Dr. Nithyasree S (veena) & team from Chennai - Homage to Mysore Vasudevacharya Series
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- čas přidán 4. 05. 2024
- Special Carnatic Music concert
Homage to Padma Bhushan Mysore Vasudevacharya
5th May 2024, 8:00 PM IST (10:30 AM EDT)
Dr. Nithyasree S (veena) - Chennai
(Disciple of Vid. Kalyani Ganesan and Chitravina Vid. Ganesh. Presently undergoing advanced training in music from Vid. S.D. Sridharan.)
Vid Ambur Padmanabhan (mridangam)
(Disciple of Padmabhushan, Kalaimamani Dr. T V Gopalakrishnan) - Hudba
Absolutely Divine Blissful and Superb Concert All the Best Wishes 👋👌👋
Nice and melodious concert.Keep it up Nityasree.
Wah !!! Thanam ...
Lovely Alapanai !!!!
Excellent Start !!!
Super Thani !!!
🎉supper🎉
Devamanohari is the janya raga of the 22nd Melakarta Raga Kharaharapriya.
Usually associated with dance forms, Devamanohari combines the brisk beauty of Shuddha Saveri and the auspiciousness of Madhyamavathi and is suitable for abhinaya oriented performances. It evokes the adbhutha rasa and veera rasam in the navarasams.
Devamanohari falls under mela 22 and the notes we use in this raga are S, R2, M1, P, D2 and N2.
It is an audava upanga janya of mela 22 lacking gandhara both in arohana and avarohana while dhaivatha is vakra in avarohana alone.
The name of the ragam denotes one who is dear to Deva. Taken up by most composers numerous krithis exist in this beautiful ragam. Gandhara varjya nishada vakra ragam, the scale of the ragam goes thus:
Aro S R2 M1 P D2 N2 S Av S N2 D2 N2 P M1 R2 S
A perusal of 21st century music and musicology and comparing it with what it was in 18th century in the run up to the Trinity, would show that a bunch of changes have happened.
Raga Gowla is a ghana raga, an ancient and auspicious one that finds mention in musical treatistes including the Sangitaratnakara.
The arohana-avarohana of Gowla would be SRMPNS/SNPMRGMRS. It has a vakra (zig-zag) pattern of swaras in the descent and the prayoga RGMRS is characteristic.
The notes in this raga include the sadja, suddha rishabha (actually ekasruti rishabha, very close in frequency to the sadja that is unique to Gowla), antara gandhara, suddha madhyama, pancama, and kakali nishada.
Gowla is well-known for compositions, such as the second pancharatna of Thyagaraja ‘Dudukugala’, Dikshitar’s ‘Sri Mahaganapati’, Mysore Vasudevachar’s ‘Pranamamyaham’ and the tiruppavai, ‘Vayyathu’. This is a Janya ragam of Mayamalavagowla. It is also called Gowlai. As the name suggests, it must have originated from the ancient Bengal region, which was known as Gowla desam. This ragam is more suited for beginning the concerts. Hence there are number of songs in this ragam in praise of Lord Ganesa. This ragam has its counterpart in Tamil Isai also in the form of a pann. This is also one of the Gana Ragams in which Saint Thyagaraja has composed one of his Pancharatna krithis. This ragam is more suited for singing Bhakthi related songs, especially in the mornings.
Madhyamavathi Raga
madhyamAvati is a "ma~ngaLakara rAgam", that is always sung in the concluding segment of any concert. Even though musicians render the Tyagaraja composition, "pavamAna sutudupaTTu" in saurASTram as an appropriate ma"ngaLam, the concert usually ends with a brief AlApana of rAgam madhayamAvti, at least lasting for a few seconds! Again, the Papanasam Sivan k.rti, "karpagamE kaN pArAy" in madhyamAvati, praising Goddess karpagAmbAl of the kapAlIshvara temple in Mylapore is often sung (perhaps followed by a tiruppugazh song) prior to the ma"ngaLam. The fact that muttusvAmi dIkSitar chose rAgam madhyamAvati for his shrIvidyA mantra bIjAkSara k.rti, "shrI rAjarAjEshvarIM" speaks volumes about the auspiciousness of madhyamAvati. In his k.rti, "dharmasaMvardhani", dIkSitar addresses Goddess dharmasaMvardhani of tiruvaiyAru as "mAdhava sOdari, sundari, madhyamAvati sha"nkari".
