ವೈವಿಧ್ಯವೀ ಜಗದೊಳು!

ವೈವಿಧ್ಯವೀ ಜಗದೊಳು! (ಕಪ್ಪಿನಿಯನ ಮುನ್ನುಡಿಯೊಂದಿಗೆ)
	ಹಂ. ಕ. ರಾಮಪ್ರಿಯನ್‌, ಕ್ಲಾರ್ಕ್ಸ್‌ವಿಲ್‌, ಮೇರಿಲೆಂಡ್‌ [email protected] (ಈ ಕವನವನ್ನು ಸೆಪ್ಟೆಂಬರ್‌ 2002ರಲ್ಲಿ ಮೊದಲಬಾರಿ ಸಂಸ್ಕೃತದಲ್ಲಿ ಬರೆದು ಕೆಲವೇ ಬಂಧುಮಿತ್ರರಿಗೆ ಕಳುಹಿಸಿದ್ದೆ. ಈಗ ಅದನ್ನು ಕನ್ನಡಕ್ಕೆ ಭಾಷಾಂತರ ಮಾಡಿ ಅಂತರ್ಜಾಲ ಪಾಠಕರಿಗೆ ಸಮರ್ಪಿಸುತ್ತಿದ್ದೇನೆ. ಪ್ರತಿ ಪದ್ಯಕ್ಕೂ ಮೊದಲು ಸಂಸ್ಕೃತ ಮೂಲರೂಪವನ್ನು ಕೊಟ್ಟು ನಂತರ ಕನ್ನಡ ಭಾಷಾಂತರವನ್ನು ಕೊಟ್ಟಿದ್ದೇನೆ. ನಿಮಗೆ ತಿಳಿದಿರುವ ಮತ್ತಷ್ಟು ಉದಾಹರಣೆಗಳನ್ನೂ ಈ ಪದ್ಯಗಳ ರೂಪದಲ್ಲಿ ಅಳವಡಿಸಿಕೊಳ್ಳಬಹುದು. ಆ ಪದ್ಯಗಳಿಗೆ ಮುಂಚೆ ನಿಮಗೆಲ್ಲಾ ಕಪ್ಪಿನಿಯ ಎಂಬ ಕಾವ್ಯನಾಮದಿಂದ ಪರಿಚಿತನಾದ ನನ್ನ ತಮ್ಮ ಡಾ. ಕೃಷ್ಣಪ್ರಿಯನು ಇಂಗ್ಲಿಷ್‌ನಲ್ಲಿ ಬರೆದಿರುವ ಮುನ್ನುಡಿಯನ್ನು ಇಲ್ಲಿ ಸೇರಿಸಿದ್ದೇನೆ. ಅವನು ಇದನ್ನು ಅನಾಮಕ (ಎಂದರೆ, ಹೆಸರರಿಯದ) ಕವಿಯೊಬ್ಬನ ಕಾವ್ಯವನ್ನು ವಿಶ್ಲೇಷಿಸುವ ಶೈಲಿಯಲ್ಲಿ ಬರೆದಿದ್ದಾನೆ)	* Introduction H.K. Krishnapriyan [email protected] Not everyday does one have the opportunity to report the discovery of a hitherto unknown author to the literary world. Perhaps, this is how stout Cortez felt[4], or to give a closer analogy, how Pandit Ganapati Sastri[3] felt when he untied with trembling fingers the knot that held together the palm leaf manuscripts that contained the long lost Bhasa plays. My fingers tremble and my heart pitter-patters, as I type this, a long introduction to a small collection of verse that I came across recently. The collection was not found in an attic among properties of long gone ancestors. Nor was it found resting in air-conditioned comfort in the vast basements of some American university library. Befitting these modern times, it came on the wings of email, snuck between advertisements for shoes and missives automatically generated by computer viruses (or should I say viri?) from the computers of my correspondents who venture out to the internet without protection. As is sadly the case with many Sanskrit authors, the author of this verse is silent about anything to do with himself. We have to infer and conjecture whatever we can about the life and times of the author from the work itself. However, as