reappeared, they who had drooped down, rose up, like the bodies on the reappearance of life. And the Lord, surrounded by them, shone like Purusha Himself, with his Saktis. And the Lord sported with the Gopis even as a child would sport with its own image. उत्तस्थुर्युगपत्सर्वाः तन्वः प्राणमिवागतम्। व्यरोचत वृतस्ताभि: पुरुषः शक्तिभिर्यथा। रेमे रमेशो व्रजसुन्दरीभि: यथार्भक: खवप्रतिबिंबविभ्रमः।

The imagery of man-woman love was employed by Christian mystics too. St. Bernard's sermons and the writings of Coventry Patmore speak of the Church as the Bride and of Christ as the Bridegroom. In our country, this kind of devotional mood is already found prominently in the Rig-Vedic prayers and hymns ' and in the later age, it is in the field of Krishna Bhakti, that this form of devotion was developed to a great extent, and under the name Madhura Rasa, this received detailed treatment at the hands of Chaitanya's followers. In the field of music, the padas of Kshetragna and his fellowers are all based on this imagery, called popularly Nayaka-Nayika bhava.

I. See my paper Vedas and Bhakti, Vedanta Kesarı, Dec. 1955.

LORD AS THE BRIDEGROOM I97

In the writings of other devotees, devoted to Siva or Rama, this form of devotion is but rarely met with 1. But, as I have said at the outset, the very feeling of Bhakti partakes of the character of a woman's love in its finer essence and we may see the emotion taking such a turn in some of the songs of Tyagaraja. Saubhagya is the blessed state of a woman when all her beauty and endowments have their fulfilment in her own lord's love. Says Kālidasa. प्रियेषु सौभाग्यफला हि चारता।

" O Rama, Sringara Rama, You are . my Sautha jya, the supreme Tilaka on my forehead, marking my Mangalya. For whom else is all my beauty? Even a moment's separation from you makes life useless,"

says Tyagaraja, in Srī Rama Jayarama in Madhyamavati. Pankajanayana nā kumkuma nīve Avanijadhipa na sogasu evaride Rama Nīvu nimishamu leni bhāvuka mele.

"O Rama ! What a life is this ! Why did I have it ? How long am I to bear it ? If one does not have the frequent darsana of the Lord of peerless beauty, have chat with Him and enjoy to heart's content the embrace of the Lord who knows the ingita and delights in music, the heart becomes parched up and life becomes useless ". Etijanmamidi ha O Rama enduku galigenu entani sairintunu ha O Rāma sātileni mārakoti lāvanyuni mātimātiki jūchi mātalādani tana

I. This devotional mood with reference to Siva can be seen in Kashmir Saivism. See my ' Prayers, Praises and Psalms' 'G. A. Natesan & Co. Madras).

198 DEVOTEE AS LORD'S BRIDE

sāreku mutyala hāra yuramu pālu gāru momunu kannulāra jūdani tana ingita merigina sangīta loluni ponguchu danivāra gaugilinchani tana sāgara sayanuni Tyāgarājanutuni vegame chūdaka veganu hridayamu (Varali). In a few songs, Tyagaraja refers to God having clasped his hand, having done that act of marriage called panigrahana, so to say, at a very early age and appeals to Him not to give him up suddenly or asks Him why He has forsaken him abruptly. " You took me by the hand at an early age, made me serve and promised protection. I cannot understand why you should, at a time like this, waver whether to hold me up or give me up. Pray, do save my honour". Chinna nade na cheyi battitive ennarāni yūdigamu gaikoni ento ninnu palanamu setunani ittivela vidanadudamano elukondāmani yenchināvo teliya guttu brovave sugunavārinidhi goppa daivama Tyagarajanuta. (Kalanidhi). " Oh, my beloved Lord has forsaken me, alas! How can I live? How can I endure it? Is it fair to forsake me after treating me so long with fondling affection, embracing me often and cheering me up? The sweet words you said to me, the way you took my hand, and rid me of my troubles, had filled my heart so much that I had considered myself unequalled", Emani vegintune entani sairintu nā muddu Devudu

Sringara Nayikas 199

nanu base nayyayyo palinchi lalinchi palumāru gaugilinchi telinchi nanu paradesi seya docheno adina muchchata nadantarangamu ninda nīdu ledani yunti nindāka sarivārilo edabāyaka Tyāgarāju nelu Srī Harini tolli badalika larchi na chebattinadi talachuchu.

See this in Ghanta. (Huseni).

" O Ramachandra ! What else is there for me to aspire for when you have taken my hand and cast your benign look on me? When my look and your look come together properly, who can know the happiness that I then derive? If you do not take my hand, I shall have to suffer like an unmarried virgin ". Rama Rama Ramachandra * * * ghallu ghallu nī karamubatti kī- kannulakantemunnaditaramu na chūpu nī jūpu sarigājesite jeyu nā sukhamu yevariki yeruka chatta battani nabhīti Rāma bottu gattani kanyakā rīti ... ... Of the Sringara Nayikas, classified in great detail by the Älankarikas and writers on Rasa 1, which have been taken up by the Pada-composer Kshetrajna, it is in the realm of Parakiya Nayika, that the Love-form of Bhakti, Kantasakti or Madhura Bhava, has been most prominently dealt with. From the Bhagavata downwards, the philosophy of Karta- sakti has always been based on the greater possibilities of devotional intensity in the symbology of Parakiya Sringara or clandestine love : t. For an exhaustive treatment of these, see my Sringaramanjari (Hydere- bad Archaeological Department), Introduction.

200 Sviya - bhava

योषा जारभिव स्त्रियम्। But Tyagaraja's Madhura Bhava gives us a fancy in the class of Sviya Nayrka. See this, a unique fancy, in a Rītigaula piece. Tyagaraja says : " Just as an orphaned girl married to a man has no other house to turn to and clings to her husband, I entirely rely on you and implore you. How is it that you do not come?" Chera ravademira Ramayya mera gādurā ika Mahāmerudhīra Srīkara talli tandri leni bāla tana nādu goru rīti palumāru vedukonte pālincha rādā Pattividuvaradu in Manjarī again presents the devotee as a Svīya Nayika. In fact, in one elaborate song in Yadukula Kambhoji, Tyagaraja longs to be Rama's beloved spouse Sīta, even as in other songs, he longs to be a servant like Lakshmana and Hanuman; and he sets forth his longing to experience the joy that Sita enjoyed at the several stages of her Svayamvara and marriage. " Vouchsafe to me, O Merciful One ! Your grace and a little of that joy which the eager Sita had when she was assured that Rama would come to that Svayamvara-assemblage of unwanted kings ; the happiness that Sita had, when Rama himself came, drew himself up to his full stature, and thus drove away Sīta's anxiety about his ability to bend Siva's bow; the happiness that Sīta had, when Rama tied the Mangalya sutra and took her hand ". Daya seyavayya Sadaya Ramachandra . . dalachuchunna Sīta sukhamu

PADA-LIKE KRITIS 201

Nikevarı bodhana, the shortest piece in Suddhasaveri is cast in the very terminology of the Sringara padas : "Who has poisoned your mind? You do not freely talk to me! Your mind has changed." Even so is Samiki sari in Begada which opens like a dance-coinposition. Songs like Jūtamu rare (Arabhi) in which the ladies are called to come and see the beautiful Lord in procession are also couched in the imagery of Nayika (the singer) with the lady-friends and the Nayaka (the Lord). If even after these, one should have any doubts about the Madhura Bhava in Tyagaraja's songs, or has any doubts on the real meaning of this Bhava itself, one may listen to Rama- bhirama in Darbar, where Tyagaraja says : "The maid, my mind, is in deep love with you, but you do not seem to respond and take her hand ". Manasu cheli nīke marulu konnadigāni chanuvuna cheyi batti mamula rakshimpavu. In the same piece we read in a further passage, Tyagaraja describing himself in terms of the Vasakasajjikā Nāyikā : " I have provided for you a comfortable bed ". We may note this piece again, in Harikambhoji, where the mind is made the Duti, to bring the lover Rama to Tyagaraja, the beloved. "O! Maid of my mind! Go and bring quickly my' Lord. Seek him eagerly and lead him to me with due respect. I want to enjoy happiness for a long time with him ". Chani todi teve O Manasa ! kanikaramuto gani karamidi chirakalamu sukhamanubhavimpa vegame The third foot of Eti janmamidi in Varali describes the Lord as a 'Sringara Nayaka' and the devotee as longing for His loving chat and embraces. The description as a beloved is complete in the Ghanta piece Rama Rama Ramachandra,

202 HIGHEST FORM OF DEVOTION

already quoted. Making himself a Sviya Kanya, Tyagaraja pleads with the divine lover : "When my look and yours come together, who can know the happiness which I then derive?

.. If you do not take me by the hand, my forlorn condition will be that of the unmarried virgin ". Na chūpu nī jūpu sarigājesite jeyu nā sukhamu yevariki yeruka

chatta battani nabhīti Rāma bottu gattani kanyakā rīti.

Thus, in manifold manner, Tyagaraja conceived and enjoyed the surpassing beauty of his Rama. Poet Magha defines b'auty as that which appears new every time we see it. क्षणे क्षणे यन्नवतामुपैति तदेव रूपं रमणीयतायाः ।

The wonderful blue cloud of Rama assumed manifold shapes and everytime Tyagaraja saw it, he found it fresh and entrancing : Manasuna nitya nūtanamaina chakkani tanamunu kanugontini O Rama Meghasyama

The Lord says in the Gita: (Rama pahi, Kāpi)

" Four kinds of men adore me, the afflicted, the curious, one desirous of material gain and a man of knowledge, jnani. Of these, the jnani who is always fixed on me and is of single-minded devo- tion, is the best. I am dear to him very much and he is dear to me. All these are noble, no doubt, but the jnani is verily my own self ". चतुर्विधा भजन्ते मां जना: सुकृतिनोऽर्जुन। आर्तो जिज्ञासुरर्थार्थी ज्ञानी च भरतर्षभ ॥ तेषां ज्ञानी नित्ययुक्त एकभक्तिर्विशिष्यते। प्रियो हि ज्ञानिनोऽत्यर्थमहं स थ मम प्रियः ॥ उदारा: सर्व एवैते ज्ञानी स्वातमैव मे मतम्।

Abheda-bhakti 203

The Bhagavata endorses this view when the Lord says therein to Uddhava, in almost identical words : "ज्ञानिनस्स्वहमेवेष्टः। ज्ञानी प्रियतमोऽतो मे"

It is as such a jnani that Tyagaraja adored the Lord. Love of God, he considered as the most essential thing necessary for one to have real knowledge. Anurāgamuleni manasuna sujnānamu rādu (Sarasvati)

The true Bhakta, Tyagaraja says, is one who has realised the identity of the individual soul and the Supreme Soul. Paramatmudu jīvātmudu yokadai baraguchundu bhakta-parādhīnuni (Karuna elagante-Varāli).

In Siggumali navale in Kedaragaula, he is sorry he has not realised in his heart that ' Thou art myself': Ullamunanu ganinīvu nenai yunda deliyaledu.

In Nike dayaraka in Nīlāmbari, he asks : " Will one who has still to realise the identity of 'I'and ' Thou', attain happiness ?" Ekopinchaka nenu nīvanu jnānikelāgu sukhamichchune O Raghava.

In Enduku peddala in Sankarabharana, he asks for know- ledge in the non-differentiating, monistic Vedanta. Bhedarahitavedantamunu delisi ... . Enduku peddalavale buddhi yīyavu

In his Kalyani piece in the Kovur-pentad, he describes the Lord Siva as Bhedavadarahita.

In Jnana mosaga rada, he prays for knowledge on Paramatma and Jīvātma. Paramātmudu jīvātmudu jnāna-mosaga rādā.

204 'TATTVAMASI '-REALISATION

In his Arabhi song O Rama O Rama Omkaradhama, he insistently implores the Lord to bless him with realisation of identity with Rama (9th charana). Music itself he prays for as a means for attaining to that state of Jivanmukti which is the essence of the Gila and the Upanishads : Sītāvara sangīta jnānamu dhata vrāyavalera Rama Gītadyakhilopanishatsāra- bhūta jīvanmuktudagutaku (Devagāndhāri) In fact this Jivanmukta state in which one has had the realisation of the Supreme here itself is mentioned by Tyagaraja in many pieces. Upanishad Brahman who was one of those who influenced Tyagaraja, asks in one of his numerous Divyanamas-one in Ghanta and Misralaghu, "O Rama, make me realise that "Thou art that "-"Bodhaya mam Sri Rama Tattvamasīti" and, as if echoing it, Tyagaraja asks in his well-known Garuda- dhvani-piece, Tuttvameruga tarama. "Is it possible, O Rama, to realise the great truth that Thou art the meaning of that Upanishadic declaration, 'Thou art That'?" Tattvamasi yanu vākyārthamu, Rama, nīvanu paratattva meruga taramā ? " One must meditate within his own self and become one with you " is the burden of a Devagandhari song: 'Tanalone dhyaninchi tanmayame gavalera'. The realisation of identity with the Lord and exulting in it is mentioned in the eighth foot of Karunajaladhe in Nathanamakriya: Nīve tanani kulkudure. He ends significantly his long song describing Siva of his native place coming in the festive procession on the tonic note of the Lord and himself being one : Tyagaraju tananuchunu vachchu (Muchchata, Madhyamavati). According to Upanishad Brahman this is the higher stage when the Lord's Name is not upaya but upeya, when one

Tanmayatva 205

contemplates the Lord in the Name as not being different from oneself : श्रीरामनामसाम्राजयं खाभेदेनैव भावयेत्। Again : उत्तमाधि कारिणामैक्यानुसन्धनातो भगवद्धावाप्तिमाह सदा रामोऽहमस्मीति तत्त्वतः प्रवदन्ति ये। न ते संसारिणो नूनं राम एव न संशयः ।। and expatiates on the Sruti and Gita texts supporting this kind of contemplation. At the very beginning of his Upeya- nama-viveka, Upanishad Brahman says : सोडहमों तद्रामभद्रपरंज्योतीरसोऽहमोम्। * * ब्रह्मैवाहं रामोऽस्मीत्यादि। In his Saveri song, Inta kanna delpatarama he says that the Rajayoga of seeing everything as God is his Rajabhoga, supreme happiness. Nī karuna Rājayogamu māku Nī-mayame Rajabhogamu Wherever his eyes fell, there Tyagaraja saw only Rama and whatever he saw, he took as Rama. Nenu ecchata jūchinanu nīvai yunnadi (Ninuvina namadi) Endu jūchinagani Dasarathanandanugā bhavinchana nã pai (Enduko ni manasu) This ' Nimayame' is the Tanmayattva Bhakti, taught by Tyagaraja's Guru, Narada. In Rama Sitarama in Balahamsa, Tyagaraja says: " Just as a chaste wife delights in serving her Lord, just as a creeper twines round the Kalpaka tree, my mind is inseparably attatched to you. I will not leave yon even for ages, in my advaitic realisation".

206 So'ham'- I am That"

Satsatipati sevajeyu chandamuna nā manasu ... ... ... ... ... ... kalpa bhūjamuna tīga katturīti manasu kalpamu lennaina vidichi kadaladu Srī Rama Advaita sāmrājyamulu abbinattu Rama. Here is embodied in part a series of similes employed in a verse in Sankara's Sivanandalahari, to show the gradual stages of Bhakti towards the final goal of becoming merged in the Lord : Like the chaste wife adoring her Lord, Like the creeper clinging to the tree, Like the river becoming one with the sea. अङ्कोलं निजबीजसन्ततिरयस्कान्तोपलं सूचिका साध्वी नैजपति लता क्षितिरुहं सिन्धुः सरिद्वल्लभम्। When this is obtained, what greater bliss can there be? Says Tyagaraja : " To realise that 'I am That', is best. To realise that You are the whole universe is the greatest happiness ". So'hamainade chalu ... ... ... I jagamulu nivai rajillunaya- Intakanna yananda memi (Bilahari) Bhuvanamella nivai (Brova bharama) Sri Vasudeva sarva manuchunu chintinchira (Chede buddhi-Athana). One who has this realisation that all this is Vasudeva is a true Mahatma. And Tyagaraja was one of those rare Mahatmas. वासुदेवस्सर्वमिति स. महात्मा सुदुर्लेभः ।

SCHEME OF CLASSIFICATION OF THE SONGS

TEXT AND TRANSLATION

॥ श्रीगुरुभ्योनम: । ॥ श्रीरामचन्द्रपरब्रह्मणे नमः ॥ श्रीत्यागराजस्वामिकीर्तनलु।

बझ्गाल रागमु - 'गिरिराजसुतातनय' - देशादि ताळमु

पल्लवि गिरिराजसुतातनय ! सदय ! (गि)

अनुपल्लवि सुरनाथमुखाचितपादयुग! परिपालय मामिभराजमुख! (गि)

चरणमु गणनाथ ! परात्पर ! शंकरा- गमवारिनिधिरजनीकर !

फणिराजकंकण ! विभ्ननिवारण ! शाम्भव ! श्रीत्यागराजनुत ! (गि)

Songs of Sri Tyagaraja " GIRIRĀJA SUTĀ " (Bangāla)

Oh! Son of Devi, the Daughter of the Mountain-King ! Oh Merciful Lord, whose feet are worshipped by Indra and others ! Protect me. O Lord with the elephant face !

O Ganesa! Supreme Lord! Bestower of welfare! Oh Thou who art like a moon to the sea of sacred lore and who hath the serpent-king as his bangle! Oh devotee (son) of Siva, remover of obstacles, praised by Tyāgarāja !

TYĀGARĀJA KĪRTANAS

सौराष्ट्र - 'श्रीगणपतिनि' -- आदि

q, श्रीगणपतिनि सेविंपरे, श्रितमानवुलारा ! (श्री)

अ. वागाधिपादि सुपूजल चेकोनि बाग नटिपुचु चेडलिन (श्री)

च. पनस-नारिकेलादि-जम्बू-फलमुलारगिंचि घनतरम्बुगनु महिंपे पदमुलु घल्लुघल्लन नुंचि अनयम हरिचरणयुगमुलनु हद- यांबुजमुन नुंचि विनयमुननु त्यापराज विनुवड विविधगतुल धलंगुमनि वेडलिन (श्री)

" SRI GANAPATINI " (Sowrāshtra)

Oh men of devotion! Adore Ganapati who, having received the worship of Brahma, is coming, dancing gloriou- sly ! Who, after partaking of the offering of jack-fruit, cocoa- nuts, jambu fruit etc., is coming, treading the earth with his heavy resounding steps! Who, with the holy feet of Hari in- stalled in his heart, comes out dancing in a variety of rhythms! Ganapaty whom Tyagaraja praises in all humility.

SĀDHANA SAMPAT Vairāgya : Narastuti-artha-kāma garhana

कल्याणि - 'निधि चाल सुखमा' चापु

प. निधि चाल सुखमा? रामुनि स- त्निधि- सेव सुखमा? निजमुग बल्कु मनसा ! (नि)

अ. दधि नवनीत क्षीरमुल रुचियो? दाश- रथि ध्यान भजन सुधारसमु रुचियो ? (नि)

च. दम शममनु गक्गास्नानमु सुखमाP क र्दम दुर्विषय कूप स्नानमु सुखमा ? ममत बन्धन युत नरस्तुति सुखमा ? सुमति त्यागराजनुतुनि कीर्तन सुखमा ? (नि)

"NIDHI CHĀLA SUKHAMĀ" (Kalyāni) Oh my mind ! Tell me truly, which conduces greatly to happiness,-wealth or the sight of the Lord ?- Which is more delicious,-milk, butter and curd, or the nectar of the worship and contemplation of Sri Rama ? Which is happier,-the control of the senses and forbearance, which are comparable to a bath in the Ganges or the bath in the well with the mire of low sense-enjoy- ments ? Which gives more happiness,-flattery of mere men bound up in their own conceit, or the singing of the Lord who has been praised by the wise Tyāgarāja ?

4 TYĀGARĀJA KĪRTANAS

रंजनि 'दुर्मार्गचराधमुलनु' रूपक

प दुर्मार्गचराधमुलनु-दोर नीवन जालरा (दु)

अ. धर्मात्मक! धनधान्य-दैवमु नीवे युण्डग (दु)

च. पलुकु बोटिनि सभलोन पतितमानवुलकोसगु खलुल नेच्चट बोगडनि श्रीकर! त्यागराजव्नित (दु) " DURMĀRGACHARA " (Ranjani) Oh ford! Dharmatma! While I strongly believe that you are my material prosperity and wealth and my very God, I can never bring myself to flatter wicked people and those who dedicate their literary works to depraved per. sons, O bestower of riches !

यमुनाकल्याणि नारायण हरि' -- आदि

प नारायण हरि नारायण हरि नारायण हरि नारायण हरि (ना

च. १. नश्वरमैन धनाश्वमुलनु ने विश्वसिश्च भूजेश्वर हरि हरि (ना

२. कोटीशुलगनि साटिलेनि पल्कु बोटि नोसगि मुम्माटिकि वेडनु (ना)

३. आश पिशाचावेशमु गलुगु ध- नेशुल गाचेड देशमु नेलनु (ना) ४. नालोने नी चेलो जिक्किति नीलोंभमु चिड्व वेलो तेलियडु (ना)

Artha-kāma-garhana 5

५. भूलोकमुलो मेलोर्घरु विधि- व्रालो नीदौजालो तेलियदु (ना)

६. दूरेड पनुलकु दूरेदरु कड- तेरेडु पनुलनु तेरे मनसुकु (नI)

७ तोलिता जेसिन फलमे गलदनि यिलनेश्चनि मर्त्युलचेलिमि येन्दुकु (ना)

c. दूषणहर परदूषण जनगण- भीषण सुगुण विभीषणसन्तुत (ना) ९. नोरेप्पुड नीपेरे बलुकनी वेरे येवरुन्नारे राघव (ना)

१०. मित्रकुलेश चरित्र रसिकजन- मित्रमु गोरुदु वृत्रारिविनुत (ना)

११. वीनविमान कवीनहदालय दी नजनावन दानवहर श्री (ना)

१२. ना जूपुल मी नाजूकु तनमु ने जूडनी त्यागराजुल्लमलरु (ना)

"NĀRĀYANA HARI" (Yamunā Kalyāni) Oh Lord of Sita ! I do not rely on (wealth like) money and horses which are transient. I shall certainly not beg of rich men, flattering them with matchless (musical) composi. tions in their praise. I shall not frequent places which are infested with greedy men who are possessed by the devils of desire and attachment. I am caught in your grip, of my own accord. I do not know why you are persisting in your niggardliness. People in this world do not stand the sight of others prospering. It is not known whether this is due to their fate or to your Maya. They rush to despicable activities, but never apply their mind to tasks which will uplift them. Why associate with people who do not realize that everything

6 TYĀGARĀJA KĪRTANAS

happens in this world according to one's own past karma? Vouchsafe that your holy name may always be on my lips. Who else is there for me ? Oh Raghava! Let me always seek the company of those who delight in the glorious story of Sri Ramachandra. Let my eyes be fixed upon your refined beauty and my heart will be transported with joy.

मध्यमावति - 'नादुपै बलिकेरु' झम्प

प.

नादुपें बलिकेरु नरुल वेदसन्नुत! भवमु वेरु जेसिति ननुचु (ना)

च.

१. पञ्चशरजनक प्रपञ्चमुन गलसुखमु मञ्चुवले ननुचु मदि नेश्वितिनि गानि पश्चुकोनि धनमुलार्जिश्चकोनि सरियेव्व- रश्च मरिगतियु लेदश्चु बल्कितिना (ना)

२. दिनमु नित्योत्सवमुन कासजेन्दिति ना- मनसुन यिल्ल योकटियनि युण्टिगानि अनुदिनमु नोरुलमेलुनु जूचि ताळले कनु रेण्ड सेयवलेननुचु बल्कितिना (ना)

३. प्राणमेपाटियनि मानमे मेलंटि- गानि श्रीराम! परमानन्दजलधि ! श्रीनाथ ! कुलमुलो लेनि दारिनिबट्टि जेने डुदरमु निम्प नोरुल बोगडितिना (ना)

४. आजानुबाहुयुग! श्रीजानकीपति! प- योजाक्ष ! श्रीत्यागराजनुतचरण ! ई जगतिलो निन्नु पूजिचुवारि न- व्याजमुन ब्रोचु सुराज! नीवाडेन (ना)

Artha-kama-garhana 7

"NĀDUPAI BALIKĒRU" (Madhyamāvati) Sri Rama, praised by Vēdas! people blame me as having divided the family.

Convinced in my mind, as I am, that worldly pleasures are as evanascent as dew-drops, did I ever demand parti- tion of property from my Dayadins, so that I might parade the wealth so obtained as one having no equal ? Or, (after having lost all such property) did I complain that I was destitute ?

Did I ever desire to celebrate daily festival of Rāma? I had always felt contented that I had an abode for the Lord . in my own heart. Unable to bear the sight of others in prosperity, did I intrigue to divide their families ?

I had always placed honour before life. Oh! Srinatha! Ocean of Supreme Bliss! Have I resorted to the unworthy ways of disreputable people and flattered others to earn my subsistence? In this world you undoubtedly protect those who worship and adore you, and I am one such and am your own.

(This song was composed in answer to accusations that he was instrumental in partitioning the family).

कल्याणि 'भजरे रघुवीरम् आदि

q. भज रें रघुवीरम् शर-भरित-दशरथकुमारम् (भ)

१. नीवु दुरासल रोसि पर-निन्दल नेल्नु बासि (भ)

₹. पश्चेन्द्रियमुल नणचु प्र-पश्चसुखमु विसमनुचु (भ) ३. अन्नियु पनिकोदिगेना इड्ड-अट्ठ तिरिगिन तेलिसेना (भ) ४. वेरेपनुलकु बोक गोमुख-व्याध्रमु चन्दमु गाक (भ)

8 TYAGARAJA KIRTANAS

५. तप्पुतण्टलनु मानि भव-तरणमुननु मतिपूनि (भ) कर्ममु हरिकि नोसक्ि स-त्कार्यमुलं दुप्पोङ्ि (भ) भक्तिमार्गमुनु तेलिसि निज-भागवतुल जत गलसि (भ) 9

८. मायारहितुनि गोलिचिनी-मनसुन रामुनिदलचि (9) कामादुलनेगिश्चि नी-कार्यमुलनु साधिश्चि (")

901 राजाधिपुगा वेलसि त्याग-राज वरदुडनि तेलिसि

"BHAJARE RAGHUVEERAM" (Kalyani)

Worship the hero of the Raghus, the king of kings who . has blessed Tyagaraja with boons; give up greed and unworthy desires; do not indulge in slander of others; and control your five senses, deeming worldly happiness as nothing but poison. Understand that all things will not serve your purpose, but go their own way, knocking about hither and thither. Do not engage yourself in other distracting work. Do not put on false garbs to deceive the world, like the proverbial tiger in cow's skin. Abandon all mischievous pursuits. Let the crossing of the ocean of Samsara be your sole aim. Take delight in doing good deeds. Surrender all your actions to the Lord. Join the company of true devotees and learn the path of devotion. Have always in your mind Sri Rama, who is free from Maya, and worship him. Subjugate lust and other inner enemies and achieve your purpose.

बिन्दुमालिनी - 'एन्तमुद्दो' आदि

पृ. एंतमुद्दो? एंत सोगसो? एबरिवल्ल वर्णिम्प तगुने ? (ए)

अ, एंत वारलैन गानि-कान्तचिन्ताकान्तुलें नारू

Kāma-garhana 9

च. भत्त मीद कनु-लासकु दासुले सत्त भागवत वेसु लैरि; दुत्त पाल रुचि देलियु साम्यमे धुरीणुडो त्यागराजनुतुड् (ए)

"ENTAMUDDO" (Bindumālinī)

Who can describe the superb beauty and sweet charm of the Lord, adored by Tyāgaraja! Men, however great, easily allow themselves to be continuously engaged in the thought of women, (being blind to the indescribable and unsurpassed beauty of the Lord).

People put on the garb of genuine devotees, though they are slaves to their own aunts (mothers-in-law) due to lust. This is like the milk-container enjoying the taste of milk.

सरसांगी - 'मेनु जूचि मोस' देशादि

प. मनु जूचि मोस बोकवे, मनसा! लोनिजाड लीलागु कादा? (मे)

अ हीनमैन मल मूत्र रक्तमुल किरवंचु मायामय मेन चान (मे)

च, कनुलनेडि यंप कोलचेत गुच्चि चनुलनेडि गिरुल शिरमुनुश्चि पनुल चेतुरट; त्यागराजनुतुनि बा- ग नीवु भजन जेसुकोम्मि स्त्रील (मे)

10 TYAGARĀJA KĪRTANAS

"MENU JOOCHI MOSA" (Sarasangi) Oh mind ! Do not get deluded by the illusory personal appearance of women. If you only see their inside, it is nothing but a cloak over filthy excreta, blood and other ugly things. They carry on their amorous work with their eyes which, like sharp weapons, pierce (through men's hearts) and with their breasts which like mounds provide the resting place for heads. Therefore, do Sri Rama Bhajana well (and escape their snares).

नाटकुरन्जि 'मनसु विषय नट' आदि

q. मनसु विषय नट विटुलकोसङ्गिते मा रामुनि कृप गलुगुनो ? मनसा ! (म) अ. तनतल पोकरिंटिकि दीसि पेट्ट तागुकल दोल रीति गादो ? (म) च. तविटिकि रंकाड बोयि कूटि तपिले कोति गोनिपोयिनट गादो? चेविटिकि नुपदेशिचिनट गादो ? श्रीत्यागराजनुतुनि दलचक (म)

"MANASU VISHAYA NATA" (Natakuranji) If your mind is given away to sense-enjoyments and to (the company of) dancers and voluptuaries, will my Rama's grace be made available to you ? It is like a man lending the door of his own hut to a neighbour (to enable him to close his own hut and go to witness a drama) and keeping watch all through the night, driving away dogs (from entering his own hut).

Vara-nirapēkshatvam 11

It is also like a woman who seeks prostitution to gain some bran, leaving the potful of rice, which she had pre- pared, to be carried away by monkeys. It is like imparting a holy Mantram to a deaf man.

'वरालन्दु कोम्मनि' -- आदि

प. वरालन्दु कोम्मनि नायन्दु-वंचनसेय न्यायमा? (व)

अ. सुरासुरवितुत ! राम ! नामन- सु सुभक्तिनि गोरि युण्डगनतु (व)

च. १. मनमुन निजमुग नम्मिनवारि मनसु कोंच फलमासिंचग रा दनुचु घनुनि जेसिन नी बिरुदुकु कनककशिपु-सुतुड्ड साक्षि गादा ? (च)

२. अविवेकमुतो देलिसि तेलियकनु भवसुखमुल काशिंचिन गानि ध्रुवमैन फलमोसगु नी शक्तिकि ध्रवुड् साक्षि गादा? राम ननु (च)

३. चराचरात्मक! सुरपूजित ! यिक पराकुलेकनु सततमु नीद- य रावले ननुचु कोरिन श्रीत्या- गराजुनिपै कृपलेक ननु (व) "VARĀLANDUKOMMANI" (Ghurjari) Is it fair for you to side-track and deceive me by offer- ing boons to me, when my mind longs for true devotion ? To your glory of conferring greatness on real devotees,

12 TYAGARĀJA KIRTANAS

whose mind does not hanker after small things, stands as witness Prahlāda (who did not descend low to accepi boons, but firmly prayed only for Moksha). To your magnanimity in conferring the highest and the most permanent position even on one who prays for temporal gains out of ignorance, Dhruva stands as witness. Pray do not mercilessly offer boons to me who have been panting for the constant flow of your grace.

रीतिगौळ 'नीदय गल्गुटे' -- आदि

प, नीदय गल्गुटे भाग्यमनि-निजमुग नेल दोचदो ? (नी

अ. नादरूप! नीरदसन्निभ ! दिन- नाथान्वयभूषण! मृदुभाषण! (नौ

१. अचिवेकुलैन दार तनयुल-ननुदिनमुनु गलसि भव सागरमुनु नीदलेक-भयमुन जेव्यलसि यवनीशुल गाचि सुखमु- लंक नायासमु सोलसि विविधमु लगु नी मायलोपल दगिलिन तन की यवधुलनु ढेलिमि (नी)

२. वेग लेचि ता नतिलोभि जनुल-वेंबडिगा दिरिगि रोगियै ता कोरिन कोर्केल-रोयक मेनु करगि भोग भाग्यमुल कोरकन्य सुरुल-भूसुरुलगोरि तिरिगि येगतियु लेक यीसुखम्वु लिट्लनि तन मदिनि तानेरिगि (नी)

नागनायकशयनेन्दु-दिन-नाथनयन! सीतांक ! योगिवन्दितपदारविन्दयुग शरणाकळंक!

Prāpanchika-garhana 13

रागलोभ मदादुल गोट्टि-रक्षिंचे बिरुदांक ! त्यागराज पूजित रघुनायक ! तारकमनि तेलियु निश्शंक (नी)

"NEE DAYA GALGUTE" (Rītigowla) Oh Lord, renowned for protecting people, removing their vices like attachment, greed and arrogance ! Why do not people realise that to be blessed with your grace is the height of fortune for one ?

They know full well that it is deplorable to get unduly attached through ignorance to wife and children, unable thereby to cross the ocean of Samsara, to have limbs drooping out of fear, to languish out of fatigue having vainly waited on wealthy princes, and to get enmeshed in your Maya in a variety of ways. They also know amply what sort of happiness they derive and how helpless they find themselves in the end by running after abject misers daily, becoming a prey to disease, getting reduced in body by sore disappointment of not having their desires for pleasure and prosperity fulfilled

तोडि - 'प्रोद्दु पोथ्येनु' - चापु

q. प्रोद्दु पोय्येनु, श्रीरामुनि वूनि भजिपवे मनसा ! (प्रो)

अ. निद्दुरचेत कोत्ाळ्ळु, विषय बुद्धुलचेत कोन्नाळ्ळु, ओ मनसा ! (प्रो)

च. १, प्रोद्दुनलेचि त्रितापमुलनु नरुल बोगडि पोगडि कोन्ाळ्ळु पद्टि

14 TYĀGARĀJA KĪRTANAS

येददुरीति कन्नतावुल भुजिगिंचि येमि तेलियक कोन्ाळळु मुद्दुग तोचु भवसागरमुन मुनिंगि तेलुचु को नळळु पद्दुमालिन पामर जनुलतो वेररे पलुकु लाडुचु कोन्नाळ्ळु ओ मनसा ! (प्रो

२. मुदमुन धन-तनयागारमुख जूचि मदमुचेत कोन्नाळ्ळु अन्दु चेदरिन यन्त शोकार्णव गतुडै जालि जेन्दुटयु कोन्नाळळु येदटिपच्च जूचि ताळलेक ता- निलनु दिरुगुट कोन्ाळ्ळु मुदिमदि दप्पिन वृद्धतनमुचे मुन्दुवेनक तेलियकये कोन्राळ्ळु (प्रो)

यागादि कर्ममुलनु जेयवलेननु यलसटचेत कोन्नाळ्ळु अन्दु रागलोभमुलतो नपराधमुल जेसि राजसमुन कोन्नाळळु बागुग नामकीर्तनमुल सेयुटे भाग्यमनक कोन्नाळ्ळु त्यागराजनुतुडैन श्रीरामुनि तत््वमु तेलियकये कोत्रळ्ळु (प्रो)

"PRODDUPOYYENU" (Tōdi)

Time is fleeting. Oh Mind! Set about in earnest to worship Rama. Of the life time, a portion is spent in sleep

Prāpanchika-garhana 15

and another in enjoyment of sense pleasures. Rising early one spends his time in flattering men at the prompting of his Tritapa (three-fold worries, adhyatmikam, adhibhowti- kam, adhi-daivikam) and goes about like a bull, eating at any place anything that he can get and wastes his time in ignorance. Alternately sinking and rising in the see- mingly attractive ocean of Samsara, he spends some time, and wastes another portion in vain gossipping with worldly- minded men.

For some time he transports himself with joy at the sight of wealth, offspring and house and gets infatuated. Meeting with disappointments in connection therewith, he gets sorrow-stricken and spends his time in distress. Unable to see the neighbour in prosperity, he spends his time, oppressed by jealousy. Old age overtakes him and robs him of his mental strength for some time.

He spends some time in attempting to perform yāgas and other rituals. In doing so, he commits blunders, prompted by greed and miserliness and becomes rājasic and spends time in restlessness. People thus spend their time, without realising that doing Nama-Sankeertana (sing- ing your name) is wealth in itself and without knowing the real nature of Sri Rāma.

मन्दारि - 'परलोक भयमुलेक' - देशादि

g. परलोक भयमुलेक भवपाश-बध्दुलययेदरु (9)

करिराजि शद्गार राम शिवि- कादुलेल्ल मनके गलिगेननि (9)

16 TYAGARAJA KĪRTANAS

च. कोन कान्तलनु कन्न बिड्डलनु वन्ने चीरलन वान गुडिसेलन तिन्नगा गनि देवलोकमनि तन्नकोळ्ळुलो, त्यागराजनत! (9)

"PARA LOKA BHAYAMU" (Mandāri)

Thinking that they alone are fortunate enough to possess corps of elephants, lovely women, palanquins and the like and without the fear of the other world, people get bound more and more by samsara. They consider that with wife, children, fine clothing, habitations to dwell in, the world itself is paradise.

केदारगौळ -- 'वारिजनयन' आदि

प.

वारिजनयन नीवाडनु नेनु वारसु ननु ब्रोवु (वा)

सारेकु मायासागरमन्दु नेरक मुनिगेड नेममुलेदु (वा)

च.

१ धनकनकमुलनु दारपुत्तुलग- कोनि मरुवनु रवि-तनयुडगानु (वा)

२. वाजिरथमुलनु वारमुगकोनि राजुलडचु पार्थ-राजु ने गानु (वा)

नी जपमुल नव-निधुलौ त्याग- राजविनुत यी दुरासल दगलनु · (वा)

Prāpanchika-garhana 17

"VĀRIJANAYANA" (Kēdāra Gowla)

Oh Lotus-eyed one! I am yours. Pray, protect me always. There is no purpose in one remaining immersed always in the ocean of Maya. I shall not accept material wealth, progeny, eic., which will only make me forget you, as Sugriva did; I shall not accept chariots and horses, to defeat kings as Arjuna did. To me, your Japa is all the nine treasures. ' I will not get enmeshed in these evil ma- terial desires.

मुखारि 'इन्दुका ईेतनुवुनु' चापु

इन्दुका ईतनुवुनु बेंचिन (दिं)

च.

१. नी सेवकुलेक नीदु चेन्तकुराक आशदासुडै अटु-लिटु दिरुगु (दं)

२. निरतमु नीदृष्टि ने यार्जिञ्चक

ओरुल भामलनु ओरजूपुल जूचु (टं)

३. सारेकु नामस्मरणमु जेयक यूरिमाटलेल यूरक वदरु (टं)

४. करमुलतो पूज गाविम्पकडाचि धरलोन लेनि दुर्दानमुलकु चाचु (टं)

५० वारमु नीक्षेत्रवरमुल चुट्टक भूरिकि मुन्दुगा पारिपारि तिरुगु (टं) 2

18 TYAGARĀJA KĪRTANAS

नी वाडनिं पेरु निन्दु वहिंचक नावाडनि यमुड्ड नव्युचु बाधिं्ु (¿)

रावय्य श्री त्यागराज विनुत निन्नु भाविञचक प्रोददु बारकोट्टुकोने (₹)

INDUKĀ ĪTHANUVUNU (Mukhāri) Is it for this that this body has been nurtured ?

Without using it for your service and for getting nearer you, people wander here and there as slaves to desires.

Without constantly attempting to earn the grace of your look, people cast wistful eyes upon women. Without always engaging themselves in Namakirtana, people waste their time in gossipping on empty topics.

Without using their hands for worshipping you, they stretch them out freely to receive sinful gifts. Without using their legs to go round your holy places, people run about for receiving money doles (Bhoori).

They will not regard themselves, while living, as your own. As a result, Yama jubilantly appropriates them as his own.

Without praying to Sri Rama to come near them, they waste their time.

नीलाम्बरी - 'एन्नग मनसुकुरानि' - आदि

एन्नग मनसुकुरानि पन्नगशायि सोगसु पत्नुग गनुगोननि कन्नुलेले कन्नुलेले कण्टि मिन्नुलेले ()

Paramārtha-prasamsā 19

१. मोहमुतो नीलवारिवाहकान्तिनि गेरिन श्रीहरिनि गट्टुकोननि देहमेले देहमेले गी गेहमेले (ए)

सरसिजमल्लेतुलसि विरुवाजि पारिजातपु विरुलचे बूजिञ्चनि करमुलेले

करमुलेले यी कापुरमुलेले (v)

३. मालिमिनि त्यागराजु-नेलिन राममूर्तिनि लालिव्चि पोगडनि ऩालिकेले नालिकेले सूत्र-मालिकेले (g)

ENNAGA MANASUKURĀNI (Nīlāmbarī)

What is the use of eyes and their brightness, if they are not privileged to feast upon the beauty of the Lord Seshasayī, which is beyond the comprehension of the mind ?

What is the use of having a body which is not used for embracing with love the blue-hued Sri Hari? Otherwise it is no better than a cage. What is the use of having hands that are not used for worshipping the Lord with various sweet-scented flowers ? What is the use of such human existence? What is the use of having a tongue which is not employed in singing devoutly the praise of Sri Rāmamūrti, the protector of Tyagaraja? Or, for the matter ot it, what for is then the rosary mechanically rolling in hand ?

20 TYĀGARAJA KĪRTANAS

आरभि - 'निन्ने नेर नम्मिनानु' चापु 1

प. निन्ने नेर नम्मिनानु-नीरजाक्ष ननुब्रोवुसु (नि)

अ. कन्नकन्नवारिनि वेडुकोन्नानु; फलमुलेदनि ने (नि)

च.

१. दारतनयुल युदर-

पूरणमु सेयुकोरकु दूरदेशमुलनु सञ्चारमु जेसि सारमिन्तैनलेक वेसारि यी सं-

सार पारावारमन्दु गलुगु फलमी

दारियनि तेलिसि राम (नि)

सश्वित कर्ममु तोल

णिंचि, नन्ने वेळ करु-

निचिब्रोचु दैवमु नीवनुचु या-

चिंचि कोंचेपु नरुल नुति- यिंचनु नावहनु गादंचुनु दुस्सक्गति चा-

लिंचि सन्ततमु राम (नि)

भूतलमुन नोक्करि MY

चेति धन मपहरिंचु घातकुल, बरलोक भीतियु लेनि

पातकुल बद्टि यम-

दूतल गोट्टेडि वेळ ब्रोतुननि पल्क नेवरिचेत गादनि श्री राम (नि)

Paramartha-prasamsā 21

. एन्दु निण्डियुण्ड रघु- नन्दन वेग ना मनसु- नन्दु दलचिनयन्तानन्दमै तोचि सुन्दर वदन योगि- बृन्दवन्दितपादार- विन्दयुग! त्यागराज वन्दनीय! सन्ततमु (नि)

"NINNĒ NERA NAMMINÄNU" (Ārabhi) I had sought the protection of all and sundry, and realising the futility of it, I have reposed my entire faith in you; pray, protect me.

To maintain my family, I have wandered far and wide and found the task fruitless. I have realised with vexation that the benefit to be derived from the ocean of Samsara is only of this nature, and have therefore sought you.

Realising that it is impossible for me to beg of small men and flatter them, and giving up the company of the wicked, I have firmly believd that you are the God that could undo the effects of my past karma and, with compas- sion, protect me always.

I have sought your refuge, knowing fully that it is not possible for anybody else to give protection to sinners and cruel people at the time they are violently handled by Yama- Dutas for having, in this world, deprived others of their possessions without fear of the other world. Oh, all-pervading Raghunandana of beautiful face! Immediately I think of you at heart, I am filled with trans- cendental joy.

22 TYAGARĀJA KĪRTANAS

बलहंस 'विराज तुरग' आदि

प.

विराजतुरग! राजराजेश्वर! निरामयुनि जेयवे (ति

अ. जरादिरोगयुतनुवुचे नराधमुल् येमि साधिंचिरि (वि)

निरन्तरमु सकलविषयदुःख- परम्परलचे चिवुकग मदिलो दुरन्तकाममदमुनु बाधिंचग र्दुमतुडे! त्यागराजसन्नुत ! (चि)

" VIRĀJA TURAGA " (Balahamsa) Oh king of kings! Bless me with a life free from ail- ments. What do wretched men with bodies afflicted by old age, disease etc. achieve? They become evil-minded, dis- integrating perpetually as the result of sense-indulgence and continuous distress, with minds tormented by endless greed and lust.

Sama-Damādi

साम 'शान्तमु लेक' आदि पं, शान्मुलेक सौख्यमु लेदु ; सारसदलनयन! (शां) अ दान्तुनिकेन वे-दान्तुनिकैन (शो)

१. दारसुतुल धनधान्यमुलुण्डिन सारेकु जपतपसंपद गल्गिन (शां)

Sama-damādi 23

२. आगमशास्त्रमुलन्नियुजदिविन बागुग सकलहद्धावमु देलिसिन (शा)

३० यागादि कमसुलन्नियु जेसिन भागवतुलनुचु बागुग बेरैन (शां)

४. राजाधिराज ! श्री राघव ! त्याग-

राजविनुत! साधुरक्षक! तनकुप- (शां)

"SĀNTAMU LĒKA" (Sāma) Without quietude there is no happiness for anybody, be he one who has controlled his senses or a Vedantin.

Be he possessed of family and children and of material wealth, or rich in spiritual sādhana like japa and tapas ;

Be he well versed in all Vedas and Sastras, knowing well their inner significance, Be he one who has performed yagas and other karmas.

Be he one who has acquired renown as a Bhågavatar.

देश्यतोडि -- 'रूकल पदिवेलुन्न' - आदि

प. रुकलु पदिवेलुन्न जेरेड-नूकलु गतिगानि, ओमनस! अ. कोकल वेय्युन्न गट्टु-कोनुट कोकटिगानि ओमनस! च. ऊरेलिन दाबण्डट मूडमूर तावुगानि, नूरुभक्षणमु लब्बिन यन्तो नोटिकन्तगानि येरुनिण्डुग बारिन बात्रकु दशु नीरू वच्चुगानि, सारतरुनि, हरिनि त्यागराज सन्नुतुनि मरवके; मनस! (रू)

24 TYAGARĀJA KĪRTANAS

"RŪKALU PADIVĒLU" (Dēsya Tōdi)

Though you may have tens of thousands of rupees; what you actually need is only a handful of rice.

Though you may have immense quantity of clothes, you need only one for wearing.

Though you may possess extensive territory, for laying your body at rest, you require only three cubits of space.

Though you may have hundreds of varieties of cakes, you can take only as much as your mouth can hold.

Though the lake may be full of water, you can draw therefrom only so much as your vessel can hold.

Oh Mind! (In the mad pursuit after these ) forget not Hari, the essence of the Universe.

Sat-sanga and Guru.bhakti : Sādhu-Bhāgavata-prasamsā ; Asadhu-Asadbhakta-garhana

नाथनामक्रिया - 'करुणाजलवे' - आदि

T. करुणाजलधे दाशरथे

कमनीयानन सुगुणनिधे (क)

च.

१. नी मयमेगानि इलनु नेमनि नेदूरुदुनु (क)

2. निजदासुल यनुभव मोकटि निनु तेलियनि जनमत मोकटि क)

Sadbhaktaprasamsa - Asadbhaktagarhana 25

३. वलचुचु नाममु जेयुदुरे निनु दलचुचु प्रोद्दु पोगुट्टुदुरे (क)

४. सुकृतमु लोप्पगिन्तुरे नी प्रकृतिनि देलिसि येगिन्तुरे (क)

५, मनसारग पूजिन्तुरे निनु माटिमाटिकि योचिन्तुरे (क)

६. निनु कनुलकु कन कोरुदुरे नव- निधुलब्बिन सुखमुनु कोररे (क)

७. नौ वन्निटयनि पल्कुदुरे नीवे ताननि कुल्कुदुरे (क)

८. तमलो मेलगुचु नुन्दुरे तारक रूपुनि कन्दुरे (क)

९. भागवत प्रह्ाद हित राम भाुक त्यागराज न्ुत (क)

"KARUNĀJALADHĒ" (Nāthanāmakriyā)

Oh Ocean of Mercy, Sri Rama of charming face! the repository of excellent virtues ! You fill the whole Universe; How could I blame it (for things which happen in ways at variance with your nature and glory) ?

The realisation of true Bhaktas is in one way, while the method adopted by the people, who do not know the truth about you, is in another direction.

Do people lovingly chant your holy name and spend their time in meditating upon you ?

Will people offer unto you the merit (Punya) they have acquired? Do they understand your Maya and live accord- ingly ?

26 TYĀGARĀJA KĪRTANAS

Do they heartily worship you and frequently meditate on you? Do they pant for a direct Darsan of you ? Don't people insatiably crave for the happiness derived from the posses- sion of the nine treasures (of Kubēra) ?

Do they say and believe that you are immanent in all things and exult in realizing that they are identical with you yourself ?

Do they engage themselves in introspection and seek the Lord, the redeemer from Samsara?

