Kanne En Kanmaniye

Rohit1Ah readers what joy I take in announcing that I am now a grandmother! A little boy has come into our family, a boy whom I am already besotted with! He is less than 3 days old when I write this, a little scrap of a baby, all pink and wrinkled but oh so heartbreakingly beautiful! Birth is an everyday miracle that we take for granted, but it is so very awe-inspiring just the same!

Last week I went to the temple to pray for the safe delivery of my daughter. The Shiva Vishnu temple in Melbourne has always been dear to me, there is a certain something I find here which I don’t find always in other temples. As I parked my car and headed to the Vinayaka sannidhi outside the main temple, I talked to Him as I always do.
I come to you first, you who remove obstacles. Please can you take care of my child so that her child can be delivered safely?‘ I prayed.
Just as I exited the sannidhi, I saw a young woman with a small infant enter.
Such a good sign!!‘ I thought and waited to speak to her.
You are a very good omen for me‘ I told her smilingly, ‘I was praying for my daughter’s delivery just as you came by with your baby, it feels like such a good sign to me!‘.
She smiled back and gave me her little boy to hold for a few minutes. I gave her and her child my heartfelt aashirwadams and went into the main temple.

My heritage always draws me to Lord Narayana first and it is to his sannidhi I went first to perform an archana.  Next I went to Goddess Lakshmi’s sannidhi beside that of Lord Narayana. I have prayed to Her for simply years, I totally believe that all well-being in our family comes from Her.
I closed my eyes, held my palms together and said ‘Lakshmi amma, I pray like this from sannidhi to sannidhi, not knowing whether my words bounce off ears of stone or reach your ears. I offer my prayers to you, believing I am heard though you give no response. But today I need a miracle, a little sign, for it is my daughter and I worry for her. You, yourself a mother, will understand how I feel. Please, a miracle for me‘.
How many others have begged like this with no response? Millions no doubt. But that day when I opened my eyes, a young girl stood beside me, heavily pregnant and ready to deliver very soon.
My eyes pooled and I said to myself ‘Yes, that is a sign, I have been heard‘.

But still, as I walked towards Lord Rama’s sannidhi, a little voice said ‘A lovely coincidence, but a coincidence.’. My faith is strong, yes, but I have no right to be heard when millions on earth suffer so very much and would dearly appreciate any help, however small. It’s selfish to demand God’s attention like this, isn’t it? But I am a mother, worried about my child and her child, so I went to Lord Rama and closed my eyes again.
Oh God, please please look after my daughter. I don’t know if that pregnant girl was a coincidence or a sign, but I hope you have heard nonetheless‘ I prayed silently.
When I opened my eyes, there was another very pregnant girl standing right next to me. ‘Oh I have been heard for sure‘ I thought, my eyes streaming. She said she was due in a few weeks. I told her of my experience and said that I was sure that God was listening to our prayers. That day as I circumambulated sannidhi after sannidhi, I felt the presence of God close enough to touch.

I sat afterwards for a long time in a very emotional state. Now looking back I wonder. Is this how we fool ourselves? Why would God listen to this useless person when millions far more deserving need His care? But somehow my heart was eased. I did not worry one little bit after that, not even when my daughter laboured on and on for 41 hours. She was in God’s care.

When my daughter said that she and her husband had decided that the little one would have an Indian first name and his father’s Polish last name, I quietly went through Vishnu sahasranama to offer her all the short one or two-syllable names I could find. But when she refused them all, I trolled the net for other baby names. None pleased her so I gave up. How does it matter what he is called? I told myself, ‘to me he will just be my kaNmaNi (a term of endearment equivalent to apple of my eye)’.  Later my daughter said that they had found a name but were keeping it a secret till the baby was born. On Monday, when I met my little grandson Rohit, I was very pleased with their choice. But it was only later that I discovered that it is also a name of Vishnu from the sahasranama (verse 40) that I had somehow missed!  His middle name is Kamil (a Polish name) and it does sound similar to Kamal, a lotus, which is associated with Goddess Lakshmi, so the name seems perfect to me!

 For this post, I just had to feature this very obvious but precious song choice of ‘Kanne en Kanmaniye‘ by Papanasam Sivan. A beautiful lullaby in the oh so soothing raga Kurinji, I am sure I will play it for little Rohit in the years to come. The words are so very gentle and every word rings true to me. In Bombay Jayashri’s mellifluous voice, it sounds simply lovely. She starts the rendition with a viruttam from the Nalayira Divyaprabhandam, a lullaby for Lord Krishna.

மாணிக்கம் கட்டி வயிரம் இடை கட்டி
ஆணிப் பொன்னால் செய்த வண்ணச் சிறுத்தொட்டில்
பேணி உனக்குப் பிரமன் விடுதந்தான்
மாணிக் குறளனே தாலேலோ
வையம் அளந்தானே தாலேலோ

mANIkkam kaTTi vayiram iDai kaTTi
ANip ponnAl seida vaNNach-chirutoTTil
pENi unakkup-brahman viDutandAn
mAnik-kuRaLanE tAlElO
vaiyam aLandAnE tAlElO

Lord Brahma ( Brahman) chose (pENi) and sent (viDutandAn) you (unakku) a small (siru) beautiful (vaNNa) cradle (toTTil) made of (seida) superior (ANi) gold (pon), strung (kaTTi) with rubies (mANikkam) and diamonds (vayiram) strung (katti) in between (iDai). O Lord who was born as Vamana (mAni kuRaLanE), sleep (tAlElo)! O Lord who measured (aLandAnE) the word (vaiyam), sleep (tAlElO)!


Footnote (Lyrics)

Language : Tamil

கண்ணே என் கண்மணியே கண்ணனே கண்வளராய்
மண்ணுலகில் என் வாழ்வு வளம் பெற வந்துதித்த
தாலேலோ

குயிலிசை குழலோசை உன் கொஞ்சுமொழிக்கிணையாமோ
கொண்ட மன சஞ்சலங்கள் பஞ்சாய் பறந்திடுமே
தாலேலோ

தேடாத என் நிதியே திகட்டாத தெள்ளமுதே
வாடாத மென் மலரே மனத்துள் இனிக்கும் தனித்தேனே
தாலேலோ

Transliteration

kaNNE en kaNmaNiyE kaNNanE kaNvaLarAi
maNNulgil en vAzhvu vaLam pera vanduditta
tAlElO

kuyilisai kuzhalOsai un konju-mozhik-kiNaiyAmO
koNDa mana sanchalangaL panjAi parandiDumE
tAlElO

tEDAda en nidhiyE tigaTTAda teLLamudE
vADAda men malarE manattuL inikkum tanittEnE
tAlElO

Translation

Sleep (kaNvaLarAy), O precious one (kaNNE, literally eyes), the apple of my eyes (kaNmaNiyE), O Krishna (kaNNanE), the one who has come (vandu) to be born (uditta literally appear) on this earth (maNNulagil) so that my (en) life (vAzhvu) gets (pera) fullness/abundance (vaLam).

