Tyagaraja's body of work is simply fascinating! Tradition says that he composed 24,000 kritis- as many kritis as verses in the Ramayana. However, only about 700 of them are available today. A careful study of even some of his prominent songs reveals a wealth of information- topics ranging from mythology, philosophy, musicology, incidents in Tyagaraja's own life.... to his unique relationship with Lord Rama.
In Sogasuga mridanga taalamu, the well-known kriti in the raaga Sriranjani, Tyagaraja systematically lays down a set of 11 rules that every musical composition should follow.
Why analyze.....!?
You can of course stretch out on an "easy-chair", a cup of hot filter-coffee in hand, a Saturday afternoon, all worries kept temporarily at bay, close your eyes momentarily.... switch on the tape-recorder and allow the wafting melody of Sogasuga mridanga taalamu.. (preferably an old recording of MS Subbulakshmi) mingle with the aroma of coffee to create an ethereal effect! You click your tongue in absolute contentment....! It is indeed sogasuga (verily swarga itself!) regardless of whether you know the meaning of the song or not!
So why analyze....!?
At times, the analytical mind is not satisfied with the general salubrious effect of music. It is like a child with a Bourbon biscuit- rather than bite into it in full, it prefers to take it apart and lick the cream off first! You just feel that certain kritis need to be dissected, probed, scrutinized and enjoyed piece-meal....!
Here is an attempt to communicate some points in this song...a needless exercise undoubtedly.... but here you go!
The big picture:
"Running meaning" of the song:
Pallavi:
Who is that devotee who can impress you (Rama) (with songs sung)
to the pleasant accompaniment of the mridanga ?
Anupallavi:
(With songs) conveying the truth of the upanishads, imbued with purity of notes...
Who is that devotee.... ?
Charanam:
(With songs) having prosodical beauty and appropriate pauses, tranquility and devotion,
Sweet as grape essence, containing the navarasas,
Is Tyagaraja capable of singing your praise in such a manner... Shree Rama ?
The phrases need to be re-ordered to have a better flow. Three main topics are covered in these 11 rules:
(a) Composition's subject: Rules 1-2
(b) Attention to tools: Rules 3-8
(c) Effect of the composition: Rules 9-11
Finally, we will compare the rules listed by Tyagaraja with related ideas in an ancient work- Saundarya Lahari by Adi Shankara.
The Rules:
Tyagaraja says:
(1) A kriti should reflect the message of the Upanishads- the "nigama-shirortamu". The Vedas are often called "nigama". "Shirah" means "head". Taken together, nigamashirah refers to the acme of the Vedas i.e. the Upanishads. (The Upanishads are also called by various names like gnyaana-kaanda and Vedanta.)
The kriti should bring out the primary teaching of the Upanishads- It should speak about the Ultimate Reality and the means of reaching It.
(2) It should be "nija-vaak"- The work should reveal the essential Self (nija), the atma, the Spirit. What was hinted in the previous rule as the message of the Upanishads is clearly stated here. This phrase reminds us of "nija-vichaaranam" from Upadesha Saara of Bhagwan Ramana Maharishi (verse 19). In that context too, nija-vaak or nija-vichaaranam was interpreted as Self enquiry (not independently, but with the aid of a teacher and scripture) to arrive at our essential nature.
(3) Swara-shuddhi- purity of notes in the composition- In this context, it could mean adhering to the contours of the chosen raaga while singing and not deviating from it through usage of anya-swaras (foreign notes) or controversial swara patterns (unwanted prayogas/sangatis).
Of course, it also means that the vocalist should sing in tune! That minimum swara-shuddhi is assumed.
(4) The composition should be imbued with a pleasant rhythm (taala)- sogasuga (pleasant) mridanga taalamu. The sahitya or lyrics should not be drowned in the din of the drum-beats as we find in present-day music!
(5) The kriti should follow the rules of Yati- "prosody", choice of appropriate syllables and words to fit the metre.
(6) Vishrama- The composition should be punctuated with appropriate pauses, "points of relaxation"...kind of a breather between lines or between stanzas to allow the listener to relax and not be overwhelmed by the intensity of music.
