CHAPTER-V

LITERARY AND MUSICAL EXCELLENCES

OF THE COMPOSTIONS OF

SUBBARAMA DIKSHITHAR

Example :- Parasakti - Sankarabharana - Rupaka

Para�akti �rakela �ratparikr �rada

Pada

Pada means a verse or a line of poetry. In a musical composition, it

represents one full avarta, or a complete line of music which ever is

longer.

Prasa

Prasa means the occurrence of the same letter or syllable. It is of

different kinds.

Dvitiyakshara prasa (Adi prasa)

It is called Edugai in Tamil. Dvitiyakshara prasa is the repetition of

the same second letter of the commencement of pallavi and anupallavi

Eg:- Mannaruramga - Nagagandhari - rupaka

Ma {

nna}

ru - Pallavi

Pu nna ga - Anupallavi

Antya Prasa

Antya Prasa is the rhyme found in .the last syllables of a line or padam.

Eg:- Emarnma - Maruva - Adi

Bhumilonataj ana kalpakavalli

Punnaga puri velayu nagavalli

Kamitartha phalamuliccitalli

Katak�im pumudayamatalli.

127

t�

anupallavi. On account of the quicker tempo of madhyamakala sahitya,

the Yatis or prasa yati must occur at every half avarta o� half pada as the

case may be.

Yamaka

It is a kind of rhyme in which identical words or syllables different

in meaning occur in a section or sections of a composition. It is called

'madukku' in Tamil.

Metaphor/ Simile

Metaphor is the figure of speech where two things are said to be

one (having no difference).

The rules of prosody are really a guide to the correct composing of

musical pieces.

This chapter focuses on the literary and musical excellences of the

compositions of Subbarama Dikshithar. The Seven popular

compositions are selected for analysis. They are in the following order.

SONGNo.l Emammananu Maruva Adi

SONGNo.2 Mannaruramga N agagandhari Rupaka

SONGNo.3 Parasakti Sankarabharana Rupaka

SONGNo.4 Parthasarathy Yadukulakambhoj i Adi

SONGNo.5 Sarakanana Sriranjani Rupaka

!l SONGNo.6!

Samini Bhairavi Tisraeka

I SONG No 7�'j/-

• Tripurasurhdari Nattakkuranji Rupaka

129

The pallavi commences with the note madhya sthayi

madhyama and this is also the jiva, nyasa swara of Maruva raga.

Anupallavi commences with madhya sthayi gandhara and chittaswara

with panchama. Chittaswara has sancharas covering all the three

octaves.

Vadi swaras like Sa-Ma are seen in the anupallavi.

s mg mp,

s,mg m

Visesha prayogas come as

dmp n s . . . .

dpdmg r r s ,

pn sg m ,,. . .

p d mg r s

Janta swara prayogas as

- in the Anupallavi

- in the chittaswara

- in the pallavi

- in the Anupallavi

- in the chittaswara

- in the Anupallavi

s n §_§ n s ' d m m g m, g m m p d, g r s s n

sgmdd n

·.-· · Dattu svara come as

dpdmpn s . . . . . .

gp mp d ,,p

m dpg m

- in the Anupallavi

- in the Chittaswara

- in the pallavi

- in the anupallavi

- in the chittaswara

It is interesting to note that the Pallavi and Chittaswara end

with the phrase 'mgm' and anupallavi wih the phrase 'pgm'.

Y ati comes in the Anupallavi as

Kamitartha phalamuliccitalli katrtk�impu mu dayamatalli

131

sgrs I I?-s ppdp,d I gmgg I rrs,ndpm II

pdns I grmgm,gt I �.nd I pm,ggrsr 11

Nagagandhari is a janya raga derived from the 20th melakarta

Nariritigaula. This raga portrays bhakti rasa very well. The range of this

composition is from mandra panchama to tara madhyama. The range of

Pallavi and anupallavi is limited to madhya and tara sthayis. Chittaswara

comes in the end of the kriti covers all the three octaves.

The Vaggeyakara mudra comes in the last of pallavi as

Mannana guruguha dasudau .

