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Valmiki Spell on Thyagaraja - S.V.K. @ S.V.Krishnamurthy

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Carnatic Music Book on Thyagaraja.

Paperback;

144 Pages;

First Edition: 2013;

Second Edition: 2018;

Language : English.

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A comprehensive assessment of the greatness of Sri Thyagraja.

The analytical study of the poetic lyrics of the songs provides a fascinating insight into his music.

The philosophical depth and the message of the Upanishads and epics incorporated in Sri Thyagaraja's songs have been highlighted.

The exposition of some of the songs by the author, enlivens the music lore of Sri Thyagaraja.

The sentiments expressed in the prefaces, highlight the deterioration in the present day standard of Carnatic music performances.

The comments are aimed at the preservation and improvement of Carnatic music.

The write-ups present the state of Carnatic music handled by veterans of the past and its present status.

The nearly one hundred songs included in this volume, gives an idea of the greatness of the comprehensive Saint composer.

Foreword:

It is my pleasure and honour to write about Sri.S.V.Krishnamurthy (SVK) who is an erudite scholar, are ardent bhaktha of St.Thyagaraja and an art critic of exceptional merit and integrity. While one tends to focus on his contributions as a music critic for the much respected English daily The Hindu, all will readily acknowledge that his Writings bear witness to his vast Knowledge of not only Indian classical arts but also literature, and his unparalleled command over the English language. He is a man of highest integrity and could never be swayed by personal relationships or blandishments-in kind or otherwise.

His writing always have balance and never malice. Absolutely incorruptible, he is objective in pointing out areas of improvement while also lavishing praise on accomplishments. His keen analytical mind, vast musical scholarship, his intellectual, emotional and spiritual approach to Saint Thyagaraja, and a razor sharp memory could always be counted on to bring out often overlooked contours of the performance with apt comparisons to yester year music which few had heard and fewer understood.

The preambles in his writings are a storehouse of nuanced musical expositions that set forth thoughts sparked by the concert he was reviewing. It could be exultation in finding a rare gem or an anguished cry or unfulfilled expectations. They all have genuiness of feelings expressing hopes for a bright talent or bright talent or despair over what passes for classicism. His taste in arts books no compromise-disdains market/ gallery oriented theatrics and reveres impeccable execution based on solid scholarship.

All these are nothing compared to his deep love and adoration of the compositions of Saint Thyagaraja and the links they have to Valmiki Ramayanam. For SVK, the Thyagaraja kritis are as important as the slokas of Ramayana and the parallels between them are simply awe inspiring. His bhakthi margam in no small measure includes his diligent study of the Saints compositions and the Rama Katha he finds embedded in them. For him, it is a never ending spiritual journey.

Again, it is an honour for me to set forth my unabashed admiration for a rare gem called SVK.

V.V.Sundaram,

Secretary,

Cleveland Thyagaraja Festival,

November 30, 2013.

CONTENTS:

Part one:

VALMIKI SPELL ON THYAGARJA

- Ramayana Spell;

- Desire and fulfilment;

- The purpose of Ramavataram;

- Ramas charm and valour;

- Born for kainkarya;

- On human depravity;

- Thyagarajas bhakti marga;

- Anguish and hop;

- Vision of Rama;

- Sri Rama pada seva;

- Thyagaraja lies in his aradhanas.

Part Two:

THE WORLD OF VALMIKI

- Author's note;

- Speech perfect;

Idealism and reality;

The human and the divine;

Efficacy of advice;

Phases of life;

The grip of fate;

Promises and implementation;

Ascetic austerity.

Excerpts from the book: The image of Hanuman that we see to day is one holding firmly to the holy feet of Rama. Quite surprisingly in the whole Ramayana Valmiki has not depicted Anjaneya in the posture we see him. He is depicted as handing over Ramas signet ring to Sita and again depicted as handing over the choodamani to Rama on his return from Lanka. At no event we see Valmiki portraying Hanuman as holding Ramas feet.

But how does this transformation in picturisation come about? Sri Thyagarajas genius solved this riddle in his most famous kirtana on Hanuman GITAARTAMU in raga Surati. In the very first word Sri Thyagaraja has revealed the truth of how Hanumans devotion has to be acted upon in our lives.

Article written by SVK in The Hindu titled The Valmiki Spell dated 07th July 2011 is mentioned here to get a glimpse of SVK's thougths, writings, profound knowledge, English language etc . "A study of Tyagarajas songs show that he took the cue from the Ramayana.

Sri Krishna Gana Sabha has launched a special thematic monthly programme Sadguru-Rasanubhava meant to educate the rasikas on the lofty contents in Tyagarajas compositions. Performing musicians, I am told, have been requested to give a gist of the message in the compositions before singing there.

