Meaning of "nanu palimpa" Song

Nanu = me; paalimpa = take care (ex: like a good king takes care of his subjects, looks after their welfare); naDachi = by foot, walking; vacchitivO = have come; naa = my; praaNanaatha = can refer to a husband, one who is guarding the spirit, heart of a being. Such a person is very precious and important; every other relative or friend may desert us in times of real crisis, danger, or humiliation in life (see the story of Gajendra in Srimad-Bhagavatam). But a praaNanaatha never wavers in his commitment towards his beloved.

Vanaja-nayana = (the one with) lotus (petal) eyed; ni = your; mOmu = face; juchuTa = seeing, to look at; jivanamani = that is what life is, the essence of life is (to look at your lotus eyed face); na = me, myself; (n)eru = learn, to know, having learnt; na = my; manasu = mind, thinking; marmamu = secret, hidden desire, inner thought; telisi = having cognized; 

Surapati = Indra; nila-mani = blue stone, a kind of sapphire; nibha = comparable, equal to; tanuvutO = (with such a colored) body; uramuna = upon the chest; mutyapu = pearl; sarula = strings of (pearls), garlands; chayamutO = (with) a collection; karamuna = (holding in the) hand; Sara = arrow; kOdanDa = bow about four cubits long; kantitO = with the light of, radiating, splendorous ; dharaNi = mother Earth’s; tanayatO = (with) the daughter (of the Earth, Bhu-devi); Tyagaraja-archita = given oblations by Tyagaraja, One who is offered prayers (and pujas) by Tyagaraja;  

Copyright 2019 by the author
Dr. Balamurali's audio is at watch

(Foremost I would like to thank the following for imparting the value of traditional culture, love for mother tongue (Telugu), and giving me an endowment of rich knowledge of the Hindu classics, and a taste for music: My parents, aunts, uncles, grand and great grand parents. My first grade teacher (sorry, I  feel ashamed for not remembering the name) who taught me (holding my unsteady little fingers) with his hand the Telugu script. How can I thank my high school Telugu pundits (Mr. Raju, Mr. Gangadhara Sastri, and others) for generating interest in language and art? In college too we had dedicated and talented lecturers for both Telugu and English. My cousin brother and uncle, though they did not explicitly teach anything, had powerful influence on my studies and learning. Learning languages, music, and art at a young age is the best thing that happened; luckily this writer heard and felt "first rate heart melting" music many a time. Last but not least I owe boundless affection and gratitude to my sisters. They taught me sensitivity in life. They gently showed me beauty in flowers, nature, and spontaneous singing.)

Composing A Song

First an honest disclosure: I am neither a prolific composer or nor an extempore lyricist. However, a recent experience with writing lyrics in Telugu and composing a few songs in my mother tongue gave me a new perspective on this activity. How to compose a song from beginning to the end? That is, how to write lyrics for a complete song and equip the song with a nice tune (melody,), so that the song can be sung. This is something I've accidently just fallen into, I happen to discover (rather uncover) and I want to elaborate some thoughts on this 'very exciting, enjoyable, and unique' experience. I am very much just a beginner (would rather be a beginner forever, because as a beginner one can learn new things easily!); but my observations may perhaps kindle some new creative flares in other people, other aspiring, ambitious new young (I mean young at heart, which has nothing do with age or other external factors) artists. Would very much like to hear from other folks out there in the real/cyber world. Since English is not my mother tongue, I do not have a clear, facile, familiarity with its (the second language) idiom, sound, rhyme, and musicality (though, I am sure it can be learnt  - not a big deal). So, I keep my hands off of English for now. Also, I am utterly biased towards Telugu – to me, it is the most musical (of course, Sanskrit too is very musical, rational, and succinct in expression) language; plus, it truly is mellifluous. Oh, you got to sing some of Annamayya’s compositions to feel it, or dwell on a Kshetrayya padamu (పదము)   to absorb its innate charm.

        Ok, now what are the most important features of a song? Tune, words, meaning, and time. I think these four essential factors will describe the bare bones of a 'song'. Of course, every song must (and does) originate in a poet's heart; so, every song has that indescribable 'soul' or 'heart'. Without that intrinsic 'heart/life' - a song even with the greatest tune/melody and words is - nothing. It will not succeed. What do we mean by success here? The success here does not mean how many millions of records sold - no, success here means that the song has evoked 'an elated feeling' (or the Sanskrit word 'rasa') in the listener. (We assume that the listener can comprehend the words, language). Even without knowing a song's language, still we can feel its music and essence. For example, years ago when I used to hear the Tamil song (its Telugu counterpart is 'ilaage ilaage saraaga maadite..') with music by Ilayaraja - though I never understood the Tamil words fully, the song always left a romantic mood in me; the song really resonated with me. So, we can feel songs even when the language is not fully understood!