Aro: sa ri ma pa ni Sa (S R2 M1 P N2 S)
Av: Sa ni pa ma ri sa (S N2 P M1 R2 S)
An audava - audava janya rAgam of meLam 22, kharaharapriya. Notes taken are:- SaDjam, catushruti riSabham, shuddha madhyamam, pa~ncamam, and kaishiki niSAdham; an upA"nga rAgam which omits "ga" and "ni" in both ascent and descent.
• jIva svarams --- ri and ni, and they both are rendered dIrgham.
• chAyA svarams --- ri, ma, ni
• nyAsa svarams --- ri, ma , pa, ni
• graha svarams --- sa, ri, ma, pa, ni
• The notes ri and ni are kampita svarams.
• ra~njaka prayogams --- ri ma pa nI pa ma rI; sa NI PA; Ni sa ri sa rI; ma ri pa ma ni pa Sa ni RI Sa; ma pa ni pa NI pa m
• Compositions usually commence in sa (rAma kathA sudhA, pAli"ncu, so on), ri ("vinAyakuni"), pa ("alakalallala") or ni ("nAdu pai")
• tristhAyI rAgam that portrays bhakti and karuNa rasam
• an ancient rAgam that is mentioned in "sa"ngIta ratnAkaram", "sa"ngIta makarandam", and "sa"ngIta samaya sAram".
• madhyamAvati is a sarva svara mUrcchana kAraka rAgam, in the sense that it lends itself to graha bedha techniques. The popular pentatonic scales hindOLam, shuddhasAvEri, shuddhadhanyAsi and mOhanam result, when graha bedham is performed on the notes ri, ma, pa, and ni, respectively. madhyamAvati corresponds to the she~nturuti paNN of the Tamil music. It is a rAgam having a high concordance, since it takes the first three notes of the cycle of the fifths, that is, sa, pa, and catushruti ri; and the first three notes of the fourth cycle, namely, sa, ma and ni.
• A rAgam suitable for rendering shlokams, rAgamAlikAs, viruttams, that are usually sung in the post pallavi segment of a concert. Also, it appears in musical dramas and dances. aruNAcala kavi has employed this rAgam for many songs in his rAma nATakam.
• The pUrvAcAryas have declared in their descriptions that madhyamAvati is a "su rAgam" (shubhakaram --- auspicious). It is said that madhyamAvati is so auspicious that it is capable of warding off the sins (dOSam) caused by singing various rAgams at inauspicious moments. So, even a slight rendition or a brief AlApanA of madhyamAvati wards off these sins and bestows auspiciousness.
Ve"nkaTamakhin classifies madhyamAvati as a bhASA"nga janyam number 8, under the asampUrna mELam 22, shrI.
Definition
"madhyamAdissu rAgO'yam madhyamagraha samyutaH |
ga dha lOpAdauDavassyAt sAyamkAlE pragIyatE ||"
mUrcchana
ArOhaNam : sa ri ma pa ni sa
avarOhaNam: sa ni pa ma ri sa
Kantamani
The 11th chakra Rudra starts with Kantamani, the 61st raga in the Melakarta system of Carnatic music. In Muthuswami Dikshitar school of music, this sampoorna raga is known as Kuntalam.
Arohana: S R2 G3 M2 P D1 N1 S // Avarohana: S N1 D1 P M2 G3 R2 S
The notes of Kantamani are sahdjam, chathusruthi rishabham, antara gandharam, prati madhyamam, panjamam, shuddha dhaivatham and shuddha nishadam.
