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Saturday, July 18, 2015

Nambik kettavar Evaraiya : Hindolam : Papanasam Sivan

Nambik Kettavar Evaraiya

Ragam: Hindolam  :         Talam: Adi  :      Composer: Papanasam Sivan

nambik-keTTavar evar aiyA umai nAyakanait-tirumayilaiyin iraivanai

ambuli gangai aNinda jaTAdharan  anbar manam vaLar shambhu kapAliyai

onrumE payan illai enru uNarnda pinbavar uNDenbAr
ovvoru manidanum oru nAL in-nilai eiduadurudi idai marandAr
anru sheyal azhindala marupozhudu shivan peyar nAvil vArAdE
AdalinAl manamE inrE shiva nAmam shollip-pazhakku anbudan

ராகம் - ஹிந்தோளம் :    தாளம் - ஆதி : இயற்றியவர் - பாபநாசம் சிவன்


நம்பிக் கெட்டவர் எவரய்யா உமை
நாயகனைத் திருமயிலையின் இறைவனை


அம்புலி கங்கை அணிந்த ஜடாதரன்
அன்பர் மனம் வளர் சம்பு கபாலியை


ஒன்றுமே பயன் இல்லையென்று உணர்ந்தபின்பவர் உண்டென்பார்
ஒவ்வொரு மனிதனும் ஒருநாள் இந்நிலை எய்துவதுறுதி இதை மறந்தார்
அன்று செயலழிந்தல மருபொழுது சிவன் பெயர் நாவில் வாராதே
ஆதலினால் மனமே இன்றே சிவநாமம் சொல்லிப்பழகு அன்புடன்

Word by word Meaning: 


nambik-keTTavar evar aiyA umai nAyakanait-tirumayilaiyin iraivanai

Nambi : after believing in you, after having faith in you, after praying to you - all these fit in as quite good meaning here

Kettavar : who has suffered; who went awry

evvaraiya : who is there? 

Umai : Goddess Uma

Nayaganai : Husband of 

Thirumayilaiyin : residing in Mylapore

Iraivanai : God

Anupallavi : 

ambuli : moon

gangai : the river Ganga

anintha : wearing these on His forehead / on his head 

Jadatharan : having matted hair

Anbar : devotees; those who have the faith in you; those who worship you

manam : heart

valar : living in; having the place as 

sambu : The Shambhu - God Shiva

Kapali : Lord Shiva with specific reference to the Lord in the Kapaleeshwara temple, Mypalore


onrume payanillai : absolutely nothing is of use; not even one thing is of use

enru : as such 

unarnthapinbavar : after having realized so they will

undenbar : accept that you are there

ovvoru : every 

manithanum : man / woman

orunal : one day

innilai : this state of affairs / finding that nothing is of use but God 

eithuvathuruthi : reaching this state is certain

ithai : this 

maranthar : is forgotten by them / people forget this

anru : that day; the final day; the day of death; the moment of death

seyalazinthu : action fails ; body fails

alamarum pozuthu : highly agitated / distressed state of affairs / complete confusion and panic stricken state

sivan : lord Shiva

peyar : name / nama / chanting / mantra

navil : on the tongue / to tell / to say / to chant

varathe : would not come; would not be able to say it

athalinal : and hence; therefore

maname : O my heart / O mind

inre : today itself / right away

sivanamam : the name of Lord Shiva / the mantra of panchakshara (Om Namachchivaya) 

solli : chant / say 

pazagu : practice / make it a habit

anbudan : with love

Detailed meaning: 

nambik-keTTavar evar aiyA umai nAyakanait-tirumayilaiyin iraivanai

Who has suffered after having faith? After having prayed? After having worshipped lord Shiva? Nobody's faith has been betrayed. Nobody's prayers have gone unanswered. Those who worship Lord Shiva, Uma's Husband, the Lord of Mylapore Kapaleeshwarar temple, will always have their prayers answered. Will always have their faith reposed. Will always have Lord Shiva's grace. 

