Mari mari ninne- Part 3: The story of Dhruva

We are now left with the charanam. It goes as follows:

karunato dhruvuniki eduta nilchina katha vinnaanu ayya
Tyagaraja says: Ayya- O Lord, vinnaanu- I have heard, katha- the story, (where) nilchina- you stood (appeared) eduta- before, dhruvudu- Dhruva, karunato- (expressing your) compassion.

Dhruva: Example of an "arthaarthi" bhakta

Lord Krishna's categorises bhaktas into 4 types. He says that four types of devotees reach out to the Lord:
(a) Aarta (the one in distress)
(b) Arthaarthi (the one who has a worldly goal in mind)
(c) Jignyaasu (the one who has a spiritual goal in mind, a sadhaaka)
(d) Gnyaani: (one who has already attained the spiritual goal, a siddha purusha)

This is seen in the Geeta, Chapter 7.

Chaturvidha bhajante maam janaah sukritinah Arjuna
Aartah jignyaasuh arthaarthi  gnyaani cha bharata rshabha

Gajendra is an example of an aarta bhakta. He approached the Lord in a crisis. Dhruva, referenced in the charanam here, falls in a different category. He was not physically afflicted as Gajendra was. His pain came from the fact that he was wounded by his step mother's harsh words- that he was not fit enough to sit on his father's lap. Dhruva desired to gain a position/post which would be superior to his father and approached the Lord with that hidden intent.

To briefly recall the story from the Bhagavatham, King Uttaanapaada had two wives- Suneeti and Suruchi. Suneeti's son was Dhruva. Suruchi was the younger queen. Her son was Uttama. Uttaanapaada was partial to Suruchi and completely neglected Suneeti. Needless to say, of the two sons, the King favoured Uttama to Dhruva, though Dhruva was the elder son and should have been the rightful heir to the throne.

One day, Uttama was seated on his father's lap and playing. Five year old Dhruva enters the scene and also wants to sit on Uttaanapaada's lap. Before he could do so, Dhruva is thwarted by Suruchi. Suruchi lashes out that Dhruva has no right to sit on his father's lap. He was after all born to Suneeti and hence of ignoble birth. To earn the fortune of sitting on the King's lap, Dhruva would have to be reborn as her (Suruchi's) son!

Dhruva is naturally hurt and runs to his mother. Suneeti says that Lord Narayana is their only refuge- He alone can improve their lot. Dhruva leaves the kingdom and goes to the forest to seek Lord Vishnu. On the way, he meets Sage Narada. Narada initially tries to dissuade Dhruva, but seeing his determination, he instructs Dhruva. In particular, he is told to repeat the mantra- "Om namo bhagavatey vaasudevaaya".
Dhruva performs severe austerities for six months and is rewarded with Lord Vishnu's vision. Dhruva extols Lord Vishnu in a set of twelve verses which are popularly known as "Dhruva stuti". This is a highly philosophical portion which needs to be separately analyzed.

Lord Vishnu blesses Dhruva with a long life as a king as well as a permanent place in the heavens- in the pole-star.  This part of the story is well known and popular. It is the next part which is not usually presented.

Surprisingly, despite having a vision of Lord Vishnu, Dhruva feels dejected for having asked for only material benefits. He says that his condition is like that of a poor man who earns the goodwill of the emperor, who gives the man the freedom to ask whatever he wants, and all that the man could ask for.. was a few broken grains of rice! His tapas has been in vain, Dhruva laments, like treatment (chikitsa) given to a dead person (gata aayushi)!
From these verses, it is clear that Dhruva reached out to Lord Vishnu as an arthaarthi bhakta and later regrets it deeply.

Tyagaraja's peeve is just this: You chose to accede to a five year boy who approached you only as an arthaarthi bhakta. Why then do you deny me your vision when I beseech you repeatedly...mari mari ninne moralida?

Arthaarthi bhakta: Is it fine to pray for material needs?

In this context of Dhruva as an arthaarthi bhakta, we may want to consider one of the questions often raised- Is it fine to pray for material needs? Isn't it transactional, business-like devotion?

Krishna answers in Geeta, Chapter 7:
He says that all the four types of bhaktas, even the arthaarthi devotee whose demands may be considered shallow are "sukritinah"- noble indeed. At least, the devotee recognizes the role of the Lord's grace (anugraha) in his success.

Further, Krishna adds...
"udaaraah sarve eva etey... gnyaani tu atmaiva mey matam"- All the four devotees are equally great, but Krishna concedes that the gnyaani is the best.
From this, it is clear that it is perfectly fine to pray for material ends in life.
In other places like the Vishnu Sahasranama too, we see the arthaarthi specifically rewarded.

"dharmaarthi praapnuyaat dharmam, arthaarthi cha artham aapnuyaat"- If a person chants the sahasranama with material benefits in mind, he too will have his desire fulfilled!

In addition, in the veda, in the section called "chamakam", the devotee submits the most comprehensive list of material goals to the Lord- a staggering number of 347 items!

What about the Lord's response to these requests? Krishna says in the Geeta, Chapter 4:

ye yathaa maam prapadyantey taams tathaiva bhajaamyaham- In whichever way a devotee reaches out to me, I respond to him likewise.
Dhruva may have been just a five-year old boy with even his goals, possibly poorly spelt out. But the Lord responded to his devotion. Hence, the popular epithet for Lord Krishna- "bhaava graahi janaardana"- All that the Lord takes into account is the "bhaava", the attitude, the spirit of devotion.

The hope is that like Dhruva, in course of time, we too will realize the limitations of these goals and will reach out to the Lord in more meaningful ways!

Gradation in bhakti:

True, the Lord responds to the aarta and arthaarthi bhakta like He did to Gajendra and Dhruva. However, there is a gradation in bhakti. Though this is an aside topic, having raised the classification of bhaktas into aarta, arthaarthi etc. in the context of this kriti, the discussion will not be complete without mentioning this point.

In case of the aarta and arthaarthi bhakta, devotion is..as it were.. trifurcated. There are 3 entities here: the devotee, the Lord and thirdly the reason/the object for which the devotee pleads to the Lord.

In the case of the jignyaasu bhakta- he is a devotee who wants no material benefit. If he prays to the Lord, it is only for spiritual benefit. Even here, devotion is bifurcated since there are still 2 entities: the devotee and the Lord. In seeking the Lord, the aspirant finds a certain happiness, which he perhaps does not find in the objects of the world (like the previous two categories did).

The gnyaani's case is entirely different. He has reached the spiritual goal and is no more a jignyaasu, a saadhaka, an aspirant. He has gained a clear understanding that "essentially", the Lord and he are one and the same from the standpoint of the atma, the Self. There are no more.. even two entities. Hence, Krishna says in the verse cited above- gnyaani tu atmaaiva me matam. I consider the gnyaani bhakta as Myself. Also, in another verse in the same chapter, He says "eka bhaktir vishishyatey"- the gnyaani bhakta excels for his bhakti alone is... really one-pointed.


The story of Dhruva in a nutshell in the "aarta traana paraayana stotra":

In the previous posts, we saw that all of Tyagaraja's examples are covered in the "aarta traana paraayana" stotra. In this stotra, the verse on Dhruva goes as follows:

pitraa bhraataramuktam aasanagatam bhaktottamashcha dhruvo
drishtvaa kalpitum aaruruksham adhikam maatraapamaanam gatah
yam gatva sharanam tadaa nipatato hemaadri simhaasanecha
aarta traana paraayana sa bhagavaan Naaraayano mey gatih

In this verse, Dhruva is praised as "bhakta uttama"- best of bhaktas.

"Mari mari ninne"- Part2: The story of Gajendra, the elephant

In the last post, we saw that Tyagaraja referred to 4 devotees in his kriti "Mari mari ninne" who earned the grace of Lord Vishnu. We also saw the various facets of the term "sarvaantaryaami" used in this kriti.
In this post, we want to spend time on one of the devotees: Gajendra, the elephant. This episode is described in detail in the Bhaagavatam, popularly known as the "Gajendra moksham" section.

