You stood there Krishna, picture perfect, with your mouth showing tell-tale signs of butter, cool lips that caressed the pure white conch and the beautiful navel that births a gorgeous lotus.

Charanam

Some stand in wonderment whether those are really eyes. Some will exclaim that one needs a thousand eyes to view your total form. Some will say that it is the same young Balakrishnan whom even the Lord with a third eye in the forehead -- Siva -- rushed to see as a baby. With my eyes and tongue becoming sweet just at your sight, my heart flutters, longing to embrace you at this instant.

Author’s Note

The charanam describes Lord Siva’s visit to Gokulam to see Bala Krishna. Bhagavatam fully describes this visit, and the following link provides the story.

Siva rushes to Gokulam

Ooththukadu Venkata Kavi’s song Anupallavi below also mentions this visit of the cosmic dancer:

ஆடலைக் காணதில்லை – அம்பலத்திறைவனும் தன்
ஆடலை விட்டு இங்கே கோகுலம் வந்தான்
ஆதலினால் சிறுயாதவனே – ஒரு மாமயிலிறகணி மாதவனே நீ (ஆடாது)

sangum dharitthAy

சங்கும் தரித்தாய்

Pallavi

சங்கும் தரித்தாய் சாரங்கம் ஏந்தினாய்

sangum dharitthAy sArangam EndhinAy

எங்கும் நிறைந்தாய் ஏழுமலை உறைந்தாய்

engum niRaindhAy Ezhumalai uRaindhAy

Anupallavi

வங்கக் கடல் கடைந்தாய் வானை அளந்தாய்

vangak kadal kadaindhAy vAnai aLandhAy

தங்கத்திரு இடம் கொண்ட நாராயணா

thangatthiru idam koNda nArAyaNA

Charanam

சிங்க உருவாகி தீயனை வதைத்தாய் மான

singa uruvAgi thIyanai vadhaitthAy mAna

பங்க நடப்பினை தடுத்து மாதினை காத்தாய்

banga nadappinai thadutthu mAdhinai kAtthAy

துங்க தூயோர் நினைவில் நின்ற பரமே தமியேன்

thunga thUyOr ninaivil nindRa paramE thamiyEn

சங்க தமிழ்ப் பாவில் இளகியே அருள்வாய்

sanga thamizhp pAvil iLagiyE aruLvAy

Translation

Pallavi

You adorn the conch, wield the bow, pervade all space, reside in the seven hills.

Anupallavi

Oh, Lord Narayana, you hold as your integral part the golden Mahalakshmi in the chest. You have done marvels like churning the ocean and fathoming the entire sky.

Charanam

You took the form of a ferocious lion and destroyed the demon; saved the honor of a damsel and averted the loss of her modesty. Oh Lord, dwelling in the thoughts of pious individuals, please soften in my song in chaste Sangam fostered Tamil and bless me.

maRandhidal nyAyamO srirAmA

மறந்திடல் ஞாயமோ ஸ்ரீராமா

Pallavi

மறந்திடல் ஞாயமோ ஸ்ரீராமா உனையே நினைந்து

maRandhidal nyAyamO srIrAmA unaiyE ninaindhu

இரந்திடல் புரிந்திடும் தீனனை

irandhidal purindhidum dhInanai

Anupallavi

அருந்திட ராம நாம பானம் ஒன்றே எனுமெனை

arundhida rAma nAma pAnam ondRe enumenai

வருந்திட செய்து வதைத்திடல் சரியோ

varundhida seidhu vadhaitthidal sariyO

Charanam

மதி வதனா மைதிலி மணாளா மாமுனிவோர்

madhi vadhanA mythili maNALA mAmunivOr

மதி நிறை மன்னவா மதியிலா மாந்தரின் அக

madhi niRai mannavA madhiyilA mAndharin aga

மதிலினை மாய்த்திடும் மாயவா மூப்புடை மாதின்

madhilinai mAytthidum mAyavA mUppudai mAdhin

மதிப்பினை உயர்த்திய மதுசூதனா மாதயை ரூபா

madhippinai uyartthiya madhusUdhanA mAdhayai rUpA

Translation

Pallavi

SriRama, is it just to forget a poor devotee who constantly thinks of you and begs for your mercy?

