Papanasam Sivan had a special affinity for the Kapaaleeshwara Temple at Mylapore, Chennai.
In this temple, Shiva is known as Kapaaleeshwara and Devi as Kalpaka naayika (or Karpagaambaal in Tamil).
Sivan has composed many kritis in praise of Lord Kapaaleeshwara, which are often rendered in concerts. In particular, we recall the popular ones: Saamagaana lolane in Hindolam, nambi kettavar evaraiyya again in Hindolam, Kapaali in Mohanam and of course that Madurai Mani Iyer favourite in Kambhoji raaga- kaana kan koti vendum.
In this essay, we want to look at the kriti Saamagaana lolane and dwell on some of the ideas.
Pallavi:
Saamagaana lolane:
Lord Shiva, as Kapaaleeshwara is presented here as one who enjoys "saamagaana". Saamagaana refers to the musical rendition of Saama Veda. The Rig Veda is in "padya rupa" i.e. in metrical/poetic form, the Yajur Veda is in "gadya rupa" i.e. in prose. Saama Veda is in "geeti rupa" i.e. in musical form. "Vedaanaam saamavedosmi"- "Amongst the vedas, I am Saama Veda," Lord Krishna says in the Geeta. Thus, Saama Veda is captivating because it has the added element of music.
Ravana and Saamagaana:
There is a popular mythological story of how Ravana lulled Lord Shiva with Saama gaana and extricated himself from an impending crisis.
Once, Ravana was puffed up with pride that he could take on Lord Mahadeva Himself. He tried to lift Mount Kailash with his twenty arms. As he slowly raised Mount Kailash, the denizens of the snow capped mountain ran for cover. Even Parvati quavered in fear. Lord Shiva came to their rescue. He simply pressed his big toe as he sat on the mountain peak. Immediately, the mountain came down and Ravana was on the verge of being crushed. He helplessly held onto dear life and wondered how he could get out of this precarious situation.
He tore off one of his ten heads and one of his twenty hands. He joined them together to form a veena- the head as the veena's drum, the hand as the veena's stem and his nerves as the veena's strings! An exponent of the veena, Ravana regaled Lord Shiva with Saama Gaana. Lord Shiva, the saama gaanalolane, was truly mesmerised with the rendition and gently removed the pressure of his big toe so that Ravana could release himself!
This incident finds a prominent place in one of the sannidhis at the temple of Tiruvidaimarudur (Madhyaarjuna kshetra, close to Kumbakonam). If you hold your ear against one of the apertures in the praakaaram, you can even now hear Ravana's Saama Gaana! Seriously! You can verify it for yourself!!
He is the enjoyer of music, He is the music.. and the instrument too:
Though the word "saama gaana lolane" (the enjoyer of Saama gaana) is alone mentioned, we need to include the other two of the "triad" ("triputi"as it is technically known). Lord Shiva is the enjoyer, He is the enjoyment, He is the instrument of enjoyment too.
For instance, in the Vishnu Sahasranama, we see the names "bhojanam" (food) and "bhokta" (enjoyer of food) mentioned in the same verse. (bhraajishnur bhojanam bhokta......). Lord Vishnu is the eater, He is also the eaten!
Similarly, in this kriti, for our understanding, we need to add that Shiva alone is manifest as "Saama gaana" itself as well as.....in the form of the musical instrument through which "Saama gaana" is played.
In the Tyagaraja kriti, "naada tanum anisham shankaram namaami", we see that Lord Shankara is described as having "naada" (music) itself as his tanu (body). Further, Tyagaraja says, "modakara nigamottama saama veda saaram"- Lord Shiva alone is manifest as the essence (saaram) of Saama Veda, the best (uttama) among the vedas (nigama). Tyagaraja, as though complements this Papanasam Sivan's kriti and gives us the reference for Lord Shiva appearing as "saama gaana" itself.
Finally, where is Lord Shiva described as a musical instrument? For this, we can go to Shri Rudram. We have the anuvaka beginning with "namo dundubhyaaya"- salutions unto Lord Shiva, who is manifest as "dundubhi", which is a kind of drum. Dundubhi here should be understood as an "upalakshanam" for all musical instruments. Instruments are classified into "skin instruments"-like the drum, "string instruments" like the veena and "wind instruments" like the flute.
All musical instruments from the Rudra Veena to the bagpipe to the Hawaiian guitar are Shiva swarupa alone!
Thus, He is the enjoyer of music, He is the music, He is the musical instrument too.
Why not samagana priyane?
Papanasam Sivan could very well have used "samagana priyaney". Why "lolane"? The metre would have been fine even with "priyane".
Since the raga is Hindola, it is apt to use "lola"! Further, "sa", "ga", "ma" "da" "ni" being the notes of Hindolam, by using "saa-ma-gaa-na", there is a nice swaraakshara achieved as well. In fact, throughout this kriti, we see examples of swaraakshara.
Sadashiva:
Shiva has many aspects. "Sadashiva" is normally associated with Dakshinamurti- the Brahma-Vidya "aadi guru". The Lord alone is the originator of the teaching of brahma-vidya which flows down to us in an unbroken parampara. We have the well known shloka:
sadaashiva samaarambhaam shankaraachaarya madhyamaam
asmadaacharya paryantaam vande guru paramparaam
Sadashiva can be looked upon... as moksha-karta too. Typically, the Lord is associated with three primary functions: as the creator, protector and destroyer. Sometimes, two more functions are added: the one who ties us down to samsara through the veil of maya (tirodaana karta, the "veiler" ) and the one who helps us in overcoming samsara (anugraha karta or moksha karta). In this expanded functionality portfolio, Brahma is the creator, Vishnu is the protector, Rudra is the destroyer, Ishwara is the "veiler" and Sadashiva is the moksha karta. Of these, Rudra, Ishwara and Sadashiva are all different aspects of Lord Shiva alone.
