The magical tune was conjured for the first time by yesteryear’s poet and composer Oothukadu Venkata Subbaiyar (1700 – 1765). Sheer poetry or trance inducing mystical tune, the poet was not just teasing the awaken universal Gopikahood in women who have at least once heard of the legend of Krishna, but simply celebrating Tamil as well. And celebrating he was indeed like a little brat in rain, like a bee in the blossoms, like harvest time’s rose-finch. ‘Thaye Yashoda’ is a piece of wildest of imaginations possible coupled with sort of most audacious jugglery of words. The rhythm too has pretty well come his way like a little lamb following its milch mother.
Githa Govinda of Jayadeva that was written in 1200 Ad had depictions in it about Krishna’s flirtations in a far more explicit style. Erotic-mysticism here, seems unequivocally accepted by Hinduism as one of the numerous valid paths towards attaining beatification. A crucial Hinduistic symbolism of bio-genesis ; God taking the role of both the dominant masculine entity (Purusha) and divinely humble feminine entity (Prakruthi) concurrently. Many poets who flourished in this excellent culture have expressed this in romantic styles, although the essence was the same with almost all. The longing of the feminine entity to unite with the male entity has been exquisitely compared by their works as the eternal craving of living beings to unite with God.
“Balan endru thavi Anaithen; Anaitha Ennai
Malayittavan Poi Vayil Mutthan Ittendi
Balan Alladi un Magan Jalam Miga Seyvadellam
Nalu Pergal Ketka-cholla Nanamiga Aguthadi…”
Venkata Subbaiyar writes Gopikas as complaining to mother Yashoda (Krishna’s foster mother) that there was seldom a boy in the world like her son who had kissed them right on their lips profoundly like a paramour of theirs when they had hugged him thinking him to be a little boy. How embarrassed have been those women of the cattle-herd community who find it even more difficult to bring it to their lips that the young gentleman who stopped them the previous day to ask for directions had yet again demanded kisses from them as brazenly as he could. Then the sissyish teasing of motherhood by a group of subtly flirty natured dames that Yashoda has brought up her son badly too highlights the aesthetics of the poems first verse.
The teasing continuous as another, this time a bit of an elderly lady from the complaining group of female subjects accosts the mischievous boy’s mother to lament that she who had deigned to the pleas of Krishna to give him some butter had to bear a prankish wink from him followed with another annoying demand; this time for her daughter’s hand.
The final stanza but belongs to the poet exclusively who speaks in the voice of a cattle-herd lady to Yashoda that the young boy was that God Vasudevan himself as when the woman had picked up him to seat him on her lap he had shown her the whole universe in his wide opened mouth. Absolutely not a sillier way you get to establish the mystic nature of symbolism!
“Antha Vasudevan Ivanthan Adi Yashoda
Maindan Endru Eduthanaithu Madimel Vaithu
Sundara Mugatthai Parkkum Velayile Vay Thiranthu
Indirajalam Polave Irezhulakam Kanbittan”
Set to the resplendence of the Thodi raga that is considered a pretty heavy rage relatively, this song is so surprisingly frivolous. As a matter of fact, Thodi is a mystically profound raga that is often used to have the singers’ mettle tested. Among so many variations of this song available today, one sung by Sudha Ranganathan is quite famous for its beauty of rendition. This exceptional composition is not just a favourite with the fans of Carnatic music but also highly acceptable for the Bharathanatyam admirers.