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DAY 7 (saptamI vibhakti k.rti)
nIlOtpalAmbikAyAm
rAgam:
pUrvagauLa (29) tALam: rUpakam
pallavi
nIlOtpalAmbikAyAM
bhaktiM karOmi shrI
anupallavi
nIlOtpalanAyakasamEtAyAM
nikhilAgamasannutAyAM
nIlAmbArapuSpamAlAv.rtAyAm
caraNam
kavijanAdimOdinyAM
kamalEshapAlinyAM
sUryakOTiprakAshinyAM
sUrijanOpAsita-
pUrvagauLaprakAshinyAm
avidyAvidyAsvarUpiNyAM
AraktavarNarUpiNyAM
IbhavadanaguruguhAdijananyAm
This song is in saptamI
vibhakti (locative case).
anvayam (word order) -
aham
nIlOtpalAmbikAyAM bhaktiM karOmi – I exhibit my devotion in nIlOtpalAmbA, and
all nouns ending in “yAM” quality nIlOtpalAmbAM.
Word for word meaning
nIlOtpalAmbikAyAM –
(in) nIlOtpalAmbA
bhaktiM -
devotion
karOmi
– I
do (show)
shrI
-
auspicious
nIlOtpalanAyakasamEtAyAM
–
who is in the company of shiva, the nIlOtpalanAyaka
nikhilAgamasannutAyAM –
one worshipped by all the
scriptures (Agamas)
nIlAmbArapuSpamAlAv.rtAyAm
-
one who wears blue robes and flower garlands
kavijanAdimOdinyAM –
who is pleased by the poets
kamalEshapAlinyAm –
who protected Lord viSNu
sUryakOTiprakAshinyAM –
who shines like crores of suns
sUrijanOpAsita-pUrvagauLaprakAshinyAm
-
who is worshiped by the
learned people, and who shines in the rAgam pUrvagauLa
avidyAvidyAsvarUpiNyAM –
who is of the form of both
ignorance (illusion), and knowledge (realization)
AraktavarNarUpiNyAM –
who shines in reddish hue
IbhavadanaguruguhAdijananyAm -
who is the mother of the
elephant headed (gaNesha), and of guruguha
Free Translation
I exhibit my devotion to
nIlOtpalAmbA, who is the consort of the nIlOtpala nAyaka (shiva); the one
worshiped by all scriptures, the one who is clad in blue robes and garlands;
the one who is pleased by all poets, the one who protected viSNu, the one who
shines brilliantly like crores of suns, the one worshiped by the learned, and
the one who shines in the pUrvagauLa rAgam; the one who is the form of
ignorance as well as knowledge; the one with reddish hues, the mother of
gaNesha, the elephant faced, as well as of guruguha.
NOTE
The
rAgamudra for pUrvagauLa is directly given in the caraNam line. However,
dIkSitar does not explicitly say “pUrvagauLa rAga prakAshinyam’”, and
omits the phrase “rAga”. I am not sure whether the phrase “pUrvagauLa” has
any other meaning!
rAgam pUrvagauLa
A janyam
(upA”ngam No. 7), under dhIrasha”nkarAbharaNa mElam (29).
vE”nkaTamakhi defines it as follows:
pUrvagauLastu ArOhe ga
varjyaH sArvakAlikaH |
svarams
taken:
catushruti Ri, antara Ga, shuddha Ma, catishruti Dha, Kakali Ni
mUrccana
ArOhaNam:
s g r g s s r m p d n s,
avarOhaNam: s n d p m g r s
upA”ngam;
sampurNam; niSAda graham; suitable for singing at all times.
Some
vishESa prayOgams are given in sa”ngIta sampradaya pradarshini,. along
with a lakSya gItam by vE”nkaTamakhi, and a sa~ncAri by subbarAma dIkSitar No
k.rti is given there.
Except
for these, and the above k.rti by muttusvAmi dIkSitar, compositions are hard
to come by.
Related Links: Carnatica Features during previous Navaratri seasons
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