Shri Purandara Dasa

Shri Purandara Dasa (1494-1564)

Life:

Shri Purandara Dasa was a Haridasa philosopher from present-day Karnataka, India. Shri Purandara Dasa’s birth place is Araga of Thirthahalli Taluk of Shimoga district. He was a follower of Madhvacharya’s Dvaita philosophy. He was a composer, singer and one of the chief founding-proponents of Carnatic music (Karnataka classical music). In honor of his significant contributions to Carnatic music, he is widely referred to as the Pitamaha (lit. “father” or “grandfather”) of Carnatic music. According to a legend, he is considered as an incarnation of Saint Narada. He was originally named Shrinivasa (or Krishnappa) Naayaka. His father’s name was Varada Naayaka. When he was studying, he learned music as well. A wealthy merchant, he was named Srinivasa, after the Lord of the Seven Hills. He received a good education in accordance with family traditions and acquired proficiency in Kannada, Sanskrit, sacred lore, and in music.

When he was sixteen years old he married Saraswatibai, a pious god-fearing girl. Purandara Dasa had (Varadappa, Gururaya, Abhinavappa and Gurmadhvapathi)4 sons and a daughter. He lost his parents when he was 20. He inherited his father’s business (in precious stones and pawn-broking)a money lender, rapidly expanding it and amassing immense wealth & continued the family business, and became prosperous. But he was infamous as a miser. They said he earned much money and he lived only to earn it and earned him the appellation ‘Navakoti Narayana’ indicating his great riches.

It is said that Lord Vishnu decided that it was time for Srinivasa Nayaka (Purandara Dasa) to give up his love of money and become a saint. There is a legend as to how he gave up a life of wealth to become an ascetic. When he was at the zenith of his business, Providence enacted the now-famous ‘nose-ring’ episode, to make the greedy and miserly merchant realize the worthlessness of his attachment to worldly possessions.

Once, a Brahmin man wanted to perform the sacred thread ceremony (upanayana) for his son and came to Purandara Dasa’s wife for money So he came to him as a poor brahmin looking for money for his son’s thread ceremony. She gave him her nose-ring to sell for money, and the man went to Srinivasa himself to get the money Nayaka did not give him the money, but the brahmin visited his shop again and again, and after six months, Purandara Dasa gave him a collection of useless, worn-out coins to get rid of him. The miser lent the man his money, but his wife was worried about what to say to her husband, so she prayed to her favorite deity who gave her a nose-ring just like the one she had. The brahmin went away unhappily, but knowing Purandara Dasa’s wife was a kind woman, he went directly from Purandara Dasa’s shop to his house. He told Saraswathi his story and how her husband had sent him away with nothing.

Saraswathi wanted to help the poor brahmin but felt helpless since she could not give anything without her husband’s permission. When she explained her helplessness, the brahmin asked if she had something given by her parents (which, presumably, she could give without asking for her husband’s permission). She agreed and gave him the diamond nose-stud that her parents had given her. The brahmin took the ornament straight to Purandara Dasa’s shop. When Purandara Dasa became angry with the brahmin for coming back, despite his instructions to the contrary, the brahmin clarified that he was there not to beg, but to pledge an ornament and take a loan. Purandara Dasa was skeptical and asked the brahmin to show him the ornament.

When he saw the ornament, he was confused because he immediately recognized it as the one belonging to his wife. When Purandara Dasa asked him about it, the brahmin told him that it was a gift from a benefactor. Purandara Dasa asked the brahmin to come the next day and locked the ornament away. When he saw his wife without her ornament he questioned her about it. She tried to stall him, but he insisted on seeing it immediately. He was angry because he thought she had given away a valuable ornament to a beggarly brahmin. Saraswathi knew that her husband would punish her if she told him the truth. So she decided to commit suicide by drinking poison. Just as she was about to drink the poison, she heard a metallic sound. Lo and behold, the ornament was right there in the cup. She could not believe her eyes.

