Thyagaraja

Good morning to devotees of Tyagaraja.

COMMENTARY ON SAINT SRI THYAGARAJA

I am R. Ganapathi Subramanian, speaking from Thiruvaiyaru on the banks of
the River Cauveri, (a small town in Tanjore District) where the samadhi of
the famous saint composerSadguru Sri Thyagaraja Swami is situated.

Today is the 155th aradana day, the day on which Thyagaraja Swami attained
Mukthi 155 years back. From 28th January, 2002, onwards, for the past 5
days, the Musicians and Nadaswara Vidwans are paying Musical Homage to the
Saint by rendering the kritis of the great Master before His Samadhi.

On the aradhana day, the musicians will start, from the house at Tirumanjana
Veedhi in Tiruvaiyaru where Thyagaraja lived, with the accompaniment of
violin, mridangam and cymbals in a processions singing bhajans and Divya
Naama Kritis composed by Thyagaraja and will reach the Samadhi. This
procession is called the Unchavrithi Procession. This is done because
Thyagaraja took the vow as part of his sadhana to lead the life of a daily
mendicant, go about singing the praise of Rama and live on Unchavrithi
(alms). As soon as the musicians assembled at the Samadhi, they will start
singing the famous Pancharatna Kritis during which the Abhishekam and
Alankar will be performed to the Samadhi and also to the idol of Thyagaraja.

History of Saint Thyagaraja

Though Thyagaraja was born at Tiruvaarur, in Sarvajit Chaitra Sukla Saptami
Pushya corresponding to 4th May 1767 (another version 1759), he spent his
whole life at Tiruvaiyaru or Panchanadha. This town Tiruvaiyaru gets its
name since 5 rivers are flowing across the town (Tiru-beautiful, iyaru - 5
rivers). Thyagaraja was fully conscious of the blessing that made him a
native of a region which was so renowned for its cultural importance for he
proudly sings of the Tanjore region as the "Chola Seema" the beautiful land
in this world. He knew the great value of the Kshetra where he lived and
strove for his salvation. In his kriti in Atana (
"E papamu Jesithira") by playing a
clever pun on the word Nada , he says that this place of rivers Nadapura is
verily the Lord's own place as the Lord is the embodiment of Nada. In the
Mukari song, "Muri pemu galige " , he
says his Rama should be proud of a place in beautiful Panchanada kshetra
worthy of being coveted by Lord Shiva, on the banks of the river cauveri
over which the mild zephy blows and where holy persons perform Homams and
chant Vedas.

In the kriti "Saari vedalina
kaaverini joodare" in raga Asaveri, he describes how the mother cauveri
proceeding to the place of her Lord the Sea, fulfilling the desires of all
without difference, now speeding fast, roaring terribly and now placid with
grace; with cuckoos singing on either side, touching shrine after shine and
worshipping deity after deity. The adage goes in Tanjore district that the
banks of the cauveri and melody of Saaveri are equally transporting.

Sometime before he attained this One-ness with Godhead, the Saint had taken
to the saffron robes and became Sanyasi. Moved by the deep anguish of this
devotee, Lord Ramachandra appeared before Him and assured Him of Moksha
within a few days. The Saint himself tells us of these in two of his last
pieces. "Giripai nela Konna " in the
Raga Sahana and "Parithapamu " in the
Raga Manohari.

In the Sanaha Kriti, he says "Unerringly I have seen Rama who is installed
in the hill. He promised to give salvation in 5 days. My body was thrilled,
tears of joy rolled down my cheeks and I merely mumbled unable to give
expression to my thought". In the Manohari Kriti, Swami asks the Lord "Have
you forgotten the words of assurance which you, seeing my anguish, lovingly
expressed when you were on the golden boat on the river Sarayu in the
company of the incomparable Sita, the assurance that you take me to you in
another 5 days."

In accordance with this promise, the Lord took the Bhakta on the
Pushyabagula Panchami day in the Tamil year Prabhava corresponding to 6th
January 1847, when the Saint was almost 88 years old.

Saint Thyagaraja's life and kirtanas are the heritage of Indian culture
expressed in classical Carnatic music. This heritage can be described as the
eternal verities of divinity. His contribution to posterity is at once
devotional, religious and philosophical. His songs are frozen melodies
intuited in the inspired depths of a saintly soul. His way of life was
illumined by rock-like bhakti, invogorated and sustained by his unshakable
faith in Rama.

