The Dance of the Yuga – Part 1 – Narayaneeyam – Dasakam 55 – Blog 1 – Slokas 1-5

“இயல்” Literary/Prose – Sensing through Bhakti – Narayana Nambhoodhri (Bhattadhri) – Narayaneeyam Dasakam 55

Preamble:

Ever since my visit to Guruvayur, I have been planning to study Narayaneeyam. The sheer daunting task of studying over 1000 Slokas put me off perhaps.

The only Slokas which I heard (without knowing that it is from Narayaneeyam) was the ones that KJ Yesudas used to sing “Yogeendraanaam…..aayur aarogya sowkyam” and the religious discourse by the legendary Sengalipuram Anantharama Dikshithar on GuruvAyurappan

They say that for every thing to happen the way it happens, one needs a specific time and God’s grace. Perhaps I got that when I decided to do a blog on Lord Krishna’s Kalinga Narthanam.

So, here I am plunging into the nectar of Bhakti and looking at how the little Krishna danced on the hoods of the serpent Kalinga.

I am obliged to the web page http://narayaneeyam-firststep.org

In Narayaneeyam Dasakam 55, Bhattadhri brings out the details of Kalinga Narthanam through 10 Slokas/verses. I will present each Sloka, its English Transliteration, its English and Tamil Meaning. For those who are interested in the meaning of the individual Sanskrit Words, I will provide a link to my Drop Box at the end of each blog where it will be stored and available. This is primarily to save space and memory. I will also consolidate the Tamil Meaning for the 10 slokas and provide as a separate blog at the end.

Link to the audio

https://www.dropbox.com/s/h6emn8fe9i36qax/kalinga%20narthanam%20-%20Narayaneeyam.mp3?dl=0

Sanskrit Sloka 1

अथ वारिणि घोरतरं फणिनं

प्रतिवारयितुं कृतधीर्भगवन्।

द्रुतमारिथ तीरगनीपतरुं

विषमारुतशोषितपर्णचयम् ॥१॥

English Transliteration

atha vaariNi ghOrataraM phaNinaM 

prativaarayituM kR^itadhiirbhagavan |

drutamaaritha tiiraga niipataruM 

viShamaarutashOShita parNachayam ||1

Meaning in English

Oh Lord ! Determined to drive away that deadly serpent from the river, Thou, quickly,climbed on to the Kadamba tree, on the bankof, river with all its leaves dried up, owing tothe poisonous air around it.

Meaning in Tamil

நதிவாழ் நச்சுடை நாகம்தனை வெருட்டிட உறுதியிட்டு

நச்சுக்காற்றினால் நதிக்கரையில் நலிந்து மக்கிய இலையுடை

கதம்ப மரம் ஏறினான் எந்தன் மாயக்கண்ணன்

—————————————————————————

Sanskrit Sloka 2

अधिरुह्य पदाम्बुरुहेण तं

नवपल्लवतुल्यमनोज्ञरुचा

ह्रदवारिणि दूरतरं न्यपत:

परिघूर्णितघोरतरङ्ग्गणे ॥२॥

English Transliteration

adhiruhya padaamburuheNa cha taM na

vapallava tulya manOj~naruchaa |

hradavaariNi duurataraM nyapataH

parighuurNita ghOratarangagaNe || 2

Meaning in English

Placing the feet with a a pleasing radiance and which resembled tender leaves, Krishna climbed the tree trunk and reaching to the top, and with a long leap jumped far out into the deep waters with swirling fierce waves of the river, and went far down below.

Meaning in Tamil

கொழுந்திலைத்தளிரென ஒளிமிகு கமலமலர்ப் பாதமுடன்

காழ் மர உச்சிக்கொம்பேறி எழும்பித் குதித்து

சுழிர்நிறை நதியில் வெகுஆழம் சென்றான் பாலகிருஷ்ணன்

—————————————————————————

Sanskrit Sloka – 3

भुवनत्रयभारभृतो भवतो

गुरुभारविकम्पिविजृम्भिजला

परिमज्जयति स्म धनुश्शतकं

तटिनी झटिति स्फुटघोषवती ॥३॥

English Transliteration

bhuvanatraya bhaara bhR^itO bhavatO

gurubhaaravikampi vijR^imbhijalaa |

parimajjayati sma dhanushshatakaM

taTinii jhaTiti sphuTaghOShavatii || 3

Meaning in English

When, the bearer of the weight of the three worlds, jumped, Thy immense weight caused the waters to swirl and swell. On the river bed an area of a hundred bows (yards) submerged, as a sudden roar arose from the river.