(7) Sadbhakti- Soaked in bhakti, devotion. This does not necessarily mean that the music will be dull and monotonous! In the nava-vidha bhakti classification, (9 forms of devotion outlined in the Bhagavatam by Prahlada), the devotee relates to the Lord in a variety of ways- as a servant (daasyam), as a friend (sakhyam) etc.
(8) Virati- Two meanings can be given for virati. Since the previous word is sadbhakti, virati qualifies bhakti by indicating that it should be "vairagya janya bhakti" (virati) or "jignyaasu bhakti" (to borrow a term from the Geeta). We can relate to the Lord as a devotee with either a material end (rati) in mind or with a spiritual motive (virati). Tyagaraja confirms that a kriti should be spiritual in nature. Terrestrial themes may have a place elsewhere, but a kriti is essentially devotional music.
One commentator takes virati as "compound-words which can be split easily, without resulting in controversial meanings". But the first meaning of virati is more appropriate considering the placement of the word in the composition.
(9) Filled with "Draaksha-rasa". Typically, "madhu" (honey), "ksheera" (milk) and "draaksha" (grapes) are used to convey sweetness in literature. The composition should intoxicate us with its sweetness!
(10) Soaked in "Nava-rasa": The ability of a composition to evoke one (or more) of the 9 moods or rasas. (There are raagas for each rasa as we will see in subsequent posts.)
(1) adbhuta (the feeling of wonder, vismaya or astonishment),
(2) veera (the feeling of valour or bravery)
(3) karuna (the feeling of compassion, of sympathy, which "tugs your heart")
(4) raudra (the feeling of anger)
(5) shaanta (the feeling of peace)
(6) beebhatsa (the feeling of disgust)
(7) bhaya (the feeling of fear)
(8) shringaara (the feeling of love)
(9) haasyam (laughter)
Tyagaraja emphasises that he alone is a true composer, a dheera- who follows the above rules and thereby stuns, enchants and captivates (sokka jeyu) Tyagaraja's Ishta-devata, Lord Rama.
Needless to say, the dheera is none other than Tyagaraja Himself. The more we look at his compositions, the more we admire him.. for the treasure trove that he has left for us!
Why the word "Dheera":
Tyagaraja chooses an uncommon word "dheera" to describe the ideal musician.
A little scrutiny gives some answers. The most common word that the Upanishads use to describe a spiritual Master is dheera. Sometimes, a commited spiritual aspirant is also called "dheera". Mundaka Upanishad says "paripashyanti dheeraah" and "ativartanti dheeraah". Again, "matva dheerah na shochati" (Katha Upanishad). Also, "bhuteshu bhuteshu vichitya dheeraah" (Kena Upanishad).
Thus, in keeping with his rule that a composition should convey the message of the Upanishads, Tyagaraja himself chooses words from the Upanishads.
In the kriti "Atu-kaaraadani" in the raaga Manoranjani, Tyagaraja acknowledges that he has studied the Upanishads- veda shaastropanishad vidudaina (pronunciation key: in 'vidu', 'd' pronounced as 'the'; in 'daina', 'd' as in 'dog') and it is evident in his language.
The Saundarya Lahari of Adi Shankara:
Master poets often bring in a little suggestion, a hint, a turn of a phrase- which immediately reminds us of a completely different work. Many of the above ideas of Tyagaraja are reflected in the Saundarya Lahari, Adi Shankara's famous work on Goddess Parvati. We take a few examples here to show how the language and ideas are similar.
Adi Shankara describes Parvati as "gati-gamaka-geetaika nipune" (verse 69)- the One who is adept (nipunah) at rhythm (gati)-overtones in swara/notes (gamaka)- and sahitya/lyrics (geeta). Taala and gati are synonyms. Both convey rhythm. This is Tyagaraja's "sogasuga mridanga taalamu"!
In the same verse, Shankara emphasizes "adherence to the three graamaas". We seem to have lost the classification in terms of graamaas. Musicologists talk about "sa- graama", "ma-graama" etc. Loosely, it can be tied to the concept of a raaga. It fits nicely to the "swara shuddhi" that we mentioned earlier and the need to stick to the contours of the chosen raaga.
