Sollavallayo kiliye lyrics
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solla vallAyO. rAgA: behAg/kiravANi/rAgamAlikA.
P: solla vallAyO kiLiyE solla nI vallAyO
A: valla vEl murugan tanai ingu vandu kalandu magizhndu kulAvenru
C1: tillai ambalattE naTanam seyyum amarar pirAn avan
selvat-tirumaghanai ingu vandu sErndu kalandu magizhndiDuvAi enru
2: allik-kuLattarugE oru nAL andip-pozhudinilE angOr
mullai seDi adanpAr seida vinai muTrum marandiDak-kaTradennE enru
3: pAlai vanattiDaiyE tanai kaip-paTri naDakkaiyilE tan kai
vElin mishaiyANai vaittu sonna vindai mozhigaLai cintai seivAi enru
P: solla vallAyO kiLiyE solla nI vallAyO
A: valla vEl murugan tanai ingu vandu kalandu magizhndu kulAvenru
C1: tillai ambalattE naTanam seyyum amarar pirAn avan
selvat-tirumaghanai ingu vandu sErndu kalandu magizhndiDuvAi enru
2: allik-kuLattarugE oru nAL andip-pozhudinilE angOr
mullai seDi adanpAr seida vinai muTrum marandiDak-kaTradennE enru
3: pAlai vanattiDaiyE tanai kaip-paTri naDakkaiyilE tan kai
vElin mishaiyANai vaittu sonna vindai mozhigaLai cintai seivAi enru
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Here you go rasikapriya:
This composition represents a conversation between the lovelorn nAyikA and her parrot (kiLi) where she seems to coaching it to ask some questions the way she wants them to be posed (enru – thus).
P: solla vallAyO kiLiyE solla nI vallAyO
Oh parrot (kiLiyE) would you (nI) find it impossible (vallAyO) to say these words (Solla) to my beloved?
A: valla vEl murugan tanai ingu vandu kalandu magizhndu kulAvenru
Can you not carry this (enru) message to my Lord muruga (murugan tanai), the wielder of the powerful (valla) spear (vEl)? "Please come (vandu) here (ingu) and meet (kalandu) me so that we may enjoy (magizhndu) and delight (kulA) in each other's company"
C1: tillai ambalattE naTanam seyyum amarar pirAn avan
selvat-tirumaganai ingu vandu sErndu kalandu magizhndiDuvAi enru
Please tell the precious (Selva) and divine (tiru) son (maganai) of the great lord (pirAn) of the gods (amarar) who (avan) dances (naTanam Seyyum) in the temple (ambalam) of cidambaram (tillai) that (enru) he will enjoy (magizhndiDuvAi) himself if he were to come (vandu) here (ingu) and meet (SErndu) me.
2: allik-kuLattarugE oru nAL andip-pozhudinilE angOr
mullai seDi adanpAr seida vinai muTrum marandiDak-kaTradennE enru
Oh Parrot! Would it be impossible for you to ask him how he has taught himself (kaTradu ennE) to completely (muTrum) forget (marandiDa) the dalliance (Seida vinai) he conducted with me beyond (pAr) a (angu Or) jasmine (mullai) shrub (ceDi) near (arugE) the lily (alli) pond (kuLam) one (oru) day (nAL) when it was dusk (andi pozhudinilE)?
3: pAlai vanattiDaiyE tanai kaip-paTri naDakkaiyilE tan kai
vElin mishaiyANai vaittu sonna vindai mozhigaLai cintai seivAi enru
Would you find it impossible (vallAyO) to ask him to think (cintai SeivAi) about the amazing (vindai) words (mozhigaLai) he uttered (sonna) as he swore an oath (ANai) of allegiance to me with his hand (kai) kept (vaittu) on top (miSai) of his (tan) spear (vElin) in the middle (iDaiyE) of a desert (pAlai vanattu) as we walked (naDakkaiyilE) holding (paTri) hands (tanai kai)?
This composition represents a conversation between the lovelorn nAyikA and her parrot (kiLi) where she seems to coaching it to ask some questions the way she wants them to be posed (enru – thus).
P: solla vallAyO kiLiyE solla nI vallAyO
Oh parrot (kiLiyE) would you (nI) find it impossible (vallAyO) to say these words (Solla) to my beloved?