ambuli gangai aNinda jaTAdharan  anbar manam vaLar shambhu kapAliyai

The one who is wearing the crescent moon on his forehead and the river Ganga on his matted hair - Lord Shiva, the one who resides in the hearts of those who believe in Him, who worship Him, who pray to Him, the Shambhu, the Kapali - those who have believed in such a God, those who have believed and prayed in such a God, those who have worshipped in such a God, will not suffer. Their prayers will be answered. 

onrumE payan illai enru uNarnda pinbavar uNDenbAr
ovvoru manidanum oru nAL in-nilai eiduadurudi idai marandAr
anru sheyal azhindala marupozhudu shivan peyar nAvil vArAdE
AdalinAl manamE inrE shiva nAmam shollip-pazhakku anbudan

When one realizes that there is no use of anything but HIM, they will start believing in HIM; they will accept that HE is indeed there. And, every single man and woman is going to come to this stage. This is certain. But, people forget this fact. But, when that day comes, the body fails. The mind fails. Panic sets in. One is highly distressed and cannot think. In that state of affairs, one's tongue is unable to chant Shiva nama. Hence, O my heart! O my Mind! today itself, right now, start chanting Shiva nama and practise it with lots of love.

Discussion on the lyrics & stories it has : 

It is a very subtly nuanced song. It is not very easy to understand the poet's heart as to exactly what he meant in a line or a word. Beautful verses give raise to multiple nuanced subtle meanings and that is indeed the beauty of lovely song. 

It holds good here too. 

"nambik-keTTavar evar aiyA" : is there anyone whose faith has gone awry? whose prayers have not been answered? whose worship has gone waste? who has been betrayed because he / she believed in Lord Shiva? That is the question here. Many times, many occasions, we do feel that our prayers are NOT answered. Many times we feel that God has failed us. Right from our childhood when we would stand in front of idols at home or at temples and pray to God for higher marks or to simply pass in exams and that did not happen, we feel that God did not listen to us or even after listening, did not heed to our prayers. But, while we may feel because of such incidents, God never ever fails us. He knows what is right for us and carries us thru our troubles. 

Story of Sita : 

Is there anyone whose bakthi was greater than what Sita had towards Rama? And yet, she had to spend 10 months at Ravana's place all alone, not knowing what happened to Rama and Lakshmana, not knowing whether she will be able to go out of that place alive and without getting harmed. And yet, she had faith in Rama. She had absolute confidence that Rama will come and rescue her one day. And, while it took 10 months, it did materialize at the end. 

Story of Thirunavukkarasar : "Appar", as he was called, "Thirunavukkarasar", converted back to Saivism at the ripe old age of 76 years. He had converted to jainism earlier in his younger age much to the chagrin of her elder sister Thilakavathi. The jaini monks wanted Appar to convert back. They could not persuade him to do so. Hence, with the help of the king, they ensured that Appar went thru a whole series of tortures. Appar was put into lime kiln. He was tied to a stone and put into a river. He was put into a pit and an elephant was ordered to trample him. Appar survived all this. 

He even sung about his experience of how it was to be there in that lime kiln : 

"மாசில் வீணையும் மாலை மதியமும்
வீசு தென்றலும் வீங்கிள வேனிலும்
மூசு வண்டறை பொய்கையும் போன்றதே
ஈசன் எந்தை இணையடி நிழலே"
("Mācil vīṇaiyum mālai matiyamum
vīcu těņṛalum vīŋkiḷa vēņilum
mūcu vaṇţaṛai pǒykaiyum pōņṛatē
īcaņ ěntai iṇaiyaţi niļalē")
translating to
"My Lord's twin feet are like the blemishless Veena
like the full-moon of the evening
like the gentle breeze blowing from the South
like the young spring
like a bee-humming pond "[14]  (taken from

The detailed stories of Appar can be accessed from here: Appar : The Story;    Appar the story - 2

Like this, there are scores of stories of devotees whose faith has been answered over a period of time. 

