meaning of 2 bharathiyar songs

[unni]

I am looking for some one to help with the meaning of the following2 bharathiyar songs.
Thanks Lakshman ji for the lyrics

Thanks,
Unnikrishnan

malarin mEvu. rAgA: nATa. c/Eka tALA.

1: malarin mEvu tiruvE unmEl mayyal pongi ninrEn nilavu sheyyu mukham
kANBAr ninaivazhikkum vizhiyum
khalakhalenra mozhiyum deivak-kaidulangu naghaiyum ilagu shelva
vaDivum kaNDun inbam vENDuginrEn
2: kamalamEvum tiruvE ninmEl kAdalAgi ninrEn kumari ninnai ingE
peTrOr kOTi inbamuTrAR
amarar pOla vAzhvEn enmEl anbu koLvaiyAyin idaya verppin mOda ninmEl
ishaigaL pADi vAzhvEn
3: vANi tannai enrum ninadu varishai pADa vaippEn nANiyEghalAmO ennai
nangarindilAyO
pENi vayamellAm nanmai peruga vaikkumvratam pUNU maindarellAm kaNNan
porigaLAvaranrO
4: ponnu nanmaNiyum shuDar shgei pUNgaLendi vandAi minnu ninran
vaDivirp-paNigaL mEvi nirkkum azhagai
ennuraippanEDi iruvE ennuyirkkoramudae ninnai marbu sherat-tazhuvi
tigharilAdu vAzhvEn
5: cellameTTumeidi niiAr-shemmaiyEri vAzhvEn illai enra koDumai
ulagil illaiyAga vaippEn
mullai pOnra muruval kATTi mOhavAdai nIkki ellaiyaTra shuvaiyE enai nI
enrum vAzhavaippAi



villainaiyotta puruvam. rAgA: punnAgavarALi. t/Eka tALA.

1: villinaiyotta puruvam vaLaittanai vElavA angOr verppunorungip-
poDiyAnadu vElavA
shollinait-tEnirk-kuzhaitturaippAL shiru vaLLiyaik-kaNDu shokki
maramena ninranai tenmalaik-kATTilE
kallinaiyotta valiya manam koNDa pAdakan singan kaNNiraNDAyiram
kAkkai k-kiraiyiTTa vElavA
pallinaik-kATTi veN mukhattaip-pazhittiDum vaLLiyai oru pArppanak-
kOlam tarittuk-karam toTTa vElavA
2: veLLalaik-kaigaLaik-koTTi muzhangum kaDalinai uDal vembi marugik-
karugip-pughaiyaveruTTinAi
kiLLai mozhicciru vaLLiyennum peyar shelvattai enrum kEDaTra
vAzhvinai inba viLakkai maruvinAi
koLLai koNDE amarAvati vAzhvu kulaittavan bhAnu kOpan talai pattuk-
kOTit-tuNukkurak-kOpittAi
tuLLik-kulAvit-tiriyum shiru vana mAnaippOl tinait-tOTTattilEyoru
peNNai maNakkoNDa vElavA
3: Aru shuDar mukham kaNDu vizhik-kinbamAgudE kaiyil anjalenum kuri
kaNDu magizhcciyuNDAgudE
nIru paDakkoDum pAvam piNI pashi yAvaiyum ingu nIkkiyaDiyarai
nittamum kAttiDum vElavA
kUru paDappala kOTiyavuNarin kUTTattaik-kaNDu kokkarit-taNDam kulunga
naghaittiDum shEvalAi
mAru paDappala vEru vaDivODu tOnruvAi engaL vairavi peTra perukkanalE
vaDivElA

[rshankar]

Gosh: These are tough! I will start with villinai otta first. I will tackle it one caraNam at a time.

In this, the king among poets tries to contrast the two elements of muruga that endear him to the tamizh people - his valor, and his romancing abilities. In this composition he alternately describes a valorous deed followed by description of a romantic act without skipping a beat (I wonder if what he is trying to convey is the idea that romance is not for faint hearted!).