A: valla vEl murugan tanai ingu vandu kalandu magizhndu kulAvenru
Can you not carry this (enru) message to my Lord muruga (murugan tanai), the wielder of the powerful (valla) spear (vEl)? "Please come (vandu) here (ingu) and meet (kalandu) me so that we may enjoy (magizhndu) and delight (kulA) in each other's company"
C1: tillai ambalattE naTanam seyyum amarar pirAn avan
selvat-tirumaganai ingu vandu sErndu kalandu magizhndiDuvAi enru
Please tell the precious (Selva) and divine (tiru) son (maganai) of the great lord (pirAn) of the gods (amarar) who (avan) dances (naTanam Seyyum) in the temple (ambalam) of cidambaram (tillai) that (enru) he will enjoy (magizhndiDuvAi) himself if he were to come (vandu) here (ingu) and meet (SErndu) me.
2: allik-kuLattarugE oru nAL andip-pozhudinilE angOr
mullai seDi adanpAr seida vinai muTrum marandiDak-kaTradennE enru
Oh Parrot! Would it be impossible for you to ask him how he has taught himself (kaTradu ennE) to completely (muTrum) forget (marandiDa) the dalliance (Seida vinai) he conducted with me beyond (pAr) a (angu Or) jasmine (mullai) shrub (ceDi) near (arugE) the lily (alli) pond (kuLam) one (oru) day (nAL) when it was dusk (andi pozhudinilE)?
3: pAlai vanattiDaiyE tanai kaip-paTri naDakkaiyilE tan kai
vElin mishaiyANai vaittu sonna vindai mozhigaLai cintai seivAi enru
Would you find it impossible (vallAyO) to ask him to think (cintai SeivAi) about the amazing (vindai) words (mozhigaLai) he uttered (sonna) as he swore an oath (ANai) of allegiance to me with his hand (kai) kept (vaittu) on top (miSai) of his (tan) spear (vElin) in the middle (iDaiyE) of a desert (pAlai vanattu) as we walked (naDakkaiyilE) holding (paTri) hands (tanai kai)?
Last edited by rshankar on 19 Apr 2008, 04:04, edited 1 time in total.
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You are welcome!
As I understand, it sending a parrot as a as messenger - called kiLi viDum dUtu/tUdu is quite the done thing in romantic imagery. The other messengers are swans (annam) and even a cloud (mEgham) - the latter was epitomised by kALidAsa in his mEghsandES.
As I understand, it sending a parrot as a as messenger - called kiLi viDum dUtu/tUdu is quite the done thing in romantic imagery. The other messengers are swans (annam) and even a cloud (mEgham) - the latter was epitomised by kALidAsa in his mEghsandES.
Last edited by rshankar on 19 Apr 2008, 16:37, edited 1 time in total.
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Ravi: Excellent translation!
Ravi, Arasi: I am not familiar with the word vallAyO. First I thought it may be a variation on 'solla villayO' but that is a different meaning altogether ( though sort of fits the overall context but with a different take ). I got another vibe along the lines of 'strength' from where I can see the bridge to Ravi's translation ( "don't you have the strength" to "is it Impossible for you" ). But at this point I am going by gut feel, Where or how else can you use 'vallAyO'? Is it a word in fairly common usage? Thanks.
Ravi, Arasi: I am not familiar with the word vallAyO. First I thought it may be a variation on 'solla villayO' but that is a different meaning altogether ( though sort of fits the overall context but with a different take ). I got another vibe along the lines of 'strength' from where I can see the bridge to Ravi's translation ( "don't you have the strength" to "is it Impossible for you" ). But at this point I am going by gut feel, Where or how else can you use 'vallAyO'? Is it a word in fairly common usage? Thanks.
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VK,
VallAyO, has origin from vallamai [noun] (to mean capacity), of course not being much used. vallarasu, vallavan are some words in use to mean Powerful Govt & Powerful person respectively.
Vallinam means hard (ka, cha, Da, ta, pa, Ra)
Solla vallAyo means - Are you not able to say ...
'kiLi mozhi' .. kOkilathukAha
VallAyO, has origin from vallamai [noun] (to mean capacity), of course not being much used. vallarasu, vallavan are some words in use to mean Powerful Govt & Powerful person respectively.
