NARASIMHA SULADI - PART 1

Now why are we looking at these suladis. The point is a achar told me that we should be chatting these five stotras everyday. They are

* Narasimha Suladi

* Durga Stotra

* Srinivasa Kalyana

*Lakshmi Shobane

* Venkatesh Stavaraja

We will be looking at it one by one.

Narasimha Suladi by Vijaya dasaru

Vijaya dasaru was born in Chekalaparvi of Manwi Taluk, Raichur istrict. He went to Kashi for studies. One day in his dreams Purandara Vittala appeared, initiated him into order of dasas and gave him ankita ‘Vijaya Vittala’.  

He spent the rest of his life popularizing Dwaita concepts, the works of Srimadacharya and Hari Bhakti mala's. He has written about 25,000 Padya Sulyadi i.e *UGAHA BHOGHA* 's, his works are called kalasha's creations, Urasu's creations. In Kannada sahitya his literary works are regarded as second only to those of Sri Purandara Dasa. He is affectionately called Dasa Shresta, for his personality, knowledge and the brilliant disciples he left behind.

The contribution of Shri Vijaya Dasa in particular to suladi form of sahitya is very immense.  He is popularly known as "suLAdi dAsaru".

He has contributed many suladis out of which there are five famous suladis told by many everyday.

They are called Sri Vijayadasara Panchratna suladigalu

·       Shri Narashima devara Suladi

·       Shri Durgadevi stotra Suladi

·       Shri Dhanvanthri stotra Suladi

·       Shri Kapila devara stotra Suladi

·       Shri MukhyaPranadevara Suladi

In which we are going to see the first Narasimha Devara Suladi.

              Narasimha Avatara Stotra Suladi

There is Narasimha Devara Suladi also written by Jaganatha

Dasaru. You can also refer to it.

The lyrics of the Narasimha Suladi has been taken from a book

Sthri dharma written by Smt. Saraswathi Sripathy.

Shri Narasimhaya nam:

 Raga : Naatai  

Tala: Druva tala

Veera simhane narasimhane daya para

Varane baya nirvarna nirguna

SAridavara samsara vrukshada moola

Berarasi kiluva biridu bayamkara

Gora vatara karala vadana

A- Goradu ritha samhara maya kara

Krura daityara shoka karana utubava

E relu buvana sagara dhodeya

Aa rowdhara namaka vijaya vittala narasinga

Veera rasaa tunga karunya panga||

Tala : Matta Tala

 Maguvina rakkasavanu haga eralu biddathe

Hege inadali hoydu naga pannaga vanadhi

Gagana migiladha aganitha badiyali

Negadhu ogedu sAvu bagadhu kolu thiralu

Hey ! Jagadha vallabane sugunA nadigane

Nigama vandhitane pogalidha bakutara

Tagali tolaga nendu mige kugu taliralu

Yuga yuga dolu dayalu gala devara deva

Yugadi kruta nama vijaya vittala Ho! Ho!

