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Rama Ni Samanamevaru

ScaleYesterday I listened to two concerts on YouTube. Now this is a more momentous occasion than the statement reflects. I don’t often get time to listen non-stop to music so this was special. As usual my life feels like a runaway train with me hanging by my fingernails! But I’ll leave my life be for the moment. As I said, I was listening to concerts of two young men whose music I enjoy. Both have excellent gurus. Both have glorious voices, a remarkable stage presence and styles which have the mark of their guru on them. Actually, I find myself listening more and more often to young artists nowadays. I enjoy their energy and verve, and if they stumble now and then, they have a lifetime to fix it so I don’t worry about it.

The first concert I heard was by Sandeep Narayan. Since hearing him do a fantastic Bhairavi during the season in 2016, I have been clicking on his concerts online. This was a nice concert; I particularly liked the order and mix of kritis chosen which is a skill in itself. His dwijavanti was pleasing, his take on chalanatta was interesting and the hamsanandi thillana at the end and karpagame to conclude were both quite lovely. The main item on the menu was a solidly performed pakkala nilabadi in Kharaharapriya.

Next I turned to Vignesh Ishwar. I haven’t had the pleasure of listening to him live but I have really enjoyed a number of his concerts online. I was happily nodding to his singing when the young man launched into Kharaharapriya and I thought ‘Hey, I can do a one-to-one comparison now, can’t I!’. Alapana done, the kriti taken up was ‘Rama Ni Samanamevaru‘ which made me laugh. Here I was all set to do a comparison and there was Tyagaraja with ‘There is none to compare with you Rama!’. I was happy to find a theme for my blog post – our tendency to make comparisons. The rest of the concert was good. The main piece was in Begada, not my favourite raga, but I still enjoyed it.

The kriti set me thinking about how very judgemental we human beings are. We are forever judging others on the things they say and do, on their achievements and failures, on their character and abilities and so on. It is rather non-stop, isn’t it! Or is it only I? I talk confidently on a collective when all I am sure of is myself! I love my children equally, or so I hope, but I confess to comparing them especially when one of them makes me sad. ‘He is so oblivious to my needs‘ I’ll say to myself , ‘She would never have left me like this‘.  Or ‘She is so sharp, are girls always this unkind? He is so much kinder‘.   Of course, we also compare people to themselves. ‘He was so much better in his previous film‘.  ‘Oh, she looked nicer in red than in green, didn’t she!‘. It is not always unkind or negative.  We may as easily say ‘Amma, this is the best rasam you have ever made!‘ Still, the comparisons are more often negative than positive. Is it just our need to categorise and put things in order? As a Carnatic Music fan, I am often critical of performances. Even while I am listening to one musician, I may well be racking my brain thinking of some other artist, some other occasion when I felt a turn of a phrase may have sounded better! What a waste of time! Instead of being in the moment and enjoying the pleasure of what falls into my ears, my mind is scrambling elsewhere! Is it a common failing or is it just me? Whatever the case, it is high time to stop it I think…

As Vignesh Ishwar inspired this post, let us first listen to him singing Rama Nee Samanamevaru in Kharaharapriya. Alapana starts at 16:12 and the kriti at 28:15. Dr Hemalatha on the violin sounds very good.

And for a second rendition, who other than T.M.Krishna, who is Vignesh Ishwar’s guru. Maybe you will, like me, enjoy noting the stylistic similarities passed from guru to shishya.

And for an instrumental, I present the very talented vainikas from my own home town of Melbourne, the Iyer Brothers. The recording is a bit tinny but it is still enjoyable. They are accompanied by their daughters. The sound of four Veenas synchronised has such a majestic quality!


Footnote : Lyrics

Language : Telugu
(Note: I do not speak Telugu; the details below are based on a number of online resources)

Sanskrit Transliteration :

पल्लवि
राम नी समानमॆवरु रघु वंशोद्धारक

अनुपल्लवि
भामा मरुवम्पु मॊलक भक्तियनु पञ्जरपु चिलुक

चरणम्
पलुकु पलुकुलकु तेनॆलॊलुकु माटलाडु
सोदरुलु गल हरि त्यागराज कुल विभूष मृदु सुभाष

English Transliteration :

pallavi
rAma nI samAnamevaru raghu vamshOddhAraka

anupallavi
bhAmA maruvampu molaka bhaktiyanu panjarapu chiluka

charaNam
paluku palukulaku tEneloluku mATalADu
sOdaralu gala hari tyAgarAja kula vibhUsha mRdu subhAsha

Translation :

Who (evaru) is equal (samAnamu) to you (nI), O Rama, the uplifter (uddhAraka) of the Raghu dynasty (vamsha)?

Like a parrot (chiluka) in a cage (panjarapu) of devotion (bhaktiyanu) of your wife (bhAma) who is as gentle (implied) as the shoot (molaka) of sweet marjoram (maruvampu). (Note: There seem to be a number of interpretations of this line – is it Sita who is like a parrot in the cage or is it Rama? Who is enslaved by devotion? The devotee or the devoted?)

You (implied) who have (gala) brothers (sOdaralu) who speak (mATalADu) like honey (tEne) drips (oluku) at each word (paluku palukulaku)!  You who youself (implied) are so gently well-spoken (mRudu subhAsha)!  O Hari (name of Vishnu), you are (implied) the ornament (vibhUsha) of Tyagaraja’s family (kula)!!

 

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Carnatic Music Season in Bangalore

A blogger’s world is rather an isolated one in general, mine is even more so. I live far away from the buzz of hotspots of Carnatic Music, listening almost exclusively to recorded music. The occasional live streaming is a treat for me. I don’t have anyone nearby who shares my interest and enthusiasm for this music; perhaps that is why I started blogging in the first place. In this isolated world, the comments left by readers of my blog always feel special. Ramesh has been my most regular commentator. He left his first comment on 20th of February, 2012. Since then, he has left me encouraging comments on almost every one of my posts, an encouragement I have been very grateful for. Though we have never met, this has been a virtual connection of more than six years. As my blog hardly ever features live events, I requested Ramesh to do a write-up of the Ramanavami concerts that he has attended during this period. Like me, Ramesh too is just an untutored rasika so his reactions and observations fit well into the theme of this blog. I hope you find his report as enjoyable as I do.


CLASSICAL MUSIC IS THRIVING IN BANGALORE

Ramanavami 1Ramanavami 4

(Photo Credits : Ramaseva Mandali)

If it is Ramanavami time, then all roads lead to Bangalore, at least for those who are humming Kalyani under their breath! This is the Carnatic Music season in Bangalore, which has now become a centre second only to Chennai, for this genre of music. This year  was a resounding success, keeping up with the trend that we have been seeing over the last 5 years. Crowds are getting bigger, younger people are coming to concerts, and, heartwarmingly, people are willing to buy tickets to kutcheris. It has been truly a lovely festival of music over the last month and a half.

