In the last post, we covered the latter part of the charanam. The charanam actually starts with:
taamasa guna rahita munulaku pogada
taramu gaakaney bhramasi nilvaga
The running meaning is:
Even sages (munulaku) who are taamasa guna rahita (without the guna of tamas) stand (nilvaga) stupefied (bhramasi) as it is beyond their capacity (taramu gaakaney) to extol (pogada) the Lord.
Here, Tyagaraja acknowledges the incapacity of the mind to adequately describe Lord Rama even for munis (munulaku), who are satva pradhaanah (taamasa guna rahita). What does this mean?
The mind has three-fold characteristics as described in the Geeta, Chapter 14. It is sometimes clear, bright, alert and peaceful- enjoying satva guna. At times, it is agitated and possessive- the property of rajas. Sometimes, it is dull and lacks clarity- the property of tamas.
Here, Tyagaraja says that munis are without tamas. Here, tamas is an upalakshanam which has to include rajas too. Munis are sages who predominantly enjoy a saatvic mind- a mind which is conducive to study, to contemplate and lead a quiet life. Further, the term "muni" means "manana sheelah". It refers to a mind which has the capacity to repeatedly analyze the scripture (mananam) and arrive at a comprehensive understanding, free from vagueness and doubt.
Even such people stand stupefied (bhramasi) and find it beyond their capacity to describe the Lord.
Why is it so?
The Lord can be described in three different ways: With a personal form (eka rupa), as the very cosmos (vishwarupa) and as the consciousness principle, the "life" in everyone (arupa). Whichever way we look at Him, He is aprameya (indescribable) and hence the sages too are dumbfounded.
Indescribable as a personal God:
In several kritis, Tyagaraja talks about Lord Raama as a personal God- charming and endearing beyond words. We can take examples from some well known kritis of Tyagaraja. In the "Laavanya Raama" kriti set to Poorna Shadjam raaga, Raama is described as "laavanya"- elegance personified. Tyagaraja is fond of this word and repeats it in "Dinamani vamsha tilaka laavanya deena sharanya". In the kriti Muddumomu set to the raaga Suryakaantam, Tyagaraja talks about how Raama's charming face (muddu momu) entranced even the munis (just like in this kriti).
From the Raamayana, we can recall Shoorpanakha's description of Raama to Raavana. Shoorpanakha was insulted by Raama and in pain; still had words of praise for Raama's beauty. Hence, "bhramasi nilvaga" in this kriti.
There is a popular story that these munis who were enamoured by Lord Raama were reborn as gopis in Krishna avatara. Probably, they still had a hint of rajas in them, which could be one reason why Tyagaraja chose to say "taamasa guna rahita" (with no tamo guna) in this kriti while describing the munis!
Indescribable as the very cosmos:
Arjuna couldn't find words to describe Lord Krishna's vishwarupa. He was filled with "vismaya" (wonder) as we see in the first part of Chapter 11 of the Geeta.
Where do we find Raama's vishwarupa? Interestingly, the best verses describing Lord Raama come from his adversaries. We saw Shoorpanakha earlier. Mareecha also had a brief encounter with Lord Raama. He was so scared of Raama that he saw everything around him as Lord Raama. This is also a kind of vishwarupa for Maareecha, though born of fear! Mareecha says:
vrikshe vrikshe hi pashyaami cheera krishna ajina ambaram
griheeta dhanusham raamam paasha hastam iva antakam
Maareecha sees every tree (vriksha) as Lord Raama much like Sage Mandooka who sees every tree as Lord Shiva. This is in Shri Rudram (Anuvaka 2)- "namo namo vrikshebhyo...harikeshebhyah". All trees are verily Lord Shiva; the fresh, green leaves are His hair! These poetic descriptions are nothing but a heartfelt appreciation of the Universe as the very manifestation of the Lord.
