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(Found this text of a speech I gave at my Toastmasters club (named “Innovators”, sometime in 2011, when I was organizing folders on my PC. Posting as is)
I come from India. If you did not know already, India is a land where you’ll find people speak hundreds of language and there are at least 30 languages with more than a million speakers. It is not hard to find people who can speak more than one Indian language. Typical of many urban Indians, I can speak in several of Indian languages too.
But there is one language that I can’t claim to speak, but I can understand quite well. This language is Samskrta. It is the oldest known language of India, and possibly one of the oldest surviving languages of the world. This language has influenced every other language in India to a varying extents, and has a literature that spans over four millennia. Even though it is not claimed as a mother tongue by any, due to the antiquity, and the influence it has on the vocabulary on Indian languages, it is still one of the 22 official languages of the country. Till the time of the colonization of India by the British in the 18th century, it was in fact the pan-Indian language for communication among the educated class. A great number of texts about yoga, Ayurveda (or the science of medicine), Jyotisha (or astronomy) and Ganita (Mathematics) etc are written in this language.
When I was in my elementary school, my parents enrolled me to Samskrta classes. I don’t remember being asked if I wanted to go to those classes, and I don’t know if I had any other opinion, it would have mattered! It was not a language that was taught in my grade school. These classes were held throughout the year, without even a summer break! What this meant was that I had to wake up early, take a shower, go to the class, come back home and then head out for my school. Sometimes, there were additional classes in the evening too. Going to these classes were the routine for me from the time I was in my kindergarten to about my junior year in high school. Since I lived in a small town, I could walk or bike to the classes quickly, so that was not a big problem. But I had to be always aware of these extra two hours needed in my day, when it came to preparing for tests or other work at my school, because I could never use the last couple hours before school to finish up anything!
Over the years, I passed through several levels in these Samskrta language classes. The classes were grouped based on the level, and not on the age. Since I started out early, I was almost always the youngest student in my class! Since Samskrta is not really a widely spoken language, there wasn’t much thrust in learning to speak the language, but the emphasis was on understanding the structure of the language, grammar and and appreciating literary texts. Some texts, specifically poetry had to be memorized too. As we all know, things that are committed to memory at a young age generally remain with us till much later in my life. Although I stopped going to my Samskrta classes during mid-high school, I still remember those verses memorized years ago.
Luckily, my interest in this language did not wane even after I stopped going to those classes. About five or six years ago, I tried to translate some poetry from Samskrta, to Kannada, my mother tongue; generally I started out by those poems that I knew by heart, from my age old classes! I started a blog to post these translations, and the positive comments from readers encouraged me to try out more. Then I had to look for other poems that I did not know before. Now that I am not that young anymore, and and can not commit these verses to memory, it was indeed a good idea for me to try translating whenever I found a new verse that sounded good to me!
To make a long story short, sometime back I was asked if I would like to publish a collection of my selected translations, and a book was published this year! The book is titled “Hamsanaada” and it is in Kannada. It got some favorable reviews in the press too.
As the verse on the opening page of my book says, needless to say translated from an age old Sanskrtit saying – “Start your kids on good things, when they are really young. The pictures etched on a wet mud pot will stay even after you use it for cooking for a long time!”
Dear Innovators, start off your kids to some good things – be it sports,or arts like music and dance, or learning a new language, or whatever else that they can grow up with, and take into their adulthood. With the current life styles, it may be a hard choice to put kids into many activities, and the kids may even resent them now. But I am sure you can find one or two activities apart from the regular schooling, that they’ll like or at least lean to not hate! I’m sure they will be thankful for what you did for them, later in their adult life, because the pictures etched on a wet mud pot, indeed stay forever!
As “ಅಲ್ಲಿದೆ ನಮ್ಮ ಮನೆ” is turning 6 years today – I’m sharing the very first post I wrote here. Thanks for all those who are visiting the page, and keeping me going!
Originally posted on ಅಲ್ಲಿದೆ ನಮ್ಮ ಮನೆ:
ಅಲ್ಲಿದೆ ನಮ್ಮ ಮನೆ, ಇಲ್ಲಿರುವುದು ಸುಮ್ಮನೆ!
