rAmacandrENa samrakSitOham
Ragam: mAnji
{20th Melakartha (Nata Bhairavi) Janyam}
ARO: S R2 G2 M1 P D2 N2 S ||
AVA: S N2 D1 P M1 G2 R2 S ||
Talam: rUpaka
Composer: Muthuswamy
Dikshitar
Version: T
M Krishna
Lyrics Courtesy: Lakshman Ragde
Pallavi:
rAmacandrENa
samrakSitOham sItA
Anupallavi:
ramA
bhAratI gaurI ramaNa svarUpENa
Charanam:
kAmakOTi
sundarENa kamanIya kandarENa kOmaLa ghanashyAmEna kOdaNDarAmENa
mAmaka
hrdaya sthitEna mAruti gItAmrtEna mAnjI ramaNi maNDita mad guruguha mAnitEna
Meaning: (Approximate – please report errors):
P: I am protected (“samrakSitOham”) by Shriramachandra,
and Sita
A: He is the supreme lord who takes the form (“svarUpENa”) of Brahma,
Vishnu and Shiva Lords of (“ramaNa”) Bharathi, Rama and Gauri.
C: (I am protected by ) The
one who is equal to ten crore cupids (“kAma-kOTi”) in beauty (“sundarENa”), the one who has
a lovely (“kamanIya”) neck (“kandarENa”). The one who has the delicate (“kOmaLa”) hue of a cloud (“ghanashyAmEna”). The one who wields the bow of Kodanda (“kOdaNDarAmENa”). The
one that resides (“sthitEna”) in my (“mAmaka”) heart (“hrdaya”).
The one who is the object of Hanuman's (“mAruti”) ambrosial music (“gIta-amrtEna”).
the one who is
respected (“mAnitEna”) by my (“mad”) Guru Guha (“guruguha”) who is adorned (“maNDita”) with anklets with
many gems (“mAnjI ramaNi” – also a reference to the mAnjI raga of the composition).
Pallavi:
rAmacandrENa
samrakSitOham sItA
P: I am protected (“samrakSitOham”) by Shriramachandra,
and Sita
R ; R – R ; ; || gmP
M- P ; dp ||
G ; pm- gr S
N ||
S ; ; ; ; ; ||
rA ma
can - - drE-- Na sam
- - - ra- kSi-
tO - -
ham - - - -
R ; R – R ; ; || gmP
M- P ; dp ||
G ; pm- gr S
N ||
S ; ; rg m-g r s ||
rA ma
can - - drE-- Na sam
- - - ra- kSi-
tO - -
ham - sI - -
tA –
R ; R – R ; ; || gmP
M- P dn dp ||
G ; pm- dp mGr || Rgs ;
rg m-g r s ||
rA ma
can - - drE-- Na sam
- - - ra-
kSi- tO -
- ham - sI - -
tA –
R ; R – R ; ; || gmP
M- P nn dp ||
G ; pm- dp mGr || Rgs ;
rg m-g r s ||
rA ma
can - - drE-- Na sam
- - - ra-
kSi- tO -
- ham - sI - -
tA –
R ; R – R ; ; || gmP
M- P ; dp ||
G ; pm- gr S
,n ||
S ; ; ; ; ; ||
rA ma
can - - drE-- Na sam
- - - ra- kSi-
tO - -
ham - - - -
Anupallavi:
ramA
bhAratI gaurI ramaNa svarUpENa
A: He is the supreme lord who takes the form (“svarUpENa”) of Brahma,
Vishnu and Shiva Lords of (“ramaNa”) Bharathi, Rama and Gauri.
