Voleti Venkateswarulu - shrI venkaTagirIsham - suraTi - dIkshitar
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- Опубликовано: 12 сен 2024
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pallavi
SrI vEnkaTa girISaM AlOkayE
vi-nAyaka turagArUDham
anupallvi
dEvESa pUjita bhagavantaM
dina-kara kOTi prakASavantaM
(madhyama kAla sAhityam)
gOvindaM nata bhU-sura bRndaM
guru guhAnandaM mukundam
caraNam
alamElu mangA samEtaM
ananta padma nAbhaM atItaM
kali yuga pratyaksha vibhAtaM
kanjajAdi dEvOpEtam
(madhyama kAla sAhityam)
jala dhara sannibha sundara gAtraM
jalaruha-mitrAbja-Satru nEtraM
kalushApaha gOkarNa kshEtraM
karuNA rasa pAtraM cinmAtram
kshEtra - pulivalam - gOkarNa kshEtra
Beautiful
പുതുതലമുറയെ നയിച്ച മഹാഗുരുക്കന്മാരിലെ പ്രമുഖൻ........👍👌
MSG wowwwwwww
❤
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 :).
this is an amazing critical analysis of the song.....thank you so much for this
@@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 .
Very nice, informative explanation
Dhanyavadams
@@anuradhag3131 ji My pleasure
Thank you for this gem of a kriti from Voleti garu 🙏 with stalwarts
🙏🏽🙏🏽 Excellent rendi g of Surati
No 😭 words
🙏🙏🙏🌹🌹🌹🙏🙏🙏