'एन्दरो महानुभावुलु' - आदि

q. एन्दरो महानुभावु-लन्दरिकि वन्दनमु (एं)

अ. चंद्र वदनुनि यंद चन्दमुनु हृदयार- विन्दसुन जूचि ब्रह्मानन्दमनुभविचु वा (₹ं)

च. १. सामगानलोल मनसिजलावण्य धन्यमूर्धन्यु (लें)

२. मानस वनचरवर संचारमु सलिपि मूर्तिबागुग बोडगने वा- (रे)

३. सरगुण पादमुलकु स्वान्तमनु सरोजमुनु समर्पणमु जेयु वा- (रें)

४. पतितपादनुडनें परात्परुनि गुरिंश्चि परमार्थमगु निजमा- र्गमुतोनु बाडुचुनु सल्लापमुतो स्वरलयादि रागमुल देलियु वा- (रें)

Sadhu-prasamsa 27

५, हरिगुण मणिमय सरमुल गळमुन शोभिलल भक्तकोटुलिललो तेलिवितो जेलिमितो गरुणगल्गि जगमेल्लनु सुधा दृष्टि चे ब्रोच वा- (रें)

होयलुमीर नडलु गल्गु सरसुनि 4

सदा कनुल जूचुचुनु पुलक श- रीरुले यानन्दपयोधि निरुग्नुलै

मुदम्बुननु यशमु गलवा- (रें)

७. परमभागवत-मोनिवर-शशि- विभाकर-सनक-सनन्दन- दिगीश-सुर-किंपुरुष-कनककशिपु-

सुत-नारद-तुम्बुरु-

पवनसूनु-बालचन्द्रधर-शुक-

सरोजभव-भूसुरवरुलु

परमपावनलु घनुल शाश्वतुलु

कमलभव सुखमु सदानुभवुलुगाक (एं)

८. नी मेनु नाम वेंभवम्बुलनु नी पराक्रम घै- र्यमुल शान्त मानसमु नीवुलनु वचम सत्यमुनु, रघुवर! नीयड सं्भक्तियु जनिंचकनु दुर्मतमुलनु कल्ल जेसिनदि नी मदि नेर्रिंगि सन्तसंबुननु गुण भजना- नन्द कीर्तनमु जेयु वा- (रें)

९. भागवत-रामायण-गीतादि

28 TYAGARAJA KIRTANAS

मर्भमुलनु शिवादिषण्मतमुल गूढमुलन् मुप्पदिमुको- टि-सुरान्तरड्गमुल भावम्बुल नेरिगि भाव-राग-लयादि सौख्य मुचे चिरायुवुल गलिगि निरवधि सुखात्मुलै त्यागराजाप्तुलैन वा- (₹)

प्रेम सुप्पिरिगोनु वेळ

नाममु दलचुवारु रामभक्तुडैन त्याग-

राजनुतुनि निजदासुलेंन वा- (₹)

"ENDARO MAHANUBHĀVULU" (Srī Rāgam) Great souls are indeed many. Salutations to them all !

Many are those who see in the lotus of their hearts the Lord of moon-face and exquisite beauty and proportion and enjoy bliss.

1. Many are those who are foremost among the bles- sed ones who have had the realisation of the Lord of supreme beauty who delights in Saman music.

2. Many are those who have the blessedness of an unerring Darsana of the glorious Swarupam of the Lord, after seeking and finding Him in the deep forest of their mind. 3. Many are those who unreservedly rush to offer the lotus of their mind (Chittam) at the feet of the Lord. 4. Many are those who sing sincerely in choice langu- age the praise of the Supreme Lord, the redeemer of the fallen, adhering to the true path and with knowledge of Swara, Laya and Rāga.

Sādhu-prasamsā 29

5. Many are the blessed Bhaktas on whose necks the necklace of gem-like qualities of Hari Himself shines, who with divine wisdom, overflowing love and solicitude for humanity, protect it with their divine love. 6. Many are the glorious ones who feel immersed in transcendental bliss, enthralled by the direct vision of the Lord and his majestic gait. 7. Many are the great souls, supreme devoties and sages, who are absolutely pure and who are blessed with enjoyment of the bliss of realisation of the Lord, like Chandra, Sürya, Sanaka, Sanandana, Dikpālakas, Devas, Kimpurushas, Prahalāda, Nārada, Tumburu, Ānjaneya, Lord Siva, Suka, Brahma and foremost Brahmans. 8. Many are the great Bhaktas, who delight in adoring the greatness of your personal beauty and Nama and (gunas, such as) prowess, courage, mental composure, generosity and rectitude, and who knowing your disposition towards false faiths which do not promote true devotion to you, discard them. . 9. Many are those who have understood the signifi- cance of the hidden truths of the Bhagavata, Ramayana, Gīta, Veda, Sastras, Puranas, the six faiths of Siva and other gods and the thirty three crores of Devatas, and who acquire longevity through the joy of the music endowed with bhava, raga, laya and other elements and who attain everlasting happiness, thereby becoming Tyāgarāja's devo- ted friends.

6. Many are those, who with overflowing devotion, meditate upon the holy name of Sri Rama and become the true servants of the Lord praised by Tyāgaraja.

30 TYĀGARĀJA KIRTANAS

यमुनाकल्याणि - 'हरिदासुलु वडलु' आदि

प. हरिदासुल वेडल मुच्चट गनि यानन्दमाये; दयाळो (ह)

अ. हरि! गोविन्द! नरहरि! रामकृष्णा! यनि

वरुसग नाममुल करुणतो जैयुचु (ह)

१. सङ्गतिगानु मृदङ्न घोषमुलचे पोंगुचु वीधुल केगुचु मेरयुचु (ह)

२. चक्कनि हरिचे जिक्रितिमनि मति सो ककुचु नाममे दिक्कनि पोगडचु (६)

दिमुग नड्ड गट्टुतो नड्गुल बेट्टुचु दाळमु बट्टि गलगल्लनग (ह)

6. ज्ञानमुतो राम ध्यानमुतो मच्चि गानमुतो मेनु दान मोसंगुचु (ह)

५. राजराजुनिपे जाजुल चल्लुचु राजिललचु त्यागराजुनितो गूडि (ह)

"HARIDĀSULU VEDALU" (Yamunā Kalyāni)

Oh Merciful Lord! Haridasas are going in an imposing procession and their sight fills me with supreme joy. They sing devotedly the holy names in order - Hari, Govinda, Narahari, Rama, Krishna etc. To the accompaniment of mridangam, they go along the streets, singing, brimming with ecstacy. In the joy that they have secured Hari, they forget themselves and praise your holy name as the only means for salvation. With girded loins they dance to the

Guru-prasamsā 31

acccmpaniment of tala, and with divine wisdom, with meditation on Rama, and with fine music, surrender their bodies to the Lord. They, in company with Tyagaraja, shine brilliantly, scattering flowers over the Lord of Lords.

गौरीमनोहरि 'गुरुलेक येटुवंटि' झम्प

प. गुरुलेक येटवंटि गुणिकि देलियग बोदु (3) अ. करुकेन हद्रोग गहनमुन गोघ्नु-स (हु) च. तनुबु सुतधनदार-दायादिबान्धवुल जनियिध्चि चेदरु जा-लिनि; करुणतो मनसुनंटक चेयुमं-दन्ुचु तत्त्व बो- धन जेसि कापाड-त्वागराजाप्तुडतु (ग)

"GURULEKA" (Gowrī Manōhari) Whatever might be one's merits and qualities, without a Sad Guru, to cut and clear the deep forest of his mental torment. it will not be possible for him to acquire any know- ledge. Health, children, wealth, wife, relations, etc., appear to disappear, thereby causing him distress. A guru alone will be able to protect one by administering, with love, the medicine of spiritual initiation and enlightenment to keep the mind free from attachment.

धन्याशि 'नी चित्तमु'

प. नी चित्तमु निश्चलमु निर्मेलमनि निन्ने नम्मिनानु (नी)

ना चित्तमु वंचनचंचलमनि-ननुविड नाडकुमि; श्रीराम! (नी)

32 TYĀGARĀJA KĪRTANAS

च.

गुरुवु चिल्नगिंज-गुरुवे भ्रमरमु गुरुडे भास्करुड-गुरुडे भद्रडु गुरुडे युत्तमगति-गुरुवु नी वनुकोंटि धरनु दासुनि ब्रोध त्यागराजनुत! (नी)

" NI CHITTAMU NISCHALAMU" (Dhanyasi)

Your mind is steady and taintless and so I have fixed my faith entirely in you. My mind is deceitful and unsteady. Pray do not give me up on that account, O Rama! The Guru cleanses the mind like a Sallaki Seed (which clarifies water by removing mud therefrom); he is the bee (which transforms the pupil into himself) ; he is the sun (who dispels the mist of ignorance); he is the embodiment of auspiciousness and is himself the highest to be attained. I have taken yourself as the Guru in this world who protects the devotee.

शंकराभरणम् - 'बुद्धिरादु बुद्धिरादु' - चापु प. बुद्धि रादु बुद्धि रादु पेद्दल शुद्धुल विनक (बु)

अ- बुद्धि रादु बुद्धि रादु-भूरि विद्यलनेर्चिन (बु

च.

९. धान्यधनमुल चेत धर्म मेन्तयु जेसिन नान्यचित्त भक्तुल वागमृत पानमु सेयक (बु)

२. मानक भागवतादि रामा-यणमुल जदिविन मानुषावतारचरित-मर्मज्ञुल जतगूडक (बु)

३ योगमु लभ्यसिश्चिन भोगमुलेन्तो गलिगिनि त्यागराजनुतुडी राम-दासुल चेलिमि सेयक (बु)

Satsanga-prasamsā 33

" BUDDHI RĀDU" (Sankarābharanam )

True wisdom will not dawn on one, if he is not inspired by the words of the great saints.

Mere mastery of all the great branches of learning will not secure wisdom.

Though one may have done any amount of charity with grains and money, wisdom will not be vouched to him if he does not drink the nectar of the speech of single-minded devotees.

Though one may have read ceaselessly Ramayana, Bhagavata and other puranas, he will not have wisdom, unless he associates with those who have true knowledge of the significance of the lives of the Avatars in human form. Though one may have practised yogas and though one may have secured all enjoyments, wisdom will not be his, if he has not gained the friendship of devotees of Rama.

नागानंदिनि - 'सत्तलेनि दिनमु' आदि

q. सत्तलेनि दिनमुल वच्चेना ?

सत्तमातमा! सच्चित्तशायि! साकेतनिलया दव (a)

कलिलोन प्रथम पादमुलो तलिदंडिगुरुभक्तियु लेक पलुमारु दुष्कृत्यंबोनर्प वलेना? त्यागराजनुत! दैव (स) 3

34 TYAGARĀJA KĪRTANAS

"SATTĀLĒNI DINAMU" (Nāgānandini)

Have we fallen on godless days? O embodiment of Truth! O God who abides in the hearts of the good! No doubt this is the first part of the Kaliyuga. Should people, on that account, pay neither respect nor regard to their parents and Gurus and indulge in various kinds of misdeeds ?

सिद्धसेन - 'एवरैन लेरा' देशादि

एवरैन लेरा पेहल? इललोन दीनुल ब्रोव (v)

अ. भवसागरसुन चरिंचु बल गासि रामुनितो देलप (v)

कलिमानवाधमुल कार्यमुल

काममत्सरादुल कृत्यमुल चल चित्तमु लेनि वारिपुड् चाल त्यागराजुनितो देलुप (v)

"EVARIENA LĒRĀ " (Siddhasēna)

Are there no good and great men in this world, who could protect the helpless and let Sri Rama know of the - poignant trouble which people experience in the sea of samsara ?

Is there no one of firm mind who could now point out to Tyagarāja what the acts of the low people of Kali are and what the acts of greedy and haughty men are (to enable him to avoid them) ?

Sangītāchārya-prasamsā 35

मायामालवगौल - 'विदुलकु म्रोककेद' देशादि

प. विदुलकु म्र्रोक्केद संगीत को- (वि)

अ. मुदमुन शड्कर कृतसामनिगम- विदुलकु नादात्मकसप्तस्वर- (वि)

च. कमला-गौरी-वागीश्वरी-विधि-गरुडध्वज-शिव-नारदुल

अमरेश-भरत-काश्यप-चंडीशाञनेय-गुह-गजमुखुल

प्रमुखुलगु त्यागराज-वन्धुलकु ब्रह्मानन्द-सुखांबुधि-मर्म- (वि)

" VIDULAKU" (Māyāmālava Gowla)

Obeisance to all the learned ; obeisance to all those who are well-versed in music; obeisance with joy to those who are well-versed in the divine music of Sāma Vēda promulgated by Siva; obeisance to those versed in the seven svaras whose soul is Nada; obeisance to Lakshmi, Pārvati, Sarasvati, Brahma, Vishnu, Siva, Nārada, Indra, Bharata, Kāsyapa, Chandikēsvara, Ānjaneya, Subrahmanya, Vighnesvara, Mārkandeya, Agastya, Tumburu, Somesvara, Sarngadeva, Nandi and other (promulgators of music) who are worthy of Tyagaraja's respect; obeisance to those who know the secret of the bliss of Brahmananda.

पुन्नागवराळि - 'इन्त भाग्यमनि' चापु

प. इन्त भाग्यमनि निर्णयिम्प ब्रह्मेन्द्रादुल तरमा? (इं)

36 TYĀGARAJA KĪRTANAS

अ.

चिन्तनीय! श्रीराघव! निनुर्माद जिंतिंचु सुजनुल पूर्जिंचिनवारि (किं)

च. मतिहीनुलैन नेंमति लेनिवारन, नति पापकृतुलैन नेन्नटिकि स- द्वतिरानि वारैन, श्रीराम! श्रुति पुराण नुत! प्रतिलेनिनिनु सन्नुति सेयु भक्तुल कतगूडिनवारि (किं)

२. सारेकु माय संसारमन्दु चाल- दूरिनवारैन, गामादुल पूरित मतुलैन सकल वेदसार! निन्नुमन- सार नम्मिन सुधापूरचित्तल सेव गोरिनवारि (किं)

३. भर्मचेल ! नीदु मर्ममु देलियेनि कर्ममार्गुलैन, त्यागराजनुत! धर्मरहितुलैन लोकमुल निर्मिश्चिन नीडु शर्ममु स्मरियिंचु निर्मल मतुल शर्म-मेंचिनवारि (इं)

"INTA BHĀGYAMANI NIRNAYIMPA " (Punnāgavarāli)

Is it possible even for Brahma, Indra and others to measure the blessedness of those who worship the Great Ones who meditate on you ? Dullards, people of unsteady mind, heinous sinners and those who can never hope for salvation, if only they join the company of those who worship you, the matchless one, they also become unequalled beings. Those who grovel in the Maya Samsara and those who are fully immersed in lust and similar vices, if only they

Satsanga-prasamsa 37

seek the Darsana of those Bhaktas who have real faith in you and have minds filled with nectar, will Brahma, Indra and others be able to measure their blessedness?

Those who follow the routine of the karma-marga, with- out knowing your real truth, those who are devoid of Dharma, if only they think of the rare fortune of the pure-minded who meditate upon your form which gave birth to these worlds, will Brahma, Indra and others be able to measure their blessedness?

दिव्यमणि 'लीलगानु जूचु' आदि

प.

लीलगानु जूचु गुणशीलुल ना- पाल गल्ग जेसि पालिम्पुमय्य (ली)

अ.

पालुमालिन पामरुलनेह परमात्म! यी लोकमुलनु (ली)

च.

नरकिन्नर किंपुरुषासुरनि- र्जरराजशित्रादिरमापतुल- तरु भूधरानेकाण्डमुल, श्री त्यागराजनुत! श्री राम! नी (ली)

"LĪLAGĀNU JŪCHU" (Divyamani)

Oh Paramatma! Bless me so that I might associate closely with high-minded people who look upon as your sport (lila), all the worlds. with all these dullards and

38 TYĀGARĀJA KIRTANAS

vulgar folk, the men, semi-divine beings, demons, Indra, Siva, Vishnu, trees, the vegetable and animal kingdom, and the mountains and other numerous worlds.

भैरवि - 'सर्वान्तर्यामि' - आदि

प. सर्वान्तर्यामि नी वने-सांराज्यमु निजमे राम! (H)

अ.

निर्वाहमु लेनि यीजनुलगनि निर्मलात्मु लेटु सैरिंचिरोगानि (3)

च.

दारि देलियलेरु कोंदरु दरिद्रुलैनारु दुरहंकारुलै परम-निकृष्टमताचारुलैनारु जारुलैनारदिगाक तारु मारु पनुल जेसेहरु; सं- सारुलैनारु त्यागराज स्वान्त- सदन! कपट मेमो तेलिय (₹)

"SARVĀNTARYAMI" (Bhairavi)

Is the glory of your immanence in all beings real? It is a wonder how the pure-minded could tolerate the sight of such worthless people as those who are ignorant of the right path, who are indigent, and destitute, who, out of haughtiness, are indulging in debased religious practices, who are given to debauchery and who do perverse deeds and remain worldly. The mystery is really perplexing, I do not know.

Asadhu-garhana 39

गौळििपन्तु - 'राम रामकृष्णा' - आदि

प.

राम रामकृषणा यनरे-रात्रिपगल मा सीता (रा)

च.

१. इतर मार्ग सौख्यमुलकु अतनिहृदयमे साक्षियु (रा)

२. कानिपनुल कोरि कोरि करगुचुण्ड मानवुल (रा)

३. कुत्सितपु माटलकु उद्दुग पोरलेड जनुल (रा)

४. सवशास्त्रमुलनु जदिवि-आश दासुलयिनवार (रा)

५. एदुटि पञ्च जूडलेक-हितवु माटलाडु जनुलु (रा)

६. चल्लनि चाककुलु बलिकि-स्वान्त मनलमैनवार (रा)

७. पलुकनेचि यडडुगबोते-तेलिविकि हानियेनवार (रा)

८. जानिहीनलैनवार-जाणलैनारदे साक्षि (रा)

पामुपंदिगजपिशाच पातकाग्रेसरुले साक्षि (रा)

१०. त्यागराजु देलुसुकोन्न तारक मिहपर साधकमु (रा)

"RĀMA RĀMAKRISHNĀ" (Gowlipantu)

O people ! You will all do well to chant the name of my Sitarama and Krishna day and night.

Your heart itself will bear witness to the happiness that this path, as different from other paths, will bring you.

Oh people, you who deeply desire objectionable acti- vities and are lost in them !

Who wallow excessively in low talks and who have be- come slaves to desires, even after reading all sāstras !

40 TYAGARAJA KIRTANAS

Who, unable, out of envy, to stand the prosperity of neighbours, still pass on kind words to them!

Who, though they talk sweetly, have poison in their hearts!

Who, though having learnt how to use speech, yet when the actual occasion for it comes, bring ruin on their intelligence (i. e. do not know how to speak) !

This fact is testified to by several who had no high birth, but were shrewd (enough to adopt this path), those like the serpent, the pig, the elephant, the ghost and many hein- ous sinners.

This path of redemption. Tyagaraja has learnt to be the means to achieve temporal and spiritual emancipation.

Visesha-guru-prasamsā Nārada

भैरवि - 'श्री नारदमुनी' - आदि

श्री नारदमुनी गुरुराय ! गंटि मेनाटि तपमो, गुरुराय (श्री)

अ.

मनसार कोरिति गुरुराय, नेड कनुलार खनुगोण्टिमि गुरुराय (श्री)

१. मी सेव दोरिकेनु गुरुराय; भव- पाशमु दोलगेनु गुरुराय ; (श्री)

Viseshaguruprasamsā: Nārada 41

नी वे सुज्ञान सुखि गुरुराय; नी वेयज्ञानशिखि गुरुराय (श्री)

३. राजिलूल वीणे गल गुरुराय ; त्याग- राजुनि ब्रोचिन सद्गुरुराय; (श्री)

"SRI NĀRADA MUNĪ" (Bhairavi)

Oh! Guru Raya! I am blessed with your Darsana; pro- bably it is the effect of my tapas in previous births. I have sought you with all my heart. I have today feasted my eyes with your sight. As the result of your seva, I am rid of the bondage of Samsara. You alone have attained bliss through true knowledge; you alone are the destroyer of ignorance, O Guru Raya with veena shining in your hand, you the sad·guru, who saved Tyāgarāj.

कानड - 'श्रीनारद नाद' - रूपक

पू.

श्रीनारद! नादसरसीरुहभृङ्ग! शुभाङ्व (श्री)

अ,

दीनमानरक्षक! जगदीश! भेशसंकाश (श्री)

च:

वेद जनितवरवीणावादनतत्त्वज्ञ!

खेदकरत्रितापरहित खेचरविनुत! यादवकुलजाप्त! संदा-मोदहृदय! सुनिवर्य! श्रीद! त्यागराजविनुत! श्रीकर! मां पालय (श्री)

42 TYĀGARĀJA KĪRTANAS

"SRI NĀRADA NĀDA" (Kānada)

Oh Narada! The honey-bee in the lotus of Nada, of auspicious form, the saviour of the honour of the distressed, Lord of the world, one who resembles the moon, one who knows well the technique of playing on veena, which has its origin in the Vedas, free from the three kinds of tor- ments that cause distress, adored by Devas, the friend of Sri Krishna, one whose heart is full of bliss always, the foremost among the sages, the giver of wealth and prospe- rity, adored by Tyāgarāja, save me!

दर्बारु 'नारदगुरुसामि' - आदि

नारद गुरुसामि यिकनैन न-

न्नादरिम्यवेमि? ईकरवेमि ? (ना)

अ.

सारेकु संगीत योग नैगम

पारङ्गतुडेन परम पावन ना)

इतिहास पुराणागम चरितमु-लेवारि वल गलिगे पतिनि दानमिव्व बुद्धि सत्यभाम केटुल गलिगे?

द्युतिजितशरदत्र! निनु विनामुनि यतुल केवर गलिगे?

क्षितिनि त्यागराज विनुत न- म्मिति चिंत दीर्चि प्रह्लादुनि ब्रोचिन (ना)

Viseshaguruprasamsā : Nārada 43

"NĀRADAGURUSWAMI " (Darbār)

Oh Narada Guru! Won't you bless me now at least ? Why this dearth of compassion ? Oh blessed pure one, with a body brighter in lustre than the cloud of the Sarat season, who has mastered the Vedas, yoga and music! If not through you, at whose instance have the Puranas, Agamas and other charitas come into being ? How could the suggestion have arisen in Satyabhāma to make a gift of her husband, if not through you ? Who tould have helped munis and yatis but you? I have reposed complete faith in you; relieve me of my mental distress, you who blessed Prahlāda.

विजयश्री 'वरनारद' आदि

q. वरनारद! नारायण-स्मरणानंदानुभवमुगल (च)

अ. शरदिन्दुनिमापघनानघ सारमुगानु ब्रोवुमिक (व)

च.

सकललोकमुलकु सद्धरडनुचु

सदा ने नतडनुचु हरियु प्रकटम्बुग कीर्ति नोसगेने

भावुक त्यागराजनुत (a)

"VARA NĀRADA " (Vijaya Sri)

Oh Narada, the spotless one, of form similar to that of the autumnal moon, who constantly enjoys the bliss of meditating upon Nārāyana, bless me effectively. Sri Hari

44 TYĀGARĀJA KĪRTANAS

himself has proclaimed you as the greatest Guru of the whole Universe and that He and you are identical and has thus caused your glory to spread throughout.

Kshetra - tīrtha - mahimā Kshetra tirtha-atana Kaveri

असावेरि 'सारि वेडलिन' आदि

प.

सारि वेडलिन ई कावेरिनि जूडरे (सा) अ.

वारु वीरनुचु जूडकता न व्वारिगाभीष्टमुल नोसंगुचु (सा)

च.

१. दुरमुन नोक तावुन, गर्जनभी- करमोक तावुन निण्ड करुणतो निरतमुग नोक तावुन नडुचचु बर कावेरि कन्यकामणि (सा)

वेडुकगा कोकिललु त्रोयगनु वेंडुचु रंगेशुनि जूचि, मरि ई- रेडु जगमुलकु जीवनमैन मूड्ड रेंडुनदि नाथुनि जूड (सा)

३. राजराजेश्वरि यनि पोगडुचु जूचिसुममुल धरामरगणमुल पूजलिरुगडल सेयग, त्यागराज- सन्नतुरालै मुद्दुग (सा)

Kāverī tīrtha and Panchanada kshetra 45

" SĀRI VEDALINA" (Asāvēri)

Look at Kaveri, which is gloriously going towards her husband's house, fulfilling the desires of all people without any differentiation.

She moves rapidly in one place, roars fearfully at an- other, she remains still with full grace at a third.

With cuckoos singing pleasantly, she, after seeing and worshipping Sri Ranganata, comes to Panchanadeswara, who is the life of the fourteen lokas.

She is being worshipped with flowers by Brahmans on either side and is praised by them as Rājarājesvari.

Kāveri and Panchanada

मुखारि 'मुरिपेमु' - आदि

प.

मुरिपेमु गलिगेगदा? राम ! स- न्मुनिनुत ! करिवरद! श्रीराम ! (मु)

अ. परमपुरुष ! जगदीश ! वरमृदु- भाष! सुगुण मणिकोश नीकु. (मु)

च.

१. ईडलेनि मलय मारुतमुचे गूडिन कावेरि तटमन्दु मेडल मिद्देरतो शङ्गारमु मिंचु सदनमुललो वेडुचु भूसुरु लग्निहोत्रुलै

46 TYĀGARAJA KĪRTANAS

वेद घोषमुलचे नुतियिम्प जूड शिवुड्ध गोरु योग्यमैन

सुन्दरमगु पुरमु दोरके ननुचु (मु)

२. सकल सुगन्ध राज सुममु

सललितमगु कोकिल नादम्मुल

शुक मुख सनकादुल नुतमैन

सुर तरुवुल गलिगि

निकटमन्दु वाणि कोलव सुरपति

नीलमणि निभ शरीर ! नेड्

प्रकटमैन नवरत्न खचित हा-

टक मंटप वासमु गलिगे ननुचु (मु)

३. ईमहिलो सोगसैन चोळ सीमयन्दु वरमैन पञ्चनद पुर धामुनि चेंतनु वसिंचुटके नीमदि नेंचग

कामजनक! त्यागराज सन्नत- नाम पवनतनयविधृत चरण! क्षेममुग वर्धिललनट्टि पुरमुन सीता भाम सौमित्रि प्रक्र गोलिचेदरनि (मु)

"MURIPEMU GALIGE GADĀ" (Mukhāri)

Oh Rama! Are you not happy (1) that you have secured a charming and excellent place known as Panchanada Kshetra, in the Chola country, beautiful in all this world, worthy of being coveted by Siva, on the bank of the Kā- veri, over which blows the incomparable zephyr and which

Panchanada kshetra 47

is studded with palatial and beautiful buildings where Brah- mans worship, perform homas and chant Vedas;

(2) that you have in it a mantapam to live in, made of gold, bedecked with precious gems, surrounded on all sides by divine trees with sweet-smelling flowers, adored by sages, Suka and Sanaka, with the melody of cuckoos, where you are served by Sarasvati;

(3) that you have on either side Sita and Lakshmana to serve you.

Panchanada

सारङ् 'एहि त्रिनगदीश' चापु

प. एहि त्रिजगदीश शभ्भो! मां पाहि पश्चनदीश (ए) अ. वाहिनीशरिपुनुत! शिव साम्ब

देहि त्वदीय कराब्जावलम्बम् (ए)

च.

१. गङ्गाघर! धीर निर्जररिपु-पुङ्गवसंहार !

मङ्गळकर पुरभङ्ग विधृत सुकु-

रङ्गाप्तहृदयाब्जभृङ्ग शुभाङ्ग (ए)

2. वारणाजिनचेल भवनीरधि तारण! सुरपाल

क्रूर लोकात्र समीरण! शुभ्रश- रीर! मामकाघहर! परात्पर! (ए)

३. रायशेखर! करुणासागर! नगराजात्मजारमण राजराज परिपूजितपद! त्याग- राजराज वृषराजाविराज! (ए)

48 TYAGARĀJA KIRTANAS

"ĒHI TRIJAGADISA" (Sāranga)

Oh Lord of the three worlds ! Come and protect me ! Give me the hold of your hand ! O you adored by Agastya! the bee in the lotus of the hearts of the devotees ! the gale which blows away the evil people! the destroyer of my sins !

मध्यमावति - 'मुच्चट ब्रह्मादुलकु' - आदि

प. मुचट ब्रह्मादुलकु-दोरकुना ? मुदितुलार! जूतामु रारें (मु)

अ. पच्चनि देहिनि, परमपावनिनि पार्वतिनि दलचुचुनु हरडेगेडु (मु)

१. चिह्र वेल्पुल रीति नरुल कर

पल्लवमुलनु तळुक्कनुचु बिरुदु लेह्लमेरय निजभक्तुल पोगडग

उल्लमु रंजिल्ल तेल्लनि मेनुन निंडु सोम्मुलतो मल्लेहारमुळ मरि शोभिल्लग चल्लनि वेळ सकल नवरत्नपु पल्लकिलो वेंचेसि वच्चु (सु)

२. हितमैन सकल नैवेदयम्बुल सं- मतनुन अड्डगडुगु कारगिंपुचु मितमु लेनि युपचारमुलतो

Panchanada kshetra 49

नति संतोषमुन सततमु ज-

पतपमुल नोनरिंचु

नतजनुल कभीष्टमु लव्वारिग

वेतकि योसगुदुननुचु पंचनदी-

पति वेडलि सोगसु मीरग वच्चु (मु)

३. भागवतुल हरिनाम कीर्तनमु

बागुग सुस्वर मुलतो विंत रागमुलनु यालापमु चेयु वै

भोगमुलनु जूचि

नागभूषणुड्ड करुणानिधियै

वेगमु सकल सुजन रक्षणमुन

जागरूकुडै कोर्केल नोसंगु

त्यागराजु ताननुचुनु वच्चु (मु)

"MUCHCHATA BRAHMĀDULAKU" (Madhyamāvati)

Lord Siva of Panchanada is coming out most beautifully in procession, with his thought fixed on Parvati, the pure and the beautiful; let us all go, O ladies, and enjoy the Darsanam. It is not easily available even for Brahma and other gods. The Lord with his white and captivating form, bedecked with jewels and rich flower garlands, is seated in an orna- mented palanquin, with royal paraphernalia, carried by men of celestial bearing and with praises being sung by real devotees. At every stage he is being offered suitable naivedyam and countless services by devotees. 4

50 TYĀGARĀJA KĪRTANAS

He looks out for his devotees who practice always with great pleasure Japa and Tapas, and lovingly promises fulfilment of their desires.

Seeing this glory, Bhagavatas sing Hari-nama-kīrtana excellently and with sweet notes and the elaboration of varied Ragas. The Lord is coming out wide awake to protect in time all good men and grant their boons; pro- claiming himself as being identical with Tyāgaraja.

अठाण आदि

प.

इललो प्रणतार्तिहरुडनुचु पेरेवरिडिरे? शंकरुडनि नी (कि)

दलचि करगि चिरकालमु पदमुल

दण्ड मिडिन नायेड दय लेदाये (इ)

च.

करचरणयुगमु नोसल भुजमुल

धरणि सोक म्रोक्कगलेदा ? शरणनुचुतु मोरलिड लेदा ? पश्चनदीश त्यागराजनुत! नी (कि)

"ILALO PRANATĀRTI" (Atāna)

When you have not shown any mercy to me who have long been meditating on you, pining with devotion and surrendering body and soul at your holy feet, who gave you

Panchanada kshetra 51

the appellations of Pranatarti-hara (the destroyer of the distress of the devotees) and Sankara (the giver of happi- ness) ?

Have I not sought refuge in you, making säshtānga pranamams to you, (with all the parts of my body touching the ground) ? And have I not made plaintive appeals to you, Oh Panchanadīsa ?.

नारायणगौल - 'दर्शनमु सेय' - झंप

प.

दर्शनमुसेय ना तरमा ? (द)

अ.

परामर्शिचि नीवु ननु-मन्निंचवलेनु, शिव (द)

१. गोपुरंबुलनु कङ्डगोप्प कंबमुल, भू- स्थापितंबगु शिलल तरुणुल याटलनु दीपालवरुसलनु दिव्य वाहनमुलनु पापहर सेविंचि बहिमुखुंडैति शिव (द)

२. तरलि पदियारु प्र-दक्षणमुलोनरिश्चि परनिंदवचनमुल बागुगनाडुचुनु ओरुल भामल जूचि-युप्पोंगितिनिगानि वरशिवाक्षर युग ज-पमु सेयनैति; शिव (द)

३. हाटक समंबैन यद्दुताकृतिनि ने नाट जेसुकोनि, हन्नाळीकमुननु माटि माटिकि जूचि मै मरचि युंडुनदि याटला त्यागराजार्चितपाद ! शिव (द)

52 TYAGARĀJA KĪRTANAS

"DARSANAMU SĒYA" (Nārāyana Gowla)

Oh Siva! Is it possible for me to have your Darsanam ?

You must take all things into account and forgive me.

No doubt I have seen the Gopuras, massive pillars, stone idols installed on the earth and dances of women, rows of lights, beautiful vahanas and made pradakshinas duly. My mind has been turned on things external.

I have made sixteen pradakshinas; I have indulged in slandering others and in exultantly gazing at others' wives; but I have been unable to bring myself to do the holy Siva Japam.

Is it a child's play to install your glorious and beautiful golden figure in the lotus of my heart and forget myself in constant vision of it ?

पन्तुवराळि - 'शिव शिव शिव यन रादा' आदि

q,

शिव शिव शिव यन रादा ? (शि)

भवभय भाधल नणचुकोरादा ? (शि)

च.

१ कामादुल देग कोसि पर-

भामल परुल धनमुल रोसि

पामरत्वमु येडबासि, अति

नेममुतो बिल्वार्चन जेसि (शि)

Panchanada kshetra 53

२० सज्जन गणमुल गाश्चि ओरि

मुज्जगदीश्वरुलनि मतिनेंचि

लज्जादुल दोलगिश्चि तन ह-

ज्जलजमुननु ता पूजिश्चि (शि)

आगममुल नुतियिचि, बहु

. बागुलेनि भाषल चालिश्चि

भागवतुलतो पोषिश्चि ओरि त्यागराज सन्नुतुडनि येंचि (शि)

"SIVA SIVA SIVA YANARĀDĀ" (Pantuvarāli)

Why should you not chant the name of Lord Siva and get rid of the fears and troubles of Samsara ?

सिन्धुनामक्रिया 'देवादिदेव' देशादि

प. देवादिदेव! सदाशिव ! दिननाथ! सुधाकर! दहननयन!

अ. देवेश! पितामहमृग्यशमा- दि गुणाभरण! गौरीरमण ! (दे)

भव! चन्द्रकळाधर! नीलगळ! मानुकोदि संकाश ! श्रीशनुत! तव पादभक्तिं देहि, दीनबंधो ! दरहासवदन ! त्यागराजनुत! (दे)

54 TYĀGARĀJA KĪRTANAS

"DĒVĀDI DĒVA SADĀSIVA" (Sindhunāmakriyā) Oh Sadasiva! God of Gods! Friend of the destitute ! Pray, give me devotion to your holy feet !

अठाण 'अम्म धर्मसंवर्धनि' - आदि

प.

अम्म! धर्मसंवर्धनि! यादुकोवम्म! मा (य) अ.

इम्महिनि नी सरि येवरेम्म? शिवुनि-कोम्म; मा (य)

च.

१. धात्रि धरनायकप्रिय

पुत्रि मदनकोटि मञ्जुळ

गात्रि अरुण नीरजदळ

नेत्रि निरुपम शुभ

गात्रि पीठनिलये ! वर ह-

स्त धृत वलये ! परम प-

वित्रि! भक्तपालन धुरन्धरि!

वीरशक्ति ने नम्मिना (नं)

२. अम्ब कम्बुकंठि! चारुक-

दम्बगहनसंचारिणि

बिम्बाघर तटित्कोटि-

निभाभरि दयावारिनिधे

Panchanada kshetra-Dharmasamvardhani 55

कौमारि! स्वरजित

तुम्बुरु नारद सज्जीत माधुर्ये

दुरित हारिणि ! मा (य)

३ धन्ये त्रयंबकें! मूर्धन्ये

परम योगि हृदया

मान्ये त्यागराज कुल श-

रण्ये! पतितपावनि! का-

रुण्य सागरि सदा अपरोक्षमु

गारादा ? सह्य

कन्या तीरवासिनि परात्परि

कात्यायनि! रामसोदरि! मा (य)

"AMMA DHARMA SAMVARDHANI" (Atăna)

Oh mother, Dharmasamvardhani! Pray, come to my succour ! Who can equal you in this Universe? I have reposed my faith in you. Won't you enable me to realise your presence always ?

सावेरि पराशक्ति' आदि

प. पराशक्ति! मनु-पराद? नापै-पराकेलनम्म? (प)

अ. पुराणि! धर्मसंवर्धनि! श्री-पुराधीश्वरि! राजशेखरि (प)

च.

१. वाराहि ! धर दे-वराज जलजभ- व राक्षसादुल-वराल गोरु

56 TYGARĀJA KIRTANAS

बरानने! नग-वरात्मजे! मुनि

वरार्चिते! ननु ब्रोवरादा? ओ (प)

विशाल नयने ! कु-शालुगा नी

दु सेव जेसि त्रि-दशाधिपादु-

लु शाश्वतुलै पर-वशाल नुतिसे

य शांतमुन जू-चु शांभवि! ओ (प)

निरपराधुल-निराकरिंचु

दुरात्मकुल निं - दुराक सेय-

ग राद वरत्या-गराजनुत शुभ-

द! रामसोदरि! धराधरसुते! (प)

"PARĀSAKTI MANUPARĀDA" (Sāvēri)

Oh Parasakti! Dharmasamvardhani! Won't you sustain, and protect me? Why are you indifferent to me! Indra Brahma, Rakshasas etc. pray to you for boons. Gods like Indra have attained immortality by worshipping you. When they praise you out of ecstacy, you shower your grace on them. Should you not see that wicked people, who forsake the innocent ones, do not come here ?

सावेरि 'नीवु ब्रोववले' आदि

प.

नीवु ब्रोववलेनम्म ननु, निखिललोक जननी! (नी

अ. देवि! श्री धर्मसंवर्धनि! दिव्यदर्शन मोसगि संततमु (नी)

Panchanada kshetra-Dharmasamvardhani 57

च.

१. नीवले करुणासागरि ई जगान

ने वेतकि कनुगोनगा नेक्डगान

पावनमगु श्रीमत्पंचनदीश्वरुनि राणि ! ना-

भावमुलो दोरुकुकोंटि विक मरचेदना ?

ईवरकुनु जेसिन नेरमुलनु नीवेंचक नलुगुरिलो तन किक

कावलसिन कोरिक लोसंगि

कावुमु पतित पावनि ! धर्मसंवर्धनि! (नी)

नायेड वंचनसेयक पसिडि शिलाकंज

सायकु नन्निट नीवनि येंचितिगाक

मायपु भवसागर बाधल यंदाक येड-

बायनि नीपदभक्ति नोसंग पराका?

कायजजनुकुनि सोदरि! नीयोक मायलनु तोलग जेयक युंडट न्यायमु गादु; दयापरि! शुभफल- दायकियौ धर्मसंवर्धनि! (नी)

३. राजशिखामणिसतिययिन शुभाकारि! अम्ब! राजराजेश्वरि! त्रिजगदाधारि! स- रोजनयनि! नी महिमलनु तेलियलेरे ; त्याग- राजादिपरमभागवतहृदयागारे! ई जगतिनि, गौरि! परात्परि! अ- व्याजमुननु परिपालन जेयु ओ जगदीश्वरि! नेर नम्मिति निनु राजिगा धर्मसंवर्धनि! (नी)

58 TYAGARĀJA KĪRTANAS

" NĪVU BRŐVAVALĒ" (Sāvēri)

Oh Devi! Dharmasamvardhani! You must give me your blessed Darsana and protect me always. I have been searching the whole world, but I have not been able to find a merciful being like you. My mind has caught hold of you. Could I ever forget you hereafter ?

Without minding the faults I have committed till now, bless me by granting my heart's desires.

Do not play false to me. Do not make me run after gold which is worthless like a piece of stone. I have regar- ded everything as you. How long are these ordeals of Māya Samsara to last? Why should you be still indifferent in granting me constant devotion to your feet? It is not fair that you should not remove from me the Maya that you have cast.

People do not know your glory; by your very nature you protect the world. I have reposed my entire faith in you.

तोडि - 'करुण जूडवम्म' - आदि

T. करुण जूडवम्म, कमलवैरि-कलाधरुनिकोम्म! (क)

धरनु सरियु दोरकनि पंचनद न- गरनायकि ! धर्मसंवर्धनी! ()

अनेक जगदाधारिवि! नी جـ वने मदिनि नेरनम्मितिगा ये-

Panchanada kshetra - Dharmasamvardhani 59

मनेडु वाडनो यनि नीमदि ने-

च्चने वद्दनुचु यातनि वेड-

दुने ; नादुपै विनेड चाडिचा-

लुने; नीदुदयकु ने बालुडो-

दुनें, कुवलयनयने! सुवसन ज-

घने ! विधुनिभवदनें! संततमु (क)

2. मदमुन तेलियक जेसिन कर्म-

विदारि नीवनि नम्मितिने; नी

पदारविन्दयुगळभक्ति निम्म-

नि दानमडिगितिने; नीकुतोचदेमि ?

उदारि! नी दयनु दाचरादु; द-

रिदापु लेकनु सदा मोरलिड वि-

नदा चेवुल? एवरुदाब्रोतुरिक?

सदाशिव हिंते! मुदान सततमु; (क)'

३. पराशक्ति! नायोक्क चित्तमुदा-

मराकु नीरु विधमु तल्लडि-

ललरादु, अंदुन केमि फलमु? शं-

बरारि वैरिकि अर्धशरीरि!

पुराण पुरुषडगु रामुनिकि या-

पुरारिकिनि नीकु, राजधरी! म-

च्चरान वेरेंच रादु यनु त्या-

गराजु निक विड्वरादु ; सततमु (क)

60 TYĀGARĀJA KĪRTANAS

" KARUNA JUDAVAMMA" (Tôdi) Oh Queen of unparalleled Panchanadapura! Beloved of Siva ! Protect me always with mercy. You are the prop of the universe and I have reposed my entire faith in you. Don't regard me as an unknown stranger. Don't give your ear any more to tales against me. I am worthy of your grace.

I have believed that you are the destroyer of past misdeeds done in ignorance and out of arrogance. I have begged of you the gift of devotion to your blessed lotus feet. How is it that it does not strike you to grant it ? Pray, do not keep back your grace. Don't you hear my constant plaintive appeals to you in my helpless condition? Who else is there to protect me ?

Oh Parasakti! My mind should not be unsteadily oscillating like the drop of water on a lotus leaf. What is the good of it? You are the half of Siva's body. Yourself, Råma and Siva are not different You ought not to give up Tyāgarāja.

यमुनाकलपाणि - 'विधि शक्रादुलकु' - रूपकम्

विधि शकादुलकु दोरकुना? इटुवंटि स- न्निधि? वेडडक जूतामुरारे (fa)

सुधीजनरक्षकि धर्माम्बुधिशायि सेव जूड (fa)

9. उडुपति सुखुलेल्ल वरसगा बिरुदुलनुबट्टि अडुगडुगु जयजय मनगा, या वेल्पुल वेल

Panchanada kshetra-Dharmasamvardhani 61

पडुचुलु निज नाट्यम/डगा, समयमुन पसिडि

सुमवर्षमु गुरियग वडिवडिगामरको टुल तडबड भूमिनि दण्डमुलिडगा सं-

तोषमुननु कडकंटिनि जूचु सोगसु (वि)

२. श्री रमणिनि जूचि पल्कग नवरल्नाल

हारपु सरुलल्लाडग आमोलक नगवु गौरवमु यन्तटतु मेरयग नावेळ सनक

नारदादुलेल्ल बोगडगा, कीरमुननुबूनि सरिग चीर कान्ति मेरयगा शरङ्गारि कोलवुयुण्ड शुक्र वारपु सोगसेंल जूड (घि)

३. तरुणारुण वदन कमलिनि अत्यन्तमैन

करुणारसपूर्णनेत्रिनि श्री पश्चनद

पुरमुन नेलकोन्न तल्लिनि, श्री त्या-

गराज परिपालिनि सर्वरूपिणि

शरणागत वत्सलिनि वरमणुल धगधगयनि

मेरयु कड्ढणयुतकर परदेविनि सेविम्प (चि)

"VIDHI SAKRĀDULAKU" (Yamunā Kalyāni)

Oh ! Dharmambika! Protector and refuge of the wise! Supreme Mother ! Is it possible for Brahma, Indra and other gods to have the darsana of your grand Sukravāra sevā, when moon-faced damsels serving you carry the parapher- nalia and utter slogans of victory at every step, and display excellent art in dancing, when golden flowers rain, when devas rush and prostrate on the ground in your front, when you cast your side glance in joy on all this, and with

62 TYĀGARĀJA KĪRTANAS

your necklace dangling and with your gentle smile illumi- nating the whole place, with parrot in hand, hold conversa- tion with Lakshmi, when Sanaka, Narada and others praise you in chorus and the brilliance of your garments spreads lustre all round.

Oh! you Mother residing at Panchanadapura, having eyes brimming with compassion !

कल्याणि 'शिवे पाहि मां' आदि

प. शिवे पाहि मामम्बिके! श्रितफलदायकि! (शि)

अ. कवेरजो त्तरवासिनि ! कात्यायनि धर्मसंवर्धनि (शि)

न. स्वभावमौ नी प्रभावमु महा- م

नुभावु रालैन भारतिकि पोग-

ड भारमै युण्ड भावजारा-

तिभाम ने नेन्त? भाग्यदायकि (शि)

२. कलार्थमिदि शशिकलाधरि! युप

वलारि माया विलासिनि स-

कलागमनुते! भलारियन शुभ-

फला लोसगु परम लालनम्मुन (शि)

चराचर मयि! करारविन्दमु-

न रामचिलकनु बिरान! बूनि

पराकु जूडराडु; श्री रघु वराप्तुडगु त्यागराज विनुते (शि)

Panchanada kshetra-Dharmasamvardhani 63

"SIVĒ PĀHIMĀM AMBIKĒ" (Kalyāni) Oh Sive! O goddess Dharmasamavardhani abiding on the northern bank of the Kaveri! Pray, protect me, you who grant the fruit of their desires to those who resort to you. When it is difficult even for the great Saraswati to praise your innate glory, what am I? You give, with affection and love, words of encouragement and estimable gifts. You are the whole Universe, movable and immovable. You ought not to treat me with indifference.

रीतिगौळ -- 'बाले बालेन्दु' आदि

प.

बाले! बालेंदु भूषणि! भवरोग शमनि (बा)

अ.

फाललोचनि! श्री ध्मसंवर्धनि! सकललोकजननि! (बा)

च.

१. शीले! ननु रक्षिंपनु जा- गेले! परमपावनि! सुगुण- जाले! नतजन परिपालन

लोले! कनक मय सु- चेले! कालवैरिकि प्रियमैन यि- ल्लालवै यिंदु वेर्ला नंदुकु श्री ललिते! नी तनयुडनि ननु कु- शालुगा पिलुववलेनम्म (बा)

२ सारे! सकल निगम वनसं- चारे! चपल कोटिनिभ श-

64 TYĀGARĀJA KIRTANAS

रीरे! देवतांगन परि- वारे! पामरजन दूरे! कीरवाणि! श्री पंचनदपुर वि- हारिवै वेलसिनंदु किक ना- नेर कोटुलनेंह् सहिंचि गारर्विंप वले नम्म ; शिवे! (बा)

३- रामे! प्रणतार्ति हराभि- रामे! देवकामिनि ल- लामे! त्यागराज भजन स- कामे! दुर्जन गण भीमे! नामनसुन नी चरणमुल सदा नेममुतो पूजजेसितिनि ; श्री रामसोदरिवै वेलसिन श्री श्यामले! धर्मसंवर्धनि! (बा) "BĀLĒ BĀLĒNDU BHŪSHANI" (Rītigowla) Oh, Healer of the disease of Samsara, Mother of the Universe ! Dharmasamvardhani! Why delay in protecting me? Having incarnated here as the consort of Lord Siva, you should beckon me affectionately as your son, forgive me my faults and bless me so that I may worship your holy feet in my heart always with devotion.

देश्यतोडि 'इन्नालवले' चापु

प. इन्नह्नवले विंतसेयके! नीवाड निपुडैति; धर्माबिके : (इ)

Panchanada kshetra-Dharmasamvardhani 65

अ. अन्युल नेर नम्मुटवल्ल फलमुले-

दम्म; ओ धर्मांबिके! ओ जननि (इ)

च.

१. एन्नरानि जननमुलेत्त ना तरमा? व- इनरादा; धर्माबिके!

मनसुन विषयादु लंटनीक ननु मन्निंचु, धर्माबिकै! ओ जननि (इ)

२. कामादि गुणमुल चेत गासि लेक

करुणिंचु धर्माबिके ! नी मायल चेत दगिलिंपके; ओ निरु-

पम धर्माबिके! ओ जननि ! (इ)

३. अलरुचु वच्चु यर्भकुनि तहि रीति यादुको ; धर्माबिके! मलयजगंधि! संदडियनि

मनसुन मरवके; धर्मांबिके! ओ जननि (इ)

४. कलुवरिंचिन नन्नु जूचि नी मनसेल करुगदे? धर्माबिके!

गिलुकु सोम्मुलतोनु शिशुवुकु

पालु तार्गिचिन ; धर्माबिके! ओ जननि (इ)

५. कलकलमनि पाल वेलसि नी मुखमुनु कनुपिपु धर्माबिके!

ललित गुणमु गल्गु ललित विद्या-

विलासिनि! धर्मांबिके! ओ जननि! (इ) 5

66 TYĀGARĀJA KIRTANAS

६. आटलकै बलिकिनाडनि येंच-

काम्बिके! धर्माबिके!

