Lyrics of "varadaraja ninnu" Song with Meaning

స్వరభూషణి - రూపకం 

వరదరాజ నిన్ను( (నినుఁ) గోరి వచ్చితి మ్రొక్కేరా  || వ || 

సురులు భూసురులు చుట్టి చుట్టి సేవించే         || వ || 

వరగిరి వైకుంఠమట - వర్ణింప( దరముగాదట - ని

ర్జరులను తారకములలో( - జంద్రుడై  మెఱయు(దువట

వర త్యాగరాజనుత - గరుడసేవ జూడ               || వ || 

varadaraaja ninnu( gOri vacchiti mrokkEraa

surulu bhuusurulu chuTTi ChuTTi sEvinchE

varagiri vaikunThamaTa - varNimpa( DaramugaadaTa-ni

rjarulanu taarakamulalO( - jandrudai me~rayuduvaTa

vara tyaagaraajanuta - garuDasEva juuDa

Ninnu (ninu) = you; kori = desiring; vacchiti = have come; mrokkEra = (I) pray to you, salute you;

Surulu = devatas; munulu = the rishis; bhu-surulu = vipras, Brahmin devotees; chutti = going around, circumambulate; sevinche = serve with devotion; 

nirjarulanu = the celestials, devatas; tarakamulalo = among the stars; (among the stars of celestials O Varadaraja, You are like the Moon. Thus You outshine all others with all the splendor)

(A quick detour (digression) here: Tyagaraja shares with us some secrets of "upasana = ఉపాసన". That is in the tradition of bhakti, how do we approach the Lord (Rama)? It could be a flower, a leaf, scented water, uttering His attributes, or simply a physical act or gesture. The most important thing is - right now, at this moment how to focus on Varadaraja and put our total attention on the procession in the precincts of holy temple. 

Earlier I used to think (prematurely without proper exhaustive study) that only Annamacharya composed lyrics with exceptional picturesque imagery – bringing to our eyes the exact scenes with utmost fidelity and detail. I presumed (without scholarly evidence) in a hurry that Tyagayya’s compositions lacked vivid colorful painting of “an incident or scene”. I was utterly wrong; I changed my immature opinion right after this song. Of course, the songs in “Nauka-Charitramu” tucked away in some old cassette box also depict beautiful scenery. 

Now coming to the second stanza (pallavi): For a quick comparison (for those people who never got a chance to visit Kanchi City, TN), the Garuda seva function happens in Tirupati also every year. In the procession primacy is given to Lord Varadaraja. He (i.e., the utsava murti ఉత్సవ మూర్తి ) is ensconced (rather enthroned) in royal attire at the center with all other devatas surrounding on the slowly moving chariot; the car being pulled by Garuda, the celestial carrier of Lord Vishnu. There at the center every perfume (floral scent), light, flowers, offerings, and colors abound. All the other performers take a subordinate role (position) and act accordingly to serve the Lord (Narayana).  The procession proceeds slowly with stops (pauses) in between; there would be attractive glittering dances and chorus singing interspersed with divine chants along the procession. Obviously the composer visited the temple on such a special festive occasion and composed the song, probably extemporaneously on the spot. Here are the links to YouTube videos:

Rendition by Amritha Murali  

Though the song is quite brief with one stanza (pallavi) it captures our attention due to the undulating melody – like the undulating flight of a dove the sound stays vibrating in the air (and in our inner mind) for a long time. The famed temple is worth visiting at least once in a lifetime; luckily our parents visited as part of the pilgrimage to Tirupati. Lord Narayana (other than the peda Venkanna పెద వెంకన్న  at Tirumala) always is more accessible to the devotees, it seems. Of course we have to climb more than twenty steps to enter the main inner Sanctum Sanctorum.

