On Looking Into the "Vandanamu Raghu nandana" Song

On Looking into the “Vandanamu Raghu-nandana” Song

vandanamu (1) = sincere praise, expressing heartfelt gratitude, salutation, saluting with folded hands, paying respects, పూజ, ప్రశంస, స్తోత్రము, ప్రణామము, నమస్కారము; raghu nandana = offspring of the Raghu dynasty; (nandana = son in Sanskrit language) setu bandhana = bridge over the ocean; bhakta = devotee('s); chandana = sandalwood, provides soothing or respite, cool to touch; (The name of Rama itself relieves the stress and provides soothing to the devotee)

Sridama = Kubera, The One endowed with rich qualities (Sri + Da); natO = with me; vaadamaa = argument with me? Do You have a dispute with me? nE = I; bhEdama = difference, difference of opinion; Srirama = Lakshmi; hRut+chara = heart’s clutches, imprisoned in the heart; mamu = us; brOva = protect;bhaaramaa = is it a burden? is it difficult or strenuous? Raayabaaramaa = a missive, communication sent by a messanger(?); vinTini = I’ve heard, the bow; nammu konTini = believed, put total trust; SarananTini = I’ve sought refuge; rammanTini = welcomed you (Rama), asked you to come; ODanu = I do not get defeated, vanquished, do not surrender; bhakti = faith, sincere devotion, unwavering trust in Sri Rama; vIDanu = I’ll not desert, will not give up; (n)orula = others; vEDanu = will not seek the help of, will not ask others; (j)chUDanu = will not look at; kammani = tasty, pleasing to the tongue; viDemu = pan, a mouth refreshing item made with betel leaves, lime, and other aromatic spices(తాంబూలం, కిళ్ళీ); immani = please give me, bestow on me; varamu = a boon, a blessing; kommani = accept, take; paluka = a word, a verbal response;

kshemamu = safe, everything is in order; divya dhaamamu = celestial abode, adorable home; nitya = daily; niimamu = niyamamu = routine, rule, habit; naamamu = name; 

chuuDumii = look (at us); kaapaaDumii = protect (us); mammu = us; pOdimigaa = fitting, elegantly; kuuDimi = meet, join us; 

vEgaraa = come hurrying, come swiftly; karuNaaSaagaraa = ocean of compassion; hRudaya + aakara = home of heart, abode; (You, i.e., Rama resides in the heart of Tyagaraja) 

“న్యాయమా నీ కాయమా ఇంక 

హేయమా ముని గేయమా రామ” 

Once again this marvelous melodious seemingly innocent composition made me rush into my personal library and hunt down the “Ramayana” for a clarification. Fortunately we have at home a rare hundred-year-old Telugu translation of the original Sanskrit text. It is the ‘Bhaskara Ramayanamu’ originally completed around 14th century (హళక్కి  భాస్కరుడు). In Telugu we have more than six translations of the Valmiki’s metrical poetical Hindu epic. In high school (probably in eighth grade) we had sections from Molla Ramayanamu, it runs in couplets in lucid Telugu. Many thanks to those superbly qualified language teachers who patiently taught us our mother tongue. Not only that they gently prodded us to love our Indian languages and native culture.

There is an interesting incident when Sri Rama meets the exiled king Sugriva. What a strange situation? It almost looks like as if Lord Rama was being interviewed for a job; He had to convince Sugriva through talk and a real demonstration of his archery. He had to cut seven tall standing palm trees with a single arrow.

It seems as though Tyagaraja is saying thus: “Is there any justice here? Rama, you had to pierce and cut the long stems of seven palm trees, just to prove your worth. Isn’t it a disgrace? Isn’t it below the normal etiquette? Do you have to prove your skills or your valor thus to Sugriva? And the sage Valmiki (probably Narada also) had sung this story (this incident) too? Hey, Rama – compared to your difficulties, what are our troubles?” I am glad that I could learn so much about devotion, music, and Telugu with this composition. Copyright 2020 by the author

1. Tyagaraja (Tyagayya, త్యాగరాజు) showed us various ways of praying. It could be any one of these acts (devices):  A song, simple chanting of 'Rama's name', meditation on Sri Rama's form, offering of fragrant flowers, Tulasi leaf, sandalwood paste, or offering of flame (camphor or oil soaked wick). 