How can even the song (isai) of the cuckoo (kuyil) or the music (isai) of a flute (kuzhal) compare (iNai) with your (un) childish babble (konju mozhi)? All the troubles/sorrows (sanchalangaL) which occupy (koNDa) my mind (mana) will fly off (parandiDumE) like cotton (panjAi)! Sleep (tAlElO)!

O my (en) unearned (tEDada) treasure (nidiyE), O uncloying (tigaTTAda) clear honey (teL amudE), O Unfading (vADada) soft (men) flower (malarE), O unique (tani) honey (tEnE) which sweetens (inikkum) inside (uL) my mind (mana)! Sleep (tAlElO)!

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Filed under Bombay Jayashri, Carnatic Music, Compositions in Tamil, Papanasam Sivan

Karpagame Kan Parai

Kapali templeA very happy Navaratri to all of you! Let us all pray to the good Goddesses to cast their eyes our way and bless us with wisdom, compassion and devotion. What better way to ask for blessings than by song? My choice today honours Shakti in the form Karpagambal, the Goddess at Kapaleeswarar Kovil in Mylapore. This temple is rather dear to me; both my parents spent their youth in and around the area. Some of my earliest musical memories include listening to concerts in the temple. Do people leave imprints of themselves in the places dear to them? I’ll like to think so. I’ll like to think that the prayers of my parents still remain suspended in the air around the temple, as a murmur of the temple bells, as an echo of footfalls in the prakaram.

This Navaratri comes with its own excitement for me. I have such good news to share with you! Regular readers will remember my post about my daughter’s wedding in January. With God’s blessings, she and her husband are making me a grandmama! The little boy is to arrive by early December. I smile as I write this, I cannot quite contain my joy!

As I think of becoming a grandmother, I think of my own grandmothers. They were two very different women. My mother’s mum was a clever, extremely competent, strong-minded woman who ruled her household with a will of iron. A short, well-rounded woman with very dark skin, her eyes gleamed with intelligence, a gleam brighter than the large diamonds on her nose and ears. Widowed with a young family to bring up and few resources, she had to become one tough lady. I confess I found her somewhat intimidating! I saw her each summer during my school years when we went to spend our summer holidays in Chennai with her.  My best memory of her was sitting around her with my sister and cousins in the mittam, the courtyard next to the well, on moonlit nights. She would regale us with stories while rolling balls of kalanda sadam (flavoured rice) into our outstretched hands.  Love, entertainment and nourishment all rolled into one! And yes, her sattumadu made in her eeya sombu was pure ambrosia!

My father’s mother was totally different. So thin that she was just skin and bones, she had a very pale complexion and hazel eyes. She gave me the colour of my own eyes; whenever I see them in the mirror I think of her older and kinder ones. Gentle as a new-born lamb, she had no defence against her own difficult life. If my other grandmother had been forged to steel by life, this one became a gentle ghost, a presence almost not there.  She lived to be over 90 but her stories were always of the first 10-12 years of her life, as if the rest need not be thought of. I remember her standing shivering in the Delhi winter on our terrace, performing her dawn prayer rituals in her wet clothes. My mother would urge her to come back in, saying she would get pneumonia, but her faith held her strong.

So what kind of grandmother would I be? I want to be both my grandmothers rolled into one. One day when my little grandson remembers his own grandmother as I remember mine, I want him to think of me as being kind and gentle, but equally strong and capable. I want him to remember me showering love and nourishment into his outstretched hands, I want him to say my eyes looked at him with a softness that he will not forget.

On this Navaratri day, this beautiful song is my prayer to the Goddess to bless my daughter and welcome my grandson-to-be. My readers, please can you add your prayers to mine to bless them for a safe delivery? Written by Papanasam Sivan, who himself had a very strong attachment to this temple and the deities, Karpagame is set in the most auspicious of ragas, Madhyamavati. Why this song you ask? Besides the auspiciousness of the raga, and the prayer for the Goddess to cast her eye our way, there is a reference to ‘வர சந்தான சௌபாக்ய’ (vara santAna saubhAgya), the blessing of progeny so it seemed very fitting!

Some songs are just ‘owned’ by some artists, aren’t they? So I cannot possibly present anyone else but Madurai Mani Iyer who renders this song with brisk efficiency and unsurpassed  musicality.

Alternate Link : Click here and play item 16.

For a version from the current times, I present Sanjay Subrahmanyan who sings this song with an authority and ease which is hard to surpass. In the rendition below, he sings a viruttam, two pieces of poetry which are very well suited to the song. The first is a verse from the superbly beautiful அபிராமி அந்தாதி Abhirami Anthadi by Abhirami Bhattar (18th century). I could not find the authorship of the second verse but one website mentioned that it is from an inscription found on the walls of the Kapaleeswarar Temple, a fact I could not verify.

பூத்தவளே புவனம் பதினான்கையும் பூத்த வண்ணம்
காத்தவளே பின் கரந்தவளே கறை கண்டனுக்கு
மூத்தவளே என்றும் மூவா முகுந்தற்கு இளையவளே
மாத்தவளே உன்னை அன்றி மற்றோர் தெய்வம் வந்திப்பதே

pUttavaLE buvanam padinAngaiyum pUtta vaNNam
kAttavalE pin karandavaLE kaRai kaNDanukku
mUttavaLE enDRum mUvA mukundaRku iLaiyavaLE
mAttavaLE unnai anDRi maTROr deivam vandippadE

She who gave birth (pUttavaLE – literally, flowered) to all the fourteen (padinAngaiyum) worlds (buvanam), She who protected (kattavaLE) in the same way as (-vaNNam) she bore them (pUtta), then (pin) who hid them (karandavaLE – கரந்த means மறைந்த), She who is older (mUttavaLE) to Shiva (He whose neck (kanDam) is stained (kaRai which also means poison)), She who is younger to (iLaiyavaLE) to the always (enDRum) young (mUvA, மூவு means end but here it means ageing) Vishnu (mukundar), She who has done great (mA) penance (tavam), why should I worship (vandippadE) any other (maTROr) God (deivam) except (anDRi) you (unnai)?