Meaning in Tamil

மூவுலகுச்சுமைதாங்கும் முகுந்தன் முக்குளித்ததும்

முழுநீரும் சுழன்று பொங்கி ஆர்பரிக்கும் ஓசையுடனே

மூழ்கடித்தே நதிக்கரையை நூறுவில் அம்புசெல் தூரம்

—————————————————————————

Sanskrit Sloka 4

अथ दिक्षुविदिक्षु परिक्षुभित

भ्रमितोदरवारिनिनादभरै:

उदकादुदगादुरगाधिपति

स्त्वदुपान्तमशान्तरुषाऽन्धमना: ॥४॥

English Transliteration

atha dikshuvidikshu parikshubhita 

bhramitOdara vaari ninaadabharaiH |

udakaadudagaaduragaadhipati-

stvadupaantamashaantaruShaa(a)ndhamanaaH || 4

Meaning in English

The deep whirling swells, generated in the agitated waters, in all directions, due to Thyplunging into it, and the deafening uproar, which accompanied it, enraged the Kaaliya, and he emerged from the waters, and approached Thee in a fit of blinded anger.

Meaning in Tamil

ஆழ்சுழி நீர் பொங்கி எட்டுத்திக்கும் கரைபுரண்டோட

ஆர்ப்பரிக்கும் ஒசைகேட்டு எழு அரவரசன் காளிங்கன்

அடைந்திட்டான் நிலைகலங்கி சீற்றமுடன் கடுஞ்சினம்

———————————————————————-

Sanskrit Sloka 5

फणशृङ्गसहस्रविनिस्सृमर

ज्वलदग्निकणोग्रविषाम्बुधरम्

पुरत: फणिनं समलोकयथा

बहुशृङ्गिणमञ्जनशैलमिव ॥५॥

English Transliteration

phaNashR^ingasahasravinissR^imara

jvaladagnikaNOgraviShaambudharam |

purataH phaNinaM samalOkayathaa

bahushR^ingiNamanjana shailamiva || 5

Meaning in English

Thou saw the serpent in front with his thousands of peak like hoods emmitting burning fire flakes and fierce poison fluid, looking like a many peaked black mountain in front of Thee.

Meaning in Tamil

முகடுபல நிறை கருமலைத் தொடரென பன்னாயிரம் படம்எடுத்து

திரள்வந்திழியுஞ்சாரலென அனல்மிகு தீப்பிழம்புடன் விடநீரும்

கக்கும் சினமிகு காளிங்கனை முன்நின்று கண்டான் மாயவன்

Meaning of the Sanskrit Words

The meaning of the words are available at

https://www.dropbox.com/s/bspkup04arb9arj/%20Narayaneeyam%20Sadakam%2055%20-%20verses%201%20to%205.docx?dl=0

Carnatic Musing 10 – The Dance of the Yuga – Part 1 – Adidano Ranga

“இயல்” Literary/Prose – Sensing through Bhakti – – Purandara Dasa

Link to the Audio

https://www.dropbox.com/s/k22zjvm5rdosf0v/R.K.Srikantan_Adidhano%20Ranga%20-%20Aarabhi.mpg-LeqoPYe1iDU.mp3?dl=0

Verses in Kannada

In understanding the verses and the meaning of the words as envisaged by the composer, I would like to thank Shri. K.Naresh Babu for his help.

