Annamacharya: The poet-saint and his compositions
The srI vishNu sahasranAma stOtram virtually puts a picture of the hindu god vishNu in this one final slOkam. The last word in the 1st stanza describes one of vishNu’s infrequently used weapons, the Nandaka, a dagger. This is a story of that Nandaka. In the “BhagavadgIta” ShrI Krishna (an incarnation of vishNu) proclaims-
which literally means-“whenever the way of life (Dharma) is harmed I will recreate myself for its uplift”. War on adharma does not necessarily mean terminating people in every context. It also means terminating the unscrupulous behavior and bringing the society back onto its track. You might wonder what kind of relationship exists between these statements and the current story. The BhAratIya purANAs describe 2 types of incarnations. These are: the pUrNAvatAras and the amSAvatArAs. In the former vishNu himself was incarnated and in the latter his weapons and associates took those forms. For example, when VishNu incarnated himself as SrI Rama, his serpent bed (AdisEshu) took the form of Lakshmana, his Conch (PAnchajanya) and his wheel-disc (Sudarsana) to the forms of Bharata and ShatruGhna, respectively and aided him terminating the evil and set standards for human values. It is also believed that Adiseshu took the form of BalarAma, while vishNu came as SrI Krishna.
During Kaliyuga (current age), vishNu is believed to have taken the form of srI vEnkatEshwara (srInivAsa/bAlAji) and resides on the hills of Tirumala, near the town of Tirupati, in Andhra Pradesh, India. In kaliyuga to set a course of salvation and to set righteous path for humans, vishNu’s associates are thought to have taken forms of human beings. In this case vishNu’s dagger Nandaka is said to have incarnated as SrI Annamacharya. Like a dagger cuts off the deadwood, AnnamAchArya’s compositions (samkIrtanas) and other works have worked as essential tools in eliminating ignorance and imparting Bhakti in the hearts of people. Whether one believes these descriptions or not, it is clear that SrI tALLaAka Annamaacharya certainly created a new niche and style in the Telugu poetry and the Bhakti literature, provided guidelines for his followers such as Purandara DAsa, the highly revered Carnatic trinity, TyagarAja, Muthuswamy dIkshita and ShyAma Sastry. More importantly, during his lifetime he composed 32,000 kritis which far exceed those of Purandara and the trinity combined. On May 13, 2006 (VaishAkha shukla pournami), it will be the 598th birth anniversary of this outstanding poet scholar.
srI AnnamachAya was born in a Brahmin family in the village of tALLapAka, near the town of Rajampeta, in Cuddapah district of Andhra Pradesh on May 13, 1408. His parents srI Naaraayana sUri and Srimati Lakkamamba. The following pictures show the village of TaaLLapAkA, the AnnamAcharya dhyAna Mandiram (a mausoleum) and an idol of AnnmachArya.
The TALLapAka clan included many eminent scholars of Telugu and Sanskrit languages, poets, and music composers among who AnnamachAya was the most accomplished. He is regarded as “Pada kavitA pitAmaha” (Grand sire of simple poetry). He began composing kritis at a young age of 16yrs. His mind was so focused on Lord VEnkatEshwara, that one day when asked by his father to bring some fodder from the family farm, he completely forgot about his chores and followed a group pilgrims traveling to Tirumala. One of his famous compositions “adivO alladivO shri harivAsamu, PadivElA sEshula padagala mayamu” (In rAga MadhyamAvati, There it is! The abode of ShrI Hari with the 10000 heads to Adisesha) is said to have come out spontaneously when he first saw the mountain range of Tirumla hills. Similarly, another kriti, “Brahma kadigina pAdamu Brahmamu tAnenI pAdamu” (in rAGA Mukhari; these feet are worshipped by Brahma (creator) and, these themselves are Brahman (superior lord)”, was composed when he first visited the idol. Throughout his works AnnamachArya like a historian documented the fauna, flora, temples, architecture and rituals of the world famous temple town Tirumala. “Kanti akhilanda kartha nadhikuni kanti, kanti naghamulu veedukonti nijamUti Kanti” (I found the creator of this universe; I am cleaned off all my sins and I saw the real god) is another composition that is believed to have come out when he saw the idol at Tirumala. He saw Sri rAma, Krishna, Nrisimha, Hanuman and several other gods and goddesses in Lord venkateswara and composed hundreds of kritis. “NamO NamO raghukula nAyaka” (in nAta), “rAmabhadra raghu VIra ravi vasma tilakA nI nAmamE kAmadhEnuvu” (in Ananda Bhairavai), “kadiri nrisimhudu kambhamuna vedale” (in Atana) and “O pavanatmaja O ghanuda” (on Hanuman in srI Ragam); “ittimuddulAdi bAludEda vAdu vAni pattitecchi pottaninda pAlu bOyarE” (in Ananda Bhairavi on Krishna), and muddugArE yashOda mungiti mutyamu vIdu (in Ananda Bhairavi on Krishna). He also composed several kritis describing lakshmi and padmAvati (also known as alamElmanga) the consorts of ShrI vEnkatEshwara. The most popular of among these- “ksheerabdhi kanyakaku srI mahAlakshmikini nIrajAlayakunu nIrajanam” (in madhyamAvati on lakshmi); alarulu kuriyagan AdEnadE alakala kulukula alamElmanga (in ShankarAbharaNam on padmAvati).