If I may, I will conclude my comments with an observation thus: In our obscure yet modest vibrant village there were a number of temple processions. Often they used bring the "utsava murthis" on a cart drawn either by people or ox during the night, usually after 9 or 10 pm. The nights used to be a bit cooler then. Our mother would wake us up from deep sleep and we would go into the street with a platter full of rice, jaggery, turmeric, kumkum, and some flowers. With some luck mother would put a few rupees as a small token of "gratitude" to the priest. With half closed eyes we would stretch our necks to get a glimpse of our local "Venugopala Swamy" (or Siva) seated on the cart. Those little innocent acts of devotion taught us very invaluable insights into bhakti, tradition, and faith. For the young it is very important to put some reserve account in ones spiritual account; preferably it should start very early in life. Later the "peer pressure" and other worldly influences would interfere in spiritual growth. By sheer grace this post was completed at the auspicious eve of Janmashtami (Lord Krishna's birth).

Copyright 2026 by the author. 

Lyrics of "Adi modi" Song

ఆడ మో(డి)డీ  గలదే రామయ్యమాట 

రాగం: చారుకేశి 

తాళము: దేశాది 

ఆడమోడి గలదే రామయ్యమాట ॥లా॥

తోడునీడ నీవె యనుచు భక్తితో

గూడి పాదములఁ బట్టిన మాట ॥లా॥

చదువులన్ని దెలిసి శంకరాంశుఁడై

సదయుఁ డాశుగ సంభవుండు మ్రొక్క

గదలు తమ్ముని బల్కఁ జేసితివి

గాకను త్యాగరాజేనాటి    (naa)టి మాట ॥లా॥

aaDamODi galadae raamayyamaaTa 

raagaM: chaarukaeSi

taaLaM: daeSaadi

pallavi:

aaDamODi galadae raamayyamaaTa || laa || 

anu pallavi:

tODuneeDa neeve yanuchu bhaktitO@M

gooDi paadamula@M baTTinamaaTa || laa || 

charaNamu(lu)

chaduvulanni delisi SaMkaraaMSu@MDai

sadayu@MDaaSuga saMbhavuMDu mrokka

gadalu tammuni balka@M jaesitivi

gaakanu tyaagaraajae paaTi maaTa || laa || 

The English transliteration was generated by Lekhini. I follow the lyrics given in the small booklet by Gollapudi Publishers. Ms. Syama Sundari edited the Telugu lyrics. I find both versions (one due to Dr. Balamurali and another by M. S. Subbulakshmi) flawless. Though I kept on humming this song for many years only recently I stumbled on its real meaning; it gifted me a rare insight into Sri Rama and made me dwell more into the real feeling of bhakti. In some instances of life reaching the goal is not the point. Staying steadfastly on the path and pursuing without any wavering is very difficult; and to continue without any doubt, despair, that requires extraordinary patience. Here is the link for audio: M S version

Meaning of the song was given in the previous post here. 

Copyright 2025 by the author

Meaning of "Adi modi galade" Song

Chaduvulanni = all fields of knowledge; d(t)elisi = knowing, having mastered; Sankara + amsudai = born with the essence (an aspect) of Sankara, taken the earthly form with Sankara’s qualities; sadayudu = compassionate, kind hearted; asuga = the god of wind; sambhavundu = offspring, son of; mrokka = prayed, saluted;

“I keep following You (Rama) with devotion as a faithful shadow, remain faithfully attached to Your feet – yet You hardly say a word or reply even a syllable. What a wonder! Your reticent attitude has no parallel, O Rama.”

Lord Hanuman, being none other than a scion (portion) of the great compassionate Sankara (Lord Siva) approached You with a respectful salute (namaskar) in the forest. Then look what happened – You made tactical agreements with Sugriva (brother of Vali) for the ultimate war with king Ravana. With such a background, who gives any importance to Tyagaraja? Who cares about lesser mortals like Tyagayya? In such circumstances is there any chance (luck) for lesser humans? If Hanuman ji got such a short shrift of treatment, where is the chance for a positive response to Tyagaraja? Where is the possibility for any response to the composer’s endless beseeching, pleading? In such dire unpredictable situations where is the possibility of better luck for the composer? Or, who is Tyagayya to receive any better treatment at the hands of Rama? What is the status of Tyagayya in the hierarchy (totem pole) of great many bhaktas of Rama? This point is worth pondering for all the Carnatic singers, Rama bhaktas, and ardent devotees. There are some passages in Sri Ramakrishna’s biography (scribed by M) where we find similar incidents; Devi Kali mata was on the premises of Dakshineswar temple, in the gardens but She was busy in Her own playful acts with other goddesses. 

