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.)

Lyrics of "nanu palimpa" kirtana with Transliteration

నను పాలింప(గ) నడచి వచ్చితివో నా ప్రాణనాథా

వనజ నయన నీ మోము( జూచుట (యే) 

జీవనమని నే నెఱు నా మనసు మర్మము తెలిసి 

సురపతి నీల మణినిభ తనువుతో

(యు)ఉరమున ముత్యపు సరుల చయముతో

కరమున శర కోదండ కాంతితో

ధరణి(ణీ) తనయతో త్యాగరాజార్చిత     

nanu paalimpa(ga) naDachi vacchitivO naa praaNanaathaa

vanaja nayana nii mOmu( juuchuTa (yE)

jiivanamani nE ne~ru naa manasu marmamu telisi 

surapati niila maNinibha tanuvutO

(yu)uramuna mutyapu sarula chayamutO

karamuna Sara kOdanDa kaantitO

dharaNi(Nii) tanayatO tyaagaraajaarchita     

(This is a well known song on Sri Rama. During younger days I used to hear the movie song "nanu palimpaga" from ANR film, 'Buddhimantudu'. The rendition of this Tyagaraja composition by Dr. Balamurali is perfect and incomparable. Earlier I listened to the M.L. Vasanthakumari's version from an old cassette. If my memory is correct, the background for this song goes like this: Tyagayya's brother was upset with his brother's obsession (how people desperately seek for such a single-minded craziness for Lord Rama!) for Sri Rama and in a fit of anger threw the bronze murti into Kaveri river. After a spate of heavy floods Tyagayya miraculously found Sri Rama at his feet. This song helps me focus on the radiant dark cloud hued body of Sri Rama; it facilitates in contemplating on His form, compassion, and qualities. The song is very well suited for expression in Kuchipudi or Bharatanatyam dance form.)

Copyright 2019

Dr Elchuri, The Ayurvedic Healer

At one time or other many people will come to realize the limitations of modern (allopathic) medicine. Though it is quite efficient to intervene in emergency situations, the field has a spotty record in a number of areas: asthma, cough, skin problems (ex: psoriasis, pigmentation, keloid), joint pains, and other long-term chronic diseases. Also, in some countries it is inaccessible for many patients due to expense or dearth of qualified professionals. Currently the value of alternate medicinal systems is fully recognized in western countries, though at times a bit grudgingly. I heard the Indian president receives advice from Ayurvedic and other alternate medical experts for his health issues and once I saw a photograph to that effect.

The time tested, millennia-old Ayurveda needs no introduction or testimony; certainly not from this writer. Here I merely want to applaud the efforts of Dr. Elchuri for propagating many time tested medical prescriptions to the Telugu community. His lucid inspiring TV short video clips with complete remedies are very beneficial to many indigent chronically sick patients. Even people outside India get cures from his videos. If I recall correctly, once the learned Kanchi Swami offered a simple valuable advice: “The traditional Indian kitchen is a store house of Ayurvedic ingredients. If we can cure simple ailments with Ayurvedic therapy then we can have prolonged healthy lives.” To this I might add another simple dictum from another renowned Telugu Sadhaka: “Eat only when you feel hungry and drink water only when you are thirsty.” What else is there to health really? When possible go for long walks (like Krishnaji), chop the wood (as my British friend used to do), or indulge in some physical work with hands like gardening. Some people are naturally inclined towards faith or spirituality, lucky for them. Faith comes to the rescue when one faces tremendous hardships. Friends or relatives may or may not come through, may or may not help at the right moment. But faith is like our traditional beloved Indian mother; it keeps no grudges, remembers no offenses.

I give three examples here from Dr. Elchuri’s videos for illustration. 1) For voice and throat problems he prescribed globules of black pepper, jaggery, and ghee. They worked for me to recover fast from a lingering cough and brought back strong smooth voice needed for vocal practices. 2) For nail and cuticle issues (including discoloration, fungus) the doctor suggested an oil extract made with the leaves of ఉమ్మెత్త (Moon flower), జిల్లేడు (Calotropis, Arka). It too yielded good results. 3) For ear ache Dr Elchuri showed how to prepare the oil with garlic. Many grand mothers know this oil’s efficacy. We keep it in a bottle for sudden pain due to sinus blockage, exposure to moisture, or extreme dryness during winters. I can go on giving more examples with cures for stomach ache, heel pain, etc. But the reader can get the point.

