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Hari Bol
Unlimited gratitude to paraatma who guides us through satsanghs and
enlightening with knowledge for serving  our creator unconditionally.
humble namaskarams to all on the auspicious advent of Tamil new year .
Shankar Sukanya Bhairavi.


----- Original Message -----
From: M.G.Vasudevan <mgv@xxxxxxxxxx>
To: <oppiliappan@xxxxxxxxxxxxxxx>
Cc: <raamabhakthi@xxxxxxxxxxxxxxx>
Sent: Monday, April 12, 2004 3:00 AM
Subject: [Oppiliappan] come dancing hey krishna


Dear srivaishNava perunthagaiyeer,

Children are always playful. For playing, they will wander from place to
place in a rural set up. That too, if a particular child is the son of the
head of that hamlet and also a bit healthy, he will be the head of a small
group of children of that place. Then, perhaps, we have to sympathise with
his mother, pity her, for any thing and every thing concerning him like
bathing him, dressing him, feeding him, etc., she has to call him frequently
from some distance away from home. For he will always be in the company of
other children and doing lot of childish pranks. This is normal.

May be today's urban children may not have chance to enjoy all these. But in
a rural set up, this is common. That too, in small hamlets like gOkulam
where my krishNa is the head of a group these are common. That is what we
learn from aazhvaar paasurams, particularly periyaazhvaar, [who plays the
role of mother yasOdhaa], that mother yasOdhaa has to call many a times
'krishNa ingE vaaraai', - please come here, from morning to evening, for
several purposes.

maiyanmai seidhu iLa aaichchiyar uLLaththu maadhavanE ingE vaaraai 2-3-3

sOththam piraan ingE vaaraai 2-3-4, 2-4- 5

vEith thadam thOLar virumbum vittuvE, [vishNuvE] nee ingE vaaraai 2-3-5

paRmanaabhaa [padhmanaabhaa] ingE vaaraai 2-3-11

dhaamOdharaa ingE vaaraai 2-3-12

naaraNaa neeraada vaaraai 2-4-1 [there are many 'vaaraai' here in this
neeraattam padhigam]

cheNbagap pooch chootta vaaraai - like that 9 different flowers - all
calling 'vaaraai'  in poochchoottal padhigam.

Similarly, mother calls for krishNa to protect from 'kaN dhrishti' -
kaappida vaaraai.

Further, when a herd of gopees come to yasOdhaa's place and start
complaining that Krishna did  this mischief, that prank etc., yasOdhaa wants
to ensure that krishNa did not do like that. So, to check with him, she
calls again 'ingE pOdharaayE' -please come here - in 2-9- 2, 6,8 paasurams.

Similarly kulasekaraa aazhvaar also calls krishna to come here playing the
flute -'un kuzhal innisai podharaadhE' [6-9 perumaaL thirumozhi].

Thirumangai aazhvaar while enjoying kannan again says 'mulai unna vaaraai,
inidhu unna vaaraai' in periya thirumozhi in 10-4-3, 6, 8.

In all these paasurams, all the three aazhvaars ask kaNNan to come 'simply'.
Please read more as to why I say simply and before getting angry with me,
Hey, how come he can say this to aazhvaars as 'simply'.

Here is a bhakthaa who also asks krishNa to come, 'inGe vaaraai' - come
here, come home, but while coming you must come 'dancing'. That is the
special here.

Swamy dhEsikan paints krishNa's dancing -'the begging of him to his mother
for butter', as 'navaneetha naatyam' in gOpaala vimsathi and yaadhava
abhyudhayam, but he also has not said 'ingE vaaraai' and wile coming you
must come dancing.