नाटि मोदलुकोनि नम्मिन वाडनु ; नळिनाक्षि! धर्मांबिके! ओ जननि! (इ)

पादमुलकु नेनु पलुमारु म्रोक्किति; पावनि! धर्माम्बिके!

पेद साधुल भाग्यमु नी वनुचु नेंचिति धर्माबिके! ओ जननि (इ)

८. राजीवभवुनकु पोगड तरमा ? नि-

रंजनि! धर्मांबिके!

राजशेखरि त्यागराजुनि सततमु रक्षिंचु, धर्माबिके ! ओ जननि (इ)

"INNĀLLA VALE" (Dēsya Todi)

Oh Dharmämbike! Pray, do not treat me as a stranger as you have been doing all this time. I have now become your own. There is no good in reposing faith in others. Oh Mother ! Can I bear these countless births? Can you not stop it ? Forgive me and bless me so that my mind may not be tainted by sense pleasures. Don't entangle me in the meshes of your Maya. Come to my rescue as a mother comes to the rescue of her crying baby. Don't treat my wail as a mere noise.

Though you hear my plaintive appeals, why does not your heart melt? You had fed babies like a live mother

Panchanada kshetra-Dharmasamvardhani 67

with milk. Pray, stand before me and show me your blessed face. Do not think that I say all this in fun. I have reposed my faith in you from a long time. I have been

worshipping your holy feet several times. I have regarded

you as the fortune of the poor, pious souls. Even Brahma

cannot adequately praise you ; bless me !

केसरि - 'नन्नु कन्न तलि' देशादि

प.

नन्नु कन्न तल्लि; ना भाग्यमा !

नारायणि! धर्मोबिके! (न)

अ.

कनकांगि ! रमापतिसोदरि!

काववे ननु, कात्यायनि (न)

कावु कावुमनि ने मोरबेद्टगा

कमललोचनि! करगुचुंडगा

नीवु ब्रोवकुंटे नेवरु ब्रोतुरु स-

दा वरम्बोसगु त्यागराजनुते! (न)

"NANNU KANNA TALLI" (Kēsari)

Oh my mother! Dharmasamvardhani! If you do not protect me when I am making plaintive appeals to you,

68 TYAGARĀJA KIRTANAS

pining with devotion, who else will save me? Bless me with boons always!

आरभि - 'अम्ब निनु नम्मिति' - आदि

प. अम्ब निनु नम्मिति नंटे नी कनुमान मेमम्म? (अं)

अ. शम्बरवेरिजनकसोदरि

शरणु जोच्चि मनसार श्री जग (दं)

च.

१. गीर्वाण गणाधारि! अम्ब शर्वाणि यखण्डाकारि! पर्वतराजमनोज्ञ कुमारि! निर्वाहमु लेक मदिनि कोरि (अं)

२. सुरवैरि कदनशौये! चरुणालय सम गांभीर्ये स्वरजित कोकिल रव माधुर्ये परितापमु ताळकनु सुचर्ये! (अं)

३. शर्मदायकि गौरि दु- कर्म कलुष वनकुठारि ! निर्मल त्यागराज हच्चारि! धर्म संवर्धनि ओंकारि (अं) " AMBĀ NINNU" (Ārabhi) Oh Mother ! Dharmasamvardhani ! Why do you doubt me when I say that I entirely repose my faith in you, taking

Nāgapattana-Nīlāyatākshi 69

refuge at your feet with my whole heart in a helpless condi- tion and unable to bear distress ?

सावेरि - 'कर्ममे बलवंत' चापु

प, कर्ममे बलवंत माया, तलि!

कायारोहण जाया! (फ)

अ. निर्मलमगु नागपुरमुन नेलकोन्न नीलायताक्षि! सकल लोकसाक्षि! (क)

च.

१. धरनु धनिकुल गोरि ना

परितापमु दीर्प लेरैरि यनि

सरगुन नें बयलुदेरि वच्चि

परमपावनि! नी सन्निधिजेरि, ना (क)

वारिधि मदि गर्विचि ई

वसुधकु ता रानेंचि निन्नु

सारेकु गनि तल वंचि युंड

धीरतनमु गलुगु निनु पोडगांचि ना (क)

३० कासास लेनि ना मदिकि नी-

करुणये धनमनि बल्कि निं-

डासतो वच्चि सन्निधिकि निज-

दासुडैन श्री त्यागराजुनिकि (क)

70 TYAGARAJA KĪRTANAS

"KARMAMĒ BALAVANTAMĀYĀ" (Sāvēri)

Oh Nilayatakshi of Nagapattana! the witness of the Universe! Owing to the overpowering force of my past karma, I have been running after the rich men of the world, but they could not remove distress; I have come to thee promptly.

You have protected the earth from being overrun by the sea, which seeing your heroic form had to remain submis- sive and desist from its purpose.

Realising that your grace alone is my wealth, and not material money for which I had no desire, I came to you full of hope and became your true devotee.

तोडि 'एवरु तेलिय' रूपकम् 1

प. एवरु तेलिय बोय्येरु नी महिमल? (ए)

अ. भुविलो वारमु नागपुरमुन गनुगोंटि;

लवलेशमैननु, नीलायताक्षी! सामर्थ्य (मे)

च.

१. करगुबङ्गारु वल्वगट्टि; निर्जरतरु

विहलनु गोप्पु निंडजुटटि; सोगसुमीर

करमुन जिलुकनु बट्टि, अदियुगाक

हरुनि यटिट्टाडिंचिनटटि नी लीलनु (ए)

२. हरि ब्रह्मादुल निन्नुंगोल्व, नावेळलसुर घिरिबोणुलंदमुतो निल्व, नमरवार-

Brahmapuri - Subrahmanya 71

तरुणुल नाट्यमुचेगोल्व, नन्नियु जूचि करुणारसमु जिल्कि बिल्व नदि नीदय (ए)

३. नाम भूषणुनिकि राणिवैन निन्नु वि- नाग येव्वरु? नीलवेणी! भक्तलपालि भागधेयमैन शर्वाणि! संततमुनु त्यागराजु बल्किन वाणी! प्रियमैनट्टि (ए)

"EVARU TELIYA BOYYĒRU" (Todi)

Who can understand even a fraction of your prowess and glory? Oh Nīlāyatakshi, whom I have seen at Nāga. pattana!

Clad in precious golden garments, adorned with celes- tial flowers, with a parrot in hand, you made Siva dance. At that time Hari, Brahma and other Gods praised you, all the devata women stood witnessing gracefully and celes- tial damsels danced also in merriment. Seeing all this, you showered your grace profusely.

You are the consort of Nagabhushana (Siva) and you are the wealth of the devotees. Who else is there to protect them ?

तोडि 'नी वंटि दैव मुनु' आदि

प. नी वंटि दैवमुनु, षडानन! ने नेंदु गानरा (नी)

अ० भार्विचि चूडतरमुगानि

ब्रह्मपुरि निलय गिरिजातनय! (नी)

72 TYAGARAJA KĪRTANAS

च.

१. सरि बालुरतो कैलास गिरिनि

शुभाकृतितो नाडगनु वेरपु लेक प्रणवार्थमु ताननु विधिनि कोपगिचि

सरगुन नववीरुलंदोक किं-

करुनि गनिमुम्मारु सेलविच्चि

सुरुल मुर पुरारु विनि मेच्चग

वरुसगानु सटृष्टि शक्ति नोसगिन (नी)

२. हरि हरुलकु दिक्पालुल कल शशि सूर्युलकु मरि विद्याधरुलकु ब्रह्मांड-

मुन वेलयु वीरादुलकु

तरमुगाक निन्नु जतगूडि शरणनगाविनि सैरिंचक

परम द्रोहियैनशूर-

पद्मासुरुनि कीर्तिगानु गर्वमणचचन (नी)

मारकोटुलंदु कल्गिन श्ङ्गार- मेळ यिन्दुमुख ! नीकोन- गोरुनु बोलुने; अटुवंटि शुभा

कारमु सन्ततमु

सारेकु ना मदिनि निलिपिन कु-

मार! दयापर! नीरजलोचन तारकाधिप कलाधरुडगु श्री-

त्यागराजसन्नुता! श्रितहित! (नी)

Subrahmanya 73

"NĪVANTI DAIVAMU" (Todi)

Oh Subrahmanya, Son of Parvati, residing at Brahma- puri! It is not possible to find a God like you, nor to under- stand your inner significance.

While you were playing with your mates at Kailāsagiri, you got angry with Brahma for his having declared that He alone represented the significance of Pranava, called out one of your nine followers and bestowed upon him the creative power, to the admiration of devas, Vishnu and Siva.

When Vishnu and Siva, Dikpalakas, the Sun, the Moon and all the heroes of the world, finding it impossible to deal with the treacherous demon Surapadma came in a body to you and sought your help, you destroyed his arrogance to your great glory.

You have installed in my heart your exquisitely beauti- ful form which defies even a myriad Manmathas, Oh Mer- ciful one!

सुप्रदीप 'वरशिखिवाहन' आदि

प.

वरशिखिवाहन! वारिजलोचन! (च)

कुरु शं तनुजितकुसुमशरायुत!

शरजभवांबुदवाहनादि-

सुरनुतपाद! सुगुणकुमार! (*)

74 TYĀGARĀJA KĪRTANAS

च.

तारकशू रपझ्मासुरतूल-

दहन! भूधरसुतानन्दन! धीर!

श्रीरघुवीरभागिनेयाप्त! उ-

दार! घृणाकर! त्यागराजनुत! (घ)

"VARASIKHI VĀHANA" „ (Supradīpa)

Oh Lotus-eyed Lord mounted on an excellent peacock ! Bestow welfare, Oh Lord who excels a crore of Manmathas by your form !

Oh Lord born in the reed-grove, whose feet are praised by gods like Indra! Oh Kumara of excellent qualities ! Oh Fire that destroyed demons, Taraka and Surapadma! Son of Devi ! Heroic nephew of Rama ! Oh Friend ! Generous and compassionate Lord, praised by Tyāgarāja!

काम्भोजि 'ओ रंगशायि' आदि

प. ओ रङ्गशायि! पिलचिते-ओ यनुचु रा रादा? (ओ)

अ.

सारङ्गधरडु जूचि कैला-साधिपुड्ड गालेदा? (ओ)

भूलोक वैकुंण्ठ मिदियनि नीलोन नीवे युप्पोद्ि श्रीलोलुडै युण्टे मा-चिन्तदीरे देन्नडो? मेलोर्व लेनि जनुललो ने

Srirangam - Ranganatha 75

मिगुल नोगिलि दिव्यरूपमुतु मु- त्याल सरुल युरमुनु गान वच्चिति ; त्यगराज हृद्भूषण (ओ)

"OH RANGA SĀYI" (Kambhōji)

Oh Rangasayi! When I implore you to come to me, why should you not? Has not Siva become Kailasapati at your instance ? If you (forgetful of other things) give yourself up to enjoyment in the company of Lakshmi, taking Srirangam to be Vaikuntam on earth, when is there to be an end to my worries and concerns ? I have suffered much, living in the midst of envious people who cannot stand to see others prosper and have come to you to have darsanam of your divine rupam bedecked with garlands of pearls.

आरभि 'चूतामु रारे' रूपकम्

प. चूतामु रारे सुदतुलार! रङ्गपतिनि (चू )

अ. सीतापति पूज्युडट-शङ्गार शेखरडट (चू )

च.

१. सरिगंचु शालुवट चौकट्ल पोगुलट परुवंपु प्रायमट परमात्मुडट, रङ्गनि ( 対 )

2. मुख निर्जित चन्द्रुडट मुद् दुमाट लाडनट सुख मोसङ्ि ब्रोचुनट-सुन्दराङडट रङ्गनि (चू )

३. आगम सश्चारडट-यखिल जगत्पालुडट त्यागराज सन्नुतुडट तरुणुलार रङ्गपतिनि (चू )

76 TYAGARĀJA KĪRTANAS

"CHŪTĀMU RĀRĒ" (Ārabhi)

Oh Ladies! Come along, let us see Rangapati. They say he was worshipped by Sri Rama; he is the repository of all charms; he wears a costly shawl and beautiful ear- ornaments; he is of prime age; and above all he is Paramātma.

His face defies the moon in beauty; He speaks very sweetly. He gives people happiness and protects them; He is of loveable personality; he permeates all agamas and Vedas; he rules the whole Universe.

देवगान्धारि - 'विनरादा' देशादि

q. विनरादा ना मनवि (वि)

अ. कनकांग! कावेटिरङ्ग! श्री- कान्त! कान्तलेल्ल कामिंचि पिलचिते (ति)

a.

9. तेजिनेकि बाग तेरुवुनराग राज सतुल जूचि रंमनि पिलचिते (चि)

भागधेय! वैभोगरङ्ग ! श्री- त्यागरजनुत तरणुलु बिलचिते (वि)

"VINARĀDĀ" (Dēvagāndhāri)

Oh Golden-hued Ranga of Kaveri! Lord of Sri! Can't you listen to my appeal? When the ladies including, the

Srirangam-Ranganātha 77

Royal party, so lovingly call you when you come out in procession on horse back, why should you not respond? You are their treasure.

देश्यतोडि राजुवेडले' रूपकम्

प. राजुवेडले जूंतामु-रारे ; कस्तूरिरङ्ग (रा)

अ. तेजिनेकि समस्त राजु लूडिगमु जेय

तेजरिल्ल नवरत्नपु दिव्यभूषणमु लिडिरङ्ग (रा)

च्च,

कावेरी तीरमुननु पावनमगु रङ्गपुरिनि

श्रीवेलयु चित्रवीधिलो वेंकग राग सेवनु गनि सुरुलु विरुलचे ब्रेमनु पूजिंचग भार्विचुं त्यागेराजु बाडग वैभोग रङ्ग (रा)

" RĀJU VEDALE" (Dēsya Todi)

Come, let us enjoy the sight. Sri Ranga Rāja, bedecked with shining and precious ornaments and attended by prin-' ces on horseback, has come out in procession in Chitravithi of Rangapuri, made holy by the KaverI and made fit as the abode of Lakshmi. Devas enjoy the seva and worship with devotion and Tyagaraja sings in the procession.

78 TYĀGARĀJA KĪRTANAS

सारङ्ग 'करुण जूडडुमय्य' -- आदि

प.

करुण जूडमय्य ! मायय्य! कावेटिरङ्गय्य (क)

अ,

परम पुरुष! विनुमा-पालि पेन्निधानमा!

चरद नलुगुरिलो-वर मोसगि करमिडि (क)

च.

चारडेसि कनुलचे जेलंगुभय ना-

चारुलतोनु मरिसद्क्तुलतो या-

ळ्वारलतो नीवु वर नैवेद्यमुल नारगिंचु वेळल हरित्यागराजुनि करमिडि (क)

"KARUNA JŪDUMAYYA" (Sāranga)

Oh Paramapurusha! Our great treasure! Kaveri Ranga! Look at me with compassion and listen (to me); hold me by the hand, bless me with boons and your grace, when you are in glory in company with the two consorts, the twin Nachiyars of broad eyes, with devotees and Alwars and partaking of offerings made to you!

कल्याणि - 'ईश पाहि मां' रूपकम्

प. ईश! पाहि मां जग (दी)

अ

आशरगण मदहरण! बि-लेशयभूष! सप्त ऋ (षी)

Sri-tapastīrtha- Saptarishisa 79

च. श्रीनाथ करार्चित! दोरिकि नाल्पुलकी दर्शन

मेनाटि तपःफलमो नी नाममु दोरके श्री नारद गानप्रिय! दीनार्ति निवारण पर-

मानन्दार्णवदेव! यनाप जनक(?) सप्त ऋ (षी)

२. व्यासार्चित पालित निजदास भूलोक कै-

लासम्बनु पल्कुल निजमे सारेकु गंटि;

नीसाटि येवरय्य? नीसाक्षात्कारमुन

वेसटलेल्ल दोलगे, नेडे जन्ममु साफल्यमु (यी)

सामादि निगम सश्चार! सोमाग्नि तरणिलोचन

कामादि खण्डन! सुत्रामार्चित पाद! हेमाचलचाप निनुविना मरेवर? सुनिमनो

धाम त्यागराज प्रेमावतार जग (दी)

"ĪSA PĀHI MĀM" (Kalyāni)

Oh Jagadisa! Saptarishisa ! Protect me! Can ordinary people aspire to have this rare Darsana of yours? I do not know as the result of what Tapas I made in the past that I have had your holy name. This is really Bhūloka Kailāsa as people say. I have seen it for myself several times. Who is your equal ? By your divine presence, all my worries and troubles have disappeared and my life has become blessed today. Who is there, but you for me ?

80 TYĀGARĀJA KĪRTANAS

मध्यमावति - 'देव श्रीतपस्तीर्थ' त्रिपुट

प, देव! श्रीतपस्तीर्थपुरनिवास! देहि भक्तिमधुना (दे)

अ.

पावन प्रवृद्धश्रीमतिह-

द्धवन! सकल जग-दवन! श्री महा (दे)

च.

९. पाश हस्त गणेश हरण! प-

लाशनारितुतेश! वरद ! कु-

शेशयारिधराशरेभमृ-

गेश! सप्तऋषीश! देव (दे)

२. नीलगळ! सुरजालनुत! नत-

पाल गिरीश! विशालफाल कृ-

पालवाल! सुशील! गौरी-

लोल! शिव! मां पालयाद्भुत (दे)

३• नागपूजित ! नागदनुजह-

र! अगमर्दनवागाधिपविनु-

तागुणितगुण ! रागमददू-

राघहर ! श्रीत्यागराज (दे)

"DĒVA SRĪTAPASTĪRTHA" (Madhyamāvati)

Oh Mahadeva! Pray, grant me devotion to you and protect me soon.

Srītapastīrtha-Dēvī Pravriddha-Srīmati 81

भैरवि - 'ललिते श्रीप्रवृद्ध' आदि

प

ललिते! श्रीप्रवृद्धे! श्रीमति! लावण्यनिधिमति (क)

अ.

तेलिविनि वर्धिल्ल श्रीतपस्तीर्थनगरनिलये (ल)

च

१. तेलियनि बालुडगादा? अंब!

तेलिंवि नी सोम्मुगादा ?

चलमु सेय मरियादा ?

चल्लनि माटलु बल्क रादा ? (ल)

२. ब्रोचुवारिलनु लेक

जूचि जूडक पराका ?

यी सुजनुल वेडग लेक

ने दासुड नीवे गति गाक; (ल)

३. कन्न तल्ि शुभवदने ; मी-

यन्न दयकु पात्रुडने!

तिन्नग शरणु जोच्चितिने ;

त्यागराज मानस सदने! (ल)

"LALITĒ SRĪ PRAVRIDDHĒ" (Bhairavi)

Oh Lalite! Pravriddha-Srimati of Sritapastirtha! Oh Mother of beauty and ever-growing wisdom ! Am I not an 6

82 TYAGARAJA KĪRTANAS

ignorant boy? Are you not the custodian of wisdom ? Is it proper that you should be indifferent towards me? Won't you say a few words of comfort to me?

I have no one else in the world to protect me. Unable to bring myself to beg of people of this world, I have approached you as your devotee.

I have become a befitting recipient of your brothers' grace. I have straight sought refuge under you.

काम्भोनि 'महितप्रवृद्ध' चापु

T.

महित! प्रवृद्धश्रीमति! गुहगणपतिजननि (म)

अ.

पाहि वदनजितसुधाकरें! श्रीकरे!

पाहि सुगुणरत्नाकरे! (म)

च.

१, देहि, चरणभक्तिमखिलदेहिनि, सदाशुभफल-

दे! हिमगिरितनये! वैदेहीपसहोदरि! (म)

२. वाहिनीशसन्नुते! नवाहिभूषवल्लभे! भ-

वाहिनीलकंठि! सिंहवाहिनि जननि (म)

३. पार्थसन्नुतप्रिये! पदार्थे (?) डपुण्यदूरे! कामि- तार्थफलदे! श्रीतपस्तीर्थपुरनिवासिनि! (म)

Srītapastīrtha- Dēvī Pravriddha-Srīmati 83

४. राजशेखरात्मभूवि-राजराजसन्नुते! स- रोजदलनिभाक्षि! त्याग-राजभाग्यदायकि ! (म)

"MAHITA PRAVRIDDHA" (Kambhoji) Oh Mother Pravriddha-Srimati! Pray, protect me and grant me devotion to your blessed feet !

तोडि 'गति नीवनि' आदि

प.

गति नीवनि ने कोरि वच्चिति तलि! पराका? (ग)

अ.

मतिनि एन्तो वेतकि सम्मतिनि, श्रीप्रवृद्धश्री- मति! नी पद्युगमुलनें नेरन- म्मितिनि, ब्रोवुमिक निजदासुलकु (ग)

च-

१. परमौ श्रीतपस्तीर्थ न-

गरमन्दु नेलकोन्न; परमानन्दी! पोगड

तरमा ब्रह्मकैननु ? धरलो नींसरिगान; तल्ली नीवाडनु गाना ?

परितापमु लेल्ल दोलग यारक

पुरनाथुल जतगूडि यभीष्ट

वरमुलिच्चु दैवमु नीवनु मनु स्थिरमतुलै गाचिनारु गनुक (ग)

84 TYAGARĀJA KĪRTANAS

ई पुरमुन बागु कापुरमु सेयुवा-रेपुण्यमु जेसिरो ?

श्रीपुरनिलये ! प्रापुकोरियुन्नानु अम्ब परुलनेनु वेडगलेनु;

जूपु जूपु सेयक; नीवे दरि-

दापु गानि अन्यु लेवरु? नायेड

रेपु मापनक नी महिमलु बलु- गोपुरंबुगानि ; सुजनि! (ग)

३० राकाशशिवदने! सर्वलोकनायकि!

विनुमाय ने वेल्पु-

ल कादियौ-नी कटाक्षमु चेत येक चित्त मैनन्दुकु, अम्ब!

इक्क निर्दय येंदुकु! नीकनि धनधान्यमुल कोरकु ई लोकुलने माटि माटि कडगुट चौकगानि नी

कीर्तिकि नेंदाक विन्नविंतु; त्यागराजुनि (ग)

"GATI NĪVANI" (Todi)

Oh Mother! why this forgetfulness ? After prolonged search and being convinced that you are the sole refuge of true devotees, I have come to you and fixed my faith in your holy feet. Protect me now.

Is it possible even for Brahma to praise you adequately ? O Goddess of the form of supreme bliss, residing at Sri- tapastirtha! There is no equal to you on earth. Am I not

Kānchīpura-Varadarāja 85

yours? You have afforded protection to the kings of the earth, who, seeing that they are not fully free from their troubles, have joined together and approached you with firm faith that you are the only saviour that fulfills desires.

It is not known what great merit people would have acquired to live in this place. O Goddess, residing in Sri- pura! I have sought your support. I cannot beg of others. Pray, do not treat me with indifference. You and none else are my sole refuge. Do not put me off. Your glories are infinite.

Oh Queen of the Universe! Goddess Māya, Mother of the Gods! Listen. I have become single minded in my devotion through your grace. Why this compassionlessness towards me? When I have you as my prop, it is undignified for me to beg of people of this world for food and money. Further, it is not in keeping with your glory.

स्वरभूषणि - 'वरदराज निनु' - रूपकमू

q. वरदराज निनु गोरिवच्चिति त्रोक्केरा (5)

सुरुलु मुनुल भू-सुरुद चुट्टि चुट्टि सेविश्चे

घरगिरि वैकुंठ मट वर्णिम्प दरमुगादट निर्जरुलनु तारकललो चन्द्रुडै मेरयुदुवट वर त्या- गराजनुत ! गरुडसेव जूचि (a)

86 TYĀGARĀJA KĪRTANAS

"VARADARĀJA" (Swarabhūshani)

Oh Varadaraja ! Worshipped by Devas, Munis and Brahmans! I have come here seeking you, having had dar- sana of your Garuda Seva; I prostrate before you. Your place (Hastigiri) is considered to be Vaikuntham itself and is beyond all description. You shine among the Devas like the moon among the stars.

मध्यमावति 'विनायकुनि' आदि

प.

विनायकुनि वलेनु ब्रोववे, निनु विना वेल्पु लेवरम्म? (वि)

अ.

अनाथरक्षकि! श्रीकामाक्षि! सुजनाघमो-

चनि! शंकरि! जननि! (वि)

च.

१. नराधमुलकुनु वरालोसग नुं-

ड रामुलै भूसुरादि देवतु-

लु रायडिनि जेंदरादु; दयजू

ड रादा? कांचीपुरादिनायकि! (वि)

२. पितामहुड्ड जनहितार्थमै नि-

न्नुता तेलियवेड ताळिमि गल य- वतार मेत्ति; यिकनु तामसमु से-

य ताळ जालमु ; नतार्तिहारिणि (वि)

Tirupati-Venkatesa 87

३० पुरान दयचे गिराल माकुनि-

कि राजेसि ब्रोचु राजधरि! त्या-

गराजुनि ह्ृदय सरोज मेलै-

नसोदरि! पराशक्ति! ननु (वि)

"VINĀYAKUNI VALENU" (Madhyamāvati) Oh Sri Kamakshi! Protector of the forlorn ! Pray, bless me as you would do Vinayaka, your own son ! Which other God can do this except you ? When you are there to grant boons even to the worst of human beings, Brahmans and devatas should not find themselves in distress. Should you not show mercy? In response to Brahma's pleading for the sake of humanity, you have incarnated in the world in a benign and satvic form. If you delay still, I connot bear. Let your kind words go to me and bless me.

मध्यमावति - 'वेंकटेश निनु' आदि

प. वेंकटेश निनु सेविंपनु पदि- वेल कनुल गावलेनय्या (वे)

at. पंकजाक्ष परिपालित मुनिजन भावुक्मगु दिव्यरूपमनुगोन्न (वे)

च.

१. एक्कुव नीवनि दिक्कुल बोगड अक्करगोनि मदिसोकि कनुगोन

88 TYĀGARĀJA KĪRTANAS

निक्कमु नीवे अ्क्कुन ब्रोवुत-

ळुक्कनि मेरसे चक्क तनमुगल (वे)

2. एनोमु फलमो नी नामामृत-

पानमु यनु सोपानमु दोरिकेनु श्रीनायक! परमानन्द नी सरि

गानमु शोभायमानांघृल गल (वे)

३. योगिहृदय नीवेगतियनु जन-

भागधेय! वरभोगीशशयन!

भागवतप्रिय त्यागराजनुत

नागाचलमुपै बागुग नेलकोन्न (वे)

"VENKATĒSA NINU" (Madhyamāvati) Oh Venkatesa who has taken abode on Seshachala and in the hearts of yogis! One should have myriad eyes to see you in glory with such a beautiful rūpam. You are prai- sed on all sides that you are the highest of the deities ; your mere darsana will surely secure salvation for those who pine with devotion for you. As probably the result of some meritorious deed of mine, I have tasted the nectar of thy sweet name and have thus secured a stepping stone to reach you, whose feet shine with incomparable brilliance.

गौळििपन्तु 'तेर तीयग' आदि

प. तेर तीयग रादा? लोनि, तिरुपति वेंकटरमण! मत्सरमनु (ते)

Tirupati- Venkatēsa 89

अं.

परमपुरुष ! धर्मादि मोक्षमुल पार दोलुच्चुन्नदि, नालोनि (वे)

च.

9. मत्स्यमु याकलि गोनि गालमुचे

मग्नमैन रीति नुन्नदि ;

अच्चमैन दीप सन्निधिनि मरु

गड्डबडि चेरचिनट्ुन्नदि ; (ते)

२. इरवोन्दग भुजियिंचु समयमुन यीग दगुल रीतिनुन्नदि ; हरिध्यानमु सेयुवेळ चित्तमु

यंत्यजु वाडकु बोयिनट्टुन्नदि (ते)

वागुरमनि तेलियक मृगगणमुल

वच्चितगुल रीति नुन्नुदि; वेगमे नीमतमु ननुसरिचिन

त्यागराजनुत ! मदमत्सरमनु (तें)

"TERA TIYAGA RĀDA" (Gowlipantu)

Oh Tirupati Venkataramana! Supreme Being! Could you not remove the screen of anger, arrogance and jealousy, which, taking a firm stand within me, keeps me out of the reach of Dharma and other purusharthas including moksha? As the effect of this screen I am in the position of a hungry fish that gets ruined by grasping the bait in the angle. It effectively hides from vision the immaculate light of the

90 TYĀGARĀJA KĪRTANAS

lamp (Jnana). I am in the plight of one who, while happily taking his dinner, gets a fly (ajnāna) stuck in his throat. This screen creates confusion in me, as in the case of a man, who, while engaged in worship, allows his mind to wander over the chandalas' quarters. By the existence of this screen, my mind gets caught by evil, just as ignorant beasts are got in the hunter's net.

I have been following you faithfully. (Pray promptly remove the screen).

पन्तुवराळि - 'शम्भो महादेव' - रूपकम्

प.

शम्भो ! महादेव! शंकर! गिरिजारमण! (शं)

शम्भो ! महादेव! शरणागतजनरक्षक

अम्भोरुहलोचन ; पदांबुजभक्तिं देहि; (शं)

परमदयाकर मृगधर हर! गङ्गाधर धरणी-

धरभूषण ! त्यागराजवर हृदयनिवेश

सुरबृन्द किरीट मणि वरनीराजितपद गो-

पुरवास ! सुन्दरेश गिरीश ! परात्पर! भवहर (शं)

"SAMBHO MAHĀDEVA" (Pantuvarāli) Pray, vouchsafe to me devotion to your holy feet - Oh Mahādeva !

Kovūr - Sundaresa 91

शंकराभरणम् - 'सुन्दरेश्वरुनि' आदि

प,

सुन्दरेश्वरुनि जूचि सुरुल जूड मनसु वच्चुना P (सुं)

अ.

अन्दमुगल वर काशिकि समान- मैन गोपुरमन्दु वेलयु मा (सुं)

च.

१. चरणमुलनु बङ्गारु नू पुरमुल

करमुल रवकंकणयुगमुल श्री-

करमुखमुन कस्तूरितिलकमु मेरयुचुनुण्ड लावण्यमु गल (सुं)

ओक चो ब्रह्मादिसुरुल ओक चो निर्जरवारतरुणुल ओक चो तुम्बुरुनारदादुल ओक चो भक्तुलेलल बाडु (सुं)

३. राजराजुनिकि चेलिकाडयिन

राजशेखरुनि गोपुरनिलयुनि

राजसगुणरहितुनि श्री त्याग-

राजपूजितुनि रजितगिरीशुनि (सुं)

"SUNDARĒSWARUNI" (Sankarâbharanam)

Will one have the mind to see any other God after having had darsanam of our beautiful Sundareswara? He

92 TYĀGARĀJA KIRTANAS

has his abode in Kovūr, equal in grandeur to Kāsi ; his legs have golden anklets, his hands have tinkling bracelets; on his forehead shines Tilaka of Kasturi; on one side are mar- shalled Brahma and other gods, on another the heavenly damsels. In one place Tumburu, Narada and in another, all devotees sing his glories.

शहान 'ई वसुध' आदि

प. ई वसुध नीवंटि दैवमुनेंदु गानरा ; (ई)

अ.

भावुकमु गल्गि वर्धिलल-कोवूरि सुंदरेश गिरीश ! (ई)

च. आसचे अरनिमिषमु नींपुर- वास मोनर जेयुवारि मदि वेसट लेल्लनु दोलगिश्चि धन-

रासुल नायुवुल

भूसुर भक्तियु तेजसुनु नोसगि

भुवनमन्दु कीर्ति गल्गजेयु

दासवरद! त्यागराजहृदय नि-

वास! चिट्विलास! संदरेश ! ई)

"I VASUDHA" (Sahâna)

I have not seen in this world another God like you, Oh ! Kövuri Sundaresa, shining with ever-increasing glory ! Even

Kovūr - Sundarēsa 93

if one resides in your holy place only for half a minute, with devotion; you generously remove all worries from his mind, - vouchsafe to him wealth and longevity, devotion to Brah- mans, tejas and undying fame in the world.

खरहरप्रिय - कोरि सेविंपरारे' आदि

प.

कोरि सेविंपरारे-कोके लीडेर (को)

श्री रमणीकरमौं को-वूरि सुंदरमूर्तिनि (को)

च

सुरुल वेयि वन्ने बंगारु विरुलचे पूजिश्चग भू-

सुरुल सनकादि मौनि-वरुलु नुतिपंग

शिरुलित्तुननि कोर्लुचै युंड-श्रीसौन्दर्यनायिका-

वरुनि! श्री त्यागराजवरदुनि ! परमात्मुनि! हरुनि (को)

"KÖRI SĒVIMPARĀRĒ" (Kharaharapriya)

Come and worship the beautiful Sundaramūrti of Kovur and have your desires fulfilled. Devas are worship-

ping with high class golden flowers; Brahmans and sages like Sanaka are praising him. He is promising the grant of prosperity to devotees.

94 TYĀGARĀJA KĪRTANAS

कल्याणि -- 'नम्मि वच्चिन' रूपकम्

प.

नम्मि वच्चिन नन्नु-नयमुग ब्रोववे (न)

अ. कोम्मनि वरमुल नोसगु-कोवरि सुंदरेश (न)

च.

वेदपुराणागमशास्त्रादुलु गुमिगूडि

पादमुलनु गन जालक बतिमालिवेड नादरूप! श्री सौन्दर्यनायकीपते भेद-

वादरहित श्री त्यागराज वरद! सुन्दरेश्वर! निनु! (न)

"NAMMI VACHCHINA" (Kalyāni)

Oh Sundareswara! Treat me who have come to you with true faith, fairly and justly, you who beckon people and grant boons. You have been graciously pleased to incarnate on the earth as the Lord of Soundaryanāyaki at the imploring request of the Vedas, Agamas and Sastras, which had not been able to have darsanam of your holy feet.

सावेरि 'कन्नतल्लि' आदि

प.

कन्नतलि! नीवु नापाल

गलुग, गशि जेन्दनेंल ? नम्म! (क)

Tiruvotriyur- Tripurasundarī 95

अ- वेन्नयुंड नेतिकेव्वरैन व्यसन पडुदुरा ? त्रिपुरसंदरि ! (क)

च.

एल्लवारि धनमुलश्वमुलु मरि

एक्कुवैन गट्टिमिद्देलन्नियु

कल्लगानि कन्नवारुलगाचु सु-

खमु सुन्नयनुचुनु उल्लमुननु बागदेलुसुकोंटिनि

यूरक धनिकुल संभाषण ने

नोळ् मायलनि देलिसि रज्जुपै

नुरग बुद्धि जेंदनेलनम्म? ननु (क)

2. पलुकु मंचिगानि बांध-

वुलु मरि बावमरदु लक्क लन्नत-

म्मुलु कलिमि जूचुवारु लेमिनि क-

नुल गानरारु यनुचुनु

दलचुकोन्न वेतुकवारि मायल त-

गल जालनम्म, मरुमरीचि

कलनु जूचि नीरनुचु भ्रमसि

कंदुरा आदिपुर विहारिणि ननु ! (क)

३० कनकभूषणमुल बेट्टि मरियु सो- गसु जेसि पालु बोसि पें- चिन तनुवु सतमु गाडु ; निर्मल

96 TYAGARĀJA KIRTANAS

तन मिंचुक लेदु यनुचुनु

अनुदिन मोनरिंचु सत्क्रिय नी

कनि पल्किन, त्यागराज रक्षकि!

विनु मन्निंप नीवनि येरिगि चेर्पुल चे-

रनि येंतुर ? त्रिपुरसुन्दरि ? (क)

"KANNA TALLI" (Sāvēri)

Oh my mother ! When you are by my side to prop me, why should I worry myself? When one has butter in his hand, why should he cry for ghee?

I have realised that wealth, horses, huge buildings, etc owned by people are all unreal and that no protection can be given to one by others. I am not at all fond of the vain talk of the rich. Knowing that all these are māy, why should one mistake a rope for a snake ?

Sweet-tongued relations, brothers-in-law; sisters and brothers, are with us when we are in plenty; they desert us when we are in poverty. Realising this, I connot allow myself to fall a victim to their tricks. Will any one mistake a mirage for real water?

This body adorned with golden ornaments and nouri- shed with milk is not permanent. Seeing that there is not even an iota of purity, Tyagaraja has dedicated all good work done by him every day to you and has regarded everything including devatas as yourself.

Tiruvotriyūr - - Tripurasundarī 97

कल्याणि - 'सुन्दरी नी दिव्य' आदि

प

सुन्दरि नी दिव्य रूपमुनु-जूड तनकु दोरिकेनम्म (सुं)

अ.

मन्दगमन नी कटाक्ष बलमो ?

मुन्दटि पूजाफलमो? त्रिपुर (सुं)

च.

१. भुविलो वरमौ श्रीमदादि-

पुरमुन नेलकोन्न नी सोगसु विनि

सुविवेकुलैन ब्रह्मादि

सुरल गुम्पुगूडि

कविवासरकु सेव कनुङ्गोन गल-

गुना यनि करगुचु, मदिलो

दिविदत्तरमु बडचु नुण्डगा

दीन जनार्तिहारिणि त्रिपुर (सुं)

२ कलिलो दीनरक्षकि यनि सभ

गलिगिन तावुन पोगडुदुनम्म

सललित गुण करुणा-

सागरि ! नीसाटि येवरम्म?

अलसि वच्चिनन्दुकु नामनसु

हायिजेन्दुना यनि युण्डग, मरि

कलकलमनि सुरसतुल वरुसगा

कोलवु शुकवारपु मुद्दु त्रिपुर (सुं) 7

98 TYĀGARĀJA KĪRTANAS

नन्नु गन्न तलि! नाजन्ममु

नाडु सफलमायेनम्म; इपुड,

घन दरिद्रुनिकि पैकमुवले

कनुल पण्डुबुगा

चनजनयन ! येण्ड पैरुलकु

जलमुवले शुभदायकि! काम

जनकुनि सोदरि! श्रीत्थागराजु

मनोहरि ! गौरि!

"SUNDARĪ NĪ DIVYA" (Kalyāni)

Oh Tripurasundari! Is it the effect of your grace or the fruit of my past worship that I have been privileged to have darsanam of your divine form, while the wise Gods, having heard of the beauty of you who are at the sacred Adipuri, feel worried and excited whether it would be possible for them to have the grand Sukravara-darsana of yours ?

Having heard it proclaimed in congregations that in this yuga you are the protector of the distressed, I have rushed to you with great trouble in expectation of enjoying peace of mind.

Oh my mother! I have to day achieved the purpose of life in that I have feasted my eyes with your darsan and stand in the position of a poverty-stricken man coming by wealth, and of withering crops suddenly getting water.

Tiruvotriyur-Tripurasundarī 99

आरभि - 'सुन्दरि निनु वर्णिम्प' - चापु

प.

सुन्दरि निनु वर्णिम्प ब्रह्मादि

सुरलकैन तरमा (सुं)

अ.

कुन्दरदने! सनन्दनादि वन्दिते! नेनेन्त! त्रिपुर (सं)

च.

१. कलकलमनु मुखकळलनु गनि

कलुवल राजु भुविकि राडाये; चेलगु नी लावण्यमुनु गनि

यलनाडे वलराजु गानकपोये;

निलुवरमगु नी गम्भीरमुनु गनि

जलराजु जडवेसुडाये;

बलमैन धीरत्वमुनु गनि कनका-

चलुड ता शिलरूपुडाये; त्रिपुर (सु)

२० कनुलनु गनिसिग्गुबडि गण्ड

मीनुल वनधि वासमु जेयनाये;

जननि नी चिरुनव्वु कान्ति सोकि

शिवुडनुपममौ शुध्गुडाये; मिनुकुसोम्मुलचेलकान्तुल

मेरुपुल वनि निमिषमु निलुवदाये,

कनकाङ्चि नी स्वरमुनु विनि वाणि म- गनि जिह्वनु ता पूनिकाये ; त्रिपुर (सुं)

100 TYAGARAJA KĪRTANAS

पावनभुनु जेयु बिरुदुनि गनि भक्त

पापमु पारि पोनाये ; येवेळ नी दयचेत सत्कवुलेल

काव्यमुलनु चेयनाये ;

मा वरुनिकि चेल्लेलनु सन्तोषमुन

देवि पेहल बल्कनाये; भाविचि नी पादमुन त्यागराजु भावुकमनुकोननाये; त्रिपुर (si)

"SUNDARI NINU VARNIMPA" (Ārabhi)

Oh Tripurasundari! When it is not possible even for Brahma and other Devas to describe you, how can I? See- ing the radiance of your graceful face, the moon dare not come to the earth. Seeing your exquisite beauty, Manmatha disappeared long ago; seeing the majesty of your pose, the ocean became stupefied and motionless; seeing your firmness, mount Meru became a rock; seeing your eyes, fishes became ashamed and betook themselves to the ocean; seeing the charm of your lovely smile, Lord Siva became peerlessly white (pale); seeing the brilliance of your jewels and garments, lightning became unsteady, unable to stand even for a minute; hearing your sweet voice, Saraswati had to take her abode in her husband's tongue; seeing your glory which purifies every thing, the sins of devotees had to flee away.

By your unceasing grace, poets have been able to pro- duce lasting literary works; the wise and the holy have spoken of you as the sister of Sri Mahavishnu !

Tiruvotriyūr-Tripurasundarī 101

Meditating on your blesssd feet, Tyāgarāja cherishes them as his treasure.

बेगड - 'सुन्दरि नन्निन्दरिलो' - रूपकम्

प.

सुन्दरि नन्निन्दरिलो-जूचि ब्रोववम्म! त्रिपुर (सुं)

अ.

सन्दडियनि, यिन्दुमुखि जालमु वद्दम्म; त्रिपुर (सुं)

च.

१. बाले पालितसुरबाले गमनजितम-

राळे! स्वकृताखिल-

लीले! तिलकाङ्कितफाले! नी भक्तियु मेले

नीदय रादेले तल्लि त्रिपुर (सुं)

२. वाणि विनुते शुकपाणि !

वरशेष वेणि ललिते क-

ल्याणि! साम्बशिवुनि राणि ! माधुर्य-

वाणि! नम्मिति पूबोणि ! (सुं)

३. वारीशस्तुतगम्भीरि! यादिपुरवि-

हारि ! दीनजनाधारि! नगराजकु-

मारि! दुष्कर्मविदारि! त्यगराजु-

केरियुन्न त्रिपुर (सुं)

102 TYAGARĀJA KĪRTANAS

"SUNDARI NANNINDARILO." (Bēgada)

Oh Tripurasundari! Pray, find me out in the crowd and bless me! Don't ignore me because it is all crowded here. Why don't you show compassion ?

शुद्धसावेरि - 'दारिनि तेलुसुकोंटि' आदि

प.

दारिनि तेलुसुकोंटि त्रिपुरसुं-

दरि निन्ने शरणंटि (दा)

अ.

मारुनि जनकुडैन मा दशरथ कु-

मारुनि सोदरि! दयापरि! सोक्ष (दा)

च.

१. अम्ब! त्रिजगदीश्वरि मुखजितविधु-

बिम्ब! यादिपुरमुन नेलकोनु कन-

काम्बरि! नम्मिनवारिकभीष्ट व-

रंबु लोभगु दीनलोकरक्षकि!

अम्बुजभव पुरुहूत सनन्दन

तुम्बुरुनारदुलन्दरु नीदु प-

दंबुनु कोरि सदा नित्यान-

न्दांबुधिलो नोललाडुचुण्ड (दा)

Tiruvotriyur-Tripurasundarī 103

२. महदैश्वर्य मोसगि तोलि कर्म

गहनमुनु गोट्टि, ब्रोचु तहि !

गुह गजमुख जननि ! यरुण पंके-

रुहनयने योगिहृत्सदने !

तुहिनाचल तनया ! नी चक्कनि

महिमातिशयंबुल चेतनु यी-

महिलो मुनि गणमुल प्रकृति वि-

रहितुलै नित्यानन्दुलैन (दा)

३• राजितमणिगणभूषणि! मदगज-

राजगमनि ! लोकशङ्करि! दनुज-

राजगुरुनिवासरसेव तन-

केजन्मफलमो? कनुगोंटिनि ;

आजन्ममु पेदल तम मदिलो

नी जपमे मुक्तिमार्ग मनुकोन

राजशेखरुण्डगु श्री त्याग-

राजमनोहरि ! गौरि! परात्परिं! (दा)

"DARINI TELUSUKONTI" (Suddha Savēri)

Oh Merciful Goddess ! Sister of my Sri Rama! I have ow known the way to salvation and have sought refuge in ou alone. I have learnt the path by following which Brahma, idra and other Gods and devotees have reached the ocean f eternal bliss and swam in it, and I have found in you the

104 TYAGARAJA KĪRTANAS

protector of the distressed and the fulfiller of the desires of those who have faith in you.

You are the mother that confers inestimable prosperity and wealth, that protects devotees, destroying the wilder- ness of their past karma. I have now understood how great sages of the world, by the glory of your grace, have freed themselves from the bondage of worldiness and attained eternal bliss.

That I have been privileged to witness the Friday worship of yours is due to my past lives' merits.

I have learnt why great men consider that your japam alone throughout one's life is the way to salvation.

Sangīta Sadbhakti-Sangīta-Prasamsā Sushka-Sangita-garhana

रीतिगौळ 'रागरत्न ' रूपकम्

T.

रागरत्न मालिकचे-रंजिल्लुनट हरि, शत

अ. बागसेविचि सकल-भाग्यमोन्दुदामु रारे (रा) च. नैगम षट्छास्त्र पुरा-णागमार्थ सहितमट योगिवरुल यानन्दमु-नोंदेड्ड सन्मार्गमट भागवतोत्तमुल गूडि बाडे कीर्तनमुलट त्यागराजु कडतेर-तारकमनि चेसिन शत (रा)

Sadbhakti-Sangīta-prasamsā 105

"RAGA RATNA MĀLIKA" (Rītigowla)

Sri Hari is resplendently shining with the garland of songs in hundred gems of Rāgas, composed by Tyāgarāja for his salvation from Samsara. Come, we shall sing well and attain all the blessings. These songs contain the signi- ficance of the Vedas, the six Sastras, Puranas and Agamas. They show the path by which the great Yogis attain bliss. The songs are sung by eminent Bhagavatars in congregation.

श्री 'नामकुसुम' देशादि

प.

नामकुसुममुलचे पूजिंचे

नरजन्ममे जन्ममु-मनसा (ना)

अ.

श्रीमन्मानसकनकपीठमुन

चेलग-जेसिकोनि वरशिवराम (ना)

च.

नादस्वरमुनु चरनवरत्नपु

वेदिकपै सकललीलावि-

नोदुनि, परमात्मुनि, श्रीरामुनि

पादमुलनु, त्यागराज-हृड्ूषणुनि (ना)

"NĀMA KUSUMAMULACHE" (Srī Ragam). Oh Mind! That human life is a really blessed life in which the Lord is installed on the golden throne of thought

106 TYAGARĀJA KĪRTANAS

and worshipped with flowers of His Holy names like Siva and Rāma.

Place Him, the reveller in the sport of Universe, the ornament of Tyagaraja's heart, on the gem-bedecked seat of Swaras born out of Nada and worship His holy feet with the flowers of His Names.

श्रीरञ्जनि - 'सोगसुगा मृदङ्ग' - रूपकम्

प.

सोगसुगा मृदङ्गताळमु जतगूर्चि निनु सोक्रजेयु धीरुडेव्वडो (सो) अ.

निगमशिरोर्थमु गल्गिन-निजवाक्कुलतो, स्वरशुद्धमुतो (सो) च.

यति विश्रम सद्भक्ति विरति द्राक्षारस नवरसयुत कृतिचे भजियिंचु युक्ति त्यागराजुनि तरमा? श्रीराम ! (सो "SOGASUGĀ MRIDANGA" (Srīranjani) Where is that great man who, to the accompaniment of Mridanga and Tala, makes you delight and adores you with the songs which have words that convey the true spirit of the Upanishads, have correctness of the notes, rhythmic pauses, true devotion, dispassion, simplicity and elegance and the nine Rasas ? Is it possible for Tyāgarāja to do it ?

Sadbhakti-Sangita-prasamsa 107

साळगभैरवी - 'संगीत शास्त्र ज्ञानमु' - देशादि

प.

संगीत शास ज्ञानमु-साहप्य सौख्यदमे, मनसा! (सं)

अ

ङ्गाररसादखिलसारपू-

रितरामकथानन्दाब्धियुत (सं)

च.

प्रेमभक्ति सुजन वात्सल्यमु

श्रीमद्रमावरकटाक्षमु

नेमनिष्टयशोधन मोसंगुने

नेर्पु गल्गु त्यागराजु नेर्चिन (सं)

"SANGĪTA SĀSTRA GNĀNAMU" (Sālagabhairavī)

Music, as learnt and practised by discriminating Tyaga- rāja, when it has the blissful ocean of Rāmakatha full of all rasas for its subject, is capable of securing for one the bliss of Sarupya, affection, devotion, attachment to good men, the Lord's grace, austerities, meditation, glory and wealth.

मुखारि 'चिन्तिस्तुजनाडे' आदि

प, चिन्तिस्तुन्नाडे यमुड्ड (चिं )

अ संततमु सुजनुलेल-सङ्गजन जेयुट जूचि (चिं' )

108 TYĀGARĀJA KĪRTANAS

च.

