Chapter- 4

Definition and Description of Navavidha Bhakt[· ..

CHAPTER-4

DEFINITION AND DESCRIPTION OF NAVAVIDHA BHAKTI

"Knowledge of Sangita (music), bereftof devotion, is valueless and cannot secure salvation "1. - Saint Thyagaraja

The Concept of Bhakti plays an important role in the history of Karnatic Music and Sanskrit literature. It is a fact that there is God or Almighty or an ultimate Source from whom everything emanates and by whom everything is maintained in this world. This ultimate source is explained rationally and authoritatively in the beautiful 'Bhagavatam', which may be described as the greatest and most popular of the Puranas. It is written by Srila Vyasadeva, the literary incarnation of God, under the direction of Naradamuni2 and is referred to as the most complete and authoritative exposition of vedanta-sutra and vedic knowledge. 'Bhagavata' contains the highest principles of ethics, highest truth of philosophy and religion, expounded in appropriate language. The essential truths which the 'Bhagavata' emphasises are the imperishability of the soul, the goodness, the power and helpfulness of God and the attainment of salvation by the method of Bhakti. This Purana sings execlusively about the glories of the Lord and the Greatness of Devotion to Him.

'Bhagavata' and 'Bhagavadgita' are the basis of the philosophy of bhakti of the middle ages. Bhakti was preached as a doctrine for the first 85

time is 'Bhagavadgita ', which holds bhakti in high esteem and attached more importance to devotion and exhorts people to pursue the path of devotion. The key note of 'Gita' is that the supreme appears before a seeker in the form and manner he wishes Him to appear. The spiritual as well as material prosperity is guaranteed to the devotee by the 'Gita' (IX.22). Sri Krishna wants Arjuna to follow the path of devotion; and declares that Bhakti is the most important among the means of Liberation.

The concept of Sangita Bhakti is the devotion through music, which can take us effectively to the realms of spirituality. Our ancient people have realized this truth and they extrilled God in poetic hymns. "Narada is the first Bhagavata-musician ; the Lord delights in the beautiful music that Narada is singing in praise of Him. Hence is Narada represented as going about with his Vina, singing the glory of the Lord and proclaiming to the world that the Lord dwells not in Vaikuntha, nor in the sun, nor even in the hearts of yo gins, but where His devotees sing":

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"Naham vasaami Vaikunde na yogi hridaye ravau I Mad Bhakta yatra gayanti tatra tishtami Narad"3 II

It has been stated by Sage Yajnavalkya that he who knows the mysteries of playing the Vina, he who has mastered the knowledge of Sruti and jati and he who is an adept in tala, attains moksha without effort. That is, one who understands music well, reach easily the path of devotion. 'Vijnana Bhirava Tantra' says that the "mental absorption produced by 86 music gradually leads to realization ofoneness with divine spirit". Homage is paid to God also through. sacred music like Tevaram, Tiruppugazh, Divyanama kirtans, Ashtapadis of Jayadeva etc. which inspire in us the emotion ofbhakti.

'Bhagavata' is the most favourite devetional work of Indian literature and the well known science of bhakti. The main theme of this Purana is the importance, greatness and value of devotion to God. 'Bhagavata' observes that Bhakti is a state of complete dedication of life, mind and every thing else. Bhakti means a firm, stable and unflinching attachment for God which brings well-being in this world and bliss in the world beyond.

'Bhagavata' has defined Bhakti as a flow of the mind towards the Almighty at the slightest hearing about the Lord. Just as the water of the Ganges flows un-interruptedly and inevitably towards the ocean, so the mind flows towards the God.

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"Mad guna sruti maatr�na mayim sarvagunasaye I Manogati ravischinta yadha gadgambhamodambudho "4 II . 87

According to Prahlada, devotion consists in dedicating mind, speech, action, riches and lifeto God. Bhagavata says;

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"Aatmaramaksha sunayo nirgandh apyukrame I Kurvantyahai turki bhakti mityambhuta guno Hari"5 II

That is, for sages, the charm of Rama was over powering.

It is believed that the utterance of the names of God will lead one to Moksha and thus songs became a vehicle forthe attainment of Moksha. As a result of this, Saint singers started composing compositions for popularising this aspect of Bhakti. The revival of Bhakti movement was received with much incentive in South India. The second half of eighteenth centurywitnessed a remarkable growth of Bhakti cult which influenced the rise of modem Kamatic music. Our saint singers made notable contributions which were outstanding both in their Bhakti aspect and also in their aesthetic content. Early composers in the pre-trinity period like Jayadeva, Purandaradasa, N arayana Theertha, Bhadrachalam Ramadasa, Sadasiva Brahmendra are examples.

The composers of bhakti pieces in the eighteenth century include the Sangita Trimurtis namely Syama Sastry, Saint Thyagaraja and Muthuswami Dikshitar and also H.H. Swati Thirunal Maharaja. Later, Gopalakrishna Bharati, Papanasam Sivan and Neelakanta Sivan of the 88 post-Thyagaraja period made remarkable contributions to this field of Karanatic music.

According to the Acharyas of the Bhakti school, the well known classification of Bhakti in the major forms occur in the Bhagavata. It mentions different types of bhakti at different places and the nine types of bhakti are Sravana, Kirtana, Smarana, Padasevana, Archana, Vandana, Dasya, Sakhya and Atmanivedana.

' Bhagavata' proclaims nme forms of Bhakti through the followingsloka; when Hiranyakashipu asks his son Prahlada to tell him the best thing he had learnedfrom the school, Prahlada says:

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"Sravanam Kirtanam Vishno : Smaranam Padasevanam I Archanam Vandanam Dasyam Sakhyamatmanivedanam II lti pumsarpita Vishnov bhakti srennavalakshana I Kriyate Bhagavasyadyatanmanyeda dhitamuttamam ,,6 II

Meaning

"That I consider the best lesson, worthy to be learnt, if man could practice devotion to the Lord, characterisedby nine forms; listening to the 89

Lord's song and glory, singing of the Lord, contemplation of the Lord, worshipping His feet especially, saluting and serving Him like a servant, moving with him as a friend and offeringone self to Him."

The source of some of the nine forms of devotion can be seen in 'Bhagavata' in one of the closing verses of Arjuna's hymn to the Lord on seeing the Lords 'visvarupa'. Then Arjuna asks the Lord to excuse his mistakes, as a father to his son, a friend to another friend and a lover to his beloved. Here we can see three forms of Bhakti - Valsalya, Sakhya and Prema.

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"Piteva putrasya sakhev,asakhyu Priya : Priyagrarhasi Deva sodumu 7

'Narayaneeyam' of Melpattur Narayanabhattathiri is a condensed version ofl3hagavata·in which the greatness of the nine types of Bhakti is explained.

The sloka in 'Narayaneeyam' about the nine types of Bhakti is as follows:

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Adhitesu srestham kimiti paripristetta tanaye Bhavatbhaktim varyaamabhigadati paryakuladhritih Gurubhyai rositvaa sahajamatirasyetyabhividan Vadhopayanasmin vyatan�ta bhavatpada sarane 8 II

Meaning

When Hiranyaksipu asked Prahlada to tell him which is the greatest among the studies he made, he replied that the bhakti or devotion shown unto Thee is the greatest. Prahlada believed that Thy lotus feet is the ultimate goal and this bhakti of him has been acquired from his previous Janma.

Another sloka in 'Narayaneeyam' about the greatness of Bhakti is:

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"Atyaayaasa karaani karmapatalan aacarya niryanmalaah Bodhe bhaktipatte athavaa apyucitataa maayaanti kim taavataa I Klistvaa tarkapathe param tava vapuh brahmaakyamanye punah Scittaardra tvamrite vicintya bahubhih sidhyanti janmaantarai" 9 II 91

Meaning

"The karmayogis, afterperforming the rituals ordained in the karma khanda which tires out the body, getting the mind purified i.e., the mind driven offits dross, return to jnana marga, if they have dispassion. If they do not have dispassion, they turnto bhakti marga. What is the use ? Others, with a mind that never tires or despairs, take to vedanta vicara and with one- pointed concentration, they meditate Thy form (in the cave of their heart) which is verily Bhrahman and at the end of such striving attain Thee, the very essence of Brahman."

The roots of Navavidha Bhakti can be seen in the " Bhaktimanjari" of H.H. Swati Thirunal Maharaja. The nine forms of bhakti forms the nucleus of the theme treated in the last six Satakas of Bhaktimanjari. It expounds the Navavidha Bhakti and contains some illustrative stories for that purpose.

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"Srutir varada, Kirtanam Smaranamamgreesa Sevanam Ramavara, tadharchanam tvapi cha Vandanam Dasata Tvaiva saha Sakhyamachuta, Nivedanam Chatman Stavayeeti navadha smrita bhavati bhaktiratyutama" 10 92

Another sloka in 'Narayaneeyam' about the greatness of bhakti is:

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Bhavathbaktih sphita bhavatu mama saiva prasamaye Dasesaklesaugham na khalu hridi sandehakanika Na cet vyasasyokti stava ca vacanam naigamavaco Bhaven mittyarattya purusavacanapraya makhilam 11 11

Meaning

Oh Guruvayurappa ! Let my devotion unto Thee grow from moment to moment. I have the least doubt in mind that such a bhakti will annihilate once and for all, all my wordly afflictions. If it were not so, Vyasa's words, Thy words, the strictures of the Vedas and similar pronouncements and dictums would tantamount to untruth or false hood just like the meaningless prattlings of the lay, uneducated country folkof the street.

Narada says in his 'Bhakti Sutras' that though bhakti is a single emotion, it takes eleven forms. The sloka is as follows

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''Gunamahatmyasakti-Rupasakti-Pujasakti Smaranasakti-Dasyasakti-Sakhyasakti Vatsalyasakti-Kantasakti A tmanivedanasakti 12 Parama Avirahasakti rupa Ekadhapi ekadasadha bhavati" /

The eleven forms are of attachment to the several aspects of the Lord and in different roles 1. Attachment to the Lords Gunas and to the Rupa. 2. Attachment to three acts of devotion towards the Lord - puJa, smarana and atmanivedana. 3. Attachment in fourroles as dasya, sakhya, vatsalya and kantasakti.

5. Two stages of Divine love in its climax - seeing everything as the Lord and becoming one with the Lord.

The other two are tanmayasakti and A viraha, thus making a total of eleven.