Often the Guru tries to instill in the disciple the value of “patience or perseverance” (saburi). We have to read, listen, and sing a lot to appreciate this essential quality. Depending on one’s taste (or bend of mind) one can choose any of the nine modes of bhakti. Many times we try to visit sacred places, rivers, or temples; but we succeed only in a select few of our undertakings. And even such rare successes are precious gifts for us. We must try to utilize all our energies, enthusiasm, and time to see rare (one-of-a-kind) swamis and ancient pilgrim places; such acts should be done preferably when one is young, able bodied, and full of bubbling energy. A kind parent, relative, or friend may prod us to do such unusual religious (or faith based) acts. Now “the world is too much with us”; every act is oriented towards material benefit or physical pleasure. But when one is bedridden, sick, injured, or inconsolably sad, who will help us? At times we may be unconscious with severe bodily pain, at such desperate moments who will come to our rescue? This is a thought for all – young and elderly. Bad luck can befall on anyone, at any time. That’s why we try to save and store some smidgen of “prayer, meditation, and japa” for future. We keep a ‘rainy day fund’ in bank for emergency use. Similarly we must keep some savings of spiritual endeavor for future. Even recalling Hari’s name at the right time (a true crisis) is very difficult; here we must appreciate the good fortune of King Gajendra (see Srimad-Bhagavatam) for having good mental faculties even in the midst of excruciating pain. There, then in the slippery muddy pond he was in the cruel jaws of the crocodile; the crocodile was mercilessly goring his sensitive toes with its nasty sharp teeth. By then the elephant was on his last ounces of energy, totally dehydrated and utterly hungry. The mammoth mammal was on the verge of total collapse and drifting into delirium. It was losing consciousness. And then suddenly due to its past virtuous karma (tapas) the elephant suddenly remembered Hari (with His qualities) and surrendered to His grace. 

None of us are like the Kanchi Paramacharya. The Swami could undergo cataract surgery without anesthesia. At another time the celebrated walking guru did extended tapas sitting in the midst of five fires (పంచాగ్నులు) while running high bodily fever. Such extraordinary circumstances can make the mind focus acutely on Hari’s name; but many ordinary bhaktas cannot achieve such pointed concentration. Soul stirring full throated vocal singing of great compositions or bhajans also provides peace and total communion with Sri Rama. That is all one can do – be it in times of happiness or utter despair.    

"ne pogada kunte" A Tyagaraja Kirtana

రాగం: దేశ్యాది తోడి 

తాళం :  ఝంప

నే పొగడ కుంటే నీ కేమి కొదవో? (వూ)

నీ మనసు తెలిసె గదరా ఓ రామ (శ్రీ రామ)

ప్రాపుగల శుక సనక ప్రహ్లాద నారద

పరమేశ రుద్రాది భక్తులర్చింపగ

భుజియింప బెట్ట సతి, బుధులు సామాజికులు 

భజియింప సోదరులు పవన సూను(డు)  -

డజ (అజ) బిడౌజాది సురలాప్తు లైనారు; నీ 

రజ నాయన శ్రీ త్యాగరాజానుత! బాలుడగు (నే)

raagaM: daeSyaadi tODi 

taaLaM :  jhaMpa

nae pogaDa kuMTae nee kaemi kodavO? (voo)

nee manasu telise gadaraa O raama (Sree raama)

praapugala Suka sanaka prahlaada naarada

paramaeSa rudraadi bhaktularchiMpaga

bhujiyiMpa beTTa sati, budhulu saamaajikulu 

bhajiyiMpa sOdarulu pavana soonu(Du)  -

Daja (aja) biDaujaadi suralaaptu lainaaru; nee 

raja naayana Sree tyaagaraajaanuta! baaluDagu (nae)