ஆடும் மயிலாய் உருவெடுத்து அன்று இறைவன் திருத்தாள் நாடி
அர்ச்சித்த நாயகியாய் அம்மா உனது திரு நாமங்களைப் பாடி  பாடி
உருகிப் பரவசம் மிகு அப்பாங்கு நீ எனக்கு அருள்வாய்
காடெனவே பொழில் சூழ் திரு மயிலாபுரி கற்பகமே!

ADum mayilAy uruveDuttu anDRu iRaivan tiruttAL nADi
architta nAyakiyAy ammA unadu tiru nAmangaLai pADi pADi
urugi paravasam migu appANgu nI enakku arulvAY
kADenavE pozhil sUzh tiru mayilApuri karpagamE

O Karpagambal (karpagamE) of holy (tiru) Mayilapuri which is surrounded (sUzh) by a grove (pozhil) as large as (enavE – like, perhaps implying largeness) a forest (kADu)!  O Mother (ammA) we worship you (implied) as the Goddess (nayakiyAy) who at one time (anDRu), having taken the form (uruveDuttu) of a dancing (aDum) peacock (mayil), sought (nADi) and worshipped (architta) the holy (tiru) feet (tAL) of our Lord (iRaivan)! May you (nI) bless (aruLvAy) me (enakku) in a way that (appAngu) I (implied) become very (migu) ecstatic (paravasam Agum) and emotionally melt (urugi) by singing (pADi) again and again (pADi repeated) your (nin) holy (tiru) names (nAmangal).

Afterthought : A reader has correctly observed that I should have mentioned Lalgudi and he is right. Lalgudi Jayaraman is always amazing but with Karpagame he is magical. His violin speaks as no voice can. There is a link provided by the reader in the comments section. Another one is here. I hope you enjoy the music!


Footnote : Lyrics
Language : Tamil

பல்லவி
கற்பகமே கண் பாராய்
கற்பகமே கடை (கருணை) கண் பாராய்

அனுபல்லவி
சித்பர யோகியர் சித்தர்கள் ஞானியர்
திருவுடை அடியவர் கருதும் வரமுதவும்
திருமகளும் கலைமகளும் பரவு
திருமயிலைக் (கற்பகமே)

சரணம்
சத்து சிதாநந்தமதாய் சகல உயிருக்குயிராயவள் நீ
தத்துவமஸ்யாதி மஹா வாக்கிய தத்பர வஸ்துவும் நீ
சத்துவ குணமோடு பக்தி செய்பவர் பவ தாபமும்
பாபமும் அற இம்மையில் வர
சந்தான சௌபாக்ய சம்பத்தோடு
மறுமையில் நிரதிசய இன்பமும் தரும் (கற்பகமே)

Transliteration

pallavi
karpagamE kaN pArAy
karpagamE kaDai (karuNai) kaN pArAy

anupallavi
chitpara yogiyar siddargaL ñaniyar
tiruvuDai aDiyavar karudum varamudavum
tirumagaLum kalaimagaLum paravu
tirumayilai

charaNam
sattu-chidAnandamadAy sakala uyirukkuyirAyavaL (uyirukku-uyirAyval) nI
tattuvamasyadi mahA vAkkiya tatpara vastuvum nI
sattuva guNamODu bhakti seybavar bhava tApamum
pApamum aRa immayil vara
santAna saubhagya sampattODu
maRumaiyil niradisaya inbamum tarum

Translation

O Karpagambika (karpagamE) of the holy (tiru) town of Mayilai, cast a compassionate  (karuNai) glance upon me (literally, look at me (pArAy) with the corner (kaDai) of your eyes (kaN)).

She who aids (udavu) with a boon (varam) of what is considered (karudum) holy (tiru) wealth (uDai) by ascetics (yOgiyar) with extended (para) consciousness (chit), mystics (siddargaL), wise/sage people (ñaniyar), and devotees (aDiyavar), she who is extolled (paravu) by Lakshmi (tirumagaL) and Saraswati (kalaimagaL)..

As that very (adAy) truth-consciousness-bliss (sat-chit-Anandam), you are (nI) She (avaL) who is like the life-force (uyirAy) of all lives (sakala uyirukku). You (nI) are also the object (vastuvum) of the true intent (tatpara) of great (mahA) pronouncements (vAkkiya) such as (Adi) ‘thou art that’ (tat-tvam-asi from the Upanishads). You are She who (implied) remove (aRa) the sorrow (tApamum) and sins (pApamum) of existence (bhava) of those who follow (seibavar) devotion (bhakti) with (-ODu) good (sattuva) character (guNam) in this birth (immaiyil) and bless them (vara) with the good fortune (saubhAgya) of progeny (santAna) and with (-ODu) wealth (sampattu). You are She who (implied) gives (tarum) unsurpassed (niradisaya) happiness (inbam) in the next life (marumaiyil).

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Filed under Carnatic Music, Compositions in Tamil, Madurai Mani Iyer, Papanasam Sivan, Sanjay Subrahmanyan, Uncategorized

Hari Ke Charana Kamala

Krishna BabyA very happy Janmashtami to all of you! I hope that you joyfully celebrated the occasion with your families. Are you replete after having many lovely treats as  ‘prasadam’? Our household Gopala is on a diet and gets only fruit even on his birthday!

Other than adding an extra something to my daily prayers or going to the temple, I am not in the habit of celebrating our various festivals. I guess it all started with being married outside my community; my husband has little interest in rituals. He also did not appreciate my kind of festival ‘feasts’ or sweets. In my need to ‘fit in’ at the start of our life together, I gave up most of what were my own cultural ways. But I didn’t pick up any of his cultural festivities either which is my own loss. We moved overseas within a year of being wed so familial influences were lost as well. The thing is, festivals are social occasions rather than religious ones, don’t you think? One needs a community to celebrate them well, or at least a partner of the same mind. My children have never known the pleasure of kneeling on the floor with their mother, painstakingly drawing ‘footprints’ of Gopala to lead from the front door to the Puja room. I remember doing that with my mother and the picture in my mind is of the house we lived in more than 50 years ago. So it is with that memory and my mother’s kind face smiling at me that I mark the festival today.

