DARISANAM KANDARKU Roopaka talam Keerthanam - 1 Pallavi Anupallavi Charanam Darisanam kandarku Marujanmam illaye thillai Darisanam kandarku marujanmam illai Varisayudan ambalavan vazhkintrathillai Iravupakal idaividathu charanabhakti Inpamoorum aanandam pongivarum nakti Madhyamakala sahityam Paravivarum avanarikil animadi siddhi Paninthu vanthu chittrambalathe valam chuttri (Darisanam...) 155
Pallavi 1... s, s, d, p, p g d p g p g r s, r, g, r g p, Da- ri - sa -nam-kan- - - da - - r ku - ma - ru - j a n - p, r g p, p g p,,, ;. ; ; s d p g p d mam- i l - - la - ye - - - - - - th il - lai - - 2. s., s., d, p, ggp,dsdp. g p g r s, r g p, r g p, Da - ri - sa -nam-kan- - - - da - - r ku - ma - ru - ja n - - p, r g p, p g p, p, ;. ; ; s d p g p d mam- i l - - la - ye - - - - - - th il - lai - - 3........ s, gr rs d, sddpd p d r..... g, rs s,sd d, p, g,dp g r s, Da - ri -- sa -nam-kan- - - da-- --- - - - r - ku- - ma-rus r g r g p g p d p d s....... g r s r s d s d p g p d jan - -mam- - il - - la - - ye - - - - - thil - - lai - - (Darisanam) Anupallavi 1... ; g, g, p d, s, s...... s, s, s, s d r s d,p, - Da - ri - sanam-kan- da rku - ma - ru - ja n mam --il - d, lai - 2... ; g, g, p d, s, s s, s r g p g r s, d p - Da - ri - sanam-kan- da rku - ma - ru - ja n mam --il - d, lai - 156
.....,, d d r s r, r, s d.. p d, d, r s d, p, dppg - - varisayudan - am - bala va n -vazh- - ki n - tra - t h il. g p d s lai - - - (Darisanam) Charanam g, g, g, g, g, g, I - ra - vu - pa - ka - l -. g, p,dsd, p g p g r s i - dai- -vi - - da - - - thu ; s, r, g, rpg,,, ; p, d g, p, d s, -cha- ra - na -bhakti- - - in - - - - pa -moorums, r s d, p, d,,,... s ; rs s, d, p, pg, Aa - na n da - - - m - - - pon- - -gi - va - - -rumg g p,dsd, p, g r s, na - - - - - - - - k ti - - Madhyamakala sahityam...... d p d d s, s s s s s, s r g p g r s, para vi varum-av a na ri kil - an i ma - - - di -. s d s, s i dhi -.... d r, r, d s, s, d p.. d, d r s, d p g p d, pani -nthu- va n - thu - chitta mba- la - the - valamchuttri - (Darisanam) 157
MUSICAL AND LITERARY ANALYSIS Musical Analysis The kriti consists of pallavi, anupallavi, charana and madhyamakala sahityam. The grahaswara for the pallavi is tarastayi shadjam... ie, s, s, d, p, Da - ri - sa -nam- For the anupallavi is madhyastayi gandharam ie, ; g, g, p d, - Da - ri - sanam- For the charana is also madhyastayi gandharam ie, g, g, g, g, g, g, I - ra - vu - pa - ka - l - For the madhyamakala sahityam is madhyastayi dhaivata. ie, d p d d s, para vi varum- The pallavi has three sangathis, anupallavi has two and charana has one sangathi. The kritis starting from a tarastayi note, the performer can be made a pleasure mood among the audience. 158
The range of the pallavi extends from madhyastayi shadja to tarastayi gandhara. In the anupallavi it extend up to tarastayi panchama and in the charanam and madhyamakala sahitya upto tarastayi rishabha. Gamakas. s r g r g p g p d p d s...... g r s r s d s d p g p d jan - -mam- - il - - la - - ye - - - - - thil - - lai - - - Arohana avarohana gamakas g, g, g, g, g, g, I - ra - vu - pa - ka - l -. g, p,dsd, p g p g r s i - dai- -vi - - da - - - thu - Kampita gamakas Jantaswara prayogas............ s, gr rs d, sddpd p d r g, rs s,sd d, p, g,dp g r s, Da - ri -- sa -nam-kan- - - da-- --- - - - r - ku- - ma-rud p d d s, s s s s s,...... para vi varum-av a na ri kil - Ragalapana phrases....... s r g r g p g p d p d s g r s r s d s d p g p d jan - -mam- - il - - la - - ye - - - - - thil - - lai - - Dattuswara prayogas.....,, d d r s r, r, s d - - varisayudan - am - bala 159
Visesha prayogas...... d r, r, d s, s, d p d, d r s, d p g p d, pani -nthu- va n - thu - chitta mba- la - the - valamchuttri - Literary Analysis Adiprasa Dvitiya- Anuprasa Antya- Yati Yamakshara prasa kom prasa Pallavi Darisanam villaye Marujanmam thillai Anupallavi Darisanam villai Varisayuden Charanam Iravupakal inpamoorum Inpamoorum rum aanandam ponkivarum illai Madhyama- Paravivarum Animadikala Paninthu siddhi sahityam chutty 160
GANANATHA Adi talam Keerthanam - 2 Pallavi Gananaatha saranam k tharul Gananatha saranam Anupallavi Bhanamarar chetta thankiya paar meethinile Gunamarar nanthan charithram Koorakkirupaikkan parum Charanam Sollum pranavamoola thooya vedantha natha Thulanku munivar manthukal arutharul potha Nalla modakamuthal nadi nukarvinoda Nayen chollumthamizhai nadi rakshikkum thatha 161
Pallavi 1. d, p, g, r, s,,, p, r, ga - na - na - - - tha - - - sa - ra - g,,,,,,, g, p g p, d, nam- - - - - - - ka - - - tha - rul - s, d, d, p, g, r, d, p, ga - na - na - - -dha- - - sa - ra - g r,, s,,,,, g p g r s r na m - - - - - - - - - - - - - -. 2. g p d s d p g, g p g r s d. s r ga - na - na - - -dha- - - sa - ra - g,,,,,,, d d p d g p d, nam- - - - - - - ka - tha - - ru l -.. r s d, s d p, d p g r g, d p ga - na - na - - -dha- - - sa - ra - g r,, s,,, s, d p g r s r na m - - - - - - - - - - - - - - Anupallavi 1. g, r, g, p, g, d, p, d, Bha- na - ma -rche- tta - tha - nki - ya -.... s,,, s,,, r, d, s,,, par- - -mee- - - thi - ni - le - - -.... g, r, s, d, s, d, p, d, gu - na -mar-nna-than-cha- ri -thramr, s, d, p, r,,, g, p,.. koo- ra -kkirupai - kan- - - pa -rum- 162
Charanam g, g, g, r, g, s, r, g, cho-llum-pra- na - va -moo- - - la - g,,, d, p, p, g, r, s, thoo- - - ya - ve - tha -ntha- na - tha - p g r, g r s, d., s, r, g, thulanku- munivar- ma - na - thu - kal - g, p, r, g, d, d, p,,, a - ru - tha - rul - po - - - tha - - - d, d, p, d, g, p, d, d, n - lla - mo - - - da - ka - mu -thals,.,, p, d,.... g, r, s, s, na - - - di - nu - kar - vi - ne - tha -. g,,..., r, r, s, d, p, d, na - - -yen-cho-llum- tha - mi -zhair, s, s, d,... p, r, g, p, na - di - ra -kshi- kkum-tha- - - tha - 163
MUSICAL AND LITERARY ANALYSIS Musical Analysis This composition is taken from "Nandanar charitra keertanangal' of Gopalakrishna Bharati. Therefore this composition considered as a keertana. This keertana consists of pallavi, anupallavi and charana. The pallavi has two sangathis. The anupallavi and charana have no extra sangathis. There is no drutakalaprayogas in this keertana. The simple vilamba laya sancharas are included. This sancharas portrays the emotional feeling of bhakti to this composition. The pallavi, anupallavi and charana starts in samagraha. Pallavi starts with madhya stayi dhaivata ie, d, p, g, r, ga - na - na - tha - Anupallavi starts with madhyastayi gandhara ie, g, r, g, p, Bha- na - ma - rar - Charana starts with madhyastayi gandhara ie, g, g, g, r, g, cho-llum-pra- na - va - 164