The greatness of Tyagaraja is the link he establishes with Valmiki. His ideal expressed in the songs is not to present himself as a xerox image of Valmiki, though it is commonly accepted that he is Valmiki avatara. This he makes explicit in the piece E-Paniko-Jenminchitinani (Asaveri). In the Charanam he says:

Valmikadi-Monulu-Narulu-Ninnu Varninchina-Naayaasa-Theeruna (If Valmiki, rishis and others have described Rama in their works, will it satisfy my heart desires)

Tyagaraja loves to enjoy Valmiki in his own poetic way. The golden thread of the subtle influence of Valmiki running through his songs reveals his admiration for the Adikavi.

Why did Tyagaraja choose the sangita marga? Not because it is generally proclaimed that music is the easiest means to reach God. Valmikis Ramayana slokas are in Paada-Baddaha-Akshara-Samaha-Thanthri-Laya-Samanvitaha (composed with words, with tala, laya)

So Tyagaraja, in Valmikis footsteps, preferred that his songs too should be tightly clothed in superb sahitya, bathed in sublime music brimming with spirituality. It was perhaps the saints expectation that his songs, held in esteem as the Upanishad) would be heard and enjoyed by all like the Ramayana.

After this general observation let us look at the way Valmiki cast his spell on Tyagaraja. Though it is commonly called Ramayana, Valmiki himself proclaims:

Kaavyam-Ramayanam-Kritsnam Sitaayaas-Charitham-Mahat (The great story of Sita). Tyagaraja took this hint to compose the Khambodi kirtana, Maa-Janaki. Tyagaraja expatiates on this theme.

Ravanaariyani-Raajillu-Keertiya Maa-Janaki-Chetta-Battaga (your great fame as the destroyer of Ravana and the status of chakravarti rests on the good fortune you married Janaki.)

On the face of it this may appear to be impertinent. But Tyagaraja is quite aware of how Valmiki has delineated Sitas greatness. In the Sundara Kanda, Sita, rejecting the overtures of an infatuated Ravana in the Asokavana, says this in utter contempt:

Asandesaattu-Ramasya Thapasascha-Anupaalanaathna-Twaam-Kurmi-Dasagriva Bhasma-Bhasmaarha-Tejasa (Because I do not have Ramas approval and my own pursuit of the path of penance, I am not turning you into ashes).

And to speak of Marichas advice to Ravana:

Ravana Aprameyam-hi-Thaat-Tejaha

Yasya-Saa-Janakaatmaja

(Immense is Ramas prowess whose wife is Janaki, dont contemplate abduction). All these sentiments in Valmiki Ramayana are poetically compressed by Tyagaraja in the Khambodi song. In one of the charanas of Moraalakimpa Vemi, Tyagaraja recalls the Vibhishana episode (the first charanam is Sugriva episode) in these words.

Oka-Nisicharudu-Annsa-Maata

Oruvaka-Charananagaa

Suka-Vachanamulo-Naadu

Palukulanni-Vibheeshanamaa.

(When Vibhishana surrendered seeking your protection, You gladly complied with his plea. Are his words honeyed while my words above appear to be fearful? (with pun on the word Vibhishana).

This composition also is in the same tenor as the previous one smacking of sacrilege. The sarcastic usage Sukavachanamulo (sweet as honey) is the way Tyagaraja humorously dwells on Valmikis account.

In the Ramayana, Valmiki states:

Sarvaloka-Saranyaaya

Raghavaaya-Mahatmane

Nivedaya-Maam-Kshipram

Vibhishanam-Upastitham.

(Please inform quickly, Vibhishana has come seeking Raghavas protection). Rama consults Sugriva and others and setting aside their objection to entertain Vibhishana in their ranks, firmly makes the profound assurance (not only to Vibhishana but to all of us).

Mithrabhaavena-Sampraaptam

Na-Thyajeyam-Kathanchana

(He comes in all sincere friendliness I shall not let him down).

On Ramas quality of recognising Mithrabhaavam, Sita, advising Ravana, refers to this fact of Ramas glory. She says; Mitram-Aupayikam-Kartum

Rama-Sthanam-Pareepsata

Vadamcha-Anichchaya-Goram

Twayaasow-Purusharsabaha

(If you want to save your life Ravana, extend your hand of friendship to Rama).

If may appear Tyagaraja invokes Sugriva and Vibhishana to impress on Rama how he is favourably responsive to the former and indifferent to him. He also relies on presenting Prahlada and Dhuruva to soften Ramas mind. (In the famous kalyani kirtana Enduko-Nee-Manasu-Karagadu) he expresses his disappointment.)

In the song in Gurjari

Varaalandu-Kommani-Naayandu

Vanchana-Seyuda-Nyaayama

(When my mind deeply desires your bhakti alone, it is not proper for you to offer worldly boons).

It is in this context that he pleads with Rama that he is as great a devotee as Prahlada and Dhruva to whom Rama immediately showered his grace.

It is in the great Thodi song Emani-Maatlaaditivo that his mind lovingly dwells on Valmikis description of Rama with the epithets Mridubhashe. Without recording each and every occasion mentioned by Valmiki, Tyagaraja has summed up his exhilaration with the words, Maya-Bhayamuga-Mudduga/ Evari-Manasuku-Evidami-Telisi/ Emani-Maatlaaditivo.

