Yes indeed nandanaar was denied entry. But the irony is it took a brahmin to pen his charitram!! I say irony cos, that's how the universe works and it's called sweet revenge. For all the oppressions the innocents suffered at that point of time in history, it is so fitting that a brahmin penned this, perhaps a beautiful kind of atonement. Gopal krishna bharathyar's understanding of nandanaar's situation is so bang on , because he himself was suffering from the encagement (. If it can be called so), of the human existence, that the oppression of the soul is so similar to the "nandan oppression". The claustrophobia that experienced, has been so first handedly brought out that the mahaan composer.
Superb ! Vazhi Maraithirukkude Adi talam Gopala Krishna Bharathi Krithi This song is sung in Nattaikurinji and Todi Ragams But I understand that it was Composed in Todi Birth or Worth? Or neither? What criteria should open the doors of a temple? The answer seems self-evident to me yet it is still otherwise in practice in some temples in India. Is that not sad? The late Jon Higgins, an American, were denied entry to certain temples on account of their not being Hindu. Who could be more deserving? Anyway, if it depended on what we deserved, the halls of temples would be empty indeed! Nandanar who was born in servitude, at the bottom of the caste ladder. He lived around the 5th/6th AD in South India. His caste was such that he was denied even entry to the temples. Yet he was one of the greatest devotees of Lord Shiva. Overcome with the desire to get just a glimpse of his Lord in the temple, he set off once to Thiruppungur. Standing outside the door, he tried to peer in to see the sanctum sanctorum but the great statue of Shiva’s bull, Nandi, blocked his view. It is said that on hearing his plea, the statue moved aside so that he could have a glimpse of the sanctum. Even now at this temple, Nandi is not in his usual place but a bit aside. This very Nandnar, denied even entry to temples, is now revered as one of the 63 Nayanmar saints whose statues decorate the halls of Shiva temples all over South India. What a come about! In the song in Nanadanar Charithram , Gopalakrishna Bharathi has Lord Shiva saying to Nandi Do move a little, my son. It seems you are blocking the view of the sanctum’. And that is what I say to the priests of the temples who deny entry to anyone at all ‘Move aside, don’t block the sanctum’. pallavi vazhi maraittirukkudE malai pOlE oru mADu paDuttirukkudE Alas, my view is blocked by a mountain-like bull which is lying down! anupallavi pAvi paraiyan (alt: nandan, Ezhai) inda Uril vandu enna (alt: vandum ivan) pAvam tIrEnO (undan) pAdattil sErEnO ErEnO sivalOka nAdA Even after coming to this town, will not this sinner of Parayan caste have his sins pardoned? Will I not reach your feet? Will I not ascend to your abode, O Lord Shiva? charaNam tEraDiyil (alt: tEraDiyilE) inDRu darisittAl pOdum koyil (alt: koyilil) vara mATTEnE (alt: mATTEn aiyyE) Or aDi vilaginAl podum ingE nindRu uTRu pArkka (alt: pArkkavE) chaTRE Agilum vilagAdO undan mADu It is enough if I can see you from the chariot stop (note: this is outside the temple gates), I will not enter the temple. It is enough if your bull moves by one foot for me to peer from here today. Will not your bull move just a little? Nattakurinji Ragam :- It is a Janya raga, derive from Harikambhoji which is 28th on the Melakarta Aro : S R2 G3 M1 N2 D2 N2 P D2 N2 S’ Av : S’ N2 D2 M1 G3 M1 P G3 R2 S This gentle raga which evokes devotion and compassion. Opinions differ as to the suitable times to sing this raga; some say daytime others say evenings. As this raga does suit elaborations, it is not unusual to see it chosen as one of the major pieces of a concert. Well known krithis in this raga Manasu Vishaya by Tyagaraja, Vazhi Maraithirukude by Gopalakrishna Bharati, Budham Ashrayami by Muthuswami Dikshithar, Mamava Sada Varade by Swati Tirunal and Paal Vadiyum Mugam by Oothukadu Venkata Subbaiyer.