(I came to know about this kirtana from a cassette. Must have bought it either in Andhra Pradesh or in US. Dr. Balamuralikrishna gave a flawless rendition of every phrase. Here the composer is directly asking Sri Rama thus: "What do you lose if I don't praise You? Do you miss or lack anything due to my omission (of act)? You know very well the facts. The sages like Suka, Sanaka, Prahlada, Narada, etc., they all are extolling you. And Siva and Rudras are there too in the gathering." The next stanza becomes a bit complex to decipher, but we will explore the details later. Finally Tyagaraja says - "I am just a little boy compared to all other devotees". So, Rama, please disregard my faults. If I cannot attend to You, if I cannot sing and praise Your qualities - it's alright. There are thousands of celestials and sages who constantly sing melodious songs on You. I am just an insignificant entity in that august company!) 

Tyagaraja Kirtana "nagu momu galavani"

ప. నగుమోము గలవాని నా మనోహరుని

జగమేలు  శూరుని జానకి వరుని  ||నగుమోము||

చ. దేవాది దేవుని దివ్యసుందరుని

శ్రీ వాసుదేవుని సీతారాఘవుని  !!నగుమోము!!

సుజ్ఞాన విధిని సోమసూర్య లోచనుని

అజ్ఞాన తమస  మణచు భాస్కరుని  !!నగుమోము!!

నిర్మలాకారుని నిఖిలాఘహరుని

ధర్మాది మోక్షంబు దయచేయు ఘనుని !!నగుమోము!!

బోధతో పలుమారు పూజించి నే నా

రాధింతు శ్రీ త్యాగరాజ సన్నుతూని (సన్నుకూని)  (తిని)  !!నగుమోము!|

pa. nagumOmu galavaani naa manOharuni

jagamaelu  Sooruni jaanaki varuni  ||nagumOmu||

cha. daevaadi daevuni divyasuMdaruni

Sree vaasudaevuni seetaaraaghavuni  !!nagumOmu!!

suj~naana vidhini sOmasoorya lOchanuni

aj~naana tamasa  maNachu bhaaskaruni  !!nagumOmu!!

nirmalaakaaruni nikhilaaghaharuni

dharmaadi mOkshaMbu dayachaeyu ghanuni !!nagumOmu!!

bOdhatO palumaaru poojiMchi nae naa

raadhiMtu Sree tyaagaraaja sannutooni (sannukooni)  (tini)  !!nagumOmu!|

(I first came across this song in a cassette tape with Dr. Balamuralikrishna's voice. There is another Tyagaraja song with the beginning phrase "nagu momu". The latter song was analyzed in detail here in one of the posts. This lyric is full of Rama's various qualities (epithets). Here, I would like to look into the meaning of some words:

Both Lord Vishnu and Sri Rama are looked upon as the Deva with Sun and Moon as the two eyes (with lotus-like petals, etc.) In Bhagavad-Gita we come across Sri Krishna with similar description (11th Chapter, Viswaroopa Darsana Yogah). The most appropriate way of understanding this description is thus: When we perceive the "para-Brahman" it has to be in the inner recesses of wisdom (enlightenment). We can only feel and see Him in the avenue of "good-knowledge" (= sujnana). There Sri Rama is found with the kind eyes of Sun and Moon. Here, in this context Sun dispels all ignorance (ajnana). At the same time there is the gentle beam of Moonlight to soothe the devotee. Thus, wisdom is imparted gently to the Bhakta; like a mother Sri Rama instructs the devotee with love. 

nikhila + agha = all encompassing sins, impurities, or defects

haruni = the destroyer, the evaporator of all such sins) Copyright 2022 by the author

