SERIES - 3

After a year, here they were, back to the sacred town of Tiru̱vaiyāru̱. Swati and Abhijit had started their exploration of the path that Tyāgarāja took, after the Tyāgarāja Ārādhana last year and they were back to pay their homage this year too. The atmosphere in the town was fully musical and ready for the Ārādhana tomorrow. The speakers were broadcasting the evening’s program from the pandal, throughout the town.

Swati and Abhijit, as per their plan for that evening, entered the ancient and historic temple of the town – famously known by the epithet ‘Dakṣiṇa Kailāśam’, the Tiru̱vaiyāru̱ temple. The name Tiru̱vaiyāru̱, which can be translated as the town of the five rivers, is said to be derived from the five rivers that surround the kṣētra - Vaḍavār, Veṭṭār, Veṇṇār, Kuḍamuruṭṭi and the mighty Kāvēri. The temple is dedicated to Lord Pañcanadīśvara (a) Aiyārappan – lord of the five rivers and Goddess Dharmasamvardhanī (a) Aṟam Vaḷartta Nāyaki – the goddess who nurtures righteousness. The sprawling temple with its huge prākāra-s, maṇṭapa-s and madil-s was a sight to see during the sunset.

As they walked through the corridors of the temple, it was filled with many musicians and devotees who had arrived for the pañcaratna group rendition, scheduled the next morning. Many people were humming something or the other as they walked past. They heard a beautiful piece of rāga Sāraṅga being sung and as they walked closer, they saw a group of musicians sitting and rendering 'Ēhi Trijagadīśa', an exquisite Samskṛtam composition on the lord of this temple.

vāhinīśa ripu nuta śiva sa ambā

dēhi tvadīya kara abja avalambam -

ēhi trijagadīśa śambhō mām pāhi

pañca nadīśa

O Lord worshipped by the sage Agastya - the enemy of the ocean (Agastyamuni drank the ocean in full while helping the Dēva-s win over the asura Kāḷakēya)! O Lord Śiva seated with the mother Goddess! Please lend me your lotus hand to help me! Please come to me and protect me, O lord of the three worlds, O lord pañcanadīśa!

Moving further towards the sanctum, the fragrance of the oil lamps, flowers, incense and the Vibhūti became more and more intense. The lord in his mūlasthānam was glowing, surrounded only by the light from the lamps. The old-world charm was indescribable. After a fulfilling sēvai, they came out to hear the person in front of them humming something in rāga Athāṇa. What else could it have been?

ilalō praṇatārtiharuḍu anucu

pēru evaru idirē śaṅkaruḍu ani nīku

“Now, this song is what is typically Tyāgarāja-esque, description wise. He asks the lord, ‘whoever in this world gave you the titles of ‘remover of difficulties of those who prostrate to you’ and ‘giver of all happiness?’ and then goes on to say ‘here I have been lying on your feet, melting away in devotion and you seem to not show any mercy at all’ – nāyeḍa daya lēdayē…”, said Swati as Abhijit continued humming the remaining portions of the song.

“By the way, Praṇatārtihara is one of the names of the lord of this kṣētra. The Meḷarāgamālikā of Mahā Vaidyanātha Śivan ‘Praṇatārtihara Prabhō’ is dedicated to the lord of this temple. We can even find the name of the goddess in the 2nd carana in rāga Ratnāṅgi as ‘Ratnāṅgya Dharmasamvardhanyā Ramaya’. “

They began to circumambulate the temple and first arrived at the shrine of the processional deity of the temple – Lord Sōmāskanda. Seated with the goddess to his left and a young Murugan standing between them, their piercing smiles were a sight to sore eyes.

As they came out from that shrine, Abhijit asked, “Do you know of the Saptasthānam festival, Swati?” As she looked at him with a questioning expression, he continued. “It is a festival famously held in Tiru̱vaiyāru̱ and surrounding temples in the tamiẕ month of Cittirai. Commemorating the wedding of Nandi Dēvar and Suyasāmbikai, which was officiated by Lord Śiva himself, Lord Sōmāskanda leaves from Tiru̱vaiyāru̱ in a kaṇṇāḍi pallakku (mirror-laden palanquin) to six nearby temples were the respective processional deities join the lord of Tiru̱vaiyāru̱ near their respective temple's street and move on to the next kṣētra. Starting from Tiru̱vaiyāru̱, six temples are visited and these are have to have been temples from which six different requirements for Nandidēva’s marriage were brought from:

• Tiru̱ppaẕanam – fruits

• Tiru̱cōṟṟutturai – food

• Tiru̱vēdikkudi – vedic scholars

• Tiru̱kkanḍiyūr – ornaments

• Tiru̱pūnturuti – flowers

• Tiru̱neisthānam – ghee

All the seven deities make their way back to Tiru̱vaiyāru̱, covering seven temples in total – hence the name Sapta Sthānam festival. This is also connected to be an enaction of the all-important Saptapadī rite in a marriage ceremony. Once all of them reach Tiru̱vaiyāru̱, which takes a full day, an elaborate flower showering ceremony – pū-corittal is performed, following which the marriage ceremony of Nandidēvar and Suyasāmbikai is enacted and then all of them return to their respective temples.”

