By Archana Venkatesan
ISBN-10: 0195391748
ISBN-13: 9780195391749
This publication deals new translations of the Tiruppavai and Nacciyar Tirumoli, composed by way of the ninth-century Tamil mystic and poetess Kotai. of the main major compositions by way of a feminine mystic, the Tiruppavai and Nacciyar Tirumoli supply expression to her strong studies by utilizing a colourful and ambitious sensuality, during which Visnu is her outstanding, captivating, and infrequently merciless lover. Kotai's poetry is characterised by way of a richness of language during which phrases are imbued with polyvalence or even the main mundane studies are infused with the spirit of the divine. Her Tiruppavai and Nacciyar Tirumoli are garlands of phrases, redolent with meanings ready to be came across. this day Kotai is respected as a goddess, and as a testomony to the long-lasting relevance of her poetry, her Tiruppavai and Nacciyar Tirumoli remain celebrated in South Indian ritual, song, dance, and the visible arts. This booklet goals to catch the lyricism, good looks, and gear of Kotai's unique works. additionally, distinct notes in response to conventional commentaries, and discussions of the ritual and performative lives of the Tiruppavai and Nacciyar Tirumoli spotlight the significance of this ninth-century poet and her poems over the last 1000 years.
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Extra info for The Secret Garland: Antal's Tiruppavai and Nacciyar Tirumoli (Aar Religion in Translation)
Example text
This move from the intimate interior world also signals a difference in their attitude to Kṛṣṇa. The boldness is replaced with deference—suddenly, the gopīs are not asking to share Nappiṉṉai’s place; they are instead asking to be entirely dedicated to Kṛṣṇa as his servants. The gopīs say: We came at the break of dawn to worship you to praise your lotus feet bright as gold. Listen to the reason for our prayers: You were born among simple folk whose livelihood was tending cows So you cannot refuse our small services.
What hagiographies and commentaries read as conclusive union is in fact rather open-ended and opaque. The only certainty is that the experience of union with Kṛṣṇa is one that is shared and best achieved with a community (like in the Tiruppāvai), and it can be fully and permanently realized only in a mythical world. Of course, Vṛndāvana is as much a terrestrial place as Śrīraṅgam, Vēṅkaṭam, or Tirumāliruñcōlai, yet Āṇṭāḷ does not choose to end the Nācciyār Tirumoḻi in any of these famous sites, particularly Śrīraṅgam, where legend has it she was united with Viṣṇu.
We are in the fabulous world of Āyarpāṭi, where Kṛṣṇa lurks right around the corner ready to spring into mischief. And the young and rambunctious lion cub of Yaśodā is conflated with the supreme Nārāyaṇa, and from this god who is at once accessible and transcendent the eager, the “precious” girls of Gokula are to win a mysterious paṟai (Tiruppāvai 1), a type of drum, but never clarified as such in the poem, and clearly symbolic of some abstract idea. In the Caṅkam poems of war, various kinds of drums are sacred objects central to the battle.
The Secret Garland: Antal's Tiruppavai and Nacciyar Tirumoli (Aar Religion in Translation) by Archana Venkatesan
by Kenneth
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