http://www.karnatik.com/c2952.shtml3)Padam Mahadeva Shiva Shambho (Shankara Iyer)
Some compositions of KN daNDAyudhapANi piLLai are available (courtesy: ShrI lakshmaN) at http://www.saigan.com/heritage/lyrics/kndp.html.
Shakti khootu Raga: Shiva Shakti (Bharatiyar)
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kmrasika
- Posts: 1279
- Joined: 10 Mar 2006, 07:55
Some compositions of KN daNDAyudhapANi piLLai are available (courtesy: ShrI lakshmaN) at http://www.saigan.com/heritage/lyrics/kndp.html.
Last edited by kmrasika on 02 Apr 2008, 11:42, edited 1 time in total.
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rshankar
- Posts: 13754
- Joined: 02 Feb 2010, 22:26
pallavi
mahAdEva shiva shambhO mArakOTi sundara prabhO shrI
Oh Lord (prabhO) SivA, you are ever auspicious (SrI). Oh distinguished Lord (mahAdEvA)! you are more handsome (sundara) than countless (kOTi = crore) manmathas (mAra)!
anupallavi
sahasrakOTi jana pAlana sAdhu samrakSaNa pAvana
Oh Holy one (pAvana), you are the protector (samrakshaNa) of sages (sAdhu), and the one who nourishes (pAlana) all (sahasrakOTi - a thousand crore) the beings (jana) in the universe.
caraNam
sarvEshvara karuNAkara mUrtE sAmagAna priya vEda pUrtE
paramEshvara gangAdhara kIrtE patita pAvana shrI pashupatE
Oh Lord (ISvara) of everything (sarva), you are the embodiment (mUrtE) of compassion (karuNA kara - one who creates compassion)! One who is the essence of the vEdAs (pUrtE), you relish/are a lover of (priyE) good music and/or vEdic chanting (sAmagAna). Oh Lord paSupati (paSu = literally means all animals)[1], you are famous (kIrtE) as the succor (pAvana) of those that have sinned/fallen (patita). Oh bearer of gangA (gangAdhara) you are the supreme (parama) Lord (ISvara)!
[1] - sculptural evidence from Mohenjadaro and other ancient Indian sites show SivA as 'paSunAm pati - paSupati'.
mahAdEva shiva shambhO mArakOTi sundara prabhO shrI
Oh Lord (prabhO) SivA, you are ever auspicious (SrI). Oh distinguished Lord (mahAdEvA)! you are more handsome (sundara) than countless (kOTi = crore) manmathas (mAra)!
anupallavi
sahasrakOTi jana pAlana sAdhu samrakSaNa pAvana
Oh Holy one (pAvana), you are the protector (samrakshaNa) of sages (sAdhu), and the one who nourishes (pAlana) all (sahasrakOTi - a thousand crore) the beings (jana) in the universe.
caraNam
sarvEshvara karuNAkara mUrtE sAmagAna priya vEda pUrtE
paramEshvara gangAdhara kIrtE patita pAvana shrI pashupatE
Oh Lord (ISvara) of everything (sarva), you are the embodiment (mUrtE) of compassion (karuNA kara - one who creates compassion)! One who is the essence of the vEdAs (pUrtE), you relish/are a lover of (priyE) good music and/or vEdic chanting (sAmagAna). Oh Lord paSupati (paSu = literally means all animals)[1], you are famous (kIrtE) as the succor (pAvana) of those that have sinned/fallen (patita). Oh bearer of gangA (gangAdhara) you are the supreme (parama) Lord (ISvara)!
[1] - sculptural evidence from Mohenjadaro and other ancient Indian sites show SivA as 'paSunAm pati - paSupati'.
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Lakshman
- Posts: 14184
- Joined: 10 Feb 2010, 18:52
takat takat taka. rAgA: behAg/shivashakti.
