ooththukkadu-krishna gaanam.pdf

[Guest guest]

SrI:Dear KrishNa BhakthAs :There is a village near KumbakONam known as OothukkAdu , where a great KrishNa Bhakta lived and had the opportunity to see the Lord play in front of him . He composed most moving krithis from those delectable anubhavams of seeing KaaLinga Nardhana

KrishNan dancing in front of him and conversing with him . He became one of the gopis

in these ecstatic moments and engaged in sarasa sallAbhams and expressed his Viraha taapam , when the Lord disappeared . Here are some examples of such conversations and appeals to his( the poet's) sakhi or complaints to Mother YasOdha about the heartlessness of her son and the pranks He played :

 

1) Complaint to YasOdhA PirAtti in Thodi Raagam thru a krithi with seven charaNams remeniscent of PeriyAzhwAr's anubhavams of the chEshtais of Baala Gopaalan : " ThaayE YasOdhE unthan Aayar kulatthutittha Maayan GopaalakrishNan seyyum jaalatthai kELadi "

 

 

2) Direct Appeal to VeNu GopAlan to come to him ( Naayaki BhAvam ) in Raagam KaanadA: " alai paayuthE , KaNNaa ! yenn manaam alai paayuthE 1 Unn Aanandha Mohana VeNugAnamathil --"

 

3) Appeal to Friend ( Thozhi) in KaambhOji Raagam : " Yentha vithamAhilum Nandamukundhanai nee intha vazhi varum Vahai Paaradi " . She leaves all avenues open for her talented friend to trick KaNNan to come Her ( Naayaki bhAvam ) way. The Pasurams of ParakAla Naayaki ( ThiruppullANi) and ParAnkuSa Naayki ( Tholaivili

Mangalam ) come to mind on listening to the despair of this KrishNa bhakta.

 

4) Statement in a state of abandonment to her Friend in Raagam Saraswathi: " Avaraaha varuvArO ? vara mAttAr , ithil adisayam yennadi ? annamE ( KaNNan) ". The kavi says that Kannan with all His chasings of gopis will not come her way of His own accord and concedes that there is nothing mysterious about His behavior .

 

 

5) In a JaavaLi type of krithi set in a folksy mode , the Kavi immerses himself as a gopikai who enjoyed the Raasakreedai on the sand banks of Yamunaa river with Him and dreads about what is waiting for her at home from her Mother in Law and Sister in law on return there :

 

" ingu Nandhakumaaranin ghAnatthukku isainthu padiyum Aadi vacchAcchu ,

angu yenn MaamiyAr NaatthanAr sollpadi aada vENum , ithu paattAha pOcchu "

 

6) In a NeelAmpuri raaga Saahityam , the poet will wail over the mysterious way in which the Lord entered "her" heart and made "her" His slave :

 

" YeppaditthAnn yennuLLam puhunthu Yennai adimai koNDeerO Swamy ? "

This is full of adhbhuta rasam .

 

7) He will welcome KaaLinga Nardhana KaNNan to the abode of his mind and perform

SaraNaagathi to Him there in moving Mohana Raagam :

 

" Swaagatam KrishNaa ! SaraNAgatham KrishNaa !

Madhukara sadhana mrudhu vadhanaa , Madhusoodhana ! iha ( SWaagatham).

 

8) His command of lilting Sanskrit , his alliterations with the rapid flow of AakASa GanghA can make one lose oneself in KrishNa bhakti of the highest order . Some songs will be almost like a Gadhyam . Couched in either apoorva Raagams like Maadhava-

Panchakam , Kannada Maaruvam , Rasa Manjari , Hamsa GheervANi , Lalitha Gandharvam , Siddha sEnaa or more familiar Ragams like Hari KaambhOji, UmaabharaNam , MadhyamAvathi , Kananda GouLa et al , these krithis are

a delight to the ears .

 

9) Here are some examples of Sundara Sanskrit passages that poured out of him as He enjoyed the Aanandha nadanam of the Lord taming the vicious KaaLingan in the backwaters of Yamunaa river:

 

9.1: Bhaava chitra mukha mrugha matha tilaka tamAla maala Nandha SukumAra !

kevalam prapdhyE ThvAmiha , KrishNa KaaLinga Nadana ManOhara!

 

With a mood of KaarpaNyam and Mahaa ViswAsam , the kavi performs SaraNAgathy

to KaaLinga Nadana manOhara KrishNan with the hue of Tamaala leaves ( shyAmaLa

niRam) adorning the KasthUri Tilakam on His broad forehead .

 

9.2: " niravdhika Bhuvana Sundaraa! KrishNaa ! neelamaya mrudhu kaLEBara santana anga raaga sObhita MangaLakara ( KrishNaa) .

 

The vision of our Lord sporting sandal paste on a hot summer day is brought before our eyes.

 

9.3: Kannada GouLa Raagam:" Haladhara sOdhara HarE MuraLeedhara

ati KaruNAkara!

 

Here KaNNan is saluted as RaamAnujan ( BalarAman's younger brother /Haladhara sOdharan).

 

9.4: Deva DEvaki nandha Mukhundha Govindha KaaLinga Nardhana rasika !

 

9.5 : laalana lALitha viluLitha lalADa lalaamakha lasitha padhE !

 

9.6: Bhadhra vichitra charitra pavitra sumitrAnana raaga sitha hasana mandhahAsa akalusha Sundara roopa nidhe!

 

10. The TaaLakkattu , Jatiswaram , Chitta Swarams incorporated in the krithis are

fititng accompaniments to a dancing Lord , the KaaLinga Nardhana/Mardhana KrishNan

ofthe temple at the tiny hamlet of OotthukkAdu .

 

Sri OothukkAdu Venakta Subbaiyer's krithis are gems and thanks to his vamsatthAr 's

( SrI Needaamangalam KrishNamUrthy Bhaagavathar's) careful protection , few krithis from the prodigious output of this great KrishNa bhakthaa has come to us . Please go thru these krithis in the attachment , which may not reach all of you due to security restraints in your systems . Hope most of you recieve the attachment to enjoy the bhAva trayam ( Raaga, TaaLa and Saahitya bhAvams). There are enough excerpts here that should give you a glimpse of KrishNa Ghaanam OothtukkAdu Venakta Subbayyar's artistry and KrishNa bhakti .

 

NamO SrI VaasudEvAya,

Oppiliappn Koil V.Sadagopan

 

1 of 1 File(s)

 

 

 

 

 

ooththukkadu-krishna gaanam.pdf