Mum Manik Kovai

 

arudaru madiyar_paan meyyai vaiththuth thErudara ninRa dheyvan^aa yagan^in NnaruLenuNY seerO rarivaiyaa Nnadhena viruLsega vemakkO rinnoLi viLakkaay maNivarai yanna ninRiru vuruvi laNiyama raagath thalangalaa yilangi ninpadik kellaan^ thanpadi yERka vanpuda NninnO davatharith tharuLi vENdurai kEttu meeNdavai kEtpith theeNdiya vinaikaN maaNdida muyanRu thannadi sErndha thamarunai yaNuga ninnudan sErndhu niRkun^in RiruvE. 16.2: thirumaaladiyavarkku meyyanaar, seyya thirumaamagaLenRunchErum thirumaarbil inmaNikkOvaiyudan ERkinRaar, enRanim mummaNikkOvai mozhi. 16.3: mozhivaar mozhivana mummaRaiyaakum ayinthaiyilvanthu izhivaarizhikavenRu innamuthak kadalaakin^inRa vizhivaararuL meyyar melladivENdiya melliyalmEl pozhivaaranangar thampoongarumpunthiyapoomazhaiyE. 16.4: mazhaiyi lezhundha mokkuLpOl vaiya mazhiyavon Razhiyaa vadiyavar meyya varumaRai yinporu Laayndheduk kungaaR Riruvuda Nnamarndha dheyva naayaga ninRiruth thanakku neethiru vaagi yindhuthan Nnilavuda Nnilanguthan maiyinai nandhutha lillaa nalviLak kaagi yandhami lamudha vaazhiyaay niRRi paaRkada RanniR panmaNi yanna seerkkaNaNY sErndha seelamel laiyilai yadiyavar pizhaiga Nin_karuth thadaiyaa thadaiyavaaN daruLu marasanu neeyE yuyarndhan^ee yunnai yemmudan kalandhanai yayindhaimaa nagari lamarndhanai yemakkaaych siththira maNiyenath thigazhuman Nnuruvi laththira maNiyena vanaiththun^ee yaNithi viNNu Lamarndha viyanuru vadhanaa leNNiya veeriraN durukkaLu madaithi panniru naamam palapala vuruvaa yinnuru vengu meythin^ee niRRi meenO daamai kEzhalkO Lariyaay vaanOr kuRaLaay mazhuppadai muniyaayp pinnu miraama riruvaraayp paariR Runniya parandheer thuvaraiman Nnanumaayk kalithavirth tharuLuNG kaRkiyaay maRRu malivathaR keNNum valvinai maaRRa naanaa vuruvaNG koNdun^al ladiyOr vaanaa rinba minguRa varuthi yOruyi rulakuk kennun^ee thiruvO dEruyi rellaa mendhiyin puRuthi yaavaru maRiyaa thengun^ee karandhu mEvuruch soozhndhu viyappinaan miguthi koNdida vemmai yadaikkala mulagiR kaNdilaNG gathiyunai yanRimaR RonRum palvagai ninRa ninpadi yanaiththinun^ tholvagai kaattun^ thuNindhuthoo maRaiyE. 16.5: thoomaRaiyinuLLam thuLangaaththuNivu tharum aamaRivaalaarnthadimai yaakinROm poomaRaiyOn paaraayaNaththiRpaNiyum ayinthain^agar naraayaNanaarkkE naam. 16.6: aar_kungaruNai pozhivaan ayinthaiyil vanthamarntha kaarkkoNdalaikkaNda kaathaRpunamayil kaNpaniyaa vErkkumugizhvikkum vithirvithirkkum veLkivevvuyirkkum paarkkinRavarkkithu naamen_kolenRu payiluvamE. 16.7: payinmathin^eeyE payinmathitharuthalin veLiyun^eeyE veLiyuRan^iRRalin thaayun^eeyE thaayaithanthukaththalin thanthaiyu neeyE munthin^inRaLiththalin uRavun^eeyE thuRavaathozhithalin uRRathun^eeyE siRRinbaminmaiyil aaRun^eeyE yaaRRukkaruLthalin aRamun^eeyE maRan^ilaimaayththalin thuyyanun^eeyE seyyaaLuRaithalin naaraNan^eeyE naaraNaanaathalin kaRpakan^eeyE naRpathantharuthalin iRaivanun^eeyE kuRaiyonRilaamaiyin inbamun^eeyE thunbanthudaiththalin yaanun^eeyE yennuLuRaithalin yenadhun^eeyE yunathanRi yinmaiyil nallaayn^eeyE pollaangilaamaiyin vallaayn^eeyE vaiyamuNdumizhthalin eNYNYamaaku meyyan^inviyalbE aNYNYanEyokka aRivathaaraNamE. 16.8: aaraNangaLthEda ayinthain^agarvanthuthiththa kaaraNaraayn^inRa kadalvaNNar naaraNanaar ippadikkumikku anReduththa paathangazhuva meyppadikkamaanathu ponveRpu. 16.9: veRpudanonRi ayinthaiyil vevvinai theermarunthonRu aRputhamaaka vamarnthamaikEttu aruLvENdin^iRkap paRpilamarnthaseyyaaL padikaatiyapaNpudai, em viRpuruvakkodikku OrvilangaamayalpeRRanamE. 16.10: peRRanain^eeyE maRRuLavellaam peRuvathun^innaiyuRuvathukoLvaar ninnaalanRi mannaarinbam ninnaporuttun^eeyenna poruttilai ninnaru ninRuminnuruththOnRum ninRanakku nigarn^innadiyadaivaar ninbaalanRiyan paaluyyaar vaaraNa mazhaikka vantha kaaraNanE.