That way this krithi is a unique one. For this composer asks krishNa to come
dancing that too come fast.
raagam: yamunaa kalyaaNi 65 mEcha kalyaaNi janya
Aa: S R2 G3 P M2 P D2 S
Av: S D2 P M2 P G3 R2 S
taaLam: chaapu  Composer: Vyaasaraaya  Language: KannaDa

pallavi:
krishNa nee bEganE baarO

meaning: KrishNa! Come - hither soon! [Or come fast]

anupallavi: bEganE baarO mukavannu thOrO (krishNa nee)

meaning: Come hither soon! Show (me) your face!

caraNam 1:
kaalaal andhigE gejje niladhabaavuli
neela varNanE naatyam aadutha baarO (krishNa nee)

meaning: Beautiful anklets adorn your feet! Sapphire bracelets (on your
arms)! (Oh!) Blue coloured one, (Please) come hither dancing!

caraNam 2:
odiyalli odigejje beraLalli ongura
koraLalli haakitha vaijayanthee maalE (krishNa nee)

meaning: Waistbands with bells adorn your waist! Ring(s) on your finger(s)!
The (divine) vaijayanthi necklace garlands your neck!

caraNam 3:
kaasi peethaambara kaiyalli koLalu
poositha sree gandha mayallOLagamma! (krishNa nee)

meaning: (Sacred) Saffron cloth from kaasi (covers you)! Flute in your
hand(s)! Oh dear! Your body is anointed with sandal paste!

caraNam 4:
thaayige baayalli jagavannu thOritha
jagadhOdhDhaaraka namma uduppi sree krishNa (krishNa nee)

meaning: The one who showed his mother the universe in his mouth (that)
Benefactor of the world (is) our uduppi sree KrishNa!

[Krithi and meanings Contributed by Jayaram Suryanarayana].

Dear bhakthaas, I have taken this krithi and above meanings from
www.sangeetham.com <http://www.sangeetham.com> a site maintained by
musicians Sri Sanjay Subramaniam and Sri V.Sriram. Following commentary was
also added to the same krithi in the site. Since the points gives a 'totally
different version' for adoring jewels on my krishNa, I thought of sharing
with our list.

Other information: "Bhava darpana" by S. Jayaram Uparna [SJU].
Quote: - "Saint Vyasaraya reaches his devotional pinnacle in this song.
There is hardly anyone who is not moved when he hears this song being
rendered correctly. Here the Saint calls out to Krishna and implores him to
come close to him. He launches himself into a devotional trance when he sees
Krishna at a distance.

Krishna's immaculate dressing and exquisite beauty makes the Saint detail
them in this evergreen song. The amalgamation of genuine Bhakti with
touchingly simple composition sets one thinking whether Krishna is decorated
with the ornaments, or the other way around.

There is a more profound philosophical meaning to this song.

The anklets are worn in India with a belief that the bells attached to them
would create a sound, which beckon good fortune and drive away demons. When
the Saint describes Krishna, he allocates the first place to this ornament,
thus requesting Krishna to ward off all the demons, demons of ignorance,
foolishness etc in our heart and bestow all his divine mercy on us".
Unquote.

MGV adds: 'senkamalak kazhalil chiRRidhazh pOl viralil sEr thigazh
aazhigalum kiNkiNiyum' says periyaazhvaar in 1-5-10 about the 'anklets'.
While the child Krishna walks the anklets make lots of noise - 'thodar
sangiligai salaar pilaar ennath thoongu ponmaNi olippa padu mummadhap punal
chOra vaaranam paiya ninRu oorvadhupOl' says aazhvaar when he just started
walking - 'thaLar nadai' - 1-7-1.

So 'anklets' has a special significance. Of course, earlier commentators on
these paasurams have described many points but not such as above that the
sounds produced drives away demons etc. That way this thinking is something
different and that is why I want to bring this to the notice of bhakthaas.

SJU Quote: "The next in line is the armlet. The armlet [popularly called as
Baajubandh (or to be more precise baahubandh for it is in the upper arm in
the northern parts of India) is an ornament worn in the upper portion of the
arm. The Armlet is an ornament that restricts the free movement of the hand;
it has a tight grasp and is a constant reminder of its presence.
Ideologically, this ornament is considered to be a symbol of restraint and
control, of what is called as 'Samyama'. Hence, the Saint calls out to the
Lord to grant the benign qualities of restraint and control, to his
devotees. Not only does the Saint ask Krishna to come, but He also implores
the Lord to come dancing, a symbol of pure, unadulterated joy". Unquote.

