Meaning- dari jucucucunnadi

rasikapriya21 · Post by **rasikapriya21** » 24 Jul 2006, 10:13

Namaste,
could someone kindly provide the meaning of the following song by M.Sabhapati Shivan, set to raga shankaranabharana ?

Pallavi:
dAri jUcucucunnadi nIdu priya taraLAkSiyau cinnadi
Anupallavi:
vArijamukhi nIvu vaccu vELayanu koni kOrikatO rAjagOpAla sAmi nI
1 charana:
vennala gAyagA vEDkamIra manci sanna jAji virula sarulanu gandhamu
pannITi cembulu paDakiNTilOnunci vannelADi talavAkiTa nilici nI
2 charana:
Evaga nainanu nendu jeppuDaina nIvOyani yanci tirigi tirigi jUci
Ivaga cittamu niccalu nilipinaTTi bhAvam evarikaina bhayalaina veravakani

Any help is much appreciated
Thank you

rasikapriya21

Rigapada · Post by **Rigapada** » 31 Jul 2006, 22:24

Pallavi:
dAri = your path, jUcucunnadi = is looking up, ie eagerly waiting, nIdu = your, priya = dear, taraLAkSiyau = tremulous eyed, cinnadi =damsel.

Anupallavi:

vArijamukhi = The lotus eyed damsel, nIvu =your, vaccu = arriving, vELa =time, yanu koni = thinking, kOrikatO = with desire, rAjagOpAla sAmi =O Rajagopala ! nI = your, dari...

Thinking it is the time of your arrival, she is looking up the road.

1 charana:
vennala gAyagA = As the moonlight shines, vEDka = delight, mIra = increases, (with increased joy and delight) manci = good, sanna jAji virula sarulanu = garlands of jasmine flowers, gandhamu = sandal paste, pannITi cembulu = pitchers of perfumed water, paDakiNTilOnunci = keeping in the bed room, vannelADi = the playful maid, talavAkiTa = at the main door, nilici = standing, nI =your, dAri...

The moon is shining and with heightened joy, the lady is looking for you up the road, having kept ready garlands of jasmine flowers, sandal paste and pots of perfumed water in the bed room.

2 charana:

Evaga nainanu =by any method, nendu = any where, jappuDaina = sound occurs, nIvOyani yanci = thinking it may be you, tirigi tirigi = turning this way and that way, jUci = looking
Ivaga = this way, cittamu = mind, niccalu = always, nilipinaTTi = kept, bhAvam = mind, evarikaina = for anybody, bayalaina = Known, veravaka = without fear, ni = your, dAri...

This lady is turning around at any sound thinking it is you. She is not afraid that her mind may become known to others.

rasikapriya21 · Post by **rasikapriya21** » 01 Aug 2006, 05:21

Thank You Rigapada, I much appreciate your kind help.
thanks
rasikapriya21

janaki_rajan · Post by **janaki_rajan** » 02 Aug 2006, 18:08

Hello Rigapada,

I have trying to get the meaning of this telugu javali. Would you be able to help me with it?

pallavi

vEga nIvu vAni rammanavE O celiya

anupallavi

nAgarIgamugA delipi nAvyatalanu dIrccuTakiTu

caraNam 1

dIna dAyAkaruDu nAtO dinE dinE mATalADi
vInulakimpugA paTTivini pincinadi eTu maratunE

caraNam 2

andamaina ratikELilO amitamugA sukha paracina
mandahAsa vadanunivini mari evarini dalacalEnE

caraNam 3

gAna rasika shikhAmaNi kAnaka ara nimiSamuNDEnu
vAnara rakSakuDau shrInivAsuniki vagaledelpi

Thanks,
Janaki

drshrikaanth · Post by **drshrikaanth** » 03 Aug 2006, 02:51

vEga- quickly; nIvu- you; vAni- him; rammanavE- tell him to come; O celiya- O lass/sister;

O lass! Tell him to come hither quickly.

nAgarIgamugA- decently/in a refined manner; delipi- informing/letting him know; nA-my;
yathalanu- distress/difficulties/pains; dIrccuTakiTu- to remove/relieve.