९. शुल पाशा धृत भट जालमुल जूचिमरिमी

कोलाहलमु लड्गु कालमाये ननुचु (चिं )

२. चारिधि शोषिम्प जेयु क्रूर कुंभजुनि रीति

घोर नरकादुल नणचु तारक नाममुनु दलचि (चिं )

३. दारि तेलियलेक तिरुगु-वारलैन चालुनंटे

सारमनि त्यागराजु संकीर्तनमु बाडेरनुचु (चिं )

" CHINTISTUNNĀDĒ" (Mukhāri)

Seeing all the good men doing bhajana all the time, Yama has become anxious.

Looking at his emissaries armed with tridents and nooses, Yama has begun to think that the time has come for their enthusiasm to subside.

As people have taken to the Tārakanama that destroys the terrible hell, even as formidable Agastya dried up the ocean, Yama has become anxious.

Yama has become anxious that even those, who wander without knowing the true path and would thereby come to him, are (now) singing the meritorious songs of Tyāgarāja

शंकराभरणम् - 'स्वरराग सुधारस' आदि

प.

स्वररागसुधारसयुत भक्ति

स्वर्गापवर्गमुरा ; ओ मनसा (स्व)

Sadbhakti-Sangita-prasamsa 109

अ.

परमानन्दमनु कमलमुपै

बक भेकमु चेलगि येमि ? मनसा (स्व)

च.

१. मूलाधारज नादमेरुगुट

मुदमगु मोक्षमुरा ;

कोलाहल सप्तस्वर गहमुल

गुरुते मोक्षमुरा ; ओ मनसा (स्व)

२. बहु जन्ममुलकु पैनि ज्ञानियै

बरगुट मोक्षमुरा;

सहज भककितो रागजान

सहितुड्ड मुकुडरा ; ओ मनसा (स्व)

३. मद्दळ ताळ गतुलु तेलियकने

मर्दिञ्चुट सुखमा ?

शुद्धमनसु लेक पूजजेयुट

सूकर वृत्तिर ; ओ मनसा (स्व)

४. रजत गिरीशुड्ध नगजकु देल्पु स्व-

रार्णव मर्ममुल

विजयमुगल त्यागराजुडेरुगे

विश्वसिश्चि देलसुको; ओ मनसा (स्व)

"SWARARĀGASUDHĀ" (Sankarābharanam)

Devotion associated with the ambrosia of Swara and Raga is verily paradise and salvation, O Mind ! What is the

110 TYAGARĀJA KIRTANAS

good of a crane and a frog trying to frolick over the lotus of Brahmanandam ! To know and realize the nature of Nada, originating from Muladhara, is itself bliss and salvation. Likewise is a knowledge of the various resonant sthānas (parts of the body) from which emanate the glorious Sapta- swaras. One attains salvation when he becomes a Jnāni after several births; but he who has knowledge of rāgas along with natural devotion is indeed a liberated soul.

Can happiness be had merely by thumping without the least knowledge of mridangam, talam, and gati? Similarly a man doing worship without purity of mind is no better than a pig.

A deep knowledge of the secrets of the Swarārnava, imparted to Parvati by Lord Siva is possessed by blessed Tyagaraja. Learn them from him, Oh Mind ! by approach- ing him wtth taith.

धन्याशि 'संगीत ज्ञानमु' आदि

संगीत ज्ञानमु भक्तिविना-सन्मार्गमु गलदे? मनसा ! (सं)

भृद्धि नटेश समीरज घटज म-

तङ्क नारदादुलुपासिंचु

Sushka-Sangīta-garhana 111

चु.

न्यायान्यायमुल देलसुनु जगमुल

मायामयमनि देलुसुनु दुर्गुण

कायजादि षड़िपुल जयिंचु

कार्यमु देलसुनु, त्यागराजुनिकि (सं)

"SANGĪTA GNĀNAMU" (Dhanyāsi)

Knowledge of SangIta (Music), bereft of devotion, is valueless and cannot secure salvation. The music practised by Bhaktas like Bhringi, Natesa, Anjaneya, Agastya, Matanga and Nārada can alone secure it.

Tyagaraja, who is able to distinguish between Nyaya and Anyaya, who knows that the world is Maya and who knows also how to conquer the six inward enemies of man, Kāma etc., knows this matter well.

शंकराभरणम् 'मरियाद' आदि

प. मरियाद गादुरा (म)

अ. करुणाकर : वारिनि वीरिनि-सरिजेसि चूंचु चुंडुनदि (म)

च. रागमु ताळमु रक्ति भक्ति ज्ञान

योगमु मरि यनुरागमु लेनि

भागवतुलुदरशयनुले गानि

त्यागराजाचिंत तारक चरित! (म)

112 TYĀGARĀJA KĪRTANAS

"MARIYĀDA GADURA " (Sankarabharanam). Oh Merciful Lord ! It is not becoming of you to treat alike all and sundry. Bhägavatas who have no knowledge of music (Raga-Tala), no real devotion and love, no Jnāna Yoga or sympathy live only an animal life!

देवगान्धारि -- 'सीतावर संगीत' आदि

प.

सीतावर! संगीत ज्ञानमु धात व्रायवलेरा ! राम ! (सी)

गीताद्यखिलोपनिषत्सार-भूत जीवन्मुक्तुडगुटकु (सी)

आकाश शरीरमु ब्रह्ममने

आत्मारामुनिता सरिजूचुचु लोकादुल चिन्मयमनु सुस्वर- लीलुडौ त्यागहाज सन्नुत ! (सी)

" SĪTĀVARA SANGĪTA" (Dēvagāndhāri)

Oh the Great One, adored by Tyagaraja who revels in 'suswara' and has direct vision of Atmarama who is none other than Brahman with his body of Akasa, and who realises that the Universe is Spirit! To be qualified to be a jivan- mukta, which is the teaching of the Gita and all Upanishads, one must be blessed by Brahma with the gift of Sangita Jnana.

Sadbhakti-Sangītā-prasamsā 113

तोडि - 'कद्दनुवारिकि' आदि

प

कहनुवारिकि कहु कदनि मोरलनिड पेद्दलमाटल ने डबद्धमौनो ? (क)

अ.

अहंपु चेक्िल्लचे-मुद्दुगारुमोमुजूड बुद्धि गलिगिनट्टि मा वद्द रावदेमिरा ? (क)

च. निहर निराकरिंचि मुहुग दंबुर बटटि शुद्धमैन मनसुचे सुस्वरमुतो बहुतप्पक भजियिंचु भक्तपालनमुसेयु तद्दयशालिवि नीवु-त्यागराजसन्नुत (क)

"KADDANUVĀRIKI" (Tōdi)

They proclaim that for those who consider that He is, He is; will the words of the great become false now ?

Why don't you come before us who desire to see your beautiful face with cheeks shining like mirror?

You are the compassionate Lord that protects those devotees who sing of you, casting off their sleep, taking a beautiful Tambura, with pure mind, with correct intonation of the swaras and without swerving from the path of tradition.

114 TYĀGARĀJA KĪRTANAS

BHAKTI YOGA

Bhakti-mahima-prasamsā

Samsara-dosha-nivāraka

तोडि - 'तप्पि्रतिकि' रूपकम्

प. तप्पि व्रतिकिपोव-तरमा? राम! कलिलो (त)

अ. मुप्पुन विषय तटाकमुन मुनुगक द्रुढमनसै (त)

च.

१. कंचुमोदल लोहधन-कनकमुलनु जूचि विष- मंचु मरियु पेंचि कनुचु येंचि यंटनि मनसै (त)

२. नङ्गनाचुल मानगु-यंगवस्त्रमुल बागगु मुंगुरुलनु गनि यंतरङ्गसुननु याशिंचक (त)

३. जाजिमल्ले मन्दार-सरोजमुलनु मनसार राजपथमुचे त्यागराजनुतुनि पूजिश्चक (त)

"TAPPI BRATIKI" (Todi)

Is it possible in this Kali, Oh Rama! to escape, with a firm mind, from getting immersed in the dangerous tank of the senses, and survive ?

Is it possible to have a mind that can regard valuable metals as poison and potsherd ?

Is it possible to remain firm and unattracted at the sight of wily and beautiful women well dressed and with the charm of curly hair ?

Bhakti-mahimā-Samsāra-dosha-nivāraka 115

Without adopting the right royal way and worship- ping sincerely the Lord adored by Tyagaraja with jasmine and other flowers, is it possible to escape getting immer- sed in the dangerous pond of the senses and survive in this Kali?

उदयरविचन्द्रिका - 'एन्त नेर्चिन' देशादि

q. एन्त नेर्चिन, एन्त जूचिन, एन्त वारलैन कान्त दासुले (¢)

अ.

सन्ततम्बु श्रीकान्त स्वान्त सि- द्धान्त मैन मार्गचिन्त लेनि वा (₹)

परहिंस परभामान्यधन परमानवापवाद परजीवनाडुलकनृतमे-भाषिञचेदरय्य, त्यागराजनुत (एं)

"ENTA NERCHINA ENTA JŪCHINA" (Udayaravichandrikā)

One, who has not bestowed constant thought on the right path that is after the heart of the Lord of Lakshmi, however learned, however extensive his Kshetrātanam (pilgrimage), and however great he may be, is bound to become a slave to women. Such a one is also liable to become addicted to vices like cruelty to others, coveting other's women and wealth, slandering others, living upon others and uttering lies.

116 TYĀGARĀJA KĪRTANAS

सावेरि -- 'संसारुलैते' आदि

प. संसारुलैते नेमैथ्या? शिखि-पिञ्छावतंसु डेदुटनुण्डग (सं)

अ. हिंसादुलेल्ल रोसि-हंसादुलगूडि प्र-

शंस जेयुचु नेप्रोह्डु कंसारिनि नम्मुधारु (सं)

च,

१. ज्ञान वैराग्यमुल हीनमैनटट भव-

काननमुन दिरुगु मानवुड्ड सदा

ध्यान योगयुतुडै नींनाममु बल्कुचु

नानाकर्मफलमु दानमु जेयुवारु (सं)

२. क्रूरपु योचनल दूरुजेसि तन

दारपुत्ुल बरिचारकुल जेसि

साररूपुनि पादसारस युगमुल

सारेसारेकु मनसार पूजिञचुवारु (सं)

३. भागवतुल गूडि भोगमुलेल हरि-

के गाविपुचु वीणागानमुलतो

नागमचरुनि श्रीरागमुन बाडुचु,

त्यागराजनुतुनि बागुग नम्मुवारु (सं)

"SAMSĀRULAITĒ" (Sāvēri)

It matters little if people are samsarikas, ( leading family lives )

if they come to feel the presence of the Lord,

Bhakti-mahimā-Samsāra-dosha-nivāraka 117

if they constantly believe in the Lord, refrain from (evils like) harming others, delight in the company of Sadhus and spend their time in praising the Lord,

if, even being in the world, which discounts Inana and Vairagya, they take to Dhyana yoga and chant the Lord's holy name, surrendering the fruits of all their karmas, if they ceaselessly worship whole-heartedly the holy feet of the Blessed Lord, driving away all evil thoughts and making the members of their families do service to Him, if they, with firm faith in the Lord, join the company of devotees, surrendering all pleasures as offering to Hari alone, and sing His praise with Sriraga on the Vina.

तोडि - 'कडतेर रादा' देशादि

y. कडतेर रादा! मनस ! (क)

एडलेक भजन चेसि नी येडगल्गु निजपुदब्बरल देलिसि (क)

खलचित्त लोंकिकमने श्रुङ्कलमन्दु दगलकने युल-

खलबड्गुनिकि निजदासुडे-वेलसिह् त्यागराजु माटविनि (क)

"KADATĒRA RĀDĀ" (Tödi)

Oh Mind! Why do you not listen to the appeal of Tyägaräja, the true devotee of SrI Krishna and get emanci- pated from the bonds of vicious worldliness by doing

118 TYĀGARĀJA KĪRTANAS

incessant Bhajana and by using your knowledge in discrimi- nating between the permanent and the impermanent (Satya and Asatya)?

Bhakti Māhātmya.

खरहरप्रिया 'चक्कनि राजमार्गमु' - आदि

प. चक्कनि राजमार्गमु लुण्डग

सन्दुल दूरनेल ? ओ मनसा ? (च)

अ चिक्कनि पालु मीगड युण्डग छीयनु गङ्गासागर मेले ? (च)

च. कंटिकि सुन्दरमगु रूपमे, मु- कंटि नोट चलगे नाममे; त्यागरा-

जिंटने नेलकोन्नदि दैवमे, यिटु-

वंटि श्रीसाकेतरामुनि भक्तियने (च)

"CHAKKANI RĀJAMĀRGAMU" (Kharaharapriya)

Oh Mind! While a good, royal road is available, why take to bylanes ? When good milk with oream is available, why should one go in for toddy?

Devotion to Sri Ramachandra of Ayodhya whose bewit- ching beauty is a feast for the eyes, whose blessed name

Bhakti-māhatmya 119

is on the lips of Lord Siva and who has taken his abode in the house of Tyagaraja,-when there is this royal road to salvation, why take to bylanes ?

सरस्वती 'अनुरागमु रूपकम्

प. अनुरागमु लेनि-मनसुन सुज्ञानमु राडु (अ)

अ. घनुलैन यन्तर ज्ञानुल केरुके गानि (अ)

च. वग वगगा भुजियिन्चु वारिकि दृक्ति थौरीति

सगुण ध्यानमुपैनि-सौख्यमु त्यागराजनुत (अ)

" ANURĀGAMU LĒNI" (Saraswatī)

The mind that is bereft of love (devotion) will not be blessed with the divine Jnana. This maxim is well known. to enlightened souls. Like unto the satisfaction of one who is served with a variety of dishes is the happiness of one who meditates on the Lord with attributes (Saguna Dhyana).

तोडि 'एमि जेसिते नेमि' चापु

प. एमि जेसिते नेंमिP श्रीराम

स्वामि करुण लेनि वारिललो (ने)

120 TYĀGARĀJA KIRTANAS

अ. काममोहदासुलै श्री रामुनि कट्ु तेलियनि वारिललो (ने)

च.

१. इम्मु कलिगिते नेमि? इल्लालिकि सोम्मु बेट्टिते येमि P कम्म विल्तु केळिनि देलिसि येमि ? तम्मि कंटिवानि करुणलेनिवारिललो (ने)

२ सवमु जेसिते नेमि? कलिमिनि पुत्रो- तसवमु गलिगिते नेमि ? भुद्िलोनन्यबीज जनितुनि गोनि येमि ? शिवकर श्रीरामुनि दयलेनिवारिललो (ने)

मेडगट्टिते नेमि ? अन्दुन लान्दरु जोडु गट्टिते नेमि ? चेडियलनु मेप्पिंच देलिसितेनेमि ? ईडुलेनि रामुनि दयलेनिवारिललो (ने

४. राज्यमेलिते नेमि? बहुजनुललो पूज्युलैतेनेमि ? अज्यप्रवाहमुतो नन्नमिडिते नेमि ? पूज्युडैन रामुनि दयलेनिवारिललो (ने)

५. गुरुवुतानैते नेमि कंटिकि मेनु गुरुवै तोचिते नेमि P वरमन्त्रमन्युलकुपदेशिञ्चतें नेमि ? वरत्यागराज नुतुनि दयलेनिवारिललो (ने)

Bhakti-māhātmya 121

"ĖMI JESITĒNĒMI" (Tōdi)

Of what avail is anything done by people who have not been blessed with the Grace of Sri Rama and by people who, being slaves to lust and other passions, are incapable of knowing and understanding the sastraic commandments of Srī Rāma ?

What if they have house, properties and loaded their wives with jewels and what if they are adepts in sexual science, if they have not the Grace of the lotus-eyed one ?

What if they perform Yagas, what if they beget sons to inherit their property, what if they adopt others' sons for that purpose, if they have not the Grace of the auspicious Srī Rāma ?

What if they build palatial houses and fit them up with rows of lights, what if they know the art of pleasing women, if they fail to get the Grace of the incomparable Sri Rama?

What if they rule over kingdoms and command the respect and regard of the public, what if they feed people with rich and sumptuous meals, if they do not get the Grace of the worshipful Sri Rama ?

What if they attain the status of Gurus, what if, for the look, they appear grand and big, what if they initiate others in mantras, if they are not blessed with the Grace of Srī Rāma?

बलहंस -- 'इक गावलसिन' - आदि

इक गावलसिन देमि मनसा? सुखमुन नुंडवदेमि? (₹)

122 TYĀGARĀJA KĪRTANAŠ

अ. अखिलाण्ड कोटि ब्रह्माण्ड नाथु

उन्तरङ्गमुन नेलकोनि युंडग (नि)

च. सुन्दटि जन्ममुलनु जेसिन यघ جـ

वृन्द विपिनमुल का-

नन्द कन्दुडैन सीतापति

नन्दकयुतुडे युण्डग (नि)

२. कामादि लोभ मोह मद-

स्तोम तम्मुलकुनु सोम सूर्य नेत्रुडैन श्री

रामचन्द्रुडे नी यन्दुण्डग (नि)

३. क्षेमादि शुभमुलनु त्यागराज

कामितार्थमुलनु नेममुन निच्चु दयानिध्रि

रामभद्रुडु नीयन्दुण्डग (नि)

"IKA GAVALASINA DEMI" (Balahamsa)

Oh mind ! What more is wanted ? Why should you not be happy when the Lord of the whole Universe has firmly taken his abode in you, when Sitapati, the root of all bliss, is ready with his sword to destroy the forest of your sins com- mitted in previous births, when Sri Ramachandra himself is by you with the sun and the moon as his eyes to dispel

Bhakti-māhātmya 123

the darkness of your Kama, Krodha. Lobha, Moha, Mada and other inward enemies, when the all-merciful Ramabhadra is with you unfailingly to give you prosperity and look after your welfare and fulfil your desires ?

शुद्धबंगाळ मभर आदि

राम भक्ति साम्राज्य मेमानवुल कब्बेनो मनसा (रा)

अ. आमानवुल संदर्शन मत्यन्त ब्रह्मानन्दमे (रा)

च. ईलागनि विवरिंप लेनु ;

चाला स्वानुभव वेद्यम;

लीलासृष्टजगत्त्रयमन

कोलाहल त्यराज नुतुडगु (रा)

"RĀMABHAKTI SĀMRĀJYAMĒ" (Suddhabangāla)

The sight of those great souls who have been blessed with the kingdom of Ramabhakti itself confers supreme Brahmanandam. This bliss does not admit of any descrip- tion in words; it can only be realised by self-experience.

पन्तुवराळि 'अप्प रामभक्ति' रूपकम्

पं. अप्प! रामभक्ति येन्तो गोप्परा ; मा (यं)

124 TYAGARĀJA KĪRTANAS

अ. त्रिप्पटलनु दीर्चि कंटि-रेप्पवलेनु गाचु मा (थ)

च.

9. लक्ष्मी देवि वलचुना ?

लक्ष्मनुण्ड गोलचुना ?

सूक्ष्म बुद्धि गल भरतुड़ु

जूचि जूचि सोलसुना? मा (य)

२. शबरि येङ्विलि निच्चुना ?

चन्द्रधरुडु मेच्चुना

अबल स्वयंप्रभकु देव-

मचल पदवि निच्चुना? मा (य)

३. कपि वारिधि दाटुना

कलिकि रोट गट्टना

अपराधि त्यागराजु

कानन्दमु हेच्चुना ? मा (य)

"APPA RĀMABHAKTI" (Pantuvarāli)

How great and grand is Ramabhakti, devotion to our beloved father Rama ! It stops the wanderings of the mind and protects one as eyelids do the eye (involuntarily). Otherwise, will Lakshmi Devi come down on earth as Sita to love Rama ? Will Lakshmana serve him ? Will sharp-wit- ted Bharata long to be seeing him and get enraptured? Will Sabari offer leavings to Him ? Will Lord Siva praise

Bhakti-māhātmya 125

him ? Will the Lord bestow everlasting high status on Swayamprabha ? Can a monkey cross the ocean? Will a woman tie the Lord to a mortar ? Will a defaulter like Tyaga- rāja get increasing bliss ?

कन्नड -- 'इदे भाग्यमु' त्रिपुट

प. इदे भाग्यमु गाक-येमि युन्नदिरा? राम ! (इ)

भ.

सदा नी पदपङ्कजमुलनु सम्मतमुग पूजिञ्चुवारि (कि)

१. आश पाशमुलदेगग्रोसि यन्नियुमदि रोसि कर्ममु बासि ; निनु करुणा वा- राशि यनि पूज जेसि दुस्सङ्गति जेसि मेनुगासि जेंदक श्रीश ! देवाधीश! निनु काशीशनुतुडनि आश नीयेड कीश भक्तियु जेसिनवारि (कि)

२. सुंदर! दशरथनन्दन ! हृदयार- विंदभुन निन्नुंचि ; ताने ब्रझ्मा- नंद मनुभविचि, अदियुगाक इंदुधरु मोदलंदरिनि सुर बृन्द भूसुर बृन्दमुल ता- नेन्दुकनि यानंदमुग नी यन्दुभावन जेंडु चुण्डवारि (कि)

126 TYĀGARĀJA KĪRTANAS

सोगि शयन! नीवे गतियनि वषटि

रागादुल तोड पूरित भव

सागरसुनु दाटि, संततमुनु

यागपालन ! जागरूक! स-

दागतिज हित ! योगिनुत ! वे-

दागमांदुल वेगनुति निड्ड

भागवतुडगु त्यागराजुनि (कि)

"IDĒ BHĀGYAMU" (Kannada)

This alone is the real blessedness to be coveted-to worship incessantly your lotus feet with the whole heart;

to cast aside the bonds of desire, keeping the mind free from everything, giving up (fruits of) Karma and to worship you as the ocean of mercy;

to be firmly and lovingly devoted to you, as one adored even by Lord Siva, without impairing health by associating with wicked people ;

to install you in the lotus of the heart, fix the entire mind on you to the exclusion of other gods of earth and Heaven and to enjoy the supreme bliss (Brahmanandam)!

to take you as the sole refuge, pray to you as the Vedas and Agamas do and thereby cross the ocean of Samsara which is beset with passions and desires.

Nāma Māhātmya 127

Nāma Māhātmya

सौराष्ट्र 'पाहि मां हरे' रूपकम्

प, पाहि मां हरे महानुभाव राघव

पाहि मां हरे महानुभाव राघच (पा)

च.

९. पाहि रामयनुचु रेयु बगल गोलिचिति

पाहि राम नीवनु सम्पदनु वलचिति (पा)

२. पाहि रामयनुचु पारि पारि कोरिति

पाहि राम नाम मुक्ताफलमु लेरिति (पा)

पाहि रामयनुचु भुविनि बा-गबुद्विति

पाहि रामयनुचु गष्टि पट्ट बटटिति (पा)

४. पाहि रामयनुचु नीदु पदमु नम्मिति

पाहि रामयनुचु मनसु बागुग नम्मिति (पा)

५. पाहि रामयनुचु नीदु पदमु बाडिति

पाहि रामयनुचु परमपदमु वेडिति (पा)

६. पाहि रामयनुचु ध्यान परुड नैतिनि पाहि त्यागराजविनुत भकुडैतिनि (पा)

"PAHI MAM HARĒ" (Sowråshtra)

Oh Raghava! Oh Mahanubhava ! I have worshipped you day and night, loved you as my wealth, and incessantly

128 TYAGARAJA KĪRTANAS

sought you. I have secured the precious pearl of Rāma Nama. I was born uttering Rama Nama and have stead- fastly kept on to it. I have reposed my faith in your holy feet with a devout mind and sung their glory; desiring Paramapada, I have meditated on you and have become your devotee.

बराळि -- 'ईमेनु गलिगि' - आदि

प.

ईमेनु गलिगिनन्दुकु सीताराम-नाममे बल्कवलेनु (ई)

अ.

कामादि दुर्गुणस्तोम पूरितमैन

पामरत्वमेगानि नेममु लेनटि ( 食 )

च.

१. संसारसुन बोव दारिनि पर-

हिंसजेंदु किरातुड

हंसरूपुल गति नडुग रामनाम प्र- शंस जेसि युपदेशिञ्च धन्युड् गादा ? (ई)

२. तापसि शापमिडगा, जलोरग

रूपमुगोनि युंडगा तापमु सैरिश्चक तल्लडिल्लग शर चापधरुनि नाम श्रवणमु ब्रोवलेदा ? (ई)

Nāma Māhātmya 129

३. व रिराजु तेलियलेक बलुडैन म-

करिचेत गासि जेंदगा

अरलेक निजमुन आदि मूलमनग

वरदुड्ड वेगमे वच्चि ब्रोवग लेदा (៛)

४ आगम वेदमुलनु दानवुड्ड गोंपो-

वगा, चतुराननुड्ड

त्यागराजनुत ! तारक नाम ! यनि

बागुग नुरतिप भयमु दीर्पगलेदा ? (Ê)

"ĪMĒNU GALGINANDUKU" (Varâli)

Having taken this human body, which is prone to a life of indiscipline and rank material outlook, through the operation of lust, greed and other evil propensities, one should make proper use of it by taking to the chanting of the holy name of Sri Rama (to save himself). When the hunter Valmiki, who had been tormenting cruelly people on the way, prayed to the enlightened for being shown the right path, was he not initiated with Rama Nama and did he not become blessed ?

Was not the Apsaras who as the result of the curse of the Rishi had the form of a crocodile and was undergoing unbearable suffering, saved by Anjaneya through the chan- ting of Rāma Nāma ?

When Gajendra was caught by the crocodile and cried to the Lord for help, addressing him as Adi Mulam (the Prime Source of all), did He not come to his succour at once 9

130 TYAGARAJA KIRTANAS

and protect him? When the Rakshasa carried away the Vedas and when Brahma appealed to the Lord for help, by praising the Tārakanama, was not his fear dispelled ?

सुपोषिणी 'रमिञ्चुवारेवरुरा' रूपकम्

प

रमिञचुवारेवरुरा? रघूत्तमा ! निनु विना (र)

अ.

शमादिषड्गुणगणा! सकलभुवनजनुललो (र)

च. रामयने सुमर्ममु-रमयने शर्ममु लस- दमर वरुलकब्बेनो? त्यागराजसन्नुत (र)

"RAMINCHUVÄREVARU " (Suposhinī)

Oh Raghüttama! Who is there among the beings in the whole Universe who can transport one to transcendental joy but you? Even the shining Devas could not know the secret significance of your holy name, nor secure the wealth of bliss which it brings.

कापि - 'इन्त सौरव्यमनि' - आदि

प.

इन्त सौख्यमनि ने जेप्पजाल ; एन्तो येमो येवरिकि देलसुनो (इं)

Nāma Māhātmya 131

अ. दांत ! सीताकान्त करुणा-

स्वान्त ! प्रेमादुलके देलुसुनु गानि (इं)

च

स्वररागलयसुधारसमन्दु

चररामनाममने कंड च-

क्रेर मिश्रमु जेसि भुजिश्चे शं-

करुनिकि देलुसुतु त्यागराजविनुत ! (इं)

"INTA SOWKHYAMANI" (Kāpi)

It is not possible for me to describe the Anandam one derives from the chanting of the Rama Namam. Who knows its measure and quality? Only great and true devotees know it. Lord Sankara, who delights in drinking the nectar of music with the sugar-candy of Rāma Nāmam mixed, knows it well.

कापि 'राम रघुकुल' - रूपकम्

प. राम ! रघुकुल जलनिधिसोम ! लोकाभिराम ! (रा)

अ. तामर चूलिकि नैननु-नी महिमल बेलिय वशमा ? (रा)

च.

१. शरणागतजनरक्षक सुरपाल मुखजितसुधा- कर ! निन्नु विभीषणुडु शरणनगाने

132 TYĀGARAJA KĪRTANAS

सुरमुनिजनवैरि सहोदरुडनु चुनुनेचक, नी- बिरुदुनु बोगडचु लड्का पुरपतिगा जेसिन श्री (₹T)

२. सुरपूजितपद ! नीदु चररूपमु गन जालक गिरिजा रिपुहर शं-कर सौमित्रि

धरजानिलतनय-विभाकरसुत दशवदनातुज

भरतुलु बोगडग तोम्मिदि-गुरिकि दिव्य दृष्टिनिच्चिन (₹T)

३. जलजारुणचरणाडसुरजलदाशुग! श्री रघुकुल-

तिलकाद्दुतगुण शुभमुलु गल त्यागराज-

कुलपावन! कलियुगमनु जुलकुनु नी तारकमु नि-

टलनेत्रुनि चेतनु वीतुल बल्कनु गाजेसिन (रा)

"RĀMA RAGHUKULA JALANIDHI" (Kāpi)

Is it possible for Brahma even to know your greatness and glory ?

When Vibhishana sought your refuge, you, without minding that he was the brother of the enemy of Gods, sages and men, accepted him, proclaiming at the same time your general resolve to protect all who seek refuge (what- ever may be other considerations), and made him Lankā- pati. You blessed Sankara, Sita, Lakshmana, Anjaneya, Pārvatī, Sugrīva, Bharata, Satrughna, and Vibhīshana with Divyachakshus (divine insight) to enable them to see your divine Rüpam. You also arranged that Sankara should utter in the ears of the men of this world your Tāraka Mantra.

Nāma Māhātmya 133

मुखारि 'चिन्तिस्तुन्नाडे' आदि प.

चिन्तिस्तुन्नाडे यमुड् (चिं )

See above pages 107-108

" CHINTISTUNNÄDĒ" (Mukhāri)

See above page 108

पन्तुवराळि - 'सारमे गानि' चापु

प.

सारमे गानि यन्यमार्ग विचार मेटिके? ओ मनसा (सा)

अ.

वारु वीरु देलियलेक बल्कु

वार्तलु विननेले? राम नाममु (सा)

9. मारकोटि लावण्युडैन रघु-

वीरुनि नाम सुधारसमुननु सारेकु बानमु जेसि जगद्वि-

हारुडे वैलयु नारायण

नारायण यनुचुनु वारमु

शरदम्बुद निभुडौ श्री

नारद मुनि चल्मीक जातुनिकि

गूरिमि नुपदेशिश्च लेदा (सां)

134 TYĀGARĀJA KĪRTANAS

२. परम पावनुनि शरणागतजन-

परिपालनबिरुदांकुनि, सीता

वरुनि नाम सुधारस पानमु

निरत मुननु जेसि हरि हरि

हरि यनुचु सन्ततम्बुनु

सरियु लनि कीर्तिगांचि देहमु

परवशम्वु जेन्दि शुकब्रह्म

परीक्षितु कोसग लेदा ? वादा ? (सा)

३. सामगानलोलुडौ रजितगिरि

धामुडेन त्यागराज शिवुडति

नेममुतो नामामृत पानमु

येमरकनु जेसि राम राम

राम यनुचु सततमु

श्रीमदादि गौरिकि श्रङ्गारिकि

या महिमल ना रहस्यसुल नति

प्रेमनु युपदेशिश्व लेदा ? (सा)

"SĀRAMĒGĀNI" (Pantuvarāli)

Oh Mind! Rama Namam alone is the precious thing worthy to be coveted. Why bother with the thought of other paths, listening to the words of all and sundry ? Did not sage Narada, who constantly drinks the nectar of Rāma Näma and traverses the whole Universe with the name of Nārāyana on his lips, lovingly initiate Vālmīki with this mantram ?

Nāma Māhātmya 135

Did not Suka Brahma, who had drunk deep the nectar of Rama Nama, uttering the holy name of Hari, earning un- equalled glory and losing himself (in transcendental bliss), give the mantra to Parikshit ?

Did not Lord Siva, delighting in Samagāna, the Lord of Kailas, with all earnestness, drink the nectar of Rāma Nāma, besides unceasingly uttering the holy name, initiate his beautiful consort, Parvati with the mantram, explaining its great efficacy and significance ?

सौराष्ट्र 'मेलु मेलु राम' आदि

प.

मेलु मेलु रामनामसुखमी धरलो मनसा फाललोचन वाल्मीकादि बालानिलजादुल साक्षिग (मे)

च.

१. निण्डु दाहमुकोन्न मनुजुलकु नीरू द्रागिन सुखम्वुकंटे

चण्ड दारिद्र मनुजुलकु धन

भाण्ड मन्बिन सुखम्वुकंटे (मे)

२. तापमु सैरिश्चनि जनुल कमृत वापि यब्बिन सुखंबुकंटे दरि-

दापुलेक भयमन्दु वेळल धैर्यमु गल्गु सुखंबुकंटे (मे)

136 TYAGARAJA KIRTANAS

३. भाकलि वेळल पश्चभक्ष्य पर- मान्न मब्बिन सुखंबु कंटे श्रीकरुडौ श्री रामुनि मनसुन चिन्तिंचु सुखंबुकंटे (मे)

४. सारहीनमौं क्रोध समथमुन शान्तमुगल्गु सुखंबुकंटे नेरनि मूडुलकु सकलविद्या- पारमु देलियु सुखंबुकंटे (मे)

५. रामुनिपै निजभक्ति गलिगि गान रसमु देलिसिन सुखम्बुकंटे

पामर चेलिमि सेयनिवारि

भावमु लोनि सुखम्बुकंटे (मे)

६. चेयतगु वेदान्त विचारण

चेयग गल्गु सुखम्बुकंटे बायक निर्गुणभावमु गलपर-

ब्रह्मानुभव सुखम्बुकंटे (मे)

७. राजस तामस गुणमुल लेनि

पूजलु गल्गु सुखंबुकंटे राजशिखामणियैन त्याग- राजु कोसङ्क सुखम्बुकंटे (मे)

·"MELU MELU" (Sowråshtra)

Oh Mind ! the happiness that Rama Nama gives to one is positively higher than

Nāma Māhātmya 137

the pleasure which a man of intense thirst derives on drink- ing water,

the pleasure which a man of dire poverty derives on coming by a treasure.chest,

the pleasure which people suffering from unbearable drought derive when they get nectar-like water in the well,

the pleasure which a helpless man in fright derives when he acquires courage,

the pleasure which a hungry man derives when he gets a sumptuous feast,

the pleasure which one derives in meditating upon Sri Rama, the bestower of prosperity,

the pleasure which a man in an undesirable angry mood derives when he calms down;

the pleasure which an utterly ignorant man derives when he suddenly acquires proficiency in all branches of knowledge,

the pleasure which a true devotee of Rama with proficiency in music derives,

the pleasure which peple, without associating with ignorant secular-minded people, derive from spiritual experience,

the pleasure which one derives after a successful Vedântic inquiry,

the bliss which one derives from realization of Nirguna Para- Brahma,

138 TYĀGARĀJA KĪRTANAS

the happiness which one derives from worship, free from taint of Rajasic and Tāmasic gunas, and

the happiness which was vouchsafed to Lord Siva. This fact is testified to by Lord Siva himself and sages like Vālmīki, Pārvatī and Hanumān.

देवामृतवर्षिणी - 'एवरनि' आदि

प. एवरनि निर्णयिश्चिरिरा निन्नेट्लाराधिश्चिरिरा ? नरवर; (T)

अ. शिवुडनो माधवुडनोP कमलभवुडनो? परब्रह्मनो? नि (न्रे)

च. शिवमन्त्रमुनकु माजीवमु, मा-

धव मन्त्रसुनकु राजीवमु यी विवरमु देलिसिन घनुलकु म्रोक्केद वितरणगुण! त्यागराजविनुत!

"EVARANI NIRNAYIMCHIRIRĀ" (Dēvāmritavarshinī) What do people determine you to be and how do they worship you? As Siva, as Mädhava, as Brahma, or Para- brahma? I prostrate before those wise ones, who found the solution by picking out and combining the soul of each of the two mantras-Ma from Siva Mantra (Panchakshara) and Rā from Nārāyana Mantra (Ashtākshara).

Nāma Māhātmya 139

पूर्णचन्द्रिका -- 'तेलिसि रामचिन्तनतो' -- आदि

प. तेलिसि रामचिन्तनतो नाममु सेयवे ओ मनसा ! (ते)

अ तलपु लन्नि निलिपि निमिषमैन तारक रूपुनि निज तत्वमुलनु (ते)

च,

१. रामायन चपलाक्षुल पेरु

कामादुल बोरु वारु वेरु

रामायन ब्रह्ममुनकु पेरु

आमानव जननार्तुल दीरु (ते)

२. अर्कमनुचु जिल्लेड़ तरु पेरु

मर्कटबुध्दु लेट्ट दीरु?'

अर्कुडनुचु भास्करुनिकि बेरु ; कु- तर्कमनेड अन्दकारमु दीरु (ते

३. अजमनुचु मेषमुनकु बेरु निजकोरिक लेला गीडेरु ?

अजुडनि वागीश्वरुनिकि बेरु

विजयमु गल्गुनु; त्यागराजनुतुनि (ते)

"TELISI RĀMACHINTANATO" (Pūrnachandrikā)

Mind! chant the Lord's name with understanding and thought of Rama, stopping the wanderings of the mind (clos- ing the gates of the mind) at least for a minute and realising the true significance of the form of the great Redeemer.

140 TYĀGARĀJA KĪRTANAS 'Rama' is the name for woman also. If when uttering that word, your mind dwells on that object, you will have only to wrestle with lust and other passions. But 'Rama' is the name for Parabrahmam also, and if your mind dwells on it, while utteing the word, your life's ills will come to an end.

'Arka' is the name for the poisonous tree. By thinking of that object while uttering the word, how can your restless (monkey) mind get controlled ? 'Arka' is the name for the sun also. If you visualise him when uttering the word, your tendency to disputation and ignorance will vanish. `Aja' is the name for a goat. If you think of it only when uttering the word, how can your true desires be ful- filled ? 'Aja' is the name for Brahma also. If you think of him when uttering the word, you will be blessed with victory.

खरहरप्रिया 'राम नीयेड प्रेम' - मध्यादि

राम ! नीयेड प्रेम रहितुलकु नामरुचि देलुसुना? ओ सीता (रा)

कामिनि वेसदारिकि साध्वी नडत लमैन देलुसुना? यारीति सीता

Nāma Māhātmya 141

च तनसौख्यमु तानेरुगक योरुलकु

तगु बोधन सुखमा ?

धनमगु पुलि गोरूपमैन

त्यागराजनुत शिशुवु पालु गल्गुन ? (रा)

"RĀMA NĪYEDA PREMA" (Kharaharapriyā)

Will the man that is devoid of devotion to you know the sweetness of your holy name? Will a man in the garb of a woman realize the character of a chaste woman ? Will milk come forth for the child from a tiger which has put on the mask of a cow ? Could people, who have no self-realization try to preach to others?

कानड खि येवरो' देशादि

सुखि येवरो रामनाम-सुखि येवरो (सु)

अ. सुखि येवरो सुमुखि येवरो ? अखिल सारमगु तारक नाम! (सु)

च.

सत्यमु दप्पक सकल लोकुलकु भृत्युडे दैव भेदमु लेक नित्यमैन सुस्वरपु गानमुतो निरन्तरमु, त्यागराजनुत ! (सु)

142 TYAGARĀJA KIRTANAS

"SUKHI YEVARO" (Kānada)

Who is the blessed and happy one that enjoys the bliss of Rama Namam which is the best of all mantras calculated to save men from bondage?

Who is that blessed one, who unflinching from truth, serves all humanity and who, without disregard or hatred towards other Gods, sings always Rama Nama, with music associated with fixed and pure swara?

श्री 'नाम कुसुम' - देशादि

प. नाम कुसुममुलचे बूजिंचे.

नर जन्ममे जन्ममु; मनसा (ना)

See above page 105

"NĀMA KUSUMAMULACHĒ" (Srīrāga)

O Mind ! Human life itself becomes blessed if one wor- ships the feet of Rama with the flowers of His Name.

See above pages 105-106

मध्यमावती 'रामनामं भजरे' - आदि

प.

रामनामं भजरे मानस (रा)

Nāma Māhātmya 143

च.

१. दोङ्गरीति तिरुगङ्नेल श्री- रङ्गनि पदमुल कौगिलिञ्चुकोनि (रा)

२. एक्कडैन हरियोक्कडनुचु मदि- चक्कतनमुगनि सोकि सन्ततमु (रा)

३. एन्दुबोक राकेन्दुमुखुनि तन- यन्दु जूचि फलमन्दु गोरु श्री (रा)

४. देहमेत्ति सन्देह पडक वै- देहि भाग्यमा देहि देहियनि (रा)

५. साधु सज्जनुल बोध चेत भव- बाध मानवले साधकम्बुतो (रा)

६. दीनुडन पन्धानुडैन विनु- मनुरागमुन मेनोसङ्गि श्री (रा)

७. राग रहित जन भागधेयुनि वि- ना गति येव्वरे त्यागराजनुत (रा)

" RĀMA NĀMAM BHAJARĒ" (Madhyamāvatī)

Oh Mind! Take the holy name of Sri Rama and chant it.

Why roam about like a thief?

Embrace the blessed feet of Lord Ranganatha and chant his name.

Wherever you may be, seek Sri Hari as the only God, get lost in his marvellous beauty and chant his name.

144 TYAGARAJA KIRTANAS

Stop wandering, see in you the Lord, with charming face like the moon, ask of him what you want and chant His name.

Having secured the rare human body, dispel all doubts, pray that you may be blessed with mukti and chant His name, addressing him as Vaidehi's fortune.

Following the teachings of the stainless Great Ones, do your Sadhana and get rid of the disease of Samsara, chant- ing the name of the Lord.

Be you helpless or wise, offer your body to the Lord with love and devotion.

Besides Sri Räma, the ideal and the fortune (Bhagyam) of the good and the wise, who have conquered greed, anger, lust, etc., there is no refuge for one.

जनरञ्जनी 'स्मरणे सुखमु' देशादि

स्मरणे सुखमु रामनाम नरुडे बुट्टि नन्दुकु; नाम (स्म)

अ. वर राज योग निष्टलौ-वारिकानन्द मन्देटटु (स्म)

च.

रामनाम श्रवणमु वह्ल

नाम रूपमे हृडयमु निण्डि प्रेम बुद्द जेयग लेदा? नि- षकाम त्यागराजु सेयु नाम (स्म)

Nāma Māhātmya 145

"SMARANE SUKHAMU" (Janaranjani)

For one born as man, the chanting of the holy Rama Nåma, in the way the desireless Tyāgaraja does, is itself happiness; and for Rāja Yogis it is bliss (ānandam). Does not the constant hearing of Rama Nama transform the Nama itself into a glorious form, filling the heart with love divine ?

अठाण 'भजन सेय रादा' रूपकम्

प.

भजन सेय रादा ? राम ! (भ)

अ.

अज रुद्रादुलकु सतत मात्म मंत्रमैन राम (भ)

च.

१. करुकु बङ्गारु वल्व कटिनेन्तो मेरयग

चिरु नन्बुलु गल मोगमुनु चिन्तिश्चि चिन्तिञ्चि (भ)

२. अरुणाभाधरमुन-सुरुचिर दन्तावलिनि

मेरयु कपोलयुगमुनु निरतमुननु दलचि दलचि (भ)

बागुग मानस भव-सागरमुननु दरिम्प ny

त्यागराजु मनविनि विनि-तारकमगु रामनाम (भ)

"BHAJANA SĒYA RADA" (Atāna)

Oh! Mind! Why can you not make Rama Bhajana which is the great mantra constantly meditated upon by 10

146 TYĀGARAJA KĪRTANAS

Brahma, Rudra and other Gods? Thinking always in the mind the smiling face of Sri Rama adorned with golden cloth, shining with ruby-hued lips, beautiful white teeth and glossy cheeks; why can you not listen to the appeal of Tyagaraja to make Rāma Bhajana with the redeeming Rāma Nama, which will enable you to cross the ocean of Samsāra.

तोडि 'हरियनुवानि' आदि

प. हरियनुवानि सरियेव्वरे ? हरियनुवानि सरियेव्वरे (ह)

च.

१. पलुविधमुल तलपुलरोसि निलवरमगु भक्तियुजेसि मलयनि मतभेदमुगोसि (ह)

2. करगुचु मदिलो गामिश्चि हरि चरणमुलनु हृदयमुनुंचि वरशुकमुख धनमनि येश्वि (ह)

३. ई सुख मेरुगनि जन चेलिमि वासुकि विसमे मरिकलिमि निज दासुल संभाषण बलिमि (ह)

. नी जपमुन हृदयमु वेग राजिल्लनु जेसिन त्याग- राज नुतुनि पेरुल बाग (ह)

Bhakta Māhātmya 147

"HARI YANUVÁNI" (Tődi)

Who is equal to one who chants the name of Hari, driving out of the mind various thoughts that arise, main- taining steady devotion, casting away discordant religious differences, earnestly longing and pining, installing the holy feet of Lord Hari in the heart, regarding them as coveted wealth as sage Suka and other great saints did, treating as the snake's poison the company of those who do not appreciate the happiness above mentioned, and treating as real wealth conversation with genuine devotees and getting transported to ecstacy on meditating on the names of one adored by Tyāgarāja.

BHAKTA MĀHĀTMYA

SĪTĀ

श्रीरञ्जनि - 'सरियेव्वरे श्री जानकी' - देशादि

सरि येव्वरे? श्री जानकी ! नी (3)

अ.

परमात्मुनिकै गडिदेरि सदा- सिरुलिच्चुटकु चेरि कोल्चिन नो (स)

lp वनमन्दु भयङ्करमैन ता- वुन निल्सुननि मनुसु देलिसि कनकाङ्कि यन्दन्दुन राज सुखम्बुनु गल्ग जेसितिवे, त्यागराजनुत! (स)

148 TYĀGARĀJA KĪRTANAS

"SARIYEVVARĒ SRĪ JĀNAKĪ" (Srī Ranjani)

You are matchless. You have qualified yourself perfectly in associating with Paramātma Sri Rama to serve him by constantly keeping him in prosperity. You have chosen to follow him to the dreadful forest and provide him in every place with royal comforts and pleasures.

कांभोजि 'मा जानकि' देशादि

प. मा जानकि चेट्ट बट्टग-महाराज चैतिवि (मा)

अ. राज राजवर राजीवाक्ष विनु रावणारि यनि राजिल्ल कीर्तियु (मा)

च.

कानकेगि याज मीरक माया- कार मुनिचि शिखि चेंतने युण्डि दानवुनि वेंटने चनि यशोकतरु मूलनुंडि वानि माटलकु गोपगिंचि कंट वधि यिश्चकने युंडि श्री नायक! यशमु नीके कल्ग- जेय लेदा ? त्यागराजपरिपाल (मा)

"MĀ JĀNAKĪ" (Kambhōji) Oh Rama! You have become great and famous by taking the hand of our Sita (in marriage), and have acquired,

Bhakta Māhātmya-Sitā 149

thereby, the glory of being Ravana's vanquisher. She accompanied you to the forests, as ordained by you, she left her real form beside Agni (the fire) and took a Māya form to follow the Rakshasa Ravana; stayed under the Asoka tree; though offended at his words, desisted from killing him (by her indignant look) and wanted to leave the credit of killing the enemy only to you.

कलकंठि 'श्री जनकतनये' आदि

प.

श्री अनकतनये ! श्रितकमलालये! (श्री)

राजन्नवमणिभूषणे! श्री

रघुरामसति सततं मामव (श्री)

शतवदनाद्या शरजलधरानिले

नतमानवमानससत्सदने

शतमखकिरीटलसन्मणिगणनीरा-

जितचरणे त्यागराजार्चिते (श्री)

"SRĪ JANAKATANAYE" (Kalakanthi)

Oh Daughter of Janaka, the blessed abode of refugees ! Oh Consort of Sri Raghu Rama, bedecked with shining gem-ornaments! Pray, protect me always! You are the

150 TYĀGARAJA KĪRTANAS

wind that destroys the clouds of demons like the hundred- headed Ravana; you are the indweller of the hearts of devotees ; your feet shine with the lustre of gems set in the crown of Indra.

शहान 'देहि तव पद' आदि

प. देहि तव पदभक्तिं वैदेहि ! पतितपावनन मे सदा (दे)

अ.

ऐहिकामुष्मिकफलदे! कमलासनानन्यजवरजननि ! (दे)

च.

१. कलशवाराशिजनिते! कनकभूषणलसिते !

कलशजगीतमुदिते ! काकुस्थराजसहिते! (दे)

२. अखिलाण्डरूपिणि! अलिकुलनिभवेणि

मखसंरक्षणराणि! मम भाग्यकारिणि (दे)

३. शरणागतपालने: शतमुखमददमने तरुणारुणाब्जनयने त्यागराजहत्सदने (दे)

"DĒHI TAVA PADA" (Sahāna) Oh! Videhi, Redeemer of the fallen ! Pray, vouchsafe to me constant devotion to your blessed feet. Oh! the giver of temporal and spiritual benefits and the mother of Brahma and Manmatha! Oh! Devi born of the ocean;

Bhakta Māhātmya-Lakshmana 151

adorned with golden jewels, delighted by the musical chanting of Agastya; Oh! the consort of Sri Rama! The whole Universe is your form. Your hair is beautifully black as the bee. You are the queen of the protector of (Viswā- mitra's) yāga; you are the cause of my fortune; you protect those that take refuge in you. You are the destro. yer of the arrogance of the hundred-headed Ravana. You have beautiful, red lotus eyes and dwell in the heart of Tyāgarāja.

खरहरप्रिया - 'मित्रि भाभ्यमे' - आदि

प. मित्रि भाग्यमे भाग्यमु सौ- मित्रि भाग्यमे भाग्यमु (मि)

अ. चित्र रत्नमय शेषतल्पमन्दु सीतापतिनि युनिचि यूचु सौ- (मि)

बागुग विन्त रागमुर नालापमु सेयग मेनु पुलकरिंचग त्यागराज नुतुडगु श्रीरामुनि सत्वार्थमुनु पोगडि जूु सौ- (भि)

"MITRI BHĀGYAMĒ" (Kharaharapriyā)

Lakshmana's fortune is unique. He had the rare privilege of rocking Sri Rama in gem-bedecked seshatalpa

152 TYĀGARĀJA KĪRTANAS

and of getting thrilled when rare ragas were being sung to the delectation of Sri Rama, praising the Tattvartha (of the Lord's) incarnation.