P: takat takat takat takatakavenrADOmO shiva shakti shaktiyenru pAdOmO
C1: agatta shuddagattinilE uLninrAL avaL ammaiyammai emmainADu poivenrAL
takat taka namakkaruL purivAL tAlonrE sharaNamenru vAzhndiDuvOm nAmenrE
2: pughappu kappukavinbamaDA pOdellAm purattinilE taLLIDuvAi shUdellAm
guhaikku engE irukkudaDA tI pOla adu kuzhandai adan tAyaDikkIzh pOi pOlE
3: mighanda kaippaDu kaLiyinilE meishOra un vIram vandu shOrvai venru kaitEra
jagattiluLLa manidarellAm nanru nanrena nAm shadiruDanE tAnamishai piraNDumonrEn
4: indiranAr-ulaginilE nallinbam irukkudenpAr adanai ingE koNDEidi
mantiram pOl vENDumaDA shollinbam nallamadamuravE amuda nilai kaNDEidit-
P: takat takat takat takatakavenrADOmO shiva shakti shaktiyenru pAdOmO
C1: agatta shuddagattinilE uLninrAL avaL ammaiyammai emmainADu poivenrAL
takat taka namakkaruL purivAL tAlonrE sharaNamenru vAzhndiDuvOm nAmenrE
2: pughappu kappukavinbamaDA pOdellAm purattinilE taLLIDuvAi shUdellAm
guhaikku engE irukkudaDA tI pOla adu kuzhandai adan tAyaDikkIzh pOi pOlE
3: mighanda kaippaDu kaLiyinilE meishOra un vIram vandu shOrvai venru kaitEra
jagattiluLLa manidarellAm nanru nanrena nAm shadiruDanE tAnamishai piraNDumonrEn
4: indiranAr-ulaginilE nallinbam irukkudenpAr adanai ingE koNDEidi
mantiram pOl vENDumaDA shollinbam nallamadamuravE amuda nilai kaNDEidit-
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rshankar
- Posts: 13754
- Joined: 02 Feb 2010, 22:26
tagat tagat taga. rAgA: behAg or more recently in the rAga SivaSakti.
One way to look at this composition is to view this as a great example of how mahAkavi subrahmaNya bhAratI seamlessly blends his unshakable deivabhakti (spiritualism) with his all-consuming dESabhakti (patriotism). While the pallavi, and the first 2 caraNas of this composition extol the fiery dEvi, the last one is clearly a prayer to stop meaningless fights in the name of religion and sects. It is the third caraNa that is the masterpiece here IMO – that is where he imperceptibly moves from spiritualism into patriotism – a beautiful bridge. (There is an alternate explanation that I worked on with the help of Arasi and Rajani – Thanks!)
P: tagat tagat tagat tagatagavenrADOmO Siva Sakti Saktiyenru pADOmO
Shall we not exclaim/sing (pADOmO) 'Siva Sakti' (Siva Sakti yenru) and dance (ADOmO) with joyous abandon [1]?
C1: agattaga tagattinilE uL ninrAL avaL ammaiyammai emmainADu pOivenRAL
tagat taga namakkaruL purivAL tAlonrE SaraNamenru vAzhndiDuvOm nAmenrE
She (avaL) is the supreme mother (ammai) [2] who exists/stands/appears (ninrAL) inside (uL) the heart of heart of hearts (agattu agattu agattinilE) [3]. She instructs/tells us (enrAL) 'go (pOi), heed/seek (nADu) me (emmai)' [4]. As we burn our sins and ego away (taga taga), she will shower (purivAL) her grace (aruL) on us (namakku), so let us (nAm) live (vAzhndiDuvOm) our lives/forever (enrE) with only (onrE) her feet (tAL) as (enru) our refuge/succor (SaraNam).
C2: pugappuga puga inbamaDA pOdellAm purattinilE taLLIDuvAi shUdellAm
guhaikkuL angE irukkudaDA tI pOla adu kuzhandai adan tAyaDikkIzh SEi pOlE
The being – the burning hot, lustrous being that looks like (pOl) a fire (tI) that exists (irrukudu) inside (uL) the cave (guhai) [5] there (angE) is not something you should be afraid of. It (adu) is pure and innocent as a baby (kuzhandai) – like (pOlE) a child (SEi) that is at the feet (aDi kIzh) of its mother (tAy) [6]. As you enter (puga) [7] this cleansing fire that is the dEvi, one will enjoy a lifetime (pOdellAm) [8] of bliss (inbam) [9]. And, you will banish/push (taLLiDuvAi) all bad deeds/intrigue/sins (SUdellAm) to the nether worlds (purattinilE).
