Arunachala Natham

The worship of fire and the worship with fire has been a part of ancient religions across the world. If the Adityas and then Agni were primary deities in the Vedas, the Zoroastrians saw fire as the light of Ahura Mazda. The Vestal Virgins of ancient Rome worshipped the Sacred Fire of Vesta, the Greeks bowed to Hestas and Hephaestus, the Aztecs had Chantico, to name just a few. Although I light a lamp every morning and evening at my home altar, although I have seen and participated in innumerable Hindu rituals where the homa fire stood as witness, I have always seen Agni as some remote God of the Vedic people quite unrelated to my own beliefs. I even saw the deification of nature as somewhat primitive, preferring to think of it as symbolic.

But lately I have become much more sympathetic to the idea of nature worship. My change of mind comes from, of all things, the Solar Panels we installed earlier in the month. ‘What?’ You are thinking, aren’t you, ‘Whatever is Suja going on about today?‘. So, here’s the thing. Since the installation, I have become so much more aware of the power that is that ball of fire we call the Sun. A slowtop, that’s what I am! One goes through life with blinkers on, doesn’t one, not even noticing the extraordinary which is within all those ordinaries around us! Our new solar panels produce so much electricity that we can run all our appliances during the day including a washing machine, dishwasher, induction cook top, fridges, vacuum cleaner, electric mop, TV and computer (to just name just a few) and still have extra to export to the grid. Is that not simply amazing? We don’t have a battery so we do use electricity from the grid when solar production is not sufficient but we are net positive.  I confess; all these years I have paid electricity bills without once glancing at consumption. Now suddenly I am hyper-aware and am just blown away by the wonder of solar energy. The fire so far away in the skies has so much power that even the most insignificant, miniscule part of it which falls upon our roof is enough to run our home! I know, this is something even school kids would know. But there is knowing and there is truly experiencing. It doesn’t feel primitive at all to respect that fire and call it a God, it is that awe inspiring.

But we Hindus have one more factor amongst our Gods and Goddesses. We realise that they have both benevolent and malevolent aspects to them. A kindly Durga and a threatening Kali are but two sides of the same, as are Shiva and Bhairava. That kindly solar fire which runs my home has also caused the most destructive havoc in Australia, my home country. Wild bush fires are all consuming, voracious in their appetite for more destruction. The earth is parched with drought and people are suffering. The temperatures across Australia are reaching record highs. We are a nation scorched. We need rain, rain which quenches the thirst of a parched land. But that is a prayer to Varuna, another God, and another post.

Today my musical choice is dedicated Shiva in his manifestation in the form of an Agni Lingam, am emblem of fire. Arunachala Natham, set to raga Saranga, belongs to a set of compositions by Muthuswami Diksthar called the Panchabhutalinga Kshetra Kritis. Many years ago I had featured Ananada Natana Prakasham in Kedaram which belongs to the same set of compositions. In my song choice of today, Dikshithar describes Shiva as resembling a crore of rising suns but also as a source of mercy. My land of Australia needs that mercy now.

Listen below to Sikkil Gurucharan’s meditative rendition of this song. The focus is on the purity of the composition; a fact which rather appeals to me. See if you enjoy the repeated use of sound ङ्ग (nga) in the charanam as much as I do!

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Footnote (Lyrics and Translation) :

Composer : Muthuswami Diksthar
Raga : Saranga
Language : Sanskrit

पल्लवि
अरुणाचल नाथम् स्मरामि
अनिशम् अपीत कुचाम्बा समेतम्

अनुपल्लवि
स्मरणात् कैवल्य प्रद चरणारविन्दम्
तरुणादित्य कोटि सङ्काश चिदानन्दम्
(मध्यम काल साहित्यम्)
करुणा रसादि कन्दम् शरणागत सुर वृन्दम्

चरणम्
अप्राकृत तेजोमय लिङ्गम् , अत्यद्भुत कर धृत सारङ्गम्
अप्रमेयं अपर्णाब्ज भृङ्गम् , आरूढोत्तुङ्ग वृष तुरङ्गम्
(मध्यम काल साहित्यम्)
विप्रोत्तम विशेषान्तरङ्गम् , वीर गुरु गुह तार प्रसङ्गम्
स्वप्रदीप मौलि विधृत गङ्गम् , स्वप्रकाश जित सोमाग्नि पतङ्गम्

