Monday, April 20, 2015

479 Great poet Nannechoda ought to have avoided this type of futile descriptions!

Photo of madanakamadeva (God of Cupid) courtesy: Click to visit the Kamrup website .

479 नन्नॆचेड महाकवि ऐसी निष्फल वर्णनाओं को वर्जित करना था |
479 నన్నెచోడ మహాకవి ఇటువంటి నిష్ఫలమైన వర్ణనలను వర్జించుకుని ఉంటే బాగుండేది.

NannechoDa was very adept in his descriptions.  But, whenever futile , although beautiful, excellent descriptions exceed reasonable quantities in lyrical works, their readability, worthiness of lyrics to be got by heart, and repeatedly ruminated, regurgitation gets affected.  Gradually such books may become obscure, in spite of having numerous other verses which have greater merit, and entitlement to survive till eternity. 
నన్నెచోడ మహాకవి సుందరమైన వర్ణనలందు దిట్ట.  కానీ కావ్యాల్లో నిష్ఫలమైన వర్ణనలు ఎక్కువైతే, పద్యాల  పఠనీయత ,ధారణార్హత తగ్గి పోయే అవకాశం ఉంది.  అట్టి పద్యాలను మరల మరల జ్ఞప్తికి తెచ్చుకొని ఆనందించాలనే కోరిక తగ్గవచ్చు, ఫలితంగా అలాటి నిష్ఫలమైన వర్ణనలు కలిగి ఉంటే కావ్యాలు ప్రజాదరణ తగ్గి కనుమరుగయ్యే అవకాశం ఉంది.  ఆచంద్ర తారార్కం ఉండాల్సిన కావ్యాలు, గ్రంధాలయాలలో దుమ్ము కొట్టుకుపోవటమో, లేక ఏ ఎమ్ .ఎ. వాళ్ళకో సిలబస్ కు ఎంపికై దుమ్ముదులపబడి చదువ బడవచ్చు.  ఇక్కడ అలాటి పద్యాన్ని ఒకటి ఇస్తున్నాను.

नन्नॆचोड महाकवि सुंदर सौरभपूर्ण वर्णनाओं में महा दक्ष है।  परन्तु, काव्यों में अगर कभी भी निपुणतापूर्ण-लेकिन-निष्फल वर्णनाऎँ अधिक हो जाय तो, पद्यों के पठनीयता, धारणार्हता कम हो जायॆगा।  विज्ञ पाठक  सुंदर पद्यों को कंठस्थ करने के बाद, जब मौँका मिले तब, अपने वर्तमान मनो फलकों पर ला कर उन पद्यों को, श्लोकों को पठन, श्रवण और मनन करने में आनंद पाते हैं।  यह भावना सुंदर मनोहर पद्यों, के बारे में पसंद होता है, लेकिन निष्फल श्लोकों के बारे यह ऊर्ध्वनिक्षेप या प्रत्यावहन निस्सार और दर्दनाक हो जायॆगा।  आचंद्रतारार्क रहने लायक काव्य ग्रंधालयों मॆ धुली ग्रस्त होते रह पडते हैं।  यहाँ एक वैसे शुष्क पद्य को नीचे दे रहा हूँ।


The lyrical work KUMARA SAMBHAVAM of Nannechoda, 3rd Chapter, 54th verse.
नन्नॆचोड महाकवीकृत , कुमार संभव काव्य  , तृतीयाश्वास, ५४वी पद्य.  నన్నెచోడ మహాకవికృత, కుమారసంభవ కార్యం, తృతీయాశ్వాస్, ౫౪వ పద్యం.

AndhrI stanApahAsulu,
sandhrita madhupAbja mukula sadriSamul ati nI
randhramulu kucamulu, akhila pu-
randhrI jana tilakam achala rAjAtmajakun.

आंध्री स्तनआपहासुलु,
संधृत मधुपाब्ज मुकुल सदृशमुल्, अति नी-
रंध्रमुलु कुचमुलु, अखिल पु-
रंध्री जन तिलकम अचल राजमातकुऩ.

ఆంధ్రీ స్తనాపహాసులు
సంఘృత మధుపాబ్జ ముకుల సదృశములు, అతినీ
రంధ్రములు కుచములు, అఖిల పు-
రంధ్రీ జనతిలకము అచల రాజమాతకున్.

The Poet Nannechoda was describing the breasts of Mother Goddess Parvati.

He uses the figure of speech 'simile' and says that her breasts make fun of the breasts of Andhra Women.  The edges resemble the lotus blossoms bearing the bees.  The two breasts do not have much gap between themselves.

The vocabulary used, and semantics are marvellous.