Where do we find this mentioned? In Adi Shankara's Saundaryalahari:
jagat sutey dhaata harir avati rudrah kshapayate
tiras kurvan etat swamapi vapur eeshas tirayati
sadaa purva sarvam tadidam anugrnaati cha shivah
tavaagnyaalambya kshanachalitayor bhrulatikayoho
In this verse, sadaa purva shivah is sadashiva.
There is no real difference in the two meanings of Sadashiva given here. Through brahma-vidya teaching, Sadashiva as Dakshinamurti functions as anugraha karta or moksha karta.
One more point:
"Saamagaana lolaney Sadashiva" can be connected together as follows:
Sama Veda contains the most popular mahavakya - "tat twam asi"- "Essentially, tat (the Lord) and you (the individual) are one and the same". This occurs in the Chandogya Upanishad of Sama Veda. Every teacher in the brahma vidya parampara beginning from Sadashiva takes recourse to this mahavakya. Hence, Sadashiva has a special place for saama-gaana because the content of saama gaana is "tat twam asi".
Coming to the kriti, "sa-da-shiva" serves as a swaraakshara. If the word "saa-ma-gaa-na" reminds us of the notes "sa-ma-ga-ni" in Hindolam, the only remaining swara "da" is brought out in "sa-da". Thus, in the very first line, Papanasam Sivan covers Hindolam's scale through his very choice of words!
Shankaraney:
"Sham karoti iti shankarah"- the one who bestows happiness (sham) is shankara. As Sadashiva, He makes brahma-vidya available to us. Through brahma vidya, the student owns up his essential nature as brahman whose nature is aananda swarupa (nature of happiness). We have the famous quotation in Taittireeya Upanishad- "brahmavit aapnoti param"- the knower of brahman gains the highest (param). The Upanishad goes further to explain "param" as "happiness" in the section "brahmaananda valli". Hence, Shankara means the one who bestows brahmaananda itself through the brahma-vidya teaching.
In Shri Rudram, we find a different shade of meaning. We find the phrase "namah shankaraaya cha mayaskaraaya cha" - Salutations unto "shankara" and "mayaskara". Both words "sham" and "mayah" mean happiness. Hence, these two words are differentiated by saying that "shankara" refers to the one who confers happiness in this world itself, while "mayaskara" refers to the one who bestows the happiness gained hereafter.... through spiritual benefit. We can take "Shankara" in this meaning as well.
An additional point:
Sadashiva alone appeared as Adi Shankara- "shambhor murtis charati bhuvaney shankaraachaarya rupaa"- "Shambhu or Sadashiva moves around (charati) in this world (bhuvaney) in the form of Shankaracharya"
As Adi Shankara too, he gave happiness to the world through the message of advaita, which is contained in a capsule form in Sama Veda. Hence, saamagaana lolaney sadashiva shankaraney....We can take this meaning too and tie up all the words in this stanza.
dayaakaraney:
Lord Shiva as the Compassionate One (dayaakara) is well known. We can go to the well known "samudra mathanam" (churning of the ocean) story. All the devas and asuras were interested in amruta and even Lord Vishnu benefited through material gain- after all, Vishnu got married to Mahalakshmi who arose from the ocean! Lord Shiva was the only one who was totally altruistic and compassionate. While everyone ran helter-skelter when poison arose from the ocean, Lord Shiva, ever the dayaakara, swallowed the haala-haala poison and saved everyone.
We can also go to Anuvaka 3 of Shri Rudram. In this section, veda mentions varieties of cheats, thieves and murderers. However great one's paapa may be, however questionable ones past, if one gives up adharma and truly surrenders to Lord Shiva, he acts as a "sahamaana"- one who condones all our blemishes. He is indeed dayaakara. The reader may remember this anuvaka beginning with- "namah sahamaanaaya nivvyaadhina..."
As Adi Shankara too, he is dayaakara. We have the well known shloka:
shruti smriti puraanaanaam aalayam karunaalayam etc. Adi Shankara went around the country as many as three times, wrote extensive commentaries, composed hymns, established yantras in temples and spread the message of Unity. Why did he have to do all this? He was indeed karunaalayam, an embodiment of karuna, of dayaa, compassion.
Jaya:
Hail to such a Lord Shiva! We are familiar with the refrain "jaya jaya shankara.. hara hara shankara" with reference to Adi Shankara. "Jaya" here has a similar connotation- "Hail", "Victory unto..." etc.
Anupallavi:
Somasundara chandrashekhara:
Soma is the moon. Chandra too refers to the moon. The one who looks beautiful (sundara) with the moon on his head is "somasundara chandra shekhara".
When Shiva is portrayed in "anthropomorphic form" (i.e. with hands, legs), he is represented as having a "crescent moon" on his head. "chandrah vakra api sarvatra vandyatey"- "even though the moon is not full and in fact crooked in shape (vakra), still, it is praised by everyone (vandyate)... only because the moon is associated with Lord Shiva". The story of Somanatha at Saurashtra is known to everyone.
However, when Shiva is considered in the form of a "linga", he is associated with a "full-moon". We have the well known dhyaana shloka before the chanting of Shri Rudram-
"aapaatala nabhasthalaanta....." where we see the words "purnendu-vaantaamrutaihi".
This shloka has a beautiful imagery. If the entire Universe is a giant Shiva Linga, who will do abhisheka for it? The full moon (purna-indu) spreads its cool moon-beams all around and bathes the entire world, the shiva linga as it were, with its rays! These rays are like squirts of water, of amruta......and perform abhisheka to the Lord.
Philosophically.....