The Ragamudra comes in the anupallavi as

Punnagagani.dharisa

Pallavi and Chittaswara commence on madhya sthayi madhyama.

Anupallavi begins on madhya sthayi dhaivata. Pallavi and anupallavi

commence after an akshara uniformly.

In this kriti we come across visesha prayogas, dattu prayogas, janta

prayogas etc.

Visesha prayogas

dpns

mpns

Janta Swara Prayogas

g m m p

s g_g_r g

mg_gr

m g_g r g,

mg_gr�PJ!

- in the Pallavi

- in the Anupallavi

- in the Pallavi

- in the Anupallavi

r g_g r ; d d r s n d d p , - in the chittaswara. . . . . .

P..,Qd p,d g mg_gr r; m ,g_gr - in the chittaswara

134

r: '\ Dattu Swara Prayogasr p m�m g,

dpnsrmgt

rmgrsnrs

m p g m g,r,

pd r sgg

Dvitiyakshara prasa comes as

- in the Pallavi

- in the Pallavi

- in the Anupallavi

- in the Anupallavi

- in the Anupallavi

- in the PallaviMa{nna

}ru

Pu nna ga - in the Anupallavi

[ Vrityanuprasa comes as t

Nannelumukaru nini.cumu

The letter 'mu ' is repeated in the line

Kanupimcina ghanu4ugada

The letter 'nu ' is repeated in the line

- in the Pallavi

- in the Anupallavi

Annulamirimagu draupadi kimnnatamo Ralidi narndane •

Sanna valuvadaya nosaginai marimne doranivu gada

- in the Anupallavi

Here the same syllable is used but the vowel is different

Swarakshara Prayogas

{m } m g,{ r } r , J g } ma nna - ru ram lg a - Suddha, suchita - Pallavi

{g}m m p

{d}

gu ru gu ha da · - Suchita, Suddha :- Pallavi

135

� {:a} _m {:} -Suddha -Anupallavis {r } s n { d} pka ru na vo da mi -Suchita, Suddha -Anupallavim { g} r, du ga da

p{s } n d sa - nna va

{m} p n {g}r ma m nne, ga da

-Suddha -Anupallavi-Suddha -Anupallavi- Suddha - Anupallavi

The shining chittaswara brings out the identity of the raga. In Chittasvara, we find a decoration of makutam or crown like

ending mgMgr-Sn d-p M g g r s r

This swara pattern gives a charming effect to this kriti. Through the kriti Subbarama Dikshithar has brought out all the suitable graces of the raga Nagagandhari. This composition also has Pallavi and Samashti Charana. The Kirtana 'mannaruramga' describes the heavenly qualities of Lord Mahavishnu who sleeps on the snake sesha in the palazhi. Subbarama Dikshithar sends his prayer to LordMahavishnu to save him from the sufferings as he has saved many. SONG No. 3

Parasakti (Kirtana) Raga -Sankarabharana (29th Melakarta) Tala -Rupaka

136

Dvitiyakshara prasa comes as

Pa ra sakti

Ca ra di

Ni ra dha

Anuprasa comes as

Pallavi

Anupallavi

Charana

Parasakti parakela paratpari�da

Here the word 'para' is repeated.

Caradiprapam carasihita cara khe cara dinuta

The word 'cara ' is repeated

Varalosagu vararoha vararthamiyarada

Here the word 'vara ' is repeated.

Puranij aganmohana puranilaghanaveni

purarihrdayaviharini purakrta ghavidarini

- Pallavi

- Anupallavi

- Anupallavi

- Madhyamakala in the anupallavi

Here the word 'pura' is repeated. Yati is also seen in these lines.

Niradhara niramjani niramayamu nirajahita

Kara kamala karasu karanana karali parivrta - in the charana

f:.

\ Virajadhvara virajitara viraja jaka virajarajabhu

The words 'nira ', 'kara ', and 'vira ' are repeated.

The charana is fully embellished with different kinds of prasa

beauties. In these lines we have seen the literary beauty 'Yati' also.

Vrityanuprasa comes as

Caradiprapam cara sihita carakhe caradinuta - in the Anupallavi

138

Maraksa savamsa haranabhra marala kabhavabdhi tarana - .. -. -. -.

