The advocate who became a Haridasa

He was born and brought up in an orthodox Madhwa family. He became an advocate and a very popular one at that. He had a good practice and he gave it up after he became a Haridasa.

Today, he is more known as one of the persons who played a leading part in compiling, protecting and bringing to light many compositions of he Haridasas of Karnataka along with the scripts.

This man was from Raichur district and he was born in devout Madhwa family where discourses on Shastras and Puranas were held every day.

He was also a freedom fighter and he was put behind the bars for reading about the freedom movement and defying the censorship laws. 

This man is none other than Gorebala  Hanumantha Rao who was born in Lingasur of Raichur district in 1893. Hanumantha Rao was born in Gorebala village to Venkata Rao and Balamma.

Venkata Rao was working as a clerk and he gave good education to his son who then went on to graduate in law. He took up law as his good friend Swami Rao who later became Varadesha Vittala Dasa and was the son of  Rama Dasa ( Sri Pranesha Vittala), was a advocate.

Soon, Gorebala  Hanumantha Rao became a famous advocate. He practised law for some time before he became a disciple of Guru Jagannatha Vittala Dasa of Kosigi.

Guru Jagannatha Dasa initiated Hanumantha Rao into the Haridasa fold and gave him the ankita Sundara Vittala. Once Hanumantha Rao received the ankita, he stopped practicing law. He then turned his attention to Haridasa Sahitya.

He also earnestly translated Ramayana, Mahabharatha, Pancharatna, Puranas and Brahmasutra Bashyas from Sanskrit to Kannada. He then started Sri Varadendra Haridasara Sahitya Mandali. 

The Mandali collected many manuscripts of Haridasa Krithis belonging to Sripadaraja, Purandara Dasa, Raghavendra swamy, Vijaya Dasa, Jagannatha Dasa and his disciples, Vasudeva Vittala Dasa, Guru Vijaya Vittala Dasa and many others.

In 1957, he started Karnataka Haridasa Sahithya, a magazine, that was published for two years before being discontinued. He was felicitated in 1964 for his role in popularizing Kannada by the Raichur Kannada Sangha.

Even today, old timers of  Lingasugur recall how Mr. Rao used to travel from one house to another selling books on Madhwa philosophy and Haridasa Sahitya. His only aim was to popularise these books among the people and ensure that the teachings and compositions were not forgotten.

He passed away in 1969.  

Sri Krishnashtakam

One of the greatest Madhwa saints to have traversed all over India and the one who hailed from Karnataka is Vadiraja Theertha (1480-1600).

Vadiraja Theertha was a seer who adorned the Sode Matha, which today is also known as Sode Vadiraja or Vadiraja Matha. He was born at Gowri Gadde and he was a disciple of the venerable Vyasa Raja or Vyasa Theertha (1560-1539).

Vadiraja Theertha was a contemporary of  Purandara Dasa, Kanaka Dasa and Belur Vaikunta Dasa. His contribution to both Dasa Koota and Vyasa Koota is immeasurable.

He was a prolific writer and composer. He has several compositions on Udupi Krishna to his credit. The Sri Krishnashtakam is one of his best.

The lyrics of this composition in Kannada, English and Sanskrit are as follows:

 ಪಾಲಯಾಚ್ಯುತ ಪಾಲಯಾಜಿತ ಪಾಲಯಾ ಕಮಲಾಲಯ
ಪಲಯಾ ಧೃತಭೂಧರಾಂಬುರುಹೋದರ ಸ್ವಜನೋದರ |

ಮಧ್ವಮಾನಸಪದ್ಮಭಾನುಸಮಂ ಸ್ಮರಪ್ರತಿಮಂ ಸ್ಮರ
ಸ್ನಿಗ್ದನಿರ್ಮಲಶೀತಕಾಂತಿಲಸನ್ಮುಖಂ ಕರುಣೋನ್ಮುಖಮ್|
ಹೃದ್ಯಕಂಬುಸಮಾನಕಂಧರಮಕ್ಷಯಂ ದುರಿತಕ್ಷಯಂ
ಸ್ನಿಗ್ಧಸಂಸ್ತುತರೌಪ್ಯಪೀಠಕೃತಾಲಯಂ ಹರಿಮಾಲಯಮ್ ||೧||