Transliteration

pallavi
aruNAchala nAthaM smarAmi
anisham apIta kuchAmbA samEtam

anupallavi
smaraNAt kaivalya prada charaNaravindam
taruNAditya kOTi sangkAsha chidAnandam
karuNA rasAdi kandam sharaNAgata sura vRndam

charaNam
aprAkRta tEjOmaya lingam atyadbhuta kara dhRta sArangam
apramEyam aparNAbja bhRngam ArUDhOttunga vRsha turangam
viprOttama vishEshAntarangam vIra guru guha tAra prasangam
svapradIpa mauli vidhRta gangam svaprakAsha jita sOmAgni patangam

Translation

pallavi
I constantly (anisham) remember/recite the name of (smarAmi) the Lord (nAtham) of Arunachala together with (samEtam) Goddess Apitakuchamba – mother (ambA) with unsuckled (apIta-literally undrunk) breasts (kucha).

anupallavi
The God who (implied) grants (prada) release from the cycle of birth (kaivalya) simply (implied) by His lotus-feet (charaNa aravinDam) being remembered (smaraNat),  who resembles (sangkAsha) countless (kOTi, literally a crore) young (taruNa) suns (Aditya). He who is blissful (Ananda) consciousness (chit) incarnate (implied), He who is the original (Adi) root (kandam) of compassion (karuNA rasa) towards the flocks (vRndam) of learned men/divinities (sura) who seek refuge in him (sharaNAgata).

charaNam
He whose emblem (linga) is extraordinarily (aprAkRta) brilliant (tEjOmaya) (note: refers to the story of Shiva manifesting himself as an unmeasurable column of light at Arunachalam), He who holds (dhRta) a very (ati) wonderous (adbhuta) deer (sArangam – note this is the name of the raga as well) in his hand (kara), He who is unfathomable (apramEyam), He who is the lotus (abja) to the bee (bhRngam) who is Parvati (aparNA), He who is mounted on (ArUDHa) a tall (uttunga) and speedy (turangam) bull (vRsha), He who is especially (vishEsha) intimate (antarangam) with the best of the (uttama) learned men/Brahmins (vipra),  The savior (tAra) to whom the heroic (vIra) Subrahmanya (guruguha, also the signature of the composer) is devoted (prasangam) , He who bears (vidhRta) Ganga as an ornament (pradIpa) of his own (sva) top-knot (mauli), He whose own (sva) luminescence (prakAsha) surpasses that of (jita, literally wins) the moon (sOma), fire (agni) and the sun (patangam).

(A Notation is available at this site : http://meerascarnatic.blogspot.com/2019/07/arunachala-natham.html)

Kanden Sitaiyai

She sits under a tree, lost in her own misery. For ten months she has been in captivity, surrounded by her enemies. Her captor has given her twelve months to give in to him and become his consort. He has threatened death, he has tried temptation but she remains aloof and dismissive. But internally she has started despairing. Will her Lord be able to rescue her in time ? Her despair leads her to thoughts of giving up her life. Our Lord’s envoy finds her thus. He approaches her cautiously, gaining her trust in small steps. He offers to take her back but she refuses; she will allow only her Lord to rescue her. The Lord’s envoy bids her goodbye, causes as much havoc as he can in the enemy camp and returns to his Lord to bring glad tidings. Our Lord too has been suffering without his lady. He is desperate for news. His envoy greets him joyfully ”My Lord! Yes, I have seen her! Yes, she is still alive and chaste!”.

This is such a pivotal moment in the story, isn’t it! We have all followed this story innumerable times, through the innocence of our hero’s childhood, through his adolescent victories, the obedience of young adulthood, a comparatively uneventful exile and finally through the despair of loss.  Through all this time our hero has just been a man in the making, at least to my eyes. Oh, he was mature enough in age. Married at 16, he lived at home under his father’s rule for 12 years when he was sent into exile. he would have been 28 then. His lady was captured after 13 years in exile so at this stage of the story, our hero is close to 42 years in age. But he has not yet fulfilled the role for which he was born, as man or as God. It is after this point that he rouses himself from despair and takes the steps to become the glorious, victorious one that we all greet him as when we say ‘Jai Jai Ram’.