The moon stands for the "principle of time". Hence, in Indian tradition, we use "tithis" (phase of the moon) to measure time. While all of us are "cooked by time" (kaalo jagat bhakshakah!), the Lord is the master of Time. Hence, Chandrashekhara.... the one who wields "Time".
Somaaskanda:
Somaaskanda is one of the special aspects of Lord Shiva where he is seated on "Nandi" with Uma (Parvati) and Skanda (Kartikeya) beside him. Here, "soma" does not stand for the moon. It has to be understood as "soma: umayaa saha vartatey"- one who is with Uma Devi, i.e. Parvati.
Uma stands for kriya shakti, Ishwara's creative power. Skanda holds the gnana "vel" and can be taken as "gnyaana shakti"- the power of knowledge. The Lord is normally understood as wielding 3 powers- iccha shakti, kriya shakti and gnyaana shakti".
Nandi stands for "dharma" - "moral order". A bull (rishabha) stands straight and is used as a symbol for "dharma". The Lord exists in the form of "order"- not just moral order...but all "orders". There is a cosmic order, a physiological order, a psychological order etc. Everything is orderly in creation and the Lord alone exists as these different orders.
Again, we notice the choice of words and its connection to Hindolam. The kriti is replete with "so-ma", "saa-maa" to gently remind us of Hindolam's notes.
Shritajana shubhakara:
Shubha-kara- One who confers shubham, mangalam, i.e. "wellness" to shritajana- to those who surrender to Lord Shiva.
Movies (at least in the past!) used to end with the word "shubham" splashed across the screen to convey "the end". It carries with it the flavour of the English phrase- "and they lived happily ever after". Lord Shiva is the "shubhakara" who bestows us with "shubham".
Is "shubham" available only to shrita-jana, to those who surrender? Is the Lord partial? What about those who don't surrender to him?
We have seen this point in one of the previous essays. The Lord is always impartial- "samoham sarva bhuteshu na mey dveshyosti na priyah" ("I am impartial. I do not hate anyone or specially like anyone either").
As an example, we can take a bonfire.
The bonfire is always impartial. If on a cold night, one person sits close to it, he benefits from its warmth. If another one stays far away and complains that the bonfire does not warm him, then, the bonfire cannot be blamed for being inconsiderate!
Hence, the onus is on the bhakta to tap the anugraha of the Lord. His grace is always available for everyone.
Charanam:
kaamaare:
One who is the enemy (ari) of kaama, Manmatha, desire. We have the well known story of Manmatha burnt to ashes when Shiva opened his third eye. Using the fire of knowledge (gnyaanagni), symbolized by Shiva's third eye, he reduced Desire to ashes and spread the ash on himself. Lord Shiva smeared with ashes symbolizes the Lord who wears "desire" as an ornament (bhushanam).
For us, desire is a problem, for the Lord, it is his iccha shakti, the power of intention!
All this is well known.
Puraare:
One who is the enemy (ari) of "pura/city". This refers to Shiva as "Tripuraantaka"- one who conquered the asuras who appeared in the "3 puras/cities". This story is again popular- how everyone teamed up to defeat Tripura- the "earth" was Shiva's chariot, Mount Meru assumed the form of his bow, Vishnu manifested as Shiva's arrow, the Sun and the Moon were the chariot wheels and Brahma was the charioteer.
But all Shiva had to do was smile...(mandahaasa).... and that was enough to destroy Tripura!!
The philosophical meaning of this episode is also known to us. The 3 cities stand for the 3 bodies- sthula shariram (body), sukshma shariram (mind) and kaarana shariram (basic matter for the other 2 bodies). Once we destroy (as it were!) our association with the 3 bodies, (i.e. we understand them as "mithya"/not absolutely real...don't want to get into more technicalities here!), we can own up our essential nature as the Self, brahman.
The three cities can also refer to the three states of experience: jaagrat, swapna, sushupti (waking, dream, deep-sleep). By destroying them, (by not associating absolute reality to these states), we understand Brahman as the basis for these states, but not any one of them in particular.
Hence, puraare.
kalpaka naayika naatha:
It is here that we know that this kriti was composed with the Kapaaleeshwara Temple at Mylapore, Chennai, in mind. Devi is present in this temple as "karpagaambaal" (in Tamil), which is "kalpaka naayika" here. She is verily a kalpaka vriksha, one who fulfils all the desires of a devotee. While other Gods need to use their hands (paani) to "bless" (abhaya mudra) and grant wishes (varada mudra), the dust of Devi's feet is enough to take care of all wants of a devotee and even exceed his expectations! We have such a shloka in Saundaryalahari- "tvad anyah paanibhyaam abhaya varado daivata ganah" (verse 4). The reader can look it up.
Devi's residence is a palace of gems called "chintamani grham". It is made up of a special gem called "chintamani" which can grant whatever we ask for! The palace is surrounded by "sura vitapi vaati" (garden of divine trees) like kalpaka, paarijaata etc. These too are wish fulfilling trees! Evidently, anything and everything associated with Devi can grant whatever we want.
Shiva is the naatha (Lord) of such a "Kalpaka naayika".
Kapaali:
We have moved this name up (from the order of words in the kriti), just to create a contrast here. OK, Devi is "kalpaka naayika". How about her Lord? He is presented here as Kapaali. Kapaalam is a human skull. Devi may be a wish fulfilling tree all right, but Shiva moves around as "Bhikshaatana" (mendicant) with a human skull as his begging bowl!
Devi in Kashi is Annapurneshvari- All food comes from her. Devi in Kanchi is Kamakshi who has an akshaya paatra- an inexhaustible vessel to serve food to one and all. But what does Shiva do?
He still goes out and begs for food. That is the picture of Kapaali- (seeming) poverty amidst plenty!!
