ಜಾರೆಯ ಕಾಲ್ಗೆಜ್ಜೆಯ ನಾದವು, ಮೌನವನು ಮುರಿದು,ಅವಳು ಕಂಡ ಹೊಸ ಸುಂದರನ ಎದೆಬಡಿತವನ್ನು ಹೆಚ್ಚಿಸಿ,ಅವಳ ಸಮೀಪಕ್ಕೆ ಕರೆತರಲು ಒದಗಿತು(ಸಹಾಯ ಮಾಡಿತು) ಎಂಬುದು ಈ ಪದ್ಯದ ಅರ್ಥ .
“ಆಹಾರ” ದ ಬಳಕೆ ಸರಿಯಿಲ್ಲವೇನೋ ಎಂಬ ಸಂಶಯ 🙂
ಶಂಕರನು ಸಂತೆಯಲ್ಲಿ ತನ್ನ ಮಗಳನ್ನು ಹೆಗಲ (ಕತ್ತಿನ) ಮೇಲೆ ಕೂರಿಸಿಕೊಂಡಿದ್ದಾಗ ಅವಳ ಪುಟ್ಟ ಕಾಲುಗಳು ಅವನ ಕಂಠವನ್ನು ಬಳಸಿದ್ದರಿಂದ ಅವಳ ನೂಪುರಗಳು ಅವನಿಗೆ (ಚಿಕ್ಕ) ಹಾರದ ಹಾಗೆ ಆಯಿತು.
When Shiva did His sky-piercing urdhvatANDava, the starlets took refuge at His feet (as a nUpura). (Taking compassion on them) Shiva ordered his follower (the moon), who was garlanded by this thread of the anklet – i.e., the moon became tArApati at Lord Shiva’s order. (This differs from the purANic version, of course. This verse is my imagination)
Having witnessed the grandeur of a dance performance, at the end of which the anklet bells got disengaged (due to the impact of the performance), the remaining anklet thread became akin to a garland of the viewers of the performance, indeed, the savourers of the essence of art.
राधिकाविरहितस्य हरेर्वै रासभूम्यटनतत्परकाले ।
मुक्तमौक्तिकगणा च विनाथा हारतां भजति नूपुरपाली ॥
Lord Krishna, suffering the pangs of separation from His beloved Radha, roamed around at the site of the raasa hoping to find succor, finds an anklet thread, devoid of pearls and its owner. He then proceeded to garland Himself with that anklet-thread.
नृत्यलोकसकलेशितुरस्य स्वर्गतस्य पटचित्रगतस्य ।
शिष्यकोटिपरिवारविहारे हारतां भजति नूपुरपाली ॥
In the building of innumerable disciples of that Dance Master who had proceeded to Heaven and was framed in a picture, his anklet-thread was used as his garland.
When Shiva did His sky-piercing urdhvatANDava, the starlets took refuge at His feet (as a nUpura). (Taking compassion on them) Shiva ordered his follower (the moon), who was garlanded by this thread of the anklet – i.e., the moon became tArApati at Lord Shiva’s order. (This differs from the purANic version, of course. This verse is my imagination)
Having witnessed the grandeur of a dance performance, at the end of which the anklet bells got disengaged (due to the impact of the performance), the remaining anklet thread became akin to a garland of the viewers of the performance, indeed, the savourers of the essence of art.
राधिकाविरहितस्य हरेर्वै रासभूम्यटनतत्परकाले ।
मुक्तमौक्तिकगणा च विनाथा हारतां भजति नूपुरपाली ॥
Lord Krishna, suffering the pangs of separation from His beloved Radha, roamed around at the site of the raasa hoping to find succor, finds an anklet thread, devoid of pearls and its owner. He then proceeded to garland Himself with that anklet-thread.
नृत्यलोकसकलेशितुरस्य स्वर्गतस्य पटचित्रगतस्य ।
शिष्यकोटिपरिवारविहारे हारतां भजति नूपुरपाली ॥
In the building of innumerable disciples of that Dance Master who had proceeded to Heaven and was framed in a picture, his anklet-thread was used as his garland.
