Our sincere thanks to:

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1. Smt. Krishnapriya for compilation of source document

2. Nedumtheru Sri.Mukund Srinivasan, Sri.V.C.Govindarajan and

Sow.R.Chitralekha for providing images and original artwork

3. Smt.Lakshmi Mukundan for audio

4. Smt. and Sri.Murali Desikachari for e-book assembly

 CONTENTS

Introduction 1

RAmAshTaka Krits 7
Kriti 1 9

Kriti 2 11

Kriti 3 16

Kriti 4 20

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Kriti 5 25

Kriti 6 30

Kriti 7 35

Kriti 8 39

Appendix 1 46
Raghuveeran of madurantakam-thanks: Sri.V.C Govindarajan

4
 ïI>
ïImte ramanujay nm>
ïImte ingmaNt mhadeizkay nm>

ƒ
Sri Venkatesa Sthotram celebrates the Archaa murthi of the sacred seven
hills as Daasarathi through this following verse:

AiÉramgu[akr dzrwe jgdekxnuxRr xIrmte,

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r"unayk ram rmez ivÉae vrdae Év dev dyajlxe.

abhirAmaguNAkara dasharathe jagadekadhanurdhara dhIramate|

raghunAyaka rAma ramesha vibho varado bhava deva dayaajaladhe||

Sri Venkataraman is hailed here as the precious son of emperor Dasarathaa,

the unmatched bowman wielding Kodhandam, the scion of the vamsam of Raghu,
the Lord of the Universe, the ocean of mercy, the boon giver, the one who
never changes His mind once he has offered refuge under His lotus feet and as
the consort of Maha Lakshmi. With the choice of the words, "Abhiraama
GuNaakara". He is recognized as the home of samastha KalyANa guNAs. These
GuNAs are not only auspicious as described in Sri RamaanujA's Gadhyam
passage, but they are also of great comfort to the Prapannas. They are thus of
a desired quality (Abhiraamam). They are of a hope giving nature and hence
desired by all of those, who climb those sacred hills from wherever they come.
This slokam reminds Him of His own promise to PrapannAs, "Dhadhaam Yethath
Vratham Mama" and appeals to Him to fulfill that commitment.

In the spirit of salutation to the lotus feet of the Raghuveeran covered with
fresh flowers of un-diminishing fragrance due to their association with the

1
 Lord's CharaNaaravindham, adiyEn will summarize the Krithis of Dikshithar on
Sri Ramachandra.

Although Dikshithar was "outdone" by Thyagaraja swamigaL in the krithis

dedicated to Sri Ramachandra, there are some jewels in the repertoire of
Dikshithar regarding his salutations to Sri Venkataraman. They are set in the
eight vibakthis of Sanskrit grammar. There are a few more also and the Rama
Bhakthi of Dikshitar reaches its peak with the MaNirangu Krithi dedicated to
Sri Pattabhi Raman.

The Krithis of Dikshithar on Lord Ramachandra, the Raghuveeran are:

1. Raama Raama kali kalusha viraama (Raagam : Raama Kali)

2. Kshithijaa Raamanam chintayeh (Raagam : Devagaandhari)

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3. Sri Raamachandroh rakshatu (Raagam : Sri Ranjani)

4. Sri Raamam Ravikulaabdhi somam (Raagam : NaaraayaNa GowLai)

5. Raamachandrena samrakshitoham (Raagam : Maanji)

6. Raamachandraaya namasteh Raajeeva lochanaaya (Raagam : Thodi)

7. Raamachandraath anyam na jaaneham (Raagam : Dhanyaasi)

8. Raamachandrasya daasoham (Raagam : Dharmaavathi)

9. Raameh Bharatha paalitha raajyam arpayaami

(Raagam : JyothisvarUpini)

10. Raamachandram bhaavayaami Raghukula tialkam upendram

(Raagam : Vasantha)

11. Maamava pattabhiraama (Raagam : Manirangu)

Krithis 3,4,5,6,7,8,9 and 10 are generally considered as the Raamaashtaka

krithis set in different vibhakthis. There is a reason for choice of each
vibhakthi to bring out the different aspects of bhakthi and prapatthi of a
devotee.

adiyEn will attempt to give the meanings and comments on these precious
raamaashtaka krithis of Sri MuthuswAmy DIkshitar next.

2
THE COMPOSITIONS IN THE EIGHT VIBAKTHIS (CASES)

The significance of choosing different vibakthis to salute the Lord can be

understood by a study of the slokam attributed to the grantha Karthaa of
Srimad NaarayaNeeyam, Sri NarayaNa Bhattadhiri of Kerala. That composiiton
of Sri NarayaNa Bhattadhiri is constructed in the 8 vibakthis of Sanskrit
(Dative, Possessive, etc, which are deflections of a noun). Let us refer to that
verse of Bhattadhiri, who included in one verse all the case terminations, while
addressing Lord Krishna:

k«:[aer]tu ma< cracr gué> k«:[< nmSte> sda

k«:[enEv suri]tae=hmsk«t! k«:[ay xÄ< mn>

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k«:[adev smuÑvae mm ivÉae> k«:[Sy dasaeSMyh<

k«:[e> Éi´rsÂlaStu Égvn! he k«:[a tu_y< nm>

kRRiShNorakShatu maaM carAcara guruH kRRiShNam namasteH sadA

kRRiShNenaiva surakShitoahaMasakRRit kRRiShNAya dhattaM manaH

kRRiShNAdeva samudbhavo mama vibhoH kRRiShNasya dAsosmyahaM

kRRiShNeH bhaktirasa~ncalAstu bhagavan he kRRiShNA tubhyaM namaH

Sri Narayana Bhattadhiri salutes the Lord of GuruvAyur in eight different

ways (KrishNAya Thubhyam nama:) :

"May Lord KrishNa the Guru of the universe protect me ! I offer my

salutations to KrishNa always. I have been saved by KrishNA countless number
of times. My heart has been surrendered only to Him. I am born out of Him (i-
e) He is my father. I stay as the servant of KrishNa. May I be blessed with
unwavering devotion to Him! O Lord KrishNa ! My salutations are to You."

In this elegant and moving Prapatthi verse, Bhattadhiri skillfully uses the 8
Vibakthis of Sanskrit one after the other. There is a reason for using the

3
 individual Vibakthis to address the Lord. Each is associated with an aspect of
Bhakthi that a devotee offers to the Lord as revealed by the Narada Bhakthi
Sutras and NarayaNa Bhattadhiri.