The Shiva Mahimna Stotra, composed by Pushpadanta and very popular in North India has a beautiful verse which mentions Shiva's minimal possessions- "mahokshah" (bull), "khatvaangam" (wooden club), "parashu"(axe), "ajinam" (tiger skin), "bhasma" (ashes), "phaninah" (snakes) and "kapaalam" (human skull).
Still, through a "twitch of the eyebrow", Shiva grants all that we may ask for. This verse also gives the reason for Shiva's minimalistic lifestyle.
It says- "na hi svaatmaaraamam vishaya mriga trishnaa bhramayati"- for the one who is ever in the bliss of the Self (svaatmaaraamam), all material pleasures (vishaya) are like "mriga trishnaa" (mirage) and hence irrelevant. Such is Lord Shiva's glory. The reader can look up this verse too (8).
Adi Shankara's Shivaanandalahari also mentions Shiva as "kapaali" (20) and in a different verse narrates all the opulence that Shiva has at his beck and call.. and still moves around with a simple lifestyle.
It says..... at Shiva's arms length are the Himalayan peaks filled with gold (karasthey hemaadrau), beside him is "dhanapati", Kubera Himself. Shiva's house has a "svarbhuuja" (wish fulfilling tree), amarasurabhi (celestial cow) and chintamani (wish fulfilling gem). The reader can look up verse 27. Still, Shiva follows a spartan way of life.
It is here that Lord Shiva serves as an ishta devata for both the grhastha (householder) and a sanyaasi (recluse). He exemplifies the lifestyle of both ashramas.
Mahadeva deva:
Finally, he is the God of all Gods- Mahadeva. As Verse 100 of Shivaanandalahari says- "twaam agraganyam"- "Shiva, you are the foremost!" amongst what? stutyaanaam gananaa prasanga samaye- "when we consider all those to are worthy to be glorified" and finally says "Shiva, you are the true grain, while the rest are like chaff which can be discarded!" (dhaanaatushas stomavat).
jataadhara:
Shiva is portrayed as "kapardhina" (jataadhara), with matted locks..... and as "vyuptakesha" (with mundana), with shaved head. We see this in Shri Rudram.
As jataadhara, Shiva is "yogeshwara"- the one who is the initiator of "yoga", all supporting sadhanas to moksha- especially upaasana.
As vyuptakesha, with shaved head, Shiva is the initiator of brahma-vidya (primary sadhana for moksha), which is mainly associated with a sanyaasi's lifestyle.
Jata and yoga/upaasana go together, mundana and sanyaasa go together.
Further, as we look at the sky, Lord Shiva is available in his vishvarupa form, as the very cosmos.
The night sky, black and dense.... is Lord Shiva's jata...... studded with the moon.
In another dhyaana shloka, it is mentioned as "pingala jata". Pingala means "tawny colour", an orangish hue. What about this?
When the sky is ablaze with a wash of orange during sunset..... that too is Shiva's "pingala" jata alone!
"May such a Lord Kapaali protect me," implores Papanasam Sivan. "Raama daasan" is Papanasam Sivan's "mudra" which he uses in all his songs. He uses the adjective "deena" (feeling of helplessness) to show his humility and to add a plaintive mood to his plea here.
Why raagas like Hindolam and Mohanam?
Papanasam Sivan has composed multiple songs in Hindolam and Mohanam in praise of Kapaaleeshwara. One reason is the following: Both these ragas are "five note ragas" (pentatonic scale).
Panchaakshari- "namah Shivaaya" with "five syllables" - "na-ma-shi-vaa-ya" is the best mantra for Lord Shiva.
Also, Shiva is supposed to have five faces- "pancha mukha"- (pancha brahma as it is sometimes referred to)- Sadyojaata, Ishaana, Vaamadeva, Tatpurusha and Aghora.
Little wonder that Papanasam Sivan has used ragas with five notes for Lord Shiva!
Papanasam Sivan is a master at choosing words with apt notes in the raaga. The more we look at it, the more patterns we discern! In the kriti "kapaali", set to the raaga Mohanam, the kriti begins with the phrase "kapaali" and "ga-paa-ri" as the swaras as well! If we follow the rule of "ra-la-yor abhedah" (the rule that letters "ra" and "la" are interchangeable), "ga-paa-ri" would actually be "ga-paa-li". In Tamil, "ga" and "ka" have the same letter. Now, we get "ka-paa-li" in the notes and in the sahitya too!!
Note that "ra-la-yor abhedah rule" is observed in Devi's name itself.... as well as the conversion from the "ka" sound to "ga" sound. "kalpaka" seems to have become "karpaga" in the Tamil pronunciation!
With this, our analysis of this kriti is complete! Hopefully, it is not overly laboured in presentation!!
Bombay Jayashree's rendition of this kriti:
http://www.hummaa.com/music/album/bombay-s-jayasree-2/27844
In this temple, Shiva is known as Kapaaleeshwara and Devi as Kalpaka naayika (or Karpagaambaal in Tamil).
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| Kapaaleeshwara Temple: (My father's ink sketch based on the artist Silpi's work) |
Sivan has composed many kritis in praise of Lord Kapaaleeshwara, which are often rendered in concerts. In particular, we recall the popular ones: Saamagaana lolane in Hindolam, nambi kettavar evaraiyya again in Hindolam, Kapaali in Mohanam and of course that Madurai Mani Iyer favourite in Kambhoji raaga- kaana kan koti vendum.
In this essay, we want to look at the kriti Saamagaana lolane and dwell on some of the ideas.
