T.T.D. Religious Publications Series No. 1094Price :

Published by Sri M.G. Gopal, I.A.S., Executive Officer,T.T.Devasthanams, Tirupati and Printed at T.T.D. Press, Tirupati.

Tirumala Tirupati Devasthanams,Tirupati

SYAMASASTRIEnglish Translation

Dr. Poturi Venkata Subba Rao

Srinivasa Bala Bharati

Srinivasa Bala Bharati - 146(Children Series)

SYAMASASTRITelugu Version

B. Rajanikanta Rao

English Translation

Dr. Poturi Venkata Subba Rao

Published by

Executive OfficerTirumala Tirupati Devasthanams, Tirupati.

2014

Srinivasa Bala Bharati - 146(Children Series)

SYAMASASTRI

Telugu VersionB. Rajanikanta Rao

English TranslationDr. Poturi Venkata Subba Rao

Editor-in-ChiefProf. Ravva Sri Hari

T.T.D. Religious Publications Series No. 1094

©All Rights Reserved

First Edition - 2014

Copies : 5000

Price :

Published byM. G. Gopal, I.A.S.

Executive Officer,Tirumala Tirupati Devasthanams,Tirupati.

D.T.P:Office of the Editor-in-ChiefT.T.D, Tirupati.

Printed at :Tirumala Tirupati Devasthanams PressTirupati.

FOREWORD

If a beautiful garden is to be raised, one needs to take propercare of tender flower plants. In the same way in order to create agood society, great care needs to be taken of young children whoare going to be future citizens of India. All their intellectual attainmentswill be futile if they fail to learn of their culture and its greatness.They need to be told of great men and women of this country sothat they are inspired by their ideals. The essentials of our cultureshould be given to them in the form of simple and charming stories.They will cherish these ideals and be guided by them. They willpromote good and they will love the society they live in. They maketheir families proud and bring great prestige to their country whenthey grow up into good citizens.

Tirumala Tirupati Devasthanams have brought out thesebooklets for children in Telugu under Srinivasa Bala Bharati Series.Although meant for children, they are useful to the elderly too. Theyhave found place in the book shelves of every family. The stories oflegendary men and women are narrated in a simple way. We hopethat more and more children will read them and profit by them.

I congratulate Dr. R. Sri Hari, Editor-in-Chief, TTD for hisefforts in bringing out the English translations of SRINIVASA BALABHARATI SERIES so well. We have received co-operation of manylearned men and women in our efforts to popularize this series. I amthankful to them.

In the Service of the Lord

Executive Officer, Tirumala Tirupati Devasthanams.

Tirupati.

FOREWORD

Today’s children are tomorrow’s citizens. They need aptacquaintance with the life-histories of celebrated persons at tenderso that they get opportunity to lead their lives in an exemplary way.They will come to know that great things such as Indian culture,basic tenets of life and moral teachings are abundantly available inthe life-experiences of great men. It is observed that there is noscope to teach such subjects in school curriculum.

Observing such circumstances the Publication Division ofTirumala Tirupati Devasthanams has published about hundredbooklets in Telugu about the lives of famous sages and great menwritten by various authors under the editorship of Dr.S.B.Raghunathacharya under “Bala Bharati Series”. The response tothese books is tremendous and it has given impetus to publish themin other languages also. To begin with, some of the books are nowbrought out in English and Hindi by T.T.D. for the benefit of boysand girls and the interested public.

These booklets, primarily intended to the growing children andalso to the elders to study and narrate the stories to their children,will go a long way to sublimate the aspirations of the children togreater heights.

R. SRI HARI Editor-In-Chief

T.T.D.

Welcome To Srinivasa Balabharati Series

The series is the outcome of abundant grace of Lord SriVenkateswara.

This will be an unfailing source of inspiration to the young.

It enshrines the best of Bharatiya tradition. May this nobleendeavour be successful.

India has been known for its culture and civilization, its ethicaland dharmic way of life from time immemorial. India has marchedahead with its commitment to dharma, its resistance to adharma, itsespousal of life-affirming values and its humane attitude to life as ajourney towards God realization. Those who embodied these valuesin their life have been a beacon of light to us. Their impact is deep onthe life we lead. Young boys and girls will find them exemplary andfeel proud of their invaluable heritage. They will love their motherlandand dedicate themselves to its service.

It is therefore necessary that the young learn about these greatmen and women so that they will realize their indebtedness to themfor their selfless contribution to the enrichment of life. This shouldindeed be a chief component of true education which ensures theperennial continuity of Indian culture and civilization. SRINIVASABALA BHARATI SERIES has come into existence to acquaint theyoung boys and girls with right perspective of Indian life and valuesthrough a series of booklets written exclusively for this purposedescribing in brief the lives of great men and women.

We welcome you to share our joy in launching these booklets.

S.B. Raghunathacharya

Cheif Editor

SYAMASASTRI

Srividya :

Our ancient Indian tradition is endowed with aparticular kind of ‘Vidya’ (knowledge) which is meritedeven today as ‘Srividya’ by the learned scholars of“Mantra Sastra” (the science of the supernatural).Sridevi is the royal spouse of ‘Parabrahman’ whoembodies in himself the ‘Trinity’ commonly known as‘the Brahma’ (creator) the Vishnu (Sustainer) and theMaheswara (Destroyer). It is Sridevi who is theprimeval deity and the progenitor of the three deitiescalled Saraswati, Lakshmi and Parvati, the espousersof Brahma, Vishnu and Maheswara respectively.Srividya is a process of ‘upasana’ (spiritual discipline)for winning the grace of Sridevi by following rigorousdiscipline as it is prescribed in the Mantrasastra. Greatare those who follow this path of ‘upasana’. They arerightly called ‘Srividyopasakas’. The worship of‘Srichakra’ is central to the ‘Srividya’ a system ofHindu worship according to the Vedic tenets. Amongthe great names that adorn the pages of the Hindureligious history, there is no one greater than that ofAdisankara who is the first teacher, preceptor andpromoter of ‘Advaita’ (non dualistic) philosophy. It isSankara who first revived and promoted the traditionof Srividyopasana’ - a particular process of Srividya

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system of Hindu worship. He is a great Jnani, yogi andbhakta.