ಮಾರ್ಕಂಡೇಯವರಪ್ರದಾನ-ಪ್ರಸಂಗದಲ್ಲಿ ಶಿವನು ಯಮನನ್ನು ಒದೆಯಲು ತನ್ನ ಕಾಲನ್ನು ಒಮ್ಮೆಗೇ ಎತ್ತಿದಾಗ ಅದರಲ್ಲಿಯ ಕಿಂಕಿಣಿಗಳು ಕೆಳಗೆ ಬಿದ್ದು, ದಾರವು ಮಗುವನ್ನು (ಮಾರ್ಕಂಡೇಯನನ್ನು) ಅಪ್ಪಿಕೊಳ್ಳಬೇಕೆಂಬ ಆಸೆಯಿಂದ ಅವನಿಗೆ ಹಾರವಾಯಿತು.
don’t know kannada. English will help
I’m not able to understand your comment. Can you please elaborate?
Two types of pUraNa-s, one with SRngaara and the other with neeti:
स्वप्रसाधनविधानरतायां
नर्मकल्पनविकल्पकलायाम् ।
मत्प्रियागमनकातरितायां
हारतां भजति नूपुरपाली ॥
यत्र सन्ति न विवेकविधेया
यत्र भान्ति न विनीतिविनेयाः ।
तत्र याति सकलं विकलार्थे
हारतां भजति नूपुरपाली॥
स्मारशास्त्रविधुषीबहुभोग्या-
कामचालितविलास्यकपादै-
र्नष्टचित्तरतिलंपटकन्ठे
हारतां भजति नूपुरपाली ||
ಪ್ರಿಯ ಸೋಮ,
ಪೂರಣ ಚೆನ್ನಾಗಿದೆ. ಕೆಲವೊಂದು ಸವರಣೆಗಳೊಡನೆ ನಿನ್ನ ಪದ್ಯವು ಹೀಗಿರಬಹುದು:
ಮಾರಶಾಸ್ತ್ರವಿದುಷೀ ಬಹುಭೋಗ್ಯಾ
ಕಾಮಚಾಲಿತವಿಲಾಸಕಪಾದೇ |
ನಷ್ಟಚಿತ್ತರತಿಲಂಪಟಕಂಠೇ
ಹಾರತಾಂ ಭಜತಿ ನೂಪುರಪಾಲೀ ||
ಧನ್ಯವಾದಗಳು ಸರ್
यौवनाभ्यसितयोगबलस्य
संयमस्तिमितदेहभरस्य ।
योगिनः पदयुगं गलमेति
हारतां भजति नूपुरपालि ॥
ಒಳ್ಳೆಯ ಪೂರಣ; ಧನ್ಯವಾದಗಳು.
॥नमश् चण्डिकायै॥
दैत्यकण्ठमधि तिष्ठति पादे
दीर्णदेहगतशूलसमीपे।
लास्यताण्डवयुगे रचितेऽस्मिन्
हारतां भजति नूपुरपालिः॥
http://oneearthsacredarts.com/wp-content/uploads/2012/11/durga-detail.jpg
[शोधनम् – वक्ष→देह]
पूरणं तु रमणीयमिदं ते
मित्रवर्य ! मुदमेति मनो मे ।
अत्र किं च कवने तव ’वक्षः’
शब्द एष नु नपुंसि; न पुंसि ॥
बन्धुरस्य तव कारुणिकस्य
दोषमार्जनमहो किल पादः।
स्वागता चरणनूपुरमास्ते
हारतां भजति नूपुरपालिः॥
अङ्कुरमिमं वर्धयता मया किञ्चन स्तोत्रकाव्यं व्यरचि। कृपया दोषास् सूच्यन्ताम्।
