Maaye Tvam Yaahi | Muthuswamy Deekshitar | Sangeeta Kalaanidhi Dr. S. Ramanathan - Vocal and Veena скачать в хорошем качестве

Maaye Tvam Yaahi | Muthuswamy Deekshitar | Sangeeta Kalaanidhi Dr. S. Ramanathan - Vocal and Veena

Composer: Muthuswāmy Dīkṣitar Rāga: Taraṅgiṇi  Tāḷa: Ādi Vocal and vīṇā renditions: Saṅgīta Kalānidhi Dr. S. Rāmanāthan This video includes: Sanskrit verse • Transliteration • Meaning in English Sanskrit Compositions in Carnatic Music – कर्णाटकसङ्गीतस्य संस्कृतरचनाः https://nivedita2015.wordpress.com/ma... Audio Courtesy:    • mAye thwam yAhi-tharangiNi-Adhi- Muthuswam...   in the Channel named Suswara Lahari (Narayan Kumar) Lyrics: https://guru-guha.blogspot.com/2008/0... Playlist for Dr. S. Ramanathan songs in this channel -    • Dr. S. Ramanathan   [पल्लवि] माये त्वं याहि मां बाधितुं का हि [pallavi] māye tvaṃ yāhi māṃ bādhituṃ kā hi •माये (māye) O Māyā ! त्वम् (tvam) you याहि (yāhi) go away •का हि (kā hi) who indeed are you? •बाधितुम् (bādhituṃ) to afflict, to bind, to trouble; माम् (mām) me Notes: The pallavi opens with assertive discernment. Māyā is directly addressed and dismissed (yāhi), not out of aversion, but because her power to bind (bādhituṃ) is questioned (kā hi). This prepares the way for the later movement from discernment to surrender, shifting from rejection of bondage to invocation of a benevolent, protective presence. Notes: yāhi carries a sense of withdrawal or dismissal, making it apt for rejecting Māyā’s binding influence. kā hi has a rhetorical interrogative meaning and is used here to question authority. The recurrence of similar-sounding words in this kṛti (yāhi, kā hi, ehi, dehi, pāhi; gāye, geye) creates an anuprāsa śabdālaṅkāra. Predominantly cast in sambodhana–prathamā (vocative case), Dīkṣitar directly engages with Māyā. [अनुपल्लवि] ध्येये देये त्वमेहि मुदं देहि मां पाहि [anupallavi] dhyeye deye tvamehi mudaṃ dehi māṃ pāhi •ध्येये (dhyeye) O worthy of meditation •देये (deye) O giver, bestower (of grace) •त्वम् (tvam) you; एहि (ehi) come •देहि (dehi) grant me; मुदम् (mudam) joy •पाहि (pāhi) protect; माम् (mām) me Notes: This verse moves from meditation to grace. This culminates in a direct appeal for presence, joy, and protection, sustaining an intimate invocative tone. [1. चरणम्] गाये गेये याहि का हि एहि देहि पाहि [1. caraṇam] gāye geye yāhi kā hi ehi dehi pāhi •गाये (gāye) O one to whom I sing •गेये (geye) O one who is worthy of being sung •याहि (yāhi) go away; काहि (kā hi) who indeed are you (to bind me)? •एहि (ehi) come; देहि (dehi) grant (joy); पाहि (pāhi) protect me Notes: The phrase brings together dismissal (yāhi) and invocation (ehi, dehi, pāhi), not as a contradiction, but as a contextual shift: Māyā is rejected when it binds, and invoked as a benevolent, protective presence. [2. चरणम्] उपाये उपेये सरसकाये रसकाये सकाये आये [2. caraṇam] upāye upeye sarasakāye rasakāye sakāye āye •उपाये (upāye) O one who is the means; उपेये (upēye) O one who is the goal •सरसकाये (sarasa+kāye) O one of delightful, graceful form •रसकाये (rasa+kāye) O one who embodies rasa, the aesthetic experience •सकाये (sa+kāye) O one who is embodied in a form •आये (āye) (a sound-based vocative to call the deity) Notes: Variations upēye→pēye, āye→aye. aye is also a sound-based vocative like ayi. āye is used here for phonetic completion. This sequence, sarasakāye →rasakāye →sakāye→āye, follows gopuccha-yati (गोपुच्छ-यति), a structure that gradually reduces like a cow’s tail. [3. चरणम्] समुदाये गुरुगुहोदये सुधातरङ्गिणि अन्तरङ्गिणि [3. caraṇam] samudāye guruguhodaye sudhātaraṅgiṇi antaraṅgiṇi •समुदाये (samudāye) O one who exists as the manifested totality •गुरुगुहोदये (guruguha+udaye) O one in whom Guruguha manifests •सुधातरङ्गिणि (sudhā+taraṅgiṇi) O nectar-flowing one, embodiment of bliss •अन्तरङ्गिणि (antaraṅgiṇi) O indwelling, intimate presence within Notes: Guruguha is Dīkṣitar’s mudrā. There is also a sahitya-based hint to the rāga Taraṅgiṇi. This phrase shows a deliberate inward movement: Outer manifestation → self-awareness → bliss → the innermost presence.