S S ;
S ; S || S ,
n N D
D P || ; ; ; ; ;
; || ; ; ;
; ; ; ||
ramA - bhA
- ra tI -
- gau- rI
- -
- - - - - - - - - - -
S , s ;
S ; S || S ,
n N D
D P || sns- s
; S ; S || S , n
N D D P ||
ra-mA - bhA
- ra tI -
- gau- rI
- ra-mA - bhA
- ra tI - - gau- rI
-
P P ,d – ns R-S
|| S , n N D D P
|| P P D – ns
R-S || S , n N D
D P ||
ra-mA - bhA
- ra tI - - gau- rI
- ra mA -
bhA
- ra tI - - gau- rI
-
S N ns P P,d- pm || P – mg pm G
g r r s ||
rama Na - sva- rU-
- pE - - - Na Sri - -
R ; R – R ; ; || gmP
M- P nn dp ||
G ; pm- dp mGr || Rgs ;
; ;
; ||
rA ma
can - - drE-- Na sam
- - - ra-
kSi- tO -
- ham - - - -
S S ;
S ; S || S ,
n N D
D P || P P
,d – ns R-S || S , n
N D D P ||
ramA - bhA
- ra tI -
- gau- rI
- ra-mA - bhA
- ra tI - - gau- rI
-
S N ns P P,d- pm || P – mg pm G
g r r s ||
rama Na - sva- rU-
- pE - - - Na Sri - -
R ; R – R ; ; || gmP
M- P nn dp ||
G ; pm- dp mGr || Rgs ;
rg m-g r s ||
rA ma
can - - drE-- Na sam
- - - ra-
kSi- tO -
- ham - sI - -
tA –
R ; R – R ; ; || gmP
M- P ; dp ||
G ; pm- gr S
,n ||
S ; ; ; ; ; ||
rA ma
can - - drE-- Na sam
- - - ra- kSi-
tO - -
ham - - - -
Charanam:
kAmakOTi
sundarENa kamanIya kandarENa kOmaLa ghanashyAmEna kOdaNDarAmENa
mAmaka
hrdaya sthitEna mAruti gItAmrtEna mAnjI ramaNi maNDita mad guruguha mAnitEna
(I am protected
by ) The one who is equal to ten crore
cupids (“kAma-kOTi”) in beauty (“sundarENa”),
G ; M – P ; M || G ; pm – G R S || ; ; ; ; ; ; || ; ; ; ; ; ; ||
kA ma kO - Ti sun
da- rE - Na -
- - - - -
- - - - - -
… the one who has a lovely (“kamanIya”) neck (“kandarENa”).
G ; M – P
; M
|| G ; pm – G R S ||
, n S R ; ; G
|| M ,g P M
; M ||
kA ma kO - Ti sun
da- rE - Na kama nI
- -
ya kan- darE - Na
G ; M – P
; pm
|| gmpd pm – G R S ||
r n S R ; ; G
|| M ,g P , m
; M ||
kA ma kO - Ti sun
da- rE - Na ka-ma nI -
- ya kan- da - rE
- Na
G ; M – P
; pm
|| gmpd pm – G R S ||
r n S R ; ; G
|| M ,g P pm
; M ||
kA ma kO - Ti sun
da- rE - Na ka-ma nI -
- ya kan- da rE
- Na
(note:
there is a gamaka slide from P to M in latter part of the sangati)
G ; M – P
; pm
|| G pm mg rm g – g S || , n S R ;
; G || M ,g
P pm ; M ||
kA ma kO - Ti sun
da- rE - Na- kama nI
- -
ya kan- darE - Na
G ; M – P
; pm
|| G pm G rm g – g S || r n S R ; ; G
|| M ,g P pm
; M ||
kA ma kO - Ti sun
da- rE - Na- kama nI
- -
ya kan- darE - Na
The one who has the
delicate (“kOmaLa”) hue of a cloud (“ghanashyAmEna”).
P ; D N S R || S , n N D D P || ; ; ; ; ; ; || ; ; ; ; ; ; ||
kO maLa ghana
shyA- mE- na -
- - - -
- - - -
- - - -
… The one who wields the bow of Kodanda (“kOdaNDarAmENa”).
P ; D N
S R || S ,
n N D
D P || P ;
D N S R || S ,
n N D
P M ||
kO maLa ghana
shyA- mE- na -
kO maLa ghana
shyA- mE- - na
S N S – P D P
|| mg ; pm- G
R S ||
kO - - da - Nda rA -
- - mE - Na
P ; D N
S R || S ,
n N D
P M || S N S – P D P
|| mg ; pm- G
R S ||
kO maLa ghana
shyA- mE- - na kO -
- da - Nda
rA - - -
mE - Na
The one that resides (“sthitEna”) in my (“mAmaka”) heart (“hrdaya”).
The one who is the object of
Hanuman's (“mAruti”) ambrosial music (“gIta-amrtEna”).
