Dhano Dhanno Pushpo Bhora

 

I have always been proud of coming from a multi-lingual, multi-ethnic, multi-cultural and multi-religious country. In today’s migratory world, many countries can claim the same. But immigrants remain foreigners at least for a generation or two; sometimes for more. In India, we are all different but we are none of us foreigners! As strange as it may be to reach some corner of India where the language is indecipherable, the culture alien and the food unrecognisable, we still look at the people and accept the oneness of being Indian.

So it gives me great pleasure when famous musicians bravely launch into songs from elsewhere in India with passion and enjoyment. I was recently listening to the live telecast of T.M.Krishna’s concert at Spic Macay convention. I am a fan of TMK; I almost always enjoy his music. The last song he sang was the Bengali song Dhano Dhanno Pushpo Bhora. It was a fan request; evidently people have heard him sing this before. I listened with interest as I know this song well. His musicality was beautiful and his rendition full of emotion. But I have to say this much as I hate to do so – the pronunciation just didn’t work. I understand; it is so difficult for us Indians to learn and appreciate each other’s languages, isn’t it! It is all so different, especially Tamil and Bengali. I know; I am fluent in both. Still, I am very happy that he chose to present this lovely piece of nationalistic poetry by Dwijendralal Ray (1863-1913).  Perhaps a new set of audience will come to appreciate these beautiful words. This song has been sung in the past by M.S.Subbulakshmi as well. Given that my audience is almost 99% non-Bengali, I am writing this post to bring this song to the attention of all you readers.

Before I transcribe it, I would like to bring some important points about pronunciation in Bengali. My readers would be well used to the modified version of the Harvard Kyoto transliteration scheme which I use in this blog. I have described it in this page. To be able to transliterate Bengali, I have the need for two more vowel symbols. ɒ is like o as in Hot. This is the ‘default’ vowel sound in Bengali; it often replaces अ in Sanskrit. अ can also be replaced by o like in old. The other vowel sound which occurs frequently is ɛ like ai in air.  Other than that, Sanskrit words when used in Bengali have the following replacements of consonants (I list the ones in the song, this is not a universal list).

v as in vasundhara (earth in Sanskrit) is replaced with b
s  as in sakal (from sakala, total / everything in Sanskrit) is replaced with sh
sw like in swapna (dream in Sanskrit) is replaced with sh
rya like in sUrya (sun in Sanskrit) is replaced with rjɒ
note also that rAnI in Sanskrit, Hindi and Bengali is with the soft न (n) unlike Tamil where the hard ण (ண – N) is used.

I’ve selected a beautifully sung rendition from the West Bengal Sangeet Academy for you to listen to while you follow along with the words below. The lyrics are in Bengali with English transliteration. My thanks to my husband who proof read and corrected the Bengali script for me. I hope you enjoy it!

Alternate link : Click here

ধন ধান্য পুষ্প ভরা আমাদের এই বসুন্ধরা
তাহার মাঝে আছে দেশ এক সকল দেশের সেরা
ও সে স্বপ্ন দিয়ে তৈরি সে দেশ স্মৃতি দিয়ে ঘেরা |
এমন দেশটি কোথাও খুঁজে পাবে নাকো তুমি
ও সে সকল দেশের রাণী সে যে আমার জন্মভূমি
সে যে আমার জন্মভূমি, সে যে আমার জন্মভূমি।।

dhɒno dhanno pushpo bhɒrA AmAdEr Ey boshundhɒrA
tAhAr mAjhE ACHE dEsh ɛk shɒkol dEshEr shErA
O shE shɒpno diyE tOyrI shE dEsh smriti diyE ghɛrA
ɛmOn dEshti kOthA’O khu.njE pAbE nAkO tumi
O shE shɒkol dEshEr rAnI shE jE AmAr jɒnmo bhUmi
shE jE AmAr jɒnmo bhUmi, shE jE AmAr jɒnmo bhUmi

In this (Ey) earth (boshundhɒrA) which is ours (AmAdEr), filled with (bhɒrA ) with riches (dhɒno), grain (dhanno) and flowers (pushpo), in the midst (mAjhE) of which (tAhAr) is (ACHE) a (ɛk) country (dEsh) which is the best (shErA) amongst all (shɒkol) countries (dEshEr). That which is (O shE) created (tOyrI ) with dreams (shɒpno) , that (shE) country (dEsh) is surrounded (ghɛrA) by memories (shmriti ). You (tumi) will never (nAkO) find (khu.njE pAbE) a country (dEshti) such as this (ɛmon) anywhere (kOthA’O)! That which is (O shE) the queen (rAnI) of all countries (shɒkol dEshEr), that is (shE jE) my (AmAr) birthplace (jɒnmo bhUmi).

