shrI abhayAmbA vibhakti kIrtanAni Day 9: dAkSAyaNI abhayAmbikE rAgam: tODi (8) tALam: rUpakam |
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ArOhaNaM: S R1 G2 M1 P D1 N2 S pallavi dAkSAyaNi abhayAmbike anupallavi dIkSAsantuSTamAnase dInAvanahastasArase caraNaM sakalaniSkaLasvarUpatejase 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). 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); caraNaM who is formless and at the same time formful effulgent
form; 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. |
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