jaivatruka natakurinji adi evrb.htm
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पल्लवि
जैवातृकनिभवदन दीनशरण्य
श्री रुग्मिणी रमण मामव कृष्ण
अनुपल्लवि
जीवादिसकल सुरसन्नुत दॆवकीनन्दनाश्रितजनावन
श्रीवनजाक्ष जगत्रय वन्दित श्रीकर कौस्तुभ वनमालाधर
चरणं
सामादि निगम सार विचक्षण षड्ज स्वरकर शिखि पिञ्छधर
वामांगलसत्गिरिजायुत वृषभद्ध्वजपूजित विनतासुतरथ
रामानुज मुरळीधर मुरहर रादॆयसुयॊधनगान्धारहर
कामादि रहित मध्यम पाण्डवकौन्तॆय रथ विभूषण वेन्कट
रामाच्युत पिकपन्चमकूजित वृन्दावनधैवत मानिषाद
षड्जऋषभ गान्धार मध्यम पञ्चम सप्तस्वर नादात्मक
പല്ലവി
ജൈവാതൃകനിഭവദന ദീനശരണ്യ
ശ്രീ രുഗ്മിണീ രമണ മാമവ കൃഷ്ണ
അനുപല്ലവി
ജീവാദിസകല സുരസന്നുത ദെവകീനന്ദനാശ്രിതജനാവന
ശ്രീവനജാക്ഷ ജഗത്രയ വന്ദിത ശ്രീകര കൗസ്തുഭ വനമാലാധര
ചരണം
സാമാദി നിഗമ സാര വിചക്ഷണ ഷഡ്ജ സ്വരകര ശിഖി പിഞ്ഛധര
വാമാംഗലസത്ഗിരിജായുത വൃഷഭദ്ധ്വജപൂജിത വിനതാസുതരഥ
രാമാനുജ മുരളീധര മുരഹര രാദെയസുയൊധനഗാന്ധാരഹര
കാമാദി രഹിത മധ്യമ പാണ്ഡവകൗന്തെയ രഥ വിഭൂഷണ വേന്കട
രാമാച്യുത പികപന്ചമകൂജിത വൃന്ദാവനധൈവത മാനിഷാദ
ഷഡ്ജഋഷഭ ഗാന്ധാര മധ്യമ പഞ്ചമ സപ്തസ്വര നാദാത്മക
൯ ൧൪ ജൈവാത്രുകനിഭവദനാ ദീനശരണയ ശ്രീരുഗ്മിണീ രമണ മാമവ കൃഷ്ണ
ജീവാദി സകല സുരസന്നുത ദേവകീ നന്ദനാശ്രിത ജനാവന
ശ്രിവനജാക്ഷ ജഗത്ര്യ വന്ദിത ശ്രീകര കൗസ്തുഭ വനമാലാധര
സമാദി നിഗമസാര വിചക്ഷണ ഷദ്ജസ്വരകര ശിഖിപിഞ്ചധര|
വാമാങലസത് ഗിരിജായുത വൃശഭദ്ധ്വജപൂജിത വിനതാസുത രഥ|
രാമാനുജ മുരളീധര മുരഹര രാദേയ
९ १४ जैवात्रुकनिभवदना दीनशरणय श्रीरुग्मिणी रमण मामव कृष्ण
जीवादि सकल सुरसन्नुत देवकी नन्दनाश्रित जनावन
श्रिवनजाक्ष जगत्र्य वन्दित श्रीकर कौस्तुभ वनमालाधर
समादि निगमसार विचक्षण षद्जस्वरकर शिखिपिञ्चधर।
वामाङलसत् गिरिजायुत वृशभद्ध्वजपूजित विनतासुत रथ।
रामानुज मुरळीधर मुरहर रादेय
kr̥ti jaivātrukanibhavadana- rāga-nāṭṭakurinji
pallavi
jaivātrukanibhavadana dīnaśaraṇya
śrī rugmiṇī ramaṇa māmava kruṣṇa
anupallavi
jīvādisakala surasannuta devakīnandanāśritajanāvana
śrīvanajākṣa jagatraya vandita śrīkara kaustubha vanamālādhara
caraṇam
sāmādi nigama sāra vicakṣaṇa ṣaḍja svarakara śikhi piñ-chadhara
vāmāmgalasatgirijāyuta vruṣabhaddhvajapūjita vinatāsutaratha
rāmānuja muraḷīdhara murahara rādeyasuyodhanagāndhārahara
kāmādi rahita madhyama pāṇḍavakaunteya ratha vibhūṣaṇa vēnkaṭa
rāmācyuta pikapancamakūjita vrundāvanadhaivata māniṣāda
ṣaḍja–ruṣabha gāndhāra madhyama pañcama saptasvara nādātmaka
MEANING :PER COURTESY- DR ALAMELU AND SRI RAMAKRISHNAN
Song number 9 Jaivatrikanibha vadana (One whose face resembles the lustre of the moon)
Raga: Natakurinji Tala: Adi
Hari kambodhi raga janyam
Arohanam: s r g m n d n p d n s
Avarohanam: s n d m g s
Pallavi
O! Lord Krishna! One whose face resembles the moon! The One who is the refuge of the helpless! The One who is a delight to Rukmini! May You protect me, O Krishna!
