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sadagopan
        sadagopan.org 
         Sangitham & Bhakthi  
     

                                                                                
                                         

        

       








      Sri Annamyacharya

          

      Sangitham as an Upavedam


      Sangeetham is recognized as an Upavedam or an ancillary to the Vedas. It 
is one of the four Upavedas dealing with Music, Dance and other fine arts. The 
other Upavedas are Aayurveda (the Scince of Medicine and Physiology), 
Dhanurveda (the science of Archery and Warfare) and Artha Saasthra (Political 
Economy).

      The Origin of Sangitam


      "Samgeetham" means that which is sung well. The origin of Sangitam is 
linked with Saama Vedam. When Sangitam is used in the worship of God, it is 
recognized as Naadhopaasana or the offering of worship through Naadham (Sound). 
Vedam is a Pramaanam recognized as Sabdham in Vaidhika darsanams. Upaasana of 
Sabdha Brahmam can then be considered as the true Sangitham.Until the ninteen 
thirties, the use of music and dance (nava sandhi Koutthuvam or prescribed 
dances with music at the nine chosen sites of the Hindu temple with invocation 
of appropriate devathAs) was in vogue and Deva Daasis (servants of the Lord) 
performed them. In Kali Yugam, the importance of Sangitham (Naadhopaasana) is 
highlighted to secure one's path to Moksham. Naadhopaasana develops the Bhakthi 
to SrIman Narayana and bringsHim closer to us.



      The Importance of Sangitham in SrI Vaishnavam


      Sruthi (" the adjustment of the tone to the tune") and Laya (rhythm) are 
the corner stones of Sangitam. Swamy Naatha Muni set the entire dhivya 
Prabhandham of the twelve Azhwars to music and ThaaLam (rhythm) and taught it 
to to his two nephews. Therfore Swamy Natha Muni is saluted as ?Nal kaathal 
adiyavarkku, thaaLam vazhangi, Tamizh MaRayi innisai thantha VaLLal" (The most 
generous Aachaaryan, who blessed his two dear sishyaas with ThaaLa Vidhya and 
the beautiful tunes to the dhivya Prabhandhams). Through that evolved the 
Arayar sevais at the temples of Lord Ranganatha at Srirangam , Thirukkuruhur , 
Melkote, Srivilliputthur and other dhivya desams.

      Nava Rasaas(Sentiments)  and the seven Svaraas (scales) of Music


      VishNu dharmOttara PurANam sums up the links of nine rasaas, Haasya, 
Sringaara, Veera, Roudhra, Adhbhutha, Kaarunya, Beebhathsa, Bhayaanaka and 
Saantha with the seven svaraas of music (Shadjam, Rishabhan, Ghaandhaaram, 
Madhyamam, Panchamam, Dhaivatham, Nishaadham) this way:

      "Nava rasaa: tathra Haasya-srungaarayO: Madhyama-Panchamou 
Veera-roudhra-adhbhuthEshu Shadja-Panchamou, KaruNO NishAdha-Gaandhaarou 
Bheebathsa-BhayaanakhayO: Dhaivatham, SaanthE Madhyamam"

      The Bhajana system of offering worship to the Supreme Being evoking the 
different moods of a devotee has been the corner stone of Bhakthi movement 
throughout Bharata desam during the fifth to the tenth centuries and thereafter.

      In recent times, Saints TaLapAkkam Annamacharya, Purandara Daasa of
      Purandaraghaad, Thyagaraja of ThiruvayaaRu, Ootthukkaadu Venkatasubbaiyer 
and a great many NaadhOpaasakaas have offered their Naama Kusumaanjalis to 
SrIman NaarAyana .

      Steadfast devotion to an Ishta Devata (ananya bhakthi to an Ishta 
dhaivam) ,celebration of that Dhaivam's Rupa (Form), GuNa (auspicious 
attributes such as Grace, Dayaa , Kshama , Soulabhyam etc), Svaroopam is a well 
trodden path by our Sangitha Pithaamahaas. For instance, TaLapaakkam Annamayya 
focused on Lord Venkatesa of Thirumala, Thyagaraaja had ananya bhakthi to Lord 
Raamachandra, Ootthukkaadu Mahan and Leela Sukhar enjoyed KrishNa exclusively.

      Sangitham and Bhakthi
      *********************

      The moods of Bhaktha are intricately interwoven with various Sanchaari 
Bhaavaas that engage the mind of the NaadhOpaasaka. Late Dr:V.Raghavan 
summarized these moods of a Bhakthan engaged in NaadhOpaasana  this way:

      1. Outhsukya or longing for the union with the Lord. This mood can 
express  itself as the longing for His constant company (Sannidhi Saameepyam), 
Seeing Him and receiving His merciful glances (Darsana soubhAgyam), Singing 
about Him (Keertanam), Listenig about His Mahima (SravaNam), conversing with 
Him (SambhaashaNa) and serving Him (SEvanam and Kaimakryam as a Daasan).

