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Syama Sastri
Why are you neglecting me, Oh, mother?
| Composition: |
parAmukhamEnamma |
| Composer: |
syAmA sAstiri |
| mudrA: |
syAmakrishNa |
| (signature): |
|
| rAgam: |
kalyANi (janyam of mecakalyANi, 65th mELam) |
|
tALam:
|
tripuTa |
| ArOhaNam: |
SR2G3 M2PD2N3 S |
| AvarOhaNam: |
SN3D2PM2G3R2S |
| Pallavi: |
parAmukhamEnamma pArvatiyammA
|
| Anupallavi: |
parAtpari paramapAvani bhavAni ambA
pAril nAn unnaiyE nambinEn
|
| CaraNam 1: |
akhilamengum niRai^nda jyOtiyE ambikaiyE
annaiyE ini nAn tALEnEn sonnEn
|
| CaraNam 2: |
unadu pAdaminRi vEru tuNaiyuNDO
undan manamirangavum nAn sollavO
|
| CaraNam 3: |
syAmakrishNa sOdari krupAkari
caraNam enRu sonnEn tAyE
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Lyrics:
Ref. # 1
Meaning:
Pallavi: Oh. mother Parvati, why are you ignoring me?
Anupallavi: You are at the pinnacle. You cleanse every soul, Oh, Bhavani mother! In this world I place my trust only in you.
Caranam 1: You are the light which pervades the whole world, Oh mother. I can’t bear my plight any more. I have to tell you that.
Caranam 2: Is there another source of solace other than your feet? What can I say so that you shall take pity on me?.
Caranam 3: You are my (Syama Krishna’s) compassionate sister. I declare that I take refuge in you.
General comments:
 This kriti is in praise of
Devi. Since Syama Sastri (SS) literally grew up in the
Kamakshi Amman temple first in
Tiruvarur and then in Thanjavur, he was enchanted with thoughts of Devi all the time. So many of his kritis are on Devi Kamakshi. The idol that was brought from
Kancheepuram had a history of being stolen from the family and then recovered. It was known as ‘Bangaru Kamakshi’ – ‘bangaru’ meaning
gold in Telugu.
There is an interesting history behind what made him address Devi Kamakshi at Thanjavur as his sister (syamakrishna sodari - which incidentally became his
mudrA). King Tulaja was the ruler in Thanjavur at that time and he built the Kamakshi temple at Thanjavur. SS would practise his songs sitting on the temple bell tower. It seems one day his aunt sent some milk to him through her little daughter. The girl came calling him “aNNA” (brother), placed the
milk beside him and disappeared. SS noticed the divine charm of her face with the golden necklace of the deity adorning her neck. SS went home and chided his aunt for sending the little girl bedecked with the deity’s jewel. When his aunt denied having sent her daughter with milk or the jewel, SS knew that the Goddess Herself had played a trick on him to enslave him forever.
The first kriti started flowing from his lips soon after, “Oh, jagadamba nannu…” in the ragam Ananda Bhairavi, which was followed by 300 more. They all carried the mudrA, ‘syAmakrishNa sOdari’ - in recognition of Devi calling him
“aNNA”.
This particular kriti ‘paramukhamenamma’ is reflective of SS’ constant rumination of Devi - while awake as well as asleep. It is not an appeal in the regular sense, seeking relief from misery, but he was looking for the Devi to be with him in reality all the time - not just in thoughts alone but also to appear before him in true form.
Composer’s bio:
 Syama Sastri (1762-1827) was
born in Tiruvarur in an ancestral Telugu family which settled in Tamil Nadu a
couple of centuries before he was born. While his mother tongue is not settled
as to whether it was Thamizh or Telugu, it was the time when the court language
of the Thanjavur kingdom was Telugu even though the rulers were Maratha kings.
Accordingly, Syama Sastri (SS) learnt Telugu and Sanskrit while growing up and
learnt the Vedas and music. SS’ ancestral family had been the priests of the
Kamakshi Amman temple in Thanjavur and guardians of the golden Kamakshi icon
brought over from Kancheepuram when they had to flee the Muslim invasion in
1566.
SS was christened ‘venkatasubramanian’
at birth. He was given the nickname of ‘syama Krishnan’ which he used as his
signature in his compositions. In his later life he was known as Syama Sastri.
It is said ‘jananAt kamalAlaya…’ - i.e., it is glorious to be born in
Tiruvarur (kamalalayam). SS’ ancestors settled down in Tiruvarur after running
through several places in Tamil Nadu. In 1781, the family moved to Thanjavur
where SS’ father got the king’s (Tulaja) support. The Kamakshi temple was
built in Thanjavur and the family took care of the temple worship services. In
his early life, SS was helping his father out in the temple activities. One
noteworthy feature is that the current priesthood of the Kamakshi Amman temple
in Thanjavur is still in the hands of SS’ descendants.
One Sangeetha Swami came from
Varanasi and encouraged music training for SS. The family was fairly well-to-do
(with income from the temple and landed property) and hence SS could afford
music lessons. Later, Pachimiriyam Adiyappaiyah (the Thanjavur samasathana
vidwan) recognised SS’ musical talent and gave him training. Bobbili
Kesavayyah, another great musician of that time, challenged saint Tyagaraja in
Tiruvaiyaru, lost and then came to Thanjavur court and challenged the musicians
there. SS met his challenge upon King Sarabhoji’s request and defeated Bobbili.
SS spent his time mostly at the Kamakshi Amman temple singing many kritis on
Her. He also travelled to a few places like Pudukkottai,
Madurai, Chennai, and
Kancheepuram and sang on the deities there.
SS interacted with Muthuswami
Dikshitar and the two became good friends. SS also met Tyagaraja and had good
regards for him.
SS composed mostly in Telugu
and Sanskrit. He wrote just 5 kritis in Thamizh which are crisp and emotionally
devotional. His disciples include his son Subbaraya Sastri
and Alasur
Krishnayyar and Tarangampadi Panchanatha Iyer.
SS is enshrined in the Carnatic
music institution as a member of the Trinity which includes Saint Tyagaraja and
Muttuswami Dikshitar. Of the three among the Trinity, only SS wrote kritis in
Thamizh.
Some of Syama Sastri’s
compositions that are very popular in music concerts are: dEvi brOva samayamidE
(cinTAmaNi), kAmAkshI (bhairavi), ninne namminAnu, and rAvE himagiri kumAri (tODi),
himAdrisutE, and talli ninnu nera (kalyANi), kanaka shaila (punnAgavarALi),
palincu kAmAkshI (madyamAvati), ninnu vinA marigaladA (rItigauLai), mAyamma yani
nE (Ahiri), marivErE gati (Anandabhairavi), and sarOjadaLanEtri (sankarAbharaNam).
His other Thamizh songs are: taruNam IdammA (gauLipantu), ennEramum un pAda (punnAgavarALi),
santatam ennai (paras), and ennEramum un nAmam (pUrvikalyANi).
References:
1. http://www.sangeetham.com/kritis/paramukhamenamma.htm
2. http://www.geocities.com/promiserani2/co1005.html
3. http://www.hinduonnet.com/thehindu/fr/2002/05/10/stories/2002051000870600.htm
4. http://www.sangeetham.com/others/archives/bkamakshi_idol.php3
Sethuraman Subramanian
subramaniansethu@hotmail.com
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