So, as I said before, this point of the story is pivotal. Ramayana is a story which has been told countless times, in countless forms. There is no saying if Valmiki’s was the original one; who knows what stories were there before? Perhaps there was always a Ramayana, whether told or untold. Still, Valmiki’s is the story we refer to as the original version. Let us see what he says about this moment of the story.

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Valmiki Ramayana (Sundara Kanda, Sarga 64 and 65)
(Reference : https://www.valmiki.iitk.ac.in/)

अङ्गदे ह्यननुप्राप्ते सुग्रीवो वानराधिपः।
उवाच शोकोपहतं रामं कमललोचनम्।।5.64.24।।
समाश्वसिहि भद्रं ते दृष्टा देवी न संशयः।
नागन्तुमिह शक्यं तैरतीते समये हि नः।।5.64.25।।

Seeing the grief stricken, lotus eyed Rama, the lord of the vanaras Sugriva said this before the arrival of Angada : Trust me, Rama. Be blessed. The vanaras have seen the divine lady. There is no doubt. It is not possible for them to come here after exceeding the time limit (in their search for Sita).

Sugriva, Rama and Lakshmana watch the havoc created by the vanaras in Madhuvana from a distance. From the very celebratory behaviour of the vanaras,  Sugriva guesses that they come with good news. So it is he who gives first intimation of the news by saying ‘the vanaras have seen the divine lady‘.

Valamiki gives further description of the approach of the vanaras and the exchange of greetings before coming to the salient point.

हनुमांश्च महाबाहुः प्रणम्य शिरसा ततः।।5.64.37।।
नियतामक्षतां देवीं राघवाय न्यवेदयत्।

Then the strong armed Hanuman with his head bowed down offered salutations and reported, ‘Divine lady Sita with her constant devotion to Sri Rama is sound in body’.

With this one sentence two important bits of news are conveyed, that of Sita’s wellbeing and that of her constancy.

In the next sarga, Valmiki has Anchaneya give a more detailed description of his experiences.

समुद्रं लङ्घयित्वाहं शतयोजनमायतम्।।5.65.8।।
अगच्छं जानकीं सीतां मार्गमाणो दिदृक्षया।
तत्र लङ्केति नगरी रावणस्य दुरात्मनः।।5.65.9।।
दक्षिणस्य समुद्रस्य तीरे वसति दक्षिणे।
तत्र दृष्टा मया सीता रावणान्तः पुरे सती।।5.65.10।।
सन्न्यस्य त्वयि जीवन्ती रामा राम मनोरथम्।
दृष्टा मे राक्षसीमध्ये तर्ज्यमाना मुहुर्मुहुः।।5.65.11।।
राक्षसीभिर्विरूपाभी रक्षिता प्रमदावने।

Having crossed the sea consisting of a hundred yojanas in quest of Vaidehi, I found her. On the southern shore of the ocean is situated the city of Lanka, ruled by the evil-minded Ravana. There, in the inner palace of Ravana, I saw your lovely wife Sita, with all her hopes pinned on you, giving up all other desires. I found her in the beautiful garden guarded by hideous ogresses threatening her again and again.

I have highlighted the phrase  दृष्टा मया सीता as this is the closest to the title of our song today ‘Kanden Sitaiyai’. She is well but she is threatened. This will rouse our hero to immediate action.

दुःख मासाद्यते देवी तथाऽदुःखोचिता सती।।5.65.12।।
रावणान्तः पुरे रुद्धा राक्षसीभि स्सुरक्षिता।
एकवेणीधरा दीना त्वयि चिन्तापरायणा।।5.65.13।।
अधःशय्या विवर्णाङ्गी पद्मिनीव हिमागमे।
रावणाद्विनिवृत्तार्था मर्तव्यकृतनिश्चया।।5.65.14।।
देवी कथञ्चित्काकुत्स्थ त्वन्मना मार्गिता मया।

Sita, who did not deserve and yet was full of grief was detained by Ravana in his inner palace, guarded by ogresses. She had a single braid (a sign of desolation), was pathetic, and totally absorbed in your thought. She was lying on bare ground with her limbs turned pale, like lotus in winter. She was averse to Ravana and was determined to commit suicide. She has only Rama in her mind. Somehow I found her.

