Word To Word Meaning of "mokshamu galada" kirtana

Mokshamu = (from Hindu faith) a state where the individual turns away from the senses, the manifest external world, and merges with the Eswara; galada = kalada = is there? Does it exist? ; bhuvilo = on the earth; jivan = life; muktulu = those who are released, liberated from the never ending cycle of births and deaths; gani = kani = not, who are not; varalaku = for such people;

Sakshatkara = the sudden appearance of “Brahman”, Narayana, Siva, Devi or any of the “embodiments of pure compassion and energy” as felt by a devotee. See biographies of Sri Ramakrishna, Jillellamudi Amma, and Trilinga Swamy; ni = Your; sadbhakati = true devotion towards the Lord (Sri Rama); sangita = music; jnana = the knowledge and wisdom; vi-hinulaku = people who are bereft of (such knowledge), for such unfortunate (hapless) persons;

Prana = life energy; (ex: prana is one of the five pranas. The prana, apana, udana, samana, and vyana form the set of five pranas. We may conceive these as five essential energies always present in any living person. Details about these matters are given in Yoga books. Refer to earlier posts for Yoga books. The prana energy is considered as the one that moves up through body. We may visualize this as the main energy that propels the vocal chords and is involved in speech, recital, and singing.) anala = fire (located in the stomach), also known as the fire that helps in the digestion of food (jathara-agni); sam-yogamu = proper union, close joining; valana = due to (such joining); pranava-nadamu = the latent sound of ‘Om’; sapta-swaramulu = the seven basic notes in the Indian system of music, i.e., sa, ri, ga, ma, pa, da, ni, sa; baraga = flow, flowing; vina-vadana = the Indian musical string instrument, Vina. The long multi-stringed instrument with two hollow spheres (like pumpkins) on either end. The pumpkin close to the bridge is the larger one; loluDau = enchanted by, fully absorbed by; Siva = Lord Siva. Where did we see Siva absorbed with Vina music? In Dakshinamurty, Siva is always depicted with a vina. So is Saraswati, we find Her always with the stringed instrument. In the Hindu puranas, Saraswati is considered as the sister of Siva. Once to impress Siva, Ravana played vina when he was crushed under the Kailas Mountain. And of course, the ever wandering kind preceptor Narada is always with the vina, hung from his shoulders.

Mano = of mind; vidhamu = the method, the technique; erugaru = do not know, do not comprehend; Tyagaraja vinuta = so aptly praised by Tyagaraja;

Song in Swati Tirunal movie

Copyright 2021 by the author (Additions and corrections will be duly updated later)

"Mokshamu Galada" - An Exploration

Originally I was very hesitant to write on this well known Tyagayya kirtana; I felt it above my pay grade (as they say here in America!) to talk about ‘mokshamu’.

Mokshamu = release from the cycles of multiple births and deaths; galada = kalada = is (it) there? bhuvilo = on the earth; jivan = life; muktulu = those who are released, liberated from the never ending cycle of births and deaths; gani = kani = not, who are not; varalaku = for such people;

Sakshatkara = the sudden appearance of “Brahman”, Narayana, Siva, or any of the “embodiments of pure compassion and energy” as felt by a devotee. కాదు, ఇది కట్టు కథ కాదు. ఈ పవిత్రమైన విషయాలు పుక్కిట పురాణాలు కావు. నిజముగా తెలుసుకోవాలని ఉంటే, శ్రమ చేసి త్రైలింగ స్వామి వారి బోధలు, జీవిత చరిత్ర, శేషాద్రి స్వామి వారి మహిమలు మరి ఎన్నో మహనీయుల చరిత్ర వెదికి వినయముతో చదవాలి. కొన్ని మంచి అలవాట్లు అలవరుచుకొని, వారు చెప్పినవి ఆచరణలో పెట్టాలి. We have to subdue our burdensome useless ego and first learn humility, try to be truthful and sincere in our exploration. Swami Vivekananda’s words during the last moments of his life are very illuminating. “Brahman” can only be felt, no amount of teaching, reading, or spoon-feeding (except the direct lightning strike of a guru, known as శక్తి పాతము) will help in this regard. The blinding appearance of Devi or the Mother’s hand feeding for Her child (ex: a famished Annamayya) on Tirupati hills - such incidents did happen. The sole purpose of Carnatic (or any devotional) music is to pray and seek such an ‘exalted state’, is to feel that firsthand bliss on this earth. Sri Ramakrishna, out of pure compassion, demonstrated such an ecstatic state (తన్మయత్వం)  to his disciples. The Telugu community can never fully pay the debt to Dr. Balamurali for rendering many moving songs; he sang many pieces without any preparation - totally extempore performances. I humbly bow to such gifted composers and vocalists. There is some sacredness in the Telugu land, otherwise the soil would not have produced many exceptionally talented artists, creative people, saints, and Kuchipudi dance masters. How many Indians know that the national anthem (జన-గణ-మన) was composed at Rishi Valley?     

