I enjoyed this programme:
Nadopasana Part V-By Swamini Satyavratananda .
https://www.youtube.com/watch?v=nGN_eLjAXAg
Soulful singing by Ramakrishnan Murthy and explanation in a musical voice by the Swamini.
It is not for those who believe that ‘southern’ music has nothing to do with meaning and bhakthi, and that Thyagaraja had only music in mind in his compositions and nothing else. To my biased mind Thyagaraja blends mythology, Vedanta and bhakthi seamlessly with music and creates a string of Krithis that look like lasting like Ramayana itself. Many singers have attained glory singing his krithis and their names have merged with unsung history, but we are debating Thyagaraja even if to denigrate him.
Nadopasana
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vsarmaiitm
- Posts: 198
- Joined: 18 Mar 2006, 10:35
Re: Nadopasana
Beautiful singing and the commentary was good. Sri Ramakrishnamurty sang Arabha pancharathna, reverting to Sadhinchene instead of samayAniki after each charanam.
I saw this explanation on facebook post by TK Sisters, why the krithi should sung the above way.
"Here is a sincere request to all the musicians, music lovers to kindly go through the whole essay and come up with opinions, arguments in favor or against it. In recent times, there has been a modification suggested by one of the eminent musicians regarding the way of rendition of the Tyagaraja Pancharatna kriti “Saadhinchene” of Arabhi ragam. Here the person who suggested the change is secondary but it is the concept that is primary. The suggestion is that after every swara sahityam the line ‘saadhinchene’ has to be sung instead of ‘samayaniki tagu mataladene’. The very basic thing that has to be kept in mind here is that it is the composition of Tyagaraja who is known for his rich lyrical content which consists of deep, thought provoking and philosophical meanings. Tyagaraja himself explained the qualities of a musical composition in one of his compositions ‘sogasuga mridanga talamu’ where he says that the compositions should bear such meanings whose authenticity is as strong as the vedic content.
“nigamasirordhamu kalgina nija vakkulatho” So Tyagaraja being very particular regarding the lyrical content can never attempt or even think, of writing something where there is less appropriateness. In the present composition ‘saadhinchene’ there is no chance that he arranges the composition in such a way where the swarasahityas are linked to the line ‘samayaniki’ as there is a disconnect in the meaning that he wanted to propose through this composition. The word ‘saadhinchene’ has two meanings. One is achieving something, the other meaning is ‘tormenting’ or a ‘kind of irritating’, ‘pestering’. He plays with this word in communicating both the meanings according to the context. There is an underlying link throughout the composition between different portions of the composition and this word ‘saadhinchene’. Tyagaraja explains who is the person troubling him, how is he troubling him. He cites various instances where and how he has been troubled. It’s an expression of the pain for not having been paid attention by his beloved deity ‘Sri Rama’. In anupallavi, he says that “My Lord failed to keep up his words and is troubling me by showing his dominance and rigidity” Who is that person is mentioned in the second swara sahityam “ Rangesudu sad ganga janakudu sangitha sampradayakudu// Saadhinchene”. Though he refers to Rama being his favourite deity, he praises him as the traditionalist in music.
