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Sri Annamyacharya
Sangitham as
an Upavedam
Sangeetham is recognized as an Upavedam or an ancillary to the Vedas. It
is one of the four Upavedas dealing with Music, Dance and other fine arts.
The other Upavedas are Aayurveda (the Scince of Medicine and Physiology),
Dhanurveda (the science of Archery and Warfare) and Artha Saasthra
(Political Economy).
The Origin of Sangitam
"Samgeetham" means that which is sung well. The origin of Sangitam is
linked with Saama Vedam. When Sangitam is used in the worship of God, it
is recognized as Naadhopaasana or the offering of worship through Naadham
(Sound). Vedam is a Pramaanam recognized as Sabdham in Vaidhika darsanams.
Upaasana of Sabdha Brahmam can then be considered as the true
Sangitham.Until the ninteen thirties, the use of music and dance (nava
sandhi Koutthuvam or prescribed dances with music at the nine chosen sites
of the Hindu temple with invocation of appropriate devathAs) was in vogue
and Deva Daasis (servants of the Lord) performed them. In Kali Yugam, the
importance of Sangitham (Naadhopaasana) is highlighted to secure one's
path to Moksham. Naadhopaasana develops the Bhakthi to SrIman Narayana and
bringsHim closer to us.
The Importance of Sangitham in SrI Vaishnavam
Sruthi (" the adjustment of the tone to the tune") and Laya (rhythm) are
the corner stones of Sangitam. Swamy Naatha Muni set the entire dhivya
Prabhandham of the twelve Azhwars to music and ThaaLam (rhythm) and taught
it to to his two nephews. Therfore Swamy Natha Muni is saluted as “Nal
kaathal adiyavarkku, thaaLam vazhangi, Tamizh MaRayi innisai thantha
VaLLal" (The most generous Aachaaryan, who blessed his two dear sishyaas
with ThaaLa Vidhya and the beautiful tunes to the dhivya Prabhandhams).
Through that evolved the Arayar sevais at the temples of Lord Ranganatha
at Srirangam , Thirukkuruhur , Melkote, Srivilliputthur and other dhivya
desams.
Nava Rasaas(Sentiments) and the seven Svaraas (scales) of Music
VishNu dharmOttara PurANam sums up the links of nine rasaas, Haasya,
Sringaara, Veera, Roudhra, Adhbhutha, Kaarunya, Beebhathsa, Bhayaanaka and
Saantha with the seven svaraas of music (Shadjam, Rishabhan, Ghaandhaaram,
Madhyamam, Panchamam, Dhaivatham, Nishaadham) this way:
"Nava rasaa: tathra Haasya-srungaarayO: Madhyama-Panchamou
Veera-roudhra-adhbhuthEshu Shadja-Panchamou, KaruNO NishAdha-Gaandhaarou
Bheebathsa-BhayaanakhayO: Dhaivatham, SaanthE Madhyamam"
The Bhajana system of offering worship to the Supreme Being evoking the
different moods of a devotee has been the corner stone of Bhakthi movement
throughout Bharata desam during the fifth to the tenth centuries and
thereafter.
In recent times, Saints TaLapAkkam Annamacharya, Purandara Daasa of
Purandaraghaad, Thyagaraja of ThiruvayaaRu, Ootthukkaadu Venkatasubbaiyer
and a great many NaadhOpaasakaas have offered their Naama Kusumaanjalis to
SrIman NaarAyana .
Steadfast devotion to an Ishta Devata (ananya bhakthi to an Ishta dhaivam)
,celebration of that Dhaivam's Rupa (Form), GuNa (auspicious attributes
such as Grace, Dayaa , Kshama , Soulabhyam etc), Svaroopam is a well
trodden path by our Sangitha Pithaamahaas. For instance, TaLapaakkam
Annamayya focused on Lord Venkatesa of Thirumala, Thyagaraaja had ananya
bhakthi to Lord Raamachandra, Ootthukkaadu Mahan and Leela Sukhar enjoyed
KrishNa exclusively.
Sangitham and Bhakthi
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The moods of Bhaktha are intricately interwoven with various Sanchaari
Bhaavaas that engage the mind of the NaadhOpaasaka. Late Dr:V.Raghavan
summarized these moods of a Bhakthan engaged in NaadhOpaasana this way:
1. Outhsukya or longing for the union with the Lord. This mood can express
itself as the longing for His constant company (Sannidhi Saameepyam),
Seeing Him and receiving His merciful glances (Darsana soubhAgyam),
Singing about Him (Keertanam), Listenig about His Mahima (SravaNam),
conversing with Him (SambhaashaNa) and serving Him (SEvanam and Kaimakryam
as a Daasan).