There are half a dozen sabhas which conduct concerts daily for a month or so.  The grand old daddy of them all is the Ramaseva Mandali at Fort High School. This is the 80th year the Mandali concerts are being held –  from humble beginnings on the footpath of  a side street to a massive pandal now at the Fort High School Grounds in Chamarajpet. Virtually every musician of note in both Carnatic and Hindustani music has performed here over the years and it is now the largest classical music event in India.

The old problems remain. Bangalore does not have a concert venue of note, other than Chowdiah Hall, which has now become unaffordable for any Sabha. Almost all kutcheris are held in pandals with the cacophony of Bangalore traffic as the sruti. The sound system at any venue is guaranteed to give trouble, as usual. Facilities are non-existent and commutes are long for any Bangalorean attending concerts. And yet, we went in droves. Season tickets at Fort High School were put up for sale online for the first time and all but the cheapest tickets were sold out even before the season started, unheard of for classical music.  Traffic police had to be deployed for the most popular kutcheris. Wow! It is heartening to see the growing interest in classical music here. Not even in Chennai do we see such crowds.

The music was mostly wonderful. Kumaresh kicked off the season in more than one Sabha, with his wife Jayanthi in one and with his brother Ganesh in another. There were many violin concerts – Ganesh/Kumaresh, L Subramaniam, Kanyakumari & Embar Kannan, Nagaraj & Manjunath, Krishnan & Vijayalakshmi reflecting the fact that talent in violin is probably at its peak now. This year the Cleveland Music Festival was being held at the same time and whoever was not going to the US came to perform here. Regulars included Yesudas, Trichur Brothers, Kadri Gopalnath, Ranjani & Gayathri, Priya Sisters, U Rajesh, Shashank, Malladi Brothers, TM Krishna, Soumya, et all. Hindustani music stalwarts Ronu Majumdar, Vishwa Mohan Bhatt and  Pravin Godkhindi were also here. This is largely a Carnatic music festival, but there is also a smattering of Hindustani music.

This year seemed to be the season of Todi. After listening to it for 6 times over 20 days, I am willing to give it a break for few years! Surprisingly Kalyani, Bhairavi, Abheri and Sankarabaranam were rare. There were multiple Dharmavatis, which competed with Todi for the title of the Raga of the season. Thankfully the very obscure ragas were hardly to be heard,  reversing a trend from the last few years where we have heard ragas with unpronounceable names. The Ragam Thanam Pallavi continued to rule, much to my chagrin (Edit: Ramesh has a quite ununderstandable revulsion for RTPs!!). Freed from the shackles of a time bound 2.5 hour concert in Chennai, artistes let loose with elaborate RTPs, often starting at 9.00 PM !

Two concerts stood out for me and they will live long in memory. Trichur Brothers in Basaveshwara Nagar Sabha were at their absolute best.  A short 2 hour and a bit concert featuring Sahana, Hamsadhwani, Reetigowlam, Pantuvarali, Kaapi, Sarasangi, Kaanada and Kurinji  was mesmerising. They sang their main piece in Pantuvarali early on in the concert and after the thani avarthanam played a scintillating series of thukkadas to round-up the concert. The concert was such a brilliant one that even after the Mangalam, people were hesitant to leave.

The other was a majestic concert by Ranjani & Gayathri at Fort High School. The 3000 capacity pandal was full and people were standing in the aisles – such is their popularity here. And they delivered an absolutely divine RTP in Nalinakanthi. A complicated Pallavi and a thala structure, beautifully supported by the accompanying artistes was easily a classic for the ages. There were 1000 people at Mangalam time  at 10.00 PM; I have never seen anything like this in any kutcheri ever.

In keeping with this blog’s style I will feature a krithi which perhaps symbolizes this year’s season simply because it was the most sung krithi, 3 times no less ! Todi it has to be and it is Shyama Sastri’s swarajati masterpiece Raave Himagiri Kumari.

The featured renditions of the Swarajathi that I have chosen are both for sentimental reasons. The vocal rendition is from the Bombay Sisters, C Saroja and C Lalitha who were awarded this years SV Narayanaswami Rao Award.

The Instrumental rendition I have chose is by Mandolin Srinivas, the legend who was a star performer at every Bangalore season for many years, and who often did not accept a fee from the sabha just to support them. His concerts always attracted huge crowds in Bangalore and every time Rajesh now performs , it is hard not to miss the prodigy.

(Edit : For Lyrics and Translation, please refer to my previous post on this composition Rave Himagiri )

 

 

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Bhavayami Raghuramam

A very Happy Ramanavami to all my readers! May God’s grace fall upon you all!
I have chosen a concise Ramayana for you to listen today as you meditate upon Lord Rama. When I use the word ‘meditate’, I use it loosely, Meditation need not always be in a lotus position, does it? For me, it is often with my head nodding under my headphones. I call that worship too!
As to the song, it is a Ragamalika composed by Swathi Thirunal. There are those amongst you who don’t appreciate ragamalikas; I bring this composition particularly to your attention. While the lyrics list the major events in each kandam (canto) of the epic, the ragas paint the emotion in parallel. Balakandam is in a calm and stable Nattakurinji reflecting the stability of Rama’s childhood. Ayodhyakandam in Dhanyasi resounds with a gentle sweetness. I don’t think this goes against the story as Rama is perfectly content even in exile. Aranyakandam is in a romantic Mohanam reflects the happy life Rama and Sita lead in the forest in spite of Shurpanakha et al. Kishkindakandam is in a grief stricken Mukhari as both Rama and Sita suffer, each in their own way. Sundarakandam follows in a more hopeful Purvikalyani though it is still infused with sadness thanks to the minor Ri. Yuddhakandam finishes in an auspicious Madhyamavati, the traditional raga for a happy conclusion. And the whole is tied together in a prayerful Saveri. I understand the original version was only in Saveri. It was Semmangudi Srinivasa Iyer who tuned it as a ragamalika, adding the chittaswarams as well. This is the version popularised by M.S.Subbulakshmi.
I have chosen a rendition by the young Trichur Brothers. I think they have done a very credible job indeed. There are of course some wonderful renditions by yesteryear greats. In my growing years my father used to play a tape by MS all the time; I still hear her voice in my head when I think of this song. And I just love MDR meandering through the composition in his inimitable style; I always take a particular pleasure in his re-catching Saveri at the end of every charanam; it’s almost a thrill to hear the switch to ga-ri-sa-da, ri-sa-da, sa-da 🙂 But there is also great enjoyment in listening to young voices sing these age-old songs with such conviction.  Trichur Brothers start their rendition with the following shloka. They sing it also in a ragamalika like the main composition. (Note : If you are new to Raga recognition and distinction, this is a perfect opportunity to try your skills on this shloka as you know which ragas to expect).
वामे भूमिसुता पुरश्च हनुमान् पश्चात् सुमित्रासुतः
शत्रुघ्नो भरतश्च पार्श्वदलयोः वाय्वादि कोणेषु च।
सुग्रीवश्च विभीषणश्च युवराट् तारासुतो जांबवान्
मध्ये नील सरोज कोमळरुचिं रामं भजे श्यामळं॥ 
vAmE bhUmisutA purascha hanumAn paschAt sumitrA sutah
shatrughnO bharatascha pArchvadalayOh vAyvAdi kONEshu cha.
sugrIvscha vibhIshaNascha yuvarAT tArAsutO jAmbavAn
madhyE nIla sarOja kOmalaruchim rAmam bhajE shyAmaLam
With Sita (bhUmisuta-daughter of the earth) on the left (vAmE), and (cha) Hanuman in the front (puras), in the rear (pashchAt) Lakshmana (son (sutah) of Sumitra), surrounded by (pArshvadalayoH) Shatrughna and (cha) Bharata, and (cha) with Vayu etc (Adi) in the corners (kONEshu), with Sugriva and the young king (yuvarAj – don’t know why it is yuvarAt in the shloka) Vibhishana, the son (suta) of Tara i.e Angada, Jambavan and in the centre (madhyE) the gently (komala) handsome (ruchim) dark-hued (shyAmaLam) Rama looking like (implied) a blue lotus (nIla sarOja), whom I worship (bhajE) .
Watch from 19:01
(for some reason embedding is not working)

