8&10

 

Iyengar - Varavu ettana,

              selavu pathana,

        adhigam rendanaa,

     kadasiyil, thundhana

  thundhaa, thundhanaa

Kids : Varavu ettana 

        Selavu pathana 

  Adhigam rendanaa 

  Kadasiyil thundhana 

  Thundhana thundhaa

Iyengar : One, two, three,

           four, five, six seven

           eight hmmmmm

Kids : Varavu ettana 

           Selavu pathana 

           Adhigam rendanaa 

         Kadasiyil thundhana 

       Thundhana thundhaa

 Thiramaiku mele ninaipu

Vandhal nimmadhi irukaadhu Aiya nimmadhi irukaadhu 

Alavuku mele aasai vandhal ulladhum nilaikadhu Amma ulladhum nilaikadhu 

Female 1: vayasuku mele

    ulagathil ulla nalladhu

     Pidikaadhu, mama

     nalladhu pidikaadhu

Female chorus : Vayasuku mele ulagathil ulla nalladhu pidikaadhu mama nalladhu pidikaadhu 

Male: Vayasu pillaigal

          Pudhusa, perisa      

  vazvadhu porukadhu

  appa vazvadhu         

  porukadhu 

Male Chorus : Vayasu

          pillaigal pudhusa,

          perisa vazvadhu 

          porukadhu, appa

          vazvadhu

          porukadhu 

Male 1 : Vaadagai soba

Male 2 : Iruvadhu rooba

Male 1 : Vilaiku vaangina

Male 2 : Mupadhe rooba

Kids : Vaadagai soba 

           Iruvadhu rooba 

         Vilaiku vaangina 

          Mupadhe rooba 

Varavu ettana selavu pathana, adhigam rendanaa, kadasiyil thundhana thundhaa thundhanaa 

Iyengar : Adanga manavi

              Adimai purushan

     kudumbathukaagadhu

Kids : Adanga manavi 

           admai purushan kudumbathukaagadhu

Aiyaa kudumbathukaagaadhu.

Yaanayai pole poonayum thinna jeeranam aagadhu , Aiya jeeranam aagadhu ( 2 )

Male 1 : Pacchai kiligai

         parapadhai partha       

    parundhuku aagadhu 

    appa parundhuku

    aagadhu 

Male Chorus: Pacchai kiligai parapadhai partha 

Parundhuku aagadhu appa parundhuku aagadhu 

Female 1 : Panathai

     partha gowravam

     yenbadhu

     marundhukum

     Irukaadhu mama

     marundhukum

     irukaadhu

Female Chorus : Panathai partha gowravam yenbadhu marundhukum irukaadhu

Mama marundhukum irukaadhu 

Iyengar: Thanga changil

  iraval vaanguna thavari

  pochuna thakita

  thandhana

Male Chorus: Ho Ho Ho

    Appa Haan haan haan

Iyengar: Bhama vijayam

     krishnanukaaga, inge

     yedhukaaga

Kids: Bhama vijayam 

 krishnanukaaga inge 

 yedhukaga Amma inge

 yedhukaga 

Male Chorus: Maadhargal yellam kannigalaaga maaranum adhukaaga appa maaranum adhukaaga 

Iyengar : Kannigalaaga vazhanum yendral pillaigal yedhukaga, Aiya pillaigal yedhukaga 

Male Chorus: Kaadhal seidha paavathulaaga vere yedhukaaga 

Iyengar : Pattal theriyum pazhasum pudhusum

Kettal theriyum, kelviyum badhilum

Kids : Varavu ettana selavu pathana adhigam rendanaa kadasiyil thundhana thundhaa thundhanaa aaa aaa aaa

Male Chorus and Kids :

Varavu ettana selavu pathana adhigam rendanaa kadasiyil thundhana thundhaa thundhanaa.

Please give the meaning of this Tamil song in English.

This Tamil song revolves around the theme of income and expenses, and it humorously illustrates the struggles of managing finances, desires, and expectations in life. Here’s a breakdown of the song’s meaning:

---

Iyengar:

"How much is the income? How much are the expenses?

The excess is just two,

And in the end, what remains?

Nothing remains."

Kids:

(Repeated):

"How much is the income? How much are the expenses?

The excess is just two,

In the end, nothing remains."

Iyengar:

"One, two, three, four, five, six, seven, eight... hmmm."

(Reflecting on counting money and realizing there's nothing left.)

Kids (Repeated):

"How much is the income? How much are the expenses?