ಆಡಿದನೋ ರಂಗ ಅದ್ಭುತದಿಂದಲಿ ಕಾಳಿಂಗನ ಫಣೆಯಲಿ [ಪ]

ಪಾಡಿದವರಿಗೆ ಬೇಡಿದ ವರಗಳ ನೀಡುತಲಿ ದಯ ಮಾಡುತಲಿ

ನಲಿದಾಡುತಲಿ ಬೆಣ್ಣೆ ಬೇಡುತಲಿ ಕೃಷ್ಣ [ಅ ಪ]

ಅಂಬುರುಹೋದ್ಭವ ಅಖಿಳ ಸುರರು ಕೂಡಿ

ಅಂಬರದಲಿ ನಿಂತು ಅವರ ಸ್ತುತಿಸೆ

ರಂಭೆ ಊರ್ವಶಿ ರಮಣಿಯರೆಲ್ಲರು ಚಂದದಿಂ ಭರತನಾಟ್ಯವ ನಟಿಸೆ

ಝಂತಟ ತಕಧಿಮಿ ತಧಿಗಿಣಿ ತೋಂ ಎಂದು

ಝಂಪೆ ತಾಳದಿ ತುಂಬುರುನೊಪ್ಪಿಸೆ

ಧಾ ಮ ಪ ಧ ಸ ರೀ ಎಂದು ಧ್ವನಿಯಿಂದ ನಾರದ

ತುಂಬುರು ಗಾನವ ಮಾಡಲು ನಂದಿಯು ಮದ್ದಲೆ ಚೆಂದದಿ ಹಾಕಲು[1]

ಫಣವ ಮೆಟ್ಟಿ ಬಾಲವ ಕೈಯಲಿ ಪಿಡಿದು ಫಳಫಳಿಸುತ್ತ ನಾಟ್ಯವನಾಡೆ

ಚಂದ್ರಮಂಡಲದಂತೆ ಪೊಳೆಯುವ

ಮುಖದೊಳು ಚಲಿಸುವ ನೀಲಕೇಶಗಳಾಡೆ

ಕಾಲಲಂದುಗೆ ಗೆಜ್ಜೆ ಘಲು ಘಲು ಘಲುರೆನುತ ಉಡಿಗೆಜ್ಜೆ ಘಂಟೆಗಳಾಡೆ

ದುಷ್ಟ ಕಾಳಿಂಗನ ಮೆಟ್ಟಿ ಭರದಿಂದ ಪುಟ್ಟ ಪಾದವ ಇಟ್ಟು ಶ್ರೀ ಕೃಷ್ಣನು

ಮೆಟ್ಟಿದನು ತಕ ಧಿಮಿ ತಧಿಕೆನುತ[2]

ಸುರರು ಪುಷ್ಪದ ವೃಷ್ಟಿಯ ಕರೆಯಲು ಸುದತಿಯರೆಲ್ಲರು ಪಾಡಲು

ನಾಗಕನ್ನಿಕೆಯರು ನಾಥನ ಬೇಡಲು ನಾನಾ ವಿಧದಿ ಸ್ತುತಿ ಮಾಡಲು

ರಕ್ಕಸರೆಲ್ಲರು ಕಕ್ಕಸವನೆ ಕಂಡು ದಿಕ್ಕು ದಿಕ್ಕುಗಳಿಗೆ ಓಡಲು

ಚಿಕ್ಕವನಿವನಲ್ಲ ಪುರಂದರ ವಿಠ್ಠಲ ವೆಂಕಟರಮಣ ಬೇಗ ಯಶೋದೆ

ಬಿಂಕದೊಳೆತ್ತಿ ಮುದ್ದಾಡೆ ಶ್ರೀ ಕೃಷ್ಣನ[3]

English Transliteration

Aadidano ranga adbhutadindali kALingana phaNeyali

pADidavarige bEDida varagaLa neeDutali daya mADutali

nalidADutali beNNe bEDutali krishna

amburuhodbhava akhila suraru kooDi

ambaradali nintu avara stutise

rambe Urvashi ramaNiyarellaru

chendadim bharata nATyava naTise

jhamtaTa takadhimi tadhigiNi tom endu

jhampe tALadi tumburanoppise

ga ma pa da sa ri endu dvaniyinda

nArada tumbura gAnava mADalu

nandiyu maddaLe chendadi hAkalu[1]

