Purandaradasa’S (And Others’) 108 Verses, Transliterated, Translated and Interpreted: Summaries of the Verses Also Included Within the Book

By V. Vasumathi

This is an English transliteration, translation, and interpretation of the original works of the famous saint and composer Sri Purandara Dasa, who composed and sang around fifteen thousand devotional songs. Individual verses numbering to more than a hundred popular songs have been summarized for better understanding. The aim is to include a wider audience. This book enables the artists to read the lyrics accurately, interpret and understand their meanings as well.

• Language: English
• Publisher: AuthorHouse UK
• Release date: Apr 19, 2018
• ISBN: 9781546282815

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© 2018 V. Vasumathi. All rights reserved.

No part of this book may be reproduced, stored in a retrieval system, or transmitted by any means without the written permission of the author.

Published by AuthorHouse  04/18/2018

Edited by Venkatadri Sampat

ISBN: 978-1-5462-8272-3 (sc)

ISBN: 978-1-5462-8281-5 (e)

Picture on front cover created by Venkatadri Sampat

Any people depicted in stock imagery provided by Thinkstock are models,

and such images are being used for illustrative purposes only.

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Because of the dynamic nature of the Internet, any web addresses or links contained in this book may have changed since publication and may no longer be valid. The views expressed in this work are solely those of the author and do not necessarily reflect the views of the publisher, and the publisher hereby disclaims any responsibility for them.

Acknowledgment

Firstly, I would like to thank my son, Venkatadri Sampat, for taking a huge effort in editing and modifying this book, that has consequently evolved in an impressive manner. He has been in continuous touch with the Author House publishers explaining the essence of the book from the outset.

I would like to acknowledge the immense support offered by the publishers who understood the book despite the engrained vernacular difficulties. I have received a regular stream of encouragement from them for which I am full of gratitude.

I am also thankful to my husband, ST Venkatadri for being very supportive and guiding me throughout. I would like to thank my daughter-in-law Roopa Sampat, daughter Vardhini Vijay and all other family members for the encouragement and support extended.