The excess is just two,

In the end, nothing remains."

---

Iyengar:

"If there’s too much thought about fame, there will be no peace. Sir, there will be no peace.

If desire exceeds the limit, whatever you have will not remain. Madam, it will not remain."

---

Female Singer:

"In old age, the good things in the world don't appeal to you anymore, Uncle, they just don't appeal."

Female Chorus:

"In old age, the good things in the world don't appeal to you anymore, Uncle, they just don't appeal."

---

Male Singer:

"For the young generation, the new way of living is unbearable. Father, the way they live now is unbearable."

Male Chorus:

"For the young generation, the new way of living is unbearable, Father. The way they live now is unbearable."

---

Male Singers 1 & 2:

"The rent for a sofa is twenty rupees,

But buying it costs thirty rupees."

Kids:

"The rent for a sofa is twenty rupees,

But buying it costs thirty rupees."

Iyengar & Kids:

"How much is the income? How much are the expenses? The excess is just two,

In the end, nothing remains."

---

Iyengar:

"A submissive wife, a servant-like husband—what’s the point of such a family life?"

Kids:

"A submissive wife, a servant-like husband—what’s the point of such a family life?"

Iyengar:

"A cat can’t digest food like an elephant, sir, it just can’t digest it."

---

Male Singer:

"A green parrot, even if it sees the sky, can’t become a hawk, Father, it just can’t become one."

Male Chorus:

"A green parrot, even if it sees the sky, can’t become a hawk, Father, it just can’t become one."

Female Singer:

"The respect that comes with money doesn’t last with medicine, Uncle, it doesn’t last with medicine."

Female Chorus:

"The respect that comes with money doesn’t last with medicine, Uncle, it doesn’t last with medicine."

---

Iyengar:

"If you borrow gold chains and lose them, it’s a disaster! Thakita thandhana!"

(Referring to the trouble caused by borrowing and losing wealth.)

---

Male Chorus:

"Ho Ho Ho, Father, Haan haan haan!"

(Laughing at the absurdity of the situation.)

---

Iyengar:

"Bhama’s victory is for Krishna. But here, for whom is it?"

(Referring to the purpose behind struggles and desires in life.)

Kids:

"Bhama’s victory is for Krishna. But here, for whom is it, Mother? For whom?"

---

Male Chorus:

"All women should live as virgins, and for that, Father, they should live that way."

(An ironic comment on societal expectations.)

Iyengar:

"If women live as virgins, why are there children, Sir? Why are there children?"

Male Chorus:

"It’s because of the sins of love, what else?"

---

Iyengar:

"If you experience it, you’ll understand the difference between old and new.

If you ask, you’ll know the question and the answer."

(Reflecting on learning through experience.)

---

Kids & Chorus:

"How much is the income? How much are the expenses?

The excess is just two,

In the end, nothing remains."

---

The song uses humor, irony, and a bit of philosophy to address the complexities of life, such as financial struggles, generational differences, societal norms, and the desires that shape human life. The repetitive refrain emphasizes the futility of excess desires and the difficulty of balancing income and expenses.

Ucchaihshravas

 In the 10th chapter of the Bhagavad Gita, known as the Vibhuti Yoga (The Yoga of Divine Glories), Lord Krishna reveals his divine manifestations, describing how he represents the best or most significant of various beings and phenomena. When referring to horses, Krishna says:

"Aśvattamaham", meaning "Among horses, I am Ucchaihshravas."

Here, Krishna identifies himself with Ucchaihshravas, the celestial horse that emerged during the churning of the ocean of milk (Samudra Manthan). Ucchaihshravas is considered the king of horses and is known for its exceptional speed, beauty, and strength. This horse is often depicted as white and divine, symbolizing majesty and power.

In this way, Krishna emphasizes that among all horses, Ucchaihshravas best represents his divine power and magnificence.

SSP

Purusha Suktam - Sahasra-Shirsaa Purusah - In sanskrit with meaning

- from Rig Veda - Mandala 10 - Sukta 90

Purusha Suktam - The Purusha with a thousand heads, a thousand eyes and a thousand feet

Purusha Suktam - Sahasra-Shirsaa Purusah Sahasra-Aksah Sahasra-Paat

He has a thousand heads, a thousand eyes and a thousand feet . He encircled the earth on all sides and rose to a height of ten feet.

