POST-21....THIRUVAIYARU....DIKSITAR MEETS THYAGARAJA SWAMI
21
Tiruvaiyyaru and meeting with saint Tyagaraja, return to Tanjavur and to Tiruvarur
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Tiruvaiyyaru. That hallowed kShEtra ever resonating with the chanting of the Vedas and the Tamil Tirumurais. That beautiful land washed by five rivers and surrounded by canals, green fields, banana and coconut groves. The Cauvery, that Queen of all rivers, presents a majestic and ravishing sight here, surrounded as She is by Her four offspring over whom She fondly lords, both Her banks dotted with sculpturesque manTapAs and bathing ghats. Tiruvaiyyaru epitomizes the finest that can be experienced of natural beauty and the exquisite art and culture of Tanjavur. That great bard of Tiruvaiyyaru says in two of his exquisite compositions, one on the river and the other on Tiruvaiyyaru itself, that his beloved Rama should be proud of Tiruvaiyyaru which is washed by the Cauvery, who after prostrating at Ranganatha's Feet and worshipping several shrines on the way, hurries to wash the Feet of Goddess Dharmasamvardhini and Lord Panchanadeeswara. The Divine Consort considered this place, where the holy and the pious performed hOmas amidst the sweet call of cuckoos, worthy of occupying says Tyagaraja. Was it just the sublime music of the cuckoos that made Tiruvaiyyaru worthy of living? Did not the Holy Trinity of Siva, Parvati and Rama take their abode in the midst of the five rivers in order to savour the music of that great devotee-composer too?
One of the most ancient temples of the Chola region, the Panchanadeeswara temple is a huge one that for centuries has attracted the devout. Praised by the Nayanmars and in the Tevaram, Panchanadeeswara (the Lord of the five rivers) as Pranatartihara (the One who removes the obstacles of his beloved devotees) has been sung of by Tyagaraja and Dikshitar. His Consort Goddess Dharmasamvardini has been praised in song by Shyama Sastri also, besides Tyagaraja and Dikshitar.
Muttuswami Dikshitar's creations in praise of the Lord were praNatArtiharam in nAyaki and praNatArtiharAya in sAmantA. His madhyamAvati composition dharmasamvardhani in praise of the Goddess is a classic in that rAga.
An account is traditionally handed down of the meeting between Tyagaraja and Dikshitar. It is said that when Dikshitar was singing his madhyamAvati composition at the temple, a few of Tyagaraja's disciples were present there. Savouring the exquisite music, they enquired of one of Dikshitar's disciples and gathered details about the composer. They then hurried to their guru and told him of Dikshitar and his music. It was not that Tyagaraja was hearing about Dikshitar for the first time. Great mahApuruShAs are certainly aware of each other, only that they do not reveal their inner cognition. Dikshitar too must have heard of Tyagaraja from many people and most certainly from Shyama Sastri. He must also have listened to the bard's compositions. Tyagaraja asked his disciples to invite Dikshitar home. The bard's disciples returned to the temple and informed Dikshitar of Tyagaraja's invitation, which the former accepted. Tyagaraja regularly recited the Valmiki Ramayana. On that day he had come to the episode of the coronation of Sri Rama. Could there be a greater occasion for the two puruShOthamAs of music to meet than the paTTAbhiShEka day of the Purushothama Himself? Tirumanjana vIdhi is just a stone's throw from the Panchanadeeswara temple.
The bard rose to meet his younger, nevertheless equal contemporary. After mutual respects were over, Tyagaraja requested Dikshitar to stay on and witness the pUja which he performed after the Ramayana recitation. The Rama dAsA's worship on that paTTAbhiShEka day thus acquired a special sacredness. A big crowd of disciples and residents of Tiruvaiyyaru gathered to witness that momentous event. It was a surcharged atmosphere. After the pUja, dIpArAdhanA and ShODasha upachArAs, Tyagaraja bade his disciples sing. It was to be his bhairavi masterpiece koluvaiyunnADe. The whole of Tirumanjana street resonated with the song of its renowned resident. Tyagaraja slowly turned to Dikshitar and requested him to sing on 'my Rama'. The small but majestic, centuries old paTTAbhiShEka icon of Rama with Sri Sita, Bharata, Lakshmana and Shatrugna, complete with the maNTapa and worshipped by Tyagaraja's ancestors and bequeathed to him as heirloom is truly awe-inspiring. Its spiritual power is quite discernible to those who approach it with utmost reverence. What wonder then that Dikshitar sat enraptured?
