अपनी नसीब में मेरा नाम को मिला दो।
हाथ के लखीरों में मुझे भी बसा लदो।
इस बंजर दिल में प्यार की प्यास घोर है
अपनी होटों के गीली से उसे बरसा दो।
मुझे मत पूछा करो मायने-ए-वफ़ा
तजुर्बा नहीं, इश्क़ करना थोड़ा सिखा दो।
तेरे बिना यह ज़िंगदगी भी कोई ज़िन्दगी नहीं
अपनी तीर-ए-नज़र मुझपर तुरंत चला दो।
ஜெய் ஆஞ்சநேயா!
அஞ்சனை மைந்தா, நீயன்றோ அறிவிற்ச் சிறந்தோன்!
தஞ்சம் புகுந்த வீடணனைத் தரம் கண்டாய், நொடியில்.
ஆற்றலுக்கு வேறேதும் உவமையே வேண்டாம்- நீ
ஆற்றைக் கடப்பதுபோல கடல் கடந்ததாய் எளிதில்.
கல்வி அறிவும் நிறைவும் ஓன்றே கலந்த காட்சி நீ
பல்வித நெறியை பார்வையால் புகுத்திடுவாய் மனதில்.
பக்தியைக் கொண்டு மனத்தினை சலனமறக் கற்பித்தாய்
எத்திசையில் இன்னல் வரினும் சாந்தம் உன் முகத்தில்.
உன் உந்துதலில் உலவட்டும் இராமநாமம், உதட்டில்
தன்னடக்கச் செம்மலால் தவழும் அமைதி, அகத்தில் .
राम नाम के सहारे हर भय-भीत को निकाला दिया।
हे हनुमन! तूने अँधेरे मन में हमेशा उझाला दिया।
जो भी तुम पर आशा रखते उन्हें कभी निराश नहीं करते,
अंत में सीता मैया को तुम राम से मिला दिया।
बड़े से बड़े विरोधी को भी सबक सिखाते हो तुम,
रावण का अहंकार को लंका के साथ ही जला दिया।
हर संकट को पार कर पाता हूँ क्यूंकि, पंचमुखी,
तूने राम-स्मरण को मेरे सांस में मिला दिया !
This is one of the most popular Marathi Abhangs of Sant Tukaram Maharaj . This is sung by one and all, in the Warkari Sampradaya that is so prevalant in Maharashtra, Karantaka and parts of Gujarat, Madhya Pradesh etc even today. With my rather rudimentary knowledge of Marathi, I have tried to make sense out of the prolific Abhang, below. I have given the lyrics in English, followed by transliteration ( as I understand it), translation and then my own interpretation of what the Abang means. At the end, I have also provided the Marathi lyrics
Abhang:
=====
Bolaava Vitthala Pahaawa Vittala
Karaawa Vittala Jeewa bhaawa
Yene Sose Man Zale Hawbhari
Parati Maghari Yete Nahi
Bandna pasooni Ukalya Gaanthi
Deta Aali Mithi Sawkaanshe
Tuka Mahne Deh Bhaarila Vittale
Kaam Krodhe Kele Ghar Reete
- Sant Tukaram Maharaj
Trans-literation
===========
Bolva Vitthala - I only want to speak of Vitthala; Pahawa Vittala - I want to see Vitthala in everything; Karawa Vittala - I want to make Vitthala; Jeewabhawa - the very essence (Bhava) of this Jeevan.
Yene - come back ; Sose - uncontrollable ; Man Zale. - heart has become ; Hawbhari - filled with desire Parati - again; Maghari - back; yete Nahi - does not go
Bandna - tied up (bondage); pasooni - from when ; Uklalya. - came unstruck; Gaanthi - (worldly) knots Deta Aali - has been giving ; Mithi - sweet emotions; Sawkaanshe - சாவகாசமாக at leisure (slowly)
Tuka Mahne - Tuka(ram) says ; Deh - the body ( தேகம்) ; Bhaarila - has been filled with ; Vittale - Vitthala ; Kaam - Krodhe - Desire and (resultant) Anger ; Ghar - abode ; Reete Kele - left (and went away)
Translation:
=========
The state of my mind now is that I only want to talk about Vitthala, and nothing else. I only want to see Vitthala in everything my eyes see. So much so that I want to make Vitthala the very essence of living of this Jeevathma.
The heart is laden with an uncontrollable desire for Vitthala, that it refuses to come back to worldly affairs any more.
The bondage of Samsaara ( worldly affairs) gets easily un-knotted with the mere thought of Vitthala, who has been giving extremely pleasant emotions equanimously.