       Now a song starts with 'a mood'. Getting that particular, unique mood is the most difficult thing. How to get the inspiration and thoughts flowing? Do the words come first (i.e., the lyrics are fully formed first) or just the tune - i.e., bits of notes, some chords, a starting tune? Starting can be either way. Sometimes, I just have a vague tune, something I can whistle, hum.  But may be, that starting note is good only for the refrain? What about the rest of the song, the stanzas - what will be their tune? And then, we have stalwarts like Naushad (in Hindi) and S. Rajeswara Rao (in Telugu) - who can fit three or four different tunes to the 3 or 4 stanzas? It is already getting complicated. Does this analysis mean that poets who can not sing (say not good singers) can not write songs? No, not at all. After all SriSri (Telugu Poet) wrote a number of beautiful songs. I do not think people would rate him as a good singer. I think a good poet (or to be more precise, a lyricist) has his/her own inner timing, tune, and very sensitive ear. And, to write a good song, that is a must.

       Words: For a poet or a lyricist, large vocabulary is essential. Because, when we have the rough draft of a song, it is not done yet.  We find some line is not fitting properly with the tune. So, we have to chop off some words, add new words or rearrange the sequence of words. And this keeps on going until we have a final version of the song - a version that sounds natural, smooth, and carries the overall tune and music. It should appear nice to the ear, to the heart and of course, the meaning should be clear and transparent. We have to intuitively know how long ( I mean time here) a word takes, how many syllables and undulations are possible; we have to know whether we can stretch a particular vowel (a, aa, i, ii, etc.) without spoiling the beauty of the song. So, in our tool box, we must have lots of synonymous words, long ones and short ones. (In English, there is the Rhyming Dictionary, probably this has spoilt a few lyricists!) This comes with experience, with lot of reading, and lot of listening. Basically, we have to live the song; there is no short cut to this cutting and editing - unless one is an extraordinary poet like Krishnasastri or Annamayya. Rest of us, we have to work with what we are given, by luck. Need extraordinary patience with this way of song writing. But that is all I know right now. Some songs have come easily to me, just within a day it got completed. I took more time with others; partly it is due to the lack of time or I got busy with other activities.

         Meaning: What is the purpose of a song? To translate a genuine feeling, to put it (that original state of mind) into exquisite sound (call it melody, raagam, tune). Or we are transporting  a particular 'mood' (emotional state) into words of a language. So, the song must have an overall meaning and in between there will be some beautiful phrases; those phrases when composed by great poets - they are always memorable. Here are some examples: Tyagaraja - 'sucana teliyaka orula yaacana cEyu naaku' (సూచన తెలియక ఒరుల యాచన చేయు నాకు  = cluelessly begging others). SriSri - 'yavvanamu anubhavamu jatakudina' ( యవ్వనము అనుభవము జతకూడిన = youth, experience, if combined! ). Don't we wish we have all that 'combination of youth and experience'?  UshaSri - 'silalaa ceragani sogasu, alalaa ponge vayasu' (శిలలా చెరగని సొగసు, అలలా పొంగే వయసు  = a beauty like the imperishable sculpture, age/youth brimming like a wave). If the poet can feel and immerse entirely in the mood - meaning will come naturally.

         But if I can say just one thing - writing a good song whether it is a sad or cheerful song, it takes a lot of energy (emotionally). And, when it is completed to the poet's satisfaction, it takes a toll. Because, a true artist must be an intrinsic part of his/her work (or creation). No wonder, the great SriSri had to indulge in drinking. It is the same with singing a very moving (emotive) song (be it classical or light music); the singer will feel that as if her batteries have been discharged!

       Writing a poem, say a free verse is one thing. Some Telugu prose can also be put to good music. My sense is, prose is prose, and poetry is poetry. At times, we come across awkward experiments of forcing music onto “purely flat prose expressions”. Writing a song with good lyrics and tune - is entirely different thing. Truly composers like Annamayya, Ramadasu, Tyagaraja are always extraordinary giants - they mastered all facets of song writing - literature, music, meaning, and endowing each song with the gift of 'rare joy'. I am reminded here the quote of Newton:

"while the vast oceans of knowledge lay before me, I am just playing on the beach with pebbles.." (or to that effect, I am writing from memory). Before concluding I must express my gratitude to a number of people (both here and up above there in some celestial world) who generously gave me a lot in terms of motivation, encouragement, and inspiration; it is best that they remain anonymous because they are close to heart!

       To all those aspiring song writers and singers, good luck and surely you will enjoy the process...

