isai pADavENDumE

[smala]

pallavi

pADa vENDumE ishaip-pAvin poruLai nanguNarndu
(pADa)

anupallavi

Adum kUttan aDiyai nainaindu anbilAgam kanindu kanindu
(pADa)

caraNam

kuzhalum yAzhum onrAi kUTTi kuralai adanuL nanrAi Etri
muzhavin uNaiyAl tALam kATTi mUnru tamizhin muraiyai nATTi
(pADa)

A translation please.

[rshankar]

Here you go. Please note minor corrections to the lyrics.

pallavi
pADa vENDumE ishaip-pAvin poruLai nanguNarndu (pADa)
One should (vENDumE) sing (pADa) only after understanding (uNarndu) the essence/meaning (poruLai) of the lyrics/poetry/words (pAvin) to the music (iSai) very well (nangu).

anupallavi
ADum kUttan aDiyai nainaindu anbilAgam kanindu kanindu (pADa)
(One should sing) by thinking/keeping one's thoughts on (ninaindu) the feet (aDiyai) of the dancing (ADum) natarAja (kUttan) [1], and allowing one's loveless (anbilA) soul (agam) to become soft and tender (kanindu kanindu) with love.

caraNam
kuzhalum yAzhum onrAi kUTTi kuralai adanuL nanrAi ETRi
muzhavinuNaiyAl tALam kATTi mUnru tamizhin muraiyai nATTi (pADa)
(One should sing) after harmonizing (kUTTi) with the flute (kuzhalum) and the harp (yAzhum) [2] as one (onRAi), and inserting (ETRi) the voice (kuralai) beautifully (nanrAi) into (adanuL) the resulting melody; one should show/keep/maintain (kATTi) the rhythm (tALam) through the end (nuNaiyAl) of the drum (muzhavu) [3]; and in doing so, one should establish (nATTi) the mores/manner/customs (muRaiyai) of the three (mUnRu) aspects of tamizh literature [4].

FOOTNOTES
[1] bharatanATyam was called kUttu, and hence, the lord of dance was called kUttan, and the space he danced the kUttambalam - naTarAjA is the sanskRtised version of kUttan (kUttabirAn)
[2] yAzh is a stringed instrument - I am not sure if it is the same as a harp
[3] I have never seen a muzhavu
[4] The three aspects are literary tamizh (iyal), tamizh music (iSai), and tamizh dramaturgy (which included both song and dance in addition to spoken words) (nATakam)

[smala]

That was quick - thanks a lot.