Malai Pozhuthinile lyrics

Place to go if you want to ask someone identify raga, tala, composer etc or ask for sāhitya (lyrics) or notations or translations.
Post Reply
bhuvanak
Posts: 5
Joined: 18 May 2007, 20:21

#1

Post by bhuvanak »

Hi,
I heard the song Malai Pozhuthinile sung by MS amma.
Anyone knows the lyrics and ragams of malai Pozhuthinile, composer, Kalki. please post it.
Thanks,
Music Lover

PUNARVASU
Posts: 2498
Joined: 06 Feb 2010, 05:42
x 4

#2

Post by PUNARVASU »

I think there is a thread on this song;it was discussed recently I think.

parimalphadke
Posts: 131
Joined: 25 Jan 2008, 21:07

#3

Post by parimalphadke »

can we have the lyrics and the meaning of this song. Is this a traditional song or a film song?

Lakshman
Posts: 13284
Joined: 10 Feb 2010, 18:52
x 34

#4

Post by Lakshman »

mAlaip-pozhudinilE. rAgamAlikA.
(rAgA: behAg)
1: mAlaip-pozhudinilE oru nAL malarp-pozhilinilE kOlak-kiLigaLuDan kuyilgaL konjiDum vELaiyilE
mAlaik-kulavu mArban maruvil mAmati pOl mughattAn vElonru kaiyilEndi ennaiyE vizhunguvAn poL vizhittAn
(rAgA: behAg)
2: nIlak-kaDalinaippOl en nenjam nimirndu pongiDavum nAlu puram nOkki nANinAn yAringu vandadenrE
Alilai mEl tuyinrE bhuvanam anaittumE aLikkum mAlin marumaghan yAn ennaiyE vElan murugan enbAr
(rAgA: sindhubhairavi)
3: candiran vETkurum un mukhattil cancalam tOnruvadEn dondam illAdavaLO pudidAi toDarndiDum uravum
mundai piravi tannil unnai nAn muraiyinil maNandEn endan uyirallavO kaNmaNi Eninda jAlam enrAn
(rAgA: mOhana)
4: uLLam urugiDinum uvagai uTru perguDinum kaLLattanamAga kaNgaLil kanal ezha vizhittEn
puLLi mayil vIran mOhana punnakai tAn purindAn tuLLi arugil vandAn en karam meLLa toDavum vandAn
(rAgA: mAyAmALavagauLa)
5: peN mati pEdamaiyAl avan kai paTriDa mun peyarndEn kaN vizhittEn ezhundEn tuyara kaDalil vizhundEn
vaNNa mayil Erum perumAn vanjanai EnO sheidAn kangaL urangavO akkurai kanavai kaNaNDidEnO

arasi
Posts: 16383
Joined: 22 Jun 2006, 09:30
x 626
x 8

#5

Post by arasi »

corrections (based on my memory and in what makes sense too)

3: dondam (we sang it as sondam--both mean the same)
uRavO? (a question here).
5: paRRiDu mun
kaN vizhiththE

rshankar
Posts: 13751
Joined: 02 Feb 2010, 22:26
x 845
x 30

#6

Post by rshankar »

It is not a film song, but a composition of Sri Kalki, made everlastingly famous by none other than Smt. MSS.

Parimal, I will post a meaning later this evening! This is yet another favorite of mine...

arasi
Posts: 16383
Joined: 22 Jun 2006, 09:30
x 626
x 8

#7

Post by arasi »

Ravi,
Hasn't this appeared before on the forum? Am I right in thinking that you translated it?

PUNARVASU
Posts: 2498
Joined: 06 Feb 2010, 05:42
x 4

#8

Post by PUNARVASU »

Arasi, thats what I thought. See post#2

rshankar
Posts: 13751
Joined: 02 Feb 2010, 22:26
x 845
x 30

#9

Post by rshankar »

I thought I had translated this before, but I have not been able to find it. So, here goes. I feel that my English is not adequate to capture the heights of rapture and the depths of despondency SrI Kalki evokes so effortlessly in this composition.

