Lyrics word meaning required-Adinan natanam

[sands98]

ong: ADinAn nartanam ADinAn

ADinAn nartanam ADinAn
raagam: nATa

36 calanaaTTai janya
Aa:S R3 G3 M1 P D3 N3 S 
Av: S N3 P M1 R3 S

taaLam: Adi
Composer: OotukkaaDu VenkaTasubbaiyyar
Language: Tamil

pallavi

ADinAn nartanam AdinAn rAsa nartanam AdinAn sarasa rAsa nartanam 
AdinAn sundarigaLuDan sarasa rAsa nartanam AdinAn vraja sundarigaLuDan 
sarasa rAsa nartanam mighu bhakti koNDa vraja sundarigaLuDan sarasa rAsa 
nartanam antaranga mighu bhakti koNDa vraja sundarigaLuDan sarasa rAsa nartanam

anupallavi

nIDiya kEsam taru shAyak-koNDaiyil tOghai nimirndu naTamiDa neLigira
cUraNak-kuNDalam vandu neTrit-talattiniDai shuTri naTanamiDa shUDiya
makara kuNDalam ashaindu veghu tOraNa varNangaL jAlam malindiDa
tumburu nAradar shruti izhaittiDa tom tadIngiNa tOm tOm tadIngiNatOm ena

caraNam 1 

nIlat-tirumEniyil candanamum veghu nErtti perum pItAmbaramum 
kOlam taru vanamAlaiyum makara kuNDalamum punnakaiyum naghaiyum
shIlam taru oru gOpi aNaindiDadEnenap-pADiDum pancama rAgamum
dEvarulagum vandittaDi paraviDa tOm tadIngiNatOm tom tadIngiNatOm ena

caraNam 2 

aghanra vizhiyoDu ayyan tirumagha shen tAmarai malarinai nOkkiDa oru 
aNangu aghattinODu vAngiya azhagum aruLum Anandam tEngiDa 
antarangam onrinai shollavena azhaittu sheviyODum arughiDa cintai onri
muttam tara shuddha manattuDan dhIm tadIngiNatom dhIm tadingiNatom ena

caraNam 3 

kalai peru kutUhalattil oru azhagi gAnak-kuyil isaikku kait-tALam 
kara kankaNa oli niraittu oyyAra khaNDa gatiyil oru vandanai pADa
Anandam Anandam veghu nErtti nErtti ena accutanum magizhcciyil negizhcciyura
adhikamAna pada varisai kiTataka dhIm tadingiNatOm dhIm tadingiNatOm ena

[rshankar]

Sandeep, here you go. As always, corrections and comments welcome!
The pallavi seems to be set up in the format of a SrOtavAha yati, with adjectives getting added with each repetition.

pallavi
ADinAn nartanam ADinAn rAsa nartanam ADinAn sarasa rAsa nartanam
ADinAn sundarigaLuDan sarasa rAsa nartanam ADinAn vraja sundarigaLuDan
sarasa rAsa nartanam mighu bhakti koNDa vraja sundarigaLuDan sarasa rAsa
nartanam antaranga mighu bhakti koNDa vraja sundarigaLuDan sarasa rAsa nartanam
(He) danced (ADinAn), (he) danced the rAs lIlA (rAsa nartanam), (he) danced the elegant and expressive (sarasa) rAs lIlA!
(He) danced (ADinAn) the rAs lIlA (rAsa nartanam) with (uDan) the beautiful women (sundarigaL) of brindAvan (vraja).
(He) danced (ADinAn) the rAs lIlA (rAsa nartanam) with the beautiful women of brindAvan (vraja) who are filled (migu) with devotion (bhakti koNDa).
(He) danced (ADinAn) the rAs lIlA (rAsa nartanam) with the beautiful women of brindAvan (vraja) whose innermost thoughts (antaranga) are filled (migu) with devotion (bhakti koNDa).

anupallavi
nIDiya kEsam taru cAyak-koNDaiyil tOghai nimirndu naTamiDa neLigira
cUraNak-kuNDalam vandu neTRit-talattiniDai suTRi naTanamiDa sUDiya
makara kuNDalam asaindu vegu tOraNa varNangaL jAlam malindiDa
tumburu nAradar shruti izhaittiDa tom tadIngiNa tOm tOm tadIngiNatOm ena (ADinAn nartanam ADinAn…)
As the feather (tOgai) stuck in the beautiful (cAya) top-knot (koNDaiyil) formed (taru) from (his) long (nIDiya) hair (kEsam), dances (naTamiDa) in an upright position (nimirndu); as wriggling (neLigira) locks of hair (cUraNak-kuNDalam) [1] come (vandu) and dance (naTamiDa) around (suTRi) the middle of his forehead (neTRit-talattiniDai); as the web (jAlam) of the numerous (vegu) festoons (tOraNa) of colors (varNangaL), (created) when the carp-like (makara) earrings (kuNDalam) (he) wears (sUDiya) move (asaindu), spread (milindiDa) all over; as (the sages) tumburu and nArada create (izhaittiDa) the Sruti, (he danced) to the mnemonic syllables that went (ena) “tom tadIngiNa tOm tOm tadIngiNatOm”!

