Muthuswamy Dikshithar, one of the celebrated trinity of Carnatic music has to his credit several compositions in several ragas. What stands out in Dikshithar’s music is his cerebral attention to raga, bhava, and his lyrical genius. His repertoire of compositions on several Gods of the Hindu pantheon made his compositions immortal. Amongst his compositions, many have been composed as groups. Examples of these include Navagraha Kritis, Kamalamba Navavarna Kritis, Abhayamba Vibhakti Kritis, Guruguha Vibhakti Kritis and so forth. Here, the grouping of the compositions is evident for all to see. However, there are compositions of this Nada-Yogi that do not appear to be connected, but belong to an intended series, which reveal themselves upon discovery. These are his compositions on the Goddesses Kamakshi-Meenakshi-Visalakshi.
Kamakshi-Meenakshi-Visalakshi: While there are several other forms of Devi describing her eyes, three forms, namely Kamakshi, Meenakshi, Visalakshi enjoy a certain privileged status. In popular folk lore, they are referred to as ‘Kanchi Kamakshi Madurai Meenakshi Kasi-Visalakshi’. What makes this trio so unique? The connection between them has several different aspects, when understood from the Shakta perspective. This esoteric knowledge is evidently understood by Muthuswami Dikshitar, celebrated for his extraordinary musical and scholarly genius. In his kritis on these three Goddesses, he presents this occult knowledge in common frameworks used in compsitions on the three Goddesses.
Saamarasya: This concept of Purusha and Prakriti being equal and inseparable is known and explained by the word Saamarasya. Shiva and Shakti are co-equal in nature,This concept forms the basis of the first words in Adi Shankaracharya spiritual gems- The Soundarya Lahari and Kanakadhara Stotram.
This concept is evident in Muthuswami Dikshithar’s kritis on the three Goddesses, where he specifically makes a reference to Devi’s consort Shiva in each of the three kshetras. Dikshithar refers to the name of the Patron Deity in each of the places. These references are clearly demonstrated:
Kamakshi: Kanjadalaayataakshi: Charanam (madhyama kala sahityam): Ekambreshagruheshwari
Meenakshi: Meenakshi MeMudam: Charanam: Mahadeva Sundareshapriye
Visalakshi: Kasi Visalakshim: Anupallavi: Kasi Vishveshwara Manolaasa-karineem
Dikshithar has written compositions in praise of the forms of Shiva at the respective kshetras too. Staying true to this school of thought of Saamarasya , he has made references to Shiva’s consort with the corresponding name.
Kamakshi: Ekamranathaya Namaste: Charanam: Kamakshi Samethaya
Meenakshi: Sundareshwaraya: Anupallavi: Meenakshi Mohithaya
Visalakshi: Sri Vishwanatham Bhajeham: Anupallavi: Sri Visalakshi Gauri Sametham
Kshetra: Dikshithar directly refers to the Kshetras in his kritis eulogizing these Goddesses.
Kamakshi: Kanjadalaayataakshi: Charanam: Shri Kanchainibhasane
Meenakshi: Meenakshi Memudam: Charanam: Madhurapuri Nilaye
Visalakshi: Ehi Annapoorne: Charanam: Kasi Kshetra Nivasini
Sthala Puranas: Each kshetra has certain legends about it, which are recorded in texts known as the sthala puranas . These describe in great length the legends, miracles and tales of events that have happened at the kshetra.
The sthala purana of Kanchipuram refers to the story of Muka -a mute devotee of Kamakshi, who attained Kamakshi’s grace through a divine occurrence, and composed five hundred verses in praise of her-known till date as Muka Panchasathi. This story of the sthala purana finds a reference in Dikshithar’s kriti in Saraswati Manohari: muka-vaak-pradaanakari: one who blessed Muka with the power of speech.
The sthala purana of Madurai cites the story of Meenakshi, and her unmatched conquests across the world. Describing her glory as a warrior, the sthala purana alks about Meenakshi who took upon the title of ‘Digvijayam’, or conquering all the directions.
In the kriti Mamava Meenakshi, where Dikshithar refers to her as ‘Digvijayaprathaapini’.
