DAY 3 (tritIyA vibhakti k.rti)
nIlOtpalAmbikayA
rAgam:
kannaDagauLa (22) tALam: Adi
pallavi
nIlOtpalAmbikayA
nirvANasukhapradayA
rakSitO’ham
anupallavi
vallIshaguruguhapUjitayA
varalakSmIvANIsEvitayA
hallIshalAsyasantuSTayA
AraktavarNashObhitakarayA
caraNam
kAshIkannaDagauLadEshAdivAsadAsajanAvanatOSitayA
vAsavAdivanditavAgIshavAsudEvAdyArAdhitayA
shrIshivapurANapratipAditayA
shivasha"nkaranAyikayA shrI
This k.rti is set in tritIyA vibhakti
(instrumental case)
anvayam (word order):
aham
nIlOtpalAmbikayA rakSitaH (asmi) – I am protected by nIlOtpalAmbikA, and
all adjectives ending in “yA” qualify the tritIyA noun “nIlOtpalAmbikayA”.
Word for Word Meaning
nIlOtpalAmbikayA – by nIlOtpalAmbikA
nirvANasukhapradayA – (by the one) who bestows the happiness of liberation
rakSitaH – protected by
aham
– I (am) - by the one
vallIshaguruguhapUjitayA – who is worshiped by guruguha (subrahmaNya) ,
the lord of valli
varalakSmIvANIsEvitayA – who is served by varalakSmi and sarasvati
hallIshalAsyasantuSTayA – who is much pleased with the dance forms
“hallIsha lAsya”
AraktavarNashObhitakarayA – whose hands are beautiful with reddish hue
kAshIkannaDagauLadEshAdivAsadAsajanAvanatOSitayA – who pleases the
devotees residing in geographical locations like kAshi, kannaDa, gauLa, and so
forth
vAsavAdivanditavAgIshavAsudEvAdyArAdhitayA – who is saluted to by Indra
and others, and who is propitiated by Brahma, and viSNu
shrIshivapurANapratipAditayA – who is extolled in the epic, shiva purANa
shivasha"nkaranAyikayA – who is spouse of shiva sha”nkara
shrI
- auspicious
Free Translation
I am protected by nIlOtpalAmbA,
who grants the happiness of liberation, the one who is worshipped by guruguha
(subrahmaNya), the Lord of vaLLi, who is attended by varalAkSmi and sarasvati,
and whose hands are of reddish hue; who pleases the devotees residing in
regions like kAshi, kannaDa, gauLa, who is worshipped by Indra and other dEvas,
who is praised by Brahma and viSNu, who is praised in the shiva purANa, and
who is the consort of Lord shiva sha”nkara.
NOTE
The rAga
mudra kannaDagauLa is inserted cleverly by the composer as a geographical
location,
“kAshI kannaDa gauLa dEsha”
rAgam kannaDagauLa
A janyam (upA”ngam No. 4)
under mELam shrI (22) according to asampUrNa scheme.
vE”nkaTamakhi gives the definition
rAgaH kannaDagauLOyam
niSAdagraha saMyutaH |
AvarOhE dha varjyaH syAt sAyAhnESu pragIyatE ||
There are
two possible mUrccanas for kannaDagauLa:
mUrccana
1:
ArOhaNam: s r g m p d n s avarOhaNam: s n p m g s
upA”ngam;
sampUrNam; niSAda graham; dhaivata varjyam in avarOhanam; suitable for singing
in the evenings.
mUrccana
2:
ArOhanam: s g G m p n N S avarOhaNam: s n N d m m g S, n
p N d m m g S
Sa”ngIta sampradAya pradarshini
gives a lakshya gItam by vE”nkaTamakhi, a gItam in dhruva rUpaka tALam by
pUrvikas, and a sa~ncAri by subbarAma dIksitar, with no k.rti examples.
In the
sampUrNa scheme also, kannadagauLa belongs to melam 22, kharaharapriya.
Arohanam: s r g m p n s avarOhaNam: s n d p m g s
A Sadava
–SADava ragam, that omits dha in aArOhaNam, and ri in avarOhaNAm; Ga and Ni
are the chAyA svarams
The
following compositions are popular:
orajUpucu
(tyAgarAja)
sogasu
jUDa taramA (tyAgarAja)
nIlOtpalAmbikayA (dIkSitar).
There is
striking difference in the handling of kannaDagauLa by tyAgarAja and dIksitar.
The usage of dIkSitar has slight resemblance to AbhEri/karNATaka dEvagANdhAri.
Related Links: Carnatica Features during previous Navaratri seasons
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