VEDAVALLI SPEAKS

Sangita Kalanidhi R. Vedavalli is not only one of the most accomplished of our vocalists, she is also among the foremost thinkers in Carnatic music today, with a mind as insightful and uncluttered as her music. Sruti is delighted to share her thoughts on a variety of topics with its readers. Dikshitar in Mannargudi

outh Indian classical music is Among the hundreds of kshetra- features specifically characterise integrally linked with temples. s Dikshitar visited, Mannargudi Dikshitar’s compositions. In Sree In the past, it was nurtured was one, and he composed some Rajagopala in Saveri, he captures the Sby them and centred around temple very beautiful kriti-s on the deity beauty of the features of the idol at activities. Its great patrons as well as Rajagopala, the processional deity Mannargudi. its audience were deeply pious people. seen standing in front of a cow, In the pallavi, the composer The golden age of Carnatic music with Rukmini and Satyabhama. This introduces Krishna, the luminescent was the era of the Trinity – Tyagaraja, idol is considered to be the most hero of this song. In the anupallavi, Muthuswami Dikshitar and Syama handsome and attractive among Mannargudi, the place where he Sastry. They lent a fullness and an the images of . Seeing this, dwells is described and in the exuberant richness to Carnatic music, Dikshitar was inspired to sing the charanam he sings beautifully about leaving behind a treasured tradition beautiful piece Sree Rajagopala the special significance of the place for posterity. in Saveri. Along with Sreevidya and the leela-s of the Gopalamoorti. Rajagopalam in Jaganmohanam, and Muthuswami Dikshitar was not only Rajagopalam in Mohanam, it makes Every word of this kriti stands as an a genius in music but also well versed the Mannargudi triad. example of the prescription given in in agama, mantra, tantra and jyotisha Padma Purana, for verse construction. A few other compositions are sastra-s as well. A Devi upasaka, he Let us look at each word and phrase ascribed to Mannargudi, but these became a vaggeyakara with hundreds of this kriti. of compositions to his credit, with kriti-s contain no concrete references the blessings of Guru Guha or Lord to the kshetra or the deity. Pallavi: Sree Rajagopala – baala – Subrahmanya. He visited several sringara leela- srita jana paala. Muthuswami Dikshitar’s cleverness kshetra-s and composed kriti-s as a vaggeyakara is always the focus Sringara leela in the first line has many detailing with the deities and the when we discuss his compositions. interpretations. In Krishnavatara there unique aspects of the temples such as Let us digress a bit here to Padma are endless instances of Krishna leela. sthala teertham, sthala vriksha, vimana, Puranam which gives us a prescription In one of them, Krishna returns from and utsavam. Minute details regarding for skillfully crafting a kriti. a swim with the gopi-s and one of specific features such as vimana are his ear studs is exchanged for a gopi’s known only to those conversant with Alpaaksharam asandigdham ear ring. As a sign of this incident, agama and silpa sastra. The vimana in Saaravidvishvato mukham the utsava moorti in Mannargudi is each temple goes by a different name Ashtobhavana madhyastam decorated with one stud and one ring and is structured differently. From Sootram sootravido viduhu in each of the ears. Dikshitar’s kriti-s, we come to know Srita jana pala literally means he who the names of the vimana-s of several The verse means that a good protects those who seek him and temples. For instance, even though composition must have an appropriate surrender to him. is a very popular kshetra, number of syllables, not too many, nor few know that the vimana there too few, words of clarity that convey Anupallavi: Dheeraag raganya is called the pranavakara vimana. the sense unambiguously, while the deenasaranya chaaru Champakaaranya Dikshitar’s kriti Ranganayakam in meaning itself is ever unfolding and Dakshina Dwarakapuri nilaya Nayaki contains this detail. There are diverse, with words that bind the visishthaadvaitaadvaitaalaya maam several such examples. verse like an unbroken strand. These paalaya