The moods of Bhaktha covered by the different Vibakthis are:

• Nishkaamya Karmam (service without expectation of rewards),

• Daasyam (servitude),

• Akinchanathvam (state of Utter helplessness),

• Bhagavad Gunaanubhavam ( enjoyment of the Lord’s KalyANa guNAs )

• Ishta Daivata Ananya Bhakthi (Exclusive devotion to the chosen form of

deity),
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• Dainyokthi (Plaintive pleading),

• Maha Viswasam (Utter trust in being saved by the Deity),

• Vandanam, Aathma Nivedanam (absolute Surrender),

• Vaatsalyam (expression of Devotion/affection just as a child has for its

mother),

• Kanthaa sakthi (Madhura Bhavam and strong pull to the Deity)

• Tanmayathvam (feeling of oneness with the Lord just as ANDAL stated

about her relationship to the Lord that can not be cut asunder in all births
and finally

• PallaNdu wishing auspiciousness to the Lord in a state of deep caring/

"Pongum Parivu"

Although the Lord does not need any protection, the Bhaktha prays that no
harm comes the Lord's way and sings for long life to the Lord just as
Periyaazhwaar in his pallandu did and Saint Thyagraja sang through his Bhiravi
Krithi: Raksha Bettare Dhoraku, Vakshasthalamuna velayu lakshmi RamaNanuki
Jaya (Let us protect our Lord in whose chest shines Lakshmi.

4
These are the moods or Sanchari Bhaavaas that we come across in the
Rammashtaka and other Krithis on Rama composed by the Nadhopaasaka Sri
Dikshitar in exquisite and chaste Sanskrit.

adiyEn will start with The Rama Kali raga krithi of Dikshithar first. This ragam
is a janyam of MAyA MaaLa GowlA in one tradition and is considered a
derivative of Kaasi RamakriyA (KaamaVardhini) in another. Even the name of
the ragam and its parentage is full of symbolism as hinted by Dikshitar's
choice of this ragam for worshipping Sri Rama in kali age and his prayer for
the enhancement of his desire (kaama) for His lotus feet. The composition is a
Kriyaa towards attaining that vardhini (growth) aspect of Kaama to the
destroyer of the Kali dhoshams.

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5
sadagopan.org

SrIRAma darbAr - thanks: Sow.R.Chitrlekha

6
7
kalikalusha viraama -thirukkutanthai

8
 KRITI 1

Krithi : Raama Raama Kali Kalusha virama

Raagam : Raama Kali

TaaLam : RUpakam

The SAhitya Vakhyams are as Follows:

Pallavi of this samashti krithi:

ram ram kilklu;ivram xraÉ&‘lam

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ram ram k1lik1Lxviram t4rapf4Rlflam
raama raama kalikaluShaviraama dharaabhRRillalaama

Charanam

ïImihjakam sugu[xam prNxam Zyam

mamv izvguéguhsuÇam ivÉudivnutnam

!mhijaka1m sHK3]ta4m p1rnfta4m xfyam

mamv SivK3RK3hsHtf1ram vip<4t3viNt1nam
shriimahijaakaama suguNadhaama parandhaama shyaama

maamava shivaguruguhasutraama vibhudavinutanaama

MEANING AND COMMENTARY:

Dikshitar uses choice words to describe Sri Rama's KalyANa guNaas here as
they relate to Kali Yugam. He says:

9
 "O Ramaa who destroys effortlessly the amangaLams that are natural to the
age of Kali, when the cow of Dharma stands on one leg only! O Lord, who is the
first among all the kings! O dear consort of Sita Devi! O the house/seat of all
Kalyaana Gunaas! O Lord with unsurpassed and ever increasing beauty (abhinava
Soundharyam)! O Supreme Being worshipped by Siva, Guha, Indran and
countless sages! Please protect me!".

Let us now understand the carefully selected words full of meaning and
alliteration in the different sections of the Saahityam.

"Rama, Kali Kalusha Viraama" portion of the krithi contains the raga mudra. Kali
Kalushas are the ills of Kali yugam. He is the Viraaman or destroyer of those
ills. Taara Bhruth refers to His being the supreme king (emperor/
chakravarthi) of the kings of the earth.
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Lalaama means sreshtan or Uttaman. He is the uttama adhikhaari among the

kings of this earth. Mahijaa denotes the daughter of Bhumi Devi (i-e), Sita
Devi. The salutations to Jaanaki RamaNan is "Sri Mahijaa Kaama Suguna
Dhaama". Suthraama is a title of Indraa. Dikshitar celebrates the Naama
Mahaatmyam of Sri Ramaa as that of being hailed by the king of Devas, Indra
and other Jnaanis.

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 KRITI 2

Krithi : Sri Raamachandro rakshatu maam

Raagam : SriRanjani

TaaLam : Chapu

The Sahithya Vaakyams are as follows:

Pallavi:

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ïIramcNÔae r]tu ma< ra]saidhrae r"uvr>

!ramc1nftf3Era rXT1 mamf raXsati3hEra rK4vrh

shriiraamacandro rakShatu maam raakShasaadi haro raghuvara:

anupallavi

Érta¢j> kaEizkyagr]k> taqkaNtk> (ïIramcNÔae r]tu ma< )

p4rta1kf3rjh ekq1Sik1yak3rXk1h ta1d1ka1nft1k1h

(!ramc1nftf3Era rXT1 mamf)
bharatAgraja: kaushikayaagarakShaka: tATakAntaka:

(shrIrAmacandro rakShatu maam)

caraNam:

imiwlangr àvez mheñr xnuÉeRdkae

sIta kLya[mhaeTsv vEÉv yut icÇve;kae

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 maxuyR ganam&t paniày guéguh ivñasae

mhadevIÉ´ przuramgvRharae‘as> (ïIramcNÔae r]tu mam! )

miti2lank3r pf1rEvS mEhSfvr t4NrfEp4t3Eka1

sIta k1lfya]mEhatf1sv Avp4v y<t1 ci1tf1rEvxEka1
maT4rfy ka3]amfRt1 pa1npf1riy K3RK3h vixfvas
mhaEt3vipkf1t1 p1rSHram k3rfvhaEralflash
(!ramc1nftf3Era rXT1 mamf)
mithilaanagara pravesha maheshwara dhanurbhedako

siitaa kalyaaNamahotsava vaibhava yuta citraveShako

maadhurya gaanaamRRita paanapriya guruguhavishvaaso

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mahaadevibhaktha parashuraama garvahaarollaasaH

(shriiraamacandro rakShatu maam)

MEANING AND COMMENTARY:

DIkshitar says, "May the Maha Veera Rama, who destroyed evil Rakshasas,
Tatakaa and helped sage Viswaitra to complete his sacred yagam at
Siddhaasramam protect me! May the eldest brother of Bharatha, who reached
the city of Mithila thereafter and broke the mighty bow of Siva to qualify for
the marriage to Mythili, offer me his protection! May the bridegroom Rama,
who exhibited his multifaceted beauty during the different stages of his
marriage to Sita, protect me ! May the Gaana Lola, who delights in drinking the
divine nectar of music and who is dear to his nephew Guha save me from the
ills of samsaara ! May the supreme bowman Sri Rama, who destroyed the
arrogance of Sri Vidya Upasakaa, Parasurama protect me always !"

The Bala Khandham and the many acts of valor of Sri Ramachandra is saluted
by Dikshitar in this Krithi.