caraNam 1
nIlat-tirumEniyil candanamum vegu nErtti perum pItAmbaramum
kOlam taru vanamAlaiyum makara kuNDalamum punnagaiyum nagaiyum
shIlam taru oru gOpi aNaindiDad Enenap-pADiDum pancama rAgamum
dEvarulagum vandittaDi paraviDa tOm tadIngiNatOm tom tadIngiNatOm ena (ADinAn nartanam ADinAn...)
With sandal paste (candanamum) on his divine (tiru) blue/dark (nIla) skin (mEniyil), extremely (vegu) elegant (nErtti perum) yellow garments (pItAmbaramum), beautifying (kOlam taru) garland (mAliyum) of forest flowers (vana), carp-shaped (makara) earrings (kuNDalamum), a smile (punnagaiyum), ornaments (nagaiyum), the pancama rAgam being sung (pADiDum) by a (oru) principled (SIlam taru) gOpi hoping to embrace (aNaindiDa Enana) (him), and the gods (dEvargaLum) worshipping (vandittu) and praising (paraviDa) (his) feet (aDi), (he danced) to the mnemonic syllables that went (ena) “tom tadIngiNa tOm tOm tadIngiNatOm”,

caraNam 2
aganra vizhiyoDu ayyan tirumugam sen tAmarai malarinai nOkkiDa oru
aNangu agattinODu vAngiya azhagum aruLum Anandam tEngiDa
antarangam onrinai shollavena azhaittu sheviyODum arugiDa cintai onri
muttam tara shuddha manattuDan dhIm tadIngiNatom dhIm tadingiNatom ena (ADinAn nartanam ADinAn...)
As the lord’s (ayyan) divine face (tirumugam) looks (nOkkiDa) at the beautiful/red (Sen) lotus (tAmarai) blossom (malarinai) with big/wide (agarnra) eyes (vizhiyoDu), happiness (Anandam) overflows/brims (tEngiDa) in a (oru) woman (aNangu) blessed (vAngiya) with bodily beauty (agattinoDu azhagum) as well as divine grace (aruLum) (because) he gets close (arugiDa) to her ears (seviyODum) and calls (azhittu) out under the pretext (ena) of telling (solla) (her) an (onRinai) intimate secret (antarangam), and as their thoughts (cintai) become one (onRi), (he) gives (tara) (her) a kiss (muttam), (he danced) to the mnemonic syllables that went (ena) “dhIm tadIngiNatom dhIm tadIngiNatOm” with (uDan) a pure (Suddha) heart/mind (manadu).

caraNam 3
kalai peru kutUhalattil oru azhagi gAnak-kuyil isaikku kait-tALam
kara kankaNa oli niraittu oyyAra khaNDa gatiyil oru vandanai pADa
Anandam Anandam vegu nErtti nErtti ena accutanum magizhcciyil negizhcciyura
adhikamAna pada varisai kiTataka dhIm tadingiNatOm dhIm tadingiNatOm ena (ADinAn nartanam ADinAn...)
In the joy (kutUhalattil) attained (peru) through art (kalai), a (oru) beauty (azhagi), sang a paean of thanks (vandanai) [2] set to the elegant (oyyAra) khaNDa gati even as the sound (oli) her bangles (kara kankana) made as she was keeping time with her hands (kait-tALam) to the melody (isaikku) of a musical cuckoo (gAna kuyil) [3] resounded (niRaittu) everywhere; as kRshNa (accutanum) becomes tender (nigizhcciyura) in happiness (magizhcciyil) and exclaims (ena) “blissful (Anandam), superb/excellent (vegu nErtti)”, (he danced) to the mnemonic syllables that went (ena) “kiTataka dhIm tadingiNatOm dhIm tadIngiNatOm” with pre-eminent (adhigamAna) footwork (pada varisai) [4].