ಅಂಗದಾದಿಸುಶೋಭಿಪಾಣಿಯುಗೇನ ಸಂಕ್ಷುಭಿತೈನಸಂ
ತುಂಗಮಾಲ್ಯಮಣೀಂದ್ರಹಾರಸರೋರಸಂ ಖಲನೀರಸಮ್|
ಮಂಗಲಪ್ರದಮಂಥದಾಮವಿರಾಜಿತಂ ಭಜತಾಜಿತಂ
ತಂ ಗೃಣೇ ವರರೌಪ್ಯಪೀಠಕೃತಾಲಯಂ ಹರಿಮಾಲಯಮ್ ||೨||

ಪೀನರಮ್ಯತನೂದರಂ ಭಜ ಹೇ ಮನಃ ಶುಭ ಹೇ ಮನಃ
ಸ್ವಾನುಭಾವನಿದರ್ಶನಾಯ ದಿಶಂತಮರ್ಥಿಸುಶಂತಮಮ್|
ಅನತೋಸ್ಮಿ ನಿಜಾರ್ಜುನಪ್ರಿಯಸಾಧಕಂ ಖಲಬಾಧಕಂ
ಹೀನೋತೋಜ್ಝಿತರೌಪ್ಯಪೀಠಕೃತಾಲಯಂ ಹರಿಮಾಲಯಮ್ ||೩||

ಹೈಮಕಿಂಕಿಣಿಮಾಲಿಕಾರಶನಾಂಚಿತಂ ತಮವಂಚಿತಂ
ಕಮ್ರಕಾಂಚನಚಿತ್ರವಸ್ತ್ರಕಟಿಂ ಘನಪ್ರಭಯಾ ಘನಮ್|
ನಮ್ರನಾಗಕರೋಪಮೋರುಮನಾಮಯಂ ಶುಭಧೀಮಯಂ
ನೌಮ್ಯಹಂ ವರರೌಪ್ಯಪೀಠಕೃತಾಲಯಂ ಹರಿಮಾಲಯಮ್ ||೪||

ವೃತ್ತಜಾನುಮನೋಜ್ಞಜಂಘಮಮೋಹದಂ ಪರಮೋಹದಂ
ರತ್ನಕಲ್ಪನಖತ್ವಿಷಾ ಹೃತಹೃತ್ತಮಸ್ತತಿಮುತ್ತಮಮ್|
ಪ್ರತ್ಯಹಂ ರಚಿತಾರ್ಚನಂ ರಮಯಾ ಸ್ವಯಾಗತಯಾ ಸ್ವಯಂ
ಚಿತ್ತ ಚಿಂತಯ ರೌಪ್ಯಪೀಠಕೃತಾಲಯಂ ಹರಿಮಾಲಯಮ್ ||೫||

ಚಾರುಪಾದಸರೋಜಯುಗ್ಮರುಚಾಮರೋಚ್ಚಯಚಾಮರೋ-
ದಾರಮೂರ್ಧಜಭಾರಮಂಡಲರಂಜಕಂ ಕಲಿಭಂಜಕಮ್|
ವೀರತೋಚಿತಭೂಷಣಂ ವರನೂಪುರಂ ಸ್ವತನೂಪುರಂ
ಧಾರಯಾತ್ಮನಿ ರೌಪ್ಯಪೀಠಕೃತಾಲಯಂ ಹರಿಮಾಲಯಮ್ ||೬||

ಶುಷ್ಕವಾದಿಮನೋತಿದೂರತರಾಗಮೋತ್ಸವದಾಗಮಂ
ಸತ್ಕವೀಂದ್ರ ವಚೋವಿಲಾಸಮಹೋದಯಂ ಮಹಿತೋದಯಮ್|
ಲಕ್ಷಯಾಮಿ ಯತೀಶ್ವರೈಃ ಕೃತಪೂಜನಂ ಗುಣಭಾಜನಂ
ಧಿಕ್ಕೃತೋಪಮರೌಪ್ಯಪೀಠಕೃತಾಲಯಂ ಹರಿಮಾಲಯಮ್ ||೭||