This is an absolutely fascinating, and intensely romantic composition that is presented as a conversation between a lovely and lonely nAyikA (vaLLi, perhaps?) and her friend possibly, or us! The nAyikA has been awakened, interrupting a sweet dream, and is distressed.

mAlaip-pozhudinilE. rAgamAlikA. 

(rAgA: behAg)

1: mAlaip-pozhudinilE oru nAL malarp-pozhilinilE kOlak-kiLigaLuDan kuyilgaL konjiDum vELaiyilE
mAlaik-kulavu mArban maruvil mAmati pOl mughattAn vElonru kaiyilEndi ennaiyE vizhunguvAn poL vizhittAn


The nAyikA starts by describing the setting of her dream: a (oru) nAL (day) at the time of intoxicating dusk (mAlai pozhudinilE), in a flower-garden (malar pozhilinilE) when (vELaiyilE) cuckoos (kuyilgaL) caress/talk sweet nothings (konjiDum) with (uDan) beautiful (kola) parrots (kiLigaL). As the nAyikA’s senses are getting used to the sylvan settings, her repose is shattered by the appearance of a handsome young man with the face (mukh(g)attAn) like (pOl) that of the splendid, full (mA) moon (madi), a chest (mArban) resplendent (kulavu) with garlands (mAlai), and wielding (Endi) a (onru) spear (vEl) in his hand (kayil). He startles her by staring at her unabashedly (vizhunguvAn pOl vizhittAn[1]).

(rAgA: behAg)

2: nIlak-kaDalinaippOl en nenjam nimirndu pongiDavum nAlu puram nOkki nANi nAn yAr ingu vandadenrEn 
Alilai mEl tuyinrE bhuvanam anaittumE aLikkum mAlin marumaghan yAn ennaiyE vElan murugan enbAr


Seeing this vision of a stranger startles the nAyikA, and as she says, “even as tumultuous feelings [like (pOl) the waves of the blue (nIla) ocean (kaDalinai)] filled (nimirndu pongiDavum) my (en) heart (nenjam), I (nAn) looked (nOkki) around [in the four (nAlu) directions (puram)], and with hesitation (nANi) I (nAn) asked (enrEn) who (yAru) it was that had come (vandadu) here (ingu)â€
Last edited by rshankar on 17 Sep 2008, 08:38, edited 1 time in total.

PUNARVASU
Posts: 2498
Joined: 06 Feb 2010, 05:42
x 4

#10

Post by PUNARVASU »

rshankar,
'candiran veTKurum'-could it be 'vEtkai urum'-meaning the moon has fallen in love with the nAyika's face?
Or if it ''candiran vetkurum', it could mean that the moon is 'ashamed of itself(vetkappaduvatu) because the nAyikA's face is so beautiful.
There are many such examples of songs where the composers say so; right now I do not remember-only song that comes to my mind is the Lalitha Dasar song in Desh raga ' nanda nadana' wherein he says 'mrdu hAsa nindita chandrikAm'- the smile of the nAyika is putting the moon to shame.
Last edited by PUNARVASU on 21 Jul 2008, 11:31, edited 1 time in total.

PUNARVASU
Posts: 2498
Joined: 06 Feb 2010, 05:42
x 4

#11

Post by PUNARVASU »

Arasi,
vizhittEn and ezhundEn may be two actions; in that case it will be 'vizhittEn (and then)ezhundEn'.
I don't know the song.Just a guess.
This ambiguity I find in the song 'viLaiyAda idu nEramA'-where some people sing
'kaLaittEn janmam iduttu saLaittEn poRuttirundu' and another version I hear is
'kaLaittEn janmam iduttu saLaittEn, poRuttirundEn'.

rshankar
Posts: 13751
Joined: 02 Feb 2010, 22:26
x 845
x 30

#12

Post by rshankar »

Punarvasu - vETkurum - veTkam unDakkum - sounds quite nice! Rajani, Arasi, Vidya, or anyone else for that matter, who knows will hopefully chime in!