Footnote (Lyrics)

Language : Sanskrit

Pallavi and Anupallavi (Saveri)

भावयामि रघुरामम् भव्य सुगुणारामम् ।
भावुक वितरण परापाङ्ग लीला लसितम् ।।

bhAvayAmi raghurAmam bhavya suguNArAmam
bhAvuka vitaraNa parApAnga lIlA lasitam

I meditate upon (bhAvayAmi) the delightful (ArAmam), gracious (bhavya) and virtous (suguNa) Lord Rama (rAmam) of the Raghu dynasty, who playing (lasitam) at his Divine Play (lIlA) bestows (vitaraNa) happiness (bhAvuka) to others (para) with just his sidelong glances (apAnga).

Charanam 1 (Nattakurinji) – Balakandam

दिनकरान्वय तिलकं दिव्य गाधिसुत सवना-
वन रचित सुबाहु मुख वधम् अहल्या पावनम् ।
अनघमीश चापभङगं जनक सुता प्राणेशं
घन कुपित भृगुराम गर्व हरमित साकेतम् ॥

dinakarAnvaya tilakam divya gAdhisuta savanA-
vana rachita subAhu mukha vadham ahalyA pAvanam
anaghamIsha chApabhangam janaka sutA prANEsham
ghana kupita bhRgurAma garva haramita sAkEtam

He who is the ornament (tilakam) of the sun (dinakara) lineage (anvaya), he who killed (vadham) the demons (implied) beginning with (mukha) Subahu while protecting (avana) the sacrifice (savana) performed by (rachita) the Vishwamitra (son (suta) of gAdhi), he who purified (pAvanam) Ahalya, he who broke (bhanga) the bow (chApa) of the sinless (anagham) Shiva (Isha), he who is the husband (prAnesha) of Sita (daughter (sutA) of Janaka), he who destroyed (haram) the pride (garva) of the profoundly (ghana) kupita (angry) Parashurama (bhRgurAma as he is a descendent of bhRigu), he who is from (ita) Ayodhya (sAkEtam).

Charanam 2 (Dhanyasi) – Ayodhyakandam

विहिताभिषेकम् अथ विपिन गतम् आर्य वाचा
सहित सीता सौमित्रीं शान्ततम शीलम् ।
गुह निलय गतं चित्रकूटागत भरत दत्त-
महित रत्नमय पादुकं मदन सुन्दराङ्गम् ॥

vihitAbhishEkam atha vipina gatam Arya vAchA
sahita sItA saumitrIm shAntatam shIlam
guha nilaya gatam chitrakUtAgata bharata datta-
mahita ratnamaya pAdukam madana sundarAngam

He who went (gatam) to the forest (vipina) with (sahita) Sita and Lakshamana (saumitrI, son of Sumitra) at the word (vAchA) of his Lord (Arya) in spite of (atha) the destined (vihita) consecration (abhishEkam),  he who was in the habit of (shIlam) being extremely calm (shAntatam), he who went (gatam) to the residence (nilaya) of Guha, he who went (gata) to Chitrakoota, he who gifted (datta) Bharata his esteemed (mahita), bejewelled (ratnamaya, studded with precious stones) sandals (pAdukam), he who has an intoxicatingly (madana) beautiful (sundara) body (angam).

Charanam 3 (Mohanam) – Aranyakandam

वितत दण्डकारण्य गत विराध दलनं
सुचरित घटज दत्तानुपमित वैष्णवास्त्रम् ।
पतगवर जटायु नुतं पञ्चवटी विहितावासं
अति घोर शूर्पणखा वचनागत खरादि हरम् ॥

vitata daNDkAraNya gata virAdha dalanam
sucharita ghaTaja dattAnupamita vaishNavAstram
patagavara jatAyu nutam panchavatI vihitAvAsam
ati ghOra shUrpaNakhA vachanAgata kharAdi haram

He who went (gata) to the vast (vitata) Dandaka forest (AraNya), he who destroyed (dalanam) Viradha, he who was gifted (datta) the matchless Vaishnava weapon (astram) by the virtuous (sucharita) Agastya (ghaTaja – born in a pot), he who is worshipped by (nutam) the chief of birds (patagavara) Jatayu, he whose abode (AvAsam) was put in order (vihita) in Panchavati, he who destroyed (haram) Khara etc (Adi) who came (Agata) on the word of (vachana) of the very (ati) horrible (ghOra) Shurpanakha.

Charanam 4 (Mukhari) – Kishkindakandam

कनक मृग रूप धर खल मारीच हरमिह
सुजन विमत दशास्य हृत जनकजान्वेषणम् ।
अनघम् पम्पातीर संगताञ्जनेय नभोमणि
तनुज सख्यकरं वाली तनु दलनमीशम् ॥

kanaka mRga rUpa dhara khala mAricha haramiha
sujana vimata dashAsya hRta janakajAnvEshaNam
anagham pampAtIra sangatAnjanEya nabhOmaNi
tanuja sakhyakaram vAlI tanu dalanamIsham

He who killed (haram) the wicked (khala) Maricha who had worn (dhara) a form (rUpa) of a golden (kanaka) deer (mRga) here (iha), he who searched for (anvEsham) the daughter of Janaka (janakajA) who was seized (hRta) by Ravana (dasha – ten, Asya-face) who disregarded (vimata) the virtous (sujana), he who is sinless (anagham), he who, accompanied by (sangata) Hanuman (AnjanEya), made friends (sakhya karam) with Sugriva (son of (tanuja) the Sun (nabhOmaNi)), he who destroyed (dalanam) the body (tanu) of Vali, he who is supreme (Isham).

