The everlasting enchantment of Muthuswami Dikshitar’s compositions
The late 18th and early nineteenth centuries mark a golden dateline within the historical past of Carnatic music. The interval witnessed the presence and the valuable contributions of the illustrious Trinity of Carnatic music — Tyagaraja, Syama Sastri and Muthuswami Dikshitar.
Dikshitar, the youngest of the Trinity, was born in 1775. This 12 months marks his 250th start anniversary. Born to Ramaswami Dikshitar and Subbamma within the temple city of Tiruvarur, he was named after Lord Muthukumaraswami of Vaitheeswaran kovil.
At an early age, Muthuswami Dikshitar had mastered Vedic lore, treatises in Sanskrit, sangita shastra, astrology and drugs.
When Ramaswami Dikshitar and his household stayed at Manali (close to Chennai), beneath the patronage of Manali Venkatakrishna Mudaliar, that Muthuswami Dikshitar had the chance to accompany his non secular guru Chidambaranatha to Kashi. This journey facilitated his intense non secular observe and his acquaintance with the musical atmosphere of northern India.
Again from Kashi, Dikshitar visited the Subrahmanya Swami temple at Tiruttani. It’s stated that the Lord appeared within the guise of an outdated man and put sugar sweet into his mouth. It was then that he rendered his first musical creation within the raga Mayamalavagowla. Having thought of Guha (Subrahmanya) as his guru, he adopted the mudra of Guruguha in his compositions. His first composition ‘Srinathadi Guruguho jayati’ is a wondrous amalgam of beautiful sahitya and sangita. The kriti is a tribute to the greatness of the guru. Musically, it incorporates, in a really delicate method, glimpses of sarali varisai, janta varisai, alankarams and palindromic svara patterns.
Following the primary kriti, Dikshitar composed seven extra within the vibhakti theme (the eight case endings of Sanskrit grammar). In all these eight compositions, referred to as the Guruguha Vibhakti kritis, he elucidates the traits of a really perfect guru. Dikshitar was a staunch advocate of Adi Sankara’s Advaita Vedanta. He additionally adopted Adi Sankara’s Shanmata ideology, the worship of six outstanding godheads — Ganapati, Kumara, Shiva, Shakti, Vishnu, and Surya. Touring extensively within the Dravida land, Dikshitar devoted a number of compositions to those deities at many kshetras.
Dikshitar primarily composed in Sanskrit except for a couple of kritis in Telugu and Manipravalam. His compositions stand out for his or her lyrical excellence and musical aptitude. Vital particulars of every kshetra and its greatness are talked about in his compositions. Prasa (alliteration) constructions, Yati patterns, the interlacing of raga names, the inspirational takeaways from works of yore, the references from the esoteric to the tangible, together with the blissful unison with sangita make his compositions extremely particular.
A big compendium of Dikshitar’s compositions is devoted to Tyagaraja, Nilotpalamba, Kamalamba, Valmikeshvara, Achaleshvara, Hatakeshvara, Anandeshvara, Siddhishvara, the various types of Ganapati and Sundaramurti Nayanar within the Tiruvarur temple. All these compositions are repositories of details about the Tiruvarur temple and its hallowed heritage.
The compositions on Tyagesha presumably cowl each important element in regards to the temple and its hoary traditions. Aside from particular person compositions on Tyagaraja, Dikshitar has devoted a vibhakti sequence on the Lord of Tiruvarur. An impressive pattern of the compositions on Tyagaraja is the kriti ‘Tyagaraja Mahadhvajaroha’ in Sri raga. This grand composition describes the well-known Vasanta utsavam of Tyagesha. On this kriti, Dikshitar mentions the essential occasions of the utsavam such because the hoisting of the sanctified flag, efficiency of musical devices such because the nagaswaram and the maddala, the completely different vahanas corresponding to Bhuta, Gaja, Vrshabha and Kailasa, the asterism of Ashlesha throughout which the a lot acclaimed Azhi ther (automobile pageant ) occurs, the particular krishnagandha tilakam that the Lord is adorned with, the distinctive darshanam of the Lord’s ft, an occasion that occurs solely as soon as in an Ayana (solstice) and the famed theppam ( float pageant). The contours of Sri raga are exquisitely crafted on this grand composition. An essential phrase of svaras — p d n p m on this raga is employed solely as soon as in a composition as per the raga custom that Dikshitar adopted. The way through which Dikshitar has mixed this rule and has used the musical phrase as a svwarakshara phase for the phrase ‘Pada darshanam’ — an occasion that occurs solely as soon as — is astounding.
The sahitya and sangita of the compositions devoted to the Nilotpalamba, the Pancha lingas and different deities in Tiruvarur are massively enlightening.
Thyagarajaswami Temple in Tiruvarur
The magnum opus amongst Dikshitar compositions is the gathering of the Kamalamba Navavarana krtis. Devoted to Goddess Kamalambika in Tiruvarur, these compositions are additionally within the vibhakti theme. They convey the quintessential philosophy of Navavarana puja, the worship of the Goddess within the Sri Chakra. It’s an elaborate pivotal ritual within the Srividya fold. The Sri Chakra is a consortium of 9 sub chakras or avaranas. Every avarana is presided by particular devatas, chakreshvari and yogini. Dikshitar superbly strings the salient options of this hallowed worship in these compositions.