ನಾರದಪ್ರಿಯಮಾವಿಶಾಂಬುರುಹೇಕ್ಷಣಂ ನಿಜರಕ್ಷಣಂ
ತಾರಕೋಪಮಚಾರುದೀಪಚಯಾಂತರೇ ಗತಚಿಂತ ರೇ|
ಧೀರ ಮಾನಸ ಪೂರ್ಣಚಂದ್ರಸಮಾನಮಚ್ಯುತಮಾನಮ
ದ್ವಾರಕೋಪಮರೌಪ್ಯಪೀಠಕೃತಾಲಯಂ ಹರಿಮಾಲಯಮ್ ||೮||

ರೂಪ್ಯಪೀಠಕೃತಾಲಯಸ್ಯ ಹರೇಃ ಪ್ರಿಯಂ ದುರಿತಾಪ್ರಿಯಂ
ತತ್ಪದಾರ್ಚಕವಾದಿರಾಜಯತೀರಿತಂ ಗುಣಪೂರಿತಮ್|
ಗೋಪ್ಯಮಷ್ಟಕಮೇತದುಚ್ಚಮುದೇ ಮಮಾಸ್ತ್ವಿಹ ನಿರ್ಮಮ
ಪ್ರಾಪ್ಯ ಶುದ್ಧಫಲಾಯ ತತ್ರ ಸುಕೋಮಲಂ ಹೃತಧೀಮಲಮ್ ||೯||

||ಇತಿ ಶ್ರೀ ವಾದಿರಾಜಯತಿ ವಿರಚಿತಂ ಕೃಷ್ಣಾಷ್ಟಕಮ್||

The lyrics in English is as follows:

pālayācyuta pālayājita pālayā kamalālaya
palayā dhr̥tabhūdharāṁburuhōdara svajanōdara |

madhvamānasapadmabhānusamaṁ smarapratimaṁ smara
snigdanirmalaśītakāṁtilasanmukhaṁ karuṇōnmukham|
hr̥dyakaṁbusamānakaṁdharamakṣayaṁ duritakṣayaṁ
snigdhasaṁstutaraupyapīṭhakr̥tālayaṁ harimālayam ||1||

aṁgadādisuśōbhipāṇiyugēna saṁkṣubhitainasaṁ
tuṁgamālyamaṇīṁdrahārasarōrasaṁ khalanīrasam|
maṁgalapradamaṁthadāmavirājitaṁ bhajatājitaṁ
taṁ gr̥ṇē vararaupyapīṭhakr̥tālayaṁ harimālayam ||2||

pīnaramyatanūdaraṁ bhaja hē manaḥ śubha hē manaḥ
svānubhāvanidarśanāya diśaṁtamarthisuśaṁtamam|
anatōsmi nijārjunapriyasādhakaṁ khalabādhakaṁ
hīnōtōjjhitaraupyapīṭhakr̥tālayaṁ harimālayam ||3||

haimakiṁkiṇimālikāraśanāṁcitaṁ tamavaṁcitaṁ
kamrakāṁcanacitravastrakaṭiṁ ghanaprabhayā ghanam|
namranāgakarōpamōrumanāmayaṁ śubhadhīmayaṁ
naumyahaṁ vararaupyapīṭhakr̥tālayaṁ harimālayam ||4||

vr̥ttajānumanōjñajaṁghamamōhadaṁ paramōhadaṁ
ratnakalpanakhatviṣā hr̥tahr̥ttamastatimuttamam|
pratyahaṁ racitārcanaṁ ramayā svayāgatayā svayaṁ
citta ciṁtaya raupyapīṭhakr̥tālayaṁ harimālayam ||5||

cārupādasarōjayugmarucāmarōccayacāmarō-
dāramūrdhajabhāramaṁḍalaraṁjakaṁ kalibhaṁjakam|
vīratōcitabhūṣaṇaṁ varanūpuraṁ svatanūpuraṁ
dhārayātmani raupyapīṭhakr̥tālayaṁ harimālayam ||6||