Charanam 5 (Purvikalyani) – Sundarakandam

वानरोत्तम सहित वायुसूनु करार्पित
भानुशत भास्वर भव्य रत्नाङ्गुलीयम् ।
तेन पुनरानीतान्यून चूडामणी दर्शनं
श्रीनिधिमुदधि तीरेश्रित विभीषण मिलितम् ॥

vAnarOttam sahita vAyusUnu karArpita
bhanushata bhAsvara bhavya ratnAnguliyam
tEna punrAnItAnyUna chUDAmaNI darshanam
shrInidhImudadhi tIrEshrita vibhIshaNa militam

He who, accompanied by (sahita) the best (uttama) amongst the Vanaras, offered (arpita) in the hands (kara) of Hanuman (child (sUnu) of Vayu) the beautiful (bhavya) bejewelled (ratna) ring (angulIyam) which was lustrous (bhAsvara) like a hundred (shata) suns (bhAnu), he who saw (darshanam) the blemishless (anyUna) (crest jewel (chUDAmaNI) brought (AnIta) in turn (punah) by him (tEna ie hanuman), he who is the reservoir (nidhi) of auspiciousness (shrI), he who met (militam) Vibhishana who sought refuge (Ashrita) on the shores (tIrE) of the ocean (udadhi).

Charanam 6 (Madhyamavati) – Yuddhakadam

कलित वर सेतुबन्धं खल निस्सीम पिशिताशन
दलनम् उरु दश कण्ठ विदारणम् अति  धीरम् ।
ज्वलन पूत जनक सुता सहितम् यात साकेतं
विलसित पट्टाभिषेकं विश्व पालं पद्मनाभम् ॥

kalita vara sEtubandham khala nissIma pishitAshana
dalanam uru dasha kaNTHa vidAraNam ati dhIram
jvalana pUta janaka sutA sahitam yAta sAkEtam
vilasita paTTAbhishEkam vishva pAlam padmanAbham

He who made (kalita) the best (vara) bridge (sEtubandham),  he who killed (dalanam) numerous (nissIma-endless) wicked (khala) demons (pishitAshana-flesh eaters), he who crushed (vidaranam) the huge (uru) ten-headed (dasha kaNTHa) Ravana, he who is extremely (ati) dhIram (brave), he who, along with (sahita) Sita (janaka sutA-daughter of Janaka) who was purified (pUta) by fire (jvalana), proceeded to (yAta) Ayodhya (sAkEtam), he who shone (vilasita) in coronation (paTTAbhishEkam), he who protects (pAlam) the world (vishva), he who is the lotus-navelled one (padhanAbham).

 

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Sita Kalyana Vaibhogame

Kalyanam

January 27 2018
I wake up at 4:30 am after just a few hours of restless sleep. It will be dawn soon. The Australian sun is set to warm us to 38ºC today. I wince at the thought of sweltering inside my heavy Kancheepuram silk sari. But I have a hundred things to do before I get to that stage. I hurry to get ready and start the day with drawing a simple kolam on the porch. I bustle about getting things ready for the priest who comes in and sets the stage for the wedding on the deck outside our living room.

I look around our home. The furniture has been moved elsewhere; hired chairs and ottomans face the deck. The dining table rests in the garden while caterer’s tables take up the dining area. The kitchen bench is decorated with many vases of fresh flowers. Strands of fresh flowers decorate the entrance, strands that my sister and friends strung for hours yesterday.  Strands of artificial marigold hang on balustrades inside and out. An arbor decorated with fresh flowers stands on the deck. Borrowed brass lamps decorate the hallway. A large colourful Rangoli that I painted on canvas decorates a corner of the living room. A hundred LED tea lights are arranged along the corridor and on the Rangoli.  I think of all the friends and family who gathered yesterday to get our home decorated and I thank them silently.

October 2016
My daughter and her partner announce that they are engaged and would like to be married by the end of 2017. She is a senior paediatric registrar, half Tamil Iyengar, half Bengali, fully Australian. He is a psychologist, both Australian and Polish. She would like to get married at home, she tells me. I do not dissuade her but my mind races with questions. We have been working with a builder since March 2016 on a project to knock down and re-build our home in Melbourne. The project is scheduled for 2017. Will our new home be ready in time given the vagaries of Melbourne weather? Just to be safe, we move the wedding date to Jan 2018.

November-December 2016
My husband had waved goodbye to our old home in March 2016. He will come back only when our new home is ready.  I’ve returned to Melbourne for finalising details with the builder and empty our home. I spend much of November sorting through years of gathered possessions and memories. I pack what needs keeping and discard as much as I can. This is such hard work! Finally everything is packed and sent off to storage. The empty shell of the home-that-was makes my heart ache. The house will come down by the end of Feb 2017; I shall be in Switzerland by then.

January 2017
An hour‘ my daughter tells me ‘The rituals must be limited to an hour‘.  I stare at her wordlessly. I think of how little control I had at my own wedding. I chose my husband but that is all the choice I made. My parents made all the decisions for the wedding as it was to be a Tamil one. Like all girls I had dreamt of a lovely wedding, instead it was a day of misery for me. All I remember of the day is my husband’s fury at being made to do rituals he had no belief in and no wish to do, my father’s fury at being forced to accept a Bengali son-in-law who did not value his culture, beliefs and his need for such rituals, my mother’s grief and fear for my future, my in-laws disappointment in having to deal with an alien culture, and above all, my shame at all the drama I had caused in my parents’ life. It was a traumatic day and I still cannot remember it without my eyes flooding rivers of sorrow. I know I don’t want that for my girl. If it is an hour-long wedding she wants, it is an-hour long wedding she will get. We have a meeting with Sriraman mama, the priest, and come up with a doable list. It ends up being an hour and a half but we are all content.

June-Aug 2017
I am back in Melbourne for another few months. We have made good progress with our new home. We have been lucky with the weather, the builders have lost only a few days for rain, less than expected. I had done a lot of running around in December, choosing bricks, outside paint colour, roof tiles, windows, doors, and the like. This trip is for choosing a zillion things for the indoors. Who would have thought that even a small thing like choosing the kitchen tap involves multiple trips to plumbing supplies stores, involving many woman-hours?!!! The light fittings are a great challenge thanks to the high roof of the cathedral ceiling. The kitchen design takes many iterations to get right.

In the meanwhile, plans for the wedding are going along well.  We select a flower supplier, caterer, photographer and videographer. We’ll have to find someone to do the lighting. The guest list is ready; we are still working on the invitation card format. The celebration has grown to a party in Kolkata on the 13th for extended family and friends, a celebratory family trip to the Sunderbans, a registration wedding in Melbourne on the 25th followed by lunch for the immediate family, a Henna night, a Hindu ritual followed by lunch on the 27th, an Australian style event followed by dinner and dance that night. I have a created a spreadsheet for the task list, we would be lost without it.

November-December 2017
I am back in Melbourne for the final stages of the building.  Even now, the builder calls me daily to make one decision or the other. With the time difference between Switzerland and Melbourne, I have often to make decisions without discussing with my husband. It is stressful. I consult YouTube and have a ‘do-it-myself-Grihapravesham’ ceremony on a ‘auspicious day’ even before the house is ready. Finally I can get my things back from storage. I work hard in unpacking and getting my house in order, including stocking up a minimal kitchen. I leave for India on the 5th of January, the house must be ready before then. The builders are still tinkering around doing the last bits of cabinetry etc before they leave for their Christmas break. I have a panic just after Christmas when the sewer blocks up. Everyone is away, it can’t be fixed now. I retreat back to my sister’s house, with the builder promising to get it fixed while we are in India.