12
The Raghuveera Vaibhavam is very much in the mind of Dikshitar. In the
Pallavi and Anupallavi vakhyams, he refers to the valor of the elder brother of
Bharatha and salutes him as the destroyer of the rakshasas (raakShasaadi
haro), the cause of the death of the violent and shameless Tatakaa and her
sons (taaTakaanthaka). He recognizes and reminisces over the extraordinary
skills of the elder brother of Bharatha (bharatagrajo) in archery and the
defense of the yagam of Sage Viswamitra (kaushika yaaga rakShaka) at
Siddhaasramam.

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Rama helped Viswamitra- thanks: www.kamat.com

The first two lines of Charanam celebrate the joyous events associated with
the Sita KalyaNa Vaibhogam. His entry into the city of Mithila as a majestic
prince captivating the hearts of the citizens of king Janaka's Capital city to

13
 marry Maithili (mithilaa nagara pravesha) through the bending and breaking of
the mighty bow of Maheswara (maheshwara dhanurbhedako) is saluted here.

The grand celebration of the marriage festivities (sIta kalyANa mahotsava

vaibhavam) and the many beautiful attires (mahotsava vaibhava citra vishAko)
worn by Sri Rama during the different stages of the marriage ceremony
(Nalangu, exchange of Garlands, PaaNi GrahaNam, Maangalya DhaaraNam,
seven steps around the sacred fire, Lajaa Homam, gruha Pravesam et al) are
enjoyed by Dikshitar in his mind's eye and are saluted thru the first half of
CharaNam.
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sita kalyana vaibhogam

The latter half of CharaNam refers to Sri Rama's delight in drinking the

14
nectar of music (maadhurya gaanaamRRita paanapriya).

Saint Thyagaraja has referred to sri Ramachandra's deep affiliation to

delightful music in many of his krithis. The great Rama Bhaktha has alluded to
the seven svaras incarnating as beautiful damsels and dancing in front of this
sangita-lola with their tinkling bells (Sobhillu Saptasvara krithi in Jaganmohini
ragam and the AtaaNa krithi, Sripapriya). The bard of Thiruvayaaru delights in
addressing the Lord as Saptha svara chaari in the AtaaNa krithi referred to
above. Among the other pieces of the Saint's krithis we find many references
to Sri Rama's supreme talent as a Sangitha Rasika (Sangita Lola in Kambhoji
krithi, Sri Raghuvara Aprameya, Sama Gana Lola in the Sriranga Pancharatna
Krithi). In Arabhi Pancharatnam, the saint refers to Sri Rama as the
maintainer of the musical tradition (sangIta sampradaayakuDu). The conception

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of Rama as Nadha Brahmananda Rupi by Saint Thyagaraja in his krithis :

1. NaadasudhA rasambhilanu/Arabhi,

2. Talaci nantane/mukhaari and

3. Ni dayace Rama/Yadhukula Kambhoji is very appropriate to Dikshitar's own

salutation to Sri Rama as "maadhurya gaanaamRRita paanapriya").

In one of the two remaining salutatons of CharaNam, Dikshitar describes the

fond uncle Rama as the one dear to the heart of the nephew, ShaNmugan
(guruguha vishwaso).

In the last charaNa vakhyam, mahaadevi bhakta parashuraama garva

haarollasaha, Dikshitar refers to the destruction of the arrogance of the
haughty Parasurama, who challenged the newly wed Rama and demanded that
Rama show his valor by bending the Vishnu Dhanus. He describes Parasurama as
the great devotee of Sri Vidya here. The land of Kerala is known as
Parasurama Kshetram, since Parasurama recovered that land from the Ocean
with his mighty axe. The worship of Bhagvathi in that land is ancient and
Dikshitar refers to that tradition originating from Parasurama.

15
 KRITI 3

Krithi: SrI Raamam ravikulAbhdhi somam

Raagam : nArAyaNa gowLai

ThaaLam : aadhi

The Sahithya Vaakyams are as follows:

pallavi:

ïIram< rivk…laiBxsaem< iïtkLpÉUéh< Éje=hm!

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!rammf rviK1lapf1ti4Esammf sfrit1k1lfp1p<>4Rhmf p4Ejhmf

shriiraamam ravikulaabdhi somam shriitakalpabhUruham bhaje'ham

anupallavai:

xIra¢g{y< vre{y< dInjnaxar< r"uvIr

nardaidsÚutramay[paray[muidtnaray[m! (ïIramm! )

tI4rakf3rk3]fymf vEr]fymf tI3njnata4rmf rK4vIrmf

narata3ti3snfNt1ramay]pa1ray]Mti3t1naray]mf (!rammf)
dhIrAgragaNyaM vareNyaM dInajanaadhaaraM raghuvIraM

nAradAdi sannuta rAmAyaNa pArAyaNa mudita nArAyaNam (shrI rAmam)

charaNam:

dzrtaTmj< lúm[a¢j< danvk…lÉIkr< ïIkr<

k…zlvtat< sItaepet< k…vlynyn< sudÉRzynm!

16
suzrcappai[< suxami[< sUn&tÉa;< guéguhtae;<

dzvdnÉÃn< inrÃn< daninix< dyarsjlinixm! (ïIramm! )

t3Srta1tf1mjmf lXfm]akf3rjmf ta3nvKlpI4k1rmf !k1rmf

K1xlvta1t1mf sIEta1Ep1tmf K1vlyny[mf sHt3rfpa4Sy[mf
sHxrca1p1pa1]imf sHta3m]imf sJnfrit1pa4xmf
K3RK4hEta1xmf
t3Svt3np4wfj[mf nirwfj[mf ta3[niti4mf t3yarsjlaniti4mf
(!rammf)
dasharatAtmajam lakShmaNAgrajam dAnavakulabhIkaram shrIkaram

kushalavatAtam sItopetam kuvalayanayanam sudarbhasayanam

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susharacApapANim sudhAmaNim sUnRRitabhASham guruguhatoSham

dashavadanabhan~janam niran~janam dAnanidhim dayArasajalanidhim

(shrI rAmam)

MEANING AND COMMENTARY:

DIkshitar says, "May I have blessings of meditating on Sri Rama of limitless

auspicious qualities and subha Charitam ! He is the moon that causes the tides
of Surya Kulam to rise with Joy. He is like a kalpaka tree to his devotees in his
boon-granting power. He is the first among the valorous ones! He is the
anaatha Rakshakan, who comes quickly to the rescue of those, who seek his
refuge. He is the crown jewel of the dynasty of Raghu Kulam. He is Sriman
Narayanan, who accepts with delight the recitation of Srimad Ramayanam by
Rama Bhakthas, a tradition that goes back to sage Naarada. He is the son of
Dasaratha (Daasarathi) and the elder brother of Lakshmana. He is the father
of Kusa and Lava, who sung Ramayana to the accompaniment of VeeNa in his
court. He is the one, who is offering his Darsanam as Sita Sametha Raman in
Pattabhisheka Kolam. He is the destroyer of the evil Asuraas. He has the eyes
that are like the blue lotus that greets the moon with joy. He laid on the

17
 sacred grass at ThiruppullaaNi and requested the assistance of Samudra Rajan
for completing his avathara mission (ie), RavaNa Samhaaram. He is the mighty
Kodhanda Raman known for his beautiful hand holding the mighty bow of
Kodhandam. He is the essence of Jnana, which shines as the brilliant lamp on
the hill. He is a Satya seela (Dharmo Vigrahavaan) and the embodiment of
righteousness. He is the ocean of mercy and the greatest benefactor through
his generosity of boons to devotees. May this Lord of limitless, auspicious
GuNaas be the object of my meditation!"
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Suryakula tilakam-SrI ramaparivaram-mambalam temple

In a brilliant piece set in Raga Naarayana Gowlai and TaaLam Aadhi, Dikshitar
has a SampoorNa Ramaayana Krithi. He salutes the various incidents described
by Srimad RamaayaNam from the birth of Rama to the destruction of
RavaNaa.