Sahasra-Shiirssaa Purussah Sahasra-Akssah Sahasra-Paat |
On Earth Vishvato Vrtva-Atya [i] -Tisstthad-Dasha-Angulam ||1||

Meaning:
1.1: The Purusha (Universal Being) has Thousand Heads , Thousand Eyes and Thousand Feet (Thousand signifies innumerable which points to the omnipresence of the Universal Being),
1.2: He envelops the World from all sides (ie He pervades each part of). the Creation), and extends beyond in the Ten Directions ( represented by Ten Fingers ),






the Puruṣa is everything that is past and future . Uta is the Lord
of immortality by which one ascends to the heavens .
Purussa Evedam Sarvam Yad-Bhuutam Yacca Bhavyam |
Uta-Amrtatvasye [aI] shaano Yad-Annena-Ati-Rohati ||2||

Meaning:
2.1: The Purusha is indeed All this (Creation) in essence; That which existed in the Past , and that which will exist in the Future ,
2.2: Everything (ie the whole Creation) is woven by the Immortal essence of the Great Lord (Purusha); by becoming Food of which (ie by getting consumed in Whose Immortal essence through surrender) one transcends the gross world (and becomes Immortal). This is the glory of the Supreme Personality







of Godhead His feet are all beings and His three feet are the nectar in the heavens .

The Glory of the Ato Jyaayaash-Ca Puurussah |
Pado-Asya Vishva Bhutan Tri-Paad-Asya-Amrtam Divi ||3||

Meaning:
3.1: The Purusha is Greater than all the Greatness (which can be expressed by words),
3.2: His One Part has become all these (visible) Worlds, and His Three Parts rest in the Immortal World of the Transcendence .






The man rose from three feet upwards, and his feet became here again.
Then the equator moved about eating and drinking .
Tri-Paad-Uurdhva Udait-Puurussah Paado-Asye [aI] and-Abhavat-Punah |
Tato Visvang Vya [iA] kraamat-Saashana-Anashane Abhi ||4||

Meaning:
4.1: The Three Parts of the Purusha is High Above (in Transcendental Realm), and His One Part becomes the Creation again and again .
4.2: There , in the Creation, He pervades all the Living ( who eats ) and the Non-Living ( who does not eat ) beings.






From Virāla was born the Supreme Personality of Godhead , Virāja . He was born and crossed the earth afterwards and before .

Tasmaad-Viraadda-Jaayat Viraajo Adhi Puurussah |
Sa Jaato Atya [iA] Ricyata Pashcaad-Bhuumim-Atho Purah ||5||

Meaning:
5.1: From Him (ie the Purusha) was born the Virat ; (the Virat came into being) from the presence of the Shining Purusha (Who remained as the background or substratum of Virat);
5.2: He (ie the Virat) created the Earth , by manifesting Her from His own being as substratum . The






demigods performed the sacrifices by offering oblations to the Supreme Personality of Godhead . In spring he had oblations, in summer he had idhma and in autumn he had oblations .

Yat-Purussenna Havissaa Deva Yajnyam-Atanvata |
Vasanto Asia-Asiida-Ajyam Griissma Idhmah Sharad- [d] Havih ||6||

Meaning:
6.1: With the Purusha as the (Sacrificial) Fire , the Deva (the Shining One, referring to Virat) continued the Yagna (Sacrifice of creation),
6.2: Spring was (created as) the clarified Butter (of that Yagna); , Summer was (created as) the Fuel (of that Yagna), and Autumn was (created as) the Havis (Sacrificial Offering of that Yagna).






That sacrifice They were washing the peacocks , and the man was born in front of them .
By that sacrifice the devatas and the sadhyas performed sacrifices .
Tam Yajnyam Barhissi Pra-Ukssan-Purussam Jaatam-Agratah |
Tena Devaa Ayajanta The Best Of Rssayash-Ca Ye ||7||

Meaning:
7.1: The First Divine Men were created as the Holy Water was sprinkled with the Kusa Grass in that Yagna (Sacrifice of Creation).
7.2: The First Divine Men were the Sadhya Devas and the Rishis , Who were created by Him , the Deva (the Shining One, referring to Virat), Who performed the Yagna . (These Rishis were not human but divine Rishis like Saptarshis created directly by Virat).