Tyagaraja says in the anu-pallavi:

kari mora vini saraguna chana neeku
kaaranam emi sarvaantaryaami

kari- elephant in general, but referring to Gajendra here. mora-  entreaty. vini- on hearing. saraguna-  immediately. chana- to proceed. neeku- for you.
kaaranam emi- what is the reason? sarvaantaryaami- O indweller and controller of everyone.
The running meaning is:
O sarvaantaryaami, what is the reason You chose to proceed immediately (and help Gajendra) on hearing his entreaty?
It has to be connected to the pallavi.. "mari-mari ninne moralida...."
whereas I plead to You repeatedly and you ignore me, with no compassion whatsoever (daya raadu).

Similarity with Mysore Vasudevacharya's brochevaarevarura:

Mysore Vasudevacharya lived after Tyagaraja and has borrowed the same idea in his famous Kamas raaga kriti "brochevarevarura".

"naa moralanu vinaraadaa
bhaasuramuga kari raajunu brochina vaasudevudavu neevu kadaa"

The words are the same. naa- my.  moralanu- pleading, same as Tyagaraja's moralida above. vinaraadaa- You do not hear, much like Tyagaraja's daya raadu.
But you heard "kari raaju"- the elephant king (Gajendra).
"Aren't you that Vasudeva who heard the lamentation of Gajendra and protected (brochina) him? How can you then turn a deaf ear to my pleading?" asks Vasudevacharya in this kriti.
Kamas is a janya raaga of Hari Kambhoji. Kambhoji, Tyagaraja's choice for "Mari mari ninne" is also a janya raaga of Hari Kambhoji. Both are related raagas in many ways- both admit the same "anya swara" (foreign, alien note-a different "nishadam" ) in certain passages making them "bhaashaanga raagas".
Tyagaraja's "mari mari ninne" influence on this kriti is unmistakable.

Mari mari ninne and "aarta traana paraayana stotra":

It is likely that Tyagaraja himself was influenced by the "aarta traana paraayana stotra" for this kriti. "Aarta traana paraayana stotra" is an ashtakam (8 verses) found in Vaishnava sampradaya. It is attributed to Kuresha, who was a disciple of Ramanujacharya.
In this ashtakam, 6 examples are taken to show how Lord Vishnu helped his devotees in distress. The examples are: Gajendra, Prahlada, Dhruva, Vibhishana, Ahalya and Draupadi. One verse is dedicated to each devotee. It has an introductory verse and strangely, an extra verse for Draupadi- making it 8 verses in all. There is a concluding, phala shruti verse as well.

All of Tyagaraja's examples in this kriti are found in one place- this stotra. One may argue that Vibhishana is not quoted by Tyagaraja; Tyagaraja only mentions Sugreeva. Curiously, the stanza on Vibhishana found in this stotra mentions Sugreeva as well.

Aarta- a person in distress. Traana- the one who protects. Paraayana- One who is an adept, an expert. Lord Vishnu is the "aarta traana paraayana"- the one who never fails to help a devotee in distress.

Each example in this stotra ends with the refrain- "aarta traana paraayana sa bhagavaan Narayano me gatih"- My refuge (me gatih) is that Narayana, who never fails to help the afflicted.
Note that Lord Rama is also praised as "aartaanaam aartihantaaram" in another shloka. He too alleviates the pain of an aarta bhakta.

The verse on Gajendra in this stotra reads as follows:

nakragrasta padam samuddhrta karam brahmaadi deveshvarau
maampaatityati deena deena karunaad deveshu shakteshu cha
maa bhaiksheeriti raksha nakra vadanaat chakraayudha shridharau
aarta traana paraayanah sa bhagavaan naaraayano me gatih

When a crocodile grabbed the leg (of Gajendra) and when he (Gajendra) raised his trunk and implored to Brahmaji and all the devas.... (line 1)
"Please save me" he implored in utter helplessness to the devas... (Finally it was..) (line 2)
Shridhara (Lord Vishnu) who said "Don't fear" and used his chakra to extricate Gajendra from the crocodile.. (line 3)
That bhagavan Narayana is my refuge, who is ever ready to help a devotee in distress (line 4).

One last point before we focus on the story of Gajendra:
The "aarta traana paraayana stotra" itself seems to take ideas from the Gajendra moksham verses of the Bhaagavatam. The refrain found in this stotra is present in the Bhaagavatam. Please check the concluding line of Gajendra Moksham, verse 7. It says-
"bhutaatma-bhutaah suhrdah sa me gatih".

Like this, we can go on- finding similarities and parallels across the canvas!

The story of Gajendra:

Indradyumna was a Pandya raja, in "dravida desha". He was a great bhakta. In a particular context, however, Sage Agastya thought that he was arrogant and cursed Indradyumna to be reborn as an elephant.

HuHu was a Gandharva who once misbehaved with the Rishi Devala. He caught hold of the Rishi's leg when the Rishi entered the water where the Gandharva was having some fun. The rishi cursed him to be reborn as a crocodile...an animal whose vocation is to pull others' legs!

The elephant Gajendra entered the lake where the crocodile was living. It caught hold of the elephant's leg. Other elephants tried to help Gajendra, to no avail. When all the local methods failed, Gajendra prayed to Lord Vishnu, the only refuge, through a set of 30 verses, famously known in the Bhaagavatam as the "Gajendra moksham" verses.

Lord Vishnu immediately rushed to the elephant's plea. As soon as Gajendra saw Lord Vishnu, he used his last bit of strength to pick up a lotus and offered it to Lord Vishnu... with his raised trunk. Lord Vishnu used his discus to sever the crocodile's neck and freed Gajendra. Lord Vishnu indeed is the "aarta traana paraayana".

Some interesting facts related to this story:

Though not found in the Bhaagavatam, there are some interesting ideas connected to this story.

1. It is said that Lord Vishnu still retains the lotus that Gajendra gave him. Guruvayurappan, Lord Vishnu's divine form at Guruvayur holds a lotus. That lotus is the one that Gajendra gave him. Doesn't Lord Krishna say:
"patram pushpam phalam toyam yo me bhakyaa prayacchati
tada aham bhaktya upahritam ashnaami ashnaami prayataatmanah" (Geeta Chapter 9).

2. Lakshmi devi wanted to know the reason Lord Vishnu was in such a tearing hurry to leave Vaikuntha. Lord Vishnu answered, "gajam traatum" (to protect an elephant). He said "ga" when He was in Vaikuntha. By the time He said "jam", he was already in front of Gajendra on the earth! Even now, in local parlance, in Tamil, when someone lands up... with a certain quickness and style, we say- "jamnu vandu nirkaraan!" The usage is from this incident.

3. Lord Vishnu wasted no time to leave Vaikuntha upon hearing Gajendra. He may be "alankaara priya", one who loves adorning himself, but now was not the time. He forgot his uttariyam (upper cloth) and grabbed whatever he could get hold of. It was when he wrapped Gajendra's wounds with his upper cloth, after killing the crocodile, that he realized that he had worn Lakshmi Devi's sari as his upper cloth!

4. He got his ornaments all wrong and ornaments which were to be present on one part of the body, were actually found on another. Such was his haste!

5. He appeared before Gajendra with 8 arms (ashta bhujah). However, the weapons did not exactly match with the arms on the opposite side. Instead of holding the bow (Shaarnga) in one hand and the arrow in the matching hand on the other side, they were both found on the same side! Same with the sword (Nandaki) and the shield. They were again found on the same side. There was no time to even align the weapons!

6. Lord Vishnu found Garuda to be too slow to get to the earth. At one point, instead of Garuda carrying Lord Vishnu, Lord Vishnu found it faster to carry Garuda and travel!

Informed readers can point out where these ideas are from. They don't seem to be present in the Bhaagavatam. However, they glorify Lord Vishnu's readiness to help the distressed. Hence, Tyagaraja's complaint that the Lord, who showed such alacrity to respond to a devotee, should be so indifferent to him.

Is the Lord partial?

