(vishvanAtha temple - kuzhikkarai)
INTRODUCTION:
shrI vishvanAtham bhajEham, the caturdasha Ragamalika is one of the masterpiece compositions of MuttusvAmi Dikshitar. He has composed a garland of 14 exquisite ragas in praise of Lord Viswanatha of Kuzhikkarai, near Tiruvarur.
Kuzhikkarai is also known as Madhya kAshi or Gartateeram. The main deities here are vishveshwara and vishAlAkshi. This temple was a private property owned by Vaidyalinga Mudaliyar. Once when Mudaliyar got to know about Dikshitar, he wanted the composer to compose something in praise of him. But Dikshitar had never sung in praise of human beings. Hence he composed shri vishvanAtham in 14 ragas and in the verse in BhUpala raga (which is the 14th raga in this song) referred to the Lord as the protector of Vaidyalinga Mudaliyar (vaidyalinga bhUpAla pAlanam).
The main lingam is a bANalingam similar to the one at Kashi.
[bANalinga, a stone found in nature, in the bed of the Narmada river in Madhya Pradesh,India, is an aniconic symbol of worship.
Three kinds of lingas are described in the Hindu scriptures.These three lingas, are called svAmbhuva [Self-existing], bANalinga [got from a certain river] and Sailalinga [made of stone] and these are also respectively called Vyakta, Avyakta, and vyaktAvyakta. It is said that vyakta,gives salvation, the Avyakta gives [worldly] happiness, and vyaktAvyakta gives both happiness and salvation.
bANalinga is a part of the five fold family of deities (panchAyatana). The five Hindu deities (Shiva, Vishnu, Devi, Surya and Ganesha) are the embodiment of 5 bhutAs/tatwas worshipped in formless stones, which are obtained from 5 rivers respectively.Of these 5, bANalinga represents the prithvi(earth) bhUta or tatwa,originating from the river NarmadA or omkArakunda.]
The tank is gartateeram or kuzhikkarai. It is believed that a bath here removes leprosy.
This composition is in 14 ragas (Ragamalika),2 in pallavi, 4 in anupallavi and 8 in caranam.Both in Anupallavi and caranam,the earlier ragas are reversed beautifully.Raga identifications(names or mudras)are intelligently woven into the sAhityA of each rAga,as in most kritis of Dikshitar.
Dikshitar has brought out several concepts of Vedanta Sastra in this kriti beautifully.The kriti glorifies Lord Sri Viswanatha as “ Brahma Swaroopam” and expresses surrender to the Lord by the devotee.
(There is so much philosophical content in this kriti that I will need more than one post to complete it.
This post (Part 1) gives lyrics in English and Sanskrit and I have dealt with the Pallavi in detail.
Rest of the song will follow in a few days..)
shrI vishvanAtham - rAgamAlikA - Adi
PALLAVI:
1. (rAgam: shrI)
shrI vishvanAtham bhajEham
श्री विश्वनाथम् भजेऽहम्
caturdasha bhuvana rUpa rAgamAlikAbharaNa dharaNAnta karaNam
चतुर्दश भुवन रूप रागमालिकाभरण धरणान्तः करणम्
2. (rAgam: ArabhI)
shrita jana samsAra bhItyApaham
श्रितजन संसारभीत्यापहम्
(svarasAhityam)
