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Oppiliappan List Archive: Message 00087 Aug 2006

 
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Post 2

Dear srivaishNava perunthagaiyeer,

 

We were enjoying that sree raagam krithi 'pidikiTa' of annamaachaarya. Now I am 
presenting some points / comments on the krithi.

 

1.      That lady - kalyaaNap peN - padhmaavathy - sree - thiru - mahaa lakshmi 
- alarmEl mangai - is 'shy and with a hidden smile' says poet annamayya in the 
pallavi as 'paDamarali navveenE peNDli koothuru'. As a bride, while standing in 
the marriage platform - maNa mEdai- she is blushing and expressing her shyness 
- may be the inner happiness is coming out as a smile. 

 

2.      Further, another reason is also there - that is because of her groom - 
yes - that smile hidden is because of her 'Jodi' - that vEnkatapathi - she is 
getting the 'lord' of lords - purusha + uththama: - purushOththama: as stated 
in SVSN - as her husband - so it is natural to be a 'garvee' - one full of 
pride - hey I got HIM, I got the 'best of best'. Out of that pride also may 
come a hidden smile - a 'smile of success' of having achieved what she wanted. 

 

3.      In CharaNam 1 annamayya says she is having 'perula muthyaala' in her 
jewelry list - yes - that pearl is born in sea or ocean - she is also an 'ocean 
born person' - leela sukhar calls his pet krishNa as 'sindhu kanyaa pathE' - 
husband of the ocean born girl - a very special addressing. She, that lakshmi, 
is born in that 'amrutha mathanam incident' - so it is but natural that she 
wears that pearl, her saha udharan - coborn one - in her marriage - koodap 
piRandhadhu aayiRRE - kalyaaNap peNNukku piRandha aaththu samaachchaaram enRaal 
osaththi aachchE - so she wears with pride and a smile. 

 

4.      Also it is but natural that bride has a lot of jewelry on her - that 
too coming from the royal family. See here a big list of ornaments that seethaa 
had - of course vaalmeeki does not spell out, but other versions of 
raamaayaNams mention these. [The following notes are as per 
www.valmikiramayan.net <http://www.valmikiramayan.net/>  website].

 

Seetha is said to have all bridal jewellery, which is not odd or particular to 
this corner of globe. But it is not odd that some exotic jewellery the bride 
wears if she is from a well-to-do family or from royal family. Though not all, 
some of the jewellery items that are almost extinct now are listed here. 

 

·        seemantha pralamba - a pendant clipped at back of head, dangle through 
the central parting of head-hair, onto the crown of head, with nine-gem-stud 
locket - MGV adds this is uchchi chutti in tamil

·        sirOja soochi - diamond studded hair pins on either side of head above 
ears 

·        naasa aabharanam - a round nasal ring 

·        naasa bhuSaNam or naasikaa bhooshaNam - single or a pair of nine-gems 
studded nasal ornament; [MGV adds there is also a raagam called naasikaa 
bhooshani in carnatic sangeetham]

·        karNa aabharaNa, thaaTanka, karNika - various kinds of earrings with 
dangling cups, to which trinket bells dangle 

·        satha yashTika - hundred stringed pearl necklace 

·        anukanTee, mukthaavaLee, graiveyikam and many other kinds of necklaces 

·        mEkhala - three finger width golden cincture, studded with nine-gems, 
and with fine golden chains dangling like festoons 

·        sapthakee - seven stringed girdle string, where the strings dangle 
onto hip, with expanding festoons 

·        keyooram bicep-lets 

·        kankaNam bracelets and bangles from wrist halfway up forearm 

·        maNi manjeera, thulaa koTi, paadha angadha - ankle-let with kinkiNee 
trinket bell-globules 

·        chooDaa maNi a circular jewel at bun of hair from which a gold sheet 
dangles till the end of braid, on which all zodiac signs are engraved. [what 
later in asOkha vanam seetthaa gave to hanumaan].

·        At the top, on the left and right of this chooDaa maNi ornaments in 
the shape of sun and moon are pinned into jhair, and at the end of braid three 
/ five gold cups studded with hair like strands upa kacha will be dangling. 
This set of braid's ornamentation is said to receive the solar energy to whole 
of the spine. 

 

So goes on and on the list of ornaments, to the delight of the girl wearing 
them and to the delight of the goldsmith making them.

