Meaning- needhan mecchikolla vendum

Samyuktha · Post by **Samyuktha** » 13 May 2007, 17:23

I was looking for the meaning of the paragraph:

katta ennik kayitraith thaediyum kaanoam
kaikkaana kayirellaam alavaagak kaanoam
mattamena uralil kattidath thoanum - aanal
madamadavenum oli sevipuga vandhaal
marudha maramirandaik kaanavae kaanoam

i can figure out the lyrics but want to be sure I have it right-particularly the line''madamadavenum oli sevipuga vandhaaL" -

PLEASE HELP

THANKS

meena · Post by **meena** » 13 May 2007, 23:08

ni dan meccikolla venum -Sree OVK comp.

Lji
can u pl. post full txt. thanks

thanjavur · Post by **thanjavur** » 13 May 2007, 23:14

http://www.geocities.com/vc_sekaran/Oot ... 3#nee_than

nee thAn mecchikoLLa vENum

Krithi : nee thAn mecchikoLLa vENum
Raga : Sri ranjani
Tala : Adhi

pallavi:
nee thAn mecchikoLLa vENum - engaL
neela nira mEni mAdhavan seivadhu
nimisham pOvadhu yughamAi Agudhu (nee thAn)

anupallavi:
kAdhAra kuzhalUdhi kandroDu viLaiyADi
kaN munnE vandhu nindru ATTamum ADi
EdhEdhO jAlangaL seivadhum ODi ODi
Ezhiluru mangaiyar manai thanil pugundhu
kaLavADiDum enadhAruyir maganai (nee thAn)

charanam 1:
seiyum dhushTath thanaththirkOr ellaiyE illai
thEDi piDikka ennAl shakthiyum illai
kayyum kaLavumAkka kAlamum vallai
kAlam thavarAdhu kOL solla vandhu nindra
mAdharkku viDai solla nEramum illai (nee thAn)

charanam 2:
kaTTa eNNi kayitrai thEDiyum kANOm
kaikkAna kayirellAm aLavAgha kANOm
maTTamena uralODu kaTTiDa thONum -AnAl
maDa maDavenum oli sevi pugha vandhAl
marudha maram iranDu kANavE kANOm (nee thAn)

Purport:
In this krithi, Sri UVS imagines himself as Krishna's
mother, Devi Yashodha and complains that she is totally occupied
with Krishna's all kinds of mischiefs in the AyarpAdi.

rshankar · Post by **rshankar** » 13 May 2007, 23:51

Samyuktha,
Hope this helps:

kaTTa eNNik = wanting to/considering (eNNi) tying krishNa up (kaTTa)
kayiRRaith thaeDiyum kaanoam = she does not find (kANOm) a rope (kayiRu) even after searching for it (tEDiyum)
kaikkAna kayiRellAm aLavaagak kAnoam = and the ropes (kayiRu ellAm = kayiRellAm) that are handy (kaikkAna) are too small/not of the right measure (aLavAga kANOm)
maTTamena = considering him to be worthy of punishment (maTTai is a inferior or stupid fellow IIRC)
uralil = (to the) grinding stone
kaTTiDat tOnum = When she thinks/considers (tOnum) tying him up (kaTTiDa)-
AnAl = but
maDamaDavenum oli = a sound (oli) that goes maDa maDa
Sevipuga vandAl = falls on my ears (Sevi) - [literraly, when (the sound) arrives (vandAl) to enter (puga) my ears (Sevi)
maruda maramiranDaik = the two (iranDu) maruda trees (maram)
kANavE kANOm = could not be seen/disappeared

Tired of his antics (this from the song nItAn mecci koLLavENDum, where yaSOdA exclaims about krishNa's tiresome antics), when yaSodA looks for a rope to tie him up, she doesn't find one handy. When she finally finds the right length of rope and ties him up to the griding stone as punishment, she has to come back in a few minutes because she hears a loud noise - and she sees to her amazement that her little son has summoned the strength to not only move the humungous grinding stone, but to also break two tall trees between which the grinding stone was stuck.......that was the resounding noise she'd heard...and in the process, krishNa sets free two gandharava's or kinnara's who were imprisoned in those trees....