Three gems of music :

Of the great Trinity who composed many ‘Kritis’contributing not only for the enrichment of the carnaticmusic but also for the enhancement of aestheticpleasure, two are the ardent disciplinarians of theSrividyopasana as it is ordained by Sankara. The Trinityof the carnatic music are Syamsastri, Tyagaraja andMuttuswamy Dikshitar. Syamasastri is the oldest amongthe three of the diamonds of the carnatic music. WhileTyagaraja followed ‘Nadabrahmopaasana’ by makingSriramachandra as the objective form of his worship,Syamasastri and Dikshitar did the same ‘upasana’through the form of ‘Parasakti’. All of them attainedtrue realization by means of their respective ‘upasanas’.It is wonderful that the three great composers wereborn and flourished in the same century between 1740and 1850 AD in Tiruvarur in Tanjore District ofTamilnadu. Such great souls are born for championinga great cause and so they are rightly called“Karanajanmulu”, since they have a life mission toaccomplish. Syamasastri is the oldest of the trinity ofcarnatic music. Next to him is Tyagaraja, the last onebeing Muttu Swamy Dikshitar. Later on Syamsastri hasbecome a preceptor and mentor (guru) to Dikshitar inthe “Srividyopasana” by initiating him to the final

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instructions related to Srividya known as “PadukantaDeeksha”.Golden Kamakshi :

There are seven cities in India which bestow uponthe believers wealth and salvation; Kanchi far excelsthe seven. Brahma has undergone rigorous penance,at Kanchi and finally found the world savior ‘Gouri’.To make his wonderful vision and inexplicableexperience eternal, Brahma turned the form of Gouriinto a golden idol and named it as “Kamakshi”. “Ibow to the royal spouse of Ekamreswara and the queenof the city Kanchi who is adored and eulogized by thegreat sage Sankara as ‘Srividya’. Residing inunnumbered centres she adorned Kanchi, worshippedby beings of the three worlds”.

Kanchipuram is a sacred place where once Brahmahad undergone severe penance. It is one of the sevensacred cities of salvation in ancient India. Accordingto the traditional lore, Ayodhya, Madhura, Maya, Kasi,Kanchi, Avantika and Puri are the seven cities wheresalvation is bestowed upon. As the rigorous austeritiesobserved by Brahma at Kanchi came to fruition, thegoddess of the world appeared before him in awonderful form. Brahma had formed a golden icon ofthe deity who appeared before him, built a temple andinstalled the icon there for the benefit of the devotees.The deity who was then installed by Brahma in thedays of yore in the form of a golden icon has come to

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be known as ‘Bangaru Kamakshi’ in later times. Thisstory of Kamashi belongs to the ‘Puranic Age’ thattranscends the limits of history.

Installation of Srichakra :

In the history of Hinduism, Kanchi occupies animportant place. It is wellknown that Sankara who isoften called Sankaracharya lived in 8th Century A.D.,had revived the temple of Kamakshi and installedSrichakra at the seat of the lotus like feet of theGoddess. In the Srichakra formed of the eight trianglesinto a circle wherein the space of each of the trianglesthe ‘Bija’ letters are written according to the tenets of“Mantra Sastra” by invoking the power identified asthe creative energizing force of the Devi. It is popularlilybelieved that Sankara had installed Srichakras in mostof the important seats of Adisakti in our country.

Inseparable attachment :

Kamakshi Devi is one such of the installed iconsrepresenting the creative energizing force of the universeat the sacred place of Kanchi or Kanchipuram.Tradition holds it that, Adisankara had appointed oneof the learned scholars among the ancestors ofSymasastri as hereditary priest making him responsiblefor the care and worship of the image of GoddessBangaru Kamaskhi, whose temple is in Thanjavur. Theprogenitors of Syama Sastri according to Subbarama

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Dikshitar belong to the clan of Dravida brahmin familyof the north who lived in Kambham of Karnool District.From then onwards the Sastry family was comfortablysettled in Tiruvarur over some centuries maintaining along tradition as devoted priests and scholars in thepresence of Bangaru Kamakshi. Thus an inseparableattachment had been formed between the Goddess andthe priest’s family. The Goddess made our heroSyamasastri compose prolifically and sing thoseKeertans dedicated to her in Telugu, Sanskrit and Tamillanguages.

Varali Raga - Chapu Tala

Pallavi (Burden of the Song): Kamakshi, BangaruKamakshi Nannu brovave

Anupallavi (Response of the burden): TamasameleRave Samagana lole, Sushile Kamakshi, BangaruKamakshi Nannu brovave

Swara Sahityam: (Literature of the Note) Na manavivinu Devi Nive Gati Yani Namminanu MayammaVegame Karunajudavamma, bangaru bomma

Charanam (Couplet): Syama Krishna paripalini(Amba) Sukasyamale Sivasankari Sulini SadasivunikiRani, Visalataruni, Saswata Rupini

(Oh! Kamakshi, Golden Kamakshi come to myrescue... Don’t be late… thou enamoured of the

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Samagana ….. good natured. Please hear my appeal.I hail you as my protectress and savior. Be merciful ohGolden Kamakshi benign ruler of Shyama Krishna…Sivasankari (Amba) thou art eternally formed… thebearer of the trident save me).

