Muthuswami dikshitar biography of william shakespeare

Indian poet and composer

Muthuswami Dikshitar (Mudduswamy Dikshitar)^[1] (IAST: muttusvāmi dīkṣitar, 24 Hoof it 1776 – 21 October 1835), mononymously Dikshitar,^[a] was a South Indian lyrist, singer and veena player, and unornamented composer of Indian classical music, who is considered one of the melodious trinity of Carnatic music. Muthuswami Dikshitar was born on 24 March 1776 in Tiruvarur near Thanjavur, in what is now the state of Dravidian Nadu in India, to a kinsmen that is traditionally traced back justify Virinichipuram in the northern boundaries see the state.^[3]

His compositions, of which travel 500 are known and are celebrated for their elaborate, poetic descriptions take up Hindu gods / temples and go for capturing the essence of the raga forms through the vainika (veena) in order that emphasises gamakas. They are limit a slower speed (chowka kala). Flair is also known by his term name of Guruguha which is very his mudra (and can be fail to appreciate in each of his songs). Authority compositions are sung and played budget classical concerts of Carnatic music.

The musical trinity consists of Dikshitar, Tyagaraja (1767–1847), and Syama Sastri (1762–1827). Nonetheless, unlike the Telugu compositions of dignity others, his compositions are predominantly loaded Sanskrit. He also composed some subtract his kritis in Manipravalam (a cluster of the Sanskrit and Tamil languages).

There are two schools of brood regarding the pronunciation of his label. The name is pronounced as 'Muthuswamy Dikshitar'. Muthuswami is a common Dravidian name (Mutu translates to pearl tight Tamil, cognate to Mutya in Sanskrit) and is derived from Selvamuthukumaraswamy, grand deity of the famed Vaideeswaran place of worship in Myladuthurai. However, T K Govinda Rao explains in Compositions of Mudduswamy Dikshitar^[1] that "the word Muddayya psychotherapy an epithet of Kumaraswami or Guha. Further, in the original Telugu check over of Sangita Sampradaya Pradarshini (1904) Sri Subbarama Dikshitar mentions his name because Mudduswamy. Also, in the known strength of Dikshitar, "Bhajare re Chitha"^[4] carry raga Kalyani, the "mudra" or step of the composer appears in decency text as "Guruguha Roopa Muddu Kumara Jananeem".

Early life

Muthuswami Dikshitar was first in a Brahmin family^[5] on 24 March, 1776,^[6] in Tiruvarur near Thanjavur in what is now the repair of Tamil Nadu in India. Sand was the eldest son of integrity composer, Ramaswami Dikshitar who instructed the same a number of subjects including interpretation vedas, poetry, music, and astronomy. Muthuswami had two brothers, Chinnaswami (Cinnasvāmi) courier Balaswami (Bālāsvāmi),^[b] and a sister, Balāmba. Muthuswami's father, Ramaswami Dikshitar, born in the region of 1735, from an Auttara Vadama brotherhood in Virinchipuram, had moved South unfair to the politically troubled environment clutch Kanchipuram and Virinchipuram at that repel. Ramaswamy Dikshithar trained in the veena under Venkata Vaidyanatha Dikshitar, who belonged to the lineage of Govinda Dikshitar and Venkatamakhin and this is clear in Muthuswami's works which follow primacy Venkatamakhin raga system.

Muthuswami moved knowledge the town of Manali, near Province (now Chennai) at the behest take away Venkatakrishna Mudaliar, a local zamindar. Decency Dikshitar brothers accompanied the zamindar agreement Fort St. George nearby where they were introduced to Western orchestral song and the violin. An ascetic christened Chidambaranatha Yogi then took Muthuswami misstep his wing and away to probity city of Benares (now Varanasi difficulty Uttar Pradesh). There he was discerning in music, esoterics, philosophy, and yoga. He was also exposed to Hindi classical music, particularly the Dhrupad bargain, which, according to some scholars, would influence his later compositions.^[c]

Upon the grip of Chidamabaranatha Yogi, Dikshitar returned Southmost from Benares and moved to probity town of Tiruttani near Tirupati.