18
The svarupam of this ragam associated with the sacred naamam of Sriman
NarayaNaa is not much in vogue today in concerts due to the ascendance of
ragas Kedara Gowlai and Surutti. Dikshithar however made sure that the true
from of this sacred Raga is captured in this Krithi.

This krithi is a Naama Kusumaanjali to Sri Rama by Dikshitar. He installs Sri

Rama on a golden throne in his heart and meditates upon the legendary
incidents described by Sage Valmiki. With Prema Bhakthi, Dikshitar offers the
ambrosia of Svara and sahityam. He travels on the royal road (Raja Margam) of
Rama Bhakthi like many that preceded him such as sages Naradaa, Valmiki and
his students Kusa and Lava and offers his Nada Naivedyam to Sri Rama. Like
Saint Thyagaraja, he seems to point out that the blessings of meditation on
Sri Rama is the real blessing to be coveted by us whole heartedly. He seems to

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say like Saint Thyagaraja in his Kannada Krithi "Ideh Bhagayamu gaaka - yemi
yunnadhiraa! Rama !" (This alone is the real blessedness to be sought after - to
meditate incessantly your holy feet with the whole heart).

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 KRITI 4

Krithi : rAmacandrena samrakShitoham

Raagam : Maanji

ThaaLam : rUpakam

The saahitya vaakayams are as follows:

pallavi:

ramcNÔe[ s<ri]tae=h< sIta

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ramc1nftfEr] smfrXiEta1hmf sIta1

rAmacandreNa samrakShito'ham sItA

anupallavi

rmaÉartIgaErIrm[Svêpe[ ïI

rmapa4rtI1ekq3rIrm]sfvREp1] !
ramAbhAratIgaurIramaNasvarUpeNa shrI

caraNam

kamkaeiqsuNdre[ kmnIykNxre[

kaeml"nZyamen kaed{frame[

mamkùdyiSwten maéitgItam&ten

miÃrmi[mi{ftmÌ‚éguhmainten (ïIsIta)

ka1mEka1F1sHnft3Er] k1mnIyk1nft4Er]

20
Eka1mlk4[xfyaEmn Eka1t3]fd3raEmn
mamk1hfRt3ysfti2Et1n maRti1kI3ta1mfREt1n
mwfjirm]im]fF3t1K3RK3hmaniEt1n (! sIta1)
kAmakoTisundareNa kAmanIyakandhareNa

komalaghanashyAmena kodaNDarAmeNa

mAmakahRRidayasthitena maarutigItAmRRitena

ma~njiramaNimaNDitamadguruguhamAnitena (ShrI SItA)

MEANINGS AND COMMENATARIES

Sri Dikshithar composed this beautiful krithi in Ragam Maanji, which is a janya
ragam of Nata Bhairavi. There are a lot of ideas here that recall the Krithis of
a great Rama Bhaktha, who was a contemporary of Sri Dikshithar by the well

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known name of Thyagaraja SwamigaL such as:

1. "Mohana Ramaa mukhajita Somaa" in raagam Mohanam,

2. "Sundaratara Deham Vandeham Raamam" in raagam PanthuvaraaLi

3. "Kana Kana Ruchi tara" in raagam VaraaLi,

4. "Naapaali Sri Rama Bhupaalaka Sthoma" in Navaros raagam, where he

salutes the matchless beauty of Sri Rama as more than that of crores of
Manmatha - "Koti Manmathulaina Saatigaa Nee Sogasu, Naadiunnithi
Madhini medi Sri Raamaa".

In Pallavi, Sri Dikshitar reveals that he is well protected by the

Dayaasaagaran, who has taken the vow to protect every one, who sought the
refuge of His lotus feet even once.

In Anupallavi, Sri Dikshitar touches on the thoughts made famous by Sadguru

Thyagaraja swamigal in his krithis such as "Paramaathmudu" in raaga
VaagadhEswari, "Mummurthulu Gumigoodi" in raaga AtaaNa, "Dvaitamu
Sukhamaa" in raagam Reethigowlai.

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sadagopan.org

Varadan in ramar thirukkolam

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In these Krithis, Sadguru points out that Sri Rama, his Ishta Daivam sports in
the form of Trimurthys and far exceeds them in KalyaNa guNaas. He points
out that Sri Ramachandra is the Antharyaami Brahman empowering the
trimurthys and bidding them to carry out their duties as creator, protector
and destroyer. After relegating all these uninteresting works to the
Trimurthys, Sri Rama according to Thyagaraja concentrates on His Varada or
Boon giving aspect.

In the Ritigowali krithi, Sadguru states that Sri Rama is sporting in this
universe as gods like Vishnu, Brahma and Siva. In the Vagadheeswari song, he
salutes Sri Rama as the Paramathma, who shines as the antharyaami of Hari,
Hara and Devas (Hariyata Haradata surulata --akhilaanda kotilata yantharilO
Paramaathmudu velagu mucchata bhaaga telusukorE).

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In his Ataanaa krithi, "Mummurthulu", the Saint of Thiruvaiaaru says that the
Trimurthys were dumbfounded when they found that Sri Rama's guNaas
outweighed their own on weighing. They sang His praise as the supreme among
them and were at a loss to understand how a mere son of a king could possess
those guNaas.

Sri Dikshitar tersely summarizes the above thoughts of Saint Thyagaraja,

when he salutes in Anupallavi: "Ramaa Bharathee Gowree RamaNa svarupeNa
Sri RamachandreNa Samrakshithoham". Ramaa RamaNan is Vishnu; Bharathi
RamaNan is Brahma and Gowree RamaNan is Siva. Sri Dikshitar recognizes Sri
Raama as the one who has the svarupam of Trimurthys through his residence in
them as Antharyaami.

In the charana Vaakyams, Sri Dikshitar eulogizes the beauty of Sri Rama as
being superior to crores of Manmathaas. The effulgence of this Mega SyamaLa
murthy sporting His mighty Kodhandam in His hand captivates Sri Dikshitar.
He states that the majestic mien of Sri Rama is enshrined in his heart. Sri
Dikshitar also visualizes Sri Rama enjoying the nectar like VeeNaa music of His
dear devotee, Hanumaan.

