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(Prathamopalabdha Svarasahita Sahkirtana Silalekhamu)

15th-16th Centuries

PATRON
Dr.
I.

V.

Subba Rao,

I.A.S.,

Executive Officer, T.T.Devasthanams, Tirupati

EDITORIAL BOARD
Dr. P. V. Dr.

Parabrahma

Sastri

Tirumala Ramachandra Professor Veturi Ananda Murthy Vidvan Sri Akella Mallikarjuna Sarma Vidvan Sri N.S.Srinivasan

Mahamahopadhyaya

EDITORIAL CONSULTANTS Prof. Pullela Sri Ramachandrudu


Prof. R.

Mahamahopadhyaya

Sathyanarayana

Professor R. Srihari

Published by

The

Executive Officer

TIRUMALA TIRUPATI DEVASTHANAMS


TIRUPATI, INDIA

The Tirumala Music

Inscription

T.T.0evqsthanams Publication
First Edition

November, 1999
Copies: 1000

T.T. Devasthanams, Tinipati.

Price;

Rs.

3 GO/-

US $35

Published By
Dr.

LV. Subba Rao,


Devasthanams,

I.A.S.,

Executive Officer,
T.T,

TIRUPATI- 517501,
Andhra Pradesh.

Printed at

Gayatri Art Printer*

New MLA Quarters Lane Hyderabad -500 063. Phone: 3230210

5-9-33, Basheerbagh,

Dr.i.V.SubbaRao
Executive Officer
T.T.

Devasthanams
Tirupati.

Service to humanity,

propagation of Dharma, dissemination of the essence of ancient knowledge and

moral

values have

always been the bedrock of all activities of the T.T, Devasthanams.

What

has been achieved so


education
is

'far in this direction in the fields ofVedic


other spheres

and secular

literature,

development offine

arts, health,

and

of knowledge

vital to our social, intellectual

and spiritual advancement and quality of life as such,

well-

known

to the

general public. All this has been possible only through the willing grace of the Lord of the Seven Hills

who

chooses the devoted and the dedicated as

His loving instruments for change

and betterment,
to the

It

is

often said that the nation, tfae society

and

the

period that care for and cater

advancement offine arts

would ever enjoy

the rewarding experience

ofHis ultimate presence. The

T. T.Devasthanam

is

committed to encourage

and

share such an experience.

Our

ancients regarded

Music not as a mere art form pleasing

to the senses, hut as

a sub-Veda

viz.,

Gandharva

Vidya leading one to the meaningful and blissful experience ofRasa, the ultimate. The contribution ofthe practitioners and
theoriticians

ofIndian Music hailing from the South and in particular from Andhra,

in the ages gone

by,

is

significant

which enriched in the process, the history ofthe evolution ofMusic.


It
is

indeed a matter ofgratification that great composers tike Krswamficnrya, Tfil/apfikaAnnamftcfirya,

Ttrtha, Ksetragna,

Ramadnsa and the

celebrated Tyflgarajasvami
harriers, are

and many

other renowned musicologists whose genius


the T,T,D, has encouraged
i.e.

transcended geographical

and language

ofAndhra

origin.

Hence justifiably

and

patronised

many a publication
"
is

relating to musical compositions.

The present publication


is

"The Tirumala Music

Inscription

a significant milestone and is outstanding from a number ofangles. This

a Telugu Inscription, although


the Lord ofthe Seven Hills,

the lyrics are in Sanskrit language belonging to the

Tirumala Temple, The lyrics are dedicated to

On Paleographical grounds the inscription


period of the famous Tfiljapflka Poets.
both Dhfittt Inscription containing

is

ascribable to the

end ofthe 15th

century which

is

contemparaneous with the

As

scholars

and epigraphists assert,

this happens to be the very first

known Music

and Mfitbu (Svara and Word components).

Since the inscription

is

onlypartly available

the authorship

of the

inscription

is

not

known for

certain.

However circumstantial and other internal evidences strongly

point to the Tnljap MaPoets, who composed and copied on copper plates the Sm^-tana Lyrics, established the Smikirtana

Bhandam in the Hill- Temple andperhaps have


lyrics like

competed with

the

contemporary Myabayaktiw in composing rare notated

the Jhdmbadm.

Obviously the late Veturi Prabhakara Sastri


-

Gam

was right when he recorded his observations

on the newly discovered inscription in 1949 thus

"A few notated compositions

ofthe Tnliapaka Poets on huge stone slabs

oftheir period are available at Timmala,

Lyrical compositions found chiseled on stones along ivithSvara notations

ofthat

period are something rare and unique that bringglory to the abode ofthe Lord Sri Vwkafcvara" (From his speech on

2nd

ofApril, 1949),
Sri A,
the discovery

V Srinivasacharyulu,

the research assistant and disciple

ofSri Prabhakara

Sastri

Gam who

was

blessed

with

of this inscription echoes the same voice ofhis mentor

in his write

up in 1961,

Nevertheless, the inscription

^fr'W*/ar^50^
splendidpublication. Thanks
Sastri
'to

the initiative taken by Prof Veturi Ananda Murthy,


this publication

Managing Trustee,

Veturi Prabhakara

Memorial Trust

(Regd.

1982) Hyderabad,

today

is

made possible. Prof Ananda Murthy's insights

multi-disciplina>y nature of this research project enabled him to organise the group effort ofscholars comprising epigraphistt, musicologists, Samkritists and Researchers required in deciphering the inscription successfully.

into the

The
this research

T.T.

Devasthanam

is

ever patefitl

to

the

VPS. Memorial Trust and the team

ofscholars who joined hands in


collaborated with the

project.

To give further

credibility to this venture the V.P.S.


last

XT Devasthanams in

Memorial Trust hadfreely

organising a Workshop-cum-Seminar

year which was undoubtedly a

success in

achieving

its

objective-ofEnriching this publication.

The outcome of thhmulti^iciplinary group effort ofthe Editorial Board is now

y^^^farthejoyofreadingandfi^hera Cademicstudy.Youare^
work that has gone into
this publication.

The T.T.D.
Editorial

is

thankfid to all the members of the


intellectual efforts

V.P,S.

Memorial Trust for agreeing to undertake

this

project; the

Board for the

put

in; the Editorial Consultants

and other

collaborators

and scholars who


gratefidly

participated in the workshop/seminar* Tirupati for sharing their

view end experience

in the

field.

The T.T.D.

acknowledges the whole-hearted support In view ofthe

of A.P. State Directorate ofArchaeology and Museums.


the editors have planned to
i.e.

unless and importance ofthis inscription in the music world,


i.e.

fr^^
to cater to the

out

bring

this

publication in three modes

Telugu, Nffgari

and Roman

characters;

and in

three formats

the Inscriptional,

Mar, Extensive ^nings are providedfor thefidl Sanskrit te^t


common
readers

only in the

Teh^
Our

benefit of the

and artists

interested In

^e rewarded ifth^

interpreting the

same

in their visual presentations

IV

>

K^a,

S)

s'ogpo^^o

^ofte^

i^^p^g SerjO^eS^^a

oDtS^o

^i*o"$^cSj

as

Stf&o,

erS,

as

looo^db.

ssorfs

5-6

eo$w ^^o, ^53^

(TheTlrumala Music
scription)

In-

Ai&ipcJtosSr^a.

e?a 15-16

2,

a
<*

VI

SCO VERY

OF

HE TIRUMALA MUSIC INSCRIPTION


r

st

Notice of the Prathamdpalabdha Svarasahita Sartkirtana Silalekhamu

'

Late Sri Veturi Prabhakara Sastri


'

he Taljapaka poets) worshipped the Lord with their divine music.

Some of their lyrical comp


publish the contents
s\

ns with Svara notations inscribed on stone are found at Tirumala in the precincts of the Cam/:
adaksina (of the Sri Vehkatesvara temple).

W$ would

retrieve

and

jy the Almighty Lord bless us with the blissful divine experience in unison, of

our word,
'

tho*

d deed as
--

in the triple

aspects of music namely the melody, rhythm


the
first

and the content

From his opening address during 2nd 4th April, 1949.


-

ever 'SrIAnnamacarya Utsava' held du,

few musical notated compositions of the Tajjapaka poets inscribed on huge stone slabs of riod are available at Tirumala. Lyrical compositions found chiseled on stones along with s^
iations of that period, are

something rare and unique that bring glory to the abode of the ion

nkalesvara

.'

Speech delivered on 2nd

April, 1

949 on

the

occasion of the

the newly discovered images of the Tajjapaka poets

installation ceremon embossed on copper plates

cond notice of the Prathamopalabdha Svarasahita Sartkirtana Silalekhamu


Vidvan
Sri

A.V.Srinivasacharyulu
compositions chiseled on stone slabs
4ft.x

itated lyrical

7ft.appear in the precincts of the

Camp

idaksina of the Tirumala


^

Hill Temple, Though not certain of their numbers I noticed in all 2 sla numbered 4 and another unnumbered, when I saw them in 1949. 1 conveyed this informa

7?y

Master

Sri Veturi

Prabhakara Sastri Garu and then with the permission of the Devasthai
in

'horities

got them immediately transported


to

a lorry to the
'

Museum

at Tirupati.

It

lookei

ugh they were chiseled


r

present certain features by

they evolved namely the 'Sankirtana Laksana which

way of examples to the prosodies! gr was composed in Sanskrit by Annamaca


'

totaled

by

his

jmalacarya. There
'ligraphy etc,
-

son Peda Tirumaiacarya and translated into Telugu verse by his grandson ( is a Sankirtana in Sanskrit language with the mudra Sri Venkatgsvt
to the

correspond

period of Cina Tirumaiacarya,

From his in 1961

introduction to the

XV volume

of S.rrigara Sari kif tanalu

(pp

iii

&

iv)

publis

vn

Our

RESPECTFUL DEDICATION
This humble achievement of
the successful group effort
in multi-disciplinary research is

respectfully dedicated to

the Revered Master

and

Visionary

who stood as a
colossus in

modern research

the late Sri Veturi

Pmbhakam Sastri Gam


of this first ever of its kind

for cherishing

the publication

The Timmala Musk Inscription

and
to the

memory
-

of his disciple and admirer, the celebrated scholar

researcher

Dr Timmala Ramachandra
.

who extended his signal service

in

making

his mentor's

dream a

reality,

Vlll

Sri Veturi

Prabhakara Sastri Garu


-

(7-2-1888

29-8-1950)

Dr.Tirumala Ramachandra Garu


(17-6-1913-12-10-1997)

ACKNOWLEDGMENTS
Editorial

Board

is

grateful to

the Almighty

Lord

for

His Blessings in seeing through the successful completion of this

unique research project.


the

Managing Trustee and Members of Veturi Prabhakara

Sastri

Memorial Trust Board

for salvaging the Inscription and launching this project.

vidvan Sri A. V. Snnivasacharyulu, the devoted disciple of the


Sastri

late Sri

Veturi Prabhakara

who was

blessed by the divine grace in locating two of the inscription slabs at

Tinimala under his mentor's guidance.


the Department of Archaeology,

Government of Andhra Pradesh, Hyderabad

for

its

assistance in enabling the Editorial Board achieve this almost impossible task.

the

Chairman and Members, Board of Trustees, T.T.Devasthanams, Tirupati


this

for

coming

forward to conduct a workshop-cum-seminar on

research project at Tirupati in October

1998 in association with

Sri Veturi

Prabhakara Sastri Memorial Trust, Hyderabad and


lyrics

undertaking the publication of this Tirumala Music Inscription of devotional


to the

dedicated

Lord of the Seven

Hills.

the

Chairman and Members, Publications Committee, T.T.Devasthanams

for their approval

of this project and publication.


>

the eminent group of Editorial Consultants for sharing their


the final giving the benefit of their perusal of
draft.

wisdom and experience and

the devoted group of researchers in the fields of Literature, Epigraphy

and Music who

all

and contributed their thought and experience participated in the workshop-cum-seminar


in fulfilment

of this

project.

the band of devoted workers and admirers

who

helped in the preparation of the text from

the early stage of copying to the final stage of taking the

Camera Ready Copy.

IX

The Publishers extend


a
9

their grateful

thanks

to all collaborators

Veturi Prabhakara Sastri Memorial Trust, Hyderabad.

Department of Archaeology and Museums, Government of Andlira Pradesh, Hydci Late Sri M.S. Prasad, I.A.S.; -Dr. N.R.V. Prasad; Late Dr. Mukunda Dr. N.S. Ramachandra Murthy; Sri Komaraiah.
Preparation of Transcripts, typing, editing and comparing assistance.
Sri

Smt. Pingali Rajeswari; Sri P.N. Rao; Dr. G. Subbarayadu; Smt. V. Chandrakala; J. V. Kamesh; Dr. Prabhakar Murthy; Sri V.V.R. Pramod; Smt. J. Vandana.

Organising Translation, Transliteration and proofreading.


Prof. R. Srihari (Sanskrit); Smt. G.S. Lakshmi (English); Prof, V.

Ananda Murthy (Te

Vidvan

Sri

A. Mallikarjuna Sarma (Music); Dr. Mrs. Subhashini; Smt. Kavita.


organisation.

Workshop-cnm-seminar

Sri A. Subhash Gond, P.R.O. T.T.Devasthanams, Tinipati; Prof. V. Ananda Mi Leader and Project Director, Tirumala Music Inscription; Dr. Medasani Mohan, Din

Annamacharya Project,

Tirupati.

Workshop

participation (26th, 27th and 28th October 1998).

Epigraphy and Literature Group.


Dr. P. V. Parabrahma Sastri (Leader Epigraphy); Prof. R. Srihari (Leader-Litera Prof. V. Ananda Murthy (Project Director); Prof. Salva Krishna Murthy; Prof. K. Sarvo

Rao; Prof. P. Narasimha Reddy; Vidvan


Sri Joolakanti Bala
Sastri;

Sri S.

Satchidanandam; Dr.

S.

Dakshina Mi

Subrahmanyam; Dr.

N. S. Ramachaiidramurthy; Dr. C. A.

Padmar

Mahamahopadhyaya

Prof. R. Sathyanarayana.

Music Group.
Vidvan Sri AkeliaMallikarjuna Sarma (Leader); Vidvan Sri N.S. Rao; Vidvan Sri Pudukottai R. Krishnamurthy; Smt.
Sri S.
Srinivasan; Dr. B. Rajani,

Gowry

Sathyanarayana; Vi

Nanda Kumar; Vidvan


Personalities

Sri

G. Balakrishna Prasad; Mahamahopadhyaya Pro


this project.
I.A.S.; Sri

Sathyanarayana.

Eminent
Vidvan

who

evinced interest in
Sri
J.

Sri Puranam Pumshottama Sastri; Late Sri Vakati Pandu Ranga Rao.

Rambabu,

M.K.R. Vinayak,

I,

Cover Art Design.


Smt. K. Padmavathi

DTP, Scanning, Art Work and


Graphics,

Printing.

Sri Srinivasa Graphics, Vijayanagar Colony, Sri Venkateswara Cross

Hyderabad.

RTC

Roads, Hyderabad.

Hyderabad. Padmasri Graphics, Gandhi Nagar, Hyderabad. Gayatri Art Printers, Basheerbagh, Hyderabad.

Sri Datta Sai Graphics, Nallakunta.

CONTENTS
Preface
in -

w
.

Dr.I.V. SubbaRaoJ.A.S.

vi
vii

Discovery
Dedication

viii

Acknowledgments
ologue
Introduction

ix-x

01-22
23-48 49-56

Editorial

Board

Keynote Address

Prof. R. Sathyanarayana
Prof. Veturi

Ananda Murthy

rt I-

Telugu
Format
Slab 2
Slab 2 Slab 2

Inscriptional

01-12
13-32 33-61

Slab 4
Slab 4

62-73 74-93

Musical Format
Literary
rt II -

Format

Slab 4

94-115

Sanskrit
Format
Slab 2 Slab 2
Slab 2

Inscriptional

01-13
14-36

Slab 4
Slab 4
Slab 4

54-67 68-92

Musical Format
Literary
rt

Format

37-53

93-107

III

English
Format
Slab 2
Slab 2 Slab 2

Inscriptional

01-13
14-35

Slab 4

53-65

Musical Format
Literary

Slab 4 Slab 4

66-87

Format

36-52

88-102

Photo Insertions
Colour
8

Pages

Black and White

16 Pages

logue

Summary of Proceedings of the workshop-cum-seminar and other backup material.


Appendices
Parislstamu
-

es&>ejo#&>je

01 to 66

-ae*&to

67

to

78

XI

Sri N.R.V. Dr. C.S. Sri P.V.

Prasad;
Chari, I.A.S.

Ranga

Ranga Rao;

Prof.V.

Ananda

Murthy.

Workshop on
TheTirumala Music
-

Inscription

Language, Literature and


Epigraphy Group.

Workshop on
TheTirumala Music
Inscription
-

Group Discussion
on Music.

Inaugural Session

Seminar / Workshop on The Tirumala Music Inscripi


Sri A. Mallikarjuna

Sarma;

Prof.
Sri

Salva Krishna Murthy;

A.V Srinivasacharyulu;
Parabrahma
Sastri;

Dr. P.V.

Dr. Sri

M. Mohan;

Venkatramaiah,

I.F.S.;

Prof. V. Prof. R.

Ananda Murthy;
Sathyanarayana.

Prof.

Ananda Murthy honouring


Sri

C.

Anna Rao Garu.

Sri R.S.

Nanda Kums

(Music
Prof. R.

recital);

Sathyanaray?

(Demonstration Lecti

Sri R.S.

Nanda Kumar

rendering

the inscriptional Sujadi Music.

Sri S.

Lakshmanaiah honourin

Sri N.S. Srinivasan,

Member,

Editorial

Board.

Dr M. Mohan and
Sri

Subhash Goud

are also seen.

Sri S.

Lakshmanaiah

honouring
Dr. P.V. Parabrahma Sastri Member, Editorial Board.

Sri S.

Lakshmanaiah
honouring

Vidvan

Sri A.V.

Srinivasacharyulu

Sri S.

Lakshmanaiah

honouring Prof. Salva Krishna Murthy

The Tirumala Music

Inscription

(Introduction

& Keynote Address)

II

6m

ri

VSfikatesaya
C.V.V.

namah

Master

Namaskaram

The Tirumala Music

Inscription

INTRODUCTION
I

he

first

notice of the

two

rare

'notated Sahkirtana Stone Slabs',

now

being published, comi


Sri.

following write up of
Sastri,

none other than the celebrated Researcher and Scholar, Late


first

Veturi Pra

who brought

to light, for the

time, the

life

of the Padakavita

Pitamaha

Sri

TI||apaka Annai

into sharp focus.

(The Ta||apaka Poets) "worshipped the Lord with their divine music.
with svara notations inscribed

Some

of their lyrical

com
ex

on stone are found

at

Tirumala

in

the precincts of the

Campaka Pradak
blissful divine

would
in

retrieve

and publish the contents soon. May the Almighty Lord bless us with the
in

unison of our word, thought and deed as

the triple aspects of the music


in

viz.

the melody, rhythrr

content" (translated excerpts from his opening address


held during

Telugu during the

first

ever Sri

Annamacary

2nd

4th

April

1949).

In

yet another speech on

2-4-1949 on

the occasion of the in


plates, Sri

ceremony
Sastri

of the
-

on copper newly discovered images of the Tajjapaka Poets embossed

Pn

remarks

on huge stone slabs of thi "A few notated musical compositions of the Ta||apaka Poets inscribed stones along with svara notations of that p at Tirumala. Lyrical compositions chiseled on abode of the Lord Vefikateswara" something rare and unique that bring glory to the
are available
.

After

a lapse of over ten years

after the

demise

of Sri. Veturi
1

Prabhakara

Sastri

we find

the notici
vc
c

two

inscriptlonal slabs for the

second time
Sri.

in

the year.

96

In his

introduction to the

XV & XVI

Srftgara Sanklrtanamulu, Vidwan


Sri.

A.V.Srinivasacharyulu, Editor of those volumes

and a former
-

Prabhakara
II

Sastri,

had the following observations to make on the


lyrical

inscription slabs

Learned musicologists believe that notated

compositions were found

first
I

only in the

of the Nineteenth century

and

that

But system was further evolved subsequently.


that belief.

present hei

information, traced so

far,

which disproves

Notated

lyrical

appear

in

the precincts of the


I

stone slabs, of dimensions 4' width, 7' length compositions chiseled on not certain Pradaksina of the Tirumala hill temple. Though

and 9"
t

Campaka
-

numbers,

noticed in

all

two slabs
In

when saw them one numbered 4 and the other unnumbered,


I

'

Text of both these speeches

Telugu are reproduced

In

the appendix

tf

n o0*c
Sri

i&- Editor*
of

TOW
series

the surface observations

on the
is

inscrlplion slabs supplied

by

AVB

ton

rnore detailed study on this inscription

made

possible
is in

it

is

learnt that these


-

two slabs form part of a minimum

and

that the

one noticed

to

be unnumbered

fact slab 2.

Editors.

conveyed the information to

my master Sri Veturi

Prabhakara
in

Sastri

garu and then with the permis


to the
till

Devasthanarn authorities got them immediately transported


certain other considerations or compulsions they
inscriptions are

a lorry

Museum
this date.
It

at Tirupati.

were not published


be

Estampagei
looked as
tt

now taken. Their contents appeared to


Lafaapa" which was composed
and translated
....

that of the Ta||apaka Poets.


to the prosodical

were chiseled
the

to present certain features

by way of examples
in

grammar they

evolv
his
.

"Sahkirtana

Sanskrit by
his

Annamacarya, annotated by
Cina Tirumalacarya
In.

Tirumalacarya

into

Telugu verse by

grand son

Udgrahamu,

Mjapamu

Jhampa, Afa Hupaka,


"Sri

TJvutfa

appear there

There

is

a Sanklrtana
peril

language with the mudra (signature)


Tirumalacarya. Their contents
(-

VehkatSsvara". Calligraphy etc correspond to the


in

in

full,

together with the estampages would be published

the

coming

brief translation. Vol.

15

intro.

pp
1

iii

and

iv).

Again
-

in the introduction to the

6 th volume,

Sri

A.V.Srinivasacharyulu

962) adds

further

"Besides preserving these Safikirtana compositions by

way

of engraving

them on copper p
in

Tirumalayya, got the practical examples to the theoretical exposition found


(translation) chiseled (prior to 7,1

his

Sankirtana

1.1537?} on stone slabs

of roughly 4'
like

width, 7' length

an

dimensions, only to dispel the doubts that


ana"

may occur
no

to

people

us

In

the present day situation

whether

at

all,

they sang

in

those days. Sriman Rallapalli Ananthakrishna

Sarma

Prof. P.

Sambamurthi garu say


11
.

that there existed

notated compositions prior to the advent of the

century

(Extracts,

pp 33, 35 & 36)


text of the

Sri

A.V.Srinivasacharyulu hoped to read and publish the


in

two slabs

in

the subseque

But unfortunately nothing appeared

the subsequent volumes in this regard.

The

significant contribi

A.V.Srinivasacharyulu, besides locating these inscriptions,


the Music inscription slab

was

this

writeup and photographic reprc


in

numbered

"4" in that

volume

in

four parts

four plates, inviting the atter

readers to volume

5 which he
that

edited.

The third notice


of Prof. Veturi

we come across on
titled

these inscription slabs appears


-

in

the Doctoral The:


pi

Anandamurthy
exposition

"Tallapaka Kavula Krtulu

Vividha Sahiti Prakriyalu (partly


(pp

1974).

In

his

on "Telugu Sahkirtana Laksanamu"


and the contents revealed
compositions found
in in

434-458)

Prof. Veturi

Ana
\

referred to these inscription slabs

the introduction to the Sahkirtana

and supported the


Poets,

earlier

view

that the

these inscriptions couid be of the

by probing further
effort to

into the lyrical contents of the inscription.


(Partly

From the scanty notes he

j<

making an

read the inscription

from a portion
inbuilt

of the

estampage taken by

his father!

50, he quoted parts of the


devotional content of the

lyrical lines to

trace the

rhyme, rhythm and metrical variatior

songs and hoped

that "the retrieval of the Inscriptional

melody content and

mode

of the

Uga-abhGgatotwak found

there In should be possible by a further probe into the conl

Inscriptions".
3.

not correct to say that these inscriptions contain the technical terms mSjapamu, antara (mu) and av/ia niyar careful study it is now clear that these terms are not mentioned in these two slabs - Ed.
It

is

4.

These two stone slabs contain


2
1 lyrics.

not

one sankirtana but a

series of

suladk type of compositions comprising more

ft

Prof. Salva
"

Krishnamurthy,

in his translation
;

and commentary on the


to give

treatise

on Hymnod

entitled

The Tunes

of Divinity" (Pub
-

1989), writes

some new

information (?) about the


Tir

Laksaria chiseled on stone


Is

"Being a witness to the popularity of Annamacarya's Sankirtans, Cina

said to have got his Sankirtana


feet length In the

Laksanamu

in

Telugu inscribed on big stone

slabs of four fee


order. Not o

seven

temple of

6ri

V&rtkatesvara following the

Campaka pradaksina

got engraved on similar stone -slabs


etc.
It

some examples

of

how

the

Sahkirtans were sung with SVE


-

was

Sri.

Udayagiri Srinivasacarya
is

who

discovered these stone

slabs

in

1949. The exacl

stone slabs thus engraved

not known; but only two such slabs have been discovered

and press

Srinivasacarya opines that Cina Tirumalacarya could have got them inscribed on stone-sla
7-

11

537

Two

things are clear.

Firstly,

Sahkirtana

Laksanamu seems

to

have been inscribed

slabs though they are not available


clarification or

now

Secondly, writing music with notation". (Page

Li intt

research

is

needed

to verify the veracity of these statements.

Dr.

Sampath, Director Epigraphy,


in

ASI,
It

Mysore appears

to have copied these inscriptions

reported

B-3/83-84. But on enquiry


effort.

is

learnt that the task of deciphering could not

be accoi

him despite a sincere

On

the occasion of the

week

long centenary celebrations held

in

August

1988

in

memory

Veturi Prabhakara Sastri, his

son

Prof.

Ananadamurthy made a second attempt


at Tirupati

at

securing estamr,

slabs through the courtesy of the

TTD Museum

and

getting

them read independt


its

Epigraphist from the Dept. of Archaeology, Hyderabad. Through the courtesy of


Sastry, Dr, N.S.Ramachandramurthy, the epigraphist,

then Director,
the

made an

earnest attempt
of the

in

deciphering

marked 4
to the
6

in full. But,

unfortunately,

due

to the inherent

complex nature

music inscription am
expected
result
t

poor quality of the estampage then provided, the readings did not
published
in

yield the

the text

the daily
in

'Udayam on 7-4-1 994 by

Prof.

Anandamurthy with a note

inviting

of Scholars
Dr.
it

and Public

general (see appendices).

But the attempt did not click and the respoi

N.S.Ramachandramurthy reports on 26- 10-98

that

he too

made an aborted

attempt prior to

half

way

as

it

had no bearing on History and as music was not

his forte (see

appendix

5).

There might have been many more such individual attempts by others escaping our
remains
that

notice,
it

none bore

fruit.

As

individual attempts

were

failing to

produce tangible

results,

certain stage, that a

group

effort

would perhaps

yield better results.

5.

The syntactic sequence in

the wrile

up of Sri. AVS (Vol. XVI Intro, p 33} must have mislead


In his

Prof. SK. In this regard.

AVS has
them
6.

not categorically mentioned anything to that effect

introduction to the volumes

XV and

XVI.

We d<
lyrics

positive proof In these slabs to Ihe effect that Cina


(or the Sahkirtana
is

Tirumalayya could have composed these Inscriplional

Laksana) chiseled on stone.


in

There

obviously a mix up of events


for study of
,

the narration of Dr.


.

NSR when he says In his seminar speech that his


what
Dr.

reading
Prof,

ol

formed the basis


courtesy ol the

ils

contents

II

is clarified

that

NSR
lhal

read

was

the eslampage secured

by

TTD

when

Dr.

Krishna Sastri

was

the Director

and

was

the text published subsequently in'UDAN

With the passage of time between

988 and 1 994

the

estampage secured
misplaced
in

earlier

by

Prof.

Anan<

and read by
1

Dr.

N.S.Ramachandramurthy was

either lost or

the Dept. of Archaeology


Sri.

994,

at the instance of Prof.

Anandamurthy, the then Director of Archaeology

N.R.V. Prasad,

securing another set of professional estampages of both the inscription slabs and got them read, for

Dy the group Jed by (Late) Dr. N.

Mukunda

Rao, C.E.O and his assistants

in

the Department for the seci

Hven that attempt did not succeed as the contents'


variance; not

of the inscription did not

emerge,

to

say

it

in

more than a bare minimum

of
Sri.

some 25-30 %. Scholars

like Prof. R.Srihari

and music

/idwan

Sri.

N.S.Srinivasan and Vidwan

Seshachari could not make any meaningful reading

ieciphered texts even though they evinced interest sparing


eeling of those scholars then
iscription slabs

some time

out of their busy schedules. The

was

that the readings

were

insufficient. True,

judged by any standan:


Music

appeared to be somewhat complex

for a variety of reasons, involving Epigraphical,


felt

.iterary (Sanskrit)

and

Structural aspects. Musicians perhaps

that they are Gitasrt a later period h


Literary scholars

iuch of a relevance

in the

modern context and hence evinced

littJe interest.

and

rest

eglected these notated inscription slabs as music


lake bold to attempt as
re too
it

was

not their domain. Historians and Epigraphists c

was

not a conventional historical record.

Added

to

all

the complexity, these

lengthy running through nearly

200

lines

(194

lines

to be precise) chiseled minutely

laracters,

demanding patience and perseverence on


IN

the part of the researchers.

:ROUP EFFORTS
At this stage
scription slabs.
it

READING THE INSCRIPTION


realized that a multi-disciplined group effort alone could retrieve the content
of the Dept. of

was

Through the courtesy

Archaeology
Sastri

Prof.

Anandamurthy made contacts


Dr.

rumala Ramachandra. Before


irtly

Dr. P.V,

Parabrahma

could join the group

Tirumala Ramac
t

compared
It

the

CEO's reading with the estampage of slab No. 4 and noted

his

observations on

ading.

was

realized that a fresh reading


Dr. P.V.

was necessary.
Sastri

Prof. Anandamurthy, leader of the grc


the Dept. of

rumala Ramachandra and

Parabrahma
afresh. As the

used the premises of

Archaec

tmmence reading the estampages


ned by Vidwan
3

work was progressing

satisfactorily this

group

Sri.

Akella Mallikarjuna Sarma and Vidwan Sri N.S.Srinivasan

to help in the

musical

inscription. At the instance of Prof.

Anandamurthy
Rs.

(in

April-May

994), the then Minister for Archa

>n. Sri,
3

P.V.

Ranga Rao even sanctioned


two slabs was

60,000/-

for this project.

However, despite the G.O being

publication of the deciphered text could not materialize for reasons beyond everyone's control. Never
fixation part of the
farlly

completed as a result of the sustained and strenuous


It

effort:
thi

the

5-member Team
and

of the Editorial board.

took nearly four months for the team to achieve


better

veral readings,

with

each reading emerged a

and a

much

better version of the contents. P


its*

s proper to say that the immaculate


step,

lyrical structure of

'he inscriptional content began to reveal


fitting well

more than 85-90%,


it

with the

Team

being instrumental
this

into the

scheme

of the

hough

Is

a fact that
it

this effort

could not have reached

stage without the endeavour of each anc


not have

jmber of the Team,


?

must be unequivocally

said that this

work would

commenced
Sastri.
It

at
is

all

basic contribution from Late Dr. Tirumala Ramachandra and Dr. P.V. Parabrahma
Dr,

It

unfoi

it

Tirumala Ramachandra

is

not with us today to see the fruition of

this joint effort.

is

but appn

to dedicate this publication to Dr. Tirumala

Ramaohandra whose contribution


Late
Sri.

in this

regard

respects,

and

to the

memory of

his

revered mentor the

Veturi Prabhakara Sastri

was major in many who was the firs.

to realize the

worth of these inscription slabs and


efforts of Sri.
in

who dreamt

of editing

and publishing the same'


Sri.

We

also

acknowledge the

A.V.Srinivasacharyulu, the Research Assistant of


in

Veturi

who was

Prabhakara

Sastri

instrumental

spotting these slabs

the Hill-temple. This event took place while


in

errand to take photographs required for inclusion


in

he was on an
Prthika

the publication of Sri

1949

Annamacarya Caritradvipada

(see

es&sootf&o

3).

EFFORTS
The
a
half

IN

FIXATION

AND PUBLICATION
the Dept. of Archaeology was dragging its feet for nearly two and promise to publish the deciphered text of the inscription. This matter was

Editorial

Team was disillusioned


its

as

years without implementing

brought

m a very casual
Sri.

manner

to the notice of

Vidwan

Sri.

Puranam Purushottama
spoke
to Sri. J.

Sastri

members Vidwan

by one

of our

Team

Akella Mallikarjuna Sarma,

who

in

turn
tc

Rambabu

Revenue, and the then Chairman, Board of Trustees, TTD publication. But for the kind gesture of Sri. J.Rambabu
Executive Officer,
Sri.

IAS, Principal Secretary,

consider the Team's proposal and undertake the

and other Committee members,


publication.

and the necessary follow up action taken both by the M.K.R.Vinayak, IAS and Dr. T.Ramachandra the then Chairman, Publications Committee
this project

would not have seen

its

fruition in the

shape of

this

splendid

WORKSHOP -CUM- SEMINAR


The Team wished
going into
authorities
print, for

that there

much
in

better

ought to be an academic discussion on the partly available inscription before exposure and more comprehensive appreciation of the

were quick

same The TTD

appreciating the thought

and arranged

for

8 these "First (available) notated " SahkFrtana stone-slabs

a three day Workshop- cum-Seminar on


association with the Veturi Prabhakara

at Tirupati in

Memorial Trust ( Regd. 1982), Hyderabad. Confining to the limitations of time, money and management a couple of eminent Research Scholars in the fields of Music, Literature and Epigraphy were invited to
Sastr,

parl,c,pate

and contribute

for the further

enrichment of

this publication.

That exercise which


to

was

meant

for the final fixation of the

basically
little

musical and literary texts

was undoubtedly a success


is

an extent of a

more lhan 95%. The summary


publication (see

of the

proceedings of the Workshop-oum-Seminar

also

appended

in this

Appendices 3

to 8).

PALAEOGRAPHICAL FEATURES AND FIXATION OF THE DATE OF THE INSCRIPTION


These two inscribed stone slabs found
slabs or even a
little

at Tirumala.
last

appear

to

form part of a series

of

a minimum
first

of five

more, issued during the

quarter of the fifteenth century and the

quarter of the

sixteenth century as understood from the palaeographioal evidence.

metexIdurinahislifetimeashepassedawayahortlyafterwardslnAugusngso d ("P Mh V We) SUMe d bV Pr R ^d a Sah " a Sa rlana 6 " ll6kha Pha e

Prllr
!

, tion

B cuo from Ihe takes

title

of the keynote address.

^ r f * ?:?

'

'^*"-

a"*yw

-d*
title

ialer ,o .he

in. conceived

present

"The Tirumala

Mu*> Inscrip-

The slab marked number 2

in

Telugu numeral contains

94

lines

and the other one marked 4


notice in

100

lines.

Each

line

on both the slabs begins with a zero (sunna} as


It

we

some of

(he

Vljaj/

epigraphs, perhaps to serve as leftside margin of the slab.

is

not certain that both the slabs

were

in

a single person. Scribal errors are noticeable


letters

more on

the slab

numbered 2 than on
4.

the slab

numbere

on

the slab

2 are more

legible than those

on the slab numbered

Although the contents of the two available inscriptional slabs do not refer to any date or king or

author of these musical compositions, the general features of palaeography clearly indicate that the chi

belong to the 15th

16th centuries (more specifically

falling

somewhere between 1460


team
that these

1512 AI
til

P.V.Parabrahma Sastri asserts). The general


compositions of the famous Tallapaka poets
evidence and other circumstantial evidences
is

belief of the Editorial

songs are most

also supported by this fixation of the date

on the palaeogi

like the location

where these slabs were found or the "-Ve

signature contained in the devotional musical compositions

and other
terms

similarities noticed,

The

lyrics

are

composed

in

Sanskrit. But the indicative

like

Pal/avam,
like

Abhogam, Caupadi
etc

Ata ta/am, Eka fa/am, Jhampa, Raganam,


to

Racam&rd
is

other abbreviations
in

Ugatov Udgraha, Ad/

be written

in

Telugu. The closing of the Ta|a

indicated

Telugu as eg "flte talam mug/sentf and


in the

Such a practice was prevalent during

that period

as noticed

Tanjore palm-leaf texts

on music.

The vowels

a, a,

i,

u,

eandews

used

in their

primary as well as secondary forms.

The vowels

?and c^are found


\

in

the secondary forms only.

Most of the class consonants are used leaving the anu


(frictionless continuants) ya,
in their

and n

(Velar

and

palatal nasals).
sa, sa,

The antasthas
all

va

(trillL

ra;

f/ateral)

he

usmas (sibilants)

sa and fa are

used

primary as well as secondary forms. The co


written as in

alter (cluster) ftps is

used commonly, The

letters

ka and /?are

Kannada and /teis

similar
letters

3und

in

the copper plates of the


in their

TaHapaka
(e.g.

poets.

The anusvara replaces the anunasika nasals

f"

and

compound forms

slab4-8.0; 20.0; 20.0; 12.0; 8.0).


distinction
in
is

The
lort

visarj'aniya is indicated

by two dots one below the other. No

noticeable betwee

and long medials of /and /"sand eand o and das was the case

the copper plates of the Ta!|

All

the numerals
trilled

to

9 and zero are used


is

in the

Telugu forms. Doubling of the consonants

(2-lini
th
r

seeded by the
are written

r (2-1.4, e\ 4-22, 40)


like

rarely noticeable. In

some
f,

instances the conjuncts with

as

in its

modern form

/z?and secondary consonant


letter is

/-etc;
is

below

(4-1.

95,

00). But

in

ises the
this

use

of

"

Valapaiagiiak? after the

also noticed. There


in

no consistency (2-166; 4-t

regard. Punctuation
in

marks and other phrase markers

Music are denoted by single or double

vei

okes as required

the context.
written as
its

The cerebral /?(s

(like

theRoman S

without the lower curve but with a serif

on

top
f,

Kannada form when

Telugu form was


serif
).

(ft

in

that period.
(

The

letter

ka deviated from

its

old

o below a horizontal stroke and a


Izontal

above the stroke


distinction
is

5")

and

written with zero being

connected

tc

and then

to the serif as

No

made between tfeand 0^9 both being closed on

side
'f

touching the

serif. In

the letters pa,

/^and

$a the base ring

is left

open on

the top unlike the clc

the later period.

The

letter

ya has a

bigger closed ring.


in

Based on these palaeographic observations

general and particularly

on

the formation of the letters

and pa,

these inscriptions, according to Dr.P.V.Parabrahma Sastri, are ascribable to the end of


i.e.

th century,

between

1460

A.D. (Kapilesvara's Srisailam Inscription)

and 1512

A.D.

(Kemide

am

Inscription).

Readers can

refer to the photoplates

appended.

:RAL,

PROSODICAL AND MUSICOLOGICAL FEATURES

RAL FEATURES
Inscription 2 contains in
1}
all

94

lines or

47

pairs with the upper lines having the literary content (n


is

and the lower

lines having the

musical svara notation (dhatu portion) unlike the practice which

A'ay in the later period. Since the first pair contains

only a small segment of svaras\\\ the lower


clarity.

line

per

line totally effaced,

number
is

is

repeated on both the lines for purposes of


in

Although the
1

largin in the inscription

indicated with a zero


in

every line the Editors have included numerals


for

to

decimal point intervening

between the zero and the numerals

purposes of ready reference,

'ed in the 'inscriptional format' the

author ana" the scribe have taken every care to


(e.g.

Cover spaces with minimal wastage possible

slab 2

Lines 59.0

and 60.0)

Leave blanks with

indicative vertical single


(e.g.

or double strokes

where no svaras occur under


etc.)

musicological terms inscribed

slab

Lines 2.0

and

3.0; 6.0 and 7.0

Continue the
portion to be

matu portion
shown
(e.g.

of the
-

upper

lines in the

lower lines where there

is

no need

for the

cfc

slab 2

Lines 52.0 and 53.0}

Inscribe the vertical avrtta kala

and double
-

vertical

strokes (daptfa marks) indicative of the musical time frame

pramapa

(Slab

Lines 81.0

and 82.0, 83.0 and 84,0, 91.0 and 92.0

etc.)

The Editors have also followed closely


in

all

the intentions of the author

and the scribe and retained ev


any
sort of distort

the reproduction of the edited version

of the 'inscriptionaf format' without

lever. All the doubts,


ive all
i

suggested or

clarified readings,

gaps, lacunae,

filled

up portions

of

matu and dh

been shown

within brackets with clarified footnotes

and numbers repeated


and
2.0, 4.0

in all

the three form:


9.0,
1

inscriptional, musical

and

literary (e.g.

slab 2

Lines

.0

and

5.0, 8.0

and

0.0

20.0 and 21.0, 30.0 and 3

1.0,

34.0 and 35.0

etc.) for

the purpose of ready reference and

clarificati

d meanings of the
version of the

definitive lyrical text (in Sanskrit),

provided by Prof. R.Srlhari, are included only


of the lyric in slab

in

'literary

format'

After the

Praydgam portion
lyric

line

93.0 the we
i.e.

am
r
'S

is

recorded suggesting that that segment of the

would commence
letters

in the

next slab

three.

However,
of the

at the

end of the notations


-

in Eine

94.0 the

ririri

are chiseled indicat

the

end

Prayogam

dhatu portion on

that slab.

Exhaustive footnotes and suggestions noted during the


ersrons of the text for a better perception

workshop are appended

in all

the lang

and understanding
lines
in

of the textual content.

Inscription

No. 4 contains

fn all 1

00

wherein the

first

two

lines are not traceable as the


in

letter!

oiations therein

seem

to

have been effaced

the passage of time.

As

slab 2,

in this

slab also the

las

00.0 ends with the indications of the closure of Rupakam (Rupakam mugisenu)w& the commenceme
ga-jhampa (udgraha portion of the
ab
in

lyric in

Jhampa

ta|a) to

be followed probably
is

in

the next slab


at the

i.e the

the series. Nevertheless

it

is to

be noted here

that there

no

writing

SririSri

end

of the

the

matu portion.
But for these peculiarities, slab

also contains

all

the other general features already described

in

However, as mentioned
iser scribal errors,

earlier, slab

4 seems

to have been executed

more neatly than

the other

one

At this point,
[he
'.D.

when we ponder over


in
1

the fact that only

two slabs
at us.

(of a series of five or

more) are sp

Tirumala Temple

949, one major question stares

How

could the Epigraphy Department o

which copied with zeal and commitment hundreds

of inscriptions

found

in the Hill-temple totally

se two large slabs?

We

shall

have

to look for

an answer and search vigoursly


at the

for the other missing s

ley are not totally lost by


ich defies all logic.

now

or remain

dumb-found

mysterious working

of the divine provide

DSODICAL FEATURES
The
r

fyrical

compositions
all

in

Sanskrit language found

in

these
like

two

slabs are immaculate and flawles


of

structure with

their inbuilt prosodical


in

embellishments

>^// (virama) with the consonance


(e.g. Slab 4-line 78.0);

/el

and the consonant as


in

Telugu with occasional colloquialisms


lyric

Prasa

(the in

me occurring
J

the second letter of each line of the

with consonantal consonance); Antyanupi

rhyme

inevitably

found

in

every

line

of the lyric
in

and

the occasional middle

rhymes

e.g.

Slab 4
-

Line

1 1

vbodhanas (Address or

calling) occurring

the namava|i (Slab


like

Line 2.0; Slab 4

Line

78
Slal

^ibddhana Abhasas (non-address or non-calling looking


3

address

e.g.