1: villinaiyotta puruvam vaLaittanai vElavA angOr verppunorungip-poDiyAnadu vElavA

With a mere flick of your eyebrows (puruvam vaLaittanai) shaped like a bow (villinai otta), Oh murugA (vElavA), you made the kraunca mountain (verpu) to crumble (norungi) into powder (poDi poDi Anadu)!

shollinait-tEnirk-kuzhaitturaippAL shiru vaLLiyaik-kaNDu shokkimaramena ninranai tenmalaik-kATTilE

You are the same person who, intoxicated (S(c)okki) on setting eyes on (kaNDu) the young (Siru) vaLLi who speaks (uraippAL) so sweetly as if her very words (Sollinai) were blended/mixed/soaked (kuzhaittu) in honey (tEnil), became a vEngai tree (maramena ninranai) in the hilly (malai) forests (kATTilE) down south (ten).

kallinaiyotta valiya manam koNDa pAdakan singan kaNNiraNDAyiram kAkkai k-kiraiyiTTa vElavA

Oh murugA (vElavA), you are the one who made bird-feed (irai) of the two (iraNDu) thousand (Ayiram) eyes (kaN) of the evil demon (pAdakan) simhamukhan (singan) whose heart (manam koNDa) was harder (valiya) than a boulder (kallinai otta), and offered it (iTTa) to a crow (kAkkaiku)

pallinaik-kATTi veN muttaip-pazhittiDum vaLLiyai oru pArppanak-kOlam dharittuk-karam toTTa vElavA

Oh brave murugA (vElavA), you are the same person who had to assume (dharittu) the role/guise (kOlam) of an old brahmin (pArpan) to marry (karam toTTa - literally means touched hand - but it symbolizes accepting 'her' hand in marriage) vaLLi who can put white (veN) pearls (muttinai) to shame (pazhittiDum) by showing (kATTi) her blindingly white teeth (pallinai) when she smiles.

[rshankar]

2: veLLalaik-kaigaLaik-koTTi muzhangum kaDalinai uDal vembi marugik-karugip-pughaiyaveruTTinAi

Oh murugA, you are the one who chased away/frightened (veruTTinAi) the Lord of the ocean (kaDalinai) who thunders/creates a racket (muzhangum) by the incessant clapping (koTTi) of the hands (kaigaLai) of his waves(veLLalai), by heating (vembi), and burning (karugi) his body (uDal) and causing it to steam (pugaya), thereby confusing (marugi) him.[1]

kiLLai mozhicciru vaLLiyennum peyar shelvattai enrum kEDaTra vAzhvinai inba viLakkai maruvinAi

You then embraced (maruvinAi) the little (ciru) treasure (Selvattai), the embodiment/example/illustration (viLakkai) of love (inba), named (enum peyar) vaLLi, whose speech (mozhi) is like that of a parrot (kiLLai), and blessed her with a life (vAzhvinai) that was forever (enrum) blemishless/without hardship (kEDaTra).

koLLai koNDE amarAvati vAzhvu kulaittavan bhAnukOpan talai pattuk-kOTit-tuNukkurak-kOpittAi

You are the one who punished (kOpittAi) bhAnukOpan (son of sUrapadman) who looted (koLlai koNDE) the capital of the gods, the celsetial city of amarAvati, and who destroyed (kulaittavan) the lives (vAzhvu) of the inhabitants of that city - your anger was so fearsome that bhAnukOpan's ten (pattu) heads (talai) and the garlands around his necks (kOTi) trembled with palpitations (tuNukkura).

tuLLik-kulAvit-tiriyum Siru vana mAnaippOl tinait-tOTTattilEyoru peNNai maNakkoNDa vElavA

Oh murugA (vElavA) you are the one who wed (maNam koNDa) a (oru) young girl (peNNai), vaLLi who pranced about (tuLLi tiriyum) with delight (kulAvi) like (pOl) a little (Siru) deer (mAnai) in the forest (vana), in a raised mound (tiNai tOTTattilE) where she stood guard over the crops.

[1] - This could refer to the episode in kanda purANam when bhAnukOpan goes under the sea to fight a battle, or when sUrapadman assumes the form of a mango tree and hides deep in the ocean-bed. In both those situations, IIRC, the water was evaoprated, exposing the hidden demon(s).

[arasi]

Super translation with ERC-s that you are so good at!

As for viLakku, I would take viLAkku as a glowing lamp. After all the heat that the demon generates, the beautiful light that is VaLLi is a soothing contrast. Of course, viLakkam, viLakku also fits in...

[rshankar]

Thanks, Arasi - after all is said and done, it is the passion of the poet that drives these translations.

[cienu]

Excellent rshankar,

what a lovely translation ..

