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.
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.
Truly great to read your writing Sirš
ReplyDeletethanks a lot Priya for the kind words!
Deletesir, we need truly people like you, thank you and regards
Deletethanks so much for your kind words!!!
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