At another point, Shankara uses the expression "shrutinaam moordhaanah" (verse 54) as a synonym for the Upanishads. Shruti is the same as Tyagaraja's "nigama" (Vedas). "Moordhaanah" is "shirah" (head). Thus, shrutinaam moordhaanah is the same as nigama-shirah- to convey "the Upanishads"!
(Note how Tyagaraja launches into "nigama-shiro" in the second stanza (anu-pallavi) with the sequence of notes- "ni-da-ni-Sa-Sa" (check out the link below). It is evident that the increasing swaras reaching out to the "Sa" in the upper octave is meant to create a dramatic effect of scaling the "peak of the vedas". The first "ni" coinciding with "nigama" acts as a swaraakshara too!)
A devotee of the Goddess is sure to gain the power to compose poetry with the sweetness of "madhu", "ksheera" and "draaksha"- says Shankara (verse 15). This is the draaksha-rasa that Tyagaraja also refers to.
In verse 66, Adi Shankara paints a picture of Goddess Parvati enjoying Saraswati's veena recital. It appears that Saraswati also sang while she played the veena. Lord Shiva's varied exploits, his boundless glories- vividham apadaanam pashupateh formed the subject matter of Saraswati's composition, the verse says. Tyagaraja's rules of "sadbhakti", "virati" (i.e. no material themes) and the alignment to the teaching of the Upanishads "nigama shirortama" match Saraswati's subject in the Saundarya Lahari! Saraswati devi also follows Tyagaraja's rules by choosing the content of the Upanishads in her song! And in which Upanishad is Lord Shiva mentioned?
Lord Shiva figures prominently in the Kaivalya Upanishad as a personal God, as the vishwarupa (as the very cosmos) and finally as "Arupa Shiva" (the Ultimate Reality).
The nava-rasa that Tyagaraja alludes to, is prominently presented in the Saundarya Lahari in multiple places. The verse starting with "shive-shringaaraardra" (verse 51) gives one example for each of the navarasas.
Shankara uses "nava-rasa" explictly in another verse (verse 41) to mention the feelings evoked in Shiva's thaandava and Parvati's laasya style of dancing.
Finally "sokka jeyu" is the ability to hold the audience in a trance- totally "benumbed", as we saw in Tyagaraja's kriti. A related term in the Saundarya Lahari (verse 63) can be gleaned from the metaphor of the "chakora birds". The birds allegorically refer to devotees of the Goddess. Shankara says that the birds are "numb" (jadima) because they have drunk the moonbeams which are excessively sweet (ati-rasitaya) emanating from the Goddess's moon-like face. What imagery!!
Coming to think of it, we can stretch this point a little further by dwelling on the moon (chandra). Tyagaraja wants to numb Rama"chandra" (as Rama is frequently addressed... He is always as cool as the moon!) with his flawless composition. The moon is... as it were... numbed by Tyagaraja. The chakora bird example is exactly the opposite situation. The Goddess's face is the moon.. which numbs the bird!
Hope all this is not too complicated... and you're not too numb to continue further!!
Question-answer format:
Many of Tyagaraja's compositions begin with a question in the pallavi (first stanza). "Dvaitamu sukhama, advaitamu sukhama?" (Does dvaita give happiness or does advaita?) "Marugelara..O Raghava" (O Raghava, why (elara) do you conceal yourself (marugu) from me?
So too, in Sogasuga... the first stanza actually reads as follows: "With songs rendered to the pleasant accompaniment of the mridanga, who is that "dheera" who can enchant (Lord Rama)?"
If we take the Saundarya Lahari, the first verse is again in the form of a question- "shiva-shaktyaa yukto..." Only if united with Shakti, Shiva is able to create the world. If not united with Shakti, Shiva cannot even move, isn't it (khalu)?
There seems to be a common style in these works- raise a question to capture your attention and subsequently answer it.
