Musical Compositions of Muthuswami Dikshitar on Planets
Prof.
GOWRI KUPPUSWAMY & Dr. M. HARIHARAN
The
second half of the 18th century witnessed a remarkable renaissance in the realm
of Carnatic music. During this period were born the three great composers–Thyagaraja,
Muthuswami Dikshitar and Syamasastri–collectively known as the Trinity of
caratic music. They were outstanding both for their musical excellence and
devotional fervour. While Thyagaraja voiced forth different aspects of our
philosophy, Bhakti alone is the keynote of the songs of the other two
composers. Dikshitar’s compositions have both a popular and a learned phase.
Among
the Trinity, Dikshitar is best known for his group Kritis. Group Kritis are
sets of compositions either on a particular deity or on related themes. Each
set consists of 5 or 9 songs. Dikshitar’s Panchalinga Kritis, as the name
itself implies, consists of a set of five compositions. According to Saivaite
tradition, Lord Siva manifests himself in the form of 5 Bhutas or elements–Apah
(Water), Vayu (Wind), The jo (Fire), Prithvi (Earth) and Akasa (Sky) – in the
five Kshetras of Jambukesvaram, Kalahasti, Tiruvannamalai, Conjeevaram and
Chidambaram respectively. The Panchalinga Kritis are on these five incarnations
of Lord Siva.
All
other group Kritis of Dikshitar invariably consist of groups of nine
compositions. Each set is on a particular deity like Lord Subrahmanya,
Madhuramba, Kamalamba or Abhayamba. They are basrd on the extra-musical concept
of Vibhakti or case, a grammatical construction. Each song of these sets
belongs to one of the nine Vibhaktis–nominative, accusative, etc. In the case
of the Kamalamba and Abhayamba group Kritis, one can see Dikshitar’s
extraordinary skill and talent in our Mantric and Tantric doctrines. In
The
last set of Dikshitar’s group Kritis–the Navagraha Kritis–are also nine in
number, but they are not on some deity nor are they based on the Vibhakti
principle. The Navagraha Kritis are on the nine Planets or Grahas–Sun (Surya),
Moon (Chandra), Mars (Kuja), Mercury (Budha), Jupiter (Guru), Venus (Sukra),
Saturn (Sani) and the two Chaya (Shadow) Grahas Rahu and Kethu.
Dikshitar has composed this set of his group Kritis on the purely musical basis
of one Suladi Sapta Tala (Dhruva Mathya, Rupaka, Jhampa, Triputa, Ata and Eka)
for each of the first seven Navagraha Kritis on the seven Grahas other than the
Chayagrahas. The composition of the Navagraha Kritis on the basis of
Talas is particularly appropriate because Tala is a time measure and in
astrology periods of time have vital significance in the context of the
influence of different planets on man’s fortunes. According to astrology each
Graha determines the destiny of man during its dasa which in each case
extends over a definite period of time (number of years). Tala, also being a time
measure can spell the vicissitudes of time during which the planets hold sway
over man’s fortunes.
The
division of the octave into 12 units was used by all the ancient nations of the
world and is known as the premordial division of the octave. The Zodiac also
has 12 divisions which corresponds to the 12 divisions of the octave and
astrology has come in handy to explain the intervals of the octave and the
effects produced by the Swaras. The seven planets represent the seven Swaras
and the 12 divisions of the Zodiac are distributed among the 7 planets
corresponding to the distribution of the 12 divisions of the octave among the 7
Swaras. Among the 7 planets the Sun and the Moon have each one of the divisions
of the Zodiac corresponding to Sa and Pa in the musical octave.
The remaining 5 planets have each two divisions as is the case with the
remaining 5 Swaras in the musical scale. In astrology these divisions are
called houses (Mesha, Rishabha, etc.) belonging to the planets. In this way one
can readily see the connection between music and astrology. This coincidence
between the divisions of the Zodiac and the divisions of the octave serves as
the best means to explain the musical scales on a mathematical basis. The major
planet being the Sun and the Moon, the basic note Sa is assigned to the
prime planet, Sun, and Pa, the second important note of the octave to
the Moon. The remaining 5 swaras are assigned in the following order, Ri to
Dikshitar’s
Navagraha Kritis are not based on phrase borrowed from the Navagraha Stotras
and Kavachas contained in our epics and Puranas. They are original poetic
compositions Mantrasastra is an esoteric lore but its benefits can be derived even
by the common devotee if the lore consists of ordinary hymns
and songs. All the Navagraha Kritis of Dikshitar are easily accessible versions
of Mantric and Tantric Sastras as they pertain to the different Grahas. For the
lay public they form effective prayers to the different Grahas calculated to
earn their grace.
The
first composition in the group, “Suryamurthe” on the Sun is in
Saurashtra Raga and Dhruva Tala. This Raga is a Sampurna Raga in Dikshitar’s
school, fit to be sung at all times. It is a Janya of Mayamalavagaula, the
first Raga practised by musicians. The Tala is the first among the Suladi Sapta
Talas and has the highest number of Aksharakalas. The
words “Saurashtrena mantratmane” denotes
that the Sun is the Adhipati for Saurashtra Mantra and in this way,
incidentally, the name of the Raga has also been skillfully woven into the text
of the Sahityas. The Uttaranga delineates Vira Rasa and the Purvanga Bhakti
Rasa. The phrase ‘namostute’ comes in descending order from
Madhyasthasthayi to Mandrasthayi, reflecting the obeisance of the singer to the
Sun.