d p

 Dhaati Panchakam was rendered by Swami Mudaliandan at thondanur when Swami Ramanuja takes his adisesha form with 1000 hoods & won over 12,000 Jainists to prove that Vishistadvaitam is true and Sriman Narayana is the Supreme God (Paramatma), Chit (Living things) & Achit (Non Living Things) exists.

As the name shows it is made of 5 slokas (Panchakam). The word dhaati means "attacking" - as this work shows the attack that Ramanuja carried over the other philosophies that were widespread at that time, it is an appropriate name for it.

Dhaati Panchakam was rendered by Mudaliandan at Thondanur.

yogamaya.

 The Bhagavata Purana depicts the situation preceding Krishna avatar graphically. Kamsa’s atrocities remain unabated even as he is warned by a celestial voice of his own end at the hands of the eighth child of Devaki, his own sister. Unable to withstand the persecution of Kamsa, Bhudevi and the celestial beings beseech Brahma for alleviation of their suffering. He counsels them to seek refuge in the Lord, who is ever-willing to come to the rescue of the oppressed.

The Lord communicates to Brahma that His incarnation will bring the much-needed succour and that He will be born in the house of Vasudeva with Adisesha preceding Him to be born as elder brother Balarama. During the incarnation, the celestial beings as members of Yadu clan will aid Him in the fight against evil. The Lord designates Yogamaya’s functions at this juncture, explained Akkarakani T. A. Srinidhi Swami in a discourse.

Yogamaya is the Lord’s divine power by which creation is enabled. The Lord assigns her specific tasks, the first to protect the foetus in Devaki’s seventh pregnancy by transferring it to Vasudeva’s wife Rohini living in the land of Yadus out of fear of Kamsa. Next the incarnation of the Lord as Devaki’s eighth child and the birth of Yogamaya herself as the daughter of Yasodha and Nanda are charted out. Accepting the directives readily, the Devi descends to the earth to accomplish her mission. With Adisesha born as Balarama, Krishna and Yogamaya are successfully swapped at birth despite almost insurmountable hurdles — Kamsa’s tight security and vigilance, the torrential rains, the Yamuna in spate, etc — all through the Lord’s inherent power of Maya.

…Yogamāyā is the name of the internal potency that makes the Lord forget Himself and become an object of love for His pure devotee in different transcendental mellows. This yogamāyā potency creates a spiritual sentiment in the minds of the damsels of Vraja by which they think of Lord Kṛṣṇa as their paramour.

Yogamaya means the mercy of the Supreme Lord which connects a devotee in the transcendental loving service of the Lord, and mahamaya means the external potency of the Lord which puts a conditioned soul into illusion that he will be happy by material adjustment.Yogamaya continues to protect her devotees.

rama rama japa

  

18.02.2021.

 Submitted 12 lakh Rama japa personally hand written books almost one for every year of my life to Ayodhya ram mandir today.  Feeling good.

6 books equals 100800. Plus a few diaries.