***
Vidwans have finished rendering the Pancharatna kritis. Now Mangala Harathi
or Deeparadhana is shown to the idol of Thyagaraja and to the Samadhi and
the harathi is being taken to the Vidwans and devotees. Let us hope to meet
next year without hindrance of rain.
***

The centre of Thyagaraja's existence and the summit of his aspirations was
to experience in every breath the bliss of Ramabhakti and thereby gain a
vision of his Ishta Devata (favorite deity). In many of his songs, this
longing finds eloquent expression. The dimensions of his music include not
onlysangita sastra, but also contain a core of spirituality. It is because
of this great quality that his compositions, like theAtman, endure. The
comsummation of spirituality in his songs is really the Voice of the
Eternal.

Sri Thyagaraja's life was a confluence and symphony of three streams -
spirituality, saintliness and sangita and the harmony of these find
spontaneous self-expression in every syllable of his sahityas. The divine
words come vibrating from his soul. To describe them as kirtanas wold be
superficial for his utterances are authentic revelations of what he directly
experienced. They comprehend the one and only purpose of music, that
is,moksha sadhana (eternal bliss). The value of his music is instrumental, a
means, but the goal is intrinsic, to lay one's soul at the feet of Sri Rama.

The greatness of Sri Thyagaraja is the way he linked the human to the
divine. What is the saint's message to humanity? Aspiration is human. Grace
is divine. Only through God's grace can one realise his aspiration, bhakti
(devotion) in the case of a saint. Sahityas fall from his lips full of
wisdom and devotional fervor. The most moving songs owe their composition to
particular incidents and the state of his mind. The process of his creations
are far beyond our comprehension. But the product is before us, each a
jeweled beauty.

While all his kirtanas are soulful, Sri Thyagaraja has outclassed himself in
his Pancharatnas where he is at his greatest and perhaps touched the
pinnacle of Carnatic music. The fusion of lyrics and melody, the fusion of
bhakti and sangita form the very essence of his songs. In all his
compositions, Sri Thyagaraja's style shows a greatness of manner which marks
him as a vaggeyakara par excellence. The outward form and inner meaning is
so well meshed that the kirtanas remain unexcelled. At Sri Thyagaraja's hand
each song, each raga gains individuality and in every one of them is
relfected the working of a bhakta's yearning in his soul.

We recognise in Sri Thyagaraja a master spirit combining in himself the
bhakti of Prahlada, the music of Narada and thevakpatutva of Valmiki.
Sentiments are passionate, his reflections on music and life profound. His
works therefore stand apart in the history of vaggeyakaras.

If Sri Thyagaraja's music is sublime it is because it emerged from the
privacy of his soul. It is one of the greatest aspects of Sri Thyagaraja
that he made the infinite (Sri Rama) finite for us and the ideals of music
real. Born and bred in a highly cultured family, Thyagaraja was a profound
scholar and poet. He studied Sanskrit, astrology, and was, of course, well
versed in his mother tongue, Telugu.

Thyagaraja took his early training under a Sanyasi Sri Ramakrishnananda. His
maternal grandfather had some Palm leaf manuscripts which contain notes on
Music. When he went through the manuscripts he could not understand anything
from the Manuscripts. When he approached his Guru he told him to pray to
Sage Narada who is an embodiment of Music. Thyagaraja did so and Narada
appeared before him and gave a book "Swarnava" which explains everything
about Music. After using this book he was able to compose number of songs
and able to understand the intricacies of Music. As an acknowledgement he
composed kritis in praise of Narada: Sri Narada (kanada)
, Narada guruswami
,
.

Besides, he was a highly trained musician, having been the disciple of
Sonthi Venkataramanayya, one of the foremost singers of the day. His genius
is evident in every song of his; but his immortal Pancha ratna kritis (the
five gems) reveal the mastery he had over his musical technique. Apart from
thousands of songs of kriti type, he composed utsava sampradaya keertanas
and divya nama sankeertanas which are sung in devotional congregations. He
has also created two operas: Prahlada Bhakti Vijayam and Nauka charitram.
While there are a number of songs in Sanskrit, the majority of them,
including the operas, are in Telugu.

To him music was so creative that he could not be bound in mere traditional
grammar. He saw the potentiality in new melodies and from them gave forms to
ragas like Kharaharapriya, Harikambhoji and Devagandhari; at least he must
have breathed life into such simple tunes to make them into ragas, if not
produced them de novo. The rhythms used by him are also simple and are
generally confined to talas such as Adi, Triputa, and Roopaka. Complex
temporal and melodic patterns would not have expressed the lyricism of his
mystic adoration. A beautiful elaboration introduced by him was the sangati
as a built-in part of his kriti. These melodic variations convey so many
shades of the main mood that all the finer nuances of text and music find
expanded expression. It need not be offered as an excuse, but it is a fact
that he was also as much capable of technical musicality as any learned
grammarian: Thyagaraja's "five gems" in ragas Nata, Gaula, Arabhi, Varali
and Sri, his songs in slower tempos.