“Why I am saying all this is because, Tyāgarāja has described an elaborate procession of the Lord of Tiru̱vaiyāru̱, in his composition in rāga Madhyamāvati.

muccaṭa braḥmādulaku dorakunā

muditalāra jūtamu rārē

O maidens! Come to witness this procession! Such is its grandeur that even devas like Braḥmā and others cannot equal it!

Even though he does not explicitly state that he is referring to this festival, he gives us a lot of clues.

callani vēḷa sakala nava ratnapu pallakilō vēñcēsi vaccu – In the cool hours, he comes in a procession in a palanquin studded with all the nine precious gems.

hitamaina sakala naivedyambula sammatamuna aḍuga aḍuguka āragimpucu – wholeheartedly accepting all the lovely offerings and partaking them at every step of the procession

pañca nadī pati sogasu mīraga vaccu – can anyone else equal the charm of the procession of the Lord of the five rivers?

bhāgavatulu hari nāma kīrtanamu bāguga susvaramulatō vinta rāgamulanu ālāpamu sēyu – the great devotees beautifully performing songs in the lord’s name in exquisite rāgas.

korkēlanu osagu tyāgarāja tanu anucunu vaccu – he comes in procession announcing to the world that “I am Tyāgarāja who grants wishes to all his devotees”. (another rare instance in which the composer uses his mudra as a name of the lord itself and not referring to himself)

It is said that, even today, the famous Sapta Sthānam festival happens with this unmatchable grandeur.”

Swati spoke, “Very interesting, we should plan to witness the festival sometime. By the way, you just referred to vinta rāga-s. Did you know of a rare composition in the rāga Māḷavaśrī that Tyāgarāja has composed on the lord of this kṣētra? ‘Evarunnāru Brōva’ is quite the opposite to the other three compositions we spoke about, with a lot of philosophical meaning and deep thoughts associated.”

In the course of their conversation, they had walked quite a bit and had reached the entrance to the shrine of Dharmasamvardhanī Ambāḷ. A deity who has had the pleasure of all the three of the Carnatic Trinity having composed songs in her praise – Dīkṣita’s famous ‘Dharmasamvardhanī’ in rāga Madhyamāvati and ‘Narmadā Kāvēri Tīra Nilayē’ in rāga Nāmadēśī, Śyāmā Śāstri’s masterpieces ‘Durusugā’ in rāga Sāvēri, ‘Ēmani Miguḷa’ in rāga Tōḍi and ‘Karuṇa Jūḍavammā’ in rāga Varāḷi, and many compositions by Tyāgarāja. Another goddess to have this rare pleasure is goddess Nīlāyatākṣī of Nāgapaṭṭinam.

As they entered the shrine of the goddess, Swati asked “Did you note something? Both Śyāmā Śāstri and Tyāgarāja have composed songs on this goddess with the same starting words – ‘Karuṇa Jūḍavammā’, pleading her mercy, though Tyāgarāja’s is in Tōḍi and Śyāmā Śāstri’s is in Varāḷi?”

“Interesting, let me search the lyrics, I have never heard this song”, said Abhijit.

dharanu sariyu dorakani pañca nada nagara nāyakī

dharma samvardhanī karuṇa jūḍavammā!

Please show your grace, O queen of the unparalleled town of the five rivers – Tiru̱vaiyāru̱, O goddess Dharmasamvardhanī, went the lyrics.

As they stood before the radiant and peaceful form of the goddess in her grand shrine, they could marginally understand why both the composers asked for her grace by pleading to her. Such was the energy of being in her presence that everyone just stood with no sound, concentrating their mind on her form.

As they began their pradakṣina of the Ambāḷ shrine, Swati began humming,

phāla lōcanī  śrī dharmasamvardhinī

sakala lōka jananī

bālē bālēndu bhūṣaṇī

bhava rōga śamanī

O the one with the third eye! O goddess Dharmasamvardhanī! O mother of all the worlds! O youthful one! O the one sporting the crescent moon as an ornament! O one who treats us of worldly sufferings!.. The song went on describing various facets of the divine mother, as if it was a Stōtram.

Suddenly, Abhijit interrupted with an exclamation! “Ah, the caraṇa of this sing also has reference to the lord of Tiru̱vaiyāru̱ as Praṇatārtihara! Praṇatārtihara Abhirāmē, he says about the goddess – the one who enchants lord Praṇatārtihara!”

“Yes, but I don’t think that warrants such a loud statement!”, she said, making him a bit less excited and realise that he is still in the temple. Slowly walking out, they started talking again.

“I have heard another composition on this goddess in rāga Yamunākalyāṇī – Vidhi Śakrādulaku. This is similar in context to Muccaṭa Brahmādulaku. He sings about the goddess’s grand presence in this temple.

vidhi śakrādulaku dorakunā iṭuvaṇṭi

sannidhi vēḍuka jūtāmu rārē

Come fast and see this sight! Is such a grand and divine presence even possible for Brahma, Indra and others?

sudhī jana rakṣakī

dharma ambudhi śāyi sēva jūḍa

Come fast to witness the evening worship of the protector of the learned, she who is the ocean of righteousness (another way to refer to the goddess’s name).

