En Palli Kondeeraiyaa : Arunachala Kaviyraayar

En paLLi koNDeerayyaa
raagam: mOhanam


28 harikaambhOji janya
Aa: S R2 G3 P D2 S
Av: S D2 P G3 R2 S
taaLam: aadi

Composer: Arunaacala Kavirayar
Language: Tamil 

pallavi
En paLLI koNDIrayya? shrI ranganAtharE nIr
(En) 

anupallavi
Ambal pUtta shaya paruvata maDuvilE-yavadaritta iraNDATri naDuvilE
(En)
caraNam 1
kOshikan shol kurittadarkkO? arakki kulaiyil ambu terittadarkkO?
Ishan villai murittadarkkO? parashurAmanuram parittadarkkO?
mAshillAda mithilEshan peNNuDanE vazhi naDanda iLaippO?
dUshilAda guhanODattilE gangai turai kaDanda iLaippO?
mIshuramAm citrakUTac cikarak kalmishai kiDanda iLaippO?
kAshinimEl mArIcanODiya gati toDarnda iLaippO?
OdikkaLittO dEviyai tEdi iLaittO? MarangaLezhunduLaittO?
kaDalai kaTTi vaLaittO? lankai ennum kAval mAnagarai iDitta varuttamO?
rAvaNAdigaLai muDitta varuttamO?
(En)
caraNam 2
maduraiyilE varum kaLaiyO? mudalai vAi magaLaittarum kaLaiyO?
edir erudai perungaLaiyO? Kanrai eDutterinda perugaLaiyO?
pudumai Ana mulaiyuNDu pEyin uyir pOkkiyaluttIRO?
adira Odivarum kuruvi vAyai iraNDAkkiyaluttIrO?
tudi shei AyargaLai kAkka vENDi malai tUkki yaluttIrO?
jati shei kAlinAl kALingan maNImuDi tAkkiyaluttIrO?
Marudam shAittO? Adu mADugaL mEittO?
sakaDuruLait teittO? kanjan uyirai mAittO?
arjunanukkAga sArathiyAi tEr viDutta varuttamO?
pOrilE cakkaram eDutta varuttamO?
(En)
caraNam 3
paDi tanilE mettavum nAnE ummai param enavE aDuttEnE
aDimai koLvIr ennaittAnE shempon aNi arangapperumALE!
taTam urainda karum pArai shApamadu taDuttu rakSittIrE!
viDa oNNAda kAkAsuranukkoru kaN viDuttu rakSittIrE!
koDumai koNDazhuda draupadaikkut tuyil koDuttu rakSittIrE!
maDuvil Anai mun ODi mudalaiyai maDittu rakSittIrE adupOl
vArum kripai kaNNAlE pArum manakkavalai tIrum
ninaitta varam tArum tArum en sAmi vaKSamEvum
mahAlakSmiyuDan perum pakSamAga ennai rakSikka ezhundirum
(En)

The lyrics in Tamil:

பல்லவி
ஏன் பள்ளீ கொண்டீரய்யா? ஸ்ரீ ரங்கனாதரே நீர்
(ஏன்)

அனுபல்லவி
ஆம்பல் பூத்த சய பருவத மடுவிலே-அவதரித்த இரண்டாற்று நடுவிலே
(ஏன்)

சரணம் 1
கௌசிகன் சொல் குறித்ததர்க்கோ? அரக்கி குலையில் அம்பு எறிந்த்ததர்க்கோ?
ஈசன் வில்லை முறித்ததர்க்கோ? பரசுராமனுரம் பரித்ததர்க்கோ?
மாசில்லாத மிதிலேசன் பெண்ணுடனே வழி நடந்த இளைப்போ?
தூசில்லாத குஹனோடத்திலே கங்கை துறை கடந்த இளைப்போ?
மீசுரமாம் சித்ரகூட சிகரத்தின் மிசை கிடந்த இளைப்போ?
காசினிமேல் மாரீசனோடிய கதி தொடர்ந்த இளைப்போ?
ஓடிக்களைத்தோ தேவியை தேடி இளைத்தோ? மரங்கள் ஏழும் துளைத்தோ?
கடலை கட்டி வளைத்தோ? இலங்கை என்னும் காவல் மாநகரை இடித்த வருத்தமோ?
ராவணாதிகளை முடித்த வருத்தமோ?
(ஏன்)

சரணம் 2
மதுரையிலே வரும் களையோ? முதலை வாய் மகனைத்தரும் களையோ?
எதிர் எருதை பெருங்களையோ? கன்றை எடுத்தெரிந்த பெரும் களையோ?
புதுமை ஆன முலையுண்டு பேயின் உயிர் போக்கி அலுத்தீரோ?
அதிர ஓடிவரும் குருவி வாயை இரண்டாக்கி அலுத்தீரோ?
துதி செய் ஆயர்களை காக்க வேண்டி மலை தூக்கி அலுத்தீரோ?
ஜதி செய் காலினால் காளிங்கன் மணிமுடி தாக்கி அலுத்தீரோ?
மருதம் சாய்த்தோ? ஆடு மாடுகள் மேய்த்தோ?

