krishna my lord

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Powerpoint slides about Sri Krishna translated from Bharathiar Tamil poems by my own way.This includes research perspective.---Dr.Minnoorsrinivasan

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KRISHNA - THE FLUTE PLAYER

LORD KRISHNA has become an essential and dynamic part of India's religious culture. He is held as the ultimate personal God, the guide to the human beings beset with illusion and the eternal child celebrated as darling in the hearts devoted and dedicated to Him. The flute player of Brindavan has played pranks and mischiefs, assumed difficult and crucial roles to protect Dharma and was successful in marvellous strategy in trying situations and predicaments. For him it was easy to redeem the innocent ones from the tyrannical authority of the egoistic. The flute offers musical treat or banquet. The celestial song, the Bhagavat Geetha offers solace and spiritual enlightenment. Lord Krishna is the source of inspiration for the devoted. " The devotion aroused by Krishna is intense, physical as well as superficial and spiritual complex, many-sided, maddening , transporting now with joy and now with sorrow, shaking the whole soul to pieces and yet joining up the pieces again", says Bhagavandas in his book ( Krishna, A study in the theory of Avataras, Bharathiyavidya Bhavan 1990 page 33) Bharathi the poet of liberty and Tamil Renaissance is an ardent devotee of Lord Krishna. During his exile in Pondicherry he was fortunate to have the counsel of Sri Aurobindo. As an associate in patriotic thought and spiritual matters Bharathi has found many things in common between Sri Aurobindo and himself. one can infer that Bharathi's love for Krishna has grown more intense due to his association with Sri Aurobindo. It is well known that Sri Aurobindo experienced the bliss of Krishna's dharshan(vision) and embrace during his sojourn in Alipur prison

KRISHNA - THE FLUTE PLAYER

Bharathi translated the Bhagavat Geetha in lucid tamil in 1912. He wrote about the Rishis of the Vedic lore. In 1912 Bharathi wrote songs on Lord Krishna that were later on compiled as the constituent part of Mupperum padalgal by the committee formed by Madras State Government in 1954. Lord Krishna's role and influence in the annals of Mahabharatha are popular and well appreciated. Scholars are almost unanimous in admiring the sagacity and strategy exhibited by Krishna in several ways. When we speak of environmental pollution the memory of Krishna lingers. The annihilation of Kaliya, the snake that polluted the lake by its venom arises in our mind. Krishna subjugated and suppressed the agonizing and unwholesome Kaliya and thereby saved every one. It may be appropriate here to mention that the event of killing the snake Kaliya suggested that after Lord Krishna's advent there was no need for snake worship. Krishna the inspiring idolatory is next to Parasakthi, the Cosmic Mother. Bharathi was celebrating the mother Sakthi and after his contact with sri Aurobindo, he started celebrating the pranks and greatness of Krishna with added enthusiasm. It may also be tangible to think of another issue that speaks of the times as well as the poet. Bharathi represents and voices forth for the other inarticulate brethren. The British who were ruling India despised the citizens of India as the Black. This element of apartheid pierced the heart of the patriotic soul of Bharathi.

KRISHNA - THE FLUTE PLAYER

The poet's reaction to British attitude forms the basis of his preference to (and sympathy for) the Black and the Black complexioned. This has goaded him to sing and glorify the Black. In one of his poems " Anthipozuthu," Bharathi sings thus: The crow's caw-caw attracts me. The black crow is dear to my eyes. Bharathi sings of the vision of Sakthi or Kali thus: " I saw the form of beauty and womanhood. It was the appearance of the grace of the Mother Kali." In another context Bharathi hails Kali as " Karuthamari" which means the black Goddess. The whole gamut of poetic experience unfolds the interesting feature of the poet's treatment that hails and glorifies all that is black: Sakthi or Kali, Lord Krishna, Draupadi, & Vyasa are of black in complexion. The black crow and the black cuckoo are also glorified. Thus the poetic sensibility of Bharathi is seen glorifying the black that has been hated with animosity. Bharathi's sympathy for the neglected and the suppressed is boundless and has become one of the characteristics of his poetry. Bharathi's patriotic fervour is seen infusing vigour and inspiration in his songs. An Indian who has been suffering and groaning under the yoke of British rule is represented in the person of Arjuna. The Kurukshetra war is recalled and Arjuna who is left to brood and writhe in despair, doubt and despondency is offered the sermon on the fiat(of chariot) by Lord Krishna. Hence the poetic mind of Bharathi has begun to celebrate and eulogise Lord Krishna. In one of the poems Bharathi sings thus: O! Arjuna! Take thy glorious bow and smash and annihilate the ignoble. Let