Tukaram says : the body is filled with Vitthala to the brim, that there is no more space for desires, anger and all other worldly emotions anymore, and they have left this body, to make way for Vitthala.
My Bhashyam (interpretation)
=====================
This Abhang reflects the state of mind of Sant Tukaram, who in extreme posession of the thoughts of Vitthala. He feels he only wants to eat, breathe and sleep Vitthala. Though this Abhang professes the Bhakti Bhava of total Sharangathi, if one observes carefully, in a way, this also reflects the Gyana Yoga , where when the Atman starts getting absorbed in the Brahmam, worldly affairs cease to exist or matter. As per the Upanishad, that that is ultimate goal - of Paramatma - Jeevathma Aikyam , and thus the Jeevathma never returns to worldly matters any more.
And in that journey towards the Aikyam, Sant Tukaram explains how the very smaranam ( thought) of Vitthala easily un-knots worldy bondages, and how other worldly emotions easily get displaced, when Vitthala fills the heart.
This Abhang reminds me of the Isavasya Upanishad ( stanza 15), which says
"O my Lord, sustainer of all that lives, Your real face is covered by Your dazzling effulgence. Kindly remove that covering and exhibit Yourself to Your pure devotee."
hiraṇmayena pātreṇa satyasyāpihitaṁ mukham
tat tvaṁ pūṣann apāvṛṇu satya-dharmāya dṛṣṭaye
Meaning:
hiraṇmayena—by a golden effulgence; pātreṇa—by a dazzling covering; satyasya—of the Supreme Truth; apihitam—covered; mukham—the face; tat—that covering; tvam—Yourself; pūṣan—O sustainer; apāvṛṇu—kindly remove; satya—pure; dharmāya—unto the devotee; dṛṣṭaye—for exhibiting.
बोलावा विठ्ठल पहावा विठ्ठल ।
करावा विठ्ठल जीवभाव ॥१॥
येणें सोसें मन जालें हांवभरी ।
परती माघारीं येते नाहीं ॥२॥
बंधना पासूनि उकलल्या गांठी ।
देतां आली मिठी सावकाशें ॥३॥
तुका म्हणे देह भारिला विठ्ठलें ।
कामक्रोध- केलें घर रीतें ॥४॥
Out of the blue, I was intrigued by the name Aparna. Decided to dig a little deeper.
I know that in Sanskrit , "parna" means dried leaf. I also know that in the Vedic period, the rishis used to construct "parnashala" , ie, a "hall" or a camp, built of forest products - tree branches for support, and dried leaves for tiles. This used to look like a hut, with high ceiling. And under that, they used to conduct vedic rituals. Once the ritual event is completed, they then used to burn down the parnashala!
A-parna, to me sounded like " one who is not a dried leaf!" Did not quite make sense. So, I was spending the better part of the sleepy afternoon, trying to make some sense out of this.
Sundar Pichai, of course, helped me, as almost always. He led me to this canto 5 stanza 28 of Kalidasa's Kumarasambhavam. Kalidasa confirmed to me that Aparna is the name of Parvati - as someone who let her body wither away if Shiva was not forthcoming in marrying her.
स्वयंविशीर्णद्रुमपर्णवृत्तिता परा हि काष्ठा तपसस्तया पुनः।
तदप्यपाकीर्णमतः प्रियंवदां वदन्त्यपर्णेति च तां पुराविदः॥
Svayamviseernadrumaparnavrttitaa
Paraa hi kaashtaatapasahtayaapunah
Tadapyapaakeernamatahpriyamvadaam
Vadantiaparneticha taampuraavidah.
"By enduring all the ordeals, by means of Vratam, harsh on her body tender like the lotus-stalk, Parvathi surpassed the intensity of penance of all sages".
And then , I realized Lalitha Sahasranamam too has "aparna chandika chanda..." "aparna" here literally translates to " one did not even consume dried leaves while performing austerities".
So, I got the transliteration done. Now what? Does anyone who carry the name Aparna desist from consuming dried leaves? Is that all?
I now interpret it this way. This name Aparna indicates One who is resolute, and will be determined to go the distance, to make things happen the way she wants. Sign of a strong-willed woman. So, now, in my lexicon "Aparna= Strong-willed woman"
Thoughts?
PS:
My father used to love snuff powder at one point - and then went one to become " Aparna" after he had visited Kaashi, symbolically drowning his last snuff box in the Ganga. :)
Sometime back, Death came, knocking at my door
But that’s when your solidarity came to the fore.
Got me back on my feet, ready again to make folklore,
Your abundant love now makes me crave for more.
Ever grateful.
-Dilip
அன்று
=====
சோறு உண்டு களிப்பதைத் தவிர
வேறு ஒரு கவலையும் இல்லை.