Pallavi:
Saamagaana lolane:
Lord Shiva, as Kapaaleeshwara is presented here as one who enjoys "saamagaana". Saamagaana refers to the musical rendition of Saama Veda. The Rig Veda is in "padya rupa" i.e. in metrical/poetic form, the Yajur Veda is in "gadya rupa" i.e. in prose. Saama Veda is in "geeti rupa" i.e. in musical form. "Vedaanaam saamavedosmi"- "Amongst the vedas, I am Saama Veda," Lord Krishna says in the Geeta. Thus, Saama Veda is captivating because it has the added element of music.
Ravana and Saamagaana:
There is a popular mythological story of how Ravana lulled Lord Shiva with Saama gaana and extricated himself from an impending crisis.
Once, Ravana was puffed up with pride that he could take on Lord Mahadeva Himself. He tried to lift Mount Kailash with his twenty arms. As he slowly raised Mount Kailash, the denizens of the snow capped mountain ran for cover. Even Parvati quavered in fear. Lord Shiva came to their rescue. He simply pressed his big toe as he sat on the mountain peak. Immediately, the mountain came down and Ravana was on the verge of being crushed. He helplessly held onto dear life and wondered how he could get out of this precarious situation.
He tore off one of his ten heads and one of his twenty hands. He joined them together to form a veena- the head as the veena's drum, the hand as the veena's stem and his nerves as the veena's strings! An exponent of the veena, Ravana regaled Lord Shiva with Saama Gaana. Lord Shiva, the saama gaanalolane, was truly mesmerised with the rendition and gently removed the pressure of his big toe so that Ravana could release himself!
This incident finds a prominent place in one of the sannidhis at the temple of Tiruvidaimarudur (Madhyaarjuna kshetra, close to Kumbakonam). If you hold your ear against one of the apertures in the praakaaram, you can even now hear Ravana's Saama Gaana! Seriously! You can verify it for yourself!!
He is the enjoyer of music, He is the music.. and the instrument too:
Though the word "saama gaana lolane" (the enjoyer of Saama gaana) is alone mentioned, we need to include the other two of the "triad" ("triputi"as it is technically known). Lord Shiva is the enjoyer, He is the enjoyment, He is the instrument of enjoyment too.
For instance, in the Vishnu Sahasranama, we see the names "bhojanam" (food) and "bhokta" (enjoyer of food) mentioned in the same verse. (bhraajishnur bhojanam bhokta......). Lord Vishnu is the eater, He is also the eaten!
Similarly, in this kriti, for our understanding, we need to add that Shiva alone is manifest as "Saama gaana" itself as well as.....in the form of the musical instrument through which "Saama gaana" is played.
In the Tyagaraja kriti, "naada tanum anisham shankaram namaami", we see that Lord Shankara is described as having "naada" (music) itself as his tanu (body). Further, Tyagaraja says, "modakara nigamottama saama veda saaram"- Lord Shiva alone is manifest as the essence (saaram) of Saama Veda, the best (uttama) among the vedas (nigama). Tyagaraja, as though complements this Papanasam Sivan's kriti and gives us the reference for Lord Shiva appearing as "saama gaana" itself.
Finally, where is Lord Shiva described as a musical instrument? For this, we can go to Shri Rudram. We have the anuvaka beginning with "namo dundubhyaaya"- salutions unto Lord Shiva, who is manifest as "dundubhi", which is a kind of drum. Dundubhi here should be understood as an "upalakshanam" for all musical instruments. Instruments are classified into "skin instruments"-like the drum, "string instruments" like the veena and "wind instruments" like the flute.
All musical instruments from the Rudra Veena to the bagpipe to the Hawaiian guitar are Shiva swarupa alone!
Thus, He is the enjoyer of music, He is the music, He is the musical instrument too.
Why not samagana priyane?
Papanasam Sivan could very well have used "samagana priyaney". Why "lolane"? The metre would have been fine even with "priyane".
Since the raga is Hindola, it is apt to use "lola"! Further, "sa", "ga", "ma" "da" "ni" being the notes of Hindolam, by using "saa-ma-gaa-na", there is a nice swaraakshara achieved as well. In fact, throughout this kriti, we see examples of swaraakshara.
Sadashiva:
Shiva has many aspects. "Sadashiva" is normally associated with Dakshinamurti- the Brahma-Vidya "aadi guru". The Lord alone is the originator of the teaching of brahma-vidya which flows down to us in an unbroken parampara. We have the well known shloka:
sadaashiva samaarambhaam shankaraachaarya madhyamaam
asmadaacharya paryantaam vande guru paramparaam
Sadashiva can be looked upon... as moksha-karta too. Typically, the Lord is associated with three primary functions: as the creator, protector and destroyer. Sometimes, two more functions are added: the one who ties us down to samsara through the veil of maya (tirodaana karta, the "veiler" ) and the one who helps us in overcoming samsara (anugraha karta or moksha karta). In this expanded functionality portfolio, Brahma is the creator, Vishnu is the protector, Rudra is the destroyer, Ishwara is the "veiler" and Sadashiva is the moksha karta. Of these, Rudra, Ishwara and Sadashiva are all different aspects of Lord Shiva alone.
Where do we find this mentioned? In Adi Shankara's Saundaryalahari:
jagat sutey dhaata harir avati rudrah kshapayate
tiras kurvan etat swamapi vapur eeshas tirayati
sadaa purva sarvam tadidam anugrnaati cha shivah
tavaagnyaalambya kshanachalitayor bhrulatikayoho
In this verse, sadaa purva shivah is sadashiva.
There is no real difference in the two meanings of Sadashiva given here. Through brahma-vidya teaching, Sadashiva as Dakshinamurti functions as anugraha karta or moksha karta.
