Ramayana through the eyes of Indian Music Composers

Title: References of Ramayana in Indian Classical Compositions

Author: Srinidhi Chakravartula 

The term “Ramayana” is made of two words “Rama” and “Aayana” which means “Journey or Path/Travel of Rama”. Ramayana is one of the great epic that depicts the Life of Lord Rama, who is seventh incarnation of Lord Vishnu.

As saying goes,

“Ranjayathi ithi Raagaha,

which means, a Raga that which entertains the audience  Lord Vishnu’s Incarnation as a Rama, (as a human being who has experienced all shades of life, the Joy, the Sorrow, the anger, the love and affection, and majorly, The Bhakti.)

Lord Rama is taken as an example for Pitru Bhakti, Matru Bhakti, Guru Bhakti, Prajaa Bhakti, Bhaatru Sneha, Raaja Dharma and Mythree Dharma. Queen Sita,(Wife of Rama) on the other hand is also known for her Pathivratha Dharma and Vaasthalya bhava towards the other beings.

This paper aims to establish the Journey of “Raama” taken by various Indian Composers (from Ancient to Modern) .

 “Bhakti” stands as a main pillar that which allows the artist/composer/writer to devote oneself completely. There are many Composers in India who are the great devotees of Lord Rama, attained Sadgathi by their Bhakti and dedication towards Art form. Here are some of the phrases from very popular Musicians of India. Each Lines of all these compositions depicts “Ramayana” with reference to Nava Vidha Bhakti.

A Very Famous Musicologist from Tirupazhanam, Kerala, Sri Panchapakesha Sastry, one of his compositions says,

“Prasava Sadana gathamenam, Pushpayutha Shatha koti ,

Vishnum Saa Pashyath Kausalyaa”.

The Krithi is Composed in the raga Jaunpuri, and explains the scene of Ramayana where the King Dasaratha with his three queens, Kausalya, Sumithra, Kaikeyi goes into labour after performing Putra Kaameshti yaaga. Kausalya Visualizes the Incarnation of Lord Vishnu taking birth as her Son, Sri Rama, during the Labour at Prasava Sadanam. In the composition, the lines depict that the Kausalya’s Child is similar to Lord Vishnu with Blue Sparkling Eyes, Kaustubha Mani at heart and lotus feet.

Same reference came be drawn from the famous annamayya keerthana, Raamudu Raghavudu Ravikuludithadu as in,

Araya Putra kameshti yagnyamandu janinchina..

The similar type of comparision is found in a popular Tulsidas Bhajan,

“Kandarpa Aganitha Amitha Chavi , Nava neela Neeraja Sundaram”.

 

Also in the krithi of Sri Prayaaga Rangadaasa, a Telugu Poet, He addresses the Rama Jananam in his Composition in the Raga Jhanjuti,

“Raamududhbhavinchinaadu Ravi kulambuna”

In this krithi, author describes the change in the environment of Ayodhya during the time of birth of Rama and his Brothers.

“Dharanu Chaitra Shudda Navami, Punarvasanduna

Sarasa Karkaataka Laghna marayuchu vini Suralela gani Kuriyichiri Virula Vaana”

 

Rama as a child, having an attractive and glowing features with a body blemished in Cloud Blue. Yet an another Bhajan of Same Composer,

 “Tumak chalath Rama chandr, Baajatha Paijaniyan….” describes all the childhood scenes of Rama and the four brothers. 

“Vidrumasey Aruna Adhar Bolath Mukha Madhura Madhur

Dhaayamaath Godaleth, Dasharath ki Raniya.”

 

There are so many luallabies in India which still are used to make the child sleep which has the words Ram lalla, Kausalya Tanaya Laali, Toogire Raamana etc,

 

Saint Thyagaraaja depicts this in his composition as,

“Dasarathudu Sri Raama, Raa Raa yani Piluva, Tapamemi cheseno, Teliya…

“Thaluku chekkula Muddubettu Kausalya Munu Tapamemi jeseno, Teliya…”

In the keerthana, Sri Raama, Jayaraama, set to Yadukula Kambhoji.

 

Rama and his brothers, then attains to the age of Vidhyabhyasam and primarily learns from Guru, Vasishta Mahamuni.