சகடுருளை தேய்தோ? கஞ்சன் உயிரை மாய்த்தோ?
அர்ஜுனனுக்காய் சாரதியாய் தேர் விடுத்த வருத்தமோ?
போரிலே சக்ரம் எடுத்த வருத்தமோ? 

(ஏன்)

சரணம் 3
படி தனிலே மெத்தவும் நானே உம்மை பரம் எனவே அடுத்தேனே
அடிமை கொள்வீர் என்னைத்தானே செம்பொன் அணி அரங்கப்பெருமாளே!
ததம் உரைந்த கரும் பாறை சாபமது தடுத்து ரக்ஷித்தீரே!
விட ஒண்ணாத காகாசுரனுக்கொரு கண் விடுத்து ரக்ஷித்தீரே!
கொடுமை கொண்டழுத த்ரௌபதைக்குத் துகில் கொடுட்த்து ரக்ஷித்தீரே!

மடுவில் ஆனை முன் ஓடி முதலையை மடித்து ரக்ஷித்தீரே அதுபோல்
வாரும் க்ருபை கண்ணாலே பாரும் மனக்கவலை தீரும்
நினைத்த வரம் தாரும் தாரும் என் சாமி வக்ஷமேவும்
மஹாலஷ்மியுடன் பெரும் பஷமாக என்னை ரஷிக்க எழுந்திரும்
(ஏன்)

---

Line by Line Meaning: (mostly from Karnatic.com)


Pallavi: My dear Lord Srirangam Ranganatha, why are you lying down?

Anupallavi: You are resting in the island between the two rivers - which are the branches of the river Kaveri - which started from the mountain pool , which has abundant water lillies? Why is that? 

Charanam 1: 

Is it because you obeyed the order of the sage Kaushika? Who is better known as Viswamitra? (Lord Ram - the avatar of Srirangam Ranaganathar - who is the incarnation of Lord Vishnu - went with Vishwamitra to protect his yagnA from the demons - Tataka, Maricha and Subahu)

Is it because you killed the demoness Tataka by striking her at her abdomen with your arrow?
Is it because you broke the bow of lord Shiva?
Is it because you subdued Parasuraman's - which was another avatar of Lord Vishnu - anger and arrogance?
Is it due to your long tiresome walk with chaste Sita?
 Is it due to the arduous task of crossing the Ganga in the boat of blemishless Guhan?
Is it due to your long stay in the CitrakUTa mountain range?
Is it due to your tiresome chase of Maricha? - who took the form of the golden deer - all over the place?
Did you get tired after chasing him?
Is it because you got tired looking for your dear wife all over?
Is it due to piercing the seven trees with a single arrow 
Is it due to bridging the ocean - to cross into Lanka?
Is it because you were sorry to have demolished the fortress of Lanka?
Is it due to your regret from having destroyed Ravana and his gang?

Charanam 2 : 

Is it because of the tiring journey all the way from the jail to Matura?
Is it because of the effort involved in bringing back the son of the Guru who was devoured by a crocodile years back? 
Is it because of your fight with the demon who came as an ox? 
Is it because of your fight with another demon who came to kill Krishna as a lovely calf? 
Is it because of the tiredness caused by drinking milk from a new kind of a breast? and post that killing that demonness? 
Is it because of killing the demon who came in the form of a horse?
Is it because of lifting the mountain to safeguard the shepherd community which lived with Krishna when it was raining for 7 days and the whole place got flooded?
Is it because of your dancing on the head of "kalinga" - the snake ?
Is it because of your slaying the demon who came as air? 
is it because of the effort involved in herding the cows and goats?
Is it because of killing the demon who came in as a wheel? 
Is it because of slaying the king of all those demons - Kamsa? 
is it because of the tiredness from driving the chariot for Arjuna in the Mahabharata war? 
Is it because you had to take the chakrayudha during the war - and thereby breaking your own vow of "not taking any weapons" during the war? 


C3: I have sought your refuge in this earth.
Please give me shelter by accepting my surrender, Oh gold-adorned Ranganatha! (arangam= Srirangam; perumAL= vishnu).
You delivered Ahalaya from her curse by stepping over the stone (to which she was cursed by her sage-husband Gautama after her illicit encounter with Indra).
You also protected KAkAsuran
When Draupadi (in Mahabharatha) was humiliated, by getting subjected to disrobing in the assembly hall at Hastinapura, you protected her by letting her garment grow beyond bounds
You also protected the elephant by killing the crocodile when the latter was dragging the elephant into the water by grabbing its leg.
Just like protecting all the above, please shower your grace on me, cure my misery, and give me boons. Please get up and protect me with your consort Mahalakshmi! 

The Stories in this Krithi : 

This is a fantastic krithi. For many reasons. 

1) It has the complete story of Ramayana in first Charanam; the story of Mahabharata in the second charanam and the story of how Lord Vishnu protected his devotees in the the third charanam

2) It is in a slightly amused, satiric tone - in which Lord Vishnu is asked questions on why he has chosen to lie down and sleep at Srirangam 

3) The poetry is simply breathtaking (those who understand Tamil surely would love this krithi)

Let us look at the stories. 

