“Carnatic music is raga-centric and the kritis are only a peg to hang the melody and rhythm on.” From a musical point of view the above statement is valid. In Hindustani music, the lyric is almost inconsequential . But Carnatic lyrics are in a class by themselves and in many cases are adorned with different types of alankaras. Not being aware of this is no great loss for one who wants to listen to and enjoy the music alone. But for one who wants holistic enjoyment combining musical beauty with literary beauty, being aware of the many aspects of lyrical beauty is essential .
Some of the alankaras we come across in many Carnatic lyrics are swaraksharams, picturesque epithets, similes, metaphors, yatis, rhyme, rhythm, mudra, etc. These represent linguistic creativity. In addition there are instances of creativity where a common idea is expressed in uncommon language. Both these types of creativity constitute what may be called the poetry of the lyrics. Among the Trinity, Tyagaraja’s and Dikshitar’s kritis have examples of some of these but in Syama Sastry’s compositions these are scarce. They abound in Jayadeva’s Ashtapadi and are also found in Annamayya’s and Ramadas’s kritis.
Let us look at some samples:
Rhyme and rhythm: ‘Taraana dorakani paraaku naayeda nurama jesithe Suraasurulu me thuraa ippudu ee haraamithaname lara bhaktha Tyagaraja vinutha’ — Why are you showing unprecedented indifference toward me? Will the devas praise you for this? (‘Edhuta nilachithe,’ Tyagaraja)
Metaphor and simile
Metaphor: ‘Janakajaa sringaara jalaja bringaa’ — the beetle hovering around the lotus that is Sita’s beauty (‘ksheera saagara vihaaraa,’ Tyagaraja); ‘Raadhaa mukha kamala madhu rasikam’ — one who enjoys the beauty of Radha’s face like a beetle which enjoys the nectar in a lotus (Radha mukha kamala, Sivan ); ‘Oora vindhu’ — A feast for the whole village, referring to the child Krishna who attracted all the gopis in the village. (‘Rara Chinnayya, Annamayya)
Simile: ‘Vidhu vidambane’ — beauty that mocks at the moon (‘Meenakhi memudam’ — Dikshithar )
Swaraaksharam: ‘Nee garima gani nee darini cherithini sadha saamanigama modhini’ — seeing your greatness, I have approached your presence, One who is pleased by listening to Sama Veda (‘saraguna kaavumu’ Todi varnam — Balamuralikrishna )
Ideational creativity: ‘Dinakaran vadhanathode samatha sollum kavigalukku kimapi lajjai lavam illaiyo’ (poets who compare the effulgence of the face of my lord Padmanabha with the sun should be ashamed for making such a poor comparison — song ‘Neelapuri kuzhalalle,’ Swati Tirunal); ‘bhava taaraka natho bahu balkina badalika theera, bhavanutha, naa hrudayamuna ramimpumu’ (Have you got tired by talking to me too much? Please rest in my heart. ‘Bhavanutha’, Tyagaraja);
Unusual request
‘Kalaigal karkavum karpanai seyyavum, kaalam kadavaamal karuthaai poruthavum’ — give me the aptitude to learn the arts, to be imaginative and to concentrate my mind without wasting time. This request to the Goddess is unusual and different from the usual request to grant redemption or to rescue one from the bhavasaagaram (‘Arula vendum thaaye), Dandapani Desikar).
Mudra: ‘Rama kali kalusha nivaarana’ — ‘Rama who removes the ills of kali yuga.’ An ingenious insertion of the raga name Ramakali. (‘Rama kali kalusha,’ Dikshitar); ‘vizhi ezhisai subhabhandhu varaalliyall “- eyes as dark as those of that good friend of seven-note-based music, the beetle. Beautiful insertion of the raga name.
Yati: ‘Swarupam, thathva swarupam, sakala thathva swarupam’ — embodiment of all thathvams. (‘Tyagaraja yoga vaibhavam’ — Dikshitar
These have nothing to do with one’s bhakti or even musical knowledge but are purely beautiful literary and structural aspects to be enjoyed from an aesthetic point of view. The South Indian rasika would, therefore, do well to take the trouble of familiarising himself with the meaning of our kritis so as not to miss this bonus treat.
The writer is a retired IAS officer