C3: migattaa kaippaDu kaLiyinilE meishOra uL vIram vandu shOrvai venru kaitEra
jagattiniluLLa manidarellAm nanru nanrena nAm SadiruDanE tALam iSai iraNDumonrE
As our minds/bodies/spirits (mei) become exhausted (SOra) with our participation in meaningless activities/games (kaLiyinilE) that are so abundant (migatta) and come our way (kaippaDa) so easily, it is our good fortune that our dormant heroism (vIram) is aroused as we realize that all (ellAm) human beings (manidar) in (uLLa) this world (jagattinil) are essentially useful and capable of good (nanru, narena), and we realize that melody (iSai) and rhythm (tALam) are but one (iranDumonrE) [10] in this cosmic dance (SadiruDanE) of life. And as this heroism (vIram) arrives (vandu), it destroys (venru) our spiritual exhaustion (SOrvai), and becomes the means of our salvation (kaitEra) [11].
C4: indiranAr-ulaginilE nallinbam irukkudenbAr adanai ingE koNDEidi
mantiram pOl vENDumaDA Sollinbam nalla madamuRavE amuda nilai kaNDEidit-
People say (enbAr) that there is (irukkudu) unending bliss/happiness (nallinbam) in the world (ulaginlE) of the gods/indra (indiranAr). To capture (koNDu) and acquire (Eidi) that (adanai) bliss for us to enjoy here (ingE), in this world, we need (vENDum) the felicity (inbam) to use words (Sol) like (pOl) magical spells/incantations/charms (mantiram), so that we can forge good/great/exemplary (nalla) relationships (uRavE) between various religions and sects (madam) and establish (kaNDEidi) an ambrosia-like (amuda) happy state (nilai) on this earth.
ALTERNATELY: People say (enbAr) that there is (irukkudu) unending bliss/happiness (nallinbam) in the world (ulaginlE) of the gods/indra (indiranAr). To capture (koNDu) and acquire (Eidi) that (adanai) bliss for us to enjoy here (ingE), in this world, we need (vENDum) the felicity (inbam) to use words (Sol) like (pOl) magical spells/incantations/charms (mantiram), and bring (kaNDeidi) that ambrosia (amudam) from the heavens, so that we can enjoy (uravE) that intoxicated (madam) state (nilai) here on earth.
FOOT NOTES:
[1] taga taga taga taga venru – can be interpreted as a sort of solkaTTu, or as an expression of dancing with ecstatic abandon.
[2] ammai is repeated for emphasis – to establish that she is no ordinary mother, but the divine mother, of all creation.
[3] This is a beautiful pun on the word agam – which means among other things, 'mind' as well as 'ego'! So, it could also mean the fire (tagattinilE) that destroys or burns sins/egotism (agam) that pollute our minds (agam).
[4] emmai is the royal/divine singular ('we').
[5] The cave here is a reference to the cavernous mind that is dark in its ignorance, filled with sin and ego – it is this dark ignorance that the brilliant fire will illuminate and enlighten – the principle of tamasOmA jyOtir gamaya; it is this sin/ego that the fire will burn away – the principle of asatOmA sat gamaya – and the final bliss that one feels when this fire is embraced illustrates the principle of mrityOrmA amritam gamaya.
[6] Bharati is all for cleansing/destroying to recreate. This visual imagery of a hot fire that is something to be touched, caressed, and embraced appears in other poems of his. Here he is saying the fire is like an innocent child – he is pushing us to pick it up and enjoy it, while it cleanses us and leads us to a bliss that cannot be defined.
[7] puga is repeated for emphasis – that this cleansing is a continuous, conscious, active process that one can not start and then place it on autopilot.
[8] pOdellAm = pOdu + ellAm = time + all of it = lifetime.
[9] aDA is a term of familiarity – the poet is addressing us, his audience thus, and requests us to heed him.
[10] iranDumonrE = iranDum+onrE = the two/both+are one. Refers to the union of jIvAtmA and the paramAtmA – he is still referring to the fire and entering its all consuming flames.
[11] The theme of acquiring the courage of conviction to face our shortcomings and metaphorically enter the fire to be cleansed and attain salvation continues.