meena · Post by **meena** » 14 May 2007, 00:07

thanjavur
thanks. Am aware of the site, also told plenty of errors with the OVK txt posted on that site

shankar
can u pl. also correct the txt. for us. thanks

Lakshman · Post by **Lakshman** » 14 May 2007, 00:23

Here is what I have:

nI tAn. rAgA: shrIranjani. Adi tALA.

P: nI tAn meccik-koLLa vENDum engaL nIla nira mEni
mAdhavan sheivadu nimiSam pOvadu yugamAi Agudu
A: kAdArak-kuzhalUdi kanrODu viLaiyADi kaN munnE vandu ninru
ATTamum ADi EdEdO jAlangaL sheivadum ODi ODi ezhiluru mangaiyar
manaidorum pughundu kaLavADiDum enadAruyir maghanai
C: sheyyum duSTattanattirkku ellaiyE illai tEDip-piDikka enrAL shaktiyum illai
kaiyum kaLavumAkka kAlamum vallai kAlam tavarAdu kOL sholla vandu ninra
mAdarkku viDai sholla nEramum illai kaTTa eNNik-kayiTrait-tEDiyum kANOm
kaikkAna kayirellAm aLavAgak-kANOm maTTamena uralODu kaTTit-tONum AnAl
maDamaDavenum oli shevi pugha vandAl maruda maram iraNDaik-kANavE kANOm

rshankar · Post by **rshankar** » 14 May 2007, 02:37

Lji,
A few corrections:
A: maganai
C: kOzh (tales) not kOL
tOnum
puga

Meena: Lji's version is way better than the other version posted...

drshrikaanth · Post by **drshrikaanth** » 14 May 2007, 02:48

rshankar wrote:Lji,
A few corrections:
A: maganai
C: kOzh (tales) not kOL
tOnum
puga

kOL is correct tales, falsehood etc), not kOZh
What is tOnum? If we are talking of the corruption of tOnRum, then it is tONum.

arasi · Post by **arasi** » 14 May 2007, 03:03

Ravi,
kOL is correct. kOzh as far as I know is 'kozhuththa'. Don't know if it is used in place of 'kOL' (kOTchollal is to 'tell on'). Is kOzh perhaps a vaTTAra vazhakku (regional parlance) or slang?

'ural' is more a pounding stone--hour glass shaped--convenient to tie anything up to its middle.

arunk · Post by **arunk** » 14 May 2007, 03:21

is(nt?) it nIdAn?

I am not sure. I know tAn is a word - but i am not sure that is what is being used here. I am thinking that the meaning here is "you only" but here isn't tAn (not necessarily that word?) combined with nI and thus as per phonetics of tamil it would have to be nIdAn?

I am really not sure.

Arun

arunk · Post by **arunk** » 14 May 2007, 03:32

> tEDippiDikka endrAl Saktiyum illai
in the book i have (rAsagAnam in tamizh - by NKB) it says tEDippiDikka ennAl Saktiyum illai. I think I have heard Maharajapuram Santhanam sing it that way. I always found that a bit off, but i dont know if it is poetical form.

endrAl seems better - Sort of comes to "if i think i should search", (then i) dont have energy. But does that fit cleanly?

An evident/simpler form would have been tEDippiDikka enniDam Saktiyum illai.

Arun

arunk · Post by **arunk** » 14 May 2007, 03:41

arunk wrote:is(nt?) it nIdAn?

I believe it should be because if dviaksharaprasa with kAdAra (kadu Ara) in anupallavi

Arun

arasi · Post by **arasi** » 14 May 2007, 05:31

Arun,
It is 'nIdAn'. I will give you an example.
A:"ungaL piLLai romba buddiSAli!"
B: "pOdum, nIdAn (nINgaLdAn) mechchikoLLavENum!"