 

Bhaju deena bandhu dinesha daanava daitya vamsha nikandanam

Raghunnanda Ananda Kanda Kosala Chanda Dasaratha Nandanam,

 

Rama was described as an epitome of unconditional love and kindness. He was also known for his bravery and intellectuality. Thyagaraja swamy, in one of his compositions in the raga bhava priya, writes that,

Srikantha Neeyeda Balaathibala Chalaganga leda

 Vishwamitra Maharshi takes Rama lakshmana with him to forest to protect the holyfire from Asuras, Mareecha, Taakata and Subaahu. In this process, he teaches Bala and Athibala Vidhyas to both the brothers which are used in the battle field.

 

All the above mentioned compositions comes under Keerthanam and Smaranam in the Nava vidha Bhakti Maargams. Smaranam, that is remembering Acts of Sriraama and keerthanam, i.e Chanting his wiseness and other Qualities.

 

Saint Thyagaraja is the one who almost used all kinds of Bhakti margams in his compositions.

He says,

“Paada Vijitha Muni Taruni Shaapa Moda Thyagaraajanutha Dharaapa”

“Sri Raama Paadama, Nee Krupa Chaalune, Chittaniki Raave”

 And cherishes the Importance of Paada, the Lotus feet of Rama and thus get into Paada Sevanam, yet an another important Bhakti Maargam.

Poet Sri Taallapaaka Annamayya also wrote on Rama,

 

“Gautamu Bharyaa paaliti Kamadhenuvithadu,

Ghaatala Kaushiku paali Kalpa vrukshamu,

Seeta devi Paali Chintaamani Ithadu

Eethadu Daasula Paali Iha para daivamu”

-        Ramachandrudithadu, Dwijavanthi.

 

Meerabai, a great devotee of Bhakti movement, wrote that Rama is a Nirbal ke Blaraam,

 

“Sunre meine  Nirbal ke Bal Ram

Ap bal, Tap Bal aur Baahu Bal

Chautha hai Bal RAM”

 

Compositions written on Marriage Scene:

·        Pavanaja Sthuthi Paatra – Thyagaraja Utsava Sampradaya keerthana,

·        Alakalalla laadaga gani – Madhyamavathi- Thyagaraja

·        Anandamaanandamaayene – Ramadasa keerthana

·        Nagumomu Galavaani – Thyagaraja Utsava Sampradaya keerthana

·        Shobhaane – Annamacharya srungara sankeerthana

·        Raaamudu Raghavudu Ravikuludithadu – Annamayya

 

There are so many Mevaad Songs on this occasion by different Mevaad Gharana Writers, which brings out the royalty of Mithila, as well as the Richness of Ayodhya. Famous Musicologist from Kerala, Swati Tirunaal described the same theme in his composition,

“Awad Sukh Daayi, Baandhe Badhaayi”.

Surdaas in his book, Ram Charithaavali described Ramas Richness in the form of Dohas,

Ram Raaj Tilak Samroh Rache,

Rache  Manthara Bis veej,

Roote Raani Moorchith Raaja

Jaahi Prabhu Van Beej

 

Compositions lines which has the reference to Forest and Incidents:

Swati Tirunaal in his Ragamaalika Composition, Bhaavayaami Raghuraamam, has Given a brief of whole Ramayana,

Where the Lines,

Vithatha Dandakaaranyaka gatham

Panchavati Vihitha vaasam are seen.

 

In the rare folk lores of Andhrapradesh, Karnataka we can see folklores illustrating scenes of Ramayana,

Rakkasi Shoorpanaka Ramuni Mohinchaga, Grakkuna Ramanujudu Kamini Bhangamu Jese

 

In Bhadrachala Ramadaasa keerthanas one can find many references of Ramayana.

·        Paluke Bangaaramaayena

·        Kodanda Rama Kodanda Rama

·        Paahi Ramaprabho

·        Ikshvaaku kula Tilaka Etc.

 Compositions on Vanara sena and Vaaradhi will be seen in compositions like, Charanamule Nammithi of Ramadasa, Deva Devam Bhaje by Annamacharya, Rama

                  Thyagaraja in Mukhaari wrote,

“Enthani ne Varninthu Shabari Bhagyam

Kanulaara Sevinchi, Kammani Phalamulanosagi

Tanuvu Pulakarimpa Paadayugamu Mrokki…..”

is a perfect example of Surrendering to Lord in Athma Nivedanam.

