Today, I will write about one of my most favorite morning compositions of dIkshitar, nIrakjAkSi kAmAkSi in rAga hindOLam set to rUpaka tALa. Before I jump into the composition itself, a few words about the rAga, the importance of this particular composition and the significance of this kSEtra to set the stage and create the complete context which will help us enjoy and understand the composition much better.
hindOLam is predominantly a north indian rAga, has its roots in hindustani music and goes by the name mAlkauns. This pentatonic scale subsequently transcended into the South Indian music scheme with purandaradAsa composing the first carnatic composition in this rAga. The beautiful audava structure without rishaba and panchama automatically yields a symmetry to this rAga, which is probably the greatest hallmark of this scale and the main reason why it is so pleasant and mellifluous to the ear. Capable of conveying both shringAra and bhakti rasAs, the raga is attributed to vasanta ritu and is best experienced in the mornings. Again because of the symmetry, the rAga can be subjected to Graha bedham, yielding 4 other major/beautiful pentatonic scales of mOhanam, suddha sAvEri, udayaravicandrikA and madyamAvati.
While tyAgarAja's sAmajavaragamanA is probably the most famous composition in this rAga, dIkshitar weaves his own magic in his three compositions showcasing both the carnatic as well as the hindustani aspects of this rAga thereby paying tribute to its true roots. He handles govardana girIsham and sarasvati vidhiyuvati in typical carnatic hindOLam style with gamakAs and movement-laden prayOgas. However, in this particular kriti of nIrajAkSi kAmAksI, he constructs the composition in a dhrupad/north indian style, aptly supported by the rUpaka tALa, with the rAga's scale itself being used purely with more flat notes, relatively lesser gamakAs and finally rounding off with a citta swara that again has prayOgas supporting the hindustAni style of swaraprasthAras. In other words, this seems to be a conscious experiment by dIkshitar to showcase the origins of the rAga while at the same time, interweaving it into traditional carnatic music once again showing his musical genius.
Briefly explaining the significance of this kSEtra, Goddess kAmAkSi (whose name literally translates to "one whose eyes evoke desire") resides in kAnchipuram and is considered the ultimate form of LalitA tripurasundari, whose name resonates in Lalita sahasranAmAm. At this kSEtra, the Goddess is seated in the majestic padmAsana posture, signifying links to yoga and prosperity, instead of the traditional standing pose, holding sugarcane bow, flowers, lasso (pAsha) and goad (ankusha). There are no other Goddess temples in kAnchipuram showing the importance of this particular temple, with links to the great Adi Sankara who is believed to have calmed down the dEvi from her earlier ugra swarUpa and re-instated the shrI cakrA at this temple. dIkshitar being a shrI vidyA upAsaka, aptly highlights all of these significant features in his composition, bringing in the nava-Avaranas and using references such as "nIla cikura", "tripura" and "gaurI" which are directly borrowed from LalitA sahasranAmam.
With the context set, I will start with the pallavi of this composition.
Pallavi:
nIraja-akshi kAmAkshi nIrada cikurE tripurE
Setting the tone for the entire composition, written in the eighth vibhakti (sambOdhana pratama), dIkshitar directly addresses the Goddess as "O lotus-eyed ("nIraja-akshi") Goddess kAmAkshi! The one with tresses ("cikurE") akin to dark water-bearing clouds ("nIrada")! The one who is the Queen of the three worlds ("tripurE")! (Protect me!!)"
In my opinion, the pallavi is probably the highest point of this composition. dIkshitar starts off on a high, kicking it off with swarAkshara "nI" in "nI"rajAkshi. He then beautifully sketches a waterfall by using the avarOhana to land the typical "gMgs" phrase at "kAmAkshi" which more importantly, sets up the stage for the knock-out punch, a mandira sthAyi swarAkshara "nI"rada. He then uses "sns" at "cikurE", followed by "Mgsgm" at "tripurE" which gives the dhrupad effect of hindustAni music and helps loop back to "nI"rajAkshi".
One can't appreciate the pallavi more here with the beautiful swaraprasthAras and the kAla pramAna that dIkshitar sets for this majestic composition. He also uses terms such as "nIrada cikura" and "tripurA" which are direct references to lalita sahasranAma. One should also observe the usage of flat notes in the pallavi, not your typical hindOLa prayOgas. It is apparent, that the usage of flat notes is conscious throughout the composition, clearly dIkshitar showing his prowess and making an exhibition of how a north indian rAga can be used for a carnatic composition. This also creates a sense of calm and peace throughout the entire composition, as he traverses the octaves with no fuss, little gamakAs, as if a ship sailing the waves of the calm Pacific ocean.
