if you dare to believe. Elvs song.

If you dare to believe.

It will be dangerous, but we have to do something!

Or I may never get home.

Earth moves the air and the wind feeds the fire.
Magic is here, if you dare to believe

I'm just a regular girl type girl
Come from a regular world type world.
Never thought I could be this brave,
Never thought I would ride this amazing wave.
I'm wide awake but it feels like a dream,
Being a part of this new and magical team.

I've seen the wonders within this land.

You wanna come with me? Come just take my hand.
Earth moves the air and the wind feeds the fire.
Magic is here if you dare to believe.
Sail out to sea,
On an ocean of mystery.
Elves bring your heart to the ones that you need.

Whatever happens, wherever we go,
We are the lengend of the 5
Yeah the 5 and we know

This is the way we're supposed to be,
This is the way we set the powers free.
We know the portals, we hold the keys
I see my magical friends
Whenever I please.
This girl is living the fairy tale
You wanna come with me? Come to Elvendale.

Earth moves the air and the wind feeds the fire.
Magic is here if you dare to believe.
Sail out to sea,
On an ocean of mystery.
Elves bring your heart to the ones that you need.

I'm just a regular girl type girl
Come from a regular world type world.
Never thought I could be this brave,

Never thought I would ride this amazing wave.

Kadambari just learnt this song by listening to the you tube. sharing a copy of her chorus here. its so amazing.

panditaraja

 Panditaraja Jagannatha - The King among Sanskrit Scholars: 

Of the long line of aestheticians India has produced through a course of two long millennia, Panditaraja Jagannatha can be called a genius par excellence. He had the privilege of being the last in the line, hence had the perspectives of all his predecessors. 

He was a man of critique and creativity. His work titled 'Rasagangadhara' - is a work on aesthetics. If not for a basic understanding of Nyayashastra, his words would be undiscernible.

Through chapters called as 'Ananas' - Faces, he expresses his theory on aesthetics and poetics like no other. His epithet is 'Panditaraja' - The king of scholars, which is no exaggeration. 

His fights with Appayya Dikshita's theories are well known and display to us a delightful case of academic disagreement in 17th Century India. Appayya's work 'Chitramimamsa' was refuted by Jagannatha in a counter work called 'Chitramimamsa khandana'. 

Another extolled scholar named Bhattoji Dikshita wrote a text titled 'Balamanorama'. Jagannatha strongly disagreed with Bhattoji and wrote a scathing critique titled 'Manoramakuchamardanam' - The slaying of Manorama's breast.    

For the scholarly material that Jagannatha produced, the world of Sanskrit is indebted to the Mughal court. 'दिल्लीवल्लभपाणि पल्लवातले गीतं नवीनं दयं' are his words which speak about his patronage in Delhi court under Jehangir and Shahjahan. 

In a colophon of his work he introduces himself as शाहजहाँन प्रसादादधिरात पदवी विराजितेन - 'He who occupies the position of scholar given by the king Shahjahan'.

Panditaraja himself exclaims that he receives plenty from the court in a shloka. His production of such scholarly treasures must have been because of a non worrisome life, enabled by Delhi's money. 

दिल्लीश्वरोवा जगदीश्वरो वा मनोस्थान पूरयि समर्थ: | 

अन्येन्यंपार्ल: परिदीयमानं शाकायवास्यालवणीयावास्यात ||

"It is either Delhishvara or Jagadishvara who can fulfil our desires. Whatever other patrons give would only be enough for salt or vegetables, nothing more." 

ododi

Ododi Vandhen kanna

This ragamalika is a verse taken from the pasurams of Thiruppaan Alvar. The song Ododi Vandhen Kanna (ஓடோடி வந்தேன்) in raga Dharmavati has been composed by Ambujam Krishna.

pallavi
ODODi vandEn kaNNA nAn
unakkum enakkum uLLa uRavai aRrindu

anupallavi
kODAnu kODi tavam seidu unnai kANa
gOvindA enDRazhaittu brndAvanattiDai

charaNam
(kaNNan) kuzhal Udum ezhil kANavE
kUDum gOpiyargaL mukham nANavE
kAdal vizhi undan mukham nADavE
muRuval idazhOram shuzhittODavE

(madhyamakAla sAhityam)

( jagan) nAthan isai pADa nangai jati pODa
kAla kAlamellAm shrutiyum layamum ena
vEdap-poRuL unnil onDRi uRaindiDavE
bOdam migu kAdal pon aDi tanil koNDu

Translation

Knowing (aRindu) the relationship (uRavu) between us (unakkum enakkum Ulla), O Krishna, I came running (ODODi vandEn)!