"thiru mayilaiyin iraivanai" :  when did the Lord of "Kayilai" (Kailasha) become the lord of the "mayilai"? 

According to the PuranasShakti worshipped Shiva in the form of a peacock, giving the vernacular name Mylai (Mayilāi) to the area that developed around the temple - mayil is Tamil for "peacock".[3] 

Shiva is worshiped as Kapaleeshwarar, and is represented by thelingam. His wife Parvati is depicted as Karpagambal (from:; 

"gangai anintha jadatharan" :    why did Lord Shiva take the river Ganga on his matted hair? This is the story of Bageeratha and his tapas and how the river Ganga - which was supposed to be running only in the devaloka, came down to the earth. 

The story from wikipedia is as follows : How did River Ganga come down? The photos are also from Wikipedia.

Bhagiratha was the king of Kosala, a kingdom in ancient India. He was a descendent of the great King Sagara of the Suryavansha, orSurya Dynasty. He was one of the forefathers of Lord Rama, of the Ramayana, the epic in which Bhagiratha's tale is primarily recounted.
He lost his father when he was just a child, and was raised by his mother. Bhagiratha was very intelligent, virtuous and kind hearted. When he came of age, Bhagiratha ascended to the throne of the kingdom of Kosala, today located in the Indian state of Uttar Pradesh. He was a benevolent ruler who adhered to his duties as a king as prescribed bydharma.
When king Sagara chose to perform the Ashwamedha yagna, his royal agents lost track of the sacrificial horse. Sagara ordered his sixty thousand sons by Sumati to track down the horse. The proud and mercurial prince raged across Bharat, burning down forests and uprooting life and property to find the horse. They finally arrived at a quiet spot where the Sage Kapila was sitting in meditation. Beside him was tied the white horse. The enraged prince condemned Kapila as a thief and attacked him. When the sage opened his eyes, his immense power turned the princes into ashes. the only way for the souls of the dead prince to ascend to heaven would be through the offering of niravapanjali with the water of the sacred Ganga (Ganges) river, which was flowing only in Swarga.
Bringing Ganga back to Earth was a near impossible task and required many years to be spent intapasya and prayer. The Kosala kings of successive generations could not do this while managing their duties as kings. As a result, the sins of the thousand princes multiplied in their destructive energy, and began resulting in natural disasters. The kingdom began to lose its peace and prosperity, and by the time Bhagiratha ascended the throne, he found it impossible to govern.
Bhagiratha turned over the kingdom to his trusted ministers and set off to the Himalayas to perform an arduous tapasya in the extreme climate. For one thousand years, he performed an excruciatingly harsh penance to please Lord Brahma. At the end of the thousand years, Brahma was pleased and asked him for his wish. Bhagiratha asked Brahma to bring the river Ganges down to earth so that he may perform the ceremony for his ancestors.
Brahma asked Bhagiratha to propitiate Lord Shiva, for only He is capable to break Ganga's landfall. Ganga has a strong flow and it would have been impossible for anyone to contain the destructive impact of this event except Shiva.
Bhagiratha performed a tapasya for Lord Shiva, living only on air. The compassionate Shiva appeared only after a year's penance, and told Bhagiratha he should not have to perform tapasya to accomplish a noble goal such as this. He assured Bhagiratha that he would make Ganga fall on his matted locks (dreadlocks). After aeons of being flattered and praised by the Devas, Ganga had become vain. She scoffed at Brahma when he asked her to flow down to earth, but could not disobey him as he was her father.
But Ganga was sure, as much as Bhagiratha was afraid that no one could stop her fall, which would devastate the earth for a long time. As she cascaded down from Swarga, Bhagiratha and celestial observers were terrified of the roar and volume of water coming down. But Lord Shiva appeared under the flow and captured all of Ganga in his jataa just before she fell on earth. Ganga came to the earth because of Bhagiratha's efforts so Ganga is also called Bhagirathi. Bhagiratha led the way for Ganga on his chariot, and she followed him across the north and east of Bharat and finally merging with the ocean. In her course she washed the ashes of Sagara's sixty thousand sons, who ascended to heaven while praising and blessing Bhagiratha.