Anupallavi
O! The One who is worshipped by all living beings, including the celestials, (alternate meaning: the word ‘jiva’ in astrology refers to Jupiter, who is the preceptor of the celestials). The protector of those who supplicate unto the One and who gladdens the heart of Devaki! One with eyes resembling the lotus, the One worshipped in all the three worlds, the One who bestows auspiciousness, One who is adorned with the kaustubha jewel and a garland of a miscellany of flowers (jaivatrikanibha)
Charanam
O! The One who is the quintessence of all scriptures starting from the Sama Veda! The One who is omniscient! One who is endowed with the power of discrimination (to know the right from the wrong) ! The One who wears the feather of the bird peacock which makes musical sounds on par with the shadja (basic note) in music, One who is worshipped by Lord Siva, who has bull as His standard and on whose left side is the daughter of the (Himalaya) mountain (i.e., Parvati), One having the son of Vinata (Garuda) as His vehicle, the younger brother of Rama, One having the flute in His hand, One who has vanquished the demon Mura, the One who defeated Karna, Suyodhana and Duryodhana, One who is devoid of desire and the like, One who is the décor of the chariot of the middle one among the Pandavas and the son of Kunti (reference to Arjuna), One with the names Venkatarama and Achyuta, the presiding deity of Vrindavana and endowed with the (sweet) voice of the cuckoo, One who is the lord of Lakshmi, the heart and soul of the sapta swaras such as Shadja, Rishabha, Gandhara, Madhyama and Panchama (also daivata and nishada, though not specifically mentioned) (jaivatrikanibha)
Note: Kausthubha is the jewel that emerged from the milky ocean, when it was churned by the demons and the celestials for getting nectar (amruta).
***********
Song number 9 Jaivatrikanibha vadana (One whose face resembles the lustre of the moon)
Raga: Natakurinji Tala: Adi
Hari kambodhi raga janyam
Arohanam: s r g m n d n p d n s
Avarohanam: s n d m g s
Pallavi
O! Lord Krishna! One whose face resembles the moon! The One who is the refuge of the helpless! The One who is a delight to Rukmini! May You protect me, O Krishna!
Anupallavi
O! The One who is worshipped by all living beings, including the celestials, (alternate meaning: the word ‘jiva’ in astrology refers to Jupiter, who is the preceptor of the celestials). The protector of those who supplicate unto the One and who gladdens the heart of Devaki! One with eyes resembling the lotus, the One worshipped in all the three worlds, the One who bestows auspiciousness, One who is adorned with the kaustubha jewel and a garland of a miscellany of flowers (jaivatrikanibha)
Charanam
O! The One who is the quintessence of all scriptures starting from the Sama Veda! The One who is omniscient! One who is endowed with the power of discrimination (to know the right from the wrong) ! The One who wears the feather of the bird peacock which makes musical sounds on par with the shadja (basic note) in music, One who is worshipped by Lord Siva, who has bull as His standard and on whose left side is the daughter of the (Himalaya) mountain (i.e., Parvati), One having the son of Vinata (Garuda) as His vehicle, the younger brother of Rama, One having the flute in His hand, One who has vanquished the demon Mura, the One who defeated Karna, Suyodhana and Duryodhana, One who is devoid of desire and the like, One who is the décor of the chariot of the middle one among the Pandavas and the son of Kunti (reference to Arjuna), One with the names Venkatarama and Achyuta, the presiding deity of Vrindavana and endowed with the (sweet) voice of the cuckoo, One who is the lord of Lakshmi, the heart and soul of the sapta swaras such as Shadja, Rishabha, Gandhara, Madhyama and Panchama (also daivata and nishada, though not specifically mentioned) (jaivatrikanibha)
Note: Kausthubha is the jewel that emerged from the milky ocean, when it was churned by the demons and the celestials for getting nectar (amruta).
