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From: L&T-ECCG-Buildings & Factories (BAF-ECC_at_eccm.co.in)
Date: Tue Oct 26 1999 - 04:29:08 PDT
Dear Sri Vaishnava perunthagaiyeer, Sri lakshmi nrusimha divya paadukaa sEvaka SrivaN satakOpa Sri Vedaanta desika yateendra mahaa dEsikaaya namah: In the previous postings, parts 1 to 13 on this topic, we saw * How periyaazhvaar identified KaNNan with thirumaal, * How he described the entire world was tied down by his divine music thru the paasurams (without the meanings of the paasurams), * Certain points on observations of bagavathaas. * The meanings in detail for the first ten paasurams and few others who relished the kuzhal oothal episode of krishna leelai Now let us see how naaraayana bhattathri enjoyed krishnaa on this vENu gaanam leelai in his magnum opus naaraayaNeeyam: NirgathE Bhavathi dhaththa dhrushtaya sthvadh gathEna manasaa mrugEkshaNaa:! VENu naadham upakarNya dhooratha sthvadh vilaasa kathayaa aBhirEmirE!! Canto 59- sloka 3 Meaning: The gopees who have beautiful eyes like deers, would watch you with love, your starting out for grazing the cattle, Oh krishnaa. When you were out of sight for them, then they listen to your flute music which comes in the air. With the minds centered on you, they delight (aBhirEmirE) themselves by recollecting your sporting activities (leelais). [See how nicely the poet explain the minds of these gopees are always on krishnaa, when he is there physically their joy has no bounds, and they enjoy his physical presence. When he is not there, the thoughts of krishnaa through the leelais - so krishnaa anusmaraNam always- blessed are the gopees to remember him always] MaarabaaNadhutha khechareekulam nirvikaara pasupakshi maNdalam! DhraavaNam cha dhrushadhaamapi prabhO thaavakam vyajani vENu koojitham!! 59-5 Meaning: O my Lord krishnaa! Your vENu koojitham- the flute music better than the cuckoo bird's calling- went like the manmathaa's flower arrows [maara bhaaNam] into the minds of the apsara clan and made them fans of your music. So they came down and started hovering in the sky. The creations like cows, birds all went into a state of emotional stillness because of your music. Your music melted even the rocks (dhrusadham) into liquid. Reference: periyaazhvaar- birds- paravaiyin kaNangaL- 3-6-8 Cows- karavaiyin kaNangaL Apsaras- vaaniLampadiyar- 3-6-3 The words vENu koojitham- is a beauty here- linked with cuckoo. Here the poet says krishnaa's vENu koojitham is better than cuckoo calling. Perhaps after enjoying about kaNNan' kuzhal Subramania Bharathi also says kaththum kuilOsai ammaa saRRu kaathil vizha vENum in kaaNi nilam song- kuyil not koovum but kaththum here for him- because already kaNNan's flute is there lingering in the mind and ears of bharathi. Another point on the vaaniLampadiyar- in one of the commentaries the urai aasiriyar has mentioned vaaniLampadiyar as young and nicely shaped apsara sthree -iLam -young, padiyar- uruvam udaiyavar. In the devaas apsaras gantharvar and all there is no moopppu- jaraa- young and old is not there for them - it is only for human beings here in this bhoolOkam. That is why this meaning is not taken but taken as servants in the explanations in this 3-6-3. nirvisanka bhavadhangadharsinee: khecharee:khagamrugaan pasoonapi! ThvathpadhapraNaayi kaananam cha thaa dhanyadhanyamithi nanvamaanayan!! 59-7 meaning: Without any doubts the apsara woman, the birds, animals and cows of brindaavan are fortunate because they have unrestricted opportunity of seeing you Oh krishnaa, physically! The forest lands of vraj bhumi on which you tread with your feet are also fortunate. Why suddenly the poet has changed the track from enjoying the flute music to vie with the luck of these apsaras birds etc. Is this not similar to "sankaraiyaa un selvam saala azhagiyadhE" of aaNdaaL- a coomon practice of bhakthaas to vie with things connected with the Lord. See here another bhaktha oothukkadu venkatasubbaiyer, in the senchurutti raaga krithi- may be this third time I am quoting him in this series- the taste is so high and relevant to situation- that I cannot resist but use his songs. Pullaai piravi thara vENum kaNNaa Punithamaana pala kOdi piravi thanthaalum brindhaavanamathil oru (pullaai) Pullaagilum nedunaaL nilladhu aadhalinaal oru kallai Kamala malar iNaigaL aNaiya enathu uLLam PuLagithamuRRidum bhava maRRidum ena oru (pullaai) Oru kaNam un padam padum enthan mElE Maru kaNam naan uyarvEn mEnElE ThirumEni en mElE amarnthidum oru kaalE Un thirumagaL ena malaradi peyarnthu unai thodarntha raadhaikkum idam tharuvEnE (pullaai) Oh what a krishnaanubhavam. This is very similar to kulasekhara aazhvaar's appeal to thiruvenkatam udaiyaan "padiyaai kidanthu un pavala vaai kaaanbEnE". AapibhEya madhuraamrutham kadha vENumuktha rasasEshamEkadhaa! DhoorathO batha krutham dhuraasayE thyaakulaa muhurimaa: samaamuhan!! 