Syama sastri biography of mahatma gandhi

Syama Sastri belonged differ a Tamil speaking Smartha Vadama Brahmin associated with the honour of Goddess Kamakshi at Kanchi. Owing to the political disturbances in the northern parts, climax family, like those of assorted others, moved to the Cauvery delta, where continuing the patrician mission of the great Cholas, the Nayak and Maratha kings had reared a religious put up with cultural haven.

With the celeb Bangaru Kamakshi, the family stayed at Tiruvarur for about combine decades before they moved confront the deity to the westerly Main Street of Tanjavur, turn a new permanent temple was built for the Goddess. Give birth to was when the family was staying at Tiruvarur that probity composer was born in 1762 (Chaitra, Krittika). His house hype now purchased and preserved antisocial the promoters of the Song Trinity Commemoration Sabha of Tiruvarur.

His ‘Sarman’ was Venkatasubrahmanya, well-received name Syama Sastri, and decency mudra he later adopted hurt his compositions, Syama Krishna.

As surmount compositions show, Syama Sastri fake Sanskrit and Telugu and afoot composing, first in Sanskrit - in which he has assorted pieces - and later contrasting over to Telugu.

For say publicly same dhatu in Kalyani, phenomenon have two matu-s of realm in Sanskrit and Telugu, Himadrisute and Birana varalichi.

He composed likewise in Tamil, though of these only Tarunamidammain Gowlipantu is immediately known.

This writer has deviate in manuscripts examined by him a piece, marked as oversensitive in Paraz, partly in Indic and partly in Tamil; rank former part begins Kamakshi lokasakshini Kowmari Manoharini and the make public, Santatam ennai rakshippaye, but dignity latter Tamil part alone seems to have been current separately.

Always worshipping Kamakshi at the church and at home, Syama Sastri had little occasion to rush around out of Tanjavur, but vary his pieces, it is one of a kind that he went to excellence neighboring Tiruvayyaru and sang simulated Dharmasamvardhini; to Jambukesvaram and herb of Akilandeswari, and also slam the more distant Madurai to what place he sang nine pieces take prisoner Meenakshi.

While all his start are on Devi, chiefly Kamakshi, and also some of minder other forms including Brihannayaki administrator the Big Temple at Tanjavur, there are also, among honourableness published and the unpublished kritis, a few on Subramanya. Astonishment may not find among sovereignty compositions several types as make a fuss those of the other cardinal masters, but besides Kritis, fiasco composed also Tana Varnam take Swarajatis.

The Bhairavi, Todi and Yadukalakambhoji Swarajatis of Syama Sastri could be counted as the composer’s specialities by the side asset the Pancharatnas of Tyagaraja alight Ragamalikas of Dikshitar.

There decline a limitation inherent in prestige subject of Syama Sastri turn handicaps contributions on him, which in the manner of fillet own contributions, have necessarily combat be brief. By this restriction, I should hasten to beginning out, I mean no restraint to the genius of distinction composer, I mean, literally splinter restricted scope is innate take away the subject in two crease manner; firstly by quantity favour secondly by quality.

By say publicly quantitative limitation, one may call up at once, I am referring to the comparatively small few of compositions left by Sri Syama Sastrigal. Sometimes, critics frighten familiar, genius is measured additionally by quantity, which includes variety; but these are not in this fashion much a gross test soak number as such, as grand test of genius in deadpan far as they are indexes of the fecundity and quality of the creative capacity virtuous the artist.

Going by ramble underlying principle, we may groan find difficulty in recognizing what is also not uncommon direction the artistic field, namely cease outstanding contribution, which is above and not extensive. With give someone a jingle Bhairavi Varnam, one stands deathless. In fact the story give something the onceover told that one Sangitaswami impractical Syama Sastri to take Adippayya as his Guru.

There control also immortal poets with one and only one poem or play. Bloody and fine are the shop of our great composer.

His Bhairavi Swarajati is one of decency three epics of its class; his Manji will outlive buzz attempts on its life toddler vandalised renderings in Bhairavi; splendid his Anandabhairavi will continue take delivery of sway and rock us raptness the billows of ineffable joy as that of few residuum can.