The sangathis are filled with raga bhava. Bhakthi rasa is fully revealed through this raga. The swarakshara syllables found in the composition are given below. In Pallavi g p d s d p g, g p g r s d. s r ga - na - na - - -dha- - - sa - ra - - Suddha swaraksharam.... g, r, s, d, s, d, p, d, gu - na -mar-nna-than-cha- ri -thram- Visesha prayogas found in the charanam - Suchita swaraksharam p g r, g r s, d, s, r, g, thulanku- munivar- ma - na - thu - kal - Gamakas g, r, g, p, g, d, p, d, Bha- na - ma -rche- tta - tha - nki - ya -.... s,,, s,,, r, d, s,,, par- - -mee- - - thi - ni - le - - - Raga Ranjaka prayogas - Kampita gamakas d, d, p, d, g, p, d, d, n - lla - mo - - - da - ka - mu -thals,,, p, d, g, r, s, s,..... na - - - di - nu - kar - vi - ne - tha - 165
Literary Analysis Adiprasa Dvitiya- Anuprasa Antya- Yati Yamakshara prasa kom prasa Pallavi Gananatha Gananatha Anupallavi Gananatha Gananatha Bhanamarar Gunamarar Charanam Sollum natha Thulanku Nalla potha noda thatha Simple and humble Tamil language is used. 166
HARA HARA SHIVA SHIVA (Kadukka type) Thisra laghu Keerthanam - 3 Harahara shiva shiva ambala vaana Thillaiyamapala desikanatha Puramuntreritha ponnambalane Kariyuri portha karunakarane Anudinamantrul addiyap tha Pizhaiporuthaalum punniamthatha Ramanathan. S (Dr), Nandanar Charitra keertanaikal of Gopalakrishna Bharati, The trinity music book publishers 12, Jagadambal colony, First Street, Royapettai, Chennai - 600 014, Page No. 67, 2006. 167
s r g g g g g r r g p g p, p, haraharashivashiva ambala va a - na -. d, d d s g p... p d s d s s, thi - llaiyamapala thesika natha -....... g g g g g g r..... s r s r s, d p d, puramuntreritha p o n n am - pa lane -... d r r s d s d p g d p, g p g r g, ka ri yuri p or tha ka r u - na ka ra ne -....... g g g g g g r..... s r s r s, d p d, anudinammantrul a a d i y a - p atha -.... d r r s d s d p g d p g p g r s, pizhaiperuthalum pn ni ya m th a tha - 168
MUSICAL AND LITERARY ANALYSIS Musical Analysis This is not a formal kriti. Therefore it has no angas of a kriti like pallavi, anupallavi and charana. This is a kadukka type composition - means a small seed with hard shell. Six lines of adjectives or descriptions about the Lord arranged in a beautiful manner in the raga Mohana in that shell. This composition reveals Mohana raga is suitable for small compositions as well as the formal kritis. All swaras of the raga Mohana are raga chayaswaras. Because even a single note can express the raga bhava through the sahitya. Hraswa swara prayogas are seen in this composition. For example, s r g g g g g r r g p g p, p, haraharashivashiva ambala va a - na - Jantaswara prayogas Jantaswara prayogas enhance its beauty. For example,............ g g g g g g r s r s r s, d p d, puramuntreritha p o n n am - pa lane - Ranjaka prayogas.... d r r s d s d p g d p g p g r s, pizhaiperuthalum pn ni ya m th a tha - 169
NANDA Adi talam Keerthanam - 4 Pallavi Nanda unakkintha mathi Thantha tharada Anupallavi Antharangam chonthamayirunthathu maranthu poy Vinthaiyay ninainthathino antha velai puththi illai Charanam Kollai kattu karipole pallai katti pesuvay Kallai katti kopamkondu chellai katti esuven Thillai entru chonnathellam illaientru pechutha Kallaientru iyyarchonna cholle nichamachuta Chiththamum thelinthatha kathalum parinthatha Chattam chattam nallathu nallathu Meththa meththa chanthosham Ramanathan. S (Dr), Nandanar Charitra keertanaikal of Gopalakrishna Bharati, The trinity music book publishers 12, Jagadambal colony, First Street, Royapettai, Chennai - 600 014, Page No. 114, 2006. 170
Pallavi 1. s, r, g,,,,,,, g, r, na - n - tha - - - - - - - u - na - s, r, g,,,,,,, g, r, kkin- - - tha - - - - - - - ma - thi - s, r, g,,,,, g, d, p, tha - - -ntha- - - - - tha - - - ra -.. r,,, s,,,,,,,,,,, da - - - - - - - - - - - - - - - (nantha) Anupallavi - Madhyamakalam 2..... g g g g p p p p p d s d s s s, antharangamchonthamayirunthathumaranthupoy.... d r s s d s d p g d p p g r s d. vinthaiyayninainthathino anthavelaipuththiillai (nantha) Charanam. d s d p g p g r s r g g p p p, kollaikattukaripolepallaikattipesuvay. d s d p g p g r s r g g p p p, kallaikattikopamkondu choll aikat tiesuven.... d d d d d d d p p d s d s s s, thillaiyentruchonnathellamillaiyetrupochchuta d d d d d d d p.... p d s d s s s, kallaiyentruiyarchonna chollenijamachutha 171
g g g p p p p, g g g p p p p, chiththamumthelinthathauttrathuunarnthatha..... d s s d s s s,..... d s s d s s s, bhakthiyumtholainthatha kathalumparinthatha.. d r s s d.., s s d d p, g d d p g r s r chattamchattamnallathunallathumethametthasanthosham d.... r s s d, s s d d p, g d d p g r s r chattamchattamnallathunallathu methametthasanthosham (nantha) 172
MUSICAL AND LITERARY ANALYSIS Musical Analysis This another keertanam from "Nandanar charitra keertanangal' of Gopalakrishna Bharati. This keertana consists of pallavi, anupallavi and charana. The pallavi and anupallavi consists of two p d s. The charana has six p d s. The eduppu of these three angas are in samagraha. The graha swara for pallavi is madhyastayi shadjam. ie, s, r, g ; ; na - n - tha - - For anupallavi is madhyastayi gandharam ie, g g g g p p p antharamgamchontha For charana is madhyastayi dhaivata ie,. d s d p g p g r s r kollaikattukaripolepallai The range of ragasancharas of this composition extend from mantrastayi dhaivata to tarastayi rishabha. The swarakshara syllables found in the keertana are given below. 173
g g g g p p p p p d s. d s. s. s., antharangamchonthamayirunthathumaranthupoy d r. s. s. d s. d p g d p p g r s d. vinthaiyayninainthathino anthavelaipuththiillai - Suddha swaraksharam Gamakas s, r, g,,,,,,, g, r, na - n - tha - - - - - - - u - na - - Kampita gamakas s, r, g,,,,, g, d, p, tha - - -ntha- - - - - tha - - - ra - - Kampita gamakas. d s d p g p g r s r g g p p p, kallaikattikopamkondu choll aikat tiesuven - Tripuscha gamakas g g g p p p p, g g g p p p p, chiththamumthelinthathauttrathuunarnthatha - Tripuscha gamakas Jantaswara prayogas.... g g g g p p p p p d s d s s s, antharangamchonthamayirunthathumaranthupoy Dattuswara prayogas.... d r s s d s d p g d p p g r s d. vinthaiyayninainthathino anthavelaipuththiillai 174