In the first swara sahityam he draws a comparison of his trouble and the trouble of Devaki and Vasudeva, the parents of Srikrishna. “Devaki vasudevulanu eginchinatu//Saadhinchene” When these swarasahityas are linked to samayaniki tagu mataladene they sound inappropriate to the meaning he wanted to convey. The fifth swarasahityam “parama bhaktha vatsaludu…………………Hrudambujamuna choochuchundaga//Saadhinchene”
“Even though I consider him to be the person who is very concerned about his devotees and have him always in my heart, he is tormenting me by not being concerned about me” Particularly after the swara sahityam ”Hare Ramachandra ………..saraseeruha dalaaksha yanuchu vedukonna nannu thaa brovakanu” Samayaniki tagu mataladene” seems meaningless. Nannu brovakanu// Saadhinchene. “He is irritating me by not coming to my rescue”
The proof to support this whole argument is there in the last line of the charanam “Tyagaraja nuthudu chentha rakane//Saadhinchene” This is supposed to be the the whole idea of the composition. Also by taking out the line “samayaniki” from the charanam the lines from “sadbhakthula nadakalu” becomes the charanam which has no prasa alignment.From the line “Samayaniki “ the following lines are intact with the prasa aksharam “ma”. Samayaniki, vimukhula, Tamasamaadi have “ma” as prasa aksharam. So all the swarasahityas have to be connected to “saadhinchene” to present the idea of Tyagaraja and the lines from “Samayaniki” are to be separately sung as the Charanam. Lastly, if we observe the remaining pancharatna kritis of Tyagaraja, all of them show a commonality in linking the swara sahityas to the Pallavi. Here we may suppose that this is the procedure followed by Tyagaraja in all five of the compositions. When there is such an intense thought behind the given suggestion, it cannot be dismissed in the name of ‘tradition’ (without understanding what it means). Saadhinchene Pancharatnam also would have been sung in the above discussed way. Later at some period of time some misunderstanding might have resulted in making this change which is singing ‘Samayaniki’ after every swara sahityam and it might have turned to be a practice. Anything that has been followed for so many years may become a practice. That is not tradition.The very idea of the word ‘tradition’ is never to support any kind of misinterpretations in any knowledge system. One can oppose this thought if they have a valid and authentic argument against it. Any such arguments would definitely open up new avenues in any knowledge system. But just in the name of tradition, nobody has a right to reject any valid thought. Now I take pride in mentioning the stalwart musician who suggested this idea “Sangita Sahitya Kalanidhi” Sriaman N.Ch. Krishnamacharyulu who is a proficient musician, musicologist, literary scholar, an adept in the tattva, meemamsa, vyakarana sastras, an Avadhani, vaggeyakara………. We are blessed to be his disciples. But more than the person, it is the genuine thought that he proposed is what is very important. By implementing this idea the intention of the composer Tyagaraja in composing this kriti would be justified. Many revered musicians opposed and have been opposing this idea baselessly. As mentioned, let us try to bring out valid arguments against the idea and then dismiss or reject the concept. Otherwise it is good to follow what ‘reason’ tells us. That is the only way, in which we can respect Tyagaraja, and the tradition.
I saw this explanation on facebook post by TK Sisters, why the krithi should sung the above way.
"Here is a sincere request to all the musicians, music lovers to kindly go through the whole essay and come up with opinions, arguments in favor or against it. In recent times, there has been a modification suggested by one of the eminent musicians regarding the way of rendition of the Tyagaraja Pancharatna kriti “Saadhinchene” of Arabhi ragam. Here the person who suggested the change is secondary but it is the concept that is primary. The suggestion is that after every swara sahityam the line ‘saadhinchene’ has to be sung instead of ‘samayaniki tagu mataladene’. The very basic thing that has to be kept in mind here is that it is the composition of Tyagaraja who is known for his rich lyrical content which consists of deep, thought provoking and philosophical meanings. Tyagaraja himself explained the qualities of a musical composition in one of his compositions ‘sogasuga mridanga talamu’ where he says that the compositions should bear such meanings whose authenticity is as strong as the vedic content.
“nigamasirordhamu kalgina nija vakkulatho” So Tyagaraja being very particular regarding the lyrical content can never attempt or even think, of writing something where there is less appropriateness. In the present composition ‘saadhinchene’ there is no chance that he arranges the composition in such a way where the swarasahityas are linked to the line ‘samayaniki’ as there is a disconnect in the meaning that he wanted to propose through this composition. The word ‘saadhinchene’ has two meanings. One is achieving something, the other meaning is ‘tormenting’ or a ‘kind of irritating’, ‘pestering’. He plays with this word in communicating both the meanings according to the context. There is an underlying link throughout the composition between different portions of the composition and this word ‘saadhinchene’. Tyagaraja explains who is the person troubling him, how is he troubling him. He cites various instances where and how he has been troubled. It’s an expression of the pain for not having been paid attention by his beloved deity ‘Sri Rama’. In anupallavi, he says that “My Lord failed to keep up his words and is troubling me by showing his dominance and rigidity” Who is that person is mentioned in the second swara sahityam “ Rangesudu sad ganga janakudu sangitha sampradayakudu// Saadhinchene”. Though he refers to Rama being his favourite deity, he praises him as the traditionalist in music.
