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Oppiliappan List Archive: Message 00035 Jun 2008

 
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71.raamo naama babhoova hum thadhabalaa

     seethethi hum thou pithuH

      vaachaa panchavatee thate  viharathaH

      thaam aaharath raavaNaH

      nidhraarTham jananee kaThaam ithi hareH

      humkaarathaH SrnvathaH

      soumithre kva Dhanur Dhanur dhanurithi

      vyagraa giraH paathu naH

 

 Yasodha started telling Krishna a story and Krishna was listening to it by saying `hum.'

 

Yasodha-raamonaambabhoova-There was Rama.

 

Krishna-Hum-ok

 

Yasodha- thadh abalaa seethaa ithi-He had awife Seetha.

 

Krishna-Hum-ok

 

Yasodha- thou pithurvaachaa panchavatee thate viharathaH- when they both went to forest at the words of his father and lived in panchavatee,

 

 Krishna-Hum-ok

 

Yasodha-Thaam aaharatah raavanah-Ravana carried her off.

 

 

Krishna said, soumithre kva Dhanur Dhanur dhanurithi

      vyagraa giraH-,  "Lakshmana, wher is my bow? the bow, the bow."

He became Rama in that instant remembering His former avathara.

 

May He protect us.

 

71.baalopi sailodDharaNaagrapaaniH

     neelopi neeranDhrathamah pradheepaH

     Dheeropi raaDhaa nayanaavabadDho

     Jaaropi samsaaraharaH kuthaH thvam

 

How is it that being a child, you held the  mountain in your hand, though you are of dark hue you shine even in the dense darkness like a brilliant lamp, though valiant, you were bound by the glances of Radha and though engaged in love sport with the gopis you remove the ills of samsara?

 

Leelasuka says that the  outward manifestation of Krishna belies his real nature.

 

baalopi sailodDharaNaagrapaaniH

He looked like a child but surprised every one by holding the Govardhana mountain in his hand. As Periazvar puts it, his fingers holding the mountain for seven days did not suffer in any way. .'kodiyERu senthaamaraikkai viralgaL kolamumazidhila vaadittRila,' The beauty of his lotus-like fingers remained as such without any sign of fatigue.

 

neelopi neeranDhrathamah pradheepaH

He is of dark complexion yet he shines in the dense darkness like a brilliant lamp, because the hue of his body is like the sapphire, indraneelamani. The ideas of describing the Lord as being dark is that He remains in the dark for those who do not know Him but shines like the Sun to those who has knowledge of His real nature and to His devotees.

 

Dheeropi raaDhaa nayanaavabadDho

He is so valiant as to strike terror in the hearts of asuras. Yet He becomes bound by the glances of Radha, showing that he is bhakthaparaadhena, bound  by devotion.

 

Jaaropi samsaaraharaH kuthaH thvam

He appears to be revelling in the company of gopis as a kamuka, to those who do not understand Him, but He is the saviour of those who get entangled in the net of kamakrodha etc.

 

This sloka implies that Krishna was simply acting a role and not influenced by it, as He himself points out in Gita, `thatthvavith thu mahaabaho, guna karmavibhaagayoh, guNaa guNeshu varthantha ithi mathvaa na sajjathe.' Which means, the one who knows the division of the gunas and its works, do not get attached to them through knowledge that the gunas are doing their functions.

 

73. baalaaya neelavapushe navakinkiNeeka

      jaalaabhiraamajaghanaaya dhigambaraaya

      Saardhoola nakha bhooshaNa bhooshithaaya

      Nandhaathmajaaya navaneethamushe namasthe

 

I bow down to you, the son of Nandha, who is a child,baalaya,  of blue form, neelavapushe, with your beautiful hip, abhiraamajaghana, decorated by string of new bells,navakinkineeka jaala,, who is unclad, dhigambaraaya, and wearing the ornament made of the nails of tiger, Sardhoola dhivya nakha bhooshaNa bhooshithaaya, and the thief of butter, navaneetha mushe.