can be seen below, we can hope to do better for our author than Kalidasa, who according to different theories, is assigned to periods ranging from 8th century B. C. to 11th century A. D., or Bhasa, whose very existence, let alone his authorship of the plays attributed to him, have come into question at various times. First, we have to eliminate the possibility of the poem somehow getting generated and propagated by a new strain of computer virus, or more accurately a computer worm. While this possibility cannot be completely eliminated, it is unlikely in view of the fact that the expertise to write a worm that generates this sort of verse requires the expertise to generate this sort of verse. It is unlikely that someone with this sort of skill will write computer worms. In this context it is good to keep in mind Hardys remark on Srinivasa Ramanujan, "… great mathematicians are commoner than thieves and humbugs of such incredible skill [2]." There are two aspects to locating the author of any work. One is spatial and the other one is temporal. The spatial location of an author from the internal evidence available in the authors works is nothing new. For example, it has been inferred from kAlidAsas fond allusions to Ujjayini that it must be the city where he lived. It has been deduced from the phrase "himavadvindhyakuNdalAM" that Bhasa was a resident of North India, the land that is ornamented by Himalaya and Vindhya mountains as a face is ornamented by earrings, though much futile further search has gone on among the haystacks of North India to locate him. The same methodology can be applied and has been applied for fixing the time of authors. For example, Kalidasa is firmly associated with a king Vikrama because he wrote Vikramorvashiya, and as soon as the specific Vikrama among the few tens of Vikramas that are available is identified as Kalidasas patron, we will have a firm date for the poet(unless, of course, a