Spiritually he was one of the rare souls who gave up everything except
bhakti and cared for nothing else beyond the Grace of God. The early
influences on his life make this trend more pronounced. THe Bhagavatha of
Bammera Potana, the mystic poet of Andhra, was for him a book of daily
parayana (recitation). Indeed there is a close parallel between the thoughts
nad lives of these two. The devar namas of Purandaradasa were fed to him as
if they were his mother's milk. Such early environments led to a positive
direction by initiation into yoga. It is supposed that he was give the Rama
Taraka Mantra by one sanyasi, Sri Ramakrishnananda. Thyagaraja's father's
fellow scholar and yogi, Sri Upanishad Brahmendra of Kanchipuram, also
exerted a great influence on him. So also the works and personality of
Narayan Teertha, the author of Krishnaleela Tarangini, had considerable
effect on the musician.

The only things that mattered to Thyagayya were music and bhakti - they were
synonymous. In the kriti, "Nada
Thanumanisam", he says "Is there a sacred path than music and bhakti?". "O
Mind, salute the gods of the seven notes". "The knowledge of music, O Mind,
leads to bliss of Union with the Lord". "I bow to Sankara, the embodiment of
Nada, with my body and mind. To Him, the essence of blissful Samaveda, the
best of the vedas, I bow. To Him who delights in the seven swaras born of
His five faces I bow".

Thyagaraja was a great bhakta; the only meaningful act for him was complete
surrender to Him whom he called Rama. In the song
"Ika gavalasina demi (Balahamsa)", he
sings, "What more do you want, O Mind ! Why are you not happy? When the Lord
of the Universe has rested in yoru heart - what more do you want, O Mind?"



Nava Vida Bhakthi

The well-known classification of Bhakthi in major forms occurs in the
Bhagavatha. There is a sloka in Bhagavatha

Sravanam keerthanam vishnoho Smaranam Paadasevanam
Archanam vandanam Dasyam Sakyam Atma Nivedanam

Thyagaraja, in his long and rich enjoyment of Rama Bhakthi exemplified all
these forms. Sravana - the listening to the glory of the Lord comes first.
In the song Ramakatha Sudha Rasa Paanamu
, he explains the drinking of the rasa
of Rama's story would confer upon one a veritable kingdom. It would give one
dharma and all other fruits; it would give one firmness of mind, spiritual
bliss, material happiness and destroy all the shackles of Karma and the many
ills of Kali. In another song, Sudha madhurya bhashana, Thyagaraja says that
his long hunger had been appeased by the story of Rama, to listen to which
he had avoided the wicked and resorted to the devotees of the Lord.

The entire life and output of Thyagaraja exemplifies the second form
Keerthana. In Yelaavathara (Mukari
Raaga) he goes to the extent of saying that the Lord Himself incarnated to
draw out Thyagaraja's Keerthana. In another kriti, Intha
saukhyamani (Kaapi Raaga) and Inta
Kannananda
(Bilahari), he says that there can be
no joy greater than that of singing of the Lord and dancing with the praise
of the Lord on one's lips.



The third is Smarana, the constant
memory of the Lord and [meditating] upon him Naama Japa was futile if not
lighted up all through by the glow of the thought of Rama. In his
Nagaswaravali piece, Sri pathe nee
pada, he specially mentions chintana and smarana as his very life. He
expresses the same in another song Rama Kothanda Rama
(Bhairavi). We can give examples like
this for this form in many number of songs of His Smarane Sukamu
(Janaranjani), Marache vaadanaa
(Ketharam).

The fourth Paada Sevanam or the worship of the Lord's feet in particular is
a devotional mode exemplified by Bharatha and the adoration of Rama's
Paduka. Rama's feet had two great exploits to their credit: the re-creation
of Agalya from her accursed stone state and through their sandals ruling
over the kingdom of Ayodya. Thyagaraja has two songs to adore both these
exploits of Rama's feet. Both are cast in Ragas of appropriate names, Amrita
vahini (Sri Rama Padama), the feet
that bring immortality and ambrosial bliss and Ramapriya (Sandeha munu
Dirpumayya ), Rama's beloved sandals.

