Srivaishnavam
|| sadagopan.org ||
Sangitham & Bhakthi
|| Sri Ramaashtakam by Mutthuswamy Dikshithar ||
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Sri Venkatesa Sthotram celebrates the Archaa murhti of the sacred seven hills
as Daasarathi through this following verse:
ABHIRAAMA GUNAAKARA DAASARATHEH JAGDEKHA DHANURDHARA DHEERAMATEH I RAGHUNAYAKA
RAAMA RAMESA VIBHO VARADHO BHAVA DEVA DHAYAAJALADEH II
Sri Venkataraman , the precious son of emperor Dasarathaa, the unmatched bowman
wielding Kodhandam, the scion of the vamsam of Raghu, the Lord of the Universe
, the ocean of mercy , the boon giver , the one who never changes His mind once
he has offered refuge under His lotus feet , the consort of Maha Lakshmi is
hailed here. With the choice of the words, " Abhiraama GuNaakara " He is
recognized as the home of samastha KalyANa guNAs. These GuNAs are not only
auspicious as described in Sri RamaanujA's Gadhyam passage, but hey are also of
great comfort to the Prapannas. They are thus of a desired quality
(Abhiraamam). They are of a hope giving nature and hence desired by all of
those , who climb those sacred hills from wherever they are. This slokam
reminds Him of His promise " Dhadhaam Yethath Vratham Mama " and appeals to Him
to fulfill that commitment.
Sri Venkataachalapathy and service to Him as envisaged by the Acharya of
Ahobila Mutt in the context of his 71st birthday is some thing we come across
once in our life time. When some one sits under the shade of the Lord 's
comforting presence at Thiruppathi and enjoys the sweet experience of the
meditation of Him and his Abhiraama GuNaas , we are also part of that PuNyam ,
if our contributions to that Kaimkaryam gets mixed with that pilgrimage to
those holy hills. Hence, I encourage you to contribute whatever you can to this
timely effort. The Kaimkaryam is not confied to one Acharya or a tradition. It
is universal in scope. When I met this Acharya in August at Kanchi, he made an
observation that stuck in my mind. He said: " Satakopan, when people contribute
to the different Kaimkaryams , what do I do with the money that they entrust me
? I am not making a diamond ring for myself. It is still the same KaashAyam
(ochre robes) for me.".
When the 44th Jeeyar of Ahobila Mutt completed His Kaimkaryam of building the
southern Gopuram of Sri Ranganatha, the contributors were from every faith and
tradition including ILaya RaajA, Kanchi Sankara Mata peetathipathi, the two
Andavans et al. Hence, I will encourage you to make a symbolic contribution to
this lodge building effort at Thirumalai and when you visit Thiruppathi stay at
this new building under the shade of the Sumukhan of the seven hills.
In the spirit of salutation to the lotus feet of the Raghuveeran covered with
fresh flowers of undiminsihing fragrance due to their association with the
Lord's CharaNaaravindham, I will summarize the Krithis of Dikshithar on Sri
Ramachandra. Although Dikshithar was "outdone" by Thyagaraja swamigaL in the
krithis dedicated to Sri Ramachandra, there are some jewels in the repertoire
of Dikshithar regarding his salutations to Sri Venkataraman. They are set in
the eight vibakthis of Sanskrit grammar. There are a few more also and the Rama
Bhakthi of Dikshitar reaches its peak with the MaNirangu Krithi dedicated to
sri Pattabhi Raman.
The Krithis of Dikshithar on Lord Ramachandra , the Raghuveeran are:
1. RAMA RAMAKALI KALUSHAVIRAAMA --RAGAM: RAMA KALI 2. KSHITHIJAA RAMANM
CHINTAYEH--DEVAGHAANDHAARI 3. SRI RAMACHANDROH RAKSHATHU--SRI RANJANI 4. SRI
RAMAM RAVIKULAABDHI SOMAM--NARAYANA GOWLAI 5. RAMACHANDRENA SAMRAKSHITHOHAM
--MAANJI 6. RAMACHANDRAQAYA NAMASTEH RAAJIVA LOCHANAAYA--THODI 7.
RAMACHANDRAADHANYAM NA JAANEHAM--DHANYAASI 8. RAMACHANDRASYA DAASOHAM
--DHARMAVATHI 9. RAMEH BHARATHA PAALITHA RAAJYAM ARPAYAAMI--JYOTHISVARUPINI 10.
RAMACHNADRAM BHAVAYAAMI RAGHUKULA TILAKM UPENDRAM ---VASANTHA. 11. MAAMAVA
PATTABHI RAMA --MANIRANGU
KRITHIS 3,4,5,6,7,8,9 AND 10 ARE GENERALLY CONSIDERED AS THE RAMAASHTAKA
KRITHIS SET IN DIFFERENT VIBAKTHIS. THERE IS A REASON FOR CHOICE OF EACH
VIBAKTHI TO BRING OUT THE DIFFERENT ASPETS OF BHAKTHI AND PRAPATTHI OF A
DEVOTEEE.
I WILL ATEMPT TO GIVE THE MEANINGS AND COMMENTS ON THESE PRECIOUS RAAMAASHTAKA
KRITHIS OF SRI MUTTHUSWAMI DIKSHITHAR NEXT.
The compositions in the eight Vibakthis (cases)
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The significance of choosing different vibakthis to salute the Lord can be
understood by a study of the slokam attributed to the grantha Karthaa of Srimad
NaarayaNeeyam , Sri NarayaNa Bhattadhiri of Kerala.