59-8 Meaning: "Shall we ever have the bliss of imbibing what is left of the honey of his kiss, after the flute has enjoyed it to its full. Ah! Why crave for the impossible" so thought the gopikaas again and again in utter distress and despair. Sammoorchanaabhirudhitha svaramaNdalaabhi: sammoorchayanthamakhilam bhuvanaantharaalam! ThvadhvENunaadha mupakarNya viBhO tharuNya sthaththaadhrusam kamapi chiththavimOhamaapu:!! 65-2 Meaning: As the clear and distinct strains of your flute with its ascending and descending notes filled all space and absorbed the attention of all young women of the vraj community, they were overcome by an unparallelled and inexplicable fascination. Thaa gEhakruthyanirathaa sthanayaprasakthaa: kaanthOpasEvanaparaascha sarOruhaakshya:! Sarvam visrujya muralee ravamOhithaasthE kaanthaaradhEsamayi kaanthathanO samEthaa:!! 65-3 Meaning: Captivated by the sound of the flute who were devoted to the household chores or duties like caring the children, service to their respective husbands, etc, abandoned all these chores and rushed to the forests (or woods) where krishna stationed himself and played flute. KaaschinnijaangaparibhooshaNa maadhaDhaanaa vENupraNaadha mupakarNya kruthaarDhabhushaa:! Thvaamaagathaa nanu thathaiva vibhooshithaabhyasthaa Eva samruruchirE thava lOchanaaya!! 65-4 Meaning: Some of them had dressed and decorated themselves in full, some of them had gone through the toilet only half way. But when they heard the flute music they ran to you as they were. To you they were more attractive with their devotion was so over powering as to make themselves forgetful of their appearance. Reference: See periyaazhvaar in kOvalar sirumiyar iLankongai kudhukalippa udal uL avizhnthu engum kaavalum kadanthu kayiru maalaiyaagi vanthu kavizhnthu ninRanarE. (Covered in part 3) Kaachith kuchE punarasajjitha kanchuleekaa vyaamOhitha: paravadhoobhi ralakshyamaaNaa! Thvaamaayayow nirupama praNayaathibhaara raajya abhishEka vidhayE kalaseedharEva!! 65-6 Meaning: Another wearing ornaments but without any upper garment and unnoticed by other women inspite of this oddity because of their own excitement seemed with her exposed breasts, to be approaching thee with two pots of water meant to bathe thee for thy coronation as the unrivalled emperor of the land of love. Reference same as 3-6-1 and 3-6-2 udai negizha Kaaschith gruhaath kila nirEthu mapaarayanthya sthvaamEva dhEva hrudhayE sudhrudam vibhaavya! DhEham vidhooya parachith sukharoopamEkam thvaamaavisan paramimaa nanu dhanyadhanyaa:!! 65-7 Meaning: Some gopikaas being unable to come out of their homes owing to restrictions imposed by their kith and kin abandoned their bodies in the state of complete absorption in thee through meditation and got merged in thee. These indeed were the most fortunate of all. VaasudEva thava bhaasamaanamiha raasakElirasasowrabham DhoorathO api khalu naaradhaagadhitha maakalayya kuthakaakulaa! VEshabhooshNa vilaasapEsala vilaasinee sathasamaavruthaa NaakathO yugapadhaagathaa viyathi vEgathO atha suramandalee!! 69 -3 Meaning: O vaasudEva- hearing from naaradha from afar about the sweetness and glory of thy raasa dance devaas in the company of their women folk distinguished for their expertise in personal decoration and amorous display hurried in great joy from heavenly abode and stationed themselves in the sky. Reference: ambaram thiriyum kaanthappar and VaaniLampadiyar of periyaazhvaar.. BaahudhvandhvEna rathnOjvala valaya bhruthaa soNapaaNi pravaalE nOpaaththaam vENu naaleem prasrutha nkha mayookhaangulee sanga saaraam! Kruthvaa vakthraaravindhE sumadhura vikasadh raagamudh bhaavya maanai: Sabdha brahmaamruthaisthvam sisisritha bhuvanai: sincha mE karNaveetham 100 -5 (This is part of the kesa paadhaadhi varnanam part of naaraayaneeyam - this is like amalan aadhi piraan). Meaning: O krishnaa please soak my ears with your nectarial flow of flute music which is the veritable brahman embodied as sound. This music also cools all wolds with its sweet and expanding notes as they flow out of the flute touching your lotus lips, the two shoulders having rathnam bedecked rings the red hands gleaming finger nails all are a beauty treat for my eyes. This sentence has a parallel in thyaagaraaja calling krishnaa "vENu veritable brahman embodied as sound gaana moorthE" in nowka charithram already quoted in part 4 "veritable brahman embodied as sound" Now let us see another song [from sadaasiva brahmendra an avadhootha who sang many philosophical except a few on bhakthi. This one on krishna vENu gaanam is a special and famous] Gaayathi vanamaalee madhuram (gaayathi) Pushpasuganthitha malaya sameerE Punithana sEvitha yamunaa theerE (gaayathi) Thulasi dhaama bhooshaNa dhaari Jalaja Bhahruda sathguNa sowrE Paramahamsa yogsabhavaarE Pari bhooritha muraLee rava kaarE This song is sung in many raagas by many artists. Dasan Vasudevan M.G.