Was it the mystical power of the icon or the deeply religious atmosphere that pervaded the entire place or the bard's own powerful spiritual presence? It was perhaps a combination of all the three that inspired Dikshitar to dive deep within, to tap his innermost artistic resources. The strain that came out of his very depths, out of his very being had to be special. And it was. The rare maNirangu discovered itself. Dikshitar built a grand edifice for the rAga and bestowed immortality on it. It was an extraordinary edifice, a grandly decorated manTapa (maNirangavalli alankrita maNTapE) studded with the gems of exquisite gamakAs and phrases that Dikshitar gifted to the rAga and made it fit for Tyagaraja's Rama to revel in. The misra chApu tALa that Dikshitar chose for its rhythm was the most appropriate foil. mAmava paTTAbhirAma, a classic par excellence was Dikshitars tribute to Tyagaraja's beloved Rama. The song describes the coronation of Sri Rama in exactly the same manner as Valmiki's Ramayana. The kriti was also appropriate to the occasion and the spirited, sublime music coupled with the majestic sAhitya enshrined the presence of the Lord in the hearts of those who had the great fortune of listening to it. The residents of Tiruvaiyyaru who witnessed the momentous meeting between the two high priests of art music felt elevated and the event took eternal place in their hearts. Such rare, sublime occurrings are seldom spoken of too. The Eternal Cauvery, whose privilege it was to host this great event must have felt proud at the meeting and outstanding accomplishments of Her two children, one, the Eternal Pilgrim, the other, the Eternal Minstrel.
His soul filled with rare peace, Muttuswami Dikshitar took leave of his illustrious contemporary and returned to Tanjavur. He continued to interact with Shyama Sastri, teach the Quartette and compose songs in the 72 mELakartAs. Four years passed by in a milieu that was surcharged with the highest and noblest of art which did Tanjavur proud. It was 1822. Dikshitar, haunted by thoughts of his beloved Tyagaraja and Kamalamba decided to return to Tiruvarur. It was a poignant farewell that the Quartette and the art lovers of Tanjavur gave Dikshitar. For, were not the town and its surroundings enriched by the noble presence of that great master of music?
Back in Tiruvarur, Dikshitar spent most of his time in the temple, teaching his disciples and continuing to produce compositions of eternal grandeur.
Tiruvaiyyaru. That hallowed kShEtra ever resonating with the chanting of the Vedas and the Tamil Tirumurais. That beautiful land washed by five rivers and surrounded by canals, green fields, banana and coconut groves. The Cauvery, that Queen of all rivers, presents a majestic and ravishing sight here, surrounded as She is by Her four offspring over whom She fondly lords, both Her banks dotted with sculpturesque manTapAs and bathing ghats. Tiruvaiyyaru epitomizes the finest that can be experienced of natural beauty and the exquisite art and culture of Tanjavur. That great bard of Tiruvaiyyaru says in two of his exquisite compositions, one on the river and the other on Tiruvaiyyaru itself, that his beloved Rama should be proud of Tiruvaiyyaru which is washed by the Cauvery, who after prostrating at Ranganatha's Feet and worshipping several shrines on the way, hurries to wash the Feet of Goddess Dharmasamvardhini and Lord Panchanadeeswara. The Divine Consort considered this place, where the holy and the pious performed hOmas amidst the sweet call of cuckoos, worthy of occupying says Tyagaraja. Was it just the sublime music of the cuckoos that made Tiruvaiyyaru worthy of living? Did not the Holy Trinity of Siva, Parvati and Rama take their abode in the midst of the five rivers in order to savour the music of that great devotee-composer too?
One of the most ancient temples of the Chola region, the Panchanadeeswara temple is a huge one that for centuries has attracted the devout. Praised by the Nayanmars and in the Tevaram, Panchanadeeswara (the Lord of the five rivers) as Pranatartihara (the One who removes the obstacles of his beloved devotees) has been sung of by Tyagaraja and Dikshitar. His Consort Goddess Dharmasamvardini has been praised in song by Shyama Sastri also, besides Tyagaraja and Dikshitar.
Muttuswami Dikshitar's creations in praise of the Lord were praNatArtiharam in nAyaki and praNatArtiharAya in sAmantA. His madhyamAvati composition dharmasamvardhani in praise of the Goddess is a classic in that rAga.
