maestro's world

Maestro Ilaiyaraaja is the greatest composer and musical genius I have ever seen. He is the only gifted musician who breathes music as his life. He is one of the biggest influence in my life. This blog is to focus on my memories and experience with his timeless music.

Sri Rama Rajyam – End of Rama’s Incarnation October 3, 2013

Filed under: Sri Rama Rajyam — maestroworld @ 2:49 am

The wise see the highest place of Vishnu called Paramapada – as it were an eye fixed in the heaven – Rig Veda

After the previous episode, the film immediately shows Lava-Kusa Pattaabishekam in Ayodhya, but as per the texts, Rama ruled Ayodhya for several years as a lonely king and austere. While the people enjoyed and rejoiced their lives, they least knew that it was due to the sacrifice of their queen Sita. While people spent every day happily with their beloved and family, Rama spent every day in loneliness and only in memory of Sita. While he smiled outside, he grieved inside. After several years of ruling Ayodhya, he and his brothers ended their incarnation through Jala Samadhi in Sarayu river and embraced their heavenly abode, Vaikuntam.

While many texts did not talk about Rama doing Lava-Kusa Pattaabishekam I think film expresses it for the sake of clarity and to mark a convincing end to the film. This is the last episode of Sri Rama Rajyam before we complete with end credits.The episode begins with Rama performing Lava-Kusa Pattaabhishekam and ends with Rama and his brothers completing their incarnation.

The scene starts in a grand fashion with hermits and sages chanting the ‘mantra pushpam’ (recited at the end of any holy hindu ritual) to conclude the pattaabishekam ceremony.

sAmrAjyam bhOjyam svArAjyam vairAjyam

paramEshthyam rAjyam mahArjyamAdhipatyamayam

Om rAjAdhi rAjAya prasahya sAhinE

namo vayam vaishravanAya kurmahE

samEkAmAn kAma kAmAya mahyam

kAmEshvarO vaishravanO dadhAtu

kubhErAya vaishravanAya

mahArAjAya namaha

(Wishing the kingdom of Ayodhya as the only kingdom on earth (sAmrAjyam) to be as beautiful as kingdom of Indra (svArAjyam), the pleasures be available as in these two kingdoms (bhOjyam) with mystical powers (vairAjyam) and a kingdom like the kingdom of Lord Brahmma (paramEsthyam). To the supreme ruler (rAjAdhi rAjAya prasahya sAhinE – Lava-Kusa), we (people) salute him who bestow us with wealth and happiness (namo vayam vaishravanAya kurmahE) and all desires (samEkAmAn kAma kAmAya mahyam kubhErAya vaishravanAya), we salute kubEra (kubhErAya vaishravanAya mahArAjAya namaha) for fulfilling all desires).

The verses switch from Mantra pushpam to Narayana Upanishad (as stated in Yajur veda) to mark the end of Rama incarnation.

Om ata nityO nArAyanaha

brahmma nArAyanaha

sivascha nArAyanaha

sakrascha nArAyanaha

dyavaprydhivyoucha nArAyanaha

kAlascha nArAyanaha

disascha nArAyanaha

urdhvancha nArAyanaha

adhascha nArAyanaha

antharbahischa nArAyanaha

(Narayana is everywhere, in every moment, in Brahma, in Shiva, in sangu-chakram, in every direction, most of all he is within us)

Back to Mantra pushpam

tad’vishnO paramam padam

sadA pashyanti soorayaH

diveeva chakshur Atatam

(The spiritually evolved behold, thee and thy supreme abode with immaculate comprehension and perfect insight)

tad’viprAsO vipanyavO jAgrivAmsaH samindhatE

vishnOryat’paramam padam

(The Supreme abode is attainable only by those who are virtuous unfettered and spiritually awake)

Narayana Gayatri Mantram

Om nArAyanAya vidmahE

vAsudEvAya dheemahi

tannO nArAyanah prachOdhayAt

Om namO nArAyanAya

Om namO bhagavatE vasudEvAyAya

Om shAnti shAnti shAntihi!

Bapu gaaru has chosen appropriate verses to mark the pattabhishEkam and to end a beautiful incarnation ever happened in human life. Maestro complements the sanskrit verses with underlying theme with strings, keyboards, wind instruments which rewinds almost the entire film in seconds. The way he bridges the first set of verses (during pattabishEkam – mantra pushpam) and second set of verses (to mark the end of a journey – narayana upanishad) is nothing but extra-ordinary. For that he starts playing the theme right from the first second of the clip and when we hear a pause of chants, we hear the music so well that it connects beautifully to the second set and lands beautifully. One might ask if the chants are almost masking the music (except during the transition phases), why is even Maestro playing? The thought which comes to my mind on that reasoning is, Rama even though he is performing this ritual (physically), at the back of his mind he is still not at peace until he joins Sita (Lakshmi) again. The underlying music is to rewind his memories back and also to imply the anxious moments to mark the end of an incarnation. These kind of metaphors are always endless in Maestro’s music.

As the upanishad is under-way Maestro adds auspicious temple bells and cymbal clashes as Rama walks towards his destiny; Vaikuntam. The tempo of the bells and clashes increases and attains crescendo when Rama finally reaches his abode and joins her beloved Lakshmi. What a moment that is! Just when Rama embraces Lord Vishnu we hear the last verses ‘Om namO nArAyanAya Om namO bhagavatE vasudEvAyAya Om shAnti shAnti shAntihi’. This piece of music and visuals has to be experienced more than putting down in words. This should be a throughly vibrant and emotional moment for anyone, not just the one who believes God. Just give a couple of minutes to this piece of chants and music and see how it captivates you. Divinity at its very best! We will meet very soon for the end credits and concluding remarks about this very special score and journey. Stay tuned!


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