We said in the last post that Tyagaraja seems to accuse the Lord of "pakshapaata", favouritism in this kriti. Is the Lord partial? Krishna answers this point in the Geeta (Chapter 9):

samoham sarva bhuuteshu na me dveshyosti na priyah
ye bhajantitu maam bhaktyaa mayi te teshu chaapyaham

Krishna says:
"I am the same towards all beings (samoham), there is none whom I hate, or whom I love.
But, the one to has bhakti towards me, he gets the benefit. He sees Me in him and I too see myself in him".
The devotee's attitude makes the difference.. much like the one who derives the benefit of the bonfire....by sitting close to it... to find warmth on a cold night. The fire is uniform (samah). If we sit far away from the fire and complain that it is bitterly cold, then, the grace of the fire is not for us! So too... with the Lord. His grace is available to all.
But the bhakta is able to "tap" the Lord's anugraha, His grace.

Does the Lord have to appear in person?

The Bhaagavatam tells the whole story and finally uses the expression "chandomayena garudena". Chandah- Vedic words, vedic teaching. It's as if the Lord rode on Garuda, who is personified as the vedic words. This expression is significant.
If we look at Gajendra stuti, it is extremely philosophical, packed with the teaching of the Upanishads. It is not the helpless rant of the distressed.
Hence, regardless of whether Lord Vishnu actually appeared in person before Gajendra or before any other devotee, "chandomayena garudena" lends itself to an alternate explanation.
Adi Shankara says "sarva vedanta siddhantha gocharam.. tam agocharam". The Lord may not be available directly for sense-perception (agocharam), still, He is available through the teaching of Vedanta (gocharam). Again, in another place, he says, "namo vedanta vedyaaya"- Salutations unto the One who is ever available through the teaching of vedanta.
Gajendra moksham.. has to be finally looked at from this angle. The Lord rides on the teaching of Vedanta.

Aarta to jignyaasu bhakta transformation:

If we look at the Gajendra Moksham verses, after a point, Gajendra wasn't even worried about his specific problem. He may have started as an "aarta bhakta", but soon rose above it to become a "jignyaasu bhakta"- the one who relates to the Lord primarily as a "seeker", a saadhaka. Where do we find this? In verse 25 of Gajendra moksham, Gajendra says- "jijeevishe naaham" (I don't even wish to live). His topical problem is no longer in focus. It has become irrelevant, much like Arjuna's specific problem about whether he should fight the war or not. Gajendra is in fact interested in something higher which he spells out, starting from the first verse- om namo bhagavatey tasmai yata etat chidatmakam.

Thus, some problems are directly solved. Others are solved in time. Vishnu's chakra can refer to "kaala-tatvam", as per an exponent. Kaala (time) solves problems. Thirdly, some problems are solved by rendering the problem itself irrelevant by focussing on something higher!
Arjuna's and Gajendra's topical problems were addressed using the third approach.

Let's remind ourselves that we started looking at all this because of Tyagaraja's "kari mora vini"!!
More on this kriti.... in the next post!

Tyagaraja's "Mari mari ninne" in Kambhoji raaga- part 1

"Mari mari ninne moralida...nee manasuna daya raadu" is Tyagaraja's kriti set to the raaga Kambhoji. As per traditional accounts, Tyagaraja's teacher Sonti Venkataramanaiyya wanted Tyagaraja to sing before his (Sonti gaaru's) father. That is the occasion when Tyagaraja sang this piece.
It is a piece in contrast to "Dorakuna itu vanti seva" which we saw earlier as one of the first compositions that Tyagaraja sang in public. In "Dorakuna", Tyagaraja is visibly thrilled that he has had Lord Raama's darshana, which is difficult for even munis, exalted sages. However, in "Mari mari ninne", Tyagaraja expresses an opposite reaction; he is deeply pained that despite his repeated entreaties, the Lord chooses to be indifferent and aloof while he chose to humour even elephants and monkeys! The Lord is accused of pakshapaata (favouritism) as it were!

The kriti at a glance:

mari-mari ninne moralida
nee manasuna daya raadu

Even If I entreat (moralida) you repeatedly (mari-mari), no feeling of compassion (daya raadu) enters your mind (mansuna).

Tyagaraja addresses the Lord as "sarvaantaryaami" and questions how He could be partial to some devotees. He gives four examples in this kriti- the elephant Gajendra, Dhruva, Prahlaada and Sugreeva and says that you came to their aid when they reached out to you. However, my lot is different; you totally ignore me.

Tyagaraja questions:
kaaranam emi sarvaantaryaami
What is the reason (kaaranam emi) O inner-controller of everyone (sarvaantaryaami)?

Sarvaantaryami:

The term "sarvaantaryaami" used in this kriti is a technical term found in other places in the scripture. As we said earlier, Tyagaraja is well versed in the Upanishads. Hence, these epithets are not casual references, but words which have to be analyzed with the background of Vedanta.
In this post, we will mainly look at this term.

Antaryaami as seen in the Brihadaaranyaka Upanishad:

The word "antaryaami" is synonymous with the Brihadaaranyaka Upanishad. This upanishad has a section (braahmanam) called "Antaryaami Braahmanam", a very popular part of the Upanishad comprising over 20 verses in which the concept of "antaryaami" is explained.

We can recollect a few facts from that section. Yaagnyavalkya, the celebrated sage is faced with a battery of questions in a contest, first by the lady Gaargi and then by Uddaalaka-Aaruni, another prominent sage. If he can answer all their questions, he can take the cows as prize-money.
Uddaalaka warns Yaagnyavalkya that if he pretends to be a brahmavit, a person of knowledge, but can't explain the term "antaryaami" satisfactorily, but still forcibly takes the cows away, then, Yaagnyavalkya's head will break to pieces! Some serious contest this was!! The section begins with this story and proceeds to explain the concept of "antaryaami".

Yaagnyavalkya explains the term "antaryaami" as Ishvara (Brahman with maaya shakti), God as we understand commonly. He takes examples from three different levels: (a) the cosmic elements-earth, fire etc. (b) all the living beings (c) organs in a given individual and declares that the Lord alone exists as the "order" behind everything in the creation- both in the macro-creation as well as in the micro-creation (within an individual).
There is a cosmic order, an astronomical order, a physiological order, a psychological order- everything in the creation is orderly. That Order is the Lord.
As someone observed humorously- People study "Chaos Theory". If there is "order in chaos", so much so that "chaos" is available as a "field of study", what to talk of other Sciences! Every Scientist unravels this order alone through his discoveries. That Order- whether in Geology or in Biology is the Lord, the antaryaami.

If there is one quotation that we want to remember from this Brihadaaranyaka section, it is this one, which Adi Shankara himself quotes in his Vishnu Sahasranaama bhashyam and which serves as a definition of the term "antaryaami".
"Ya imam cha lokam param cha lokam sarvaani cha bhutani yo antaro yamayati"
It defines antaryami as Ishvara, the Lord, who remains inside (antaro) all lokas (fields of experience, worlds) as well as inside the beings (bhutani) in these lokas and controls (yamayati) them.
These are the vedic statements that popular Hinduism rides on. The Lord is not outside the creation, but remains as the creation, as the very order in the creation. The ocean is the ocean due to the Lord, the banyan tree seed sprouts into a banyan tree and not into a coconut tree due to the Lord- everything is laid out.... well and perfect!

Antaryaami seen in the Geeta:

If there is one quote that which defines antaryaami in the Geeta, it is this famous verse in Chapter-18:

"Ishvarah sarva bhutaanaam hrdeshe Arjuna tishtathi
bhraamayan sarva bhutani yantraa  rudhaani maayayaa"

The Lord is situated in the heart of all beings and animates them using his maaya shakti (power). He twirls (bhraamayan) the entire creation like the figures mounted on a machine (yantra)!

Antaryaami in Sri Rudram:

It would be incomplete if we didn't speak about Sri Rudram, the famous set of verses in the Yajurveda in the context of the term "antaryaami". In Sri Rudram, Lord Shiva is described in 3 distinct ways:
As (a) Sarveshvara, as (b) Sarvaatma and (c) Sarvaantaryaami
Of these, the set of verses in the 7th Anuvaka beginning with "namo dundubhyaaya cha, aahannyaa ya cha" etc. describes the Lord as the sarvaantaryaami, the one who guides everything, the niyanta, the controller.

