-------------
> sadAnanda says:
> Sugandhi: senga pinDi lEka pOte mokka jonna pinDiyun
> pacci mirci lEka pOte yenDu mirci pouDarun
> ullipaaya lEka pOte cEyu nEdi lEka nun
> ranDi slOga pOdu mella raamakrishna yinTikin||
>
> viSishTAdvaitulu kunTimaddi sadAnandAcAryulavAru guruvukE panganAmAlu
> peDutunnAru! ayyA, nEnu aDDaboTTu vADinE!
>
> Discussing his use of mAtrAchandas in his early works, SrISrI refers to
> Adi Sankara's mOha mudgara verse, whose refrain is,
>
> bhaja gOvindam, bhaja gOvindam, gOvindam bhaja mUDhamatE!
> samprAptE sannihitE kAlE, nahi-nahi rakshati DRkkun karaNE!
>
> and sayss that the lines from his poem,
>
> marO prapamcam, marO prapancam, marO prapancam pilicindee!
>
> follow the same structure. And he adds that Sankara, when he reversed
> the word "bhaja gOvindam" to "gOvindam bhaja" at the third instance of it,
> showed a flair that the three repetitions of "marO prapancam" do
> not have. (I am writing this from memory, so consider this a paraphrase)
-----------
There is a more deeper suggesting meaning for bringing gOvindam before bhajam in
the third line. Attention is shirted from individual, ego that is involved in
the bhaja in the first two times and when the ego surrendered to govinda, He
becomes more important.
There is beautiful song describing the raasa leela - anganaa anganaa antarE
maadhavaa, then the poet switches to maadhavaa - he says maadhavaa maadhavaa
antarE angana.
angana the gopi stands for the thought - initally between two thoughts there is
the silence, the objectless awareness or madhavaa; and as the meditation
progresses the thoughts becomes less and more silence and hence maadhavaa
maadhavaa antaree anganaa. Importance is shifted from angana to madhavaa.
All this discussion does not make Ramakrishna escape from serving pakODaas.
Remember I have covered all the choices -not only in ullipaayas - One leg as
borned vishiTaadvaitin and being Swami Chinmayaananda's disciple one leg as
advaitin by choice.
Whatever you say there is more gait and beauty in going to Ramakrishnas house!
ranDi slOga pOdu mella raamakrishna yinTikin||
Of course if you want to order the pakOdees from vElurI's house by whatever
means it is your choice.
Hari Om!
Sadaananda
>
>
> This happens many times in poems, and even in alliterative speech. The
> second repetition sounds good, but the third repetition makes it stale.
> You need something different there to keep it interesting. Let me try an
> example.
>
> Dhillee pOdAm, Dhillee pOdAm, Dhillee pOdAm, rAranDOy!
> versus Dhillee pOdAm, Dhillee pOdAm, pOdAm Dhillee, rAranDOy!
>
> This is what sadAnanda avhieved in the poem, when he broke from the
> repetitious structure in the first two lines and went on a tangent in the
> third line. I wonder if he considered for a while some alternative for
> ullipAya. If he did and failed to find one, that turned out to his advantage.
> As for the fourth line, I would change it slightly to
>
> * ranDi melligA padanDi, rAmakrishNA yinTikin
> (not an official invitation!!!!)
> an aside to VVR - the gait is preserved, even w/o word break at the
> 3x mAtra count, because the inherent UI sequence provides it naturally.
> Where as in a "taraLa" (ee Saltee inkA ekkaDA nAku kanabaDa lEdu.) such
> is not the case, and one has to make a strong effort to preserve the
> gait.
> * ranDi melligA padanDi, rAmabhadru veeTikin
> (with rAmabhadra, there is no question about not finding fresh mirci,
> ullipAya, allam, or any other ingredient. With several "International"
> farmers markets in the area, you can find the most exotic vegetable,
> freshly available.)
>
> * pOdamA kolambasandu pAranandi yinTikin
> (one problem here. pa'lana knows too much about what happens to oil
> when you make it boil. His affection for folks with a weakness for
> deep-fried foods runs shallow)
>
> While all of these variations are possible, the names sadAnanda,
> vElUri, jampAla don't lend themselves easily for a sugandhi vRttam!
> veeLLantA "gurutara"-nAmadhEyulu. Unless,
>
> kArulO hushArugAnu kunTimaddi yinTikin!
>
> Ramakrishna
>
> PS: That doesn't absolutely absolve vElUri from having to serve pakODees.
> ....
> ullipAya lEka pOte cEyu nEdi lEka vE-
> lUri gAri yinTi meeda danDa yAtra cEdamA! (ditto for jam-pAla)
>
> PPS: astute readers would remember pa'lana's explanation as to why a
> recipe that calls for pacci mirci wouldn't quite taste the same if
> you substitute yenDu mirci. Something to do with the unpronouncible
> flavonoids.