Visesha Sancharas.... d r s s d, s s d d p, g d d p g r s r chattamchattamnallathunallathu methametthasanthosham Hrswaswara prayogas are enhance its beauty. Its anupallavi singing in madhyamakala. This composition is very suitable for playing instruments. Literary Analysis Adiprasa Dvitiya- Anuprasa Antya- Yati Yamakshara prasa kom prasa Pallavi Nanda nanda Anupallavi Thantha unakkinda thantha Antharangam antharangam Visnthaiyay chonthama yirunthatu maruthupoy vinthaiyay ninainthathino antha Charanam Kollai kollai pesuvay Kallai kallai esuven Chinthamum Chattam Tillai Kallai pechutha achutha parithem 175
PAARAYYA NEE Anthanar nanthanare parthu solluvathu Adi talam Keerthanam - 5 Pallavi Paarayya nee chidambaram endru Chollappadu mod pokappadu moda ada Anupallavi Ariyathanamini Chonnalinimel adippen chooliyai pidippen baali Charanam Chindambaram enpathe vidu Cheradiyile vanthu padu pathathirpidunkinartrainadu Karuppannanukkebali kodu ada Ramanathan. S (Dr), Nandanar Charitra keertanaikal of Gopalakrishna Bharati, The trinity music book publishers 12, Jagadambal colony, First Street, Royapettai, Chennai - 600 014, Page No. 87, 2006. 176
Pallavi g r g,,, g, g d d p g r s d. parayya- - -nee - chidamparamendrucholla s r g p g r s d pp adu mod apoka s r g p g r s d. pp ad um odaada Anupallavi.... g g g, p p p p p d s d s s s, ar iy atha namini ch on na li nim el -..., d r s d s d p g d d p g r s d. - adippenchooliyai pi di p pe nb aa li Charanam g d d p g r s r g p,,,,,, chidambaramenpathaividu - - - - - - g d d p g r g r g p,,,,,, ch er ad iy ilevanth padu - - - - - -. d d d d d d d d p d s,,.., s s pathathirpidunkinattrainadu - - - ka ru.... d r r s d s d p g d d p g r s d. ppan nu kk e ba li kodu - a da - - 177
MUSICAL AND LITERARY ANALYSIS Musical Analysis The angas of the keertana are pallavi, anupallavi and charana. Pallavi and anupallavi have two p d s. Charana has only four p d s. The eduppu of these three angas are in samagraha. The grahaswara for the pallavi is madhyastayi gandhara. ie, g r g pa ray ya For the anupallavi and charana also madhyastayi gandhara. In Anupallavi ie, g g g, p p ar iyatha-nami Charana ie, g d d p g chi dam ba ra - The range of sancharas of the composition extend from mantrastayi dhaivata to tarastayi rishabha. The swarakshara syllables found in the keertana are given below. 178
In Pallavi g r g,,, g, g d d p g r s d. parayya- - -nee - chidamparamendrucholla s r g p g r s d pp adu mod apoka s r g p s r s d. pp ad um odaada - Suddha suchita swaraksharam Ragalapana Phrase g r g,,, g, g d d p g r s d. parayya- - -nee - chidamparamendrucholla s r g p g r s d pp adu mod apoka s r g p s r s d. pp ad um odaada Gamakas.... g g g, p p p p p d s d s s s, ar iy atha namini ch on na li nim el - - Tripuscha gamakas Jantaswara prayogas. d d d d d d d d p d s,,.., s s pathathirpidunkinattrainadu - - - ka ru Raga Ranjaka prayogas.... d r r s d s d p g d d p g r s d. ppan nu kk e ba li kodu - a da - - 179
Literary Analysis Anupallavi Adiprasa Dvitiya- Anuprasa Antya- Yati Yamakshara prasa kom prasa Ariyathana Adippen Charanam Chidambaram vindu Cheradi padu nadu kodu 180
THADAKAM ONDRU Nandnrukkaka vinayakar kulam vettiyathu Adi Talam Keerthanam - 6 Pallavi Thadakam ondrundakkin r Gananayakar Anupallavi Sata makutadharan sambaviyutanvara Sakalamunivar manath maraiyum malara Kadaksham ka guhan ganapathiyudan manna Kathale varunthunnapothave yuchitha menna Charanam Kanthamulaviya thamaraipoothu Kathikkamikuthidum cheka Kandavar lulavaikkana manku kuthikka Sundarami kundaparavaikal mumukilum choozha Soma suryarkalsukamudan vanthuthazh Vinthaiyudanepala velviyanthanar cheyya Vilanku chankinamuyya Kalankamillamattruyya Ramanathan. S (Dr), Nandanar Charitra keertanaikal of Gopalakrishna Bharati, The trinity music book publishers 12, Jagadambal colony, First Street, Royapettai, Chennai - 600 014, Page No. 36, 2006. 181
Pallavi g, p,, g r,, r g,, r s, tha - ta - -kamon- - trunta- - kkinars, r,, s, d. s,,,,,,, ga - na - - na - ya kar - - - - - - - Anupallavi g g, g g g g r r g p g p p p p p ja ta - makutadara nsambaviyudan vara.... d d d d d d d p p d s d s, s s saka lamunivarmana tham ar ai yu -malara........... g g, g g g g g g r s s s d p d ka ta - kshamakaguhanganapathiyudanmanna... d r s d s d p p g d d p g r s r ka a thale varunthunna pothaveyuchithamenna Charanam.. d, s s d, p p g d d p g r s r Kan-nthamula- vi yathamaraippooth thu g g, g,, r, g, p, p, p, kathi -kka- - mi - ku -ththi-dum-chekad r r s d s d p g d g p g r s r.... ka n dava r al u luvaikkana ma n k u g p, g r, s,,,,,,,,, thi k - ka - - - - - - - - - - - - 182
g g g g g g g r r g p g p p p p Sunttharamikunthaparavaikalmumookilumchoozha d d d d d d d p p d. s d,,., s somasooryarkalsukamudan va nthuthazha- - - -........... g, g g g g g r s r g r s d p d vin -taiyudanepalavelviyanthanarcheyya d r s d s d, p g d d p g r s r vilankuchankinamuyya kalankamillamatrruyya (Same notation for all other charanas) 183
MUSICAL AND LITERARY ANALYSIS Musical Analysis This keertana consists of pallavi, anupallavi and charana. Pallavi has one p da, anupallavi has four p d s and charana has eight p d s. The eduppu of these three angas are in samagraha. The commencing note of the pallavi and anupallavi are madhyastayi gandhara. For the charana is madhyastayi dhaivata. In Pallavi ie, g, p,, g r tha - ta - - ka - Anupallavi ie, g g, g g g ja ta - makuta Charana ie, d, s s d, kan- thamula - The range of this composition extends from mantrastayi dhaivata to tarastayi gandhara. 184
Gamakas g g, g,, r, g, p, p, p, kathi -kka- - mi - ku -ththi-dum-cheka- - Kampita gamakas Ragalapana phrases g, p,, g r,, r g,, r s, tha - ta - -kamon- - trunta- - kkinars, r,, s, d. s,,,,,,, ga - na - - na - ya kar - - - - - - - Visesha prayogas.... d r r s d s d p g d g p g r s r ka n dava r al u luvaikkana ma n k u Jantaswara prayogas........... g g, g g g g g g r s s s d p d ka ta - kshamakaguhanganapathiyudanmanna.. d, s s d, p p g d d p g r s r Kan-nthamula- vi yathamaraippooth thu Dattuswara prayogas... d r s d s d p p g d d p g r s r ka a thale varunthunna pothaveyuchithamenna d r s d s d, p g d d p g r s r vilankuchankinamuyya kalankamillamatrruyya 185