The mnemonic name of this raga is Rudra-Pa. It is a vivadi mela and is the prati madhyamam equivalent of Mararanjani, the 25th Melakarta raga.
Kantamani has very few janya ragas. The few compositions in the raga include Nadasukam by Koteeswara Iyer, Sri Sugandhi by Muthuswami Dikshitar and Palintuvo by Thyagaraja.
Manavati is the raga obtained by shifting the notes of Kantamani using Graha bhedam.
Dharmavathi This is 59th Melakartha ragam. It is called Dhaamavati in Muthuswami Dikshitar school of Carnatic music
Though some of its janya ragams like Ranjani and Madhuvanti are often heard in concerts, the mother ragam is heard rarely.
A very melodious ragam which is also called Dhaamavati in the Dikshitar School. Its closest ragam is Madhuvanti. Raga Dharmavati was introduced in Hindustani music in vocal style for the first time by late Pandit Samaresh Chawdhury ( disciple of Pandit Ravi Shankar)
The notes for the two ragams are given below:
Dharmavathi Aro S R2 G2 M2 P D2 N3 S AV S N3 D2 P M2 G2 R2 S
Maduvanthi Aro S G2 M2 P N3 S AV S N3 D2 P M2 G2 R2 S
On Behalf of Mysore Vasudevachaya Homage Page We Whole heartedly Welcoming
Sri mahaganapatiravatu mam Ragam Gowla 15th Mela janya Mishrachapu Talam Muthuswami Dikshitar Krithi
This Krithi is on Thiruvarur (matturaitta pillaiyar)
We have one more Please stay with us Thanks
For instance, one can notice that today’s construct of a raga is more svara/note based with accent on linearization and conformance with the melakarta system - with Janaka/Janya relationship at its heart. This was not the case with 18th century music. Some of the musicians/musicology/commentators, today refer to this older 18th century music as “Art Music” or the gold standard.
The 18th century construct of a raga, encompassing its architecture and design had a set of unwritten/informal rules or axioms. There are three important musicological texts from the 18th century which has been passed on to us, which I prefer to call as the Triad in this blog post consistently. They are Ragalakshanamu of Sahaji (circa 1710),
Sangita Saramrutha of Tulaja (circa 1835) and the Anubandha to the Catudandi Prakashika (circa 1750). It is my humble view that a critical study of these three texts/Triad would without doubt help us sense this unwritten grammar of the music of the 18th century. This music was the legacy that was passed on or inherited by the Trinity to which they infused flesh and blood with their compositions.
Today much water has flown under the bridge. Given the reality of what has happened till today, one can even wonder whether it is even worth investigating if the changes are for the good or otherwise.
Bhagayada Lakshmi Baramma Adi Purandara Dasaru
Vid Ambur Padmanabhan (mridangam)
(Disciple of Padmabhushan, Kalaimamani Dr. T V Gopalakrishnan)
Bhajana seya rada Dharmavathi Roopaka Talam Mysore Vasudevacharya Krithi
In this kruti of Mysore Vasudevacharya, appeals to himself to worship Sri Rama the protector of devotees, with devotional songs.
On Behalf of Mysore Vasudevachaya Homage Page We Whole heartedly Thanking
Dr Nithyasree (Veena) & Team, from Chennai TN Padma Bushan Mysore Vasudevacharya Life & Music Special Series Concert on Today the May 5th Sunday at 8.00 PM IST 10.30 AM EDT
Dr. Nithyasree S (Veena) (Disciple of Vid. Kalyani Ganesan and Chitravina Vid. Ganesh. Presently undergoing advanced training in music from Vid. S.D. Sridharan.)
Vid Ambur Padmanabhan (mridangam) (Disciple of Padmabhushan, Kalaimamani Dr. TV Gopalakrishnan
Enormous Ragams Covered .