"anbar manam valar" : Here, there could be two different ways of singing this (called : patabetham"). "anbar manam cavar" -" the one who is loved by His devotees"  could also be one word which fits quite well here. 

"onrumE payan illai enru uNarnda pinbavar uNDenbAr" : When one comes to the end of life, one realizes and accepts that He is there. A number of life stories are there which are all hidden here but come to mind when one sings this line. There are stories of those people who had always denied existence of God and spirituality too but when they became older, had completely converted. The poet Kannadasan was an example. He was in the group of people who were opposing the existence of God but then converted and wrote many books on what Hinduism is all about. 

"anru sheyal azhindala marupozhudu shivan peyar nAvil vArAdE; 
AdalinAl manamE inrE shiva nAmam shollip-pazhakku anbudan" : 

when one is close to death, one is not sure how the body would function. One is not sure whether one's mind would function or whether one's tongue would be able to even say God's name. Those who are able to say God's name and chant His name are blessed. But the question is whether one is so blessed. 
Let us take the story of Ajamilan. The story is beautifully told in the Gayakrishna Blogspot - the link is given here : Ajamilan story:
The story of Ajamila occurs in the sixth skanda of Srimad Bhagavatam:

Ajamila was once a very noble brahmin, performing his duties and prescribed rituals most sincerely and was also a good husband, good son and good father. Once when he was in the forest to gather the fuel-wood for his rituals, he fell for a woman, heart and soul. Actually the woman was one of very low morals. From that time onwards he lived with her, abandoned his family and his own parents. He got ten children by her, made a living and supported this large family by blackmailing rich people, by cheating, fraud and gambling. He was particularly fond of the youngest child, Narayana, by name. The attachment to the child was so pronounced that whether he was eating, drinking, relaxing or working, he would always want Narayana to be by his side and partake of his food or participate in his enjoyment. When finally the call from Yama, the God of Death, came, it came suddenly and in his agony he called his child to his side and cried: O Narayana. Suddenly, the messengers from Yama were stopped from discharging their duty by the messengers from Vishnu. 
This story illustrates the power of chanting God's name during one's last stages of life. However, can this happen? Should one wait till this very last moment to chant God's name? That is the point being asked by this line. 

One can see a detailed swara notation in this blog by Shivakumar : Nambik kettavar evaraiya : swara notation

Listen to the song here by : Ranjani Gayatri : Nambik kettavar Evaraiya

Listen to the song here by : Nambik kettavar everaiya by Priya Sisters

Sunday, July 12, 2015

Kancha dalayadaakshee : Raag : kamala Manohari : Muthuswamy Dikshithar

Kancha dalayadaakshee : Raag : kamala Manohari : Muthuswamy Dikshithar

Kanjadalayatakshi Kamakshi kamalamanohari tripurasundari

kunjaragamane manimandita manjulacharane mamavashiva panjarashuki pankajamukhi guruguha ranjani duritabhanjani niranjani

raka shashivadane suradane rakshitamadane ratnasadane shriksnchana vasane surasane
shrngarashraya mandahasane ekanekakshari bhuvaneshvari ekanandamrtahari bhashvari ekagramanolayakari shrikari ekamresha grheshvari shankari

Word by word Meaning: 