Yugala karava mugidu maguvu more yidalu ||

Tala : Rupaka

Kelidha kshana dali laalisi bakthana

Mouli vegadali palisuve nendu

thAli santhoshava thooli thumbi dante

mu lokadha pati vaalaya dinda su

Stila durlabha nAma vijaya vittala pancha

Mouli manava kamba sili mudidha deva||

Tala : Jampe

Lata latA latalatA latakatisi vanaja janda

Kata ha pata pata pututh katadhi bicchu taliralu

Puta putA puta negedhu siri hArutha pal

katA kata kata kadidhu rosha dinda

miti miti mitane raktha kshiyalli nodi

Tati koti Urbatage arbata vag iralu

kutila rahitta vyaktha  vijaya vittala shaktha

dhita nitila netra sura kataka paripala||

Tala : Triputa

Bob biriye vira dhvaniyindha tani gidi

 habbi munchoni uri hora geddu suthe

ubbasa ravigage abjana duguthire
abdhisa puta ukki hora selli barutire

Abuja bavadigalu tabbibbi gondari

Abbara venentha nabadha guliyu tagiye

Sabta tumbidhu avyakru thagasha

Paryantha nippara darugiri jajarisuve

Obbarigosha vallada namma vijayavittala

Ebbake yagi kamba dinda pora matta||

Tala : Atta

Gudi gudi  sutha koti sidilu girige bandhu

Hodedhanthe siri bobbiduthali lamgisi

Hididhu rakkasana kedahi maduhi tuduki

Thodiya melirisi herodala korugura dindha {thadige} 
paduvala gadala tadiya taraniya nodi

kadu kopadali sada badidu rakasanna kedahi
Nidi garalanu koraladi yalli darisida

Sada garadha daiva  
kadugali bhoorbhuva vijaya vittala pal

Kada lodeya sharanara vadeve vada nodne ||

Tala : Eka

Uri masege chatur dasha dharani tallanisalu

Parameshti harasuraru siridevige more idalu

Karuna dinali tanna sharanana sahita ninna

Charanake eragalu parama shantanagi

Hara hidhe dayavannu suraru kusuma varusha

Gariyalu beri vAdyamore utarare enata

Paripari valaka vistaradinda kaikolutha

Meredhu suraru patra harisi balagana kayde

Para daiva gambiratma vijayavittala nimma

Charite dushtarige bikaravo sajjanna pala ||

Jathe 
prahlada varada prapanna klesha banjanna

Mahhvishe vijaya vittala nara mruga vesha ||

|| Krishnarpanamstu ||

SULADI - part 1

suLAdi

The suladis were a form of poetry that was introduced in this world by the Haridasa of Karnataka.

The word Suladi comes from the Sanskrit word Suda, which means gita. The Suladi is a composition rather very similar to the gita, another musical genre, in its arrangement and its musical structure. ("suLAdi" in Kannada means sulabhada hAdi - an easy route to invoke the blessings of Shri Hari-Vayu-Guru's and to reach Shri Hari's abode.)

­­ Musicians and musicologist trace the origin of Suladis to Salaga Suda (prabandha). The Salaga Suda was first described in detail in the 13th century by Sarangadeva. These prabhandas comprised seven closely related sub-types all of the same tala. The first recorded Salaga Suda Prabhanda was called Dhruva Salaga Prabhanda and Sripadaraja, an incarnation of Dhruva, was among the first to use this form.

The content of the suladis by the Haridasa is more devotional and they are composed in different tempos such as vilambita, madhya and druta.

In a Suladi, each section is independent by itself. The pallavi(Pallavi generally is a single-line composition set to a single cycle of tala. The tala could range from the simple to the complex and there may also be different gatis being employed). is not sung at the conclusion of each section in a Suladi. In Suladis, some sections are sung in different tempos.

The suladi starts in Malavagaula and ends with Sriraga. The other ragas used in between are Daruva, Matya, Rupaka, Jhampa, Trivida, Ata and Eka.

Usually, Haridasas, who were masters of music and literature,  composed their suladis in such a manner that a given Suladi will have a single raaga but multiple talas-generally seven. These talas will be set in place in a Suladi in succeeding parts. Sometimes, the Haridasas are such intricate masters of this genre that there is a variation in raaga too. As such, it is not easy to compose Suladis. It requires mastery over music to render them properly. All the suladis of Haridasas have mythological, spiritual and religious themes. They do have an undercurrent of ethics too.

The Suladi is unique in the sense that for centuries after Sripadaraja it was composed only by Haridasas

The first among the Haridasas and saint-composers of Karnataka to use this form extensively to express his devotion to Hari was Sripadaraja (1412-1504) of Mulabagal near Kolar in Karnataka.

Sripadaraja used the suladi to describe Hari and he taught this form to his favourite disciple, Vyasa Raja or Vyasa Theertha (1447-1539)who then passed it on to Purandara Dasa, Kanaka Dasa, Belur Vaikunta Dasa of the Dasa Koota and Vadiraja Theertha, Vijendra Theertha of the Vyasa Koota.