In Kannan Pattu, Bharathi gives vent to his patriotic as well as devotional fervour in the most attractive and arresting form. The poetic experience clothed in elegant Tamil and simple diction has been casting spell and enduring appeal on every one. Bharathi's mind soaked in the consciousness of Bhagavat Gita and steeped in the channels of Vaishnavite tradition has issued forth the glorious expression and exquisite diction. At the outset, one can see the obvious adherence to the tradition in Kannan en Sevakan. It is in line with the traditional expression Bhaktha Paraadheena, which means, the Lord who is the servant of his devotees. Another shade in the phrase Sevakan is one who accepts the Seva and also one who renders Seva(service) Bharathi uses the sanskrit expression which is striking in its meaning and tonel effect. The word Sevakan has been used in (Aaichiar Kuravai) Cilappadikaaram and Thirumaalai of Thondaradippodi Alvaar(The work, words and their significance by Dr. R.P. Sethupillai throws light on the expression) Bharathi's treats Lord Krishna in his poetical work as his teacher, Mother, Father, Friend, Master , Lover, Lady-love and family God. Tradition goes to say about the Lord and the Individual being as the Nayaka and the Nayaki - the Lover and the Lady-lover. The supreme soul is held as the male and the individual soul is deemed as the female. In the annals of Meera we find an instance wherein (as she was a lady) was denied interview with a male saint and she retorted humbly that in all creation Lord krishna is the only male and all other creatures are beings are female folk.

In the world of atoms the central atom (nucleus) is surrounded and excircled by other atoms. The atom in the centre is static and all other atoms are dancing around in rhythm. In this angle one can see the dreation and elucidate the significance as Lord Krishna amidst the Gopis who dance around and celebrate the bewitching Beauty and Love of Lord Krishna. The creator in the centre is called the paramanu, the supreme dominant atom. Lord Krishna has given Himself in all creation. Thus he is all pervasive. He is the dweller kshethragna in the inmost being. He is the motivation behind all deeds and actions that keep the world of experience and enjoyment going on and on. The changes of traits of characters and the variation of gunas are governed finally by the Lord. In fact He is the cause for the variety of Trigunas- Thamas, Rajas and Sathva. The Lord has given himself in the whole drama of creation and sustenance. In the form of Lord Krishna there appear tilts- the face, the shoulders and the legs. In the posture of Lord Krishna playing the flute this is visible. The three tilts indicate the variation of three gunas, the Rajas, the Thamas and the Sathva. This is an interpretation discerned by Swami Sivananda. In Kannan Pattu, kuniyum vaanmukathaan , the expression of Bharathi in the poem Kannan en Kaanthan conveys the same idea in a suggestive manner. The face of Krishna casts down a little while playing the flute, the tilt in the shoulders and the cross - legged posture are suggested by the expression. The Rasa raja Krishna is behind all drama of emotions manifested in the action filled world.

Bharathi beholds the vast nature and has experienced the vision of Lord Krishna in the bewitching form of the lady-love. In one of his poems in KANNAN PATTU he expresses his wonder at seeing the eyes of the lady-love(Krishna) as brilliant and beautiful as the sun and the moon:KAATCHI VIYAPPU (KANNAMMA)Are your eyes the luminous Sun and Moon in the vast heavens? Is the black orb in the eyes the Dark sky? Is the tumultous blue ocean the boisterous waves of thy heart? The stars that twinkle in the midnight are but the diomonds studded in the silky dark bluesaree. The light of the flower in the bower is your bewitching smile. The melody of thesong of cuckoo is your sweet voice. Iam mad with love for you. I would embrace in blissful love. You avoid me modestly saying that you have not attained puberty. You talk of convention of sastras. I cannot wait for the formal marriage. I am excited and I kiss you instantly. Let us marry in the presence of elders in the customary and ceremonial way. THE LOVER addressing the maid:

These words of love and excitement are suggestive expression of an ardent lover full of passion reflecting the pangs and bliss of an aspirant devoured by devotion.

The God intoxicated soul in love for the Divine is thus seen pouring out the mystical rapture. Thesong of Bharathi describing theeyes as the sun andthe moon has adopted the description in Thiruppavai of Andal {Kaarmeni chengan kathirmathiyam}. The poem ' Kannan mana nilayai thangame thangam' has the note of the love lorn lady requesting her friend to meet the lover and express her love and passionate longing fora meeting and joining. The lovelorn maid is desperate because of love unreciprocated.

MAID SENDING THE MESSENGER TO KRISHNA

O! Thangam! Find out what is the mooring in the mind of Krishna. Whether he would