I.
Original Vachana
ಮನವ ಕೊಟ್ಟು ಲಿಂಗವನೊಲಿಸಬೇಕು;
ಧನವ ಕೊಟ್ಟು ಜಂಗಮವನೊಲಿಸಬೇಕು;
ಈ ತ್ರಿವಿಧವ ಹೊರಗು ಮಾಡಿ, ಹರೆಯ ಹೊಯಿಸಿ,
ಕುರುಹ ಪೂಜಿಸುವವರ ಮೆಚ್ಚ ಕೂಡಲಸಂಗಮದೇವ.
-- ಬಸವಣ್ಣ
II.
LiteralTranslation
Having given the mind, the Linga must be pleased/won over;
Having given wealth, the Jangama must be pleased/won over.
These three (offerings/ways) having excluded/set aside,
those who, making a (noisy) show (beating the drum), worship mere signs/symbols,
Kudalasangamadeva does not approve of/is not pleased with.
III.
PoeticTranslation
With mind's deep dedication, to Linga’s grace aspire;
With wealth sincerely offered, Jangama, the Ever-Moving's, grace be won.
Those who cast this threefold path aside,
And, with noisy drums and showy pride,
Worship but the outward sign,
Kudalasangama, Lord Divine, Holds them never in His esteem.
IV.
Theological Features of the Original
Vachana:
Ø ತ್ರಿವಿಧ ದಾಸೋಹ : (The Threefold Selfless
Offering):
o The
central teaching of a holistic path of devotion. (ತನು ಮನ ಧನ ಸೇವೆ ಗಳು different from ಅನ್ನ / ಅಕ್ಷರ / ಆಶ್ರಯ - ತ್ರಿವಿಧ ದಾಸೋಹ ಗಳು). ತನು-ಮನ-ಧನ ವ ಕೊಟ್ಟು (ಕ್ರಮವಾಗಿ) ಗುರು-ಲಿಂಗ-ಜಂಗಮ ವನ್ನು
ಒಲಿಸಬೇಕು.
o ತನುವ ಕೊಟ್ಟು ಗುರುವನೊಲಿಸಬೇಕು (Offering
physical energies to please the Guru): The Guru is the manifest, enlightened
human teacher who guides the devotee.
o ಮನವ ಕೊಟ್ಟು ಲಿಂಗವನೊಲಿಸಬೇಕು (Offering
mind's dedication to please the Linga): The Linga (specifically, the
Ishtalinga) is the personal, symbolic representation of the Ultimate Reality, a
focus for inner contemplation and devotion.
o ಧನವ ಕೊಟ್ಟು ಜಂಗಮವನೊಲಿಸಬೇಕು (Offering wealth to please/win
the grace of Jangama, the Ever-Moving): Jangama here signifies the dynamic,
ever-moving aspect of the Ultimate Reality, the divine in motion, or the
collective spiritual energy embodied by enlightened, itinerant souls. The offering
of wealth supports this living, moving spiritual principle or those who truly
embody it.
Ø Interconnectedness
of Guru-Linga-Jangama: These three are understood as different
manifestations or access points to the same Ultimate Reality, often considered
a trinity in Veerashaivism.
Ø Critique
of Hollow Religiosity: Basavanna strongly condemns superficial and
insincere religious practices.
o ಈ ತ್ರಿವಿಧವ ಹೊರಗು ಮಾಡಿ (These
three having excluded): Denotes the deliberate neglect of the authentic path.
o ಹರೆಯ ಹೊಯಿಸಿ (Making a noisy
show/beating the drum): Criticizes ostentatious, performative rituals lacking
inner sincerity, specifically "beating the drum and displaying Linga
worship."
o ಕುರುಹು ಪೂಜಿಸುವರ (Worshippers
of mere signs/symbols - ಇಷ್ಟಲಿಂಗವೂ
ಕುರುಹೇ!!): Denounces the superficial worship of external symbols without
internalizing their deeper spiritual meaning.
Ø Divine
Authority and Judgment (ಮೆಚ್ಚ
ಕೂಡಲಸಂಗಮದೇವ): The use of Basavanna's ankitanama (signature name for his
deity, the Lord of the Meeting Rivers) signifies that the disapproval of
hypocrisy is divinely sanctioned.
Ø Emphasis
on Inner Purity and Sincere Devotion: The Vachana champions authentic,
internal spiritual experience (anubhava / ಅನುಭಾವ) and sincere love for the divine (bhakti / ಭಕ್ತಿ) over external
displays.
V.
Poetic Features of the Original Vachana:
o
Ankitanāma (Signature Phrase): The
concluding "ಕೂಡಲಸಂಗಮದೇವ"
(Kūḍalasaṅgamadēva).
o
Parallelism: The first three lines
exhibit a strong, repetitive structure ("X ಕೊಟ್ಟು Yನೊಲಿಸಬೇಕು").
o
Direct and Epigrammatic Style: Concise,
aphoristic, and easily memorable.
o
Use of Colloquial Kannada: Making profound
spiritual ideas accessible to the common people.
o
Contrast: Sharp juxtaposition of true
devotion versus superficial acts.
o
Rhythmic Prose: Possesses a natural
cadence suitable for recitation.
o
Assertive and Didactic Tone: Clear
instruction and firm conviction.
o
Imagery: "ಹರೆಯ ಹೊಯಿಸಿ" (beating the drum)
creates a vivid image of performative worship.
VI.
Reflection of these Features in the
Poetic Translation:
o
Theological Core: The translation
maintains the central message. "With wealth sincerely offered, Jangama,
the Ever-Moving's, grace be won," tries to more accurately reflect the
dynamic and vast understanding of Jangama.
o
Ankitanāma: "Kudalasangama, Lord
Divine, / Holds them never in His esteem" conveys the divine judgment.
o
Parallelism: The first three lines retain
their parallel structure.
o
Style: Aims for clarity and impact with
poetic diction.
o
Contrast: The juxtaposition between true
and false worship is preserved.
o
Rhythm and Rhyme: An AABC DDEE rhyme
scheme and a generally consistent rhythm are used.
o
Tone: Reflects the assertive and critical
tone of the original.
o
Imagery: "Noisy drums and showy
pride" for "ಹರೆಯ
ಹೊಯಿಸಿ," and "outward sign" for "ಕುರುಹು.
ಕಾಮೆಂಟ್‌ಗಳಿಲ್ಲ:
ಕಾಮೆಂಟ್‌ ಪೋಸ್ಟ್ ಮಾಡಿ