By sri ram
Published: April 29, 2007
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Nandi Timmana was a prominent member of the famous group of eight poets popularly known as Ashtadiggajamulu in the court of Sri Krishna Deva Raya. He has been traditionally counted second in that group after the great poet Peddana.
Nandi Timmana lived during CE 1475-1540. Timmana appears to be a native of Anantapuram area. His family, which had a long line of distinguished poets, seemed to have lived there (close to the seat of the imperial court) for generations and received patronage. His parents were Nandi Singana and Timmamba. He was a Saiva and was a pupil of Aghora Siva guru. But, following the contemporary politico-social preferences and imperial patronage, he composed poetry on vaishnava themes. His grand uncle Nandi Mallayya and an uncle Ghanta Singana (alias Malaya Maruta kavi) were a famous poetic pair (Janta kavulu). The two excelled in the court of Narasimha Deva Raya (father of Sri Krishna Deva Raya).
Timmana composed a famous prabandham by name Parijatapaharanamu (in five cantos -511 verses) using an episode from the epic Harivamsam. There is a very popular story on how the book came to be written. It is said that once, the ankle of the wife of Sri Krishna Deva Raya touched his head. This the Rayuluvaru thought it to be insulting and stopped visiting her chambers. Nandi Timmanna being a poet who had come along with Tirumala Devi ( the wife of Rayuluvaru) as part of her dowry to Rayuluvaru she sent for the poet and told him her misery. Timmana is said to have consoled her, returned home, composed a grand poem on the Paarijataapaharanam on Sri Krishna and Satyabhama and their love quarrel. He dedicated it to the emperor. The Paarijataapaharanam is famous for many great poems. Timmana's art is especially admired for the way he portrayed the lover's quarrel between krishna and Satyabhaama. As the story goes, Satyabhama in a moment of anger pushes aside the crown of Sri Krishna and the Lord instead of taking it as an insult is concerned that it did not cause injury to the feet of Satyabhama. This concern shown by the Lord melts Satyabhama instantly. The message to Rayuluvaru is that, given the fact that Sri Krishna himself had a similar experience from his wife and the Lord’s reaction, Rayuluvaru can reconcile as well. The message to Sri Krishna Deva Raya is understood by him instantly and he reconciles to his wife.
Timmana, though a great scholar used short, soft, befriending expressions with an endearing quality. Timmanna also composed a poem on the beauty of ladies’ noses. Because of his famous description of the nose (mukku), Nandi Timmana became known as Mukku Timmana. In terms of language, imagery and literary nuances, these poems exemplify much of the poetic skills of this era.
pArijAtApaharaNaM
by
nandi timmana
ishTadEvataa stuti
SreemadikiM briyaM besa@mga@m
jErcina yuyyela leela vaijayaM
tee miLitaaccha kaustubhamu
niddapu@m gaaMti@m danarci yaatma va
kshOmaNi vEdi@m bolpesa@mga@m
jUDkula paMDuvu sEyu vEMkaTa
svaami kRtaarthu@m jEyu nara
sa kshitinaathuni kRshNaraayanin^
pola@mtul kau@mgiTa@m grucci yetti tala@mbraa lvOyiMcu navvELa nau@m
dala gaMgaM dana neeDa@m daana kani maugdhyaM boppa vE~rokka to
yyali yaMcun&madi neMcu paarvati yasUyaavaaptikin&navvu kro
n&nelapU daalupu kRshNaraayaniki saMdhiMcu n&mahaiSvaryamul |ma| [2]
tana daMtaagramucEta@m deekshNamati, nudya tkuMbhayugmaMbucE
ta nitaaMtOn&nati, daana visphuraNa nutsaahaMbu, SuMDaa mukhaM
buna deerghaayuvu niccu@m gaavuta guNaaMbhOraaSikiM gRshNaraa
yaniki n&vaaraNa raaja vaktR@mDu kRpaayattaika cittaabju@mDai |ma| [3]
sarasapu Talka@m deercuta~ri Saar~mga sudarSana naMda kaabja saM
bharaNa guNaapti nen&naDumupai@m gaTipai jaDapai gaLaMbupai
hari nalugElu@m baikona sukhaaMbudi niccalu nOlalaaDu niM
diri kRpa@m jUcu@m gaata nara dEva Sikhaa maNi@m gRshNaraayanin^ |ca| [4]
tana mRdu geetikaa pariNata dhvani vaikhari@m balku maMcu niM
cina rahi@m jEtiveeNiyaku@m jekkulu gee@mTucu nErpu leela no
yyana nakharaaMkuraMbula nayam&muna@m daMtrulu meeTi gaana miM
ponara@mga@m jEyu vaaNi pratibhOn&natu@m jEyuta@m gRshNaraayanin^ |ca| [5]
valimala yalluvaa@mDu talavaa@mka dhariMcina pUvugutti, vE
lpulagami jeeva ga~r~ra, yuDivOvani calvala TeMki, ven&nela
lmolacina paadu, paalkaDali muddulapaTTi nRsiMha kRshNaraa
yala@m garuNaarasaMbu ninupaareDi cUpula@m jUcu@m gaavutan^ |ca| [6]
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Published: April 29, 2007
Print
EmailNandi Timmana was a prominent member of the famous group of eight poets popularly known as Ashtadiggajamulu in the court of Sri Krishna Deva Raya. He has been traditionally counted second in that group after the great poet Peddana.