That composiiton of Sri NarayaNa Bhattadhiri, constructed his the composition
in the 8 vibakthis of Sanskrit (Dative, Possessive, etc, which are deflections
of a noun). Let us refer to that verse of Bhattadhiri, who included in one
verse all the case terminations, while addressing Lord Krishna:
KrishNO rakshathu maam charAchara guru: KrishNam namasEh sadhA KrishNEnaiva
surakshitOhamasakruth KrishNAya dhattam mana: KrishNAdhEva samuthbhavO mama
vibhO: KrishNasya dAsOsmyaham KrishNeh bhakthirasanchalAsthu Bhagavan Hey
KrishNa tubhyam Nama:
Sri Narayana Bhattadhiri salutes the Lord of GuruvAyur in eight different ways:
May Lord KrishNa the Guru of the universe protect me! I offer my salutations to
KrishNa always. I have been saved by KrishNA countless number of times. My
heart has been surrendered only to Him. I am born out of Him (i-e) He is my
father. I stay as the servant of KrishNa . May I be blessed with unwavering
devotion to Him! O Lord KrishNa ! My salutations are to You . In this elegant
and moving Prapatthi verse, Bhattadhiri skillfully uses the 8 Vibakthis of
Sanskrit one after the other. There is a reason for using the individual
Vibakthis to address the Lord . Each is associated with an aspect of Bhakthi
that a devotee offers to the Lord as revealed by the Narada Bhakthi Sutras and
NarayaNa Bhattadhiri.
The moods of Bhaktha covered by the different Vibakthis are:
Nishkaamya Karmam (service without expectation of rewards), Daasyam
(servitude), Akinchanathvam (state of Utter helplessness) , Bhagavad
Gunaanubhavam, Ishta Daivata Ananya Bhakthi (Exclusive devotion to the chosen
form of deity) , Dainyokthi (Plaintive pleading) , Maha Viswasam (Utter trust
in being saved by the Deity), Vandanam , Aathma Nivedanam (absolute Surrender)
, Vaatsalyam (expression of Devotion/affection just as a child has for its
mother) , Kanthaa sakthi (Madhura Bhavam), Tanmaya Sakthi (feeling of oneness
with the Lord just as ANdAL stated about her relationship to the Lord that can
not be cut asunder in all births ) and finally PallaNdu wishing auspiciousness
to the Lord in a state of deep caring. Although the Lord does not need any
protection, the Bhaktha prays that no harm comes the Lord's way and sings for
long life of the Lord just as Periyaazhwaar in his pallandu did and Saint
Thyagraja sang through his Bhiravi Krithi , Raksha Bettare Dhoraku ,
Vakshasthalamuna velayu lakshmi Ramananuki Jaya (Let us protect our Lord in
whose chest shines Lakshmi).
These are the moods or Sanchari Bhaavaas that we come across in the Rammashtaka
and other Krithis on Rama composed by the Nadhopaasaka Sri Dikshitar in
exquisite and chaste Sanskrit.
I will start with The Rama Kali raga krithi of Dikshithar first. This ragam is
a janyam of MAyA MaaLa GowlA in one tradition and is considered a derivative of
Kaasi RamakriyA (KamaVardhini). Even the name of the ragam and its parentage is
full of Symbolism as hinted by Dikshitar's choice of this ragam for worshipping
Sri Rama in kali age and his prayer for the enhancement of his desire ( kama )
for His lotus feet. The composition is a Kriyaa towards attaing that vardhini
aspect of Kama to the destroyer of Kali dhoshams.
The Sahitya Vakhyams are as Follows:
PALLAVI OF THIS SAMASHTI KRITHI
RAAMA RAAMA KALI KALUSHAVIRAAMATARAABHRULLALAAMA
CHARANAM:
SRI MAHIJAA KAMA SUGUNA DHAAMA PARANDHAAMA SHYAAMA MAAMAVA SIVA GURU GUHA
SUDHRAAMA VIBHUTA VINUTHA NAAMA
Dikshitar uses choice words to describe Sri Rama's KalyANa guNaas here as they
relate to Kali Yugam.
He says: O Ramaa who destroys effortlessly the amangaLams that are natural to
the age of Kali, when the cow of Dharma stands on one leg only ! O Lord who is
the first among all the kings ! O dear consort of Sita Devi ! O the house/seat
of all Kalyaana Gunaas! O Lord with unsurpassed and ever increasing beauty
(abhinava Soundharyam)! O Supreme Being worshipped by Siva, Guha , Indran and
countless sages ! Please protect me !
Let us now understand the carefully selected words full of meaning and
alliteration in the different sections of the Saahityam.
" Rama , Kali Kalusha Viraama" portion of the krithi contains the raga mudra.
Kali Kalushas are the ills of Kali yugam. He is the Viraaman or destroyer of
those ills . Taara Bhruth refers to His being the supreme king (emperor /
chakravarthi) of the kings of the earth.
Lalaama means sreshtan or Uttaman. He is the uttama adhikhaari among the kings
of this earth. Mahijaa denotes the daughter of Bhumi Devi (i-e), Sita Devi. The
salutations to Jaanaki RamaNan is "Sri Mahijaa Kaama Suguna Dhaama". Sudhraama
is a title of Indraa. Dikshitar celebrates the Naama Mahaatmyam of Sri Ramaa as
that of being hailed by the king of Devas, Indra and other Jnaanis.
The Bala Khandham and the many acts of valor of Sri Ramachandra is saluted by
Dikshitar in this Krithi. The Sahiya Vaakyams are as follows for this krithi
set inRaga Sri Ranjani and TALam Triputa:
PALLAVI: SRI RAAMACHANDRO RAKSHATHU MAAM RAKSHASAATHI HARO RAGHUVEERA
ANUPALLAVI: BHARATHAKRAJO KOWSIKA YAAGA RAKSHAKO TAATAKAANTHAKA (SRI
RAMACHANDRO RAKSHATHU)
CHARANAM: MITHILAA NAGARA PRAVESA MAHESWARA DHANUR BEDAKHO SITA KALYANA
MAHOTSAVA VAIBHAVA YUTHA CHITRA VESHAKHO MADHURYA GAANAAMRUDHA PAANAPRIYA
GURUGUHA VISWASO MAHADEVI BHAKTHA PARASURAMA GARVA HAROLLAASA (sRI rAMACHANDRO
rAKSHATHU)
The Raghuveera Vaibhavam is very much in the mind of Dikshitar. In the Pallavi
and Anupallavi vakhyams , he refers to the valor of the elder brother of
Bharatha and salutes him as the destroyer of the rakshasas (RAKSHASAATHI HARO)
, the cause of the death of the violent and shameless Tatakaa and her sons
(TATAKKANTHAKA). He recognizes and reminisces over the extraordinary skills of
the elder brother of Bharatha (BHARATHAKRAJO) in archery and the defense of the
yagam of Sage Viswamitra (KOWSIKA YAGA RAKSHAKO) at Siddhaasramam.
