ജ്ഞാനപ്പാന (Njanappana or Jnanappana) by Poonthanam Nambudiri

Описание: Jnanappana (also known as Njanappana) is a devotional poem in Malayalam composed by the 16th-century poet-saint Poonthanam Nambudiri as a prayer to Guruvayurappan, the form of Lord Krishna enshrined at the Guruvayur Temple in Kerala. Written in simple, accessible language using the pana metre, it consists of 360 verses that distill profound spiritual insights into everyday terms, making it a cornerstone of Bhakti literature in the region.

Poonthanam Nambudiri, born in 1547 CE at Keezhattoor, near Perinthalmanna, in what is now Malappuram district, Kerala, was a devout Nambudiri Brahmin who turned to intense worship at Guruvayur following the tragic death of his infant son, an event that inspired the poem's creation in the 16th century, during his later years. Despite his scholarly background, Poonthanam chose vernacular Malayalam over Sanskrit to reach a wider audience, reflecting the Bhakti movement's emphasis on personal devotion over ritualistic learning; according to tradition, this approach stemmed from divine inspiration from Lord Guruvayurappan affirming the efficacy of simple praise.

Here is a commonly accepted thematic breakdown (based on traditional Malayalam editions, Wikisource structure, and devotional explanations):
മംഗളാചരണം / Mangalacharanam (Invocation / Mangala Stuti) Opening prayers to Lord Krishna / Guruvayoorappan.
Lines praising various names of the Lord and seeking the Guru's grace for constant remembrance of the divine name.
Purpose: To invoke blessings and set the devotional tone.
Key refrain starts here: കൃഷ്ണ! കൃഷ്ണ! മുകുന്ദ! ജനാർദ്ദന! ...

കാലലീല / Kalaleela (The Play / Leela of Time) Reflection on the unpredictability and destructive power of time (kala).
Examples: Yesterday's unknown, tomorrow's uncertainty, sudden death even for the mighty (kings on palanquins, etc.).
Shows how time reduces everything to nothing, humbling human pride.

അധികാരിഭേദം / Adhikaribhedam (Differences in Eligibility / Spiritual Qualifications) Discussion on varying levels of spiritual readiness among people.
Some recognize truth instantly, others remain ignorant despite seeing; different paths (karma, jnana, etc.) suit different adhikaris.

തത്ത്വവിചാരം / Tattvavicharam (Inquiry into Reality / Philosophical Enquiry) Probing the nature of the universe, the self, and the Supreme.
Describes the one ultimate reality (Brahman/Jyoti) manifesting as the world, yet untouched; the three gunas and how karma binds the jiva.

കർമ്മഗതി / Karmagati (The Course / Fate of Karma) Detailed explanation of karma's binding power: punya, papa, and mixed actions.
Chains of gold, iron, or mixed; even Brahma is bound by karma; no escape except through divine grace.

ജീവഗതി / Jeevagati (The Journey / Fate of the Soul) The soul's transmigration: cycles through hells, heavens, animal births, human forms, etc. Graphic descriptions of rebirths (e.g., from worm to elephant, king to worm, etc.); endless wandering due to karma until exhaustion.

-ഭാരതമഹിമ / Bharata Mahima (Glory of Bharata / India) Praise of Bharata-bhumi as the supreme land for karma resolution and moksha.
Even gods aspire to be born here; Vedas and sages honor it.

കലികാലമഹിമ / Kali Kala Mahima (Glory of Kali Yuga) Paradox: Though Kali is sinful, it's the easiest yuga for liberation via nama-japa (chanting names).
No need for severe tapas; simple devotion suffices.

മനുഷ്യജന്മം ദുർലഭം / Manushya Janmam Durlabham (Rarity of Human Birth) Human birth is extremely rare after countless lower births.
Body compared to bubble/water drop; impermanence emphasized.

സംസാരവർണ്ണനം / Samsara Varnanam (Description of Worldly Life) Illusion of worldly attachments, maya’s veiling power, fleeting pleasures, family bonds as traps.

വൈരാഗ്യം / Vairagyam (Detachment / Renunciation) Urging detachment from samsara; body as temporary, wealth/fame as illusory.

നാമമഹിമ / Nama Mahima (Glory of the Divine Name) Climax: Supreme efficacy of chanting Lord's names (especially Hari-nama).
The easiest, surest path to moksha in Kali Yuga; overrides all other sadhanas.

Ends with repeated glorification and surrender.

The poem often intersperses the refrain കൃഷ്ണ! കൃഷ്ണ! മുകുന്ദ! ജനാർദ്ദന! ... at natural breaks, especially after major sections, to reinforce devotion.

For translation refer - https://stotrarathna.blogspot.com/200...

Read more about the topic - https://grokipedia.com/page/Jnanappana