Abhinava Shankara, who has written a commentary on Sri Rudram specifically mentions this fact. The examples in this section are all encompassing and drive home the concept of sarva antaryaami in both inanimate and animate life-forms.

This section says:
A drum (dundubhi) is a drum and makes its distinct sound because the Lord exists as the order in the drum! The stick (aahanana) used to beat the drum is also the Lord!
The Lord exists as the narrow trail (sruti) everywhere, as the well laid out road (patha), as the pond (kaata), as the waterfall (neepa), as the marshy land (suuda), as the lake (saras), as the river (nadi), as the reservoir (vaishanta), as the well (kuupa), as the valley (avata), as the rain (varsha), as drought (avarsha), as the cloud (megha), as the lightning (vidyut), as the autumnal cloud (eedhriya), as the sun (aatapya), as the wind, as our breath (vaata), as pralaya-kaala (reshma) and as every object (vaastava) in the creation!

Where else can we find a more elaborate list which explains the concept of antaryaami in the creation?

With this, we have covered the philosophical part of the kriti- the explanation of the term antaryaami. The rest of it should be easy on the reader!
We want to briefly look at the four devotees that Tyagaraja mentions and how Lord Vishnu/Raama readily acceded to their request.

The devotees of the Lord:

Gajendra, Prahlaada and Dhruva are popular stories in the Bhaagavata Puraana. Sugreeva is of course from the Ramayana.
Tyagaraja is fond of Prahlaada and Dhruva and mentions them in other kritis too- like the popular kriti "varaalandu kommani", set to the raaga Gurjari. This kriti is very similar to "mari mari ninne" in theme and content.

The Bhaagavata Purana itself mentions these examples while extolling bhakti in the portion popularly known as Uddhava Geeta. We can recall the following verse in which Krishna talks about his devotees who span the entire spectrum. There are asuras, animals, birds, butchers and even scripturally illiterate people- they all came from backgrounds which were not spiritually conducive, still they succeeded because of their bhakti. Tyagaraja's examples are found here:

"Vrshaparva balirbaano mayashchaath vibhishanah
sugreevo hanumaanrksho gajo..." (Uddhava Geeta, Chapter 7, verse 6).

Gaja here is Tyagaraja's "kari mora vini"- his reference to the elephant, Gajendra.

Verse 5 talks about the value of satsanga, association with saints and makes an oblique reference to Prahlaada, born in an asura family. (We can recall how Narada taught Kayaadhu, Prahlaada's mother and how Prahlaada imbibed the teaching from his mother's womb!)
In the next post, we will take up each devotee that Tyagaraja mentions in this kriti and how the Lord went out of his way to help them.

The stories should be interesting and a refresher course for those who have forgotten their Amar Chitra Kathas!!

Tyagaraja's Dorakuna Contd.

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.

---

Tyagaraja's first performance- Dorakunaa in Bilahari raaga

Soon after learning under the Thanjavur court musician Sonti Venkararamanaiyya (refer previous posts), Tyagaraja sang before an assembly of musicians. This event is documented in several biographical accounts of Tyagaraja's life. He is said to have sung the kriti "Dorakuna Itu vanti seva" (Can I ever have such a 'seva'...such a privileged darshana?) set to the raaga Bilahari. Sonti Venkaramanaiyya was so moved by his pupil's rendition that he expressed openly, "Dorakuna itu vanti sishyudu"...meaning..."Can I ever have the privilege of teaching such a blessed student?"
Charulata Mani's rendition with "visual lyrics"-
http://www.youtube.com/watch?v=sSK4jD9gHrk


Later, Sonti Venkataramanaiyya invited Tyagaraja to sing before his father. In the presence of other notable musicians, Tyagaraja sang an elaborate alapana of the raaga Kambhoji (some say for eight hours!) and rendered the kriti "Mari mari Ninne". These two events and the associated kritis are mentioned in most biographical accounts vouching for their veracity.
In this post, we will take up the kriti "Dorakuna itu vanti seva" for a detailed analysis. In the next post, we will look at the kriti "Mari mari ninne".

The raaga Bilahari:

Bilahari and Vishnu:
"Dorakuna itu vanti seva" is set to the raaga Bilahari, a janya raaga of Shankarabharanam. "Bila" means "burrow". "Hari" is Lord Vishnu. Put together, Bilahari refers to Lord Vishnu present in a burrow/hole. At the Kamakshi temple in Kanchipuram, in the inner sanctum, there is an idol of Lord Vishnu inside a hole. Muthuswamy Dikshitar uses "Bilahari" as a raaga mudra to refer to this idol. He says "kaamakoti bila hari nuta kamaley"- (Kamakshi, who is worshipped by Lord Vishnu seated in a hole) in the composition "Kamakshi vara lakshmi". Thus, Bilahari refers to a particular image of Lord Vishnu in Kanchipuram.
Nityashree's rendition of this Dishitar kriti with a brief Bilahari alapana.
http://www.youtube.com/watch?v=xZk9bsbN0ys

Bilahari and Narasimha:
The word "Hari" also means a lion (simha). That's the reason sometimes "Narasimha" avatara is referred as "nara-hari". If we take this meaning, it would point to a "lion residing in a burrow/cave". Thus, "Bilahari" is used as a pun- for Lord Vishnu as well as for a lion. To lend credence to this line of thinking, we see that both Tyagaraja and Muthuswamy Diskhitar composed kritis titled "Narasimha" in the raaga Bilahari! The compositions are well known and rendered often in concerts.
Bilahari is often called the raaga which exudes "veera" (bravery) rasa. We can't exactly say that Narasimha exhibited courage or bravery. He dismembered Hiranyakashipu with such ferocious ease that it seems superfluous to classify it as an act of bravery! The "veera" rasa seems to fit better with musicians and poets-  it takes some courage to extol Narasimha murty...who is not exactly your "soumya murty" (gentle, benign form)!!
TVS's rendition of  Tyagaraja's "Narasimha" prefaced with a beautiful Bilahari alapana:
http://www.youtube.com/watch?v=RwZEScPVgSc

Bilahari and Shiva:
We saw that Bilahari can refer to either Lord Vishnu or to a lion in a cave. Adi Shankara has used a similar pun in his work Shivanandalahari. In verse 44, he refers to "pancha-mukhah" residing in a "kuhara" (cave). Panchamukha, like Hari has two meanings- It refers to Lord Shiva who has five faces- each with well known names: Ishaana, Sadyojaata, Aghora, Tatpurusha and Vaamadeva.  Panchamukha also means a lion- the one with a "wide (pancha) face (mukha)".

Bilahari and the Upanishad:
So where does this pun of a "lion in a cave" and "Lord Vishnu/Lord Shiva" finally take us? For this, we need to come to the Veda. In Taittireeya Upanishad, we find the well known mantra- "Satyam gnyaanam anantam brahma...yo veda nihitam guhaayaam". Simply translated, it refers to the Ultimate Reality, Brahman, whose nature is sat (satyam) chit (gnyaanam) and aananda (anantam). This Reality is available in each one us as "I",  the atma. Also, this teaching has to be recognized by the mind (sometimes called "the cave of the heart" -guhaa).
What was "bila" and "kuhara" in the discussions above is the "guhaa" (cave) in the Taittireeya. Our mind is the bila/kuhara/guhaa. Like a cave, the mind is steeped in the darkness of ignorance. Ignorance of what? Ignorance... of my essential nature as truly divine. It is this mind that has to own up the teaching and bring light to the cave- I am not this miserable self that I mistake myself to be, but in reality, my essential nature is the Self- the atma- whose nature is poorna (full)- "sat", "chit" and "aananda".

It is in the mind, the cave.... ....that the atma, the lion, the Shiva/Hari.... has to be recognised.
This is the final meaning of Bilahari!