- Madhyama Kala in the Charana

In these lines the letter 'ra' is repeated.

The range of the kriti is mandra panchama to tara madhyama. This

composition is believed to be an earlier composition of Subbrama

Dikshithar. So Vaggeyakaramudra, is not seen in this composition.

Gamaka prayogas

. .,,

s,n d p mw ...

m p d n

PI d n s

m g/mp

p \gmp

Janta Swara prayogas

ss\d p m

Q_Qm g mmp

g mrmfd p

panchama has dhaivata as podiswara

madhyama and dhaivata with nokku

nishada with nokku and etra jaru

madhyama with nokku and etra jaru

i:nadhyama with nokku and eRakka jaru

- Pallavi

- Anupallavi

- Anupallavi- madhyamkala

p, m pmm gg ; n, s rr srrg ; pp g m pp

Ranjaka Prayogas

- Charana

s/rn/sd/ npm

srgrsnsd ns

mgrsn d ns

s d n s rr

Swarakshara phrases

{P }s {P }Idpa ra; pa ra

in the Pallavi

in the Anupallavi

in the Anupallavi

in the Charana

Suddha - Pallavi

139

d p {m} p - rtha mi -m/{d} P { g}r - da ; ja ga n

:J:} {�} {:a} ;a {:J

Suchita - Anupallavi Suddha - Anupallavi

Suchita, Suddha - Anupallavi Suddha, Suchita - Charana

Suchita - Charana

Suddha - Charana 'i' In the madhyamakala sahitya, the starting of each pada is

)'· \

;

embellished with Suddha swarakshara beauty.

{m} ppma ra Ii,

{m }p /n

ma ra Ii, {m }pd ma ra la

Sankarabharana raga is one of the major ragas and affords scope for elaborate alapana. This raga corresponds to 'Bilaval' of Hindusthani music. All great composers and minor composers have composed in this raga. This raga is capable of evoking multiple rasas. Subbrama Dikshithar has given importance to both Sangita and Sahitya• SONG No. 4

Parthasarathy (Kirtana)

Raga : Yadukulakambhoji (Janya of 28th mela Harikedaragaula) Tala : Adi

140

Arohana

Avarohana

S R2 M1 P D2 N2 D2 P D2 S

S N2 D2 P M1 G3 R2 S

Pallavi

Anupallavi

Parthasarathy ni sevimpani sri

Parthasarathy ni sevimpaniya

Parthasarathy yela

Parthasarathy yelaku

Parthiva valividarananipunukr . . -

Parthivaraprasadakaranacaranu . .

Charana

KarigavadikarimoRalidagama •

Karitrurhcibrocina karivelpugada

NarudaramoRala naruda ravinida

Narutalmibrocumatmarusami gada

�Sarar:iarrmnakaka caradhi rugaci , Saradhigarvahara dasarathigada

Paramabhaktulakiha paramahimalosagi

Paramadamanicina paramatmudu gada . .

Gurukuca bharayagurugmini manasu

GuruneRu gumaruni guruvugata 2.

Guruguha budhakavi gurunuta supapa

Guruphaladamiila guruvukhada sri

Solkattuswara

p,,d s, pd I isnd p /d \ p. I m,.\ g. r/ P.ill

tataiyyataka - - - - takajham I - - - - - taka

141

Gadasiva

I m g r/ g\ s,rs II

I jhanu- - -taka II

p.,

d,s Imfil! s r m g m p I \ m.,p,d m p I d d I ndpmpd n

. . . . . ...

jamtari - -- tadhimitakita I - - - tadha ! nata - - - - - II

p d, s ssr/r/ m g, m mp.m II p m /d p / d d m p lddpd/ i s i i II

tadhinu- - - - tajamta - - - II taka taka digi - - 1-tada rimikinall

sr/mg r/ g i s. I r s nd p,/ d I rung r g r s • pig llisnd p m g s Ill

-- - -takitajhamta- - -kumta I - - - tadhimnam - - II-- takatadbimgiU

na tom

Yadukulakambhoji is the janya of 28th melakarta Harikedaragaula.