ವ್ಯಲೋಕಿ ಪದ್ಯಾನಿ ಭವನ್ಮತಾನಿ|
ಶಬ್ದೈಕದೃಷ್ಟ್ಯಾ ವಿಗತಚ್ಯುತೀನಿ||
ತಥಾಪಿ ಕಾವ್ಯಾರ್ಥವಿದಾಂ ಮುದೇ ಸ್ಯಾತ್|
ಸಾಲಂಕೃತಾ ಕಾಚನ
ರಕ್ತರೀತಿಃ||
सम्यगस्ति भवता लिखितं स्तोत्रकाव्यम् ।
स्वर्णलोहकृतभूषणमोहाद्वर्णलेपमयसां स दरिद्रः।
चक्र इत्यत नदीपयसामाहारतां भजति नूपुरपालिः॥
ಕೃಪಯಾ ಅರ್ಥಃ ಸ್ಫುಟೀಕ್ರಿಯತಾಮ್
दरिद्रः अयसः आभरणस्य स्वर्णवर्णलेपनं कृतवान्। स वर्णः नद्यां विनष्ट इति भावः।
ಮೀರಿ ಮೌನವನು ನಾದ ಮಾಡುತುಂ
ಏರಿಸುತ್ತಲೆದೆ ವೇಗಮಂ ದಿಟಂ
ಜಾರೆ ಕಂಡ ಪೊಸ ಮಾರಗೊಪ್ಪದಾ
ಹಾರಮಾದುದಲ ಕಾಲ ನೂಪುರಂ
(ಆಹಾರ=ಸಮೀಪಕ್ಕೆ ತರುವುದು)
(ಮಾರನನ್ನು ಬಳಿಗೆ ತರುವದಕ್ಕೆ ಸರಿಯಾದುದಾಯಿತಲ, ಕಾಲ ನೂಪುರ)
ಒಪ್ಪದ+ಆಹಾರ=ಒಪ್ಪದಾಹಾರ
ಅರ್ಥವೇಕೊ ತಿಳಿಯಲ್ಕೆ ಕಷ್ಟವಯ್!
ಜಾರೆಯ ಕಾಲ್ಗೆಜ್ಜೆಯ ನಾದವು, ಮೌನವನು ಮುರಿದು,ಅವಳು ಕಂಡ ಹೊಸ ಸುಂದರನ ಎದೆಬಡಿತವನ್ನು ಹೆಚ್ಚಿಸಿ,ಅವಳ ಸಮೀಪಕ್ಕೆ ಕರೆತರಲು ಒದಗಿತು(ಸಹಾಯ ಮಾಡಿತು) ಎಂಬುದು ಈ ಪದ್ಯದ ಅರ್ಥ .
“ಆಹಾರ” ದ ಬಳಕೆ ಸರಿಯಿಲ್ಲವೇನೋ ಎಂಬ ಸಂಶಯ 🙂
ತಪ್ಪಾಗಿದ್ದಲ್ಲಿ , ಹೀಗೊಂದು ಸವರಣೆ 🙂
ಮೀರಿ ಮೌನವನು ನಾದ ಮಾಡುತುಂ,
ಏರಿಸುತ್ತಲೆದೆ ವೇಗಮಂ ದಿಟಂ
ಜಾರೆಗಾದವಗೆ, ಮೋಹವರ್ಧಕಾ-
ಹಾರಮಾದುದಲ , ಕಾಲ ನೂಪುರಂ.
ಇದೀಗ ಪದ್ಯಾರ್ಥವು ಸ್ಫುಟವಾಯಿತು; ತುಂಬ ಚೆಲುವಾದ ಕಲ್ಪನೆ, ಅಭಿನಂದನೆಗಳು. ಆದರೆ ಭಾಷೆಯಲ್ಲಿ ನಡುಗನ್ನಡದ ನಡೆ ಹೆಚ್ಚಾಯಿತು:-)
ಧನ್ಯವಾದಗಳು 🙂
मल्लिकाभनखपङ्क्तिसमेतं
चन्दनार्द्रकमनीयसुगन्धि । (मेन्धिकारचितचित्रविशेषम् ।)
पादपङ्कजयुगं रमणीयं
हारतां भजति नूपुरपालि ॥
ಉತ್ತಮೋತ್ತಮಕವಿತ್ವಕಲ್ಪನಂ
ಹೃತ್ತಮೋಹರಣಭಾಸ್ಕರಕಲ್ಪಮ್ |
ಕೃತ್ತಮತ್ರ ಹೃದಯೇಷು ಸೌಹೃದಾಂ
ತತ್ತದುಜ್ಜ್ವಲಪದೈರಧಿಶಿಲ್ಪಮ್ ||
(ಇದಂ ತು ರಥೋದ್ಧತ-ಸ್ವಾಗತಯೋಃ ಸಮ್ಮಿಶ್ರಣಂ; ಪ್ರಾಯೇಣ ಸ್ವೋಪಜ್ಞ ಏವ ನೂತನ ಉಪಜಾತಿಪ್ರಭೇದಃ)
This poem is dedicated to friend Shankara’s love for his daughter.
