On avatāra and concept of Gods in Dharma

This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 2.5 India License.

This thread started as a discussion on Bharat Rakshak (as is the case with most of my posts). Then was published on twitter. It was received well there. So posting it here for posterity and ease of access. 🙏🙏

—————————————————

We have begun to think of “God” as Abrahmics (Xians and Muslims). We Hindus should try and unlearn this meticulously. For it is affecting us. Just after Duryodhana tried to arrest Krishna, he had seen his virāTa-rūpa. He knew this is vishNu himself. Yet it didn’t bother him much. Because we view “God” very differently. God IS NOT above karma. If you have done a karma (good bad whatever), nothing in this existence has power to stop its consequences getting back to you. Not even an all powerful omnipotent omniscient omnipresent Lord.

Which leads to the question whether the said entity is actually “omni- all that” at all? So Duryodhana’s journey after being revealed that Krishna is vishNU - actually teaches how Hindus view Gods and Deities. Gods can’t interfere in cycle of Karma. Duryodhana is part of a karmic chain reaction started long ago with Shantanu’s decision to deprive Bhishma of kinghood. Only Duryodhana could’ve stopped it if only he had decided not be an asshole & let pānDavas be at peace after partition.

But molestation of Draupadi had sealed his fate. No matter what, Kauravas were marked men, the moment they touched Draupadi. Even Krishna knew it during his final attempt for peace that was impossible to stop this chain reaction just before the final explosion. It was inevitable. Only question was - will Duryodhan take only 102 men down with him (karNa and Shakuni included) or will Duryodhana take down 4 million men down with him. He very methodically tied his fate with other 4 million poor buggers. Duryodhana thought that by tying himself with the system, he would become “too big to fail”. I cannot blame him for thinking this way. This is what we see in our daily lives.  And the system had become so rigid that they could not uncouple the karma of this marked person with other 4 million bystanders. Their karma. What else.... He just misjudged the purpose of avatāra - to reset the order. Not to just troubleshoot and bug fix.

Hence dear Hindus : Never wish for an avatāra

You never know what all you will lose, in short and long term if vishNu decides to “come down” and do the system reset. Just do your job & hold the dharma as long as you can (one birth at a time) & keep vishNu asleep in Kshirasāgara. It’ll happen when it has to happen. Only Muslims and Xians wish to hasten their judgement day. They remind me of Duryodhana. Unfortunately our lives are tied with them in given times. So if their Qayamat happens, they will die. That is what they want. We will be left with damaged earth. If abrahmic qayamat has to happen, the question in front of us is how to keep us and our sacred land and dharma relatively untouched for as far as possible. Then There is always a possibility of some ātatāyi terrorist like ashwatthāma to pull the trigger of doomsday weapon.

So the question arises - whom do we pray to? What do we pray for? What is the role of dèvatā in our existence?

we pray to our ishtadevata, kuladevata, vāstudevata, sthānadevata, grāmadevata and others too. What do we usually pray for? Do we pray to save our souls (SOS)? Or do we pray for us getting anything and everything along with moksha? In my opinion, it is Latter. Herein lies main difference. In dire need, we also pray for saving us too difficult situations too. Eg. gajéndramoksha. When divine intervention happens in such instances, it is usually via some agent or direct. But will you call shri Hari saving Gajendra from crocodile as him taking an avatāra? No. Moment we are relieved of our predicament, we thank the gods for their help and move on with our karma. If there is no intervention, we accept it as our Sanchita-karma and move on with strife.

Avatāra happens when things are broken so badly that it is hopeless. Things broke so badly and things became so hopeless because? Because we (ancestors, previous births) did not do our karma and did not upheld the dharma by doing the right thing. Tell me if Bhishma had not taken than vow, would mahabhārata happen? If Shantanu had kept control over his desires? If citizens of mathurā had rebelled and overthrown Kansa after his adhārmik usurping of power, will shri Hari need to come down? It is when we abandon the right path and things start getting hopelessly bad that avatāra needs to happen. Because there are some things more valuable than existence of Srishti which needs to be protected. It is to save that thing.

ParitrāNāya sādhūnām doesn’t translate as “to save good people”. Rather it is very lazy translation. It actually means to save that/them which/who is/are so exalted and sacred that its worth saving at all costs. Even if that cost is pralaya. Or world war. Or systemic reset. All those who died in presence of bhagawaan went to swarga. But all of those who died then were ill-fated (due to their past bad karma) to live in such adhaarmik times where even the queens are disrobed in public and suffer the consequence of that age and times. If such thing can happen to a lady as exalted as Draupadi what must be ordinary women going through? All those who got to see hear touch Krishna in Mathura and Vrindavan must have gotten good gati and it was as a result of some powerful accumulated puNya.