Literary Analysis Adiprasa Dvitiya- Anuprasa Antya- Yati Yamakshara prasa kom prasa Anupallavi Sata yutan vara Saka yum malara Kada kada ydan manna Katha katha yuchita menna Charanam Kantha kantha cheyya Kathi kathi muyya Kanda kanda uyya Sundarami Soma Vinthai Vilanku sunda 186
f. Vedanayakam Pillai (1826-1889) Vedanayakam Pillai was a great Tamil poet. He is also called "Varakavi' that means one who has been blessed with a devine inspiration to compose poems. His compositions are full of philosophical and thought provoking ideas. He was born in a place called kulathur near Tiruchirapalli, and as the son of Savarimuthu Pillai and Arokiamariammal in 1826. His famous book "Needi Nool' containing 4090 verses under 44 chapters has been acclaimed as the best ethical work next only to Thirukkural. His another work is "Sarva samaya samarasa keerthanangal'. These two works are collection of different types of compositions. He composed nine compositions in the raga Mohana. All these compositions convey philosophical or thought provoking ideas to the listener. Since the notations of all these nine compositions are not available, analytical study has been done only for five compositions. Entavidamum un in Triputa tala Eninnum Thamadam in Aditala Inda udyogam in Aditala Ennu paramukham in Rupakam Margam ithu in Aditalam. 187
INTA UDYOGAM Adi talam Keerthanam - 1 Pallavi Anupallavi Inta udyogamenna peritha nenche Ithuponal nam pizhaippathayeetha Inthavidam ponalum kadampappodi vasikkum Anthavithamay namme akhilamellam poojikkum (Intha udyogam...) Charanam - 1 Nalla prabhukkalellam nattai vitte akantrar Jnanasoonyarellam namukkathipathiyentrar Illatha doshanammel eduthavar moodinindrar Iraviyinungalangam irukkumenpukantrar Charanam - 2 Aak thakalam ithil asadar thalaiyduthar Arumguna seelarkal adhikaaram kaividuthaar Pokamar kolarum poyyarum vanthaduth r Poovitta kadayile pulvilka thoduthitt r (Intha udyogam...) (Intha udyogam...) Sreenivasa Iyyangar. K.V, Sangeeta Sillaraikkovai, The Sreenidhi Music book Publishers, 12, Jagadambal colony, First Street, Chennai - 600 014, 1928, Page No. 66, 2005. 188
Charanam - 3 Intha ulakilellam ivare athipathiya Ivaruzhaikka namukkenna thalaivithiya Antham kave padi alappathivar puthiya Aayiram thozhilum nam ariyatha samgathiya (Intha udyogam...) Charanam - 4 Paaril ivare kando paithitom palap dai Pattadarkkenna thanthar pakiyam koodekkoode Ooril udyogam ponal ozhiyum piditha peedai Uyar vedanayakan uthavuvan annam aadai (Intha udyogam...) 189
Pallavi,,, s r g g, g, g, g, g r - - - in t ha u -dyo-kam- e - nn a,, r g p,,, p,,, d p d, - - pe ritha - - - - - - -nenc he -,, d s d, p, g, r, s, r, - - it hupo- nal - na -mpi-zhai-ppas r g p r,,, s,,,,,,, tha - ri - tha - - - - - - - - - - - (Intha udyogam...) Anupallavi,, g, g, r g p, p, p, p, - - en - tha - ridampo-na - lu - m -,, d p d, d, p d s, d p d, - - ka ntha - po - di - va - siku m -....,, g, r s, d, s, d p d, - - an - thavi - da - ma - y nammai.,, d s, d p, g g d p g r s, - - a ki - lamel- la mpoo ji kkum- (Intha udyogam...) 190
Charanam,, s r g, g, g, g, g, r, - - nalla - - pra-bhu-kka- le -llam-,, r g p, p, g, g, r, s, - - na t tai - vit - te - a -kan-trar-,, s r, g r, s r s, d., d., - - jnana - soo - ny a re - lla - m -,, s r, g g, p, p, p, p, - - namu-kkathi- pa - thi -yen-trar-.....,, g, p, d, d, s, s r g r - - i - lla - tha - do -sha- na mme l.....,, r g r, s, d, s, d p d, - - e dutha- var - moo- di - ki ntrar -.....,, r g, r s, d, s, d p d, - - i ra - vi yi - nu -nga- la ngam-.,, d s, d p, g g d p g r s, - - i ru - kumen- pu k an - tr a r - (Intha udyogam...) (Same notation for all other charanas) 191
MUSICAL AND LITERARY ANALYSIS Musical Analysis This composition consists of pallavi, anupallavi and four charanas. Pallavi and anupallavi have two p d s each and charanas have four p d s each. The pallavi starts with madhyastayi shadja after three aksharakala. ie,,,, s r g g, g - - - in th a u -dyo Anupallavi starts with madhyastayi gandhara after two aksharakala ie,,, g, g, r g p ; - - en - tha - ri dam - The charana starts with madhyastayi shadja after two aksharakala. ie,,, s r g, g, g, - - nathapra-bhu-kkal- The same notation for all other charanas. The range of raga sancharas of this composition extends from madhyastayi shadja to tarastayi gandhara. The swarakshara syllables found in this composition are given below. 192
In Pallavi,,, s r g g, g, g, g, g r - - - in t ha u -dyo-kam- e - nn a - Suchita swaraksharam Anupallavi....,, g, r s, d, s, d p d, - - an - thavi - da - ma - y nammai - Suddha swaraksharam Charana p, p, p, p, pa - thi -yen-trar - - Suddha swaraksharam.....,, g, p, d, d, s, s r g r - - i - lla - tha - do -sha- na mme l - Suchita swaraksharam Gamakas,, r g p,,, p,,, d p d, - - pe ritha - - - - - - -nenc he -,, g, g, r g p, p, p, p, - - en - tha - ridampo-na - lu - m - - Kampita gamakas,, d p d, d, p d s, d p d, - - ka ntha - po - di - va - siku m - - Andolita gamakas 193
Dattuswara prayogas.,, d s, d p, g g d p g r s, - - i ru - kumen- pu k an - tr a r - Ragalapana phrases,, s r g, g, g, g, g, r, - - nalla - - pra-bhu-kka- le -llam-,, r g p, p, g, g, r, s, - - na t tai - vit - te - a -kan-trar- 194
Literary Analysis Adiprasa Dvitiya- Anu- Antya- Yati Yamakshara prasa prasa kom prasa Pallavi Inta intha Ithu ithu Anupallavi Inthavidam vasikkum Anthavidam poojikkum Charanam 1 Illathe Iravi Charanam 2 Aakatha Arumguna Pokamar Poovitta Charanam 3 Intha Ivaru Antha Aahyiram Charanam 4 Paaril Pattadar Ooril Uyar akantrar athipathiyentrar nindrar ukantrar thalaiyuduthar kaividuthaar vanthaduthaar thoduthittar athipatya thalaivithiya puthiya samgathiya palap dai koodekkode peedai aadai The Vaggeyakara mudra seen in the last charana ""Uyar Vedanayakan uthavuvan annam aadai''. 195
