Devaranama

Dhévaranāmas (names of the Lord/God) were the Bhakthi compositions that were the outcome of the Bhakthi movement in South India, especially Karnāṭaka during 13th century to 14th century CE, whose main objective was to promote Dvaitha philosophy of Madhvāchārya through literature. The compositions were by Haridhāsas who were saints, philosophers or plain wandering bards and thus, this part or section of literature came to be known as "dhāsa sāhithya" or the literature of the servants of the Lord.  Though the compositions were mainly on the concept of Hari bhakthi and are about Hari or Kriṣhṇa, a few composers also composed Dhévaranāmas using social values, morals and virtues as a theme. There are Dhévaranāmas composed on goddesses too. These compositions took an important and prominent place not only in the world of literature, but also in the vast field of art, especially Bharathanātyam. 

Śhrī Pādharāja Thīrtha is well-known as the grandfather of Haridhāsas (Haridhāsa Pithāmaha). Śhrī Purandhhara Dhāsa and Śhrī Kanaka Dhāsa were the chief architects.

If we look at the entire Haridhāsa Literature, one can divide into three categories. They are; General compositions, Kāvya or poetic compositions, thatthva or philosophic compositions/literature.

General compositions include all types of compositions which are very special. This can be further divided into the following groups; Kīrthanas, Ūghabhōgas, SūĪādhis, others.

Kīrthanas are the most attractive compositions of Haridhāsas. This is also called Dhévaranāma. Kīrthanas or Dhévaranāmas are melody based on technical compositions like Gītha whose purpose is to elucidate Rāga forms and Thāḷa patterns.

Rāga: Ārabhhi

Thāḷa: Ādhi

Composer: Purandhara Dhāsa

Language: Kannaḍa

Meaning – Word by word: Team Ambalam

Meaning - Overall: Meanings: www.tfmpage.com/hub

Alignment, Diacriticals & consequent spelling changes, Language & grammar editing, if any and necessary, of existing meaning: Team Ambalam

Pallavi

Āḍidhano Raṅga Adbhuthadhindhali

Anupallavi:

Pāḍidhavarige Beḍidha Varagaḷa Nīḍuthali Dhayamāḍuthali

Nalidhāḍuthali Beṇṇebéḍuthali Kriṣhṇa

Charaṇam 1:

Amburuhodhbhava Akhilasuraru Kūḍi
Ambaradhali Ninthu Avar Stuthise
Rambe Ūrvaśhī Ramaṇīyarellaru
Chandhadhim Bharatha Nāṭyava Natṭise
Jham Thatha Thaka Dhīm Thadhi Nini Thom Endhu
Jhampe Thaladhi Thumburannoppise

Dha Ma Pa Dha Sa Ri Endhu Dhvaniyindha Nāradha Thumburu Gāna Māḍalu Nandhiyu Maddhale Chendhadhi Hākalu  |1|

Charaṇam 2:

Phaṇava Meṭṭi Balava Kaiyali Piḍidhu Phala Phalisuttha Nātyavanāḍe

Chhandhra Manḍaladhanthe Poḷeyuva Mukhadolu

Chalisuva Nīla Keśhagaḷāḍe

Kālalandhuge Gejje Ghalu Ghalu Ghalurenutha Uḍi Gejje Kanegalade
Dhuṣṭa Kālingana Meṭṭi Bhāradhindha Puṭṭa Pādhava Iṭṭu Śhrī Kriṣhṇanu

Meṭṭidhanu Thaka Dhimi Tahdhikenutha -2-

Charaṇam 3:

Suraru Puṣhpavruṣhṭiya Kareyalu
Sudhathiyarellaru Pāḍalu
Nāgakannikeyaru Nāthana Béḍalu
Nānāvidhadhi Sthuthimāḍalu
Rakkasarellaru Kakkasavane Kanḍu
Dhikki Dhikkige Oḍalu

Chikkavanivanalla Purandhara Viṭṭhala
Venkataramana Bega Yashode
Binkadoletthii Muddhāḍe Śhrī Kriṣhṇa |3|

Pallavi:

Āḍidhano Raṅga Adbhuthadhindhali

Āḍidhano – played (danced)

Raṅga – Kriṣhṇa

 Adhbutadindali – in an incredible way

Raṅga played on the hood of the Kalinga incredibly (since he was a child then).

Anupallavi:

Pāḍidhavarige Beḍidha Varagaḷa Nīḍuthali Dhayamāḍuthali

Nalidhāḍuthali Beṇṇebéḍuthali Kriṣhṇa

Pāḍidhavarige – for those who sing

Beḍidha – the asked for

 Varagala  - boons
Nīḍuthali – having given

Dhayamāḍuthali  – having blessed

Nalidhāḍuthali – delightfully playing or dancing

Beṇṇe – butter;

Béḍuthali – asking  for


Kriṣhṇa,  was dancing on Kalinga  giving all the people their wants who prayed him, asking for butter.

Charaṇam 1:

Amburuhodhbhava Akhilasuraru Kūḍi
Ambaradhali Ninthu Avar Stuthise
Rambe Ūrvaśhī Ramaṇīyarellaru
Chandhadhim Bharatha Nāṭyava Natṭise
Jham Thatha Thaka Dhīm Thadhi Nini Thom Endhu
Jhampe Thaladhi Thumburannoppise

Dha Ma Pa Dha Sa Ri Endhu Dhvaniyindha Nāradha Thumburu Gāna Māḍalu Nandhiyu Maddhale Chendhadhi Hākalu  |1|

In the skies, all the Dhevathas together started praying him, Apsaras like Rambe, Ūrvaśhī
started dancing Bharathanāṭya playing the beats Jham Thatha…

Charaṇam 2:

Phaṇava Meṭṭi Balava Kaiyali Piḍidhu Phala Phalisuttha Nātyavanāḍe

Chhandhra Manḍaladhanthe Poḷeyuva Mukhadolu

Chalisuva Nīla Keśhagaḷāḍe

Kālalandhuge Gejje Ghalu Ghalu Ghalurenutha Uḍi Gejje Kanegalade
Dhuṣṭa Kālingana Meṭṭi Bhāradhindha Puṭṭa Pādhava Iṭṭu Śhrī Kriṣhṇanu

Meṭṭidhanu Thaka Dhimi Tahdhikenutha |2|

Stamping on the snake hood, holding the tail in one hand, he danced. His face shone as in the lunar region as his hairs danced. His anklets made sounds as he danced. He stamped the evil Kalinga with his tiny feet making Thaka Dhimi sound.

Charaṇam 3:

Suraru Puṣhpavruṣhṭiya Kareyalu
Sudhathiyarellaru Pāḍalu
Nāgakannikeyaru Nāthana Béḍalu
Nānāvidhadhi Sthuthimāḍalu
Rakkasarellaru Kakkasavane Kanḍu
Dhikki Dhikkige Oḍalu

Chikkavanivanalla Purandhara Viṭṭhala
Venkataramana Bega Yashode
Binkadoletthii Muddhāḍe Śhrī Kriṣhṇa |3|

Dhevathas showered flowers on him, all the Gopis’ sang in praise of the lord, Nāgakannikās begged for mercy in various forms, Asuras seeing the scene fled in all directions.

If this is done by (child) Kriṣhṇa, he cannot be a (mere) small kid, he is Purandhara Viṭṭhala , so, O Yashodhā, please come fast and caress him.