mahAgaNapatim bhajarE
kRuti 1.
raaga naaTa Sree mahaagaNapatim bhajare taaLa Adi
कृति १.राग नाट श्री महागणपतिम् भजरे ताळ आदिपल्लवि
श्री महागणपतिम् भजरे
अनुपल्लवि
चरणं
पल्लवि
श्री महागणपतिम् भजरे रे मा न स
शृत जन पालनम् गजाननं
अनुपल्लवि
वामदॆव तनयं गुणनिलयम् कोमळतर पल्लव प द युगळं कुङ्कुमारुचि शॊभित ललिततऩुम् कामित फलदायक कल्पतरुम् कङ्कणरुचि शॊभित करयुगळम्
चरणम् पा शा ङ्कु श मो दक कलितकरम् पङ्कीरु ह सन्निभ नेत्रवरम् स्रीचाप्जज वन्तितमतिरुचिरम् चिरुङ्कार विराजित्ततन्तिमुकम् पाचित वरकाण हऩयामणिकण चुताम्चुलपल अलित निजमाकुतम् वाचवाम् मुकचेवित पाताप्जयुक वाञ्चित्तपलतयक कुहचहजम्
பாசாங்குச மோதக கலிதகரம்
பங்கீரு ஹ சந்நிப நேத்ரவரம்
ஸ்ரீசாப்ஜஜ வந்திதமதிருசிரம்
சிருங்கார விராஜித்ததந்திமுகம்
பாசித வரகாண ஹனயாமணிகண
சுதாம்சுலபல அலித நிஜமாகுதம்
வாசவாம் முகசேவித பாதாப்ஜயுக
வாஞ்சித்தபலதயக குஹசஹஜம்
Kriti 1.
Raga Naata Sree mahaganapatim bhajare Tala Adi pallavi Sree mahaagaNapatim bhajare re manasa SRutajanapaaalanam gajaananam
Anupallavi Vaamadeva tanayam gunanilayam vaasavaadhi vandhita subhanichayam
Komalatara pallavapadayugalam kumkumaruchi sobhita lalita tanum
Kaamitaphaladayaka kalpatarum kankanaruchisobhita karayugalam
Charana Paasankusa modaka kalitakaram pankeruhasannibha netravaram Sreesaabjaja vanditam atiruciram srungaara viraajita dantimukham
Bhaasitavarakaanchanamayamanigana sudhaamsulabhalaalita nijamakutam
Vaasavamukhasevita padaabjayuga vaancitaphaladaayaka guhasahajam
TRANSLATION
Pallavi
The composer entreats his own mind to worship Lord Ganesha-sree Mahaganapatim bhajare re maanasa and gives a picturesque description of the Lord and his attributes.
The elephant faced God- Gajaananam who protects those who take refuge in Him-sruta jana paalanam
Anupallavi
He is the son of Lord Siva-vaamadeva tanayam
The abode of virtues- Guna nilayam
Worshipped by Lord Indra and other Gods-vaasavaadhi vandhita
Who will certainly bestow welfare to the devotees-subha nicayam
Who has a pair of soft feet which are soft like the petals of lotus-komala tara pallava pada yugalam
Whose slender body is adorned by the colour of saffron-kumkuma ruci sobhita lalita tanum
Who is the wish-yielding tree granting the boons of the seeker-kaamita phala daayaka kalpatarum
Whose pair of hands dazzle because of various types of bangles and bracelets- gana shobhita karayugalam
Charana
Who holds in His palms, the weapons like the noose, the elephant’s goad-a stick with a pointed end like a spike and a hook at the other end, and the sweet filled cake called modaka-paasaankusa modaka kalita karam
Whose beautiful eyes are like the petals of water-lily- pankeruha sannibha netra varam
Who is worshipped by Brahma- who is born out of the umbilicus of the Lord of Goddess Lakshmi- sreesaabjaja vanditam
Whose face is the most radiant- athiruciram
The elephant faced God who is attractive due to the marks made with red lead on the elephant’s body- srngara viraajita danti mukham
Whose golden crown is studded by the lustrous shining gemstones, pearls and many precious stones and caressed by the moonlight- bhaasita vara kaancana maya manigana sudhaamsu laalita nija makutam
Whose pair of lotus-like feet is chiefly worshiped by Lord Indra- Vaasava mukha sevita padaabjayuga
Who fulfills the wishes sought by the devotees- vaancita phala daayaka
Who is the whole blood brother of Lord Muruga- guha sahajam
THEMATIC ANALYSIS
This kriti is sung in praise of Lord Ganesha, the remover of all inauspicious events. The language used is Sanskrit.