Gowla,
Kantamani,
Dharmavathi,
Devamanohari,
Natakapriya,
Kapi.
Madhyamavathi.
All the Best wishes to them in their Future Endeavors
We wish to thank all the members of the lovely audience who motivated, supported and encouraged the wonderful artistes in this Concert today..
Dr. Nithyasree S (veena) - Chennai
(Disciple of Vid. Kalyani Ganesan and Chitravina Vid. Ganesh. Presently undergoing advanced training in music from Vid. S.D. Sridharan.)
Next is the Sub Main Krithi of the Concert !!!
Vid Ambur Padmanabhan (mridangam) (Disciple of Padmabhushan, Kalaimamani Dr. TV Gopalakrishnan)
Dr. Nithyasree S (Veena) (Disciple of Vid. Kalyani Ganesan and Chitravina Vid. Ganesh. Presently undergoing advanced training in music from Vid. S.D. Sridharan.)
Incidentally there is another Thyagaraja Kriti - Bhajana Seya Raada - Raga Athana
Dr Nithyasree (Veena) & Team, from Chennai TN Padma Bushan Mysore Vasudevacharya Life & Music Special Series Concert on Today the May 5th Sunday at 8.00 PM IST 10.30 AM EDT
Mee valla guna doshamemi Ragam kapii Khandachapu Thyagarajar Krithi
There are number of Ragams with Manohari added
Manohari, Kamala Manohari, Esha Manohari, Jaya Manohari, Mesha Manohari, Lalitha Mahonari, Saraswathi Manohari, Gowri Manohari, Rama Manohari, Deva Manohari, Gandharva Manohari, Vasantha Manohari. Vasanthamanohari, Bhuvanamanohari, Gandharvamanohari, Lalithamanohari, Mechamanohari, Ambamanohari, Sreemanohari
For it is undeniable that the changes that have happened are today permanent and immutable. Nevertheless for a student and an observer of music it is important to understand the tenets of 18th century music.
There are a number of these so called architectural and design constructs of ragas - axioms that one can deduce from these Triad or to be more precise, from the study of the structure of the ragas that have been compiled in these three texts. And thankfully we have the Sangita Sampradaya Pradarshini which one can see, offers the perfect illustration for many ragas found in the Triad.
These two fairly popular ragas were different in the 18th century, in comparison to what they are today in their popular form. So much so, we are constrained to call the 18th century versions of these ragas as archaic version while what we sing today are the modern version. We will demonstrate in this blog post how these ragas conformed to the above constructs/axioms-of 18th century architecture/design of a raga- and how we have in modern musicology dispensed with these axioms with the result their melodic contours have now changed.
P palukavademi ra rama nato
palikite nee sommulu povunA ||
Oh Rama, why don't you speak with me? Will you loose your precious ornaments if you speak with me?
AP jalaja sambhava bhavadyamara vinuta pada
jalaja nayana neevu sumukhudai vegame ||
Brahma the lotus borne Siva and other Devatas adore your feet. Oh lotus eyed Rama, please speak soon with a pleasant face.
C1 niravadhi sukha dayakudani telisi ne
niratamu nijamuga nammi yundaga ||
Truly,I always believed that you bestow happiness perpetually.
C2 marachitivemo maravakura rama
garuda gamana vasudeva dayanidhe ||
Oh Rama, please don't forget me. You are ocean of compassion. You are Vasudeva who flies on 'Garutmanta'.
Neraval @ C2 nira vadhi sukha dayakuni paramatmuni bhakta paluni ||
Idi samayamu Ragam Nataka priya chaturasra roopaka Talam Mysore Vasudevacharyar Krithi
In this kruti Dikshitar prays to Lord Ganapati,the elephant headed God and the elder brother of Guha.He says that he is like a boat to help us cross the ocean of problems.