Commencing with a dhyana kriti within the raga Tiodi, the 9 kritis that comply with are set in ragas Anandabhairavi, Kalyani, Shankarabharanam, Kamboji, Bhairavi, Punnagavarali, Sahana, Ghanta and Ahiri. These kritis, following the vibhakti theme, are devoted to every avarana of the Sri Chakra. Dikshitar mentions the very important particulars linked with every avarana such because the names of the avarana, its chakreshvari, yogini and the set of devatas. The ninth avarana is represented by the bindu (dot) denoting the Goddess because the Supreme Brahman and the unison of Shiva and Shakti. The Ahiri kriti is devoted to the bindu. Dikshitar incorporates all of the eight vibhaktis in the identical composition, suggesting the all-pervading nature of the Goddess. This crest jewel of the Navavarana sequence shines because the nucleus of Srividya upasana and its lofty beliefs. The sequence ends with a mangala kriti in Sri raga. In unison with the majesty of the music, these compositions stay unmatched.
Dikshitar has composed seven kritis which might be devoted to the grahas or planets that govern the seven days of the week. Set within the Suladi Sapta talas, these kritis are filled with very important astrological particulars. Aside from these talas, he additionally composed in uncommon talas corresponding to Khanda Triputa and Khanda Eka.
The Shaiva traditions describe Shiva as an embodiment of the Pancha Bhutas. Dikshitar has devoted 5 compositions to Lord Shiva enshrined as the weather at these 5 Kshetras specifically Kanchipuram, Tiruvanaikkaval, Tiruvannamalai, Sri Kalahasti and Chidambaram.
Myriad types of Ganapati are described within the puranas. Dikshitar has devoted compositions to few of those kinds. The iconography given within the dhyana shloka matches completely with the outline portrayed within the kriti. ‘Hastivadanaya’ in Navaroju, ‘Panchamatanga mukha’ in Malahari and Ucchishta ganapatau in Ramakriya are basic examples.
Phrase usages in Dikshitar’s compositions appear most acceptable within the context that they seem in. For instance, the phrase namostute is used within the kriti on Surya, consistent with the truth that Surya is one who’s happy with namaskara. Equally, in ‘Jambupate’, the kriti pertaining to the water component amongst the Pancha hutas, most phrases, together with the raga identify (Yamuna Kalyani), have a delicate connection to the component. ‘Hiranmayim Lakshmim’ in Lalita and ‘Chandram bhaja manasa’ in Asaveri are impressed by the Sri Sukta and the Purusha Sukta, respectively. Quotes from the Bhavanopanishad, the Lalita Sahasranama, the Lalita Trishati and the Saundaryalahari are seen in lots of compositions of Dikshitar.
The madhyama kala passages in Dikshitar’s kritis are an unique worth addition. Sprightly in nature, these passages add a lot to the fantastic thing about the composition. Many Dikshitar krtis have simply the pallavi and the anupallavi. The charanam half doesn’t exist in these quick compositions. It is a uncommon assemble of the kriti kind.
Weaving in raga names into the sahitya is an gratifying trademark of Dikshitar’s creations. Raga names corresponding to Mahuri (tvamahurishadayah) within the kriti ‘Mamava Raghuvira’ and Tanukirti (cintayamyatanukirtim) within thekriti ‘Cidambara Natarajamurtim’ are spectacular illustrations.
The Ragamalikas Purnachandra bimba vijaya vadane, a composition of six ragas and the monumental Chaturdasha Ragamalika, a composition of 14 ragas are invaluable treasures. The lyrical and musical edifice of the Chaturdasha Ragamalika makes it a fascinating masterpiece.
It’s significantly essential to know in regards to the raga custom that Dikshitar adopted. After Venkatamakhin devised the formulation for deriving the 72 father or mother scales, we discover that two main techniques of raga classifications, with their very own units of conditions, emerged. One system charted out the 72 father or mother scales or melas, with the rule of the father or mother raga having all of the seven swaras, however not essentially in a linear order. On this system the melas have been referred to as the Raganga ragas. Within the different system, it was necessary that the mela raga had all of the seven notes in a linear vogue. The scales on this system are referred to as the Melakarta ragas.
Dikshitar adopted the Raganga raga parampara with diligence. Thus, his compositions show the flavours of raga as per the Raganga raga parampara.
Being a vainika, Dikshitar’s music displays the bani of the veena. Intricate gamakas, janta swaras, lengthy drawn jarus, swift madhyama kala passages and chitta swaras mark the character of his music.
An attention-grabbing collective is the Nottuswarams. Dikshitar had the chance to hearken to the music of the British bands. He composed charming Sanskrit sahityams for these charming Irish and English tunes, together with ‘Santatam pahi mam sangita shyamale’, the sahitya for the melody of the British nationwide anthem.
In his later years, when hit by penury, Dikshitar, in his fervent prayer to Goddess Lakshmi, rendered ‘Hiranmayim Lakshmim’ in raga Lalita. When the difficulties phased out, he composed ‘Mangaladevataya’ in Dhanyasi as an expression of gratitude.
Enroute to Ettayapuram for his brother Baluswami’s wedding ceremony, Dikshitar was distressed to see the crops withering because of drought. It was then, in an earnest imploration to Goddess Amrteshvari, he composed the kriti ‘Anandamrtakarshini’ within the raga Amrtavarshini. When he was educating it to his disciple Subrahmanya Ayya, there was an instantaneous downpour.
Dikshitar’s final moments got here within the 12 months 1835, throughout his keep at Ettayapuram. On the auspicious day of Tula Krishna Chaturdashi, the day of Deepavali, whereas immersed within the music of the road ‘Minalochani pashamochani’ from his Gamakakriya kriti, ‘Minakshi me mudam dehi’, he handed into the ages, bequeathing to humanity a priceless treasure trove of sangita and sahitya.
Revealed – March 20, 2025 08:11 pm IST