Sita’s devotion to Rama and her determination to seek death rather than dishonour is the salient point here. Note how she is described as looking pale as a lotus in winter. When you come to the translation of our song, you will notice the same description there.

जीवितं धारयिष्यामि मासं दशरथात्मज।।5.65.24।।
ऊर्ध्वं मासान्न जीवेयं रक्षसां वशमागता।
इति मामब्रवीत्सीता कृशाङ्गी धर्मचारिणी।।5.65.25।।
रावणान्तः पुरे रुद्धा मृगीवोत्फुल्ललोचना।

O Son of Dasaratha I will hold on to life for a month. Captured by the demons, I will not live for more than a month. With her limbs emaciated through austerities detained in Ravana’s inner palace, eyes wide open in fear, Sita said this to me.

Sita gives Rama a mere month to defeat Ravana and rescue her. I have read and heard Ramayana innumerable times but somehow missed this pertinent fact. So as Sita did not give up her life, I assume that less than 30 days passed between Hanuman bringing this news and Rama’s defeat of Ravana. Is that even possible? I have to do more research on that!

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KAMBA RAMAYANAM , Sundara Kandam, 6028, 6031 and 6051

Reference : Tamil Virtual Academy, Kamba Ramayana in English

எய்தினன்அனுமனும்; எய்தி, ஏந்தல்தன்
மொய் கழல்தொழுகிலன்; முளரி நீங்கிய
தையலை நோக்கியதலையன், கையினன்,
வையகம் தழீஇநெடிது இறைஞ்சி, வாழ்த்தினான்

Hanuman having reached that place, without saluting the heroic Rama’s anklet clad feet, he saluted southwards towards where the Goddess, who, having abandoned the lotus flower and been born on this earth, was currently resident, by falling on earth, with his head and hands touching the earth and praised Sita lying there.

Kambar has Hanuman conveying the news in a more subtle manner. On gaining audience, Hanuman pays obeisance to Sita instead of saluting Rama and thus conveys the news of Sita’s well-being by gestures alone. Interestingly, Kambar stresses the divinity of Sita here by connecting her to Goddess Lakshmi.

கண்டனென், கற்பினுக்கு அணியை, கண்களால்,
தெண் திரை அலைகடல் இலங்கைத் தென் நகர்;
அண்டர் நாயக !இனி, துறத்தி, ஐயமும்
பண்டு உள துயரும்’என்று, அனுமன் பன்னுவான்

Hanuman looked at Rama and said ‘O Lord of Devas, in Lanka, a city in the South which is surrounded by clear, curling tides, I saw with my own eyes your Lady who is like an ornament to chastity. Therefore forget all the doubt (of whether she is chaste or not) and the sorrow thereof’. He continued to tell in more detail.

I included this verse because it is closest to the words ‘Kanden Sitaiyai’ . Kambar’s description of Sita is very evocative and poetic.

இங்கு உளதன்மை எல்லாம் இயைபுளி இயையக் கேட்டாள்;
அங்கு உள தன்மைஎல்லாம் அடியனேற்கு அறியச் சொன்னாள்;
“திங்கள் ஒன்றுஇருப்பென் இன்னே; திரு உளம் தீர்ந்தபின்னை,
மங்குவென்உயிரோடு” என்று, உன் மலரடி சென்னி வைத்தாள்.

After hearing of all that occurred here, she told me of everything that had happened there in detail. ‘I will remain alive for only one more month’ she said. ‘If my Lord does not want to save me within that time, I will kill myself’ . She gestured as if she was saluting your divine feet.

Kambar’s Sita, like Valmiki’s Sita, gives her Lord only a month’s time to rescue her. Interesting is the wording here ‘If my Lord does not want to save me within that time’. Is there a doubt that he would want to save her or not? A hint of a future doubt over her chastity?

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Ramacharitamanas,  Sundara Kanda 5-29 and 5-30
Reference : http://www.ramcharitmanas.org

I could not find the equivalent of the words ‘Kanden Sitaiyai’ in Ramacharitmanas. It is Jambavan who speaks first to the Lord.