The most important bhakti texts are the 'Gita', · · ·. 'Narayaneeya,( the 'Bhagavata ', the 'Bhakti sutras'of Narada and Sandilya, the puranas and innumerable hymns or stotras. Though the cult of bhakti was originated and flourished in the South, the popular bhakti literature have been started by Madhava, Ramaananda, Vidyaapati, Jnaanadeva, Naamadeva, Tukaraam, Chandidasa, Kabir, Mira, Surdasa, Tulasidasa, Chaitanya, Lilasuka, Narasimha Mehta and the 'great' trio - Nanniah, Tikkama and Errapragada of Telugu literature and some of them are most outstanding figures who popularised the Bhakti movement in Indian literature. 94

Dr. S.Venkitasubramonia Iyer in his book 'Swati Thirunal and His Music'has stated that the nine fold devotion envisaged in the Bhagavata has two aspects-( 1) the nine forms are different phases of Bhakti and each by itself is capable to obtain goal and (2) the nine forms of Bhakti are a series of stages in the psychological attitude of the devotee to obtain God­ realization. The question is whether Navavidha Bhakti envisaged in the Bhagavata, is meant for different types of devotees or is it meant for a single person. Nobody can go along with all these ways. If one way is sufficient to reach the goal why should he bother about another form. Each devotee has the right to choose the path. It is not possible that the nine forms come one after another· in a successive manner in a single devotee. Each mode is independent. The truth is that the means should be different, though the end is one. 13

In one of the forms or in all the forms of Navavidha Bhakti, one should have stable and un-interrupted emotion for the Lord i.e., Sthai­ Bhava or stira-Bhakti. When the Lord possesses the devotee completely, it becomes impossible to shake Him off. Whatever the devotee does, sees or enjoys, becomes part of his love of the Lord. The lord becomes everything to the true devotee.

There were bhaktas in the past who adhered to one or other kinds of devotion and attained Mukti. Bodhendra Sadguru swami emphasised the importance of reciting Rama nama. Parikshit Maharaja is the classic example of Sravana Bhakti who attained liberation by immersing always in listening to 'Bhagavata'. Ajamila is another example of Kirtana-Bhakti. Smarana-Bhakti is illustrated with reference to Gopis, Sisupala, Kamsa and 95

contemplation on Vaikunta is described in 'Bhaktimanjari'. The names of Siva, Brahma, Indra, Lakshmi, Suka, Bhrgu, Narada etc. are cited as examples of Padasevana. The greatness of Tulasi plant and leaves exemplifies Archana, the conventional mode of worship enunciated by Krishna to Uddhava. Akrura is an example of Vandana Bhakti. Brahma, Rudra, Indra etc. are referred to here also. Hanuman in Dasya Bhakti and Arjuna in Sakhya Bhakti are well known. Atmanivedana or complete surrender to God is typified by the noble king Bali, who offers his own head for the Lord. The Rajasuya sacrifice is also cited as example of self surrender.

The renowned philosopher Jiva Goswami declared that all the Navavidha Bhakti modes lead to the attainment of Lord Krishna as follows:

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Sri Vishno: Sravane Pareekshitabhavat Vaiyasakti: Kirtane Prahlad : Smarane tadadadhrabhajane Lakshmip ,;thu: pujane Akrurastavabhivandan� kapipatidarsiyadadha Sakhyedarjun: Sarvasvatmanivedane · balirbooth Krishnaptireshamparamu" 14

Among the Navavidha bhakti modes, Kirtana is felt to be an easy means of God-realisation and so this attained special importance and popularity. 'Bhagavata' asserts that in Kaliyuga, naama sankirtana is the best form of worship. 96

Taking the 'Bhagavata' and the 'Narada bhakti sutras' together, we have on the whole nine important forms of Bhakti namely Sravana, Kirtana, Smarana, Padasevana, Archana, Vandana, Dasya, Sakhya and Atmanivedana.

It is possible that the same devotee experiences through all the states of Navavidha Bhakti. The best example is Saint Thyagaraja who in his long and rich enjoyment of Rama Bhakti passes through the nine forms of bhakti. He stressed the glory of Rama Bhakti in the song in Suddhabangala raga, Aditala

"Ramabhakti samrajya me manavula kabbeno manasa Aamanabula sandarsana matyanta brahmanandame" 15

The meaning of which is

"The sight of those great souls who have been blessed with the kingdom of Ramabhakti itself confers supreme Brahmanandam. This bliss does not admit of any description in words; it can only be realised by self experience". 16 The word "atyanta-brahmandame" implies that this bliss is even superior to brahmananda.

Saint Thyagaraja has dealt with all the nine kinds of Bhakti in his compositions. He devoted his entire life for the cause of music. To him music was the language of communication with the Supreme Lord Srirama. He composed kritis to initiate people to adopt bhakti marga. He stressed 97 the greatness of Bhakti through his compositions and he himself preferred Bhakti marga.

Saint Thyagaraja has composed kritis on Navavidha Bhakti by following'Bhagavata:,. and philosophy ofNarada. Some of thesongs based onNavavidha Bhakti by Saint Thyagarajaare as follows: 98

Some of the compositions based on Navavidha Bhakti by Saint Thyagaraja are given below:

Type of No Composition Raga Tala Bhakti I Sravana I Rama kadha Sudha Madhyamavati Adi 2 Sudha Madhurya Sindhuramakriya Adi 2 Kirtana All Kirtanas 3 Smarana I Sri Pathe ni Patha N agaswaravali Adi 2 Ramakodanda Rama Bhairavi Adi 3 Smarane Sukhamu Janaranjini Desadi 4 Tanalone Dyani Devagandhari Adi 4 Padasevana 1 Sri Rama Padama Amritavahini Adi 2 Korina Vara Ramapriya Adi 3 Ni Pad� Pankaja Begada Adi 4 ReghuNayaka Hamsadvani Adi 5 Andundagane Pantuvarali Misra Chap 5 Archana 1 Tulasi Bilva Kedaragaula Adi 2 Aragimpave Todi Rupaka 3 Vidamu Seyave Kharaharapriya Adi 4 Chetulara Kharaharapriya Adi 5 Koluvamaragada Todi Adi 6 Tiruna naloni Saveri Jampa 7 Ennaga manasuku Nilambari Adi 99

6 Vandana 1 Vandanamu Sahana Adi 2 Dandamu Balahamsa Adi 7 Dasya 1 Pahiramaduta V asantavarali Adi 2 Kalugunapada Poomalalita Adi 3 Tavadasoham Punnagavarali Adi 4 Upacharamulanu Bhairavi Adi 5 Bantu Riti Hamsanadam Adi 6 Koluvaunnade Devagandhari Adi 7 Enta Papinaiti Gaulipandu Chapu 8 Sakhyam 1 Chelimini Jalajakshu Yadukulakambhoji Adi 2 Dayarani Dayarani Mohanam Khanda Chapu 9 Atmanivedana 1 Ma Kelara Ravichandrika Adi 2 Sara Megani Pantuvarali Adi 3 Kalaharanamela Sudha Saveri Rupaka 4 Nannuvidachi Ritigaula Misra Chapu 5 Enatinomu Bhairavi Adi

His Highness Swati Thirunal Maharaja has composed kritis in Navavidha Bhakti which can be considered as Group kritis. The 'Navaratnamalika'of Swati Thirunal Maharaja is garland of nine kritis which can be considered as ideal gems bristling with musical and literary excellences.This reveals the musical scholarship and literary genius of the king composer.

The list of the 'Navaratnamalika' composition is given in chapter -3 of this thesis. 100

It was Swati Thirunal Maharaja who enriched the rich repertoire of Kamatic music with his musical pieces� which were vibrant with devotion of bhakti. He was a devotee of Lord Padmanabha,,who sang the glories and greatness of his favourite Lord. Every line of his composition breathe the fragrance of devotional fervour. He strongly believed that salvation can be attained only through spiritual knowledge and hence he put great emphasis on bhakti, especially "Nishkama Bhakti: which is devotion without any expectation of benefit in return

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'Trailokyesa Thayorvrina paramaham Nishkama Bhakti dhritam '17

Swati Thirunal Maharaj a advocated nine formsof Bhakti which is to be practiced while progressing towards the ultimate aim. To him Kirtana was the most effective method of propagating Bhakti, which resulted in composing various number of kirtanas in parise of Lord Vishnu. He considered Lord Vishnu above everything which is clearly evident in the following sloka of 'Bhaktimanjari'

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Swati Thirunal Maharaja prays to be made an 'Uttama Bhakta' (1-96 Bhaktimanjari). He strongly believed that attachment to God brings detachment from sensual pleasures and hence steadfast devotion is the theme of his compositions. 102

DESCRIPTION OF NAVAVIDHA BHAKTI

"Music wakes the soul, lifts it high, wings it with sublime 19 desires and fitsit to bespeak the Deity" -Addison

1. DESCRIPTION OF SRAV ANA BHAKTI

The firstform of Navavidha bhakti is Sravana,which can be defined as listening to the glory of the Lord.i.e, by hearing about the Lord again andagain,,we can slowly convert ourselves to true devotees.

Sravanam is the listening to the recitation of the religious texts like Bhagavata, which deals with various deeds and manifestations of the Lord. King Parikshit is the classic example of Sravana-bhakti. Maharaja Parikshit was the emperor of the world and was a great saintly king who attained moksha by listening and immersing in the Bhagavata.

The sloka about Sravana Bhakti in thelJhagavata' is :

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"Purus ho Ramacharitam Sravanairupadhara yan Aanrusamsyaparo [Rajan] Karmabandhaivrimuchyate"20 II 103

Meaning

The person who listens to and imbibes the story of Rama becomes devoted to the path of non-wickedness and gets liberated from the ties of action.

The sloka in 'Narayaneeyam' about Sravana Bhakti is as follows:

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"Bhavatbhakti staavat pramukha madhura tvadgunarasat Kimapyaarudha chet akhila paritaapa prasamanis Punuaschaante svaante' vimalaparibhodho dayamilan Mahaanandaavaitam disati Kimatah praarattyamaparam"21 II

Meaning

"Oh Guruvayurappa! Our bhakti towards Thee, generated by hearing about your gunas fills the mind with sweet bliss even from the very beginning. When it is made to grow and evolve, it has the power of annihilating all our afflictions, root and branch. Moreover, in the end, it bestows infinite and everlastiqg bliss as a result of acquisition of Brahma jnaana by strictly adhering to· the advaitic path and doctrines. What else remains to be desired for, higher than this?" 104

In the 'Bhaktimanjari', sloka expounding the Sravana Bhakti is given below. Paif&c1 �' all�' cf5JTQt dj@ct{

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"Nikhilabhuvana band�o, Nadha, tatrapi mukhyam Tava charitasudhaya: sasvadakarnanam tata: Yadiha paramanischannapyasou hanta dehi Jagati bhavati yasmad durita : sarvapapaz.,'22 II

Saint Thyagaraja sings about Sravana bhakti as follows:

"Rama kadha sudharasapaana moka rajyamu jesune Dharmadhyakhila phaladame manasa Dhyryananda soukhya �iketaname Karmabandhajwala nabidh navame Kaliharame Thyagarajavinutudagu."