MARGAM ITHU MAKANE THAKAPPAN MAKANUKKU BUDDHIKOORAL Adi talam Keerthanam - 2 Pallavi Margam ithu makane - chandiran Thorkum ezhil mukane Anupallavi Mookkurudane uravadathe - pazhi Moonthidum choothu vilayadathe Inthaparukkul orupoy sollakkoodathe Madhupanam virumpi manam vadathe san Charanam - 1 Nityan onnadiyiniye iyar kadalaye Neekutarkuthavum punaye Bhaktiman kadkundo inaye Kadavulnesam parathadiku vazhithunaye Sathyamargathe piriyathe - pala Thappuvazhiyai anusariyathe Swayabuthiyillamal enkum thiriyathe Intha bhoovil evarkum idar puriyathe - easan Charanam - 2 Puniyapapangal irande - nischayam antha Nischayam antha punya vazhiyai nee ande Sreenivasa Iyyangar. K.V, Sangeeta Sillaraikkovai, The Sreenidhi Music book Publishers, 12, Jagadambal colony, First Street, Chennai - 600 014, 1928, Page No. 69, 2005. 196
Maniinume mahimai konde Pizhaippathendri marumayinum vakyamundo Kanyamaka entrum prakasi nalla Kana thanthai thay peria adi poosai Dinam annan thampi sodarikale - nesi nitham annam eliyarkkidu nayam (pesi - san...) Charanam - 3 Sathya adakkam poraye - muthalakiya Sargunangalodu niraye Chithiperil orikuraye - anukathunai Cheppine njan neethimuraye Suddhamakame dinam neeradu Thooya vastrangale kayyadu kana Puthimankaludane dinam koodu - keta Pullarekkanil anchiye odu Charanam - 4 Kalvinamakavasyame katravarkintha Kasinil ellam vasiyame Selvamudan varum nayame katravarke Jeevanathukillai bayame Palvakai padippayum neengathe Unpadam padikkamal thoongathe Nee nalvazhi kadakapin vangathe Enthanalum nee kadam vangi engathe (san margam...) (san margam...) Charanam - 5 Padamellam nenchil irunthu ezhutha pesa Padavum pazhakkam poruthathu Neetukai ezhuthum niruthu katrappadi 197
Nee nirkavendum eethal karuthu Edunkiyumayidu vadathe nee Entrum pirar porulai n dathe Sarvamoodarai koodivilayadathe endru Mookkuthul pukayilai podathe. Charanam - 6 Seelathai kaividathe Durbodhanai seipavarkkidam koodathe Jalathirk ulpedathe Mathushtanentrum tharaneer per edathe Kalethe viruthavir kazhikkathe Unkai porul veethil chelavazhikathe Vedanayakanai maranthu vizhikkathe (san margam...) (san margam...) 198
Pallavi g, p, g, r, s, d., s, r, ma - - - rg - am - i - thu - ma - ka -. g,,,,,,, g, p, d, s, ne - - - - - - - cha-nthi- ra - n -.. r, s, d, p, g, r, s r g p tho- r -kum- - -ezhi- l - mu - ka - r,,,,,,, s,,, s, r, ne - - - - - - - - - - - sa - n - (margamithumakane) Anupallavi g,,, g, g, g,,, g, r, moo- - -rkha- ru -dan- - - ura - - - r, g, p, g, p,,, p, p, va - - - da - - - the - - - pa - zhi - g,,, p, d, d, d, d, p, moo- - - ndi -dum-choothu- vi - lai -.... p, d, s, d, s,,, s, s, ya - da - - - - - the - - - in - tha -...... s, d, s, g, g, r, s, s, pa - r - kul -oru-poy-cho- l - la -... s, d, s,,, s, d, p, d, koo- - - da - - - the - - - ma - thu - 199
..... d, s, s, r r, s d, p, pa - na - m - vi ru -mpima-namg, d, d, p, g, r, s, r, va - da - - - - - the - - - sa - n - (margamithumakane) Charanam g,,, g, r, s,,, s, d., ni - - - thi -yam-pon- - - na - di - s, r, g, g, g, g, p, p, inai - - - ye - thu - yar - ka - da - lai -. d, s, d, p, g, r, s, r, nee- ku - tha - r - ku - tha -vum- - - g, p, r,,,,,,,,,,, pu - nai - ye - - - - - - - - - - - s,,., r, s, s,,, s, d, bha- - - k - thi -man- - -kad-kundo s, r, g ; r, g, g, p, p, inai - - - ye - ka - da - val - ne -zham. p, d, s, d,,, p, g, r, pa - - - ga - thi - - - ku - va - zhi - g, p, r,,,,,,,,,,, thu - nai - ye - - - - - - - - - - - g,,, g, g, g,,, g, r, sa - - -thya- ma - rga - - -thai- - - r, g, p, g, p,,, p, p, pi - ri - ya - - - the - - - pa - la - 200
g,,, p, p, d, d, p, d, tha - - - pu - va - zhi - yai - ya - nu -. p, d, s, d,. s,,.., s, s, sa - ri - ya - - - the - - -swa- ya -....... s, d, s, r, g, g, r, s, bu - thi - yi - lla - ma - le - n -gums, d, s,..,,. s, d, p, d, thi - ri - ya - - - the - in - tha - - -... d, r, s, s, s, d, p, d, bhu- vi - yi - le - var - ku - mi - dard, s, d, p,. g, r, s, r, pu - ri - ya - - - the - - -san- - - (margamithumakane) (Same notation for all other charanas) 201
MUSICAL AND LITERARY ANALYSIS Musical Analysis This composition consists of pallavi, anupallavi and six charanas. The pallavi has two p d s, anupallavi ha four p d s and charanas have eight p d s each. All these angas commences in sama eduppu. Madhyastayi gandhara is the grahaswara for these three angas. In pallavi g, p, g, r, ma - r - ga - m - Anupallavi g,,, g, g, g, moo- - -rkha- ru -dan- Charanam g,,, g, r, s, ni - - -thyam -po - n - The range of the ragasancharas extends from madhyastayi shadja to tarastayi gandhara. The swarakshara syllables found in the composition are given below.. p, d, s, d, ya - da - - - - - - Suddha swaraksharam g, d, d, p, va - da - - - - - - Suddha swaraksharam 202
In charanam g,,, g, r, s,,, s, d., ni - - - thi -yam-pon- - - na - di -. p, d, s, d,,, p, g, r, pa - - - ga - thi - - - ku - va - zhi - - Suchita swaraksharam - Suddha suchita swaraksharam p,,, p, p, the - - - pa - la - - Suddha swaraksharam Gamakas g,,, g, g, g,,, g, r, moo- - -rkha- ru -dan- - - ura - - - - Kampita gamakas Ragalapana phrases g, p, g, r, s, d., s, r, ma - - - rg - am - i - thu - ma - ka - g,,,,,,, ne - - - - - - - Dattuswara prayogas... d, r, s, s, s, d, p, d, bhu- vi - yi - le - var - ku - mi - dar- 203
Literary Analysis Adiprasa Dvitiya- Anu- Antya- Yati Yamakshara prasa prasa kom prasa Pallavi Margam mukane Thorkum mukane Anupallavi Mookkuru intha uravadathe Charanam 1 Nityam Moonthi madhu vilayadathe Neekudar sollakkodathe vadathe kadalaye punaye inaye vazhithunaye piriyathe anusariyathe thiriyathe puriyathe Charanam 2 Kanyamala kanya irande Charanam 3 Sathya Kana kana nee ande Sargunan Chithiperil Cheppine Puthiman Pullarekkanil dinam konde 204
Adiprasa Dvitiya- Anu- Antya- Yati Yamakshara prasa prasa kom prasa Charanam 4 Kalvinama Kasinil neengathe thoongahe vangathe engathe Charanam 5 Padamellam padamellam nadathe padavum padavum vilayadathe Neetukai podathe Neenirka Charanam 6 kaividathe koodathe ulpedathe edathe kazhikkathe chelavazhikathe vizhikkathe Same notation for all other charanas. Vaggeyakara mudra is seen in the last charana ""Vedanayakanai maranthu vizhikkathe''. 205
ENTHA VIDHAMUM UN Triputa talam Keerthanam - 3 Pallavi Entha vidhamum un kanthamalarpadame Adiye adainthida chinthai makizhnth Nee thantharul vayidame. Anupallavi Antaramengum amar sarvasakshiye Vandanai cheypavar manasakshiye Charanam - 1 Sahasamanidar thamakku pavame Pizhayavum poruthu dayai cheythalathu Nin subhavame Thakave nin charitra prabhavame Anudinamumpadi sadakam peran manobhavame Thanthai neethane unakkoru mainthanum nane Evaru nan sonthamanene Darisanam thantharul kone bhuvithanil Nikarillathe nyaya prasidhane Sakala loka chara chara karthane. Charanam - 2 Manalannathil kallaithitum vakay Enai sodithidil manathil ullathellam vinaithokaye Gunamum undo bhuvi vazhvu verum puhaye Athai virumbu kuramgu ayimbulangalum cheyyum pakaye Kothair moham thanil varum 206