In the first swara sahityam he draws a comparison of his trouble and the trouble of Devaki and Vasudeva, the parents of Srikrishna. “Devaki vasudevulanu eginchinatu//Saadhinchene” When these swarasahityas are linked to samayaniki tagu mataladene they sound inappropriate to the meaning he wanted to convey. The fifth swarasahityam “parama bhaktha vatsaludu…………………Hrudambujamuna choochuchundaga//Saadhinchene”
“Even though I consider him to be the person who is very concerned about his devotees and have him always in my heart, he is tormenting me by not being concerned about me” Particularly after the swara sahityam ”Hare Ramachandra ………..saraseeruha dalaaksha yanuchu vedukonna nannu thaa brovakanu” Samayaniki tagu mataladene” seems meaningless. Nannu brovakanu// Saadhinchene. “He is irritating me by not coming to my rescue”
The proof to support this whole argument is there in the last line of the charanam “Tyagaraja nuthudu chentha rakane//Saadhinchene” This is supposed to be the the whole idea of the composition. Also by taking out the line “samayaniki” from the charanam the lines from “sadbhakthula nadakalu” becomes the charanam which has no prasa alignment.From the line “Samayaniki “ the following lines are intact with the prasa aksharam “ma”. Samayaniki, vimukhula, Tamasamaadi have “ma” as prasa aksharam. So all the swarasahityas have to be connected to “saadhinchene” to present the idea of Tyagaraja and the lines from “Samayaniki” are to be separately sung as the Charanam. Lastly, if we observe the remaining pancharatna kritis of Tyagaraja, all of them show a commonality in linking the swara sahityas to the Pallavi. Here we may suppose that this is the procedure followed by Tyagaraja in all five of the compositions. When there is such an intense thought behind the given suggestion, it cannot be dismissed in the name of ‘tradition’ (without understanding what it means). Saadhinchene Pancharatnam also would have been sung in the above discussed way. Later at some period of time some misunderstanding might have resulted in making this change which is singing ‘Samayaniki’ after every swara sahityam and it might have turned to be a practice. Anything that has been followed for so many years may become a practice. That is not tradition.The very idea of the word ‘tradition’ is never to support any kind of misinterpretations in any knowledge system. One can oppose this thought if they have a valid and authentic argument against it. Any such arguments would definitely open up new avenues in any knowledge system. But just in the name of tradition, nobody has a right to reject any valid thought. Now I take pride in mentioning the stalwart musician who suggested this idea “Sangita Sahitya Kalanidhi” Sriaman N.Ch. Krishnamacharyulu who is a proficient musician, musicologist, literary scholar, an adept in the tattva, meemamsa, vyakarana sastras, an Avadhani, vaggeyakara………. We are blessed to be his disciples. But more than the person, it is the genuine thought that he proposed is what is very important. By implementing this idea the intention of the composer Tyagaraja in composing this kriti would be justified. Many revered musicians opposed and have been opposing this idea baselessly. As mentioned, let us try to bring out valid arguments against the idea and then dismiss or reject the concept. Otherwise it is good to follow what ‘reason’ tells us. That is the only way, in which we can respect Tyagaraja, and the tradition.
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malavi
- Posts: 159
- Joined: 06 Feb 2010, 14:47
Re: Nadopasana
Last week musicians from all southern states sang the Pancharathna kritis in Naada Neeranjanam and they sang sadinchane after each charanam. I was wondering why this change and Ramakrishnamoorthy also did the same in Nadopasana.
Another thing Andra singers do is they don't stop at Ramabhaktudaina Tyaga .they sing the full line.i feel we should follow that.
Nadopasana was really a very good programme.
Another thing Andra singers do is they don't stop at Ramabhaktudaina Tyaga .they sing the full line.i feel we should follow that.
Nadopasana was really a very good programme.
