gopala.

Gopala Radha Lola (2)

Jai Murali Lola Nandalala (2)
Gopala Radha Lola (2)
Keshava Madhava Janardhana (2)
Vanamala Brindavana Bala (2)
Murali Lola Nandalala
Jai Murali Lola Nandalala

Gopala Radha Lola
Murali Lola Nandalala
Jai Murali Lola Nandalala
Gopala Radha Lola

Anand Mohan Niranjana (2)
Vanamala Brindavana Bala (2)
Murali Lola Nandalala
Jai Murali Lola Nandalala

Gopala Radha Lola
Murali Lola Nandalala
Jai Murali Lola Nandalala
Gopala Radha Lola

Mahabhasya.

The Mahabhasya on Astadhyayi 1.3.1 contains a skillfully arranged discussion of topics related to units which should be called dhatu. the bhasya begins with a discussion of why the sutra has bhuvadya with uv and cities the first half of the sloka vartika stating that "v" is used for the sake of auspiciousness.

to be continued.

kaiyyatas pradipa.

Patañjali is one of the three most famous Sanskrit grammarians of ancient India, other two being Pāṇini and Kātyayana who preceded Patañjali (dated to c. 150 BCE). Kātyayana's work (nearly 1500 vārtikas on Pāṇini) is available only through references in Patañjali's work.

It was with Patañjali that the Indian tradition of language scholarship reached its definite form. The system thus established is extremely detailed as to shiksha (phonology, including accent) and vyakarana (grammar and morphology). Syntax is scarcely touched, because syntax is not important in this highly inflexional language, but nirukta (etymology) is discussed, and these etymologies naturally lead to semantic explanations. People interpret his work to be a defense of Pāṇini, whose Sutras are elaborated meaningfully. Patañjali also examines Kātyāyana rather severely. But the main contributions of Patañjali lies in the treatment of the principles of grammar enunciated by him.

Kātyayana introduced semantic discourse into grammar, which was further elaborated by Patañjali to such an extent that Mahābhāṣya can be called a mix of grammar as such as well as a philosophy of grammar. Kāśika-vritti by Jayāditya and Vāmana (mentioned by Itsing) included viewpoints of other grammarians also which did not conform to Patañjali's views. Many commentaries on Mahābhāṣya were written, of which Kaiyaṭa's commentary named Pradīpa (c. 11th century CE) is most celebrated.

After Kaiyaṭa, interest in the study of Sanskrit grammar according to traditional Pāṇinian sequence of sūtras started declining, and a new simplified system gained ground which was started by Buddhist scholar Dharmakirti through his commentary on Pāṇini named Rūpāvatāra, which excluded Vedic sūtras of Pāṇini in which Dharmakīrti had no interest and dealt with only 2664 sutras.

James R. Ballantyne (1813–1864) published the first part of the Mahābhāṣya of Patañjali in 1856, for the first time opening native Indian grammatical tradition to a wider European scholarly audience.

Swami Vivekananda remarks that "The best prose in Sanskrit is Patanjali's Mahâbhâshya."

Aithihyamala, written by Kottarathil Sankunni, contains the following legend about the Mahabhashya. Patanjali is an incarnation of Adishesha who was blessed by Lord Shiva enabling him to write Mahabhashya. After he incinerates the 999 disciples in anger due to the misbehavior of one in leaving the class without his permission, he turns the last student also into ashes. It is through a Yaksha that he decides to spread his knowledge since the Yaksha was eavesdropping the classes. He curses the Yaksha into a Brahmarakshas, promising his revival only upon teaching a human, the Mahabhashya. The Yaksha teaches it to Govindaswami, the father of Vararuchi, Vikramaditya, Bhatti and Bhartruhari.

quartet.