[vgvindan]

rs,
nice translation - one point though -
tinai - is a millet;
Valli is sent to protect the millet crops by her father - as is the family tradition with Kuravas. While the apparent reason is to protect the crops, it also paves way for svayamvara - the girls of Kuravas choose their own husbands.

According to legends, Devayana and Valli were daughters of Vishnu in their earlier birth, and they take this birth in order to marry Murugan.

[arasi]

Thanks, Govindan. 'tinai' aLavum (a mere grain of an amount) did not escape your scrutiny!
Yes, tinai (millet) is what it is. Not tiNNai (mound). tinait tOTTam=field of millet crop.

[arasi]

Would be grateful if someone kindly posts the original version of 'villinai otta puruvam' tuned and sung by V.V.Sadagopan!

[rshankar]

VGV, Cienu - thanks!

tinai - millet - yes - I remember you explained that earlier (I think it was in reference to 'tEnum tinai mAvuNDu tAngAda vikkal koNDu') - but I thought that the phrase in question here was 'tiNai tOTTattilE' - maybe I heard it wrong, but I thought 'tiNai' made more sense with the subsequent 'peNNai'..but if it is tinai tOTTam, then you are correct!

dEvasEnA and vaLLi were amritavalli and sundaravalli in their previous births - they are supposed to be representations of 'icchA SaktI' and 'kriyA SaktI' respectively.

[unni]

rshankar and all of you chimed in,

Thanks a lot ! This indeed a wonderful community ! Eagerly waiting for the rest.

It makes a lot of sense to give the meaning of the song to my 10 year old son who is just learning these songs, even though
it will take some efforts on my part to explain

Thanks again for your time and willingness to help

Unnikrishnan

[rshankar]

In this last caraNam, the poet pays obeisance to this lustrous being he has described, who is adept at making war as well as love.

3: Aru shuDar mukham kaNDu vizhik-kinbamAgudE kaiyil anjalenum kuri kaNDu magizhcciyuNDAgudE

While a vision (kaNDu) of your six (Aru) lustrous (SuDar) faces (mukh(g)am) is indeed a delightful (inbam AgudE) sight for sore eyes (vizhikku), the appreciation (kaNDu) of the emblem (kuri) that symbolizes refuge (anjal enum) in your hand (kaiyil)[1] gladdens (magizhcci uNDAgudE) ones heart.

nIru paDakkoDum pAvam piNI pashi yAvaiyum ingu nIkkiyaDiyarai nittamum kAttiDum vElavA

Oh murugA (vElavA), you are the one that protects us (kAttiDum) at all times (nittamum). You turn (paDa) into ashes (nIru), and destroy (nIkki) harsh/heinous (koDum) sins (pAvam), disease (piNi), hunger (paSi), and all other (yAvaiyum) sufferings that afflict your devotees (aDiyarai) here (ingu) in this world.

kUru paDappala kOTiyavuNarin kUTTattaik-kaNDu kokkarit-taNDam kulunga naghaittiDum shEvalAi

Oh brave and valorous murugA (SevalAi - one who has an emblem of a rooster - SEval - on his flag)! You are the one who crows/shouts in triumph (kokkarittu), and laughs (nagaittiDum) so hard that the universe (aNDam) quakes (kulunga), when you see (kaNDu) a bunch of (kUTTattai) numerous (pala kOTi - many crores) demons (avuNarin) when they experience the sharpmess (kUru) of your spear as it touches/falls upon (paDa) them.

mAru paDappala vEru vaDivODu tOnruvAi engaL vairavi peTra perukkanalE vaDivElA

As the situation demands, you are capable of changing (mArupaDa), and assuming (tOnruvAi) many (pala) different (vEru) forms (vaDivODu)[2], you are the mighty (peru) fire/ember/lustrous being (kanalE) created/given birth to (peTra) by our (engaL) mother, Adi Sakti (vairavi - bhairavi), Oh vElavA!

[1] - abhaya hastam
[2] - He assumes the form of a guru (swAminAthan in swAmi malai); a warrior (as he desroys the hordes of demons); an ascetic (ANDi in pazhani); a hunter/dallier (as he woos vaLLi); a tree (to escape the wrath of nambirAja, the gypsy chieftain, who is vaLLI's adoptive father); a bent old brahmin (as he tries to trick vaLLi) - and of course, his ultimate form as the essence of praNava.....

EDITED with Arasi's corrections in post # 13.