As for a musical offering, I have wandered away from my normal Carnatic Music posts to this beautiful piece of Hindustani music. In this song, the poet urges us to meditate upon the feet of the Lord to help us navigate this ocean of existence. ‘Those who meditate upon the Lord find reconciliation‘ says he. Are we not all in need of reconciliation? A composition in Shree by Pandit Vishnu Narayan Bhatkhande, it was made famous by the incomparable D.V.Paluskar. (Note to Carnatic Music fans:  Shree Raga is quite different in the Hindustani system). In this version from a 78 RPM recording, Paluskar demonstrates ably why he lives long in the memory of his listeners. I find him simply incredible!

हरि के चरण कमल निसदिन सुमर रे
भाव धरकर (alt : धर सुधा) भीतर भव जलधी तर रे
जोई जोई धरत ध्यान पावत समाधान
‘हररंग’ कहे ज्ञान अबहु चित धर रे

hari kE charaNa kamala nisadina sumara
bhAva dharakara  (alt: dhara sudhA) bhItara bhava jaladhi tara rE
jO’I jO’I dharata dhyAna pAvata samAdhana
hararang kahE gyAna, abahu chita dhara rE

Remember (sumara) the lotus-feet (charaNa-kamala) of (kE) Hari everyday (nisadina). Holding (dharakara)  this emotion (bhAva) within (bhItara) and cross/swim (tara) the ocean (jaladhi) of existence (bhava) . Those (jO’I jO’I) who hold (dharata) in thought/meditation (dhyAnA) find/get (pAvata) reconciliation (samAdhAna). ‘Hararang’ (I think this may be the poet’s pseudonym) says (kahe) hold this wisdom (gyAna) in your mind (chita) from now (abahu).

I was reminded of this beautiful composition when I heard it ‘live’ in a webcast earlier this year. I had made note of it then, meaning to share it with you all. Ashwini Bhide Deshpande is a musician I have admired for a long time and I hope you enjoy her performance as much as I do.

Listen from 15:00 to about 1:02:00.

The Dhrut section reminds us that without a Guru, it is difficult to find a transcendental pathway.

गुरु बिन कौन बतावे बाट
भव सागर का लम्बा घाट
गुरु बिन ज्ञान नाही दूजा
ज्ञान बिना नहीं दीपक दूजा
दीप बिना कैसे देखूँ बाट

guru bin kaun batAvE bAT
bhava sAgar kA lambA ghAT
guru bin gyAn nAhI dUjA
gyAn binA nahIn dIpak dUjA
dIpa binA kaisE dekhU.n bAT

Who except a guru (guru bin) can teach (batAvE) the transcendental way (bAT)? Of the long (lambA) wharf (ghAT) of this ocean (sAgar) of existence (bhava) ? There is no other (nahin dUjA) knowledge (gyAn) without a (bin) Guru, and no other (nahIn dUjA) lamp (dIpak) without (bin) knowledge (gyAn). Without (binA) a lamp (dIpa), how (kaisE) will I see (dEkhU.n) the transcendental way (bAT)?

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Filed under Hindustani Classical Music, Uncategorized

Rama Ni Samanamevaru

ScaleYesterday I listened to two concerts on YouTube. Now this is a more momentous occasion than the statement reflects. I don’t often get time to listen non-stop to music so this was special. As usual my life feels like a runaway train with me hanging by my fingernails! But I’ll leave my life be for the moment. As I said, I was listening to concerts of two young men whose music I enjoy. Both have excellent gurus. Both have glorious voices, a remarkable stage presence and styles which have the mark of their guru on them. Actually, I find myself listening more and more often to young artists nowadays. I enjoy their energy and verve, and if they stumble now and then, they have a lifetime to fix it so I don’t worry about it.

The first concert I heard was by Sandeep Narayan. Since hearing him do a fantastic Bhairavi during the season in 2016, I have been clicking on his concerts online. This was a nice concert; I particularly liked the order and mix of kritis chosen which is a skill in itself. His dwijavanti was pleasing, his take on chalanatta was interesting and the hamsanandi thillana at the end and karpagame to conclude were both quite lovely. The main item on the menu was a solidly performed pakkala nilabadi in Kharaharapriya.

Next I turned to Vignesh Ishwar. I haven’t had the pleasure of listening to him live but I have really enjoyed a number of his concerts online. I was happily nodding to his singing when the young man launched into Kharaharapriya and I thought ‘Hey, I can do a one-to-one comparison now, can’t I!’. Alapana done, the kriti taken up was ‘Rama Ni Samanamevaru‘ which made me laugh. Here I was all set to do a comparison and there was Tyagaraja with ‘There is none to compare with you Rama!’. I was happy to find a theme for my blog post – our tendency to make comparisons. The rest of the concert was good. The main piece was in Begada, not my favourite raga, but I still enjoyed it.

The kriti set me thinking about how very judgemental we human beings are. We are forever judging others on the things they say and do, on their achievements and failures, on their character and abilities and so on. It is rather non-stop, isn’t it! Or is it only I? I talk confidently on a collective when all I am sure of is myself! I love my children equally, or so I hope, but I confess to comparing them especially when one of them makes me sad. ‘He is so oblivious to my needs‘ I’ll say to myself , ‘She would never have left me like this‘.  Or ‘She is so sharp, are girls always this unkind? He is so much kinder‘.   Of course, we also compare people to themselves. ‘He was so much better in his previous film‘.  ‘Oh, she looked nicer in red than in green, didn’t she!‘. It is not always unkind or negative.  We may as easily say ‘Amma, this is the best rasam you have ever made!‘ Still, the comparisons are more often negative than positive. Is it just our need to categorise and put things in order? As a Carnatic Music fan, I am often critical of performances. Even while I am listening to one musician, I may well be racking my brain thinking of some other artist, some other occasion when I felt a turn of a phrase may have sounded better! What a waste of time! Instead of being in the moment and enjoying the pleasure of what falls into my ears, my mind is scrambling elsewhere! Is it a common failing or is it just me? Whatever the case, it is high time to stop it I think…

As Vignesh Ishwar inspired this post, let us first listen to him singing Rama Nee Samanamevaru in Kharaharapriya. Alapana starts at 16:12 and the kriti at 28:15. Dr Hemalatha on the violin sounds very good.

And for a second rendition, who other than T.M.Krishna, who is Vignesh Ishwar’s guru. Maybe you will, like me, enjoy noting the stylistic similarities passed from guru to shishya.

And for an instrumental, I present the very talented vainikas from my own home town of Melbourne, the Iyer Brothers. The recording is a bit tinny but it is still enjoyable. They are accompanied by their daughters. The sound of four Veenas synchronised has such a majestic quality!


