History of Thanjavur Maratha Royal Family-Part II

 

History of Thanjavur Maratha Royal Family-Part II

 

Tulja ji’s compositions in Marāthi and Sanskrit are evident in the texts authored by him:-Sangīta Sārāmritam, Nātya Vedhagama, Mantra Jyothisa, Dhanvantri Vilasa, Vyāakhyanive are texts of a high standard of scholarship. The Punnainallur Māriamman temple was built by him and consecrated by his spiritual guru Sadaśiva Brahmendra.

Tulaja I’s works consists of 13 padas in praise of Chandramouliswara, the family deity. He moved to Mahādevapattinam. Here he built a temple to Varahāswami. He authored Śivakāma Sundari Parinaya nātakam which recounts the story of Parameswara’s marriage with Parvati.

      Ekoji II was the fifth king to ascend the throne. He was the eldest son of Tukkoji I Mahārājā and Hamsāmbā. Ekoji II was named after his grandfather.  Also known as Bavasaheb, he wrote the Marathi yakshaganam ‘Sakuntalnatak’. This yakshaganam was revived when the Sangam staged my production in 2001 with collaboration of a Mumbai ensemble. Ekoji also composed Ramayana in Dwipadas or couplets. He ruled only for one year and despite ill health bravely fought and won a battle with Chanda Sahib. His wife Sujan Bai ruled for two years after him before falling victim to political enemies.

 

After Sujan Bai’s death, the kingdom was in chaos. The next heir Pratapasimha Raje devoted his life to restoring stability in the kingdom and was involved in major conflicts with the British and the French.  A scholar of Sanskrit and Marāthi he wrote on Puranās, Bhāgavatam, theatre, and Kāmaśāstra.  He has eleven nātakas in Marāthi to his credit. Melattur Vīrabhadrayya, the prime composer of Swarajati and Thillana, and Mātrubhuta Kavi were his cherished proteges. Muddu Palni, a famous dancer, poet and scholar wrote the erotic work Rādhika Santavanam and Saptapādalu, a translation of Āndal’s Thiruppāvai also attracted great honours and lavish gifts. His son Tulaja II ascended the throne after him.

A warrior and scholar like his ancestors, Tulajā II patronised scholars of Sanskrit, Telugu, Marāthi and Tamil literature and poetry. He was an accomplished Veena player. Considered the golden period of Carnātic music and dance, the court was shining with composers like Arunāchala Kavi Rāyar, Veenā Kālahasti Iyer, Rāmabrahmam, Rāmaswāmi Dikshitar, Sonti Venkataramanayya, Mahādeva Annāvi and Subbarāya Oduvar (father of the Tanjore Quartet) enjoyed patronage and honours in the Marātha court. His adopted son Serfoji II aka Sarabhoji II was declared his heir. The musical Trinity Syama Sastri, Muthuswami Dikshitar and Tyagabrahmam lived during this time.

The most accomplished and versatile Raja of the Thanjavur Marātha line, Serfoji II ascended the throne when the British had reduced Indian kingdoms to tribute-paying servants of the East India Company. Apart from his varied interests like medicine, allopathy, āyurveda and alternative systems like Unāni and Siddhā, he patronised all the fine arts. His most valued contribution to our country was the expansion of the Saraswati Mahāl Library established by Sevappa Nayak, which now became stocked with texts, manuscripts, and printed books from all over the world. He enrolled for western music and his lessons used to arrive from London. He included western musical instruments and commissioned a band which played his own compositions. He encouraged Vadivelu to learn the violin which came back to our country in its westernised form. He made extensive expansion and renovation in the Brihadīswara temple, including building the Vināyagar shrine. He also built a printing press in 1805 witthe fonts made in stone. He composed many pieces for dance and had notations written for each. Serfoji Maharaja ‘s accomplishments need an entire volume. He ruled for 34 years and died at the age of 54 years.

Serfoji II’s son Shivaji II ascended the throne. At this time the British had closed in completely leaving the Rajas as mere vassals. Shivaji II was a lover of music and dance. He encouraged Tamil literature. His court honoured many dancers despite the stringent rules regarding performance by temple dancers. He was the hero of many dance compositions. He was fond of Marathi folk music like #Lavanis and was bestowed the title of #Shahir. He had no heir, so the British slapped the #Doctrine of Lapse, meaning he had to surrender the throne to them. His wife Kamakshi had adopted a boy, but the British refused to accept him. As soon as he was dismissed, The British began to loot the Saraswathi Mahal Library. Kamakshi fought them bravely and forced them to return the treasures. The royal Thanjavur Maratha’s active rule came to an end in 1855 CE.