Aside point: If we look at Raama's description, it seems as if Maareecha has borrowed it from Shri Rudram- found in the Dhyaana shlokas before each Anuvaka. He himself says "Raama resembles Lord Rudra, the terminator, antakam!" In these dhyaana shlokas of Shri Rudram, Shiva is described as a warrior- bow in hand (pinaaka paaNi which is dhanusham here) and with a dress made of animal skin (vasaanam charma komalam). Pashu, pati and paasha (mentioned here) are closely associated with Lord Shiva. It looks as if we can tally every expression of Maareecha even with Lord Shiva.
Once we come to the Lord appearing as the cosmos, He is indescribable for the sheer scale and variety in the creation. We can take one more quote from the Geeta Chapter 11 which resembles Tyagaraja's "bhramasi nilvaga"- "veekshantey twaam vismitaaschaiva sarvey"- Looking at (veekshantey) Lord Krishna's cosmic form, even celestials are baffled (vismitaah).
Indescribable as arupa Raama:
Once Lord Raama is identified with the atma (we find expressions like atma raama in bhajans too), He is again indescribable for He is the very subject, and never appears as an object which can be described in words. We can recall the following quote from Taittireeya Upanishad which expresses the inadequacy of words and the mind to describe the atma, the Self, the consciousness.
"yato vaacho nivartantey apraapya manasaa sah"- Words cannot objectify and describe the Self. The mind cannot conceive the atma as a "feeling". Neither can the mind conceive the atma as an "idea" or as a "concept". This quotation presents this fact figuratively- Words return along with the mind (having failed to throw light on the Atma) says this Upanishad.
For this reason too, the sages stand stupefied- bhramasi nilvaga.
The interested reader can also look at Mandodari's description of Lord Raama in the Yuddha Kaanda. She describes Raama in the three ways shown above:
"paramatma, sanaatanah, anaadimadhya-nidhanah, shaashvato-dhruvah, mahatah paramo mahaan etc."- arupa description
"esha"- "This" Raama, standing in front of her - as a personal God
"anaadi-madhya"- used by Mandodari is also Arjuna's expression while describing Krishna's vishwarupa form.
Going further in the charanam....
Lord Raama seated on a swing:
Shreemat kanakapu totla paini
cheluvu-onda koluvu-undaga
Such a Lord is now giving an audience (koluvu-undaga) seated on a splendid golden swing (shreemat kanakapu totla). Tyagaraja again refers to how charming Lord Raama looks (cheluvu onda).
Next, Tyagaraja refers to three different people who are a witness to this spectacle.
He has already mentioned the sages earlier. Next, he mentions Seeta and follows it up with himself- to complete the picture.
Observed by Seeta:
kaamita phala daayakiyau seetaa
kaantuni kani-uppongaga
Seeta is described here as "kaamita phala daayaki"- the one who gives whatever devotees ask for. If it is Seeta who grants the wishes of devotees, what is Raama's role? As in other places, especially with reference to Shiva (and Shakti), Raama as the atma blesses through his very saannidhyam- just "presence". In the presence of the Spririt (purusha or Raama here), prakriti or maya (or Seeta here) gets both existence and the power to express. That idea is brought in by Tyagaraja.
Next, he refers to Seeta's expression on beholding (kani) Raama, her consort (kaantuni). She is filled with pride (uppongaga).
Parvati views Lord Shiva in a similar manner. "Girisha charitey vismayavati"- She listens to Shiva's exploits with wonder and pride.
We will move further....
Swing rocked by Tyagaraja:
raama brahma tanayudau
tyaagaraaju taa paaduchunu-uuchaga
Tyagaraja does not want to stand away from this spectacle as a non participant observer. He includes himself in the picture and says that it is he who gently rocks the swing on which Lord Raama is seated, and as he rocks, he sings for Him (paaduchunu). He refers to himself as Tyagaraja, the son of Raama Brahma (raama brahma tanayudau).