The fifth form of devotional propitiation of the Lord is to do his worship
daily and incessantly - Archanam. This form is exemplified by two important
factors of Thyagaraja's life and work - one is Thyagaraja's daily Pooja of
the Rama idol and the other the collection of the songs called Utsava
Sampradaya Kirthanas composed for the several items of the celebration of a
Rama festival including the songs that he sang for the several stages of his
own Pooja and its sixteen kinds of Upacharas offered to the Lord. Some of
the songs to be mentioned areHechcharikaga raara hey ramachandra
(Yadukula Kambodi), Raara seethamani
manohara (Hindola vasantham),
Sethulaara sringara
(Bhairavi/Karaharapriya),Thulasi
Bilva (Kethara Gowla), Aaragimpa
(Thodi), Vidamu Seyave
(Karaharapriya), Upachaara mulanu
(Bhairavi) etc.

The sixth form Vandana or paying obeisance to the lord is illustrated by the
kriti Vandanamu (Sahana) and Dandamu
Pettedanu ra (Balahamsa).

Lakshmana, in whose form also the Lord incarnated exemplified the ideal of
service as a servant, Kainkarya or Dasya, Thyagaraja while describing Rama
mentions Lakshmana also often as attending upon him as the most accomplished
servant of Rama who knows Rama's inner intention and who at the mere glance
of Rama would carry out his idea. This is specially referred to in the Kriti
Lekana (Asaaveri). Similarly
Hanuman's service to Rama also portrayed in the kritis Pahirama
(Vasantha Varaali) and Kalu
gunaa pada neeraja (Poorna Lalitha).
Thyagaraja also yearns to join this company of Rama's servants in the kritis
Thavada soham and Upachaaramu
.

Sakya, the eighth form, besides references in many songs to friends of Rama
like Sugreeva and Vibhishana and the devotion, there is a mention in
Chelimini Jalajaksha , Sami ki sari
andO Rama O Rama
as Thyagaraja's friend, Thyagaraja
sakhudu and Thyagarajunimitra.

Now come to the important form called Atma Nivedanaa or surrender of one's
self to the Lord as the Lord's own. Rama is the incarnation par excellence
the supreme [exemplar] of protection of those that surrender unto the Lord.
Thyagaraja does not fail to make express mentions of this special feature;
In the kriti, sarame gaani
(pantuvaraali), he describes Rama as the Lord who has the special title of
the protector of those who take refuge under him. When the devotee
surrenders, he is to surrender everything he possesses. Thyagaraja explained
this in the kriti Kaalaharana (Suddha
Saaveri). Similarly Thyagaraja says in his Rama
Paahi Mega Shyama (Kaapi) that he had
surrendered himself and all his good deeds to the Lord. In Nannu Vidachi
(Reeti Gowla) and Enaati Nomu Phalamo
(Bhairavi), he declares that he and
his body are the Lord's property. When the devotee declares himself as the
complete saranagatha, he used to have no more anxiety for anything; all his
burdens have been laid on the Lord and it is for the Lord to come and help
and save the [refugee]. Thyagaraja asks Rama in the Kriti Maakelara
Vichaaramu (Ravichandrika) "Why should
I feel any concern? The anxiety is His." Similar sentiments are revealed in
another kriti Nee chittamu Naa
Bhagyamayya (Vijaya Vasantham).

Rama's beauty

There are hundreds of epithets and [vocatives laden] with Rama's gunaas with
which Thyagaraja describes and addresses Rama in his songs; in all these,
the personal qualities of Rama are extolled. Foremost among the qualities
comes Rupa, the personal charm of Rama's appearance. When Thyagaraja tells
Rama "You are my Ishta Deiva", it is the surpassing beauty of this Shyaama
Sundara that made him prefer this form. This is described in his song
Shyaama Sundaranga (Danyasi). In
another song Intanuchu Varnimpa
Tharama (Gundakriya), he says even Brahma, Indra and other gods cannot
describe the beauty of your benign look, your charming face, surpassing the
moon in splendour. In the kriti,Muddu momu
(Suryakantam), he speaks of his
captivating beauty which bewitches the sages of the forest when he appears
before them. In Endu Kaugilintura
(Suddha Desi), he admires that "Every portion of Your body, Oh Rama, is
captivating. Which portion shall I embrace? Your speech alone is speech and
Your brilliance alone is brilliance." We can add number of kritis which
[describe] the beauty of Rama likeLavanya Rama
(Rudrapriya), Alakalalla Ladagagani
(Madhyamavathi), Sogusu chooda Tharama
(Kanada Gowla),Mohana
Rama (Mohanam), etc.

