‘Jagadaanandakaaraka’ — the invocation
LAKSHMI DEVNATH
| Containing 108 epithets of Rama, this kriti is of special significance. Bagula Panchami falls on January 15. |
Tyagaraja decides to reiterate that Rama is the creator, protector and destroyer of the Universe. He, of unparalleled form, shines as the hero of the Ramayana — a story marked by melody and compassion.
NADOPASANA: This painting adorns a wall of the Tyagaraja’s samadi at Tiruvaiyaru.
‘Jagadaanandakaaraka’ — one who makes the entire world happy. That is the opening phrase of a composition — a gem that sings the glories of Rama. Tyagaraja, the composer, chose to embed this jewel in Sanskrit and in the majestic raga Nattai. That Ghana raga was capable of projecting shades, brilliant and subtle. Tyagaraja further shaped the scale of the raga to discard the vivadi note — dhaivata. The other vivadi note Rishaba was handled with great sensitivity. The raga continued to retain its identity.
The song moves on — ‘Jaya Janaki Praana Naayaka.’ The auspicious word “Jaya” finds a place in the pallavi. Rama’s fame had been heightened by his marital association with Janaki. Not surprising. Wasn’t she the daughter of Janaka, reputed for his spiritual wisdom?
Ancestry of Rama
‘Gaganaadhipa Satkulaja…’ The anupallavi firmly establishes the distinguished ancestry of Rama. Just as the radiant sun presides over the skies, the brilliant kings of the Solar dynasty dazzled the earth. Adding to this effulgence was Rama, God in human form. An overwhelmed Tyagaraja sings that He is a “bhavya daayaka” — bestowing his devotees with all that is auspicious. Tyagaraja seals his claim and the anupallavi with the words “sada” (always) and “sakala” (everything).
The third segment of the composition begins. Ten charanams vie with each other to portray several aspects, mystic and musical. Raga nuances, swaras that caper, crisscross and group themselves in increasing and decreasing formations, effective use of octaves, mridangam jatis, quaint Sanskrit usages… all these communicate that Tyagaraja, the devotee, was also a consummate composer. For the opening notes of these charanams, the composer confines his options to Sa or Pa.
‘Amara Taaraka Nichaya Kumudahita …’ The musical phrase, in the first charanam, glides downwards from ‘Sa’ to briefly linger on ‘Pa’ of the lower octave. The poet in Tyagaraja seems to look up and perceive Rama as a moon amongst devas, shimmering like a cluster of stars. Rama is the wish-giving Kalpa tree, fulfilling their desires; he is the sum total of everything in the universe. And therefore, it seems natural for Tyagaraja to see Govinda in Rama and sing of him as, ‘Dadhi Payodhivaasa Harana’ — one who steals pots filled with milk and curds.
‘Nigama Neeraja Amrtaja…’ Rama, the Supreme is the One who nourishes the lotus-like Vedas, a part of which is the nectarine Samaveda, from which is born Nada — musical sound. The very next phrase is, ‘Animishavairi Vaarida Sameerana.’ Like wind effortlessly scattering away clouds, Rama whiffs away the demons.
The reverential rhapsody now shifts to describing Rama’s beautiful form. ‘Indraneelamani Sannibha Apaghana…’ His blue-hued body is like the Indraneelamani gem. The sun and the moon are his eyes and he lies on the fair serpent, Adisesha.
‘Paada Vijita Mauni Shaapa…’ The verse unfurls to provide a visual imagery of random events from the Baalakaanda of the Ramayana. A redeemed Akalya bows down to Rama. Rama accords Visvamitra the enviable status of his guru and learns from him a mantras that include the powerful Bala and Atibala. Tyagaraja slips further into his reverie. The primordial Lord, at the request of Brahma, had taken on a human form and along with that, innumerable trials and tribulations. In the face of them all, he had displayed exemplary grace and amazing stoicism.
‘Srishti Sthithi Antakaara…’ Tyagaraja decides to reiterate that Rama is the creator, protector and destroyer of the Universe. He, of unparalleled form, shines as the hero of the Ramayana — a story marked by melody and compassion.
In the next verse beginning, ‘Sajjana Maanasa…’ Tyagaraja decides to honour Hanuman, the peerless devotee of Rama. ‘Surasaaripu Karaabja Laalitacharana…’ Hanuman, the enemy of the gory demon, Surasa, caresses the feet of Rama with his lotus-like palms. In one masterful flourish, Tyagaraja showcases the contrasting attributes of Hanuman — strength and tenderness. Alongside shines the composer’s laudable talent for clarity in brevity.
Potent mantra
The composition nears its conclusion. Tyagaraja provides the world a clue to attain Rama. ‘Omkaara Panjarakeera…’ Like a parrot in a cage, Rama is trapped in the potent mantra, Omkaara. Thereafter, a set of lovely phrases follows that gives one glimpses of the Lord. Highlighting all these is the concept of Saranagati — unconditional surrender to the Lord.
It is now time for Tyagaraja to bring in Vaalmeeki, the author of the Ramayana. This Aadikavi, in Tyagaraja’s words is, “Kaveena” — king amongst poets. Tyagaraja further describes the poet as “Bilajamauni.” Found in a state of meditation in a Valmeeka, ant hill, the poet came to be called Vaalmeeki. Since, in Sanskrit, the anthill is also described as Sarpabila — the home of serpents, the poet in Tyagaraja may have used the phrase “Bilajamauni.”
“Purana Purusha… ” These mark the opening words of the penultimate charana. The Sanskrit word Puraana translates as, old yet new. The verse expands to describe that the eternal Lord, in his birth as Rama, had rid the world of Ravana and his clan. Ravana means one who makes everyone cry. Tyagaraja sings, “Khara, Viradha, Ravana Viravana…” Here, Tyagaraja’s usage of the word “Viravana” is uncanny. Rama had driven the entire Rakshasa clan including the mighty Ravana to tears.
Hailing the innumerable qualities of Rama, the composition draws to a close. In the last three charanams, Tyagaraja reiterates his devotion to Rama by bringing in the word, “Tyagarajanuta” in each of them.
‘Jagadaanandakaaraka,’ along with ‘Dudukugala,’ ‘Sadhinchene,’ ‘Kana kana ruchira’ and ‘Endaro Mahanubhavulu’ stands labelled, in a unique category, as Pancharatna — five gems. ‘Jagadaanandakaaraka’ is entirely invocatory containing 108 epithets of Rama. There are other sets of ‘five compositions.’ The late scholar, T.S. Parthasarathy opined that those be described as Panchakas and not Pancharatna-s. Pancharatna-s are sung as swara-sahitya (swara and lyrics). From the 1940s, these continue to be regularly sung at the Aradhana.
It is recorded that, in Tyagaraja’s time, there was a criticism that he lacked “swarajnaana” (knowledge of swaras) and that his compositions, devotional as they were, lacked musical value. The Pancharatna-s, imposing examples of musical and poetic architecture, belie any criticism. All five are veritable “Jagadaanandakaaraka—s”
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