Captaincy Not An Emotion

Virat Kohli, The captain

The new test captain. Technically sound batsmen, with a strong foot work. Aggressive. Every qualification to wear the yellow jersey . No no not CSK. The green cap.  Has proved time and again with his batting, sledging. 

With MSD’s departure, the throne is not the same. He, with no notable foot work, innovating swachh bharat shot, average performance in test cricket. MSD - the punch bag, the maidas, the finisher. Undoubtedly, MSD - The Captain Cool.

Sometimes strategies subject to fail. Even then keeping the emotions in check matters. MSD - the best in that. Initially, it seemed all Luck. (for Me, for many still) But scoring in the slog overs, cannot be luck all the time. Perception tends to change. Some people prove it wrong. If still luck, then read as 'Fortune favours the brave'.

His test records may not be too good like his ODI or T20. Yet the smiling punch bag, who accepts the loss on behalf of the team, will be missed. Kohli, whose mercury surges high always, his gesture after a loss cannot be, will not be like MSD.

Just over heard. Kohli - the next Dada. Because Dada is also known for his aggression it seems. But his aggression was seen in celebrations after a victory, certainly not in words during the game. And that will make all the difference.

MSD all together gave a different view for captaincy. But with Virat in the same driver seat,  its not going to be the cool stuff any more. So, tough time is on cards for news hour shows, post match. No more the Captain Cool to make random comments, because here comes  the Captain Contrast.

Naraka Chathurdasi

Deepavali.

The festival of lights.

Philosophically, victory of light over darkness. Transferring the spark from one lamp to other symbolizes knowledge transfer (KT). Or wealthier one should support the one who has minimum, just like people pledge in scouts and guides stronger thumb is always meant to support the little finger.

So, Naraka chathurdasi.
In Epic way there are many reasons to celebrate this day.

• The return of the lord Rama, his wife Sita and his brother Lakshmana from exile. 
•  Diwali marks the return of Pandavas after 12 years of Vanavas and one year of agyatavas.
• The celebration of Lakshmi, the goddess of wealth and prosperity, and wife of deity Vishnu. The five day festival of Diwali begins on the day Lakshmi was born from the churning of cosmic ocean of milk during the tug of war between the forces of good and forces of evil; the night of Diwali is the day Lakshmi chose Vishnu as her husband and then married him.  
• The day Vishnu came back to Lakshmi and their abode in the Vaikutha; so those who worship Lakshmi receive the benefit of her good mood, and therefore are blessed with mental, physical and material well-being during the year ahead.
• The day lord krishna won over Naraka sura with the help of his consort sathyabama.

The list is endless, Varies with region to region throughout india. But everything just for eternal bliss.

In a musical way,

This day is something similar to the famous "Bhagula Panchami". As bhagula panchami exemplifies Thyagaiya. Naraka chathurdasi  is the day to remember, respect the legendary srividhya upasaka and the all time great composer Muthuswamy Dikshitar. The way he left his mortal coils is beyond explanation. On Naraka chathurdasi 1835, he performed his nithya karmas and asked his disciples to sing the krithi  mInAkSi mE mudam dEhi in Purvi Kalyani/Gamakakriya. As his disciples sang the line mInalOcani pAshamOcani, he raised his hands and saying "Sive Pahi" and left this materialistic world.
Yet another blissful way to remember this day.

In common man way...

As festival mood sets in, every one in the society contributes to a  festival certainly.

The bread winner of the family toils for days together and save to make his family happy on this occasion. The home maker starts planning well ahead, refers N number of recipes, what sweets to prepare for this day.

For children, the dream is all about crackers, toy gun and the cape roll, new dress and ask some one, five years back (even now) Padayapaa the special movie. The following reopen after deepavali vacation is still remarkable. Two days, colour dress. If its wednesday white and white is exempted. That is an immense relief for all home makers.

As your age and stay away from home, preparations for home coming is difficult yet pleasurable task. As the calender for the year is released, count the number of holidays, set reminders 2 months ahead of festivals to book tickets on IRCTC. Watching first day first show, the deepavali release movie is what happiness all about.

The sellers of dresses, crackers, vegetable vendors, fruit sellers, the drivers who sacrifice their deepavali to help their passengers celebrate deepavali with one's own family. The scavengers who have no other option rather participating in the clean india campaign after deepavali.

Tout le monde!

Some where down the lane there will be someone longing for new dress and crackers, someone who cannot afford even the basic needs. However, Sharing brings smile all over and happiness increases many folds.

Happy deepavali! 

guru guha vaibhavam - Structure of kritis

Music:

The most fascinating aspect of Dikshitar's songs is the grandeur and majesty of his music, sublime lyrics, intellectual brilliance and the overall technical sophistication. They exude a tranquil joy. His vision of the ragas and their structure is inspiring.

Dikshitar was blessed with the heart of a poet and the composure of a yogi. He was an intense devotee but undemonstrative. There is therefore certain composure, measured grace, dignity and a mellow joy glowing through his music as in his life. 