Sri-ranjani:
The consonant "ra" denotes the colour red. Words like "ranjanam" indicate a certain "redness" but typically used to convey "enjoyment" as in expressions like "so-and-so sings in a jana-ranjakam manner". Of all the colours that Adi Shankara uses to describe the Goddess, he highlights "red" in the Saundarya Lahari- "aruna" (verse 16), "sakalam arunaabham trinayanam" (verse 23). Ranjanam itself is used in verse 16. That said, what is the raaga for Tyagaraja's Sogasuga mridanga taalamu? It is Sri-ranjani!!
It looks as if there is a hidden message through the choice of the raaga; the eleventh rule for a musical composition- it has to be enjoyable (ranjakam)!
Finally....!
Tyagaraja and Adi Shankara couldn't be further apart, separated by more than a 1000 years. The context is completely different in these two works. Some of the comparisons in this article may be laboured and contrived, but the similarity in language and ideas is undeniable.
With this introduction, we will move onto a brief life-sketch of Tyagaraja in the coming posts. May be, we can look at a few kritis and analyze them in the context in which they were sung.
Who else.... but MS Subbulakshmi can sing "sogasuga mridanga taalamu" and make us swoon.... "sokka jeyu"!?
http://www.shivkumar.org/music/originals/03b-sogasuga-sriranjani-krithi-mss-misc02.mp3
P.S: As mentioned in the previous post, Vishakha Hari's harikathas on 'Tyagaraja's Life' and 'Pancharatna Kritis' have been truly inspirational. Would have never looked at the sahitya of some of these kritis otherwise!
In Sogasuga mridanga taalamu, the well-known kriti in the raaga Sriranjani, Tyagaraja systematically lays down a set of 11 rules that every musical composition should follow.
Why analyze.....!?
You can of course stretch out on an "easy-chair", a cup of hot filter-coffee in hand, a Saturday afternoon, all worries kept temporarily at bay, close your eyes momentarily.... switch on the tape-recorder and allow the wafting melody of Sogasuga mridanga taalamu.. (preferably an old recording of MS Subbulakshmi) mingle with the aroma of coffee to create an ethereal effect! You click your tongue in absolute contentment....! It is indeed sogasuga (verily swarga itself!) regardless of whether you know the meaning of the song or not!
So why analyze....!?
At times, the analytical mind is not satisfied with the general salubrious effect of music. It is like a child with a Bourbon biscuit- rather than bite into it in full, it prefers to take it apart and lick the cream off first! You just feel that certain kritis need to be dissected, probed, scrutinized and enjoyed piece-meal....!
Here is an attempt to communicate some points in this song...a needless exercise undoubtedly.... but here you go!
The big picture:
Pallavi:
Sogasugaa Mridanga Taalamu Jata Gurcchi Ninnu Sokkajeyu Dheerudevvado
Anupallavi:
Nigamashirortthamu Galgina Nija Vaakkulato Svara Shuddhamuto
Charanam :Yati Visrama Sadbhakti Virati Draakshaarasa Navarasa Yutakrtiche Bhajiyinche Yukti Tyaagaraajuni Taramaa (Shree) Raama
Anupallavi:
Nigamashirortthamu Galgina Nija Vaakkulato Svara Shuddhamuto
Charanam :Yati Visrama Sadbhakti Virati Draakshaarasa Navarasa Yutakrtiche Bhajiyinche Yukti Tyaagaraajuni Taramaa (Shree) Raama
"Running meaning" of the song:
Pallavi:
Who is that devotee who can impress you (Rama) (with songs sung)
to the pleasant accompaniment of the mridanga ?
Anupallavi:
(With songs) conveying the truth of the upanishads, imbued with purity of notes...
Who is that devotee.... ?
Charanam:
(With songs) having prosodical beauty and appropriate pauses, tranquility and devotion,
Sweet as grape essence, containing the navarasas,
Is Tyagaraja capable of singing your praise in such a manner... Shree Rama ?
The phrases need to be re-ordered to have a better flow. Three main topics are covered in these 11 rules:
(a) Composition's subject: Rules 1-2
(b) Attention to tools: Rules 3-8
(c) Effect of the composition: Rules 9-11
Finally, we will compare the rules listed by Tyagaraja with related ideas in an ancient work- Saundarya Lahari by Adi Shankara.
