Content and Intent

What did our composers Saint Thyagaraja, Muthuswamy Dikshitar or Shyamasastri have

in mind when they composed songs like Teliyaleru Rama, or Sri Rajagoplama, or Devi

Brova samayamide…?

These and all the rest of their compositions are outpouring of their Bhakthi or devotion

towards their favourite deities. Likewise, the lyrical content of the Pre-Trinity and Post-

Trinity composers are nothing less than devotion towards God. Mostly, the musical

compositions of our great composers contain stories and illustrations from the scriptures

and epics like Ramayana, Mahabharatha, Bhagavatha, Puranas and so on, which is

testimonial to their deep knowledge of our epics and scriptures. This being the

background, composers have chosen to express their devotion and passion towards God

in different forms like, pleading, praising, complaining, ordering or even befriending or

chiding Him.

The scriptures like Bhagavata mention nine forms of devotion called Nava Vidha Bhakthi

as an easy way to attain salvation. They are:

Sravanam – Listening to names/stories about God; Keertanam – Chanting His several

names; Smaranam – thinking of the God always; Paada Sevanam – serving His lotus

feet; Archanam – worshipping as per shastras or scriptures; Vandanam – saluting in

submission Dasyam – servitude; Sakhyam – befriending Him; and Aatma Nivedanam –

total surrender to God. Our composers have indulged in a few or all the 9 forms of

devotion in their compositions. Thyagaraja, for example, has composed sets of songs

under the theme of Nava Vidha Bhakthi, so have Sri Purandaradasa and Maharaja Swathi

Tirunal.

The lyrical content being devotion, Thyagaraja’s compositions are Bhava laden,

brimming with emotions. He has resorted to employing many Sangathis in each of his

songs, to convey and reinforce the intended bhava. As sangathis progress, the purpose

of reaching out to his favourite Deity appear to get stronger and stronger. One such

example is the kriti, Chakkani Rajamaargamu… where the bard stresses,”…when there is

a royal path to behold His grace and attain salvation (by worshipping Lord Rama), why

resort to bi-lanes and take devious methods…”

In the kriti, Raju vedala….describing the grandeur of Lord Ranganatha coming in

procession with all adornments, he employs majestic Thodi, in a joyous mood.

He employs a brisk Athana raga in Ramanamamu janmarakshka mantram…in stressing

the urgency in uttering His name – ..tamasamu seyaka…_ “don’t delay”

Dikshitar’s compositions are elaborate, poetic description, of Hindu Gods and temples.

His exquisite sense of rhythm, placement of words, figures of speech and literary

embellishments in describing the deities made his compositions heavy and grand. The

lyrics are deep in devotion and rich with philosophical and spiritual themes. He extols

the virtues of various Gods and Goddesses. Supportive of such lyrical contents, he has

composed most of his songs in a slow tempo. He was not an emotional poet, yet usage of

words like Paalaya, Maam avatu , Aashraye, Bhajare, Raksha, etc. clearly explain his

devotion. Eg: Navavarana kritis, , Soundararajam, Sri Balasubrahmanyam… etc.

Shyamasastri spent most part of his life in the sanctum sanctorum of Bangaru Kamakshi

pleading for her grace, as he was Devi’s ardent devotee. His songs are meditative. His

slow paced songs like Devi brova samayamide, Mayamma, Nannu brovu Lalitha, etc are

ultimate in bringing out his unconditional devotion, filled with, Karunya or compassion

and Dhainya or piety. Hence such songs cannot afford a harsh, brisk treatment. The

composer is pleading for Her grace, especially when he sings …nee padapankajamuna

sthiramani….nammithi… He completely trusts that Devi will protect him.

Thus being the case with the lyrical content, to match the varied moods, the composers

have efficiently employed different speeds/tempos or, Kaalams like Vilamba kaalam or

slow speed, Madyama kaalam or medium speed and Durita/chouka kaalam or fast

speed, to make their intent aesthetically appealing and more meaningful. Ex: Paalinchu

Kamakshi of Shamasastri where he pleads to be protected and Mysore Vasudevacharya’s

Brochevaarevarura..., where the composer/ devotee is longing for His lotus feet, are in

vilamba kaalam but his Mamavathu Sree Saraswathi reflecting a sentiment of praising

Her in his worship, is in madhyama kaalam. Paridanamichite paalintuvemo of Patnam

Subramanya Iyer, meaning, “perhaps you will protect me only if I give you some

charity…?” is fast paced, expressing his disappointment with God! Most of Dikshitar’s

kritis are in Vilamba kaalam, but wherever necessary he has appended them with

madhyamakaala sahityam, for a brisk presentation. Thyagaraja has composed in all three

kalams, like Nidhi chhala sukhama in vilamba, Telisi Ramachintana in duritha and

Rama nannu brova ra in madhyama and so on. His Utsava Sampradhaya keertanas and

Divyanaama sankeertanas are relaxed compositions with a lilting stride.

Keeping these aspects in mind, it is for the learned artists to deliver these songs with a

proper understanding of the intent of the composers. Each song has its own specific style

in terms of Raga, Bhava, Taala and Tempo. Thyagaraja’s Teliyaleru Rama or Brova

baarama, though madyama kaala kritis, if sung in a cheery, high speed with blaring

percussion instruments at high volume may bring joy or elation to a novice in the

audience, who would feel like dancing to the tune. But it fails to convey the implied

bhava to a connoisseur who likes to immerse himself in the emotional content of the

song!

Akhilandeshwari or Mruga,…. enraal urugado undan ullam… or Daasana maadiko enna

and Baagilanu teredu seveyanu kodo… require a vilamba kaala presentation, while

Bandanene Ranga… or Aadidano Ranga... or Raghuvamsha sudha... will need faster

tempo. Any number of examples can be quoted in this manner, but elaboration should not

mean stretching Nee. (EEEE)lambari or Punnaa(AAAA)gavarali to that extent,

indefinitely!

There are artists, both vocal and instrumental, who pay attention to the content and the

underlying intent of the composers and strive to do justice to all facets of the song. Their

concerts are a hard core rasika’s delight!

The lyrics, ragas and tempo are well matched by the composers, to convey the actual

emotion to listeners. A proper understanding of these, along with balanced raga alapana,

neraval, swaraprastharam, befitting the kritis will make the concert more enjoyable.

Mismatch of rhyme and rhythm may end up in chaos!