Footnote : Lyrics

Language : Telugu
(Note: I do not speak Telugu; the details below are based on a number of online resources)

Sanskrit Transliteration :

पल्लवि
राम नी समानमॆवरु रघु वंशोद्धारक

अनुपल्लवि
भामा मरुवम्पु मॊलक भक्तियनु पञ्जरपु चिलुक

चरणम्
पलुकु पलुकुलकु तेनॆलॊलुकु माटलाडु
सोदरुलु गल हरि त्यागराज कुल विभूष मृदु सुभाष

English Transliteration :

pallavi
rAma nI samAnamevaru raghu vamshOddhAraka

anupallavi
bhAmA maruvampu molaka bhaktiyanu panjarapu chiluka

charaNam
paluku palukulaku tEneloluku mATalADu
sOdaralu gala hari tyAgarAja kula vibhUsha mRdu subhAsha

Translation :

Who (evaru) is equal (samAnamu) to you (nI), O Rama, the uplifter (uddhAraka) of the Raghu dynasty (vamsha)?

Like a parrot (chiluka) in a cage (panjarapu) of devotion (bhaktiyanu) of your wife (bhAma) who is as gentle (implied) as the shoot (molaka) of sweet marjoram (maruvampu). (Note: There seem to be a number of interpretations of this line – is it Sita who is like a parrot in the cage or is it Rama? Who is enslaved by devotion? The devotee or the devoted?)

You (implied) who have (gala) brothers (sOdaralu) who speak (mATalADu) like honey (tEne) drips (oluku) at each word (paluku palukulaku)!  You who youself (implied) are so gently well-spoken (mRudu subhAsha)!  O Hari (name of Vishnu), you are (implied) the ornament (vibhUsha) of Tyagaraja’s family (kula)!!

 

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Filed under Carnatic Music, Compositions in Telugu, Iyer Brothers, Sandeep Narayan, T.M.Krishna, Tyagaraja, Uncategorized, Vignesh Ishwar

Carnatic Music Season in Bangalore

A blogger’s world is rather an isolated one in general, mine is even more so. I live far away from the buzz of hotspots of Carnatic Music, listening almost exclusively to recorded music. The occasional live streaming is a treat for me. I don’t have anyone nearby who shares my interest and enthusiasm for this music; perhaps that is why I started blogging in the first place. In this isolated world, the comments left by readers of my blog always feel special. Ramesh has been my most regular commentator. He left his first comment on 20th of February, 2012. Since then, he has left me encouraging comments on almost every one of my posts, an encouragement I have been very grateful for. Though we have never met, this has been a virtual connection of more than six years. As my blog hardly ever features live events, I requested Ramesh to do a write-up of the Ramanavami concerts that he has attended during this period. Like me, Ramesh too is just an untutored rasika so his reactions and observations fit well into the theme of this blog. I hope you find his report as enjoyable as I do.


CLASSICAL MUSIC IS THRIVING IN BANGALORE

Ramanavami 1Ramanavami 4

(Photo Credits : Ramaseva Mandali)

If it is Ramanavami time, then all roads lead to Bangalore, at least for those who are humming Kalyani under their breath! This is the Carnatic Music season in Bangalore, which has now become a centre second only to Chennai, for this genre of music. This year  was a resounding success, keeping up with the trend that we have been seeing over the last 5 years. Crowds are getting bigger, younger people are coming to concerts, and, heartwarmingly, people are willing to buy tickets to kutcheris. It has been truly a lovely festival of music over the last month and a half.

There are half a dozen sabhas which conduct concerts daily for a month or so.  The grand old daddy of them all is the Ramaseva Mandali at Fort High School. This is the 80th year the Mandali concerts are being held –  from humble beginnings on the footpath of  a side street to a massive pandal now at the Fort High School Grounds in Chamarajpet. Virtually every musician of note in both Carnatic and Hindustani music has performed here over the years and it is now the largest classical music event in India.

The old problems remain. Bangalore does not have a concert venue of note, other than Chowdiah Hall, which has now become unaffordable for any Sabha. Almost all kutcheris are held in pandals with the cacophony of Bangalore traffic as the sruti. The sound system at any venue is guaranteed to give trouble, as usual. Facilities are non-existent and commutes are long for any Bangalorean attending concerts. And yet, we went in droves. Season tickets at Fort High School were put up for sale online for the first time and all but the cheapest tickets were sold out even before the season started, unheard of for classical music.  Traffic police had to be deployed for the most popular kutcheris. Wow! It is heartening to see the growing interest in classical music here. Not even in Chennai do we see such crowds.

The music was mostly wonderful. Kumaresh kicked off the season in more than one Sabha, with his wife Jayanthi in one and with his brother Ganesh in another. There were many violin concerts – Ganesh/Kumaresh, L Subramaniam, Kanyakumari & Embar Kannan, Nagaraj & Manjunath, Krishnan & Vijayalakshmi reflecting the fact that talent in violin is probably at its peak now. This year the Cleveland Music Festival was being held at the same time and whoever was not going to the US came to perform here. Regulars included Yesudas, Trichur Brothers, Kadri Gopalnath, Ranjani & Gayathri, Priya Sisters, U Rajesh, Shashank, Malladi Brothers, TM Krishna, Soumya, et all. Hindustani music stalwarts Ronu Majumdar, Vishwa Mohan Bhatt and  Pravin Godkhindi were also here. This is largely a Carnatic music festival, but there is also a smattering of Hindustani music.

This year seemed to be the season of Todi. After listening to it for 6 times over 20 days, I am willing to give it a break for few years! Surprisingly Kalyani, Bhairavi, Abheri and Sankarabaranam were rare. There were multiple Dharmavatis, which competed with Todi for the title of the Raga of the season. Thankfully the very obscure ragas were hardly to be heard,  reversing a trend from the last few years where we have heard ragas with unpronounceable names. The Ragam Thanam Pallavi continued to rule, much to my chagrin (Edit: Ramesh has a quite ununderstandable revulsion for RTPs!!). Freed from the shackles of a time bound 2.5 hour concert in Chennai, artistes let loose with elaborate RTPs, often starting at 9.00 PM !