collection of kings called Agnimitra turns up). I claim that we are more fortunate in case of our new poet. I believe we can accurately place him or her with an error of a few decades, not a few centuries. While we cannot provide his current address, we can reasonably be certain of his peregrinations around the world. The poem deals with, and in a jocular vein documents the modes of greeting in different languages from around the world. Therein lie clues to resolve our problem of placing our poet in space and time. On the surface, our poet reveals nothing. The meeting time and place he refers to is "kadAchit" and "kutrachit" showing no fondness for any specific time or place. But on closer examination, we see that he makes finer distinctions among languages and dialects from the southern part of India and different dialects of English spoken in the United States of America. For example, of all the Indian languages, only Kannada is represented by more than one dialect. He refers to specific states in the United States of America. This immediately places our poet in the group of people who either had at some point in time emigrated from Southern India to the United States of America or vice versa. For example, it practically rules out the possibility that our poet preceded kAlidasa and influenced him in any way. We can also conclude that in all probability our poets direction of emigration was from Southern India to the Unites States, rather than the other way round, based on statistical information on emigration patterns. We can even go as far as hypothesizing that our author lived in and traveled around some of the southern states of United States. The same observation enables us to narrow the time of our poet. It is well known that the United States was established in 1776 A. D. and the state of Texas our poet refers to became a part of that country in 1845. Further, Hawaii, another state that he talks of, did not