Hi - I am looking for the lyrics and translation of Adavallan Emmai Alavallan, composed by Aru Gopalan (Ragamalakae)
http://www.musicindiaonline.com/music/c ... lbum.7635/
Its the first song on this page of this album sung by Sudha Raghunathan.
This would be a great help!
Best,
n
Adavallan Emmai Alavallan - Lyrics and Translation?
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Lakshman
- Posts: 14185
- Joined: 10 Feb 2010, 18:52
ADa vallAn. rAgamAlikA. Adi tALA. Composer: Aru Gopalan.
(rAgA: simhEndramadhyam)
P: ADa vallAn emmai ALa vallAn oru IDu illAn enrum engum uLLAn
A: mADa mA maduraiyil veLLi ambalam koNDAn vasikkum ellaiyilE tAmira sabhai kaNDAn
IdillA kuTrAlam cittira sabhai koNDAn ezhil nalangaDadadanil ratna sabhai kaNDAn
(rAgA: sAma)
C1: tEDarum tillaiyilE ponnambalam koNDAn disai yeTTum magizhndiDavE dinam dinam naDikkinrAn
oru mannanaAi amarndu oppaTra maduraiyilE OngoLir sangam vaittu sondam izhai vaLarttAn
(rAgA: dhanyAsi)
2: tiruvAda UraDigaL tiruvAcakam pADA divyamAi adanai tillaiyil varaindaLittAn
aruL kAraikkAl ammai anburugi vENDa AlangADarangattil Ananda naTam purindAn
(rAgA: simhEndramadhyam)
P: ADa vallAn emmai ALa vallAn oru IDu illAn enrum engum uLLAn
A: mADa mA maduraiyil veLLi ambalam koNDAn vasikkum ellaiyilE tAmira sabhai kaNDAn
IdillA kuTrAlam cittira sabhai koNDAn ezhil nalangaDadadanil ratna sabhai kaNDAn
(rAgA: sAma)
C1: tEDarum tillaiyilE ponnambalam koNDAn disai yeTTum magizhndiDavE dinam dinam naDikkinrAn
oru mannanaAi amarndu oppaTra maduraiyilE OngoLir sangam vaittu sondam izhai vaLarttAn
(rAgA: dhanyAsi)
2: tiruvAda UraDigaL tiruvAcakam pADA divyamAi adanai tillaiyil varaindaLittAn
aruL kAraikkAl ammai anburugi vENDa AlangADarangattil Ananda naTam purindAn
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rshankar
- Posts: 13754
- Joined: 02 Feb 2010, 22:26
Here is the translation of this very lovely composition on Siva (with minor corrections to the sAhityam)..I hope I have done justice to this piece. As always, comments/corrections welcome
pallavi (simhEndramadhyam)
ADa vallAn emmai ALa vallAn oru IDu illAn enrum engum uLLAn
(Siva) is the only one who is capable of (vallAn) [1] dancing (ADa) in the theater of the cosmos, and the Almighty God (vallAn) who rules (ALa) us (emmai)! He is incomparable (without (illAn) compare (oru IDu)). He is present (uLLAn) everywhere (engum) at all times (enrum).
anupallavi [2]
mADa mAmaduraiyil veLLi ambalam koNDAn vasikkum nellaiyilE tAmira sabhai koNDAn
IDillA kuTrAlam cittira sabhai koNDAn ezhil alangaDadanil rattina sabhai koNDAn
In ancient and mighty (mADa mA) city of madurai (maduraiyil) Siva has acquired (koNDAn) a silver (veLLi) hall (ambalam) for his dancing, while in the city of tirunelvEli (nellaiyilE) where He lived (vasikkum), he has acquired (koNDAn) a copper (tAmira) hall (sabhai) to dance in. In the peerless (ID(u)illA) city of kuTRAlam, He owns/has acquired (koNDAn) a hall (sabhai) decorated with pictures/art (cittira) to dance in, while He performs (koNDAn) in a hall (sabhai) studded with precious gems (rattina) in (adanil) the beautiful and blessed (ezhil) city of tiruvAlangADu/tiruvAlankADu.
caraNam 1 (sAma)
tEDarum tillaiyilE ponnambalam koNDAn diSaiyeTTum magizhndiDavE dinam dinam naDikkinrAn
oru mannanAi amarndu oppaTra maduraiyilE OngoLir sangam vaittu ontamizhai vaLarttAn
In the rare and unique (tEDarum) [3] city of cidambaram (tillaiyilE), He has acquired (koNDAn) a golden (pon) hall (ambalam) where he performs/dances (naDikkinrAn) every day/continually (dinam dinam) to the happy appreciation (magizhndiDavE) of people in all the eight (yeTTum) directions (diSai); while in the matchless (oppaTra) city of madurai (maduraiyilE), reposing (amarndu) as a (oru) king (mannanAi) [4], He has nourished (vaLarttAn) this ancient, sweet, and delightful language, tamizh (ontamizhai) by creating (vaittu) the concept of the tamizh sangam [5], the fame of which shines (oLir) far and wide ((Ongi).