Two concerts stood out for me and they will live long in memory. Trichur Brothers in Basaveshwara Nagar Sabha were at their absolute best.  A short 2 hour and a bit concert featuring Sahana, Hamsadhwani, Reetigowlam, Pantuvarali, Kaapi, Sarasangi, Kaanada and Kurinji  was mesmerising. They sang their main piece in Pantuvarali early on in the concert and after the thani avarthanam played a scintillating series of thukkadas to round-up the concert. The concert was such a brilliant one that even after the Mangalam, people were hesitant to leave.

The other was a majestic concert by Ranjani & Gayathri at Fort High School. The 3000 capacity pandal was full and people were standing in the aisles – such is their popularity here. And they delivered an absolutely divine RTP in Nalinakanthi. A complicated Pallavi and a thala structure, beautifully supported by the accompanying artistes was easily a classic for the ages. There were 1000 people at Mangalam time  at 10.00 PM; I have never seen anything like this in any kutcheri ever.

In keeping with this blog’s style I will feature a krithi which perhaps symbolizes this year’s season simply because it was the most sung krithi, 3 times no less ! Todi it has to be and it is Shyama Sastri’s swarajati masterpiece Raave Himagiri Kumari.

The featured renditions of the Swarajathi that I have chosen are both for sentimental reasons. The vocal rendition is from the Bombay Sisters, C Saroja and C Lalitha who were awarded this years SV Narayanaswami Rao Award.

The Instrumental rendition I have chose is by Mandolin Srinivas, the legend who was a star performer at every Bangalore season for many years, and who often did not accept a fee from the sabha just to support them. His concerts always attracted huge crowds in Bangalore and every time Rajesh now performs , it is hard not to miss the prodigy.

(Edit : For Lyrics and Translation, please refer to my previous post on this composition Rave Himagiri )

 

 

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Nada Loludai

Meditation MusicA Happy New Year to all those who celebrate it today! I wish you the very best for a year of personal, professional and spiritual achievement!

Can we divorce the musician from the music he/she creates? This question has been buzzing in my brain since I read some comments in a music group that I follow in Facebook. There were some pithy comments about the politics of a particular musician and the resulting rejection of his music by some. Others seemed to think that his politics had nothing to do with his music. As I walk the shores of Lake Léman on this cold spring day, this question seems an important one to address in this blog.

This is not a new question; it has arisen a number of times over the years. I remember my father making disparaging comments about a flautist from yesteryear whose love for alcohol was well-known. And yet, my father would never miss his concerts! I remember my own goggle-eyed reading of the crazy antics of a great Bollywood playback singer whom I admired very much. ‘How am I to see this man?‘ I used to wonder, ‘As a madman or a genius?‘. I remember my friend from Berlin describing her experiences with helping host very famous Hindustani musicians – the amazing vocalist who came so drunk to the stage that he almost fell off, the very senior maestro of the topmost echelon and his unusual sleeping arrangements with his much younger lady disciple and so on. ‘Stop‘, I had cried out to my friend ‘I don’t want to know!!‘.  I was right, every time I listen to their music I have this annoying niggle at the back of my mind which I just don’t want to have. And what of those wonderful musicians from the Western world of the sixties whose music came from a drug-induced haze? And then we come back to this musician whose politics and even ideas on music don’t sit well with me, but oh, his singing is so divine!

This is not limited to music alone, of course. Van Gogh is well-known for having insurmountable mental health issues. I still spent hours in the Van Gogh museum in Amsterdam, drooling over his canvases. The great Michelangelo’s scorn and misbehaviour towards his young rival Raphael is well know, yet I worshipped at his creations as I did at Raphael’s. And who can top my very favourite Caravaggio who murdered someone and came to an untimely death!  But it was in front of his canvas that I unshamedly shed tears in appreciation to a master of his craft.

So it comes back to the question, can we admire the art without admiring the artist? It should be stressed that I am not making a quality judgement here in as to who is admirable and who is not; that is for you to decide. The pragmatic part of me thinks that only the most delusional amongst us can afford to cast the first stone. And where do we draw the line? Alcohol is ok but not drugs? Socialism is ok but communism is out? Are we not venturing into McCarthyism and the Hollywood Blacklist ? But what do we do with this feeling of distaste that we have for certain artists? I categorically refuse to watch Woody Allen films; I just cannot disassociate the art from the man.

Dear readers, don’t look to me for answers, I only have questions today! But for myself, I have a theory that the musician is just another instrument, a pathway between Nada Brahmam and the listener. The songs I hear have started their journey a long time back, as a germ in the mind of a composer, in a raga which may have originated hundreds of years before even he was born, a composition heard and sung by disciples generation after generation until finally it is there in front of me and I am listening to it. The creativity the musician adds to it is just one more step in a long process of creation. Inside my head, heart and soul it reaches completion, added on to all the music I have ever listened to, in this life and all the lives I have lived before, like a mountain stream which has joined the ocean. Who worries about what pen a story was written in? Why would I worry about the musician when all I wish to hear is the Nada? Tyagaraja says ‘Attain supreme bliss by being immersed in the Nada‘ in the composition I have selected to present today. I take his advice and concentrate on the Nada alone.

My first and last love in Carnatic Music will always be Lalgudi Jayaraman, who cajoles and beguiles with the violin which bows to his mastery. I fell for his Kalayana Vasantam eons ago and still turn to him for a ‘fix’ when I have a longing. Here is his short 7 min rendition.

Alternate Link : Click here

For an immersion in the beauty of Kalyana Vasantam for 30 minutes, listen to this vocal rendition by Maharajapuram Santhanam. The alapana gently sweeps and ushers us into the lyrical kriti. How can a voice be both majestic and sweet?

Alternate Link : Click here  (needs free membership to Sangeethamshare)

Lastly, any post on Kalyana Vasantam is incomplete without a rendition by Kadri Gopalnath who has made this raga his very own. On his Saxophone, the raga takes almost a strident note, demanding immediate attention.

Alternate rendition (I could not find my version online) : Click here 

 


Footnote (Lyrics) :

Language : Telugu
(I do not speak Telugu and the information below is dependent on various web sources)

पल्लवि
नाद लोलुडै ब्रह्मा-
नन्दमन्दवे मनसा

अनुपल्लवि
स्वादु फल प्रद सप्त
स्वर राग निचय सहित

चरणम्
हरि हरात्म भूसुर पति
शर जन्म गणेशादि
वर मौनुलुपासिञ्च रे
धर त्यागराजु तॆलियु

Transliteration

pallavi
nAda lOluDai brahmA
nandamandavE manasA

anupallavi
svAdu phala prada sapta
svara rAga nichaya sahita

charaNam
hari harAtma bhUsura pati
shara janma gaNEshAdi
vara maunulupAsincha rE
dhara tyAgarAju teliyu

Translation

O Mind, attain (andavE) the rapture of absorbtion on the Brahman (brahmAnanda) by immersing (loluDai) in music (nAda, literally sound), which includes (sahita) the seven (sapta) svara (notes) and a multitide (nichaya) of ragas (rAga) that bestow (prada) sweet (svAdu) results (phala).