One more point:
"Saamagaana lolaney Sadashiva" can be connected together as follows:
Sama Veda contains the most popular mahavakya - "tat twam asi"- "Essentially, tat (the Lord) and you (the individual) are one and the same". This occurs in the Chandogya Upanishad of Sama Veda. Every teacher in the brahma vidya parampara beginning from Sadashiva takes recourse to this mahavakya. Hence, Sadashiva has a special place for saama-gaana because the content of saama gaana is "tat twam asi".
Coming to the kriti, "sa-da-shiva" serves as a swaraakshara. If the word "saa-ma-gaa-na" reminds us of the notes "sa-ma-ga-ni" in Hindolam, the only remaining swara "da" is brought out in "sa-da". Thus, in the very first line, Papanasam Sivan covers Hindolam's scale through his very choice of words!
Shankaraney:
"Sham karoti iti shankarah"- the one who bestows happiness (sham) is shankara. As Sadashiva, He makes brahma-vidya available to us. Through brahma vidya, the student owns up his essential nature as brahman whose nature is aananda swarupa (nature of happiness). We have the famous quotation in Taittireeya Upanishad- "brahmavit aapnoti param"- the knower of brahman gains the highest (param). The Upanishad goes further to explain "param" as "happiness" in the section "brahmaananda valli". Hence, Shankara means the one who bestows brahmaananda itself through the brahma-vidya teaching.
In Shri Rudram, we find a different shade of meaning. We find the phrase "namah shankaraaya cha mayaskaraaya cha" - Salutations unto "shankara" and "mayaskara". Both words "sham" and "mayah" mean happiness. Hence, these two words are differentiated by saying that "shankara" refers to the one who confers happiness in this world itself, while "mayaskara" refers to the one who bestows the happiness gained hereafter.... through spiritual benefit. We can take "Shankara" in this meaning as well.
An additional point:
Sadashiva alone appeared as Adi Shankara- "shambhor murtis charati bhuvaney shankaraachaarya rupaa"- "Shambhu or Sadashiva moves around (charati) in this world (bhuvaney) in the form of Shankaracharya"
As Adi Shankara too, he gave happiness to the world through the message of advaita, which is contained in a capsule form in Sama Veda. Hence, saamagaana lolaney sadashiva shankaraney....We can take this meaning too and tie up all the words in this stanza.
dayaakaraney:
Lord Shiva as the Compassionate One (dayaakara) is well known. We can go to the well known "samudra mathanam" (churning of the ocean) story. All the devas and asuras were interested in amruta and even Lord Vishnu benefited through material gain- after all, Vishnu got married to Mahalakshmi who arose from the ocean! Lord Shiva was the only one who was totally altruistic and compassionate. While everyone ran helter-skelter when poison arose from the ocean, Lord Shiva, ever the dayaakara, swallowed the haala-haala poison and saved everyone.
We can also go to Anuvaka 3 of Shri Rudram. In this section, veda mentions varieties of cheats, thieves and murderers. However great one's paapa may be, however questionable ones past, if one gives up adharma and truly surrenders to Lord Shiva, he acts as a "sahamaana"- one who condones all our blemishes. He is indeed dayaakara. The reader may remember this anuvaka beginning with- "namah sahamaanaaya nivvyaadhina..."
As Adi Shankara too, he is dayaakara. We have the well known shloka:
shruti smriti puraanaanaam aalayam karunaalayam etc. Adi Shankara went around the country as many as three times, wrote extensive commentaries, composed hymns, established yantras in temples and spread the message of Unity. Why did he have to do all this? He was indeed karunaalayam, an embodiment of karuna, of dayaa, compassion.
Jaya:
Hail to such a Lord Shiva! We are familiar with the refrain "jaya jaya shankara.. hara hara shankara" with reference to Adi Shankara. "Jaya" here has a similar connotation- "Hail", "Victory unto..." etc.
Anupallavi:
Somasundara chandrashekhara:
Soma is the moon. Chandra too refers to the moon. The one who looks beautiful (sundara) with the moon on his head is "somasundara chandra shekhara".
When Shiva is portrayed in "anthropomorphic form" (i.e. with hands, legs), he is represented as having a "crescent moon" on his head. "chandrah vakra api sarvatra vandyatey"- "even though the moon is not full and in fact crooked in shape (vakra), still, it is praised by everyone (vandyate)... only because the moon is associated with Lord Shiva". The story of Somanatha at Saurashtra is known to everyone.
However, when Shiva is considered in the form of a "linga", he is associated with a "full-moon". We have the well known dhyaana shloka before the chanting of Shri Rudram-
"aapaatala nabhasthalaanta....." where we see the words "purnendu-vaantaamrutaihi".
This shloka has a beautiful imagery. If the entire Universe is a giant Shiva Linga, who will do abhisheka for it? The full moon (purna-indu) spreads its cool moon-beams all around and bathes the entire world, the shiva linga as it were, with its rays! These rays are like squirts of water, of amruta......and perform abhisheka to the Lord.
Philosophically.....
The moon stands for the "principle of time". Hence, in Indian tradition, we use "tithis" (phase of the moon) to measure time. While all of us are "cooked by time" (kaalo jagat bhakshakah!), the Lord is the master of Time. Hence, Chandrashekhara.... the one who wields "Time".
Somaaskanda:
Somaaskanda is one of the special aspects of Lord Shiva where he is seated on "Nandi" with Uma (Parvati) and Skanda (Kartikeya) beside him. Here, "soma" does not stand for the moon. It has to be understood as "soma: umayaa saha vartatey"- one who is with Uma Devi, i.e. Parvati.
Uma stands for kriya shakti, Ishwara's creative power. Skanda holds the gnana "vel" and can be taken as "gnyaana shakti"- the power of knowledge. The Lord is normally understood as wielding 3 powers- iccha shakti, kriya shakti and gnyaana shakti".
