Just a place to jot down my musings.

Wednesday, December 29, 2010

Godā Stuti, 18

cūḍā-padena parigṛhya tavottarīyaṃ
mālām api tvad-aḷakair adhivāsya-dattām |
prāyeṇa raṅga-patir eṣa bibharti Gode
saubhāgya-saṃpad-abhiṣeka-mahādhikāram || 18 ||


Grasping
        Your upper garment
        and Your garland too,
                perfumed by Your locks
        with His crest,

o Godā,

this Lord of Raṅgam generally bears
        auspiciousness
        wealth
        coronation
        supreme authority.

Notes
This verse describes the manner in which Lord Raṅganātha gained all sorts of felicities by accepting Godā as His bride (the upper garment) and devotee (the garland). This may sound peculiar—how does God gain or lose felicity?—but it can be understood in a few different ways. For one, this love between Viṣṇu and Godā is not something that exists within the material plane, and consequently cannot entirely be grasped by human minds. This is different from Advaita monism, where such an understanding of divinity would be considered a lower level of knowledge. In Śrīvaiṣṇava thought, such love in fact transcends philosophical abstractions like a pure undifferentiated essence. The Śrīvaiṣṇava devotional tradition (as with some other devotional traditions) believes that God's love for humans is like the love of a cow for her calf (vātsalya), which transcends all bounds, rational or otherwise. Thus, Raṅganātha's love for Godā would not be seen as his having lacked something and then acquired it (for this love is eternal and ever-present), but as transforming into a different mode. Since Viśiṣṭādvaita allows for the existence of complex wholes, such a dynamic evolution of states should be in consonance with its metaphysics. (I know very little, sadly, about the entire edifice of Śrīvaiṣṇava thought, but I wonder if this is how they would respond to an Advaitin's skepticism regarding this verse.)

On a more grammatical note, I have translated the fourth pada of the verse as a single dvandva compound with four different elements, but other translations may be possible.

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Why pearls, and why strung at random?

In his translation of the famous "Turk of Shirazghazal of Hafez into florid English, Sir William Jones, the philologist and Sanskrit scholar and polyglot extraordinaire, transformed the following couplet:

غزل گفتی و در سفتی بیا و خوش بخوان حافظ

که بر نظم تو افشاند فلک عقد ثریا را


into:

Go boldly forth, my simple lay,
Whose accents flow with artless ease,
Like orient pearls at random strung.

The "translation" is terribly inaccurate, but worse, the phrase is a gross misrepresentation of the highly structured organization of Persian poetry. Regardless, I picked it as the name of my blog for a number of reasons: 
1) I don't expect the ordering of my posts to follow any rhyme or reason
2) Since "at random strung" is a rather meaningless phrase, I decided to go with the longer but more pompous "pearls at random strung". I rest assured that my readers are unlikely to deduce from this an effort on my part to arrogate some of Hafez's peerless brilliance!

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Cambridge, Massachusetts, United States
What is this life if, full of care,
We have no time to stand and stare.
—W.H. Davies, “Leisure”