ಕದಬಾಗಿಲಿರಿಸಿದ ಕಳ್ಳ ಮನೆಇದು
ಮುದದಿಂದಲೋಡ್ಯಾಡೋ ಸುಳ್ಳು ಮನೆ |
ಪದುಮನಾಭನ ದಿವ್ಯ ಬದುಕುಮನೆ ||
ಕೇಳಯ್ಯ ಹರಿಕಥೆಶ್ರವಣಂಗಳ |
ನಾಳೆ ಯಮದೂತರು ಬಂದೆಳೆದೊಯ್ವಾಗ*
ಮಾಳಿಗೆ ಮನೆ ಸಂಗಡ ಬಾರದಯ್ಯ ||
Halebeedu is a little town in South Karnataka, famous for it’s twin temple- popularly known by the name Hoysaleshwara temple that enshrines two Shivalingas, called as Hoysaleshwara and Shantaleshwara. The town was the capital of the Hoysala dynasty that ruled parts of Southern Karnataka and parts of Tamil Nadu from 10th to early 14th century AD.
The old name of the town was Dorasamudra (ದೋರಸಮುದ್ರ / दोरसमुद्र). Although popular legend says the name came because of the enormous man made lake (tank) at the entry of the town (ದ್ವಾರ,dwAra), inscription evidence seems to point in another direction. The lake is actually from pre-Hoysala times, and was erected during the Rashtrakuta king Dhruva‘s reign. Dhruva is referred to as Dora (ದೋರ) in many inscriptions. The lake erected by King Dora was naturally called Dorasamudra. The name seems to gone out of vogue, and this place is known as Halebeedu (Old Place, literally). Right now it is not on the UNESCO list of places of world heritage, but may be nominated to the list soon. I consider this to be one of the Seven Wonders of India, nothing less! The temples are maintained rather nicely by the Archaeological Survey of India (ASI).
However, we don’t see any relics of Rashtrakuta times in Halebeedu today. Inscriptions have long gone into some museums! But luckily we are left with several temples of the Hoysala times of which Hoysaleshwara is the largest and grandest. It is quite natural being the capital of the Hoysala country that this site was selected for this magnificent temple. The temple is said to have been damaged during Malik Kafur’s invasion in the year 1313AD. In spite of the damage, it is still the best Hoysala temple, and probably one of the best temple in terms of architecture.
Oh well, today I’m not writing much about the temple architecture – but would focus on the musicians of Halebeedu. The town being close to my hometown, I have visited this place several times and when I was looking at one of the pictures taken during a visit few years earlier, I was surprised to see a specific type of musical instrument in there and was rather intrigued by the looks of it. I wasn’t sure if the picture I had was one of the mutilated sculpture, and hence I could not come to any conclusion based on the picture. So when I revisited the temple few months ago, I made it a point to look at all those instruments and musicians from Halebeedu carefully.
Many of the sculptures that we find on the temple walls are of various Gods and Goddesses – and there are many that depict earthly, regular performing musicians. Hence we can make many inferences about the types of musical instruments being played in South India during those times. Of course, we have descriptions of various musical instruments in different texts of those times, but a visual representation is much better than a text describing anything , Right?
Here you can see a sculpture of Saraswathi – the Goddess of learning. She is normally depicted in a sitting posture, playing a Veena. Veena is a generic term for string instruments and there are different types of Veenas depending on their structure. In this sculpture, you can clearly see how Saraswathi is using the middle and the ring fingers on her right hand to pluck the strings and the fingers of the left hand to play on the fingerboard – which are true to this day on several Veenas in vogue. Due to the angle, we can’t see whether the fingerboard has frets or not. All this very well matches with how a Sitar or Saraswathi Veena is played today ( discounting the fact that these days Saraswathi Veena is played more laying flat rather than being at an angle), but for one important difference. I’ll come to that point when I comment about another sculpture down below. Oh, I forgot to mention that Saraswathi Veena is one of the types of Veenas played today. Other Veenas include instruments such as Sitar, Rudra Veena, Chitra Veena (also called Vichitra Veena) and Mohan Veena ( actually a modified sliding guitar).