The Rules:
Tyagaraja says:
(1) A kriti should reflect the message of the Upanishads- the "nigama-shirortamu". The Vedas are often called "nigama". "Shirah" means "head". Taken together, nigamashirah refers to the acme of the Vedas i.e. the Upanishads. (The Upanishads are also called by various names like gnyaana-kaanda and Vedanta.)
The kriti should bring out the primary teaching of the Upanishads- It should speak about the Ultimate Reality and the means of reaching It.
(2) It should be "nija-vaak"- The work should reveal the essential Self (nija), the atma, the Spirit. What was hinted in the previous rule as the message of the Upanishads is clearly stated here. This phrase reminds us of "nija-vichaaranam" from Upadesha Saara of Bhagwan Ramana Maharishi (verse 19). In that context too, nija-vaak or nija-vichaaranam was interpreted as Self enquiry (not independently, but with the aid of a teacher and scripture) to arrive at our essential nature.
(3) Swara-shuddhi- purity of notes in the composition- In this context, it could mean adhering to the contours of the chosen raaga while singing and not deviating from it through usage of anya-swaras (foreign notes) or controversial swara patterns (unwanted prayogas/sangatis).
Of course, it also means that the vocalist should sing in tune! That minimum swara-shuddhi is assumed.
(4) The composition should be imbued with a pleasant rhythm (taala)- sogasuga (pleasant) mridanga taalamu. The sahitya or lyrics should not be drowned in the din of the drum-beats as we find in present-day music!
(5) The kriti should follow the rules of Yati- "prosody", choice of appropriate syllables and words to fit the metre.
(6) Vishrama- The composition should be punctuated with appropriate pauses, "points of relaxation"...kind of a breather between lines or between stanzas to allow the listener to relax and not be overwhelmed by the intensity of music.
(7) Sadbhakti- Soaked in bhakti, devotion. This does not necessarily mean that the music will be dull and monotonous! In the nava-vidha bhakti classification, (9 forms of devotion outlined in the Bhagavatam by Prahlada), the devotee relates to the Lord in a variety of ways- as a servant (daasyam), as a friend (sakhyam) etc.
(8) Virati- Two meanings can be given for virati. Since the previous word is sadbhakti, virati qualifies bhakti by indicating that it should be "vairagya janya bhakti" (virati) or "jignyaasu bhakti" (to borrow a term from the Geeta). We can relate to the Lord as a devotee with either a material end (rati) in mind or with a spiritual motive (virati). Tyagaraja confirms that a kriti should be spiritual in nature. Terrestrial themes may have a place elsewhere, but a kriti is essentially devotional music.
One commentator takes virati as "compound-words which can be split easily, without resulting in controversial meanings". But the first meaning of virati is more appropriate considering the placement of the word in the composition.
(9) Filled with "Draaksha-rasa". Typically, "madhu" (honey), "ksheera" (milk) and "draaksha" (grapes) are used to convey sweetness in literature. The composition should intoxicate us with its sweetness!
(10) Soaked in "Nava-rasa": The ability of a composition to evoke one (or more) of the 9 moods or rasas. (There are raagas for each rasa as we will see in subsequent posts.)
(1) adbhuta (the feeling of wonder, vismaya or astonishment),
(2) veera (the feeling of valour or bravery)
(3) karuna (the feeling of compassion, of sympathy, which "tugs your heart")
(4) raudra (the feeling of anger)
(5) shaanta (the feeling of peace)
(6) beebhatsa (the feeling of disgust)
(7) bhaya (the feeling of fear)
(8) shringaara (the feeling of love)
(9) haasyam (laughter)
Tyagaraja emphasises that he alone is a true composer, a dheera- who follows the above rules and thereby stuns, enchants and captivates (sokka jeyu) Tyagaraja's Ishta-devata, Lord Rama.
Needless to say, the dheera is none other than Tyagaraja Himself. The more we look at his compositions, the more we admire him.. for the treasure trove that he has left for us!
Why the word "Dheera":
Tyagaraja chooses an uncommon word "dheera" to describe the ideal musician.