We must remember the brave Ranis, women behind the kings who commanded respect and were good administrators. The patriarch Shahaji Bhosle I, father of Sambhaji and Shivajiraje married Jijabai who was their mother. Circumstances forced Shahaji to engage in battles and finally he settled in Bengaluru. Jijabai remained in Pune to groom her son Shivaji who was showing potential to become a great warrior. Sambhaji spent his growing years in Bengaluru with his father and stepbrother Vyankoji. Shahaji married second wife Tuka Bai, mother of Vyankoji. Vyankoji married Dipamba who became an able guide and administrator in the Thanjavur court. She was diplomatic, intelligent, and eased the relationship between Shivajiraje and Vyankoji. Sujan bai, wife of Bavasaheb Ekoji II stepped into her husband’s shoes and ruled for two years facing threats and machinations against her. The internal politics and enemy forces finally eliminated her. Kamakshi the last royal wife of Shivaji II fiercely protected the Saraswati Mahal library from the British who looted the treasures after her husband’s death.

 

This is just an introduction to the #GoldenEra which our history books do not feature. The wealth of literary and cultural works left behind by these magnificent rulers is not seen in mainstream Indian history. WHY? The descendants of the Bhosle royal family continue to live in #SadarMahalPalace. The #ThanjavurMarathacommunity continue to preserve the ancient language. You will find some of them on social media quietly and modestly upholding the dignity of their ancestors. Bharata Natyam dancers and Carnatic musicians from the last three centuries till today have always paid homage by performing their compositions.

The #BhagavataMela is a tradition that has been honoured and supported by the Maratha royals. The yakshaganams composed by the rajas are fascinating pieces and specially written for dancer/actors. I realised that when I produced and staged the Marathi #Sakuntalanatak’ by #EkojiII in 2002.  My current research project (2021-2022) is translation of two Marathi yakshaganams into English with analysis and annotation. This may help those who do not understand the Sanskrit-Marathi of the beautiful Darus. I am looking forward to presenting an introductory lecture with dance and music later this year.

Key words

#TulajaI,# SarabhojiI #Pratapsinh # SerfojiII #ShivajiII

#PratapsinhSerfojiRajeBhosle #ShivajirajeBhosle #thanjavurMarathaPalace #SumitraRajeBhosle #RamachandraBKeskar #MarathiPandit

History of Thanjavur Maratha Royal Family-Part I

 

 

 

History of Thanjavur Maratha Royal Family-Part I

 

Shahaji Bhosle I, father of Chhatrapati Shivaji Maharaj moved to Bengaluru where he was awarded a large jagir. He had another son named Vyankoji who grew up in Bengaluru, fought many wars with his father. Sent to help the Thanjavur Nayak in a battle, he captured the throne of Thanjavur.

 

During Vyankoji Raje’s time Samartha Ramdas Swami visited Thanjavur. Swami Ramdas established the first Math Thanjavur Sri Bheemaswami Shahapurkar Math. This Math is today run by Shri Ramachandra Keskar Maharaj who is currently Marathi Pandit at Saraswathi Mahal Library. The Nine days preceding Sri RamaNavami is celebrated with dedication and Devotion. Today is Sri Rama Navami.

 

Samartha Swami Ramdas was on his way to Rameswaram. Halting at Thanjavur as a royal guest, he established Maths. In Thanjavur Katha Kalkshepam was popular at all festivals. Swamiji introduced abhangs and simple bhajans and abhangs. Musical instruments were added and this parampara is popular to this day. This came to be known as Harikatha. The rich contribution of Marathi kirtans in Carnatic ragas is an important feature of this time.

Vyankoji Maharaja inherited a famine-ridden region where the citizens were in distress and battles were raging all the time. Now people were afraid that a ruler who speaks a different language is going to cause more trouble. But Vyankoji (or Ekoji I) spoke Telegu and Tamil. He did not change the official language, which was Telugu, nor did he make any changes in the administration. Instead, he rebuilt canals, repaired faulty irrigation and restored peace. Very soon Thanjavur began to prosper, and the people appreciated his efforts. Soon he shifted his family to Thanjavur.