It is a sarvakalika raga and the swaras, madhyama, dhaivata, gandhara

and nishada are jiva swaras.

The pallavi and anupallavi begin with madhya sthayi Panchama

with suddha S\Varakshara beauty. The Charana starts with Shadja. Yati

and Prasa have been very well employed in this kriti. Adyakshara Prasa

comes in the pallavi and anupallavi as

Parthasarathv ni sevirhpani sri

Parthasarathv ni sevimpaniya

Parthivava!ividaral),anipunuki

Parthi vara prasada karana caranu . .

- in the Pallavi

- in the Anupallavi

In these lines 'rtha' in the pallavi and 'rthi' in the anupallavi are

examples of dvitiyakshara prasa. Here the same syllable is used but the

vowel is different.

In the Charana, yati comes as,

karigavadikkari mo Ralidagama karitrumci brocinakari vel pugada .

142

narudaramo Raia narudaravinida narutalmibrocum�aru sami gada Here the word 'kari' and 'naru' are repeated. Vrityanuprasa comes as

Parthi vara prasada �a caran�u ,_Sarathi garvahara da§arathi gada

Here the letter ·ra' is repeated. Anuprasa is seen in the madhyamakala sahitya

gurukuca bharayagurugmini manasu gurune Rugumaruniguruvu gata

- in the Anupallavi -Charana

Here the word ·guru' is used as anuprasa. Y ati is also seen in these lines. The Vaggeyakara mudra is beautifully added to the sahitya as,

·guruguha'budhakavi gurunuta supapa - in the madhyamakala sahityaComparing to the pallavi and anupallavi, charana is a lengthy one.

At the end of the charana, solkattuswara is also incorporated. The range of the composition is from mandra panchama to tara

madhyama. In the pallavi, most sancharas are on ma�ya and mandra sthayis. In anupallavi, sancharas are rounded to madhyasthayi only. In charana, the sancharas are covering to three sthayis. Swarakshara prayogas

- suddha in Pallavi{p lm mgg

pu f- nu-- - suchita in Anupallavi

143

{P,} �pa rthi -

rsfd}- - ba

g{ r }g_r ka ri mo -

{ g,

} s g s

{ r

} r

ga - - ka ri tru

; {tt.a} s m

na ru da

- suddha in Anupa llavi

- Suddha in charana

- Suddha in charana

-suchita , suddha in charana

{d,,

}n d

{�'

da sa ra ; da J - -

{ 2

} 2 d {m } g i__g { m} p

; pa rama ; ma losa - ; ma ni

{� s {d} r s

maJ na su ; bu dha ka vi -suddha in charana

!.LQ {

d} Jg Jf J g sca ra dhi ; lgu � ru ku ca -suchita in charana

Gamaka prayogas

p ds �n d

Pdds

Dha ivata with nokku

Dha ivata with kampita .. w mggm Pratya hata gama ka in gandhara and nokku in

ma dhyama

Janta swaras

d.Q.Q m .Q m

P , d dssns . .

.

pmmggm

srr/g_rrrggrss ssrr

s §..l_.Q p d, , \ r s s ; , .Q.jJ!! m m g . . .

144

in the Pa llavi

in the Pa llavi

Anupa llavi

Charana

Charana

,,' ,

I'.";

Visesha swara prayogas

P , d d s ; s *n s r ,. . . .

r/mg,s r

- in the Pallavi

- in the Anupallavi

- in the Charana

Swaras with triplets

,1!.l.!!!m m g; mpd d d

Structural pattern like

- in the Charana

P..Q I d \ !!..!I s !!..!I s s , !!..!I s i I m g i g r is seen in the Charana

This swara pattern gives a charming effect to this kriti. Through this

composition he has brought out all the suitable graces of the raga

Yadukulakambhoj i.

In the Solkattu S\\·� the first three lines starts with similar swaras.

1.e. P� d s l5ll line

p,�,s 200 line

p d' s 3rd line

This solkattu swara creates a liveliness to the composition. Sahitya

as well as its music is marvellous and captivating natural flow. The kriti

should be able to create an atmosphere of bhakti and will leave an

indelible impression in the minds of the listeners.

