Text title: Arunachala Pancharatnam with Varttika % File name % Send corrections to: [email protected] % % This text is. 20 अष्टोबर् O ocean of ambrosia, the overflowing fullness of grace! O Arunachala, supreme spirit, by [whose] series of rays the solid form of the universe is. Both the text and the commentary being in Sanskrit, this significant work has verses famed as Arunachala Pancharatnam sung in Samskrit speech through the .
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Flat Style by Ian Bradley. Attn – RaviSri you can write more about maharishi’s contribution in this thread. Perhaps along with you shivadasan can also write more. In one of our rasikas meet shivadasan came all the way from thiruvannamalai and IIRC he is devotee of ramanar, he can also write more. A spontaneous ‘Arunachala Aksharamanamalai’, a garland of verses, which is his best known work was composed in the early 20th century.
This was when he was going on pradakshina round the hill with a few devotees. People sing it in a traditional Sankarabharanam tune without much ornamentation. Then came the Arunachala Ashtakam 8 versesNavamanimalai 9 versesall pancharatnsm above in Tamil, and the Arunachala Pancharatnam in Sanskrit 5 versesat the request of Kavyakanta Ganapati Muni. Mostly tunes for these evolved over years of singing by devotees.
The Pancharatnam was translated into Tamil later by the Maharshi himself. After the Maharshi settled down at the foothill in near his mother’s Samadhi, he composed, mostly at the snaskrit of his devotees, various works like Upadesa Undiyar in Tamil, which was later translated as Upadesa Saram by the Maharshi himself into Sanskrit starting with the words ‘karturAgnayA prApyatE phalam Then we have the Appalam song and the Anma Vidya keertanam.
Most of his other works are in the veNbA format, composed as they are in Tamil. There are no pure Carnatic tunes in these. Swaminathan presented a programme on AIR on the occasion of the Maharshi’s birth centenary celebrations. There are any number of composers who have composed in praise of the Maharshi in CM ragas and these are being sung by various devotees.
RaviSri – are the works of the maharishi available in audio format anywhere? These recordings have been done at the ashram itself and they are authentic renditions as they should be.
Over the last 15 odd years, I have pored over extensive Bhagavan-related literature, English translations and some original Tamil, wanskrit Muruganar, Sadhu Arunachala, Devaraja Mudaliar and many others pancharatnamm I cannot recall seeing a single mention of anything related to Carnatic music. All other vaggeyakaras I suppose had some connection with music, even if they did not “tune” their songs BTW, does it makes any sense at all to call somebody a vaggeyakara who did not conceive of the dhaatu and maatu together?!
The only two instances in which I can recall Shri Ramana using remotely musical terms are when he used the word “pallavi” in relation his mother’s interactions with a certain Ramanathan Brahmachari who used to wash dishes at Skandashram. Then there’s his pancharatnaam to the “Shruti” as an analog to the “I” thought that forms the background to all other thoughts that come and go.
There is no evidence that Shri Ramana ever expressed appreciation of a musical performance either live or on the radio, whereas there is an account of his showing explicit appreciation of a humorous radio program, laughing and shaking his head in extreme mirth.
Also, there are accounts of his expressing great appreciation of the paarayana and the performance of the Sri Chakra Puja. I haven’t come across any panncharatnam anywhere of Bhagavan ever having uttered or written the name of any raga or pann or taala.
Bhagavan discouraged the popular notion that the trinity “sang their way to moksha” or some such.
In the case of the great vaggeyakaras, he said self-realization preceded their acts of composition and hence their compositions have “eternal life”. The following passage has been scanned from “Moments Remembered” by Shri V.
Ganesan Sri Ramanashram I was always thinking arunachaoa the mettu pacnharatnam composed by some one else other than ramana maharishi. With your clarifications we can certainly ssnskrit sure treat him as Not a vaggeyakkara.
I was putting ramanamaharishi in vaggeyakkara thread as some form of logical placeholder where we can collate all the posts together, this is the closest topic head I can think of. There is this ramana kendra hall close to PS Senior School where at times a arujachala conducts concerts. I can put those song lists in here I cannot recollect nowhave to search few catalogs. Sorry for my vaggeyakkarizing ramana maharishi.
I have some knowledge about Maharishi and music and may not be as much as Ravisri knows. He was a great poetbut not a vaggeyakara. Tunes were set by others. His first composition was the Arunachala Akshara Manamalai which was composed during a girivalam.