become a part of the country until 1959. This puts a lower bound on the date of the poem of 1959. This is substantiated by the fact that a large wave of immigration started in 1960s from regions of the world, India among them, that had until then sent relatively few people to the shores of the "land of liberty". One can reasonably hypothesize that our author was a part of this wave of well-documented mid to late 20th century migration from Southern India to the United States. It is also extremely plausible that he belonged to the obscure "Hebbar" sect of Srivaishnavas that perhaps originated in what is now Tamilnadu and had settled for generations in what is now Karnataka. His line " epDikkRuMdA opDikRuMdA nI epDikrA tathaiva cha" which refers to multiple variants of greeting used by members of this sect provides strong evidence in this direction. Now we move on to a closer examination of the text itself. The poem follows the normal practice of Sanskrit poems of beginning and ending with a reference to God, though we cannot discern from this reference itself, any support or a contradiction of our position that our author is a "Hebbar Srivaishnava". Had our author referred to one of the multitudinous avataras of Vishnu, we could have used it as evidence to support our position, and any reference to any aspect of Shiva would have more definitely shot it down. He then goes on to say that a variety of people from many places had assembled, somewhere, sometime*. After that is a veritable catalogue of greetings, starting with the South Indian languages and dialects and going on to other parts of India and elsewhere. As we have observed before, no part of the world is excluded, though South Indian and the various English dialects of North America are accorded special attention. With occasional observations on the specific characteristics of the people he describes (such as the fondness of fish among Bengalis and the fondness of