The first two lines of Charanam celebrate the joyous events associated with the
Sita KalyaNa Vaibhogam. His entry into the city of Mithila as a majestic prince
captivating the hearts of the citizens of king Janaka's Capital city to marry
Maithili (MITHILAA NAGARA PRAVESA) through the bending and breaking of the
mighty bow of Maheswara (MAHESWARA DHANURBHEDAGO) is saluted here.
The grand celebration of the marriage festivities (SITA KALYAANA MAHOTSAVA
VIBHAVAM) and the many beautiful attires (MAHOTSAVA VAIBHAVA CHITRA VESHAKO)
worn by Sri Rama during the different stages of the marriage ceremony (Nalangu,
exchange of Garlands , PaaNi GrahaNam, Maangalya DhaaraNam , seven steps around
the sacred fire, Lajaa Homam , gruha Pravesam et al) are enjoyed by Dikshitar
in his mind's eye and are saluted thru hte first half of CharaNam.
The latter half of CharaNam refers to Sri Rama's delight in drinking the nectar
of music (MADHURYA GAANAAMRUTHA PAANA PRIYA).
Saint Thyagaraja has referred to sri Ramachandra's deep affiliation to
delightful music in many of his krithis. The great Rama Bhaktha has alluded to
the seven svaras incarnating as beautiful damsels and dancing in front of this
sangita -lola with their tinkling bells (Sobhillu Saptasvara krithi in
Jaganmohini ragam and the AtaaNa krithi, Sripapriya). The bard ofThiruvayaaru
delights in addressing the Lord as Saptha svara chaari in the AtaaNa krithi
referred to above. Among the other pieces of the Saint 's krithis we find many
references to Sri Rama's supreme talent as a Sangitha Rasika (Sangita Lola in
Kambhoji krithi Sri Raghuvara Aprameya, Sama Gana Lola in the Sriranga
Pancharatna Krithi). In Arabhi Pancharatnam, The saint refers to Sri Rama as
the maintainer of the musical tradition (SANGITA SAMPRADHAYAKUDU). The
conception of Rama as Nadha Brahmananda Rupi by Saint Thyagaraja in his krithis
Nadasudha rasambhilanu /Arabhi , Talaci nantane/mukhaari and Ni dayace
Rama/Yadhukula Kambhoji is very appropriate to Dikshitar's own salutation to
Sri Rama as "MADHURYA GANAAMRUTHA PAANA PRIYA).
In one of the two remaining salutatons of CharaNam, Dikshitar describes the
fond uncle Rama as the one dear to the heart of the nephew, ShaNmugan (GURU
GUHA VISWASO).
In the last charaNa vakhyam, MAHA DEVI BAHKTHA PARASURAMA GHARVA HAROLLAASA:,
Dikshitar refers to the destructionn of the arrogance of the haughty
Parasurama, who challenged the newly wed Rama and demanded that Ram ashow his
valor by bending the Vishnu Dhanus. He describes Parasurama as the great
devotee of Sri Vidya here. The land of Kerala is known as Parasurama Kshetram,
since Parasurama recovered that land from the Ocean with his mighty axe. The
worship of Bhagvathi in that land is ancient and Dikshitar refers to tht
tradition originating from Parasurama.
Summary of Krithi: May the Maha Veera Rama, who destroyed evil Rakshasas ,
Tatakaa and helped sage Viswaitra to complete his sacred yagam at Siddhaasramam
protect me ! May the eledest brother of Bharatha, who reached the city of
Mithila thereafter and broke the mighty bow of Siva to qualify for the marriage
to Mythili offer me his protection ! May the bridegroom Rama , who exhibited
his multifaceted beauty during the different stages of his marriage to Sita
protect me ! May the Gana Lola , who delights in drinking the divine nectar of
music and who is dear to his nephew Guha save me from the ills of samsaara !
May the supreme bowman Sri Rama ,who destroyed the arrogance of Sri Vidya
Upasakaa, Parasurama protect me always !
In a brilliant piece set in Raga Naarayana Gowlai and TaaLam Aadhi, Dikshitar
has a SampoorNa Ramaayana Krithi. He salutes the various incidents described by
Srimad RamaayaNam from the birth of Rama to the destruction of RavaNaa.
The svarupam of this ragam associatied with the sacred namam of Sriman
NarayaNaa is not much in vogue today in concerts due to the ascendance of ragas
Kedara Gowlai and Surutti. Dikshithar however made sure that the true from of
this sacred Raga is captured in this Krithi.
PALLAVI: SRI RAMAM RAVIKULAABDHI SOMAM SRITHAKALPA BHUROOHAM BAJEHAM
ANUPALLAVI: DHEERAAGRAGANYAM VARENYAM DHEENA JANAADHAARAM RAGHUVEERAM
NARADHAATHI SANNUDHA RAAMAYANA PAARAYANA MUDHITHA NAARAAYANAM (SRI RAMAM)
CHARANAM: DASRATHAATHMAJAM LAKSHMANAAGRAJAM DHANAVA KULA BHEEKARAM SRIKARAM
KUSA LAVA THAATHAM SITOHBHEDHAM KUVALAYA NAYANAM SUDHARBHA SAYANAM SUSARA CHAPA
PAANIM SUDHIMANIM SUNRUTHA BHASHAM GURUGUHA THOSHAM DASA VADHANA BHANJANAM
NIRANJANAM DHAANA NIDHIM DAYAA RASA JALA NIDHIM (SRI RAMAM)
(Meaning) : May I have blessings of meditaing on Sri Rama of limitless
auspicious qualities and subha Charitam ! He is the moon that causes the tides
of Surya Kulam to rise with Joy. He is like a kalpaka tree to his devotees in
his boon-granting power. He is the first among the valorous ones ! He is the
anaatha Rakshakan, who comes quickly to the rescue of those, who seek his
refuge. He is the crown jewel of the dynasty of Raghu Kulam. He is the Sriman
Narayanan, who accepts with delight the recitation of Srimad Ramayanam by Rama
Bhakthas, a tradition that goes back to sage Naarada. He is the son of
Dasaratha (Daasarathi) and the eleder brother of Lakshmana. He is the father of
Kusa and Lava , who sung Ramayana to the accompaniment of Vina in his court. He
is the one , who is offering his Darsanam as Sita Sametha Raman in
Pattabhisheka Kolam. He is the destroyer of the evil Asuraas . He has the eyes
that are like the blue lotus that greets the moon with joy. He laid on the
sacred grass at ThiruppullaaNi and requested the assistance of Samudra Rajan
for completing his avathara mission (ie), RavaNa Samhaaram. He is the mighty
Kodhanda Raman known for his beautiful hand holding the mighty bow of
Kodhandam. He is the essence of Jnana, which shines as the brilliant lamp on
the hill. He is a Satya seela (Dharmo Vigrahavaan) and the embodiment of
righteousness. He is the ocean of mercy and the greatest benefactor through his
generosity of boons to devotees. May this Lord of limitless, auspicious GuNaas
be the object of my meditation!