Having done (seidu) millions (kODAna kODi) of religious austerities (tavam), (I came) to see you (unnai kANa) in Brindavanam calling (enDRaizhaiitu) Govinda!

Seeing the flute (kuzhal) played (Udum) with such beauty (ezhil) , as the faces (mukham) of the surrounding (kUDum)  cowherdesses (gOpiyargaL) turn shy (nANavE). As eyes (vizhi) full of love (kAdal) seek (nADavE) your face (undan mukham), a smile (muRuval) curves (shuzhi) at the edge (Oram) of your lips (idazh).  Thus for eons and eons (kAla kAlamellam), as tone (shruti) and tempo (layam), the Lord of the world (jagan nAthan) plays music (isai pADa) and the girls (nangai) keeps time (jati pODa). The meaning (poRul) of the Vedas dwell (uRaindiDavE) in union (onDRi) with you (unnil). With wise (bOdam) love (kAdal) for your golden (pon) feet (aDi), (I came running…)

  ‘I came running’ says the poet ‘Knowing the relationship between us, I came running’. An alternate version can be translated as ‘Knowing that there is to be a liaison between us, I came running!’. The second version makes it more explicit that the relationship is romantic right from the beginning. The poet goes to on to describe Krishna, the player of the flute, and the adoring Gopis who dance around him; she seems to join this adoring mass. She goes on to say ‘Thus for eons and eons, as tone and tempo, the Lord of the world plays music and the girls keep time’.  Suddenly with this line we are taken away from the physical desire for an irresistibly handsome and alluring Krishna to his timeless divinity, the divinity which is like tone to our tempo, two aspects of the same music. A beautiful picture, is it not? She stresses the divinity with her words ‘The meaning of the Vedas dwell in union with you’. In one easy transition, we go from attraction to the form, to the realisation of Divinity and Divine knowledge. 

Govinda.

 One of the names of Vishnu is Govinda. The word ‘go’ has other meanings besides cow. The name Govinda occurs in Vishnu Sahasranama twice. Parasara Bhatta lists them as names 189 and 543. Sankara Bhagavadpada lists them as 187 and 539. For the first occurrence, Sankara has three meanings. He takes ‘go’ to mean earth and says that Govinda indicates He who is Lord of the Earth. But Bhatta gives this meaning only for the second occurrence, the 543rd name.

There is a reason, perhaps, for this. The second time the name Govinda occurs is after the name Mahavaraha. The Lord in His Varaha avatara rescued Bhu Devi. So, Govinda as One who has Lordship over the earth might have seemed more appropriate here, said V.S.Karunakarachariar in a discourse. Another of the meanings given by Bhagavadpada is to be seen in the context of the Hari Vamsa. Hari Vamsa says that Indra performed Govinda Pattabhishekam for Krishna, and then said, “I am Indra who is Lord of the celestials. You are Lord of the cows, and hence You are Govinda.” Parasara Bhatta does not bring in the reference to Indra for either of the two occurrences of Govinda. Bhagavdpada also gives an interpretation for Govinda based on Siva’s praise of Krishna, in Hari Vamsa. Here Siva says He who is Lord of the Vedas is Govinda. This could be taken as a reference to Lord Vishnu’s avatara as Hayagriva, in which He rescued the Vedas from the demons Madhu and Kaitabha. In the Madhva school too, the two instances of the name Govinda in the Sahasranama are explained as meaning the One who is master of the Vedas, Lord of weapons, the One who reclines in the ocean, the One who gave eyesight to Dhritarashtra etc. From the three schools of thought, therefore, a wealth of meaning can be obtained for the name Govinda. from the hindu.

godavari.