Therefore, from the sacrifice, all the oblations were prepared, and the bull’s oil was prepared . He made the animals in the forests and in the countryside
in the northwest
Tasmaad-Yajnyaat-Sarvahutah Sambhrtam Prssadaajyam |
Pashun-Tashcakre Vayavyan-Arannyaan Gramyaash-Ca Ye ||8||

Meaning:
8.1: From the Complete Offering of His (ie Virat's) Yagna (Sacrifice of Creation) was obtained Ghee mixed with coagulated Milk , ...
8.2: ... which (ie the Ghee and Milk) are (the created) Animals , both of Air (Birds) and of Forests (Wild Animals) and Villages (Domestic Animals).






From that sacrifice, the Ṛg Veda and the Sāma Veda were born . From him were born the chandas and from him was born the Yajur Veda .

Tasmaad-Yajnyaat-All Rcah Praised |
Chandaamsi Praises Tasmaad-Yajus-Tasmaad-Ajaayata ||9||

Meaning:
9.1: From the Complete Offering of His (ie Virat's) Yagna (Sacrifice of Creation) was born the Rig Veda and Sama Veda ,
9.2: The Chandas (Vedic Meters) were born from Him , and the Yajur Veda was born from Him . . . . Therefore






the horses were born From both . From him were born
cows and from him were born goats .
Tasmaad-Ashvaa - The Best Of Tasmaad-Ashvaa [aU] bhayaadatah |
Gaavoh Has Praised Tasmaat Tasmaaj-Jaata Ajaa-Vayah ||10||

Meaning:
10.1: From Him (ie Virat) was born the Horses , and all those animals who have teeth in both jaws ,
10.2: From Him (ie Virat) was born the Cows , and from Him were born all types of Goats . How many times did they imagine






the man they had created ? What is his face , who are his arms , who are his thighs , and what are his legs ?

Yat-Purussam By [iA] dadhuh Katidhaa By [iA] kalpayan |
Mukham Kimsya Kau Baahuu Kaa - The Best Of Mukham Kimasya Kau ||11||

Meaning:
11.1: What did the Purusha (i.e. Virat) hold within Him? How many parts were assigned in His Huge Form?
11.2: What was His Mouth ? What was His Arms ? What was His Thighs ? And what was His Feet ?






The brāhmaṇa was his face, and his arms were made royal . The thighs of that which the vaisya gave birth to and the legs of which the śūdra gave birth to .

Brahman-Asia Mukham-Acid Bahu Rajanyah Krtah |
The Smell of Tad-Asya Yad-Vaishyah Padbhyaam Shudro Ajaayata ||12||

Meaning:
12.1: The Brahmanas were His Mouth , the Kshatriyas became His Arms ,
12.2: The Vaishyas were His Thighs , and the Shudras were assigned to His Feet .






The moon was born of the mind, and the sun was born of the eye . From the mouth came forth Indra and from the breath came forth the wind .

Candrama House of Jaatash-Cakssoh Amazing Sun |
Mukhaad-Indrash-Ca-Agnish-Ca Praannaad-Vayur-Ajaayata ||13||

Meaning:
13.1: The Moon was born from His Mind and the Sun was born from His Eyes ,
13.2: Indra and Agni (Fire) were born from His Mouth , and Vayu (Wind) was born from His Breath .






The navel was the space, and the head was the sky . They created the earth with their feet , the directions with their ears and the worlds with their ears .

Nabhyaa Acid-Antarikssam Shiirssnno Dyauh Samavartata |
Padbhyam Bhumir-Dishah Shrotraat-Tathaa Loka Akalpayan ||14||

Meaning:
14.1: His Navel became the Antariksha (the intermediate Space between Heaven and Earth), His Head sustained the Heaven ,
14.2: From His Feet the Earth (was sustained), and from His Ears the Directions (were sustained); in this manner all the Worlds were regulated by Him. There were






seven circles made of three seven altars That sacrifice which the devatas , having embodied themselves , bound to the man and the animal .

Saptaasya [iA] asan Paridhayas-Three Sapta Samidhah Krtaah |
Devaa Yadyajnyam Tanvaana Abadhnan-Purussam Pashum ||15||

Meaning:
15.1: By making Seven Enclosures with Three times Seven sacrificial Firewood , ...
15.2: ... the Deva (the Shining One referring to Virat) in that Yagna (Sacrifice of Creation), bound the infinite expanse of the Purusha as (apparently) finite living beings (Pashu). The demigods performed sacrifices.



in the form of sacrifices, and these religious principles were first established . They moved about in the nose of the glorious ones where the gods of the Sadhyas were situated in the past .