Its a detailed reply of our past. We have no knowledge of that period. Slowly its changed in temple worshipped in india. As we copied the westetn society and religion i would state that still what prevailed ancient times its persisted today also. 9488875690
I think changing the anupallavi for the sake of perceived political correctness causes more offence by inadvertently erasing the history that the song alludes to. Nandanar was denied entry because he was a Dalit. In a song where the dramatic context is his sense of loss because of who he is, it’s like taking away the voice of an already muted person away to change the word.
Good point.... listen to varugalaamo sung by MMD or MDR (both in youtube)...I feel a stab of shame and grief every time I hear the word parayan in the song
@@kivalurswaminathan2197 what is the original lyrics?? Sanjay does not say the word parayan when he sings the song above. But in the original lyric if the word parayan is there it must be sung the same way as it is. Because these are sources for understanding the social History of our land and the hierachichal structure of Indian Society in the 7th century the period when Nandanar lived. So if the original lyrics is changed it is like fabricating History. Because the aim of studying history is to bring out Truth. And as a History professor I feel that compositions of songsters like Purandaradasa in the 16th century and gopalakrishna bharathi in the 19th century are rich sources to reconstruct the social History of South India.
@@Divya0312 Indha Parayan is for some reason muted and it is substituted with Indha Eazhai. One needs to show a lot of conviction and stick to the original lyrics, but as the singer himself is not a parayan and hence the hesitancy is attributed but does not mind calling himself as an Eazhai. In the process the essence of the song and cruelty meted out to the Dalit Nandanaar is somehow lost but the history does recognise the fact and it has been condemned by one and all. So, the slight modification i.e., the inhibition from one calling himself a Parayan while singing the song is the core and therefore changing the form from Parayan to Eazhai can be debatable either way.
Humble Namaskarams to you, Sir. Such a beautiful rendition. Hara Hara Mahadeva.
Yes indeed nandanaar was denied entry. But the irony is it took a brahmin to pen his charitram!! I say irony cos, that's how the universe works and it's called sweet revenge. For all the oppressions the innocents suffered at that point of time in history, it is so fitting that a brahmin penned this, perhaps a beautiful kind of atonement.
Gopal krishna bharathyar's understanding of nandanaar's situation is so bang on , because he himself was suffering from the encagement (. If it can be called so), of the human existence, that the oppression of the soul is so similar to the "nandan oppression". The claustrophobia that experienced, has been so first handedly brought out that the mahaan composer.
Goosebumps....fantastic rendition and lyrics is simple and touching.
Mridangam soothing...
Excellent Nattakkurinji
Superb ! Vazhi Maraithirukkude Adi talam Gopala Krishna Bharathi Krithi
This song is sung in Nattaikurinji and Todi Ragams But I understand that it was Composed in Todi
Birth or Worth? Or neither? What criteria should open the doors of a temple? The answer seems self-evident to me yet it is still otherwise in practice in some temples in India. Is that not sad? The late Jon Higgins, an American, were denied entry to certain temples on account of their not being Hindu. Who could be more deserving? Anyway, if it depended on what we deserved, the halls of temples would be empty indeed!
Nandanar who was born in servitude, at the bottom of the caste ladder. He lived around the 5th/6th AD in South India. His caste was such that he was denied even entry to the temples. Yet he was one of the greatest devotees of Lord Shiva. Overcome with the desire to get just a glimpse of his Lord in the temple, he set off once to Thiruppungur. Standing outside the door, he tried to peer in to see the sanctum sanctorum but the great statue of Shiva’s bull, Nandi, blocked his view. It is said that on hearing his plea, the statue moved aside so that he could have a glimpse of the sanctum. Even now at this temple, Nandi is not in his usual place but a bit aside. This very Nandnar, denied even entry to temples, is now revered as one of the 63 Nayanmar saints whose statues decorate the halls of Shiva temples all over South India. What a come about! In the song in Nanadanar Charithram , Gopalakrishna Bharathi has Lord Shiva saying to Nandi Do move a little, my son. It seems you are blocking the view of the sanctum’. And that is what I say to the priests of the temples who deny entry to anyone at all ‘Move aside, don’t block the sanctum’.