At Tiruvarur :

The Bahmany Sultans unitedly waged war againstthe Vijayanagar empire at Thallikota in 1565. This warnot only caused the downfall of the Vijayanagara empirebut also resulted in anarchy and tumult. It is a warwhich affected even the interiors such as Kanchipuramof the Vijayanagara empire. As such the priests of thetemple were rather compelled to take refuge at a placefree from the onslaughts of the sultans since their soleaim was to keep the icon of and the wealth belongedto the Bangaru Kamakshi safely protected. So the priestfamily moved away from their native home and roamedabout the thick woods and populous states and hadstayed at the court of the ruler of ‘Chenge Kota’ for15 years. By and by they had spent seventy years atUdayarpalem on the request of the Zamindar of thatregion. They felt that their activities regarding theworship of the deity were not carried on unhindered.Finally, they decided to reach Kanchipuram and beforereaching their destination they stayed at different placeslike Annakudy, Vijayapuram, Nagur, Madapuram, Sikkiland other villages over thirty years.

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The gift of the Goddess :

The priest’s family after reaching Tiruvarur hadinstalled “Bangaru Kamakshi” on the premises of thetemple of Tyagarajaswamy - an image of Siva. Thepriest’s family had to worship the idol “BangaruKamakshi” by turns between the brothers. WhenViswanatha Sastry’s turn to worship the deity came,his wife Vengu Lakshmi, with the blessings of thegoddess, conceived a male baby who later on becamepopular as Syamasastri. The family lived at Tiruvaruruntil Syamsastri became 19 years old.

At Tanjavur :

Those were the days when Haider Ali was at thezenith of his power and the attacks of his soldiers wereunexpected. With a view to protect the icon of BangaruKamakshi and the wealth of the deity, Viswanatha Sastrisuccessfully negotiated with Tuljaji, the king ofTanjavur, to keep the goddess in the premises ofKonkaneswara Swamy temple. Thus, the family hadshifted from Tiruvarur to Tanjavur with the goddess -Bangaru Kamakshi. Five years after they had movedto Tanjavur, the king Tuljaji built a permanent templeand installed the goddess in it with ‘kumbhabhisheka’and charitably endowed the temple and the priest withlands and ‘Agraharams’. Thus Bangaru Kamakshi whowas installed two centuries ago in Tanjavur madeSyamasastri, the eldest son of Viswanatha Sastri -

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compose Kritis with an unparalleled stroke of geniusand sing them with equal dexterity.

Dhanyasi Ragam - Triputa TalamMeenalochani brova yochana deenajanavana

AmbaGanavinodini Amba Neesamanamu

Jaganagananamma Amba!!Kanna talli gadaa naa vinnapamu vinavammaPannaga bhushanunikirani ninu vinaIlalo Data levarunnaramma Bangaru bomma

Amba!!

(Oh protectress of the destitude, fisheyed Amba -why dost thou hesitate - entertained of the music. Idon’t find your equal in the World. Please listen to myappeal oh! Spouse of siva whom snakes adore andwho is more charitable than thou art in the World. Thereare none except you. Oh golden toy like beauty - Amba)

In those days - - - -

From 1740 onwards with a difference of 5 years,three great men - Syamasastri, Muttuswamydikshitarand Tyagaraja were born in Tiruvarur of Tamilnadu,pioneering great transition in the history of South Indianmusic. At this juncture, it is apt to know the political,social and cultural conditions prevalent during the periodwhich mark the birth of the trinity of Carnatic music.After the downfall of Vijayanagara empire the weakkings of that dynasty who made Veluru and Chandragiri

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as their capitals had only a precarious hold on Madhuraand Tanjavur rulers belonging to the Nayaka dynasty.

The reign of the Tanjavur Nayaks has opend a newera with a grandeur almost equaled to that ofKrishnadevaraya of Vijayanagara empire in so far astheir patronage to literature, art and architecture isconcerned. Their splendour had been on the wane withthe repeated conquests of the Maratha kings, who werethe descendents of Sivaji. Finally the glory of theNayakas had vanished in course of time under theMaratha Kings.

The Maratha Kings realized that they could notwin the favour of the people unless they continued thenoble vision of the Nayakas by elevating the culturaland literary activities as flourished under the rule oftheir predecessors. By contributing for the developmentof art and architecture the Marathas could gain thefavour of their vassal kings who paid tributes to them,the old leaders of different communities and theordinary people. They patronized poets, scholars andmusicians. Their contribution to propagation ofknowledge was so great that they got literary classicstranslated into different Indian languages and establisheda very big library known as ‘Saraswati Mahal’. Theybuilt theatres popularly known as ‘Rangamantapas’ todevelop fine arts like music, dance, painting andsculpture and traditional arts like Yakshaganas andHarikathas.

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Unbridled life :

Along with these virtues, the courts of the kingshave become centres for sundry vices inevitable ofroyal life like redtapism, bribary, nepotism, debaucheryand many other such activities. More often than notthe king was beset with sycophants who very easilyinfluenced the king while the really deserving and theworthy were very badly neglected. Sometimes courtshave become the abodes of nepharious activities andcentres for envy and places where plots were hatchedwith envy against power. All sacred institutions suchas ‘Devadasi vyavastha’ were exploited for sexualpleasures.

Need for reforms in music :

It was the time when there was a lot of controversyamong great musicians on different theses of musicand the sole aim of a classical concert was to defeatthe peer in competition and to put him to ridicule. Thisbeing the tendency of the scholars in musical art it didnot contribute for enhancing real aesthetic pleasure.Moreover the great musicians and bards of the dayhad given top priority to compositions based on lovetheme, since their main objective was to please andwin the favour of either the ruler or his concubine. Byand large, it was time to revive literature and musicfrom such a mundane existence to lofty ideals leadingto self realization. In such an exigency it became rather

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expedient that great reformers should incarnate tojustify the cause of literature and music.

Installation of Bangaru Kamakshi :

As it has been already discussed earlier, the priestfamily of Tiruvarur had wandered away from their nativehome to different places with the idol BangaruKamakshi and the wealth belonged to the deity andfinally reached Tiruvarur after a long period of time.Etymologically “Tiruvarur” means a sacred place onthe bank of a river. By the time they arrived at“Tiruvarur” the scholar priest of the Brahmin familyVenkatadri Ayyar belonged to Goutama Gotra andBodhayana Sutra was the master of the family. At thattime Venkatadri Ayyar’s son Viswanatha Sastry was25 years old and his daughter-in-law Vengalakshmi was20 years old. Then as Viswanatha Sastri had becomethe Principal priest of Bangaru Kamaskhi, 19 years afterthe installation of the deity at Tiruvarur, a wonderfulincident took place. By then Viswanatha Sastry didnot have any children.