Vyankoji Raje gave up his throne to his 12-year-old son Shahji II. Shahji was born in Bengaluru. He had two younger brothers Sarabhoji I and Tuljaji I who were born in Thanjavur. This branch of the Maratha Bhosle family grew up in the south, speaking Tamil, Telugu, Marathi, and Kannada. They inherited love for poetry and interest in Shastras and spiritual literature. They were well-versed in Carnatic music. Though foreign invasions and petty politics continued to interrupt their lives, they remained focussed on their intellectual pursuits.

 

Shahji II named after his valiant grandfather, grew up to be the most revered of this dynasty. He fought wars, expanded his territory, and sheltered Shivajiraje’s son Rajaram who had to escape the clutches of the Mughals. He was a precocious child and displayed tremendous interest and talent in music and poetry. The musical dance theatre plays named yakshaganams, made popular by Vijayaraghava Nayak, impressed him. He studied Alankara Shastra, Natya Shastra, and Sanskrit literature. His book on ragas “Ragalakshanamu” compiles notes on ragas prevalent at the time.

Shahji Raje composed 20 Telugu yakshaganams, 20 in Marathi, 6 in Tamil, Vishnu Pallaki Seva and Sankara Pallaki Seva Prabandhams. besides several Tyagesa padams for dance. The Marathi play ‘Sankara Kali Samvadham is replete with Jatis, and Jakkini darus. He was a polyglot who was fluent in Marathi, Tamil, Telugu, Hindi, and Persian. He authored two texts Sabda Ratna Samanvayam and Sabdarathan Sangraham. The entire list of works is too long for this brief blog.

                                  

Shahji II encouraged other poets and scholars and honoured them in the court. Performances by musicians and dancers were a regular feature of the palace. His generosity to his peers was appreciated and he was given the title ‘Abhinavabhoja’. He donated an entire village named Shahjirajapuram (Tiruvisainallur) to 45 Brahmin Pandits so they could continue their philosophical works and ceremonial activities without disturbance. That Sridhara Ayyaval, the revered saint, has written Shahji’s biography in Sanskrit ‘Sahendra Vilasam’ shows us he was held in high esteem for his scholarship, talent, and religious faith.

Marathi theatre has a long-distinguished reputation for excellence and artistry. Do you know that Shahji II (1684-1711) was  the first Marathi playwright and is known as the Father of Marathi Theatre? When a troupe of Bhagavat Mela artists performed for the king of Sangli, he commanded his Minister Visnudas Bhave to produce similar natakams. Bhagavata mela was a composite performance with dance, music, and dialogue. The actors, all male, were trained dancers. Bhave quickly put together a drama ‘Sita Swayamvaram’ with the Brahmins in the palace kitchen. It was greatly appreciated but the songs and dialogue were impromptu and not written down. There was no dance as there were no trained dancers. Bhave’s play was staged in 1843.

Shahji II wrote all his works in Telugu script. The language is Marathi but written in Telugu script. While this was easy for local scholars to appreciate his work, later scholars needed to be fluent in three languages, Sanskrit, Telugu and Marathi. Telugu Pandit (late) N.Viswanathan (d 2006) learnt Devnagari script, and Marathi. He then spent 25 years of his career rewriting the Telugu script into Devanagari so Marathi scholars can now read them. Therefore, today the world has access to Shahji’s yakshaganams, padams and Prabandhams. My current project on Marathi yakshaganams is dedicated to this great Pandit. Any scholar who has done research on Thanjavur would have come across this modest Pandit who  shared his knowledge on the history of this vibrant city.

Shahaji II did not have any heirs to his throne. He is known to be dejected because of this. He prayed fervently at the #Tyagesa temple at #Thiruvarur and performed his religious duties diligently. He sat down for his midday meal only after the service at this temple was completed. Then a relay of bells will ring from the temple to the palace. When the last bell reaches his ears, he would sit down for his meal. He renounced the world and became an ascetic. His passing away at the young age of forty left the royal household and his followers in anguish.

Sarabhoji and his brother Tulaja were born in Thanjāvur. The three brothers grew up in this city. Sarabhoji sat on the throne and continued the good work left behind by his brother. Scholars like Giriraja Kavi and saints like Sadashiva Bodhendra were honoured in his court. He had no heir so the next in line was the younger brother Tulja ji I. He was the third son of Vyankoji I and was also known as Tukkoji.