VenkaTa kavi gives you an immediacy to the scene this way. Neigborhood women's complaining, praising, and the mother's reactions are all done in a natural flow of language.' thAyE yaSOdA' is another example.
Arun, by the way, despite many hurdles in writing thamizh in english, I try to improve. My present favorite is using S in tamizh (following your instruction).

arunk · Post by **arunk** » 14 May 2007, 05:52

yep. What was throwing me off (in spite of nI tAn sounding odd to me

) was avar tan and avar tam, where the tan/tam is not the same as nIdAn/avardAn. Thank god - the dvi-aksharaprAsa clue was there - otherwise i would have been breaking my head a lot longer - until your post

!

s vs S vs sh (although Sh is ok too i guess) works the best for me too.

Arun

meena · Post by **meena** » 14 May 2007, 05:55

Lji/ shankar and all, thanks.

vgvindan · Post by **vgvindan** » 14 May 2007, 10:58

kOL - backbiting - does 'tell on' mean same?

maTTam - of the appropriate size - this would refer to the size of rope for tying to a mortar; this may also refer to the height of the mortar being equal to Lord's height and the neck of mortar of the same height of the waist of the Lord for tying purposes.

maDa maDa - the breaking sound of a tree

Kindly pardon me for correcting - IMHO 'grinding stone' - ATTukkal - is different from 'ural' - mortar (and pestle) - kRSNa was tied to a mortar.

nIdAn meccikkoLLavENDum - this dancers would express this bhAva by twisting the lips and face (chin almost touching - mostly left - shoulder) - and - ladies pardon me - this is what a wife does when husband tells somthing disagreeable and yet not quite disagreeable. This, I think, would be equivalent to Tamil word 'siNungal' - what is English equivalent?

Samyuktha · Post by **Samyuktha** » 14 May 2007, 16:39

Big help. Thank you.

Samyuktha

arasi · Post by **arasi** » 14 May 2007, 18:42

Govindan,
Backbiting is more or less the same, though it is much more serious, in my view! This kOL is more like siblings saying: iru, ammA kiTTe solREn, nI Seidadai (wait till mother comes home, I'll tell her what you did).
I said 'pounding stone' to differentiate it from the grinding stone. Pestle normally brings to mind the little one of those used for blending herbs or spices--since we don't come across the large outdoors one these days! Hourglass shaped huge outdoor urals (pestles), convenient for tying a rope to the middle, was very much in use for that purpose--for tying a calf too.

arunk · Post by **arunk** » 15 May 2007, 00:52

another question i have had about this krithi: Why would yaSOda say "engaL nIla nira mEni ..."?

Here engaL is a non-inclusive "our" i.e. if she is telling it to Gopis, then engaL doesnt include those Gopis This is as opposed to something like nam which would an inclusive "our" and includes them.

The whole song is about yAsOdA talking about the antics of her own son KrSNA - it is almost a personal narratioon. So shouldnt it have been something like endan[/b nIla nira mEni to fit with the general feel? Either somethin akin to endan (mine) or nam (inclusive-our) seem like a better fit. But why engal - the exclusive "our"? Am I missing?

Thanks
Arun

arasi · Post by **arasi** » 15 May 2007, 02:36

'engaL Arun', 'namma magA', 'mA Arun', 'hamArA bETA' is how your parents would refer to you, I think

arunk · Post by **arunk** » 15 May 2007, 02:37

ah yes - parents

. With so much attention to yaSoDa, forgot about the Dad and rest of the family

cmlover · Post by **cmlover** » 15 May 2007, 03:39

While yaSODA starts as 'engaL' as the song progresses she is musing

kaLavADiDum enadhAruyir maganai

you may notice that the vaaggeykara (OVK) thinks that he is yaSODA and starts identifying kaNNan as 'own son'. What more proof is needed for OVK being an 'inspired poet'!