My husband has taken responsibility for arranging the Kolkata get-together with the help of his cousin. He has also reviewed options for the Sunderbans trip; all I do is book it in. I have already arranged hotels in Kolkata. Tickets have been bought. My daughter has finalised the invitation and has posted them. RSVPs are being collected and collated with our list. I have fixed a Henna lady and arranged for dinner that night. I think the wedding plan seems sound.

January 27 2018
I watch as my Polish-Australian son-in-law ties an Iyengar Thali (Mangalsutra) around my daughter’s neck. Sriraman Mama has done very well, getting it all done in exactly the time promised. I throw akshata (yellowed raw rice) on their heads in blessing, praying that their marriage leads them to a lifetime of happiness. My sister and aunt whirl the aarati tray and we all join in singing ‘Sita Kalyana Vaibhogame‘. There is still the evening celebrations to follow. The couple will exchange vows which they have written themselves, there will be speeches from the family, the groom’s family will welcome the bride with a bread-salt-and-vodka ritual, they will dance a Polka with the groom’s family and a Bollywood medley by themselves. There will be cake cutting and eating and drinking and merry-making. But for me, with the singing of ‘Sita Kalyana’, the wedding has reached its completion.

February 12 2018
I’m still in Melbourne for another couple of weeks. My husband calls me from Switzerland to wish ourselves a happy anniversary. He is still on the 11th while I have rushed forward to the 12th. I let my mind wander to my daughter’s wedding and our own wedding 36 years ago. Ours has not been an easy marriage. The many differences in culture and beliefs, in temperament and tastes, in needs and wants…all the differences make many an ordinary thing into a matter of contention. But we have one most important thing in common – a shared value system. Perhaps in the end that is the only glue a marriage needs.  I wonder what the thoughts of my daughter would be on her own 36th anniversary. And I lay prayers at the feet of all my Gods.

What else can I play on this day but Sita Kalyana Vaibhogame? This version by Dr.Balamuralikrishna is familiar and dear to me.

I also enjoyed listening to Mr & Mrs T.M.Krishna sing the version below.

 


Footnote : Lyrics

Language : All except the pallavi is Sanskrit

पल्लवि
सीता कल्याण वैभोगमे
राम कल्याण वैभोगमे

चरणम् 1
पवनज स्तुति पात्र पावन चरित्र
रवि सोम वर नेत्र रमणीय गात्र

चरणम् 2
भक्त जन परिपाल भरित शरजाल
भुक्ति मुक्तिद लील भूदेव पाल

चरणम् 3
पामरासुर भीम परिपूर्ण काम
श्याम जगदभिराम साकेत धाम

चरणम् 4
सर्व लोकाधार समरैक वीर
गर्व मानव (alt:मानस ) दूर कनकाग धीर

चरणम् 5
निगमागम विहार निरुपम शरीर
नग धराघ विदार नत लोकाधार

चरणम् 6
परमेश नुत गीत भव जलधि पोत
तरणि कुल सञ्जात त्यागराज नुत

English Transliteration

pallavi
sItA kalyANa vaibhOgamE
rAma kalyANa vaibhOgamE

charaNam 1
pavanaja stuti pAtra pAvana charitra
ravi sOma vara nEtra ramaNIya gAtra

chharaNam 2
bhakta jana paripAla bharita sharajAla
bhukti muktida lIla bhUdEva pAla

charaNam 3
pAmarAsura bhIma paripUrNa kAma
shyAma jagadabhirAma sAkEta dhAma

charaNam 4
sarva lOkAdhAra samaraika vIra
garva mAnava (alt: mAnasa) dUra kanakAga dhIra

charaNam 5
nigamAgama vihAra nirupama sharIra
naga dharAgha vidAra nata lOkAdhAra

charaNam 6
paramEsha nuta gIta bhava jaladhi pOta
taraNi kula sanjAta tyAgarAja nuta

Translation

Oh the grandeur (vaibhOgamE – from sanskrit vaibhava, the E at the end denotes an exclamation) of Sita’s wedding (kalyANa)! Oh the grandeur of Rama’s wedding (kalyANa)!

charaNam 1
He who is the object (pAtra) of worship (stuti) by Hanuman, the son of Vayu (pavanaja), He whose character (charitra) is pure (pAvana), He whose excellent (vara) eyes (nEtra) are like the sun (ravi) and the moon (sOma), He who has a charming (ramaNiya) body (gAtra).

charaNam 2
He who is the protector (paripAla) of his devotees (bhakta jana), He who is capable of shooting (bharita means filled which I have interpreted here as a capability) a multitude of arrows (sharajAla), bestower (da) of worldly possessions (bhukti) and salvation (mukti), He who is playful (lIla), He who is the protector (pAla) of Brahmanas (bhUdEva).

charaNam 3
He who terrifies (bhIma) the wicked (pAmara) and the demons (asura), He who fulfils (paripUrNa) all desires (kAma), He who is dark-skinned (shyAma), He who is delightful (abhirAma) to the whole world (jagat), He who resides in (dhAma) in Ayodhya (sAkEta).

charaNam 4
He who is the support (AdhAra) of all (sarva) mankind (lOka),  He who is one (Eka) hero (Vira) of the battle (samara), He who keeps far (dUra) from arrogant (garva) people (mAnava) (alternate: arrogant minds (mAnasa)), He who is as strong and steadfast (dhIra) as Mount Meru (kanaka aga = golden mountain).

charaNam 5
He who wanders (vihAra) in the vEdas (nigama) and the Agamas, He whose body (sharIra) is incomparable (nirupuma), He who holds (dhara) a mountain (naga), He who is a destroyer (vidAra) of evil (agha), He who is the support (AdhAra) of those people (lOka) who bow (nata) to him.

charaNam 6
He who is sung (gIta) in praise (nuta) by Lord Shiva (paramEsha), He who is the ship (pOta) for crossing the Ocean (jaladhi) of existence (bhava), He who is well-born (sanjAta) of the Solar (taraNi) dynasty (kula), He who is praised (nuta) by Tyagaraja.

 

 

 

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Filed under Carnatic Music, M.Balamuralikrishna, T.M.Krishna, Tyagaraja, Uncategorized

Yaar Enna Sonnalum

Oothukkadu Kalinga Nartana KrishnaHave you ever asked yourself ‘What if I am wrong in my beliefs? What if there is no God, no karma, no rebirth, nothing but nothingness when we are done here?‘. I don’t mean like a crisis of faith, but just those fleeting thoughts which linger, unanswered and unanswerable. The truth is, of course, we are all equally in the dark, the believers as well as the non-believers. Very often it is the non-believer’s arguments which seem more rational, more scientific. And even worse, the stories in the newspapers are of atrocities committed by believers, whatever genre their belief may be, rather than the non-believers. In this climate, it is hard not to eye the whole ‘belief’ thing with a certain wariness.

This struggle with belief is not new to Hinduism.  You may already know of the Nasadiya Sukta नासदीय सूक्त (Hymn of Creation) of the Rigveda. The last two couplets are of particular interest, which I quote below.