I’m not sure if the following picture depicts an earthly musician or a celestial one, but you can seem him playing a Dhakka or a Muraja (a Damaru-like drum instrument). Anyone who has heard any of DVG’s songs on the beauties at the Belur temple ( another Hoysala marvel, I should say) would definitely recall the song ‘naTanavADidaL taruNi’ (ನಟನವಾಡಿದಳ್ ತರುಣಿ ) about the sculpture called murajAmOde (ಮುರಜಾಮೋದೆ ) refers to a danseuse playing this drum in one of the charaNas. This instrument is used even now with Kathakali music, in Kerala and it is called by the name Idakka . (I got this reference from my good friend Sankaranarayanan, Thanks Sankara!) The way the instrument is held by the player in the sculpture almost matches with how the Idakka is played these days. The sculpture is so life-like that you fail to notice that it is made of stone, can easliy take the twisted ropes to be real!
Now the following brings a few important points – Most Hoysala temples are built on a multiple-point star patterned basement. This type of structure provides a very large surface area for a given size of the temple. Apparently individual sculptures were made elsewhere, probably at the sculptor’s workshops and were set in place at the right places in temple walls. Here is one such corner where you see a musician ensemble. The lady on the left is playing a Veena , this time held in a different positon. It is now in a vertical position and you can see the frets clearly. This matches with the position how the Veena was played even as late as early 18th century. Indeed the construction of RudraVeena and the way it is held while playing today, almost matches with what is depicted in here, although the resonator in the sculpture seems to be much smaller than what’s used in these days. The lady on the right is playing a Dhakka – So together they form an ensemble, may be supporting a dancer. Incidentally, on the left side you can see part of another sculpture, which I take it to be a form of Shiva, or a gaNa of Shiva – which also holds a real Damaru, which you can notice is much smaller than the Dhakka, in it’s hand.
Here is another Veena player. The fret-board is depicted very clearly. The way she holds her instrument is very similar to how a Sitar player holds the instrument. Click here to see a picture of maestro Pandit Ravishankar playing his Sitar. Are you surprised?
Another thing I noticed in the Veena in this sculpture and Saraswathi’s sculpture earlier in this post is that the resonator is not seen at all. Now, how such an instrument would sound? I have no clue, but may be I’m missing something.
Here is another interesting instrument. This is called the Naga Veena. Notice the snake like end of the instrument that gives its name. But notice the right hand of the player. He seems to be using a bow of some sort, effectively making it somewhat like a violin. We know that the violin as used in Indian music today was due to Western influence during the early 18th century at Fort St George. But this instrument tells us although the form of Violin may have been new for Indian music, the structure and concept were not.
The following group of sculptures may represent performing musicians of Hoysala times, accompanying a dance. One of them is playing a bell, essential for providing the dance syllables, one is playing a damaru providing the rhythm and one is seen playing the flute, which might have been the oldest musical instrument, not only in India, but for the whole mankind.
With that, let me stop my rant and let you take a good look at these beautiful sculptures once again – Don’t you agree temples such as these are indeed time-capsules of history that help us recreate and appreciate history?
Who hasn’t heard President Obama’s 2008 electoral pitch – “Yes, We Can”? Although I’m not planning on contesting an elections any soon,I firmly believe in the power of the “Yes, We Can” attitude – Yes, We can, but only if we want it; Yes. We can, only if we persist. Yes. We can, only if we strive for it..
I am reminded of a Samskrta subhashita of Bhartrhari which classifies people into three categories -The people in the lowest rung, who never try because they are scared of failing. The mediocre people who start off with their task, but stop when faced with hurdles and finally those excellent men and women, who despite of being hunted and haunted by troubles and hardships, do not stop in their endeavor, and work towards achieving their goals.
On March 8th, the world celebrated the International Women’s Day.That day, I remembered, Nagamani, a very remarkable woman. Nagamani was born about a century ago in a middle class family in village in south India. As a young girl, she was trained in Indian classical music along with regular schooling. However she wasn’t encouraged to be a performing musician and was married at an young age. To her sorrow, she wasn’t allowed to take the Veena, the musical instrument she was trained on with her because it was considered a family heirloom, one that could only pass to a son. Nagamani moved on to join her husband. Since her husband was a forest officer, that meant she would now live in extremely remote locations, surrounded by the wild and the beautiful but without the music a town life could offer. As a remedy, Nagamani decided to make some of her own, got herself a harmonium and taught herself playing it. She played hours on end, just for herself, and perfected the art.
