Nippai Paataka Toola Shaila 10 నిప్పై పాతకతూలశైల మడచున్

నిప్పై పాతకతూలశైల మడచున్ నీనామమున్ మానవుల్

nippai pātakatūlaśaila maḍacun nīnāmamun mānavul

Nippai PaatakaToolaShaila Madachun Nee Naamun Maanavul

తప్పన్ దవ్వుల విన్న నన్తక భుజాదర్పోద్ధతక్లేశముల్

tappan davvula vinna nantaka bhujādarpoddhatakleśamul

Tappan Davvula Vinna Nantaka BhujaaDarpodDhataKleshamul

తప్పున్దారును ముక్తు లౌదు రని  శాస్త్రమ్బుల్మహాపణ్డితుల్

tappundārunu muktu laudurani śāstrambulmahāpaṇḍitul

Tappun Daarunu Muktulaoudurani Shaastrambul Maha Panditul

చెప్పఙ్గా దమకిఙ్క శఙ్క వలెనా శ్రీ కాళహస్తీశ్వరా! || ౧౦ ||

ceppaṅgā damakiṅka śaṅka valenā śrī kāḷahastīśvarā! || 10 ||

Cheppanga Damakina Sankha Valena Sri Kalahastiwara!!

1. నిప్పై : To flare up or to ignite
2. పాతకతూలశైల: పాతక+ తూల+ శైల; పాతక=A grave sin or మహాపాపము; తూల=దూది=Cotton; శైల=కొండ=Mountain. Here it's referred to as a frail mountain of grave sins.
3. మడచు : Destroy
4. దవ్వుల : Distant or far away
5. విన్న : To hear or be audible
6. నంతక భుజాదర్పోద్ధతక్లేశముల్ : అంతక+భుజా+దర్పోద్ధతి+క్లేశములు : అంతక = Lord Yama; భుజా = Shoulders or here strong arms; దర్పోద్ధతి = Boldness or audacity; క్లేశములు: Distress or Suffering. Here it's referred to as distress and pain one endures during the time of death
7. ముక్తులు : Here it's బంధ విమోచనం; Liberation or Emancipation
8. శాస్త్రం : Precept, Axiom, Dogma or Doctrines
9. మహా పణ్డితుల్: Great Scholars and Literati.
10. దమకిఙ్క: తమకి+ ఇంకా; తమకి = Yourself here, an appellation of the Lord; ఇంకా = Further more
11. శంక : Doubt or Suspicion. 
12. వలెనా : Ought to, Here questioning if there is there any need for concern.

Our inequities

piled up as mounds

of cotton, get flared up by

Your name, when heard from

a distance, despoils our atrocities

 liberating us from distress of death, duly

heard from the doctrines and erudite should

You to be concerned, Sri Kalahastiswara!!

The poet, in conversation with Hara, the one who dissolves all bondages and sins, affectionately assures the Lord that, the scholars and erudite have already evangelized the immense power His name bears, thereby pleading the Lord not to hesitate any more and come to the rescue. 

The sins that we continue to accrue in our mortal life are compared to  an inflammable mountain of cotton (పాతకతూలశైలం), which can easily be destroyed by chanting the the name of  Lord who appears in the form of Agnijwalaaya, for He has fire as His energy, strength and vitality.

Just by hearing the name of  Mrityunjaya, (the conqueror of death) from a distance, one is liberated from the fear, pain and distress caused by Yama Paasam (referred as అంతకభుజాదర్పోద్ధతిక్లేశములు), the dreaded noose pulled by the powerful shoulders of Lord Yama, at the time of death. 