But they had to live under tyrants like Kansa and Jarasandha who sent assassins to murder new born kids en masse. Think of how many murders Putanā committed before meeting her end at hands of Krishna? What about those parents who were fortunate enough to live in presence of bhagwaan.  But unfortunate enough to lose their new born babies? Do you call it a good fortune? 😊 Is it not better if one by one’s sādhana gets a similar good gati, perhaps darshan of that same devatā while living in a dhārmik society. Instead of living in turbulent times invited by our own actions or inactions?

मा ते संगोस्तु अकर्मणिं..... Never indulge in Akarma (dodging one’s duties and responsibility towards dharma).

The enchanting "Bhairavi" - Tribute to Bharat Ratna Pandit Bhimsen Joshi

This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 2.5 India License.

Bhairavi Signifies the end.. the end of Mehfil.. departure, hence the mood of this raaga is Sombre, yet pleasant.. which keeps on lingering while artists fade away after the mehfil..

One such artist faded away yesterday.. "Bharat Ratna" Pandit Bhimsen Joshi... He was 89 years old..

One of the prominent singers of India who sang "Vande Mataram" in Lok Sabha at the stroke of the midnight hour of 14th August 1947 and beginning of 15th.. Independence dawned upon Bhaaratvarsha with beautiful rendition of "Vande Mataram" by Pandit Bhimsen Joshi ji in Desh Raag.. What can be more exhilarating and auspicious? 

Here is his rendition of famous thumri.. Babul mora naihar chhuto hi jaay... 

As his aatman shoots upwards, crossing the "Sapta-lok" and resting in Vaikuntha till he decides to reincarnate again, his mortal body fades leaving behind the notes of this immortal "Bhairavi" sung by him... 

Panditji, in essence, shall live on, for eternity...

Bharat's counselling by Shri Raam - Paradhin ahe jagati, putra manavacha

This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 2.5 India License.

The Ramayana is an ancient Sanskrit epic. It is ascribed to the Valmiki. It depicts the duties of relationships, portraying ideal characters like the ideal servant, the ideal brother, the ideal wife and the ideal king. 

In the course of story, after Rama and Sita have been married for twelve years, Dasharatha who had grown old expresses his desire to crown Rama, to which the Kosala assembly and his subjects express their support. On the eve of the great event, Kaikeyi—her jealousy aroused by Manthara, a wicked maidservant—claims two boons that Dasharatha had long ago granted her. Kaikeyi demands Rama to be exiled into wilderness for fourteen years, while the succession passes to her son Bharata.

The heartbroken king, constrained by his rigid devotion to his given word, accedes to Kaikeyi's demands. Rama accepts his father's reluctant decree with absolute submission and calm self-control which characterizes him throughout the story. He is joined by Sita and Lakshmana. After Rama's departure, king Dasharatha, unable to bear the grief, passes away. Meanwhile, Bharata who was on a visit to his maternal uncle, learns about the events in Ayodhya. 

Bharata refuses to profit from his mother's wicked scheming and visits Rama in the forest. He requests Rama to return and rule. But Rama, determined to carry out his father's orders to the letter, refuses to return before the period of exile. It is here that Raam counsels the gried-struck younger brother about realities of life. This scene is one of the hallmarks and defining moments of the Raam's story which unravels his steady mind, his unwavering adherence towards truth and promise and his love towards his family. At the end of this scene, Bharata carries Rama's sandals, and keeps them on the throne, while he rules as Rama's regent.

Geet Ramayan is a collection of 56 songs in Marathi, written by noted litterateur G.D.Madgulkar and composed and sung by Sudhir Phadke. The collection of songs contains the gist of Ramayana in chronological sequence. Following, is the 25th song of the album which is one of the most philosophical compositions of modern Marathi literature..

Paradhin ahe Jagati Putra Maanavacha

दैवजात दुःखे भरता, दोष ना कुणाचा
पराधीन आहे जगती पुत्र मानवाचा, दोष ना कुणाचा.... (धृ)


It is destiny that breeds misfortune, dear brother (Bharat), its not your fault... Mankind is dependent on other higher forces, it not your fault...