Raama brahma tanayudau:
This can be looked at in two ways:
1. Raama Brahmam was Tyagaraja's father. Seetamma was his mother. He looked upon them as Lord Raama and Sita Devi incarnate- as in "maatru devo bhava, pitru devo bhava" (Taittireeya). We see this in other keertanas as well- "Seetamma maayamma shriraamudu maa tandri" in the raaga Vasanta. Seeta is my mother. Raama is my father. The reference here is to Tyagaraja's parents and to Lord Raama and Seeta Devi.
2. Raama is Brahman, the Ultimate Reality. The well known Naama Raamaayanam begins with this expression- "shuddha brahma paraatpara raam". That way, each one of us is the Lord's child. We can find many quotations for this idea:
"bahvi prajaa purushaat samprasootaa"- Mundaka Upanishad. All beings are that Purusha's (Brahman's) children. (Hence, how can there be any gradation, taaratamyam between people?)
"bhutaanam yo avyaya pitaa"- Vishnu Sahasranaama. He is the imperishable father of all beings.
"pitaaham asya jagatah, maataa, dhaataa, pitaamahah" Geeta, Chapter 9. Krishna says- I am the father, the mother, the grandsire too!
"jagatah pitarau vande paarvati parameshvarau"- Kalidasa. We bow down to Shiva and Parvati, who are our original parents.
Hence, there is no anaatha (orphan) in this world. Everyone is sanaatha (gifted always with the original parents) as we see in Adi Shankara's expression from the Saundarya Lahari. Shiva and Parvati are always available as janaka (father) and janani (mother) for everyone in this world.
Sanaathaabhyaam jagnye janaka jananimad jagadidam- Saundarya Lahari, verse 41.
Having completed the charanam, we need to now look at the Anupallavi. Please recall the previous post where we mentioned the rationale for going in the reverse order.
Anupallavi:
dorakunaa alpa tapam(o)narincina bhu-
sura varulak(ai)na surulak(ai)na (dorakunA)
Is it possible to get (dorakunaa) such a service even (aina) for the best of (varulakaina) braahmanaas (bhu-sura) who have, but, performed (onarincina) little (alpa) penance (tapamu) (tapamonarincina) or even (aina) to the celestials (surulaku) (surulakaina)?
Tyagaraja feels blessed and fortunate that he has got such a wonderful darshana of Lord Rama and Sita Devi right now....an experience which eludes even noble people on the earth (bhusura) as well as celestials (suras) in heaven. Does this mean that Tyagaraja is indulging in self-praise here? No! If we look at his kritis and his entire life, Tyagaraja was humility personified.
Here, Tyagaraja indirectly gives the credit to Lord Raama's saulabhyam. Raama has chosen to reveal Himself to Tyagaraja. It is in that spirit of gratitude that Tyagaraja sings these lines.
Bhusura:
Bhusura is typically translated as braahmanas. Bhu-earth. sura- celestials. Braahmanaas are, as it were, celestials on the earth. What does this expression mean? We find the explanation in a different place. Through their lifestyle (swadharma) involving regular vedic chanting, the braahmanas invoke the devas (suras) and ensure that the blessings of the devas are received on the earth (bhu) through timely rain and general environmental wellbeing. We can recall the relevant verse from the Geeta, Chapter 3- devaan bhaavayataanena tey devaa bhaavayantuvah. (Through our thoughtful actions, we protect the environment (devas); in return the environment (deva) protects us. Thus, we mutually benefit.)
We need not translate bhusura as braahmanas if we feel delicate about bringing a casteist angle. Bhusura can simply refer to "noble people". For this, we again go to the Geeta, Chapter 16. Here, a person of values (like ahimsa, satva samshudhi etc.) is known as one with "daivi sampat". A person of exemplary character is the real sura, a divine person, a deva, while living on this earth, bhu.
Even such people find it difficult to have a darshana of Lord Raama, Tyagaraja says. What is the reason?
We find a parallel in the vishwarupa darshana that Arjuna had of Lord Krishna (Chapter 11, Geeta).
Why is such a darshana difficult?
Lord Krishna himself acknowledges that his darshana is not easily available for everyone.