वसन्तवराळि -- 'पाहि रामदूत' रूपकम्

प.

पाहि रामदूत जगत्प्राणकुमार ! मां (पा)

अ.

वाहिनीशतरण! दशवदनसूतुतनुहरण! (पा)

१. तरुणारुणवदनाब्ज तपनकोटिसंकाश !

करधृतरघुवरसुचरण! कलिमलाभ्रगन्धवाह! (पा)

2. घोरासुरवारान्निधिकुमतनय कृतकार्य!

पारिजाततरुनिवास! पवनतुल्यवेग ! (पा)

पादविजितदुश्ग्ह ! पतितलोकपावन ! वेदशास्त्रनिपुणवर्य! विमलचित्त सततम् (पा)

४. करुणारसपरिपूर्ण ! कांचनाद्रिसमदेह! परमभागवतवरेण्य! वरद! त्यागराजनुत ! (पा)

"PĀHI RĀMA DŪTĀ" (Vasanta Varāli) Oh Rama's Messenger ! Bless me. You have crossed the ocean and killed Ravana's son, (Akshayakumāra). Your

Bhakta Māhātmya 153

lotus-like face shines like the fully risen sun. You are as brilliant as myriad suns. You hold the blessed feet of Sri Rama in your hands. You are the wind to disperse the cloud of the sins of the iron age. You are like Agastya to the ocean of dreaded Rakshasas. You always carry out (successfully) whatever task is assigned to you. Oh ! Dweller under the Parijata tree! You move as fast as the wind. You conquer evil spirits by the strength of your feet. You are the redeemer of sinners. You are well-versed in the Vedas and Sastras. You are the best of beings; you are the pure-minded. You are full of compassion. You have a body which resembles in hue Mount Meru. You are the foremost among the Lord's devotees. You are a giver of boons.

पूर्णललिता - 'कलुगुना पदनीरज' - आदि

कलुगुना पदनीरज सेव? गन्धवाह तनय (क)

अ० पछमारु जूचुचु ब्रह्मानन्दुडै

चरगे भक्ताओ्रेसर! तनकु (क)

च. वेकुव जामुन नीकरमुन निडि

श्रीकन्तुडमृतस्नानमु जेसि

पाकमुलनु श्रीरङ्वेशु- नि कर्पणमु जेसि ता सी-

154 TYĀGARĀJA KĪRTANAS

ता करमुलचे भुजिंचि निनु सा-

त्वीक पुराण पठन जेयमने

साकेतपतिनि सर्वाधारुनि

प्राकटमुग त्यागराजनुतुनि गन (क)

"KALUGUNĀ PADA NĪRAJA" (Pūrna Lalita)

Oh Vayutanaya! Shall I ever be privileged to witness your service to the Lord? You are foremost among devotees, who shines with Supreme Bliss as the result of the frequent Darsana of the Lord!

Can I also have the fortune to see directly the Lord of the Universe, Sri Rama, passing through his daily routine of getting up early morning, having his Amruta Snana, holding your hand, offering Bhoga to Sri Rangesa, partaking of the prasada through Sita's blessed hands and commanding you to read the holy Purana?

मुखारि 'एन्तनि ने' रूपकम्

एंतनि ने वर्णिंतुतु? शबरी भाग्य (में)

भ. दांतुल बरकां्तडु जगमन्त निंडि युण्डग नें)

कनुलार सेविचि कम्मनि फलमुल नो सगि

तनुवु पुलकरिंच पादयुगमुलकु म्रोकि

Bhakta Māhatmya-Sabarī and Garuda 155

इनकुलपति समुखम्बुन पुनरावृत्तिरहित पद- मुनु बोंदिन त्यागराजनुतुरालि पुण्यमुनु (एं)

"ENTANI NE" (Mukhāri)

How can I adequately describe the rare fortune and merit that Sabari had, while scores of the great wives of the sages in the world had them not. She was privileged to see the Lord directly to her heart's content, offer Him delicious fruits, prostrate before His holy feet with body in thrill and attain freedom from rebirth in the presence of the Lord Himself.

हुसेनि 'विनतासुत' - आदि

प.

विनतासुत रारा ना विनुति गैकोनरा (वि)

अ. घननागपाशंबुल खण्डिंच रारा (वि)

च. १. अमरेशुनि गेलिचि नीवमृतमु देन्वि विमल कीर्ति वहिंचि वेलसिल्लन वीरा (धि)

हरिकि वाहनमौ मायथ्य वेग रारा नी- सरियौ भकुनि ब्रोव समयमिदि रारा (बि)

त्यागराजनुतुनि दासुडी धीरा नागाशन निन्न विना गतियेव्वरुरा (वि)

156 TYĀGARĀJA KĪRTANAS

"VINATĀSUTĀ" (Husēni)

Come, O Vinatasuta (Garuda) and accept my praise. Come to cut asunder the heavy serpent fetters (with which I, Prahlāda, am bound).

O Hero who shines with spotless glory, having con- quered the lord of the angels and brought nectar !

Come quickly, O my Lord who is the vehicle of Vishnu. This is the time (for you) to protect one who is your equal in devotion.

O brave one who feeds on serpents, the servant of the Lord adored by Tyagaraja, who else but you is my refuge ?

कापि - 'सुन्दर दशरथ' आदि 1

प. सुन्दर दशरथनन्दन वन्दन मोनरिंचेदरा

Ip

9. पङ्कजलोचन धरजा-

यङ्मुन वेलुङ्गग गनि

2. परमदयाकर शुभकर

गिरिश मनोहर शङ्कर (सं)

करमुन गोडुगिडुकोनि सो-

दरु भरतुड्ड करगग गनि (सुं)

Bhakta Māhātmyā-Sītā, Bharata & others 157

४, सुगुणुडनिलतनयुड गव-

य गवाक्षुल गोलुवग गनि (सं)

५. घटज वसिष्ट मृकण्डुज

गौतमादुल बोगडगनि

६. अकळङ्कमुख त्यागराजुनु व्रोचिन

अव्याजकरुणासागर (सुं)

" SUNDARA DASARATHA" (Kāpi)

Oh Bewitcher of people! Son of Dasaratha! I pros- trate immediately bofore you. I see before me Sītā Devi shining in your lap, Bharata holding an umbrella in his hand for you, virtuous Anjaneya standing by your side, Vānaras serving you, Agastya, Vasishtha, Mārkandeya, Gau- tama and other sages praising you. Oh Ocean of mercy that protects Tyagaraja !

खरहरप्रिया - 'पक्कल निलबडि' त्रिपुट

प.

पक्कल निलबडि गोलिचे मुच्चट बाग देल्प रादा ? (प)

अ.

चुक्कल रायनि गेरु मोमुगल

सुदति सीतम्म सौमित्रि रामुनि किरु (प)

158 TYĀGARĀJA KĪBTANAS

तनुुचे वन्दन मोनरिञ्चु चुन्नार ? चनुवुन नामकीर्तन सेयुचुन्नार ?

मनसुन दलचि मैमरचि युन्नार ?

नेनरुंचि त्यागराजुनितो, हरि हरि ! मीरिरुँ (प)

"PAKKALA NILABADI" (Kharaharapriyā)

Pray! can you not enable me to visualise well the beautiful way in which you constantly stand by the Lord on either side and serve him ? Oh charming Sita and dutiful Lakshmana! Do you prostrate before him with your bodies ? Do you sing his holy name with love? Do you meditate on him forgetting yourselves ?

BHAKTA LAKSHANA .

बेगड - 'भक्तुनि चारित्रमु' आदि

प. भक्तुनि चारित्रमु विनवे, मनसा! सीताराम (भ)

(आ) सक्तिलेक ता गोरुचु जीव- न्मुक्तुडै यानन्दमु नोन्डु (भ)

च.

१. जपतपमुल ता जेसिति ननरादु ; अदिगाकमरि कपटात्मुड्ड मनमै बल्कराडु;

Bhakta Lakshaņa 159

उपम तनकु लेक युण्डवले ननि

यूर यूर तिरुगग रादु ; चपल चित्तुडै यालु सतुलपै

सारेकु भ्रम कारादने हरि (भ)

२० भव विभवमु निजमनि येंचगरादु, अदिगाक मरि

शिव माधव भेदमु जेयगरादु ;

भुवनमन्दु दाने योग्युडननि बोंकि पोट्ट साकग राडु; पवनात्मज धृतमा सीतापति

पादमुलनु येमर रादनु हरि (भ)

३. राजस तामस गुणमुल गारादु; अदिगाकनु अ-

व्याजमुननु रालेदनगाराडु ; राजयोग मार्गमु नी चित्तमु

राजूचुट विडवग रादु ; राज शिखामणियैन त्याग-

राज सखुनि मरव रादने हरि (भ)

"BHAKTUNI CHĀRITRAMU" (Bēgada)

Oh Mind! Listen to the good conduct of a devotee of Sītārāma, who without attachment to sense-pleasures, seeks him, becomes a jīvanmukta and enjoys supreme bliss.

He (the Bhakta) should not boast of having done japa and tapas; he should not behave and speak with a hypocrite's mentality ; he should not wander about with the

160 TYAGARAJA KIRTANAS

ambition that there should be no equal to him; he should not be fickle-minded and be deluded by his attachment to wife and children; he should not regard worldly prosperity as real; he should not entertain any differential attitude between Siva and Vishnu; he should not earn a living by posing that he is the only honest and qualified man in the world; he should not allow himself to be unmindful of the blessed feet of Sri Räma, the prop of Anjaneya; he should not allow himself to be swayed by Rajasic and Tamasic qualities; he should not expect His grace without earning and deserving it; he should not give up his attempts to prepare his mind for the path of Raja Yoga; he should never forget Sri Rama - the Rāja | Sikhāmani.

कापि - 'अतडे धन्युडरा' चापु

अतडे धन्युडुरा ओ मनसा ! (अ)

अ. सततयानसुत धृतमैन सीता- पति पादयुगमुनु सततमु स्मरियिंचु (न)

१. वेनुकदीक तनमनसु रञ्चिल्लग घनमैन नामकीर्तन परुडैनदि

2. तुम्बुरुचले तन तम्बुर बट्टि द- याम्बुधि सन्निधानम्बुन नटियिंचु (ª)

Bhakta Lakshana 161

सायकु सुजनुल बायक तानु नु

पायमुननु प्रोद्द हायिग गडपु (न)

४. उल्लपु तापमु चल्लजेसि यन्नि

कल्ललनि येन्वि सल्लापमुन नुण्ड (न)

५ करिवरदुनि तत्वमेरुगनु मरिगिंचु

अरिषड्वर्गेमुलन्दु बरवलेक दिरुगु (न)

६. आर्तिनि मरियु व्रतर्तिनि दोलगिंचु

कीर्तिगल्गिन राममूर्तिनि नेरनम्मु (न)

9, कलगनि निज विप्रकुलमुन जन्मिंचि

निलुवरमगु मुक्तिफलमुनु जेकोन्न (न)

८ कर्मनिष्टुडैन धर्मशीलुडैन

शर्म रामनाममर्ममु टेलिसिन (य)

९ कासुवीसमुलको समु यासतो

वेसमु धरियिंचि मोसमु जेन्दनि (य)

१०. अन्दमुगा नाममन्दरुजेसिन

सुन्दर रामुनियन्दु लक्ष्यमुबेट् (न)

११ इन्नि पाटुलकु सर्चोन्नत सुखमु

मुन्न यनुभविचुकोन्न वाडेवडो (अ)

१२. राजस जनुलतो दा जतगूडक

राजिल्ल श्री त्यागराजनुतुनि नम्मु (न) 11

162 TYĀGARĀJA KĪRTANAS

"ATADĒ DHANYUDURĀ" (Kāpi)

He alone is blessed who constantly meditates on the lotus feet of Sri Rama, the refuge of Anjaneya, who unflaggingly engages himself in Nāmasankirtana to his heart's delight, who dances in the presence of the Lord, singing like Tumburu with Tambura in hand, who spends his time cheerfully, always keeping the company of the good; who shakes off all worries from his mind and keeps himself hilarious, realising that all else is unreal, who wards off the six inward enemies, greed, lust etc. which hide the real truth of the Lord from his vision, who reposes his entire faith in Sri Rama who has the glorious reputation of being the dispeller of men's distress and worldliness, who having had the advantage of the Brahman birth has secured the ever-lasting fruit of salvation, who has known the real significance of the holy name of blessed Sri Rama, the strict observer of Sastraic injunctions and upholder of Dharma, who does not put on false garbs out of greed for money and who does not deceive himself, who fixes his mind on the beautiful form of Sri Rama during congregational worship, (bhajana), who attains supreme bliss early as a result of all the strenuous efforts above-mentioned and who, without associating with Rajasic people, reposes his faith in Rāma.

वराळि - 'करुण येलागंटे' - आदि

q.

करुण येलागंे नी विधमे ; कल्याणसुन्दरराम! (क)

Bhakta Lakshana 163

BT. परमात्मुड्ड जीवात्मुड्ड योकडै

बरगुचुंड् भक्तपराधीनुनि (क)

च

१. अनृतं बाडडु अल्पुलवेडड ;

सुनृपुल कोलवड्ड सूर्युनि मरवडड (क)

२. मांसमु मुदड मधुवुनु द्रागड ; पर- हिंसल सेयडु येरुकनु मरवड (क)

मूडीषणमुल वाडडु ; जीव-

न्मुक्तुडै तिरुगु मुदमुनु जूपड (क)

४. वंचन सेयड परुलतो बोंकड

चश्चल चित्तुडै सौख्यमु विड्डवड (क)

५. साक्षियनि देलिसि यंदु लक्ष्यमु विडुवड्ड कं- जाक्षुनि त्यागराजरक्षकुडैनवानि (क)

"KARUNA ĒLAGANTĒ" (Varāli)

The grace of the Lord who is at the service of that devotee of His who realises the oneness of the Paramatma and the jivatma manifests itself in the following manner :-

The recipient will not utter a lie, will not approach low people with requests, will not serve even kings, will not forget (to worship) the sun, will not eat meat, will not drink, will not injure others, will not give up learning, will not have the three desires (for wife, wealth and progeny),

164 TYĀGARĀJA KĪRTANAS

will not exhibit any exultation even should he become a jIvanmukta, will not prove deceitful or treacherous, will not be fickle-minded and make himself unhappy, will not swerve from his aim, believing full well that the Lord is eternal witness.

Asad-Bhakti-Garhana

खरहरप्रिया - 'राम नीयेड प्रेम' देशादि

घ.

राम ! नीयेड प्रेम रहितुलकु

नामरुचि देलुसुना? ओ सीता (रा)

See above pages 140-141

" RĀMA NĪYEDA PRĒMĀ" (Kharaharapriyā)

See above page 141

शहान 'ऊरके गल्गुना' चापु

ऊरके गल्गुना रामुनि भक्ति ? (ऊ)

अ.

सारेकुनु संसारमुन जोच्चि

सारमनि येंचुवारि मनसुन (नू)

Asađ-bhakti-garhana 165

च.

9. आलु सुतुल जुद्टाल वरस द-

नाल गाय फलाल कनक ध-

नालु गल विभवमुल गनि यस्थिर-

मुलने भाग्यशालुलकु गाक (यू )

२. मंचि वारिनि बोडगांचि सन्ततमु से- विंचि मनवि नालगिन्चि यादरि सा-

धिञि्चि सर्वमु हरियंचु देलिसि भा- विञि्चि मदिनि पूजिञ्चु वारिकि गाक (यू)

राजसगुणयुक्त पूजल नोनरिश्वक

अजसन्नुत! त्यागराजुनि जिह्वपे

राजिल्लु वरमन्त्र राजमुनु स-

दा जपिञचु महराजुलकु गाक (यू )

"ŪRAKĒ GALGUNĀ" (Sahāna)

Can Rama Bhakti be had easily by those who always cherish in their minds that worldly life is the ideal to be coveted ? It must be difficult of attainment except for those blessed souls who regard family, relations and material wealth as evanescent, those who have the darsana of pious men, serve them constantly, listening to their instructions, meditate in their mind on Hari, realizing that He is in everything and thus attain salvation and those fortunate people, who discarding worship charac-

166 TYAGARAJA KĪRTANAS

terised by Rajasa Guna always chant the holy jewel of the mantras, which sanctifies the tongue of Tyagaraja.

मध्यमार्वात - 'नळििनलोचन' चापु

प.

नळिनलो चन निन्नु गाक यन्युलनम्मि-

नरजन्म मीडेरुना P (न)

अ.

जल जाप्तकुलभूषण! सुभाषण ! स-

ज्जनपोषण जनकसुतारमण ! (न)

च

१. कोङ्गवंटि ध्यानमु जेसिन दन

कोरिक गोनसागुना ?

दोंगमगनि भक्तिमीर नम्मिते मचि

त्रोवजूपनेर्चुना ?

गङ्गलोनि योडनु नम्मि भव-

सागरमु दाटवच्युना ?

नंगनाचुल शरणमनुटचेत य-

नंगुड् ज्ञानोपदेशमु जेसुना ? (न)

२. परमवन्ध्यकु बालुबेरुगु बोसिचे जंटि

पालु गलुग नेरचुना ?

Asad-bhakti-garhana 167

नेर धनमुल दायादुलकिच्चिते नेनरुमाट गलुगुना ?

एरुवु वेसि यूसरभूमि वित्तिते- ने मैन फलिंचुना ? चरमैन पेरु कलुगु गङ्गराविकि वन्दन मोनरिञ्चिते बरोव नेर्चुना ? (न)

३. सोगसैन बूरुगुलनु बेंचिते

सुरसफलमु लिच्चना ?

भाग्यमु गल तिरुमच्चन विभवमु परिचारकुल कब्बुना ?

राग लोभमुलतो दपमु जेसिते ब- रगति गलुग नेर्चुना ?

त्यागराजसन्नुत! सहुण स- त्यस्वरूप ! निर्विकार ! परात्पर ! (न)

"NALINA LOCHANA" (Madhyamāvati)

O Lotus-eyed Lord! Will any human being attain salvation by reposing faith in others except you ?

If one does spurious contemplation like a crane; will his object (of attaining salvation) be fulfilled ?

If a woman places implicit faith in a lewd paramour, will he be able to show her the right path ?

Can one cross the ocean of Samsara with a small river- craft ?

168 TYAGARAJA KIRTANAS

If a man becomes a slave to wily wicked women, will Manmatha (at whose prompting he has become a victim) initiate him in Jnāna Yōga ?

If a sterile woman is fed with milk and other nutritious food, will she secrete milk ?

However generously you may give wealth to Dāyādis, will they show affection to you ?

However much you may manure and sow a barren land; will it yield anything?

However much you may prostrate befere a Gangaravi tree, will it be able to save you (like the holy peepul tree) ?

If you grow nice-looking silk-cotton trees, will they yield sweet fruits ?

Can attendants and servants have the glory of the grand abhishekam (intended for Gods) ?

If one does Tapas with attachment and avarice, will he attain salvation ? O you embodiment of truth, the pure and supreme Being!

नायकि - 'कनुगोनु सौख्यमु' रूपकम्

कनुगोनु सौख्यमु कमलजुकैन गल्गुना ? ($)

अ. दनुज वैरियगु रामुनि दय गल्गिन नतनि बिनाP (क)

Asad-bhakti-garhana 169

च. तनुवोकचो मनसोकचो दगिन वेषमोकचो निडि जनुल नेचुवारिकि जयमौने? त्यागराजु (क)

"KANUGONU SOUKHYAMU" (Nāyaki)

Is the blessedness of having direct darsanam of Sri Rāma, which Tyāgarāja had, possible even for Brahma? It can be had by one, only if he has the Lord's grace.

With body in one place and mind elsewhere, putting on the appropriate garb-those who cheat the public,- will success be theirs ?

साळगमैरवि -- 'पदवि नी सद्धक्तियु' -- आदि

प. पदवि नी सद्भक्तियु गल्गुटे (प)

अ. चदिवि वेदशास्त्रोपनिषत्तुल

सत्त देलियलेनिदि पदविया (प)

च.

१. धन दार सुतागारसपदुल

धरणीशुल चेलिमि योक पदविया ? (प)

जपतपादि यणिमादि सिद्धुलचे जगमुल नेचुट यदि पदबिया ? (प)

170 TYĀGARĀJA KĪRTANAS

३. रागलोभयुतयज्ञादुल चे भोगमु लब्बुट यदि पदविया ? (प)

४. त्यागराजनुतुडौ श्री रामुनि तत्त्वमु देलियनि दोक पदविया ? (प)

"PADAVI NĪ SADBHAKTIYU" (Sālaga Bhairavi)

One attains real status, only when he has true devotion to you.

Is it a status to be learned in Vedas, Sastras and Upanishads without knowing and realising their essence ?

Is it a status to be possessed of wealth, wife, progeny and house and be associated with kings as friends ?

Is it a status to impose on the world by display of Japa, Tapas and Siddhis ?

Is it a status to secure enjoyments through yāgas conducted with desire and avarice ?

Is it a status to be ignorant of the divine character of Srī Rāma ?

यदुकुलकाम्भोजि - 'अदि कादु भजन' आदि

T.

अदि कादु भजन, मनसा ! (अ)

अ.

एद्लो नेंचु टोकटि पय्येद गल्गिनचो नोकटि (अ)

Asad-bhakti-garhana 171

च

गोप्प तनमुकै यास

कुत्सित विषय पिपास

मेप्पुलके बहु वेसमिडि

उप्पतिल्लेदरु; त्यागराजविनुत! (अ)

"ADI KĀDU BHAJANA" (Yadukulakāmbhōji)

Oh Mind ! That is not Bhajana. It is one thing to do contemplation with the mind and quite a different thing to fix it on external sense objects. It is not Bhajana to hanker after greatness, to thirst for low sensual enjoyments, to put on false garbs for the approbation of people and go on merrily.

धेनुका 'तेलिय लेरु' - देशादि

प.

तेलियलेरु, राम ! भक्तिमार्गमुनु (ते)

अ.

इलनन्तट दिरुगुजुनु गलुवरिंचेदरु गानि (से)

वेगलेचि नीट मुनिगि भूति बूसि वेळळनेंचि वेलिकि श्लाधनीयुलै बागपैक मार्जन लोलुलै-

रेगानि त्यागराजवितुत (ते)

172 TYAGARĀJA KĪRTANAS

"TELIYALERU " (Dhēnukā)

They can never know the path of devotion, they can only roam about and dream about it, those who with the sole purpose of earning money, put on the guise of worthy men, wake up and bathe early in the morning, smear their bodies with ashes and count with their fingers.

बिंदुमालिनी - 'एन्त मुद्दो' - आदि

प. एन्त सुद्दों? एन्त सोगसो

एवरि वल्ल वर्णिप तगुने ? (ए)

See above pages 8-9

"ENTA MUDDO" (BindumalinĪ)

See above page 9

कुन्तलवराळि -- 'कलिनरुलकु' देशादि

q. कलिनरुलकु महिमलु देलिपि येमि फलमन लेदा ? क)

डलनु वैलयु वर वृषभादुल कटु-

कुल रुचि देलियु चन्दमुगानि (क)

Asad-bhakti-garhana 173

च. दार सुतुलकै धनमुनकें यूरु पेरुलकै बहु पेद्द तनमुकै सारेकु भक्त वेसमु गोनुवारिकि तारकनाम ! श्री त्यागराजार्चित (क)

" KALINARULAKU" (Kuntalavarāli)

Have not the wise said that there is no purpose gained by speaking to the worldly-minded of the Kali-age the glories of the Lord ? It is like expecting bulls to appreciate the taste of aval ( parched and flattened rice ). Such people put on the garb of a devotee only for the sake of their family, wealth, property and for name and fame and for earning status.

श्रीमणि 'एमन्दुने' देशादि

प. एमन्दुने विचित्रमुनु! इललोन मनुजुलाडुन (दे)

अ. नीमन्त्र महिम नेरुगलेक

सामान्युलै पल्केदरुनीतो (ए)

च. तामसंबुचेत तत्त्वमुबल्कुचु कामदासुलै करुणमालि मदिनि

भूमि संचरिचि पोट्टनिंपुचुनु तामे पेद्दलट ; त्यागराजनुत ! (ए)

174 TYĀGARĀJA KĪRTANAS

"YEMANDUNE" (Srīmani)

What shall I say to you of the wonderful ways of men in this world ? Without knowing the glory of your Mantra, they speak of it as if it is an ordinary thing. Full of Tamas, slaves to lust, with a mind devoid of compassion, they go about, thinking themselves great, and dabble in spiritual lore, with a desire only to fill the stomach.

Formal Worship, Rituals etc., Condemned.

आभोगि - 'मनसु निल्प शक्ति' आदि

प. मनसु निल्प शक्ति लेक बोते

मधुर घंट विरुल पूज येमि जेयुनु (म)

अ. घन दुर्मदुडै तामुनिगिते कावेरि मन्दाकिनि यट ब्रोचुतु ? (म)

च. सोमिदम्म सोगसुगांडगोरिते सोमयाजि स्वर्गार्हुडौनो ? कामक्रोधुड्ड दपंबोनर्चिते गाचिरक्षिंचुनो? त्यागराजनुत ! (म)

"MANASU NILPA SAKTI" (Abhogi)

If one is unable to control and concentrate his mind, will any amount of worship with sweet bell and flower

Formal worship, Rituals etc. condemned. 175

conducted by him be of any avail? How can a bath in the Kāverī or the Ganga save one, if he is eaten up with arrant haughtiness ?

If a Somayaji's wife runs after beautiful paramours, will he become fit for the heaven (through the Soma yāga conducted by him with her)?

If a man who is a slave to lust and anger does tapas, will such tapas save him ?

रीतिगौळ - 'परिपालय परिपालय' - आदि

प.

परिपालय परिपालय परिपालय रघुनाथ (प)

च.

१. तनुवे नीकनुवैन स- दनमौरा रघुनाथ (प)

२. स्थिर चित्तमु वर चामी- कर पीठमु रघुनाथ (प)

सुपद्ध्यानमु गङ्गा जलमौरा रघुनाथ (प)

४. इभपालक यभिमानमु

शुभचेलमु रघुनाथ (प)

५. घन कीर्तिनि बल्कु वा-

सनगन्धमु रघुनाथ (प)

176 TYĀGARĀJA KĪRTANAS

$. हरिनाम स्मरणमुल

चिरुतामर रघुनाथ (9)

७. तोलि दुष्कृत फलमेल्ल गु-

गगुल धूपमु रघुनाथ (9)

८. नीपादभक्तिये प्रोह्डु

दीपरबगु रघुनाथ (प) ! ने जेयु सुपूजाफलमु

भोजनमवु रघुनाथ (प)

१०. एडबायन नायेड गल्गु सुखमु

विडमौरा रघुनाथ (प)

११. निनु जूचुटे घन दीपारा-

धनमौरा रघुनाथ (प)

१२. पूजाविधिनैज त्याग-

राज कृतमु रघुनाथ (प)

"PARIPALAYA PARIPALAYA" (Rītigowla)

Oh Raghunatha! Protect me.

My body is your favourite abode, my steadfast mind is the golden throne, (asana), my meditation of your blessed feet is the holy Ganga water (for abhishekam), my loving devotion is the garment (vastram) for you, my praise of your great glory is sweet-smelling sandal paste (gandha) for you, my chanting of your sacred name is the full-blown

Formal worship, Rituals etc. condemned. 177

lotus flower (pushpa), the effect of the past misdeeds is the burning of the incense before you (dhūpa), my devotion to your holy feet is the all-day light burning before you (dipa). the fruit of my devout worship is the offering (naivedya) for you, the permanent happiness that I derive is the tāmbūla for you, your darsana (seeing you) is itself dīpārādhana (waving of light). This is the true worship done by Tyagarāja.

नळिनकान्ति - 'मनवि आलगंच' देशादि

9. मनवि नालगिश्च रादटे ?

मर्म मेल्ल देल्पेदने ; मनसा ! (म)

अ. घनुडैन रामचन्द्रुनि

करुणान्तरङ्गमु देलिसिन ना (म)

च. कर्मकाण्ड मताकृष्टुलै, भव-

गहन चारुलै; गासि जेंदग

गनि मानवावतारुडै

कनिपिश्चि नाडे नडत ; त्यागराजु (म)

"MANAVI NĀLAGINCHA" (Nalinakānti) Oh Mind ! Why can't you listen to the request of one like myself who has known the noble Ramachandra's com- passionate heart ? I shall tell you the whole secret. Seeing the suffering of those who have been drawn in by the rituals prescribed by the Karmakanda of the Vedas and of 12

178 TYĀGARĀJA KĪRTANAS

those who have been wandering in the forest of Samsara, he has shown himself in a human incarnation to show the path.

शङ्कराभरणम् - 'मनसु स्वाधीनमैन' रूपकम् 1

प. मनसु स्वाधीनमैन याधनुनिकि

मरिमन्त्र तन्त्रसुलेल ? (म)

तनुवु तानु गादनन येश्चुवानिकि

तपसु चेयनेल दशरथबाल ! (म)

च.

٩٠ अन्नि नीवनुचु येंचिनवानिकि

याश्रम भेदमुलेल

कन्नुगट्ट मायलनि येंचुवानिकि

वान्तल भ्रमलेल ! दशरथबाल! (म)

२. आजन्ममु दुर्दिषयरहितुनिकि ग-

तागत मिकयेल ?

राजराजेश ! निरञ्ञन! निरुपम!

राजवदन! त्यागराजविनुत ! (म)

"MANASU SVADHINAMAINA" (Sankarābharanam) To the great one who has control over his mind, where is the need for other mantras and tantras? For one who realises that he is not the body, where is the need for mak- ing penance (tapas)? For one who has realized that every- thing is only yourself, where is the need for differentiation

Formal worship, Rituals etc. condemned. 179

in åsramas (status in life)? Will one, who considers the whole universe as Måyå, be deluded by the charm of women ? To one who has been throughout life free from vicious sense-enjoyments, what need is there to be worried with the cycle of birth and death ?

जयमनोहरी - 'नीभक्तिभाग्य' रूपकम्

q. नीभक्तिभाग्यसुधानिधि नीदेदे जन्ममु ? (नी)

अ. भूभारमु गानि सुरभूसुरलै जनिंचिन (नी)

च. वेदो कम्बौ कर्ममु वेतगल्गु गतागतमो नादात्मक त्यागराजनाथाप्रमेय ! सदा (नी)

"NĪBHAKTI BHĀGYA" (JayamanoharĪ)

Oh! Embodiment of Nada, Oh Incomprehensible one! That life alone is life which is privileged to swim constantly in the blessed ocean of devotion to you. Be he born as Sura (god) or a Bhūsura (Brahman), (without such devotion), he is only a burden to the earth. Mere observance of Vedic rituals will only increase distress, entailing the cycle of birth and death.

180 TYĀGARAJA KIRTANAS

कल्याणि 'व चुनु हरि' आदि

प. चच्चुनु हरि निन्नुजूड-वच्चुनु हरि निन्नुजूचि

मेच्चुतु हरि निन्नुजूचि (व)

अ. कुतिसित विषयादुलजच्चुरीति येश्चि नीवु

हेच्चुगानु मा स्वामिनि-मश्चिकतो नुतिथिम्पु (व)

च.

१. धीरनि सीतारामाव-तारुनि सकललोका-

वारुनि निजभक्त मन्दारुनि नुतियिम्पवय्य (व)

२. धन्युनि वेल्पुललो मूर्धन्युनि प्रतिलेनि ला-

वण्यु नि परमकारुण्युनि न्ुतियिम्पवय्य (ब)

३. ये जपतपमुलकु राडु-याजनादुलकु राड़ राजिगा नुतियिंचु-त्यागराजनुतुनि नीवेळ (व)

"VACHCHUNU HARI" (Kalyāni)

Lord Hari himself will come down to see you. Seeing you, He will feel elated.

Realising how indulgence in sensual enjoyments brings in only death and the like, lovingly sing the praise, in ever increasing measure, of my Lord, the heroic Sri Rāma, the prop of the Universe, the fulfiller of devotees' desires, the blessed one, the Supreme among Devas, of incomparable beauty, the All-merciful one.

Formal worship, Rituals eto. condemned 181

Lord Hari does not so easily respond to Japa, Tapas and Yagna as He does to fervent prayers and to praises of His Glory.

असावेरी - 'समयमु देलिसि' चापु

प. समयमुदेलिसि पुण्यमु लाजिर्चान कुमति युण्डियेमि पोयि येमि (सम)

अ. शमततोडि धर्मसु जयमेगनि

क्रममुतो मनविनि विनवे, यो मनस! (सम)

च.

१. सारमौ कवितल विनि बेर्रिवाडु

सन्तोष पडियेमि पडकेमि ;

चेरेडेसि गुड्डिकन्नल बागुग

तेरचि येमि तेरवकुण्डिन नेमि (सम)

तुरकचीथिलो विप्रनिकि बानकपूज नेरयजेसि येमि चेयकुंडियेमि ;

धरनीनि धनकोटलकु यजमानुड ताब्रतिकि येमि दय्यमैन नेमि (सम)

पदमु त्यागराजनुतिनिपै गानिदि पाडियेमि पाडकुंडिन नेमि ;

एदसु श्रीरामभक्तियु लेनि नर जन्म मेसियेमि येत्तकुण्डिन नेमि (सम)

182 TYAGARAJA KIRTANAS

"SAMAYAMU DELISI" (Asāvērī)

If, with a due sense of the appropriate, one does not acquire Punya, what does it matter, if that thoughtless fool lives or is dead ?

Listen properly, O Mind ! Dharma done with quietude will surely be successful.

It is quite immaterial whether a madman is or is not pleased at hearing good poetry:

It is of no consequence whether blind eyes, however large, remain open or closed.

It is of no value if a Pānaka Pūja for Brahmans is done in Muhammadan quarters:

It is immaterial whether on earth a millionaire, who does not give, lives or is dead.

It is immaterial if a song which does not relate to Sri Rama is cr is not sung.

It is immaterial whether one takes a human body or not, if in his heart there is no devotion to Sri Rama.

धन्यासि 'ध्यानमे वरमैन' - आदि

म्यानमे वरमैन गङ्गा स्नानमे ; मनसा (ध्या)

पाननीट मुनुग मुनुग लोनि-वश्चन द्रोहमनु कर बोना? (्या)

Formal worship, Rituals etc. condemned 183

च. परधन नारीमणुलनु दूरि परनिन्दल परहिंसल मीरि

धरनु वेलयु श्रीरामुनि गोरि

त्यागराजु देलुमुकोन्न राम (ध्या)

"DHYĀNAMĒ VARAMAJNA" (Dhanyāsi)

The Rama Dhyana (meditation of Sri Rama) is itself the most efficacious Ganga-Snanam, (bath in the holy Ganges).

Any number of plunges in the waters will not remove the stain of deceit and treachery.

The Dhyanam should be made with a mind that loathes the coveting of others' wealth and women, and is not prone to injure others by word or deed and whole-heartedly longs for Sri Rama.

नोडि -- 'कोटिनदुलु' आदि

कोटिनदुलु धनुष्कोटिलो नुंडग

येटिकि तिरिगेदवे? ओ मनसा ! (को)

सूटिग, श्यामसुन्दरमूर्तिनि माटि माटिकि जूचे महाराजुलकु (को

184 TYĀGARĀJA KĪRTANAS

च. गङ्ग नू पुरम्बुननु जनिश्चनु ;

रङ्गनि कावेरि गनि राजिल्लनु ; पोडडचु श्रीरघुनाथुनि प्रेमतो बोगडे त्यागराजु मनवि विनवे (को)

"KÖTINADULU" (Tödi)

Oh Mind! Listen to the counsel of Tyagaraja, the great devotee of Sri Raghunatha. For those fortunate souls who constantly and directly see the beautiful form of Rāma, crores of holy rivers are present at Dhanushkoti (the tip of Rāma's bow) itself, rivers like Ganga with its source at the Lord's feet and the KaverI deriving its glory from Sri Ranganatha; why should one wander from place to place (on Tīrtha yātra) ?

जयमनोहरी यज्ञादुल' आदि

यज्ञादुल्ल सुखमनु वारिकि समु-

लज्ञानुल गलरा? ओ मनसा ! (य)

अ.

सुज्ञान दरिद्र परम्परुल

सुरचित्तुल् जीवात्म हिंसगल (य)

बहु जन्मम्बुल वासन युतुलै

अहि विष सम विषयाकृष्टुलै

बहिरानुनलै, त्यागराजु

भजियिंचु श्रीरामुनि देलियक (य)

Formal worship, Rituals etc. condemned 185

"YAGNADULU" (Jayamanohari)

Oh Mind! Are there people who can match in respect of ignorance those that declare that sacrifices conduce to happiness ?

Those who are given to the performance of sacrifices are devoid of wisdom, are demonical in their mentality and are inclined to be cruel to animals.

Carrying with them the tendencies of innumerable past births, attracted by sense enjoyments which are highly poisonous and always attached to external objects, they do not realize (the nature of) Sri Rāma worshipped by Tyāgarāja.

खरहरप्रिया - 'नडचि नडचि' आदि

प.

नडचि नडचि चूचेरयोध्या नगरमु गानरे (न)

अ. पुडमिसुत सहायुडै चेलंगे

पू र्णुनि आत्मारामुनि गूडि याड (5)

अट्टेकन्नुल गूर्चि तेरचि सूत्रमु बट्टि वेलिकि वेषधारुलै;

पुष्ट चावुलेनि तावु देलियक

बोगडेदरु त्यागराजविनुतिनि (ªf)

186 TYĀGARĀJA KĪRTANAS

" NADACHI NADACHI" (Kharaharapriyā)

To be happy in the company of Sri Rama, the Perfect and Selt-exultant Lord, who shines with Sita, people walk and walk to distant Ayodhya, but do not see the Lord there (due to lack of real devotion). Similarly, people praise the Lord without knowing the path which secures redemption from birth and death, putting on the false cloak, opening and closing the eyes alternately and rolling rosary in hand.

सावेरी 'बलमु कुलमु' रूपकम्

प. बलमु कुलमु येल राम-भक्ति कारणमु वेलयु सकलसिद्धुलेल-वेंट वच्चुगानि मेनु (ब)

च. १. नीट काकि मीनु मुनुग-निरत सुदयस्नानमा

तेट कनुंल कोअगूर्च-देव देव ध्यानमा (ब)

२. पत्रमुडनु मेयु मेक-बलमैन युपासमा चित्र पक्षु लेगय सूर्य चन्द्रुलकु सान्यमा (ब)

है. गुहल वेष कोटु लुण्टे-गुणमुकल्गु मनुला

गहन सुननु कोतुलुंटे-घनमौ धनवासमा (ब)

४. जङ्गमुु बलुककुण्टे सङ्गतिगा मौनुला

अङ्गमु मुय्यनि बालुल-यपुड दिगंबरुला (ब)

वलचु त्यागराज वरदु वर भफ्ुल सेथु भ्त चलगु सकल जनुलकेल चेछ्िन कासौनुगा (बं)

Formal worship, Rituals etc. condemned. 187

" BALAMU KULAMU" (Sāvērī)

What is the use of mere bodily strength and high birth? As the inevitable result of Rama Bhakti, a man natuarlly acquires all siddhis. Crows and fish always dive into water: Can it be taken as sacred morning ablution ? Cranes keep their eyes shut. Is it divine meditation ? Goats feed on patra (sacred leaves, Tulasi etc.). Is it indicative of devout fast? Birds soar high: Can they compare with the Sun and the Moon ?

If ordinary people in Sadhus' garb happen to be in a cave, can they be taken to be really great sages ? Can monkeys in the forest be taken as leading merito- rious Vanavasam (hermit's life) ?

If beggars in the garb of Saivite devotees (Jangams) are silent, can they be taken as genuine Mounis ? If children go about uncovered, could they be taken as Digambaras, Sådhus who have abandoned even clothing? The devotion of the real Bhaktas of SrI Rama, the saviour of Tyagaraja, is acceptable to all people as a current coin.

नारायणगौल 'दर्शनमु सेय' झंप

दर्शनमु सेय ना तरमा ? (¢) See above page 51 "DARSANAMU SEYA" (Nārāyana Gowla) See above page 52

188 TYAGARAJA KIRTANAS

Bare Learning, Arts, Siddhis and Astrology Condemned:

जगन्मोहिनि 'मामव सततं' आदि

प.

मामव सतरत रघुनाथ ! (मा)

अ. श्रीमदिनान्वयसारचन्द्र

श्रितजनशुभफलद ! सुगुणसान्द्र! (मा)

च. भक्तिरहितश्ास्त्रविदतिदूर!

पङ्कजदळनयन ! नृपकुमार !

शक्तितनय हदालय ! रघुवीर !

शान्त निर्विकार !

युक्तवचन! कनकाचलधीर !

युरगशयन ! सुनिजनपरिवार!

त्यक्तकाममोहमदगम्भीर !

त्यागराजरिपुजलदसमीर ! (मा)

"MĀMAVA SATATAM" (Jaganmohini)

Oh Lord, who is away from people who have mere scriptural lore to their credit, divorced of devotion ! Be my constant protector.

Bare Learning, Arts, Siddhis and Astrology Condemned. 189

मुखारि 'क्षीणमै तिरुग' आदि

प. क्षीणमै तिरुग जन्मिंचु सिद्धि मानुरा ; ओ मनसा (क्षी)

अ. गीर्वाण नाटकालक्कार वेद

पुराणा यज्ञ जपतपादुल फलमुल (क्षी)

एदि जेसिन जगन्नाथुडु शिरसुन हृदयमुन वहिध्चि पदिलमैन सत्पदमु नोसके बाट त्यागराजदिनुतुनि भजनरा (क्षी)

"KSHĪNAMAI TIRUGA" (Mukhāri)

Oh Mind! Give up the siddhīs (yogic achievements) which are perishable and bring you rebirth. Perishable are the fruits of the study of Sanskrit, drama, poetics, vedas, puranas, and of the performance of sacrifices, Japa and Tapas: The (real) road is the worship of Rama; (then) all that one (the devotee, does, the Lord will accept with approba- tion and vouchsafe to him the highest state that is everlast- ing.

जयन्तसेना 'विनतासुतवाहन' - देशादि

प.

विनतासुतवाहन! श्रीरमण !

ननसारग सेविश्वेद, राम ! (वि)

190 TYĀGARAJA KĪRTANAS

म. निनु सारेकु जूडनि ब्रतुकेल ? मनुजुल नेचेड्ड जीवन मेल ? (वि)

च. मतभेद मने शगनार्चंग सं- मत वाकुलु बल्कुट सुखमा ? क्षितिलो सत्सङ्गति सौख्यमु ; पा- लित त्यागराजा ! अमर पूजित ! (वि)

"VINATĀSUTAVĀHANA" (Jayantasēnā) Sri Rama! I prostrate before you who have Garuda as your vehicle, to my heart's content. What is the use of living without having your constant darsana? Of what avail is life which is spent in cheating people? Does it conduce to happiness or bring in any benefit to indulge in disputations about different religious faiths? Real happi- ness in this world comes only through the company of the holy and the pious:

दीपकम् 'कळल नेर्चिन' देशादि

प. कळल नेरचिन मुनु जेसिनदि गाक येमि? अरदैनालुगु (क)

कलिमि ेमुलकु गारणम्बु नीवे

करुण जूडवे; कड्पु कोरकै (क)

Bare Learning, Arts, Siddhis and Astrology Condemned. 191

म. कोरि नूवुल कोंड दीसि सिङ्गरि मुनि कूर्मि भुजिश्चेना? चैरितम्मुड् सारमैन रङ्गनि यिध्य जेचेना ? सरस त्यागराज विनुत! ब्रोववे (क)

"KALALA NĒRCHINĀ" (Dīpaka)

Though one may learn well all the sixtyfour arts, the tide of past Karma cannot be stemmed, if they (the arts) are cultivated for the sake of one's livelihood. You are the cause of both prosperity and adversity. Cast your compas- sionate eye (on me).

Was Simgari Muni able to eat with avidity the mound of gingelly that he desired and got?

Was Vibhishana able to take to his Lanka, Lord Ranga- nātha ?

कल्याणि 'भजनसेयवे' रूपकम्

भजनसेयवे ; मनसा! परमभक्तितो ; (*)

अज रुद्रादुलकु भूसुरादुल करुदैन राम (भ)

नाद प्रणव सप्त खवर वेद वर्ण शास्त्र पुरा- णादि चतुष्षष्टि कळल भेदमु गलिगे ; मोदकर शरीर मेत्ति मुक्ति मार्गमुनु देलियनि वाद तर्क मेल श्रीम-दादि त्यागराजनुतुनि (भ)

192 TYĀGARĀJA KĪRTANAS

"BHAJANA SĒYAVE" (Kalyānī)

Oh Mind! Do with due devotion Rama Bhajana which is highly prized by Brahma, Rudra and all holy men. Having acquired knowledge of Nada, Pranava, the seven Svaras, Veda, Grammar, Puranas and the sixtyfour arts, and having taken the human body which enables you to realize happi- ness, why should you, without knowing the way to salva- tion, indulge in vain disputes and discussions ?

शंकराभरणम् - 'भक्ति बिच्च मिय्यवे' - रूपकम्

br भक्ति बिच्च माध्यव भावुकमवु सात्वीक (भ)

अ. मुक्ति कखिल शक्तिकि त्रिमूर्तुल कति मेल्मिराम (भ)

च. प्राणमु लेनि वानिकि-वङ्गारु पाग चुट्ि

आणि वज्र भूषण मुरमन्दु बेटु रीति ;

जाणलकु बुराणागम शास्त्रवेद जप प्रसक्क

त्राण गल्गि येमि ? भक्त-त्यागराजनुत राम ! (भ)

"BHAKTI BICCHA MIYYAVĒ" (Sankarābharanam) Pray, give me the alms of the highest type of Bhakti (Satvika) towards Rama who is beyond even salvation, Universal Sakti and the Trinity! Deceitful persons, accom- plished in Puranas, Agamas, Sastras, Vedas, practising Japa and preaching, are like corpses dressed in lace turban and adorned with precious jewels.

Bare Learning, Arts, Siddhis and Astrology Condemned. 193

नादवरांगिणी - 'नृपालवाल' आदि

प

नृपालवाल ! कलाधरशेखर-

कृताभिवन्दन! श्रीराम ! (न)

अ. नृपोत्तम! शरणागतजनाथ-

निवारणाडब्जहि तान्वयशशाङ्क! (नृ)

च, अपवर्ग फल कामुलनु जूचि अङ्डमै यणिमादि सिद्ुल मोस बुच्चेदरय्या

सुपवित्ररूप! सदा करुणजूड

सुरपालक! त्यागराजनुत ! (न)

"NRUPĀLAVĀLA" (Nādavarānginī) Oh! Lord of Kings! Dispeller of the sins of refugees ! Oh! The moon of the Solar Race!

People desiring salvation adopt the siddhis as the means to secure that end, but they find that they prove obstructive to their real purpose and finally realize that they are deluded. Pray, have mercy and save me.

रेवगुप्ति 'प्रहबलमेमि' देशादि

प.

प्रह्बलमेमि श्रीरामानु-ग्रहबलमे बलमु (ग्र) 13

194 TYAGARAJA KĪRTANAS

म.

ग्रहबलमेमि तेजोमय वि-

ग्रहमुनु ध्यानिञचु वारिकि नव- (भ)

च.

ग्रहपीडल पथ्चपापमुलनाम्रहमुक गल

कामादिरिपुल निग्रहमु जेयु हरिनि भजिंचु

त्यागराजुनिकि, रसिकाग्रेसरुलकु (भ)

"GRAHABALAMĒMI" (Rēvagupti)

Of what avail is the strength of the planets? The real strength is that of Rama's blessing. What can the strength of planets do to one who meditates upon the effulgent form of the Lord, and to the men of discernment like Tyāgarāja who are steeped in devotion to Hari whose power destroys the virulent inner enemies like Kama, the five great sins and the evil effects of the nine planets ?

Asad-Bhakta-Garhana

मुखारि 'सरसीर्हानन' देशादि

q. सरसीरुहानन ! राम ! समयमु ब्रोव, चिद्धन (स)

अ,

परभामलनाशिञ्चि यन्नमिडि

पगल रेयु सरस माड्ड वारि नोह् (स)

Asad-Bhakta-Garhana 195

च. ब्राह्मणीकमुबायु नीचुल,

ब्रतुकाये नदिगाक यी कलिलो ब्रह्ममैन माटलु नेर्चुकोनि बरगेरय्या, त्यागराजनुत! (स)

"SARASĪRUHĀNANA" (Mukhāri)

Oh Rama! This is just the time for your grace. I can- not countenance those who, day in and day out, indulge in coveting others' women, feeding them and sporting with them. In the present Kali age, ideal Brahmanhood is extinct and low life has set in; people indulge in high telk of Brahman and live thereby.

