here is my attempt at providing the padArtha for this OVK classic.parimalphadke wrote:could ravi give the meaning of taye yashoda
This is part of a trilogy (part 1: gOpi's complain to yaSOdA in tODi- tAyE yaSOdE; part 2: krishNa defends himself in mOhanam - illai illai illai ammA; part 3: yaSODa's judgement in hindOLam - pESAmal pOngaLaDi) - makes me wonder if these are part of an operatic production.
This composition has 7 caraNams. The two popularly sung are the first and the 7th. In addition to these, I have translated one more, just to give a flavor...
pallavi
tAyE yashOdE undan Ayarkulattuditta mAyan
gOpAlakriSNan seyyum jAlattai kELaDI (tAyE...)
Oh mother (tAyE) yaSOdA (yaSOdE)! Please listen (kELaDi) to me as I enumerate the artful pranks (jAlattai) perpetrated by (seyyum) your (undan) darling son, eulogized (tuditta) by the entire yAdava (Ayar) race (kula), the master illusionist (mAyan), the cowherd (gOpAla) krishNa (krishNan)!
anupallavi
tayalE kELaDi undan paiyannai pOlavE inda
vayyagattil oru piLLai ammamma nAn kaNDadillai (tAyE...)
Oh young woman (tayalE)! Listen (kELaDi) carefully my dear (ammammA) [1], for in all my years, I (nAn) have not yet beheld (kaNDadillai) a (oru) boy (piLLai) like (pOlavE) your (undan) son (paiyanai) in this (inda) world (vaiyyagattil)!
caraNam 1
kAlinil shilambu konjak-kaivaLai kulunga muttu mAlaigaL ashaiyat-teru vAsalil vandAn
kAl-ashaivum kaiyashaivum tALAmODisaindu vara nIlavaNNak kaNNanivan narttanamADinAn
bAlanenru tAvi aNaittEn aNaitta ennai mAlaiyiTTavan pOl vAyil muttamiTTANDi
bAlanallaDi un magan jAlamAga SeivadellAm nAlu pErgal kETka colla nANam migavAgudaDi (tAyE...)
Oh mother yasOdA! With the anklets (Silambu) on his feet (kAlinil) caressing (konja) him, the bracelets (vaLai) around his wrists (kai) jingling (kulunga), the garlands (mAlaigaL) of pearls (muttu) around his neck swaying (aSaiya), and with hand (kai) and leg (kAl) movements (aSaivum) in perfect synchrony (iSaindu vara) with (ODu) the rhythm (tALam) this (ivan) blue (nIla) hued (vaNNa) krishNa (kaNNan) came by (vandAn) the street (teru) outside (vASalil) and danced (narttanam AdinAn) so beautifully! I was so overcome with appreciation, and thinking (enru) that he was but a young boy (bAlan), I leapt up (tAvi) and embraced (aNaittEn) him! But you know what he did? He grabbed me (ennai), who had embraced (aNaitta) innocently, and planted (iTTAn) [2] a kiss (muttam) on my mouth (vAyil) like (pOl) someone who was married (mAlai-iTTavan) [3] to me. This is no (allaDi) innocent/young boy (bAlan), this son (magan) of yours (un). I am overcome (agudaDi) with excessive (miga) shyness/coyness/bashfulness (nANam) to talk (Solla) about all (ellAm) the artful/cunning (jAlamAga) pranks played (Seivadu) by your son within the hearing (kETka) of so many people (nAlu pEru) [4]
caraNam 2
anroru nAL inda vazhi vanda virundinarum ayarndu paDutturangum pOdinilE-kaNNan
tinradu pOgak kaiyyil irunda vaNNaiyai anda virundinar vAyil niraittu maraindananE anda nindai migu pazhi ingE pAvamangE enrapaDi cintai miga nondiDavum seyya tagumO
nanda gOparkkinda vidam anda migu piLLai pera nalla tavam seidAraDi enna sheivOmaDi (tAyE...)
One (oru) day (nAL) in the past (anRu), when (pOdinilE) some guests (virundinarum) of mine who had come (vanda) by this (inda) way (vazhi) had laid down (paDuttu) and were fast (ayarndu) asleep (urangum), krishNa (kaNNan) took the butter (veNNaiyai) that was remaining (pOga) in his hand (kayyil irunda) after he had eaten (tinru) some, and smeared (niraittu) on the mouths (vAyil) of the sleeping guests (virundinar) and disappeared (maraindananE). When I realized that the butter was missing, I was very upset to see tell-tale signs on my guests' mouths and took them to task. I ask you if it is appropriate (tagumO) for him to play (Seyya) such (enrapaDi) mean tricks that hurt (nondiDavum) my feelings (cintai) so much (miga), by making me reproachfully (nindai migu) blame (pazhi) my innocent guests' here (ingE) for that (anda) misdeed, while the true sinner/perpetrator (pAvam) was elsewhere/there (angE)? What (enna) can we do (SeivOmaDi) now? Looks like nanda (nandagOparkku) had to perform (SeidAraDi) severe (nalla) austerities/penance (tavam) to beget (pera) such a wonderful/capable/handsome (andamigum) son (piLLai) like (vidam) this (inda)!!
caraNam 7
mundAnAL andi nErattil sondam uDan kiTTE vandu
vindaigaL anEk(g)am sheidu viLaiyADinAn- oru
pandaLavAgilum veNNai tandAl dAn viDuvEn enRu
muntugilait-toTTizhuttup-pOrADinAn
anda vAsudEvan ivan dAn aDi yashOdE!
maindan ivanE enRu vAri maDi mEl vaittu
sundara mukh(g)attaik pArkkum vELaiyilE indrajAlam pOl
IrEzhu lOkangaLum kATTinAnDi (tAyE...)
Day-before-yesterday (mundAnAL), at dusk (andi nErattil), he very possessively (sondam uDan) came (vandu) by (kiTTE) me and played (viLaiyADinAn) around, mesmerizing me by performing (Seidu) many (anEkam) amzing tricks (vindaigaL). He caught (toTTu) my pallU (muntugilai), fought with me (pOrADinAn) by tugging (izhuttu) at it and claimed (enRu) that he would let go (viDuvEn) only (dAn) if he was given (tandAl) a (oru) handful of butter (veNNai) that was at least ball (pandu)-sized (aLavAgilum). This boy (ivan) who is standing here so innocently is that (anda) very same (dAn) krishNa (vAsudEvan) [6] who tormented me, Oh (aDi) yaSOdA (yaSOdE)! And you know what else? Convinced that he (ivanE enRu) was a mere child (maindan), at the time (vELaiyilE) when I gathered (vAri) him up and put (vaittu) him on (mEl) my lap (maDi) to look (pArkkum) at his handsome (sundara) face (mukhattai), like (pOl) magic (indra-jAlam), he made me swoon away by showing (kATTinAnDi) the fourteen (IrEzhu = two times seven) worlds (lOkangaLum)!!
FOOTNOTES
[1] ammammA is an expression of surprise - like 'Oh my God' (OMG in sms speak!)
[2] Di/aDi is a familiar way of addressing a woman - someone the same age or younger than one (sort of 'Oh ri')
[3] mAlai iTTavan - one who placed (iTTavan) a garland (mAlai) around (my) neck - the reference is to the traditional exchange of garlands between the bride and groom in a wedding
[4] nAlu peru literally means four (nAlu) people (pEru) - but here, it means 'many'
My dream presentation of this would be with the caraNams from this and the mOhanam kriti presented alternately - sort of like 'accusation' and 'defense' (the caraNams are mutually complementary), with a final judgement by yaSodA.