Srimathe Ramanujaya namah

Quartet    (Chatusloki)

svAdayanniha sarvEShAm trayyantArtham sudurgraham | stOtrayAmAsa yOgIndra: tam vandE yAmunAhvayam || yatpadAmbhOruhadhyAnavidhvastAshEShakalmaSha: | vastutAmupayAtO-ham yAmunEyam namAmi tam ||
 namO namO yAmunAya yAmunAya namO nama: | 
 namO namO yAmunAya yAmunAya namO nama: || 

kAntastE puruShOttama: phaNipati: shayyA--sanam vAhanam vEdAtmA vihagEshvarO yavanikA mAyA jaganmOhinI | brahmEshAdi suravraja: sadayita: tvaddAsadAsIgaNa: shrIrityEva cha nAma tE bhagavati brUma: katham tvAm vayam || 1
 yasyAstE mahimAnam Atmana iva tvadvallabhO-pi prabhu: nAlam mAtum iyattayA niravadhim nityAnukUlam svata: | tAm tvAm dAsa iti prapanna iti cha stOShyAmi aham nirbhaya: lOkaikEshvari! lOkanAthadayitE! dAntE! dayAm tE vidan || 2 IShat tvat karuNA nirIkShaNa sudhA sandhukShaNAt rakShyatE naShTam prAk tadalAbhata: tribhuvanam samprati anantOdayam | shrEyO na hyaravindalOchana mana: kAntA prasAdAdrutE samsruti akShara vaiShNavAdhvasu nruNAm sambhAvyatE karhichit || 3
 shAntAnanda mahAvibhUti paramam yat brahma rUpam harE: mUrtam brahma tatO-pi tatpriyataram rUpam yadatyadbhutam | yAnyanyAni yathAsukham viharatO rUpANi sarvANi tAn- yAhu: svairAnurUparUpa vibhavai: gADhOpagUDhAni tE || 4

|| iti chatu:shlOkI sampUrNam || 

\Supremacy of Sri

Beloved spouse of You

The purest male to woo

Bed and seat softly made

By snake king, His aid                             (1-1)

Script bodied eagle

Serves as seat and vehicle

Obsessive primordial matter

Is veil and illusion filter                           (1-2)

Brahma, Siva and others

Their wives also adores

Proud to be Your servant 

And maid with fervent                             (1-3)

Your name itself is Sree  

With traits superbly glee

So celebrated You are

How can I praise thee?                            (1-4)

Praising Sri’s attributes

Amazing, infinitely vibrant

Naturally kind and eminent 

Virtues of Yours inherently  

Suits His liking, apparently                     (2-1)

Master, Your loving consort    

Have traits hard to enumerate

He can’t appraise Yours truly

Just like His own fame fully                    (2-2)

Sole Goddess of all domains

            Wife of the supreme who reigns

You are a never drying ocean

Filled with great compassion     (2-3)

I have done the surrender

Slave, I grasp Your splendor

Mercy of Yours, I now realize

With no fear, I start to praise      (2-4)

Praising Sri’s blessings

One time, the three universe                      

Ruined and went in accurse

When Your divine blessing

Distinctly, there it was missing  (3-1)   

Tiny elixir of mercy showers

            Showed Your magical powers

Now, they are greatly restored

Aptly supported and adored                  (3-2)

Humans aspire affluence   

Love self soul in preference  

Eager on the happy sky above

            Are rewards they aim with love      (3-3)

Sweet to lotus eyed Lord

            All the above, You bestow

Without the mercy You show

Nothing can prosper, though                 (3-4)

Praising Sri’s forms

Tranquil, blissful and serene

Permeates in all, still unseen

Spanned with splendid stature

Is supreme Hari’s innate nature             (4-1)

If a form larger, ever exist  

To Lord, loveable and brilliant

Apparent to eyes, that supreme

Is astonishing at the extreme                 (4-2)

Lord who likes to play forever

Everything His way, however

To help devotees access Him easy

The unborn takes form of many            (4-3)