Life wasn’t a bed of roses for Nagamani: 12 childbirths out of whom 4 did not survive; one of the children became a victim of brain fever and ended up being disabled and needing constant care. But Nagamani did not let go of her music. As the children were growing, she kept playing the harmonium, for herself, and for her kids, and to instill the love of music among them. Years rolled by, and some of her children indeed become performers, something she herself could not do earlier. And her addiction to Indian classical music was passed to many of her grandchildren and great grand children too. She was an example of the “Yes, We can” spirit to engage in activities that are close to our hearts even if there are obstacles on the way.
It’s almost three decades since Nagamani passed away. I was very young then, but I still remember glimpses of her mastery over the keyboard that created wonderful music; and I still carry the love of music that she made a family heirloom. Nagamani, was my grandmother.
Now, let me switch gears to something more contemporary. Susan Spencer Wendel, a journalist left her job as a legal reporter when she was diagnosed with a serious condition called ALS in 2011. The disease left with her muscles dying and now she can barely talk and move her fingers. With her health fast deteriorating, she decided it was time to live the last couple years to the fullest. Last year, she went to the Yukon territories up North to see the northern lights with her best friend. She started writing her memoir typing only with her index finger on her iphone as that was the only functioning finger by then. This memoir, titled “Until I say Good Bye” goes on sale today, March 12th, 2013. Susan is a living example of the “Yes, we can” attitude doing things that we love to do, about in spite of the most grueling hardships.