Starting from the charanam- "sat" "chit" and "aananda":

The charanam says....
raamuni jagadodhaamuni sura ripu
bheemuni trigunaateetuni poorna
kaamuni chinmaya roopuni sadguna
dhaamuni kanulaara madini kanugona (dorakunaa)

Tyagaraja appears to have had this Upanishad meaning of Bilahari in mind. The charanam has the expressions "Raamuni", "chinmaya rupuni" "jagadodhaamuni" and "trigunaateetuni". Many stotras describing the Lord are called "paadaadi keshaanta stotras". They start from the Feet (paada) of the Lord and describe every anga (feature) of the body till the hair (kesha)! So too, for a better understanding of some kritis, we have to start from the feet (charanam!) and then go to the pallavi and the anu-pallavi stanzas.

Here, "Lord Raama" is described as "chinmaya" (nature of consciousness) and "jagadodhaama" (abode of the world). Taking each of these 3 words in order:

The word "Raama" is described as follows in commentaries of the Vishnu Sahasranaama.
"nityaananda lakshaney asmin yoginah ramanta iti Raamah"- The one in whom the noble people (yoginah) discover happiness (nityaananda) is Raama. Thus, Raama refers to "aananda swarupa" (of the nature of happiness).

Tyagaraja uses the expression "chinmaya rupuni" which is "chit swarupa"- of the nature of consciousness.

Next, jagadodhaama refers to the "substratum of the jagat, the universe". The universe has space, time, galaxies, solar system, earth, mountains, trees etc. Scripture says- Universe is, space is, time is, galaxy is, solar system is, earth is, mountain is, tree is.... The name and form varies....but "is-ness" associated with every object in the jagat (universe)  remains as the "non-variable". Even when an object is destroyed, its current name and form is gone, but it remains (is!) in a different name and form (as earth, as ash, as dust, as blackhole). Hence, the ultimate substratum of the universe, behind every form in this "is-ness" called in Sanskrit as "sat swarupa" (nature of "existence").
Thus, the charanam says that Raama is of the nature of "sat-chit-aananda"... the very words used in the Taittireeya Upanishad quotation that we referenced earlier.

Trigunaa-teetuni:

There is one more expression that Tyagaraja mentions- "trigunaa teetuni" (beyond the 3 gunas). We need to get into some Vedantic details here because this kriti has many references to "gunas". We have "trigunaa teetuni" here, next "sad-guna dhaamuni" for Lord Raama and the expression "taamasa guna rahita" with reference to noble people. Hence, for the sake of clarity, a few technical details are presented here which may look like a digression to some.

As per the Upanishads, the Lord or 'Brahman' is "essentially" of the nature of "sat-chit-ananda" and unconnected to the 3 gunas (also called Maya). We will call this- "the Lord's essential nature".

However, at the time of creation, "Brahman" associates with "Maya" (also called "prakriti"...which has 3 gunas) and creates the Universe.
It is just like the dream world we create during sleep. The "waker" uses "nidra-shakti" (power in sleep) to create a "dream world". Our "latent thoughts" get projected in sleep to form the dream world.
"Maya" is like the nidra shakti....made up of "rudimentary matter" (trigunaas- satva, rajas and tamas). During creation "Brahman" as though wields these 3 gunas and creates the world.

Thus, both aspects are present. Essentially He is "gunaa-teeta" (beyond the 3 gunas) and also "guna-bhrit" (associated with the 3 gunas when seen from the standpoint of creation).

We can recall the following quotations from the Geeta. Krishna says:
"aanaaditvaat nirgunatvaat paramaatma" (Chapter 13)- Essentially the Lord is nirguna (gunaa-teeta). But....
"mayaadhyakshena prakriti sooyatey sacharaacharam" (Chapter 9)- At the time of creation, enlivened by Me (the gunaa-teeta.. the Spirit), prakriti (maya.. with 3 gunas) evolves into this universe.
"nirgunam gunabhoktr cha"- Essentially nirgunam, but from a different standpoint, experiencer of gunas too.
"anur brhat krsha stulo gunabhrn nirguno mahaan" - Vishnu Sahasranama - He is guna bhrit, He is nirguna (gunaa-teetaa) too.... seen from two different angles.

Hence, Tyagaraja's "trigunaa teetuni" has to be linked with the expressions "Raama", "chinmaya rupuni" and "jagadodhaamuni" as revealing the "essential nature of the Lord as unconnected with the 3 gunas".
Later, when sadguna dhaama is mentioned, we will not take the "essential nature", but Lord as the "creator-sustainer-destroyer associated with the creation" or even as Lord Raama, a particular form of the Lord.

"Poorna kaamuni": One whose desires are fulfilled.
Which aspect does this refer to? Essential aspect or the creator aspect? As we see below, this can be explained from both angles.
The question is "Does the Lord have desire"? On one hand, he does seem to have a "desire". The Upanishad says "so kaamayata bahusyaam prajaa yeyeti"- "He desired to become "many" and evolved into the Universe... and started the whole cycle of creation". But Tyagaraja says "poorna kaamuni" here meaning- one with all desires fulfilled. Does he have a desire or no desire? We can answer it in 2 ways:

1. Essentially, Lord is gunaa-teeta: with no association with Maya and hence with no desire too. Maya is like the mind of the Lord. If the mind is kept away, there is no desire too. Hence, poorna-kaamuni. "Tribhir gunamayair bhaavaihi.... param avyayam" Geeta Chp 7- Krishna says- "I am param-avyayam and beyond the 3 gunas (essentially)".
Alternately.....
2. Once the cycle of creation begins, the same Lord...now as "creator"and associated with Maya, his mind.. is again "poorna-kaamuni". We feel a "sense of want" and "desire" for some "object". The Lord's desire is different- it does not stem from a "sense of inadequacy". He creates "out of fulfilment" and "not out of want". Hence, poorna-kaamuni.
We can recall the Geeta, Chapter 3: Krishna says:
"na mey paarthaasti kartavyam trishu lokeshu kinchana"- "Hey Paartha! There is nothing in the 3 worlds that I need to accomplish, still I do my duty (project the world and protect it) ".

Sura-ripu bheemuni:

Sura- devas. Ripu- enemies. Bheema - bhayankarah, the one who torments.
The one who torments the enemies of the devas, i.e. the asuras.
Here, we have left the topic of "trigunaa-teeta" and entered the realm of the "Lord as the creator". Once creation begins, the "order" has to be maintained. The ones who are inimical to the order... by violating the norms of right conduct are asuras... and are a threat to the creation itself. To maintain the universal order (dharma), the Lord chooses to incarnate and destroy the wicked (sura-ripu).  We can remember the well known quote from the Geeta, Chapter 4: Krishna says...
"paritraanaaya saadhunaam, vinaashaaya cha dushkritaam"- For the protection of the good people, for the destruction of the wicked, I incarnate from time to time.

Sadguna dhaamuni:

Every devotee invokes the Lord as "sadguna dhaama"- endowed with noble qualities- with ananta kalyaana gunaas. Here, the Lord is presented as "Guna-bhrit" as opposed to "gunaa-teeta" seen earlier. We can recall the well known quotation describing Bhagavan- "aishwaryasya samagrasya veeryasya yashasas shriyah gnyaana vairaagyayoshchaiva shannaam bhaga iteeranaa"- bhagavan has 6 qualities in full measure- power, strength, glory, richness, knowledge and absence of want.
Here, the devotee considers himself as a daasa (servant) and the Lord as gunavaan (sadguna-dhaama). The devotee finds relief and comfort in this relationship to go through the vicissitudes of life.

Soon, he gets the mindset to absorb the essential teaching that the "Lord" and....why.... even "I" am "essentially" "gunaa-teeta".
Geeta Chapter 14: Gunebhyashcha param vetti - The individual recognizes himself also as gunaa-teeta. We can recall the "gunaa-teeta lakshanaani" (the description of the individual who owns up the teaching and claims his essential Self also as gunaa-teetaa) towards the end of the Chaper 14 of the Geeta. Thus, gunaa-teetaa can fit the Lord (as seen earlier) or even a gnyaani. This is an aside point.