***********
CHAPTER 4
ANALYSIS OF THE STRUCTURE AND LYRICAL ASPECTS OF
Krtis of E³³app¡¿a¯ VenÅki¿ar¡ma Bh¡gavatar
CHAPTER 4 ANALYSIS OF THE
STRUCTURE AND LYRICAL ASPECTS OF
Krtis of E³³app¡¿a¯ VenÅki¿ar¡ma Bh¡gavatar
kr̥ti jaivātrukanibhavadana- rāga-nāṭṭakurinji
9 14 jaivātrukanibhavadanā dīnaśaraṇaya śrīrugmiṇī ramaṇa māmava kruṣṇa
jīvādi sakala surasannuta dēvakī nandanāśrita janāvana
śrivanajākṣa jagatrya vandita śrīkara kaustubha vanamālādhara
samādi nigamasāra vicakṣaṇa ṣadjasvarakara śikhipiñcadhara|
vāmāṅalasat girijāyuta vruśabhaddhvajapūjita vinatāsuta ratha|
rāmānuja muraḷīdhara murahara rādēya
kr̥ti jaivātrukanibhavadana- rāga-nāṭṭakurinji
This is one
of the general kr̥tis
on Vishnu, by E³³app¡¿a¯ VenÅki¿ar¡ma Bh¡gavatar
In the kr̥ti
jaivātrukanibhavadana
, there are references to the sapta swaras –
the seven notes -in the gamut of South Indian music connoting the Puranic names
figuring in Srimad Bhagavata.
E³³app¡¿a¯ VenÅki¿ar¡ma Bh¡gavatar’s musical and literary prowess is exhibited in the apt use of the swara and akshara
The musical analysis is done in the Chapter 3.
Chapter 3.
ref gr phd thesis
3.1.1 . A study of those r¡gas that were brought to light to the music world by Trinity and post Trinity composers by their compositions and also handled by E³³app¡¿a¯ VenÅki¿ar¡ma Bh¡gavatar.
nāṭṭakkurinji- rāga – three krtis of E³³app¡¿a¯ VenÅki¿ar¡ma Bh¡gavatar
song 25 Pg 38 ¾a¯Äkarabhagavat n¡¿¿akkuºinÅji ¡di
song 9 Pg 14 jaiv¡trukanibha* n¡¿¿akkuºinÅji ¡di ref ksna cd
r¡m¡ lµk¡bhir¡ma sing n¡¿¿akkuºi²²i d£varanÅjana¯Ä tāḷa devaranjanam
appendix pg 18 in APPENDIX 3 NOTATIONS - SONGS
āro-sarigamanidhanipadhanisa-ava-sanidhamagasa
the prayoga -rigamapagarisa is avoided
n¡ttakkurunji-nÖdÖ nÖ s nÖ s, s,-grg,mpmgmgr,s-mgrs rsnÖdÖ nÖ,s,s,-
dmdn r×s×nd ndm,-mpmg srgm -rgm, gmr,- rgs, nÖsrg g,m, mgr,grs,
LYRICAL
ASPECTS
jaiva=relating
to Jupiter-jaiv¡t»ka=moon
jaiv¡t»kanibhavadana-refers
to the resplendent face of Krshna similar to the shining moon.
j§v¡di
sakala jeevadaayaka=life giver of all.
charana: LYRICAL ASPECTS
½a¢ja
svarakara ¾ikhi pi²Ächadhara
¾ikhi
pi²Ächa= feather of the peacock
¾ikhi
pi²Ächadhara – one who wears feather of the
peacock.-Here Krishna.
½a¢ja-Name
of the first among the seven notes--sapta swaras-,
primary notes –so
called because it is supposed to be produced by the six
organs,viz.tongue,teeth, palate, nose,throat,and chest..
The other
six notes are »½abha, g¡ndh¡ra madhyama pa²cama, Dhaivata, ni½¡da,
that the
Sama veda was sung to the music of the sapta swaras was found in unmistakable
terms in this Sikhsa
s¡m¡di
nigama s¡ra vicak½a³a ½a¢ja svarakara is a significant term
“Yagnavalkya siksha justifies the
names of the sapta swaras- for shadja-shat-ja-born of the six angas at
actions.the swara came to be called as shadja.