The doctor’s videos are obviously in Telugu language and as such they are not readily available to people of other languages. Still some of his remedies have been translated into English and they are on the web. If really someone is desperate to access or use his remedies, then she has to contact a Telugu friend or translator. If one wants to learn Mira’s intoxicating Krishna songs, then one learns Hindi and Rajasthani. Or, if we want to peer into the beauty of Megha Sandesam (Kalidasa) we acquire skills in Sanskrit language. Similarly we have to make the effort and learn new ideas for preserving the body and its vigor.

"Nagu Momu Ganaleni" Lyrics in Telugu, Hindi, and English

నగు మోము( గనలేని నా జాలి తెలిసి

నను బ్రోవర రా రాదా శ్రీ రఘువర నీ

నగరాజ ధర నీదు పరివార మెల్ల (పరివారులెల్ల)

ఒగి బోధన జేసే వారలు కా(గా)రె యిటులుండదురా (యిటులుందిరే) నీ

ఖగరాజు నీ యానతి విని వేగ జనలేడో (జనలేదో)

గగనానికి యిలకు బహుదూరం బని నాడో

జగమేలే పరమాత్మ ఎవరితో మొఱలిడుదు

వగజూపకు తాళను నన్నేలుకోరా త్యాగరాజనుత నీ    

नगु मोमु गनलेनि ना जालि तेलिसि

ननु ब्रोव रा रादा श्री रघुवर नी

नागराज धर नीदु परिवारमेल्ल

ओगि बोधन जेसे वारलु कारे यिटुलुन्दिरे नी

खगराजु नी यानति विनि वेग जनलेडो

गगनानिकि यिलकु बहुदूरम्बनि नाडो

जगमेले परमात्म एवारितो मोरलिडुदु

वगजूपकु ताळनु नान्नेलुकोरा त्यगराजनुत नी

nagu mOmu( ganalEni naa jaali telisi

nanu brOva raa raadaa Srii raghuvara nii

nagaraaja dhara niidu parivaara mella (parivaarulella)

ogi bOdhana jEsE vaaralu kaare yiTulunDeduraa (yiTulundirE)  nii

khagaraaju nii yaanati vini vEga janalEDO (janalEdO)

gaganaaniki yilaku bahudUram bani naaDO

jagamElE paramaatma evaritO mo~raliDudu

vagajuupaku taaLanu nannElukOraa tyaagaraaajanuta nii    

(The Telugu script with English transliteration was generated by Lekhini. I’ve listened to the timeless renderings  by Bhanumati Ramakrishna and Dr. Balamurali. Also I have benefited enormously from Ms. Mutya Syama Sundari’s compilation. The Sanskrit Devanagari script is given here for the Hindi speaking North Indians. There are differences between Telugu and Sanskrit alphabets. So naturally some errors creep into the lyrics in Sanskrit. In Telugu we have short and long vowel for “o”, but it is not so in Sanskrit; unlike Hindi most of the words in Telugu do not end with truncated consonant sounds, Cf. घर, मधुर. Some years ago I posted a word-to-word meaning for this composition at Sulekha website; it was titled as “Jatayu, Ramayana, and Tyagaraju”. Though it attracted 2.5k readers and several comments, still I am not satisfied with it. Despite a plethora of comments, analyses, and regurgitated views, sadly nobody bothered to delve deeply and get to the “true intent” of the composer. I will post an update to the original Sulekha article very soon.)