Her heart filled with gratitude, she bowed before the idol of Krishna and took the ornament to her husband. Purandara Dasa was astounded as it was the very same ornament that he had safely locked away in his shop. He quickly ran back to the shop to check. The box where he had safely locked away the ornament was empty! He was now completely and totally dumbfounded. He went back to his house and pressed his wife to tell him the truth. She told him everything that had happened. After deep thought, this Shreenivasa Naayaka came to the conclusion that the brahmin was none other than God Himself. He recalled all the incidents of the previous six months. He was disgusted with himself, and his miserliness. He felt that his wife had conducted herself far more decently and generously than himself.

Since it was his love of money that had made him ill-treat the Lord, he gave away all of his wealth with the Lord’s name on his lips and began to compose music. When Srinivasa hurried home, anxious to know if the nose-ring was hers, he was bewildered seeing her wear the same one! She narrated the story, and he was converted, believing in the virtue of his wife and the virtue of a charitable life. The shock treatment marked a turning point in his life. Giving away all his wealth to charity, he left his house with his wife and children to lead the life of a wandering minstrel to spread the gospel of God. He was only 30. For the first time, Purandara Dasa started commenting in his songs on the daily life of the people. He incorporated in his songs popular folk language and introduced folk ragas in the mainstream. The most important contribution he made was the fusion of bhava, raga and laya into organic units. He also composed a large number of lakshya and Lakshana Geeta’s, many of which are sung to this day. His sooladis exhibit his mastery of the techniques of music, and are considered an authority for raga Lakshana.

In his very first song after the incident, he laments his wasted life of indulgence. Like him, his wife and children composed verses and songs. The people admired the listened to his songs. Purandaradasa accepted alms given to him during the wandering and led a life of renunciation. He who had been called Navakoti Narayana now had willingly accepted the life of a saint and begged for his food.

According to Prof. Sambamoorthy, Srinivasa had his formal initiation at the hands of Vyasatirtha in 1525 when he was about 40 years old, with the name Purandaradasa bestowed on him by Satyadharma Teertha, a later occupant of the Vyasatirtha Matha (or Vyasaraya Matha). Purandara Dasa became a disciple of the great Vyasa Raaya, who titled him “Purandaravittala”,” which became his Mudra(Signature), which he obtained initiation for the Vaishnava Cult, he uses in all his compositions. Vyaasa Raaya praised him, saying “Among the devotees of Hari, Purandara Dasa is the greatest.” Purandara Dasa expressed his gratitude by singing “My only refuge is the feet of Vyaasaraja. Purandaragurum Vande Dasa Shrestham Dhayaanidheem”.His compositions, have earned the title “Purandaropanishad”, which means that Purandaradasa’s compositions are the essence of all the Vedas, Puranas, and other sacred texts. I was able to understand Purandara Vittala by his grace.” The composer was also given the name Purandaropanishat and many other names.

After initiation, Purandaradasa along with his wife, and children started worshipping, Shri Narayana. In course of time, Purandaradasa came to Hampi and settled down with his wife and children. Every morning Purandaradasa went into the town wearing bells on his ankles and Tulasi mala around his neck and sounding Tambura with fingers and used to chant the name of Lord Hari, is associated in the form of Sankeerrthanas.

The gods his songs adored: Sri Vittala (Krishna) of Pandarapura is associated with Bhakti and Bhajan movement since the time immemorial. Sri Vittala is still being adorned by large number of devotees barring caste, religion, sex, etc. Shri Purandara Dasa has continued this tradition by keeping his ankita or mudra as Purandara Vittala, and his songs praise this Vittala, meaning Krishna or Vishnu. His songs also praised Ganesha, Saraswathi and other gods and goddesses, but the themes always returned to Vittala. Purandara Dasa was the first of the Haridasas, or “servants of Sri Hari” also known as Vishnu or Krishna. All the Haridasas composed in Kannada, a language used primarily in Karnataka, but Purandara Dasa established the precedent of composing in the vernacular or common tongue.

