of Dikshitar constitute a very interesting study on
the very broad based approach of the composer as he
encountered music from alien traditions.
In consideration here, is the song kamalasana
The original tune is that of a folk melody seen in
English and American country dance, referred to as a
gallopede (Hungary was the birthplace of the
This tune accompanies a high energy dance.
Listen to Kamalasana vandita
The very nature of the tune forces three claps at
the end of each line.
Let us look at the manner in which Dikshitar has
fitted lyrics to the tune.
Here are the words.
kamaneeya karodaya saaamraajye
kamalanayana dhrita jagadaadhaare
kamale vimale guruguha janani
kamalaapatinuta hridaye maaye
kamala shashi vijaya vadane meye
kamalendraani vaagdevi sri
gauri poojita hridayaanande
kamalaakshi paahi kaamakshi
kaamesvara vara sati kalyaani
The powerful rhythm in the words add to the playful
gaiety of the song.
The song itself is in praise of kamalamba of
Tiruvarur. Note that Dikshitar has a whole range of
songs on Kamalamba using the weightiest of tunes and
This song can be regarded as a child’s dhyana gita,
as a prelude to learning classical music.
It is clear that the musical
seriousness of his kritis form an interesting
contrast with the
easily hummable western folk tunes upon which
the nottusvara sahityas are based.
Please follow this
link to an earlier article on