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Book Review
Greatness of Tyagaraja
KNOW YOUR TYAGARAJA: S.V. Krishnamurthi; T.R. Publications, PMG Complex, II floor, 57, South Usman Road, T Nagar, Chennai-600017. Rs. 195.
"Moksha Kaarana Saamagryam Bakthireva gariyasi" — Bakthi is ideal to attain salvation and music with devotion is the best medium to reach that goal. The Lord says that he resides in the hearts of His devotees, and Tyagaraja is a radiant star in the firmament of Bhaktas.
S.V.Krishnamurthi, an erudite musicologist and critic who was also a performer has been well recognized and respected for his incisive, constructive reviews. His great love and admiration for the saint poet of Thiruvayaru were well reflected in his series of articles titled "Know your Tyagaraja" that have appeared in The Hindu from time to time. His research and deep analytical evaluation of the Kritis of Tyagaraja have helped the musical fraternity to a large extent. A compilation of some of his writings on the greatness of Tyagaraja has been brought out in three volumes. This book is the third.
Tyagaraja was as divine as the Lord Himself because he was a God realized soul whose influence was profound and elevating, and the Olympian levels of his Rama Bhakti made his creative genius, nonpareil. The Aranya Kanda fascinated the composer, says the author, for the songs like "Padavini" in Salagabhairavi, "Ennalluyoorage" in Subha pantuvarali, "Kana kana ruchi" the varali ratnam, "Entaninne" in Mukhari that pertains to the bhakti of a mahapurusha, who is comparable to the status of maharishis Sarabhangar, Sutheekshnar, Jatayu and Sabari. Perhaps "Kana kana Ruchi" could have been referred to as one of the pancharatnas or the Varali ratna instead of Pancharatna that is indicative of the whole gamut of the five peerless gems.
Tyagaraja, though a saint of great spiritual eminence, was not quite sure as to which of the tenets of Advaita, Dwaita and Visishtadvaita would pave the way to reach his objective, that of being a servitor to the Lord as were Sita, Lakshmana, Bharata, Satrugna and Anjaneya.
In the Bilahari kriti "Intakannanandamemi", he advocates the concept of Advaita, which is non-duality. In his Reethigowla song he wonders which confers bliss, Dwaita or Advaita. But his supreme devotion to the Almighty makes him surrender totally and prompted him to sing "Makelara vicharamu" (why should I worry about anything, when I know that all the world is a stage and it is you who holds the strings to direct the destinies of the earthly puppets).
It is wholly true that Tyagaraja's compositions, reflecting various moods, are governed more by the heart than the intellect. His singular devotion to Rama raises his songs to the standards of the Vedic teachings of Tattva (Truth), Hita (means) and Purushartha (the ultimate goal).
The kritis portray two facets of the composer's devotion, his chiding the Lord for His indifferent attitude and the other more touching soulful revelations that lift one from mundane shackles.
Tyagaraja's concern for the salvation of his fellow men is emphasised in his Durbar kriti "Ela teleyalaro, poorva karma melaguna jesiro Ramayya", meaning what karma have they done in their previous births that they are unable to realize the greatness of Rama.
The Pancha ratna kritis of Tyagaraja are lauded as the epitome of compositions in Carnatic Music. "Dudukugala" in Gowlai deals with the vile behaviour of man, while "Endaro Mahanubhavulu" in Sriragam guides one to traverse the proper path shown by great bhaktas to reach the Lord's feet.
The enduring bliss of Rama bhakti samrajyam is brought to the fore in the Suddhabangala kriti "Rama bhakti samrajyam". "Theliyaleru Rama" in Dhenuka and "Natachi Natachi" in Kharaharapriya express clearly the contempt Tyagaraja had for the pretenders and the veshadharis who while counting the beads in the Japamala, only concentrated on ways and means to acquire wealth.
To get rid of life's obstacles, Tyagaraja prescribes the only cure, to have unswerving, unflinching faith in Lord Rama and to meditate on His feet, so devotedly held by Anjaneya.
The lyrics and the meanings for more than fifty compositions are gifts to both performers and Vidhyarthis. Tyagaraja's Rama bhakti manifest in his songs is but a drop within the parameters of assessment, but that, which lies outside those boundaries, is a mighty ocean.
The author is to be heartily commended for this publication that would indeed be a valuable guide to connoisseurs, performers and students to become more aware of the greatness of Tyagaraja.
SULOCHANA PATTABHI RAMAN
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