This is great opportunity to remember the Maha Mrityunjaya Mantra and chant the name of Kalakalaya, for He is the death of death:

ॐ त्र्यम्बकं यजामहे

ఓం ! త్రయంబకం యజామహే 

Om Tryambakam Yajaamahe

सुगन्धिं पुष्टिवर्धनम्

సుగంధిమ్ పుష్టి – వర్ధనం

Sugandhim Pushtivardhanam

उर्वारुकमिव बन्धनान्

ఊర్వరుకమివా బంధనన్ 

Urvaarukamiva Bandhaaan

मृत्योर्मुक्षीय मामृतात् ॥

మృత్యోర్ ముక్షియ మమృతత్

MrityorMokshiya Maamrutaat

నిప్పై పాతకతూలశైల మడచున్ నీనామమున్ మానవుల్
తప్పన్ దవ్వుల విన్న నంతక భుజాదర్పోద్ధతక్లేశముల్
తప్పుందారును ముక్తు లౌదు రని శాస్త్రంబుల్మహాపండితుల్
చెప్పంగా దమకింక శంక వలెనా శ్రీ కాళహస్తీశ్వరా! || 10 ||

nippai pātakatūlaśaila maḍacun nīnāmamun mānavul
tappan davvula vinna nantaka bhujādarpoddhatakleśamul
tappundārunu muktu laudu rani śāstrambulmahāpaṇḍitul
ceppaṅgā damakiṅka śaṅka valenā śrī kāḷahastīśvarā! || 10 ||

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Aalumbiddalu Dallidandrulu Dhanambanchu 9 ఆలుమ్బిడ్డలు దల్లిదణ్డ్రులు ధనమ్బఞ్చు

ఆలుమ్బిడ్డలు దల్లిదణ్డ్రులు ధనమ్బఞ్చు న్మహాబన్ధనం

AalumBiddalu DalliDandrulu DhanamBanchun MahaBandhanam

బేలా నామెడ గట్టినాడవిక నిన్నేవేళఁ జిన్తిన్తు ని

bela NaaMeda GattinaadaVika NinneVeelan Jintintu Ni

ర్మూలమ్బైన మనమ్బులో నెగడు దుర్మోహాబ్ధిలోఁ గ్రుఙ్కి యీ

rm00lamBaina Manambulo Negadu DurmoHabdhiLom Grunki Yee

శీలామాలపు జిన్త నెట్లుడిపెదో శ్రీ కాళహస్తీశ్వరా! || ౯ ||

SeelaMaalapu Jinta Netludipedo Sri Kalahastiswara!

1. ఆలుమ్బిడ్డలు : ఆలి  + బిడ్డలు = Wife and children, in this case an household or family
2. దల్లిదణ్డ్రులు : తల్లి  + తండ్రి; తల్లి = Mother తండ్రి = father; Here referred together as parents
3. ధనమ్బఞ్చు : ధనము + అనుచు ; ధనము = Treasures, riches or earthly pleasures; అనుచు = To pursue or to seek
4. మహాబన్ధనం : మహా =  Exceedingly, vastly, excessively, very abundant; బన్ధనం = Brace or a binding, tying, imprisonment
5. మెడ : Neck
6. గట్టినాడవిక : కట్టు = Tie; ఇక  = Hence or Hereafter; గట్టినాదవిక = You have tied it (around my neck) and hence
7. నిన్నేవేళఁ : నిన్ను + యే + వేళ ;  నిన్ను = Thee, referring to the Lord; యే = What; వేళ : Time
8. జిన్తిన్తు : చింత = Pensiveness, adulations, heed or concentration.
9. నిర్మూలమ్బైన : నిర్మూలము = Annhilation, decimation or destruction
10. మనమ్బులో : Conscience or an inner sense of what is right and wrong.
11. నెగడు : To increase, extend or to spread.
12. దుర్మోహాబ్ధి : దుర్మోహము + అబ్ది ; దుర్మోహము = Rapacity or aggressive greed, or Here it's reprehensible acquisitiveness of mortal pleasures; అబ్ది = Ocean or a sea. Here referred to as an ocean of insatiable desire of material wealth or sea of extreme gluttony.
13. గ్రుఙ్కి : గ్రుంకుట = To take a dip
14. శీలామాలపు : శీలము = Character or conduct; మలిన = Dirty or disheveled. Here its referred to as a character that has become wrinkled.
15. జిన్త : చింత = Pensiveness, heed or concentration
16. నెట్లుడిపెదో : యెట్లా + ఉడిపెదవో; యెట్లా/ఎలా  = How; ఉడుపు = To efface, to turn out, to do away with, to wipe away or remove. Here it's questions as to how to wipe away or remove the gluttony.