"Dil ki baat labon par" Telugu Translation

Telugu Translation of "दिल की बात लबों पर" Ghazal

ఎదలోని మాట పెదవులైపై తెచ్చి 

ఇన్నాళ్ళు (ఇప్పటి దాక)  బాధ సహించాను

విన్నాను ఈ ఊళ్ళో (పేటలో, నగరములో) 

హృదయము ఉన్నవాళ్ళు కూడా ఉంటారని

ఎవరో నన్ను ఓ బాటసారి (దేశ దిమ్మరి) అంటే

పెద్ద అవమానము కాదు

లోకులు సహృదయుల్ని  (సున్నిత మనస్కుల్ని) ఎన్నో అంటూ ఉంటారు  

(అంటారు)

వర్ష ఋతువు వెళ్ళిపోయింది, కాలం తన చూపు త్రిప్పుకొంది (మార్చు కొంది) 

కాని

ఈ దాహార్తి చక్షువుల్లోంచి కన్నీరు కారుతోనే ఉంది ఇంకా

ఎవరి కోసం ఊరు కూడ వదిలానో,

ఎవరి కోసం అపకీర్తి పాలైనానో

వారే ఇప్పుడు (ఇవాళ) నాకు అనాప్తులైనారే! అపరిచితులైనారే! 

ఇప్పుడు ఈ బాటలోంచి వెళ్ళాడు ఓ చింకి చొక్కా వాడు

(ఇప్పుడు ఈ బాటలోంచి వెళ్ళాడు ఓ భగ్న ప్రేమికుడు)  

ఆ (బుడబుక్కల) ప్రేమికుణ్ణి (ప్రేమిక పథికుణ్ణి) అంటారు - "జాలిబ్" జాలిబ్
అని

(I dedicate this translation piece to our dear 'తెలుగు తల్లి'

(The Mother of Telugu-ness); to the embodiment of sweet Telugu

language, the essence of refined Telugu culture, the

encapsulated history of more than two millennia, the

vast storehouse of classy music, and a rainbow-colored repertoire

of classics and modern works. Sadly the Telugu language

and Telugu teachers are going through tough times in the

current political climate there in India. What can I say, I sigh

in despair.

The original poet (Mr. Habib Jalib) gave form to all the

emotions of a true, sensitive, young lover. And of course

the incomparable vocalist (Mehdi Hassan) imparted a

soul and faithful form to this lyric. Though I did not get

a chance to meet either of them, I bow in reverence to

the exceptional creative artists. Luckily I learnt Hindi

and Urdu languages and their idioms during my stay

in Delhi. I hope my Telugu readers and Internet

friends will enjoy this post.) Copyright 2020 by the author

https://www.youtube.com/watch?v=Y6lqx2pjzqE

Translation of 'Lambodara lakumi kara' Song

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Foremost, I humbly offer my prayers to the (my) guru. Kanchi Paramacharya gave a very illuminating exposition on Ganesa and His essential qualities. Ganesa is unique; like an innocent child He is easily pleased. Yet among all the gods, He is beyond the symbolic form – He constantly teaches us to look beyond the frivolous physical form and beauty constraints. Ganesa is of course, the Para-Brahman, far away from the limits of space, tri-guna restrictions, and human imagination.

Lamba = large; udara = belly; lakumi = lakhumi = Lakshmi (seems it is from Marathi); kara = hand, trunk, give, yield; amba = The Mother, Devi, Parvati; suta = son, child; amara = celestials, those immortals in heaven (swarga); vinuta = praised, extolled;

