Dikshitar was born in the month of Panguni in the star of Kartika.
The full moon in the month of Panguni occurs in the asterism of Uttiram. The 10 day Bhrahmotsavam that ends on this day commences on the day of Krittika or Kartikai.
This is so with the Kapalisvara temple in Mylapore.
It is also so with the Tyagaraja temple at Tiruvarur. Dikshitar, it is said was born during the annual Bhrahmotsava festival at Tiruvarur.
This year, the Krittika asterism in the month of Panguni falls on April 9 more than 2 weeks after the completion of the Bhrahmotsavam.
This is thanks to the fact that Pankuni Uttiram happened in the beginning of the Tamil month of Pankuni and the corresponding Kartika asterism happened to be in the Tamil month of Masi.
The signature Guruguha that Dikshitar uses is synonymous with the composer himself.
Used in various phrases such as ‘guruguhatmajam’, ‘guruguha maania’, ‘guruguha janani’, ‘guruguha matula kaantaa’, ‘guruguhagraja’, ‘guruguha mahita’, ‘guruguha pujita’ etc. etc. while in referring to the relationship between skanda and other devatas, or in a direct reference to Skanda as ‘guruguha’, this phrase is a stamp of Dikshitar.
In the song bhajare chitta balambikam, Dikshitar uses the phrase ‘guruguha rupa muttukumara janani’ referring to Balambal of Vaideesvaran temple as the mother of Muthukumarasvami. At the same time this is a reference to the fact that his parents had offered prayer at this temple just prior to conceiving him.
All composers have their unique signature, that they embed in the midst of their lyrics, typically in the concluding portion of a composition.
Andal uses the word ‘kodai’ in the last pasuram of a chapter of verses. ‘villiputtur kon kodai sol’ in ‘varanam ayiram’.
Sundaramurti Nayanar uses the word ‘Aruran’ while Tirumangai Alvar uses the word ‘kaliyan’.
Tirugnana sambandar uses the word ‘sambandan’.
Saint Tyagaraja uses the signature ‘Tyagaraja’ while Syama Sastri uses the word ‘Syamakrishna’.
Muthusvami Dikshitar uses the word ‘guruguha’.
The word (phrase) guruguha appears invariably in all of his compositions. It can appear anywhere within the text of the composition, not necessarily in the charanam.