Why did You shackled me 

in consanguinity of family and affluence?

Where is the time to shower

my adulations to You?

Anguished with an obliterated conscience

that's drowning in a sea of gluttony

how can I efface my dirty soul?

Sri Kalahastiwara!!!

Mahakavi Dhoorjati is expressing his helplessness to relinquish himself from this materialistic world and places this burden on Sarvagya, the One who knows everything and takes solace in Pashavimochaka, to release him from all chains.

ālumbiḍḍalu dallidaṇḍrulu dhanambañcu nmahābandhanaṃ
belā nāmeḍa gaṭṭināḍavika ninneveḷaṃ jintintu ni
rmūlambaina manambulo negaḍu durmohābdhiloṃ gruṅki yī
śīlāmālapu jinta neṭluḍipedo śrī kāḷahastīśvarā! || 9 ||

ఆలుంబిడ్డలు దల్లిదండ్రులు ధనంబంచు న్మహాబంధనం 
బేలా నామెడ గట్టినాడవిక నిన్నేవేళఁ జింతింతు ని
ర్మూలంబైన మనంబులో నెగడు దుర్మోహాబ్ధిలోఁ గ్రుంకి యీ
శీలామాలపు జింత నెట్లుడిపెదో శ్రీ కాళహస్తీశ్వరా! || 9 |

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Next నిప్పై పాతకతూలశైల మడచున్ >

Neetho Yuddhamu Cheya 8 నీతో యుధ్ధము చేయ నో~మ్పఁ గవితా

నీతో యుధ్ధము చేయ నో~మ్పఁ గవితా నిర్మాణశక్తి న్నినుం

Neeto Yuddhamu Cheya Nopam Gavita NirmanaShaktin NiNun

బ్రీతుఞ్జేయగలేను నీకొఱకు దణ్డ్రిఞ్జమ్పగా~జ్జాల నా

BreetunJeyagaLenu NeeKoraku Dandrin JampagaJaala Naa

చేతన్ రోకట నిన్నుమొత్తవెఱతుఞ్జీకాకు నాభక్తి యే

Chetan Rokata Ninnu MothaVeratun Jeekaaku Naa Bhakti Ye

రీతిన్నాకి~గ్క నిన్ను జూడగలుగన్ శ్రీ కాళహస్తీశ్వరా! || ౧ ||

ReetinNaakigka Ninnu JoodaGalugun Sri Kalahastiswara!

1. గవితా : గవితా = కవితా : Poetry
2. నిర్మాణశక్తి : Ability to compose
3. న్నినుం : You, Thee, Thou, referring to Lord Shiva.
4. బ్రీతుఞ్జేయగలేను : = ప్రీతున్  + చేయగలేను : ప్రీతి = Joy, pleasure, delight, happiness, love, affection. చేయగలేను = Here unable to conciliate the Lord
5. నీకొఱకు : For want of You or On behalf of You
6. దణ్డ్రిఞ్జమ్పగా~జ్జాల : తండ్రి  + ని  + చంపగా  + జాల = Cannot kill my father
7. నా చేతన్ : In my hands
8. రోకట : A rice pounder, a Pestle
9. మొత్తవెఱతు : మోత + వెఱతు : మోత = To attack or hit; వెఱతు = To scare or terrify
10. ఞ్జీకాకు : చీకాకు = To be vexed, harassed, puzzled or tormented
11. యే రీతిన్నాకి~గ్క : యే  + రీతి + ని  + నాకికా : రీతి = Manner, mode, method ; Here it's referred to as "In what way can I" 
12. జూడగలుగన్ : చూడ  + గలుగున్ = Ability to see You.