AdhyAtmikAdi tApatraya manO bhItyApaham
आध्यात्मिकादि तापत्रय मनोभीत्यापहम्
ANUPALLAVI:
3. (rAgam: gaurI)
shrI vishAlAkSI gaurIsham
श्री विशालाक्षी गौरीशम्
(svarasAhityam)
sakaLa niSkaLa rUpa saccidAnandamaya gaurIsham
सकळ निष्कळरूप सच्चिदानन्दमय गौरीशम्
4. (rAgam: nATa)
citra vishvanATaka prakAsham
चित्र विश्वनाटक प्रकाशं
(svarasAhityam)
jagat prakAshaka bhAskara shashAnka kOti kOti prakAsham
जगत्प्रकाशक भास्कर शशाङ्क कोटि कोटि प्रकाशं
5. (rAgam: gauLa)
govindAdi vinuta gauLANgam
गोविन्दादि विनुत गौळाङ्गं
(svarasAhityam)
kSIra kunda indu karpurAdi vijaya bhasita uddhULita gaulAngam
क्षीर कुन्देन्दु कर्पूरादि विजय भसित उद्दधूळित गौळाङ्गं
6. (rAgam: mOhanam)
guruguha sammohanakara lingam
गुरुगुह सम्मोहनकर लिङ्गम्
(svarasAhityam)
pancIkrta panca mahA bhUta prapancAdi mohanakara lingam
पञ्चीकृत पञ्चमहाभूत प्रपंचादि मोहनकर लिङ़गम्
(vilOma)
6. virinci viSNu rudra mUrti mayam (mOhanam)
विरिञ्चि विष्णु रुद्रमूर्तिमयम्
5. viSaya pancaka rahitam abhayam (gauLa)
विषय पञ्चकरहितम् अभयम्
4. niratishayA sukhada nipuNataram (nATa)
निरतिशय सुखद निपुणतरम्
3. nigama sAram Ishvaram amaram (gaurI)
निगमसारम् ईश्वरम् अमरम्
2. smaraharam paramashivam atulam (ArabhI)
स्मरहरम् परमशिवमतुलम्
1. sarasa sadaya hrdaya nilayam anisham (srI) (shrI vishvanAtham)
सरस सदय ह्रदय निलयम् अनिशम्
CHARANAM:
7. (rAgam: sAma)
sadAshivam sAma gAna vinutam
सदाशिवम् सामगान विनुतम्
(svarasAhityam)
prakrtyAdi sapta rUpa sAmagAna vinutam
प्रकृत्यादि सप्तरूप सामगान विनुतम्
8. (rAgam: lalitA)
sanmAtram lalita hrdaya viditam
सन्मात्रम् ललित ह्रदय विदितम्
(svarasAhityam)
kAma krodhAdi rahita lalita hrdaya viditam
काम क्रोधादि रहित ललित ह्रदय विदितम्
9. (rAgam: bhairavam)
cidAkAsha bhairavam puraharam
चिदाकाश भैरवम् पुरहरम्
(svarasAhityam)
vidhi kapAla trishUladhara bhairavam puraharam
विधि कपाल त्रिशूलधर भैरवम् पुरहरम्
10. (rAgam: sArangA)
citsabhEshvaram sArangadharam
चित्सभेश्र्वरम् सारङ्गधरम्
(svarasAhityam)
dArukAvana tapodhana kalpita sArangadharam
दारुकावन तपोधन कल्पित सारङ्गधरम्
11. (rAgam: shankarAbharaNam)
sadA AshrayAmi shankarAbharaNam
सदाश्रयामि शङ्कराभरणम्
(svarasAhityam)
cintitArtha vitaraNa dhurINatara mANikyamaya shankarAbharaNam
चिन्तितार्थ वितरण धुरीणतर माणिक्यमय शङ्कराभरणम्
12. (rAgam: kAmbhoji)
sadgati dAyaka ambhoja caraNam
सद्गति दायक अम्भोज चरणम्
(svarasAhityam)
dharmArthadi nikhila puruSArtha prada samarthatara ambhoja caraNam
धर्मार्थादि निखिल पुरुषार्थप्रद समर्थतर अम्भोज चरणम्
13. (rAgam: dEvakriyA)
vadAnya devakriyA khelanam
वदान्य देवक्रिया खेलनम्
(svarasAhityam)
srSti sthiti vilaya tirodhAna anugraha karaNa kriyA khelanam
सृष्टि स्थिति विलय तिरोधान अनुग्रह करण क्रिया खेलनम्
14. (rAgam: bhUpALa)
vaidyalinga bhUpAla pAlanam
वैद्यलिङ्ग भूपाम पालनम्
(svarasAhityam)
shrIpura nirrti bhAga garta tIra sthira tara bhUpAla pAlanam
श्रीपुरनिर्ऋतिभाग गर्ततीर स्थिरतर भूपालपालनम्
(vilOma)
14. guruguhEsha suranaresham anisham (bhUpAla)
गुरुगुहेश सुरनरेशम् अनिशम्
13. kuja budhAdi graha gati vihitam (dEvakriyA)
कुजबुधादि ग्रहगति विहितम्