Vallinam means hard (ka, cha, Da, ta, pa, Ra)
Solla vallAyo means - Are you not able to say ...
'kiLi mozhi' .. kOkilathukAha
Last edited by 108talas on 19 Apr 2008, 13:14, edited 1 time in total.
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Thanks everyone. That is great. I get the drift.
Is the root of this word then common with the other words that mean "physical strength"?
Here, "strength" does not seem to used as in "physical strength/capacity" but more as a softer "wherewithal". From there, using the "can you" "will you" equivalence that Rajani pointed out, I can get to "muDiyumA" and to the other flavors/layers that Arasi pointed out. But now we have gone a long way from the root which has a strong connotation in physical strength, that is what leads me to ask if the root for this is somewhere else or same as other "strength" words. Anyway, if that is what it is, so it shall be.
OK, for a bit of fun. In this case it is a rhetorical question to the poor bewildered parrot but how will you answer ( muDiyum or muDiyAdu ) using variations of vallAyO. "Yes <transformed vallAyO>" or "No <transformed vallAyO>".
Is the root of this word then common with the other words that mean "physical strength"?
Here, "strength" does not seem to used as in "physical strength/capacity" but more as a softer "wherewithal". From there, using the "can you" "will you" equivalence that Rajani pointed out, I can get to "muDiyumA" and to the other flavors/layers that Arasi pointed out. But now we have gone a long way from the root which has a strong connotation in physical strength, that is what leads me to ask if the root for this is somewhere else or same as other "strength" words. Anyway, if that is what it is, so it shall be.
OK, for a bit of fun. In this case it is a rhetorical question to the poor bewildered parrot but how will you answer ( muDiyum or muDiyAdu ) using variations of vallAyO. "Yes <transformed vallAyO>" or "No <transformed vallAyO>".
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everyone/all
thank you for your posts elucidating the meaning of VallAyO in the song context.
Ravi
do you recall any dance song where the messenger is a cloud?
arasi
my interest for sahitya was kindled by the discovery of forum such as this one and could have never grown into a serious interest if it weren't for the dedicated people who regularly contribute in the forum. But in what sense should I aspire to panjali sabadam?
thank you all
thank you for your posts elucidating the meaning of VallAyO in the song context.
Ravi
do you recall any dance song where the messenger is a cloud?
arasi
my interest for sahitya was kindled by the discovery of forum such as this one and could have never grown into a serious interest if it weren't for the dedicated people who regularly contribute in the forum. But in what sense should I aspire to panjali sabadam?
thank you all
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Rasikapriya,
You are a dancer. Ravi would tell you what a rich lode of Bharati's poetry pAnjAli sabadam is, for a dance drama. A difficult task, I admit. But it made me wonder, knowing of your dedication, if you would take it up as a challenge (and I am partial to those who pay a lot of attention to the words!). So, I suggested it to you.
I have no idea if someone has done it in dance already, but with simple attire but with a lot of fire, this venture can forget about a lavish production and focus on the intensity of emotions...
You are a dancer. Ravi would tell you what a rich lode of Bharati's poetry pAnjAli sabadam is, for a dance drama. A difficult task, I admit. But it made me wonder, knowing of your dedication, if you would take it up as a challenge (and I am partial to those who pay a lot of attention to the words!). So, I suggested it to you.
I have no idea if someone has done it in dance already, but with simple attire but with a lot of fire, this venture can forget about a lavish production and focus on the intensity of emotions...
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VK,
When Mrs. VK asks you on the phone: could you please pick up some veNDaikkAi on your way from work, she can ask it any which way, and you would gladly do so. Supposing you are tied up at work, and she asks you to pick up something you are least interested in, and don't care to take a detour to pick it up (it is going to be very late), how would Mrs. VK phrase it? nInga (nI) varumbOdu please, ...vAngi vara muDiyumA? muDiyumtAnE? muDiyumnu nenekkiREn, illayA?
So, someone who is capable of it. Will you do it, please?