Yet an another Musician, Arunachala kaviraaya, has written the whole Sundarakaanda in his composition,

 

Kanden Kanden Kanden Seethayai, Kanden Raaghava…

Andalum kaanatha lanka puriyil

Aravinda vedavai, Thara vanda maathavai….

 

Panikkala Vaarijam Pola Niramkushi Pagalod yugamaaga kalithaale prayaasi

Ninaithange Raavanan Annal vara Chi, Chi, Nillada enr Eshi..

Thanith Than Uyir Thannai Thaan veeda maharaashi, Shaarum Podedaanum Samayam Ide Vaasi, Ini Thaamadam seyya Aggaden idar veedi,

Raama Raama, Raama en Edir Pesi…

 The same Sundara kaanda is potreyed in Annamacharya keerthana, "Ide sirasu maanikyamu" too.

Also in the Purandara Dasa Composition, Rama Rama Prana Sakhi, we can see the pain of Rama in departure with Seeta at Suvarna Lanka.

Hanuma Bhakti can be depicted in keerthanas like

·        Rama Mantrava Japiso Hey Manuja by Purandara Dasa,

·        Bantu reeti koluviyyavayya Rama  By Thyagaraja,

·        Sri Rama nee namamemi Ruchira by Ramadaasa,

·        Daasanaagu Vishesanaagu by Vyasa Raaya

·        Rama Rama Rama Rama,Rama Naama Taarakam Etc.

 

In one of His Compositions, Saint Ramadaasa said,

 

“Raama Chilukanokathe Penchi Prema maatalaada nerpi…

Ennagaanu Raama bhajana kanna Mikkilunnada …”

 

Toomu Nrusimha Daasa also wrote compositions on Rama In Athma Nivedanam

“ Elu vaadavani Chaala Nammithi, Inkela Raavu Karunaala vaala Rama”.

 

Thyagarajaswamy in his krithi, praises Rama as,

Sarasa Saama Daana Bheda Danda Chatura

Saati Daivamevare Brovave….

 

“Hithavu Maatalentho Baaga Palkithivi’

Sathamuga ayodhyanittunantivi

Natha Sahodaruni Raaju jesi Raavanu Hathamu Jesithivi, Thyagaraja nutha”

 

Muthtu Swamy Deekshitar, One of the trinities of Carnatic Music, in his krithi,

“Maamava Pattabhiraama”

 And in the several utsava sampradaayams of many south classical musicians one can find the reference to Pattabhishekam of Sri Rama,

“Koluvai Yunnade Kodanda Paani’’

In many Hindusthani Classical Meera Bhajans like,

·        Meera Ke Ram

·        Paayoji meine Ram Rathan Dhan Paayo

·        Mere Tho Man Ram

·        Naato Naam Ko

·        Prabhu ke Milan

·        Param sneha Ram hi Talks about Rama and his greatness.

 

Saint Kabir says,

“Ek Ram Dasrath ka beta,

Ek Ram Ghar Ghar mein baita,

Ek Ram ka Safal Pasaara,

Ek Ram hi Sabse Nyaara……”

 

Apart from these there are many famous Bhajans,like

·        Mangal Bhavan Amanagal Haari

·        Sri Ram Ramaa Ramanam Shamanam

·        Prabhu Ram Chandra ke Dootha

·        Ram Thumhara Naam

·        Athma Rama Ananda Ramana etc sung by various Classical and Semi Classical Singers.

To Conclude, Each of these listed compositions have a couple of Bhakti Margams,  Smaranam, Keerthanam, Archanam, Shravanam, Sakhyam, Pada sevanam, Vandanam, Daasyam, Athma Nivedanam etc potraying the lyric of how scene is connecting to the audience emotionally.

No matter whether the depiction is on Aakara Bhakti like of Hanuman, Shabari, Seeta, Bharata, Lakshmana, Jataayu, Vaanara Sena or a Niraakara Bhakti of Squirrel, Forest and environment, the melody, Prosidy goes hand in hand with Abhinayam, the Enact or Performance.

Out of all the composers, Thyagaraja, Ramadaasa has written the highest number on Rama in all the criterions.

May Rama in all his roles , as an ideal Son, Husband, Brother, King, Friend, and so all continue to inspire one and all.

Ek Bharoso Ek Bal

Ek Aas Biswaas

Ek Raam Ghansyam hith

Chaathak Tulsi Daas