Anupallavi

Is it proper for you to make me feel sad and torture me, while the only thing I live on is a drink or potion of Ramanama or your divine name?

Charanam

Oh Lord Madhusudhana, with a face dazzling in radiance comparable to the full moon, you are the consort of Mythili. You reside in and rule the minds of great saints. You break the tough egotistical walls surrounding ignorant minds. You elevated the stature of an old devout lady, and you are the personification of abundant compassion. Is it just for you to forget me?

Author’s Note

The author is deeply inspired by Thyagaraja’s devotion to Rama. This song is based on the impact of Thyagaraja kritis on the present author. The word play in charanam is based on the Kannada raga kriti of the saint beginning with “Saketaniketana”.

Uzhvinai unaik kaNdu

ஊழ்வினை உனைக் கண்டு

Pallavi

ஊழ்வினை உனைக் கண்டு ஓடுமென்றால்

Uzhvinai unaik kaNdu OdumendRAl

ஏழ்பிறவி ஏதையா ஏழுமலையானே

EzhpiRavi EdhaiyA EzhumalaiyAnE

Anupallavi

பாழ்பிணிகளேது தீயநாழிகை தானேது

pAzhpiNigaLEdhu thIya nAzhigai thAnEdhu

வாழ்வினிலே நலிவேது தீயோர் தொடர்பேது

vazhvinilE nalivEdhu thIyOr thodarbEdhu

Charanam

சீர் உருவான ஶ்ரீதேவி மார்பில் தரித்து

sIr uruvAna srIdEvi mArbil dharitthu

பேறு தரும் சக்கரம் திருக்கரம் ஏந்தி

pERu tharum chakkaram thirukkaram Endhi

குணமருள் பூதேவி மருங்கு கொண்டு

guNamaruL bhUdEvi marungu koNdu

உணவருள் கங்கையும் காலிடை கசிந்திட

uNavaruL gangaiyum kAlidai kasindhida

அலை கடல் போல் திரண்டு வரும் அடியார்

alai kadal pOl thiraNdu varum adiyAr

நிலை கண்டு நெகிழ்ந்திடும் நாராயணா

nilai kaNdu negizhndhidum nArAyaNA

Translation

Pallavi

It is said that one’s destiny is based on actions from a soul’s previous birth, but those past actions will disappear with a glance from you, Lord of the seven hills. So, tell me: where is the need for the concept of seven births*?

Anupallavi

After seeing you, where are the torturous diseases, human suffering, or association with evil folks?

Charanam

Goddess Lakshmi is seated on one side of your chest, the personification of fame and prosperity. You wield in your divine hand the Sudharshana chakra, or disc, that can offer great fortune. Seated on the other side of you is Goddess Boodevi, who provides blessings of virtuous behavior. From your feet flows the sacred Ganges that will provide an abundant supply of food to humanity. Lord Narayana, you appear immensely pleased and emotionally overwhelmed looking at the multitude of devotees thronging to see you like the waves of an ocean.

*The concept of seven births is a popularly held belief that one goes through seven lives as part of their life cycle, before attaining salvation.

Author’s Note

Line 4 of the charanam refers to the origin of Ganges to Vishnu’s feet.

The story of Vishnu piercing the universe with his toe to bring the Ganges is a popular legend in Hindu mythology. It is associated with the Vamana avatar, the fifth incarnation of Vishnu.

In this legend, Vamana, a dwarf Brahmin, approaches King Bali, a powerful demon king, during a yajna (sacrificial ritual) and asks for as much land as he can cover in three steps. Bali agrees, and Vamana then transforms into a giant form known as Trivikrama. With his first step, he covers the earth, and with his second, he spans the heavens. In the process of taking his second step, his foot pierces the universe, reaching the heavenly realms, and creates a hole through which the celestial Ganges (Ganga) flows down to earth. This descent of the Ganges is considered a sacred event, purifying all it touches.

