Monday, July 14, 2008

Thyagaraja Kriti - Prana Natha - Raga Soolini

Transliteration–Telugu
Transliteration as per Modified Harvard-Kyoto (HK) Convention
(including Telugu letters – Short e, Short o) -

a A i I u U
R RR lR lRR
e E ai o O au M (H or :)

(e – short E – Long o – short O – Long)

k kh g gh n/G
c ch j jh n/J (jn – as in jnAna)
T Th D Dh N
t th d dh n
p ph b bh m
y r l L v
S sh s h

prANa nAtha-SUlini

In the kRti ‘prANa nAtha birAna’ – rAga SUlini (tALa Adi), SrI tyAgarAja praises Lord kRshNa.

pallavi
1prANa nAtha birAna brOvavE


anupallavi
vENu gAnamucE 2padi(y)Aru
vEla gOpikala pAlinci(y)Elu (prANa)


caraNam
venna mIgaDala vEDka mIraganu
kanna 3pinna-vANDra kaDupu ninci
tinnagA velayu divya rUpamA
cinni kRshNa daya jEsi tyAgarAja (prANa)


Gist

  • O My Master!
  • O My Master who protects and lords over sixteen thousand cow-herd maids (just) by playing flute!
  • O Divine form who nicely shines by, very sportingly, filling the stomach of all and sundry (cow-herd) boys with butter and cream! O Kid kRshNa! O Master of this tyAgarAja!

    • Kindly protect me too quickly.



Word-by-word Meaning

pallavi
prANa nAtha birAna brOvavE

O My Master (prANa nAtha) (literally Lord of my life)! Please protect (brOvavE) me quickly (birAna).


anupallavi
vENu gAnamucE padi-Aru
vEla gOpikala pAlinci-Elu (prANa)

O My Master who –
protects (palinci) (literally by protecting) and lords over (Elu) (pAlinciyElu) sixteen (padi-Aru) (padiyAru) thousand (vEla) cow-herd maids (gOpikala) (just) by playing (gAnamucE) flute (vENu);
please protect me too quickly.


caraNam
venna mIgaDala vEDka mIraganu
kanna pinna-vANDra kaDupu ninci
tinnagA velayu divya rUpamA
cinni kRshNa daya jEsi tyAgarAja (prANa)

O Divine (divya) form (rUpamA) who nicely (tinnagA) shines (velayu) by, very (mIraganu) sportingly (vEDka), filling (ninci) the stomach (kaDupu) of all and sundry (kanna) (cow-herd) boys (pinna-vANDra) with butter (venna) and cream (mIgaDala)!
O Kid (cinni) kRshNa! O Master of this tyAgarAja! Kindly (daya jEsi) protect me quickly.


Notes –
Variations -
3 – pinna-vANDra – pinna-vANDla. As the correct usage is ‘vANDra’, it has accordingly been adopted.

References -
2 – padiyAru vEla gOpikalu – Sixteen thousand gOpis – In my understanding, the figure of ‘sixteen thousand’ applies to wives of SrI kRshNa and not to gOpis whom He did not marry. kRshNa released sixteen thousand girls kept captive by narakAsura after killing the latter (SrImad-bhAgavataM, Book 10, Chapter 59); these girls desired SrI kRshNa to be their husband. In SrImad-bhAgavataM, Book 10, Chapter 90, sage Suka tells parIkshit –

Asthitasya paraM dharmaM kRshNasya gRhamedhinAM
Asan shODaSa-sAhasraM mahishyaSca SatAdhikaM 29

“That is why He had adopted the supreme way of life of a house-holder. (O King, I have already told you that) the number of SrI kRshNA’s consorts was sixteen thousand, one hundred.”

Comments
1 – prANa nAtha – Master – wife addressing her husband. This kRti is in ‘nAyaki bhAva’.



Devanagari

ऎ,कॆ,चॆ.. - e,ke,ce..(short);
ए,के,चे.. - E,kE,cE..(long);
ऐ,कै,चै.. - ai,kai,cai..;
ऒ,कॊ,चॊ.. - o,ko,co..(short);
ओ,को,चो.. - O,kO,cO..(long);
औ,कौ,चौ.. -au,kau,cau..;

प. प्राण नाथ बिरान ब्रोववे

अ. वेणु गानमुचे पदि(या)रु
वेल गोपिकल पालिञ्चि(ये)लु (प्रा)

च. वॆन्न मीगडल वेड्क मीरगनु
कन्न पिन्न-वाण्ड्र कडुपु निञ्चि
तिन्नगा वॆलयु दिव्य रूपमा
चिन्नि कृष्ण दय जेसि त्यागराज (प्रा)


Tamil

க,ச,ட,த,ப - 2-ख छ ठ थ फ; 3-ग ड द ब; 4-घ झ ढ ध भ
(ச3 - ஜ)
ஸ1 श - शिव - சிவன்
ரு2 ऋ - कृप - கிருபை

ப. ப்ராண நாத2 பி3ரான ப்3ரோவவே

அ. வேணு கா3னமுசே பதி3(யா)ரு
வேல கோ3பிகல பாலிஞ்சி(யே)லு (ப்ரா)