Meaning

The drinking of the ambrosial Rasa of Rama's story would confer on one, a veritable kingdom. It would give one Dharma and all other fruits; it would give one firmness of mind, spiritual bliss, material happiness and destroy all the shackles of karma and the many ills of kali'. 23 105

If one develops the habit of hearing about the Lord constantly, he will not listen to anything else. Garga, one of the Acharyas of Bhakti, defines Bhakti itself as love for the Lord's story 'Kadhadishbati Garg' Saint Thyagaraja gave opportunity to others to listen to his divine bhajans and he himself used to listen to the songs and namavalis sung by his disciples.

In his kriti 'Sudha madhurya bhashana' in Sinduramakriya raga, Saint Thyagaraja says that his long hunger had been appeased by the ambrosial story of Rama , to listen to which he had avoided the wicked and resorted to the devotees of the .Lord:

Sudhamaadhurya bhaashana ! Sudhakaranana Kadhamritamuche bahukaalamu ya - Kali deeriyunnanu brovumu.

Sravana Bhakti song of Swati Thirunal Maharaja

Saint Thyagaraja says in his Janaranjani Kriti 'Smarane sukhamu', that the constant listening to Rama Nama establishes the form of Rama in the heart and fills the heart withlove.

"Rama N ama Sravanamu vallanama rupame hridayamunindi prema butta jeyega leda"

The first song of the '"Navaratnamalika' of H.H. Swati Thirunal Maharaja, 'Bhavadiya kadha1 in Bhairavi raga, is devoted to Sravana bhakti. Listening to the account of the deeds of the Lord is declared as a pleasant boat to cross the ocean of worldly life, Sravana is a means for 106

liberation according to Sage Vyasa. It is an instrument which works wonders as exemplified by the story of thegreat bird Sampati regarding its wmgs.

When Bhakti was evolved and developed, along with it, many temples, worship of images, the singing of the Lor.d's glory, the reading and listening to writings on His glory and the mere recitation of his names also developed. Thus Upanishads were written.

The writers of the Bhakti literature were defined as the Pauranikas, the Bhagavatars, the Alwars, the Naayanars, the Saints, Bhaktas and musicians like Saint Thyagaraja, H.H.Swati Thirunal Maharaja and others. Besides Upanishads, portions of Mahabharatha, the Gita, Vishnu Sahasranama, the Puranas like Vishnu Puranas and Bhaagavatha Puranas form the main authorities of this school of thought. The basic vedic Text of reference is Rigveda, 2.2.26;

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Aasasya jaananto naama chidviviktan Mahate Vishnosumatim bhajaamahe 24 I

2. DESCRIPTION OF KIRTANA BHAKTI

Kirtana may be defmed as the utterance by oneself of the names of the Lord and recitation of the Scriptures and singing of His greatness and 107 glory. There can be no joy greater than that of singing of the Lord and dancing withthe praises of theLord on one's lips.

A Kirtanasloka froml,Bhagavata is:

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"Bhaktaya ahamekayagraha : shradaya aatma priyam satam I Bhakti : punaati mannishta svapaakaanapisammavaat II Vaaggaddadravate yasya chittam Rudatyabheeshanam hasati kvachichcha

Vilejja udrayati nrityate cha Madbhaktiyukto bhuvanam punnatl"25 II

Meaning

"Only by devotion and faith can L who am the soul and thus the beloved, be grasped by the good. Devotion firmly established towards Me sanctifies even a born Chandala. He whose voice falters, whose heart melts, who sheds tears often and laughssometimes, and withoutany shame singsaloud anddances -he, My devotee, purifiesthe (whole) universe." 108

Another sloka in the 'Bhagavata' about Kirtana Bhakti is as follows:

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"Krite yad dhyayate Vishnum tretayam yajato makhai : 26 Dvapare paricharyayam Kalou tadhari Kirtanat. "

'Bhagavata' says that in the Kaliyuga, bhaktas seek Mukthi through Naama Sankritana. The story of Ajamila attaining Salvation by unintentionally uttering 'Narayana', the name of God, is example of Kirtana bhakti. In the Kali, Santaranopanishad, Brahma told Narada that Nama is Ram, Hari and KrishJ?.a:

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"Narada: puna: papraccha tannam kimiti Sadoshachi Hiranyagarbh Hare Rama hare Rama Rama Rama Hare Hare Hare Krishna hare Krishna Krishna Krishna hare hare"27 II 109

In 'Narayaneeyam', the sloka about Kirtana Bhakti is:

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"Pathanto naamaani pramodabhara sidhau nipattaah Smaranto rupam te varada! kathayanto gunakatta Caranto ye bhaktaa stvay! khalu ramante paramamu Naham dhanyaanm anye samadhigata sarvaabhilasitaan"28 II

Meaning

"Those devotees of Thine who always repeat Thy holy name, meditate on Thy matchless form immersed in the ocean of bliss, converse one another about Thy Kalyana gunas and miraculous deeds, revel in Thee wherever they happen to traverse. Such devotees who have attained due to Thy grace, whatever has to be attained, both material and spiritual I consider the most fortunate".

In 'Bhaktimanjari', Kirtana Bhakti is explained in the following sloka:

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"Sughavaptir loke na bhavati vinaiva sramalavam Jananamityastam varada, bhuvi vartha madhuripo Sughenaivavaptum sughamayi, manovaga vishayam Padur margo rajatyayamiha Bhavathkirtanamaya: 29 II

In Rama Rahasyopanishad, Rama says that one escapes from all sins by repeating His name, ninety six crores of time .

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"Yo mama shannabati kodi naamani Japati Sa tebhya : papemya : pramuchate"30

Kirtana Bhakti song of Saint Thyagaraja

Saint Thyagaraja's whole life was spent in composing and singing Kirtanans in praise of Rama. Nama-Japa purifies one's mind. Saint Thyagaraja asks 'what can equal our own human birth if we could do this adoration of the Lord with the flowersof His Glorious Names':

Nama Kusumamulache Pujinche Narajanmame janmamu (Sriraga)

The Lord's name brings prosperity , leads one on the right path, brings one to theabode of Divinity andthe abode eternal: 111

Kshemamu divya dhamamunitya nemamu Rama-namamu (Vandanamu-Sahana)

Saint Thyagaraja gives the joy of uttering Rama Nama m the

Divyanama Kirtana in Saurashtra:

"Melu melu Ram-nama-sukham Dharalo manasa"

< In the charana of the song Pakala nilabadi' - Kharaharapriya; he says how with his tongue he was engaging himself in Nama Kirtana:

Pallavi "Pakala nilabadi goliche mucchadha bag delpa rada?

Charana Tanuvuche Vandana monarinchuchunnara ? Chanuvuna namakirtana seyuchunnara? Manasuna dalachi maimarachiyunnara ? Nenarunchi Tyagarajunito, Hari Harimeeriru",

In 'Atade dhanyudura Oh manasa', Kapi raga, Saint Thyagaraja says that 'Blessed is he, who delights in NamaKirtana'. 112

Kirtana Bhakti songs of H.H Swati Thirunal

In the 'Bhaktimanjari' of H.H. Swati Thirunal Maharaja, Kirtana bhakti is the topic of the Sixth sataka. Recitation of the sacred names of f. - the Lord is the most active and vocal in nature which can be easily adopted by all people. Among the thousand names of Lord Padmanabha, twelve numbers are most important and out of these 12 names, Srinarayana hymn is the most excellent one. One can attain unending bliss by reciting this hymn which is Known as Astakhsara mantra. At the time of H.H Swati Thirunal Maharaja's creative activity , the doctrine of 'Namasidhanta' of the great sage Sridhara Venkatesa, had spread all over South India. This proclaimed the supreme efficacy of the utterance of the names of God leading to Moksha. This resulted in Swathi Thirunal Maharaja's composing a number of Kirtanas in praise of almost all the principal Gods and Goddesses of the Hindu pantheon.

The Second song of H.H. Swati Thirunal Maharaja's 'Navaratnamalika' in Kedaragula is the kirtana bhakti song:

"Tavakanamani subhadani prajapani Deva deva patitopi divyatamani yani Kevalasvadya yaati Kesava paramamritam".

This song extols the efficiency of the Sacred names of the Lord in washing off sins as instanced by the story of Ajamila, in bestowing greatness as the story of Valmiki, the author of the holy Ramayana and in being an end in itself as instanced by Lord Siva uttering them in the company of Parvati at Kailasa.· 113

3. DESCRIPTION OF SMARANA BHAKTI

Smarana is the constant memory of the Lord and meditating upon Him, ie, Dhyana.

The sloka explaining Smarana Bhakti in thelJhagavata is:

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"Sa vai pumsaam paro dharmo yato bhaktirkhokshaye Tasmadekena manasa Bhagavaan saatvataam pati Srotavya: Keertitavyaschch dhyeyam poojyaschcha nityadaa" 31 II

Meaning

'Indeed, that is the greatest Dharma formen, by which there shall be devotion for Hari. Therefore, single minded, one must listen to ( the story of)Lord Hari, sing of Him, contemplate and worship Him always.

The Smarana Bhakti sloka in 'Narayaneeyam' is :

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"Tvadbhaktistu kathaarasaamritanjari nirmajjanena svayam Sidhayanti vimala prabhoda padavi maklesatastanvati Saddhyah siddikari jayatyayi! Vibho!Sauvasstu me tvatpada 32 Premapraudhi rasardrita drutataram vaatalayaatisvara" II

Meaning

Oh Guruvayurappa! Our bhakti towards Thee is self-fulfilling. It makes the Brahma jnana marga easy to follow. By the strenuous and one pointed meditation on Thee, it is possible to have liberation in this very life itself. Oh Guruvayurappa! Make this bhakti to Thy lotus feet, the seat of compassion unwavering, steadfast anddeep, at theearliest.

Smarana Bhakti song in the 'Bhaktimanjari' is :

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"Pumsaamu sakritsmarana matra kritamakhou ravam Sadyo yato harasi tena budhairajamsramam Samkeertasye Hari riteesa, tadha vidhasya Kamva smritir na bhavat : Kurute Kritardhamam"33 II 115

Meaning

'Lord, you are praised as Hari because you will wash offthe sins of people if they remember you at least once. The remembrance of such a Lord will satisfy the people.'