P.S: This krithi is a Naama Kusumaanjali to Sri Rama by Dikshitar. He installs
Sri Rama on a golden throne in his heart and meditates upon the legendary
incidents described by Sage Valmiki. With Prema Bhakthi, Dikshitar offers the
ambrosia of Svara and sahityam. He travels on the royal road (Raja Margam) of
Rama Bhakthi like many that preceded him such as sages Naradaa , Valmiki and
his students Kusa and Lava and offers his Nada Naivedyam to Sri Rama. Like
Saint Thyagaraja, he seems to point out that the blessings of meditation on Sri
Rama is the real blessing to be coveted by us whole heartedly. He seems to say
like Saint Thyagaraja in his Kannada Krithi " Ideh Bhagayamu gaaka -yemi
yunnadhiraa! Rama !" (This alone is the real blessedness to be sought after -
to meditate incessantly your holy feet with the whole heart).
MAANJI RAAGA KRITHI
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Sri Dikshithar composed a beautiful krithi in Ragam Maanji, which is a janya
ragam of Nata Bhairavi. There are a lot of ideas here that recall the Krithis
of a great Rama Bhaktha, who was a contemporary of Sri Dikshithar by the well
known name of Thyagaraja SwamigaL.
The Maanji krithi is a tribute to the bewitching beauty of Sri Rama and reminds
one of the many krithis of Saint Thyagaraja such as "Mohana Ramaa mukhajita
Somaa" in Ragam Mohanam, Sundaratara Deham Vandeham Raamam" in ragam
PanthuvaraaLi, " Kana Kana Ruchi tara " in Ragam VaraaLi , " Naapaali Sri Rama
Bhupaalaka Sthoma " in Navaros Ragam , where he salutes the matchless beauty of
Sri Rama as more than that of crores of Manmatha: " Koti Manmathulaina Saatigaa
Nee Sogasu , Naadiunnithi Madhini medi Sri Raamaa". Sri Dikshitar sings about
this Athi LaavaNya Raman in his Maanji Krithi. The Sahitya VaakyangaL are as
follows:
PALLAVI: RAMACHANDRENA SAMRAKSHITHOHAM (SITAA)
ANUPALLAVI: RAMAA BHARATHEE GOWREE RAMANA SVARUPENA SRI
CHARANAM: KAAMAKOTI SUNDARENA KAMANEEYA KANTHARENA KOMALA GANA SHYAAMENA
KODHANDARAAMENA MAAMAKA HRUDHAYA STHITENA MAARUTHI GITAAMRUTENA MAANJI MANI
MANDITHA MADH GURUGIHA MAANITHENA (SRI SITAA)
In Pallavi, Sri Dikshitar reveals that he is well protected by the
Dayaasaagaran, who has taken the vow to protect every one, who sought the
refuge of His lotus feet once.
In Anupallavi, Sri Dikshitar touches on the thoughts made famous by Sadguru
Thyagaraja swamigal in his krithis such as " Paramaathmudu " in raga
vagadhEswari , " Mummurthulu Gumigoodi " in Raga AtaaNa , "Dvaitamu Sukhamaa "
in Ragam Reethigowlai.
In these Krithis, Sadguru points out that Sri Rama, his Ishta Daivam sports in
the form of Trimurthys and far exceeds them in KalyaNa guNaas. He points out
that Sri Ramachandra is the Antharyaami Brahman empowering the trimurthys and
bidding them to carry out their duties as creator, protector and destroyer.
After relegating all these uninteresting works to the Trimurthys, Sri Rama
according to Thyagaraja concentrates on His Varada or Boon giving aspect.
In the Ritigowali krithi, Sadguru states that Sri Rama is sporting in this
universe as gods like Vishnu, Brahma and Siva. In the Vagadheeswari song, he
salutes Sri Rama as the Paramathma, who shines as the antharyaami of Hari, Hara
and Devas (Hariyata Haradata surulata --akhilaanda kotilata yantharilO
Paramaathmudu velagu mucchata bhaaga telusukorE).
In his Ataanaa krithi , " Mummurthulu " , Saint of Thiruvaiaaru says that the
Trimurthys were dumbfounded when they found that Sri Rama's guNaas outweighed
their own on weighing. They sang His praise as the supreme among them and were
at a loss to understand how a mere son of a king could possess those guNaas.
Sri Dikshitar tersely summarizes the above thoughts of Saint Thyagaraja, when
he salutes in Anupallavi: " Ramaa Bharathee Gowree RamaNa svarupeNa Sri
RamachandreNa Samrakshithoham ". Ramaa RamaNan is Vishnu; Bharathi RamaNan is
Brahma and Gowree RamaNan is Siva. Sri Dikshitar recognizes Sri Rama as the one
who has the svarupam of Trimurthys through his residence in them as
Antharyaami.
In the charana Vaakyams, Sri Dikshitar eulogizes the beauty of Sri Rama as
being superior to crores of Manmathaas. The effulgence of this Mega SyamaLa
murthy sporting His mighty Kodhandam in His hand captivates Sri Dikshitar. He
states that the majestic mien of Sri Rama is enshrined in his heart. Sri
Dikshitar also visualizes Sri Rama enjoying the nectar like VeeNaa music of His
dear devotee, Hanumaan.
