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Divya
Nama Kirtanas - A
Reflection of the Bhajana Sampradaya “I
dwell not in Vaikunta, nor in the hearts of great Yogis; Know
O: Ye Narada, Where my Devotees sing, There I dwell.” By P. Sreenivasan |
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Of the Nava Vidha Bhakthis or the
Nine Paths of Devotion to Godhead, perhaps the best understood, widely
practiced and most enjoyed, is KIRTANAM. Singing one’s way to salvation was
practiced long before Sri Thyagaraja Swami’s days. The Nayanmars and Alwars,
preached and practiced this Marga or path to salvation. We have it on the authority of scholars
like Dr. S. Ramanathan that Thevaram and Divya Prabhanda hymns were sung to
raga and tala and not merely recited as poetry. To this day, the Oduvars of the Saivite
School and the Adhyapakas of the Vaishnavite school, sing the Thevarams and
Divya Prabhandams, as part of the temple rituals. Hymns have been composed by various saints
and savants, on their Ishta Devathas, songs in praise of Lord Muruga by Arunagirinathaar
known as Thiruppugazh, in praise of the Lord of the Seven Hills by
Annamacharya, in praise of Purandaravittala by Purandara Dasa, in praise of
Lord Rama by Bhadrachala Ramadasa and in praise of Lord Krishna by Narayana
Thirtha continue to be part of any bhajans; all of them composed before the
time of Sri Thyagaraja Swami. Bhaja means the worshipping of God
or praying to God, singing His praise.
This form of Bhakthi was an important part of the daily worship by the
Bhagavathas. Members of the public
joined in at these Bhajans, repeating the verses and singing in chorus, both
at the Uncha Vritti on the streets and at the gathering in the temple. One Divya Nama Kirtana of the Sadguru in
Yamuna Kalyani describes the Haridasas setting out on their Uncha Vritti
Bhajan on the streets. “Watching the
Haridasas getting out on their Bhajan fills our heart with delight. With their waist bands tied well, with
metallic cymbals in their hands, with the musical gosham of the mridangams,
with Gnana, Rama Dhyana and sweet music, surrendering themselves
wholeheartedly to the Lord, and watching them go on the streets fills the
heart with delight. Sri Thyagaraja Swami, being a
Bhagavatha in the Bhakthi Marga, strongly believed that music and devotion
combined, represented the easiest, sweetest and certain path to the
attainment of Jeevan Mukthi or liberation from the cycle of birth and death. Divyanama Keertanas On his reasons for composing the
Divyanama Keertanas, Thyagaraja Swami, in his kriti, “Raga Ratna Malika” in
Ritigowla, says “As the sole means of my salvation, with the authority of all
Scriptures, as the path to happiness of all Yogis and for all Bhagavathas to
sing together, I composed these songs.
Come let us sing these together and attain all Sowbhagya.” Collectively a set of songs composed by
Thyagaraja Swami as an expression of bhakthi and bhajana tradition came to be
known as Divya Nama Kirtanas. There are some 78 kirtanas that are
in the group of keertanas called Divyanama Keertanas. These keertanas are
meant for group singing. they are generally in the
"lambaka" style with one pallavi and a series of charanams with the
"dathu" or tune to facilitate repetition on choral singing. In
theme and structure, they are varied. The keertanas are composed on a wide
variety of popular ragas such as Todi, Sankarabharanam, Karaharapriya and
Saveri, and less well known ragas such as Andhali, Ahiri, and Balahamsa. Even
in the rarer ragas, these songs have a simple structure and so any one with
an ear for music can very quickly learn and join in the singing. THE RAMAYANA THEME Mostly the divyanama keertana themes
are based on the Ramayana but as pointed out earlier, there are also songs on
human conduct. All important incidents in Srimad Ramayana are narrated in
sequence, from Viswamitra Yagasamarakshna to pattabishekam, in the kirtana
“Vinayamunanu” in Sowrashtram. The
unique beauty of this composition is its poetic excellence. Parayaya Namas or Synonyms for hands, feet,
eyes, etc., is employed to narrate the stories. The translation of the two Charanams to
explain this point is given hereunder and it is suggested to interested
readers to read the complete song and its translation from a book by Swami’s
kirtanas. “When will I see the feet that
marched with Viswamitra, when will I see the feet that brought Vimochana to
Ahalya, when do I see the foot that pressed down the Siva Dhanus at the
Swayamvara of Sita, when do I see the feet that Janaka washed with milk at
his daughter’s wedding, when will I see the hands which tied the mangala
sutra to Sita, when will I see the hands which took the strength of
Parasurama, when will I see the hands which killed Virada and when will I see
the hands which gave abhaya to the rishis in the forest?” In this manner, the story of Ramayana is
taken from Bala Kanda to Aranya Kanda using synonyms. The singing of this song will be the
singing of the whole of Ramayana and so this song is referred to as Samkahepa
Ramayana or condensed Ramayana. In The kirtana
“Pahirama” in Kharaharapriya,
each stanza is devoted to one of the members of Rama’s parivara
or entourage and we are told how Rama gave happiness to Sita
with his words, to Lakshmana with his eyes, to Bharata with his embrace, to Sathrugna
with his nod of approval and to Anjaneya with
praise. This song is
full of raghabhava and bring out, within the
limitations of a kirtana without sangatis, the nuances of this rakthi
raga. As an example of this, the Yadukula Kambhoji composition
“Sri Rama, Jaya Rama” in khanda chapu
may be cited. Starting with Kausalya and wandering what great penance she had
performed to earn the privilege of being able to kiss the lovely cheeks of
Sri Rama, Dasaratha, Sowmitri,
Kowsika, Ahalya, Janaka, Sita and Narada are all mentioned in the same manner, mentioning
the joy they got out of Rama.