Charanam 1 : The complete story of Ramayana is given here. The episodes given here are those which evidently take "effort" and hence can become the reasons why the Lord is tired!



Arunachala kavirayar starts with the scene where the sage Viswamitra comes and takes Rama away to the jungles. Rama is a prince and he is not used to walking in the forests. But, that is precisely what had happened. it must be really a tiring one. 









Then comes, the slaying of Thadaka. It is not easy to kill her. Thadaka is enormous. She has the strength of many thousands of elephants. And, Rama hesitated to kill her because he had never killed anyone before. And also because, thadaka is a woman. There is the psychology involved of a valarous prince thinking about his first kill becoming that of a woman. so, from both a physical effort involved and also from a mental strain of "should I kill" and also "should I kill a woman" and "should I kill a woman as my first kill", there is tremendous mental effort involved here. it must be tiring. 

Then comes the scene where Rama goes to the "Swayamwaram" of Sita and the bow of Shiva is there. He has to lift it. it is a big bow and all others who had come to the swayamwara had failed. Rama takes it - although effortlessly, it must have taken enormous effort to do it without effort! 










Next is the scene where he subdues Parashurama. Parashurama gives the Vishnu Bow - which was supposedly stronger than the 'Rudra bow" which Rama just broke in the swayamwara. It again must have taken enormous effort. Not only he took the bow, but also put an arrow in the bow and banished parashurama for ever and that again must have taken enormous physical and mental efforts. 

The next scene is where Rama goes away from Ayodhya with Sita. By walk. Imagine a prince, who has never had to walk for anything, walking to the jungle! That too, on the day that he was supposed to have become the King! With his wife and brother following him. Leaving behind his loved ones. Just to ensure that he kept his father's promise...!  That surely takes a lot of effort and hugely tiring. 














Then he crosses the ganges on Guha's canoe. Leaving the place where they had taken rest. Leaving behind Guha also..

Then he goes across the chitrakuda mountain range. 















He then chases the golden deer Maricha for a long time and kills him finally when he understands he has been tricked. The chase is tiring. The killing of the deer, which was probably the only thing Seetha had asked for from Rama, must have been really draining. And the realization that he has been tricked by the asuras must have been hugely painful...








Then he runs and searches for Sita all over the place. He comes across Sugriva and to prove that he can kill Vali, Rama pierces 7 huge trees with just one arrow. 







Post that, with the help of sugriva and other Monkeys, he builds a bridge to go to Srilanka. Building that bridge and walking across to Srilanka must have taken huge efforts. 

He then fights with breaks the huge fortress of a city which was Srilanka. He then fights with and kills the demon king Ravana. 











All of these events mentioned in charanam one are the ones which take huge efforts. Not only physical efforts but at times these are ones which also pose dilemmas and hence mental effort. The words used in the charanam show the 'mental' effort here. for example, the word "varuttamo" which is used when Rama destroys Lanka and Ravana shows the pain Rama had while destroying - which must be done - yes - but what a lovely city and it has come to such a stage to be destroyed; what a great warrior is Ravana! It has come to a stage that he must be killed - all that dilemmas and pain that such a great soul as Rama would have gone through. 

It is also interesting that some of the other "effort taking" scenes from Ramayana have not been touched here. For example, the killing of Vaali. This is something which is a hotly debated scene in Ramayana. Vaali's fight was with Sugriva. And yet, Rama killed him. Without directly being involved in the fight. "is that right or wrong?" is something which is hotly debated. This must also have taken huge effort. And yet, this is not mentioned in the krithi. I often wonder is it because this is a moot point in the Ramayana. There is another scene which often is celebrated as the scene showcasing Rama's valour and that is the killing of the huge army of Kara and Dhushana. Here is a person, slaying the entire army of demons singlehandedly. Why was this left out? I am not sure.

Charanam 2: 

Here, the story of Krishna comes up. Krishna came to Matura - and He had to come when it was all dark and raining. That child had to undertake a travel the day it was born. It had to come from one place - from the prison where Devaki and Vasudeva were imprisoned - all the way to Matura. While it was Vasudeva who brought Krishna on his head, imagine the pain the child had to go through on the day of its birth! Being separated from his mother, separated from his father, coming to an alien place, coming through all that rain and in the middle of the raging river....it can be very tiring indeed!!

From the day of the birth, the song jumps immediately to the day Krishna completes his education. Krishna studies at the gurukula of Sandeepani Muni. Krishna, his brother Baladeva and his friend Sudhama all study there. At the completion of the studies, Krishna asks his guru what Dakshina he should give. The guru asks for his son, who was eaten alive by a crocodile to be returned to him. Krishna goes, fights with the crocodile demon and brings his Guru's son alive again!

The poet thinks of the other asuras who tried to kill Krishna. The one who came as ox









   the one who came as a calf

the one who came in as a horse








 the one who came in as air

the one who came in as a wheel...how many demons and to kill all of them, repeatedly, does tire out one!!

the rakshasi (demon) boothana who came as a person who wanted to give the child her breast milk but whose life was drunk out by the Krishna child, .

