Krishna Karnamrta of Lilasuka, a popular lyric in South India. The Author was an ardent votary of Sri Krishna. He very often went into trances singing his praise and glory. He is said to have flourished in Malbar. This lyric is noted for its music, harmony, melody, rhythm of dance. The chimes rhymes and alliterations make the reader rejoice with ecstacy. This lyric even from the purely literary point of view, or the spiritual point of view, belongs to a very high order. In this collection the following 8 form the cream of the impressive work.
Tarunaruna karunamaya vipulayata nayanam.
kamalakuca kalasibhara vipulikrta hrdayam (pulakam)
muralirava taralikrta munimanasa nalinam
mama khelati madacetasi madhuradhara mamrtam.
(that Nectar incarnate with eyes wide, reddish and full of compassion, horripilating at the sight of the bosom of Lakshmi, with delicious lips generating the notes of flute that causes the lotus hearts of yogis to wave with delight, sports in my maddened heart)
Kara kamaladala dalitalalita taravamsi
kalaninadagaladamrta ghanasarasi deve
sahajarasa bharabharita darahasita vithi-
sata tavaha dadharamani madhurimani liye.
(I am lost in contemplation of the God who is the very fountain, from whom flows the nectar like current of sweet sounds of the graceful flute which gently tilts to the pressure of his lotus hands; and in whose beautiful underlip adorned with the most natural and graceful of smiles, lies the very essence of sweetness.)
Cikuram bahulam viralam bhramaram
mrdulam vacanam vipulam nayanam
adharam madhuram vadanam lalitam
capalam caritantu kada nubhave.
(The dense knotted hair, the curls that hang on the forehead, the soft speech, the eye glowing wide, the juicy sweet underlip, the most lovely face and the fickle action; all these when shall i experience?)
Premadam ca me kamadam ca me
vedanam ca me vaibhavam ca me
jivanam ca me jivitam ca me
daivatam ca me deva na param.
(You are the one who grants me knowledge insight lordship grace and all that I desire. You are my life, my life's support; Oh Lord! You are my God none else.)
Mandam mandam madhuranina dairvenuma purayantam
brndam brndavanabhuvi gavam carayantam carantam
chandobhage satamakha mukhadhvamsinam danavanam
hantaram tam kathaya rasane gopakanya bhujangam.
(Oh my tongue, sing on Him the lord of Gopikas, who gently, with sweet sounds fills the flute, who in Brindavana walks on grazing before Him the herd of cows, who in the Vedas is glorified as the slayer of demons intent on spoiling the sacrificial rites of Indra.)
Anganamangana mantare madhavo
madhavam madhavam cantare nangana
ithamakalpite mandale madhyagah
Sanjagau venuna devaki nandanah.
(Between damsel and damsel was a Madhava and between Madhava and Madhava was a damsel: in a circle thus arrayed, standing in the centre son of Devaki played upon His flute.)
{this is a verse of Rasakrida or rasalila. The central theme ofthis "great sport of Blissfulness" is most beautifully presented in this stanza. It concretises the central sports of universal dance. the picture is of a huge array of couples - of angana and Madhava, of Madhava and Angana - each couple dancing for pleasure, madly engrossed in sports and dancing in response to the music played by the person in the centre. he is the offspring of the Divine mother Devaki, however, has no Angana close to him. Here is an allegory. The one Madhava, the lord of 'Ma' Lakshmi or of Maya becomes many in each universe. each Madhava i.e. each individual (Purusha) gets into bondage with Angana (matter) each individual thus is a combination of spirit and matter. Until this matter bound Purusha (spirit) perceives the pure self, he clings to matter and keeps on dancing. The moment the Jiva turns his eyes to the centre, looks within his heart, sees the Lord there and hears his music - that moment his blind dance ceases, he realises his kinship with the central Krishna.the Rasalila thus symbolizes the eternal activity in the manifested universe of matter and spirit.}
Kasturitilakam lalataphalake vaksahsthale kaustubham
nasagre navamauktikam karatale venum kare kankanam
sarvange hari candanam ca kalayan kanthe ca muktavalim
gopastri parivestito vijayate gopala cudamanih.
(Wearing the Kasturi tilakam upon His forehead, the Kaustubha gem upon His chest and the lustrous fresh pearl ornament at the tip of His nose, holding the flute in His hand adorned with wristlets, with sandal paste all over His body, with a string of pearls on His neck and surrounded by cowherd damsels, He the ornament of the cowherd race, triumphs for ever.)
Angulya kah kavatam praharatikutile madhavah kim vasanto
nacakri kim kulalona hidharanidharah Kim dvijihvah phanindrah
naham dharahimardi kimasi khagapatimo harih kim kapindrah
ityevam gopakanya prativacana jitahpatu vascakra panih.
("Who taps the door with his finger?" "You crooked naughty girl! It is Madhava". "Who? Spring season?" "No the wielder of the disc wheel!" "Who? the potter?" "No! the hearer of the earth!" "Who? the double tongued King of serpants?" "NO! I am the vanquisher of the terrible serpent Kaliya!" "Oh! Are you the King of birds?" "No I am Hari!" "What? the chief of monkeys?" -May He that bears the disc in His hand, and who was in conversation thus outwitted by the cowherd damsel, protect us!"