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varsha
- Posts: 1978
- Joined: 24 Aug 2011, 15:06
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Sachi_R
- Posts: 2174
- Joined: 31 Jan 2017, 20:20
Re: Nadopasana
What a lovely thread. To all those enriching it, I can only say, Vandanamu!
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Govindaswamy
- Posts: 120
- Joined: 21 Feb 2010, 06:55
Re: Nadopasana
Once I heard Lalgudi. G. Jayaraman play sAdincene after each charaNam at thiruvaiyAru ArAdhana. Mr V. Govindan's word by word meaning given below makes it clear that singing samayAniki at the end of each CharaNam is correct. In most of the other songs only pallavi is repeated after each charaNam.
Govindaswamy
"Word-by-word Meaning
pallavi
sAdhincenE O manasA
O My Mind (manasA)! The Lord had His say (sAdhincenE).
anupallavi
bOdhincina sanmArga vacanamula
bonku jEsi tA paTTina paTTu (sA)
O My Mind! Falsifying (bonku jEsi) the dictums (vacanamula) of true path (san-mArga) (He Himself) taught (bOdhincina), He maintained the stand (paTTu) (literally hold) He (tA) held (paTTina).
caraNam
samayAniki tagu mATalADenE
He spoke (ADenE) words (mATalu) (mATalADenE) suited (tagu) to the occasion (samayAniki) in the following ways –
svara sAhitya 1
dEvaki vasu dEvula-EkincinaTu (sama)
As if (aTu) defaming (Ekincina) (EkincinaTu) His parents – dEvaki and vasu dEva (dEvulanu) (dEvulanEkincinaTu), He spoke words suited to the occasion.
svara sAhitya 2
ranga-ISuDu sad-gangA janakuDu
sangIta sAmpradAyakuDu (sama)
The Lord (ISuDu) of SrI rangam (rangESuDu), One who generated (janakuDu) sacred (sad) river gangA, One belonging to musical (sangIta) tradition (sAmpradAyakuDu),
spoke words suited to the occasion.
svara sAhitya 3
gOpI jana manOrathamu-osanga
lEkanE gEliyu jEsE vADu (sama)
He (vADu) who, without (lEkanE) fulfilling (osanga) the desire (manOrathamu) (manOrathamosanga) of the gOpis (gOpI jana), makes (jEsE) fun (gEliyu) of them,
spoke words suited to the occasion.
svara sAhitya 4
vanitala sadA sokka jEyucunu
mrokka jEsE paramAtmuDu-adiyu gAka
yaSOda tanayuDu-ancu mudambunanu
muddu peTTa navvucu-uNDu hari (sama)
The Supreme Lord (paramAtmuDu) who, while always (sadA) making (jEyucunu) the damsels (vanitala) enamoured (sokka) of Him, also makes (jEsE) them worship (mrokka) Him, further (adiyu gAka) (paramAtmuDadiyu),
Lord hari who, when yaSOda joyously (mudambunanu) kisses (muddu peTTa) Him as (ancu) her son (tanayuDu) (tanayuDancu), would keep (uNDu) smiling (navvucu) (navvucuNDu),
spoke words suited to the occasion.
svara sAhitya 4A
sAra-asAruDu sanaka sanandana
san-muni sEvyuDu sakala-AdhAruDu (sama)
The Lord who is –
both the substance (sAra) and non-substance (asAra) (sArAsAruDu),
worshipped (sEvyuDu) by great sages (san-muni) like sanaka and sanandana,
the prop (AdhAruDu) of everything (sakala) (sakalAdhAruDu),
spoke words suited to the occasion.
svara sAhitya 5
parama bhakta vatsaluDu suguNa
pArAvAruNDu-Ajanmamu-anaghuDu-I
kali bAdhala tIrcu-vADu-anucu nE
hRd-ambujamuna jUcucu-uNDaga (sama)
While I (nE) am (uNDaga) beholding (jUcucu) (jUcucuNDaga) Him in my heart (hRt) Lotus (ambujamuna) (hRd-ambujamuna) as (anucu) –
the supremely (parama) affectionate One (vatsaluDu) towards devotees (bhakta),
the Ocean (pArAvAruNDu) of virtues (suguNa),
the Sinless One (anaghuDu) throughout life (Ajanmamu), and
the reliever (tIrcu-vADu) (vADanucu) of the troubles (bAdhala) of this (I) (pArAvAruNDAjanmamanaghuDI) age of kali,
He spoke words suited to the occasion.