Alternate reading: Jagadodhaaruni sura-ripu bheemuni

Sometimes, in this kriti, we see the expression "jagadodhaaruni" instead of "jagadodhaamuni". Here, we leave the "essential nature of the Lord" (the context in which we interpreted this term ealier) and come to the Lord's role as the creator-sustainer-destroyer.
Since, it is followed by sura-ripu bheemuni (the destroyer of the wicked), "jagat uddhaarana" points to the Lord's role as the protector, the sustainer who helps to maintain the fabric of dharma through this avataras.

kanulaara madini kanugona:

 Is it possible to have darshana of such a Lord Raama (as described above) asks Tyagaraja. Kanulaara- to the satiation of the eyes. madini- in the mind. This is similar to Wordsworth's expression- "inward eye", "mind's eye" etc. kanugona- to behold. Is it possible for us to mentally appreciate, visually behold Lord Raama with these attributes?
What should be our answer? There is no answer in the keertana where Tygaraja explictly says that..... yes, I have got such a darshana. The pallavi, anu-pallavi and charanam are all open-ended questions on similar lines. But given the mood of the kriti, the tone of the questioning and the wealth of detail that Tyagaraja has packed into each stanza, it is clear that this question has only one answer. Tyagaraja is singing this kriti in the exuberance of the darshana that he's just had of Lord Raama. We return from Tirupati and exclaim- I stood in front of the Lord for 5 full minutes! Can someone have a Balaji seva like this... dorakuna itu vanti seva!?

This charanam is not yet complete. Tyagaraja shifts gear from the "Lord's essential nature" and the "Lord as the creator-destroyer" to Lord Raama as Tyagaraja's personal God (Ishta Devata). In fact, he first presents the Lord as his Ishta Devata in the charanam. It's just that we found it convenient to jump to the "Essential nature" to maintain a certain flow in this write-up.
So, Tyagaraja starts the charanam by painting a word picture.  He has the pleasure of gently rocking Lord Rama and Seeta seated on a swing. We'll see those details in the next post.

Tyagaraja's kriti in Kaanada- "Sri Narada"

In the last post, we introduced the kriti composed by Tyagaraja... "Sri Narada..." set to the raaga Kaanada. Some points pertaining to this song are presented here.

Bombay Jayashree in her inimitable style:
http://www.youtube.com/watch?v=t4DQ0cHmKZs

Pallavi:
Sri Naarada ! Naadasaraseeruha Brunga ! Shubhaanga!

Anupallavi:
Deena Maanarakshaka! Jagadeesha! Bhesha Sankaasha

Charanam:
Vedajanita Vara Veena Vaadana Tatvagnya!
Khedahara Tritaaparahita Khechara Vinuta!
Yaadava Kulajaapta Sadaa Modahrudaya! Munivarya!
Srida ! Tyagaraja Vinutha! Srikara ! Maam Paalaya


Sri Naarada naada sarasiruha bhringa:

Here, Naarada is compared to a bee (bhringa) drinking honey from "Naada" (subtle-form of Sound). Naada is compared to a lotus (sarasiruha).
What does this bee-lotus imagery remind us of ? The famous Geeta Dhyaana shloka-

"Loke sajjana shatpadairaharahahaa,
pepeeyamaanam mudaa bhuyaad bhaarata pankajam"

A bee has 6 legs- shat (six) pada (legs). Sajjana- noble people. In this shloka, noble people are compared to a bee- (six legged insect). They drink (pepeeyamaanam) honey from the Mahabharata (bhaarata) which is compared to a lotus (pankajam). It simply means that noble people imbibe the wisdom of the Mahabharata (and its quintessence, the Geeta).

Significance of the bee metaphor:

It is evident that Tyagaraja has used the same metaphor. What is the significance of this metaphor? It can be seen in two ways:
1. Bhringa, Bhramara (another Sanskrit synonym for bee)... why even the word 'bee' are all examples of the figure of speech- "onomatopoeia". The word conveys the sound that a bee makes. Sound is the bee's most evident aspect. Just as a bee cannot be thought of without its buzz, Naarada... is verily sound (naada) personified.. the epitome of music.
Alternately......
2. We can again go to Adi Shankara's Saundaryalahari. "Nimajjan majjeeva karana-charana shat-charanataam" (Verse 90). Here we find an explanation for the bee. The five-sense organs (karana) and the mind (antah-karana) make up the six legs of the bee. We are the bee! In effect, surrendering our entire being (all the six organs) to the lotus feet of the Lord is the significance of the bee-lotus example. Naarada is similarly immersed (nimajjan!)....his being dedicated to music (naada)....

What is naada ?

In simple terms, naada is "sound". Naada reminds us of another popular song of Tyagaraja- "Naada tanum anisham Shankaram namaami". (We will see this song in a different context). Tyagaraja says that Lord Shiva's body (shankara tanu) is "Naada". Naada (Sound) indeed is Lord Shiva.
Shiva's tanu takes us to that famous Vedic hymn Shri Rudram. Yaa te rudra shivaa tanu shivaa vishvaaha bheshaji. Hey Rudra! Your body (tanu) is auspicious (shivaa) and serves as a medicine (bheshajam) for the afflictions of the world (vishva). Now that Tyagaraja has defined Shiva's body as naada, we can say that music serves as the antidote to the mental affliction that we suffer from.

Bhringa and Bhringi!

Coming back to our original kriti in Kaanada raga, we can now say that Naarada pays homage to Lord Shiva (the one with naada-tanu) through his music just as a bee buzzes around a lotus. Now, the bee bhringa and Lord Shiva are related through a mythological story as well.
Rishi Bhringi was a great Shiva bhakta to the extent that he wouldn't worship any deity other than Lord Shiva, not even Parvati. Hence, when Parvati stood next to Shiva, Bhringi took the form of a bee (bhringa) to hover only around Lord Shiva! It was only when Parvati took half of Lord Shiva's body as Ardhanaareeshwara, that Bhringi was unable to give exclusive attention to Lord Shiva and had to relent to Devi.
Such is Naarada's focus too when it comes to naadopaasana (practice of music).

Why Lord Shiva here?

Though we used Tyagaraja's own definition of naada to bring Lord Shiva into the picture, an objection may be raised that Naarada is after all Lord Vishnu's devotee and Lord Shiva is a needless intrusion here. How do we explain this objection? We always have a quotation ready-

"Shivasya hrdayam Vishnu... Vishnoshcha hrdayam shivah!

Vishnu resides in Shiva's heart and Shiva resides in Vishnu's heart! This mutually-dependent riddle simply means that Lord Shiva and Lord Vishnu are one and the same.

For confirmation, we need to go to Saint Tyagaraja's birthplace.. Tiruvarur.

The temple at Tiruvarur:

As per tradition, the temple of Tiruvarur is constructed in the form of Lord Vishnu. The sanctum sanctorum is where Vishnu's heart would be present. It is here that Lord Shiva is manifest as Tyagaraja. Our saint Tyagaraja gets his name from this deity. As Lord Vishnu breathes, his chest moves up and down. Lord Shiva, residing in his heart also bobs up and down. It looks as if Lord Shiva is dancing and Shiva's dance is called "ajapa natanam" at this temple. It is precisely to show Shiva's association to Vishnu that Shiva is called "Raja" (Tyagaraja here)... an epithet used normally with Lord Vishnu (who has names like Rangaraja, Govindaraja, Varadaraja etc.)
Tiruvarur itself is called "Kamalaalaya" in Sanskrit... associating it with a lotus which again is Lord Vishnu's emblem. We can recall the quotation (jananat kamalalaye).

Coming back to Naada- a technical definition:

The Universe is supposed to have evolved from a singularity...in stages... from the subtle to the gross. Scripture talks about this evolution either in terms of matter (artha-prapancha) or in terms of sound (shabda-prapancha). The relationship is that "matter" at every stage of evolution would have a corresponding "word". When matter is in a subtle form, the word would also be "subtle". When the matter evolves to a gross form, the word also becomes "gross". Thus, we have an "evolution of sound" as it were... from the subtle to the gross parallel to the "evolution of the matter universe".
This is true in the macrocosm as well as in the microcosm (in a given individual). In a particular individual, the production of sound or speech is also supposed to follow a similar process. Initially, subtle and unmanifest... which soon manifests itself into vocal, audible speech.
In keeping with this "evolution of sound", scripture has  two different sets of technical terms:
(a) bindu-naada-kalaa.
(b) paraa-pashyanti-madhyamaa-vaikhari.
     
