SERIES - 4

The day of Siva’s session had finally arrived. They had their stuff neatly tucked away, ready to head back home after the programme. Siva sat down to revise his notes when Skanda peeped in and exclaimed “Appā, we never discussed Mahārājā’s contribution to Harikatha, did we?”

Siva agreed. “Yeah, we missed out on that. The art form of Harikatha was highly popular in Maharashtra then, some of those who migrated from there to the South, brought this art form with them.

The Mahārājā, seeking to innovate the art form, composed two great works - Kucēlōpākhyānam & Ajāmilōpākhyānam. The latter particularly focuses on the greatness of the divine nāma, regarded to be much more important than the deity itself. This thought deeply influenced the Mahārājā, which made him choose the story of Ajāmila, from the Śrīmad Bhāgavatam.”

Skanda retorted, “Who is Mērusvāmi?”

Siva kept his notes back, laughing. “Stop peeping, will you? If I tell you everything now, you wouldn’t sit through my session, would you?” Skanda replied very coolly. “No appā, I will sit through and revise everything you told me. I will also remind you in case you forget something in between”.

Siva twisted Skanda’s ear playfully. “Very funny. Mērusvāmi’s arrival in the court of the Mahārājā came with the introduction of Harikathakālakṣēpam, the art of narrating illustrative episodes from the Purāṇa-s interspersed with enjoyable songs & verses aligning with the theme of the discourse.

Mērusvāmi, in fact, gave a Harikatha performance based on Kucēlōpākhyānam, which delighted the Mahārājā. His highness presented Mērusvāmi with jewellery & apparel in honor of his performance.”

Skanda, in a sincere tone asked, “Appā, the question that I ask now is mine, not from your notes. Is Mōhaṇakalyāṇi, a creation of the Mahārājā?”

Siva nodded, smiling. “Yes, it was a novel way of creating new rāga-s. Combining the ārōhaṇa of  Mōhanam and avarōhaṇa of kalyāṇi. There are some rāga-s like Śuddhabhairavi & Pūrvakāmbhōji which have occurred for the first time in Mahārājā’s compositions. He is also credited with the usage of Hindusthāni rāg Behāg in his compositions, which somehow remained outside the purview of various South Indian composers for a long time. Not only this, he has made use of other rāga-s derived from North Indian music – Yamunā Kalyāṇī, Dvijāvanti, Sindu Bhairavī & Kāfi to name a few.”

“Have you heard of Rāgamālikā ślōka-s?” Skanda, slightly amused, asked “What?”

 “Yes, he is the originator of this innovative feature. A ślōka can be rendered in any rāga, but what the Mahārājā has done here is mention the name of the rāga, in the foot of a particular verse, in which it is supposed to be sung. And this is not even the best part.

The musical structure of these ślōka-s are such that they are meant for dancing as well as singing. It can be improvised by including jati-s in the same. This goes on to show that ślōka-s were inherently a part of dance recitals back then. The slokas were also composed in metres, that had a specific rhythmic flow, for example – Miśra Cāpu, or Rūpaka.”

Skanda wanted this discussion to go on, even if a vehicle had arrived to pick them up for the programme. “How did the Mahārājā contribute so much to Hindusthāni music, even though he had in fact never been to North India?”

Siva, packing his bag, continued. “Śrī Muttusvāmi Dīkṣita travelled far & wide to widen his exposure to various aspects of music that later influenced his compositions. While in the case of the Mahārājā, the company of noted Hindusthāni musicians & dancers in his court, propelled him to compose Dhrupad, Ṭappā & Khayāl, that too in Hindi. The only South Indian composer to do so.

Though physically present in Travancore, the Mahārājā’s mind travelled to even as far as Kāśi, ably expressed in his lilting bhajan – “Viśvēśvar Darśan Kar” in rāga Sindu Bhairavi.”

Siva exhaled loudly and continued, “Now, shall we leave? Lest I keep speaking to you and finish my session here itself, without even making it to the venue. C’mon.” 

The programme had begun. Siva delivered a very promising lecture-demonstration, soaked in absolute devotion to Mahārājā Svāti Tirunāḷ & his illustrious legacy. The visit to Śrī Padmanābhasvāmi Temple, Kudiramālikā Palace & the Navarātri Maṇḍapam with Skanda further enhanced his presentation, leading him to speak on an extempore basis, to the fascination of the audience. 

The session closed with an audience that swarmed Siva with doubts & questions about the Mahārājā, which looked never-ending. Little Skanda’s raised hand was making its way through this swarm of doubts, to the amusement of Siva. Smiling to himself, he took pride in the interest & hunger Skanda exhibited to further his knowledge in Indian heritage & history. “Like father, Like son” – he whispered to himself.