[Coming to this article on “creative composition”, is there any thing I can add further? Just couple of things. One, in NY Times, there is a column by the title, ‘Measure for Measure’. It too talks about music and composing. The series may give some new ideas about inspiration and creating. It talks about “getting stuck” and how to get out of it. One suggestion got my attention: Rather than endlessly waiting for the best possible composition (or lyrics), just lower your expectation, and write even a mediocre song. And proceed from there, i.e., try improving a bad lyric (or poem). Second, my limited experience with song writing is this: It is much easier to complete a song with a self (or even externally) imposed deadline. Stick to the song, better to spend intense attention for a day or two and just complete it. Often the results are very good. Otherwise, a piece of song just drags on for months – desperately looking at you, begging you to finish it. This too has happened to me.

Lastly, about the art of pure listening. For me listening to hundreds of Telugu, Hindi, and Sanskrit songs in my formative years has worked wonders. Unknowingly, I got to subtly memorize a wide range of melodies, beats, and very soul stirring emotional refrains. To write well, one has to read very diverse selection of works. To compose successfully, similarly, one has to listen across different genres and tongues. Or, like the great Brahmendra Swami, do silent meditation.

Seven years back I posted this piece at Sulekha. It was prompted by a request from a fellow Sulekhite. I am including it here with a few fresh observations. I am amazed that it received the attention of thousands of readers. It is also gratifying to any writer – that his website is frequented by tens of thousands viewers. Last time I checked, just for fun, this once obscure website (http://pattri-pulu.blogspot.com/) has recorded close to 11,000 browsers. Mostly I have endeavored to post informative, intellectually stimulating, and some even highly imaginative articles.] 

Happy Ugadi (Telugu New Year) to all readers! Bring in the spring, bring in Jaya year.

Copyright by the author 2014

Meaning of "Pahimam Srirama" Kirtana

Paahimaam = protect me, rescue me; Sri Rama = auspicious Rama, Rama with Sri, Rama with Sita; ante = when I utter; palukavaitivi = you do not respond, you do not reply; niisnEha = your friendship, companionship; mettidana cheppanO = how to tell, what can I say about it (your friendship);

Ibbandi nondi = when it got into a predicament, stuck in a desperate situation; aa kari = that elephant; bobba peTTinantalOnE = gave a shriek for help;  gabbuna = immediately, without further delay; (k)gaachitivaTa = came to its rescue; nibbaramugaa = in plenty, in excess, profusely; nEnentO = nEnu + entO = I, so much; kabbamicci = gave (so much) poetry, offered so many poetical works; vEdukonna = sought refuge in you; tabbibbu = overwhelm (me), very disorienting; cEsedavu = you make it; abba = an interjection expressing exasperation;

sannutincu varinella = all those who extol your virtues (characteristics); munnu = foremost, earlier; dayato = with kindness, with compassion; brOcitavani = have come to their rescue; pannaga Sayi = Sesha-Sayi = the One who reclines on the great serpent Adi Sesha; nE kani = I met, I saw; vinnavinciti = pleaded, submitted a request; vinnapamu = the application, request; vinaka = not paying attention, not considering the matter, not listening to the devotee’s earnest appeal; entO = very much; kannaDa = neglect; (j)chEsedavu = you do it; yennaTiki = ever; namma raadu = cannot trust, cannot believe; anna nna = interjection expressing surprise;

chayyana = swiftly, Bhadradri = the Bhadra mountain ( = Bhadrachalam); nilaya = abode; swami vani nammi nEnu = I feel you are the Lord; vEmaaru = thousand times; vidhamula = ways, methods; vinuti chEya saagiti = I’ve come to praise You, extolled You; iiyeDanu = in this context, at this moment, in this regard, in this matter; Ramadasuni = Ramadasu; kuyyaalinchi = (did Ramadasu consider himself as a helpless crying child?) carry a child in arms and move him in a cradling motion, or pacify a baby by rocking the cradle; brOvakunna = if You do not sustain and care for me; oyyaaramEmanavachchu(nu) = what to say about Your grace in such an act (of omission); ayyayya = interjection expressing a feeling of sadness or pain;

In the first stanza (చరణము), Ramadasu mentions the name of Gajendra. His story is very well described in Srimad-Bhagavatam. I have access only to the Telugu translation by Potana. In the eighth chapter, Gajendra fought with the water dwelling crocodile for a long time, almost thousand years. Finally he realizes his impotence; with rapidly dwindling energies, stuck in the abyss of excruciating pain he makes a final appeal (total surrender) to Lord Narayana. Gajendra did not call Narayana by His proper name (which one to pick? There are more than one thousand names) but he addressed his request to that supreme authority, who controls and sustains the entire world. In the story, Brahma and Siva did not move, did not respond. Maybe, they thought the sustainer of all life, Narayana would come to save our Gajendra.