[arasi]

nIRu paDa=reduce to ashes; paDa=to make--so, to reduce to nothing
our sins, etc. nIRu paDa koDuM pAvam.

avuNar=asurar. avuNarin kUTTam= hordes of demons

[rshankar]

Thanks, Arasi!

[rshankar]

I got around to listening to several versions of 'vilinnai otta' and realized that only Smt. MSS has rendered all three caraNams (in a compilation of bhArati's works that was commerially released - I think the revenue generated from the sales went to benefit Sankar nEtrAlaya). I also realized that in many versions, the phrase 'S(c)iru vaLLi..' is replaced by 'kura vaLLi..' in different sangatis. kura - same as kuratti - a gypsy maiden, to drive home the point that vaLLi grew up in a gypsy clan.

[rshankar]

The first one is rather difficult to interpret for me. The sentiments are not totally staright forward, unless this composition is an extension of the sentiments expressed in the poems grouped under 'kaNNammA en kAdali', where the poet sees parASakti as a lovely young woman he falls in love with. The composition appears to be addressed to lakshmI (alar mEl mangai), and the poet, a young man who is infatuated with her. I have corrected some of the words based on another version (I am not certain about its authenticity, other than the fact that it made more sense to me), so can some one please confirm?

1: malarin mEvu tiruvE unmEl mayyal pongi ninrEn nilavu cAyal mukhamum kANbAr ninaivazhikkum vizhiyum
khalakhalenra mozhiyum deivak-kaLaitulangu nagaiyum ilagu shelva vaDivum kaNDun inbam vENDuginrEn

Oh divine (tiruvE) lady who manifests (mEvu) in a lotus flower (malarin), I stand (ninrEn) here with love (mayyal) for you (unmEl) overflowing (pongi) in my heart. As I appreciate (kaNDu) the following enthralling features, I ask/request (vENDugirEn) for bliss/happiness (inbam) with you (un): a face (mukh(g)am) that bears a striking resemblance (cAyal) to the lustrous moon (nilavu), intoxicating eyes (vizhiyum) that make the beholder (kANbAr) forget (ninaivu azhikkum) everything, bubbly and effervescent (kala kala enra) conversation (mozhiyum), a smile (nagaiyum) that shines (tulanga) with divine (deiva) lustre (kaLai), and an extremely beautiful (Selva) and soft (ilagu) body/form (vaDivum).

[vgvindan]

rs,
The yearning of Bharati for wealth (SrI - 'tiru') is clearly given in the second caraNa - [/b]ninnaiyingE peTROr kODiyinbamuTRAr[/b] (Those who obtained you attained plenty of happiness).

The book I am referring to is 'bhAratiar kavidaigaL' (Tamil) by Kumaran Printers. The heading for this poem given in the book is 'lakshmi prArthanai' - (tiru vETkai - desire for wealth). It may not be appropriate to call it 'infatuation' as is generally understood.

In this book, it is given as 'seyyu' (cAyal) - 'kaLitulangu' (kaLaitulangu).

[rshankar]

Thanks VGV - I struggled with the proper word there - I used infatuation in the intro, but settled for 'love' in the translation!

seyyu would mean beauty, right? so 'nilavu seyyu mukhamum' should mean 'a face as beautiful as the lustrous moon', and 'deivak-kaLi tulangum nagaiyum' should mean 'a smile/laugh brimming with divine joy/mirth'

[vgvindan]

It may be appropriate to render 'tiruvE' as 'O Lakshmi'

'nilavu seyyu' - the general meaning given by you seems to be appropriate; however I have not come across such a usage. ('seyyu' means 'making' 'causing')

'kaLi tulangum' - personally I would also prefer 'kaLai tulangum'. However, as it is given as 'kaLi', we have to go by that word (unless it is a typo). The meaning given by you is appropriate.

[arasi]

tiru vETkai (your meaning 'yearning' is right, Ravi) is the title of this song in my 1958 edition by SAkti kAriyAlayam.

'kaLi tulangum' is what my book says. kaLai tulangum fits in too.

'nilavu Seyyum' is intriguing. Whereas 'Siranda' and 'beautiful' are apt, we have a verb here, not a qualifier, I think. Sorry, if I am stretching the meaning. After all, bArati's imagination was limitless and it is tough to figure out his imagery at times. As if nilavu is used to lend its light to make a face like this, a face which is wrought by the moon??
Rajani I am sure has her interpretation too.

[vgvindan]

arasi,
It may be either way - a moon-causing face or a face caused by moon. After all Lakshmi is sister of moon.