Key Words

#ThanjavurMaratha  #ThanjavurSaraswatiMahalLibrary#Marathinatak #VisnudasBhave #SitaSwayamvar

#BhagavataMela #ShahjiIIFatherofMarathiTheatre #BhagavataMelaMyTrystwithTradition #AuthorIndumatiRaman #SwamiSamarthRamdas #SaraswathiMahalLibrary

CS Lakshmi-AMBAI- Celebrity Fiction Writer

 

CS Lakshmi-AMBAI- Celebrity Fiction Writer

In 2011, my daughter Ruupa and her husband Bhuvnesh Shetty embarked on a YouTube channel named ‘voicesnviews’ to interview some of my friends who were quietly contributing to society, giving their ‘One Percent’ for the good of others. I was the anchor which meant I did all the research too. In my list was ‘Ambai’, a popular short story writer who was also a favourite of my mother and sisters. Tamil weekly magazines like Ananda Vikatan, Kalki and Kalaimagal would regularly feature short stories. When I heard our company had printed some booklets for SPARROW, I went to meet her and invited her for an interview. But unfortunately, that never happened.

 

I was thrilled when Dr C. S. Lakshmi aka ‘Ambai’ called me last month. She remembered our meeting and came across my name on social media. We set up a meeting and Ruupa and I had a wonderful, inspiring chat with her.

 

Born in 1944, Ambai has a distinguished academic career and is one of the top Tamil writers of the literary world. Her short stories highlight women and the challenges they face in their varied roles. The reader is often struck by the slice of life imagery and realism in these stories, that touches a chord somewhere.

A PhD from JNU, Delhi, Ambai is long involved in research in women’s studies. In 1988, Lakshmi founded SPARROW (Sound and Picture Archives for Research on Women) inviting women artists and writers to talk about their work for documentation.

As a teenager, she published her first short-fiction and a few years later a major novel Andhi Malai was published. She never looked back after that as she collected several awards and prizes for her prolific writing, including a Sahitya Akademi award for a collection of short stories ‘Sivappukkazuttu tan Oru Pachhai Paravai.’

Among her other works are research projects, and articles published in several journals and newspapers.

 

 

Married to Vishnu Mathur, a film maker, Lakshmi lives in Mumbai. Her NGO has received recognition for their work and is now housed in a spacious premises. Her celebrity status does not come in the way of chatting with her and brought out another hidden talent. She has trained under traditional Bharata Natyam Gurus and performed on the stage. There is more to her personality and this brief blog is not enough to contain them all. Looking forward to more meetings with Ambai and work.

 

 

 

Essence of the Fifth Veda- Book Review

 

 

What is the Fifth Veda?

Bharata Muni’s Natya Sastra is most known as the Fifth Veda. This Veda is compiled by extracting words from Rig Veda, music from Sama Veda, movement from Yajur Veda and sentiment from Atharva Veda.

It was intriguing therefore to hear of a new book titled the Essence of the Fifth Veda by Gaurang Damani. A little research revealed that there are other texts which are also called the Fifth Veda. Ramcharitamanas, Mahabharata, Tamil texts like Tevaram, Tiruvaymozhi and Ayur Veda have also been conferred the honorific of Fifth Veda.

Published by Divine Destination (Motilal Banarsidass, Delhi) the book is about the collective of Itihasas (Ramayana and Mahabharata) and Puranas which is known as the Fifth Veda.

Three major chapter headings are Tirupati Balaji and Ramayana, Miracles of God Krishna, and World War Called Mahabharata. The book recounts lesser-known anecdotes and amazing details of the battles fought and won in the Mahabharata and Ramayana. All events are connected to present day locations with maps for reference.

This compact paper-back details how Sri Rama’s name and fame spread through his sons, his brothers, and their sons to countries as far as Khyber, Peshawar, Thailand, Egypt and Laos.

Some of the kingdoms which fought on the Kaurava’s side were from Afghanistan, Nepal, Lanka, China, Turkestan, Iran, Kazhakstan, and North Africa making it a world war.

Such snippets of information scattered across the chapters makes for interesting reading. A helpful guide to the Sanskrit names and pronunciation adds value to the book. The book has an flowing readable style and will interest the new generation and impress the older.