Verse 48:
"Na veda yagnya adhyayanaihi na daanena na cha kriyaabhir na tapobhir ugraihi
evam rupaha shakya aham nrlokey drashtum tvadanyena kuruprveera"
Krishna says- My darshana (especially vishwarupa darshana) is not possible through vedic study, performing rituals, through vedic chanting, through charity, through actions, through even extreme tapas- (self mortification!). But Arjuna, you have been fortunate to have had My darshana.
Are all these religious practices then completely useless? Why is the Lord partial to Arjuna?
We find the explanation in a subsequent verse....Verse 54.
What makes the difference is bhakti, devotion. Krishna calls it "ananya bhakti"- "one pointed bhakti" in Verse 54. If the mind is imbued with devotion, then, all the above religious practices will bear fruit. In the absence of devotion, a mechanical observance of even religious practices cannot give that darshana of the Lord. That is the intent.
"Bhaktyaa tvananyayaa shakya aham evam vidhorjuna
gnyaatum drashtum cha tatvena praveshtum cha parantapa"
Krishna says- It is definitely possible (shakya) to have such a darshana provided a person has one pointed devotion-ananya bhakti.
Tyagaraja had ananya bhakti. So did Arjuna. Hence, they were blessed with a darshana of the Lord. What exactly is ananya bhakti- "one pointed devotion" ?
Ananya bhakti:
Typically, our devotion is divided into 3: myself, the object for which I pray and the Lord.
When I make a pointed appeal to the Lord- "I pray to You and make this offering so that my daughter may win a prize", my devotion, as it were, is divided: I pray for my daughter's well-being. I pray indirectly for myself. In my daughter winning a prize, I feel good. Hence, I pray for my daughter and not for her friend who is in the same competition! The remainder of the feeling, if there is any, is for the love of the Lord. This is transactional bhakti, anya bhakti or materialistic devotion. It is not as if we condemn this kind of bhakti. But it has to progress and some day culminate in "ananya bhakti".
In ananya bhakti, I pray only for a better appreciation of the Lord, invoking my primary relationship as a "devotee of the Lord", not as a parent with a particular appeal, not as an employee with a particular complaint etc. Now, there is no transaction. This is "jignyaasu bhakti". Even here, there are actually two entities- myself and the Lord. In relating to the Lord, I (as the devotee) "feel good".
Finally, through gnyaana, I understand, that in reality (tatvena above), there is no difference between me and the Lord. This is the true ananya bhakti.
Hence, the two names "duraadharshah"- "one who cannot be easily won over" as well as "sulabhah"- "one who is easily attainable" in the Vishnu Sahasranama. They look like conflicting names. Without ananya bhakti, He is duraadharshah. With ananya bhakti, He is very easily attainable. For Tyagaraja, Raama's darshana is sulabha.
Other charanams:
This kriti has multiple charanams which are not typically sung. They describe Lord Raama in a wealth of detail. There is one imagery that Tyagaraja brings... that we want to briefly look at. He says that "Raama's nails put the moon to shame".
Raama's feet are placed on the ground together. Tyagaraja is the observer facing Lord Raama. To him, the nails as it were, form the shape of a "smiley"- they are arranged in an arc. Each nail is like a crescent moon- not a full moon, but a gibbous (three-quarter) moon. Further, Raama's complexion is dark. Hence, like the milky-white moon which catches our attention against a pitch-dark night sky, Raama's nails are striking!
It's as if there are 10 moons on Raama's feet- lustrous and charming, and arrayed (all of them taken together) in the shape of a "smiley". Through that smile, they seem to sarcastically mock at the moon in the sky... which pales in comparison.
Where do we find a similar metaphor? Adi Shankara's work! Exactly the same imagery is used by Shankara to describe Parvati's nails in Verse 89- "nakhair naakasstreenaam...". The reader can look up this verse.