Apart from Sripadaraya, other Dwaitha saints and Haridasas who composed Suladis were Vyasa Raya (1447-1539), Purandara Dasa (1484-1564), Kanaka Dasa (1509-1609) Vadiraja (1480-1600), Vijaya Dasa (1682-1755), Gopala Dasa (1722-1762) and Jagannatha Dasa of Manvi (1722-1809).

However, it must be remembered that it was Narahari Theertha, one of the four direct disciples of Madhwacharya, who first used this form to address Sri Hari. However, these suladis were in Sanskrit and his ankita here was Raghu Kula. After him, it fell into disuse and it was left to Sripadaraja to popularise it and compose in Kannada.

Puranadara dasa

Sripadaraja taught the nuances of suladi to Vyasa Raja who in turn handed the baton to Purandara Dasa.

Purandara Dasa used the Suladi to focus on the conflicts of human life and Kanaka Dasa

 uses them to demolish the caste system. Vijaya Dasa uses them to exhort people to surrender to Hari and not to lead a decadent life.

Thus we see that the Suladi is an important vehicle for the Haridasas to give us a unique and thought provoking combination of intricate poetry with seamless music. The Suladis are lengthier compositions than the Ugabhogas and they are set to specific raagas and taalas.

Much earlier, in Karnataka, Purandara Dasa had written  “navavidha bhakti prasamsa”, a Suladi where a particular bhakti mudra was introduced in each of the seven sections.   

By the way, the only available three notated Suladis composed by Purandara Dasa are contained in the Sangita Sampradaya Pradarshini written by Subbarama Dikshitar, a Telugu scholar and composer. It contains sections on composers, musicology and ragas of south Indian music. This book was first published in 1904.

Vyasa theertha

Interestingly, Vyasa Raja follows his guru in writing a highly autobiographical suladi. In the Namasmarana Suladi, Vyas speaks of the many distractions and asks Hari to help him overcome them. He agrees that he has committed many sins and says he can get over them only by the grace of Sri Hari.

Raghavendra

In Vyasa Raja’s next avatar as Raghavendra Swamy (1595-1671), he composed his only suladi- Avatara Traya Mukhyaprana Suladi – called Maruta Ninnaya Mahime.  

Vijaya Dasaru

Vijaya Dasa in his suladi, “Dasa Purandara,” praises Purandara Dasa as his guru. He has also composed a suladi detailing the greatness of Sripadaraja.

Jagannatha Dasaru

Jagannatha Dasa of Manvi composed a suladi on Narasimha. It is a beautiful song and it shows us how much this dasa was devoted to his Narasimha. Gopala Dasa has written the suladi Virachita Rayara. In another suladi, he describes how Narahari, Rama, Krishna, Veda Vyasa can be seen atop the Brindavana of rayaru in Mantralaya and how they accept the offerings.

Kanaka Dasaru

Kanaka Dasa has set his songs to Suladi as it is his most preferred genre.

Almost all the Haridasas have wriiten suladis and it would be well impossible to enumerate all of them. The suladi was one of the most popular forms of expression and in them, the Haridasas restructured music, made it more appealing and soul stirring. The Haridasas hewed the system to ensure that the suladis became the vehicle for propagation of Dwaitha philosophy in which Hari was supreme and Taratamya a way of life. 

Reference :

http://samharshbangalore.blogspot.sg/2013/11/the-story-of-suladi.html 

SHRI DURGA STOTRA - LYRICS AND MEANING

­­­Sri  Durga Stotra

This great prayer addressed to the goddess Durga occurs , 
In Virata Parva of Maha Bharatha, just before the great war, 
With Kauravas by Yudhishtra , the eldest of the Pandavas. This  
is one of the wonderful verses praising the glories of Goddess  Durga by king Yudhishthira after the arrival in the pleasant city of Virata. King Yuhdhisthira pleads Her to protect him, along with his brother throughout his journey. He knows She is most powerful goddess who can rescue him and as he expected immediately after his prayer Devi stood before him addressing him and relieving him from his fear. Similarly if we recite this stotra remembering the power of Durga devi, we are sure to easily cross this ocean of samsara easily without any strain.

