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Muthuswami Dikshitar (1775 - 1835), an outstanding genius of the world of Karnatak music is venerated as one of the Trinities, the others being Tyagaraja and Syama Sastri. His name is being remembered by music lovers during this week and functions to commemorate his birth anniversary (Mar. 24) are being arranged to expound his contribution to South Indian music. He is considered as second to none among the Vaggeyakaras. When compared to the works of Tyagaraja, who unraveled all the beauty hidden in music through his soul - stirring compositions, Dikshitar made a slow but sure head - way in the mysterious world.

Medium of expression:
While Tyagaraja’s compositions were in his native tongue Telugu, and they made a direct entry into the hearts of music lovers, Dikshitar chose Sanskrit as the medium of expression. "His music had a slow, measured tempo and a majestic gait," says a writer. His songs were said to be heavy and ponderous, though dignified and not lacking in appeal.

Muthuswami Dikshitar was born at Tiruvaroor in Tanjore District of Tamil Nadu. He was the eldest son of Ramaswamy Dikshitar. Muthuswami Dikshitar's younger brothers were Chinnaswami Dikshitar and Baluswami Dikshitar. He had mastered the text of the vedas before he was 16. He had delved in the vast area of literature and had a wide and profound knowledge in it. He had read prose, poetry, drama, rhetoric and grammar. His knowledge was not confined to Sanskrit. He had read profusely Tamil and Telugu works also. He was said to be an Upasaka of Devi and was devoted to Sri Vidya. He had a profound knowledge of Jyothisha, Mantra and Tantra sastras, as well as Vydya shastra.

Verbal imagery:
The slow, measured tempo of his music was not a hindrance but it gave him ample scope for delineating a complete picture of the Raga. He was very innovative and had very interesting devices like Raga Mudra, Prasanuprasa, Swarakshara and sahitya of Madhyama Kala. These are said to be marvels of verbal imagery and musical architecture, for which he is very much noted. His compositions of Navagraha Series and the esoterics of Sri Vidya in Navavarana and sthala mahatmya in Panchalinga series are noteworthy. His compositions in praise of Tyagaraja, Guru Guha and Abhayamba are very popular. They combine lofty music with skill in design. He strictly adheres to tradition. Each of his composition is a perfect example of his mastery of Sanskrit and the classical works of literature. Many attempts are made by great scholars and critics to compare Dikshitar and Tyagaraja. Through they both started on similar foundations, they greatly differed in technique. Tyagaraja is considered to be a great tone poet. Dikshitar is not as popular as Tyagaraja.

Worldly pursuits:
Dikshitar was considered as an earnest sadhaka. He was calm and serene. He attached no importance to worldly pursuits. He was dedicated to the cause of Sadvidya. His medium adopted for promoting his cause was Gana vidya — the knowledge of song. Dikshitar's krithis reveal his personality. He had an exquisite sense of diction. His compositions are in pure and dignified Sanskrit and can be considered as models in this respect. One can find a perfect concord between word and sound in his kritis.

Muthuswamy Dikshitar's past life is steeped in tantalizing mystery. Legend has it that Dikshitar was a pupil of Chidambaranatha Yogi. He is said to have been waiting for the moment when Dikshitar would come under the yogi's spell. When that moment came, Dikshitar was at once attracted by the yogi. The yogi came to be his guide, philosopher and friend. It is said that when all his Karma was dissolved, he inherited his past and took up his progress from where he had left in his previous life. It was the yogi that initiated him into the mysteries of Sri Vidya Mahamantra.

When the time had come for the yogi to leave the place where he had met Dikshitar, he look his pupil with him. They went to Banaras, where Dikshitar sat at the feet of his guru to learn Sri Vidya to perfection. The great Goddess Vishalakshi at last took mercy and opened her heart. The pupil had waited for this Vidya through many ages and had passed through sorrow and delight, and through light and shadow. Thanks to the divine grace of the great Goddess, Muthuswamy had become a Mahapurusha. The Goddess blessed him and he went out into the musical world to take up his mission of handing the torch of wisdom to all those who were worthy of it.

Six - lettered mantra:
He then went to Tiruttani and stayed there for a long time. The place is said to be the spot of Subramanya's manifestation. He mastered the six - lettered mantra of Lord Guha. It is said that God Skanda (Chengalvaraya) gave his darshan to Dikshitar and asked him to open his mouth. A piece of sugar candy was left in his mouth. Dikshitar proceeded on his mission, with renewed vigour. He composed a kriti spontaneously in praise of the Lord in Raga Malavagoula: “Sri Nathadi Guru Guha Jayati”. He composed a total of eight kritis in praise of the great Lord. He then went to Kanchi and began the upasane of the Great Devi, the Goddess of Mercy. He perfected himself in the mysteries of Sri Vidya. He composed a number of Kirtanas in the course of his stay there for four years. The two most famous kritis are Kanja Dalayatakshi and Ekambaranatham.

He then went to Tiruvaroor and had the darshan of Tyagaraja. Two of his great song - pieces were Thyagesa and Kamalamba. A number of other compositions were born and some of them are on Ganapathi, the most famous being Vathapiganapathi. He composed quite a number of kritis in diverse ragas and talas. Dikshitar's brothers dutifully popularised his kritis.

HSK
Courtesy: Star of Mysore