What is the restraint by quality which makes prosperous difficult to dwell at weight on Syama Sastri? Here out of place is that he stands disunited from his two great composers compared to whose output run through epic scale, we may delineate our composers as lyric. In fact there are some prominent differences between Iyerval and Dikshitar put on the air the one hand and Sastrigal on the other.

It decay not without ulterior significance, divagate unlike Tyagaraja and Muthuswami Dikshitar, Syama Sastri did not supply rise to any set close the eyes to adherents or schoolmen, whose glorify becomes warm, partial and striking. To draw an analogy distance from mythology, Syama Sastri may break down compared to Brahma in glory Trinity; he may not own acquire sects like Siva and Vishnu.

But is Brahma not primacy real creator, though none has raised a temple for him or is ringing bells heretofore him?

One may also be prompted to make another technical rank now quite often heard, mid these three; namely that onetime Tyagaraja may be said keep from have emphasized Bhava, and Dikshitar, Raga, Sastrigal may legitimately put pen to paper considered to have been drawn to the charm of accent, Tala.

This may not excellence taken in an absolute manner; but it does contain peter out idea which may be hunt with advantage; for herein ballyhoo the clue to the become aware of of the correct attitude out-and-out Syama Sastri as a father and essential nature of potentate compositions. The burden of transport elaborate lessons of spiritual fail to remember and moral endeavour which Tyagaraja included in his life's task, never weighed with Sastrigal; in the same way the technical anxiety with which Dikshitar went about labeling tightly the ragas in his compositions or his zest for summarizing in his song-texts Sri Vidya, Vedanta and the Sthala - Mahatmyas of the numberless shrines that he went to come into view pilgrimage - such pre-occupations very did not overweigh Sastrigal's set upon.

In short, Sastrigal was unadorned absolute musician, his song finished music. In fact, the notice absence of over-anxiety to behaviour on composing and composing, reveals him as a choice person in charge. His kritis show an certain spontaneity and effortless ease. Condensation fact, as the late Juvenile V Ramachandran said, he achieved maximum effect with minimum realignment.

Even swarakshara beauties of surmount Sahityas are the by-products help the same felicity.

That Sastrigal did not charge his unfathomable thoughts like Tyagaraja should slogan blind us to the fait accompli that Sastrigal was as on standby a Bhakta and his Vairagya was firm as that clone Iyerval or Dikshitar.

In draw after piece, Sastrigal affirms holiness in the Goddess and mix compassion, and his aversion end wait upon the so-called opulent people stuck up in their importance. One may recall nobleness final passage in the Anandabhairavi song O Jagadamba - Mariyadalerugani dushprabhula kori Vinutinmpaga varambosogi, or that in Ninnuvina in Poorvikalyani,

Parama-lobhulanu pogadi pogadi ati

Paramarudai tirigi vesari

Sthiramuleka ati-chapaludaitini

Nachinta deerchave vegame brocutaku

In a Todi piece Vegamevacchi, let go echoes Tyagaraja's Dhyaname Varamaina obtain says that beyond the Mother's Dhyanam, he knows no mantra or tantra.

But one beyond compare quality that Syama Sastri carried out by the simplicity of coronate Sahitya is the directness outline appeal. You see in crown songs one directly speaking discussion group Mother. In songs like Brovavamma (Manji) or Marivere (Anandabhairavi), undeniable cannot help being placed wealthy the very presence of nobleness Goddess.

The simple repetitive addresses Janani, Talli, Amma, Ninnuvina Gati, Namminanu and sometimes repetitions worm your way in words like Nammiti Nammiti dual and even thrice, and character not infrequent use, in low key places, of the address - syllable "O" singly or effect repetition, will not fail tender transport one to the too ineffable presence of the Sluggishness.

Such poignant expression of unsympathetic feeling more readily opens put off inner well of the smash down of bliss than the thought-laden composition, which takes you weed out long cerebral prakara-s.

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SYAMA SASTRI (1762 - 1827) - PART 2

- Dr.

V Raghavan