How many times have we told ourselves that we don’t have time for things we wanted to do or wanted to do better, and blame external factors? “Only if I have more time” – “only if I had more money”, “only if the weather was not so cold” , “only if the neighbours dog didn’t bark so much” – Oh well. I made that last one up. But you get the idea!
Come on, let’s stop making lame excuses and move on! To do things that we really love. To do things that we care about. To do things we enjoy. And to say with pride and satisfaction , “Yes, We Can”.
(This is the text of a speech I gave at my Toastmaster’s club contest today: March 12th, 2013)
ಕ್ಷೇಮಪುರದಲಿ ಇದ್ದನೊಬ್ಬನು ಶ್ರೀನಿವಾಸನ ನಾಮದಿ
ಹೇಮದಾಭರಣಗಳ ಮಾಡುತ ಮಾರಿ ಗಳಿಸುತ ನೆಮ್ಮದಿ
ನಾಮಮಾತ್ರಕು ದಾನವೆಂಬುದನಾತ ಸ್ವಲ್ಪವು ನೀಡದೆ
ನೇಮದಿಂದಲಿ ದುಡ್ಡುಮಾಡುವ ದಾರಿಯೊಂದನೆ ಕಂಡನು || ೧||
ಶ್ರೀನಿವಾಸನು ಸತ್ಯದಲಿ ಬೇರೆಲ್ಲ ವಿಷಯದಿ ಯೋಗ್ಯನು ||
ಗಾನವಿದ್ಯೆಯ ಪದ್ಧತಿಯಲಿ ಸಮಾನರಾರನು ಕಾಣೆನು
ಸಾನುರಾಗದಿ ಚಿಣ್ಣರಿಗೆ ಸಂಗೀತವಿದ್ಯೆಯ ಪೇಳ್ವನು
ಕಾನುಮಲೆಯ ಕ್ಷೇಮಪುರದಲ್ಲವನೆ ಬಲುಸಿರಿವಂತನು ||೨||
ಶ್ರೀನಿವಾಸನ ಮಡದಿ ಸರಸತಿ ಸಾಧ್ವಿಯವಳು ನಿಚ್ಚದಿ
ಮಾನಿನಿಯು ತಾನೆಂದು ಗಂಡನ ಮಾತ ಮೀರಲು ಹೋಗಳು
ತಾನು ಮಾಡಿದ ಭಾಗ್ಯ ತನ್ನಯ ಗಂಡ ಮಕ್ಕಳ ಕಾವುದು
ಏನೊ ಎಂತೋ ದೈವ ನೀಡಿದುದಲ್ಲೆ ಶಾಂತಿಯ ಕಾಂಬಳು ||೩||
ಒಂದು ಶ್ರಾವಣ ತಂಪು ಹಗಲಲಿ ಶ್ರೀನಿವಾಸನ ಮಳಿಗೆಗೆ
ಬಂದು ನಿಂತನು ವೃದ್ಧ ಬ್ರಾಹ್ಮಣನೊಬ್ಬ ಬೇಡುತ ಹಣವನು
ಕಂದ ಮೊಮ್ಮೊಗನಿಹನು ಮನೆಯಲಿ ಮಾಡಬೇಕಿದೆ ಮುಂಜಿಯ
ಒಂದು ಹೊನ್ನನು ಕೊಟ್ಟರಾಯಿತು ಧನ್ಯನಾಗುವೆ ಎಂದನು ||೪||
ಎಂದು ದಾನವ ಮಾಡದಂತಹ ಶ್ರೀನಿವಾಸನು ಯೋಚಿಸಿ
ಇಂದು ಈತನ ಸಾಗಿಹಾಕಿದರಾಯಿತೆನ್ನುತ ಭಾವಿಸಿ
ಮುಂದೆ ಬಾಗಿಲಿನಿಂದ ಆಚೆಯೆ ವೃದ್ಧನಾತನ ಕಳುಹಿಸಿ
ಬಂದು ನೋಡೆಲೆ ವಾರವಾಗಲಿ ಆಗ ಕೊಡಬಹುದೆಂದನು ||೫||