A wonderful prophecy :

There lived a highly orthodox Brahmin in the nextstreet to the house of Viswanatha Ayyar. He was agreat devotee of lord Venkateswara. He used to worshiplord Sri Venkatachalapati on every last Saturday of themonth and invite brahmins for lunch as a part of thatreligious ceremony. Keeping that occasion in view

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brahmins far and near would gather at his home asparticipants of the worship of lord Venkateswara. Onsuch an occasion, a brahmin was divinely inspired andsaid in frenzy with a choked up voice; “call ViswanathaSastri’s wife here”. She was there at that place sittingwith other women participating in the ceremony. Shecame out and stood before the brahmin with all humility.The divinely inspired brahmin said with a prophetictone; “next year in the month of ‘chaitra’ when the star‘krittika’ will be on, you are begetting a son … arrangefor a ritualistic lunch for 100 brahmins ….”. Hisprophecy came true. Even before Viswanatha Sastri’swife completed her sentence - “do we have thatcapacity to feed hundred brahmins” the brahmin said“if not a hundred and twenty five even” - Sastry andhis wife reached home happily. True to the presage ofthe brahmin his wife conceived within a few weeksand delivered a male baby on 26th April 1662; themonth and year according to Hindu calendar wasChaitra of chitrabhanu, when the star “krittika” wason. The infant was named Venkata subrahmanyan byhis grandfather and parents. As the boy was darkcomplexioned like Srikrishna his parents would fondlycall him as “Syama Krishna” with all love and affection.Maternal Uncle’s association :

His parents, grandpa, and kith and kin only knewthat the boy Syama would become famous one day orthe other, but they did not know exactly in what field

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he would shine. Theirs was an orthodox brahmin familywhich maintained the long tradition of devoted priestsand scholars but, there were no musicians in that familybefore Syamsastri. His father trained his son andensured that the boy attained scholarship in Teluguand Sanskrit and gained some knowledge of the Vedasrequired of a priest. We don’t know how Syam hadspent his early boyhood days and what his favoritepastimes were. His maternal uncle though not a scholarbut a connoisseur of music taught Syama the basicsof music. It is believed that his maternal uncle used totake the boy along with him to the classical concertsand the open theatre performances of the episodesfrom the Bhagavata which are called the ‘Bhagavatamelas’ in the premises of the temple. That is the reasonwhy in Syma Sastri’s compositions we find thepredominance of ‘chaputala’ as a result of his fondnessfor the Bhagavatamelas even as a boy. The ‘melas’always showed a fascination for ‘chaputala’. Thoughhis maternal uncle first initiated him into music, hisinterest in it was multiplied by the classical musicconcerts and Bhagavata melas. His interest in theclassics of Sanskrit, Telugu and Tamil was propelledby his grandfather and father who were no meanscholars of these languages. Besides, Syamasastri wasendowed with a mellifluous voice.

Family’s shift to Tanjavur :As such it can’t be unusual to think that his mother

was also imbued with hereditary interest in music. As

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the boy was very much fond of his mother, it is butnatural that he would take more liberty with his motherthan with his father. All the affection he had for hismother could be discerned from the phrases he fondlyused in his ‘kritis’ dedicated to Bangaru Kamakshi. Itcould be conjectured that either his grandfather or fatherwould have disciplined him in ‘Sri Vidyopasana’. Withall the interest he had in music and literature, Syamasastrispent his days in close association with his motherand maternal uncle who contributed a lot for hisformative years as a musician. When Syamasastri was18 years old their family moved to Tanjavur on receivinginvitation from Tuljaji - the Maharaja of Tanjavur.Syamasastri who was born and had lived at Tanjavurfor 18 years would have definitely associated andformed friendship with Tyagaraja (1767). Since bothSyamasastri and Tyagaraja had music and ‘Bhagavatamela’ as their common interest it could be presumedthat Syamasastri who was born in 1762 and had livedfor 18 years at Tiruvarur would have definitelyassociated and formed friendship with Tyagaraja whowas five years senior to him in age and was born at thesame place in the next street.

In Tanjavur :

As it had been already pointed out ViswanathaSastri’s family moved from Tiruvarur to Tanjavur in1781, they kept the idol of Bangaru Kamakshi Devi inKonkaneswara Swamy temple in the premises of thefort and continued to worship the goddess. His

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Highness Tuljaji, the Maharaja of Tanjavur who invitedViswanatha Sastri had asked him to keep and worshipthe deity in Mule Hanuman temple for three years untilhe built a temple specially for the goddess as ‘TanjavurKamakshi Ammal’ temple. The temple was built, theidol of Kamakshi was grandly installed and a‘kumbabhisheka’ was performed and the kingbounteously gifted the priest Viswanatha Sastri’s familywith an ‘Agraharam’ and a lot of wealth. He had alsodecreed thirty two acres of land as per law for themaintenance of the temple as an endowment land. Thesplendor of the temple is still being continued evenafter 150 years.

An envious Act :

Syamasastri who had completed 18 years by thetime they reached Tanjavur had to invariably take upnew responsibilities like assisting his father in theprocess of worshipping the goddess and holding upof minor religious activities for the benefit of thedevotees. On one occasion Syamsastri had to act asthe principal priest instead of his father as his fatherwas away at a nearby village. Then a reputed gentlemanof the town visited the temple to serve Kamakshi Deviwith some special process of worship. Syamasastriperformed the puja not only according to the scripturesbut also sang the ‘stotras’ in different styles of Ragasof which he was thoroughly conversant with. Thegentleman was pleased with the priest and felicitated

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Syama Sastri with a shawl. When Syam Sastri told hismaternal uncle all about the felicitation he had receivedfrom the gentleman of the town, he became so enviousof his nephew that he tore all the significantly importantpapers on music written by Syamasastri. His fatherheard all about this but kept quiet and his motherconsoled Syama and boosted up his morale.