The Father of Carnatic Music:

He is one of the most prominent composers in Carnatic music. His contribution to music is immeasurable, and he is often called the “Karnataka sangeeta pitamaha” (Father of Carnatic Music). The dasas, among them Sripadaraya, Kanaka Dasa, Jagannatha Dasa, Vijaya Dasa, and Kamalesha Vittala and others, propounded bhakti to the Lord through music over several years.

Sri Puradara Dasa is known as the Karnataka Sangeetha Pra-pithamaha (founder of Carnatic classical music), as he formalized the music system which was a blend of various traditions of South India and the musical science as explained in the Vedas. He devised a system of teaching Carnatic music in graded lessons. He was believed to be the incarnation of the great sage Narada himself. He makes fun of the false Bhaktas who profess all outward signs of Bhakthi without a kind thought or true devotion in their hearts.

This was the golden age of Kannada literature too, under the most famous Vijayanagar emperor Sri Krishnadeva Raya. The influence of Shri Purandara on Carnatic music and Kannada literature is immense. He virtually started the branch of literature which is now known as Dasa Sahithya. It was a blend of sublime poetry and music emphasising the virtues of good life over material wealth and religious ceremonies. Kanaka Dasa is another composer who was his contemorary and an important contributor to Dasa Sahithya. His compositions are enchantingly beautiful and these have inspired many musician-poets in Karnataka.

All his musical compositions are in Kannada, the state language of Karnataka. Purandara Dasa is among the great saints of India in his understanding of the power of music and its appeal to illiterate common folk.PurandaradAsa adopted a simple, lucid Kannada style with telling phrases and similes. He sang many rare ragas with among the most beautiful lyrics. Tyaagaraaja’s praise in “Prahalada Bhakti Vijayam” is for him and in fact, some of his famous songs are patterned after those by Purandara Dasa, such as Nanupaalimpa, based on Dasa’s Bide ninnayya pada.

Purandaradasa traveled extensively through the length and breadth of the Vijayanagara Empire, composing and rendering soul-stirring songs in praise of God. The title ViTThala refers to the Lord Vishnu or Krishna.It begins as ‘Ana le kara’ in raga Suddha Savaeri, set to Triputa talam.Purandara Dasa, who always concluded his songs with a signature and salute to Lord Purandara Vittala, is believed to have composed as many as 75,000 – 475,000 songs in both Kannada and Sanskrit. However, only about 1000 are known today. Most of his compositions are written in simple Kannada, but he has also written in Sanskrit.

Carnatic music & Musical Compositions:

Purandaradasa never had any training for music under any guru, but he was the person, who structured the early lessons for Carnatic Music beginners.

Purandaradasa was one of the foremost Haridasas, a saint-composer and a mystic. Purandara Dasa is believed to have systematized the early music lessons – Sarale Varase, Janti Varase, Geete, etc. and also chose Mayamalavagowla as the Raga to be used for these. He composed many devotional songs in Kannada known as Devaranama. He is credited with having consolidated and structured the teaching of Carnatic music. He systematized the teaching method by framing a series of graded lessons such as swaravalis, janta swaras, alankaras, lakshana geetas, prabandhas, ugabhogas, thattu varisai, geetham and sooladis. He introduced the Mayamalavagaula as the basic scale for music instruction. These are followed by teachers and students of Carnatic music even today. Another of his important contributions was the fusion of bhava, raga and laya in his compositions

Purandara Dasa identified identified 84 ragas, including ragas such as kalyani, varali, todi, bhairavi, and saaveri, which are popular in use today 84 ragas. Each of his lyric is a beautiful musical composition. His works touched a variety of musical types – Kritis, Keertans, Padams and even many rare forms of music. His influence on Carnatic Music is profound. The main outlines of about all the ragas have been laid down by him in clear terms. “The Trinity Scrupulously respected the tradition of the Purandaradasa. Dikshitar and Syama Sastri followed him in raga and the tala aspects only”.