षण्णां स्वराणां जनक:षड्भिर्वाजस्यतॆ स्वरैः।
षड्भ्य़ो वा जायतेऽङ्गॆभ्य: षड्ज इत्यभिधीयते॥
ṣaṇṇām
svarāṇām
janaka:ṣaḍbhirvājasyate svaraiḵ|
ṣaḍbhyō vā jāyatēṅgebhya: ṣaḍja ityabhidhīyatē||
In the veda recitation, intonations of
ni½¡da, g¡ndh¡ra are referred to the udhatta accent
»½abha, Daivata-Are referred to anudhatta accent
½a¢ja-madhyama, pa²cama-The three are referred to the
svarita accent.
½a¢ja svarakara ¾ikhi –
¾ikhi -means the bird peacock
The sound of this note is said to resemble the sound
of the peacock
v»½abhaddhvajapÀjita –flag
with the symbol of v»½abha
v»nd¡vanadhaivata- Krsna-
dhaivata means relating to God, diety, Deva-daivata in
the sense as celebrated or worshipped in v»nd¡vana
m¡ni½¡da-
m¡=refers to the bleating of goats, cow etc
ni½¡da –afflicted,distressed
ni½¡da -also dwelling, residing
Since it is a desciption of vrindavana given by E³³app¡¿a¯
VenÅki¿ar¡ma Bh¡gavatar, m¡ni½¡da could represent the dwelling of the
cows,goats cattle etc.
E³³app¡¿a¯
VenÅki¿ar¡ma Bh¡gavatar’s use of m¡ni½¡da = m¡- donot ni½¡da =despair;hence
could mean remover of distress of the inhabitants of vrndavana- an epithet for
Krsna.
venka¿a
r¡m¡cyuta pikapancamakÀjita pikapancamakÀjita
kÀjita =means sound made by
pancama is the fifth note of the gamut of saptaswara
in music supposed to be produced by the air drawn from 5 parts of the body.
The sound of this note is said to resemble the sound
made through its throat by the Indian cuckoo or koyal or koil or kuyil -pika-
“The Naradeeya Siksha –
a manual on the Samaveda swaras dealing with the origin, nature and development.
The corresponding cries of the birds and animals for
the seven swaras are also mentioned.
SA- MAYURA, RI –CHATAKA,
-GA-GOAT,MA-CRANE,
PA-CUCKOO, DA-FROG, NI-ELEPHANT
मयूरचातक क्रौञ्च कॊकिल दर्दुकाः।
गजश्च सप्त पङ्जादि
न क्रमादि दुश्चारयन्त्यपि॥
mayūracātaka krauñca kokila dardukāḥ|
gajaśca sapta paṅjādi na kramādi duścārayantyapi||”
References to Mahabharata epic story is interestingly
brought about in this charana-
The historical characters like karna, dhuryodhana,and
his kaurava clan are refred to in the pada
r¡d£yasuyµdhanag¡ndh¡rahara
r¡d£ya suyµdhana g¡ndh¡ra hara- madhyama p¡³¢ava
Among the p¡³¢ava brothers Arjuna is the third .hence
Arjuna is referred as in the midst of p¡³¢avas –
madhyama p¡³¢ava
kaunt£ya-– the son of
Kunti is Arjuna
Krishna as the charioteer of Arjuna during the act of
the Mahabharata war-yuddha is depicted as- kaunt£ya ratha vibhÀ½a³a is krsna One who adorned the ratha –
chariot of Arjuna.
While Arjuna – the son of
Kunti is referred as kaunt£ya-,
r¡d£ya is Karna also as per the epic is biologically
though is the son of Kunti, yet he is referred to as Radheya, -because Radha
was Karna’s foster mother,
Radha was the wife of Adhiratha- the soota or
charioteer of King Sura
Karna had grown
up under the care of his foster parents after being desserted by
Kunti,who had given birth to him before her formal marriage.
suyµdhana-su+yajna-derivation=the word means fighting
well.here used as euphemistically in the noun form to mean Duryodhana-the
eldest of the kaurava clan .
g¡ndh¡ra –use of this
swara name is significant. g¡ndh¡reya meaning the sons of g¡ndh¡ri- wife of
dhritarashtra-hence the reference to the whole clan of kauravas.
venka¿ar¡m¡cyuta pikapancama----cyuta. pancama----cyuta
is relevant .Because panchama note is used sparingly in Nattakkurinji
-rgm{p}grs .in the notation too
ndn{p}dns is avoided.
Hence the composer’s
musical, linguistic dexterity and the knowledge of the scriptures is
exemplified by this one krti.
The musical analysis is done in the Chapter 3.
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