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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.

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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.


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Posted By: Administrator

Rāga: Kāmbodhi
Thāḷa: Ekatala
Composer: Purandharadhāsa

Language: Kannada

Meaning – word by word: Http://Forumhub.Mayyam.Com/Hub

Meaning – Overall: Team Ambalam

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

 


Pallavi:

Yādhava Nī Bā Yadhukula Nandhana
Mādhhava Madhhusūdhana Bāro

Anupallavi:

Sodharamāvana Madhureli Maḍuhidha

Yaśhodhe Nandhana Nī Bāro

Charaṇam 1

Kanakalandhige Galugalurenuthali
Jhaṇajhaṇa Véṇunādhadhali
Chinnikōlu Chenḍubuguriyanāḍutha
Saṇṇa Saṇṇa Govalaroḍagūḍi Bāro /1/

Charaṇam 2

Śhankha Chakravu Kaiyali Hoḷeyutha
Binkadha Govala Nī Bāro

Akaḷaṅka Charithane (Mahimane) Ādhinārāyaṇa
Békemba Bhaktha (Kimkara Jana)Rigoli  Bāro /2/

Charanam 3

Khagavahanane Bagebage Rūpane
Nagemogadharasane Nī Bāro
Jagadhoḷu Ninnaya Mahimeya Pogaḷuve
Purandharaviṭṭhala Nī Bāro /3/

Meaning Of The Song:
Yādhava Nī Bā Yadhukula Nandhana
Mādhhava Madhhusūdhana Bāro

Yādhava  - O yadhava; Nī – you;  Bā – come;

 Yadhukula - Yadhu dynasty; Nandhana - son of
Mādhhava -  O Madhhava; Madhhusūdhana - slayer of the demon Madhhu;

 Bāro – come!
O son of the Yadhu dynasty, slayer of the demon Madhhu and the giver of plenty, do come!

Sodharamāvana Madhureli Maḍuhidha

Yaśhodhe Nandhana Nī Bāro

 

Sodharamāvana – the maternal uncle;  Madhureli – the city of Mathhura;

Maḍuhidha  - having killed; Yaśhodhe Nandhana – son of Yashodha;

Nī Bāro – you come!

 

O son of Yaśhodhā, who killed your maternal uncle in Mathhurā, do come!

Kanakalandhige Galugalurenuthali
Jhaṇajhaṇa Véṇunādhadhali
Chinnikōlu Chenḍubuguriyanāḍutha
Saṇṇa Saṇṇa Govalaroḍagūḍi Bāro /1/


Kanakalandhige -  from anklet (worn on the ankle)
Galugalurenuthali - making the sound of ghal ghal
Jhaṇajhaṇa Véṇunādhadhali - with sweet tune from the flute
Chinnikōlu- Tip-Cat ; Chenḍu – Ball; buguriyanu - Top; āḍutha - Playing
Saṇṇa Saṇṇa Govalaroḍagūḍi Bāro - come with little cow drovers (Govalaru)

 

Come with the little cowherds, as your anklets tinkle, your flute plays, and you indulge in games such as tip-cat, ball and top.

Śhankha Chakravu Kaiyali Hoḷeyutha
Binkadha Govala Nī Bāro

Akaḷaṅka Charithane (Mahimane) Ādhinārāyaṇa
Békemba Bhaktha (Kimkara Jana)Rigoli  Bāro /2/

Holeyutha – Shining; Shankha – Conch; Wheel – Chakra; Kaiyali- In Hand
Bimkada - Coquetry ; Govala - Cowdrover, Come

Akalamka - you are flawless; Mahimane - Highworthy
Békemba Bhaktha (Kimkara Jana)Rigoli  Bāro - who also fulfill the desires of devotees

 

O charming cowherd, come here with the shining conch and discus in your hands. You are the flawless Ādhinārāyaṇa, who fulfils the desires of devotees.


Kagavahanane Bagebage Rupane
Nagemogadarasane Ni Baro
Jagadolu Ninnaya Mahimeya Pogaluve
Puramdaraviththala Ni Baro /3/

Having A Bird (Garuda) As Vehicle (Kagavahanane)
With Different Forms Of Appearance (Bage Bage Rupane)
King With Smile (Nagemogadarasane) You Please Come
I Praise (Pogaluve) Your Greatness (Mahime) In This World (Jagadolu)
Purandara Vittala You Please Come

 

O Purandara Vittala, who smiles like a king, who has the bird (Garuḍa) for a vehicle, who takes many forms, please come as I praise your greatness in this world.

