आमुक्तमाल्यदा (विजयनगर सम्राट् श्रीकृष्णदेवराय - गोदा देवी आण्डाल भक्ति एवं साम्राज्य-नीति)

24 Goda's Garland of Devotion
by the poet. The music of divine singers like Narada is likened to
the buzz of the bees accompanying a rain of flowers. The All-
Beautiful is here! exclaims Vishnuchitta to himself. Had he not
with his poetic imagination brought up Krishna from his birth?
Maternal love seeks to enfold the supernal figure in terms of a
guardian charm, lest ‘evil eyes’ be cast upon his child, his beloved,
his everything! Vishnuchitta takes up the small brass bells hanging
from the sides of the elephant and, striking them, recites a ‘guar-
dian verse’ that has since become the opening decad of the Divya
Prabandham.
The ten verses of Tiru-p-pallandu sung by Vishnuchitta when
he had the vision of the Lord after winning the court contest is a
mangalāsāsana in the style of ‘Jaya Vijayi Bhava!’ Can a human
being dare to bless the divine? But is there any difference in status
between the human and the divine, when the reality is but one
vast stretch of Ananda consciousness?
“For many years, and everlasting years, and many thou-
sands of years, and crores of hundreds of thousands of years,
let thine red feet's beauty be protected! O Lord of emerald-
blue hue who have shoulders that vanquished the wrestlers!”¹
Vishnuchitta then goes on to ‘bless’ Lakshmi Devi, and the
union of the Lord’s devotees; the Sudarshana; and the Pancha-
janya. To the people around him: “If you wish to be in the Lord's
service, join us. If your aim is material benefit, go away. If you
wish to join us, hurry and recite loudly the Ashtakshara. You who
have decided to be with us, forget all other desires except contem-
plating upon this vision Divine. I belong to a family that has been
in the Lord's service for ten generations. We carry the impress of the
victorious Sudarshana. I bow to the Lord who has given me ghee-
rich food, servitude, betel leaves, necklace, ear-rings and sandal
paste, and raised me to Ananda consciousness. Wearing the gar-
ment shed by you, eating your prasada, and decorating ourselves
with the flowers used by you, we will fulfil your commands. The
moment we announced our servitude to you, our clan has found
the Greater Life! O Lord! I shall continue to bless you”.
———

1. Translated by K. C. Varadachari.

Vishnuchitta 25
Instead of translating these Pallāndu verses (as he had done
with the two cantos of Vishnu Purana), Krishnadeva Raya indites
his own prayer which begins musically: Jaya Jaya Daanava Daarana
Kaarana. This string of sixteen verses is a Dasavatara Stotra, and
gives a proper conclusion to Vishnuchitta's description of Lord
Vishnu as the Brahman to be meditated upon by the yogi. The
Lord can be seen everywhere: even in a fish or a lion. Whatever
the incarnation, the Supreme shines forth as a divya mangala vigraha
(an image with all auspicious qualities).
The three verses on Matsyavatara (Fish incarnation) refer
to Somakasura's theft of the Vedas and the Lord's recovering them.
The same incarnation was to save the universe from the Great
Flood. As the ocean was being churned during the Kurma (Tortoise)
incarnation, pearls, pearl-oysters and conch-shells were getting
pulverised making it appear that the Lord was grinding lime to
strengthen the foundations of the earth. When the Lord as Varaha
(Boar) rose from the nether regions carrying the earth, Mother
Nature appeared to be wearing the earth as a nose-ring of gold.
In keeping with the Narasimha (Man-lion) Avatara, the King's
description is all blood and horror. And when the Lord tore up the
chest of the demon, first the innards appeared white; then came
red meat and finally the heart was seen jet-black. It appeared as
though Narasimha was releasing the tejas of Shiva (white), Brahma
(red) and Vishnu (black) from the vicious hold.
The Trivikrama (Vamana-Dwarf) Avatara is ever a great
favourite of the Alwars. Krishnadeva Raya treads warily as Bali
was an ideal King, an ideal householder and an ideal devotee. His
fame is likened to a brilliant light in a house (the universe) full of
the darkness of fear for him and the Trivikrama's overwhelming
dark form would shine like the zodiac to make it grow pale (simsu-
maaramu orayangan pempave vaamana). A little later an image based
on the annual migration of swans following the swan of Parasu-
rama's fame presents a charming poetic conceit.
Was it an advance warning of the destruction of the seven
essences (sapta dhaatuvulu) in the body of Ravana that Rama gave
when his arrow shot through the seven trees? Was it for digging
the earth and getting back Sita that Rama incarnated as Balarama