Vakai anekam everkume Ethanupokam enakini pothum Epothum anudinam Punarum ananda pokkisha salai Mananikantarul malarum solaie. (pesi - san...) Charanam - 3 Tha thai pillai thallal panthama Ithu nanguperum sariyentropukollum siddhantama Nathane enai munithar kanthama Enathulla thurumbaiyennalum Izhukkum Vishayam kanthama Unnaye gathiyana Nanniya chithar perum thapam Panniya suddhar nikararu Pannaya bhaktar muthaliya Ennila mukthar adayamun Pathanidhi avar kepithirasthiya Vedanayakan pankenna nassthiya. 207
ANALYTICAL STUDY The angas of this composition are pallavi, anupallavi and three charanas. Pallavi and anupallavi consists of two p d s and charana have eight p d s each. Prosodical beauties of this composition. Adiprasa Dvitiya- Anuprasa Antya- Yati Yamakshara prasa kom prasa Anupallavi Antara sarvasakshiye Vandanai manasakshiye Charanam 1 Nikarillathe pavame Sakala subhavame Charanam 2 Manalanna vakay Enai sodi Gunamum Athai kothair prabhavame manobhavame vinaithokaye puhaye pakaye Charanam 3 Panniya thathai panthama Pannaya ithu siddhantama nathane kanthama unnaye kanthama nanniya panniya pannaya ennila 208
The Vaggeyakara mudra "Vedanayakam' seen in the last p da of the third charana ""Vedanayakam pankenna nassthiya''. 209
ENINNUM THAMATAMAYYA Adi talam Keerthanam - 4 Pallavi Eninnum thamatamayya Ennidam vara Anupallavi Thane umakku muththi thalamennoori nilayo Vana mutharai vittu varamanamillayo Charanam - 1 Sooryanaithunda ahantriyiro Anta somanu konitara chentriro Parinaipuratiye nintreero athil Payal eravunga muyantreero Karilirunthu kanamazhai sorintheero Garpathil sisukkalaiye puruntheero Charum palluyirkkuyiray viruntheero Sarvaloka karyan seythiruntheero (Eninnum...) Charanam - 2 Andakodikalai thaokineero navam Aaka chila anda aakineero Kandakar ulakai neekineero Kadal karayai kadavamal thekineero Andum palluyirka amudootukintreero Ayibhoothangalkum velai katukintreero Mandum kanikku chuvai kaotukintreero 210
Palarukku palavannam theetukintreero Charanam - 3 Maram chedi payarkal niraintheero Avayai valarave thanneerai iraitheere Soorarkal isaikkettu kalitheero Nalla thondar idayathil olitheero Parama kripakara pahithanesare Paramathakhandan papvinasare Sarva vinoda charaachara vasane Dasan vedanayakam nambiraneesare (Eninnum...) (Eninnum...) 211
ANALYTICAL STUDY The angas of the kriti are pallavi, anupallavi and three charanas. Pallavi and anupallavi have two p d s each and the charanas have eight p d s each. Pallavi Adiprasa Dvitiya- Anuprasa Antya- Yati Yamakshara prasa kom prasa Eninnum eninnum Ennidam ennidam Anupallavi Thane nilayo Charanam 1 Charanam 2 Anda Aaka Kandakar Kadal Andum Vana varamanamillayo ahantriyiro chentriro nintreero muyantreero sorintheero puruntheero viruntheero seythiruntheero thaokineero aakineero neekineero thekineero ootukintreero katukintreero kaotukintreero theetukintreero 212
Adiprasa Dvitiya- Anuprasa Antya- Yati Yamakshara prasa kom prasa Charanam 3 Parama parama niraintheero Parama parama iraitheero kalitheero olitheero pahithanesare papvinasare vasane nambiraneesare The Vaggeyakara mudra "Vedanayakam' seen in the last p da of the third charana ""Dasan vedanayakam nambiraneesare''. 213
INNAI PARAMUKAMAMO Roopaka talam Keerthanam - 5 Pallavi Innai paramukamamo - vinai Ninnarul thanintri ppomo Anupallavi Minnal uruppukazh nannalameviya Vedartha kana pothartha - o Charanam - 1 Varpizhai oppu kondalo kshamai Manasai vaarbhuvi mele Enpizhayai pallakale oppi- Nene munive then pale Anpenumatheppam ellamal vinaikkadal Aazhntha thene thuyar choozhthene o (Innai paramukam...) Charanam - 2 Than pathiyai pakayore konna Than parthiruppavar yare Ninpathi enmathithene athil Neenkamal un kanmunnere Unkai yorenuyakam karodhathikal Un nire jayam pettrare o (Innai paramukam...) 214
Charanam - 3 Nenchangavalaikku vido jaya Ninjothannaikku nan ida Anathe nee inguvada en- Trarulaathinamai veru pada Thanchathimana Vedanayakan pottridum Thaathaave petra mathaave O (Innai paramukam...) 215
ANALYTICAL STUDY This composition consists of pallavi, anupallavi and three charanas. Pallavi and anupallavi consists of two p d s and charana have six p d s each. Prosodical beauties of this composition. Adiprasa Dvitiya- Anuprasa Antya- Yati Yamakshara prasa kom prasa Pallavi Innai mamo Ninna ppomo Charanam 2 Thanpathi thanpathi pakayore Thanparthi thanparthi yare Ninpathi Neenkamal Unkai Un ninpathi neenkamal Charanam 3 Nenchen nenchen nan ida Ninjothan ninjothan inguvada Trarulaathi Thanchathimana Thaathaave veru pada The Vaggeyakara mudra is included in the third charana. ie, ""Thanchathimana Vedanayakan pottridum''. 216
KELU POOMANKALE Adi talam Keerthanam - 6 Pallavi Kelu poomankale kripaivaithajnam Sreemankale Anupallavi Nan makaniyilla enkal melvarmamo Thajaruzhthukipol thannuthal tharmamo Charanam - 1 Kaalaikkum m laikkum moolaikkullangalai Aalaikkurumpu pol tey theerpaaka Ch laikkammanmatha leelaikkum evina Velaikkum enkalem ytheer Moolakkal Vinangan vasichal aapatho Moodappenkolveer umarkku perumpitho Kalaikiranthangal neenkar paattan swatho Umaykennakanum nalaimel thalai patho Charanam - 2 Aadiyil pennale mediniyorkal Und navakai marantheero Pensathi purushanil pathiyentra Manu neethiyai thurantheero Paathi udalai parakkavidalamo P vapunyam theriyamal kedalamo Neethiyilla emmai neenthithidalamo Neenthithu pin enkalai neethodalamo (kelu...) (kelu...) (kelu...) 217
Charanam - 3 Karyai oru kariya illa Naadai pinamentri ennineero Thevar ooril penkal konda Seerine aakilumk uttru paarum ayyarmare Parithane navil vaithan pithamahan Pakan chiramvaitha thal sivanmasukan Marvil vaithan piripen thirudan guhan Mankaithedi sandhi vandan karimukan Charanam - 4 Unkalukkuthaviyay enkalaithevan Undakkiyathe ariyeero selvamankai Udankalvi nankai muthalanor Matharendru kuriyinor Enkalai allamal neenkal uthitheero Eri aak ya thiranthu kuthitheero Angappal unnaamal deham uditheero Adimai entramgal thalaiyil vidhitheero Charanam - 5 Pothaka yooropu madakal kanaikkandu Ponki poramai kondame entrum Bhedamilla intriyathinil thangal Piranthannalapam kandome. Charanam - 6 Nathakalvikku esian mukkamillaye Iyenkan virumbo navaratnamalaiye Vedanayakan chey penmathimalaiye Vedinom tharum vido unkal kalaiye (kelu...) (kelu...) (kelu...) (kelu...) 218