phaNava meTTi bAlava kaiyali piDidu phaLa phaLisutta

nATyavanADe chandra maNDaladante poLeyuva

mukhadoLu chalisuva neela kEshagaLADe kAlalanduge

gejje ghalu ghalu ghalurenuta uDi gejje ghaNTegaLADe

dushTa kALingana meTTi bharadinda puTTa pAdava iTTu

shrI krishNanu meTTidanu taka dhimi tadhikenuta[2]

suraru pushpada vrushTiya kareyalu sudatiyarellaru

pADalu nAga kannikeyaru nAthana bEDalu

nAnA vidhadi stuti mADalu rakkasarellaru

kakkasavane kaNDu dikku dikkugaLige Odal

chikkavanivanalla purandara viTTala vEnkaTaramaNa

bEga yashOde binkadoLetti muddADe shrI krishNana[3]

Meaning in Tamil

ஆடினானே காளிங்கமகுடம் மேல் அற்புத நடனம் ரங்கன்

பாடியவருக்கு வேண்டிய வரமளி கருணை புரி

மகிழ் நடனமாடும் வெண்ணெய் திருடும் கண்ணன்ஆடினானே

ஆம்பல்முளை அயனும் விண்ணவரும் கூடி விண்ணிலிருந்து

அவன்துதி பாட, ரம்பை ஊர்வசி அழகிகள் பலர்

ஜம் தட தகதிமி ததிங்கனதோம் என பரதம் ஆட,

ஜம்ப தாளமுடன் ரி என இசைகூட்ட, தும்புரு

நாரதன் கீதம் பாட, நந்தி மத்தளம் ஒலிக்கஆடினானே

நாக மகுடமேறி பாலன் ஊக்கமுடன் கைப் பிடித்து,

நடன இடம் நிலவொளி பொழிலென ஒளிக்க,

முகத்தில் அசையும் நீலமுடிசுருள்குழலுடன்

காற்சிலம்பு கணீர் கணீர் என ஒலி எழுப்ப,

மூட காளிங்கன் மேல் பளுவுடன் சிறு பாதங்களிட்டு

தக திமி ததிங்கிட என ……ஆடினானே

வின்னவர் பூமழை பொழிய எழிலயிறுடை பெண்டிர் பாட,

நாக கன்னியர் நாதனை வேண்டி நவவகை துதி பாட,

அரக்கர் குழாம் உமிழ்கழிவு கண்டென திக்கெட்டும் சிதறி ஓட,

ஆடியவன் சிறியவனல்ல புரந்தர விட்டல வேங்கட ரமணணே

ஓடிவந்து பெருமிதம் கோண்டு எடுத்தனைத்திடுவாய் யசோதா

The Dance of the Yuga* – A three dimensional view

(* Yuga – a Sanskrit term used to define a very large period of time spanning 1000s of years)

In the “Dvapara Yuga”, some say in 3228 BC an event happened on the banks of the River Yamuna in Mathura, a place near Delhi. This is about the dance of a little boy called Krishna. This is a dance with a difference – an young boy dances on top of a five headed King Cobra. The dance is called Kaliya Mardhan /Kaliya Daman in North of India and Kalinga Narthanam in South of India.

A Yuga later (in Kali Yuga) around the end of the 14th century and beginning of 15th century some one near Theerthahalli village in Shimoga Taluk in Karnataka broadly outlined the event through a composition in his native language Kannada.

In the middle of the subsequent century, another gentleman from Malayalam village Melpathur near Kurumbathoor in Mallapuram District of Kerala wrote a divine epic in Sanskrit language in a temple where it is is believed that the event was reproduced by the same boy who performed this act 5000 years ago. In that epic he wrote ten verses describing the entire event.

Two centuries later between 1700-1765, yet another one from a village in Oothukadu in Tanjore District of Tamil Nadu known for his compositions in Tamil, wrote in Sanskrit the way in which the boy danced.

In this current period we move to Chennai where we will witness one of the finest depiction of that dance (as envisaged by the man from Kurumbathoor in the fifteenth century) by a phenomenally talented and globally acclaimed lady.

The event is so imbibed in India’s culture that not a single year passes/will pass without someone somewhere in India celebrating that event through available medium of expression.

Now I will try to understand that immortal event through a series of blogs bringing out the three facets (3 dimensional) of the Indian Arts.