The Druphad way of elaboration captured his imagination. The tempo of his songs is mostly the Vilambakala- slow, measured and majestic; rich in gamaka just as the meends on a Veena. Dikshitar aptly called himself “Vainika gayaka guruguhanuta”.

Dikshitar’s treatment of the ragaexemplifies the essence of raga bhaava and brings out its delicate shades. It is as if the musician is immersed in contemplative meditation. The graces, the rich gamaka prayogas of his compositions structured in slow tempo shine in mellow glow when played on the Veena. This is amply reflected in his works ; for instance in Cheta Sri (Dvijawanthi), Balagopala (Bhairavi), Sri Rajagopala (Saveri), Meenakshi Me Mudam (Poorvikalyani) and in Sri Subramanyaya Namasthe (Kambhoji).The other compositions of this genre are Dakshinamuthe(shankrabharanam),Manasaguruguha(anandabhiravi),EhiAnnapaurne(punnagavarali), Amba Neelayatakshi (nilambari) and each of the nava_varana kritis. These are monumental works.

It is not all slow and spacious. He built into his compositions exhilarating bursts of speed and sparkling delight as if in celebration of the divine spirit, towards the end. Certain kritis are interlaced with Madhyamakala Sahitya, passages in tempo faster than the rest of the kriti (E.g. Mahaganapatim in Nata).

Dikshitar redefined the treatment of even the traditional Carnatic ragas by way of elaborate beginning, rich in gamakas resembling the sliding meends as, for instance, in the slow paced majesty of Akshyalinga Vibho (Shankarabharanam) or in Balagopala (Bhiravi), portraying the beauty of thedivine child, Krishna. His Nirajakshi Kamakshi inHindolamwith dha flat entirely changed the way Hindolam came to be sung by his contemporaries and by the later Carnatic musicians.

Dikshitar was well versed in the alapana paddhati and followed it in the elaboration of the kriti. The musicologists have said “The most outstanding aspect of the compositions of Dikshitar is their richness in raga bhava”. His sense of selection of the apt sancharas of the raga to bring out the true emotion is remarkable. They range from the mandra to the tara sthayi and give a complete picture of the raga.  It is said that if you sing his kriti in akara, it can bring out the character of the raga. His kriti are virtually, raga alapana, chiseled to fit in with tala and dressed in sahitya.

 

Ranganayakam by Shri S Rajam 

Structure of kritis

His kritis are well structured, close knit and written in graceful Sanskrit. Dikshitar’s kritis do not have more than one Charanam; and as many as 157 of his creations are Samasti-charanams carrying no Anupallavi or the Anupallavi acting as Charanam. His rhythm is subtle and lyrics are divine. 

Each of his compositions is unique, brilliantly crafted and well chiseled work of intricate art. It is incredible how delicately he builds into his tight-knit kritis a wealth of information about the temple, its deity, its architecture and its rituals; and about jyothisha, tantra, mantra, Sri Vidya, Vedanta etc. He also skillfully builds into the lyrics, the name of the raga (raga mudra) and his Mudra, signature.

P.S.padithadhil pidithadhu 

courtesy: http://creative.sulekha.com/sri-muthuswami-dikshitar-and-sri-vidya-4-of-7_333001_blog

guru guha vaibhavam - Raga and Tala

Dikshitar followed the mela paddhati (a system of classifying ragas) devised by Venkatamakhi, to whose school he belonged. In handling the vivadi melas, Dikshitar followed Venkatamakhi and avoided unharmonious expressions, prayogas.Further, since Kharaharapriya was not a part of venkatamakhi’s scheme, there is no known composition of Dikshitar in that raga. The twenty-second melakarta was Sri Raga; the mangal kriti of Navavarana series is composed in Sri Raga. Again, Venkatamakhi tradition treated Bhairavi and Anandha Bhairavi as upanga ragas; so did Dikshitar.

 Some scholars opine that Dikshitar’smajor service to Carnatic music is that he gave expression to nearly 200 ragas of Venkatamakhi. He also breathed life into a number of ancient ragas that were fading away. Several ancient ragas found a new lease of life though Dikshitar’s kritis. To name a few of them:Mangalakaisiki, Ghanta, Gopikavasanta, Narayana Gaula,Sulini, Samantha, maargadhesi and mohana naatta. Even today their lakshanas are illustrated mainly through Dikshitar’s creations.

 

There are many ragas which are employed only by Dikshitar; for instance; Saranganata, Chhaya Goula, Poorvi, Padi, Mahuri, Suddhavasanta, Kumudakriya, and Amritavarshini. In Dwijavanti, Chetasri and Akhilandeshwari stand out in solitary splendor.

He transformed many Outhareya, the Hindustani ragas into Carnatic form through his creative genius.His interpretation and rendering of ragas like Dwijavathi, Ramkali, and Yamakalyani, Hamirkalyani, and Brindavan sarang are highly original and creative. He made them into his own. His Cheta sri is so wonderfully well adapted to Carnatic raga_bhava that one scarcely notices the Outhereya traces in its character. He took in the best aspects of the other system, transformed them and enriched both the systems. 