Slab 2-lines 2.0 and 4.0;


into visible

1 1

.0

and 22.0):

In

these lyrics the syntax gets punctuated at certain places easily

and

tangi

resses

and

at

certain other places creeps

on entwining

into

several lines forming larger and Ian


line.

ipounds with seemingly address-like non-addresses at the end of each rhyming

Besides

all

the e

nes and alliterations, these complex syntactic structural elements appear to be the rare poetic exerc
Ived in these lyrical compositions.

And

yet at certain places the narrative format


at certain

is

so simple

to

comprehe

meaning

(e.g.

Slab 4-lines 46.0 and 48.0); whereas

other places the sudden

twist into the din


1

ich role patterns


))

adopted

in

the

lyric (e.g.

Slab 4-lines 7.0 and 8.0; Slab 2-lines 9.0,10.0 and


of the syntactic
fill

1.0

makes

it

complex to comprehend

until

one reaches the end

sequence. The compositior


larger missing portions of
t

plexity of

these lyrics can only be gauzed

when one

attempt to

in the

Iptional lyrics.

While discussing the prosodical features in the inscription


3

slabs

it

is

appropriate to

make
T^f/d?

a comparison

Ragada metres

extant in Teiugu

and Kannada

literatures,

as

(Tr/sra)

Rupaka

agrees with the

acara and
'sra]

vajayamafiga/a ragadas, (Khanda]


tolas with

Jhampa

with

dvjradagatf and jayabhadra ragatfas;


tripuja with

eka and afa

madhuragati and harfgati ragadas; (misra)

han'oagati

and

3gat/ ragatfas.

XOGICAL FEATURES
lore than anything else the musicological features present in these inscription slabs appear to be

and unique;
is)

particularly

so as

Prof.

R.Sathyanarayana

clarifies that that


in

was

the period (15th

16th
in

when

innovations and experimentations were taking place both

the field of practical music


lyrical

and

iretlcal
il

music. The systematic structural patterns of


in

music found

in

these

compositions and the

terms employed

the process are frnmaculate


to

and

self revealing. In these series of the inscription


in all their

ior(s)

appears to have attempted


discussed
in detail
-

present a series of Su/adf(l] compositions


in his

structural

tations as

by Prof. R. Sathyanarayana

keynote address. The following are

the striking features

ymologlcally

if

a Sujadi refers

to a

"pre-determined order" then that order sapta (a/as are concerned


is
viz.

is

perfectly maintained

in

classical (marga}

mode as
and Ska,

far as the
in

the dhruva, rnajhya, rupaka,

ampa,

triputa, a\a

these inscription slabs there


of Sri

no

variation

whatsoever
to

in this

regard.
strictly

'en in the

Desi Sujadi composition


in
all

Annamacarya

this taja

order seems

have been

llowed.

But

these lyrics the experimental innovations introduced appear to be a class by


like

3mselves, The novel introduction of features

Jyavaja and
to

prayogamu found

in

the Gitas

and

abandhas respectively of

that period

makes

it

difficult

name

these musical formats. Are these mere


of the introduction of Jyava|a etc.?
else!

amavalis", as they contain addresses to the Lord? Gitas


l/adis\r\

because

view of

their

pre-determined order of the taja structure? Or somethig


in

was

the question

sed by Prof. R. Sathyanarayana

his

extempore keynote address

at Tlrupati.
it

For want of better

dence he was
Prof. V.

inclined to tentatively
feels, to

name them as

Su/adis, he said. At this point

may be suggested,
nafana"

Ananda Murthy

examine whether these could be


r

called the "Saptata/a


viz. asu, like

mpositions falling under

madhura

kav/talu of the four fold classification of poetry


like

madhura,
Vartakavi
kavitalu,
in

^and

vistara

mentioned by Teiugu poets


Cent.).

Nannayya

(1 1th Cent.)

and rhetoricians

ghunathayya (17th
otatala natanalu\

Among

the twenty five


fit

and odd forms mentioned under wadhura and format found


in

one which would

into the

description

these slabs

case

ther evidence

is

also found to associate the lyrics of the inscription with dancing.


in

3 first

Suladi found

slab 2 though incomplete,

appears

to

be a dasavatara Sufadi

in the

form of
in

Dtal

thematic single composition. That


first

was

the reason

why

the reconstruction of the lacuna found

missing portions of the

two

talas

and avataras has been attempted. The


in

structural flawlessness

nd

in

these compositions guided the process of reconstruction

every detail

including

the lyrical features


the refrain
Ifne

like

the udgraha, jyavala,


in

abhogam
the

etc.

which

is

invariably found either

first line

of the jyavala or in the first or

of the

udgraha depending on the content

of the

lyric.

the

addresses and the extending non-address

like syntactic structures,

and

the thematic congruity.

The Editors are

grateful to Prof. Pullela Sri


lyrics to

Ramachandrudu

for the labour of love in providing us

matching pieces of newly constructed


of that period for the benefit of the

complete and

retrieve atleast

one

total

dasavatara comp

modern

practitioners of poetry,
for

music and dance. The Editors are


falls in

grateful to Vidvan Sri. Akella Mallikarjuna


lyrics of the

Sarma

composing matching music which

tune wit

compositions extant.
is

That this dasavatara Suiadi could be an Ekaragatafamalika

borne out by the fact

that
in

no

rag*

was mentioned
is

for the lyrics extant.

Obviously the /sj^name would have been mentioned


followed
till

the

first ly

missing and the

same raga would be


Sri.

the

end of the Suiadi. Although, the name of the


Sri.

missing, musicians, like

Akella Mallikarjuna

Sarma and

N.S, Srinivasan opine that the appropria


initial

could be Ma|avagau|a. That


ta|as

was

the reason

why

the newly
it

composed

two
It

lyrics in

dhruva and

have also been set

in

the

same

raga,

making

an ekaraga

nivesita.

appears to be a similar

<

respect of the second


Varaji raga is not

s^tf'commenclng

with the dhruva ta|a


lyrics in

lyric in

(Vara|a) Varaji raga. Although tta


ta|as musicians are unanirr

repeated on the other two

mathya and rupaka

saying that their melody content agrees with the Varaji raga.

Hence

that

too
in

was considered

to be
sla

ekaraga

nive'sita

suladi &\\\\Q\\Q\\, unfortunately the other

lyrics are

missing

that part of the

second

same
in all

logic holds

good

in the

case

of slab

4 also as Gau|a raga, according


ta|a to the last

to musicians,
ta|a.

appears

to pr

the

seven available

lyrics

found from jhampa


is

one

in

Ska

Although the composition


inscription slabs

incomplete
the

,this is

the third

Ekaraga

ta/a

malika suladi W>\\VQ&


at the fag

in the

and as an extension of

same

logic, the forth su]adi

commencing

end
that

of

tf

numbered 4 should also have been an Ekaraga


Based on the melody content, they
nit/ajas read
in

nivesita. But

on examination musicians negated


lyric is in

pos
I

felt that the first

dhruva

raga Nata and not


letters

in

Saya nata

the inscription.

In fact in

the inscription slabs the two

which could be read as

(preceding the letters nata, which are very clear) look as though they are erased after chiseling. Her

wonder
is

that the

musicians also
lyric that

felt

the melody content to be nearer to nata raga. But the point to pond(

that the

Mathyataja

followed appears, according to musicians, to be nearer to Patf/ragaz

to

nata raga, and the

last lyric extant in the slab in

rupaka

fa/a again

appeared

to

them

to

be nearer

to

gau/aw\ti not to na|a raga, or padi raga despite the fact that these raga names are not to be found mer

on each and every


bahuraga

lyric. In

Taj/apaka

Annamacarya 's desi su/adf published in

the

3 1st

volume, as

it

ta/a malika, all the different ta/a

names and the raga names as


suladi

well,

are recorded on each anc

lyric separately.

The raga

name

first

mentioned would not be repeated in the subsequent lyrics only t


this
in

happens to be an f=ka raga


as Vidvan
Sri.

niv&sita,

Now,

the series appears to be an exception in this

Akella Mallikarjuna

Sarma

feels.

While the structural logic suggests something, the musica

to

suggest something else to the musicians.

In

view of

this

discrepancy the notations occuring

in this

he inscription was again checked twice before finalizaiton, to


iraph.

eschew any

lapse with regard to reading


fa/a

The readings are


in

faithful

and exact. Then could


1

this

be a "bahuraga sapta

/rato"simllar
Sanskrit "lava

ie

composed

Telugu by Annamacirya (3
-

-478) by any chance? The composition


in

in

~astum"\r\ raga Kjambodhi

Racca

taja

appearing

volume 12-114

also refers to various lyrics


vina, the vocal

'aracanan/j s\in

to the

accompaniment

of the bangle

rhythm while playing

gamaka

exceeding the melody of the musical instruments and the


le

words

set to the scale of music and to the


hills.

of tajas

addressed

to "tiru-Vefikata-Vara" the

Lord of the seven

Hence

it

is

not un reasonable
lyrics

me, that
pies of

this

could have been an inscription aimed at presenting a variety of compositions and


significance.

contemporaneous value and


-

Here are some of

the musical terms and indicators


in

in

thse compositions

Uga/Udgraha

(the beginning),

Jyavafa (a desi word

origin

employed

to

as a bridge), Prayoga(ft\& ragalapti set to


a/a\Q eka
3d in
ta//(\\\&

taja), \ferala exvb na/a(\.\\Q

two names of the ragas shown),


lyric

sujadi saptata|as set to the


taja lyrics),

predetermined order), f?aganam(Vc\Q extra rhythmic


for pallavi in

between the ata and eka


used

Pallavam (the refrain term

caupadadojam),

the term

to indicate the cararia like quartet),

j/mudra of the poet occurs), ^/(meaning the


(the
>r

abhogam (the end portion of the commencement or the first part of


word

lyric

where

in

the

the

lyric),

ata tala

same Matya

taja

as sometimes referred so), tivug'a (the desi

indicative of the Sanskrit term

the vice-versa).
-

re the terms Racam, Caupada


3

do|am and Ragatiam and

their

placements need

certain observations

to

be examined by the musicologists, fteganam' the lyric having


is

8+

4 +8 =

20 matras per line which


Caupada
literary

to

be a variety of mathyam

interposed
=

between the Jhampa and


16 matras per

triputa lyrics. Similarly

id

Racam, both

lyrics

having 8 + 8

line differ only in the structural

ion.

Racam

is

in

the so called sujadi format having the


in

udgraham,

jyavaja,

prayoga and abhdga


to

vhereas the Caupada dofam resembles

every aspect the sahkirtana pada format said

have been

by Sn. Tafjapaka Annamacarya having a two-lined Pallavarn (Pallavi) and three Padams (Caraoas)
ied quartets with the

abhaga mudra
it

portion

coming

at

the end of the

lyric.

Although

this

was
line

the pada

rfected

by Annamacarya

was

not restricted only to the prescription of

16 matras per

whereas
line.

ida dojam, according to the inscription,

appear
-

to

be

significantly restricted to sixteen matras per

points are also to introduction of these

be pondered over
in

two formats

between the ata

tala

and the

ka

taja lyrics

appears

to

be unique

unheard of as

Prof. R.

Sathyanarayana reveals,
f

in either the gita

or the other sujadi compositions.


feels, is a

name caupada

(as against the As(apadi

as Prof.

Ananda Murthy
to

catuspadi

lyric

having
for

ie

chararjams plus a half

padam

i.e

the pallavam)

appears

be a musical composition intended

jing

and dance as indicated by

the

Jalmini-Bharatam text of PillalamaRRi Pinavirabhadrakavi of the

Jieval period.

He

"

says,

danti dantammu latamuga drippucu

nadu/caupadammulaku bisaca mokatr


in

lean that a (devil)

woman dances to the

tunes of a caupada with the aid of an elephant's tusk

hand.

11

3.

dofaffl the siffix

attached to caupada appears to be a colloquialism of dajam meaning reku


in

(=
\

which
or tala

is

a musical form comrnonfy found


like

the

yaksagana plays usually with


etc.

certain prefixes

names

bowli-rekulu or Jharnpe-rekulu

These are ragada compositions with

general. This

Annamacarya's Safikirtana Pada-Chandarnu


to have
-

(not extant) also

makes

a mention of these

word reku appears

been mentioned

in

a particular Sanskrit padam of the Tajjapaks


9

"

as "Mukhari (reku) Adi"


carries

Aho sadhu tavagamanam -bahufa


is

vaibhavaih prativacanaih kirri* whii

8-1-8=16 matras

per line and which

exactly similar to the ones

we

find in
If

these slab

as "Sarasijasambhavasakhasurapungava" or

"

Vasudevamavaparvasudhakara",

that

was

[v

reku these are either a "gau[a reku or a malavagaula reku". The prefix caupada happens to be
but the catuspadi or the

padam as

it

fs

generally called, which

is

perfected by Tajjapaka Annan


it

From these observations made above


Firstly, to

Prof.

Anandamurthy

feels that

would

not be

unreasona

name

the inscriptional saptatajamalikas as "saptatajanatanas" comprising elements of

rhythm and dance as examples of


Pinavlrabhadrakavi (15th
prescriptions of a sujadi
the fntroduction of the ar desi

what Vartakavi Raghunathayya (17th

Cent.)

mentioned or
to the
I

Cent,) described;

and these compositions do not also conform


of jyavaja or

because of the novel interventions


in the inscription

prayogam. Added
is

to these observ
in

Caupadado|am

intended for dance

not to be found

the

cli

streams of the su[adi formats as revealed by

Prof. R.

Sathyanarayana.
pita

Secondly, to

assume that

the inscription poet could perhaps be none else than the padakavita

Fajjapaka Annarnacarya,
signature besides having

who
the

alone could have introduced a Caupadadolam as a mark

of his stri

abhoga mudra

of

Venkata- with

all

the various prefixes or suffixes.


lyrics introduc

Although
f

it

looks from the dasavafara sujadi tajamalika (slab 2) that the extra three
in

10) had a role


total

accommodating

all

the ten avataras,

it

later

appears

to

have become a conventior


lyrics in
it

when the

composition remained a mere "namavaji" without having a need for the ten

it.

Hov
fi

ve are inclined not to

name

the author nor the composition as

we would wish

or believe

to be,

Tioment, until further research proves or disproves the claim.

But since certain doubts

in

respect of the authorship of the Inscription


in

were expressed

in

public

he Workshop-cum-Seminar held at Tirupati

October

998

it

is

but natural to

examine some of those

md

place our views


1
:

on record purely on academic grounds.


like Sri. Veturi

DOUBT

That the pioneer research scholar

Prabhakara

Sastri
that Sri.

could not definitely coi

he conclusion that these are the compositions of the Ta||apaka Poets, and
>ellef

AVS

also has supporte

about
:

Sri Sastri's failure.

3EPLY As
if

Prof.
Sri

R.Sathyanarayana

clarified

on that day of the seminar "non-mention

for the

non-comp

a su|adJ by

ividence vanishes

Annamayya was a negative kind of evidence". But even that speck of a negative ki when Sri. Prabhakara Sastri categorically mentions in his first notice of these inscriptic

9.

As quoted by

Sri.

I,

V. Chalapali

Rao

in

his "Arrtrtavar?ini"

P.98

12

ius

"a few notated musical compositions of the Ta||apaka poets inscribed on huge stone slabs of
Tirumala. Lyrical compositions found chiseled
JO

their

ire available at

on stones along

with svara notations of

iod

is

something rare and unique that bring glory to the abode of the Lord

6ri

Veftkatesvara.
Sri,

...

We
not

3trieve
1

and publish

the contents soon"

Hence
is

the doubt raised

was

unwarranted.

AVS could

have corroborated such a doubt which

both incorrect and goes against the stated observations of

tor.

lat

the

medium

differs in

stone
it

vs.

copper

plate inscriptions.
in

is

no difference

at all

as

was

a matter of convenience adopted

respect of the preservation and


of their

tion of the lyrics.


jxtant to

In this

regard one should not forget the fact that

all

copper

plate Inscriptions

day

to

make any such

negative statement. Did the Ta||apaka Poets not experiment writing their

n palm-leaf manuscripts?; duplicate

them on

different sizes of

copper

plates

on experimental basis?
retrieved

3y not written their notated lyrics (like the

ones by Peda Tirumalacarya recently


-

by
1

Prof,

nurthy from the Tanjore manuscripts library


leaf

See report Andhra Prabha

daily

28th November

998)

manuscripts? Does anyone disbelieve

it

because they are not found on copper plates? Do

we find

jnsive

Dvipada works on Copper plates while

we find
means

certain of their minor

works on such

medium?

inyone sure that they have not adopted other


3

than the ones

we know now
span

or for that matter

them on copper plates?

Lastly,

can anyone believe

that the entire

of the su|adi type of


in all

tons retrieved from the available two huge slabs forming part of a series of more than five
ly
st

could be done on copper plates of that magnitude?

It

might not have been possible. Hence they


perhaps the Sikhanatha svami
in

have chosen the convenient stone medium on the model of

imalai) temple inscription with

which they

may have been

conversant. Hence the objection

our view

viable nor valid.

it

there

is

variance

in

respect of the

mudrawvb

the Sanskrit diction found on stone and the copper

urns out to be just another missgiving


\

when examined
the

in detail.

Venkata happens

to

be the mula

the
it.

mudra found on both the stones and

copper plates with


is

their multiple prefixes


in

and

suffixes

to

No one doubts
iyrics

the authorship even

when "Vehkata"
like

absent

certain

paryaya mudrasfawti

er plate

of the

Ta||apika poets

"Kanakarayatfai" (12-14); "Madanajanakudu";

riswaradu" (31-478); "Tirumalakonda" (2-89),


pairs?

How

could any doubt be entertained between the

ikata-svami (12-209)
ikata-pati

Verikata-vara

(slab 2)

(2-84)

Venkata-pate, Venkata-adhipa,

Vehkata- vallabha
ikata-yiri-svami

(slab 4) (slab 4) (slab 4)

(12-242)
(

Vehkata-giri-dhava

ikata-acala-ramana

2-30)

Vehkata-gm-rata

Appendicies

&2

for the full text in Telugu.

13

Venkata-adri-pan.upugabaog'e (12-48)
Sri- Vefika|a-adri-guhasiddhuda
Sri-

Veftkata-giri-saya

(slab 4) (slab 4) (slab 4).


in their

(23-432)

Venkata-gfri-grha
Vefikata-vara daya

Venkata-kamita-varada (2-165)

Even a casual examination


Ve are tempted

dispels the doubt about the

mudra and

strengthens the belief

to reveal further here the finding of Prof.


is

Anandamurthy, thanks
in

to his recent

probe

egard, that whfle "Vehkata" being the constant, there

a considerable variance

between the three Ta


to

omposers themselves. While


the notated

tiru/ri-Vertkata- esa (isvara)

and other combinations appear

be the

m
Ve

innamacarya; -Vehkata- natha happens to be the specific signature of Cina Tirumalacarya and as ob
i

jhdmbada prabandha, Peda

Tirumalacarya's, sanklrtanas carry the


in association.

mudra

of

ombinations with invariably a mafiga or laksmi added

That there

is

difference in the pal/aviw\& anirpaflavj\y$

of compositional methodology

in

betwe

iscriptions

and

the
is

copper

plates,

and

in

the

language and

style.

This objection

also not tenable as one examines the form


in

and format

of those musical

compo

irefufly.

The

sahklrtana-'pada format has a vast scope

expressing the thought and the word where;


self

jrtailed in the classical su|adi

type format because of


alliterations,

all its

imposed

structural limitations

and

restn

rhyme, rhythm, end-of-the-line


mskrit grammar.

addresses and non-addresses and the

peculiarities

When

the format changes, the language, styfe


its

and methodology
style.

also undergo a c\
differs in
is futile
it;

loughl content choses

own

form and

this

form dictates the diction and

A sataka
It

len
3

compared

with the padava|i, though both are -subjective, basically,

in their

treatment.

to lo
f

pallavi-anupallavi type of compositional


differs

methodology

in

Sri Verikajesvara vacanamulu as the

anges. The udaharana format


it

from the su|adi type of format and

naturally even the sujadi differs


to

of the gfta. That


lyrics

is

the reason

why

researchers and musicologists wonder about the name


all

be

gl\

found

in

these inscriptions with

their

experimental innovations. Language

is

a psycho-socioli
c

enomena and so

registers differ from situation to situation

and from domain

to

domain depending

^aker-hearer relationship and the surroundings.

Stylistic analysis

may

help getting to

know the

author
is

mately but by

itself

not prove or disprove the authorship issue.

Now

that the Inscriptional content

folded, this subject could be further

probed

into.

These were some


criptions

of the specific doubts


tried to

expressed by scholars regarding the authorship o Regarding the other suggestions


that these

which

we

have

answer

objectively.

cou
-

compositions
ituries,
it

of

some
say

other contemporary writers, other than the Ta||apaka poets, of the 15th
that that

suffices to
in

they are generally vague without any specific evidence coming

forth durin

sussions

support of

argument. One of the reasons for the


until

failure of procuring

such a neg

tence, in the workshop, could be due to the fact that

the contents of these inscriptions were circu

he participating scholars

in

the Workshop-cum-Serninar,

no one Knew about


of

the exact nature

and

to

he inscriptional compositions. As such, there


ler.

was perhaps no chance

making comparisons whatsc


in

Now

that the Inscriptional content

is

thoroughly known, scholars

general including the sen

14

;ipants,

who may

still

have

lingering

doubts about the authorship, could make an

effort

and come

ft

specific evidences in

support of their assumptions.

Nevertheless Prof. Anandamurthy

made

a comparison of these inscription lyrics with a couple of note

compositions found
'al

in

the Tanjore palm-leaf manuscripts of that period which are not

probed by
(?),

public so

far,

of specific authors like


(?),

Btiaodaru Laksminarayana, Veftkatamantri


etc.,

Vyasari

latya,

Vedamanya? Kuwanna
9 & 1 0) given
in

Vehkafamakhi, Purandaradasa

as mentioned

in

his write

up
1

idix

support
is

of

the Andhra Prabha

Newspaper

report that appeared on 28th Nov.

a careful examination he
in their structural

convinced that none of those compositions

come

closer to the inscriptic


in

impeccability, excepting the fact that they are devotional

character where

ositions (daivaparam) are dedicated to the Lord.


Similarly, that Sri

Krisnadevaraya has or could have written such compitions as informed by


Dr. Aralikatti in

sani
)

Mohan

quoting Dr. Aralikatti bears no truth according to Prof. Anandamurthy.

{Saptagiri
ri

Sept.1996

see parisistam appendix-4) "Glory of Srinivasa" discussed


"sakalakathasara sangrahamu"w\\\v\\ the
for particulars)
late Veturi
in

the "kriti"

po

of
3d

Krisriadevaraya (namely
in

Prabhakara SE
-

way back

1939

see parisistam

The word

"kriti"

found there
Dr.

meaning a ka
1

bandha was obviously equated erroneously both by


gh a strange semantic extension of meaning.
Dr. Aralikatti
In

Dr. Aralikatti

and

Mohan
was

with a song

fact that

work "krlshnaraya

kriti"

not

a book

of lyr

quoted therein were only a couple of slokas which are not


is

lyrics.

So
:he

until

the authorship issue of these inscriptional lyrics

proved on firm and concrete evidence

eil

working hypothesis of the Editorial board of ascribing the authorship to the Ta[|apaka poets and
ri

rri

Ically to
-

Annamacarya and

his

son Peda Tirumalacarya stands,

in

view of the following elabora

viewpoint.

INSCRIPTIONS
3d in
j

COPPER PLATES
Also located
in

Tirumala

ri

Vehkatesvara temple premises

the Tirumala

rl

Venkatesvara ten

these are either written or preserved.

precincts where these were either written


preserved.

g to
'- 1

5th

6th centuries;

more

specifically to

Believed to have been engraved during

1525-15
\

2 on palaeographical grounds.

Astabhasa danglakamu

of Cina Tirumalacarya
In 1

engraved as per the record

537.

^graphical features
>r

concur with the

writing

on
be

Palaeographical features concur with the


characters,
[a,

Inscriptic

plates,

ja,

pa, ka, pa,

ma and sa appear to

pa, ka, pa,

ma and sa

appear

to b

sarlier period.

little

later period.

15

ur margasuladi [ype of
la,

compositions

in Sanskrit

with

One

desi Telugu sujadi of


in vol.

Annamacarya
to

is

found

taja

and svara notations are noticed. Of these one

published
malika.
to

which appears

be a bahuraga
r

)ears to be a bahuragatajamalika according to the

So sujadi

type of compositions are nothing


or the other Tallapaka poets,

sicianvidvans.

Annamacarya

The

\\

"tavamam drastum" (12-114)

refers to suladitypt
to Pt

compositions of Annamacarya according


Anandamurthy.

rvening lyrics are noticed in these compositions.

Intervening lyric like a


sujadi composition.

"vakyam"

is

noticed

in

the d

and

tala of the lyrics are indicated in the Sanskrit

Raga and

taja

names are

indicated
e.g.

in

certain simi
te

positions

which resemble

some of the Sanskrit

lyr-

Sanskrit compositions

Kambodi-racca

)und

in

the copper plates e.g. Malavagaula-raccam,

"tavamam"; Suddhavasantharn-raccatala "Pralapai


vacanaih". Certain Telugu lyrics also contain raga
tala e.g.
ai

a-raccam, Malavagaula-caupadadalam, Gaujaladadojam (slabs 2&4)


tion.
in

the partly available in-

Kambodi-jhampe (12-113); Kannadagauj


(

atataja

(12-116); Mukhari-atataja

2-208). On

ti

basis of this Prof.

Anandamurthy wonders whether tt


lyrics
j

missing slabs would contain certain Telugu


well!

lame and format of the caupada-do|am (dajamappears to be an unmislakeable evidence of the


irship of
\
.

"Mamanunetu"( 12-25 Din

Srt

raga runs exactly

in

+8=16 matras as in the inscriptional caupada-dolan


"Aho sadhu lavagamanam"
in
(

Annamacar ya, who

is

said to have per-

2-78)

of

Annamacary

the sahkirtana format.

Sanskrit resembles
in

in

toto the

caupada-dojam of th
decide which
is

inscription

manner

difficult to

th

replica of which.

of

th*3

inscription

appears io be an adept
systematic

in

com-

Tajlapaka poets are also known, with concrete evidenct


today, as adepts in

sui.h stiucturally
Ivriual

lyrics in the su|adi

composing such notated

lyrics.

Pedj

formats.

Tirumalayya's

jhombada prabandham
is

with notations

can be quoted as an example, which


3510varieties.

said to contair

.if/

\-i\w\Jtitii compositions

rendered

in

seven

PedaTirumalacarya'sVenkatesvaravacanas are called


vafragya vacanamalikagitas continued with the
link

nd aa ekaraga/bahuragal?) malika.

16

word "mariyunu". These are buhuragatajamalika


compositions rendered
tivuda,
in

four of the seven talas

i.e.

eka,

jhampa and rupaka.

itara

theme appears

to

be dear

to the

Same

is

true with the Tal|apaka poets. There

is

serfs) (slab 2).

particular lyric entitled

cal features (ike yatt, prasa,

antyanuprasa

etc.

Same
poets.

is

true with the Sanskrit lyrics of the TaNapaka

cturally systematic as in Telugu.

luialisms

&

Colloquialisms
hitalata

thabhudharadrista ghanodaya" (slab 2-34.0)


shkata sikharaSana"
iti

"yamunakule
:

grhe"

2-78)

(slab2-8,0)

"caitanya

Sripati"

(9-141)
(2-80)

hrdanalpa darpa"

(slab2-12.0) (slab4-78.0)

"daivasikhamani
"ukkumiri
"iriti

tirumaladevuni"

tha nrpa dhrda raga"

waciidanare"

(23-300)

Yasoda"

(23-372).

Yati

na bhrnga

(|l

?)

kadhara

(slab4- 48.0)

ni|a

manasija

(li

?)

"

lala dagili

(16-57)

nilation
aria"

9 (slab2- 46.0)

Dissimilation

'rukumini"
'lakirni"

(23-520) (23-230)
(23-235)

'sankarusaria"

hangeability

lnterchangeab]iity
"tulasi"- "tulasi"

"-"kelana"(slab4-22.0)

(12-166)

irities

e
(slab2-4.0)

Similarities

ha"

"kirivigurava"
Tirurnalacarya.

jhombada prabandha

of

Peda

latike"va"

(slat>4-7,0)

'polati

maidigapai pulakalu

podaminche"

-Annamacarya (12-179)
"muncina dShalatapai"
"payapu merugudige"
"merugulatigekadg menu

(23-33 1

(23-514)
nidi"

(23-

47)

17

"barhinamiva ghan^tha

arhasi sakhim tratu

"avSja nokka nemali yag'a negaga juci bh


celiyanucu battabOya
krisnudu"

masu

vefi kajapate"

(slab4-7.0)

(23calaftgii

"mavurambu mghagarnanarnbunaku

manomayurambu"

(Veftkatesvara

vacanamu

"kantajanamani kamaladharaya
cintayamimiha(cira) Ver'ikatasaya"

"meruguboni yalamelumangayutanu
(slab4-34.0)

merupumeghamugucli merasinatluntfe" (23-4)

"janakasuta janitotsava....
kanahrdi Veftkatagiridhava"

"Alamelumanga
(slab4-99.0)

ni

vabhinavarupamu

jalajaksukannulaku canuviccevamma'

-Annamacarya{12-159)

Borneofthesecoupletsintheinscriptionresemblecomjositions of

Peda Tirumalacarya appears


his father in

to

have "taken

GUI

Annamacarya and Peda Tirumalacarya

adapting his signature containing the


Sri

/hose signature invariably incorporates the Divine cou-

couple Aiamelumanga and

Venkajesa.

^itanukrfpam Vehkatagingriha"

(sfab2-75.0)

"koccana Vehkatadriguhasiddhucla"

(23-4:

namsalagopl madhyavihrtipara" (slab2-53,0)

"gopikalaku

manmadhamanrnadhudu"

(23-4"

'ikatanisat?

vipadurukausala"

(slab2-50.0)

"KOpaputasurulaku mrtyuvita^lu"
"bhavaharucJu" (23-144)

(23-41

ihavana tarkava"

(s(ab2-30.0)

asudevarrjava parvasudhakara"

(slab2-48.0)

"voocloka Vasudevuni koduku"

(23-470)
'

"VasudevugXi sSsina varatapamu phalamu" (23-

rakatayasoda bhavyatapahphala"

(slab2-48.0)

"kanduva yasodaku kanaka

nidhi"

(23- 1 A

"yasSdaku muddula baluclu"

(23-470)

imsaripunjaya"

(slab2-54.0)

"kamsunigupdedigulu" (23-144)

ihulatanugaria"

(slab4-22.0)

"nanarupadharudunarayaou^u"(23-503)

jrajivadana mOditadhainuka"

(slab2-52.0J

"pantama^i yaclavilS pasula


marapinche
raja

ni

ragala

rantulj

vavudo kado"

-Annamacarya (12-179)

18

io.u)

"muttukoni ve"nuravamuna golletalacira


vadilinchi nata

lattunitti

daudo kado"

-Annamacarya {12-179}

tanumagha" (slab2-73.0)

"kaliki

javvanapu

yagamu
2-287)

cesenataclu

ko|i

hdmamu

sesegudi ninnata^u"

-Annamacarya

colbana"

(slab4-20.0)

"bhillavadhu kucapicjana kutuko"- tphullakarambuja

.samajjana" (slab2-73.0)

bhusana pallava gopaka parivftasathajana vallabha rati


paravasa calar&" -Annamacarya
( 1

2-251

akuca ghata" (slab2-7

1.0)

"kucakumbhamulaku"-Annamacarya

2-209)

itagiridhava" (slab4-

00.0)

"vesala Venkatagirivibhu^a"-Annamacarya (12-11)

iiiriyam

susyati

dfcihamiha vitanukrpam

"taruni

niyaluka kenta|i
-

dintl niveja

karunimpagadara

agirigrha" (slab 2-75.0)

Venkatasailanatha"

Annamacarya (12-179)

alamalasaifr avagati virasaih alikurajanam


isaih" (slab

"lalita

lavanya vilasamutfi^a nelata dhanyata galige

4-37.0)

neJitOcia"

(12-130)

ic is

ending with the same case ending through-

This lyric
throughout.

is

ending with the same case ending

Finally

Jmala Music Inscription which


Ih

is

the repertory
to

The Sahkirtana Bhancjaram


to be the repository of the
A.D.) containing

in the Hill-temple
lh

happens
ih

-16

_ cent. A.D.)su[adi

music appears

be the

copper plates (15 -16

cent.

sdicated to the Hill-God by a noted

composer

musical compositions of the Ta||apaka


to the Hill-God.

duo composers dedicated

sts of several
g.
If

such

similarities

found

in

between the

inscriptional
literature of

and

the copper plate

lyrics

can be

only

we had

the benefit of a

concordance on the

the Ta||apaka poets prepared, whfch

overdue,

one would have had observed several such

details

more minutely,

19

To conclude the discussion on

this topic,

we would

like

to add two

more observations

Anandamurthy regarding
above he opines

the authorship of the inscriptional lyrics.

Based on

the signature similarities


i.e

that the inscriptional lyrics

could be of the Tajjapaka duo composers


date of the inscription,

6ri

Annamacar
as opii

Peda Tirurnalacarya and


DrP.V.Parabrahma

that the specific fixation of the

1460-1512
or so,

Sastri,

could be

further, pin

pointed to a date
for this

1500 A.D
is this
-

much befon

Tirurnalacarya started
contain ideas
lot

composing

lyrics.

The reason

surmise

while the inscriptional

and signatures of Peda Tirumalacarya and of Annamayya,


i.e

the progenitor of Padakavita,


in

have the evidence of Cina Tirurnalacarya 's specific signature

"Venkatanatha"

the available part


to

nscription, not at least once. This

"Venkatanatha" signature of Cina Tirumalayya appears


like

have

noulded from

his

grandfather Annamacarya's expressions

"karunirnpagadara Venkatasailanatha"

fropping the intervening


(vo
>ith

word

"saila"

Venkaja-

giri-

na|ha (17) and Veiikata- adri- natha (38) are th


to

known instances where Cina Tirurnalacarya seems


two other varients of
"saila",

have indicated
all

the aspect of his signature adi

But for these two instances,

the rest of his songs contain "Vehkajar


to

'gnature only that

was

specific to him,

However, Cina Tirurnalacarya appears

have been aware

iscriptional lyrics. This is

known from
In

the fact that the coupfet "su/abfta vadhusuta suhf- dasukara.... na,

rdi

mama nafinagarS'

found

the inscription of slab


in

surmised to be
lyrics

that of

Annamacarya

appe;

3ve

been expanded and annotated upon

a couple of

by Cfna Tirumalacarya.

"ca/ame cetlincukonna satulaia

sulabhama mitd pondu sutu/ala"


(bandhuvulala;dhanadhanyarnulala;kamakrddhamu/a/a;
panc@ndriyamula(a; illumufigiJIu/ata etc) (16-28)

"andaru vikara mandudurg


nindafeni nivu nidasulu dakka
(satufu; sutulu;

dhanadhanyamu/u)

ifiumufigt//

cud i dehu/u

van!

nollamanucu rdsi utfugudurt)' (16-44)

"nwu galigina calu n/kkamu annigalavu


avaia

ma yacaryu-tfanaiiccenayya"
nfc/a; jflu mufigili etc)

(sonnmu; dhanamu; dhanyamu; Slika; todu


This has also
~e

(16-46)
"
lyric

been confirmed again by Cina Tirumalacarya

in

another

ennatfu galaganafti hitut


r.

pann'matfe

uo$e nitsapanta nw& - nannu gacf Sri Veftkalanathutfavani tajjapa- kannamayyangarS

wtlcc!rayya"( 16-46).

As revealed by Cina Tirumafacarya

in

the

above

lyrics, this

particular idea of

ri

Annamacarya
this is

akii

one contained

in

the inscriptional couplet appears to have Impressed him very much. So

considei

20

by

Pror.

Anandamurthy, as an
is

indirect

vouching proof of Annamacarya's authorship of or association

inscriptional contents. This


inscription.

besides the evidence mentioned earlier regarding the caupada-dojam

The second observation

is

about the authorship/association of Peda Tirumalacarya


in his saiikirtanas

in this

respect

on the signature mode contained


features found
in
ri

and the

ideas, addresses, legendary contents

and

syr

VeAkatesvara Vacanamulu.
digression from the authorship issue

At this juncture, a

little

may not

be out of place. Prof. Anandarr

concurs with the stated observations


Safikirtana

of his father that the pair of figures

engraved on either side


in

<

Bhandaram

to

be those of Annamayya and Peda-Tirumalayya. But


account traced
In

later cotext,

he

feel

according to the
Kaifiyats

traditional

the historical

and other records

(like

the

Mangapuram

Inscri

and Sangitasampradayapradarsini) while Annamayya was given

the stature

and sanctity of an

by

installing his idol in the

Mahgapuram

temple, the existing pair of icons found on either side of the Sanki
in

Bhan^aram and on

the pillar slab situated

the South East corner of Svami Puskarioi appear to have be>


(i.e.

representative of "Peddayya"

and "Cinnayya"

the son

Peda Tirumalacarya and

the grandson

Tirumalacarya) while the Kaifiyats called Annarnacarya as the grand old

man

(Tel.

musali Annamayafig

little

more

intensive study

in this

respect

may throw more

light

on the issue of authorship

Tirumala Music Inscription and the

identity of the

composer icons as

well, Prof.

Anandamurthy

feels.

ACKNOWLEDGEMENTS
It

would be a pleasant duty

to place

on record our indebtedness and

gratitude to

each one

of

who have
Vinayak

contributed to the successful outcome of this publication.

We

should

start first with Sri.

IAS, the then

Executive Officer, T.T.Devasthanams for his sustained interest


to Dr.
I.V.

shown

at

every

of this project.
to

Our thanks are due

Subba Rao,

IAS, Executive Officer, T.T.

Devasthanams
of the Publica

mahamahopadhyaya

Prof. Pullella Sri

Ramachandrudu, Chairman, and other members

Committee, T T Devasthanams, for


failing in

their unflinching

support to this project and publication.

We

woul

our duty
Sri.

if

we do

not place on record our gratitude to the bold and positive initiative takt
IAS, the then

this

regard by

J.Rambabu

Chairman, Board of Trustees, TTD.


final

We

are grateful

tc

Chairman, TTD Trust Board and other members for the

approval and sanction of the grant

foi

conduct

of the

Workshop-cum-Seminar
all

held in October

1998

which enabled

this publication

poss

We

are also grateful to


in

our well-wishers individually,

who have

directly or indirectly helped

us
<

contributed

the process of preparing the base manuscripts, transcripts of the proceedings press

of the texts, transactions, transliterations

and the computer


their

printouts.

We

are particularly indebted

tc

eminent

Editorial

Consultants for sharing


to the learned

valuable views in arriving at the meaning

and

final fix* foi

of the text

and particularly

Professor

Mahamahopadhyaya

Prof. R.

Sathyanarayana

supporting stand he has taken from the very beginning of


,

this venture, for

21

ihedirfe

and

for giving

us the benefit of

his patient

and

final

reading of the press copy.


in

We

are

ateful to

mahamahepadhaya

Prof. Pullela Sri

Ramachandrudu who helped

editing certain d

irtions of the Sanskrit text and also for composing the missing portions of the dasavatara sujad

anks are due

to Prof.R. Srihari for undertaking the task of preparing meanings, notes

and

transli

o Sanskrit We
.

gratefully

remember and acknowledge


of our Editorial team

the invaluable services rendered

by the

Tirumala Ramachandra, one


T.

members.
Sri.

We

dedicate

this

work

to the

memt
the
fi

Ramachandra and

to his

revered mentor Late

Veturi

Prabhakara

Sastri,

who was

sess and proclaim the value and worth

of this inscription. Last but not the least

we acknow
Sri.
\

itefully the services rendered by Vidvan Sri. A.V.Srinivasacharyulu, a former disciple of

ibhakara

Sastri,

who was

the

first

to spot these inscriptions lying unnoticed

in

the temple prernis

jmala, without which

this project

work would not have been contemplated

or completed.

FIBERS OF THE EDITORIAL BOARD


Dr. P.V.Parabrahma Sastri
Dr. (Late) Tirumala

Ramachandra
(Leader)

Prof, Veturi

Ananda Murthy

Vidvan Vfdvan

Srf.

Akella Mallikarjuna

Sarma

Sri. N.S.

Srinivasan

Dt 25

th

December,1998.

22

The Tirumala Music Inscription

KEYNOTE ADDRESS
(Revised and Enlarged)

Mahamahdpadhyaya
Let
i

Dr. R.

Sathyanarayai
is

me commence my address
life

with a note of congratulation

and

rejoicing. This

a red-lett

the

of Prof. Veturi

Anandamurthygaru because
in

his great father's spirit is

hovering benign
his fath

this

august assembly, rejoicing

the fulfillment of

a dream which he inherited from


telugu scholarship, research
vision relates to that

/eturi

Prabhakara Sastrigaru
envisioned
'

a patriarch of

modern

and creatr

who

this

dream some 49 years ago. This

great son of Andhr


barriet

zdakavita pitamaha$x\ Annamacaryulu, who, transcending geographical

and language

as a colossus amongst his fellow

humans

in his

enduring services to humanity.

jestions
witnesses the consummation of a concerted labour of love Team comprising Dr. Parabrahma Sastry, Shri Mallikarjur Ananda Murthy and the othi offer nr iphists, Musicians, Litterateurs who participated in the workshop; at the very outset, e congratulations to them on the professional excellence and competence which they ha\ ht to bear on the famous musical inscription of Tirumala. The inscription is ably edite
This
is

a day of rejoicing also:


-

it

svoted five
ia,

member

Editorial

Dr.

Tirumala Ramachandra, Shri N.S. Srinivasan and Prof.

iting the exact original

and

relegating editorial
objective, Editing
to
its

interventions, observations, suggestions ar

etations to the neutral

and the

an

inscription, especially a

musical one, post


in

experience problems peculiar

own

genre, distinct from those

encountered

the textu

tm of manuscript- or printed documents. Further, problems of editing a


those of editing a musicological
treatise.

song are

quite differei

The advantages of

plurality of collative

source

ing a possible holograph, systematic sifting of the critical


I

apparatus for conflation, recensioi and diaskeutic contributions and so on are not available here. The greater the popularity of
its

the greater the availability of

written

the possibility of the existence of


ala inscription
n,
3,

and if is of a comparatively recei a holograph becomes stronger. On the other hand, th


and
oral sources,
it

on which the present workshop


its

is

being

held, is

about

500

years

old,

ravaged

fc

wind and
piognant

rain in

contents, besides the possible errors of the inscriber.

relic of its

author's

brilliant originality

and

creativity,

with no

aises

some

speculation:

why was

this inscribed,

in the first

And it remains singli copy or colfative source. an occasion place? Was


it

ation for the composer, his descendents, disciples or admirers?

If

so, did this relate to a person;


at

or to the uniqueness or special nature of

its

music?

If

it

was, as seems probable,

a ver

lent place within the temple precincts, so that.it


)

would remain an authentic,

original version, s

sicians,
3

recensional or arbitrary variations in its performance would creep in in the future generation why did it not become popular with the subsequent or contemporary performers? Thi in contrast with the thousands of copper plates inscribed with the songs of, Sri Annamacary darkness away from the ken of the human eye and ear for so long; some of his composition

23

and those

of his

son did

attain

some
a

popular usage as

is

evidenced, and preserved,


Tanjore.

in

manuscript sources of the Sarasvati Mahal Library


the inscription,

at the distant
its

Why

not, then, the

mi
for

which undoubtedly set

new
this,

creative trend in

own

genre, which

was there
and

one

to

see and learn? Innovations of

or of a comparable, musical form which sprou


in

neighbouring states of Karnataka, Orissa or even


proliferation

the distant Rajasthan developed

stabilis

and gave rise to different evolutes. Why did this not happen in the case of this signi innovation in Andhra? Of course, it did not totally disappear, for some of its features found thei
nto a cognate form, the gita, as nto oblivion?
I.

we

shall

see presently. The question

is,

why

did the form

itseli

And equally

important, how,

why and where

did the rest of the inscription disapi

Epigraphicaf Aspect

and Authorship

On

the epigraphical side, the problems encountered include date, authorship ar

luthentication against forgery.

