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Sri Centenary Commemoration Volume

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A QUARTERLY DEVOTED TO THE ADVANCEMENT OF THE SCIENCE AND ART OF

VOL- XVIII 1 9 4 7 parts I-IV

EDITED BY

T. V, SUBBA RAO, B.A., BL,,

AND

V. RAGHAVAN, m .a ., p h .d .

PUBLISHED BY THE MUSIC ACADEMY, MADRAS 115.E, MOWBREYS ROAD, M A D R A S-14 Annual Subscription:—Inland Rs. 4 ; Foreign 8 she. Post Paid CONTENTS

PA(3B£ Sri Tyagaraja— Illustrations The X X Madras Music— Tyagaraja Centenary Conference 1947: Offioial Beport 1— 35 A comparative study of Sri Tyagaraja and other Vaggeyakaras : K. Vasudevaohar 35— 41 The Poetry of Tyagaraja : Y . Mahalinga Sastri 41— 62 The Philosophy of Sri Tyagarajaswami: Dr.T. Srinivasa Baghavaohariar... 6 2 — 61 ; Sri Tyagaraja : C. Seshaohalam Chettiar 62 — 67 The Bagas that owe their Baga Bhavas to Sri Tyagaraja: K . Sastri 68— 73 The Uniqueness of Tyagaraja : T. V . Subba Bao 73— 80 Sri Tyagaraja. the Mystio : Prof. B. Srinivasan 81— 84 Sri Tyagaraja’s for beginners : C. S. Ayyar 84— 88 Sri Tyagaraja’s Horoscope : Mudikondan Venkatarama Iyer--- 88— 96 Sri Tyagaraja~His Genius and Personality : K. Y. Bamachandran 97— 107 Tyagaraja on Music : T. V. Subba Bao 107— 114 The Walajahpet Manuscripts : Prof. P. Sambamurthy 114— 129 Sri Tyagaraja. a Great Adept in : T . K . Bajagopalan 130— 132 Two Manuscripts of Tyagaraja : Dr. V. Baghavan... 133— 148

TAMIL

Sri Tyagaraja’s Kshetra Kritis : Maharajapuram Viswa- nathalyer ••• 1 9 Sri Tyagaraja: S. 9—16 Sri Tyagaraja : Palladam Sanjeeva Bao 17—20 Sri Tyagaraja : Dr. B. S. Sankaranarayana Iyer 20—22 Sri Tyagarajaswami’s Kritis : Valadi Iyer ... 23— 29 Sri Tyagaraja and his Satvika Tyaga : 0* Saraswathi Bai... 30 - 47 Baga Pushti in Tyagaraja Kritis: Madura Subramanya Iyer--...... 47—67

Errata 58 ILLUSTRATIONS

■— For some o f the Illustrations here, the Academy i« indebted to 6n N. Tyagaraman, ike Hindu, the Madura Saurashtra Babha, the Andhra Oana fiafa t aria hat and the £nanda Yikatan, The house in New Street, Tiruvarur where Sri Tyagaraja was born ‘ aiD&cuHa) l9jdss (LpAjS’

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Sri Tyagaraja’s Horoscope from the palm-leaf ms. of his life written by Tanjore^Sadasiva Bao andjVenkatasuri © c

God Tyagaraja of Tiruvarur- after whom the Saint- was named, Ofc

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The street at Tiruvayyar where Sri Tyagaraja lived

The house at Tiruvayyar wherelSri Tyagaraja lived ®T

The Cauvery at Tiruvayyar

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Sri Prana tartihara Temple at Tiruvayyar

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Potana Bhagavata Ms. used by Sri Tyagaraja for daily Parayana.

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* * - ® o ten) Centra £) . ^ i;o ir* - "3n. fo s^»^o5a$>aiO ' 010 Facsimile of the signatures of Tanjore Sadasiva Bao and Venkatasuri. The Umayalpuram Brothers Direct pupils of Sri Tyagaraja

Krishna Bhagavatar

Suadara Bhagavatar Ot 2-

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Samadhi of Sri Tyaga Brahmam Outside view

Samadhi of Sri Tyaga Brahmam Inside view “ otJ/S®© efieuruSS ourum Q gci$ i "

Portrait of Sri Tyagaraja worshipped in the family of the Umayalpuram pupils. THE X X MADRAS MUSIC CONFERENCE

AND

TYAGARAJA CENTENARY CELEBRATIONS 1946.

OFFICIAL REPORT

THE OPENING DAY 21—12—1946 The Twentieth Session of the Annual Music Conference of the was celebrated as the Tyagaraja Centenary Conference in view of the year 1946 being the Cen­ tenary of the Samadhi of the great saint-composer of , Sri Tyagaraja. All the former Kalanidhis of the Academy were invited to take part in the Celebrations; the agenda for the Expert Committee Meetings of the Conference was confined to lectures and demonstrations pertaining to Sri Tyagaraja and his compositions; all the rendered exclusively the Kritis of Tyagaraja during the evening concerts; a on Tyagaraja's life and a -recital of Tyagaraja Kritis were arranged for ; and the Conference Souvenir was published as a special Tyagaraja Centenary Souvenir. The Conference and the concerts were held in the Sri Sundareswara Hall, Mylapore, Madras. The Conference was opened and the Tyagaraja Centenary Celebrations inaugurated by Dr. U. Rao, the First President of the Academy and one to whose pioneering work, the Academy owes a great deal. The proceedings commenced with the prayer ‘ Nada- tanum anisam* of Sri Tyagaraja in , sung by Sangita Kalanidhi Maharajapuram Viswanatha Iyer, the Presi­ dent of the previous year’s Conference. He was followed by Srimathi C. Saraswathi Bai who sang a on Sri Tyagaraja ” Srimadadi Tyagaraja Guruvaram Namamyaham” in sent by Sangita Kalanidhi Sangita Sastra Visarada Vasudeve- THE JOURNAL OP THE MUSIC ACADEMY [VOL. XVIII charier, Aslhana Vidwan of Mysore. This was followed by an impressive Aradhana in which the Sangita Kalanidhis present. Tiger Varadachariar, T.V. Subba Rao, T . L Venkatrama Iyer and others performed Harati to the portrait of Sri Tyagaraja.

Messages

Dr. V . Raghavan, one of the Secretaries, read the messages received for the success of the Conference. His Highness the Rajah of Pudukottah wished the Confer, ence all success. The Rasika Sabha, Mylapore, The Mylai Sangita Sabha, Mylapore, The Sangita Sabha, Pudukottah, Krishnan Nataka Sabha,* Tanjore, and the Mysore State Music Teachers' Association, Mysore wished the Conference all success. Dr. Sir Rm. Alagappa Chettiar and Sir C. Ramalinga Reddy, Vice-Chancellor, Andhra University, conveyed their best wishes for the success of the Conference. Sangita Kalanidhis Mysore Vasudevachariar and Palladam Sanjeeva Rao and Messrs. T. Pillai of Trivandrum and P.S. Sundaram Iyer of Tanjore, members of the Academy’s Expert Committee, sent their greetings for the success of the Conference and the Tyagaraja Centenary Celebrations.

Welcome Address

Welcoming Dr. U. Rama Rao, the opener of the Conference, Sangita Kalanidhi T. L. Venkatrama Iyer, one of the Vice- Presidents of the Academy, said:

"S ir. W e have great pleasure in welcoming you in our midst once again to take active part in our work. When the Reception Committee of the Indian National Congress of the 1927 Session in Madras decided to hold a Music Conference for the promo- tion of the Art as part of the cultural activities, you were the person entrusted with the task of convening it. It is well-known that the Music Conference then held had a successful session through your indefatigable labours. At the close of the session, FIS. I— IV] THE XX—TYAGARAJA CENTENARY CONEERENCE, 1946. 3

the Reception Committee commissioned you to organise perma­ nently for Madras an Academy of Music for the encouragement and propagation of scientific Carnatic music on the right lines, and entrusted you with the savings that you had effected in the Session of the Conference, and the attendant music concerts. You are thus largely responsible for the inauguration of this Music Academy, Madras, of which you were the Founder-Presi- dent. You then strove to organise the main lines of activities of the Music Academy and we had the benefit of your experience and lead. W e have built on the foundation which you firmly laid and the position that the Academy has achieved today is in no small measure due to your pioneering work. W e fervently hope that your guidance and co-operation will be available to us in future as in the past. Your renewed asso­ ciation on this auspicious occasion of the Tyagaraja Centenary Celebrations inspires us with new hopes of securing greater co­ operation of patrons of Art and leaders of Society. W e have now much pleasure in requesting you as the Nestor of the Academy and public life in this province to inaugu­ rate our Conference and Centenary Celebrations.” Sangita Kalanidhi T.L. Venkatrama Iyer then presented the address in a Silver Casket and requested Dr. U. Rama Rao to open the Conference and inaugurate the Tyagaraja Centenary Celebrations.

Opening Address

Declaring the Conference open and inaugurating the Tyagaraja Centenary Celebrations, Dr. U. Rama Rao said :— “ Ladies and Gentlemen of the Music Academy, 1 thank you most heartily for the kind welcome you have given me. I am very pleased to be with you on this memorable day and pay my tribute of homage to the eminent composer whose centenary you are celebrating. It is a happy idea that you are dedicating your Conference and concerts this year to his hallowed memory. 1 esteem it as a rare honour to have the 4 THE JOURNAL OF THE MU3IO ACADEMY [VOL. XVIII

privilege of inaugurating and participating in the Jay anti festi­ vities. I cannot but recall on this occasion my early associations with the Academy in the hard days when it had to overcome many a struggle. It gives me much satisfaction to know that it has now established itself in power and prestige as a foremost institution in promoting the high cause of Indian Music. I sincerely pray that be pleased to grant it yet greater success and prosperity. It is scarcely necessary for me to dwell at any length upon the priceless contribution that SriTyagaraja has made to the magnificent heritage which we cherish as Carnatic Music, upon his most acceptable presentation of the quintessence permeat­ ing the core of all religions, so conducive to the peace and concord of society, and upon his interpretation of principles of conduct tending to the moral elevation of mankind. On these and many other topics, 1 am sure your Vidvans, professional and non-professional, will elaborate with all their erudition and experience. 1 shall but refer to a few aspects which have made him the world-renowned composer for all time.

The unique glory of Sri Tyagaraja rests no less on the profound respect he had for the sacred traditions of hoary Indian Music, than on the rich and powerful imagination with which he enlarged the bounds of Carnatic Music in with well- established practice of the ancients. In his compositions one could see the music of the long past, the living present and the coming future well reconciled and unified into a thing of eternal beauty and joy. The most significant feature of Carnatic Music is its conti­ nuity from pre-historic times. That Sangita was in well deve­ loped condition even in the Vedic age, is not to be questioned. As practical music was ever growing and bringing in new changes, there appeared at critical epochs great sages and learned lekshanakaras who wrote treatises and systematized knowledge by enunciating principles to conform with settled practice. The first of the well-known grammarians was who flourished before the commencement of the Christian era. PT3. I— iv ] THE XX—TYAGARAJA CENTENARY CONFERENCE, 1946. 5

More than seven centuries after him came Matanga. In the interval too, there arose many writers whose works exist as fragments or as quotations in essential parts in later literature. Subsequently music in Northern came to be affected by alien influences and suffered modifications in certain respects. In , however, Sangita continued to develop along 1 traditional lines unhampered by the disorders of continued foreign incursions in the North. Sarangadeva wrote in Karnataka a magnificent and comprehensive treatise containing in full the substance of all important works written before his age. Carnatic Music by then had become so famous that rulers of Northern India sought the services of notable savants of the South to settle and systematize the music of the North which was nearly drifting into chaos. Gopal Naik, Pundarika Vitthala and others who migrated to the North for this purpose became reputed founders of different schools or gharanas of Hindustani Music. Further South, the founding of the kingdom with its capital on the Tungabhadra in the heart of Karnataka, gave an added stimulus to the growth of Carnatic Music. Sri whose meritorious achievement in this glorious enterprise is no less memorable than his unfathomable scholar* ship is known to be the author of a valuable work on music called Sangita Sara. On the side of art the services of the Dasa kuta of Karnataka are precious beyond estimate. The greatest of them all is Sri Purandaradas, the father of modern Carnatic Music, the eminent grammarian who systems* i I tized South Indian Music, gave it a distinct form and individua* lity, formulated the finest teaching methods of Sangita and for Lakshya composed kritis, which, on his own authority, number four and three quarter lakhs. They contain the highest truths of Sruti and and are written in the virile and picturesque , ;■ dialect of the masses, with music that stirs the deepest chords of the heart. His , Sri Vyasaraja, the spiritual preceptor and adviser of KrishnadeVaraya, was himself a renowned com* poser. Kanakadas, a contemporary of Sri Purandaradas, was also a prolific composer who popularised Carnatic Music among the humblest and the poorest. 6 THE JOURNAL OP THE MUSIC ACADEMY [VOL. XVIII

When later the Naik chiefs established their kingdom in Tanjore, they carried with them the culture of Karnataka, the chief element of which was Sangita, Govinda Dikshita, the Minister of Raghunatha Naik was a great scholar who wrote Sangita Sudha based largely on Sangita Sara of Sri Vidyaranya. It is remarkable that Govinda Dikshita, and his son, the famous author of Chaturdandi Prakasika and the modern Mela system, the bedrock of later Carnatic Music, were also Kannadigas. By heredity and environment they imbibed the spirit of Carnatic Music and enlarged the traditions to which they were “ bred and born". These traditions were piously cherished and diligently fostered by the Maharashtra Princes of Tanjore. Tulajaji’s regard for aampradaya was so high that he enshrined it in Sangita Saramrita which he wrote. It is a classic and a great landmark in the history of South Indian Music. 1 may mention in passing that the renowned ministers of State as well as Princes in Karnataka were proficient not only in the art of good government, but eminent authorities in Sangita also. Though 1 am not so extravagant as to expect anything like mastery of music from our ministers oppressed by the vexa­ tions of impossible responsibilities, yet I feel I am within the bounds of reason if I do hope that they would set their heart upon giving the utmost aid and encouragement to music as a divine art, apt in promoting knowledge, peace and bliss of mankind.

The history of the Music Academy is well known to you. It was started, as you know, in accordance with the recom­ mendation made by the Reception Committee of the Indian National Congress which met in Madras in 1927 “ that an Aca* demy of Music be started at Madras” to satisfy the need for an institution to regulate and set the standard for the promotion and development of the science and art of Carnatic Music. It has all these years carried out faithfully the objects for which it has been established. It has, to put it in a nutshell, served as the research laboratory for the advancement of Carnatic Music. It holds in December every year a Conference of expert Vidwans for the purpose of discussing and determining the technical PT8.1— TV] THE XX—TYAGARAJA CENTENARY CONFERENCE, 1916. 7 aspects of Music; it runs a Teachers' College of Music which has been recognised by the Government; it publishes a Journal con­ taining valuable research on Musical subjects; and it holds every month a Music Concert by a minor Vidwan, as an encouragement to rising talent, which is open to all. The cost of these and other activities which the Music Academy carries on is met by the admission fee levied on entertainments held at the time of the Annual Conference, arranged more as model perfor­ mances, models of educative value to the profession as well as the public, than with the object of money-making. These per­ formances have so far been free from liability to Entertainments Tax. If the Academy is to carry out its educational objects unimpaired, the entertainments arranged by the Academy should be placed under the category described in S. (1) (6) of the Madras Entertainments Tax Act X of 1939 as being wholly of educational character. Should, however, any doubt arise on this question, it is necessary that, having regard to the origin, scope and purpose of the Academy and its aims and objects, the Government should grant it exemption under S. 6— 1 (2) of the Act. This is one of the directions in which our Ministers can help advance the cause of the Academy and I feel confident that / it shall be ungrudgingly done.

Of the tree of Carnatic Music which has its roots in the Vedic times and after progressive development attained its full magni­ tude during the palmy days of Vijayanagar, the compositions of Sri Tyagaraja form the most fragrant flowers. They bear the greatest affinity to the songs of Sri Purandaradas. In ideas, music and structure of the pieces, the resemblance is unmistakable. Let it not be supposed that Tyagaraja was a mere imitator. His musical genius is far too lofty and original to "play the sedulous ape." He derived inspiration from the prototype and carried Carnatic Music to a far higher pitch of excellence. But in all his creations he was guided by the unfailing light he derived from Sri Purandaradas whose songs embodied the Karnataka Sangita in unalloyed purity. Sangita is lakshya , the most scrupulous adherence to immemorial usage is the first condition of its genuineness. Reverence for tradition is the 8 t h e j o u r n a l o f t h e m u s ic a c a d e m y [v o l . x v r a highest qualification for a . In this regard no finer attri­ bute for Sri Krishna is possible than his respect for Sangita sampradaya as expressed in the inimitable " Sadhinchene.” Tyagaraja’s supreme eminence as Vaggeyakara rests on his sacred regard for high and ancient usage.

It is most remarkable, however, that his love of tradition did not stand in the way of his enlarging the domain of Carnatic Music. Basing on the secure foundations of the glorious past, he raised mighty structures to heights unattained by others. The new and marvellous modes he improvised amaze the hearers as much by the daring of invention as by fidelity to classic usage. The fertility of his boundless imagination has produced numerous songs in the same , each incarnating a distinct and varied phase of the mode. His compositions captivate us both by the freshness of modernity and grandeur of antiquity. Above all they possess an animation, the throb of feeling and warmth of love and thrill of spiritual ecstacy lifting them far above the products of skill, artistry or technique. Their dominating human element stirs our deep sympathies and we sing them as our own self- expression. The finest art is that which is unfailing and universal in its human appeal- Judged by this standard, the kritisof Tyaga- raja are fit to flourish for ever.

I am very happy to find that the centenary of the most renowned poet-composer is to be celebrated by you in a manner worthy of yourselves and of him whose memory you honour. May I in this connection be permitted to suggest that you, as the most competent body, undertake the task of making a perma­ nent record of all available songs of Tyagaraja with the co­ operation of the foremost singers brought up in right tradition, and supplement that record by a carefully rendered notational version for the benefit of posterity. In the absence of continuity of tradition which, owing to the indiscipline and irreverence of the times, is in danger of being broken altogether, the step I have indicated might serve as some, though poor, substitute for the faithful transmission of the heritage through the piety of living personality. It may be that this responsibility is too heavy to discharge without aid from Government or others ITS. I— IV] THE XX— TYAGARAJA CENTENARY CONFERENCE, 1946 9 interested in the advancement of music. In any case it is worth* while to make an earnest attempt and take the first step towards it even as part of' your centenary celebrations. '

1 have now much pleasure in declaring open your Twen* tieth Annual Conference and Sri Tyagaraja Centenary Festivi* ties in connection therewith.’*

ADDRESS BY SRI T. V. SUBBA RAO ON SRI TYAGARAJA.

Sangita Kalanidhi Sri T. V. Subba Rao then delivered his Opening Day’s address on ‘Sri Tyagaraja the Greatest Tone Poet of Humanity’. He said :—

It must be a matter of the greatest pride and glory for that unlike other arts and branches of knowledge which have suffered neglect and deterioration, music has been progressively developing in its power to bless and enlighten man* kind. If the credit of this unparalleled achievement belongs to any one composer more than another it is unquestionably to Sri Tyagaraja- In the hundred years that have elapsed since his mission on earth was fulfilled, the admiring world grew impati­ ent of any music that was not his. The force of a mighty and soulful personality breathing through every song of his, the in­ tense religious fervour, the irresistible appeal of the sentiment of divine love and tender pathos, the inimitable charm of poetic dic­ tion and thoughts of limitless suggestion, the matchless beauty of music as true to nature as daring in invention and as captivating to a child as to the sophisticated savant, the tripple confluence of Bhava, Rags, and Tala into a single flood of rapturous music, the element of delightful surprise with which the sangatis are deve­ loped in perfect harmony with the varied implications of the Bhava, the reflection of every kind of experience common to mankind, clear presentation in brief compass of the teachings of scriptures, commendation of music as divine art easily capable of yielding the ultimate Bliss, the supreme message exhorting man­ kind to earn the grace of God by love and service, have all 2 10 THE JOUBNAL OF THE MUSIC ACADEMY [VOL. XVIII

contributed to make his songs unsurpassed as treasures of the finest music, poetry, religion, ethics and philosophy.

The most outstanding quality of his song-poem is their in­ tense human interest as abundant in Raga and Tala as in Bhava. Even as our inmost experience finds expression in the poetry of the Sahitya, and our pure emotions too deep for words, in the passion modes, so is our sense of innate order and discipline too natural for mechanical regularity, transformed into unmonoton- ous course of living rhythms. The over mastering interest in the richness of his too often tends to obscure the rhythmic aspects of his songs. The unmatched popularity of his composi­ tions is due in great part to the perfect naturalness, extreme sim­ plicity and rich varieties of his rhythms. Unlike other composers he used in abundance and Triputa, Rupaka, Jampa and Chapu to a lesser extent. It is not the number of talas, but varia­ tions of Edupus, Kala and Gati in familiar talas that have endow­ ed his songs with lively spirit and inborn grace seldom equalled in the pieces of other composers. In tempo and movement with all the subtleties and complexities of natural changes, the songs of Tyagaraja thrill and seem to beat in true consonance with the mysterious stir within ourselves, with the throb of heart and heave of lungs. His pieces in Vilamba kala possess the same briskness and vivacity as those in Madhyama kala, and those in Madhyama kala have the same richness of raga as in Vilam­ ba kala. Rhythm is the most natural, primary and elemental in­ stinct of art ingrained in us, and Madhyama kala like the chaturas- ra-gati harmonises with our common impulse avoiding the extre­ mes of the fret and fever of hurry on the one hand and the slow meandering of dulness on the other. Diversity of graha and gati imparts an unfailing freshness and charm to the rhythms of his songs. His creations like those of the Author of our being are not mere architectonics of designs of skill and workmanship, but live and natural ones full of soulfulness and glowing spirits, the tenderness of soft flesh and warmth of flowing blood, surge of emotions as in human heart and healing message of hope and courage. As we are drawn to human personality more than to a carved image however amazing, so do we love and sing his kirta- nas better than those of others, PTS. I— IVJ THE XX— TYAOARAJA CENTENARY CONFERENCE, 1946 11

That Tyagaraja is a poet of the highest order must be evident even to those who have given any the least thought to his sahit- yas. In the use of the best words for the best thoughts Jiis language remains unsurpassed. If for effect poetry enjoys a certain measure of freedom from strict conformity with the rigid rules of grammar, that freedom should be greater when its main pur­ pose iB the vehiculation of music. In every instance in which liberty is taken there is distinct gain in economy, force or aptness of the syllable for . The pedant who finds fault with his language and objects to misrasamsa, desya prayoga or absence of vibhakti, should indeed be dull and unresponsive to the excel­ lence of the natural beauty of poetry. On the other hand those endowed with pure and genuine taste will so far from seeing de­ fects, admire the sweet suggestive elegance of a diction at once senorous and picturesque. It is the language of the feeling heart which it were vandalism to tamper with. There is indeed no need to be apologetic about his language. For every usage that seems un-common, classic authority could be found. His diction may not be conventional; it is impressive beyond des­ cription. The poetic charm of hiB ideas, imagery and sentiment are best studied in the originals. You will find in them the fine frenzy, the imagination all compact, the presentation of un-appre- hended beauty and clear expression of undefined feeling and vague aspirations in as refined a manner and abundant a measure as in Shakespeare, Shelley or Wordsworth. Similes elaborated in minute detail and colourful images of gorgeous scenes are wrought with Homeric thoroughness. The wail of boundless sorrow, the anguish of unfulfilled love, the impatience of endless waiting, the despair of unheeded cry, the daggers of faunting malice are expressed in his matchless lyric with power and pathos which are peculiarly his own. His song-poems of surpassing beauty are so many that choice becomes difficult. As was said of Edmund Burke, the only selection is all that he composed. Yet a few specimens may serve to illustrate the amplitude of his ima­ ginations. In a song in Huseni he praised Sri Rama as the only ruler of the elements and sets out the reasons with logic as clear as his fancy is playful. The Divine Being has for his spouse, 12 THE JOURNAL OF THE MUSIC ACADEMY [vOL. XVIII the off-spring of Earth ; for his couch, the oceans of Water ; for the foremost bhakta, , the son of Wind ; for his ancestor, the Sun of Fire and for the singer of His praise, Siva with tress of Sky. It would seem as if the Elements have given Him hostage for their loyalty.

The Kirtana “ Vachamagochara” in Kaikavasi raga, remains unapproached in power and beauty of word painting in the golden realms of classic or modern romantic poetry. If has but a few words and the effect is what a whole gallery of pictures cannot produce. It relates to a very touching incident which happened when Rama and Sita were dwelling in the forest. One fine day during their hours of dalliance, they saw a charming female chamari deer come into view. It had a lovely tail of black, bushy, silken hair. Sita looked at it with wistful eyes and longed to have the lustrous locks. Rama knowing her mind—for what thought could be hid from Him—sent an arrow to sever the coveted tail. The poor animal in shame and sorrow interposed its neck to receive the shot to die and save its honour and its pride. Quick moved to pity, Rama sent a faster weapon and annulled the first. What words can describe the glory of Rama who in his ruthless­ ness could destroy Maricha and his accomplice and in His tender­ ness save from harm the meek and comely deer? The song-poem whose purport is given above, will, if studied with care disclose a wealth of suggestive ideas. Was not Sita quite human in her yearning for the tress ? Did the deer forsake its Himalayan haunts to look upon the beauty of the Divine Pair ? Animal though it was, had it not feelings more delicate than those of humankind ? Did not Rama show Himself as great in mercy as in might? An enchanting picture of dynamic nature is presented to our minds by simple words far more potent and colourful than oil and brush. It is irresistible in its intense appeal to our sentiments of love, pathos, pity, fear and wonder. It serves to stress with Wordsworthian insight the unity of life in nature and in man. The yet greater accomplishment is the amazing harmonisation of all the sentiments of the poem with the music of its melody. The consummate skill with which Shatsruti Dhaivata and Kakeli Nirshada are used to express the bitterness and pain of mind and the plaintive appeal of the animal and the use of the flat PTS. I— IV] THE XX— TYAGABAJA CENTENABY CONFEBENOE, 1946 13

Gandhara and sharp Madhyama to evoke feelings of wonder and pathos, are natural only toTyagaraja. Words cannot explain the mystery of the miracle.

In the song "Adigisukhamu" in , observe how poetically and effectively he conveys the idea that God should be loved without thought of favours and how apt are the instances cited in proof. "Sita sought and married you but forest life /was her lot; the Rakshasi lusted after you and lost her nose ; begged for boon and turned a lass; Durvasas pressed for food and felt sick of cloying fulsomeness ; Devaki yearned to see her sport­ ing son, but Yasoda was blessed therein ; the women-folk craved for your love only to lose their husbands’ company. The secret now is plain. Our asking is all in vain. You would bless only in your boundless grace” Can the principle of nishkamya be taught better ?

While the theme of his songs is mostly devotional there are not wanting compositions that deal with good government and social welfare. The most notable of them is “ Karubaru” in . It is in praise of Rama as king unmatched in the governance of the realm. It contains the substance of what is commonly called Ramarajya. It states that during the benevolent reign of Rama there were three rains a month, the subjects were learned in arts and sciences, they were long lived and free from sloth and insolence and the welfare of all including foreigners and ascetics was promoted. The song enunciates the fundamen- tals that all civilized Governments should respect. In the first place provision should be made for plentiful supply of water for agricultural and impliedly for power purposes also, so that abun­ dance of food, raw materials and energy could be ensured. The state has to provide for education in all its comprehensive aspects. The third condition is health and longevity. The fourth is deve­ lopment of industries and lastly, moral well being. Observe how singularly free is the poet from the vice of forcing religion and communalism into politics and economics. Here is precious advice to the makers of modern constitutions. Every song of Tyagaraja maintains perfect unity of thought. It is never a medley of unrelated words and phrases, nor a motley 14 THE JOURNAL OF THE MUSIO ACADEMY [VOL. XVIII

of incongruous ideas. A clear proposition is definitely advanced and then proved or illustrated with logic qr authority. The song “ Sarasa sama” is a familar example in point. The proposition herein is, Rama’s skill was unparalleled in the use of the four-fold device of sama, dan a, bheda, danda and , clever as he was, did not know it. The charana gives the proof by adducing facts: first Rama spoke words of conciliation, then offered the gift of , next, caused Vibhishna to separate and lastly killed the unyielding Ravana. Euclid has not demonstrated his theorems with greater force of reasoning.

In arguing too his skill remains unsurpassed. In the Kirtana “ Rukalupadivelu” he urges renunciation and commends the love of God in the following manner “ what though you have rupees ten thousand, you can eat but a handful of grain : you may have a thousand garments, but you can wear only one ; you may rule all the land, you can lie only on three cubit space; you may com­ mand a hundred delicacies, you can taste but a mouthful; the river may overflow, you cannot have more than vesselful. There­ fore meditate on him the essence of all being". You perceive how telling his argument is.

An entire branch of learning relating to Sabda and is condensed in the brilliant piece, “ Telisi Rama Chintana". Tyagaraja warns the mind to centre all thought though for a moment, on the name of Rama, aware of his Divine nature. “ Take the word to mean a charming woman and you are a volup­ tuary ; understand it as the Supreme and all your sins will be forgiven. If Arka signifies only the common plant for you, how can you overcome your follieB? Know it as the Sun and all the darkness of unwisdom will disappear. If Aja means a goat for you, what chance is there to have your wish fulfilled? Know it as and success will be yours." Where is the composer, poet or author that approaches anywhere near Tyagaraja in flashing the truth of sastras in so few and simple words? In a series of Kirtanas like “ Nadopasana", “ Nadatanum’’, “ Sobillu” , "Sogasuga" and others, he has revealed the mysteries of Sangita sastra and exposition of them would produce authorita­ tive literature on music. There are hundreds of songs containing PT9. I— IV] IH B XX— TYAQARAJA CENTENARY CONFERENCE, 1946 15. the substance of the highest scriptures and it is no extravagant praise that exalts them as Tyagopanishad. The study even of the bare text of the songs will be the means of expanding know­ ledge. What is not contained in them is scarcely worth learning.

My admiration for the musicians of South India who have cherished Carnatic Music and so maintained the undiminished glory of its ancient tradition does not, however, deter me from fancying how much more effective their renderings would be if they understood the bhava of the songs. It is mystery that passes my understanding how our singers whose love for learning the music of Kirtana is intense, could yet be indifferent to its bhava. Does not curiosity urge them to know the sense of the words they keep repeating hundreds of times? I assure them that the language of Tyagaraja is ordinarily simple and readily yields its meaning and should there be any difficulty, help will not be wanting. I have lingered a little on the Sahityas of Tyagaraja in the hope of inducing our Vidwans to learn the import of songs, which will not only bring them high enlightenment but will make the music more appealing. Let our musicians then resolve on the sacred occasion of the Centenary to learn the meaning of the Kir tanas they sing. That these observations do not refer to singers who know the bhava is obvious enough.

It must not, however, be overlooked that the outstanding merit that has made his compositions vastly superior to those of other composers is quality of music in them. Only to him it was given to know the secret of putting much music into a few syllables and so make every little piece a diamond in lustre and in value. In all forms of high class music, there should be mini­ mum of words and maximum of music. A syllable with its vowel extensions should be made to absorb large sancharas of the raga. When to this advantage is added the variations of the musical phrases by way of sangatis, it will be seen how much more is the proportion of swara to the syllable. Study the songs “Koluvaiyun- nade” in and “ Najivadhara” in in this context and you will find my point amply illustrated. The extensive scope for pure music in compositions of like nature makes them highly J.6 TEE JOURNAL OF THE MUSIC ACADEMY [VOL. XVIII attractive. As freedom is the one blessing that renders life worth living, so does the liberty that a musician may take within the ambit of the songs of Tyagaraja endear thpm to his taste. Let modern composers take heed that if their creations should have a chance of survival as good music, they should see to it that there is less matu and more dhatu in their pieces. If they persist in their tendency to expand words and contract music, their prabandhas may perhaps live as literature but not as songs of classic worth.

The extra-ordinary capacity of Tyagaraja of stretching a single akshara to take into it large sanchara of the raga is the result of infusing the spirt of the into the structure of the kirtana. By the freshness and freedom of improvisation inherent in his compositions as well as by the remarkable originality and brilliance of the varnamettu, they became the main items of a concert. Before the era of Tyagaraja, Rags and Pallavi used to form the bulk of the . After him they were graudually relegated to the background and his songs have occupied the pride of place as embodiments of every element of musical excel* lence. His compositions are so varied in their nature that they are enough to please all kinds of taste. What is more, the same song admits renderings commensurate with our capacity. Some of them which once were considered very simple are now rendered / with sophisticated elaboration. The musical possibilities of his pieces are indeed infinite.

The number of r;agas in which he has composed in so far as could be judged from the published pieces, is more than two hundred and sixty. In the major and familiar there are numerous songs in none of which does the music repeat itself. Every one of them is worth studying if only to gain a most com­ prehensive view of the mode. Each sanchara holds in its bosom the core of a particular phase of the raga and in the knowledge thereof it is possible to develop it twentyfold. His compositions in the new invented by him have brought him the highest merit and distinction. The secret of his success herein has eluded the grasp of the mechanical musicians. The clue to PTS. I— iv ] THE XX— TYAOARAJA CENTENARY CONFERENCE, 1946 17

it is to be found in his own expression “ Svarajati murchanabhe- damul" in the song “ Vara raga layajnulu” . One is apt to think that “Jati" in the phrase above means the primitive form of the raga. The real meaning of the word in the context is the five varieties or jatis of sruti. Tyagaraja is of opinion that it is no use pretending to be a vidwan unless one understands the changes in the basic scales brought about by subtle microtonal variations of the srutis. This is precisely what also meant when he used the phrase *' Sruti Jati Visarada*’. Cannot the same apparent apart from dhaivata be rendered both as Bhairavi and as Karakarapriya"?. What accounts for this difference in Ragabhava except the use of different sruti jatis? To those who will not recognise the value of these minute var^ptions as constituting the very soul of ragas, I should answer in the words of Tyagaraja "Sangita Jnanamu dhata vrayavale” .