Incidentally, the arrangement of the episodes and characters is such
that this composition also narrates Ramayana from Yaga
Rakshanam to Sita Kalyanam. TRUE BHAKTHA The song “Karuna
Jaladhe” in Nadnamakriya
lists the qualities of a true bhaktha after
mentioning that the experience of a true bhaktha is
totally different from the findings of one who does not know Rama. The song lists the various sections of a
true bhaktha, which ensure his constant thought of
Rama and his presence with the devotee.
In the last charana, Swami refers to the advaitic experience, which comes to a devotee practicing
for long and Bhakthi marga. “Neevanni teyani Balkudure, Neeve Thannani Kulgukudure.” They
(the true devotees) will find and speak of you of you being everything and
they themselves being you.” What a
worthwhile reward for a waiting bhaktha? HUMAN FOIBLES Listing the commonly occurring
misconducts and weaknesses of man, in the kirtana
“Rama Rama Krishnayanare” in Gowlipanthu,
Swami says that even the worst sinners are known to have changed for the
better and attained salvation by singing the name of the Lord. “Kaani Panulu Kori Kori,
karanguchundu Nannavulu”
and “Challani Vakulu Balki Swanthaamanalamaina Varu” meaning that those who hanker for things that are
not right and to which are not entitled and those who speak with honey on
their tongue but with fire in their hearts, even they will reform and benefit
by singing Rama, Rama, Krishna. Manasika Puja One can go on and on giving examples
of the beauty, wisdom and music of these priceless gems have to offer. Let us be contented with one final example of
Swami’s stress on purity of thought, unselfishness and un-attachment to
fruits of worship, by quoting the kirtana “Paripalaya Paripalaya” in Reetigowlai “O: God, my pure body is your temple; my sthira or nischala chithha (unwavering) is the peeta
or asana for you; my pure thoughts are Ganga water
for your abhisheka; my devotion is the golden cloth
for you to wear. The burning away of
the fruits of my past evil deeds is the sambrani dhoopam. My
happiness which cannot be separated is the thamboolam
for you and so on. Summary The list of such songs and their
themes is long and I suggest that those who are interested may go through the
textgs and authentic translation for further study. It is for this very
purpose of giving the interested student and scholar a more comprehensive
coverage; to enable even those not taking part in the singing, to appreciate
the superb concepts enshrined in the divyanama keertanas that, for the first
time ever, Sri T. S. Parthasarathy has included in his book of Thyagaraja kritis,
a word for word translation. It may
be added here that the late Dr. R. Krishnaswami of Glaxo Labs was also, in no
mean measure, responsible for the successful publication of this book. In
1967, the 200th Jayanthi Aradhana of Sri Thyagaraja Swami was celebrated all
over the country. At this time, Dr. Krishnaswami, a great and ardent devotee
of the Saint, was very keen on the publication of an authentic version of the
Swami's composition by Sri Sadguru Sangeetha Samajam, Purasawalkam, Chenni. It was greatly due to
his tireless endeavors that this publication was brought out, on the Aradhana
day in 1967 (First edition). A second edition was brought out in 1972. This
information has been added on Dr. R. K's contribution after his passing away
in June, 1991. My request: do not put away to
another day the joy or reading, listening to or singing those musical
gems. It is impossible to convey the
happiness which can come from the singing of these songs. An essay on sugar cannot convey the
sweetness of sugar. You have to taste
it yourself. In his composition “Anandam Anandamaye” in Bhairavi, the Swami says “Even Brahma, Indira and Siva
cannot express in words all the happiness they experience; Who am I, a poor
mortal with a very limited vocabulary?” |