As in Tiru̱voṟṟiyūr, he refers to the spectacle of the Friday evening worship in this song too.

kīramunanu pūni sariga

cīra kānti merayagā śrṅgāri koluvu uṇḍu

śukra vārapu sogasu ella jūḍa

Come to witness the mother goddess seated in her court this Friday evening, as she carries a parrot and her saree weaved with gold threads shines with radiance.

In the last caraṇa he talks about her eyes embodying compassion in its whole.

atyantamaina karuṇā rasa pūrṇa nētrini

śrī pañca nada puramuna nelakonna tallini

śrī tyāgarāja paripālini… para dēvini sēvimpa

Come to worship her whose eyes are full of wholesome grace, she who is the mother who resides in the town of the five rivers, she who protects Tyāgarāja.”, said Abhijit.

By the course of this conversation, they had come out of the temple and it had become almost 8 PM. They flagged down an auto and asked to be dropped in the Tyāgarāja Ārādhanā pandal. On their way, Swati told Abhijit “I know of three other songs on goddess Dharmasamvardhanī. Two are quite well known and one, I found out just today when we were searching the lyrics for the song in rāga Tōḍi! One of the popular ones is Parāśakti Manupa Rādā and the rare one is Nīvubrōva Valenamma, surprisingly both are in rāga Sāvēri. Maybe just because the kṣētra is on the banks of river Kāvēri!”, chuckled Swati.

“Haha, not an uninteresting thought. Now that you said Kāvēri, I think I know the third song you are referring to…”, said Abhijit and sang,

kavēraja uttara tīra vāsini

kātyāyani dharmasamvardhanī

śivē pāhimām ambikē

śrita phala dāyikē

O the one who resides in the northern banks of the daughter of king Kavēra, O goddess Kātyāyani, O Dharmasamvardhanī, please protect me, O mother, O one who bestows boons on those who seek shelter under you!

They reached the Samādhi quite quickly and entered the crowded pandal, as they heard the singer sing a long kārvai in rāga Ārabhi, standing in the word Dharmasamvardhanī. Their eyes immediately brightened and they tuned in to the song, cancelling the surrounding noise. There they found what was being sung!

nirmala tyāgarāja hṛd cari

dharmasamvardhanī ōmkāri

ambā ninu nammitini antē

nīku anumānamu ēmammā?

O pure one who roams in Tyāgarāja’s heart, O goddess Dharmasamvardhanī, O mother who is the form of the primordial sound, when I am saying that I trust you, why are you still doubting it?

Excited that they found one more of Tyāgarāja’s gems, that too on the goddess of the holy kṣētra they were standing in, they proceeded towards the Samādhi to pay their obeisance to the great composer who had left behind a wealth of music, philosophy and lessons on life.

Coming out of the Samādhi Maṇṭapam, they settled down on the sand, stretching their legs after many hours of walking and exploring. Last year was quite eventful. From exploring so many temple towns to finding their way around Tyāgarāja’s compositions, the year seemed to have flown by. The depth of his music was so much that however long you dwell in it, it seemed like you had just touched the surface. Sailing in those thoughts, they heard the bold sound from the Nāgasvara on the stage.

‘Nanu Pālimpa Naḍaci Vaccitivō!’ – it began.

vanaja nayana mōmunu jūcuṭa

jīvanamu ani nenaruna manasu marmamu telisi

nanu pālimpa naḍaci vaccitivō

nā prāṇa nātha!

Knowing the very secret of my heart, that I only live to gaze upon your face which has your lotus- like eyes, have you lovingly come walking to me, in order to protect me, O the lord of my life!

Swati and Abhijit sat there on the sacred banks of the Kaveri in Tiru̱vaiyāru̱, lost in the emotion of the lyrics of the genius lyricist, traversing through the lilting tunes of the erudite tunesmith and calmed down by the gentle cool breeze from the ever-flowing river – both Kāvēri and her music.

Author’s note:

I thank the readers for their patient reading of Aavali 3.0. What began as a plan to write a small set of articles on the four different Kṣētra pañcaratna-s of Sri Tyāgarāja evolved into a much more detailed series, at times featuring very long articles. The series delved into various aspects of his compositions and the elements associated with them, ultimately taking a year to complete.

I would like to acknowledge the help I received from the Tyāgarāja Vaibhavam Blogspot for a precise understanding of the Telugu lyrics, along with various other articles, lec-dems, talks, discussions and sources that pointed me toward different details to explore throughout this series. A special thanks to Preeti Sethuraman for her sharp focus in correcting the diacritical marks throughout the series.

This 12-episode long series comes to an end with this episode, and I truly hope you enjoyed reading it as much as I had putting it together. I eagerly await your feedback—please write to kural.emag@gmail.com or share it through any medium you prefer. I look forward to reading your thoughts. 

Thank you!

Endarō Mahānubhāvulu, Andariki Vandanamulu!