Monday 27 July 2020

Bhattathiri (നാരായണ ഭട്ടത്തിരി)


MELPATUR NARAYANA BHATTATIRI – LIFE AND WORKS.

By NR PILLAI (RAJU-KOOVAPPADY).

“veLLam jatAntE bibhrANam
veLLimAmala vigraham
veLLUramarnnu gaureesam
uLLilambOdu chintayE”.

This is from “Balaprabodhanam” of Putumana Chomatiri (Namputiri – date not known), a work in Manipravaalam on Sanskrit Grammar written for the use of beginners of Sanskrit study and was is use until our old and gurukula system of Sanskrit study became extinct some years ago. Another “Balaprabodhanam” written recently by one Sri Chandrasekhara Varier(?) is also available which, unfortunately, I have not seen.

Many of our members may be well aware that the contribution of Kerala to Sanskrit Literature is vast in bulk and varied in content. Only few Indian states are there to equal Kerala in this regard. Contribution of Kerala to Sanskrit literature comprises all branches of learning, both general like Kavya, Nataka, Campu, Alankara and Vrtta, and technical subject like the different Darsanas, particularly, Mimamsa and Vedanta, Tantra, Silpa, Vaidya, Ganita and Sangita. Many of the works are lost in transit and out of the available material only few are in print rest all lying in manuscript. This is the general condition of our culture.

Now we will focus on the life and work of Narayana Bhattatiri, one of the foremost Sanskrit poets and savants of Kerala. Born in a Brahmin family of poets, philosophers, scholars and devotees. As of other famous literary figures of Kerala, his exact date of birth is also not available but we have some evidence to show that he lived during the sixteenth century and some historians are of the opinion that he was born in AD 1559 or 1560. Though PRAKRIYASARVASAM is his famous and best work, it is NARAYANEEYAM become famous among the mass because of its contents describing Guruvayurappan and which identifies him with Mahavishnu, the central figure of Bhagavata, is the greatest of these mahatmyas, creating a Guruvayur in the heart of those who read it or listen. This stotra kavya
is a source of spiritual sustenance to the lakhs of devotees who visit Guruvayur on pilgrimage throughout the year. Though the family is now extinct, we have some prolific evidence from the details given by him at the end of the second and last part of his famous work on grammar PRAKRIYASARVASAM.

“bhUkhande keraLakye saritamiha nilamuttare naiva nava-
Kshetre gavyutimatre punaruparinavagramanamni svadhamni-
Dharmisthat bhattatiryaa akhilamatapatormatrdattadvijendrat-
Jato narayanakhyo niravahadatulam devanarayanajnam.” 

It is seen that meppathur illam was situated on the northern side of Bharata Puzha, about two miles from Tirunavay in Ponnani taluka of Kerala. His father Matridatta devoted to dharma and learned Bhatta Mimamsa (Kumarlila Bhatta’s school of vedic ritualistic philosophy). And the grammatical work has been composed under the instructions and supervision of Ampalapuzha Puratam Tirunal Devanarayanan.
Learning of Narayana in various branches and his teachers are mentioned in the following verse from the same work.      

“Mimamsadi svatatannigamamavikalam madhavacharyavaryat
Tarkam damodararyadapi padapadavimcyutaryad budhendrat
Tesham karunyayogat kathampi kavitamapnravam karma caitat
Bhuyat krishnarpanam me bhavatu ca satatam dhiradhare .

Accordingly he learned Vedas from Madhavacharya , logic from Damodara. Grammar from Achyuta Pisharoti. This Achyuta Pisharody is the famous Trikantiyur Achuta Pisharody, a celebrated grammarian and astronomer of his time.
Bhattathiri is said to have led an erratic life in his youth and grew up against the tradition of his family. He ran away from home without studying Vedas and other traditional courses practiced by Brahmins and led a wayward, dissolute life. During this time he came in contact with Achyuta Pishorody and with his able guidance and in a short time Bhattatiri begins to turn down from his bad habits one by one and initiated to practice traditional brahmin’s duty. In a span of short time under the tutelage of Pishorody he became a different man in life.Bhatathiri took to writing from this time and produced a number of devotional booklets and prabandhas and later became one of the foremost Sanskrit writar of Kerala. While he was thus
emerging into fame, his Guru Phisharoti was stricken with rheumatism. Bhattatiri, by way of gurudakshina, took upon himself by avahana (icarious suffering) the disease from which his guru suffering. As a result Pishorodi was cured his ailment and Bhattatiri contracted the disease. As he himself failed in all methods of treatment to cure the ailment, he decided to go to Guruvayur and took refuge at the feet of Lord Guruvayurappan. There he composed the mahakavya Narayaneeyam contains 1036 slokas in praise of the Lord and recited them before the deity. He said to have composed the entire 1036 slokas in ten days reciting 100 every day. As all of us know it is prayer to Guruvayurappan to cure the malady of the author, and cured he was by the grace of the Lord.

