[Advaita-l] Mutthuswami Dikshitar (1775 to 1835)

V Subrahmanian v.subrahmanian at gmail.com
Thu Oct 19 06:36:22 EDT 2017


You can download the Siddhānta leśa sangrahaḥ   can be downloaded from here:


It contains a Hindi translation, as stated therein.

I have no idea of the other works of Sri Dikshitendra.  You may try
enquiring here:  ragamang at gmail.com


On Thu, Oct 19, 2017 at 3:15 AM, KAMESWARARAO MULA <kamesh_ccmb at yahoo.co.in>

>  Dear Subrahamanian Ji,
>                                         Wish you a happy & Prosperous
> Deepawali. We need this type of complete information regarding shri
> Muthuswami Dikshitar whether it is copied or from other source. When
> several people's asks me about him, we don't have much information about
> him than his works and it will be very much useful who are involved in
> Navavarana Kriti sadhana. Every one should know how he made those kritis's
> and his stay at varanasi, his association with his guru and finally his
> meeting with Lord kartikeya in the disguise form on the Hillock before his
> last words 'Meena Lochani, Sive Pahi".
> Sir, apart from this , I am actually looking for couple of books from Sri
> Appayya Dikshithar.  one was *Siddhanta Lesa Sangraha & another was *  *Mimamsa
> Vedanta Sastras.* The questions and answers given here are intended to
> explain and make clear the basic truths of the two *Mimasa Sastras.* These
> have never been clearly written anywhere else. But Sri Appayya Dikshita
> states that the tenets contained in them have been accepted as the basis
> for the truths of the Bhashya. In one of his excellent works of
> *chitrapata*, he teaches the rules of *Mimamsa. *I really want those
> collection of works. Kindly advise/suggest how to get this information as I
> don't get any of the books here.
> With respectful regards
> Kameswara Rao
> Dr. M.Kameswara Rao
> Senior Scientist, P&T Division,
> Defence Research & Development Establishment,
> Ministry of Defence, Govt of India
> Jhansi Road, Gwalior-474002,India
> Ph 91-(0)751-2390368(0)
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> On Wednesday, 18 October 2017 10:56 PM, V Subrahmanian via Advaita-l <
> advaita-l at lists.advaita-vedanta.org> wrote:
> Mutthuswami Dikshitar (1775 to 1835) is one of the celebrities in modern
> South Indian Classical Carnatic music. The Dikshitar, a Tamil Smarta
> Brahmana by birth, has produced more than 400 songs all of which are
> written in sophisticated Sanskrit language and are deeply rooted in Adi
> Shankaracharya's philosophy of Advaita Vedanta. Here is a short biography
> of this brahmana saint written by Subbarama Dikshitar:
> Reference: Sangita Sampradaya Pradarshini of Subbarama Dikshitar/ Volume 5
> Vaggeyakara Charitam (Biography of Composers)
> He was born in Tiruvarur, during the Manmatha year and in the saka year
> 1692 (1775 A.D), as the son of Ramasvami Dıkshita. His mother was Subbamma.
> Before he was sixteen years old, he progressively learnt the Vedas,
> intricacies of kavyas and natakas, Siddhanta Kaumudi, other commentaries on
> various texts, music, and also became an expert in the sciences of
> astrology, medicine, and mantra, and became very famous. When he was
> married and was staying with Manali Cinayya Mudaliyar, due to his good
> deeds in his previous births, a siddha Cidambaranatha Yogi, came to Manali
> and stayed there for sometime. Impressed by Muddusvami Dıkshita’s devotion,
> he initiated him into Srıvidya maha mantra, and took him to the shores of
> the Ganges with him. There, for five years, he gradually helped him attain
> maturity with the help of mantra, and helped him attain the ashta maha
> siddhis. Realizing that he was a great soul, he also taught him the science
> of philosophy. After that, Muddusvami Dıkshita took permission from the
> pious man, went back to Manali, and in order to please the gods and
> goddesses, he gradually performed internal and external purification
> rituals. He then went to Tiruttani, and while he was reciting the
> Subrahmanya  Panchadashakshari mantra in the sanctum, one day Chengalvaraya
> came there in the guise of a great soul, and asked him to open his mouth,
> put some sugar candy in his mouth, and disappeared. Immediately, Dıkshita
> started composing a kırtana in Sanskrit and in the Raga Malavagaula,
> “Srınathadi Guruguho Jayati”, set in the prathamaa vibhakti.  Subsequently,
> he composed seven more kırtanas on Guruguha, starting with sambodhana
> prathama vibhakti. Then he went to Kanchipuram, and stayed with his
> brothers for four years. In the presence of Kamakshi, he practiced the
> Srividyopasana and composed many kirtanas, such as “Kanjadalayatakshi”,
> “Ekamranatham Bhajeham” , etc., adorned with poetic words, and popularized