प्रभु कीं कृपा भयउ सबु काजू। जन्म हमार सुफल भा आजू॥2॥
नाथ पवनसुत कीन्हि जो करनी। सहसहुँ मुख न जाइ सो बरनी॥
पवनतनय के चरित सुहाए। जामवंत रघुपतिहि सुनाए॥3॥
सुनत कृपानिधि मन अति भाए। पुनि हनुमान हरषि हियँ लाए॥
कहहु तात केहि भाँति जानकी। रहति करति रच्छा स्वप्रान की॥4॥

‘Everything has turned out well by the grace of my Lord; it is only today that our birth has been consummated. The achievement of Hanuman (the son of the wind-god) cannot be described even with a thousand tongues’. Jambavan then related to the Lord of the Raghus the charming exploits of Hanuman. The All-merciful felt much delighted at heart to hear them and in His joy He clasped Hanuman once more to His bosom. ‘Tell me, dear Hanuman, how does Janaka’s daughter pass her days and sustain her life?’

This version of the meeting came across to me as more intimate somehow. Unlike the other two versions, there is no comment about Sita’s chastity. I will quote only one more verse for a comparison, a verse which gives Sita’s message to Rama.

मन क्रम बचन चरन अनुरागी। केहिं अपराध नाथ हौं त्यागी॥2॥
अवगुन एक मोर मैं माना। बिछुरत प्रान न कीन्ह पयाना॥

I am devoted to Your feet in thought, word and deed; yet for what offence, my lord, have You forsaken me? I do admit one fault of mine, that my life did not depart the moment I was separated from You.

Sita feels abandoned but she neither sets a deadline nor threatens suicide.

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How many versions there are of the story! Is it really just one story? Prof. Ramanujan calls the various instances of the Ramayana story as ‘tellings’. In his essay titled 300 Ramayanas  he says ‘Some shadow of a relational structure claims the name of Ramayana for all these tellings, but on a closer look one is not necessarily all that like another‘.  I urge you to read this essay when you have some time;  it is very interesting indeed.

Finally I come to the song I have chosen to present today (you may well sigh in relief !). The song is from Arunachala Kavi’s  (1711-1779) Rama Natakam, his own telling of Ramayana. The song is a narration by Hanuman to Lord Rama; it is both beautiful and poignant. I have heard it sung in Bageshri and Vasanta but I believe it is also sung in Behag and Mukhari. I understand the tuning in Vasanta was by Ariyakudi Ramanuja Iyengar but I don’t know about the other versions. If you have links to a version in Behag or Mukhari, please can you add a link in the comments? Also, I have heard only the first two charanams sung, if you know of a rendition which includes all three charanams, I will be grateful.

Let us first listen to Sikkil Gurucharan in Vasanta. He sings only the first charanam. Vasanta is so cheerful, isn’t it! The jubilation in the words is nicely matched by the raga.

Next, here is a rendition by Bombay Jayashri. She sings only the second charanam. I love Bageshri and the song sounds quite beautiful to me.

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Footnote (Lyrics and Translation) :

Poetry : Arunachala Kavi
Music : Ariyakudi Ramanuja Iyengar (maybe) in Vasanta, others unknown to author
Raga : Varies. Presented here are Vasanta and Bageshri
Language : Tamil
Note – you may note that the lyrics don’t match exactly with the renditions above. I have done my best to provide what I think is most accurate for the purpose of music appreciation. If you are a student, please refer to your guru.

பல்லவி
கண்டேன் கண்டேன் கண்டேன் சீதையை
கண்டேன் ராகவா (நான் )

அனுபல்லவி
அண்டருங் காணாத இலங்காபுரத்திலே
அரவிந்த வேதாவை தரவந்த மாதாவை

சரணம் 1
காவி விழிகளில் உன் உருவெளி மின்னக்
கனி வாய் தனிலே உன் திரு நாமமே பன்ன
ஆவித்துணையைப்  பிரிந்த மட அன்னம்
ஆனாள் நான் சொல்லுவதென்ன
பூவைத் திரிசடை நித்தம் நித்தம் சொன்ன
பக்தி வழியே தன் புத்தி நிலை மன்னப்-
பாவி அரக்கியர் காவல் சிறை துன்னப்-
பஞ்சு படிந்த பழம் -சித்திரம் என்ன