 

5.      In ayOdhyaa kaaNdam when king dhasaratha asks the financial incharge to 
fill the chariot with with money and jewels, considering the time they have to 
live in the forest - of 14 years - the finance incharge filled the chariot with 
a lot of jewels - says vaalmeeki. Perhaps she brought these to ayOdhyaa from 
mithilaa. 

 

6.      There were many sumangalees in the congregation says annamayya - like 
paarvathi, saraswathy et al - yes. AaNdaaL also says 'andhari maNamaalai 
sootti, mandhirak kOdi [kooraip pudavai] uduththinaaL - re naachchiyaar 
thirumozhi. 

 

7.      In rukmiNi's marriage also, she goes to paarvathi's temple wherefrom 
Krishna lifted her - paarvathi is naaththanaar to rukmiNi - so rukmiNi does 
pooja there - srimadh bhaagavatham says so.   Please read the translation here 
-- (39) Thus overflowing with love spoke the citizens in fascination and left 
the bride protected by guards the inner palace for the temple of Ambikaa [see 
also 10.52: 42]. (40-41) And she, going out on foot to see the lotuspetal feet 
of Bhavaanee, kept, totally absorbed in mediating Krishna's lotus feet, silent 
in de midst of her mothers and female companions. Guarded by the valiant, armed 
soldiers of the king, ready with their weapons raised, were cymbals and 
mridangas, conchshells, horns and other wind instruments played. (42-43) 
Accompanying the bride were there the wives of the twice-born, well ornamented, 
thousands of prominent chosen ones with various items of worship and presents, 
flowergarlands, fragrances, clothing and jewelry; singers singing and offering 
prayers, musicians as also bards, chroniclers and heralds. (44) Reaching the 
temple of the goddess, washed she her feet and lotus like hands, sipped she 
water for purification and entered she the presence of Ambikaa sanctified and 
peaceful. (45) The indeed young girl was by the elderly wives of the learned, 
well known with the injunctions, led in offering respects to Bhavaanee the wife 
of S'iva there together with Bhava [his other name]. (46) 'I along with your 
children repeatedly offer my obeisances to you, o Ambikaa, please allow Krishna 
the Supreme Lord to be my husband.'  

 

So annamayya does not deviate from what others have said. 

 

8.      Among the jewelry she had a bracelet. This is praiseworthy. This 
pendEmu can be taken as kankaNam also. For aaNdaaL also says 'kaappu naaN 
katta' - rakshai from the kaNNadi - dhrushti dhOshak kaappu - for she is of 
such a beauty - he, saakshaath manmatha manmatha - so kaappu naaN is required 
and that here instead on being a thread, a peNdEmu - gold bracelet. Also she 
looked at her husband who is also praiseworthy. Then she jetted her neck to 
receive the maNamaalai and she also placed on him says poet. Yes. She has to be 
in a hurry - for, otherwise, someother who is there in the crowd may just 
replace her, and, he is also noted for that act in his krishNa avathaaram - 
'nee oruvarkkum meyyan allai' says aazhvaar. So the bride is in a hurry to tie 
him in the wedlock.

 

9.      When annamayya says it appears she has taken all the sarees out of the 
box and had worn - perhaps suddenly he has come to this world - the small 
urchava moorthies of sreenivaasan, sreedhEvi, and bhoodhEvi with all their 
puffed up alankaarams strike his eyes. So says 'She has worn a big saree, which 
it seems, as if she has taken and worn all the saree stocks from Her box 
(petti) all at the same time'. Earlier perhaps he was in trance of enjoying the 
marriage. So sudden coming down. 

 

10.  But the last line is what appeals most - she quickly and suddenly embraced 
him tightly - may be a scene worth visualizing and enjoying - like the rishis 
of dhandakaaraNya - aspire that embrace of seethaa and raama - vaidhEhee 
bharthaaram parishasvajE - puna: parishvajya mudhaa anvitha - repeatedly 
enjoying that union - mudhaa - enjoy oh what a scene - so that we can also say 
like thirumangai aazhvaar - uyindhu ozhindhu pOnEnE.

 

11.  dear bhakthaas enjoy the krithi once more by reading and listening - may 
be this is not such a popular krithi among musicians - so read and enjoy. 
Thanks to Sree Vinjamuri mahavishNu, for his tip on this beautiful krithi. 

 

Dhasan

Vasudevan m.g.



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