> them through his younger brothers. He conducted philosophical dialogues
> with Upanishad Brahmendra who lived there, and set the Ramaashtapadis
> written by him, to music including the taala and notation. Later when he
> returned to Tiruvarur with his family, he composed many kirtanas on “Sri
> Tyagaraja Swami”, with “guruguha” as his stamp signature. He also composed
> kirtanas on Anandeshvara, Siddheshvara, Acaleshvara, Hatakeshvara,
> Valmikesvara, on Shodasha Ganapatis who  reside in that pious land, on the
> Siva and Vishnu deities of various holy lands that belonged to Chola
> empire, on the deities of earth and other pancha bhuta temples. He also
> composed on Azhagar Koil and other pilgrimage centres that belonged to
> Pandya empire, and also on Kashi. He composed the kirtanas in Sanskrit
> language with a commanding over words, without deviating from the Advaita
> philosophy, without deviating from Venkata Makhin’s Raga tradition, using
> gamakas, embedded with raga’s jıva svaras, and also including the name of
> the raga. He also composed navagraha kırtanas composed in shuladi sapta
> talas, and nine kirtanas known as navaavarana kirtanas, that are composed
> in the order of the ritualistic navaavarana puja krama of Kamalamba and,
> through his disciples he popularized them and made them shine like
> celestial objects. When his younger brothers, Cinnasvami and Balasvami, who
> were learning music from him, were invited by the patron kings, they went
> to Madurai and stayed for some years. During that time Cinnasvami Dikshita
> passed away. Balasvami Dıkshita was dejected and was affected by the death
> of his brother. So, along with a disciple called Hari, he went to Setu
> Kshetram (Rameshvaram) and from there went to Ettayyapuram, where he was
> taken care by the Maharaja. Dikshita thought of his brother’s demise to be
> a natural occurrence but, as he considered his younger brother (Balasvami
> Dikshita) as his own child, he was worried about his whereabouts and his
> dejection. Hence, he, along with his two wives and a disciple called
> Subrahmanyayya went to Saattur, via Madurai. There, at a mantapa that was
> in front of the entrance to the temple of Saattur deity, while he was
> performing his prayers, he heard a few sixteen year old Vaishnava brahmins
> talking about the marriage that was to be celebrated the next day by the
> Maharaja of Ettayyapuram, for a musician called Balasvami, of Tiruvarur
> with a girl from Ramesvaram, and said “come on! Let us all go”. As soon as
> he heard this conversation, Dıkshita was overwhelmed and in the presence of
> the Lord, he composed a kriti, “Venkateshwara Ettappa Bhupatim Ashrayeham”,
> in the raga Megharanji, and taught it to Subrahmanyayya. Then he asked the
> Vaishnava brahmins there to take them along  with them to Ettayyapuram.  As
> he was proceeding to Ettayyapuram, on the way he noticed the crop that was
> drying due to draught. He felt pity for that and prayed to Amrteshwari with
> devotion and composed a kirtana, “Anandamritakarshini Amritavarshini ”, in
> the raga amritavarshini. It was said that, even while he was teaching the
> song to his disciple, there appeared a black cloud in the sky (which was
> until then clear) and it progressively developed into a massive one and
> rain started pouring down heavily. As the ground was wet, the cart got
> stuck in the mud and stopped. The accompanying Vaishnava Brahmins pushed it
> with difficulty, and slowly he reached Ettayyapuram by the evening. There,
> he saw his brother and felt very happy. Having come to know about the
> arrival of Dikshita, the Maharaja came to the residence that was built by
> him and given for them to reside, felicitated him, made him sing the
> kirtana composed by him in the raga megharanji, felt extremely happy, came
> back the next day and had the marriage performed. As soon as the marriage
> was performed, Dikshita left his older wife as support to his brother’s
> wife, took leave of the Maharaja, and went back to Tiruvarur and lived
> there. After  sometime, he got the invitation from the king asking him to
> attend the impending wedding of the eldest son of the Maharaja of
> Ettayyapuram. Since he was nearing the end of his life, he took leave of
> his friends and disciples saying that he would not be returning back, and
> went to Ettayyapuram along with his family. The third month after the
> wedding of the prince, saka year 1757 (1835 A.D), Manmatha year, on the day
> of tulaa krishna chaturdashi, he left his mortal body and reached
> Skanda-giri. Muddusvami Diksita was the author’s uncle (father’s elder
> brother).
> Copied from a FB post.
> Subrahmanian. V
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