ni sadbhakati = (your) true devotion towards the Lord (Sri Rama); sangita = music; jnana = the knowledge and wisdom; vi-hinulaku = people who are bereft of (such knowledge), for such unfortunate (hapless) persons. (Is there any relief for such people from the bonds of human life - a life filled with the travails of sorrow although mixed with occasional happiness?) 

Prana = life, ex: prana = this is one of the five bodily “gases” (from the concepts in yoga, prana, apana, vyana, udana, and samana), the (earthly human) body exists and lives with the help of oxygen, carbon dioxide, and water vapor. Of course many human beings and animals need water and nutritious solid food also. I have come across two great rishis (yogis and true sanyasins) who could survive exclusively on air. The great Balayogi (not to be confused with the later day speaker Balayogi)  of Mummidivaram lived many years without food. Other saints and avadhutas lived with very little food for days and months. anala = fire, జఠరాగ్ని; sam-yogamu = good (healthy) union; valana = due to; praNava = the name of sacred syllable OM, ఓం; nadamu = a note, the basic sound, it is felt by musicians, poets, and yogis. This is experienced during meditation also. There is no corresponding word in English. This vibration can be thought as a precursor to the musical syllables, “sa, ri, ga, ma, pa, da, ni, sa,”. If I may, to furthur explore, consider this: In writing a poem, composing a song, or preparing for rendition of a musical piece, the artist first feels some inspiration, a vacant state, or pure energy. In that moment, there is no sound, no word, in fact one cannot describe the “feeling”. It just occrs and we cannot put any label on it. That is the most holy state - which exalted beings like J. Krishnamurthi (or Paramacharya and many others) tried to communicate. This state is a prerequiste for any great sculptor, artist, inventor, discoverer, or scientist. Perhaps, one can venture to say, then in that minute vacant state the birth of nascent sound (creative music) happens. I am embarassed to admit - only great composers, creative individuals, or artists can give further elaboration here. But as J. Krishnamurthi had pointed out so poignantly in one of his answers, there is a state beyond ‘measure’ (= విముక్త), a measureless state. So, perhaps we can explore it, with utter humility as our faithful companion.   
  
If I may, I can dwell a bit on the ‘mokshamu’ (मोक्षः). What is this state of ‘released state’? Perhaps this writer too felt it several times: during a song composing phase, upon hitting on a brilliant idea, in one of the vacant idle walks in outdoor nature, maybe I intensely felt on the gardens adjoining the Ganges during a moonlit night, or suddenly during the foggy early morning coming upon on a stunning autumn beauty with vibrant fall colors all around. I cannot describe now but something indescribable happened at such times (perhaps similar exhilarating moments may occur again). It lifted my spirits and for a brief period I felt supremely elated without any cause or reason. I used to find joy at spotting the stately Brahminy Kite sitting atop on a coconut tree next to the canal in the village. A mere sighting of Oregon-grape holly flowers or fragrant peony bunches would move some times. Perhaps for lesser mortals only such fleeting moments endow us with the meaning of a temporary ‘mokshamu’. There were times when the intense of aroma (of a lotus pond or cluster of stargazer lilies) coupled with heavenly moonlight would suddenly engulf (me).This state, this intensely joyous exalted fleeting of time, one must have in life. A guru may impart to the lucky disciple, but one cannot get it by practice or arduous exercise. It just happens; only grace can give us such invaluable gifts. It is difficult to communicate this word, ‘mokshamu’; only the kind Paramacharya or Sarada mata can precisely communicate its full import. 