Moving on to the anupallavi,
Anupallavi:
SAradA ramA nayanE sArasa candra-AnanE
vArija pAdE varadE tAraya mAM tatva padE
Meaning:
dIkshitar describes the Goddess as "The one who has Goddesses sarasvati ("SAradA") and Lakshmi ("ramA") as Her eyes ("nayanE")" physically describing how Goddess kAmAkshi is flanked on either sides by these two Goddesses and who they rule the three worlds together in unity. He continues to describe the beauty of Goddess kAmakshi by calling Her as "the one whose face ("Anana") is as beautiful as the swan ("sArasa") and as radiant as the autumnal moon ("candra")".
He then continues to describe the merciful and compassionate aspects of the Goddess by describing Her as "the one who has lotus-like ("vArija") feet ("pAdE") adept at granting boons ("varadE")". He then requests the Goddess to "protect and help him ("mAm") transcend ("tAraya") to the other side by showing the truth/essence ("tatva") of which She is the authority ("padE")".
Musically, he starts off the anupallavi with a serene shadja, again creating swarAkshara at "SA"rada flowing down to the gAndara and ending with madhyama at naya"nE". He then lilts from madhyama directly to nishAda at "sA"rasa before coming down to the flat dhaivata which is what brings the utmost beauty of this interpretation of hindOLa. Throughout the composition, dIkshitar consciously avoids the straight "gmdn" prayOga typical of hindOLa and always uses "gmndn", thereby bringing in that additional beauty of the north indian version.
As a final embellishment, dIkshitar unleashes a beautiful citta swaram that is hard to describe in words. The prayOgas once again extract the maximum possible beauty of this rAga, transcending all the three sthAyis with such grace and aplomb that all one can do is just relish and experience the sancArAs he exposes. The citta swara finally culminates with "sgs, ndmggmm" setting the platform to loop back to the swarAkshara "nI"rajAkshi, thereby completing the magic thread that he wove in the anupallavi.
dIkshitar then moves on to the caraNam, which again starts with a sedate shadja setting the ground for a crescendo.
caraNam:
gaurI hindOLa dyuti hIra maNi-maya-AbharaNE
Sauri virinci vinuta Siva Sakti-maya nava-AvaraNE
nArImaNi-Adi-arcita nava nAtha-antaHkaraNE
sUri jana saMsEvita sundara guru guha karaNE
Meaning:
dIkshitar starts off the caraNam with a beautiful "sm" phrase with a direct reference to Lalita sahasranAmam by using the word "gaurI" which literally translates to "one who is white/golden in complexion". He then brings in the rAga mudra by describing the Goddess as "the one who is bedecked with ornaments ("AbharaNE") that is filled with ("maya") resplendent ("dyuti") diamonds ("hIra") and other gems ("maNi")". Hindola also literally translates to "ornamental swing/cradle" and this line can be interpreted as dIkshitar comparing the Goddess's necklace/ornaments to a beautiful swing/cradle.
He then describes the Goddess as "the one who is worshipped ("vinuta") by Lord Vishnu ("Sauri") and Brahma ("virinci")". Dikshitar then begins to bring in the esoteric references to Sri chakra (which, as I had earlier mentioned was re-established in this shrine by Adi Shankara himself) by describing the Goddess as "the one who resides in the nine realms ("nava-AvaraNE") of the Sri cakra which houses Shiva and Shakti". He then begins the madhyamakAla sahitya by referring to the traditional worship of the Goddess by women seeking to attain purity and greatness by worshipping Her on Fridays and describes Her as "one who is worshipped ("arcita") by gems ("maNi") among women ("nArI")".
He then brings in references to the navanAthas sampradaya, the school of thought which believes in the nine saints, beginning with the trinity themselves, who spread the philosophy of one ultimate truth. dIkshitar describes the Goddess as "the one who resides in the hearts ("antaHkaraNE") of the navanAthas" and as "the one who is worshipped ("saMsEvita") by men of knowledge/wisdom ("sUri jana"). dIkshitar concludes the madhyama kAla sAhitya by using his composer mudra and describes the Goddess as "the one who is responsible for the creation ("karaNE") of the handsome ("sundara") Lord Guruguha".
To complete the structure, dIkshitar once again employs the citta swaram (sometimes sung in second/third speed) to once again loop back to the beginning of the pallavi. He again employs some amazing prayOgas in the caraNam, my favourites being Sauri virinci where he uses "nsdm gmns" and the lilting "snsnsmgs" at "nArimanyA". Even if you have listened to this composition before, I would highly recommend you try and listen to this again after reading this post. I am sure you will be able to enjoy it that bit more and probably enjoy it as much as I did :).
On that wonderful note, I will close this post. I hope to ride this wave of new found enthusiasm and pick up another majestic composition to post next weekend. Until then, wish you a great week ahead and hopefully a week in which you the get the chance to indulge a bit more in music :). Shri gurubhyO namah!!
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