SONGNo.5

Sarakanana (Kirtana)

Raga:

Tala :

Sriranjani (Janya of 221D11fl melakarta srimga)

Rupaka

U5

Arohana

Avarohana

l Pallavi

Anupallavi

Charana

Sarakanana sambhava sarakanana dahana /_

Saranagata raksakudani saranagatu daitini sri. . . .

Smarana gharhvida rana cana carana bhava sarhtarana I

e • • •

Guruguha sri sivagirisa gurubhagya phala prada pada

/_

Saradhi saradhi balasure sarathi nipala pithuda

"sarathi suratha parthamahi sarathi kavarya nuta carita

Valapuname ramiramagu valavalaloj ikki sokki

Valavamtajemdi kumdimimu valagonaneranaitisami

Kalakalamella lobhula kalavadani pogadi pogadi . . .

Kalanainami muda laca kavi kalacaritudaiti sami

Kalahasana gautamabhrgu kalasajadimunimanasa

Kalahamsa paramaharhsa sakalanigamanuta prasamsa

The composition 'sarakanana' in Sriranjani raga, is an illustrious

composition of Subbarama Dikshithar. It is an ardent prayer to Lord

Vishnu who exists in the minds of all devotees who surrender their self to

him. Subbarama Dikshithar has given equal importance to both music

and lyrics. The pallavi is an address to the world protector.

It is important to note that the pallavi, anupallavi and

madhyamakala sahitya in the charana begin with 'shadja', the graha

swara of Sriranjani raga. Charana starts with nishada, an important jiva

swara.

146

The pallavi and anupallavi begin in the sama eduppu. But the

charana commence after an akshara. In the kriti 'Sarakanana' we see the

humble mind of a devotee. The pallavi consists of two sangathis.

Sangathis are simple and sancharas covering all the three sthayis.

Anupallavi is of less importance and charana is a lengthy one. At the

same time, due importance is given to grammar and effective

versification. The raga chosen for this kriti is very appropriate and is also

a mangala raga.

The range of this kriti is from mandra dhaivata to tara madhyama.

This composition contains literary glories like prasa, yati, etc.

Yati occurs in the anupallavi.

'saradhi saradhi balasure sarathi nipala pithuda

sarathi suratha parthamahi sarathi kavarya nuta carita

Here, the word 'sarathi' is repeated.

"sarana gataraksakudani sarana gatudaitinisri - in the pallavi . .

.

.

The word 'sarana' is repeated.

guruguha srlsivagirisa gurubha gyaphalaprada pada - in the pallavi

The word 'guru' is repeated.

In this kriti, the end of pallavi, anupallavi and charana contain

madhyamakala sahitya. At the end of madhyamakala sahitya in the

! . pallavi, Subbararna Dikshithar incorporated the Vaggeyakara mudra

'guruguha'.

guruguha srf sivagirisa gurubhagya phalaprada pada

Dyvitiyakshara prasa appears in the pallavi and anupallavi

147

Sa{ra }kanana Sa ra dhi sarathi Pallavi Anupallavi ' Jn pallavi, anupallavi and charana, adyakshara prasa is profoundly used t , � Sarakanana sambhava sarakanana dahana

, . Saranagata raksakudan1 saranagatu daitini sri. . .. . in the pallavi Saradhi 'saradhi balasGre sarathi nipala ptthuda 'sarathi suratha parthamahi sarathi kavarya nuta carita in the anupallavi

The word 'sara' is example for adya prasa. Valapuname ramiramagu valavalalojikki sokki Valavamtajemdi kumdimimu valagonaneranaitisami in the charana

The word 'vala' is example for adyakshara prasa. Vrityanuprasa comes as,

Smarapa gharhvidar�a c�a car�a bhava sam�a in the pallavi Here the letter 'ra' is repeated.