ಹೀಗೆ ವಾರವು ಮತ್ತೆ ವಾರವು ತಿಂಗಳುಗಳೇ ಸಂದವು
ಯೋಗಿಯಂದದಿ ಮುದುಕ ಹಾರುವ ಬೇಸರಿಲ್ಲದೆ ಬರುವನು
ಬಾಗಿ ನಿಲ್ಲುವ ಮತ್ತೆ ಬೇಡುತ ಒಂದು ಹೊನ್ನಿನ ಕಾಸನು
ರೇಗು ಹತ್ತಿದ ಶ್ರೀನಿವಾಸನು ಕಿಲುಬು ನಾಣ್ಯವ ಕೊಟ್ಟನು ||೬||
ಕೆಟ್ಟ ನಾಣ್ಯವ ಕೊಟ್ಟರೂ ಅವ ಕೈಯ ಮುಗಿಯುತ ಹೊರಟನು
ಕೆಟ್ಟು ಹೋಗಿರೆ ಹಣೆಯ ಬರಹವು ಹೊಣೆಯು ಯಾರದಕೆಂದನು
ಪಟ್ಟು ಬಿಡದಿರುವುದೊಳಿತೆಂದವ ಮನದಿ ಯೋಚನೆ ಮಾಡುತ
ನೆಟ್ಟ ನೇರದಿ ಹೋಗಿ ಸರಸತಿ ಮನೆಯ ಬಾಗಿಲ ಬಡಿದನು ||೭||
ತಂದೆಯಂತಿಹ ಮುದುಕ ಹೇಳಿದ ಕಥೆಯ ಸರಸತಿ ಕೇಳಿ ತಾ
ನೊಂದು ನವೆಯುತ ಏನ ತಾನೇ ಮಾಡಬಲ್ಲೇನೆಂದಿರೆ
ತಂದೆ ತಾಯಿಯು ಕೊಟ್ಟ ಮುತ್ತಿನ ನತ್ತು ನೆನಪಿಗೆ ಬಂದಿತು
ಚೆಂದವಾಗಿರುವೊಡವೆಯೊಂದಿದೆ ಕೊಳ್ಳಿರೀಗಲೆ ಎಂದಳು ||೮||
ತರುಣಿ ಕೊಟ್ಟಿಹ ಹೊಳೆವ ಮೂಗುತಿ ನೋಡಿ ಹಿಗ್ಗಿದ ಬ್ರಾಹ್ಮಣ
ಸಿರಿನಿವಾಸನ ಬಳಿಗೆ ವೇಗದಿ ಧಾವಿಸುತ್ತಲೆ ಹೋದನು
ಇರುಳ ದೀಪದ ಸೊಬಗಿನಾಮುತ್ತಿಹುದು ನನ್ನಲಿ ನೋಡಿರಿ
ಸರಿಯ ಬೆಲೆಯನು ನೀವೆ ಕಟ್ಟಿರಿ ಹಣವ ನೀಡಿರಿ ಎಂದನು ||೯||
ಹೊಳೆವ ಮೂಗುತಿ ಸೊಬಗ ಕಂಡು ಶಂಕೆಗೊಂಡನು ನಾಯಕ
ಬೆಳಕಿನಾ ಖನಿಯಿದನು ಕಂಡಿಹೆ ಮೊದಲೆ ತಾನೆಂದೆನಿಸಲು
ಹೊಳೆಯಿತವನಿಗೆ ಮಡದಿ ಸರಸತಿ ಹಾಕಿಕೊಳ್ಳುವ ಮೂಗುತಿ
ಸೆಳೆದು ತಂದಿಹನೇನೊ ಎನ್ನುವ ಭಯವು ಕಾಡಿತು ಮನಸಲಿ ||೧೦||
ಮಡದಿ ಸರಸತಿ ಏನು ಮಾಡಿದಳೆಂದು ಅರಿಯುವ ಕಾರಣ
ಒಡನೆ ಎದ್ದು ಹೊರಟ ಮನೆಕಡೆ ಶ್ರೀನಿವಾಸ ನಾಯಕ
ಕೊಡುವೆ ಹಣವನು ಹೊರಗೆ ಕುಳ್ಳಿರು ಬೇಗ ಮರಳುವೆ ಎನ್ನುತ
ಹಿಡಿದ ನತ್ತನು ಪೆಟ್ಟಿಗೆಯಲೇ ಇಟ್ಟು ಬೀಗವ ಹಾಕಿದ || ೧೧||
ಮಳಿಗೆ ಹಿಂದಿನ ಕೋಣೆಯಲ್ಲಿ ಇದ್ದ ಬಾಲಕ ಮಧ್ವಪ
ಕುಳಿತು ಚಿತ್ರವ ಬಿಡಿಸುತಿದ್ದವ ಅಪ್ಪ ಹೋದುದ ಕಾಣುತ
ಒಳಗಿನಿಂದ ಹೊರಗೆ ಬಂದು ನೋಡಿ ಮುಚ್ಚಿದ ಪೆಟ್ಟಿಗೆ
ಒಳಗೆ ನೋಡುವೆನೆಂದು ಬೀಗವ ತೆರೆಯೆ ಮೂಗುತಿ ಕಂಡಿತು ||೧೨||
ಅರರೆ ಅಮ್ಮನ ಮೂಗುತಿಯಿದು ಇಲ್ಲಿಗೇತಕೆ ಬಂದಿತು?
ಮುರಿದು ಹೋದುದೆ? ಸರಿಗೆ ಕಡಿದುದೆ? ಇಲ್ಲ ಬಣ್ಣವು ಕೆಟ್ಟುದೆ?
ಇರುವ ವಿಷಯವದೇನೋ ತಿಳಿಯದು ಮುದುಕನೇನಿದ ತಂದನು?
ಸರಿಯಿದನ್ನು ನೋಡಿ ತಂದೆಯದೇಕೆ ಮನೆಕಡೆ ನಡೆದನು? ||೧೩||
ಅತ್ತ ನಾಯಕ ಮನೆಗೆ ಹೋಗಿ ಬಳಿಗೆ ಮಡದಿಯ ಕರೆಯುತ
ಮುತ್ತು ಮೂಗುತಿ ಕಾಣದೆಲ್ಲಿಗೆ ಹೋಯಿತೆನ್ನುತ ಕೇಳಲು
ಎತ್ತಿ ಇಟ್ಟಿಹೆ ತಂದು ತೋರುವೆನೆಂದು ನುಡಿದೊಳಹೋದಳು;
ಇತ್ತ ಕಡೆಯಲಿ ಬಾಲಕನು ಭಯದಿಂದ ಮನೆಗೋಡುತಲಿರ್ದನು ||೧೪ ||
ನುಡಿದೆ ಹುಸಿಯನು ಗಂಡನಲಿ ನಾನೆಂತು ಮೂಗುತಿ ತೋರಲಿ?