Then the poet thinks of the Govarthana incident. This little child, lifted the Govardhana Mountain on his little finger! It is raining everywhere. Indra is angry because Krishna had stopped the puja usually done to him and this time around, the mountain govardhana got the puja instead of Indra. And, Indra ensured torrential rains everywhere! 7 days of rains and the entire Matura is submerged. It cannot take any rain anymore. All the people come and appeal to Krishna. The little child smiles and lifts up the Govardhana mountain. All the people stay under the mountain. The rain continues unabated for the next 7 days. The Krishna child carries on the mountain...wouldn't it be tiring?






Then, suddenly one day, the cows of Brindavan & Matura start dying. They go to the Yamuna to drink water. kalinga, the serpent demon spews poison and the water becomes poisoned. The cows and the people who went along with the cows are dead. Krishna comes to the rescue again. He goes into the river. He catches hold of kalinga. Climbs upon the poisonous snake and dances. Hits out at kalinga's crown and makes him realize his mistakes. But, doing all that would be really tiring, right?












The poet thinks of all that time spent herding the cows and the goats. Wouldn't that be tiring? From the morning to evening taking care of the cattle? 

Then, when Krishna and Balarama go to Kamsa's court, Krishna slays Kamsa there and frees up his biological father and mother : Vasudevar and Devaki. How much of effort would that have taken?!

Here is the living God, Krishna and he is the charioteer of Arjuna! Takes care of Arjuna for the entire 18 day Mahabaratha war. How tiring that must be!

And in the war, Krishna had to take up the Chakra ayhudha (the divine wheel that adorns Vishnu's hands and which can cut the enemy's head and come back to Vishnu's hands). This is an interesting sub story in itself. Krishna had taken the promise of not fighting with any weapon during the mahabharatha war. That is why he was functioning as the charioteer to Arjuna. However, during the war, Bhishma was fighting relentlessly and Arjuna was holding back since Bhishma was his grandpa. Krishna advises Arjuna to go all out but Arjuna does not listen to it. Krishna gets really angry. He says that He will himself finish off Bhishma and takes up the chakrayudha, almost breaking his promise. Seeing this, Bhishma smiles and puts all his weapon on the chariot that he was in, welcoming Krishna. However, Arjuna stops Krishna in time. Arjuna promises to take care of Bhishma and thus Krishna takes back the chakrayudha. What a dilemma and what a pain to decide to break the promise!

Here also, a few key incidents have been left out!! One of the key ones from Krishna's younger days is the day when his foster mother, Yashodha ties him up on a 'ural' when he eats sand. But, the Krishna child goes with the 'ural' and breaks open the two trees in the backyard, thus freeing up the Kandarvas who were there as trees due to the curse of a saint. This is a key incident in many songs. But, does not find a place here. 

Krishna, with the help of Satyabhama also is said to have killed Narakasura. That also does not find a place here. 

Krishna abducts Rukmini to marry her. That does not find a place here. 

Krishna saves the unborn child Parikshit from the brahmastra. 

All the above would have taken great effort and thus, must be tiring...somehow they don't find a place / a mention in the song!

I would really love to meet Arunachala Kavirayar and ask him to understand the reason! Who can understand the heart of a great poet? Only another great poet!! I would love if somebody can explain why some of the other key incidents have not been mentioned!

Charanam 3 : 

In this, Arunachala kavirayar becomes a devotee. All the mischief of the previous 2 charanams are gone! He cites the incidents where Rama and Krishna save the devotees from pain : 

Rama delivers Ahalya from her curse where she stays as a stone. 

Krishna saves Draupati from humiliation by making her sarees grow even as Duchchathana tries to remove the saree in the midst of everyone in the Kaurava shabha. 















As Lord Vishnu, He saved the elephant from the crocodile. 














Like all these, Kavirayar asks the Lord to save him too from pain and misery. He asks Vishnu to come and protect him along with his consort, Mahalakshmi, who is always there at the heart of Maha Vishnu. 

It is a tradition to pray to Vishnu always along with MahaLakshmi and never alone. Kavirayar fulfills this tradition also in the final charanam by invoking Goddess MahaLakshmi and prays to God and Goddess together to save him. 

A beautiful song!

I am again not very sure why the first two stanzas alone are very popular while the third stanza is not as popular. In most kutcheris, one can see that the song is sung up to the first two charanams. the third charanam is hardly ever sung. 

It may be because the first two charanams have that satiristic - mischievious elements in them which is completely missing in the last charanam? Not very sure!!



Enjoy the song here! (all of them only upto the first two charanams only!)