Commentary on "Emi sethura linga" Song - II

In the celestial plane, the source of Ganges is known as Mandakini. There it originated at the feet of Lord Vishnu. How can I forget the poignant moment in Vamana-avatara when Brahma hurriedly puts aside His creation tasks and attends to washing of (His own father’s) Vishunu’s feet when they pop up through the blue skies? Those feet almost looked like freshly opened pink lotuses with smudges of ‘pious soil’. There, we can say we see the first glimpses of the celestial source of Ganges. But up above in the upper skies, the precious water stream remained for a long time, a very long time, perhaps thousands of years. [In the scientific realm, think about the age (Cambrian?), weight, and water content of a large glacier somewhere in the Himalayas. Here, I am traveling simultaneously in two planes: 1) In the sacred religious plane and 2) the geophysical plane comprising the origins of Himalayas, the birth of Indian subcontinent, and the fertile land of upper India containing the Ganges and other rivers. The reader has to patiently follow all the descriptions and imaginations. There is a lot of marvelous beauty involved here. We are trying to transport ourselves into a most sublime state; we are trying to reach the Kailas mentally. After all, Siva is there!]  Bhagiratha, the famed sage took arduous steps to bring that sacred water to the holy cities of upper India (Uttar Pradesh and Uttaranchal) and eventually to Howrah (Kolkata), the Sunderbans, and ultimately to the eastern sea (Bay of Bengal). In the legend (though I use the word legend for want of a better phrase, these narrations should not be construed as just “frivolous stories” as Sri Ramakrishna Paramahamsa had so eloquently instructed) then the Ganges goes into the under world; there it sanctifies the ashes of ‘sons of Sagara emperor’. Here we should remember one thing: The waters of Ganges become sacrosanct upon coming in contact with Lord Siva. If that is the case, then what is the point of ‘giving a bath’ to Lord Siva? Really. Ablutions to a Lord, who is holding the “Ganges” on His head with the crescent moon?  That too while the moon is constantly pouring cool “amrita”? What can be more incongruous, meaningless act in such a situation? Yet, the Lord does not mind because He sees meaning in our little helpless acts of true bhakti. He even appreciated the spray of spittle from His most devoted bhakta, the Kannappa. Yet, the poet feels the inadequacy of bringing Ganga water to the Lord. How fortunate the poet in this context? In this stanza and in this song we are effortlessly compelled to solely concentrate on the Lord; it urges to make our acts to be pure, devoid of distraction, and see our limitations. The frogs and fishes in the river are in one instance helping the poet, yet in another moment they are all teasing the singer thus: “Be aware of your stupidity and limitation here.” How can we give sacred waters to the Lord? By uttering His name and by pouring a thimble-full of dirty water on the Linga, we are getting purified!

        The Indian cow (gau) is thought to be a product of a prolonged yajna (Cf. Oblation); it was not a product of Brahma’s creation. When the young calf was suckling, accidentally a small jet of milk landed on the meditating Siva’s face. As He opened His eyes and glanced the calf smilingly – lo, it instantly turned into a reddish-brown calf. This breed of Indian cow is usually called as “Kapila-gau”. Sometimes it is referred as “aksha-aavu”. The milk of Indian cow is sacred and the milk of a brown Indian cow is even more sacred. There is a saying in Telugu, which translates as: “What is the use of a bucketful of donkey’s milk? Even a ladleful of brown cow’s milk is enough (as it is more precious).”

I’ve often observed closely the bee and flower system. Here I see the buzzing yellow bumble bee hopping from flower to flower on the spring rhododendrons. There are no crores of bees sucking nectar in this context, but a single bee spends numerous landings on the flowers - in a way contaminating all the flowers as the poet had observed in the song. The black bee (Xylocopa) is commonly seen in India, feeding on the flowers. The tummi (Drona-pushpi, ద్రోణ పుష్పి) is rather a very humble white flower and the plant grows in fields, roadside, and abandoned vacant lots. Though it is not prized for beauty or fragrance, it is very useful in Ayurvedic medicine and cooking (green leaves). Ganesa is fond of simple grass (దూర్వ యుగ్మమ్)  clippings and Siva gets a garland of Tummi. Bhakti is truly mysterious! Copyright 2019 by the author  

Commentary on "Emi sethura linga" Song - I

Here in this song, the Sanskrit word “linga” is used to address Lord Siva. Let us eschew all silly Sanskrit-illiterate-Hindu-culture-ignorant pseudo scholars’ references to anatomy in this context. “Lingam” here explicitly refers to a ‘symbol’, a ‘representation’, a ‘reference’, or a ‘property’. In the modern computer programming, we write A = 6, at the moment we assign the value of 6 to the variable A. But in the next instant, the value of A can change and assume another numerical quantity. In a similar sense, the linga in a temple (ex: Srisailam) is simply a representation of the powerful chant: “आपाताळ …”. In India one comes across a vast number of ‘lingas’ spread all over the nation; the most conspicuous sign of its ubiquity is in Varanasi. There in that holy city, you’ll see a linga on the stairs of Ganges river, in the narrowest streets, on the way side, or in some abandoned farmland. In Keesara (Telangana) you see them in all shapes and angles – some are straight and some are obliquely inclined in the dirt around the main temple. Linga here is a “formless form” (that is how Sri Paramacharya explained it once); it actually refers to the sacred Sanskrit mantra given in the Vedas. In a certain sense the devotees of Linga puja are considered as more evolved to other devotees ‘of the form’. It is because they are quickly progressing from the form to the formless. We might say the devotee is slowly moving away from the defined to the indefinable.