If the human element dominates the rhythm and poetry of Tyagaraja, it is even more pronounced in his music. The honeyed sancharas of his songs are surcharged with sentiments natural to our heart. In his own words, they are “ draksha rasa navarasa yuta” not only in sahitya but in the pure phrases of sangita. His songs may be rendered on an instrument and yet they would carry in their music the same emotional appeal that bhava would in vocal singing. The svaras seem but to intensify the meaning of words. Such perfect unity of ragarasa in sangita and of bhava in sahitya was not achieved before.

It took more than two hundred years for England to under- I stand Shakespeare. Although Tyagaraja of all Indian composers is the best known all over the world, yet a century seems but all too short to reveal the magnitude of his glory. Reverence is the golden key to unlock his heart. Let us then to the advancement of sangita and our own inward happiness, cherish with piety, the divine kirtanas of Tyagaraja, the greatest tone-poet of huma­ nity.

3 18 THE JOUBNAL OF THE MCTSIO ACADEMY |vOL. XVIII

Sri K. Balasubramania Iyor, one of the Trustees of the Academy, proposed a vote of thanks to all those who took part in the opening function.

The proceedings of the Opening Day came to a close with a. concert of by Srimati Susila Achyutaraman, accom­ panied by Srimatis Komalavalli and Hamsadamayanti.

THE SECOND DAY

23-12 1946

The proceedings of the Expert Committee meeting in connec­ tion with the Twentieth Conference and Tyagaraja Centenary Celebrations commenced on Monday the 23rd Decembe^ at 8-30 A.M. in the morning at Sri SundareswaTa Hall, Mylapore. Sangita Kalanidhi T. V . Subba Rao presided.

As already said, the proceedings of the Expert Committee meetings of the Twentieth Conference were confined to papers and discussions on Sri Tyagaraja, his music and compositions.

Tyagaraja’s conception of ‘Okhamata’

Sri M. S. Ramaswamy Iyer read a paper in English on “ Tyagaraja’s conception of ’ Okhamata* ", occurring in the com­ poser’s well-known song in Harikhamboji. The lecturer quoted from and other epics and to show Rama’s conception of truth as one not only in word but also in spirit.

Tyagaraja and His Sattvika Tyaga

Srimati C. Saraswathi Bai next read a paper in Tamil on "Sri Tyagaraja and his Sattvika Tyaga” . The lecturer illustrated her paper with many appealing renderings of the Saint’s composi­ tions, particularly from his dramatic composition ’ Bhakti Vijaya*.

The President thanked the lecturers, PTS. I— IV] THB XX— TYAOABAJA CEN'iENAEY CONFEBENGE, 1946. 19

THIRD DAY

24- 12-194 6 The proceedings of the Expert Committee meeting in connec­ tion with the Twentieth Conference and Sri Tyagaraja Centenary Celebrations were continued to-day at the Sundareswara Hall, Mylapore. Sangita Kalanidhi Maharajapuram Viswanatha Iyer presided.

A comparative study of Sri Tyagaraja and other Vaggeyakaras The proceedings began with a paper in English on a compa­ rative stuty of Sri Tyagaraja and other Vaggeyakaras, particular­ ly Sri Purandaradasa, by Sangita Kalanidhi K. Vasudevachar of Mysore which was read by Dr. V. Raghavan. The full text of the paper is published elsewhere in this volume.

Sgint Tyagaraja’s Pilgrimage-songs Then Sangita Kalanidhi Maharajapuram Viswanatha Iyer read a paper in Tamil on the Pilgrimage tours of the saint, and the songs composed by him at the shrines he visited. The Vidvan also rendered some of these Kshetra-Kritis of Sri Tyagaraja. The full text of his paper is published elsewhere in this volume.

A Paper by Palladam Sanjiva Rao

A paper in Tamil on Sri Tyagaraja and the greatness ol his devotion and music sent by Sangita Kalanidhi Palladam Sanjiva Rao was then read by Dr. V. Raghavan.

FOURTH D AY

25- 12-1946

Lecture on the Walajapet Manuscripts

At to day's meeting of the Expert Committee in connection with the Twentieth Conference and Sri Tyagaraja Centenary Celebrations of the Academy, Sangita Kalanidhi T. V. Subba Rao presided and Prof. 'P. Sambamoorthy, Head of the Music Department, University of Madras, gave a lecture on the valuable contents of the Music Manuscripts of the Walajapet line of Sri 20 THE JOUBNAL OF THE MUSIC ACADEMY [VOL. XVIII

Tyagaraja’s pupils. There was also an exhibition of these Manuscripts through the courtesy of the Sourashtra Sabha, Madura, and Sri Sundararaman. The exhibits comprised:—

1. Potana’s Telugu Bhagavatam, which was being used by Sri Tyagaraja for his daily Parayana* 2. Palm Leaf manuscripts containing the horoscope of Sri Tyagaraja and two other pupils of his. 3. Manuscripts containing the account of Sri Tyagaraja bearing the attestations of two pupils of his, Tanj ore Rama Rao who passed away two years before Sri Tyagaraja, and Walajabpet Venkataramana Bagavathar.

4. Manuscript of Tyagaraja's songs, not containing one of his last pieces ’Giripai’, thus proving its contem­ porary characterr 5. A paper manuscript containing the Tanas of Govinda Dikshita and of the father of Sri Tyagaraja's Guru Venkatasubbiah. 6. The ‘Srimukham’ sent by Sri Upanishad Brahmam, the Sannyasin of Conjeevaram, inviting Sri Tyagaraja to visit Conjeevaram.

The full text of Prof. Sambamurthy's lecture is published everywhere-™ this volume.

Demonstration by Nagaswamy Bhagavatar of Madura

The lecture was followed by a rendering of four songs from these manuscripts by Vidwan Nagaswamy Bhagavatar of the Sourashtra Sabha, Madura. The songs rendered by him were two rare pieces of Tyagaraja “ Balakrishnam Bhajare” in - kuranji and "Sankara Girij a Ramana" in ; and two songs of Sri Tyagaraja’s pupil Walajapet Venkatarama Bhagavatar, a Svarajati in Harikhamboji and ‘Guru Bhajare’’ on Sri Tyagaraja in .

The President thanked the lecturer and the musician. FTB. t— IV] THE XX— TYAGARAJA CENTENARY CONFERENCE, 1946 21

FIFTH DAY

2612.1946

An account of the Saint and his Compositions according to the Umayalpuram School

At the fifth Meeting of the Expert Committee in connection with the Twentieth Conference and Sri Tyagaraja Centenary Celebrations held this morning at Sri Sundareswera Hall, Myla- pore, Sri Tyagaraman, grandson of Umayalpuram Krishna Bhagavatar a direct disciple of Sri Tyagaraja, gave a lecture on Sri Tyagaraja according to the information preserved in the Umayalpuram school of Tyagaraja’s pupils.

Sri Tyagaraman made it clear at the outset that his informa­ tion was not based on any recorded history, but was derived from his father who used to adopt Sri Tyagaraja’s life as a subject for Katha Kalakshepam. These musical discourses were often given in the immediate presence of Sri Umayalpuram Krishna Bhaga­ vatar and his brother Sundara Bhagavatar. As a boy, Tyagaraja .used to be detailed for the job of procuring flowers for the family worship. He brooded on the evanescence of flowers and it struck him that the best flower-garland^ would be a Keertana Mala (a garland of music) which would neither fade nor require replacing. This thought was to abide with him and prove ultimately a source of inspiration to him.

Training in Music

Tyagaraja’s father impressed by the silvery voice of his son, who used to read out the sacred names as he performed Archana, took him to Venkataramanayya for training in music. This training lasted just six months or a year. By the end of that short period he was pronounced proficient by his Guru who sent him away with his blessings.

Sri Tyagaraja, then, tried his hand at composing songs, but was not satisfied with the result. At that time an old used to visit his house for Unohavritti and Tyagaraja used to wel­ come him with humility and love and make an offering of rice. 22 THE JOURNAL &P THE MUSIC ACADEMY [VOL. XVIII

The old man was so taken up with his winning ways and beam­ ing intelligence that he asked Tyagaraja what boon he wanted, to which the latter replied that he would be grateful for his bless­ ings. The old Brahman told Tyagaraja that there was an old tradition in his family that any one who kept uttering Sri Rama’s divine name 96 crores of times would be favoured with Rama’s darsan and he asked Tyagaraja to follow that course. Tyagaraja (though only 21 years old) took up the suggestion in right earnest and rigorously performed this at the rate of a lakh and twenty-five thousand a day unintermitlently for 21 years and 15 days. Tyagaraja thus sacrificed his youth and the pleasure of life at the altar of devotion. Could there be a greater sacrifice, the lecturer asked.

After finishing the Ramanama tapas as ordained by his Guru, Tyagaraja's natural anxiety was to see Lord Rama and he was anxious not to miss the Lord who might manifest himself in any way. When the waiting which lasted three months proved fruitless, he became despondent. Forlorn, he went back to the songs he had begun composing in early youth. But inspiration would not come ; v instead, grief came upon him in a flood. And, then, who should appear before his entranced eyes but Sri Rama himself with young Lakshmana, as in days of yore they had gone with the sage Visvamitra to protect his Yagna. In a transport of ecstasy Tyagaraja began to sing Bala Kanaka in , this song being the first fruit of his inspiration. Mr. Tyagaraman observed that Krishna Bhagavatar used to say that as * Tana' meant ‘Jail’ and A-tana signified the state of liberation, the raga was peculiarly appropriate to the occasion. Tradition had it that for three days he went on singing song after song without a break.

It was quite possible, the speaker went on, that Sri Tyaga­ raja, who devoted his entire life to the service of Rama, might have composed 24,000 kritis, even as Valmiki had composed 24,000 slokas; that was what many of his disciples believed.

Sri Tyagaraman then referred to the fact that different stories were current regarding the historical context in which particular songs of Sri Tyagaraja were sung. He expressed the view that PTS. I— IV] THB XX— TYAGARAJA OBNTENABY CONFERENCE, 1946 23 the context was not important and there need be no controversy over this. He wound up with a fervent plea for the perpetuation of the oral tradition by which these priceless songs had so far been preserved and by which these could be handed down from generation to generation uncorrupted. The speaker insterspersed his speech with a few illustrative songs which he sang along with his brother and snatches of which he also rendered on the Gotuvadyam. The songs sung included Tulasidalamula in Mayamalavagoula, Guruleka in Gaurimanohari. Dorakuna in Bilahari, and Kshinatnai in Mukhari. The discourse concluded with the singing of Dhyaname Vara tnaina, Ganga Snaname. Sri T. V. Subba Rao thanked Sri Tyagaraman for his soul- stirring lecture.

SIXTH DAY

27-12-1946

Sangita Kalanidhi T. L. Venkatarama Iyer presided to-day at the Expert Committee meeting of the Twentieth Conference and Sri Tyagaraja Centenary Celebrations.

Tyagaraja for Beginners Mr. C. S. Aiyar read a short paper in English on Tyagaraja for beginners and said that in regard to the musical education of children, the kritis of Sri Tyagaraja in the Janyas of Sanksra- bharanam, and Kharaharapriya Melas should be selected for primary training. In his view, only this would ensure Sruti Suddha amongst South Indian musicians. Also the present system of beginning musical lessons with Saralivarisa and Alan- karat which sometimes created a distaste for music among the less gifted students, should be replaced by those kritis of Tyaga­ raja which were couched in pure svaras with very little of gamakas. After drawing attention to present-day changes in the Varnamettus of some of Tyagaraja’s songs, Mr. C. S. Aiyar pleaded for the recording of the saint’s kritis by students who had learnt them in the true Guru-Sishya tradition and therefore (lid not suffer from much corruption from the original style. These 24 THE JOURNAL OF THE MUSIC ACADEMY [VOL. XVIII gramophone records should ultimately become the property of the nation. Only thus could we preserve Tyagaraja’s music.

Another Paper on Sri Tyagaraja

Dr. Narayana Menon of the B. B. C. who was in Madras to study the latest development in Indian music read a short paper in English on Sri Tyagaraja and paid a tribute to the compositions of Sri Tyagaraja and said that they represented the finest flowering of the most purely melodic system the world had ever seen. Dr. Menon analysed the salient features of Western and Carnatic music. The former was critical, intellectual, active and looked outward, while Carnatic music was transcendental, spiri­ tual, inward, emotional and contemplative. Western music was extremely young measured by the standard of Carnatic music and therefore if we had to interpret our music to Westerners (who had yet to be initiated) we should give a demonstration of only such songs as did not contain a recondite philosophy and was rendered in the simplest manner. Dr. Menon pointed out that there was remarkable similarity between the lives of Sri Tyaga­ raja and Beethoven, the noted musician of the West. Both had spurned the patronage of the great. There was even greater similarity of spirit between Tyagaraja and Bach. Tyagaraja was one of the major glories of our civilisation. Dr. Menon said, that in commemoration of the Centenary Celebrations of Sri Tyagaraja, the B. B. C. had arranged to broad­ cast a half-hour programme on January 15, between 8-5 p.m. and 8-35 p.m. The programme consisted of an orchestral rendering of the kriti ‘Manavyalaginchara* in Nalinakanti and a clarionet rendering of Raghunayaka in by a distinguished artist, a re-broadcast of a tribute to the saint from an A. 1. R. broadcast of January 11 and the playing of a record by Semman- gudi Srinivasa Aiyar.

The Spiritual Heritage of Sri Tyagaraja Rao Bahadur C. Ramanujachariar then gave a talk on a publication which he was planning namely, 1 The Spiritual Heri­ tage of Sri Tyagaraja containing English Translations of about ptb. I—iv ] THE XX-'TYAGARAJA centenary conference, 1946 26

750 songs of Sii Tyagaraja classified according to the subject and the Bhavas and expositary essays, prepared with the help of Sri Krishna Rao, Retired Government Translator, Dr. V. Raghavan and others. He said that Tyagaraja’s songs presented a rich variety of poetic and spiritual Bhava and constituted an “ Atma- dhana” . He read out select translations to illustrate the different emotional moods of the composer and the scheme of classification adopted. He appealed to the devotees of Tyagaraja to fix and preserve the ‘Varnamettus’ of the rarer kritis before these were lost to the world and for the building up of a library of music records and a music museum.

Musical aspect of Tyagaraja’s Kritis

Sangita Kalanidhi T. L. Venkatrama Aiyar who presided on the day gave then an illustrated discourse on Tyagaraja. He expressed the view that he would give the pride of place in Tyagaraja’s works to their musical aspect. He said that we adored the Saint for his music. To the Saint every Svara repre­ sented a Devata. To this effect he had sung Sobillu Saptasvara in Jaganmohini. That Tyagaraja held thaTone could attain Mukti through music, was obvious from his kriti Mokshamugalada. The speaker then contrasted the music of Sri Tyagaraja with that of Syama Sastri. The latter had concentrated on Tala while Tyagaraja had fixed his attention on Raga and Bhava. Mr. Venkatrama Aiyar then rendered the songs Tallininnu (Syama Sastri’s) and Nidhisala Sukhama (Tyagfraja's)—both in Kalyani, to demonstrate the difference in emphasis by the two great composers. In the latter kriti tala was kept subdued. Raga had been given a pre-eminent place. The kriti Endu Dakinade> a full songinTodi, was like a full treatise on the raga and served as a guide to the true way in which a raga should be rendered. Bhava predominated in the kritis Banturitikolu in Hamsanada, and Sari Varilo in Bhinna Shadja. All of these Mr. Venkatarama Aiyar sang as also snatches of Nijamuga to empha­ sise the Bhava aspect of these. Proceeding, Mr. Venkatarama Aiyar said that all the composi­ tions of Sri Tyagaraja were conceived in the Tana style. He sang 4 9 6 THE JOURNAL OF THE MUSIC ACADEMY [vOL. XVIII

Koluvai Unnade in Bhairavi to illustrate this and added that in this song Sri Tyagaraja had incorporated Tana in the structure of his Sahitya. Sangatis were Tyagaraja’s foremost contribution to Carnatic music and the speaker amplified Koluvai Unnade to illustrate this point. After singing a few more songs to bring out the various aspects of Sri Tyagaraja's music, Mr. Venkatarama Aiyar concluded with a fetvent appeal for the maintenance of the Saint's kritis in their original form.

SEVENTH DAY 28-12-1946.

When the EfcpOrt Cbmmittee convened in connection with the Twentieth Conference and Sri Tyagaraja Centenary Celebra­ tions met this morning a number of papers were read and demons­ trations given.

Three Papers on Sri Tyagaraja A paper in English on "The Poetry of Srf Tyagaraja” sent by Sri Y. Mahalinga Sastri of Tiruvalangadu, another on ‘Tyaga­ raja the Mystic’ sent by Prof. R. Srinivasan of Trivandrum, and a third one on “ Ragas that owe their Raga Bhavas to Sri Tyaga­ raja" sent by Sri K. Vasudeva Sastri of Sri Tanjore were read by Dr. V . Raghavan. The full texts of these papers are published elsewhere in this volume.

A /Lecture in and Telugu Pandit Kalluri Sastri of the Gautami Vidya Pit ham, Rajahmundry, gave a lecture in Sanskrit and Telugu on the excellence of Sahitya in Tyagaraja’s compositions. He emphasised how Tyagaraja conceived music as a Yoga-and characterised Tyagaraja as a who had darsan of Sri Rama and said that his compositions were both in Sanskrit and Telugu and showed excellence both in svara and pada. He referred to the lalitya of his Telugu and answered certain criticisms levelled against the grammar and idiom in his Telugu and quoted from several songs to show how all the elements of poetry were fppnd in a rich measure in his compositions. Mr. Sastri quoted PTS. I— rv] THE XX— TTAGAKAJA CEN1ENARY CONFERENCE, 1946 27

also Tyagaraja’s compositions to illustrate the Saint’s condem­ nation oi the empty forms of worship and other social evils.

The Tillaiethanam Sampradaya V The Academy was fotunate that in its celebrations of the Centenary of the great composer, representatives of the three main sishya-paramparas of Sri Tyaygaraja, namely, the Umayal- puram, the Walajapet, and the Tillaisthanam traditions attended the functions and co-operated in the Expert Committee meetings, expositions and demonstrations. At to-day's meeting Sri Srinivasaraghavachari, nephew of Tillaisthanam Rama Iyengar, a direct disciple of Sri Tyagaraja, gave a discourse on 'The Philoso­ phy of Sri Tyagarajaswami'. After a brief speech by Dr. Srinivasaraghavachari, his paper was read by Sri S. Parthasarathy. The full text of the paper is published elsewhere in this issue.

Another lecture and demonstration Sangita Vidvan Valady Krishna Iyer of the University Music Department gave a lecture and demonstation on the mutual appropriateness of Sangita and Sahit^a in the composition Of Sri Tyagaraja, singing no fewer than 18 pieces, different pieces in the same raga to show the different bhavas produced by the composer. The text of the paper is re-produced elsewhere in this volume.

EIGHTH DAY

2 9 -1 2 -1 9 4 6

Sangita Kalanidhi Tiger Varadachariar presided over to-day's meeting of the Expert Committee.

A Paper on Sri Tyagaraja Srimati Vidya began the proceedings with a paper on Sri Tyagaraja. She sang snatches of a number of Tyagaraja Kritis and compared them with the songs of Sri Syama Sastri. She demonstrated how Tyagaraja always gave out the essence of the raga at the very opening and how in the matter of simplifying Tala, the composer was a veritable musical Montessori. The text of her paper is reproduced elsewhere in this volume. 28 THE JOURNAL OF THE MUSIC ACADEMY [VOL. XVIII

» A Lecture and Demonstration Sangita Kalanidhi Tiger Varadachariar then gave one of his usual delectable demonstrations, full of his characteristic wit. He first referred to Tyagaraja’s brilliant performances in rare ragas like Kokiladhvani and gave a demonstration of the kriti “ Konniyade" in that raga. He then rendered “ Aragimpave ’’ in , and "Natimata” in Devakriya and explained how the subtleties of svara and sangatis in these songs echoed the subtle­ ties of the bhava.

Proceeding, the President sang “ O Rangasayi’’ in Kambhoji, one of the major compositions which were unhappily going out of vogue and expounded the meaning of the song and the appro­ priateness of the music to it. Owing to his poor health, Sri Varadachariar had to conclude with only a short exposition. He wound up by singing “ Sri Rama Jayarama” in Yadukula Khamboji.

A Paper inTelugu on Tyagaraja Later, Sri Ananthakriahna Sarma of the Maharaja’s College, Mysore, read a paper on Sri Tyagaraja in Telugu. He said that Sri Tyagaraja had inherited the virtues of Rama Bhakti, flair for composing poetry and musical prowess from his great grand-father Panchanada Brahmam. This triple stream of devotion, poetry, and music enriched him. However, Mr. Sarma added, that it appeared to him that great as Tyagaraja was as a poet, he did not cultivate the art of poetry with such an avowedness as he dis­ played in respect of Rama Bhakti and music. Probably this was the reason why purists in were afforded an op­ portunity to find one or two flaws in Tyagaraja’s phraseology. Mr, Sarma quoted a few passages like the charana of his kriti “Rama Bana” in , which struck one as not conforming to the strict codes of literary composition. In spite of such a lapse, if it may be called so, Sri Tyagaraja remained great because of his Rama Bhakti and the musical excellence which illumined everyone o* his kritis. Mr. Sarma then referred to the present-day tendency to give new mettus to Tyagaraja'* kritis and strongly pleaded for putting PTS. I— IV] TEE XX— TYAGARAJA CENTENARY CONFERENCE, 1946 29 ✓ an end to this practice. He appealed to such enthusiastic re­ formers to compose their own kritis and leave the saint’s in their original mettus. As an instance, he quoted the kriti “ Abhima- namu ledemi” one of the saint’s Divyanama kirtanas, which was originally being sung in Karanataka but which was now being rendered in Nagasvarali. He appealed to music-lovers to cherish Sri Tyagaraja's memory in the native tradition. Mr. Sarma in the course of his lecture sang portions of the kritis “ Nadasudha rasa” in ^ “ Rama Bana” in Saveri, “ Durmar- gachara” in Ranjani and a few others.

Another Lecture and Demonstration Another noteworthy feature of the Tyagaraja Centenary Celebrations of the Academy was a lecture and demonstration by Vidvan Madurai Subramania Iyer, Professor, University of Madras, a descendant of Sri Tyagaraja's own brother’s family.

The Vidvan sang a number of songs to emphasise the” Rasa- pushti and Bhavapushti’ ’ as also the excellence of tala in the compositions of Sri Tyagaraja. He rendered at length “ Hecha- rika” in Yadukula Kambhoji, “Koluvai” in Bhairavi, “ Ninnuvina" in Todi, "Yeduta Nilachite’’ in Sankarabharanam, and a num­ ber of other songs..

NINTH DAY 30-12-1946

The proceedings of the Ninth Day commenced with an informing lecture on Sri Tyagaraja by Vidvan Bharatam Nallur Narayanaswamy Iyer, a pupil of the Umayalpuram Brothers. Sri Narayanaswami Aiyar stated that the first pupil of Sri Tyagaraja to commit the Saint’s kritis to notation was Tiruvayar Subbarama Baghavatar. He then referred to his own pioneering efforts to bring into vogue certain pieces of Sri Tyagaraja for Bhaiata Natyam and the training he gave to his students in the pieces of ” Raminchu-varevurara ” in Suposhini (Tiara) the ‘ Pan. charatna’ kriti in Arabhi “ Sadhinchane ” (Adi) and " Evarikai ” in Devamanohart (Tisra). He also gave a little demonstration of Jatis and Abhinayat for these pieces. 80 THE JOUENAL OF THE MUSIC ACADEMY [VOL. XVIII

Narrating the circumstances under which the Umayalpuram Brothers became disciples of Sri Tyagaraja, the speaker said that Umayalpuram Vengu Bhagavatar, a Vaiyakarana and author of * Nirupanas ’ for , was the scholar who expounded Valmiki’s Ramayana for the benefit of Sri Tyagaraja and that later he placed his two younger brothers, Umayalpuram Krishna Bhagavatar and Sundara Bhaghavatar, as pupils under the saint- composer.

Mr. Narayanaswami Aiyar also referred to the succession of musicians who popularised Sri Tyagaraja’s kritis up to the time of Maha Vaidyanatha Aiyar and Patnam Subramanya Aiyar, and to the persons who strove to popularise the violin till the days of Tirukodikaval Krishna Aiyar. He referred in appreciative terms, in this connection, to the efforts of Sri Vadivelu, Varahappa Aiyar, Tanjore Subba Rayar and Tiruvengadu Sivaramakrishna Aiyar.

Another Lecture

Brahmasri Tetiyur Subramanya Sastrigal, speaking next, contended that Tyagaraja was no other than an of sage Narada. He emphasised the importance of “ Rama taraka nama,’* the greatness of which he said, was illustrated in the life and achievements of Sri Tyagaraja. He exhorted the musicians to lead a holy life and also to equip themselves with Sastraic learn­ ing in the science of music.

Another Lecture and Demonstration

Dr. Sankaranarayana Aiyar then gave a demonstration of a few of Tyagaraja’s kritis including '* Santamuleka,” “ Rama ninne.” “ Evarani ” and “ Manasu Svadhinamaina ” and showed how the music of the saint was so eloquent of the bhava even without one trying to understand the meaning of the words.

Another Paper

In a short paper in Tamil on Tyagaraja, Nagasvara Vidvan T. N. Rajaratnam Pillay reviewed the sailent features of the life of Sri Tyagaraja and how he came to compose songs as a result of Sakshatkara of Sri Rama. By virtue of the style, charm, halpana PTfl. I— iv l THE XX— TYAGARAJA CENTENARY OONFBBBNOE, 1946 31 and tempo, he said, Sri Tyagaraja’s kritis outshone those of other composers. He added that the music of Tyagaraja should not, therefore, be practised merely for material ends. The basis of real Carnatic music was " Daiva Bhakti ” and devotees of music should import Bhakti into their music. Proceeding, Sri Rajaratnam Pillay referred to the co-opera­ tion of all musicians in the Academy’s Tyagaraja Centenary celebrations and exhorted the Vidvans to eschew jealousy, strife and sectarianism and to promote all-round harmony. This, he concluded, would accrue if we truly adored Tyagaraja and under, stood his message. Sri T. V. Subba Rao thanked the lecturers.

TENTH DAY

31-12-1946

Concluding Session Sangita Kalanidhi T. V. Subba Rao presided over the last meeting of the Experts Committee which met to-day morning in connection with the Twentieth Conference and Sri Tyagaraja Centenary Celebrations.

A Talk on Tyagaraja The proceedings began with a talk by Sri Dsvaraja Rao of Arani who dwelt on the Rama Bhakthi of Sri Thyagaraja.

A Paper on Sri Tyagaraja Sri C. Seshachalam Chettiar then read a paper in English and emphasized the idea that simplicity was the outstanding feature of Tyagaraja’s genius. The full text of his paper will be found elsewhere in this volume.

A Padya Vidvan Peeratla Sankara Sastri sang a Telugu Padya com­ posed by him in honour of the saint-composer who had shown ' Nadavidya ' as a potent means of salvation.

Resolution for Memorials Sri K. Balasubramania Iyer, one of the Trustees of the Academy, spoke on the resolution moved by himself that steps 32 THE JOUBNAIi OF THE MTTBXO ACADEMY [VOL. XVIII be taken to establish suitable memorials to Sri Tyagaraja at Tiruvarur where he was born and at Tiruvaiyar where he lived. Sangita Kalanidhi T. L. Venkatarama Iyer spoke in support of the resolution.

Vidvan Semmangudi Srinivasa Aiyar's Lecture Vidvan Sri Semmangudi Srinivasa Aiyar then gave a talk on Sri Tyagaraja and the‘ greatness of his contribution and service to the cause of Carnatic music. Instancing pieces like “ Pattividuvaradu ” in rare ragas like Manjari, he emphasised that Tyagaraja’s Lakshyas themselves constituted our Lakshana* and preserved the music of those ragas. He sang also “ Nenendu Vedagudura " which he said formed our Lakshana for Karnataka Behag. Incidentally, the Vidvan referred to the views of some who held that the raga of this song was Sari Kambhoji and by singing the scale of svaras, declared that this song ought to be sung in Karnataka Behag alone. Singing snatches of several pieces in Todi, he showed how Tyagaraja served a s Lakshana- kara for this raga ; the several songs of Tyagaraja in the same raga were so exhaustive of the entire scope of that raga that none could contribute anything fresh to the form of that raga. If, for instance, one could sing about a dozen of Sri Tyagaraja’s hritis in Todi, then one could render alapana in that rags, incorporating all the subtleties and niceties which were possible in that raga• Herein lay the genius of Sri Tyagaraja.

Sri Srinivasa Aiyar then sang “ Neeke Dayarada ” (Nilam- bari) and *' Badaligadira ” (Bitigoula) and showed the appeal of the bhava and he quoted some of the popular and homely sayings found in the composer’s hritis. In this connection, he stressed the need to publish for the benefit of the Vidvans a word-by-word translation in Tamil of Sri Tyagaraja’s hritis. He also supported the idea that as in the case of Beethoven in the West we must also raise and preserve memorials to our great musicians, and pledged the support of the Vidvans for any such cause. Proceeding, Sri Srinivasa Aiyar, referred to his own inner experience and said that the musician while contemplating on apme of the prayogas of Tyagaraja in his hritis felt the need to PTS. I— IV] THE XX— TYAGARAJA CENTENARY CONFERENCE, 1946 33

pursue the line o! “ Svaanubhava.” the enjoying of the art for oneself, which he said was necessary, and added that musicians should have this high object of pursuing the art for its own at least at some stage of their musical career.

Condolence Resolutions Sri T. V. Subba Rao moved a resolution placing on record the sense of sorrow and loss sustained by the world of music at the passing away of Sangita Kalanidhi Umayalpuram Swaminatha Aiyar, a representative of the Umayalpuram Sampradaya and an ex-president of the Academy's Conference ; of Mudikondan Sabhapati Aiyar, an ex-Principal of the Academy's College, and Sri Naicker, Vidvan, who had co-operated in many of the concerts of the Academy. The resolution was passed, all standing.

Vote of Thanks On behalf of the Academy Sri T. V. Subba Rao thanked all those individuals and institutions who had. contributed to the success of the activities of this year's Conference and the Tyaga- raja Cententary Celebrations. He thanked the Police, Traffic Controller, Volunteers, the Madura Sourashtra Sabha and Mr. Sundararaman for lending the Wallajapet manuscripts for exhi­ bition and the Secretaries of the Mylai Sangita Sabha, the Indian Institute of Fine Arts and the authorities of the Rasika Ranjani Sabha and the Press for having afforded facilities of publicity for the concerts and the proceedings of the Experts' Committee, He gave expression to the feeling of thankfulness of the music- loving public to for its two editorials on Tyagaraja and the need to exempt music Sabhas from the Entertainment Tax. He expressed the Academy’s appreciation of the gesture of the Vidvans who co-operated with the Academy by singing exclu­ sively the kritis of Sri Tyagaraja as befitted the occasion.

.Mangala Harati The session concluded with the singing of the Managalam “ Nee Nama Roopamulaku'* by a chorus led by Vidvan Semman- gudi Srinivasa Aiyar and the performance of harati to Sri Tyaga- raja’s portrait by Vidvan Bharatam Nallur Narayanaswamj 5 34 THE JOURNAL OP THE MUSIC ACADEMY [VOL. XVIII Aiyar. With a group photo of those who took part in the Experts* Committee's proceedings, the gathering dispersed.

THE MEMBERS’ DAY

1—1 _1 947 The Annual Members’ Day of the Academy was celebrated this afternoon., After tea, there was a programme of music by members and their children who rendered kritis of Sri Tyagaraja.

Convocation

Sri T. S. Vaidyanatha Iyer, Correspondent, presented the successful students of the Teachers’ College of Music of the Music Academy and Diplomas were awarded to them by Sangita Kalanidhi T. V. Subba Rao.

The Concerts In the concerts that were held in the afternoons, evenings and nights from 21 — 12— 1946 to 31 —12— 1946 about 200 com­ positions of Sri Tyagaraja were rendered by vocal and instru­ mental vidvans. The programme had been drawn up with special care so that there was no repetition of song and a number of lesser known pieces were brought to light. Another note­ worthy feature was the co-operation given by the leading repre­ sentatives of the Nagasvara sampradaya who gave three concerts in the nights. There was a Harikatha on the life of Sri Tyagaraja by Sri Annaswami Bhagavatar of Tiruvaiyar, and a dance-recital with a special programme of Tyagaraja Kritis arranged with the co-operation of the Indian Fine Arts Society, Egmore, and Sri Pandanallur Chokkalingam Pillai, well-known dance-teacher. The Souvenir

In connection with the Twentieth Conference and Tyagaraja Centenary Celebrations, the Academy published a souvenir which contained besides annotated programmes of the concerts, an alphabetical list of the 200 Tyagaraja kritis sung in the concerts with raga-mela analysis, articles on Sri Tyagaraja and his music, Vidvan Vasudevachar’s Kriti on Tyagaraja with notation, and special pictures of Sri Tyagaraja, of the deity at PT8. I— IV] TYAGARAJA AND OTHER VAGGEYAKARAS 36

Tiruvarur after whom the saint-composer was named, the house at Tiruvarur where the saint was born, the street and house at Tiruvaiyar where the saint lived, the samadhi of the saint and the Rama Idol worshipped by the saint, as also articles on other music subjects.