The only clues available

for fixing the date of the inscription a


to, for

'alaeography and content. These are at best circumstantial evidences and point
re worth, to the
liters;

whatever
of
:

15th- 16th cent.

A. D.

There are indications of diaskeusis such as the erasure

so both words and music

of the inscription

may be taken

to be nearest to the intentions

omposer,

if it was inscribed during his lifetime. The time, location of the inscription in the Garni radaksinart the Tirumala temple, repeated signature of the composer and literary stylistic par 'ith his other songs suggest the authorship of Tajjapaka Annamacaryulu. This may be confirmee

ijected

only after the remaining text of the inscription is recovered. The occurrence of is unequivo >mposers bearing the same signature does not weaken this suggestion till Jtabfished that(1)they belong to this period. (2) they were music composers and (3) they have
i

it

imposed the kind of song as is found in the inscription. The fact that Annamacaryulu has favo e pacfatorm does not detract from the possibility of his having composed in other forms also,
a

common enough
to this

feature
with

>me

workshop

among music composers of the East or the West. an open mind, open to be convinced one way or the
I

In

any case,
I

other.

am

sure

true of the other participants also. Further,


lp raising

am of the view that a


central theme,

Keynote Address
provide,
if

of this kind sh

and formulating key questions on the

and

feasible

firm factual

foundation for discourse and discussion, rather than jumping


Its

in

with hasty

and poss answe

First of

Kind
under reference
viz,

The
id.

Inscription
is

This

true
is

in

a limited sense

'hatuj.

There

no dearth

for past notated


in

is claimed by the organisers of the workshop as the first c an inscription which contains both words(/??#/M and their m music in India. As a matter of fact, Samaveda is the ol

itated
th

music of the world

which each word

syllable

is

given with the corresponding

svaraw SK

the respective duration. Apart from this sacred music, secular

music

is

also available from anc

les.
),

The musical

treatises of Matanga,

Tulajendra, Sawai Pratap Simha, Rigakalpadruma

Nanyadeva, Sarfigadeva, Kumbhakarria, Somanatha{espec etc. contain music in notation, while


(of

ityasastra,

Sangltaratnakara, SafigFtasamayasara, Nartananirnaya, Sahgitamakaranda

Veda),
inscrip
at

lers contain

percussive notation. Thus musical notation

is
is

nothing

new

in

India.

An

ntaining notated

music

is

as old as the 7th cent. A.D. This


in

the Kuciumiyamalai Inscription

ck of the Sikhanathasvami temple

the Pudukottai State,

inscribed by Pallava Mahendra

Varm

24

ii i-j

Mwiiuni. wi

iiivjoiw \jiowi(j|t;o

cti

iiiV7

IMOICU ivjc

kJi

no incillUl,

nuui CUsdl

ya.

ll

UUIIiaillt)
I

tffetraga segments) of the seven suddha gramaragas, which were prescribed by Bharata to srmed at the various junctures of a play. Mahendravarman inscribed the music at Kudumiyama
erformance
in his

own

play

viz.

Mattavilasaprahasanam. There
Inscription has
1

is

a similar (but erased) inscriptk

times: in 1914 by P. Government of Pudukottai State in Second Bulletin of the Board for Resean Varalakshmi Academy Mysore, collating from both these sources and a fresh estampage. The other musical inscription from Dakshina Kannada which have edited with Dr.B.R.Gopal fortl 'aphia Indica; but this contains only the matutii the song and the names of its rigawA fa/a, b 'hafu What makes the Tirumala Music Inscription the first avaflab/etf its kind is that carries bo

rumayyam
in

also.

The Kudumiyamalai

been edited three

idarkar

the Epigraphia Indica,

vol. XII; in
in

929 by
in

the

tl

Iptlons of Pudukkottai State,


3

and by me,

1957,

the

it

wsfc/and dhatu\i\ a systematic manner. Thus


ry of Indian music in general

it

may be regarded as a
in particular

signal contribution to

tl

and

to

Karnataka music
its

from Andhra Pradesh and

tl

The contents

of the inscription transcend

space and time.

lusical/Musicological Aspect

ry

The present workshop is planned to study three aspects of the inscription viz. epigraphia and musical-musicological. have already made above some general observations on
I

tl

aphical aspect.

It

suffices for

me to

note that the use of samskrta distinguishes

this

song form,

th

ong
that

composed in yathaksara i.e. the duration of the svara mostly, if not always, synchronisi of the word syllable. The matu\* composed in unambiguous metrical structures; these tv
is

are helpful

in

deciphering the word content. Since the

short and long forms (because of the yathaksara nature) their


as or opacities lending

themselves

to

resolution

in

the context of the

melody syllables are limited to seven decipherment is also facilitated, autonomous and contextu
tf

of the respective ragas. Recreation of the dasavatara portion of the inscription by Prof. Pulle

machandrudugaru
I

is

brilliant

and painstaking contribution.

shall

now
is

lem which
is that

peculiar to the musical editing


effort

take up the musical and musicological aspect of the editing of the inscription, is the need for avoiding historical anachronism. Th

every

should be

leritence, peculiarities, practices

made to avoid the superimposition of our own spatioternporal frarr and prejudices of music on that of the music in the inscriptio
in

uld be ideal for the editor to travel


i

his

background,

stylistic
is

proclivities

a Space-Time machine to reach the time of the compose and peculiarities. This is seldom possible. Howeve
facilitated

istruction of the

music

somewhat

because of the

availability of musical treatlst

josed during the period of the inscription in the region around it. These give the laksaoasti i\ ?and ta/as mentioned therein. So the music editors would need to (1) authenticate the melod
>ments and phrasing of the inscription
-^treatises of the period, especially of
3

in

respect of the iaksapa of the raga as enunciated

in

U
et

dhatu readings so as

to

Andhra Pradesh (2) emend anamolies, cruxes, opacity ensure melodic unity and faithfulness to the laksaoart the age.
:

The most important musical question about the inscription is what is the form of the song? 1 at the answer(or ^answer), is necessary to examine its structure. This may be set forth
it

vs:

25

2,

commences

Onfy two slabs of the inscription, numbered 2 and 4 are available. Of these, the first, nurr fn the middle of a song and the second, numbered 4 also ends in the middle of g
inscription
is

Thus the available

incomplete, but admitting of a safe inference that the origin;

composed

with the

now

not available slabs

numbered

1,3,

and,

at least 5,

if

not more.

The

firj

have had invaluable information about the


composition, dedication
slab
if

identity of the author,


its

form of the song, purpose


inscribing

any, date, and the special occasion for

and

erection.

Th

may have

included a colophon containing

some

of the

above

information.

is

set

The sole contents of the available slabs are songs which reveal a common pattern. Each to a single raga which is mentioned in the beginning, Since the slab number 4 comrnen'

the middle of a song, the

commences and
Each song
in

raga of the latter is not available; however, towards its end, a new its raga\$ given as (Saya?\nata, The secoond slab gives the ragaas varala\=], each slab is divided into several segments, each of which is composed in one

su/adi taias in regular order.


:hree or four
called

melodic sections.

Each segment is a stanza or carapati the song and is subdivide' In between the racamw\& afe/^/Xsegments is inserted a novei sec

n the

jach of
:

caupadadQ/amw\\\v\\ is structured differently than the other segments or caranas. Each c songs in the sfab number 2 is structured into tfAsfc/sectlons called udgri'ha, jyavajawti ab which has fixed durations measured in definite numbers of avartafcta/acyc\Q$}, thus revt
-

as a musically self

sufficient entity, fn slab

numbered

4,

each &?/## has, besides

the

above

ilements, another

one

called pray&ga.

>harjdira(-bhandika}
in
f

M^ssuch
in

as iya,
is

The praydga\& composed of only non-sensic syllables tiya, amvoe\c, to the same /^aand ta/a of the whole c&
c

interesting

aspect of the music

that
i.e.

some

or

all

the the

a cararjaaxQ repeated
in

the finale

abhogatf

melody - lines of the opening lines( udg same carana. There is only one except!'

lis

the slab no,4 viz. the mathyatafa carana. Every carapa carries, as a rule, the

compo
I;

ignature with the constant

stem

of

'venkata* with a prefix or a

suffix.

That each ta/a segment

separate song but


ict,

is

part of

a wholefi.e. structural

unity of the entire


line

that at the

end of each such segment, the beginning


in

and

its

song) dhatu

is

established fror

line

are taken up
ir

jfrain.

This

is

conformity with the laksana of a pactak-kfti) or sankirtana enunciated

ankirtanalaksanamu of Annamacaryulu. This is also a feature of the sujadi. In the whole lere is only a single Instance wherein the repetition occurs within the abhoga.

inscrip

The caupada do/am has a


9llavitf the later

different form:
.

patfeand
in

kriti

has an introduction, called pallava (comparable Hollowed by three stanzas, each called a pada. The compo;
it

gnature

is

carried

the

last line of

the pada, the

first

paf/ava line recurs as a refrain


is

at

the en

ich pada.

The song has no and


others.
Its

anupa/lavi. This structure


(c.

exactly the
A,D.},

same

as favoured by
(c.
it

vidasas, virasaiva

composer Nijagupa Sivayogi

1550

Bhadracala Ramadasa

16

380

A.D.)

insertion into the inscriptional


at the

em

to

be integraf to the rest of the song because


of the

songs is a uniform feature; but does end of the final pada, the beginning m

fcs/fc/llne

whole song is not repeated. The rhythm content and distribution of the caupadadc ^responds to the ta/a which was then known as jWmpafa, integral to the sujadi fa/as and is /ersion of the moderh adita/atf Karnataka music. The uniform inclusion of the caupadado/amma
3

songs of the inscription unique, and a departure from the conventional or


elsewhere,

traditional

sL

availing

The name caupadaddjam

is

also totally

unknown

elsewhere, unless caup

26

rs to the quatrain

stanzas or 'pada'tf the song. The nominal term


4, line

W/am'

is

clear and distinct

hree occasions(slab 2,lines 47,54; slab


'/#

52) and does not give scope to being read

'do/am seems
:

'

to

be unknown to Telugu lexicons.


:

5uladi

Formal Varieties

Karnataka
in

What
There

is

the musical form delineated

the inscription under

reference?

is little

or no doubt that the songs inscribed on these slabs are su/adis.


1

Musical compositions were classified (from about the


vi'prakima. Sue/a

1th cent.A.D.)

broadly into suda.aiikrat


.

prabanda was again divided

into
is

letically deteriorated into sa/aga.

The term suda

of de$/(\.Q.

suddha and cf&ya/aga The last term vernacular Kannada) origin


:

h
ai

fied

a special group of songs, according

gltakalanidhi,

had

to

to Kallinatha, a senior contemporary of Sri Annamacaryi comm. on Sarhgadeva's Sangitaratnakara). Both the suddhasucfasrd the safahgasu be sung to prescribed ta/as in a prescribed order. The suctdhasuda comprised the
vartani,

andhas eta dhenki, karana,


^rised the
ka.

lambhaka, addataji, ekata/t and rasaka. The sajagasu\

seven prabandhas viz. dhruva, mantha, pratimantha, n/ssaruka, addata]a, ekataja ar These had subvarieties totalling 45 and were, with the exception of dhruva prabandt,
be sung
to the

Bribed to
,

namesake

la/a.

Even though each

of

these

was an independent

separa

they obtained a formal continuity because of their fa/as and the order of performance, Tf

?/7?a

kfrna

prabandhas were 24 in number, beginning with varna and ending with tajirnava. Tf prabandhas were miscellaneous, and numbered 36. That the suda were a /<?/c?-base

nunity

was recognised even

as late as the

itasarasangraha)

who

defines the term as

18th cent. A.D. by Narahari CakravartKin 'bahunam talanam ekatra gumphanam!

The haridasas
mporary
of Sri

of Karnataka, beginning with Narahari Tirtha(14th

centAD.) and

Sripadaraj

wdhas\K

three ways:

Annamacarya) experimented with the form and structure of the salaga sue (i) The /^structures were reformed, reorganised and named suladitak
with formal unity
i.e.

trmal continuity
s

was replaced

the seven separate


(iii)

song, reorganising the separate


of these
'

members

into stanzas,

songs were unified into The words composed fn alapa\


In
(i)

songs were separated and restructured as ugabhoga. group


cent.A.D.), restructured

the haridasas retained a


triputatvuig. tivu&
in

ative or. parallel


?7,
//<!?

of su/adi ta/as v\z. dhruva, mathya, rupaka,

jhampe,

and eka (known since the 11th

them only
(of

terms laghuw\
wit

stripping
i/fa.
jt

them

of guru, pluta

and kakapacfa and replacing the v/rama (of druta only)

Further, they defined these ta/as with

unique time spans

laghujatfav that the duration of the talavarta


following structures(an=5/?w//z/fe of

became uniquely

fixed.

aksaraka/a} for the laghu* Thus the seven sujaditak

one aksarakala, &-druta of two aksaraka/a, \-laghum\ jmber aksarakala indicated by a subscript numeral, total number aksarakala of the tajavarta\ after '='): dhruva^ fi^f\A*\ mathya (I 4 d 2 4 =10), rupate (d a 4 =6), jhampa (I 7 d 2 an, =10 d d ?(l d d =7 / drutavirama druta druta -l] ^//5(l 3 2 3 2 2 2 5 5 2 2 =14) and'^A?(l 4 =4) In order to provid Ivlkala mathya\&., double the time span, an already extant form of mafhya called raganamathy
IB
-) l
l l

imed because
ionally

it

corresponds

to the prosodiaf unit called

used

in

the sujadis (besides the regular mathya).

ragana in pattern) was An earlier fa/a called

retained

am

27

was
this

structurally inverted

and used under

period (of the inscription)

the name adiiaja. Afl music composition and performai was based exclusively on these nine tajaszs proclaimed by Vehkatarr

in his

Caturdandiprakasika

in

the mid

7th century A.D. Another important contribution of the han

was

to pattern the su/adi as an yathaksara prabandha. This was accomplished with the s expedient of performing the su/adi ta/as\^\ fast tempo, representing each arigav\z. laghu, drui

anudruta with

its initial

ghita (sounded beat) only. Such a

ta/a\s called chaputala\\

is in this forr

the su/ad/vtos stabilised in musical practice through prolific composition

by Sripadaraya,

vyasaraya, Vadiraja, Purandaradasa, Vijayadasa, Mahipatidasa, Gopaladasa and other haridasaj

su/adfw\d the

pada forms were extensively experimented, explored and exploited by them. One axperiment consisted in liberating the sujadi from the order and number of its stanzas or carana nvariably retaining the suladi ta/as. Thus they composed su!adism\\\ a minimum of five carant
emitting
*a(as).

any two sujadf tifas] and a maximum


jate, vulg.)
:

of ten

Their su/ad/sare characterised uniquely with yet another feature. This consists of a
(jatt,

caranas (by repeating any two or three coda

vati tafa
3.

Formal Variety

Rajasthan

Kumbhakarria, King of Mewad (1433-1468 A.D.) has described in his Sahgitaraja bot luddha- and the sa/aga-sudas\r\ close conformity with Sangitaratnikara. However, he holds th; istapad/stf Gftagovinda of Jayadeva Sarasvatf are sudaprabandhas'and has created musical s
jres of his

own

for

them as well as

for his

own songs

contained

in

a namesake Gftagovinda

e has modelled

on the former. He has named both as misrasuda prabandhas. He has

delineate
SangitE
is hel

Jrmer

in his

Rasikapriya,

commentary on Jayadeva's GJtagovmda and


in

the

latter in his
'

hese

latter

descriptions are available

a manuscript entitled
of

'

Sudaprabandha

which

ome

to

be a separate, independent work

Kumbhakaroa.
leng
elerr

The Sangitaraja describes twenty eight misrasudas each being appropriately, though amed. They are specified in respect of ragas, fajas, laya, rasa, chandas, the compositional
vara,

pada, pata, tenna, bfruda and

fa/a, their

order of occurrence,

as well as the udgraha, df

nd abhoga. The

ibhoga

is

composed

at the final

end or

at the

end of each song; the dhru

jpeated at the end of each stanza, as


rose or both. The verbal
sar

lakes the interesting observation that the

in Jayadeva's astapadis. The songs are composed in vi theme of the song is also summarised in the description. These misras no resemblance to the si/agasutfasw\<& need not be, therefore considered further. Kumbhak suddhasutfasws distinguished from the sa/agasudasty
\r\

instancy of the ragas

e further states that the

which they are performed, whereas the sa/agasudaswQ set to desin ilikrama prabandhas inserted in between the sudaprabandhas ^\\

srformance.
,

Formal Variety

Orissa
quite differently in Orissa, as described by Harina^

The salagasuda prabandha evolved


langitasara), Subharfikara
isra (Sangita Kalpalatika),

(Sahgitadamodara), Kfsna Baciajena Mahapatra (GItaprakasa), Haladl


(Purushott;

Haricandana (Sahgltamuktavali), Parlakhimidi Narayaoadeva

isra?) (Sahgitanarayaoa),
!

Ghanashyamadasa (^//^Narahari Chakravarthi)


here an eclectic summary.

(Saftgitasarasahgrahi

shall

endeavour

to give

28

By about

the 15th cent.A.D. the salaga

sudas had

lost

much

of their prescriptive force


Sarn<;

absorbed many far-reaching changes as reported by Kallinatha whife commenting on


t

description of the salagasuda prabandhas. These related to both adrsta (pha/a rasaviniyoga
well as drsta (structural) aspects of the songs. Approximately at the
that

same

time, Harinayaka

als

Sarhgadeva's descriptions were no longer in vogue in these songs in Orissa. Rathnak; seems to have spearheaded the renaissance movement of the sa/agasudas in this region. In
place,

song corpus was divided

into

suddha, sajaga
it

and ksudra

(or cutukifa}.

The

status of

tl

as a prabandhawzs, denied because


svara, tena

and pata. The sajagasuda was

had only vikya (comprising b/ruda&r\& pada] and ta/& still regarded as partaking of the shades of its

analogue but was broadly


other
the
in

classified into only the

dhruva and the mantha. These differed

fro

that the oftaA/element

dhruva sa/agasucfa whereas


in

dhruva element

these. In the

melody
in

line.

Despite the

abhOgawos 2 or 1 .5 times the length of the cthatu element d, in the mantha \^ were equal. The udgraha itself served the udgraha\\%& a second segment which was sung in proscription of pata, svara, tenae\c., Haladhara illustrates some sa/a^
latter,

both of which the second udgraha segment and

abhoga contain pata

evidently poir

experimentation.

The sajagasudasww composed


adl, yati, nissarika,

in

nine ta/ssonly,

mantha, jhampa,

triputa,

a$da,

some of which bore the names of the rupaka&r\d ekata/L Among these, y<?//and n
:

were employed only for the dhruva suda> mantha and ekata/l\w only the mantha w\<& the rer five, for both. These tolas had the following structures yat/\ lldcf, n/ssarlka : ddll, ad/:/, manti

jhampa; dd/(w ddv.l\ adamana): ddv.l, rupaka : d.dv,


(g= guru},

\i-virama}, triputa
katafi&.

d.d.dv

adda:ddvj'(also popularly known


ir

Besides these nine, another school of musicians

kudukka(ddll] and upadda($] ta/aso\sQ, thus totalling eleven /^/stffor the 3a/gasuda.\ even these are structurally identical, with nissarikaw\& ekatali respectively Krsna Badajena avers bandha-lalitya (structural frame) of the songs were different. Some used even caccafputa, ca
I

simhanandana and other tajastos mantha sutfa


to

in later

times.

The

tradition required the sa/ag


in Skatali.

be performed

in

the order

aditija

yati- nissari-

mantha and always ending


in

The

viz,

jhampa,

triputa,

addawd

rupaka were employed

any desired order


this

in

between man\

ekata/i,

Moderners, says Kfsoa Badajena, did not conform to

order.
ir

The Orissan sa/agasuf/a$w&cQ similar to those described by 6arhgadeva (c. 1 230A.D.) respects but different in others and developed their own tradition in structure and singing. The
similar in that the prototypes

were

still

only

two

viz.

dhruva and mantha and


from maofha
in

referred to

respective laksana.

Whereas the pratimantha.


in

ate/<C//differed

the application

according to Sarngadeva,

Orissan practice they were not separate of different compositio

composed

in

prescribed

bhafigl. Several interim

ta/as. The yati (caesura) of mantha was usually only one and was segments or sections could be composed to generate aesthetic effei

yw&was

defined so broadly as to include

n other ta/as Q\QQ.

muktakas (separate or discrete compositions) corr The dhruva and mantha sudas differed in the temporal spans (mitra)<.
In both,

'jdgrahawd abhoga elements.


nsertion of alapa
in different

the final

segment
is

of the

udgraha itself served as dhruva

nstead of sixteen varieties, the dhruva sutfa of Orissa had only four, but these arose because
parts of the song. This

reminiscent of the gamakalaptl v\ the

29

dhruva as described

in

the Sarrigadharapaddhati.

It

may be noted

that the Orissan

sajagasufa
It

(he antara element altogether the nissari (? n/ssarih


ta/a,

and uses

pratita/a (instead of pratimantha], as well as rupaka.

en

namesake suda; and the Orissa of this ta/aaz well osjhompata. Thus the tradition lies medial to HE repertoire is totally unaware deva and Sarftgadeva, Sanigadeva and the haridasas. The Orissan y<?//and humar/KQ unknown
but not the dhruva ta/a for the

southern tradition unless the ystite equated to

\\\Q jati/jatetti

the haridasa sujadi; further, both


into the

OamfidarafSahgitadarpanam) and Narahari Cakravarti admit jagapa mathya whereas its southern analogue uses the ragana mathya.
Besides classifying musical compositions
into

sa/ag&

suddhasuda, sa/agasudawti ksudraprabai

Narahari Cakravarti describes yet another class of sudaswz. sankirna sudas numbering four

carca (fcharya), bhfla, tollari (dhdtlari), doha, 6vi, hneva karika, tripadieto. and prescribe them to be sung in the spring month of caitra. These seem to muktaka sudas referred to above. The sa/agasutfas were composed and performed to sir
caitrafcaccari?), mafiga/a, nagarika,
t

instruments and dancing according to Krsnadatta of the Orissan School and by Pandarlka

Vitth

Karnataka School, by Catura Damodara

of

Andhra School and by Veda (Sangitamakarand

Tamilnadu School. Could


3.

this

be the saptatalanatana mentioned by Telugu poets?

Content Analysis
Writing

on slab

no. 2 begins with the


in

announcements
it

that the
in in

stanza

in atatala

matiyar,

snded and that the stanza

second of the inscription. The


\

rupakata/a begins. Thus matu(w word) content


is

begins
given

the middle of a su/adl, probabl


the upper line with the dhatuk
syllable of the

is

such

that the appropriate

svara
is

written

below the corresponding

words throug

"he beginning of a stanza


3

uniformly shown with the respective

/^name,
is

suffixed with uga, v

nstancesdines 60,

an abbreviation of w^/aA4=opening musical segment); uga 7 1 of slab no.2, line 65 of slab no. 4). The end
'

replaced with
is

<#only

in

of a stanza

always indicated

'

he /c?/<?name suffixed with 'mugtsenu


>elow.

{but

onJy 'mugise
is

in line

39

of slab no.2) shortened t


suffix.
'

The

serial

number
The

of

each such stanza

usually given after this

A new
line

su/&

iommenced with the name


et to

of the raga. Every available su/ac//<tf the inscription


viz.

is

ekaraganivestl

a single raga.

parts of each stanza

udgraha

(written fully only

once on

9 of

o.4, but otherwise uniformly abbreviated to uga, further

shortened

to

i/in the tabular statei

elow),/^V^(j), prayogafy] and abhdgate] are clearly and fully shown always at the begini he structure of each su/acf/\r\ the inscription may be summarised below in terms of these lege
lueslion

mark
of the

in

the

second

(i.e.legend-)

column

indicates conjectural supply of the respective s


that

umber

/^named

caraoa

its

absence shows

such

serial

number occurs

in

iscription.)

30

b no.2

Slab no. 4
Writing

commences

in

the middle of a su/acti, probably the fourth.

32

iscussion

Taja

Names and Orders


in

Each sujadi composition

the inscription has a constant pattern of

/^sequence

viz.

dhruva

ilamatiyaw mathaya-rupaka-jhampa-ragapam-tivuda-atatala-racam-caupada
close conformity with the structure of the conventional or earlier suladiv\ the haridasas excep
ie insertion of

or no doubt that the


h
is

ragapam after jhampa and of racarn and chaupada do/am after ekatafi. There raganam refers to the ragana - mathya ta/a structured with guru-laghu-gurb
iJ
,

the dvikala form of the

mathya

su/ad/ti/a, but is

a desi tala because of the use


'

of

gum

The

of this ta/a is in

conformity with Venkatamakhin's description of the suladi (I/as


/<?/<?

in

the

mid17tf
the

A.D.

The use

of this

continued

in

musical composition both for su/ad/ar\d ^oi? through

cent. also.
:a,

called

pada

The term caupada do/am seems to derive its adjectival word from the fact that its (line 47, slab no.4) is a quatrain i.e. a pada\N\\\\ four (-caihpadas. The nomina
not occur
in

do/am does
ose are
77,

Telugu lexicons or literature and


(I)
it

its

meaning

is

opaque.
(ii)

It

cannot b

'ded as a degeneration of 'dhavajam' since


totally different
its

is

not

an independent

song,

its

structure anc

from the dhava/a prabandha of classical or

folk origin. Further,

caupadi

because of
is

commencing and colophonic legends which are applied only


be the name of a ta/a than of a prabandha.
no. 2, lines
In

to ta/a

names
its

ighout,

more

likely to

both instances of

rrence

(line

46-54, slab

46-52,

slab no. 4)
l

it

reveals a talavartatf
the

aksarakaia.

II

lay be interpreted as belonging


#'

tothe/M/??^/^(d 2 d 2

4 )or

modern

#<y//4&(l 4 d 2 d s )then the


aditala\r\ their

composed by haridasas, is also consistent with the nine su/aditafas mentioned by Venkatamakhin and by the above iis\ ioned Orissan authorities{cf. jhampatala, ddl, probably a varia of jhompata]. This argues a scribal
it

structure conforms to that

who use

both tlvude%w\

of caupada for jompata and dolamtof /Rowing to an amanuensal origin of the lexis through cement with a lectio simplicior. However, caupadaddjam cannot be held to be totally inappropri-

lecause the song form

is

a stranger
is

to

the

^/^/format

in all

the manifestations of the

latter but

east descriptive. 'Racam'

undoubtedly raccha which was a well known desitajati the times


l.dv.

dhra Pradesh and Karnataka and was structured with

The use

of this /a/a

is

unknown

in

any

The end
Dral

of every tala-avarta\s invariably

marked with a

vertical \\w(dar)da}\ the aksarakaia or

lure from

span of the avartazw\ be thus made out. This quantity is uniformly the same, mostly. A this is because of excess of s-^/adurations over the standard quantity and may be due

Ibal error, or,


uite

more

precisely,

due

to the

performance of such passages

in

a higher speed. There

a few passages
all

cannot

as dvittya
ara. Either

in which the svaras occur in clusters of two, or less frequently, even three. be scribal errors and may be accommodated only by gamaka&\\& /or higher speed kala. Another feature of the musical notation is the absence of s//fc?x/signs for mandra

the music

was confined

3h musicianship on the part of the performer to

lement
:ed
it

of

performance

to single register viz. the middle, is neither

from saman music, the

madhya sthaytw the composer/patron/scribe assumed know which phrases to perform in which register. new or strange. Examples may marga music of kapala, kambalavnA of the prakararta g/'t/s and in
to the of

times, of

/^assuch
have

as nadanamakriya, punnagavara//, kuranjisfo. The yathaksara nature


the music to such

in fact, limited

range

in register.

33

10. Discussion

Taja Structures

The
terminal

(a/a

structures

may be now

briefly

examined. The tafa-avartas are

shown only
la/a

danda but not

with subdivision into laghu, druta,

anudruta etc. So,


fa/as.
I

their structures ma^>

be interred from the contemporary laksapastf the respective


slab no.4) has
is

Thus dhruva
l

dines 6<

a standard span of
desya] or
fa/a
I

4 aksarakaia,

divisible into
is

2 4 4

or

\$^naiyadandi) wh

gucu(laghu\

4 4

6 (vfnadantfh

where L

laghusSkhara. (laghu\* manusya}. Thi


(slab no.2, lines

77,87) and 5/5/3/9 /? (slab no.4, lines 79,89). On both occasions the /$? occurs immediately after dhruva A?/* and ha same temporal span of 10 aksarakaia. None of the ten varieties of dsi maitfha fa/a correspon
ta/ais

Skatala.Malhya

Is

written

mat/yaw mathaya

this
in

span; so

it

is

a ^/^//c?/<? defined as d a

4 4

or

this 2 4 Clearly,
l .

is

also ekakala.Rupakatajaw.
of
is,
1

2 sutadis($\tib no.2, lines3-9; slab no.4,


Since
it

lines

90-100).

It

has the

same span
is

2 aksarakas,
is tfi

avarta,

has the afiga d g

the distribution of temporal units


in
is

4+8;

that

the taja

or cfvfma/iah&w.

Jhampa

fa/a

occurs twice

the inscription (slab no.2, lines

3-8; 100: only mention.) The standard span


dv.dv.l.

9-16, slab no.4, of 10 aksarakaia. The desiJhampa /a/a has the

This

accommodates

the

above span
an.d.

if

the laghu\* manusya, the su/adiJhampa taja has

varieties, the

natyadandi jhampa has

the Lj(* 10);

modern sujadijhampa
is

tala\\%s>

L (=10, ^-iaghusekhara), vaggeyakara jhampa has 7 d an. Thus the ta/a\s used in kakala\t\ the
7 2

inscrtp

ffcgaoa(>naf/iya}
of

used twice

(slab no. 2, lines.16-24, slab no.4, lines

9-17) uniformly with a

20

aksarakaia which

may be

distributed as

8+4+8,

that

is,

a dvikaia

mathya with manusya

la,

Tivuda (<tnpula] occurs twice (slab no.2, lines.24-32, slab no.4, lines. 17-29) with a span of aksarakaia. The d8$i triputa takes the form d f (|- = 4, 5 or 6) and is also called atftfata/f; Us ea 2
suiadi
atta]

form

is

d d dv
2
2

thus containing the

span

in

dvikalaw dvlmana. Atata/a (also called afh


I
l

has^the suiadi ta/a. it

aftga
is

d^d^^
in

used

in tts medieval form and is inverted to d d in its modern version 5 g 2 2 two su/acf/sin the inscription (slab no.2, lines.32-39 slab no.4, 30-36)

a standard span of 16 aksarakaia which

may be

distributed as

6 6

d d
2

i.a

c&frorm

in

etefa&\

divyalaghu. This taja has structural correspondence of ofc///wfth the dSsitaja called vaikunda variety of the salaga suda, nfisaru.

//^ft/and with

Twosv&efo have racam

am* has a standard span of


be
I

stanzas(slab.no.2, Iines.40-47 slab.no4


;

^ray^ Since the

/** of this

mentioned already, caupadadd/am^ 5 3 probably not the but of a musical form, plausibly that of pada, popularised in Telugu by Sri

dv

in

dvikalaw dvimana. As

lines

36-45)

The

is l.dv.,

the distribution

wo
of
/,

name
Its

16

4Mfe

If

the

lines.54-59; slab no.4, lines.52-59) with a standard ** span of 1 6 atwnteto. The ^/version of this ta/a has only one druta for its afitn but the rik vraon as weif as modern analogue have only one laghu, so that the tala would to'

sulad^

0* occurring twice (slab no.2,

*is assumed to \*jh*npab ^\, then

Annamacarya.

titost

it

is in

dvikaia,^

final

/^of

appear

c&tuffla/a,
It

may

be therefore concluded
the

that while the

suladis^ the inscription retain the order of the

&
Tl

ion ot

a
use of o riiher he speed Sn seed

not ur,iformly applied.


S S Un ' 6nable >he
'

7 (yfew&/in parts of the dhatu.

nly altemative

is

34

Discussion

Musical Structures of Stanzas

Ihruvalaksana and a manthalaksapa prototype as


rdly, the

suladicaranasmsy be considered. In the first place, the compos egarded as a single whole, not as a series of discrete compositions. Secondly, is not divisible is done in the Orissa safgasuda of the pei
Next, the structures of the
it

dhruva carapa\ set to dhruvata}a\\m\\ as


is

is

done by the haridasas and not

to

any

vai

sa/gasucfa tajasos
'aoa\

done by Sarngadeva and


This
is

others. Fourthly, the

mode

of singing of the dh>

totally different
later.

from that prescribed by Sarngadeva #/#/and followed by the haridasas;


true of mantha&vti other

be discussed

caranas
is

also.

Each carapatf the


iSing first slab.

su/adi, appearing in the


is

second slab

divided

into three

musical secti

udgraha(~uga], jyavajawti abhOga. This


But the sujadi^ eg inning on

presumably true of the

first

su/acf/a\sQ, given in

line of

60

of the

second slab (and presumably the o


/

>earing on the missing third slab and the missing fifth slab) and the 5i7//0/appearing on the foi 3 have stanzas consisting of udgraha, jyavaja, praydga and abhdga. Thus the inscription appe
;ontain

two

different subvarieties of suladiw\\\\ a

common

&?/# format. Further, the

dhruva sta

jrth slab,

lines.60-78) contains two jyavajas, two

vaja

is

followed by a

praydga (lines.62,69

respectively).

prayogasard two abhogas. Each of uga\ The second abhdga follows the
a
scribal error.

lediately. This

suggests an
(like

effort at experimentation or

The sujadi stanzas


the

the sajagasudas) are tridhatuka prabandhas,

composed
is

of ucfgn.

iyi#and abhoga, omitting melapakabut including an optional, expedient span between the dhr

abhoga
it

sections, called antara (vulg. upantara}. Evidently,

dhruva

called jyavaja\v\
In

iription;

is

not

known why. The word /yak?/? is unknown

in

Telugu and Kannatfa,


last two. In

Telugu Jav<

ins fear, lullaby, a variety of

hawk, a variety of horse; y><2i/,-?/<? means the

Kannada Jav<

ava/a means

common,
for

ance

in

music

be a term of professic the dhruva dhatu\n Telugu. The antara dhatu\s absent perse between dhr
ordinary, rustic or vulgar, So, j'yavala
to
its

seems
is

abhdga

dhatus\t\ any suladr\r\ the inscription; but

place

3.68, 83; fourth slab, lines.3,13, 23,41, 55, 69, 83, 96). But

it

taken by praydga (second s also seems to take the place


It

'apaka (exceptionally) between


:es in the afata/a
is

^/teand/>i#/^fourth
slab, lines.30-36).

slab, lines.62, 83).

is

absent

in

carana (fourth

of the nature of alapa performed of

on

carrier syllables
is

The prayoga is set to fa/a of the respeci such as 'a' '/ya^tfytf etc.
and/ or praydg>
in

The use
ant in

prayoga

in

the inscriptional sujadis

of special interest. Antara

su/ad/stf the Karnataka, Orissan or Rajasthan Schools.


in

The yat/w /at/\N& used

lataka and Orissan Schools but not


sisted of

the others. But the prayoga, also called

gamakalaptivfa
early
tin

alapa without word syllable (but with carrier syllables?)


it

was employed from

\\w prabandhasti&v. Thus is prescribed in the performance of the suddha suda prabandhas^ dhenki, jhombada and /asaas well the alikrama prabandhas viz. ctvfpathakawA gadya, besic
e sa/agasucfa ekatafi.
In

the ela prabandha\\\


1 1

wj^/tocomprlses
words.

of three feet of five, five

and

wo) words
',

respectively, totalling
in

(or 12)

it

is

rendered as praydga,

the vocative case,

Some regarded the 12th word as m(ap& addressed to the hero of the song. The dhn
while the aftfa^awas the 16th w<

fu consisted of the

words 13, 14 and 15

of the third foot,

35

of the

same

foot.

Among
is

these, the
( 1

first

and second

foot of the

udgraha consisted

of

two

s<

consisting of

one word each

and

2),

separated a group of three words(3,4 and 5) called

words, (This word

unrelated

to

the pa/lava\\\ the caupadaddjam.} The two portions separated

words 2 and 3 was spanned by prayoga\r\ both the first and second foot. Further, the dhruw comprising of the words 13, 14 and 15 was also rendered in prayoga. Thus the ela prat contained three or four prayoga passages in all (between the words 2-3, 7-8, 1 2th if it is me
and
1

3,
is

4,

5).

It

may be

there

{antara}\\\

noted that there is no prayoga between dhruva and abhoga dhatus h sajagasuda prabandhas and between jyavafa and abhoga\n the inscrii

su/adis. In the tfhenfyprabandha,

rne!apakaw\3y or
It

This

is

true of the

j'hombada suddhasuda^&Q,
lines. 62,83).

may not occur. If does, is rendered as pn may be recalled here that the prayoga occurs
it it

place of melapaka (slab no. 4,

Among the a/fkrama prabandhas, the gadya employs prayoga\r\ slow tempo in two seg between the name of the gadya variety (occurring in the dhruva dhatu)&rd the names of com and patron (occurring in the abhoga dhatu}. It may be remembered that the /?/#>%># occupies a s
nedial
position
in

the

sujadls of

the

inscription

(slab

no. 2, lines. 68, 83;

slab

lnes.3, 13, 23,4 1,55,69,96.). Next,

one of the 4

varieties of the

dv/pathaka prabandha\ ticwwto.

>y the

use of

many prayogas.

The
iraydga
in

&kat&lf

among

the sa!agasudas\\os the use of


in

prayoga

in its

three varieties

ram<

the udgraha, candr/ka

the dhruva dhatu ^rA vipu/a

in both.

Therefore the use of pray&ga\i\ the su/atf/scX the inscription


Iso as

is

a relic from the past but func


of the

a bridge between the medieval and the renaissance periods

music of South IndN

2.

Comparison with Textual Descriptions


Early authorities

such as
in

Haripaiacfeva,

Calukya Somesvara

ill,

Jagadekamalla and Parsva

lassify the

sudas, implying

the main the sa/agasudas, into uttama,

madhyama and adhama,

dding

uttam&tama in the beginning and adhamadhamaob. the end-the last two in the series are o ighanya and atij'aghanya on the basis of the number of their verse feet, ranging from six to fivi
I

the sa/agasutfas, only dhruva-is different in structure

and performance while the others conf

ore or less, to a pattern. Reference to only two, 6arngadeva and Sarngadhara,


ithorities

among

the

nume
I

who describe these

aspects of the composition both

in

the South and the North, would

suffice

here as extremes of

this

range

in

respect of the dhruva sajagasutfa. According to Sarftgad


similarly patten

has only two melodic parts, Udgrah#w\A abh6ga\x&\\ of which are somewhat

1griha\&& three sections, say A.B.C, such that both A and B (regarded as a single unit) have sntical dhatu but composed in different words. But C is set to both different words and to a mel
e which
y
is

of a higher pitch. Abhdga\\os> two segments, say,


that they

D and

E,

is

composed

in

two

secti

ch and contains the


the section

different matu. E is set to a melody of hi is sung twice, followed twice by [DEj. The song r< Sarngadeva does not mention the dhatu elements dhruva and an, connection with the dhruva sajagasuda but does so in the case of the ekatajj sajagasucla.

D 1 and D 2 such

have the same dtefc/but

name

of the hero. [ABC]

of the udgraha.

nhabhupala states that

A was regarded

as the dhruva dhatu. This

was probably

lip

service to

36

tion of

dhruva s&

refrain or

as indispensable part of a song.


If

3 is optionally
'tuka,
lient

used besides the dhruva dhatu.

In the case of other salagasudas tte only the dhruva occurs they are classified as

they are caturdhatuka\\ antara\s> also used.


(antara]

The Orissan school favoured

the use of man^

passages which spanned the dhruva and abhoga dhatus.

was uniformly the among themselves, except that they were performed to the respective namesake tajas. Here, the /tewas of only one segment, pausing at one or two caesuras. This was followed by the dhruva
Structure of manffjaw\d other salagasudas differed from the foregoing, but
'<?/

These two were together sung twice. If the song had no antara, dhruva was succeeded by after this, the song rested on the dhruva. If the antara (also popularly called upantara),
it

'ed

could be inserted anywhere

in

the song

i.e.

after udgraha,

dhruva'or even abhoga.

In this

the performance continued with this

the song finally rested.


^

Thus

the antara

sequence: antara-dhruva-abhoga-dhruva, on the last of was not executed between the dhruva-m$ abhoga
Kallinatha interprets this as

^arfigadeva's prescription or description to this effect. While describing the ekafalisajagasuda,


is

ideva states that the antara


/mlsation of the antara

executed after the

udgraha.

with dhruva dhatu

rowing quite
3
:

elastic

and had allowed

at least three

by Sarngadeva. He records that the salagasudas major changes in their performance during

(\)

laxity in the rule of syllabic quantity

per foot, rule of

number

of feet,

and

later, of

both,

(ii)

iteness of application of aksara, rasa,

fa/a, (iii)

absence
in

of characteristic

order

in
1

udgraha ^A
8th cent. A.D.
(ii)

'A3/<ysegments.
ijendra also:
ig
3

Such

drastic

changes are noted

the sajagasutfaszs late as the

(i)

altering the order of dhruva%\c. stanzas according to the performer's desire

the rule of one-to-one correspondence


(iii)

between the prescribed ta/a&r\d

the dhruva variety

le conciliation

An upholder of continuity of tradition, Tulajendra offers a between the changes and the traditional inheritance through the example of a own su/ad/Q\ Purandaradasa. According to both, these changes pervaded, mutatis mutandis,
jayanta.
provincial differences.

other sa/agasudas&\$Q.

arngadhara
?,

classifies the
in

dhruva salagasuda as mentioned above,

composed

6,5 and 4 feet respectively.

into uttama, madhyama and The udgraha^ the uttama variety has two feet each
is in

ent words but of identical music. The third foot


D feet (nos.
ier's

a higher key, but set to gamakaiapti. The

4 and 5) constitute abhdga;$\ sixth foot, the coda of abhoga incorporates the name. The song rests on udgraha. Among the 5 feet of the madhyama dhruva\\\ first two

Igraha and third foot, auxiliary,


3 to

o the
>r

is sung twice. In both varieties the first and second feet are is repeated to serve as antara. An additional foot was abhoga G>\ both varieties to include the names of the composer, the dhruva variety and hero. This was rendered in a higher key, In the adhama fckan/stha) dhruvaft first two feet

serve as dhruva dhatu, and the third

udgraha, the second being excecuted

in

ng the abhoga, the


ule regarding the

latter

carried the patron's


of feet

a higher key, Of the remaining two feet (nos. 3 and name, Either the rule of syllabic quantity per foot

number

was

followed, but not both. Even

when the

first

of these rules

yed,

it

was

restricted only to the first

iscent of the to/77#/X?

among

the

two feet of the song while the others were exempted. suddha sudas.

This

37

The

states of development of the sa!agasucta/suladi\\\ South India and

in

North India at

th

of Sri Annarnacaryulu
fn

may be summarised

thus

the South, the salgasudas

(i)

gradually relaxed the rules pertaining

to syllabic extent,

number

of feet,

/a^and

tak

(II)

coexisted with su/ac/is^\\ about the 18th cent. A.D.


preferred the use of analogously structured but differently

(iii)

named

/,?/#?

from a c@sis

n a later phase.
(iv)

reveal a tendency to amalgamate the individual and separate songs into an integrated
ts/as\n a prescribed order; these /sjtescame vernacular songs.
to

irtVrch
II

employed only nine


all

be employed exclusiv

regions and
[v)

developed with a /^-dominant orientation as /^/7w#X#compositlons.


bore only occasional
similarities

(vi)

with the so called

suddha

sue/as

in

form, conte

Iructure,

(vii)

did not sustain the collective

name

glta (as

used by Verikatamakhin).