I can't wage a war against You

or placate You with my poetical skills

 nor can I slay my father to appease you

or terrify You holding a pestle

vexed with my devotion

how can I descry You?

Sri Kalahastiswara! 

Mahakavi Dhurjati, in this poem gives references to tales of the Nayanars (read below) and how each of them demonstrated their utmost devotion to the Lord and in-turn, how Lord Shiva pleased by their adoration revealed Himself to each one of them. 

The poet compares his devotion with Kannapa Nayanar, in his previous birth as Arjuna he waged a war with the Lord and pleased Him with his valor; Sambandar Nayanar who mesmerized everyone including the Lord with his poetical skills; Chandeshwara Nayanar who killed his father for insulting the Lord and Siruthondar Nayanar and Seelavathi for pleasing the Lord by serving His devotees. 

Lord Shiva impressed by the undaunted devotion, appeared in front of all the 4 Nayanars including Seelavathi.

The poet is expressing his frustration by comparing his own detestable devotion to the Lord with that of the the Nayanars, and ponders what else he can do, that can give him an opportunity to catch a sight of the Lord.

63 Nayanars (+ 1 unofficial Nayanar Manickavasagar)

Below is a brief introduction to the four Nayanars mentioned in this poem and how they demonstrated their devotion to the Lord.

1. Kannappa Nayanar (నీతో యుధ్ధము చేయ నోఁపఁ): Also known as Bhakta Kannappa, was born in a hunting family near Sri Kalahasti. In his previous birth Kannappa was Arjuna among the Pandavas. With a desire to seek the divine weapon, Pasupathastra, Arjuna meditated on Lord Shiva. The Lord wanted to test Arjuna and entered into the forest as an animal hunter, an altercation between the two over a hunt, resulted in a battle. The Lord impressed by Arjuna's valor reveals Himself and gifts the Pasupathastra to Arjuna. However, Arjuna's inability to recognize the Lord prevents him from breaking the cycle of life and death, and therefore had to take a rebirth in Kali Yuga as Kannapa Nayanar to attain moksha.

   

   Kannappa Nayanar

2. Thiru Gnyana Sambandar (గవితా నిర్మాణశక్తి న్నినుం బ్రీతుంజేయగలేను): He was a 7th century C.E., young Shaiva poet-saint of Tamilnadu and was prominent among all the 63 Nayanars. His rendition of poetry is said to have cured people who suffered serious ailments and the Lord pleased by his poetical skills has rewarded him with many riches and blessing.

   

   Sambandar Nayanar

1. Once Sambandar wanted to visit the Shrine of Lord at Chenkattankudi, as he was preparing to leave for his journey, the Lord revealed Himself in the same form as He is in Chenkattankudi! 
2. In another incident, during Sambandar's stay at Sirkali he wanted to travel and see the of Lord Thoniappar. The Lord Himself, however, did not want His child to undertake this journey. The next morning, Sambandar went to the local temple for worship. There he saw Lord Thoniappar seated in front of him. 
3. Sambandar at his marriage, is said to have sung a poem praying for Moksha. The Lord granted his wish and said: ‘Oh Sambandar, you, your wife, and all those who witnessed your marriage will merge in the Siva Jyoti and come to Me.’ At once, an effulgent light emerged from the Lord. Before merging in that Light, Sambandar sang a poem known as the Panchakshara Padhyam. Then all those who were present, merged into the Light of Shiva.
3. Chandeshwara Nayanar (నీకొఱకు దండ్రింజంపగాఁజాల): Most Shaiva temples in South India (and as far as Combodia) have Chandeshwara Nayanar's shrine positioned within the first enclosure wall of the temple complex and to the North East of the Lingam. He is there typically shown seated, with one leg dangling downwards, a hand on one thigh and an axe clasped in the other.
   