চন্দ্র সূর্য গ্রহ তারা, কোথায় উজান এমন ধারা,
কোথায় এমন খেলে তড়িৎ, এমন কালো মেঘে,
ও তার পাখির ডাকে ঘুমিয়ে পড়ে (alt: উঠে ) পাখির ডাকে জেগে।
(repeat refrain)

chɒndro shUrjo grɒho tArA, kOthAy ujAn ɛmon dhArA
kOthAy ɛmon khɛlE tɒDit, ɛmon kAlO mEghE,
O tAr pAkhir DAkE ghumiyE pɒDE (alt: uTHE) pAkhir DAkE jEgE
(repeat refrain)

The moon (chɒndro), the sun (shUrjo), the planets (grɒho), the stars (tArA) – where (kOthAy) is such a (ɛmon) stream (dhArA) with an upstream flow (ujAn)? Where (kOthAy) does lightning (tɒDit) play (khɛlE) like this (ɛmon), amongst black (kAlO) clouds (mEghE) like this (ɛmon)? Which falls asleep (ghumiyE pɒDE/uTHE) with the call (DAkE) of its (tAr) birds, having also (implied) woken (jEgE) with bird calls (pAkhir DAkE).

এত স্নিগ্ধ নদী কাহার কোথায় এমন ধুম্র পাহাড়
কোথায় এমন হরিৎ ক্ষেত্র আকাশ তলে মেশে
এমন ধানের উপর ঢেউ খেলে যায় বাতাস কাহার দেশে
(repeat refrain)

ɛtO snigdhO nɒdI kAhAr, kOthAy ɛmon dhUmro pAhAD,
kOthAy ɛmon hɒrit khEtrO AkAsh tɒlE mEshE,
ɛmon  dhAnEr Upɒr dhE’U khɛlE jAy, bAtAsh kAhAr dEshE
(repeat refrain)

Whose (kAhAr) river (nɒdI) is as (ɛtO) gentle (snigdhO)? Where (kOthAy) are such (ɛmon) misty (dhUmro) mountains (pAhAD)? Where (kOthAy) are fields (khEtrO) green (hɒrit) like this (ɛmon) blending (mEshE) under (tɒlE) the skies (AkAsh)? In whose (kAhAr) country (dEshE) does the wind (bAtAsh) play (khɛlE) like waves (dhE’U) over (Upɒr) the rice fields (dhAnEr)?

পুষ্পে পুষ্পে ভরা শাখি কুঞ্জে কুঞ্জে গাহে পাখি
গুঞ্জরিয়া আসে অলি পুঞ্জে পুঞ্জে ধেয়ে
তারা ফুলের ওপর ঘুমিয়ে পড়ে ফুলের মধু খেয়ে।
(repeat refrain)

pushpE pushpE bhɒrA shAkhi, kunjE kunjE gAhE pAkhi
gunjɒriyA AshE oli punjE punjE dhEyE
tArA phUlEr Upɒr ghumiyE pɒDE phUlEr mɒdhu khEyE
(repeat refrain)

Branches (shAkhi)  filled (bhɒrA ) with flowers (pushpE, repeated for emphasis), birds (pAkhi) singing (gAhE) in bowers (kunjE kunjE), bees (oli) rush (dhEyE) in buzzing (gunjɒriyA) swarms (punjE punjE). They (tArA) sleep (ghumiyE pɒDE) on (Upɒr) the flowers (phUlEr) after having sipped (khEyE, literally eaten) the nectar (mɒdhu) of the flowers (phUlEr).