V Vasumathi

KEY FOR PRONUNCIATION

OF KANNADA WORDS IN TRANSLITERATION

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Contents

1.       SADHAA ENNA HRDHAYADHALLI

2.       AADHADHDHELLA OLIHTE AAYITHU

3.       AACHAARAVILLADHA NAALIGE

4.       AADA HODHALLE MAKKALU

5.       BANDHADHDHELLA BARALI

6.       BAAGYADHA LAKSHMI

7.       ALLI NODALU RAAMA

8.       AMBIGA NAA NINNA NAMBIDHE

9.       AMMA NIMMA MANEGALALLI

10.     ANTHAKANA DHOOTHARIGE

11.     RAAMA NAAMA PAAYASAKKE

12.     BIDE NINNA PAADHAVA

13.     CHINTHE YAATHAKO

14.     DHAASANA MAADIKO ENNA

15.     DHAYA MAADO RANGA

16.     DHARMAVE JAYAVEMBA DHIVYA MANTHRA

17.     EE PARIYA SOBAGU

18.     ENAGOO AANE

19.     ENU DHANYALO LAKUMI

20.     ENU MAADIDHARENU BHAVA HINGADHU

21.     DHARMA SHRAVANAVIDHETHAKE

22.     KAAYALAARENO KRSHNA

23.     GAJAVADHANA BEDUVE

24.     GILIYU PANJARADHOLILLA

25.     GOVINDHA NINNA NAAMAVE CHANDHA

26.     GURUVINA GULAAMANAAGUVATHANAKA

27.     HARI CHITHTHA SATHYA

28.     HARI KUNIDHA

29.     HARI SMARANE MAADO NIRANTHARA

30.     HOGADHIRELO RANGA

31.     IKO NAMMA SWAAMI

32.     INNOO DHAYA BAARADHE

33.     JAGADHODHDHAARANA

34.     JO JO SHREE KRSHNA

35.     KALIYUGADHALI HARI

36.     KALLU SAKKARE KOLLIRO

37.     KANDE NAA GOVINDHANA

38.     KELANO HARI THAALANO

39.     MADI MADI MADI ENDHU

40.     KRSHNAMOORUTHI KANNA MUNDHE

41.     MADHUKARA VRTHTHI ENNADHU

42.     KANDU KANDU NEE ENNA

43.     NAA MAADIDHA KARMA

44.     NAANEKE BADAVANU

45.     NINNA NODI DHANYANAADHENO

46.     RAAMA RAAMA RAAMA ENNIRO

47.     SMARANE ONDHE

48.     THIRUPATHI VENKATARAMANA

49.     IDHU BAAGYAVIDHU BAAGYAVAYYA

50.     THAARAKKA BINDHIGE

51.     VEERA HANUMA BAHU PARAAKRAMA

52.     NAA DONKAADHARENU

53.     BRNDHAAVANADHOLU

54.     DHEVA BANDHA NAMMA

55.     NAGEYU BARUTHIDHE ENAGE

56.     KRSHNAA NEE BEGANE BAARO

57.     RAAMA MANTHRAVA JAPISO

58.     VENKATAACHALA NILAYAM

59.     AADIDHANO RANGA

60.     KODU BEGA DHIVYAMATHI

61.     NEENE ANAATHA BANDHU

62.     NAARAAYANAVEMBA NAAMAVA NIMMA

63.     PAVADISU PARAMAATHMANE

64.     NAANINNENU BEDUVUDHILLA RANGA

65.     HARIYA NENEYADHA

66.     SHARANEMBE VAANI

67.     NEENYAAKO NINNA HANGYAAKO

68.     NODUVUDHE KANNU

69.     ALUVUDHETHAKO RANGA

70.     SAKALA GRAHABALA NEENE

71.     MANNINDHA KAAYA MANNINDHAA

72.     YAARE BANDHAVARU MANEGE

73.     SHIVADHARUSHANA ENAGAAYITHU

74.     MANDHAGAMANE IVANAARE

75.     NINNANE NAMBIDHENO

76.     UDHARA VAIRAAGYAVIDHU

77.     KRSHNAA BAARO RANGA BAARO

78.     NINDHAKARU IRABEKU

79.     JNAANA ONDHE SAAKU MUKTHIGE

80.     RAAMA EMBUVA ERADU

81.     MANUJA SHAREERAVIDHU ENU SUKHA

82.     ODI BAARAYYA VAIKUNTAPATHI

83.     MAADU SIKKADHALLA

84.     SULABA POOJEYA MAADI

85.     AANE BANTHAMMA

86.     NAARAAYANA THE NAMO NAMO

87.     THOREDHU JEEVISABAHUDHE

88.     YAARE RANGANA

89.     MUKYAPRAANA MOOLAGURUVE

90.     MAANABANGAVA MAADI

91.     THAARAMMAYYA

92.     GUMMANA KAREYADHIRE

93.     KOOSANU KANDEERA

94.     BUDHDHIMAATHU HELIDHARE

95.     AJNAANIGALA KOODE

96.     NAARAAYANA NINNA NAAMADHA SMARANEYA

97.     BINNAHAKE BAAYILLAVAYYA

98.     ENNA BITTU NEENAGALAVUDHE

99.     JAYA JAYA JAYA JAANAKI KAANTHA

100.   YAARIGE YAARUNTU ERAVINA

101.   BAARE GOPI BAALAKANALUTHAANE

102.   KYAATHIGE BAARADHA VASTHU

103.   MANEYOLAGAADO GOVINDHA

104.   MOORUTHIYANU NILLISO

105.   DONKUBAALADHA NAAYAKARE

106.   ELLARU MAADUVUDHU HOTTEGAAGI

107.   MELLA MELLANE BANDHANE

108.   MANGALAM JAYA MANGALAM

Prologue from the Author

This book is a compendium of one hundred popular Purandhara Dasa Keertanas (songs) which are translated into English and written in a verse form. The transliteration in English of the actual songs are given on the left side while, corresponding translation in poetry form is on the right. This is followed by the significance and my own interpretation of the song. The reasons for writing this book are multifold. I wanted the works of Purandhara Dasa to reach a wider audience. As many readers would know, these kritis composed in Kannada (a regional language in the state of Karnataka in India) are sung in most concerts given in Carnatic Classical style of music. This book enables the artists to read the lyrics accurately, interpret and understand their meanings