Tarunaruna karunamaya vipulayata nayanam.
kamalakuca kalasibhara vipulikrta hrdayam (pulakam)
muralirava taralikrta munimanasa nalinam
mama khelati madacetasi madhuradhara mamrtam.
(that Nectar incarnate with eyes wide, reddish and full of compassion, horripilating at the sight of the bosom of Lakshmi, with delicious lips generating the notes of flute that causes the lotus hearts of yogis to wave with delight, sports in my maddened heart)
Kara kamaladala dalitalalita taravamsi
kalaninadagaladamrta ghanasarasi deve
sahajarasa bharabharita darahasita vithi-
sata tavaha dadharamani madhurimani liye.
(I am lost in contemplation of the God who is the very fountain, from whom flows the nectar like current of sweet sounds of the graceful flute which gently tilts to the pressure of his lotus hands; and in whose beautiful underlip adorned with the most natural and graceful of smiles, lies the very essence of sweetness.)
Cikuram bahulam viralam bhramaram
mrdulam vacanam vipulam nayanam
adharam madhuram vadanam lalitam
capalam caritantu kada nubhave.
(The dense knotted hair, the curls that hang on the forehead, the soft speech, the eye glowing wide, the juicy sweet underlip, the most lovely face and the fickle action; all these when shall i experience?)
Premadam ca me kamadam ca me
vedanam ca me vaibhavam ca me
jivanam ca me jivitam ca me
daivatam ca me deva na param.
(You are the one who grants me knowledge insight lordship grace and all that I desire. You are my life, my life's support; Oh Lord! You are my God none else.)
Mandam mandam madhuranina dairvenuma purayantam
brndam brndavanabhuvi gavam carayantam carantam
chandobhage satamakha mukhadhvamsinam danavanam
hantaram tam kathaya rasane gopakanya bhujangam.
(Oh my tongue, sing on Him the lord of Gopikas, who gently, with sweet sounds fills the flute, who in Brindavana walks on grazing before Him the herd of cows, who in the Vedas is glorified as the slayer of demons intent on spoiling the sacrificial rites of Indra.)
Anganamangana mantare madhavo
madhavam madhavam cantare nangana
ithamakalpite mandale madhyagah
Sanjagau venuna devaki nandanah.
(Between damsel and damsel was a Madhava and between Madhava and Madhava was a damsel: in a circle thus arrayed, standing in the centre son of Devaki played upon His flute.)
{this is a verse of Rasakrida or rasalila. The central theme ofthis "great sport of Blissfulness" is most beautifully presented in this stanza. It concretises the central sports of universal dance. the picture is of a huge array of couples - of angana and Madhava, of Madhava and Angana - each couple dancing for pleasure, madly engrossed in sports and dancing in response to the music played by the person in the centre. he is the offspring of the Divine mother Devaki, however, has no Angana close to him. Here is an allegory. The one Madhava, the lord of 'Ma' Lakshmi or of Maya becomes many in each universe. each Madhava i.e. each individual (Purusha) gets into bondage with Angana (matter) each individual thus is a combination of spirit and matter. Until this matter bound Purusha (spirit) perceives the pure self, he clings to matter and keeps on dancing. The moment the Jiva turns his eyes to the centre, looks within his heart, sees the Lord there and hears his music - that moment his blind dance ceases, he realises his kinship with the central Krishna.the Rasalila thus symbolizes the eternal activity in the manifested universe of matter and spirit.}
Kasturitilakam lalataphalake vaksahsthale kaustubham
nasagre navamauktikam karatale venum kare kankanam
sarvange hari candanam ca kalayan kanthe ca muktavalim
gopastri parivestito vijayate gopala cudamanih.
(Wearing the Kasturi tilakam upon His forehead, the Kaustubha gem upon His chest and the lustrous fresh pearl ornament at the tip of His nose, holding the flute in His hand adorned with wristlets, with sandal paste all over His body, with a string of pearls on His neck and surrounded by cowherd damsels, He the ornament of the cowherd race, triumphs for ever.)
Angulya kah kavatam praharatikutile madhavah kim vasanto
nacakri kim kulalona hidharanidharah Kim dvijihvah phanindrah
naham dharahimardi kimasi khagapatimo harih kim kapindrah
ityevam gopakanya prativacana jitahpatu vascakra panih.
("Who taps the door with his finger?" "You crooked naughty girl! It is Madhava". "Who? Spring season?" "No the wielder of the disc wheel!" "Who? the potter?" "No! the hearer of the earth!" "Who? the double tongued King of serpants?" "NO! I am the vanquisher of the terrible serpent Kaliya!" "Oh! Are you the King of birds?" "No I am Hari!" "What? the chief of monkeys?" -May He that bears the disc in His hand, and who was in conversation thus outwitted by the cowherd damsel, protect us!"
No comments:
Post a Comment