Sri Dikshitar places his raga Mudra and the composer's mudra in the last line
of Charana Vaakyam this way: "Maanji MaNi manditha madh Guruguha Maanithena Sri
Sita Ramachandrena Samrakshithoham". He pays tribute to his Upaasanaa murthy,
Guru Guhan, the nephew of Sri Raama. He places his Guru Guhan in a Mantapam
decorated with the precious stones of Maanji (Svarasthaana Devathais) and
states that SubrahmaNyan pays homage to His uncle, Sri Sita Sametha
Ramachandran.
I close this posting with two slokams of Sri Rama KarNaamrutham of a Kanchi
Kamakoti Peetaathipathi:
SRIRAMACHANDRETHI SALAKSHMANETHI NEELOTHPALA SYAAMALA KOMALETHI I
AKOROSAYUKTHAA TVADHUNAIVA JIHVAA SITAAPATEH RAAGHAVA RAAGHAVETHI II
VEDA VEDANTHAVEDYAAYA MEGASYAAMALA MURTHAYEH I PUMSAAM MOHANARUPAAYA PUNYA
SLOKAAYA MANGALAM II
Sri Mutthuswamy Dikshithar composed the fourth Krithi on Sri Ramachandra in
Ragam Thodi and TaaLam Triputa. This is one of the 8 krithis composed by him in
Raga Thodi devoted to different Gods and Godesses. Two of the above eight are
on Sri Krishna of Guruvaayur and on Sri Rama as the fourth Vibakthi krithi of
Raamaashtakam. The remaining six are on Kamalaambikai of Thiruvaarur
(Navavarana Krithi), Dakshyaayini, Maha Ganapathi , Subramanya , Brihadeeswari
of Tanjore and VedaraNyeswarar (Siva) of VedaaraNyam.
Saint Thyagaraja on the other hand has left us atleast 32 krithis in
(Hanuma)Thodi to illustrate the various , glorious aspects of this evening
Rakthi raagam. He pours out his heart to Sri Rama in most of his krithis in his
unique conversational mode. Among the 32 of his krithis in Thodi, we find three
addressed to Rama Sahodari / AmbAL (Dharma Samvardhani of Thiruvaiuru ,
Neelathayaakshi of Nagapattinam , Pravruddha Srimathi of Lalgudi) and ShaNmugan
. Rest of them are addressed to Sri Rama , his Ishta Daivam . The most poignant
of these krithis is in Thodi , where he confesses to Rama About his
worthlessness. He says: O Rama , What value do I have without your DAYA ( Nee
Daya Ravalegaga neh nentha vaadanu Rama ?). Sri Dikshitar is not used to
emotional dialogs with his Ishta daivams. Hence in his Thodi krithi in
exquisite Sanskrit , he appproaches Rama with reverence and formalitiy and
offers his salutations.
The sahitya Vaakyams of Dikshitar's Thodi krithi are as follows:
PALLAVI:
RAMACHANDRAAYA NAMASTEH RAAJIVALOCHANAAYA VARAAYA
ANUPALLAVI:
SAMA GAANA LOLAAYA SADHU JANATHI PAALAYA KOMALATARA GURUGUHANUTAAYA KOTI MAARA
LAAVANYAAYA
CHARANAM:
DASARATHA RAJAKUMAARAAYA DHANDAKAARANYA VIHAARAAYA KOWSIKA KRUTHA MAGA
RAKSAKAAYA KANAKAMANI MAALAADHARAAYA DASAGREEVA PRAANA HARAAYA DAASA VIBISHANA
PAALAKAAYA KUSA LAVA SITAA SAMETHAAYA KAPI BRUNDHAADHI MANOHARAAYA
In Pallavi, Sri Dikshitar offers his salutations to the eyes of Sri Ramachandra
that remind him of the beauty and tenderness of a Lotus flower. He salutes Him
as a supreme being (RamachnadrAya VARAAYA Namasteh). The choice of the word
Varaaya meaning that he is a Sreshtan is consistent with the Sundara Khandam
verse , Where Hanumaan describes Him as :
RAMO NAMA VISESHAJNA: SRESHTA: SARVADHANUSHMATHAAM RAKSHITAA JEEVALOKASYA
DHARMASYA CHA PARANTHAPA :
In Anupallavi , Dikshitar salutes Rama's attachment to Sama Gaanam (Sama Gaana
Lolaaya Namasteh ) ; His protection of Sadhu Janaas is next saluted as saadhu
janaathi paalaaya namasteh. Adi Kavi Valmiki praises Rama's protection of all
the Lokas and the Sadhus this way:
RAMO BHAMINI LOKASYA CHATURVARNASYA RAKSJITHAA I MARYADHAANAAM CHA LOKASYA
KARTHAA KAARAYITHAAA CHA SA: II
The Dharma Vigraha Svarupam of the Lord and Bhaktha Daakshinyam of Sri Rama is
celebrated here.
In the remaining portion of the Anupallavi , the unmatchable beauty of Rama and
His worship by the beautiful Guruguha is referred to. Sage Valmiki has aptly
described Rama's beauty in another Sundara Khaandam verse this way:
AADITYA IVA TEJASVEE LOKAKAANTHA: SASEE YATHAA I RUPAVAAN SUBHAGA: SRIMAAN
KANDARPA IVA MURTHIMAAN II
In the charana Vakyams, Dikshitar pays his tribute to the prince of Ayodhya and
the son of emperor Dasaratha, who roamed the forests of DandakaaraNyam
protecting Saadhu Janam (Dasaratha Rajakumaaraaya Dandakaaranya Vihaaraya
namasteh). This beautiful prince wearing golden chain studded with precious
stones is recognized next as the brave one, who fought the asuras at
Siddhaasramam and protected the Yajnam of Sage Viswaamitraa (Kowsika krutha
maka rakshaakaaya kanaka mani maalaadharaaya namasteh). The bravery of Rama,
who protected Vibhishana and took the life of the evil RavaNaa is saluted next
with the words "Dasagreeva praaNa haraaya VibhishaNa Paalakaaya Namasteh". The
final line of CharaNam sees him as Pattabhi Raman , whose appearance as the
emperor on the throne of Ishvaakus captivated the heart of the asembled army of
monkeys that assisted Him in the battle (Kapi Brundhaathi Manoharaaya
Naamsteh). The final salutation is to Sri Rama as Jaanaki RamaNan in the
company of His consort Sitaa Devi and their two sons, Kusa and Lava who
mastered the singing of Srimad RamaayaNam from Sage Valmiki (Kusa Lava Sitaa
Samethaaya Sri Ramachandraaya Namasteh).