A COMPARATIVE STUDY OF SRI TYAGARAJA AND OTHER VAGGEYAKARAS

Sangita Kalanidhi Sangita Sastra Visarada

K . V asudevachar , Mysore. A hundred years have rolled by since that great savant of carnatic music, Sri Tyagaraja, left his mortal coil. But his luminous spirit is ever with us acting as a safe counsellor in our life beset with perplexities and vicissitudes of a tangled nature, guiding the crazy world against unavailing pursuits in life and exhorting it to love the Lord and earn the Eternal Bliss. By a mere utterance of his name we are wrapt in a magic spell as it were and his divine personality beaming with his ardent love of God and deep concern for humanity, the vast array of the thrilling incidents of his life of devotion, the imperishable services rendered to the world—all these make an instantaneous flash upon the inward eye and we are led to tears of ecstacy. Nothing is more sacred and nothing is more imperative on our part than to cherish his revered memory and place our humble homage at his noble feet for all the good he has done for us. As the glorious career of Sri Tyagaraja is too well known to. all to necessitate a re-narration, 1 shall abstain from harping on the same note. On the other hand, I shall, in the following few pages, endeavour to show how Sri Tyagaraja is an off-spring of Dasakuta and how he stands along with Sri Purandara Das in an undisputed position of cultural pre-eminence. This I shall do, first, by depicting a picture of comparison between Sri Purandara Das and Sri Tyagaraja and, next, by contrasting the latter with the other leading Vaggeyakaras such as Sri Muttuswami Dikshitar and Sri Sama Sastriar. 36 TEE JOURNAL OF TEE MTJSIO ACADEMY [VOL. XVIII

In our exalted enthusiasm to extol the immortal services rendered to the world of Carnatic music by the celebrated Musi­ cal Trinity, we are often apt to forget the mighty role played by Sri Purandara Das. That the latter is the undisputed Karnataka Sangita Sarvabhauma and that he is the sole author of inspire* tion for the subsequent composers including the Trinity are facts admitted on all hands. Even the most superficial survey of the life and work of Sri Purandara Das and of Sri Tyagaraja makes it amply apparent that the career of Sri Tyagaraja is essentially a remanifestation of that of Sri Purandara Das. Both of them dedicated their lives solely to the services of God and by their ardent and unflinching devotion to Him they attained the invaluable and peerless Bhagavatsakshatkaram (). Unlike the And Sanyasis who attained salvation by casting off the bonds of the world, and leading a secluded life of devotion to God, Purandara Das and Tyagaraja lived amidst the world but unattached to it, and succeeded in attaining what the Yogis and Sanyasis did in their own way. Their life was essentially an illustration of the practicability of the motto “ Yisabeku Iddu Jaisabeku; Irabeku Iradirabeku (Be in and yet be out of the world)” . Not satisfied with their own salvation, both of them felt keenly for the evil* stricken humanity with all its endless vice and strenuously worked for its reformation and uplift by means of their incessant and spontaneous flow of marvellous compositions pregnant with the philosophy of life. The medium they both chose to carry on their mission was no other than the art of arts—divine music. Realising the truth of innumerable sayings like “ Naham Vasami Vaikunthe Na Hridaye Ravau; Madbhakta Yatra Gay anti Tatra Tishthami Narad a’’, realising that it was only through divine music that the divine grace could easily be achieved, that it was only through the all pervading influence of music which has been so nicely brought out in the couplet “ Sisur VetU Pasur Vetti Vetti Ganarasam Phanee” that the philosophy of life could easily be driven home to the hearts of the masses around them, they resorted to music as the vehicle of the gospel. The hundreds and thousands of their compositions are verily an easily PT8. I— IV] TYAGARAJA AND OTHER VAGGE YAK ARAB 31

graspable rendering of the very terse philosophical treatises like Upanishada that remain a sealed book to men of no exceptional calibre and it is on this score that their compositions are most deservedly termed the Purandaropanishat and the Tyagabrahm- opanishat. It is possible to prove that every philosophical dictum contained in each of their inumerable compositions has its source in the and Puranas. But I would like to content myself by placing before you one or two instances. The Keertanams—Hariya dasarige sariyunte and Gangadisakala are based on Darsanadeva Sadhavah (Bhagavata) and * Yatra- chyutodara kathaprasangah tatraiva Ganga Yamunacha Venee.1 The same ideas have been rendered in Telugu by Tyagaraja in his kritis-Ramabhakti Samrajya and Dhyaname varamaina gangasnanamu. Thus, both Sri Purandara Das and Sri Tyagaraja start from a common plane to arrive at a common goal. The semblance between the two masters becomes overwhel­ mingly striking when we make a comparative study of their compositions. Broadly speaking, their compositions can be classed under nine categories. 1. In the first place, there are compositions which are records of the unique instances in their life. To this category belong Kirtanas like Yindinadinave Subhadinavu...... Puran* dara vitthalana sandarsanavenagaytu; Kanugontini Sri Ramuni- (Kirtanas referring to their Aparoksha); Ninna nodi Dhanya- nade Srinivasa, Teratiyagarada (Kirtanas referring to incidents at ); Muyyake muyya tirito (referrence to incident at Pandarpur) and Naradagurusvami (Kirtana in token of Sri Narada maharishi's blessings on Sri Tyagaraja).

2. Secondly, there are compositions which portray the interesting incidents and episodes in the Puranas. Ninyako Ninna Hangyako; Haridarshanakagi Naradaru baralue, Ambe- galikkutali (Dasavatara Varnana); Yantaninne varnintunu aabaribhagya, Majanaki, Badalikadira are examples of this class of compositions. 38 THE JOURNAL OF THE MUSIC ACADEMY [VOL. XVIII

3. Thirdly, there are numerous compositions which vividly reveal how keenly they were moved by and how they evinced heart-felt pity on the corrupt world in the grip of , Dharmakke Kaibaradikala, Dudukugala are in­ stances in point. 4. Next, there are compositions which convey to the world the basic philosophic truths and the golden codes of morality. “ Samsaravemha Bhagyavirali kamsari neneva saubhagyavirali manava shodisabeku, holati holaya yivaravaralla, Nambadiru, yideha, yaru sangada bahavarilla; Samsaralita yemayya, Mans* sunilpa sakti, Yentaranithanakenta poni,-compositions of this type are full of philosophy. Yidu Bhagya, Harikotta kalakke, Muthaideyagirabeku; Santamuleka Saukyamu ledu, Bhuddi radu, are some of the innumerable compositions pregnant with moral. 5. Compositions that belong to this category are mainly devotional, exposing to light all the nine kinds of devotion (Nava vidha Bhakti). Of the several Kirtanas that fall to this group one for each type of devotion is taken from each of these authors and given below :—

Navavidha Bhakti. Purandara Das's Thyagaraja s Kritis. Compositions. i. Sravanam. Kathasravanamado. Ramakatha ii. Kirtanam. Harinamakirtane. Atade Dhanyadu namakirtana parudu. iii. Smaranam. Smarnevonde Smarane Sukham. salade. iv. Padasevanam, Bide ninna padava. Sri Rama Padama. v. Archanam. Karagaleradu ninna Namakusuma. narchisali. vi. Vandanam. Saranuninagembe. Vandanamu Raghu vii. Dasyam Dasanamadiko Dasoham viii. Atmanivedanam Matapitaru Ninage Svantamunu saroja- ande maridarenna munu samarpanamu jeya ix. Sakhyam Y endappikombe. Atade...... salpamana* yundu. PTS. I— iv ] t t a g a r a j a a n d o t h e r vaggeyakaras 80

6. Having fully realised the basic truth—Anyatha saranam nasti tvameva saranam mama,—both Sri Purandara Das and Sri Thyagaraja have, in a number of their kirtanas such as Nina* garu sariyilla yenage annyagatiyilla, balavu balave ninna bala- vallade, Nivantidaiva, Grahabalamemi Sri Ramanugraha balame, —vividly brought home to the minds of the people the greatness of God and the littleness of man (Naichyanusandhana) and the entire dependence of the latter upon the Supreme Lord. It is their firm conviction that it is only through this system of Nava vidha Bhakti, that one can cherish an unstinted, unbounded love of the Lord. At the same time, they are fully aware that this path to Salvation is not a mere bed of roses so that anybody can embark upon it and reach the desired destination. There is a pretty large number of kirtanas such as Mudaballane Dri- dha Bhaktiya, Sadaravallavo Nija Bhakti, Adikadu Bhajana, Etulainabhakti, Dehi tava Bhaktim, Ur eke galguna Ramuni Bhakti—wherein they have warned us against the endless impending obstacles in our way to cherish the unswerving Love of the Lord who would be the last to be pleased by the travesty of Bhakti. They have pointed out to the world in the clearest possible terms that Truth and Virtue are of far greater value than rites and ceremonies and that it is the inward purity of mind and no longer the pomp and parade of religion that can help us to materialise our long cherished ideal.

7. Both Sri Purandara Das and Sri Tyagaraja have com­ posed several keertanas that belong to Utsvasampradayam—a significant feature of the Dasakuta. “ Yelayya Belagaytu, Melu- kovayya ; Yekaratiya noduva banni, Patikiharatire ; Kanda halukudiyo, Aragimpave, Dhamboolavakollo, Vidamuseyave; Lali, Lali ; are examples of this type of compositions. The fine ideas so well expressed in these kritis give us a glimpse of their close intimacy with God.

8. Next, we have the Divyanama kirtanas—a type of com­ positions suited for chorus singing “Jayatu Jayatu Sri Janaki” by Sri and Tyagaraja's Jaya Jaya Sitharam illus­ trate this group of kirtanas. 40 THE JOURNAL OF THE MUSIO ACADEMY [VOL. XVIII

9. In addition to the above kinds of compositions we have the Ugabhogas and Suladis of Sri Purandara Das and Prahlada vijaya, Naukacharitra etc,, of Sri Tyagaraja.

10. Lastly, but by far the moat important of all, we have a number of kirtanas such as Guruvina Gulamanaguvatanaka, Gurulekayatuvanti, Harinama kirtane anudina malpage, Mok- ahamugalada, Sangitagyanavihinaluku, Sangeetagyanamu Bhak- tivina, Talabeku takka melabeku, Sogasuga mridanga, Svara- raga sudharasayuta bhakti, Ramakathanandadiyuta sangita sastragyanamu sarupyasaukyada etc., etc., wherein they have laid stress on what they consider the surest and the easiest path to Salvation. That Divine Grace (Aparoksha) would be attained by means of devotional music through Gurupadesa is the key* note of their gospel. While ' to be in and yet out of the world ’ should be the fundamental basis for life in this world, ‘Bhakti- yuta Sangitagyana through Gurupadesa* is the way out of it.

Thus, by this comparative study of Sri Purandara Das and Sri Tyagaraja we are led to the inevitable conclusion that as poets, as composers, as reformers, as devotees, the similarity between them is so overwhelmingly conspicuous that both these day-stars on the firmament of carnstic music may be said to have their common home in the Dasakuta and that Sri Tyagaraja’s life mission is nothing but a continuation of that of Sri Purandara Das.

Even as this comparison of Sri Tyagaraja with Sri Puran-, dara Das has proved the supremacy of that great genius, so does in unequivocal terms the contrast of Tyagaraja with Muttu- swami Dikshitar and Sama Sastriar—the two leading persona­ lities of his time. A great devotee of Sri Amba and a Vag- geyakara of exceptional capabilities as he was, Sama Sastriar has not brought forth to light his reforming zeal in the same manner and to the same extent as Tyagaraja has done. Similar is the case with Muttuswami Dikshitar. He was an eminent scholar who had a deep and profound knowledge in Mantrasastra, Yoga- ssstra, Astrology, Advaita philosophy and his kirtanas are simply flooded with his vast knowledge in these sastras. His p t s . i — rv] THE POETRY OF TYAGARAJA 41 compositions are again a genuine reilection of his ardent love of and deep knowledge in the Sanskrit language and the virile and dignified phrases of Sanskrit speech, delightful and graceful yati, prasa and antyaniyamas with which his compositions are so diligently knit out are almost inimitable. As a staunch follower of Sri Venkatamakhi, he is an obvious contrast to Tyagaraja. The simple, soft-sounding, elegant, graceful and spontaneous out­ flow of Sri Tyagaraja’s compositions stand in vivid contrast with the highly scholarly, dignified and diligently worked out compositions of Dikshitar. Again these kirtanas of Dikshitar are severely lacking in the reforming and the philosophic zeal that is so strikingly predominant in the kirtanas of Tyagaraja. From the data so far available neither Dikshitar nor Sama Sas- triar seem to have to their credit compositions that fall to the category of Utsavasampradayam and Divyanama kirtanas and compositions of the type of Prahlada Bhakti Vijaya and Naukacharitra by Sri Tyagaraja. Thus, while in view of the lofty ideal before him, the medium through which he carries on his mission, and the results he has reaped of his efforts, Sri Tyagaraja stands in unison with Puran* dara Das, by virtue of his divine art, dignified language, elegant style, and variety of subject matter he has carved out for himself a position of unsurpassed pre-eminence in the realm of carnatic music.

THE POETRY OF TYAGARAJA

BV Y. M ahalinga Sastri, m.a., b .l.

Of love with silence blending. Slow to begin, yet never ending, Of serious faith and ihward glee/—Wordsworth. Sri Tyagayya lived throughout an emotional life and it is no wonder that he has left us a continuous record of his lyrical effusions in his kirtanas. We see in them the transmutation 6 42 THE JOURNAL 0 7 TEE MUSIC ACADEMY [VOL. XVIII

which secular affairs undergo in the experience of an emotional man. The process is one of rarefication of the drab and matter of fact in life for extracting their higher values from a position of moral detachment. Every change in the pressure of the surround­ ing atmosphere leaves its record on the sensitive barometer of the subjective visualist. We read in it the high tension, the low depression, the sharp disturbances and the lovely calm. There lies deep within all this surface phenomena, the permanent glow of the divine longing, like the submarine fire of mythology fed by the very water which must extinguish it. It is a divine dis­ content, a latent memory of the primary fall* a pathos of the present plight in the faint flicker of the glory that had been, an endless pining for the ever elusive beatitude. Thus is imparted a melancholy touch to the strains of the singer which even the lay ear can detect, but only a contemplative mind can account fori. Sri Tyagayya strove for a spiritual goal and in the end was happy in the realisation. But it is the effort and the struggle, the hopes and the disappointment which it is given to us to follow in his compositions. The whole paraphernalia of Vipra• latnbha becomes applicable to the soul striving towards the Lord —the ardent passion, the happy visions during day dreaming, the acute misery, the abject helplessness, the indignant challenge, the pliant submission, the perverted rejection, the sweet recol­ lections, the bitter regrets, the eloquent praise, the incensed invective, the proud interest, the interim indifference, the ecstatic delights and the painful vacuiity. This divine madness of Sri Tyagayya constituted his inspiration for his song effusions. The hard realities of life only pressed him on like tormenting Foot Note 1 A learned professor and a philosopbioal writer once listening to a musio performance in a marriage pavilion observed, to his equally learned friend a Judge of the High Court, rather oomplainingly that every suocessive pieoe sung by the artist was plaintive in tone and that in this Tesp'ect other systems of musio compared favourably with our own. I was not fortunate enough to make out what opinion the judge expressed on the point, but I inwardly admi­ red the delioaoy of the ear of the professor who certainly professed no know­ ledge of musio and took his remark as amounting to a just compliment on the musioal taste of the vooalist, (—it was Mr. Musri Subrahmanya Aiyar) who rendered the pieces with suoh approximation to the emotional attunement of the oomposer, Sri Tyagayya, KTS. I— iv ] THE POETRY OP TYAGARAJA 43 thorns to flee past them. Sometimes he picked up spirit to look upon them with scorn and look forward with hope and joy. More often he bewailed their irksomeness and deplored his helpless­ ness. He called to his succout his chosen lord and was never tired of making out an endless train of pleadings (or His benign interference, though there was scarcely even an indication of the vouchsafed grace. The kirtanas which are supposed to have been composed by Sri Tyagayya while he was robbed of the images of his worship, are all capable of being connected with the fundamental craving of the devotee for a vision of God. The particular motives for the outburst, if there were any, are all raised above the trivialities of life and rarefied into something attuned to the permanent attitude of the devotee to his deity. Even in the kriti reputed to have been sung by the master-com­ poser during his visit to Tirupati when he was confronted by the screen before the idol, it is only the curtain of Matsara, hate or jealousy, the removal of which is prayed for. This Sadharanu Karana is the primary condition of poetry and the undoubted autobiographical touches of Sri Tyagayya are presented to us by him with a fresher and larger vision of their more enduring signi­ ficance. As a saint in the essence of his nature, he had no private grievances to vent against anybody but criticised secu­ larism and cant, revelling in the illumination which was vouch­ safed to him as a result of his single minded devotion to Sri Rama. From his heights he could look upon worldly attractions and material advantages with scorn or indifference. He had a special thrust of condemnation and redicule for the imposters who in the guise of Bhagavatars possessed an eager eye for pecuniary gain, temporal advantages and gratification of the wealthy. But whatever might have been the spur of the moment which excited his musical response, Tyagayya disdaining to lift into a poetic topic the phenomena of transient life, sublimated all such experience for greater ethical and spiritual purposes. He speaks with a genuine voice ; his language is simple; his similies are homely; his allusions familiar; his ethics pure; his attitude to life sweetened by love and soaked in sympathy and his senti­ ments devout. His utterences leaping from the core of his heart are full of vitality and fascinating with a display of all the tints ii THE JOURNAL OF THE MUSIC ACADEMY [vOL. XVIII

of his varying moods radiating through the hundred faces of live’s vicissitudes. His faith was firm, for the revered old men had declared—"For those who believe in God, there is God,” 2 and he was in the end granted the wished-for-vision. His soul found peace blooming with love and ecstacy in the realisation of the light eternal. It expanded into the universal and thus we find it in us to-day as something of the core of our own being, insepa­ rable, ever uplifting and enrapturing. Sri Tyagayya's volume of songs is not less valuable to us as a literary output of immeasur­ able eminence than the vedic hymns of our , the Psalms of the Bible and the devotional poetry of the Tamil Saints.

Supplement o f Illustrations Seeking God

1. Nertendu Vedakudura—in . Where am I to seek you, Oh Lord 1 who did not reveal Himself to the fourfaced Brahma praying for a vision—1, Thyagaraja, who am sinful in thought and deed, and prone to talk abusive language,but call myself ostentatiously a notable Bhakta on Earth. 2, Etavunno ra nila gada niku—in Kalyani. Where is your abode! 1 am unable to trace you, Oh Lord 1 Am 1 to seek you in the Trinity of with their consorts, in the elements, in the manifest universe, or where ? 3. Endu dakinado—in Todi. Where has He concealed Himself, in readiness bb usual for giving succour to the faithful I When will He take on me ? Oh heart I Why this restlessness ? Please listen to my words 1 In those days of yore when Hiranya- kasipu thoroughly proved himself harmful to the worlds and per­ secuted in diverse ways his own son the stern Prahlada, did not the Lord unable to remain indifferent inhabit the interior of a pillar I When formerly the son of (Valin) haughtily dealt blows on the son of (Sugriva), did not the Lord, melting at heart with compassion and for giving succour, lovingly take his station behind a palm tree I Similarly even now He waits some where near at hand to protect Tyagsraja one of His devotees of

Foot Note 2 Kaddana Varild Kaddu Kaddani. PTS. I— IV] THE POETRY OF TYAGARAJA 45

unflinching faith through the effa.cement of the sins of several earlier births and the suppression of the foes namely the senses.

At Tirupati 4. Teratiyaga rada—in Gaulipsntu. Oh Venkataramana of Tirupati 1 Will you no.t remove this curtain of pride and hate of the mind which hangs across the paths of virtue and Salvation !

References to Persecutions 5. Marachevada na—in . Let alone the fact that worthless men pitilessly heap false accusations over me. Oh Rama I you must remember that 1 am not one who ever forgets you, 6. I varaku juohinadi—in Samkarabharananam. Is it not enough that you have looked on with indifference so long ? Are my sins so iiflmense that they defy purification ? I have taken refuge under your feet being persecuted by men entertaining jealousy against me and devoid of fear of the other world. 7. Paluka vemi na—in Purnachandrika. My Lord I Why won’t you converse with me ? Is it fit that others laugh at me ? What is the reason of your disgust of me ? I dance to your desires 1 My parents put me in the line of true devotion with a view to my well being. But the rest did me untold harm know­ ing all this, how long will you remain indifferent ? 8. Adaya Sri—In . Oh merciful Lord ? Why that reputed compassion of yours is not in evidence to-day ? You have been protecting me always with affection, inspiring me with true devotion 1 Did you not declare that all abuse, injury and persecution directed against me would be regarded by you as such directed against you yourself? Did you not strengthen me to put up with the innumerable charges, (brought against me by others ?) Did you not foster me with care giving me food and betels in order to make me look well ? Did you not enrapture me with the assurance that you stood to me in the place of my parents ?

9. Nadupai balihtru—in Madhyamavati. People say that I have nourished the roots of (birth and death) the cycle of life 46 THE JOURNAL OF THE MUSIC ACADEMY [VOL. XVIII

(that I have divided the house into two). I have merely accept­ ed the comforts of life as far as they legitimately fall to my lot; but have I ever declared that the end of life is to amass wealth and to feel the pride of being without an equal ? My mind has accepted the house merely as a place wherein it will be con­ venient to celebrate the devotional festivities; but did I ever call for its division into two portions being intolerant of the supre­ macy of any one in particular ? As a matter of fact, I regard life as a toil and hold honour supreme; and I have not applauded a course of life alien to the ancestral traditions. Oh Lord I You readily take into your protection all those who in this earth wor­ ship you. Do 1 not belong to you ?

Contempt for Impostors in Bhakti

10.. Teliy aleru Rama—in . Oh Rama 1 these men do not understand the true ways of devotion even though they roam all over the wide world freely after gaining wealth, rising early in the mornings, plunging into the waters and wearing the sacred ash and passing in the world for respectable and pious man. 11. Kalitiarulaku—in Kuntalavarali. Verily there is no use of preaching your exalted glories before the people of the age. Have the bulls roaming about on earth any capacity to appreciate the sweetness of flattened rice ? These men assume the guise of God’s devotees for the sake of supporting their women and children, for gaining wealth, for attaining celebrity in their loca­ lity and for rising to importance in society. 12. Adikadu bhajana—in Yadukula Kambhoji. One thing at heart and another on the exterior is not true devotion. Ambition for seeming big and thirst for sensual pleasures and adoption of various showy pretences for imposing on others ill combine with true Bhakti. 13. Tappagane Vacchuna—in Suddha Bangala. Your grace Cannot be obtained by those who mindful of their physical com­ forts seek vain glory emulating others better placed in life and adhere to practices of devotion for the sake of money, embroi­ dered shawls over the shoulders and sumptuous feeding. PTS. I— IV] THE POETRY 0 7 TYAGARAJA 47

14. Dhyaname Varatniaina—in . The hypocrisy and unscrupulous greed of the mind cannot be washed away by ablutions in the celestial river. Nothing purifies the heart like contemplation on Sri Rama, which Tyagaraja knows must be accompanied by absolute indifference to the properties and women of others, and abstention from defaming or hurting others.

Contempt for Secularism 15. Ramanannu brovara-^in Harikambhoji. Tyagaraja is not of that sort of men who borrow indiscreminately for bluffing in life and dare to do culpable deed for proud self-assertion. 16. Entanerchina—in Udaya Ravichandrika. Those men who heedless of the virtuous path firmly proclaimed by the staunch and single minded devotees of , resort to uttering lies in the wretched lives they lead, full of oppression of the week, coveting others' women and wealth and scandal mongering, are no better than slaves of women, whatever might be their station in society, their learning and their practical wisdom. '

Contempt for the wicked wealthy 17. Durmarga charadhamulu—in Ranjani. I cannot address the base and wicked libertines as ‘^Oh my excellent master I”; for Oh Lord of righteousness ! I rest on the conviction that you are my wealth, foodgrains and God 1 Oh giver of prosperity I how can I extol the damned rogues who dispense their reward in open competitions of merit to degenerate and undeserving men ? 18. Nidhi chala tuhhama—in Kalyani. Which is the source of unmixed happiness-treasure or service before the divine presence of Rama? Oh heart 1 tell me the truth. Which is the sweeter of the two-curds, butter and milk, or the ambrosial juice of medi­ tation and Bhajana of Rama? Is there happiness in self-control, tranquillity of mind and in gangetic ablutions, or in plunging into the muddle of the well-water like wicked sensual desires? Is there pleasure in flattering conceited men of rank and position, or in singing 'the names of the Lord adored by the wise Tyagaraja? 19. Kripa juckintiku in Chayataragini.—The wealthy class have no knowledge of the true path. They are worshipped by 48 THE JOURNAL OP THE MUSIC ACADEMY [VOL. XVIII degenerate men. They have not the slightest fear of the other world. Homely Similiea and Popular Sayings

20. (a) If Somidamma is enamoured of gallant youths will Somayaji ascend to heaven? (b) What is the use of explaining to the bull the taste of beaten rice? (c) How can an actor in a female role understand the virtuous ideals of a chaste woman? (d) Tyagaraja finds satisfaction in the contemplation of God’s glorious attributes even as other men find satisfaction in eating different kinds of preparations in a feast. (e) Like mirror for the fruit (or bruise) on the palm, (no proof is necessary for what is itself evident). (/) Where there is the excellent royal road, why should you wander into the narrow lanes and blind alleys ? Why ahould you drink the unclean while you have with you milk of excellent quality? (g) Whether you bathe in milk or in water your refuge after all is the lotus-foot of God. (h) Like the injury aimed^at the head hitting the turban. (») Time will pass but the word will last. (j) Can the cook obtain the honours of the Tirumanjana? (A) What is the use of the mother getting enraged with her son-in-law when the daughter is unable to bear the labour pains?

Wedded to Rama Bhakthi from Early Life 21. Innallu dayarakunna-in Narayanagaula:—Why have you not taken pity on me for such a length of time ? From my early age did I place faith in anyone except you? Did 1 ask you to cause wealth, elephants and horses to be obtained by me or demand of you gifts of gold? Have I forgotten to treasure you up in my heart as my ancestral wealth?

22. Chinna made na chat-in Kalanidhi:—You took my hand even during my younger day* promising to accept my services and protect me all through, M S . I— IV] THE POBTBY OP TYAOABAJA 49 23. Patividuvaradu-in Mknjari:—From the date of my birth, having admitted me as your devotee and accepted my hand for protection it is not meet that you should now relinquish me. 24. Chant todi ttve Oh Manasa-in Harikambhoji:~Oh Mind! (addressed as a maid) go and bring him here quickly taking him by the hand with a loving look, for my enjoyment of ever­ lasting pleasure, him who is the sovereign pledged to the protec­ tion of the destitute, who has Vasishta for his most truthful adviser, who excels by his lustrous beauty a hundred cupids and who is the captivator of my heart. 25. Paluku kanta sakkarqyi«—in Navarasakannada. Oh Maids I look at the son of Dasaratha adorning the audience hall ! His loving words put to shame the candied sugar. He is listening with interest to the music of the celestial damsels and witnesses the dance of the courtezans brimming with erotic suggestions.

Despair and Grief

26. E papamu Jesitira— in Atana. What sin have I commit­ ted, Oh Rama, that you withhold your compassion from me, however much I might try to secure it ? 27. Karuna tamudra—in . If my sins should remain with me as oppressive as ever. Oh Lord of I what becomes of your reputation as “ the ocean of compassion," always awake to allay the heart-sores of those seeking refuge under you ? 28. Toline Jetina—in Kokiladhvani. So poor indeed is the fruit of the worship which 1 did with all my heart in my pre­ vious birth. But Oh gracious Lord 1 You need not worry yourself about me. Perhaps 1 put on the robe of a Bhakta during an inauspicious hour I You are so slow to take pity on me as if pity were a commodity to bp purchased ! Alas ! When shall 1 be free of this agony ?

29. Koniyadetu—in Kokiladhvani. Oh dear Lord ! Are you purchasing for value the compassion which you eitend to those who sing your praises with sincere and deep affection and at all times ? Do you not know that in fact 1 am not one who 7 SO THE JOURNAL OF THE MUSIC ACADEMY [VOL. XVIU

ficklemindedly changes from one wonderful creed to another and becomes miserable ? 30. Mivalla gunadotha—in Kapi. Oh Rama ! It is not any fault of yours if my greed and my affections make me wander about in vain. Is the goldsmith to be abused if your gold is not of the purest quality ? What is the use of the mother getting enraged with her son-in-law whpn the daughter is unable to bear the labour pains ! If you haye not made meritorious gifts in any of your previous births why do you complain against the Gods you worship ? 31. Ninnada ttela—in . Why should I complain against you I Why should I be vexed with each and everyone about me) Whatever happens is according to . Divine protection will be vouchsafed to one in just proportion to the standing to one’s credit. The accomplishment of Siddhi (mystic powers) will correspond to the control of the mind. Amusements and sports will be indulged in accordance with the magnifi­ cence of riches. I have learnt these truths, Oh eternal One 1 32. Prarabdha mittundaga—in Svaravali. When the opera­ tive karma of my past births works itself out in this manner, why should I hold another responsible (for my misery) ? Oh merciful Lord ! while 1 am serving them, they do me disservice; while I expect compassion they contemplate cruelty; these fickle-minded insincere hoaxes of devotees looking at me bear enmity ; Oh, friend of Tyagaraja 1 when you are there, the protector of men, the abode of goodness, the giver of boons, the eternal One 1 Blessed at Last 33. Enta Bhagyo mu ma—in Saranga. How blessed 1 am that you have become my protector I In all the three worlds is there anyone my compeer I You came to me, spoke to me kindly and protected me dispelling completely my care I You came to my rescue as you did formerly in the case of the rishis who lived near you by showing your might in the battle field. [Note.—reputed to have been sung after the prayer of Mundu- vertaka was heard and fulfilled.] 34. Nidayuahe—in Yadukulakambhoji. Oh Lord 1 1 have attained eternal bliss through your grace for your form is in PTS. I— IV] THE POETRY OP TYAOARAJA M essence the blissful. Almighty, musical rhythm- soft in words, decked with the jewel-like sweet tones and well attired with Tyagaraja'a compositions.

35. Kanuhontini—in Bilahari. 1 have this day se'en with my eyes Sri Rama the Lord of Sita, born of the solar line of kings, attended by Bharata, Lakshmana and Satrughna, whose feet are being pressed by Hanuman and who is bowed to by the brave Sugriva and the rest.

Revelling in Rama Bhakti 36. Pantu ritikolu—in Hamsanada. Tyagaraya is fur* nished with the strong armour of Rotnanoha (hairs standing at their ends), bears the badge of a Rama Bhakta and carries the sword of Rama Nama.

37. Into scmkhya—in Kapi. It passes the power of my words to express the heights of this delight~what a plenitude 1 What rare excellence I who can tell knowingly ? Only love can know its nature. Perchance, Sankara knows it- He who tastes the nectar juice of Svara, Raga and Laya mixed with the candied sugar of Rama Nama 11

38. Rama Bakti Samrujya—in Suddha Bangala. The very sight of such men who have obtained sovereignty over the empire of Rama Bhakti transports one to the heights of ecstacy. It is not possible for me to describe its nature. It is capable of being understood only through individual experience.

39. Smarane Sukham—in Jana Ranjani. For being born a human being happiness consists of contemplation of Rama Nama in. which delight those who practise Rajayoga. Through the hearing of &ama Nama, the name and the form fill the heart and endearment is born unfailingly.

40. Ninuvina nama dendu—in Navarasakannada. My mind rests not anywhere except on you, for O Hari I your beauty is in­ describably delightful to the eyes. Oh giver of prosperity I your name is ever on my mouth. Wherever 1 look it is only yoy that I see before me. Oh Ramal the adornment of the solar race I 1 02 THE JOURNAL OF THE MUBIO ACADEMY [VOL. XVIII

am proud to call myself your devotee. All deceitful words have turned to be charming. You are the reward of all my penance, you 1 adored of Tyagaraya !