[rshankar]

What does candrAm mean? in LakshmI asTOtaram, she is refered to as 'candrAm, candra sahOdarIm'

[vgvindan]

rs,
'candra' has many meanings other than 'moon'. Some of them - as given in the Monier's Sanskrit Dictionary are -

glittering , shining (as gold) , having the brilliancy or hue of light (said of gods, of water and of Soma), most excellent among; the number `" one "' ; a lovely or agreeable phenomenon of any kind; a spot similar to the moon; the eye in a peacock's tail; the mark of the Visarga; a kind of reddish pearl; camphor; water L. ; & etc

[rshankar]

Thanks - so candrAm in this context would refer to lakshmI's shining complexion then, right? bhAratI in another composition refers to lakshmI as 'ponnarasi, nAraNanAr dEvi pugazharasi, minnum navarattinam pOl mEni azhaguDaiyAL'.

[sureshvv]

thanks to all of you for this thread... next time I hear the songs it will be a richer experience!

[rshankar]

2: kamalamEvum tiruvE ninmEl kAdalAgi ninrEn kumari ninnai ingE peTrOr kOTi inbamuTrAR
amarar pOla vAzhvEn enmEl anbu koLvaiyAyin idaya verppin mOda ninmEl ishaigaL pADi vAzhvEn

lakshmI (tiruvE) who manifests (mEvum) in a lotus (kamalam)! I stand here/exist (ninrEn) with enormous reverence/desire (kAdalAgi) for you (ninmEl). Oh maiden (kumari), on this (ingE) earth, those that have attained (peTrOr) you (ninnai) experience (uTrAr) countless/unmeasurable (kOTi - crore - enormous amount/countless) joys (inbam). But, only if you harbor (koLvaiyAyin) tender feelings (anbu) towards me (enmEl) in return, will I be able to live (vAzhvEn) like (pOla) the very gods (amarar) themselves! And, immersed in the joy (mOdam) that will suffuse my heart (idaya verppin), I will then spend my life (vAzhvEn) singing (pADi) songs (iSaigaL) in your (ninmEl) praise.

[arasi]

imaya veRpin mOda:
imaya veRpu=the himAlayA mountain
mOda= to surround, to hug, in this context-- not hit
I will sing songs which would reach himalayan heights and hug it--lofty songs.

[rshankar]

Arasi, is it 'imaya veRppin' and not 'idaya veRppin'?

[arasi]

Ravi,
My book says 'imaya' and idayam being a 'veRpu' seems far fetched.

[rshankar]

OK! Actually makes more sense. My version doesn't have this caraNam...

Can you please go over the remaining caraNas and correct them, please?

[arasi]

continued:

vANi tannai enRum--ninatu
varisai pADa vaippEN!
nANi EgalAmO?--ennai
nangaRindilAyO?
pENi vaiyyamellAm--nanmai
peruga vaikkum viratam
pUNu maindarellAm--kaNNan
poRigalAvaranRO?

ponnum nalla maNiyum--SuDar Sei
pUNgaLEndi vandAi!
minnu ninRan vaDiviR (vaDivil)--paNigaL
mEvi niRkum azhagai
ennuraippEnadi--tiruvE!
ennuyirkkOramudE!
ninnai mArbu SErat--tazhuvi
nigarilAtu vAzhvEn.
SelvameTTum eidi--ninnAR
SemmaiyERi vAzhvEn;
illai enRa koDumai--ulagil
illayAga vaippEn;
mullai pOnRa muRuval kATTi
mOga vAdai nIkki,
ellai aTRa SuvaiyE!--enai nI
enRum vAzha vaippAi.

This is lovely! Waiting for your translation. ashTa lakshmi surfaces again. We will hear more than eight names, if I'm not mistaken

My usual refrain: when we use exclamation and question marks in a song, it helps us in our understanding the verses.