Ishta Devatha

Lord Rama is Thyagaraja's Ishta Devatha. This we found in the song Rama Eva
Deivatham (Balahamsa). He says that
Rama alone is my god. He is the only destroyer of the mental distress of
devotees. In the kriti, Rama nee
samaana (Karaharapriya), Thyagaraja says "You are the beloved parrot in the
cage of Sita's Bhakti. You are yourself gentle in speech and have brothers
whose words drop with honey. Who is there equal to you?" The above ideas are
also expressed in Kaaru Vel pulu
(Kalyani), Itara deivamula (Chhaya
Tarangini), Madilona Yochana
(Kolahalam).

Pilgrimage

An invitation from his far-flung disciples and admirers took Thyagaraja on a
pilgrimage which extended upto Tirupati. When he reached the Tirupati temple
to have the darshan of Lord Venkateswara, the drawn curtain at the sanctum
sanctorum moved him to composer the song Terateeyaga raga
(Gowlibanthu) in which he moans "Oh
Tirupati Venkataraman! Could you not remove the screen, the screen of anger,
arrogance and jealousy, which, taking a firm stand within me, keeps me out
of the reach of Dharma and other Purusharthas including Moksha? It
effectively hides from vision, the immaculate light of the lamp, Jnana. By
the existence of this screen, my mind gets caught by evil, just as ignorant
beasts are got into the Hunter's net. I have been following you faithfully,
I pray promptly; remove the screen". Promptly the screen was removed and he
had a good darshan of the Lord.

His next move was to the neighbourhood of Chennai where at the insistence of
Kovur Sundaresa Mudaliar, he visited the village Kovuur and composed five
songs on Lord Sundaresa -Sundareswaruni
(Sankarabaranam), Eevasuda
(Sahana),Kori Sevimpa Raare
(Karaharapriya), Nammi Vachina
(Kalyani), Sambo Mahadeva
(Banthuvaraali).

At Tiruvettriyur, he was drawn by Goddess Tirupura Sundari to sing 5 kritis
- Kanna Talli (Saaveri), Sundari nee
divya (Kalyani), Sundari Ninu varnimpa
(Aarabi), Sundari Nannindarilo
(Begada), Daarini Thelusu Konti
(Sudda Saaveri). A srimukam from the
noble Sanyasi and Rama Bhakta, Upanishad Brahmam took Thyagaraja to
Kanchipuram where he sang in praise of Lord Varadaraja and Goddess Kamakshi-
Varadaraja Ninu Goru Vachithi (Swara
Bhushani), Venkatesa Ninu
(Madhyamavathi), Vinayakuni
(Madhyamavathi).

At Nagapattinam, he composed two pieces on Neelaayadakshi - Karmame
Balavanthamayya (Saaveri) and Evaru
Teliya Boyyeru (Thodi). He visited
srirangam also and sang five kritis on Lord Ranganatha = O Ranga
Sayee (Kambodi), Chootamu Raare
(Aarabhi), Vinaraadhaa
(Deva Gandhaari), Raju Vedale
(Thodi), Karuna Joodu Maiyya
(Saranga). The next shrine he visited
was Lalgudi otherwise known as Tapas Tirthapura where he composed 3 pieces
on Goddess Srimathi and 2 pieces on Sapta Rishiswara - Isa
Pahimam (Kalyani),Deva
Sthree tapa Thirtha (Madhya mavathi),
Lalithe sri pravriddhe (Bhairavi),
mahitha Pravriddha (Kambodi), Gati
nee vani (Thodi). He also sang in
praise of Lord Panchanatha of Tiruvaiyaru and his consort Dharmasamvardhani.

Madhura Bhava in Thyagaraja's Kritis (Naayaka Naayiki Bhaavaa)

In the Ritigoula Raga song
"CheraraaVade Mira Rama", Thyagaraja says "Just as an orphaned girl married
to a man has no other house to turn to and clings to her husband, I entirely
rely on you and implore you. How is that you do not come?". In another song,
"Paluke Vaemi Naa Deivama"(Poorna
Chandrika), Swami asks the Lord, "Oh my Lord! Why is it that you do not talk
to me though I have always danced to your tune? What is the reason for your
being angry with me? Is it fair that others should laugh at me? My parents
gave me devotion and protected me; others tormented me much. Knowing all
these, how long are you going to keep quiet?".

In the song, "Chani Thodi Theve"
(Harikamboji), where the mind is made the duty to bring the lover Rama to
Thyagaraja, the beloved. "Oh, Maid of my mind! Go and bring quickly my Lord.
Seek him early and lead him to me with due respect. I want to enjoy
happiness for a long time with him."

One may listen to "Rama bi Rama"
(darbar), where Thyagaraja says "The maid, my mind, is in deep love with you
but you do not seem to respond and take her hand. I have provided for you a
comfortable bed".