To You, all of the Lord’s form 

Scripts say, amicably conform

And are embraced and gifted

Inseparably lusted and exalted  (4-4)

a femtosecond

"Books a Song" a debt we owe.
Of all the privileges we enjoy in the nineteenth century, there is none perhaps for which we have to be more thankful than for the easier access to books.
The delights of literature: The feeling that books are real friends is constant with all who love to read. Some forget to eat some do not even want to be diverted from their attainment of the pleasure of reading and the knowledge dawned on doing so. some teach us how to live and others teach how to die. some relate the events of the past while others reveal the secrets giving fortitude to the mind some times they teach how to restrain and some how we rely on their information in an event of an emergency.
Books are an entertainment for all ages.
Mary Lamb once saw a boy with eager eye open a book upon a stall, and read as if he'd devour it all. which when the stall man did espy, soon to the boy I heard him call;
: you sir you never buy a book therefore in one you shall not look.
the boy passed slowly on with a sigh, he wished he never had been taught to read, then for the old churl's books he would have had no need.
the situation was not always so for in times gone by many a book lover has undertaken to copy the full works of what one desires in order to possess a copy of their own.
a femtosecond is so important in life well lived.

61.

Leo Tolstoy at 61 advised a struggling friend "No matter how old or how sick you are, how much or little you have done, your business in life nor only isn't finished, but hasn't yet received its final decisive meaning until your very last breath."
This feisty life affirming spirit underlines not only Tolstoy's incredible life journey but that of his characters as well.
 other quotes from him. The world Tolstoy tells us is a mysterious place where things aren't always what they seem today's tragedy often paving way to tomorrow's triumph.

Two most powerful warriors are patience and time.

There is no greatness where there is no simplicity goodness and truth.

Everyone thinks of changing the world but no one thinks of changing himself.

Art is not a handicraft, it is the transmission of feeling the artist  has experienced.

An arrogant person considers himself perfect. This is the chief harm of arrogance. It interferes with a persons main task in life becoming a better person.

All happy families resemble one another each unhappy family is unhappy in its own way. 

Truth like gold is to be obtained not by its growth but by washing away from it all that is not gold.

Our body is a machine for living. It is organized for that, it is its nature. Let life go on in it unhindered and let it defend itself.


 

selections galore.

aasai mugham marandhu 
raagam: jOnpuri

20 naTabhairavi janya
Aa: S R2 M1 P D1 N2 S
Av: S N2 D1 P M1 G2 R2 S

taaLam:
Composer: Subramanya Bhaarati
Language: Tamil

pallavi

Ashai mukham marandu pOcce idai yAriDam sholvEnaDi tOzhi
(Ashai)

anupallavi

nEsham marakkavillai nenjam enil ninaivi mukha-marakkalAmO
(Ashai)

caraNam 1

kaNNil teriyudoru tOTram adil kaNNanukkazhagu muzhudillai
naNNu mukha vaDivu kANil anda nalla malar shirippai kANOm
(Ashai)

caraNam 2

Oivu mozhidalum illAmal avan uravai ninaittirukkum uLLam
vAyu-muraippaduNDu kaNDAi anda mAyan pugazhinaiyai pOdum
(Ashai)

caraNam 3

kaNgaL purindu viTTa bhAvam uyir kaNNa-nurumarakkalAccu
peNgaLinattilidu pOlE oru pEdaiyai munbu kaNDaduNDO
(Ashai)

caraNam 4

tEnai marandirukkum vaNDum oLi shirappai marandu viTTa pUvum
vAnai marandirukkum payirum inda vaiyyamuzhudumillai tOzhi
(Ashai)

caraNam 5

kaNNan mukahmarandu pOnAl inda kaNgaLirindu payanuNDA
vaNNa paDamumillai kaNDAi ini vAzhum vizhiyennaDi tOzhi
(Ashai)

Asai mukham marandu poche 

By 

Mahakavi Bharathiyar 

Translated by 

P.R.Ramachander 

Raga Johnupuri 
Talam 

Pallavi 

Asai mukham maranthu poche-idai, 
Aaridam cholvenadi thozhi 

Anupallavi 
Nesham marakkavillai nenjam yenil, 
Ninaivu mukam marakkalamo? 