57 l SRUTI March 2011 VEDAVALLI SPEAKS

The anupallavi is a pertinent example Smeranana: He is of the smiling and Kambu jaya gala: He is one who has a of Muthuswami Dikshitar’s poetic pleasant countenance. neck that exceeds the beauty of a well prowess. Every line here represents a formed conch. Sevaka chaturanana: One to whom complementary duality. four faced Brahma prays. Neera sampoorna Haridranadi teera The anupallavi begins with ‘Dheera mahotsava vaibhava Madhava: Narayana taraka divyanama agraganya’ or the first among the The eternally replenished sacred paaraayana krita Naradaadi nuta: dheera-s. Dheera is a very potent waters of the or the Among whose bhakta-s are great word. Dhi contains sakti, it occurs in sthala teertham, Haridranadi, form rishi-s such as Narada who chant the Gayatri mantra. Dhi also refers to a beautiful backdrop to the famous His name constantly. The ashtakshara a combination of supreme intellect two-tiered teppam or divine flotilla (eight-syllables) Narayana nama has and unrestricted valour. He is first on which the glorious Madhava is been associated in a special way to among such dheera-s. taken in procession during the utsava Narada. Deenasaranya: Being a dheera, he is a months. compassionate protector of the weak Saarasa paada: He who has lotus- Mara janaka: The father of Manmatha and those who have surrendered. like feet. The symbolism of the lotus or beauty itself. to describe Narayana’s features is Chaaru Champakaaranya: Mannargudi significant, as it is believed that is called Champakaranya, as Lakshmi Nata Suka Sanaka Janaka: He who is whatever avatara Narayana assumes, appeared here in the form of the praised by rishi-s like Suka, Sanaka unwilting, fragrant shenbagam his feet and eyes are always lotus- and Janaka. or champaka. She is also called like. Several poets have used this symbolism. Veera Guruguha mudita: One who Shenbagalakshmi. ‘Charu’ refers to has been joyfully praised by the brave beauty and ‘Champakaranya’ is a forest Sadaa moda: One who exists in eternal Subramanya. or a profusion of Champaka trees. bliss. Ramaa sahita: He who resides with Dakshina Dwarakapuri nilaya: This The Taittariya Upanishad says: Lakshmi. forest of Champaka is also famously Etam anandamayam atmanam known as Dakshina Dwaraka, the upasankramya Such is Dikshitar’s unique manner of southern counterpart of the great city depicting the details of each kshetra of Dwaraka. Nari veshadhara vaama bhaga: He in his numerous compositions. The Visishthadvaita advaitaalaya: The is decorated exquisitely as Mohini sthala purana and and the nuanced streams of monoistic dualism and during the utsava. significances of all the minute details of the physical and spiritual environ­ monoism unite in him. Murare: He who slayed the demon ment of the kshetra are revealed in Maam paalaya: Protect me. Mura. his kriti-s. It is only a matter of how Charanam: Smeraanana sevaka Sreevidya raja hare: He who is willingly and deeply we are able to Chaturaanana - Narayana taraka envisaged as the form of Sreevidya. delve into his songs. divyanama Rajagopala’s image is partially male It would be unpardonable not to paaraayana krita Naradadinuta- and partially female. It is invested mention the musical significance saarasa paada sadaa moda with the combined powers of the of his compositions. Each of his Sreevidya and the Gopala mantra-s. nari veshadhara vama bhaaga- Murare compositions is not merely a repository In some spiritual traditions, Vishnu of information beautifully crafted in Sreevidya raja hare- Sree Rukmini has also been considered one of the poetic Sanskrit, but also an archive of Satyabhama srita 12 Sreevidya upasaka-s. Dikshitar all that we need to know about the parsvayugala kambu jaya gala has thus portrayed Rajagopala as raga, in practice. All the pradhana ‘Srividyarajagopalam’ in the kriti in Neera sampoorna Haridranadi teera prayoga-s or characteristic phrases Jaganmohanam. mahotsava vaibhava Madhava and aesthetic singularities of the Mara janaka nata Suka Sanaka Sree Rukmini Satyabhama srita raga are recorded in his compositions, Janakaveera Guruguha mudita Ramaa parsvayugala: Flanked by Rukmini thus making them a valuable record n sahita and Satyabhama for posterity.

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