26 Goda’s Garland of Devotion
and went about with a plough? And Krishna, the darling of huma-
nity! When the Lord raised the Govardhana Hill, water fell around
Him in torrents and reflected His form in a million droplets. It
seemed then that Narayana was everywhere and the cows were
ensconced in an armour of the Lord’s protection. And Narayana
Kavacha can guard us as Krishna did for seven days and nights
the denizens of Gokula. One is here reminded of the soulful ‘Nara-
yana Kavacha Prarambhamu’ in the sixth skandha of Pothana’s
Bhagavatam.
Buddha; Kalki. These are but two more of the countless
incarnations of Narayana that are meant to help man in his on-
ward march towards Divine consciousness, and it is out of compas-
sion for man that the Divine constricts Himself to the inconvenienc. s
of an earthly existence. The Alwars realised this and gave expres-
sion to this idea in their hymns. Nammalwar speaks of Narayana
who “out of compassion was born mid the dirty human race”
(mana parippodu azhukku maanida jaathiyil thaan pirandhu) and took
the form He liked for destroying the demons. The divine incar-
nates whenever Dharma fades away from earth, says the Gita too.
As Vishnuchitta remembers the several incarnations of Nara-
yana and is moved to the depths by the Lord’s compassion, the
vision begins to fade. Before withdrawing, Vishnu instructs Viswa-
karma to enrich the yogi’s homestead at Villipputtur, as Vishnu-
chitta is sure to spend the entire prize-money to improve the tem-
ple of Vatapatrasayi. Such is the paraspara prema, mutuality of love,
between the Divine and the devotee!

3. YAMUNACHARYA
   The Villipputtur citizens welcomed Vishnuchitta amid scenes of
   great joy. Krishnadeva Raya has a long prose passage that re-
   creates a beautiful dramatic scene. The yogi was given temple
   honours and taken in a Brahmaratha (a palanquin borne only by
   brahmins) around the place. A variety of musical instruments
   was played. The anklet bells of dancing girls kept time to the bells
   of the elephants and horses in the procession. Princes from sur-
   rounding areas had come and now walked with joined palms
   saluting the scholar. Young men threw fruits at the lovely ladies
   who looked at them from the corner of their eyes while fiddling
   with their decorated tresses. Among others in this happy crowd
   were wandering minstrels, weavers, goldsmiths and traders Shouts,
   screams, witty exchanges and wise words marked a general sense
   of supreme elation. After Vishnuchitta worshipped in the temple,
   he returned home and continued to live as before, making garlands
   for the Lord, recounting Narayana's glorious deeds and looking
   after other devotees.
   Apart from his adoration of Vishnuchitta and Goda Devi,
   Krishnadeva Raya appears to have had a special regard for Yamu-
   nacharya, also known as Ālavandār, the Acharya who gave a
   mighty fillip to Vaishnavism. It was at his command that Ramanuja
   composed his Sri Bashya. And the poet brings this digression on
   Yamunacharya into the Vishnuchitta-Āmukta Mālyada theme in
   a charming way.
   One day Narayana was watching Vishnuchitta walk back
   home after offering garlands to Vatapatrasayi. He told Lakshmi
   that Vishnuchitta and Yamunacharya had together nurtured
   Vaishnavism (manmathambu) wonderfully well. On Lakshmi's
   wishing to know all about Yamunacharya, the Lord began the
   tale. Incidentally, the poet makes it appear as if Yamuna lived
   long before Vishnuchitta, though the Acharya was actually the
   immediate predecessor of Ramanuja. Besides, Krishnadeva Raya
   has introduced many changes that are not found in the traditional
   hagiography or historical records.

28 Goda's Garland of Devotion
The Pandyan King of Yamunacharya's time was a fanatic
adherent of the Saiva sect. The poet uses this opportunity to mount
a scathing attack on Saivite religious leaders who were most of
them, he thought, insincere and power-mad. The Pandyan Queen
was, however, a devotee of Narayana. She followed the Ekadesi
fast with utter sincerity. But as an ideal wife, she was careful not
to do anything that would offend her consort.
On an adesh from her ishta-devata about a young boy who was
capable of facing an oratorical contest to prove the supremacy
of Narayana, she requested the King to assemble a seminar. He
agreed. Yamunacharya reached the court, and before entering
the audience hall went round an Aswatha tree in the front invok-
ing its presence as witness to the proceedings. The hall was full of
Virasaivas and ardent Saivites with thick tresses or covered with
sacred ash and rudraksha garlands.
The King spoke to the boy rather gruffly. "O Brahmachari!
You are too young to determine the nature of the Supreme Being.
Should you lose the argument, we will tie a linga to your neck.
Take care before you begin! I have seen too many Brahmins who
have come here on false pretences, and begging for money in a
shameless manner". Then, to his Queen: "If the Saivites lose in
the debate, I shall give up vibhuti and rudraksha. I shall accept the
stamp of Vishnu's discus (Murugasmara Chakra ankithudan kaagala
vaadan) from the Brahmachari. If the boy loses, then he and your-
self will have to take to Siva deeksha." The Queen agreed to the
conditions.
Yamunacharya said that he had not come to the court as a
beggar (kadupugootikin itaran) and did not merit such an indifferent
welcome. He had really come as directed by the Lord. He would
make four statements. Let them be denied by the scholars of the
court, if they dared! He would not ask for any special favours just
because he had come here on the Queen's command. In the end,
Krishnadeva Raya sums up the entire debate in a single verse,
and proclaims Yamunacharya's victory: "Narayana is Supreme!
From the Peepul tree in the front came a voice: O "King, what
this Brahmachari says is true. As Narayana is the Parabrahman,
worship Him".
As the opposition melted away, the King realised the truth