23
 Sri Dikshitar places his raga Mudra and the composer's mudra in the last line
of Charana Vaakyam this way: "Maanji MaNi manditha madh Guruguha
Maanithena Sri Sita Ramachandrena Samrakshithoham". He pays tribute to his
Upaasanaa murthy, Guru Guhan, the nephew of Sri Raama. He places his Guru
Guhan in a Mantapam decorated with the precious stones of Maanji
(Svarasthaana Devathais) and states that SubrahmaNyan pays homage to His
uncle, Sri Sita Sametha Ramachandran.

adiyEn will add two slokams of Sri Rama KarNaamrutham of a Kanchi Kamakoti
Peetaathipathi:

ïIramcNÔeit slúm[eit nIlaeTplZyamlkaemleit

A"aeraesyu´atvdnEvijþa sItpte> ra"vra"veit

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vedveda<tve*ay me"ZyamlmUtRye

pu<sa< maehnêpay pu{yðaekaym¼¦m!

shrIrAmacandreti salakShmaNeti nIlotpalashymalakomaleti

aghorosayuktAtavadanaivajihvA sItapate: rAghavarAghaveti

vedavedAntavedyaaya meghashyAmalamUrtaye

pumsAmmohanarUpAya puNyashlOkAyamangaLam

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 KRITI 5

Krithi : rAmacandrAya namaste

Raagam : Thodi

ThaaLam : misra cApu

The sahitya Vaakyams of Dikshitar's Thodi krithi are as follows:

pallavi:

ramcNÔay nmSte rajIvlaecnay vray

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ramc1nftfray nmsfEt1 rajIvElac1nay vray
rAmacandrAya namaste rAjIvalocanAya varAya

anupallavi:

samganlaelay saxujnaidpalay

kaemltrguéguhnutay kaeiqmarlav{yyay

samka3[Elalay saT4jnpa1lay
Eka1mlt1rK3RK3hNta1y Eka1F1marlav]fyyay
sAmagAnalolAya sAdhujanAtipAlAya

komalataraguruguhanutAya koTimAralAvaNyayAya

caraNam:

dzrwrajk…maray d{fkar{yivharay

kaEizkk«tmor]kay knkmi[maladray

25
 dz¢Ivàa[hray dasivÉI;[palkay

k…zlvsItasmetay kipb&Ndaidmnaehray

t3Srt1rajK1maray t3]fd3ka1r]fyviharay
ekq1Sik1kf1Rt1mk2rxka1y k1[k1m]imalat3ray
t3Skf3rIvpf1ra]hray t3SavipI4x]pa1lka1y
K1SlvsIta1sEmta1y k1pi1pf3Rnfta3ti3mEnahray
dasharatharAjakumArAya daNDakAraNyavihArAya

kaushikakRRitamakharakShakAya kanakamaNimAlAdarAya

dashagrIvaprANaharAya dAsavibhIShaNapAlakAya

kushalavasItAsametAya kapibRRindAdimanoharAya
sadagopan.org

MEANING AND COMMENTARY:

Sri Mutthuswamy Dikshithar composed this krithi on Sri Ramachandra in

raagam Thodi and thaaLam Triputa. This is one of the 8 krithis composed by
him in Raga Thodi devoted to different Gods and Godesses. Two of the above
eight are on Sri Krishna of Guruvaayur and on Sri Rama as the Vibakthi krithi
of Raamaashtakam. The remaining six are on Kamalaambikai of Thiruvaarur
(Navavarana Krithi), Dakshyaayini, Maha Ganapathi, Subramanya, Brihadeeswari
of Tanjore and VedaraNyeswarar (Siva) of VedaaraNyam.

Saint Thyagaraja on the other hand has left us atleast 32 krithis in (Hanumat)
Thodi to illustrate the various, glorious aspects of this evening Rakthi raagam.
He pours out his heart to Sri Rama in most of his krithis in his unique
conversational mode. Among the 32 of his krithis in Thodi, we find three
addressed to Rama Sahodari/AmbAL (Dharma Samvardhani of Thiruvaiuru,
Neelathayaakshi of Nagapattinam, Pravruddha Srimathi of Lalgudi) and
ShaNmugan. Rest of them are addressed to Sri Rama, his Ishta Daivam. The
most poignant of these krithis is in Thodi, where he confesses to Rama about

26
his worthlessness. He says: "O Rama, What value do I have without your daya
(Nee Daya Ravalegaga neh nentha vaadanu Rama?). Sri Dikshitar is not used to
emotional dialogs with his Ishta daivams. Hence in his Thodi krithi in exquisite
Sanskrit, he approaches Rama with reverence and formality and offers his
salutations.

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dharmavigrahavAn-punnainallur

In Pallavi, Sri Dikshitar offers his salutations to the eyes of Sri Ramachandra
that remind him of the beauty and tenderness of a Lotus flower. He salutes
Him as a supreme being (RamachandrAya VARAAYA NamasthE). The choice of
the word Varaaya meaning that he is a Sreshtan is consistent with the Sundara
Khandam verse, Where Hanumaan describes Him as :

ramaenamivze;}> öeò> svRxnu:mta<

ri]tajIvlaekSy xmRSy c prNtp>

rAmonAmavisheShaj~naH sreShTaH sarvadhanuShmatAM

rakShitAjIvalokasya dharmasya ca parantapaH

27
 In Anupallavi, Dikshitar salutes Rama's attachment to Sama Gaanam (Sama
Gaana Lolaaya NamastE ); His protection of Sadhu Janaas is next saluted as
“saadhu janaathi paalaaya namasthE”. Adi Kavi Valmiki praises Rama's
protection of all the Lokas and the Sadhus this way:

ramae Éaimin laekSy catuvR[RySy ri]ta,

myaRdana< c laekSy ktaR kariyta c s> .

rAmo bhAmini lokasya caturavarNayasya rakShitA|

maryAdAnAm ca lokasya kartA kArayitA ca saH||

The Dharma Vigraha Svarupam of the Lord and Bhaktha Daakshinyam of Sri
Rama are celebrated here.
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In the remaining portion of the Anupallavi, the unmatchable beauty of Rama

and His worship by the beautiful Guruguha is referred to. Sage Valmiki has
aptly described Rama's beauty in another Sundara Khaandam verse this way:

Aditya iva tejasvI lokakAntaH shashI yatA

rUpavAn subhagaH shrImAn kandarpaiva mUrtimAn

In the charana Vakyams, Dikshitar pays his tribute to the prince of Ayodhya
and the son of emperor Dasaratha, who roamed the forests of
DandakaaraNyam protecting Saadhu Janam (Dasaratha Rajakumaaraaya
Dandakaaranya Vihaaraya namasthE). This beautiful prince wearing golden
chain studded with precious stones is recognized next as the brave one, who
fought the asuras at Siddhaasramam and protected the Yajnam of Sage
Viswaamitraa (Kowsika krutha maka rakshaakaaya kanaka mani maalaadharaaya
namasthE). The bravery of Rama, who protected Vibhishana and took the life
of the evil RavaNaa is saluted next with the words "Dasagreeva praaNa
haraaya VibhishaNa Paalakaaya NamasthE". The final line of CharaNam sees
him as Pattabhi Raman, whose appearance as the emperor on the throne of
Ishvaakus captivated the heart of the assembled army of monkeys that