Antyanuprasa comes as, 'Sarathi suratha parthamahi sarathi kavarya nuta carita Anupallavi

Here the letter 'thi' is repeated, and the vowel is different Yati comes in the charana as,

Kalakalamella lobhula kalavagani poga4ipoga�i Kalanainami muda lacakavi kala caritudaiti sami 148

f Kalahiisana gautama bhigu kala sajadimunim81lasa

r Kalah • ah . sakal . t __ amsa param am _arugamanuta prasamsa

J Anuprasa comes in the word 'rana' in these lines.

Smarana ghariwidarana cana caranabhava samtarana -- .,_; --. -- --.-

- in the pallavi

Anuprasa is seen in the charana as,

Kalahamsa parama hamsa sakalanigamanuta prasamsa

Here the word hamsa is repeated

Swaraksharas can be noticed in the following phrases.

{� {�' ga f ta ra ; .ga f vi cla

n fd } {� ra ldhi, ; ra f tha

{ } . :i:t!'"

. n, ns m r

ni pa- , tha - ma hi

{�}{:}:

{:}{:J

- suddha (in the pallavi)

- suchita. (in the Anupallavi)

- suddha (in �e Anupallavi)

- suchita, suddha (in the charana)

- suchita ( charana)

{::t-; {:}{:}�: {�}. : : {:} {�}{:} {s

r g r} g ' r H " }sa pa ra ma ham - sa sa - sudha (in charana)

l-l9

Most of the compositions of Subbarama Dikshithar have this

decorative aspect which create liveliness.

Visesha Prayogas

n � 1! s r g m r / g m, . .. . . m n d,n s n g r s

Janta Swara Prayogas

n dd mm· _, ss nd ; nn ss / rs ; dd / n ,

m, mm n, ; g r s s

m r g mm ' r n s s

mm m d n

Gamaka prayogas . .

s s s, s s

- Pallavi

- Anupallavi

- Pallavi

- in the Anupallavi

- Charana

- Swaras in triplets

Dn dd m m - Pratyahata gamaka in Dhaivata

w .......

n s r g

. . ..,,, g r s n,

- gandhara with kampita , nishada with nokku

- shadja with khandippu

Subbarama Dikshithar thankfully says that it is because of the

Universal love of God that he could come out from the problems of life.

SONG NO. 6

Samini mahimalu (kirtana)

Raga - Bhairavi (Janya of 20th mela Nariritigaula)

Tala - Tisra jati eka

Arohana

Avarohana

S R2 G2 M1 P D2 N2 S

S N2 D1 P M1 G2 R2 S

150

Pallavi

Samini mahimalu deli sibalkutaku •

, Sani.gadharuna kainataramava

Savabjabhava maravinuta

Anupallavi

I mahilonivaledaivamuledani

Yerhcivacciti srikartikeya ,

Srimuditakuva samayina sri jayarhti puravasa

Charana

/ Saranamaninavarikinikipa saranamuganumdaleda . . .

Karunalonidubhaktajanamula karunabja padamulosagaleda . .

Taral)itejisarhsaravaridhiki tarar.1infvegadani

Cara1:am unamminadina j anulabrocuna carfil}ayunidigada

Madhyamakala sahitya

Varunalaya samana varhdya varunagni bhaskara vamdya . .

Suranayakarak�aya suranayaka sik�ana

The raga Bhairavi is a rare example of janya raga with krama

sampurna arohana and avarohana.

In this kriti, pallavi begins on tara shadja, anupallavi and charana

commence on madhyama, an important jiva, nyasa swara of this raga.

Madhyamakala sahitya, after charana starts on gandhara, also a jiva,

nyasa swara of this raga. Compared to pallavi and anupallavi, the

charana is a lengthy one. The range of the composition is from mandra

panchama to tara madhyama.

The swara part has many ranjaka prayogas of Bhairavi raga. Some

of the prayogas used in this kriti are,

151

.