Maharishi himself has said that the composition came out of him on its own without any effort on his part. They were immediately noted down by his disciples. It would not be inappropriate to assume that they must have also come out with the tune, which is a simple one, something similar to what they would aarunachala been chanting in the ashram.
His poetry has the ability to beautifully lend itself to musical composition. Maharishi was interested only in guiding the devotees in realizing the Self. All worldly matters, including music and fine arts, would be a distraction to the discipline of Vichara Marga. I would not say he was not uninterested in music, but he had to set an example to his devotees by not showing much interest in music.
The fact that he used the concept of Adhara Srtuti to explain spirituality does indicate that he was a keen observer of carnatic music. Possibly, If he had only shown some interest in music there would have been plenty of music festivals in the ashram and the devotees might have got very much involved in it neglecting their own sadhana. The mention about Kameshwari Ammal is interesting.
There are two other instances which I have come to know which show that he enjoyed good classical music. Lalitha Venkatramaneminent musician used to play veena before him for hours together and Maharishi used to show appreciation.
Peacocks would also dance while veena was being played. After the playing of the veena it appears that some peacocks would come and peck arunqchala the strings! Many of his disciples were good composers. Mahalakshmi Suryanandan has composed hundreds of songs on Ramana which have been published in the form of books in several parts. Sadhu om a sanyasi disciple has composed hundreds of songs on Maharishi as well as his philosophy.
He composed mostly after hearing a tune. His composition set to Jana Gana Mana tune is fantastic. There is one excellent composer K. Subramaniana resident of Ramanashram, who has composed songs on the pattern of Muthuswami Dikshitar. Very few know about his talents. I was stunned by his composition on Ramana Mahrishi. Not many people know about him because he shuns publicity.
ARUNACHALA PANCHARATNAM – Gleanings from Sanskrit Literature
Last edited by Shivadasan on Thu Aug 29, It should have been verified by me before postingbecause of my having been out of touch with CM for the past several decades.
Sri Ramana Mahrishi has always remained an enigma. He could not be understood by any one. Perhaps only persons like Poonjaji could understand him. If that is the case how can sasnkrit lay persons pass an opinion about him? I agree that I too cannot, but would try to place some information to help the readers understanding him at least a little.
According to the recorded material available, he helped everyone who approached him to evolve from their present spiritual status.
He never thrust vichara marga on any one as the best spiritual method. He never encouraged the rituals of Gurudom and Discipleship. He would not even allow anyone to touch his feet. In some rare cases he did. On analysis it appears that there were several grades of disciples and his teaching to them was different to each one. Since only conversations have been recorded, whatever was said by him was applicable to that person only and in that circumstance.
If we feel that all his sayings are universally applicable we would arunahcala entirely wrong, because a lot of contradictions would be found existing between one statement of his and another. The disciples of the topmost cadre did not have the need to have any conversations with him at all.
ramana maharishi –
Everything was conveyed by a simple looks. Poonjaji, Laksmana swamy and others are in this category. For people like, Annamalai swamy, Chadwick, Muruganar and some others, he took an interest in their lifestyles and guided them consistently.
For people like Ganapathi Muni, Kapali Sastrigal and other intellectualshe gave some information and cleared their doubts.
Some fortunate souls like mother Azhagammal, his classmates like Rangan he came down to the mundane level and guided them throughout. For many other house holder devotees he encouraged samskrit to continue in family life and helped then though his miracles to overcome hurdles in samsara and continue to do their sadhana.
There is one thing very important that we should take note of. He never laid down his vichara marga as the best way for everyone. He never talked about unless some one asked him his advice. When a person talked to him he immediately understood his frame of mind as to whether he had come to him for confirmation of his own method or seeking a change in his method.
Once, a person deeply involved in mantra sadhana started praising it before Bhagwan. He immediately joined samskrit visiting devotee in an enthusiastic manner and told him very interesting and advanced features of mantra sadhana.
The devotee went away very satisfied. But an ashramite was astonished how Maharishi could extol the virtues of mantra when he had conclusively said that vichara marga was the best. When confronted, Maharishi said that there was no point in thrusting vichara marga on that poor fellow because he would then pancharaynam progress in mantra sadhana nor in the vichara marga!
In case of Dilip Kumar Roy also it was the same case. But in the case Kameshwari Ammal it appears that he knew that she was very keen on self realization and so gave that reply.
In the case of Ganapaathi Muni he helped him a lot even with his miraculous powers to enable him to compose some of the great works. But when he knew that Ganapati Muni preferred Sri Vidya over vichara marga he never interfered with his decision to leave. There is at least one instance I know of.