Charaanam 

1.Kannil theriyudhoru thotham-athil, 
Kannan azhagu muzhudillai, 
Nannu mukha vadivu kanil –antha, 
Nalla malar chirippai kanom 

2.Oyvum ozhithalum illamal –avan, 
Uravai ninaithirukkum ullam, 
Vayu muraippathundu kanday-antha 
Mayan pugainai yeppothum. 

3.Kangal purinthuvita pavam-uyir, 
Kannan uru marakkalachu, 
Pen kal idathil idhu pole-Oru, 
Pethayai munbu kandathundo 

4.Thenai maranthirukkum vandum –oli , 
Chirappai maranthu vitta poovum, 
Vanai marathirukkum payirum-intha, 
Vaiyam muzhuthum illai thozhi. 

5.Kannan mukham maranthu ponal-indha, 
Kangal irundhy pyan undo, 
Vanna padamum illai kandai-ini, 
Vazhum vazhi yennadi thozhi 

English translation 

Pallavi 

I have forgotten the face that I love, 
Dear friend, to whom shall I tell this. 

Anupallavi 

When the heart has not forgotten the love, 
Is it proper to forget the face from memory? 

Charanam 

1. A form is seen by my eyes, 
In which I do not see the full beauty of Krishna, 
When I see the form of his face, I am not able, 
To see his flower like smile in that. 

2. Without any let of, my mind, 
Thinks of my relationship with him, 
And you have seen that my mouth, 
Always tells about his fame. 

3. Due to the sin done by my eyes, 
The form of Krishna was forgotten, 
Have you seen among women, 
An innocent one like this ever? 

4. Oh my friend in this entire world , there is no, 
Bee which has forgotten the honey, 
Flower that has forgotten the necessity of light, 
And the crop which has forgotten the sky. 

5.What is the use of having these eyes, 
If we forget the face of Lord Krishna? 
You know that I do not have his color portrait, 
And Now what is the way to live? 

brOOhi mukundEti - kaLyANi - Adi

brOOhi mukundEti - kaLyANi - Adi

P

P	broohi mukundEti hEy rasanE pAhi mukundEti ||	Oh tongue, utter the name of Mukunda and seek for refuge.
C1	akrurApriya chakradharEti hamsa niranjana kamsa harEti ||	Say that Mukunda wields discus and that he loves Akrura. Say that he is serene and that he destroyed Kamsa.
C 2	rAdhAramaNa harE rAmEti rAjeevAksha ghanaSyAmEti ||	Say that Hari is the lord of Radha and that he is beautiful with lotus-like eyes and that Syama is blue like dark cloud.
C 3	kESava mAdhava gOvindEti krishNAnanta sadAnandEti ||	Utter the names Kesava, Madhava and Govinda. Say that Krishna is eternal and ever blissful.
C 4	achyuta krisha harE rAmEti harinArAyaNa teerdhaparEti ||	Utter Achyuta, Krishna, Hari and Rama. Say that Hari is the emancipator of Narayana Teerdha.

paccai kuzhandaiyaDi
raagam: Anandabhairavi

Aa:S G2 R2 G2 M1 P D2 P N2 S
Av: S N2 D2 P M1 G2 R2 S
taaLam: Adi
Composer: Subramanya Bhaaratiyaar
Language: Tamil
pallavi
paccai kuzhandaiyaDi. RAgA: Anandabhairavi. Adi tALA.
1: paccai kuzhandaiyaDi eNNirap-pAvaiyaDi candramati ishaikkiniya madu enran iru vizhikkudE nilavu
naccut-talai pAmbukkuLLE nalla nAgamaNi ulladenbAr duccappaTTu nenjilE ninran jyOti vaLarudaDi

caraNam 2 

pEccuk-kiDamEdaDi nI peN kulattin veTriyaDi Ascarya mAyaiyaDi enran Ashaik-kumariyaDi
nIccu nilai kaDanda veLLa nIrukkuLLE vIzhndavar pOL tIccuDarai venravoLi koNDa dEvi ninaivizhindEnaDi