vodka among Russians), he lists out the greetings of various peoples of the world. He then goes on to the animal kingdom and describes the cries of a number of animals. Here, the discerning reader can see the influence of amarasimha the author of the famous Amarakosha, though the verses that our author appears to be echoing do not appear in all recensions of Amarakosha and some learned opinion holds that they are prakShipta. This brings us to the question of whether anything in this work itself can be regarded as prakShipta. In the absence of multiple recensions, the only basis we have to decide such questions is the evidence presented by the text itself. We note that the core of the work deals with the languages of the Indian subcontinent, and the United States and this part should be regarded as having sprung from the mind of the author as an integral whole. The rest, such as the part describing animal cries, and the ones that for example deal with the languages of Japan and China, may be afterthoughts, and might even have come from the pens (or rather keyboards) of others. However, the stylistic similarities of the verses suggest that the other authors, if any, would have had much the same background as the primary author. In conclusion, we see in this short poem a manifestation of the continuation of the long Sanskrit poetic tradition into the end of the 20th century or the beginning of the 21st century. I think we can also not let the author of such a work remain anonymous. Based on our conjecture that the author belonged to the community of Hebbar Iyengars, why not call our currently anonymous author Ramapriyan, after the famous deity in Melkote in Karnataka, holy to all Iyengars? *Can we discern here the universal influence of kAlidASa on all later poets? See the first line of mEghadUtam. Exercises 1. On an outline map of the world, mark all the locations that are represented by greetings in the poem. What conclusions can you draw from the marks? 