Only Three facets for Indian Arts ! I am not kidding. Well, I am just summarizing them into three categories like the Tamils of the Sangam era (300 BC – 200AD) viz, Iyal, Isai, Natakam (Prose/Literary, Music, Dance respectively).

The Literary description [ “Iyal – இயல் “] of the event

The gentleman from Theerthahalli is none other than Saint Purandara Dasa, the Grand Father(Pitamah) of Carnatic Music. he brings out in eloquent (yet even the ignorant can understand), the essence of the event in Kannada Language.

The gentleman from Kurumbathoor Village in his epic work called Narayaneeyam, devotes a set of ten verses (Slokas) to describe the event. Sri. Narayana Namboodhri called as Bhattathri brought Krishna from Mathura to every single home in south of India through his Naryaneeyam written in Sanskrit.

The works of these two great Saints drive devotion (Bhakti) through their works in a meta physical plane. It sets you thinking and appeals to the heart and soul of human beings through brain. I will try to understand these two works.

The Musical Description [ “Isai – இசை” ] of the event

Music in any language appeals to the heart and soul through the ears. This aural route requires that the lyricist/composer understands the nuances and brings out an integrated version of his thought processes about an event. An event like the dance of an young boy needs to be depicted taking into these factors.

The gentleman from Oothukadu who specialized in compositions in Tamil brought out a superb composition in Sanskrit about Krishna’s dance; ideally composed for the seamless integration of music with the dance movements. I will try and study the composition of Oothukadu Venkata Kavi.

The Dance [ “Natakam – நாடகம்” ] portrayal of the event

In this section we will watch three dance events. Dr. Padma Subramanyam is a living legend in the South Indian Form of Dance called Bharath Natyam. We will link with her depiction of the event as described by Bhattathri in Narayaneeyam.

Team led by Bhairavi Venkatesan of Sridevi Nrithalaya presents the dance as composed by Oothukadu Venkata Kavi.

The third dance by Janaki & Kalyani in Bharath Natyam style is for the composition by Purandara Dasa. This dance was performed at Guruvayur where Narayaneeyam was written.

These three dances are available in the social media. We will link up with them.These are just representative samples. Just type “Dances of India – Kaliya Daman”. You can view the dance in perhaps every single Indian Languages and in every type/style of Indian Dances like, Kathak, Manipuri, Kuchipudi etc.

Join me in my “3d” study of the Divine Dance.

Carnatic Musing 5 – Lord Krishna – Annamacharya – Raga Yamuna Kalyani

Audio Link to the song:

https://www.dropbox.com/s/oeczejjcbhefy4a/Bhavayami%20Gopalabalam%20by%20MS%20Subbulakshmi-gsjHwzibQkc.mp3?dl=0

Sanskrit Verses of the Composition

पल्लवि

भावयामि गोपाल बालम् मनः सेवितं
तत्पदं चिन्तयेयं सदा

चरणं

कटि घटित मेखला खचित मणि घण्टिका
पटल निनदेन विभ्राजमानं
कुटिल पद घटित सङ्कुल शिञ्जिते नतं
चटुल नटना समुज्ज्वल विलासं

चरणं १

निरत कर कलित नवनीतं ब्रह्मादि
सुर निकर भावना शोंभित पदं
तिरुवेङ्कटाचल स्थितं अनुपमं हरिं
परम पुरुषं गोपाल बालम्