Numerous references to ragas possibly in vogue during his time have been made by Purandaradasa in some of his songs. For instance, mentions is made of Ramakri, Gundakri and Maharanjini, Ahiri, Kamboji, Gurjari, Gundakriya, Deshkshi, Shankarabharanam, Sri Bhoopali, Bhiravi, Vasanta etc., and also the ragas that come later like kalyani, Paadi, Poorvikalyani, Gowri and saranga. Ragas like Kalyani and Darbar with Persian influence were popularized by the Dasas.

He introduced raga Thodi to our system of music. He prescribed Mayamalavagaula scale as the basic scale for music instruction in place of the older Kharaharapriya scale.Generally, his compositions are in “Madhyamakala”. He has used the seven suladis tala, but he has favoured Chapu and Jampe tala. In the suladi, the theme is the same as in the Kirtana with elaborate Sahitya each of which is set to one of the talas. Some suladis have different ragas for the different divisions.

Tyagaraja modelled his compositions on those of the great Purandaradasa in bhava as well as in raga and tala.
He set most of his compositions in popular tunes/ragas of his time so that even a common man could learn and sing them. His compositions are also popular as ‘Padas’ and ‘devarnamas’. His keertanas are generally in Adi tala and Madhyama kala. His songs touch almost every aspect of spiritual life such as devotion, morality, ethics, good behavior and compassion to all living beings. Purandaradasa’s devaranamas occupy an honored place in the devotional music of south India.

Purandara Dasa also used a variety of musical types: kritis, keertanas – devotional songs, padams – a dance form using hero-heroine, plus many more rare forms. The verses he sang were his own compositiions on a variety of themes. Some of them described Sri Krishna’s adventures in this world. Some others sang about God’s kindness to man.

The compositions of Purandaradasa which are of different types life Keerthanas, Suladis and Ugabhogas, etc., were very simple with regard to the language used ie., Kannada and music employed for easy understanding and recitation. Purandaradasa who is rightly acclaimed as the Father of Karnatic Music or Sangeetha Pitamaha of the Monarch of Karnatic Music has composed innumerable compositions ranging from the most homely to most philosophical spreading the message of mutual love, sacrifice, righteous living true, god and beautiful (Satyam, Shivam and Sundaram. ) So it is the spirit and respected and cherished. At the hands of Purandardasa these compositions attained acme of perfection and also the status of the standard classical music compositions that served as models even to the giant composers like Tygaraja. A few more verses were simple compositions expounding the philosophy contained in the Vedas, Upanishads and Bhagavadgita in simple words. In yet other verses Purandaradasa praises Lord Krishna affectionately. In some verses Purandaradasa has even made fun of the Lord. His songs which preached surrender to Vittala have an elusive fragrance, poetic fervour, extraordinary logic and cutting satire. His music was popularized by M.L. Vasantakumari.

Thus they formed most significant corpus of musical compositions transmission and absence of any written record worth the name in those days, much of Purandaradas’s compositions and music are lost for posterity. Purandaradasa’s contribution to Karnatic music is best exemplified by the following verses of the compositions by Prasanna Venkaradasa :

Geeta Thaaya Sulaadyugaabhoga padapadya vritta prabandha rachisi vittalana preetipadisi pratyaksha
Kandu naliva Vyshnavaagranaatha prasanna venkatakrishna priyana tande purandaradasara smarisuve ||

Meaning : I Prasanna Venkatakrishna remember Saint Purandaradasa, one of the leaders of Vaishnavasampradaya and a fatherly person who has not only composed innumerable compositions like Geetha, Thaya, Suladi, Ugbhoga, Padas, Padya, Vrittas and Prabandhas but also won the affection of the Lord and rejoiced in having his darshan.