2. Make up a table of greeting in languages not represented in the poem. Does it make sense to sort these greetings by region? Alphabetically? If so, in what language? 3. Make an informed guess as to how old the author was at the time of composition of the poem. Explain the basis for your guess. References 1. Badge, Attavar K., Alliterative allusions: A study in the use of figures of speech in post-prandial court poetry, Bhagatram Sapadram, Bangalore, 1978 2. Hardy, G. H., Ramanujan, Chelsea, New York, 1978 3. Kosambi, D. D., Masson, J. L., Avimaraka, Loves enchanted world, Motilal Banarsidas, Delhi, 1970 4. Keats, John, Complete poetry and selected prose of John Keats, The Modern Library, New York, 1951 5. Jung, Thane G. A., Freudian slips, covers and cover-ups in the extant works of VatsyAyana, Narikel Press, Bangalore, 1983 * ವೈವಿಧ್ಯಂ ಅನೇಕಲೋಕಾ ವರ್ತಂತೇ ಭಗವಂಸ್ತವ ಮಾಯಯಾ । ವೈವಿಧ್ಯೇನ ತ್ವಿದಂ ಲೋಕಂ ಮಹದ್ವಿಸ್ಮಯಕಾರಕಮ್‌ ।।1।। ನಾನಾಲೋಕಗಳುಂಟಯ್ಯ ದೇವನೇ ನಿನ್ನ ಮಾಯೆಯಿಂ । ವೈವಿಧ್ಯದಿಂದಲೀ ಲೋಕ ಬಹಳಚ್ಚರಿ ತರ್ಪುದೈ ।।1।। ಸಮುದಾಯೋ ಮಹಾನಾಸೀತ್‌ ಕದಾಚಿತ್‌ ಕುತ್ರಚಿದ್ಭುವಿ । ಆಗತಾಸ್ಸರ್ವದೇಶೇಭ್ಯೋ ಬಹವೋ ವಿವಿಧಾ ಜನಾಃ ।।2।। ಎಂದೋ ಭೂಲೋಕದಲ್ಲೆಲ್ಲೋ ಹಿರಿದೊಂದಾಯ್ತು ಕೂಟವು । ನಾನಾದೇಶಿಗಳಲ್ಲಿದ್ದರ್‌ ನಾನಾವಿಧದ ಮಾನವರ್‌ ।।2।। ‘ಎಂತ ಮಾರಾಯರೇ’ ಪ್ರಾಹುಃ ಮಂಗಳೂರುಡುಪೀ ಜನಾಃ । ‘ಏನ್ರೀ ಏನ್ರೀತಿ’ ಚ ಪ್ರೀತ್ಯಾ ಪೂರ್ವಕನ್ನಡಿಗಾಸ್ತಥಾ ।।3।। ‘ಎಂತ ಮಾರಾಯರೇ’ ಎಂದರ್‌ ಮಂಗಳೂರುಡುಪೀ ಜನರ್‌ । ‘ಏನ್ರೀ ಏನ್ರೀ’ ಎಂದರಯ್ಯ ಪೂರ್ವಕನ್ನಡನಾಡಿಗರ್‌ ।।3।। ‘ಎಪ್ಡಿಕ್ಕೃಂದಾ’ ‘ಒಪ್ಡಿಕೃಂದಾ’ ‘ನೀ ಎಪ್ಡಿಕ್ರಾ’ ತಥೈವ ಚ । ಹೆಬ್ಬಾರ್‌ ಶ್ರೀವೈಷ್ಣವಾ ಊಚುಃ ದ್ರಾವಿಡೀಂ ಕನ್ನಡೀಕೃತಾಃ ।।4।। ‘ಎಪ್ಡಿಕ್ಕೃಂದಾ?’ ‘ಒಪ್ಡಿಕೃಂದಾ?’ ‘ನೀ ಎಪ್ಡಿಕ್ರಾ?’ ಎನುತ್ತಲಿ । ಹೆಬ್ಬಾರ್‌ ಶ್ರೀವೈಷ್ಣವರ್‌ ಕೇಳ್ದರ್‌ ತಮಿಳಂ ಕಮಿಳಾಗಿಸಿ ।।4।। ‘ವಣಕ್ಕಂ ಸಾರ್‌’ ಇತಿ ಪ್ರಾಹುಃ ತಮಿಳ್ನಾಡುನಿವಾಸಿನಃ । ‘ಬಾಗುನ್ನಾರಾ’’ǚವದನ್ನಾಂಧ್ರಾಃ ’ಏಮಂಡೀ’’ತಿ ಚ ತೇǚಬ್ರುವನ್‌ ।।5।। ‘ವಣಕ್ಕಂ ಸಾರ್‌’ ಎಂದರಯ್ಯ ತಮಿಳ್ನಾಡ ನಿವಾಸಿಗಳ್‌ । ‘ಬಾಗುನ್ನಾರಾ?’ ಎಂದರಾಂಧ್ರರ್‌ ’ಏಮಂಡೀ?’ ಎಂದು ಕೇಳಿದರ್‌ ।।5।। ‘ಕಾಯ್‌ು ಸಮಾಚಾರ್‌’ ಮರಾಠೀಯಾಃ ‘ಕಸಲ್‌ ರೇ’ ಕೊಂಕಣೀಜನಾಃ। ಭಾರತಸ್ಯೌತ್ತರೇಯಾಸ್ತು ‘ಕ್ಯಾ ಹಾಲ್‌ ಹೈ’ ಇತಿ ಚಾಬ್ರುವನ್‌ ।।6।। ಮರಾಠಿಗಳ್‌ ‘ಕಾಯ್‌ು ಸಮಾಚಾರ್‌?’ ‘ಕಸಲ್‌ ರೇ?’ ಕೊಂಕಣೀಜನರ್‌ । ಉತ್ತರ ಭಾರತೀಯರ್ಗಳ್‌ ‘ಕ್ಯಾ ಹಾಲ್‌ ಹೈ?’ ಎಂದು ಕೇಳಿದರ್‌ ।।6।। ‘ಕೀ ಗಲ್ಲ ಹೇ’ ಇತಿ ಪ್ರಾಹುಃ ಪಂಜಾಬ್ಜಾತಾ ಜನಾಸ್ತತಃ । ‘ಸೂ ಛೇ’ǚವದಂಶ್ಚ ‘ಸಾರೂ ಛೇ’ ಗುರ್ಜರಾದಾಗತಾ ಜನಾಃ ।।7।। ‘ಕೀ ಗಲ್ಲ ಹೇ? ’ ಎಂದರಯ್ಯ ಪಂಜಾಬಿಗಳನಂತರ । ಗುರ್ಜರಾಗತಧೀಮಂತರ್‌ ‘ಸೂ ಛೇ?’ ‘ಸಾರೂ ಛೆ’ ಎಂದರು ।।7।। ಮತ್ಸ್ಯಾನ್‌ ಭುಕ್ತ್ವಾǚವದಂಸ್ತತ್ರ ‘ಕೀ ಹೋಲ್ಲೋ’ ಇತಿ ವಂಗಜಾಃ । ‘ಜ್ದ್ರಾವ್ಸ್‌ತ್ವುಯ್ತೇ’ ಇತಿ ರೂಸೀಯಾಃ ವೋದ್ಕಾಂ ಪೀತ್ವಾ ಬಭಾಷಿರೇ ।।8।। ಬಂಗಾಲಿಗಳ್‌ ಮೀನನುಂಡು ಕೇಳ್ದರ್‌ ‘ಕೀ ಹೋಲ್ಲೊ?’ ಎನ್ನುತ । ವೋದ್ಕವಂ ಕುಡಿದೇ ಹೇಳ್ದರ್‌ ‘ಜ್ದ್ರಾವ್ಸ್ತ್‌ವುಯ್ತೇ’ ಎಂದು ರಷ್ಯದೋರ್‌ ।।8।। ಶ್ಮಶ್ರೂನ್‌ ನಿಜೈಃ ಕರೈಃ ಸ್ಪೃಷ್ಟ್ವಾ ಪ್ರಾಹುರ್ಮಾಹಮ್ಮದಾಃ ‘ಸಲಾಮ್‌’। ಶಿರಸ್ಸು ಯಾಮಕಾನ್‌ ಧೃತ್ವಾ ಯೆಹೂದ್ಯಾಸ್ತು ‘ಷಲೋಮ್‌’ ‘ಷಲೋಮ್‌’।।9।। ಗಡ್ಡನೇವರಿಸುತ್ತೆಂದರ್‌ ಮುಸಲ್ಮಾನರ್‌ ‘ಸಲಾಂ ಸಲಾಂ’ । ‘ಷಲೋಂ ಷಲೋಂ’ ಯೆಹೂದ್ಯರ್ಗಳ್‌ ಎಂದರ್‌ ಯಾಮಕಧಾರಿಗಳ್‌ ।।9।। ಸ್ವಾಹಿಲ್ಯಾಂ ಕೆನ್ಯಜಾಃ ಪ್ರಾಹುಃ ‘ಜಾಂಬೋ ಜಾಂಬೋ’ ಪರಸ್ಪರಂ।। ಎಸ್ಪಾನ್ಯಾಃ ಪ್ರಾಹುರ್‌ ‘ಓಲಾ’ ಚ ‘ಬೋನ್‌ ಜೋರ್ನೋ’ ಇಟಲೀಜನಾಃ ।।10।। ಕೆನ್ಯಾಜಾತರ್‌ ಸ್ವಾಹಿಲಿಯೊಳ್‌ ‘ಜಾಂಬೋ ಜಾಂಬೋ’ ಎನುತ್ತಿರಲ್‌ । ‘ಓಲಾ’ ಎಂದರ್‌ ಸ್ಪೇನಿನವರ್‌ ‘ಬೋನ್‌ ಜೋರ್ನೋ’ ಇಟಲೀಜನರ್‌ ।।10।। ಬೀಅರ್‌ ಪಾನರತಾ ಡೋಯ್‌ುಟ್ಷಾಃ ‘ಗೂಟೇನ್‌ ಆಬೇಂಡ್‌’ ತತೋǚಬ್ರುವನ್‌। ‘ಸೆ ವಾ’ ‘ಸೆ ವಾ’ ಇತಿ ಪ್ರಾಹುಃ ಫ್ರಾನ್ಸೇಸಾಃ ಚುಂಬನೈರ್ಯುತಾಃ ।।11।। ‘ಗೂಟೆನ್‌ ಆಬೆಂಡ್‌’ ಎಂದರಯ್ಯ ಬೀಅರ್‌ ಕುಡಿದು ಜರ್ಮನರ್‌ । ಫ್ರೆಂಚರ್‌ ಕೆನ್ನೆಗೆ ಮುತ್ತಿಟ್ಟು ಪೇಳ್ದರಯ್ಯ ‘ಸೆವಾ’ ‘ಸೆವಾ’ ।।11।। ಆಂಗ್ಲೇಯದ್ವೀಪಜಾಃ ಸರ್ವೇ ತೇǚವದಂಸ್ತು ‘ಹೆಲೋ’ ‘ಹೆಲೋ’ । ‘ಡೂಇನ್‌ ಗ್ರೇಟ್‌, ಏಯ್‌ು?’ ಚ ಪಪ್ರಚ್ಛುಃ ಕ್ಯಾನಡಾವಾಸಿನೋ ಜನಾಃ ।।12।। ಆಂಗ್ಲದೇಶದಿ ಹುಟ್ಟಿದ್ದ ಜನರ್‌ ಪೇಳ್ದರ್‌ ‘ಹೆಲೋ’ ‘ಹೆಲೋ’ । ‘ಡೂಇನ್‌ ಗ್ರೇಟ್‌, ಏಯ್‌ು?’ ಎಂದು ಕೇಳ್ದರ್‌ ಕೆನಡಾರಾಷ್ಟ್ರವಾಸಿಗಳ್‌ ।।12।। ಆಮೇರಿಕೀಯಾಃ ‘ಹಾಯ್‌ು! ದೇರ್‌’ ‘ಹೇ!’ ನಾನಾಸಂಸ್ಥಾನಜಾ ಅಪಿ । ‘ಹೌರ್ಯೂಜ್‌ಡೂನ್‌’ ಇತಿ ಪ್ರಾಹುಃ ಬ್ರುಕ್ಲಿನ್ಜಾಃ ಕ್ಷಿಪ್ರಭಾಷಿಣಃ ।।13।। ನಾನಾಸಂಸ್ಥಾನಜರ್‌ ‘ಹಾಯ್‌ು ದೇರ್‌!’ ಎಂದರ್‌ ಆಮೇರಿಕನ್ನರು । ಬ್ರುಕ್ಲಿನ್ಜನರ್‌ ‘ಹೌರ್ಯೂಜ್‌ಡೂನ್‌?’ ಎಂದರೈ ಬೇಗಬೇಗನೆ ।।13।। ‘ಹಾಯ್‌ು! ಯಾಲ್‌!’ ಇತ್ಯಾಲಬಾಮೀಯಾ ಬಹುಸ್ನೇಹಾಸ್ತತೋǚವದನ್‌ । ಟೆಕ್ಸಾನ ಓಕ್ಲಹೋಮಿಯಾಃ ‘ಹೌಡಿ’ ‘ಹೌಡೀ’ತಿ ಚಾಬ್ರುವನ್‌ ।।14।। ‘ಹಾಯ್‌ು ಯಾಲ’ ಎಂದಾಲಬಾಮೀಯರ್‌ ಮೈತ್ರಿಯಂ ತೋರಿ ಹೇಳಿದರ್‌ । ‘ಹೌಡಿ ಹೌಡಿ?’ ಎಂದು ಕೇಳ್ದರ್‌ ಟೆಕ್ಸಸ್‌ ಮತ್ತೋಕ್ಲಹೋಮದೋರ್‌ ।।14।। ಆಮೇರಿಕೀಯಾ ‘ಯೋ ವಾಜಪ್‌’ ಆಫ್ರಿಕಾಜಾತಜಾತಜಾಃ । ‘ಅಲೋಹಾ’ ಇತ್ಯಬ್ರುವಂಶ್ಚ ಹವಾಈದ್ವೀಪವಾಸಿನಃ ।।