Yamunacharya 29
of Being and became a devotee of Vishnu. He celebrated the wed-
ding of his youngest sister with the Brahmin victor, and gave him
half his kingdom.
This account is followed by a magnificent description of the
rainy and sultry seasons of the year. Krishnadeva Raya’s poetic
fancy roams all over the earth culling lovely descriptions of man
and nature. We also learn that Yamunacharya was an able adminis-
trator. We go back to Yamuna’s grandfather, Nathamuni, whose
son Uyyakondar had a devotee called Manakkal Nambi. Nambi
felt that the great Nathamuni’s grandson who had shown much
promise was now entangled in materialistic affairs. He went to
Yamunacharya’s palace and drew his attention by sending in a
bunch of alarka greens (known as thooduvilai in Tamil, a favourite
dish of Yamuna) for a few days and gained an audience. He then
told Nathamuni’s grandson: “The treasure left behind for you
by your grandfather lies in an island at the centre of Kaveri
waters. I can show it to you. It is encircled by a snake”. Immediately
Yamunacharya went to Srirangam and worshipped Ranganatha
reclining on Adisesha. A transformation came over him. He abdi-
cated in favour of his son, and became a sannyasin himself
Krishnadeva Raya has made drastic changes in the traditional
account of Yamuna’s life Originally the debate took place in a
Chola court and the immediate provocation for his challenge was
the egoistic pride of the Chola poet laureate, Akkiyazhvan. Nor
did Yamuna marry the Pandyan princess, though he did get half
the kingdom. Thus the idea of his abdicating in favour of his son
is also a new addition in Āmuktamālyada. Actually this device comes
in handy for the poet to give a detailed account of royal polity.
Though the Vaishnavite world knows Yamunacharya only
as the author of Stotra Ratna, Āmuktamālyada makes him an adminis-
trative genius. It is of course Krishnadeva Raya speaking, and
from the account of ‘Yamuna Prabhu Rajaneeti’ we learn that
there was an immense amount of idealism in the Vijayanagar King.
At the same time it is obvious that he had a deep knowledge of the
cunning, treachery and corruption that were the inevitable con-
comitants of the administration, as is evidenced by the several
‘warnings’ issued in the discourse. However, though a just and
an idealist way of life is ever difficult to lead, the King should not
be lax in performing his duties to the best of his ability.

30 Goda's Garland of Devotion
It is sad that men from all walks of life have lost their earlier
strength. Why talk only about powerless kings? There were days
when Agasthya drank up the ocean waters, a Viswamitra created
a new world, a Vasishta turned back the Brahmastra with his staff!
Where now are the Brahmins capable of such tapas?
"Hence try to do your best and leave the rest to Narayana
who guards the helpless. If you give up egoism, all your efforts
will come to fruition. Follow dharma under all circumstances.
By doing so you would fulfil the duties towards the sages,
the gods and your ancestors. Praise will come to you from all
people".
So ends the story of Yamunacharya as imagined by Krishna-
deva Raya who concludes the fourth Aswasa with a benediction to
Narayana.
Tradition tells us that, after learning about the identity of
Manakkal Nambi who brought him alarka greens, Yamunacharya
listened to the exposition of the Gita by Nambi. After several days,
they came to the charama sloka: "Abandoning all dharmas, surrender
to me alone. I shall free you from all sins. Fear not".
Nambi said that the Lord to whom one should surrender was
in Srirangam. Yamunacharya came, saw, and was conquered by
Ranganatha. He took up his residence in the holy city. Renowned
widely as a yogi and scholar, he became a much respected teacher.
Among his several students who made a mark in the history of
Vaishnavism were Tirumalai Andan, Maraner Nambi, Tirukkosh-
tiyur Nambi and Tiruvaranga Perumal Arayar. He also blessed
Ramanuja and requested him to strengthen the base of Vaishavism
by writing a commentary on the Brahma Sutras and by dissemi-
nating the prabandhas of Nammalwar.
Among the writings of Yamunacharya are Jnana Siddhi, Atma
Siddhi and Iswara Siddhi, Gitartha Sangraha, Agama Pramana, Maha-
purusha Nirnuya, Chatuh-sloki and Stotra Ratna. The seven hundred
verses of the Gita are summarised as eighteen slokas in the Gitartha
Sangraha, which has a preface of four slokas and a postscript of ten
slokas. According to Yamunacharya, Karma yoga is doing one's
job with sincerity: Jnana yoga is cogitating upon one's atman: and
Bhakti yoga is meditating upon the Divine Lord (para bhakti). In