One may direct his mind towards God either by hearing sacred .songs or by painting pictures or making idols.

Another sloka in 'Bhaktimanjari' about Smarana Bhakti is:

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Yam samsmaranna patatisha ! punarbhavabdhou Tasya smruti : Ki/a tavaiva sada vidheya"34

Meaning

Everybody should always have the remembrance of Lord only by which salvation is attained. There is no meaning in remembering about worldly relations.

In the 'Bhaktimanjari ', Smarana-bhakti is illustrated with reference to Gopis, Sisupala and Kamsa. Contemplation on Vaikunta, the abode of God is also elaborately described. Gopis attained liberation by constant contemplation of Lord Krishna. 116

Smarana Bhakti songs of Saint Thyagaraja are given below :

The constant thought of the Lord has been emphasised by Saint Thyagaraja in many of his songs. According to him Nama-Japa will be effective only through the Smarana of Sri Rama. In his song in Nagasvaravali raga, he mentions that Chintana or Smarana as his life - 'Sripate ni pada chintana jivanamu'. The thought of the Lord is the best thing - he says in the Kriti 'Rama Kodanda Rama', Bhairavi raga: 'Rama chintane chalu'.

"Smarane Sukhamu Rama nama Narudai budhi nanduku; nama Ramanaama sravanu valla Naama rupame hridayamu nindi."

A In the above Janaranjani Kriti, Saint Thyagaraja says thathappiness 1s obtained by the constant memory of the Lord and His Name. In 'Marachuvadana', he speaksthat it is impossible for him to forget Rama:

'Marachu vaadana Rama ninu Madanajanaka Marakatanga ni yokka madinenechavaladu'

Acording to Narada, even a momentary gap in the constant thought of the Lord causes pain in his heart:

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"Naaradastu tadapimtakhilacharata, Tadvismarane paramavyakulateti"35 -I 117

Smarana Bhakti song in 'Navaratnamalika' of Maharaja Swati Thirunal

'Satatam Samsmarani' .· in Nilambari raga is the song of Smarana bhakti in H.H.Swati Thirunal's 'Navaratnamalika'. He speaks of the Lord as the rising sun that dispells the dense darkness, the life immersed in pleasure mundane and describes His form in his serpant bed flocked around by Gods and saints.

"Satatam samsmaraaneeha sarasaaksha­ bhavantam Syananduresvara Atisaandra moha gaadhandhakara samsaya- Hatisandra himakarayitam Jegadeesam" II

Meaning

"May I have always the remembrance of you, oh! Lord." Here the Lord is being described as a Kalpaka tree who grants all wishes to all those who contemplates on Him. Maharaja Swati Thirunal always contemplates on Lord Padmanabha and believes that such contemplation removes all the miseries. The feet of Lord Padmanabha are being contemplated even by Devas and Munis.

·4. DESCRIPTION OF PADASEV ANA BHAKTI

Padasevana is the worship of Lord's feet in particular, which is a devotional mode common in Hinduism and Buddhism. In ancient India there was wide spread practice of worshipping the divine foot prints at 118 particular holy spots. Vishnu-pada, Siva-Padas, Buddha-pada, Rama-pada etc. areexamples.

In(Bhagavata; the sloka expounding Padasevana Bhakti is given below:

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"Kaaham daridra : papiyan tka Krishna : sreeniketana : Brahmabandhuriti smaaham baahubhyaam parirambhita Sarvaasaamapi sidheenaam moo/am tachcharanaarchanam Adhanodayam dhanam praapya- 36 madhannuchchairnamaam smartet " II

Meaning

By the above sloka, � Bhagavata ) establishes the greatness of Padasevana bhakti through the thoughts of Kuchela.

Kuchela thinks :

"Where am I, a pauper anda sinner andwhere is Krishna, the abode of the Goddess of Fortune ? He embraced me with his arms because I was born a Brahmin. The worship of His feet is the source of all attainments. The merciful Lord, I am sure, did not give me ample wealth, thinking that 119 obtaining wealth, this poor self of mine might get intoxicated and forget " H11D.

In 'Narayaneeyam', the Padasevana bhakti song is as follows:

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"Gataklistam Kastam tava carana sevaarasabhare Apyaanaasaktam cittam bhavati bata vishnu kuru dayaam Bhavatpaadamboja smaranarasiko naama nivahaa­ Naham gaayamgaayam vivatsyami vijane"31

Meaning

Oh Guruvayurappa! My mind is languishing by afflictions from within and without. Even though engaged in the joy of serving you, my mind is not intensely attached in that noble service. It is indeed a great pity! Thou must bestow Thy utmost compassion and love towards me. Through Thy grace, I must always engage myself in service at Thy lotus feet, singing Thy praises and glories. Let me also be blessed to enable me inany place far away (from the madding crowds) constantly repeating Thy holy name. 120

A Padasevana Bhakti Sloka in 'Bhaktimanjari' is as follows:

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"Vrajati na vai saphalyam Jagati vina yam kilaikamapi karma Suvimalamapi muravairim Stam Padasevam taveha ko neccheth"38 II

In this world, all the people wish to do the Padaseva of the Lord as they are aware that any rituals (sacred) which are not intended for the feet of the Lord is in vain.

Another sloka in the 'Bhaktimanjari', expressing Padasevana bhakti :

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"Jagati satrushna : sarve Yallesaapaityatadhaavidha seyam Yatra satrushnaa nityam Kimam paramaasmaat �adaabja bhajanath te."39 II 121

Meaning

'Even Mahalakshmi is immersed in the worship of the Lord's feet, so what else is more blissful than worshipping your pada, asks Maharaja Swati Thirunal in his Bhaktimanjari'.

Saint Thyagaraja has composed two songs adoring the exploits of Rama's feet in Amritavahini and Ramapriya ragas. They are given below:

1. "Sri Rama Paadama nee Kripa jalune chitanikirave Darini silayai tapamu talaka Varamu Kannirunu ralchaga Sura Ahalyanujuchi brochitivi Ya riti danyuseyave Thyagarajageyama!"

Meaning

'O! Blessed feet of Rama! I wi�h I could secure your grace. Come and take your home in my mind. Taking compassion on Ahalya, you redeemed and restored her human form. Can I not crave to be blessed similarly?

2. "Sandehamunu dirpumayya Saketanilaya Ramayya NandarchitaPadayugamulu melo Nagarikamagu padukayugambulu melo" 122

Meaning

"O! Rama, I pray you to clear my doubt, your holy feet worshipped by Nanda is great or your Sandals are great. The great sages who worshipped your feet secured a status equal to yours, but Bharata who worshipped your Sandals got yourself.'

Saint Thyagaraja suggests that Rama's sandals belonged to the city and not to the jungle. Bharata rul�d the kingdom of Ayodhya by adoring and worshipping Sri Rama's Paduka. Rama's feet had recreated Ahalya from her accursed stone - state by touching the stone. Though absent in body from Ayodhya, Sri Rama was personally residing and ruling through his sandals.

In another song, in Begada, 'Ni padapankajamulane nera namminanu ', Saint Thyagaraja says that he has extreme faith in the lotus feetof Rama by seeing Rama's capacity to fightwith Vali.

Saint Thyagaraja says that he could not give up Rama's lotus feet in his song, 'Raghunayaka' in Hamsadhavani.

"Raghunayaka ni padayuga Rajivamula ne vidajala" In the song 'Sri Manini manohara' in Pumashadja, he affirms that his only long cherished desire is to do Rama's Padasevana daily:

"Anudinamu nidu padabjamula Nottuchunu tiruna naloni" (Saveri) 123

In the Devagandhari Kriti, Saint Thyagaraja says that the constant thought of theLord's feet constitut�his very life and breathe - 'ni pada chintaname jivanamu'.

R.H. Swati Thirunal Maharaja's song about Padasevana in 'Navaratnamalika' is 'Pankajaksha' in Todi raga:

Pallavi Pankajaksha thava sevam bahudha karavani

Anupallavi Sankaravala sasana mukha sannuthoru kirthe

Charana. Upaharani thava samsphura duru tharakuthukena Upakaranani cha hitani sapadi Padmanabha.

This song explains the forms of service like holding His sandals on the head, fanning Him with fine fans, holding the white parasol over his head and gladly giving him all that would please. Thus Maharaja whole heartedlywants to serve Lord Pankajaksha who is worshipped by Sankara, Devendra etc. The names of Siva, Brahma, Indra, Lakshmi, Suka, Bhrgu, Narada etc. are cited as examples of Padasevana, as they desire the service at the feet of God. Kubera, Varuna, Agni, Yama and Rudra pray for padaseva. This service is the only pleasure in this world devoid of pain. Service to humanity is prescribed as pre-requisite to worship at the Lord's feet. The greatnessof Ganga which originates fromthe feet of the Lord and the details of worship at the feet are described in the 8th Sathaka of the 124

'Bhaktimanjari '. It is pointed out that mental service is superior to physical and vocal service.

5. DESCRIPTION OF ARCHANA BHAKTI

Archana is to do Lord's worship daily and incessantly. It is the performance of Puja to the Lord in all detail and with full concentration of mind. Such ritualistic worship of images is Archana. Vyasa, an authority on Bhakti, defines Bhakti as the constant delight in the worship of the God - "Poojadishvanuraag iti paraasarya"

Archana Bhakti sloka from '·Bhagavata' is :

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'Sailee daarumayee lauhi lepya lekhyacha saiktee Manomayee manimayee pratimaashtavidham : Smrita' 40 II

Meaning

The advice given by' Lord Krishna to Uddhava regarding the conventional mode of worship is described. There are eight kinds of images or idols of the Lord which are made of stone, wood, metals, earth, sands, jewels and those painted and conceived in the mind on which the Archana is perfomed. 125

The Archana Bhakti Sloka in 'Narayaneeyam'is :

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"Vidhuya k/esan me Kuru caranayugmam dhritarasam Bhavat ksetraapraptaukaramapi ca te pujanavidhau Bhavan murtya/oke nayanamattate paada tulasi Parighraane ghraanam Sravanamapi te chaarucharite"41 II

Meaning

"Oh Guruvayurappa! Dispel my afflictions completely and make me extremely eager for my two legs to reach out Thy temple, my hands to be engaged in prayfulworship, eyes to behold Thy divine form in archa murti, my nose to smell the tulasi leaves cast at Thy feet during prayful worship as an act of supplication and surrender, my ears to listen to Thy superhuman, meritorious deeds in episodes of Thine, done m Thy incarnations." 126

In the �haktimanjari; the definition of Archana Bhakti is given in the following Sloka :

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"Deva: Sendrastapasyastaikat moha Yadou nityam prardhayante nikaam Tasmaa Lakshmi nayakabyarchanatte Ko laabh: Kesavaaste vareeyaand'. 42 II

Meaning

'O! Lord! the Gods like Deva, Indra, Tapasas etc. are daily worshipping your feet by Archana bhakti. So what else is more supreme thanworshipping you, in this world'.