THE PHILOSOPHY OF SRI 1YAGARAJA SWAMI. BY

Dr. T. S r i n i v a s a R aghavachariar . The centenary of Sri Tyagaraja Swami's entering Samadhi. which is now being celebrated wherever Carnatic music is being sung, has given one and all of us an occasion to express our gra­ titude and reverential admiration to the Saint-Bard of Tiruvaiyar for the valuable contribution he has made to our thought in vari­ ous spheres. Some have found in him the versatile composer, whose variety of compositions, ranging from simple ones which can be lisped by a child, to others which will test the mettle of the greatest musician. Some others have been drawn to the raga bhama of his kritia, while still others have admired the artha bhrna, lyrical excellence, and so on. Only a few have gone deeper into the truths behind these musical gems and attempted to see what moral they have to teach us. 1 have in a humble way spent some thought on this aspect and feel that the spirit of love and sacri­ fice and the university in outlook that are reflected in these spon­ taneous musical outpourings deserve a closer study. They are of significance in the present times of discord, strife and hatred. The philosophic interpretation of aangita and nada that Swamiji has given is a thing more to be contemplated on than described in words and least of all in English. As he himself says with reference to “ Rama bhakti ’’ ;

“ if eoir&esR aSaiifhhuQeo^i errsoir avaiirj^ueu (Sgu^ ujCSil ’’ This a subjective experience to be felt individually. How­ ever,! have tried to indicate an approach to this abstract subject of absolute music and 1 hope you will find it acceptable. PTS. I— IV] THE PHILOSOPHY' OF*SBI TYAGARAJA 53

Sri Tyagaraja never perhaps claimed to expound any new system or school of philosophy. He laid stress on certain funda­ mentals common to all philosophic thought, viz., the emancipa­ tion of the soul from the series of births and deaths. He refers to this in his Mukhari kriti " Entani ne Varninthunu ” as L^esrjrirdjQ^^^ jrpi&jBugi and extols how Sabari secured this through her bhakti. He also describes this emancipation of the soul as “ l/lL® sadhana of nija sangita- His philosophy may thus be stated to be the philosophy of nada, the transcendental sangita, if one may so call it—from which the seven swa/ras came into being. The conventional music that we normally hear and enjoy is only a step in the ladder. Sangita has a divine origin and is associated with Divinity. The Lord is described as being entertained in Paramapada ” to celestial music by the “ nitya sooris ” . A common attribute of God is “ Gana Lola". Sri Tyagaraja refers to Him in one place as “ Swara Layadi Moorchanollasita." The glorious descriptions of the Supreme Being given in the kritis “ Dorakuna Ituvanti ’ ’ (Bildhmi) and “Koluvaiyunnade" (Devagandhari) are thril­ ling epics indeed. The influence of music on man is something remarkable and mysterious. This defies scientifc analysis. Sir C. V. Raman, one of our greatest men of science, has confessed that science has nothing to tell us whatever about why music has such an influence, why it thrills the innermost core of our being. Per- haps here lies the secret of its universal appeal. Music, in its appeal, has not discriminated between Muslim and Hindu, Tamil orTelugu, race or country. Our great musical tradition in India has been kept alive by means of masters of both Hindu and Muslim communities. If this truth is realised for a moment the spirit of brotherhood must re-assert itself. Sri Tyagaraja's kritis referring to sangita and its high purpose will be a permanent reminder for all time to come to those who would aow seeds of strife. They underline the Lord’s statement; 84 THE JOURNAL OP THE MUSIC ACADEMY [VOL. XVIII

“ I dwell not in Vaikuntha, nor in the hearts of the Vogis, nor in the Sun. But where my Bhaktas sing, there be I, O, Narada 1 ” Let us now examine step by step how he explains this musical path to (salvation). In his serene Chittaran- jani kriti “ Nadatanumanisam," Sri Tyagaraja mentions the birth of the swaras “ Sa ri ga ma pa ’’ from the five faces of San­ kara (‘Satyojatam’, ‘ Vamadevam’, ‘ Aghoram’, Tatpurusham ’ ‘ Eesanam ') who was himself a great nadopasaka. Our Saint conceived Godhead in nada roopa and uTged everyone to follow the illustrious worshippers of nada. such as the (Vishnu Siva and Brahma) Anjaneya, Parasara, Subrahmanya, Ganesa, Narada, Tumburu, Gowri, and a host of others. (Vide his kritis : “ Nadopasana Nadaloludai *' Vidulaku ’’ “ Sangita Gnana- mu ” etc.) It is significant to refer here to his brilliant Kalyani piece “ Bhajana Seyave " for it mentions that from nada was pro­ duced Pranma or the Omkara (constituting the sounds of A U, and Ma). By the process of natural variation (Shadja—) the swaras came into being, sa to pa, pa to ri, ri to dha, dha to ga, ga to ni, ni to ma and the cycle ending with Suddha ma to sa. The chara/na of this Kalyani kriti records in the order of succession : “ tBirp ujreasreu eroujserveuir (Saipeuirmr atreivfijr i-ijrir^^l eg te fy asrrsu GujEOpaeSGs ” etc.,

What exactly is nada ? This is the transcendental music produced ever in the human body by means of the life process going on unceasingly. The origin of this is the " Mooladhara ” corresponding to the centre of the body, below the “ navel ” (nahhi). Sri Tyagaraja states in the oharana of his familiar piece in Sankarahharana^ “ Swara raga Sudharasa ” that nada (of the transcendental type) is produced at the " Mooladhara ” , the swaras being the products of the process of variation mentioned above. His words are: “ ^peoir^irjrgj tir# Qw^yia^CoL- QP0u>(§ Gu)tr&Q.Qf)jrir, Qsireoirpoeo aoupdoosir (gfQ&Qp Quiir^,Qfiffir Nada would thus seem to be the resultant effect of the yagna or life process going on in the body. The holy fire (creative element) PT8. I— iv j THE PHILOSOPHY OF SBI TYAOARAJA 66 at the “Mooladhara" ia kept alive by the dropping of the sacrifi­ cial ghee (life giving principle) from the ‘‘Moordha Brahmarand- ram corresponding to the top of the head region. The two essential elements meet at the “ H ridaja’’. This is brilliantly explained by Swamiji in his piece “ Mokshamugalada This process is pointedly referred to in it as “ Prana Anala Samyogam ”, The “ Pranava nada ” and " sapta swaras ” are produced by this “ samyogam ” (union), he adds.

“ uinr(§00)0X60 6rvth(2 ujrr&(ipeu&)60 list emeu isirfishufieroeujrQfi&o ujrQa. ”

The moral of the kriti is that one who can get himself to experience this All-Powerful force (Atman) within himself reali­ ses the Infinite. In other words he stresses the Truth, “ the body is a Temple of God, seek Him in your own heart and worship Him." It is interesting to see the exactly similar presentation of this concept in the Tamil opera *' Nandanar Charitram,'* which records high philosophic ideas in the garb of a common story. Gopala Krishna Bharati puts it in the mouth of Saint Nandanar, who in reply to his employer asking him for spiritual advice, says, “ It is a difficult and disciplinary process to seek Him. The path will be opened to you if you concentrate on the life process within yourself." He refers to the “ Mooladhara nada as " Moolakkanal “ in the song “ Aiye Mettha Katinam.” " euir&turGeo (yieo&aaxA eff@(Buj &tfidirjpieujru ^en&ueurexsflu u a a f l i i jds (gesarL-edenuj oSlLi—itlL®(Sil— u>ax(ifiiL®<3u) (Su)(S60irLL®(3ui-.—aiffl a riL ® (2u ).”

The “ samyoga" referred to in Tyagaraja’s kriti has been expressively and characteristically indicated in the “ chinmudra*’ of Sri Dakshinamoorthy. (The thumb and pointing finger of the right hand are shown as united in vigrahas of this deity). Sri Tyagaraja reminds us of the same point in his Kharaharapriya kriti “ Nadaehi Nadachi.*' He urges the concentration on Sri Rama residing in our heart (Atma region) in company with His Consort, Seeta (the life-giving element). 66 THE JOURNAL OF THE MUSIC ACADEMY [VOL. XVIII

“ tAero-^p ewfiiDiru^eBL- Q&eoiiiQa U,ir axpieafl ^fBLtir jriTQfiesf) <&.uf-tuiru.

This truth ia pointedly contained in the following lines of the Tirumular Tirumular Tirumantram.

ju QjqjfiB# 0u>//7, 0 0 tl(p l/su u>0 lL(^. -Ayai&sr iLSBuru) LfifU fiorQ m . The reference ia to the union of two forces to produce the All-Powerful. It is a pointer to “ Atma gnana.” One will now find the explanation for the frequent emphasis thus given to “ Hridayasthana.’' The kritis “ Marubalka" (Sriranjani), the "Nama Kusuma” (Sri), “ Ksheenamai Tiruga” (Mukhari), “ Bhajana Parulaku” (Surati) and “ Siva Siva Enarada (- vardhani) are only a few of such thought-provoking kritis of his. Perhaps we see a similar significance in the sign of the Holy Cross. One can explain at length the yogio interpretation of this symbol of unity, but it is enough for the context to say that the horizontal line represents the link between the two ears or the sabdotmika submerged in the Akasabhoota which ia the moat ethereal or sookshmio. The vertical line indicates the life line or the sushumna linking the centre of the brain and the Mooladhara through the heart. Another horizontal line if drawn from the (centre spot between the eye brows) to the back of the head will pass through the junction of the two lines men­ tioned above. At this “ Triveni Sangam” are found the pineal and pituitary glands corresponding to Sakthi and Saktha. By its very nature, the process referred to earlier, will be intermittent or alternating, the frequency of makes and breaks of the spark of sacrificial fire depending on the speed of the flow and multitude of thoughts producing the energy for the yagna. The state of freedom from body consciousness needed for con­ templation is brought about by only one of two ways. The yagna is suspended when the body dies and “ Viyoga’’ results. The other is by “ Samyogam” or the disciplined process of controlling one’s thoughts and fixing the mind on the Universal Being centred in the heart. This great truth is behind the Poornaohandrika kriti PTS. I— IV] THE PHILOSOPHY OP SKI TYAGARAJA 67

“ Telisi Rama Chintanato.” The Saint urges the control of one's thoughts even for a moment and concentration on the true nature of the "Taraka Roopa” of God. (“Talampulanni nilipi nimisha- maina Taraka Roopuni nija tatvamulanu Telisi Rama chintanato Namamu Seyave” ). It is perhaps appropriate to mention here how Sri Tyagaraja himself explains his choice of Sri Rama for devotional worship. To him Rama was an ideal of perfection. He identified Rama as the Paramatma, the Supreme Being who is above the three gunas (Rajas, Tatnas and Satva) represented by Brahma Siva and Vishnu. In his scintillating Durbar kriti ‘‘Endundi Vedalithivo” he compares the traits of Rama with those of the Trimurtis individually and concludes how He is a “ Triguna Ateeta." He describes this also in his Eesa Manohari piece “ Manase Sri Ramachandruni,” ‘ ‘ L^^uf. ise^uf. uj£i£)i U)j£i&j$l ir£ jp 60 Q sirenS ’ * Else where he describes Rama as “ fiiru>6n)r£jl raeasr iratfl * His choice of Rama is also based on the secret of the sounds conveyed by the syllables " Ra ” and “ Ma ” The familiar kriti in Nadaehintamani “ Evarani Nirnayinchirira ’’—one of those master* pieces in an apoorvaraga—divulges the secret pithily and tersely* The syllable " Ra ", the master explains, is the important one (Bheejakshara) in “ Madhava Mantra ” ( ibG iait isirgiriuf^fiu) and " Ma ” is the counterpart in “ Siva Mantra ” (/su^siiriu) ** jtlo ” or the dfgQU) is at “ Mooladhara ” and the 11 LDth ” or S o t d fgjib is ot the "M oordham ” . The Samyogam at the Hridaya Sthanam produces '* jrriD what he Ascribes as " Atma Rama ” elsewhere. He is convinced that Rama is the Parabrahmam, the only Being who can free us from the evil of births and deaths. To go back to the concept of Nada, it is interesting to see the Saint's presentation of it in another form in his Jaganmohini piece “ Sobhillu Septa swara He points out the centres in the human body corresponding to the Swaras (“ Nabhi Hrith Kanta Raeana Nasadulayandu This supplements the idea conveyed by the Kriti “ Swara raga sudharaaa ” mentioned earlier. 8 68 t h e j o u r n a l o f t h e musicj a c a d e m y [v o l . I V I 0 This ascending order of the seven Swaras is also gloriously and picturesquely conceived by Sri Tyagaraja as “ Nadachala D eeps” in the charana of his Hindola kriti “ Samaja Vara gamana ", “ (Sau0 @(8irirtcir wuperoeuir KtT/6 ” The Seven Hills (Tirupati) represent the swaras and the Paramatma is seated at the top of the flight of seven steps, as it were, as a shining beacon. The subtle reference to ” Deepa ” ia also masterly. Does not one see the lightning before he hears the thunder ? Both, however, constitute the same phenomenon* The Swamiji's Sowrashtra “ Mangalam ” expresses a similar idea : “ Nee Nama Roopamulaku Nitya Jeya Mangalam” , The ” Nama ” is heard while the “ Roopam ” ia seen. Tirupati may be said to be the “ sthulic” symbol of nada, while its “ sookshmic ” image is seen at , the temple of seven prakarams, corres­ ponding to the seven notes encircling the “ Hridaya ” , As the Oadyarn says, ''...ffitBpiriLesafl laiuiapmr aneugaxsrL- is&<3p (Sis&irir'sibp

s(2jr— eexsTt— Wirir/spirtahri— uyskri— eo eSeoati# eroup (Sarnia ujrirairjr (S&irurtuuiirasr uir^i(Ssiruf. auairis aiffej dopihuir o f f stOQifls: en}~°anrmr uman—utriipCSjr ’’ etc. (aiggircio&uiu describes the av^a^^tissr). The origin of swaras from nada is thus divine. Besides the kriti in Kalyani O’ Bhajana Seyave ” ) and the one in Arabhi (” Nadasudharasambhilanu ” ) there are several others in which this aspect is delineated. Seen against this background of its origin the true nature of sangita—the conventional counterpart of the eternal and transcendental Nada— will be fully realised. The need for the necessary adjunct to Sangita, viz. Bhakti (single- minded devotion) will also be appreciated. “ Prema ” (love) and ” Nishkamya ” (not expecting anything in return) are other essential elements which elevate the quality of bhakti. There are seores of kritis which describe the qualifications of a true bhakta. It is enough in our context to mention that Sri Tyagaraja describes the proper Sangeetha as “ Sadbhakti Sangeeta ’’ which alone will lead to Bliss. In his kritis “ Kaddanuvariki ” {Todi) •nd “ Sogasuga ” (Sriramjani) he stresses the need to offer bhajana I>TS. I— IV] THB PHILOSOPHY OP SRI TYAGARAJA 59 in suswa/rob and with suddhamQ/nasu, alert mind and 11 paddu tappaga Through this conventional music, he asserts, one muBt individually experience the transcendental nada within himsell and this is Divine communion. He reminds us of this truth in the anupallwvi and chair ana of his Chenchu Kambhoji hritv “ Vara raga layagnulu ” “ efcajffggirfEl {Lpi#&as3) Q up(y>«) aveuiriBpiDibgi Qjgediu& iLj

“ Q $Q> pueuLDUQ isirpopo) £§&JtuQu>etr u p east suit airir ldQ is ptrpmus Q uj£i& i§ unriBaja) $tu irsjrirffij£jp (JtuCo#®, Firm." The etate of Bliss is vividly described by'him in several kritis. They amount to this in substance : “ Wherever I turn, whatever 1 do or say or worship 1 see only you.’’

“ ( a /s api 6Tff&L- — ti&nGUtLjlE IB^ JIT ID ” “ Ninnu Vina NaMathi EnduNiluvade—(Navarasa Kannada) “ crihQjS&gi fijSffiesr . QtstiQ@igi ueSSrs - QiBi&Qfihjji Gerva9(Q&l6iT - QiBmQpisgi ^f$ui@iB iBeuiS Qpir# i_ ii jurgj ” etc. Neeke Theliyakapothe- Ananda Bhairavi, and ujf

■nd arts or performance of Japs, Taps, Yagna etc. will not rid us of the evil of births and deaths but bhajana (of Tyagaraja’s type) will. Surrender your will to the Omnipotent Being, for there is nothing that can be done without His grace. Concentrate on Him who resides in your own heart and seek Him through bhajana.

“ Sireuirenr /E/r/_en)iii(oa utn— piuirapirgj&i&iS ug% 5/r/r.” Let us join him in the worship of Sri Ramachandra singing ; “ ensmjririS gj/5is LDaeaorapepi (3«>0«abn_ unteroirjr p iu ira irtrgp,gn§anuiti &a)®)(3jr jriruif&pqbiS eauiS yso& A eoQ ff ’*

To my mind the surrender and renunciation conveyed in the “ Easamanohari " kriti ** Manasa Sri Ramachandruni" expresses Sri Tyagaraja’s faith.

“ qpjvlilL l-.fiiL/iluf.!* Qicm/S iq^pQuysa QfiQifbirgj£iuiruj(ifi60 gjT2)ff(?«/r ”

The essence of Valmiki’s Ramayana, he indicates, is to be found in the Eighteenth Chapter of the Geeta (“ ewiraufiriLiriB UJgjtLi iLrrQiL&ih effem th eiijrg}"). His “ Harikhambhoji " piece “ Undedi Ramdu Okadu ” is also significant. He says : “ gj£(Lpi§e6ru)- &-ewrQi—$ pirQfi® g > s ® " “ ea st L-iotrir jipire&sr L- LoptuLcemL-ev Qpisjji Q&g)iei(&>& - pirQfi® p&®"

The all-pervasive nature of the Supreme Being and the oneness of God are described vividly. “ He resides in you” . Last, I would like you to contemplate on the significance of his “ Vagadheeswari ” kriti ” Paramatmudu ” , stated to have been given as a message to his Sishyas on the eve of his entering Samadhi. The existence of the Paramatma in all states of matter, all kinds of organisms, animal kingdom, plant kingdom, animate and inanimate things and so on, cannot be described better. PTS. I— XV] THE PHILOSOPHY OP SBI TYAGABAJA 61

Tradition hat it that Sri Tyagaraja Swami asked his sishyas to observe a phenomenon on the " Panchami " day on which he entered Samadhi and those around him saw a peculiar ‘jothi’ and heard a peculiar 1 nada ’ emerging out of his body indicating his uniting with the Infinite. Sri'Tyagaraja’s kritis contain the essentials of , Sastras, Puranas, Upanishads etc. He describes the high value of “ Taraka ” in his Reethigaula piece " Ragaratna malika. ” He invites everyone to join him and share the l‘ etVSm it(§ LCtEisstriii.’ (The stress is on ‘'Makula ” and "Iha and Para.” ) Sri Tyagaraja’s Kritis are thus a veritable treasure indeed and it is inexhaustible. The more and more one hears or sings a kriti and enjoys its musical and philosophic content, new and fresh interpretations rush to his mind. As the appeal of his kritis lies in their bhaua (raga as well as sahitya) it is the sacred duty of all students of music to learn and to preserve the kritis in all their purity. The understanding of his kritis depends entirely on the amount of earnestness one puts into the task. The centenary, 1 hope, will provide some stimulus for such earnestness and sincerity. In the charana of the Sankarabharana kriti “ Enduku Peddala vale buddhi Iyyavu ” he significantly prays for the knowledge to understand the inner secret of nada.

‘ ‘ (3 sup ftrefopir ppeuirirp# Q$e8e(@ Caupps&p Q^eQetfl iBirp s3$tu LDirtuALjeojp QpeQerB ibirp piuira ffirgjj&p iSgjQps— GT&£i<§ QujipeoaiQeo q^^u3iuius^. "

Let us take the determination of purpose indicated in hia words “ kaddanu variki kaddu kaddu, peddala matala nedu apad- dham bhowna ” and follow him. 62 TEE JOURNAL OF TEE MUSIO ACADEMY [VOL. IV III

SRI TYAGARAJA

S ki C. Seshachalam C h e ttia r My first duty is to offer grateful thanks to the Music Academy for this opportunity they have extended to me to associate my­ self with the celebrations of the Centenary of Sri Tyagaraja. You have heard experts, you have heard the descendants of Sri Tyagaraja’s disciples and you have heard highly proficient amateurs as well as giants in the profession. 1 am fully alive to the fact that 1 am perhaps the least competent to address this enlightened gathering. But 1 have taken the liberty of doing so, having inherited an intense love of music and out of sincere devotion to Sri Tyagayya. No claim to anything new or original is made in this humble homage of mine. The subject and the sentiment, however, admit of endless repetition and 1 shall there* fore count on your generous indulgence.

Music is the finest of the fine arts. It is most subtle and least physical of the several branches of fine arts. Music is creative art par excellence. The art of music does not call for re-presentation. Sculpture and painting, for instance, have to re-capture form and colour, light and shade, in their fullness as in nature. Music, on the other hand, makes its abstract appeal without having to fetter itself by the need for re-presentation of sounds as found in nature. Musical achievement, specially the development of melodic forms, is the truest manifestation of Indian thought, which is subjective, idealistic and untrammelled by features of this impermanent world. Sri Tyagaraja has given us great music which, as Carlyle says “ leads us to the edge of the infinite and lets us for a mo­ ment’s gaze into that” . The pieces of Tyagaraja express the in­ expressible; he speaks directly to the inner consciousness in its own language; he reaches to the very depths of our being, com­ pelling the emotions to leap and quiver at his touch. The greatness of his work lies in that he has embodied the expression of our spiritual character, making an universal rather than local, individual or momentary appeal. He touches the very founda­ tions of our culture. He will endure for all time because of this depth of appeal. PTS. I— IV] SRI TYAOARAJA 69

Tyagayya appeared when the muaieian’a art in South India lay just beneath the surface. It hid its seeTets which were con­ fined to the initiated few. Tyagayya found music like a dull diamond, earth-encrusted, buried in deep mines and uncommon. By the adoption of a few devices, he threw open this superb treasure to common enjoyment, appealing even to the simplest minds. His gems are brilliant with priceless beauty lit lu nimus by deliberate of glittering facets. Tyagayya's simplicity, to my mind, is the secret of his great* ness. He employs Telugu, which is admittedly the finest medium. The language is easy on the tongue, easy on the ear, mellifluous and sonorous, soft and supple. It is almost impossible to be un­ musical in Telugu. Moreover, it does not suffer from the highly formalised and inflexible rules of grammar of Sanskrit. Above all, Telugu is the common man's language. Tyagayya does not normally go in for elaborate tala struc­ tures. His compositions maintain such a perfect balance between Bhava, Raga and Tala, that Tala never impedes itself to the detriment of the balanced whole.- Tyagayya's works are essenti­ ally lyrical. He is a master of rhythm. He has achieved that mysterious harmony between part and part, and part and whole. Tala, therefore, while relegated to the back-ground, runs as an essence of rhythm through the piece itself. Tyagayya has a partiality for the staight-forward Adi Tala, which appears to be the most natural mould for the Kriti form and whenever he adopts other Talas, the words and the emphasis on the syllables are so perfectly arranged that the Tala seems to follow naturally. For instance, Nivadaneqana in Saranga and Ampamagunambudhi in Atcma, and Uyyalal oogaviah in Neelambari.

Coming to the form of Tyagayya's compositions, it will be noticed that the Kriti form is his favourite. Kriti, _ as a , is quite complete. It gives ample scope for the play of light and shade, and is certainly superior to the common pre- Tyagayya forms of the Vrittaor simple recitation and of the Kirtana, which is a sacred dramatic narrativet to which some­ times the audience supply the choral commentary. The basic outline of the melody is given in the Pallavi at the commencement. 61 THE JOURNAL OF THE MUSIC ACADEMY [VOL. XVIII

The furnishes the high lights, while the Charanam fills in the shading, affording much scope for the interpolation of elaborate ornamentation especially as the rhythm is less defini­ tely punctuated than in the Pallavi and Anupallavi. this comple­ tes the picture. Using this Kriti form, Tyagayya by his genius supplied all the decorative features desirable, in the shape of his unique Sangatis. The first Sangati is usually a very simple melody, full of charm, appeal and serene in its rendering. Suc­ ceeding Sangatis, however, become more and more decorative until the last brilliant Sangati is presented with the maximum of rhythm, loveliness and melodic feelings. In developing these Sangatis, Tyagayya shows to perfection his mastery of Raga technique. One Sangati so smoothly glides into the next, adding at the same time so gracefully to its ornateness. The string is so logically graded that the omission of any one Sangati will be an obvious mutilation of the continuity of progression from the bold, simple and strong strokes of the first to the claimax of the last Sangati. So much fullness and completeness packed effort­ lessly into the same Avarta or constant time limit is a striking innovation of Tyagayya. Examples are not wanting. Chakaniraja Margamu in Karaharapriya and Eolu Vamaragade in Thodi, etc.,

I next come to the perfect choice Tyagayya always makes of the appropriate Raga to express the sentiment of the song. Each Raga has its own mood. This is a very subtle aspect and it may not be possible to secure universal agreement. However, out­ standing examples would be Namoralakimpa and Kshirasagara in Devagandhari, which is a Raga most fitted for exclamation and a demand with dignity for divine grace. What Raga other than Rudrapriya will be more appropriate for the call of admiration of the beauty and grace in "Lavanyarama" '. Rudrapriya is simple with graceful movements. Ahiri always reminds me of a pleasur­ able sadness.' Its plaintive voice is not that of great grief but of a quiet pang which one willingly bears. It is similar to the sor­ row of parting where, as the Poet says, “ we part but to meet". This mood of Ahiri is most enchantingly brought out by Tyagayya in his Pulapmpu Meeda sung to bring to a conclusion the daily —a conclusion with flower offerings, which is but a pause M S. I— IV] SHI TYAOABAJA 65

but not an end. Tyagayya’s Challere Bamachandra produces the same atmosphere. Tyagayya is the supreme master of choosing the ideal vehicle and his mastery of handling even makes the Raga sound the note which is most appropriate to the meaning. A good instance would be Nenendu Vedakudura in Harikamboji.

It has been said that music without words is just as good as with them. May be. But, where today can we satiate our thirst for such pure wordless music in the abstract? Sad it is that the fonts of wordless music have dried up. More sad it is that our aesthetic levels are deteriorating,

I feel that music is but an enchanting container for words. In the hands of Tyagayya, music is a priceless Goldon Casket. It is in itself a thing of beauty, capable of intelligent enjoyment even as such. You can enjoy every piece of Tyagayya for it* musical value alone. His work is very precious when measured by this yardstick, but what is more, Tyagayya has also left us the key with which we can open the Golden Casket. His words and an understanding of them will give us a glimpse of the priceless gems which the Casket of music is used but to house. The con­ tainer, the contents and the perfect matching achieved by Tyagayya enhance the enjoyment of his Kritis a thousandfold. Tyagayya’s words are simple in the extreme. His ideas touch the Heavens. Tyagayya weds the grace of his words to the dignity of the thoughts, the sweetness of his idiom to the strength of his devotion. Tyagaraja, the idealist, led a saintly life, possessed of firm devotion to God and purity in mind and body necessary to realise the spiritual power of music which he has expressed as Tyagopanishads for the benefit of his fellow* men. The meaning of a kriti of Tyagayya correctly understood in its , is the last word on the theory and practice of devotion to music and self-culture. Tyagayya is original( fresh, deep, suggestive and heart-gripping. He is so noble, so sublime and so soul reaching. A study of his pieces shows us the evolution of a soul right until it reaches the goal. The pieces composed in the period when he was separated from his favourite Ramachandra idol are so full of the travail of a troubled soul searching for light and liberation. Tyagayya lived his life apart 9 86 THE JOURNAL OP THE MUSIO ACADEMY [VOL. XVIII

from the patronage of crowned heads; wealth and honour had no attraction for him. He cared neither for fame nor for follow­ ing and though bitterly persecuted, he was a fearless speaker of truth and a peerless teacher. Only the King of Kings was the fit subject for his compositions. His bhakthi is so intense that it fills his entire frame and his song-offerings to God are delicate, elegant and intimate. The second person singular eomes easy to him, as in Ra Rama Intidaka, Ra Ra Nannelu Kora, Ra Ra Raghu- veera and Ra Ra Seetharamanee.

Tyagayya is so intimately personal not only in form but in ideas as well. Even sarcasm can be found in his Kritis. As for instance in Nagumomu in . Only he who has drunk deep of divine grace can rise to such heights of informality.

Valmiki's Epic is well-known for its simplicity of narration. Tyagayya has taken generously from the episodes of Sri Rama, clothing them in such sweet melody, that the result is the fusion of bliss of thought through rich imagery and of life through glorious melody patterns. It is not easy for even the most sensi­ tively religious mind to rise to the highest mood of contemplation on the wings of abstract thought alone. Tyagayya reveals the inmost springs of beauty and of the pageant of the Heavens, declaring the glory of God. His Kritis are eloquent witnesses to the might and of the majesty of the mysterious and eternal fountain of all good things. ' A sympathetic observer stands in rapt admiration before Tyagayya’s great master-pieces, his ear and soul yielding themselves to the charm cf the great composer’s art in song. Tyagayya’s pieces are so passionate that it looks as if he eannot choose but give vent to the creative i mpulse that is upon him, to give expression to the dream of bliss that has taken possession of his soul. Tyagayya’s Kritis will endure for all time for the simple reason that it is a labour of love. Tyagayya him­ self enjoyed the compositions and every moment of their designing.

Probably Indian audiences are the appreciative and emo­ tional in the world. They are more concerned with the song than the singer, and concentrate so completely on the work interpret- pd, that they establish a wondrous bond of sympathy between PTB. X— IV] SRI TYAGABAJA 87 themselves and the performer. In Indian music, the art of the listener equals in importance the skill of the interpretative artist. Do we today enjoy this great heritage as much as the great composer himself did ? I am afraid our art of enjoying art is in a tragically low level. An aesthetic experience is pre-occupation with a pleasurable feeling derived from the contemplation of an object of beauty. Contemplation implies that the imagination is not inert and passive but is actively at work. The mind as we listen to Tyagayya’s Kritis should be busy with its stores of experience, trying to satisfy a feeling of some kind. In the enjoy­ ment of art. we should try to enter into the mind of the creator to follow the same path as he did and to re-create and re-embody the half-revealed and half-concealed expressions afresh for our­ selves. The artistes in singing Tyagayya’s Kritis should familiarise themselves with the rasa of the Sahitya. It will add considerably to the enjoyment by members of the audience if they would make it a point to understand the meanings of the words. 1 may be permitted to stress the need for simple translations and correct transliteration of Tyagayya’s Kritis. When Sri Tyagaraja attained Samadhi, his face was lit up with an effulgent brilliance and Omkaranadham was heard. The symbolic significance of this is that the Thejus and Divine Light of the art of Tyagaraja became available foT mankind. The brilliance of Divine Grace is with us today while we commemo­ rate the Great Saint and the Omkaram is all-pervasive and ahould be ringing in your ears. May the light and the melody grow in beauty day by day I 68 THE JOURNAL OP THE MUSIC ACADEMY [VOL. XVIII

THE RAGAS THAT OWE THEIR RAGA BHAVAS TO SRI TYAGAYYA.

Ski K. V a s Ud e v a Sa stri, Sarasvati Mahal, Tattjore. Sri Tyagayya has composed his kritis in almost everyone of the Ragas current in his days, and has enriched them by his fertile . The one feature about his kritis is that if there are a dozen kritis in a particular Raga, each kriti has a characteristic complexion of its own different from those of the other eleven. Each kriti is a new creation of the Raga for the time being. Every kriti is thus inspired and the Varnamettu looks like the body chosen by the soul of his ideas for its incar* nation. The conversational ease of his sahitya and its perfect elasticity and appropriate distribution of short and long sylla­ bles lending itself to endless number of sangathia without inter­ fering with the artha'bhava are features peculiarly his own. But his chief contribution to Carnatic music is the substantial addition of Ragas he has made to those already in use.' In making new creations, he has practically refrained from the cheap mode of inventing varjyas or vakra sancharas and chris­ tening them with new names. He wanted rather to join the of creative artists who attempted to convert as many of the 72 as possible into Ragas. You may ask, “ were these melakartas not Ragas already?” To answer this question I must describe briefly the history of the 72 melakartas.