caraNam 2 (dhanyAsi)
tiruvAdavUraDigaL tiruvAcakam pADA divviyamAi adanai tillaiyil varaindaLittAn
aruL kAraikkAl ammai anburugi vENDa AlangADarangattil Ananda naTam purindAn
Even as the sage (aDigaL) from tiruvAdavUr, i.e., mANikkavAcakar, sang (pADa) the description and praises of the cosmic dance in his tiruvAcakam, as promised [6], He bestowed upon (varaindaLittAn) him the privilege of witnessing that (adanai) cosmic dance, as he performed divinely (divviyamAi) in cidambaram (tillaiyil). And as the blessed (aruL) saint (ammai) of kAraikkal, her heart melting (urugi) with love (anbu), pleaded (vENDa) with him, He danced (naTam purindAn) in a theater (arangattil) in the midst of tiruvAlankADu (AlankAdu) [7].
FOOTNOTES
[1] ADa(l)vallAn can also mean the Supreme king (vallAn) of dance (ADal) - the tamizh version of the Sanskrit naTarAja
[2] The anupallavi and the first caraNam together list the five different sabhas of the dancing lord - temples in 5 cities dedicated to naTarAja/ADavallAn/kUttan:
tillai/cidambaram sivakAmasundari-naTarAjar temple
The Golden Hall - pon ambalam/kanaka sabha
madurai mInAkshi-sundarESvarar temple
The Silver Hall - veLLi ambalam/rajata sabha (where the lord dances with his left foot plated and right one raised - kAl mAri ADiya sabhESar)
vaTa-araNyESvaram/tiruvAlankADU bhramara alakAmbikA-vaTAraNyESvarar temple
The Gem-studded Hall - rattina ambalam/ratna sabha
tirunelveli kAntimati-nellaiappar temple
The Copper Hall - tamira ambalam/tAmra sabha
kuTRAlam kuzhalvAimozhi ammai-kuTRalanAthar temple
The Hall of Pictures - cittira ambalam/citra sabha
[3] I have translated tEDarum contextually as - rare/unique (arum) even after searching (tEDu) for it high and low
[4] Refers to the fact that after he marries the pANDya queen, mInAkshI, Siva becomes the king of Madurai - rAja soundira pANDiyan
[5] The reputation of the famed tamizh sangam was based on the capabilities of the pond of the golden lotus (poTRAmarai kuLam) which served as the arbiter to judge the quality of literary works in tamizh - legend has it that any new work would be cast into the pond, and if found worthy, would come floating back up on the golden lotus. This vetting process, in one stroke, set a very high literary standard, and was impartial as well, leading to the golden age of tamizh literature, and granting Siva the reputation as the caretaker of tamizh who nourished it to hitherto unattainable heights
[6] Siva, as the guru, explains to the honey-tongued mANikkavAcakar the meaning and purpose of his cosmic dance. The latter describes it in his sacred utterances (tiruvAcakam), and, as his reward, Siva dances for him, illustrating for mANikkavAcakar what he had written/sung in his compositions
[7] kAraikkAL ammai offered her body for the lord to walk on in the forest of vaTa-araNyapuram (forest of banyan trees) on his way to the competition with kALi. As a reward, she was granted the pleasure of watching the awesome spectacle
pallavi (simhEndramadhyam)
ADa vallAn emmai ALa vallAn oru IDu illAn enrum engum uLLAn
(Siva) is the only one who is capable of (vallAn) [1] dancing (ADa) in the theater of the cosmos, and the Almighty God (vallAn) who rules (ALa) us (emmai)! He is incomparable (without (illAn) compare (oru IDu)). He is present (uLLAn) everywhere (engum) at all times (enrum).
anupallavi [2]
mADa mAmaduraiyil veLLi ambalam koNDAn vasikkum nellaiyilE tAmira sabhai koNDAn
IDillA kuTrAlam cittira sabhai koNDAn ezhil alangaDadanil rattina sabhai koNDAn
In ancient and mighty (mADa mA) city of madurai (maduraiyil) Siva has acquired (koNDAn) a silver (veLLi) hall (ambalam) for his dancing, while in the city of tirunelvEli (nellaiyilE) where He lived (vasikkum), he has acquired (koNDAn) a copper (tAmira) hall (sabhai) to dance in. In the peerless (ID(u)illA) city of kuTRAlam, He owns/has acquired (koNDAn) a hall (sabhai) decorated with pictures/art (cittira) to dance in, while He performs (koNDAn) in a hall (sabhai) studded with precious gems (rattina) in (adanil) the beautiful and blessed (ezhil) city of tiruvAlangADu/tiruvAlankADu.