This story symbolizes the cosmic power of Vishnu and the sanctity of the Ganges River in Hindu belief. This is supported by Bhagavata purana (see below)

According to Vishnu Purana, Ganges came out of the sweat from Vishnu’s foot. See below:

Ganges and Vishnu

There is another legend associated with the origin of river Ganges again to Vishnu’s foot. In brief, in the Bhagavata Purana (Canto 5 Chapter 17) and according to the text, Vishnu, in his incarnation as Vamana, extended his left foot to the end of the universe, and pierced a hole in its covering with the nail of his big toe. Through the hole, the pure water of the causal ocean entered this universe as the Ganges river.

Bhagavatam and Ganges

bUdhavudal nItthidu munnamE

பூதவுடல் நீத்திடு முன்னமே

Pallavi

பூதவுடல் நீத்திடு முன்னமே பூதலத்தில்

bUdhavudal nItthidu munnamE bUdhalatthil

பூவடி மாண்பனை பூஜித்திடு மனமே அனுதினமே

pUvadi mANbanai pUjitthidu manamE anudhinamE

Anupallavi

புரிந்தும் புரியாதது போல் அறிதுயில் புரிந்திடும்

purindhum puriyAdhadhu pOl aRithuyil purindhidum

திருவரங்கத்திறைவனை திருமகள் தலைவனை

thiruvarangatthiRaivanai thirumagaL thalaivanai

Charanam

அலை கடல் கடந்தே அரக்கரை அழித்தே வந்த

alai kadal kadandhE arakkarai azhitthE vandha

களைப்பினில் உறங்கிடும் உன்னத தெய்வம்

kaLaippinil uRangidum unnadha dheivam

ரங்காவென்றே பக்தனும் பயமொடு பதறிட

rangAvendRE bhakthanum bhayamodu padhaRida

எங்காகினும் வந்தே துயர் களைந்திடும் தூயனை

engAginum vandhE thuyar kaLaindhidum thUyanai

Translation

Pallavi

Before you shed your mortal coil on this earth, chant and worship the Lord with the tender flowery feet, with all your heart every day.

Anupallavi

That Lord who is the consort of the Goddess of wealth and auspiciousness, and the presiding deity of Srirangam, may pose as though He is sleeping and pretending as if He has no knowledge of the happenings around Him. Yet He is fully cognizant of everything. Chant and worship Him with all your heart every day.

Charanam

This great God who crossed the waves of the ocean and then vanquished all the demons, is resting after all the exhaustion. When he hears his name called out in fear as Ranga by his sincere devotee, he will rush to that spot from wherever He is and remove all their troubles. Worship this immaculate Lord.