There are 4 books giving an account of the melakartas. The first is Chaturdandiprakasika of Venkatamakhi. There the author plainly says that the 72 system is a mathematical possibility from the 16 swaras he has ascertained as occurring in the Carnatic Ragas and are not all Ragas in use. He even asks the question, “ why these 72 melakartas when only a few of them are well known melas and the rest are not found anywhere in use And he answers by saying that new Ragas may enter our land from other countries and they will have to be grouped under proper heads. (Vide Slokas 60 to 66 of the 4th or mela praka- ranam). Venkatamakhi takes the fullest responsibility for the creation of the 72 melas and answers all the possible objects v is . i — rv] BAGA BHAVAS TO SBI TYAGATYA 69 that can be urged against it. Though he first describes the 72 melas, he uses 19 Ragas then in use as melas for giving the lakshanas of the 54 Ragas. This shows that the melakartas were conceived by Venkatamakhi or jointly by him and his contem­ poraries as mere group heads and only a few of them represent Ragas. The next book is the Sangraha Choodamani. There the author haa created gitas for all the 72 melakartas and many of the Ragas current in his time. But even as genuine attempts at Raga creation they are no more than mere attempts and have not been followed by subsequent tradition. How far the crea­ tions have the necessary quality of Ranjana so necessary for Ragas is an open question. The 3rd book is the Sangita Sampradaya Pradarsini where the introduction boldly states that the author of the 72 mela­ kartas chose 72 Raganga ragas for creating the melas, suggest­ ing that the 72 melakartas were Ragas already before the 72 melakartas were thought of. That this is wrong will be plain from a reading of Chaturdandi Prakasika itself. The term Raganga which has originally been used in Sangita Ratnavali and Brihaddesi for some „of the Desiragas with Chhayas similar to the classical or marga Ragas has been wrongly applied to the newly created groupheads which have subsequently been attempted to be converted into Ragas. The terms Upanga and Bhashanga have also been used in the Sampradaya Pradarsini to denote concepts not originally intended by the classical writers. I have recently had occasion to examine a lull collection of manuscripts lakshya and lakshana pieces, made by King Sahaji of Tanjore who died in 1710 A.D., some 60 years before Sri Tyagayya was born. The lakshya pieces are contained in 20 manuscripts and consist of Alapas, Thayams, Gitas, Suladis and Prabandhas on almost all the Ragas current in that period, and the lakshana manuscripts which are 10 in number exhaust all the Ragas known to the Vidwans of the time including the less known northern Ragas, we have no Alapana or Thayam for any of the melakartas. One of the manuscripts however contains most of the Gitaa of the 1st 36 melas which are found in 70 THE JOURNAL OP TEE MUSIC ACADEMY [VOL. XVIII

Sangraha Choodsmani. So, apart from the attempt made by the authors of the 72 melakartas, there is no evidence that the melakartas were all Ragas already, except those whose names were coined from well*known Ragas. The lakshanas of Sahaji's days (1710) are based upon 20 melas chosen from well known Ragas. Sangita Saramrita of Tuljaji (1736) follows this. It is therefore plain that the 72 mela kartas had not been popularly adopted even for lakshana purposes till at least a generation before Sri Tyagayya. Sri Tyagayya and Sri Dikshi- tar, along with their contemporaries have attempted to give life to some of the mela and convert them into Ragas with varying Success; and it was because they successfully converted 30 or 40 melakartas into Ragas that the mission has been created that all the 72 melas were already Ragas in use. It is thus clear that the 72 mela kartas except those coined from well known Ragas were mere group-heads. Anybody who knows the elements of melody knows that a group of swaras will not make a Raga unless steps are taken to convert them into melodic forms with a unity of structure. The Science of Raga creation which is fully stated in Bharata’s Natya Sastra and have unfortunately now been forgotten and very recently attempts have been made to find the proper inter* pretation of the concepts involved in the creation of Ragas. Sri Tyagayya who was blessed by sage Narada himself and with the treatise of Swararnava has successfully converted some 32 of the group-heads among the 72 melakartas into living Ragas and gave them the necessary life and ranjana. These are the melakatas Nos. 4, 5, 9, 11. 12, 14, 15, 16, 17. 19, 20. 21, 22, 23. 24, 25. 26. 27, 28, 30, 33, 34, 35, 39, 40, 44. 45, 48, 52, 61, 63 and 64— The list is not quite full and may be a few more. I propose now to examine those of his creations which have been most successful in fullness of ranjana, which fact is easily verified by their deserved popularity. In this examination, we have to bear in mind, the cardinal requisites of a Raga. A Raga is a melodic design round the foci called the Vadi and Samvadi, the curves composing the design bending at the ends of closed PT8. I— tv ] RAOA BHAVA8 TO SRI TYAGAYYA 71

curves called moorehanas. A melody is created by staying at the samvadi of the starting swara. The moorchana or the closed eurve of swaras ia responsible for the chaya of the Raga. The ends of this closed curve are easily determined by the swaras where you are asked to halt as it were, befere proceeding further, both in ascent and descent. With Vadi, Samvadi and the Moorchhana ascertained, you will be pretty sure of the Raga. A third element in a Raga which is generally overlooked by the lesser musicians is to find out where the Raga is best presented, whether in Arohi, Avarohi or Sanehari. With these concepts to guide on we shall proceed to exa­ mine how Sri Tyagayya has made his most successful creations of Raga forms. The most popular of his creations is Kharaharapriya and Hsrikambhoji. These two Ragas which are so popular to-day and are so easily sung with delight even by beginners has no existence before Sri Tyagayya, W e must try therefore to study the technique of his creation of these two Ragas.

The most popular of his kritis in Kharaharapriya is Rama ni samana mevaro. The Pallavi is like this. First half:— Ra ma ni sa ma na me va ro Another Sangathi— Sa Ri Pa Ma Ga Ri Sa Ni Ni Dha Ni Sa Sa Sa. 2nd half. Ra ghu vam so ddha raa ka aaa The 1 st half of the Pallavi begins with Sa which is the natural rest or nyasa of the raga; then proceeds up to Ga returns to Dha lower, comes back to Sa In the next Sangathi, the pallavj which begins in Sa proceeds upto Pa then descends to Dha and then comes to rest in Sa W e can divide this first half of the pallavi into the Sa Ri Ga Ri Sa Ni Dha Ni Sa Sa The 1st is Sa which is perfect in itself being the nyasa s\var«. 72 THB JOUBNAIi OF THB MCSIO ACADEMY [VOL. XVH1

The 2nd phrase begins in Ri and ends in its samvaadi dha and is therefore a perfect melody. Within this phrase we have the other couple of Vadi and Samvadi in ga and ni. The 3rd phrase simply leads us to the nyasa. That ga and ni have peculiar gamakas in this Raga and are so today the Jivaswaram of the Raga is felt by every musician. The first half of the pallavi therefore contains the melodic phrase containing the Vadi and Samvadi which are the life of the Raga. Another point to be noted is that the lowest swara in the phrases is dha lower. In the 2nd Sangathi, the phrase goes up to pa which is the 7th swara from dha and then returns to mi. This leads us to suspect that the moorehhana beginning with dha and ending with pa may be the closed curve of this Raga. That is to say, the Ragachhaya is contained in the cyclie, dha ni sa ri gha ma pa ma ga ri sa ni dha (ni sa). Note—The last 2 swaras are intended to lead us to the nyasa. The 2nd half of the pallavi begins with ga goes up to ni and returns to sa and then to ni, so that we may be led up to the beginning ga of the Pallavi. The highest swara of this part namely ni and the descent upto sa leads to suspect that another moorehhana beginning with sa and ending with ni is also present in this Raga; in other words the Raga is also contained in the following cyclic, sa ri ga ma pa da ni da pa ma ga ri sa. Now this plurality of moorchhanas of 7 swaras occurs in most of the Carnatic Ragas. This idea is expressed in another way in treatises of the sruthi likeNandikeswara from which only extracts are now available. This author says that moorchhanas are of 12 swaras and not only 7. Now if we begin with da and proceed to the 12th swara we get the cyclic, da ni sa ri ga ma pa da ni sa ri ga ri sa ni da pa ma ga ri sa ni da.

W e now get in this moorchhanas of 12 swaras both the moorchhanas we mentioned above of 7 swaras each. But 1 prefer to adopt the 1st method of analysis because we have a fret halt after pa also as in the second Sangathi of the first half of the Pallavi. The next question is to find out where the Raga is best presented. 7 IS. I—IV] THB UNIQUENESS 0 7 TYAGAftAJA 73

It is easily seen that it is in the avarohi that this Raga is best presented and not in the Arohi. It will be interesting to compare this Raga with Nada Chintamani where the Raga is presented in the Arohi.

I should have analysed, if health had allowed, the rest of the kritis, a lew more of the kritis in the sama Raga and then a few Kritis in the Hari Kambhoji and finished this paper. Half done as it is, I didn’t like to throw it off but made bold to send it to the conference and I am thankful for its indulgence.

THE UNIQUENESS OF TYAG ARAJA By Sangita Kalanidhi T. V . Subba Rao The history of the world is the history of its great men. The record of their work in the realm of act, thought and emotion is our noblest heritage, while the deeds of heroes are less enduring, the utterances of scientists and seers are as lasting as the crea- tions of poets, artists and composers. Of all these, however, the master of song makes the widest appeal. And if in addition he be a poet, prophet and teacher, his power to shape the world is infinite. He is natural legislator of mankind. In this way, Tyagaraja is unique in all respect. In no domain of activity may you mention the name you consider foremost without the chal­ lenge of another asserted in rivalry. Valmiki cannot claim the sovereignty of Epic honours without sharing them with Homer andVyasa. Shakespeare and Sophocles, Michael Angelo and Leonando, Faraday and Marconi, Socrates and Sankara will contend for the glory of pre-eminence in their own spheres. But with Tyagaraja who can contest for primacy ? Is it Kshetragna ? No. He has not to his credit the invention of hundreds of new melodies. Is it Beethoven > No. He was not bothered with the task of reconciling rasa and bhava. In power and beauty of vast and varied songs, in richness of poetry and sweetness of diction, in the rationale of philosophic exposition and presentation of thp 10 74 THE JOUENAL OF THE MUSIC ACADEMY (VOL. XVHI kernel of the Sastras, in the perfect unification of thought and feeling with melody and rhythm and in the commendation of pure music by itaelf as Bliss and Knowledge divine, Tyagaraja stands unapproached among the worthiest of those who have cheered and illumined the world. These celebrations in his honour serve to popularise the finest elements of our Culture and foster a spirit of reverence for our heroes. He is adored even as our great Avatara Purushas and Acharyas are revered, in every village, every household, nay, in every heart moved by the flow of concor­ dant sounds. Institutions vie with one another in the grandeour of his Centenary Celebrations.

His genius in many directions has broken all record of achievement of the creative urge of the aesthetic spirit and the projecting consciousness of intellectual brilliance. He was the staunchest adherent of ancient tradition and yet the unquestioned author of revolutionary progress. He obeyed the fundamental laws and in turn, made laws for others. There is not a single possible sanchara in the Prasiddha ragas that he Has not covered in his many Kirtanas therein. He so envisaged the modes with all the developments they may even attain even in the distant future that composers who followed him could in utter despair do nothing better than reproduce his music with substituted words. The new ragas of his invention is so mystifying to the common herd of mechanical musicians that the secret of their distinct melodic individuality must remain sealed to all but those few who have mastered the intricacies of “Svara jati murchanas” . For instance, who can render the Jaganmohini raga with a form unconfused with , however correct be the svara krama, with- out realizing that the Jivasvara in the former is and in the latter, atikomala rishabha ?

More than all, the infusion of sangatis by him in the Kirtana paddhati transformed at once all recitative music into Kacheri sangita. Free play of Manodharma was indulged in the rendering cf compositions. The hidden soul cf melody was unchained and the artist’s fancy embellished the set beauties of the prabandhas. Bound and unbound parta of the melody were unified according PTS. I— IV] TEE UNIQUENESS OP TYAOABAJA ?£i to the skill of the performer and presented like the text with the commentary.

The introduction of sangatis by Tyagaraja not only served to enrich the rags sancharas of the Kirtana but also to express the different shades of feeling implied in the sahitya as well as the rise and fall in the intensity of emotion, the differentiation of subsidiary bhavas and gradations of the same mood. No vaggeya- kara approaches anywhere near Tyagaraja in the perfect integra­ tion of tone and thought, or raga, rasa and sahitya bhava.

It is commonly said that the fine arts and particularly music can at best create things of beauty and suggest but vaguely the natural emotions of the mind. They cannot be used to express precise intellectual ideas or complex business relationship. The observation is indeed, almost nearly correct. Music cannot be employed to mean that three angles of a triangle are equal to two right angles or that India exports raw materials in exchange for manufactured articles. The purpose of the fine arts is to impart pleasure and satisfy our emotional needs and in certain circum­ stances, our spiritual aspiration. Music is fittest to induce such primary feelings as joy, Borrow, pathos, love, tenderness, pity, fear and wonder. It may also represent pain, suffering, despair, dejection, disgust and horror. It is also possible to suggest com­ plex feelings of many shades. All these miracles, for which no ultimate satisfying explanation is yet'possible, are wrought by notes of scales of varying intervals linked and woven with appropriate gamakas and regulated by tempo and rhythm and above all by the quickening impulses of creative genius. It is difficult enough to compose musical forms of lasting beauty with words that have no particular affinity to the rasa of the raga. Where, however, the sahitya a as those of Tyagaraja are by them­ selves rich in bhava and require to be harmonised with the sentiments of their modes, the task of the composer is as difficult as it is delicate, With what amazing success the harmonisation is accomplished in the songs of Tyagaraja is a matter of common knowledge to those who understand anything of their significance. Is the feeling one of regret and disappointment as in “Endu dagi 76 THE JOURNAL OP THE MUSIC ACADEMY [VOL. XVIII nado"? Than Todi with all its sombre solemnity best expresses the moods. Is it ecstay with a pathetic longing for eternal peace ? Then as specially portrayed in “ Giripai” is most apt. Sahana is commonly employed in padas and javalis to convey Vipralambha Sringara rasa. Tyagaraja's modification of it in '‘Giripai" so as to impart to it a spiritual dignity and metaphysi­ cal splendour is perhaps the clearest proof of the boundless power of his fertile imagination. Is it confidence with an undertone of sadness as in "Syama sundaranga". Surely Dhanyasi is the mode for it.

Compositions where there is a happy reconciliation of mode and idea could be cited in hundreds. But there are a few songs that appear to have puzzled some cirtics. It is wondered for instance, how Bilahari so appropriate for "Intakannanda" could fit in with the rasa of "Tolijanma". The joy of Bilahari is in direct contrast with the misery of Karma bemoaned in the latter song. The real explanation of this apparent incongruity is that Tyagaraja is using a figure of song analogous to the figure of speech called irony. If in mockery you could call a fool a Brahaspati, what prevents a composer from employing for the sake of poignancy, a hilarious mode to vent the sorrows of a complaining heart ? Tyagaraja is the most daring genius who expressed himself in the universal language of music with the same freedom that any great poet is privileged to enjoy.

It has been already observed that the function of music is limited to the expression of rasa bhavas. It will be seen how­ ever, that the supreme genius of Tyagaraja transcends such limitations. Ideas which are not entirely emotional are also suggested in his songs with skilful phrasing of notes. Observe how, in the song "Teratiyyakarada" speaking of himself and the curtain of darkness within him, he uses the low of the Mandra sthayi and in the succeeding phrase in exaltation of the deity whose aid he invokes, he reaches the Tara sthayi. Examine the song ''Merusamana” and you will find the various movements, like the proud gait, the waving of the locks are reflected in apt sancharas. Notice again with what supreme skill he uses the vadi PT8. I— IV] TEE UNIQUENESS OF TYAGARAJA 77 svaras in “ Aparadhanuila’’ in Rasali without any detriment to melodic sweetness to produce a sense of pain and repentance for past lapses and pathos of prayer .

Most of you who have heard the inimitable song “Mariyada Gadayya’’ in would have been struck with the outlan­ dish character of the music of the first pada of the charana. The composer was indulging therein the occasional practice of the heroic musicians of old who in the exuberance of their playful fancy were given to performing what is called Grahabeda or Srutibeda. You will find that the music of the first quarter of the charana resembles Imankalyan in clear contrast with the main mode of the song. This effect is achieved by stressing the madhyama and for the moment treating it as the fundamental with the result that m p d n s sound in our ears as s r g m p. The second and other feet of the charana immediately swing back to the original raga Bhairava. The very limited scope given to sruti beda in that part of the charana where usually liberties are taken by the singers in pada, svara and laya vinyasa is indicative of the caution to be observed in this respect. The occasion for the sruti bheda apart from its interest as a musical feat of exceptional daring has profound significance with reference to corresponding sahitya. Tyagaraja observes, as Hanuman does in the Ramayana, that Rama had a reputation of favouring his own men in preference to strangers. The actual words where the srutibheda occurs are "Tanavaru Annyulu ane taratamyamu” . To indicate in music the difference between the followers of Rama and outsiders, Tyagaraja introduces by srutibheda an alien scale in contrast with the proper scale of the Kirtana. Here you will perceive a fact of life, apart from feeling, represented by the device of modal shift of tonic. The creative genius of Tyagaraja has no bounds.

Events of great political and social importance presented in the sahitya of his songs are some times most effectively reflected in the pure musical setting of the pieces. A classic instance of this kind is the Kirtana "Adamodigalade’’ in raga . Though the plain meaning of the song must be apparent to all yet 78 THE JOUBNAL OF TEE MUSIC ACADEMY [VOL. XVIII it is full of suggestive ideas of beauty. “ Are you too proud to talk with me who in deep devotion cling to your feet as my only Buccour and shelter ? W e ll; when the most learned and large* hearted son of wind, the incarnate of Siva's glory made obeisance, you sent your brother to enquire. What is Tyagaraja to you” . The reference in the song is to a well-known episode in Kishkinda Kanda. Rama and Lakshamana in their search for Sita come to the southern country of Kishkinda ruled by Vali. Sugriva turned out by Vali takes shelter on the hill Rusyamuka with his faithful adherent Hanuman. Viewing the approach of the most radiant Prince and his brother, the exiled Vanara with hopes surging in his bosom sends Hanuman to learn their pleasure. The ambassador of the highest learning and attainments offers his respectful salutations ; but the Prince of Ayodhya with uncom­ promising dignity sends Lakshamana for parley. It would seem that the composer was but adopting a picturesque mode of expressing his despair in alluding to the circumstance that if Hanuman was not favoured with reply direct from Rama, Tyagaraja had little chance of conversing with Him. It might be asked what possible relations has the melody of Charukesi with Tyagaraja's disappointment. This raga is not even ancient and is not commonly known to possess any outstanding rasa.

It should not be forgotten that Tyagaraja was fully alive to the* fundamental events of the most far-reaching consequences alluded to in the Kirtana. You will find therein the first formal contact to ripen later into a close compact of the two great king­ doms of the north and the south, of Ayodhya and Kishkinda resulting in the ultimate suzerainty of the former. It also signifies the impact and union of two different civilizations and cultures for mutual enrichment. It is this event that the mode signalises. Charukesi, 26th in the scheme of seventy two melas did not exist before Venkatamakhi. No other piece excepting some recent imitations is heard in this raga. In fact, a kirtana alleged to have been composed in this mela by one of the great contemporaries of Tyagaraja is now found to have leaped two melas ahead. To give a distinct melodic complexion to this scale is an accomplishment of no common skill. How well Tyagaraja PT3.1— iv ] THE UNIQUENESS OP TYAGARAJA 79 succeeded Herein will appear presently. The notes of the scale in the purvanga or lower half of the mela are like those of Sankarabharanam and those of the Uttaranga or upper half of the active, like those of Todi. Musicians who roughly indicate its notes still speak of it as being Sankarabarana below the panchami and Todi above. Tyagaraja’s choice of this scale is deliberate.

In the ancient Dravidian music of the south the most popular and characteristically peculiar scale or pan was that of Sankara* bharana known as Puzhampanjaram. It was a raga of this scale that Hanuman is believed to have sung and revived the svara devatas slain by the faulty rendering of Narada. It is again this raga that Ravana is said to have played on his vina to propitiate Siva and obtain freedom. Though this scale existed in the north too, yet it is in the Dravidian kingdom of the south it attained the highest development and became the most outstanding scale, as the suddha scale of the northern system is of comparatively recent origin. Thus if Kishkinda had to ba represented by a scale of music, it could only be by that of Sankarabharana.

Similarly Todi in northern India where it is called Bhairavi was most common, Though there is no doubt it existed in the south in ancient times, yet during the medieval period it seems conspicious by its absence. The Tallapakam composers in four­ teenth century have not employed it in their numerous Bhsjana songs. Svaramelakalanidhi, Sangita Sudha and other books make no mention of it. Though Purandaradasa reintroduced it along with other modes, yet it was regarded for centuries as an alien raga. Venkatamakhi distinctly refers to it as a northern raga. Thus if any scale could stand for the North it was clearly that of Todi. If Tyagaraja should indicate a union of the south and north, he could not do better than choose a scale which in the lower half took the notes of Sankarabharana and in the upper those of Todi. What is even more significant is that while the composer uses all the notes of the scale in his prayer to Rama to speak to him, in the Pallavi and Anupallavi, he confines himself to the lower notes in referring to Hanuman in the passage " Chaduvulanni ” and to the higher notes regarding Lakshmana 80 THE JOOENAIi o p t h e m u s io a c a d e m y [v o l . x v n in the passage “ Kadalutammuni” . It should not be supposed that in forming a raga from a scale which appears to be compounded of two halves of different scales, there is any the least confusion of bhavas. Charukesi in the hands of Tyagaraja is not a mixture of two ragas but a single clear mode of standing apart by itself to express the alternation of hope and despair. The combination of bright notes of the lower half with the dark notes of the upper half is expressive of the duality of feeling. Observe with what mastery Tyagaraja at the very outset grips the scale at the junction of the two tetrachords and presents a unified bhava of unmistakable identity.

I have dwelt a little on this kirtana only to show what wealth of knowledge, pleasure and moral elevation one could get from a close critical and reverential study of his compositions. Each one of his great pieces could be annotated and commented upon like the plays of Shakespeare. They contain so much meaning and so many apparent and hidden beauties in word, thought and music that no nobler occupation for the mind is possible than to hear or render them. One can derive from them all the benefits mentioned in the song “ Sangitasastragnanamu Tyagaraja has seen the Divine Beauty, known the Divine Wisdom and ex­ perienced the Divine Bliss and every kirtana of his reflects his sense of all That. His outstanding personality towers far above the whole race of poets and composers, prophets and philoso­ phers, seers and sages, Bhagavatas and Nadopasakas. He is an Avatar come on earth to teach mankind the sweetness of Rama- nama made sweeter yet by notes of infinite harmony and so lead them to Eternal Peace. SRI TYAG ARAJA THE MYSTIC By

Prop. R. Srinivasan Trivandrum All Paths to the attainment o! the Supreme ultimately fell into two heads,- which may be described as the Kramamukti marga and the Sadyomukti marge; in other words, the Normal Path and the Special Path. These two may be compared to the well-made, smooth, slowly climbing cartable road going up a hill to the top and to a short-cut, the bridal path, to reach the same top. On the former, people live a life of ordinary goodness following the normal rules of conduct and gradually work them­ selves towards the stage when they get illumination, while on the other path a person has to put forth special effort, because on this path one hopes to achieve in a very short time what normally would take perhaps many aeons to accomplish on the other path. This is really the path of Yoga. Even on this path there are two methods depending upon the temperament of the seeker for Reality; persons evolving on these two divisions may in a way be described as ‘Occultists* and ‘Mystics* or roughly Jnanis and Bhaktas. The occultist, so to say, has his face turned outwards. He studies the universe and equips himself to understand the basic truths beyond the phenomenon. The world to him is an expression of a Thought in the Mind of the Great Lord and he seeks to get at that Cosmic Mind by a study of its objective expression. The mystic on the other hand seeks the Reality within himself, more by feeling than by any analytical process. Herein lies the fundamental difference bet­ ween the occultists and the mystics. Intellect and detachment play a greater part in the outlook of the occultists, while Love and emotional reactions form the basis of the mystic’s efforts. Almost all the bhaktas in the real sense of the word are mystics. There are essential differences between the mystic and the occultist in their outlook, their method and their reactions. As 11 82 THB JOURNAL OF THE MUSIC ACADEMY [VOL. XVIII

I have already mentioned the outlook o( the occultist is more objective in the broader sense of the word, while to the mystic his inner reactions and feelings count everything, reasoning by the mental faculty has only a secondary place in the life of the mystic. What the occultist achieves by his reason, the mystic will do by intuition which, in some cases, lifts him to a stage far beyond what the occultist can hope for. The occultist is more impersonal in all his activities than the mystic who is intensely personal. While the former is dealing with abstract concepts the mystic finds his joy in dealing with concrete mani­ festations of those concepts. Naturally this tends to make the occultist apparently steady and balanced while the mystic allows himself to be swayed by impulses and feelings. To the mystic God is not an abstract idea or a metaphysical concept; He is a Great person full of Love and Mercy. The mystic perceives Him as a friend, as a lover, as a beloved, as a guide, as a father, as a mother ; in short he approaches God in all these relations ; and when his feelings sway him he goes into ecstacies and forgets himself; in sueh moments he and his Beloved God alone exist in this universe. God is realised as the Great Lover of all that lives. This naturally leads to various reactions, and so in the writings or other expressions of mystics we find various moods portrayed. Sometimes he takes liberties with his God and finds fault with Him and even rebukes Him. At other times he is so full of joy that nothing else matters to him except to bathe all the time in that ocean of Ananda. At other times he considers himself as being unworthy of the Lord's attention. Because the mystic’s emotional nature is always active, there is a tendency in him to be emotionally unstable: he may be irritable* he may appear a fanatic, he may even evince unbalanced sex life. These are only passing phases in the life of mystics.

In the case of Sri Tyagaraja a study of his compositions will clearly indicate that he was a mystic to the core. He lived but to please Sri Rama who was living Reality to him, a constant companion and a loving Guru. The glamour of earthly riches had no influence with him. His one great sorrow was that people about him were not able to enjoy the bliss of Ramabhakthi, and PTS. I— IV] SB! TYAGABAJA THE MYSTIC 63

were making themselves and others miserable. He often felt sorry for his uncongenial surroundings. The piece " Toline Jesina pooja phalumu " in Suddha bhangala is an example of this phase of the Saint’s feeling. Like a true mystic that he was, he has had visions of Rama in various aspects and also several experiences with the Lord, and some of these are often referred to in his compositions.

“ Alakalalladaga " in Madhyamavati “ Koluvamaregada ” in Todi “ Yentabhagyamu ’’ in Saranga ii. “ Natimatamarachitivo' in Devakriya “ Chinnanade-na ” in Kalanidhi “ Parithapamu ” in Manohari “ Dasarathi ” in Todi

As examples of his vision of Sri Rama as the supreme embodiment of all that his Good and Beautiful bb one to whom the heart flows out in love and rapsody we may consider the following compositions:—

" Merusamana ” in “ Yentukoukalintura '* in Suddhadesi “ Lavanya Rama in Poornashadjam “ Ramabhirama ” in Durbar •» • “ Ninuvina namade-ndu in Navarasakannada “ Sanitodi teve ” in Harikambhoji

That he had also moments of great exhilaration is evident from the compositions like “ Yctla terigitivo ” in Vasanta.

When fcr a moment he lost touch with his Rama due perhaps to some cmotioral reaction he blames himself for it, in a mood of self-condemnat^n. The pieces

Y etulabrotuvo” in Pahi Kalyana ” in Kaligiyunte ” in are examples thereof. 84 THE JOURNAL OP THE MUSIC ACADEMY [VOL. XVIII

Aa a bhakta he often takes liberty to rebuke Sri Rama for Hia neglect. The following piece8 are illustrative of this reaction :

Pariyasakama ” in Vanaspah Entavedukondu " in Saraswatimmohari Sarivarilona ” in Bhinnashadj am Neeke teliyaka ” in Anandabhaira/vi Anyayamu Seyakura ’’ in Kapi Chalamelara ” in Margdhindolam

In short Tyagaraja was a typical mystic and with this back­ ground his life and his compositions reveal a great meaning and a high purpose. Apparent contradictions get reconciled and inexplicable incidents get explained, and we see the saint as an embodiment of emotional synthesis which leads to an Emotional Vision of the Great Reality.

SRI TYAGARAJA’S KRITIS FOR BEGINNERS By

C. S. A y y a b The previous speakers on Tyagaraja have already alluded to the simplicity of his compositions and their character suited for the varied musical capacity of students, i.e. for beginners as well as for the mature students and for the advanced artists. In this short talk, it is my intention to convey my experience of studentship not of myself but of such teaching, firstly before the year 1898 and that of two decades later, between 1918— 1923. Please excuse me the personal references which throw valuable light on the subject of musical education. The first instance is that of my father who started learning the violin after the age of twenty-six. He in his early years had heard a good amount of music in the south, especially of Maha Vaidyanadha Sivan, during his school days in Kumbakonam and of other talented musicians at Madras and Trichy during his college days. So his was a mature and understanding mind, attempting at self-expression on MS. I— IV] SEI TYAQARAJA’ S KBITIS FOE BEGIN NEB 3 85 the violin in the musical art. An Umayalpuram musician of repute, aged about 50 years, who had just returned from Benares was an honoured guest for at least 3 months in our house at Vizagapatam which was then, in my father’s words, a sandy desert for music. I was then in high school classes and my own sub­ conscious education began. Here is a list of the 25 Tyagaraja's kritis taught to him then. This list has been prepared from the original manuscript of the teacher with swara notation, It had no tala>signs and just looked like the kritis published by Singara- eharlu.

LIST I Kritis of Tyagaraja for beginners for the Violin, Year 1898

L 0 u u ii| .« d r n r A ib 1 . Srftjrir^6W-°^ir uriiairerrr 8. eSesrGev gtiLSsrervir aSeuirpfi&fl 8. eBssrmttv iSp-jBiru eujrrerfl QatrafliLjasnan epi

4. &B fiLenjr 0 /h^ gu eujnreifl 5. UHuQp isirsootuirirtvtrfi 6, erff&iruQ# atoirdv 7. ^eoriipeivrajrQm 8iA® &&® jiUDiflairwGuirgQ 18 (o u >0 miomssr uiujuiirerreuQsttrar 18 r8«frgpits8(?<®J) fUDlfl 16. i&jrGieeui L-Gtsr Qafiirjnh 17. FtguCSp jriria GW&mtr 0 Bir^aviSm 18. uggarGstu jrirpir 19. aSi—Qp (B&tuQtv ejr ptDpuiJiflujir 80. y$isirjr£iBirp 81. cr ibjg<3tv® Q atrijfi s»v/rm«v$ u>Gtas}pmifl 86 THE JOURNAL OF THE MUSIC ACADEMY [VOL. XVIII

22. g>jrgj~vL/ season— QaetrSsrr (with ^isppsiris/strjrih) 23. ^i^eoiraiessnu jritw ^neoaetyiLffttA 24. ^(^(Seoa(3uj(Beuetisrtsf. QsetnfiLLQianeimifi 25. ugjsor u 0 a) 6nJ~°0 ilt^.

Here is also another heirloom, being T. M. Venkata Sastri’s book ‘The music self instructor' intended for violin players ; this book with the tala or time signs was printed in the year 1892, twelve years earlier than the heavy volumes published by Subba rama Dikshitar together with vina-gamaka and time signs, in the year 1904.

The next instance of studentship is that of my elder girls under Vidwan T.S. Sabhesa Ayyar now Sangita Kalanadhi of the Academy, during 1919-21, i.e. more than two decades Jater. He belongs to the school of Tyagaraja shishya paramparya. The list of the 18 early kritis taught to them is given below* All these kritis are Tyagaraja’s only.

LIST II Kritis of Tygaraja for beginners for the Violin, Vina and Vocal, Years 1919- 21.

n_0 ULIli}-<**STT pir~v 6tfl 7. (LpgpiQuQ&edtus u iiis ire m r 8. gienerff/seiTQj) lAiriLUDtrerreudi&enerT 9. usarsdsofiaSgpiiLr QiuiBirfirmsoofl tO, jriruoniemu Qspirjrih I t . f% e 8 r fUD-^CSemsoU 12. sjrsjrsiL 60)jr (g&perreuiriretfi 13. i&drgpieSean men rem season— 14. stOtraiQuetrui LH&fjnh M S . I— IV] SRI TYAQtABAXl’ 3 KRITIS FOB BEGINNERS 8 7 15. *s/&)&Qa)ebe0 16. eripQaj® Qsrribgi en)j6h)Qj£H mCSrmemrfl 17. i6Ltu£ai&& aebtuiraxfi (SpeumG ig)Qir>ifl

From these lists, we are naturally forced to the following conclusions :—

Though Mayamalavagaula is the first raga in which are taught, these kritis, except one, are in ragas, in mela regas of Sankarabharana, Harikambhoji, and Kharaharapriya (in which most of the folk songs can be classified) and it is but right we should follow this example in regard to the musical education of children in music schools. We shall thus ensure sruti-suddha amongst South Indian singers.

Another noticeable feature, to my knowledge, of the present educational practice in teaching saralivarisa, and alankaras, is that it creates a distaste for music among the less-gifted students. The simple kritis of Tyagaraja, couched in pure swaras and with very little gamakas should be the back bone of the musical education of our children. These kritis will provide the mental pabulum of song, and later lead to self expression in the art. Thus he is the easy Tyagaraja, lovable by both the layman and the expert.

I will take the opportunity to refer, as Prof. Sambamoorty did one of these days, to some of the changes which have taken place in the mettu i.e. in the singing of the compositions of Tyagaraja. He referred to the kriti * Sangitagnanamu Bhakti- vina ’ and the original version beginning with tara shadja has also been handed to us. The two simple kritis ‘ Ramananu brovara ’ and * Undethi Ramudu okadu ’ intended for the teach­ ing of children have been given a new birth by Sangita Kala- nidhis Ariyakudi Ayyangar and Maharajapuram Visvanatha Ayyar respectively. I just repeat tho first lines as they have stuck to my memory when I was barely 12 years of age.

These lines of 'Ramananu Brovara’ are in trisra gati and to corroborate it, the copy of the original manuscript is open for * 88 THE JOURNAL OF THE MUSIO ACADEMY [VOL. XVIII inspection. ‘Guruleka Etuvanti* (stated to be in Gauri manohari) • Has undergone enormous change. The kriti is taught today as one of Sampurna rags, but as they have been stored in my memory, the swaras in ascent are (Sarimapadd) though after Pa Da Sa—Ni Sa Ri may come up; also R i; Ms Ga Ri Sa is used in descent. Note also the isolation of Ni towards the end, because there is no corresponding consonant swara in the lower half of the sthayi. This rendering has also been confirmed by a Telugu gentleman resident at Bombay in the year 1935. He was a pupil of Sangameswara Sastri, the great vina-player of the telugu country. Thus the kriti, having travelled up north, was kept intact- Its raga is not merely Kharaharapriya on the shadja string and Sankarsbharena on the Panchama string, of the violin. It is up to us to retain the original forms ; and as I said in a large number of previous oecasions, gramophone records of the extant music by the greatest living songsters should be brought out. They should solemnly resolve to record the kritis as their have taught them, and the copper gramophone plates should become national property. This is the wsy to conserve Tyagaraia’s music.