 

Krishna is described here as a young child, unclad, and wearing ornaments. He steals butter even in that age!

 

74. paNou paayasabhaktham aahrtharasam

      bibhran mudhaa dhakshiNe

      savye Saaradha chandhramandalaanibham

      haiyangaveenam dhaDhath

      kanTe kalpitha pundareeka naKham api

      udDhaama dheepthim vahan

      dhevo dhivya dhigamabaro dhisathu naH

      soukhyam yasodhaa SisuH

 

May the unclad divine child, dhevo dhivya dhigambaraH, of Yasodha who is having  a cup of tasty, ahrtharasam, paayasam, paayasabhaktham, in his right hand with joy,  dhakshiNe mudhaa, in his left hand, savye, having a ball of fresh butter, haiyangaveenam, like the white moon during autumn, Saaradha chandhra mandalanibham in his neck wearing the nail of the tiger as an ornament, kantE  kalpitha pundareekanakham and shining brilliantly with his light, udDhaama dheepthim vahan, give us happiness, soukhyam dhiSathu.

 

Krishna as a young child seen in the last sloka is further described here. He is having a cup of Paayasaanna in his right hand with glee. In his left hand  he is holding butter which is white and fresh resembling the moon in autumn. His chest is adorned with an ornament containing the nail of a tiger. The word pundareeka has a meaning of tiger also, besides lotus.

The word haiyangaveenam means butter taken from the  milk of the previous day, made into curd.

 

75.kinkiNi kiNi kini rabhasaih

   angaNa bhuvi rinKhaNaiH  sadhaa atantham

   kunkuNu kuNupadha yugalam

   kankaNa karabhooshaNam harim vandhe

 

 

I salute, vandhe harim, Krishna, who is continuously moving, sadhaa ratantham, by crawling, rinkHaNaih,  in the courtyard, angaNabhuvi, with his bells, kinkini, sounding `kiNi kiNi,'and the anklets on his feet sounding ' kuNu kuNu,' kunkuNu kuNu kuNu padhayugalam,and wearing bracelets on his hands, kankaNakarabhooshaNam.

 

Krishna is crawling on the floor in the courtyard and the bells on his waist and the anklets on his feet are sounding sweetly. And he is wearing bracelets and this creates a beautiful picture in continuation of the idea expressed in the foregoing two slokas.

 

76. sambaaDhe surabheeNaam

      ambaam aayaasantham anuyaantheem

      lambaalakam avalambe

      tham baalam thanuvilagnajambaalam

 

I surrender to that boy Krishna, who, going in the midst of cows, with long hair and mud- smeared body is followed by his mother, who wishes to catch him, getting tired in the effort.

 

Krishna as young boy was going among the cows,sambaaDhe surabheeNaam, to the forest. His mother, ambaa, out of love and concern for him always tried to stop him under some pretext or other. So she followed him, anuyaanthee, to catch him giving some reason for doing so, but he was going fast and she got tired,  following him.

Leeala suka says that Krishna tired her out, aayaasantha, by going fast so that she could not catch him. His hair was hanging low, lambaalaka,  and his body was covered with mud, thanuvilagna jambaala.

 

 

 

This idea of Yasodha unwilling to let Krishna go with the cows is portrayed by Periazvar in ten pasurams describing the anguish of Yasodha who regrets for having allowed Krishna to go to the forest to tend the cows instead of letting him play in the house eating butter etc.

 

77. anchitha picchaa choodam

      sanchitha soujanya vallaveevalayam

      aDharamaNi nihitha veNum

      baalam gopaalam anisam avalambe

 

I continuously meditate on the boy Krishna, who is adorned with peacock feather on his crown, who is surrounded by loving gopis and who places the flute on his gem-like lower lip.

