An excellent write up by Dr. Pantula Rama, as posted in FB, interpreting the bhavam of the great Tyagaraja Pancharatnam in the Raga Aarabhi.
I think it is important to refresh the complete meaning and the interpretation of 'Sādhinchenē' at this juncture. The following presentation is majorly based on the article of Sriman N Ch Krishnamacharyulu who threw light upon this original format. With great humility I wish to first emphasize the authority of Sriman NCh Krishnamacharyulu in making such a significant and daring proposal. He was a multifaceted genius. A Top Grade Violinist, a Vocalist of tremendous capability, exponent in the fields of Tarka, Vyakarana, Mimamsa etc, rightly honored with the titles – Sangita Sahitya Kalanidhi, Harikatha Chudamani, Sangita kalasagara, Gana kala Prapurna etc. He was well versed in Samskruta, Andhra, Dravida bhashas. With such an illustrious profile he was an authority on the literary, musical or structural aspects of a composition not withholding the fact that he was a brilliant composer himself. Marajananeem in Natakapriya, Gowri sukumari in Vasanta, a composition in Keeravani in the exact format of a pancharatnam in praise of Tyagayya, rare compositions with literary prakriyas like 'Garbhakritis' etc to sight a few.
Meaning of the composition – In this song Sadguru Sri Tyagaraja converses within his own mind about how unkind Rāmā has been to him. The main desire of a devotee is salvation and he is always in a hurry for unison with the Supreme. However there is a destined time for that to happen. Unable to bear this delay, the devotee taunts God. This appears as if he is blaming the Lord. In this blame game the description of the entire Divine play is encapsuled. This literary embellishment is called 'Vyāja ninda' or 'nindā stuti'.
Let me first put forth the meaning of the two refrains in the present discussion.
Sadhinchene – as per Dictionary –
Accomplished/achieved/succeeded/established (as in-he accomplished the feat), acquired (as in - he acquired the necessary things for them), solved (as in – he solved their problem), learnt/grasped (as in - he grasped the meaning of the concept), provided solace, conquered/took control of (as in – he conquered the kingdom) etc.
Sadhinchene as per colloquial usage – tormented, pestered, nagged, caused pain/hurt etc. This being colloquial cannot be found in a dictionary but is widely used by Telugu speakers.
Samayāniki tagu mātalādene - The true meaning of this phrase 'Samayāniki tagu mātalādene' read in isolation refers to - One who spoke so as to suit the context and get away; One who does not have a straight talk. One who does not mean what he says. This is not a positive attribute. However in conjunction with the remaining part of the anubandham it takes a positive color and refers to – One who spoke the right words at the right time.
Pallavi:
Sādhinchenē O! manasā ||
O! Mind he has achieved.
Anupallavi:
Bōdhinchina sanmārga vachanamula
Bonku jēsi tā pattina pattu || Sādhinchenē
Now the question is what did he achieve? He has falsified all the words of righteous path that he has taught (that he would protect those who have undeterred devotion in him, in Bhagavat Geeta etc) and established his purpose with pertinacity (of sticking to the Divine design of granting salvation only at the right time).
Swarasāhityās:
1. Dēvakī vasudēvulanēginchinatu || Sādhinchenē
He achieved his purpose by outwardly seeming to have tormented Dēvaki and Vasudēva in taking birth as their son but depriving them of the pleasure of raising him.
Please note that he has not spoken any words befitting the context (samayaniki tagu matalu) in this context.
2. Rangeśudu sadgangā janakudu sangīta sāmpradāyakudu || Sādhinchenē
He is the one who is the source of the sacred Ganga and the sacred tradition of music, Sri Ranganatha! Akin to an actor ruling the stage (rangasthalam), playing all the roles to accomplish his Divine design.
Again there are no samayaniki tagu matalu here.
3. Gōpījana manōrathamosangalekanē gēliyu jēsē vādu || Sādhinchenē
He not only refrains from fulfilling the desire of the Gopikas but also makes fun of them (the episode of vastrapaharanam) and thus conquers their ego.
Where is the necessity for any matalu here?
4. Sārāsārudu sanakasanandana sanmunigēyudu sakalādhārudu ||
Sādhinchene
He is the one with substance and non-substance, hailed by great sages like sanaka sanandana, the Source: who accomplished the Divine design, provided solutions and solace to the good people and conquered (with love and grace) the hearts of all these great devotees.