को अद्धा वेद क इह प्र वोचत्कुत आजाता कुत इयं विसृष्टिः |
अर्वाग्देवा अस्य विसर्जनेनाथा को वेद यत आबभूव ॥६॥
इयं विसृष्टिर्यत आबभूव यदि वा दधे यदि वा न |
यो अस्याध्यक्षः परमे व्योमन्त्सो अङ्ग वेद यदि वा न वेद ॥७॥

But, after all, who knows, and who can say
Whence it all came, and how creation happened?
the gods themselves are later than creation,
so who knows truly whence it has arisen?
Whence all creation had its origin,
he, whether he fashioned it or whether he did not,
he, who surveys it all from highest heaven,
he knows – or maybe even he does not know.

Rig Veda 10:129, Translation by A.L Basham (source)

It is so gloriously open-ended, isn’t it! These verses are about creation but there is something more fundamental, as if even the existence of the Gods and their power over creation is questioned. If even the Vedic seers had such questions in their minds, who will blame us if we do?

And yet there it is, my faith. Perhaps it is childhood indoctrination; in fact it almost certainly is that. However it has been such an old friend to me, has shaped my own character and the choices I have made in life so very much that it cannot be separated from me without causing grievous damage to all that I am. I very much identify with this quote by William Sloane Coffin Jr ‘I love the recklessness of faith. First you leap, and then you grow wings‘. It feels as if I leapt in my childhood, even before I knew I was leaping and over the course of my life my faith has grown wings. And like a kite it flies, tethered to anything rational by a mere thread.

But the questions remain.

And that is why I have chosen this beautiful composition by Oothukadu Venkata Subbaiyer today.  ‘Whatever anyone says, fear not, O brave heart, keep singing about the compassion of the Lord‘ says he. Why did he write this song, I wonder. What did people say to him that he responded with ‘Even if this world says  a thousand things  we  should keep it aside thinking ‘what is it to do with us?’.  The words seem to speak to me when questions cloud my mind. Set to raga Manirangu, it has all the spirit and lyrical beauty of Venkata kavi’s compositions. It makes me smile because he encourages everyone to sing and even dance if they can!

Please listen first to Maharajapuram Santhanam’s rendition. It has been a while since I featured him, hasn’t it! I hope you enjoy his simply brilliant voice as much as I do.

And the second rendition that caught my fancy today is by Shobana Vignesh. Very nicely sung indeed!


Footnote (Lyrics) :

Language : Tamil

பல்லவி
யாரென்ன சொன்னாலும் அஞ்சாத/அஞ்சாதே  நெஞ்சமே
ஐயன் கருணையைப் பாடு – ராக
ஆலாபனமுடனும் பாடு – முடிந்தால்
அடவோடும் ஜதியோடும் ஆடு
அருமையென வந்தப் பிறவிகளோ பல
ஆயிரம் தந்தாலும் வருமோ ஆதலின்

அனுபல்லவி
நாரத நாதமும் வேதமும் நாண
நாணக் குழல் ஒன்று ஊதுவான்
நீரதக் கழல் ஆட கோபியரும் பாட
நேர் நேர் என சொல்லித் தானாடுவான் – அந்த
அய்யன் கருணையைப் பாடு

சரணம்
தோலை அரிந்து கனி தூர எறிந்து
வெறுந் தோலைத் துணிந்தொருவன் தந்தானல்லவோ
மேலைப் பிடி அவலை வேணுமென்றே தெரிந்து
விரும்பி ஒருவன் அன்று தந்தானல்லவோ
காலமெல்லாம் தவம் இருந்து கனிந்து கனி
கடித்து சுவைத்தொருவள் தந்தாளல்லவோ – இந்த
ஞாலமும் ஆயிரம் சொன்னாலும் நாம் அதை
நமக்கெதற்கு என்று தள்ளி நாமமும் ஆயிரம் சொல்லிச் சொல்லி
(அய்யன் கருணையைப் பாடு)

Transliteration

pallavi
yArenna sonnAlum anjAdE (alt: anjAda) nenjamE
aiyan karuNaiyai pADu – rAga
AlApanamuDanum pADu – muDindAl
aDavODum jatiyODum ADu
arumaiyena vandap piRavigaLO pala
Ayiram tandAlum varumO Adalin

anupallavi
nArada nAdamum vEdamum nANa
nANak kuzhal onDRu ooduvan
nIradak kazhal ADa gOpiyarum pADa
nEr nEr ena sollit tAnADuvAn – anda
(aiyan karuNaiyai pADu…..)

charaNam
tOlai arindu kani dUra eRindu
veRun tOlait tuNindoruvan tandAnallavo
mElaip piDi avalai vENumenDRE terindu
virumbi oruvan anDRu tandAnallavo
kAlamellam tavam irundu kanindu kani
kaDittu suvaittoruvaL tandALallavo – inda
ñAlamum Ayiram sonnalum nAm adai
namak kedarku enDRu taLLi nAmamum Ayiram sollich-cholli
(aiyan karuNaiyai pADu…..)

Translation

Pallavi
Whatever (enna) anyone (yAr) says (sonnAlum), fear not, O heart (anjAdE nenjamE) [Alternative – O brave heart (anjAda nenjamE) ], sing (pADu) about the compassion (karunaiyai) of the Lord (aiyyan). Sing (pADu) with (ODu) elaborations (Alapanai) of the Raga. If you can (muDindAl), also  dance (ADu) with (ODu) proper gestures and steps (aDavu). Even if you are given (tandAlum) many (pala) thousands (Ayiram) of precious (arumai) lives (piravigal), will this one come again (implied by varumO=will it come)? Therefore (Adalin)…..

Anupallavi
He will play (ooduvAn, literally blow) a (onDRu) flute (kuzhal) such that (implied) it would put the music (nAdam) of Narada and the Vedas to shame (nANa). (Note : there is a second nANa in front of kuzhal, I don’t understand why. Is there another meaning to it? Or is it for emphasis?).  With his cloud-like (nIrada) anklets (kazhal) jingling (ADa, literally dancing), and the cowherdesses (gOpiyar) singing (pADa), asking (solli, literally saying) to be face to face (nEr nEr ena) He would dance (ADuvAn) himself (tAN) (I am a bit puzzled about the ‘nEr nEr ena’. Perhaps this is a reference to the episode where He duplicates Himself for each gopi and dances with each of them face to face?). Sing of his (His) compassion (pallavi line)

Charanam
Didn’t (allavO) a man (oruvan), having cut (arindu) the peel (tOlai) and throwing away (dUra eRindu) the fruit (kani),  presume to (tuNindu) give (tandAn) only (tani) the peel (tolai) to Him (implied)? [Note: This refers to the episode when Vidura, in the excitement of having Krishna close by, peels bananas and offers the peels to the Lord instead of the fruit. Krishna too consumes it. Vidura on realising what he had done is horrified but Krishna says he would accept anything offered with love.] Further (mElai), didn’t (allavO) a man (oruvan), knowing (terindu) that it was wished for (vENum enDRu),  lovingly (virumbi, with liking) give (tandAn) a handful (piDi) of flattened rice (aval) to Him (implied)? [Note: This refers to the tale of Sudama]. Didn’t (allavO) a woman (oruvaL), having lived (irundu, literally been) lifelong (kAlamellam) in austerity, tenderly (kanindu) give (tandAL) a fruit (kani) after biting (kaDittu) and tasting (suvaittu) it? [Note: Refers to Shabari]. Even if this (inda) world (ñAlam) says (sonnAlum) a thousand things (Ayiram) we (nAm) should keep it aside (taLLi, literally push away) thinking ‘what is it to do with us?’ (nammakku edarkku enDru) and repeating (solli solli) His thousand (Ayiram) names (nAmam) sing (pADu) about the compassion (karunaiyai) of the Lord (aiyyan) (pallavi line).