Nandi Timmana lived during CE 1475-1540. Timmana appears to be a native of Anantapuram area. His family, which had a long line of distinguished poets, seemed to have lived there (close to the seat of the imperial court) for generations and received patronage. His parents were Nandi Singana and Timmamba. He was a Saiva and was a pupil of Aghora Siva guru. But, following the contemporary politico-social preferences and imperial patronage, he composed poetry on vaishnava themes. His grand uncle Nandi Mallayya and an uncle Ghanta Singana (alias Malaya Maruta kavi) were a famous poetic pair (Janta kavulu). The two excelled in the court of Narasimha Deva Raya (father of Sri Krishna Deva Raya).
Timmana composed a famous prabandham by name Parijatapaharanamu (in five cantos -511 verses) using an episode from the epic Harivamsam. There is a very popular story on how the book came to be written. It is said that once, the ankle of the wife of Sri Krishna Deva Raya touched his head. This the Rayuluvaru thought it to be insulting and stopped visiting her chambers. Nandi Timmanna being a poet who had come along with Tirumala Devi ( the wife of Rayuluvaru) as part of her dowry to Rayuluvaru she sent for the poet and told him her misery. Timmana is said to have consoled her, returned home, composed a grand poem on the Paarijataapaharanam on Sri Krishna and Satyabhama and their love quarrel. He dedicated it to the emperor. The Paarijataapaharanam is famous for many great poems. Timmana's art is especially admired for the way he portrayed the lover's quarrel between krishna and Satyabhaama. As the story goes, Satyabhama in a moment of anger pushes aside the crown of Sri Krishna and the Lord instead of taking it as an insult is concerned that it did not cause injury to the feet of Satyabhama. This concern shown by the Lord melts Satyabhama instantly. The message to Rayuluvaru is that, given the fact that Sri Krishna himself had a similar experience from his wife and the Lord’s reaction, Rayuluvaru can reconcile as well. The message to Sri Krishna Deva Raya is understood by him instantly and he reconciles to his wife.
Timmana, though a great scholar used short, soft, befriending expressions with an endearing quality. Timmanna also composed a poem on the beauty of ladies’ noses. Because of his famous description of the nose (mukku), Nandi Timmana became known as Mukku Timmana. In terms of language, imagery and literary nuances, these poems exemplify much of the poetic skills of this era.
pArijAtApaharaNaM
by
nandi timmana
ishTadEvataa stuti
SreemadikiM briyaM besa@mga@m
jErcina yuyyela leela vaijayaM
tee miLitaaccha kaustubhamu
niddapu@m gaaMti@m danarci yaatma va
kshOmaNi vEdi@m bolpesa@mga@m
jUDkula paMDuvu sEyu vEMkaTa
svaami kRtaarthu@m jEyu nara
sa kshitinaathuni kRshNaraayanin^
pola@mtul kau@mgiTa@m grucci yetti tala@mbraa lvOyiMcu navvELa nau@m
dala gaMgaM dana neeDa@m daana kani maugdhyaM boppa vE~rokka to
yyali yaMcun&madi neMcu paarvati yasUyaavaaptikin&navvu kro
n&nelapU daalupu kRshNaraayaniki saMdhiMcu n&mahaiSvaryamul |ma| [2]
tana daMtaagramucEta@m deekshNamati, nudya tkuMbhayugmaMbucE
ta nitaaMtOn&nati, daana visphuraNa nutsaahaMbu, SuMDaa mukhaM
buna deerghaayuvu niccu@m gaavuta guNaaMbhOraaSikiM gRshNaraa
yaniki n&vaaraNa raaja vaktR@mDu kRpaayattaika cittaabju@mDai |ma| [3]
sarasapu Talka@m deercuta~ri Saar~mga sudarSana naMda kaabja saM
bharaNa guNaapti nen&naDumupai@m gaTipai jaDapai gaLaMbupai
hari nalugElu@m baikona sukhaaMbudi niccalu nOlalaaDu niM
diri kRpa@m jUcu@m gaata nara dEva Sikhaa maNi@m gRshNaraayanin^ |ca| [4]
tana mRdu geetikaa pariNata dhvani vaikhari@m balku maMcu niM
cina rahi@m jEtiveeNiyaku@m jekkulu gee@mTucu nErpu leela no
yyana nakharaaMkuraMbula nayam&muna@m daMtrulu meeTi gaana miM
ponara@mga@m jEyu vaaNi pratibhOn&natu@m jEyuta@m gRshNaraayanin^ |ca| [5]
valimala yalluvaa@mDu talavaa@mka dhariMcina pUvugutti, vE
lpulagami jeeva ga~r~ra, yuDivOvani calvala TeMki, ven&nela
lmolacina paadu, paalkaDali muddulapaTTi nRsiMha kRshNaraa
yala@m garuNaarasaMbu ninupaareDi cUpula@m jUcu@m gaavutan^ |ca| [6]
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