Yamunacharya 31
course of time, the intense aspiration to come face to face with the
Divine will be met by the answering grace (para jnana). Finally
the vision thus perceived will create an overwhelming love to be
in the constant presence of the Divine This is parama bhakti.
The Chatuh-sloki is a sublime address to Lakshmi, detailing
the auspicious image of Vishnu. Surrender to the Mother is the
only way to attain Release; for Her Grace is ever a part of the Lord's
presence. The Stotra Ratna has strong affiliations with Divya Prabhan-
dham; some of the verses are almost literal translations of the Tamil
hymns. In the course of the poem we pass through several beautiful
images, and the stotra itself is for us to repeat in a meditative mood
and invoke the Grace of the Lord. The sovereignty of Narayana
is highlighted in the earlier verses, and the rest exemplify the
Parama Bhakti of Yamunacharya.
"Along with Lakshmi you are seated upon the wise and
strong Anantha (prakrshta vijnana balaika dhamam) whose form
is illumed by the gems imbedded in his hood. He is rightly
called Sesha for he is ever in your service as your residence,
bed, throne, sandals, garment and umbrella. When would I
be vouchsafed this vision again?"¹
For all the paratva of the Lord, for all the seeming distance
that separates us from this Paramapada Natha, this Supreme
Being, He is yet full of saulabhya. He is easily pleased: a handful of
fried rice offered by Sudama or a plate of fruits and roots brought
by Sabari! Nay, His saulabhya, like his paratva, is limitless. Just salute
Him by bringing together the palms:
"The physical act of joining the palms in adoration of
your feet, performed just once, by any one, at any time, and
in any manner whatsoever, instantly eradicates all evils, in
toto, and keeps on bestowing all kinds of benefits, without fail".
Vedanta Desika who wrote commentaries on Gitartha Sangraha
and Stotra Ratna was inspired by this verse to compose the well-
known treatise, Anjali Vaibhavam. And it can be readily said that
Yamuna's Chatuh-sloki and Stotra Ratna that highlight the place of
Lakshmi in the divine hierarchy unveiled a new chapter in Vaishna-
vism and gave us incandescent prayers like Sri Stava of Kuresa and
Sri Stuti and Goda Stuti of Vedanta Desika.
1 Translated by S. Satyamurthy Iyengar.

4. GODA DEVI
   The fifth Aswasa of Āmukta Mālyada straightaway announces the
   coming of Goda Devi. Divine Love was in the air, and Vishnu-
   chitta walked in self-lost contemplation through his immense
   garden. Suddenly he saw a babe in a bed of tulsi plants near a lake
   of white lotuses. The female child possessed auspicious limbs and
   had ruby-red cheeks, palms, feet and lips. For a while he stood
   wondering, gazing at the babe's soft body, auspicious signs, beauty
   and brilliance. He exclaimed in wonderment: "The Lord has sent
   this child to brighten my childless home!"
   He took the child home and gave her to his wife. That beloved
   lady received the gift and was thrilled to the roots. Her breasts
   overflowed and she fed the baby. As the years passed by, the child
   grew up into a lovely damsel:
   "Her words became fewer; her tresses were a mass of ring-
   lets; her eyes grew large, and learnt to watch from the corner;
   her cheeks began to blush; her breasts grew rounded, en-
   hancing the loveliness of her form; her palms and feet wore
   a red shade; the waist was thin; she became shy and retiring;
   the navel deepened; childhood felt scorned and made its exit
   from the youthful body".
   Vishnuchitta who had spent all his time envisioning the child-
   hood, boyhood and youth of Krishna was now delighted to watch
   this divine prasada grow up as a rare beauty.
   "Her golden body, red lips, face with moon-glow, had their
   charms. But due to the shining, dark tresses, she was fondly
   called Syama. The ancient saying is: the head has the pride
   of place".
   Thus Krishnadeva Raya. There are, of course, several tra-
   ditional accounts about Goda Devi's advent It is said that Vishnu-
   chitta had spent the prize money gained in the Pandyan court to
   improve his garden. One day he was digging near a tulsi bush. The
   spade (khanitra) touched the body of a lovely child. This happened
   in the year Nala on a Tuesday; the star was Pooram and it was

Goda Devi 33
Ashada month, and a chathurdasi. It is significant that Sita Devi
discovered by King Janaka while ploughing a field and Goda Devi
found by Vishnuchitta when digging in a garden are both asso-
ciated with Mother Earth, Bhu Devi. One of the abundant myths
concerning Goda Devi has Bhu Devi asking Narayana: “My
Lord, whom do you love most among human beings?” “I love all
my devotees who have affection and regard for me. But those who
offer me flower garlands (poo maalai) and verse garlands (paa maalar)
have a special place in my heart.” This set her thinking. She re-
membered Vishnuchitta who was making such twin-offerings to
the Lord. Immediately she decided to incarnate as Goda Devi
and follow the footsteps of the illustrious devotee of Srivillipputtur.
Vadivazhakiya Nambi Dasar’s Soodi-k-kodutha Nachiyar Pra-
bhandham poetically describes the scene when Bhu Devi appeared
on the earth. Red lotuses blossomed like golden lamps, peacocks
danced, bees buzzed, and the cuckoos sang a lullaby to the divine
babe seen mid a sprinkle of flowers. Vishnuchitta gazes at this
tender shoot of compassion (Karunayin kozhundu). He takes the child
to the temple of Vatapatrasayi: here is a unique blossom to offer the
Lord!
“You will learn of the significance of her birth later. Take
her now home and bring her up as your own daughter!”
Such was the command of the Lord issued through the priest.
Vishnuchitta went home and handed over the baby to his wife
Viraja Devi. They showered their love upon the child and brought
her up in an atmosphere of beauty, music and piety.
The Divyasuri Charitra says that “Vishnuchitta foresaw that
this child would speak in praise of the Lord; so he named her Goda
in an auspicious moment”. The word ‘Goda’ signifies “one who
helps one’s speech”. It may be remembered that a poetess of the
Sama Veda is known as Goda. Again, Goda means ‘giver of cows’,
of Illuminations, a garland. Just as Vishnuchitta is known as
Bhattarpiran and Perialwar, Goda Devi is also known as Āndāl
(One who Rules) and Soodi-k-kodutha-Sudarkkodi (the flame-creeper
who gave the garland worn first, Amukta Mālyada). M. Raghava
Iyengar, who has conducted deep research in the hymns of Goda
Devi, has remarked that she must have lived in the early 8th cen-
tury.
3