ভাইয়ের মায়ের এতো স্নেহ, কোথায় গেলে পাবে কেহ,
ও মা তোমার চরণ দুটি বক্ষে আমার ধরি,
আমার এই দেশেতে জন্ম যেন এই দেশেতে মরি।
(repeat refrain)

bhAiyEr mAyEr ɛtO snEhO kothAy gElE pAbE kEhO
O mA tOmAr chɒron duTi bɒkkhE AmAr dhɒri
AmAr Ey dEshEtE jɒnmo jɛno Ey dEshEtE məri
(repeat refrain)

Where (kOthAy) can anyone (kEhO) go (gElE) to get (pAbE) so much (ɛtO) love (snEhO) from brothers (baAiyEr) and mothers (mAyEr)? O Mother (mA), I hold (dhɒri) your (tOmAr) two (duTi) feet (chɒron) on my (AmAr) chest (bɒkkhE ). My (AmAr) birth (jɒnmo) was in this (Ey) country (dEshEtE), take care that (jɛno) I die (məri) in this (Ey) country (dEshEtE).

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23 Comments

Filed under Patriotic Music

23 responses to “Dhano Dhanno Pushpo Bhora

  1. Every time I find that Suja has written something that I can read with sufficient intelligence I lap it up! The writing always moves like greased lightning and always throws up new ideas and perspectives. Dhonnobad for this!

    • From the master of the written word, this is indeed a compliment to savour! Thank you Srinivas.
      Cheers. Suja

      • Jai Ma

        Suja Devi,

        Please pardon if I am wrong, but I am 99.99% sure that the word are
        dhono dhAnne puShpe bhorA : NOT, dhono dhanno pushpo

        the latter is grammatically WRONG, WRONG, WRONG, wronger than any rangarajan!! (We have a lady professor at Cornell who tells her US colleagues that the easiest way to pronounce her name is to remember they must not drive IN to the WRONG GARAGE!!)

        Dhono-dhanne is a compound, a dvandva samasa in Bangla, so dhanne takes the case ending for ” with”, filled with wealth-and-paddy, food

        likewise, puShpo HAS to take the case ending for WITH, filled WITH, hence must be puShpe, not puShpo;
        puShpo diye bhorA, in verse becomes puShpe bhorA,

        so, dhon–dhanne is the correct way to transcribe this compound

        then, puShpe bhora

        All internet versions I am googling have the wrong version, and I shall try and find you the right one. I am native speaker, and have heard this all my born days.

        Such are the parlous times that Bangalis do not even understand their own language and cannot distinguish when they are singing nonsense, e.g. Shreya Ghoshal!! She is alleged to sing Tamil and Malayalam with greal felicity but her Bangla lyrics are a disgrace, created by someone who seethes with exceptional malice. Except, she is so innocent of all cultural education concerning Bangla musical history, she has no idea what she is singing and how painful and offensive it might be to someone who is alive to all the deliberate innuendoes built into those lyrics on purpose, to hurt, and to mock past songwriters.

        Namaskar

      • Sorry, Suja Devi,

        A typo in my reply: should always be: dhono-dhAnne, never, dhon-dhAnne.

        Please forgive ANOTHER risible comment. Bangalis are always very opinionated.

        Those people who are singing have the MOST ATROCIOUS accent, analogous to Karachi “burger babies” speaking Urdu with a British or American accent or own “baba log” in New Delhi.

        I shall try to find you what we call a “proper Bangla” rendition. Think Sikkil Gurucharan singing Asai Mugam and some other moderns rendering that same song, and you might sympathize with my upset.

        In Kolakata, we have a class of the newly rich, the parvenu, called the South Calcutta type (thus), who have an affected way of speaking and pronouncing Bangla that grates upon the ear in a really ugly way, if you will forgive me. They prostitute the language, for their own sweet reasons, if sch be ever called sweet. I shall stop there, before my tongue runs away with me.

        Please understand that there are very grave socio-economic fissures, and traumas, cleaving the structure of Bangabhumi. Bloodletting and death on a colossal scale that started several centuries ago, and is closely reflected in the language used, and the pronunciation. Read Ishwar Chandra Vidyasagar and Ishwar Chandra Gupta, and the Chandi Mangal for a glimpse of the issues, and watch Antony Firingee, and the newer offshoot of the same issues, for some of the tensions that persist.

        Language and how She is Spoke, is not a trivial issue. People seem to want to kill for this most intangible of constructs, do they not? Were you there when Bangladesh was born? I was there right near the Itindaghat border, living in the path of tens of thousands of displaced people who died where they stood in the monsoon rains.

        The area is still convulsed by language issues.

        How Bangla is spoken, how pronounced, what vocabulary is used, all are very sensitive and VERY VERY painful topics to this very day. Like, EXCEPTIONALLY. Please trust me on this. I am not over-reacting!! Jol or Pani, Morich or Lonka, each choice can have fatal consequences to this day. Not kidding, either. You can question me in depth and ask for proof.

