This piece is inspired by my brother Narasimhan's brilliant insight into MMI's genius in his last mail to me. This piece is my thought of the day.
One of the attributes of "Brahmn" is that it represents both Zero & Infinity (Shoonyam ashoonyam cha). I am however more fascinated by my own description of IT being both sublime & ridiculous & stretching it further to describe IT as either sublimely ridiculous or ridiculously sublime. All pervading "Zero" in its Infinity!!!
What's the connection between Narasimhan's MMI analysis & my apparently inane opening remarks? It's to do with MMI stupid......Let me come to this without any further ado.
MMI's performances to my (die-hard devotee) mind can be compared -- the ridiculous part -- to the batting performance of the Indian cricket team, and (the sublime -am I being presumptuous?) the individual souls journey towards its final beatification. In one of his messages Narasimhan had referred to a Tamil word "vilayaadarathu" while describing one of MMI rendering of a kriti in Mohana kalyaani. This term loosely translated would probably mean "joyously playful" but barely adequate in conveying the full import of the Tamil word. This - in the context of MMI- would translate to saying that music so permeates his persona that he simply is in ecstatically playful mood enjoying/living every moment of this game.
Let me get back to MMI's performance. He invariably starts of with a brisk "vathaapi ganapthim" or a "Rama Bhakthi saamrajya" pieces with a swaraprastharam leaving one breathless - akin to a Sahwag/Tendulka/Gavaskar combined blistering start. .
Then comes the Karma/bhakthi/gyana yogam parts starting with a say, Meemakshi mutham (poorvi kalyani) a manavyala kim (nalina kaanthi) to a much more deep say Khamboji (subramanyaaya namaste) a Ckakkani raja in karahara priya in true Dravid/lakshman style,full of depth, understanding and consummate ease. Then as if this too much to endure comes a Dhoni like care free exhilarating fare like a Todi, a raagam thanam pallavi & a few thukkadas.
With realization dawning that even after coming so close, He is not taking him quite there, MMI lets out his passionate cry for a "release" .... Ka va va (varaali) & an Eppo varuvaaro (jaunpuri) asking Him to finally take him into His abode. The mangalam then is the obvious end of the performance.
The problem is when like any Indian Cricket performance it flounders on the way sometimes. But with one major difference. Without exception, there is one kriti/raagam in every performance which gives you the glimpse of the depth. And those final passionate cries of release from bondage, never fail to inspire.
These glimpses of experiences are what I have termed in an earlier blog piece, -- as "Athu Ennathuda" moments - beyond words & mind expression, to try & describe that Brahmn.
So then what's the message? Recognizing/experiencing those "Brahmn" moments in absolute surrender, without getting lost in its grammar is the key to final release from bondage.
Hope I am coming close to that phenomenon "ridiculously sublime" in realization....... .
Love
Ekalavya.alias Vichu .
. .
One of the attributes of "Brahmn" is that it represents both Zero & Infinity (Shoonyam ashoonyam cha). I am however more fascinated by my own description of IT being both sublime & ridiculous & stretching it further to describe IT as either sublimely ridiculous or ridiculously sublime. All pervading "Zero" in its Infinity!!!
What's the connection between Narasimhan's MMI analysis & my apparently inane opening remarks? It's to do with MMI stupid......Let me come to this without any further ado.
MMI's performances to my (die-hard devotee) mind can be compared -- the ridiculous part -- to the batting performance of the Indian cricket team, and (the sublime -am I being presumptuous?) the individual souls journey towards its final beatification. In one of his messages Narasimhan had referred to a Tamil word "vilayaadarathu" while describing one of MMI rendering of a kriti in Mohana kalyaani. This term loosely translated would probably mean "joyously playful" but barely adequate in conveying the full import of the Tamil word. This - in the context of MMI- would translate to saying that music so permeates his persona that he simply is in ecstatically playful mood enjoying/living every moment of this game.
Let me get back to MMI's performance. He invariably starts of with a brisk "vathaapi ganapthim" or a "Rama Bhakthi saamrajya" pieces with a swaraprastharam leaving one breathless - akin to a Sahwag/Tendulka/Gavaskar combined blistering start. .
Then comes the Karma/bhakthi/gyana yogam parts starting with a say, Meemakshi mutham (poorvi kalyani) a manavyala kim (nalina kaanthi) to a much more deep say Khamboji (subramanyaaya namaste) a Ckakkani raja in karahara priya in true Dravid/lakshman style,full of depth, understanding and consummate ease. Then as if this too much to endure comes a Dhoni like care free exhilarating fare like a Todi, a raagam thanam pallavi & a few thukkadas.
With realization dawning that even after coming so close, He is not taking him quite there, MMI lets out his passionate cry for a "release" .... Ka va va (varaali) & an Eppo varuvaaro (jaunpuri) asking Him to finally take him into His abode. The mangalam then is the obvious end of the performance.
The problem is when like any Indian Cricket performance it flounders on the way sometimes. But with one major difference. Without exception, there is one kriti/raagam in every performance which gives you the glimpse of the depth. And those final passionate cries of release from bondage, never fail to inspire.
These glimpses of experiences are what I have termed in an earlier blog piece, -- as "Athu Ennathuda" moments - beyond words & mind expression, to try & describe that Brahmn.
So then what's the message? Recognizing/experiencing those "Brahmn" moments in absolute surrender, without getting lost in its grammar is the key to final release from bondage.
Hope I am coming close to that phenomenon "ridiculously sublime" in realization....... .
Love
Ekalavya.alias Vichu .
. .
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