मॆलकॆ वहति शंकरशर्मा
प्रेमतॊ दुहितरं निजकन्ध्यां ।
कन्ठलग्नपदयुग्मकतॊ सा
हारतां भजति नूपुरपाली ॥
मेलकं = ಸಂತೆ, fair
कन्धि: = ಕತ್ತು, neck
ಶಂಕರನು ಸಂತೆಯಲ್ಲಿ ತನ್ನ ಮಗಳನ್ನು ಹೆಗಲ (ಕತ್ತಿನ) ಮೇಲೆ ಕೂರಿಸಿಕೊಂಡಿದ್ದಾಗ ಅವಳ ಪುಟ್ಟ ಕಾಲುಗಳು ಅವನ ಕಂಠವನ್ನು ಬಳಸಿದ್ದರಿಂದ ಅವಳ ನೂಪುರಗಳು ಅವನಿಗೆ (ಚಿಕ್ಕ) ಹಾರದ ಹಾಗೆ ಆಯಿತು.
शृग्ङारसीमानमतीत्य धीरस्सुधीरशर्मा कवितासुकर्मा ।
वात्सल्यहल्यां नु रसां स्वपद्यकुल्यानुकूल्यां तरसा चकार ॥
(हल्या नाम हलेन कर्षणीया वा कर्षणयॊग्या भूमिरित्यर्थः)
कृतकृत्योऽस्मि पद्येनानेन
my solution involving Sringaara coming soon….. 🙂
दृप्तया प्रमदयोरसि भर्तु-
र्घातिते कुपितयाङ्घ्रितलेन ।
तद्गले कृतपदा बत तस्या
हारतां भजति नूपुरपाली ॥
स्वानुभूतिरमला क्वचिदास्ते
किं नु मित्र ! पेजतायकुलीन! 🙂
हन्त ! हन्त ! किमु तर्कितमेषा
दुःस्थितिस्तु मम जातु न जाता ।
तथ्यमेतदिह मद्विषये तु
हार एति वरनूपुरभूयम् ॥ 😉
आत्मीय रामकृष्ण, वरनूपुरभूयम् इति पदस्यार्थं नाज्ञासिषम्। कृपया समासं विभज्य निरुच्यताम्।
विश्वासवर्य !
वरः ( श्रेष्ठः ) नूपुरः – वरनूपुरः । तस्य भावः वरनूपुरभूयम् ।
नूपुरत्वम् इत्यर्थे नूपुरभूयम् इति शब्दः ।
बन्धो गणेश, “किं नु मित्र ! पेजतायकुलीन” इति कस्मिंश् छन्दसि?