Apart from being a great composer, Shri Purandaradas was also a Lakshanakara of highest calibre and is credited with having systematized the teaching methodology of music thus setting the musical standard for all times.
While couple of Geethas attributed to him are available, no prabhanda or Thaya said to have been composed by him are available. We have a course the large number of Suladis, Ughaboghas, Padas and Padyas. Music has been utilized by Purandaradasa and others to intensify the beauty of the structure and the sentiments behind the songs. As such there are no compositions exclusively in praise of ‘Sangeetha’.

Nearly 30 songs contain references to music including instructions and the qualifications of musicians etc. In a song opening with the word “Keleno Hari Taaleno, Taalamelagaliddu”, he mentions many instruments that were in vogue at the time like tambura, Kombu flute etc. The spiritual excellence of music is stressed in Ughabogha “Tamboori Meetidava, Bhavaabdhi Daatidava”
Here reference is made to tambura, tala, gejje and singing, and their importance in leading to moksha. In one of his Suladis he alludes to mandra, mandhya and tara sthayis. In the Suladi “Govindanaadidaatagalanu” he mentions swara, nada, murchana, jati, geeta and prabandha. Similarly, in the Kirthana “Gokulada Gopiyarenu Dhanyaro” mention is made of raga and geeta and mention of tala, dandige, geeta vadya is made in song “Yama tanna puradi Saaridanu”.

The Ragas in which Purandaradasa’s Compositions are available are as follows:

Mudra: Purandara ViTThala-Compositions:
aanalEkara (geetam) – sudda saavEri
amma nimma manegaLalli – sowraashTram
aparaadi naanalla – rEvati
bandadella barali – kaapi
bhaagyada lakshmi baarammaa – shree, madyamaavati
bhayasamaya (geetam) – dEsaakshi – PD
candracooDa – raagamaalika
dayamaaDO dayamaaDO – kalyaaNi
dEva banda – shankaraabharaNam
dEvaki nandana – raagamaalika
dharma shravaNavEtake – durga
dharmavE jayavemba – shenjuruTTi
gajavadanaa bEDuvE – hamsadwani
gOvindaa ninna – jana sammOdhini
hari naaraayaNa – rEvati
hari smaraNe maaDO – yamunaa kalyaaNi
jagadOddhaaraNaa – dhanakaapi, kaapi
jaya jaya jaya jaanakikaantaa – naaTTai
kaNDEnaa gOvindanaa – candrakowns
koDu bEga divyamati – saraswati, vasantaa
ksheeraabdi kannige – raagamaalika
mareya bEDa manavE – kamaas
maaraayaNaa – sudda dhanyaasi
nambi keTTavar illavO – kalyaaNi
neenyaakO ninna – raagamaalika
ninnane nambi – bhairavi
ninne nOdi – tODi
Odi baarayya – bhairavi
raama mantrava – jonpuri
raama raama raama raama – raagamaalika
sakala graha bala – aThaaNaa
sanna hejegaliTTu – valaci
sharanu siddhi vinaayaka – sowraashTram
sharaNu sakalOddhaara – naaTTai
simharoopanaada – kEdaara gowLa
shreenivaasa neenE – aananda bhairavi
taamboolava koLLu – reeti gowLa
taaraka bindigE – sowraashTram, tilang
tamboori meeTTidava – sindu bhairavi
tirupati vEnkaTaramaNa-kharaharapriyaa
venkaTaacalanilayam – sindu bhairavi
vEnkaTaramaNane baarO – shankaraabharaNam
yaadava nee baa – karnaaTaka dEvagaandhaari
yaare rangana – hindOLam

The suladi Sapta Talas were perfected and brought into practice. A study of the songs of Purandaradasa is rewarding in understanding the shape of karnatak music in the heydays of Vijayanagara. They also help to understand the musicianship and the influence of purandaradasa of Karnatak music and its future shaped from his times. Purandaradasa has emphasised the necessity of a good voice for the vocalist.