माय कैकेयी ना दोषी, नव्हे दोषी तात,
राज्यत्याग काननयात्रा, सर्व कर्म जात,
खेळ चाललासे माझ्या, पूर्व-संचिताचा,
पराधीन आहे जगाती, पुत्र मानवाचा, दोष ना कुणाचा... १


It isn't the fault of Mother Kaikeyi, nor is it father's misjudgement.. Abdication of kingdom and Exile was all borne out my Karma.. It is the fruits of previous karma, that I am facing, dear brother, don't blame yourselves for my misfortune... 1


अंत उन्नतीचा पतनी होई या जगात,
सर्व संग्रहाचा वत्सा, नाश हाच अंत
वियोगार्थ मिलन होते, नेम जगाचा
पराधीन आहे जगती, पुत्र मानवाचा, दोष ना कुणाचा...२


The climax of all progresses in this world is in downfall. The end of all "collection" is always desolation, my dear.. People meet to say goodbye eventually, dear brother.. Don't blame yourselves.. 2


जिवासवे जन्मे मृत्यू, जोड जन्मजात
दिसे-भासे ते ते सारे, विश्व नाशिवंत
काय शोक करिसी वेड्या, स्वप्नीच्या फळांचा??
पराधीन आहे जगती पुत्र मानवाचा, दोष न कुणाचा...३ 


"Death" and "life" are siblings, dear, both come into existence together, one cannot exist without another.. Whatever you can see and perceive is all going to fade away like a dream, one day.. Why then are you sorrowful of dream fading away, dear brother?? - 3


तात स्वर्गवासी झाले, बंधू ये वनांत
अतर्क्य ना झाले काही, जरी अकस्मात
मरण कल्पनेशी थांबे तर्क जाणत्यांचा
पराधीन आहे जगती, पुत्र मानवाचा, दोष ना कुणाचा...४


I understand it is shocking to realize death of father and exile of brother.. Although it isn't unthinkable, it was all too sudden.. The flight of human imagination stops with prospects of death, dear brother, don't be so grief-struck...4


जरा-मरण यातून सुटला, कोण प्राणीजात ??
दुःख मुक्त जगला का रे, कुणी जीवनात??
वर्धमान ते ते चाले मार्ग रे क्षयाचा
पराधीन आहे जगती पुत्र मानवाचा, दोष न कुणाचा...५


But tell me, did any living being escape from old-age and death?? Did anyone live without having to face sorrows and misfortunes?? Whatever is walking the path of growth today, is also walking the path of eventual decline... Why then be so upset, dear brother, my misfortunes aren't your fault...5


दोन ओंडक्यांची होते, सागरात भेट, 
एक लाट तोडी दोघां, पुन्हा नाही गाठ
क्षणिक तेवी आहे बाळा, मेळ माणसांचा
पराधीन आहे जगती, पुत्र मानवाचा, दोष ना कुणाचा...६ 


Its like two logs of wood floating in ocean... The waves bring those logs together for some time and then same waves break their bond, the logs separate never to meet again... The association of men in this world is similar, dear brother...6


नको आंसू ढाळू आता, पूस लोचनास
तुझा आणि माझा आहे, वेगळा प्रवास
अयोध्येस हो तू राजा, रंक मी वनीचा
पराधीन आहे जगती, पुत्र मानवाचा, दोष ना कुणाचा...७ 


Do not shed tears now, wipe your eyes.. Your journey and mine is different... Go and become king of Ayodhya, while I become a hermit in forests...7


नको आग्रहाने मजसी, परतवूस व्यर्थ
पितृवचन पाळून दोघे, होऊ रे कृतार्थ
मुकुट-कवच धारण करी, का वेश तापसाचा?
पराधीन आहे जगती, पुत्र मानवाचा, दोष ना कुणाचा...८


Don't force me to return, brother I won't budge... Lets honour father's word and give his soul and ours, peace... What difference does it make to that inner peace if one wears royal clothes OR straps of hermit?? Do not blame yourselves...8


संपल्याविना ही वर्षे, दशोत्तरी चार
अयोध्येसी नाही येणे, सत्य हे त्रिवार,
तूच एक स्वामी आता, राज्य-संपदेचा
पराधीन आहे जगती, पुत्र मानवाचा, दोष ना कुणाचा...९


Without completing the exile of 14 years, I will not return to Ayodhya and this is final truth.. You and you alone, dear brother, are true owner of the kingdom.. return and rule without blaming yourselves...9