Nandi stands for "dharma" - "moral order". A bull (rishabha) stands straight and is used as a symbol for "dharma". The Lord exists in the form of "order"- not just moral order...but all "orders". There is a cosmic order, a physiological order, a psychological order etc. Everything is orderly in creation and the Lord alone exists as these different orders.
Again, we notice the choice of words and its connection to Hindolam. The kriti is replete with "so-ma", "saa-maa" to gently remind us of Hindolam's notes.
Shritajana shubhakara:
Shubha-kara- One who confers shubham, mangalam, i.e. "wellness" to shritajana- to those who surrender to Lord Shiva.
Movies (at least in the past!) used to end with the word "shubham" splashed across the screen to convey "the end". It carries with it the flavour of the English phrase- "and they lived happily ever after". Lord Shiva is the "shubhakara" who bestows us with "shubham".
Is "shubham" available only to shrita-jana, to those who surrender? Is the Lord partial? What about those who don't surrender to him?
We have seen this point in one of the previous essays. The Lord is always impartial- "samoham sarva bhuteshu na mey dveshyosti na priyah" ("I am impartial. I do not hate anyone or specially like anyone either").
As an example, we can take a bonfire.
The bonfire is always impartial. If on a cold night, one person sits close to it, he benefits from its warmth. If another one stays far away and complains that the bonfire does not warm him, then, the bonfire cannot be blamed for being inconsiderate!
Hence, the onus is on the bhakta to tap the anugraha of the Lord. His grace is always available for everyone.
Charanam:
kaamaare:
One who is the enemy (ari) of kaama, Manmatha, desire. We have the well known story of Manmatha burnt to ashes when Shiva opened his third eye. Using the fire of knowledge (gnyaanagni), symbolized by Shiva's third eye, he reduced Desire to ashes and spread the ash on himself. Lord Shiva smeared with ashes symbolizes the Lord who wears "desire" as an ornament (bhushanam).
For us, desire is a problem, for the Lord, it is his iccha shakti, the power of intention!
All this is well known.
Puraare:
One who is the enemy (ari) of "pura/city". This refers to Shiva as "Tripuraantaka"- one who conquered the asuras who appeared in the "3 puras/cities". This story is again popular- how everyone teamed up to defeat Tripura- the "earth" was Shiva's chariot, Mount Meru assumed the form of his bow, Vishnu manifested as Shiva's arrow, the Sun and the Moon were the chariot wheels and Brahma was the charioteer.
But all Shiva had to do was smile...(mandahaasa).... and that was enough to destroy Tripura!!
The philosophical meaning of this episode is also known to us. The 3 cities stand for the 3 bodies- sthula shariram (body), sukshma shariram (mind) and kaarana shariram (basic matter for the other 2 bodies). Once we destroy (as it were!) our association with the 3 bodies, (i.e. we understand them as "mithya"/not absolutely real...don't want to get into more technicalities here!), we can own up our essential nature as the Self, brahman.
The three cities can also refer to the three states of experience: jaagrat, swapna, sushupti (waking, dream, deep-sleep). By destroying them, (by not associating absolute reality to these states), we understand Brahman as the basis for these states, but not any one of them in particular.
Hence, puraare.
kalpaka naayika naatha:
It is here that we know that this kriti was composed with the Kapaaleeshwara Temple at Mylapore, Chennai, in mind. Devi is present in this temple as "karpagaambaal" (in Tamil), which is "kalpaka naayika" here. She is verily a kalpaka vriksha, one who fulfils all the desires of a devotee. While other Gods need to use their hands (paani) to "bless" (abhaya mudra) and grant wishes (varada mudra), the dust of Devi's feet is enough to take care of all wants of a devotee and even exceed his expectations! We have such a shloka in Saundaryalahari- "tvad anyah paanibhyaam abhaya varado daivata ganah" (verse 4). The reader can look it up.
Devi's residence is a palace of gems called "chintamani grham". It is made up of a special gem called "chintamani" which can grant whatever we ask for! The palace is surrounded by "sura vitapi vaati" (garden of divine trees) like kalpaka, paarijaata etc. These too are wish fulfilling trees! Evidently, anything and everything associated with Devi can grant whatever we want.
Shiva is the naatha (Lord) of such a "Kalpaka naayika".
Kapaali:
We have moved this name up (from the order of words in the kriti), just to create a contrast here. OK, Devi is "kalpaka naayika". How about her Lord? He is presented here as Kapaali. Kapaalam is a human skull. Devi may be a wish fulfilling tree all right, but Shiva moves around as "Bhikshaatana" (mendicant) with a human skull as his begging bowl!
Devi in Kashi is Annapurneshvari- All food comes from her. Devi in Kanchi is Kamakshi who has an akshaya paatra- an inexhaustible vessel to serve food to one and all. But what does Shiva do?
He still goes out and begs for food. That is the picture of Kapaali- (seeming) poverty amidst plenty!!
The Shiva Mahimna Stotra, composed by Pushpadanta and very popular in North India has a beautiful verse which mentions Shiva's minimal possessions- "mahokshah" (bull), "khatvaangam" (wooden club), "parashu"(axe), "ajinam" (tiger skin), "bhasma" (ashes), "phaninah" (snakes) and "kapaalam" (human skull).
Still, through a "twitch of the eyebrow", Shiva grants all that we may ask for. This verse also gives the reason for Shiva's minimalistic lifestyle.
It says- "na hi svaatmaaraamam vishaya mriga trishnaa bhramayati"- for the one who is ever in the bliss of the Self (svaatmaaraamam), all material pleasures (vishaya) are like "mriga trishnaa" (mirage) and hence irrelevant. Such is Lord Shiva's glory. The reader can look up this verse too (8).