NAMOSTHU RAAMAAYA SALAKSHMANAAYA DEVYAI CHA TASYAI JANAKAATHMAJAAYAI
In the fifth Krithi of Sri Dikshithar's Ramaashtakam, we experience the Ananya
Bhakthi of the composer. He says that he does not know any other God other than
Sri Rama whom he worships. (Ramachandraadh anyam na Jaaneham --Pallavi). He
recognizes Rama as Hari Hara Rupan. He describes Sri Rama as the amsa Bhoothan
of both Vishnu and Sivan in the rest of the Pallavi.
The whole Sahityam of this Samashti krithi set in Ragam Dhanyaasi and Jampa
TaaLam is as follows:
PALLAVI: RAMACHANDRAADH ANYAM NA JAANEHAM SRI HARI HARAATHMA RUPINOH
CHARANAM:
KAAMA JANAKAATH KATINA SUBAAHU MAARICHA KARA dHOOSHANAADHI MADA HARANAARTHKA
RUPINO SAMASTHA SURA SANNUTHA SARA CHAPA PAANINO SARASA GURUGUHA SANGEETHA
TATVA BODHINO (SR RAMACHANDRADH ANYAM NA JAANEHAM).
In the Charanam, Sri Dikshithar refers to the beauty of the Lord and recognizes
Sri Rama s the father of the god of beauty, Manmatha. He refers to the Bala
Khaandam incident, where Sri Rama as a young prince destroyed the arrogance of
Subaahu and Maaricha, who caused havoc to the Yajnam of Sage Viswamitra. He
also refers to the later episode in AaraNya Khaandam , where Single handedly ,
Sri Rama destroyed Kara and Dhooshana as well as the 14,000 ogres that
accompanied them from Janasthaanam, the seat of Karaa, the brother of Surpanaka
and RavaNaa.
Karaa came to avenge the disfiguration of his sister by Lkshmana and to kill
Rama. Rama met them single handedly and shined like great flame in the middle
of darkness. Sage Valmiki describes Rama's apperance then as " BHABOOVA
RAMASTIMIREH MAHAANGNIRIVOTTHITHA: ".
A great Rama Bhaktha , Kulasekhara Azhwaar reacted to this passage of Ramaynaa
in his court, when Puraanikaas described it. He was ovrcome at the thought of
Sri Rama being surrounded by 14,000 ogres, he was overcome with fear for the
safety of his upasanaa murthy. In aswift reflex, he ordered his army to
accompany him and set forth on the mission to help Rama. The ministers
intervened and reminded king Kulasekara of Kolli Naadu that Sri Rama battled
the mighty assemblage of Rakshasaas and single handedly destroyed them.
Kulasekhara was relieved and dismissed the asssembled army after hearing the
news. Such was the Rama Bhakthi of Kulasekhara, who completed SampurNa
Ramayanam in his 10 verses on Thillai Thiruchitrakudatthu Emperumaan in his
Mangalaasaasanam. The famous slokam of Sage Valmiki that stirred Kulasekhara
into instant action is:
CHARURDASASAHASRAANI RAKSHASAAM BHEEMAKARMANAAM I EKASCCHA RAMO DHARMAATHMAA
KATHAM YUDDAM BHAVISHAYATHI II
(HERE ARE 14,000 OGRES OF FEROCIOUS POWER AND DEEDS, WHILE THE DHARMAATHMAA
RAMAN IS ALONE. HOW WILL THERE BE A FAIR BATTLE UNDER SUCH CIRCUMSTANCES ?)
This was the fear of Adi Kavi Valmiki that found a resonance in Kulasekhara.
Sri Dikshitar refers to this when he salutes Vijayaraghavan as " kara
Dhooshanaadhi mata haranaartha rupi ". The devas were watching this battle .
Dikshitar refers to the assembly of Devas witnessing the Veeraragahavan' s
appearnce in the battle field with his mighty Kodhandam as " SAMASTHA SURA
SANNUTHA SARA CHAPA PAANI " . The musicc from the Dankaara dhwani of mighty
arrows leaving Sri Rama's Kodhandam adorned with seven bells (saptha Svarams)
on top inspired Swami Desikan to compose a moving piece in the Yuddha Khandam
section of his Rghu Veera Gadhyam that begins with " KATURATH ATANI DANKRUTHI
CHATULA --- ". In the fourth and final line of this Krithi ,Dikshithar connects
the musical sound from Kodhandam to the musical genius of Sri Rama, who has
been described by Saint Thyagaraja as Sangeetha Sampradhayukudu and Nada Lola.
This great Sangeetha PravaNan according to Dikshithar's sahityam is described
as the one , who taught Guruguhan the intricacies of Nija Sangeetham (SARASA
GURUGUHA SANGEETHA TATVA bHODINA:).
The ananya Bhakthi of Dikshitar to Sri Rama is the heart of this Ashtaka Krithi
, where he proclaims: " SRI RAMACHANDRADH ANYAM (DAIVAM) NA JAANEHAM ".
Sri Dikshitar composed the sixth krithi in his Ramaashtakam series in the 59th
Mela Ragam, Dharmavathi. The Chatussruthi Daivatham and Kaakali Nishada svara
sthaana Devathais are used in the feminine raga of Dharmavathi to worship the
manohara purushan, who is the embodiment of Dharama( Dhrmo Vigrahavaan ). It is
an interesting coincidence that the Mela Ragam next to Dharmavathi is Nitimathi
with Shatsruthi Daivatham and Kaakali Nishada praadhanya svarupam. Dharmam goes
befor e Nithi, it looks! The great emperor, whose rulership was celebrated as
Rama Rajyam seems to enjoy Sri Dikshitar's adoration in Raga Dharmavathi.