पुन्हा नका येऊ कोणी दूर या वनांत
प्रेमभाव तुमचा माझ्या जागता मनात
मान वाढावी तू लोकी अयोध्या पुरीचा
पराधीन आहे जगती पुत्र मानवाचा, दोष ना कुणाचा...१०


Please, do not return to forests to persuade me.. Know that in spite of what transpired, I still love you... Go and make Ayodhya Rich and prosperous by ruling Justly... Do not blame yourselves...10

Romantic Frolics of Krishna and Radha - An erotic poem from Jayadeva's Geeta-Govinda

This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 2.5 India License.

This poem is present in Jayadeva's Geeta-Govinda. Jayadeva (जयदेव) was a Sanskrit poet, who lived in region what is now known as Orissa, circa 1200 AD. His epic poem Geeta-Govinda depicts the divine love of the Krishna and Radha. It is said that he was the first person to bring in and elaborate the character of "Radha" in Krishna's life.

In original Mahabharata and harivamsha, there isn't much description of Radha. However, Geeta-Govinda made Radha so popular that today it is impossible to find any temple of Krishna without Radha. The term "Raadhe-Krishna" by Jayadeva has immortalized this love story which is lost in obscurities of history.

It became interesting to see, what the meaning of Raadha is. The term Raadha (राधा) comes from two words, Raa (रा) and Dhaa (धा).. The word root "Raa (रा)" means "To desire".. "Dhaa(धा)" means knowledge. Raadhaa is any person OR individual who desires knowledge. The knowledge here refers to Paraa-Vidya or Moksha/nirvana. Thus, a person ardently desiring nirvana is Raadha. And Krishna refers to Supreme Ishwara in Dvaita traditions (Dualistic traditions of Vedanta).

The treatise of "Geeta-Govinda" is famous for generous use of "Shringaar-rasa" (erotica) to describe the love between "Raadhaa" and "Krishna". While the descriptions are elegant and fantastically beautiful, one has to keep in mind the real meanings of "Raadha" and "Krishna" while reading them. Without these metaphors at the back of the mind, the meaning and purpose and the delight of these poems is lessened, although not lost.

This treatise also tells us a lot about liberal nature of Indian society prior to Abrahmic onslaught. The beauty of "sex" was banned and tabooed by the Victorian moral police of 19th century under British rule and the ability of Indians to appreciate the beauty of erotica and sex lost. In modern times, the "protectors of Indian culture", who go on cheaply harassing lovers and artists, need to stop being such losers and read up themselves, how our ancestors enjoyed the delights of the most beautiful art and science in human life - The art and science of Love-making.

Little background before reading the poem

Krishna has left Vrindavana for Mathura and Radha is lamenting his going away. She is reciting her agony and pain of loss by remembering the beautiful moments of love between her and Krishna to her friend (a fellow Gopi) in this poem and wishing that those beautiful days soon return. Wishes that Krishna were here... now... I have tried to do a feeble justice with the translation, however, readers are requested to read it few times in the specific rhythm for added pleasure. With decent knowledge of any Indian language, the reader will understand the nuances and subtle similes in the poem. 


अक्लेश केशव मंजरी तिलकम् - अष्टपदी 8.

निभृत निकुञ्ज गृहम् गतया, निशि रहसि निलीय वसन्तम्...
चकित विलोकित सकल दिशा, रति रभसभरेण हसन्तम्
सखि हे केशि मथनम् उदारम्,
रमय मया सह मदन मनोरथ भावितया सविकारम्... (Dhripad)

Oh (girl)friend, one night when I visited a lonely prearranged alcove to meet him, he, that bounteous pleasure-giver was, already there waiting for me but hiding in the darkness... and while I was startled not finding him there and started searching him, he appeared with all his lustful smile looked at me... and then he, filled with hastiness for an intimacy, embraced me... now why don't you make him take delight in me, when my heart is filled with love for him..

प्रथम समागम लज्जितया, पटु चाटु शतै: अनुकूलम् .
मृदु मधुर स्मित भाषितया, शिथिली कृत जघन दुकूलम्
सखि हे केशि... २.

"On my first meeting I was bashful, but he spoke hundreds of reassuring words, and while I was speaking softly, sweetly, my silken dress slipped off my hips... now why don't you make him to take delight in me, when my heart and mind are filled with love for him...