In

the North, the sajagasufas

(i)

evolved into two major genres


/Ssjfc

viz,

dhruvalaksanaw\d manthafaksana.-wttxh were

relat

ructure primarily and to


(ii)

secondarily.
etc.

proliferated into k$udra gites, misra sudas, sanklrna sudas

(iii)

employed not only

the

same

or similar tajasos,

in

the South, but quite a few others; ins

mmencement on
(iv)

affla/aox\d ending on ate/4& but the order of the intervening /<?/c?swas opti
c.

allowed any suda ta/ato be used either in the dhruva- or mantha laksana; but some, <//ak$aoa ta/as coufd be used in either, but not both, in the same song.
(v)

survived as discrete musicoliterary

entities, instead of

compacting

into

single,

segme

'm,
(vi) devejoped a special cadential device called mana atu and to be followed by abhoga dhitu.

(finale) to

be executed

after the

dh

(vii)

expanded both udgraha and abhoga by


fa/a.

inserting a

number

of inner

segments within

tl

as

to

accord with the respective

(viii)

developed new names and more


sujad/s\r\ the TirumaJa inscription
:

varieties

in

some

sa/agasu$fas.
follov

The
nts

may now

be compared with the foregoing. The

emerge from such a study


1.

The

su/acff

caranas occur

in the

regular order dhruva, mathya


of

kata][
ata.

but with

srtion of

ragapa (mathya) after jhampa and

racamonA caupadaddjam after


38

2.

The

insertion of
if

iause the aditala,


zdis,

ragarja

mathya occurs

caupadadojam is appropriate tf its ta/a is a synonym of used by the haridasas in a su/adl, always occurs after affa ta/a. In the h vice mathya ta/a, or if the latter is also used, after /ftampa te
set to the

3.
Jly

The dhruva sajagasuda is


its

namesake dhruva

ta/a itself.

But

this

stanza

differs

from
(i)
it

textual

analogue
itself

in

form, structure

and performance:
....

does not lend

to

be classified within uttamottama


lines

adhamadhama

(- atfj'agha

..

adhama because

its

dhatu-matu
textual

are far
is

more numerous.
first

(II)

The dhruva dhatu\t\ the


in

analogue
it

the

section of the
-

udgraha but has n


is

jpendent existence; but


3ed,

the inscription

is

a separate, self

contained part and

called

>

one of the dhruva carapas has antique jyava/as and two abhogas.
All

(iii)

the different caranas of the inscriptional $u/aaf/wQ

uniformly patterned into

distil

irly

articulated

segments

of

udgriha, jyava/a(-

dhruvah prayoga and abhoga whereas

jal tradition

they have their

own

separate order.

The dhruva caranas are performed in a manner totally different from textual descripti 'raha and abhdga do not have segments or sections of identical dhatu, repeated cthatu
4.
I

ft/In

a higher key.

The name

of the

composer

(*arik/taj
t

however, does occur

in

the

last lint

Oga.
5,

There are two dhruva

ta/a carapas\r\ the inscription.

They may be compared with

the<

sxtual
sified

norms

in

respect of syllabic quantification, Of

on

the basis of syllabic quantity per foot.

all the safagasutfas, only the dhruva^ There were sixteen of these, commencing v

ibles per foot regularly increasing

one syllable per foot and ending with

26

syllables, Ea<
to
I

.crlbed to

be sung

in

a fixed ta/a to a given sentimental situation

and was promised

As mentioned already, dhruvaswws classified as superior, rnidc lor if they were structured with a total of 6,5 or 4 feet. Sarhgadeva himself notes the laxity of syllabic quantity and states that could apply to all the feet or at least to the first two.
jble, providential benefits.
it

15th cent. A.D. Kallinatha records a considerable fluidity in these

jgh

if

the rule of syllabic quantity oro\ the

number

of feet

songs and states that was observed and that rules of ser

ta/a

were no longer

strictly

observed, as discussed above.

The two dhruva stanzas


F

of the inscription

may be analysed as follows

into syllabic distr

oot.

(a)

Slab no.2, lines

66-77 uga

13, 13, 13, 13, 10; Jyavaja

11,12,1 2,12,13.12 12-

&

14,13,14,13,13,12
(b) 2,

Slab no. 4, lines.66-79

14(71 2?);

uga 12,12,13,1 1,12; jyava/a jyavala 12,13,13,13


:

1,12,12,12,10 9 12-

Number

of Feet

(a)1 9;

(b)5+7+(3+4)=19

39

On
'/a.

the isolated basis of syllabic quantity per foot,


to
it

(a)

and (b)would be
in

classified as

utsah
ii

According

Sarngadeva

this

should be composed
viz.(b)

the pratimarjthataja, performed


is

>rous situations

grants progeny. The second,


situations.
It

approximates to sSkhara, which


to

to b<

rmed

in

nthsiru taja\w heroic

is

promised

bestow prosperity and auspiciousness

ffcally

The cthruva stanzas under reference, on the other hand, are composed in dhruva fa/a unknown to the sa/agasudas; however their verbal content can be traced to heroic, erotic

roic sentiments.

Thus these stanzas are departures from


the inscriptional

their textual analogues.


is

Every carana
Tiaka/aptn.Q.

in

sw&//(lines.68

et.

seq) has a prayoga. This

of the nature

afapana performed with only carrier syllables but not word syllables, but set to tab respective carana. This recalls to the mind the p^/T^/a^// prescribed for the third section o dgraha in the dhruva sa/agasuda by Sarngadhara, but occurs, however, as an addition to the

& That
'as is

it

is

intended to be a suffix to the dhruva

is

seen from the


In

fact that the refrain line of the


this

taken up after the prayoga but not after the jyavafa,

other words,

may be

considerec

experimental departure from the conventional or traditional positioning of the gamakalapti&\ the
'f

the abhoga,

it

may

also be regarded as the antara spanning dhruva and abhdga, a cleai


is

ation

created

in all

the caranas, including the dhruva carana. This

a departure from the patterr


are
the

handasa

sujadf.
'

Dsed without the

The su/adls inscribed in the slab no.2 (and in the missing slab no.1) prayoga and are probably intended as a foil of the conventional for
'

iventional or innovative.
idicates
5.
:

The word 'prayoga'

is

obviously used as a

synonym

for

gamakalapi

parallel or conformity with textual tradition.


at least

There are
dhruva

in

fa/a

carana'(line

two instances in slab no.4 in which the praydga seems to end in a free 73 and in afetafa ma/aya (\\r\esQ5-QB). if this surmise is correct, this

rther innovative
6.

experiment.

The

inscription reveals an interesting fact in respect of the

>ned in slab. no.2(line93)


3rr Sri'

(line.94)

abhoga dhatu, e.g. the abhCg& is presumably given in the missing slab no.3, but the slab ends with which seems to have a colophonic force. The abhdgas\\\ slab no.4(lines7-8,
are uniformly given only
in

,29,34-36,44-45.58-59,74-75,89-99)
ident that the

m/fvbul without dhatu.

ng elsewhere
le

composer/inscriber intends these /ra/fc/llnes to be repeated with the dhatu lines in the song with a line to line correspondence. The correspondence or identity

absence
ry

dhatu linestf the udgraha in the abhdga in slab nos. 2 and 4 offers a conclusive clue of cthatu\r\ the slab nti.4. Such correspondence occurs between these dtefc/segments carana without exception. The pointed absence of dhatu for the abhogas in this slab is 3ly intended to emphasize a total one to one correspondence with the udgraha dhatu\\w$. Such ion of flJteft/JInes for different matu content is a well known device in Indian music. The suddha ela\ an example in ancient music, repetition of the anupallavi dhatu for the second half of a
of the
l

and the repetition of dhatutf the

first

carana\r\ the subsequent carapas\i\ the kriti/pada songs

Ta||apaka composers, Bhadracala Ramadasa, Tyagaraja, the haridasas and the virasaiva saints
stances in

modern South

Indian music.

40

In textual tradition

the mantha salagasuda was performed

in this
;

sequence: udgraha (with one

-rest

yatis}-dhruva(\w\ttVantara-dhruva-abhdga-^\ on udgraha or udgraha-dhruva ^twice)on dhruva'tf antara\$> not employed. The mapfha carapas\r\ the inscription (called atatala
slab no.2Jines

77-87,

slab

no.4, lines

79-89) do

not follow this order nor the yati

ment. They have the selfsome sequence uga-jyava/a-prayoga -abhdga, uniform with the other

No carana
to the

of

any

su/adi\r\ the inscription has


in

an alapa

initially,

medially or terminally

in

udgraha or dhruva dhatuzs found

the textual descriptions of the Qkataffwti rasa

udas, nor the subdivision into sections or antara dhatu.


.

There

is

no

parallel to the

uctured
ition

totally

unlike the other

caupadadojamfo the textual sa/agasutfasw the haridasa sujadis. carapas and is an independent, self-contained musical
latter

with pallava followed by three stanzas or padas, the dhatu v\ the

being identical
absent,
it

:hemselves but different from that of the pallava, Since


ituka prabandha unlike the other caranas. While
3

mSlapakawti abhdga w

is

a constant feature in the haridasa sufadls,

it

occurrence between afata/aml ffkatafos never occurs there as a fullfledged dasara pada
its is

th its

three carapas, but always as a stanza, uniform with others, and

thus integral with the


is

hitectonics.

Hence the caupadadojam is an experimental

innovation and

distinct contribu-

te inscription.
D.

an important aspect of a composition in any musical The performance of only dhruva sa/agasuf/a rests finally on the first udgraha section but of rs, on the dhruva dhatu. This may be compared with the nyasasthana of the various sujadi
position of final rest (nyasa]
is

The

in

the inscription:

ija

stanza

Refrain line

is

Repeated

after

ab no. 2
1.

rupaka

end of uga end of uga


beginning of /yavaja

Jyavala, jyavala, jyava/a,


jyava/a, jyava/a,

abhoga abhoga abhoga abhoga abhoga abhdga

2.
3.

jhampa
ragapa

4. tivuda
5. atatala
6. 7. 8. 9.

end of uga
beginning of jyavaja beginning of jyavala
begining of pallavam

racam
caupada do/am
ekataji

jyavala,

pada
uga

1,2,3

beginning of jyavala beginning of

jyava/a,

abhdga
prayoga, abhoga

dhruvam

uga

{=ad/j,

10. 11.

mathayam
rupakam

end

of

uga

prayoga, abhdga

penultimate

uga?

prayoga

beginning of jyavala?

41

Slab no. 4
1

2.

jhampa
raganam

jyavafa
beginning of jyivafa

praydga, abhdga prayoga, abhdga


praydga, abhdga
jyivafa,

13.

\b.tivuda
15. afaia/am
16.
17.

end

of

uga

beginning of jyavafa
beginning of jyavaja

abhdga

racam

praydga. abhdga
1,2,3

caupada do/am beginnning of pa/lavam pada


beginnning tf /yavala

18. ega(=$ka)tiff

praydga,-cum~abh6ga
(double praydga ? jyavala}

19.

dhruvam

beginnning of uga

praydga, abhdga

20. atataia matayam&t\& of uga?


beginning of jyavala?
21. rupakarn

praydga, abhdga

end of uga

praydga, abhdga
1
<

Thus the nyasasthana is beginning of uga or of jyivafa (= dhruva dhatih in most cases. accordance with textual tradition. However, there are some variations too: end of uga{\, 2,
4,

20?, 21?), beginnning of jyava/^S}.

No

instances are available from sujadis, si/agasuc


refrains are

(her music forms of this period in which


ncertainity cannot

such

accommodated.

In

two

insta

be resolvedd 1,20)
Is

easily.

These arise from

scribal ambiguity
in

becaus

eginning of jyavala

not indicated.
is

The nyasasthana of caupadaddjam

both instance.
\

eginnlng of pallavam

consistent with Sri Annamacarya's description of the sankirtana

ahkirtana Laksariamu and with the

padaw

k.rit

form sans anupallavi. An important departure


(nyasasthana}
is

\-

hereas
train
[ter is
rs

in textual tradition

only the

final resting point

indicated, in the inscript

repeated after the j'yavaja as well as after the

abhdga

it

is

repeated after the praydga


after the uga.

suffixed to
to

^& jyivafa.
attracted,

In

one instance

(9),

it

is

repeated even

These are

tr

hich

came

be

absorbed and

stabilised

in

the sankiratna/pada/krti\WK\. Thus the n

the inscription suggests a state of formal transition.


3.

Sulidi and GIta


Venkatamakhin designates the sa/agasuctas>as #/?#in
his Caturdandlprakasika
to

and

extract;

scriptions from Sahglfaratnakara ignoring the general


e sajagasu(]as\\'a& evolved into sujadis&\\&
t

connotation ascribed

'^w^'by Sarngac

much vogue and

the latter

even though both coexisted at his time, the former became widely known and practised. He does not seem to

nposed

either this g/tadantfi (which

was upheld by
isolated giias

er hand,
'agasutfa.

he has composed

many

his paramaguru Tanappa) or the suladis. Or which reveal some similarities with the dh,

(He has also created a few prabandhas^ Subbarama

DIksita

has described the gita

42

given a huge repertoire from Venkatamakhin,


?

Mudduvenkatarnakhin etc. According to him, t viz. those consisting of only two sections and those composed of three sectioi comprised the udgrahaw\<& abhoga only. The latter was set in a higher key a jong rested on the first segment of the udgraha, serving as the dhruva, ending on the sadjart \
are of two kinds
#/?<?

two-section

lie register.

The three-segment #/& consisted of udgraha, abhoga and the mudrakhanda^z&w carryii composer's signature). Udgraha was followed by dhruva (which was probably a segment -aha), javatfa and then by antari. Javacta is a vernacular word signifying 'one half; thus tl
-aha-dhruva-javadawwM appear to constitute the first half of the song, ending with antari. Ne; 5&A30section was taken up, ending with the antari. Finally the mudrakhaodawzs sung, at the er
ilch antari
i

sections with the next.

was executed. The antari (-antara} was a small passage bridging each of the aboi had a constant dhatuw\d matutov all three occasions. Thus seen
It
it

ive
ie

functioned as refrain

and

in this

sense, as dhruva dhatu. Venkatamakhin


in

states,

presumab

authority of
in

contemporary usage, that the antarf was employed only

the three-section g>

not

the two-section variety.

Subbarama

Diksita

adds

that the three-section variety he


tf/aofc/

ifshed mostly to only

two sections because the mudrakhapda had a

which was similar


it

t
i

entical with that of the

udgraha and therefore the learners (and


if

teachers) tended to omit

rmance, which practice unfortunately tended to obscure or obliterate the composer's

identit

Tiudrakhandawzs performed only

its

dhatu differed from that


from the sa/agasucla.
It

of the udgraha,

Thus

the foregoing gila

was

different

It

was

only one isolated song, an

train of

songs performed to fixed


It

ta/as.

was performed

to neither dhruva ta/a nor to an

rlbed for the dhruva sa/agasuda.

employed antarf oft a constant dhaiuti. the end of eac tn. Its mudrakharjda was an independent entity and separated from the abh6gaw\& employe Its segmentation was different. The two-segment #/?# has no repeating sections. The higher ke
it

'a.

led from the


r.

third section

of the udgraha

However, the similarity osed of udgraha and abhoga


Another music form, also

and abhoga to the whole of the latter in relation to th between the dhruva si/agasuda and the gila is significant: both ar
in

the main.
^/fe

named

emerged during

this period.

They were composed

in ta/a

dhruva-rupaka and rupaka-dhruva. These are not relevant to the music

of the inscription.

another form, popularised, if not inaugurated, by Purandaradasa. Thesi eluded in the beginners' exercises in Karnataka music to familiarise him with simple, common ic contours of the common ragas$&\ to words and ta/a. Their melodic lines avoid second o

The Devolved

into yet

speeds,
I

difficult,

scholarly or sophisticated

music expressions and employ only the simple an<


contain phrases of bhandira bhasa
re,
i.e.

svara curvatures called gamaka.


iya,
tt'ya,

Some
amvo,

nonsensit
01

c clusters such as
lie

vaiya,

re

etc.

They do

not have scope for melodic

development.

43

These gflas of modern usage may be


(i)

classified into

sadharana (-samanya^sancarl^stut!}

gfta$\t\

which the word theme

is

praise

and prayer o

[II)

lak?apa gltas\v\ which the word content describes or enunciates the laksanatf the ragas\\

they are composed,


[ill)

ghana raga gftas when they

are

composed

in

ghana raga such

as

nati,

and arabhi,

re divisible into

^/?5may have only one, two or more sections. The composer's signature is rarely included udgraha&rd abhdga&r\d sometimes a repeating motif, viz. the dhruva. Rarely

mtain gamakalapti passages.


:

urther discussion of this music form

is

not relevant to the present study.

jfadi Nrtta
'he possibility of relating

the songs in the inscription to saptefa/anatana'tf\Qr$\w&A as a form


this
it

'hura

kav!tvam\* mooted by Prof. Veturi Anancfamurihi garu. Details of

dance form are not


can be affirmed that

e and therefore the possibility can be neither denied nor affirmed. But
i

a strong

and

well

established tradition of dancing the sufadi.


is

A
in

variety of the

maotha
in

vcta

known as svaramaptha
in

described by Papo'arika
in its totality

Vlflhala as

a dance form
his Sangita
in

his

nirpaya; the su/adlnrfta\s described

by Catura Damodara

Darpanarn,

Dlaced

the perspective of

dance performed

to

musical compositions

general by

Veda

in

3itamakaranda.
lave discussed the su/adl nrtta\\\ *Su/adtsandUgabhdgastf Karnataka Music' and
'a
in

'Makhi-

commentary on the Caturdandiprakasika. The latter work also contains a detailed discushe silagasu0asw\& su/adisw\\\s\\ may be found interesting in the context of the sujadistf the
Dn.

sslng Portions of the Inscription


ice the available slabs of the Inscription are marked 2 and 4 and since the former com-

and the

latter

ends,

in

the middle of a su/adl,

it

is

clear that the inscription originally contained

bs which could be marked 1,3 and 5 and possibly beyond 5, If it may be assumed that these slabs had the same size as the available ones and that they were inscribed with a uniform or
lately the

same

stichornetry,

seme

conjectures on the contents of the missing slabs become

because the
Analysis'

su]adls\r\

them run

to distinct

and stable

patterns, as set forth

in

the Section

on

above (28-31)
slab probably contained

us the

first

some

invocatory slokas on Lord Vepkatesvara, the

and occasion of celebrating the compositions and/or the inscription. They would ajso contain :>n about the composer and (since they are not serially numbered in the inscription) the total
}f

sujadis inscribed,

lay

be divided

into

two classes: those

and probably also the reason why only su/adls are inscribed. These in the slabs no. 1 and 2 containing no praydgaznti

44

se

in

the

end of slab

no.

2 and

in

no.4 which contain the prayoga. A caranart the

first

vari

Bribed approximately

7 or 8

lines of inscription Jines of this suiadi,

and
its

that of the

second variety

in

some 8-10

39 slab no.2 has nearly

beginning portions viz. dhruva ta/a. uga, jy< loga andafatala mafaya: Ugajyavaja and abhoga would have been inscribed towards the b< lab no. 1 in some 16 lines. Su/adimA occurs, say, in some 80 lines, comprising each of the
led carapaswz. dhruva, (atata/ajmataya.
i

60

@kata/f,

each

with

its

own

uga, jyava/a and

&&

leaves

5-10

lines for

the above mentioned introductory statements.

The

third

s$?<y/begins on slab no.2

on

line.60

and has 27

lines

covering dhruva

ta/a, a.

'aya carapas,

each comprising uga, Jyava/a, prayogao.v\& abhdga. The remaining part of the

&
ii

sisting rupaka,
iing slab no.3.

jhampa, ragapa, tivuda, ata, racam, caupada do/am and /te/#//would be Each of these caranas\\%& a segment each consisting of uga, jyava/a, prayogt

oga. Therefore the 3rd slab

would have about 70


of

Jines inscribing these


into the

as also about

30

aining dhruvam, atataja mataya,


le

rupaka (each divided

above 4 dhatu segments) as

uga and Jyava/a segments

jhampa carapa

of su/ad/ no.4.
s~

Slab no. 4 contains the remainder of the suiadi no.4 which ends on line.60. At this point,

begins and runs till the end of the rupaka caranam and the beginning of the jhampa caran 100. Therefore the missing siab no. 5 has the remaining portion of the 5th $u/idiv\z.. jha>
'nam, tivuda, atatala, racam,
9tc.

caupada do/am w\d

ekala/i, %os^\ carar^a^\\\\

its

fourfold divisic

This would cover about

oximately
>

20

or

30

lines

is little
is

doubt

that the inscription

70 lines of slab no. 5. It cannot be conjectured whether the remaf contained colophonic contents or the beginning of su/adir&,Q. 1 contained at least five su/actiS'ti not more. The ragasfi only
wra/a\-vara/i)vx\& of the
to

3se
<

definitely

known

viz.

of 'saya 'may be
five

assumed

other is probably known to be nafa(\\ be erased). This makes one wonder if the suladisww* compc
not necessarily in the
textual tradition

ghana ragasvlz.

nata, gau/a, arabhf, 5/y'and vara/i,

same

order.
to the
1

;nown reference
A.D.

to these five

ragasm

community

in

music

belongs

ontributions of the Tirumala


In

Music Inscription
knowledge
\

conclusion, the special features or contributions of the inscriptions to our

fein particular
al

and

of the state of

reference to Andhra Pradesh


This
is

may be
in

development of Karnataka music in the recapitulated here in brief.


India containing

5-

6th cent. A.D.

1.

the

first

known

inscription

songs

in

actual musical solfa notai

ining both
2.

dhatuw\& matu.

The word

line

syllables are given in the upper line and the corresponding svsraswe given in below the respective syllable. This was the method of writing music in South India till so

/ears ago.
3.

The songs are yathaksara prabandhas, Intended

to

be performed

in

the fast tempo, becai

are

matu pradhana.

45

4.
y,

They seem

to

be limited to mostly to the middle

register. In

any

case, the other registei

are not indicated,


5.

The songs are measured


(

in ti/a

avartas, the

ends

of

which are marked with single ven

okes

danc/a}.

6.

The

insertion of ragapa,

racamox\d caupactactd!am\t\ the structure

of the su/adls\s uniqu<

inscription.
7.
8.
lure.

The

insertion of

prayoga segment as a
Jyavaja,

suffix to

jyavafa

is

a unique feature.

The use of the oKs/ words

uga
is

&tf/\o indicate musical

segments

is

another unk

The occurrence

of

uga

for

udgriha

an important clue

for the formulation of the

na

the corresponding
9.

musical form.

There

is

not enough evidence to identify the composer of the inscription, But circumstan

cumulative evidence suggests the


10.
5

composer

to

be Sri Tajjapaka Annamacarya,


\r\

The

literary

of transition of this
1 1.

and musical structures of the su/adis music form in South India.


the su/adis
its

the inscription indicate an import;

The form of
but to

in

the inscription
in

is

quite dissimilar to not only the musicologic


It

ual) tradition,

analogues

the rest of India.


is

is

therefore a unique contribution of

Andh

lesh to Indian music,

Since the form

available

in

a mature

and

stable state,

it

points to the pri

ence of a

different tradition fn

Andhra

for at least

two

or three generations.

Marga Suladi
The su/adis
krit

in

the inscription are unique, as mentioned already,

in

being

composed

in

tr

language in a metrical form. Astavadhana Somanarya, an authority in music of this perioi g from Andhra, defines su/adim composed in (any of) eight provincial languages, thus excludin ^rit No examples of #$9ofehave survived till our own times except in Kannada and one in Telugi

one Telugu su/adf, volume of Srngara


g sujidfa
1.
.

called ties! su/ad!\$

Saftklrtanalu (pp.3 20,3 2

composed by Sri Annamacarya and is published in th 1 is composed in ragamallka^Hzh is rather rar


). It

It

is

segmented

into the following

stanzas

mafav/{?-va)gau/a raga -cthruvataja2. ramakrt'yaraga-

mathem fa/aZ,

vara/iraga -rupak

tlvuda tala 6. naja raga ~ a/a talam 7. sriraga - ekata bauliraga -jhampe fa/a .pacti raga hus it is seen that the stanzas are set to the seven su/ad/ talas\t\ regular order. Three of the raga,

imakriya, baujf&nti

d to the

first

/?^//were (and still are) parented to the malavagaula me/a. This riga\i stanza. The three remaining raga$\i\z. varali, /?^*/and s'r/'arQ (and were) classifiec

ragas.

The dhruva

/^fe stanza

has two features.

Firstly,

it

is

marked as
at

pallavi, but

its

beginning section
i.e.

&te/'is repeated, not at the end of each stanza, but only


,

the end of the

final

the sriraga

This

is

contrary to both the pada/sankJrtana/krti$\r\iv\\XQ where the

first line

of the pallavns

3d at the

end

of

each stanza and to the s#cfa7structure, which has no

parallel,

but each of

its

46

anzas has
oa//aw'\\v\s

its

own dkfdyelements.
after

were repeated
in

including or excluding antara, and is therefore selfsufficient each stanza, the song would be reduced to pada/kriti/sankirtan
(Q.Q. ragakac/amba, ta/amava, pancata/esvara etc. o ragamaJika krt/\t\ recent times). If is repeated only after the
it

composed
val

ragama/ika w\& fa/amaf/ka


DJksita's

music and Ramasvami

la stanza, the
:cription

autonomy

of the latter

would be

violated. All the

known

suladis, including

those

ir

nyasasthana separately for each stanza (being the beginning or end o 'ha/ugaw dhruva/jyavaja). In view of the foregoing, it is perhaps simpler to regard the 'pallavi
refrains or
1

have

e terminal

'refrain

'vateva/enu' as a scribal, unconscious error of habitation.

The second
d, called

point of interest in the


it

dhruva

ti/a

stanza
is

is

the

occurrence a two-line passage


fact that

ai

'vakyam'.thtf.

is

a separate entity

evident from the


It

rhyming (second]
Its

is

different

from that

in

the preceding four-line entity,

contains the composer's signature.


in

nd

fa/a are not separately


in

mentioned. This

may be

interpreted

two

alternative

ways:

It

should
prose

formed

the selfsame
first
is

ve as alapa. The
ire,

alternative

malavagauja raga and dhruva fa/a. Or, it should be rendered is more piausible because of its kinship in size,

in

syllabic

rhyming
of the

etc,

It

clearly the

ibhoga element of the dhruva fa/a stanza because


at

it

contains

Wtd
ears

composer and occurs

the end.

The

delineation of

abhogaty Vefikatamakhin some

later is relevant to this context. Promising to reveal the heritage of tradition (sampradaya} orming the abhdgatf some music forms such as the kafvatfa, he states that the abhdga had two is. The first of these contained the composer's/performer's signature and was performed as

without

fa/3,

led the hero's

and was therefore called alaparupa khanda or vakya. The second section name was set to fa/a. The vakya in the dhruva fa/a stanza of the d@si su/ad/\$

btedly the alaparupa

khanda v\

the

abhGgaw\&
it

furnishes valuable, empirical, corroboration


is

to

amakhin's tracing of sampradaya. The vakya,


'tadi.

to

be

noted,

occurs only
in

in

the

first

stanza of

The composer's ankita occurs, however, at the end of each stanza

some synonym or the

The

first

stanza of the

^/s^y/contains six
lines.

lines, including the last

two

of vakya.

The next, set

hya

fa/a consists of

four

The next
in

four,

composed

in

rupaka, jhampe, tivuda and atataja


first

vo lines each. The

final

stanza

sri ragaw\d ekata/t\\%& four lines of which the

two and

g syllable
>t

two may be regarded as separate entities because the rhyming syllable in each is different. The is the second in each stanza and differs from stanza to stanza. The syllabic quantity
is

irregular

and reveals no discernible pattern.


jyava/a
etc.

No

stanza

in

the song

is

large

enough

to be

oned

into uga,

dhatu sections. The second


taja.

entity in the final

stanza

may be

the

section of the abhdga, set to

'he suladis in the inscription differ 3e (b) the

from the desi sujadi

in

the

use

of following (a) Sanskrit


taja]

name

afata/a fnaf/yarnvfaQ
in

mathyam

(c)

both mathya X^&and ragaoa (mathya


or
total similarity of

e or four dtefit/elements
'

each stanza

(e) partial

o'AsA/between
viz.

ugazM

(f)

prayOga

(g)

racam

fa/a (h) insertion of


in

a whole,

different

music form

caupada dojam

e ragafor a whole su/adi(\] pallavaw\y ng vakya or alaparupa khantfa.


)

the caupadadolam.

They

differ

from the desi sujadi

view

of the foregoing, the

songs

in

the inscription

may

be called marga suladis.

47

18,

Purpose of the Inscription


The
a)

inscription

had perhaps the following


of a

objectives:

commemorating the inauguration

new

trend

in

music

viz.

composing a unique

nusic form.
b)

expounding and

stabilizing the innovated

forms by offering multiple models.

c) dedicating

them

to Lord Venkatesvara perhaps

on a special ceremony or celebration.

9.

Need

for Correction
Srinivasacharya,

Sri A.V.
>

who has

noticed and described the above inscription

in his

introdu

the 1 5th and 1 6th volumes of the songs of Sri Annamacarya published (1961-1 962) by the aims the occurrence of the technical words mlapaka, dhruvawti antara\r\ the inscription. sul
It

'hruva
:

do not occur any where in the inscription, in even remote resemblance. The occurs only in the sense of a /^feand never as namesake dhatu element. Similarly his the occurrence of the term avrttaniyama as a rule pertaining to the ta/a cycle recurrence is
say
that they
'

jsed on an erroneous reading. Avrtavtyadavani"^ the beginning of the ugav\ the dhruva tija ca

ne

60

slab no.4)

and serves as

its refrain.

It

is

hoped

that these errors

would be corrected

in

the

litions.

48

5.

2,

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19

Kemideva Lingaya's Srisailam


Note the shape of the
[Courtesy
Dr. P.V.

inscription

1512
9

AD
.

letter la

in lines 1 7, 1

& 41

Parabrahma Sastry, Deputy

Director,

Epigraphy (Retd.)]

The Tirumala Music Inscription

Part-III

ENGLISH

Inscriptional

Format

(Slab No. 2)

.0'
-

.0

(d)

m
ta

LO
i.O

(sthira)

ve

ka
g

ci

ra

ta

ra

(dha

ra

ni)

ka

ma

tha ta

nu

dha

ra

II

m
la

m
ti

II

ta

ta

ma

ya

m(m)u

gi

se

nu

II

(ru pa) ka

talam

luga

II

gu
g

ru

gho
rs

na

ku

ha

ro

da

ra

ma

ru

nsrsndmm
ti

rr
I

4.0

du
(s)

ru

ga
n

ma

gan
r

ta

fa
r

pa

ra

ma nu

bha dava (vada)ga ca


g

ra

5.0

m
ri

pmm
ha ke

gmpdnsr
jyavala
II II

PI

ki

vi

gra

li

ca
r

ra
s

II

p
ta

n(g)

pmgg
ran
ta

II

ra

la

nsr
6.0 7.0

ku(khu)
g

ra

mi

ta

ja

la

ni

ra

va

ti(dhi)va

na

nidhi

pa
r

Grsmmgmlpndpd
la

pmG

Iva

la

pa
s

ri

ghu dhr

ta

bharmaca
ns rg

la

pm
ta
s

gr
ra

m
la
s
2

na

n
g

ka
r

(ku)ra g

ta

ru

ni
g

ta

va g

ra
r

mu

sta

va

li

kan da
n
d

la

mm

sn nd n

pm

1,

Some literary content appears to be missing here.


in

to the Compositions pertatining

first

two aval ^as,

viz. the

matey a and kurma.

dhruva and mathya t^as

of the (gkaifcga?) respectively, forming part


fill

t^m^ka

are the ones missing.

These have been composed

by Prof.
2.

Pullella Sriramachandrudu to

up

the lacuna in the da s

the other formats for the text.) vat,ra lyrics. (See

Meaning of this

couplet

is

and meanings suggested at the workshop conducted. not comprehended. See clarified readings

da

pdusrgrg
a

ra

ka

ra

su

pa

(gu ru?)
II

da

ta

ca

la

ki

ra

vi

gra ha

II

abhogam

yu g

ga
r

vr

sa

dhi

va
s

co

va na

ni

ya

te

ta

ra

ni

bhe

da

na
r

mnsr
n
d

ndpral
kha ra
g
4

gr
I

gmp

pm

mn

ja

ya

ve

ka
n

ta
s

si
r

sa

na

gmp
ki

mgrsll
II

ra

vi

gra

ha

II

ru

pakam mugisenu

jhampa uga

II-

vi

ra
r

ma sam
d

II

up

ra

m
d

bha
n

n a(m)
Sgr

vi

ha gg
sa
5

na

ya da

ri

ra

ya
r

m
S

>

p
va

m
ha

m
ha

g va

ra

si

na na

kri

ja

sthi

ra

grs grsndpmlggmpdpmgr
pa
ri

na bhi yam6
s

gr
g

hya ya
r

ti

ta

da

pa

ri

sa

ra

na sva ya

jyavala

Idi

ti

ja

mg
pa
ti

mmp mpDnsGggrsI
Ipa da
7

Ig

hr

da

na

r
s

pa

mo

sa

ka

si

kha

g
ku

mp
ru

p
na
p

mg
ta

sssnggmgml
ha ku ppa8 si
g
vi r
ta

ka

m
vi
s

g
ta

m
ra

m m
n
s

va

di

na

va
g

na
r

kha
sn

(m) gg na
sa

m
khi

sn

g
ra

G
ca

ti

ndddp
is

mgmdpmMg
See

pu

la

ka

ya

ssu

kha
r(s)

Prosodical lapse in yati

noticed here.

The

lapse could be rectified with the suggested reading "v Fta-gdya-vacovana". See - meanings.

Yati here appears to be according to colloquial pronunciation. Here the reading should be "Vara simha samhanana".

- meanings.

The meaning
Yati here

for this couplet is not comprehensible.

See - meanings,
it

appears to be according to colloquial pronunciation. This reading could be 'kutapa' (kutpa>kuppa) = meaning darbha, as

stands.

See- meanings. The workshop agreed upon

the reading

ku

rca

da
s

ti

ka
r

thi

na

yo
pn

m
ka
s

rya

va
s

da

n
r

na

ma ha
d p
tai

ta

mu kha
g
rs

pa

ri

gr

hya

abhogam

dn

m
(ri

ti

pa
p
ra

tu d

su
p

te

ri

ha) vi
I

ha sa

na9

tra

ma
r(g)

m
12

m(M)p
pa d

S(g)'

g(m)"ggg

rS

vi
13

ta

ma ma sam
r s

g(r)

p(m)'*

da g

m
g

ve

n
p

ka
d

ta

va

ra

sa

ma
ip

m
r

m
gr

II

pa

ri

hya

jhampa

mugisenu

II

v'

5
II

16

raganam

uga

II

II

vi

na

ya

vi r

na

kr
s

ta

bhu ja
r
s

ji

ta
s

vi
r

bu
s

dhavi

ro

(r)

m
na

Gr

dpp

ca
r

ta

na

ya
(s)

ma kha
n

hi

ta

pa
g

da
r

mi
s

ta

dharani
18

yacana Ijyavalal
II
II

m
ga
s

m
n a

dn

yU

pa

ri

ma

vi

jr

bhi ta

g
ga

g pa
(P

rgmg
tso
17

pdpml
m
I

ya(yu)

sa
r

na
s

m
1

P)

This could be 'Vihasannatramam", but to avoid the

syllabic

imbalance in the lyrical structure,

it is

engraved perhaps as 'V ihasanatn.mam'.

r^TCeTaras (g), (m), (g)


letters

shown

in brackets are in excess.

This has been considered and covered by the working group on

musicology.

These two

shown

in brackets
'

This numerical

in

Telugu

'

(4) suggests the

The

interpolation of the lyric "5.

Raga nam"

erased after chiseling. appear to have been end of the fourths uladitala lyric in the inscription. of th,s talamahka tala and the tnputa in between the lyrics in Jhampa t^a,

composmon

Here the words 'dharan


notations

should be read as 'cch inscription as per the conventional spelling, Vidwan Sri. Akella Mallikarjuna are found without the notation.

(with aspiration).
the

Sarma supplied

swam

see Musical format.

i.O

ja

ga

da

ti

la

gha

ja

la

khi
r

la

ja
s

la
r

(niV

dhi

ga vesa
p

na
s)

.0

p
vi

m
ga
r

p
li

d
ta

m m
ma
na
s

va

na
r

gu na
g
r

ta s
ri

nu
n

g
vi

m pmm
bhi sa

bhra

ma
p

II

yuga
:

pa

na ma

vi

jr

II

pn

mgg
sa
I

II

II

1.0

abhogam

ra
s

bha sa

ca

ra

n a kra

ma mi

ta

sa
I

ka

la
s

ja

ga

tra

ya

i.O

mgr

Grsn(s)
n
I

r(s)

pp

dp

gg

,20

.0 .0

ragan'a

mugisenu

II

II

tivuda

II

ugall
II

khu- ra

ka

vi

nns Ggmgr spgrgl


ka
ra

dhi ku. sa

la

vi

sr

ma

ra

sa

ra

ha

ta

krauffca

bhu dha

ra

vi

ra

ci

ta

ga

ma

pmg
.0

Gr

snss
ra
s
I

grsnl sn sndpm
gu ru
ya so bhara
I

vi

sa

da(ra)

kha ga va

.Ogmp
gu

mgr
bha su nd
n
ra
s
I I

Ipdpmgrg
ni
I

na

vi

jyavalal

ra

ghasa ma
r
s

da ya g
r

m m

(I)

Here

'ni' is

an extra

letter in the lyrical phrase.

This has been edited.

The notation recorded

as

"m g gg

r s"

should read as

"m g g g

r s".

The working group on music has taken note of this while

editing.

ni

rma

la

sa

ya

gu p

ru

na ra

kr

ti

ko pa bha va ra

ya
s

ka
g

ggmpdp ml
,8.0 ;9.0

mgmggr srgmgr
ka

ra
r

vi
r

dhu ni
sn
s

ta

khala
n
(n)

haiha ya

pm

dha ra
s

ni

pa
ss

ti

bhuja
g
si

dha ra no da ya

pd

sg

in

pa

ra

su

mu kha

kha(khi) pa

ti

ma

kr

ta

bhaya

gu ra

ya so bhara

sgmgrrsn(.n)dpmgrsl
10.0 11.0

abhogamll
II

sa

va vi n a(na)

yi

ta

sa

ka
r

la
(s)

ku va
s,

la

ya
r

n
21

G
va
rs

bha va
g
vi
s

na

(ta)

rkka

bha ktasa
n ve n

mu
r

da ya
s

p
vi

G
ya
ja

SS

(s)g

dha ja
s

ya

ka ta

la

ya

gu

ru

ndpmgmpmgrsl
I

52.0

ya

so

bha ra

tivuda

mugisenu

t.

atatalam

ugal
I

53.0

da

nnnsGrgM
kr sa
n
s

sa

va

da

na

dhi ka

dha

rmma
g

ta

po

ma
r

ya
s

m G
hi

ja

ga
r

da
s

va na

kr pa ma
n

ma

nd
ra

sndpDI
ra

34.0 sra ya 35.0

da

sa

tha bhu dha

dr

22

sta(l) gha

no da ya

jyavalal

pml gmnndmg
The meaning of the compound "bhavana(ta)rkava" The
yati
is

msmg

mrgrsi
meanings for
details,

21

not comprehensible. See

22.

between

'da-dl'

appears to be as per colloquial pronunciation,

pa
p
vi

la

la

la

ya

so bha

ra

la

ja

pa ha

n
la

sg
si

g
ta

m mg
ba ha

d
vi

pm (g)m
mahu
ta

kra

pnd
56.0 57.0

npdnsgr sgr
I

va
s

ha

ca
s

la

du

ru

ki la

sa

dhi ka

ra

na

ma

ha

II

nsln
li

rgr gmmgrgr
sri ka
ra

si

ka
g

ta r

ja
s

ya
srn

ka

ma
g

la

gra ha
r
s

np d
so
I

g
I

pa

la

la

la

ya

abhogam

sa n

kha(ka)moci
p
s

ta

D
ra

8.0 sa

ka

la

ma

ra

ga n a
r
s

lanka

pu
r

ra

9.0gmgm
\e n

G
ra
V

sndnpndDDnm
na
*
I

pa da

ci

ta

vi

bhisa n

katava

da

ya
^

ve da
r)m g

vi

bhusa
g(g) r

G
pa

m
la

(d)

m
ya

m
I

II

la

la

so

at a

talammugise

II

D.O ell
1-0

racam23

uga

II

kha

la
s

pa (pa)la

pu na

ra

rsa ca

(bha?) yanti

ka

II

n
vi

rgmggrs grgrsnsl
nya
sa

ka

li

ta

sra ya

ra

ka

ma

dhi ka

grs sndnsnnd pdpml


vi
la
si

ta

kan tha vr
n

ta

va na

ndmrglr
ama lika,
"8 racam" and "9 caupada

The
Ska

extra compositions in this tSl


tal

dol am",

intervening in between the compositions in ata

in a and

a deserve the attention of the researchers on sul

li

ka
s

jyavala

pa

ra

hi

ta

me

ca

ka pa

ta

ya

mu

nan

ta

ra

gr

srsnssggpndnpd pml
sa
ra
sr

ra
r

da

ma

ra

na di

ta

jha ra

ta

ra

la

pa ndu
g

ra

ta

mi

m
ha
s

n(n)

Grgsgrsl nsrgmr
ga
ru

mpp
ci

ci

sa

ca
r

ra
s

ma

da

li

dra (dr)
s,

ga n

ci

ta

ru

cara

gr
ra
hi

sgrgsgr
I

ndpmsgrs
pa
ri

ta

me

ca

ka

abhogam

ra

hi

ta

re

va

tsaJi

ca(ci)

ta

ru

ci

ca

ra

sr gmgprsgr
ra
s

grsnsl
la

gr

n a
s

di

vi

pa rva ka
ns

dhara

dp gp
ye

ra

ca

gmmnndmgr
im
mugisenull
oII

ya

ba

la

mi ha

kata

man

di

ra

gmgg
24
II

rsl
pallavam
II

caupadado 1 am

su
s

de
sg
hr

va

ma

va pa
p
I

rva

su ta

(dha)
r

ka
g

ra

gm
ti

m
(di)

p
ta

mm
va

sa

ve n

ka

su

dha dha ra

ss

sgrsn-- dp--mplrgrs

pa

ra

I!

ni pa

da

'caupada dol am' may perhaps suggest the compostition set in four quartets, d olam could be the vulgar form of the dhava 1 am, ig an auspices song or a corruption of 'da lam' meaning a petal (reku), generally found in the Yaksagana compositions. This ada dol am' lyric found in the inscription is a replica, in form and structure, of the lyrical format projected by Padakavit a Pitarnaha
irtie

lapaka AnnamacSrya. The


t

abdaratnakaramu (Telugu dictionary) quotes the following verse line from the Jaimin ibharaiamu
1

in

of

this entry

"danti

dantammu

atamuga drippuchu nadu caupadammulaku pisacamokati". This apperas to be

dance

lyric

/ith

the aid of a stick in hand.

pra ka

ta

ya
n

so
s

da bha gya (vya)ta pa

(h)

ppa

la (phala)

sa(sa)

ka ta

pn
50.0 su 51.0 g
vi
s

rg
si

(s)

gMmgp mgrlssn
la
I

ra
r

ma
s

da

sa

pa
s

da

g
r

ca n

g
ni

g
si
p(g)

p
pa
p

sn

ka
n

ta

ti

vi

du ru

kausa
rg
r

la
s

d
ta

pm

m
ni

g
rda

ni

ka
r

rju

na yu

ga

la

no jva

(jjva)

la

g va

g
de

mp
va

gnsgrn
rna va
II

dpgr

si

su

52.0 va

ra ra

gi
li

ri

du da

(re)va

rsa
di ta

ka

ka(ra)ka
I

mu
vi
ta

va
ta

na rno

dhai nuka

ra

ci

ba
su

hu
ta

ta

nu

vi

ma

(la

ka)ra

ka

ru

(ra)

ni

gha na

53.0 ta

ta

va
sa sa

na

ke
la

li

ka

va su
la
ri

de va rna
ta

va

II

||

ha
ha

m
m

ku
ka

ka ca
vi
ta

ha ha

si

dhara
ra
I

se

pa do da

mam
ff

sa

la

54.0 (go pi)

ma dhyavi
ve n ka ta

hrtipa

ra
I

ka

m
(-)

sa

ri

pu

ja

ya

gha na

va ra

va su
<=
II

de va rna va
eka

II

cau pa da do lam

mugisenu
da
s

II

55.0

tali

II

uga

II

ra

sa

(ni)kr S

ta g,

25

dhara
s

nl pa

la
r

na
s

56

'

"

nn

gm

gg

25.