[PUNARVASU]

Arasi,
SelvameTTum eidi--ninnAR
SemmaiyERi vAzhvEn;
illai enRa koDumai--ulagil
illayAga vaippEn;
What convictions! Bharati says,
I will get all the eight wealths?(selvam) and live a lofty life and see that
the cruelty of poverty(illai endRaa kodumai)
is completely erased from the face of the earth.(ulagi lillaiyAga vaippEn)
He never wanted anything for himself.
Elsewhere he says
'taniuruvanukku uNavillaiyEl inda jagattinai azhiththiduvOm'
What powerful language!
I just read an article in The Hindu today about Bharati and when I saw your posting Ifelt like writing.
Thanks

[arasi]

Punarvasu,
You said it! 'tani oruvanukkuNAvilai' is echoed here, or it is the other way round.The verses gain many facets as they march along to the conclusion.
The bits I love are: his great sense of confidence in declaring that he would summon vANi (who is at his beck and call) to praise tiru!
The other one is: those who believe in goodness and show it in their actions--aren't they the instruments of God and are his children? He hints --if I am kaNNan's son, well, I am yours too, am I not? !!

[rshankar]

After all Lakshmi is sister of moon.

candra sahOdari - when the milky ocean (kSIrAbdhi) was churned, many treasures were thrown up after halAhalam was dealt with, and one of them was the moon, and finally, mahAlakshmI emerged - so, she is considered the daughter of the sea/ocean (and refered to as kSIrabdhi kanya, alai magaL, sindhujA etc. etc., but the one that captures my imagination is Adi Sankara's 'makarAlaya kanyA' - daughter of the home (Alaya) of crocodiles (makara)!!! ), and since the moon emerged from the same ocean, she is also 'candra sahOdarI'.

arasi,
It may be either way - a moon-causing face or a face caused by moon.

In 'hiraNmayIm lakSmIm', MD refers to her as 'SIta kiraNa nibha vadanA' - nilavu cAyal mukham maybe more apt!

[PUNARVASU]

nilavinai otta mukhamudaiyAL- I suppose

[rshankar]

While we are on the topic of the mahAkavi's compositions, here is an article from (Sangeetham) Sriram on a memorial to the poet extraodinaire:

http://www.hindu.com/fr/2008/06/27/stor ... 820300.htm

[rshankar]

The footnotes have grown in this section - reinforces why I love this poet, and his fiery intellect - he must have had the exceptional ability to compose such terse verses pregnant with meaning, or his editing skills must have been extraordinary - regardless, the end product is verse that brims with meaning, and needs several pages to translate fully!

vANi tannai enRum ninadu varishai pADa vaippEn nANiyEgalAmO ennai nangarindilAyO

pENi vayamellAm nanmai peruga vaikkumvratam pUNU maindarellAm kaNNan porigaLAvaranrO

(Oh lakshmI! If you agree to reciprocate my feelings for you), I promise that I will get (vaippEn) none other than the very goddess of words, sarasvati herself (vANi tanai) to sing (pADa) your praises (variSai is literally 'lines' or rhymes) at all times (enRum). Why are you putting me in this akward situation (EgalAmO) by being bashful (nANi)? Don't you know (arindu ilAyO?) me (ennai) well (nangu) enough by now[1]? Don't you realize all (ellAm) young men (maindar) who assume the duty (pUNu) and undertake a vow (vratam) to improve the lot of mankind (repectfuly (pENi) undertake a vow that will ensure that good (nanmai) increases (peruga vaikkum) all (ellAm) over the world (vaiyyam)) are like (Avar anrO) fiery embers (porigaL) from the eye of Siva ((mu)kaNNan)[1].

Footnotes:

[1] bhAratI clealry reinforces his image as an angry, impatient young man anxious to usher in social revolution - in another composition, he says, 'why do impatient men (Attiram koNDavarkE) need (EdukkaDI) rules and social niceties (SAttiram)? - it is just an excuse for delaying!' He was obviously exasperated and impatient with people in charge, and their inertia and opposition to change, and new ideas, it permeates many of his compositions. Most people who want to challenge established conventions go up against this road-block, and deal with this differently. The mahAkavI made his revolutionary ideas, impatience with acceptable societal norms, and his inability to tolerate people who wanted to preserve the status quo 'just because' an integral part of his life and they issued out in all of his actions, including his poetry. He therefore describes himself as a fiery ember, ready to cumbust - should there be enough provocation - like the one Punarvasu reminded us - his ideal India would have citizens with such a keenly developed sense of social equity, that they'd think nothing of destroying the world, if even one man was denied his rights, or went hungry.