 

Shankarabharanam scale appears to have been his forte; there are as many as 96 kritis based on that scale. The kritis in Harikambhoji scale number about 63; while 57 kritis are in Kharaharapriya scale. He had a special affinity for Mayamalava_gaula in which he composed about 51 songs. The derivatives of that scale such as Saalanga Nata, Paadi and Mangala Kaishiki would have been lost but for Dikshitar.

 

Taala:

Dikshitar was accomplished in the matter of talas, the rhythmic patterns. He is the only composer to have set his music in all the seven basic taalas. He employed all the Saptha Talas in his Vara-Stutis i.e. a song for each day of the week.  He is said to have used ten improvised varieties of taalas in his compositions. The majority of his compositions are set in Adi (190) and Rupaka (139) taalas. 

 

 

P.S. Padithadhil pidithadhu

courtesy: http://creative.sulekha.com/sri-muthuswami-dikshitar-and-sri-vidya-4-of-7_333001_blog

guru guha vaibhavam - compositions

***

Muthuswami Dikshitar was prolific; about 479 of his compositions have now been identified, spread over 193 ragas. These include four Ragamalikas and about forty Nottuswara sahithya verses.

 

The great Venkatamaki who formulated the 72 Mela_kartha ragas is reported to have wondered ”of the 72 Melas only a few are known and found in practice... and will the permutation be a waste.?‘(Dr.V Raghavan: paper presented at All India Oriental conference, at Hyderabad, 1941). It was the genius of Muthuswami Dikshitar that gave form and substance to all the 72 Mela_kartha ragas, fulfilling the dream of Venkatamakhi.He gave expression to nearly 200 ragas of that system.

Muthuswami Dikshitar was a pilgrim virtually all his life. He visited a large number of shrines and sang about them and the deities enshrined there. He was intensely devotional yet not overly affiliated to a particular deity. He composed soulful songs in praise of a number of gods and goddesses. About 74 of such temples are featured in his kritis; and there are references to about 150 gods and goddesses. The most number of his kritis (176) were in praise of Devi the mother principle, followed by (131) kritis on Shiva. Dikshitar was the only major composer who sang in praise of Chaturmukha Brahma.

 

Some scholars have said that Dikshitar's songs are summaries of Durga Suktam, Sri Suktam and Purusha Suktam.   He built in the mantras in a few krithis like Sri Raaja raajeshwari (madyamavathi), pavanatmaja aagaccha (naatta). For the benefit of those who couldn't practice rituals he composed vaara krithis on navagrahas .Similarly, he opened the doors to the secret world of Sri Vidya, for the benefit of all, through his Kamalamba navavarana kritis.

 

Dikshitar had a fascination for composing sets of kritis on a composite theme, perhaps in an attempt to explore the various dimensions of the subject. In some of these, he employed all the eight Vibhaktis, the various cases that delineate a noun.No other composer has attempted so many group kritis in such a planned, orderly, meticulous fashion. The following are some Important Krithi Groups

• Guruguha Vibhakti krithis
• Kamalamba Nava Varnams
• Navagraha Krithis
• Nilotpalamba vibhakti Krithis
• PanchalingaKshetra kritis
• Rama vibhakti Krithis
• Tiruvarur Pancalinga kritis
• Thyagaraja vibhakti Krithis
• Abhayamba vibhakti Krithis
• Madhuramba vibhakti Krithis

The selection of raga and tala; and the diction of these kritis demonstrate his musical skills and intellectual refinement.

 

 

It is rather difficult to arrange Dikshitar’s compositions in a chronological order. His Nottuswara Shitya verses were, of course, composed in his early years while his family lived at Manali a small town near Madras. His first composition as Vak_geya Kara was Srinathandi in Mayamalava gaula at the hill shrine of Tiruttani; and his last composition was Ehi Annapurne in Punnagavarali, while he was at Ettayapuram during his last years. It is believed that the set of Vibhakti kritis followed his first composition. Thereafter he travelled to Kanchipuram, Mayuram, Chidambaram, Vaidyanatha koil and Kumbhakonam. He often visited Tiruchirapalli (where it is said his daughter lived).He spent his productive years at Tiruvavur and his final years in Ettayapuram. In between, he is believed to have visited about 70 temples and sung the glory of those deities. It is however not possible to arrange those kritis in a sequence. 

P.S.Padithadhil pidithadhu

courtesy:http://creative.sulekha.com/sri-muthuswami-dikshitar-and-sri-vidya-4-of-7_333001_blog

guru guha vaibhavam - The Music

Sri Muthuswami Dikshitar was a versatile intellect. He was open to a variety of influences. His works reflect some of those influences rather explicitly while some others shine through in a subtle way. Before we get into a discussion about Dikshitar’s creations, we need to recognize a few features that influenced him.