When Mrs. VK asks you on the phone: could you please pick up some veNDaikkAi on your way from work, she can ask it any which way, and you would gladly do so. Supposing you are tied up at work, and she asks you to pick up something you are least interested in, and don't care to take a detour to pick it up (it is going to be very late), how would Mrs. VK phrase it? nInga (nI) varumbOdu please, ...vAngi vara muDiyumA? muDiyumtAnE? muDiyumnu nenekkiREn, illayA?
So, someone who is capable of it. Will you do it, please?
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I think we are attaching too much importance for the word 'vallAyO'. The word simply is an entreaty. Many a times, poets insert such words as fillers and use such words which are not to be taken too seriously - I think arasi would vouch for this. We can tear up this word (vallAyO) and yet might not come to a definite meaning. It has to been seem in the light of the context, that's all.
In colloquial language this would be worded as 'ni sollouviyA?'
My 2paise worth.
In colloquial language this would be worded as 'ni sollouviyA?'
My 2paise worth.
Last edited by vgvindan on 20 Apr 2008, 13:20, edited 1 time in total.
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arasi
it turns out that Chitra Vishweswaran has choreographed a piece based on bharati’s Panjali Sabadam Apparently this dance drama is one of her most significant productions. Unfortunately the piece has not been recorded/released yet, but if I find anything I will let you know.
ravi
actually I was thinking about creating a piece where the sakhi would “find her own voiceâ€
it turns out that Chitra Vishweswaran has choreographed a piece based on bharati’s Panjali Sabadam Apparently this dance drama is one of her most significant productions. Unfortunately the piece has not been recorded/released yet, but if I find anything I will let you know.
ravi
actually I was thinking about creating a piece where the sakhi would “find her own voiceâ€
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Kalakshetra too has produced the Pancali sabadam as a dance drama. In mid-nineties , I think
R-priya : Have you considered the Gita-govindam? The sakhi has a substantial role in it and many songs in it are her speech. The sakhi is considered the equivalent of the Guru, in that she unites Radha and Krishna, just as the Guru unites the soul with God. Can'y say this of clouds and birds , I guess.
R-priya : Have you considered the Gita-govindam? The sakhi has a substantial role in it and many songs in it are her speech. The sakhi is considered the equivalent of the Guru, in that she unites Radha and Krishna, just as the Guru unites the soul with God. Can'y say this of clouds and birds , I guess.
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Of course, in the bhAgavatam, it is not a sakhI, but a wandering priest who carries rukmiNi's message/love letter to krishNa!
The gIt gOvind has compositions where a love-lorn krishNa suffers the pangs of separation from rAdhA. So, are there any compositions where the nAyaka sends a messenger? There are songs where he comes to meet the nAyikA himself (in Sonnadai SeidiDa sAhasamA, the nAyikA exclaims about krishNa's audacity in overcoming the gaurds and entering the kanni mADam).
The gIt gOvind has compositions where a love-lorn krishNa suffers the pangs of separation from rAdhA. So, are there any compositions where the nAyaka sends a messenger? There are songs where he comes to meet the nAyikA himself (in Sonnadai SeidiDa sAhasamA, the nAyikA exclaims about krishNa's audacity in overcoming the gaurds and entering the kanni mADam).
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Rajani,
thank you, I didn't know about the kalakshetra production: I will see if I can find some footage
Thank you for bringing the gitagovid to our attention. I had tought of that, but
I was hoping to find a sakhi acting in a more ordinary/mundane context
Ravi/ member first
I wasn't aware of cases where the nAyaka talks to a friend to approach the heroine:
somehow I had assumed that for a male hero it would have not been necessary to involve third parties ... Very interesting
thank you
thank you, I didn't know about the kalakshetra production: I will see if I can find some footage
Thank you for bringing the gitagovid to our attention. I had tought of that, but
I was hoping to find a sakhi acting in a more ordinary/mundane context
Ravi/ member first
I wasn't aware of cases where the nAyaka talks to a friend to approach the heroine:
somehow I had assumed that for a male hero it would have not been necessary to involve third parties ... Very interesting
thank you
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Re: Sollavallayo kiliye lyrics
Smt. Sudharani Raghupathy's choreography of SollavallAyO...
http://www.youtube.com/watch?v=I5JYRtIlaxg
http://www.youtube.com/watch?v=I5JYRtIlaxg