MGV adds: this come dancing is the special of this krithi. Even in raasa
leelaa bhagavaan did play the flute only as per aazhvaar - we enjoyed that
flute playing as 'naavalam theevil' padhigam, but not dancing.

SJU - quote: "Mostly the affluent, aristocratic families in India wear
waistbands, and the mention of this here has profound significance. The
waistbands worn by children, apart from their other mundane practical
purposes, is supposed to disenchant and protect the young one. Since
Krishna's beauty is above all, it is as if the Saint is imploring the Lord
to not forget to wear the waistband, so that the evil eye cast by his
devotees on him (when they see His lotus like face) does not affect him!

Rings have always been associated with the show of dedication all over the
world (be it the royal insignia, the Seal, or, even the wedding rings). The
Saint implores Krishna to bless him with unflinching dedicated devotion, so
that he may never stray from the path of Love towards the Supreme.

The vyjayanthi mala, a divine necklace born during the churning of the
KsheeraSagara (Milk Ocean), is a sacred and potent ornament. It is said to
bestow unrestricted victory to anyone who wears it (hence the name
Vaijayanti - Vijayee Kurvanti iti Vaijayanti). The Saint describes the Lord
wearing this ornament, so that the Love for the Lord (Bhakti) in the
devotees heart always emerges victorious over the other emotions that ravage
the human heart.

Kaasi is one of the oldest inhabited cities in the world, and for the
Hindus, it is the sacred city of death. Every devout Hindu aspires to breath
his last in this city, for, it is believed that one who does so, attains
salvation without doubt. Kaasi, also called as Benares, is very famous for
the rich golden silk cloth that is made there. The Saint remembers the City
through its famous silk, imploring the Lord to bestow him with the ultimate
goal of any living entity, the remembrance of Krishna while passing away.

The Flute is a unique musical instrument. Utterly mellifluous and
de-mystifyingly simplistic and practical, the flute is Krishna's favorite
instrument. The flute not only soothes the humans listening to it, but even
the beasts have been known to slow down, calm and be subdued at the sound of
the Flute. Metaphorically speaking, Krishna's flute is remembered here to
defeat the beasts in us and to congregate the saintly nature. (The cow has
always been associated with a saintly nature, and Krishna's flute always
calls the cows together).

After all the ornaments and instruments, the Saint directs his attention to
the most revered of all beautifying agents - Sandal Paste. The Sandal tree
is a unique tree. It gives itself up, and though it undergoes pain and
torture when it is rubbed on the stone or together vigorously, it endures
the pain et al and perfumes even the hand that caused it the suffering. The
Sandal has always been a symbol of sacrifice and total submission. Devotees
of the highest grade have been compared to the Sandalwood. Hence, by
mentioning the aromatic Sandal paste here, the Saint cautions one towards
the ideal of complete submission to and absolute dependency on, Krishna.

Lest the devotee take Krishna's love in jest, the Saint reminds him of the
famous episode from Krishna's childhood when he shows the entire universe in
his lotus like mouth to his startled mother. By this Krishna shows to the
devotee that he is the 'be all and end all' of everything. He is the
originator, benefactor and ultimate destroyer of everything. The Devotee is
cautioned that he should never take Bhakti lightly, for that may sound the
death knell of his existence, and the pure devotee is spirited away into
remembrance of the splendid world of Krishna Leela. A befitting end to a
glorious song. Unquote:

Please enjoy krishNa by asking him to come home in the tamil new year
thaaraNa and seek his grace, also insist while he comes he must come
dancing - to catch your hearts in one stroke of his appearance.

Dhaasan

Vasudevan m.g.

PS: wish you all a happy tamil new year and please pardon me for the length
of the post.







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