With this, we have completed this kriti. In the next post, we will take up "mari mari ninne" which was again one of the first kritis that Tyagaraja sang in public.
taamasa guna rahita munulaku pogada
taramu gaakaney bhramasi nilvaga
The running meaning is:
Even sages (munulaku) who are taamasa guna rahita (without the guna of tamas) stand (nilvaga) stupefied (bhramasi) as it is beyond their capacity (taramu gaakaney) to extol (pogada) the Lord.
Here, Tyagaraja acknowledges the incapacity of the mind to adequately describe Lord Rama even for munis (munulaku), who are satva pradhaanah (taamasa guna rahita). What does this mean?
The mind has three-fold characteristics as described in the Geeta, Chapter 14. It is sometimes clear, bright, alert and peaceful- enjoying satva guna. At times, it is agitated and possessive- the property of rajas. Sometimes, it is dull and lacks clarity- the property of tamas.
Here, Tyagaraja says that munis are without tamas. Here, tamas is an upalakshanam which has to include rajas too. Munis are sages who predominantly enjoy a saatvic mind- a mind which is conducive to study, to contemplate and lead a quiet life. Further, the term "muni" means "manana sheelah". It refers to a mind which has the capacity to repeatedly analyze the scripture (mananam) and arrive at a comprehensive understanding, free from vagueness and doubt.
Even such people stand stupefied (bhramasi) and find it beyond their capacity to describe the Lord.
Why is it so?
The Lord can be described in three different ways: With a personal form (eka rupa), as the very cosmos (vishwarupa) and as the consciousness principle, the "life" in everyone (arupa). Whichever way we look at Him, He is aprameya (indescribable) and hence the sages too are dumbfounded.
Indescribable as a personal God:
In several kritis, Tyagaraja talks about Lord Raama as a personal God- charming and endearing beyond words. We can take examples from some well known kritis of Tyagaraja. In the "Laavanya Raama" kriti set to Poorna Shadjam raaga, Raama is described as "laavanya"- elegance personified. Tyagaraja is fond of this word and repeats it in "Dinamani vamsha tilaka laavanya deena sharanya". In the kriti Muddumomu set to the raaga Suryakaantam, Tyagaraja talks about how Raama's charming face (muddu momu) entranced even the munis (just like in this kriti).
From the Raamayana, we can recall Shoorpanakha's description of Raama to Raavana. Shoorpanakha was insulted by Raama and in pain; still had words of praise for Raama's beauty. Hence, "bhramasi nilvaga" in this kriti.
There is a popular story that these munis who were enamoured by Lord Raama were reborn as gopis in Krishna avatara. Probably, they still had a hint of rajas in them, which could be one reason why Tyagaraja chose to say "taamasa guna rahita" (with no tamo guna) in this kriti while describing the munis!
Indescribable as the very cosmos:
Arjuna couldn't find words to describe Lord Krishna's vishwarupa. He was filled with "vismaya" (wonder) as we see in the first part of Chapter 11 of the Geeta.
Where do we find Raama's vishwarupa? Interestingly, the best verses describing Lord Raama come from his adversaries. We saw Shoorpanakha earlier. Mareecha also had a brief encounter with Lord Raama. He was so scared of Raama that he saw everything around him as Lord Raama. This is also a kind of vishwarupa for Maareecha, though born of fear! Mareecha says:
vrikshe vrikshe hi pashyaami cheera krishna ajina ambaram
griheeta dhanusham raamam paasha hastam iva antakam
Maareecha sees every tree (vriksha) as Lord Raama much like Sage Mandooka who sees every tree as Lord Shiva. This is in Shri Rudram (Anuvaka 2)- "namo namo vrikshebhyo...harikeshebhyah". All trees are verily Lord Shiva; the fresh, green leaves are His hair! These poetic descriptions are nothing but a heartfelt appreciation of the Universe as the very manifestation of the Lord.
