pallavi
sogasugA mRdanga tALamu jata kUrci ninu
sokka jEyu dhIruD(e)vvaDO
anupallavi
1nigama Sir(O)rthamu kalgina
nija vAkkulatO svara SuddhamutO (sogasu)
caraNam
2yati 3viSrama sad-bhakti
virati drAkshA rasa 4nava rasa
yuta kRticE 5bhajiyincu
yukti tyAgarAjuni taramA 6SrI rAma (sogasu)
pallavi
sogasugA mRdanga tALamu jata kUrci ninu
sokka jEyu dhIruDu-evvaDO
Whoever (evvaDO) is that resolute person (dhIruDu) (dhIruDevvaDO) who makes (jEyu) You (ninu) nicely (sogasugA) enamoured (sokka) by songs duly attuned (jata kUrci) with beats (tALamu) of mRdanga!
anupallavi
nigama SirO-arthamu kalgina
nija vAkkulatO svara SuddhamutO (sogasu)
Whoever is that resolute person who makes You nicely enamoured by songs -
with true (nija) words (vAkkulatO) bearing (kalgina) the meanings (arthamu) of upanishads – the head (Siras) (SirOrthamu) of vEda (nigama), and
with purity (SuddamutO) of svara duly attuned with the beat of mRdanga!
caraNam
yati viSrama sad-bhakti
virati drAkshA rasa nava rasa
yuta kRticE hajiyincu
yukti tyAgarAjuni taramA SrI rAma (sogasu)
O Lord SrI rAma! Is the method (yukti) of chanting Your names (bhajiyincu) in the form of kRti (kRticE) (literally with), consisting of (yuta) –
wine of grape (drAkshA) juice (rasa) like (elating) - nine (nava) (kinds of characterisation of) moods (rasa),
true devotion (sad-bhakti),
indifference (virati) to Worldly objects,
rhythmic pattern of svaras and words (or pause in the prosody) (yati), and
pausing at right places (viSrama),
within the reach (taramA) of this tyAgarAja (tyAgarAjuni)?
whoever is that resolute person who makes You nicely enamoured by song duly attuned with the beat of mRdanga!
Notes
Variations - (Pathanthara)
5 – bhajiyincu – bhajiyincE.
6 – SrI rAma – rAma.
Top
References
1– nigama Siras – In the kRti ‘O rAma rAma sarvOnnata’, SrI tyAgarAja uses the terminology – ‘vEda Siramulellanu nIvE daivamani’. - upnishads are called vEda Siras
2 – yati – Dictionary meaning - ‘a caesura in prosody’; (caesura – break between words within a metrical foot; pause near middle of a line) : (prosody – study of versification; laws of metre).
‘Rules of prosody’ – source - yati - 1
‘A rhythmic pattern of swaras, words, or beats in a taaLa. The types are: sama, gOpucca, srotovaaha, Damaru, mridanga, and vishama’. Source – yati - 2
‘In a Thala, if something is formulated by manodarma, it is called yathi. In pieces like Thevaram and Thiruppugazh we can see these yathis. Similarly, when we resort to kalpana swaras and there is thani avarthanam while playing on a laya instrument, we can see these yathis. They are of six kinds – Samayathi, Gopuchchayathi, Srodovahayathi, Damaruyathi, Mridangayathi and Vishamayathi’. Source – ‘Karnataka Sangeeta Sastra’ by Shri AS Panchapakesa Iyer.
Top
3 – viSrama – Dictionary meaning ‘rest, quiet’
‘Pausing at right places’ – source - viSrama
4 – nava rasa - SRngAra - love, vIra - valour, bIbhatsa - disgust, raudra - anger, hAsya - mirth, bhayAnaka - terror, karuNa - pity, adbhuta - wonder, SAnta – tranquility; a tenth is also mentioned – vAtsalya – parental fondness.
Top
Comments
General – This kRti contains technical terminologies peculiar to music. Since I am not qualified on the subject, I have translated the kRti based on material available, indicating the sources thereof. From the reading of the materials concerned with these technical terms ‘yati’, ‘viSrama’ it seems that these relate to the art of singing with proper intonations, punctuations, breaks etc, so that, while abiding by metre of the rAga, the bhAva of the kRti would not only be not disturbed, but, rather, highlighted. If there are any errors, kindly pardon me.
Top