In return Durga Devi, who was praised by son of pandu appeared in front of him. She addressed him in these words

'O mighty armed king, listen, O Lord, to these words of

mine. Having defeated and slain the ranks of the Kauravas through my grace, victory in battle will soon be yours. You shall again lord it over the entire Earth, having made your territory thorn less.

And, O king, you shall also, with your brothers, obtain great happiness. And through my grace, joy and health will be yours. And they also in the world who will recite my attributes and achievements will be freed from their sins, and gratified. I will bestow upon them kingdom, long life, beauty of person, and offspring. And they, O king, who will invoke me, after your manner, in exile or in the city, in the midst of battle or of

dangers from foes, in forests or in inaccessible deserts, in seas or

mountain fastnesses, there is nothing that they will not obtain in this world. And ye sons of Pandu, he will achieve success in every business of  his that will listen to, or himself recite with devotion, this excellent hymn.

And through my grace neither the Kuru's spies, nor those that dwell in the country of the Matsyas, will succeed in recognizing you all as long as you reside in Virata's city!' And having said these words unto Yudhishthira, that punishing of foes, and having arranged for the protection of the sons of Pandu, the Goddess disappeared there and then."

rATanagaram ramyam gacCamanO yudhiShThiraH |

astuvanmanasA dEvlm durgAm triBuvanESvarlm || 1 ||

Yasoda Garbha sambhoothaam, Narayana vara priyaam, 
Nanda gopa kule jaathaam , Mangalya kula vardhaneem || 2 || 

Kamsa vidhravanakarim , asuraanaam kshayamkarim, 
Shilaathata vinikshiptham , aakaasaam prathi gaminim || 3 ||

Vasudevasya bhagineem , divya mala vibhooshithaam, 
Divyambara dharam devim , khadga ketaka dharinim. || 4 ||

Bharavatharane punye ye smaranthi sadashivaam, 
Thaan vai tharayase paapaath pankhe gamiva durbhalaam. || 5 ||

 
StOtum parackrame buyo vividhaih stOtra sambavaih

Amantrya darsanakamkshi raja devim sahanuja  || 6 ||

Namosthu varade Krishne. Kumari brahmacharini, 

Balakarsadhrusakare , poorna chandra nibhanane. || 7 ||

Chathurbhuje, chathur vakthre peena sroni payodhare, 
Mayura picha valaye keyurangadha dharini.  || 8 ||

Bhasi devi yadha Padma narayana parigraha. 

Swaroopam Brahmacharye cha visadham Gaganeswari. || 9 ||

Krishnacha visamaa krishnaa sankarshana samanana.

Vibhrathi vipulou baahu saakra dwaja samuchrayou. || 10 ||

 
Pathri cha panlaji ghnti sthree vishuddhacha yaa bhuvi, 
Pasam dhanr maha chakram vividha anya aayudhani cha. || 11 ||

 
Kundalabhyam suprnabhyaamm karnabhyam cha vibhooshithaa
Chandra vispardheena devi mukhena thwam virajase  || 12 ||

Mukutena vichithrena kesa bhandhena shobhinaa
Bhujanga bhoga vaasena sreni suthrena raajathaa. || 13 ||

 
Vibhrajase chabaddhenabhogenevehamandhara
Dwajena shiki picchana muchruthena virajase. || 14 ||

Kaumaram vruthamasthaya tridivam pavitham thwaya 
Thena thwam sthooyase devi tridasai poojyase api cha. || 15 ||

 
Tri lokya rakshanartham Mahishasura nasini, 
Prasanna may sura sreshte dayaam kuru shivaa bhava. || 16 ||