किसलय शयन निवेशितया, चिरम् उरसि ममैव शयानम् .
कृत परिरम्भण चुम्बनया, परिरभ्य कृत अधरपानम् .. ३..
सखी हे केशमथनम् उदारम् ... (धृपद)

"After reposing me on a bed of tender grass, he lay on my chest all the time, and on making embraces and kisses, he hugged me and swill my lower lip, graspingly... now why don't you make him to take delight in me, when my heart and mind are filled with love for him... 

अलस निमीलित लोचनया पुलक आवलि ललित कपोलम्, 
श्रमजल सकल कलेवरया, वर मदन मदाद् अति लोलम् .. ४..
सखी हे केशमथनम् उदारम् ... (धृपद)

"My eyelids were slouching with pleasure and fatigue, his delicate cheeks too, experienced a series of tingles, and our bodies were drenched in sweat, while he was wholly jiggling with passionate intemperance... such as we were, now why don't you make him to take delight in me, when my heart and mind are filled with love for him...

कोकिल कलरव कूजितया, जित मनसिज तन्त्रविचारम् .
श्लथ कुसुम आकुल कुन्तलया, नख लिखित घन स्तनभारम् .. ५..
सखी हे केशमथनम् उदारम् ... (धृपद)

"I was cooing and moaning like a koel and a pigeon, he, who has mastered every art of Love, was pondering... and then, my flowers in my hair crushed and braids tousled, the scratch-marks of his nails arose on my busty bosoms... such as we were, now why don't you make him to take delight in me, when my heart and mind are filled with love for him... 

चरण रणित मणी नूपुरया, परि पूरित सुरत वितानम् 
मुखर विशृङ्खल मेखलया सकच ग्रह चुम्बन दानम् .. ६..
सखी हे केशमथनम् उदारम् ... (धृपद)


"My anklets that usually jingle in my feet started jingling more as he copulated with me in different conjoining postures, and while at it the golden chain in my girdle fell down, while he grasped my hair bun to give a dole of kiss, such as we were, now why don't you make him to take delight in me, when my heart and mind are filled with love for him...

रति सुख समय रसा अलसया, दर मुकुलित नयन सरोजम् .
निःसह निपतित तनु लतया, मधुसूदन मुदित मनोजम् .. ७..
सखी हे केशमथनम् उदारम् ... (धृपद)

"I, with my vine-like curvacious and delicate body lay on bed of tender grasss, relaxing delightedly because of union, he too was weakened, and his lotus like eyes were half-closed, though while laying on lawn, there again arose passion in him for me... such as we were, now why don't you make him to take delight in me, when my heart and mind are filled with love for him

श्री जयदेव भणितम् इदम् अतिशय, मधु रिपु निधुवन शीलम् .
सुखम् उत्कण्ठित गोपवधू कथितं वितनोतु सलीलम् .. ८..

This song that contains the accounts of Krishna's romantic frolics, as said by poet Jayadeva, who always worships the feet of Goddess Lakshmi, and as retold by me, an ecstasied milkmaid Raadha, let this song broadly pass blessedness all round..

अप्सरा आली - Apsara Aali...

This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 2.5 India License.

There are two versions of this song. Posting them both here.

Zee talkies awards performance (personal favourite and recommended) -

OST from the film-

कोमल काया की मोहमाया पुनव चांदणं न्हाले

सोन्यात सजले, रुप्यात भिजले रत्नप्रभा तनु ल्याले

ही नटली थटली जशी उमटली चांदणी रंगमहाली

मी यौवन बिजली पाहून थिजली इन्द्रसभा भवताली - 1

अप्सरा आली इन्द्रपुरी तुन खाली

पसरली लाली रत्नप्रभा तनु ल्याली

ती हसली गाली चांदणी रंगमहाली

अप्सरा आली पुनव चांदणं न्हाली- 2

छबीदार सुरत देखणी जणू हिरकणी नार गुलझार

सांगते उमर कंचुकी बापुडी मुकी सोसती भार

शेलटी खुणावी कटी तशी हनुवटी नयन तलवार - 3

ही रती मदभरली नारी ठिणगी शिणगाराची

कस्तुरी दरवळली दारी झुळूक ही वाऱ्याची

ही नटली थटली जशी उमटली चांदणी रंगमहाली

मी यौवन बिजली पाहून थिजली इन्द्रसभा भवताली - 4

अप्सरा आली इन्द्रपुरी तुन खाली

पसरली लाली रत्नप्रभा तनु ल्याली

ती हसली गाली चांदणी रंगमहाली

अप्सरा आली पुनव चांदणं न्हाली - 5

**Translation

(she has) soft and smooth body, is it an illusion OR is it silken starry night of full-moon's day,

endowed with skin glowing with radiance as if drenched in gold, silver and jewels,

she dressed up and appeared in front of us as if the star of venus,

(She says) I am the electrifying lightening of youth, who stunned the court of Indra Himself... - 1