pallavi
vazhi maraittirukkudE malai pOlE
oru mADu paDuttirukkudE
Alas, my view is blocked by a mountain-like bull which is lying down!
anupallavi
pAvi paraiyan (alt: nandan, Ezhai) inda Uril vandu enna (alt: vandum ivan)
pAvam tIrEnO (undan) pAdattil sErEnO ErEnO sivalOka nAdA
Even after coming to this town, will not this sinner of Parayan caste have his sins pardoned? Will I not reach your feet? Will I not ascend to your abode, O Lord Shiva?
charaNam
tEraDiyil (alt: tEraDiyilE) inDRu darisittAl pOdum
koyil (alt: koyilil) vara mATTEnE (alt: mATTEn aiyyE)
Or aDi vilaginAl podum ingE nindRu uTRu pArkka (alt: pArkkavE)
chaTRE Agilum vilagAdO undan mADu
It is enough if I can see you from the chariot stop (note: this is outside the temple gates), I will not enter the temple. It is enough if your bull moves by one foot for me to peer from here today. Will not your bull move just a little?
Nattakurinji Ragam :- It is a Janya raga, derive from Harikambhoji which is 28th on the Melakarta
Aro : S R2 G3 M1 N2 D2 N2 P D2 N2 S’ Av : S’ N2 D2 M1 G3 M1 P G3 R2 S
This gentle raga which evokes devotion and compassion. Opinions differ as to the suitable times to sing this raga; some say daytime others say evenings. As this raga does suit elaborations, it is not unusual to see it chosen as one of the major pieces of a concert. Well known krithis in this raga Manasu Vishaya by Tyagaraja, Vazhi Maraithirukude by Gopalakrishna Bharati, Budham Ashrayami by Muthuswami Dikshithar, Mamava Sada Varade by Swati Tirunal and Paal Vadiyum Mugam by Oothukadu Venkata Subbaiyer.
Its a detailed reply of our past. We have no knowledge of that period.
Slowly its changed in temple worshipped in india. As we copied the westetn society and religion i would state that still what prevailed ancient times its persisted today also. 9488875690
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I have u
Lovely explanation. Thank you sir 🙏
Misra talam illaiya?
Adhi talam nu irukke.
one of the best nattakurinji
Thank you so much for uploading the lyrics too since he sings differently
Excellent!! The essence of Nattaikuriji is well elaborated
I think changing the anupallavi for the sake of perceived political correctness causes more offence by inadvertently erasing the history that the song alludes to. Nandanar was denied entry because he was a Dalit. In a song where the dramatic context is his sense of loss because of who he is, it’s like taking away the voice of an already muted person away to change the word.
Good point.... listen to varugalaamo sung by MMD or MDR (both in youtube)...I feel a stab of shame and grief every time I hear the word parayan in the song
@@kivalurswaminathan2197 what is the original lyrics?? Sanjay does not say the word parayan when he sings the song above. But in the original lyric if the word parayan is there it must be sung the same way as it is. Because these are sources for understanding the social History of our land and the hierachichal structure of Indian Society in the 7th century the period when Nandanar lived. So if the original lyrics is changed it is like fabricating History. Because the aim of studying history is to bring out Truth. And as a History professor I feel that compositions of songsters like Purandaradasa in the 16th century and gopalakrishna bharathi in the 19th century are rich sources to reconstruct the social History of South India.
Yes I agree
@@Divya0312 Indha Parayan is for some reason muted and it is substituted with Indha Eazhai. One needs to show a lot of conviction and stick to the original lyrics, but as the singer himself is not a parayan and hence the hesitancy is attributed but does not mind calling himself as an Eazhai. In the process the essence of the song and cruelty meted out to the Dalit Nandanaar is somehow lost but the history does recognise the fact and it has been condemned by one and all. So, the slight modification i.e., the inhibition from one calling himself a Parayan while singing the song is the core and therefore changing the form from Parayan to Eazhai can be debatable either way.
@@Bhaskaranganeshan good observation
Excellent!
🙏🫴🪔🙌