The ninth Sataka of 'Bhaktimanjari' of H.H.Swati Thirunal Maharaja deals with Archana, the ritualistic worship of the idols. One who desires to be freefrom bondage, must necessarilyperform Archana.

The greatness of Tulasi leavaes used for Archana is also described in 'Bhaktimanjari'. Tulasi is the dearest plant of God, and it is considered to be greater than the Vedas. It is rather impossible to explain the blessings obtained by doing Archana of Sri Padmanabha with Tulasi and other flowers. 127

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"Tasmaadevam bhutayaakshi Tulasya Dhanyaranyai : samga to / sya : prasunai :

Yo nityam tvamarchayeduktareetya 43 Kastatu punyam vaktrumishte dharayaam."

According to Saint Thyagaraja, the supreme thing one can do with the hands is to worship the Lord. Archana is exemplified by two important factors of Saint Thyagaraja's life and work - his daily puja of the Rama idol and the collection of songs called Utsava sampradaya Kirtanas which is composed for the items of the celebration of Rama's festival. Of these songs, 'Hechcharikagarara hey Ramachandra' in Y adukulakambhoji expresses svagatha to the Lord. 'Rara Sitaramani manohara ' in Hindolavasanta and 'Chetulara sringara' in Kharaharapriya deal with the alamkaraor the dressing and decorating of the Lord.

Saint Thyagaraja performs the Archana of the image by offering Tulasi, Bilva, Malli and other flowers to the several parts of the Lord's body i.e, angapuja with the Kedaragaulasong as below: 128

.\ ""'Tulasi bilva mallikadi jalaja Sumapujalagaikonave uramuna,, mukhamuna,, siramuna,,bhujamuna,

,J,, Karamuna. netramuna. charanayugambuna Karunato nenaruto- paramanandamuto niratamunu Sri T yagaraju-nirupadhi Kudaiyarchinchu"'.

·Aragimpa"in Todi offers the Lord Naivedya,, butter, milk .. cakes etc.

In 'Vidanm seym'e· in Kharaharapriya.,, he requests the Lord to accept

Pansupari. Of the other upacharas of the puja,, 'Upacharamulanu· in Bhairavi offers umbrella. Chamara and fan made of flowers. · Lali lali' in

Harikambhoji., offers the upachara of Andolika or swing and rocks the Lord. ·u_vyata·, ·Loli ugave· in Nilambari raga and ·Rama sri Rama· in Sankarabtnaranaoffer the same swing.

Saint Thyagaraja performs Harati to the Lord in the raga Surati in the song ·Patiki Harari re·. In ·Pu/a panpu mida' in Ahiri. he offers a bed of jasmine flo,,lers. milk . pan and sandal paste. In · Sri Rama Rama Rama· he sings to make Rama sleep. In Bowli song, he prays to Rama to wake up andprotect the world : 'Melukovayya mammeluko Rama'. In another song.

�Meluko dayanidh( Saint Thyagaraja asks the Lord to wake up and teach dieguardians of the quartershow to rule.

··Rajarajadi digrajulella Vachchinaru Rajaniti teliya Meluko'".

"Koluvamare' in Todi and 'Lali Lalayya' in Kedaragaula are two moresongs offering Puja with all the Upacharas. 129

Archana bhakti song of Swati Thirunal Maharaj a

The fifth song in the 'Navaratnamalika' about the bhakti Archana is as follows:

"Aradhayami Karana thrayenaham Anudinamapi bhavantham Dharadharabha budhadhi nivarana Thulasi Kuntha mallikaduru sunajathena Kala dhowta bhajane kalpitena pujanam Nalinakasha rachayami natha dhupadeepaman Galanivedyani cha kalaye Pankajanabha".

The above song in Bilahari raga recommends the worship of the Lord by thought, word and deed in all earnestness and indicates major upacharas in ritualistic worship. Swati Thirunal Maharaja wants to worship the Lord in so many ways - · he places Lord's image on a gem studded 'peedha' and provides ablutions with sweet scented cold water. He offers new silk garments, apply sandalwood paste all over the body and decorates Him with all the best possible ornaments. He wants to worship Lord with heaps of Tulasi and Jasmine flowers and offer Dhupa, Deepa, Nivedya etc.

6. DESCRIPTION OF VANDANA BHAKTI

Vandana is paying obeisance to the Lord by lying at length before the deity in the temples. The devotee feels the presence of God in front of him and he offers solutions in all reverence andjoy. 130

The Vandana Bhakti Sloka in the 'Bhagavata' is: ����= � atcflfaa cJidlfailatcfaicfll4 � �

'Yasya prasanno bhagavaan Gunairmaitryaadi bhirhari: Tasmai namanti bhutaaninimnamaapa iva svayam' 44

Meaning

To him who Lord Hari hath favoured as a result of his virtues of universal friendliness and the rest, all beings bend low, even as waters turn of themselves towards the low-lying place.

Another Vandana Bhakti sloka in the�Bhagavata'is:

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Yo/ anta : pravisya mama vachamimam prasuptham Sajeevayathyakhilasaktidhara : svathana Adhyamjham hasthacharana sravanathyagaadeena Prananthamo bhagavate purusham thubham 45 II 131

The Vandana Bhakti Sloka from 'Narayaneeyam' is given below:

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"Keyuraangada Kankanottama maha ratnaanguli yaangita Srimadhbaahu catuskaSangatagataa sankaaripankeruhaam Kaamcat Kaancanakaanchi laancitalasat pitaambaralambini Maalambe vimalaambujadhyutipataam murtim tavaarticcidam " 46

Meaning

"Oh! Guruvayurappa ! I surrender unto Thy form bejewelled with priceless armlets, wristlets, rings on the fingers studded with precious gems, Thy four hands wearing the conch, disc, mace and lotus flower, wearing Thy distinguishing golden coloured garments and over the same at the waist the tinkling bells-studded gold girdle, with feet excelling the purity of the autumnal lotuses. I completely surrender unto that form, the darsan of which removes in their entirety the afflictions of created beings".

In the 1Bhaktimanjari; the Sloka expounding Vanadana form of Bhakti is:

6<�1Qcfl' ll®lfa qlfo?9ctl� cicfl� mcfit1cflQl¢2lcfl aanfcr cfj(ktlOI Q2Q21cfl 132

"Hartyakhamuyacchati vaanchitardhamam Samasta papoudhamapakaroti Tanoti kalyana paramparama- PadyokshuJamkhreedvaya Vandanam te"41 II

Meaning

"O! Lord! Padmanabha! the salutations offered on your feet remove all the sins of the devotee, fulfill all his desires and steadily increases his fortunes". In the Bhaktimanjari, Brahma, Rudra, Indra etc. are referred. Vandana Bhakti is described in thirty one verses in the tenth sataka,)which contains different stages of human life.

Saint Thyagaraja illustrates the sixth form of Bhakti, Vandana, through his two songs - 'Vandanamu' in Sahana and 'Dandamu pettaedanura' in Balahamsa.

The firstsong is :

"V andanamu raghunandana sethu­ bandhana bhakthachandana Rama Sreedama natovadama ne bhedama yidi modama Rama Vegara karunasagarasri­ Thyagaraja hridayagaraRama". 133

In this song, Saint Thyagaraja gives salutations to Lord Rama and says that he has heard His glories, kept his faith in Him, sought refuge and prayed for his presence. He prays Lord to come to him, accept the tambulam, speak to him and bless him with boons. Lord's name brings one prosperity; leads one to the right path, which is the abode of Divinity. Sri Rama, who is the ocean of mercy, has made Thyagaraja's heart His home.

nd The 2 song in Vandana-bhakti,of Saint Thyagaraja, is given below :

Pallavi

Dandamubettedanura Kodandapani ! Chudara

Anupallavi

Andaja suvahana! martanda chandralochana ! Kundalisayana brahmandanayakaniku

Charana,-,·

Peruka pratishtaka yurukaninnu nammiti ? Urvaru bodhivaru oka jathivaru karu Darinicheyibatti brovumu Thyagarajarchitha ! niku. 134

Saint Thyagaraja salutes the Garudavahana, the Lord of the Universe. As thereare different types of people around, he wants the Lord to lead him to the right path.

The theme of Saint Thyagaraja's Pancharatna krithi in Sriraga 'Entharo Mahanubhavulu' is homage or salutations to all great and blessed souls. Homage offeredto sterling devotees is as good as homage offeredto God. So this can be considered as an example of V andanaBhakti.

The sixth song of the 'Navaratnamalika' of H.H. Swati Thirunal describes the Vandana form of Bhakti in Begada raga:

"Vandedeva deva tava padambhojayugalam Mandakini bhajatinama makaranda leelam yadeeyam. Pavanasana vara kaliya phanatada vihitha nadanam buvanaramyavenu vadana virachitavividhatalam Siva Sanakavidhi Suresa sevyamapavargakaram Bhava bhayaikasamanaparam- Padmanaabham ramakantam".

Meaning

O! Lord of Lords! Salutations to your lotus feet. H.H, Swati Thirunal Maharaja imagines Lord's feet being so wonderful because they were placed in Yesoda's lap,which is the abode of all virtues. It was those holy feet subdued the demon 'Sakata'. Those holy feet, if bent upon, will remove all miseries and helplessness. Lord is the sole destroyer of all worldly fear. who brings eternalhappiness. 135

7. DESCRIPTION OF D,ASYA BHAKTI

Dasya Bhakti can be definedas follows:

When the devotee feels the presence of the Lord more and more, the tendency for service develops in him,which leads to the attitude of being a willing and happy servant. This feeling of the relation between the Supreme master and the dedicated servant is the Dasya bhakti. It is the dedication of all the activities, at the physical and mental levels, to God as a servant.