*.Muthuswami Dikshitar was a vainikagayaka, a musician who sang as he played on the Veena. He was well trained both in vocal and instrumental music. Naturally, the graces, the rich gamaka prayogas of his compositions structured in slow tempo shine in mellow glow when played on the Veena.

*.In his childhood he received training in the lakshya and lakshana aspects of Carnatic music. The lakshana gitams and prabandhas of Venkatamakhi formed an important input of his training. Later, as a composer, he chose to follow Venkatamukhi’s system of Mela _classification of ragas.

*.He spent seven years at Varanasi, in the prime of his youth. He was captivated by the grandeur, the spaciousness and the purity of the ancient Druphad School. He learnt Dhrupad diligently; and that left a lasting impression on his works.

*.Earlier in his teenage he gained familiarity with Western music; and traces of its influence can be noticed in the movement of his songs.

*.He had a good command over Sanskrit; and learnt to use it to express his ideals and aspirations in pristine poetry. He had a fascination for sabdalankara, beautifully turned phrases and wordplay. He had the composure of a yogi and the heart of a poet. Dikshitar's kritis are therefore adorned with poetic imagery, tranquil grace, a certain majesty steeped in devotion.

*.Dikshitar had acquired a fair knowledge of Jyothisa, Ayurveda, and iconography and of temple architecture.

*.He was unattached to possessions or to a place (jangama). He was a virtual pilgrim all his life. He visited a large number of shrines and sang about them and the deities enshrined there.

 *He was intensely devotional yet not overly affiliated a particular deity. He composed soulful songs in praise of a number of gods and goddesses.

*He had a fascination for composing a set of kritis exploring the various dimensions of on a particular, as if he had undertaken a project.

*He was an Advaitin well grounded in Vedanta.

And above all,

*Dikshitar was an ardent Sri Vidya Upasaka; a Sadhaka, an intense devotee of Devi, the divine mother .He was a master of Tantra and of Yantra puja. The Tantra ideology permeates all through his compositions.

It is the harmonious confluence of these influences that one finds in Dikshitar’s music. 

P.S.Padithadhil pidithadhu 

courtesy: http://creative.sulekha.com/sri-muthuswami-dikshitar-and-sri-vidya-4-of-7_333001_blog

guru guha vaibhavam - a life sketch

Sri Muthuswami Dikshitar- a life sketch

Sri Muthuswami Dikshitar (1775 – 1835), one of the trinity of Carnatic Music, was a complete musician, a scholar and a sadhaka the one who attained his goal. The genius of Sri Muthuswami Dikshitar was that he was a remarkable synthesis of a versatile composer adept in several distinctive forms of music; of a towering scholar in Sanskrit which adorned his music with grace, dignity and tranquility; and of a Sadhaka steeped in devotion and good tradition. Each of his compositions is unique, brilliantly crafted and well chiseled work of intricate art. The most fascinating aspect of Dikshitar's songs is the grandeur and majesty of his music; the intellectually sublime lyrics and the overall tranquil joy.

There is hardly a composer comparable to Dikshitar, in versatility, in enriching his work with such poetic imagery, technical sophistication; and above all in permeating his compositions with soulful repose.

Ramaswami Dikshitar (1735 – 1812) was a well known scholar musician of his time. He had to his credita large number of tana varnas, pada varnas, darus, ragamalikas and kirtanas.  His ragamalika in 108 ragas and taalas (Ashtottara Shatha Raga Taala Malika) was an outstanding composition not merely for its sheer size but also for its melodic charm and rhythmic patterns; and for use of some uncommon ragas and taalas. Ramaswami Dikshitar also gained fame through his improvisations of the popular melody, the Raga Hamsadwani.

 He had, at the instruction of his guru Yogi Chidambaranatha, shifted his family from Govindapuram (near Kanchipuram) to Thiruvavur in the Tanjavur district. It was at Thiruvavur that Ramaswami Dikshitar, just past forty years of age; was blessed with a son in the manmatha year, palguna month and Krithika star (March 25th, 1775), just as the annual Vasantotsava was being celebrated in the temple of Sri Tyagaraja Swamy and Sri Nilothpalambika. He named the baby boy as Muthuswami after his protecting deity Karthikeya.After Muthuswamy, two sons - Chinnaswamy (1778‑1823), and Baluswamy (1786‑1858) - and a daughter - Balambika - were born to Ramaswamy Dikshitar and Subbammal.

Apart from the traditional education the boy Muthuswami received training in the lakshya and lakshana aspects of Carnatic music. The lakshana geethas and prabandhas of Venkatamakhi formed an important input of his training. He gained proficiency in veena and in vocal music as well.

Muthuswami was a studious lad rather absorbed in himself .Concerned with his detached attitude; his parents got him married at an early age. That didn’t seem to change the boy’s attitude; and therefore he was married the second time.