சரணம் 2
பனிக்கால வாரிஜம் போல் நிறங் கூசிப்
பகல் ஒரு யுகமாக கழித்தாளே பிரயாசி
நினைத்தங்கே ராவணன் அந்நாள் வரச் சீச்சி
நில்லடா (older version: சண்டாளா) என்று ஏசி
தனித்துத்-தன் உயிர்தனைத் -தான் விட மகராசி
சாடும் பொழுது காணும் சமயம் இதுவே வாசி
இனித் -தாமதம் செய்யல் ஆகாதென்றிடர் வீசி
ராமா ராமா ராமா என்றெதிர் பேசி

சரணம் 3
அடல் சேரும் வாலியை வானுலகிலே கூட்டி
அவனியை சுக்ரீவன் ஆள முடி சூட்டி
உடனே நீ தூது போ என்ற சொல் அமுதூட்டி
உன்னெழில் பாராட்டி
விட வந்த அனுமன்தன் நான் என்று சீராட்டி
விவரம் சொல்ல உயிர் கொண்டிருக்கிறாள் சீமாட்டி
திடமா லக்ஷ்மணன் செய்த பர்ணசாலை வீட்டில்
தேவாதி தேவா உன் திரு ஆழிதனைக்-காட்டி

Transliteration

pallavi
kaNDEn kaNDEn kaNDEn sItaiyaik
kaNDEn rAghavA (nAn)

anupallavi
aNDarung-kANAda lankApurattilE
aravinda vEdAvait-taravanda mAtAvai

charaNam 1
kAvi vizhigaLil un uruveLi minnak
kanivAy danilE un tiru nAmamE panna
AvittuNaiyaip-pirinda maDa annam
AnAL nAn solluvadenna
pUvait-tirishaDai nittam nittam sonna
bhakti vazhiyE tan buddhi nilai mannap-
pAvi arakkiyar kAval siRai tunnap-
panju paDinda pazham-chittiram enna

charaNam 2
panikkAla vArijam pOl nirang-kUsip-
pagal oru yugamAgak-kazhittALE prayAsi
ninaittangE rAvaNan annAL varach-chIchchi
nillaDA enDRU Esi
tanittut-tan uyirt-tanait-tAn viDa magarAsi
sADum pozhudu kANum samayam iduvE vAsi
init-tAmadam seyyal AgAdenRiDar vIsi
rAma rAma rAma enRedir pEsi

charaNam 3
aDal sErum vAliyai vAnulagilE kUTTi
avaniyai sugrIvan ALa muDi sUTTi
uDanE nI tUdu pO enDRa sol amudUTTi
un ezhil pArATTi
viDa vanda anumantan nAn enDRu sIrATTi
vivaram solla uyir koNDirukkiRAL sImATTi
diDamA lakshmaNan seyda parNasAlai vITTil
dEvAdi dEvA un tiru Azhitanaik-kATTi

pallavi
I have seen (kanDEn) Sita (sItaiyai), O Raghava!

anupallavi
In the city (purattilE) of Lanka, a city not seen (kANAda) even by the Gods (anDarum) (implied meaning: A city more beautiful than the celestial cities), I saw Sita (the words of the pallavi), the mother (mAtAvai) who came (vanda) to give (tara) Brahma (aravinda vEda) .
[*Note: I am very dissatisfied with the translation of the second line. I trolled the net to see what others think, but did not find anything convincing. Brahma is the son of Vishnu but only indirectly of Lakshmi. I would prefer to read it as ‘Lakshmi who sits (implied) on a lotus. After all Lakshmi is also known as Vedavalli, so could vEdA be a short version of that?  If so, what has she come to give? Can it be read as something else? Your opinions are welcome!]