One way to look at this composition is to view this as a great example of how mahAkavi subrahmaNya bhAratI seamlessly blends his unshakable deivabhakti (spiritualism) with his all-consuming dESabhakti (patriotism). While the pallavi, and the first 2 caraNas of this composition extol the fiery dEvi, the last one is clearly a prayer to stop meaningless fights in the name of religion and sects. It is the third caraNa that is the masterpiece here IMO – that is where he imperceptibly moves from spiritualism into patriotism – a beautiful bridge. (There is an alternate explanation that I worked on with the help of Arasi and Rajani – Thanks!)
P: tagat tagat tagat tagatagavenrADOmO Siva Sakti Saktiyenru pADOmO
Shall we not exclaim/sing (pADOmO) 'Siva Sakti' (Siva Sakti yenru) and dance (ADOmO) with joyous abandon [1]?
C1: agattaga tagattinilE uL ninrAL avaL ammaiyammai emmainADu pOivenRAL
tagat taga namakkaruL purivAL tAlonrE SaraNamenru vAzhndiDuvOm nAmenrE
She (avaL) is the supreme mother (ammai) [2] who exists/stands/appears (ninrAL) inside (uL) the heart of heart of hearts (agattu agattu agattinilE) [3]. She instructs/tells us (enrAL) 'go (pOi), heed/seek (nADu) me (emmai)' [4]. As we burn our sins and ego away (taga taga), she will shower (purivAL) her grace (aruL) on us (namakku), so let us (nAm) live (vAzhndiDuvOm) our lives/forever (enrE) with only (onrE) her feet (tAL) as (enru) our refuge/succor (SaraNam).
C2: pugappuga puga inbamaDA pOdellAm purattinilE taLLIDuvAi shUdellAm
guhaikkuL angE irukkudaDA tI pOla adu kuzhandai adan tAyaDikkIzh SEi pOlE
The being – the burning hot, lustrous being that looks like (pOl) a fire (tI) that exists (irrukudu) inside (uL) the cave (guhai) [5] there (angE) is not something you should be afraid of. It (adu) is pure and innocent as a baby (kuzhandai) – like (pOlE) a child (SEi) that is at the feet (aDi kIzh) of its mother (tAy) [6]. As you enter (puga) [7] this cleansing fire that is the dEvi, one will enjoy a lifetime (pOdellAm) [8] of bliss (inbam) [9]. And, you will banish/push (taLLiDuvAi) all bad deeds/intrigue/sins (SUdellAm) to the nether worlds (purattinilE).
C3: migattaa kaippaDu kaLiyinilE meishOra uL vIram vandu shOrvai venru kaitEra
jagattiniluLLa manidarellAm nanru nanrena nAm SadiruDanE tALam iSai iraNDumonrE
As our minds/bodies/spirits (mei) become exhausted (SOra) with our participation in meaningless activities/games (kaLiyinilE) that are so abundant (migatta) and come our way (kaippaDa) so easily, it is our good fortune that our dormant heroism (vIram) is aroused as we realize that all (ellAm) human beings (manidar) in (uLLa) this world (jagattinil) are essentially useful and capable of good (nanru, narena), and we realize that melody (iSai) and rhythm (tALam) are but one (iranDumonrE) [10] in this cosmic dance (SadiruDanE) of life. And as this heroism (vIram) arrives (vandu), it destroys (venru) our spiritual exhaustion (SOrvai), and becomes the means of our salvation (kaitEra) [11].
C4: indiranAr-ulaginilE nallinbam irukkudenbAr adanai ingE koNDEidi
mantiram pOl vENDumaDA Sollinbam nalla madamuRavE amuda nilai kaNDEidit-
People say (enbAr) that there is (irukkudu) unending bliss/happiness (nallinbam) in the world (ulaginlE) of the gods/indra (indiranAr). To capture (koNDu) and acquire (Eidi) that (adanai) bliss for us to enjoy here (ingE), in this world, we need (vENDum) the felicity (inbam) to use words (Sol) like (pOl) magical spells/incantations/charms (mantiram), so that we can forge good/great/exemplary (nalla) relationships (uRavE) between various religions and sects (madam) and establish (kaNDEidi) an ambrosia-like (amuda) happy state (nilai) on this earth.