Vasantha Kokilam

Aruna Sairam

Sowmya

Bhaavayami Raguramam : Swati Tirunal : Ragamalika

bhaavayaami
raagam: saavEri (raagamaalika)

15 maayamaaLava gowLa janya
Aa: S R1 M1 P D1 S
Av: S N3 D1 P M1 G3 R1 S 
 
taaLam: roopakam

Composer: Swaati TirunaaL
Language: Sanskrit


 
pallavi
saavEri

bhaavayaami raghuraamam | bhavyasuguNaaraamam ||
anupallavi
bhaavukavitaraNaparaa- | paangaleelaalasitam ||
srgsr,mpdpd, | RSndndpmgrsd. |
srm,grmpd,pmpdS,ndndpmpd |
GRSd,RSd,,Sd,,GRndmgrsd. | (bhaavai)


caraNam 1
naaTTai kurinji

28 harikaambhOji janya
Aa: S R2 G3 M1 N2 D2 N2 P D2 N2 S
Av: S N2 D2 M1 G3 M1 P G3 R2 S
dinakaraanvayatilakam | divyagaadhi sudasavanaa ||
vanaracitasubaahumukha- | vadamahalyaa paavanam ||
anaghameeSaSaapapangam | janakasudaapraaNeSam ||
ghanakupithabhruguraama | garvaharamithasaakEtam ||
mgs,n.d.n.s,rgm | ndm,grgmpgrs |
n.d.n.srgmndnpdnSndnSRGMGsn |
(GRSd...)
(bhaavai)
 
caraNam 2
dhanyaasi

8 hanumatODi janya
Aa: S G2 M1 P N2 S
Av: S N2 D1 P M1 G2 R1 S
vihahabhishEkamata | vipinagatamaaryavaaca ||
sahitaseetaa sowmeetrim | shaantatama sheelam ||
guhanilayagatam citra- | kooTaagatabharata tatta ||
mahitaratnamayapaadukam | madanasundaraangam ||
n.sg,mpgmp,nS | RSRnSpdpg,rs |
nsgmpg,mpnSp,nSGRSndpnS |
(GRSd...)
(bhaavai)
 
caraNam 3
mOhanam

28 harikaambhOji janya
Aa: S R2 G3 P D2 S
Av: S D2 P G3 R2 S
vitatadaNDa kaaraNyagata- | viraadadaLanam ||
sucaritaghaTajadataanu bam- | idavaishNavaastram ||
patagavarajaTaayunootam | panchavaTeevihitaavaasam ||
atighOraSoorppaNakhaavaSan- | aagatakaraadiharam ||
g,,pgrgrsd.sr | g,,pdSdpgrsr |
gpggrsrgrrsdsrgrgpgpdpdS |
(GRSd...)
(bhaavai)
 
caraNam 4
mukhaari

22 kharaharapriya janya
Aa: S R2 M1 P N2 D2 S
Av: S N2 D1 P M1 G2 R2 S
kanakamrugaroopadharakha- | lamaaricaharamiha su- ||
janavimata daSasyahruta- | janaka jaanvEshanam ||
anagham pampateeirasangata- | anjanE nabhOmaNi ||
danujasakhyakaram vaali- | tanudaLanameeSam ||
p,,mgrs,n.d.sr | m,,grsrmpmnd |
S,Sndpp,mgrsn.d.srmpndmpds |
(GRSd...)
(bhaavai)
 
caraNam 5
poorvi kalyaaNi

53 gamanashrama janya
Aa: S R1 G3 M2 P D2 P S
Av: S N3 D2 P M2 G3 R1 S
vaanarOttamasahitavaa- | yusunukaraarpita- ||
bhaanusaSatabhaasvarabhavya- | ratnaanguleeyam ||
tEna punaraaneetaa | nyoona cooDaamaNi darSanam ||
shreenidhimudadhiteera- | SrutavibheeshaNa miLitam ||
g,mgrsd.s,rgm | p,,dpSndpmgr |
gmpm,pg,mr,gs,rg,mpdpS,n |
(GRSd...)
(bhaavai)
 
caraNam 6
madyamaavati

22 kharaharapriya janya
Aa: S R2 M1 P N2 S
Av: S N2 P M1 R2 S
kalitavarasetubandham | khalaniseesumapiSidaaSana- ||
daLanamurudaSakaNTa- | vidaaraNamatidheeram ||
jvalana putajanakasudaa- | sahitamyaadasaakEtam ||
vilasitapaTTaabhishEkam- | viSvapaalampadmanaabham ||
r,mrmpn,pmpn | S,,nSnppmmrs |
Ragam1: rpmrsn.srmp
Ragam2: dpS,ndpmgmgr
Ragam3: s,n.d.srmg,rsr
Ragam4: g,dpgrsrgpdS
Ragam5: RSd,pdpg,rs
Ragam6: n.smgmndnpdnS
Ragam0: (GRSd...)
(bhaavai)

---

I found some wonderful translations and meanings on the web. Unfortunately, I have not noted down the site from which I have downloaded this. 

Who ever had written it, my thanks and apologies for not mentioning the exact source here. 
I don't think I could have translated this song anywhere near how it is given here.
*********************************************************************************

Pallavi

rAgaM sAvEri (janyaM of mELaM 15 mAyamALAvagauLa)

ArOhaNam: S R1 M1 P D1 S
AvarOhaNam: S N3 D1 P M1 G3 R1 S

bhAvayAmi raghurAmaM
bhavyasuguNArAmam ||

bhavya --- accomplished, auspicious

suguNa --- good qualities, virtues

ArAmaM --- the garden (grove) 

 
Free Translation: (I) meditate upon (pay my obeisance to) Lord rAma, of the Raghu dynasty, who is the storehouse (abode) of all auspicious and noble virtues.