His works: As mentioned above Bhattatiri composed many literary works on Philosophy, Grammar, Devotion and many champus for the purpose of Koothu and Koodiyattam.1) Prakriyasarvasam; 2) Narayaneeyam; 3) Manameyodaya; 4) Apaniniyapramanta; 5) Ashtamimahotava; 6) Ahalyamoksha; 7) Aswalayanakriyakrama; 8) Kirata 9) Kailasavarnana; 10) Kotivihara; 11) Kauteyashtaka; 12) Guruvayupuresvastava 13) Gosrinagaravarnana; 14)   Caturan-gasloka; 15) Tantravartikanibandhana; 16) Tripuradahana; 17) Dakshayajna; 18) Dutavakya; 19) Devanarayanaprasasti; 20)Dhatukavya; 21) Nalayanicarita; 22) Nrgamoksha; 23) Niranunasika; 24) Panchaliswayamvara;  25)  ushpodbhedetyama-rukapadyavyakhya 26) Balakantakatha; 27) bimbalisaprasasti; 28) Matsyavatara; 29) Manavikramaprasasti; 30)Yadyasajjanmetyadibhagavataslokatrayavakya; 31) Yudishtirabhiksheka; 32) Rakssasotpati; 33) Rajasuya; 34) Sailabdhisvaraprasasti 35) Sripadasaptati; 36) Subhadraharana; 37) Sundopasundopakhyana; 38) suktasloka; 39) Svahasudhakara; 40) Some stray verses.

Some more campus: 1) Ajamilamoksha; 2) Gajn]endramoksha; 3) Aswalayanagrhya
Sarigraha; 4) Kuchelavrtta; 5) Kausitakighyasangraha; 6) Bhasmanisedha; 7)
Ramayanaprabanda; 8) Rasavilasa; 9) Rukmangadacarita; 10) Syamantaka; 11) Vamanavatara;

12) Bharataprabandha (each story of Mahabharata composed as separate campus).
Bhattatiri said to have passed away after living a long life. Some says he lied upto the age of 106; some says upto 56 or 60 and other view he lived upto 80 years. It is clear that he lived  between 1560 and 1655.

Author - NR. Raju, Dombivli,
Date: June 2006.
(Published in Navaneetham online  Magazine ).

Friday 24 July 2020

പ്രാര്‍ത്ഥന:(മഞ്ജരി)
(രാജു വിളാവത്ത്‌-കൂവ്വപ്പടി).


കാരുണ്യവാരിധേ! താവകാനുഗ്രഹം
പാരിലെല്ലാര്‍ക്കും ചൊരിഞ്ഞീടണെ!
ഭൂവിങ്കലാരെല്ലം നിന്നെഭജിക്കുന്നോ
ഭാവിസുഖമവര്‍ക്കുണ്ടുന്യൂനം.

ത്വല്‍പ്രഭാവത്തിന്റെ ചൈതന്ന്യമൊന്നുതാ-
നിപ്രപഞ്ചത്തിന്റെ ശക്തിധാര
പുണ്യഫലങ്ങളും പാപഫലങ്ങളും
മാനവര്‍ക്കേകുക നീയല്ലയൊ?

സൂര്യചന്ദ്രാദികള്‍ താരകജ്ജാലവും
ആരുടെകാരുണ്യ ലീലയല്ലീ?
താവകകീര്‍ത്തനം പാടുവോരേവര്‍ക്കും
ദേവാദിദേവ സുഖമരുളു!!!


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Swathi Tirunal

SWATHI THIRUNAL AND HIS CONTRIBUTION TO INDIAN MUSIC AND LITERATURE.                  (N.R. Pillai,   Vilavath Veed,     Koovappady.)


When you go through the history of former Travancore/Cochin states (now parts of Keralam), you will find that it has produced many great saints, scholars, musicians, artistes like Adi Sankara, Unnayi Varrier, Kerala Varma, Sree Narayana Guru, Raja Ravi Varma and many more.  Generation to generation, it has been the tradition of Travancore ruling family to encourage the scholars and artistes.  Particularly, during the period between 17th and 19th centuries, most of the Maharajas who ruled the state were either themselves great musicians, artistes or poets, or promoters of various fine arts like dance (especially Kathakali, Mohini Attam – some dance forms of Kerala) and Ottam Thullal, music and also sports.