In Kasi, according to Shakta Sampradaaya, Visalakshi gives the soul salvation, leading them to Vishveshwara himself. This is captured in lines in his compositions-Kasi Visalakshim Bhajeham and Annapoorne respectively: ‘Pasha Mochanim’, ‘Moksha Prada Chature’.
Kamakshi: Saraswati Manohari: Charanam (madhyama kala sahityam): Muka Vaak Pradaanakari
Meenakshi: Mamava Meenakshi: Anupallavi: Digvijayaprathapini
Visalakshi: Visalakshim Bhajeham: Charanam: Pasha Mochanim
Sodari-Sodara Sambandha: The Devi Bhagavatham describes Vishnu and Parvathi as siblings. This relationship is cited in the Lalitha Sahasramanama , where Parvati is addressed as ‘Padmanabha Sahodari’ . Dikshithar makes references to Vishnu in his kritis, clearly highlighting this sodari-sodara sambandha.
Kamakshi: Kamakshi Shri Varalakshmi: Anupallavi: Kamajanaka Purna Phale , Bilahari-nutha-kamale
Meenakshi: Meenakshi Memudam: Charanam: Madhumuraripu Sodari
Visalakshi: Kasi Visakshim: Charanam: Mukundavarapradaayineem
Akshara Vidya: The word Akshara has multiple meanings-if it is split up, means that which is not destroyed. (A+kshara). This word is applied to Bramhan, the metaphysical reality, and alphabets/letters, both extolled in the Vedas, for technically speaking, neither can be destroyed. Aksharas in certain combinations give rise to mantras. Dikshithar applies all these concepts under a single word, into his kritis. In his kriti Saraswati Manohari , Dikshithar identifies Kamakshi as the form of every letter, beginning with the primordial ‘a’- Akaaradyakshara Swarupini.
In Sri Madhurambike, he refers to Meenakshi as the one who represents all forms of the alphabet: Kaadi , Haadi and Saadi- the three divisions according to which Sanskrit (and subsequent languages derived from it) is split into.
In ‘ Ehi Annapoorne ’, he refers to Visalakshi as the embodiment of all the fifty letters- Panch-Shad Varne.
Advaita Siddhantha : At the heart of his being, Muthuswami Dikshithar was a Advaithin. One can even venture as far to say that this is a favourite theme of his, for a general study of all his kritis , on multiple Gods and Goddesses, shows a reference to advaitha.
In the case of this context, Dikshithar calls out to Kamakshi as the supreme representation of Advaitha : Parama-advaitha-Rupini,
He refers to Meenakshi as tat-tvam-pada-artha-yugale , meaning the true embodiment of the term: ‘ tath’ . This is a clear reference to the Upanishad saying ‘Tat-tvam-asi’, one of the four jewels of the Advaitha philosophy.
Visalakshi, in his words is Vinoda Jaalinim -one who playfully spins the illusory web of this world. This reference of his talks about the essential nature of Maya in creating the Universe.
Kamakshi: Saraswati Manohari: Charanam: Paramadvaita Rupini
Meenakshi: Sri Meenakshi Gauri: Charanam: Tatvam Padaartha yugale
Visalakshi: Visalakshim Vishveshim: Vinoda Jaalinim
One does not often come across music where one uses spirituality as the point of departure to connect the Rasika, the patron, and the musician, to aspects of esoteric philosophies. Muthuswami Dikshithar’s compositions on Kamakshi , Meenakshi and Visalakshi stand testimony to the fact that his understanding of Sri-Vidya and Advaitha Siddhantha become the foundation of his compositional framework. He reinforces these beliefs by adding in several elements, while adhering strongly to tradition. This common methodology he has used in putting together these compositions make them not only pleasing to the ear, but make them a deeply spiritual experience. These compositions contain esoteric secrets of Devi, and they do so in such an endearing format, that they cease to become unapproachable testaments. The compositions come alive, as seen and felt by those who have heard and been touched by their renderings. This common structuring used in these kritis shows such a clear intended connection by the composer, though not evident in first glance. Keeping these aspects in mind, one can safely say this: Muthuswami Dikshithar cannot be referred to as a mere composer-musician. He is in fact, a Sangeeta Yogi, one who uses music as a medium to experience the divine bliss that resides within each of us-the essence of Advaitha philosophy, so subtly delivered.