(With softness and firmness, reading the minds of everyone, how did you, Rama, converse with all - father, mother, brothers, kings, rishis, monkeys, etc., to bring them to your way.

Lets compare some situations as presented by Valmiki and Tyagaraja:

To begin with, Rama meets Kaikeyi, who is uncertain as to how to break the shocking news of sending him to the forest. Here and in other instances we see the force of Tyagarajas phrase, Evari- Manasuku Evidamo.

Rama tells Kaikeyi:

Thath-Broohi-Vachanam-Devi

Raagnyo-Yat-Abhikaangshitam

Karishye-Partijane

Ramo-Dwir-Naabhi-Bhaashate.

Viddhi-Maam_Rishibihi-Tulyam

Kevalam-Dharmam-Aarsritam

(Tell me what Dasaratha wishes. I shall discharge it, I promise. Rama never double speaks. Take me for certain, like the rishis, I revere Dharmam!

Next he meets Kausalya. Rama convinces her to allow him to go to the forest.

Mayaa-Chaiva-Bhavatyaa-Cha

Kartavyam-Vachanam-Pituhu

(You and I have to abide by Dasaratas dictates) That settles the matter.

How sweetly he faces Sabari. He is all admiration for her holy status and gently addressing her Tapodane and Charu-Bhashini asks:

Kaschit-Niyamaaha-Praaptaaha

Kaschit-Manasas-Sukham

Kaschit Guru-Sushroosha

Sapalaa-Chaaru Bhashini

(Have you gained peace? Have you received the fruits of service to your guru?)

These are a few instances of Naya approach. As for the bhalega aspect Rama is angry at Sugrivas lethargy in ordering the search for Sita. He sends stern words to Sugriva through Lakshmana:

Nacha-Sankuchita-Pantaa

Yena-Vali-Hato_Gataha

Samaye-Thishta-Sugriva

Maa-Vali-Patham-Anva Gaaha

(Remind him that the door through which Vali went is still open. Ask him to discharge his commitment and not follow his brother).

Now we can visualise how these words in Valmiki Ramayana provoked Tyagaraja to exclaim Evari-Manasuku-Evidamo-Telisi-Naya-Bhaya-Mudduga

Sri Tyagarajas Sahitya wealth bowing to Valmikis depiction of Rama cannot be fully appreciated and enjoyed unless one is well acquainted with Valmikis moola Ramayana. The bards is so over powering that there is little desire to savour the spiritual sentiments in his songs. Hope Sri Krishna Gana Sabhas effort in this direction will at least touch the fringe of Tyagarajas Sahitya excellence."

BOOK REVIEWS:

From The Hindu:- Both were closely connected to Rama. One, according to Puranas, saw Him in flesh and blood and the other worshipped the Prince of Ayodhya through his songs that are immortal. Legend has it that it was Valmiki who sheltered a pregnant Sita and it was in his hermitage that Lava and Kusa were born.

While Valmiki scripted the life of Rama and Sita, Tyagaraja, bard of Tiruvaiyaru, captured the various facets of his favourite deity and His consort from the point of view of an ardent devotee, now in ecstasy, now in anguish.

Tracing the influence of the Adikavi on Tyagaraja, SVK quotes from the latters songs instances that reflect Valmikis train of thought. If one wishes to fully understand the significance of Sri Tyagarajs journey through bhakti marga, one has to go to Valmiki, says the author in the chapter Desire and Fulfilment.

The book is divided into two parts. The first is titled Valmiki Spell on Thyagaraja and the second, The World of Valmiki. Both speak volumes of the deep research done by the author before embarking on the subject. And overshadowing the intellectual dimension is SVKs devotion to Rama and reverence for Tyagaraja. - Geetha Venkatramanan, The Hindu.

During Book Release Function held on 22.01.2014 : Mr. Gandhi, who is chairman of Kalakshetra Foundation, said, besides helping one understand the musical genius of the three composers who had lived more or less contemporaneously, the effort would underscore how the act of composition was a continuing process. It is a process in which there are constants and variables so that each practitioner of classical music can make her or his own contribution to Mano dharma through the rendering, he said.

He was speaking after launching Valmiki Spell on Thyagaraja, a book by S.V. Krishnamurthy, music critic of The Hindu, at a function organised by Sri Krishna Gana Sabha. The research, a new concordance of the compositions, should focus on whether Saint Thyagaraja, Muthuswami Dikshitar and Syama Sastri used the same words, and the impact that was sought to be created, he said. SVK has been synonymous with the appreciation of classical music in our city through the exceptional medium of that exceptional newspaper, The Hindu, Mr. Gandhi said, adding that with the book he had made a great contribution to better, higher understanding of Thyagaraja.

Editor-in-Chief of The Hindu N. Ravi said SVK, with his well-known editing and writing skills and profound knowledge of music and literature, had very few equals as writer of the arts.

ABOUT THE AUTHOR: SV Krishnamurthy, the well known The Hindu's Senior music critic who wrote under the nom de plume SVK. His reviews during music festival was noted and had fan followers. SVKs Father was a well known Novelist Humour Writer SVV.

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