The Nayaka - Nayaki Bhava is expressed in number of songs like
"Patti Viduvaradhu" (Manjari),
"Daya Seya Vaiyya"(Yadukula Kamboji),
"Sami ki Sari" (Begada),
"Joothamu rare" (Arabhi),
"Eti Jenma Midilo" (Varaali),
"Rama Rama Ramachandra" (Ghanta).

Importance of Bhakti

In one of his beautiful Thodi songs
"Tappi Bratiki", Thyagaraja expatiates on Bhakti as the means to keep one
free from temptations and vices.

"Is it possible to escape from being lost in the pool of sense pleasures, if
one does not worship the Lord with his whole heart and firm mind? Without
Bhakthi, is it possible to develop the feeling that valuable metals like
Gold are poison, to remain unaffected by the sight of wily and well dressed
woman with charming curly hair?"

In another Kriti, "Emi Jesite Mi" in
the same raga, Thyagaraja explains the utter worthlessness of anything in
the absence of Bhakthi. In "Enta
Nerchina Enta Juuchina" (Udaya Ravichandrika), he emphasizes, how in the
absence of devotion, even learned men gain no benefit out of their
scholarship and became slaves of senses.

To seek salvation in other ways is to resort to bylanes. Not to revel in
Bhakthi but in mundane pleasures is to leave off rich milk and cream and to
drink toddy. Swamigal says this in the well-known piece in Karaharapriya
"Chakkani Raja Margamu". We can see
number of pieces for the importance of Bhakthi, like
"Rama Bhakthi Samrajya" (Sudda
Bangala), "Sangeetha Gyanamu"
(Danyasi), "Ide Bhagyamu"(Kannada),
"Nee Bhakthi Bagya" (Jayamanohari).

Superiority of Nama Japa

Adi Sankara in his Bhashya on the Vishnu Sahasranama says the superiority of
Nama Stotra over the Dharmas and Yagnas. Nama japa does not involve injury
to a being in the form of sacrifice; it is an Ahimsa Yaaga. Taking the cue,
Thyagaraja in his Darbar piece
"Paripaalayamaam", says that the Lord is never more pleased than when a
concourse of devotees raise their voices singing aloud his name.

Thyagaraja embarked in the prime of his youth (in his twentieth year), on
the great Tapas of reciting Rama Nama ninety-six crores of times; and took
him twenty-one years and fifteen days to finish this Japa; at the end
Thyagaraja had the dharshan of Sri Rama. In his ecstasy on seeing Rama,
spontaneously he composed the kriti,
"Ela Nee Dayaradhu" (Atana). In the kriti,
"Sri Raghuvara" (Deva Gandhari),
Thyagaraja prays for nothing more than that his tongue should become used to
continuous repetition of Lord's name. We can give number of songs where
Thyagaraja explains the value of Rama Nama.Uooraka
(Sahana), Pahimam sri Ramachandra
(Kapi),Nanu Brova
(Abogi), Ninne nera Namminaanu
(Pantuvaraali), Neevegaani
(Bilahari), Pahimam Hare
(Sourashtra), a Divyanama piece.

Chetulaara - (Bhairavi,
Karaharapriya)

Before starting the Pancharatna kritis, it is customary to renderChetulaara
(Bhairavi) but flute Vidwans. In this song, Thyagaraja explains how to
decorate the Lord. He says,

"I shall decorate you with my own hands so beautifully as to elicit the
admiration of even Brahma and other devotees and enjoy the sight myself. You
will have golden anklets for your feet, high class golden clothes for your
dress. Your tuft will be decorated with sweet smelling parijata flowers;
your loins will have a girdle of golden beads; your forehead will be
bedecked with a pendant of gems in the shape of the sun; your fontal head
will be incircled with precious pearls and your body besmeared with sweet
scented sandal paste; So made upto my heart's content, I shall kiss you and
hug you to my bosom. Saraswati will come and fan you then. In that
exaltation, I shall ejaculate, "WELL DONE, WELL DONE". I shall thus cut
asunder all my bondage."

Pancharatna Kritis

In Jagadanandakaraka kriti, [Thyagaraja] praises the Lord for the good
deeds.