मोहन आदि

प. एन्दुको बाग देलियदु ? (एं)

अ. अन्दगाड ! श्रीराम ! श्रीराम! यीतनु

वस्थिरमनि यी कलि मानवुल् (कें)

च. १. (१) गट्टिग राळ्ळनु गट्टिन गृहमुल

(२) मट्ठ मितमु लेनट्टि परिजनुल (३) चुष्ट कोन्न निज चुट्टालुल कोरुल (४) पहुल कतिथुलकु

196 TYĀGARĀJA KĪRTANAS

(५) बेट्टलेक, तमपोद्टसागु को- (६) न्नटटि देहमुल रेट्टु संचुल (७) गट्टिन धनमुल बेट्टेल तोडनु (८) बेट्टि पोथ्ये मट्टु गनुङ्गोनि (एं)

२. कललाडि कडपु पल्लमु निम्पुट केल्लवारि धनमेल्ल जेचुकोनि

पल्लवाधरुल नेह्ल गनि शुनकपु बिल्लल वले दिरिगि

वोळ्ळ रोगमुट गोल्लगा दगल तोल्लिपकमुल मेळ जार जनु- लेल दूर पर मेह् बार भुवि मळ्ळ बुट्ट फलमेळ् गनुङ्ोनि (एं)

३. वंचकुल ननुसरिजचिन यलमट यिंचुकैन सैरिश्चलेक तम संचित कर्ममुलंचु देलिसि वे- रेंचु वारल जूचि

मंचु वले प्रति फलिंचुं सम्पद लंचु गोरकनु मंचि त्यागरा- जंचितमुग बूजिंचु नुतिंचु ्र- पंच नाथुनि भजिंचुदामनुच्ु (एं)

" ENDUKO BĀGA TELIYADU" (Mohana) Why is it that people of this kali age do not realise well that this body is perishable ? They build big houses with

Asad-Bhakta-Garhana 197

stones, gather a number of attendants around themselves, fill their stomachs and grow their own bodies, neglecting their obligations to their relatives, guests and others and gazing idly at hoarded wealth in bags and boxes. Employing inequitous ways, they deprive other people of their money for their own sustenance, run after women like dogs, become a prey to several diseases and waste their patrimony to the effect that people deride them, salva- tion is lost and successive rebirths are certain:

Why is it that people, who are unable to bear the trouble which they themselves have brought upon them by associating with cheats, do not take it to be the result of their past karma as wise men do? Why do they not learn to worship the Lord of the Universe, whom Tyāgarāja adores, discarding desires for material possessions, taking them to be impermanent like dew.

तीव्रवाहिनी 'सरिजेसि' देशादि

सरिजेसि वेडुक जूचुट, साकेतराम ! न्यायमा ? (स)

अ. धरलोन नी निजदासुलनु, कन्दर्पकादुल निजदासुलनु (#)

च. को क्शास्त्र विदुल नर सन्नतिचे गोप्प बहुमतुल नन्ढेदरय्य चक्कगानु भक्ति शास्त्र विदुल आलगनि नव्वेदरु त्यागराजनुत (स)

198 TYAGARĀJA KĪRTANAS

"SARIJĒSI VĒDUKA" (Tīvravāhinī)

Oh Rama! Is it fair for you to treat alike your real devotees and the votaries of Manmatha and enjoy the fun ? In this world, those who are well-versed in sexual science and indulge in flattery get appreciated and amply rewar- ded, while those, who have mastered Bhakti Sastra, are sneered at and ridiculed.

पुन्नागवराळि - 'एवरु तेलियनु' चापु

प. एवरु तेलियनु बोय्यदरु विव्रमु लेनि पूजल जेसेदरु (ए)

१. मुदमुन परुल रुकलकु

परसुदतुल काशिचि ता गूडुटकु

उदरमु निम्सुटकोरकु चाल

वूरनूर तिरिगेद रावरकु (ए)

२. कोन्न तोत्तुल माट मीरलेक

यन्न तम्मुल तलि दंड्रुल नेर मेन्नुट पनिगानि सारमैन

पन्नगशयन नी पदमु नमेम्दरा (ए)

३. आलु बिट्ठलनु नम्मेदरु वारि

काशिंचि परुल कोम्पल सुंचेदरु

कालुनि वल्ल निण्डारु राम

कष्टमु जेन्दि भुविनि बुद्टेदरू (उ)

Asad-Bhakta Garhana 199

४. पेह्दलतो कललाडि राम

बुद्धिलेनि धनिकुल तावेडि

वहनवारितो मोडि इटल

प्रोद पोवुटगानि पतितुलगूडि (ए)

५० ईसुन मरियादलेदु निंडु

कासु गल्गिनवानि कनिट वादु

आस नीयेड कल्गबोदु निज

दासुल येवरो कन चेतगादु (ए)

६. पन्नग मनके शक्तियनि

यन्नि कललनुचुनु दोङ्गभ्क्त अन्नयिदेटि विरक्ति राम कन्नतंड्रि यिदिया पेदयुक्ति (ए)

७. योगुद् मेनेरुगलेक तम-

के गतियनि ध्यानिन्तुरु गाक

भोगिशयन ; एलकोक राम

त्यागराजुनिपे नीकिङ्क पराका (ए)

" EVARU TELIYANU " (Punnagavarali) Who understands? People do puja without understan- ding. Can they understand, those who wander from place to place, coveting and enjoying others' money and women and earning livelihood? Under the baneful influence of hired mistresses, they make it their only business to find fault with their parents and brothers and forget your holy feet. They believe that wife and children are permanent; and for their

200 TYAGARAJA KİRTANAS

sake, ruin others' families and undergo untold suffering at the hands of Yama, making themselves liable for the travail of rebirth. Indulging in falsehood even with worthy men, they spend their time in flattering ignorant rich folk, and when discouraged by them, they quarrel with them and spend their time uselessly in the company of depraved people; out of envy they do not behave respectfully and honour is shown where money is plenty: Such people can never have any longing for you, nor know who your true devotees are: They pretend to possess real capacity to know the truth and declare that the Universe is unreal. Such is their false devotion. Oh my Father ! What sort of renuncia- tion is this? Is this their great adeptness? Let those (false) Yogis who, without knowing the real nature of their material body and what their fate will be engage themselves in meditation, do so.

Sri Rama! Why should you still neglect me without protecting me?

गौळििपन्तु 'मोसबोकु विनवे' आदि

मोसबोकु विनवे सत्सह-वासमु विडवके (मो

अ. दास जनार्ति हरुनि श्री रामुनि

वासव हृदय निवासुनि तेलियक (मो

Asad-Bhakta-Garhāna 201

च.

अल्पाश्रयमुन गल्गु वेसनमुल

कल्पान्तरमैन बोदु ; शेष-

तल्प शयनुनि नेरनम्मिते सं-

कल्प मेल्लनीडेरुनु मनसा ! (मो)

2. धन तरुणुल काशिञचु टेल्ल-

वेनुक तनुवु कलसटे गानि मनसु चेत सेव्युनि दलचिते सु-

मनसत्वमु नोसगुने मनसा (मो)

३. गौरवहीन धनिकुल गाचुटयु नेरमुलकेड मौनुगानि,

गारविंचु त्यागराज हृदया-

गारुनि, लोकाधारुनि दलचक (मो)

"MÖSABOKU VINAVÉ" (Gowlipantu)

Listen! don't deceive yourself and do not give up the company of the good. Don't deceive yourself without know- ing Sri Rama who removes the distress of his servants. The miseries caused to one by association with low people persist almost eternally. If you have firm and full faith in the Lord, all your desires will be fulfilled. Running after money and women will only bring you trouble and restlessness in this life and hereafter. Meditation on the Adorable One will lift your mind to the divine. Hanging upon uncultured moneyed men will lead you only to faults:

202 TYĀGARĀJA KĪRTANAS

ALAMBANA-BHAGAVĀN

Ishta daiva and Ananya bhakti

पन्तुवराळि 'वाडेरा दैवमु' आदि

प. वाडेरा दैवमु ; मनसा ! (वा)

अ. माडिन माटलु दप्पडनुचुनु

आचन्द्रार्कमुग गीर्ति गलिगिन (वा)

१. दंडि रक्कसुल मदमणचतु या-

खण्ड लादि सुरकोटलनु भू-

मण्डल सुजनुल बालिंपनुं को-

दंडपाणि रूपमुतो वेलसिन (वा)

२. दारि देलिय लेनि यज्ुलकु भव

नीरधि दाटि मोक्ष मन्दुटकु

मीरजारिधरुङप देशिऊचे

सारक नाममुसोनु वेलसिन (घा)

३. धातृ विनुतुडैन त्यागराजुनि चेत पूजलन्दि बागुग प्र-

धोतनान्वयमुननु जनिश्चि

सीतापति यनि पेरु गलिगिम (वो)

Ishta-daiva-Ananya-bhakti 203

"VĀDĒRĀ DAIVAMU" (Pantuvarāli)

He alone is God

who has earned the undying fame for all time for his never-failing word;

who has incarnated on the earth with bow in hand to destroy the mighty Rakshasas and protect Indra and other Devas and all the good people of the earth;

who shines in the world with the great redeeming name with which Lord Siva initiates people ignorant of the right path, so that they may cross the ocean of Samsara and attain salvation ;

who was born in the Solar race and, adored by Brahma, earned the appellation of Sitapati to receive the worship from Tyāgaraja's hands.

हरिकांभोजि - 'उण्डेदि रामुडु' रूपकम्

उंडेदिरामु डोकड्-यूरक चेडिपोकु मनसा! (3)

म. चंडमार्ताण्ड मध्यमण्डलमुननु चेलंगुचु (नुं)

तामसादि गुण रहितुड्ड धर्मात्मुड्ड सर्वसमुड् क्षेमकरुड त्यागराज-चित्तहितुड्ध जगमुनिण्डि (युं.

204 TYĀGARĀJA KĪRTANAŠ

"UNDĒDI RĀMUDU OKADU" (Harikāmbhôji)

There is Rama, the one Lord; Oh mind! do not get needlessly ruined. He shines with brilliance in the heart of the blazing Sun: He is free from Tamasa Guna. He is the soul of all Dharmas. He looks evenly upon all. He bestows welfare. He is the beloved of Tyāgaraja.

भैरवि 'नीवंटि दैवमु' आदि

नीवंटि दैवमु नेंगान, नीरजाक्ष ! श्रीरामय्य ! (नी)

भाविञि्चि जूचु पट्ल पट्टाभिरामचंद्र! (नी)

आब्न निन्नाडवले गा-पाडिन निन्नु पाडवलेगा

गूडिन निन्न गूडवले नी-जाड देलिसिन त्यागराजुनिकि (नी

" NIVANTI DAIVAMU" (Bhairavi)

Oh Rama ! After deep mental reflection, I see it is impossible for me to find another God like you. If one wants to speak, one should speak about you; if one wants to sing one must sing of you alone; if one wants to associate with anybody, one must associate with you alone. I now know your heart:

Ishta-daiva-Ananya-Bhakti 205

धन्याशि 'श्यामसुंदराङ्ग' रूपकमू

प, श्यामसुन्दराङ़! सकल शक्तियु नीवेर (श्या)

अ. तामस रहित गुणसांद्र! धरनु वेलयु रामचन्द्र (श्या)

न्व.

दुष्टदनुजमदविदार! शिष्टजनहृदयविहार ! इष्टदैवमु नीवेर यिलनु त्यागराजु वेर (श्या)

"SYĀMA SUNDARĀ" (Dhanyāsi)

O Lord of beautiful swarthy limbs! You are the embodiment of all power, you Räma who shine in the world as the Lord full of all excellences and devoid of the Tamo- guna! who destroys the pride of the wicked demons, and also sports in the hearts of the virtuous ! You alone are my tavourite deity. Is Tyāgarāja different from you ?

पंतुवराळि - 'रघुवर नन्नु' आदि

प.

रघुवर! नन्न मरव तगुना ? (र)

अ.

नगधर! भक्तजनाघनिवारण ! (र) च.

१. तल्लितंडरु लन्नतम्मुल युन्न पोलतिकि योकड़ पुरुषुड्ड यौना ? (ז)

206 TYĀGARĀJA KĪRTANAS

परदैवमुल बागु सोम्मुछ सुरनुत! मज्ळ सूत्रमुलौना ? (र)

जेसिन पुण्य चयमु, ब्रह्मण्य! MY

आशनोसंगिति, अनुपमलावण्य ; (र)

४. मनसुन नीकेमरुलु कोन्ानु, स-

ज्जवहित ! त्यागराजनुत ! शुभाकर ! (र)

"RAGHUVARA NANNU" (Pantuvarāli)

Oh Raghuvara! Is it proper for you to forget me ? Can the parents, brothers and other relations of a woman stand to her on the same footing as her husband ? Can all the ornaments which she wears stand on the same footing as her Mangala Sutra? As the result of my meritorious deeds in my previous birth, you have roused a desire in me and I have cherished deep love for you alone in my mind:

बलहंस 'राम एव दैवतम्' रूपकम्

प.

राम एव दैवतम् रघुकुलतिलको मे (रा)

च.

१. विगतकाममोहमदो विमलहृदयशुभफलदो (रा)

२. जित गौतम कृत शापो नत वरद सीतापो (रा)

३. भक्त चित्त ताप हरो भावुक दान चतुरो (रा)

Ishta-daiva-Ananya-bhakti 207

४. सुरतारका गणचन्द्रो मुरनरकेभमृगेन्द्रो (रा)

५. हरिपद्मजसर्वेशो हरिदश्वसुसङ्काशो (रा)

६. त्यागराज हत्सदनो नागराजवरशयनो (रा)

"RĀMA EVA DAIVATAM" (Balahamsa)

Rama alone is my God. He is the destroyer of the mental distress of devotees.

खरहरम्रिया 'राम नीसमान' रूपकम

प. राम ! नीसमान मेवरु? रघुवंशोद्धारक ! (रा)

अ. भामा मरुवम्पु मोलक भक्तियतु पंजरपु चिलुक (रा)

च. पलुकु पलुकुलकु तेने-लोलकु माटलाडु सोद-

रुलगल हरि त्यागराजकुलविभूष! मृदुसुभाष ! (रा)

"RĀMA NĪ SAMĀNA " (Kharaharapriyā).

Rama! Who is there equal to you ? You are the beloved parrot in the cage of Sita's Bhakti. You are yourself gentle in speech and have brothers whose words drip with honey. You are Tyagaraja's family deity.

208 TYĀGARĀJA KĪRTANAS

सुरटि 'वेरेव्वरे गति' देशादि

प. वेरेव्वरे गति? वेमारुलकु, सीतापति! (वे)

अ, ईरेड्ड लोकमुल काधारुडगु निन्नु विना (वे)

न्व. वृन्दारकादि मुनि बृन्द शुक सनक स- नन्दन श्रीनारदारविन्दोद्भव श्रीभव पु- रन्दरुलकु, त्यागराजुनिकि निन्नु विना ? वे)

"VĒREVVARE" (Surati)

Who else but you, Oh Sitapati, the prop of the fourteen worlds, can ever be the refuge for all Devas, Munis, Suka, Sanaka, Nārada etc. and to Gods like Brahma, Siva, Indra etc. and Tyāgarāja?

बलहंस 'तल्िदंडरुलु' आदि

प.

तल्लि दंडूरुलु गल पेरुगानि-इल नी सरिदैवमु लेवरे (त)

अ.

इल गलश समुद्रमु गाकनु नी-किलालु विदेहतनय ; भळि ! (त)

च. गिरिशादि विधींदरार्क शशाङ्का- मर कोटुल वानरुलै कोलव दर चक्र फणीन्दुल सोदरुलैं तगि वेडग ; श्यागराजनुत ! (त)

Ishta-daiva-Ananya-bhakti 209

" TALLIDANDRULU" (Balahamsa)

Is there any God equal to you in the world? You had parents only in name. Your abode is the milk ocean; your consort is Sita; Siva, Brahma, Indra, Sun, Moon and other Devas serve you as Vanaras; Chakra and Adisesha have become your brothers and are serving you.

अठाण - 'मुम्मू र्तुल' - आदि

मुम्मूरतुंलु गुमिगूढि पोगडेडि-मुच्चट विनुकोनरे (मु)

अ. सम्मतिग राजुकोडुकनगा विनि

संशयमु दीरक श्रीरामुनि ()

च. रोसमुतो रघुरामुनि गुणमुल

रूडिग दम गुणमुल नटु व्रासि

त्रासुन निड सरिनिल्वग लेदनि

त्यागराजनुतु डेवडो यनुचुनु (H)

" MUMMŪRTULU" (Atāna)

Listen to the beautiful and concerted praise of the Trimurtis of Sri Rama's gunas, which they found to outweigh their own gunas in worth, on weighing them both in the balance in a spirit of rivalry. Having heard that he 14

210 TYĀGARĀJA KĪRTANAS

was only a king's son, they were at a loss to know how he could possess these gunas; and their doubts were not cleared.

कल्याणि - 'कारु वेल्पुलु' आदि

प.

कारु वेल्पुलु नीकु सरिकारु (का)

अ.

कारुकु जिलकर संपा-कान्तार मैनट्टु गानि (का)

च.

१. दिवटिकि दीपमु रीति

कावेटिकि कालवल रीति गानि (का)

२. तम्मबैरिकि दारकल रीति

कम्मविल्तुनिकि कान्ति नरुल रीति गानि (का)

३• सागरमुनकु सरस्सु रीति ;

त्यागराजविनुत! धरलो नीकु सरि (का)

" KĀRUVĒLPULU" (Kalyāni)

No God of this Universe can be equal to you. To compare any one of them to you will be like comparing the fine quality of table rice to worthless chaff, the small light to the torch, the channel to the river Kaveri, the stars to the moon, the man to Manmatha, the lake to the sea:

Ishta-daiva-Ananya-bhakti 211

छायातरंगिणी - 'इतर दैवमुल' - रूपकम्

प.

इतर दैवमुल वल्ल निलनु सौख्यमा ? राम ! (इ)

अ.

मत भेदमु लेक सदा मदिनि मरुलु गोन्न तन कि)

च.

मनसु देलिसि ब्रोचिननु मरचिननु नीवे ; राम !

तनवाडन दरुणमिदे त्यागराजसन्नुत ! (इ)

"ITARA DAIVAMULA" (Chāyātarangini)

Is happiness possible of attainment through other gods, Oh Rama! to me, whose mind, without harbouring any prejudice against other faiths, is constantly and passiona- tely in love with you ?

I stand resigned in you, whether you, who know my mind, protect me or neglect me. I have only to say that this is just the time for you to treat me as yours:

कोलाहलम् - 'मदि लोन' देशादि

प

मदि लोन योचन बुट्टलेदा ? महराज राजेश्वरा ! (म)

अ पदि वेसमुललो रामवेसमु बहुबागनुचु गोरुनन्ु ब्रोब (म)

212 TYĀGARĀJA KĪRTANAS

च. इट्टि वेळ नीदु मट्टु जूपुमनि

इल्लालु नीतो मुच्चटाडदो? ना-

रहु नी मनस केट्ट तोचेनो

रक्षिंचुटकु त्यागराजनुत ! (म)

"MADILONA YOCHANA" (Kolāhalam)

I have always regarded your Rāma Avatāra as the best of your ten Avatars. (See below)

His Rupa-Paratva and Avatāra

देवमनोहरी - 'एवरिक' चापु

प. एवरिकै यवतारमेत्तितिवो ?

यिपुडैन देलपवय्य ; रामय्य (ए)

अ. अवनिकि रम्मनि पिलिचिन महरा-

जेवडो बानिकि म्रोक्केद ; राम ! (ए)

च. वेदवर्णनीयमौ नाममुतो

विधि रुद्रुलकु मेल्मियगु रूपमुतो मोद सदनमगु पटु चरितमुतो सुनिराज वेषियौ त्यागराजनुत ! (ए)

Paratva and Avatāra 213

"EVARIKAI AVATĀRAM" (Dēvamanōharī)

For whom did you take this incarnation ? Tell me now at least, Oh Rama! I prostrate before the blessed one at whose instance you incarnated, exhibiting both the aspects of King and Rishi, with a name adored by the Vedas, with a transcendantal form more glorious than those of Brahma and Rudra and with heroic deeds full of bliss ?

बिलहरि - 'दोरकुना यिद्ठवंटि' - आदि

प. दोरकुना यिटवंकि सेव ? (दो

अ. दोरुकुना? यल्पतप मोनरिंचिन भू-

सुर वरुलकुनैन सुरुलकैन (दो)

च.

१. तुम्बुरु नारदुल सुगुण कीर्त-

नम्बुल नालापमु सेयग

अम्बरीष मुख्युल नममु से-

यग, आजुलपे चल्लग

बिम्बाधरुलगु सुरवार यलि

वेणुल नाव्यमु लाडग

अम्बुज भाव पाकारु लिरुगडल

नन्वय चिरुदावळिनि पोगडगा

214 TYĀGARĀJA KĪRTANÀS

अम्बर वास सुतुल कर कंक-

णम्बुलु घल्लनि विसरग मणि हा-

रम्बुल गदलग नूचे फणि त-

ल्पम्बुन नेलकोन्न हरिनि गनुगोन (दो)

२. मरकत मणि सन्निभ ठेहंबुन

मेरुगु कनक चेलमु शोभिल

चरण युग नखावळि कान्तुल

चन्दुरु पिल्ललनु गेर ;

वर नूपुरमु वेलुग ; करयुगमुन

वज्रपु भूषणमुल मेरय ;

उरमुन मुक्ताहारमुल, मरियु नुचितमैन मकर कुण्डलंबुल

चिरुनव्वुल गल वदनंबुन सुं-

गुरु लह्म्पु कपोलमु मुद्दु गुरियु दिव्य फालम्बुन तिलकमु मेरेयु भुविलावष्य निधिनि कन (दो)

३- तामस गुण रहित मुनुलकु बोगड

तरमुगाकने भ्रमसि निल्वग

श्रीमत्कनकपु तोट्लपैनि चेलुवोन्द कोलुवुण्डग

कामित फलदायकिया सीत-

कान्तुमि कनि युप्पोङ्गग

रामब्रह्म तनयुडीत्याग-

Paratva and Avatara 215

राजु ता बाडुचु नूचग

रामुनि जगदुद्धारुनि, सुररिपु-

भीमुनि, त्रिगुणातीतुनि, पूर्ण-

कामुनि चिन्मयरूपुनि सद् गुण-

धामुनि, कनुलार मदिनि कनुगोन

"DORAKUNĀ" (Bilahari)

Will it ever be possible for even Brahmans and gods who have only a little Tapas to their credit, to have the blessed privilege of such a Darsana as that of Hari being rocked on Adisesha as his bed with Tumburu and Narada singing the glory of his gunas, with Ambarisha and others chanting his holy name and strewing jasmine flowers, with beautiful celestial damsels dancing, with Brahma and Indra standing on either side and proclaiming the divine glory and with celestial women fanning with the jingling of their ornaments, a darsana as that of the repository of all beauty with his emarald-like body clad in shining golden garments, with the colour of his foot-nails outshining the rays of the moon; with brilliant anklets, with dazzling diamond rings on his fingers, with pearl-garlands on his chest, with face radiant with glowing ear-ornaments and charming smile, curly forelocks, glossy cheeks, and with lovely tilaka on the forehead, a darsana as that of Sri Rama seated on the golden swing with Sita, the fulfiller of devotees' desires, trans- ported to ecstacy at the sight of the Lord, with great Rishis standing bewildered unable even to praise his glories and

216 TYĀGARĀJA KĪRTANAS

with Tyagaraja; son of Rama Brahmam, singing before Him, while the swing is moving.

दर्भारु - 'एन्दुंडि वेडलितिवो' - त्रिपुट

प. एंदुण्डि वेडलितिवो? एवूरो नेतेलिय इपुडैन देल्पवय्य (एं)

अ अंदचंदमु वेरै नडत लेल त्रिगु- नातीतमै युन्नदेगानि ; श्री राम ! (एं)

चिटुकंटे नपराध चयमुल दर्गिलिंचे शिवलोकमुगाडु ; वटुरूपुडै बलिनि वंचिंचि यणचुवानि वैकुण्ठमुगादु; विट वचनमुलाडि शिरमु द्ुंपबड्ड विधिलोकमु गादु धिटवु धर्ममु सायमु मृदुबाषलु गलुगु दिव्यरूप! त्यागराजविनुत ! नी (वें)

" ENDUNDI VEDALITIVO" (Darbhār)

I am at a loss to guess even your nativity and whence you have come. Pray, let me know it now at least: Your beauty and qualites are a class by themselves and your ways transcend the three Gunas. It is not likely that you are from Sivaloka where even those who err slightly are punished.

Rūpa Mahimā 217

It may not be even Vaikuntham of Vamana, who decei- ved Bali:

It cannot be the heaven of Brahma who spoke amo- rously to his own daughter Sarasvati and had his head chopped off by Rudra.

You are of the divine form, possessed of immeasurable prowess, following Dharma, devoted to unfailing truth, clothed with gentle words.

Rūpa Mahimā Personal Charms of the Rama Form

गुण्डक्रिया -- 'इन्तनुचु वर्णिम्प' -- आदि

प. इन्तनुचु वर्णिम्प तरमा ? ब्रह्मेन्द्रादुलकैन; (नि )

कन्तुनिगन्न माचक्कनि कल्याण रामचन्द्र ! नी सोगसु (नि')

च.

१. चल्लनि चूपुल कबनुलु मरिजा- बिल्लि कळलगेरिन आननमु

मेल्नि माटलभयकरमु लिवि

येल् सहजमैन नीगुण (मि')

२. अन्निलगोरि घोर तपमु ले-

न्नेन्नो जेसि वरमुलन्दि मू- र्धन्युलैनवारि मदंबुल रा-

जन्य लघुवुन नणचे पराक्रम ! (मि )

218 TYAGARAJA KIRTANAS

३. वागीश।दि सुरकोटलकु वे-

दागम शास्त्रमुलकु गनगूडनि

नागराज भूषणुडैन श्री-

त्यागराजसन्नत ! नीदु महिम (लिं )

"INTANUCHU VARNIMPA" (Gundakriyā)

Is it possible even for Brahma, Indra and others to describe your beauty, you, the father of the god of love? Is it possible to describe the beauty of your benign look, your charming face that surpasses the moon in splendour, your sweet and soft words, your hand that blesseth and your natural gunas? Even the Gods and the Vedas and Sästras cannot have any conception of the glory of your prowess, which easily subdues the haughty kings, grown arrogant by securing boons from other gods as a result of their terrible penances.

सूर्यकान्तम् - 'मुद्दु मोमु' आदि

प. मुद्ुमोमु येलागु चेलश्टेनो ? सुनुलेट्ल गनि मोहिश्चिरो ? (सु)

कहदनुचुनु चिरकालमु हृदयमु करगि करगि निल्चु वारिकेदुट रामुनि (सु)

Růpa Mahimā 219

च. मनसु निर्मलमगु भूसुर कृतमौ

मंचि पूजा फलमो तोलुतटि तपमो

घननिभ देहुनि जनन स्वभावमो

धनपति सुरवुडैन त्यागराजार्चितुनि (मु)

" MUDDU MŐMU" (Süryakāntam)

How did Sri Rama's face of captivating beauty shine when he blessed with His Darsan the devotees who had been for long looking forward eagerly with panting hearts for His advent, and how did even the sages get enchanted with it ? Was it the effect of ardent worship of pure minded Brahmans, or of penance done in previous births or the Lord's own divine nature ?

RŪPA MAHIMĀ

शुद्धदेशि 'एन्दु कौगलिन्तुरा' आदि

एन्दु कौगलिन्तुराP निन्नेन्तनि वर्णिन्तुरा? नि (नें)

अ. अन्दमैन कुन्दरदन यिन्दिराह्वन्मन्दिरा! नि (नें)

च.

नीदु पलुके पलुकुरा ; नीदु कुलुके कुलुंकुरा ; नीदु तळुके तळुकुरा; निजमैन त्यागराजनुत नि (नैं)

220 TYAGABAJA KIRTANAS

"ENDU KOUGALINTURÄ" (Suddhadēsi)

Which portion of your body am I to embrace and how am I to describe, O beautiful Rama whom Lakshmi has treasured in Her heart? Your speech alone is speech; your smile alone is smile ; your brilliance alone is brilliance.

अमृतवाहिनी 'श्री राम पादमा' - आदि

श्रीराम पादमा ! नी कूप जालुने ; चित्तानिकि रावे (श्री)

चारिजभव सनक सनन्दन

वासवादि नारदु लेलल पूजिश्चे (श्री)

च. दारिणि शिलयै तापमु ताळक वारमु कन्नीरुनु राल्चग शूर अहल्यनु जूचि त्रोचितिवि यारीति दन्यु सेयवे, त्यागराज गेयमा (श्री)

"SRĪ RĀMA PĀDAMĀ " (Amritavāhinī) Oh Rama's blessed feet ! It is enough if I secure your grace. Come and make my mind your abode. All the great ones, Brahma, Sanaka, Sanandana, Indra and others worship you. Taking compassion on the long repenting Ahalya who had been cursed into a stone, lying on your way, you, as a hero, redeemed her. Bless me also similarly. -

Rūpa Mahimā 221

रामप्रिया 'सन्देहमुनु' - देशादि

प. सन्देहमुनु दीर्पुमय्य साकेत निलय ! रामय्य (स)

अ. नन्दार्चित पदयुगमुल मेलो नागरीकमगु पादुका युगम्बुल मेलो ? (स)

च. वरमौनुलेल चरणंबुलनु स्मरियिम्प नीदु पद मोसङेने

भरतार्चनचे पादुकलु

धरणि निन्नोसगे त्यागराज भाग्यमा (स)

" SANDĒHAMUNU " (Rāmapriyā)

Oh Rama! Pray, clear my doubt. Are your holy feet, worshipped by Nanda, great, or are your elegant sandals great? The great sages that worshipped your feet secured Vaikuntham-your abode; but Bharata, who worshipped your sandals, got you yourself.

मध्यमावती - 'अलकललल' रूपकम्

प. अलकलल लाडग गनि याराण्मुनि येटु पोंगेनो (म

चेलुवु मीरगनु मारीचुनि मद मणचुवेळ (अ

222 TYAGARĀJA KĪRTANAS

मुनि कनु सैग देलिसि शिवधनुवुनु विरिचेडि समय- मुन त्यागराजविनुतुनि मोमुन रजिल्ु (अ)

" ALAKALALLA LĀDA" (Madhyamāvatī) What rapturous enjoyment did Visvamitra have, gazing on the waving of the curly forelocks playing on Rāma's face when he subjugated Maricha and when he broke Siva's bow understanding the direction of the gesture of Visvāmitra's eye!

रुद्रप्रिया - 'लावण्य राम' रूपकम्

प. लावण्य राम ! कनुलार जूडवे ; अति (ला)

अ. श्रीवनिताचित्तकुमुदशीतकर! शताननन्यज (ला)

चं. नी मनसु नीं सोगसु नी दिनुसु वेरे ; तामस मत दैवमेल त्यागराजनुत दिव्य (ल) "LĀVANYA RĀMA" (Rudrapriyā) Oh charming Rama! Bless me with your benign looks. Your mental disposition, your charms and your methods are unique: Why should one seek protection from Tamasic (lower) gods ?

Rūpa Mahimā 223

कन्नडगौळ - 'सोगसु जूड' - देशादि

प. सोगसु जूड तरमा ? नी (सो)

निगनिगमनुचु कपोल युगमुचे मैरयु मोमु (सो)

च,

१. अमराचित पद युगमु अभयप्रदकर युगमु

कमनीय तनु निन्दितकाम ! कामरिपुनुत नी (सो)

2. वरबिंबसमाधरमु वकुळसुमंबुल युरमु करधृत शर कोदंड! मरकताङ्ग! वरमैन सो)

३. चिरु नगवुल मुंगुरुल मरि कनुलतेट

वर त्यागराजवन्दनीय! यिटुवंटि (सो)

" SOGASU JUDA TARAMA" (Kannadagowla)

Is it possible to see such beauty as that of your face shining with glossy cheeks, your feet worshipped by Devas, your hands that offer protection, your lip (nether) which resembles a ripe Bimba fruit, your chest adorned with garlands of Vakula flowers, your smiles, your forelocks and the brilliance of your eyes?

मोहन 'मोहनराम' आदि

4. मोहनराम सुख जित सोम ! मुद्दुग बल्कुमा (मो

224 TYAGARAJA KĪRTANAS

अ. मोहनराम मोदटि दैवमा मोहमु नीपै मोनसि युन्नदिरा (मो)

च.

धरमनुजावतार! महिम विनि

सुर किन्नर किंपुरुष विद्याधर

सुरपति विधि विभाकर चन्द्रादुल-गरगुचु प्रेमतो वर मृगपक्षिवानर तनुवुलचे गिरिनि वेलयु सीता-

चर! चिरकालनु गुरि दप्पक मैमरचि सेविंचिरि ;

वर त्यागराजवरदाखिल जग- (न्मो)

"MÖHANA RĀMA" (Mōhana)

Oh ! Rama of universally captivating beauty ! Speak to me sweetly; you are the foremost Lord. Your form has an inexplicable attraction for me. Hearing the glory of your human form all the Gods from Brahma downwards came down to the earth and took in love the forms of birds, beasts and monkeys and long enjoyed your Darsan with rivetted eyes and ecstacy.

देवगान्धारी 'मरवकरा नव' - आदि

प.

मरवकरा नव-मन्मथरूपुनि (म)

च.

१. नीये मेहनि माटो कनुल तेटो मरि वलुवादो मनसा (म)

Rūpa Mahimā 225

3. कुलुको पावुल गिलुको कपुरपु

पलुको चेकुल तळुको मनसा (म)

३. विल्लो घंटल घल्लो सुममुल यिल्लो सेवपु कोलो मनसा (म)

४. केलो वुङ्गरालो बङ्ग रू-

य्यालो चेन्त निल्लालो मनसा (म)

५. शरभो कनकांबरमो श्रीकर

युरमो ब्रोचु दुरमो मनसा (म)

६. आजन्ममु हद्राजीवमुतो

पूजिन्तुर त्यागराजनुतुनि मनसा (म)

"MARAVAKARĀ" (Dēvagāndhāri)

Oh Mind! Don't forget Rama of bewitching beauty, his dignified bearing, his soft words, the brilliance of his eyes, the disposition of the cloth across his body --

his graceful jerks, the jingling noise of his foot orna- ments, the gloss of his cheeks, his bow, its ringing bells, his floral abode, unimpeded Darsan, his hand, the rings on the fingers, his golden swing, the consort by his side-

his arrows, golden garments, his chest adorned by Lakshmi, his alertness in protecting devotees.

I shall worship him with the lotus of my heart all my life.

15

226 TYAGARĀJA KĪRTANAS

मायामाळवगौळ 'मेरु समान' - देशादि

प. मेरुसमानधीर ! वरद! रघुवीर! जूतामु रारा महा- (मे)

अ.

सारसार ओय्यारपु नडलनु-नीरद कांतिनि नीठीविनि, महा- (मे)

अलकल मुह्दुनु तिलकपु तीरुनु तळुकु जेक्ुलचे दनरु नेम्मोमुनु, गळमुन शोभिल्ल कनक भूषणमुल, दळित दुर्मानव त्यागराजार्चित (मे)

" MĒRU SAMĀNA DHĪRA" (Māyāmalvagowla)

Oh Rama, firm like the Meru mountain ! Pray, come to me so that I may feast my eyes with the captivating beauty of your form - your graceful gait - your shining blue body - the lovely curls on your forehead - the attractive shape of your tilaka - your blooming cheeks - the brilliance of your face - the golden jewels that adorn your neck.

कमलामनोहरी 'नी मुद्ूमोमु' - आदि

प. नी सुद्दुमोमु जूपवे (नी)

अ. ना मीद नेनरुचि, नळिन दळ नयन (नी)

Rūpa Mahimā 227

च. उरमुन निन्नुंचुकोने गानि

उरगशयन नादुल्लमु रजिल्ल (नी)

२. पुलकरिंच निनु पूज सेतुगानि कलनैन मरुव चुक्कल रायनि बोलु (मी)

३० मरुलु कोन्नानु मदन जनक! धर सुतारमण! श्रीत्यागराजुनिकि (नी)

" NĪ MUDDU MOMU" (Kamalā Monōharī)

Oh Lotus-eyed Rama! Have compassion on me and show me your beautiful face, shining like the Moon, to cheer my heart; I shall instal you there. It is only to wor- ship you with ecstatic ardour; I shall never forget you even in my dream: I am deeply drawn to you.

नवरसकन्ड 'पलुकु कण्ड' देशादि

प.

पलुकु कंड चक्केरनु गेरुने पणतुलार! जूडरे (प)

अ. कोलुवु कूटमुननु गोलुचुवारिनि बिलचि दाशरथि प्रेममीर बलुकु (प)

च.

सुरुल कामिनी मणुल गान मा- दरण नालकिंचुचुनु शृङ्गा- र रसयुक्त वार रमणु लाडजूचि सरस त्यागराजुनितोनु बोगड (प)

228 TYĀGARĀJA KIRTANAS

"PALUKU KANDA CHAKKĒRANU " (Navarasakannada) 1 The sweetness of his speech is sweeter than sugar candy:

तोडि 'एमनि माटाडितिवो' - आदि

प.

एमनि माटाडितिवो ? राम!

एवरि मनसु येविधमो तेलिसि (ए)

अ.

माम, मरदु लनुजुल, दलिदण्ड्रुल भामल, परिजनुल सवशमौट (के)

च.

राजुल, मुतुल, सुरासुरुल, वर दिग्राजुल, मरिशूरुल, शशिधर दिन- राजु लोबडि नडवनु त्यागराज विनुत ! नय भयमुग मुद्दुग ; (ए)

" ĒMANI MĀTĀDITIVO" (Tōdi) Oh Rama ! How wonderful was your power of winning people by sweet words, suited exactly to the mental dispo- sition of each, softly, sternly, sweetly-parents, women, servants, kings, munis, the famous Ashta Dikpālakās, Suras, Asuras, Moon, Sun,-so much so they felt bound to follow the words !

Rupa Mahima 229

मध्यमावति 'एवरिच्चिरिरा' आदि

एवरिच्चिरिरा शरचापमु-नी ? किनकुलान्धिचन्द्र! (ए)

अ. अवतरिंचु वेळ नुंडेनो ? लेक

यवनि केगि यार्जिश्चितिवो? श्रीराम! नी (के)

चे. ओकटेसि बदि नूरै वेय्यै-चकपकलाडि शत्रुल नणचेनट ;

विकलुनि काकिनि ब्रोव त्रिमूर्तुल वेनुक दीसिरट; सकल नदीपतिकै-द्रुमकुल्युल संहरिं चेनट ; प्रकटकीर्ति गल्गिन कोदण्डपाणि! श्रीत्यागरा/जविनुत नी (के)

" EVARICHCHIRIRA" (Madhyamavati)

Oh glorious Kodandapani ! Who gave you your bow and arrows ? Were they with you when you were born ? Or, did you acquire them after coming down to the Earth ?

Your arrow had the wonderful merit of getting multi- plied into tens, hundreds and thousands, rushing in all direclions and destroying the enemies: When they were aimed at the wicked Kākāsura, even the Trimurtis drew back from protecting him. When they were used on the Samudra Raja, they killed all the Rakshasas of Drumakulya.

कुन्तलवराळि 'शर शर समरैक' आदि

प. शरशर समरैक शूर शरधि मदविदार (श)

230 TYAGARAJA KĪRTANAS

अ.

सुररिपु मूल बलमनु तूल- गिरुल कनलसममौ श्रीराम (श)

च. तोलि जेसिन पाप वन कुठारमा ! कलनैननु सेयग लेनि

बलुविलुनु विरिचि वेलसिन श्रीरघु-

कुलवर ; ब्रोवुमु त्यागराजनुत ! (श)

"SARASARA SAMARAIKA " (Kuntalavarāli)

You improvised a blade of grass as an unfailing deadly weapon ; you have fought against a host, single handed ; You have destroyed the arrogance of the Sea Lord; You have proved a fire to the cotton-heap of Ravana's reserve forces ; You are the axe for the destruction of the forests of sins committed by people in previous births; You have broken the colossal Siva's bow which nobody could even dream of doing. Bless and proiect me.

कैकवशि - 'वाचाम गोचरमे' - देशादि

प. वाचामगोचरमे ; मनसा ! वर्णिम्प तरमे ? राम महिम (षा) अ. रेचारि मारीचुनि बडग गोटि रेण्डो वानि शिखि कोसगेने (वा)

Rupa Mahima 231

मानवती मदिनेरिगि चा-

मर मौट कास्रमु नेयगनि

मानम्बुकै मेडदाचगा

माधवुण्डु गनि करगि वेगमे

दीनार्ति भज्जनुडै प्राण

दानमु बोसग मुनु जनिन

बाणम्बुनट चेदरजेय लेदा ?

गान लोल त्यागराजनुतु महिम (घा)

"VĀCHĀMA GOCHARAMĒ " (Kaikavasi)

O Mind! Rama's glory is beyond description: Rama struck down the Rakshasa Maricha and consigned to fire his compeer Subahu: Understanding the desire in Sītā's mind, he sent an arrow at the tail of the chamari-deer; to save her honour and pride, (which consisted of the fine tail) she covered (her tail) with her head (intending to offer her life, rather than lose the tail); seeing this and flowing with compassion, and to afford security of life (to the meek), did not Rama, the remover of the distress of the meek, quickly cancel the arrow aimed already?

श्रीरञ्जनी 'ब्रोचुवा रेवरे' आदि

पं. ब्रोचुवा रेधरे रघुपति (ब्री

च.

१. निनु विमा (श्रो

232 TYĀGARĀJA KĪRTANAŠ

श्री रामा नेनरुन (त्रो)

३० सकल लोक नायक (ब्रो)

8, नरघर! नीसरि (ब्रो)

देवेन्द्रादुल मेच्चुटकु लड्ढ दयतो दान मोसद्वि सदा (ब्रो)

६. वालि नोक् कोलनेसि रवि बालुनि राजुग गाविश्चि जूचि (ब्रो)

७ मुनिसवनमु जूड वेंट जनि खल मारीचादुल हतम्बुचेसि (ब्रो)

€. भवाब्धि तरणोपायमु नेरनि त्यागराजुनि करम्बिडि (श्रो)

" BROCHUVĀREVARE" (Srīranjanī)

Who is there that will protect people with love like you? Oh Raghupati! Lord of the whole Universe, the best among men !

Who would have, out of campassion, made a gift of Lanka to Vibhishana and blessed him to the delight of Devas as you did ?

Who would have killed Vali with one arrow and made Sugriva the king ?

Who would have accompanied Viswamitra to see his Yaga and killed there the cruel Rākshasas, like Māricha ?

Rupa Mahima 233

Who would have taken by the hand and protected Tyågaraja who had been struggling, not knowing the means by which to cross the ocean of Samsara ?

यदुकुलकांभोजि - 'श्री राम रघुराम' जुम्प

प. श्री राम रघुराम शङ्गार रामयनि

चिन्तिञ्चरादे भ मनसा (श्री)

च. तळुकु चेकुल मुद्दु बेट्ट कौसल्य मुनु مـ

तप मेमि जेसेनो तेलिय

(कौसल्य मुनु तपमेमि जेसेनो तेलिय) (श्री)

दशरथुड्ड श्रीराम रारयनि पिल्व मुनु

तपमेमि जेसेनो तेलिय

(दशरथुद्ड तपमेि जेसेनो तेलिय) (श्री)

३. तनितपर परिचर्य सेय सौमित्रि मुनु

तपमेमि जेसेंनो तेलिय

(सौमित्रि मुनु तपमेमि जेसेनो तेलिय) (श्री)

४. तनवेंट चनजचि युप्पोङ्ग कौशिकुड मुनु

तपमेमि जेसेनो तेलिय

(कौशिकुड्ड तपमेमि जेसेनो तेलिय) (श्री)

234 TYĀĞARĀJA KĪRTANAS

५. तापम्बणगि रूपवति यौट कहल्य

तपमेमि जेसेनो तेलिय

(अहल्य मुनु तपमेमि जेसेनो तेलिय) (श्री)

६, धर्मात्मु चरणम्बु सोक शिवु चापम्बु तपमेमि जेसेनो तेलिय

(शिव चापम्बु तपमेमि जेसेनो तेलिय) (श्री)

७. तन तनय नोसगि कनुलार गन जनकुण्ड तपमेमि जेसेनो तेलिय

(आजनकुण्डु तपमेमि जेसेनो तेलिय) (श्री)

c. दहरम्बु करग करमुतु बट्ट जानकि

तपमेमि जेसेनो तेलिय

(आ जानकि तपमेमि जेसेनो तेलिय) (श्री)

त्यागराजाप्त यनि पोगड नारद मौनि तपमेमि जेसेनो तेलिय

(आमौनि तपमेमि जेसेनो तेलिय) (श्री)

"SRĪ RĀMA RAGHURĀMA" (Yadukulakāmbhōji) Oh Mind! can you not meditate upon Sri Rama, the beautiful? I do not know what meritorious work in the past,

Kausalyā should have done to kiss the shining cheeks; (of Rāma),

Dasaratha to call endearingly 'Rāma', Lakshmana to serve Rama unceasingly,

Rupa Mahimå 235

Visvamitra to feel elated on seeing Rama led by him,

Ahalya to get her sins dissolved and recover her origi- nal charming form,

Siva's bow to come into contact with the feet of the one, who is the embodiment of Dharma,

Janaka to give his daughter in marriage to Rama and feast his eyes with the sight of the couple,

Janakī to hold Rama by the hand, her body pining with ecstacy,

and Narada to praise Rama as the adored of Lord Siva:

धन्याशि 'श्री रामदास' चापु

श्री राम दासदासोहम् ; नीरज-

नेत्र । नीकेल सन्देहमु (श्री)

च.

१. गट्ट कानरानि गुण्ट राम

पटुक दाट नीपेरु तेप्पंट (श्री)

कामादि नक बाध दीर्प

रामय्य नी चेति चक्रमु लेदा (श्री)

३. चलचित्तमनु नललकु राम

चलगु नीबामहस्तमु वैरियगुनु (श्री)

236 TYAGARĀJA KĪRTANAS

४. मदमत्सरमुलनु गजमुलकु नी

पद कमलांकुश रेख अंकुशमु (श्री)

५. शोकादुलनु पर्वतमुलकु

नी कराङित चज्ररेख वज्रमु (श्री)

६. अहमनु जडत्वमणचि ब्रोव

सहजमौ नी चेति शरमुल लेवा (श्री)

७. दुष्कर्ममुलनु कोण्डलेगयसेय

निष्कल्मष पवनजुडुण्ड सदय (श्री)

८. जनन मरणमनु सुडिनि निल्प

घनमैन नीयाज गादवडिनि (श्री)

९. जातिकोकरु कूडिनारमु प्रीति

चेत देलसुकोण्टिमि नामसारमु (श्री)

१०. पन्नुग भव मतिघोरमु राम

निन्नु विनान्य दैवमुलनु कोरमु (श्री)

११. वरगुण राजाधि राज रामम्

परमपावन पालित त्यागराज (श्री)

"SRĪ RĀMA DĀSA DASOHAM" (Dhanyåsi)

Oh Lotus-eyed Sri Rama! I am a servant of your servants. Why do you doubt ?

Your Name, they say, is the craft for crossing the boundless sheet of water of samsara.

Rūpa Mahimā 237

To end the troubles caused by the crocodiles of Kāma and the other five inward enemies, have you not the Chakra in your hand (to use as in the case of Gajendra) ? To quell and calm the waves of the unsteady mind, you have your conquering left hand (to be used as you did against the waves of the sea on the eve of the Setu Bandha):

To subdue the elephants of haughtiness and hatred, the crease lines in the sole of your feet (called Ankusa Rekha) will serve as the hook-spear.

To break the mountain of grief and other troubles, the crease lines in your palm (called Vajra Rekha) will serve as the thunderbolt (Vajra).

To put down the stubbornness of egoism and protect me, have you not arrows in your hand ?

To hurl away the mountains of sins, there is the pure- hearted Hanuman by you.

To stop the whirlpool of birth and death, will not your mighty commands serve as rushing flood ?

We of all communities have joined together and with love have learnt the glory of your holy name.

Very terrible indeed is Samsāra.

We will not seek other Gods but you.

वराळि - 'कन कन रुचिरा' आदि

q.

कन कन रुचिरा ; कनक वसन! निन्न (क)

238 TYAGARĀJA KIRTANAS

अ. दिन दिनमुन मनसुन-चनुुन निन्नु (क)

च,

१. पालुगारु मोसुन श्रीयपार

महिम दनरु निन्नु (क)

बालाकोभि सुचेल ; मणिमय

मालालंकृत कन्धर ! सर-

सिजाक्ष! वरकपोल! सुरुचिर किरीटधर!

सन्ततम्बु मनसारग (क)

३. सापत्नि मातयौ सुरुचिचे

कर्णशूलमैन माट वीनुल

जुरुक्कन ताळक श्रीहरिणि ध्यानिश्चि

सुखिंपग लेदा? यदु (क)

मृगमदललाम शुभनिटिल वर

जटायु मोक्ष फलद ! पवमान

सुतुड्ु नीदु महिम देल्प सीत देलिसि वलचि सोकलेदा? यारीति निन्नु (क)

५. कामिश्चि प्रेममीर करमुल नींदु

पाद कमलमुल बट्टकोनु वाडु साक्षि, रामनाम रसिकुड्ड कैलास सदनुड साक्षि

मरियु नारद पराशर शुक

Rūpa Mahimā 239

शौनक पुरन्दरनगजा धरज मुख्युल साक्षि गाद ? सुन्दरेश ! सुख कलशाम्बुधिवासा श्रितुलके (क)

६. सुखास्पद विमुखाम्बुधर-

पवन! विदेह मानस विहाराप्त

सुरभूज मानित गुणांक चिदा-

नन्द! खगतुरङ्ग धृतरथाङ्ग!