In definition (b), Vaikhari is manifest sound as we know it. Vaikhari itself is divided into (1) dhvani (non-speech sounds like laughing, crying etc.) and (2) varna (intelligent speech).
Both Vaikhari and kalaa refer to audible sound in the two defintions.

Further, naada in definition (a) is the same as paraa in definition (b). They refer to "Sound in its subtlest aspect". Hence, Naada is sometimes translated as "primeval sound".
Narada, through his music, propitiates this naada- the primeval sound.

Naarada and Naada:

Shakuni changed the destiny of the Kurus. Just remove the middle syllable "ku" from Sha-ku-ni and we get Shani (Saturn, the planet which influences destiny). For the Pandavas, Shakuni was verily Shani bhagavaan!
So too, in Naarada- remove the middle syllable  "ra" and we get "naada". Naarada is naada incarnate. We see this play of words by Tyagaraja.

The rest of the kriti is now simple.

Shubhaanga:

This name occurs in Vishnu Saharanama. Here, of course, it refers to Narada. We can use the same interpretation given to Shubhaanga in the Sahasranama. Names like these are used for "upaasana" where the devotee imagines a form of the Lord and meditates on the entire form of the Lord or a particular anga (part) of the Lord- may be, His face or His feet. Whatever anga of the Lord is chosen for meditation, the benefit is always "shubha"- "wellness" in terms of enjoying a peaceful and one-pointed mind. Tyagaraja invokes Narada as shubhaanga and receives the benefit there of.

Deena maana rakshaka:
Narada is praised as the one who protects the helpless. We can recall here the story of Dhruva who left the kingdom and wandered helplessly in search of Lord Vishnu. It was Narada who showed him the path and served as Dhruva's guru.

jagadeesha:
We saw in the last post that Narada was a sakala-lokamulaku-sadguru: He taught Valmiki, Dhruva and Tyagaraja himself. As a guru, he rules the world. Also, music rules the world. Hence, jagadeesha (ruler of the world).

Bheshasankaasha:
This is translated as moon-like appearance. The full moon is known for its "aahlaada-karatvam"- the ability to give instant relish and happiness the moment we look at it. Music has the same effect on us, isn't it? Who doesn't like at least some form of music?

Veda-janita-vara-veena:

The veena is born (janita) from the vedas. The vedas are anaadi (birthless). The veena, closely associated with the veda is also a very ancient instrument. The veena is referred in Valmiki Ramayana itself (Ayodhya kaanda).
Narada's veena is called Mahati. We can recall other special Veenas here- Tumburu's veena is Kalaavati. Saraswati's veena is Kachapi.

Veena vaadana tatvagnya: - Narada, the one who is an adept at playing the Veena.

Tyagaraja here quotes Sage Yagnyavalkya.
Yagnyavalkya says:

veena vaadana tatvagnya shruti jati vishaarada
Taalagnyashchaprayaasena moksha maargam niyachchati.

 The one who knows the essence (tatvagnya) of veena vaadana (playing the veena), by aligning to "shruti" (purity of notes), "jati" (movement) and "taala" (rhythm) will be on the "path to moksha" (moksha maargam). Naadopaasana (music) helps to prepare the mind by bestowing the following qualities (a) relaxation (b) concentration (c) expansion (d) a mind with values. When such a mind is exposed to the teaching of the tatva from a qualified teacher, the student grasps the teaching of the Whole effortlessly.

Khedakara tritaapa rahita: Narada, who is not afflicted by the three "taapas"

A human being is afflicted with problems arising from three sources:
(a) Aadhyatmika - Problems from ones own sick body and  mind.
(b) Aadibhautika - Problems stemming from immediate surroundings.
(c) Aadidaivika -   Problems arising from supernatural forces like earthquakes and tsunamis.

Narada helps to mitigate the taapa (affliction) in the mind through his music. That music acts as a soothing balm for the agitated mind is well known.

Khechara vinuta: Narada, who is worshipped (vinuta) by the Devas and Gandharvas.

Kha (space) chara (one who moves). Literally, the one who moves across the space or the sky (Sky-Walker as in Star Wars!)

(1) Lord Shiva is called "Khacharah gocharah" in the Shiva Sahasranama (Mahabharata). Lord Shiva is the Sun, the sun who moves across the sky (khacharah) and who is also the pratyaksha devata, available for our perception- hence, gocharah.

(2) Lord Vishnu is called "vihaayasa gati" in the Vishnu Sahasranama. This is the same as Khacharah and refers to Lord Vishnu as the Sun (the one who moves (gati) through space (vihaayasa)).

(3) "Chaaranaa charitey pathi" in the Sundara Kaanda (Valmiki Ramayana). Hanuman is described as a "sky walker" because he takes the path (pathi) of space  (to fly to Lanka) just as a type of celestials called chaaranaas do.

So who is this Kechara vinuta- one who worships Narada? Both Shiva and Vishnu do not worship Narada. It is the other way around. Hence, we can take the following meaning.
The Sun or Surya Devata is the upalakshanam (symbol) for the devatas in general. The devatas definitely adored Narada.
The Gandharvas are celestials just like the Chaaranaas. Gandharvas are great lovers of music and surely must have surely worshipped Narada.
Hence, khechara vinuta can be safely taken as Devas and Gandharvas who looked up to Narada.

Yadava kulajaapta: This qualifies Narada, the one who is dear to Lord Krishna, who belongs to the kula (clan) of the Yadavas. And why is Narada dear to Lord Krishna? Krishna himself says:

naaham tisthami vaikunthe   yoginam hrdayeshu va

mad-bhakta yatra gaayanti   tatra tisthami naarada

O Narada! I do not reside in Vaikunta or even in the hearts of the yogis. Wherever my devotee  sings, I reside there! Narada is forever singing the Lord's glories. Little wonder that he is dear to Lord Krishna.

Sadaa-moda-hrdaya:
Again Narada is described as one who is always (sadaa) happy (moda) at heart (hrdaya). Why is Narada always happy? Why does music make us happy? The Taittiriya Upanishad explains the mechanism of happiness in the "Brahmaananda valli". Music or any object of happiness helps to temporarily quieten the "wanting, demanding mind". Briefly, the mind is peaceful and entertains "subtle thoughts" called "priya", "moda" (the word here) and "pramoda" vrittis (Upanishad terms). Such a non-demanding mind is like a mirror and is able to "reflect" "brahmananda" (our essential nature) so that we "become" happy. Quieter the mind, clearer is the reflection and consequently greater the happiness. Music helps the mind to be at ease with itself and hence the pleasure.
Naarada, the master musician enjoys this happiness to the maximum.
Morever, Naarada is a tatvagnya, a Master who knows the Truth. Hence, in addition to enjoying the pleasure that music provides, he knows his essential nature as Sat-chit and more importantly aananda-swarupa- of the nature of happiness.

Munivarya:
Narada- the best of munis (sages). Devarshinaam naaradah (seen earlier. Geeta Chapter 10).
Manana-sheelah munih...meaning muni is the one who is always in manana- introspection. Narada is engaged in the thought of the Lord always. Also, as naaram dadaati iti naaradah (seen earlier), his mind is soaked in atma-chintana.

Srida-Srikara:

Both words are Lord Vishnu's names in the Sahasranama. Here, they are used for Narada. A devotee, as it were borrows his Lord's qualities through constant manana (thinking). Srida- the bestower of happiness. Srikara- the one who brings about "sri". What does Sri mean? Anything that gives happiness is Sri. It need not be wealth alone; sri has a wider connotation. We talk about different kinds of Sri- happiness due to grha (family), dhana (money), dhaanya (plenty of food), santaana (children), vidya (knowledge), aarogya (health) etc. We can get all these from Naarada. More importantly, through music, we can get relaxation and mental peace which is the greatest Sri.