charaNam 1
With your (un) reflection (uruveLi) shining (minna) in her (implied) reddened (kAvi) eyes (vizhigaLil) (ie eyes reddened by tears), uttering (panna) only (-mE after nAmam) your (un) sacred (tiru) name (nAmam), she has become (AnAL) like (implied) a pen (female swan) (maDa annam) separated (pirinda) from her soul (Avi) companion (tuNaiyai), what (enna) shall I (nAn) say (solluvadu)!  Keeping her state of mind (buddhi nilai) firmly constant (manna) by following (implied) the way (vazhiyE) of devotion (bhakti) as advised (sonna-told) daily (nittam nittam) by the lady (pUvai) Trijata (tirishaDai), while the sinful (pAvi) demonesses (arakkiyar) crowd close (tunna) guarding (kAval) her prison (siRai). She is like (enna) an old (pazham) painting (chittiram) which has become valueless (panju paTTa).

charaNam 2
Withdrawn (kUsi) with her colour (niram) pale (implied) like a lotus (vArijam) in winter (pani kAlam), the distressed lady (prayAsi) passed (kazhittaLE) each day (pagal) as if it was an eon (yugamAga). That day (annAL) when Ravana came (vara) there (angE) purposefully (ninaittu) , she (implied) reproached (Esi) him saying (eNDRu=thus) ‘chIchi’ (exclamation of disgust) Stop (nillaDa)!’.  Alone and helpless (tanittu), the blessed woman (magarAsi) decided to (implied) give up (viDa) her own (tan) life (uyir tanai) herself (tAn).  Seeing (kANum) the moment (pozhudu) of the decision (implied) of killing herself (sADum) and divining (vAsi) that this was (iduvE) the time (samayam), that (enDRu) delaying (tAmadam) further (ini) won’t do (seyyal AgAdu) , I interrupted (edir pEsi) by scattering (vIsI) the words (implied) ‘Rama Rama Rama’ .

charaNam 3
Gathering (kUTTi) the murderous (aDal = murder, but why sErum? !) Vali (vAliyai) into the celestial world (vAnulagam) and crowning (muDi sUtti) Sugriva to rule (Ala) the world (avaniyai), he said (implied) ‘Go as my ambassador (tUdu pO)’, feeding (Utti) words (sol) of nectar (amudu) to me (implied). Praising (pArATTi and sIrATTi) your (un) grace (ezhil), I  said (enDRu-thus, here indicates what is said), ‘ I (nAn) am Hanuman (anumantan), having come (vanda) to rescue you (viDa)’ .  O Lord of Lords (dEvAdi dEva)! In the leafy hut/hermitage (paRNasAlai vITTil) built (seyda) by Lakshmana, [Note: In Kamba Ramayanam, Sita is captured along with their hut, thus protecting her chastity even further by her never having been touched by Ravana], as I explained (solla) the details (vivaram) and showed [kATTi] your (un) sacred (tiru) signet ring (Azhitanai), the lady (sImATTi) resolutely (diDamA) retains life (uyir koNDirukkiRAL) (ie. he has successfully stopped her from giving up her life).

Ninne Bhajana Seyu

Are you a one-God man/woman? Do you restrict yourself to praying to your One and no other?

I pray on an everyday basis to a number of Hindu deities. I do have my own One, the One who always listens with a sympathetic ear to whatever  I happen to go on about. I also have a Second-to-the-One for days when I am not on speaking terms with my One. What, you don’t have ‘I’m-SO-annoyed-with-you’ moments with your One? You must be much better tempered than I am!! Of course I also pray to different deities for their expertise in specific matters. I am most certainly not a one-God woman!

My meanderings arise from something I heard recently. I had mentioned a few weeks earlier that I have taken to listening to upanyasams (lectures on spiritual matters), mainly by Velukkudi Krishnan, Dushyant Sridhar and Visaka Hari. Velukkudi Krishnan is especially erudite; his depth of knowledge is quite astounding! Is it possible to learn this much in a lifetime? I am all admiration! Much as I admire his knowledge, I confess that at times I am confounded by some of his pronouncements!! For example, he says in one of his lectures that people should sleep in what they wear ‘normally’ and not change into night-clothes! Really??!! Leaving pronouncements such as this aside, there was one repeated advice which caught my attention. He says that if you serve Lord Vishnu, then you should pray to none other as otherwise He would be offended! Again – Really???? Surely these kind of feelings are human, not Divine? Velukkudi Krishnan does add that it is the same for whichever religion/deity you adhere to; ‘stick to your One’ he says.