A little scrutiny gives some answers. The most common word that the Upanishads use to describe a spiritual Master is dheera. Sometimes, a commited spiritual aspirant is also called "dheera". Mundaka Upanishad says "paripashyanti dheeraah" and "ativartanti dheeraah". Again, "matva dheerah na shochati" (Katha Upanishad). Also, "bhuteshu bhuteshu vichitya dheeraah" (Kena Upanishad).
Thus, in keeping with his rule that a composition should convey the message of the Upanishads, Tyagaraja himself chooses words from the Upanishads.
In the kriti "Atu-kaaraadani" in the raaga Manoranjani, Tyagaraja acknowledges that he has studied the Upanishads- veda shaastropanishad vidudaina (pronunciation key: in 'vidu', 'd' pronounced as 'the'; in 'daina', 'd' as in 'dog') and it is evident in his language.
The Saundarya Lahari of Adi Shankara:
Master poets often bring in a little suggestion, a hint, a turn of a phrase- which immediately reminds us of a completely different work. Many of the above ideas of Tyagaraja are reflected in the Saundarya Lahari, Adi Shankara's famous work on Goddess Parvati. We take a few examples here to show how the language and ideas are similar.
Adi Shankara describes Parvati as "gati-gamaka-geetaika nipune" (verse 69)- the One who is adept (nipunah) at rhythm (gati)-overtones in swara/notes (gamaka)- and sahitya/lyrics (geeta). Taala and gati are synonyms. Both convey rhythm. This is Tyagaraja's "sogasuga mridanga taalamu"!
In the same verse, Shankara emphasizes "adherence to the three graamaas". We seem to have lost the classification in terms of graamaas. Musicologists talk about "sa- graama", "ma-graama" etc. Loosely, it can be tied to the concept of a raaga. It fits nicely to the "swara shuddhi" that we mentioned earlier and the need to stick to the contours of the chosen raaga.
At another point, Shankara uses the expression "shrutinaam moordhaanah" (verse 54) as a synonym for the Upanishads. Shruti is the same as Tyagaraja's "nigama" (Vedas). "Moordhaanah" is "shirah" (head). Thus, shrutinaam moordhaanah is the same as nigama-shirah- to convey "the Upanishads"!
(Note how Tyagaraja launches into "nigama-shiro" in the second stanza (anu-pallavi) with the sequence of notes- "ni-da-ni-Sa-Sa" (check out the link below). It is evident that the increasing swaras reaching out to the "Sa" in the upper octave is meant to create a dramatic effect of scaling the "peak of the vedas". The first "ni" coinciding with "nigama" acts as a swaraakshara too!)
A devotee of the Goddess is sure to gain the power to compose poetry with the sweetness of "madhu", "ksheera" and "draaksha"- says Shankara (verse 15). This is the draaksha-rasa that Tyagaraja also refers to.
In verse 66, Adi Shankara paints a picture of Goddess Parvati enjoying Saraswati's veena recital. It appears that Saraswati also sang while she played the veena. Lord Shiva's varied exploits, his boundless glories- vividham apadaanam pashupateh formed the subject matter of Saraswati's composition, the verse says. Tyagaraja's rules of "sadbhakti", "virati" (i.e. no material themes) and the alignment to the teaching of the Upanishads "nigama shirortama" match Saraswati's subject in the Saundarya Lahari! Saraswati devi also follows Tyagaraja's rules by choosing the content of the Upanishads in her song! And in which Upanishad is Lord Shiva mentioned?
Lord Shiva figures prominently in the Kaivalya Upanishad as a personal God, as the vishwarupa (as the very cosmos) and finally as "Arupa Shiva" (the Ultimate Reality).
The nava-rasa that Tyagaraja alludes to, is prominently presented in the Saundarya Lahari in multiple places. The verse starting with "shive-shringaaraardra" (verse 51) gives one example for each of the navarasas.
Shankara uses "nava-rasa" explictly in another verse (verse 41) to mention the feelings evoked in Shiva's thaandava and Parvati's laasya style of dancing.