 

Posted By: Administrator

Raga: Śhivaranjani
Thāḷa: Ādhi

Composer: Purandharadhāsa

Language: Kannaḍa

Meaning –Word by word: Team Ambalam

Meaning –Overall: Http://Forumhub.Mayyan.Com/Hub

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

 

 

 

Śhloka

 

Āneyu Karedhare Ādhimūla Bandanthe,
Ajamiḷanu Karedhare Nārāyaṇa Bandanthe,
Aḍaviyalli Dhhruvarāya Karedhare Vāsudheva Bandanthe,
Sabeyalli Dhraupadhi Karedhare Śhrīkriṣhṇa Bandanthe,
Ninna Dhāsara Dhasanu Na Karedhare Enna Pālisabeku Purandhara Viṭṭhala


Pallavi

 

Yamanelli Kāṇenendhu Héḷa Béḍa
Yamane Śhrī Rāmanu Sandheha Béḍa

Charaṇams:

 

Nambidha Vibhīṣhaṇage Rāmanādha
Nambadhiddha Rāvaṇage Yamanādha

Nambidha Arjunage Mithranādha
Nambadhiddha Dhuryodhhanage Śhathruvādha

Nambidha Prahlādhanige Hariyādha
Nambadhiddha Hiranyage Uriyādha

Nambidha Ugrasenage Bhruthyanādha
Nambadhiddha  Kamsanige Śhathruvādha

Nambikoḷḷi Béga Śhrī Kriṣhṇa Dhevana
Kambu Chakradhhāri Śhrī Purandhhara Viṭṭhala



 

 

Meanings:


Śhloka

 

Āneyu Karedhare Ādhimūla Bandanthe,
Ajamiḷanu Karedhare Nārāyaṇa Bandanthe,
Aḍaviyalli Dhhruvarāya Karedhare Vāsudheva Bandanthe,
Sabeyalli Dhraupadhi Karedhare Śhrīkriṣhṇa Bandanthe,
Ninna Dhāsara Dhasanu Na Karedhare Enna Pālisabeku Purandhhara Viṭṭhala

 

Āneyu – when the elephant (Gajendhra);  Karedhare – calls;

 Ādhimūla – the lord; Bandanthe - as he came;
Ajamiḷanu  - When Ajamila; Karedhare  – calls ;

Nārāyaṇa – Lord Vishnu; Bandanthe - as he came;
Aḍaviyalli  - in the forest; Dhhruvarāya  - When Prince Dhhruva;

Karedhare– calls ; Vāsudheva – the lord;  Bandanthe - as he came;
Sabeyalli – in the assembly; Dhraupadhi – Dhraupadhi,wife of the Pandavas;

Karedhare – calls ; Śhrīkriṣhṇa Bandanthe -as Kriṣhṇa came;
Ninna – your;  Dhāsara – servants; Dhasanu – servant,slave;

Na – I, me; Karedhare– calls; Enna – me;

Pālisabeku – have to protect; Purandhhara Viṭṭhala – O lord  Purandhhara Viṭṭhala;

 


When Gajendhra called he came like Ādhimūla  (supreme power)
When
Ajamiḷa called he came like Nārāyaṇa
Dhhruva called him in the forest and he came as
Vāsudheva
When Dhraupadhi called him in the assembly, he came like S
hrikriṣhṇa
I am a slave of your servants, calling you to protect me
Purandhara Viṭṭhala

 

 

Pallavi:

Yamanelli Kāṇenendhu Héḷa Béḍa
Yamane Śhrī Rāmanu Sandheha Béḍa

 

Yamanu – Lord of death; elli – where is he?

Kāṇenu – I cannot see; endhu – as is;

Héḷa Béḍa – do not say;
Yamane –  is Yama indeed;  Śhrī Rāmanu – Lord Rama;

 Sandheha – doubt; Béḍa – do not have.


Don’t say where is Yama? I can’t see him.

Sri Rāma himself is Yama, there is no doubt!

 

Charaṇams:

Nambidha Vibhīṣhaṇage Rāmanādha
Nambadhiddha Rāvaṇage Yamanādha

 

Nambidha – the one who believed; Vibhīṣhaṇage – to Vibhishana

 Rāmanādha – became Rama; Nambadhiddha – the one who disbelieved;

 Rāvaṇage – Ravana; Yamanādha – became Yama.


He is Rāma to Vibhīṣhaṇa who believes in him.

He is Yama to Rāvaṇa who didn’t believe in him.

 

Nambidha Arjunage Mithranādha
Nambadhiddha Dhuryodhhanage Śhathruvādha

 

Nambidha -the one who believed; Arjunage – to arjuna;

 Mithranādha – became a friend; Nambadhiddha -the one who disbelieved;

Dhuryodhhanage  - to Duryodhana; Śhathruvādha – became an enemy.

 


He is a friend of Arjuna who believed in him.

He is an enemy to Duryodhhana who didn’t believe in him.



 

 

 

1 Yādhava Nī Bā click here to view meaning
2 Yamanelli Kāṇenendhu click here to view meaning

Lyrics and Meanings (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.