[The author Gaurang Damani is a Mumbai-based Electronics Engineer, an entrepreneur, and well known for his active participation in civic matters. Do visit http://diehardindian.com/workdone]

#GaurangDamani #FifthVeda #Ramayana #Mahabharata #Puranas #TirupatiBalaji

Dancers & Ayurveda

 

Dancers & Ayurveda

Ayurveda is a holistic medicine system originated and developed in Bharat more than 3000 years ago. In fact, our healing is a divine gift given to us by the deity Dhanvantiri who appeared during the Churning of the Ocean of Milk.

Ayurveda understand the highest truth that the body is made of the Pancha mahabhutas or five elements namely earth, water, fire, air and ether. It understands the importance of the role of the mind and its strong hold on our body. Many illnesses are psychosomatic. Therefore, the treatment emphasizes the need to heal the mind, body, and spirit.

It is a life science which is aimed at a correct way of maintaining our health by adopting a principled way of living. It teaches the importance of healthy living. This century has seen the alarming rise of serious health issues which affect the young and old.

As dancers or musicians, our body is the medium of expression. This profession, like those of athletes, is high pressure living sandwiched between practice and performance. Anxiety of procuring performance opportunities, anxiety before the curtain opens, and currently, anxiety because we are dancing for just art’s sake with a lean bank balance.

As a dancer with endless domestic duties, and as caretaker of a child with special needs, my knees and back gave way long before I reached the age of forty. Knees and back! I can imagine dancers nodding their heads affirmatively as they read this. So many of us have knee problems, weight gain and lower back problems. My experience with Ayurveda started when I decided to take recourse to this healing system for my son. I saw firsthand how it helped him, me and other patients recover and improve miraculously.

I have read about the Wimbledon Tennis legend Boris Becker who is an ardent believer and practitioner. The west has adopted Yoga and Ayurveda while we still hesitate to respect and recognize our heritage.

We have seen how Kathakali artistes perform their vigorous dance carrying heavy costumes right till the ripe age of 70 or more. This is because the Kathakali dance kalari incorporates oil massage, a simple organic diet and herbal medicine.

Regular sabbaticals from the performance race to have an Ayurvedic Panchakarma treatment is my advice to all dancers. Teachers, start your students young.

My recent ten-day experience at the Agni Ayurvedic village resort near Mumbai city reinforces my belief that at every stage in life you need to go back to our organic holistic systems and maintain our health in these times of endless pandemics unleashed on us.

#Panchakarma #Ayurveda #Kathakali #Dancers #Oilmassage #Herbalmedicine #Kalari #Yoga

#BorisBecker #Kneepain #Backpain #Dhanvantari #Panchamahabhutas #agniayurvedicvillage #Holistictreatment #Bharatheritage

Tread The Path of Virtue:Tyagaraja's Message

#AuthorIndumatiRaman My spiritual engagement with Sri Tyagaraja began when I was in school and heard my mother sing the soulful kritis. After I returned from Kalakshetra’s gruelling training, my mind was full of images from those kritis transforming into dance. My first attempt was the Saurashtra kriti Sri Ganapati. It became a permanent item of my repertoire. I began to study the thesis of Dr. V. Raghavan in the book ‘The Spiritual Heritage of Tyagaraja’ by C. Ramanujachari. And gradually the concept of “Sumathi Tyagaraja”, an Ekaharya presentation took shape. The beauty of his musical compositions magnetized me as much as his philosophy, his life events and the spiritual message carried in them. I studied all the books on him, some were available in our home library and bought others.

Soon my obsession translated into writing a dramatized novel of Tyagaraja’s biography based on his life. I discovered one of my earliest published articles about Tyagaraja’s message to humanity.

#SriTyagaraja #Tyagabrahmam #Thiruvaiyaru #Tyagarajakritis #SumatiTyagaraja # #SpiritualHeritageofTyagaraja #TyagarajaAradhana

 Tread The Path of Virtue: Tyagaraja’s Message

 

[ This article appeared in Bhavan’s Journal dated January 1-15, 1988, to coincide with the Sri Tyagabrahmam’s annual Aradhana celebrations held at Thiruvaiyaru (Thanjavur). This is  an unedited version]

Our country is a punyabhumi of saints and seers. They have shown us the way to peace, personal, national, global. One such was Tyagaraja (1767-1847). Born on Monday the 27^th Chaitra, Sarvajit, Shukla Saptami, Pushya, corresponding to May 4, 1767, at Tiruvayyaru, in Tamil Nadu. Sri Tyagaraja poured out his adoration of Sri Rama in songs of matchless verbal beauty, melodic charm and poetic appeal.

