APPENDIX-I

Map showing the extent of Maratha Rule in Tanjore*

Kumbakona

Needamangaiam

mManna

K.M. Venkatramayya - Administration and Social Life under the Maratha Rulers

ofTlianjavur. Tamil University. Tanjore. 1984

APPENDIX-II

A. sVabhendra Stuti-SWa Va Arva :- Manuscript No.:-1853; D.No.2178.

This manuscript contains a collection of slokas in Marathi and Sanskrit

written from the pen of court poets in praise of their patron king

Serfoji-II. These sMokas are typical of the traditional form of eulogistic

poetry rich in similes. The king has been showered high encomiums

for his good qualities, generosity, valour and scholarship in different

fields. The list of the names of some of the poets who composed these

slokas is as follows :-

1. Utke Govindacarya

2. Nrsimha Sastry

3. Krsnasvami

4. Muttusvami Diksitar

5. Hirusvami Ghatke

6. Subba Diksit

7. Tammacarya

8. Rahgariathakavi

9. Cakravarti.

As a sample, some of the s'lokas written by Utke Govinda Carya,

Muttusvami Diksitar and Subba Diksit along with its' paraphrase are

given below :

Utke Govinda Carya

Paraphrase of the Slokas -

1. Sloka in Marathi :-

By whose grace Sage Markandeya was blessed with longevity, one who

protected his devotee Bhadrayu and in the battle field, at the sight of

whom even the mighty demons tremble with fear, may thai Lord Siva,

2

the consort of Goddess Gouri fulfill all the desires of Sarabhendra

Bhupati

2. Sloka in Sanskrit -

In this sloka, the word Vrsa meaning Bull is personified as Dhanna or

the Universal laws of righteousness.

Lord Siva in conversation with Lord Rama explains about the righteous

conduct (Dhanna) corresponding to each of the four Yugas or ages of

the world Viz., Krtayuga, Tretayuga, Dvaparayuga and Kaliyuga. Lord

Siva states that Dhanna in Krtyuga is steady and well balanced on four

feet, in Tretayuga and Dvaparayuga it balances on three and two feet

respectively. But in Kaliyuga every thing being evil personified, Dhanna

trembles on one foot. Yet, King Sarabhendra on seeing the Bull(Dharma)

balancing on one foot, procreated the other three feet and presented thei

Bull to Lord Siva, thus ensuring that Dhanna in his period is sturdy

based.

This sloka is indicative of King Serfoji's donation of Silver Bull to the

Big temple. In this context, the poet has skillfully enlogised his patron

as the protector of Dhanna.

3. Sloka in Sanskrit -

While Churning the milky ocean (Ksirasagaramaiithana) evolved the

Kalpa vrksa or the celestial tree which is said to bestow everything one

desires. Unlike Indra, the king of gods who implanted this tree in his

paradise, King Sarabhendra created several such celestial trees and

generously distributed them among Brahmins. Hence, how can this

generous king be compared to that greedy Indra.

3

Muttusvami Diksitar

Sloka in Sanskrit -

Oh! Lord Visnu, you had delighted the Brahmins in your first incarnation

(Safar or fish-Matsyavatara) by saving the vedas without much effort.

Now in the form of King Sarabhendra, you see all the Brahmins in the

form of gods who bless you with a long life.

Subba Diksit

Sloka in Sanskrit -

By the valour and fame of King Sarabha, the Sun and Moon fade away

and move like sentries in the Universe ruled by the king, day and night

alternately in turns.

