ArtCity: The Tamil trinity from Seerkazhi

The names of the ‘Trinity of Carnatic music’ –– Saint Tyagaraja, Muthuswamy Dikshithar and Shyama Sastri - who lived in Tiruvarur, are quite well-known among Carnatic music lovers. But, not many know about Muthu Thandavar, Arunachalakkavirayar and Marimutha Pillai, known as ‘The Seerkazhi Trinity’. They belonged to an earlier period and contributed significantly to the growth of Carnatic music through their Tamil compositions.



Muthu Thandavar (1525 – 1600) is the senior-most of the trio. He is said to be one of the architects of the krithi format, with the pallavi, anupallavi and charanam. Sixty of Muthu Thandavar's compositions and 25 of his padams are available now.

The story goes that a little girl who fed a young Thandavar when he fainted of hunger in a temple asked him to go to Chidambaram and sing songs on Nataraja. She asked him to start his first song with the first sentence he heard upon entering the temple. As he entered the temple, he heard a devotee say, ‘Boologa Kailasagiri Chidambaram’, meaning, Chidambaram is the veritable Kailasa on Earth. Immediately, this song burst forth from his lips, 



“பூலோக கயிலாசகிரி சிதம்பரம் அல்லால்

புவனத்தில் வேறும் உண்டோ?”

“‘Boologa Kailasagiri Chidambaram Allaal

Bhuvanaththil Vaerum Undo?”

This lovely composition describes the greatness of Chidambaram in endearing lyrics.

Another popular song of his is ‘Aru Marundhoru Thani Marundhu’, sung in (Kambhoji/Mohanam). It is said that he composed this song when he was bitten by a snake and prayed to the Lord to cure him. Finding that he was immediately cured, he composed ‘அரு மருந்தொரு தனி மருந்து அம்பலத்தே கண்டேனே’ (Aru Marundhoru Thani Marundhu Ambalathae Kandaenae), describing the Lord as a rare and unique medicine.  ‘Aadikkondaar Andha Vaedikkai Kaana Kann Aayiram Vaendaamo’(Mayamalavagowla) is another lovely composition that showcases Shiva’s thandavam.

‘Thandhai Thaai Irundhaal’ (Shanmukhapriya), ‘Saevikka Vaendumayyaa’(Andholika) and ‘Easanae Koti Surya Prakaashanae’( Nalinakanti)  are some of his other famous krithis, often sung by popular artistes today. He was one of the earliest composers of padams and his ‘Theruvil Vaaraano’ (Khamas) and Ittanai Tulambaramo (Dhanyasi) are widely used by Bharatanatyam artistes.

Arunachalakavirayar (1711 - 1779)

If Swathi Thirunal Maharaja packed the Ramayana in six stanzas in his hugely popular ‘Bhavayaami Raghuraamam’, Arunachalakavirayar packed both the Ramayanam and the Bhagavatham in one song, ‘Yaen Palli Kondeer Aiyaa?’ Set in Ragamalika, the first part of the song lists out the important episodes of Rama’s life, while the second one describes the exploits of Krishna, culminating in His Geethopadesha.



It is interesting to note that this lovely song was composed by Kavirayar as the ‘Thodayam’ (auspicious song) before the arangetram of his ‘Rama Nataka Kirtanas’ (in the form of an opera) at Srirangam temple. This seems to have become even more popular than some of the ‘Rama Nataka Kirtanas’ themselves. However, we cannot overlook the popularity of songs like ‘Yaaro Ivar Yaaro’, ‘Sharanam Sharanam Raghuraamaa’, ‘Raamanukku Mannan Mudi Thariththaalae’, ‘Anumaanae Saamikkindha’ and ‘Kandaen, Kandaen, Kandaen Seethaiyai’, which form part of the opera. It is noteworthy that Kavirayar referred to Seetha as ‘Yaaro Ivar’ and not ‘Yaaro Ival’, indicating the respectful way in which Sri Rama looked at women.

Originally, the music for these was composed by Venkatarama Iyer and Kodandarama Iyer. Later, others such as Ariyakudi Ramanuja Ayyangar composed different tunes for these songs; the original tunes are no longer heard. The simple diction of these kirthanas, interspersed with proverbs and set to appealing music has won the hearts of the elite and the laypeople alike.

Arunachalakavirayar was born in Tillaiyadi in Tanjore district, but later came to settle in Seerkazhi and hence came to become one of the Seerkazhi Trinity. He has also authored many other excellent literary works such as 'Ajamukhi Natakam', 'Anumar Pillai Tamil', 'Sirkazhi Sthalapuranam', and 'Sirkazhi Kovai'.

A contemporary of Arunachalakkavirayar, Marimutha Pillai (1712-1787) started composing even at a very early age. His first composition is ‘Puliyoor Venba’, which he composed in praise of the Lord of Chidambaram. (Chidambaram was also known as Puliyur and Thillai). It is said that once Pillai’s eldest son left home and he appealed to Lord Shiva to make him return.  The Lord asked Pillai to compose a ‘prabhandam’ on him. Pillai did so the very next day and this work is called ‘Puliyur Venba’. Pillai uses ‘Thillai’ as his mudra and many of his compositions are on Nataraja and are in the form of ‘Nindastuti’.(It appears to be a criticism, but is actually a praise)



Twenty five of his compositions are now available, while it is believed that he composed 50. His compositions usually have many charanams, rich in lyrical beauty. In ‘Kaalai Thookki Nindru Aadum Deivamae’ (Yadukula kambhoji), one of his enjoyable songs, each stanza describes Lord Nataraja’s dance in vivid detail and the word  ‘தூக்கி’ appears in all the stanzas, presenting a new idea, each time .

“செங்கையில் மான் தூக்கி சிவந்த மழுவும் தூக்கி

                                            

அங்கத்தில் ஒரு பெண்ணை அனுதினமும் தூக்கி

கங்கையைத் திங்களை தரித்த சடைமேல் தூக்கி  

                                                            

இங்கும் அங்குமாய்த் தேடி இருவர் கண்டறியாத”

 

“Sengaiyil Maan thookki Sivandha Mazhuvum Thookki,

Angaththil Oru Pennai Anudhinam Thookki,

Gangaiyai Thingalai Tharitha Sadai Mael Thookki,

Ingum Angumaayththaedi Iruvar Kandariyaatha”.

 

Other compositions such as ‘Uppum Karpooramum’ (Behag), ‘Oru Kaal Siva Chidambaram Endru Sonnaal’ ( Arabhi), and ‘Edhukkithanai Modi Thaan’ (Surati) are also quite popular. 

Marimutha Pillai’s krithis stand out for their refined diction, lovely imagery, and intense devotion.

 

Mani Mandapam






A ‘Mani Mandapam’ in honour of the Tamil Trinity has been built in Seerkazhi and the statues of the three composers have been installed in it.