28
assisted Him in the battle (Kapi Brundhaathi Manoharaaya NaamsthE). The
final salutation is to Sri Rama as Jaanaki RamaNan in the company of His
consort Sitaa Devi and their two sons, Kusa and Lava who mastered the singing
of Srimad RamaayaNam from Sage Valmiki (Kusa Lava Sitaa Samethaaya Sri
Ramachandraaya Namasteh).

namostu rAmAya salakShmaNAya devyai ca tasyai jankAtmajAyai

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vibhishana paalakan
thanks: Sow.R.Chitralekha

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 KRITI 6

Kriti : rAmacandrAdanyam na jAneham

Raagam : DhanyAsi

ThaaLam : khanDa cApu

The whole Sahityam is as follows:

pallavi:

ramcNÔdNy< n janeh< ïI hirhraTmêip[ae>

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ramc1nftf3rt3[fymf n jaEnhmf ! hrihratf1mYRpi1E]a:

rAmacandradanyam na jAneham shrI hariharAtmarUpiNoH

caraNam:

kamjnkaTkiQnsubahu marIcorxU;[aid

mdhr[aNtkêip[ae smStsursÚutzrcappai[n>

srsguéguhs¼IttTvbaeixn> (ïIramcNÔdNy< n janehm! )

ka1mjnka1tf1k1F2nsHpa3hHmarIc1k2rT\4x]ati3
mt3hr]anft1k1YRpi1E]a smsft1sHrsnfNt1xrca1p1pa1]in:
srsK3RK3hsgfkI3t1t1tf1vEpa3ti4n: (! ramc1nftf3rt3[fymf)
kAmajanakAtkaThinasubAhu mArIcakharadhUShaNAdi

madaharaNAntakarUpiNo samastasurasannutasharacApapANinaH

sarasaguruguhasa~NgItatatvabodhinaH (shrIrAmacandradanyam na jAneham)

30
MEANING AND COMMENTARY:

In this Krithi of Sri Dikshithar's Ramaashtakam, we experience the Ananya

Bhakthi of the composer. He says that he does not know any other God other
than Sri Rama whom he worships. (Ramachandraadh anyam na Jaaneham --
Pallavi). He recognizes Rama as Hari Hara Rupan. He describes Sri Rama as the
amsa Bhoothan of both Vishnu and Sivan in the rest of the Pallavi.

In the Charanam, Sri Dikshithar refers to the beauty of the Lord and
recognizes Sri Raama as the father of the god of beauty, Manmatha. He
refers to the Bala Khaandam incident, where Sri Rama as a young prince
destroyed the arrogance of Subaahu and Maaricha, who caused havoc to the
Yajnam of Sage Viswamitra. He also refers to the latter episode in AaraNya

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Khaandam, where Single handedly, Sri Rama destroyed Kara and Dhooshana as
well as the 14,000 ogres that accompanied them from Janasthaanam, the seat
of Karaa, the brother of Surpanaka and RavaNaa.

Karaa came to avenge the disfiguration of his sister by Lakshmana and to kill
Raama. Raama met them single handedly and shined like great flame in the
middle of darkness. Sage Valmiki describes Rama's appearance then as
"bhabUva ramastimeraH mahAn agnirivottitaH".

A great Rama Bhaktha, Kulasekhara Azhwaar reacted to this passage of

RamayaNa in his court, when Pouraanikaas described it. He was overcome at
the thought of Sri Rama being surrounded by 14,000 ogres, he was overcome
with fear for the safety of his upasanaa murthy. In a swift reflex, he ordered
his army to accompany him and set forth on the mission to help Raama. The
ministers intervened and reminded king Kulasekara of Kolli Naadu that Sri
Raama battled the mighty assemblage of Rakshasaas and single handedly
destroyed them. Kulasekhara was relieved and dismissed the asssembled army
after hearing the news. Such was the Raama Bhakthi of Kulasekhara, who
completed SampurNa Ramayanam in his 10 verses on Thillai
Thiruchitrakudatthu Emperumaan in his Mangalaasaasanam.

31
kAma janakan - Puzhuthivakkam SrI Oppiliappan Koil

32
The famous slokam of Sage Valmiki that stirred Kulasekhara into instant action
is:

ctudRzshöai[ ra]sa< ÉImkmaR[am!

@kS½ ramae xmaRTma kw< yuÏ< Éiv:yit?

caturdashasahasrANi rAkShasAm bhImakarmANAm

ekasccha rAmo dharmAtmA katham yuddham bhaviShyati?

"Here are 14,000 ogres of ferocious power and deeds, while the dharmAtmA
RAman is alone. How will there be a fair battle under such circumstances?"

This was the fear of Adi Kavi Valmiki that found a resonance in Kulasekhara.
Sri Dikshitar refers to this when he salutes Vijayaraghavan as "kara

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Dhooshanaadhi mata haranaartha rupi". The devas were watching this battle.
Dikshitar refers to the assembly of Devas witnessing the Veeraragahavan' s
appearance in the battle field with his mighty Kodhandam as "SAMASTHA
SURA SANNUTHA SARA CHAPA PAANI". The music from the Dankaara
dhwani of mighty arrows leaving Sri Rama's Kodhandam adorned with seven
bells (saptha Svarams) on top inspired Swami Desikan to compose a moving
piece in the Yuddha Khandam section of his Raghu Veera Gadhyam that begins
with "KATURATH ATANI DANKRUTHI CHATULA --- ". In the fourth and
final line of this Krithi, Dikshithar connects the musical sound from Kodhandam
to the musical genius of Sri Rama, who has been described by Saint Thyagaraja
as Sangeetha Sampradhayukudu and Naadha Lola. This great Sangeetha
PravaNan according to Dikshithar's sahityam is described as the one, who
taught Guruguhan the intricacies of Nija Sangeetham (SARASA GURUGUHA
SANGEETHA TATVA BHODINA:).

The ananya Bhakthi of Dikshitar to Sri Rama is the heart of this Ashtaka
Krithi, where he proclaims: "SRI RAMACHANDRADH ANYAM (DAIVAM) NA
JAANEHAM".