Swathi Thirunal Rama Varma Kulasekhara Perumal (popularly known as "Swathi Thirunal"), descendant of the Travancore ruling family, was born to Maharani Gauri Lakshmi Bai and Sri Raja Raja Verma Koyilthampuran on 16th April in the year 1813.

At the time of Swathi Thirunal's birth, the state was ruled by Maharani Gauri Lakshmi Bai with the able assistance and guidance from her husband.  In the year 1815, after giving birth to her second son Marthanada Varma, Rani Lakshmi Bai breathed her last.

When Swathi Thirunal was only three years, his parents took special care of him, especially his studies, and deputed eminent scholars, like Pandit Subhja Rao and Haripad Kochupillai Warrier to give him necessary education in English, Marathi, Sanskrit and Malayalam respectively.  Also appointed were renowned teachers to instruct him on other languages such as Tamil, Telugu, Kannada, Persian, Hindustani, Arabic etc.  Apart from learning statecraft and literature, he also received substantial training in carnatic and hindustani music (both vocal and instrumentals) under eminent musicians. The rare instrument, ‘swarbat’, that used in hindustani/carnatic music was mastered by Swathi Thirunal. In a very short time, he mastered all the fields and received appreciation from visiting dignitaries and others including Col. Mantro and Col. Welsh who were Travancore Dewan and leader of British Army respectively.

As Kulasekhara Perumal (one who got the right to take up the throne immediately after birth), Swathi Thirunal was involved actively in all the responsibilities bestowed to a Maharaja and was said to have assisted Maharani in taking important decisions on various state matters.  At the age of 16, Swathi Thirunal was crowned as Maharaja of Travancore to take direct charge of the state affairs and ruled over 18 years until death.

During his tenure as Maharaja, Swathi Thirunal made a number of far reaching modifications to the government administrations and introduced new measures for the welfare of the people.  These are setting up of schools (both in Malayalam and English mediums), library, observatory; introducing Malayalam as official language for handling government correspondence (replacing Tamil which was the official language used until his time); promoting and introducing new fine arts by  way of  appointing eminent musicians, dancers and scholars in his court.  Some of the eminent personalities who were in his court are Irayimman Thampi (a great poet, musician, author of three attakathas and sanskrit scholar), Kilimanoor Vidwan Koil Tampuran, Shatkala Govinda Marar and Thanjavoor Quartet (Vadivelu and brothers).

Swathi Thirunal had been praised by various eminent personalities of British raj for his administrative capabilities and bringing his small state to the top level of popularity among the princely states in the entire country.
  
Swathi Thirunal's contributions to the world of Indian Music is enormous and worth mentioning.  As a deep devotee of Lord Padmanabha, for spreading the deity's name to all corners of the world through devotional songs, he composed a number of varnas, tillanas, padams, krithanas etc. which are qually popular alongwith the kritis made for carnatic music by Saint Thyagaraja, Dikshitar and Shyama Sastri,. Swathi Thirunal was the only multi-linguistic music composer by contributing kritis in various languages such as sanskrit, kannada, Telugu, Malayalam (or manipravalam) as well as hindustani.  His contribution to hidustanic music includes khayal, drupad, thumri, bhajan and tarana.  His famous tarana is widely sung in music circles by eminent musicians but in south Indian style.  Hence the original north Indian style is not available presently.

His contributions to both carnatic and hidustani music come around 400 kritis covering most of the important ragas.  He has also brought to light some important technical methods used earlier in the carnatic music compositions but not familiar in contemporary or later works. Music of the highest order has all the form, constituents, bhava, raga, tala, bhakti. We can find one of these dominant feature in the musical work of his , if not all.  Especially, while composing padams for the purpose of dance varieties, he is said to have received support from Irayimman Thampi and Vadivelu.  Apart from the compositions devoted to Carnatic and Hindustani music, Swathi Thirunal attempted few famous poetical works in sanskrit as well as in Malayalam, some of which are Sree Padmanabhasaatakam, Bhaktimanjari, Utsavaprabandham (in Malayalam), Ajamilopakhyanam and Kuchelopakhyanam.  From the above last two were made for Harikatha originated from Maharashtra which gained popularity in Kerala during his time.  His small work Muhanaprasantyaprasadivyavastha, is on the specific alankara used in poetical works mainly for dance purpose.

It is believed that Maharaja was very keen in popularizing kritis, composed by his contemporaries, in his state, giving equal importance to their works along with his own creation and was said to have invited Thyagaraja to his darbar; but due to advanced age and failing health, Thyagaraja couldn't make his journey all the ways from Thanjavur to Travancore and instead conveyed his greetings and good wishes to Swathi Thirunal through the messenger.