arasi
Posts: 16383
Joined: 22 Jun 2006, 09:30
x 626
x 8

#13

Post by arasi »

Putting the moon to shame is how I see it: chandiranai veTkamuRach cheyyum un mugaththil...

kaN vizhittE=Having opened my eyes; ezhundEn= I arose

rshankar
Posts: 13751
Joined: 02 Feb 2010, 22:26
x 845
x 30

#14

Post by rshankar »

Interesting that when one comes across a new word, it 'pops' up at other places as well! I was listening to vENkaTEsa mahAtmIyam when the following 'folksy' song was sung to describe the 'kuravanjI's" conversation with padmAvatI:

Senra Sani pirpagalil cEDiyargaL sUzha
SelviyE nI kAnagattil Senru pOnaduNDO?
angalarnda malargaLai nI anbuDan koyya
adu samayam oru vEDan angu vandaduNDO?
vEDan unai kaNDadum miga vETkai koNDadunDO?

This suggests that Punarvasu's first meaning for vETkurum is right - candiran vETkurum un mukh(g)am - a face so beautiful that even the handsome moon falls in love with....

As an aside, it was very interesting that padmAvatI's adoptive parents were AkASarAjA and dharaNI dEvI - she grew up under the care and protection of the sky and the earth!

PUNARVASU
Posts: 2498
Joined: 06 Feb 2010, 05:42
x 4

#15

Post by PUNARVASU »

The word 'vETkai' appears in many Tami compositions-Tirppugazh (aththa vETkai, thuLLU mata vETkai), Tirumoolar Tirumanthirm,
nAchiaar Tirumozhi '-villait tolaitta puruvattAL vETkai uRRu miga virumbum ' etc.
Here it is used to denote the bhakti, extreme longing, devotion etc.
It will be intersting to note the expression- 'villinai tolaitta puruvattAl' (not villinai otta puruvattAL), - one whose eyebrows are so beautifully arched that they even surpass the bow.'
Last edited by PUNARVASU on 22 Jul 2008, 19:57, edited 1 time in total.

PUNARVASU
Posts: 2498
Joined: 06 Feb 2010, 05:42
x 4

#16

Post by PUNARVASU »

'vETkai' also means thirst-like in 'aRivu vETkai'-thirst for knowledge, 'nIr vETkai'-thirst for water etc.

arasi
Posts: 16383
Joined: 22 Jun 2006, 09:30
x 626
x 8

#17

Post by arasi »

And longing, yearning, search...

rshankar
Posts: 13751
Joined: 02 Feb 2010, 22:26
x 845
x 30

#18

Post by rshankar »

Punarvasu wrote:rshankar,
Lalitha Dasar song in Desh raga ' nanda nadana' wherein he says 'mrdu hAsa nindita chandrikAm'- the smile of the nAyika is putting the moon to shame.
Sri OVK has aslo used this sort of comparison. In the vasantA composition, 'nIlamalar kOla tirumEni kaNDu' he aks krishNa:

(un) mOna ezhil kANa, nANi,
vAna madiAnad(u)anji,
mUla nAthan SaDai pOnadO?


[Catching sight of (kANa) your (un) incomparable beauty (ezhil) that renders people speechless (mOna), did the moon (madi Anadu) that lights up the skies (vAna) feel threatened (anji) enough to run (pOnadO) and hide in the matted locks (SaDai) of Lord SivA (mUla nAthan - the original Lord)?]

He goes on to ask:

(nI) gAna mazhai pozhindiDa,
gandharva kinnararum
mAnam anji maraindanarO?