स्वागतमेव; किं तु देशभाषासु पेज(त्त)ताय पदे पे वर्णो लघुरेव। अतॊ हि सर्वं समीचीनम् 🙂
आह – एवम्! अधुनावगतम्।
परं भवतष् टङ्कनेषु बहुशः “केकॆ / को कॊ” इति मात्राणां प्रयोगे प्रमादो दृश्यते। देवनागर्यां ह्रस्व-एकार-ओकाराभ्यां “कॆकॊ” इत्यत्र दृश्यमाने मात्रे विहिते। “केको” इत्यत्र दृश्यमाने तु दीर्घायैव।
पुनरेकः परिहारः समस्यायाः किञ्चित् परिवर्तनं कृत्वा —
आहारतां भजति गात्रविशाली
प्रहारतां भजति कङ्कणपाली ।
संहारतां भजति चायुधपाली
विहारतां भजति नूपुरपाली ॥
My 4c…
ताण्डवाख्य-ख-विदारणनृत्ये तारका नटविराड्पदपन्नाः ।
शम्भुवाक्यमनुपालयतो वै हारतां भजति नूपुरपाली ॥
When Shiva did His sky-piercing urdhvatANDava, the starlets took refuge at His feet (as a nUpura). (Taking compassion on them) Shiva ordered his follower (the moon), who was garlanded by this thread of the anklet – i.e., the moon became tArApati at Lord Shiva’s order. (This differs from the purANic version, of course. This verse is my imagination)
नृत्यवैभवममन्दममोघं दारयन्मुखरमौक्तिकगुम्फम् ।
पश्यतां ननु कलारसपानां हारतां भजति नूपुरपाली ॥
Having witnessed the grandeur of a dance performance, at the end of which the anklet bells got disengaged (due to the impact of the performance), the remaining anklet thread became akin to a garland of the viewers of the performance, indeed, the savourers of the essence of art.
राधिकाविरहितस्य हरेर्वै रासभूम्यटनतत्परकाले ।
मुक्तमौक्तिकगणा च विनाथा हारतां भजति नूपुरपाली ॥
Lord Krishna, suffering the pangs of separation from His beloved Radha, roamed around at the site of the raasa hoping to find succor, finds an anklet thread, devoid of pearls and its owner. He then proceeded to garland Himself with that anklet-thread.
नृत्यलोकसकलेशितुरस्य स्वर्गतस्य पटचित्रगतस्य ।
शिष्यकोटिपरिवारविहारे हारतां भजति नूपुरपाली ॥
In the building of innumerable disciples of that Dance Master who had proceeded to Heaven and was framed in a picture, his anklet-thread was used as his garland.
शारदाकनकनूपुरपालीशिञ्जितैकरतराजमराल ।
राघवेन्द्र विलसन्ति समस्यापूरणानि भवता विहितानि ॥
My 4c
ताण्डवाख्य-ख-विदारणनृत्ये तारका नटविराड्पदपन्नाः ।
शम्भुवाक्यमनुपालयतो वै हारतां भजति नूपुरपाली ॥
When Shiva did His sky-piercing urdhvatANDava, the starlets took refuge at His feet (as a nUpura). (Taking compassion on them) Shiva ordered his follower (the moon), who was garlanded by this thread of the anklet – i.e., the moon became tArApati at Lord Shiva’s order. (This differs from the purANic version, of course. This verse is my imagination)
नृत्यवैभवममन्दममोघं दारयन्मुखरमौक्तिकगुम्फम् ।
पश्यतां ननु कलारसपानां हारतां भजति नूपुरपाली ॥
Having witnessed the grandeur of a dance performance, at the end of which the anklet bells got disengaged (due to the impact of the performance), the remaining anklet thread became akin to a garland of the viewers of the performance, indeed, the savourers of the essence of art.
राधिकाविरहितस्य हरेर्वै रासभूम्यटनतत्परकाले ।
मुक्तमौक्तिकगणा च विनाथा हारतां भजति नूपुरपाली ॥
Lord Krishna, suffering the pangs of separation from His beloved Radha, roamed around at the site of the raasa hoping to find succor, finds an anklet thread, devoid of pearls and its owner. He then proceeded to garland Himself with that anklet-thread.
नृत्यलोकसकलेशितुरस्य स्वर्गतस्य पटचित्रगतस्य ।
शिष्यकोटिपरिवारविहारे हारतां भजति नूपुरपाली ॥
In the building of innumerable disciples of that Dance Master who had proceeded to Heaven and was framed in a picture, his anklet-thread was used as his garland.
ರಾಘವೇಂದ್ರ! ಭವದೀಯಸಮಸ್ಯಾ-
ಪೂರಣಾನಿ ನವಲಾನಿ ವಿಶಿಷ್ಯ |
ಯುಗ್ಮಕೀಯಕವಿತೇ ಬಹುರಮ್ಯೇ
ಶೀಘ್ರಮೇವ ಕವಿತಾ ಚ ಭವಿತ್ರೀ ||
नवलमिति किम्?