Ganesa Kirtana - A Rare Tyagaraja Composition

సౌరాష్ట్ర రాగం    ఆది తాళం 

శ్రీ గణపతిని సేవించ రారే శ్రిత మానవులారా

వాగధిపతి సుపూజల( జేకొని

బా(గు)గ నటింపుచును వెడలిన || శ్రీ || 

పనస నారికేళాది జంబూ ఫలము లారగించి

ఘనతరంబునను  మహిపై పదములు

ఘల్లు ఘల్లున నుంచి

అనయము (శ్రీ) హరి చరణయుగముల(లు) 

హృదయాంబుజమున నుంచి

వినయమునను (శ్రీ) త్యాగరాజ వినుతుని

వివిధ గతుల ధళుంగుమని వెడలిన  || శ్రీ || 

Srii gaNapatini sEvinca raarE

Srita maanavulaaraa

vaagadhipati supuujala( jEkoni

baaguga naTinpuchunu veDalina (Srii gaNapatini)

panasa naarikELaadi jamboo phalamu laaraginci

ghanatarambunanu mahipai padamulu

ghallu ghallununchi

anayamu (Srii) hari charaNayugamula(lu) 

hRdayaambujamuna nunchi

vinayamunanu (Srii) tyaaagaraaja vinutuni

vividha gatula dhaLungumani veDalina

(Come, let us pray (and serve) the Lord of all Groups, O worshippers. Sri Ganapati has just arrived after enjoying the puja(s) from Lord Brahma. Lo and behold His dancing steps and moves.

He has arrived after relishing jackfruit, coconut, jamun, and other fruits (at the puja). Gently, wearily He is putting heavy steps on the ground with the tingling sound of tiny bells. (Let us meet Him and pray.) Let us meet Him with our minds always focused on the feet of Lord Narayana ensconced in our hearts. We will go and meet Sri Ganapati with pure bhakti and obedience; the Lord whom Tyagaraja praises is coming out (in the procession) in splendorous glory and colors. Though I am utterly ignorant of Carnatic music theory, I learned this song with proper tune just by reading from Ms. Syama Sundari's compilation. I'll try to put audio link later. Copyright 2021 by the author.)

Lyrics of "evari mata" song - A Tyagaraja Composition

evari maaTa vinnaavO raavo iMdulevO bhaLibhaLi || evari ||

avanilO naarshaeya paurushaeyamaMdi chOdyame~ru@Mga laenayya || evari ||

bhaktaparaadheenu@MDanuchu@M baramabhaagavatula

vyaktaroopu@MDai palikina muchchaTa yuktamanuchu nuMTi

Sakti gala mahaadaevu@MDu neevani saMtOshamuna nuMTi

satta chittuDagu tyaagaraajanuta satyasaMdhu@M DanukoMTi nilalO || evari ||

ఎవరి మాట విన్నావో రావో  యిందులెవో భళిభళి ॥ఎ॥

అవనిలో నార్షేయ పౌరుషేయ మంది చోద్యమెఱుఁగ లేనయ్య ॥ఎ॥

భక్తపరాధీనుఁడనుచుఁ బరమ భాగవతుల చేజింటి 

వ్యక్తరూపుఁడై పలికిన ముచ్చట యుక్తమనుచు నుంటి

శక్తి గల మహాదేవుఁడు నీవని సంతోషమున నుంటి

సత్త చిత్తుడగు త్యాగరాజనుత సత్యసంధుఁ డనుకొంటి నిలలో ॥ఎ॥

(Whom did you listen to? Whose words or advice did you listen to? You're nowhere to be found here, around me. Great, super! On the earth you are considered as the most able (perfect), rishi-like person, the best among humans - isn't it a wonder that you're not attending to my entreats? Unlike others (the Devas or royal kings, etc.) you've excelled by the sheer execution of "appropriate acts", by the acts suggested by the Hindu Dharma, by the acts prescribed in Shruti. Thinking You are in the clutches of bhaktas, I held on to some exceptional (Rama's) devotees. I thought it would be nice if You appear and directly speak a few words. I am content and happy that You are the powerful Deva. "You are truthful and the sole embodiment of excellence and You are the truth", so I (Tyagaraju) thought.)