Finally "sokka jeyu" is the ability to hold the audience in a trance- totally "benumbed", as we saw in Tyagaraja's kriti. A related term in the Saundarya Lahari (verse 63) can be gleaned from the metaphor of the "chakora birds". The birds allegorically refer to devotees of the Goddess. Shankara says that the birds are "numb" (jadima) because they have drunk the moonbeams which are excessively sweet (ati-rasitaya) emanating from the Goddess's moon-like face. What imagery!!
Coming to think of it, we can stretch this point a little further by dwelling on the moon (chandra). Tyagaraja wants to numb Rama"chandra" (as Rama is frequently addressed... He is always as cool as the moon!) with his flawless composition. The moon is... as it were... numbed by Tyagaraja. The chakora bird example is exactly the opposite situation. The Goddess's face is the moon.. which numbs the bird!
Hope all this is not too complicated... and you're not too numb to continue further!!
Question-answer format:
Many of Tyagaraja's compositions begin with a question in the pallavi (first stanza). "Dvaitamu sukhama, advaitamu sukhama?" (Does dvaita give happiness or does advaita?) "Marugelara..O Raghava" (O Raghava, why (elara) do you conceal yourself (marugu) from me?
So too, in Sogasuga... the first stanza actually reads as follows: "With songs rendered to the pleasant accompaniment of the mridanga, who is that "dheera" who can enchant (Lord Rama)?"
If we take the Saundarya Lahari, the first verse is again in the form of a question- "shiva-shaktyaa yukto..." Only if united with Shakti, Shiva is able to create the world. If not united with Shakti, Shiva cannot even move, isn't it (khalu)?
There seems to be a common style in these works- raise a question to capture your attention and subsequently answer it.
Sri-ranjani:
The consonant "ra" denotes the colour red. Words like "ranjanam" indicate a certain "redness" but typically used to convey "enjoyment" as in expressions like "so-and-so sings in a jana-ranjakam manner". Of all the colours that Adi Shankara uses to describe the Goddess, he highlights "red" in the Saundarya Lahari- "aruna" (verse 16), "sakalam arunaabham trinayanam" (verse 23). Ranjanam itself is used in verse 16. That said, what is the raaga for Tyagaraja's Sogasuga mridanga taalamu? It is Sri-ranjani!!
It looks as if there is a hidden message through the choice of the raaga; the eleventh rule for a musical composition- it has to be enjoyable (ranjakam)!
Finally....!
Tyagaraja and Adi Shankara couldn't be further apart, separated by more than a 1000 years. The context is completely different in these two works. Some of the comparisons in this article may be laboured and contrived, but the similarity in language and ideas is undeniable.
With this introduction, we will move onto a brief life-sketch of Tyagaraja in the coming posts. May be, we can look at a few kritis and analyze them in the context in which they were sung.
Who else.... but MS Subbulakshmi can sing "sogasuga mridanga taalamu" and make us swoon.... "sokka jeyu"!?
http://www.shivkumar.org/music/originals/03b-sogasuga-sriranjani-krithi-mss-misc02.mp3
P.S: As mentioned in the previous post, Vishakha Hari's harikathas on 'Tyagaraja's Life' and 'Pancharatna Kritis' have been truly inspirational. Would have never looked at the sahitya of some of these kritis otherwise!
I disagree with your opinion of ms subbalaksmi (blasphemy?) as being sooks jeyu. I think sudha is better with her swara suddamuto
ReplyDeleteCoverage of the lyrics has amazing depth with quotes from different upanishads. Your predeliction to MS is therefore accepted :-).
ReplyDeleteThanks Sethu.. for your generous comments!
Delete-Shankar
amazing comparison and analysis between Adi Sankaracharya and Sadguru Thiagaraja Swamy
ReplyDeleteThank-you so much for your kind comments Guru!
DeleteA thing of beauty is a joy for ever. You wrote this beautiful , wonderful explanation of the kriti in 2015 and after 8years, it feels fresh and in full bloom today as I read it.
DeleteThanks so much for the in-depth Ruchi of the kriti.
Thanks so much for your kind words! I am so glad that you liked it!
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