The sahitya Vaakyams for this SAMASHTI krithi are as follows:
PALLAVI:
RAAMACHANDRASYA DAASOHAM SRI SITAA NAYAKASYA GURUGUHA HITASYA
CHARANAM:
SAAMA DHAANA BEDHAADI CHATURASYA SAJJANA PAALASYA DHUSHTA HARASYA SAMACHARA
SAMPRATHAAYAKASYA SABARI MOKSHA PRATHASYA VARASYA (RAMACHANDRASYA DAASOHAM)
In pallavi , Sri Dikshitar emphasises Daasyam (one of the nine modes of Bhakthi
, the other 8 being SravaNam, Keerthanam, Paada Sevanam, Archanam, vandanam ,
Sakhyam and Aatma Nivedanam) in this krithi. In the previous krithi , he stated
his ananya Bhakthi to Sri Rama. Now, he experiences the Bhavam of Daasyam.
Saint Thyagaraja has composed many krithis to express his servitude to Rama in
the manner in which Hanuman and LakshmaNaa demonstrated earlier. Some of the
Krithis of the bard expressing Daasya mode of Bhakthi are:
1.Tava Daasoham --Ragam PunnAgavarALi 2. Upachaaramu cesevAru--Bhairavi 3.
Banturiti Kolu--Hamsanaadam 4.Centane Sadaa-- KuntalavarALi
The spirit of what Saint Thyagaraja states in the last Krithi is similar to the
mood of Dikshitar, when he describes himself as "Ramachandrasya Daasoham". The
bard of Thiruvaiyaaru expressed his mental state in the KuntalavaraaLi piece as
follows:
"O Rama ! Just keep me by your side, as you do Hanuman and Bharata. You need
not tell me much or often. I shall understand whatever work you think of and I
will cheerfully carry it out."
In Charana Vakyams, Dikshithar reminds one of the Kaapi NaarayaNi piece of
Saint Thyagaraja " Sarasa Saama Dhaana Bheda Danda Chathura". Dukshitar's
choice of words is " Saama Dhana Bhedaadhi chaturasya" , He leaves out Dandam.
Both thus celebrate the adeptness of Sri Rama in statesmanship by wielding the
four expedients, Conciliation (Saama), Winning over through gifts (Dhaana),
Dividing the enemies and conquering ( Bheda) and Punishing by display of valor
(Dandam). While thinking about the Chathushtayam (Four means), the fourth
expedient is very much on Dikshitar's mind and hence he goes on to eulogize
Rama as " Sajjana Paalasya, Dushta Harasya) . The establishment of Dharma thru
different incarnations (Dharma Samsthapanaarthaaya Sambhavaami YugE yugE) and
the protection of the Sajjanaas (Bhaktha Paalanam) and the destruction of the
wicked (Dushta Nigraham) are alluded to by Dikshitar in the second line of
CharaNam.
In the third line , Dikshitar slautes Rama as " Samayaachara Sampradhaayakasya
". Ramasya Daasoham. Samayaachaaram is the ancient code of conduct defined by
Saastraas. Rama never swerves from that Aachaaram.
In the final line, Dikshitar refers to another servant of Sri Rama. The lady on
the banks of Pampaa river by the name of Sabari served the Lord thru her unique
hospitality and received the blessing of Moksham from the Lord Hmself. This
Dikshithar refers to as "Sabari Moksha Pratasya ". The Bhagyam of Sabari has
been celebrated by Saint Thyagaraja in Mukhari piece (Entaninne varninthunu?
Sabari Bhagya). Describing her indescribable bhagyam, the Sadguru says: "She
was privileged to see the Lord directly to her heart's content, offer Him
delicious fruits, prostrate before His holy feet in thrill and attain freedom
from rebirth (Punaraavritthi Rahita Padam) in the presence of the Lord Himself.
Sri Dikshitar concludes with the final salutation, "Varasya Ramachandrasya
Dasoham". Vara refers to either Sitaavara, the Nada Lola as described by Saint
Thyagaraja in his Devagaandhaari krithi or Raghukula Sreshtan. Sri Dikshitar
sums up by stating that he is the servant (Daasa) of such a Sreshtan with all
of the above KalyaaNa GuNaas.
RAAMAABHIRAAMAM NAYANAABHIRAAMAM VAACHAABHIRAAMAM VADANAABHIRAAMAM I
SARVAABHIRAAMAM CHA SADHAABHIRAAMAM VANDEH SADHAA DASARATHIM CHA RAAMAM II
Sri Dikshitar composed his seventh Ashtaka Krithi in the 68th melakartha Ragam,
Jyothi swarupiNi. In Dikshithar's sampradhaayam, it was known as "Jyothi". He
had composed one more Krithi in this ragam on Rama sahodari known as
"Paramjyothishmathi Parvathi --". This mela ragam belongs to the Aditya chakram
and is therefore appropriate for eulogizing the Surya Kula Tilakam, Sri
Ramachandran.
This is a scintillating krithi dealing with the Padhukaa Pattabhishekam and the
return of Sri Ramachandra to Nandigramam and then to Ayodhya to be crowned as
Pattabhi Raman.
The sahitya Vaakyams are as follows:
PALLAVI:
RAAMEH BHARATA PAALITHA RAJYAMARPAYAAMI RAJAATHIRAJA PUJITHA CHARANAM NAMAAMI
CHARANAM:
AMARESAADHI SAKLA DEVATHAA MODHENA ANTHARANGA GURUGUHAANANDA MRUDHU GADHANEH
SAMASTHA MUNI GANA SAADHU JANAAADHI VANDHANEH SAANANDHAYUTA SEETHAA MANOHARA
MADHANEH (RAAMEH)
In pallavi, Dikshitar salutes the family and admirers of Sri Rama in the spirit
of "TAM VISHNUM BHARATHAAGRAJAM RAGHUVEERAM SEETHAA SAMETHAM BHAJEH". Dikshitar
places at the feet of Sri Ramachandra the kingdom protected by Bharatha for
fourteen years with the help of Sri Rama Paadhukaa. Swami Desikan composed more
than 1000 verses in honor of the Padhukaa of Sri Ramachnadra (Ranganatha).