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Filed under Compositions in Tamil, Maharajapuram Santhanam, Oothukadu Venkata Subbaiyer, Shobana Vignesh, Uncategorized

Jaagiye Raghunath Kunvara

Rama_thumb.jpgHappy Ramanavami to all my readers! May the Lord’s blessings shine on all of you!

On this auspicious day, I have chosen for your listening pleasure a wonderful bhajan by Tulasi dasa in the voices of Rajan and Sajan Mishra. This is from a set of CDs by Musictoday called Bhaktimala which I have since the eighties. It’s an excellent set with some beautiful music by myriad artists whom I have listened to innumerable times.

Tulasi dasa has written this poetry as being recited by Vishwamitra when he wakes the young Rama and Lakshmana. We are all very familiar with verses in Valmiki’s Ramayana, set to the same scene.

कौसल्या सुप्रजा राम पूर्वा संध्या प्रवर्तते ।
उत्तिष्ठ नरशार्दूल कर्त्तव्यं दैवमाह्निकम् ||

kausalya suprajA rAma pUrvA sandhyA pravartati.
uttiSHTHA narashArdUla kartavyam daivamAhnikam.

O Rama, the noble son of Kausalya! Dawn has commenced in the East. O Best amongst men! Wake up, the daily rituals have to be performed!

These words in the golden voice of M.S.Subbalakshmi are etched in all our hearts, aren’t they! I always smile when I imagine the scene. I can well visualise Vishwamitra coaxing young Rama and Lakshmana, who were but boys at that time, just as I had to coax my son out of bed to get to school when he was their age!

I have listened to Rajan and Sajan Mishra’s music for many years; they are amazing musicians whom I intended to feature again in the future. In this rendition, they start with an invocation to the Sun God.

आदिदेव नमस्तुभ्यं प्रसीद मम भास्कर
दिवाकर नमस्तुभ्यं प्रभाकर नमोऽस्तु ते

AdidEva namastubhyam prasIda mama bhAskara.
divAkara namastubhyam prabhAkara namOstu tE.

Salutations to O Primal God ! Please be gracious to me, O Effulgent One!
Salutations to the Day-Maker! Salutations to the Maker of Light!

-First verse of Suryashtakam from the Samba Puranas

In Ramayana, divinities descend on earth in human form and thus Vishwamitra awakening them is nothing extraordinary. But who are we singing to when we awaken God? Is He not always awake? Yes, of course He is. When we sing suprabhatam or songs of awakening, we sing to the God within us, urging Him/Her to awaken from the cloud of Maya which keeps the divinity inside us in a state of sleep. With this song, we urge our own divinity, our soul to wake up to and understand its own Truth.

This song was often sung in Gandhiji’s ashram. He translated it for Mirabehn; that is the translation I have given below in the footnote.

So here are Rajan and Sajan Mishra with Jagiye Raghunatha Kunwara.


Footnote : Lyrics and Translation

Language : Awadhi, a dialect of Hindi

 

जागिये रघुनाथ कुंवर, पंछी बन बोले |

चंद्र किरण शीतल भई, चकई पिय मिलन गई |
त्रिविधमंद चलत पवन, पल्लव द्रुम डोले ||

प्रातः भानु प्रकट भयो, रजनी को तिमिर गयो |
भृंग करत गुंजगान, कमलन दल खोले ||

ब्रह्मादिक धरत ध्यान, सुर नर मुनि करत गान |
जागन की बेर भई, नैन पलक खोले ||

तुलसीदास अति अनन्द, निरख के मुखारबिन्द |
दीनन को देत दान, भूषण बहु मोले ||

Transliteration

jAgiyE raghunAtha ku.nvara, panchI bana bOlE.

chandra kiraNa shItala bhayI, chakayI piya milana gayI,
trividhama.nda chalaya pavana, pallava druma DOlE.

prAtah bhAnu prakaTa bhayO, rajanI kO timira gayO,
bhringa karata gunjagAna, kamalana dala khOlE.

brahmAdika dharata dhyAna, sura nara muni karata gAna,
jAgana kI bEra bhayI, naina palaka khOlE.

tulasIdAsa ati ananda, nirakha kE mukhArabinda,
dInana kO dEta dAna, bhUshaNa bahu mOlE.

Translation (by Gandhiji)

O Prince of the Raghus, wake up; the birds are singing in the grove. The moon will disappear presently, the chakravaka bird is off to meet her lord. The threefold breeze is gently blowing, the leaves are rustling. The morning sun is on the horizon, darkness of the night is gone. The bees are humming, the lotus has opened its leaf. Brahma and others are in meditation; the gods, common people and sages are singing hymns of praise. Thus when it was rising time Rama opened his eyes. Tulsidas is overjoyed to see the lotus face of Rama who gives valuables as gifts to the poor.

 

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Azhaga Azhaga

azhagar-koilAre Gods beautiful?

According to the great poets and songwriters of India, Gods are indeed beautiful. We even come across hymns and prayers from ancient times which describe the beauty of the Gods in extravagant terms.

But why do Gods need to be beautiful? This bothers me somewhat, especially in the climate of today where there is an obsession over beauty. I would like to think of Gods as being compassionate, loving, just, generous and forgiving. In comparison, beauty seems to be such an inessential quality! Surely this focus on beauty is worth questioning?

I guess we humans have always been drawn to beauty. We like to decorate ourselves with cosmetics, jewellery and garments in order to make ourselves more beautiful. I remember visiting archaeological museums and admiring the way even the most ancient of people made rings, necklaces and other such ornaments. Cosmetics aren’t anything new either; I believe it comes from the time of the ancient Egyptians. Still, I find that the world today has taken this pursuit of beauty to such extremes! Plastic surgery for purely cosmetic reasons has become so common. Why, I read recently of Far-Eastern ladies having surgery to make their eyes bigger, short (or not!) people deliberately having their legs broken and stretched so that they could be taller! I am rather horrified! Yet the practices such as lengthening the neck as practiced in some African tribes are no different and these practices have been around for years. Body piercing and tattooing too has been around for a long time. I guess my protests against this madness for beauty are a bit hypocritical; like many ladies, I too make attempts to present myself as well as I can. Still, I see beauty as no more than a superficial thing and giving it importance goes against my grain. So I come back to the question, why describe Gods as being beautiful?