thyAgatthin thiruvuruvE

தியாகத்தின் திருவுருவே

Pallavi

தியாகத்தின் திருவுருவே நிற்குண ராமா

thyAgatthin thiruvuruvE niRguNa rAmA

பாச அலைகளின் சுழலினின்றெனை மீட்டருள் பரந்தாமா

pAsa alaigaLin suzhalinindRenai mIttaruL parandhAmA

Anupallavi

தந்தையின் சொல் கேட்டே மகுடம் துறந்தாய்

thandhaiyin sol kEttE makudam thuRandhAy

காவியுடுத்தே காரிகை கரம் பிடித்தே கானகம் சென்றாய்

kAviyudutthE kArigai karam piditthE kAnagam sendRAy

கொடிய விலங்கும் படியா அரக்கரும் மடிந்திடவே

kodiya vilangum padiyA arakkarum madindhidavE

அடியார்க்கருள் தந்தே வனத்திடை வள்ளலென திகழ்ந்தாய்

adiyArkkaruL thandhE vanatthidai vaLLalena thigazhndhAy

Charanam

புசித்திட உணவு வேண்டி முனியொருவன் யாசிக்க

pusitthida uNavu vENdi muniyoruvan yAsikka

நேரம் முடிந்ததென உணர்ந்தே நாடகமும் புரிந்தே

nEram mudindhadhena uNarndhE nAdagamum purindhE

நிழலென தொடர்ந்த இளையவனை அர்ப்பணித்தாய்

nizhalena thodarndha iLaiyavanai arppaNitthAy

வந்த வேலை இந்த வேளையோடென்று வைகுண்டம் சென்றாய்

vandha vElai indha vELaiyOdendRu vaikuntam sendRAy

உன்னவதாரமான ராதாகிருஷ்ணனும் பந்தம் களையும் வகையினை

unnavadhAramAna rAdhAkrishNanum bandham kaLaiyum vagaiyinai

கீதையாய் அருளிட முன்வழி காட்டினாய்

gIthaiyAy aruLida munvazhi kAttinAy

Translation

Pallavi

Oh, immaculate Lord, the embodiment of ultimate sacrifice, please retrieve me from the tides of attachment in this world.

Anupallavi

You gave up your legitimate right to the crown because your father willed it. Wearing traditional saffron robes and holding your wife’s hand, you departed to the forest. You became a limitless donor of compassion in the jungle, taking care of wild beasts, ruthless demons, and offering mercy to all devotees.

Charanam

You made an unthinkable sacrifice, offering the life of your younger brother who followed you like a shadow when the saint (Durvasa) came in, asking for food to eat. You knew that the job for which you came on earth was then complete and departed for the heavenly abode. You first walked the path for your descendant, Radhakrishnan, to follow, as he delivered the gospel of the Gita as an act of compassion to humanity. In doing so, you paved the way for humanity to be rid of worldly attachments.

Author’s Note

The charanam of this song has the story of Rama ending his life on earth. Lord Rama realizes when Yama comes to talk to him in private and Sage Durvasa forces Lakshmana (who was guarding the private meeting) to open the door and interrupts brother’s secret conversation with Yama that his time on earth is up. Reference is made here to the anecdote from Ramayana after the destruction of Lanka and Rama’s coronation. Durvasa rishi walks in when Rama is chatting with the God of death, Yama, and Lakshmana is keeping the gate so that none enters the chamber per request from God of death. Durvasa after initial hospitality by Lakshmana demands an audition with Rama right away. Otherwise, he was going to curse the whole country. Lakshmana knew the outcome but decides to sacrifice his life but save the country and opens the chamber door.

Lakshmana leaves the earth

Refer to Uttarakhand of Ramayana. See:

ஸ்ரீமத் வால்மீகி ராமாயண ஸாரம், உரை ஆசிரியர் அண்ணா, ஶ்ரீராமகிருஷ்ண மடம், மயிலாப்பூர், சென்னை-4, ISBN 81-7120-575-5 உத்தர காண்டம் Pages 1001-1007. Includes Durvasa asking for food and instant audition with Rama all preordained by Yama or Kala deva.

anbum aLavOdenal

அன்பும் அளவோடெனல்

Pallavi

அன்பும் அளவோடெனல் அறியாயோ நாராயணா

anbum aLavOdenal aRiyAyO nArAyaNA

நானிலம் நவிலும் உண்மையும் மறந்தாயோ*

nAnilam navilum uNmaiyum maRandhAyO

Anupallavi

இமையே அசையாது உமையே நோக்கிடும்

imaiyE asaiyAdhu umaiyE nOkkidum

தேவியை விடுத்திப் பாவியை (சற்றே) பாராயோ

dhEviyai vidutthip pAviyai (satRE) pArAyO

Charanam

க்ஷீரசாகர சாரங்க ப்ரபோ கதிரிடை அலரும்

kshIrasAgara sAranga prabhO kadhiridai alarum

கமலம் போலுன் ஒளிர்முகமதில் மிளிரும் மந்தஹாசம் படர

kamalam pOlun oLirmugamadhil miLirum manthahAsam padara

புரிந்ததால் செவ்வந்திபோல் அன்னையின் கன்னம் மின்ன

purindhadhAl sevvandhipOl annaiyin kannam minna

பரிபாஷையில் யுகமாக பரகதி நாடிடும் பராதியைப் பரிதல் எப்போதோ

paribAshaiyil yugamAga paragathi nAdidum parAdhiyaip paridhal eppOdhO

*Second line in Pallavi can be rendered as:

பண்பும் பாங்கும் அதுவேயென மறந்தாயோ

paNbum pAngum adhuvEyena maRandhAyO

Translation

Pallavi

Oh Narayana, don’t you know that even love must be within limits? Did you forget this universal truth?