[arasi]

Ravi,
An inspired post from you.
Even if a few among the many young people who are members of rasikAs and also others who browse here happen to read this, I have hope that it would make that person go seek bArati's writings. It IS possible for them to be drawn to his poetry, just as we find them getting attracted to CM when there is so much of popular music out there.
You have chosen the same lines which jumped out of the verses when I looked at them the other day and it made me think--familiar though we are with bArati, how many lines have we taken for granted as we grew up--knowing the worth of each line but not getting up and dancing! I had not gone to him in the past few years as frequently as I used to, and I know that in any page you turn, there is a gem of a line, treasure of a verse--with mind blowing thought and fantastic imagery contained in them.
If only our vocalists spend time with him on a regular basis, how much more inspired they will get to be, not only in singing his poetry but in singing other tamizh compositions and those in other languages too!. We rasikAs thirst for bhAvam in music. BArati will guide them!
As for the old lady, she is going to seek his company more from now on. Thanks

[unni]

A lot happened on this thread since I last visited this. Thanks a lot for rshankar, arasi and others who helped out.
It will take me a some time go through all the posts and digest.

Thanks a bunch again !
Unnikrishnan

[PUNARVASU]

Ravi/Arasi,
You said it! Such inspiring writings! so much conviction! There is so much in Bharati's writings that the youngsters today can learn from and Bharati, even after so many years of his passing into eternity, can still bring about a revolution. In fact my music teacher says, when we hear a Bharatiyar song rendered in a cutcheri, we get so carried away by the words that the music takes the back seat(however good the musician and the music is) How true it is!

[rshankar]

Arasi/Punarvasu,

Thanks.

Unnikrishnan,

You are welcome. However, I am sure you are going to have a tough time explaining this to your son! Good luck with that!

[vgvindan]

rs,
Please see these lines -
uppeNRum sIniyeNRum uLnATTu sElaiyeNRum
seppit tirivAraDi kiLiyE seyvadaRiyAraDi kiLiyE
(People prattle about 'salt', 'sugar', 'home-spun saree'; they do not know what to do.)

This, IMHO, is criticism of Gandhi for his Salt satyagraha - peaceful method of pursuit of freedom movement. The same Bharati showered praise on Gandhi elsewhere.

I feel that we should catalogue the songs the Bharati in chronological order and then group subject-wise so that his evolution can be properly appreciated. I am facing the same problem with Sri Thyagaraja - there are many contradictory kritis which could not be reconciled by grouping them mela-karta-wise.

In case of Bharati, he was dealing with social issues also. As the society and environment evolves, one's approach also undergoes change. The changes get reflected in later kRtis. If such kRtis are taken out of context, they may not be the overall view of the poet.

I will cite only one example - 'ADuvOmE paLLu pADuvOmE' - There are five caraNas in this Song. But one of the caraNas - which contains controversial remarks about a particular community - is conveniently omitted in all renderings. Who gave the right to edit it?

Similarly, his 'kaNNammA' kRtis have been totally polluted as 'filmy' romance of meanest order.

I do not know whether a wholesome attempt has been made to appreciate the songs of Bharati. We should not shy away from controversial remarks of such great people because, such remarks are to be seen in historical perspective. Also such remarks need not be taken as the considered opinion of the poet - they may be more situational.

A lot needs to be done in this regard. If we want to pursue this sincerely, we must catalogue the songs in chronological order first and then group them subject-wise.

[sureshvv]

+1

[rshankar]

VGV,

I like your idea of evaluating all of his works critically, appropriately, and in context - mere sycophancy is not what is needed. It is probably long overdue. Selective editing also very difficult to deal with:
When we try to throw the bath water out, more often than not, the baby goes out with it!

Having said that, I am certain that I do not have the necessary vidwat or the time to commit to this project. It will have to await someone with single minded devotion, like you have displayed with the tyAgarAja kritis project!

[rshankar]

+1

Suresh,

Were you trying to say something here?

[arasi]

I am not a scholar or a researcher--nor do I know my bArati that well. All I know is to love him for what I understand of his poetry. I also know that my life would have been much poorer without his poetry.
Yes, research of every kind by scholars is going to be valuable, but drawing more and more people to appreciate his works--in particular the children, is important, I think.
Govindan,
Scholars may disagree with me with facts and chronology, but I do not think he changed his mind about Gandhi at all! He was speaking of the shams who spoke of such things but did not practice them! The principles and the mahAtma are NOT ridiculed here. Gandhians sang this song too along with the other national hymns. With all his love for his country and for its great leaders like the maHAtmA, bArati had great intolerance for those who meted out injustice. He believed in 'being' a true citizen and in 'doing' good to fellow human beings. Within his meager means, he was a giver at all times...