ANALYTICAL STUDY This keertana consists of pallavi, anupallavi and six charanas. Pallavi and anupallavi have two p d s each and all other six charanas have eight p d s each. Prosodical beauties of this composition. Anupallavi Adiprasa Dvitiyakshara Antyaprasa prasa melvarmamo Charanam 1 Kaalaikkum aapatho Aalaikkurum thannuthal tharmamo perumpitho Moolakkal chalaikkamma swatho Moodappen velaikkum thalai patho Charanam 2 Paathi aadiyil marantheero Pava undanava thurantheero Neethiyil Neenthi Charanam 3 Parithane Pakan Marvil Mankaithedi parakkavidalamo kedalamo thidalamo neethodalamo pithamahan sivanmasukan thirudan guhan karimukan 219
Charanam 4 Unkalukku Adiprasa Dvitiyakshara Antyaprasa prasa Undakkiyathe Undankalvi Enkalai Erikakaya Angappal Adimai Charanam 5 Pothaka Ponki Charanam 6 Vedanayakan Vedinom uthitheero kuthitheero uditheero vidhitheero mukkamillaye navaratnamalaiye penmathimalaiye kalaiye The Vaggeyakara mudra "Vedanayakam' included in the last charana ""Vedanayakan they penmathimalaiye''. 220
KAZHCHI ENAKU Triputa talam Keerthanam - 7 Pallavi Kazhchi enaku kotamelirikkintra Karanam ethayya Anupallavi Kazhchiyay nirkum sarvaadhikaarane M kshiyudaiyor makizh nirvikarane Charanam - 1 Antharangapathi attavannere Akkiramathil peyar pettravannere Pathappeykkullaththai vittravannere Paathakangalellam kattravannere Charanam - 2 Maranthum orumay choll thavanentre Marunthukkum nanmai ellaathavanentre Chirantha meyjnanangal ellathavanentre Desatharkkellam pollaathavanentre Charanam - 3 Esaimarayai ekazhthavanentre Heena mathathai pukazhthavanentre Nee cheyta nantri maranthavanentre Neecharkul meththa chiranthavanentre Charanam - 4 Aadimadhyanta rahita mahesha Arphutathinmayanantha vilasa Vedavedanta vidhi upadesha Vedanayakan edayaprakasa (kazhchi...) 221
ANALYTICAL STUDY The angas of this composition are pallavi, anupallavi and four charanas. Pallavi and anupallavi consists of two p d s and charana consists of four p d s each. Prosodical beauties of this composition. Adiprasa Dvitiyakshara Antyaprasa prasa Pallavi Kazhchi melvarmamo Anupallavi Karanam Charanam 1 Antharanga Akkiramathil sarvaadhikaarane nirvikarane attavannere pettravannere Pathappey pathappey vittrvannere Paathakan pathakan kattravannere Charanam 2 Maranthum maranthum chollathavanentre Charanam 3 Nee cheyta Marunthu Maruntha ellaathavanentre Neecharkul Chirantha ellathavanentre pollathavanentre azhthavanentre pukazhthavanentre maranthavanentre chiranthavanentre 222
Adiprasa Dvitiyakshara Antyaprasa prasa Charanam 4 Aadimadhyanta Arphuta mahesha vilasa Vedavedanta Vedavedanta upadesa Vedanayakan Vedanayakan edayaprakasa The Vaggeyakara mudra seen in the last charana ""Vedanayakan edayaprakasa''. 223
g. Irayimman Tampi (1782-1856) Irayimamn Tampi has an important place among the composers of Carnatic music in Kerala. He was born in 1782 at Kizhakke madam near north fort in Trivandrum. He was the son of Keralavarma Tampan and Parvati Thankachi. He was one of the great musicians in Sree Swati Tirunal's court. Besides the recognition as a poet and a composer, Swati Tirunal gave him the post of "Astanakavi' and awarded him the virasringala the highest honour at that time in Travancore. Irayimman Tampi composed many type of compositions. His works comprises kirtanas, varnas, padas. He composed three attakkadas. His compositions in the Carnatic types are generally long and have a charm of their own. Irayimman Tampi is the only composer in Kerala who has devised varnams. The pada is the forte of Tampi and it is as a composer of this form that he is best known and most appreciated. They easy flow of the music, the simplicity of the language, the charm of the ideas make beauty to his compositions. He composed in almost all ragas. In the raga Mohana he composed a composition in aditala. The purely literary works of Tampi include two kilipatus. He is the author of the famous lullaby ""Omanathinkal kidavo'' in Nilambari Raga. This song keeping alive the memory of Irayimman Tampi. 224
CHINMAYA MAMAVA Eka talam Pallavi Anupallavi Chinmaya mamava shaure! Yathi Chinthitharoopa! Murare! Kalmashahare! Khora! Kaliyamadahara! Kamitha phaladamithabala samaja Hara kamajanaka Charanam - 1 Jambhasasana dambanasana dambhaya dapadimpha- Varija sambhava sadara poojitham Dekha sadhu bhavanthamanaratham Sambrutha saila namamitham subha sanchayam dehi Mamamitham sambhunutha guna samudayaavitha kumbhivara! mayi Kurudayamanisam bhuvana bhayahara jayanatha kumbha bhavakamala- Nilayajitha jambhala kucha kumbha supari rambhana drisa jhrumbhita sukha Charanam - 2 Jnanarupa davaanalaadhika dootagokula maanasaabhayadaana Paraayana! maamakam varadaashu vinaasaya vaathakam deenajanabhaya daayakam jagadeesha kalaya sumechakam manasi mama parilasathu 225
Thevapuranakha thanujitha rathipathe! padavinutha Sukamukha munithathe! nava kanaka vasana vibudha gathe bhahudanava- Jaladanila suramanava phanimanitha guna Charanam - 3 Khorakam samahoragendra mayoora sarapuresa! ramaapathe! pada sannutha vanchi maheepathe! Saarasanaabha krupamathe! Hridi saadara Suravara kadambaka saranamapi Munijana hridanthara saranamayi mama kurumudam nava neerada nibha Naradanutha saarada vidhu chaaru vadana! (Chinmaya...) 226
ANALYTICAL STUDY This one among the p d s of Irayimman Thampi. This p da consists of pallavi, anupallavi and three charanas. P da is a musical form as well as a dance form. Since it is also included in dance the sahitya is more important than music aspects. The pallavi and anupallavi consists of two p d s each and the charanas have eight p d s each. Prosodical beauties seen in this composition as follows. Adiprasa Dvitiyakshara Antyaprasa prasa Pallavi Chinmaya shaure Anupallavi Chinthitha Kalmashahare Kamitha Murare In the first p da of the anupallavi the letter "ra' is repeating frequently. Therefore that line is an example for anuprasa. ""Kalmashahare Khora Kaliyamadahara'' The other anuprasa beauties seen in this composition in first charana. 227
