The emperor is yet to return to his quarters for dinner. His queen, Chinna Devi , the younger one, is waiting for him.
Perhaps he is confabulating with his Prime Adviser, Timmarasu, , whom he dotingly called Appaji, ‘respected daddy’, on the impending threat to his kingdom from the neighboring Bahamanee sultans, or some other important or urgent matters of state.
Or is he busy, intent on deciding what would be an apt and exemplary punishment for the unfortunate under-trial cowering before him, – banishing him from the kingdom, hanging him till death near the city square, piercing his eyes with a sharp implement, or burying him neck-deep in the ground and letting loose a wild elephant to complete the rest of the nasty business?
Or is the famed horseman, examining the virile and mighty horses of various hues, that the traders from Arabia hoped to sell to the connoisseur, or is he appreciating or evaluating the sleek fire-arms or jewelry, the traders from Europe hoped to sell to this cognoscent.
Or, the famed ruler of the grand arena, Bhuvana Vijayam, where stalwarts in literature fought like gladiators to the finish, (Saahitee Samaraangana Chakravarthi.), looking on with pride, relish and amusement as the eight famed jumbos of literature, (ashta diggajas) and many others from the neighboring kingdoms, vied with each other to compose a verse, the first intriguing stanza of which the great author of Aamukta Malyada, had himself composed in great style?
She begins to strum her veena and sing about the Ras Leela, the dalliance of Krishna with Radha and other cow-herd girls in the Brindavan woods on a full moon day, even as she contemplates fondly, in a parallel stream in her mind about her own lord, named aptly after Krishna. Her maids-in-waiting begin to dance around languidly to her charming song.
The king enters and pleased with the bewitching song leans on to a column gracefully and listens to the divine music with rapture. The maids begin to leave one by one discreetly.
The queen looks at him smilingly.
This enchanting scene is from the 1950’s Telugu movie, Tenali Rama Krishna. The queen was played by Sandhya, the beautiful mother of the current Chief minister of Tamil Nadu , Ms. Jayalalitha. And the role of the king was enacted in the movie in a subdued manner with aplomb by a handsome, suave and young NTR.
The few stanzas of the sweet Sanskrit lyric, ‘ Chandana Charchita Neela Kalebars’, were rendered scintillatingly by P.Suseela in Mohana ragam,
Check out this video on YouTube:
Here is a sensuous Odissi dance rendering of this grest lyric of Jayadeva You can check out this video on YouTube:
You can find the lyric in full, with a translation into English by Damodara Rao Dasu at this link
And here is the link to a post I had written about another great eight-liner (Ashta Padi) of Jaya Deva.