 

According to our religious faith, each individual soul should aspire to free from the cycle of birth and rebirth. To achieve this, sacrifices, baths, fasts and endless rituals are practised. Although nurtured in an environment steeped in sacred lore, Tyagaraja did not hesitate to decry the blind performance of rituals; the first pre-requisite for higher aspiration, was the purity of the heart and mind.

“There are those, who in ignorance

Claim sacrifice leads to bliss

Are there any fools perchance

Who believe indeed it is?

Traces of past births compel

Sensuous joys and avarice

True wisdom is lost and Sensitivity to life, too.”

(Kriti Yagnadulu. Jayamanohari Raga)

 The saint spent his years chanting the Lord’s name with intense love. He expostulated that this alone would lead one to eternal salvation. A pure mind was the only pre-requisite for a true aspirant. Meditation and telling of beads had no value if the mind wandered. Neither high birth nor bodily strength would guarantee Brahman. Pilgrimage was an unnecessary exercise to seek what was already in one’s heart. Saffron robes did not make one spiritual. A dip in a sacred river or a diet of medicinal leaves would not wash away the sins of our mind if it was full of greed and pride.

“Let us surrender feats of muscle.

The mastery of tounge, art or mime.

Knowledge rings not a bell

At Heaven’s door at the end of time

Worship of the Lord alone

Purity and truth, O Mind!

When by the devotee is shown

Bliss is granted by the Lord so kind”.

                   (Kshinamai in Mukhari Raga)

The enlightened saint further derided those who pledged their actions and life to the planets. These statements must have been considered blasphemous in those days when society was rigidly ruled by orthodox priests and scholars. Tyagaraja realised the futility of pinning faith in the benevolence of the planets, to bless our present and forecast the future.

 

“The nine benevolent planets

Of what strength theirs combined?

 A mere glance gently sets

on the devotee pure of mind.

The Lord’s mercy and power.

Destroy lust and sin.

And choice blessings and shower.

On whom to Tyagaraja are akin”

(Grahabalamemi in Revagupti Raga)                                          

                                  

Even today events like marriages and journeys are undertaken after piously consulting the stars, their formation, and the possibilities of escaping the malevolence of the planetary combinations. Tyagaraja berates the commercialization of this highly scientific subject. Every calamity that befalls, one is blamed on the horoscope. A pure, devoted man leading a life of virtue can never be harmed by planetary malevolence.

Today religion is still the dynamite which shatters our minds with anger and pride- with grievous results. Communal disharmony rears its head again and again weakening the fibre of unity. Our roots are common, but custom and belief separate our countrymen. Tyagaraja himself was a staunch devotee of Sri Rama. He sang hundreds of songs describing the Lord in his multi-faceted glory.

 But he also made it plain that he condemned as useless disputes over different faiths. He described those who aroused sectarian differences as inferiors with a false sense of pride. Tyagaraja refers to corrupt practices in society and they are as true today as they were in his life-time.

  

 This indeed is the Age of corruption

When men build homes of stone

And gather men to serve

Enrich the body, hunger the soul

Forget duty to their kin

Slothfully eye ill-forgotten gains

Shrewd to trade, blind in lust

Prey to disease, inheritance dwindled

Decried by society, overlooked by God

only to be born and born again.

Despair wrought by foolish minds

Will not wisdom prevail?

To reveal that unfortunate deal

With men of cunning, results

 In honour, lust and also wealth? 

Will not wis prevail?

To reveal, that to covet

What evaporates like the dew,

is fool’s paradise indeed. The only thing of permanency

 is Love and Service to the Lord.   

(Kriti Enduku Baga Teliyadu in Mohanam)

In another song, (Sarijesi Veduka), he says how often we see that only those who are well-versed in enjoyment of the senses and indulge in flattery get appreciation and reward: pure and simple men who have followed the path of devotion sincerely, are objects of ridicule.

 The pattern of today’s society is still the same, and the solution too remains the same. It is only the path of virtue which will help the progress of men.

