govindhan gunam paadi en aavi kaaththiruppen - post 11

[Guest guest]

Dear Srivaishnava perunthagaiyeer,

 

Krishna's dances on each occasion are amirtham - nectarian in their own

exclusive way, a sweet for us to enjoy for quite a long time. In the

previous post we saw the beautiful krithi of Smt. Ambujam krishna. In this

one krithi itself she brings different occasions when krishna danced. To

combine all in one is like enjoying all sweets together - instead of

enjoying one by one- at the same time- without any thigattudhal - no

overdoing- that is krishna's glory.

 

Now let us see some points which because of length of the post I postponed.

Pallavi:

aadina aravindhap padham uRu thuNaiyE aiyan un

aadina aravindhap padham uRu thuNaiyE

 

point 1: in the beginning itself there is total surrender- oh my lord- your

feet is the place where I have my refuge - prapaththi done.

[whether it is with 6 angam etc only learned bhagavathas have to say who are

experts in this]

 

anupallavi:

aadum thottilil aRiyaab baalanaai uruNdu

Odum sagadam udhaiththu nee viLai [aadina]

 

Point 2. In this, a doubt comes whether kicking the sakataasuran can be

called as a dance. An ordinary child in the cradle like yours and mine, oh

bhakthaas, starts stretching hands and legs and then kicks in the air,

usually parents like us say "kuzhandhai ennamaai aadaradhu paar"- in what an

excellent way the child plays.

 

But here this child - child krishna - is special - in every sense of the

word - so that simple aadaradhu has become a dance for the poetess.

 

CharaNam 1:

thaa thaa enak kazhal silambu olikka

thaa thaa enach chevvai sol isaikka

thaa thaa enach chiram asaiya vizhi genja

thaa thaa enak karam veNNaik kEtkath

thaLar nadaiyittu niRka

thaai yasOdhai mei maRakka

dhaaraNiyOr kaNdu ugakka [aadina]

 

point 3: dear bhakthaas - this description immediately calls our attention

to the kulasekara aazhvar paasuram muzhudhum veNNai aLainthu and swamy

desikan slokam in gopaala vimsathi harthum kumbhe which lead to the coining

of a new type of dance called navaneetha naatyam. Since these two have been

dealt many times, not repeated again even though the taste is quite large.

 

Just imagine this scene as per description given.

- that kazhal silambu- anklets in the legs provides music for the

dance

- chevvai sol isaikka - the mouth provides the jathis for the dance-

in dancing parlance it is called solluk kattu - the jathis - oh just enjoy

the beauty of krithi for its lyrical excellence also.

- chiram asaiya- head moves and vizhi genja- eyes gives expressions-

this is what is called abhinaya in dancing parlance

- thaLar nadaiyittu - sanchaari bhaavam in dancing parlance

- yasOdhai and dhaaraNiyOr - mother yasOdhaa and general public are

the audience around

- now is it not leading to that thollai inbaththu irudhi as described

by aazhvaar - oh krishnaa what a dance you play in front of mother.

 

charaNam 2:

suruL kuzhal madhi nudhal puraNdida

karu vizhi iraNdum suzhanRu arul pozhinthida

naRu malar maalai maarbil ilangida

araithanil oLir pattaadai asainthida kaaLiyan

siraththai midhiththu thaththiththOm

thiththOm thOm thagaNathOm thaahathajam

thari kita thagita thaka enRu oru

padham niRuththi eduththu [aadina]

 

point 4:

- here again- the description of krishna- just brings to mind the

periyaazhvaar paasurams thazhaigaLum thongalum - see also lyrical

excellence.

- See here another beauty- first the eyes poured kaNNan's arul on

kaaliyan- then only krishna does this thalai midhithal - crushing under his

feet - then it is not a pain but limitless boon granted.

- That is what really happened- as vouched by kaaLiyan's wives. They

praise the lord - hey lord there are many rishis and munis who do long long

penance to touch your feet and get your feet stamped on them- but what

puNNIyam our husband did - you came on your own and put that feet stamp on

our lord.

[The slokas I will cover in the naaga pathni sthuthi. Dear bhakthaas, pardon

me first- though I said earlier I will take up after 2 posts, the taste of

these cross references are so high, and the length of posts forces me to

postpone taking up the sthuthi]

 

charaNam 3:

veLLamena amudham pozhiyum nilavilE

thuLLum keNdai paayum yamunaik karaiyilE

meLLa varum iniya kuzhalin isaiyilE

uLLam urugi onRaaik koodum vELaiyil

konjum vizhiyilE anjuga mozhiyilE

nenjak kalappilE minju kaLippudanE

thaththithadhingiNathOm thiththadhingiNathom

thadhingiNathom thingiNathom giNathom Nathom thomenru [aadina]

 

Point 5: that line "meLLa varum iniya kuzhalin isaiyilE" kindles thoughts on

"naavalam theevil" of periyaazhvaar - this raasa dance when ever and

wherever referred I immediately go back to the aazhvaar paasurams only.

Again, here also the lyrical beauty of the krithi and description of krishna

is very high.

 

Oh, krishna- it is stated that any dance has to be learnt at the feet of the

guru. For you who is the guru. May be to certain extent mother yasOdhaa can

be considered as your guru as stated by our aachaarya. Fully is it or some

body else is also there.

 

But that sukhar - one who has realised to a good extent about you oh

krishna, says

thanmoorDharathna nikara sparsaathithaamra

paadhaambujaa~khila kalaa aadhi guru nanarththa

slokam 26 16th chapter x canto poorva ardham- Sri Sukha brahmam in srimadh

bhaagavatham.

 

For all the arts he is the first guru- so he has to learn from whom? Except

from himself.

Like vaalmeeki- is the aadhi kavi - krishna is the aadhi guru for all

kalaas- arts.

 

These subtle points have to be just rolled over again and again in mind to

realise the full extent of krishna bhakthi.

 

Krishna is dancing on the hoods of kaaLiyan. Fine. As stated by Smt. AK, for

raasa dance he, that krishna himself, played the flute and provided music.

 

For kaaliyan dance who provided music?

The answer is from "yasodhai aazhvaar" is krishna himself does the music

also.

kaayaneer pukkuk kadambu ERi kaaLiyan

theeya paNaththil silambu aarkkap paainthu aadi

vEyin kuzhal oodhi viththaganaai ninRa -- 2-1-3 periyaazhvaar thirumozhi

 

he dances - paainthu aadi - also plays the flute - vEyin kuzhal oodhi-

viththaganaai ninRa - stood as a wizard. So it is clear- music is by self-

already we had that kuzhal oothi- not even kuzhal isaiththu- simply blowing

the bamboo - not playing flute - it is all krishna's magic- result of that

oodhal- is 10 wonderful paasurams from "yasodhai aazhvaar" - he is also the

"maamanaar aazhvaar" - svasura: - father in law also. mother and father in

law is the same person - wonderful - krishna un maayam again.

 

Dear bhakthaas- enjoy that arul pozhinthu thalai midhikkum guNam of

gOvindhan - is it really midhiththal- no - just protecting under his feet -

kOzhi midhiththu kunju mudam aagaadhu- is the proverb- by the trampling of

the hen the chick will not become lame- that proverb came from this? Think

and find an answer- so that we are ready to receive the next post.

 

Dhaasan

 

Vasudevan M.g.