Dasya Bhakti Sloka in the 'Bhagavata' is :

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'Na vai mukundasya paadaaravindayo Rajojushastata bhavaadrisya janna Vaanchchanti triddaasyamrite f rdhamaatmano Yadrichchaya labdhamana: Samrudhaya' 48

Dasya Bhakti sloka in 'Narayaneeyam' is as given below:

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"Kimuktairbhuyobhistava hi karunaa yaavadhudiyaa Daham tavaddheva prahita vividhaarta pralapitah Purah klipte paade varada tava nesyaami divasan Yattasakti vyaktam natinuti niseva virachayan"49 II

Meaning

"Oh Guruvayurappa ! Of what use is wasting my words in plenty ? Until Thou blesseth me with Thy compassion and love, I will stand before Thy idol and will be prattling in various ways that occurs to my mind. I will be spending all my time, day after day in front of Thee (in the form of archavatara) in the sole occupation of prostrating before Thee, singing Thy praisesand doing service unto Thee measuring up to my limitations".

Dasya bhakti is defined in the 'Bhaktimanjari' as follows :

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"Tvadeeya daso / smaihamamga, tubhyaam Samarpitam karma mayakritam yat Jteeha ya : sreshta tamastu bhaavo Vidura budhaastaam nanu Dasyabhaktim"50 II 137

Meaning

0 ! Lord ! I am your Dasa. I am dedicating all the deeds I have done throughout my life to the Lord.

Thyagaraja's songs explaining Dasya Bhakti are:

Saint Thyagaraja exemplified Lakshmana as ideal servant or Dasya of Sri Rama, who knows Rama's inner intention. The capcity of Lakshmana to understand Rania'singitha is referred to in the kriti 'Lekana' in Asveri raga

"Lekana ninnu juddukonnaru? Ek hridayulai nityanadamu Saumitri ganula jadala sukhamu".

In the song 'Vidamuseyave' Lakshmana is said to hold the jewelled spittoon for Rama. Hanuman is another example of Dasya bhakti. In his two songs 'Pahi Rama� in Vasanta varali, 'Kaluguna Pada Niraja' in Pumalalita, Saint Thyagaraja portrays Hanuman as sitting at Rama's feet and doing padaseva. In the kriti 'Tava dasoham', he yearns to join Rama's servants. In his Bhairavi song 'Upacharamu' he requests Rama to appoint him as His attendant. "Upacharamu chesavaru Unnarani maruvakura Vakitane badilamuga Vatatmaju unnadani Srikarulagu ni tammulu" 138

In the song 'Banturiti kolu viyya' in Hamsanada, Saint Thyagaraja states that he will serve Rama as a true servant, he is free from lust, arrogance and other defects:

"Banturiti kolu viyya vayya Rama Tuntavintivaani modalaina mada­ dula gotti nela gula jeyu nija Romancha manu ghana kanchukamu".

In the kriti 'Koluvai unnade' in Devagandhari, Saint Thyagaraja says that for Rama he had spread carpet in the court as a servant. In another piece 'Chentanesada' in Kundalavarali, he asks Rama to allow him to sit by his side like Bharata and Hanuman and he will carry out any work as Rama think of to do:

"Chentane sada yunchuko vayya Mantukekku srimantudau Hanu­ mantu ritiga Srikanta talachina panulanu ne delisi talato nadachi santasillidura palumaru balka paniledu Rama Bharatunivale Thyagarajanuta".

Saint Thyagaraja loves to become servant of the servants of the Lord: 'Ramadasadasa-Thyagaraja' in the song 'Brindavanalola'in Todi raga. In the Divyanama song in Dhanyasi, 'Sri Ramadasadasoham', he addresses Rama as 'Prabho' and 'Natha' which are expressions of Dasya bhava. 139

H.H.Swati Thirunal explains Dasya Bhakti in the following songs :

'Paramapurusha' in Ahiri raga, in the 'Navarathnamalika' of H.H. Swati Thirunal Maharajadeals with theDasya Bhakti.

The song is as follows:

"Paramapurusha nanu Karma- Samastam bhavati samarpayami Parayatava mayaya bata mohitopi Vidithamaviditam va vihitamavihitam Tadapi -pankajanabha tava sevakoham"

Meaning

'Whatever I do by my physical movements, by my words mentally or intellectually as a result of my impulse, I dedicate to Lord Narayana'. Poet here indicates Nishkama bhakti, karma or services without expecting anybenefit. Whatever he sees, hears and smells are dedicated to the Lord. All actions done knowingly or unknowingly are for the Almighty. Thus he yearns to join the company of Lord. He was a dasa of Lord Padmanabha.

8 DESCRIPTION OF SAKHYA BHAKTI

Sakhya is to realise the insignificance of the worldly objects and put absolute faithin God andconsider Him as a friend. 140

Sakhya Bhakti sloka in 'Bhagavata' is:

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"Tasmaatsarvaishu bhuteshu dayaam kruruth sauhridamu Aasuram bhaavamunmuchya - yayaatushyatyakhokshaj " 51 II

Meaning

"Therefore, casting away your demoniac attitide, have compassion andfriendliness towards all beings, whereby theLord is satisfied".

The sloka which indicates the Sakhya bhakti in 'Narayaneeyam' is:

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"Prabhutaadhi vyaadhi prasabha calite maamakahriti Tvadiyam tadrupam paramasukha citrupa mudiyaat Udancadromaanco galitabahu harsasru nivaho 52 Yattaa vismaryaasamdurupasamapidaa paribhavan" II nwn

·'t(i}li! \fiUJ'.U�y.unm:pR :! �y lhmtttiiB �intmlamil amtntmil '� y \\W!;-y �at _di-s.ea._·�.es ·nnth .m�y rniintl.:anti 1Lnt1IH}y ffimn\Wllmh iiE tthe \�y

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Iln irn: libmr_e -sWka,IHIJEI.;Swntii1Illiinumil Mahmajj:ll �ifur;lihscllute cmmfidtmce :in ±he Il.imcil iin �looili

Saint Thyagaraja has mentioned Sakhya Bhakti in his song 'Chelimini-Jalajakshu' in Yadukulakambhoji:

Pallavi

Chelimini jalajakshugante j epparayyameeru

Anupallavi

Palumarumrokkedanu dayato balukarayya entho

Charana

Thyagaraja Sakhudanidalatu nayya meeru- baguga nayadgalarpu baparayya.

Here Saint Thyagaraja expresses his distress andp ain of his heartdue tohis separation from the Lord as he considers Him as a friend and wants theLord's help to remove his troubles.

In many songs of Saint Thyagaraja, reference to friends of Rama like Sugriva and Vibheeshanaand theirdevotion are given.

There is a mention about Sakhya Bhakti in two other songs also - 'Samikisari' in Begada and 'O Rama, 0 Rama'in theraga Arabhi. 142

Saint Thyagaraja has mentioned Sakhya Bhakti in his song 'Chelimini -Jalajakshu' in Yadukulakambhoji :

Pallavi

Chelimini jalajakshu gantejepparayya meeru

Anupallavi

Palumaru mrokkedanu dayato balukarayyaentho

Charana

Thyagaraja Sakhudani dalatu nayya meeru - baguga nayadgalarpu baparayya.

Here Saint Thyagaraja expresses his distress and pain of his heart due to his separation from the Lord as he considers Him as a friend and wants theLord's help to remove his troubles.

In many songs of Saint Thyagaraja, reference to friends of Rama like Sugrivaand Vibheeshanaand their devotion aregiven.

There is a mention about Sakhya Bhakti in two other songs also 'Samikisari' in Begada and 'O Rama, 0 Rama' in theraga Arabhi. 143

The firstsong is :

"Samiki sari jeppa jal velpula, Rama ! Na manasa natanipainati yundag norul Anni velpula lona natani sarigan; tatrubrochindhana Thyagaraja Sukhudaina".

According to Saint Thyagaraja, Rama is his friend and protector and no other God is as equal to him.

The other song is:

"Oh Rama Oh Rama Omkaradhami Oh Rama Oh Rama Onarinchu prema Nee Kandhe dorakuna nirupama gatra ParakelaSri Tyagarajuni mitra".

In the composition 'Amma ravamma' in Kalyani, Saint Thyagaraja refers to Tulasi Devi as 'Thyagarajani mitru'. In the kriti 'Nenarunchinanu' in Malavi raga he refers to God as 'Thyagarajapta'. In many songs of the opera 'Nowka charitram ', he refers Krishna as 'Thyagaraja sakhuda', i.e., thefriend ofThyagaraja. 144

In Swati Thirunal Maharaja's 'Navaratnamalika', the song on Sakhya is 'Bhavati Visvaso'in Mukhari raga which is given below:

Pallavi

'Bhavati Visvaso mey Bhavatu sada

Anupallavi

Vividha tapa harini veeta samsayalesam

Charana' .·

Varada Pandave yodhava kruradayo yena Parama vipadam bhodi parangata noonam Paramavapuriha the padamapi kripaya te Parachidananda Sripadmanabha murare.

"O Lord Padmanabha ! As a Sakha you have removed the fears of Pandavas in the Kurushetra yuddha. Like that I pray for the absolute faith andconfidence in Lord and vice versa through friendship".

Here he whole heartedly believes in Sri Padmanabha. He remembers the experience of Krishna with Akrura andUddhava who were able to get out of their troubles undoubtedly as a result of friendship with the Lord. The poet also wants this type of friendship with Lord Padmanabha, dispelling distressat all times. 145

9. DESCRIPTION OF ATMANIVEDANA BHAKTI

Atmanivedana is defined as the surrender of one's self to the Lord as theLord's own, i.e., the absolute surrender to God. The final teaching of

'Bhagavadgita ' too is the complete surrender to God : 'Sarvadharman parisyajya maamekam saranam vraja '.

Atmanivedana sloka from 'Bhagavata' is:

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"Kaayena, vaacha, manase / ndrairvaa Budhyatmana vaanusruta svabhavat Karotiyad yatsa kalamparasmai Narayanayetisamarpayethatu " 54

Atmanivedana sloka in the 'Narayaneeyam' is:

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"Muniproudha rudha jagati khalugudhaatmagadayo Bhavat paadambhoja smaranavirujo naaradamukhah Carantisa svairam satata parinirbhaata paracit Sadaanandvaitaprasara parimagnaah kimaparm"55 II

Meaning

"Oh Guruvayurappa ! In this world, there live great souls, who have acquired fame, realised atmajnana very difficult of attainment by others and by total surrender unto Thy lotus feet and seeking refuge under the same have got rid of all sorrows and sufferings of the world for ever. Deva rishi Narada is one such. They are deeply involved and immersed in the mighty waves of advaita, the ever - shining form of eternal bliss. God-men likethese do not act on their own as they are but instrumentsof God. What else is there in this world greater than this forthem to attain?"

