I was listening to this wonderful song composed by Muthuswamy Dikshithar, in Ragam Mohanam. I started to listen like any normal song . And then realized that usage of the syllable RA way too often. At first glance I passed it off as an attempt by Dikshithar to provide the alliteration effect. Sure it does, but then I realized there perhaps could be more to it. Afer all, Dikshitar was a master of integrating lyrics with the tonal qualities of ragas, making each syllable contribute both meaning and melodic impact.
This kriti is a masterclass in phonetic artistry. Alliterative sequences like Svechha Svachha and Murahara Nagadhara. Rhythmic syllabic constructions that create natural musical flow. Strategic use of tempo variations, especially in the Madhyama Kalam section.
Here are the lyrics ( source: the Net). If you care for the meaning, I have given it at the bottom
Pallavi: Narasimha Agacha Para Brahma Puchha Svechha Svachha
Anupallavi: Hari Hari Brahmendradi Pujitatyachha
Parama Bhagavatha Prahlada Bhaktyachha
Charanam: Dheera Tara Ghatikachaleswara Saura Tara Hema Kotiswara
Veera Vara Manava Harisvara
Madhyama Kalam: Murahara Nagadhara Sarasija Kara
Parama Purusha Pavanaja Subhakara
Suruchira Kari Giri Varada Vichara
Sarasa Guru Guha Hrudaya Saha Chara
As usual, I dug in, and found the following:
1) Association with Fire and Energy:
In Sanskrit phonetics, the consonant "Ra" is associated with Agni (fire) and Tejas (energy or brilliance). The repeated usage symbolizes the fiery and protective nature of Lord Narasimha, who embodies fierce energy in his mission to protect dharma. Note that the same sound is used in "Rudra" to indicate the urga swaroopam of Rudra ( and Narasimha here).
2) Connection to Narasimha’s Role:
The syllable "Ra" resonates with Narasimha’s role as a destroyer of evil. In mythological terms, fire is purifying and destructive—a fitting parallel to Narasimha’s fierce avatar.
3) Subtle Mantra-Like Effect:
The frequent use of "Ra" can invoke a mantra-like vibration. In spiritual practices, such vibrations are believed to cleanse the mind, focus attention, and connect the devotee to the divine. This aligns with the song's devotional purpose.
In the rich tapestry of Carnatic music, few compositions capture the essence of divine devotion as magnificently as Muthuswami Dikshitar's Sanskrit kriti dedicated to Lord Narasimha. This profound musical narrative not only celebrates the fourth avatar of Vishnu but also serves as a sublime exploration of spiritual philosophy, poetic excellence, and musical artistry.
Historical and Geographical Context
Composed at the sacred Ghatikachalam (modern-day Sholingar in Tamil Nadu), this composition emerges from a specific geographical and spiritual landscape. The hill temple dedicated to Lord Narasimha becomes more than a mere location—it transforms into a metaphysical space where divine encounter and artistic expression converge.
Dikshitar's choice of Sanskrit transcends mere linguistic preference. Each carefully constructed compound word—like Dheera Tara Ghatikachaleswara—becomes a miniature philosophical treatise, demonstrating the language's capacity to encapsulate complex theological concepts within grammatical elegance.
Theological and Mythological Dimensions
Narasimha: The Protector-Destroyer Archetype. The composition portrays Narasimha as a multifaceted divine entity. A fierce protector of dharma. A compassionate savior.The ultimate reality transcending celestial hierarchies.
By invoking Prahlada's unwavering devotion, Dikshitar illustrates the transformative power of spiritual surrender.
But, beyond its musical brilliance, the composition explores profound metaphysical concepts:
1) The nature of divine will (Svechha)
2) Purity of spiritual essence (Svachha)
3) Interconnectedness of cosmic forces
Muthuswami Dikshitar's composition transcends temporal boundaries. It represents a sophisticated dialogue between the human and the divine, mediated through the sublime languages of music, poetry, and spiritual insight.
This kriti remains a testament to Carnatic music's extraordinary ability to transform complex theological narratives into accessible, deeply moving artistic experiences.
Word by Word meaning of the song
Pallavi
Narasimha Agacha – Narasimha, come here.; Para Brahma Puchha – (You are) the ultimate Brahman, the one who fulfills (requests).; Svechha Svachha – (You are) self-willed and pure.
Anupallavi
Hari Hari Brahmendradi Pujitatyachha – Hari, Hari! (You are) worshipped by Brahma and Indra.; Parama Bhagavatha Prahlada Bhaktyachha – (You are) bound by the supreme devotion of the great devotee Prahlada.
Charanam
Dheera Tara Ghatikachaleswara – (You are) the Lord of Ghatikachala, (known for your courage).; Saura Tara Hema Kotiswara – (You shine) like countless suns and golden splendor.; Veera Vara Manava Harisvara – (You are) the supreme Lord of brave and virtuous beings, the Lord Hari.
Madhyama Kalam
Murahara Nagadhara Sarasija Kara – (You are) the slayer of Mura, the bearer of mountains, and the one with lotus-like hands.; Parama Purusha Pavanaja Subhakara – (You are) the supreme being and the auspicious one to Hanuman (the son of Vayu).; Suruchira Kari Giri Varada Vichara – (You are) the benefactor of elegant acts, pondering on the welfare of the mountains.; Sarasa Guru Guha Hrudaya Saha Chara – (You are) the beloved companion residing in the heart of Subrahmanya (Guru Guha).
The full song in Sanskrit script, below:
पल्लवि
नरसिंह आगच पर ब्रह्म पुच्छ
स्वेच्छा स्वच्छ
अनुपल्लवि
हरि हरि ब्रह्मेन्द्रादि पूजितात्यच्छ
परम भागवत प्रह्लाद भक्त्यच्छ
चरणम्
धीर तर घटिकाचलेश्वर
सौर तर हेम कोटीश्वर
वीर वर मानव हरीश्वर
मध्यम कालम्
मुरहर नागधर सरसिज कर
परम पुरुष पवनज सुभकर
सुरुचिर करि गिरि वरद विचार
सरस गुरु गुह हृदय सह चर