PROSODICAL ANALYSIS
The literary beauty is brought out in the rhyming usages throughout the kriti.
There is correspondence of the Muhanaa syllables or its substitutes at the commencement of the avarta –for example:
Sree maha ganapathim and
Srita jana in pallavi.
Vaamadeva,Vaasavaadhi and
Komalatara, Kaamita phala in anupallavi.
Paasaankusa, Pankeruha
Sreesaabhjaja, srngaara
Bhaasita,Vaasavamukha in charana.
In the last case “vaa” occurs for “bhaa” is an allowed substitute.
All the muhanaa syllables are of the consonant variety.
The antya prasa or the last letter sound rhyming of the avartas is maintained throughout the anupallavi.
Guna nilayam
Subha nicayam
Lalita tanum
yugalam
and also in the charana
karam
varam
ruciram
mukham
makutam
sahajam
This usage of antya prasa helps us to identify the beginning of each avarta or tala cycle and also differentiate the rhythmic setting.
For instance in the anupallavi, the line
Vaamadeva tanayam gunanilayam vaasavaadhi vandhita subhanichayam
is in the medium tempo or madhyama kaala whereas the line
Komalatara pallavapadayugalam kumkumaruchi sobhita lalita tanum
Kaamitaphaladayaka kalpatarum kankanaruchisobhita karayugalam
is to be rendered in the next tempo or dhurita kaala.
Dwiteeyakshara prasa is seen in anupallavi as
komala and kaamita; and in the charana as
paasaankusa and sreesaabja,
bhaasita and vaasava.
Anupraasa alankara, where the repeated sound of certain syllables adds lilting beauty is found in the following phrases.
sritajana paalanam gajaananam- “na”
vaasavaadhivandhita-the sound of “vaa” is repeated.
kaamita ---kalpa----kangana---karayugalam- the syllable “ka” is repeated.
sudhaamsulabha laalita- “su” and “la” are the syllables continuously used.
vaasavamukha sevita-the syllable “va” is repeated.
SYLLABLE ANALYSIS
The deerga and hrasva niyama of prasa-long and short syllable use is also adhered to.
STRUCTURAL ANALYSIS
By its structure the composition belongs to the kriti category.
The sahitya is divided into angas as pallavi, anupallavi and carana.
Pallavi has seven padaas.
Anupallavi has seven padaas.
Charana has seven padaas.
The pallavi has two paadaas or two meaningful lines.
Anupallavi has four paadaas or lines. Of these, the third and fourth are double in length as that of the first and second lines, which indicates that the later two lines have to be rendered in the dhurita kaala or in double the speed of the former lines. Thus these lines will be completely rendered in the faster speed to complete them in a single cycle of the tala.
The charana has six lines or paadaas. Here the last two lines being double in length have to be sung in the dhurita kaala, so that they are completed within two cycles of the tala.
There is a perfect balance of six avartas each for pallavi and anupallavi – the purvanga, and the charana –the uttaraanga of the kriti.
The sabdalankaras, beauty in the sound of words as in the epithet
Kankanagana karayugalam using short syllables and as in
bhaasita vara kaancana maya manigana sudhaamsu laalitha nija makutam
a very long compounded description of the glittering crown, are noteworthy.
Again the usage ‘guha sahajam’ is an apt reference of the brother of ‘Guha’. In these the recurring jingle of anuprasa letters heightens the charm.
This kriti set in the Ghana raga ‘Nata’ propitiating Lord Ganesha the remover of all obstacles is an ideal piece, which could be sung in the beginning of a concert.
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