I got hooked to this song the first time I heard from Dr. Balamurali in a CD mastered by SaRiGaMa. By repeated listening at home and in the car I came to appreciate its inner beauty. Even when Tyagayya complains about Sri Rama, there is certain elegance. The great vocalist gave all he has in that single phrase, "sakti gala...". Copyright 2021 by the author.

 

Word To Word Meaning of "mokshamu galada" kirtana

Mokshamu = (from Hindu faith) a state where the individual turns away from the senses, the manifest external world, and merges with the Eswara; galada = kalada = is there? Does it exist? ; bhuvilo = on the earth; jivan = life; muktulu = those who are released, liberated from the never ending cycle of births and deaths; gani = kani = not, who are not; varalaku = for such people;

Sakshatkara = the sudden appearance of “Brahman”, Narayana, Siva, Devi or any of the “embodiments of pure compassion and energy” as felt by a devotee. See biographies of Sri Ramakrishna, Jillellamudi Amma, and Trilinga Swamy; ni = Your; sadbhakati = true devotion towards the Lord (Sri Rama); sangita = music; jnana = the knowledge and wisdom; vi-hinulaku = people who are bereft of (such knowledge), for such unfortunate (hapless) persons;

Prana = life energy; (ex: prana is one of the five pranas. The prana, apana, udana, samana, and vyana form the set of five pranas. We may conceive these as five essential energies always present in any living person. Details about these matters are given in Yoga books. Refer to earlier posts for Yoga books. The prana energy is considered as the one that moves up through body. We may visualize this as the main energy that propels the vocal chords and is involved in speech, recital, and singing.) anala = fire (located in the stomach), also known as the fire that helps in the digestion of food (jathara-agni); sam-yogamu = proper union, close joining; valana = due to (such joining); pranava-nadamu = the latent sound of ‘Om’; sapta-swaramulu = the seven basic notes in the Indian system of music, i.e., sa, ri, ga, ma, pa, da, ni, sa; baraga = flow, flowing; vina-vadana = the Indian musical string instrument, Vina. The long multi-stringed instrument with two hollow spheres (like pumpkins) on either end. The pumpkin close to the bridge is the larger one; loluDau = enchanted by, fully absorbed by; Siva = Lord Siva. Where did we see Siva absorbed with Vina music? In Dakshinamurty, Siva is always depicted with a vina. So is Saraswati, we find Her always with the stringed instrument. In the Hindu puranas, Saraswati is considered as the sister of Siva. Once to impress Siva, Ravana played vina when he was crushed under the Kailas Mountain. And of course, the ever wandering kind preceptor Narada is always with the vina, hung from his shoulders.

Mano = of mind; vidhamu = the method, the technique; erugaru = do not know, do not comprehend; Tyagaraja vinuta = so aptly praised by Tyagaraja;

Song in Swati Tirunal movie

Copyright 2021 by the author (Additions and corrections will be duly updated later)

Exploring the song "nagumomu ganaleni"

Exploring the song "nagumomu ganaleni"

Of the many devotional songs written by Tyagaraju, the song "Nagumomu ganaleni..." is truly a gem, incomparable in its beauty, meter, and profound meaning.  Dr. Balamuralikrishna's rendition (in some old cassette) of the song is very emotive and moving.  Equally beautiful is the version sung by Bhanumati (a poly-math!).  Sometimes it is difficult to decipher Tyagaraju's songs because they were written almost two hundred years ago.  A huge gulf exists between the Telugu of the bygone era and today's lingua.  One needs to know Sanskrit also, to truly understand these songs. Many of the errors in pronunciation (diction) can be avoided by learning these two languages thoroughly. One encounters similar difficulties with the melodious, kaleidoscopic poetry of Annamacharya.   

