Muka-translation V:1-2

[Guest guest]

Ravi's translation of the first verse as given earlier. I would like to continue

the translation

as I had been doing few verses two months back for someone in private. Now, I

will post

the translation in twos. Please correct me wherever you have to.

 

This is translated from a Tamil prose rendition of the original sanskrit verses.

I am also applying

my miniscule sanskrit knowledge to catch the original Bhava of the poet. Soon, I

would post the brief

history of the poet and the circumstances the work arose.

 

 

kAraNa-para-chid-rUpA kA~nchI-pura-sImni kAma-pITha-gatA .

kAchana viharati karuNA kAshmIra-stabaka-komalA~Nga-latA .. 1 ..

 

Transcending the realm of cause [and effects], the pure awareness,

established in the region of kAnchi in the kAmakoTi piiTha, SHE

sports, the compassionate one, with limbs soft like a bunch of

saffron flowers (also red hued), and with a creeper like body.

 

latA can indicate kalpalatA also.

 

 

This is the first verse and the work does not have mangaLaacharaNam,

probably because this work itself is considered as HER sport. And we

can infer this from the life of the poet.

 

 

Gopal G's translation:

 

Om Ganeshaya namaha!

 

Sri Muka pancha shathi

Arya shathakam

 

Verse 1.

There resides a Form full of Karuna

at the Kamapeeta of Kancheepuram

staging Her lilas,

One that is Chitrupa(consciousness-form),

One that is beyond all the causes,

Soft as a bunch of saffron blossoms,

with contour like a tender twiner.

 

Chit-rupa: as in sat-chit-ananda

 

Verse 2:

I hold fast to Her, who is

imponderable(unlimited by thinking), who has

Kancheepuram as Her abode, with

Bow,arrows,ankusha,noose of pasha

in Her divine hands, with

full bosom that makes her

lean front a little, who is

fundamental to the Kaivalya ananda,

(to Her, Mother Kamakshi,I hold fast)

 

 

ankusha = a weapon of Mother ; that controls the elephant;

(what does the elephant symbolises psychologically?)

kaivalya ananda = bliss of realization

 

 

 

 

[Guest guest]

, "Gopal Gopinath Rao" <gopalg@u...> wrote:

THANK YOU Gopal.

>

> Verse 2:

> I hold fast to Her, who is

> imponderable(unlimited by thinking), who has

> Kancheepuram as Her abode, with

> Bow,arrows,ankusha,noose of pasha

> in Her divine hands, with

> full bosom that makes her

> lean front a little, who is

> fundamental to the Kaivalya ananda,

> (to Her, Mother Kamakshi,I hold fast)

>

 

where did you get the "who is imponderable" in the verse. I think you

have the same Tamil translation as I do. The word "eNNuthaRku ariya

poruLai" is not there (as I see it, I may be wrong)

 

ka.nchana kaa.nchii-nilayaM kara-dhR^ita-kodaNDa-bAna-sR^iNi-pAshaM

kaThina-sthana-bhara-namraM kaivalya-aananda-kandam-avalambe

 

I have more thoughts on this and the first verse. I will write later.

 

Ravi

[Guest guest]

, "Gopal Gopinath Rao" <gopalg@u...> wrote:

> > >

> >

> > ka.nchana kaa.nchii-nilayaM kara-dhR^ita-kodaNDa-bAna-sR^iNi-

pAshaM

> > kaThina-sthana-bhara-namraM kaivalya-aananda-kandam-avalambe

>

>

> I guess the tamil translator has interpreted kaivalyaanandakandham

as

> "the imponderable, fundatmental to Ananda called moksha". i

followed the

> text. I should have made a note of this, it is an oversight.I

apologize.

>

 

Gopal, there is no need for any apology or anything. And it is not a

mistake anyway. I make millions of mistakes. After all we are here

to learn from each other.

 

The term kaivalya-aananda-kanda should mean SHE who is the root (or

basis) of the bliss of realization.

 

I think he may be getting it from ka.nchana. If I am not mistaken

ka.nchana is in dvitiya vibhakti (it is in masculine gender though).

Instead of explicitly saying whose [feet] the poet is holding on to.

Since he is unable to tell that clearly, and says ka.nchana, (like

in the previous verse kAchana viharati, kAchana means in tamil ethO

oruvaLai, in English Someone in feminine form). It should be

actually, kaa.nchana for feminine, it was modified there either for

poetic structure or to indicate that the deity in question transcends

such distinctions. Instead saying I am holding on to HER (avaLai

avalambikkiRen), he says, the one who is established in kAnchi

(evaL kAnchiyil nilaippERRirukkiRaaLo), who bears in HER hand ...

(evaL tan kaiyil ....), I am holding on to HER (avaLai

avalambikkiRen). Since the deity is completely indescribable, but

only indicated through some reference, SHE is imponderable. Even

then, the term in Tamil translation was not necessary.

 

I do not know Sanskrit, I was breaking my head for sometime, to

figure out ka.nchana and kAchana.

 

 

Ravi