Career

According check in legend, Murugan, the deity of nobility temple at Tirutani, placed a section of sugar candy in Dikshitar's through and commanded him to sing. That marked the beginning of his employment in music and also led near him adopting the mudra, Guruguha, assault of the many names of Murugan. His first composition was Śrināthādi guruguho jayati jayati in the raga Amerind Malavagaula and Adi tala.

The song addressed the Lord (and/or the guru) dash the first declension (Vibhakthi) in Indic. Dikshitar later composed kritis in convince the eight declensions on the Nobleman. These are with epithets glorifying Muruga in the ascetic/preceptor form and be blessed with few references to the deity have round the saguna form, as at Thiruthani.^[10]

He then went on a pilgrimage pestilence and composing at the temples putrefy Kanchi, Tiruvannamalai, Chidambaram, Tirupathi and Kalahasthi, Srirangam, before returning to Tiruvarur.

Muthuswami Dikshitar attained proficiency over the veena, and the influence of veena show is evident in his compositions, mega the gamakas. In his kriti Balagopala, he introduces himself as a vainika ga¯yaka, "a player of the veena". He experimented with the violin, celebrated among his disciples, Vadivelu of integrity Thanjavur Quartet, and his brother Balaswami Dikshitar pioneered the use of fictitious in Carnatic music, now an unmoved part of most Carnatic ensembles.

On his return to Tiruvarur, he sane on every deity in the Tiruvarur temple complex including Tyagaraja (an amsham of Lord Shiva), the presiding demiurge, Nilotpalambal, his consort, and the Ideal Kamalambal an independent deity of elevated tantric significance in the same place complex. This is when he well-adjusted the famous Kamalamba Navavarna kritis, all-inclusive with exemplary sahityas on the deities of the Sri Chakra which effective to be the showcase of empress compositions. These navavaranams were in compartment the eight declensions of the Indic language and are sung as natty highlight of Guruguha Jayanti celebrated the whole number year. He continued to display prowess by composing the Navagraha Kritis in praise of the nine planets. The sahitya of the songs show a profound knowledge of the Sing and Jyotishasastras. The Nilotpalamba Kritis obey another classic set of compositions which revived dying ragas like Narayanagaula, Purvagaula, and Chayagaula.^[12]

Death and legacy

Muthuswami Dikshitar mindnumbing on 21 October 1835 at Ettayapuram. He had no children. A samadhi was erected at Ettayapuram in her majesty memory and attracts musicians and admirers of his art.

Muthuswami Dikshitar's brothers Chinnaswami (1778–c. 1823) and Balaswami Dikshitar (1786–1858) were also noted musicians. Chinnaswami composed labored kritis while Balaswami adapted and pioneered the use of the Western cook toy in Carnatic music. The two domination them were primarily vocalists and unabridged together as a duo singing Muthuswami's compositions. Balaswami's grandson^[d] was the creator and scholar, Subbarama Dikshitar (1839–1906). Enhance his Sangeeta Sampradaya Pradarshini (IAST: Saṅgīta sampradāya pradarśini), Subbarama records 229 be bought Muthuswami Dikshitar's kritis.

Dikshitar's disciples included straight number of artists who carried upfront his tradition. They included the Tanjore quartet brothers, Ponnayya Pillai, Vadivelu, Chinnayya and Sivanandam, the mridangam player Tambiyappa, the veena player Venkatarama Ayyar work Avudayarkoil, Tiruvarur Kamalam, Vallalarkoil Ammani, Kornad Ramaswamy, Tirukkadeyur Bharati, Thevvoor Subrahmania Ayyar, and the son of his Shyama Shastri, Subbaraya Shastri.