        These ingo-bongo girls, and I cannot dignify them with the title of WOMEN, represent the very worst face of “Calcutta Society”, not Kolkata. Why such vehemence, you ask? Ask your husband, and perhaps he MAY essay a reply. Let us see. Please edit this comment to your liking, or not publish at all. It is meant only for your eyes and information.

        Namaskar.

      • Thank you for your details comments. As I am travelling now, I cannot reply properly.
        Cheers. Suja

  2. Priya

    Love this Suja! Thanks for posting – this was one of my grandfather’s favorite songs and I can hear him even now!

    • All these old, familiar songs makes us so nostalgic, doesn’t it 🙂 I’ve been humming it all week, can’t get it out of my head! Glad you liked it.
      love to you all, Suja

  3. Ramesh

    Having lived in Bengal for 5 years, although long ago, this is not a new song for me. You have chosen a beautiful rendering ; truly wonderful. Can listen to it all day along.

    Why is your audience 99% non Bengali ? Of all the sub cultures in India, the most musical of them has to be Bengali. Yes, you feature a different genre of music but the musically inclined Bengalis must love your articulation and music.

    Truly the high point of Bengali music must have been the period leading to India’s independence. Maybe because of Rabindranath Tagore, but almost all our patriotic music of that time was Bengali.

    Hope you feature more Bengali music in your blog.

    • Glad you enjoyed it Ramesh! The Bengalis are indeed a very artistic people with great poetry, music and literature. And of course their contribution to the film media is immense. The Bengalis will consider me uncultured no doubt, but Rabindra Sangeet doesn’t really appeal to me. But I love their folk music like Baul and Nazrul Geeti is lovely. Perhaps I will feature more Bengali songs too in the future as you suggest….let’s see..

      As to my audience, my primary interest has been and will remain Carnatic Music and Carnatic music has a very limited audience which hardly includes anyone North of the Vindhyas! I do want to feature more Ghazals, Qawwalis and old film music if I can, I really enjoy these genres. My biggest limitation is time..there is so much music to talk about and enjoy, but so little time to do it all!
      Cheers. Suja

      • Suja Devi, Sri Ramesh,

        Two small observations, again, just one fool’s personal opinions, hence, of limited value.

        Sujadevi, you mention not liking Rabindrasangeet. You are correct in an interesting way if you allow yourself to remain only on the technical aspects: generally, there are only repetitive 4 beats, the sura-s are often derived wholesale from British sources like Auld Lang Syne and other maudlin songs, and the singers are often less-than-stellar, e..g. the fames Debabrata Biswas, who is good, not stellar, and so on.

        Gitanjali, translated by Rabindranath himself, and he was no slouch when it came to the English language, and nor did he lack for genius regarding his own works, is seen by many of his admirers [ and I have spoken to many such] and clownish and inept at best. And he received a Nobel Prize for this utterly pedestrian work while Bibhuti Bhushan and some others, like Sri Anirvan, were ignored? Wait till you have read this comment in toto!

        Where Rabindranath’s genius lies is in the words of his songs, which are inspired verse, spiritual inspiration. Not all of the huge numbers he wrote are equally inspired, and some of the most rarefied require the likes of other realized saints to point them out to us, help us grasp the spiritual state Rabindranath was in when he wrote particular sets of words.

        As in every language, certain phrases, the beauty of certain chanda, cannot ever be translated. Never. That is why the term “chanda” is given such an elevated role in Shruti. Literally, it stands for PATTERN, any pattern that sets to order and points to a profound meaning to things that otherwise would random and without meaning.

        Phonemes randomly dispersed, and bereft of shakti, make noise and cause mental distraction; hence, negative. Phonemes set in patterns by kavi kratu become vaikhari vAk, pointing directly the path to madhyamA, pashyanti and parA, So, bhASA becomes chandas!

        Random noise entrained similarly becomes svara, raga, mAtrA, sura, nAda sAdhanA. Color and space entrained become mUrti, etc. All abhivyakti of CHANDAS! Patterning, entraining to the saundarya lahari, the ananda lahari that is parama ananda Madhavam.

        Several Bangali savants have carefully commented on Rabindranath’s songs in terms of their spiritual content. Sri Anirvan [haimavati-anirvan.org] and Serywami Pratyagatmananda, author of Japasuktam, that also has an English edition, I am told.