Since Tanjavur is the capital and the priests’ familywon the favour of the king, Viswanatha Sastri used tovisit the court of the king on important festival daysfollowing the royal conventions. Young Syama Sastrimore often than not would visit the royal court alongwith his father. As king Tuljaji himself was a maestrowho authored a book on classical music, he wouldquite often hold music concerts. Though Syama Sastrydid not participate in the classical discussions andconcerts held in the court of the king, his activeaudience of these music concerts stirred his dormantflair for music and thus so many melodious songswelled up from his sonorous voice.

With Sangeeta Swamy - - - -

Exactly at the same time a Sanyasi known as SangitaSwamy, a learned musician skilled in both music anddance, stayed at Tanjavur during the ‘chaturmasya’period of the year. ‘Chaturmasya Deeksha’ meansduring the rainy season - for a period of four monthssanyasi’s stay at one location spending their time inworship and preaching. He was not only adept at dance

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and music but also one who knew the secret mysteriesof both the arts. It is said that the swamy used to dancebefore the shrine of Visweswara in Varanasi, popularlyknown as Kasi. He belonged to Andhra and during hissaintly wanderings through important pilgrim centres,he stayed at Tanjavur to spend the ‘chaturmasya’period.

Blessings of Sangita Swamy :

One day Viswanatha Sastri invited Sangita Swamyfor “bhiksha” i.e., as the saintly guest of the family asper the convention. The Swamy accepted the ‘bhiksha’and after all the said formalities were over, ViswanathaSastri introduced his son Syama Sastry to Swamiji.Syama prostrated at the feet of Swami and swamywas very much impressed with his behavior andpredicted that the boy would become a great maestroof music and also a renowned scholar. ViswanathaSastri was greatly pleased at the prediction of the swamyand expressed his gratitude in unequivocal terms.

A rare experience :

Receiving blessings from the Swamy was one ofthe remarkable opportunities in the life of Syama Sastri.As Sangita Swamy understood the merit of Syama heblessed him to become a master of music. Recognizinghis potential, the swamy educated him on manyadvanced aspects of music during his four month stayand also presented him several rarest of the rare musicaltexts. A Similar wonderful experience occured in the

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life of the other two great musical scholars of theTrinity, Syam being one among them. There has beena legend that the great saint Narada assuming the formof a yogin named Rama Krishnananda had appearedbefore Tagaraya in his prime youth and presented hima book entitled ‘Swararnava’ and also taught him somemystical secrets of the musical art. It is said that in thesame way Muttu Swamy Dikshitar had been initiatedinto the art of music by a great saint of the day knownas Chidambara yogi. Even after completion of thedeeksha Sangita Swamy would visit the house ofViswanatha Sastri at Tanjore in order to tutor SyamaSastri in the secrets of music regarding ‘raga’ ‘tala’and ‘swara prastana’ hitherto unknown to the mediocre.

So far his biographers have not given any evidenceto the maiden efforts of Syama Sastri’s compositionsbefore he had come into contact with ascetic SangeetaSwamy. As his compositions show Syama Sastristudied Sanskrit and Telugu and started composingfirst in Sanskrit in which he had several pieces andlater turned over to Telugu and Tamil. Elders who arethoroughly conversant with music hold the opinion that

“Janani natajana paripalini” is the earliest compositions of Syama Sastri in Sanskrit.

Ragam - Saveri - Aditalam

“Janani natajana paripalini - pahi mamBhavani”

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Satata vinata suta Ganapati SenaniRajarajeswari visala taruni akhilajanapavaniSatinuta charite sada madhura bhasha

vigaladamruta rasadhwaniSutanu, tava supada vikasita Eha madhu gatramatimatramajani sujani

(“Oh! Liberator of the devotees who prostrate atthy feet - always adored by the bow headed Ganapati,the commander, Rajarajeswari, broad minded goddessand purifier of all the sins of people; always praisedby women with songs sung in mellifluous language likethat of the flow of nector, more of ‘Rasa’ and ‘Dhwani’oh! wondrous beauty we drink the nector streamedfrom the compositions written on you with suitablewords”).

In this kriti (composition) or in some othercompositions we do not find the insignia or ‘mudra’ -Syamakrishna pujita or Syamakrishna sahodari - whichis significant in most of his ‘kritis’. It is believed thathe wrote these ‘kritis’ before he had come under theinfluence of Sangeeta Swamy - unaware of putting hisinsignia at the end of his compositions. He composedhis ‘kriti’s’ mostly on Kamakshi in three languages.Association with Pachchi Mirium :

Sangeeta Swami’s association had stronglycontributed to the reinforcement of musical apetite inSyamasastri. The ascetic not only enriched the

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compositions of Syamasastri but also helped him tobecome one of the most renowned composers of thecarnatic music by explaining to him all the intricaciesinvolved in the science of music. Satisfied with themusical performance of Sastri the Swamyrecommended that he listen to as many of the finemusicians of the area as possible and suggested thathe cultivate the friendship of the court musician ofTanjavur Pachchi Mirium Adi Appaiah. Later onSangeeta Swamy went on his pilgrimages with thesatisfaction that he had given a great musician to theworld.

Kamakshi !