In the 'Bhaktimanjari', the sloka explaining Atmanivedana Bhakti is :

aratcf � ! cicfict"iq� - �q�crcl tiRts3l � cqGqoj � fcfx@ fctc;,ct1lcfl arra, �� :�1c'd1fa1tjGoil<...�cfl 11

"Mamaita dityamga, samastavastu­ shvatyanta saktim sahasaa viduya Tvadarpanam yat kriyate vidustaam Bhaktim budha : svatmanivedanaakhyam"56 II 147

Atmanivedanam is considered as thehighest point in the progress of bhakti. The 'Visistadvaita philosophy' looks upon 'prapatti' or 'Saranagati' as themost perfect expression of bhakti. The Srivaishnava teachers of the South have developed this school of prapatti. Whenthe devotee surrenders, he has to surrender everything he possesses : 'Hitvaa putraamksha daaraamskha '.

When thedevotee becomes a complete 'Sarangata', there is no need of anxietyfor anything because all the burdens have been laid on theGod. So God has to help and save his refugee. The stories of the Yamana incramation and the Rajasuya of Yudhishtira are illustrated in the 'Bhaktimanjari'.

Thyagaraja explains Atmanivedana Bhakti in the following songs:

Saint Thyagaraja says in the Kriti 'Kalaharana' in Suddhasaveri 'O! Rama! I have sought your feet and surrendered myself, my body, my wealth and all other possessions are your own'

'Kalaharanamelara? Hare Sitarama ! Kalaharanamela? Suguna jala ! Karunalavala ! Dina dinamunu tirigi tirigi dikkuleka Saranujochi Tanuvu dhanamu needeyamti - ThyagarajavinutaRama'.

Thyagarajasays in his Rama Pahi 'Meghasyama' in charanas 2 and 9 thathe had surrenderedhimself and all his good deeds to Lord Rama. In "Na,vm Vidachi" in Ritigaula and "Enatinomu phalamo• in Blhairavi, Thyagarajadeclares thathe andhis bodythe are Lonrs property - ""Tanmini sommu""and ""Nijanmga ne ni sommaitinr·.

In the foniowiog songs Thyagaraja says that Godhas promised to save him and describes Rama as the sutradbara,, echoing the

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''Ana!J7lyalkslorinlayanlomom jenaye : paryupasate / Tesllwmni!yabhiyubanam- _W"()galkl/-oemam-wahamyal,am" /

lDll the SriirruJtjam raga song .... Bhuvini Dasudane"" he says ""'wb.eilier "" yon.nprotted m.e m- l!]OJL you aremy refuge .

lDll "Erm:lm-o lllalloam1ml/-omru/!11J1" in Sri ragct. Saint Thy�a refers to Kir'ltma Smararun. and Padasevarut. In hls Kriti "Narasimlw. nanu brovawe" m BiiDalbmillue re1feD"£ ro Japa Sir.mmralrnaand! PaadaP1lllja

Atmanivalaaa Bhaktisoag of His lliglm.en Swati Thiranal

The Dmlltlbt ]l(furtaurna rum tt:11:ne "Nawaramamalika" of Swati Thmmall

MiiDlrnarajais O>DilA11Jrn:JwJrn, 7ooairna, 'Dewadewa llmllpayami"m. Nathanamakriya

"'"Devadewa IKa.llpaymm.mamakarn sofllnameesa DdDagdniilldn lKmndha Salkalla.mmapn 11:nn mvakam Knnmmwadnmnwpaya dbia 11e MaBnabalilryadlna M:atlina1liid;amJLats.autmtye munmn lkallirawcmahottbaillna EW;aul]l])li!lWii

H.H. Swati Thirunal Maharaja surrenders all his belongings and finally himself to Lord Padmanabha. In the anupallavi of the song, the poet illustrates 'surrender' with the story of Mahabali.

In the charana of the song, the composer refers to 'Arghyapooja' - offer ofworship - by Yudhistira's Rajasooya Yajna. He states that he is at the disposal of God and only absolute surrender will make him eligible for theprotection by Lord Padmanabha.

The concluding charanaof this song is a conclusion to the whole set of songs in 'Navaratnamalika '. It is a request to Lord Padmanabha to accept all thatis said therein as the offering of a sincere devotee.

Prema Bhakti and Vatsalya Bhakti

Saint Thyagaraja and Swati Thirunal Maharaja have composed a large number of compositions in Madhura Bhakti and Vatsalya Bhakti, which are the other two forms of bhakti, in addition to the nine forms of Bhakti,

Vatsalya is seen in the Nabhomani song 'Nayade Vanchana ' of Saint Thyagaraja. The lullaby and Jojo songs of him are also suggestive of Vatsalya bhakti.

There is a suggestion of Madhurabhakti in the Harikambhoji song 'Chani toditeve' of Thyagaraja. Madhurabhakti is also called Kanthabhava bhakti. The ideal N ayaki should utilise all her talents only to please and 150 entertain the Nayaka, i.e., God. Padas of Maharaja Swati Thirunal are having Madurabhakti andVatsalya bhaktitheme.

It is pointed out that each one of the Navavidha Bhakti is a means to liberation and when all are combined, the result is fully assured. The Navavidha Bhakti advocated by H.H. Swati Thirunal Maharaja is the one propounded in the Bhagavata. Six satakas of 'Bhaktimanjari' are devoted to the exposition and illustration of the Navavidha Bhakti . It was written by the influence of the famous 'Narayaneeyam' of Melpatur Narayana Bhattathiripad. 'Narayaneeyam', written in praise of Lord Sri Krishna of Guruvayur temple, draws its substance from 'Srimad Bhagavata'. The mode of cultivation of bhakti is the one which H.H. Swati Thirunal Maharaja lays great stress upon. The 'Navarathnamalika' also expounds the Navavidha Bhakti one after another through a string of brilliant songs. It is like a necklace set with gems fit to adorn the Supreme Lord Sri Padmanabha. This explains and justifies the popular name 'Navaratnamalika' forthe group. This is also known as 'Navabhaktimala '.

Most of the above composers have not composed in all the nine forms of bhakti and they are not like strings of nine songs. 'Haribhaktinavakam ', of Tulaseevanam, is a set of nine Kritis in praise of Lord Krishna of Guruvayur Temple. The notations of the nine krits in 'Haribhaktinavakam' is given in the Appendix - 1 of thisthesis work. 151

COMPARATIVE ANALYSIS OF THE NAVAVIDHA BHAKTI COMPOSITIONS OF SAINT THY AGARAJA AND HIS HIGHNESS SWATI THIRUNAL

A comparative analysis of the Navavidha Bhakti Kritis of Saint Thygaraja and His Highness Swati Thirunal has been included here as the topic of this thesis work is "Concept of Navavidha Bhakti and its significances in the compositions of Saint Thyagaraja and His Digness Swati Thirunal". For a comparative analysis, nine compositions, one from each type of Bhakti, are selected fromthe N avavidha Bhakti Kritis of Saint Thyagaraja and nine composition of 'Navaratnamalika' Kirtanas of Swati Thirunal Maharaja are taken. Notations of the above mentioned eighteen Kritis are given in Appendix No. 1. Detailed study of the Navavidha Bhakti Kritis of both the composers are included in the Chapter 5 and 6 of this Research work.

In addition to the above, the notations of the Navavidha Bhakti compositions in 'Haribhaktinavakam' of Tulaseevanam are also included in Appendix 1.

The nine types of Bhakti, the names of Navavidha Bhakti Kritis, with raga and tala are included in the chart given below, followed by the analysis of thekirtanas of boththe composers in each Bhakti. A COMPARATIVE ANALYSIS OF NAVA VIDHA BHAKTI KRITIS OF SAINT THYAGARAJA AND HIS HIGHNESS SWA TI THIRUNAL

Below is a chart showing the nine selected Navavidha Bhakti kritis of Saint Thyagaraja and Navavidha Bhakti kritis of Swati Thirunal Maharaja ('Navaratnamalika')along with raga and tala.

Navavidha Bhakti Kritis of Navavidha Bhakti Kritis of Saint Thyagaraja Type of Bhakti H.H. Swati Thirunal Maharaja ('Navaratnamalika') Beginning of Kriti Raga Tala Beginning of Kriti Raga Tala 1 Sravana Ramakadha Sudha Madhyamavati Adi (2 kala) Bhavadiya Kadha Bhairavi Adi

Jayamanohari Rupaka Thavakanarnani Kedaragaula Rupaka Vl 2 Kirtana Ni Bhakti bhagyasudha N 3 Smarana Smarane Sughamu Janaranjani Adi Satatam Samsmarani Nilambari M. Chapu 4 Padasevana Srirama Padarna Amritavahini Adi Pankajakshatava Todi Rupaka 5 Archana Tulasi Bilva Kedaragaula Adi (2 kala) Aradhayami Bilahari K.Chapu 6 Vandana V andanamu Reghu Sahana Adi Vande deva deva Begada Rupaka 7 Dasya Tavadasoham Punnagavarali Adi Paramapurusha Ahiri M. Chapu 8 Sakhya Chelimini Jalajakshu Yadukulakambhoj i Adi Bhavati Viswasome Mukhari M. Chapu 9 Atmanivcdana Nannuvidachi Ritigaula MisraChapu Deva deva Kalpayami Nadhanamakriya Rupaka 153

1. Sravana bhakti kritis of Saint Thyagaraja and His Highness Swati Thirunal

The Sravana Bhakti compositions taken for comparative analysis are 'Ramakadha Sudha' in Madhyamavati raga, Adi tala of Saint Thyagaraja and 'Bhavadiya Kadha' in Bhairavi raga and Adi tala of H.H. Swati Thirunal Maharaja.

In both the above Kritis, the two composers give the same principle that those who are suffering in life will get happiness and peace of mind through Sravana bhakti and by hearing the praises of the Lord, the bhaktas will attain Moksha. It is revealved that by participating in Bhagavata Saptaha, Devi Bhagavatam Puja etc., one can hear Kirtanas and stories of God through which God's grace and salvation are attained. In the two kritis mentioned above, Vyasa Maharshi's explanation about Sravana bhakti can be seen. In Thyagaraja's Kriti, Lord Sri Rama is praised and in Maharaja Swati Thirunal's kriti, Lord Padmanabha is praised. By listening to the Kirtanas of the Lord, the bhaktas will attain salvation, which is not possible even to yogis. Both the kritis are in chowka kala in which the raga bhava is clearly revealed.

