Voleti Venkateswarulu - shrI venkaTagirIsham - suraTi - dIkshitar

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  • เผยแพร่เมื่อ 23 ธ.ค. 2024

ความคิดเห็น • 13

  • @sankarannamboothiri5225
    @sankarannamboothiri5225 ปีที่แล้ว +1

    പുതുതലമുറയെ നയിച്ച മഹാഗുരുക്കന്മാരിലെ പ്രമുഖൻ........👍👌

  • @mysuruvasudevacharya
    @mysuruvasudevacharya 5 ปีที่แล้ว +6

    Excellent .
    Sri Venkata Girisham
    Ragam Suratti Adi Talam Muthiswami Dikshitar Krithi
    Regarding the kSEtram at which this krithi was composed,
    there are a few controversies because both the tirupathi temple and the
    pulivalam/gOkarNa temple get mentioned. Many people believe that this krithi
    was composed at the tirupathi temple praising Lord vEnkatAchalapati. There is
    another group of people who believe that this krithi was composed in pulivanam/
    gOkarNa temple. In the maNipravALa krithi, vEnkatAchalapatE in karnATaka kApi,
    dIkshithar seems to be alluding to the legend linking Lord vEnkatAchalapati to
    the deity at pulivalam in the last lines of the anupallavi reading
    "mangaLam porundiya pulivalathil viLaNgum" in sundara tamil :). Since
    dIkshithar seems to have visited both temples and has composed on both deities,
    we can only guess where this was composed. Moving on to the krithi now,
    Pallavi:
    shrI vEnkaTa girISam AlOkayE vinAyaka turagArUdam
    Meaning:
    dIkshithar demands the attention of the Lord in the pallavi- "Behold ("AlOkayE"),
    auspicious ("shrI") Lord of the vEnkaTa hills!! The one seated
    on the powerful Garuda ("turagArUdam"), the king ("nAyaka")
    of all birds ("vi")."
    These first lines of the krithi always strike me as a beautiful display of the
    divine romance between the bhakta and the Lord. Look at how dIkshithar, the
    bhakta, is demanding the attention of Lord vEnkaTeshwara, the protector of all
    the worlds. Musically, the "rmgr" prayOgam at "shrI" to
    open the krithi bowls the rasikA over straight away. dIkshithar employs the
    beautiful "psndp" phrase at "girISam" followed by the
    "ndpmgm;mgpmr" phrase at "A;lOkayE". dIkshithar caps off
    the pallavi with "rmpndp; pmgm;rmgs" at "turagArUdam"
    thereby bringing out the entire beauty of this rAgam in just one line. The
    beauty of the pallavi is its simplicity. Notice that, dIkshithar does not even
    use the mandira or the tAra sthAyis in these opening lines. The entire pallavi
    is structured simply in the madhya sthAyi extracting the rAgA's essence to the
    fullest. Moving on to the anupallavi,
    Anupallavi:
    dEvESa pUjita bhagavantam dinakara kOTi prakASavantaM
    gOvindam natabhUsura brindam guruguhAnandam mukundam
    Meaning:
    dIkshithar describes the Lord with devotion as "the one who is worshipped
    ("pUjita") by Lord Indra ("dEvESa"-Lord of
    the dEvAs) and the one who is as resplendent ("prakASavantam")
    as crores ("kOTi") of suns ("dinakara"). He
    is gOvinda, the one who is saluted ("nata") by groups ("brindam")
    of virtuous people ("bhUsura"). He is Mukunda, the one who
    delights ("Anandam") Lord guruguha."
    dIkshithar uses hyperboles inorder to give an idea of the magnitude of
    greatness he is talking about while describing the Lord. The last line of
    "guruguhAnandam mukundam" can be literally translated as explained
    above. If we dive a little deeper, we will find dIkshithar, the yOgi coming
    out. Mukunda, the name of the Lord means "the one who releases". As I
    have explained before, guruguha could be a yogic reference to a teacher
    ("guru") residing in the heart caves ("guha") of the
    disciple. So, this line can also be translated as " He is mukunda (the one
    who releases(the soul from this world)), the one who brings bliss
    ("Anandam) to the disciple's heart by being the divine teacher".
    Musically, the anupallavi is rich in phrases that define suruTTi. I love the
    "SnSR" phrase at "dinakara" and the "pRSnn"
    phrase "prakASa". The "mpnsr; grsnrsndp" at "gOvindam;
    natabhUsura brindam" gives the madhyamakAla sAhityam its beauty and
    grandeur :). The charaNam has perhaps the most beautiful starts ever, one for
    which, I might give up my life :).
    Charanam:
    alamElumangA samEtam ananta padmanAbham atItam
    kaliyuga pratyakSa vibhAtam kanjajAdi dEvOpEtam
    jaladhara sannibha sundara gAtram jalaruha-mitrAbja-Satru nEtram
    kaluSApaha gOkarNakSEtram karunArasapAtram chinmAtram
    Meaning:
    dIkshithar continues to describe the Lord as "the one who is in the
    company ("samEtam") of Goddess alamElumangA and the one who is
    the supreme ("atItam") ananta padmanAbha swAmi, the lotus naveled.
    The one who shines forth ("vibhAtam") as the omniscient one ("pratyakSa")
    in this yuga of kali and the one who is surrounded by ("upEtam")
    by Lord Brahma ("kanjaja") and other dEvAs. The one whose body
    ("gAtram") is beautiful ("sundara") like the
    black rain-bearing ("jaladhara") clouds ("sannibha")
    and the one whose eyes ("netram") are the sun ("jalaruha-mitra"-friend
    of the lotus) and the moon ("abja-Satru"). He is the one who
    removes ("apaha") all the sins ("kalusha")
    and resides in the kshetram of gOkarNa. He is the one who is the repository ("pAtram")
    of mercy and compassion ("karunArasa") and the embodiment of
    pure consciousness ("chinmAtram")."
    There is nothing much to explain in the charaNam. dIkshithar keeps the
    sAhityams simple. But the beauty of the charanam is something that is to be
    experienced. Also, look at how he brings in the sun and the moon. He refers to
    the sun and the moon with reference to the lotus and uses mitra and shatru in
    the same word :). One must listen to Balaji Shankar's or SSI's rendition
    to get a good feel of this beautiful krithi :). The reference to alamelumanga
    thAyAr makes one's heart melt with devotion and is heavily inundated with
    bhakti rasA. Musically, the "rmpp" start for the charaNam followed by
    "M N" swarAksharam at "man"gA are truly mind-blowing. And
    finally to add spice, dIkshithar uses explicitly flat notes in the
    madhyamakAlam to expose the fast, racy aspects of the rAgam. The madhyamakAlam
    starts as "rpmpmpnd; Pmg pmR" and ends up with the
    "pmgrmgs" phrase at "chinmAtram" setting it up smoothly for
    the pallavi to take off :).