Pachchi Mirium Adi Appaiah as a maestro ofcarnatic music authored so many kritis of which‘viriboni’ composed in ‘Bhairavi Raga’ and ‘Ata talavarna’ is prescribed to the second year students of thecarnatic music. From their first meeting itself, both AdiAppaiah and Syama Sastri have become close friendsand the former would always appreciate the way thelatter composed kritis. Adi Appaiah always addressedSyama Sastri as ‘Kamakshi’. It is neither because ofSyamasastri was the son of Viswanatha Sastri norbecause he worshipped Kamakshi in his father’sabsence but because of the insignia Sastri puts at theend of each of his compositions as ‘Syama Krishnapujita’ or ‘Syama Krishna sahodari. As Adi Appaiahbecame a great admirer of Syama Sastri, it could be

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presumed that he did not make any difference betweenthe goddess and Syama and so addressed him as‘Kamakshi’

Todi - raga Adi tala - Swarajati Pallavi;

“Rave Himagiri Kumari Kanchi KamakshiVarada -

manavi vinavamma shubhamimma mayamma”Bhairavi - raga, Misrachapu - tala, Swarajati

Pallavi

“Kamakshi anudinamu maravaka ne nipadamuledikkanuchu nammitini, Sri Kamakshi” - // Kamakshi //

I believe and pray every day that your lotus likefeet are my recourse Sri Kanchi Kamakshi.

It is believed that Syamasastri was probably thefirst to compose a new form of Swarajati, a novelmusical genre. Prior to this the Swarajati was primarilya dance form and was close in structure to the‘Padavarnam’.Please don’t feel :

There is a gap of nearly 30 years in age betweenAdi Appaiah and Syamsastri. Syama was only twentytwo years by the time he became a disciple of Appaiahwho was in his fifties and was renowned as a musicalscholar in the court of the king of Tanjavur. As it hasalready been told Appaiah was very much fond of

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Syamasastri and developed a fascination for hiscompositions. Syama Sastri was in the habit of chewingbetel even before his teacher and mentor. One daywhen both the teacher and the taught were totallyimmersed in conversation the betel juice spilled outfrom the mouth of Syama on the outer garment of AdiAppaiah. Syama felt sorry over the incident thathappened quite inadvertently and begged his teacher’spardon. When he was about to bring water to cleanthe red stain of betel, Adi Appaiah said: “I take it as ablessing of the goddess Kamakshi on me. I have beenwaiting for this moment over a long period of time. Ithink the deity blessed me like this to know the secretsof the musical art. Don’t feel”. From this it could beassumed that Adi Appaiah had a knowledge about theinborn talent of Syama Sastri and that he was onlyinstrumental in bringing out that talent. He believed thattheir relationship was predestined by God.

An attractive personality :

While walking along the streets of Tanjavur SyamaSastri would attract one and all with the majesty of hisimpressive personality. He was fair complexioned, hisbroad forehead always glowed with stripes of ‘vibhudi’and a red kum-kum mark shining just above the centreof eyebrows gave him the appearance of the three eyedSiva; a chain of gold studded with ‘rudrakshas’adorned his neck; and his ears had diamond rings;dressed in the conventional attire of shining white

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‘dhoti’ and ‘uttarium’ (lower and upper garments) anda stick in hand he would command the awe andreverence of one and all in Tanjavur. He was consideredto be the Emperor of carnatic music by people of thatregion. His personality created an indelible impressionon the minds of those who knew him. He succeededhis father as the main priest of the temple andsuccessfully accomplished his duties. He worshippedBangaru Kamakshi not only with the fragrant flowerspicked up from the garden but also adorned her withthe magical fragrance of his musical forms. He isresponsible for the extension and enrichment of thetreasure of carnatic music by offering songs which arevery rich in rhythmic conception. He was an absolutemusician and he sang with obvious facility, spontaneityand effortless ease. Although Syama Sastri did notcompose as many compositions as his two prolificcontemporaries, his ‘kritis’ are equally reputed for theirrare ranges and wonderful talas. He composed inTelugu, Sanskrit and Tamil mostly addressing goddessKamakshi. Syama Sastri is credited with about 300kritis and Swarajatis. Most of them are written in Telugu;others in Sanskrit and a few in Tamil.

The Trinity of Carnatic Music :

Syama Sastri’s development could be discernedat two levels: one is his devotion to goddess Kamakshiand the other is his ability of musical composition. Ashe was a ‘Srividyopasaka’ in his inspired moments he

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felt himself as a son to the deity and composed kritisin an emotive mood in the form of affectionate dialoguebetween a mother and a son. He is one among theTrinity of carnatic music, Tyagaraja and Muttu SwamiDikshitar being the other two who explored thepossibilities of novelty in carnatic music.

Trio is the trio :

The Trinity of carnatic music are not onlycontemporaries but also hailed from the same place -Tiruvarur. Each of the three is a musical genius.

The expressive facility of language coupled withthe inventive style of musical technique make theircomposition not only harmonious but also exemplary.They have attained great reputation as the gloriousTrinity of carnatic music because of their unparalleledgenius in so far as their musical compositions areconcerned. Certain common traits are discernible intheir compositions. Their kritis are written with unequalexpertise in blending the theme of the ‘kirtana’ with arare Raga or molding the krithies with differentcombinations of Ragas, so as to enable the audienceexperience the sublimity of their composition. The trioare the scholars of Vedas and Puranas adept inastrology and magical science. They are born for acause to be fulfilled and all of them got initiation fromyogis of unequal merit in divinity so as to becomegreat masters of musical art. Learned scholars say that

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Tyagaraja’s style is instantly enjoyable by the audienceas that of grape juice and Syamasastri’s style needssome effort on the part of the audience as one shouldbite the fruit to enjoy and Dikhitar’s style is a bit difficultas a hard coconut which is internally sweet. The styleof Tyajaraja is like the flow of Godavari andSyamasastri’s style can be compared to the flow ofriver Krishna and Dikshitar’s with that of river Kaveriwhich has the qualities of both Godavari and Krishna.The objectives of modern carnatic music are embryonicin the compositions of the Trinity. They visited all theimportant pilgrim centres and composed pancharatnaand navaratna ‘kritis’ and Malikas on the deities withdevotion. They are great philosophers; they are yogisof uncommon insight; they are incomparable preachersand they are great saints who attained salvation at theirwill!