When Muthuswami was about 25 years of age, he accompanied his family guru Yogi Chidambaranatha to Varanasi in obedience to the guru’s wish.  Muthuswami’s wives too followed their husband. Muthuswami spent seven fruitful years in Kashi. Those were his most wonderful and educative years and left a lasting influence on his life and works. A whole new world opened to Muthuswami at Kashi. During this period, Dikshitar acquired a wealth of knowledge under yogi’s tutelage. The yogi taught him Advaita siddhantha, Tantra and initiated him into Sri Vidya upasana. During these years, Dikshitar visited several holy places in the Himalayan region such as Badrinath, Kedarnath and Pashupathinath; and worshipped the deities in those shrines.

During his stay at Varanasi, Muthuswamy Dikshitar had splendid opportunities to listen to Hindustani music in its pristine forms. He seemed to be impressed greatly by the ancient Drupad form of singing and of playing the string instruments; particularly by its elaboration of raga (alap), the tempo and the structure of the lyrics. This had a profound influence on his creative genius; and apparently on his portrayal of ragas in general and in transforming the Hindustani ragas into their Carnatic form, in particular.

At the end of the seven years, Yogi Chidambaranatha advised Muthuswami to return to South and to commence his music and spiritual career with the worship of Karthikeya on the hills of Tiruthani. Soon after that, the Yogi attained his Samadhi. Dikshitar performed the final rites of his departed guru and left Varanasi. It is said, Yogi Chidambaranatha’s Samadhi is located near Hanuman Ghat on the banks of the Ganga.

 

 The family at Manali, in the meanwhile, had fallen on bad days. The life there was becoming increasingly difficult and Ramaswami Dikshitar too was in poor health. The family therefore decided to return to Thiruvarur. After making arrangements for the family’s return to Thiruvarur, Muthuswami headed straight to Tiruthani as ordained by his Guru.

It is said, immediately after being blessed by the Lord there Dikshitar started composing kritis. The first kriti he composed was Srinathadi Guruguho jayathi in raga Mayamalava gaula. His first group of kritis called guruguha vibhakti krithis were also composed in Tiruthani. It was here that Dikshitar became a proper Vak-geya Kara, the composer who sets his lyrics tomusic. The mudra, his signature to his creations was Guruguha, which approximates to” the Guru dwelling in the cave of my heart”. Dikshitar was then around 33 years of age.

On his way back home to Thiruvarur, Dikshitar stayed for sometime with a Yogi , Ramachandra Saraswathi, popularly known as Upanishad Brahmendra who lived and taught in Kancipuram. [Incidentally, he was also the guru of Tyagaraja the great composer musician.]During his stay in Kanchipuram Dikshitar set to music “Rama Ashtapadhi” a collection of stanzas composed by Upanishad Brahmendra. Dikshitar returned to Thiruvarur in the year 1809.

The years at Thiruvarur were very productive.Here Dikshitar composed sixteen kritis on the various attributes of Ganesha, eleven kritis of Navavarana group on Kamalamba and a set of kritis on Thygaraja and Nilothpalambika the presiding deities of the town. The Nilothpalambika set of krithis enlivened ragas like Narayanagowla that were fading away.

Three years after Muthuswami returned to Thiruvarur (1812), his father Ramaswami Dikshitar passed away on a Shivarathri day. Further, it was becoming increasingly difficult to carry on life at Thiruvarur. The Dikshitar brothers therefore decided to move to Tanjavur in search of a living. Tanjavur, in those days, was relatively peaceful, secure and a center for culture and learning; while most of the Southern regions was under the threat of the Sultan.

At Tanjavur the Dikshitar brothers gained a number of disciples who learnt and propagated the compositions of Muthuswami Dikshitar. Among them Ponnaiah, Chinnaiah, Vadivelu and Shivanandam were prominent. They came to be known as the Tanjavur Quartette. Of these Chinnaiah and Shivanandam were Bharatha_natyam masters and composers of some popular Tana Varnams, Pada Varnams, and Thillanas etc. Ponnaiah was a composer of great merit. Several of his kritis including 'Ambaneelambari' (Neelambari), 'Satileni' (Poorvikalyani) and Tillanas are popular among musicians even to this day. Vadivelu was a virtual genius. He popularized violin among the Carnatic musicians. He was a favorite of Swathi Thirunal Maharaja who appointed him his Court Musician. The great Tyagaraja too admired Vadivelu’s musical skills.

 It is said that Dikshitar brothers met Shyama Sastry, another of the trinity, and the four together composed a varnam (I am not clear which one it was.)Dikshitar during this period composed a number of Samasti Charana Kirtanas. [A kriti generally follows a certain structure: Pallavi the opening passage of two lines is followed by Anupallavi. Raga is introduced with the cyclical rendition and improvisation of Pallavi and Anupallavi. The body of the kriti is its Charanas. Each Charana usually has four lines. The final Charana contains the Mudra or the signature of the composer. However, certain kritis of Dikshitar have only two segments Pallavi and Anupallavi where the latter acts as the Charana. Such kritis are called Samasti Charana Kritis. They perhaps represent a stage in the evolution of the kriti format. E.g.Anandamritakarshini (Amritavarshini); Hari Yuavatheem Haimavathim(Hemavathi) etc.]