Vishnu (hari), Shiva (harA), Brahma (Atma bhU – self born), Indra (sura pati – Lord of the Gods), Kartikeya (shara janma – born in reeds), Ganesha, great sages (vara maunulu), etc (Adi) workship (upAsincha) nAda (implied), of this Tyagaraja is aware (teliyu) on this earth (dhara).

 

 

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Filed under Compositions in Telugu, Kadri Gopalnath, Lalgudi Jayaraman, Maharajapuram Santhanam, Tyagaraja

Bhavayami Raghuramam

A very Happy Ramanavami to all my readers! May God’s grace fall upon you all!
I have chosen a concise Ramayana for you to listen today as you meditate upon Lord Rama. When I use the word ‘meditate’, I use it loosely, Meditation need not always be in a lotus position, does it? For me, it is often with my head nodding under my headphones. I call that worship too!
As to the song, it is a Ragamalika composed by Swathi Thirunal. There are those amongst you who don’t appreciate ragamalikas; I bring this composition particularly to your attention. While the lyrics list the major events in each kandam (canto) of the epic, the ragas paint the emotion in parallel. Balakandam is in a calm and stable Nattakurinji reflecting the stability of Rama’s childhood. Ayodhyakandam in Dhanyasi resounds with a gentle sweetness. I don’t think this goes against the story as Rama is perfectly content even in exile. Aranyakandam is in a romantic Mohanam reflects the happy life Rama and Sita lead in the forest in spite of Shurpanakha et al. Kishkindakandam is in a grief stricken Mukhari as both Rama and Sita suffer, each in their own way. Sundarakandam follows in a more hopeful Purvikalyani though it is still infused with sadness thanks to the minor Ri. Yuddhakandam finishes in an auspicious Madhyamavati, the traditional raga for a happy conclusion. And the whole is tied together in a prayerful Saveri. I understand the original version was only in Saveri. It was Semmangudi Srinivasa Iyer who tuned it as a ragamalika, adding the chittaswarams as well. This is the version popularised by M.S.Subbulakshmi.
I have chosen a rendition by the young Trichur Brothers. I think they have done a very credible job indeed. There are of course some wonderful renditions by yesteryear greats. In my growing years my father used to play a tape by MS all the time; I still hear her voice in my head when I think of this song. And I just love MDR meandering through the composition in his inimitable style; I always take a particular pleasure in his re-catching Saveri at the end of every charanam; it’s almost a thrill to hear the switch to ga-ri-sa-da, ri-sa-da, sa-da 🙂 But there is also great enjoyment in listening to young voices sing these age-old songs with such conviction.  Trichur Brothers start their rendition with the following shloka. They sing it also in a ragamalika like the main composition. (Note : If you are new to Raga recognition and distinction, this is a perfect opportunity to try your skills on this shloka as you know which ragas to expect).
वामे भूमिसुता पुरश्च हनुमान् पश्चात् सुमित्रासुतः
शत्रुघ्नो भरतश्च पार्श्वदलयोः वाय्वादि कोणेषु च।
सुग्रीवश्च विभीषणश्च युवराट् तारासुतो जांबवान्
मध्ये नील सरोज कोमळरुचिं रामं भजे श्यामळं॥ 
vAmE bhUmisutA purascha hanumAn paschAt sumitrA sutah
shatrughnO bharatascha pArchvadalayOh vAyvAdi kONEshu cha.
sugrIvscha vibhIshaNascha yuvarAT tArAsutO jAmbavAn
madhyE nIla sarOja kOmalaruchim rAmam bhajE shyAmaLam
With Sita (bhUmisuta-daughter of the earth) on the left (vAmE), and (cha) Hanuman in the front (puras), in the rear (pashchAt) Lakshmana (son (sutah) of Sumitra), surrounded by (pArshvadalayoH) Shatrughna and (cha) Bharata, and (cha) with Vayu etc (Adi) in the corners (kONEshu), with Sugriva and the young king (yuvarAj – don’t know why it is yuvarAt in the shloka) Vibhishana, the son (suta) of Tara i.e Angada, Jambavan and in the centre (madhyE) the gently (komala) handsome (ruchim) dark-hued (shyAmaLam) Rama looking like (implied) a blue lotus (nIla sarOja), whom I worship (bhajE) .
Watch from 19:01
(for some reason embedding is not working)

Footnote (Lyrics)

Language : Sanskrit

Pallavi and Anupallavi (Saveri)

भावयामि रघुरामम् भव्य सुगुणारामम् ।
भावुक वितरण परापाङ्ग लीला लसितम् ।।

bhAvayAmi raghurAmam bhavya suguNArAmam
bhAvuka vitaraNa parApAnga lIlA lasitam

I meditate upon (bhAvayAmi) the delightful (ArAmam), gracious (bhavya) and virtous (suguNa) Lord Rama (rAmam) of the Raghu dynasty, who playing (lasitam) at his Divine Play (lIlA) bestows (vitaraNa) happiness (bhAvuka) to others (para) with just his sidelong glances (apAnga).

Charanam 1 (Nattakurinji) – Balakandam

दिनकरान्वय तिलकं दिव्य गाधिसुत सवना-
वन रचित सुबाहु मुख वधम् अहल्या पावनम् ।
अनघमीश चापभङगं जनक सुता प्राणेशं
घन कुपित भृगुराम गर्व हरमित साकेतम् ॥

dinakarAnvaya tilakam divya gAdhisuta savanA-
vana rachita subAhu mukha vadham ahalyA pAvanam
anaghamIsha chApabhangam janaka sutA prANEsham
ghana kupita bhRgurAma garva haramita sAkEtam

He who is the ornament (tilakam) of the sun (dinakara) lineage (anvaya), he who killed (vadham) the demons (implied) beginning with (mukha) Subahu while protecting (avana) the sacrifice (savana) performed by (rachita) the Vishwamitra (son (suta) of gAdhi), he who purified (pAvanam) Ahalya, he who broke (bhanga) the bow (chApa) of the sinless (anagham) Shiva (Isha), he who is the husband (prAnesha) of Sita (daughter (sutA) of Janaka), he who destroyed (haram) the pride (garva) of the profoundly (ghana) kupita (angry) Parashurama (bhRgurAma as he is a descendent of bhRigu), he who is from (ita) Ayodhya (sAkEtam).