Jayaa thwam vijayaa chaiva sangrame cha jayapradha, 
Mamaapi vijayam dehi varada thwam cha sampratham. || 17 ||

 
Vindhye chaiva naga sreshte thava sthanam hi saswatham, 
Kali Kali Maha kali Gadga gadwanga dharini. || 18 ||

Kruthanuyathraa bhoothaisthvam varada kamacharini, 
Bhravathare ye cha thwaam samsmarishyanthi maanavaa. || 19 ||

Pranamanthi cha ye thwaam hi prabhathe thu naraa bhuvi, 
Na thesham durlabham kinchithputrato dhanatho api vaa. || 20 ||

Durgaath tharayase durge thath thwam Durgaa smruthaa janai, 
Kanthreshwa vasannaanam magnanaam cha Maharnave. || 21 ||

Dasyubhirva niruddhhanam thwam gathi paramaa nrunaam, 
Jala pratharane chaiva kanthare ashvataveeshu cha. || 22 ||

Ye smaranthi maha devi na cha seedhanthi they naraa, 
Thwam keerthi sreer dhruthi sidhreerhweer vidhyaa santhathar mathi. || 23 ||

Sandhyaa Rathri prabhaa nidhraa jyothsnaa kanthi kshama dhaya, 
Nunamcha bandanam moham putranasam dhanakshayam || 24 ||

Vyadhim mruthyum bhayam chaiva poojithaa nasayishyathi, 
So aham rajyath pari brushta saranam thwam prapannavan|| 25 ||

Pranathascha yadhaa moordhnaa thava devi sureswari , 
Thrahi mam Padma pathrakshi sathye sathya bhavakha na|| 26 ||

Saranam bhava durge saranye bhaktha vathsale, 
Yetham sthuthaa hi saa devi darsayamasa pandavam. || 27 ||

Upagamyatu rajaanam idam vacanambravit,

Srunu raja mahabaho madyam vacanam prabo.  || 28 ||

Bhavishya ciradeva samgrame vijayastava

Mama prasidanarjitya hatva kaurava vahinim. || 29 ||

Rajayam nishkamtakam krutva bokshyase medinim punah

Bratrubih sahito rajam pritim prapsyasi pushkalam. || 30 ||

Matprasadacca te saukyamrogyam ca bavishyati,  

Ye cha sanmkeerthayishyanthi loke vigatha kalmashaa. || 31 ||

Theshaam thushtaa pradhaasyaami rajya mayur vapu,
Pravasenagare chapi sangrame Shathru sankate. || 32 ||

Atavyaam durga kaanthaare sagare gahane girou, 
Ye smarishyanthi mam rajan yadhaham bhavatha smrutha|| 33 || 

Na thesham kinchid asmim loke bhavishyathi, 
Idham stotra varam bhakthyaa srunyad vaa padeth vaa. || 34 ||

Thasya sarvaani karyaani sidhim yasyanthi pandava, 
Math prasadachha ya sarvaan virata nagare sthithaan. || 35 || 

Ityukta varada evi yudhistir marinthamam

Raksham krutva ca pandunam tatraivantradhiyata. || 36 ||

|| iti yudhistirakRuta durga stavam sampurnam ||

krishnarpanamastu

KESHAVA NAMA LYRICS AND MEANING - PART 10(Last Part)

 satyavAda nAmagaLanu
nityadalli paThisuvavara
arthiyinda salahuvanu kartru kEshavA ||

satyavAda – truthful/ powerful   

nAmagaLanu - names
nityadalli – everyday

paThisuvavara - chant
arthiyinda – love and affection  

salahuvanu - save  

kartru- creator of the world

 kEshavA – Lord Keshava
Meaning : keshava will protect the one who recites His name (this deveranAma) always. 
All the names of Sri Hari are meaningful & true. Whosoever chants His names everyday, Lord Kesava will protect him.

mareyadale hariyanAma
baredu Odi kELidavage
karedu mukti koDuva neleyAdikEshavA ||

mareyadale –dont forget

hariyanAma – hari’s name
baredu – write

 Odi kELidavage – read and listen
karedu – chant

koDuva –  offer

 neleyAdikEshavA - neleyAdikEshava

Meaning : neleyAdikEshava (ankita of shri kanakadAsa) will call and gives mukti to the one who writes, reads His name (always) without fail. 