ச. வென்ன மீக3ட3ல வேட்3க மீரக3னு
கன்ன பின்ன-வாண்ட்3ர கடு3பு நிஞ்சி
தின்னகா3 வெலயு தி3வ்ய ரூபமா
சின்னி க்ரு2ஷ்ண த3ய ஜேஸி த்யாக3ராஜ (ப்ரா)

(எனது) ஆருயிரே! விரைவில் காப்பாயய்யா

குழலூதி, பதினாறாயிரம்
ஆய்ச்சியரைப் பேணிக்காக்கும்
(எனது) ஆருயிரே! விரைவில் காப்பாயய்யா

வெண்ணை, பாலாடைகளினால், வேடிக்கை மிக,
கண்ட (ஆயர்) சிறாரின் வயிற்றினை நிறைத்து,
சிறக்க ஒளிரும், தெய்வ உருவே!
சின்னக் கண்ணா! தயவு செய்து, தியாகராசனின்
ஆருயிரே! விரைவில் காப்பாயய்யா

ஆருயிரே - தலைவி தலைவனுக்கு
கண்ட - யாராகிலும்


Telugu

ప. ప్రాణ నాథ బిరాన బ్రోవవే

అ. వేణు గానముచే పదియారు
వేల గోపికల పాలించియేలు (ప్రా)

చ. వెన్న మీగడల వేడ్క మీరగను
కన్న పిన్న-వాండ్ర కడుపు నించి
తిన్నగా వెలయు దివ్య రూపమా
చిన్ని కృష్ణ దయ జేసి త్యాగరాజ (ప్రా)


Kannada

ಪ. ಪ್ರಾಣ ನಾಥ ಬಿರಾನ ಬ್ರೋವವೇ

ಅ. ವೇಣು ಗಾನಮುಚೇ ಪದಿಯಾರು
ವೇಲ ಗೋಪಿಕಲ ಪಾಲಿಂಚಿಯೇಲು (ಪ್ರಾ)

ಚ. ವೆನ್ನ ಮೀಗಡಲ ವೇಡ್ಕ ಮೀರಗನು
ಕನ್ನ ಪಿನ್ನ-ವಾಂಡ್ರ ಕಡುಪು ನಿಂಚಿ
ತಿನ್ನಗಾ ವೆಲಯು ದಿವ್ಯ ರೂಪಮಾ
ಚಿನ್ನಿ ಕೃಷ್ಣ ದಯ ಜೇಸಿ ತ್ಯಾಗರಾಜ (ಪ್ರಾ)


Malayalam

പ. പ്രാണ നാഥ ബിരാന ബ്രോവവേ

അ. വേണു ഗാനമുചേ പദിയാരു
വേല ഗോപികല പാലിഞ്ചിയേലു (പ്രാ)

ച. വെന്ന മീഗഡല വേഡ്ക മീരഗനു
കന്ന പിന്ന-വാണ്ഡ്ര കഡുപു നിഞ്ചി
തിന്നഗാ വെലയു ദിവ്യ രൂപമാ
ചിന്നി കൃഷ്ണ ദയ ജേസി ത്യാഗരാജ (പ്രാ)


Updated on 15 Feb 2010

2 comments:

Raghu said...

Dear Sri Govindan
You may be aware that Podhigai TV is telecasting a series of lecture demostrations on MelakartA rAgas, and eplaining the mELarAgamAlikA of mahAvaidynAda sivan, on Fridays and Mondays. In today’s telcast VijayaSiva was expalining the 35 th and 36 th mELAs, viz, shUlini and calanATa.
From his explanation w.r.t katapayAdi system I understand that shUlini is the correct name for this rAgA, as sha stands for 5 and la for 3. Reversing the order this becomes 35.
He also explained that this song is rendered in sankarAbharaNam nowadays.
Govindaswamy

V Govindan said...

Dear Sri Govindaswamy,
For rAga name, I have gone by whatever is given in the book of TKG. Wherever, there is variation in rAga name, I have indicated the same.
However, I do not want to go too much into the rAga and tALa names because, the rAgas have been changed by vidwans many a times to suit 'better' rendition - a euphemism for displaying their vidvat.
I understand Musiri Subramania Iyer changed the rAga of 'nagu mOmu' - to make it 'more attractive' for rendition.
These musicians who do not understand abc's of bhava of the kRti, can only show their vidvat.
In the film 'Sankarabharanam', there is a dialogue wherein Sankara Sastry chides the music teacher for making a nonsense of 'brOcEvArevarurA' by Mysore Vasudevachar. He tells, the word 'amma' when uttered by a beggar, when uttered by a frightened child and when uttered by a child is hungry, are completely different - though the word is one.
These musicians do not understand that bhAva is as much applicable to musicians as dancers. But, there seems to be no tradition to teach what is 'bhava' in music.
Therefore, there is no meaning in getting into arguments about the rAga name and tAla names.
Who will bell the cat?
Regards,
V Govindan