I assume that these ideas are Sri Vaishnavite ones as proposed by Ramanuja, the extraordinary theologian and philosopher (11-12 CE). In his times, the Chola kings ruled in South India. Though the kings were predominantly Shaivite, the society was a secular one. Not only other Hindu sects but even Buddhists and Jains had many followers in those times. Under the circumstances, Ramanuja’s preaching that one must follow Lord Vishnu and none other was no doubt a way to preserve Sri Vaishnavism from all the other religious influences. Are his one-God-only ideas just part of the politics of religion?  Is this kind of thought even valid amongst today’s Hindus?  That said, I admit to total ignorance on the subject; I am merely thinking aloud…

I personally do not know even one single Hindu who prays to only one deity! When the Hindu pantheon offers a veritable smorgasbord of deities, each with their own domain expertise, is it not human nature to pray to as many of them as you can relate to? Leave alone Hindus, even in a strictly monotheistic religion like Christianity, prayers are offered to not just their God, but also to His messenger Jesus Christ and to his mother Mary as well as any number of Saints. Many of the Saints have their own speciality ‘domains’ too! I have visited many Catholic places of worship; there are as many candles in front of the Saints as there are in front of Jesus! Listening often to Sufi music, I see that even Muslims sing in praise of and in prayer to their many Saints. Many of us, it seems, spread our prayers wide!

Coming to Carnatic Music, our great composers wrote in praise of many different deities though they were known for their devotion to particular ones. For example, Tyagaraja was a devotee of Lord Rama, Dikshithar was a worshipper of Goddess Shakti, and Oothukkadu Venkata Subbaiyer was entranced by the young Lord Krishna.  Yet in my song choice of today, Tyagaraja says ‘I am the one who chants only your name, I shall not beseech others!’. Set to Raga Natta, it is a lovely composition which appeals to me greatly. I always enjoy Natta with its vigorous and rousing feel. But today the first rendition I have chosen for you has a more contemplative mood. M.D. Ramanathan has a unique sound, one I enjoy immensely, especially in songs such as this. For your ease of listening, I have chosen the rendition loaded in YouTube. The sound quality is poor, but the music is anything but. Listen to my ‘Alternative’ for slightly better sound and a longer rendition.

Alternative : Click here and play song 2. Free membership needed to Sangeethapriya.

The second rendition I would like you to listen to is by Jayanthi Kumaresh on the Veena. I find that the  resonance of the instrument is particularly suited for Natta, don’t you? This talented artist has gifted us with a hypnotic rendition. Don’t miss this!

Alternate link : Click here and play song 1. You need free membership to Sangeethapriya.

And for a third, listen to this energetic and vibrant performance by Sikkil Gurucharan here.  I really enjoyed the kalpana swarams. Again, the recording quality is not the best.

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Footnote (Lyrics and Translation) :

Composer : Tyagaraja
Raga : Natta
Language : Telugu
Please note that I do not speak Telugu; the lyrics and translations are credit to various online resources.

पल्लवि
निन्ने भजन सेयु वाडनु

अनुपल्लवि
पन्नग शायि परुल वेड लेनु

चरणम्
स्नानादि जप तप योग ध्यान
समाधि सुख प्रद
सीता नाथ सकल लोक पालक
त्यागराज सन्नुत

Transliteration

pallavi
ninnE bhajana sEyu vADanu

anupallavi
pannaga shAyi parula vEDa lEnu

charaNam
snAnaAdi japa tapa yOga dhyAna
samAdhi sukha prada
sItA nAtha sakala lOka pAlaka
tyAgarAja sannuta

Translation

I am a worshipper (bhajana sEyu vADanu) only of you (ninnE).

O One recumbent (shAyi) on a snake (pannaga)! I shall not (lEnu) plead (vEDa) to anyone else (paralu).

You are the provider (prada) of happiness and well-being (sukha) which come from (implied) bathing in holy waters (snAna), repeated prayers (japa), penance (tapa), Yoga, meditation (dhyAna), deep concentration leading to identification with the object of meditation (samAdhi) etc (Adi). O Consort (nAtha) of Sita! O Guardian (pAlaka) of the entire (sakala) world (lOka)! O One praised (sannuta) by Tyagaraja!