34 Goda's Garland of Devotion
Goda Devi's hymns in the Divya Prabhandham are full of auto-
biographical intimations. Her childhood was itself a time of playful
devotion to the Lord, when she and her friends built sand castles
using tiny winnows, sand, water and pots:
Noble lion who smashed the pride
Of the elephant! One who sleeps
On the ocean with clear waves!
Don't you frighten us with your eyes,
We, who loved you at first sight!
We have sieved thin sand granules
And built these castles with care.
Don't you break them down!
Poets like Azhakiya Chokkanatha Pillai have written at length
imaginatively about the childhood of Goda Devi. Even at a tender
age the Villipputtur citizens found her unusually intelligent, a star
apart:
Aware of forms to which our eyes are closed,
Conscious of nearnesses we cannot feel,
The Power within her shaped her moulding sense
In deeper figures than our surface types.
An invisible sunlight ran within her veins
And flooded her brain with heavenly brilliancies
That woke a wider sight than earth could know.¹
Krishnadeva Raya swiftly moves towards Goda Devi's youth-
ful felicity and reserves the best flowerings of his poetic art to this
phase. As the life and hymns of Goda Devi are one long passionate
wait for the Lord's grace, there is a certain appositeness in the
poet's choosing to limn with loving care the contours of the golden
girl who is now revered as a goddess.
The twenty verses describing Goda Devi's youthful form in
Āmukta Mālyada are a splash of colourful images, all of them related
to the divine form of the Lord in some way or other. Her tresses
were a mass of bright curls as if they wished to defeat by numbers
the single curly Sudarshana in Narayana's hand. The dark curls
dancing around her face seemed to be the writings of Brahma to

1. Sri Aurobindo, Savitri (1954), p. 356.

Goda Devi 35
indicate that she was endowed with the best auspicious signs among
all woman kind. As her attendants raised her face to apply collyrium
to her eyes, she appeared like the moon on the fourth day of the
lunar month. Indeed, was it not the moon that received its glow
from her face?
Krishnadeva Raya weaves an ingenious utpreksha alankara with
Goda Devi's face, the musk deer and the moon. This is followed by
another hyperbole: the large eyes with quickening glances appeared
as cupid's bow being readied for a strike. Further :
"The eyelashes were like the chains binding an elephant
from falling into a well being drunk, as the eyeballs looked
intoxicated".
Poetic apostrophes have a field day upon the palm-leaves in
Krishnadeva Raya's hands. Goda Devi's ears are like Lakshmi
(as the word Sri in Telugu script has the shape of an ear) ; the act
of putting on an ear-ring is seen in terms of the familiar idea that
a brother should not see his sister's undecorated ear (Lakshmi and
the moon are both ocean-born). The description that began with
the tresses (this is to be kesadi paada varnanam) now moves to the nose
which is likened to a champak blossom; the bees that get frightened
by the champak's scent are again attracted by her sweet breath
and take her teeth to be jasmine buds. Well, one can see the bees
reflected in the teeth! Though Goda Devi's neck was fashioned
like a conch by Brahma, it was constant application of sandal
paste in her youth that rendered it white.
Music was evidently a major occupation for Goda Devi and
her friends. The hymns composed by her are also meant to be sung
and she repeatedly refers to singing in the Tiruppavai. In the early
morning hours they go about singing the praise of the Lord (Kesa-
vanai paadavum, Pankaya kannanai paadelo) to wake up one another in
the Margasirsa month. The poet remembers this and gets ready a
meaningful compliment: the three folds on her throat signified her
ability to sing effortlessly in the three reaches of base, middle and
high. Lotus stalks were her hands while her chest was like the
nuptial crown tied by Cupid on the face of Rati Devi. The breasts
rebelled at the control imposed by the dress and grew close to each
other as the pair of chakravaka birds that had been released from
Rama's curse (Rama had cursed the chakravakas in the forest