Note on prosody: In this kandam verse the prAsa (second consonant letter in each verse) is very complex.  They are: Andhri, sanghrita, (nI) randhra, (pu) randhri , very difficult to visualise and use in the verse.   The difference between great poets and "we" is, we are unable to write even a single verse, complying with all the rules of the prosody, and we want free verse (vacana kavita वचन कवित्व వచన కవిత్వం) to cover up for our inabilities and inefficiencies.

ybrao-a-donkey's humble feelings:वैबीराव गधे के विनम्र भावनाएँ వైబీరావ్ గాడిద వినమ్ర చింతనలు

It would have been very difficult (in my personal view) for the Indians of the bygone Centuries to get by heart, and remember by heart the above type of verses, for recall and spontaneous quotation for sharing with friends, audiences and relatives, the vivid description of Parvati's breasts, though Parvati is revered as Mother Goddess, and there was no wrong technically, in a child describing its mother's breasts. Even in the 21st Century's context, where-now we have open exposition of every part of human body, on the internet, holding in mind for long remembrance, this verse of description of Parvati's breasts is inconceivable. By this comment, I hope I am not hurting anybody's feelings.


I do not mean to say that NannechODa wrote all duds. There are great pearls. We shall, for example, take up one such pearl.


5th chapter, 52nd verse. पंचमाश्वास, ५२वी पद्य. పంచమాశ్వాసం, ౫౨వ పద్యం.

Prosody: Kandam verse of four feet, with two short and two long lines. Second letter in each line has to follow a rule called 'prAsa', use of same consonant, here: ri, ru, ra, ru in giri, haru, ddura, and uru. In the second line and fourth line, there is a prosody rule called 'yati' to comply with. As this blog post is becoming very length, other prosody aspects like yati, gaNams, rule about sixth gaNam, taboo on use of 'ja' ganam in gaNams of odd number, etc. can be discussed in some other post.

ఛందస్సు కందం.

girisuta mai kAmAgniyu,
haru mai rOshAgniyun, tarangaju mai nu-
ddura kAlAgniyu, rati main
uru SOkAgniyunu ragili yokkaTa negasen.

गिरिसुत मै कामाग्नियु,
हरु मै रोषाग्नियुन, तरंगजु मै नु-
द्दुर कालाग्नियु, रति मॆयिन
उरु शोकाग्नियुनु रगिलि यॊक्कट नॆगसॆन्.


గిరిసుత మై కామాగ్నియు,
హరు మైఁ రోషాగ్నియున్, తరంగజు మైఁ ఉ-
ద్దుర కాలాగ్నియు, రతి మైన్
ఉరు శోకాగ్నియును రగిలి యొక్కట నెగసెన్.

Context & Gist:
 Mother Goddess Parvati was performing her penance to get the grace of Lord Shiva, and get him as her life's partner. But Lord Shiv was a great renouncer of this world (virAgi). It was taking very very long time. Unable to wait, the King of Heaven and Demy Gods (Indra) sent, the God of Cupid (Manmadha) to tempt Lord Shiva. The Manmadha directed his flower-arrows towards meditating Lord Shiva, to drag and draw his mind towards Parvati. Disturbed for a millionth or a billionth part of a second, Lord Shiva opened his third eye and the very moment, the Cupid was reduced to a heap of ashes.


The poet had very aptly reproduced the fires which raged in all the four persons present there: Lord Shiva, Goddess Parvati, Cupid, his wife Rati.

Girisuta main kAmAgniyu = Girisuta was Parvati. mai = in the body. kAmAgni = the fire of desire. In Goddess Parvati, there arose, the urge for love.


haru main rOshAgniyun = Haru was Lord Shiv. main = in the body. rOshAgni = the fire of genuine anger, for the turbulance which Cupid tried to cause.

tarangaju main uddura kAlAgniyu = tarangam means waves. ju = born. tarangaju = one who was born out of waves. This etymological meaning, first time I am seeing, means Cupid. main = in the body. kAlAgni = fire of the God of Death, Time, and very black in color. uddura = intense.

rati main uru SOkAgniyun = rati was the wife of the God of Cupid. main = in the body. SOkAgni = fire of grief (because her husband Cupid was reduced to ashes).

ragili yokkaTa negasen = (Fires) got enflamed, and rose up (to skies), at once.

The figure of speech used here is Personification. Desire, anger, fear and intensity of approaching death, grief arising out of impending instantaneous death of beloved husband, they are all emotions. They have not only been compared to fire, but also have been, nearly personified. In Indian languages this figure of speech is known as rUpaka alankAram. Personification of ideas and objects is extensively employed in ancient Indian literature of almost all Indian languages.


(To continue.  सशेष.  ఇంకా ఉంది.)

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