ಬಿಡದೆ ನಿನ್ನಯ ಪಾದವೆಂದಿಗು ನಂಬಿದವಳನು ಪಾಲಿಸೋ
ಕಡುಪರೀಕ್ಷೆಯ ಸಮಯ ಬಂದಿದೆ ನೀನೆ ದಾರಿಯ ತೋರ್ವುದು
ಎಡದ ಹೂವಲಿ ಪ್ರಾಣ ನೀಗುವೆ ಬಲದಿ ಕೊಟ್ಟರೆ ಬಾಳುವೆ ||೧೫||
ಹೀಗೆ ನೆನೆಯುತ ಸರಸತಿಯು ತಾ ಹೂವನಿಟ್ಟಳು ವಿಠಲಗೆ
ಬೇಗ ಬಾರೆನ್ನುತಲಿ ಹೊರಗಡೆ ಪತಿಯು ಕೂಗುತಲಿದ್ದಿರೆ
ಆಗಬಾರದುದೇನೊ ನಡೆಯುವ ಭಯವು ಹೆಚ್ಚುತ ಹೋಗುತ
ಹೇಗೊ ದಾರಿಯ ಓಡಿ ಮುಗಿಸಿದ ಹುಡುಗ ಮನೆಬಳಿ ಬಂದನು ||೧೬||
ಹೊರಗಡೆಯಲೇ ಅಪ್ಪ ನಿಂತಿಹ ಮುಖದಲೇನೋ ಕೋಪವು
ಮರುಳುಗೆಟ್ಟನೊ? ಕನಸ ಕಂಡನೊ? ಏಕೆ ಈಪರಿ ನೋಟವು?
ಇರಲಿ ಮೊದಲಿಗೆ ತಾಯ ಕಾಣುವೆ ಮತ್ತೆ ಮೂಗುತಿ ನೀಡುವೆ
ಸರಸರನೆ ಹೀಗೆನಿಸಿ ಮಧ್ವಪ ಮನೆಯ ಪಕ್ಕದಿ ಓಡಿದ ||೧೭||
ಮುಚ್ಚಿರುವಕಂಗಳನು ಸರಸತಿ ಕೈಯ ಮುಗಿದೇ ತೆರೆಯಲು
ನಿಚ್ಚದಲಿ ಬಿದ್ದಿತ್ತು ಎಡಗಡೆಯಿಂದಲೊಂದು ಕುಸುಮವು
ಅಚ್ಚಕೆಂಪನೆ ಹೂವದನ್ನು ನೋಡಿ ಕಸಿವಿಸಿಗೊಳ್ಳುತ
ಪಚ್ಚೆವಜ್ರದ ಕಿವಿಯ ಓಲೆಯ ತೆಗೆದು ಪುಡಿಪುಡಿಗೈದಳು ||೧೮||
ಹಿಂದುಗಡೆಯಲಿ ಓಡುವಾಗಲೆ ಕಿಟಕಿಯಲ್ಲೇ ಕಂಡಿತು
ಮಂಗಳದ ಕುರುಹಲ್ಲ ತಾಯಿಯ ಕಣ್ಣ ತುಂಬಿದ ಹನಿಗಳು
ನುಂಗಹೊರಟಿಹಳೇನೊ ಕಾಣದು ಬಾಲಕನು ಭಯಗೊಳ್ಳುತ
ಮುಂದಕೇನೂ ತೋರದೇ ಅವ ನತ್ತು ಕಿಟಕಿಯೊಳೆಸೆದನು ||೧೯||
ಕಣ್ಣ ಮುಚ್ಚಿ ವಿಷವ ಸೇವಿಸ ಹೊರಟ ಸರಸತಿ ಬೆಚ್ಚುತ
ಕಣ್ಣ ಬಿಟ್ಟಳು ಏನೋ ಬಿದ್ದಿರಲಾಗ ಕೈಯಲಿ ಒಮ್ಮೆಗೆ
ಕಣ್ಣನೇ ತಾ ನಂಬಲಾರಳು ಕೈಯಲಿರುವುದು ಮೂಗುತಿ
ಬಣ್ಣಗೆಟ್ಟಿಹ ಅವಳ ಮೊಗದಲಿ ಮತ್ತೆ ಮರಳಿತು ಜೀವವು || ೨೦||
ಏನು ಯೋಚಿಸದೇನೆ ಸರಸತಿ ಹೋಗಿ ಹೊರಗಡೆ ಗಂಡಗೆ
ತಾನು ಕೈಯಲಿ ಹಿಡಿದ ಮೂಗುತಿ ಮಾತನಾಡದೆ ಕೊಟ್ಟಳು
ಏನಿಹುದವಳೆಡಗೈಲಿ ಬಟ್ಟಲು ಕಿವಿಯ ವಜ್ರವು ಕಾಣದೇ
ತಾನೆ ವಿಷಯವ ಅರಿತು ಬಟ್ಟಲ ವಿಷವ ನೆಲದಲಿ ಚೆಲ್ಲಿದ ||೨೧||
ನಡೆದ ನಾಯಕ ಅದೇ ನಿಮಿಷದಿ ಬೇಗ ತನ್ನಯ ಮಳಿಗೆಗೆ
ಅಡಗಿ ಹೋಗಿತ್ತವನ ಮನದಲಿ ಬೀಡು ಬಿಟ್ಟಿಹ ಕೃಪಣತೆ
ಉಡುಗಿ ಹೋಗುವುದಿತ್ತು ಒಂದೂ ತಪ್ಪುಮಾಡದ ಜೀವವು!