வாழ்க்கையின் விழுப்புண்கள் பல
வலித்திடவே வழியுமில்லை.
இன்று
=====
அன்றைய நினைவுகள் இன்னும்
நெஞ்சில் திகட்டவில்லை - ஆனால்
இன்றும் நெஞ்சில் வாழ்க்கை பால்
நன்றி தவிர ஒன்றும் இல்லை.
-திலீப்
मेरा बचपन ख़ुशी का गुलशन हो गया।
शरारत ही मेरा दिल का धड़कन हो गया।
पर ज़िन्दगी के कई मोड़ पे भटकते भटकते
यूँ चुटकी में मेरा बचपन पचपन हो गया!
- Dilip
You literally carry "divine music" in your name
You had aspired to set the musical stage to flame.
Little did you know then, that life plays its own game
It has given you, in an another field, money and fame.
Soon, I may be fading away into oblivion,
But your voice will ring on, for many a eon,
It is hard not to sit up and take notice of you,
For, in our group, you are quite the Bohemian.
छतरी के नीचे भी भीगा दो, तेरी होटों की नमी से।
इक ठंडी सी आग में जला दो, तेरी क़ुर्बत की कमी से।
अपनी खोयी हुई दिल को और कहीं ढूंढो मत,
वह बरक़रार है, कभी लौटेगी नहीं हमीं से।
न जाने मेरे अंदर इतना बरहमी क्यूँ
आओ, उसे यूँ बुझा दो, अपनी शबनमी से।
मेरी इश्क़ को साथ-ही अपना लो सनम, इस
ज़ख़्मी-ए-निगाह दिल को बचाओ, और ज़ख़्मी से।
I was chanting the Mahanaranopanishad in the morning - rather, along with Challakere Bros, was busy ஒத்து ஊதிண்டு இருந்தேன். 😝
I have this bad habit always. Right in the middle of chanting anything, depending upon how much I get attracted by the PRONUNCIATION of the words, I stray away. I stray into trying to fathom the meaning of the words, when they impress me, for whatever reason. I know that it is bad to deviate from the chanting and delve into etymology and the meanings. But I am what I am.
Back to the the Mahanarayanopanishad. There is an anuvakam called Shivapasana. It goes by the following:
nidhána patayè namaha. nidhána patanti ka yà namaha. urdh va yà namaha. urdh va linga yà namaha. hiranya yà namaha. hinranyalinga yà namaha. suvarna yà namaha. suvarnalinga yà namaha. divya yà namaha. divyalinga yà namaha. bhava yà namaha. bhavalinga yà namaha. sharva yà namaha. sharvalinga yà namaha. ...... and goes on.
Note that I have highlighted two of the phrases.
First, Nidhana pataye Namah...
Challakere Brothers' diction is so damn perfect, that the moment they pronounced this phrase, it set my mind astray!
In Chaste Hindi , when someone dies, they say " unkaa NIDHAN ho gaya.." So, I immediately concluded that this phrase must perhaps mean " the Lord of Death".
But then, I wondered, would an Upnishad deliver such superficial meaning, after all? Most likely not. So, I called upon Vaman Apte, who has been helping me ( even after his Nidhan, in the form of his Sanskrit-English Dictionary) for clarifying.
Turns out that in Sanskrit, Nidhanam means " dissolution". So, Nidhanapataye namah means not just death, but a deeper "dissolution". This aligns perfectly with the the 5 jobs of Shiva - படைத்தல், காத்தல், அழித்தல், மறைத்தல், அருளல்.
Now, the next phrase - Nidhana Pata Anthika - Shiva FINISHES OFF the Lord of Death (Yama) ! Now, dont take that literally. That would be childish. To me, what this means is the following. Yama is widely considered the Lord of Death, and is expected to come riding on an எருமை மாடு and பாசக் கயிறு , and take "you" away. That is, the very thought of Yama sends shivers down the spines of people. Shiva protects us from the frightful prospect of the descent of Yama, ie, மரண பயம் நீக்குபவர். So, for this phrase , I will take the meaning at two levels, with the inner meaning of "one who removes the fear of death", as being more predominant.
Now, the third phrase - Sharvaaya namah. To be frank, until I heard Challakere Brothers chant, a few years ago, I was under the wrong impression that this was "sarvaaya namah" wrongly pronounced as Sharvaaya namah... after all, "sarvaaya namah" can easily meaning சர்வத்திலும் இருப்பவர்.