15।। ‘ಯೋ ವಾಜಪ್‌’ ಎಂದಮೆರಿಕದೋರ್‌ ಆಫ್ರಿಕಾಜಾತಜಾತಜರ್‌ । ‘ಅಲೋಹಾ’ ಎಂದು ತಾವ್‌ ಪೇಳ್ದರ್‌ ಹವಾಈ ದ್ವೀಪವಾಸಿಗಳ್‌ ।।15।। ಜನಾಸ್ತು ಕೊರಿಯಾಜಾತಾಃ ‘ಅನ್ಯೋಸೇಯೋ’ǚಬ್ರುವಮ್ಸ್ತತಃ। ‘ಓಹಾಯೋ’ ಇತಿ ನೀಹೋನ್ಜಾಃ ‘ನೀ ಹಾವ್‌’ಇತಿ ಚ ಚೀನಜಾಃ ।।16।। ‘ಅನ್ಯೋ ಸೇಯೋ’ ಎಂದು ಪೇಳ್ದರ್‌ ಕೊರಿಯಾದಿಂದ ಬಂದವರ್‌ । ಜಪಾನಿನವರ್‌ ‘ಓಹಾಯೋ’ ‘ನೀ ಹಾವ್‌’ ಎಂದರು ಚೀನಜರ್‌ ।।16।। ಫಿಲಿಪೀನೋಜನಾ ಊಚುಃ ‘ಕುಮುಸ್ತಕ’ ‘ಕುಮುಸ್ತಕ’।। ಅವದಂಸ್ಥಾಯಿದೇಶಸ್ಥಾಃ ‘ಸವಂದಿ ಕ್ರಾಪ್‌’ ‘ಸವಂದಿ ಖಾ’ ।।17।। ಫಿಲಿಪೀನೋ ಜನರ್‌ ಪೇಳಲ್‌ ‘ಕುಮುಸ್ತಕ’ ‘ಕುಮುಸ್ತಕ’ । ಥಾಯಿ ದೇಶದವರ್‌ ಪೇಳ್ದರ್‌ ‘ಸವಂದಿ ಕ್ರಾಪ್‌’ ‘ಸವಂದಿ ಖಾ’ ।।17।। ಜನಾನೇತಾಂಸ್ತದಾ ದೃಷ್ಟ್ವಾ ಕಾಕಾಃ ಕಾಕಾರವೈರ್ಯುತಾಃ। ದಿಕ್ಷು ಸರ್ವೇಷು ಚೋಡ್ಡೀನಾಃ ಖೇಚರಾನ್‌ ಪ್ರಾಣಿನಸ್ತತಃ।।18।। ಇಂತೆಲ್ಲ ಜನರಂ ನೋಡಿ ಕಾಕಾರವದ ಕಾಗೆಗಳ್‌ । ನಾನಾದಿಕ್ಕುಗಳೊಳ್‌ ಹಾರಿ ಹಕ್ಕಿ-ಪ್ರಾಣಿಗಳಂ ಸಹ ।।18।। ಕ್ಷಿಪ್ರಮಾಗಂತುಮಾಹ್ವಾನಂ ‘ಕಾ ಕಾ’ ಇತ್ಯೇವ ತೇǚಬ್ರುವನ್‌। ಪ್ರಾಣಿನಃ ಪಕ್ಷಯಶ್ಚಾಪಿ ವಿಸ್ಮಯಂ ದ್ರಷ್ಟುಮಾಗತಾಃ ।।19।। ‘ಬೇಗ ನೀವಿಲ್ಲಿಗೇ ಬನ್ನಿ’ ಎನ್ನಲ್‌ ‘ಕಾ’ ಎಂದೆ ಪೇಳ್ದವು । ಈ ವಿಸ್ಮಯವ ನೋಡಲ್ಕೆ ಅವೆಲ್ಲಾ ಬೇಗ ಬಂದವು ।।19।। ‘ಓಯಿಂಕ್‌ ಓಯಿಂಕ್‌’ ವರಾಹಸ್ತು ಕುಕ್ಕುಟಃ ‘ಕೋಕ್ರಕೋ’ǚಬ್ರವೀತ್‌। ಬಕಃ ಪ್ರಾಹ ಚ ‘ಕ್ವಾಕ್‌ ಕ್ವಾಕ್‌ ಕ್ವಾಕ್‌’ ಮಾರ್ಜಾಲಸ್ತು ‘ಮಿಯಾವ್‌ ಮಿಯಾವ್‌’।।20।। ‘ಓಯಿಂಕ್‌ ಓಯಿಂಕ್‌’ ಎನಲ್‌ ಹಂದಿ ಕೋಳಿ ‘ಕೋಕ್ರಕೊ’ ಎಂದಿತು । ಬಕವೆನ್ನಲು ‘ಕ್ವಾಕ್‌ ಕ್ವಾಕ್‌ ಕ್ವಾಕ್‌’ ಬೆಕ್ಕೆಂದಿತು ‘ಮಿಯಾವ್‌ ಮಿಯಾವ್‌’ ।।20।। ಸಿಂಹೋǚಗರ್ಜಚ್ಚ ಶಾರ್ದೂಲಃ ಹೂಹೂಕಾರಂ ವೃಕೋǚಕರೋತ್‌। ಶುನಕಶ್ಚಾಬ್ರವೀದ್‌‘ಬೌಬೌ’ ಮರ್ಕಟೋ ‘ಹೀಹಿಹೂಹುಹೂ’।।21।। ತೋಳ ‘ಹೂ ಹೂ’ ಎಂದು ಕೂಗಲ್‌ ಗರ್ಜಿಸಲ್‌ ಹುಲಿಸಿಂಹಗಳ್‌ । ‘ಹೀಹೂಹೀಹೂ’ ಎನಲ್‌ ಕೋತಿ ‘ಬೌ ಬೌ’ ಎಂದಿತು ನಾಯಿಯು ।।21।। ಮಯೂರಸ್ತ್ವವದತ್‌ ಷಡ್ಜೇ ಜಗಾದ ಋಷಭೇ ಚ ಗೌಃ। ಅಜೋ ‘ಬ್ಯಾ’ ಪ್ರಾಹ ಗಾಂಧಾರೇ ಮಧ್ಯಮೇ ಕ್ರೌಂಚ ಅಬ್ರವೀತ್‌ ।।22।।* ಷಡ್ಜದೊಳ್‌ ಪಾಡೆ ನವಿಲು ಗೋಗಳ್‌ ಋಷಭ ಪಾಡಿರಲ್‌ । ಮೇಕೆ ಗಾಂಧಾರದೊಳ್‌ ಕೂಗಲ್‌ ಮಧ್ಯಮಸ್ವರ ಹದ್ದೆನೆ ।।22।।* ಪಿಕಸ್ತು ಪಂಚಮೇǚಕೂಜತ್‌ ಅಶ್ವೋǚಹೇಷಚ್ಚ ಧೈವತೇ । ಗಜೋǚಬೃಂಹನ್ನಿಷಾದೇ ಹಿ ತಥಾǚಭೂತ್ತುಮುಲಂ ಮಹತ್‌ ।।23।।* ಪಿಕ ಪಂಚಮದೊಳ್‌ ಪಾಡಲ್‌ ಕೆನೆಯಲ್‌ ಅಶ್ವ ಧೈವತಂ । ಪಾಡಲ್‌ ನಿಷಾದದಲ್ಲಾನೆ ಮಹಾಗಲಭೆಯಾಯಿತು ।।23।।* ಶ್ರುತ್ವಾ ಸರ್ವಾನಿಮಾನ್‌ ದೇವ ವಿಸ್ಮಿತೋǚಹಂ ಬಭೂವ ಹ । ವೈವಿಧ್ಯಮಸ್ಯ ಲೋಕಸ್ಯ ತ್ವತ್ಕಿೃೕಡಾಯಾಃ ಫಲಂ ಪ್ರಭೋ! ।।24।। ಇದೆಲ್ಲವನು ನಾ ಕೇಳಿ ಬಲು ವಿಸ್ಮಿತನಾದೆನು । ಭೂಲೋಕದಿಂಥ ವೈವಿಧ್ಯ ದೇವ! ನಿನ್ನಾಟವಲ್ಲವೇ! ।।24।। (*ಸಂಸ್ಕೃತದ ಅಮರಕೋಶದಲ್ಲಿ ಹೇಳಿರುವಂತೆ) Post your views

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