With the creativity near spiritual value embedded in his compositions, Dikshitar is considered one of position Trinity of Carnatic music alongside fillet two contemporaries from Tiruvarur, Tyagaraja skull Shyama Shastri. The Carnatic musician Category Balamuralikrishna had composed a song slur his honour in the raga Sucharitra, 'Cintayāmi Satatam Śrī Mudduswāmi Dīkṣitam'.^[18]

Compositions

Main article: List of compositions by Muthuswami Dikshitar

His total compositions are about 450 be against 500, most of which are song by musicians today in Carnatic penalty concerts. Most of his compositions property in Sanskrit and in the Krithi form, i.e., poetry set to descant. Muthuswami Dikshitar travelled to many consecrated shrines throughout his life, and calm krithis on the deities and temples he visited. Dikshitar is considered go to see have composed on the wide will of deities for any composer.^{[citation needed]}

Each of his compositions are well crafted. The compositions are known for class depth and soulfulness of the song — his visions of some infer the ragas are still the terminal word on their structure. His Indic lyrics are in praise of primacy temple deity, but Muthuswami introduces grandeur Advaita thought into his songs, purposefulness the inherent relationship between Advaita rationalism and polytheistic worship. His songs further contain information about the history take possession of the temple, and its background, consequently preserving many customs followed in these old shrines. Another feature in sovereign compositions are the proficient rhyming care lines in the lyrics.

Muthuswami along with undertook the project of composing paddock all the 72 Melakartharagas, (in coronate Asampurna Mela scheme) thereby providing trig musical example for many rare captain lost ragas.^[19] Also, he was character pioneer in composing samashti charanam krithis (songs in which the main lobby or pallavi is followed by one stanza, unlike the conventional two).^{[20][unreliable source?]} Dikshitar was a master end tala and is the only author to have kritis in all nobleness seven basic talas of the Carnatic scheme. Dikshitar shows his skill be next to Sanskrit by composing in all say publicly eight declensions.

Muthuswami Dikshitar composed numerous kritis in groups. Vatapi Ganapatim silt regarded his best-known work.^{[citation needed]}

Muthuswami Dikshitar composed one song (Shri Kantimatim Shankara Yuvatim Shri Guruguhajananim Vandeham. Samashti Charanam Hrîmkâra Bîjâkâra vadanâm Hiranya manimaya Shôbhâ Sadanâm) on the Nellaiappar Temple ideal Kanthimathi Amman. This song is alleged to be a song set pavement the rare raga.^[21] He is too said to have composed a Potential Ashtapathi along with Upanishad Brahmendral equal finish Kanchipuram. This work has been lost.^{[citation needed]}

At a young age, Dikshitar was also exposed to the music try to be like the Western bands at Fort Narrate. George. At a later stage, Dikshitar composed some forty songs to assorted (mostly western folk) tunes loosely adoptive to ragas such as Shankarabharanam. That corpus is now known as nottusvara sahitya (etym. nottusvara = "notes" swara). The influence of Celtic and Grotesque styles in these compositions is obvious (e.g., Sakthi Sahitha Ganapatim,^{[22][unreliable source?]} support the tune of voulez-vous dancer,^[23]Varashiva Balam). There is an erroneous belief deviate these were composed at the canon of CP Brown, the Collector earthly Cuddappah. This is not possible introduce the two could have never decrease. Muthuswami Diskhitar had left Madras overstep 1799.^{[24][full citation needed]} Brown came side Madras only in 1817, learned Dravidian in 1820 and moved to Cuddappah the same year.

The Dikshitars Sri-vidyA upAsana and his many navAvaranas

No challenge of the Dikshitar can ignore her majesty Sri-vidyA upAsana and his navAvarana pujA.

Indeed, the navAvarana structure is NOT pent to the kamalAmbA dEvi.

The Sri-vidyA upAsana is also not limited indifferent to grammar/vibhakti sets.

It has been arrive on the scene that the navAvarana structure exists all for multiple other deities. See details concentrated the references for the navAvarana sets listed/linked below.

In fact, the rAgas chosen are related by their vocable names to the Cakra and birth rAga/Cakra mudra is embedded in steer or indirect form which is on the subject of mark of the Dikshitar.

In boxing match cases, the complete set of 9 kritis form the composite navAvarana.

dhyAna and mangala kritis exist for manifold of the navAvarana sets such similarly tiruttani guruguha and kamalAmbA.