TED lecture by neurobiologist Samir Zeki that I happened to watch gave me an interesting perspective; in fact, that is what prompted me to write this post. In his research, he has found that there are neural correlations between the subjective mental states of love and the experience of beauty. In effect, there is one common area of mental activity located in the medial orbital frontal cortex which is active when one experiences beauty and also happens to be the same area which is active when you look at the face of the person you love very much. Does it mean that we experience both emotions similarly, I wonder? Does an experience of beauty trigger us to love the object which gives us this experience and equally, do we see beauty in all that we love? I am just speculating but I wonder if Gods are described as beautiful to make it easy for us to love them?

Yesterday I was listening to a Podcast on aesthetics and there was a comment which caught my attention. The speaker talked about a ‘vocabulary cloud’ which links the words beauty, truth and goodness. I immediately thought of ‘Satyam, Shivam, Sundaram’, not the movie, but the philosophy. I did a quick search to see if I could find the exact source, but I only found imprecise info linking it to the Upanishads (if you know the source, can you please add a comment with the info? Much obliged!). ‘What‘, I asked myself, ‘if it is only the presence of Satyam (Truth) and Shivam (Goodness) which brings about the quality of Sundaram (Beauty)‘?  I remember my university days when I used to find great beauty in the perfection of a well-solved mathematical problem, the perfect ratios in nature etc. I used to describe them as beautiful; and yes, there was truth in them, goodness in them. Now that kind of beauty truly attracts me; I am very comfortable associating such beauty with the Divine!

I chose the song which came first to my mind when I thought of this subject. Written in praise of the deity from Azhagar Koil (the temple of the Handsome One), it is written by Ambujam Krishna is a very emotive and personal style. Set to Shuddha Dhanyasi, a lyrically appealing Raga, it is a very beautiful song and I hope it pleases you as much as it pleases me. MLV was famous for this song and if you haven’t heard her as yet, be sure to listen here to one of her many renditions available freely on the net. There is also a very pleasing rendition by Bombay Jayashri which I like very much. But with an intention of listening to young artists whenever possible, here is a very nicely done rendition by Saketharaman.

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Footnote (Lyrics) 

Language : Tamil

பல்லவி
அழகா அழகா என்றழைத்துக் கை தொழுது வந்தேன்
திருமாலிருஞ்சோலை உறையும் வடி  (வழகா)

அனுபல்லவி
வழுவாது திருப்பாதம் தொழுதேத்தும் அன்பர்க்கு
அருள் வாரிச் சொரிந்து அவர் உள்ளம் கவரும் கள்  (ளழகா)

சரணம்
நடந்து நடந்து உன் சன்னிதி வந்தேன்
நாதன் உன் நற்றால் நிழல் தாராயோ?
நாடி நாடி உன் புகழ் கேட்டு வந்தேன்
நாரணா என் குரல் செவியுரக் கேளாயோ?
அடைக்கலம் அடைக்கலம் என்றுனை அடைந்தேன்
அபயக் கரம் தந்து வினை தீராயோ?
பாடிப் பாடி உனைப் போற்றிப் பணியும் எனக்குப்
பவழ வாய் திறந்து அஞ்சேலென்று அருளாயோ?

மத்யமகால சாகித்தியம்

விரிஜ்யோதி கமலமென உன் முகத்தே திகழும்
இருவிழி அருள் தேனை அள்ளி அள்ளி உண்டு
மறை புகழும் திரு மார்பில் மன்னி என்று உரைந்திட
மன வண்டுன் புகழ் பாட மையலுடன் உனை நாடி   (அழகா)

Transliteration

pallavi
azhagA azhagA enDRazhaittuk kai tozhudu vandEn
tirumAlirunjchOlai uRaiyum vaDi (vazhagA)

anupallavi
vazhuvAdu tiruppAdam tozhudEttum anbarkku
aruL vArich chorindu avar uLLam kavarum kaL   (LazhagA)

charaNam
naDandu naDandu un sannidi vandEn
nAtan un naTRAl nizhal tArAyO?
nADi nADi un pugazh kETTu vandEn
nAraNA en kural seviyurak kELAyO?
aDaikkalam aDaikkalam enDRunai aDaindEn
abhayak karam tandu vinai tIrAyO?
pADip pADi unaip pOTRip paNiyum enakkup
pavazha vAy tiRandu anjElenDRu aruLAyO?

madyamakAla sAhityam

virijyOti kamalamena un mugattE tigazhum
iruvizhi aruL tEnai aLLi aLLi uNDu
maRai pugazhum tiru mArbil manni enDRu uraindiDa
mana vaNDun pugazh pADa maiyyaluDan unai nADi  (azhagA)

Translation

pallavi
Oh handsome one (azhagA)! Thus (enDRu) have I called out (azhaittu) as I have come (vandEn), hands (kai) held in worship (tozhudu). O One with the handsome form (vadivazhagA) who lives in (uRaiyum) Thirumalirunsolai (literally Tirumal=Vishnu, irum=residing in, solai=grove also called Sri Kallazhagar Perumal Temple or Azhagar Koil near Madurai).

anupallavi
For the devotees (anbar) who worshipfully praise (tozhudu=worship, Ettu=praise) the sacred feet (tiru+pAdam) which never fail us (vazhuvAdu), Kallazhagar (the name of the deity) attracts (kavarum) their hearts (uLLam) by showering them (chorindu) in a torrent (vAri) of blessings (aruL).

charNam
I have come walking (naDandu) a long way (implied by the second naDandu) to your sanctum (sannidhi). O Lord (nAtan), will you not give me (tArAyo) your protection/shelter (nizhal) out of your goodness (naTRAl)? Hearing of (kETTu) your glory (pugazh), I have come (vandEn) seeking (nADi nADi) O Narayana (nAraNA), do you not hear (kELAyO) my (en) loud (ura) voice (kuRal) ? Calling out (implied) ‘Sanctuary Sanctuary‘ (aDaikkalam)  thus (enDRu) I have approached you (aDaindEn), will you not bring an end to (tIrAyo) to my misfortune (vinai) by giving me (tandu) your gesture of fearlessness (abhaya karam, a mudra indicating protection)? Will you not open (tiRandu) your coral (pavazha) lips (vAy, literally mouth) and bless (aruLAyo) me (ennai) by saying ‘Do not fear‘ (anjEl enDRu), I who worship you (paNiyum) by singing (pADi) again and again (indicated by second pADi) in praise of (pOTRi) you (unai)?

My mind (mana) is like a bee (vaNDu) which seeks you (nADi) in attraction (maiyyaluDan) of the two eyes (iru vizhi) which are like luminous blooming (viri jyoti) lotuses (kamalam) in your face (mugattE tigazhum), to grab again and again (aLLi aLLi) the honey (tEnai) of your benevolence (aruL). Singing (pADa) your (un) praise (pugazh), and saying (uraindiDa)  ‘Forgive Me’ (manni) to the holy chest (tiru marbil)..(O Handsome one!)

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