P palukavademi ra rama nato Next is the Sub Main Krithi of the Concert !!!
palikite nee sommulu povunA ||
Oh Rama, why don't you speak with me? Will you loose your precious ornaments if you speak with me?
AP jalaja sambhava bhavadyamara vinuta pada
jalaja nayana neevu sumukhudai vegame ||
Brahma the lotus borne Siva and other Devatas adore your feet. Oh lotus eyed Rama, please speak soon with a pleasant face.
C1 niravadhi sukha dayakudani telisi ne
niratamu nijamuga nammi yundaga ||
Truly,I always believed that you bestow happiness perpetually.
C2 marachitivemo maravakura rama
garuda gamana vasudeva dayanidhe ||
Oh Rama, please don't forget me. You are ocean of compassion. You are Vasudeva who flies on 'Garutmanta'.
palukavademi ra deva manohari Adi Mysore Vasudevachar (Main Krithi)
Palinthuvo Ragam Kantamani Adi Sri. Tyagarajar
In this Krithi SrI tyAgarAja asks the Lord whether He would protect him or not.
Natakapriya is the 10th Melakartha raga and the 4th in the second Mela Chakram, ‘Netra”. In Dikshithar system, this raga is called ‘Natabharanam’.
This is not a popular raga; there seems no Hindustani equivalents also. The 46th mela ragam ‘Shadvidhamargini’ is the prathimadhyama equivalent of this raga. T
he purvanga is of the notes are of Thodi and Uttaranga, that of Kharaharapriya. The notes:
Aroh : S R1 G2 M1 P D2 N2 S // Avaroh : S N2 D2 P M1 G2 R1 S
(shadjam, shuddha rishabham, sadharana gandharam, shuddha madhyamam, panchamam, chathusruthi dhaivatham and kaisiki nishadham).
JANYA RAGAS:
Alankārapriya S R1 G2 M1 D2 N2 S // S N2 D2 M1 G2 R1 S
Bhāgyashabari S R1 G2 M1 D2 N2 S // S N2 D2 M1 G2 R1 S
Deeparamu S R1 G2 M1 P D2 N2 S // S N2 D2 N2 P M1 G2 R1 S
Gunāvati S R1 M1 P D2 S // S D2 P M1 R1 S
Hindoladeshikam S M1 R1 G2 M1 P D2 N2 S // S P N2 D2 M1 G2 R1 S
Kanakadri S R1 G2 P D2 S // S N2 D2 P M1 G2 R1 S
Mātangakāmini S G2 M1 P D1 N2 S // S N2 D1 P M1 G2 S
Nātyadhārana S R1 M1 P D2 S // S N2 D2 P M1 R1 S
Niranjana S R1 G2 M1 P D2 S // S N2 D2 P M1 G2 R1 S
Shānthabhāshini S R1 G2 M1 P D2 S // S N2 D2 P M1 S
Shivashakti S G2 M1 D2 S // S N2 D2 M1 G2 S
Sindhubhairavi S R2 G2 M1 G2 P D1 N2 S // N2 D1 P M1 G2 R1 S N2 S
Except Sindhubhairavi, which is very popular, all the others are only namesake.