36 Goda's Garland of Devotion
when he was undergoing the pangs of separation from Sita Devi).
The line of hair from the navel to the breast had a darkling sheen
and appeared like a snake moving on mountains
The folds in the navel were golden sheets. The behind, the
thighs, the calves, the feet: loveliness was strewn everywhere with a
prodigal hand. Her golden green complexion shone with a supernal
beauty:
"As she was an incarnation of Mother Earth, due to the
friendships of the earlier life, Nagakanyas took birth in the
neighbouring houses of devotees as Maralika, Ekavali, Harini,
Manojna and Sragvini. Together they celebrated dolls' marri-
ages quite often and sang hundreds of prayerful songs. These
songs described the wedding of Lakshmi and Narayana
Listening to these songs and herself taking part in the singing,
due to the effect of her past lives, Goda Devi was drawn irresis-
tibly to the nectarean stories about the Lord's several incar-
nations."
As mentioned earlier, Goda Devi is considered an incarnation
incorporating several aspects of Sri Devi, Bhu Devi and Neela Devi.
The Sri, Bhu and Neela Suktas are of special interest in this con-
text. While Sri Devi is the image of the Lord's compassion, Bhu
Devi represents prosperity that is granted to us by Narayana, and
Neela Devi (or Nappinnai, as referred to by the Alwars) is the ideal
of enjoyment and happiness. As the great commentator Peria
Achan Pillai avers:
"Sri Devi forgives the wrongs done by devotees; Bhu Devi
sees no wrong anywhere; Neela Devi (Nappinnai) is Patience
(kshama) incarnate. Sri Devi is the Lord's prosperity; this
prosperity is caused by Bhu Devi; it is enjoyed by Neela Devi".
Goda Devi is seen as the synthesis of all these three aspects.
Hence the opening verse of Vedanta Desika's Sri Goda Stuti reads:
I take refuge in Goda Devi
The wish-yielding creeper
In the grove of Vishnuchitta's family;
That clings to the sandalwood tree
Of Rangaraja;
She is lovely and incarnates

Goda Devi 37
The Patience of Mother Earth
And the compassion of Mahalakshmi.
I seek no other refuge.
Goda Devi’s re-creation of Gokula in the Tiruppavai is an indi-
cation of all that is spoken in Bhu Sukta. Prime importance is
given to rain and cows, both of which are associated with plenty
since Vedic times. Bhu Devi is Vasundhara (carrying precious
stones), Vasavi (image of corn) and Sadana (residence for all beings)
who wears the garment of ocean (Samudravati) and has the Sun
as the saffron-mark (Savitri).
The brief Neela Sukta names her Ghrutavati (maker of ghee)
and Payasvati (maker of milk). She is Aghora (cool, gentle), Asha
(guardian) and is ever associated with happiness for she walks in
beauty. As the milk and ghee give pleasure for our body, Neela
Devi’s beauty gives joy for our soul. Looking at her, a figure of
infinite beauty and compassion and patience, our sorrows are
destroyed. A strange ecstasy thrills through our being and we feel
a closeness to the Divine. Even as Goda Devi has described Neela
Devi (Nappinnai) as a ravishing beauty (such a divine cool figure
that flowers don’t fade when worn on her tresses throughout the
night—kothalar poonkuzhal Nappinnai), Krishnadeva Raya has des-
cribed Goda Devi’s beauty with infinite aesthetic joy. Because she
is, “we draw nearer to God”.
As we walk into the central area of this glorious theme, a rich
mythological and legendary feast is laid before us. Krishnadeva
Raya, who inaugurated a Hindu renaissance in South India,
gives us rich glimpses of our Arya Sampath. The immediate con
text is Goda Devi’s entry into the portals of the Palace of Divine
Love:
“Vishnuchitta, though grown prosperous due to the grace
of the Lord, continued to perform his pushpa kainkaryam
to the temple. He spent the rest of his time explicating the
Vishnu Purana to his devotees”.
The maiden’s consciousness, imbibing the figure of Krishna
and watching the lovely garlands being offered to Him, was fixed
upon the loveliness of the fresh flowers. Attracted by them and
wishing to decorate herself, she began wearing the garlands and

38 Goda's Garland of Devotion
ornamenting her tresses with some of them. For a while she would
watch her reflection in the waters of the lake. Satisfied, she would
then replace the garlands in Vishnuchitta's basket.
It is not surprising that this 'misdemeanour' went undiscovered
for quite some time, though Vishnuchitta was an expert garland-
maker and would have noted any disturbance or crumpling up of
the blossoms. Since Goda Devi was no ordinary human being but
an incarnation of Nappinnai, flowers did not fade when worn by
her.
So the drama goes on in Āmukta Mālyada. Goda Devi bathes
after rubbing turmeric all over her body. She wears washed clothes,
and decorates herself with Kasturi paste. Then she puts on the gar-
lands prepared for Vatapatrasayi. Taking them off after a while
she sighs deeply and tells her friends plaintively:
"My friends! I wonder at your songs praising Hari's
deeds. Which girl who has fallen in love with Him has been
saved by Krishna? Better He is incarnate in every yuga as a
fish, a tortoise, a boar and a lion than take a human form as
Vamana, Parasurama, Rama, and Buddha and torture
innocent women. There were no women during the other
incarnations. Even if there were, the natural enmity between
humans and animals would have kept them apart. This (pro-
blem of falling in love with the Divine) would not have occurr-
ed."
And she continues:
"It is no untruth that the creation is one's personal handi-
work. After all, we can lessen somewhat the pangs of separa-
tion by conversation with the like-minded, and music and
dance. What can the poor animals do, for they cannot even
talk!
In the ages past this same Srihari had made his beloved
gopikas shed tears and suffer tingling of the skin due to in-
tense emotion. This was truly a sin. He had to suffer the
effects of these sins by moving in waters (as fish and tortoise)
and going about with stiff bristles (as a boar and a lion). As
for his activities as Vamana, Parasurama and Rama, giving
endless pain to women, O friends, hear me speak.