    • @swararagalaya3735
      @swararagalaya3735 4 ปีที่แล้ว +2

      this is an amazing critical analysis of the song.....thank you so much for this

    • @mysuruvasudevacharya
      @mysuruvasudevacharya 4 ปีที่แล้ว +2

      @@swararagalaya3735 sir Thank you very much You are most welcome . I would love to do this . But lack of time . I had constructed database of more than 400 Krithis over the last 5/6 years . Will slowly give the details as soon as possible .

    • @anuradhag3131
      @anuradhag3131 3 หลายเดือนก่อน +1

      Very nice, informative explanation
      Dhanyavadams

    • @mysuruvasudevacharya
      @mysuruvasudevacharya 3 หลายเดือนก่อน

      @@anuradhag3131 ji My pleasure

  • @KrishnaIyer-ee1vu
    @KrishnaIyer-ee1vu 7 หลายเดือนก่อน

    Beautiful

  • @tkkmusicals
    @tkkmusicals ปีที่แล้ว

    🙏🏽🙏🏽 Excellent rendi g of Surati

  • @violinsathish
    @violinsathish 4 ปีที่แล้ว +2

    MSG wowwwwwww

  • @sridhartoopurani4268
    @sridhartoopurani4268 3 ปีที่แล้ว

    Thank you for this gem of a kriti from Voleti garu 🙏 with stalwarts

  • @sreekantayogi
    @sreekantayogi 3 ปีที่แล้ว

    No 😭 words

  • @ranganathnb6442
    @ranganathnb6442 11 หลายเดือนก่อน

  • @sreedeviozhukil516
    @sreedeviozhukil516 3 ปีที่แล้ว

    🙏🙏🙏🌹🌹🌹🙏🙏🙏