    Nagu=smiling; momu = face; ganaleni = unable to see; na=mine; jali=state of pity; telisi = having known, cognizant; nanu = me; brova = to save; rarada= won't you come? Sri raghuvara = Sri Rama

    Nagaraja dhara = Krishna, the one who lifted Govardhana Mountain*; needu = your; parivaramu = friends, family members; ella = all; oogi = bowed sequentially, in succession, in a row, one after another; bodhana = pleading; jese = doing; varalu = people; gaare = aren’t they; itulu = thus, in this way; undire = be, remain; nee = your;

    Khagaraju = Jatayu†; nee = your; aa (ya)nati = command, order, instruction; vini = having heard; vega = swiftly; jana = left; ledoo = not (did not?); gaganaaniki = to the sky; ilaku = to (from) the earth; bahu = very, extreme; durambani = being far; nadoo = then, that day; jagamele = world ruling; paramatma = supreme soul; evarito = with whom, to whom?; moralidido = will I plead; vaga = anger, neglect; jupaku = do not show; taalanu = can not bear; nannelukora = take me into your rule, protect me, have grace upon me; Tyagaraja nuta = praised by Tyagaraja.

    The scene is that of Sita's abduction.  Jatayu comes to the rescue of the unconscious Sita and fights valiantly with Ravana till his last breath.  This moment in Ramayana is perhaps the most poignant, rather heart-breaking one.  The gods in the sky are jubilant, because the event marks the beginning of the downfall of Ravana.  At the same time, the gods are also keenly aware that they are witnessing a distressed Lakshmi.  Does Jatayu take to his wings after hearing the command from Lord Vishnu? Does the enormous distance between the earth and sky overwhelm him? Does he wait for the command from Rama? Does Jatayu really need the specific instruction from Maha Vishnu? Perhaps yes. And no. In the following line, Tyagaraju addresses the Lord with two titles – the World Ruler and the Supreme Soul. In the bhakti tradition, it is axiomatically accepted that Vishnu has the supreme authority on everything and he can dictate whatever action is appropriate with his intention (samkalpa). The only exception to this rule is: some times the wish of an ardent devotee will override the intention of Vishnu. Also, the Lord is considered as transcendent and therefore has myriad ways of acting at his disposal - some involving explicit intention and some without intention. (Cf. In the Vamana-avatara He simply extends His foot to reach the entire sky, no explicit intent is involved. See my earlier blog on Annamayya’s kirtana, “Brahma kadigina padamu”.)

    In one sense, Sita did not need Jatayu's help. Sita was none other than Maha Lakshmi, a goddess with enormous powers. If Sita wanted, She herself would have confronted Ravana. In Ramayana, primary importance is given to Sri Rama. The king of asuras, Ravana obtained a boon from Brahma that no god could defeat or kill him in combat. The Lord came to the earth to lead the life of a human and confronted Ravana as a (mere) human being. In all the avatars  (ex: the ten avatars), there is one common thread - the avatar (avatara) is the source of power, life, beauty, and perfection. Other characters may be present during the life of an avatara (such as Lakshmana, Balarama) but they play a supporting role, always in consonance with the principal character (of the avatara). The supporting characters tend to be silent or dormant, very rarely exhibiting their extraordinary powers. This interesting principle has been explained by several Indian philosophers. Thus, at the time of Sita's abduction, both Sita and Lakshmana behave just as human beings, never asserting their true powers. Lord Vishnu bears enormous suffering in all the avatars; but He has to endure much pain and distress in the Rama avatar. Here, as soon as he became adolescent he was off to help Viswamitra. After marriage, both Sita and Rama moved to live in the forest. After Ravana's death, Rama and Sita were separated again after the coronation. One may ask why did Vishnu accept the Rama avatar? Of all the trinity, Brahma - Vishnu - Maheswara, Vishnu again and again took avatars and sought to help the mankind.  No one can be considered as compassionate as Hari. I used the original Sanskrit word avatara instead of the often-used word "incarnation".  One of the well-known philosophers suggested the English word "manifestation" as an equivalent word for  "avatar". (See J. Krishnamurti's 'Truth and Actuality').  Since Lord Vishnu is no mortal, perhaps it would be incorrect to interpret the ten avatars as ten incarnations. The Sanskrit etymology gives the meaning as “the star descending to the earth”.