Anupallavi

Won’t you just look at this poor soul or sinner for a moment, turning away from Devi, whose eyes are transfixed on you without any movement of her eyelids?

Charanam

Oh Lord reclining on the milky ocean and wielding the bow, when a smile starts to spread on your lotus-like face and, with the understanding of that expression, Lakshmi’s cheeks shine like red chrysanthemum, several generations pass in this loving exchange. Tell me Lord, when will you have time to look at this poor soul seeking salvation, and show some sympathy?

Author’s Note

This song is based on Thyagaraja’s description of the mutual love between Lord Vishnu and Goddess Mahalakshmi in one of his songs. Refer to the charanam of “Oh Ranga Sai…”, Kambodhi raga kriti where Thyagaraja complains to Lord Ranganatha: “If you spend all your time in Lakshmi’s company and enjoying exclusively, who will hear my complaints?”. For details of the Saint’s song and translations and interpretations, see:

Compositions of Thyagaraja, compiled and edited by T.K. Govinda Rao, Gnanamandir Publications, Indira Nagar, Madras 600020, First Edition May 1995, Page 444.

Also see:

The Spiritual Heritage of Thyagaraja, C. Ramanujachari, Sri Ramakrishna Math, Mylapore, Madras 600004, Published 1958, Page: Text and Translation of the Songs Section, Page 75.

madandhaikku idamIndhu

மடந்தைக்கு இடமீந்து

Pallavi

மடந்தைக்கு இடமீந்து மாந்தர் இடர் போக்கி

madandhaikku idamIndhu mAndhar idar pOkki

குடந்தையில் கிடந்தாய் நாராயணா

kudandhaiyil kidandhAy nArAyanA

Anupallavi

நடந்திடும் நிகழ்விற்கெல்லாம் மாயனாய்

nadandhidum nigazhviRkellAm mAyanAy

உடந்தையாகி பாவனையாய் பாலனை புரியும் பரந்தாமா

udandhaiyAgi bhAvanaiyAy pAlanai puriyum parandhAmA

Charanam

கஜேந்திர வரதா கபிக்கு கருணையாய் அருளிய

gajEndhra varadhA kapikku karuNaiyAy aruLiya

புஜங்க சயனா பொற்றாமரையாள் மருவும்

bhujanga sayanA potRAmaraiyAL maruvum

மலர் மார்பா காரிருள் விலகுங் காலை

malar mArbA kAriruL vilagung kAlai

புலர் கதிரொளியென மிளிர் கமலநாபா சரணம்

pular kadhiroLiyena miLir kamalanAbA saranam

Translation

Pallavi

Offering the damsel a dwelling place in your chest, and alleviating all human sufferings, you reside in a reclining posture in the sacred Kumbakonam, Narayana.

Anupallavi

The all-powerful Mahavishnu is an omniscient accomplice to everything happening in this world, while protecting the universe.

Charanam

The Lord of this shrine, reclining on own arms, offered a boon to the elephant Gajendra and blessed a monkey with infinite mercy. The Goddess Lakshmi, seated on her lotus, embraces his chest. His radiant appearance, with a lotus emanating from his navel, is like the dazzle of the rising sun while the dark night recedes.

