Introduction

Swathi Thirunal was born to the royal family of Travancore on 16th April 1813. Swathi
Thirunal was deeply interested in music right from childhood. Swathi Thirunal’s
compositions used mudras like Padmanabha, Pankajanabha, Sarasijanabha, Saroruhanabha,
Jalajanabha etc. Most of his compositions were addressed to Lord Padmanabha, his family
deity.He composed different forms of music including Tana Varnams, Pada Varnams,
Ragamalikas, Thillanas, Swarajathis, Javalis, Keerthanams and group krithis. Group krithis
include a set of compositions based on a particular theme or deity. The group krithis can
comprise of 5-9 krithis. Swathi Thirunal’s group krithis included the Navarathnamalika,
Ghana raga krithis, Utsava Sampradaya Krithis and the Navarathri Krithis. Navarathri
Krithis include 9 compositions intended to sing during the 9 days of the Navarathri(Dussera)
festival. The krithis composed in Sanskrit have lyrics that are highly poetic filled with
metaphors, similes and alliterations. Out of the nine krithis, the first six are in praise of
goddess Saraswati, the next three on goddess Parvati. The art object that I have chosen is the
6th krithi- Saroruhasana Jaye. This krithi is set in Raag Panthuvarali and Adi Thalam.

Body
Swathi Thirunal has a very strong sense of musicality as well as poetry which makes his
compositions even more timeless. He also has a strong grasp of many languages. Out of his
compositions 197 are in Sanskrit, 63 in Malayalam, 37 in Hindustani,8 in Telugu and one in
Kannada. Every Swathi Thirunal composition is distinct with the choice of words, beautiful
poetry and very enjoyable musicality. His compositions are unique also because of he would
bring out the essence of the raga in the first line itself. In the composition Saroruhasana, the
first line itself highlights the Panthuvarali phrase.
The sheer variety in the type of compositions by Swathi Thirunal is admirable. His unique
aesthetics of various ragas can be clearly seen in his Navarthri Krithis. Each raga is chosen
keeping in mind the mood or sankalpa of the mother in each krithi. Hence his Saroruhasana is
in Panthuvarali, a highly contemplative amd meditative raga.
Another thing that makes Swathi thirunal a unique artist is the fact that he was a ruler. Other
musicians and artists devote a lifetime to their art, Most of the time, art and the pursuit and
creation of art was their only preoccupation. But here was a person whose main vocation was
that of a ruler and administrator. And he was a great administrator as well. It’s still shocking
and surprising how Swathi thirunal managed to study music, practise it assiduodly, attain the
high professional standard to be able to compose in addition to the huge task of ruling a
state.It makes you wonder what he would have achieved if he lived longer.

Saroruhasana set in Raag Panthuvarali is a beautiful piece which mostly stays in the higher
octave. Raag Panthuvarali is the 51st Mela belonging to the 9th Chakra. Panthuvarali is an
extremely pensive and contemplative raga. It casts a very soothing influence on the mind
almost taking the listener to a trance like state. Panthuvarali also evokes a feeling of
melancholy in the slower phrases. Since Swathi Thirunal composed all 9 krithis to be sung as
main krithis, all the ragas that were chosen were main ragas with ample scope for alapana,
niravel and manodharma swara. This is the case for Panthuvarali as well. In the composition
Saroruhasana, Swathi Thirunal describes Goddess Saraswati’s beauty and says that it
surpasses that of the moon. He further goes on to describe the curves of her eyebrows being
more beautiful than cupid. Throughout the krithi, Swathi Thirunal uses many metaphors and
beautiful poetic language in praise of goddess Saraswati.

The history of music and dance in Kerala can be divided into 3 periods. The one preceding
Swathi Thirunal, the one during his period and the one succeeding it. Most of the music in
early Kerala were sung in the ‘Sangha Gana’ style. The raga was not adhered in music in
these. It resembles the Yajurveda recital of the Namboothiris. ‘Geethagovindam’ by
Jayadevan of the 20th century had a huge influence on the music and dance forms of Kerala.
These were recited with simple melodies and rendering of vocabulary. In Kerala, this style of
singing is termed as the ‘sopana style’ of music. The same style of reciting was adopted for
the Kathakali ‘padams’. During Swathi Thirunal’s period is when Kerala saw a shift in the
‘sopana style’ of rendering. Swathi thirunal introduced Carnatic music as a parallel to sopana
music. The influences of Carnatic music was so strong that it even got it’s place in the
Kathakali music. In a way, Swathi Thirunal bought Kerala to the forefront when it comes
music. He also reformed the dance forms in Kerala as he did with music.Carnatic music and
Bharatanatyam made impossing guidance andinfluence on the artistes of Kerala during this
period.Swathi Thirunal has choreographed many poems for dance.

Swathi Thirunal's name as a patron of cultural activities attracted many musicians, dancers
and writers from all elements of India to his court . The Maharaja's appreciation of the
Hindustani music was answerable for organizing a company of Hindustani artistes within the
palace. Bharathanattyam attracted the special attention of the prince even from his childhood.
Several dancers came from Tanjore in those days and settled down in Trivandrum obtaining
due encouragement from the palace.
Notwithstanding this generality of his interest, his preference for music and literature was
something to acknowledge. The stories got to be taken as a mirrored image on the perspective
of the prince towards literature, for he was himself an excellent scholar in many languages-
Sanskrit, Tamil, Telugu, Marathi, Hindi, Persian, English, besides Malayalam, and a decent
author. The patronage given by the prince to music and therefore the encouragement given to
the musicians and artistes be the best praise. The Maharaja's achievements ar appreciatively
remembered, and his example can ever serve to inspire the planet within the promotion of
learning and fine arts. His memory can forever be cherished collectively of the best patrons of
music and art in South India.

I do believe that in music both instrumental and vocal, there are hidden vast treasures of
poetic truth and magazines of emotional power." Sri Swati Tirunal felt this truth of truths and
showed it in his music and in his life and that is his greatest title to eternal fame and
reverence.

His Krithis so combined all the elemens of sweetness that existed in the songs of the previous

masters of Carnatic Music and supplemental new parts of witching charm also. His devotion
to Rama was expressed in an exceedingly manner that combined Santi Rasa and devotion Rasa all
told their aspects up to the very best Madhurya Bhava. several were the new ragas that floated
before his inner vision and located incarnation in his songs. His songs offer nice scope for the singer's
manodharma (musical originality and improvisation.