śuṣkavādimanōtidūratarāgamōtsavadāgamaṁ
satkavīṁdra vacōvilāsamahōdayaṁ mahitōdayam|
lakṣayāmi yatīśvaraiḥ kr̥tapūjanaṁ guṇabhājanaṁ
dhikkr̥tōpamaraupyapīṭhakr̥tālayaṁ harimālayam ||7||

nāradapriyamāviśāṁburuhēkṣaṇaṁ nijarakṣaṇaṁ
tārakōpamacārudīpacayāṁtarē gataciṁta rē|
dhīra mānasa pūrṇacaṁdrasamānamacyutamānama
dvārakōpamaraupyapīṭhakr̥tālayaṁ harimālayam ||8||

rūpyapīṭhakr̥tālayasya harēḥ priyaṁ duritāpriyaṁ
tatpadārcakavādirājayatīritaṁ guṇapūritam|
gōpyamaṣṭakamētaduccamudē mamāstviha nirmama
prāpya śuddhaphalāya tatra sukōmalaṁ hr̥tadhīmalam ||9||

The composition in Sanskrit is:

पालयाच्युत पालयाजित पालया कमलालय
पलया धृतभूधरांबुरुहोदर स्वजनोदर ।

मध्वमानसपद्मभानुसमं स्मरप्रतिमं स्मर
स्निग्दनिर्मलशीतकांतिलसन्मुखं करुणोन्मुखम्।
हृद्यकंबुसमानकंधरमक्षयं दुरितक्षयं
स्निग्धसंस्तुतरौप्यपीठकृतालयं हरिमालयम् ॥१॥

अंगदादिसुशोभिपाणियुगेन संक्षुभितैनसं
तुंगमाल्यमणींद्रहारसरोरसं खलनीरसम्।
मंगलप्रदमंथदामविराजितं भजताजितं
तं गृणे वररौप्यपीठकृतालयं हरिमालयम् ॥२॥

पीनरम्यतनूदरं भज हे मनः शुभ हे मनः
स्वानुभावनिदर्शनाय दिशंतमर्थिसुशंतमम्।
अनतोस्मि निजार्जुनप्रियसाधकं खलबाधकं
हीनोतोज्झितरौप्यपीठकृतालयं हरिमालयम् ॥३॥

हैमकिंकिणिमालिकारशनांचितं तमवंचितं
कम्रकांचनचित्रवस्त्रकटिं घनप्रभया घनम्।
नम्रनागकरोपमोरुमनामयं शुभधीमयं
नौम्यहं वररौप्यपीठकृतालयं हरिमालयम् ॥४॥

वृत्तजानुमनोज्ञजंघममोहदं परमोहदं
रत्नकल्पनखत्विषा हृतहृत्तमस्ततिमुत्तमम्।
प्रत्यहं रचितार्चनं रमया स्वयागतया स्वयं
चित्त चिंतय रौप्यपीठकृतालयं हरिमालयम् ॥५॥

चारुपादसरोजयुग्मरुचामरोच्चयचामरो-
दारमूर्धजभारमंडलरंजकं कलिभंजकम्।
वीरतोचितभूषणं वरनूपुरं स्वतनूपुरं
धारयात्मनि रौप्यपीठकृतालयं हरिमालयम् ॥६॥

शुष्कवादिमनोतिदूरतरागमोत्सवदागमं
सत्कवींद्र वचोविलासमहोदयं महितोदयम्।
लक्षयामि यतीश्वरैः कृतपूजनं गुणभाजनं
धिक्कृतोपमरौप्यपीठकृतालयं हरिमालयम् ॥७॥

नारदप्रियमाविशांबुरुहेक्षणं निजरक्षणं
तारकोपमचारुदीपचयांतरे गतचिंत रे।
धीर मानस पूर्णचंद्रसमानमच्युतमानम
द्वारकोपमरौप्यपीठकृतालयं हरिमालयम् ॥८॥

रूप्यपीठकृतालयस्य हरेः प्रियं दुरिताप्रियं
तत्पदार्चकवादिराजयतीरितं गुणपूरितम्।
गोप्यमष्टकमेतदुच्चमुदे ममास्त्विह निर्मम
प्राप्य शुद्धफलाय तत्र सुकोमलं हृतधीमलम् ॥९॥

॥इति श्री वादिराजयति विरचितं कृष्णाष्टकम्॥

By the way, centuries earlier, Adi Shankara had also composed a similar composition. Here, Shankaracharya calls Krishna as Jagadguru and this is a composition of eight cantos.