   

   

   Chandeshwara Nayanar

   He is depicted as deeply lost in meditation and devotees snap their fingers or clap their hands to attract his attention. Another interpretation to this ritual relates to Chandeshwara being considered as the guardian of the temple belongings, devotees clap their hands to show that they are leaving the temple empty-handed.
1. Chandeshwara was born into a Brahmin family and was a child prodigy mastering all the vedas at a very young age. His family owned a lot of cows, soas a child, seeing all the surplus milk, Chandeshwara then made a makeshift Shivalingam with sand and started to perform Abhishekam to Lord Shiva everyday. As days went by it was brought to his father attention that his son was wasting milk everyday. His father was furious when he saw Chandeshwara pouring milk on the Lingam. In a fit of rage his father hit Chandeshwara with a stick but being in deep meditation Chandeshwara did not feel any pain nor notice anything. His father then threw the vessel containing the milk and kicked the Shivalingam. 
2. Chandeshwara then came to his senses and in a fit of rage, seeing his father commit a grave Shiva Aparadham, at once took the same stick his father used and hit hard on his father’s leg. 
3. The Lord wanted to test the devotion of Chandeshwara, just when the the stick was about to strike, it instantly transformed into an axe killing his father.  Chandeshwara was so engrossed in the worship, that he did not mind what had happened and continued the worship.
4. The Lord was impressed by this undaunted devotion and revealed Himself along with His consort Parvati before Chandeshwara and anointed him as the caretaker of His wealth.
4. Siruthondar Nayanar and Seelavathi (నా చేతన్ రోకట నిన్నుమొత్తవెఱతుం): Siruthondar (translates to small servant), before being transformed as a Shaiva Monk, was an army general (with original name of Paranjyotiar) of the great South Indian ruler Narasimhavarman 1 (mid 6th century C.E).
1. During his later life as a saint, Siruthondar considered himself as the servant of the Lord and His devotees. He would never eat a morsel of food without first feeding a devotee of Lord Shiva. Siruthondar even went to an extent of serving the meat of his own son to please Lord Shiva. The Lord was moved by the undaunted devotion of Siruthondar and brought his son back to his life. Siruthondar's popularity and fame grew far and wide with this incident.
2. As time went Siruthondar, considering himself as a favorite devotee of Lord Shiva, became arrogant towards other devotees and the Lord wanted to teach him a lesson. 
3. On the day of new moon (Amavasya) Lord Shiva disguised as a devotee accompanied Siruthondar to visit the house of a lady by name Seelavathi, who was also an ardent devotee of Lord Shiva. She also had a habit of serving food to the devotees of Lord Shiva before feeding herself and her son. She was pleased to have both at her home and as the guests were taking their baths before eating the food, Seelavathi started cooking scrumptious dishes.
4. Her son was tempted by the the aroma and started eating the food. In a fit of rage she grabbed the nearby pastel and hit her son, killing him instantly.
5. Undaunted by the incident she hid her son's dead body and continued to focus on her preparation to serve food to the guests.
6. As the guests were seated, Lord Shiva in disguise, requested Seelavathi to have her son join and eat the food along with them. Seelavathi politely evaded the request and asked the saints to start eating without her son.
7. The Lord however continued to insist that her son should join them. Seelavati eventually lost her patience and threatened Lord Shiva by holding the same pastel in hand, that she used to hit her son.
8. The Lord then ordered Seelavati to go out and call her son, she obeyed the Saint's request and went out and called her son by his name, and to her surprise she saw her son coming towards her to join the saints for food.
9. The Lord then revealed himself to Siruthondar, Seelavati and her son.
10. Siruthondar, realizing his mistake prostrated before the Lord and Seelavati and repented for his arrogance and the atrocities he had committed towards the devotees. 

nīto yudhdhamu ceya nompaṃ gavitā nirmāṇaśakti nninuṃ
brītuñjeyagalenu nīkoṟaku daṇḍriñjampagāñjāla nā
cetan rokaṭa ninnumottaveṟatuñjīkāku nābhakti ye
rītinnākiṅka ninnu jūḍagalugan śrī kāḷahastīśvarā! || 8 ||