During his time, a number of poor and eminent personalities from all over the country had come and settled in Travancore as refugees to whom Swathi Thirunal had given warm welcome and patronage.  Thanjavoor brothers (Chinnayya, Ponnayya, Vadivelu, among others), spent some years in his darbar under the patronage of the Maharaja.

After ruling 18 years (these 18 years were said to be the golden era in  the history of Travancore), at the age of 33, Swathi Thirunal attained Saayujyam on 25th Dec. 1846.  The various arts and culture encouraged by him are now struggling for it survival – classical bharata natyam and carnatic music being no exceptions.  People in the world of music from generation to generation will never forget Swathi Thirunal, for his contributions to classical music and patronage to musical exponents.
                                                        
Mumbai-Dombivli.
11.2.2006.
(Published in NAVANEETHAM & JAYAKERALAM online Magazine )
ചിത്രകൂടസംഗമം.
(രാജുവിളാവത്ത്‌ -
കൂവപ്പടി).


കോദണ്ഡപാണിയും സൗമിത്രിയുംതാനും
ചിത്രകൂടത്തില്‍ വസിക്കുംകാലം
ദശമുഖസോദരി,യവിടെയെത്തി-
മതിമോഹ,മോരോന്നായ്‌ ചൊന്നനേരം
ദശരഥതനയനാം രാമചന്ദ്രന്‍

 
"ലങ്കേശസോദരി കേട്ടുകൊള്‍ക, ജനക-
മകളാകും സീതയെന്റെ വേളിയെന്നു-
കഷ്ടം! കുമാരിനീ അറിഞ്ഞിലല്ലി?!
"വേളിയാകാത്തൊരുസോദരുണ്ടെനി-
ക്കെന്നതുമുന്നം,നീ,യറിഞ്ഞുകൊള്‍ക."
ലക്ഷ്മണ നാമമുള്ളൊരനുജനും
ഇവിടെവസ്സിക്കുന്നുണ്ടെന്റെകൂടെ,
അവനോടുനിന്റെ കഥനമെല്ലാം
ചൊല്ലീടുകില്‍ പരിഹാരമുണ്ടായിടാം."
എന്നുപദേശമായ്‌ പറഞ്ഞനേരം-
ചെന്നുകേണീടിനാന്‍ ലങ്കേശ്വരി
"രാവണന്‍ തന്നുടെ സോദരിയായൊരു-
രാക്ഷസനാരിതാന്‍ ശൂര്‍പ്പണഖ
നിന്നുടെചാരത്തു വന്നീടുവാന്‍
ഒന്നുരണ്ടല്ലയോകാരണങ്ങള്‍,
ചൊല്ലുകയെന്നാകില്‍ ലക്ഷ്മണാ! നീ
തെല്ലുപരിഭവം കൊള്‍കവേണ്ട!
മൂന്നുലോകത്തിലും ഇല്ലനിന്നെപ്പോലെ
സൗന്ദര്യമൊത്തൊരു രാജപുത്രന്‍.

രാക്ഷസ്സിതന്നുടെ ഭാഷിതം കേട്ടപ്പോള്‍
ലക്ഷ്മണന്‍ കോപത്താല്‍ ചൊല്ലിയിഥം

"ദുഷ്ടെ! നിന്‍വീരവചനങ്ങളൊന്നുമേ
കഷ്ട! മെനിക്കിഹ കേള്‍ക്കവേണ്ട!"
ലങ്കാധിപനാം സോദരിയന്നേരം
പൈങ്കിളി പോലെ മൊഴിഞ്ഞിതല്ലോ
"മോഹമുണ്ടിതുലക്ഷ്‌മണാ നിന്‍കരം
ഗ്രഹിച്ചിട്ടു ലങ്കനാട്ടില്‍ വസിച്ചീടുവന്‍,
ലങ്കേശരനാകുംരാവണന്‍തന്നുടെ
ഹുങ്കെല്ലാം പോയിമറഞ്ഞീടുമ്പോള്‍
വാഴിക്കാം രാക്ഷസ കുലപതിയായിനിന്നെ
പൊളിയല്ല കുമാരാ! നീയോര്‍ക്കവേണം".

രൂക്ഷതയേറുമീ വാക്കെല്ലാം കേട്ടിട്ടു-
അക്ഷമനായൊരുലക്ഷ്മണനന്നേരം
ഹസ്തത്തിലേന്തിയ വാളെടുത്തൂക്കോടെ-
കക്ഷ്ണിച്ചവളുടെ മൂക്കും മുലകളും.

പേടിച്ചരണ്ടോരി നാരിയന്നേരത്ത്‌
പേടകത്തില്‍കേറിലങ്കപൂകി.








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