आमुक्तमाल्यदा (विजयनगर सम्राट् श्रीकृष्णदेवराय - गोदा देवी आण्डाल भक्ति एवं साम्राज्य-नीति)
आमुक्तमाल्यदा (विजयनगर सम्राट् श्रीकृष्णदेवराय - गोदा देवी आण्डाल भक्ति एवं साम्राज्य-नीति)
Amuktamalyada of Sri Krishnadevaraya
सम्राट् श्रीकृष्णदेवराय (अनुवाद: प्रेमा नन्दकुमार) द्वारा
DevanagariHindipublished73 पृष्ठ
पृष्ठ 9, कुल 73 में से
संदर्भ में पढ़ेंपृष्ठ 9
- PREAMBLE
It is certainly astonishing that, with the entire classical heritage at
his command—the Ramayana, the Mahabharata, the Bhagavata—
and himself a powerful King who made and lived history, Krishna-
deva Raya should have chosen Goda Devi as the heroine of his
epic, Āmukta Mālyada. The choice, of course, speaks volumes for
the crystalline image of the girl who became a goddess.
History tells us of the glorious days of Krishnadeva Raya's
reign, and his great contemporary, Allasani Peddanna, has written
about the Raya's generosity of understanding and love of the
damozel Poesy. But though we hear of his patronage of eminent
Telugu poets, he is not associated with any Tamil poet. All the
same, his knowledge of Tamil literature must have been wide and
deep. The Divya Prabhanda hymns seem to have won his religious
and aesthetic heart so completely that two of the hymnologists—
Vishnuchitta and Goda Devi—are the central characters in his
epic, Āmukta Mālyada. Ramanujacharya's Visishtadvaita provides
the philosophical background to the tale. In the course of the last
five centuries, the epic has become entwined with the Telugu liter-
rary consciousness in general and the Vaishnava heart in parti-
cular. Come Margasirsa month, and we are immediately trans-
ported to Nanda's Gokula, the Pavai Nonbu of the Yadava damsels,
Goda Devi's Tiruppāvai, and Raya's epic Āmukta Mālyada.
The epic opens with a detailed Preamble that pays homage to
the various gods and acharyas. The very first verse employs a
lovely conceit:
The pendent of Lakshmi's necklace reflects Him;
She is seen in the lovely Kausthubha gem.
Their loving presence within
Is now imaged outside, as it were,
Shining through the divine bodies crystal-pure.
To this Venkateswara, I bow in devotion.
Since the purest form of love (aspiration for the Divine) forms
the subject-matter of the epic, it is appropriate that the poet refers
to the love-filled hearts of the Lord and Lakshmi. Commentators