నీతో యుధ్ధము చేయ నోఁపఁ గవితా నిర్మాణశక్తి న్నినుం

బ్రీతుంజేయగలేను నీకొఱకు దండ్రింజంపగాఁజాల నా

చేతన్ రోకట నిన్నుమొత్తవెఱతుంజీకాకు నాభక్తి యే

రీతిన్నాకిఁక నిన్ను జూడగలుగన్ శ్రీ కాళహస్తీశ్వరా! || 8 ||

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DiviJakshmaRuha Dhenu Ratna 7 దివిజక్ష్మారుహ ధేను రత్న ఘనభూతి

శా|| దివిజక్ష్మా రుహ ధేను రత్న ఘనభూతి ప్రస్ఫురద్రత్నసా
DiviJakshmaRuha Dhenu Ratna GhanaBhooti PrasphuRadRathna Sa

నువు నీ విల్లు నిధీశ్వరుణ్డు సఖుఁ డర్ణోరాశికన్యావిభుం
nuvu Nee Villu; Nidheeshwarundu Sakhundu Arnoraasi Kanyaa Vibhun

డువిశేషార్చకుఁ డిఙ్క నీకెన ఘనుణ్డుం గల్గునే నీవు చూ
du VisheshaAarchakundu Inka Nee Kena GhanUndu Galugune? Neevu Choo

చి విచారిమ్పవు లేమి నెవ్వ~ణ్డుడుపున్ శ్రీ కాళహస్తీశ్వరా! || ౭ ||
chi Vicharimpavu; Lemi NevvaduUdupun? Sri Kalahastiswara || 7 |

1. దివిజక్ష్మారుహ :- DiviJakshmaRuha : క్ష్మారుహము=Tree; దివిజక్ష్మారుహము=Kalpa Vrukshamu, Tree of Wealth and Prosperity 
2. ధేను :- Dhenu so ధేనువు=కామధేనువు; Kamadhenu or Surabhi, A Divine Bovine-Goddess that emerged from the churning of the Ocean of Milk and described as the miraculous "Cow of Plenty", that provides her owner whatever is desired.
3. రత్న :- Rathna : రత్నము=Precious Stone, here it's referred as చింతామణి, a wish fulfilling magical jewel which manifests whatever wished for bestowing prosperity upon it's owner. 
4. ఘనభూతి :- GhanaBhooti ఘన = Greatness, భూతి = Wealth, prosperity and super human power
5. ప్రస్ఫు :- Prasphu : ప్రస్ఫుటము = Blown, Blosson, Thrive or Expanded
6. రత్నసానువు   :- RathnaSaanavu : సానువు = A even or level ground on the top or edge of a mountain; రత్నాసనవు = Here it's referred to as Mount Meru, a jeweled fabulous mountain (decorated with Kalpavriksha, Kamadhenu, Chintamani) in the navel or center of the earth consisting of cities of Gods and celestial spirits. 
7. విల్లు :- Villu : విల్లు = Bow, in this context, Lord Shiva as Tripurantaka made Mount Meru as his Bow, Vasuki the Serpant is the bow string, Lord Vishnu as the arrow, Lord Agni became the tip of the arrow, Lord Vayu was inside the feathers on rear of the arrow, Earth became the chariot and Lord Brahma was the charioteer, and the Sun and the Moon were the wheels of the Chariot.  See image of Lord Tripurantaka below.
8. నిథీశ్వరుండు :- NidheEshwaRundu : Lord of Wealth, Lord Kubera.
9. సఖుడు :- Sakhudu : Friend 
10. అర్ణోరాశి :- ArnoRaashi : అర్ణవం=Ocean, రాశి=Gem. Here referred to the Goddess of Fortune and Wealth, Sri Lakshmi who is one of the 14 Gems that emerged from the churning of the ocean of milk. 
11. కన్యావిభుండు:- KanyaVibhundu : కన్య=Maiden; విభుండు=Ruler or Master. కన్యావిభుండు=Lord Vishnu; One who accepted Goddess Lakshmi who emerged from the ocean of milk, as His eternal consort. 
12. విశేషార్చకుడు :- VisheshaArchakundu : విశేష = Special, Extraordinary or Eminent అర్చకుడు = An officiating Priest
13. ఘనుండుం :- Ghanundu : Having Greatness, Fame, Glory, Nobility, Respectability and Opulent in every sense.
14. గల్గునే? :- Galgune? : Here questioning the living or existence.
15. నీవుచూచి :- నీవు = Neevu : You చూచి = choochi : To notice or see
16.  విచారణ = Thought, investigation, examination, consultation, discussion, disputation, reasoning.  
17. లేమినెవ్వడుడుపున్ :- LemiNevvaduUduPun : లేమి = Nullity, not being, absence, want or poverty ; యెవ్వడు = Who ; ఉడుపు = To efface, to turn out, to do away with, to wipe away or remove.