No - Sharvaa is the right way. And this is what proper pronunciation of Sanskrit can do. Bring out the correct meaning even as you mention. In this case, "Sharvaa" means one who manifests as the dissolution of the Unvierse". Again, you can choose to take the meaning in two planes. One - "he who dissolves the universe in it's curent form through a Pralayam, and then recreates a new one". The second level meaning, and I suspect this could be the real meaning from an Upanishadic context - that HE ( Shiva, aka, Brahmam) is beyond creation, and that he is NOT the object, but rather the seer. The reason I mention this is , we are told " look at the entire universe as God, there is God in everything". Fair enough. But for the seeker of the ultimate truth, which is what the Upanishad espouses, HE cannot be encapsulated in any perceptible object. Upanishads give numerous examples of how the Brahmam is beyond what the human mind can comprehend - such as, the rays of the sun can be seen in a mirror relfection, but the Sun itself is much much more... a drop of water from the ocean has all the characteristics of the ocean, but a drop is a drop etc etc..
I know this can be confusing.. but the more I dive deeper into this, the more I realize and feel humbled how little I know and much more the Upanishads have, to offer. One janma is not sufficient to learn and contemplate over this.
जाने कौन रह गया है भीगने से शहर में
जिसके लिए लौटती है रह रहकर बारिश फिर से।
हिन्दुस्तान का ज़माना आया है दुबारा , यारों
आसमान खोलकर बता रहा है गर्दिश फिर से।
कल के ख़्वाबों में आज को खोना नहीं है
आओ लपेट लें इस मौका-ए-गुंजाइश फिर से।
वक़्त की लहरें मिटा दी हैं साहिल में पहचान, देश की
अब क़दमों के निशाँ छोड़ने की है गुज़ारिश फिर से।
जय हिन्द!
कोशिश करता रहा हर रोज़, उस अम्बर तक पहुँचने की।
पर मेरी पंखुरियों में इतना ही ताक़त है पेड़ के ऊपर पहुँचने की।
उड़ते उड़ते न जाने उस गगन तक चला जाऊँगा ज़रूरर
जहां कोई गुंजाइश नहीं , किसी का खबर पहुँचने की।
अंधों के सामने दिया कुछ दिखाया न करो।
ज़ख़्मी सीने पे ख़ंजर चलाया न करो।
चिराग़ में जलने की क़िस्मत है परवाने को
उसे और जीने की इच्छा दिलाया न करो !
शिद्दत-ए-शोले -ए-जज़्बात है दिल में
इस वक़्त हवा को बुलाया न करो।
उसकी आँखों में और नमी नहीं
उसे अब और रुलाया न करो।
I came across this song sing by Dr. Balamuralikrishna, for the first time (LInk below). This is a wonderful composition of Bhadrachalam Ramadas.
I realized that this is what is called as "Ninda Sthuthi". It is a form of eulogising God by actually admonishing Him. In Tamil, this form of worship is called Asadhi Aadal ( அசதியாடல்) . Examples of this can be found in Silappadhikaaram , and also by Sundaramoorthi Swamigal, where the poet ridicules and admonishes God. St Thagaraja too has handled this.
Bhadrachalam Ramadas lived at least 150 years before the Trinity. He is most famous for being put in jail by the Mughal Qutub Shahi, for constructing a Rama temple in Bhadrachalam, allegedly with taxpayer money. He was a Vaggeyakara - one who composes both the lyrics as well as sets it to music. In contrast to someone like Poet Bharati, who was a great poet, but not a Vaggesyakara. Ramdas has composed songs in Telugu, Sanskrit as well as the occasional Tamil.
"Ikshvaku Kula Thilaka" was set to Yadhukula Kambodhi raagam.
There are about 8 charanams for this song. But of interest is one of them, and I quote:
"Charanam 06:
Nee tandri dasaratha maharaju pettena ramachandraMeaning:
O Ramachandra! Did your father, King Dasaratha, gave them (the jewels that Ram adorns, in the temple) to you?
O Ramachandra! Or, did your father-in-law, King Janaka sent them to you?
In Hindi movies, that would literally translate to " tera baap kaa maal hai kya?"
If you listen through the full song, Ramadas lists down all the jewels and "goodies" that he has given, not only to Rama , but to Sita, Lakshmana etc and everyone else around him. And then goes on to extol :" I have provided you with all this, now, it becomes your bounden duty to protect me".
NINDA STUTHI can be found quite commonly across various creations across multiple languages in India. This is part of the culture of the land - a very democratic one, which encourages aethists, agnostics etc to thrive.. so much so, that even Buddha, who rejected the core tenets, is, today, accepted as an Avatar of the very Gods he sought to discard!
https://www.youtube.com/watch?v=i4fxMrH7-Zo&ab_channel=DrM.Balamuralikrishna-Topic