ALTERNATELY: People say (enbAr) that there is (irukkudu) unending bliss/happiness (nallinbam) in the world (ulaginlE) of the gods/indra (indiranAr). To capture (koNDu) and acquire (Eidi) that (adanai) bliss for us to enjoy here (ingE), in this world, we need (vENDum) the felicity (inbam) to use words (Sol) like (pOl) magical spells/incantations/charms (mantiram), and bring (kaNDeidi) that ambrosia (amudam) from the heavens, so that we can enjoy (uravE) that intoxicated (madam) state (nilai) here on earth.
FOOT NOTES:
[1] taga taga taga taga venru – can be interpreted as a sort of solkaTTu, or as an expression of dancing with ecstatic abandon.
[2] ammai is repeated for emphasis – to establish that she is no ordinary mother, but the divine mother, of all creation.
[3] This is a beautiful pun on the word agam – which means among other things, 'mind' as well as 'ego'! So, it could also mean the fire (tagattinilE) that destroys or burns sins/egotism (agam) that pollute our minds (agam).
[4] emmai is the royal/divine singular ('we').
[5] The cave here is a reference to the cavernous mind that is dark in its ignorance, filled with sin and ego – it is this dark ignorance that the brilliant fire will illuminate and enlighten – the principle of tamasOmA jyOtir gamaya; it is this sin/ego that the fire will burn away – the principle of asatOmA sat gamaya – and the final bliss that one feels when this fire is embraced illustrates the principle of mrityOrmA amritam gamaya.
[6] Bharati is all for cleansing/destroying to recreate. This visual imagery of a hot fire that is something to be touched, caressed, and embraced appears in other poems of his. Here he is saying the fire is like an innocent child – he is pushing us to pick it up and enjoy it, while it cleanses us and leads us to a bliss that cannot be defined.
[7] puga is repeated for emphasis – that this cleansing is a continuous, conscious, active process that one can not start and then place it on autopilot.
[8] pOdellAm = pOdu + ellAm = time + all of it = lifetime.
[9] aDA is a term of familiarity – the poet is addressing us, his audience thus, and requests us to heed him.
[10] iranDumonrE = iranDum+onrE = the two/both+are one. Refers to the union of jIvAtmA and the paramAtmA – he is still referring to the fire and entering its all consuming flames.
[11] The theme of acquiring the courage of conviction to face our shortcomings and metaphorically enter the fire to be cleansed and attain salvation continues.
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rshankar
- Posts: 13754
- Joined: 02 Feb 2010, 22:26
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mohan
- Posts: 2808
- Joined: 03 Feb 2010, 16:52
Thanks - I found some related information at http://en.wikipedia.org/wiki/Subramanya ... mpositions
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beginner
- Posts: 50
- Joined: 02 Apr 2008, 14:50
Yes Biyag is BehAg only. There was some tradition (!) not to write sanskrit alphas in tamil. Mixing up with sanskrit alphas like ha, jha, sha is called taRbhavam, which is now prevalent in Tamil scripts.
One incident comes to my mind, which I read thru some article. When Sri. KarunAnidhi was writing a letter to Sri Rajaji, he wrote like this " Thiru rasAsi avarkaLukku' and went on. On receipt of this letter, Sri Rajaji informed Mr. KarunAnidhi to use his name as 'RAJAJI' only.
One incident comes to my mind, which I read thru some article. When Sri. KarunAnidhi was writing a letter to Sri Rajaji, he wrote like this " Thiru rasAsi avarkaLukku' and went on. On receipt of this letter, Sri Rajaji informed Mr. KarunAnidhi to use his name as 'RAJAJI' only.
Last edited by beginner on 03 Apr 2008, 12:14, edited 1 time in total.
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rshankar
- Posts: 13754
- Joined: 02 Feb 2010, 22:26
Mohan,mohan wrote:Thanks - I found some related information at http://en.wikipedia.org/wiki/Subramanya ... mpositions
A very sanitized version! Thanks, nevertheless!
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Vocalist
- Posts: 1030
- Joined: 19 Feb 2006, 18:53
Yes, he had tuned many of them, but they are not often sung in the original tune. This particular composition was tuned in Shivashakthi by Lalitha Sivakumar.rshankar wrote:A publication of his works has rAgas next to some of the compositions - however, I think most of the songs as they are sung now were retuned. This one of course was retuned in the eponymous SivaSakti rAga. The publication has the rAga as biyAg (I assume that it is behAg).
Ravi
Last edited by Vocalist on 04 Apr 2008, 11:37, edited 1 time in total.