Aside point: If we look at Raama's description, it seems as if Maareecha has borrowed it from Shri Rudram- found in the Dhyaana shlokas before each Anuvaka. He himself says "Raama resembles Lord Rudra, the terminator, antakam!" In these dhyaana shlokas of Shri Rudram, Shiva is described as a warrior- bow in hand (pinaaka paaNi which is dhanusham here) and with a dress made of animal skin (vasaanam charma komalam). Pashu, pati and paasha (mentioned here) are closely associated with Lord Shiva. It looks as if we can tally every expression of Maareecha even with Lord Shiva.
Once we come to the Lord appearing as the cosmos, He is indescribable for the sheer scale and variety in the creation. We can take one more quote from the Geeta Chapter 11 which resembles Tyagaraja's "bhramasi nilvaga"- "veekshantey twaam vismitaaschaiva sarvey"- Looking at (veekshantey) Lord Krishna's cosmic form, even celestials are baffled (vismitaah).
Indescribable as arupa Raama:
Once Lord Raama is identified with the atma (we find expressions like atma raama in bhajans too), He is again indescribable for He is the very subject, and never appears as an object which can be described in words. We can recall the following quote from Taittireeya Upanishad which expresses the inadequacy of words and the mind to describe the atma, the Self, the consciousness.
"yato vaacho nivartantey apraapya manasaa sah"- Words cannot objectify and describe the Self. The mind cannot conceive the atma as a "feeling". Neither can the mind conceive the atma as an "idea" or as a "concept". This quotation presents this fact figuratively- Words return along with the mind (having failed to throw light on the Atma) says this Upanishad.
For this reason too, the sages stand stupefied- bhramasi nilvaga.
The interested reader can also look at Mandodari's description of Lord Raama in the Yuddha Kaanda. She describes Raama in the three ways shown above:
"paramatma, sanaatanah, anaadimadhya-nidhanah, shaashvato-dhruvah, mahatah paramo mahaan etc."- arupa description
"esha"- "This" Raama, standing in front of her - as a personal God
"anaadi-madhya"- used by Mandodari is also Arjuna's expression while describing Krishna's vishwarupa form.
Going further in the charanam....
Lord Raama seated on a swing:
Shreemat kanakapu totla paini
cheluvu-onda koluvu-undaga
Such a Lord is now giving an audience (koluvu-undaga) seated on a splendid golden swing (shreemat kanakapu totla). Tyagaraja again refers to how charming Lord Raama looks (cheluvu onda).
Next, Tyagaraja refers to three different people who are a witness to this spectacle.
He has already mentioned the sages earlier. Next, he mentions Seeta and follows it up with himself- to complete the picture.
Observed by Seeta:
kaamita phala daayakiyau seetaa
kaantuni kani-uppongaga
Seeta is described here as "kaamita phala daayaki"- the one who gives whatever devotees ask for. If it is Seeta who grants the wishes of devotees, what is Raama's role? As in other places, especially with reference to Shiva (and Shakti), Raama as the atma blesses through his very saannidhyam- just "presence". In the presence of the Spririt (purusha or Raama here), prakriti or maya (or Seeta here) gets both existence and the power to express. That idea is brought in by Tyagaraja.
Next, he refers to Seeta's expression on beholding (kani) Raama, her consort (kaantuni). She is filled with pride (uppongaga).
Parvati views Lord Shiva in a similar manner. "Girisha charitey vismayavati"- She listens to Shiva's exploits with wonder and pride.
We will move further....
Swing rocked by Tyagaraja:
raama brahma tanayudau
tyaagaraaju taa paaduchunu-uuchaga
Tyagaraja does not want to stand away from this spectacle as a non participant observer. He includes himself in the picture and says that it is he who gently rocks the swing on which Lord Raama is seated, and as he rocks, he sings for Him (paaduchunu). He refers to himself as Tyagaraja, the son of Raama Brahma (raama brahma tanayudau).