Here two syllables appear

to

be missing.

It is

felt that the

reading could be 'dara

aranTkrta'.

ka
g

ra
r

(yi

sle
rs

si)

ta

ka n

li(k)vi

mo
gg

ca
r

na
s

jyavala

sg

nd
ya

ka
s

li

ka

tva

la

ghuka

manl

hi
r

ta
s

II

khala
p

pn

n(ng)

m
la

(D) g

gg

II

57.0 ja

(na)

ma
du
s

da
p

kha n
r

di (da) g

ga

ta

ga

ta
I

>8.0 r

mp
la

d
ru

mg
r)

m m m
Igi

m
ta
s

va d

(bhuja) ha
(p
s

ya
n

va n

ta

so bhi gg
ja
(s)
r

g
tva

dp

m
I

ka

li

ka

la

ghu!
,

a(bhogam)

ga da va
r

na

ni

sa

(sa) jani

ta

nn
ka ta

Sggsrgmg
va ra
ja

59.0

ti

ca

ya
s

vi

ga

to

da

ya

la

ya ve n

ya

50.0

gr
kali

grsgrsnd(n)dpggrrsl
1

ka

tva

laghu

eka

tali

mugisenu

II

oo 26

II

t.o

27
II

va
I

ra

la

ragam
I

2i
I

dhruvatalam adi

ll

61.0 bhu va 62.0

na
s

ra
s

ca
r

na po

sa

la

ya ca

tu

ra

nn
ku

ssnnddpmgl
ko

sdd dnnSrgrsnsI
va
sa
r

va

la

ya

(da) (la)

ma

la

ru

ci

bha ra

na

ra

si

ja

na

ns
26.

gr

gmppgGrgl mgrgsnsri
a

ya

na

ni

ran ta

ra

bha va du

ru

da ya pa

The numerical 10 engraved herejuggests the completion of the lyrics on the ten aval aras in this (ekaraga) suladi taja malika. Tin be considered as a "da s avatara sul adi". Whether the view that the total song, which is unique with the extra compositions like the 'nn
'raganam' 'caupadadojam' intervening in set pattern in between, madhurakavita branch of poetry could be examined. The numerical 10 indicates the completion of Che tenth composition and
the
,

and

could be called a "saptat a] a nakma", described as forming


'60'

27.

indicates the

commencement of the

literary content

<>

sixtieth line.

28.
29.

Varali-dhruva tala composition commences from here. "Varala" spelt in the inscription appears to be synonymous to "V arali". The significance of the word "a" di' in this context is not comprehensible. As this is the commencement of the "Udgra ha" portion, with wh the: rei lyric starts, could the word 'a di', meaning the beginning, suggest the same as 'Udgra ha'? This must be explained in the light of
practice of

such songs. There appears


etc.

rentjumarlu paijavalenu"

to be a practice_pf singing, found in the notated palm leaves of Tanjore indicated as "mundari Similarly whether the 'adi' indicated in the place of 'Udgraha' is akin to that may be examined.

J;

53.0

ya
g

ma ma
r

gi

ra

ma
s

va

dha

na da ka

li

ta

sthira

54.0

p
na

ns
ra

ndndpddpmggrs
jya va la
I

bhu va

ca

na

vi

ra

to

pa
r

ma

vi

sva(sva)

ma no ha

ra

gSg
ra
I

rGrsI
ri

pa

ri

na

ta

ra

sa pa

su

ns

rgrsnnn
ka ra
s(s)r

)5.0 56.0

pan ta(h)ppu(pu)
(p)

pa

vrta
g

gu ha pa dma
p

va ra
g

d
ra

pp
ci

m
ta

g
vi

m m
(ka)tva

ppm
ra
I

vi

mpmggrdsmm
ma
(ra) vi

ba

hu

hr

ti

ba

Grsl
1

ka

da

sgr gmpddnddndnlnsGI
>7.0
58.0
ri

(rpa)ga ba

li

ksana dhara30

bha

ri

ta

bhati
r

ta

su

(sa)
r

ma

sa

ra

31
I

sa

ri

da dhi(pa)sa

na

ta

bha ya ha ra
d

dmg
I

snslnsgrrppmn.dnd
I

(pp)

prayogam

iya iya iya iya iya iya iya

iya

(ri)

pn (d)pnd pd ns

rg

rs

ns

)9.0
r

ya iya

iya

iya iya

O.O g

mg
iya

gm
iya

grnnl
iya

iya

iya

iya

iya

sn
iya

ns
iya

nd
iya

ng
iya

dndp
iya
iya

m(p)
iya

dp

gm

(mn)pdds'
- meanings,

sn

nsl

0.
1.

Maravika=king(s')? See

The meaning

is

not very clear here. Prosodical lapse

is

also noticed.

10

1.0 2.0

iya

iya

iya

iya

ya

iya

iya
rs

bhuvana

mg

rgl

rs

sn
ghata

dm

mg

---....

racana

II

abhogam
.

II

adi

II

||

ghana ku ca ghata
pp

na (petu) 32 puna

(n)pmgmggmsggs
nu
r

3.0

ra
s

di

ta

dh
p
ta

ti

ka(ra)

ti

ra

sa
r

ma
s

jja

na

10

m
ti

d ns

ma

na da

(ra)

ma

sndgrs sndpmgrsl
33 ghana ku ca ghata
I

ya

ti

ya so dhana

jyavalal.

ha (hu)
I

ta

ta

ni

(nu)

ma

gha (gha)

hr

si

nsg
makha
r

rg
khava
r s

mg
I

5.0
5.0

ta

ta

nu ru ha
gr
r

ma
p

ti

ja
g(p)

damati

la

su

ha
II

g
su

m
ta

m
dr

m
vi

g
ta
r

nu
r

ri

ya

m
p

su syati

dhami ha

nu kr

pam ven ka

ta

ns
7.0 5.0

gr
ha
s(s)
I

smndpdnslg
I

rsrd dppm
I

gi

ri

gr
r

bhu va na (ra)ca na

dhruva mmugisenu

matayamll uga
II

II

ma

na

si

ra

ca

ya

ma

dhugi

ra

ma

na ga bha va

tya
sn(p)

da

ra

ssrgrgmgrslnsgrr
).0
).0

II

ghana hr da ya ka
s

da
pp

ra

34
I

ja

na ya rya ja

ni

va
r

ra
s

nd d

ggrm g

Unless the word 'puna'

is

added

to the existing letters 'gha tanapatu' /

ghatanarpana/ ghatanaruna, the syntactic and prosodical lapse

would not get


It

corrected.

Hence

the addition of letters

is

suggested.

ferent to the one "bhuvanaracana" running in the text could be an interpolation from "ghanakuca" which is dif this portion of the song in the footnote, But it was retained in its place, a different lyric composed in the same t ala, and thought of placing " abhoga" part with a different as suggested by Prof, R, Sathyanarayana, considering the fact that there exists a practice of singing the

was

felt that this refrain

refrain also.

The meaning

is

not very clear.

11

ta

nu ra
r

sri ta

ta

tpa ra

jyavala

g
ta

G m
nl ya

ds

nn

ru
r

ta

va ka

ta

ra

ni
r

yo dha

ggmmP mg
I

mg

gsprg
I

1.0 dhi ka

ta

ra

sa

ha sa

dhaka (ra)ka

sa ra

sa

yu dhaja

li

ka
P

.2.0

(rp)l
sa
ra

snddnnsndnldgrgrsndd
ta

ya hi

sa

ya ka

(bha)

ra

pa

ri

ca

ra

pa tu

ka
g

nddppdpmgrl sgrgmmp
va ra

mm

bhu (bh

r)ti ra

pa va ra

ka

mggmrg rsnpl
13.0 14.0

prayogarn

tiya

iya

iya

iya

iya iya iya

mgl

dd

nn

dn ns ns

iya tiya iya iya

nG

rg

mg gm
I

5.0 iya iya iya 6.0 (s)r rg rs


ta

iya iya

iya iya iya

sn

dp
I

mg

rg

rp

nu ra

sri ta

abhogam

su

ta

nu

ITU

mam

so bhana

vi

ta

a vi

la

sa

na

ssrgrg
7.0 (ba)ta
8.0 p
ta

mgrpl
ra
-

nsgrrnnndn
na
35
I

(se)(kai?)

va p

pa

(va?)

ku (kr)ta

ve

kata

ke
r

la
s

na

d
r

p
I

nddppml mpmg
mathayam mugisenu
II

r(g)

nu

srita

II

rupakam

llugall

>.

The meaning

is

not clear.

12

ra

na

la

vi

sra (sra)

ma ku

la

dnnpsdg
.

Grs
ca
la
s
I

ru

na ka ra

kanta

ma
s

ru

nan

ka

ka

ma mi

to

Ha

la

grgrs
i

nsrgr
pa
ra
s

ndnd
sa
li
I

mpGr

si

ru
s

ki la 36

mu

na yu

ja

se

nn
da d

pmG
ni
la

G
ke

pm Gr

ru

ga
s

ti

li

nn

dd n

ri

na (sam?) ku

la

pa su) pa su ka

li

ppnns ndrs)rsnl
.

ri

ga
g
sa

ta

ta

dpu

(tpa)

da
r
'

dhu
sn

1 i

p
ra

mgg
(ve)

a)

m
n

ka ta37 sa
(d)

ra

pa ta p
s

li

va ra
g
r

su
s

pa
n

ma
dp

va

li

kurali

m
I

mg

rg

ayogam

tiya

iya

sr

gm
iya

iya

iya

iya

iya

(ri)

ttiya

iya

iya
rr

Is
a
s

dm
iya iya

Pn d
iya

dp

pm
iya

m (s)
1

mgr

rg

iya

duruki la
sri
sri

abhogam
sri
39

38
II

rg
must have

ns
left

dn

sg

rs

II

II

icribe
3s

out certain letters here.

The lacuna was

filled

by Sriman N.Ch.Krishnamacharyulu during the workshop


reciified.

the initial letter

'pa' is

dropped and read as sara Venkata sara patali' the syntactic and prosodical lapses would not get

e the

amendment

is

suggested. See meanings.


refrain

emaining 'abhoga' portion of the composition with the


iption,

"Uruk

ila" in

rupakatal a

is

probably continued

in

the third face of the

which

is
'

not extant

now
top'

Telugu numeral
r

'

on the

though not legible

is

discernable in this inscription slab.

At the end of the second face of this


Parabrahma

inscription

ord abhoga indicates the

commencement of that
in

portion of the lyric.


"

However

Dr. P.V.

Sastri felt, in the initial stages,

his slab could

be the end of the series

view of the writing

sri sri sri sri" at the

end. This could probably

mean

the end of the

Sga" portion and not that of the series.

13

Musical Format
(Slab No.2)

O)

(dasvatara
*
ahamll

1)

nndpiPI mpMlgrsnll
pra
la

ya
s

pa
n
ja

yo
d

bha

ra

so

ma
I

ka
S
to

hr

ta

1!

r
11

p
na

d
li

N
nan

II

na
r

na

mu

kha

dga

ta

II

rgmlpml GRI gmpd


la

II

vi

ya n
la

ra

hi

ta

ve

da

hr

ti

dhr ta

II

n
sa

d
ca

P
ra

mpndl pmg
sa

II

li

ma
p
ca

va

pu

ra

ci

ta

II

alall

n
la

D
li

P
no

m
jjva

m
la

p
ra

d
gi

d
ri

n
sa

II

ja

ma!

II

R
ri

m
sa

g
ta

R
bhe

G
da

||

ca

la

la

ha

ksa ma!

II

rrgglrrl sSr|Sndll
ca
la

na p
ta

ra

ya
p
la

va

sa

du

ssa

ho

dya ma!

II

p da

m
li

ba

ma

14

im

II

salila

II)

(lldhruvamugisenu

II)

rial

avagau) a)
das avatara sapta
tal

this

amSlika sul adi composition,

lyrics pertaining to the first


in full, Prof. Pullela

two avataras in dhruva and mathya tajas are missing


first

this slab.

To

retrieve at least

one sujadi of the insciption

Sriramachandrudu composed lyrics in the


structural

two

tal as

n our request and vidwan Sri Akella Mallikarjuna sarma set the music based
ilamaiika,

on the

and melody patterns found in

this

Skaraga

Hence

these are

shown within

brackets.

15

2)

(udgrahamll

r
-

r ta

rgrsll
pa
ra

pa
g

ra

ma
r

mf
s

I.

su

ra v

II

g
ra

r
ti

m
ra..

II

va

di

su

ta

ba

li

ka

II

pdndldp
pa
s
ri

mpdnll
ba
hu

ca
d

H
g
ta

ta

bha

ra*.

II

m
i

m
la

ggrsll
dha
ra

dha ra
s
r

va
n

ra^

i.

II

m
tha

p
ta

II

dha ra na ka

ma
d
di

nu

dha

ra!

II

Jyavala

II

p
ta

D
va

n
sa

n
vatf

II

pa
s

ra

ma mu
r

II

g
kr

m
ta

p
su

m
-

g
sta

||

su

ra

ga

na
g
ji

va!

II

p
ri

m
ma
P
to

g
na

s
-

II

ga

ta

ga

bha va!

II

d
ri

m m
nu
ta

g
vai

grsll
-

pa

bha va!

II

II

dharana

abhogam

II

g
ru

II

sphu ra
g g
ra

da

va
r

ya
s

va
r
ri

su

ci

ra

II

g
ka

m
ra!

II

va

ta

nu

gi

bha ya

II

16

pdndldp
ca
ra

mpdnll
sra

da

ca

ra

ya
g
ra

va

ra!

II*)

(s)

d
ve

m
n

m
ta

g
ci

II

sthi ra

ka

ta

ra!

II

II

dharana

II

II

mat hyam mugisenu

II

(mSlavagauja)

ata$ja

matiyam SbhOgam
lyric in

Only

the last line in the

mathyataja

is

extant in this slab and the proceeding portion^ of the lyrics and music falling

within the brackets are

composed by

Prof, Pullela Srirairiachandrudu and

vidwan Akella Mallikarjuna

sarraa.

17

aaaf

(3)

Igraham

II

g
ru

s
-

n
ro

d
-

m
da

m
ra

gu

gho

na

ku

ha

II

ki(ri)vigraha

II

18

abhogarn

II

g
a

n
(ta

s
-

sndpmll
co
-

yu ga! vr

3 dya) va

va
r

na!

II

m M grgmlpd gmpdlrtsfgrhgrsll
p g
II

ni

ya

te

ta

ra

ni

rbhe da

na!

II

ja

ya! ve

ka

ta

si

kha

ra

sa

na!

IIM(ri)vigraha
II

II

rupakam mugisenu

(malavagaula)

19

(raalavagaula)

udgraham

HnrdnppdnSgrihggr
vi ra

g
ri

II

rna sa

m
r

ra

m
n

bha

nam

vi

(gha ta

ye) da

ra

yam

II

s
si

dp
ha na

m
na5

g
va

g
-

dp mgrs
-

II

va

ra

ha sam-

(ktra) ja

sthi

ra

bhi ya
s

6
II

mggrgmmpmp ddnS
pa
ri

II

gr

hyaya

ti

ta

(tpa) ri

sa

ram na sva ya

II

Jyavala

llggmgmpdpmg
di
ti

nggmgmll
-

ja

pa

ti

hf

da

na

Ipa
r

da7 rpa
s

mo
s

a ka

si

kha
r

II

mgmmpgg
ku
tu

mg
va
di

n
-

g
8 )

gg
ta

n
-

II

ka

na

ta

ha

(ku

rca

si

na

va

nakha
s
|| II

II

sndsnDdprng mdpmmmgr
vi
ta

ra

ti

(na) sa

khi! vi

pu

la

ka ra

(ja)

ssu kha

sgrgmpndns grsndpmgrsll
da
ti

ka thi na yo

ry a

va

da

ka

na

ma
II

ha

ta

mu
II

kha

||

parigrhya

abhogam

H'ndpdpMp dn
i

10

(s
ri

s)

g
vi

g"
ha

g
sa

g
9

r 12

||

ti

pa tu

(ta

re)

ri

tai

ha
14

(na )-

tra

mam
g
sa
II

II

g
vi

r 13

P
ra

dp m
pa da

g
ve

dp
va ra
II
II

m
-

II

ta

mama

sa

ka ta

ma

m
II

II

parigrhya

jhampa mugisenu

15
II

(n$)avagaula)

While discussing

this rather astounding meaning lyric on'Mfsimhavatfra Prof. Pullela Sriramachandrudu pointed to a parallel "sata cc hatabhinnaghan5na bibhrata nfsimha saimhj matanum tanum tvaya sa mugdhakanta stana sangabhangurairurovidaram praticaskare nakhaih. (1-47)

the

of

m thought in the following verse of MSgha.

20

(mfilavagaula)
n
ta
I

raganam
s
I

16 -

5
p
-

ahamllr
vi

mgr grs
na
ya
s

II

vi

na

kr

bhu ja
g
r

ji

ta

vi

bu

dha vi ro

ca na

II

g
ta

m
na

d n

n
ta

(r

d
-

dprm)
ya
18 ca na
!

!l

ya makha-

hi

ta

pa da mi

dhara ni

II

ala

II

g
ri

g
-

m
ma

g
vi

p
jr

m
ta

p
17

r
-

II

yu ga

pa

na

mbhi

yu ga pa (echo)
s r

sa na!

II

pmpdpmmgl Grg
ja

g
9

(m p d n

s)

II

ga

da

ti

la

ghaja

la

khi la

ja

ladhi'

gave- sa

na!

II

g
vi

g
li

m
ta

p
va

m m
-

grsnlpndpm
gu

grsl
-

ga

mana

na

ta

nu

vi

bhrama
II

bhi

sa

na!
II

yugaparinama

togamlls

s -

n
kra

m
ta

Dp m
gattraya!
s
20

II

sa ra

bha sa

ca ra n a

ma mi

sa ka la ja

II

gmpndnssl rsnnldpmgggr ana


vi

ra

ta

spada ba

li

vail

ve n

ka ta va ralja ya
II

II

yugaparinama

II

II

raganam mugisenu

II

II

(mSlavagaula)

21

(malavagaula)
udgraham
II

n
ra

s
li

G
ka

g
vi

m
dhi

spgrgl
la

khu

ku

sa

vi

sr

ma
n
ra!

ra

pmgGrsI
ka
ra

r
-

sa

ra

ha ta

kraun ca

bhu

dha

snsndpml gmpmgrs pdpmgrg mmpndns


vi

ra

ci

ta

ga

ma

vi

sa

ra

kha ga

va

ra!

gu

ru ya

so

bhara!

gu

na

vi

bha

su

ra!

Jyavala

llgrsggrs
ni

ra

gha sa

ma da

ya!

pmgmggr
gu
g
ru

na
r

ra

kr

ti

n
-

ka

ra

vi

dhu
s

(ni) ta

g
ni

r
ti

m
ja

dha

ra

pa

bhu

sgmgrrs
pa
ra

ggmpdpml srgmgrs nndpmgr pdnsgrml ndpmgrs


ni
-

rma

la

sa

ya!

ko

pa

bha va

ra

ya!

kha

la

ka

hai

ha

ya

(da)-

ra

no

da

ya

su

mu

kha

si

(khi)

pa

ti

(ma)kr

ta

bha ya
II

guruyas obhara

22

im

II

bha va na

grsssgr gpmGrs Nsgrsnl snsndpral gmpmgrs


n
s

m
ta

sa

va

vi

(na)yi

sa

ka

la

ku

va

la

ya!

ta

rkava21

bha kta

sa

mu

da

ya!

vi

vi

dha da ya!

ja

ya!

ve

ka

ta

la
II

ya!

guruyas obhara
tivu

II

II

da mugisenu

II

II

malavagaula)

(triputa)

23

(raalavagaula)
udgraham
II

ata

n
da

MgmGr
dha n
kr

sll
ya
II

sa va
s

da
r

na dhi ka
s

rma

ta

po (bha)

n
kr

d
na!

sndpDpmll
pi
-

sa ja

ga

da va

ma

hi

ma

sra ya!

II

grnnndmg
da

msmgmrgr
ra dr 22
-

sll
ya!
II

sa

ra

tha

bhu

dha

sta

gha no

da

Jyavala

II

n
la

g
-

g
(sa)

m m
ya

g
-

p
la

mgmg
-

mil
ha!
II

pa

la

so

bha ra

ja

pa

pndnpdn
vi la
si

grsgrsnsll
vi
-

ta

ba
r

ha

kra

ma
r

hu
g

ta

va
s

ha!

II

n
ca

g
ru

g
-

m
la

m
-

(G
sa

r)

II

la

du

kl

dhi

ka

ra

na

ma

ha!

II

gri-sSnp
ka
li

pmgggrs
ra

II

ta

ja

ya sr

ka

ka

ma

la

gra ha!
II

II

palaia(sa)yas o

abhogamll

nnpsDrg
sa
n.

g
sa

mgmggrs
ka
la
-

II

n
s

ka

mo
s

ci

ta

ma

ra

ga

na!

II

r
-

n
ra

pnddDnmll
ra
ci

la

ka

pu

pa

da

ta

vi

bhl sa

na!

II

Gmndmgmp- mgmggrs
ven ka ta
va
raija
ya!

II

ve

da

vi

bhu

sa n a
II

II

palala(s a)yas 6
atatal

1!

(malavagaula)
-

am mugisenu 7
II

(trisrajati

6 kriyas)

24

racam23

- ,8

aham

llnsrgmggr
kha
g
la (ha)
la

sgrgrsns
ka
r
-

II

pu na
n

ra

rs a

bha ya

ti

ka

II

r
li

s
-

n
ra

ndpdpm(g)ll
-

ka
g
vi

ta

sra ya

vi

ka

nya

sa

ma

dhi

ka
s

II

g
la

m
si

g
ta

d
tha

mr gr mggr
-

II

ka n

vr

ta

va

na

ma

li

ka!

II

a}a

Us
pa

rs
ra hi

n
ta

s
-

p'ndnpdp
pa
ta!

mil
ra
II

me

ca

ka

ya

mu

na

ta

grgmpdnn Grgsgrs
sa
ra

!l

da

ma

ra

na

sa

ra

(sru) ta

jha ra

II

(malavagaula)

(Ska)

25

*
n

9
mil
ra!
II

pallavamll

g
-

m
-

d
-

mmrg
dha
-

va

su

de

va

rnava

pa

rva su

ka

psssgrsndpmprg.r
va
sa

sll
ra!
II

hr

(di)

ve

ka

ta

va

su

dha

dha ra

pa

padam

pra

ndnsr ggMmgpmgr ss nsgr sggr sprnssll


II

ka

ta

ya

so

da

bha vya

ta

pa

pha

la!

II

sa

ka

ta

su

ra

ma

da

sa

si

pa

da

ca

la!

II

sndnpgpmppmgrgr
vi

sll
la!
II

ka

ta

ni

sa

ti

vi

pa
r
-

du

ru

kau

sa

gr
ni

g
ta

m
-

p
rju

g
ni

ndpgr
rda
fa

sll
la!
II

ka

na

yu ga

no
II

jjva

vasudevarnava

!l

(padam 2)
:

ndnsr
ra
gi
ri

gr
re
-

Mmgpmgr
var

II

va

du

sa

(na) ka

ra

ka!

II

ss
mu
ra
vi

nsgr sggr spins


1 i

sll
ka!
II

va

da na

mo

di

ta

dhai

nu

sndnpdpmppmgrgr
ra
ci

sll
ka!
II

ta

ba

hu

ta

nu
s

vi

ma
i"

la

ka

ra

gr
ta
(ra)

gmpd
ni

g
ta

dpgr
na ke
I!

sll
ka!
II

su

ta

ghana

ta

va

vasudevamava

11

26

lam: 3)

p ha
s

m
s

ndnsrggmmmgpmg
sa
-

II

ku

la

ka ca!

ha

sa

ia

si

ta

dhu

ra!

II

?
sa

g
ta

r
-

n
*

II

ha

ka

se

vi

ha

ri

pa

do

da

ra!

II

ma
g

sndnpdpmppmgrgr m
sa
la

sll
ra!
II

go

p!
n

ma
g

dhya
n
ve

vi

hr

ti

pa
r

g
sa

m
ri

p pu

d n

s
ra!

II

ka

ja

ya!

gha na!

n
II

ka

ta

va

II

vasudevarnava

II

II

caupadadolam mugisenu

II

II

(malavagaula)

(Ska)

27

- 26

10
II

udgraham

HssnnSggs rgmggrs
da
ra

sa
s

ra

ni

25

kr

ta!

dha
d
ta

ra

pa

la

na!

II

g
-

s
-

n
si

Ndmggrs
ka
(Ika)vi

ka

ra

vi

sle

mo

ca

na!

Jyavala

sPNgmGg mggr
li

sll
ta
II

ka

(ki

tva)

la

ghuka

ya!

ma
g

no
r

hi

p-d"r
kha
d
la

mpdp
na
g
ru

m
la

g di

rnMgm
ga
ta

II

ja

ma n
p
r

da
s

kh

an

ga

ta

II

n
la

nndpmggr
ya
va
-

sll
ta!
II

va

du

bhuja!

ha

Igi

ta

so
II

bhi

kali(kttva)Iaghukaya

abhogamll

ja

srnnSggs rgmggrs pggrr


ga da
r
s

va
g
-

na

ni

(sa)

ja

ni

ta

kr

ti

ca

ya!

II

vi

ga to

da ya

la

ya!

ve

ka

ja

va
II

raj

ja

ya!

II

kali(kitva)laghukaya
ekatali

II

mugisenu

1110

(malavagaula

Skatali)

28

Ii)
29

-.(1)
s

adi

nn
bhuva

d
la

p ca
s

mgll
tu
ra!
II

(udgraham)!!

na ra

ca

na

po sa
S ko
r

ya
r

sd
ku va

ddnn
la

g
la

II

ya

da

la

ma

ru

ci

bha

ra!

li

nsrgrgmppgGrgll mgrgsnsrsgrpnsll
na va
sa
ra
si

ja

na ya

na!

ni

ran

ta

ra

II

bhava
s

du

ru

da

ya!

pa

la

ya

ma ma
g
ta

gi

ra

II

n
va

dndp
dha
-

dd
da
-

m
li

g
-

rsil
sthi ra!
II
II

ma

na

ka

bhuvanaracana

Jyavala

HdgGrgSgrGr
vi

II

ra

to

pa

ma!

vi

sva

ma no

ha

ra!

II

ns
pa
ri

rgrs nnNDpmll
na
ta

ra

sa!

pa su

pan

tab

pu
r

ra

II

gr
pa
ri

gmmp
vf
ta!

Dp
pa

ms
-

mil
ra
II

gr

ha

dma

ka

ra

va

rnp
vi

mggr
ci

ds
vi

mmGr
ti

sll
ra!
II

ra

ta

ba

hu

hr

(hr

tam)ba

ma

sgrgmpddn nsGprgdmgr
ra

d
-

dn dnll
ksa na

vi

ka

da

rpa!ba

li

dha ra30

II

snsll
ma
sa
ra31 !il

bhari

ta

ri

ni

pa

ti

ta

(sa)

29

nsgi-RPndnddnll
sa
ri

da

dhi pa

san

na

ta!

bha ya

ha

ra!

II

II

bhuvanaracana

pray ogam

II

abhogam

II

p
" gl
""

adi

II

A.

JL

srg mpdn srgrsnnll


ra

nu
n

di

ta

dhr

ti

(ra)

ti

ra

sa

ma

jja

na!

II

d
da

g
li

ndpmgrsll
ya
ti

ma

na

ta

ra

ma

ya

so

dha

na!

II

II

ghanakucaghat a

33
II

Jyavala

Us
(hu)

n
ta

gr

gm ggmgrr
hf
si ta

g
ha!

II

ta

(nu)ma(gha)!

ta

nu

ru

II

30

p
a

m
ti

g
ja

p
da

m
ma
r

g
ti

rgmggrsll
(khi)la

ma
S Su

su

kha
d

va
s

ha!

II

n
su

g
ri

d
ti

p
dr

||

ta

nu
r

ya
n pa

m
d

sya
p

dha mi

ha

II

g
vi

i'

D
ven

m
ta

g
gi

g
ri

II

ta

nu

kr

ka

gr
II

ha!

II

bhuvanaracana

II

II

dhruvam mugisem,

*
+

vara(li)

The second

refrain

thought of placing

it

"ghanakucaghaf a" and the lyric concerned appeared to be an interpolation in the text, and hence the editors in the Footnote. But it was retained in its place as suggested by Prof. R. Salhyanarayana based on the tiiec
a different refrain.

practice of singing the abhoga part with

31

dgraham

Us ma
n

srgrgmg
na
si

ra

ca

ya
s
-

ma
n
tya

dhu

gi

ra

P
-

d
da
in ra
34

n
ra

ma
s

na ghalbha va
n d
s

n
ya

d
-

D
ka

p
(ta)

gha na hf

da

ja

mpMgrmg grgmpds
n va
rya
-

ja

ni

va n
-

ra

n
tpa

ta

nu ra

s ri ta

ta

ra!

yavala

II

rggMPmg mgrgspr
g
ta

ru

ni

yanta

va

ka
g
-

p ka

ta

ru

ni

ma yo
d
-

dha
s

dhi

n
ra

d
sa

n
-

dn
ra ka!

ta

ha sa

dha

dgrgrsn
sa
ra

d
-

dp
H
ka!

sa

yu dha ja

nddppdp mgr
sa ra

ya
r

hi

ta

sa

ya
g

ka

g
ra!

gmmP
ri

m
tu

bha

pa

ca

ra

pa

ka

32

m
va

g
ra

m
ti

bhr

ra

pa

va

tanuras rita

prayogam

s
ti

g ya d

m
i

ya
n

ya
n

d
i

n
i

d
i

ya
n
i

ya
'

ya

p
a

G
ya
g
i

g ya
s

m
i

ti

p
i

m
ya n ya

m
ya p
i

ya
g

d
i

m
i

ya

ya

II

tanuras rita

abhogam
su

m
so
n
vi

ta

nu
g
te

mi
r
-

ma
r

m
r

bha na
n
la

n
vi

dn
sa

ta

ksa na

na

pndpndDp mpmgrgmg
(pa) ta
(nai)-

ml
na35
r
!
I

ra

va

pa

va

kr

ta

ve

ka

ta (khe)

la

na!

tanuras rita

II

mathyani mugisenu

II

II

II

(varali)

33

(varap)
udgraham

(3)

llddnnpsd
vi

g
(sa

Gr
ra)
r

s
la!

ra

ha

na

la

vi

ku

mgrgrs
ka
s

n
ka

gr
-

ra

na

ka ra

ta

ca
s

la

ndndpmp
ru

Gr
to

ma

na n

ka ka

ma

mi

Ha

la

nsnnpml (grggrs)l
du
ru ki
-

la

- 36

(16

jjva)Ia

(ta

la)

jyavala

llgnsgrgp mGr
(ci)

ra

ra

na yu

(ga)

se

sa

}T

mpddnns
ga
ra

n
ti

Dd
ke
r

n
!

da

ni

la

ga

]T
s
-

dppnnsnd
pa
ri

NI
ll
! |

sa

ku

la

pa

su

ka

srgppmggrsnpl
pa
ri

ga

ta

ta

tpa

da

dhu

lT

pdPnndn
sa
ra!

d
pa

nps
ta
|T
-

venkata37

sa

ra

grsndpmp mgrgl
va
ra!

su

(sa)ma-

va

li

ku

(ru)

lT

II

(u)rukila

34

prayogam

llprgmsd
ti

mp
i

pn
i

dp
i

ya

ya

ti

ya

ya

ya

ya

dpPmmgrrgR
i

ya
n
i

ri

tti

ya n
i

ya

ya
g

r
i

d
i

n
ya

s
i

rs
i

ya

ya

ya
'
*

ya

ya

II

(u)ruki

abhogam

II

38 -

sri

sn

(varaii)

35

Literary

Format

(Slab No.2)

(dasavatara sftladi puranam


*
idgraham
II

(malavagaula

dhruva

1)

pralayapayobharasomakahrta
nalinajamukhanalinantodgata
vilayarahitavedahftidhrta
s alilacara samavapurancita !

'avala

II

Jalalinojjvalacaragirisama!
calalahari s atabhe daks araa!

calanarayavas adussaho dyama!


dalitabalamadadi tisuto ddhama
!

II

salila

II

>hogam

II

bahukulisavalisutulitabala

mahitas rn gamathitorahsthala
nihatasuranikara! mahabala!

viharan avalabhivenkat acala

ii

salila H

II

dhruva mugisenu

(malavagaula)
Lyrics pertaining to the first two aval aras, viz the

matsya and k urma,

in

dhruva and

ma thya tal as respectively, forming part of the


at least

efca

raga) Suiadi taiamalika (saptataja natana?)'are missing in this slab.


Pullela Sri

In order to present

one

fljadi

talamalika in

full.

Prof.

Ramachandrudu composed

the dhruva and

ma

thya

tal

a lyrics on our request. These are

shown

in brackets.

36

(malavagaiiia
udgraham
II

mathya

2)

paramamrtaparasura
varaditisutabalikara

paricalitabahubhara
dharanitaladharavara

dharanakamathatanudhara

Jyavala

II

paramamuditavasava
suraganakrtasustava
!

garimajitanagabhava
paritonutavaibhava
!

dharana

abhogam

II

sphuradavayavasurucira
varatanugiribhayakara
!

caradacara s ray avara )+


sthiravenkataciratara
!

il

dharana
A

II

II

atatala

matayam mugisenu

*
+

(malavagauia)
Filled

up

portion of the lyrics are

shown within

brackets.

37

(raalavagaula)

udgraham

II

gurughonakuharodara

marudurugatima rga ntara


paramanubhavadaga(va)ra
kirivigrahakelTcara
!
!

Jyavala

taralakhurantaramitajala

niravadhivananidhipalvala

parilaghudhrtabharmacala
tarunankura(dhara)n itala
2

varamustavalikandala

darakaragurudanta(ii) cala!

II

ki(ri)vigraha

II

abhogam

II

ayuga! vr(tadya )vacovana!


niyatetaranirbhedana
4
!

jaya! venkatasi kharasana!

ki(ri)vigraha

II

rupakam mugisenu

(malavagaula)

38

(malavagaula)
udgraham
II

viramasamrambhanamvi(ghataye)darirayam
varasimhasamhanana5 va(ktra)jasthirabhiyam6
parigrhya yati ta(tpa)risaram na svayam

Jyavala

II

ditijapatihrdanalpada rpamosakasikha

kutukam na tavadiha (ku rca8 )s itanavanakha vitaranti (na) sakhi! vipulakara(ja)ssukha

parigrhya

datikathinayoryavadankanamahatamukha

abhogam

10
II

iti

patu(tare )ritairiha
3

vihasa" (na) 9 tra 12


a

mam

vita' ra

mama sampa 14 dam venkatavarasamam


II

parigrhya

II

II

jhampa mugisenu

(maiavagauja)

While discussing the meaning of


in

this rather

astounding lyric on

rsimhavatara Prof. Pullela Sriramachandrudu pointed


I

to

a para

thought in the following verse of

M agha. "satacchatabhinnaghanena bibhrata nrsimha saimhi matanum tanum tvaya


39

sa

mugdhakanta

stana sangabhangurairurovidaram praticaskare nakhaih. (1-47)

(malavagaela)
udgraham
II

ragaeam

16 -

vinayavinakrtabhujajitavibudhavirocana
18

tanayamakhahitapadamitadharaniyacana

Jyavala

II

yugaparinamavijrmbhitayugapa(cch6 )sana!
j

17

agadatilah ghaj alakhilaj aladhi gavgs an a


'

vigalitavamanagunatanuvibhramabhisana!

yogapannama

abhogam

II

sarabhasacaranakramamita sakalajagattraya!
virata spadabalidanava!

venkatavara! jaya! 20

II

yugaparinama

II

II

raganam mugisenu

II

(maiavagaula)

40

udgraham

II

khuralikavidhikusala! visrmara
karas arahatakrauncabhudhara!
viracita gamavisarakhagavara!

guruyas obhara

gun avibhasura

Jyavala

II

niraghasamadaya! nirmalasaya!
gurunara kr tikopabhavaraya
!

karavidhu(ni)takhalakahaihaya

dharanipatibhuja(da)ranodaya
paras umukhasi(khi)patimakrtabhaya!

guruyas obhara

abhogam

II

savavi(na)yitasakalakuvalaya!

bhavanatarkava21 bhaktasamudaya!
!

vividhadaya! jay a! venkatalaya!

guruyas obhara
tivuda mugisenu

1!

II

II

*k

(maiavagaula)
(triput a)

41

igraham

II

dasavadanadhikadharmatapo(bha)ya
krs ajagadavana! krpamahimasraya!

das arathabhu dharadr 22 staghanodaya!

/avala

II

palala(s a) yas obharalajapaha!

vilasitabahavikramahutavaha

caladurukilasadhikaranamaha!
kalit aj ay as r ikar akamalagraha
!

II

palala(s a)yas o

II

Dhogam

II

san(ka)mocitasakalamaragana!
lahkapurapadaracitavibhis ana!

venkatavara!

(i

a)y a vedavibhusana!
'

palala(s a)yas o

atatalam mugisenu

(maiavagaula)
(trisrajati
-

6 kriyas)

42

udgraham

II

khala(ha)lapunarakarsabhayantika

kalitasrayaravikanyasamadhika
vilasitakanthavrtavanamalika
!

Jyavala

II

parafaitamecakapata! yaniunantara
saradarnaranadisara(sru)tajhara

taralapanduratanurucisahacara
(da)ru(na)madali(dr)gancitarucicara
!

Parahitamecaka

abhogam

II

arahitare(ca)tsancitarucicara

paripuranadiviparvakaladhara

viracaya balamiha venkatamandira!

Parahitamecaka
racam mugisenu
II

II

a-

*
+

(maiavagaula)
(eka)

43

24 -

Pallavam

II

vasudevarnavaparvasudhakara

vasa hr(di) verikatavasudhadharapara

Padam:

II

prakatayasodabhavyatapahphala!
s

akatasuramadas asipadancala!

vikatanis ati vipadurukaus ala!

nikatarjunayuganirdalanojjvala

Vasudevarnava

(Padam:2)

II

varagiridure varsa(na)karaka!

mural i vadanamoditadhainuka!

viracitabahutanuvimalakaraka

ta(ra)nisutaghanatatavanakelika!

Vasudevarnava

(Padam: 3)

II

hamsakulakaca! hasalasitadhara
hamsakasevitaharipadodara
i
!

mams al agop madhy avihr tipara

kamsaripunjaya! ghana! venkatavara!

Vasudevarnava

II

caupadadolam mugisenu

k
+

(maiavagauja)
(eka)

44

- 26

10

udgraham

II

darasaranikrta 25 !.dharanipalana
karavis le s itaka(lka)vimo cana
!

Jyavala

kali(kitva)iaghukayamanohita
khahijanamandalakhandigatagata

valadumbhuja! hay aval gitasobhita

II

kali(kitva)laghu

II

abhogam

II

agadavanani(s a)j anitakr ticaya

vigatodayalaya! venkatavara! jaya!

II

kali(kitva)laghu
ekatali

II

II

mugisenu

II

oo 26 toll

7
II

(mai avagau 1 a

gkatai

45

27

60
II

varflQi)
bhuvanaracanaposalayacatura
kuvalayadalakomalarucibhara
navasarasijanayana! nirantara
!

(1)

adi

(udgraham?)

II

bhavadurudaya! palaya

mama gira
!

mavadhanadakalitasthira

bhuvanaracana

jyavala

II

viratopama! visvamanohara!
parinatarasa!
parivrta!

pasupantahpura

grhapadmakaravara
!

viracitabahuvihrti(hrtam)bara
!

30 maravikadaipa baliksanadhara

bharitarinipatitasamas ara

31
!

saridadhipasannata! bhayahara!

||

bhuvanaracana

||

Praypgam

II

ya iya iya
iya iya

iya iya

iya iya
iya

iya iya
i

iya iya iya iya


iya iya iya iya

iya

ya iya iya iya iya iya iya


iya iya iya iya iya iya
j|

iya

bhuvanaracana

||

abhogam
adi

ghanakucaghataghatanapatu punaranuditadhr ti(ra)tirasamajj ana


!

32

manadalita ramayati yasodhana!

II

ghanakucaghata

33 3
II

jyaval a

(hu)tata(nu)ma(gha!) hrsitatanuruha

(abhogam)

atijadamatima(khi)lasukhavaha!

46

sutanuriyam susyati drdhamiha


vitanu

krpam venkatagirigrha!

II

||

bhuvauaracana

||

II

dhruvam mugisenu

II

vara(li)
1

refrain 'bhuvanaracana running throng This refrain 'ghnakucaghata appears to be out of place and different to that of the earlier the fact retained in its place, as suggested by Prof. R. Sathyanarayana, considering composition. However this portion of the lyric is
1

'

there exists the practice of singing the

abhogara' part with a different refrain also.

47

(varfili)
udgraham
II

manasi racaya madhugira

managha! bhavatyadara
34

ghanahrdayaka(ta)ra
janavaryajani vara

tanuras ritatatpara!

Jyaval a

II

taruniyam tavaka

tarunimayodha dhika
tarasahasadharaka
sarasayudhajalika
!
!

sarayahitasayaka
bhara! paricarapatuka

varabhr tir apavaraka

II

tanuras rita

II

Pray ogam

II

tanuras rita

abhogam

sutanumimams obhana
vitateksanavilasana
35

(pa)ta(nai)rava, pavana!

krta venkata(khe)lana!

tanuras rita

II

mathyam mugisenu

48

(varali)
ham
II

rftpakam

(3)

virahanalavi(sara)kula!

karunakarakantacala

niarunahkakamamitollala

durukf!a 36 (lojjva)!a(tala)!

la

II

(ci)raran ayu(ga) s esalT

gamdanilagatikelT

parisankulapas ukalT
parigatatatpadadhUlI
sara!

venkata! 37 sarapatall
!

vara! susamavali ku(ru)]T

II

II

(u)rukila

II

gam

II

tiya iya

tiya
ttiya

iya

iya
iya iya

iya

iya
iya

ri

iya
iya

iya

iya

iya

II

II

(u)rukiia

II

jam

IP

sri

sn sn 39

49

Seminar/Workshop on Slab No. 2


Suggested readings
-

a summary

rupakam
II

3
rhyme of
'

1-3

'bhavadagacara', 'cara' is repeated twice in the end


the

this lyric.

Considering

rhyming aspect of the composition

'

cara

'

is

changed

to

vara

'

in the

compound

'bhavadaga(v)ara'.

II

2-4

'

tarumtala Sri N.Ch. Krishnamacharya opined that the word taruni could suggest the
'

'

'

meaning of dharani and hence no change is needed. However, other scholars accepted
'

'

the

changed reading (dhara)nltala

'.

2-6

'dantacala'

The reading 'dantancala' suggested by Sri N.Ch. Krishnamacharya is accepted

by
3-1

all

the scholars in the workshop.