Tyagaraja vinuta- maam paalaya:

Tyagaraja bows down to Narada, who enjoys so many attributes and prays for protection (maam paalaya). Since this song ends in first person (protect me..maam paalaya), every musician singing this kriti invokes the blessings of Narada to bestow him with Sri, the wealth of happiness.

Narada and Tyagaraja

Narada in Shruti, Purana and Itihaasa:

In the last post, we saw that Tyagaraja was particularly indebted to Narada. He had a vision of Narada and received the musical treatise "Swaraarnava" from him. Contrary to the popular perception of Narada as a character meant to provide only comic relief in the middle of a serious drama, Narada was in fact a "sakala lokamulaku sadguru"- "a world teacher" as Tyagaraja refers to him. (Kriti: vara naarada  in raaga Vijayashri). Tyagaraja explicitly mentions the work "Swaraarnava" in the famous composition "Swara raaga sudha" (Shankarabharanam raaga).

Narada figures prominently in the Shruti (vedas), Puranas and Itihaasa.
In the Chandogya Upanishad (Sama veda), Narada tells SanatKumara that he has mastered all Sciences and Arts. Still he has no peace. SanatKumara then teaches him the knowledge of the Self (Bhuma Vidya). With this, Narada's resume is complete- a master of "paraa vidya" (Self Knowledge) and "aparaa vidya" (all the material Sciences).
The puranas are of course replete with stories featuring Narada. Narada was Prahlada's guru as well as Dhruva's (Bhaagavata Purana).
The Ramayana (itihaasa) begins with Narada as Valmiki Maharishi's teacher. It is Narada who convinces Valmiki to write about Rama and narrates the entire story in a nutshell.
In the Geeta, Lord Krishna identifies Himself with Narada when recounting his glories (vibhutis) and says "devarshinaam naaradah". "Amongst the divine seers, I am Narada," Krishna says.
"Naaram (Self Knowledge) dadaati (bestows) iti Naaradah"- the one teaches self knowledge is Narada.... - is a well known statement.
In the list of Bhaagavatas (prime devotees of the Lord), Narada figures prominently- "Prahlaada, Naarada, Paraashara, Vyaasa, Ambareesha, Shuka, Shaunaka, Bheesma, Rukmaangada, Arjuna, Vasishta, Vibhishana.....parama bhaagavataam smaraami".

Narada and Tyagaraja:

Tradition identifies Tyagaraja as Valmiki Maharishi's avatara. If Valmiki composed the Ramayana with 24000 verses and set them to music in the "maarga sangeetam" format, Tyagaraja is said to have composed 24000 kritis set to music in the "deshya sangeetam" format. And just as Narada was Valmiki's teacher, he was Tyagaraja's teacher too. (Commentators talk about division of music into "ghana", "maarga", "naya" and "deshya" types).

In the kriti, "vidulaku mrokkeda" in the raga Mayamalavagaula, Tyagaraja pays obeisance to all the accomplished masters of music and invokes their grace. Like the "parampara prayers" in Vedanta- "Sadaashiva samaarambhaam..." and "Narayanam padmabhuvam...", this kriti mentions a kind of musical parampara. The list is long- it begins with "Shankara" (Lord Shiva in the anu-pallavi) and covers almost everyone- the trimurtis, their spouses, their children, rishis, right down to historical personalities like Shaarnga Deva (author of Sangeeta Ratnakara)... all the way to Tyagaraja's own guru (asmad-acharya)- Narada.

Vidulaku mrokkeda sung by M.S Subbulakshmi
http://www.youtube.com/watch?v=llsETzsGWzU

An aside point: It is fitting that this kriti is in Mayamalavagaula. It is the first raaga that a student of Carnatic music learns. It looks as if Tyagaraja would like every student to begin his musical journey by invoking the blessings of all the acharyas of the musical parampara by singing this kriti.

Narada and raaga alapana:

The story leading to the Ramayana is well known- Valmiki was a robber in the forest. He tried to rob the Sapta rishis. But the tables are turned and Valmiki soon repents for the evil actions of his past and resolves to change. Valmiki is incapable of saying "Raama" and the Sapta Rishi's teach him to chant "maraa"-the syllables reversed. "Maraa" soon transforms to "Raama" as Valmiki's japa gains in intensity. (Isn't this an example of "spoonerism" (reversal of syllables in English)... which is attributed to Archibald Spooner who lived as late as the last century? Ramayana is considered the "adi-kavya"- 'the first poem' and  at least 2000 years old.) How is this incident concerning reversed syllables connected to Tyagaraja?

During Tyagaraja's time, raaga alapana involved explicit usage of words. One harikatha exponent says that it was Tyagaraja who started the tradition of singing "raaga alapana" using the syllables of  "Narada"... curiously, with the syllables reversed - "da-ra-na".

The next time you attend a concert and the vocalist begins  Kalyani raaga with the syllables "da-ra-na.........", now you know why!! You should immediately think of Narada!

Narada pancharatnam:

Tyagaraja composed many kritis on Narada. "Sri Naarada naada..." in the raaga Kaanada and "Vara Naarada" in the rare raaga Vijayashri are well known. Apart from these, 3 others kritis are mentioned which together form the "Narada pancharatnam".
- "Naarada guru" in Durbar
- Naarada muni" in Pantuvaraali
- Sri Naarada muni" in Bhairavi.

Another popular kriti "Naarada gaana lola" in the raaga Atana is sometimes included in the above set. Though this kriti begins with the name Narada, this song is actually in praise of Lord Rama (or any of Lord Vishnu's variants since there is no explicit mention except as "blue hued" (neela)), who is captivated by Narada's music (Naarada gaana lola) and not on Narada himself. Hence, strictly speaking, it should be kept outside this set.

"Sri Naarada naada" in raaga Kaanada:

Narada is renowned as a "kalaha priya"- a mischief monger whose mischief always ends with something good done... to either the inhabitants of the earth or to the denizens of heaven. Universal welfare is always the "janya" (result) of this "kalaha priya's" actions! It looks as if Tygaraja had this point in his mind when he composed "Sri Narada" in the raaga Kaanada.

Kaanada is a janya ('child' raaga) of the raaga Kharaharapriya. And can't we apply the rule "ra-la-yor abhedah" in Sanskrit- meaning "the syllables 'ra' and 'la' can be replaced ? Kharaharapriya would then be Khalahalapriya! What better raaga for a kriti on Naarada.... the kalahapriya.... than Kaanada, a janya raaga of Khalahalapriya!!? Don't take this bit seriously!

In the next post, we will take up this kriti for a detailed analysis.

Sri Narada naada..... Artiste: Neyveli Santhanagopalan
http://www.youtube.com/watch?v=gAPmqxHjszk

Till then, adios amigos!


P.S: Sceptics have a problem with celestial beings like Narada making an entry into our work-a-day world. How could Tyagaraja have "seen" Narada? Did he come in a dream or as a vision? Could Narada, the triloka sanchari, have left a book for Tyagaraja? We are assailed with these questions.

We follow a simple rule. When it comes to puranas, mythological stories, sthala-puranas at temples or even incidents like the above, we accept it at face value and enjoy it for what it is worth.
If our intellect still questions, we can always explain it away in different ways. According to one version, the sanyasi Ramakrishnananda (previous post) was none other than Narada and left the book for Tyagaraja.
Wherever there is a super-human contribution, we attribute it to Ishwara's (God's) vibhuti (glory) manifesting through a particular individual which prompts us to say that so-and-so is an avatara of some divine being. It is in that sense that these incidents and beings have to be understood.

However, once we leave the field of puranas, mythology, veda-purva bhaaga and come to Vedanta (Upanishads), we are given full scope to ask every possible doubt (after receiving the teaching from the guru). The teacher himself raises questions, the student counter questions and the discussion continues till the mind of the student is fully convinced about the validity of the knowledge. This is the field to question.
We need to remember these two rules all the time: When to accept at face-value and when to question... whenever we read the scripture.