Successive Development of the Kirtanas :

The ‘kirtana’; as an eulogy of the infinite qualitiesof God which was pioneered by Annamaiah had beendivided into two streams as ‘Adhyatma Kirtana’ and‘Sringara Kirtana’ later on the same ‘kirtana’ had beentransmitted into ‘padam’ by Kshetraiah absorbing thequality of rhythm (Tala) from the ‘Yakshaganas’combined with the easeful melody of verse. It isdesigned to express the tenderest feelings of the eroticpleasures of the deities in a devotional manner. ‘Kirtana’

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has expanded as a blend of literature and music byexpanding its magnitude with the ease and facility ofexpression in literature and by extending the depth ofthe Raga.

Limpid glory of the majestic music :

Pure kritis of music always aim at the compositionof raga as it is the ideal of its objective. Here literatureshould be simple as it has only a secondary role as thegarb of letters since the sole aim of a ‘Suddha SangitaKriti’ is to make explicit the combination of the‘swaras’. Analyzed from this point of view Syamastri’scompositions have a profound depth and magnitudein so far as the combination of the swaras is concernedand the literature is as tender lucid and glorious as thenew born flower! It is said that his skill in suchcompositions is almost equal to the ability and skill ofKshetraiah in composition of his ‘padas’. So in short,Syama Sastri is an absolute musician and his kritisConstitute absolute music. His kritis show an obviousspontaneity and effortless ease. He never imitates othersand makes his indelible impression by his ability tocompose in the most complex of ‘Talas so as to makethe ‘Raga’ flow like the torrent of a steam. Though hecomposed in many talas such as triputa and rupaka,he specialized in chapu and his kirtanas are replete withthe beauties of chapu tala. Besides, he used differentgatis like trisra and misra in his compositions and theystand as a testimony to his prowess in laya.

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Meal in late hours :

Syama Sastri lived a happy life with all the wealthand priesthood given to him by Maharaja of Tanjavur.He seems to have enjoyed a contented life with hisfamily members since there was nothing to be worriedabout. Therefore he never had an occasion to use hisgift of music for his earnings. It is said that he wouldoften visit Tiruvarur and spend some of his time withTyagaraja discussing music. As and when both themasters were deeply immersed in their discussion, thestudents of Tyagaraja would conclude that they wouldget their meal only in the late hours of the day. It couldbe surmised that Sastri would also visit Dikshitar everynow and then.

Not possible for the mediocre :

His kirtanas reflect the exceptional prowess themaestro had in ‘Tala’ and ‘Gati’. Sastri made his‘kritis’ so profound that only scholars who are eruditein music could sing them! Even those who are adept atsinging Tyagaraya ‘kritis’ could not sing the songs ofSastri. Nothing to mention about the mediocre. Hecomposed kritis, varnams and svarajatis with theinsignia (ankita mudra). He was probably the first tocompose in a new form of the ‘Swarajati’ in musicalgenre. His three famous Swarajatis which are meant tobe sung in the concert rather than danced far sometimesreferred to as ‘Ratna Traya’. By and large, the tunes

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he set for his compositions in rare ragas such as ‘Mangi’‘Kalagada’ and ‘chintamani’ hold up a mirror up tohis rare genius. Some of his ‘kritis’ could be sung in‘Madhyama’ and ‘Vilambakalas’. He made twowonderful compositions in kalyani Raga - one inSanskrit and the other in Telugu. If they are notpresented vocally but played to the accompaniment ofany musical instrument, it is very difficult to distinguishone from the other for it gives scope for one toconclude that both are the same.

Kalyaniraga - Rupakatala

Pallavi (Burden of the Kirtana): Birana varalicchibrovumu ninu nera nammiti

Anupallavi (Response): Purali Manoharini SriKamakshi //Birana//

Oh! Kamakshi beloved of Siva - please bless meimmediately with more gifts - I believe in you.

Kalyaniraga - Rupakatala

Pallavi: Himadri sute - pahi mam varade Paradevate-

Anupallavi: Sumeru Madhya Vasini Sri Kamakshi

(Oh! daughter of the Himalayas I bow before you- protect me - Oh! Deity of transcendent nature)

Favorite - Anandabhairavi :

All his compositions whether in Sanskit, Teluguor Tamil are on goddess Kamakshi. In all his

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compositions the recurring theme is an honest appealfor the favour of goddess Kamakshi just as a son begsfavours of his mother; with an insignia ‘Syama KrishnaPujita’ or Syama Krishna Sodari as a symbol ofdedication. There is a pun on the vocative phrase‘Syamakrishna sahodari’ - denoting as the sister of thecomposer ‘Syam Krishna as she is the presiding deityof Syama Sastri’s family and also as the sister ofVishnu - the primordial deity from whom the creationhas come into existence. Bhairavi swarajati is one ofthe three epics of its class, the other two being yadukulakambhoji and todi. His ‘Ananda Bhairavi’ will continueto sway and rock us on the billows of ineffable blissas that of few others can. As he had composed mostof his kritis in Ananda Bhairavi, it is assumed that theraga always fascinated him.

The tanavarnam starting with the burden ‘SwaminiRammanave” is composed in ‘Ananda Bhairavi raga’and ‘Atatala’ in which the heroine sends a messagethrough her maid to the hero Kanchi Varada RajaSwami. The ragas which he composed hold testimonyto the fact of his essential occupation with music sincemost of them are ‘Rakti Ragas’. As we have alreadyobserved Syama Sastri’s fascination for AnandaBhairavi had taken a grip over his students and one ofhis scholar students wrote Swara Sahitya (compositionof tunes) for Sastri’s kirtana O! Jagadamba composedin Ananda Bhairavi. The art of composing was carried

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over by the next generation too. The inimitable style ofSyama Sastri as it were, found an expression not onlyin the compositions of his son Subbaraya Sastri whoseinsignia is kumara, but also in the wonderful kritis ofhis grandson Annaswamy Sastri. It is Annaswamy Sastriwho himself composed Swarasahityam (compositionof a tune) for a kriti - ‘Palinchu Kamakshi’ in‘Madhyamavati Raga’.Honour in Madhurai :