II

'ayugavrsadhi

The

changed reading 'ayugavr(tadya) vacovana' suggested by

Prof.R.Srihari is accepted

by
'

all

the scholars as
'

it

satisfied the

meaning and

rectified

the prosodical lapse in yati.

ayuga!

is treated as a separate address.

jhampa - 4
II

1-2

'vakrijasthiranabhiyam'.
Sri

The corrected reading


is

'

'

vaktraja sthira

bhiyam suggested by

N.Ch.Krishnamacharya

accepted.

il

2-1

'ditijapatihrdanalpadarpamosaka'sikha'.

The lapse found here in the traditional yati is


this

noticed as acceptable in the oral tradition, which

poet appears to have followed.

2-2

'kuppasita'.

Sri

N.Ch.Krishnamacharya suggested
could be
('kurca'). Prof.

'kuppa' to

be changed

to 'kutapa',

while others

felt it

Anandamurti has oj>ined

that 'kuppa' could

be derived from kutapa = kutpa (= kuppa) by assimilation process,

'kurca' is accepted.

II

3-1

'patusuteritai'.

Prof Pullela Sriramachandrudu suggested two readings patunuteritai


.

patutareritai.

The second one

is

accepted.
.

3-1

'rivavihasana'. Sri

N.Ch.Krishnamacharya suggested the reading 'rivahasannatramam'

The readings in this lyric containing the description of Narasimhavatara lent to prolonged
discussion leaving much to be desired. Finally Prof.Pullela Sriramachandrudu resolved
50

the problem to

some extent with certain minor changes

(see for clarification, the Literary

Format.)

raganam - 5
I

2-2

'lahghajalakhila

Sri

N.Ch.Krishnamacharya suggested the reading

'lahghi for 'langha'.

3-1

'jagatraya'

Sri

N.Ch.Krishnamacharya suggested the change 'jagacchaya

tivuda
II

6
1

2-1

'niraghasamaday
reading 'daya'
is

a'

-some scholars suggested the change' samadama

The inscriptional
others.

retained as agreed

upon by

Sri

N.Ch.Krishnamacharya and

il

3-1

'savavinayita'. Sri

N.Ch.Krishnamacharya suggested the^change


be treated

'savavinakrta'.

Prof.R.Srihari suggested that 'savavinayita sakala' could

as an address.

3-2

'bhavanatarkava'. 'tarkaka' and 'kartana'

are the

readings suggested by

Prof.R.Srihari and Sri.N.Ch.Krishnamacharya respectvely. Precise meaning could not

be arrived at. However Prof.Pullela Sriramachandrudu opined that the reading 'tarkava
could be retained and the meaning deducted as 'tarkava' could be derived from

'tarku' ,

meaning a

splitting

implement.

ata- 7
II

1-1

'dasavadanadhikadharmatapomaya'.
Sri
'das

As 'dasavadana'

is

not a 'dharmatapomaya'
-

N.Ch.Krishnamacharya suggested a slight amendment to the reading thus


avadanadi
-

kadarya tapomaya.

1-3

'dasarathabhudhara drstaghanodaya'. The prosodical lapse in yati here could be justified


as per the oral tradition and regional variations in pronounctation
/

da = de

II

3-1

'

Sankhamodita'.

Some

scholars suggested the reading


'

'

Sankamodita
',

'.

While

Sri

N.Ch.Krishnamacharya accepted the reading


felt it

Sankamodita
In fact

Prof.Pullela

Sriramachandrudu
reading 'mocita'

could be

'

S ankamocita

'.

on

later verification the


'

was found

in the inscription.

Hence retained

it

as

S ankamocita

'.

51

racam - 8
aval a
1

112-2

'sarasrta

Prof.

P.. Narasimha Reddy suggested

the reading 'sarasvata',

meaning

the

river Saraswati. After

some discussion the amendment

'sarasmta'

is

accepted.

2-4

'garunimadali'

Sri

N.Ch.Krishnamacharya opined

that

it

could be 'arunamadali'.

)hogam

II

3-2

'paripurana'.

Here the word 'paripurna'

is

recorded as 'paripurana'. Sri N.Ch.

Krishnamacharya suggested the change as

'paripuraya'.

caupadadolam - 9
adam3
II

3-1,2

Vidwan Sri. Singaraju Satchidanandam opined that this reading might have contained a
reference to the story of Hamsa and Dibhaka.

ekatali
pavala
II

10

2-1

Scholars suggested the reading kalikr tyalaghu'. Prof. Pullela Sriramachandrudu opined that the reading could be
Kaliki
-

'

amended

to

'

kalikatvalaghukaya' refering to

Kalikitva, and

the

same was accepted.


-

vara(il)
'

ragam
is
1

dfaruva talam
a

(1)

yavala

II

2-5.
'

maravika =
'

(kings'?).

Meaning
the
-

doubtfull.
Sri

2-6.

'

bharitari'.

bharitabha'
.......

amendment suggested by

N.Ch.Krishnamacharya.

4-3
5-1

'manadalita
Prof.

ramayati

not clear.
to this phrase, quoting the

Sarvottama Rao suggested the meaning Kamayaga

usage of the Tallapaka Poets.

(varali
Jdgraha
II

ragam)
'
.

rapakara

(3)
Sri

1-4

'uruklla

.... la .....

The lacuna is filled and supplied by


(tala)'.

N.Ch.Krishnamacharya

thus 'uruklla (lojjva) la

yavala

II

2-3

'

kalT 'Suggested
-

change by

varali

rupakam

lyric

Sri N.Ch.Krishnamacharya many doubts remain still unresolved.

is

'pal!'.

In this

52

Inscriptional
cT

Format

(Slab No. 4)

.0'

.0

.0

Pray ogam

iya
nr

iya
sr

ia

iya

iya.

iya iya iya iya


rr

-.0

pn
I

ns

ss

snppn spm

aya
rp

iya

iya iya ya

a
r

mp
a
r

mm G mp
iya

m
iya

5.0

y
r

ya
p

iya

iya iya iya

5.0

mrs

mm pm
iya rg

rm

ps

np

iya

iya iya
sr

iya

iya

iya

iya iya

m
7.0
a
(p)

pn

grn

rgn

pm

mr

sn

snr

iya

iya iya

navadehalatikeva

2
I

abhogam

8.0

run

pnpmrs
ni
si
I

II

ba

rhi

mi
sa

va
khi
I

gha ne
-

tha

ba
to
3

hu bhi

(h) ki

mi

ri

tai

Ora rha

tra

ma
llvll

su ve n

ka tapa

te

navadehalatikeva

jhampa mugisenu

raganam

9.0

udgraham

II

sa
r

ra

da

ha

na

hi

ta
r

sa jvara

ta

ti

ni

sa

ha

ca

n
s

10.0

II

p
ti

m
pa

p
da

gm
sai

m
ni

mm rs
(I)

Irs

npmpn

vi ra

ci

ta

prsrnsnpmpns
1
.

ga

ka

2.

The Udgraha and Jy avala portions of this lyric are missing here. Lines 1 & 2 appear to have been chiseled and erased. From the structural evidence available in the inscription it is presumed that the refrain "Navad eha latikeva" should have formed
the
first

part o

line of the missing jy avala

khanda.
this

3.

The

lyrics relating to dhruva,

ma

hya and rupaka talas of

suladi (saptatal a natana?) composition must

have been chiseled at the

4.

third face of this inscription which is missing. " t "tat ini sanjwara" in order to rectify the prosodical yati found in this line appropriate to reallign the compound "Sajwarata im to when compared with the other lines. All the raga n a compositions in these inscription slabs have the thirteenth letter in each line as ya<

end of the
It is

53

vr
r

ta
s

la

ka

pu

ra
s

lljyavala
II

mmr
ra

11.0 12.0

ma
p
ka
r

da

bha

ma

tha

ra
I

rnana

sa

5
I

ma kha
r

ca

ra

sin

dhu

ra

m
da

m
ni

n
5

p
rka

nslr
sa
5
I

mmp mp
da
sa

na

ra

ta

ra

ka

ka

ra

ka n

ndha n

m m
da p
1

n
li

n
vi

rs

n
bhi ta
s
I

pp
I

vi

na ke

jr
r

m
s

vi

kra
pr

ma

ba

s s

m
a

13.0
14.0

dhu
(r

ra
s)

prayogam

ti

yya
s s r

yya
s

ya
sn

yya

yya

pp

lya

yya pn
lya

lya

yya
ns

iya
rs

iya

iya

rm
lya

np
I

ns

np
I

pm
tiya

n
P

n
P

ti

ya
r

iya
rs

rm

rm

m
i
I

ns

15.0
16.0

yya yya yya

iya

ya

iya iya

iya
rs

rp
ti

pmgm
yai

rrm
ya

(r)

Mp

ns

yai

yai

yya

iya iya iya

iya

srgmrs(n)p
da

nS
tha

rsnppmrs
ra
I

ma

bha

ra

ma

abho

17.0

ni

hi

ta

vi

bhi sa

na bhu va
ra

no
tha

da
ra

ra

jaya
7

ve n

kata
I

bhu

clhai

bhu sa na
5.

ma

da

bha

ma

raganam

mugisenu

(A)

tivudaluga
in the ninth

While the

yati occurs constantly

on the

thirteenth letter of every line in this lyric, the additional yati

consonance found

letter in the first


5.

The

two lines appears to be an additional structural embellishment. bracketed words set in the lacuna found in the inscription are filled by our Edtorial team member, the Late Dr. Tirumala

Ramachandra.
7.

Interposing the 'ragan


inscription.

am"

lyric in

between the

lyrics set in

jhampa and

tripu ta talas appears to be a structural innovation

found

in this

54

8.0

ni
s

pu na
s

mu
p

ra
r

li

ni

na

da

bha va

na
s

9.0

mr(g)g
sa
sa
ra

mrsn
ya

ca

pa

la

ma

na

dha va
'i

na
n

mrs rrsn snp

mp

ha

rsa
pf

iia

gi

ya
P

ya

y
l

This should be read as "karayug ancala".

55

nps nssnppsnp(p)
26.0
27.0

ya

ya

ya

ya

ya.

ya

(i)

ya

ya

ya

ya
d

ya

ya

ya

ya

ya

m
i

ml
i

rm
i

p
i

m
ya

rpmrp
i

m
ya
n

pro
i

ya

ya

ya

ya

ya
r

mprmp npr
ya
,

p(i)s

ya

ya

ya

rp-mrg
ya
i

mr
pi
ta

28.0
29.0

ya

iyal
r s
It

ku

go

pi

ku

sa

la

vs

dana

abhogam

II

sr
vi
9

m
ta

II

II

ha
I

da na
ra

va

vi

dhu
di

ri

ta

dvi

pa
dhi

(I)

pa
vi

vi

ha
ta

ma ma
ksa na ku

hr

ven ka

ta

pa

hi
pi

ra

vi la

ma
va

la

sat

(kri)krpa
lltivuda

ku

ta

go pi

sa

da

na

mugisenu

lit

II

30.0

atatalarn

ugal

31.0

Issnprnssprr
na
sa
sa

kra

ma

ga

ti

vi

ra

hi

ta

kam

sn

vi

du

sa

na

srsns

sa

mi

nsrgmrsrsmnppmg
vi

ja

na

ma

ma

da

po

sa

na

ml

rmpnsrsnpm
32.0
33.0

ma

la

gu na

va

li

vi

sra(sru)

ta

r,

bhu sa

na
s

jyavala

va
r

na
s

ma
n

hi
s

sa
r

n
r

ga

ta

va

lla

va ba

la

ka

dpm

II

II

mrrmpgmrsl
mama hridi' was continued

After chiseling the notated lyric partly in lines 28 and 29, the literary content "vimala satk r-pa/Vihara further in both the lines without wasting the space in the inscription.

56

ta

nu

ta

ra
r

de

ha
n

vi

da

ha

vi
s

dhaya
rs

ka

p p

m
na

mp

n
va

s(s) r

gha

ta ra

kt la

ka

ci

mgmmrrs
pa va
sn p

mr
da

si
ta

34.0

ta
r

ka

ka na
p n p
ga

mr
sn

ra
s

sa
s

gra sa
,

vi

bha

vi
r

ka
s

35.0

n
ta

IT

pm

10
II

vana ma
ja na

hi sa

abhogam
ra

ma
tu

n i ka
hr da

ma la
n
ta

dha
ra

ya
ni

jan
ci

ja

to
gi

pa
ri

sra ya

ka va

ta

ta

yama mi
n

ha

ven"

ka ta

sa ya

na

ma

36.0

hi

sa

ga

ta

II

II

atatalam

mugisenu

II

racam

uga

II

37.0

la

ma

la

mala
n
sai

sai

II

ra

va ga

ti

vi

ra

sai

(h)

ka

li

hi

ta

da

sai (h)

38.0

p
ka
r

mr
pa p
ta

nip
ni
r

SI
I

rssrsnpnlpnrrggM
vi(li) r s

va

ra
r

ku ra la na
n
ss

gin rs
sai (h)

sn

ma
s

ksi vi

la

II

jyavala

su la

bhava dhu
r

m
su
r

mprs

II

mr

39.0

su

ta

hr

da (nu) ka
r
s
r

ra
s

ka
s
r

li

(ta) vi
s

pa dha
r
I

ni

su ka
r

la

40.0

m
12
i

mm
sa

(ha) vi

ca

iii

ca

la

ka

ri

karna
s
(r)

n n p
I

ca

la
s

ma
s

dhara
rr

mr

m m

np

10.

Here also the

earlier

convention of not wasting the inscriptional space was followed while chiseling.
in 'cinta'

Could the

yati

followed

and

"ve

h ka" be

the anun asika prasayati (based

on the nasal second

letter)?

See meanings for the

suggested readings
12.

in the

workshop

in this regard.

Meaning

is

incomprehensible. See-meanings for clarification.

57

na

la

ga

tu

hr

ti

ma ma

na

sr
na
rs

mp
ra
I

mri
I

m
tiya

41.0 42.0

li

ga
IT

prayogam

iya

iya

iya

iya

iya

iya

m
i

sn

pm
i

pn
i

np
i

ns
i

rs

srsn
I

ya

ya

ya

ya

ya
r

ya

ya

ya

ya

a
r

(i)

(s) s

r r

mm
iya

p p

rr

mr
a
a

r s

43.0
44.0

ya
ss

ti

ya
s

ya

iya

iya

iya

la
Ir

a a

a a

(n)

np
iya

mp
iya

mp
II

sn

pm

mpns
sutal

rsn
II

iya iya

su

labha va dhu

abhogaml surasekhara

sn pm
45.0
su

gm
la

rs
bha
su

II

ma

su

mo

da

bha ja
va
sa

du
(si)

ru
ta

kha da

va

pu

sa

m m m

pa

ra

muku
ven
bha

(ta)

(cat)

vara
su la

ka ta
va

gi

ri

dhu

racam 13

mugisenu

II

46.0

Her

'II

Caupadadolam

Pallavaml

sa

ra

si

ja
r

sa

m
r

bhava
g

47.0

In
sa

m
I

kha su
s

ra

pu n

ga va
s

vi

ra

ci

ta

na va

ja

p
gi

mg mrr
dha va
r
s
I

Irmpsnpnsl
I

ya

ven
pr

ka ta

sn

ri

pa da

dhara
p
p

ma
n

da na

na
s

la
s

m
ri

nn

48.0
49.0

dha
pr
ni
s

ta

ca

ma

ra

pa

ri

sa

ra

ya du

dhr ta

pa da pa

du

va

ra

rs rsnslr
ru

rmmpmgmlrrMrrs
14

pa

ma

bhr n

ga

li

ka

dha

ra

ni

si

ca

ra

snpmpmpl
"caupadadolam"
in
"li"

pm
the

ppnnsl
viz.

13.

Interposing "racam" and worthy of notice.


"ni"

between the "ata" and "eka" of the sOjadi sapta talas

appears to be an innovation

14.

yati appear meaning is incomprehensible. This resembles Annamacharya's Telugu compound "kappedinallani yalakala nuduru vide" (12-256)

and

to

have the

consonance here, but

compound 'nirupamabhrh galikadhara

58

va
r

ru

na

la
s

m
n

bi

ta

va ra

bhu
nn p

sa bha ra

mr

si
ta

50.0 sa

ra

si

ja

sa

m
n
ra

bhava
ku
I

II

oil
I

marudara
ka ra

du

(ta)

ma

ni

vyaja

na

ra

dhr ta

ga
ca

(sa)
tu

ta

ka
ra

ra

15

n
ra
I

da dha ne (ne)sva
na
pa
ca

sa

ra

sa

ka da

sa ta

ra

sa

ha

51.0

ta
ri

ha
sa

ra ra

na

pa da
ra
ni
I

ve da

ni
kti

ka

ra ra

16
I

sa

ra

si

ja?

sa

mbha

va

bha su
ta

bha

dhu

'"dha ra

ra

na na

mu
di di

sa

m
ra

bha sa na

pa ra

ni

ru

pa

ma

ru

ci

52.0 ca

ya

ni

ci

ta

(dhu)
ra
II
I

dhara
si

vi

ra

15

pa
I

ma

ja

ya

ven ka

ta

ma
17

sa ra

ja

sa
I

bha va

caupadadolam

mugisenu

II

egatalill

uga

53.0 a 54.0
s

vi
s

ra
ri

ta

bo
pp
lo

dha

I8
I

ru

nama ksama
g
ra

pa na
n n

m
si

mg
ca

r.

M
ji

ra

vi

sa

na

19

(ti)

ta

da ksi na

jyavala
I

prprsss
khyata
rr

nl
I
I

psnp
ci

pm
va
sa

vi
s

ta

ni
s

ja
(s)

gha na ru
r

na
r

mi
s
I

sa

ta

va
(n

ni
-)

sr

m
ta

pp

mp

55.0 pi 56.0

ki

Isa

ha

te

nu na

ml

pi

ba

ra

(dhara)

npnslssr
bhr gu

srsrlrmpr(mgrr)!
ml si
prayogam
I

gu na
-

da
p

na n

ti

ya

mr

rs

rr

snppmgl
this inscription.

ya

ya

ya

15.
16. 17. 18. 19.

The prosodical The meaning


See for
is

yati lapse is

noticed here.

not very clear.

See

clarified meanings.
in footnote

clarification of the

term "caupadad olam"

24 appended
is

in slab

2 of

The The

yati lapse occurring here


letter "ti"

has to be rectified. The meaning

not clear.
the reading stands as "r ajita".

appears to have been erased after chiseling.

Hence

59

i9.0

la

rama
llabha

mita

kupita

(-

kr
ta

ti)

saya
ja

vasaya(ti)

ven ka ta
II

va

palaya

khya

ta

vi

ni

II

ekataH mugisenu

iO.O.

loo

II

sa ya

na

ta20

dra

va

uga

vr

ta

vi

ya

da va

nidi

il.O

nsnpnnpnsn
su

sa

ga

na

de

va

vi

ma

ta

ti

mi

ra

dha

ma

21

(ai)

ni
(...)?

dppmllPn ss npdnsrmns
ra

va

na ma da

ra

ja

ni

rgmmgrs
2.0 (ka) vi
ra

rg
ko
vi

ma na

da (ka

vi

go

ga na) ra

ksa na
-

3.0

gm
bha
ps

snpl rmm(spnnpsrta

vi

su
g ya

bha pa

da
r

vi

vi

ha
n

ra

na

II

prayogam

m
i

mm
yya

p
i

p
i

m
ya

ppssnslPns rssr
).

ya

ya

ya

II

The word "saya" preceeding "nata" appears


There
is

to

be shaded.
fit

It

may be examined whether


"

'

saya nata' could be the 'c^ya


i"

ngta'.

I.

one vague

letter in the line

which does not

into the prosodical structure.

occurs in the palce of "n a" as the end rhymi

See-meanings.

60

64.0

ya
p

ya

ya
s

ya
-

(i

ya

ya)

ya

65.0 p

(-

___-)._

in

du va

da
s

na

pi
66.0 hr

m
ma

ms
vi

da

ya

mo

da
n

na
s

ma
rs

da

(gama
(-

na)
-)

ra
-)

la

ka p

sa

na
s

mr g
ku
n

ing rs

ns sr

da ra

da

na

ku va

la

sssmpns snpprmpl
ka

ya

ka na

na

da

li

gha na

ka

nti

ji

ta

pa gha na

na n

di

ta

ja

na (na)
g

dpprnp mr
68.0 ya
69.0

pmgr
I!

grnr
na
(-

sr
ga
su)
23

mr
bha

na

bu

ja

na

vi

m
sa
r

smg(M)
n
g
dar sa

rs
na
sa

Imrsr
ku
tu

du

vi

nka

na

(----)
va

pmpm mp

ka sa

ma

na

mp
I

dns
i

rs
i

srssri
i

prayogam

mm pmmprpmgl
I

ya

ya

ya

ya

ya

70.0
71.0

ya

ya
s

ya

ya

(i

ya

ya

ya)

ya

ya

m m
i

ss
i

r(ggmnsr)rpmpl
I

ya

pr
22.

sndn
"

ya

ya

ya

sn
first line

Inppmmpl
of the udgr aha khand am, but chiseled wrongly as
a)"
"

ya

ya

ya

This

is

the refrain catch

word taken from the

avr taniya", while in

tli

74 and 78 the correct version


logical term. 23.

avrtaviya (-davanidisagan

was

recorded. This

is

part of the text and not to be mistaken for a

Here the

letters are

almost lost which are undecipherable,

61

ya

ya

ya

ya
s

ya

ya

gmpmp
ya
1

rpnp
ya
i

72.0
73.0

ya

ya

ya

ya

ya

ya
s

pmlr pm
i

pg
i

m
i

gmmgrr
i

nsrsrgrgmppnpml
aaaaaa aa aaaaaa(aa) prnsrs rgmpmmrs
a
ss

ya

ya

ya

ya

ya

ya

ya

74.0 a 75.0

yi

ya
sn

ya
n

ya
s

vr

ta

vi

ya

II

abhogaml

idi

mr
a

sp d

p
ra

II

sa

va
p

ma
p

da

ha
r

It

la

yi

ta
r

pp
sai

n sa

m
ti

p
pa
r

mg
la
s

rg

va ga

ca

sikhaii

ci

ta

II

srgmpns
76.0 kau sa
77.0
lya
s

nprsrll
I

abhogam

II

jyavala

rgmrsn
ni(si)sa bhrta
ss

np
24

mmrs
ta

ba

li

ni

dha na kr

vra ta

nsrr pmmpsnnpl
si
r

ku
s

ka

ta

na

ya

ku sa

la

va

co

hr

ta

da

sa

ra

tha

gmgr
25

sr
ma
hi

gmprms! mmgr
ta
I

78.0 nr 79.0
s

pa
s

dr

dha ra

ga

vi

sa

mama

hr
*

di

ven ka ta

snpmp sn
if

si

rs ns
"

ndpnnp

24. 25.

This line gives some meaning

read as

"ni sabhrtabali",

ignoring the additional

sa" found therein. See-meanings.

Here the

yati appears to

be according to

the colloquial pronunciation.

62

gi

ri

ra
.

ta
s

vr

ta

vi

ya

dhruva

mugisenu

26
II

o
...

I!

m
at

n
a ta

II

II

la

ma

yam

uga

ve
sp

dhi ta

ku
r

ta

vi

m
yu

m
dhani

.0

ka
d

ti

ta

sa
sr

dhu
s

kathi

sa

ta

ta

bo

ya

ti

pu

la
s

ki
s

ta

si
na

rdn
ra

ss
kr
ta
27
!

np
ka na

rgm(dn ns
na
-

n)

ga
d(n)

dhi ta

ssnpp
na
vai sa
sa

ya

ka

da

- 28
I

mr
da ka

slmmpp------!
I

va

rsrggmrpmr Ipmmprp
na
.0

pa

di

na ka

ra

sa

ma

de

si

ka
r

mu
s

ni
r

ma

mm g
ka
I

gm

sa
r

mo
s

da
r

ka
(gg)

ghana

tan

ki

ta

kar

mu

g
vi
r

(dn
si

ppnnpr)np!
I

ni

ve
s

si

ta

vi

kha ka
p

ja

na

(ni) to

pa ra

jo
s

dhi

ka29

p nu g

(dn) p

m m
ta
s

(pm)
30

mp mr
I

rgml

ta
r

pa

ti

ta

ta
sr

ka
r

prayogam

ya n

ya

mp
i

.0

ya
n

ya
pr

ya

ya

ya

ya

ya

ya

.On

mrs

Is

snpl mmpssnl
Since the
initial

This dhruva

tal a

composition appears very unique with two pray ogas, two jy aval as and two abhogas. The second abhflga which contains

the signature suggests the completion


is

of the

lyric.

rhyme (second

letter)

contained in both the

abhoga pieces

"sa"

and

"

sa"

almost similar and these could perhaps be considered as one piece abhflga with the signature at the end. This feature could be further

examined.

The

"

refrain

sodhana tanu sodhita" appearing

in this lyric

must have formed

part

of the

last line

of udgr aha portion or the


is

first line

of the

jyaval a portion as per the inherent structure found in the inscriptional lyrics.

Hence

the refrain line

included within brackets

in the text

of the udgraha portion.

A section of six letters


There
is

is

missig here.

The meaning
is

is

not very clear.

a prosodical lapse here.

The meaning

not clear,

The swara notations

are to be re-examined in the pray

oga portion

in

mathya

tal a.

(They have been carefully checked),

63

(i

srnsrs
e e e

ya

ya

ya

ya

56.0

n.Q

iS.O

ndnssn eeeeee -----aaaaaa m aaaaaa pnppnp aaaaaa


rg

ss ee --

nplnpnsssnsrsi
el -i
e e
I

ya)

ee
-a
a

a
rs

srlrgmp pm
I

mg

laaaaaaaaaal
r

pm

ss

npmppnpl

aa aal mp pnl

aa
s r

9.0

srg
so

mn
ta

I'aaaaaaaaaaaaall m Imnp pmp


p
r
s
I

dha na

mi
ra
la

so

dhi ta

abhogaml
ca
ra

va
vi

mu
sa

m
sa

ga va

nava
va na

sa
I

na

pa
ra

ri

palana
ta

pa va na
saila su

na

va(ci)

venka

0.0

so
ru

dha na
pa
ka

ta

nu
II

so

dhi ta
II

(a)

ta

talama

ti

ya

mugisenu

II

II

m
ta
s

uga

1.0
2.0

sa

ri

(ti)

ya
n

ti

sa

rs

snppmlrsnppm
ya n
ci

na hi

ta

(ta) ta

gu na

(n ci ta)

kau
sr

tu

ka ka

ra

ka
rp

ta

ja
s

ta
s

pu
r

la
s

ka
n

ja
s

na ka dr

ta

gn

mp
I

mg
ri s

mr
m
bha

snp

np.mrsrll

5.0
I-.O

jyavala

pa

ra
r

Ir

gr

mgmpmr
64

napa ka

ru

na

II

si

na
p

ra
.n

pa
s

ti

gha ta
n n

na da
ps

ra

na

ha
r

ra

gha na dha nu
p n

ra

ro

hana
r

np

m m m
ra
r

pa
s

ni

ru
r
I

M M
I

m
ta

5.0 5.0

pa
(s

ma ba
r)

ha
sr

rpa

na
p ya

va p

ra

gu
g

na ga
g
ra

na
p
I

ra

ga
n

na
s

II

prayogam

II

m
i

ns

ns

II

II

ya
g

ya
g

ya

ya

ya
r

a
s

yya ti
rr

yya
r

a
s

yya
r g

yya

m
7.0
i

mp mp
i

m m
i

mg
i

mrs

ya
r s

ya

ya

ya
s

ya

ya

ya

ya
g

ya

ya
s r

II

3.0

m
a

mrs
ya
p

m
i

ns
ya
i

sns
I

nn
i

d
i

ya p

ya

m
i

m
ya
n

mp
ta

mmdd
la

ya

ya

ya

ya

ya

snmd
ta
II

smr
I

3.0

ya n na
ta

II

ja

pu

ka
ri

ja

na

ka dr
I

abhogam

30.0

II

ven
ja ja
rti

ka ta
ni
to

gi

dhava
I

ja ja
vi

ka su

ta

tsa

va

pu

la

ka

na ka
(rthi)

dr ta
ta

II

rupakam mugisenu
va
I

II

3 lljhampall

uga

31
II

na

ya gu

na

briar ga

ka na

hr

di

The

lyrics in the first three

talas of

this
is

suladi (saptatala natana) are extant. But the remaining

lyrics in the other four


at the

alas
slab to

perhaps continued in the fifth slab which


continued.
Inscriptional writing in these lines
is

not extant. This can be surmised from the word 'jhampa" chiseled

end of this

reproduced as

it is.

See "Musical

& Litarary Formats"

for the

concerned

text.

65

Musical Format (Slab No. 4)

'udgrahamll

Jyavala

---------na va de ha
la
tl

ke

va

(II

navadehalatikeva

II)

Prayogam

llnrsrpnnsss
i

ya

ya

ya

ya ya

rrsnppnspm
i

ya

ya

ya

ya

rpmpramgg
a

mp
ya

ya a

ya

ya

ya

rmrrmrsnsp
a
i

ya

ya

mmpmrmpsnp
i

ya

ya

ya

ya

ya

66

mpns
a
i

g
i

m
ya

n
-

ya

ya

ya

pmrgmrsnsnl
I

ya
r
i

ya

ya

ya

ya
s
-

p
a

nnpnpmr
ya
i

ya

ya

(II

navadehalatikevall 2

abhogam

II

(p

m
-

r rhi

r
-

s)

ba

(na)miva
n

gha(no)
P)
tai
I

tha

(r

n
ri

ba hubhihki

mi

(pnsrsR
ra
-

g
tra

r
-

s)
tu

rha

si

sa

(khim)
r

(s

n
a

p
ve

m
n

s)

(m

su

ka ta

pate

-!

II

navadehaSatikeva

II)

3
II

jhampa mugisenu

II

(gau'a)

The nameof the raga


Musicians opine

is

not found as the beginning of this su] adi lyric (saptata] anat ana?)

is

missing in this Inscription slab No.

that this

could be (gauj a)

r'aga.

Hence

the raga

name is shown

within brackets.

67

5
s

jdgraham

II

pmpg mmr
da ha na
s r
-

mr
ti

si
5 I

n
ca

p
ra

m
sa(n)

p
-

II

sa ra

(ha)ta

ta

ni

sa

ha
s

jva ra

II

p
vi

n ga

s
ti

m
sai

p
-

n
ni

npp
la

mrsll
-

ra

ci

ta

pa da

ka

vf

ta

ka

pu

ra

II

yavala

llppmrg mr
ma
r

In
5
I

p
-

r
5

mmP
ca
ra
sin

m
dhu

p
ra

da bha ra ma n

tha ra
n
ta
s

ma

na sa
s

ma kha
s
5

m m

r
5

s
-

nsn
da sa ka
kra

ppm
n

ka da na ni ra

n
s
-

ra

ka

rkasal

ka ra

dhara

p
vi

n
li

p
vi

ssrlnprsmrrs
m
bhi ta
5
I

da la

na ke

jf

vi

ma

b an dhu ra

(II

madabharamanthara

II)

rayOgam

HrssrsssnlppMlrmpnnp
ti

s
-

II

yyayyas

ya ya

yyal

ya yya

ya
r

yya
s

II

nsn
i

p
-

pmlr mr
i

ml
ya
I

PP mr
ri

II

ya
s

ya

ya

ya

ri

ti

ya
v

ya
r
s

II

n
ti

mgmlr rmrlMp
-

p
ya

ns
i

ya yya-

yya

yya-

ya

ya

ya

ya

nsrgmr
ti

snip
-

nS|rsnppm
yyal
i

rs
i

yai

yai-

yai

ya

ya

ya

ya

ya
II

II

madabharamanthara

68

P
vf
r

m
ta

P
ra

m m

+
I

m
n

n
ta

p
vi

m
bhl

p
-

(ni

na n
n
s

ga n a !l

la

ka

)<>\

ni

hi

sa

na!

r
-

n
ja

p
ya!

s
-

m
-

>

bhuva no

da

ra!

ve n

ka

ta

bhu

dhara
II

bhu

sa

nu
li

<

madabharamanthara
7

II

raganam mugisenu

II

I!

per the musical format.

69

6
s

illssrprmr
ni

ggmr
ni

n va

pu

na

mu

ra

]i

na

da

bha

na!

(II

kupitagopf

II)

70

II

kupltagop!

II)

II

kupttagopi

II

II

tivuda mugisenu

II

il

(gauja-iripuia)

71

ata

udgraham

II

&

n ga
r

p
ti

n ra

kra

ma
s

vi

hi

ta

m
ma
s

r
-

sa

mi

ja

na

na
s

sa

m
ma

p
la

n
li

vi

gu

na

va

fyavaja

II

rsnsrrpm
va na

ma

hi

sa

ga
n

ta

p
ta

m
ta

mp
de
rh
-

n
vi

nu

ra

ha
f

g
ta

rh

s
-

gha na
p
p

ra

k! n

la

n da

s
-

p
ta

ka

na

mf

ra

sa

ibhogam

llssnprnss
ja

tu

hf

da

ta

ra

r
ta

m
!0 J

ka

ja

na
r
-

ma
s

ni

rmpns
ci

n
ha
I!

ta

ya

ma

mi

vanamahisangata
atatalam mugisenu

II

II

II

(gauja-2ka)

(gaula)

racam - 8

II

sulabhavadhu

||

73

abhogam

llpmrmp
su
ra

ri

ssrs
la

np
-

se

kha

ra

su

ma

su

bha

mo

da

p pa

n
ra

g
ta

g n

M
ca

pmrg
du
ru
su
-

mi:
kha da

mu

ku

dbha ja
s

rrsns
va
ra

ss nl
ta
gi
ri
I

npriim pr
sa!
II

ve

ka

va

ta

va

(pa
II

da)

sulabhavadhii

"

II

racham 13 mugisenu

II

(gau)a- 6ka)

74

(gaula)
pallavam

Caupadadolam
I

9
si
va
i

llnnsrgrgml ps
sa

mgmrr
ra

ra

si

ja sa

bha va

sa

kha su
s

pu
p
gi

ga
r

rmpsnpnsi
vi

pi"
ve

n
ta

m
ri

sll
II

ra

ci

ta

na

va ja

ya!

ka

dha va!

padam

lllppnpnnsslprrsrsn
da ra
r r

si
rail

ma

da n

na

la

dha
r

ri

ta

ca

ma
n
ra!

m m
sa ra

mgml
du dhf
ta
I

Mrr
pa
du
-

pa

ri

ya

pa
r
I4

da

va

ssnpmpmpl
ni

mp
dha
n
ra

p
ni

nn
si

ru pa

mabhr

ga

(ri)

ka
r

ca

ra!

rgmrs
va ru na
-

np ml
m
bi
ta
I

n
-

p
sa

mr
-

sll
ra!
II

la

va

ra

bhu

bha
II

sarasijasambhava

(padam

2)

II

s rai

ma

ru da

ra(dhu

ni)

ta

ma

ni

vya ja
r

na

ku
r
-

rrmmpmgml
ka ra dhf
ta
-

r
I5

mr

n|
ra'.l

sa

ta!

ka

ran

da dha ne

s\va

ssnpmpmpl rpmppnnsl
sa
ra

sa

ka (tha)-

sa

ta!

ca

tu

(ra

su)

ra

ha

ra!

rgmir
pa
ri

snpml
(vi)

nnpmr
ve
-

sll
!

nata

ha

ra

na

pa

da

da

ni

ka ra 16
II

II

sarasijasambhava

75

(padain 3)

II

p
ri

n
.

p
ra

I
.

r
-

s.

pa
r

sa

bha su
p
na

ra

bha

kti

dhu ra

dha
r

ra!

m m
na
-

m
ta

ml
ni
I

m
bha

r
-

n
ra!

ca

ra

mu

sa

m
p
ci

sa

na pa
n

ssnp-mpmpi
ni

m
ta

p
di

n
(ta)

s
ra!

m
g
ra

pa maru

ci

ca

ya

ni

(ga) n

m
lo

r
-

m
ya!

r.

n
ta

m
n

II

vi

pa

ma!ja

ve

ka

ma
II

di

ra!

II

sarasijasambhava
17

II

caupadadofam

mugiseni

(.gaula

76

10
r
r

'

udgraham

II

srmp.pmgl
'

r
18

M
ma
n
ji

vi

ra

ta

bo

.dha

ru

na

ksa

ma
p da

pa

na

p
ra

p
sa

r
si

s
-

..

n
.

p
ra

s
-

p
ta!

m
-

rsl
ksi nail

vi

16

ca

na

Jyavala

II

r
.

r
-

r
-

p
ra
s

p
ci

m
va
s

g
sa

rsl
na
s

khya
p
si

ta

(mi) ta

m
n
pi
r

ja
s

gha na
s s

m
r

p
-

m
ta

p
-

p
ni

r
-

r
-

va

ki

sa

ha
r

te

nu
n

na n na

m
s

m
-

p
ta

m
ba

g
ra

m
bhr

P
-

pT

dha

ra

gu

gu

na

da
(II

khyata(mi)tanya

II

H khyata(mi)taiuja

II

77

Dhogam

HsrrmppmglrgMrrn prprssnlp nppmrsl


n
I

ku

sa

la

ra

ma

mi

ta

ku

pi

ta

kr

ti

sa

ya

s
-

va

sa

ya

ti

ve

n^

ka

ta

va

lla

bha! pa
II

la

ya
II

khyata(mi)tanija
ekatali inugisenu
II

II

10

*
f

(gaula)

The

first

part of the fourth avrtha is missing in the slab.

Hence

the filled in portions are

shown

in brackets.

78

eata20

dhruva

79

Dpml
kan da
(la)!
I

ml
I

p
n

m
ti

g
ji

mr
gha na!
(va) na!

gha na
I

ka

(da)

pa

g
di

m
ta

g! ms mg
na
I

mgrs
bu
ja

na

ja

(na)

ya

na

80

11

avrta(v%adavani
dhruva26 mugisenu

Si

li

II

I!

(saya)nata

Although the r^ga name in the slab could be read as


Musicians beli ved
this to

"

;iyanata" the letters "s aya" appear to


"ni\ta" is retained

have bee is erased

after

being chiseled.

he nearer to n ata raga. Hence

and

aya)

is

shown

here within brackets.

81

*
(pftdi)

matfaya
m
vi

2
II

pmgl rgl
ve
dhi ta
I

d
ka

r
ti

s
ta,

(su) ta

II

srsrldnlssnpil
sa
-

dhuka

tha

sa
s

ta

yu
s

ta

II

g
-

(d

n ya

n
(ta)

n)
ta

II

bo
d ga
(n

dhani
s

pu

la

ki

II

n
-

npi pmrs
na p
ta

II

dhi ta

ya

ka

ra

kr

ta

II

r
-

m
nu

m
so

d
-

II)

(so

dhana!

dhi ta27 !

II)

II

m m
ka
r

(d
-

n
-

d
-

d
-

m)
- 2S

II

na

da na

II

g
-

g
sa

m
sa

p
-

II

va

na

vai

(va)

(ra) ka!

II

pmmpl
di

mmgr
de
s
-

II

na

ka ra

sa

ma!
r

si

ka

II

m
-

r
-

(g

g)

II

mu
(d

ni

ma
p
ta

na
n
ki

sa

mo
p

da

ka!

II

p
n n
-

n
ta

r)

p
ka!

II

gha na
r

ka
p
vi

rmu

II

p
ni

(d
si

n)
ta

m
sa

m
la

p
ka!

II

vi

ve

II

82

II

odhana tanus odhita

83

g
a

rh
a

m
a

n
a

p
a

p
a

il

odhana ianus odhita

SI

ogam

I!

p
ra

m
mu
s

g
ni

m
va

d
-

II

va
s

ga

na
n
na!

sa

na!

1!

r
-

d
la

n
va
s

II

pa
r

ri

pa

pa
s

na

II

g
ra

(d

n
la

n
sa

n)

il

ca

na'.vi

sa

(ma) va

na!

II

n'

p
|a

m
-

r
la

!i

sthi ra

ve

ka

fsi)

(na)
il

il

odfaana tanus odhita

II

II

atata|a

mathyam mugisenu

II

II

II

Although the specific rjga

name is not mentioned

here musicians belived this r gga to be nearer to "pgjj i"

idgraham

11

n
sa
r

s ta

n
ti

n
sa

n na

p
-

p
hi

m
ta!

II

ti

ya

II

n
ta

p
ta
1

p gu
g ka

m
na
r

g
(va

n
ci
ta!

II

(vya)-

la

ya) n
r s

II

m
kau
s

p
-

p
tu

m
ka
s

p ka n
ja

m
-

n
ci

p
ta!

II

ra

ya

n
r
-

II

s
-

a
la

m
na ka

!!

ja

ta

pu

ka

dr

ta!

Jyavaja

11

s
ri

mgmpmr
na
n
ta

II

pa
p
(ca

ra

m
s
-

(ha)

pa
p
sa

ka
n
ta

ru

na

II

n
ra

p
-

p
ra

m
na)!

II

na

na

II

m m
ra

in
ti

II

na

pa
s

gha ta
i-

na (dha) ra

na
r

11

p
ha
s

M M
ra

II

ra

ghana

dha nu
(s

ro

ha
s

na!
r
-

II

m
ni

r)

s la

n
ra)

p
na!

II

pa

ra

ru

pa
ra

ma
p

(ba

ha n
ra

II

m
ra

n
ta

s
-

n
ga

11

va

gu na

ga

na

na!
(!!

II

jatapulakaj

85

II

jatapulakajanafedrta

||

II

rupakam mathyam mugisenu

(majavagaula)

Although the specific rgga name

is

not mentioned here, musicians belived this

aga

to

be nearer to malavagaula.

86

(?)

- +

jhampa

(4)

udgraham

31
II

*
+

The r^ga name is not mentioned here. The beginning of the udgr^ha lyric in jhampa t^la

i&

indicated here,

which

is

perhaps continued

in slab

no. 5

87

Literary Forma

No.4

'udgraham

II

Jyavala

navadehalatikeva

(II

navadehalatikeva

II)

Prayogam

II

iya
iya

iya
iya

iya iya

iya
iya

ya

aya aya iya


a iya
ii

iya

ya
aiya
iya

iya
iya
iya

iya

iya
iya

aiya iya
iya iya

iya
iya

iya

iya
II

aiya iya

navadehalatikeva

IP

fohogam

il

barhi(na) iniva gha(no)tha

bahubhih kimTritai
rarhasi sa(khlni) tra tu

mas it venkatapate

(il
3
II

navadehalatikeva

II)

jhampa mugisenu

II

II

(gaula)

The name of the raga


Musicians opine that

is

not

this

louiiti, as the beginning of this S uladi lyric (Sapialamij ana?) is missing coukl be (grm Hence the raga name is shown within brackets. ja) raga.

in this Inscription slab no.4.

88

(gaula)
[graham
4

II

saradahana(ha)tatatini sahacarasa(n)jvara!
viracita gatipada sainikavrtalankapura!

aval a

madabharamanthara5 manasa5 makhacarasmdhura


kadananirantara karkas a5 karadas akandhara
vidalanakelivijrmbhita vikramabandhura!
(II
5

madabharamanthara

II)

rayogam

tiyyayya iyaya ayya


iya
tiy

iyayya iyayya
rlri
tiya iya

iya

iya

iya iya

ayya yyayya iya iya iya iya


yai

iya

tiyai yai

ya ayya

iya iya

iya

iya

madabharamanthara

I!

jhogam

(nivrtaranangana! lanka) nihitavibhisana!

bhuvanodara! jaya! venkatabhdharabhusana!


II

madabharamanthara
raganam mugisenull
7
II

II

II

(gain a)

The lacuna

in the literary protion falling within the brackets in the text is filled

and supplied by Dr

Tirumala Ramachandra. The

notation is set as per the musical format.

89

(gaula)
udgraham
II

tlvuda

nipunamuralininadabhavana!
capalamanasasarayadhavana!
kapat abhis anakalus a locana
!

kupitagoplkus alavadana!