D ,. d p d D S r ; S r g ,, r ,, ; S D ,, S f S ID g f S D ; g r S D *d S D ,, ,, etc. . . .. ... . ... "' ...

t , This is a ttrisiliayi raga and smva swam. gmnaka varilra rnkti raga. 'ff .,, ., s ff n d p m g r s, - Nish• dhaivata and gandhara

with orikai (pallavi)

, Th e avarollana of Bhairavi raga is also brought out in this phrase. ':'

- Dhaivata with nokk.u,, nishada

with kampita

Janta swara prayogas are profoundly used.

sssffr s n d p mmp ; g_g r n n d p ,, rssn s mg mmd

,.-1!..Q dn

,,s; n n dd p

� yati are also employ ed in this composition

-pallavi-in the anupallavi-in the charana

Dvitiyakshara prasa occurs in the pallavi and anupallavi

Sa fmi lrn ma I lmaJhi lo

-pallavi-Anupallavi

Here the vowel is different. Vrityanuprasa comes as,

Samin imahimal udelisibalkutaku

Here also the vowel is different.

CaraJ_1amunamminadinajanulabrocuna

Here the l etter ·na' is rep eat ed.

Yat i com es as

-pallavi

-Charana

, .

Sarana manina variki nikipa sarana muga numdaledi-Charana . ..

.

Varu1;alaya samanavamdya varu�agnibhaskara varhdya Suranavakaraksava suranavaka siksana

. . .

15.2

-Charana - Madhyamakala

The words 'sarana', 'varuna' and 'suranayaka' are examples ofyati. Swarakshara prayogas

{s '} n, d . Sa - m1 n s n

Ill - -

s n{ d} plu - de Ii {n '} d n , { d }{ n }ni va le da ni g {r} g pu ra va

{:a} � {:J d IP } {g} g r

� LP� , ga {d '} p \ m _i:t_g{n� } d a lo - m {Q }/ d p p {m}

pa - da - mu g {r } s ca ra na

- Suddha in the pallavi- Suchita in the pallavi- Suddha in the anupallavi- Suchita in the Anupallavi- Suddha in the charana- Suddha in the charana

- Suddha in the charana- Suddha, suchita-in charana- Suchita in charana- Suchita, suddha - charana

The kirtana 'samini mahimalu' in praise of God Muruka is a brilliant composition of ·Subbarama Dikshithar. Sahitya and sangita

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blend well with the theme. Through this kriti Subbarama Dikshithar has l brought out all the suitable graces of Bhairavi raga.

SONG NO. 7

Tripurasumdari (kirtana)

Raga: Nattakkuranji Gan ya of 28th mela Harikedaragaula)

Tala : Rupaka

Arohana

Avarohana

Pallavi

S R2 G3 M1 P D2 N2 S

S N2 D2 M1 G3 S

Tripura surhdari arhba

Anupallavi

Tripuradyagama vedya tripurukutsadya radya

Tripuravairi mohitagatripurakfta ghavidatri

Charana

Valarajuceluvalari kalu valace valatiyai bhuvana

Valayamulo velayu!ani valanagada

Kalanana surulatanuvulasa kalamulu gajesiyamaruia

Kalakamaiki nasadgui:ia kalanavuni vugadacit

Kaladhari guruguhanuta sa kalamodakari samkari

Kalapi kalapaka cabhara kalanidhi vadana suradana

Solkattu swara sahitya

Katyani kalikalu�apanodini pramodini

sakala bhuvana janani varadayini mada samani

kadainbava9i viharii:ii bhujagaveni madhuravill).i

smaraharu1:i raqi puraqi natajanalinadi namani

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r;I1:''

I,

This composition in the raga Nattakkuranji set in Rupaka tala is in

praise of mother Goddess Tripurasundari. The pallavi is an address to the

Goddess.

This kriti begins on the swara mandra nishada and it is one of the

important raga chaya swara of Nattakkuranji raga. The swaras

gandhara, madhyama and dhaivata are also jiva swaras. In Hindusthani

music, this raga is known as Nattakkurajika.

Its anupallavi commences on shadja and charana on rishabha of

madhya sthayi. All the three angas starts on three different swaras.

The kriti 'Tripurasumdari' is embellished with graceful sangathis,

prasa, yati, madhyamakala rendering and solkattu swara sahitya. In this

kriti, Subbarama Dikshithar has introduced '10' beautiful sangathis.