Song: Jagadaa Nanda karaka Raga:
Nattai

1. May victory abound the Lord, who always gives bliss to the entire
world and is the breath-hold of Sita! Thyself, born in the Surya race, Lord
of Lords, ocean of virtues, worshipped by Devas, ever yields goodness is
like a bright moon with excellence and purity before the cluster of
star-like devas.
2. He is a wish fulfilling tree to the celestials. He, who steals away
the pot full of curd, milk and cheese, speaks nectar like words, is a
cowherd and beauty personified, Hero of Lakshmi and ever handsome, guides
virtuous path to his devotees.
3. He is a blowing wind to the clouds of enemy-like Devas; travels on
Garuda; Capturer of the heart of great poets.
4. He possesses Surya and Chandra as his two eyes, unmeasurable fame;
He is the father of Brahma, the creator, relaxes on Adhisesha and worshipped
by Shiva, who has conquered yama (the god of death).
5. With the glory of his holy feet, he removed the curse of Gautama
Rishi; knows the eminent mantras (Pala and Athipala), possesses absolute
patience, gave boon to the Lotus born Brahma.
6. He is the controller of creation, destruction and protection;
fulfills numerous desires of his devotees; worshipped by Indra; conquered
the pride of [the] king of [the] ocean. He is the essential substance in the
famous epic Ramayana, which glitters through Bhakthi and sweet Music.
7. He is a moon rising from the ocean-like gods of good men, possesses
PUSHPAKA VIMANA; whose lotus feet [are] being worshipped by pure hands of
Hanuman; who has won SURASAI, ever lasting and conqueror of evils.
8. A parrot living in the nest of Pranava; has the image of Shiva,
Brahma and Vishnu, killer of Ravana who is the father of Indrajit; gives
happiness to good men, blesses the ladies who surrender pure heartedly; a
friend of Shiva.
9. Keeps arrows in His hands, destroyer of the mad evils; Protector of
Devas and Braahmanas; praised well in the epic written by Valmiki who is the
sun of all poets; revered by Thyagaraja.
10. Source of living beings; Killer of demons like Karan, Viradan and
Ravana; Pure capturer of heart of Parasarar and revered by Thyagaraja.
11. Possesses all good qualities; wears silk woven dresses, broke
MARAMARA; has unmeasurable fame; hero of Lakshmi who originated from the
Ocean.

Song: Dudukugala Raga: Gowla

Oh Lord, who transcends speech and mind! Which prince but you will protect
one like me who is so evil-minded that he is drawn every moment by powerful
evils;

1. that he has lost the realization that You are immanent in every
being;
2. &
3. who, from his early days, has been indulging in vain disputation
without enjoying the ambrosias of your divine Bhajana.
4. coveting others' wealth, has gathered money for sustenance by moving
the hearts of people by flattery.
5. has spent all the days believing that a comfortable living is the
only aim of life (taking living itself a happiness).
6. has posed as a good Bhakta, though stone hearted and ignorant of the
elements of music and has pleased oneself by delivering sermons to women and
ignorant and low folk.
7. taking good-looking women, houses, children and wealth as permanent
assets to be coveted, has willfully ignored the worship of your holy feet?
8. I have remained ever a criminal with an unsteady mind without the
consistent though in mind of your beautiful lotus face, have sought the
company of men of evil infatuation, have been caught up in difficulties and
am unable to repel sense-pleasures and low desires and have become a sinner
and one of unsteady mind.
9. Without realizing that a human birth is hard to get and without
attaining a supreme bliss with its aid, I have become a slave to
haughtiness, jealousy, lust, avarice and delusion and have got deceived;
10. being one of foremost birth in this world, have resorted to the
service of the low born and seeking inferior people have perversely tried to
establish worthless faiths; have wandered in this world for women and wealth
for some time, and for the children of other times.

Which Prince but you will protect such a sinner?

Still [there] is a heavy downpour. Unmindful of the rain the bhaktas and
Rasikas are standing inside the Pandal with the umbrellas on their hands
that shows the bhava and the beauty of the Pancharathna kritis.

Song: Saadhinchene Raga: Arabhi

Oh mind! Sri Rama, belying the precepts he himself inculcated for treading
the righteous path, has carried out what he wanted to and evaded coming to
me, uttering words as suited the occasion. He similarly subjected Devaki and
Vasudeva to a number of trials. Without fulfilling the heart's desires of
the Gopis, he taunted them. He (Paramaatman) would always make women pine
and bow to him. He would [pose] himself as the child of Yasoda, allow her to
please herself by kissing him and would smile at her.

Though he was a lover of devotees, an embodiment of all virtues and an
eternally stainless one, when I was eagerly expecting that he would free me
from the troubles of Kali age and when I was praying to him, chanting his
glorious names, he evaded me without protecting me.

He appreciated and lovingly accepted my worship as being typical of a good
devotee. He without coming to me, merely advised me not to be put out and
not to seek the company of the godless brood and counseled patience in times
of tribulation.

