It’s been a while since I have blogged, but I just had to write about this new-found obsession of mine, with Jagadanandakaraka. I keep humming it all the time these days, despite my scanty knowledge of Carnatic music. I have always been a fan of Nata ragam, but Jagadanandakaraka is not just about music. It is about Sri Rama, Sri Tyagaraja and much more than even Srimati Vishakha Hariji had so beautifully put forth, in her discourse on the Pancharatna Kritis.
(You can find the notation for Jagadanandakaraka here.)
Over the last couple of days, I have been so fascinated by the commentary I heard, that I found it too difficult to resist blogging on it.
Some quick highlights from the discourse:
- Sadkavihridalaya: Story of Tulasidas, and how Lord Kasi Viswanatha instructed him to write in pradesha Hindi bhasha, rather thank Samskritam.
- Pada-vijita-mauni-sapa: Whole of Balakandam in one charanam
- Purahara-Sarojabhava-Keshavadirupa : Vishakha narrated a lovely story about a goldsmith from Pandarpur, who was a great Shiva bhakta, but would not even utter the name of Panduranga and how Panduranga so beautifully opened his eyes!
- One can recite the whole of Jagadanandakaraka as ashtottara namavaLi! (I am trying to get the right count; I am certain there are close to a 100 namas!)
Obviously, Maharshi Valmiki was not satiated just by writing Srimad Ramayanam, he had to ‘sing’ it again in various verses as Tyagaraja, for the benefit of one and all!