The Anu Vayu Stuti

The Sri Hari Vayu Stuti is one of the most famous stuti or poem composed by Trivikrama Panditacharya.

This beautiful composition is in praise of Madhwacharya.

The Stuti, which has 41 paragraphs, has been composed recognising the three avatras of Hanuma, Bheema and Madhwacharya. It is, therefore, a mantra as well as a stotra. Women are, therefore,  forbidden from reciting it. However, they can recite the Anu Vyau Stuti as well as the Laghu Vayu Stuti.

The Laghu Vayu Stuti is composed by Kalyani Devi, sister of Trivikrama Panditacharya.

There is another Kalyani Devi and she is the sister of Madhwacharya. She too has written a Laghu Vayu Stuti.

Here are the Kannada and Sanskrit lyrics of Anu Vayu Stuti.

ಅಣುವಾಯುಸ್ತುತಿ

ಚಂದ್ರವಿಭೂಷಣ ಚಂದ್ರಪುರೋಗೈಃ
ವಂದ್ಯಪದಾಂಬುರುಹಂ ಪವಮಾನಮ್|
ಆನಂದತೀರ್ಥ ಮಹಾಮುನಿರಾಜಂ ಗೋವಿಂದಭಕ್ತಶಿಖಾಮಣಿಮೀಡೇ        ||೧||

ಪ್ರಾಣಗಣಾಧಿಪತಿಂ ಭುವಿವಾಣೀ
ಪ್ರಾಣಸಮಂ ದಯಯಾ ಹ್ಯವತೀರ್ಣಮ್|
ಆನಂದತೀರ್ಥ ಮಹಾಮುನಿರಾಜಂ ಗೋವಿಂದಭಕ್ತಶಿಖಾಮಣಿಮೀಡೇ        ||೨||

ಶ್ರೀಹನುಮಂತಮನಂತಭುಜಿಷ್ಯಂ
ಲಂಘಿತಸಿಂಧು ಮುದಸ್ತಮಹೀಧ್ರಮ್|
ಆನಂದತೀರ್ಥ ಮಹಾಮುನಿರಾಜಂ ಗೋವಿಂದಭಕ್ತಶಿಖಾಮಣಿಮೀಡೇ        ||೩||

ಭೀಷಣದುಷ್ಟಕುಲಾಂತಕಭೀಮಂ
ಭೀಮಮಭೀತಿದಮಿಷ್ಟಜನಾನಾಮ್|
ಆನಂದತೀರ್ಥ ಮಹಾಮುನಿರಾಜಂ ಗೋವಿಂದಭಕ್ತಶಿಖಾಮಣಿಮೀಡೇ        ||೪||

ಶಾಂತಮನಂತನಿಶಾಂತಸಮಾಹ್ವೇ|
ಶಾಂತಕುಲೇಖಕುಲೇ ಕಿಲ ಜಾತಮ್ |
ಆನಂದತೀರ್ಥ ಮಹಾಮುನಿರಾಜಂ ಗೋವಿಂದಭಕ್ತಶಿಖಾಮಣಿಮೀಡೇ        ||೫||

The Anu Vayu Stuti in Sanskrit.