Especially the last two sangathis in the pallavi are brilliant and very

pleasing to hear. Progress of sangathis are very attractive.

The last two sangthis are as follows.

9. II n d I n I r s 2n d n I pd, .

n / s d/ n p m/p g r s 11

II Tri pu ra sum - - da - fl - - - - - am-ba-

10. n �I n / r S2 . n d n I s 2 r s n2

s n I d:in d m, mg s II

Tri pu ra sum - - da - fl - - - - - - - - - am ba

Different kinds of prasa can be seen in the whole composition

Dvitiyakshara prasa

Tr� {pu

}ra

Tfl pu ra

:- Pallavi

- Anupallavi

Adyakshara and antyakshara prasa can be seen in this kriti

Tripuradyagamavedya - Anupallavi

155

Tripurukutsadyaradya

Here the letter 'tri' is adyakshara prasa and the letter 'dya' is

' antyakshara prasa.

In charana also the letter 'va' is example for adyakshara prasa

Valarajuceluvalarikalu valacevalatiyai bhuvana

Valayamul6 velayutani valanagada

Vrityanuprasa is also found in the charana lines

Kalanana surulatanuvulasa kalamulu gajesiyamarula

Here the letter 'la' is repeated

Antyanuprasa is also seen in madhyama kala sahitya

Kaladhari guruguhanuta sakalamodakari samkari

I Here the last word 'kari' is repeated.

Y ati is seen in Madhyama kala rendering. Vaggeyakara mudra is

also incorporated in the sahitya.

Kaladhari guruguhanuta sakalamodakari samkari

Kalapi kalapaka cabhara kalanidhi vadana suradana.

The word 'kala' is example for yati.

Antyanuprasa is also used in solkatu swara sahitya.

Katyani kalikalu�apanodini pramodini sakala

bhuvanajanani varadayini madasamani

Kadambavani viharini bhujagaveni madhuravani . . .

Smaraharuni rani purani natajanali nadinamani . . .

Here the letter 'ni' is repeated.

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},

of Mother Goddess. She is pleasant and mother of all art. She is timelessand is known as 'Samkari'.

As compared to musical decorative angas introduced in kritis, theimplementation of literary beauties require much more literaryknowledge. Rhyming of syllables in the required meter is a significantfeature to be taken care of while introducing literary beauties. The literarybeauties embellished the kritis add the value and chann of the piece. Atthe same time arouse intellectual and technical interest. The introductionof literary beauties in kritis are to become in such a way that they shouldappear normal and not of place as an extra fitting item. Musicalcompositions in general can be considered as rhythmical music or poetryand hence has a wider appeal, hence the importance of literary beauties inkritis are to be given primary importance. Songs can be padya sahitya aswell as vakya padya sahitya. It can be both metrical and non metrical. Atthe same time the sahitya chosen for compositions should strictly abidethe certain la\VS and rules to be followed while composing musical forms.

The highest musical excellence found in his compositions, mainlykriti, in which he has captured and effectively picturised the essence ofragas. One peculiar aspect of his kritis is the nature and wonderful unionof sound and sense, the way he has used various ragas to portray differentemotions, moods of bhakti. His musical style is simple, charm at thesame time brilliant.

All the literary beauties and musical decorations provide additionali:

[ attraction to the compositions. The alankara prayogas or rhetoricalf beauties served not only to enrich the sahitya excellence but also enrichl: the musical effect. Most of the composers prefer these type of

embellishments to enhance the beauty of their compositions. The

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prosodical beauties and musical excellences added to the compositions of

Subbarama Dikshithar revealed his scholarship and mastery over the art

of composing, both musically and literally.

The peculiar and remarkable feature of his kritis is the perfect

blending of prose and poetry. On an analysis of his kritis, we can find that

he has keenly observed the rules of prosody while introducing the

rhetorical beauties like prasa, yati, swaraksharas etc, into the texture of

the sahitya. This adds lustre to the kritis. These rhetorical beauties may

perhaps be elevated his composition to a higher level and placed him one

of the best composers of his period.

In the next chapter� a comparative study on the kritis of Subbarama

Dikshithar and Muthuswami Dikshithar are included.

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