The Intricacies and Divinity of Swathi Thirunal's 'Bhavayami Raghuramam'

Swathi Thirunal, the great Vaggeyakara from the erstwhile Travancore kingdom, left behind a rich legacy of Carnatic music. Among his numerous compositions, the Bhavayami Raghuramam stands out for its profound spiritual depth, poetic beauty, and deep devotion. This krithi, composed in the Saaveri raga, is celebrated for its ability to encapsulate the 24000 shlokas of the Valmiki Ramayana into just 24 paadams, 4 paadams, and 6 charanams. It is a masterpiece that requires not just an appreciation of music, but also a comprehension of the Ramayana and some Sanskrit.

A Transcendental Composition

Each charanam in Bhavayami Raghuramam has been meticulously crafted to reflect the essence of the Ramayana without diluting the musicality. Swathi Thirunal's approach to using epithets for the characters rather than their names adds a layer of reverence and respect to the characters of the Ramayana. This technique not only maintains the melody but also bestows the composition with a divine aura.

The Pallavi: A Divine Invitation

The pallavi of Bhavayami Raghuramam is a manifestation of Swathi Thirunal's linguistic prowess. The opening line, 'Bhavayami Raghuramam Bhavya Sugunaaraamam', translates to 'I meditate upon the Raghu RAMAM who is the garden of various auspicious virtues.' This line alone encapsulates the profound spiritual depth of Swathi Thirunal's composition.

Encompassing the Ramayana

Let's delve deeper into the charanams to appreciate the intricacies of this composition:

First Charanam: Bala Kandam

In the first charanam, which represents the Bala Kandam of the Ramayana, Swathi Thirunal personifies the characters with respect. He addresses Vishwamitra as 'Divya Gaadhi Suta' (son of the divine Gaadhi) and Seetha as 'Janaka Suthaa' (daughter of Janaka). This intimate yet reverent approach enhances the spiritual depth of the composition.

Second Charanam: Ayodhya Kandam

The second charanam captures the event of Dasharatha asking Rama to go into exile. Here, Dasharatha is respectfully addressed as 'Arya' (noble). Similarly, Lakshmana is addressed as 'Saumitri' (son of Sumitra). These choices not only maintain the rhythm but also imbue the composition with a sense of respect and reverence for the characters.

Third Charanam: Aranya Kandam

The third charanam, which describes the episode of Sage Agastya giving divine weapons to Sri Rama, uses the epithet 'Sucharita Ghataja' (one born from the pot with noble conduct). Despite using a common name for Agastya, 'Kumbha muni', in other contexts, Swathi Thirunal's choice of 'Sucharita Ghataja' highlights the character's virtuous nature. This linguistic brilliance is a testament to his erudition.

Fourth Charanam: Kishkindha Kandam

The fourth charanam narrates the abduction of Seetha by Ravana. Here, Ravana is addressed as 'Dashaasya' (ten-faced), and Seetha as 'Janakajaa' (the daughter of Janaka). The epithet 'Nabhomani Tanuja' (one born from the body of the gem in the sky) for Sugriva is another instance of linguistic excellence. Sugriva, being considered the son of the sun, is addressed as the single shining gem in the sky, which reflects the glory of the character.

Fifth Charanam: Sundara Kandam

The fifth charanam describes the episode of Hanuman crossing the ocean to present a ring to Seetha. Here, Hanuman is referred to as 'Vanarottama Sahita Vayusunu' (son of Vayu along with aid from other superior monkeys). The phrase 'Bhaanu Shata Bhaasvara Bhavya Ratnaanguliyam' (a divine ring with the luster of a hundred suns) reveals the richness of Swathi Thirunal's wordplay.

Sixth Charanam: Yuddha Kandam

The sixth and final charanam depicts the conflict. Swathi Thirunal addresses the demons as 'Pishitashana' (meat-eaters) and Ravana as 'Dasha Kanta' (ten-necked). This choice of words not only maintains the tone but also adds a dramatic flair to the composition.

Conclusion

The Bhavayami Raghuramam is a beacon of Swathi Thirunal's profound understanding of language, grammar, and spiritual depth. The use of epithets and careful selection of words demonstrate his mastery over the Sanskrit language and his ability to convey the essence of the Ramayana through music. For true appreciation, one must explore the krithi with a thorough understanding of the Ramayana and the nuances of Sanskrit. This approach not only unearths the myriad depths of the composition but also ensures that the true import and intention of the composer are realized.

The true beauty of Swathi Thirunal's works lies in their ability to transcend the bounds of mere musical notes and melodies. They resonate with a profound spiritual and devotional fervor that continues to inspire generations of musicians, scholars, and devotees.