as well. Although there are several people who have interpreted these lyrics, I have tried to preserve the beauty of the diction as far as possible since I wanted the possibility of singing the transliterations as well, like the the original form is in the verses. It has been a truly thrilling experience translating every line of the lyrics written in the original language. This has enhanced my appreciation for the great composer, Sri Purandhara Dasa. No translation or interpretation can match the magnificence and beauty of the great composition in the original language. In some places, I have described the lyrics in my own words. But for my family members especially my husband ST Venkatadri, who has contributed immensely to my work, and my son Venkatadri Sampat, who did extensive proof reading and editing, this book would not have been published. This is my second book. Readers may give their valuable feedback and constructive ideas by writing to [e-mail].

NOTE: The first song is a composition by Vijaya Dasa who was inspired to write, after Purandhara Dasa appeared to him in his dream. This was the first Devaranama (devotional song) that my Guru taught me, while I learnt Carnatic Classical Music. This would be my invocation song on many occasions in my schools and colleges. There are two compositions by Vyasa Theertha and two from Kanakadasa. These are popular and familiar, as well.

V. Vasumathi

Foreword from the Editor

I write this foreword with great pride. It has been such a lovely experience editing and reviewing this book written by my mother. I have always known my mother to be extremely dedicated and committed with any task that she undertakes and this has included singing, reading, writing, playing on the violin and her quest for knowledge. She is a voracious reader, likes to write and maintains her diary-writing for all the family holidays she has been on. Being associated with this book has given me insight into the brilliant compositions of Purandhara Dasa. Many of the songs, I have heard being sung by classical singers in concerts that I have enjoyed while in school. The translation has been a very steep challenge, since translation into English from any vernacular language is fraught with difficulties in the form of culture, traditions, religion and creed. My mother has put in a huge effort in transliterating and translating these compositions and my father has contributed immensely to it. The significance of the verses, along with the author’s own interpretation and its contents, are applicable to life even in the modern times. The summaries of the verses are engrained in the interpretations. There are analogies drawn from the Indian mythological stories and other tales with important morals. Reference is made to these mythological stories with some of them repeated in different verses to reiterate these morals. Most of these were our bed time stories when we were young. In each section of summaries, there are scenarios that are described for better understanding and possible dramatisation. The essence of the book is a description of how one can make behavioural changes to one’s life and develop good qualities in them. Although there is a lot of reference to the Hindu scriptures and traditions, the righteousness, virtues, good character and behaviours are applicable to the whole of mankind.

Venkatadri Sampat

Preface

Purandhara Dasa has composed nearly 15,000 devotional songs that end in his kaavyanaama (pen name), as Purandhara Vittala. His original name was Narayana. He was a successful businessman, who had earned a title, ‘Navakoti Narayana’. He attained his title because of his riches that had crossed nine crores (Ninety million) rupees.

He lived during the period of emperor Krishnadevaraya who ruled the Vijayanagar kingdom in South India about five and a half centuries ago. His stingy attitude was miraculously changed because of his wife and he distributed all his wealth to the poor and transformed himself into a great devotee of Lord Krishna.

He spent the rest of his life composing and singing those devotional songs. Although, we do not find all the manuscript copies of his songs, they have been passed through generations verbally from mouth to mouth. Hence, there may be variations in the lyrics in different regions.