Jyavala

II

taralamanimayadandabhusana!
kara (yuga8 )ncalakalitakahkana!

carananupuracayajhanamjhana!
gururatotsukagopikolbana
sarasa(khe)lanajataharsana

bharan asambhrtabahulatanugana!

kupitagopi

II)

Prayogam

II

iya iya iya iya iya iya


iya

iya
iya

iya

iya
iya

iya iya
iya
.

aiya
iya

iya

iya

iya iya
iya

iya iya iya

iya
iya iya iya

iya
iya iya iya

iya iya

iya iya
iya

iya iya

iya iya

iya

iya iya
II

iya

kupitagopi

II

abhogam

II

vihatadanava! vidhuritadvipa!
vihitaraks ana! vimalasatkrpa9
!

vihara

mama hrdi

venkatadhipa!

II

kupitagopi
tivuda

II

II

mugisenu

II

II

(gaula

triputa)

90

(gaula)
udgraham
II

ata

kramagativirahitakamsavidusana!
s amijanamanasasarnmadapos ana!

vimalagunavalivis rutabhusana!

Jyavala

II

vanamahisangatavallavabnlaka
tanu taradehavidahavidhayaka

ghanatarakllakavacitapayaka
kanadamrtarasagrasavibha(va)ka!
II

vanamahisaAgata

abhogam

II

jantuhrdantarajanitopasraya!

kanta 10] anamanikamaladharay a!


cintaya

mamiha "(cira)venkatasaya!

II

vanamahisangata
atatalam mugisenu

II

(gauia

eka)

91

(gaula)
udgraham
II

alamalamalasai ravagativirasai(h)
kalihitadasai(h) kapatanivasai
.

ralikuralana

maks ivilasai(h)

Jyavala

II

sulabhavadhusutasuhrda(su)kara,
12

kalitapadani(sa)kalahavicara,

calakarikarnancalasamadhara

na lagatu, hrdi

mama nalinagara

II

sulabhavadhu

II

Prayogam

II

tiya iya iya iya iya iya iya iya

iya iya iya iya iya iya iya iya

a iya tiyya iya iya iya iya iya

aaaaaaaa iya iya iya iya


abhogam
II

sulabhavadhu

suras ekharasumasulabhamodam

paramukutancadbhajadurusukhadam
varavenkatagirivasa! tava (pada)m
II

sulabhavadhu

I!

II

racam mugisenu

II

II

92

(gaula)
n
II

sarasyasambhavasakhasurapungava
viracitanavajaya! venkatagiridhava!'

II

daramadananaladharitacamara!
parisarayadudhrtapadapaduvara!

nirapamabhrnga (ri)kadharanisicara!
varunalambitavarabhusabhara!
II

!4

sarasijsambhava

marudara(dhuni)tamanivyajanahkura!
karadhrtasata(ka) karandadhaneswara!
sarasaka(tha)s ata! catu(rasu)rahara!
I(S

15

parinata(vi)haranapadavedanikara

sarasijsambhava

n 3)

II

parisarabhasurabhaktidhurandhara!

carananatamunisambhasanapara!
nirapamarucicayanicitadi(ga)n(ta)ra!

viralopama! jaya! venkatamandira!


I

sarasijsambhava
17

II

caupadado}am

mugisenu

II

II

m\ a-gkatjl am)

93

(gaula)

(eka)tali

10

udgraharn

11

aviratabodha'

runamaksamapana

ravisasilocanarajita! daksina!

Jyavala

II

khyata(mi)tanijaghanarucivasanam
satavanipiki sahate

nunam

pltambaradharabhr gugun adanam


(II

khyata(mi)tanija

II)

Prayogam

II

tiya iya iya iya aiya iya lya

aiya iya iyya aiya aiya iya


iya iya iya iya iya iya iya

iya iya iya iya


II

khyata(mi)tanija

II

abhogam

II

^kusalaramamitakupitakrtisaya
vasayati venkatavallabha! palaya
!

khyata(mi)tanija
ekatali

II

mugisenu

II

II

10

(gaul a

ekatal

94

nata20
am
II

dfaruva

avrtaviyadavanidisagana!

de vavimatatimirasu(daran a

2
!

'

ravan amadaraj anikaviraman a!


kovidakavigoganaraks an a!
bhavitas ubhapadav iviharan a!

;am

II

iyaiya
iya iya
iya
iya

iya ayya iyaiya


iya iya

iya
iya

iyaiya

iya iya
22
II

iyaiya

avrita(vi)yadavani

11

vala

II

induvadana! h r dayamodana!

mandagamanamaralavi(ha)sana!
kundaradana! kuvalayakanana
kanda(l a) ghanakantiji(da)paghana!
!

nanditajana(na)yanambuja(va)na!

M subhankana!
sandars anasakutukasamavana!

>gam

II

iya

iya iya iya iya

iya
iya iya iya
iya

iya iya iya iya iya

iya iya iya iya iya


iya iya iya
iya iya iya iya iya iya iya iya
iya iya iya iya

aa
a

aa
a

aa
a

aa

aa

aa
iya

aa
iya
22
II

ayiya

avritaviyadavani

II

95

5am

II

asavamadaharalilayita
s ai'savagaticapalas ikhan cita!

kausalya(ghanahrtsammatal)

II

ila

24
II

ni(si)bhrtaba(la)

nidhanakrtavrata!

II

gam

II

kusikatanayakusalavacohrta!
das arathanrpa25 dr dharagamahita

visa

mama hrdi venkatagirirata!

II

II

avritaviyadavani

II

II

dhruva26 mugisenu

II

II

Although, the rjga

name

in the slab

could
to

Ije

read as

'

sayanjta' the letters


is

's

aya' appear to

have been erased


'

after

being

chiseled

Musicians believed

this to

be nearer

n atarjga. Hence 'nya'

retained and ('saya (chjya^)')

shown here within brackets.

96

(pad!)
graham
II

mathya'- 2

vedhita(s;uta)vikatita.

.,

sadhukathasatayuta*
bodhaniya(ta)pulakita

gadhitanayakarakrta
(s

odhana! tanus odhita 27 !

II)

avala

II

kanadana
vanavais asa(va)raka!

28
,

dinakarasama des ika


!

munimanasamodaka!
ghanat ankitakarmuka
vinives itavis alaka!
j anitoparaj
!

odhika 29

tanupatitatataka!

II

odhana tanus odhita

II

prayogam

II

iya iya iya

iya

iya iya

iya iya

iya iya iya

iya

iya iya

eee eee eee e eee eee eee ee eee eee eee ee


a
'

ee
ee

ee
a

a a

aa

aa aa aa

aa
aa

a aa
aa aa
'
'

aa aa aa aa

aa

aa
aa
.

aa
a

aa
aa

'&&

aa

'

'

a'

II

s odhana tanus

odhita

II

97

abhogam

II

varamuniganavasana!
paripalana! pavana
carana! vilasasa(ma)vana!

sthiravenkata (sl)la(na)!

II

odhana tanus odhita

II

II

atatala

mathyam mugisenu

II

II

Although the specific rjga name

is

not mentioned here, musicians believed this

gga to be nearer to

'p jj

i'

98

(malavagaula)
ugraham
II

rupakam

satitayatisannahita!

(vya)tataguna(valaya)ncita!

kautukakarakay ancita

j atapulakajanakadr ta !

Jyavaja

II

pariram(ha)napakaruna
(carananatasantarana)
!

narapatighatana(dha)rana

haraghanadhanurarohan a

paranirupama(balahara)n a

varagunaganataragana!

jatapulakajanakadrta

30

Prayogam

II

iya a

iya

iya iya
ti

iya

iya iya

yya
iya iya

yya

aya
iya iya

iya iya

iya iya iya iya

aiya iya

iya iya

iya iya
iya iya

iya

iya

iya

jatapulakajanakadrta

abhogam

II

janakasutajanitotsava!

vinayaguna(nvi)tabhargava!

kana hrdi venkatagiridhava!

II

II

jatapulakajanakadrta

II

rupakam mugisenu

II

II

Although the rgga name

is

not mentioned here, musicians believed this

gga to be nearer to mjl avagaui a.

99

*
(?)
udgraham
31
II

Ihampa - (4)

*
+

The r^ga name is not mentioned here. The beginning of the lyric in
udgrjha

jhampd t a ja

is

indicated here,

which

is

perhaps.cphtitiuecl in slab iK.,5

:ioo

Seminar / workshop on Slab No: 4 Suggested readings- a summary

(gaiila)bhogam
II

jhampa-4

4-1

"barhinimivaghano"

is

suggested by sriN.Ch. Krishnamacharya

(gaula)..- ata
ibhogam
II

3-3

For prosodical reasons of yati


Venkatas aya"
/

Sri

N. Ch. Krishnamacharya suggested the readings "S

'Cira Venkatas aya' in place of "veiikatasaya" in the lyric.

(gaula)
:aran am
II

caupadadolam - 9

2-4

Sri

N. Ch. Krishnamacharya opined that 'parin atavaran a' could be a more meaningf

reading than ''parin ataharan a"

(gauIa)-ekatali-lO
udgraham
II

1-1

Sri

N.Ch, Krishnamacharya suggested 'mrtamrdbhaksana'

in place of the readi

'runarnaks amapana'

Jyava|a

II

2-2

Sri

N.Ch. Krishnamacharya suggested the reading 'satuvanapiki


N. Ch. Krishnamacharya opined
1

'

for 'satavanipiki'

abhogam

II

4-1

Sri

that 'kupitakrtibhaya

would be

a better readi

than 'kupitakrtisaya'.

'

nata
.

dhruva

1
'rajanl' for 'rajanika'

udgraham
adiJyavala

II

1-3

Sri

N.Ch. Krishnamacharya suggested the reading


1

II

3-3

SriN.Ch. Krishnamacharya suggested 'sasana


Prof. Srihari filled

in place of the reading 'kanana'

abhogam abhogam

II

5-3

and supplied the lacuna in the lyric with the reading "ghanahrtsamir

II

6-1

'nis

ibhrtabala'

is

the reading suggested by Prof. Sarvottama Rao.

101

(pad!)
Jyavala
II

mathya-2

2-2

Prof.
*

Salva Krishanamurti suggested the reading Varaka' in place of 'padaka'.


could be changed to 'jlvana' opined Sri

ibhogam

II

4-4

The reading

's

ailasu'-

R Ch. Krishnamachary

(malavagaula)
1

riipakara-3

adgraham

II

1-1

'yati

could be changed

to 'mati

according to Sri N. Ch. Krishnamacharya.

1-2

'(a)tataguna(jata)ncita'

is

the reading supplied

by

Sri

N.Ch. Krishnamachafyi
'(

Prof. R. Srihari filled the

lacuna

(as

shown within

the brackets)

V y5)tatagun

(valaya)ncita'.

yavala

II

2-2

'(santa)rana'. Sri N. Ch.


brackets.

Krishnamacharya supplied the missing

letters

shown

2-5

Sri

N.Ch. Krishnamacharya opined

that 'balaharana

could be changed and read

'baharpana'

bhogam

II

4-2

Sri

N. Ch. Krishnamacharya suggested the reading 'gunanvita' in place of 'gunarthifc

102

SYSTEM OF TRANSLITERATION
FOLLOWED IN THE ENGLISH (TEXT) FORMAT AND THE MUSICAL FORMAT OF THE TIRUMALA MUSIC INSCRIPTION
Vowels :
a 3T e
1

ai

06
3tt (long)

au
3JT

m
anusvSra

h
visarga

Consonants :

kh

gh

ch

jh

th

dh

th

dh

Music Notation :
s
r

m
G

q
S

M
TTI

Dots on top /bottom of-Svaras indicate Sthayl

Due

care

is

taken to present the English (text) Format of The Tirumala Music Inscription according to the

are reprokey mentioned above. Diacritical marks are not used for contemporary proper names. Excerpts quoted duced without. change. However the Editorial Board seeks the indulgence of the reader for any inadvertant slip

due

to lack of suitable infrastructure

and non-standard software incompatibility problems.


arid Sanskrit characters (like
lateral
"55

In
crtf, rT*,

view of certaia conventional spelling variations in Telugu, English


cJM,
7f!o3
is

3rf,

DS,

svara, swara)

microns over .e and .o are used. Retroflex


class

is

not used in Sanskrit.

Anusvara (m)

shown along with the

consonants (Yefika, Kraunca, Khanda, Kandala, Jhampa).

103

12

15 16

18

20

22
Anniyuru inscription of
Sri

Krishna Devaraya

1520
(Courtesy
:

AD
AS
I,

Director Epigraphy,

Mysore)

lnscri
l

19

Sri

Krishna D<

(Co
Director Ep,

Note

letter la

formation

in line

4 and ka formation

in lines

6 &

9.

AS/,1

*-

"

.-..

...

-~:*

s-'jV.

(,-

-,,

13

^fJK^ ^S^W T?^iw ^ fc^Sfe?5t1is^v^fM iJfe


h!|a

#
*:

15

Srisailam inscription of Avasaram Chandrasekharayya 1529 Note the shape of the letter la in lines 13 & 15.
[Courtesy
:

AD

Dr. P.V.

Parabrahma

Sastry,

Deputy

Director,

Epigraphy (Retd.)]

Tirumala Music Inscription ascribable to the end of the 15th century based on the following letter forms

AD

4
5

4
5

12

12

16

16

19
21

19
21

Note the formation

of letters

n
la

in line 5;

in line

19
2 &21.

24

24

and ka

in lines

28

s?

28

32
Srisailam inscription of

32

Kapileswara

1460

AD
37

(Courtesy : Director
Epigraphy,

AS

I,

Mysore)

Text of

read by Dr. N.S.

The Tirumala Music Inscription (Slab No. 4) Ramachandra Murthy, Published in "Udayam"

Daily.

If

The Chief Epigraphy

Oficer's reading of

The Tirumala Music

Inscription

i I

,JS.

Jjfcfctf,.

j, t.

" C

v eo
--'

'

**** *****
t

,.
rf^rs

^ jits

,,',

,v..' '!

'

'

f>

-t

Three Pages taken from the


C Co

Text of Slab No. 4 read by


Dr. N.

Mukunda Rao, C.E.O;

and

his group.

Before the Inaugural c


.

Front

Sn Venkalrarni
Murtny.

,'

Prof.

V Ananaa

Sri A.

Sub'hash Good,

i.Back) Prof. Prof. Sa'iva


Sri

P NarasimKi
Knshnamutthy

AV

Prof.

Sarv:,;::,r.;,:
Sr.r..

Sn N S
Sri

;-::;)".

N.Ch

Sri S.

Lakshmanaiah
honouring

Prof. R.

Sathyanarayana

Sn

S. Lakshniar!:v;i'

honouring
Prof. V. An.w.l;i
f.'.ii

Sri S.

Lakshmanaiah

honouring
Prof. R. Srihari

Sri S.

Lakshmanaiah
honouring

Sri

N.Ch. Krishnamacharya

Sri S.

Lakshmanaiaf

honouring
Sri

Komaraiah

EPILOGUE
The Tirumala Music
Inscription

(Appendices

Ibio

1949

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(26-10-1998

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1900 &>od 1910

150

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72

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3.
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""08 <5r0o)o5*

Vol.

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No. 11

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1961 Vol.

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No. 12

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sab&eT'iyOcgoo

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The
Journal of Oriental Research Madras, Volume 7-4 1933 October/December 5*
.Z5.

o&>3o(d<5' rrCb

"The Royal

Artist

Mahendra Varma

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Oriental Manuscript Library

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pp 194-195)
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The Kudimiyamalai
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on Music Ed. R. Sathyanarayana Pub,

Sri

Varalakshmi Academies of Fine

Mysore 1957. &>8dix>

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36

6
MUSICAL EVENING SESSION *
(27-10-1998)

ACHARYA
Distinguished gentlemen
riend Dr Medasani
But

SRI. R.

SATHYANARAYANA GARU
little

who

graced

this

stage a

while ago, especially the revered

Mohan

garu. Today's lecture should have been normally delivered by Vidwan

Anna Rao couple and my Nanda Kumar himself.

he

felt

that his interposing

words between music

is

not a very convenient thing for a musician, a performer, to do.


this

Therefore he has asked

me

to

supply the various foot notes which are relevant to


this evening.

rendering of the particular pieces

which he

is

going

to

perform

Vidwan Nanda Kumar


lis

hails

from a family of musicians, the


to the fourth disciple

earliest of

whom was

the disciple of Thyagaraja and

disciple. Sri

Nanda Kumar belongs


travelled

parampara
to give

of Sri

Thyagaraja and an Engineer turned

nusician.
music,

He has
is

widely as cultural missions abroad


in

concerts and lecture demonstrations on Indian


of Ressurecting ancient Indian

and

broadly based

several disciplines. He has


of the

worked on a Research Project

nusical compositioins --

under a fellowship

Human Resources Development,


in

Ministry of India and he has


to

conducted quite a
nieces

bit

of research in
at

music and dancing. So


in

a sense he

is

competent

perform

this

evening certain

which are aimed

playing two Su|adis

a comparative study.
in part,

And since

Sri

Nanda Kumar
it

is

going to perform

a Suladi which

is

found

in

the inscription which

is

being

Jiscussed these three days,

is

relevant for

me

to briefly refer to the brief but learned presentation

made

by Dr Medasani
in

dohan.

was very impressed

with the objective approach he


literary

made

to the study and as an elder person

the

field of

esearch, especially musical

and

research,

would

like to

submit a few things with regard to what he

said.

Very

briefly

Dr

Mohan

referred to a negative kind of evidence in which non-mention


Sri

was taken

as an evidence for

he non-composing of Su|adi by
5ri

Annamayya

garu, particularly the non-reference

by

Sri

Prabhakara Sastry garu and


that there are

Rallapalli

Anantha Krishna Sarma garu and Archakam Srinivasacharyulu. Secondly he pointed out
also having the

many

rther

composers

same

'mudra' as Venkata, Veiikatagiridhava,


first

etc.

And

thirdly

he pointed out

that this

jajrticular inscription

should not be called the

world inscription of
is

this kind. In the

course of

his lecture he very ably


in this

eferred to the Kudimiyamalai inscription

and

said that that

the

first inscription
first,

which has been done

particular

egard and therefore


In this
is

if

at all

the present inscription would not be the


like to

but one of the series coming

later.

connection

would

very

briefly

submit because,

we

are goirig to present part of the inscription here

music,

firstly
first

those other poets or composers


to

who have adorned


that they

the 'aiikitha' of Veiikata with suffixes or prefixes


that there should be
of

ihould

be

proved

be music composers. Second,


this

have composed Sujadis. Three


in this inscription

snough evidence to say that


'eiikatas rather than
sVi"

compostion which
garu.
is

is

now found

belongs to one

those

earlier

Annamayya

So
las really

far

as the KudimiyamaJai inscription

concerned,

would strongly suggest


I

that

our very learned

friend,

who

done a

great deal of research in the field


is

and which

admire should go to the original sources so


in

far as the

Cudimiyamalai inscription

concerned.

In his brief

address he simply mentioned secondary sources

which mentions

SEE ANNEXURE

(<><&>

saotf&o) 437

were made. The Kudimiyamalai


Later

inscription has

been
in

first

published

in

the Epigraphia Indica Vol

2, edited

by Bhandarkai

on

this

was

edited again
in

and published
in

whole by

the Pudukkottai state inscriptions. Thirdly after having studiei


to

both these inscriptions


studied
it

person,

the site

and having requested the ASI

supply

me

with a fresh estampage,


is

havi

in

detail
is

and brought out a

third edition of the


It

same

inscription. This inscription

not a

"Swara

Sahityi

Silalekha".
portion,
it

It

a "Swara Lekha Silalekha".

contains only Catusprahara


in

Swaragamas and

it

does not contain

the Mati

contains only the Dhatu portion, that also not


the sixth centry or seventh century

respect of

any

talas but in respect of

Ragalapas which wen

present

in

and under

the tutelage of

Parama Maheswarena Mahendra Varmena. Tha


so that Sisyas ma}

Mahendra Varma under


perform the music
in this

the tutelage of

Rudracarya composed

this inscription for Sisyahitartha,

inscription in respect of the various

phases of the play that he wrote. This particular play tha


to

he wrote

is

called

Bhagavadajjukiyam. For Bhagavadajjukiyam he had

compose

the music and for that music h(


in

engraved

in this

inscrption,

which

is

18
it

feet

by 16 feet behind the Sikhanatha Swami temple

Kudimiyamalai and

this

inscription does not contain Sahitya,

contains only the Swara.


this inscription

So

the

first

hand evidence about

says

that
in

it

is

not a

Swara Sahitya

Silalekha.

And

there are othei

inscriptions which have already

been published by

me

edited

the Epigraphia Indica and Epigraphia Karnataka. There

are certain Silalekhanas with Matu but not with Swaras.

So among

the various inscriptions so far discovered,


is

it

is in

my

humble experience and

my humble

knowledge, what has been discovered at Tirupati


phrase

the

first

"Prathamopalabdha
is

Swara Sahitya

Silalekha". Please note the

"Prathamopalabdha".

If

there

is

another inscription which

going

to

be discovered, say which originally belongs to the 10th century or the 12th century very clearly

this will not

be the

Prathama Silalekha but

it

will

be only the Prathamopalabdha Silalekha,


very firmly say that no body

And

finally

would

like to

who has come

from

afar,

as particpants

in

the seminar,
or

nobody since
not.

yesterday, today has

been

really

bothered whether the composition

was composed by Annamacarya

We

have not discussed the style of Annamacarya,


at
all.

we

have not discussed either the musical or the

literary style of

Annamacarya

We

have been presented with a particular


is

task, the task of editing the music, task of editing the text.

And

while doing so,

Annamacarya's name

mentioned only

incidentally

now and

then, only to find out

if

there

is

possibility.

In

my

keynote address yesterday,

insisted that

one

of the first things to

be done about the inscription

is

the

authentication of the record to

guard against the forgery


a
bit

of the inscription.
little

And secondly

to authenticate not only the

authorship and the date- this


this

is

of

work which must take a


is

more research
is

-- than

has already been put

into

exercise

in

the

sense that the music

only available

in part,

the Sahitya

available only

in part,

whatever

is

available
literary
it

today must again be examined on


phrases. These are
or
it

stylistic

grounds

in

the comparison of the recurrence of ideas, concepts and

among

the things that must go into the study of the inscription

moreover

to

determine whether

is

is

not Sri Annamacarya's composition.

We, who have come here have a


extremely happy, but the inscription that

totally
is

open mind, whether

it

is

a composition of

Sri

Annamacarya

if

so we are

presented to us for study here, certainly has


in

many

features which are unique.


is

Unique both

in

the field of Sahitya


this
it

and unique
it,

the field of Saiigita.


like to

It

is

that

aspect of the music which

going

to

be

presented to you

evening.

In

additon to

would

submit that while there

may be
It

other

composers

bearing

name
was

of

Vehkata

is

also a point for consideration that this inscription

was found where?

was found
in

at a place which

very near where the copper plates of Sri

Annamacarya was found, They were found


and
this will

the

same

precinct and
It

therefore

we

naturally

assumed wrongly
it

or rightly

only be determind

in

time and by further research.


If

is

a natural assumption and

has not been authenticated

yet, but is

a working hypothesis.

this

is

going to be disproved

38

:er,

no body
it

will

be happier than
credit

this particular
it

group

of scholars

who have come

here to acknowledge

their error

and

ctify

and place the


in

where

is

really due.

And

addition to that

would

like to

humbly submit

that the

work which has gone so


is.

far

was
is

with regard to the

lalysis of the inscription.

We

must take

into

account the material which

available

and

this

only partly available

day. Every effort must

be made

to discover the rest of the inscription.

Only two phases of the

inscription

have so
first
fifth

far

sen discovered.

They are number 2 and 4

respectively, therefore the


is

presumption
is

is

there should be the


that there is also a

phase,

ere must have been the third, and since the fourth
id posibly a
little

inconclusive,
will

it

to

be assumed

phase

more. Only

when these

are fully available one


at his

be

in

a position to say whether


all.

this inscription

was

ngraved and composed by Annamacarya and engraved


In
lat
it

instance at

the meanwhile considering the various factors given to us under the consideration

the working hypothesis

is

is

Sri

Annamacarya's, and

have great pleasure

in inviting

so

brilliant

an

intellect
in

and so objective an academician


if
I

3 Dr.

Medasani Mohan garu


very learned paper,
I I

to join the

band and
it

offer his discoveries, to

us and

rny keynote address,


i

get a copy

his

shall review

as an appendix to the keynote address that


I

have already

offered. With this


part of the

sry brief,
i

think,

necessary introductory words,

now say

that Sri

Nanda Kumar

is

going to present

music

the inscription and a Su|adi by Sri Purandaradasa, First

and foremost we have taken here a

particular section of a

ujidi

which

is

given to us in this inscription, again

do not

refer to the authorship but refer only to the

music portion
is

ere. This is given in the Vara|i


3

Ragam,. and

it

is in

dhruva

ta|a. In

order to understand what Sri Nanda Kumar

going
this

sing and what

am

going to present here,

must very

briefly explain the terms which

we

are going

to

use during

resentation.

Every musical song has a begining and an end and a content. The beginning
ind

is

given the Sanskrit word Udgraha


is

because

"Yena Udgrahyate", because the song


the

is

taken up there. And abhoga


is

parisamapti, paripuniata-yena

lyasyate,
if

where
is

compositon ends. Therefore abhoga

the end, the

udgraha

is

the beginning.

And

then the content

the song

called dhruva, dhruvathvacca dhruvah. Therefore, the

song must contain these three portions the Udgraha

ind the dhruva, the constant


-

body

of the song and the end portion called the abhoga.


of the song.

These three terms

repeat Udgraha

the beginning, Dhruva --first

body of the song, Abhoga the end

And

there also used to be a particular bridge


in

>etween the

two, called Melapaka, which Sri Srinivasacharyulu


in

wrongly reported

the introdction to the


is

6th

rolume as contained
jsed
in earlier

the inscription. This inscription does not contain this term.


in

Now

Melapaka

a bridge which was


in

times which does not occur

the inscription and therefore


1

it

does not mention. However


1

the type of

he compostions which are being presented today and from about, the
Bridge

3th,
it

4th centuries
is

in

Indian music a particular

between dhruva, the constant

portion,

and the end codex or coda as


to bridge
in

called, that

was

introducd as antara, an
the

aptional piece of

music which was introduced

between the constant, the dhruva portion and

abhoga

portion

These are the things which are going to be used

these songs.

So

repeat Udgraha, Dhruva, Antara and Abhoga.


in

Now

there were
in

two streams

of Su]adis

which were practised. There were many


I

North
in

India

which

have

already presented

my

keynote address yesterday which


is

need not refer


in this

to again.

One

presented
it

Karnataka and one


it

presented

in

Andhra. The Andhra presentation


to the Suladis,

found only

inscription

and incidentally

is

not as
in

were

that Sri

Annamacarya was a stranger


of Sri

because one

Suljkli attributed to

him has been published


it

the 31st volume

Annamacarya's compositions and wherein the unique


nivesitas.

thing

about

this Sujadi is

is

a Bahuraga Nivesita instead of

most other Su|adis being ekaraga

So

in this
it

bahuraga
not as
if

nivesita Su|adi, the aiikita is very clear, there.

He has

employed seven ragas


composition.

in

that composition.

So

is

Annamacarya was

totally

a stranger

to this type of

39

So we are going
if it

to

present to you a song from the inscription. This


all

is

the kind of Sujacli which


I

is

being presen

may be
It

called a Suladi at
is

of

which

have only a small doubt about which


per cent of the probability lies
definition
it

need not enter


being a

into in this gen<

assembly.

enough

to

say that about

90

on

its

Sujadi because 'bahun


to

talanam ekatra

gumphanam Sudam'. So
1

this

offered

in

the

16th century goes

prove because

'bahutalanam ekatra

gumphanam occurs here,


Suladi,
into

is

a Suladi to that extent.

And also the


each
of

each of the composition presented contains


of

many

caraoas, each set to different


nivesitas.

tajas.

them strung
for

a single compostion and each


it

which

is

ekaraga

Under these circumstance;


1

assume

want of

better evidence that

is

a Suiadi. And of this Su|adi there were nine- the nine were named Dhru
in the

Mantha, Pratimantha, Nihsaruka. Rasa, Adda, Eka but

stream adopted

in

Karnataka and

in

Andhra Pradesh

names

of the talas

were Dhruva, Mathya, Rupaka, Jhampa,


which are employed today.

Triputa, Ata

and Eka. These are called the

Su.ladi sapta tap

These are the

taias

Now, the differences between the music found here


this

in

the inscription

and

that practised in
It

Karnataka areis

first

Udgraha, Dhruva and Abhoga system


inserts

is

totally different in

the song

in this inscription.

uses what

called Udgral
it

and

a particular portion called Jyavaja which

may

be liberally interpreted as dhruva and antara and


etc.

contaii
ai

Prayoga, a kind of a free alapana containing words of bharjdlra bhasa and such as lyya, thiyya, Oyi
uniquely found only
then
it

and these

in this

inscription, not

even

in

the desi Sujadi

found

in

the 3 1st volume of Sri Annamacaryulu ar

contains the abhoga.

So
because
he
Sri
is
if

Sri

Nanda Kumar

is first

going to sing you the dhruva

ta|a Varaji

Riga

Su|adi and the dhruva portion of

offers

an excellent comparison basis for the dhruva part composed by the Haridasa composers on one ham
this

going to sing not only


will

dhruva, he
in

is

also going to sing a dhruva from Sri Purandaradasa's song.


starts with

So

first

of a
refer

Nanda Kumar

sing dhruva

Varali
in

Ragam. This compostion

'bhuvana racana posa laya catura'


-

it

to the
It

Lord as the one

who

is

dexterous

Racana

creation,

Posa

Sustenance, Laya

Samhara

of the entire bhuvans


lines of the Jyavajs

starts with a
is

panageric on that one and goes to- there are


is

five lines of the


in

Udgraha, actually seven

Jyavala
is

a term which

not found anywhere,

(it

is

not the Javali found


all in

a different context) and therefore the Jyavaji

the

first

introduction into compositions of this kind at


is

this inscription,

whether by Annamacarya or by

x,

y or

it

doesn't matter, this inscription


also contains

certainly unique to this extent.


bhancllra

It

Prayogam which
is

is in

bhasa portion and

it

contains abhoga.

And

the unique thing


the other

is

has the Jyavaia again. The abhoga


satisfied with the

the natural end of a song, but the composer for

some reason or

is noi

abhoga, he introduces Jyavaja again. Here Nanda Kumar sings dhruva part of the composition

in th

Varaji raga.

[Recital of the

songs]

40

*SAftKIRTANA LAK$ANAMU

CORRELATION OF LAK$YA WITH LAK$ANA


ENDEAVOURS OF TALLAPAKA POETS
Prof.

Salva Krishnamurthy,
Certificate in

MA,

M.U'tt,,

Ph.D.

German
in the 1

Padakavita Pitamaha, Saiikirtanacarya, Harikirtanacarya TIHapaka Annamacarya flourished


i

5th century,

is

said to have authored Veiikatacala

Mahatmya

in

Sanskrit,

Ramayapa

in

Dvipada metre

in

Telugu along with a


available.

zen other Satakas. Out of these only Vefikatacala Mahatmya and Venkateswara Sataka are
the author of
is

Besides he

32,000 Sanklrtanas, mostly in Telugu and some in Sanskrit out of which some 12,000 are extant. known to have composed a Sariklrtana Laksanam in Sanskrit (Telugu S.L. verse 15). His son Peda umalacarya is known to have flourished roughly between 1473-1553 A.D. He was a great scholar and held the
also
33

Vedamargaprat/sthapanacarya,

Srtramanuja S/ddhanta Sthapanacarya,


to

Vedantacarya, Kavitarkika Kesari


in

and

ranagata Vajrapafijara.
lagavadgita),

He

is

known

have

written Dvipada

Harivamsamu

Telugu (not

extant),

Andhra-Vedanta

Udaharana kavyas,

Niti-Sisa

Satakamu, Srngara

Vrtta Sataka, Cakravaja Manjari,

Sudarsana Ragada,

igara
ler,

Dapdakamu and Vairagya Vacana-malika-gitalu. He was a great devotee of Lord VeAkateswara and like his composed Sankirtanas at the rate of one per day. Also he is known to have written a commentary. He got the Sankirtanas, his father's and his own, inscribed on copper plates, established the Saiikirtana Bhandara in the ikateswara temple at Tirumala sometime in 1540 A.D. with a singer, and two vaisipavite servants appointed. Cina
jmalacarya, the eldest of the five sons of
irished

Peda Tirumalacarya, was


extant, Like his

also

-a

great scholar.

between 1493 arid

1553

A.D. With the permission of his father he wrote Saiikirtana


is

other

work

is

Astabhasa Dandakarnu which

grand-father and father, he

He may be said to have Laksanamu in Telugu. was also a composer.

has composed Srngara


la
;

and Adhyatma

Sartklrtanas. Tajjapaka cina Tiruvehga|anatha


of

Caritrarnu in Dvipada

which records the meeting

Annamacarya and Purandaradasa

has written Annamacaryula at Tirupati. Purandaradasa

a younger contemporary to Annamacarya. As Annamacarya, Peda Tirumalacarya and Cina Tirumalacarya have

iposed Saftkirtanams on Lord Veiikateswara and as these three have been connected with the laying
regulations for Saftkirtana composition albeit the non-availability of

down

of

Annamayya's Sanskrit
it

original

and Peda

malacarya's commentary, whatever correlation


tie

is

made between
is

the laksyas and the laksapa,


to

should be

deemed

endeavours

of the

Tajjapaka poets. Cina Tirumalacarya

known
The
in

have got some examples chiseled with

ra notation on stone slabs of seven feet length and four feet width. This establishes the presence of writing with
ra notation
:

in

Carnatic

music as early as the

sixteenth century.

credit of discovering

and

bringing

them

to

goes

to Sri Udayagiri

Srinivasacharya This discovery was


it

made

1949 and
in

happily

we
1 1

have him here with

larticipating in this

workshop. Again

was

given to

Sri

Srinivasacharya to edit and publish

9 Smgara Saiikfrtanas
the Tirumala Tirupati

"0

Adhyatma Sankirtanas
It

of Cina Tirumalacarya through Vol. XVI published

1962 by

asthanams.

is

said that the T.T.D.

has published 33 volumes

of Saiikirtanams.

This writer has had the privilege of editing the text of Saftkirtana
jer plates

Laksanamu

with the help of chemically cleaned


in

preserved
in

in

the

museum
English.

at Tirupati

and offering a prose translation of the same


Institute of

English with a

mentary both
inai-119.

Telugu

and

The work was published by the

Asian Studies, Chemmancherry,

The copper
?

plates

have the

title

legend as

"srirasfu. srimate ramanujaya namah.

tal/apakaannamacaryulskumaruiidu
It

Tlrumalacaryulu vari kumaruna'u cina Tirumala<?aryulu anatiocina safikirtana lakpapama/na pacfacchandamu"


also

Moo<Mii (annxure)

3,

41

is

clear Sarikirtana

Laksarjamu
"

and

18 of

S.L.

reads as

is synonymous with Padacchandamu. Again the prose linkage -between the verses " Verse 19 mahaniyambagu satikirtananamaka padasampradayam bettidanina

hi

"padamargacchando mudhatmukavita". This work Sankirtana Laksanamu revives the tradition of Pada-niryukta Bharata's Natya Sastra. Indeed the first 1 2 verses of S.L, is a eulogy of padams of Annamacarya. It would appe

Annamacarya had written S.L. after he had composed many sanklrtanams and came The word pitamaha means creator and not merely the grand-old man.
This

to

be nailed Padakavita Pitamah

Kannada or

work Sankfrtana Laksaoamucx Padacchandamu is a rare one the like of which does not exist either in Tamil. This work is a original laksana granthaty Annamacarya. Before we attempt correlating the laksy;

with the laksana laid

down by

the author,

some

introductory remarks are called

for.

in

The word padam indicates a musical composition. The compound Dhruvapadam seems to have become Dhrup; North-Indian or Hindustani music. The kirtanakar-tradition of Maharashtra uses the word pad for a music

composition.
so.

The songs
in

of dasa-sahitya of

Kannada are

referred to as

padagaluwA Purandaradasas
is

kirtans are calif

The kirtans

the Bengal Vaishnavite tradition are called padavap. There

a dance tradition

in

Orissa pertainir

to padavali-kirtana. In

Telugu also compositions of Peddidasu and certain others are called padalu. Thus
is

padam

a pan-Indian classical term for a musical composition. Gandharva

the

name

given to the pan-Indian marga-sahgil


is

Ganam

is

the

name
swara

given to the regional variety of music. Because of

its

hoary past gandharva

treated as create

by God or apauruseya. Ganam\s


to Bharata, is

composed by vaggeyakaras and hence


(N.S.

treated as pauruseya.

Gandharvam, accordir

32-25). Any composition of meaningful words evocative of swara ar tala is padam. The meaningful words generally speak of some story material (vastu). This padam can be of two typ< nibaddham or framed in or anibaddham (not framed in, free). Whatever is framed-in with dhatu or swara and ta
tala

padatmakam

is

'nibaddha'.

Whatever

of Natya Sastra

is not so framed-in is 'a-nibaddha'. This latter implies lack of prosody also. The 'tajaadhya^ as well as Sangita Ratnakaram speak of niryuktam, padaniryuktam and aniryuktam. The Ta|a Adhya}

of Natya Sastra, in the context of

and

that

it

is

Sapta Gita Prakrti, says that Padaniryuktam is in the cause of worshipping got devoid of subsidiaries of bahirgltam (bahirgitafigasakhavihinam). Sangita Ratnakara (5-58, 59) also deflni
in

'Padaniryuktam' as a song
the subsidiaries 'asravana'

praise of a god.

Vipradasa, a writer prior to

1625
and

A.D.

in his

Sangita candram sa\

etc.,

meant towards praising gods are of two


'pada-baddham'
is

kinds: 'a-padam'

and 'pada-baddham'; whi

'a-padam'

is

'nirgltam' (without libretto),

called 'bahirgltam'

that 'asravana' etc., should be padi

baddhas only.

Now
is
still

this

nibaddham has three synonymous names:


'gita
1

1.

prabandha

2.

being used for

prabandhas' 'vadya-prabandhas' the


'Rupakalapti'
is

name

'rupaka'

rupakam 3. vastu. The word prabandt is used in the context of 'alapti'


tala;

<

'rupakalapti'

and

Yagalapti'.
is

'alapana with the specific raga and

ragalapti

has no

tala constrair

The word Vastu'

used

in

the context of Vastu-prabandha'

and 'varnaka-prabandha'.
si.)

Sangita Makaranda of Narada (Sangita


in

Adhyiya 4 pada-34
in

says a singer (gayaka) has

to

be a past-mast

'Sanjna trayam nlbaddhasya prabandho va& rupakam'says Sangita Ratnakara (4-6) 'Prabandho rupakam vastu nibaddhasyabhidha frayam'says Sangita Sama\ Sara of Parsvadeva (Adhi 4-1). is clear that Padam, Prabandha and Saflkirtanam^Q synonymous with one anothf Saiiklrlana Laksariamu uses these terms in one and the same sense.
It
It

'prabandha-gina'.

is

a specific

genre

nibaddha desi gana.

4.
It

antara
is

These n/bandha namaka padams are composed with the dhatus called 1. udgraham, 2, melapakam, 3. dhruva and 5. abhCgam. The limbs of a prabandha are 1. swara 2. biruda 3. pada 4. tenaka 5. pata and 6. ta! said padam and tenaka are the eyes for the Prabandha Purusa; pita and birudam are the hands; (pata meai
like

the

vadya swaras produced by hand on the percussion instruments

mrdangam); swara and


of
(c

tala are the eai

Elapadam or Ela-prabandham is a very ancient genre. Sariglta Cudamani has more than hundred sISkas on this; Saftglia Sudhakaram of Haripala Mahipala
Samayasara of Parsvadeva also gives
it

Jagadekamalla
1

(1

134-1 143
it

A.[

175

A.D.) gives

briefly; Saiigi

Sangita Ratnakaram of Sarangadeva gives some 356 kinds of El prabandha. Broadly they are categorised under three heads: 1. Sudi-prabandhas 2. Ap-prabandhas and 3. Vipraklri)
briefly.

42

Drabandhas. Suda-prabandhas are gita-visesas and they are to be sung


3.

in

one

of the

seven talas

Dhruva

2.

Mathya

Rupaka

4.

Jhampa

5. Triputa 6. Atta
varieties.

and

7. Eka.

Ap-prabandhas are intermediaries

in Suladis.

Viprakirnas are

different

from these two

Saiigita

Ratnakaram gives 8 Sudaprabandhas,


is

24 AHprabandhas and 36
is

Viprakirrtaprabandhas.

Now

although Elaprabandha

one

of the Suladis there


Pratitala.

is

a rule that Elaprabandha has to


helpful
in

be sung with one


ta[a to the

of the talas

from Manthya,
of

Dvitiya,

Kahka|a and

This information

fixing the

innumerable compositions
'Ela'

Annamacarya where
or
'atta'.

tala is not indicated.

The word
qualities.

means

'the Exalted'

This exalted nature pertains to the

Nayaka

(protagonist)

and

his
is

These Elaprabandhas are

of four kinds: 1. Ganaila 2. Matraila 3. Varnaila

and

4. Desaila.

This Desaila

again five kinds: Karnataila, Lataila, Gaudaila, Andhraila,


the beginning the middle

and

Dravidaila.
full

Karnataila
of

is

embellished with anuprasas


relish;

in
is

and

the end; Dravidaila has

no prasa but

emotion and aesthetic

Andhraila

bursting with a variety of 'gamakas,

ragamsas and rasa-bhava;


These observations of

Lataila

has 'prantaprasa'; Gaudaila has only one rasa


to highlight the

without any

gamakas and prasas.

Saiigita Ratnakara are mentioned only

musicological superiority of Andhraila.

Verse 18 of the Sankirtana Laksaoamu (S.L) establishes the hoariness of 'Padam' from the time
Natya Sastra, Sangita Cudamani
of

of Bharata's

Jagadekamalla, Sangita Candrika of

Madhava

Bhatta, Saiigita

Sudhakara

of Haripala

Mahipala and Sangita- Ratnakara and he goes on to emphasize the importance of knowledge of the Padam-prosody
or the

know-how
Bharata,
in

of

padam composition and

the tradition thereof,


all

in

the next few verses.

the context of Sapta Gitakas, has stated that


It

'GItas'
in

have

Vastu and 2. Avayavas or

limbs.

S.L.
in
is

speaks of a padam being an avayavi and avayava.

is

avayavi

the form of the entire

padam and avayava


This 'VrttanY
Pitta

the form of a 'vrttabandham' or stanza of four lines which


'dhatu'

is

nothing but the present-day 'caranam'.

he says

in
it

verse 25. and compares the dhatus of prabandha with those of Ayurveda namely Vata,

and Slesma. Then

speaks of Padam and

Dravida, Andhra, Lata

Vrttapadam can be
Aliprabandhas.
it

in

Verse 28 highlights the Desaila in Kannada, its subsidiaries of prosody etc. and Gauda languages. This Desaila can be in Vrttas, in nibandha form and curnika form. any one of the 26 forms of chandas. Sangita Ratnakara mentions Vrttaprabandham under

If

vrtta is

is

Vrtta

Prabandham.

Some

sung with a taja, adding musical notes or swaras at the end of each line or the verse, say even the swaras are not compulsory. (S.R. 4-247). Arya Prabandham from Sanskrit
'jati'

prosody and Kanda Prabandham from Telugu prosody cover the


first

verses.

In this latter

Kandaprabandham the
half
it

half is to

be sung as 'udgraha'.

The second
'nyasa'.

half is to

be Dhruva.

While singing the second


(S.R.

has to be

started with 'pata'

and terminated with

This part should have* 'biruda' also.


in

4-204

to

208).

visama

type of composition with

15 matras

in

odd number-lines and 16 matra

even numbered

lines is given as Catuspadilines.

prabandha

in

Sangita Ratnakara (4-271-272).


in

This brings us to the vrttabandhas or stanzas of four

These

can be sama, vi$ama and arcfhasama as


in

the case of prosody.


in

Many

instances of

sama-pada caraoas can be found

Annamayya's Sankirtanas although they are

matra chandas:

'Jaladhikanyapanga-laliteksanamulalS
kalisivelugucununna-kajjalambitadu
jalajasanuni

vadanajaladhi-madhyamunandu

alaraveluvadina para-mamrtarnbitadu' (Vol. 1-170)


This vrttabandha or carana has
'narimani
ariti

some 20 matras or

syllables for

each

line.