ಮಡದಿಗಿಂತಲು ಮಿಗಿಲು ಆಪುದೆ ಬರಿಯ ಧನಕನಕಾದಿಯು? ||೨೨||
ಶ್ರೀನಿವಾಸನು ಕಾಣಲಿಲ್ಲ ಅಂಗಡಿಯಲಿ ಮುದುಕನ
ಏನುಮಾಡಲು ಬೇಕು ಎಂಬುದನಾಗ ಮನದಲಿ ಯೋಚಿಸಿ
ತಾನೆ ಕೂಡಲೆ ಮಾಡಿಬಿಟ್ಟನು ಹಿರಿಯದೊಂದು ಮುಡಿವನು
ದಾನ ಮಾಡುವೆ ದಾಸನಾಗುವೆ ವಿಜಯನಗರವ ಸೇರುವೆ ||೨೩||
ಮನೆಗೆ ಮರಳಿದ ಶ್ರೀನಿವಾಸನು ಮುಡಿವ ಮಡದಿಗೆ ಹೇಳಿದ
ತನಗೆ ಭಾಗ್ಯವದಾಯಿತೆನ್ನುತ ಸರಸತಿಯು ಮರು ನುಡಿದಳು
ಜನವ ಕರೆಯುತ ಸಕಲ ಸಿರಿಯನು ಅಲ್ಲೆ ದಾನವ ಮಾಡುತ
ಮನೆಮಠಗಳನು ತೊರೆದು ಹೆಂಡತಿ ಮಕ್ಕಳೊಟ್ಟಿಗೆ ಹೊರಟರು ||೨೪||
ಹೋದ ದಿನಗಳ ಮರೆತು ಬಿಟ್ಟರು ಮತ್ತೆ ದಂಡಿಗೆ* ಹಿಡಿದರು
ವೇದ ವೇದ್ಯನ ಭಾವ ಗಮ್ಯನ ನಾಮ ಸಾಸಿರ ನುಡಿಯುತ
ಆದರದಿ ದಾಸನೆನಿಸುತ್ತಲಿ ಪುರಂದರನಾ ಹೆಸರಲಿ
ಆದುದೆಲ್ಲಾ ಒಳಿತೆ* ಎನ್ನುತ ರಾಮಕ್ರಿಯೆ*ಯಲಿ ಪಾಡುತ || ೨೫||
p.s: This is the verse form of a story I wrote about Purandara Dasa’s transformation becoming a Haridasa from his previous life as a merchant. If you are interested in reading it in prose form, the story can be read here in Kannada or here, in English
p.p.s: It is written in the form of a choupadi – a four liner meter, which has been very successfully used in Kannada for story telling. The unforgettable “Govina Hadu” comes to mind. In the form that I have chosen, each line confirms to 3/4/3/4/3/4/4(5) mAtres
p.p.p.s: The first stanza refers to the town where Purandaradasa (or Srinivasa Nayaka, before he became a Haridasa hail) came from. Kshemapura, in the Sharavati valley is identified as the most likely place where he would have spent his life as a businessman. The last stanza refers to a composition of Purandara Dasa “Adaddella oLite Ayitu” that is supposedly an autobiographical, where he praises his wife as being instrumental in making him a Haridasa. This song is traditionally sung in rAga “Ramakriya” (now better known as Kamavardhini, and somewhat incorrectly as “Pantuvarali”