Dikshitar brothers stayed in Tanjavur for about three years (about 1817 -1820).Thereafter, the brothers Chinnaswami and Baluswami joined the court of   Venkateshwara Eddappa I [1761 - 1839] the Rajah of Ettayapuram (Tirunelveli district) , at the request of the king.

Soon after that, Muthuswami Dikshitar too left Tanjavur; and he went on a virtual pilgrimage visiting a number of temples and composing kritis in honor of the deities he visited. In a way of speaking, his life was a long pilgrimage.

Years later, Muthuswami Dikshitar also settled down in Ettayapuram at the request of the king. A few years later Dikshitar’s both wives passed away. Some sources mention that Dikshitar had a daughter and she lived in Tiruchirapalli; but not much is known about her.

Dikshitar comes through as a very astute scholar devotee, a sadhaka. He was a viraktha, unattached to possessions, to places or to emotions. He was voluntarily poor and accepted his poverty with equanimity. He did not seek favor or patronage from anyone. He was an intense devotee but undemonstrative; you never find despondency, helplessness or begging for divine grace or intervention. There is certain composure, measured grace, dignity and a mellow joy in his works as in his life. He was solely devoted to Sri Vidya Upasana and to his music which was his medium of self-expression. His works exude serene contemplation and soulful joy.

It was on Naraka Chaturdasi the fourteenth day of the lunar calendar in the month of Ashwija, the day preceding Deepavali (October 18th, 1835), Muthuswami Dikshitar performed Parva Mandala puja to Devi and sang Ehi Annapurne (punnagavarali).Thereafter he asked his disciples to sing Meenakshi mey mudam dehi (purvi Kalyani) .When they sang the Anupallavi he asked them to repeat the phrases Meena lochani pasha mochini. As they were singing, Muthuswami Dikshitar uttered “Shive pahi, Shive pahi Shive pahi” and breathed his last , like a true yogi.

Muthuswami Dikshitar had been yearning for Videha Mukthi. He beseeches the Divine Mother repeatedly and addresses her as one who grants Videha mukthi (Mamaka videha mukthi sadanam- Ranganayakam-Nayaki); the bestower of videha mukthi (vikalebara kaivalya danaya-Guruguhaya-Sama); and at times he feels he is nearing videha mukthi (Videha kaivalyam yami-Tyagaraje-Saranga).Videha mukthi is a concept of the later Advaita schools. It believes, one can attain liberation (moksha) from attachments while still encased in a body. Such an attained one is Jivan Muktha. The body continues to function till its Prarabdha Karma is exhausted; thereafter the mortal coils fall away. Videha mukthi is shedding off the body by a Jivan muktha, the one who has already attained liberation.

In the Sri Vidya  tradition, a jivan muktha is a devotee, a bhaktha as well as a jnani the wise one. Here, the wisdom consists in realizing his identity (sva svarupa prapti) with the Mother goddess. It is this wisdom that liberates him (jivan Mukthi). This liberating wisdom is granted to him by the Mother out of pure love, when he completely surrenders to her in full faith and devotion. 

Jivanmukthi, emancipation while yet alive, is also a concept of the Tantra Sisddantha which believes that it is possible for a person to transact with the world without getting involved in it. In other words, one lives on actively and cheerfully, amidst distractions and confusions of the world without letting his self reflect them. His moorings in the phenomenal world have withered away, his instinct of self-preservation and insecurity has been minimized. He is alive only to essential thing in life that is the source of life. The real world continues to exist for him. But he does not rest in the world but rests in himself (Svarupa pratishta). Sri Muthuswami Dikshitar, either way, was a jivan Muktha.

The king and Baluswami Dikshitar performed the last rites of the departed genius. The Samadhi of Muthuswami Dikshitar is at Ettayapuram but appears to be in rather poor condition. In a petition submitted to Shri. Abdul Kalam then president of India, the petitioners submitted “It is the fervent desire of all music lovers as well as all lovers of Indian culture across the world that this Samadhi be declared as a heritage site and treated as a National Monument, ideally with a beautiful museum. We are extremely concerned that there has been a move made to demolish this important cultural and artistic memorial.”

Muthuswami Dikshitar was a many splendored genius. He redefined the paradigm of Carnatic music. Each of his compositions exemplifies the essence of raga bhava and captures the depth and soulfulness of the melody. His vision of some of the ragas and their structure is sublime. He achieved what the revered Venkatamakhi, at onetime, thought was not possible; he gave form and substance to all the 72 Melakartha ragas. Besides, he breathed life into several ancient ragas that were fading away from memory. His compositions are crisp and well chiseled. His Sanskrit is delightfully captivating. His synthesis of Carnatic and Hindustani Music systems is creative and original. His kritis replete with soothing, graceful Sanskrit lyrics, many with winsome Samashti Charanams, comparable to the Dhrupad stanzas occupy an exclusive niche in the world of Indian Music. The technical sophistication, intellectual brilliance and the majesty of his music is unsurpassed. Sri Muthuswami Dikshitar is a crest jewel of Indian music and spirituality.