Adi Shankara's Shivaanandalahari also mentions Shiva as "kapaali" (20) and in a different verse narrates all the opulence that Shiva has at his beck and call.. and still moves around with a simple lifestyle.
It says..... at Shiva's arms length are the Himalayan peaks filled with gold (karasthey hemaadrau), beside him is "dhanapati", Kubera Himself. Shiva's house has a "svarbhuuja" (wish fulfilling tree), amarasurabhi (celestial cow) and chintamani (wish fulfilling gem). The reader can look up verse 27. Still, Shiva follows a spartan way of life.
It is here that Lord Shiva serves as an ishta devata for both the grhastha (householder) and a sanyaasi (recluse). He exemplifies the lifestyle of both ashramas.
Mahadeva deva:
Finally, he is the God of all Gods- Mahadeva. As Verse 100 of Shivaanandalahari says- "twaam agraganyam"- "Shiva, you are the foremost!" amongst what? stutyaanaam gananaa prasanga samaye- "when we consider all those to are worthy to be glorified" and finally says "Shiva, you are the true grain, while the rest are like chaff which can be discarded!" (dhaanaatushas stomavat).
jataadhara:
Shiva is portrayed as "kapardhina" (jataadhara), with matted locks..... and as "vyuptakesha" (with mundana), with shaved head. We see this in Shri Rudram.
As jataadhara, Shiva is "yogeshwara"- the one who is the initiator of "yoga", all supporting sadhanas to moksha- especially upaasana.
As vyuptakesha, with shaved head, Shiva is the initiator of brahma-vidya (primary sadhana for moksha), which is mainly associated with a sanyaasi's lifestyle.
Jata and yoga/upaasana go together, mundana and sanyaasa go together.
Further, as we look at the sky, Lord Shiva is available in his vishvarupa form, as the very cosmos.
The night sky, black and dense.... is Lord Shiva's jata...... studded with the moon.
In another dhyaana shloka, it is mentioned as "pingala jata". Pingala means "tawny colour", an orangish hue. What about this?
When the sky is ablaze with a wash of orange during sunset..... that too is Shiva's "pingala" jata alone!
"May such a Lord Kapaali protect me," implores Papanasam Sivan. "Raama daasan" is Papanasam Sivan's "mudra" which he uses in all his songs. He uses the adjective "deena" (feeling of helplessness) to show his humility and to add a plaintive mood to his plea here.
Why raagas like Hindolam and Mohanam?
Papanasam Sivan has composed multiple songs in Hindolam and Mohanam in praise of Kapaaleeshwara. One reason is the following: Both these ragas are "five note ragas" (pentatonic scale).
Panchaakshari- "namah Shivaaya" with "five syllables" - "na-ma-shi-vaa-ya" is the best mantra for Lord Shiva.
Also, Shiva is supposed to have five faces- "pancha mukha"- (pancha brahma as it is sometimes referred to)- Sadyojaata, Ishaana, Vaamadeva, Tatpurusha and Aghora.
Little wonder that Papanasam Sivan has used ragas with five notes for Lord Shiva!
Papanasam Sivan is a master at choosing words with apt notes in the raaga. The more we look at it, the more patterns we discern! In the kriti "kapaali", set to the raaga Mohanam, the kriti begins with the phrase "kapaali" and "ga-paa-ri" as the swaras as well! If we follow the rule of "ra-la-yor abhedah" (the rule that letters "ra" and "la" are interchangeable), "ga-paa-ri" would actually be "ga-paa-li". In Tamil, "ga" and "ka" have the same letter. Now, we get "ka-paa-li" in the notes and in the sahitya too!!
Note that "ra-la-yor abhedah rule" is observed in Devi's name itself.... as well as the conversion from the "ka" sound to "ga" sound. "kalpaka" seems to have become "karpaga" in the Tamil pronunciation!
With this, our analysis of this kriti is complete! Hopefully, it is not overly laboured in presentation!!
Bombay Jayashree's rendition of this kriti:
http://www.hummaa.com/music/album/bombay-s-jayasree-2/27844
Could you pl. comment on the word in the charaNam after
ReplyDeletekalpaka nAyikA nAtha
There appears to be a lot of confusion about it and many artists have resorted to altering it to "karunai seivai." The posted tamizh lyrics are "karaLkaL." Since the lyrics are primary of samskritam origin, I feel that this should also be samskritam. karal (ka-ra-la) in samskritam is supposedly formidable or terrible, which makes sense all the words in this line are descriptors for shiva. kara has the meaning of making or doing, which also makes sense, although that leaves open the question why the tamizh version simply doesn't say karalakala (and is instead கரளகள).
Thank you.
Srinath
Good point Srinath! I appear to have missed this word itself. I do see the difference you are pointing out. I also feel that the kriti being Sanskrit predominantly, even this word should be Sanskrit. One possibility is...since this appears in the Tamil version, it is perhaps not "ka-ra-la", but intended to be "ga-ra-la" (since the same letter in Tamil could be used for both)? Garala would be poison. We have descriptions of Shiva with poison in the throat as follows:
DeletekaNThe yasya virAjate hi garalaM...Also, since it occurs with kaamaare, puraare it has to refer to a puranic story of significance. The story that is missed is Shiva who drank up the poison. Hence, garala seems likely. I have to dig more into this.
Thank you for your response, Shankar! I appreciate it! What you suggest makes a lot of sense. Also, several artists such as O. S. Thyagarajan, Thrikkodithanam Sachidanadan, and Trichi Ganesan sing it as "Garalagale," but I was unable to pick up on it as I couldn't decipher the meaning.
ReplyDeleteThanks again!
Srinath
Good to know about this point Srinath! I also learnt!! Thanks!!
Delete