Gripped by the recent mELakarta rAga exposition series being telecast on podhigai, and thanks to a samaritan (TVG)'s uploads on Sangeethapriya, I got to listen to Gayakapriya and vakuLAbharaNam a few days ago. That aroused in me, an enthusiastic urge to refurbish a rare gem that had rested deep in my memory for a long time, or so it seemed. Having refurbished the song reasonably satisfactorily over the last week and sung to a few of my very dear friends, I thought a blogpost is in order, for what is truly one of Dikshitar's MOST unique krithis (needless to say, amongst his rarest - we're yet to get hold of a recording for our tribute site).
The krithi in discussion is 'rAmachandra-bhaktam' in the rAga 'gEyahejjajji', the 13th rAgAnga rAgam, mELam, in the Dikshitar school. It is amongst the only four or five songs composed by Dikshitar on Lord AnjanEya (who's very close to my heart - being a dvaitin :P), and to my knowledge, probably the only composition of his having a swara-graham for chiTTaswarams - such is its uniqueness. More on that when I get there.
gEyahejjajji, the 13th mELam, is the Dikshitar equivalent of gAyakapriya. As per the SSP, it is a sAyankAlika rAgam, with shuddha Ri, antara Ga, shuddha Ma, shuddha Da and shuddha Ni - a vivAdi! Hence, close to heart, being the vivAdi-boy! :P . The asampoorNa mELam, as in many of the 1(mod 6) asampoorNa mELa rAgas (the geeky way of referring to the 1st rAgam of each chakram) is nishAdha-varjya (devoid of nishAdham) in the ArOhaNam. Specifically, SSP provides the ArOhaNam to be - "S R1 M1 G3 M1 P D1 S". The avarOhaNam is sampoorNam with "S N1 D1 P M1 G3 R1 S". Apparently, the "P D1 S", is to make it easy for the singer, without him/her having to accommodate the (I feel) rather troublesome and oddly located N1 in between D1 and S. However, the asampoorNattvam (incompleteness) makes manOdharmam a tight-rope walk, if ever one chooses to experiment with it!
The song is set to a rather "chuggy" Adi tALam (1 kaLai), and progresses at a quasi-madhyama kAlam pace ('chuggy' is again the right word!). A pleasure to sing in that oh-so-comfortable pace - that of calmness and quietude. In some sense, it befits the deity in whose praise the song is! Lord AnjanEya is known for his 'jitEndriyattva' - conquer over sensory perceptions, and has been portrayed in the purANas to be forever calm, stoic and humble, and subservient to his master, Lord rAma.
rAmachandra-bhaktam bhaja mAnasa!
rAkShasAntakam, hanUmantam, shrI ...
A superb way to introduce AnjanEya! "rAmachandra-bhaktam"! The perfect adjective, I'd say - what with AnjanEya being certainly the foremost amongs t the devotees of Lord rAmachandra! Dikshitar probably uses "rAmachandra bhaktam" in the more complete sense of "THE devotee of rAmachandra". It is like, say, the usage "geetA" to refer to bhagavadgeeta, or say "bhAratam" to refer to mahAbhAratam, or, in Vaishnavaite school, "sahasranAmam" to refer to "ViShNu-sahasranAmam". I've also seen Sanskrit scholars referring to "amarakOsha" as simply "kOsha". It kinda seems plenty to just refer to AnjanEya as "rAmachandra bhaktam"(in a similar vein as the above), with his "first-in-line" far ahead of all else obviating from the very reference! Well, Lord Rama himself praises hanUmAn to the skies in the 1st sarga of the yuddha-kANDam (see here)
Also, the term "hanUmAn", has been dealt with in paurANic interpretation to qualify AnjanEya as "the knower of all divine knowledge". The term "hanu" refers to "knowledge". This is a valid interpretation, given the shlOkam in 28th shlOkam of the 3rd sarga of the kiShkindAkANDam of rAmAyaNam - "nAnR^igvEda-vineetasya na ayajurvEdadhAriNaH ...." (see here) which goes on to describe hanUmAn as knowing all four vEdAs perfectly (in addition to other attributes). Lord rAma goes on to describe the impeccability of hanUmAn! In fact, it is said that 'hanUmAn' is still chanting the vEdAs and the brahmasUtras in kimpuruSha khaNDa to this date!
In the view of the above, the pallavi seems to be more than an enough description of the Lord AnjanEya.