His songs, in a nutshell, give us the philosophy of life. Some of them give us the rituals followed during those times and some of them the essence of Vedas. Most songs tell the bits of Lord Krishna’s story and reveal glimpses of Ramayana. Purandhara Dasa calls himself a servant of God always, and expresses his total surrender to Him.

Probably, one’s life is short to study in detail every song and analyse it deeply.

1

sadhaa enna hrdhayadhalli

sadhaa enna hrdhayadhalli

vaasamaado shreehari

naadhamoorthi ninna paadha

mOdhadhindha Bhajisuve II

jnaanavemba navarathnadha

mantapadha maDhyadhalli

gaanalOlana kuLLirisi

Dhyaanadhindha Bhajisuve II

Bhakthirasavemba muththu

maaNikyadha harivaaNadhi

mukthanaaga bEku endhu

muththinaarathi beLaguve II

ninna naanu biduvanalla

enna neenu bidalu salla

chennamooruthi vijaya viTTala kELo

ninna Bhakthara solla II

(Vijayadhaasa)

1

Always in my heart

O! Sri Hari! Stay in my heart, Sri Hari,

The icon of music, stay in me, forever;

With firm love and devotion, I worship You;

Stay in my heart forever.

A gem-studded tower of knowledge,

Placing the connoisseur of music in its centre,

With firm devotion do I worship,

Stay in my heart forever.

A plate of dedication, decked with pearls and stones,

Extending oblations to you in it,

Do I seek liberation from the chores of life?

Stay in my heart, I pray.

Never will I leave you, so will you;

Listen to the woes of Your devotees;

O! Beautiful faced Vijaya Vittala,

Stay in my heart, stay in my heart, forever and ever.

(Vijaya dasa’s composition)

1

Significance

When I come across this song being sung, it soothes my mind. It is mainly the nostalgia, that inspired me to translate this poem as a priority. This is an invocation song, that I have sung on many occasions during my younger days. It is customary in India that every function begins with an invocation, that is, to invoke God so that He is with us to make us run the programme smoothly. I like the metaphors used in the song. Human mind is precious. It is compared to a tower studded with gems and stones. The only way to keep the mind calm is to pray with devotion, failing which, it may go astray. Developing a deep and intense devotion, is not possible in a short time. One must concentrate and persevere, to achieve this level of devotion. It is quite common that even if one wishes to make friends with some people, they may not be prepared to reciprocate. In such situations, the onus lies on God as well. Even if one makes up one’s mind to constantly associate with Him, He should also not let one down. The song ends with a condition imposed on Him and request to listen to all his woes, which makes one get relieved of pains and miseries, momentarily.

1

Author’s Interpretation

The only way a person can be at peace is by singing and praying to God. The best way to pray is to keep God in one’s mind and heart. Prayer can help one achieve all that is desired and satisfy his or her needs. It can bring about miracles in one’s life. But most of the time, a prayer is meant to be offering salutations to Him or surrender to His ways. This poem, ‘sadhaa enna’ (Always in my heart) is about a devotee beseeching Lord Almighty Sri Hari to remain in his heart forever. The devotee wants to get immersed in his thoughts on Him, by keeping Him in the centre of his mind. The mind is being imagined as the gem studded storehouse of knowledge. He sings praises of Lord Sri Hari, keeping Him focussed in his mind.

He offers his devotion and dedication in an imaginary plate made of pearls and precious stones. He seeks salvation by offering oblations to Him.

However, man is always afraid, that he would be left alone lurching behind to fend for himself. It is only when a person has problems in life that he turns to God. I conceive that in this poem, as a devotee, the poet begs Lord Vijaya Vittala not to forsake him or let him down. He pleads with the Lord to listen to the woes of devotees and give him solace. I think that there is a perfect assurance from the devotee to the Lord Himself, that he will keep Him close to his heart and mind, without wanting to separate himself from His thoughts.