Anupallavi
(again in rAgam sAvEri)

bhAvuka vitaraNaparA pAN^ga lIlA lasitam ||

bhAvuka --- happiness, prosperity, auspiciousness

vitaraNapara ---  desirous of distributing,  bestowing, granting

apAN^ga lIlA ---casting side glances

lasitaM --- shining

Free translation: who shines, smilingly casting his side-glances at his ardent devotees, ever ready to grant them happiness and prosperity

First caraNaM line --- bAlakANDam

rAgaM nATTakura~nji (janyam of mELAm  28, harikAmbhOji )

ArOhaNam: S R2 G3 M1 N2 D2  N2 P  D2 N2 S

avarOhaNam:   S N2 D2 M1 G3 M1 P G3 R2 S

 dinakarAnvayatilakaM divyagAdhisutasavanA-
vanaracitasubAhumukhavadhaM ahalyApAvanam
anaghamIshacApabaN^gaM janakasutAprANEshaM
ghanakupitabh.rghurAmagarvaharamitasAkEtam ||

dinakara --- sUrya, the one who causes the day

anvaya --- succession, lineage

tilakam ---- ornament

divya --- divine, noble

gAdhisuta ---  the son of gAdhi, namely, visvAmitra;

savana --- sacrifice;

Avana --- protection,

racita ---  arranges, performed, provided

subAhumukha --- the demons, led by subAhu 

vadhaM --- slaying of

ahalyA --- the illustrious wife of .rSi gautama

pAvanaM – (one who)  purified

anaghaM --- the one without any sin (agham)  the sinless one

IshacApa bhaN^gaM --- (who) broke the bow of shiva

janakasutA --- daughter of Janaka

prANEshaM --- the life breath of (sIta)

ghana kupita  --- very angry , furious

bh.rgurAma ---  parashurAma

garva --- pride

haraM – slayer, remover, subduer of

ita sAkEtaM  --  reached  SakEta nagaram, namely,  ayOdhya

 
Free Translation: one who is the ornament among the successors of the solar dynasty;who killed the demons led by subAhu, in order to protect the sacrifices of vishvAmitra, the son of gAdhi;  who purified ahalyA from her curse;  who broke the bow of Lord shiva, thereby qualifying to wed sIta, the daughter of janaka;  who is the life breath of sIta;  who subdued the pride of the anger-filled parashurAma; and one who reached ayOdhyA.

Second caraNaM line --- ayOdhyA kANDam

rAgaM: dhanyAsi (janyaM of mELaM 8  hanumatODi)

ArOhaNaM: S G2 M1 P N2 S
AvarOhaNaM: S N2 D1 P M1 G2 R1 S

 
vihitAbhiSekamathavipinagatamAryavAcA
sahitasItAsaumitriM shAntatamashIlam
guhanilayagataM citrakUTAgatabharatadatta-
mahittaratnamayapAdukaM madanasundarAN^gam ||

vihitAbhiSEkaM --- abandoning  the coronation ceremony

atha --- thereafter

vipina gataM --- gone to the forests

AryavAcA --- (obeying) the words of the venerable, namely his father dasharatha

sahita sItA saumitriM –-- with  sIta and  lakshmaNa, the son of sumitra

shAntatamashIlaM --- possessing the quality of extreme tranquility (calmness) – (shAntatama is the superior virtue among the three degrees, namely, shAnta, shAntatara, and shAntatama, in increasing order of the quality).

guhanilayagataM ---  one who  went to the abode of  guha

citrakUTAgata --- who proceeded to the citrakUTA mountains

bharata ---  (to) brother bharata

datta --- who gave

mahitaratnamaya padukaM --- the sandals, decorate with auspicious gems

madanasundarAN^gaM --- with a body whose beauty  rivals that  of madana (Cupid)

Free Translatioin:  who, obeying the commands  of his venerable father dasharatha, abandoned the coronation as the king of ayOdhya, and went to the forest, accompanied by wife sIta, and brother lakSmana; who possesses extreme calmness and serenity; who visited the abode of guha, and then proceeded to the citrakUTa mountain; who gave his auspicious and gem-studded sandals to his brother bharata; and who possesses a beautiful body that rivals that of kAmadEva.