Not a single māta is required here.
5. Vanitala sadā sokkajēyuchunu mrokkachēsē paramātmudadiyu ga-
ka yasōda tanayudanchu mudambunanu muddu petta navvuchundu hari||
Sādhinchenē
He enamored the Gopikas and made them realize that he is the Supreme. Not only that, when Yasoda kissed him, carried away by the joy of motherly love, he succeeded in unfolding the Divine play once again by smirking at her and making her realize that he is the Paramatma himself.
There is only that bewitching, enigmatic smile. No matalu at all.
6. Paramabhaktavatsaludu suguNapārāvāruNdājanmanaghudī
kalibādhala dīrchuvādanuchunē hrudambujamuna jūchuchundaga ||
Sādhinchenē
In spite of all these previous experiences with his devotees, which are only his leela, his affection for them is immense like the ocean. His true attribute is to consider even the flaws of a devotee as positives. That is vatsalya. He is eternally flawless. I presumed that he would relieve me of all my sufferings of this birth and have been nesting his vision in my heart all along. However he stood firm and continued to torment me.
No matalu whatsoever.
7. Harē Rāmachandrā raghukulēśa mrudusubhāsha sēshaśayana paranā-
rīsōdara aja virājaturaga rājarājanuta nirāmayāpaghana
sarasīruhadaLāksha yanuchu vēdukonna nannu tā brōvakanu ||
Sādhinchenē
O! Hari! Ramachandra! Emperor of the Raghu dynasty! Soft and well spoken one! Reclining on the bed of snake! Brother to all other women (denoting the ekapatnivratam of Rāmā)! One without birth! Riding the Garuda! Hailed by kings of kings! One with a healthy physique! Lotus eyed! – Thus I have implored. He tormented me by still not responding.
Leave alone matalu he was not even responding.
8. Śrī Venkatēśa! Suprakāśa! Sarvōnnata! sajjanamānasa nikē-
tana! Kanakāmbaradhara! Lasanmakutakundala virājita! Harē yanuchunē
pogadagā tyāgarājagēyudu mānavēndrudaina rāmachandrudu||
Sādhinchenē
Sri Venkatesa! Radiant one! The best! Residing in the minds of good people! Clad in golden robes! Shining in his resplendent crown and earrings! Whilst I, Tyagaraja sing his praise like this, the greatest of men, Rāmachandra remained unshakeable and unyielding and thus tormented me and achieved his purpose of following the Divine design.
Continued silence. No matalu.
Anubandham:
Samayāniki tagu mātalādene - Sadbhaktula nadatalitlanenē
Amarikagā nā pooja konenē - Aluga vaddanenē
Vimukhulatō chērabōkumanenē - Vetagalgite tāLukommanenē
Dama śamādi sukhadāyakudagu sri -Tyagarajanutudu chenta rākane ||
Sādhinchenē
Till now the composition was all about his Divine play (Leela Vilāsamu). Now is the time for matalu. He spoke the right words at the right time. He motivated Arjuna in the battlefield with his contextual words. He quoted the conduct of true devotees. He accepted my prayers with great composure. He asked to avoid sulking in anger. He said, " Do not entertain the company of indifferent (in this context indifferent to God) people". He asked to bear when in anguish (to attain equilibrium in both pleasure and pain-sthitapragnatva). He also granted the divine virtues of restraint of the mind, restraint of the senses etc (shatka sampatti or the 6 virtues sama, dama, titiksha, uparati, sraddha and samadhana), which give eternal peace and happiness.
Even after I followed all his teachings he has stuck to his decision of not coming to me. He has succeeded in his stubbornness and not granting me salvation.
Analysis
1. When we have to analyse the meaning, there are 4 things to be taken into consideration – 1. Yogyata (mutual fitness) - the meaning of the sentence should not be contradicted by the constituent words. For e.g. 'Lit up with darkness' has words that are contradictory and does not make sense 2. Sannidhi (proximity) - a sentence is meaningful only when the words therein are continuous with one another in time and space 3. Ākānksha (expectancy) – that quality of the words of a sentence by which they expect or imply each other; In simpler words, the mutual need for the words to make complete sense of a sentence. 4. Tātparya (Sense) – the meaning of the sentence cannot be established without taking the intention of the speaker or writer into account.