It is said that Syama Sastri had a little occasion togo out of Tanjavur but from his pieces it could besurmised that he along with his friend A. Krishnaiahwent to distant Madhurai where he composed and sangnine kritis known as ‘Navaratna Malika’ (garland ofnine gems) in praise of goddess Meenakshi of Maduraitemple. He sang his ‘kritis’ Sarojadala Netri andDevimeenakshi in Sankarabharanam. ‘Mariveregati’ inAnanda Bhairavi, ‘Nannu Brovu Lalita’ in Lalita Raga,‘Mayamma’ in Ahiri, ‘Devi ni pada sarasa’ inKambhoji, ‘Meenalochani’ in Dhanyasi and the other‘kritis’ and dedicated them to Meenakshi. The priestsof the temple felicitated him with all the honours of thetemple intended for a great Devi Upasaka.

Protect the honour of Tanjavur :

By the time Syama Sastri reached to the prime ofhis youth he became reputed as a great worshipper ofDevi and a great scholar of music. Shara Bhoji ascended

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the throne of Tanjavur after the demise of his fatherTuljaji. Sharabhoji is well known as the patron of artsand music and he is responsible for the extension ofSaraswati Mahal library. The king Sarabhoji being adeptin fine arts encouraged all kinds of musical presentationslike plays, concerts and yakshaganas. Syama Sastrirestricted himself to only his priesthood andcompositions and he never kept close contacts withthe king and his court.

There is an interesting episode which stands as atestimony to Syamasastri’s strength in ‘laya’. Once aninsolent scholar in music from North named BobbiliKesavaiah visited Tanjavur on the howdah of anelephant. He presented the testimonials of his scholasticvictories over the scholars of the different royal courtsin South and exhibited his conceit by challenging thelocal scholars for a scholastic contention in the art ofmusic. This challenge agitated the local scholars andthey mooted the matter at a meeting and finally resolvedto have recourse to Sastri’s scholarship. They calledupon him and solicited to keep the prestige of Tanjavurby his scholarly encounter with the boastful contender.Syama Sastri finally consented to compete with BobbiliKesavaiah but he had his own fears of success as heheard a lot about the erudition of his contender in music.He also heard about Kesavaiah’s successive victories.When he went to the temple of Kamakshi for eveningworship he prayed her by an instant composition in

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chintamani raga, beginning with the burden “Devi brovaSamayamide”. He gained confidence when he sawfalling of the flowers from the deity as a presage of hisvictory.

A day before the musical contest the news of thecompetition spread over the city and everybody wascurious to see the contention between the two greatsavants of music. The king remained confident thatSyama Sastri would definitely rise to the occasion anddefeat the contestant.

Is this all or anything else remains ?

That was a crucial situation. Everybody assembledthere as tense as they waited for the scholarlycompetition in music between Syama Sastri andKesavaiah. Both of the contestants were ready withtheir arguments. Syama Sastri covered his shoulderswith a shawl and the red ‘kum-kum’ mark was brilliantlyshining on his forehead like the third eye of Siva. Pindrop silence pervaded the court and the gifts for thewinners were readily kept beside the king in goldenplates. Kesavaiah started the programme by taking upa ‘raga’ and took the ‘Tanam’ with different ‘talas’,‘Jatis’ and ‘gatis’ as an evidence of his erudition andexperience in the musical art reflecting his arduouslabour in attaining that perfection. While his presentationwas making everyone spell bound, Kesavaiah stopped.Then Syama Sastri asked “Is this all or anything else is

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left-out?” Kesavaiah nodded his head as though nothingwas left out from his side. Then Syama Sastri showedso many novelties in his gana, tana and gatis to thewonder of his rival musician as he was adept atcomposing in rare ragas. Not satisfied with that SyamaSastri, asked Kesavaiah whether he could singsystematically without deviating from the rules of thescience of music. Kesavaiah replied in the positive.Then Syama Sastri challenged ‘please sing ‘Tanam’without shaking your head even a wee little’. It is writtenin the classical books on music that shaking head whilesinging a ‘Tanam’ is a great flaw. Kesavaiah no doubtis an adept singer but he could not overcome the habitof shaking his head to sides while singing. Anyway hewas discouraged as this particular flaw was not rectifiedby him even after longer years of practice.

Victory with applauds :

Now the turn had come to Kesavaiah. Hechallenged Syama Sastri to continue the pallavi whichhe started in ‘Simhanadatala’ the longest tala with 120beats per cycle. To every one’s amazement he not onlysang it but also composed a new pallavi inSarabhanandana tala - 79 beats for cycle - andchallenged Kesavaiah to continue it - ‘Sarabha’ is alegendary animal with eight legs and a head like that ofa lion; which can easily defeat a lion. This figure couldbe found in the architecture of the south Indian temples.

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This Sarabhanandana talam is an invention of SyamaSastri as a result of his longest exploration of thepossibility of producing a new tala with a blend ofdifferent talas that would transcend the normal pattern.As Kesavaiah never knew this new tala and it was notpracticed, he had to accept his defeat. The king wasso pleased that he felicitated Syama Sastri with so manyencomiums inscribed on a copper plate. In the sameway Syama Sastri defeated ‘Appakutti’ who becameinsolent with his scholasticity in music at Nagapattanamand made him take vows of ‘Sanyasin’.Five days after her :

Subbaraya Sastri, one of the sons of Syama Sastri,is one of the dearest disciples of Tyagaraja. UnlikeTyagaraja and Muttu Swamy Dikshitar, Syamasastri didnot have any set of pupils. As Syama Sastri is also agreat astrologer he proclaimed that his life would cometo an end after the demise of his wife. She is not onlyobedient to him but also took pride in his achievements.He was 65 years old when he died on 6th February1827. He left his mortal coil to join the Adiparasakti inthe form of ‘Bangaru Kamakshi’.