English Transliteration

pallavi

bhAvayAmi gopAlabAlaM manaH sevitam

tatpadaM cintayeyaM sadA

caraNam 1

kaTi ghaTita mekhalA khacita maNi ghaNTikA

paTala ninadena vibhrAjamAnam

kuTila pada ghaTita saMkula shinjite natam

caTula naTanA samujjvala vilAsam || 1 ||

caraNam 2

nirata kara kalita navanItaM brahmAdi

sura nikara bhAvanA shobhita padam

tiruveNkaTAcala sthitaM anupamaM harim

parama puru.saM gopAlabAlam || 2 ||

Meaning of the Sanskrit Words

पल्लवि

भावयामि – I meditate

गोपाल – (गो पाल) – cow protector – Lord Gopala

बालम्  – child/Boy

मनः – heart of mine

सेवितं – pray
तत्पदं – (तत् पदं) – whose feet

चिन्तयेयं – dwells

चरणं १

कटि – waist

घटित – connected with/made/involved

मेखला – girdle

खचित – tied/fastened

मणि – bead

घण्टिका – small bell
पटल – multitude

निनद- sound

विभ्राजमानं- shining/glorious/radiant
कुटिल – curved

पद – feet

घटित – connected with/made/involved

सङ्कुल – with

शिञ्जिते – tinkling

नतं – inclined/bent
चटुल – lovable

नटना – dance

समुज्ज्वल – radiant/splendid

विलासं – appearance.

चरणं २

निरत – engaged in

कर – hand

कलित – provided with

नवनीतं – butter

ब्रह्मादि – (ब्रम अति) – Lord Brahma and others
सुर – Devas/Demigods

निकर – multitude

भावना – feelings

शोंभित – made beautiful / embellished with

पदं – feet
तिरुवेङ्कटाचल – Tirupati

स्थितं – living

अनुपमं – in comparable

हरिं – Lord Vishnu
परम – Supreme

पुरुषं – Being

गोपाल – cow protector – Lord Krishna

बालम् – child/boy.

Composition in Tamil

பல்லவி

என்னுள்ளமுறை ஆநிரைமேய்ப் பாலனவன் பொற்பாதம்தனை

எந்நேரமும் சிந்தனை செய்து சேவித்திடுவேனே யான்…..என்னுள்

சரணம் 1

முத்துமணிமேகலை இடைதனில் பன்னொலி எழுப்ப

சின்னஞ்சிறு வளைபதங்கள் சிலம்பொலிக்க

கனகமணி அசையும் ஒளிமிகு திருநடன அழகு தோற்றமிகு…..என்னுள்

சரணம் 2

வெண்ணைபிடித் திருக்கரம், நான்முகனும்

தேவர் திரளும் வணங்கும் பொற்பாதம்

திருவேங்கடம் உறை ஒப்பிலா திருமாலாம்

அதிஉயர் இறை ஆநிரைமேய்ப் பாலனாம்…….என்னுள்

Meaning of the composition in English

I meditate upon the cowherd boy on whose feet my mind dwells always. He is Glorious in a girdle inlaid with precious stones and small bells tied to his waist which rings with a multitude of sounds; with radiant and lovable appearance while dancing, His cute little legs inclined and with the anklets tinkling; Hand engaged in providing butter, feet made beautiful by the prayers (bowing) of multitude of gods like Brahma and other demigods. Living in the hill of tiruvengkata, the incomparable Hari is the supreme being, the cowherd boy.

Carnatic Musing 4 – Lord Krishna – Purandara Dasa – Raga Sindhu Bhairavi

Audio Link to the Song:

https://www.dropbox.com/s/74utb93i26n3wsc/Venkatachala%20Nilayam%20I%20Rahul%20Vellal%20I%20Purandara%20Dasa-97K3UUH5kG8.mp3?dl=0

Sanskrit Composition

पल्लवि

वॆन्कटाचल निलयम् वैकुण्ठ पुरवासम्

पन्कज नॆत्रम् परम पवित्रम् श्न्क चक्रधर चिन्मय रूपम्

(वॆन्कटाचल)

चरणम् १

अम्बॊत्भव विनुतम् अगणित गुणनामम्

तुम्बुरु नारद गानविलॊलम्

अम्बुधि शयनम् आत्माभुरामम्

चरणम् २

पाहि पाण्डव पक्शम् कौरव मधरणम् बाहु

पराक्रम पूर्णम् अहल्या शाप भय निवारनम्

चरणम् ३

सकल वॆद विचारम् सर्व जीव निकरम्

मकर कुण्डलधर मदन गॊपालम्

भक्त पॊशक श्रि पुरन्दर विट्तलम्

English Transliteration

Pallavi

vEnkaTAcala nilayam vaikuNTha puravAsam

pankaja nEtram parama pavitram shankha cakradhara cinmaya rUpam (venkaTAcala).

CaraNam 1

ambujOtbhava vinutam agaNita guNanAmam

tumburu nArada gAnavilOlam ambudhi shayanam AtmAbhirAmam.