P.S. Padithadhil pidithadhu 
courtesy: http://creative.sulekha.com/sri-muthuswami-dikshitar-and-sri-vidya-1-of-7_332989_blog

          

Shri nathadi guruguho...

Sri Muthuswamy Dikshitar's Guruguha Vibhakti Krithis

The period from 1750 to 1850 A.D was the golden era in the development of South Indian Carnatic Music.  It was during this period the Sangeetha Trimurtis, Syama Sastri, Thyagaraja and Muthuswamy Dikshitar who were contemporaries, lived and composed their immortal krithis.

Sri Dikshitar composed his first set of 8 compositions after receiving the grace of Sri Subramanya.  These compositions are named Sri Guruguha Vibhakti Krithis

Early Life of Sri Muthuswamy Dikshitar, and his initiation into Sri Vidya Upasana & Blessing by Lord Subramanya at Tiruttani:  This marked the Beginning of his life as Composer, and Devotional singing of his first set of compositions.

Special Features of his first composition “Sri Nathadi Guruguho” and use of Mudra – Guruguha to express his sincere devotion to his “Ista Daivam and Adi Guru, Guha or Sri Subramanya”

Explanation of Vibhakti Structure used in Guruguha Vibhakti Krithis 

 

In Sanskrit language, the relationship between noun and verb is indicated by a case-ending added to the noun.  This is called Vibhakti.

Equivalents in English are:

Prathama: (Nominative Address - Oh Guru) Guruguho Jayati

Dwithiya: (Accusative – The Guru) Guruguha Rupam

Trithiya: (Instrumental – By Guru) Sri Guruna Palitosmi

Chaturthi: (Dative - To / For Guru) Guruguhaya - Namaste

Panchami: (Ablative - None Other Than Guru) Guruguhäd - Anyam

Sashti: (ive – Belonging to Guru) – Sri Guruguhasya Dasoham

Sapthami – (Locative – On Guru) – Guruguha Swamini

Sambhodana – Address – Sri Guruguha Murte

Another Krithi in Sambhodana Vibhakthi is Sri Guruguha Tarayasumaam.

Vibhakti is very extensively used in Sanskrit.

In this presentation, name Sri Guruguha is the Noun, and Verb is Sri Dikshitar’s feelings and actions associated with worship of his Guru.

Sri Dikshitar also composed other Samudaya or group krithis using the Vibhakti structure.

In Guruguha Vibhakti krithis, Sri Dikshitar expresses his feelings as a sincere Devotee to his Guru Lord Guruguha.  He refers to Sri Guruguha in the First Krithi Sri Natadi Guruguho as “Cidanandanatha” and Pranava Swarupa.

List of Krithis: Sri Guruguha Vibhakti kritis are as follows.

• Sri Nathadi Guruguho (Mayamalava Gowlai, Adi) in prathama vibhakti. This is also Dhyana Krithi
• Manasa Guruguha (Anandabhairavi, Rupakam) in dvitiya vibhakti.
• Sri Guruna Palitosmi (Paadi, Roopakam) in tritiya vibhakti.
• Guruguhaya (Sama, Adi) cathurthi vibhakti.
• Guruguha Dhanyam (Balahamsa, Jhampa) panchami vibhakti.
• Guruguhasya Dasoham (Purvi, Misra Chapu) sashti vibhakti.
• Guruguha Svamini (Bhanumati, Khanda Triputa) saptami vibhakti.
• Sri Guruguha Murte (Udayaravichandrika, Rupakam) sambodhana vibhakti.
• Sri Guruguha Tarayasumam – (Shudda Saveri – Rupakam)Another Krithi in Sambodhana Vibhakti  

 

SPECIAL ASPECTS OF KRITHIS

Sri Guruguha Vibhakthi are the first set of Krithis composed by Sri Dikshitar., but since is composed with Divine Grace and Vision of Sri Guruguha Himself, the compositions are exceptional in terms of:

Ø      Depth of Knowledge regarding various subjects: Sri Vidya, Vedanta, Ashtanga Yoga, Astrology and Music.

Ø      Exceptional usage of Ragas based on Asampurna Mela Padadi, very intricate use of the Guruguha and Raga Mudra.  Use of Rare ragas

Ø      Each composition – Glorifies the Guru, starting with Guru Sri Subramanya.  Dikshitar selected the mudra “Guruguha” to honor his Divine Guru.

Ø      Compositions exalt the importance of a Guru and Lineage of Gurus: as pertaining to the Natha tradition (This is explained in each related section).

