PART-17......TRICHY , THIRUVAANAIKKA

17
Tiruvarur, Trichy, Tiruvanaikkaval

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One day, Muttuswami Dikshitar was teaching his disciples. Among them was the dEvadAsi Kamalam. The two wives of Dikshitar signalled to her and called her to the kitchen. "Kamalam, there is absolutely nothing in the house to eat. There is no rice even. We can't cook. All of us may have to go hungry today". Though she was aware of her guru's poverty, Kamalam was shell-shocked as she had not expected things to get this bad. For the first time she understood the gravity of the situation that had enveloped her guru's home. Kamalam immediately removed some of her jewels and gave them to the ladies.

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Meanwhile, Dikshitar who had noticed Kamalam having a hushed conversation with his wives, demanded to know what it was and got the truth. Sad and distressed at the pathetic situation, Dikshitar with utmost compassion told his dear disciple, "Kamalam, it is the duty of a guru not only to give his disciples knowledge but also food. However, because of my poverty, I am not able to feed my disciples. But that does not mean that I should depend on my disciples to sustain myself. Much as I appreciate your pure love and your noble intentions, I must refuse your help. You may be able to help us out today, but you can't provide for us throughout our lives. It is the duty of God to protect His devotees. If I have been truly devoted to Lord Tyagaraja, He will certainly help me and remove my distress".

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Thus rejecting the offer of Kamalam, Dikshitar went to the Tyagaraja temple and sang with great fervour before the Lord. It is said that the yadukulakAmbOji composition tyAgarAjam bhajarE was composed by him on this occasion.

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No sooner had he returned from the temple, a cartload of provisions arrived at Dikshitar's house. The surprised composer enquired of the person who had accompanied the cart. It transpired that an official of the Tanjavur king had planned to camp at Tiruvarur for a few weeks on official duty. Provisions were bought in large quantity and stocked. But the visit of the officer was cancelled. The local official who had arranged for the stay and hospitality of the king's representative immediately decided that the provisions should be sent to someone who was most deserving and who else could he think of but Muttuswami Dikshitar? Dikshitar was moved at the grace of the Lord. When the truly pious are in distress or in need, Providence certainly comes to their rescue. This episode also reveals the reverence and the devotion that Dikshitar's disciple Kamalam had for her guru.

It was for Kamalam's arangEtram that Dikshitar wrote the Telugu varNam in tODi, rUpamu jUci in praise of Lord Tyagaraja and the daru in shrIranjani, nI sATi in praise of the Valmikalinga representation of the Lord. Kamalam was now qualified to offer her dance at the shrine of the Lord. With her guru's blessings, Kamalam's arangEtram was successfully conducted. 

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Four brothers witnessed the dance performance of Kamalam and fascinated by the two exquisite pieces composed by Dikshitar, visited him the next day. Chinniah, Ponniah, Sivanandam and Vadivelu were Natyacharyas who belonged to Tanjavur. They told Dikshitar that they had heard a lot about him and now they were witness to his greatness. The brothers prayed that they be accepted as disciples. They also prayed that Dikshitar visit Tanjavur and stay with them. The capital would benefit by the presence of a Nadopasaka, a Mahapurusha. Dikshitar and his brothers who had not yet completely recovered from the loss of their parents agreed that staying at Tanjavur for some time would certainly be a good idea. Dikshitar agreed to teach the four brothers and promised them that he would, in the near future visit Tanjavur.

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Before settling down to a prolonged stay at Tanjavur, Dikshitar decided to visit Tiruchirappalli. His only child lived there with her husband, and though the very epitome of dispassion, Dikshitar had a special place for his daughter in his heart. It was to his daughter that, before he left this world, Dikshitar bequeathed his priceless possessions - the vINA that Ganga Devi gave him and his pUJA which included the shrI cakra mahA mEru.

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Tiruchirappalli or Trichy was a great centre of the ancient Chola empire that had its early capital at Woraiyur (now inside the city). The city is ornamented by the Cauvery river that is expansive here. Trichy was a great centre of education as well as trade, as it is now. It was also a great cultural centre. Situated in the heart of Tamilnadu, Tiruchirappalli boasts of three of the greatest temples of South India.

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The Matrubhuteswara temple situated inside a fort atop a rock is dedicated to Siva who took the form of a Vaisya woman and helped her daughter in her confinement. The woman lived on the other side of the river promised her daughter that she would come soon. By the time she started, the Cauvery was in floods and she was stranded on the opposite bank. As time went by, the daughter was in her throes of labour. The Lord then went to her home taking her mother's form and played the role of midwife. The Lord is therefore referred to as Matrubhuta or Tayumanavar in Tamil. Dikshitar refers to this in his monumental piece shrI mAtrubhUtam in kannaDa (vaishya jAti strI vESha dharaNam).

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Malaikottai, Trichy

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The temple inside the fort presents quite a different sight from other temples. From the large windows all around the scenery is awe-inspiring and elevating. Matrubhuteswara lords over the picturesque Cauvery with the majestic Tiruvanaikkaval and Srirangam temple towers on the other side of the river. 

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Dikshitar must have been inspired by these grand sights as also by the imposing Matrubhuteswara Lingam to compose the kannaDa masterpiece. Not only does the rAgA discover its own abundant potential, but Dikshitar has etched a moving panorama of varied though unspoken emotions in this piece. 

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The passion underlying the music of this song is palpable and reflects the deep reverence which Dikshitar had for the Lord who came in the form of the mother (mAtrubhUtEshwara). The phrase guruguha antaranga lingam in the madhyamakAlA of the anupallavi reflects this emotion.

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 shrI sugandhikuntaLAmbikE in the rare rAgA kuntaLa was Dikshitar's tribute to the Goddess of the Rock Fort.

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Crossing the Cauvery, Dikshitar went to Tiruvanaikkaval, the panchabhUta kShEtra representing appu or water (See article on panchbhUta sthala for full details). The unique kriti in yamuna kalyANi, jambUpatE, was his tribute to Lord Jambukeswara.

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The Goddess here was supposed to possess a fiery nature. Adi Sankara during his travels visited the place and appeased the Goddess by fixing two shrI cakrAs on Her ears and also by placing Her son Lord Vinayaka right in front of Her. The Goddess shed Her fiery nature and became tranquil.

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Goddess Akhilandeswari is nevertheless powerful and Her spiritual grace is a tangible experience in Her presence. To such a Mother, the true bhakta offered the classic shrI mAtA in bEgaDA. In the pallavi itself Dikshitar refers to the shrI cakrAs worn by the Goddess on Her ears (shrI chakra rUpa tATankE). Full of abstruse philosophy and alliterative beauty, this song in bEgaDA ranks as one of Dikshitar's best efforts at composition.

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Continued  in PART-18

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