Five Headed Tripurantaka

Wish fulfilling tree Kalpavriksha 
Divine Goddess Kamadhenu
Magical stone Chintamani
all adorned on Mount Meru
which you made Your Bow
Lord Kubera is Your Friend
Consort of Goddess Lakshmi is Your Eminent Priest
Who else is Opulent with such Greatness, Fame and Glory?

and You ignore this plight, Alas!

Who else is to wipe away 

Nullity, Indigence and Hardships?

This poem makes the reader ponder whose plight and indigence are being referred and who is in need of a savior to nullify their hardships, is it the poet or the Lord?

If the reference is to the hardships of the poet, then the poet could be expressing his frustration to the Lord for owing great riches and treasures and yet being oblivious to poet's pleas in spite of being His ardent devotee.

On the other hand if the reference is to the plight of the Lord, then He is already surrounded by various opulent elements that can bring prosperity and wealth, and at all times served by various Gods and Demi-Gods. Yet, some of His possessions include Ashes (Bhasma), Matted Hair (Jatin), Elephant Skin (Kari Charmam), Serpants (Naag), a Trident (Trishul), a Drum (Damaru), an Axe (Parashu) and Rosary Beads (Rudraksha).

The poet is expressing a subtle mockery at all the glory surrounding the Lord and yet He in need of a savior that will bring Him some wealth and prosperity.

An important take away from this poem is the transcendental and aesthetic life of the Omniscient depicting himself as a Yogi, who is totally absorbed in Himself and not unattached to the surrounding pompous, glory and fame.

Lord Dakshinamurthy, in his Yoga Mudra, teaches us in silence, the oneness of one's innermost self (atman) with the ultimate reality (brahman).

|| divijakṣmā ruha dhenu ratna ghanabhūti prasphuradratnasā

nuvu nī villu nidhīśvaruṇḍu sakhuṃ ḍarṇorāśikanyāvibhuṃ

ḍuviśeṣārcakuṃ ḍiṅka nīkena ghanuṇḍuṃ galgune nīvu cū
ci vicārimpavu lemi nevvaṇḍuḍupun śrī kāḷahastīśvarā! || 7 |

శా|| దివిజక్ష్మా రుహ ధేను రత్న ఘనభూతి ప్రస్ఫురద్రత్నసా
నువు నీ విల్లు నిధీశ్వరుండు సఖుఁ డర్ణోరాశికన్యావిభుం
డువిశేషార్చకుఁ డింక నీకెన ఘనుండుం గల్గునే నీవు చూ
చి విచారింపవు లేమి నెవ్వఁడుడుపున్ శ్రీ కాళహస్తీశ్వరా! || 7 ||

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SwamiDrohamu Jesi Verokani 6 స్వామిద్రోహము చేసి వేఱొకని గొల్వం బోతినో?

శా|| స్వామిద్రోహముఁ జేసి యేనొకని గొల్వమ్బోతినో కాక నే
SwamiDrohamu Jesi YeNokani Golvan Botino? Kaka Ne

నీమాట న్విననొల్లకుణ్డితినొ? నిన్నే దిక్కుగాఁ జూడనో?
nee Maatan VinaNolla Kooditino? NinNee Dikkuga Joodano?