Padaroo

  Raghukul Reet Sadaa Chali Aayi,

In accordance with traditions of the king of dynasties.
Praan Jaaye Par Vachan Na Jayi,
You may lose your life but your promises must be kept.

Jai Raghuvanshi Ayodhyapati,
Hail the king of dynasties, The king of Ayodhya.
Ram Chandra Ki Jai,
Hail! Lord Ram.
Siyavar Ram Chandra Ki, Jai,
Hail! Beloved of queen Sita.

Jai Raghuvanshi Ayodhyapati,
Hail the king of dynasties, The king of Ayodhya.
Ram Chandra Ki Jai,
Hail! Lord Ram.
Siyavar Ram Chandra Ki Jai,
Hail! Beloved of queen Sita.

Ta Di Ya Na Dheem..
De Re Ta Na De Re Nom
Ta Di Ya Na Dheem..
De Re Ta Na De Re Nom
Ta Di Ya Na Dheem…

Raghuvar Teri Raah Nihaarein
O’Ram! You are eagerly awaited.
Raghuvar Teri Raah Nihaarein
O’Ram! You are eagerly awaited.
Saaton Janam Se Siya,
For more than seven lives by Sita!

Ghar More Pardesiya,
Come back home, O’stranger.
Aao Padhaaro Piya,
Come visit, O’dear.

Ghar More Pardesiya,
Come back home, O’stranger
Aao Padhaaro Piya
Come visit, O’dear.

Ta Di Ya Na Ta De Re Na Dum
Ta Di Ya Na Ta De Re Na Dheem
Ta Di Ya Na Ta De Re Na Dheem
Ta Da Re Na De Dheem Ta Da Ni.

Maine Sudh-Budh Chain Gawake,
I lost my senses and my peace.
Maine Sudh-Budh Chain Gawake,
I lost my senses and my peace.
Ram Ratan Paa Liya,
But found my dearest gem, Ram.

Ghar More Pardesiya, Aao Padhaaro Piya,
Come back home, O’stranger. Come visit, O’dear.
Ghar More Pardesiya, Aao Padhaaro Piya,
Come back home, O’stranger. Come visit, O’dear.

Dheem Ta Dheem Tanana Dere Na
Dheem Ta Dheem Tanana Dere Na
Dha Ni Sa Ma, Sa Ga Ma Dha, Ni Dha Ma Ga Pa
Ga Ma Pa Sa Sa, Ga Ma Pa Ni Ni
Ga Ma Pa Ni Dha Pa Ma Ga Re Ga Ma Dha Pa
Re Ma Pa Dha Ma Pa Ni Ni Dha Pa Ma Pa Ga Ma Re Sa Ni Sa Re Re Ma Ma Pa Pa Dha Dha Ma Ma
Ni Ni Ni Re Sa Ni Dha Ni Dha Pa Ma Pa Dha Ni Dha Pa Ma Ga Re Ga Re Sa Ni Sa Re Re Ga

Na To Maiya Ki Lori,
Neither my mother’s lullaby.
Na Hi Phaagun Ki Hori,
Nor the colours of spring.
Mohe Kuch Doosra Na Bhaaye Re
Nothing interests me anymore.
Jabse Naina Yeh Jaake,
Since my eyes rested on;
Ik Dhanurdhar Se Laage,
The regal archer;
Tabse Birha Mohey Sataye Re
Since then the angst of separation agonizes me.

Haan, Na To Maiya Ki Lori,
Neither my mother’s lullaby.
Na Hi Phaagun Ki Hori,
Nor the colours of spring.
Mohe Kuch Doosra Na Bhaaye Re,
Nothing interests me anymore.
Jabse Naina Yeh Jaake
Since my eyes rested on;
Ik Dhanurdhar Se Laage
The regal archer;
Tabse Birha Mohey Sataaye Re
Since then the angst of separation agonizes me.

Duvidha Meri Sab Jag Jaane,
Duvidha Meri Sab Jag Jaane,
The whole world is aware of my dilemma.
Jaane Naa Nirmohiya,
Alas! ignorant is the callous one.

Ghar More Pardesiya,
Come back home, O’stranger.
Aao Padhaaro Piya,
Come visit, O’dear.

Ghar More Pardesiya,
Come back home, O’stranger
Aao Padhaaro Piya
Come visit, O’dear.

