Translation - KAl mAri ADiya

[shreelatasuresh]

Would appreciate word to word meaning of this beautiful song, please

kAl mAri ADiya. rAgA: kuntalavarALi. Adi tALA. Composer: Andavan Piccai.

P: kAl mAri ADiya kanakasabhEshA unmEl kAdal koNDEn ayyanE ghana tuyyanE
A: mAn mazhuvEndiyE mangai naTam puriyum Ananda tANDavanE naTarAjanE
C1: pAdam varundum enru pANDiyan vENDiDa vEdan mAlum kANA vimala malarppadam
nI dayavuDan tUkki nirtanamADiDa mAdhava muni patanjali puli pAdar kUDa
2: shakti shivakAmi nittiyam unnuDan ADa bhaktiyuDan nandi tALamatthaLam pODa
mukti aLitta pEyammaiyuDan pugazh pADa taddhimi tOm tOm enru tAL malar tUkkiyE

[rshankar]

Give me a couple of days. I love this composition of Smt. Andavan Piccai

[shreelatasuresh]

Thank you

[Jigyaasa]

P: kAl mAri ADiya kanaka-sabh-EshA unmEl kAdal koNDEn ayyanE ghana tuyyanE
leg swap dance golden-hall-ruler on you love I had Oh, Lord! ----- -------

A: mAn mazhuvEndiyE mangai naTam puriyum Ananda tANDavanE naTarAjanE
deer ------holding damsel dancing delight cosmic dancer dance-king

C1: pAdam varundum enru pANDiyan vENDiDa vEdan mAlum kANA vimala malarp-padam
leg plead ----- pray ---------------------------------unseen pure lotus-feet

nI dayavuDan tUkki nartanamADiDa mAdhava muni patanjali puli pAdar kUDa
you with pity lifting dancing Vishnu sages Patanjali vyAghrapAda join

2: shakti shivakAmi nittiyam unnuDan ADa bhaktiyuDan nandi tALamatthaLam pODa
pArvati always with you dancing with devotion

mukti aLitta pEyammaiyuDan pugazh pADa taddhimi tOm tOm enru tAL malar tUkkiyE
salvation having given -------------- praise singing

[rshankar]

Jigyasa - great effort!

Here is my effort at this lovely composition that describes Nataraja in his 'Silver Hall/Assembly' - Madurai, and how his dancing feet are depicted in reverse of how they are depicted elsewhere (explained in [6]).

Please see my doubts about a couple of words expressed in [5] and [8]. I am hoping for clarifications/corrections.

Lakshman-ji - please note that it should be mAtavar in C2, not mAdhavar.

pallavi
kAl mAri ADiya kanakasabhEshA unmEl kAdal koNDEn ayyanE ghana tuyyanE
Oh lord (ISA) of the golden (kanaka) assembly/hall (sabhA) [1], who danced (ADiya) by “changing/reversing” (mARi) [2] (his) foot (kAl), I have fallen (konDEn) in love (kAdal) with you (unmEl) mylLord (ayanE)! (Who is) the superlatively (ghana) [3] pure one (tuyyanE)

anupalavi
mAn mazhuvEndiyE mangai naTam puriyum Ananda tANDavanE naTarAjanE (kAl Ari ADiya kanaka sabhESA…)
Oh naTarAja (naTarAjanE), the one who performs the Ananda tANDavam (Ananda tANDavanE), who dances (naTam puriyum) while bearing/holding (EndiyE) a deer (mAn) [4], an axe (mazhu) [4], and even a woman (mangai) [5] (I have fallen in love with you, the superlatively pure one, Oh lord of the golden hall who now dances on his other foot!)

caraNam 1
pAdam varundum enru pANDiyan vENDiDa vEdan mAlum kANA vimala malarppadam
nI dayavuDan tUkki nirtanamADiDa mAtava muni patanjali puli pAdar kUDa (kAl mARi ADiya kanaka sabhESA…)
As the Padiyan King (pANDiyan) desired (vENDiDa) (because he felt) that (enRu) your foot (pAdam) would hurt (varundum) (otherwise) [6], you (nI) lifted (tUkki) your immaculate (vimala) flower (malar)-like foot (pAdam) that even brahmA (vEdan) and vishNu (mAlum) had not seen (kANA) with (uDan) compassion (dayavu), and as you danced (nirtanam ADiDa), sages (muni) who had performed great austerities (mAtava), i.e., patanjali and vyAghra (puli) pAda (pAdar) assembled (came together) [7]. (I have fallen in love with you, the superlatively pure one, Oh lord of the golden hall who now dances on his other foot!)

caraNam 2
shakti shivakAmi nittiyam unnuDan ADa bhaktiyuDan nandi tALamattaLam pODa
mukti aLitta pEyammai uDan pugazh pADa taddhimi tOm tOm enru tAL malar tUkkiyE
As your consort, the powerful Sivakami (Sakti SivakAmi) dances (ADa) with (uDan) you (un) everyday (nittiyam), and as nandi plays (pODa) the mattaLam to maintain the rhythm (tALa) with (uDan) devotion (bhakti), and as Karaikkal Ammaiyar (pEyammai) [8] who was granted (aLitta) salvation (mukti) sings (pADa) along (uDan), (you) lift (tukkiyE) your flower (malar)-like ‘other’ foot (tAL) and dance to the soRkaTTu that go (enRu) ‘taddhimi tOm tOm’. (I have fallen in love with you, the superlatively pure one, Oh lord of the golden hall).

FOOTNOTES
[1] The Lord of the golden hall, i.e., the Lord of Chidambaram
[2] mARutal – or changing (reversal) in this context refers to the fact that in Madurai, the dancing Lord has this left foot planted on muyalakan, while his right foot is raised – the exact opposite of what happens in Chidambaram and the other sabhais
[3] ghana literally means deep/heavy – I have contextually translated it as superlative
[4] The deer (sAranga) and the axe (along with the tiger, the snake, and the ball of fire) were weapons conjured by the 3001 ascetics in dArukA vana to destroy Siva (disguised as a Digambar) who was beguiling their wives away – the story is that Siva renders them harmless, and holds them in his hands as he performs the tANDavam
[5] I am not sure of this word, but if it indeed is mangai, then it could refer to gangA on Siva’s head, or pArvati in the left half of his body
[6] The story here is that a devout Pandiyan King was very concerned that Siva’s right foot would hurt if he stood on it for eternity, and requested the lord to rest his right foot by raising it in Madurai – resulting in the kAl mARi ADiya kanaka sabhEsan
[7] While I am aware of the story of patanjali and vyAghrapAda coming to Chidambaram (kanaka [golden] sabhai} to witness the Lord’s dance, I am not aware of a similar story associated with Madurai (which is the veLLi/silver sabhai) or any of the three other sabhais (tAmira [copper] sabhai in Tirunelveli, cittira [picture] sabhai in kuTRAlam/kuttAlam, rattina [gemstone] sabahi in Tiruvalangadu)
[8] I have translated ‘pEyammai’ as Karaikkal Ammaiyar (of Tiruvalangadu), as I am not aware of anyone else who would fit the bill – but then again, I am not aware of how she is associated with Madurai

[Lakshman]

rshankar: Thanks for the correction.

[shreelatasuresh]

Great translation - I don't think it has anything to do with Madurai other than the fact that he raised his right foot there. From the very beginning, the song talks about Nataraja and His dance (Ananda Tandavam) in the golden hall of Chidambaram...

Thank you all - Shreelata