The swarasthAnams in the pallavI are very interesting, and needless to say, extremely apt for the meaning. As mentioned earlier, the dominant rasa is 'shAnta' rasa - the 'emotion' of peace, notwithstanding, the tinge of 'uncertainty/fear' that 'shuddha niShAdha' is capable of adding. In the pallavi herein, the N1 appears in the mandram alone and contributes wholeheartedly to the lovely wave of peace that the rest of the pallavi brings about. I particularly love the 'flat' gAndhAram in 'rAkShasAntakam', that brings in a feeling of 'assurance' of hanumAn as the destroyer of all evil and hence keeping us safe. The phrase hanUmantam, ends the pallavi on a serious note with the G3 and M1 dominating.
|MK| sAma-dAna-bhEda-daNDa-chaturam, sad-guruguha-sammOditam, varam ....
A s such, the reference to the his gobbling up of the sun, can denote at least two things - (i) the famous, actual event, (ii) the fact that AnjanEya is more knowledgeable and hence brighter than the sun. I am unaware if the term 'gEyahejjajji' means something deeper. Anyone with an idea of the same should kindly add a note on that.
The charaNam starts with a 'tasty' "D, N D, PM", setting the tone for a beautiful charaNam. The lovely swaram for divAkaram as "D P, M G," really energizes me. That G, halt is SO wonderful! gEya starts off as 'M G M', in the last beat of the AditALam of the first Avartanam, adding beautiful variety in the laya pattern for the song. preetikaram comes as P D, D S , - the platform is very well set for the tArasthAyi.
"sA-ma" in the madhyama kAlam starts as a 'swarasAhityam' (sA ma). dAna uses G, R. The usage S, N N, D for bhEda daNDa, in concordance with the meter adds excellent symmetry between the swara and sAhitya, that which is preserved for the rest of the madhyamakAlam. The usage S, M G, R G M for sammOditam varam is a beautiful lead to the chittaswara, which is the most unique feature of this song!
The swara, in stead of the sAhitya, has a madhyama-graha of the swara, i.e., P is sung as the madhyama graha swara S. Sa as Ma, Ma as Ni etc. The swara S is sung at the position Pa, in the 'actual' shruti, but would be 'Sa' in the madhyama graha shruti. For example, for a singer singing at 1, Pa would be Sa in the madhyama graha of 1, which is 5. I know that this is a musicological idea, but I am unaware of the science, rules and the ramifications of this idea. Again, knowledgeable people should help me here.
Graha - S, S N D P P N D D P D P P M | M , G , R S R | M, M P N, D N ||
Swara - P M G R S , N D P D S, R M G R | S , N, D P P , | M , G R S M G M ||
Graha - S N D P M , G R S R M, P N D P | M , G , R S S, | N, D P M N D N ||
As I mentioned earlier, I seek further enlightenment on this graham aspect of it. But as a layman, this is astounding stuff. The mood I see in the tempo and effulgence of the swaram and its graham, is that of a troubled stream torn up in two opposite directions of confusion, so typical of samsAra, seeking refuge in AnjanEya, the one who is free from worldly attachments.
On a side note, as a dvaitin, I am also VERY tempted to argue that the "reflection" (actually translation, speaking strictly) of the swara to yield its 'graha', denotes the 'image-reflection' (bimba-pratibimba) nature of rAmachandra and his bhakta, AnjanEya - a kind perennial master-slave relationship, if you will! IShAvAsyOpaniShat says - tamEva bhAntam anubhAti sarvam, tasya bhAsA sarvam idam vibhAti - It is following Him, the self-shining supreme, that all shines (dependently). It is because of his shine that all else shines. The swara-graham, somehow, for me awakens and underlines in me, those golden words of the IshAvAsyOpaniShat. I may be extrapolating, but that's just what I feel. Opinions may differ!
In all, this song comes about a beautiful treatise on a very unheard, undealt with rAga. It is prudent to point out here, the genius of the vAggEyakAras who bring out different emotions with the same swarams. While Dikshitar exploits the asampoorNa mELam effectively to produce 'shAnta' rasa, peace, shyAmAshAstrI uses the same notes in kalgaDa (pArvati ninnu) to convey a sense of distress, fear and appeal for refuge in the divine Goddess.
Evidently, all we, as mere mortals, can do, is pray to such divine demigods to grant us more bhakti in AnjAnEya, and his master, Lord rAma.