परम दयाकर करुणारस-

वरुर्णालय भयापहार ! श्री रघुपते ; (क)

७. कलकलमनु मुखकळ गलिगिन सीत

कुलुकुचु नोर कन्नुलनु जचु निन्नु (क)

6. सततमु प्रेम पूरितुडगु त्यागराज-

नुत! मुखजित कुमुदहित वरद ! निन्नु (क)

"KANAKANA RUCHIRĀ" (Varāli)

Sweeter will be the devotee's pleasure, the more he, with a loving mind, daily sees you and your charming face radiating beauty and unbounded glory.

Did not such a Darsana redeem and render happy Dhruva when he felt mortified at the sharp and cruel words of his step-mother, Suruchi ?

Did not the description of the glory of your benign form given by Hanuman transport Sri Sita into a blissful trance ?

240 TYAGARĀJA KĪRTANAS

This, my statement, will be amply testified to by Anjaneya, who longingly and lovingly holds your blessed lotus-feet in his hands, by Lord Siva, the enjoyer of the superb sweetness of Rāmanāmam, also by Nārada, Parāsara, Suka, Sounaka, Indra, Pārvatī and Sītā.

Equally sweet is the pleasure of the Darsan of sprightly Sita devouring the exquisite beauty of Sri Rama's face with her yearning and modest looks.

BHAGAVAD GUNA-GENERAL The Lord's Greatness and Mystic Power

कापि - 'नित्यरूप एवरि' - रूपकम्

प, नित्यरूप येवरि पांडित्य मेमि नडचुरा ? (नि)

अ. सत्यमैन याज्ञा मीर सामर्थ्यमु गलदा ? (नि)

भातु पगलु रेयु रत्न सानु जुटडा पूनि शेषुडमित भार-भूमि मोयडा ?

वीनुलन्दु काशीपति नी नाममु बल्कडा

मानि त्यागराज विनुत-महिमास्पदमगु नीमुन्दु (नि)

"NITYARŪPA EVARI" (Kāpi)

Oh Eternal Being! Whose capacity can be of any avail? Has anybody the power to transgress your authority which

The Lord's Greatness and Mystic Power 241

has truth for its basis? Is not the Sun revolving regularly round Mount Meru day and night? Is not Adisesha unflin - chingly carryying the immeasurable load of the Earth? Is not Lord Siva initiating all people with your Tāraka mantra ? You are the sourse of all greatness.

वर्धनि 'मनसा मन सामर्थ्य' रूपकम्

T. मनसा! मनसामर्थ्य मेमि ओ (म)

अ, विनु साकेतराजु विश्वमने रथमुनेक्ि तन साम्थ्यमुचे दाने नडिपिंचेने (म)

अलनाडु चसिष्ठादुल पट्टमु गट्टे पलु-

कुल विनि वेगमे भूषणमुल नोसगिन कैकनु

पलुमारु जगम्बुल कल्लमनिन रविजुनि माय

वल वेसि त्यागराज वरदुड्ड दा चनग लेदा (म)

"MANASĀ MANA SĀMARTHYA" (Vardhani)

Oh mind ! Of what avail is our ability ? Note, the Lord has mounted the chariot of the Universe and is himself driving it with his own prowess. He has spread the net of Mayā throughout, making victims of people like even Kaikeyi, who in the first instance very jubilantly received the news of Rama's coronation fixed by Vasishta and others, 16

242 TYAGARĀJA KĪRTANAS

and Sugriva, who, more than once, lived a false life in this world.

चन्द्रज्योति - 'बागायनय्य' - देशादि

प.

बागायनय्य नी माय लेन्तो ; ब्रह्मकैन कोनियाड तरमा ? (बा) अ.

ई गारुडमुनु योनरिंचुचुनु ने गादनुचु बल्कुटयु (बा) च्.

अलनाडु कौरवुल नणचमन यलरि दोसमनु नरुनिजूचि, पाप फलमु नीकु दनकु लेदनि चक्कग पालनमु सेय लेदा? त्यागराजनुत ? (बा)

" BĀGĀYANAYYA " (Chandrajyti) Oh, this is wonderful ! How great is your magic ? Is it possible even for Brahma to praise it? This magic, yourself doing and at the same time proclaiming that you are not doing it, is wonderful. In the past when Arjuna trembled to carry out your command to destroy the Kauravas, charact- erising it as a sin, did you not similarly teach him that the effect of sin could not touch you or him and did you not thus protect him ?

The Lord's Greatness and Mystic Power 243

मुखारि 'कारूबारु सेयुवारु' - आदि

प. कारुबारु सेयुवारु गलरे? नीवले साकेत नगरिनि (का)

अ. ऊरिवारु देश जनुल वरमुतुल

उप्पोंगुचुनु भावकुलय्ये (का)

च.

नेलकु मूड़वान लखिलविद्यल

नेर्पु गलिगि दीर्घायुवु गलिगि

चलमु गर्वरहितुद गालेद ?

साधु त्यागराजविनुत राम ! (का)

"KĀRUBĀRU SĒYUVĀRU" (Mukhāri)

Sri Rama! Has there been anybody who has reigned over Ayodhya like you, protecting the subjects, exercising supreme authority and securing the happiness and pros- perity of townsmen, countrymen and rishis alike ? During your reign did not your subjects have the benefit of the three monthly rains, training and education in all arts and crafts, longevity and freedom from intrigue and haughti- ness ?

भैरवि "नाथ ब्रोववे' आदि

प. नाथ ब्रोववे रघुनाथ ब्रोववे (ना)

244 TYĀGARĀJA KĪRTANAS

१. सललितुडनि मुतु पलिकिन वाल्मी- कुल वाकुल कललायेना रधु (ना)

२. भयमुनुगल मुनिचयमुनु जूचि ह- दयमु करगग नभय मोसगिन रघु (ना)

३. वरमगु नुडुटि मुंगुरुलनु तोलगिश्चि

करुणनु निजभक्तवरुलनु जूचु रघु (ना)

४. अगणित रिपुलकु वगलोनरिश्चि सव-

नगरमु नेलवोच्चु सोगसु जूपु रघु (ना)

५. भरतुनि कनि मदि करगुचु वानि-

युरमुन जेचिन करमुनु जूपु रघु (ना)

६. कल कलमनु मुख कळ कनि पुरभा-

मलु चलचग तन सुतलवले जूचु रघु (ना)

७. निरुपम निर्गुण सरजिस लोचन

मरुवक त्यागराज वरनुत श्री रघु (ना)

"NĀTHA BROVAVE" (Bhairavi)

Oh Ragunatha! Protect me: Have the words of Valmiki who has described you as one of sweet disposition, proved false ? You were moved with compassion at the sight of the fear-stricken sages and vouchsafed to them protection, and you have evinced affectionate solicitude for true devotees.

I pray for your showing me the beautiful sight of your triumphant re-entry into Ayodhya, after conquering count- less enemies.

The Lord's Greatness and Mystic Power 245

I pray for your showing me your endearing arm which clasped Bharata to your bosom with a melting heart.

When the women of the place (Ayodhya) charmed with your radiant face approached you, you treated them as your own daughters, Oh matchless one! Don't forget me.

दर्बारु - 'एल देलिय' चापु

प. 'एल देलिय लेरो पूर्वकर्म-मेलागुन जेसिरो? रामय्य ! (ए)

अ. बाल शशाङ्क कळालंकृत नुत !

नीलवर्ण ! सुगुणालय! नी महिम (ए)

च.

१. बाल तनमुन शूल धरुनि वि-शाल धनुवुनु लीलगा भू- . पालकुलु गन केल विरचि कु-शालुगा श्री नेलिन नि- (न्न)

२. नालुगोकपदिवेल कंचुरथाल सुररिपु मूलबलमुल

लीलग नोक कोलनेसि-काल यमपुरिपाल जेसिन नि- (न्ने)

३. राजशेखरुनि यी जगतिलो-राजसम्बुन पूजसेयु

राजुलनु गजराजुलकु मृगराज ! त्यागराजनुत ! नि- (न्ने)

" ĒLA DELIYALĒRO " (Darbāru)

Why do people not realise your greatness? What Karma have they done in their previous births to be so ? You are adored by Lord Siva and you are the repository of

246 TYĀGARAJA KĪRTANAS

all good qualities: In your tender age you broke sportingly without effort the colossal bow of Siva in the presence of all kings and jubiliantly won the hand of Lakshmi. You dest- royed with but one arrow the fourteen thousand bell-metal chariots and Ravana's reserve-forces as if in a play and sent them all to Yamapuri. You are the lion to the elephants of kings who, through Rajasa puja, got boons from Siva.

असावेरि - 'लेकना निन्नु' आदि

प. लेकना निन्न जटुकोन्नारु ? एक हृदयुलै नित्यानन्दमु (ले)

अ. श्रीकर! करुणा सागर! निरुपम चिन्मया! श्रित चिन्तामणि! नीयेड (ले)

१. सौन्दर्यमुललो सुखमु सीतम्मकु, सौमित्रिकि गनुल जाडल सुखमु (ले)

2. सुन्दर मुखमुन सुखमु भरतुनुकि, सुज्ञान रूपमुन सुखमु रिपुध्नुनिकि (ले)

चरण युगमुनन्दु सुखमांजनेयुनिकि, वरगुण त्यागराज चरदा ! नन्दमु (ले)

"LEKANĀ NINNU" (Asāvēri) Otherwise, will they always be hovering along you, with one heart and deriving everlasting bliss? Oh bestower of

The Lord's Greatness and Mystic Power 247

prosperity, ocean of mercy, incomparable embodiment of knowledge, the wish-yielding gem to the devotees !

In your beautiful form, Sita derived happiness: In your commands, through the movements of your eyes, Lakshmana derived pleasure. In your charming face, Bharata found joy: In your personality beaming with knowledge, Satrughna derived bliss. In your holy feet, Anjaneya found happiness.

जगन्मोहिनि - 'मामव सततं' - आदि

q. मामव सततं रघुनाथ ! (मा)

See above page No. 188.

"MĀMAVA SATATAM" (Jaganmohini)

Oh Raghunätha! The giver of prosperity to those who seek you, who are full of excellences, unattainable through mere scriptural lore without devotion, of lotus eyes, the peaceful, the changeless, of appropriate words; firm like Mount Meru, devoid of (evils like) passion, delusion and elation, the Deep, the Wind that blows away the clouds of the enemies of Tyagaraja ! Pray, protect me always.

गांगेयभूषणि - 'एव्वरे रामय्य' - देशादि

q. एव्वरे? रामय्य! नी सरि (¢)

248 TYAGARĀJA KĪRTANAS

अ.

रव्वकु दावुलेक सुजतुलनु

राजिग रक्षिंचु व- (रे)

च. पगवानिकि सोदरुडनि येञ्चक

भक्ति नेरिगि लड्का पट्ट मोसगगा

नगधर! सुर भूसुर पूजित वर !

नाग शयन ! त्याराज विनुत! सरि (ए)

"EVVARĒ RĀMAYYA" (Gāngēyabhushani)

Who is there equal to you, Oh Rama! in protecting good people quietly and without fuss ? Without minding that he is the brother of your inveterate enemy, you made Vibhīshana, the king of Lankā, in appreciation of his devotion:

हरिकांभोजि - 'ओक माट योक' रूपकम् 1

प. ओक माट योक बाणमु-ओक पत्नीव्रतुडे; मनसा (ओ)

अ. ओक चित्तमु गलवाडे-ओकनाडुनु मरवकवे (ओ)

च. चिरंजीवत्वमु निर्जर-वर मोक्ष मोसडुने

घर बरगु देवुडे-त्यागराज नुतड (ओ)

The Lord's Greatness and Mystic Power 249

"OKAMĀTA YOKABĀNAMU" (Harikāmbhōji)

Oh mind ! Never forget Sri Rama: He is a man of one word, of one arrow (unfailing in its effect), of one wife alone and of one mind. He will vouchsafe to you deathlessness in this world and the supreme ageless state of salvation. Verily, he is God on Earth:

कापि-नारायणि - 'सरससामदान' - देशादि

प. सरससामदान भेद दण्ड चतुर!

साटि दैव मेवरे? ब्रोववे (स)

अ. परम शाम्भवा ग्रेसरुंडगुचु बल्कु रावणुड तेंलियलेक पोये (स)

च. हितवुमाटलेन्तो बागा बल्कितिवि

सतमुगा नयोध्य नित्तुनंटिवि ; नत सहोदरुने राजु चेसि, राक-

हतमु जेसितिवि ; त्यागराजनुत ! (स)

" SARASA SĀMA DĀNA" (Kāpinārāyani)

Oh Rama! You are an adept in statesmanship and in wielding the four expedients, conciliation (Sama), winning

250 TYAGARAJA KĪRTANAS

over with gifts (Dana), separating the enemies (Bheda) and punishing by war (Danda) and there is none equal to you in this even among Gods: This, Ravana, who claimed to be the great devotee of Siva, could not know. You tendered any amount of good and beneficient advice to Rāvana (thereby exhibiting Sāma).

You sincerely offered Ayodhya to him (in the event of his also taking refuge in you), Lanka having already been promised to Vibhishana and thus demonstrated Dana. You made the brother of Ravana (Vibhishana) king of Lanka (even while Ravana was reigning, exhibiting thus Bheda): You destroyed Ravana and exhibited Danda:

खरहरप्रिया - 'रघुवीर रणधीर' रूपकम्

रघुवीर रणधीर! रारा, राजकुमार ! (₹)

अ.

भृगुसू नु मदविदार ! बृन्दारकाधार ! (₹)

रावण घटवर्ण बलाराति रिपु नगनगारि ! स्थावर जङ्गम रूप! त्यागराजहच्चारि ! (₹)

" RAGHUVIRA RANADHIRA" (Husēni) Come Oh! Hero of the Raghus; valorous in battle! the destroyer of Parasurma's pride, the prop of (all) gods !

The Lord's Greatness and Mystic Power 251

an Indra who destroys the mountains of Råvana, Kumbha- karna and Indrajit ! you who are of the form of the static and the moving, you who abide in the heart of Tyagaraja!

अठाण 'कट्ट जेसिनावु' - आदि

प.

कट्ट जेसिनावु ; रामबन्दु (क)

अ. मट्ट मितमु लेनट्टि देवता-

मतमुललो जोर बडुदामन्न (क)

च.

मा मतमुलनु ललाटमुन पि-

तामहुड्ड ब्रायलेदनुचुनु मरि मरि

काम मदमुलकु हितवनुचु नि-

षकाम त्यागराजुकु तोसु (ª)

" KATTU JĒSINAVU" (Atāna)

You have cast the prohibitory spell of " Rama Bandu" over me, preventing me from straying into numerous other faiths claiming allegiance to other Gods. Though I know that the faith to be followed by me is not predeter- mined by Brahmā, it appears to me, desireless Tyāgarāja, that other faiths conduce more and more to desire and infatuation.

252 TYĀGARAJA KIRTAŇAŠ

• BHAGAVAD GUNA-DAYĀ, KSHAMĀ-GRACE

शङ्कराभरणम् - 'राम सीताराम' आदि

राम सीताराम राम-राम सीताराम राम-

राम सीताराम राम-राम सीताराम राम- (रा)

च.

१. तप्पु लेन्नबोते माकु-गोप्प तनमुरादु मा-

यप्प दयजेसि कंडल कप्पुकोनि पालिम्पवे (रा)

२. दापुलेक नेनु नीदु-प्रापु कोरुकोंटिगानि रेपु मापनुचु दोव जूपक रावय्य ब्रोव (रा)

३. नीलवर्ण ! पापमुल-कालयमैतिनि नाडु

जालिदीर्चि भयमु नीकेलयनि यादुकोवे (रा)

४. वालायमुग कृपालवाल! रक्षिंचु कनक- चेल! यिन्दरिलो नादु-चौलागीय्य समयमु (रा)

५. इतरुलन्दु मनसुबोदु वेतलुनीकु ते लियरादु

गतियु मुम्माटिकि लेंदु क्षिति नेव्वरिनि वेडबोदु (रा)

६. राम राम नित्य! शत्रु भीम भीमनुतगत काम काम वैरिनुत नाम ! नामदिनि रावे (रा)

७. देव देवार्चित सर्व जीव जीवन ! महानु-

भाव भावजरूप श्री-पाप पावन! राघव (रा)

Bhagavad Guna-Dayā, Kshamā-Grace 253

८. माय मायेड वह्ुरा-धेय धेय विषयालेल रोय रोयेप्पुड देव-राय राय ! यी देहमु (रा)

९• राज राज वन्दित ! वि-राजराज हरे दिन-

राज राज नयन ! त्याग-राज राज दशरथ (रा)

"RĀMA SĪTĀRĀMA" (Sankarābharanam)

If you care to reckon my sins, I can never hope to be saved. So, my father, protect me with your eyes closed. In a helpless condition, I have sought your sypport. Pray, do not put me off, but come at once gracefully to save me. I have become a regular abode of sins. Come to my succour and remove my distress, cheering me up by saying "why should you be afraid (when I am with you)?" This is the time for taking me by the hand. My mind does not go after others to seek help and you do not seem to know my troubles. Positively I am forlorn. Whom shall I seek in this world ? Come into my mind. Do not play an illusory game with me. I do not know why people cling to this body and run after sense-pleasures, without discarding them.

तोडि - 'नीदय रावलेगाक' - आदि

q. नीदय रावलेगाक-ने नेन्तवाडनु, राम ! (नी)

अ.

वेदशास्त्र पुराणमुलन्नि नीवेगतियनुचु मोरबेट गनुक (नी)

254 TYĀGARĀJA KIRTANAS

9. सारसार! कान्तारचर मदवि-

दार! सुन्दराकार! सुगुण !

सुकुमार! मारमण नीरजाप्तकुल पारावार सुधारसपूर्ण ! (नी)

श्री हरे ! वर विदेहजाधिप! वि-

वाह ! दळितरिपु देह ! शेषसम-

बाह सज्जनसमूह ! चैरिमद- दाह ! मौनि हृद्रेह! नादुपै (नी)

३. आदिदेव देवादि मृग्य- सनकादि विनुत! कामादिषड्गुणह- रादिमध्यरहितादित्यागरा- जादि वन्दित! विवादि मदहरण! (नी)

"NĪDAYA RAVALEGAKA " (Todi) Oh Rama! Your Grace must come of its own accord, What am I, after all ?

The Vedas, Sastras and Puranas declare loudly that you are the only refuge.

कीरवाणि - 'कलिगि युंटे गदा' - आदि

प.

कलिगि युंटे गदा गल्गुनु? कामितफल दायक ! (क)

Bhagavad Guna-Dayā, Kshamā-Grace 255

अ.

कलिनि यिङ्गित मेरुगक निन्नाड कोंटि

चलमु जयक नातलनु चक्कनि ब्रात (क)

च.

भागवताग्रेसरुलगु नारद

प्रह्लाद पराशर रामदासुल

बागुग श्रीरघुरामुनि पदमुल

भक्ति जेसिन रीति त्यागराजुनिकिपुड (क)

" KALIGI YUNTE GADĀ" (Kīravāni)

Oh! Fulfiller of desires ! Your grace will come only if I had earned it by past merit; in this Kali age, without knowing your mind, I reproached you.

Do not tarry; if you had ordained a fair fate for me, your grace will come; if I had practiced devotion to Rāma's feet as devoutly as the foremost devotees, Narada, Prahlada, Parasara and Ramadasa, I would have earned it (your grace).

नायकि 'दयलेनि ब्रतुकेमि झम्प

प. दयलेनि व्रतुकेमि ? दशरथ राम ! नी (द)

अ. वयसु नूरैन नी वसुधनेलिन गानि (द)

256 TYĀGARĀJA KĪRTANAS

च. राजाधि राज ! रतिराज शतलावण्य ! पूजजपमुल वेळ पोन्दुगा नेदुट राजिछ्नि लोकान्तरङ्गमर्ममु देलिपि राजिसेयनि त्यागराजसन्नुत! नीदु (द)

"DAYALĒNI BRADUKĒMI" (Nāyaki)

Oh Rama! Without your grace, of what use is life, whether it be for one hundred years or whether it is spent in ruling a kingdom? If I have it, I will be blessed with your loving presence at the time of my pūja and japam, enlightening on the real secret of life and vouchsafing mental peace to me.

भैरवि 'तनयुनि ब्रोव' आदि

प. तनयुनि ब्रोव जननि वच्चुनो तल्लि वह बालुड बोनो ? (त)

अ. इनकुलोत्तमा ! ई रहस्यमुनु येरिगिंपुमु ; मोमुनु गनुपिम्पुमु ; (त)

च. वत्समु वेंट धेनुवु चनुनो ? वारिदमुनु गनि पैरुलु चनुनो ? मत्स्यकंटिकि विटुड्ड वेडलुनो ? महिनि त्यागराज विनुत ! रम्मु देल्पुमु (त)

Bhagavad Guna-Daya, Kshama-Grace 257

"TANAYUNI BROVA" (Bhairavi)

Does the mother go to the child to protect it, or does the child go to the mother ? Please reveal this secret and show me your face. Does the cow go after the calf? Do the paddy fields go up to the clouds for water? Does the paramour go after his beloved ? Come and reveal this secret.

बिलहरि 'सरसीरुह नयन' चापु

प. सरसीरह नयन नी कटाक्षमे-चालु सज्जनजीवन (स)

अ. मीनमर्भकुल कामिध्चि कन्नट्ल दान भीलङ्कनुदय जूचिनट्ल (स)

च.

१. साधु सङ्गति नेनु सलिपिन यट्ल माधुर्य भोजन-मट्ट जेसिनट्ल (स)

२. धनकनकमुलेल-दगिलिन यट्ल दिनमु दुरासल-दीरिन यट्ल (स)

३. सिंहासनमुन-जेलगिन यट्ल ब्रह्मेन्द्र पट्टमनु-भवमन्दिनट्ल (स)

४. नाल्गोक्क पदि भुव-नमु लेलिनट्ल कल्गु कुलमुलेल-गडतेरिनट्ल (स)

५, राजीव भवनुत-रमणीय चरित राजिल्ल श्रीत्यागराजादि विनुत (स)

17

258 TYĀGARĀJA KĪRTANAS

"SARASĪRUHA NAYANA " (Bilahari)

Oh Lotus-eyed one! Oh the life of the virtuous !

Your grace is enough. It will give the recipient the happiness and satisfaction which the fish derive from prolific progeny; which a man, never accustomed to make gifts, feels on suddenly becoming generous; which I feel in the company of the Holy; which one derives from a delicious meal, from gold and wealth, which one experiences when freed from greed and unworthy desires, from securing a throne, from acquiring and enjoying the status of Brahma and Indra, from exercising sovereignty over the fourteen worlds and from his entire race being saved.

वनावलि - 'अपराधमुलनु' आदि

प,

अपराधमुलनु नोर्व समयमु

कृपजूडमु घनमैनना (य)

अ. चपलचित्तडै मनसेरुगक ने

जालि बेह कोनि मोरलनिड्ड (य)

च.

सकल लोकुल फलमुल नेरिगि

संरक्षिंचुचु नुंडग न- न्नोकनि ब्रोव तेलिय गीर्तन श- तक मोनर्चं त्यागराजनुत! ना- (य)

Bhagavad Guna-Dayā, Kshama-Grace 259

" APARÄDHAMULANU" (Vanāvali)

Pray forgive me for this serious sin of not knowing your ind and show mercy to me, who am fickle-minded. When ou are there to protect (unsolicitedly) all the beings of the niverse, knowing fully their worth and deserts, I have ade a special approach to you with an offering of hundred ings in order that you may particularly bless me:

कापि 'मीवल्ल गुणदोष' झम्प

प.

मीवल्ल गुणदोष मेमि ? श्रीराम ! (मी)

अ.

नावल्ल नेगानि, नळिनदळनयन (मी)

च.

१. बक्गारु बागुग पदिवन्न गाकुंटे

अक्गलाचुचु बच्चुनाडुको नेल (मौ)

२. तन तनय प्रसववेदन कोर्वलेकुण्टे

अनय यल्लुनिपे यहद्कार बडनेल (मी)

३. ए जन्ममुन पात्र मेरिगि दानं बीक

पूजिंच मरचि वेल्पुल नाडकोनेल ? (मी)

४. नामनसु नाप्रेम नन्नलय जेसिन

राजिल्लु श्री त्यागराजनुत चरण (मी)

260 TYĀGARĀJA KĪRTANAS

"MĪVALLA GUNADOSHA" (Kāpi)

Merits and blemishes are not yours but are my own making, Oh Rāma!

If the gold is not of the required standard of purity, why wail and blame the goldsmith ?

If one's daughter is not able to stand the labour-pains, why wrongly blame the son-in-law for it ?

If one failed to do charity to deserving persons and worship God in previous births, why should one blame the gods for his lot ? My trouble is due to my own mind and to my own inclinations:

कन्नड - 'निन्नाड नेल' - आदि

निन्नाड नेल नीरजाक्ष ! (नि)

65 कन्नवारि पैनि-काक शेयनेल P (नि)

च,

٩٠ कर्ममुनकु तगिन कार्यमुल नडचुनु ; धर्ममुनकु दगिनट्ट दैवमु ब्रोचुनु (नि)

3. चित्तमुनकु दगिन सिद्धियु गल्गुनु वित्तमुनकु दगिनट्ट वेड्डक नडुचुनु (नि)

Bhagavad Guna-Daya, Kshama-Grace 261

३. सत्वरूप निन्नु सन्नुति जेयु

तत्वमु देलिसिन त्यागराजुनिकि (नि)

"NINNĀDA NĒLA" (Kannada)

Why should Tyagaraja, who knows the right method of adoring you, blame you and be angry with everybody?

Events happen according to one's own Karma: The Lord dispenses his Grace to people as suited to Dharma: One's spiritual attainment will be in proportion to his mental developments: The success of entertainments will be com- mensurate with the money spent.

मणिरंगु 'रानिदि रादु' आदि

प. रानिदि राडु सुरासुरुलकैन ! (रा)

अ. पोनिदि पोदु-भूसुरुलकैन (रा)

देवेन्द्रुनिकि सुदेहमु-पूर्व देवुलकमृतमु भावमेगानि

आ वनचर बाध लामुतुलके गानि;

पावन स्यागराज भाग्यमा ! श्रीराम (र1)

262 TYĀGARAJA KIRTANAS

"RĀNIDI RĀDU" (Manirangu)

What will not come will not come, be one a Sura or an Asura; what will not go will not go, be one even a Brahman ; (otherwise), Devendra would not have had the body he had; the Rakshasas would not have been deprived of Amrita; the holy sages of Dandaka would not have been subjected to the cruelties of Rakshasas.

BHAGAVAT SVARŪPA

Bhagavat Svarūpa-Devotional

ललिता - 'सीतम्म मा यम्म' रूपकम्

सीतम्म मायम्भ-श्रीरामुड्ड मातंडि सी

अ.

वातात्मज सौमित्रि वैनतेय रिपुमर्दन

धात भरतादुल सो-दरुलु माकु ; ओ मनसा (सी)

च.

परमेश वशिष्ठ परा-शर नारद शौनक शुक

सुरपति गौतम लम्बो-दर गुह सनकादुछुं

धर निज भागवताप्रे-सरु लेवरो वारेलनु

बर त्यागराजुनिकि परम बान्धवलु ; मनसा (सी)

Bhagavat Svarapa-Devotional 263

"SİTAMMA MĀYAMMĀ" (Lalitā)

Sīta is my mother and Rama is my father; Hanuman, Lakshmana, Garuda and Satrughna, Brahma, Bharata and others are my brothers; Paramesa, Vasishta, Parasara, Nārada, Sounaka, Suka, Indra, Goutama, Ganesa, Guha, Sanaka and all true Bhagavatas are all my close relations.

बिलहरि -'नीवेगानि नन्नेवरु' चापु

प.

नीवेगानि नन्नेवरु गातुरुरा ? नीरजदळ नयन (नी)

अ.

कावलसिन कोरिक लिचि नन्नु चाल

करुणिश्चि ब्रोचु तह्लि दंडिवि (नी)

च.

१. मुनु मावंशमुन गलुगु पेददल तपमु-

लनु जेसि यार्जिश्चिन धनमु ;

विनवय्य बहु जन्ममुलनु ने ननेक

विरुल चेल पूजिश्चिन फलमु (नौ)

२. शरणागत जन पाप जँवलनमुतु

शमन जेयु जल पूरित घनमु ; सुरमुनि जन योगि गणमुल हृदयमु सुगृहमौ सकिचदानन्द घनमु (नी)

264 TYĀGARĀJA KĪRTANAS

३' सांगर शयन नदुललो मेलैन

स्वणदी स्नानम्बुन गल्गु फलमु;

त्यागराजु वरमनि ब्रह्मादुलकु स-

त्यमु जेसि पल्किन तारकमु (नी)

"NĪVEGĀNI NANNU" (Bilahari)

Who is there but you to protect me? You are my father and mother, giving me all that I desire and protecting me with utmost kindness: You are the precious treasure earned by my forefathers by virtue of their austerities. You are the fruit of my worship, in countless past births, with quantities of flowers.

You are the water-bearing cloud to quench the fire of the sins of your devotees ; You are the cloud of Satchidā- nanda which graces the hearts of angels, yogis and sages.

You are the merit which one derives from a bath in the celestial river (Ganga) which is the holiest of rivers.

You are the saving mantra (taraka) that has been solemnly proclaimed to Brahmā and others by Tyāgarāja as the highest.

मध्यमावती 'नगुमोमु गलवानि' आदि

नगुमोमु गलवानि ना मनोहरुनि

जग मेऊ शूरुनि जानकी बरुनि (=)

Bhagavat Svarapa - Devotional 265

च.

१. देवादिदेवुनि दिव्यसुन्दरुनि श्री वासुदेवुनि सीताराघवुनि (न)

२. सुज्ञान निधिनि सोमसूर्यलो चनुनि अज्ञान तममुनु अणचु भास्करुनि (न)

३. निर्मलाकारुनि निखिलाघहरुनि धर्मादि मोक्षम्बु दयचेयु घनुनि (न)

४. बोधतो पलुमारु पूजिश्चि ने ना- राधिन्तु श्री त्यागराज सन्नुतुनि (न)

"NAGUMOMU GALAVANI" (Madhyamāvatī)

You, the-ever smiling captivator of my mind, the Hero of the Universe, the Lord of Sita, the God of Gods, the ex- quisitely beautiful one, the repository of wisdom, the one who has the sun and the moon as his eyes, the sun that dispels the darkness of ignorance, the one with stainless form, the destroyer of all sins, the great one that blesses one with the Purusharthas from Dharma to Moksha !

Fully enlightened by Jnana, I shall time and again worship you according to to the prescribed methods.

शुद्धसावेरि 'लक्षणमुल गल' आदि

प. लक्षणमुलु गल श्रीरामुनिकि प्र- दक्षण मोनरिन्तुमुरारे (ल)

266 TYĀGARĀJA KĪRTANAŠ

अ. कुक्षिनि ब्रह्माण्डम्बु लुन्नवट, वि-

चक्षुणुडट, दीक्षा गुरुडट, शुभ (ल)

च. लक्षण लक्ष्यमु गल श्रृतुलकु प्रत्यक्षम्बौनट

अक्षरस्तुलैन भजन परुलके-अन्तरङ्डुडौनट

साक्षियै वेलयु त्यागराज-

पक्षकु डौनट ; मुप्पदिरेण्ड (ल)

"LAKSHANAMULU GALA" (Suddhasāvēri)

Why don't you come and make a Pradakshinam of Sri Rāma, who has all the thirty-two Lakshanas (auspicious signs). He has in his stomach the whole universe; he is the discriminating Lord; he is the initiating Guru of all ; he reveals himself to those who are thoroughly well-versed in the Vedas; he protects devotees, who have received proper training and can earn the approbation of congrega- tions of the wise; he becomes the intimate friend of the cultured who worship him through Bhajana; he is the universal witness and the prop of Tyāgarāja.

नारायणगौळ 'कदलु वाडु गाडे' आदि

प.

कदलु वाडु गाडे रामुड् कथलेन्नो गलवाडे (क)

अं. मोदल ता नैनाडे तुद मोदल लेनिशाडैनाडे (क)

Bhagavat Svarupa-Devotional 267

कल्पन लेन्नडु लेदु सङ्ल्पमुले गलवाड़ु शेष-

तल्प शायनुडे वाडु श्रीत्यागराजनुतुडैनाड़ (क)

"KADALU VĀDU GĀDĒ" (Nārayanagoula)

Sri Rama is immutable but His stories are numerous. He is the primal cause and yet he is without beginning and end' He never indulges in false fabrications (Kalpanas), but everything that he wills gets accomplished: He rests quiet on the bed of Adisesha and yet He has become the object of Tyāgarāja's adoration.

चिलहरि 'ना जीवाघार' आदि

प.

ना जीवाधार! ना नोमु फलमा ! (ना)

अ

राजीवलोचन! राज राज शिरोमणि (ना)

ना चूपु प्रकाशमा !

ना नासिक परिमळमा !

ना जपवर्ण रूपमा !

नादु पूजासुममा ! त्यागराजमुत (मा)

268 TYĀGARĀJA KĪRTANAS

"NĀJĪVĀDHĀRA" (Bilahari)

Oh, the prop of my life, the fruit of my penance, the bril- liance of my eyes, the fragrance of my nose, the embodi- ment of the letters of the Name that I chant, You are the flower of my worship.

अठाण - 'नारद गानलोल' रूपकम्

q. नारद गानलोल ! नतजनपरिपाल! (ना)

अ. नीरद समनील! निरुपम गुणशील ! (ना)

नीवु लेक ये तनुवुल निरतमुगा नडुचुनु P

नीवु लेक ये तरुवुलु निक्कमुगा मोलुचुनु ? नीवु लेक ये वानल नित्यमुगा गुरुचुनु ?

नीवु लेक त्यागराजु नी गुणमुल नेटु बाडुनु ? (ना)

"NĀRADA GĀNALOLA" (Atāna)

Oh, Protector of Devotees ! Oh, one of incomparable virtues ! Without you, which embodied being can ever get on ? Without you, what vegetation can sprout? Without you can there be any rain ? Without you how can Tyaga- raja sing the song of your Gunas ?

Bhagavat Svarūpa-Devotional 269

आनन्दभैरवी - 'नीके तेलियक' - आदि

प. नीके तेलियक पोते ने नेमि सेयुदुरा ? (नी)

अ, लो काधारुडवय्यु नालोनि प्रज्वलिंचु जालि ; (नी)

च. यें देन्दु जूचिन नेंदेन्दु बलिकिन

नें देन्दु सेविश्विन नेंदेन्दु पूजिश्चिन

अंदेन्दु नीवनि तोचु टन्दुकु नीपादार-

विन्दमुनु ध्यार्निंचिन-देन्दुकनि? त्यागराज सन्नुत (नी)

" NĪKĒ TELIYAKAPOTE" (Anandabhairavī)

If you yourself do not know it, what could I do ? You, as the prop of the Universe, do not know the burning state of my mind; what can I do? I have been meditating on your blessed feet solely to be able to see you wherever my eyes fall, to feel like speaking to you whomsoever I speak to, to visualise you wherever my vision goes, to worship you wherever I may worship:

हुसेनि - 'सर्वलोक दयानिधे' - तर्यश्रलघु

प. सर्वलोक दयानिधे सार्वभौम दाशरथे (स)

270 TYĀGARĀJA KĪRTANAS

१. पश्चभूतमुलकु नाथुडनुचु देलसुकोंटि (स)

२, भूसुता करमुबट्टि-भूमि वेलयुवाड़ु नीवु (स)

३. नीरधिपै बाग योग-निद्र सेयुवाडु नीवु (a)

४. कमलबन्धु कुलजवरुल-गडतेर्चिनवाडु नीवु (स)

५. पवमान कुमरुंडु-बंटैन वाडु नीवु (स)

६. अन्तरिक्ष केशनुता-नन्त नामरूप रहित (स)

ज्ञानवैराग्य भक्ति-दान मोसगुवाड वीवु (स)

आगम निगमातीत त्यागराज विनुत चरित (स)

"SARVALOKA DAYĀNIDHĒ" (Husēni)

Oh, Rama, the Supreme Being who is merciful towards the whole universe! I have realised that you are the Lord of the five elements, the One that came down on the earth and wedded Sita and are no other than the One who is absorbed in mystic slumber on the ocean: You have blessed the solar race by being born in it: Oh ! You who are lauded by Siva ! You are the One who had Hanuman for his service. You are infinite, beyond name and form: You are the giver of Jnana, Vairagya and Bhakti. You are beyond the Vedas:

देवगांधारि - 'कोलुवै युन्नाडे' आदि

प. कोलवै युन्नाडे कोदण्डपाणि (को)

Bhagavat Svarūpa-Devotional 271

अ. सललित मतुलै सारेकु शीललै चलचुचु गोरिवच्चि सेविम्परे (को)

च. जनकज भरतादुलतो मंचि नैवेदंबुल चनुवुन वेडुक नारगिंचि मेरुपुकोट्ल गेरु कनक पटमु सोंमुलनु धरिंचि वेदोक्तमैन सनक वचनमुलचे तोषिंचि याश्रितुल बोषिंचि (को)

२. चरमगु वासनलु परिमळिंप सन्निधिलो वेलुगुचु

सुरवार सतुलु बाग नटिम्प, नदिगाक पराशर नारदमुनुलेल नुतिम्प येन्तेन्तो नेनरुन सुरपति वागीशुल सेविम्प, मेनु पुलकरिम्प (को)

३. उडुराज मुखुडु शेषशैय्यपैनि चेलङ्गग गनि

पुडमिकुमारि सुगन्धमु बुय्य नम्मिनवारलके

कडकंटिनि कोरिन वरमिय्य त्यागराजुनेनरुन

यडुगुड्ुकु मडपुल नन्दिय्य श्रीरामय्य (को)

"KOLUVAIYUNNĀDĒ" (Dēvagāndhāri)

Ködandapåni is in court. Let all pure-minded souls with excellent conduct and with loving desire come and have the darsanam. Having partaken of the good offerings placed before him, along with Sita, Bharata and others, dressed in golden garments and feeling delighted at the Vedic chant- ings by Sanaka, blessing the devotees, with sweet scents pervading the whole atmosphere, celestial dancing girls

272 TYĀGARĀJA KĪRTANAS

dancing before him, Parāsara, Nārada and other devotees singing his praises, Indra, Brahma and others worshipping him lovingly with bodies thrilled, the beautiful Lord is resting on Adisesha. Sita smearing the body with sandal paste, Ködandapäni is sitting in court, granting solely to the faithful, with his side-glances, the boons that they seek and with Tyagaraja handing pan to the Lord every now and then.

कापि 'पाहि कल्याण राम' - आदि

प. पाहि कल्याणराम पावन गुणराम (पा)

च.

१. ना जीवाधारमु-ना शुभाकारमु (पा)

२. ना नोमु फलमु-ना मेनु बलमु (पा)

३. ना वंश धनमु-नादैदोतनमु (पा)

४. ना चित्तानन्दमु-ना सुखकन्दमु (पा)

५. नादु सन्तोषमु-ना मुह्ुवेसमु (पा)

६. ना मनोहरमु-नादु शङ्गारमु (पा)

७. ना पालि भाग्यमु-नादु वैराग्यमु (पा)

८. नादु जीवनसु-नादु यौवनमु (पा)

९. आगम सारमु-यसुर दूरमु (पा)

Bhagavat Svarupa-Devotional 273

१०. मुल्लोका धारमु-मुत्याल हारमु (पा)

११. देवादि देवमु-दुजनाभावमु (पा)

१२ परमैन ब्रह्ममु-पापेभसिह्ममु (पा)

१३ इदि निर्विकल्पमु-ईश्वरजन्ममु (पा)

१४. इदि सर्वोन्नतमु-इदि मा्यातीतमु (पा)

१५. सागर गुप्तमु-त्यागराजाप्तमु (पा)

"PĀHI KALYĀNARĀMĀ" (Kāpi)

Protect me, Oh auspicious Räma, of sanctifying excel- lences ! You are the prop of my life ; you are the fruit of my penance, the strength of my body, the wealth of my family, the source of my auspiciousness, the bliss of my mind, the source of my happiness, my joy, the charming dress that I put on; the captivator of my heart; my beauty; my blessedness; my dispassion ; my life; my youth; the essence of the Vedas and the Agamas; beyond the reach of the Rakshasas; the prop of the three worlds; my pearl necklace; the God of Gods; the negation of the wicked; the supreme Brahman; the destroyer of sins; beyond con- ception; divine incarnation; the highest; beyond Māyā; hidden in the ocean; the friend of Tyāgarāja:

सिह्मवाहिनी - 'नेनरुंचेरा नापैनि' - देशादि

प. नेनरुंचेरा नापैरनि चाल ; नी दासुडनु कादा? श्री राम (ने) 18

274 TYĀGARĀJA KĪRTANAS

अ. सनकादियोगिवृन्द चन्धपाद!

साकेत वास! सद्भ्क्पोष! (ने)

च. तलिदंडि गुरु दैवमु नी वनि

तरुचुगानु निन्नु नम्मियुन्न ने दल्लडिल्लु चुंड दरि चूप वेमि ?

त्यगराज परिपाल! सुगुण शील ! (ने)

"NENARUNCHERĀ NĀPAINI" (Simhavāhinī)

Oh Rama! Show your mercy in full measure to me. Am I not your servant ? You are the protector of the devotees: When I, who have reposed my full faith in you as my mother, father, guru, God, am in great distress, why do you not show me the way out? You are the repository of all virtues:

आनन्दभैरवी - 'राम राम' आदि

प.

राम राम नीवारमुगामा राम राम सीता- रांम राम साधुजनप्रेम रारा (रा)

च.

१. मेरुगु चेलमु कट्टुक मेह रारा राम करकु बङ़ारु सोम्मुल कदल रारा (रा)

Bhagavat Svarūpa-Devotional 275

2. वरमैनट्टि भकताभीष वरद रारा

मरगु जेसुकोनु नष्टि महिम रार (रा)

३. मेण्डैन कोदण्डक्रान्ति मेरय रारा कतुल-

पण्डवग युण्ड उद्दण्डरारा (रा)

४. चिरुनव्वुगल मोमु जूपरारा करुणतो नन्नेल्लप्पुड गाव रारा (रा)

५. कन्दर्प सुन्दरानन्दकन्द रारा नीकु वन्दनमु जेसेद गोविन्द रारा (रा)

आद्यन्तरहित वेदवेद्य रारा भव- वेद् ने नी वाड नैति वेग रारा (रा)

७. सुप्रसन्न सत्यरूप सुगुण रारा राम

अप्रमेय त्यागराजु नेल रारा (रा)

"RĀMA RĀMA NĪVĀRAMUGĀMĀ" (Ānandabhairavī)

Oh Sita Rama! lover of the devout! Are we not your own ? Come softly with your golden clothes and ornaments dangling: Oh fulfiller of the cherished desires of great devotees ! Oh repository of mysterious divine Glory, come! Come with your Kodanda: Come, you great Hero whose sight is a feast to the eyes: Come to show me your smiling face: Let your loving blessing be with me always to pro- tect me: Come Oh One of Cupid's beauty, the root of bliss ! Come, I desire to prostrate before you. Oh

276 TYAGARĀJA KĪRTANAS

Govinda, One who has neither beginning nor end, one who is known through the Vedas and to Siva! I have become yours. Quickly come: Oh gracious one ! Oh embodiment of Truth, endowed with all good qualities ! Oh Infinite, come to bless Tyagarāja.

BHAGAVAT - SVARUPA-PHILOSOPHICAL

सुरटि 'भजन परुल केल' - रूपकम्

भजन परुल केल दण्ड-पाणि भयमु? मनसा राम (भ)

अ. अज रुद्र सुरेशुल का-यास्थान मोसङ्ग राम (भ)

च. अण्डकोट्ल निण्डिन को-दण्डपाणि मुखमुनु ह-

स्पुण्डरीकमुन जूचि पूज सल्पुचु निण्डप्रेमतो गरङ्ग-निष्काममुलकु वर वे-

दण्ड पाल दासुडैन त्यागराजु सेयु राम (भ)

" BHAJANA PARULA KĒLA" (Suruti)

Oh Mind! Where is the need for fear of Yama for real devotees of Rama who apportions their respective positions to Brahma, Siva and Indra, of Rāma worship- ped by Tyagaraja, the servant of the Lord who protected the elephant, and for those desireless souls who are able

Bhagavat Svarupa-Philosophical 277

to visualise in the lotus of their hearts the Lord who fills the numberless worlds and pine in worshipping him with unbounded love ?

शहान 'निजमुग नी महिमल' - देशादि

प.

निजमुग नी महिमल देल्प लेरु (नि)

अ

भजन जेयुमनि पलिकिरि गानि-अजगज सिंहशटगालान्तरमनि (नि)

चे.

बुद्धियनु तल्लिनि विषय विड्लके

प्रोह्ु नोसगि पैकमु लार्जिश्चे

सिडुल सुजनुल सभकु रानेरनि

पेहल श्री त्यागराजविनुत ! (नि)

NIJAMUGA NĪMAHIMALU (Sahāna)

O Rāma ! There is none who would speak out in truth your glory.

They simply ask one to do Bhajana (not knowing that the difference between what they say and real devotion is like the difference between an elephant and a goat, a lion and a jackal); they, the (supposed) great ones who always

278 TYĀGARAJA KĪRTANAS

give the mother of their mind to the libertines called Senses, are adepts in earning money and do not frequent the company of the good souls.

गरुड्ध्वनि - 'तत्व मेरुग तरमा' रूपकम्

q.

तत्व मेरुग तरमा ? पर (त)

अ. तत्वमसि यनु वाक्यार्थमु, राम ! नीवनु पर (त.)

तामस राजस गुणमुल तन्नु कोळ्ळ पोदया

राम भक्तडैन त्याग-राज विनुत वेद शास्त्र (त)

"TATVA MERUGA" (Garudadhwani)

Is it possible to realise the truth? Is it possible to realise the great truth? Is it possible to realise the great truth that you Rama are the meaning of the great affirmation "That thou Art "? Is it possible for one so long as one is caught up in struggle with Tāmasic and Rājasic gunas to realise the truth of the Vedas and Sāstras ?

देवगान्धारि - 'तनलोने ध्यानिञ्चि' - आदि

तनलोने ध्यानिच्चि-तन्मयमे गावलेरा (त)

Bhagavat Svarūpa- Philosophical 279

तनगुहलो दानुण्डेडु-तावुनु देलियगवलेरा (त)

१. नी मर्म माक्षणमे निश्चयमै तेलसुतुरा ( ส )

2. एननु मायावेळ-नेवङ्को तेलियदुरा (त)

३. तोलिकर्ममे बलमु-तोयकूडदु विधिकि (त)

४. प्रकृति सवभावमुल-प्रज्वलिंचुचुनुण्ड (त)

५. लक्ष्यमु जेयरु मदिलो-लक्षान्तरमुलकैना (त)

६. म्रिङ्िन कळळकु रुचुल मेल गनेवारेवरु (स)

७. भूतमुलैदुनु नीवु-पोरल जेयुचुन्नावु (त)

निरवधिशय्यपै नीवु-नित्यानन्दमु नुन्नावु (त)

९. श्री त्यागराजुनि-चे बहटि रक्षिश्चेदवु (त)

"TANALONE DHYĀNINCHI" (Dēvagāndhāri)

Oh Rama! One must meditate within his own self and become one with you: He must realize the seat of his self in the cave of his body: That very moment, he will know your truth and grasp it firmly:

As long as Man is under the sway of the Maya of I, he will not know in which direction he is dragged. His past karma will operate strongly and not even Brahma can undo

280 TYAGARĀJA KĪRTANAS

it. The worldly tendencies will dominate; and for ages such people will not be inclined to place right value on intros- pection ; nor will they be in a position to realize that there are higher stages of happiness than what can be derived through senses:

Oh Lord! You are sporting with the five elements and you are enjoying bliss eternally, stretching yourself on your bed of Adisesha.

You will assuredly hold Tyagaraja by the hand and protect him.

वागधीश्वरी 'परमात्मुड' - आदि

प. परमात्मुड्ड वेलुगु मुचट बाग देलुसुकोरे (प)

अ. हरियट हरुडट सुरुलट नरुलट

यखिलाण्ड कोटुलट यन्दरिलो (प)

गगनानिल तेजो जल भूमयमगु

मृग खग नग तरु कोटुललो

सगुणमुलो विगुणमुलो सततमु

साधु त्यांगराजादि याश्रितुललो (प)

Bhagavat Svarupa-Philosophical 281

"PARAMĀTMUDU" (Vāgadhīswarī)

Ķnow all well how Paramatma, the Lord, shines in glory in everything, in Hari, Hara, Devas, human beings and in the innumerable worlds; He shines in all the species of crea- tion, made of the five elements, fire, air, earth, water and ether, like animals, birds, mountains, trees and even in the good and the bad and always in holy devotees like Tyāgarāja:

कल्याणि - 'ए तावुनरा' - आदि

T.

ए तावुनरा निलकड नीकु ? येंचि जूड नगुपडवु (ए)

अ सीता गौरी वागीश्वरि यनु

श्री रूपमुलन्दा ? गोविन्द (v)

भूकमलार्कोनिलनभमुलन्दा ? लोक कोटुलन्दा ?

श्रीकरुडगु त्यागराज करार्चित शिव माधव ब्रह्मादुल यन्दा ? (ए)

"Ē TĀVUNARA" (Kalyāni) Which is your place of abode? You are not easily to be found, however closely you are searched for. Is

282 TYÁGARĀJA KIRTANAŠ

it in the feminine forms of the deity like Sita, Gouri and Sarasvati or is it among the five elements of earth, water, fire, air and ether or in the innumerable worlds or among the Trinity ?

शङ्कराभरणम् - 'भक्ति विच्वमीयवे' - रूपकम्

प.