 One should never forget to chant the names of Sri Hari. Sri Hari in all earnestness gives salvation to those who write, read & listen to His glorious names. Constantly & devotedly chanting the names of Sri Hari is the only remedy for all sins & sorrows. He is our refuge & He is our goal.

One should contemplate on Vishnu when consuming medicines, Janardan when eating, Padmanabh when sleeping, Prajapati during a marriage ceremony, Lord Chakradhar (Vishnu / Krushna) when fighting a battle, Trivikram during a journey, Narayan at the time of death, Shridhar during intercourse between spouses, Govind in case of a bad dream, Madhusudan in a calamity, Narsinha in the forest, the form of Vishnu in the celestial ocean (kshirasagar) when threatened by fire, His Varaha incarnation when there is fear of drowning, Raghunandan when there is fear of fall from a mountain and Madhav when performing day-to-day chores.

One will realise from the following examples why certain Names of Lord Vishnu are used for a particular mission.

• Since Prajapati created the universe and is responsible for procreation during a marriage ceremony His Name is chanted.
• During a fight the Name of Vishnu who sports a discus (chakra), Chakradhari should be chanted.
• Since the lion is the king of the forest if one chants the Name of Narsinha (the man-lion incarnation) in the forest one is protected.
• The Varaha (boar) incarnation of Lord Vishnu lifted the earth from the waters and placed it on the head of the serpent, Shesh. Hence when there is fear of drowning this Name should be chanted.

The various rupas mentioned in the various avataras, Vyuhas and the Sri Vishnu Sahasranama are " different " via the strength of Vishesha.

For example, the same namas mentioned in the Dashavataras such as Vamana/Trivikrama and Narasimha and Sri Krishna are " different " from those mentioned in the 24 Keshavadi Namas.

Also for example, the sankarshana, aniruddha, pradyumna, vasudeva and narayana rupas are " different " from the same names mentioned in the 24 Keshavadi Namas. These are " distinguished " where the color of specific rupas are sometimes mentioned to enable one to make out that it is the pancha vyuha vs. the 24 vyuha etc etc.

And within the Sri Vishnu Sahasranama itself, there are multiple repetitions, which are " different " as well.

While doing the Kalasha puja where we invoke the 51 matrikas rupas , the 24 keshavadi rupas, the 10 avatara rupas, the 4 vAsudevadi rupas (Vasudeva, Pradhyumna, Sankarshana, Anirudha), the 4 vishvAdi (Vishwa, tejasa, pragnyA, turya) rupas and the 4 Atmadi (atma, antaraatma, paramathma, jnAnAthma) rupas along with Vedavyasa, dattatreya and Simshumara rupas as being repetitive!

Paramathma has neither birth nor death; neither growth nor decline and is devoid of all limitations and blemishes. He has hands and legs, head and eyes and other limbs everywhere. Our eyes can see only but cannot hear, smell, taste and so on, but there is no difference between Himself and various parts of His body like limbs, nails, hair etc nor His variousaMtaryAmi rUpa-s. (svagata beda vivarjitha concept). shrI Jagannatha dAsaru in his Magnum opus Harikathamruthasaara, 2nd chapter, 8th, 9th verse..