अणुवायुस्तुति

चंद्रविभूषण चंद्रपुरॊगैः
वंद्यपदांबुरुहं पवमानम्।
आनंदतीर्थ महामुनिराजं गॊविंदभक्तशिखामणिमीडॆ        ॥१॥

प्राणगणाधिपतिं भुविवाणी
प्राणसमं दयया ह्यवतीर्णम्।
आनंदतीर्थ महामुनिराजं गॊविंदभक्तशिखामणिमीडॆ        ॥२॥

श्रीहनुमंतमनंतभुजिष्यं
लंघितसिंधु मुदस्तमहीध्रम्।
आनंदतीर्थ महामुनिराजं गॊविंदभक्तशिखामणिमीडॆ        ॥३॥

भीषणदुष्टकुलांतकभीमं
भीममभीतिदमिष्टजनानाम्।
आनंदतीर्थ महामुनिराजं गॊविंदभक्तशिखामणिमीडॆ        ॥४॥

शांतमनंतनिशांतसमाह्वॆ।
शांतकुलॆखकुलॆ किल जातम् ।
आनंदतीर्थ महामुनिराजं गॊविंदभक्तशिखामणिमीडॆ        ॥५॥

The Anu Vayu Stuti is a short composition-hence the name Anu which in Kannada means small-wherein Vayu and his three incarnations of Hanuma, Bheema and Madhwacharya-are addressed.  

We can see that the second line of  each of the verse has a single or constant refrain or line and this is “AnandatIrtha mahAmunirAjam Govinda bhakta shikhAmaNimIDe”.

Here, Ananda Theertha or Madhwacharya is reckoned to be the King of ascetics and a jewel among the devotees of Govinda or Krishna.

The first verse celebrates the moola roopa of Vayu who is addressed a Pavamana.  

The second verse tell us how Vayu enters the body and becomes Prana Devaru or Mukya Prana. Here Prana means any sensory organ.    

The third verse makes overt and covert references to the Monkey God or Hanuma, the first avatar, who lifted the Sanjeeveni parvata, and played a major role in the Ramayana. There is a reference to Lord Rama (Govinda here is Rama) too whose doota was Hanuman.

The fourth verse is about the magnificent Bheema, the second avatar. Here Govinda refers to Krishna and Veda Vyasa to the one who organised the Vedas.

The fifth verse celebrates Ananda Theertha or Madhwacharya, the third and final avatar. Govinda here means Veda Vyasa whom Madhwacharya saw in Badari. However, Govinda can also mean Rama and Krishna whom Madhwacharya worshipped.

The verse subtly says Madhwacharya took birth to uphold Dwaitha and silence all other wrong doctrines.

Songs of Vyasa Raja

Vyasa Raja is one of the most important saints of the Madhwa parampare. He started the Vyasa Koota and the Dasa Kota. While the Vyasa Koota was a philosophical movement comprising among others Vadiraja Theertha, Srinivasa Theertha, Rama Theertha, Vijendra Theertha, Sudhindra Theertha and several others, the Dasa Koota was made of poet-composers and singers like Purandara Dasa, Kanaka Dasa, Belur Vaikunta Dasa.

Vyasa Theertha or Vyasa Raja was a master of both the kootas and he has written scores of songs in all genres but only a few remain.

The most famous of his composition is “Krishna Nee Begana Baro” which is sung even today in all the dance programmes.

Vyasa Raja or Vyasa Theertha (1447-1539) first wrote with the Ankita Krishna and then changed to Sri Krishna.

Some of his other compositions include Avava Bageyinda: Bharatipatiya Pada: Eduraro Guruve Samararo: Ellimaya Yaadane: Yenna Bimbamuruthiva: Govinda Govinda Krishna: Jarathvavanu Maadida: Jayavayu Hanumantha: Kava Divayu: Krishna Krishna Krishna: Labavahudu Harikathamura: Mahiume Salade Iste: Pavamana Sanjatha Maruti and Tore Begane Toraja Nayane

The English lyrics of Avava bageyinda are as follows:

AvAva bageyiMda nInE rakShisuveyO

dEvAdi dEva shrIkraShNa nInennanu

hiMdinakAlava vyarthavAgi kaLedenO

muMdina gati chiMte lEshavillavo

saridu hOyitu dEhadoLagina balavella

maMdavAdavu iMdriya gatigaLella

AseyeMbudu ajana lOkakke muTTutide

kAsu hOdare klEshavAguttide

mOsamADi mrutyu baruvuda nAnariye

vAsudEvane enna dayamADi salahO

janaru dEhava biTTu pOpuda nA kaMDu

enna dEha sthiraveMdu tiLidukoMDu

dAnadharma modalAda hariya nEmava biTTu

The lyrics of  edurAro are:

edurAro guruve samanAro

madana gOpAlana priya jayarAya

kaDugarjisuva kEsariyaMte nimma vAda

gaDaNeya kELuta nuDi muMdODade

gaDagaDa naDuguta mAygOmAygaLu

ADaviyoLaDagOru nimma bhItiyali

kuTila matagaLeMbo chaTulaMdhakArakke

paTutara tatvaprakAsikeyeMteMba

chaTulatApadiMda khaMDisi tejO

tkaDadi merada budhakaTakAbja mitra

amita dvijAvaLi kumudagaraLisi

vimatara mukhakamalaMgaLa bADisi

svamatara hratsaMtApagaLODisi

vimala sukIrtiya paDedeyO chaMdra

vEdashAstragalEmbO shraMgagaLiMda su

dhAdi graMthagaLembO stanadiMdopputa tatva

bOdhaneyeMba dugda shiShyavatsaMgaLige

Adaradali koTTa yatisuradhEnu

vyAsasUtragaLeMba maMdaravanu vEda

rAShiyeMba varAShiyoLiTTu

shrI sarva~g~jara vAkyapAshadi sutti

bhAsura nyAyasudhA paDeda yatIMdra

vanajanAbhana guNamanEgaLu sarva~g~ja

munikrata graMthagaLavaniyoLagaDe sa

jjanarige bEkAMjanadiMda tOrisi

ghana sukhasAdhana mADidyOdhIra

ArthimaMdAra vEdArthavichAra sa

martha ShrIkraShNa pAdambhujalOla pra

tyarthi mattEbhakaMThIravakvObya

tIrtha karaja jayatIrtha yatIMdra

The song elli mAyavAdane goes as follows:

elli mAyavAdane raMgayyanu

elli mAyavAdane

elli mAyavAda pullanAbha kraShNa

chelve gaMgaLeyaru huDuka hOguva banni

maMdagamaneyarella kraShNana kUDe

cheMdadi iddevalla

kaMdarpa bAdhege guriya mADidanalla

maMdamati namage baMdu odagitalla

sarasijAkShiyaru kUDi kraShNana kUDe

sarasavADutaliddeve

karekaregoLisi manathribAdhegoppisi

charaNasEvakarAda taraleyaranu biTTu

bhaktavatsala dEvanu tannavarannu

akkaradali poredanu

sikkade hOganu huDukuta hOguva

akkayya bannire uDipi shrIkraShNanu

The enna biMba is anothert famous song:

enna biMba mUrutiya pUjisuve nAnu|

manamuTTi anudinadi mareyadE janarE||

gAtravE maMdira | hridayavE maMTapa | sUtravE mahaddIpa | hasta chAmaravu |

yAtre pradakShiNe | shayana namaskAra | sAstra mAtugaLella maMtraMgaLu ||

 enna svarUpaveMbude rannagannaDi | enna manOvratteyeMbudE Chatrike |

innu nuDiva harinAmAmratavE tIrtha | enna manaveMbudE siMhAsana ||

anya dEvate yAke | anya pratime yAke | anyavAda maMtrataMtravEke |

ennalli bharita sAdanegalu irutiralu | chennAgi shrIkraShNasvAmiya pUjisuvE ||

The Govinda Govinda song is as follows:

govinda govinda kriShnA hari

govinda mukunda gopala krishnA

kaDegannilindomme noDo nee

naDigeraguveno nee dayamaaDo

biDadenna ninnavarolu kUDo en-

noDeya nityaananda nee nalidADo

makkalagoDeya neenaagi hasu

makkalakuDa neenaaDa hogi

sikkide bahu dinakaagi dindi-

mikendu kunisuve baa chennagi

hrudaya kamala dolage ninnA

padakamalavanne nee daya gaiyyo munna

chadura kuniyo chelvaranna vibudara

oDeyane nityaananda Krishna

 