 

 

The scene now changes to portray Krishna , the flute player. He has peacock feather on his crown,anchitha picchaachoodam, surrounded by the friendly  gopis, sanchitha soujanya vallavee valayam,  who have assembled to hear him play the flute which he places on his lower lip, aDharamaNi nihitha veNum, that looks like a gem.

 

 

78. prahlaadha bhaagaDheyam

      nigama mahadhreH guhaanthara aDheyam

      naraharipadhaabhiDheyam

      vibuDha viDheyam mama anusanDheyam

 

That which is the embodiment of the merit earned by Prahaladha, which resides in the cave of the mountain called Vedas, known as Narasimha, compliant to the devas, is my object of meditation.

 

Leelasuka meditates on Krishna as Nrsimha in this unique sloka. Nrsimha avathara was the result of the merit, (puNya),  of Prahlaadha, prahlaadha bhaagaDheya.. A lion always resides inside a guha, cave. For this man-lion the residing guha, guhaanthara aadheyaa is in the mountain called Vedas, nigama mahaadhri. The Lord (Brahman) is known through the Vedas which are the mountain containing the cave. It is guhya or secret because just by learning the Vedas one cannot understand Brahman but only through contemplation. So it is guhya. The guha here is the heart. He is known as Narahari, naraharipadhaabhiDheya,. He is referred to as vibiDhaviDheyam as he took the form of a man-lion to comply with all the requirements to kill Hiranyakasipu.

 

79.samsaare kim saaram

    kamsareh charaNa kamala paribhajanam

    jyothiH kim anDhakaare

    yath anDhakaareH anusmaranam

 

What is the essence of samsara.? The contemplation on the lotus feet of Krishna, the destroyer of Kamsa. What is light in darkness? The meditation on Siva, the enemy of Yama.

 

Leelas suka was basically from saivite family which he himself mentioned in sloka 24. So here he extols both Krishna and Siva. The alliteration in samsaare- kim saaram- kamsareH , and the use eof anDhakaara in two meanings shows the poetic skill of Leelasuka.AnDhakaara means darkness and when split as anDaka+areH means `of the enemy of anDhaka , yama.

 

80.kalaSanavaneetha chore

     kamalaadhrk kumudha chandhrikaapoore

     viharathu nandhakumaare

     chetho mama gopasundhari jaare

 

May my mind revel in the son of nandha,Nandhakumaare,  who, stole the butter from the pot, kalaSanavaneethachore, who was like the full moon, chandhrikaapoore, to the lilies, kumudha, of the eyes of Lakshmi, kamalaadhrk,  and who was the paramour of the gopis, gopasundharijaare.

 

81.kasthvam baala balaanujaH

     kim iha the manmandhiraaSankayaa

     yuktham thath navaneethapaathravivare

     hastham kimarTham nyaseH

     maathaH kanchana vathsakam mrgayithum

     maa gaa vishaadham kshaNaath

     ithyevam varavallavee prathivachaH

     krshNasya pushNaathu nah

 

May that Krishna, whose reply  to a splendid gopi, was as follows, protect us.

 

kaH thavam baala- Child who are you?

balaanujaH- the younger brother of balarama.

Kim iha the?-what do you want here?

Manmandhiraasankayaa- thought this is my house.

Yuktham thath-that is alright , but,

 

kimarTham-why did you

hastham nyaseH-put your hand

Navaneethapaathravevare- in the pot of butter?

maathaH-mother,

mrgayithum-it is to search for

kaschana vathsakam-some calf

maa vishaadham kshaNaath- do not get upset now..

 

Krishna was found with his hand in the pot of butter in a house of a gopi who questioned him and he said he came there thinking it was his house and  put his hand inside the pot to search for a calf which was missing. This is the delightful navaneethachora referred to by Leelasuka in the previous sloka.

 

 

 

 

 

 

 

 

 

 

 

 

     

 

     

 

 

 

 

     

 

 

 

    

 

 

 

 

 

 

 

 

 

 

 

 

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Oppiliappan Koil Varadachari Sadagopan
http://www.sadagopan.org




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