 

 

 

 

 

 

Gotra System. A Husband Is Responsible For The Gender Of Their Child

 

 

 The Gotra System 

 

                                   The sapta rishis from whom we receive our gotra.(pic courtesy Internet)

 

So, when a daughter–in-law is taunted because she gave birth to a girl, grave injustice is being done. It is not her fault.

The gotra system is in the news again as a misinformed script of an advertisement or designer apparel chooses to confuse the act of the father giving his daughter away in marriage to a sale or barter.

In 2011, honour killings increased and a film called ‘Khap’ on the subject, was sought to be banned. A belief deep rooted in our tradition and widely prevalent in various parts of India is the prohibition of marriages within the gotra. Families are known to chase and murder the couple who secretly elope, ignoring the laws against sa-gotra or same gotra marriages. A TV serial based on this subject has a great following among viewers.

I found this article “Why Is Gotra And Parampara Reserved For Males?” by Gnanasekhar in the Tamil monthly Aalayam dated July 2011. I am attempting a translation as I found the information to be of value to all. 

‘Our ancestors always believed that the male line determines the family line. It was the male who determined the ancestry. Why? Is it because a girl is inferior or because she leaves her paternal home for her marital home? Why does her gotram change to her husband’s? Modern scientists claim to have discovered DNA, a subject our ancestors were already knowledgeable about.

When a marriage is arranged, the family enquires about the kulam and gotram. This is to prevent an inadvertent possibility of incest. Those who belong to the same gotram may be related by blood. Marrying first cousins is usually prohibited in the Hindu dharma. There are two reasons, medical and the necessity to protect the strength of our human line.

The Rishis who established the gotra system and those who preserved the sanctity of the system were brilliant when compared to the modern scientist. Our ancestors knew about DNA without cutting a piece of flesh for a biopsy or breaking cells up to unravel chromosomes and decide the DNA of a man.

There are eight Rishis who form the root of the gotra system. Angirasa, Atri, Kashyapa, Bharadwaja,  Bhrigu, Vashistha, Gautama and Kuthasa. Today there are 49 gotras. The gotra of the groom must be different from the bride. The bride takes on her husband’s gotram after her marriage. This is formally done during the marriage ceremony where the father hands over the daughter’s gotra to the groom’s lineage. The children born of this union also belong to the father’s gotram. Even if the families are strangers, they are still considered blood relatives.

To understand this, we have to analyse and review the facts about reproduction.

‘A child is born with 23 pairs of chromosomes, that is, 23 chromosomes from each parent. Female chromosomes are called XX and a male’s XY. If the embryo is formed with the male X and female X it is a XX or, a girl. But if the X of the female and Y of the male unite, it is XY or a boy. X is common to both genders. Y is seen only in males.’ (It is important to understand here that it is the husband who is responsible for the birth of a male child, for he possesses the Y chromosome which determines the sex of an embryo. 

‘Every male child inherits Y from his father, grandfather and so on. X is inherited through females, i.e., girl inherits X from her mother, grandmother and so on. Thus, the male is considered the preserver of genes and much importance is given to his role in inheritance.

‘A girl gets only the X chromosomes from both. The Y chromosome is a pure trail and is not polluted by contact or infected by any other Y chromosome. Only a male can give his Y chromosomes to his child. When a child is born, he/she assumes the gotra of the father.’

‘Brothers of the same gotram inherit the genes of the family, including diseases. Following the gotra system helps to inhibit this.’

‘When you examine the XY chromosomes of a male, the Y is weaker than the X chromosome. It is amazing why a male becomes stronger than a female after birth. If a family has only daughters, then that family line comes to an end. (Hence the mourning if a girl is born). Ironically, this makes a woman pure XX but a male is a half female XY.’ (We can understand the Shiva –Shakti philosophy which projects this scientific fact in a beautiful manner.)

The single chromosome Y has been copied (like a Xerox) over the centuries. This has weakened it even further. This is the reason why our ancestors have created the gotra system to protect their clan. Marriage between cousins on the paternal side or maternal side is prohibited by the gotra system precisely for this purpose. That is why gotra is important as it preserves the clan and the male genes. Unfortunately, it is possible that Y becomes so weak that it can be destroyed eventually. Then the male may cease to exist. It is possible for women to give birth to females only.

This is why the birth of a male is celebrated more than a female.

 

 Key words #Gotra, #Lineage, #Saptarishis, #Marriage, #Gender, #Chromosomes,