Although he was branded as vaishnavaite (ardent follower of only vishnu), this following composition tells us that he never affiliated himself with that ideology.
Although he was branded as vaishnavaite (ardent follower of only vishnu), this following composition tells us that he never affiliated himself with that ideology.
"Enta matramuna evvaru talachina antamatrame neevu, antaraantaramulu enchi chooda bindante nippati annatlu"
(You appear to different people as to what they think you are. It is like seeking to measure the inner meaning. In this kriti he clearly says, some people regard you as Vishnu, others as Shiva and some others as Shakti etc. However, the fact doesn’t change that you are one god, despite their imaginations). This kriti reflects the sentiments expressed in the famous Tiruvayimozhi (in the Tamil language) “avaravar thamathamathu aRivaRi vakaivakaiavaravar iRaiyavar ena adi adaivargaLavaravar iRaiyavar kuRaivilar iRaiyavar avaravar vidhivazhi adaiya ninRanarE” Tiruvoyimozhi 1-1-5
(Those gnAnis, who, with their knowledge and bhakti understand their Gods as "The One, who has no second" and surrender at Those Gods' feet. Such Godsbless and give everything to Their devotees and satify them. Not due to their powers; but due to the Grace and mercy of Sriman NarayaNa who is present in those Gods as antharyAmi in their Hearts) “thanca maagiya thanthai thaayodu thaanumaay avai allanaay,encalil amarar kulamudhal moovar thammuLLum aathiyai,anci neerulakatthuLLeergaL! avan ivanenRu koozEnmin,nenciNnaal _ninaippaan yavan avan aagum neeLkadal vaNNanE”
Tiruvaimozhi-3.6.9 This same approach to oneness can also be seen in his following kriti,”BhAvamulona bAhyamunandunu gOvinda gOvinda yani koluvavo manasA” (O mind! In your thoughts and outer expressions think of Govinda and pray to Govinda. All gods are the manifestations of ShrIhari. All universe is part of him. All mantras are none other than Hari’s name. Therefore, say and pray “Hari Hari”. This was the exact philosophy that was originally reflected in the nArAyaNa sUktam where it was said, “Yatcha kinchit jagat sarvam dirshyatE shrUyatEpiva, antar bahir tatsarvam vyApya nArAyaNa stitaha”(From the tiniest to grossest, including what you can see and hear, inside and outside nArAyaNa is present in this universe).
This same philosophy and universal love can also be found in another of his popular kritis, “Brhamamokkate parabrhamamokkate, tandanAna Ahi tandanAna purE, tandanAna bhaLA tandanAna” (this is a popular melodic verse in the rAga Bowli) where he clearly proclaims “Kanduvagu hInAdhikamulendu lEvu, andariki sriharE antarAtma” (God is one; by birth there is nothing like greatest and lowest, for all things sriHari is at the center). One can find a social reformer in this expression. This kriti incorporates the same philosophy reflected in the following slOka, “mritpinda EkO bahu bhAnda rUpaha, suvarnamEkam bahu bhUshanAni, gOkshIramEkam bahudhEnu jAtam, Ekaha parAtmA bahudEha vartI” (like the same clay can be moulded to form different vessels, like the same gold can take shapes of different ornaments, like the milk from millions of cows looks alike, the same god purveys through all bodies). A similar thought could also be found in his following kriti in the rAga bhUpAla, “E kulajudaina nEmi yevvadainanEmi Akada nAtade harinerigina vAdu” (it doesn’t matter what social class you are born in, one will not become the greatest unless he/she completely understood the philosophy of Brahman). This is an exact reflection of what was said in the bhagavadgIta, “vidyA vinaya sampannE brAhmanE gavi hastini, shuni chaiva swapAkEcha paNditAh samadarshinaha” (those who can reflect the self (i.e. god) equally in an educated person, as well as in cattle and in a person who eats dog’s meat can only be called the Pundits); and in the MahabhArata “Janma nA jAyatE shUdraha, karmanA jAyatE dwijaha, vEda paThantu viprAnAm, brahma jnAnantu brAhmanAh (by birth every body is a sUdra. However, by their deeds they become greater; some of them become enlightened by studying the vEdas. Among these, only those who understood Brahman (god) are the real Brahmins). Purandara, the classifier of carnatic music system, who met anamAchArya at his place, pronounced that Annamayya is the essence of vishNu. In fact, he adapted same philosophy and approach in his Daasara padagaLu. This is a testimony to the influence of Annamacharya on the works of his followers. Such social messages are hardly found or extremely rare in the works of the Carnatic Trinity, Tyagaraja, Muthuswamy Dikshita and ShyAma Sastry. This may be because none of those three were referred to as incarnations of Hari. Thus, annamAchArya’s compositions have a unique place in literature as well as in terms of the message they convey.
