Just a place to jot down my musings.

Monday, December 20, 2010

Godā Stuti, 5

asmādṛśām apakṛtau cira-dīkṣitānāṃ
ahnāya Devi dayate yad asau Mukundaḥ |
tan niścitaṃ niyamitas tava mauḷi-dāmnā
tantrī-nināda-madhuraiś ca girāṃ nigumbhaiḥ || 5 ||



 O Lady,


That Mukunda immediately feels compassion
for those like us,
        long consecrated to misdeeds,

is surely because 
He is restrained 
by
        Your crown of flowers,
        the melodious sounds of Your stringed vīṇā
        and the garlands of Your words!


Notes
A refreshingly straight-forward verse! The only wrinkle was that I could not find the word nigumbha in the dictionary, but like Brain Snacks, I found the root √guph that means "to put string or weave together, tie, wind round;" according to Apte. This accords with the Tamil descriptions of Godā / Āṇṭāḷ as offering a pāmālai or a "garland of metered verse" to the Lord of Śrīraṅgam.

The choice "long-consecrated" requires some explanation, for it reads rather strangely in English. It is a literal translation of cira-dīkṣit[ānām]. A dīkṣita is someone who has been consecrated for the purpose of performing a ceremony, often a Vedic ritual. This involves preparing oneself physically, mentally, and ritually for carrying out the ceremony, and requires the person to make a mental vow or statement of intent, a saṅkalpa (akin to the irāda that is essential in fiqh). In this case, "those who are like us" are consecrated to apakṛti, actions that are physically, mentally, and ritually harmful. This is a much stronger statement than merely saying that "those who are like us" commit wrong actions or mistakes; it says that these actions are knowingly, willingly committed. The point is that Godā's mercy prompts Her to persuade the Lord to forgive people who are this fallen, the lowest of the low.

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