[Tabla Taal]

Haa, Gayi Panghat Par Bharan
Went to the riverbank to fetch water.
Bharan Paniyan Deewani
Delirious in love.
Gayi Panghat Par Bharan
Went to the riverbank to fetch water.
Bharan Paniyan Deewani
Delirious in love.

[Sargam]

Gayi Panghat Par Bharan,
Went to the riverbank to fetch water.
Bharan Paniyan Deewani,
Delirious in love.
Gayi Panghat Par Bharan,
Went to the riverbank to fetch water
Bharan Paniyan…
Delirious in love

Ho Naino Ke, Naino Ke Tere Baan Se,
The charm of your eyes stunned me;
Murchhit Huyi Re Hiraniya,
Like a deer struck by an arrow.
Jhoom Jha Na Na Na Na…
Jhana Na Na Na Na…
Bani Re Bani Main Teri Joganiya.
And I became your devotee.

Ghar More Pardesiya,
Come back home, O’stranger.
Aao Padhaaro Piya,
Come visit, O’dear.

Ghar More Pardesiya,
Come back home, O’stranger
Aao Padhaaro Piya
Come visit, O’dear.

Luggage.

 https://www.facebook.com/anuhasan.india/videos/3270461599671339/

sowkkiyamo.

 Kannan varugindra neram  karai oram...

Tendral kandu kozhathadu parum..

Gaanathidai mona kuyil osai kidayaana taram

Aana kuzhal isai kelum.... pona

Aaviyellam kooda meelum

Challa chalanam ittu odum 
nadhi padum vanam

Thangi thangi suzandru aadum  nalla

Thudhi padidum adiyavar manamaanadhu, edhu pol ena

Thulli thulli gudithodum pugazh solli solli  isai paadum

Kannan nagai polum mullai inai illai endru

Kandadum vandu ondrum vallai –idhu

Kanavo alla nanavo yena karadaadhu irumaname - oru

 Kalamum poi ondrum sollen yengal

Kannan andree veru illaen

Thaazhai madal neenthu nokkum, mullaipaarkkum enna

Sowkkiyamo?? endru ketkum 
 ada mozhipesida idhuvo pozhudenavo

Adho varum Madhavan muthu mudiyinilservom

Ange mella mella pesi nervom....

Introduction: KAvaDic cindhu  is a generic term which covers a variety of folk songs in Thamizh sung in different rAgams—mostly cenjuruTTi, Anandabhairavi, and harikAmbhOji  towards the end of Carnatic music concerts. They are also popular as dance items in BharathanATyam performances. They are light classical in content but rich in emotion—steeped in bhakthi. They follow strict prosody in construction characterized by quick rhythmic tempo called “mudugu”. Their segmented pattern is: pallavi (eDuppu), anupallavi (toDuppu), and 3 caraNams (muDippu)---also called KaNNis---கண்ணிகள்.

These folk songs were/are traditionally sung during devotional dances undertaken to fulfill prayers---usually to Lord Murugan--- carrying “kAvaDi” (structures made of wood or steel) in different shapes and sizes balanced on the shoulders of devotees----young and old.

The song under consideration, “KaNNan varuginRa nEram…” is not a typical “kAvadi” dance song per se but follows the same pattern and meant to praise Lord Krishna in BrindAvan.  The tempo follows that of the traditional folk song. It is rich in lyrical beauty and melody. It describes the BrindAvan flora and the excitement of the sylvan species---the river, the breeze, the cuckoo, the bees, and the flowers there awaiting Krishna’s arrival.  Let us examine the lyrics and the meaning here.

rAgam:  mAnji (naTabhairavi janyam)    tALam: catusra Eka

pallavi

kaNNan varuginRa nEram - karaiyOram
tenRal kaNDu kozhittadu pArum
kAnattiDai mOnakkuyil OsaikkiNayAnattaram
Anakkuzhalisai kELum - pOna
AviyellAm kUDa mILum                                        (kaNNan)

caraNam 1

sallaccalanamiTTODum nadi pADum                                                                       vanam tangi tangic cuzhanRADum - nalla
tudi pADiDum aDiyAravar manamAnadu idu pOl ena
tuLLi tuLLik kudittODum - pugazhc
colic  colli isai pADum                                              (kaNNan)

caraNam 2

kaNNan nagai pOlum mullai iNai illai - enRu
kaNDatum vaNDonRum vallai - idu
kanavO alla nanavO enak karudAdiru manamE                                                             oru kAlamum poiyonRum sollEn - engaL
kaNNananDri vERu illEn                                           (kaNNan)

caraNam 3

tAzhai maDal nIttu nOkkum mullaippaarkum - enna
sowkkiyamO enRu kETkum - aDa
mozhi pEsiDa iduvO  pozhudenavE
adO varum mAdavan
muttu muDiyinil sErvOm - angE
metta mettappEsi nErvOm                                                 (kaNNan)