svara sAhitya 6
harE rAma candra raghu kula-ISa
mRdu subhAsha SEsha Sayana
para nArI sOdara-aja virAja turaga
rAja rAja nuta nirAmaya-apaghana
sarasI-ruha daLa-aksha-anucu
vEDukonna nannu tA brOvakanu (sama)
Instead of protecting (brOvakanu) me (nannu) who prayed (vEDukonna) to Him as (anucu) –
‘O Lord (harE) rAma candra! O Lord (ISa) of raghu dynasty (kula) (kulESa)! O Soft (mRdu) and sweet-spoken (su-bhAsha)! O Lord reclining (Sayana) on SEsha! O Brother (sOdara) of pArvatI – the Supreme (para) Goddess (nArI) (literally woman)!
O Unborn (aja) (sOdarAja)! O Lord who speeds (turaga) on garuDa (virAja)! O Lord praised (nuta) by Emperors (rAja rAja)! O Lord with healthy (nirAmaya) limbs (apaghana) (nirAmayApaghana)! and
O Lotus (sarasI-ruha) petal (daLa) Eyed (aksha) (daLAkshayanucu)!’,
He (tA) spoke words suited to the occasion.
svara sAhitya 7
SrI vEnkaTESa svaprakASa
sarva-unnata sajjana mAnasa nikEtana
kanaka-ambara dhara lasan-makuTa
kuNDala virAjita harE-anucu nE
pogaDagA tyAgarAja gEyuDu
mAnava-indruDaina rAma candruDu (sama)
Even though I (nE) extol (pogaDagA) Him as –
‘O Lord SrI vEnkatESa! O Self-effulgent One (svaprakASa)! O Most Eminent (unnata) of all (sarva) (sarvOnnata)! O Lord abiding (nikEtana) in the hearts (mAnasa) (literally minds) of virtuous people (sajjana)!
O Lord hari (harE) (harEyanucu) wearing (dhara) golden (hued) (kanaka) garments (ambara) (kanakAmbara) and resplendent (virAjita) with shining (lasat) diadem (makuTa) (lasan-makuTa) and ear-ornaments (kuNDala)!’,
He - Lord rAma candra (rAma candruDu) who is (aina) the Lord (indruDu) of humans (mAnava) (mAnavEndruDaina) and who is sung about (gEyuDu) by this tyAgarAja -
spoke words suited to the occasion.
caraNam
samayAniki tagu mATalu-ADenE
sad-bhaktula naDatalu-iTlu-anenE
amarikagA nA pUja konenE
aluka vaddu-anenE
vimukhulatO cEra pOkumu-anenE
veta kaligina tALukommu-anenE
dama Sama-Adi sukha dAyakuDagu SrI
tyAgarAja nutuDu centa rAkanE (sA)
He spoke (ADenE) words (mATalu) (mATalADenE) suited (tagu) to the occasion (samayAniki);
He prescribed (anenE) (literally said) that this (iTlu) is how the conduct (naDatalu) (naDataliTlanenE) of true devotees (sad-bhaktula) is;
He accepted (konenE) my (nA) worship (pUja) in a befitting manner (amarikagA);
He asked (anenE) me not to be (vaddu) (vaddanenE) afraid (aluka);
He asked (anenE) me not to associate (cEra pOkumu) (pOkumanenE) with those who have turned their faces away (vimukhulu) (vimukhulatO) from Him;
He asked (anenE) me to forbear (tALukommu) (tALukommanenE) even when I am distressed (veta kaligina);
thus, He who confers (dAyakuDu) (dAyakuDagu) the comfort (sukha) of control of mind (Sama) and control of body (dama) etc (Adi) (SamAdi), praised (nutuDu) by this tyAgarAja (SrI tyAgarAja),
without coming (rAkanE) near (centa), had His say."