The requirement of Yogyata is fulfilled only when the swarasahityas are followed by sadhinchene. If we suffix each one of the swara sahityas with samayaniki, it is clear that the yogyata fails. They contradict each other. The phrase Samayāniki tagu mātalādene does not possess anwayam, that is, to have proper connectivity in meaning to any of the Swara Sahitya lines.
Also according to vyakarana sastra the science of grammar, the best way to convey anything is as follows –
Alpāksharam asandigdham sāravat viswatōmukham
Astōbhamanavadyam cha sūtram sūtravidō viduhu
1. As concise as possible (I am compelled to be elaborate in my explanation this time around, in view of the need of the hour)
2. Doubtless 3. Meaningful 4. Universal 5. Flawless 6. Acceptable to all.
Sadhinchene is like a 'sutra' or the ruling or pivotal idea in this composition, which has all the aforesaid qualities. Samayaniki pertains only to the appended or extended part that is a flow of unstoppable thought in Tyagaraja's mind. This is the reason for multiple vaggeyagakara mudras similar to jagadanandakaraka. The thread is very clearly broken when 'samayaniki' suffixes the swarasahityas. Only the central idea needs to be revisited time and again as in the case of the pallavi.
Also the usage 'samayaniki tagu mataladene' sounds derogatory as a suffix to the swarasahityas because it describes Krishna, Ranganatha, Rama or Sri Venkatesha as manipulative, two-tounged or deceitful, which a true bhakta like Tyagaraja, would never have done even in his Vyajaninda; More so when it is about his ishta daivam Rāmachandra whom he describes as 'oka māta oka banamu oka patneevratudu'. The correct meaning of samayaniki comes to the fore only when it leads the anubandham.
2. Structurally speaking, the other ratnas, even if not grouped as such by the composer himself, have a very obviously similar format. Any attempt to forcefully create a new format or compare with another format is redundant.
3. Prosody - The Yati maitri and Prāsa maitri normally followed in Vaggeyakaras' krithis is a very important literary function. Yati is similar letters placed in two parts of a line. Prāsa is the second letters in two different lines being the same.
In the present krithi -
Sādhinchenē O! manasā
Bōdhinchina sanmārga vachanamula
Bonku jēsi tā pattina pattu
Prāsa for the first two lines is dha.
Yati in Bo in Bodhinchina to Bo in Bonku jesi
Now in the Anubandham -
Samayāniki tagu mātalādene - Sadbhaktula nadatalitlanenē
Amarikagā nā pooja konenē - Aluga vaddanenē
Vimukhulatō chērabōkumanenē - Vetagalgite tāLukommanenē
Dama śamādi sukhadāyakudagu Sri - Tyagarajanutudu chenta rākane ||
Here the Prāsa aksharam is 'ma'kāra that is the consonant 'ma' for all the four lines. Yati is Sa to Sa, A to A, Vi to Ve, Da to Tā in Tyagaraja. These are as per established rules of Telugu Chandas.
Taking out half of the first line 'Samayāniki tagu mātalādene – sadbhaktula nadatalitlanene' and suffixing it to all Swara Sahityams is breaking the Sādharana Shabda dharma of the structure.
4. Also, this amounts to 'Quoting in isolation' wherein a passage is removed from its surrounding matter in such a way as to distort its intended meaning. This is called Quoting out of context or Contextomy. This may be intentional or accidental when someone misunderstands the meaning and omits a meaningful part, thinking it to be non-essential. Hence the present issue of taking out half of the first line of the anubandham –
Samayāniki tagu mātalādene - Sadbhaktula nadatalitlanenē, is a classic case of 'quoting in isolation'.
5. Musically speaking, Tyagaraja has always followed the sangita sahitya samanvayam (correlation between music and lyric) very organically and effortlessly. So the refrain of sadhinchene only enhances the flavor of the composition. It is only out of familiarity that one feels attached and more comfortable with the samayaniki refrain and a little resistant to the sadhinchene refrain. Once this hurdle is crossed, the emphatic stretch of sadhinchene and the pause thereafter strongly highlights – the Divine Design and play (Leela Vilasa) of the Supreme, the resultant introspection and at the same time the purpose and soulfulness of the swara sahityas. His compositions are always beautifully lucid at the surface and deeply soul searching at the core. This structure is also the same and any other arrangement makes it messy and complicated, which is not the true nature of a Tyagaraja kriti.
