Here are the corrected lyrics with padArtha:
(I do feel that the last caraNa svara sAhityma is missing - I have not known Sri Muralidharan to compose just svarams without sAhityam in his previous varNams - however, some dancers omit the last caraNa svara sAhityam)
pallavi
ADi ADi magizhndAr aDiyavar munivarum tozhum Adi antamumillA Ananda naTarAjan
tEDi tEDi tirumAlum aDi tEDa tan Adi muDi tEDi nAnmukhan uzhala kaNDu (ADi ADi magizhndAr…)
The rapturously joyful (Ananda) naTarAja, who has no (illAda) beginning (Adi) or end (antamum), who is worshipped (tozhum) by his devotees (aDiyavar) and sages (munivarum), took delight in/enjoyed himslef (magizhndAr) while dancing (ADi ADi) even as he saw (kaNDu) vishNu (tirumAlum) and brahmA (nAnmukhan/nAnmugan) tire themselves out (uzhala) searching (tEDi tEDi) – the former to find (tEDa) his (tan) feet (aDi) and the latter to find (tEDi) his head (Adi muDi) [1].
anupallavi
pADi pADi padam sEra ODiyE bAlan vAzhavE kAlanai udai seidu
vADi vADi azhaittOrin kural kETTu ODi uDanE vandu nallaruL tandiDum naTana sabhApati (ADi ADi magizhndAr…)
As the meaning (padam) became incorporated (sEra) with continued singing (pADa pADa), the king of dancing (naTana) cidambaram (sabhApati) (danced in rapturous joy), as he ran (ODiyE) and kicked (udai seidu) yamA (kAlanai) so that a young child (bAlan) could live (vAzhavE) [2], and is the one that comes in haste (ODi) immediately (uDanE) upon hearing (kETTu) the cries/voices (kural) of those that are withering (vADi) and fading (vADi) away calling out (azhaittOrin) and coming (vandaruL) (to their help), admits (tandiDum) them into his good grace (nallaruL)!
ciTTasvara sAhityam
veN pirai tigazh amudam tanai magizhndu tendisai kaDambavanamadil sorindu
nannIr niraip-pon tAmarai kuLamuDan endishai pOTriDum madurai tanai tandu
tannuDal pAdiyum mInvizhi nAyaki viNNavar pADiDa AravE aruL seidu
maNNuyir vAzhndiDum mAniDar vaLamura kaNNenavE kAttaruLum paraman avan
He (avan) is the Supreme Being (paraman) who:
1) took some of the shining/bright (tigarzh) nectar (amudam) from the pale/white (veN) crescent moon (piRai) and poured it (Sorindu) with great happiness (magizhndu) into the forest (vanamadil) of kaDamba trees [3] in the south (tendiSai), giving (tandu) us both the golden tank (kuLam) of lotuses (poTRAmari) filled (niRai) with pure water (nannIr) along with (uDan) the city of Madurai (madurai tanai) that (people from) all directions (endiSai) praise (POTRiDum), and
2) blessed (aruL seidu) (us as he) united with (AravE) mInAkshI (mIn vizhi nAyaki) with one half (pAdiyum) of his (tan) body (uDal) as the Gods (viNNavar) sang (pADiDa) (his praises), and
3) protects (kAttu) the people (mANiDar) who live (uyir vAzhndiDum) on this earth (maN) like (enavE) his very eyes (kaN) and blesses (aruLum) (so that) they may prosper (vaLamura).
caraNam
Anandam ponga kAl mAri ADinAr veLLi ambalam tanil
He danced (ADinAr) in (tanil) Madurai (veLLi ambalam) [4] by exchanging (mARi) his feet (kAl) [5], as bliss (Anandam) overflowed (ponga)
caraNasvara sAhityam 1
kandan annai magizha undan konjum kazhal vindai kaNDiDa (Anandam ponga….)