KESHAVA NAMA LYRICS AND MEANING - PART 9

name 21

Janardhana

One who is protector of his devotees and destroyer of their enemies, One who is to be worshiped to get the wishes fulfilled (i.e. to be liberated from cycle of births and deaths)

Colour :rakta varna  Lakshmi roopa - Sundari  From bottom right of the deity to bottom left  Right hands  Above : chakra  Below : shanku  Left hand  Above : padma  Below : gada

 Keshava nama by Kanaka dasaru

gyAna bhakti koTTu ninna
dhyAnadalli yiTTu sadA
hiina buddhi biDisu munna shrii janArdhana ||

gyAna – knowledge

 bhakti –devotion

 koTTu – provide
dhyAnadalli yiTTu – keep in your meditation

  sadA - always
hiina buddhi  –  low thougths

biDisu – remove

 munna – before

 shrii janArdhana ||

Meaning : O janArdhana, give me (divine) knowledge, keep me in your dhyAna, remove bad thoughts. 
O Janardhana ! I pray that You grant me right knowledge & devotion to You. With no more delay, remove my lowly thoughts & make me to meditate upon You always. O Janardhana, Your name signifies that You have no births or deaths & You destroy our samsara. I pray that You destroy my sins & free me from samsara & grant me salvation.

nama 22

upendra

One who appeared as a younger brother of Indra in Vamana avatara

Colour :nila varna  Lakshmi roopa - Vidhya  From bottom right of the deity to bottom left  Right hands  Above : gada  Below : shanku  Left hand  Above : chakra  Below : padma

 Keshava nama by Kanaka dasaru

japatap – japas an tapas

AnushTAna – kriyas to be done

villade -  without
kupathAgAmiyAda  - travel in evil path
krupeyamADi – show mercy

 kshamisabEku – forgive me

upEndranE ||

Meaning : O upEndra, you have to please forgive me for I have tread in wrong paths without japas or anusTAnas. 
Being immersed in worldly affairs, I have forsaken all my religious duties & strayed from the right path. Please show mercy on me & forgive me.

nama 23

hari

One who takes away (all the illusions, attachments, desires, pains & material existence of his devotees and destroys their material bondage i.e. gives them Moksha)

Shrihari: Shri refers to attributes such as energy, beauty, virtues, etc. Vishnu’s form along with Shri is Shrihari

Colour : golden yellow varna  Lakshmi roopa - Susheela  From bottom right of the deity to bottom left  Right hands  Above : padma  Below : gada  Left hand  Above : chakra  Below : shanku

 Keshava nama by Kanaka dasaru

moreya iDuvenayya ninage
sharadhi shayana shubhamatIya
irisu bhaktanendu paramapurusha shri harI ||

moreya iDuvenayya – I  plead/ pray

 ninage – to you
sharadhi - rotate

shayana – lying down

shubhamatIya – good understaning
irisu- place/ install  

bhaktanendu – as a bhakta

paramapurusha – the supreme man

shri harI


Meaning : O shri hari, paramapurusha, one who lies on ocean, I pray you to give me divine knowledge by considering me as your bhakta. 
I plead with You Sri Hari, free me from the bonds of samsara & keep me in the company of Your devotees. You destroy the sins of Your devotees & so You are called Hari. You also destroy the entire world, hence to destroy the bonds of my samsara is no difficult task for You. Therefore, I ask You to free me from this worldly life & give me the company of Your devotees.

nama 24

Krishna

One with most beautiful dark blue (water filled cloud) complexion, One who is attractive, one who enchants, One who took Krishna Avatara, One who is always in a state of Bliss (with his sport of creation etc.)

Colour :krishna varna  Lakshmi roopa - Sulakshana  From bottom right of the deity to bottom left  Right hands  Above : gada  Below : shanku  Left hand  Above : padma  Below : chakra

 Keshava nama by Kanaka dasaru

puTTisalEbEDa innu
puTTisidake pAlisenna
ishTu mAtra bEDikombe shrii krishNanE ||

puTTisal bEDa –dont give birth

innu – further
puTTisidake – to have given birth

pAlisenna - protect
ishTu mAtra – just only

 bEDikombe – pray

 shrii krishNanE

Meaning : O shri krishNa, My only request you is not give me birth anymore, but since you have given this birth you have to bring me up. 
O Krishna, I beg You not to give me any more births. now that I am in samsara, I request You to protect me. This is all that I ask of Thee, Sri Krishna.