The
second composition “Chandram bhaja “ on the Moon who is the Lord of
mind, is set to Asaveri Raga and Mathya Tala, the second among the Suladi Sapta
Talas. Asaveri is a very soft Rakti Raga portraying Karuna Rasa and is
eminently suited to the hymn on the Moon.
The
third song, ‘Angarakam’ on Kuja is set to Surati Raga and Rupaka
Tala, the third among the Suladi Sapta Talas. In spite of the phrase “Mangalavaram”
“Angarakam asrayamyaham”, Mangalavaram is really not considered auspicious.
Again Surati Raga is sung for Mangalam; still nobody teaches this Raga directly
to the students and in this way this Raga is also Amangala. The selection of
this Raga which is at once Mangala and Amangala for a song on this Graha which
is also Mangala and Amangala the same time is a masterstroke of Dikshitar’s
genius. Unlike other Suladi Sapta Talas, Rupaka Tala begins with dhrutam followed
by laghu. The use of this time beat with inauspicious vilakshana for
the composition on this Amangala Graha also bears eloquent testimony to
Dikshitar’s skill and imagination as a composer.
The
next song “Budham asrayami” on Budha is set to Natakuranji Raga
and Jhampa Tala, the fourth of the Suladi Talas. This Kriti contains soft
tender words like “Kamaniyatara mithuna kanyadhipam madhura kavitapradam,”
etc., and the mood of the Rakti Raga Natakuranji admirably suits the
diction.
The
fifth song in the group, “Brihaspathe” on Guru is set to Athana Raga and
Triputa Tala, the next Tala in the Suladi Sapta Tala series. Astrologically
Guru is considered a very beneficial planet capable of getting rid of all
Doshas and ending all miseries. While Athana itself means getting free from
imprisonment or in other words getting rid of the fetters of Samsara. This Raga
portrays Adbhuta and Vira Rasas. The choice of this Raga admirably suits
singing such Sahitya phrases as Mahabalavibho gishpathe, jagatrayaguro,
niramayaya, etc.
The
next song in the series, “Sukra bhagavantam” on Sukra itself contains
many astrological terms. Actually Sukra is Rakshasaguru accepted as one of the
Navagrahas. This song is set to Pharaz, a Desiya Rakti Raga and Ata Tala, the
sixth Suladi Sapta Tala. In fact Pharaz is a foreign Raga adopted to the
Carnatic music fold. It is highly appropriate that Dikshitar has used this Raga
for his song on this Graha who is the Rakshasa guru and also the Karaka for
Kalatra, marital happiness and last but not the least, for musical abilities.
The
seventh song is “Divakaratanujam” on Sani, the universally feared
Graha. It is set to Yadukulakambhoji Raga and Eka Tala, the last (seventh) of
the Suladi Sapta Talas. Yadukulakam bhoji is common in the folk music of most
countries. Songs in this Raga are invariably sung in Vilamba Kala or slow tempo
and its mood also fits in well with the notoriously slow movements of this
Graha.
The
last two Grahas, Rahu and Ketu, are different from the other seven in that they
are minor planets or Chayagrahas as is evident from the fact that unlike the
others, these two Grahas do not have any days of the week named after them
(Bhanuvara, Somavara, Mangalavara, Budhavara, Guruvara,
Sukravara and Sanivara). It is believed that these two
Chayagrahas do not have any individual status of their own but share the same
body Dikshitar has chosen different categories of Ragas and a Vilakshana Tala
for his compositions on these Grahas to pin point this variation in their
nature. The songs “Smaramyaham” on Rahu and “Mahasuram”
on Ketu are set to two Pratimadhyama Ragas in contrast to the compositions
on the other seven Grahas which are all in Suddhamadhyama Ragas. “Smaramyaham”
is in Ramamanohari (Ramapriya) Raga and “Mahasuram” is in Chamaram
(Shanmukhapriya) Raga. Pratimadhyama Ragas do not belong to the ancient group
of Ragas; they have come into vogue only in comparatively recent times. Again
the Tala of both these compositions is Rupaka which is the Vilakshana Tala in
the Suladi Sapta Talas series (also used for the Navagraha Kritis on Mangala).
The genius of Dikshitar as a composer lies in the fact that he has effectively
brought out the difference of the two Chayagrahas from the rest by adopting
Pratimadhyama Ragas and the Vilakshana Tala for his compositions on these two
Grahas.
It can thus be seen Muthuswami Dikshitar has not only
taken pains to choose appropriate Ragas for his compositions on each of
the nine Grahas but also used all the Suladi Sapta Talas enumerated
in the famous Tala aphorism for his Navagraha Kritis. The adoption of this Tala
principle for this set of group Kritis bears testimony to his outstanding
abilities in music and unparalleled gifts as a composer. A noteworthy feature
or interesting coincidence is that the sum total of the Aksharas of all the
Talas used in these Kritis is 81, which is a multiple of 9, the number
of all the Grahas.