[As you (nI) showered (pozhindiDa) a rain (mazhai) of music (gAna) from your flute, did the pride/honor (mAnam) of the demi-gods (gandharva kinnarargaL), who are the creators and keepers of music, feel threatened/under attack (anji) and disappear (maraindanarO)?]
Last edited by rshankar on 23 Jul 2008, 19:59, edited 1 time in total.

rshankar
Posts: 13751
Joined: 02 Feb 2010, 22:26
x 845
x 30

#19 Re: Malai Pozhuthinile lyrics

Post by rshankar »

I am re-posting this, as I do not have the ability to edit post #9 - I think the post has become chewed up through all of the migrations we've had.
caraNam 1:
(rAgam: behAg)
mAlaip-pozhudinilE oru nAL malarp-pozhilinilE
kOlak-kiLigaLuDan kuyilgaL konjiDum vELaiyilE
mAlaik-kulavu mArban maruvil mAmati pOl mughattAn
vElonru kaiyilEndi ennaiyE vizhunguvAn poL vizhittAn

The nAyikA starts by describing the setting of her dream: One (oru) day (nAL) at the time of intoxicating dusk (mAlai pozhudinilE), in a flower-garden (malar pozhilinilE) when (vELaiyilE) cuckoos (kuyilgaL) caress/talk sweet nothings (konjiDum) with (uDan) beautiful (kola) parrots (kiLigaL), as the nAyikA’s senses are getting used to the sylvan settings, her repose is shattered by the appearance of a handsome young man with the face (mukh(g)attAn) like (pOl) that of the splendid, full (mA) moon (madi), a chest (mArban) resplendent (kulavu) with garlands (mAlai), and wielding (Endi) a (onru) spear (vEl) in his hand (kayil). He startles her by staring at her unabashedly (vizhunguvAn pOl vizhittAn [1]).
caraNam 2
(rAgam: behAg)
nIlak-kaDalinaippOl en nenjam nimirndu pongiDavum
nAlu puram nOkki nANi nAn yAr ingu vandadenrEn
Alilai mEl tuyinrE bhuvanam anaittumE aLikkum
mAlin marumaghan yAn ennaiyE vElan murugan enbAr

The appearance of this stranger startles the nAyikA, and she says, “even as tumultuous feelings [like (pOl) the waves of the blue (nIla) ocean (kaDalinai)] filled (nimirndu pongiDavum) my (en) heart (nenjam), I (nAn) looked (nOkki) around [in the four (nAlu) directions (puram)], and with hesitation (nANi) I (nAn) asked (enrEn) who (yAru) it was that had come (vandadu) here (ingu)”. In reply, this is how the stranger introduced himself: “I (yAn) am the nephew (marumagan) of that great vishNu (mAlin) who protects (mEvaLLikkum) the entire (anaittum) world (bhuvanam) even as he sleeps (tuyinrE) on top (mEl) of a small banyan leaf (Alilai); and people call (enbAr) me (ennaiyE) the spear-wielding (vElan) handsome one (murugan).”
caraNam 3:
(rAgam: sindhubhairavi)
candiran vETkurum un mukhattil cancalam tOnruvadEn
dondam illAdavaLO pudidAi toDarndiDum uravO
mundai piravigaLil unnai nAn muraiyinil maNandEn
endan uyirallavO kaNmaNi Eninda jAlam enrAn

Seeing the nAyikA still hesitant after his introduction, the hero asks (enrAn) the nAyikA “why are doubts (cancalam) still surfacing/appearing (tOnruvadEn) on your (un) face (mukhattil) that is so beautiful that even the moon (candiran) has fallen in love with (vETkurum)? It is not as if you do not have (illAdavaLO) a history of intimacy (dondam) with me, and this is a relationship (uravO) that is beginning (toDarndiDum) all anew (pudidAi). Don’t you realize that I (nAn) have married (maNandEn) you (unai) according to proscribed rituals (muRaiyinil) in many previous (mundai) births (piravigaLil)? You are the very essence of my (endan) life (uyir allavO), my darling (kaNamNi), so why (En) continue with this (inda) pretence (jAlam)?”
caraNam 4:
(rAgam: mOhanam)
uLLam urugiDinum uvagai uTru perguDinum
kaLLattanamAga kaNgaLil kanal ezha vizhittEn
puLLi mayil vIran mOhana punnakai tAn purindAn
tuLLi arugil vandAn en karam meLLa toDavum vandAn