Sri Tyagaraja's Horoscope By

V id v a n M u d ik o n d a n V enkataramaiyer , Mudikondan, Tanjore Dt. Modern musical atmosphere is - saturated with pious devo­ tion towards immortal remarkable personality of Sri Tyagaraja Swami, together with an avidity to call his musical lore and an insatiable curiosity to know the biography of the man. It is but natural to give, since I have a taste in astrology, as far as possible some astrological disclosures about the Saint Musician. In all humility I don’t presume any astrological assertiveness but in my exuberance of enthusiasm to know more about the man through the goggles of astrology. M S . I— IV] SB! TYAGARAJA’s HOROSCOPE

As far as I know the predictive science is a bit uncanny. We cannot attach much importance to the exaltation of planets nor ignore the debilitation of the same. In some cases the former may bring ruin, the latter produce prosperity. As a matter of fact 1 dare say one cannot predict with authority from the first sight of the horoscope the realities and miracles that developed the personality of the great oriental musical savant. The said horoscope to all appearance seems as ordinary as that of anybody else. But the situational secret of the planet is to be deeply ex­ plored to have a true genuine idea of the man. My attempt to recast his map and fix the planetary positions according to modern Hindu astrological principles may not be without imper­ fections—it is not out of the way to say that there have been differences of opinion in the field even between the greatest authorities like Guru and Sukra. 1 know my responsibilities in the task I have taken on my shoulders, my knowledge is amate­ urish, and 1 venture disinterestedly an astrological hazard into the mysterious profundity of the born genius of Sri Tyaga Brahmam. Now let me proceed with the horoscope. The horoscope runs thus •:—

£lth'tya.A- liana Stvn,

C&akfl-a. UCj.

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12 90 THE JOUBNAU OP THE MUSIC ACADEMY [VOL. XVHI

f‘loxmy RoU

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him, L r »

Sum. nm yfc^tea Si£ vm. Mi

! N t h t u ly Vlim t* Su^v ti.1fc4yd.lt tS «£ l*w PWw

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Kali 4868, Salivahana 1689, SarvajitHu year CHittirai month, Monday the 25th, 4th May 1767 A. D. Sudha Shasthi ending at '27 of the day or 16 Ghatikas and 12 Vighatikas Punar- vaau ending at MO or 6 Ghatikas of the day Pushya ending on the next day 26th at M 7 or 10 Ghatikas and 12 Vighatikas of the day. Sunrise L. T. 5-44 A. M. Sunset L.T. 6—9 P.M. Balance of Mesba Lagna on the 25th Chittirai 1 Ghatika and 2 Vighatikas. Precession of the equinox in the year 1767 = 20°—23’—45” or 20° —24’ nearly, duration of the day 31 Ghatikas and 2 Vighatikas. Latitude of the Birth place 10°—47 ’ Longitude ... 79°—45’ Birth at 11 hrs. 56 mts. A. M. Local time or 15 Ghatikas and 30 Vighatikas from Sunrise. In Kataka (Cancer) and Makara Navamsa (Capricorn) Lagnasphuta 22°— 1’—53" or 22°—2’ nearly in Kataka and 112°—2’ from Nirayana Mesha. Duration of Pushya asterism=64 Ghatikas and 12 Vighatikas. The balance of the period of Saturn at the time of birth is 16 yrs 2 months and 8 days. Sidereal time at the time of birth“ 2 hrs 46 mts. Padacharai, Planets in the stellar quarters. Sun in the fourth quarter of Bharani, Moon in the first quarter of Pushya, Mars in the fourth quarter of Mrigasirsa, Mercury in the second quarter of Asvati (Retrograde), Jupiter in the third quarter of Pooram (Retrograde), Venus in the fourth quarter of Rohini, Saturn in the second quarter of Mrigasirsa, Rahu in the second quarter of Sravana, Ketu in the fourth quarter of Pushya. Longitudes of the Planets at the time of birth. Sun — 23°—35’ Moon - 95°-|8’-23” Mars — 64°—22’ Mercury- 5°— 55’“ Retrograde motion Jupiter ” 141 °—29’—Retrograde motion. 92 THE JOURNAL OP THE MUSIC AOADEMT [VOL. XVIII Venus — 50°—54’ Saturn — 59°—8’ Rahu - 284°—34’ Ketu - 104°—34’ The twelve Bhava Sphutas 1st Bhava 112°—2’ 7th Bhava 292°—2’ 2nd „ 142°-32|, 8th „ 322°—321’ 3rd .. 173°-31. 9th „ 353B—31* 4th „ 203—34, 10th 230—34’ 5th „ 233°—3j, 11th ,. 53°—31’ 6th „ 262°—321. 12 th „ 8 2 °-3 2 f

The ending points of the twelve Bhavas 1st Bhava ending I27°—171, 7th Bhava ending 307°— 17j' 2nd 157°—48’ 8th 337°-48’ 3rd 188°-18f’ 9th 80-181’ 4th _ 218°—18f 10th 38°— 181’ 5th 247°—48’ 11th t7°—48’ 6th 277°-|71’ 12th 97°-171’

To start with, the time of birth given is 15& ghatikas from the sunrise. According to astrological science time is split into masculine and feminine, each with half an hour duration revolv­ ing alternately wherein males are born invariably in the first category and females in the second. But I find from personal experience and close observation there are very rare exceptions to this rule. The time in which Sri Tyagaraja is said to be born falls in the feminine division. 1 have worked on the basis that the birth time is correct and accurate as the old method of com* putation of time was done more efficiently and correctly, though clocks and watches were not then used. The ascendant or the Lagna is Cancer or Kataka. According to me, the navamsa Lagna is Makara. 1 have worked out everything according to Nirayana system relative to the particular latitude and longi* titude of the birth place namely Tiruvarur, Tanjore Dt., South India. If it is calculated according to rasimanas, the Navamsa Lagna may be Kumbha. is based on M S . I— IV] SRI TYAGARAJA’ S HOROSCOPE 93

Nirayana system and as such calculation with- reference to Sayana System is not followed here. There is difference in the positions of the planets between the published horoscope and horoscope recast by me on the basis of several ephemeris of experts. The so ealled difference is due to the discrepancy of various almanacs. I have worked out my calculationa on the basis of the works of accepted authorities. I have developed this article almost on the Bhavachakra and not on the Rasichakra, as predictive astrology entirely depends as a rule on the Bhavachakra alone—refer to different maps of the heaven. As you read you will observe the changes in positions in Bhava­ of the planets. Moon, Mercury, and Mars. I am now dealing with the general view of the horoscope. Of all the movable and watery signs, Cancer or Kataka is the best. In the judicious union of qualities of the signs, Cancer and Libra stand first. Capricorn scores a very high second mark and often reaches the first rank. Our Saint was born in Kataka Lagna the best of the lot and in the good Makara navamsa. The planets are well placed. Generally, the lord of the second house sun is very strongly well placed in the 1 Oth Kendra house which is his sign of exhaltation, though not actually within the degree of exaltation. Jupiter the lord of the 6th and 9th house occupies the 2nd house exactly the cusp. The sun also occupies exactly the cusp of the 10th house, so these two planets are strongly well placed. Then come Venus, Mercury and Rahu. Rahu occupies Makara which is a friendly sign and also 7th Kendra where Rahu in parti­ cular is very powerful. Venus occupies his own house and Mercury in the 9th Bhava, the best triangular place. Saturn and Mars, malefic planets, occupy the 11th Bhava which is good for malefics. The Moon occupying his own rasi is situated in the 12th bhava. There is no astangata and debilitated planet. To sum up, the planetary positions are good. Generally Kataka Lagna indicates harmony, spirituality, and will produce seers and saints, and as a movable sign, makes men 94 THE JOURNAL OF THE MUSIO ACADEMY [vOL. XVIII

of action. The lord of the lagna moon is in svakshetra occupy­ ing Simhamaa. Lagna ia aapected by Saturn and also by Mars reinforced by the navamsa aspect though not in full. Ketu occupies the lagna. Ketu's quality is akin to Mars and Saturn. Now we may infer that Sri Tyagaraja was a person of a broad face, large cheeks, not of a very bright complexion, but of a mild brown colour, somewhat short in stature, quick in action, well* built, of fixed principles, fond of spiritualism, and of religious, devotional mind. in the asterism of Pushya denotes control over his desires, learnedness and wealth if any which would have waxed and waned like the moon. Now we shall take the 2nd house. The lord of the 6th and 9th house is occupying the 2nd bhava exactly very near the cusp. W e know Jupiter is all round benefic. It is heavenly which i ennobles and elevates all and makes them selfless. This is the planet which made our Tyagaraja what he was- profound in wisdom, calm and contented, very versatile in different sastras. He should have been a very polite lucid speaker, Jupiter Kataka for wealth occupying the 2nd house is detrimental to his ^material acquisition. The lord of the 3rd house is not afflicted in any way. But as the 3rd house is aspected by Mars, Karaka for younger brother, he had none. The lord of the 4th house Venus, Karaka for music and worldly pleasures, is well situated with 11 th house in conjunction with Saturn and Mars. Jupiter in the amsa of Venus, Saturn in the amsa of Mercury and these points have combined io make Tyagaraja a born genius in music. The 5th house is aspected by evil planets, Saturn, Venus- particularly evil to Kataka. The lord of the 5th house occupies his inimical sign. Jupiter, putrakaraka, though well positioned, falls in the amsa of Venus which is a female planet—These various influences have contributed to absence of children. But Guru by virtue of his strong position in the amsa of Venus, a female planet, is responsible for blessing him with one daughter only. MB. I— IV] SRI TYAGARAJA'S HOROSCOPE 96

7th house is occupied by Rahu who can be taken as a dupli­ cate of Mars in the matter of giving Kalatradosha. Mars from the 12th sign aspects the 7th house spelling Kalatradosha. The Kalatrakaraka Venus is in conjunction with Saturn, the lord of the 7th and the 8th house, and Mars in the 11th bhava or the Labhasthana—These above positional influences of various planets, we have to suppose, have given the probability for two marriages.

Saturn the Karaka for life and longevity is unafflicted and he being the lord of the 8th house itself is occupying the 11th bhava his atimitra’8 sign. The lord of the nativity, Moon, is positioned in his own rasi. The strong planet Jupiter aspects the 8th house. The lord of the 3rd house which is 8th from the 8th house is placed in the 9th bhava a very auspicious house. We have already noted the strength of the Sun who is the Karaka for physique. These various factors-have pronounced a very long life.

The lord of the 2nd house Sun who rules over speech is powerfully situated in the I Oth, also aspocted by Jupiter which is characteristically religious and pious, thus accounting for his life of Unchavritti jeevana.

There are three planets in the 11th bhava Jupiter, Karaka for elder brothers, is good. Of the three, one a female planet, the other Saturn, a hermaphrodite, and the remaining Mars, a male planet, is not in any way afflicted, thus explaining the fact that he should have had elder brothers, more than one.

In the horoscope of Sri Tyagarajaswami there are many of which the most important are Anabha, Ubahyasari, Subhakartri, Susabha, Dhenuyoga etc., which gave him uni­ versal reputation, good conduct and immaculate character, immunity from disease, taste in various arts, royal honour and respect, many disciples, servants and last but not least renuncia­ tion. Lagna and Chandra being aspected by Saturn, and Ketu occupying the same, account for imposing upon himself the ascetic order in the fag end of his life. 96 THE JOURNAL OF THE MUSIO ACADEMY [VOL. XTIII

Then let us consider his various dasas. The balance of Sani dasa was 16 years 2 months and 8 days during which, adding that Saturn occupies Budha navamsa, he should have learned and mastered Sanskrit, Trlugu and music, but he could not have remained very comfortable throughout this period, in the end of which, we can certainly say he would have lost his mother and one of his elder brothers. Then comes Budhadasa. In the beginning of this dasa it may be said his father might have pass­ ed away and throughout the remaining period he should have very intensively adverted to studies of arts like music. He would have married at the age of 28 i. e. Gurubhukti in Budha dasa. In the beginning Ketu dasa when he was about 35, it is to be gathered that he lost his wife and immediately after, he married a second wife. Now comes Sukradasa between 40 and 60. In the end of this period it is to be inferred that he lost his other elder brother. During the entire period of Budha, he should have been studying various subjects and it was only at the end of this dasa, he start* ed his own musical compositions. In Ketu’s period Tyagaraja, it can be conjectured, could have met many great men of spiritual eminence. During Sukra’s period he must have had many ups and downs and enjoyed the full bloom of inspiration and composed numberless Keertanas. During Sun’s period he had travelled to Tirupathi, Conjee- waram, Kovur, Madras, Madura and other places. In the period of Moon he came again and settled in Tiruvadi in his house lead­ ing a life of devotion and intense prayers with immense peace of mind, thus seeking for eternal salvation. For Kataka lagna, Mars is the only yoga karaka. Usually as a rule, Yogakaraka in his period would finish the native. Moreover the lord of the 5th house can also cause death. In Rahu Bhukti during the period of Mars he lost his second wife, that was in 1845 A. D. two years before he shook off his mortal coil. During Mar’s period, in the sub-period of Saturn, he became a Sanyasin, and in a few days about the middle of the period of Mars at the age of 79 years, 8 months and 2 days, our Tyaga Brahmara phenominally passed away on the 6th January 1847 A . D. SRI TYAG ARAJA—HIS GENIUS AND PERSONALITY BY

K. V. R amaohandban

Ramabrahmam, the father of Tyagaraja, was the expounder of the Ramayana at the royal palace of Tanjore. The seed of Rama Bhakti was implanted in Tyagaraja in early childhood and he grew up in an atmosphere of Ramayana. His maternal grandfather was Vina Kalahasti Ayya—a great Vina player of the age; and his paternal grandfather was Giriraja Kavi the composer some of whose compositions have survived and are eminently singable* Thus through his parents, Tyagaraja inherited an intense musicality and rare musical gifts which unfolded and blossomed under the teaching of Sonti Venkataramanayya, a master-musician of the age. Tyagaraja also grew up in an atmos­ phere of music, living as he did in the heart of the Tamil country with its immemorial traditions and festivals of music, kept alive till today by generations of great though nameless singers and players on that divine instrument—the Nagasvara. The Sapta- sthana festivities in fact have inspired some of the finest songs of Tyagaraja and that romantically beautiful village Tiruvayaru with its rivers and groves and fields and Vedic incantations was the ideal place for the emergence of great music and musicians. An intensely musical people, it was the who lovingly treasur­ ed Tyagaraja’s gift of song and preserved it for posterity. At Melattur is a house said to have been gifted by Tyagaraja to the preceptor who taught him Sanskrit. This would suggest that Tyagaraja was in affluent circumstances, which gave him the neces­ sary leisure for his life-work of composing and that his poverty was self-imposed and voluntary and not due to necessity. This would also explain his contempt for those who sold in the market place. It is also evident that he was familiar with all the branches of traditional learning including Kavya, Nataka, , Veda and and was a fine product of Hindu culture.

That almost all Indian and Indonesian languages have their Ramayana is an index of the vitality of Valmiki’s poem which 13 98 THE JOUBNAL OP THE MUSIC ACADEMY [vOL. XVIII has fired the imagination of poets of all ages and climes. Thanka to Valmiki, Tamil and Hindi have received their most precious gifts from two master minds—the Ramavatara of Kamban and the Rama Charita Manasa of Tulasidas. But Kamban and Tulasidas were poets, not musicians. Tyagaraja whose Rama-infatuation equalled theirs, was a poet as well as a musician. Not only had he mastered the music of the ages, but he had within his soul the seeds of a new marvellous music that had never been heard beforfe. Bhavabhuti dramatised the Ramayana; Lava and Kusa are said to have given a musical dimension to the Ramayana. W e have no conception as to what that music was like. But Tyagaraja, a master of the and exponent of the romantic, has filled the want by combining in himself the twin roles of the dramatist and musician, of Bhavabhuti and Lava and Kusa.

This gifted son of Ramabrahmam with his spiritual visions and ardours and trances found himself alone in the wide world. There were his great contemporaries-Syama Sastry, the Dikshitar brothers—Muthuswamy, Chinnaswamy and Baluswamy—sharers and authoritative co-interpreters with Tyagaraja of the inherited musical system; possibly they were co-students as well. The age preceding these gifted musicians was one of intense musical activity; Purandaradasa and Kshetragna were the great persona­ lities of that age. Adiyappayya, the creator of the first Telugu Varna and Veerabhadrayya, the creator of the first belonged to that period, not to mention Muddu Venkatamakhi, Sonti Venkatasubbayya and his son and Tyagaraja's own grandfathers Kalahasti Ayya and Giriraja Kavi and a host of other music-makers. Of the rhythmic refinements and intri­ cacies of that music and its aesthetic quality Syama Sastry has left imperishable records—Syama Sastry the Bohemian, who thanks to his gifts of rhythmic imagination and exquisite taste, has won for himself a maximum of reputation with a minimum of effort. The grave and austere beauty of the Ragas then in vogue and the leisurely grace and majesty of those ancient compositions and the intriguing nuances of the Vinas, the Dikshitars have preserved PIS. I— lv ] SBI TYAGARAJA— HIS GENIUS AND PERSONALITY 99 for ever; these brothers wooed music like modern connoisseurs and collectors of the rare; their collection of Ragas labelled with indefatigable care and enriched with additions of their own are their most valuable gift to us. But these great artists were musi­ cians and composers first; they were classicists next and their gaze was directed backwards towards the music of the past. In so far as he has covered nearly identical ground Tyagaraja is a classicist too. In his ritual songs, Tyagaraja harks back to the Lali and Oonjal of the village maiden and housewife—not folk music but Carnatic music in its most authentic and chaste form. His homage in the song ‘Vidulaku’ to Bharata, Kasyapn, Somes- vara and Sarngadeva—early musical authorities, suggests that Tyagaraja delved into the past and explored their treatises in quest of musical wisdom. But the great merit of Tyagaraja was that he looked forward as well as backward and possibly created some at least of his Raga media. The Raga is a medium of expression and creating a Raga is not unlike creating a langu­ age—a process of activity not seen very often in history. With others the Ragas were an end in themselves. But Tyagaraja's end was Rama, to reach whom the Raga was just the means. Suggesting that music might constitute a new Darsana, he wonders whether it wis the might of the well-attuned Swaras that won for him his Rama in the song 'Etla dorikitivo*. All the musical treasures of the past and the present, Tyagaraja found insufficient to decorate his Rama with. No one adored music with greater intensity or passion than Tyagaraja“ -witness the im­ portant group of songs 'Nada tanum anisam* in which he has sung of music as his theme—‘Svara raga Sudha’ ‘Nadopasana’ etc. But Svara, Raga and Nada all lead Tyagaraja inevitably to Him who is all these and of Him he sings in those luminous fragments ‘Raga Sudha Rasa', ‘Nada Sudha' etc. His Rama is a ‘Raga Rasika' ; ‘ Svaras are his ornaments’ ; ‘he is Ganalola’: ' tantri lay a swara raga vilola ’ ; ‘ Murali vadana vinoda ’ ; the gem-garland around his neck consists of Ragas. Nay more; Rama was not only all music, but he was also all Beauty; and it ia His beauty which has infatuated Tyagaraja and of which he sings again and again—aa in ‘Enta Muddu’, ‘Lavanya 100 THE JOURNAL OF THE MUSIC ACADEMY [VOL. XV11I

Rama*, ‘Ramabhirama* etc. His is an aesthetic and not merely a devotional fervour. No wonder that in the company of his friends and relations, he felt lonely, because he had no use for music bereft of Bhakti. How could one who held that music without devotion was no music at all and that Bhakti in associa- tion with music was paradise and that musical devotion itself was emancipation be classed as a mere musician? Bhaktas of yore like Dhruva and Prahlada no doubt fascinated him, but he was not of them either because they were no singers. Then he discovered one so like himself, singing always and singing of Hari; in the whole of the universe and in the course of the ages, there had been only one or two such—Tumburu and Nara- da, especially Narada. No wonder that Tyagaraja was instinc­ tively attracted by these and some of his most beautiful songs are addressed to his favourite Narada—e. g. ‘ Narada gurusvamy’, ‘Vara Narada', ‘Sri Narada' etc. all proclaiming his spiritual and artistic kinship with Narada, which popular imagination has literaliBed and vulgarised. Narada was his Guru not because he taught him tricks of composition or gave him a catalogue of MelakartaB, but he taught him the purport of music when he en­ souled it with Bhakti. The myth that Tyagaraja had a musical manual named ‘Svararnava’ given to him by Narada which made it possible for him to compose, is a slander on the composer's genius and resources, Tyagaraja acknowledges Narada as an authority among others in quite a number of songs. But as often does Tyagaraja describe himself as an authority and as one who had mastered the secrets of the musical art ' Svararnava ' which place him on a par with Narada himself. Likewise Tyagaraja puts himself on a par with Valmiki when he sayB “ Is my desire quenched if Rishis like Valmiki and men like Tulasidas have described you?" This question implies that Tyagaraja intended to celebrate Rama in a work of his own which would bear at least a distant comparison with those of Valmiki and Tulasidas. We know that Tyagaraja’s musical genius sought operaic expression chiefly as in his ‘Nauka Chari- tra’ and 'Prahlada Vijaya‘. Now what else could have been the work that could bear comparison with that of Valmiki and ITS. I— IV] 8BI TTAGABAJA— HIS GENIUS AND PEE SON A LITE 101 quench his desire but a Ramayana opera in which Tyagaraja visualised the which Rama played of yore with Sita, Lakshmana and others in the supporting cast. 'Where and why did you rehearse this’ he asks Rama: ‘did your women covet ornaments and had you to feed your brothers and parents?’ The answer is furnished in the song ‘Manasa’ that the Supreme one had relegated his minor duties of creation and destruction to Brahma and and come down to the earth to fulfil the yearnings of his devotees. When after the manner of , Tyagaraja says in ‘Gitarthamu’ “ see both the meaning of the words and the beauty of music here" he undoubtedly refers to this Ramayana opera. May I suggest that while the minor operas have come down in tact, his magnum opus is unfortunately in an incomplete and fragmentary condition, awaiting reconstruction from the scattered songs. That a music drama with a Ramayana theme was his magnum opus we have every reason to believe. The usual explanation that the composer wrote all these songs mystically identifying himself with the beloved is singularly in­ adequate to explain the complexities of incident, situation and mood which the songs reveal and which suit just the characters of the Ramayana and no others. From the of Kalidasa and Bhavabhuti we could form no conception of the music inten­ ded by these poets. But in this Rasa-irradiated music-drama of Tyagaraja, we get back the wealth of music that the Sanscrit drama has lost.

But Tyagaraja is staggered by the magnitude of the task and wonders in ‘ Sogasuga Mridanga Talamu’ whether he has the requisite genius to rear such a musico-poetic edifice. But were not Lava and Kusa who sang the Ramayana during the thirty two days of the Yagna which Rama performed, his sons? Was not Tyagaraja who intended to sing the story of Rama and did so all his life, the son of that Ramabrahmam too? This is the signifi­ cance of that lovely lyric ‘Sitamma Mayamma’ in which he des­ cribes his pedigree, but a song which unfortunately is about the worst sung nowadays on account of ignorance of the Raga*. He

* So are plenty of other songs now shabbily sung without regard to the Ragas. 102 THE JOUHNAIi OF THE MUSIO ACADEMY [VOL. XVIII recollects the sacred feet of Rama, which smote Siva’s bow, raised and heaved the mammoth skeleton of Dundubhi many miles away and measured the three worlds when he incar­ nated as ; and he starts an argument as to which were the superior—whether Rama’s feet which conferred eternal bliss on the Rishis or his sandals which gave Rama himself to Bharata. He instals those glorious feet in the golden pedestal of his mind, supported by a platform inlaid with the gems of Svaras and Nada and he adores the feet with the celestial blos­ soms of Siva and Ramanamas. ‘I am not protectorless’, he taunts after the manner of Purandara Dasa in a delicious song, ‘because 1 have you; 'it is you that has none to protect you’. Like Purandaradasa he ridicules sham orthodoxy when he alludes to the holiness of the crow which immerses in water early in the morning or the fish that are under water always and the penance that the stork does by closing its eyes and the of the goats which eat only leaves and the monkeys who perform Vanavasa. Feigning anger he sings ‘I did not know that you were a vendor of mercy’ in ‘Koniyade’. In another mood he alludes to the Lord’s masterpieces of evasion and wants to know whether to escape from his devotees he hid himself in the hills and whether he started begging as to ward off those who expected gifts of him and whether he stole the garments of the Gopis so that Kuchela might understand and stay awayl In another song he explains that all the Lord’s deeds were done in hiding where no one could see him, as when he remained inside the pillar be­ fore smiting Hiranyakasipu or behind the tree when he smote Vali. But his greatest songs are those that reveal his ecstacy; and it would be worth the student's while to discover these- Tyagaraja felt intensely; his emotional surge was oceanic; and in giving impassioned musical expression, he exhausted all the Gnana, Naya and Ragas current in his time; then he ex­ hausted all the unfamiliar () Ragas; then probably he crea­ ted new Ragas of his own; and found that he has still plenty to say.

How immense the musical vocabulary of Tyagaraja 1 With what ease and freedom he handles the vast array of Ragas I And PTE). I— IV] SBI TYAGARAJA—HIS GENIUS AND PERSONALITY 103

He has his own methods of handling them. In the portraiture of moods, Tyagaraja has not been equalled. Dasaratha’s anguish in losing with his son, the dear privilege of beckoning him ‘Child I Come hither!’ and also his eyesight and the infinite pathos of his distraught mind which sees the vision of a return­ ing Rama find poignant expression in the song ‘Meru Samana’ . ‘Ninuvina Na madi endu* expresses the rapturous agony of Kausalya as she realises who her son is. Anger, wonder, joy, rapture the whole gamut of emotions has been exhausted. Tyagaraja’s system includes complex and eddying songs like ‘Na Jivadhara* which a V idvan could not do justice to, as well as simple artless songs which toddlers could sing beautifully. Tyagaraja must have been very fond of children judging from the vast number of songs he has composed specially for them. From all accounts he was himself a childlike saint.

‘ Ela ni daya radu ’ is said to have been his first Ramayana composition. The name ‘Ela’ denotes a great song type as ancient as Matanga. It had an opening section in two parts which had to be sung as one unit starting from a ' vishama griha ’ and con­ cluding with an alapa passage called ' Prayoga ’. Then follow three more Khandas of which the first two lines are to be in slow tempo and the third in fast. The theme should be the praise of one’s favourite deity through ‘ Virudas’ (vocative epithets) and padas arranged in Samasa-patterns. 1 suggest that ' Ele Ni daya radu ’ is a classic example of an ‘ Ela ’. The ‘ prati tala ' pres­ cribed for the Ela is what we now call Adi tala. As no specific Raga was ordered for this composition, Tyagaraja the romanti. cist that he chose a Desi Raga-Atana which came to us from Bihar and Bengal where it is called ‘ Vihari ’ (the sportive one) which in Muslim times got Urduised into ‘ ’• This Raga is vernal in appeal and appropriate for Sringara Rasa. So is the tala appropriate for Vira and Sringara rasas. In the word ' Ela ’ A denotes Vishnu and L derotes Lakshmi; what a troupe of felicitous suggestions does Tyagaraja put into this song, as he beckons the kridgeroom Rama on the threshold of his wedding with Sita. If this is Tyagaraja’s first song, what an auspicious and superb beginning I 104 THE JOURNAL OF THE MUSIC ACADEMY [VOL. XVIII

Likewise the Pancharatna compositions with an alternating Svara and Sahitya passage are probably Gadya prabandhas. Among the forms he has handled are the Jhombada and the Lambhaka. In both a section similar to what we call Anupallavi has to repeat itself in the third part. Rasa appears to have been an important element in the Jhombada class. The name Jhom- bada survives in where it denotes the Adi tala, perhaps because that tala was profuse in this type of song. Needless to state that Tyagaraja has composed many songs with the appeal of Rasa* chiefly. His songs also provide examples of those varieties which approach the Tara register in diverse ways, also for those which stop short of Tara and those employing a profusion of Sangatis and those employ* ing them sparingly ; likewise those songs in which the subsequent sections repeat the first would be Lambhaka of one kind ; while those with four differently patterned sections would be Lambhaka of another kind. Tyagaraja has embodied all the secrets of Pallavi singing in his Sangatis ; but it is not true as is generally suppos­ ed that he was the first to originate Sangatis ; Sangatis are as old as music and were known as ' Prayoga ’ and * Gamakalapti.’

The opinion was ventured that probably Tyagaraja created several new Ragas; but unfortunately we are not in a position to point out such new Raga creations if any which Tyagaraja added to the common stock. The process involves the elimination of the Ragas that Tyagaraja inherited from the past. However this is not easy because the Raga nomenclature of the songs of Tyaga­ raja particularly those in unfamiliar (apurva) ragas is in a state of shocking confusion. This erroneous naming had its origin at the time when these songs came to be first printed by people who were ignorant of these Ragas and who did not know what Ragas Tyagaraja had inherited from the past. So each song in the un­ familiar and sometimes even in the familiar Ragas has been given some novel name by these people. One Raga is disintegrated to yield ten different names for none of which there is warrant and all of which are non-existent. Such a state of affairs completely disguises the existence of certain wonderful Ragas whose real PTS. I— IV] SBI TYAGARAJA—HIS GENIUS AND PERSONALITY 10# form is distorted out of shape by such disintegration ; it has also disguised the genius of the Master who could create such diverse patterns out of a single Raga. W e have as a result lost the Rags but gained ten names. The understanding and restoration of these misunderstood Ragas is the first crying need. In this task some of the Raga labels of the Dikshitars would be found helpful. The process would involve also the jettisoning of the Melakarta scheme and its taboos and its so called ‘Janya ragas ’ and their rigid artificial patterns and their untouchabilities because the Mela was as hypothetical a term as the term ‘ vowel' or ‘ conso­ nant ' and had just a classifying sense. The Mela was not a Raga ; and its recognition never implied any taboos. Neither are the Ragas which are the substance of our music static or mechani­ cal formulae; they are live pictures bodied in movement. The Mela was a generalised formula derived from the Ragas; in this sense one may speak of the Ragas as having generated the Melas, but it is absurd to say that the Melas have given birth to the Ragas. If the Melakartas and Janyaragas said to have been born from them were such an an integral part of Tyagaraja’s music, one would surely expect that Tyagsraja who has composed scores of songs with music as his theme, would have at least referred to them if indeed he did not glorify them. He employs many musical terms, even archaic terms like Jati and Murchana but nowhere does he speak of Melakartas nor their Janya Ragas. He alludes frequently but only to Ghana. Naya and Desi Ragas which were in vogue in his time. The Ghana Ragas were said to be eight in number; the Naya or rakti Ragas were about forty; the Desi Ragas were about twenty-five. The unfamiliar (Apurva) ragas have not been listed in the above groups and we may allow that they numbered about fifty. We thus get the number of one hundred and twenty to represent the entire number of Ragas of Carnatic music. These are all the ragas and there are no more. It was for this reason that Tyagaraja referred just to one hundred Ragas of which he fashioned a garland in the songs 'Sata raga ratna Malika’ and ‘Elavataramu’. When he said a hundred, he meant just a hundred, no more. Before one is able to understand 14 108 THE JOURNAL OF THE MUSIO ACADEMY [VOL. XVIII these gems of Ragas (Rags ratna) as Tyagaraja styles th en , one has to throw overboard the nonsensical names of the misunder* stood Ragas of the scheme including if necessary the scheme itself. It is only after understanding these Ragas, one could follow Tyagaraja’s songs in them, because how could understanding be real and complete without a knowledge of the media through which the master has expressed himself? Tyaga* raja’s achievement in the realm of Raga creation could be as> sayed only then.

Regarding the suggested Ramayana play, songs like 'Sob- hillu’, ‘Rama katha sudha’, 'Sukhi Evaro’, ’Endaro', ‘ Vidulaku' ' etc. would well form a prefactory section. May I assign 'Sri Rama Padama* to Gautama, 'Sari Evvare' to Anasuya, ‘Entanine’ to a rishi 'Rara Sita’ to Surpanakha, ‘Prarabdha’ to Rama, 'Mana- suloni’ and ‘Chinna nade’ to Sita? 'Ennadu Juthuno' would be appropriate when Rama laments the fall of Lakshmana. ‘Chetu- lara' would suit Sita and ‘Ma Janaki’ Janaka. Quite a number of songs could be suggested, but these are enough to make scholars think about the suggestion and examine its plausibility and validity.

Omar Khayam’s motto 1 a loaf of bread, a cup of and thou' is well known but not that of Tyagaraja though it deserves to be better known. His motto was to 'discard sleep, tune the Tambura sweetly and sing of God with a pure heart'. * With beautiful music and dance springing directly from the heart, sing of him’ he says)’ ‘He is the fortunate one who like Tumburu sings and in his presence*. 'How ecstatic, the singing of these musicians, as they step along' he idealises those Choristers who participated in the Saptasthana festival. And as he adored Panchanadeswara and Hari with Siva and Rama nama kusuma8 and stood entranced, it is said that there was a rain of flowers. But the real miracle was not this rain, but Tyagaraja himself and his incomparable creations and his matchless devotion. As though to proclaim to the world, the greatness of this great soul, the Swaradevatas had incarnated as rivers surrounding the scored Tiruvayyaru where Appar and Sambandhar had poured U S . I— IV] TYAGABAJA ON MUSIC 107 forth their soul in music centuries before, made doubly sacred by the footprints of Tyagaraja.