Pallavi : 
Kanja : Lotus 
dala : leaf (in tamil, typically referred to as 'thalam', as in 'tulasi thalam')
Akshi : one with large eyes
Kamakshi : kamakshi Devi
kamala : goddess lakshmi
manohari : who is dear to
tripurasundari : who is the most beautiful in all the three worlds

kunjara : elephant like
gamane : gait
maNimandita : studded with gems
manjulacharane : beautiful / lovely feet
mamava : Please protect me
shiva panjarashuki : shuki means parrot; panjara means the cage
pankajamukhi : pankaja means lotus; mukhi : face like
guruguha ranjani : ranjani means the who enthralls;  Guruguha is Lord Subramanya
duritabhanjani : durita means all sorts of problems / afflictions; bhanjani : destroyer
niranjani : who is blemishless

raka : radiant
shashi : white
vadane : face
suradane : beautiful teeth
rakshita madane : the one who protected Manmadhan (cupid)
ratna sadane: gemstudded / diamond studded throne
shrikanchana vasane surasane : the dress is golden and rich
shrngarashraya : full of love
manda hasanE : gentle smile
Ekanekakshari : (eka aneka asksari) :who has the form of one and the many mystic symbols
bhuvaneshvari : goddess of the world
Ekanandamrtahari : eka ananda amrutahari : bliss which is ever flowing
bhashvari : lustrous
Ekagra mano layakari : the one who attaches herself to those who pray to her with concentration and absolute devotion
shrikari : the one who bestows all prosperity and wealth
Ekamresha : lord ekambareswaran
grheshvari : gruha - easwari - takes care of the house; lives in the house; wife of
shankari : she is the wife of shankaran; Goddess Shankari

Detailed discussion on the song:

What a beautiful song! The beauty of the Raaga Kamala Manohari and the pace of the lyrics just take the breath away! And, when one understands the meaning behind the words, the beauty is just indescribable!

Pallavi :

Kanjadalayatakshi Kamakshi kamalamanohari tripurasundari

Dikshithar focuses on the eyes of the Goddess. 

Kamakshi has large beautiful eyes. Eyes like that of the petals of the lotus flowers! And, she is the one who is dear to Lakshmi - the one who lives in the lotus flowers (kamalam means lotus; the one who lives in lotus is Kamala - who is Goddess Lakshmi). 

One can see the shades of "Sri Lalaitha Sahasranamam" getting played out here. Lalitha Sahasranamam says : Sachamara Rama vani Savya dhakshina sevitha which means She who is being fanned by Lakshmi the goddess of wealth and Saraswathi the goddess of knowledge

And, she is the Goddess of all the three worlds. 

In the pallavi itself, the raaga of the kriti is brought in beautifully! 


kunjaragamane manimandita manjulacharane mamava shiva panjarashuki pankajamukhi guruguha ranjani duritabhanjani niranjani

Kamakshi walks a majestic walk. She walks like an elephant. Slowly. Majestically. "manda gamane" is how she is typically described - the one who has a gentle walk. Elephant walks slowly - at a gentle pace and that is given as the example for how Goddess Kamakshi walks. 

Dikshithar looks at Kamakshi. Her feet are lovely and studded with gems. He prays to them " let they feet which are adorned with gems protect me". Then he describes her. 

She is a parrot in a cage called Shiva. She is the one who gives life to that cage. Without that life force, the cage has nothing to offer.  Her face is like lotus. She is the one who is loved by Lord Guruguha - Muruga. She is the one who destroys all problems quickly. She is the one who is blemishless. 


raka shashivadane suradane rakshitamadane ratnasadane shrikanchana vasane surasane
shrngarashraya mandahasane ekanekakshari bhuvaneshvari ekanandamrtahari bhashvari ekagramanolayakari shrikari ekamresha grheshvari shankari

How is Kamakshi's face? It is radiant. it is radiant with white lovely light without heat like that of the full moon. She has beautiful teeth. She is the one who saved Manmadhan from death. She made him raise from the ashes.

Then Dikshithar looks at her fully. Where is she sitting? What is she wearing?

She is sitting on a throne studded with diamonds and gems. She is wearing a rich golden dress. Her heart is full of love. She is sporting a gentle smile.