Courtesy : Sri.V.Govindan
Govindaswamy
"Word-by-word Meaning
pallavi
sAdhincenE O manasA
O My Mind (manasA)! The Lord had His say (sAdhincenE).
anupallavi
bOdhincina sanmArga vacanamula
bonku jEsi tA paTTina paTTu (sA)
O My Mind! Falsifying (bonku jEsi) the dictums (vacanamula) of true path (san-mArga) (He Himself) taught (bOdhincina), He maintained the stand (paTTu) (literally hold) He (tA) held (paTTina).
caraNam
samayAniki tagu mATalADenE
He spoke (ADenE) words (mATalu) (mATalADenE) suited (tagu) to the occasion (samayAniki) in the following ways –
svara sAhitya 1
dEvaki vasu dEvula-EkincinaTu (sama)
As if (aTu) defaming (Ekincina) (EkincinaTu) His parents – dEvaki and vasu dEva (dEvulanu) (dEvulanEkincinaTu), He spoke words suited to the occasion.
svara sAhitya 2
ranga-ISuDu sad-gangA janakuDu
sangIta sAmpradAyakuDu (sama)
The Lord (ISuDu) of SrI rangam (rangESuDu), One who generated (janakuDu) sacred (sad) river gangA, One belonging to musical (sangIta) tradition (sAmpradAyakuDu),
spoke words suited to the occasion.
svara sAhitya 3
gOpI jana manOrathamu-osanga
lEkanE gEliyu jEsE vADu (sama)
He (vADu) who, without (lEkanE) fulfilling (osanga) the desire (manOrathamu) (manOrathamosanga) of the gOpis (gOpI jana), makes (jEsE) fun (gEliyu) of them,
spoke words suited to the occasion.
svara sAhitya 4
vanitala sadA sokka jEyucunu
mrokka jEsE paramAtmuDu-adiyu gAka
yaSOda tanayuDu-ancu mudambunanu
muddu peTTa navvucu-uNDu hari (sama)
The Supreme Lord (paramAtmuDu) who, while always (sadA) making (jEyucunu) the damsels (vanitala) enamoured (sokka) of Him, also makes (jEsE) them worship (mrokka) Him, further (adiyu gAka) (paramAtmuDadiyu),
Lord hari who, when yaSOda joyously (mudambunanu) kisses (muddu peTTa) Him as (ancu) her son (tanayuDu) (tanayuDancu), would keep (uNDu) smiling (navvucu) (navvucuNDu),
spoke words suited to the occasion.
svara sAhitya 4A
sAra-asAruDu sanaka sanandana
san-muni sEvyuDu sakala-AdhAruDu (sama)
The Lord who is –
both the substance (sAra) and non-substance (asAra) (sArAsAruDu),
worshipped (sEvyuDu) by great sages (san-muni) like sanaka and sanandana,
the prop (AdhAruDu) of everything (sakala) (sakalAdhAruDu),
spoke words suited to the occasion.
svara sAhitya 5
parama bhakta vatsaluDu suguNa
pArAvAruNDu-Ajanmamu-anaghuDu-I
kali bAdhala tIrcu-vADu-anucu nE
hRd-ambujamuna jUcucu-uNDaga (sama)
While I (nE) am (uNDaga) beholding (jUcucu) (jUcucuNDaga) Him in my heart (hRt) Lotus (ambujamuna) (hRd-ambujamuna) as (anucu) –
the supremely (parama) affectionate One (vatsaluDu) towards devotees (bhakta),
the Ocean (pArAvAruNDu) of virtues (suguNa),
the Sinless One (anaghuDu) throughout life (Ajanmamu), and
the reliever (tIrcu-vADu) (vADanucu) of the troubles (bAdhala) of this (I) (pArAvAruNDAjanmamanaghuDI) age of kali,
He spoke words suited to the occasion.
svara sAhitya 6
harE rAma candra raghu kula-ISa
mRdu subhAsha SEsha Sayana
para nArI sOdara-aja virAja turaga
rAja rAja nuta nirAmaya-apaghana
sarasI-ruha daLa-aksha-anucu
vEDukonna nannu tA brOvakanu (sama)
Instead of protecting (brOvakanu) me (nannu) who prayed (vEDukonna) to Him as (anucu) –
‘O Lord (harE) rAma candra! O Lord (ISa) of raghu dynasty (kula) (kulESa)! O Soft (mRdu) and sweet-spoken (su-bhAsha)! O Lord reclining (Sayana) on SEsha! O Brother (sOdara) of pArvatI – the Supreme (para) Goddess (nArI) (literally woman)!