caraNam 1 (sAma)
tEDarum tillaiyilE ponnambalam koNDAn diSaiyeTTum magizhndiDavE dinam dinam naDikkinrAn
oru mannanAi amarndu oppaTra maduraiyilE OngoLir sangam vaittu ontamizhai vaLarttAn
In the rare and unique (tEDarum) [3] city of cidambaram (tillaiyilE), He has acquired (koNDAn) a golden (pon) hall (ambalam) where he performs/dances (naDikkinrAn) every day/continually (dinam dinam) to the happy appreciation (magizhndiDavE) of people in all the eight (yeTTum) directions (diSai); while in the matchless (oppaTra) city of madurai (maduraiyilE), reposing (amarndu) as a (oru) king (mannanAi) [4], He has nourished (vaLarttAn) this ancient, sweet, and delightful language, tamizh (ontamizhai) by creating (vaittu) the concept of the tamizh sangam [5], the fame of which shines (oLir) far and wide ((Ongi).
caraNam 2 (dhanyAsi)
tiruvAdavUraDigaL tiruvAcakam pADA divviyamAi adanai tillaiyil varaindaLittAn
aruL kAraikkAl ammai anburugi vENDa AlangADarangattil Ananda naTam purindAn
Even as the sage (aDigaL) from tiruvAdavUr, i.e., mANikkavAcakar, sang (pADa) the description and praises of the cosmic dance in his tiruvAcakam, as promised [6], He bestowed upon (varaindaLittAn) him the privilege of witnessing that (adanai) cosmic dance, as he performed divinely (divviyamAi) in cidambaram (tillaiyil). And as the blessed (aruL) saint (ammai) of kAraikkal, her heart melting (urugi) with love (anbu), pleaded (vENDa) with him, He danced (naTam purindAn) in a theater (arangattil) in the midst of tiruvAlankADu (AlankAdu) [7].
FOOTNOTES
[1] ADa(l)vallAn can also mean the Supreme king (vallAn) of dance (ADal) - the tamizh version of the Sanskrit naTarAja
[2] The anupallavi and the first caraNam together list the five different sabhas of the dancing lord - temples in 5 cities dedicated to naTarAja/ADavallAn/kUttan:
tillai/cidambaram sivakAmasundari-naTarAjar temple
The Golden Hall - pon ambalam/kanaka sabha
madurai mInAkshi-sundarESvarar temple
The Silver Hall - veLLi ambalam/rajata sabha (where the lord dances with his left foot plated and right one raised - kAl mAri ADiya sabhESar)
vaTa-araNyESvaram/tiruvAlankADU bhramara alakAmbikA-vaTAraNyESvarar temple
The Gem-studded Hall - rattina ambalam/ratna sabha
tirunelveli kAntimati-nellaiappar temple
The Copper Hall - tamira ambalam/tAmra sabha
kuTRAlam kuzhalvAimozhi ammai-kuTRalanAthar temple
The Hall of Pictures - cittira ambalam/citra sabha
[3] I have translated tEDarum contextually as - rare/unique (arum) even after searching (tEDu) for it high and low
[4] Refers to the fact that after he marries the pANDya queen, mInAkshI, Siva becomes the king of Madurai - rAja soundira pANDiyan
[5] The reputation of the famed tamizh sangam was based on the capabilities of the pond of the golden lotus (poTRAmarai kuLam) which served as the arbiter to judge the quality of literary works in tamizh - legend has it that any new work would be cast into the pond, and if found worthy, would come floating back up on the golden lotus. This vetting process, in one stroke, set a very high literary standard, and was impartial as well, leading to the golden age of tamizh literature, and granting Siva the reputation as the caretaker of tamizh who nourished it to hitherto unattainable heights
[6] Siva, as the guru, explains to the honey-tongued mANikkavAcakar the meaning and purpose of his cosmic dance. The latter describes it in his sacred utterances (tiruvAcakam), and, as his reward, Siva dances for him, illustrating for mANikkavAcakar what he had written/sung in his compositions
[7] kAraikkAL ammai offered her body for the lord to walk on in the forest of vaTa-araNyapuram (forest of banyan trees) on his way to the competition with kALi. As a reward, she was granted the pleasure of watching the awesome spectacle
Last edited by rshankar on 03 Jul 2009, 05:23, edited 1 time in total.