Yajnyena Yajnyam-Ayajanta Devaas-Taani Dharmaanni Prathamaanya[i-A]asan |
Te Ha Naakam Mahimaanah Sa-Canta Yatra Puurve Saadhyaah Santi Devaah ||16||

Meaning:
16.1: The Devas performed the external Yagna by meditating on the real Yagna (i.e. contemplating on the Purusha Who is Shining behind everything); And thus they first obtained the Dharma (based on the Oneness of the Purusha),
16.2: By Meditating on the Greatness of the Chidakasha (Blissful Spiritual Sky behind everyone, which is the essence of the Purusha), during those earlier times, the Spiritual Aspirants became the Shining One themselves.

Conservation.

The Sanskrit word "Samrakshan" (संरक्षण) translates to "conservation" or "preservation" in English. It reflects a deep-rooted philosophy, especially in Indian culture, emphasizing the protection and sustainable use of natural resources, cultural heritage, and values that are essential for maintaining balance and harmony in society and the environment.

In modern times, "Samrakshan" takes on multiple forms, from environmental conservation efforts to the preservation of cultural and historical artifacts. Its principles extend beyond safeguarding resources but also ensuring their judicious use for future generations.

Environmental Samrakshan

The most common and urgent form of samrakshan is environmental conservation. With rapid industrialization, urbanization, and population growth, the earth's natural resources are depleting at an alarming rate. However, conservation efforts can help reverse or at least mitigate the damage.

A prime example of environmental conservation is the "Chipko Movement" in India, where villagers, particularly women, embraced trees to prevent their felling by contractors in the 1970s. This movement emphasized the importance of forests in protecting soil, preserving biodiversity, and maintaining ecological balance. It became a symbol of grassroots environmental activism, teaching the world the need to conserve nature for a sustainable future.

Similarly, projects like "Project Tiger" and "Project Elephant" have been initiated by the Indian government to conserve endangered species. These initiatives aim to safeguard the habitats of tigers and elephants, both critical to India's biodiversity, and address issues of poaching and habitat destruction.

Cultural Samrakshan

Cultural conservation or samrakshan involves preserving traditions, languages, art forms, and historical monuments. As globalization influences societies worldwide, many cultures risk losing their unique identities. Samrakshan in this context ensures that the richness of heritage and history is not lost in the face of modernization.

An example of cultural conservation is the preservation of India’s architectural wonders like the Taj Mahal, Qutub Minar, and numerous other monuments. The Archaeological Survey of India (ASI) works towards restoring and maintaining these landmarks, ensuring they remain intact for future generations to admire.

Efforts to preserve tribal languages and traditional practices also embody the concept of samrakshan. For instance, the Government of India’s efforts to promote endangered languages, such as Bhojpuri, Maithili, and others, are essential in keeping the cultural diversity of the nation alive. Additionally, many local artisans and craftsmen are being supported to ensure traditional art forms, like Madhubani painting and Kalamkari, do not fade away.

Samrakshan of Values and Morals

Another aspect of samrakshan is the conservation of values and morals that guide ethical living. In a rapidly changing world, where materialism and consumerism are often dominant, the preservation of core human values such as compassion, honesty, and selflessness becomes increasingly important.

For instance, Gandhian principles of non-violence (Ahimsa) and truth (Satya) are timeless values that promote peaceful coexistence. Efforts to promote these values through education and community programs contribute to a more harmonious society. Various schools and institutions continue to impart these ethical teachings, ensuring that future generations inherit and embody these ideals.

The Need for Collective Efforts

Conservation, whether of nature, culture, or values, cannot be achieved in isolation. Samrakshan requires collective responsibility from individuals, communities, governments, and organizations globally. Global frameworks like the Paris Climate Agreement emphasize the need for all nations to work together to tackle climate change, reduce emissions, and promote sustainable development.

On a local level, individuals can contribute by practicing the three R’s (Reduce, Reuse, Recycle), conserving water, planting trees, and supporting conservation initiatives. Educational campaigns that raise awareness about the importance of preserving ecosystems and cultural heritage are crucial in fostering a sense of responsibility in future generations.

Conclusion

Samrakshan, or conservation, is not just a passive act of protection; it is a dynamic process of ensuring that our environment, heritage, and values continue to thrive. Through sustained efforts and a deep sense of responsibility towards our planet and society, we can ensure that future generations inherit a world that is both bountiful and balanced.

Examples like the Chipko Movement, Project Tiger, and the preservation of cultural monuments show that meaningful action can lead to significant results. It is up to all of us to embrace the ethos of samrakshan and contribute to the sustainable development and preservation of the world around us.