It will be clear from the study of his songs that he was a very learned musician. To him we owe the initial systematization of Karnatak music, so much so, all the famous ragas of today bear the same complexion as they did in his time. As he was a master of both Lakshya and Lakshana, it was possible for him to compose many kirtanas to serve as illustration.

“Sangeetha Saramrutha” of Tulaja Maharaja gives numerous examples of Purandardas’s Suladis to illustrate raga features. The later composers have followed his patterns in raga delineation, structure and tempo, features which make body and soul of a song. It is difficult to assess the authenticity of the tunes now attributed to purandaradasa. There is no traceable linage of disciple or notational script for the melodies.

The Kirthanas are, as rule, simpler, compositions, intended for group singing. Their main features are firstly, that tunes are easy to sing and do not call for great expertise ; secondly, they are usually set within a single octave, thirdly, they have no sangati embellishments; and fourthly, ever where the “Charanams” are little difficult, the “Pallavi” is always simple, so that while the leader sings the charanams, the chorus can intone the conclusion of each of the couplets.

The Kirtanas are also more word-heavy than the kritis, and their appeal is a combined one, in equal measure of religious devotion and musical delight. One may say that while in the kriti the words serve the song, in the kirtana the tune serves the words. The whole credit of rescuing of Karnataka Sangeeta from being corrupted due to foreign invasions, belong to Purandaradasa.

He has composed krithis, in different subjects, and no subject was left ever by him for his composition. For example, he has easily described the most complex thathvas or philosophies, in the most easiest way. There are compositions, in which he praised God, in some he makes fun of Krishna, in some he loves god, in some he surrenders to God totally, and so on. In few of his compositions, he has praised the devotees of Lord Hari. For example, he praises Goddess Lakshmi, who serves the Supreme Lord “Shri Sathyanarayana”, all the time. In another composition, he is envious of Yashoda, who enjoyed Krishna in fullness. He is also envious of the Gopikas, who had the most esteemed fortune of getting associated with the Lord in person. Even after joining the family of “Haridasas” and chanting the name of Krishna always, Purandaradasa himself feels in a state of restlessness, and also feels that he has not reached the stage of serenity. He expresses his own feelings in a famous verse, wherein he says”I never remembered you, during the day, on a whole, because I was afflicted by two great desires, thirst and hunger, O Purandara Vittala”. He travelled all over India, spreading the name of God, everywhere.

He visited Tirumala, where he met the ripe-old great saint, Shree Annamacharya. On the suggestion of Annamacharya, Purandaradasa returned back and became the cause for the emergence of the phenomenon called Carnatic Music. He was the person, who introduced the learning lessons like Geethams”, Varnams, etc. Even Thyagaraja in his “Prahlada Bhakthi Vijayam” has praised Purandaradasa for his contribution to Carnatic Music.:

All Haridasas were servants of God and their songs included the following messages:

God is easily approachable by all. * God is to be praised and constantly remembered as our benefactor.

Realising the true nature of God’s benevolence towards us and offering even simple worship within the means available to one is more acceptable to Him than ritualistic or pompous ornamentation without mental participation.
Some of Purandara Dasa’s lyrics are really memorable.
For example, he writes, Kendake orale muttuvudunte?… Do ants cluster around a hot coal? Another line goes, Hasida bekku hatthiya tindanthe. Describing a hungry cat eating cotton. These lyrics make it clear that Dasa was a poet as well as a scholar of musical form.

His death:

Purandaradasa spent his last years in Hampi. The mantapa (mandap) in which he stayed is known as Purandaradasa Mantapa (mandap). He too sanyasa towards the close of his life. Scholars think that Purandara lived for about 80 years (until 1564)and joined his Maker in 1564. On the basis of the verse in the name of Madvapathi his son it is held that Purandaradasa must have passed away a year before the fall of Vijaynagar. Taking it as authentic, his death anniversary is celebrated on the New Moon Day, in the second fortnight of Pushya. He was a saint, who preached what he practised, and practised what he preached. In his own compositions, he says that”People should swim over great torrential rains and get victory over it”.