Third  caraNaM line --- AraNya kANDam

rAgaM: mOhanam (janyaM of mELaM 28  harikaambhOji)

ArOhaNam:  S R2 G3 P D2 S

AvarOhaNaM: : S D2 P G3 R2 S

vitatadaNDakAraNyagatavirAdhadaLanaM
sucaritaghaTajadattAnupamitavaiSNavAstram
patagavarajaTAyunutaM pa~ncavaTIvihitAvAsaM
atighOrashUrpaNakhAvacanAgatakharAdiharam ||

vitata --  spread out, vast, dense

daNDakAraNya --- the forest by name daNDaka

gata --- gone to, living

virAdha – the demon, virAdha

daLanaM ---- slaying

sucarita --- possessing superior quality, divine

ghaTaja  ---- agastya, the one who was born out of a ghaTa (pot)

datta --- presented by

anupamita - unparalleled

vaiSNavAstraM ---  the weapon pertaining to  Lord viSNu

patagavara --- the superior among birds

jaTAyu ---the eagle king jaTAyu

nutaM --- worshiped by, saluted by

pa~ncavaTI --- the location, pa~ncavaTI

vihita --- arranged, determined

AvAsaM --- dwelling

atighOra --- very fierce

shUrpaNakhA --- sUrpaNakha, the sister of demon rAvaNA

vacanAgata ---  caused by the words of, instigated by

kharAdi --- the demons led by khara

haram  --- slayer of

 
Free Translation:  who killed the demon  virAdha, who was residing in the vast daNDaka forest; who received the unparalleled and divine weapon belonging to  viSNu, presented to him by the illustrious sage agastya; who was worshiped by jaTAyu, the king of birds;  and who,  dwelling in pa~ncavaTI, killed the demons led by the fierce khara,  instigated by the bad words of shUrpaNakha, the sister of rAVaNa. 

Fourth caraNaM line --- kiSkindhA kANDam

rAgaM:  mukhAri (janyaM of mELaM 22 kharaharapriya)

ArOhaNaM:  S R2 M1 P N2 D2 S
AvarOhaNaM:  S N2 D1 P M1 G2 R2 S

kanaka m.rga rUpadhara khalamArIcaharam iha
sujana vimata dashAsya h.rtajanaka jAnvESaNam
anaghapaMpA tIrasaN^gatA~njanEya nabhOmaNi-
tanuja sakhyakaraM vAlitanudaLanam Isham 

kanakam.rga --- golden deer

rUpadhara --- assuming the shape of

khala --- cruel, wicked

mArIca --- the demon mArIca

haraM --- killer of

iha --- here

sujana --- good people, well-wishers

vimata --- disregarding. contemptuous, hostile to

dashAsya --- the ten faced, rAvaNa

h.rta --- stolen

janakajA --- sItA, daughter of janaka

anvESaNaM ---  searching for

anagha  --- without sin (aghaM), sinless, pure

paMpAtIra – the shores of the river paMpA

saN^gata --- met, acquainted with

A~njanEya --- hanUmAn, the son of a~njanA

nabhOmaNI --- the jewel on the sky, the sun

tanuja --- son of (sUrya), namely, sugrIva

sakhyakaraM  - made friendship with

vAlitanu --- the body of the monkey king vALi, the brother of sugrIva

daLanam  --- killing

Isham --- ever auspicious

 
Free Translation:  who killed the wicked demon mArIca, who assumed the shape of a golden deer; who started the search of his wife sIta, who was stolen away by the demon rAvana, totally disregarding the good words of his well-wishers; who reached the ever pure shores of the sacred river paMpA; who made acquaintances with A~njanEya, and  sugrIVa (the son of sUrya); who killed vAli; and who is the abode of all auspiciousness. 

Fifth caraNaM line --- sundara kANDam

rAgaM: pUrvikalyANi (janyaM of mELaM 53 gamanashrama)

ArohaNaM:  S R1 G3 M2 P D2 P S
AvarOhaNam:  S N3 D2 P M2 G3 R1 S

 
vAnarottama sahita vAyusUnukarArpita-
bhAnushata bhAsvara bhavyaratnAN^guLIyam
tEna punarAnIta nyUnacUDAmaNI darshanaM
shrInidhim udadhitIrA shritavibhISaNa miLitam || 

vAnarottama --- the superior among monkeys, sugrIva

sahita ---  in the company of

vAyusUnu ---  the son of vAyu, hanUmAn

karArpita --- offered to the hands of, handed over to

bhAnushatabhAsvara --- lustrous like the shine of hundreds of suns

bhavya  --- divine, superb

ratnAN^guLIyaM ---gem-studded ring

tEna  --- by him (by hanUmAn)

punaH ---  afterwards

AnIta --- brought back

AnyUna --- without any deficiency (nyUnam =  blemish,  deficient, diminished)

cUDAmaNi --- crest jeweI, heaqd jewel

darshanaM --- accepted, received

shrInidhiM --- treasure house of auspiciousness

udadhitIra  --- banks of the ocean

Ashrita --- seeking refuge, shelter

vibhISaNa --- vibhISaNa, the brother of rAvaNa

miLitam  --- made friends with

Free Translation:  who, while in the company of  sugrIva, the superior among monkeys, offered A~njanEya his gem studded ring that rivals the lustre of hundreds of suns (to be given to sIta, when he finds her);  who, afterwards received the untainted crest jewel of sITa that was brought back by hanUmAn; who is the abode of all auspiciousness; and who made friends with vibhISaNa, the brother of rAvana, when who sought refuge under him.