(He danced in madurai) as the mother (annai) of muruga (kandan) rejoiced (magizha), and his anklets (kazhal) that caressed (konjum) his feet beheld (kaNDiDa) the wonder/beauty (vindai) (of the dance)
caraNasvara sAhityam 2
bhUta gaNamADa nAdaOmkAra muzhumudar gaNapati vandu uDan ADa (Anandam ponga…)
(As He danced in madurai) the goblins that served him (bhUta gaNam) danced (ADa), and the embodiment of music and praNava (nAda OmkAra), the sole cause in this universe (muzhumudar) [6], gaNapati arrived (vandu) and began to dance (ADa) along (uDan).
nIDuyarnda malaigaL nIruRaiyum paniyil tIkamaramniRainda nIlakaNThan avan
nIL shaDai muDiyil nIrum pozhiya tirunIr aNinda uDalil nInDaravum neLiya (Anandam ponga…)
He (avan) is the blue (nIla)-throated (kaNThan) one who is filled (niRainda) with fire/fiery embers (tI kamaram) in the midst of wet/humid (nIruRaiyum) mists (paniyil) atop tall (uyarnda) mountains (malaigaL) of great antiquity (nIDu) [6]. (He dances in madurai) as water (nIrum) flows (pozhiya) from his long (nIL) matted (SaDai) locks (muDiyil), and long (nINDa) snakes (aravam) slither (neLiya) on his body (uDalil) covered/decorated (aNinda) with sacred ash (tirunIr).
FOOTNOTES
[1] Refers to the story of vishNu taking the form of a boar (varAha) and digging through the netherworlds, unsuccessfully looking for Siva’s feet, and brahmA assuming the form of a swan to fly upwards into space, searching for Siva’s head – while vishNu accepts the fact that he was not successful, brahmA makes a false claim that he saw Siva’s head – when all he had done was to talk to a flower that had fallen off Siva’s head – for telling a lie, Siva pinches one of brahmA’s five heads off, making him four-headed, and in turn, Siva is punished for committing the sin of ‘brahmahatti’, and has to spend his days begging for alms and eating out the calvarium of the head of brahma that he had pinched off (discussed with reference to
muttutANDavar's suraTTi composition) – Siva’s curse was lifted, when the divine mother, as annapUrNa offers him alms/bhiksha
[2] Story of mArkaNDEya
[3] kaDambavanam is another name of Madurai, as the legend is that the city was built on the site of ancient forest of kaDamba trees
[4] The five major temples to naTarAja/Siva where he is supposed to have danced to delight his devotees are referred to as the five halls (sabhas or ambalams)
- cidambaram – kanaka sabhA or ponnambalam – the golden hall – sivakAmi samEta naTarAjar
- madurai – rajata sabhA or velliambalam – the silver hall – mInAkshi samEta sokkanAthar
- tiruvAlankADu – ratna sabhA or rattina sabhai – the ruby hall – vaNDArkuzhali samEta vaDAraNyESvarar
- tirunelvEli – tAmra sabhA or tAmira sabhai – the copper hall – kAntimati samEta nellaiappar
- kuTRalam – citra sabhA or cittira sabhai – the hall of pictures – kuzhalvAimozhi samEta kuTRAlanAthar
[5] Refers to the myth of a king of madurai (also descibed in
ANDavan picci's kuntalavarALi composition)– rAjasEkhara pANDiyan, who was worried that the Lord’s legs would cramp if they were held forever in the posture he assumes in cidambaram, where the lord dances with his right foot planted on the demon of ignorance (UnRiya kAl), and his left foot raised (tUkkiya kAl) – so, the king asks Siva to interchange his feet and dance for him – so, in madurai, Siva dances with his left foot planted on the demon, while his right foot is raised, and his dance is called the dance of bliss or Ananda naTanam – kAl mARi ADiya Ananda naTanam
[6] This is beautiful imagery – the lord containing a raging fire within himself even as he lives in an area that is wet and full of humidity