An account is traditionally handed down of the meeting between Tyagaraja and Dikshitar. It is said that when Dikshitar was singing his madhyamAvati composition at the temple, a few of Tyagaraja's disciples were present there. Savouring the exquisite music, they enquired of one of Dikshitar's disciples and gathered details about the composer. They then hurried to their guru and told him of Dikshitar and his music. It was not that Tyagaraja was hearing about Dikshitar for the first time. Great mahApuruShAs are certainly aware of each other, only that they do not reveal their inner cognition. Dikshitar too must have heard of Tyagaraja from many people and most certainly from Shyama Sastri. He must also have listened to the bard's compositions. Tyagaraja asked his disciples to invite Dikshitar home. The bard's disciples returned to the temple and informed Dikshitar of Tyagaraja's invitation, which the former accepted. Tyagaraja regularly recited the Valmiki Ramayana. On that day he had come to the episode of the coronation of Sri Rama. Could there be a greater occasion for the two puruShOthamAs of music to meet than the paTTAbhiShEka day of the Purushothama Himself? Tirumanjana vIdhi is just a stone's throw from the Panchanadeeswara temple.
The bard rose to meet his younger, nevertheless equal contemporary. After mutual respects were over, Tyagaraja requested Dikshitar to stay on and witness the pUja which he performed after the Ramayana recitation. The Rama dAsA's worship on that paTTAbhiShEka day thus acquired a special sacredness. A big crowd of disciples and residents of Tiruvaiyyaru gathered to witness that momentous event. It was a surcharged atmosphere. After the pUja, dIpArAdhanA and ShODasha upachArAs, Tyagaraja bade his disciples sing. It was to be his bhairavi masterpiece koluvaiyunnADe. The whole of Tirumanjana street resonated with the song of its renowned resident. Tyagaraja slowly turned to Dikshitar and requested him to sing on 'my Rama'. The small but majestic, centuries old paTTAbhiShEka icon of Rama with Sri Sita, Bharata, Lakshmana and Shatrugna, complete with the maNTapa and worshipped by Tyagaraja's ancestors and bequeathed to him as heirloom is truly awe-inspiring. Its spiritual power is quite discernible to those who approach it with utmost reverence. What wonder then that Dikshitar sat enraptured?
Was it the mystical power of the icon or the deeply religious atmosphere that pervaded the entire place or the bard's own powerful spiritual presence? It was perhaps a combination of all the three that inspired Dikshitar to dive deep within, to tap his innermost artistic resources. The strain that came out of his very depths, out of his very being had to be special. And it was. The rare maNirangu discovered itself. Dikshitar built a grand edifice for the rAga and bestowed immortality on it. It was an extraordinary edifice, a grandly decorated manTapa (maNirangavalli alankrita maNTapE) studded with the gems of exquisite gamakAs and phrases that Dikshitar gifted to the rAga and made it fit for Tyagaraja's Rama to revel in. The misra chApu tALa that Dikshitar chose for its rhythm was the most appropriate foil. mAmava paTTAbhirAma, a classic par excellence was Dikshitars tribute to Tyagaraja's beloved Rama. The song describes the coronation of Sri Rama in exactly the same manner as Valmiki's Ramayana. The kriti was also appropriate to the occasion and the spirited, sublime music coupled with the majestic sAhitya enshrined the presence of the Lord in the hearts of those who had the great fortune of listening to it. The residents of Tiruvaiyyaru who witnessed the momentous meeting between the two high priests of art music felt elevated and the event took eternal place in their hearts. Such rare, sublime occurrings are seldom spoken of too. The Eternal Cauvery, whose privilege it was to host this great event must have felt proud at the meeting and outstanding accomplishments of Her two children, one, the Eternal Pilgrim, the other, the Eternal Minstrel.
His soul filled with rare peace, Muttuswami Dikshitar took leave of his illustrious contemporary and returned to Tanjavur. He continued to interact with Shyama Sastri, teach the Quartette and compose songs in the 72 mELakartAs. Four years passed by in a milieu that was surcharged with the highest and noblest of art which did Tanjavur proud. It was 1822. Dikshitar, haunted by thoughts of his beloved Tyagaraja and Kamalamba decided to return to Tiruvarur. It was a poignant farewell that the Quartette and the art lovers of Tanjavur gave Dikshitar. For, were not the town and its surroundings enriched by the noble presence of that great master of music?
Back in Tiruvarur, Dikshitar spent most of his time in the temple, teaching his disciples and continuing to produce compositions of eternal grandeur.