33
sadagopan.org

thiruppullani sriramar-thanks: sri raghuveeradayal

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 KRITI 7

Krithi : rAmacandrasya dAsoham

Raagam : DharmAvati

TaaLam : Aadi

The sahitya Vaakyams are as follows:

pallavi:

sadagopan.org
ramcNÔSy dasae=h< ïI sItanaykSy guéguhihtSy

ramc1nftf1rsfy ta3Esahmf ! sIta1nayk1sfy

K3RK3hhit1sfy
rAmacandrasya dAso'ham shrI sItAnAyakasya guruguhahitasya

caraNam:

samdanÉedaidcturSy s¾npalSy ÊòhrSy

smyacars<àdaykSy zbrImae]àdSy vrSy (ramcNÔSy dasae=h<)

samta3nEp4ta3ti3c1T1rsfy sjfjnpa1lsfy T3xfd1harsfy

smyaca1rsmfpf1rta3yk1sfy Sp3rIEmaXpf1rt3sfy vrsfy
(ramc1nftf1rsfy ta3Esahmf)
sAmadAnabhedAdicaturasya sajjanapAlasya duShTaharasya

samayAcArasaMpradAyakasya shabarImokShapradasya varasya

(rAmacandrasya dAso'ham)

35
 MEANING AND COMMENTARY:

Sri Dikshitar composed this krithi in his Ramaashtakam series in the 59th Mela
Ragam, Dharmavathi. The Chatussruthi Daivatham and Kaakali Nishada svara
sthaana Devathais are used in the feminine raga of Dharmavathi to worship the
manohara purushan, who is the embodiment of Dharama (Dharmo Vigrahavaan).
It is an interesting coincidence that the Mela Ragam next to Dharmavathi is
Nitimathi with Shatsruthi Daivatham and Kaakali Nishada praadhanya
svarupam. Dharmam goes before Nithi, it looks! The great emperor, whose
rulership was celebrated as Rama Rajyam seems to enjoy Sri Dikshitar's
adoration in Raagam Dharmavathi.
sadagopan.org

SrirAmA of Sri Rangam

In pallavi, Sri Dikshitar emphasises Daasyam (one of the nine modes of

Bhakthi, the other 8 being SravaNam, Keerthanam, Paada Sevanam, Archanam,
vandanam, Sakhyam and Aatma Nivedanam) in this krithi. In the previous
krithi, he stated his ananya Bhakthi to Sri Rama. Now, he experiences the
Bhaavam of Daasyam. Saint Thyagaraja has composed many krithis to express
his servitude to Rama in the manner in which Hanuman and LakshmaNaa

36
demonstrated earlier. Some of the Krithis of the bard expressing Daasya
mode of Bhakthi are:

1. Tava Daasoham --Ragam PunnAgavarALi

2. Upachaaramu cesevAru--Bhairavi

3. Banturiti Kolu--Hamsanaadam

4. Centane Sadaa-- KuntalavarALi

The spirit of what Saint Thyagaraja states in the last Krithi is similar to the
mood of Dikshitar, when he describes himself as "Ramachandrasya Daasoham".
The bard of Thiruvaiyaaru expressed his mental state in the KuntalavaraaLi
piece as follows:

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"O Rama! Just keep me by your side, as you do Hanuman and Bharata. You need
not tell me much or often. I shall understand whatever work you think of and I
will cheerfully carry it out."

In Charana Vakyams, Dikshithar reminds one of the Kaapi NaarayaNi piece of

Saint Thyagaraja "Sarasa Saama Dhaana Bheda Danda Chathura". Dikshitar's
choice of words is "Saama Dhana Bhedaadhi chaturasya", He leaves out
Dandam. Both thus celebrate the adeptness of Sri Rama in statesmanship by
wielding the four expedients, reconciliation (Saama), Winning over through
gifts (Dhaana), Dividing the enemies and conquering (Bheda) and Punishing by
display of valor (Dandam). While thinking about the Chathushtayam (Four
means), the fourth expedient is very much on Dikshitar's mind and hence he
goes on to eulogize Rama as "Sajjana Paalasya, Dushta Harasya". The
establishment of Dharma thru' different incarnations (Dharma
Samsthapanaarthaaya Sambhavaami YugE yugE) and the protection of the
Sajjanaas (Bhaktha Paalanam) and the destruction of the wicked (Dushta
Nigraham) are alluded to by Dikshitar in the second line of CharaNam.

In the third line, Dikshitar slautes Rama as "Samayaachara

37
 Sampradhaayakasya". Samayaachaaram is the ancient code of conduct defined
by Saastraas. Rama never swerves from that Aachaaram.

In the final line, Dikshitar refers to another servant of Sri Rama. The lady on
the banks of Pampaa river by the name of Sabari, who served the Lord thru
her unique hospitality and received the blessing of Moksham from the Lord
Hmself. This Dikshithar refers to as "Sabari Moksha Pratasya". The Bhagyam
of Sabari has been celebrated by Saint Thyagaraja in Mukhari piece (Entaninne
varninthunu? Sabari Bhagya). Describing her indescribable bhagyam, the
Sadguru says: "She was privileged to see the Lord directly to her heart's
content, offer Him delicious fruits, prostrate before His holy feet in thrill and
attain freedom from rebirth (Punaraavritthi Rahita Padam) in the presence of
the Lord Himself."
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Sri Dikshitar concludes with the final salutation, "Varasya Ramachandrasya

Dasoham". Vara refers to Sitaavara, the Nada Lola as described by Saint
Thyagaraja in his Devagaandhaari krithi or Raghukula Sreshtan. Sri Dikshitar
sums up by stating that he is the servant (Daasa) of such a Sreshtan with all
of the above KalyaaNa GuNaas.

Samayaachaara protector of oppiliappankoil

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 KRITI 8

Krithi : rAme bharatapaalita

Raagam : JyotisvarUpiNi

TaaLam : khaNDa cApu

The sahitya Vaakyams are as follows:

pallavi:

rame Értpailt raJy< ApRyaim

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rajaixraj pUijt cr[< nmaim

raEm p4rt1pa1lit1 rajfymf `rfp1yami

rajati4raj p<>jit1 c1r]mf nmami
rAme bharatapAlita rAjyam arpayAmi

rAjAdhirAja pUjita caraNam namAmi

caraNam:

Amrezaidskldevtamaedne

ANtr¼guéguhanNdm&Êgdne

smStmuing[saxujnaidvNdne

sanNdyutsItamnaehrmdne (rame)

`mErSati3sk1lEt3vta1Emat3En
`nft1rgfk3K3RK3hannft3mfRT3k3t3En

39
 smsft1Mnik3]saT3jnati3vnft3En
sannft3y<t1sIta1mEnahrmt3En (raEm)
amareshAdisakaladevatAmodane

antara~NgaguruguhAnandamRRidugadane

samastamunigaNasAdhujanAdivandane

sAnandayutasItAmanoharamadane (rAme)

MEANING AND COMMENTARY:

Sri Dikshitar composed this Ashtaka Krithi in the 68th melakartha Ragam,
Jyothi swarupiNi. In Dikshithar's sampradhaayam, it was known as "Jyothi".
He had composed one more Krithi in this ragam on Rama sahodari known as
sadagopan.org

"Paramjyothishmathi Parvathi --". This mela ragam belongs to the Aditya

chakram and is therefore appropriate for eulogizing the Surya Kula Tilakam,
Sri Ramachandran.

This is a scintillating krithi dealing with the Padhukaa Pattabhishekam and the
return of Sri Ramachandra to Nandigramam and then to Ayodhya to be
crowned as Pattabhi Raman.

In pallavi, Dikshitar salutes the family and admirers of Sri Rama in the spirit
of "TAM VISHNUM BHARATHAAGRAJAM RAGHUVEERAM SEETHAA
SAMETHAM BHAJEH". Dikshitar places at the feet of Sri Ramachandra the
kingdom protected by Bharatha for fourteen years with the help of Sri Rama
Paadhukaas. Swami Desikan composed more than 1000 verses in honor of the
Padhukaa of Sri Ramachandra (Ranganatha).