The jAratvavanu song is as follows:

jAratvavanu mADida pApagaLigella

gOpIjana jAraneMdare sAlade ?

chOratvavanu mADida pApagaLigella

navanIta chOraneMdare sAlade?

krUratvavanu mADida pApagaLigella

mAvanna koMdavaneMdare sAlade?

prati divasa mADida pApaMgaLige ellA

patitapAvananeMdu karedare sAlade?

iMtippa mahimeyoLogoMdannAdarU omme

saMtasadi neneye salahuva sirikraShNa

The song on Hanumantha or Anjaneya is equally famous:

jaya vAyu hanumantha jaya bheema balavantha

jaya pUrna mativantha jaya salaho santha

anjaneyali huTTi andhu rAmana seve

nandadindali maaDi kapi balava kuDi

sindhu langisi kalara vana bhangisi site-

gungurava koTTi lankapurava suTTi

harige chuDAmani yanitthu harigala kuDi

sharadiyanu kaTTi aribalavanu kuTTi

uraga bandandinda kapivararu maimareye

giriya sanjivanava thandhu badukisida

dwaparAnthyadalli paanDu bhupanatmanendenisi

sripArtha sArathiya bajaka neenAde

paapi baka keechaka hiDimbakara

kopadindali taride mUrjjagadi merede

dhuradali duryodhanana bhalavanu thilide

aritu dushaasanana oDalanu bagede

urava tappisi kauravanna thoDegala muride

hariya kinkara durandharagaaru sariye

kali yugadali kallarudisi durmatigalanu balisi

sri hariya gunagala maresi

kaliyabbu sarisalu guruvaagi avatarisi

kalara durmata muride srikrishna paranende

The Abhavahudu is as follows:

Abhavahudu harikathAmrutha

padumanAbhana pAdada pathadi

ahudu sajjana gaNake satyA

arishaDvargaMgala toradu

jaridu tApatrayava kaledu

muraharana pAdada pathadi

iralu sajjane gaNake satyA

elu dinavu pariskshitanu

veley arithu hariya katheya

keli mukthanaada mele

kelida katheya kela beku

eraDu galige kaTwAnga rAya

harana puradi sri kRuShNaMNa katheyu

smarisi mukta naada mele

nirutha katheya kelabeku

Another small but beautiful composition on Hanuman is

pavamana saMjata maruti !

ninageNeyaaro ee jagadi maruti !!

aMjane udaradi janiside bhava baMjana namava paaDide !!

aMjade siMdhuva daaTide mudreyuMgura seetege neeDide !!1!!

kuMti kumaara kali bheemane mahadaMta sameera niseemane !!

naMda kishOrana oliside maha saMdhaana korryava seeLide !!2!!

vEdaaGna viprara varasuta divya vEdaaMta peeThada yativara !!

gOpi caMdanadoLu aDagida muddu gOpaala kRuShNana pUjipa !!3!!

hIna viShayagaLigeraguve sirikraShNa

koLalanUduva chadura yaare pELammayya||pallavi||

taLiraMdadi taa poLeva karadi piDidu||a.pa||

naadadi tuMbitu gOvardhanagiri

yaadavakula ghana oreditu khagakula

saadhisi nODalu kRuShNanu Igale

saadhyavE nI bRuMdaavanadoLu||koLalanUduva||

mEvu maretavu gOvugaLellavu

saavadhaanadi haridaLu yamune

aavu kaavutali gOvaLarellara

haavabhaavadali bRuMdaavanadoLu||koLalanUduva||

suraru suridaraakaaSadi sumagaLa

saridu pOgi nODe bRuMdaavanadoLu

saari saari SrIkRuShNanu Igalu

turugaLa taa kaayda kadaMbavanadoLu||koLalanUduva|

Some of these songs are also Taratamya songs. The Taratamya concept was one of the most important tenets of Madhwacharya. For him, there was a clear and distinct gradation of gods or Taratamya and all Madhwa saints, including Vyasa Raja or Vyasa Theertha and all Haridasas accepted and propounded this in their writings.