TYA G A R A JA ON MUSIC

by

S a n o it a K a l a n id h i T. V. S u b b a R ao

The history and development of Carnatic music during the last hundred years and more is very much the account of the spread and cultivation of the songs of Tyagaraja. Of late, movements are afoot to popularise the kirtanas of other composers but it will be perceived that their propagation is precisely in proportion to the extent to which they are rendered after the style and fashion of the immortal pieces of Tyagaraja. The Sahitya may beany- body’s, the music of it must be cast into his mould to gain currency.

The secret of the unquestioned supremacy of Tyagaraja is the result of the overflowing human element, the charm of soulful life and sparkling spirit, the warmth of soft flesh and flowing blood, the moving tenderness of pathos and the inspiring radiance of ecstasy. It is life itself with all the truth of experience and beauty of sentiment, that endows his songs with imperishable worth and quick attractive power. The intense human touch is to be felt in every aspect of his compositions. Feelings of joy and sorrow that find powerful expression in the sahitya are well harmonised with the swelling tide of emotion that overflows every musical phrase of his songs. The thrill of his mighty rythms beat in perfect consonance and sympathy with the natural movements of the heart and lungs. In tempo and movement, his songs possess remarkable affinity to the human body with all the subtleties and complexities of natural variations that impart freshness by defeat* ing monotony. More often than not one finds a Madhyamakala song possesses the leisured beauty of “Vilambitakala” and vice versa. The life touch in Sahitya and Sangita has made his com­ positions as popular, as the perfection of his high technique has 108 THE JOURNAL OF THE MUSIC ACADEMY [VOL. XVIII made them the noblest work of art. Only the most devout students of Tyagaraja’s sahitya and sangita will realise the height of his unattainable glory. To others, he is perhaps only a great com­ poser not far above his compeers.*

It must be indeed interesting to know what Tyagaraja thought and said about the science and art of music. Fortunately we are not on doubtful grounds of tradition and surmise. There are several songs in which his ideas of music are embodied. It is impossible to conceives higher value for Music than whet Tyaga­ raja has given to it. The kirtana “ Nadopasana” exalts 'Nada’ the basis of music as well as the entire phenomena of sound as the First Principle worshiped by Siva, Vishnu and Brahma, the Super Beings above us, the soul of Yantra, and Mantra and masters of tone, rhythm and song. What higher praise can be bestowed on music than to say that the Trinity of Hindu God­ head flourished by the Upasana of Nada. To Tyagaraja the ambrosial spirit of sound, the foundation of all scriptures, incar­ nated as man in the person of Rama. “ Nada Sudharasa” in the most poetic and picturesque manner identifies the essential attributes of Music with the character and qualities of the Supreme Hero. It is needless to point out that Tyagaraja always contem­ plates Rama, as the visible or the ponderable form of the Supreme Being above the Trinity end it is no wonder he treats hia Ishta- devata as the Original Sound and the Prime Principle from which the phenomenal Universe evolved.

What a refreshing contrast is this high notion of Music to that implied in the expression “ Nata vita gayaka” . No com poser, poet or philosopher has been more courageous than Tyaga­ raja. In speaking of music as the Supreme Thing Itself, in “ Sob- hillu saptasvara’’ he is definite in his exhortation that pure music is worthy of cultivation and worship even as the highest end. In his reference to the seven svaras as flourishing in the five centres* the naval, the heart, the throat, the mouth and the noae, he is to be understood as saying that each sapthaka of seven notes has its origin in each of the regions aforesaid or in other words that practical music ordinarily makes uae of the five athayis of Anu- p t s . i — iv ] TYAGARAJA ON M08IO 109

mandra, Mandra, Madhya, Tara, and Atitara, each higher than the preceding. Compare the statement in the song of seven svaras rising in the five centres of the body with that in ‘Nada tanum ’ where sa ri ga ma pa dha ni, are spoken of as “ Pancha Vaktraja’’. The two statements are indentical in Bhava. The seven notes come from each,face as from each of the five sthanas.lt has puzzled many, how seven notes could evolve from five centres or five faces. The moment it is realised that the seven notes arise from each of the centres or faces, the difficulty is resolved. There is nothing absurd or obscure in the songs of Tyagaraja. His observations are but human expression of divine truths revealed.

His explanation of the causation of sound is most scientific. Sound is caused by ‘ Prananala Samyoga ’ which means particles of air acted upon by energy. The Pranavanada or ‘ Omkhara ’ is thus produced. The supreme virtue of regarding . it as the basis of Universe lies in its all comprehensive character. Sounds are primarily vowels and 'Om ’ which is really 1 Atm,' con­ sists of two vowels a and u which in pitch are lowest and highest respectively and m which represents the transition from the vowel to the verge of the consonant, for consonants proper being merely stops, cannot be sounded as such independently. In pro­ nouncing the sacred word ‘ Om ’ or 'Aum ’ one has to pass without a break from a to u and conclude with m which bears the dual character of both vowel and consonant. Thus the whole range of sounds is traversed. The pranavanada breaks into seven svaras or intervals of harmony. In passing from the lowest vowel to the highest, the seven pitches are covered. Since the primordial ‘ Nada ’ comprises in this manner the entire Universe of Bound, it is the fittest word for the Supreme Being. Thus by shear force of logic, it is possible to prove, as Tyagaraja has done, that to cultivate music is the highest worship of God. It is this idea that underlies a host of Kirtanas like " Mokshamugalada \ ‘San- geeta sastra gnanamu ’, ‘Sangeeta gnanamu Bhaktivina', ‘Nado- posana ’, ' Sobillu *, Ragasudharasa ’, * Nadasudharasa ‘ Nada Tanum’, and * Svararagasudharasa’. In the line “ Mooladhara- janadameruguto mudamagu Mokshamura ” it is clearly stated 110 THE JOURNAL OF THE MUSIC ACADEMY [VOL. XVIII

that to understand the secret of the origin of sound in the yogic centre ' Mooladhara ’ is final beatitude. In the kirtana * Anandasagara ’ Tyagaraja condemns as burden on earth the person who cannot swim in the ocean of Supreme Bliss called Music. In * Ragasudharasa’ he affirms that to enjoy the sweetness of raga, is to attain all that yaga, yoga, tyaga and bhoga could give. This kirtana is remarkable in so far as it mentions only the pure and absolute ragas without reference to Bhakti or Sahitya. No stronger proof is required to show that while music and devotion are sure means of salvation yet cultivation and even enjoyment of abstract music like raga would be eqully effective in attaining the Highest. This idea evidently rests on the principal that realisation of serenest joy or Ananda is the same as the realisation of Brahman. A parallel idea is contained in the kirtana “ Nadaloludai Brahmananda man* * dave Manass.”

In " Sangita Sastra Gnanamu,’’ he makes it plain that the science of Music is as important as the art and claims various virtues for it and silences those who speak lightly of the Sastra. In his adoration of Narada in the song ‘ Srinarada ’ he uses the expression * Veda janita vara vina vadana tatvagna * as if to imply that the mystery of the subtle variation of svaras is known only to those who have mastered the technique of the vina.

Tyagaraja learnt formally from a great vainika and was him* self an adept in the play of the divine instrument. In fact in those days there was no renowned gayaka who was not also a vainika. The finer shades of svaras can be comprehended only by means of the vina and these finer shades are the very things that give life and colour to a raga. When Yagnavalkya uses the expression srutijati in the verse which finds its echo in the afore­ said kirtana of Tyagaraja, he means less the srutis and jatis, the precursor of ragas, than the five classifications of srutis, dipta, Ayata, karuna, mrdu and madhya. When one understands the jati of the sruti to be employed in the raga, one may be sure of the rasa bhava to be expressed. Taking the morning ragas PT3. I— IV] TYAtJARAJA OH MUSIC 111 like Bhupala, Bauli, and Bilahari, we notice a gradual rise in the pitch of the gandhara. The twelve svarasthanas are but rough indications of the pitch of svaras. If we should con­ fine only to the twelve divisions of the and overlook the sruti jatis, no raga could be rendered in its true complexion. A careful analysis and examination will reveal that in many cases the raga transcends even the scale of twentytwo srutis; for the variations of a subtler character are comprehensible only to gifted geniuses who are “ Nadavidulu ” and know “ Nada- vidyamarmamulu ” and “ Sudhambudhimarmambulu ” etc. In the opinion of Tyagaraja high musical knowledge is god-given, not acquired. The kirtana " Vararagalayagnulu ” is a powerful indictment of those superficial musicians who versed but in the mechanics of raga and tala call themselves masters of music with* out having any understanding within themselves of “ Svarajati- murchanabhedamul.’’ Here again Tyagaraja is having in mind the subtler variations of the svaras manifest in the five jatis of the twentytwo srutis which give the shape, form and individuality to a scale and transmute it into a raga. What is meant here is the differentiation of the same murehana by changes in the jati of svaras which in the ultimate are but - selected srutis with over­ tones. To interpret the phrase above as meaning simply svaras* Jatis (in the sense of primitive equivalent of ragas)and murchanas (scales) would not only be pointless but absurd in the context.

Similar ideas are suggested in the line “ kolahala saptasvara gruhamula gurute mokshamura ”. The expression “ kolahala ’ > implies many things. It means the notes are not stationary ; they are joy-inspiring; they are emphatic in tones, bustling in move­ ments, wavy in their position, playful, dodging and elusive in character. To know the exact loeation in each case of the notes whieh have shifting home in different ragas is the height of knowledge. It should not be supposed that description of the notes as merry deprives them of the qualities of tenderness or pathos. Even when these sentiments are conveyed, they do not lose their essential and ultimate pleasure giving nature properly associated 112 THE JOURNAL OF THE MUSIC ACADEMY [VOL. XVIII with hilarity. Most sombre tragedies are written or acted but to please. The satisfaction is aesthetic. It arises on the enjoyment of rasa though it be soka.

The home of the svaras shifts not only in the scale but in the svarasthanss also. It changes sometimes in ascent, descent or sanchara even in the same raga. It is knowledge of these minute variations that gives the key to the mysteries of the ragas that works miracles in nature. Tyagaraja implies such knowledge when he praises God with expressions like “ Sama nigama-ja sudha mays gana Vichakshana ” and “ Veda siromatrija sapta- svara nadachala dipa ” .

Tyagaraja gives some ideas of good composition and good rendering in his kirtana, “ Sogasuga ” , In his opinion the words of the song should have for their meaning the truths of the highest scriptures ; the sahitya should be genuine and faultless ; it must be wedded to pure notes ; there should be pause and ; the words should breathe the spirit of ardent love and high devotion and renunciation; the composition should be simple in style and have wide appeal and flow with some or all of the nine rasas. The worship of God by means of such kriti is most difficult. That Tyagaraja has succeeded herein in spite of his modest denial is plain enough. All the characteristics enumerated above are found in every one of his kirtanas. The despair voiced at the end of the song refers, perhaps, to the diffi­ culty of getting the mridanga to accompany the song in apt concord. The perfect integration of the rhythm of the singer and that of the instrument would seem almost impossible of achievement. It is significant that no other accompaniment is spoken of. They should ponder who feel they cannot sing un­ aided by violin.

It is also remarkable that the word “ kriti ” in the song is used in the sense of a piece for bhajana. Opinion still seems to prevail in certain quarters that a composition wherein the music is elaborate and words are few is a kriti, and a composition wherein words are many and music limited is a kirtana. “ Soga- pts. i— rv] TYAGARAJA ON MUSIC) 113 suga ” is a direct contradiction of such a view. Tyagaraja evidently considers that it is not the quantity of words or music that makes the difference but the inherent sense of the terms which differentiates them into genus and species. In other words, kriti is any composition or prabandha and kirtana is a composi­ tion in praise of a deity. Further the use of the word Kirtana in “ Nidhi chala sukhama’’ makes Tyagaraja’s meaning plain. Purandaradasa too uses the word “ kriti ” when he refers to the entire range and number of pieces composed by him. That Tyagaraja was not satisfied with singing old ragas only but also desired new modes is evident from his reference to “ Vinta-ragamula ” in the song “ Mitribhagya In fact he stands unquestionably the supreme creator of new modes. Even Hari* Kambhoji and Kharaharapriya as such are his new creations. They contain some of his songs of exquisite beauty and simpli­ city such as “ Ramanannu " and “ Undedi ’’ in the former and “ Pakkala ’ ’ and “ Rama ni samanu " in the latter.

With all the freedom of creation and liberty of invention, he cherished the profoundest regard for tradition. His new models were the result of the natural expansion of old laws and princi pies. In “ Sadhinchene" he praises Lord Krishna for being “ Sangita sampradayakudu If He, the fountain of all knowledge should follow tradition it need scarcely be said how imperative it is that composers and musicians should respect sampradaya. Tyagaraja's reverence for Purvacharyas is manifest in his Kirtanas, “ Vidulaku” and “ Sangita jnanamu ” where most of them are mentioned by name. The necessity for initiation by Guru or preceptor is insisted upon in “ Guruleka,” “ Buddhiradu” and “ Endukupeddala It is well-known that Tyagaraja was a devout follower of tradition as handed down by Purandaradasa in practice and Venkatamnkhi in theory. Moral purity as a necessary condition of good music is men­ tioned in phrases like “ Suddhamaina manasuche susvaramuto” as if sweet notes are not possible of production with a tainted mind. Expressions such as “ Niddura nirakarinchi mudduga tambura batti’’ and “ Vekuvajamuna velayuchu tambura chekoni” 16 114 THE JOURNAL OP THE MUSIC ACADEMY [VOL. XVIII are eloquent of the need to overcome sloth and insolence and to hold the tsmbura in a graceful and aesthetic manner while sing* ing. Few can equal Tyagaraja in his love of truth and beauty. Tyagaraja is the only composer who in his songs has given many ideas relating to the art and science of music. Careful study of them will yield most profitable lessons to musicians and composers alike. Like the observations of Shakespeare on drama and acting in Hamlet and other plays, Tyagaraja’s exposition of music themes in his songs should possess the highest practical value.

THE WALAJAPET MANUSCRIPTS by P rop. P. Sambamoorthy The Walajapet Collection now housed in the premises of the Sourashtra Sabha, Madura, represents by far the largest private collection of musical manuscripts ever made. The collection includes musical compositions in notation and works on musico­ logy. Manuscripts containing the bare texts of songs from various composers are also included in the collection. Many of these compositions and the works on have not been published so far. A good number of the manuscripts are in Telugu script and a few in the grantha script. The bulk of this collection evidently formed part of Tyaga- raja’s private library. He himself inherited these valuable manuscripts from his maternal grandfather, Veena Kalahasti Iyer, a Samasthana Vidwan in Tanjore court, and from his guru Sonti Venkataramanayya. A few of his disciples, on account of their proficiency in music, scholarship in Sanskrit and Telugu, and long association with the gTeat composer earned his good­ will and blessings. When they requested their master to be favoured with some of the manuscripts in his library, the great composer generously parted with them. Walajapet Venkata- ramana Bhagavatar became the most favoured sishya in this PIS. I — lv ] TEE WALAJAPET MAND80BIPI8 Hi

regard. With the manuscripts got from the sage oi Tiruvayar as a nucleus, he developed an important library by adding on to it from time to time. His son Krishnaswamy Bhagavatar, also a disciple of Tyagaraja, further enlarged this collection by valuable acquisitions. Krishnaswamy Bhagavatar*s notebooks containing Tyagaraja’s compositions in notation and the great composer’s biography written by him are also there. The Walajapet collection has long enjoyed the reputation of being the repository of the maximum number of the saint’s compositions and rightly so. Venkataramana Bhagavatar had a reverential regard for his master and learnt the latter’s compositions with great avidity. At the commencement and conclusion of the notebooks of both the father and the son we invariably come across statements like the following ‘‘Sri Tyagarajabhyam Namah” ‘‘Sri Tyagaraja Guruswamy Sahayam” ‘‘Sri Tyagaraja Gurucharanaravindabhyam namah” . The fact that in one of the notebooks, excerpts from the ‘Svararnava’ the famous work which Tyagaraja was privileged to peruse, are reproduced, is proof of the confidence that the Walajapet sishyas enjoyed at the hands of the sage of Tiruvayar. It is through the late Mr. K. K. Ramaswamy Bhagavatar, son of Walajapet Krishhaswamy Bhagavatar, that 1 first had the rare privilege of perusing tome of those manuscripts. In addition to precious manuscripts relating to Music, the collection included manuscripts on subjects like , Ganita, Jyotisha, Vastu Sastra (house-building), , sacred lore and prosody. During his occasional trips to Madras, Ramaswamy Bhagavatar brought some of these manuscripts and showed them to me. The more I perused them, the more 1 became convinced of their great value. While some of the paper manuscripts are more than a century old, the palm-leaf manuscripts are even older. The notebooks containing the tanas of such acknowledged masters like Sonti Venkatasubbayya, Sonti Venkataramanayya and Govinda Dikshitar are very valuable from the point of view of practical music. It is noteworthy that the tanas are elaborated under the sections: Ayittam, Yeduppu, Muktayi, Udgraham, 116 THE JOURNAL OF THE UUSIO ACADEMY [VOL. XVIII

Makarini, Sanchari, Dvitiya eanchari, Tritiya snnchari, Rishaba athayi, Panchama sthayi, Sthayi tanam, Tiara jati Tanam, Sarva laghu tanam, Dhalu tanam and Pattu tanam. After the demise of Mr. K. K. Ramaswamy Bhagavatar, there was the danger of some of these manuscripts getting astray or passing into other’s hands. 1 then took up the matter with some of the leading members of the Sourashtra community and appeal­ ed to them to conserve the collection. Fortunately for music, steps were taken by the Sourashtra Sabha, Madura, to acquire this collection. They have since done valuable work by separat­ ing the musical manuscripts from those relating to other subjects and making the former available to scholars engaged in musical research. Some of the Manuscripts which slipped away from Walaja- pet before acquisition by the Sourashtra Sabha have since been recovered by them. The thanks of music scholars, musicians and music lovers are due in no small measure to this institution at Madura for the valuable work done for the cause of music.

Brief notes on these Manuscripts Palm-leaf Manuscripts 1. Vyakaranam in Telugu and Sanskrit. It is at the end of this Manuscript that we find a leaf containing the date of birth of both Tyagaraja and Venkataramana Bhagavatar and signed by Kavi Venkatasuri, a disciple of the latter. This Venkatasuri is the author of the Samskrita Nowka Charitram, a beautiful work which has since been published by the Sourashtra Sabha. As stated in the leaf, Tyagaraja was born on the 25th day, of the month Chitra of the Sarvajittu year, (Vaisakha suddha saptami), Kali Era 4866. This day corresponds to 4th May 1767. This date is further corroborated by the Kuttalam Suvadi which contains in addition, full details relating to the horoscope of Tyagaraja. Since the Kuttalam Suvadi was written during the lifetime of Tyagaraja, it is possible that the great composer him­ self had seen the horoscope reproduced therein with all details and satisfied himself about their accuracy. Tyagaraja, it might incidentally be pointed out, was an expert in Jyotisha. Scholars FTS. I— IV ] THE WALAJAPET MANUSCRIPTS 1 1 7

like Potti Josier and Kumbakonam Aravamutha Iyengar came to him to etudy Jyotisham alone. 2. Laghu Guru Chhandas—u work on prosody. 3. Contains Lakshana Gitas relating to mela ragas and janya ragas. The current nomenclature for the 72 melas figures herein. 4. Talarnavatn; A treatise on Tala. For the slokas in Sanskrit, Telugu meaning is given. 5. Sangita Ratnakara by Somanathaswamy (This manuscript is in double palm-leaves). This Sanskrit work is different from the famous work of Sarngadeva. It treats of topics like Stri ragas, Purusha ragas, Gayaka doshas, Gayaka Gunas Etc. 6. Devata Natna Mahatmyam. 7. Phala ratna rnalika. 8. Vastu Pustakatnx (Science of housebuilding), 9. Kala Sastram 10. Vaidya grantham. On pages 126-130 herein we have the Kavacham, Gayatri, Surya Gayatri, Chandra Gayatri, Rahu and Ketu Gayatris. 11. Contains gitas, chauka varnas, tana varnas and some songs in notation. Dikshitar’s Swaminatha Paripalaya and Balakrtshna, the lakshana Gita Ravikotiteja in Maya- malavagaula and some kritis ot Syama Sastri are also contained therein.

Kuttalam Suvadi This is the famous palm-leaf manuscript containing the texts of Tyagaraja's Kritis. They are presented in the order of the melas and each Kriti contains the name of its raga and tala at the top. This manuscript also contains the biography of the great composer written by his two disciples Tanjore Rama Rao and Walajapct Venkataramana Bhagavatar. At the end of the bio- graphy we find the signatures of the two disciples. Venkata­ ramana Bhagavatar may be styled the Boswell of Tyagaraja, 118 THE JOURNAL OF TE E MUSIO ACADEMY [VOL. XVIII

He was Tyagaraja’8 scribe. Since Rama Rao passed away be­ fore the demise of the great composer, it is certain that the whole manuscript including the biographical portion was com­ pleted during the lifetime of Tyagaraja. The value of the manus­ cript is enhanced by the fact that full details concerning the horoscope of Tyagaraja including the and the planetary positions at the time of his birth are furnished. (This manus­ cript which formed part of the original Walajapet collection was one of those to slip away and it was luckily acquired by the Saurashtra Sabha from a certain gentleman in Kuttalam. And hence the name Kuttalam Suvadi for this palm-leaf manuscript.^

Paper Manuscripts Some'are in foolscap size, some in royal size and some in the size of the ordinary exercise-book. The leaves of the older notebooks are of thick hand-made glossy paper. Three of the manuscripts are written upon paper imported from England. The year of manufacture of the paper, the name of the firm as well as the trade mark are clearly seen in the watermark impressions in these foreign papers. Notebooks in blue paper used in the latter part of the 19th century are also found in the collection. That the kritis of Tyagaraja were recorded in notation by Bishyas even during his lifetime is proved beyond doubt by manuscripts. The manuscripts also afford conclusive proof of the fact that Tyagaraja followed the Kanakangi- nomen­ clature. 1. A big note book containing the preliminary svara exer­ cises, Alankaras, Sanchari Gitas, Lakshana Gitas, Varnas and Tyagaraja’s kritis in notation. We also find herein the , Tika. Ganakananda Grantham, mulam and Tika, and Sarvartha Chintamani (a work on jyotisha.) 2. Potana’s Bhagavatam: Used by Tyagaraja for his daily parayana in his latter years. It is bound in red silk and care­ fully preserved. The writing is like print and is a remarkable specimen of beautiful calligraphy. The thick white foolscap M S. I— IV] THE WALAJAPET MANUSCRIPTS 119

paper ia written on both side*. The spade trademark and the years 1823, 1824, 1825 as well as the name of the firm Wise & Co., are clearly seen in the watermark impressions. While the middle part of the manuscript covering the dasama skandham (purva bhaga and uttara bhaga) is written in small characters, the rest of the manuscript is written in bigger characters. The saptama skandham, navama skandham and the ekadasa Skandham are also included in the book. Two other notebooks, one entitled Sataratnamahka Puita- kam and the other containing the teat of Tyagaraja's Nowka Charitram are in the same writing as that of the Bhagavatam. Since we know that the above two notebooks are in the writing of Venkataramana Bhagavatar, we have to conclude- that the writing of this Bhagavatam is that of Venkataramana Bhagavatar. It is possible that the Bhagavatam was written .and presented by Venkataramana Bhagavatar to his Guru on the occasion of the latter’s Shastyabdapurti in 1827. It may be pointed out that Venkataramana Bhagavatar presented Tyagaraja with the picture of Kodandaramaswamy on the occasion of the marriage of the composer's daughter. It was on seeing this picture that Tyaga­ raja in ecstasy sang the kriti in Mohana raga 'Nannu Palimpa'. The fact that Venkataramana Bhagavatar got back the manus­ cript of the Bhagavatam is proof that he himself must have written it. 3. Contains about 170 pieces in notation. 4. Contains 29 songs in notation. 5. Contains Jayadeva’s with Telugu meaning. 6. Containing the Adi Guru Panchakam in praise of Tyagaraja by Venkatramana Bhagavatar beginning with the words, yr$ araireoireoTGUtLi irpqapajr, songs by Venkatasuri with the signature Narasimha Daaa and some slokas in Paisachika bhasha are also contained here. 7. Contains the Prahlada Bhakti Vijayam, the Telugu opera of Tyagaraja and some Kritis of Margadardi Sesha Iyengar. 8. Contains padas of Kshetragna and other composers and also a few Javalis. 9. Contains the Nowka Charitram of Tyagaraja (called Andhra Nowka Charitram) and the Samskrta Nowka Charitram 120 THE- JOURNAL OF THE MUSIC ACADEMY [vOL. XVIH of Kavi Venkatasuri. A few BHramara gitas are also found here. (The name Balstom & Co., is found in the watermark impression of the paper in this notebook.) 10. Jayadeva’s Ashtapadi and the Suddha sahityas of many songs are found here. 11, 12. 13 14. Contains the Tanas of Sonti Venkataramanayya, Sonti Venkatasubbiah, Venkata Seshayya and Govinda Dikshitar. 15. Contains the and of 400 janya ragas. The Kanakangi-Ratnangi nomenclature is found here. 16. Contains songs of various composers with notation. 17. Contains songs in the Sourashtra language. 18. This is a blue paper notebook and contains songs in notation. 19. Nirupanas and some songs in notation are found here. 20. Songs for Kalakshepam are found herein. 21. Contains Darus, Padyas and Kirtanas of Ramanuja Dasa. 22. Contains 44 Varnas inclusive of selections from Vina Kuppier, Venkataramana Bhagavatar and Govindasamiayya. An unpublished Varna in Sriraga-Misra jati triputa tala beginning with the words “ Sami Ni pada padmamule Chala Namminanu brovu’’ is found herein. 23. Contains Gitas, Pavvalimpu songs and songs of Purandaradasa. For every song the names of the Raga and Tala are invariably given. 24. Contains the texts of the songs of Purandaradasa and Venkata Vittala Dasa. 25. Kshetragna’s padas, Talarnava Slokas, and the Suddha sahityas of some kritis of Tyagaraja are found here. 26. Draupadi Vastrapaharanam and Tamradhvaja Rajula Charitram-two operas in Telugu are contained here. 27. Songs of Purandaradasa and Venkatesa Dasa and some songs in the Sourashtra script are found here. 28. Contains Kritis of Tyagaraja with notation. The kriti Vara Raga Layajnulu in Chenchu Kambhoji raga ia noted here. PT8. I— rv] THE WALAJAPBT MANUSCRIPTS 121

A few pages of this notebook are devoted to matter relating to Ganita (Mathematics.) 28. (Extra) contains songs in notation. 29. Contains kritis in notation. 30. Has the heading ‘eavswrc. smaiinb’—evidently concert svaram, meaning thereby lively melodies from European Music. These melodies have sahityas in Sanskrit. These sahityas are by Muthuewamy Dikshitar, and all of them contain the guruguha tnudra. 3 1. Deals with the Chhandas sastra (Prosody). 32. Siddhanta Siromani. a work in Sanskrit by Rama* chandra belonging to the Alladi Vatnsa. 33. Tyagaraja’s songs in notation in the writing of K. K. Rameswamy Bhagavatar. Unpublished songs of Mysore Sada- siva Rao are also found here. $4. Songs of Bhadrachala Ramadas. Matter relating to Jyotisha also is found here. 35...... 36. Treats of Tala Prastara. 37. Kritis of Tyagaraja in notation are found here. 38. Contains Songs in notation in the writing of K. K. Ramaswamy Bhagavatar. 39. Contains songs in notation. (The rare kriti in Gauri Kalyani raga appiurto esSesti is found here). 40. Gives the Arohana and Avarohana of ragas. Also treats of some . 41. Contains select kritis with notation. 42. Contains the Kirtanas of Venkata Suri. 43. Contains Tyagaraja's Pancharatnam. 44. Contains unpublished Varnas and Tanas. 45. A foolscap size notebook containing the padas of Kshetragna. For each Pada, the type of Nayaki or other chara­ cter that sings it, as well as her mental state, is given in the accepted technical parlance. These details are helpful in the eff*etilre rendering of the compositions. 46. Sangitamrita chandrika in Sanskrit. 16 122 THE JOURNAL OF THE MUSIC ACADEMY [VOL. XVIII 47. A foolseape size notebook containing some Varnas and Tanas. 48. Tana pustakam, Tana nigandu, contains Tanas and some songs of Syama Sastri in notation. 49. and 50...... 51. Contains the Nowka Chari tram of Tyagaraja with meaning. 52. A small notebook containing a few songs in notation.

Light thrown on Tyagaraja by the Manuscripts The materials furnished by the Manuscripts serve to fill the many lacunae in the biography of Tyagaraja. On the practical side they help us to determine the original ragas, versions, tunes and readings in many cases. In addition to the biography on palm leaf written by Tanjore Rama Rao and Walajapet Venkataramana Bhagavatar already referred to, there is a paper manuscript dealing with the biography of the great composer by Walajapet Krishnaswamy Bhagavatar and giving many details not furnished in the palm leaf manuscript. Further details concerning Tyagaraja’s life and career culled or collected by K. K. Ramaswamy Bhagavatar from various sources are given in another notebook. The more important details fur­ nished by these manuscripts may be briefly referred to. At the time of Tyagaraja's birth, both the father and mother had an identical dream and therein they were told that the child to be born was destined to become a Sangita Sahitya Kala Kovr dudu, that he is coming with the amsa of Narada, Valmiki and Sarada and also that the child should be named after the presid­ ing deity of the plaee i. e. Tyagaraja of Tiruvarur. During his 5th year, Tyagaraja was seized with an acute disease and the parents feared that it might prove fatal. Their sorrow was accentuated by the fact that the two sons born prior to him, were unpromising and not worthy of the family noted for scholarship. But a Sanyasi, who casually came to visit Rama Brahmam at that time, assured him that the boy will soon recover and that he was destined to become as famous as Jayadeva and Purandaradasa. PTB. I— IV] THE 'WALAJAPET MAfTOBCBlPTS 129 The Upanayanam of Tyagaraja was performed in his 8th year, and his marriage took place in his 18th year. By a cruel fate the wife was snatched away during the 5th year of his married life and he married her sister shortly afterwards. The first wife was named Parvati and the second Kamala. Out of prema, the second wife was b I b o called Parvati. The name of Tyagaraja’s mother was Sitamba. The following sloka found in the biography may be of interest. stffpmhur &rug}irpriu uirirai$ su><2eo0e : (?) ptSutrfr tuir erviiiL/^iruj yrg /stuirsirirggiriu us tits e rr w II Early in his life, he had digested all the works on Musicology. He had access to many works which are now lost to us. The Sangita Ratnakara, Nsradiyam and a work treating of 72 meladbi- karas and the Svararnava were amongst the works perused by him. The Genealogy of his family. Panchanada Brahmam

Sadasiva Sadananda Sachidananda Bala Giriraja Brahmam Brahmam Brahmam Brahmam Brahmam (Also had 5 sons)

Rama Brahmam (Married Sitamba). ^ I 1 1 1 Panchanada Panchapakesa Tyagaraja Brahmam Brahmam Brahmam. Giriraja Brahmam was also called Subramanya Bharati. Ramabrahmam had his Upadesa and Rama nama from Sri Sadguruswamy of Marudanallur. In his turn he gave the Taraka Mantra Upadesa to hiason Tyagaraja. At the father’s bidding Tyagaraja took to the Puja of the RamavVigraha in the house. The Yati who gave the Rama Shadakshari Upadesa to Tyagaraja was Sri Ramakrishnananda, a friend of his father. This holy man lived in Tiruvayar and Tyagaraja pays his homage to him in the 3rd invocatory verse, at the commencement of his 124 TH E JOURNAL OF THE MUBIO ACADEMY [VOL. XVII

opera, Nowka Charitram. The composer had his occasional doubts in musical science cleared by this Yatindra. Tyagaraja’s first attempts at musical compositions consisted of Divyanama Kirtanas. He wrote them on the blacked walls of his house with chunnam sticks. “ Namo Namo Rsghavaya” and “ Tava daaoham” were his first attempts. His divya nama kirta­ nas were also called Bhajana Namavali Kirtanas. Since Tyagaraja lost his father when he was 20, and since his compositions attracted the attention of his father and other acholars of Tiruvayar, it is certain that his career as a composer began in his teens. Sonti Venkatramanayya, like his father, enjoyed the privilege of performing in the Hall on the New Year day ( Day). Tyagaraja’s two memorable performances, the first at the Sadas convened by his Guru Sonti Venkatramanayya in Tiru­ vayar and the second at the sadas convened by Sonti Venkata- subbiah in Tanjore are narrated with colourful details. Tyagaraja’s mother lived to see the glory of her son. She must have felt a thrill when her son boldly sang the Kriti ‘Nidhi Chala Sukbama’’ as a reply to the tempting offer of Sarabhoji, When Tyagaraja’s brother complained to her of the rejection by Tyagaraja of the royal offer, she took no notice of it. Tyagaraja’s fame shot up after the 'Nidhichala Sukhama' episode. Members of the Royal household including Moti Rao, the Rajah’s son-in-law and Yatis and scholars, musicians and composers began to attend his Bhajanas. Tyagaraja came to be called Bhuloka Narada. This very same episode roused the wrath of his elder brother. The Kriti E Papamu (Athana) was composed by Tyaga­ raja when he was subjected to trouble by his elder brother. The mother passed away after some time i.e., after 1800. The parti* tion of the family property took place after her demise. The house in Tirumanjana Vithi in Tiruvayar wherein Tyagaraja lived was the gift of Tulajaji II to Ramabrahmam. The house was specially built at the royal command and given. The gift Pis. I— IV] TE E WALAJAPET MANUSCRIPTS 126 was coupled with one veli of saivamanyam land in Pasupati- koil. The contents of the famous Srimukham written by the sage, Upanishad Brahmam of Conjeevaram, couched in respectful langu­ age and inviting Tyagaraja to come to Conjeevaram and which letter was responsible for the sage of Tiruvayar undertaking the historic pilgrimage to the north are reproduced. During his trip, Tyagaraja was accompanied by his wife and disciples. Srirangam was the first place visited by him during this trip. He stayed in Srirangam for five days and sang the five pieces in praise of Sri Ranganatha. When Tyagaraja came to Cpnjeevaram he stayed as the hon­ oured guest of Upanishad Brahmam. Kovur Sundara Mudaliar, a sishya of Upanishad Brahmam, was sent for from Madras. After singing pieces in praise of Kanchi Varadaraja, Tyagaraja came to Madras along with Sundara Mudaliar. He stayed in Madras for six months along with hiB disciples and disciples’ disciples. He stayed in the palatial residence of Sundara Mudaliar at No. 4. Bunder Street, George Town, Madras. While there, he sang the Devagandhari. rags and a Pallavi in it for 8 days, the raga-alapana alone occupying 6 days. With Madras as his head­ quarters he visited the surrounding places like Tiruvotriyur and Kovur and sang the respective Pancharatnas. The inspiring details relating to his last moments form a crowning conclusion to the Biography. The Charama slokas rela­ ting to Tyagaraja composed by Venkatramana Bhagavatar are also seen in one notebook. The sage that initiated Tyagaraja into Sanyasa asrama on the day prior to his demise was Brah- manandendra Saraswati. The collection helps to trace the original and correct read, ings of many of Sri Tyagaraja’s Kritis. 1. The sahitya of the anupallavi of Tolijanmamima (Bila• hari) is it id^jSio ueoGwCSior Ljekriq. sppqpmiQMigs), 2. The Anupallavi of Sive Pahi mam (Kalyqni) begins as t sQaijrGIggirppir jhreuireffliS. 3. In an old silk-bound notebook wherein the thick leaves bear the watermark impression of 1800 we find the Kriti 126 THE JOUBNAL OF THE MUSIC ACADEMY [VOL. XVIII in Bhairavi raga, “ Sri Baghuvara mgunalaya''. Herein, the section beginning with the words lent is marked as charanam 1. From the prosodical point of view it is clear that this passage is only a charanam. If taken as anupallavi as is generally done now, it will oifend against the rules of prosody, since the letter preceding the Prasakshara in the pallavi is dirgha and in Tarana lent, the latter is hrasva. At the end of the song, we find it styled PancharatnamaUka• The five charanas of this Bhairavi kriti are set in different dhatus and hence the name PancharatnamaUka. Of the ten kritis with charanas of different dhatus, composed by Tyagaraja, it is possible that Sriraghuvara sugunalaya was the first one. 4. The latter half of the mudra charana of the Kriti, Vinayakuni valenu (Madhyamavati) reads as : ^lupappgg^atl fkxr^ftaj m Q pt jgeuireriii8t oppiriflGavirp,fl, u p p f d fi bj$i, 5. The pallavi of “ Rama nannu brovara*’ (Harikambhoji) reads as: pr u isesrgp uGpiraipir Qculo Qpp QarartS — 6. Of the unpublished or rare compositions in the collec­ tion, the following may be referred t o : TYAGARAJA’S. 1. Inka nija bhakti. 2. Sitalakshmana sahitam. 3. Nagumomu Jupavu. 4. Undi erne urvibharamuga. 5. Mutyala chavikalo mudamu miraganu. (Gauri Kal- yani Raga). 6. Desikavara saranagata vatsala (Divyanama style)— Saranga—adi. 7. Sari vedalena Parthasaradhini—Todi—Jhampa (This kriti was composed by Tyagaraja in praise of Parthasarathiswami of the temple, Madras, when he was sojourning in the City in the last century). 8. Dhana suta taruni—Kamalamanohari—Adi. 9. P’eridi ninu : Kharaharapriya—Adi. 10. Samayamu yemarake—Kalagada. 11 • Ramaramana barama—Vasanta Bhairavi. PTB. I— IV] THE WALAJAPET MANUSCRIPTS 127

12. Emani pogadudura—Kedaragiula—C hapu. 13. Vidhi Sakradulaku dorukuna—Yamunakalyani. M. Amba Bhishma sute—Ratnangi— Jhampatala.