Apsara (celestial nymph) has descended from heavens,

Thus ushered in the bright red colours of dawn due to her body studded with jewels,

she smiled, and the star of venus just got brighter,

Apsara has come, drenched in the calm moonlight... - 2

With her body is well sculpted, with beautiful face which is radiant like a precious diamond, She's a refreshing lady..

Her large and firm breasts in blouse speechlessly hint at her youth,

The delicate and dimpled chin resembles her curvaceously inviting backside and eyes are sharp as sword... - 3

she is Rati, a spark of erotica, overflowing with oomph..

she is fragrant like kastoori (musk) dispersed everywhere by cool breeze,

she dressed up and appeared in front of us as if the star of venus,

(She says)I am the electrifying lightening of youth, who stunned the court of Indra Himself... - 4

Apsara (celestial nymph) has descended from heavens,

(her coming) ushered in the bright red colours of dawn as if that of body studded with jewels,

she smiled, and the star of venus just got brighter,

Apsara has come, drenched in the calm moonlight...- 5

Poet - Guru Thakur

Singer - Bela Shende and Chorus

Music - Ajay-Atul

Choreographer - Phulva Khamkar

Film - Natarang (2010)

One of the very good songs from recent movie, Natarang... The laavni is written by Guru Thakur in style of legendary performer, Patthe Bapurao. The lyrics are extremely erotic, yet very subtle and suggestive, especially the description of the celestial nymph in third stanza... The metaphors used by Guru are so beautiful that once the meaning of the lines dawn, a wide smile of appreciation comes on the face of the listener..

This song is a treat for those who love music. The percussion of this song is especially worth applauding. The rhythm used is Keherva (8 beats per cycle) and organized in four levels of complexity (4, 8, 16, 24 beats in same cycle). Amazing organization of percussion by Ajay-Atul.

Bela Shende is exemplary with her voice. And Of course, Sonali Kulkarni.. man, she looks gorgeous.. From this song onwards, when I hear the word "Apsara" I associate Sonali Kulkarni from this song with that word.. Beautiful Album and fantastic movie...

**Edited later on 08/02/2010 to add a crude translation

Necessity for a Common script and National Integration..

This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 2.5 India License.

The issue of a common link-language for India has been around for long time now. However, the entrenched linguistic pride of speakers of different languages have made it difficult to attain the solution to the issue. The language "Hindi" which is being propagated by Central government as a candidate for link-language has met severe opposition, especially from South Indian states.

I propose a novel solution to this problem of linking the people of India with each other. The solution according to me is not common link-language, but a common script for writing all the Indic languages. Here, a tamil song written in Devanagari script is produced to demonstrate the ease with which it can be flawlessly rendered by any person who can read Naagari script.

Aazhivilae mukkulikum azhage (click to view the Tamil Song)

आळीइले मुक्कुलिक्कुम अळगे
आवियिले तत्तलिक्कुम अळगे

उन कुळलोडु विलैयाडुम काटराग उरुमारी
मुन्दानै पडि येरवा .... मूचोडु कुडि येरवा....
उन इडै ओडु नडमाडुम उड़याग नान मारी
एन्ना लुम सूडेरवा...एन जन्मं ईडेरवा...

आळीइले मुक्कुलिक्कुम अळगे
आवियिले तत्तलिक्कुम अळगे

उन तिनेंड्र कन्नत्तिल तिम्मेंड्र नेंजतिल
इचेंड्र इदळ वैक्कवा.... इच्चै पोल इलै वैक्कवा...
उन उम्मेंड्र सोल्लुक्कुम इम्मेंड्र सोल्लुक्कुम
इप्पोदे तडै वैक्कवा...मौनतिल कुडि वैक्कवा....

अगम पादी मुगम पादी नगम पायि सुगम मीदि

मरैतालुम मरक्कादु अळगे..
अडि वानं सिवंदालुम कोडी पूकल पिलंदालुम
उनै पोल इरुकादु अळगे...