12. varadam anala ravi shashi nayanam (kAmbhOji)
वरदम् अनल रवि शशि नयनम्
11. vanaja candra sannibha vadanam (shankarAbharaNam)
वनज चन्द्र सन्निभ वदनम्
10. paramahamsam Anandanartanam (sArangA)
परमहंसम् आनन्दनर्तनम्
9. patita pAvana karaNam agha haraNam (bhairavam)
पतित पावन करणम् अघ हरणम्
8. parataram parama manOlaya jayam (lalitA)
परतरम् परम मनोलय जयम्
7. parAdi vAk prakAsha Anandamayam (sAmA)
परादि वाक् प्रकाशानन्दयम्
6. virinci viSNu rudra mUrti mayam (mOhanam)
विरिञ्चि विष्णु रुद्रमूर्तिमयम्
5. viSaya pancaka rahitam abhayam (gauLa)
विषय पञ्चकरहितम् अभयम्
4. niratishayA sukhada nipuNataram (nATa)
निरतिशय सुखद निपुणतरम्
3. nigama sAram Ishvaram amaram (gaurI)
निगमसारम् ईश्वरम् अमरम्
2. smaraharam paramashivam atulam (ArabhI)
स्मरहरम् परमशिवमतुलम्
1. sarasa sadaya hrdaya nilayam anisham (srI) (shrI vishvanAtham)
सरस सदय ह्रदय निलयम् अनिशम्
Pallavi
shrI vishvanAtham bhajEham caturdasha bhuvana rUpa rAgamAlikAbharaNa dharaNAntah karaNam :
श्री विश्वनाथम् भजेऽहम् चतुर्दश भुवन रूप रागमालिकाभरण धरणान्तः करणम्
I worship Sri Viswanatha who wears the garland of 14 ragas that is of the form of the 14 worlds in His Mind.
According to Hindu belief, there are 7 worlds above the Earth and 7 worlds (zones) below,hence a total of 14 worlds(lokAs).
The elaborate scheme of the worlds in the descending order are:
Paramapada, Satyaloka, Tapoloka, Janaloka, Maharloka, Suvarloka , Bhuvarloka above the earth (Bhuloka) and the nether worlds below the earth,namely,Atala, Vitala, Nitala, Rasatala, Mahatala, Sutala and Patala.
All 14 lokas (the entire Objective Universe) are visualised as 14 ragas and the Lord's Mind supports the 14 lokas in itself. The entire universe is held in its potential form in the Lord before “creation”,emerges from the Lord with the help of “Maya” and is ever supported by the Lord. “ Jagad kAraNam, jagadadhishttAnam brahman” is a basic philosophical concept.
shrI,the auspicious word is used as a prefix to visvanAtha,the lord of the universe.
shrI is also the raga mudra for the pallavi.
shrita jana samsAra bhItyApaham AdhyAtmikAdi tApatraya manO bhItyApaham :
श्रितजन संसारभीत्यापहम् आध्यात्मिकादि तापत्रय मनोभीत्यापहम्
The Lord drives away the "tApatraya manObhIti" and "samsArabhIti" of the devotees.
AdhyAtmikam, Adibhoutikam and Adidaivikam are the "tApatraya" or the three kinds of miseries that human beings have to suffer in this world.
[Below is a rough translation of an extract from Kanchi Mahaswamigal's explanation of "tApatraya" while he talks about the kriti "Shri Subrahmanyaya Namaste" :
(Reference: the book "mahAperiyavAl virundu" by rA.gaNapati)
The jIvAtmA has three kinds of tApa's : tApatrayam.
They are AdhyAtmikam, Adibhoutikam, Adidaivikam. And all three lead to suffering; "AdhyAtmikam" (intrinsic) is suffering within one's own self, the turmoils in one's mind.
"Adibhoutikam" (extrinsic)is the suffering brought to us by other creatures(bhutAs), other people or animals.