FOOTNOTES
[1] EDITED - based on input from Sri PB (post #4)
[2] I have translated vandanai as a poem/paean of thanks contextually – please let me know if I am wrong – It could also be a song of welcome/prayer etc.
[3] gAna kuyil could mean the bird – alternately, it could mean a woman who sings melodiously
[4] I have translated adhigamAna pada varisai contextually

[aaaaabbbbb]

rshankar ji,

What a pallavi with fantastic shrotOvAha yati!

Thank you very much for the lovely interpretation.

Regards

[Pratyaksham Bala]

FOOTNOTES
[1] I think cUraNa kuNDalam is some form of head ornament (talai sAmAn), because they are described as circling his forehead – would be tough for earrings to be that long.

.
cUraNak-kuNDalam = dangling lock of hair !

சூரண குண்டலம் (cUraNa kuNDalam) is the corrupt Tamil usage of Sanskrit चूर्ण कुन्तल (cUrNa kuntala) !

[rshankar]

சூரண குண்டலம் (cUraNa kuNDalam) is the corrupt Tamil usage of Sanskrit चूर्ण कुन्तल (cUrNa kuntala) !

Makes perfect sense! Thank you.

[rshankar]

Thank you very much for the lovely interpretation.

Thank you, Smt. Savitri avare!

[Ponbhairavi]

caranam1-line 3
aNaindiDad Enenap pADiDum. Could it be .? aNaindiDa tEn enap pADiDum. தேன் ஏனப் பாடிடும் singing mellifluously
caranan3. Footnote. 4
adhikamAna pada varisai. (Increased ) extra set of syllables. “ kitataka “ is extra as compared to the earlier 3 para endings.

[Pratyaksham Bala]

.
Please check this site for the lyrics in Tamil !!
http://www.venkatakavi.org/ovk/componen ... tanam.html

As mentioned in the site, the correct version is :-
நெளிகிற சூரணக்குந்தலம் வந்து
நெற்றித் தலத்தினிடை சுற்றி நடனமிட

and :-
சீலம் தரு ஒரு கோபி அணைந்திட
தேனெனப் பாடிடும் பஞ்சம ராகமும்


The lyrics in Post #1 may be corrected as --

neLigira cUraNak-kuNDalam > neLigira cUraNak kuntalam
oru gOpi aNaindiDadEnenap-pADiDum > oru gOpi aNaindiDa tEnenap pADiDum

[rshankar]

Cannot edit my initial post, so re-doing this. The changes to the text that Sri PB has kindly determined are identified in red.

Sandeep, here you go. As always, corrections and comments welcome!
The pallavi seems to be set up in the format of a SrOtavAha yati, with adjectives getting added with each repetition.

pallavi
ADinAn nartanam ADinAn rAsa nartanam ADinAn sarasa rAsa nartanam
ADinAn sundarigaLuDan sarasa rAsa nartanam ADinAn vraja sundarigaLuDan
sarasa rAsa nartanam mighu bhakti koNDa vraja sundarigaLuDan sarasa rAsa
nartanam antaranga mighu bhakti koNDa vraja sundarigaLuDan sarasa rAsa nartanam
(He) danced (ADinAn), (he) danced the rAs lIlA (rAsa nartanam), (he) danced the elegant and expressive (sarasa) rAs lIlA!
(He) danced (ADinAn) the rAs lIlA (rAsa nartanam) with (uDan) the beautiful women (sundarigaL) of brindAvan (vraja).
(He) danced (ADinAn) the rAs lIlA (rAsa nartanam) with the beautiful women of brindAvan (vraja) who are filled (migu) with devotion (bhakti koNDa).
(He) danced (ADinAn) the rAs lIlA (rAsa nartanam) with the beautiful women of brindAvan (vraja) whose innermost thoughts (antaranga) are filled (migu) with devotion (bhakti koNDa).

anupallavi
nIDiya kEsam taru cAyak-koNDaiyil tOghai nimirndu naTamiDa neLigira
cUraNak-kuntalam vandu neTRit-talattiniDai suTRi naTanamiDa sUDiya
makara kuNDalam asaindu vegu tOraNa varNangaL jAlam malindiDa
tumburu nAradar shruti izhaittiDa tom tadIngiNa tOm tOm tadIngiNatOm ena (ADinAn nartanam ADinAn…)
As the feather (tOgai) stuck in the beautiful (cAya) top-knot (koNDaiyil) formed (taru) from (his) long (nIDiya) hair (kEsam), dances (naTamiDa) in an upright position (nimirndu); as wriggling (neLigira) locks of hair (cUraNak-kuntalam) [1] come (vandu) and dance (naTamiDa) around (suTRi) the middle of his forehead (neTRit-talattiniDai); as the web (jAlam) of the numerous (vegu) festoons (tOraNa) of colors (varNangaL), (created) when the carp-like (makara) earrings (kuNDalam) (he) wears (sUDiya) move (asaindu), spread (milindiDa) all over; as (the sages) tumburu and nArada create (izhaittiDa) the Sruti, (he danced) to the mnemonic syllables that went (ena) “tom tadIngiNa tOm tOm tadIngiNatOm”!