Raama brahma tanayudau:
This can be looked at in two ways:
1. Raama Brahmam was Tyagaraja's father. Seetamma was his mother. He looked upon them as Lord Raama and Sita Devi incarnate- as in "maatru devo bhava, pitru devo bhava" (Taittireeya). We see this in other keertanas as well- "Seetamma maayamma shriraamudu maa tandri" in the raaga Vasanta. Seeta is my mother. Raama is my father. The reference here is to Tyagaraja's parents and to Lord Raama and Seeta Devi.
2. Raama is Brahman, the Ultimate Reality. The well known Naama Raamaayanam begins with this expression- "shuddha brahma paraatpara raam". That way, each one of us is the Lord's child. We can find many quotations for this idea:
"bahvi prajaa purushaat samprasootaa"- Mundaka Upanishad. All beings are that Purusha's (Brahman's) children. (Hence, how can there be any gradation, taaratamyam between people?)
"bhutaanam yo avyaya pitaa"- Vishnu Sahasranaama. He is the imperishable father of all beings.
"pitaaham asya jagatah, maataa, dhaataa, pitaamahah" Geeta, Chapter 9. Krishna says- I am the father, the mother, the grandsire too!
"jagatah pitarau vande paarvati parameshvarau"- Kalidasa. We bow down to Shiva and Parvati, who are our original parents.
Hence, there is no anaatha (orphan) in this world. Everyone is sanaatha (gifted always with the original parents) as we see in Adi Shankara's expression from the Saundarya Lahari. Shiva and Parvati are always available as janaka (father) and janani (mother) for everyone in this world.
Sanaathaabhyaam jagnye janaka jananimad jagadidam- Saundarya Lahari, verse 41.
Having completed the charanam, we need to now look at the Anupallavi. Please recall the previous post where we mentioned the rationale for going in the reverse order.
Anupallavi:
dorakunaa alpa tapam(o)narincina bhu-
sura varulak(ai)na surulak(ai)na (dorakunA)
Is it possible to get (dorakunaa) such a service even (aina) for the best of (varulakaina) braahmanaas (bhu-sura) who have, but, performed (onarincina) little (alpa) penance (tapamu) (tapamonarincina) or even (aina) to the celestials (surulaku) (surulakaina)?
Tyagaraja feels blessed and fortunate that he has got such a wonderful darshana of Lord Rama and Sita Devi right now....an experience which eludes even noble people on the earth (bhusura) as well as celestials (suras) in heaven. Does this mean that Tyagaraja is indulging in self-praise here? No! If we look at his kritis and his entire life, Tyagaraja was humility personified.
Here, Tyagaraja indirectly gives the credit to Lord Raama's saulabhyam. Raama has chosen to reveal Himself to Tyagaraja. It is in that spirit of gratitude that Tyagaraja sings these lines.
Bhusura:
Bhusura is typically translated as braahmanas. Bhu-earth. sura- celestials. Braahmanaas are, as it were, celestials on the earth. What does this expression mean? We find the explanation in a different place. Through their lifestyle (swadharma) involving regular vedic chanting, the braahmanas invoke the devas (suras) and ensure that the blessings of the devas are received on the earth (bhu) through timely rain and general environmental wellbeing. We can recall the relevant verse from the Geeta, Chapter 3- devaan bhaavayataanena tey devaa bhaavayantuvah. (Through our thoughtful actions, we protect the environment (devas); in return the environment (deva) protects us. Thus, we mutually benefit.)
We need not translate bhusura as braahmanas if we feel delicate about bringing a casteist angle. Bhusura can simply refer to "noble people". For this, we again go to the Geeta, Chapter 16. Here, a person of values (like ahimsa, satva samshudhi etc.) is known as one with "daivi sampat". A person of exemplary character is the real sura, a divine person, a deva, while living on this earth, bhu.
Even such people find it difficult to have a darshana of Lord Raama, Tyagaraja says. What is the reason?
We find a parallel in the vishwarupa darshana that Arjuna had of Lord Krishna (Chapter 11, Geeta).
Why is such a darshana difficult?
Lord Krishna himself acknowledges that his darshana is not easily available for everyone.