There are two more aspects of ‘linga’: i) In Siva mahapurana, we come across the origins of linga. The reader has to take pains to read either the original Sanskrit text or its Telugu translation (by Yamijala Padmanabhaswamy). When a devotee offers ablutions, flowers, bilva leaves, or fruits to the linga, he is simultaneously praying to Lord Siva and Parvati; both the Lord and Mother are represented in the linga. ii) When there was a dispute between Lord Vishnu and Brahma, Siva appears as a bright effulgent endless column with no beginning. This is why some of the lingas are considered as special “ज्योतिर्लिङ्ग”.

The foregoing description is a good starting point for the Siva devotee. Even without any knowledge and literacy one can meditate on Siva (linga), with extraordinary benefits. Many start their spiritual journeys with small tentative steps with strong urge and faith. But soon she will discover things herself on the way effortlessly. Copyright 2019 by the author (Lyrics were given in an earlier post)

Penultimate Slokas in Raja Yoga - II

Due to the biological circumstance, women may feel (deservedly so) a little superior to men; they may think that they hold exclusive privilege (the key) to creativity due to the act of procreation. In the larger meaning of “creation”, many individuals tap into the fountain of creative energy: The exceptional inventor (Nikola Tesla), the laboratory scientist (Dr. Rosalind Franklin), the anonymous Indian sculptor (ex: Trimurti of the Elephanta Caves), the poet (Pandita Jagannatharayalu), the soul stirring musical composer (Kshetrayya), the prodigious mathematician (S. Ramanujan) and a number of people who produce fine arts and utilitarian products. At one time or other they all must have come in contact with that “vital energy and ebullient spirit”. Who knows what form the Mother (Parvati) takes when She wants to reveal Herself to the devotee?

The words woman, Vaisya (merchant), or Sudra should not be construed as derogatory epithets here. When Lord Krishna is inherently present in everything, how can anyone (or anything) be other than sacrosanct? Even Sri Trilinga Swamy once commented thus: “Whatever miraculous healing powers I exhibit here, you too have them. You do not realize it or at present you are incapable of using those latent powers.” What Lord Krishna meant by the words woman, Vaisya, or Sudra here in this context is this: These classes of people are often burdened with their prescribed duties; so overburdened with such (tiring physical) activities of mundane life that they may not get opportunity (or time) to fix their attention on Krishna. Yet He is always in close proximity, accessible to all.

We have elegant examples for the three representative candidates here: 1. Putana as a member of the women folk. Whatever evil plans she originally had for Krishna, she did offer her milk (herself) to Him. Thus she came close to baby Krishna and her entire body reeked of sandalwood perfume. Need we have any doubts about her ultimate destiny? 2. In Satyanarayana Vrata story we come across the troubles faced by a Vaisya family. 3. Who can be a better example for the Sudra clan other than the wandering sage, Narada? Due to a minor infraction (while singing devotional songs), Narada was cursed to be born (on the earth) to a Sudra maidservant. Narada comes in contact with learned Narayana bhaktas and after prolonged tapas he gets to see Lord Narayana. So Lord Krishna is telling absolute truth in these two stanzas. His intent in this sloka is clear – “whoever seeks my assistance, he will definitely get the ultimate release from bondage. None is inferior in my eyes be the person a woman, Vaisya, or Sudra.”

        In the succeeding sloka, Lord Krishna talks about Brahmins and Kshatriyas. Some readers may assume (stereotype!) that Brahmins and Kshatriyas are lucky compared to other varnas. But suppose a king (born as Kshatriya) loses his people and kingdom. Then in what way is his lot better than others’? Sri Rama did not have an easy time (certainly not a honeymoon, that happened later in Uttara-Ramayana) in the forest even with Sita and Lakshmana at his side. Similar is the situation of Pandavas during their banishment. As for Brahmins, again the situation is not so rosy; as they say ‘it is not a walk in the park’. A Brahmin could be utterly poor, could be a born with low IQ, or both. We have the examples of Kuchela (= ragged clothes, Sudama), Gangesha Upadhyay, and the grand father of Annamayya (Narayanayya). As for Kshatriya examples both Dhruva and King Ambarisha stand out as exemplary. We can learn a lot from their bhakti and devotion to Lord Narayana. © by the author 2019