Charanam 2 (Dhanyasi) – Ayodhyakandam

विहिताभिषेकम् अथ विपिन गतम् आर्य वाचा
सहित सीता सौमित्रीं शान्ततम शीलम् ।
गुह निलय गतं चित्रकूटागत भरत दत्त-
महित रत्नमय पादुकं मदन सुन्दराङ्गम् ॥

vihitAbhishEkam atha vipina gatam Arya vAchA
sahita sItA saumitrIm shAntatam shIlam
guha nilaya gatam chitrakUtAgata bharata datta-
mahita ratnamaya pAdukam madana sundarAngam

He who went (gatam) to the forest (vipina) with (sahita) Sita and Lakshamana (saumitrI, son of Sumitra) at the word (vAchA) of his Lord (Arya) in spite of (atha) the destined (vihita) consecration (abhishEkam),  he who was in the habit of (shIlam) being extremely calm (shAntatam), he who went (gatam) to the residence (nilaya) of Guha, he who went (gata) to Chitrakoota, he who gifted (datta) Bharata his esteemed (mahita), bejewelled (ratnamaya, studded with precious stones) sandals (pAdukam), he who has an intoxicatingly (madana) beautiful (sundara) body (angam).

Charanam 3 (Mohanam) – Aranyakandam

वितत दण्डकारण्य गत विराध दलनं
सुचरित घटज दत्तानुपमित वैष्णवास्त्रम् ।
पतगवर जटायु नुतं पञ्चवटी विहितावासं
अति घोर शूर्पणखा वचनागत खरादि हरम् ॥

vitata daNDkAraNya gata virAdha dalanam
sucharita ghaTaja dattAnupamita vaishNavAstram
patagavara jatAyu nutam panchavatI vihitAvAsam
ati ghOra shUrpaNakhA vachanAgata kharAdi haram

He who went (gata) to the vast (vitata) Dandaka forest (AraNya), he who destroyed (dalanam) Viradha, he who was gifted (datta) the matchless Vaishnava weapon (astram) by the virtuous (sucharita) Agastya (ghaTaja – born in a pot), he who is worshipped by (nutam) the chief of birds (patagavara) Jatayu, he whose abode (AvAsam) was put in order (vihita) in Panchavati, he who destroyed (haram) Khara etc (Adi) who came (Agata) on the word of (vachana) of the very (ati) horrible (ghOra) Shurpanakha.

Charanam 4 (Mukhari) – Kishkindakandam

कनक मृग रूप धर खल मारीच हरमिह
सुजन विमत दशास्य हृत जनकजान्वेषणम् ।
अनघम् पम्पातीर संगताञ्जनेय नभोमणि
तनुज सख्यकरं वाली तनु दलनमीशम् ॥

kanaka mRga rUpa dhara khala mAricha haramiha
sujana vimata dashAsya hRta janakajAnvEshaNam
anagham pampAtIra sangatAnjanEya nabhOmaNi
tanuja sakhyakaram vAlI tanu dalanamIsham

He who killed (haram) the wicked (khala) Maricha who had worn (dhara) a form (rUpa) of a golden (kanaka) deer (mRga) here (iha), he who searched for (anvEsham) the daughter of Janaka (janakajA) who was seized (hRta) by Ravana (dasha – ten, Asya-face) who disregarded (vimata) the virtous (sujana), he who is sinless (anagham), he who, accompanied by (sangata) Hanuman (AnjanEya), made friends (sakhya karam) with Sugriva (son of (tanuja) the Sun (nabhOmaNi)), he who destroyed (dalanam) the body (tanu) of Vali, he who is supreme (Isham).

Charanam 5 (Purvikalyani) – Sundarakandam

वानरोत्तम सहित वायुसूनु करार्पित
भानुशत भास्वर भव्य रत्नाङ्गुलीयम् ।
तेन पुनरानीतान्यून चूडामणी दर्शनं
श्रीनिधिमुदधि तीरेश्रित विभीषण मिलितम् ॥

vAnarOttam sahita vAyusUnu karArpita
bhanushata bhAsvara bhavya ratnAnguliyam
tEna punrAnItAnyUna chUDAmaNI darshanam
shrInidhImudadhi tIrEshrita vibhIshaNa militam

He who, accompanied by (sahita) the best (uttama) amongst the Vanaras, offered (arpita) in the hands (kara) of Hanuman (child (sUnu) of Vayu) the beautiful (bhavya) bejewelled (ratna) ring (angulIyam) which was lustrous (bhAsvara) like a hundred (shata) suns (bhAnu), he who saw (darshanam) the blemishless (anyUna) (crest jewel (chUDAmaNI) brought (AnIta) in turn (punah) by him (tEna ie hanuman), he who is the reservoir (nidhi) of auspiciousness (shrI), he who met (militam) Vibhishana who sought refuge (Ashrita) on the shores (tIrE) of the ocean (udadhi).

Charanam 6 (Madhyamavati) – Yuddhakadam

कलित वर सेतुबन्धं खल निस्सीम पिशिताशन
दलनम् उरु दश कण्ठ विदारणम् अति  धीरम् ।
ज्वलन पूत जनक सुता सहितम् यात साकेतं
विलसित पट्टाभिषेकं विश्व पालं पद्मनाभम् ॥

kalita vara sEtubandham khala nissIma pishitAshana
dalanam uru dasha kaNTHa vidAraNam ati dhIram
jvalana pUta janaka sutA sahitam yAta sAkEtam
vilasita paTTAbhishEkam vishva pAlam padmanAbham

He who made (kalita) the best (vara) bridge (sEtubandham),  he who killed (dalanam) numerous (nissIma-endless) wicked (khala) demons (pishitAshana-flesh eaters), he who crushed (vidaranam) the huge (uru) ten-headed (dasha kaNTHa) Ravana, he who is extremely (ati) dhIram (brave), he who, along with (sahita) Sita (janaka sutA-daughter of Janaka) who was purified (pUta) by fire (jvalana), proceeded to (yAta) Ayodhya (sAkEtam), he who shone (vilasita) in coronation (paTTAbhishEkam), he who protects (pAlam) the world (vishva), he who is the lotus-navelled one (padhanAbham).

 

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