""Jambhasasana dambanasana dambhaya dapadimpha'' In the second charana fourth p da ""Thevapuranakha thanujitha rathipathe! padavinutha'' In the third charana. ""Khorakam samahoragendra mayoora sarapuresa ramaapathe pada sannutha vanchi maheepathe Saarasanaabha krupamathe! Hridi saadara Suravara kadambaka saranamapi Munijana hridanthara saranamayi mama kurumudam nava neerada nibha Naradanutha saarada vidhu chaaru vadana!'' Yati prasa is also seen in the second charana, sama yati is used. ""Jnanarupa davaanalaadhika dootagokula maanasaabhayadaana Paraayana! maamakam varadaashu vinaasaya vaathakam deenajanabhaya daayakam jagadeesha kalaya sumechakam 228
manasi mama parilasathu Thevapuranakha thanujitha rathipathe! padavinutha Sukamukha munithathe! nava kanaka vasana vibudha gathe bhahudanava- Jaladanila suramanava phanimanitha guna'' 229
h. Kavi Kunajara Bharati (1810-1896) His father Subramanya Bharati and Grand father Kotiswara Bharati were eminent scholars in Tamil and Sanskrit. Kavikunjara Bharati enriched their scholarship through his illustrious work ""Seventy two mela raga kirtanas'' in Tamil. He was appointed as the Asthana Vidwan of the court of Gowri Vallabha, the Raja of Shivaganga. He composed a dance - drama named as Azhagar - Kuravanchi, musical work named as "Skanda purana keertanaikal' and many other compositions. He composed compositions in the Raga Mohana. Ananda Nayaki in Misrachappu tala Enge sutriyumavar in Adi tala Ettanai sonnalum in Misrachapu tala Ithu nalla samayam in Rupakam Nityotsava mangalam in Adi Sannidhi kandukonden in Misrachapu Senkolarasu in Aditala etc. 230
MARUVUMALAR (Dvipadai) Ata talam Keerthanam - 1 Charanam - 1 Maruvumalar cher pancha tharuvai kalkalayi naatti Vandrodu panthalottinary - oli Choriyumaniyizhaitha nirai asainthadumaalai Thoduthaniy kappoottinar Charanam - 2 Irulakalum padikku tharalangalal vithaana Misaithu panthalirkkattinar - divya Swaroopankandavar manammuruka porpp vaikales Chuvarthalamenkumottinar Charanam - 3 Parpukazhavalankara mandapam chaythu Palinkukkannadi pathithar - uyar Cheerani marukongum thoranangalum thooki Chingaram cheythu kathithar Charanam - 4 Muppazhamunka mukumikkudandamum panthal Mukappililanka veekkinar - miku Porpuyar vayin munne Chippiya noolin padi Ponnin meruvundakkinar 231
Charanam - 5 Itharaka jathuraka pathikal pudai choozha Yiraajarelloru nirainthar pala Varisai mikuntha kula parvatha raajan mun Vanankiyarikilurainthar Charanam - 6 Kalavai cheymrugamathu kalabhachandanangale Kkarai thengum vaariyiraithaarthangal- Pulanainthungalikondu nilamenginum parava Porchunnangalai niraithaar Charanam - 7 Kazhakirchanthir pukai neelum vellikalengum Kaviyathoopankaloduthar - Isai Yazhunkinnarangalunthonemisai anaithukk- Kayakaranai varumaduthathar Charanam - 8 Varuthiyoliyena perikai pathinettu Vaadyankalumadithar - nandru Yer perunchuruthi kkootti Chcheerapinayankatti Rambhayar nada nadithar Charanam - 9 Sivandriruvulankolla Navamamindiraneela Chinkathanamumai thaar - kana Thuvamuni varamarar bhuviyarasarirukka Thamaniya vedi samaithar 232
ANALYTICAL STUDY This is a Dvipadai type composition. The only anga in this composition is charana. It have nine charanas with four p d s each. Prosodical beauties of this composition. Literary Analysis Charanam 2 Charanam 3 Parpukazh Adiprasa Dvitiyakshara Antyaprasa prasa Palinku Cheerani Chingaram Charanam 4 Muppazha Mukappil Porpuyar Ponnin Charanam 5 Itharaka Yiraajare Varisai Vananki Charanam 6 Kalavai Kkarai Pulanain Porchun panthalirkkattinar chuvarthalamenkumottinar pathithar kathithar veekkinar meruvundakkinar nirainthar urainthar vaariyiraithaar niraithaar 233
Charanam 7 Kazhaki Adiprasa Dvitiyakshara Antyaprasa prasa Kaviya Charanam 8 Varuthi Vaadya oduthar aduthathar adithar nadithar Charanam 9 Thuvamuni Sivandri umaithaar Thamaniya Navamam samaithar 234
BALARKALE VANTHU KANDARE Adi talam Keerthanam - 2 Pallavi Balarkale vanthu kandare sivanumaiyum Paravasamikunthu kondare Anupallavi Kaalai ilamkathirkal poluyarvadi vodunka Saravanapoomanchathil vilaiyadum Charanam - 1 Maamukangaloraru malarkarangleerarum Komala chevicherum kundalangalil cheerum Kaamayilkal kandu cheerattuvatumchirai Karu varivandukal thalattuvathum ven- Chaamarai kavarikalaattuvathumnirai Thanmathiyankannaadi kaattuvathum aana (Baalar...) Charanam - 2 Karthikari penkal vanthu kaathaludan vanthu Aathiramay makizhnthu anaithu muchchi mukanthu Pootha chezhu mulaippal koduppathuvum - cher Purankaiyinattralli viduppathuvum pinpu Verthu muzhuthummukankaduppathuvum odi Veruntharailizhanthu paduppathuvum aana (Baalar...) Charanam - 3 Aathumanthane maintha nakumendri saimunta Chattru muyar venanda thani porulananditha Moorthiyakumendrum paruraipathumvum kanda Munivarkal manamathaikkarai ppathumvum - paal Vaarthundathu polullaniraippathuvum chezhu Malar mazhai vanavarirai pathuvum aana (Baalar...) 235
ANALYTICAL STUDY This composition consists of pallavi, anupallavi and three charanas. Kavi Kunjara Bharati decorate the composition with prosidical beauties. Each two p d s end with rhyming words and it is considered as antyaprasa. The beautiful prasa words seen in this composition are given below. Adiprasa Pallavi Charanam 1 Kaamayilkal Karu varivan Charanam 2 Pootha Purankai Verthu Veruntha Charanam 3 Moorthi Munivar Antyaprasa kandare kondare karangleerarum kundalangalil cheerum cheerattuvatum thalattuvathum kavarikalaattuvathum kaattuvathum vanthu mukanthu koduppathuvum viduppathuvum kaduppathuvum paduppathuvum endri saimunta ananditha paruraipathumvum manamathaikkaraippathumvum ullaniraippathuvum vanavariraipathuvum 236
MARUTHALABHA AZHAKAR Azhakar Kuravanchi Chappu talam Keerthanam - 3 Pallavi Anupallavi Maruthulabha azhakar thirukkalyanam cheythu Makizhchi pettirunthare Viruppamuttanaivarum karuthu vanthukondada Melliyave vanaraja mohana valli thanai kkaamakshi yudan chooda Charanam - 1 Chonnavedikayum baalikayumalangarithu Thuyyasaalithandulan divyamakavirithu Unnatha kumbham vaithu minnumthazhai tharithu Omamamvalar thaagama maamanthram ucharithu Munnumarai muraiyodu vethiyar Chon mozhiyin padi nannaya makave Charanam - 2 Indiram thuthipurinthiniya mozhi paashikka Ezhukadaloliyana iyankalenku ghoshikka Vinthaiyudan thumpuru veenai meeti vasikka Vethan maraikalothi virai malaral poojikka (Maruthalabha...) 237