The nAyikA says that “even as my heart (uLLam) was melting (urugiDinum) and a geyser (UTRu) of delight (uvagai) gushed (perugiDinum) out, I stole (kaLLa tanamAgA) glances (vizhittEn) even as a blush (kanal) rose/suffused (ezha) my cheeks. The brave (vIran) who rides the peacock (puLLi mayil) responded (purindAn) with just (tAn) a delightful (mOhana) smile (punnagai), and with a leap (tuLLi) came (vandAn) to my side (arugil) and tried to hold/touch (toDa) my (en) hand (karam)."
caraNam 5:
(rAgam: mAyAmALavagauLai)
peN mati pEdamaiyAl avan kai paTriDa mun peyarndEn
kaN vizhittEn ezhundEn tuyara kaDalil vizhundEn
vaNNa mayil Erum perumAn vanjanai EnO SeidAn
kangaL urangamO akkurai kanavai kaNDiDEnO

Bound by conventions, the nAyikA hesitates, and laments her fate thus: “because of the vagaries (pEdamaiyAl) of the female (peN) mind (madi), I recoiled (peyarndEn) just before (mun) I held (paTriDa) his (avan) hand (kai). And as I awoke (ezhundEn) and opened (vizhittE) my eyes (kaN), I fell (vizhundEn) into a sea (kaDalilE) of despair (tuyara). I do not know why (EnO) the Lord (perumAn) who rides (Erum) the colorful (vaNNa) peacock (mayil) created (SeidAn) this illusion (vanjanai). Oh! Won’t my eyes (kaNgaL) go back to sleep (urangAmO), and will I not experience/see (kaNDiDEnO) the same (akkurai) dream (kanavai) again?”
FOOTNOTES
[1] vizhunguvAn pOl vizhittAn – he stared (vizhittAn) at her as if (pOl) he would swallow (vizhunguvAn) her – a figure of speech for ‘staring unabashedly’.

cmlover
Posts: 11498
Joined: 02 Feb 2010, 22:36

#20 Re: Malai Pozhuthinile lyrics

Post by cmlover »

The way MS sang I think the first two were in chenchuruTTi and the last one in Nadanamakriya.

smala
Posts: 3223
Joined: 03 Feb 2010, 00:55
x 2

#21 Re: Malai Pozhuthinile lyrics

Post by smala »

rshankar, that was an absorbing translation with the morning cuppa.

Could this be any old (young!) nayika being sweet-talked in the luring or is it Valli (with references to marriages in previous lifetimes) ? Who is the composer ? Lakshmanji?

shringAra vElavan is reputed to have had several amorous dalliances, right? Wonder if this is the southern response to Vrindavan pasttimes.
Last edited by smala on 30 Aug 2010, 23:03, edited 2 times in total.

rshankar
Posts: 13751
Joined: 02 Feb 2010, 22:26
x 845
x 30

#22 Re: Malai Pozhuthinile lyrics

Post by rshankar »

This is a song by 'Kalki' Sri Krishnamurti. I do not think that the reference was to vaLLi, but it could be. If you listen to pUnkuyil kUvum by the same composer, you will realize the nAyika need not be vaLLi (for in the latter, the lovelorn nAyika refers to her hero as 'vaLLi-maNALan')...Just as krishNa in the north had many a nAyika pining for him, muruga (the handsome one) had many such dalliances in the south.

mahakavi
Posts: 1269
Joined: 29 Dec 2009, 22:16

#23 Re: Malai Pozhuthinile lyrics

Post by mahakavi »

It is NOT Murugan who had dalliances. It is all those maidens (imagined by the composers, of course) who were longing to have interaction with Murugan. I don't know whether Murugan would have cared. He already has 2 with whom he is happy.

smala
Posts: 3223
Joined: 03 Feb 2010, 00:55
x 2

#24 Re: Malai Pozhuthinile lyrics

Post by smala »

...."Just as krishNa in the north had many a nAyika pining for him, muruga (the handsome one) had many such dalliances in the south."

Hope I am not totally off here...