        Sri Ramesh,

        The reason you will not find any Bangalis here is that the relative few who love Carnatic music chose their sub-genres, and find their own ways to focus on those, e.g. Annamaya, etc. And, those who focus on Bangla vocal music will not find much to their liking here, either.

        You should understand, that like those devoted to Carnatic vocals, devotees of Bangla vocals are a very particular lot with extreme preferences and knowledge about their favorite styles, artists, diction, etc.

        Just like small differences in Telugu or Tamil or Kannada pronunciation can spoil a kriti for a native speaker, so also, I am hypersensitive to many such issues, as also accent, minor changes, and other things that absolutely would not be noticeable to those who are not native speakers, are not steeped in the culture, etc. Indeed, modern Bangalis are so divorced from their cultural roots, so ashamed of their dharma for the most part, that they cannot understand most of the context in which a lot of the songs are.

        A case in point is a film about the fakir Lalon that was disgraceful and laughable in the extreme, except that it was created to the sensibilties of its modern audience who found it very appropriate. To me, it was like having Tyagaraja in jeans singing kritis is rock and roll. Maybe that is what is needed but maybe there are others who may cringe. This is how vaishnava bhajans are being presented, mahamantra, etc. Rock tunes, and it is God’s own doing. Dharma is both Sanatana and Adyatana.

        The beautiful song, Din to gelo, Sandhya elo, Hari, paar karo amare, is a case in point. I have not found one version on Youtube that is wholly satisfactory for one reason or another.

        Lakkhan Das Baul had an excellent version of Chedey Debo Na/Chedey Dile Shonar Gour aar to Pabo Na showing him sitting on the earth in a rural busstand, being a real baul, assailed by noise, cigarrete smoke, etc. singing his heart out. That version is no longr available and I could not download it. Subsequently, the same artist has sung it elsewhere, the same heart, that uncontrived passion is missing. So many others also have, but for my taste, something vital is missing. Purna Das Baul is the biggest fake there is and so is Parvathy Baul, an unholy harridan mocking that very tradition with her presence. Very few sincere and holy singers seek the limelight, since the songs ARE their sadhana.

        Should you really wish to learn more/hear more about excellent Bangla songs on Youtube, you would easily be able to tune in to groups who flock together around particular themes or artists, e.g. Sandhya Mukherjee, Kumari Chabi Banerjee, or Suman Bhattacharya.

        Namaskar

  4. Aparna G

    Thank you Suja for this post and the clear lyrics with meanings.
    I used to sing the first stanza of this song having learnt it in my chennai based cbse school for “national integration”!! and have been searching for this kind of meaningful explanation of this song.
    Surprisingly, I now understand we were taught the correct pronunciation!

    • I am glad you found the post useful Aparna, thank you for your comment! You were taught the correct pronunciation in a Chennai school? How interesting! Some of the Bengali vowels get murdered by the rest of India 🙂 Now you can learn to sing the whole song too!
      Cheers. Suja

  5. Sulakshana

    I’ve come across your blog while googling for lyrics and finally today have the time to spend here. Thank you for the these lyrics. I’m a fan of TMK’s too and watched the SPIC Macay concert. This is indeed a lovely song, even when I didn’t understand the lyrics fully. Reading your post has helped me appreciate this song even more.

    • Hi Sulakshana, Thank you for your comment. In fact, I do write this blog because I feel that understanding of the lyrics and putting it in context into our lives are an important part of music appreciation, so your comment makes me very happy!
      Cheers.
      Suja

  6. Shobana ramkumar

    Excellent song and great selection of the piece for listeners. Our languages are rich and have their own beauty which only the sons and daughters of that tongue who have eaten its food, breathed its fragrances and swayed to its wind can do justice to The beauties. It’s no wonder that this Bengali group sounds like ambrosia to the ear. But I hope that we all won’t stop singing songs in languages that are not native to us. We’ll keep trying and do our best to refine it. There’s great yearning to sing all the lovely songs of the land

    • Very well said! I am all for listening to music from across India, and for those who can, learning to sing too! But it would be nice, wouldn’t it, if people made more of an effort over pronunciation? Just my bug-bear..
      Cheers. Suja

  7. Harvard Kyoto transliteration scheme was new to me. I always liked the sounds of Bengali (Robindra Sangeet, Ray’s movies, DUrga pooja/Mahalaya radiocast) , and if I were to sing a song in Bengali I would be sure to get the sounds right! The elucidatory points about the key new sounds in Bengali and an explication of the subtle differences makes this a great post.