caraNam 3 

nIlak-kaDalinilE ninran nINDa kuzhal tOnrudaDi kOla matiyinilE ninran kuLirnda mukham kANudaDi
jnAla veLiyinilE ninran jnAnavoLi vIshudaDi kAla naDaiyinilE ninran kAdal viLangudaDi
paccai maNikkiLiyE. rAgamLikA.
1: paccai maNikkiLiyE pAvi enakkE yOgap-piccai aruLiyadAi pEruraiyAi ijjagattil
pUraNamA jnAnap-pugazh viLakkai nATTuvitta bhAratamA dEviyenap-pADu

caraNam 2 

(rAgA: vasanta)
Aa:S M1 G3 M1 D2 N3 S
Av: S N3 D2 M1 G3 R1 S
tEnAr mozhikkiLLAi dEvi enakkAnandamAnAL ponnATTai arivippAi vAnADu
bhErimaya vErpumudar-peN kumariyIrAgum ariya nAdenrE ari

caraNam 3 

(rAgA: maNirangu)
Aa:S R2 M1 P N2 S
Av: S N2 P M1 G2 R2 S
inmazhalaip-painkiLiyE engaL uyirAnAL nanmaiyura vAzhu nagaredu kol cinmayamE
nAnenrarindadani periyOrk-kinnamudu tAl enra kAsittalam

caraNam 4 

(rAgA: suraTi)
Aa:S R2 M1 P N2 S
Av: S N2 D2 P M1 G3 P M1 R2 S
vannak-kiLi vandEmAtaram enrOduvarai innalarak-kAppALi yAruraiyAi tannarsheyat-
tAnbOm vazhiyellAm dhanmamODu pon viLaikkum vAnpOnda gangaiyena vAzhttu

caraNam 5 

(rAgA: kAnaDA)
Aa:S R2 G2 M1 D N2 S
Av: S N2 P M1 G2 M1 R2 S
shOlaip-pashum kiLiyE tonmarai nAnguDaiyAL vAlai vaLaru malai kUrAi jnAlattuL
verpponru-mIDiladAi viNNil muDi tAkkum porpponru veLLai poruppu

caraNam 6 

(rAgA: dhanyAsi)
Aa:S G2 M1 P N2 S
Av: S N2 D1 P M1 G2 R1 S
shIrum shirappum uyar shellamumO-reNNAtrAL uRum puravi uraittAi tErir-
parimishaiyUr vALallaL pAranaittu-manjum arimishaiyE-yUrvALavaL

caraNam 7 

(rAgA: mukhAri)
Aa:S R2 M1 P N2 D2 S
Av: S N2 D1 P M1 G2 R2 S
karuNai uruvAnAL kAindezhungArk-kiLLAisherunarai vIzhttu paDaiyEn ceppAri porubavarmET-
raNNaNiyAL vizhAdu vizhiTraghaippari tAn tiNNamuru vAnkulisham tEru

caraNam 8 

(rAgA: cenjuruTi)
Aa:D2 S R2 G3 M1 P D2 N2
Av: N2 D2 P M1 G3 R2 S N2 D2 P D2 S
Ashai marakatamE annai tiru munriliDai Oshai vaLar murasha m OduvAi pEshugavO
sattiyamE sheiga dharumamE enroli shei mutti tarum vEda murashu

caraNam 9 

(rAgA: bilahari)
Aa:S R2 G3 P D2 S
Av: S N3 D2 P M1 G3 R2 S
vArAyiLancukamE vandip-pArkkenrumiDar tArAL punaiyumaNittAr kUrAi shErArai
muTrAk-kuru naghaiyAl muTruvittum tAnoLirvAL poTrAmaraittAr punaindu

caraNam 10 

(rAgA: kEdAra)
Aa:S M1 G3 M1 P N3 S
Av: S N3 P M1 G3 R2 S
koDippavaLa vAikkiLLAi kuttiramum tIngum maDippavaLin vEl koDi tAn maTrEn aDippaNivAr
nanrArat-tIyAr naliyuravE vIshum oLi kunrA vayirak-kodi.