CaraNam 2

pAhi pANDava pakSam kaurava madaharaNam bAhu

parAkrama pUrNam ahalyA shApa bhaya nivAranam

CaraNam 3

sakala vEda vicAram sarva jIva nikaram

makara kuNDaladhara madana gOpAlam

bhakta pOSaka shrI purandara viTTalam

Meaning of the Sanskrit words

Pallavi

वें – sin

कटा – destroys

चल – hill

(The holy place of Tirupathi is referred here as Venkatachala)

व्निलयम् – dwelling

वैकुण्ठ पुर – the city of vaikuntham

वासम् – resident

पन्कज – lotus

नॆत्रम् – eyes

परम – absolute/supreme

पवित्रम् – purity/holy

श्न्क – conch

चक्रधर – discuss/disc

चिन्मय – pure thought

रूपम् – form

CaraNam 1

अम्भुज – lotus

उद्भव – prop from

(अम्बॊत्भव) (the person who comes out of the lotus)

विनुतम् – Lord Brahma

अगणित – countless

गुण – virtue

नामम् – name

तुम्बुरु – sage tumburu

नारद – sage naradha

गान – song

विलॊलम् – captivated

अम्बुधि – ocean

शयनम् – recline

आत्मा – soul

अभिरामम् – delightful

CaraNam 2

पाहि – protect

पाण्डव – Pandavas

पक्शम् – side of

कौरव – Kauravas

मध – pride

हरणम् – destroy

बहु – plenty

पराक्रम – valour

पूर्णम् – complete

अहल्या – Ahalya

शाप – curse

भय – fear

निवारनम् – relief/remove

CaraNam 3

सकल – every/all

वॆद – Vedha

विचारम् – enquiry

सर्व- all

जीवन – lives

करम् – anchor/creator

मकर – carp shaped

कुण्डल – ear rings

धर – wear

मदन – handsome

गॊपालम् – cow protector

भक्त – devotees

पॊशक – protect

श्रि पुरन्दर विट्तलम् – Purandara Vittala (pen name ofPurandara Dasa)

Composition in Tamil

பல்லவி

வேங்கடமலைவாழ் வைகுந்த நகர் வாசனே

கமலக்கண்ணனவன் ஒப்புயர்வற்ற புனிதனே

சங்கு சக்கரமுமடன் தூய எண்ணமுடை வடிவனே….வேங்கட

சரணம் 1

ஆம்பல்முளை அயன் வணங்கும்

எண்ணற்ற நற்பண்பின் களஞ்சியமே

தும்புரு நாரத முனி இசை மகிழும்

ஆழிதுயில் உள்ளம் மகிழும் …….வேங்கட

சரணம் 2

ஐவரை அணைத்து கவுரவரின் ஆணவமழித்து

வெகுபல வீரபேராண்மை உடை நிறையோனே

அகலிகையின் தடுப்பருஞ்சாபம் நீக்கோனே …..வேங்கட

சரணம் 3

மறைநூலின் உட்பொருள் ஆராயலாய்

அனைத்துயிரின் ஆதாரமாயும்

மகர குண்டலமணி அழகான ஆநிரைமேயோனே

பக்தர்களை காக்கும் புரந்தர விட்டலமே …..வேங்கடம

Meaning of the composition in English

I pray the

One whose dwelling is Tirupati, whose residence is the city of vaikuNTha, one whose eyes are like lotuses, one who is supremely pure, one who bears a conch and a discuss and whose form is that of pure thought,

One who is worshipped by brahmA ,one who is the storehouse of countless virtues, one who is captivated by the music of sages such as tumburu and nArada, one who reclines in the ocean and is delightful to the soul

Protect me Oh ! The one who took the side of the pANDavas, and one who destroyed of the pride of the kauravas, one who is complete with multiple types of valor/courage/heroism, one who is the cause of the removal of the fear of ahalyA’s curse

One who is the focus of deliberation of all the vEdas, one who is the anchor/creator of all life forms, one who is madana gOpAla, wearing carp-shaped earrings, one who is SrI purandara viTThala, the protector/nourisher of his devotees

Composition in Kannada