S s s r g M g
R s ||
; ; ; ; ; ; ||
mAmaka
hrdaya sthitEna - - - -
- -
S s s r g M g
R s ||
S s s N D g R s
||
mAmaka
hrdaya sthitEna mAruti gI tA mrtEna
S s s r g pm
g R s || S s
s N
D g R s
||
mAmaka
hrdaya sthitEna mAruti gI tA mrtEna
The one who is respected (“mAnitEna”) by my (“mad”) Guru Guha (“guruguha”) who is adorned (“maNDita”) with anklets with
many gems (“mAnjI ramaNi” – also a reference to the mAnjI raga of the composition).
S n s ,
r s r s n d p
|| M – p n d p – m g
m – g r s ||
mA-njI - ramaNi maN-Dita mad guru guha mA- ni tE- na
R ; R – R ; ; || gmP
M- P ; dp ||
G ; pm- gr S
,n ||
S ; ; ; ; ; ||
rA ma
can - - drE-- Na sam
- - - ra- kSi-
tO - -
ham - - - -
S s s r g pm
g R s || S s
s N
D g R s
||
mAmaka
hrdaya sthitEna mAruti gI tA mrtEna
S n s ,
r s r s n d p
|| M – p n d p – m g
m – g r s ||
mA-njI - ramaNi maN-Dita mad guru guha mA- ni tE- na
R ; R – R ; ; || gmP
M- P nn dp ||
G ; pm- dp mGr || Rgs ;
rg m-g r s ||
rA ma
can - - drE-- Na sam
- - - ra-
kSi- tO -
- ham - sI - -
tA –
R ; R – R ; ; || gmP
M- P ; dp ||
G ; pm- gr S
,n ||
S ; ; ; ; ; ||
rA ma
can - - drE-- Na sam
- - - ra- kSi-
tO - -
ham - - - -
================================================================
Raga Notes:
(collated from the web)
Sources:
http://indiamusicinfo.com/melakartha/janya/manji.htm
A rare type
of janya raga having the arohana and avarohana of a mela. Its parent raga is
the 20th mela Natabhairavi. The notes taken are Shadja, Chatusruti RI,
Sadharana Ga, Sudha Ma, Sudha Dha, Chatusruti Dha and Kaishiki Ni. An ekasvara
bhashanga raga wherein the foreign notes is incorporated in the scale itself.
Even though the structure it resembles Bhairavi. It differs due to the shake of
sirgha kampita gamaka given to sadharana Ga. The bhashanga svara Chatusruti
Dha, Bhairavi Janta svara, which is a main different between the two. A and Ni
are the jiva svaras. A raga that evokes bahkthi and karun rasa. Purandaradasa
has composed in a raga named Manjusha Bhairavi which closely resembles Maanji.
http://www.carnatica.net/queryinquiry.htm
What's the difference between Manji and Bhairavi? (B Sankari)
Manji seems to have been a very
prominent raga earlier, with the difference between Manji
and Bhairavi being more obvious. The popular
contention is that Manji originated from the folk
tribes. However, there are certain scholars who believe that Manji was just a folk version of Bhairavi.
It is rather difficult to come to a conclusion based on these beliefs.
Nevertheless, Manji today has two
clear versions, as can been seen in the compositions Brovavamma
of Syama Sastri and Varugalamo of Gopalakrishna Bharati. The former is akin to Bhairavi,
although scholars believe that the scale is a straight S R2 G2 M1 P D2 N2 S - S
N2 D1 P M1 G2 R2 S, where the Arohana takes the scale
of Kharaharapriya and the Avarohana
takes the scale of Natabhairavi. Whereas the scale of
Bhairavi begins with a vakra
prayoga (zig-zag pattern) S
G R G, and retains the rest of the scale as it is. In Brovavamma
one also sees that the Dhaivata in the descent is a
little more elongated than Bhairavi. The rest of the gamakas (ornamentations) are not very distinctive though.
Varugalamo, on the other hand, is
a more dramatic, emotional and folkish interpretation
of Manji, probably because it happens to be a part of
the opera, Nandanar Chartitram.
One cannot really fathom whether these versions have come as a result of
interpretation by musicians or whether they were in fact composed like that.
The controversy continues.
Certain scholars like Prof. S Ramanathan,
Calcutta Krishnamurthy and S R Janakiraman also
highlight the scope for singing Bhairavi in different
speeds. This is not found in Manji, which is
predominantly used for slow tempo (chowka kala)