4

SLOKAS

5

6

B) Sabdams in praise of Raja Serfoji-II written by an unknown author,

Catalogued in the Telugu-Manuscripts (B.I 1609) - Tanjore Sarasvati

Mahal - Library :-

7

8

APPENDIX-III

The text of the Nirupajw "Sakhine Nayakice Srama Nayakasakalaun

SarighatanSpaya Karanyaci Kalpita Katha" set to raga Arabhi, Ada-

cou(Misracapu) tala, authored by Raja Serfoji-11 is as follows :-

9

10

13

15

16

22

23

APPENDIX-IV

A) The text of the Lasya puspanjali composed by an unknown author

catalogued in the Sanskrit Manuscripts (D. 10714) of Thanjavur Sarasvati

Mahal Library is as follows :-

B) A Letter in Modi script dated 10th October, 1844 written by

Sivahandam (one of the Tanjore Quartette) to king Sivaji-II is given

below :-

25

APPENDIX-V

INTERVIEW SCHEDULE

A. Interview with Prince Tulajendra Raja Saheb and

Sri A.Krsnasvami Mahadick,

(1) a)When did the term 'Sadir' originate?

b)How did it originate?

(2) Could you enlighten me on the development of Sadir in the

court of Raja Serfoji-II.

(3) Can you tell me on the origin of Nirupana.

(4) Could you throw light on the Sadir madi and the Ratna Sabha

madi referred to in the Modi manuscripts.

(5) Did the Sadir performances in the court mark any special

occasion and purpose?

(6) Was Sadir performed as solo or group dance?

(7) a)When was Sadir organised in the court?

b)What was the duration of Sadir performance?

(8) Were the dancers given prior notice of the performances in

the court?

(9) Did Rajanartakis receive advance training from court musicians

- nattuvanars?

(10)Is it true that the royal women were experts in Sadir dance.

(ll)Could you tell me something about the Tanjore Quartette as

court musicians and their contribution to Sadir.

(12)Can you throw light on the controversy between Raja

Serfoji-II and the Tanjore Quartette.

(13)How were the court dancers rewarded financially?

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(14)Were there any Purva rariga rituals involved prior to the

performance of Sadir in the court?

(15)Do you find any difference between the then Sadir and the

present day Bharatanatyam?

(16)May I have some information regarding the encouragement of

Bhagavata-mela natakas in the court of Raja Serfoji-II.

(17)Can you enlighten me on the Lavani, M5di dance, Karicin

nautch and other flok arts that were prevalent during the period

of Serfoji-II.

(18)When were these dances performed in the palace?

(19)Did there exist a friendship between Maharaja Svati Tirunai

of Travancore and King Serfoji-II.

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(B) Interview with Guru Sri.Kittapa Pillai.

(1) Could you tell me the details regarding the training received

by Tanjore Quartette in the sphere of Music and Dance.

(2) Were the dance compositions of the Tanjore Quartette a

combined effort?

(3) What according to you might have been the format of Sadir

that was followed prior to the period of Tanjore Quartette?

(4) What may have been the possible reasons for Tanjore Quartette

to improvise the methodology of Sadir and systematise its

format-presentation order of dance numbers-

(5) Among the brothers, who conducted the dance in the court?

(6) Did the format of Nirupana of King Serfoji-II wield its

influence on the Tanjore Quartette in systematising the Sadir

format?

(7) Did the Quartette receive emoluments on a monthly basis in

the court and were they given any special monetary benefits?

(8) Did the Tanjore Quartette impart training in Sadir to temple

as well as court dancers?

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C. Interview with Smt.P.R.Tilakam.

(1) Was your grandmother Smt.Timvarur Kamalam, a court dancer

or temple dancer?

(2) Can you relate the experiences of Smt.Kamalam as a temple

dancer

(3) Could you give details regarding the performance of Tyages'ar

Kurava'nji in the Tiruvarur Temple.

(4) Could you high light the differences between the temple dance

and court dance.

(5) Were the dancers given specific training in abhinaya during

the days of your grand mother?

(6) What is meant by Modiriafyam?

(7) Do you find any difference between the then Sadir and present

day Bharatanatyam?

(8) What is your opinion of the present day training and instruc-

tion given to the students of Bharatanatyam?

(9) What were the musical instruments used for Sadir perfor-

mance?

(10)a) Didn't your grandmother encourage you to learn dance?

b)May I know the reasons as regards your decision to opt

Music as profession instead of Dance.