[vgvindan]

rs,
Kindly do not take what I said as casting aspersion on the wonderful translations you have undertaken. Please continue your effort for the benefit of others - particularly children - as brought out by arasi.

As regards Thyagaraja, I doubt very much whether my effort would go anything more than that of translation (and transliteration) of his kritis. It would require a research effort of much longer duration than what I have so far devoted. Hope someone will utilise the material and go more deep and evaluate him.

arasi,
Though I have a fair of idea about Bharati, I am not privy to the same kind of proximity which you had. My intention is not to create any controversy but to point out, what I considered to be, a lacuna in the evaluation of this great person.

[arasi]

True, Govindan.
But I did not have any proximity at all to him since he was long gone when I was born! However, I have known a few people who knew him. Ah, anecdotes don't compare with scholarly works. On the other hand, the torch you bear for TyAgarAjA (with scholarly knowledge too) and the fervor Ravi, you and others like me have for bArati counts a great deal because that is what might spark an interest in someone somewhere to want to read his works. I am very poor when it comes to quoting lines. But the feeling that wells up in me when I even think of BArati is what helps me in my own life and my creative expressions...

[rshankar]

VGV,

I did not think you were, at all.

I was just expressing my inadequacy at undertaking the daunting task that you suggested, and that I agree will need to be done at some point!

[rshankar]

ponnum nalla maNiyum--SuDar Sei pUNgaLEndi vandAi!
minnu ninRan vaDiviR (vaDivil)—paNigaL mEvi niRkum azhagai
ennuraippEnadi--tiruvE!

You came (vandAi) to me laden with/carrying (Endi) gold, gems (maNi) of high quality (nalla), and glittering (SuDar Sei) jewels (pUNgaL)! Oh lakSmI/SrIdEvi (tiruvE), I will forever (ennu) praise/talk about (uraippEn) the glowing (minnu) beauty (azhagai) of your (ninran) form (vaDivil), enhanced (mEvi) by ornaments (paNigaL), as you appear (nirkum) before me.

ennuyirkkOramudE! ninnai mArbu SErat—tazhuvi nigarilAdu vAzhvEn.
SelvameTTum eidi—ninnAR SemmaiyERi vAzhvEn;

Oh sweet nectar (amudE) of my (en) life (uyirukku Or)! I will live (vAzhvEn) an unparalleled (nigar illAdu – without equal) existence as I clasp (tazhuvi) you (ninnai) to my chest (mArbu SEra) and experience the giddy heights (ERi) of your (ninnAr) bounty (Semmai) even as I attain all eight (eTTum) types of wealth[1].

illai enRa koDumai—ulagil illayAga vaippEn;
mullai pOnRa muRuval kATTi mOga vAdai nIkki,
ellai aTRa SuvaiyE!--enai nI enRum vAzha vaippAi.

Oh indescribable (ellai aTRa – something that can't be defined or limited) experience (SuvaiyE)! Even as you smile benignly (muRuval kATTi – literally means showing your smile) at me with a smile that is as soft and white like (pOnra) a jasmine bloom (mullai), you destroy (nIkki) the torments (vAdai) I suffer because of my worldly delusions (mOha). I am certain that you (nI) will bless me (ennai) to live (vAzha vaippAi) a fulfilled life. And in return, I assure you that I will not hoard my wealth, but will share it with the world – I promise to eliminate (illaiyAga vaippEn) the torture (koDumai) of poverty (illai enRa) in this world (ulagil).

[1] The 8 'lakSmIs' are supposed to bestow 8 types of wealth (Selvam):
Adi lakSmI – also known as ramA – bestows happiness
dhana laskSmI – bestows material wealth/money and gold
dAnya lakSmI – bestows agricultural wealth/grains
gaja lakSmI – as laskSmI emerged from the kSIrAbdhI, she came accompanied by elephants, after which, came the divine nectar from the ocean – so, she heralded the attaining of nectar by the Gods, and is considered the one who bestowed immortality on the Gods – this form of lakSmI is supposed to bestow the wealth of cattle/animals – a source of great wealth in the ancient times.
santAna lakSmI – bestows progeny
vIra lakSmI – bestows courage
vijaya lakSmI – bestows victory
vidyA lakSmI – bestows learning/knowledge

I am surprised that bhArati used Selvam eTTu, and not Selvam padinAru, because the typical tamizh blessing is to invoke the 16 types of wealth – 'padinArum peTRu perum vAzhvu vAzhu'