    • Hi Ramesh! Bengali is indeed very sweet sounding with its soft consonants and rounded vowels. Not really hard to understand for Hindi speakers as there is much commonality. I understand it is hard for musicians to get the accents right for the myriad languages they sing in but surely a bit more effort is justified? I have ranted and ranted about Sanskrit in the past too…I do so dislike it when they mispronounce the words. There may be an excuse for not getting Bengali right but getting Sanskrit wrong in surely a much greater offence! Sorry..you’ve got me ranting again 🙂
      Cheers. Suja

  8. Jai Ma

    Namaskar

    What a blessing to find your site. Several reasons.

    1. Found commenting on your Manna Dey heading a bit confusing, kept losing my comments whilst posting this link, hope it comes through here. A genre of films far less sanguinary than the ones you mention!!

    Thodi Bhiksha Karke Lana from the film Sannyasi Raja; composer, Nachiketa Ghosh, Usha Films.

    2. Very fortunate to find someone who is comfortable in Tamizh, Bangla, Hindi and Sanskrit, and also familiar with the paths of Sadhana, interested in such as well.

    Please look here: haimavati-anirvan.org

    As you may already know, SriSriMahaswamigal was very keen to preserve and propagate the substance of the Rgveda and the vaidika culture in manifold ways.

    Few of us are familiar with Vaidika exegesis, although in the 20th century, several profound savants arose, only a few of which we can mention here:

    Ganapati Munivara, Daivarata Sharma, Swami Jnaneshwarananda ( the blind saint from Pune), Sri Aurobindo, Sri Anirvan, Swami Pratyagatmananda (Japasuktam), Swami Rama Tirtha ( a hidden, silent scholar of the Rgveda), Madhusudana Ojha ( Rajasthan), and perhaps so many others, e.g. from Maharashtra and elsewhere I do not know about or have not mentioned here.

    Of these, one has chosen to devote oneself to Sri Anirvan and Sw. Pratyagatmananda, two profund writers in Bangla. They also wrote in English, but their most important works re: the Vedas were in Bangla.

    Sri Anirvan’s major work, the Veda Mimansa has been translated into Hindi with remarkable felicity by the late Chabinath Mishra.

    We, meaning i, have tried to upload as many of Sri Anirvan’s published works as I can access, online, so that anyone can access them at haimavati-anirvan.org.

    It my life’s dream that as many of these texts, especially those dealing with the Vedas, be translated into as many Indian and global languages as possible and uploaded onto the same site, to created a one-stop source fro Sri Anirvan’s work in perpetuity.

    It is NOT easy to find many who are comfortably bilingual in Tamizh, Bangla, Hindi and have a good grounding in Vaidika culture and Sanskrit. You would seem to fit the bill, provided your grasp of Bangla is adequate, since Sri Anirvan’s language is lapidary prose, combining the most colloquial with the mst profound concepts.

    As you know, colloquial bhasha is the most difficult to translate. I am extremely proficient in the many types of Bangla that exist in the many layers of the social strata, just as many types of Tamil exist in the many different castes, different regions, and the many layers within castes, e.g. child widows of the past decades, their language and cuisines, the language of the orthodox brahmin families, etc.

    There are ways of speaking, shades of sentence construction, and such, that are impossible to transfer into English just as the many shades of society and culture, like ghetto English, polite English, Sadhu Bhasha, Chalit Bhasha, etc. would be difficult to convey to those in India who have NO idea of the complexities of US urban and rural society!!

    A funny incident: a Tamil friend, [family “originally” from Tirunelveli, settled in Kochi, was incensed just a few days ago, with respect to this same translation issue, when I innocently asked him how much his Tamil differed from that of the Palakkad Ayyars!! I will let your imagination fill in the gaps!!!

    I should be most grateful for your help in contacting those who are fluent in Bangla/Tamil/Hindi/Sanskrit, and might be interested in participating in a group effort to translate parts of the VEDA MIMANSA.

    With deep respects and gratitude,

    gautam

    Hare Srinivasa

  9. Ganesh

    TMK again ended his spic macay concert at iimb on 26th Jan with dhono dhanno. It was late dawn. Bringing to end an all-nighter. I do believe he did considerable justice to the song.

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