Goda Devi 39
Remember Vishnu cutting off the head of Bhrigu’s wife?
He incarnates as Vamana and proclaims he is Brahmacharin,
leaving behind beloved Lakshmi Devi, who never likes to be
away from Her Lord”.
And now an epic simile which compares Parasurama destroy-
ing the Kshatriya Kings several times over and doing tarpana in
their blood to the playing of a lute in all the three reaches and
using the seven swaras several times over leading to enjoyment
(anurakti). Parasurama’s giving away the earth as charity to Sage
Kasyapa was a blot upon his honour. Fortunately, Bhu Devi being a
pativrata, preferred to be born as Kasyapa’s daughter and became
famous as Kasyapi.
Krishnadeva Raya continues with his archful ninda stuti. As
Rama, Vishnu had spurned Sridevi, another lady, Surpanakha,
lost her nose and ears because of her love for him. If only Rama
had agreed to wed her, Surpanakha’s brother Ravana would not
have stolen Sita, thereby condemning her to a long separation. Or
he should at least have sent Surpanakha away expressing his inabi-
lity to marry her. Why make fun of her and disfigure her, and
thus heap additional shame upon her?
Of course we have heard of the sublime beauty of the Rama
incarnation. Even men fell in love with him (pumsam mohana roo-
paaya). When the sages fell in love with him, he could easily have
converted them into women and satisfied their longing. After all,
he could convert even a piece of stone into the lovely damsel Ahalya.
Instead, Rama went out of the way to promise the sages that in
some distant future he would incarnate again and then marry them.
They had to wait for a yuga for this to happen. How long the
suffering!
Having been born as gopikas, one would have thought that
their long wait would be rewarded by a prolonged union with the
Supreme Lord. But no! The hard-hearted Lord must needs make
Akrura come to take Him away to Mathura. Did these ladies meet
Krishna again? Certainly not. They had to spend the rest of their
lives away from their beloved who had become a royal personage
in a distant city. Does this not prove that Hari is ever heartless
towards ladies?

40 Goda's Garland of Devotion
Ajomukhi and Surpanakha were disfigured because they were
women. And ugly as well. Remember how, as Balarama, the Lord
married Revati who was tall beyond human reach? When he want-
ed he could easily transform the hunchback Trivakra into a lovely
damsel. Which goes to prove that there is little logic and plenty of
whimsicality on the part of the Lord when it is a matter concerning
women.
As we now read these passages in Āmukta Mālyada, we can
easily visualise the intense maiden Goda Devi, her eyes flashing
angrily at some distant object, lips a quiver, speaking to her friends
in a plaintive tone, her hands unconsciously plucking at the fresh
garland of red roses in her hand.
The passages in Āmukta Mālyada which form an archful nindā
stuti criticising the Lord for His harsh treatment of ladies are elo-
quent testimony to Krishnadeva Raya's close acquaintance with
the hymns of the Divya Prabhandham. For instance, the poetic pro-
secution of Rama was surely inspired by Tirumangai Alwar's
Siriya Tirumadal which is in the form of a letter written by a love-
lorn lady pining for union with the Lord.
The letter opens with a reference to Bhu Devi "who has the
mountains for breasts, the ocean for garment, the Sun for the saffron-
mark on the forehead, the rivers for her necklaces, the rainy clouds
for her tresses and the waters beyond space as her guardian moat."
This is followed by a description of the lady's dressing-up and a
chance meeting with her Lord. Was it a deliberately contrived
meeting on His part? From that moment the lady had become mad
with love for the Divine. At last a gypsy finds out the truth. The
lover is dark-hued Narayana!
The rest of the letter is a magnificent description of the several
avatars with particular reference to the Rama and Krishna incar-
nations. How to overcome this impossible desire to possess the Divine
who is apparently beyond human possession if we consider his
superhuman activities? The only way is to show the world that the
days to feel shy are over. Confess this desire openly and if people
laugh at me, let them! Vasavadutta had done it before when she
followed the fettered Vuthsa Udayan. "I too shall go where He is,
to Venkata Hill, to Kanchi, to Vellarai, indeed to all the holy places

Goda Devi 41
where He resides in the archa form. I shall walk the main streets
shouting his Sahasranāma.”
If Rukmani’s letter to Krishna was the cry of the aspirant’s
anxiety, the Tirumadal of Tirumangai Alwar and the speech of
Goda Devi in Amukta Mālyada are the outbursts of a soul tried to
the utmost. Krishnadeva Raya adds further sly barbs to the quiver
when Krishna is on the dock.
‘“In the Brindavan he gathered into his arms one cowherdess
and condemned another to the sorrow of disappointment.
His partiality towards Radha is well known. Why should he
thus torture us all the time?”
Goda Devi’s angry laughter did not deceive her friends. They
realised that she had fallen in love with Krishna and was now im-
mersed in His presence. However, they tried to make light of the
whole affair:
“It is common for women to criticise their lovers when the
latter are far away; but as soon as the beloved returns home
he is Indra and Chandra according to them. You had
praised Him before. We cannot think you to be really indiff-
erent now”.
Goda Devi bit her lips and seemed to control her anger. She
then began playing with the garland in her hands After some
desultory conversation the friends told her that it was obvious her
consciousness was full of Krishna. So hot were her sighs that the
pearls of her necklace crumbled to powder. What a torture is this
love for the Divine!
Krishnadeva Raya actually follows the autobiographical
strain in the 143 verses that make up the Nachiyar Tirumozhi, where
we go through all the stages of a mystic’s path—aspiration, waiting,
vision, dark night of the soul, longing, union—as the individual
soul journeys from the human consciousness to the Divine. Goda
Devi’s verses reflect clearly her pure heart, her utter simplicity,
her cultured upbringing, her sincere aspiration and her lovable
nature.
There was the time of childhood when innocence met the
Divine as a mischievous trouble-maker. She and her friends made

