kamalajadaLa vimala sunayana karivarada karuNAmbudE kusuma sharadE
kamalAkAntA kEsi narakAsura vibhEdana varadavEla surapurOttama
kusuma sharadE kanalA kAntA
(not sure if it is kusuma sharadE or saradE)
rAgA: gauLa. rUpaka tALA.
sakala sura kirITa maNi kiraNa nI rAjita caraNa yugaLugavaNu rE rE
bhaktajana manOratha phaladAyakaliki kumAraka kAvaNu bhaya nivAraNu kavvaNu rE rE sESAcala nivAsa shrI vEnkaTEsha caraNa yugaLavannu rE rE
rAgA: bhairavi. Adi tALA.
shrI rAmacandra shrita pArijAta samasta kalyANa guNAbhirAma sItA
mukhambOruha sancarikA nirantaram mangaLa mathanOtu
What does kuvalayApITha (in the nATTai composition) mean? kuvalaya pITha is a seat made of a water lilly (nIlOtpalam), or when the earth becomes the throne/seat, right?
kuvalayApIDa is the mad elephant that kansa sets on krishNa...
rshankar,
You are right, kuvalayApIDa is the maddened elephant kamsa set on KriShNa..
I have a question.. What does kamala-ja-daLa mean.. I noticed the inappropriateness, and changed my paathAntaram to kama-a-la-dala vimala sunayana.. Later I learnt the pAtAntaram of a scholarly sahitya-sangeeta stalwart which was emended to kamala-dala-nibha vimala-sunayana..
The language used in many geetham-s is 'BhANDIra' bhASha, I believe.. this is a curious language used in the older gIta-prabandha-s and employs what were called the stObhAkShara-s.. See any gloss on the sAma veda for an explanation of the last term.. AnalEkara and other such geetha-s are in this language.
So, we can't be too sure of the constructs used, and their grammatical correctness; as a new language entails a new grammar.
p.s - Lakshman sir, could ou mention the oldest,(or multiple) source(s) you have giving these gItam-s..?
Are there any differences if there are multiple sources.. I think there are two versions with kamsa-narakAsura and kEsi-narakAsura.. Also could it be velA-pura-surottama..?
The first three are from gAnakalA svarabhUSaNI (1960) by K.P.Krishnamurti PIllai & K.P.Shivanandam PIllai. The last one is from P.Sambamurti's Karnatic Music, vol III, 1978.
Quoting from Shivkumar Kalyanaraman's web page, which in turn quotes Chitraveena Ravikiran:
Meaning: (Adapted From: Perfecting Carnatic Music, Level 1 by Chitraveena Ravikiran)
Oh! Merciful one, with lotus-like ("kamalajadala") Eyes ("vimala su-nayana")! You are an ocean
("ambudhe") of mercy ("karuna") and showed ("sharadhe") kindness ("varada") to the elephant king
("kari"), Gajendra. You, the lord ("kaanthaa") of Lakshmi ("kamalaa") slew ("vibhedana") the
demons ("asura") Keshi and Narakaasura. Your exalted presence ("varadha") resides in the city
("pura") of Velapura. You are the greatest ("uttama") amongst Gods ("sura").
When I recently attended rama verma's concert , he was mentioning with out specific details about the composer and controversy (I wish he told more) prior to the rendition of "vara veenA mridhupAni" geetham. I see in karnatik that this geetham is listed as appiah dikshitar , where as in another post by devi the same geetham is listed as purandaradAsar composition.
What is the controversy there? Any insights there?