Those Padukas were the representative of Rama to guide Bharatha to rule the
kingdom for fourteen years untl Rama returned from exile in the forest and the
conquest of RavaNaa. In hi ssecond verse of Padhukaa Sahasram, Swami Desikan
pays his tribute to Bharatha this way:
BHARATHAAYA PARAM NAMOSTHU TASMAI PRATHAMODHAAHARANAAYA BHAKTHIBHAAJAAM I
YADHUPAJNAMASESHATHA: PRUTHIVYAAM PRATHITHO RAGHAVA PAADHUKAA PRABHAAVA : II
(MEANING: The illustrious one, who first wore Sri Ramachandra"s Padhukaas on
his head was His brother Bharatha. He conducted the affairs ofthe state as the
representative of the sacred padhukaas, when Rama chose to spend fourteen years
to honor his father's word.) This verse salutes Bharatha as the first blessed
soul, who illustrated the meaning and holiness of the Lord's Padhukaas.
Bharatha spread the glory of Rama Padhukaas through his worship of them for
fourteen years.
Dikshitar joins the ranks of Bharatha in extolling the incident related to
Paaadhukaa Pattabhshekam and Bharata's Rajya paripaalanam as the representative
of Rama Padhukaas. Dikshitar offers to Sri Rama the kingdom protected by
Bharatha and salutes the lotus feet associated with those Padhukaas and
worshipped by the emperors of the land (RAJAATHIRAJA PUJITHA CHARANAM NAMAAMI).
The charaNa vakhyams describe the Pattabhisheka scene and Rama's gentle gait as
he walked to the throne and admired by his nephew Guruguha an dby Indra and all
the Devaas (AMARESAADHI SAKALA DEVATHAA MODEHNA, ANTHARANGA GURUGUHAANANDA
MRUDHU GADHENA --CHARANMA NAMAAMI). He was seated on the throne of the
Ishvaakus with joyous Sita , who was captivateD by his incomparable beauty
(SAANANDAYUTA SITAA MANOHARA MADHANEH -- CHARANAM NAMAAMI). The sages and
Rishis assembled to witnes sthis pattabhshekam scene were exhilirated by the
auspicious darsanam of the Lord with His consort and eulogized Him. Dikshitar
salutes the holy feet wearing the Paadhukas revered by Bharatha in this krithi.
I conclude this posting with a Slokam of Rama KarNaamrutham composed by a
Sankaraacharya of kanchi Kamakoti Peetam:
SAKALA SUKRUTHA RATNAM SATYAVAAKYAARTHA RATNAM SAMADHAMAGUNA RATNAM PAATHU MAAM
RAMA RATNAM I PRAAYA NILAYA RATNAM PRASPUTADHYOTHI RATNAM PARAMA PADHAVI RATNAM
PAATHU MAAM RAMA RATNAM II
This is the home stretch for this series of postings on the Ramaashtaka Krithis
of Sri Dikshitar. This krithi is set in Ragam Vasantha, a Janya Ragam of the
Mela Ragam Surya Kaantham. It is a wonderful choice to the Surya Kula Jyothi ,
Sri Ramachandra, whose beauty is like the eternal spring. Here Dikshitar offers
his salutations to the many kalyana gunaas of Sri Rama displayed during his
incarnation as the son of Emperor Dasaratha. The sahitya Vaakyams are as
follows:
PALLAVI:
RAMACHANDRAM BHAVAYAAMI RAGHUKULA TILAKM UPENDRAM
ANUPALLAVI:
BHOOMIJAA NAYAKAM BHUKTHI MUKTHI DHAAYAKAM NAMA KEERTHANA TARAKAM NARAVARAM
GATHA MAAYIKAM
CHARANAM:
SAKETA NAGARA NIVASANTHAM SAAMRAJYA PRATHA HANUMANTHAM RAAGENDHU VADANAM
BHAgaVANTHAM RAMANEEYA KALYAANA GUNAVANTHAM KAKUSTHAM DHEEMANTHAM KAMALAKSHAM
SRIMANTHAM NAGESA NUTHAM ANANTHAM NARA GURUGUHA VIHARANTHAM (RAMACHANDRAM
BHAVAYAAMI)
(MEANING): I meditate on Sri Rama , who is the shining dot on the forehead of
Raghu Kulam. That Lord incarnated once as the son of Kasyapa Prajaapathi and
the brother of Indra. He is the dear consort of Sita Devi,the daughter of
Bhoomi devi. He is the magnanimously generous one , who gives us the boons of
prosperity on this earth and Moksham thereafter.
He has for His name the glorious Taraka mantram of limitless auspiciousness. He
set an example as the embodiment of righteousness during his incarnation as a
human son of Dasaratha. He is the one, who lifts the veil of Maaya for us.
He lived in Ayodhya as the emperor of Kosala Desam. He is seen in the company
of Hanuman of great boon-giving power. His face shines with the beauty of the
full moon. He is the Parabrahmam, who hid His glory as the supreme Lord by
declaring "Aathmaanam Maanusham manyeh". I meditate on His Sharp intellect,
divine radiance and lotus-like beautiful eyes. He is the supreme being
worshipped by Indran. In all the environments that he moved during his
Avathaaram -- human assembly, acharya groups, forest, caves --as the son of
Dasaratha, he performed His divya Leelas and displayed His anantha kalyaaNa
guNaas. I meditate with delight on this Ramachandra of many glorious
attributes, who sports with His nephew Guruguhan and gladdens his heart.
SRI RAMACHANDRA KARUNAAKARA RAGHAVENDRA RAAJENDRACHANDRA RAGHUVAMSA SAMUDRA
CHANDRA I SUGREEVA NETRAYUGALOTHPALA PURNACHANDRA SITAAMANA: KUMUDHA CHANDRA
NAMO NAMASTEH II
MANGALM KOWSALENDRAAYA MAHANEEYA GUNAABHDHAYEH I CHAKRAVARTHEE TANUJAAYA
SARVABHOUMAAYA MANGALAM II
SRI SEETHA LAKSHMAN BHARATHA SATHRUGNA HANUMATH SAMETHA SRI RAMACHANDRA
PARABRAHMANEH NAMA:
Oppiliappan Koil Varadachari Sadagopan
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