brOva baarama
raagam: bahudaari

28 harikaambOji janya
Aa: S G3 M1 P D2 N2 S
Av: S N2 P M1 G3 S

taaLam: dEshaadi
Composer: Tyaagaraaja
Language: Telugu

pallavi

brOva bhAramA raghurAmA bhuvanamella nIvai nannokani

anupallavi

shrI vAsudEva anDakOTula gukSiNi yuncakOlEdA nannu
(brOva)

caraNam

kalashAmbudhilO dayatO namarulakai adigAka gOpi
kalakai koNDa letta lEdA karuNAkara tyAgarAjuni
(brOva)

Oh Karunaakaraa (a name for Vishnu), is it a heavy burden for you to protect a single soul like me? You are the whole universe itself and as Krishna showed it all to be in your stomach. Have you not lovingly borne for the sake of the Devas the whole weight of Mount Mandara when the ocean was churned, and have you not lifted Mount Govardhan for the sake of Gopis?

banTu reeti kOlu
raagam: hamsanaadam

60 neetimati janya
Aa: S R2 M2 P D3 N3 S
Av: S N3 D3 P M2 R2 S

taaLam: dEshaadi
Composer: Tyaagaraaja
Language: Telugu
Click to view in: KannaDa | Sanskrit | Tamil | Telugu

pallavi

banTu reeti kOlu viyavaiyya raama | (banTu)

anupallavi

tuNTa viNTi vaani modalaina madaa- |
dula goTTi nela goola jEyu nija ||
(banTu)

caraNam

rOmaanca manu ghana kancukamu |
raama bhaktuDanu mudra biLLayu ||
raama naama manu vara khaDga mivi |
raajillu naiyya tyaagaraajuni kE ||
(bunTu)

---

Meaning: In this song Sri Thyagaraja pleads with Rama to give him the post of a guard for Raama; symbolically meaning that he always wants to be in Sri rama's sannidhi (in his presence).

He says in the anupallavi, the guard's post should be such that he is empowered to destroy all the demons which are arishadvargas (kama-love, krodha, lobha, moha, mada, matsarya) and since the guard is empowered to do so, he needs such a guard's post.

In the caraNam, he says he should be blessed with the emblem of Ramabhakti, given a sword called Raama Naama (the name of Raama) to perform his guard's job.

ennatavam seydanai yasOda
raagam: kaapi

22 kharaharapriya janya
Aa: S R2 M1 P N3 S
Av: S N2 D2 N2 P M1 G2 R2 S

taaLam: aadi
Composer: Paapanaasam Shivan
Language: Tamil

pallavi

enna tavam sheidanai yasOdA engum nirai parabhrammam ammAvenr-azhaikka
(enna tavam)

anupallavi

IrEzu bhuvanangaL paDaittavanaik-kaiyil Endi shIrATTi pAlUTi tAlATTa nI
(enna tavam)

caraNam 1

bhramanum indranum manadil porAmai koLLa
uralil kaTTi vAi pottik-kenjavaittAi tAyE
(enna tavam)

caraNam 2

sanakAdiyar tava yOgam sheidu varundi
sAdhittadai punita mAdE eLidil pera
(enna tavam)

---

Meaning:
pallavi: Yashoda, what tapas (prayer, sacrifice) did you make, that the Almighty himself calls you dearly, "Mother" ?

anupallavi: To take Krishna, the One who created the 14 worlds, to lift him into your arms, to rock him to sleep, to feed him milk, what great tapas did you do, Yashoda?

caraNam 1: O mother what tapas did you do, that to the great envy of Brahma and Indra, you could tie Krishna himself to the grinding stone and bound his mouth and make him beg you for mercy!

caraNam 2: What great sages like Sanakaa achieved through great tapas and yoga, what they reached by prodigious effort, you achieved so easily - what tapas did YOU do to have this great fortune?