In "Adidaivikam" (divine or superhuman), "daivam" refers to "Vidhi". Our own past Karma comes back as Vidhi and causes suffering. Adidaivikam also refers to natural disasters like storms,earthquakes, volcanic eruptions which result from the displeasure of divine beings.]
"samsArabhIti" is the continuous apprehension of the jIvA,about the recurring process of birth,existence and death.
The rAga mudra is beautifully incorporated in the phrase samsAra bhItyApaham.
(To be continued....)
7 comments:
Well, its amazing to see the kind of efforts put in! :-) Have to read this slowly at leisure. Shall do so this evening.
Sathej
That was mind blowing!
I always loved this ragamalika of Dikshitar and this explanation is making me love the krithi more and more. Will be waiting for the next post Mrs.Girish :-)
Excellent! Nobody would have heard this kriti now as there is limited time in performances these days. As a layman i was amazed to see the structure of this kriti.while going through the book. The ragas are arranged symmetrically in both ascending and descending order. I wish ti hear this song Why do not you attach an audio clipping of this. Similarly I used to appreciate the structural beauty of swarajathi of Shyama sastry viz.Amba Kamakshi.
Excellent and intelligent work. Bset wishes.
L.V.Mahadevan
As a student of music, when we go deeper into the meanings line-by-line, there is a lot for one to learn. I am enjoying this exercise of trying to find many interpretations for the deep philosophy that the composer has incorporated in this beautiful kriti.
Thanks for giving the next homework of studying the beautiful swarajati "amba kAmAkshi" ! Will do it soon !!
Gayathri Girish
Happy to know the meanings of carnatic kritis. thanks.keep it up.looking forward to more.
Nice post.
Just read it slowly.
I) About the Banalinga and the two other types of Linga, I am curious as to why Banalinga should yield worldly happiness, Svambhuva should give salvation, while Sailalinga provides both. There are two ways of thinking through this.
Assumptions: A)Salvation is the ultimate and true goal - a justifiable assumption.
B) Svambhuva Linga is the holiest among the three - an ad-hoc assumption.
Subject to these assumptions, the ultimate goal of salvation can be facilitated by the 'holiest' of the three lingas - Svambhuva. This is on expected lines. But then, why should Sailalinga be superior in its effect (in that it gives both salvation and worldly happiness) to Banalinga and arguably even to Svambhualinga (because tha latter just provides only salvation, while Saila provides something in addition). Or is it that the 'salvation' by the Svambhuva and Saila differ?
On the other hand, if Svambhuva is not the holiest, then how can it provide the ultimate goal of salvation?
Anyway, these are some questions that struck me early on. Tried a preliminary online search. Didn't yield much. Shall have to spend some more time thinking of this and looking up other sources. Just wrote the premises above and the deductions thereunder impulsively and havent re-read them. So the train of logic might be flawed at some point. And more so, possibly, because am now in a worried mood - worried about if I'll catch a cold! :) Have to think through more on this.
II) Very interesting to know about the Vaidyalinga Mudaliar incident. I also remember reading somewhere that in Sadachaleshwaram Krithi, Dikshithar makes use of the word Bhupalam to refer to a king (in addition to weaving in the Raga Mudra). Would be good to know the context in which he refers to a king.
III) The three forms of 'tapa's' seemd interesting. Reminded me of the three Gunas as well. And the Samsara Chakra reminded me of the nice problem we discussed in our Philosophy course. A short summary is as follows. To gain Mukthi (salvation) from the Samsara Chakra(cycle of birth and death), we must free ourselves of desires. But then, are we getting into a circular argument? Freeing ourselves of desires means - freeing ourselves of every desire including a 'desire' to attain salvation. A possible reconcilation is that we mustn't consciously 'desire' to attain salvation(because then that 'desire' itself becomes an obstacle), but must constantly work towards it!
Sorry if I have made this comment too long! :) Just that it was a nicely written and analyzed post that I couldnt help but reflect on it :)
Nice post..looking forward to more on these lines! :-)
Sathej
You have promised me sometime back that you will study and write a detailed post in your blog on the "Swarajathis" of Shyama Sastry.I only wish you have time to do the same and I eagerly await for it.
L.V.Mahadevan
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