shrI abhayAmbA vibhakti kIrtanAni

Day 9: dAkSAyaNI abhayAmbikE

rAgam: tODi (8) tALam: rUpakam

   
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Click here for a recording of this k.rti by Smt. Kalpagam Swaminathan (vINa) & Smt. Mangalam Sankar (Vocal)

<< Day 8: abhayAmbAyAm (Article; Audio )

ma^ngaLa k.rti: shRI abhayAmbA (Article; Audio ) >>

ArOhaNaM: S R1 G2 M1 P D1 N2 S
avarOhaNaM: S N2 D1 M1 G2 R1 S

pallavi

dAkSAyaNi abhayAmbike
varadAbhayahaste namaste shrI

anupallavi

dIkSAsantuSTamAnase dInAvanahastasArase
kAMkSitArthapradAyini kAmatantravidhAyini
sAkSirUpaprakAshini samastajagadvilAsini

caraNaM

sakalaniSkaLasvarUpatejase
sakalalokas.rSTikaraNabhrAjase
sakalabhaktasaMrakSaNayashase
sakalayogimanorUpatatvatapase
prabalaguruguhodaye pa~ncAnanah.rdAlaye
bharatamataN^gAdinute bhAratIshapUjite

Meaning

This k.rti is in the "sambodhanA vibhakti" (hE) abhayAmbikE, and every instance of the pronoun "You" below addresses and greets Goddess abhayAmbA. The basic anvayam (word order) is - (hE) abhayAmbikE! te namsaste (and all other phrases terminating in the syllable "E" or "NI" qualify abhayAmbikE in the sambodhana (vocative) format).

pallavi

Oh abhayAmbika! the daughter of dakSa, whose palms pose to bestow boons, and to protect from fear! Prostrations to Thee.

anupallavi

who is pleased with those who initiation austerities (dIkSa);
whose lotus like hands offer protection to the destitutes;
who grants all wishes to the devotees;
who displays the kAmakala;
who shines forth as a witness and
who prevades the entire universe.

caraNaM

who is formless and at the same time formful effulgent form;
who shines by the creation of the entire universe;
who is famous for protecting all her devotees;
who is of the form of essence of the objects in the minds of the yogis;
who is the mother of the mighty guruguha;
who resides in the heart of the five-faced Lord (shiva);
who is praised by great sages like bharata and mataN^ga, and
who is worshipped by brahma, the husband of bhArati.

NOTES

This k.rti, just like all remaining seven k.rtis composed by dIkSitrar in the rAgam tODi, does not feature a rAga mudra! It is widely believed that dIkSitar incorporated the rAga mudra, at least for the very first k.rti he composed in each rAgam. Does it mean that we have lost that single tODi k.rti of dIkSitar with a rAga mudra "janatODI"?

This k.rti begins in mandara sthAyi with a svarAkSaram "dha" for the phrase "dAkSAyaNi". We find beautiful end-word rhymes in the anupallavi and caraNam lines (mAnase, sArase, tejase, bhrAjase, yashase, tapase, pradAayini, vidAyini, prakAshini, vilasini).

As we remarked on the first day's uploads, some musicologists hold the view that the k.rti "sadAshrayE" in the rAgam cAmaram does not meet the requirements for a dhyAna k.rti status, and substitute the tODi raga k.rti "dAkShAyaNi" instead, in its place, treating the cAmara k.rti as the eighth vibhakti k.rti. This preference to tODi k.rti as a dhyAna k.rti is in line with the kamalAmbA series, where the dhyAna k.rti is in tODi, and the maN^gaLa k.rti is in rAgam shrI. Also, they strongly feel that the tODI k.rti has all the salient features needed for a genuine benedictory k.rti, which is somewhat lacking in the cAmaraM composition. We have however kept the original listing, as suggested in some standard references and recordings.

<< Day 8: abhayAmbAyAm (Article; Audio )

ma^ngaLa k.rti: shRI abhayAmbA (Article; Audio ) >>

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