POPULAR COMPOSITIONS:
Irangatha Saminatha - Koteeswarayyar
Geetha vadya natana - Tanjore Shankarayyar
Maara jananeem Aashraye - Nallan Chakravartula Krishnamacharyulu
Idi Samayamu - mysore Vasudevacharya
Paripalaya Maam - Dr. Balamuraleekrishna
Endukinta Kopamu - Thiruvottiyur Thyagayya
Natakapriya intha - Sudhananda Bharathi
Viswanatham bhajeham - Dikshithar
Seethadhidevam natham - Dr. Suvarna Nalappat
P bhgyada lakshmI baramma nammamma nI sau
bhagyada lakshmI baramma
O Goddess of prosperity, Lakshmi, come in)(our mother, you are the Goddess of good fortune, Lakshmi, please come
C1 gejje kalgala dhvaniya madutha hejjaya mele hhejjeyanikkuta
sajjana sadhu pujeya velege majjigeyoLagina benneyante
(bhagyada)
making jingling sounds of your ankletsn putting one step over another
on time for your worship by the good and saintly show up like the butter in the buttermilk, slowly but surely
C2 kanaka vratiya kareyuta bare mana kAmanaya siddhiya tore
dinakara koti tejadi holeva janakarayana kumari bare
(bhagyada)
come, showering gold and wealth and fulfilling all our desires
shining like ten million Suns o, daughter of Janaka, come soon
C3 attittalagalade bhaktara maneyali nitya mahotsava nitya sumangala
satyava toruva sadhu sajjanara cittadi holeva puttali bombe
(bhagyada)
without moving away, stay forever, in your devotees’ houses receiving daily services and worship
o golden doll, shining in the hearts of good and saintly
C4 sankhye illada bhagyava kottu kankana kaiya tiruvuta bare
kunkumankite pankaja lochane venkataramanana binkada ranI
(bhagyada)
giving countless amount of wealth with your hands adorned with sparkling bangles, come The lovely queen of Venkata ramana
C5 sakkare tuppada kAluve harisi shukravAradha pUjaya vELage
akkareyuLLa aLagiri rangana cokka purandara viThalana rANI
(bhagyada).
letting sugar and ghee flow in our homes in streams… on time for worship on auspicious Friday
The queen of Purandara ViThala, please come to our house
Interesting :-
paramArtha The Ultimate Reality (pAramArthika satya) does not depend upon mental activity for its existence in any way. Illusions and hallucinations (which are prAtibhAsika satya) have no existence apart from the mind that imagines them. Relative reality (vyAvahArika satya) also depends upon mind for its existence, but the functioning of the mind is not enough in itself.
It is a beautiful Hindu Kannada devotional and traditional song (In Madyamavathi rag). The married ladies prey the goddess Lakshmi to give good health and wealth.
They perform pooja and invite other people to participate in their function. I want to share my house pooja with you.
P bhajana seya rada O manasa Sree rAmuni ||
Oh my mind, why don't you sing the praise of Sri Rama.
AP aja bhavendradi nutuni sujanavana loluni ||
Brahma, Siva, Indra and other devatas adore him. He is endeared by pious people.
C1 para nari sahodaruni pari poorna kamuni
dharanijA manOharuni para vasu dEvuni ||
He is the brother of the supreme goddess Parvati. He is free from all desires. He stole the heart of Sita and he is Supreme Vasudeva.
C2 SaraNa janA dharuni saraseeruha netruni
nira vadhi sukha dayakuni paramatmuni bhakta paluni ||
He is the prop for devotees. His eyes are beautiful like lotus. He is bestower of perpetual happiness and is the Supreme Soul. He is the protector of his devotees.
P idi samayamu brovarada yadukula tilaka ||
Oh diadem of Yadu clan, this is right time to rescue me.
AP sadaya hrudaya sarvesa madana koti sundara ||
Your heart is full of compassion. You are supreme lord. You have beauty of million Manmadhas.
C karunatonu Gajarajuni moralida brovagaleda
murahara mandara giridhara muraleedhara Srikara
parama purusha vasudeva garudagamana ganalola ||
Did you not rescue Gajendra with utmost pity. You destroyed demon Mura. You lifted Mandara mountain. You hold flute beautifully. You are bestower of prosperity. You are supreme Vasudeva. Garuda bird is your Vahana. You engross in music.
In this Kruti Tyagaraja says that he was wrong to find fault with Rama when the fault was with him. He gives many examples of accusing a wrong person for the fault of others.