Author’s Note

The song is a tribute to Thiruadhanur Vishnu temple (close to Kumbakonam) where the presiding deity is called Andalakkum Aiyan. Perumal appears here in a reclining posture with a Marakal (measuring bowl as a pillow) and a palm leaf and an Ezhutthani (inscribing tool) in his left hand. Sreedevi and Bhoodevi are seated on either side of him and the divine cow Kamadhenu is at his feet. Some believe that Perumal is writing down the good and bad deeds of devotees and that he measures the total amount of sins in a lifetime using the bowl and decides on the level of blessings to provide. This is a remarkable Divya Kshetram, see below for details:

Andalakkum Aiyan Temple Sthalapuranam

As stated above, this song extols Sri Andalakkum Aiyan Perumal residing in Thiru Aadhanoor in Kumbakonam. There is a pun on the use of “idam” in the Pallavi. In a general sense, idam means space. Here the word also refers to the left side of the chest of the Lord where Goddess Lakshmi dwells. This is amplified in the charanam with a reference to “malar mArbA”.

The charanam line, கபிக்கு கருணையாய் அருளிய (kapikku karuNaiyAy aruLiya), can be interpreted to mean Rama granting moksha (liberation) to Vāli after killing him while hiding behind a tree. Rama explained his actions to Vali, who then realized his errors and came to terms with his death. Vāli begged Rama to stroke him, remove the arrow, and bless him to attain Supreme status. Rama obliged, and right in the presence of the Lord, Vali attained a status that is difficult even for Paramahamsas (highly realized ascetic sages) to gain. For details see:

Adhyatma Ramayana, 2009, Swami Tapasyananda, Sri Ramakrishna matt, Mylapore, Chennai 600004, pages 185-190

AdinAy aRpudha natanam

ஆடினாய் அற்புத நடனம்

Pallavi

ஆடினாய் அற்புத நடனம் ஆடினாய்

AdinAy aRpudha natanam AdinAy

ஆனந்தமாகவே அரவின் மேல் அன்று நீ

AnandhamAgavE aravin mEl andRu nI

Anupallavi

ஆதவன் நிகர் அழகு மேனியனே ஆசையும்

Adhavan nigar azhaghu mEniyanE Asaiyum

ஆதங்கமும் நிறை ஆரணங்கினர் அரண்டிட

Adhangamum niRai AraNanginar araNdida

Charanam

ஆலம் உமிழும் வாயை ஆவெனத் திறந்து

Alam umizhum vAyai Avenath thiRandhu

ஆலம் விழுதோவென அவனியோர் அதிசயிக்க

Alam vizhudhOvena avaniyOr adhisayikka

அங்கமொடு அணைத்து விசையொடு அடித்து

angamodu aNaitthu visaiyodu aditthu

அங்குமிங்கும் எறிந்து அகத்தினையழித்து காளிங்கன் சிரமேல்

angumingum eRindhu agatthinaiyazhitthu kALingan siramEl

Translation

Pallavi

That day, you performed a dance standing on the snake. It was ecstatic and wonderful.

Anupallavi

The damsels, full of love and lust in their hearts, appeared scared of the snake. With your body radiant like the sun, you danced.

Charanam

The entire world was awestruck and wondered whether it was an aerial root of a banyan tree, the way you handled the snake. You forced open the poison-emitting mouth of the venomous creature, embraced him with your body, and dashed him with all your might. You threw him here and there, shattered his ego, and danced on the head of that snake, Kalinga.