2. Nirvedam (Dejection and despondency over separation from the Lord and
not receiving His Dayaa). Out of this Vipralambha Sringhaaram arose the
Paasurams sung by Swamy NammAzhwAr (Paraankusa Naayaki), Thirumangai
Azhwaar (Parakaala Naayaki) and Andal's NaacchiyAr Thirumozhi.
3. Athma GarahaNa and Naicyaanusandhaana (Self-depreciation and recounting
one's shortcomings and unfitness as a servant of the Lord).
4. Dhainya and DhainyOkthi (Hear rending and plaintive pleadings for
becoming the object of the Lord's Compassion).
5. Amarasha, Rosa RosOkthi (Taking the liberty in despair to express
grievance and remonstrate against the Lord's heartlessness to come to
their rescue).
6. Vitarka (cogitation and consequent development of doubt about Lord's
interest to come to their rescue).
7. Sraddha /Visvaasa (Development of steady Faith in the Lord as the
unfailing protector and thanking Him for that RakshaNam in a mood of Mahaa
Viswasam, an important angam of SaraNAgathy).
8. Narma (Playful exchanges with the Lord in a mood of close
relationship). This can take the form of Sthuthi (Praise), PrArTanaa
(Prayer), RoshOkthi (protests in playful anger) and Leela VarNanaa
(Playful descriptions of the leelaas of the Lord as a cowherd etc).
9. Sva-yOgya-KaTanaa (Letting the Lord know of the BhakthA's claims and
qualifications to stress why the Lord should prioritize His attention).
10. BHakta Sodhana (Trails and tribulations during the spiritual journey).
11. Maanasa SambhOdhana (Exhortations to the BhakthA's mind /Nenju/ Manas
to focus on the Lord).
12. Krutaj~nata and MangaLaasAsana (Ezpression of Gratitude over the
Lord's anugraham and pronouncing blessing on the Lord in a deep mood of
devotion like PeriyAzhwAr in His ThiruppallANDu).
Thus mingle Sangitham and Bhakthi in Bhagavath anubhavam of NaadhOpAsakaas.
In the Navarasa Kannada Krtihi of Saint Thyagaraja (NInnu vinaa--), we
witness the dhriti mood (Contentment and hapiness born out of Bhagavath
anubhavam) of a great Raama BhakthA: "My ears are full of Raama’s stories.
My lips feel blessed in His Naama sankeerthanam, I see Raama in whatever I
see, even distasteful things become relishable and I have secured the
fruit in Raama".
The PunnagavarALi krithi of Saint ThyagrAja sums up the ideal Sanchaari
Bhaavam (mood) of a BhakthA in whom NaadhOpaasana found its home:
Pallavi:
Tava DaasOham Tava DasOham Tava DaasOham DhAsaraTE
CharaNams:
VaramrudhubhAsha VirahithadhOsha Naravara vEsha DhAsaraTE
Sarasija nEthra Parama Pavithra Surapathi mithra DhaasaraTE
Ninnu kOrithirA Nirupamasoora nannElukOrA DhAsaraTE
Manavini vinumA marava samayamA Inakula dhanamA DhAsaraTE
Ghanasamaneela Munijanapaala Kanakadhukoola DhasaraTE
Dhara NeevaNDidhaivamu lEdhaNDi SaraNanu kODi DhAsaraTE
Aagama vinutha rAgavirahitha ThyaagarAjanutha DhAsaraTE
Meaning: Oh Son of DhAsaraTa! I am our Daasan (Liege and servant). I have
been seeking You and You alone all my life. Pray, Protect me, come to my
rescue and listen to my appeals! This is not the time to forget me.
Convinced that here is no God equal or superior to You, in the entire
universe I have surrendered at Your sacred feet. Oh Soft-spoken Lord! Oh
Blemishless One! Oh Lord who has taken the garb of a human! Oh Lotus-eyed
One! Oh Most sacred One! Oh Lord of DevAs! Oh One with matchless valour!
Ninnu kOrithiraa! NannElukOrA! Manavini vinumA marava samayamaa? Oh Lord
of Soorya Kulam! Oh protector of the Sages of DaNDakAraNyam! Oh Lord of
beautiful blue hue! In the world, there is no God like You! I perform
SarNAgathi at Your Lotus feet (Dahra neevaNDi Dhaivamu lEdhaNDi, SaraNanu
koNDi DhAsaraTE). Aagama vinutha rAga virahitha ThyAgarAja-nutha DhAsaraTE
(Oh Lord slauted by Aagamaas and free of any blemishes and the One
worshipped and sung by ThyagarAja) ! I have taken refuge in You.
BhajarE Raguveeram Sara-bharitha DhasaraTa KumAram ,
Daasan , Oppiliappan Koil VaradAchAri SadagOpan
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