Song: Kanakana Ruchiraa Raga: Varaali

Sweeter will be devotee's pleasures, the more he, with a loving mind, daily
sees you and your charming face radiating beauty and unbounded glory.

Did not such a Darsana redeem and render happy Dhruva when he felt mortified
at the sharp and cruel words of his step-mother, Suruchi?

Did not the description of the glory of your benign form given by Hanuman
transport Sri Sita into a blissful trance?

This, my statement, will be amply testified to by Anjaneya, who longingly
and loving holds your blessed lotus-feet in his hands, by Lord Siva, the
enjoyer of the superb sweetness of Ramanamam, also by Narada, Parasara,
Suka, Sounaka, Indra, Parvati and Sita.

Equally sweet is the pleasure of the Darsan of sprightly Sita devouring the
exquisite beauty of Sri Rama's face with her yearning and modest looks.

Song: Endaroo Mahanubhavulu Raga: Sri
Ragam

Great souls are indeed many. Salutations to them all!
Many are those who see in the lotus of their hearts the Lord to moon-face
and exquisite beauty and proportion and enjoy bliss.

1. Many are those who are foremost among the blessed ones who have had
the realization of the Lord of supreme beauty who delights in Saman music.
2. Many are those who have the blessedness of an unerring Darsana of
the glorious Swarupam of the Lord, after seeking and finding Him in the deep
forest of their mind.
3. Many are those who unreservedly rush to offer the lotus of their
mind (Chittam) at the feet of the Lord.
4.


5. Many are the blessed Bhaktas on which necks the necklace of gem-like
qualities of Hari Himself shines, who with divine wisdom, overflowing love
and solicitude for humanity, protect it with their divine love.
6. Many are the glorious ones who feel immersed in transcendental
bliss, enthralled by the direct vision of the Lord and his majestic gait.
7. Many are the great souls, supreme devotees and sages, who are
absolutely pure and who are blessed with the enjoyment of the bliss of
realization of the Lord, like Chandra, Surya, Sahanandana, Dikpaalakas,
Devas, Kimpurushas, Prahalaada, Narada, Tumburu, Anjaneya, Lord Siva, Suka,
Brahma, and foremost Braahmana.
8. Many are the great Bhaktas, who delight in adoring the greatness of
your personal beauty and Naama and (gunas such as) prowess, courage, mental
composure, generosity and rectitude, and who knowing your disposition
towards false faiths which do not promote true devotion to you, discard
them.
9. Many are those who have understood the significance of the hidden
truths of the Bhaagavatha, Ramayana, Gita, Veda, Sastras, Puranas, the six
faiths of Siva and other gods and the thirty three crores [330 million] of
Devatas and who acquire longevity through the joy of the music endowed with
bhaava, raga, laya and other elements and who attain everlasting happiness,
thereby becoming Thyagaraja's devotee friends.
10. Many are those, who with overflowing devotion, [meditate] upon the
holy name of Sri Rama and become the true servants of the Lord praised by
Thyagaraja.

We had a pleasant day and definitely we will also get salvation since all
these five days we heard the kritis of Thyagaraja and also his five
Pancharathna kritis.

Through the exercise of compassion all beings become our fellow-beings. When
anyone suffers we also suffer. This is religious socialism as distinct from
religious individualism. If man is not to be lost, he should not be
collectivized. He must have the freedom of spirit, the freedom to renounce,
the courage to own nothing. We must love without grasping give without
expecting. These qualities are with Thyagaraja. We also imbibe these
qualities and follow the footsteps of Thyagaraja. Let us meet next year.

The lalgudi setof pancharatnams contains

easapahimam ( kalyani ),

mahitapravrddha ( kambodi ),

devasri ( madhyamavati ),

gatininnekori ( thodi ) and

lalite ( bhairavi )

The srirangam set of pancha ratnams contains

O rangashayi ( kambodi ),

karunajuda ( saranga ),

rajuvedala ( thodi ),

vinarada ( devagandhari ),

jutamurare ( arabhi ).

Tiruvotriyur Tripurasundari pancharatnams

DariniTelusukonti (suddha saveri) ,

Sundari Nannindarilo (begada, NCVasantakokilams surprisingly good non-filmy rendition is on bharat.com),

SundaraNeeDivya (kalyani),
SundariNinuVarnimpa (arabhi) and

KannaTalli (saveri )

Kovur Sundareswara pancha ratna kritis of saint tyagaraja

Nammivacchina(kalyani),
Korisevimparare (karaharapriya,
Sundareswaruni(Sankara Bharanam),
EVasudha(Sahana) and
SambhoMahadeva(pantuvarali)