Annamacharya’s original sanIrtanas were written on palm leaves and later his son Tirumalacharya got them engraved on copper plates. But for reasons not known, most of these copper plates lay hidden in a rock built cell opposite to Hundi in the Tirumala temple unnoticed for over 400 years. Apparently, AnnamAchArya was concerned about their loss overtime. Therefore, he not only left the original palm leaves with his son and said to have instructed him to have them put in a safer place with some kind of engraving. There is one kriti (probably his last one) in the rAga Arabhi that gives this impression. “dAchuko nI pAdAlaku daganE jEsina pUjalivi; pUchi nI kIriti rUpa pushpamulivi yayya; okka sankIrtanE chAlu oddikai mammu rakshinchanga; takkinavi bhAndArAna dAchi vundanI” (keep these kritis as flowers that were offered to your feet by me; only one of them will be sufficient to protect all of us; the rest keep safely in your treasury). There seems to be a sound reason for this. In his own life time, annamAchaya experienced the tyranny of a king sALuva Nrisimha rAya, who has pressured AnnamAchArya to give the kritis to him and even jailed him briefly. Despite this, annamAchAryA refused to do so by declaring that they belonged to only one individual, i.e. ShrI vEnkatEshwara of Tirumla hills. Had he bowed to that pressure, we would have lost a great number of these works because of wars, human-initiated destructions, ravages and natural disasters by now. That did not happen because of his refusal. This again testifies to his vision for the future. The following pictures show the original copper plates that were stored in the Tirumala temple premises. One of his kritis in the raga Devagandhari can be seen in the black and white picture. One note of caution to the reader-all rAgas affiliated with the kritis described in this article were not originally assigned by annamAchArya himself. Although several rAgas were in use during and before the times of annamAchArya, the carnatic music system was not fully and formally organized. 
In 1922, twenty five hundred copper plates, comprising of about 14,000 sankIrtanas and a few other works, were found in a rock built cell, later named as Sankirtana Bhandagaram (chamber of compositions), opposite to the Hundi (donation box). Below is the picture of the original Bhandagaram. If you ever go to Tirumala, look for this in the main temple area.
Because these kritis use 14th century Telugu language, it has been difficult to define meanings of several words. As of last month (April 2006) about 14,000 compositions were set to various rAgas. A book set of 29 volumes, containing these kritis, were released to the public. Bharatratna late Smt. M.S. Subbulakshmi sang some of these kritis. These are available as “Balaji PancharatnamAla” publicly. Many other artistes have also released their own CDs and audiotapes for popularizing these kritis.
Apart from the philosophic reflections, his compositions also contained Shringara (description of beauty), bhakti (devotion), and Jnana (eye opening) and vairagya (lack of attachment to earthly possessions). His compositions like “ElE ElE maradala” (a romantic song between Atma and ParamAtma), “kulukuka nadavaro kommalala” (beauty of Alamelmanga) exemplify his Shringara kritis. His popular kriti “nAnAti bratuku nAtAkamu” (in the raga rEvati) says that my life in place is a small Act in a drama, therefore, I should look for paramatma is one great example for his vairagya. He covered the entire range of a literary thought in his works. He composed kritis for mothers and commoners as well. For example, “Jo achyutaanananda Jo Jo mukunda” (for sending a baby to the bed), “ChandamAmA Ravo Jabilli Ravo” (to feed a baby by calling the moon)” “uyyAla bAlunUchedaru kadu noyya noyya noyyanuchu” (cradle song) are literally sung by most mothers to their babies. Even those who never had formal musical education could sing these. Surprisingly Many Telugu speaking people do not realize that these were AnnamAchArya’s works. For the sake of commoners he composed kritis like “SuvvI suvvi suvvAlamma navvuchu dEvaki nandanu ganiyE” , “Sande kada puttinatti chAyala panta”, “KolnaiydOpariki GgobbiLLO yadukula swAmiki gobbiLLO (on Sri Krishna), “siruthanavvula vAdu sinneka” (on dashAvatAras or the 10 incarnations of VishNu), which do not require one to have a deep knowledge of language. Such a breadth of expression (composing for intellectuals and commoners as well) can only be found in the works of Purandara DAsa but not in the works of Carnatic Trinity. Thus, unless the thought and its impacts reach to every person in the society it will not become a treasure. This treasure was given to us by a person who ws powered by god. Aside from these AnnamAchArya also authored 12 Satakas (sets of hundred verses), Ramayana in the form of dwipada, sankIrtana lakshaNam (Characteristics of sankIrtanas), SRngAra manjari, and vEnkaTAchala mahAtmyam. His works were in Telugu, Sanskrit and a few other languages of India. AnnamAchArya may have left us but his works remain forever. Like Bhirtrhari proclaims in his “nIti Shatakam” -
“JayantitE sukritino, rasa siddhaaha kavIshwaraha
nAsti tEsham yashah kAyE, jarAmaranajam bhayam”
Those pundits who attained perfection (rasa siddha) will never die, for they live in their works.
Om Tat Sat
--By Dr. Dhan V. Kalvakolanu