Of other composers. O, Manaaa I Yewarake—Ahiri—adi—Virabhadrayya Pahimam Sri RagHunayaka—Begada—Triputa—Margadarai Soshayyangar. Emammadaya Judavu—Ahiri—MatrubHutayya Elagu daya vaccKuno—Punnagavarali—Mysore Sadaaiva Rao Sri Narahari veri talakekki—Kalyani—Merattur Venkata* rama Sastri Bantudaitini parama—Pantuvarali—Merattur Venkatarama Sastri Totavesivanipudu—Parajii—Merattur Venkatarama Sastri Gajendra varada CHidvilasa—Natakuranji-Adi. Edaya na mi da daya radaya—Vasanta Gaula—cbapu. The piece “ Ninnuminchina varevaramma (Natakuranji) of Srinivasayya—has a solkattu svaram hitherto not known. From the collection, we find that the correct ragas of the following pieces are Krupalavala—Nada tarangini Ente nerchina enta juchina—Sindhu Dhanyasi. Nemora betiti— Jnanamosagarada—Shadvidhamargini Nichittamu nabhagyamu—Jivantini The collection throws light on the correct versions of the dhatu of many kritis. 1. The kriti Padcwini (Salagabhairavi) begins with the phrase s r m p pa da vi ni 2. The kriti Sangitagnmamu (Dhanyasi) begins with the phrase S n d p Sangi. , . 128 THE JOURNAL OF THE MUSIC ACADEMY [VOL. XVIII

3. The kriti Sive Pahi mam (Kalyani) begins with the phrase G, m P m g r s si . . ve pa hi mam 4. The kriti Sundari nannindarilo (Begada) begins with the notes : pd nd p mp D, p sun dari 5. The kriti Evarito (ManavatiJ begins with the notes: s r g m e va ri to 6. The kriti Kotinadulu in Todi begins with the notes d n s r ko ti na By far the most valuable manuscript in the collection is the notebook containing excerpts from the Svararnavam, the famous work which Tyagaraja was privileged to peruse and which is referred to in the last charana of the kriti “ Svararagasudharasa* (Sankarabharana). It is certain that these excerpts must have been copied from the original palm-leaf manuscript during the life-time of Tyagaraja, since we do not hear of ^this work after his siddhi. An important sloka beginning herein and not found in any other‘ work is : p iL i& p : u p r e a r : uprexm pej& Q pr pen ash -J peuesfhaptu s Q p r isrp : iBirptApGiu empr&aj ;// Topics like Nadotpatti, ahata and anahata nada, the three gramas and murehhanas, grama sadharana, Alankaras, Chatu- ranga prastaram, gayaka doshas etc., are treated of here. For the usual names of the murehhanas (uttaramandra, kalo- panata) etc., of the sa, ma and ga gramas, we find names like , Brahma, Airavatam, Indra, , , Surya, Simha, Narada etc. In the section, Ragaviveka (eroeuprireair&juim^i piseSQtuSQp) we find ragas like Jayanatasri, Kuntalavarali, Saranga kapi and Malinimakarandam referred to. Besides the arohana and avarohana, brief sancharas are also given for ragas like Chenchukambhoji, Vijayasri, , Navarasakannada, M B . I— IV] THB WALAJAPBT MANUBOBIPT9 129

Saramati, Garudadhvani, , Janaranjani, Dilipakam and Suposhini. The ragas are presented in the order of the melas. Kuntslavarali is referred to as ri-ga varja raga and as audava raga. Malini makarandam is referred to as a ga-varja shadava raga (srmpdns-sndpmrs) and as a janya of the 36th mela. A section in the work is entitled " Svararagasttdharasa gran- tham". Two of the striking features of Tyagaraja’s eompositions are his numerous compositions in major ragas (as many as 30 in ragas like Todi and Sankarabharana) and compositions in ragas not mentioned by scholars before him. The clue for some of these ragas was got from the Svararnava. The lakshana and melodic individualities of other ragas were determined by a process of musical ratiocination. The Svararnava grantha was a broad palm leaf manuscript and written upon in grantha charac­ ters. As it was got from a divine source, Tyagaraja preserved it with great care in his Puja-room. He alone had the privilege of perusing it and occasionally at the request of his intimate disciples, he read portions of the grantha. The Svararnava episode only illustrates the truth of the statement " That who­ ever is deserving, to him God gives ungrudgingly". The Mudra charana of the kriti in Sankarabharana “ Svara­ ragasudharasa” proves conclusively that Tyagaraja had digested the work "Svararnava". Some of the slokas of the "Svararnava" were evidently com­ mitted to memory by the few privileged sishyas of Tyagaraja and Singaracharlu got them from them and published them in hia Gayaka Lochanam without disclosing the source from whence he got the slokas.

17 130 THE JOURNAL OF THE MUSIC ACADEMY [VOL. XVIII

SAINT TYAGARAJA, A GREAT ADEPT IN MANTRA YOGA BY

T. K . R a j a g o p a l a Iy e b . Our saint was born in a family in which music and the strains of the holy Ramayana were in constant vibration. At the early age of eight he had his Upanayanam followed by four years of Veda Adhyayanara in Panchanada Kshetra where the vedas are chanted in their pristine purity. While yet a music pupil, he was initiated in Rama Nama and he completed the repetition of the holy name 96 crore9 of times. He was then initiated in the Rama taraka mantra and speedily became a Sakshatkarin. Let me compare the story of the sage Bhusundi which I have given in full in my published extracts from the rare Mud- gala Parana. Born and bred as a cruel hunter, he tried repeat­ edly to kill the sage Mudgala who was sitting in contemplation, but found himself paralyased every time he tried to attack him. He then fell prostrate at the sage’s feet and prayed for salvation. The merciful sage gave him the Nana mantra of Ganesa and instructed him to repeat the same till a dry stick he planted by his side should take root and sprout into a big tree. Years passed and the sage returning to the scene saw his stick grown into a big tree and a huge ant-hill near by. On digging up the ant hill he found his disciple sitting in rapt contemplation, with his figure transformed by the growth of an elephant-like proboscis in the likeness (sarupya) of the God whose name he was chant­ ing. Mudgala thereupon revived him from his samadhi, blessed him and completed his education by giving him the regular mantra. Bhusundi soon attained siddhi in the mantra and became a great Shatshatkarin and an immortal holy force in this world. Our Tyagaraja had greater facilities for such sadhana, not being a cruel hunter to start with, but the worthy scion of a highly spiritual family in the holy environment of Panchanada. No wonder that the sadhana proved speedily fruitful in his case. After siddhi in the regular mantra, the further steps in this line of yoga are the separate sadhana of each letter of the mantry PTS. 1— IV] 6A1KT 1TAGAEAJA, A GBEAT ADEPT IN ld4MBA TCGA 131 and the final absorption of the whole mantra in the vibration of the Supreme all-pervading mantra, the Pranava. That our Saint attained this beatific consummation is evident from the kriti Ragasudharasa in f f ira a V 0 [TOO Uir&STQfi QfgetQ fftrg$a}GU §> wearavir— ujna(2iuira fiiuira (Sutra ueoQmr ewriiCSa— (jrrr)— ero^rr fftaaunuQfi rsrQ^rrtiaTjrsroeajr— ‘ Oh mind, enjoy the deep draught of the nectar of music, being the vibrating Omkara always connoting the Supreme con­ sciousness and bestow the fruits of sacrifice, yoga, renuncia­ tion and enjoyment ’ The greatness of Omkara is well expounded in the . Etadhyeva Aksharam Brahma Etadhyeva Aksharam Param! Etadhyeva Aksharam jnatva Yo yad icchati tasya tat 11 ‘ Verily this Om is Brahman, this is the Transcendent. Knowing thus, one obtains whatever he desires.' The beatitude of absorption in Omkara is approached closest in the physical plane by the loving union of man and woman. Sings Tyagaraja in his Darbar piece Ramabbirama in&jrsTU'v Qee3 i8(Sa— inrr^epr Qatrestesr^ atrsafl amajis QgguS uiLig.— eSmog sra^Lcue^,— ‘ My mind, Thy sweet heart is immersed in love for thee. Thou does not give her thy loving hand and fulfil her ardent desire' urrit-j— aira9tii(d@ rsihgi— isifiuSilua rsuojp— srs 9 (SaQerC&aj. 11 have prepared this beautiful bed for thy bride, my mind and Thee. Why dost thou pain me by not joining in loving dalliance ? ’ The same truth is inculcated in the Brihadaranyaka Upa* anishad: Tadva asyaitadaticchanda apahatapapma abha- yarupaml Tad yatha priyaya samparishvakto nabahyam kinchana veda, nantaram, evam eva ayam purushah- prajnena atmnna samparishvakto na bahyam kinchana veda, na an tar am, tadva asmai tad aptakamam atmakamam akamam rupam sokantaram— 133 THB JOURNAL OF THE MUSIC ACADEMY [VOL XVIII

* That is his form, beyond desire, free from evils and fearless. As a man well embraced by his beloved wife, does not know anything at all, either external or internal, so does this infinite being (self), fully embraced by the Supreme Self, not knowing anything at all, either external or internal. That is his form in which all objects of desire have been attained and are but the self and which is free from desires and devoid of grief.’ Compare also the :—Vag eva Rik pranah Sama Om iti etad aksharam udgithas tad etad mithunam, yad vag rik cha pranascha rik cha sama cha. Tad etad mithunam Om iti etasmin akshare samsrijyate yada vai mithunau samayacchata apayato vai tan anyonyasya kamam. ‘ Speech is the mantra and the vital force, the music thereof, —wherefrom springs the Pranava. The blissful couple—the mantra and her music-speech and the vital force- This couple is regenerated in the Omkara, just as the off-spring is born when a couple unite in blissful union and enjoy their cherished wish. He who knows this truth about Pranava obtains all his desires.’ Adepts in this stage of ecstatic communion in Pranava do not, thanks to the Divine dispensation, always remain in this exalted state. Their mission is to give forth mystic utterances for the benefit of common humanity. They descend for this purpose from the peak of their exaltation and pour forth in a veiled form of showers of melody the or parts of the mantras of the Divine Form of their choice. Some classic examples of this Divine dispensation are the sections of mantras revealed in secret commentaries as enshrined in certain slokas of the Saundarya Lahari and certain names in the . In a less veiled form, the mantra* garbha or veda-garbha quality is found in our Devarams and the kiitis of Sadasiva Brahmam and Dikshitar. An instance that has struck me in Tyagaraja is his Durbar Kriti:—Qiutr&qaj) au>o) (oeu&jrtor iBjpiuQgirei]—ov^Q^esr * Why hesitate, thou lotus eyed, etc’—where our musical mystic displays in diverse settings the sparkling Chakara bija of the sacred Ramachandra mantra. Compare the forceful cadence pf this Durbar kriti with that of the sweetly gentle plaintivenees VIB I— IV] TWO MANUSCRIPTS OF TYAGARAJA SONGS 11)3 of the kriti in the same raga quoted above as representing our Saint's mind as a bride sweetly appealing to her Lover. I may also give an example from a fdqfreua(uQuurffl in 6uen)i5j£inr&—sasstaxsrm

TWO MANUSCRIPTS OF TYAGARAJA SONGS BT D r. V. R aghavan It is now generally accepted that there are mistakes in the assignment of Ragas in some compositions of Tyagsraja. While recent musicians have not hesitated to sing a piece in a rarer Raga in a different Raga having greater vogue, easier sanebara or more common ranjskatva, it appears, especially at the time of the first printing oi the songs, the rare Ragas of some pieces handed down simply as * Apoorva Ragas were given names which on further examination now have to be modified. The evidence of authentic manuscripts handed down in reliable paramparas of 134 THE JOUBNAIi OF THE MUSIC ACADEMY (VOL. XVIII pupils or kinsmen of the composer is valuable for this work of correcting these Rags names. In 1938, thanks to the help of my friend Dr. N. Venkata* ramanayya, 1 got from Sri D. V. Krishnamurti, now Deputy Secretary of the Public Works Department, Madras, belonging to a family related to that of the great composer, a palm-leaf manuscript containing Kritis of Tyagaraja. 1 had a copy of the manuscript taken for the Music Academy. A study of this manus­ cript, which must have been written shortly after the time of of Tyagaraja, gives some data of interest and value to a critical student of the great composer and his music. The manuscript is in two parts, one giving the mere; test of songs and the other the text with svara notation. The former section is titled on the margin * Pedda Kirtanalu ' and the latter ' Apuroopakirtanaluku Adharam ’ {.^Lj^uSdsiesr In the former, at the beginning of each piece, the Raga of each is given along with the Janaka as well as the Tala ; in the latter, besides these, some formulae for the understanding of the lak* shana and sanchara of the Raga are also added. In conformity with an old injurious habit of making a secret of knowledge, this manuscript too adopts the practice of giving the Raga names with the order of the letters in the word changed in a bizarre manner. Some examples of these are given here to give the general music loving public an idea of the extent of the perversity of these perservers of knowledge Gho su ni ahi Su gho ehi ni Qaa ew~° essfi a f snr* Co& aof) 6990 Ja ta yam sri Ja yam ta sri m 0 IULD \S S3 luih 0 1 $ Sri ni ma Sri ma ni t S esafl U> t S US end) ja ram ni ja Ja na ram ja ni ffua S3 6sf S3 S3 6BT m l S3 s f Ka va la ti a OJ ma­ and Ka la va ti

La pHa ja ma mam ri Pha la man ja ri 6 0 u S3 U> LDLD a u 60 LDIM 83 * I Ian do I n do la 6ia GST 6/6 f a (Sea ear Gan ja hi mo ni Ja gan mo hi ni ti>95T 83 piB Q im t 69# 83 S6B Qimt 69/1 Ga ra ja pam ri Rh ga pam ja ri

s l__ © 63# pso Bhu sana ya kri Sam bhu kri ya SIM IU Slfi SIM itfl UJ Ta da m na ra ni 8i Na da ta ra m gi ni fB fB IM mir j esafi S isir P fB ff IM S esafi Ja ma m ri Ma m ja ri

© LD i i ifl LD IM © ifl Vi ra dri cham ka Ra vi cham dri ka eS IT $lfl su> sir IT eS SIM 0ifi ST Sa yi (I) no ri ma ha I sa ma no ha ri S w <3 ta p ifl ID am flf s LD <3 (jap am ifl Ka ba m la Ba m ga la s t u IM err u LD ST 6T Ya cha ta na Cha ya na ta iuit sir IB T sir 1us 1ST l— R na poo ta li la Poo T na la li ta • t ear y fB 6 ^ 60 ir essr 60 63 # 196 THE JOUBNAL OF IBB MUSIC ACADEMY [VOL. ZYUI

Ta chi ra m ni Chi tta ra m ja ni ja s 8 8 5 r Lt> iS 8 $ £ r li 85 i0 Va de no ma ri ha De va ma no ha ri SU QfB (3g) ID ifi am dfB 6U ID (3(g) iB Dhva ko la ni ki Ko ki la dhva ni jffa i Q s t 60 i6 © (3 air 8 60 fiS U i0 Du bi li ma m ni Bi m du ma li ni & i3 IDT ib 10 l9 li & IDT s3 10 Nna sha bhi d jam Bhi nna sha d jam • e estesr l9 l_ 8 5 lh t3 SSfSBT O f l— 8 s ib Ja vi sri ya Vi j« ya sri a? a ? ttJ s9 ® IU 42? La ka ti ka m Ka la ka m thi a) s ib « 60 m li Ddha su ma m ti si ni Su ddha si ma m ti ni A* ID (is 1 erff iS « A® Glff ID li 0 10 Dra cha m ti jo Cha m dra jo ti fijr 3- ib 1&T 9 ti & jr (S S jir 0 Vra ti hi va ni Ti vra va hi ni 6L//T 0 6UT 10 0 eiip GUT at/3 tS Ti sru ja ra m ni Sru ti ram ja ni 0 83 IT tb iS 3Q5 0 jr ib 8 5 iS Ra sa ti sva Sa ra sva ti f 6tv 0 efusu sro r GtVGU $ La ko Is m ha Ko la ha lam SOT Q eT so lb CSaT SOT am 60 tb Lyi> ka va na ta m sam Ka lya na va sa m tam s o u jt « eu shot 3 ib eroib a eb iu T sbbt a/ 6ns li 3 1 b Che m ka m chu di bo Che m chu ka m bo di Q& ih «(T iib * $ Q u t Q& li Tf S T lb Q u t f d Ru va dha ma si n ya Ma !ru va dha nya si • © Oi £ ID T 8 IB IUT IDT © Oi o r iu t stQ It may be observed that in some cases the same Raga is given in two distorted forms, Kavalati and Tivalaka for , the Rugadhyadani and Gadarunidhva for Garudadhvani. The names of these Janya ragas are given with the indicatory syllable Tam {g jtb ) ; and they are preceded by names of their PTS, 1— IV] TWO MAHUSORIPT8 OP TYAQABAJA BONOB 137

Mela ragas, which are also given in the time style of syllabic dis­ tortion; For instance : — Ya m i la ma gau la va^ iuir id en idit Qsetr err eu Ma ya ma la va gau la and uur turr uur err eu Qsetr err Ma la la ya va gau ma 1 iDir err or tuir eu Qsetr uur j % Na bhai ta ra vi m enu i_ ir e3 Na tha bhai ra vi and i- is i— enu ir s3 Bhai na ra ta vi 1 enu is fr 1— -J Ga va s va dhi ri Va ga dhi s va

Cha va kra ka m Cha kra va ka m • * & euir s jr sam Sa ra sam gi jr ero & eroirih 610 P etorriD @ Di ma vya ni• id djiu mff D i and vya ma ni QUU LL eofl Vya ti ni ma 0 QJUJ $ U> 18 THE JOURNAL OF THE MUSIC AOADEUT [VOL. XVIII

Na si ka ni bhoo •hi Na si ka bhoo shi ni ST 8 ST it U etfi 1ST 8 ST td ° i 7 end) Ki va ra ni Ki ra va ni 8 SUIT T 600/7 8 T ear 09H D vi sha ma dha * gi ni Sha d vi dha ma ir gi ni C a? qj, lot f 8 irjo/7 Q} ti. eS £ IDT i'r 8 end) Ta ka m ni na Ka m ta ma ni fiT ST t i araf? ID ST li jST ID 0U/1 Bho na ni ma Na bho ma ni (Bu t IS sssfl ID IS (Bu t id ssd) Va s pa cha ti Va cha ■ pa ti ojt do u 9 0 Qj/r 9 en) u £ Sba bhoo li va Bhoo sha va li «S}T u erf) Qi (d 0}T QJ erf) Ta m gi la La ta m gi 0 T LO• 8 60 60 fiT lb 8 Ku va bha la na m ra Va ku la bha ra na m @ 6U u OTT BUT ti T 6U <9, 6ITT Li r soar ID Ka m ha bho ri ja Ha ri ka tn bho j* s t t i fig) (Bu t ifi 8) am iff ST t i (Bu t a? Gau ri no ha ma ri Gau ri ma no ha ri QsT6T ifl

When Janyas under the same Mela follow the word * jodi * (Qggirif.) is used ; for well known Melas, briefer indications are given like Khara-Jam (Janya under Kharaharapriya), Hari-jam (Janya under Hari Kambhoji) Nata-jam (Janya under Natha- Bhairavi).

Some of these distorted names are split into two and distri* buted over the two lines, that of the aahitya and that of svsra, so that the whole thing may become a greater puzzle e. g.. fifth Ljfiiuj ) from which we have to reconstruct the informa* tion that the piece is in the Janya raga Sam* bhukriya and Adi tala ; s r fifth fifiti Janya of Kharaharapriya, Nadatarangini. mr read) pts. 1—rv] two manuscripts of tyagabaja bongs 188 \ A valuable feature of tbe manuscript in the portion giving the Bongs with notation is that immediately alter the Raga Dime, some formula is given to indicate the main characteristics ol the Raga. For instance : Under Batnangi (Srimani, Emandune) — we have the note iflar <®df fim rSeas which means Ri suddha, Ga suddha, Ms suddha, Dha suddha and Ni kaisika. For , we find ifl a a swir m u f # & t8 atr which is to be taken as Ri chatusruti, Ga sadharana, Ma prati- madhyama, Dha chatusruti and Ni kakali. Similar notes are given under Kalavati. Vasantavarali, Kira* vani, Nasikabhooshani (Ri-sha for shatsruti Ri, and Ga- A for Antara Ga are used), (the expression is given here after specifying Ri cha, Ga A, and Ma Pra), and . The manuscript throws some light on* the question of the Ragas of certain songs and the changes that they have undergone.

Differences in the names of some Ragas,

Certain Ragas now bear names which are slightly different from their original form according to this manuscript. Thus the song Nripalavala is now said to be in Raga Nada Varangini (mtrfB QJjTirtii&asBfl). This manuscript gives the name of the Raga of this song, in both places, in the mere text portion and in the notation portion, as Nada Tarangini (isiTfi jSjribiSesaP)- The Walaja- pet Manuscripts also give this Ragaaa Nada Tarangini. See p. 127 above of this Journal. The Raga of Raminsuvaru is now given as Suposhini‘(air*Su4 but in both the places, this manus­ cript gives it as Sughoshini (ao~aQarafieaafl).

Some songs in Janyas given here as being in the Melas.

Regarding some of the Apoorva ragas, it has been held by some that the songs in these were originally, probably, in the main Mela ragas, but in different settings and sancharas ; and out of a mistaken enthusiasm somebody, probably, foisted fanci­ ful names on these, and thus created Janyas where there were 140 TH E JOUBNAL OF THE MUSIC ACADEMY [vOL. X VIII t none. This view may get some support from our manuscript as the following will show :— 1. Vachamagocharame is now printed as being in the Janya Raga Kaikavasi (ena

Differences in Mela Assignments. The manuscript shows also that some of the Ragas were ori­ ginally assigned to Melas different from those under which they are now placed. 1. Jujahuli (Parakujesina): the Mela of this is given as Mararanjani, not as now found in printed books. 2. Poornashadja is assigned to and not Khara­ harapriya. It is twice assigned to Natabhairavi id the manus­ cript (Lavanya Rama and Srimaninimanohara). 3. Ramamanohari (jriTU) LDQqsyQtDifl) assigned to now is repeatedly mentioned under Harikhamboji here (Ni muddu- momu and Sitamanohara). Besides, differences in Melas are also to be seen along with differences in Janya Ragas given to many songs. n s . 1— rv] xwo manusoaipts of tyagabaja songs 141

Different Rogai for Some Songs.

That changes have occured in the Ragss of some songs is quite clear. Taking for instance a publication like the volume of Tyagaraja songs issued by Adi & Co., it gives an alphabetical Index of songs and then another Mela-Janya-war Index of the songs. The former records some of the songs in Ragas as in vogue now, but the latter gives the same songs in Ragas as given probably in older ■ manuscripts or traditional information. W e have again a valuable index of all the then known songs of Tyagaraja given with their Raga-namea by Chinnaswami Muda- liar, M.A., in the first volume of his monumental undertaking, unfortunately not fully published. Oriental Music in Staff Notation*, 1893. A comparative study of these indexes shows a good msny dif­ ferences of Ragas.

* 895 songs are indexed in this book ; o f these 51 are noted as pieoes o f which the music is not known, and 27 as known only by tbeir first words ; with regard to the main index of 895 songs, the author gives a seven-fold classifica­ tion, pieoes of Nauka Charitra ; pieoes of the Prahlada bhakti vijaya ; the Panoharatnas or songs “ in the five prinoipal .melodies ” " whioh oontain 8 to 10 oharanas with different musio for eaoh stanza, in rather diffioult tim e", songs “ in 10 ordinary melodies in whioh the oharanas are adapted to different musio in eaoh stanzaMangala songs, Heoohariks, Pavvalimpu eto., and songs sung at marriages ;■ the “ great masterpieoes abounding inSangatis or variations ” ; and “ simple melodies styled 1 Divyanamavali, whioh oontain generally a large number of stanza with the same musio, but with deep devo­ tional sentiment” . The pioneering work and sacrifioe of this Christian savant of Carnatio musio and collaborator of Sri Subbarama Dikshitar are something whioh require to be brought to the notioe of musio lovers, espeoially now when on the ocoasion o f the centenary of the saint Sri Tyagaraja, muoh fuss is made by some persons about their bringing out some editions of Tyagaraja Kritis with the help of previous publications. It will be a great servioe to Tyagaraja if the further manusoript of his work is brought to light. As early as 1899, he oom- plained that both the words and tunes of the Master’s songs were being mis­ handled by the musioians and he added that if the musioians felt their own ima­ gination fertile, they ought to show it off by oomposing their own new pieoes, instead o f meddling with the setting of the Master's pieoes. In 1908, Narasimha Bbagavatar also oomplained in his book that the words and tunes of Tyagaraja Kritis were being mishandled. Our Manuscript Ch. Mudaliar Adi ft C o. A d i ft C o.

aXNSBAL INDEX m b l a - SONG BAGA MB LA BAGA BAGA JANYA* INDEX

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o h w w b a I i INDEX MBLA- 9080 BAG A MELA RAGA RAGA JANTA-INDBX

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general index MELA* SONS RAQA 1TBT.A SAGA RAGA JANYA-INDEX

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Sambukriya under Sankarabharana, the Raga of Manaoyala (tLOraiUJirar) may be noted. It ia new like the Dtvasiromani under Kharaharapriya previously noted* More noteworthy is the fact that this manuscript gives the Raga of four well-known Darbar songs, Yochana, Mundevenaka, Naradaguruswami and Entundivedalitira as Kapi; it is however not as if the manuscript knows not Darbar ; for it gives “ Ramalobamela only one, as being in Darbar, though here too the Mela is not specified. Most interesting of all is the case of (aresrt—ir) which was dis­ cussed at the Academy’s Conference of 1947 December ; it is significant that the manuscript does not know at all a Raga called Kanada (airesri—H) ; both the well-known pieces, Sukhi avaro and Sri Narada nadasarasiruha, are noted as being in Hin­ dustani Kannada. It may be added that for giving this Raga, the manuscript does not adopt any syllabic distortion.

Certain Textual Readings

The manuscript is also useful for a study of the texts of the songs of Tyagaraja where again variant readings, corruptions and omissions are to be found. For instance, in the song Nripsla- vala, the word ‘ Nripalavala ’ does not make much sense ; the manuscript gives the correct and intelligible reading 'Kripalsvala’; this is the reading found in the Walajahpet manuscripts too. In the well-known song in Suddhasaveri

1. utirjr enojifi ullsss? LDiQg}-* u ra fesa f in rsir&Ssir y a f — Text with notation. 2. uire^esar mp eBiJa^sssr in iLrqijQjparujtrerfi— Text with notation. 19 146 THB JOURNAL OF THB MUBIO AOADBMT [VOL. XVIII

Chinnaswami Mudaliar has noted Mridubhashana among songs ol which the lint words alone are known. The first is only partly available in the manuscript, and both are reproduced below.

Another Manuscript There is a copy in the Library ol the Music Academy oi a manuscript of Tyagaraja songs belonging to the late Sangita kala- nidhi Sabhesa Iyer. Regarding Raga names, this manuscript also adopts the same technique ol hiding them by syllabic distortion or by giving only a syllable or two. Thus, Ni sha bhu ya ge gam (iff Q} tu (Ba a ii ) is Gam ge ya bhu sha ni (<3 (Ba iu St} eaafl); Ko yai ((Bair stD&j) is Ko ki la pri yai (( @ a) uifi aniu); Dhe jam bhi jam ((Bp gjii t3 gjii>) is Bhinnashadja (tSaresr e^ iL gju i). Janya oi Dhenuka ; To jam sunti ((B$ir gju> &ib$ ) is Todi Janya Suddbasimantini ; Va li (oi Gift) is (eujriTGif}) and Va ti (a/ $ ) is .

On the Ragas of certain songs it is striking that the informa­ tion contained here confirms the data noted from the manuscript described previously. Thus Ne mora bettite is Rupavati, not Todi ; Lavanya Rama is Poorna shadja, not Rudrapriya ; Ni mud- dumonu is Rsmamanohari (ffiru) u>(B

There is however one difference here : while the previous manuscript gives Paraju as the Rsga of Etla Torikitivo, this manuscript gives it as Bhogavaaanta under Ksmavardhani mela ; Chinnaswami Mudaliar’s Index too mentions its Raga as Bhogavaaanta.

For the study of the text of the songs, this manuscript also p useful. For e.g„ in Nemorabettite, aueoirfiQfitiDU. is the read­ ing here for auL-r pqpgni—. C. —rv] W MHSRPBoi i o MAHUSORIPTB TWO ] v r I— FCB. jbi’MffMt^Qgienf) aur^i

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Printed at the India Printing Works, Mylapore. ERRATA

ENGLISH

Pass L in e Bead 23 7 interspersed

66 2

80 1 Voi. xvm

88 28 cull

96 28 Ubhaya sari

124 1 Voi. xvm

TAMIL 18 26 euiriQaiusirinriresr

16 1 Voi. X V III

16 2

27 26 ^§)«©0?«5»

30 28 IL J^UU^IL/tl

32 29 QffiripQpepfdeo