भक्ति बिच्च भीयवे भावुकमवु (ए)

See above page 192

"BHAKTI BICHCHAMIYAVE" (Sankarabharanam) Rama is above salvation, Universal Sakti and Trimūrtis:

See above page 192

वीरवसन्तमू - 'एमनि पोगडुदुरा' आदि

प. एमनि पोगडुदुरा ? श्री राम ! नि- (न्ने

अ. श्रीमन्नभोमणिवंश ल-

लाम भुवन वासि मा राम ! नि- (न्ने)

च.

शिवुनिकि तामस गुणमिच्चि, कमल- भवुनिकि राजस गुण मोसगि सची-

Bhagavad Svarapa-Philosophical 283

धरुनि गर्व हृदयनिगा जेसिन

दाशरथी त्यागराजविनुत! नि-

"ĒMANI PÕGADUDURĀ" (Vīravasantam)

How can I praise you? Oh Rama the indweller of the Universe! You have assigned Tāmasa Guna to Siva, Rājasa Guna to Brahma and made Indra haughty:

ईशमनोहरी 'मनसा श्रीगमचन्द्ु नि - आदि

प.

मनसा! श्रीरामचन्द्रुनि-मरवके, येमरके; ओ (म)

मुनु पुघ्नु बुट्टिन मौनि कृतमौ

मुड्डन्नारध्यायमुल जूचुको (म)

च.

सृष्टि पुष्टि नष्टि जेयु पनुल नि-

कृष्ट मनुचुनु त्रिमूर्तुल कोसगि तुष्टुडै बरगे सद्भक्त मनो- भीष्टमु लिच्चु त्यागराजनुतुनि (म)

" MANASĀ SRĪ RĀMACHANDRUNI" (Isamanōharī)

Oh Mind ! Do not forget Sri Ramachandra ! Don't be careless. Refer to the third and sixth chapters of Vālmīki Rāmayana (to know that he is the supreme). He has

284 TYĀGARĀJA KIRTANAS

assigned the duties of Creation, Preservation and Destruc- tion to the Trinity as being of a lower order and contents himself with the work of fulfilling the desires of the good devotees:

BHAGAVAT - SVARUPA-MUSICAL

आरभि - 'नाद सुधारसंबिलनु' - रूपकम्

प. नादसुधारसंबिलनु न-राकृति याये ; मनसा (ना)

अ. वेद पुराणागम शास्त्रादुल-काधारमौ (नां)

च. खरमुलारुन्ोकटि घण्टल ;

वर रागमु कोदण्डमु

दुर नय देश्यमु त्रिगुणमु ; निरत गति शरमुरा

सरस सङ्गति सन्दर्भमु

गल गिरमुळरा

घर भजन भाग्यमुरा

स्यागराजु सेविंचु (ना)

"NADA SUDHĀRASAMBILANU" (Årabhi)

The Nectar of Nada, which is the basis of all Vedas, Purānas, Agamas and Sāstras, has taken human form (in

Bhagavad Svarupa- Musical 285

Räma); the seven swaras have become the seven bells of the bow ; the Ragas have become the bow itself; the styles Dura, Naya, Desya, have become the three strings of the bow ; the steady pace has become the arrow, the melodious apt variations of phrase have become his speech; singing in devotion has become his very fortune.

सुरटि - 'गीतार्थमु संगीतानन्दमु' - देशादि

प. गीतार्थमु संगीतानन्दमु-नीतावुन जूडरा, ओ मनसा (गी)

सीतापति चरणाब्जमु निडकोन्न

वातात्मजुनिकि बाग देलुसुरा (गी)

हरिहर भास्कर कालादिकर्ममु-

लनु मतमुल मर्ममुल नेरिङ्िन

हरि वर रूपुड् हरहय विनुतड्

वर त्यागराज चरदुड सुखिरा (गी)

"GITARTHAMU" (Surati)

Oh Mind! Behold! Here in Rama you have both the . full significance of the Gita (Vedanta) and the bliss of Music.

This is well known to Hanuman; who constantly wor- ships the blessed feet of Sitapati; he has a thorough mas- tery of the secret of the various creeds centering round Hari, Hara, Bhāskara (Sun), Time, Karma, etc .; he has taken

286 TYAGARĀJA KIRTANAS

the form of the foremost among monkeys; he is adored by Indra; he is the protector of Tyagaraja and is ever happy in being all these:

यदुकुलकाम्भोजि - 'नी दयचे राम' - देशादि

प. नी दयचे राम-नित्यानन्दुडैति (नी)

अ.

नाद ब्रह्मानन्द रसाकृति गल (नी)

च.

चर मृदुभाष! सुस्रमय भूष !

वर त्यागराज वाग्चेलावृत! (नी

"NĪ DAYACHĒ RĀMA" (Yadukulakāmbhōji)

By your grace, I have attained the everlasting bliss: Your physical constitution is of the Essence of Nada Brahma; you are one of soit words ; your ornament is pure musical sound; the words of Tyagaraja are your excelent garment:

हिन्दोळम् - 'सामन वर गमन' - आदि

प.

सामज वर गमन ! साधु हृ-

त्सारसाब्जपाल ! कालातीत ! दिख्यात (सा)

Bhagavad Svarūpa-Musical 287

अ

साम निगमज सुधामयगानवि-

चक्षण गुणशील दयालवाल मां पालय ; (सा) च. वेदशिरोमातृजसप्तखर-

नादाचलदीप सीकृत-

यादवकुल मुरळीवादनवि-

नोद ! मोहनकर! त्यागराजवन्दनीय ! (सा)

"SĀMAJA VARAGAMANA" (Hindōlam)

Oh bewitching Lord, shininq like a beacon light on the mountain of Nada of the seven swaras born of the Pranava which is the source of all Vedanta! Oh adept in the Nectar- like music born of the Sama Veda! Oh you who resorted to the Yadava Race, who delighted in the playing of the flute, protect me, Oh Lord of magnificent gait, the Sun who makes the lotus of goodmen's heart blossom! Oh celebrated Lord who transcends time !

चित्तरञ्जनी - 'नादतनुमनिशम्' - आदि

प.

नादतनुमनिशम्, शङ्करम्

नमामि ; मे मनसा शिरसा (ना)

अ. मोदकर निगमोत्तमसाम-

वेदसारं वारंवारम् (ना)

288 TYAGARĀJA KIRTANAS

च.

सरिगमपधनी वर सप्तखर-

विद्यालोलम् विदळितकालम्

विमलहृदय त्यागराजपालम् (ना)

" NĀDATANUMANISAM" (ChittaranjanI)

I bow to Sankara, the embodiment of Nada, with my mind and body. To Him, the essence of blissful Samaveda, the best of Vedas, I bow every time. To Him, who is de- lighting in the art of seven Svaras, Sa-Ri-Ga-Ma-Pa-Dha-Ni, born of His five faces, Sadyojata etc., I bow; to Him, the destroyer of Kāla, the protector of pure-hearted Tyāgarāja, I bow.

STHAYI-BHAVA-STHIRA-BHAKTI

शंकराभरणम - 'ननु ब्रोवकनु' - त्रिपुट

प. ननु ब्रोवकनु-चिडवनुरा राम (न)

अ. कासुनुवेंतुकग-गन्न रत्नमु रीति दोसमु तोलगिम्प-दोरिकितिवि गानि (न)

च

१. अम्बलि दिनुवेळ-नमृतमब्बिनरीति तुम्बुरु सन्नुत-दोरिकितिवि गानि (न)

Sthayi-Bhava-Sthira-Bhakti 289

२० चेय्यलसिन वेळ देप्प दोरकुरीति

नय्या नापालिटि-नमरितिविगानि (न)

३. आडबोयिन तीर्थ-मेदुरैनरीति

नीड् जोडु लेनि-यिष्टड वैतिवि (न)

४. सिग्गु बोवुवेळ-जीरलब्बिनरीति

नोग्गिमायिण्टिकि वच्चितिविगानि

५. आगम निगम च-यार्थमु नीवनि

त्यागराजनुत-तलचि युन्नातु राम (न)

" NANU BRÖVAKANU" (Sankarābharanam)

Oh Rama! I will not leave hold of you, unless and until you protect me. I have secured you to rid myself of my impurity, just as a man searching for a lost trifling coin comes by a precious jem, just as one expecting ragi-gruel comes by nectar, just as an exhausted swimmer finds a float for his hold and rest, just as a pilgrim starting for Tirtha finds it in front of him, just as a woman, about to lose her modesty, comes by a cloth: Oh you incomparable friend ! I have conceived you as the spirit of the scriptures.

चराळि 'वद्दनुण्डुनदे' चापु

प.

वहनुण्डनदे बहु मेल-वारिजाक्ष (व) 19

290 TYĀGARĀJA KĪRTANAS

अ. अह्म्पु मोमुगल रङ्ग-अनुपम ! मोहनाङ्ग ! (च)

च.

९. बङ्गारु पूल बूजिन्तु-बागुग निन्न सेविन्तु शृङ्गारिश्चि कौगिलिन्तु-चेरि ने निन्नाराधिन्तु (व)

2. मुङ्गलने नटियिन्तु-मुह्दुमाटल देलिन्तु सङ्गीतमु विनुपिन्तु-सारेकु ने सन्तोषिन्तु (च)

३० सत्तमात्रमा नीयन्दु-चित्तमुगानि पोदेन्दु

तत्तरमु दीचुकोन्दु-त्यागराज सुलभुडन्दु (व)

"VADDANUNDUNADĒ" (Varāli)

Oh Lotus-eyed one easily accessible to Tyagaraja! To be with you is best, Oh incomparable Lord of mirrorlike face and enchanting limbs! I shall worship you with flowers of gold, shall do devout service to you, decorate you and embrace you. I shall dance before you, entertain you with charming talk and music and feel happy. You are the embodiment of Satvaguna. My mind is firmly fixed in you and does not go out anywhere. I shall thus have my heart's desire gratified:

सौराष्ट्रम - 'नीवे नन्नेड' चापु

प. नीवे नन्नेड जेसिते ने

नेवरितो देलपुदुनय्य (नी)

Sthayi-Bhava-Sthira-Bhakti 291

अ,

भावाभाव! महानुभाव! श्रीरामचन्द्र !

भावज जनक! ना-भावसु देलिसियु (नी)

च,

१. कोरिन कोरिक लीडेरु ननुचु निन्नु

आराधिश्चिन नन्नु यारडिबेद्ट मेरगादु नादु नेरमेमि? न-

न्नेलुकोर यीलोकमुन निंक (नी)

2. भक्तिलो श्रीरामभक्ति मेलनि शिव

शक्ति सन्ततमु विरक्तितो नुतिजेय

शक्ति जूचि निजभक्तुल बोगडक

व्यक्तिनि जूचि नासक्ति गलिगेनु (नी)

३. पतितपावन संमतमुन सुजन सं-

गति सेयुटकु समरहित रामनाममु

सतमुसेय नी व्रतमु गोरिति गानि, नत जनक कुलाब्ज हित! त्यागराजुनिपै (नी)

"NĪVĒ NANNEDA JĒSITĒ" (Sowrāshtra)

If, knowing my mind, you yourself abandon me, to whom shall I complain ?

I have worshipped you thinking that my desires will be fulfilled, and you harass me; it is not proper; what is my crime? you protect me, now and here.

I have been attracted to you, knowing that the Lord Siva himself has been constantly praising that devotion to

292 TYĀGARĀJA KĪRTANAS

Rama is the best type of devotion and seeing that true devotees are all in rapture over your Sakti. I have taken a resolve always to keep the company of the good and the pious and chant Thy holy Name.

श्रीरंजनी - 'भुविनि दासुडने' देशादि

भुविनि दासुडने पेरासचे

बोंकुलाडितिना? बुधमनोहरा! (3)

अविवेक मानवुल गोरिकोरि

अङन्रोव द्रोक्कितिनाP ब्रोववे; ()

चाल सौख्यमो कष्टमो नेनु

जालि जेंदितिना ? सरिवारिलो

पालमुश्चिन नीडमुश्रिन

पदमुले गति; त्यागराजनुत (भु)

"BHUVINI DĀSUDANĒ" (Srīranjanī)

Have I uttered anything false in the great desire of being your servant ?

Have I taken to the bypaths, seeking men devoid of knowledge ? Protect me.

Sthayi-Bhava-Sthira-Bhakti 293

Great weal or woe, I have not given way to grief: Well treated or ill-treated by my compeers, I have held fast to your blessed feet as my sole refuge:

ननरञ्जनी - 'विडजालदुरा' आदि

प. विडजालदुरा ; ना मनसु विनरा (वि)

अ. अडियासलचे दगिलि ने नार्तिपडिन पदम्बुलनु (वि)

च. तनुवेपतुलकु जनिन मरि कनरानिदि कनुगोनिन निनुगा भाविचि संतसिल्लिति ; श्रीत्यागराजनुत (वि)

"VIDAJĀLADURĀ" (Janaranjanī)

Listen, Oh Rama! It is not possible for my mind to let go its hold on your holy feet, though it may be tossed about in a state of distress caused by entertaining unrealizable desires. Whatever tasks I might undertake, whatever unseeable sights I might see, I have regarded them all as yourself and felt delighted that I did so.

चराळि 'धरनु नी सरिदैवमु' आदि

प. धरनु नी सरिदैवमु गानरा रघुवर (घ)

294 TYĀGARĀJA KĪRTANAS

च. श्रीदाजवन्दन सिन्धुबन्धन

श्रीदशरथनन्दन श्रित हत्स्यन्दन (ध)

२. पाप विमोचन पड्कज लोचन

प्रापगुटकु योचन भक्त्तपालन (ध)

३. साल विदारण सर्व लोकावन

पालय चन्द्रानन पतितपावन (घ)

इन्दिरा भाग्यमा, इनकुलोत्तमा

चन्दमु कनिपिम्पुमा सत्तामात्रमा (ध)

५० पादारविन्दमु भावन कन्दमु

नीदय धन वृन्दमु नित्यानन्दमु (घ)

६. वागीश सन्नुत त्यागराजार्चित

नागशयन पालित नत ! सुचरित ! (ध)

"DHARANU NI SARIDAIVAMU" (Varali)

I have not found in this Universe a God like you: Oh Raghuvara! Do you hesitate still to be my prop? Pray, protect me and show me your grace: Your blessed feet are the sole object of my meditation and your mercy is my wealth and eternal bliss.

Sthayi-Bhava-Sthira-Bhakti 295

माळवी 'नेनरुंचिनानु' - देशादि

प. नेनरुंचिनानु; अन्निटिकि निधानुडनि नेनु ; नीदुपै (ने)

अ. घनाघजीमूताशुग-जलधि गम्भीर! नी पादमुलपै (ने)

च. कलिलो माटल नेर्चुकोनि, कान्तलनु तनयुल ब्रोचुटकै।

शिलात्मुडै बल्क नेरनुर; श्री त्यागराजाप्त ; नीयेड (ने)

"NENARUNCHINĀNU" (Mālavī)

I have fixed my mind on you, on your holy feet, as you are the sole upholder of everything in the Universe, Oh you wind that sweeps away the cloud of heinous sins ! For the sake of maintaining my family and children, I cannot bring myself to be so hard-hearted as to learn and adopt the deceitful modes and talks of this wicked age:

वेगवाहिनी 'चल्लग नातो' आदि

प. चल्लग नातो बल्कुमी राम !

सारसवदन! साधु सन्त्राण ! (च)

अ.

उल्लमुननु नीके मरुलुकोन्नानु

उरगशयन नातप्धु लेश्चक नीवु (च)

296 TYĀGARĀJA KĪRTANAŠ

च. निरुपम शूर! निखिलाधार!

परकामिनिदूर पाप विदार!

सरसिजनेत्र! श्यामळगात्र!

चरत्यागराजहृद्वारिजमित्र! (च)

" CHALLAGA NĀTO" (Vēgavāhinī)

Pray, deign to bless me by lisping a few gentle words to me. Oh Lord! The Protector of the good ! I am irresis- tably attached to you in my heart. Do not take note of my faults: You have found use even for the serpent as your bed.

बेगड - 'नी वेरा कुलधनमु' चापु

प. नी वेरा कुल धनमु सन्ततमु-नी वेरा जीवनुमु (नी)

अ.

ईवरकुनु तेलियकुन्न नानेरमु

देवर क्षमजेसि दयतो नेलुकोर (नी)

च.

१. माधव सीतावरानुज सहित !

मझळकर! परमाद्ुत चरित !

गाधि याग संरक्षण! सतत !

जगतिजाप्त नत जमावृत! विधिविनुत ! (नी)

Sthayi-Bhava-Sthira-Bhakti 297

2. सुजन निचय पाप हिम चण्ड सूर्य ! सुस्वराजित घन रव माधुर्य ! अजमुखारि समर निरुपम शौर्य !

आनन्द कन्द सुन्दर सुरवर्य (नी)

३. राघव ! सर्वोन्नत ! स्वप्रकाश !

रमणीय कर! पाटित लङ्केश

त्यागराज चर ह्दय निवेश!

तरणिशशाङ्क लोचन! जानकीश ! (नी)

"NĪ VĒRĀ KULA DHANAMU" (Bēgada)

You alone are my family wealth. You alone are ever my life. It is my fault that I have not known this till now: Pray, forgive and bless me: Oh Lord Rama! Oh repository of Supreme Bliss ! Oh the highest! Oh self-shining One!

बिलहरि - 'कोरिवच्चितिनय्य' - आदि

प कोरिवच्चितिनय्य, कोदण्डपाणि! निनुने (को)

अ. सूरि विनुत ! येन्तो-सुन्दरमूर्ति वटंचु (को)

च.

१. चित्तमुनकु नीकृप वित्तमनचु चाल (को)

मेंडु गुणमुलचे निण्ड कोन्ावटंचु (को)

राजाधिराज त्यागराजनुत चरित (को)

298 TYĀGARĀJA KĪRTANAS

" KORIVACHCHITINAYYA " (Bilahari)

Oh Kodandapani! King of kings! I have come to you . with intense longing in order that my eyes may feast on your superbly beautiful form and that my mind may have the rare treasure of your Grace to meditate upon, and also on account of the fact that you are replete with countless good qualities:

VYABHICHĀRI BHĀVAS

Autsukya - Longing

for Constant Company-Sannidhi

कोकिलवराळि - 'समुखान निल्व' देशादि

q. समुखान निल्व गल्गुना ? कमलानन ! (स)

अ.

क्षमगल्गु भूतनय ल-

क्ष्मणादि महात्मुल केगानि अन्युलकु (स)

कमलासनाद्यमरदिक्पतुल

कलशवारिधिलो जूड नेरक

गुमि गूडि मोरलिड कार्यमुल गोनसागेनट ; त्यांगराजविनुत (a)

Autsukya-Sanniđhi 299

" SAMUKHANA NILVA " (Kokilavarāli)

Is it given to anybody but Mahātmas, like Sītā, the daughter of ever-forgiving Mother Earth, and Lakshmana to have the rare privilege of being in the blessed presence of ' the Lord ? Even Brahma and other Devas and Dik-palakas, who could not have the fortune to see Him in the Milk Ocean had to join together and pray hard to achieve it:

हरिकांभोजि - 'एन्तरानि तनकेंत' आदि

प. एन्त रानि तन केंत पोनि, नी-चेंत विड्वजाल ; (एं)

अ. अन्तकारि नी चेत जेरि हनुमन्तुडै कोलवलेदा (एं)

च.

९. शेषुद्ध शिवुतुकि भूषुड्ड, लक्ष्मण

वेषियै कोलुव लेदा (एं)

२. शिष्टड्ड मौनि व-रिष्टड गोप्प व-

सिष्टुड् हितुड्ड गालेदा ? (एं)

३० नरवर नीकै-सुरगणमुलल वा-

नरुलै गोल्चग लेदा ? (ए)

४. आगमोक्तमुगु नी गुणमुल श्री

त्यागराजु बाडग लेदा ? (एं)

300 TYĀGARĀJA KĪRTANAS

"ENTARĀNI TANAKENTA" (Harikāmbhōji)

Whatever may come to me, whatever may go away from me, I will never allow myself to be separated from you. Did not Siva stay always by you in the form of Hanuman and serve you ? Did not Adisesha, Paramasiva's ornament serve you in the form of Lakshmana ? Did not the great and austere Vasishtha, the chief among the munis, serve you as friend and counsellor ? Did not the host of Devas come down to earth for your sake to serve as Vanaras ? Has not Tyagaraja sung your virtues praised by the Vedas?

Autsukya - Darsana

कलावती - 'एन्नडु जूतुनो' - आदि

प.

. एन्नड्ड जूतुनो इनकुल तिलक नि- (न्ने)

पन्नगशयन! भक्तजनावन !

पुन्नमचन्दुरु बोल मुखमुनु (4)

धरणिज सौमित्रि भरत रिपु्र वा-

नर यूथपति वरुडांजनेयुड्ड

करुणनु ओक-रोकरु घर्णिम्प ना-

• दरणनु घिलचे नित्नु, त्यागराजार्चित (ए)

Autsukya - Darsana 301

"ENNADU JŪTUNŐ" (Kalavatī)

Oh Protector of Devotees! When shall I have the privelege of seeing your face, like the fullmoon, as you summon for affectionate treatment, one by one, Sīta, Laksh- mana, Bharata, Satrughna, Sugriva and Ānjaneya, who sing your glory ?

लतांगी 'कण्ट जूडा - देशादि

प. कण्ट जूड्मि ; ओक पारि क्रे- (कं)

ar. बंटुडै वेलयु बागुगानि तप्पु

तण्ट लेल्ल मानुकोन्न नम्रु क्रे (कं)

च. अलनाडु सौमित्रि पाद सेव चेलरेगि चेयु वेळ सीततो बल्कि चचिनन्त पुलकांकितुडै बरगिन यटु त्यागराजुनि के (कं)

"KANTĀ JŪDUMI" (Latāngī)

Pray, cast your benevolent look, your sidelong glance, at least once on me, your faithful servant who is ever free from all evil and mischievous tendencies: It should be just like the one which once transported Lakshmana to ecstacy

302 TYĀGARĀJA KĪRTANAS

as soon as it was administered with the loving concurrence of Sīta, while Lakhmana was passionately serving at your feet:

असावेरि - 'रारा मायिण्टिदाक' शादि

प. रारा मायिण्टि दाक रघु- वीरा सुकुमारा म्रोक्केदरा (रा)

अ,

रारा दशरथकुमारा नन्नेऊ- कोरा ताळलेरा (रा)

च. कोरिन कोर्के-कोन सागकने नीरज नयन नी-दारिनि गनि वे-

सारिति गानि साधु जनावन स्वारि वेडलि-सामि नेडैन (रा)

२० प्रोह्ुन लेचि पुण्यमु तोटि बुड्धुलु जेप्पि-ब्रोतुबुगानि मुड्ुगारु नी-मोमुनु जूचुचु वह्दनिलिचि-वारमु पूजिश्चेद (रा)

३. दि नीवनुचु देलियु नन्नु ब्रोव ग्रकुन रावु-करुणनु नीचे जिक्ि युन्न देल मरतुरा यिक श्री त्यागराजुनि-भाग्यमा (रा)

Autsukya - Darsana 303

" RĀRĀ MĀYINTIDĀKĀ " (Asāvēri)

Oh Raghuvira! Tyagaraja's Blessedness! Pray, come to my house; I bow to you. Bless me: I cannot bear the separation any longer. Till now, with unfulfilled desire, I have been in long and vexatious search for you: Pray, do come today at least, in all your glory. My purpose in seek- ing you is to implore you every morning to teach me, to have the privilege of the Darsan of your enchanting face, to stand by your side and worship you every day, and thus be blessed: Believing that you alone are my refuge, I have allowed myself to be in your grip: Why do you forget this and why do you not come to me promptly ?

कलावती 'ओकपारि जूडग रादा' - आदि

प.

ओकमारि जूडगरादा ? (भो)

अ,

सुकविमानसार्चित पाद ! सदा-

शुद्धान्तरङ्ग! मुदंबुतो (ओो)

च. वरुलैन दिगीशुल, चन्द्र विभा-

कर मौनिविरादुल- श्री राम ! नी-

करुणाकटाक्षमु चेत वेलसिरे

गानि त्यागराज सन्नुत (ओ)

304 TYĀGARĀJA KĪRTANAS

"OKAPĀRI JŪDAGA RĀDA" (Kalāvatī)

Oh, the ever pure-hearted, adored in the hearts of the great poets! Can you not once at least cast your look on me? The Sun, the Moon, the Dikpalakas and great seers flourish only through your grace and mercy:

सौराष्ट्रमू -- 'विनयमुननु' -- चापु

प. विनयमुननु कौशिकुनि वेंट चनि नांघृ-

लनु जूचुन देन्नटिको अन्दु-

वेनुक रातिनि नातिजेसिन चरणमु-लनु जूचुनदेन्नटिको (चि)

च. • घनमैन शिवुनि चापमु दुश्िन पाद-

मुनु जूचुन देन्नटिको आ-

जनकराजु पालगडिगिन याका-

कळनु जूचुन देन्नटिको (वि)

२. चनुवुन सीतनु बोट्ट गट्टिन कर-

मुनु जूचुन देन्नटिको कोप-

मुन भृगुसुतु चारबलमन्दुकोन्न बा-

हुवु जूचुन देन्नटिको (वि)

३. चनमुन चनिविराधुनि जम्पिन चेतु-

लनु जूचुन देन्नटि को-अल्ल

Autsukya - Darsana 305

सुनि जनुलनु गनि यभय मिच्चिन हस्त-

मुनु जूचुन देन्नटिको (वि)

४. तनकु ताने काकासुरुनि गाचिन शर-

मुनु जूचुन देनटिको क्षण-

मुन बहुरथमुल पोडि जेसिन यस्-

मुतु जूचुन देन्नटिको (दि)

५. घन बलुडैन वालिनि जम्पिन बाण-

मुनु जूचुन देन्नटिको आ-

वनधि मदगर्वमणचिन सायक-

मुनु जूचुन देन्नटिको (वि)

६. कनिकरमुन विभीषणुनि जूचिन कन्नु-

लनु जचुन देन्नटिको राव- णुनि गोट्टि पेदकपुल लेव जचु ट- ष्टिनि जूचुन देन्नटिको (घि)

७. बनचराधिपुनि चल्लग जूचिन नेत्र- मुनु जूचुन देन्नटिको दिन- मुतु लड्ट वर्धिल्वनु जूयु लोचन-

मुतु ज़चुन देनटिको (वि)

८. घनमैन पुष्पकमुन राजिल्लिन सोग-

सुनु जूचुन देनटिको भर- तुनि गनि चे बट्टु कोनि वच्चिन वेड- कनु जचुन देन्नटिको (वि) 20

306 TYĀGARĀJA KĪRTANAS

कनकपु सिंहासनमुन नेलकोन् ठी-

विनि जूचुन देन्नटिको वन-

मुनुल राजुल गूडि चेयु यलङ्कार- मुनु जूचुन देन्नटिको (वि)

٩٥٠ आगम विनुतुनि यानन्द कन्दुनि

बाग जचुन देन्नडो परम-

भागवतप्रियुनि निर्विकारुनि

रागजूचुन देन्नडो (वि)

9. सागर शयनुनि करुणाजल निविति

वेग जूचुन देन्नडो वर-

त्यागराजाधि देवतुद्ध पोगडुकोन्न

लागु जूचुन देन्नडो (वि)

" VINAYAMUNANU" (Sowrāshtram)

When can I have the Darsan of the blessed feet that followed the lead of Viswamitra in all humility ? Of those, when can I see particularly the foot that turned the stone into a woman ? When am I to see the feet that caused the great bow of Siva to break? When can I see the feet that Janaka washed with milk ? When am I to see the hand that lovingly tied mangalya round Sita's neck ? When am I to see the hand that angrily absorbed back the power of the bow of Parasurama? When am I to see the hands that destroyed Viradha in the forest ? When am I to see the hands that vouchsafed protection to the sages ? When am I to see the arrow that itself saved Kākāsura ? When am I

Autsukya - Kirtana 307

to see the arrow that pulvarised several chariots in a moment? When am I to see the arrow that killed the mighty Vali ? When am I to see the arrow that destroyed the haughtiness of the Ocean ? When am I to see the eyes that benignly looked at Vibhishana? When am I to see the sight of monkeys jumping high in exultation over the fall of Ravana ? When am I to see the eyes that compas- sionately looked at Sugriva ? When am I to see the eyes that showered progressive prosperity on Lanka ? When am I to see the beauty that imparted splendour to the glorious Pushpaka Vimāna ? When am I to see the wonderful sight of your meeting Bharata and holding him in your arms ? When am I to see the grandeur of your graceful occupation of the golden throne ? When am I to see the decoration made by sages and kings together ? When am I to see well the one, adored by the Vedas, who is the repository of bliss? When am I to see Lord, who is dear to the devotees and is devoid of all change, coming towards me? When am I to see promptly the Lord reclining on the sea, the ocean of mercy? When am I to see the way in which Siva and other Gods praised Him ? -

Autsukyā-Kirtana

धन्याशि - 'रामाभिराम' - आदि

q.

रामाभिराम ! मनसु-रंजिल्ल बल्करादा ? (T)

308 TYĀGARĀJA KĪRTANAS

ईमहिनि वेलसिन-देमि सदा नातो (रा)

च. बङ्गारुमेटि पान्युपै भामामणि जानकि शक्गारिंचुकोनि चेलनोंदग निन्नु गनि पोडडचु मल्लेविरुल बूजिंचुचेळ, श्रीहरि सङ्गीतमु बाडुमनि स्वामि त्यागराजुनितो (रा)

" RĀMĀBHI RĀMA " (Dhanyāsi) Oh beautiful Rama! Can you not speak to me why you have come on this earth in words that cheer up my heart? Can you not ask Tyāgarja to sing before you when Sita, shining, well-adorned, worships you with flowers, yourself sitting on the golden bed ?

असावेरी - 'एपनिको न्मिंचितिननि' - आदि

• प. एपनिको जन्मिंचितिननि नन्रेंचवलडु श्रीराम ! ने)

स. श्रीपति ! श्रीरामचन्द्र! नीचित्तमुनकु तेलियदा? (ए)

च. वाल्मीकादि मुनुळ नरुल निन्न वर्णिश्चिरि ; ना याशदीरुना ?

Autsukya-Sravana 309

मेल्मियैयुण्डनु, स्द्गक्तुल मेचुदुरे ? त्यागराजनुत! ने (ए)

ĒPANIKO JANMINCHITINANI (Āsāvērī) Oh ! Sri Rama! Do not think that I have been born for any undefined puropse. Are you not aware of it in your heart ? True, Valmiki and other sages have sung your praise, and the songs may also be good and worthy of the appreciation of pious devotees, but how can my yearning (to sing of you) be satisfied ?

Autsukya-Sravana

सिन्धुरामक्रिया - 'सुधा माधुर्य' आदि

प. सुधामाधुर्य भाषण! सुधाकरानन ! (सु)

अ.

कर्थामृतमुचे बहुकालमु या-

कलि दीरियुन्नातु ब्रोवुमु (सु)

दुरात्मुलगु भू-किरातकुल जेर

रादुनुचु, सुं-दराकार! नी

परायणुल चेलिमि रागोरु, त्याग-

राजनुत ! ओ परात्पर! सुगुणे (डु)

310 TYĀGARĀJA KĪRTANAS

" SUDHĀ MADHURYA " (Sindhurāma Kriyā)

Oh Supreme One, of speech delicious like nectar ! I have been for a long time having my hunger appeased by the nectar of your divine story: Pray, Protect me: For that purpose, I have discarded the company of wicked men and sought the friendship of your Bhaktas.

Autsukya-Sambhashana

भैरवि 'राम कोदण्डराम' - आदि

राम को दण्डराम राम कल्याणराम (रा)

१. राम सीतापति-राम नीवेगति

राम नीकु म्रोककिति-राम नी चेजिक्किति (रा)

२. राम नी केवरु जोडु-रामक्रीगण्ट जूड

राम नेतु नीवाडु-राम नातो माटाडु (रा)

३. राम नाममे मेलु-राम चिन्तने चालु

राम नीवु नन्नेल-राम रायडे चाल (रा)

४. राम नीदोकमाट-राम नाकोकमूट

राम नीगटे पाट-राम नीवाटे वाढ (रा)

Autsukya-Sambhäshanå 311

५. राम नेनेन्दैननु-राम वेरेश्चलेनु राम येन्नडैननु-राम बायकलेनु (रा)

७. राम विराजराज-राम मुखजितराज राम भक्तसमाज-रक्षित त्यागराज (रा)

" RĀMA KODANDA RĀMA " (Bhairavī)

Råma! You are my only refuge: I worshipped you: I am in your hands. Who is there equal to you ? Cast a side-glance at me: I am yours: Pray talk to me: Your holy name alone is great. Your contemplation is enough for me: Bless me, you are enough for me. A word from you is a treasure to me. Songs about you are the only songs. The path that leads to you only is the right path: Whatever may happen, I will not leave you. Under no circumstances can I think of anything else but you:

रागपञ्जरम् 'सार्वभौम' देशादि

प. सार्वभौम! साकेत राम ! मन- सार बल्क राद? देवता (खा)

पार्वती रमणार्चित पाद युग भक्त वन्ध ! परास्र ! दीनबन्धो ! (सा)

मुह्ुमुह्दुग माटलाडिनदि मुन्दुराक सदा वेत जेन्दुचुन

312 TYAGARĀJA KĪRTANAS

कहु कहनुचु चिरकालमुनु

करुगु चुण्ड वलेना? त्यागराजनुत ! (सा)

" SĀRVABHAUMA " (Rāgapanjaram)

Oh King of kings ! Can you not heartily talk to me a few words. The charming words that you spoke before had not reached my ears and as a result I have been uneasy with an unfulfilled desire: Am I only to be living in the hope that on some future occasion I will have the privilege P

प्रतापवराळि 'विननासकोनि' देशादि

प. विननासगोनि युन्नानुरा; विश्वरूपुड! ने (वि)

अ. मनसारग वीनुल विन्दुग, मधुरमैन पलकुल (वि)

च. सीता रमणितो नोम-नगुंट लाडि गेल्चुट

चेत नोकरि कोकरु-जूचि याभाव मेरिगि, सा-

केताघिर निजमगु प्रेमतो बल्कु कोत्मुच्चट

वातात्मज भरतुल विनटल त्यागराजसन्नुत (वि)

Autsukya-Sambhashana 313

" VINANĀSAKONI " (Pratāpavarāli)

I am desirous of heartily feasting my ears with the sweet and loving conversation that passed between you and Sita with mutual understanding of each other's minds while playing at the indoor games. Anjaneya and Bharata were privileged to hear it.

नीलांबरी - ·माटाडवेमि नातो' देशादि

प. माठाउवेमि नातो? माधुर्य पूर्णाधर ! (मा)

अ. साटि दोरकनि राम-खामि ! मदि रजिल्ल (भा)

च.

एदुरेदुरु जूचि येन्दु गानक ना-

हृदयमुन केन्तो हितवु लेक

सदयुड नेनुण्डग समुखमुन दोरिकिते नी-

रदवर्ण ! श्री त्यागराजार्चित ! मुह्दुग (मा)

" MĀTĀDAVĒMI " (Nīlāmbari)

Oh Sweet-lipped one ! Oh Peerless one! Why don't you speak to me to cheer up my heart P Not having found you, in spite of longing and eager waiting, my mind was ill

314 TYĀGARĀJA KĪRTANAS

at ease ; just then you appeared near me; still you won't talk.

Autsukya-Sevana

पूर्णषूडजम्- 'श्रीमानिनीमनोहर' देशादि

प. श्रीमानिनीमनोहर-चिरकालमैनमाट योकटिरा चेमारुबल्क जालरा (श्री)

अ. श्रीमन्तुलौ नी सोदरुल-जेयुरीति पाद सेव कोरितिनि (श्री)

धर्मादयखिल पुरुषार्थमुल-दाशाहु नि रूपमब्बिन मर्मम्बु वेरे युन्नदि-मन्निम्पु मिक त्यागराजनुत! (श्री)

" SRĪ MĀNINĪ MANOHARA " (Pūrnashadjam)

The only one long-cherished desire of mine, which needs no reiteration on my part, is your Pādaseva, in the manner done by your blessed brothers. All the Purushar- thas like Dharma and the secret of Sarupya are entirely different. Pray, forgive me. (Tyāgarāja says that he does not want either the Purusharthas or even Sarupya of the Lord and that his ambition is comparatively humble, viz. the constant service at the Lord's feet).

Autsukya-Sevana 315

सावेरी 'तीरुना नालोनि' जुम्प

प.

तीरुना नालोनि दुग्ध (ती)

अ.

सारमौ नीराद-सारसमु नादु हद-

यारविन्दमुन बेट्टि कटु कोक (ती)

च.

१ कम्मविल्तुनि गन्न-कान्तिगलिगिन हरी-

मुम्मारु पालन्नमु-भुजिम्प बेटटि

कम्मनिविड मोसगि-कडरत्नमुल मेरयु

तम्मपडिगनु बटटि-ता निपुड् निलुवकनु (ती)

२. अनुदिनमु नीदु पा-दाब्जमुल नोत्तुचुत

कनकमयमौ सुरटि करमुनिडि विसरि

घनमैन फणितल्प-मुन नुश्चि पाडुचुनु

कनुलार सेविश्चि कालमुल गडपकनु (ती)

राजधि राज सुर-राज चन्दित पाद

श्री जानकीरमण-भङ्गार जलघे

राजधरुडगु त्यागराज पूजितुडनुचु

राजिलु नी कीर्ति राजिग बोगडकनु (ती)

316 TYĀGARĀJA KĪRTANAŠ

TĪRUNĀ NĀLONI DUGDHĀ (Sāvēri)

Will my passionate desire be gratified, until and unless I instal and hold your blessed feet in the lotus of my heart unless and until I offer you thrice good milk and rice, fine betel leaves and stand by your side, holding the gem- bedecked spitoon, until and unless I stroke everyday your lotus feet, fan you with golden-handled fan, put you on the big Serpent-couch, spending time seeing you to my eyes' content, singing pleasingly your glories f

Nirveda-Dejection, Despondency

मार्गहिन्दोळम् 'चलमेलरा' देशादि

चलमेलरा? साकेत राम ! (च)

अ.

चलचि भक्ति मार्गमुतोनु निन्नु

बर्णिचु चुन्न नातो (च)

एन्दु बोदु ने नेमि सेयुदुनु?

येचोट ने मोर बेहुदुनु

Autsukya-Nirveda 317

दन्धनलतो ब्रोह् पोवलेना !

ताळ जालर ; त्यागराजनुत! (च)

" CHALAMELARĀ " (Mārgahindolam)

Why are you cross with me who have loved you and

have been singing your praises with intense devotion P

Where could I go ? What could I do P To whom could I

complain ! Is my time to be wasted in all this trickery P

I cannot stand it.

पूर्णचंद्रिका 'श्री राम राम' जुम्प

प. श्री राम राम जगदात्म राम

श्रीराम रघुराम पाहि परमात्म (श्री)

च.

٩٠ ज्योतिमयाखण्डरूप ! राम

भूतेश विनुतापहृतभक्ताप (श्री)

२. सर्वप्रहाधारभूत : राम

गीर्वाण मुनिवन्ध! सुजनेष्रदात ! (श्री)

318 TYĀGARĀJA KĪRTANAS

योगिजनहृदयाब्जमित्र! राम.

भोगिशायी घृणारसपूर्णनेत्र ! (श्री)

४. श्रीदान्त! शान्त निर्वाणफलद

वेदान्तवेद्यावनीसुरत्राण! (श्री)

५. त्वां विना नान्यत्र जाने राम

त्वा विना का गतिर्जानकीजाने (श्री)

६. धीर भवसागरोत्तरणी ! राम

सारतर! श्री त्यागराजनुतचरण (श्री)

" SRĪ RĀMA RĀMA " (Pūrnachandrikā)

Oh Råma! Soul of the Universe, save me; I know nothing beyond You; without You what refuge is there for me P

नायकी - 'नी भजन गान' आदि

प.

नी भजन गान रसिकुल ने-नेन्दु गानरा ; राम (नी)

अ.

श्री भवसरोजासनादि शची मनोरमण बन्ध! इललो (नी)

Autsukya-Nirveda 319

व. सगुण निर्गुण निजमुदब्बरलनु

षण्मतमुल मर्म मष्ट सिड्ुल

चगलुजूप संतसिल्ल र्गंटिनि ;

वरानन! त्यागराज विनुत ! (नी)

" NĪBHAJ ANA GĀNA ' (Nāyakī)

Oh Blessed one, worshipped by the Trinity and Indra ! I have not found here anywhere those that delight in singing of you.

I have (in vain) explored fully the Saguna Märga and the Nirguna Marga, truth and falsehood, the six schools and the eight siddhis.

मानवती 'ए० रितो नेदेल्पुदु' - देशादि

प. एवरितो नेदेल्पुदु ? राम! नालोनि जालिनि (ए)

अ. कवगोनि सदा भजन सेय-गार्यमुलन्नि वेराये (ए)

गणनाथु जेय गोरग

गड्डवानरुडै तीरेगा

320 TYĀGARĀJA KĪRTANAS

गुणमय मायांबुद समीर !

गोपाल ! त्यागराजनुत! (ए)

" EVARITO NĒDELPUDU (Mānavatī)

Oh Embodiment of all good qualities ! Oh Dispeller of Maya ! To whom shall I unburden my agony ? My constant Bhajana has not produced the desired result-the reverse has been the end-an attempt to make an idol of Ganesa has resulted in my making a monkey:

शुद्धबङ्गाळ - 'तोलि ने जेसिन' आदि

प. तोलि ने जेसिन पूजा फरमु देलिसेनु ; नापालि दैवमा (तो)

अ. पलुविधमुल ने दलचि करगगा

बलुकक नीवट नेनिट्ठ काग (तो)

च. सरिवारललो चौक जेसि उ.

दर पोषकुलनु पोरुगुन जेसि; हरिदास रहित पुरमुन बेसि ; दरि जूप कुण्डग, त्यागराजार्चित (तो)

Autsukya-Nirvęda 321

"TOLINE JĒSINA PŪJĀPHALAMU" (Suddha Bangāla)

It must be the effect of my (defective) worship in prevtous births that, though I have been thinking and pining in several ways, you are irresponsive, myself remain- ing here and yourself there. You have left me to the ridicule of my compeers, in a place bereft of devotees and full of people whose only concern is to live somehow, and you have not shown me a way out.

स्वरावळि "प्रारब्ध मिट्टुण्डग' झम्प

q. प्रारब्ध मिटटुण्डग नोरल नन बनि लेदु नीवुण्डग (प्रा)

अ. बाल गुणशील जनपाल ! वरद ! कृपाल-

वाल! कालातीत ! शूलधरवितुत! ना (प्रा)

चे. उपकारि नेनैते नपकारु लव्येदर

कृपजूचिते मिगुल नेपमुलेञचेदरय्य

चपल चितुल भक्तवेषुलैननु जूच्ि

शत्रुवु लय्येदरु! श्रीत्यागराजाप्त ना (प्रा)

" PRĀRABDHAMITTUNDAGĀ " (Swarāvali)

When my own past karma is like this, and you too are there, Oh all-merciful one, the giver of boons, there 21

322 TYĀGARĀJA KĪRTANAS

is no purpose in blaming others: Those whom I help do me harm. When I show mercy to others, they level unfounded charges against me. Fickle-minded people who put on the garb of Bhaktas become my enemies:

कोकिलध्वनि 'तोलि नेनु जेसिन - आदि

1 q. तोलि नेनु जेसिन पूजा फल मीलागे (तो)

वेल वेसि तीयग वच्चुना? वेत दीरुना? मनसारग (तो) .

च. परमात्म ! नी कायास बड

बनि लेदुरा, करुणाकर!

चर भक्तवेसमु वेयु वेळ वर्ज कालमेमो त्यागराजनुत! (तो)

"TOLI NĒNU JESINA" (Kokila Dhwani)

This after all is the fruit of the worship I did in my previous births with all my heart ! Can I purchase with money what I seek ? Will my distress end ? You need not worry yourself, Oh Abode of mercy ! Probably, I began my role of Bhakta at an inauspicious time:

Autsukya-Nirveda 323

बिलहरि - 'तोलि जन्ममुन' झम्प

प. तोलि जन्ममुन जेयु-दुड्डकु देलिसेनुराम (तो)

अ. फलमेमो यरचेति पुंटि कहमु वले ना (तो)

च. रागि पयिरुल चेन्त रम्यमौ वरि मोलक

राजिल्ल नेर्चु नटरा ?

नागशयन ! त्यागराज पापमुतोनु

नाम पुण्यमु चेलगुना ? (तो)

" TOLI JANMAMU" (Bilahari)

I have now known the sins I had committed in my previous births. I have known also their results: They are clear as a fruit in the palm of the hand, which does not need a mirror to show it: Just as a fine paddy sprout will be in an incompatible company amidst ragi crop, the merit of your holy name will also be so in the midst of my sins:

शहान 'एमानतिच्चेदवो रूपकम्

प. एमानति च्चदवो - एमेश्िनावो (ए)

324 TYĀGARĀJA KĪRTANAS

अ ना माटलुचिनवो ? राम! नातलव्नाळेमो ? (ए)

च. यशमायुवुसङ्गक्तियु येकान्त चित्तमु सुशरीरमोसझ्ेडु भा - सुर त्यागराज विनुत (ए)

"EMĀNATICHCHEDAVO " (Sahāna)

What have you ordained for me and what have you thought of me, Oh Rama! You are not likely to listen to my words: I don't know what my fate is. You are the giver of fame, longevity, devotion, single-mindedness and a healthy body.

ATMAGARHANA & NAICHYANUSANDHĀNA (Self-depreciation and recounting his short comings)

शुद्धसावेरि - 'ओरुल नाडुको' - आदि

प. ओरल नांडुको वलसिनदेमि

परमपावन! श्री राम ! (ओ)

अ. परितापमु ताळक मोरलिडगा

करुण लेक नीवे ननु जूडग (ओ)

च. १. मश्चिवारि सहवासमु बासि

कोश्चेपु नरुल कोरकु नुति जेसि

Ätmagarhana & Naichyānusandhana 325

येश्विन कार्यमु गूडनि गासि स

हिंच कुण्डेडिदि नापेरु वासि (ओ)

२. राशियनुचु नरुलनु चेबूनि

वासियुण्डेडिदि भवानि - याशप्रिय? ने सुन्दु रानि

जेसिन कर्भ मनुकोवलेगानि (ओ)

३. देव त्यागराजविनुत! सनक-

भावनीय! रघुकुलतिलक!

ईवरकुनु नादु तनुवलयक

नीवे तेलसुकोवले गाक (ओ)

" ORULANADUKO " (Suddha Sāvēri)

Oh Rama ! What is the use of blaming others when you yourself treat me without mercy when I appeal to you unable to bear my troubles, when I have given up the com- pany of the good and have taken to flattering small men, when the luck of my name is such that I have to suffer without any of my desired objects being achieved, when luck will come to man accordingly as fate takes him by hand, when I should attribute (my present position) to my past karma, when you yourself must know why my body should undergo such suffering all this while ?

326 TYĀGARĀJA KĪRTANAS

आहिरि 'एटुल गापाडुदुवो' - त्रिपुट

प. एटुल गापाडुदुवो ? श्रीरामचन्द्र ! न. (ने)

अ, मटुमाय - संसारमन्दुदगिलिन न (न्ने)

च. ุ . अनुदिनयनु दार तनय वर्गादुल बा- लनमु जेयुकोरकु - धनमुलु गलिगिन

मनुजुल बोगडि यार्जिचिन पैकमुल जूचि

तनकु सरिलेदनि बिगुवुनदिरिगिन न- (ने)

कायजजनक! ना प्रायमु लेलनु

माया पूरितुलैन - दायादुलचेत

सायपर्यन्तमु गाय क्लेशमु जेंद-

नायनुगानि ; मौनिध्येय ! निन्नु देलियलेनि न- (न्ने)

३. सतमनि बान्धवुल जतनु नम्मि मदिकि हितवुलेक ओ पतितपावन ! सं-

ततमु, त्यागराजहित सुरनिकर पू-

जित! निन्ने शरणु जोच्चितिगानि ; राम ! म- (भे)

" ETULA GĀPĀDUDUVO " (Āhirì)

How are you going to protect me, who had got entang- led in the meshes of māyā of Samsāra, who have been proudly going about considering none as my equal, as a

Atmagarhana & Naichyanusandhana 327

result of the wealth earned by flattering rich men for maintaining wife and family, me whose lot had been per- petual physical suffering at the hands of wily agnates and who got incapacitated thereby to know you; me who all his life believed in the permanence of the company of relations (discarding you), but realizing late in life its profitlessness, (shamelessly) sought refuge in you in the end ?

गौळ 'दुडुकु गल' आदि

q. दुड्डकु गल नन्न दोर कोडकु ब्रोचुरा? येंतो (दु)

अ. कडु दुर्विषयाकष्टुडै - गडिय गडियकु निण्डारु (दु)

१. श्री वनिताहत्कुमुदाब्जा वाडमानसगोचर (डु)

२. सकल भूतमुल यन्दु नी वे युण्डग मदिलेक पोयिन

चिरुत प्रायमुनाडे भजनामृत रसविहीन कुतर्कुडैन (डु)

परधनमुलकोरकु नोरुल मदिनि करग-

बलिकि कडुपु निम्प दिरिगिनद्टि

५० तनमदिनि भुविनि सौख्यपु जीवनमे यनुचु

सदा दिनमुळ गडिपे (दु)

328 TYĀGARĀJA KĪRTANAS