Informing him of this matter delicately, tell him to come and relieve my distress.

dIna dAyAkaruDu- Him who is compassionate towards the weak; nA tO- with me;
dinE dinE- day after day; mATalADi- conversing;
vInulaku- to the ears; impugA paTTi- sweetly; vinipincinadi- making (me) listen/hear; eTu- how; maratunE- can I forget?.

He who is compassionate towards the weak, used to converse with me day after day in a manner that was ever so sweet to the ears. How can I ever forget it?

andamaina- beautiful/pleasurable; ratikELilO- in amorous dalliance; amitamugA- unmilitedly;
sukha paracina- giving pleasure;
mandahAsavadanuni- him with a gentle smile on his face; vini- having heard/heeded; mari-again/now; evarini- anyone; dalacalEnE- will not even think of.

Him who used to give unlimited pleasure in amourous dalliances! Having heeded that one with a gentle smile on his face, will I even think of another man!

gAna rasika shikhAmaNi- prince among the connoiseurs of music/art; kAnaka- without seeing;
ara nimiSamuNDEnu- Will not be even for half a minute; vAnara rakSakuDau- protector of monkeys;
shrInivAsuniki- to SrInivasa; vagala- sorrows; delpi- informing him/making aware.

I cannot be without seeing that connoiseur of music and arts even for half a minute. O come now! Do inform that SrInivAsa, protector of monkeys(rAma) about my sorrows and make him come quickly.

kiransurya · Post by **kiransurya** » 03 Aug 2006, 03:09

DRS
you beat me to it...

rshankar · Post by **rshankar** » 03 Aug 2006, 03:33

DRS/Kiran/Sarma,
Isn't dIrccuTakiTu = d(t)IrccuTaku + iTu = (to relieve/remove/finish) + here?

Ravi

drshrikaanth · Post by **drshrikaanth** » 03 Aug 2006, 03:41

DRS/Kiran/Sarma,
Isn't dIrccuTakiTu = d(t)IrccuTaku + iTu = (to relieve/remove/finish) + here? Ravi

Correct. But iTu is "in this manner". Not "here".

janaki_rajan · Post by **janaki_rajan** » 03 Aug 2006, 18:11

Hello drshrikaanth,

Thanks a lot giving us the clear meaning of the javali.

Janaki

Rigapada · Post by **Rigapada** » 06 Aug 2006, 07:57

iTu = thus, in this manner, inthe following manner; to this place.

rshankar · Post by **rshankar** » 06 Aug 2006, 09:13

Thanks, Rigapada...

vasanthakokilam · Post by **vasanthakokilam** » 06 Aug 2006, 09:26

I find the words 'nAgarIgamugA delipi' interesting, given the subject matter of the song. How will the abhinaya for an abstract notion like that be, I wonder.

arasi · Post by **arasi** » 06 Aug 2006, 20:31

VK,
If there weren't subtle expressions such as 'nAgarIgamugA delipi' ('abstract' as you say) in songs, abhinaya won't amount to much. As befits my age, I should say (I will drop the andak kAlaththile!) you should have seen Balasaraswathi emote something like this! The abstract has so many possibilities (I am carrying coal to New Castle here!). A skilled dancer would think of new interpretations as vocalists vary their alApanAs in rAgAs and scientists work on their theories and so on...

vasanthakokilam · Post by **vasanthakokilam** » 06 Aug 2006, 23:09

You are right Arasi.. I can now imagine a skilled dancer with a subtle facial expression bringing out the meaning of such concepts. In any case, the objective is not to make us guess the word with the abhinaya and facial expression, it is not charades after all,

but provide the overall experience of conveying the emotion along with the words and music.