rAmA dhInarakshakA enaiyALum

ராமா தீனரக்ஷகா எனையாளும்

Pallavi

ராமா தீனரக்ஷகா எனையாளும்

rAmA dhInarakshakA enaiyALum

பரந்தாமா என்றே உன் நினைவில் வாழ்கின்றேன்

parandhAmA endRE un ninaivil vAzhgindRen

Anupallavi

எங்கும் எதிலும் உன்னுருவே கண்டு

engum edhilum unnuruvE kaNdu

என்னுள் உன்னையே பூஜிக்கும் அத்வைதியானேன்

ennuL unnaiyE pUjikkum adhvaithiyAnEn

Charanam

பதியின் பாதமே கதியென பணிந்திடும் சதி போலவும்

pathiyin pAdhamE gathiyena paNindhidum sathi pOlavum

நதியும் முடிவில் கடலிடை கலந்திடல் போலவும்

nadhiyum mudivil kadalidai kalandhidal pOlavum

கதியிதுவென மரத்தினை சுற்றி படரும் கொடி போலவும்

gathiyidhuvena maratthinai sutRi padarum kodi pOlavum

மதியெலாம் நீயாகி உன்னுள் ஒளியும் பாக்யமருள்வாய்

madhiyelAm nIyAgi unnuL oLiyum bhAgyamaruLvAy

Translation

Pallavi

I live immersed in thoughts of you, Sri Rama. You are the protector of the downtrodden and desolate, and the Supreme Lord.

Anupallavi

Not believing in duality, I see you in everything, everywhere, and I have started worshipping you residing in me. Thus, I worship in a monotheistic way now.

Charanam

Like the wife who has taken refuge in her husband’s feet, like a river which ultimately mingles with the ocean, like a creeper that circles around and gets its ultimate support from a tree, you have pervaded my thoughts. Please bless me and give me the ultimate boon to integrate with you or become one with you.

veNNai kaiyirukka

வெண்ணை கையிருக்க

Pallavi

வெண்ணை கையிருக்க நெய் தேடுவார் போல்

veNNai kaiyirukka ney thEduvAr pOl

மண்ணை தின்ற மாயா உனையெங்கும் தேடி திரிந்தேன்

maNNai thindRa mAyA unaiyengum thEdi thirindhEn

Anupallavi

ஓடி அலைகையிலே ருக்மணி லோலா ராஜகோபாலாவென

Odi alaigaiyilE rukmaNi lOlA rAjagOpAlAvena

கோடி பேர் சொல்லியே கூவி அழைத்தேன்

kOdi pEr solliyE kUvi azhaitthEn

Charanam

சோதை திருகியே சிவந்து கன்னிய காதொடு

sOdhai thirugiyE sivandhu kanniya kAdhodu

போதை தரும் கோபியர் பூசிய கந்தமொடு

bOdhai tharum gOpiyar pUsiya ganthamodu

கட்டுக் கார் குழலொடு இடை நின்ற பட்டொடு

kattuk kAr kuzhalodu idai nindRa pattodu

சுட்டு விழியொடு குயில் நாணும் குழலிசையொடு

suttu vizhiyodu kuyil nANum kuzhalisaiyodu

விண்ணையளந்த நீ விளையாட்டாய் அருகிருந்து இமை சிமிட்ட

viNNaiyaLandha nI viLaiyAttAy arugirundhu imai simitta

கண்ணை மறைத்ததின் பெயர் தானோ அஞ்ஞானம்

kaNNai maRaitthadhin peyar dhAnO anyAnam

Translation

Pallavi

I was looking here and there for you Lord, you who gleefully ate soil. I was like the folks who look frantically for ghee while having butter in their own hands.

Anupallavi

While wandering and looking for you everywhere, I was yelling, calling you by a million names such as Rukmani’s beloved, Rajagopala.

Charanam

Oh Lord, one who fathomed the entire sky with your feet, here you were standing right next to me. You were playfully blinking your eyes, your ears were red and sore because of Yasoda’s twists, with the fragrance of sandlewood paste applied by the intoxicating Gopi maidens. You have bundled dark hair and silk robes adorning your waist, mesmerizing shiny eyes, and the melodious rendering of flute that embarrassed even the most musical cuckoo birds. Is this what you call sheer ignorance, that my eyes did not see your presence in such close proximity?

Author’s Note

This song on Krishna rises from the poet's imagination, looking for the Lord everywhere and not realizing that the Mayan was in his proximity. The poet revels in using the names Rukmani Lola and Rajagopala, two of his favorite people and inspirational figures who he spent many years with. Rukmani mami used to be a violin teacher in the Bay Area and Rajagopala mama was active at the Hindu temple in Livermore, California. Both lived in Union City, California, in those enjoyable years.

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