The holy name Rama is constantly on the lips of Shiva, Brahma and the celestials like Indra. Should not His glory be sung? Decked in unalloyed golden ornaments, contemplating on His charming face lit up with divine smile, should not his glory be sung? His rosy lips, array of teeth like pearls and his blooming cheeks, contemplating on which, should not his glory be sung? Please listen to the counsel of this Tyagaraja and sing in abandon the tarakanama. It will enable you to cross over this vale of sorrow to spiritual bliss.
P pAlintuvO pAlimpavO
bAgaina balku balki nanu ||
Oh Srirama, please tell me clearly whether you protect me or not.
AP ElAgu ninnADukonna nEra
mencha bani lEdu nAdupaini ||
I might have hastily blamed you. Please don't get offended with my impatience.
C paramArdhamagu nija mArgamunu
vara dESikunDAnateeyaga
paripurNamou bhakti mArgamE yani
bhAvinchina tyAgarAjuni ||
I've been sincerely following the spiritual path ordained by my revered Guru. I believe that my path of devotion is perfect. Please protect Tyagaraja.
The following conclusions can be drawn from the above story:
o The lion has realized that it has always been a lion even when it thought that it was a sheep. Thus the false knowledge that it had has been annihilated.*
o The essential nature of the lion is unaffected at all times. It is pAramArthika. It is eternally unsublatable. It is in the play of vyAvahArika where we see the "becoming" and "unbecoming".
o At the vyAvahArika level we may say that the sheep has "become" a lion. But the truth is that the lion was always the same like an infinite sky. The "Sheep" nature is like a cloud which comes over it, plays for a moment, then vanishes. But the sky is ever the same eternal blue.
o The Sheep existed only in the mind of the lion! So is the vyAvahArika state unreal from the absolute standpoint. We see the world as we are! There is a tree in the dark. A thief would imagine it to be a police man. A boy would imagine it to be a ghost and so on. But the tree remains unchanged.
* A question may be asked: What benefit has the lion obtained by realizing that it is not a sheep? It could have spent its life happily thinking itself to be a sheep.
Reply: It has got rid of "FEAR" by realizing that there is nothing which could destroy it. This is surely a benefit in whatever way you may consider it! Fear is bondage. Fearlessness is liberation. Because fear arises out of duality alone! The Katha Upanishad says,
yadidam kincha jagat sarvaM praaNa ejati niHsRitam mahadbhayaM vajramudyataM ya etadviduramRitaaste bhavanti || 2 ||
Whatever there is-the whole universe-vibrates because it has gone forth from Brahman, which exists as its Ground. That Brahman is a great terror, like a poised thunderbolt. Those who know It become immortal.
bhayaadasyaagnistapati bhayaattapati suuryaH bhayaadindrashcha vaayushcha mRityurdhaavati paJNchamaH || 3 ||
From terror of Brahman, fire burns; from terror of It, the sun shines; from terror of It, Indra and Vayu and Death, the fifth, run.
This fear alone has kept the sun, air and death in their respective places and functions, allowing none to escape from their bounds. When the gods Indra, Chandra, Vayu, Varuna will attain to fearlessness, then will they be one with Brahman, and all this phantasm of the world will vanis
Would You protect me or not by speaking nice words?
There is no need to consider faults on me as to how I blamed You.
I assumed the path of total devotion only, to be the true path of realization, because (sage nArada) - the great preceptor - instructed me so.
Would You protect this tyAgarAja or not by speaking nice words?
O Lord SrI rAma? O Lotus petal eyed! O Effulgent Lord whose Lotus Feet are praised by this tyAgarAja!
What is the fault because of You?
Rather, all faults are because of me only.
If the gold is not highly pure, why grumble and blame the goldsmith?
If one’s daughter is unable to bear labour pain, why be angry with the son-in-law?
Having failed to give charity to deserving persons and having failed to perform worship of the Lord in any (of the previous) births, why blame the Gods (for one’s fate)?
My mind and my attachments made me languish; therefore, what is the fault because of You?