2

aadhadhdhella oLihte aayithu

aadhadhdhalle oLithe aayithu

namma shreeDharana sEvege

saaDhana sampaththaayithu II

dhandige beththa hidiyuvudhakke

mande maadi naachuthalidhdhe

hendathi santhathi saaviravaagalu

dhandige beththa hidisidhaLayya II

gOpaaLa butti hidiyuvudhakke

bhoopathiyanthe garvisuthidhdhe

aa pathni kula saaviravaagalu

gOpaaLa butti hidisidhaLayya II

thuLasi maaleya haakuvudhakke

arasanaagi naachuthalidhdhe

sarasijaakSha purandhara viTTalanu

thuLasi maale haakisidhanayya II

2

Whatever happened is for good

Whatever has happened, now,

It has happened for good;

Whatever has happened, now,

It is a great means to reach the Lord Sridhara.

When I held back the cane,

When I was stubborn to do so,

It was my wife with our umpteen children,

She made me wield the cane on the group.

When I refused to go with a begging bowl,

When I was proud and haughty as a landlord,

It was my wife with our umpteen children,

She made me go with a begging bowl.

When I refused to wear the garland of Tulsi,

When I felt shy to do so as a king,

It was the lotus eyed Purandhara Vittala;

He made me wear the garland of Tulsi

2

Significance

My interest and inclination towards this song, stems from the fact that it gives an insight into many of the adverse situations we face in life, and how we can learn from it and turn it into a positive experience. Some of these adverse events include nervous breakdown, depression, other conniptions and getting driven towards suicidal tendencies. I have gone through ups and downs in my life like any other, and the vagaries in life are not uncommon. At the very beginning of the poem there is an essence of building self confidence. It says, nothing has gone wrong. These words have given me strength to bear the burden of the negativity emanating from the past events, and help divert myself from brooding over those thoughts. By translating this poem, an absolute truth is revealed, that is the message of honour and sacrifice. My intention is to spread this message for the betterment of humanity. In this song, reaching Lord ‘Sridhara’ is to be understood as attaining a state of bliss. ‘Sridhara’ means the one who is with His consort, the Goddess of wealth. The wealth here refers to everything in abudance and not just money. This is a state of bliss, where in, there is plentifulness and prosperity with no dearth of anything.

A person turns bad due to circumstances, pains, hardships, helplessness etc., forcing him to commit crimes. Poverty leads people to begging. One may call it ‘lack of planning’ or ‘ill luck’. Whatever it is, resorting to social vices is not the solution. My advice to the public, is to keep away from evils and have trust in god. It is certainly better to sit and pray, than to involve oneself in acts of evil. God will certainly help good people.

2

Author’s Interpretaion

During our life time, many untoward things happen, as well as pleasant things, without our expectations or anticipation. A person should reconcile himself for all the happenings during his life. Sometimes, worst things happen and the situation is reluctantly accepted. This song/ poem, ‘aadhadhella oLithe aayithu’ (whatever happened is for good), tells us that whatever it may be, it is all a series of pre-determined course of events and pre-destined to occur for a good reason. He feels that these struggles are the only means to reach the Lord Sridhara. There is reconciliation and acceptance of the events in the devotees’ mind.

In the second stanza, he talks of people going to the extent of taking to crimes; of caning a group of children, just for the sake of bringing up and supporting his family and children, although he had determined not to lose patience initially, he finally succumbed and became a victim of circumstances.

In the third stanza, he explains that he had to do menial jobs like begging around, so that he overcomes poverty and hunger caused, since he had to take care and maintain a big family. Although, initially he was a landlord who was proud and haughty, his troubles brought him to being simple, and he was filled with humility.