Sri = Lakshmi, prosperity, holy; gaNanatha = master of all the ganas; sindura = the color of red cinnabar (HgS). (I came across this color first in our village in two situations. The Anjaneya temple murti of Hanuman is fully colored in this oily orange-red paint. People also used locally available ochre stone (iron compound) to paint and decorate their houses and exterior walls. Perhaps that is how most of the Vaishnava temple walls are covered with red stripes.) varna = color, hue; karuNa = compassion, grace; sagara = ocean, the body of water named after the emperor, Sagara; kari = elephant; vadana = face;

siddha = persons with great abilities (acquired through yoga) ; charaNa =wandering actors, flying persons, students of Vedas; gaNa = group of gods (nine classes); sevita = (One who is) served by; siddhi =able to accomplish (any proper, dharmic) goal, also having total control of the eight or more supernatural powers; Vinayaka = a distinguished master, Lord of obstacles; te = thou, you, namo = salutations, respects;

sakala = all types, various; vidya = branches of knowledge (arts, sciences, etc.); adi pujita = offered prayers first; sarva = all; uttama = best, excellent;

  

Here in this composition, we address Ganesa with various qualifying epithets. Each one speaks to the unique characteristic of this embodiment of ‘innocent childlike purity of Brahman’. The Mother imparted Him with all the auspicious qualities of wisdom, boundless energy, (slight) mischievous playfulness of a child, and infinite compassion. Ganesa also forgives His devotees easily. In the forest nothing can obstruct the advances of an elephant. Similarly with Ganesa’s grace every obstacle can be efficiently overcome with ease. How to illustrate His benevolent timely grace to the devotees? Once He effortlessly transported Avvaiyar to Kailas with His trunk. At another time He arranged a sumptuous meal for Kavya-kantha Ganapati muni and his brother miraculously on a deserted street.

(Faith and morals (truthfulness, altruism) are best taught to children when they are young. In earlier times (we’re truly blessed in this regard) mothers, grandparents, and teachers taught us edifying stories from the puranas. With age one contracts the corrosive disease of “endless questioning and disobedience”. We refuse to listen to others. Some times questioning is good in certain areas (science, math) for exploration – the trait is more like a healthy skeptical attitude. But sheer useless, often endless questioning will not help in developing a healthy personality. Modern man tends to size up all bygone seers, rishis, and philosophers as “ignorant nincompoops”. This is a dangerous vice; in the end he will have no friends in the world. Crass stubborn rationality will not come to his aid when he gets sick, bankrupt, alone, or in despair. Lay people sadly are not aware that even in mathematics, in certain instances logic breaks down (Kurt Gödel). Lucky are those who still can seek the guidance of a ‘guru’ while the day is young!) Copyright 2018 by the author

 

Translation of "ne pogadakunte"

Translation of “nE pogaDakunTE “

So what?

What do You lack?

What do You miss?

If I don’t praise (Your glory)

You know my mind (Don’t You?)

Those, who dwell in Your grace

Like

The Suka, Sanaka,

Prahlada, Narada

Rudra (Siva)

And other devotees

(When) They all worship You

So what?

What do You lack?

For

Providing food and sustenance

There, are

My wife, scholars, and community

For helping with (music lessons and) singing hymns

I’ve the

Son of Wind (Hanuman)

Now

Daksha, Indra, and other celestials

Have become very dear relatives

O Lord with lotus eyes

The One extolled by Sri Tyagaraja

Being a boy

If I don’t praise (Your glory)

What do you lack?

You know my mind.

Tyagayya (at times I prefer to call him Tyagayya, cf. Annamayya) profusely acknowledges the debt to elders, teachers, contemporary society, and ancient rishis in a number of songs. In some instances he may have expressed a slight difference of opinion with cohorts (nadupai palikeru comes to mind). But wherever he expressed gratitude, his sentiments were always warm and heartfelt. I sense a feeling of authentic thankful gesture in this song and “danDamu peTTEnuraa kOdanDapaaNi cuuDaraa” (see one of my older posts at Sulekha).

[This is a translation of the Tyagayya kriti, “nE pogaDakunTE niikEmi kodavO?”. I learnt the song from a cassette (rendition) by Dr. Balamurali. I hope younger artists like Dr. Pantula Rama will one day present their own interpretation of such timeless compositions. Certainly there is a vast reservoir of musical talent hidden in today’s youngsters – one fervently hopes budding singers remain optimistic, persevere, and pursue Indian classical music either as a vocation or avocation. Money or no money, awards or no awards. Per se, art has its own rewards.]

I will post the lyrics (and perhaps commentary) in a future write-up.  Copyright © 2013