Those Padukas were the representative of Rama to guide Bharatha to rule the
kingdom for fourteen years until Rama returned from exile in the forest and
the conquest of RavaNaa. In his second verse of Padhukaa Sahasram, Swami
Desikan pays his tribute to Bharatha this way:

40
bharatAya param namostu tasmai

prathamodhAharaNAya bhatibhAjAm

yadupaj~namaseshata: pRRithivyAm pratiho rAghava pAdukA prabhAva:

MEANING: The illustrious one, who first wore Sri Ramachandra"s Padhukaas
on his head was His brother Bharatha. He conducted the affairs of the state
as the representative of the sacred padhukaas, when Rama chose to spend
fourteen years to honor his father's word. This verse salutes Bharatha as the
first blessed soul, who illustrated the meaning and holiness of the Lord's
Padhukaas. Bharatha spread the glory of Rama Padhukaas through his worship
of them for fourteen years.

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bharata gets ramapaduka/thanks:www.kamat.com

Dikshitar joins the ranks of Bharatha in extolling the incident related to

Paaadhukaa Pattabhshekam and Bharata's Rajya paripaalanam as the
representative of Rama Padhukaas. Dikshitar offers to Sri Rama the kingdom
protected by Bharatha and salutes the lotus feet associated with those

41
 Padhukaas and worshipped by the emperors of the land (RAJAATHIRAJA
POOJITHA CHARANAM NAMAAMI).

The charaNa vakhyams describe the Pattabhisheka scene and Rama's gentle
gait as he walked to the throne and admired by his nephew Guruguha and by
Indra and all the Devaas (AMARESAADHI SAKALA DEVATHAA MODEHNA,
ANTHARANGA GURUGUHAANANDA MRUDHU GADHENA --CHARANAM
NAMAAMI). He was seated on the throne of the Ishvaakus with joyous Sita,
who was captivated by his incomparable beauty (SAANANDAYUTA SITAA
MANOHARA MADHANEH -- CHARANAM NAMAAMI). The sages and Rishis
assembled to witness this pattabhshekam scene were exhilarated by the
auspicious darsanam of the Lord with His consort and eulogized Him. Dikshitar
salutes the holy feet wearing the Paadhukas revered by Bharatha in this krithi.
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adiyEn concludes with a Slokam of Rama KarNaamrutham composed by one

Sankaraacharya of Kaanchi Kamakoti Peetam:

sakalasuhrutaratnam satyavAkyArtharatnam

samadhamaguNaratnam pAtumAmrAmaratnam

prAyanilayAratnam prasputadhyotiratnam

paramapadaviratnam pAtumAmrAmaratnam

adiyen would like to share with you another krithi, set in Ragam Vasantha, a
Janya Ragam of the Mela Ragam Surya Kaantham. It is a wonderful choice to
the Surya Kula Jyothi, Sri Ramachandra, whose beauty is like the eternal
spring. Here Dikshitar offers his salutations to the many kalyana gunaas of Sri
Rama displayed during his incarnation as the son of Emperor Dasaratha.

Krithi : rAmacandram bhAvayAmi

Raagam : VasanthA

TaaLam : RUpakam

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The sahitya Vaakyams are as follows:

pallavi:

ramcNÔ< Éavyaim r"uk…litlkmupeNÔ<

ramcnftf3rmf pa4vyami rK4K1lti1lk1mf uEp1nftf3rmf

rAmacandram bhAvayAmi raghukula tilakam upendram

anupallavi:

ÉUimjanayk< Éui´ mui´ dayk<

namkItRntark< nrvr< gtmaiyk<

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p<>4mijanayk1mf p<4kf1ti1 Mkf1ti1 ta3yk1mf
namkI1rftf1t1nta1rk1mf nrvrmf k3t1mayik1mf
bhUmijAnAyakam bhukti mukti dAyakam

nAmakIrtanatArakam naravaram gatamAyikam

caraNam:

saketngre invsNtm< saèaJyàdhnumNt<

rakeNÊvdn< ÉgvNt< rm[IykLya[gu[vNt<

kak…Sw< xImNt< kmla]< ïImNt<

nakeznutmnNt< nrguéguhivhrNt< (ramcNÔ< Éavyaim)

saEk1t1nk3Er nivsnft1mf samfrajfypfrt1hNmnft1mf

raEk1nfT3vt3nmf p4k3vnft1mf rm]Iyk1lfya]K3]vnft1mf
ka1K1sft2mf tI4mnft1mf k1mlaxmf !mnft1mf
naEk1SNt1mnnft1mf nrK3RK3hvihrnft1mf
(ramcnftf3rmf pa4vyami)

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 sAketanagare nivasantam sAmrajyapradahanumantam

rAkenduvadanam bhagavantam ramaNIyakalyANaguNavantam

kAkustham dhImantam kamalAkSham shrImantam

nAkeshanutamanantam naraguruguhaviharantam (rAmacandram bhAvayAmi)

MEANING AND COMMENTARY:

I meditate on Sri Rama, who is the shining dot on the forehead of Raghu
Kulam. That Lord incarnated once as the son of Kasyapa Prajaapathi and the
brother of Indra. He is the dear consort of Sita Devi, the daughter of Bhoomi
devi. He is the magnanimously generous one, who gives us the boons of
prosperity on this earth and Moksham thereafter.
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raghukula jyothi - thiruvahindrapuram

He has for His name the glorious Taraka mantram of limitless auspiciousness.
He set an example as the embodiment of righteousness during his incarnation
as a human son of Dasaratha. He is the one, who lifts the veil of Maaya for us.

He lived in Ayodhya as the emperor of Kosala Desam. He is seen in the company

of Hanuman of great boon-giving power. His face shines with the beauty of the
full moon. He is the Parabrahmam, who hid His glory as the supreme Lord by

44
declaring "Aathmaanam Maanusham manyeh". I meditate on His Sharp intellect,
divine radiance and lotus-like beautiful eyes. He is the supreme being
worshipped by Indran. In all the environments that he moved during his
Avathaaram -- human assembly, acharya groups, forest, caves -- as the son of
Dasaratha, He performed His divya Leelas and displayed His anantha kalyaaNa
guNaas. I meditate with delight on this Ramachandra of many glorious
attributes, who sports with His nephew Guruguhan and gladdens his heart.

shrIrAmacandra karuNAkara rAghavendra

rAjendracandra raghuvamsa samudracandra

sugrIva netrayugaLotpala pUrNacandra

sItAmana: kumudacandra namo namste

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Click below for additional Kritis by Dikshithar

Mamava Pattabhirama - MaNirangu

Santhanaramaswaminam - HindOLavasantham

ma~NgaLam kosalendraya mahanIyaguNabhdhaye:

cakravartitanUjAya sArvabhaumAya ma~NgaLam

shrI sItAlakShmaNabharatashatrughNahanumat sameta

shrIrAmacandra parabrahmaNe nama:

dAsan,

Oppiliappan kOil VaradAchAri SaThakOpan

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