O Unborn (aja) (sOdarAja)! O Lord who speeds (turaga) on garuDa (virAja)! O Lord praised (nuta) by Emperors (rAja rAja)! O Lord with healthy (nirAmaya) limbs (apaghana) (nirAmayApaghana)! and
O Lotus (sarasI-ruha) petal (daLa) Eyed (aksha) (daLAkshayanucu)!’,
He (tA) spoke words suited to the occasion.
svara sAhitya 7
SrI vEnkaTESa svaprakASa
sarva-unnata sajjana mAnasa nikEtana
kanaka-ambara dhara lasan-makuTa
kuNDala virAjita harE-anucu nE
pogaDagA tyAgarAja gEyuDu
mAnava-indruDaina rAma candruDu (sama)
Even though I (nE) extol (pogaDagA) Him as –
‘O Lord SrI vEnkatESa! O Self-effulgent One (svaprakASa)! O Most Eminent (unnata) of all (sarva) (sarvOnnata)! O Lord abiding (nikEtana) in the hearts (mAnasa) (literally minds) of virtuous people (sajjana)!
O Lord hari (harE) (harEyanucu) wearing (dhara) golden (hued) (kanaka) garments (ambara) (kanakAmbara) and resplendent (virAjita) with shining (lasat) diadem (makuTa) (lasan-makuTa) and ear-ornaments (kuNDala)!’,
He - Lord rAma candra (rAma candruDu) who is (aina) the Lord (indruDu) of humans (mAnava) (mAnavEndruDaina) and who is sung about (gEyuDu) by this tyAgarAja -
spoke words suited to the occasion.
caraNam
samayAniki tagu mATalu-ADenE
sad-bhaktula naDatalu-iTlu-anenE
amarikagA nA pUja konenE
aluka vaddu-anenE
vimukhulatO cEra pOkumu-anenE
veta kaligina tALukommu-anenE
dama Sama-Adi sukha dAyakuDagu SrI
tyAgarAja nutuDu centa rAkanE (sA)
He spoke (ADenE) words (mATalu) (mATalADenE) suited (tagu) to the occasion (samayAniki);
He prescribed (anenE) (literally said) that this (iTlu) is how the conduct (naDatalu) (naDataliTlanenE) of true devotees (sad-bhaktula) is;
He accepted (konenE) my (nA) worship (pUja) in a befitting manner (amarikagA);
He asked (anenE) me not to be (vaddu) (vaddanenE) afraid (aluka);
He asked (anenE) me not to associate (cEra pOkumu) (pOkumanenE) with those who have turned their faces away (vimukhulu) (vimukhulatO) from Him;
He asked (anenE) me to forbear (tALukommu) (tALukommanenE) even when I am distressed (veta kaligina);
thus, He who confers (dAyakuDu) (dAyakuDagu) the comfort (sukha) of control of mind (Sama) and control of body (dama) etc (Adi) (SamAdi), praised (nutuDu) by this tyAgarAja (SrI tyAgarAja),
without coming (rAkanE) near (centa), had His say."
Courtesy : Sri.V.Govindan
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hnbhagavan
- Posts: 1658
- Joined: 21 Jun 2008, 22:06
Re: Nadopasana
Post by varsha » 11 May 2017 03:02
https://www.mediafire.com/?6q2ucgcy0gtddcy
This version by whom Sir?
Very nice rendering different from the usual ones.
https://www.mediafire.com/?6q2ucgcy0gtddcy
This version by whom Sir?
Very nice rendering different from the usual ones.
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kvchellappa
- Posts: 3600
- Joined: 04 Aug 2011, 13:54
Re: Nadopasana
Does it not say Tadepalli Lokanatha Sarma?