    The origin of das-avatar (via Ambareesha) is an interesting tale in the Hindu mythology (purana) studded with many iridescent insights into religion (See Srimad-Bhagavatam). It is a story par excellence. 

[This was originally posted at Sulekha while I was just beginning to learn Carnatic music and dive deep into Telugu poetry. Then I did not have much access to the reference works of Sanskrit and Telugu. Now much more information is available on the Internet including some rare original Telugu works on Jayadeva and Kshetrayya. Though I could edit this post after more than a decade – I leave it unchanged. I am posting here on the Google blog site for the larger audience across the continents. I have only one remark to add: At the outset we witness the sad face of the great composer, pleading Lord Rama for a “manifestation of His smiling kind face”. Yet in the second stanza, we stumble upon an utterly human Rama with a dejected, sorrowful face; like all the mortals He too experiences the pain of (wife) Sita’s loss. Sadly there is no smiling face in this entire song. The situation is too profound, very moving – one sheds tears upon hearing this song. It seems Tyagaraju was sad because he saw Lord’s face in his inner recesses of heart. But for some reason that instant Sri Rama’s face was overcast with sorrow (due to the abduction of Sita).

I wonder whether many artists truly internalize and assimilate the total depth and meaning of the context. Great pundits (ex: Madhusudana Saraswati, Dr. P.S. Sastri) and Paramahamsa Sri Ramakrishna knew about real pathos, bhakti, and love (sringara). We may pretend to know real art, beauty, or truth. But only a select few can touch “that beauty”. Sadly many singers do not understand this great composition; nor can they feel the true profundity of this marvelous piece. I’ve diligently read Telugu poetical Ramayana and other texts many times; I try to find any errors in this interpretation but I could not. Several devotees expressed their anguish at the plight of Sita and Rama in the forest, getting separated, and sad without any help from nature or people. The situation continues till Anjaneya enters the scene. The Lord need not undertake such a painful avatara but for the loving compassion towards His devotees, rishis, and helpless citizens. Copyright 2007, 2021 by the author] 

(For Further Reading: 1. Tyagaraja kirtana, “brova bharama” 2. Bhaskara Ramayanamu,  

*We have two instances where the Lord (Narayana, Krishna) lifted mountains. The first event happened in Kurma-avatara. The second time Lord Krishna lifts the Govardhana to protect the gopis from the onslaught of Indra’s wrath, of scarring thunderstorms, hails, and disastrous cyclonic storms. 

† Invoking Garuda here in this instance does not seem appropriate. If we read Maha-Bharata and Ramayana, we come to know the extraordinary prowess of Garuda. He brought Amrita to release his mother (Vinati) from slavery, that too after valiantly fighting Lord Indra. We again witness his swift action (in Ramayana) on the battlefield to instantly neutralize the snake poison.

Lyrics of "jnana mosaga" kirtana

గమన శ్రమ రాగము

రూపక తాళము  

జ్ఞాన మొసగ రాదా గరుడ గమన వాదా

నీనామమున నా మది నిర్మల మైనది

జీవాత్ముండు పరమాత్ముండు

పదు నాలుగు లోకములు

నర కిన్నర కింపురుష

నారదాది మునులు

పరిపూర్ణ నిష్కళంక 

నిరవది సుఖదాయక

వర త్యాగరాజాది వారము తాననే జ్ఞానము

gamana Srama raagam

ruupaka taaLam

jnaana mosaga raadaa garuDa gamana vaadaa

niinaamamuna naa madi nirmala mainadi

jiivaatmunDu paramaatmunDu

padu naalugu lOkamulu

nara kinnara kimpurusha

naaradaadi munulu

paripuurNa nishkaLanka 

niravadi sukhadaayaka

vara tyaagaraajaadi vaaramu taananE jnaanamu

(I like this song for two reasons: i) It has deep meaning and covers all the essential canonical tenets of Hindu faith. ii) Though my musical abilities are very limited, I learnt this song's melody and music on my own. We can ponder, meditate, and understand this composition slowly to get its full effect. I'll give the meaning later.) Copyright 2021 by the author