In the fourth stanza, it is about a person who lived like a king and never wanted to live like a Saint or Sanyasi. God is the only one who knows what is in store for a person. It means that He holds the crystal ball in which all the future is known. When he turned to the Lord (who is described as lotus-eyed), the person enjoyed wearing the garland of Tulsi, which is a symbol of sacrifice, and chanted the Lord’s name.

It is therefore correctly said that whatever happens, it all occurs only for a good reason.

1.jpg

3

aachaaravilladha naalige

aachaaravilladha naalige ninna

neecha budhDhiya bidu naalige II

vichaaravilladha parara dhooShipudhake

chaachi kondiruvantha naalige II

praathahkaaladhoLedhdhu naalige siri

pathi yenna baaradhe naalige

pathitha paavana namma rathipathi

janakana sathathavu nudi kandya naalige II

chaadi hELalu bEda naalige

ninna bEdikombuvenu naalige

rooDigodeya shree raamana

naamava paaduthaliru kandya naalige II

hari smaraNe maadu naalige

nerehoreya Bajisu kandya naalige

varadha purandhara viTTala raayana

charaNa kamala nene naalige II

3

Tongue without principles

Devoid of principles, is this tongue;

Leave off your meanness, you, the dirty tongue!

The tongue, truly, becomes too long,

While abusing anyone, all along,

People other than your own,

Upon whom you look them down.

Oh! The tongue! Why don’t you utter the Lord’s name;

At least, once when you get up in the morn?

He is pure and the holy Father;

Sing in His praise, every time, hereafter.

Oh! The tongue! I beg of you, earnestly,

Don’t carry tales, habitually;

Practise chanting Sri Rama’s name;

Sing hymns in His praise all the time.

Oh! The tongue! Repeat Lord Hari’s name;

Chant the name of the supreme;

That is, Purandhara Vittala, who bestows boon;

Remember His adored lotus feet.

3

Significance

I am aware that all our senses are controlled by our mind. When the tongue is blamed for inappropriate words and bad speech, the true culprit is the mind where the thoughts are originating. Tongue is only the end route of bad thoughts. It is just taking orders from the mind. A myriad of expressions is possible through the movement of the tongue, in so many languages around the world. If one is angry with a person for his bad language, one may even say, ‘I will cut off your tongue’. That is why the importance is given to tongue, in this song, although it is the principles in the mind that generate what the tongue utters. The right actions at the right time, are dictated by the right frame of mind and the good principles behind it. The song in my opinion, carries tremendous significance in the present-day environment. The term ‘long tongue’ is used when a person by nature has the habit of telling tales and spreading rumours. A dirty tongue means a dirty mind. The younger generation these days are exposed to corruption, violence, greed and terrorism. Such activities result in irreparable situations. To reduce the risk of these situations, a spiritual environment must be created. Young minds in their formative years should be moulded with good thoughts, and strengthened to prevent corruption. The children must be monitored both at home and school, and encouraged to visit temples, to inculcate spirituality. I exhort people to ‘Mind their language’ for building a better tomorrow, for which a greater cooperation between people, and between countries is required.

3

Author’s Interpretation

A man is judged both by his speech and action. A person, however good in his actions cannot be tolerated if his speech is hurting others. I feel that in this poem, ‘aachaaravilladha naalige’ (Tongue without principles), the poet asks the common man to be careful while speaking. He addresses that the part of the body responsible for speaking (Vageendriya) needs absolute control. Most of the time, one tends to be mean and without principles. The poet asks the common man to hold his tongue whenever such negative thoughts come to him. Some people utter words without realising its meaning, possible interpretation or knowing the consequences of it. The tongue becomes too long, i.e., the words never end when a person starts abusing others. Usually people tend to look down on others except their own, such as parents, children, close friends, etc.

In the third stanza, it is explained that the tongue must be instructed to utter the Lord’s name. One must praise and sing the name of the Lord because He is the purest and the supreme being. Continuing further, he pleads the common man not to carry tales thereby making it a habit to spread rumours, but chant