Here, in this context, Ramadasu seems to ask: How come You (Vishnu) speedily went to help the distressed elephant after hearing one S.O.S message? Here, I have composed hundreds of songs on you, penned thousands of lines extolling your virtues and qualities, yet I get no response from you. What type of friendship is this, please tell me. This conduct of yours is very puzzling, I cannot understand, so says the extempore composer of Bhadrachalam. When was it, when was this song composed? Just in 17^th century.

Throughout the song, there is a bit (just a smidgen) of sarcasm, a little tease addressed to Rama. Of course, the devotee is always free to do, whatever (s)he pleases. In the literature, there are cases when a devotee offers ablutions with water contaminated with spittle. There is another situation where a devotee throws stones at a murti. Dharma, the core principle of Sanatana tradition is very fine, subtle – it is not easily understood, not even by the celestials. So, here, in this context too, our Telugu great grand father (to me Annamayya, Tyagayya, and many other great composers are like great grand fathers) Ramadasu too directs his exasperation at Rama. But Rama, even the word itself is very potent. The Lord is the most compassionate, the most perfect amalgam of all finer virtues. No one, no one could find fault with his conduct or actions. We may not understand the Lord’s actions or intents. Often we erroneously jump to the conclusion: “He does not answer my application”. Both Ramadasu and Tyagayya were very fortunate. They were constantly watched and protected by Lord Rama. Same thing happened in the case of Bhakta Jayadeva too. How could they compose such extraordinarily beautiful songs? Without the fountain of deep inspiration? How could they lead their lives in this Kali-yuga (we are in Kali-yuga 5115 year) without the Lord’s benevolent gaze steadily shining on them ?

For some time, I did not get the full import of the last stanza. I went on practicing this song for weeks, putting concentration more on getting the melody and diction of every phrase absolutely correct. Then, it occurred to me like this: In the middle stanza, the composer (our great grandfather Bhakta Ramadasu. To me all these great musical composers are like my grandfathers. They teach me many new things in life. They offer their pure unalloyed affection whenever I get dispirited, disappointed, and become a bit sad. They opened to me vast fragrant gardens, vistas filled with heavenly beauty – in music, literature, dance, philosophy, and religion. Singlehandedly, these forefathers of Telugu have instructed me in many diverse things through easy paths and short cuts. To obtain such a vast repertoire of knowledge, I have to study volumes, even whole libraries. But they saved me from enormous trouble and hard work. Through sweet melodious compositions, they gently taught me many essential, subtle things – about the nature of true Bhakti, the meaning of devotion, and pure passion. Other than bowing at their feet, what can I give them? My heartfelt salutations to all those exalted spirits. I am sure wherever they are, they will receive my pure respects kindly.) Where was I, yes our Ramadasu had a vision of Lord Vishnu on His special serpent bed (modern water bed is nothing compared to this!) with the ever compassionate Lakshmi on His side. Like the murti in Sri-rangam. There in the midst of milky ocean, gentle waves are giving our Lord a soft cradling effect (massage). And in that reclining posture, the Lord always appears with total peace and beauty emanating from His face. Oh, those lotus petal filled eyes. Here, Ramadasu seems to poke fun at the Lord, what is the use of You enjoying the cradling waves there? Come, come down to the earth and console this mortal child who is in utter inconsolable grief.

[If I may slightly digress here, I recall listening to one of the Telugu exponents once. When a sincere student asked a learned Swami thus, “I have so many questions about the scriptures, what to do? Who will clear my doubts?” The Swami said politely something to this effect: “Please read all the Puranas and the three great epics, Ramayana, Mahabharata, and Srimad-Bhagavatam, and Bhagavad-Gita each book three times. Read with pure intellect, with devotion and absolute care. And then come back to me after doing this home work, and then submit your question or any lingering doubt.” It is true, after completing such home work meticulously, there will be very few questions. This writer does not try to boast, but would like to share couple of insights with others. 1. If a Sadhaka genuinely tries to explore the age old Sanatana tradition, if he persists with patience, definitely he will find the correct answer to his question. 2. If one submits (all the baggage of pride, intellect, etc.) oneself with utter humility, on the way, he will come across the right literature (commentary, explanation) and the right preceptor – at the right opportune moment. But one needs to learn a little bit of Sanskrit, Telugu (or Tamil or any of the other Indian languages). Knowing a language (other than English) helps and helps a lot. Though there are great yogis who never opened a book – it is altogether a different phenomenon, for lesser humans, a little bit of study (swadhyayana) is a must. One may come across a rare English book by Sister Nivedita or Swami Nikhilananda, but such instances are very infrequent. Rarely we find genuine helpful books in English, books that can really inculcate a sense of true devotion or wisdom. ]  

            
        Upon the urging of a Sulekhite, I had to study this popular Ramadasu kirtana in depth. Hope it is helpful to the young learners of Telugu/Carnatic music. Lekhini was used for English transliteration. Lyrics were given in a previous post here. Copyright by the author 2014.