42 Goda's Garland of Devotion
tiny sand castles that were broken up by Krishna in what seemed
fun for him. "What fun do you get out of troubling innocent child-
ren?" asks Goda Devi. The question is no different from the one
asked by elders when suffering comes upon them: "Why does He
play with our lives so?" And then Goda Devi grew up, suddenly
as it were, and found herself a victim of an intense thirst, the thirst
to gain the nectar of Krishna's presence.
Written in the Nayaka-Nayaki bhava, Goda Devi's verses
have a special edge as she was by birth a woman. There was no
need for her to seek Krishna-anubhava by imposing a feminine
colour upon her thoughts as Nammalwar (Parankusa Nayaki)
and Tirumangai Alwar (Parakala Nayaki) had to when they
sought to pour down in verse form their intense aspirations for
the Divine. The first decad of Nachiyar Tirumozhi is itself a prayer
to Kama Deva for success in her efforts. The Margasirsa vrata
is over; during the forty days of the following Thai and Maasi
months, Goda Devi has cleaned the temple of Kama, decorated
it with rangoli, offered Datura and Palasa blossoms as also other
favourites of Kama like the makara fish and the Yak. The year-
end (Panguni month) sees her perform every worship marked by
tradition at the temple of Cupid. Observing this vrata, her tresses
have gone dry, lips have become pale and the skin has lost its
sheen. It is time Kama helped her meet Narayana.
The rest of Nachiyar Tirumozhi is one long recollection of the
Lord's avatars (with the Krishna incarnation in particular) and
anxiety for reunion with the Divine. As the traditional accounts
point out, childhood and girlhood in Vishnuchitta's household
were a profound education in the itihasas and puranas which speak
of the glory of the Lord. Krishnadeva Raya says that Vishnuchitta's
time was spent in expounding the Vishnu Purana to his devotees.
Thus it is not surprising that, for one who was brought up in such
an atmosphere, devotion to Krishna became a way of life. Indeed,
the passion for the Divine came upon her with such great intensity
that it made Goda Devi a physical wreck almost.
The visual scene of Goda Devi's anxious wait for the Lord
is made dramatic by Krishnadeva Raya when her friends take the
stage. Marali tells Harini that Goda Devi's hot sighs make it im-
possible to apply musk on her forehead. Sragvini says that her body

Goda Devi 43
is as dry as a garland of flowers thrown in the hot sun, and Goda
Devi has become as light as a doll made of cork.
But Goda Devi silences them. From whence so much anxiety
on their part? There really is nothing wrong with her! But, of
course, she is like a piece of metal being heated in the fire (puta
paaka prakarambagu viyoga dhava durbharamu) as she undergoes the
pangs of separation. When alone, she gives expression to her sorrow,
for the flute-player of Brindavan has entered her very being:
"The left shoulder that appeared soft and gleaming like
a blue lotus fresh blown, held up the makara ear-rings; the
eye brow shaped as a neem leaf seemed to be a guardian to
keep away the evil eye from the unequalled loveliness of the
face; slightly bent lips that were a hibiscus-red; eyes long and
bright that look on sweetly; music that flowed like seven
floods pleasing the ladies in the seven worlds; all this, O
Govinda, from you as your fingers danced upon the flute
created soulful music. How have you managed to charm the
Yadava maids!"
Goda Devi's identification with the gopikas of Brindavan
is so complete that she finds herself back in space and time and
suffers like one of the hundreds in the woods The cause of this
discomfiture is Radha!
"O Radha! like droves of deer the gopikas came braving
the wrath of their in-laws, drawn by the irresistible call of
Krishna's flute. Is it right for you to draw him away from the
rest and enjoy his company in selfish isolation?"
In that bhoga bhoomi of divine love, one sight after another
assaults Goda Devi. Here are the footmarks of Krishna that have
pressed deep into the mud. He must have been carrying a weight,
surely the weight of a gopika whom he was leading to a trysting
place! These are Yadava maidens lying on the banks of Yamuna,
suffering the flaming darts of love. What else can one expect on
the banks of a river who also happens to be the daughter of fiery
Surya and a sister of death-dealing Yama!
Goda Devi's efforts to contain the rising tides of passion by a
bewitching smile do not deceive her friends. They tell her that her
suffering is logical and is of a piece with her past lives. "How so?"