“They know not the methods of Lord Siva, Himself a great admirer of vina music.”

What to make of this line? There is one incident in Bhukailas movie where the great Siva devotee, Ravana goes to great lengths to please the Lord. He pulls his entrails out and plays vina on them. Can we ever know what is in Siva’s mind, really? Who are we? Just mere mortals, aren’t we? Siva is also a supreme devotee of Lord Rama. Perhaps the real music must come from inside; a song is born only when there is a perfect union of meaning, emotion, and the envelope of ‘a beautiful tune’. 

One needs a life time to meditate on this complex song. We can only imagine what the original composer Tyagaraja had in mind. Or what meaning the later day legendary vocalists like Shatkala Govinda Marar had imparted to this song. I have immensely benefited listening to the renditions by Dr. Balamurali, Sri Nedunuri, Sri M D Ramanathan and of course, how can I forget the memorable moving vina recital by Dr. Chittibabu? (Come to think of it, Kakinada is just a stone’s throw from my town, just a hop over the Ravulipalem bridge across Godavari.) 

Sri Chittibabu's Vina
Copyright by the author 2018

Lyrics of "Mokshamu Galada"

సారమతి రాగము ఆది తాళము (దేశాది తాళము)

మోక్షము గలదా భువిలో

జీవ-న్ముక్తులు కాని వారలకు

సాక్షాత్కార నీ సద్భక్తి - సంగీత జ్ఞాన విహీనులకు

ప్రాణానల సంయోగము వలన (వల్ల)

ప్రణవనాద(ము) సప్తస్వరములై  బరగ

వీణా వాదన లోలుడౌ శివ మనో

విధ మెఱుఁగరు త్యాగరాజ వినుత

mOkshamu galadaa bhuvilO jeeva-nmuktulu kaani vaaralaku saakshaatkaara nee sadbhakti - saMgeeta j~naana viheenulaku praaNaanala saMyOgamu valana (valla) praNavanaada(mu) saptasvaramulai baraga veeNaa vaadana lOluDau Siva manO vidha me~ru@Mgaru tyaagaraaja vinuta

(First respects to many: Parents, particulary the gifted original vocal singer - our mother. Then there are a number of Carnatic music stalwarts, from Dr. Balamurali, Maharajapuram, Balakrishna Prasad, GNB, and extraordinary vocalists like Ghantasala, P. Susheela, and P. Leela and many others. In one way or other, they’ve helped me a lot, they made me realize my own inner voice and recognize the faults in lyrics. I must also pay my debt to the great music directors like S. Rajeswara Rao, Nagendra, Aswathama, Ramesh Naidu, etc. Through out my high school and college years, my neighborhood reverberated with rich sound; there was plenty of noise from traffic, blaring movie songs played from theaters, and the rich music played at marriage ceremonies and street processions. They troubled me during my annual summer exams and yet times we students lamented our plight for the lack of “a suitable noise police”. But looking back I could not ask for a more indulgent music teacher. Hundreds of sweet melodies, haunting tragic pathos filled emotional slow moving songs, and exhilarating and energy filled throaty uplifting patriotic songs. All that music training was given to me as a free lunch and I just gobbled it up hungrily. I owe my native village, the coastal Andhra, and Delhi for a great exposure to all that there is in Carnatic, light music, and Hindusthani traditions. You cannot learn such a great expanse of varied music from a single teacher, paid or unpaid.)

I came to this brilliant composition through Sri Malladi Suri’s piece in Andhra Bhoomi. I will give a word-to-word meaning in a future blog here.