Ø      Use of Vibhakti Structure shows the relationship between the Guru (Sri Subramanya) and Devotee (Sri Dikshitar).  Use of Vibhakti structure also indicates the Spiritual Progression of the Devotee, in the Process of Self Realization. 

Ragam: Mayamalavagaula / Talam: Adi

P: sri nathadi guruguho jayati jayati shri /cidananda nathoham ti santatam hrdini bhaja

 

sri nathadi guruguho jayati jayati - Victory to Lord Guruguha, who is adored by all Gods, including Vishnu. 

 

cidananda nathohamiti santatam hrdini bhaja: Oh Mind, constantly contemplate on the fact that you are the Cidanandanatha.

A: nanaprapahnca vicitrakaro namarupa panca bhutakaro agnyana dvanta prachanda bhaskaro gnyana pradayako maheshvaro dinavano dyukta divyataro divyaughadi sakala deha dharo manasanandakara caturataro mad guruvaro mangalam karotu

He is the originator of the diversified world. He manifests as five elements, the named and formed ones. He is the mighty sun, destroying the darkness of ignorance. He bestows of spiritual knowledge, and is the Maheshvara. He is the divine Kalpaka Vriksha for the afflicted ones, he who is adept at granting happiness to the heart of His devotees. May my Guru bless me.

C: mayamaya vishvadhisthano matmaka kadi matanusthano malini mandalanta vidhano mantradyajapa hamsa dhyano mayakarya kalana hino mamaka sahasra kamalasino madhurya ganamrta pano madhavadyabhaya varapradano mayashabalita brahma rupo marakoti sundara svarupo matimatam hrdaya gopuradipo mattashuradi jayapratapo mayamalavagauladi desha mahipati pujita pada pradesha madhavadyamara brnda prakasha maheshasya maharthopadesha

He is the substratum of this illusory world. He is invoked through the mantra beginning with Ka and ending with Ma. He resides in the center of the Malini Chakra.  He is an expert at obliterating Maya (the illusion) of worldly existence.  He resides in the thousand-petal Lotus of the Sahasrara Chakra with his Divine presence. He who enjoys the nectar of mellifluous music, he provides shelter and boons to Madhava and others. He is one who’s Divine form “Brahmasvarupa” is veiled by Maya, he whose beauty exceeds that of crores of Cupids.  He shines as the light in heart of devotees. He is the one who vanquished the proud Shurapadman and Asuras.  He who shines surrounded by Vishnu and other Gods.  Sri Guruguha is the one who gave “Pranava Upadesham” to His father Mahesha. 

Special Features of his first composition “Sri Natadi Guruguho”

In a deep Meditative state Sri Dikshitar sang his first composition in Sri Subramanya Temple at Thiruthani.  Sri Nathadi Guruguho Jayati Jayati”  Krithi is composed in Mayamalava Gowlai, the first ragam in which the Abhyasa Ganam is taught.  The Prathamabyasa is indicated in the first line of the composition.  Aarohanam and Avarohanam of Mayamalva Gowlai is sung in all 3 speeds, within the one Sangathi.

        1^st kalam            2^nd Kalam               3^rd Kalam

S,,, ,,   R,,, G,,, M, /  P, D,   N,  S    / ,,  ND  P   MG R   S

Sri      Na   tha di  /  Guru  Gu ho / ,,  Jayati   Jayati   Sri

First sangathi begins with plain notes and Gamakam is added in additional Sangathis.

Sri Nathadi Guruguho was followed by second krithi Manasa Guruguha.

This marked the beginning of his life as a Great Trinity Composer of Carnatic Music.  He composed all his Krithis with Lakshya, Lakshana, Sangeeta, Sahitya and great devotion.  In honor of his Adi Guru, Sri Subramanya, Sri Dikshitar chose the Divine name of the Lord

“Guruguha” as Mudra in all his compositions. Thus the first set of Krithis is called Guruguha Vibhakti Krithis. 

In Prathama Vibhakti – Sri Dikshitar contemplates on Sri Guruguha and makes a direct appeal for his Grace and to grant him, his Divine Presence, and protect him.  The Krithi is a description of Guruguha’s Divine attributes with adjectives, and his devotion to the lord. Sri Dikshitar states to himself “May my Guru Bless me”.

·         mayamaya vishvadhisthano

·         mamaka sahasra kamalasino

·         madhavadyamara brnda prakasha maheshasya maharthopadesha

Sri Guruguha is the Source and Substratum of the illusionary world.  He is also one who removes the Veil of Maya by divine grace.  He dwells in my heart, giving happiness. Having given Pranava Upadesham to Shiva, Sri Guruguha is Embodiment of Pranava and the ultimate goal to be attained in life.

  

http://www.youtube.com/watch?v=WO9nMYRCDvk 

P.S. Divine! Bliss! Worth a share. 

Courtesy:

Geethamrutha Music School

Sri Dikshitar’s Guruguha Vibhakti Krithis & Sri Syama Sastri Life & Compositions