 
Last caraNaM line ---  yuddha kANDam

rAgaM: madhyamAvati (janyaM of mELam 22 kharaharapriya)

ArOhaNaM:: S R2 M1 P N2 S
AvarOhaNam: S N2 P M1 R2 S 

 
kalitavarasetubhandhaM khalanissImapishitAshana-
dalanamurudashakaNThavidaraNamatidhIram
jvalanapUtajanakasutAsahitaM yAtasAkEtaM
vilasitapaTTAbhiSekaM  vishvapAlaM  padmanAbham

kalita --- made, constructed

vara --- superior, of high quality

setubhandhaM  --- dam across the ocean sEtu

khala  --- wicked, cruel

nissIma --- endless (sIma = boundary) number of

pishitAshana --- meat eaters, demons

dalanaM --- killer of

urudashakaNTha – rAvaNa, with a body consisting of ten necks

vidaraNaM --- destroyer of

atidhIraM ---  very brave

jvalana --- flame, fire

pUta --- purified

janakasutA  --- daughter of janaka, sItA

sahitaM  --- In the company of

yAta --- proceeded to

sAkEtaM ---  ayOdhyA

vilasita --- shining

paTTAbhiSekaM --- coronation

vishvapAlaM ---  protector of the universe

padmanAbhaM –-- one with a lotus in his naval, lord viSNu

 
Free Translation:  who  constructed a high quality dam across the ocean sEtu; who killed an endless number of wicked and meat-eating demons, who destroyed the ten-headed and mighty rAvaNa; who is very valiant; who accepted sIta, who was purified by the fire; who, accompanied by sITa proceeded to ayOdhyA; who was crowned as king of ayOdhya with all glory; who is the protector of the entire universe; and (finally) who is Lord viShNu, the one with a lotus in his naval. Here the word “padmanAbha”  also serves as the mudra (signature) of the composer, svAti tirunAL, who employed phrases like padmanAbha, paN^kajanAbha, and so on.

It is a beautiful song, which brings the entire Ramayana in front of us. in 6 charanams, the entire Ramayana is told to us. There are nice touches in how this song has been composed in terms of music. For example, the kishkinta kandam is where Sita is taken away by Ravana. It is fitting to see that the Raaga muhari is employed there - as typically muhari is employed in situations where pitiful things happen.

Similarly, in the aranya kandam, where sita and Ram were enjoying life and with Surpanaka coming in comic dialogues happened, and when the kara dhushana slaying happens, it looks only apt to have employed Raaga mohanam there!

1. Bhavayam : By : MS

2. Chitra :

Saraswati Vidhi Yuvati : Muthuswami Dikshithar

Saraswati Vidhi Yuvati : Muthuswami Dikshithar 

Raga: Hindolam   Tala: Rupakam

Pallavi : 

sarasvatI vidhiyuvatI samrakSatu mAm shrI

Charanam : 

muraLI vINAgAna vinOdinI samvEdinI chAru candra hAsinI sarasIruha lOcani murAri guruguha mOdinI shabdArtthasvarUpiNI hamsinI brahmANI AraktavarNa rUpiNI

Meaning : 

Vidhi yuvati : wife of Brahma; "Vidhi" means Brahma. 

vinagana vinodhini : who plays the veena

Samvedhini : who is knowledge itself

charu chandra hasini : who smiles like the beautiful moon

sarairuha lochani : who has eyes like lotus flower 

murari : lord vishnu

guruguha : lord subramanya; the mudra that Dikshithar uses in every song

modhini : pleases

shabdarsthasvarupini : one who is the word as well as its meaning

hamsini : who uses swan as her vehicle

brahmani : the supreme sprit

araktavarna rupini : who has a reddish complexion

  

Here, Dikshithar invokes Goddess Saraswati. She is the wife of 'Vidhi', the creator, Lord Brahma. 'Vidhi' is a term used in several indian languages, especially the southern languages such as Tamil to denote fate. Brahma creates that fate for all of us. And, Saraswati is the yuvati of this vidhi, meaning, Brahma's wife. May you protect me. 

She is the one who loves to and takes delight in listening to flute and Veena.

She is full of knowledge. She is knowledge itself. She smiles like the bright and beautiful moon. She has eyes like the lotus flowers. She pleases both Lord Vishnu and Lord Subramanya (Guruguha). 

She takes the form of words as well as its meaning. Here, I am reminded of kalidasa's immortal lines: 

vāgarthāviva saṃpṛktau vāgartha pratipattaye |
jagataḥ pitarau vande pārvatīparameśvarau ||

वागर्थाविव संपृक्तौ वागर्थ प्रतिपत्तये ।
जगतः पितरौ वन्दे पार्वतीपरमेश्वरौ ॥

வாகர்த்தாவிவ ஸம்ப்ருக்தௌ வாகர்த்த ப்ரதிபத்தயே |
ஜகதஃ பிதரௌ வந்தே பார்வதீபரமேச்வரௌ ||

The word and the meaning are inseparable. And, Goddess Saraswati is the word and its meaning.

She takes Swan for her vehicle. She is the pure one. She is reddish in colour.

May she protect me.

Listen to this song sung by a young artist (Srinidhi Sridharan):

Another young artist: (Radhika Buckory)