2. Kirtana bhakti compositions of Saint Thyagaraja and H.H. Swati Thirunal

In the Kirtana Bhakti song 'Ni Bhakti Bhagyasudha' m Jayamanohari raga, Rupaka tala, Saint Thyagaraja says that those persons without deep devotion to the Lord, will only be a burden to the earth. 154

The second step after listening to the praises of Lord, is praising the Lord through Kirtanas. All the songs which are in praise of God are Kirtanas or Sankirtanas. The second song in the 'Navaratnamalika' of Swati Thirunal Maharaja is 'Tavakanamani' in the raga Kedaragaula, tala Jhampa. In the sahitya of this kriti, God's nama sankirtana is included. By including the story of Ajamila, who got salvation by repeatedly uttering Lord's name 'Narayana', Maharaj a stresses that Narayana japa will remove all the sins.

3. Smarana Bhakti compositions of Saint Thyagaraja and H.H. Swati Thirunal

Saint Thyagaraja describes the importance of Smarana bhakti in his kriti 'Smarane- Sukhamu' in Janaranjini raga, Adi tala. But in the kriti 'Satatam samsmaraniha' in Nilambari raga, Chapu tala, Swati Thirunal Maharaja praises the lotus eyed Lord Sri Padmanabha, who removes the darkness of ambition and spreads light and the Lord is worshiped even by Rishis, Devas etc. It is mentioned in the Bhagavata that if one remembers God at least once in a day, he will get the blessings of God. Remembrance of God will help to attain mental peace as well as control of the mind.

4. Padasevana compositions of Saint Thyagaraja and H.H. Swati Thirunal

Saint Thyagaraja in his kriti 'Sri Rama Padama' in the rare raga Amritavahini in Adi tala, explains the importance of the blessed feet of Sri Rama and prays for the blessing of the Lord's feet. It is believed that the whole earth is the feet of the Lord and Bharata attained Moksha by

156

6. Vandana Bhakti compositions of Saint Thyagaraja and H.H. Swati Thirunal

Praying to God with closed eyes and hands and prostration at the feetof the Lord, the creator of the whole world, is the Vandana bhakti. In the Vandana bhakti song 'Vandanamu Reghu', after giving salutations to Lord Sri Rama, Saint Thyagaraja prays to accept his Tambulam and bless him. God is everywhere and in everything is the principle·· stressed in Swati Thirunal Maharaja's kriti, 'Vande deva deva' in Begada raga and Rupakatala. In this Maharaj a is prostrating at thefeet of Lord Sri Krishna, who played in Gokulam and Vrindavana and danced on the hood of Kaliya after killing Sakatasura. Svara sancharas and raga sancharas are included in boththe kritis.

7. Dasya Bhakti Kritis of Saint Thyagaraja and H.H. Swati Thirunal

His Highness Swati Thirunal Maharaja lived as a true Padmanabhadasa and Saint Thyagaraja lived as a true devotee and dasa of Lord Sri Rama. In order to attain salvation we all have to live as dasas of Almighty God. The best examples are Swati Thirunal Maharaja and Saint Thyagaraja, who wished to dedicate everything to God and to become the dasa of Him and they lived so till the end of their life. This truth is expounded in the compositions 'Paramapurusha' in Ahiri of Maharajaand in 'Tavadasoham' in Punnagavarali raga, of §aint Thyagaraja. Those who have lived as dasas of God were always satisfied and obtained blessings from Him. 157

. . 8. Sakhya Bhaktl compositions of Saint Thyagaraja and H.H. Swati Thirunal

Sakhya bhakti prays for absolute confidence in the Lord, consider # Hirn as a close friend and communicate with Him freely by telling everything openly. The famous song of 'Navaratnamalika', 'Bhavati Viswaso' in Mukahri raga, Chapu tala expounds Swati Thirunal Maharaja's friendship with Lord Padmanabha. Saint Thyagaraja, like a close friendhad the freedom to tell everything to Lord Sri Rama who had helped him to remove his troubles. He explains the Sakhya Bhakthi in his Kriti 'Chelimini Jalajakshu' in the raga Yadukulakambhoji, Adi tala. Though both the kritis expound Sakhya Bhakti, first is in Chouka Kala and the second is in Madhyamakala. Ragabhava is reflectedfully in both the kritis.

9. Atmanivedana Bhakti compositions of Saint Thyagaraja and H.H. Swati Thirunal

Complete surrender to the Lord, i.e., the surrender of body, mind and soul is the Atmanivedana Bhakti. When one is able to do that, then only he becomes a complete Bhakta and can attain salvation. This is explained in the Kriti 'Deva deva Kalpayami' in Nadhanamakriya raga of Maharaja Swati Thirunal. Mahabali who surrendered to Yamana and Yudhishtira to Sri Krishna, got salvation through Atmanivedana. Saint Thyagaraja explained the same through his Kriti 'Nannuvidachi' in Ritigaula Raga. 158

Navavidha Bhakti Kritis are composed giving importance to the entemal truth that there is no music without devotion and there is no life without devotion. These Kritis are capable of creating Bhakti by controlling other feelings of the mind. Surrender everything to God was the moto of these two great composers of India - Saint Thyagaraja and His Highness Swati Thirunal.

It is true that Bhakti and music help man to share his sorrows, happiness, emotions, thinking etc. The presence of Lord Narayana is every where and in every thing in this world. One can attain Moksha or salvation through prayers and by practising differenttypes of Bhakti.

Saint Thyagaraja and H.H.Swati Thirunal Maharaja reveal this truth through their Navavidha Bhakti Kirtanas. Maharaja's 'Navaratnamalika' is a very popular Group Kriti which consists of nine Kritis in nine types of Bhakti. But saint Thyagaraja's Navavidha Bhakti kritis are separate kritis, not a group or series. The nine types of Bhakti namely Sravana, Kirtana, Smarana, Padasevana, Archana, Vandana, Dasya, Sakhya, Atmanivedana, as mentioned earlier, need not be practiced together according to both the composers. They say that Salvation can be attained by practicing any one of the nine types of Bhakti. As the name indicates, each bhakti is connected with different bhavas, Navavidha bhakti are connected each other and through these Bhakti, all forms of perfectionare easily attained. 159

End Notes:

1. C. Ramanujachari & Dr. V. Raghavan, The Spiritual Heritage of Tyagaraja - inside back cover of the book. Pub : Sri Ramakrishana Math, Mylapore, Madras, 2001.

2. C. Ramanujachari & Dr. V. Raghavan, The Spiritual Heritage of Tyagaraja. Pub: Sri Ramakrishana Math, Mylapore, Madras, 2001.

3. Dr. V. Raghavan, The Spiritual Heritage of Tyagaraja - Introductory Thesis, pp - 48, Pub : Sri Ramakrishana Math, Mylapore, Madras, 2001.

4. Bhagavata. Skanta III, 29, 11.

5. Bhagavata, Skanta VII, 9, 10.

6. Bhagava, Scanta VII, 5, 23.

7. Dr. V. Raghavan, The Spiritual Heritage of Tyagaraja - Introductory Thesis- Tyagaraja, pp - 150, Pub: Sri Ramakrishana Math, Mylapore, Madras, 2001.

8. Narayana Bhattatiri, Narayaneeyam - Part - 1, Dasakam - 4, Sloka - 4, pp - 151. Pub : K. Padmanaban, Alwarpet, Madras, 1987.

9. N arayana Bhattatiri, N arayaneeyam- Part- 1, Desaka - 2, Sloka - 9, pp - 13. Pub: K. Padmanaban, Alwarpet, Madras, 1987. 160

10. Swati Thirunal Maharaja, Bhaktimanjari, Sataka - 4, Verse - 100, pp - 212. Pub: Sri Swati Tirunal Kritis publication Committee, Trivandrum, 1972.

11. NarayanaBhattatiri, Narayaneeyam - Part- 1, Dasaka - 3, Sloka - 5, pp - 17. Pub : K. Padmanaban, Alwarpet, Madras, 1987.

12. Narada, 'Bhakti Sutras'.

13. Dr. Venkita Subrahmania Iyer. Swati Thirunal andHis Music. Pub : College Book House, Trivandrum, 1975.

14. Jiva Goswami (Sadsandarbha) - cf. The verse.

15. Dr. V. Raghavan. The Spiritual Heritage of Thyagaraja - An Introductory Thesis, pp - 97. Pub : Sri Ramakrishana Math, Mylapore, Madras, 2001.

16. Dr. V. Raghavan. The Spiritual Heritage of Thyagaraja - An Introductory Thesis, pp - 123. Pub : Sri Ramakrishana Math, Mylapore, Madras, 2001.

17. H.H. Swati Thirunal Maharaja, Bhaktimanjari. Sataka 4. Verse 100. Page 212. Pub : Sri Swati Tirunal Kritis publication Committee, Trivandrum, 1972.

18. H.H. Swati Thirunal Maharaja, Bhaktimanjari. Sataka -1. Sloka - 88. Pub : Sri Swati Tirunal Kritis publication Committee, Trivandrum, 1972.

19. S.P. Nayar, Music Scape of Kerala - A Music Lover's View, Proverbs in Music Pub: S.P. Nayar, Guruvayur, Kerala. 161

20. A. M. Srinivasachariar, Srimad Bhagavata- Condensed in thepoet's own words. pp - 230. Pub: G.A. Natesan& Co, Madras, 1937.

21. Narayana Bhattatiri, Narayaneeyam - Part-1, Dasaka - 3, Sloka - 4, pp - 18. Pub: K. Padmanaban, Alwarpet, Madras, 1987.

22. Swati Thirunal Maharaja, Bhaktimanjari, Sataka - 5, Sloka - 6, pp - 215. Pub : Sri Swati Tirunal Kritis publication Committee, Trivandrum, 1972.

23. C. Ramanujachariar & Dr. V. Raghavan. The Spiritual Heritage of Thyagaraja. pp - 151. Pub: Sri Ramakrishana Math, Mylapore, Madras, 2001.

24. Rigveda,2.2.26

25. A.M. Srinivasachariar (Pandit), Translated by Dr. V. Raghavan, Srimad Bhagavata - Condensed in the poet's own words. pp - 396. Pub: G.A. Natesan& Co, Madras, 1937.

26. Bhagavatam.

27. Dr. V. Raghavan, The Spiritual Heritage of Thyagaraja - An Introductory Thesis - Saint Tyagaja - pp - 106. Pub Sri Ramakrishana Math, Mylapore, Madras, 2001.

28. Narayana Bhattatiri, Narayaneeyam - Part - 1, Dasaka - 3, Sloka - 1, pp - 14. Pub: K. Padmanaban, Alwarpet, Madras, 1987.

29. Swati Thirunal Maharaja, Bhaktimanjari, Sataka - 6 Sloka - 33 pp - 266. Pub : Sri Swati Tirunal K.ritis publication Committee, Trivandrum, 1972. n�

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40. Sage Vyasa, Bhagavata, Scanta - 11, Adhyaya - 27, Sloka - 12.

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