Meaning:

Pallavi: It is that time for KaNNan’s (Krishna’s) arrival. It is palpable at the riverbank when the gentle breeze is blowing pleasantly. In the surrounding forest, you can hear the sweet sound of the flute which matches the melody of the cuckoo. Hearing such a melody, even the departed souls would return.

CaraNam1:  The waves of the water in the river make a gentle splashing sound which resembles the sound of a song. The river is meandering along the forest creating whirlpools along the way. The river flows in ways which reflect the minds of  the  devotees singing in praise (of Krishna).

CaraNam2: The bees after noticing that the jasmine flowers do not actually resemble the smile of Krishna stopped contacting the flowers. Oh mind, please do not wonder whether this is all real or just a dream. I shall not lie and this is all due to Krishna’s arrival.

CaraNam3: The fragrant screw pine flower (tAzhampU in Thamizh) and the jasmine flower exchange looks and ask about each other’s welfare. But then they decide that the time is not appropriate to indulge in such small talk and that they would better decorate the hair of Krishna and then engage in incessant conversation thereafter.

Commentary: The composer, OotthukkADu VenkaTa Kavi (OVK), is visualizing the sylvan ambience with the flowing river and the gentle breeze to welcome the arrival of Krishna with the sound of his flute matching  the melody of the cuckoo. He imagines the gentle waves of the river water are singing happily because of the anticipated arrival of Krishna. He attributes human characteristics of singing and dancing to the river. Along the riverbank he notices the fragrant flowers such as the Pandanus fascicularis  and jasmine and imagines they are indulging in small talk wishing to be decorating Krishna’s hair.

The song is sung at a galloping gait like that of the river flow and the breeze along the riverbank. It is classified as kAvaDic cindhu (the kind of melody that matches the movements of those devotees who carry either milk pots on their heads or specifically designed devices carried on their shoulders and make  brisk rhythmic movements while traveling to the abode of the lord---usually at the top of a hill).

Composer: The composer OVK’s diction in Thamizh is commendable. It is worth mentioning that in several songs, the choice of certain words is so impeccable and absolutely irreplaceable. UtthukkADu Venkatasubbaiyer (1700-1765), affectionately known as OVK, predates the Trinity. He was born in NeedAmangalam and lived in Mannargudi in ThanjAvUr district. Very little is known about his personal life. His songs have been compiled, edited, and published by Needamangalam Krishnamurthy Bhagavathar, one of OVK’s descendants. OVK composed many kritis in Sanskrit and Thamizh, mainly on Krishna.

OVK was the first to compose thematic compositions like Navavarana and Saptaratna kritis consisting of nine and seven songs in each, respectively. He learned the rudiments of music from Pooranur Natesa Bhagavatar. Without further recourse to additional training, he found his mental guru in Lord Krishna himself.

OVK was the first one to use the ‘madyma kAlam” –a fast-pace delivery- in his compositions. His compositions have pleasant melody, ringing rhythm, and free-flowing rich devotional lyrics. Most of his compositions are popular among dancers. His famous works include Rudra sabhadham, Nandana geetham, Kalinganarthana prabhavam, Rajagopala Nrityotsavam, and Sri Krishna Ganam. There are quite a few padams in the compendium Sri Krishna Ganam.

Some other OVK’s  Thamizh compositions that are very popular in music concerts and commercial recordings are: tAyE yasOdA (tODi), asaindADum mayilonRu (simmEndira madyamam), alai pAyudE (kAnaDA), kuzhalUdi manamellAm (kAmbhOji), pArvai onRu pOdumE (suruTTi), nI tAn meccikkoLLavENum (sriranjani),  ADum varai ADaTTum, and tEril vandAnO (husEni), yArenna sonnAlum (maNirangu), pullAip piRavi taravENum (senjcuruTTi), eppaDittAn en uLLam (nIlAmbari), and  pAl vaDiyum mukham (nATTaikkurinji).