యేమీ ఇట్టివృధాపరాధినగు నన్నీ దుఃఖవారాశివీ
Yemi, Yitti VrudhaAparaadhiNagu NaNnee DhukhaVaraasi Vee

చీ మధ్యమ్బున ముఞ్చి యుమ్పదగునా శ్రీ కాళహస్తీశ్వరా! || ౬ ||
chee Madhyambununa Munchi YumpaDagunaa? Sri Kalahastiswara!

1. స్వామిద్రోహము :- (స్వామి = God; ద్రోహము = Treachery) Sin against God 
2. వేఱొకని :- (వేరొక = Another; వేరొకడు = another man) Here it's referred to other Gods or Kings-men
3. గొల్వం బోతినో :- (కొలువు = Service or employment; పోవు = To go, to leave .adj.) Perhaps I left to serve another
4. కాక :- Or else
5. మాట ల్విననొల్ల :-(మాటలు = words; వినటం = to hear, to listen; నొల్ల = apathetic or not interested) Not interested in listening to your words or scriptures
6. దిక్కుగా జూడనో :- (దిక్కు = Here it's referred as shelter, savior, asylum, refuge, protection, patronage etc; చూడటం = to see or consider; so, జూడనో is opposite of that) to not consider as a savior
7. వృథాపరాధి :- (వృథా = waste; అపరాధి n. An offender or sinner) Here it's innocent, unenlightened or unlearned sinner in oblivion. 
8. దుఃఖవారాశి :- (దుఃఖము = Grief, trouble, unhappiness, pain, misery; వారాశి = Ocean or Sea) 
9. మధ్యంబున :- In the middle of
10. ముంచియుంప:- to drown or submerge
11. దగునా? :- Is it fair?

My treachery of serving other Lords? or 

my apathy towards Your doctrines? or

relinquishing You as my savior?

Pleading innocence of such indictments 

and yet benighted, Alas! Is it fair? 

Drowning me in the midst of 

the oceans of misery? Sri Kalahastiwara!

This poem questions the Sarvagyaya (the one who knows everything), the reason why the Lord is punishing the poet by drowning him in the midst of the Oceans of life and death. 

Mahakavi Dhoorjati, in this poem draws parallels to the spiritual trends during his times, where Devotees of Shaiva and Vaishnava sects, ignorantly debated on the authenticity and superiority of their respective deities.  

Such arguments often led followers of one sect, to condemn and relinquish beliefs of other sects. The poet pleads to Mridaya (the Lord who shows only mercy), that he has never resorted to such blasphemy yet why he is being subjected to the misery of life and death.

There is perhaps another interpretation, which is in line with previous poems. 

The poet, with a perverted sense of loyalty towards the vices and a strong urge for a pompous lifestyle,  disregarded the servitude of the Lord and instead choose to serve frail kings and royals.

The poet questions Charuvikramaya (one who is the guardian of wandering pilgrims), if he is being punished because of such sins, which were committed in oblivion. 

svāmidrohamuṃ jesi yenokani golvambotino
kāka nenīmāṭa nvinanollakuṇḍitino ninne dikkugāṃ jūḍano
yemī iṭṭivṛdhāparādhinagu nannī duḥkhavārāśivī
cī madhyambuna muñci yumpadagunā śrī kāḷahastīśvarā! || 6 ||

స్వామిద్రోహముఁ జేసి యేనొకని గొల్వంబోతినో కాక నే

నీమాట న్విననొల్లకుండితినొ నిన్నే దిక్కుగాఁ జూడనో

యేమీ ఇట్టివృధాపరాధినగు నన్నీ దుఃఖవారాశివీ

చీ మధ్యంబున ముంచి యుంపదగునా శ్రీ కాళహస్తీశ్వరా! || 6 ||

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