Having said that all that, if the audience does not understand the words, can they still get what the dancer is trying to convey at the subtle level of detail? Across cultures or sub-cultures, such subtle facial expressions may not carry any meaning but with in the context of a sub-culture it may. Is the dancer then bound to use such contextual expressions depending on the audience? May be this is just a modern day problem...

arasi · Post by **arasi** » 07 Aug 2006, 01:37

VK,
If drama had stayed in the arena with the greeks--we would not have had Shakespeare and those who came after him. In the one line, 'To be or not to be'--mind you, said only once--unlike in a bharatha natyam or kuchipudi stage where the line can be repeated many times, reinforcing the idea in the viewers' mind, a skilled actor can spell out the conflict. We talk about music all the time here. Honestly, tastes apart, we do not know many things that others on the forum know. Yet, you cannot say our enjoyment of music is any less. Knowledge is power, yes. Yet, knowledge alone doesen't make a rasika.
What I am trying to say is that we all derive pleasure from a good performance,
no matter how much we know. Moreover, if the performance is excellent, your knowing a little less does not matter. The sense of the particular mood or emotion is conveyed, I think. A general picture of the setting and mood is enough for the uninitiated rasika (global as well). One does not have to know the names of Krishna's family and adorers in order to appreciate a beautiful performance of krishnA nI bEganE bAro. That is why the modern practice of printing leaflets for the audience to read before the performance helps--if it is a simple write up which is not riddled with complicated details and names...

drshrikaanth · Post by **drshrikaanth** » 07 Aug 2006, 01:42

Arasi
Correct observations and very wellsaid. Fully agree with you.

arasi · Post by **arasi** » 07 Aug 2006, 02:00

Thanks, Doc!

VK, Do you still want to take your uninitiated buddies to just kathakaLi performances??:)

Boy! Today on the Forum has been like concert crawling in Chennai Season--sans quaff, of course. Did anyone have the time for a bite at least--v.vratam left-overs for some lucky ones:)

vasanthakokilam · Post by **vasanthakokilam** » 07 Aug 2006, 03:41

Arasi: I am with you on your observations and you have stated them very well. I agree it is the overall gestalt that matters the most and the uninitiated can get a lot out of that. Yeah, the "uninitiated" may not get ''nAgarIgamugA delipi' in its subtlety but there is so much context otherwise in the dance and music, it does not take away much.

Now I am even more curious how various dancers interpret that.

A side-bar comment...As a way to some what address this issue for the uninitiated, some dancers do provide a little demo of the various abhinayas that are key to the story line. A couple of 'uninitated people' with me thought that it helped them enjoy the dance a lot better, for them that acted as markers to catch on to and follow how far the story had progressed. I am not a big fan of that ( mainly due to cultural conditioning ) though I should admit it helped me as well.

rshankar · Post by **rshankar** » 07 Aug 2006, 03:46

arasi wrote:VK, We talk about music all the time here. Honestly, tastes apart, we do not know many things that others on the forum know. Yet, you cannot say our enjoyment of music is any less. Knowledge is power, yes. Yet, knowledge alone doesen't make a rasika.
What I am trying to say is that we all derive pleasure from a good performance,
no matter how much we know. Moreover, if the performance is excellent, your knowing a little less does not matter. The sense of the particular mood or emotion is conveyed, I think. A general picture of the setting and mood is enough for the uninitiated rasika (global as well). One does not have to know the names of Krishna's family and adorers in order to appreciate a beautiful performance of krishnA nI bEganE bAro. That is why the modern practice of printing leaflets for the audience to read before the performance helps--if it is a simple write up which is not riddled with complicated details and names...

Arasi,
To answer VK in a very roundabout way, one the influences that moved Jon Higgins to learn carnatic music was Balasarawati's bharatanATyam performance at Wesleyan: when he went up to talk to her after the performance and focused on the dance, she said something like: it is not separate from the music...it is just an extension of the music ...can you not hear the music? (Kji had posted this info many moons ago)...a true 'drishyakAvya'...I find that understanding the music adds layers of enjoyment to appreciating a dance performance - I am not one who can identify the mood from the strains of music or appreciate what is being danced without the prop of music I can understand. An evening of ballet, for instance, can leave me marveling at the technique and grace and quiet strength of the performers, but can't move me as much as watching say 'kutrAla kuravanjI' (forgive the 'r/R' faux-pas), or birju maharAj depicting the gOpIs playing hOlI with krishNA...or dancing to 'maiyyAn mOri'.
I find leaflets accompanying most recitals very annoying because they are SO BADLY written...

Ravi