‘Vatasya Patrasya Pute Sayaanam Baalam Mukundam Manasaa Smaraami’ — I meditate on that divine child Mukunda, reclining on the leaf of the banyan — thus is child Krishna, the eternal mesmeriser, worshipped in innumerable prayers and songs of praise by composers. The Bhajana Sampradaya and the Nama Siddhanta cult of the Cauvery delta channelled Krishna Bhakti all over the South. ‘Antahkoyam Neelakalebara! kim Taskarasee Vada Aaashu’ — Who is that inside? Oh! the blue-hued one! what are you taking away, say quickly — Radha tells Krishna, which is an ever-inspiring melodious song of the traditional Bhajana Paddhati.

“Murahara nagadhara Mukunda Madhava...’ sang Annamacharya in his Todaya Managalam, which is celebrated in the Bhagavatamela Paddhati and in Bharatanatya traditions. Advaita Sanyasin Sadasiva Brahmendra, and Narayana Tirtha, were illustrious propagators of the Nama Siddhanata who meditated on the name of Krishna through their musical gems. Purandara Dasa and the Dasa Kootas, celebrated Krishna Prasasti as did Jayadeva in his Gita Kavya (Gita Govinda). Oothukkadu Venkatasubbier’s compositions bring alive the enchanting facets of the Eternal Flautist. Maharaja Swati Tirunal and later several renowned Vaggeyakaras, including Mysore Vasudevachar made the spirit of Krishna bhakti vibrant.

Among the the Carnatic Trinity, Tyagaraja extols the other Poorna Avatara of the Lord — Sri Krishna — in many of his majestic compositions. ‘Gaanamoorte,’ in Vivaadi raga Ganamurti, is a unique piece addressing Him as ‘Navaneeta Chora,’ the stealer of butter, and ‘Nava megha teja’ — One who shines as the fresh lustrous cloud. ‘Nauka Charita,’ his musical opera, and the Divyanama Kirtanas are ecstatic outpourings.

Dikshitar kritis

Exquisite descriptions of the dark-hued charmer are best seen in the majestic compositions of Sri Muthuswami Dikshitar. The diction, the style and the descriptive terms that convey great ideas, capture episodes in a nutshell to create sheer magic. The most well-known ‘Balagopala’ in Bhairavi is a masterpiece While a blissful ‘Sri Venugopala’ in Kurinji addresses the Lord as ‘Sri Jayantee Naama,’ ‘Cheta Sri Balakrishnam’ in Dwijavanti is filled with the essence of the raga enhancing the rich lyrical content. ‘Balakrishnam Bhaavayaami’ in the rare Gopika Vasantam is yet another unique piece of poetry, offering an enchanting blend of devotion and tranquility.

In ‘Cheta Sri Balakrishnam,’ child Krishna is propitiated as One who gives instant blissful joy of life and after, to the devotee, the moment he meditates on the divine lotus feet. The beautiful form of the Lord (Nootana Neerada Sareeram, Peethavasanadharam, Kambu Kandaram), His childhood sports like the killing of Pootana, He as the very embodiment of Sriman Narayana (Purushottamaavataaram), as One residing in the cool heart of the devotee (Seetala Hrdayavihaaram) bring in a delightful visual image.

‘Vadane Navaneeta gandhavaaham’ — says Leelasuka in Krishna Karnaamrutam, while describing the little Krishna with His mouth smelling of fresh butter. The same idea echoes in this kriti of Dikshitar — ‘Navaneeta gandhavaahavadanam’ as also various attributes of the divine child as endowed with sweet speech, lotus-eyes, as lying on the banyan leaf and so on.

The best, however, is when the composer adores Krishna as possessed with ‘Nava Champaka naasikam’ — a beautiful comparison of his nose to that of the exotic Champaka flower, that at once brings the vision of “that young cowherd boy,” the mesmerising form of Sri Rajagopala of Mannargudi, known as Dakshina Dwaraka with its mythological name, Champakaaranya Kshetra. Equally exciting is the madhyama kaala sahitya in the charanam of the kriti, where Dikshitar builds beautifully in layers, the appearance of Gopala, with His fresh Tulsi garland, in the company of sage Narada and others.

“He is the destroyer of sins, the mischievous beloved of the cowherd women (Karma mochanam, Kapatagopikaavasantam), describes Dikshitar in his ‘Balakrishnam Bhaavayami,’ where he embeds the ragamudra (Gopika vasantam).

‘Arjuna Saarathim’ is a phrase where Dikshitar employs to briefly allude to the episode of the Lord becoming the charioteer to Arjuna in the war, which was due to a boon given to both Duryodhana and Arjuna who came to seek His help in the war. A lilting term with play of words ‘Maadhavam Satyabhaamaadhavam’ points to the Lord of Lakshmi (Maa+dhava) as the beloved of Satyabama. ‘Kamsa bhanjanam, Bhaktaranjanam’ (killer of Kamsa and protector of the devotees) is again poetry used beautifully.

Among his matchless creations, Dikshitar excels in his ‘Krishnananda Mukunda Murare Krupam kuru” in Gowlipantu (with the suddha madhyama usage) that can evoke instant surge of emotions, with its moving melody (Goureepaanta-Goulipantu-ra-la-yorabhedah-ra-la not differentiated), and bhava-laden content, addressing the many-splendoured Krishna, seeking ultimate solace at His feet.

Salutations to the ever-joyful ‘Yaadava vamsa payonidhi Chandra’ — The Moon of the ocean of the Yadava dynasty.