An example

for 'ardhasama' composition;

cirunawulunawaga

nikavi andinavi

sareku sarasamu caviganadaga


peradiyasalu perinave'

(20-178)
have 16 matras or
syllables

The

first

and

third lines

and the second and

fourth have

14 matras

each.

For visama

vrtta-bandha:

43

'tagavulu

ceppabote tamaloni matalaku

tagulanade nannu tagune tanu

mogamulucuci nenu mokkulu mokkagabote


ciguru cetuluvafti cenakulu nincene'

(27-69)

This has a dissimilar composition with 21, 16,

22 and 20
1

syllables respectively.

In

the sama-vrtta composition the

requirement
(verse 32)

is

that

it

should be freely amenable

to 'taja

rather than having the exact

number

of ganas/matras/letters.

Verse

34

of S.L.

enumerates

yatis,

prasas and matras as well as

ta|a

as adjuncts of nibandha padam,

Yatis

and prasas are the simple prosodial requirements for padam composition. Now. there are some six types of specific and varnam. Among them compositions for music in the classical system. Prabandham, gitam, tanam, kirtana, padam a pada is counted in terms of taja avrttas. In Prabandha, Gita and Tana, yati and prasam are only embellishments.
There
of yati
is

no harm even

if

there

is

an occasional

default.

But

in the

case

of kirtana,

padam and varnam

the observance

and prasam are compulsory:


gita

The

this: following slokas from Adharvana Karikavaji are the authority for

'prabandha

tanesu kfrtane pada varnaySh

talavrttatmakam

padam gayakah

paricaksatS

II

prabandhadi

trike

prasavisramau carutavahau

na tayoh

kutracit

hanamapi dosavaham viduh

II

kirtanadi traye nitya prasa visrama sangatih

samskrte padyavannyasa stadyoge' bhyuccayomatah


ganavinyasa bhedasya vivaksa matra drisyate
pratipadam
It

II

yati

prasa bhahge dSsastu padyavat

II

(Aj'anta

103-106)
and prasam are insisted upon for
kirtana,
yati

is

interesting to note that these prosodial requirements of yati

padam and
and prasam

i/arnam.

Not only

that,

they are desired for compositions

in Sanskrit.

Annamacarya has observed

n the case of his Sanskrit compositions.


-or example,

'karnsam hanisyarni-khalamiti vyajena


sarosaro' yama-cjiritah pura

hjmsadura na ca-hjtarnidam vrajavadhu


sarnsaranaliiam pra-saktum
'ati

tatra'

(12-374)
the four lines respectively.

is is

between Ka-kha, sa-ca,

hi-hi

and sa-sa

in

Prasam, the second syllable of each

ne

bindupurvaka sakara: kamsa, samsara, himsi and samsararja have

this.

Now

about the matra-garjas.


Earlier

Before

we proceed
lines with

further

it

is

necessary to

know

little

about the historical


enjoin six

rolution of Ela.

works

to Sahgita
line in Ela.

Ratnakara

like Saiigita

Sudhakaram and

Saiigita

Samayasaram

adams/terms/ phrases for each


the end of each
line.

Three

Thereafter pallavi.

This paliavi has


1

prasam is 'udgraha dhatu'. There must be gamaka prayoga no regulation of ganas or matras. The fourth line should

we
:

with the name of the 'nayaka' which is embellished be the carana with the vaggeyakara mudra with 'abhoga' dhatu. After singing 36ga', 'dhruva has to be sung and 'nyasa or conclusion made. This is the prescribed method of (vide singing, .ngita Sudhakara Gita Prakaranam, Sangita Samayasaram- Adhyl 4-sl. 130 to 134). These works consider Ela caturdhatuka, enjoin gamaka prayoga at the end of each of the first three lines and do not
th

the mejapaka dhatu. After that

comes the 'dhruva embedded


1

anuprasam.

And then

there

will

prescribe

any

prosodial

antification of
d the
ats

ganas or matras. By the time of Sangita Ratnakara Ela Prabandham came to be treated as 'tridhatuka' 12 ganas of first two lines got redistributed as the kharida traya with 5+5+2 terms. And Sangita Ratnakaram the last three padams of each of the first two lines as Pallavam. In this school, besides the 1 2 terms
or

padams

44

there

will

be 3 terms

in

'dhruva'

and
to

with 'abhoga' totalling to 16.


in
in

Among

the three pallava terms of


in

first

two

lines,

the

first

two padams or terms are


line

be sung

vilambita-mana and the third

druta-mana.

Similarly the

first

two

terms of padams of the fourth

one

of the

commentators

of

and nyasa made


the
fifth

at the first

madhya-mana and the third in viiambita-mana. And while Kallinatha, Sangita Ratnakara instructs that the 1 6 padas or terms have to be sung a second time word or term of the fourth tine. Singabhupala another commentator, says after singing
are to be sung

line with

'abhoga' dhatu, the fourth line with 'dhruva'


in

may be sung and concluded.


letters
In

These Elas were conceived


Ganaila, Matraila, Varriaila

terms of the three lettered ganas, or matra or mere


Desaila of regional languages
is

or varnas.

Thus

came

into being.

another variety.

music ganas with

two Aksaras are

called Rati ganas:

ganas

with three are called


Varriaila

Kamaganas; ganas

with four are called Cha-garia, paletters for

gana, ca-gana, ta-gana and da-gana respectively.


kharjda dvaya 6+6, 7+7,
Liiigana Mantri gives the
after the first

has a fixed number

each

line in the aiighriin

8+8 and so on up to a maximum of 29 letters. Coming to prosody for padam thus: three units of smara laghus of 5

the Desaila

Telugu, Vella(uri
yati

plus one surya gana with

two ganas and prasam being observed both at the end as well as at the beginning. Liiigana Mantri flourished sometime between 1550 and 1600 A.D. The change over from tryaksara ganas to matras can be clearly seen here. Smaraganas/Kamaganas pertain to the third chandas with three Aksaras. One more laghu is prefixed
to the laghvadi garias. =

This gives the

Kamaganas,

For a Suryagana either na-gana or ha-gana.


A.D.), in his

Thus 5x3=15+3

18 matra.

Then, Vartakavi Raghunathaiah

(1660-1680

Laksana

Dipika, enjoins
in his

16 matra per

line

with yati and prasa for pada composition.

By the 18th century

Pottapi

Venkataramana Kavi
pallavi

Laksana Siromani
Pa-garia has

came
only

to prescribe

five

matras.
of

matrasamaka pa-ganas with three lines being khandika-traya, The three caranas indicate the three dhatus with pallavi and
in

and

upa-pallavi.

anu-pallavi.

No

specific limit for the of matras per line

number

matra ganas

a line

is

indicated.

Desaila

in

Telugu

came

to adopt a certain

number

with, of course, yati, prasa, pallavi

and

anupallayi.

As
in

for Tajas there


is

is

no

indication of tala for


ta|a;

many except a

few.

Ramakriyaraga
text

given

Rupaka

'mandharadhara madhusudana' (1-267)

'Vicceyavamma vennelabomma' (4-104) As in Kuravanji is given Ata taja.

37 mentioned Marga and Desi ta|as one would presume the currency of both at that time. Perhaps were more popular. Today the tajas Dhruva, Mathya, Rupaka, Jampe, Triputa, Ata and Eka are in vogue. These were in vogue at the time of Annamacarya as the previous examples show.
S.L
verse
the Desi tajas
S.L.

verse
2.

88 enumerates
3.
like virja

the five dhatus as limblike avantara padas of


4.

nibandhanama padam. These

are 1.

Udgraham

Mejapakam
The

Dhruva
flute,

Antara and

5,

Abhogam.

There

is

wind instruments
of transition.

and

besides vadya prabandhas.

The period

separate 'dhatu-vicaram' for stringed and of S.L. seems to have been a period
to be called 'gitam' by the time Sangita

'dhatu' part consisting of the

swaras or musical notes

came

Suryodaya
A.D.).
is

of

Bandaru Laksmlnarayana who was the court musician and composer of Krsrjadevaraya (1509-1530

'Ranjaka swara
to

samuho

gitamityabhidhiyate

tadeva kaiscid vidvadbhih dhaturityabhidhiyate

(S.Su.

5-2).

It

enough

remember here
it

that there

the other which considered

were two schools: one which considered a prabandha as 'caturdhatuka' and 'tridhatuka'. Many of Annamayya's compositions are 'tridhatukas'. The dhatu 'antara'
This 'antara' or
'antari'
is

does not count

in this

discussion.

called 'upantara' by laukikas or non-musicians.


In

The

author of Sangita Ratnakara calls the dhruva segment


aksaranirmitah'.

'antara'.

some

places dhruva khaoda

is

indicated by 'antarastu

Elsewhere

it

is

also 'alaparacita' (S.R. 4-357).


it.

More about

the dhatus after a while.


of Sangita

Verse
Pallavi

39 and 40
after

was sung

and quantify 'gamaka prayoga' at the end


define Pallavi

Earlier

we have
and

noted that before the time

Ratnakara

of

each

line

this pallavi

had no regulation
of
all

of

ganas or varnas.
a cararia) and

Now, we
is

find S.L. defines Pallavi as the integrater or correlator of the

meaning
and

the terms

(in

repeated at the end of each caraoa.

No doubt
have
Pallavi

there

was
its

Pallavi before stabilisation

Annamacarya.
quantification
lines of the

Some
seem

kirtans attributed

to Narahari Tirtha, the

Madhva

Pontiff,

pallavi.
is

But

to have

come by

the time of Annamacarya.

Verse
is

40 says

equal to the length of


i.e.,

caraoa.
type.

And

half of this pallavi

termed as Sikhapadam

one

line.

padam; that is half the Annamacarya padams have pallavi of this

two

45

'ela

radamma-intirQ va

dela

radamma

na-nne!ina vadu

II

(pallavi)

II

paccani pulugula-bandimidanundu
paccavirrti pinna-baluni tandri

paccanicayala-bayani bangaru

paccadamu gattina-bagaina vadu'


The
quantification
is

II

(ela)

II

in

terms of the dhatu and not the matu.


in

Sikhapadam was
effect (sravanotkarsa).
to

vogue as complement
it

either to complete the

sense or even for enhancing the auditory


line.

Earlier

was

regulated to be the length of the third

Sanglta Ratnakara (Adhya


1

4-125

126),

in

the context of Karnataila speaks of

Sikhapadam as a
in

point of 'Elabhasas
Pallavi.
if

Perhaps

this quantification ol

Sikhapadam could have suggested and resulted


have

the quantification of

In all

probability this

Sikhapadam shoulc
should not be
in

become

the present

day

'anupailavi'.

There was a

restriction that

there

was

pallavi there

Sikhapadam and vice versa.

But Annamacarya seems to have experimented with both


hari

pallavi

and Sikhapadam

the

same padam.

'Dolayam cala dolayam,

dolayam' (7-110) can be taken as Sikhapadam.

Verses 42 to

45

deal with Caturdhatuka, Tridhatuka, Dvidhatuka and Ekadhatuka padams.

Among

the nibandhe

nama padams,
is

a caturdhatuka

padam

will

have udgraha, mejapaka, dhruva and abhoga with

pallavi. 'Antara'

dhati

dropped.

'niruvattugonnacota-netadlruna
sare natanipondule calimandulu naku
1

(18-242)
is

be caturdhatuka padam. udgraha, dhruva and abhoga with


is

said to

A mahaprabandha
Pallavi.
pallavi.
in

always a caturdhatuka, avers


of examples

Kallinatha.

tridhituka has

Any number
1

A dvidhatuka
padam avers

has udgraha
S.L.

and dhruva with

In this

can be had from Annamacarya's Sarikirtanas the mudra occurs in Dhruvam. There is no 'Ekadhatuka
This reference
is

but mentions 'mogavari

regional drama-halis.

is

to Tamil 'mogavari'.
in

Starting

With an 'eduppu' (ettugada)

and singing with a few words

similar to pallavi

prevalent

Tamil dramas.

But

this

cannot be characterised as 'ekadhatuka'.


it

As

there can be
In

many

kinds of take

off with the

dhatu changing each time


there are

is

not correct to designate

them as 'Ekadhatukas'.

the context of

Lambha Prabandha

some which
with

have

many

'udgrahas' without having dhruva and abhoga.

There, Kallinatha argues, they cannot be

endowed

the designation of ekadhatukatva

even

partially.

Verses 46 to

55

deal with certain specific padams:

daruvu, jakkularekulu, elalu, gobbiiju, vakyamulu,

They are astapadapadarn, padamalika, sarabhapadapadam and candamamapadamulu, ardhacandrikalu, and curnapadamu.
'aho surataviharoyam/

Now
with
the

Astapada

padam

with pallavi

is

characterised as similar to Jayadeva's Astapadis.

sahaja parajaya sanka nasti' (12-78)

is an example from Annamacarya. These can be composed in many ways ganas of 4,5 or 7 matras, says Pottapi Veftkata Ramapa Kavi. These can be seen in Telugu Yaksaganas ir context of Nayika pining for Nayaka. These are in Ekata|a with garias of 4 matra. While some are in madhuragati
fit

others are in Risabhagati

for Triputa ta|a. for Sisamalika

With a relishable pallavi and artha caturya, Padamalika reigns


is

like

Sise

malika says S.L.


rnalika.

The laksana

provided by Citrakavi Peddana (c


lines with
giti

1550
at

A.D.)

12 or 18
'enta

lines for SISE

Pottapi

Venkataramana Kavi prescribes 10, 12 or 18


in

the end.
1

vegirakadavemoy

pantagadavintalona-vadarakumoyi'
is different

Mukhari

3-220)

is

an example

of
1

Padamalika with
Sri

lines.
is

Sarabhapadapadarr

Now
is

S.L,

'nityatmudaiyundi nityudai velugondu in goes on to deal with compositions which can be either in two
ku|aka.
it

from Astapadapadarn.

Raga (1-75)

a Sarabhapada
First,

padam

lines or four lines.


it

Daruvu can be

muktaka or

Vastu

is

a time

unit of three matras.


it

If

there

is

kriyabheda
it

ekakriyanvaya
druta

becomes

kujaka.
ta|a.

in

and madhya mana with

As chedyaka is daruvu; as kulaka The mode of singing is with 'citra' vrtti.

is
It

can become chedyaka; if there padam. These daruvus should be sung


the instrument
is brief.

means

Drutalaya

46

nayati

and anahata graham preponderate. Annamacarya has conceded even madhyamana


'ta|a

for daruvu.

These daruvus

generally called
irimerigi

daruvus'.

kaikovu

nl

amule nerapevu' (12-310)


an

example from Annamacarya. Jakkula rekulu are ragada compositions with


to

taja.

These are named with the

ta|a

even raga prefixed

them. Triputareku, Jampereku Baulirekulu and Mukharirekulu are

some

such. Half of a reku

called Ardhacandrika.

We

have Ardhacandrikapadam

in

hogam have

to

be sung

half only

Jha satata vilasavasaradha' (4-48)

and pallavam has to is an example. Gobbipadam, some say,

Annamacarya's compositions. Udgraham, Dhruvam and be inserted. Tanams will be many in this. 'Atisobhiteyam
is

similar to

Garbha

Nrtya.

The word

worship.' konda goduguga-govulagacina an example with 16-14-16-14 matras for each line. Though S.L. speaks of irnika and Talagandhi, Annamacarya does not seem to have composed any. In verses 56 to 59 he says that the oken tongue can be used with appropriateness in the case of women involved in erotic situations. Verses 60 and

ems to have descended from

the Tamil
is

word 'kumbidu=to make obeisance; to

nduka sisuvuku gobbijlo" (3-327)

define Adhyatmas,

These have been present from

earlier

days. Sanglta

imsara sukhadusakaih padairn.iyojitam gitamadhyatmarn yogivallabham'. There


jnre
ijarn

Samayasara says 'gudharthaih paramarthaisca is no need to cite examples for this


Verse 62 says a Vakyam
is

from Annamacarya.
but

Now Vakyam

is

a composition dealt with


the

in,

S.L.

sung without

with

great

tanam and involvement with

meaning

'edaivamu

sripadanakhamunabuttina gaiigaI

lokapavanamuceyanu-tripathagaminiyayenu'.in Nate (1.1-3-34) seems to answer the iaksana.


ith
-

am

inclined to .agree

Dr.Ananda Murthy. Verse 64 speaks of candamama padam as expressive

of pining of the

Nayika for Nayaka

vice versa.

Though not

in

that pattern .there are three


is

.Candamama padams

in

5 gives Yalapata padam. This an example that runs

a folk genre with calling out the Nayaka with

Annamacarya's compositions. Verse some raga, and mleccha-paribhasa,


(1

nedalekki ninnujuci-kudenaneyasatoda vaduderi vussurandura-venkatesa yadanuntivindakanura' in Desalam raga

3-

23)

is

'to

some 25
:

carapas. Verse

66 mentions Yaksaganapadams. Under these come


etc.

ppagintapatalu.Alakapatalu.iAllonerellu, Gobbi|lu tandanapadam, talupudaggaripata, dhavajamulu, nalugupatalu, bantulata,

langajamu, meluk6lupulu
ompositions,

lalipatalu,

sobhanamulu, suvvisuvvala

There are mariy 'melukolupu songs

in

Annamacarya's

some addressed

to Visr;u, sorrie to'

Krshna and some to Veiikateswara.


.

/innapalu vinavale-vintayintalu.

II

(pallayi)
II

II

".....

)annagapudomatera-paikettavelayya,
5uvvi patalu are the

(anupallavi)

II

(14-25).
while pestling

songs sung by. married

women

paddy for auspicious

rice

used

for

talambralu&

he time of marnage^by the bride; and bride-groom. The subject matter can be .srngara or adhyatmarn. 'suvvi suvvi juvvalamma, navvucu devaki,nandanuganiye'-(pallavi) inBhupalam (12-353) is one such. Allonerellu are the songs sung
in

the moonlit nights; at the tirheiOf-pestling-'cimmiii' during the celebration of a

girl is

on

attaining puberty. Neredu'


refrain.

s 'jambu' tree

and

its fruit.-Allanerellu

are the bigger 'variety of juicy

fruit.

This word

used as

There
is'

is

only

one with

'allonerellu' in the refrain in

Annamayya's sankirtans although there are others where the word


in

mentioned.

'neyyamulallonereHo voyyanavuredi vuvvip' (pallavi)

Desalarn

(12-179)

is

the song. Sodepatalu are those sung


this

by gypsy

like,

'Erukatad while fortune-telling to the inquisitive


(tribal fortune-telling

women.

Kuravanji Yaksaganas invariably have


in

character 'kuravata'
niyiccayella

women). There

is

one 'sodepata'

nerugudu merugaina sommulicci meccavayya nannu


'jajara' is

(pallavi)'

in

Annamayya's compositions, 'erukaceppe Telugu kimbodi (.13-312).

The word
festival

a derivative of the word


at the

'carcari' in Sanskrit.

Jajarapatalu are connected .with the Spring-

(Vasantotsavam) and are sung


to

time of Holi by

men and women marking

time with small


at

sticks. Jajara

has

come

mean the

fragrant dust of polleni kaisturi

and sandal powder people throw


'jajara' in

one another on

festive

occasions. There are at least two songs with the rafrain


(pallavi)' in

Annamayya's compositions, 'jagadapujanavula


nl

jajara
jajara

saginalamancapu jajara (pallavi)' in Mukhari ( 1 2-332). The word 'tummeda' meaning

Hindoja Vasantam (12-274) and again 'calujalu nl jajara nannu jalibarace


'bee' is

a metaphor for the 'Individual Soul'. Tummedapatalu

47

are an ancient genre dealing with instruction

in

philosophical

matters either directly or

in

self-instruction

Annamayya's Tummedapata addresses Srinivasa obviously because of forms, 'toilintivalegavu tummeda inka vollavugamammu no tummeda'

the swarthy colour attributed to Visnu


in Sri

in diffe

Ragam,

kata|i

(4-9)

is

the padam.
refrain
'cil

word

'ciluka'

meaning

'parrot' also
ni vavalik;

is

metaphor

for the individual soul

and 'cilukapadalu' have the

paramiimudaiyundu ciluka' in Ahiri is such a song. Tandana patalu have 'tandana or 'tandana tana/ tana tnudana'. There is at least one such song in Annamayya's composition.
'jivatumudaiyundu ciluka

the re

'tandanana ahi tandanana pure

tandanana bhaja tandanana

II

(pallavi)

II

brahrnarnokkate parabrahrnamokkate para

brahmamokkate parabrahrnamokkate
in

II

(tanda)

II

Baup (7-151). Sobhanamu generally indicates an auspicious event. In particular is denotative of marriagi consummation of marriage. Sobhanam songs are sung on these occasions by married women whose husbands
it

alive,

'piluvakavaccitimi peratandlamu'
12),

in

Malavi (24-53), 'niccanicca sobhanalu, nelamudu sobhanaiu'


in Lalita
1

in

Sue

Vasantam (26-4
in

'sobanabademu
'ipeku

memu sudatulamu'
dagu
nitanikipe
1

Bhupalam (15-55)

nitadu

dagu

in

(27-40), 'nindusobanamu neciu neyyapu dampatul Salanga Nata (22-295) and 'podduvoddukii
'

bhogincarayya iddarikigaligenedidivosobhanamu,
aratu lintulala'
in Sri

in

Padi (27-417).
sri

Similarly there are Harati (aratrika) patali/


1

v
e'1

Ragam (14-84).

'Ksirabdhi
(ni

kanyakaku

mahalaksmikini nirajalayakunu nfrajanam


long) like 'niccanicca jekonu
nivali'
in

in

Man:
(

Kausika (26-295) and Nivali Patalu

duvali =
like

may you

live

Malahari

129), and Dhavajams (benidictory songs)

'jayamahgajamu niku sarveswara, jayamangalamuniku


like 'jo

jalajavasinik
jo

Gunda
in

Kriya (7-197), Uyyala patalu (1-67), Lali patalu (12-246), Jolapatalu

acyutananda jo

mukui
farm
lite

Ata ta|am, and Maiigala gitalu (1-46)


After speaking

(26-189) and Sasamukhilu

(Heccarikalu) are
1

many and deservedly

composing in verse 70. In a longish composition Verrulara miku-vedukagaligitenu (copper plate 196) in ten cararias has deprera chayapahara of his Sankirtanams. Verse 71 condemns cauryam' (theft of music) by alluding to Bharata's opii Sangita Ratnakaram in its Prakirna Adhyayam 11-12 Vastu Kavi is the best; Varnaka Kavi mediocre and who composes words for somebody's musical cc the worst and is called Kuttikara.
there
is
1

elements

like

about coalescene S.L stresses the importance of 'tanaka riga bhavam, rasam, alanikaram, sayya etc., S.L. deprecates plagiarism in

in

desi padarn as also the

v^

S-L. gives a

integrated into

comprehensive laksanam fo one genre. Whatever may be tht


in

Padam, prabandham,
..;-al

klrtan

and sanklrtanam
art

arc

possibibilities

as a science and

ancients h

Conceived

it

as an articulation
will

terms of a

spirit-/

nt

process with meaningful song as

libretto

Without s

vong music
a musician
is

be delimited

to the

sense

pi,

runs the danger of becoming profane.

certainly not the equivalent of


It

nadanu,

.uhana of a yogi

who

listens to 'a-nahata'

mudra

in

laya yoga.

is in this

context that the

work

of TaJlapaka poets

assumes

significance.

The nadopasa nada through sarirm There is no dc


each other withoi

the laksana the,' -have

propounded and the laksyas

we

find in thier compositions fully justify

blemish.

(Special lecture presented

on 26-10-19

Bibliography
1.

Tunes

,;.f

Divinity

(Sankirtana Laksanarnu)

KRI8KNAMURTHY (19901
2.

Telugu-English with translation and commentary by SAl

An.iarnayya Sanklrtanallo janapadageyaphanitulu

Telugu by

Dr.

Ponna Leelavatamma (1986)

48

8 -

1998 eslfedJ 26, 27, 28


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^606* 8&&&<5*

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S3&F\&

26 esgado tfctfc&o

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&$&> &5*dS>2!r3d |3'ES*$s'6


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15, 16

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1.

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2. 3.

64

CD
1

K The Royal Artist


Dr. T.N.

Mahendravarman I

Ramachandran
South Indian Art under the following

"We
heads
(1) (2)
:-

shall

examine the contributions

of this royal artist to

Architecture and sculpture.

Fine Arts

(a) Painting
(3)

(b)

Music

Literature (poetry,

drama

etc.)" (p.

220)

Kudimiyamalai.
and
It

in

"An inscription of the same characters as those found in the other records of Mahendravarman, any case dating from the 7th century was discovered at Kudimiyamalai in the Pudukotta state.
incised on a rock on the slopes of the
hill

was

behind the &ikhanathasvami\emp\e of the place, and


of this inscription, the

at the right

end

of the sixth

and seventh sections

basement

of a

mandapa

belonging to an adjoining rock-cut temple called Melaikkovil covered it up so that a few notes in each sub-section together with the words "samaptah svaragamah" are lost. This inscription is devoted
entirely to

music and

is

said to have
Dr.

been engraved

at the instance of

for the benefit of the pupils.

Jouveau Dubreuil has on

sufficiently strong

a king, a disciple of Rudmcarya grounds which we shall


calls

examine under

'Music', identified this


(p.

unnamed

king with

Mahendravarman whom he

an

accomplished musician."

233-234)

"Coming
classical

to the inscription itself,


viz., (1)

it

is

divided into seven sections corresponding to the seven

Maeffyamagnima, (2) Sad/agmma, (3) Sada/dya), (4) $ad/iarifa, (5) Pancama, (6) JKaifihz?nadfyama&n& (7) f(a/sfhi. The arrangement of the notes on the stone is described by Mr. Bhandarkar as follows :- "Each section consists of a collection of groups of four notes, arranged in sub-sections of 16 each sub-section taking up one line of the inscription .... Each group in a subsection ends in the same note. The note in which a particular mga must be ended is called the nifisa
mgas,
That sub-section which consists of groups having the ny&safo\ their ending note, is put the a section. The other sub-sectins are arranged according to the position of the ending note in the Hindu gamuf'sa, ri, ga, ma, pa, dha, ni," a sub-section consisting of groups ending in ^preceding
(final).

last in

JOB

(Madras) Vol VII

Part 3

&4

933. Excerpts taken from his

fifty

four

page

article.

65

one of groups ending


are not mentioned
in

in /-/and

so

on.'Y*.

E.I.,

Voi.xn, p.227).

the work of Bharata.

The

later

The seven /aj^ymentioned in this inscriptior works such as Mradf-s'iksa and the Sarigifc

ratnafraratf Sarngadeva have them, though with slight differences.

Thus our inscription

is

by King ^////7?////;' whom

we can call

the earliest, permanent record of a wonderful system of notation designec unhesitatingly "the father of South Indian Music". On comparing

this with the definition of the mgffs found in the other two later works, Mr. Bhandarkar has demonstratec that the music of our record agrees more with the Afo/ifftfi'Stfca than with the Sangtfo-mfmfam, a

point that establishes the indebtedness of the M.rfftff-s/foa to our record. This is further corroborated by a South Indian tradition (Even Chlnnaswami Mudaliar records it in his Oriental Music) that the present South

Indian

Music
If

is

based on the teachings


is

of

sage Namda.
after him,

Narada
is

is

the arch-songster of
all

Hindu

mythology.

he

the author of the Siksa

named

he

after

the follower of

Mahendra,

the Father of South Indian Music? Surely even the superior musical accomplishment of the celebrated

sage-musician pale
peculiarities in the

into insignificance before the high

musical equipment of

"Mattavilasa."

The

engraving of this record that

reflect the rollicking

funny temperament of their royal

engraver are
(1)
It

:-

begins with "Siddham", a term of auspicious commencement that is most common in Buddhist records such as the Asokan edicts, the Amaravati and other Buddhist inscriptions. This is followed by "Namah Sivaya" in which the so-called convert to Qaivism is offering worship to the
"Destroyer of the Universe."

Each /n^has got its label or heading on the left side (2) the section concerned, mostly at the beginning of each section.

in

a margin and

is

placed against

The letters are (3) way as other inscriptions


palaeography
(4)

in

an excellent state of preservation and are written exactly

in the

same

of

Mahendra are

at

Thchinopoly, Kancipuram and pallavaram. Their


to

easily points to the record being

assigned
left

Mahendravarman.

At the bottom of the record, on the

hand side again, a colophon reading as

"&ri-Rudracaryasisyena Paramamahesw arena rajna sisya-hitartham krtah svaragamah" announces the author of this musical treatise, who is a king, the devoted disciple of Rudmcarya. He is said to

have made the classification of the swaras for the good of the sisj/as. Who are the &syas? Surely those vocalists that were required as a result of his invention to learn to produce in vocal music (fantfasru//) (See Mamandur inscription) all the s%wws\ha\ a f//J%7can easily produce. The term sisyas

would mean

all

lovers of music or students of music.

is followed by four words in Tamil of about the same period which serve the a correction slip or general remark on the whole subject. They run as "ettirkum elirkum and mean "These (smras) are common to eight and seven." This statement is another stunt probably. Knowing as we do by now Mahendravarman' s ways, we are tempted to suspect that Mahendra probably introduced another /2g*2?also, thus making the total number of rigwselghl. The statement would either mean that all the svaras mentioned in all the seven sections would apply to

The above colophon


of

purpose

ivai uriya"

the eighth raga that he had invented or that the s&ffms mentioned " seventh mga would also apply to the eighth ragx. (P. 305-307)

in

the seventh section under the

66

THE KUDIMIYAMALAI INSCRIPTION ON MUSIC VOL.


Ed. R. Sathyanarayana

SOURCES*

"The present work has for its subject matter the musical inscription at Kudimiyamalai in the hill of Him who has the Sikha) is the in South India. At Kudimiyamalai (lit Mnathasvami temple near the Melaikkovil. This huge inscription is engraved on a rock on the
dukkottai state
:

pe

of the

hill

behind the

ikhanathasvamitemp\e. The end-signs and


in

some of the

last letters of the


in front of

3S of

the

final

sections of the inscription are obscured by the rock-cut


the inscription
is fairly

mandapam

the

slaikkovil,
is

but otherwise the writing


in

well-preserved.

It

written

:ept a line in tamil at the end.

pallavagrantha characters, containing all the headings and the colophon in samskrta It contains quadruple groupings of musical notes pertaining to the

ven archaic buddhagramaragas - Madhyamagrama, Sadjagrama, Sadharita, Pancama, to my :isikamadhyama and Kaisika in vogue in ancient India. Thus the inscription which, musical owledge, is unique in the world, and certainly the only primary evidence of contemporary
ictice in ancient India, is
icription at

Tirumayyam near Pudukkottai was erased


undecipherable condition.
I

worthy of wide notice and systematic research. Unfortunately, a in greater part at a later period and

similar
is

now

nost

in

an

However,

intend to recover what


into

is left of this

inscription at
I

a future date. Besides, on the

need not enter here, believe in the probable existence of me other inscriptions of a similar nature in the same area and have requested the Archaelogical jpartment of India (southern circle) to institute a search for them.
ength of certain reasons

which

The

inscription is believed to

have been composed


author
is

in

the seventh century A.D. on the strength

scriptorial

and other evidence.

Its

generally believed to be

Mahendra Vikrama Varman

the Pallavas.
early as in 1904 and edited by P.R. Bhandarkar in an estampage supplied by the late Rao Saheb Sri H. Krishna of the inscription has been made till now. Thus the Board istri, only an occasional or a casual study Research felt that a systematic study of the inscription would be of considerable value in the study

Though

the inscription

was discovered as

14 with commentary

with the help of

Indian

Music

in its

historical perspective.

the interesting features of the inscription deserving special notice are the quadruple use of the notes a, u, e and ka, ku, ouping of musical notes, dots placed on some musical notes, the the the conspicuous absence of the usage of the notes and ki, the peculiar end-signs placed at and the line 'ettirkum llirkum ivai uriya' at the end". (Foreword id of each line in the

Among

i;

inscription

yii-viii)

Pub. Sri Varalakshmi

Academies

of Fine Arts,

Mysore

1957.

67

).

143-147.

68

(S3*

fiS

Sedfo

69

GLORY OF SRiNIVASA*
Dr. R.N. Aralikatti

"Not only Haridasas but Acharyas and even King Krishnadevaraya of Vijayanagar empire have composed songs in Sanskrit and Kannada singing the glory of Venfafeswff? and highlighting the and possess a blend of importance of devotion and surrender to God. These songs are very sublime and literary graces. Sincere rhythm and meaning. They display a high order of musical excellence and passionate devotion of the poet-devotees are transperant throughout. They are the spontaneous would be proper on this auspicious outpourings of the emotional ecstasy of the ardent poets. It
'

occasion
skrit, in

to consider some of the sample songs in San(of Brahmotsavam of Lord Venkateswara) Kannada and in Marathi by Karnataka King, Acharyas and Haridasas. We may take up the Sanskrit songs first one by king Krishnadevaraya and then by others both in Sanskrit and in Kannada

and one

in

Marathi.
is

There

a palm-leaf manuscript (incomplete)


is titled

in

Madras Govt. Oriental Manuscripts


1

Library
fa-

(bearing No. 18299) which

'Krishnadevaraya

Kriti

(in

Sanskrit) by Krishnadevaraya the

of King's family Vijayanagar Kingdom. The manuscript records the biographical details and his great Guru, who advised him to worship Lord Venkateswara etc. In the first and third verses, Lord Venkateswara is saluted and His glory is described. He has dedicated his Kriti to the Lord. He

mous

ruler of

his teacher to says "samarpayam Venkatshaila bhartre" because he was counselled by Vyasatirth no similarity between Hari and sing the glory of Vishnu in all respects in view of the fact that there is as supreme 'Hari Hara and also that all Vedas, Puranas, Shastras, epics (itihasas) proclaim
1

(Sarvottama).
original

"My guru saw my enthusiam

for

devotion and he instructed

me

accordingly".

His

words are

"utsaham

mama

veekshya

madgurunatha shrivyasatirtho munih


paryalochya puranashastra vividhamnayetihasadikan labdhahstatra kathah Hareh

pasupateh samyam nirasyadhikam Vishnum kirtaya sarvathetyupadishan

mahyam muda dattavan".


who is designated as Venkatesh, make his worshipped by waving ceremonial lights around him by none other than sea of milk Kshirasagar)- a privilege he got as a result of his great penance. The Lord has sun and moon as his eys. He is dark blue in complexion like a cloud. His glorious attributes are
In

the opening verse the king says, "Let that Lord

abode

in

my

heart.

He

is

one,

who

is

Reproduced as

it

is

from Saptagiri

Sept,

996.

70

/ond the description of Upanishadic words. He


ate the original,

is

lauded by

all

the

Gods lead by

their chief. To

"Kshirambodhi tapah phalena

mahata nirajitorasthalah
taradhisha-dinadhinatha nayano

dharadharshyamalah yo vedantagiramalakshyamahima deveshmukhyaih stutah

soyam

tishtatu

mamakina hrdaye
Mukunda

Shr! Venkateshabhidhah"
In
3

the third verse also the king praises the Lord Venkateswara designating him as

in

following words. "Lord's true


all

essence would have been confined

to

words alone had His form


in detail in

not

rvaded

the worlds (universe) eternally. His attributes are described


is

Upanishadic

itements.

He

the Lord of both Sridevi and Bhudevi.


I

He

is

free from

all

blemishes.

He

is

unborn

is

eternal bliss.

salute such

a Lord Mukund (Venkatesh).To quote,

Brahmandanyakhilani chenna satatam


vyaptani tattadrga

Pyakaram sabadamatratamupagatam
yasyaiva satyatmanah
tarn

vedantavacah prapancitagunam lakshmimahivallabham

nityanandamajam nirastaduritam vande mukundam vibhum II


From a sample
:>rds reflect

of the

couple of verses

cited
in

above

it

would be obvious that the

king's poetic

the glory of the Lord, as contained

ilace in his heart


ija

daily

and

to

He says he could not get by mere verbal praise (stuti) of the Lord. So his teacher advised him to perform become permanent devotee of Lord Venkateshwar. He says
the vedas and puranas.
:

evam ca cetasyanavapya

trptim

vacapi pujam kalaye kathatn va;

SriVenkateshadhishiturityudaram citte vicaram kalayan avatsam


Perhaps this refers to his stay in Chandragiri with his guru Vyasatirtha, when he was inspired by be an ardent devotee of Lord Venkatesh by actually performing His daily worship. The
Hill

latter to

otsteps to the

from Chandragiri side were constructed for

this

purpose and

this

bespeaks

of

jvotion of the king to the Lord", (p 3-5)

71

A NEW SANSKRIT WORK OF KRSNADEVARAYA*


V.

Prabhakara Sastri

(Govt. Oriental Mss. Library, Madras)

"Krsnadevaraya states

in

his

AmitktamalyadaVnat he composed some works

in

Sanskrit,

i//2

Madalasacarita, Jnanacintamani, Sakalakathasarasangraha, Satyavadhuprinana and Rasamanjai Some verses from the Rasamanjan and Satyavadhuprinana are cited in the Sanskrit anthologici

work called the Prapancadarpana,


Government
Oriental Mss. Library), in

(A Ms. of this work

was acquired near the border

of

Orissa for the Madr;

which, however, these works are attributed not to Krsnaraya himse but to his poet laureate Allasani Peddana. It may, however, be noted that, like other anthologies, th Prapancadarpana also shows a good deal of confusion regarding the authorship of works cited in

A play ascribed to Krsnaraya,


is

found

in

the Sarasvati Mahal


of the

called the Jambavatikalyana not mentioned in the Amuktamalyad Library at Tanjore. A part of the prastavana in this play is lost. Bi
it

what remains
work.

prastavana and the colophon makes

clear that Krsnaraya

is

the author of th

A new
work. The

Sanskrit work of Krsnaraya has

been

recently discovered

in

the Madras Governmei

is a fragment containing only the introductory portion of tri work and the author cannot be distinctly made out, but from tri verses that are preserved, there can be no doubt that the work was written by Krsnadevaray, From the drift of the verses we can make out the name of the work as th

Oriental Mss. Library.

The Ms.

names

of the

Sakalakathasarasangraha.

In

the

from Sruti, Pura.no., Upapurana and Samhita and

Ms. mentioned above answers this description.


Sakalakathasarasangraha,

Amuktamalyada is said that Krsnadevaraya culled out storie composed the Sakalakathasara- sangraha. Tr Therefore have identified as th
it
I

it

Vyasamya
explicitly

Krsnaraya states that he undertook to write this work at the command of his Guru Vyasa Tirth is said to have been a Guru of Krsnadevaraya according to Madhva literary tradition; bi
this fact
in this

no exact reference to

mentioned

is found in any known historical work. It is noteworthy that this fact work composed by Krsnadevaraya himself. The poet Ayyalarfc

Ramabhadrabegan to compose inTelugu


to the King

at the instance of Krsnadevaraya a big VaisnavitePrabandt


to

called Sakalakathasarasangrahamu, to be dedicated to the king, (This work was intended


Krsnaraya but to Balakrsna the Lord

be dedicated n
no

whom
PP.
1

they worshiped. This correction

was

given by

Sri Sastri in his

"Balakrsnn not Krsnadcva"

See Telugumerugulu

43-1

unexpected death of the Ray a, the work was Madras Government Oriental Mss. Library. It can be inferred that this Telugu compilation oiRambhad is an adaption of the Ray a 's Sanskrit work of the same name, mentioned in the Amuktamalyada, ar

owing probably to tr not completed. This unfinished work is available in tr


1

47 (1 948;

960)) (Pflrisistem-3)but

JOB. Madras

(July

Sept. 1939).

72

by the Raya at the instance of Vyasaraya as is known from the available fragmentary .There seems to be a similar connection between the Sanskrit Sutyavadhiiprinana of Krsnaraya i the Telugu Parijatapaharana of Nandi Timmanna, both of which deal with the same story. Though
tten

Sanskrit original

is

not available,

its

Telugu adaptation

is

available.
of

Extracts from the

Madras Ms.

of the

Sakalakathasarasangraha

Krsnaraya.

Iff

TIT

-i

cm ei ^ H
I

t^H

O
Prof. V.

ANANDA MURTHY
M.A., Ph.D.

DEPARTMENT OF TELUGt
Hyderabad

Head

(Retired)

Osmania University - 500 007.


28/4/94

15, 16

fi97"4S

as

74

Prof.V.ANANDAMURTHY
M.A., Ph.D.

DEPARTMENT OF TELUGU
Osmania
Hyderabad
University
-

Head

(Retired)

500 007.

1.1.

^>43

^o

sios"

rfOo),

CJ*5

2. ra 3. I,

4. I,

5. CPU

<ts

75

Sdb8 ^^^o 3oio^

elrb

^dg^^^^^^

-y5c>rdc;orr

20 ^i^oad), 199

76

VETURI PRABHAKARA SASTRY MEMORIAL TRUST


6/2

RT

(Regd. No. 1573/IV/1982) (New), Vijayanagar Colony, Hyderabad

500 057.
Date

Nov. 25, 1996

To

The Chairman,
T.T.

Devasthanams,

Tirupathi.

Sub

Publications

Printing of the
-

Newly discovered Svarasahita Kirtanas of Annamayya

Financial Aid

Requested.

***

Way

back,

during

1948-49 two huge stone slabs

(7

4'

x 9") containing
in the

some
The

Kirtanas of

Annamacharya,

in Sanskrit

and Telugu Script have been discovered


to the Sri

temple complex at Tirumala and


late Sri Veturi

subsequently the stones were removed

Venkutesvara Museum, Tirupati.

Prabhakaru Sastry

gam was

the Chief source of inspiration behind this

Monumental Discovery*.
been carefully taken
in the

About

three years back, on

my

initiative, the

writings on the stones have

form of estumpages through the courtesy of the State Archaeological Department.

The copied estampages


all

so prepared were studied and deciphered by a team of eminent scholars in Sanskrit, Padasahitya, Epigraphy

and Musieology.
the

It

took about four months to the team to decipher and prepare a definitive reading of

194

lines containing
is

more

than 21 Musical compositions,

The manuscript
select scholars,

now

with the team of scholars which intends to publish the same incorporating and
any, for a better and meaningful reading in a formal
in

acknowledging suggestions

if

group discussion with

preceding the publication,

view of

its

rare

and unique nature.

As the Musical compositions are in Sanskrit language it is appropriate to publish them in a book form both in Telugu and Nagari characters, so that non-Telugu music lovers and scholars the world over, could get the benefit of reading and learning the musical tradition of the past from the available compositions of
the earliest

known
all,

15th Century Telugu Vaggeyakara.

Above

this is the earliest

and the only

known

instance

where Annamayya's Kirtanas are found

incised on stones with Sahitya coupled with detailed Svara notation and indications of Raga, Tala, Pallavi,

77

Charanam and

the nature' of the compositions as well.

Such

monumental work should be publish

forthwith without any further delay or relegating the same to the

Museum

walls goes without saying.

On my
promised

initiative again in April

1994

the then

Government of

A.P. issued a

G.O. sanctioning fun

asked for the conduct of a workshop in


to arrange for the

this regard.

The Director
However,

of Archaeology and
it

Museums, A,

workshop and

the publication.

is

unfortunate that even after tv

and half years the project has not materialised till date, perhaps for paucity of funds. In view of tl International importance of the subject we, the team members of the Editorial Board take full responsibili
to get this

book published.

In this connection,

we

request the T.T.D. Authorities to meet the


the

full

financial expenditure

publication of this rare


Project
is

work connected with

Devasthanams,

in

a fitting manner.

and suppc Budget Estimate for tl

enclosed.

Yours sincerely,
Sd/-

(V.

ANANDA MURTHY)

(Sp.&i

-1949^
"

tfo4SSo3.*&e& a

78

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