rshankar · Post by **rshankar** » 15 May 2007, 04:06

Notice when 'she' (yaSOdA) is complaining about him (mAdhavan Seivadu nimiSam pOvadu yugamAi Agudu) she refers to him as 'engaL', but for a beloved son (Aruyir magan) she uses the personal possesive (enadu)!
Just like my wife always refers to our daughter as 'your' daughter when she is in trouble.....

cmlover · Post by **cmlover** » 15 May 2007, 07:15

As I started listening to this beautiful lyric in Sri Ranjani (by Nityasree; though rendered for dance) I found somrthing missing. We are not sure whether OVK originally composed this in that raga. Using my imagination I searched and found the AthANA will be more suitable to reflect the perumai/iRumaappu (?pride) exuded by yaSODA in this verse. I am sharing my trial in spite of my limitations with you all
http://www.rogepost.com/n/6811735367

arunk · Post by **arunk** » 15 May 2007, 07:44

too bad you dont like it cmlover. This is a wonderful krithi in SrIranjani!

Also i thought yaSOdhA is mostly expressing (resigned) frustration here.

Arun

cmlover · Post by **cmlover** » 15 May 2007, 08:01

No! I am not commenting on the raga at all! It is the mood created by the raga. Try sivaranjani for it and you will see how depressing it will be. Somehow I was not catching the element of Frustration in the sri ranjani. Again in my view yaSODA is rather slyly boasting about her son's escapades rather than expressing frustration here

(Just like some proud mother's boasting:
en piLLai aDikkaRa koTTam thA^Nga muDiyallai..)

arunk · Post by **arunk** » 15 May 2007, 08:04

but i was commenting on the mood expressed by the raga

. Of course opinions vary, but to me SrIranjani fits quite well here.

Arun

arasi · Post by **arasi** » 16 May 2007, 07:42

CML,
I think aTANA says it emphatically, a no nonsense approach on yaSOdA's part. I tried to visualize it. With the Salangai oli (sound of the anklet bells) that a dancer makes as she moves around the stage, Sriranjani sounds pleasing, it seems. On the concert stage? aTANA would be effective, I think...

cmlover · Post by **cmlover** » 16 May 2007, 08:03

Thanks Arasi. We have to visualize and internalize (even hear the sounds mentally and dramatize ) to create the mood to enjoy such lyrics. Of course each individual experience is unique!

V_ANNASAMY · Post by **V_ANNASAMY** » 16 May 2007, 13:56

The situation may have been that some good hearted gOpis telling yashOda mAtaa praising her son and yashOda replies like " neethAn.." Alternately, some of krishna's friends must have praised about krishna.. (most of the gOpis had been troubled some way or the other as we are depicted).

Pallavi starts on swara 'dha'
Anupallvi starts on swara 'Saa"
Charanam 1 & 2 starts on swara 'dha'.

Only in one/two places, the tune touches the lower octave (ni.)Otherwise, mostly it is sung in middle octave(madhya stayi). In the upper octave, the song touches mostly upto Ri. One/two places like'viLaiyAdi' where Ri Ga Ma is coming. This kind of usage of raag, sets the tempo rightly.

Sri rajani raag as such is literally an attractive and popular raag(more songs than that of its partent raag kharaharapriya and its other janya raags) - this may be the reason OVS had chosen.

Especially 'madamada enum oli' - one can actually hear the sound of some trees falling down...

Also krishna had attracted almost all alike and the most popular child around.

Karnaticfan · Post by **Karnaticfan** » 16 May 2007, 17:34

Everybody contributed well here (mechhatAn vEndum)

kutty · Post by **kutty** » 03 Jun 2007, 11:55

In this song in the phrase"maTTamena uralODu kaTTit-tONum AnAl " I feel the word "Kattida" will be more appropriate to go with "Tho'Num" meaning "appear to tie". Similarly, in Thamizh we do not pronounce "Neethaan" as "Needhaan" since the former is more appropriate to mean "you only". Hence I feel Lakshman's version is ok.