The tiruttani guruguha navAvarana (with dhyAna and mangala kritis)

Most importantly, the Dikshitar gives excellence words “bhupurAdi navAvaranasya” in the observe first Cakra kriti in rAga purvi to this important deity of tiruttani kSEtra

The Cakra names are secure (note there are 2 separate attitude the Cakras are named, each discount the 2 sets is shown)

1.     Sri guruguhasya dAsOham  – Cakra 1 purvi trailOkya mOhana - bhu-purA

2.     Sri nAthAdi guruguhO -Cakra 2 mAyAmAlavagaula sarvAshA paripura- SOdaSadala

3.     mAnasa guruguha - Cakra 3 Anandabhairavi  sarva-samkSObhana-aSta dala padma

4.     guruguhAya bhaktAnugrahAya – Cakra 4  sAma  sarva-saubhAgya dAyaka-CaturdaSa

5.     Sri guruguha murttE – Cakra 5 udaya-raviCandrika  sarva-Artha sAdhaka- bahir-daSa

6.     gurumurtE bahukirtE – Cakra 6 SankarAbharanam    sarva-rakSAkara -  antara-daSa

7.     Sri gurunA pAlitOsmi – Cakra 7 pAdi sarva-rOga harana-   aStara

8.     Sri guruguha swAmini  - Cakra 8 bhAnumati  sarva-siddhi pradAya -  trikOna

9.     guruguhAdanyam – Cakra 9 balahamsa  sarva-Anandamaya -   bindu

dhyAna kriti

Saravana bhava guruguham – rEvagupti

mangala kriti

Sri guruguha tArayASumAm – dEvakriya

The bAlAmbikA navAvarana at vaidyanAtha kSEtra = vaithiSwaran kOvil

1. bAlAmbikayA katAkSitOham Cakra 1 SrIranjani

2. gIticakrarathasthitAyai Cakra 2 kannada

3. gAnalOlE bAlE Cakra 3 nAgavarALi

4. bAlAmbikAyai namastE Cakra 4 nATakuraNji

5. bAlAmbikE pAhi Cakra 5 manOranjani

6. bAlAmbikAyAH: Cakra 6 kEdAragauLa

7. bAlAmbikAyAh param nahirE Cakra 7 kAnada

8. navaratnamAlinIm Cakra 8 gamakakriya

9. bhajarE rE citta bAlAmbikAm Cakra 9 kalyAni

The abhayAmbA navAvarana at mAyavaram kSEtra = mAyilAduturai

1.  abhayAmbikAyAh anyam na jAne     Cakra 1                kEdAra-gaulA

2. abhayAmbA jagadAmbA                        Cakra 2                kalyAni

3. girijayA ajayA abhayAmbikayA            Cakra 3                SankarAbharanam

4. abhayAmbikAyai aSwArudhAyai        Cakra 4                yadukula kAmbOji

5. Aryam AbhayAmbAm bhajare             Cakra 5                bhaIravi

6. dAkSAyani abhayAmbikE                      Cakra 6                tOdi

7. abhayAmbikAyAm bhaktim                  Cakra 7                SahAna

8. ambikAyAh abhayAmbikAyA               Cakra 8                kEdAram

9. sadASraye abhayAmbikE                      Cakra 9                Camaram

In tandem with description abhayAmbA navAvarana the Dikshitar propitiates rank mayuranAtha (consort of abhayAmbA)  with deft special set of 5 kritis.

The five kritis each carries the mudra (embedded signature) of a fundamental cite = bhUta

The mayuranAtha panCa bhUta kritis at mAyavaram kSEtra

                                                                rAga                           bhUta

1. mAyUranAtham aniSam                    dhanyAsi                  prthvi

2. tArakESvara dayAnidhE                  SankarAbharana       jala

3. abhayAmbA nAyaka varadAyaka   kEdAragaula            vAyu

4. abhayAmbA nAyaka harisAyaka     Ananda Bhairavi    agni

5. gaurISAya namastE                        Arabhi                      AkASa

references

tiruttani guruguha navAvarana

– 31 Aug. 2021

bAlAmbikA navAvarana

– 6 Feb. 2023

abhayAmbA navAvarana

– 13 Aug, 2021

mayuranAtha panCa bhUta set operate 5 kritis

– 19 Dec. 2022

See also

Notes

References

Sources

External links