caraNam 1
nIlat-tirumEniyil candanamum vegu nErtti perum pItAmbaramum
kOlam taru vanamAlaiyum makara kuNDalamum punnagaiyum nagaiyum
shIlam taru oru gOpi aNaindiDa tEnenap-pADiDum pancama rAgamum
dEvarulagum vandittaDi paraviDa tOm tadIngiNatOm tom tadIngiNatOm ena (ADinAn nartanam ADinAn...)
With sandal paste (candanamum) on his divine (tiru) blue/dark (nIla) skin (mEniyil), extremely (vegu) elegant (nErtti perum) yellow garments (pItAmbaramum), beautifying (kOlam taru) garland (mAliyum) of forest flowers (vana), carp-shaped (makara) earrings (kuNDalamum), a smile (punnagaiyum), ornaments (nagaiyum), the honeyed (tEnena) pancama rAgam being sung (pADiDum), a (oru) principled (SIlam taru) gOpi embracing (aNaindiDa) (him), and the gods (dEvargaLum) worshiping (vandittu) and praising (paraviDa) (his) feet (aDi), (he danced) to the mnemonic syllables that went (ena) “tom tadIngiNa tOm tOm tadIngiNatOm”,

caraNam 2
aganra vizhiyoDu ayyan tirumugam sen tAmarai malarinai nOkkiDa oru
aNangu agattinODu vAngiya azhagum aruLum Anandam tEngiDa
antarangam onrinai shollavena azhaittu sheviyODum arugiDa cintai onri
muttam tara shuddha manattuDan dhIm tadIngiNatom dhIm tadingiNatom ena (ADinAn nartanam ADinAn...)
As the lord’s (ayyan) divine face (tirumugam) looks (nOkkiDa) at the beautiful/red (Sen) lotus (tAmarai) blossom (malarinai) with big/wide (agarnra) eyes (vizhiyoDu), happiness (Anandam) overflows/brims (tEngiDa) in a (oru) woman (aNangu) blessed (vAngiya) with bodily beauty (agattinoDu azhagum) as well as divine grace (aruLum) (because) he gets close (arugiDa) to her ears (seviyODum) and calls (azhittu) out under the pretext (ena) of telling (solla) (her) an (onRinai) intimate secret (antarangam), and as their thoughts (cintai) become one (onRi), (he) gives (tara) (her) a kiss (muttam), (he danced) to the mnemonic syllables that went (ena) “dhIm tadIngiNatom dhIm tadIngiNatOm” with (uDan) a pure (Suddha) heart/mind (manadu).

caraNam 3
kalai peru kutUhalattil oru azhagi gAnak-kuyil isaikku kait-tALam
kara kankaNa oli niraittu oyyAra khaNDa gatiyil oru vandanai pADa
Anandam Anandam vegu nErtti nErtti ena accutanum magizhcciyil negizhcciyura
adhikamAna pada varisai kiTataka dhIm tadingiNatOm dhIm tadingiNatOm ena (ADinAn nartanam ADinAn...)
In the joy (kutUhalattil) attained (peru) through art (kalai), a (oru) beauty (azhagi), sang a paean of thanks (vandanai) [2] set to the elegant (oyyAra) khaNDa gati even as the sound (oli) her bangles (kara kankana) made as she was keeping time with her hands (kait-tALam) to the melody (isaikku) of a musical cuckoo (gAna kuyil) [3] resounded (niRaittu) everywhere; as kRshNa (accutanum) becomes tender (nigizhcciyura) in happiness (magizhcciyil) and exclaims (ena) “blissful (Anandam), superb/excellent (vegu nErtti)”, (he danced) to the mnemonic syllables that went (ena) “kiTataka dhIm tadingiNatOm dhIm tadIngiNatOm” with pre-eminent (adhigamAna) footwork (pada varisai) [4].

FOOTNOTES
[1] EDITED - based on input from Sri PB (post #4)
[2] I have translated vandanai as a poem/paean of thanks contextually – please let me know if I am wrong – It could also be a song of welcome/prayer etc.
[3] gAna kuyil could mean the bird – alternately, it could mean a woman who sings melodiously
[4] I have translated adhigamAna pada varisai contextually