 River Yamuna has a greatness which is unmatched, elaborated M.A. Venkatakrishnan in a discourse. When infant Krishna was taken by Vasudeva to Nandagopa’s house, the river parted to allow him to pass. Baby Krishna’s feet touched the waters of the Yamuna. And when Krishna was growing up as Yasoda’s son, He bathed in the river, and played on the banks. Which other river has had such good fortune? While Sarayu flows on the banks of Ayodhya, Rama’s city, He did not have the connection with Sarayu, which Krishna had with the Yamuna. It was only when the avatara ends that Rama steps into the Sarayu. Whereas, Yamuna’s association with Krishna begins minutes after His birth.

Coming to Godavari, a river in the South of India, this river did something unforgivable. When Ravana was carrying Sita away, She cried out to Godavari, asking the river to tell Rama that it was Ravana who was abducting Her. But when Rama was looking for Sita and asked the river if she knew where Sita was, the river was silent. Godavari was afraid that Ravana would harm her if she told Rama the truth. Hence the silence. But should the river not have spoken the truth, and helped Rama? The river remaining mum was a blot on its reputation

Vedanta Desika, in his Goda stuti, says that Godavari’s reputation was redeemed, when Andal was born, for She was also known as Goda. Andal assuming even half of Godavari’s name, was enough to restore the river’s good name! Ravana was far away in Lanka, and yet Godavari was afraid of him. Whereas, the Yamuna flowed adjacent to Kamsa’s palace and yet this river did not fear the consequences of helping Krishna reach safety. That is why Andal praised Yamuna’s blemish less quality. from the hindu.

kooran five.

 Ramanujacharya’s disciple Kooratazhvan had all the traits that an Acharya would desire in his sishya. Ramanujacharya and Kooratazhvan travelled to Kashmir to study Bodayana vritti. Kooratazhvan had such an outstanding memory that with just one reading he was able to commit the entire work to memory. His intellect was matched by his humility and his total surrender to the wishes of his Acharya, said P.B. Rajahamsam in a discourse. Ramanujacharya was so fond of Kooratazhvan that he wanted his disciple to have a direct connection to his (Ramanujacharya’s) Acharyas.

Once when Peria Nambi asked Ramanuja to pick one of his disciples to accompany him (Peria Nambi), Ramanuja did not do so at once, leaving the choice to Peria Nambi himself. Nambi chose Kooratazhvan as the ideal person to be with him, and thus Ramanuja helped establish a direct connection between Kooratazhvan, his disciple, and Peria Nambi, his own Acharya.

Kooratazhvan wrote five works, which are collectively known as Panchastava. They are Sri Stava, Vaikuntha Stava, Atimanusha Stava, Sri Sundarabahu Stava and Varadaraja Stava. While each is a gem in its own right, Varadaraja Stava has the unique distinction of being presented before Lord Varadaraja. Kanchi Varadaraja kshetra is considered dvaya kshetra, because it is here that the Lord and His Consort Perundevi are together often. In Srirangam, Lord Ranganatha and Goddess Ranganayaki are together only once a year. In Tirumala, Lord Srinivasa is on the hill, but the thayar is at the foot of the hill. It is only in Kanchi that they are most often together, which, therefore, makes it dvaya kshetra. Srirangam is the kshetra associated with the Ashtakshara and Tirumala with the charama sloka, while Kanchi clearly drives home the significance of dvaya mantra. from the hindu.

M Mamava

Song: maadhava maamava (laali) maadava maamava raagam: neelaambari 29 dheera shankaraabharaNam janya Aa: S R2 G3 M1 P D2 P N3 S Av: S N3 P M1 G3 R2 G3 S taaLam: aadi Composer: NaaraayaNa Teertar Language: Sanskrit pallavi maadhava maamava dEvaa krishNaa yaadava krishNaa yadukula krishNaa (maadhava) anupallavi saadujanaadhaara sarvabhaava sridhara keshava radha ramanaaa (maadhava) caraNam 1 ambuja lOcana kambu shubhagreeva bimbaadharaa candra bimbaananaa caampEya naasaagra sarva sumowdhika taaraka candrajanita madana (maadhava) caraNam 2 aagama girishiga rOthitha satya chidhadvaya laskhana sugabanO bogi kuLOthama boga sayana dhugthasagaraja lakshyana dhyathano caraNam 3 indiraayasaha sundarakrishNa purandaraadi vandyapadakamala nandanandanayOgi varyadurantara naaraayaNateerta mativahara (maadhava)