(राघवेन्द्रार्यपूरणान्यतिरम्याणि।)
ನೂತನಮಿತಿ ಯಾವತ್; ಅಸ್ಯ ರೂಪಂ ತು ಯಥಾ ಬಹುಲಮ್ |
Thank you, Sir! Thanks Vishwas!
1. ಧೂರ್ಜಟೌ ತು ಸಹಸೋತ್ಥಿತ-ಪಾದೇ ಕಿಂಕಿಣೀಷು ಪತಿತಾಸು ಧರಾಯಾಮ್ |
ಬಾಲ-ಕಂಠ-ಪರಿರಂಭಣ-ಲುಬ್ಧಾ ಹಾರತಾಂ ಭಜತಿ ನೂಪುರ-ಪಾಲೀ ||
ಮಾರ್ಕಂಡೇಯವರಪ್ರದಾನ-ಪ್ರಸಂಗದಲ್ಲಿ ಶಿವನು ಯಮನನ್ನು ಒದೆಯಲು ತನ್ನ ಕಾಲನ್ನು ಒಮ್ಮೆಗೇ ಎತ್ತಿದಾಗ ಅದರಲ್ಲಿಯ ಕಿಂಕಿಣಿಗಳು ಕೆಳಗೆ ಬಿದ್ದು, ದಾರವು ಮಗುವನ್ನು (ಮಾರ್ಕಂಡೇಯನನ್ನು) ಅಪ್ಪಿಕೊಳ್ಳಬೇಕೆಂಬ ಆಸೆಯಿಂದ ಅವನಿಗೆ ಹಾರವಾಯಿತು.
2. ವಿಪ್ರಲಬ್ಧ-ಲಲನಾ-ಪ್ರಣಯಾರ್ಥಂ ಮುಗ್ಧ-ಕಾಂತ-ಕರಪದ್ಮ-ಸಮೂಢಾ |
ಸ್ವರ್ಣದೀವ ನಿಜತಾರಕ-ದೀಪ್ತಾ ಹಾರತಾಂ ಭಜತಿ-ನೂಪುರಪಾಲೀ ||
ವಿಪ್ರಲಂಭದಿಂದ ನೊಂದಿರುವ ಯುವತಿಗೆ ಸಂತೋಷವಾಗಲೆಂದು ಮುಗ್ಧನಾದ ಪತಿಯು ತನ್ನ ಕೈಯಾರೆ ತಾರೆಗಳಿಂದ ಶೋಭಿಸುವ ಆಕಾಶಗಂಗೆಯಂತಿರುವ( ನೂಪುರದ ದಾರವನ್ನು (ನೂಪುರವನ್ನು) ಹಾರದಂತೆ ಕಟ್ಟಿದ.
(ಮುಗ್ಧನಾಗಿದ್ದರಿಂದ ಅವನಿಗೆ ಹಾರಕ್ಕೂ ನೂಪುರಕ್ಕೂ ವ್ಯತ್ಯಾಸ ತಿಳಿದಿರಲಿಲ್ಲ)
अत्यद्भुतमार्ये। विप्रलब्ध → विप्रलभ्ध इति स्यात्।
जस्त्व-सन्धिना विप्रलब्ध इत्येव भवतीत्य् अधुनावैमि।
ಲಲಿತಾ ಎರೆಡೂ ಪದ್ಯಗಳು ಚೆನ್ನಾಗಿವೆ ಅದರಲ್ಲೂ ಶಿವನ ಕಾಲಿನಿಂದ ಕಳಚಿದ ಕಿಂಕಿಣಿಗಳಿಗೆ ಮಾರ್ಕಂಡೇಯನ ಕೊರಳ ಹಾರವಾಗಬೇಕೆಂಬ ಬಯಕೆಯ ಪದ್ಯ ಸೊಗಸಾಗಿದೆ
हारतां भजति नूपुरपालीत्यत्र या स्फुरति कापि समस्या ।
पूरिता सपदि सा तु भवत्या हारतां भजतु पण्डितकण्ठे ॥