I see padam composers** have made good use of lovelorn states as a medium for dance expression - physical/mental anguish, yearning, etc., directing it towards either vElavan or shiva to give it, perhaps, a more "authentic/auspicious/appropriate" flavor (in an otherwise conservative society) but surely lacking the devotional element.

In the Vraja scenario, the compositions are mainly on/of Radha's longing with only oblique or third party references to other nayikas/gopis showing their interest in Krishna. While Krishna is well-known as a dallier - one who makes Radha wait (because he is busy with other damsels), one who makes Radha pine (because he has forgotten her, waylaid by other damsels), one who makes Radha angry (because he comes to her after an endless night, wearing the fragrance of other damsels) - the great Rasa Lila performer - and so on...there are no specific NI compositions on nayikas' feelings for/on Krishna, that I know. Please enlighten, if there are.

I would venture so far to say that compositions with the suggestion of dalliance by vElavan/shiva are somewhat "coarser" than any suggestions made along similar lines to Krishna, in the North. Krishna is known as a rascal from the time of his early childhood pranks even as women complain about him in general (OVK songs with the women complaining to Yasoda who holds court, do not strictly qualify, being SI compositions)....while Velavan and Shiva seen from the SI angle, are rascals, seen through the eyes of nayikas expressing their own languished states.

**Composers for the padam scene using the nayika-Lord connection : (please add)

-TQ
-Kalki

RSR
Posts: 2407
Joined: 11 Oct 2015, 23:31
x 245
x 31

#25 Re: Malai Pozhuthinile lyrics

Post by RSR »

Even if MS had sung it as reported by almost all here, here is my version.
1) Lakshman Sir has slipped in giving the ragam of first stanza. ( I am sure, it is a typo) as Behag. ( He must have meant Chenchurutti)... 2) The third line of the first stanza should be read aa 'VAALAIK KUMARAN MARU ILL MAMATHI POL MUKATTHAAN ' ( meaning a very young man with spotless -full moonlike face )
.. 'maalai kulavu maarban ' is jarring. It cannot be written by Kalki. 3) Naalupuramn Nokki also is untenable.. More imaginative wording in tune with Kalki's poetic genius will be 'Nan appuram nokki, naanith thaan , yaaringu vanthathendren. It is not good etiquette for well-bred girl to stare back, and so she turns her eyes away and shyly asks...who ? .... The lovely lyrics apart, we should not miss the wonderful background music flashes, I presume, by S.V.Venkataraman. Even the very first stanza begins with a sweet chenchurutti instrumental . That was a 78 RPM record. There were three stanzas in the reverse side. The first one is Sindhubairavi. That too begins with a brillinat flash by S.V.V. .and enthralling second repetition of the line 'Enthan uyir allavo ' .. I would submit that this is a very great drama-poem .. Lyrics, music, rendering, everything.
Risking a torrent of criticism... https://sites.google.com/site/homage2ms ... huthinilae

[email protected]
Posts: 9
Joined: 09 Apr 2017, 15:43

#26 Re: Malai Pozhuthinile lyrics

Post by [email protected] »

Raagams of Maalai pozhuthinile are as follows:
Shenchurutti, Bihaag, Sindhu Bhairavi, Mohanam & Naadanaamakriya.

deepa66
Posts: 1
Joined: 25 Mar 2021, 01:27

#27 Re: Malai Pozhuthinile lyrics

Post by deepa66 »

I would like to offer an alternate explanation to this extremely evocative composition.
This is very much a spiritual experience and not just a play between a nayaki and nayakan. it is a promise that is waiting to be fulfilled...it speaks of a sambandham that is not new....(reference to prior marriages...)
there is in thirunedunthandakam a parallel....

the jivatma is wooed by the paramathma. - it is first enticed and then it has to trust and then it has to thirst and seek until it is fully consumed. It only longs to then rest in that bliss never to be awakened- Until then it is the thuyaram in this bhavasagaram a ketta kanavu that is seperating it from the real bliss....

my humble offering

Post Reply