rangana nOdire - request for meaning

[Sreeni Rajarao]

I hope Smt Savitri/Sri Sachi/Keerthi/Ramakriya or anyone can help me with this request!

In the CD brought out by Ananya Bengaluru, Smt Sathyavathi has beautifully sung this Purandara dAsara pada in brundAvana sAranga.

Smt Sathyavathi herself has uploaded this version here!
https://www.youtube.com/watch?v=gm1rFY_dIeI

I have seen nAdanAmakriya as the suggested rAga for this song but I have not heard any audio in this rAga.


I need help particularly with the line....... hammina tAyita tOLa bApuriyo
(I have an idea what this means but I am looking for validation from the experts!)

Here's the full text:

rangana nODire rAjakuvara narasingadEva namma dEvaki sutana

hammina tAyita tOLa bApuriyo, Ghammane Ghallemba gejjeya dhvaniyo
summahimana kiviyalli coukuliyo, timmarayaniTTa sobigna bageyo

shukravArada pUjegombuvara, sakkare pAl mosaru beNNe melluvana
Ghakkane surarige amrutavittavana, rakkasa kulavairi rAvaNAntakana

pApavinAsini snAnava mADi, pApagaLellavu bEga bittODi,
I pari dinadina mUruti nODi, sRipati purandaraviThalana pADi


Thanks in advance!

Sreeni

[Rsachi]

Sreeni,
I am sure you will get more scholarly and insightful meanings, but here I go:
This song seems to be in praise of the Pandharapur Vitthala. pApavinAsini and Narasimhakshetra referred in the song indicate that since these places are around Pandharapur.

hammina= Proud mannered (because Yashoda thinks she is the mother of Lord krishna!) tAyiya = Yashoda's bApuriyo=bAhupuri or bracelet (worn around the upper arm) ghammane ghallemba= making a grand bell sound gejjeya dhvaniyo=sound of your anklets (Krishna or Vitthala is wearing them)...

[Sreeni Rajarao]

Sachi avare,

Thank you! Your explanation validates what I was thinking it to be, particularly the segment hammina tAyiya tOLa bApuriyo.

Also, I have corrected it to read tAyiya (not tAyita) as I had typed it earlier.

Regards,

Sreeni

[aaaaabbbbb]

Sreeni avarige,
We were taught this dEvara nAma in nAdanAmakriya.
In the lyrics you have posted, a small correction is needed.
It is*rakkasa kulavairi*and *shukravArada*
Regards.
Savitri.

[Sreeni Rajarao]

Smt Savitri avare,

Thank You! I have made the corrections!

Regards,

Sreeni

[mukta]

Srini Rajarao Sir,Rsachi Sir,
In the caranam of the dEvara nAma,rangana nODirE,
the line’hammina tAyiya’ does not seem to connect with the
next line’tOLa bhApuriyO’.
hammina= Proud mannered (because Yashoda thinks she is the mother of Lord krishna!) tAyiya = Yashoda's
next line describes the armlet worn by krishNa.
My humble opinion is,the word is ‘tAyita’ and not ‘tAyiya’.

[Rsachi]

Mukta-ji,
I think....
bApuri=bAhupuri, which is an ornament. It is not a talisman=tAyita. And Krishna wouldn't be proud=hammina.

[Sreeni Rajarao]

Mukta avare,
Thank You! I am coming full circle now!
In fact, when I was first asked for help with the meaning to choreograph a dance, I suggested the meaning to the effect of wearing the ornament with pride!
You might have noticed I started with tAyita in my first post, edited it to read tAyiya and now I will see if I can edit again to make it tAyita!

Thank you all - it has been an interesting exercise!

[rshankar]

Sreeni - I did wonder if this discussion was for a choreographic exercise! With many of these compositions of such antiquity, I find that there is no one way of interpreting the lyrics. Especially, since the pieces were not written down by the composer! Even contemporary compositions with written provenance are modified in the interests of 'making them more poetically/grammatically correct'...

In such cases, I always wonder why all possible interpretations can't be presented through the choreography - as long as they are clearly explained in the introduction to the piece, I think audiences will love it. In this case, one can certainly appreciate a proud yaSOdA as much as a kRshNa taking pride in his AbhUshaNa...

[mukta]

Sreni Rajarao Sir,

DhanyavAdagaLu.

Regards.