She is the form of one akshara to many aksharas - the mystic symbols. Here, Dishithar merely paraphrases Lalitha Sahasranamam which says "Srimadh vaakbhava kudaika swarupa muka pankaja" - which means that the Goddess Lalitha is the rupam of collection of all the mystic symbols and aksharas. (Here it is good to recall that Adi Sankaracharya, in His Subramanya Bhujangam, says " mahavakya kudam" about Lord Muruga)

Dikshithar thinks about who she really is.

She is the the one who is lording over all the universe. She is full of bliss - overflowing stream of bliss! She is radiant and lustrous. She comes and gives herself to those devotees who think of her, pray to her with single minded concentration. She is the one who blesses all her devotees with prosperity and wealth.

She is the wife of Ekamreshwara - who is the deity in Kanchi. She is the wife of Shankara. She is Shankari. She is sam-kari - which is the one who always does good deeds.

The stories in this song:

There are a few stories embedded in this song.

1) Rakshitha madane

This is a story where the cupid - Manmadha gets it all wrong and yet gets it all back! Manmadhan gets chosen to disturb a meditating Shiva so that Shiva and Parvati can unite and Skandha can be born. Unless that happens, the Surapadman, the great Asura, cannot be stopped. Surapadman had obtained a boon which says that Surapadman can be killed only by a force born of Shiva. However, Shiva was in deep meditation and Devas were going thru countless problems because of Surapadman. Devas request Cupid - Manmadhan - to help them out. 

Manmadhan goes out and tries his bow and arrows on Shiva. Shiva opens His third eye and looks at Manmadha who combusts immediately into ashes. However, on the asking of Ratidevi, wife of Manmadhan, Parvati takes pity on Manmadhan and brings him back to life - with one condition - that he would not be visible to anyone but his wife Rati. 

2) Ekamresha Gruheshwari :

Here, the story is that of how Kamakshi did penance and became the consort of lord Ekambreshwara. The Goddess Kamakshi is in padmasanam - a yogic pose and not the usual standing pose here in this temple. Also, there are no other Parvati temples in this city which boasts of more than two hundred temples!

Here is where the Goddess offered penance to a Lingam made of sand under a mango tree so that she can marry Shiva. Since the lingam was situated under a mango tree, the lingam was also called "eka amra Eashwaran" - Ekamreshwaran" meaning, the lord of the single mango tree.  

Appreciation of the song: 

The lyrics are sheer poetry! 

"Gunjaragamane - manjulacharane"

" panjarashukhi - pankajamukhi"

"guruguha ranjani - duridhabanjani - niranjani"

"shashivadane - suradane - rakshitha madane - rathna sadane"

"vasane -  surasane -  mandahasane"

"ekanekakshari -  bhuvaneshvari  - ekanandamrtahari  - bhashvari  - ekagramanolayakari shrikari -  grheshvari  - shankari"

Dishithar at his lyrical best in this song!!

Here are some links to the song in the youtube: 

1. Bombay Jayashree

2. TM Krishna

Friday, May 1, 2015

Ododi Vanthen Kanna : Dharmavathi : Ambujam Krishna

Ododi Vandhen Kanna  Raagam: Dharmavathi   Composer: Ambujam Krishna

ODODi vandEn kaNNA nAn 
unakkum enakkumuLLa uravinru arindu 

kOTAnukOTi tavam sheidu unaikkANa 
gOvindA enrazhaittu brndAvanattiDai 

kuzhalUdum ezhil kANavE kUDum 
gOpiyargaL mukham nANavE kAdal
vizhiyunra mukham nADavE 
muruval idazhOram shuzhittODavE 

jagannAthan ishai pADa nangai jati pODa 
kAla kAlamellAm shrutiyum layamumena
vEdap-poruL unnil onri uraindiDavE 
bOdham mighu kAdal ponnaDi tanil koNDu

Lyrics in Tamil : 

ஓடோடி வந்தேன் கண்ணா நான்
உனக்கும் எனக்குமுள்ள உறவின்று அறிந்து

கோடானுகோடி தவம் செய்து உனைக்காண
கோவிந்தா என்றழைத்து பிருந்தாவனத்திடை

குழலூதும் எழில் காணவே கூடும்
கோபியர்கள் முகம் நாணவே காதல்
விழியுன்றன் முகம் நாடவே
முறுவல் இதழோரம் சுழித்தோடவே

