Transliteration Scheme

tanayandE prEmayanucu - rAga bhairavi


Tamil Version
Language Version

pallavi
tana(y)andE prEma(y)anucu viri bONulu
tala teliyakan(A)Dedaru

anupallavi
anayamu mOhamu mIraga kRshNuDu
andarik(a)nni rUpamul(e)tti(y)ADaga1 (tana)

caraNam
caraNam 1
kondari bangAru kongulu paTTa
kondari padamula bAguga neTTa
kondari sogasunu kanulAra jUDa
kondari manasu telisi mATal(A)Da (tana)

caraNam 2
kondari(y)ankmunanu2 pavvaLimpa
kondari pedavula balu kempul(u)nca
kondari tanuvula kara lIla sEya
kondari venuka nilici jaDa vEya (tana)

caraNam 3
kondari nuduTa kastUri boTTu peTTa
kondari taLuku cekkula muddu peTTa
kondari pAliNDla pannIru jilka
kondaritO tyAgarAja nutuDu palka (tana)

Meaning - Gist
Each one of the damsels, thinking that Lord kRshNa has love for her alone, danced with gay abandon.

The Lord caught hold of the hems of saree of some; He shoved forcefully the feet of some; He looked heartily at the elegance of some; and He chatted understanding the minds of some; He laid in the lap of some; He painted the lips of some with dark red dye; His hands sported on the bodies of some; and He made hair-do for some standing behind them; He applied musk mixed tilaka on the forehead of some; He kissed the charming cheeks of some; He sprinkled lavender on the breasts of some; and He spoke with some.

Thus, heightening passion continually, kRshNa - praised by this tyAgarAja - danced taking as many forms for each of them; therefore, each one of the damsels, thinking that Lord kRshNa has love for her alone, danced with gay abandon.

Word Division - Word-by-word meaning

pallavi
tana-andE prEma-anucu viri bONulu
tala teliyakanu-ADedaru

Each one of the damsels (viri bONulu) (literally blooming girl), thinking that (anucu) Lord kRshNa has love (prEma) (prEmayanucu) for (andE) her (tana) (tanayandE) alone,
danced (ADedaru) with gay abandon (tala teliyakanu) (literally not knowing direction) (teliyakanADedaru).

anupallavi
anayamu mOhamu mIraga kRshNuDu
andariki-anni rUpamulu-etti-ADaga (tana)

Heightening (mIraga) passion (mOhamu) continually (anayamu), as kRshNa (kRshNuDu) danced (Adaga) taking (etti) as many (anni) forms (rUpamulu) (rUpamulettiyADaga) for each of them (andariki) (literally all) (andarikanni),
each one of the damsels, thinking that Lord kRshNa has love for her alone, danced with gay abandon.

caraNam
caraNam 1
kondari bangAru kongulu paTTa
kondari padamula bAguga neTTa
kondari sogasunu kanulAra jUDa
kondari manasu telisi mATalu-ADa (tana)

As the Lord caught hold (paTTa) of the hems (of saree) (kongulu) inlaid with golden thread (bangAru) (literally gold) of some (kondari),
as He shoved (neTTa) forcefully (bAguga) the feet (padamula) of some (kondari),
as He looked (jUDa) heartily (kanulAra) (literally to the eyes’ content) at the elegance (sogasunu) of some (kondari), and
as He chatted (mATalu ADa) (mATalADa) understanding (telisi) the minds (manasu) of some (kondari),
each one of the damsels, thinking that Lord kRshNa has love for her alone, danced with gay abandon.

caraNam 2
kondari-ankmunanu pavvaLimpa
kondari pedavula balu kempulu-unca
kondari tanuvula kara lIla sEya
kondari venuka nilici jaDa vEya (tana)

As the Lord laid (pavvaLimpa) in the lap (ankamunanu) of some (kondari) (kondariyankamunanu),
as He painted (unca) (literally placing) the lips (pedavula) of some (kondari) with dark (balu) red dye (kempulu) (kempulunca),
as His hands (kara) sported (lIla sEya) on the bodies (tanuvula) of some (kondari), and
as He made hair-do (jaDa vEya) for some (kondari) standing (nilici) behind (venuka) them,
each one of the damsels, thinking that Lord kRshNa has love for her alone, danced with gay abandon.
caraNam 3
kondari nuduTa kastUri boTTu peTTa
kondari taLuku cekkula muddu peTTa
kondari pAliNDla pannIru jilka
kondaritO tyAgarAja nutuDu palka (tana)

As the Lord applied (peTTa) musk (kastUri) mixed tilaka (boTTu) on the forehead (nuduTa) of some (kondari),
as He kissed (muddu peTTa) the charming (taLuku) cheeks (cekkula) of some (kondari),
as He sprinkled (jilka) lavender (pannIru) (rose-water) on the breasts (pAliNDla) of some (kondari), and
as the Lord - praised (nutuDu) by this tyAgarAja - spoke (palka) with some (kondaritO),
each one of the damsels, thinking that Lord kRshNa has love for her alone, danced with gay abandon.

Notes

Variations - (Pathanthara)
1– ADaga –ADa

2 – ankamunanu – angamunanu : ankamunanu - is the appropriate word.

References

Comments
This Kriti forms part of dance-drama ‘nauka caritraM’ – The Boat Story. -
(Background) The gOpis meet kRshNa at the yamunA river and contemplate travel in a boat. kRshNa says that it is not within the capacity of the women to steer boat and says he will do the job; however, the gOpis do not believe Him and think that He is upto some trick. After Lord convinces them, they all travel in the boat. In this kRti, kRshNa is seen sporting with each of the Gopi individually (taking so many forms).
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