Verse 48:
"Na veda yagnya adhyayanaihi na daanena na cha kriyaabhir na tapobhir ugraihi
evam rupaha shakya aham nrlokey drashtum tvadanyena kuruprveera"
Krishna says- My darshana (especially vishwarupa darshana) is not possible through vedic study, performing rituals, through vedic chanting, through charity, through actions, through even extreme tapas- (self mortification!). But Arjuna, you have been fortunate to have had My darshana.
Are all these religious practices then completely useless? Why is the Lord partial to Arjuna?
We find the explanation in a subsequent verse....Verse 54.
What makes the difference is bhakti, devotion. Krishna calls it "ananya bhakti"- "one pointed bhakti" in Verse 54. If the mind is imbued with devotion, then, all the above religious practices will bear fruit. In the absence of devotion, a mechanical observance of even religious practices cannot give that darshana of the Lord. That is the intent.
"Bhaktyaa tvananyayaa shakya aham evam vidhorjuna
gnyaatum drashtum cha tatvena praveshtum cha parantapa"
Krishna says- It is definitely possible (shakya) to have such a darshana provided a person has one pointed devotion-ananya bhakti.
Tyagaraja had ananya bhakti. So did Arjuna. Hence, they were blessed with a darshana of the Lord. What exactly is ananya bhakti- "one pointed devotion" ?
Ananya bhakti:
Typically, our devotion is divided into 3: myself, the object for which I pray and the Lord.
When I make a pointed appeal to the Lord- "I pray to You and make this offering so that my daughter may win a prize", my devotion, as it were, is divided: I pray for my daughter's well-being. I pray indirectly for myself. In my daughter winning a prize, I feel good. Hence, I pray for my daughter and not for her friend who is in the same competition! The remainder of the feeling, if there is any, is for the love of the Lord. This is transactional bhakti, anya bhakti or materialistic devotion. It is not as if we condemn this kind of bhakti. But it has to progress and some day culminate in "ananya bhakti".
In ananya bhakti, I pray only for a better appreciation of the Lord, invoking my primary relationship as a "devotee of the Lord", not as a parent with a particular appeal, not as an employee with a particular complaint etc. Now, there is no transaction. This is "jignyaasu bhakti". Even here, there are actually two entities- myself and the Lord. In relating to the Lord, I (as the devotee) "feel good".
Finally, through gnyaana, I understand, that in reality (tatvena above), there is no difference between me and the Lord. This is the true ananya bhakti.
Hence, the two names "duraadharshah"- "one who cannot be easily won over" as well as "sulabhah"- "one who is easily attainable" in the Vishnu Sahasranama. They look like conflicting names. Without ananya bhakti, He is duraadharshah. With ananya bhakti, He is very easily attainable. For Tyagaraja, Raama's darshana is sulabha.
Other charanams:
This kriti has multiple charanams which are not typically sung. They describe Lord Raama in a wealth of detail. There is one imagery that Tyagaraja brings... that we want to briefly look at. He says that "Raama's nails put the moon to shame".
Raama's feet are placed on the ground together. Tyagaraja is the observer facing Lord Raama. To him, the nails as it were, form the shape of a "smiley"- they are arranged in an arc. Each nail is like a crescent moon- not a full moon, but a gibbous (three-quarter) moon. Further, Raama's complexion is dark. Hence, like the milky-white moon which catches our attention against a pitch-dark night sky, Raama's nails are striking!
It's as if there are 10 moons on Raama's feet- lustrous and charming, and arrayed (all of them taken together) in the shape of a "smiley". Through that smile, they seem to sarcastically mock at the moon in the sky... which pales in comparison.
Where do we find a similar metaphor? Adi Shankara's work! Exactly the same imagery is used by Shankara to describe Parvati's nails in Verse 89- "nakhair naakasstreenaam...". The reader can look up this verse.
With this, we have completed this kriti. In the next post, we will take up "mari mari ninne" which was again one of the first kritis that Tyagaraja sang in public.