ஜகன்னாதன் இசை பாட நங்கை ஜதி போட
கால காலமெல்லாம் ஸ்ருதியும் லயமுமென
வேதப்-பொருள் உன்னில் ஒன்றி உறைந்திடவே
போதம் மிகு காதல் பொன்னடி தனில் கொண்டு

Meaning of the song :

I came running for you, Kanna. I learnt about the relationship that we have and I came running for you.

I had done crores and crores of 'tapas' to see you. To call you as "Govinda" and to see you at Brindavan.

I see the beauty of you playing the flute. As I see the beauty, I also see the Gopis face becomes shy. But, their eyes are seeking you because of their love for you. You continue to play the flute with a mild smile...

Jagannath, you, playing the flute, I, keeping the talam (jathi) and with this divine music, like sruti and laya - the two key components of music, the music flows for ever. That music flows so that I can be one with you - you the one who is the essence of vedhas. With the love that I have for your golden feet.

The story and the subtle meanings here: 

This is a kirthanai which is very nuanced. Sung from the perspective of the lover who is singing to the Sheperd Lord, Krishna, this is beautifully set and goes at a beautiful pace.

She runs to the lord krishna - called "kanna" here. "Kanna" is also a word used to call a child very affectionately. It is also used to describe the affection and love that a woman feels towards her lover / husband. Here, the term does not quite explain what is it alluding at - and that is the charm!

The song goes one step further. She says, "I came running to you because I learnt about the relationship that we have - which is there between you and me". What is the relationship? That is not clarified. It is left hanging...the song moves further.

She says that she had done crores and crores of "tapas". Is it crores and crores of years of tapas? What is it? Again, just alluding to it and not quite explicitly explaining, the song moves further...

To call you Govinda, to see you at Brindavan...

"Govinda" is a special term..used typically when one is in distress. Here, she is in distress since she has not seen Krishna and she also knows the 'relationship' which is there because of the crores and crores of tapas she had done...

And, she wants to see Him in Brindavan...and not anywhere else! Brindavan is a very special place. It is a place where the Gopis are living with the Sheperd Lord Krishna for ever. They live with love in their heart and with Kanna playing flute for them. There cannot be any other relationship in this land!

Now, we get to know what that relationship which was alluded to. It is love. It is love like that of the Gopis. To see Kanna in Brindavan. All that crores of tapas had resulted in a relationship which has always existed - but she gets to know only now - and she rushes to see Him.

Now that she is there at Brindavan, to see Him, and to see Him playing the flute, she describes the scene. The Gopis are all there. For what? To see the beauty of Him playing the flute. But, as they see Him playing the flute, their faces are flush with shyness...inspite of this, their love filled eyes seek to see you. There is a smile playing in your face (it can also be told that the smile is in the face of the Gopis - but it fits the Lord better!)

The scene shifts from Gopis and Krishna to self...

As the Lord jaagannathan plays His music, the girl (herself) keeps the tala. As the music lovers know, sruti mata, layam pitha. Which means that for ever and ever, as the music flows, the bliss from the music flows, the Lord and Herself will be united thru this act of creating this time stopping musical bliss...

But, creating music and standing apart is not the goal for her. She wants more. She wants to be one with the Lord. She says, that she has come with love in her heart for the golden feet which will ensure that she will be one with the Lord - the Lord who is the essence of all Vedas.

A song, which is replete with nuances and subtlety and beauty. A song which is at once devotional and advaitic. A song which seeks to unite with the Lord Krishna Himself.

What bliss to listen to this song and to sing it!!

One can learn a little more about Mrs. Ambujam Krishna, who had penned this song (and many more songs!) : More about Mrs.Ambujam Krishna

Ododi vanthen kanna : Unnikrishnan