      2. Nirvedam (Dejection and despondency over separation from the Lord and 
not receiving His Dayaa). Out of this Vipralambha Sringhaaram arose the 
Paasurams sung by Swamy NammAzhwAr (Paraankusa Naayaki), Thirumangai Azhwaar 
(Parakaala Naayaki) and Andal's NaacchiyAr Thirumozhi.

      3. Athma GarahaNa and Naicyaanusandhaana (Self-depreciation and 
recounting one's shortcomings and unfitness as a servant of the Lord).

      4. Dhainya and DhainyOkthi (Hear rending and plaintive pleadings for 
becoming the object of the Lord's Compassion).

      5. Amarasha, Rosa RosOkthi (Taking the liberty in despair to express 
grievance and remonstrate against the Lord's heartlessness to come to their 
rescue).

      6. Vitarka (cogitation and consequent development of doubt about Lord's 
interest to come to their rescue).

      7. Sraddha /Visvaasa (Development of steady Faith in the Lord as the 
unfailing protector and thanking Him for that RakshaNam in a mood of Mahaa 
Viswasam, an important angam of SaraNAgathy).

      8. Narma (Playful exchanges with the Lord in a mood of close 
relationship). This can take the form of Sthuthi (Praise), PrArTanaa (Prayer), 
RoshOkthi (protests in playful anger) and Leela VarNanaa (Playful descriptions 
of the leelaas of the Lord as a cowherd etc).

      9. Sva-yOgya-KaTanaa (Letting the Lord know of the BhakthA's claims and 
qualifications to stress why the Lord should prioritize His attention).

      10. BHakta Sodhana (Trails and tribulations during the spiritual journey).

      11. Maanasa SambhOdhana (Exhortations to the BhakthA's mind /Nenju/ Manas 
to focus on the Lord).

      12. Krutaj~nata and MangaLaasAsana (Ezpression of Gratitude over the 
Lord's anugraham and pronouncing blessing on the Lord in a deep mood of 
devotion like PeriyAzhwAr in His ThiruppallANDu).

      Thus mingle Sangitham and Bhakthi in Bhagavath anubhavam of 
NaadhOpAsakaas.

      In the Navarasa Kannada Krtihi of Saint Thyagaraja (NInnu vinaa--), we 
witness the dhriti mood (Contentment and hapiness born out of Bhagavath 
anubhavam) of a great Raama BhakthA: "My ears are full of Raama?s stories. My 
lips feel blessed in His Naama sankeerthanam, I see Raama in whatever I see, 
even distasteful things become relishable and I have secured the fruit in 
Raama".

      The PunnagavarALi krithi of Saint ThyagrAja sums up the ideal Sanchaari 
Bhaavam (mood) of a BhakthA in whom NaadhOpaasana found its home:

      Pallavi:

      Tava DaasOham Tava DasOham Tava DaasOham DhAsaraTE

      CharaNams:

      VaramrudhubhAsha VirahithadhOsha Naravara vEsha DhAsaraTE

      Sarasija nEthra Parama Pavithra Surapathi mithra DhaasaraTE

      Ninnu kOrithirA Nirupamasoora nannElukOrA DhAsaraTE

      Manavini vinumA marava samayamA Inakula dhanamA DhAsaraTE

      Ghanasamaneela Munijanapaala Kanakadhukoola DhasaraTE

      Dhara NeevaNDidhaivamu lEdhaNDi SaraNanu kODi DhAsaraTE

      Aagama vinutha rAgavirahitha ThyaagarAjanutha DhAsaraTE

      Meaning: Oh Son of DhAsaraTa! I am our Daasan (Liege and servant). I have 
been seeking You and You alone all my life. Pray, Protect me, come to my rescue 
and listen to my appeals! This is not the time to forget me. Convinced that 
here is no God equal or superior to You, in the entire universe I have 
surrendered at Your sacred feet. Oh Soft-spoken Lord! Oh Blemishless One! Oh 
Lord who has taken the garb of a human! Oh Lotus-eyed One! Oh Most sacred One! 
Oh Lord of DevAs! Oh One with matchless valour! Ninnu kOrithiraa! NannElukOrA! 
Manavini vinumA marava samayamaa? Oh Lord of Soorya Kulam! Oh protector of the 
Sages of DaNDakAraNyam! Oh Lord of beautiful blue hue! In the world, there is 
no God like You! I perform SarNAgathi at Your Lotus feet (Dahra neevaNDi 
Dhaivamu lEdhaNDi, SaraNanu koNDi DhAsaraTE). Aagama vinutha rAga virahitha 
ThyAgarAja-nutha  DhAsaraTE (Oh Lord slauted by Aagamaas and free of any 
blemishes and the One worshipped and sung by ThyagarAja) ! I have taken refuge 
in You.    

      BhajarE Raguveeram Sara-bharitha DhasaraTa KumAram ,
      Daasan , Oppiliappan Koil VaradAchAri SadagOpan  






     
      A Special section on Smt. Padhma Veeraraghavan
     
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