अळगे अळगे वियक्कुम अळगे...
अळगे अळगे वियक्कुम अळगे...

Translation -

Oh beautiful shining pearl... Oh ravishing beauty...

Shall I turn into cool breeze and caress your curly locks of hair..

Shall I become the cloth you wear and feel the warmth of your body....

Or Shall I become your breath...

And attain Nirvana...

Oh Beautiful Shining pearl...Oh Ravishing beauty...

Shall I kiss you on your cheeks, and also touch your heart

And let you know all my unspoken desires...

Should I stop all your gasps of "aah" and "umm"...

Or should I put an end to your silence...

The pleasure given by your beautiful face, your divine body is unforgettable...

Neither the horizons of dawn and dusk, nor the divine Lotus from heavens match your surreal grace...

Oh beautiful.. Oh Beauty.. Simply wonderful beauty....

................................

Beautiful song with ethereal Kangana Ranaut on screen personifies the very epithets of sensuality and erotica.. The lyrics and the "Bhaavam" of the singer expresses it all, I need not say anything more, as it will be an insult to the composition. Kudos to Lyricist, Music Composer and Singer.

However,

The exercise of writing this song in Naagari script gave me an insight regarding the unity in diversity of India. One has to understand that script is not equal to language, it is merely a way of representing a language. I have represented Tamil in Devanaagari script, similarly it is possible to write any language in any script, as long as the pronunciation of that version is same as OR very closely similar to the original.

I noticed one thing during my stay in Europe, that over the period of time Europeans have standardized their script. All the major European languages, except Greek and Russian, use Roman script for writing their language. The linguistic rules and pronunciation patterns of different alphabets, vowels and words have been standardized according to the necessities of every individual language. However, the script in general is uniform. This makes it relatively easier to learn and partially understand other European languages, once one knows any particular European language proficiently.

For example, a French person does not find it difficult to read German language (although with French accent) as both languages are written in same script. Furthermore, since both the languages are derived from Latin, it is relatively easier to understand certain words which are derived from Latin/Greek because they more or less mean the same things in all the European languages. The Slavic languages (Polish, Czech, Slovakian, Macedonian) are somewhat different from Latin derived languages, with quite different pronunciation patterns, yet they too use Roman script with appropriate modifications.

When we apply this scenario to India, we have 26 official languages, most of which are written in at at least 10-15 different scripts. All of the North-Indian languages are derived from Sanskrit and South Indian languages have many Sanskrit words which have been borrowed over the period of time. It is easier for any Indian with fair understanding of his own mother-tongue to vaguely understand any other Indian language, if he is able to read it and give some thought to it.

If one script is used for writing all the languages of India, a Punjabi person who can proficiently read the common script, will be able to communicate with a Tamilian, when he is visiting Chennai. Similarly, a Bengali person will very easily be able to establish a very rudimentary communication with a Gujarati person in his own language.

As literacy is spreading in India, more people know to read and write. Written language will be of more and more importance in India henceforth. Single Common Script will bring about a tremendous boost to sense of National integrity in India. Instead of forcing some language (Hindi) on non-native Hindi speakers, it makes more sense to introduce common script and let everybody keep their own language, without having to force a common linking language on people.

A Maharashtrian like me can read this song exactly like a native Tamil speaker does, just because it is represented in script which I can read. Everybody on this blog, who can read Devanaagari script can perfectly read this song. Imagine how easy will it be for a Bengali tourist in interior Karnataka with a quick-learn kannada book (written in common script) to establish rudimentary communication with local Kannadiga in his own language. The sense of alienation will slowly start decreasing and integration will be on rise.

Furthermore, those interested in literature of languages will then have greater access to the languages, which were previously unreadable, because it is written in common script. This will help towards enrichment of all the languages of India as ideas will flow throughout India transcending the barriers of script and anonymity. Diversity will enrich and unity won't be sabotaged in the process. Not at the cost of Unity.

Unlike Europe, India's core Sanskriti is very strong and efficient towards politically and culturally consolidating India time and again. Uniformity brought about in the script will keep the Indic core tightly unified in these hard times when peripheral and centrifugal forces in India are gathering momentum.

We need a common script and all Indian languages must be written in common script. This is the need of hour.

**Acknowledgements - I sincerely thank Mr. Sathyanarayan Rangarajan and Mr. Kartik Srinivasan for helping me in writing and editing this song in Devanagari script.