|
Dancing to Tyagaraja
 The following is an article by well-known writer of short stories and articles on fine arts, Sujatha Vijayaraghavan, who is an accomplished singer and expert on dance as well. The article was the basis of a programme for the University Grants Commission and is reproduced here with her kind permission.
Vira: The raga Kuntalavarali takes on a martial gait at the hands of Tyagaraja when he chooses to glorify Rama’s valour in the kriti ‘Sarasara Samaraika
Sura’.
“O thou, valiant hero! In your hands a blade of grass became an arrow. You vanquished the pride of the sea god. You annihilated the vast army of Ravana, as fire burns cotton. You are the axe that can destroy the forest of sins inherited by us through our previous lives. O thou, who broke the massive bow of Shiva, protect me.”
 Bhayanaka: Once again we encounter an emotion difficult to associate with either Tyagaraja or Rama, namely fear. Both were intrepid souls and it would require imagination of the highest order on the part of Tyagaraja to compose a song which would be credible yet not go against the character of his Lord of his own self.
He chooses the rare raga, Naganandini, to express his fear of Kaliyuga in the kriti ‘Sattaleni Dinamulu
Vacena’
“Have days bereft of divine grace arrived already,” he fears. “O thou, essence of all! O thou, who resides in the heart of the good! In this very first phase of Kaliyuga respect for one’s parents and teachers has been forgotten. Men have started indulging in evil deeds. Alas, that such days are already upon us!”
In the Navarasa Shloka on Rama, he is referred to as “Bhayam Aghe”, as one who is afraid of the attributes of unrighteousness, wickedness and unjustness. Tyagaraja could have taken his cue from this concept when he elaborated on it in the
kriti.
Bhibatsa: One of Tyagaraja’s immortal compositions, ‘Nidhi Tsala Sukhama’, in Kalyani, spells forth his code of conduct and expresses his disgust towards materialistic pursuits.
“Tell me the truth, O mind,” he asks of himself. “Does wealth bring happiness? Or does happiness lie in serving at Rama’s altar? What gives happiness? Is it control of the senses, which is comparable to bathing in the pure waters of the Ganga, or is it wallowing in the mire of worldly pleasures? Does it please you to flatter egocentric mortals or do you find happiness in singing the praises of Rama, who is worshipped by
Tyagaraja?”
 Never has the emotion disgust been sublimated to the grand heights of musical, poetic and spiritual quest as in this kriti of Tyagaraja. As the devotee of Rama who gave up his kingdom happily and walked into the forest at his father’s behest, Tyagaraja was the happy subject of the Rama bhakti samrajyam. Material wealth, social status held no charm for him. It was anathema to him to look for favours from lesser mortals for such an existence.
Adbhuta: Tyagaraja savours each and every aspect of Rama’s life and legend with awe and wonder in his compositions. Among them, one surpasses all. It is the episode of Sabari whom he eulogises in the kriti ‘Entani Ne’ in Mukhari
“How shall I describe the good fortune of Sabari,” he wonders. “While there were several women who were wives of great sages, it was Sabari who was blessed with such a fortune. She could behold the Lord to her heart’s content, offer Him fruits, fall at His feet thrilled, and in His presence, attain salvation.”
Shantam: It is perhaps not a coincidence that Tyagaraja chose the reposefully moving sama to depict shanta rasa, whose main attribute is sama or equanimity of mind. In the kriti ‘Shantamu Leka’ he addresses Rama, who is the epitome of shantam, “O thou, lotus-eyed, there is no happiness for him who lacks peace of mind, even if he may have conquered his senses or mastered philosophy. Performing yagas and rituals and imbibing their inner meanings will not bring him happiness if he has no peace of mind.”
There are several songs where the multi-hued emotions weave enchanting patterns in Tyagaraja’s rich tapestry of music and poetry. The songs are not only musical gems but offer rich potential for sensitive and suggestive abhinaya, with a wide scope for elaboration and imagination on the part of the dancer. Rasotpatti, aesthetic pleasure, which is the end of artistic pursuits, is assured when the songs are presented in music and dance form.
Powered by Sangeetham.com
|
