Dear connoisseurs of Tamil, let me know word by word meaning of this beautiful song, please. I need it very much to create a dance pattern and proper abhinaya for the item.
Thank you in advance.
Composer: Uttukadu Venkata Subba Iyer
Language: Tamil
Raagam: KaanaDaa
Taal Aadi
pallavi
alai pAyudE kaNNA en manam miga alai pAyudE
un Ananda mOhana vENugAnamadil
anupallavi
nilai peyarAdu Silai pOlavE nin
nEramAvadaRiyAmalE miga vinOdamAna muraLIdharA (alai)
charaNam
theLinda nilavu paTTappagal pOl eriyudE
un dikkai nOkki en iru puruvam neriyudE
kanindu un vENugAnam kAtril varugudE
kaNkal soruki or vidamAy varugudE
kadittha manatthil uRutthi paDaittha
enakku aLitthu magizhttha vA
oru thanittha vanatthil aNaitthu enakku
uNarcchi koDutth mugizhttha vA
kalai kaDal alaiyinil kadiravan oLiyena
iNaiyiru kazhal enakk aLitthavA
kadaRi manamurugi nAn azhaikkavO
idara mAdaruDan nI kaLikkavO
idu thaghumO idu muRaiyO idu darmam thAnO
kuzhal UdiDum pozhudu ADiDum kuzhaigaL pOlavE
manadu vEdanai migavODu (alai)
Alai payude - detailed meaning is needed
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chalanata
- Posts: 603
- Joined: 06 Feb 2010, 15:55
my mind sways in your cheerful flute melody (music)
my mind sways standing like a stationary statue without realising lapse of time oh beautiful muralidhara!
clear moon burns like day
my eyebrows twist looking at all directions
your matured flute melody transcends through breeze
eyes become swollen causing uneasiness
come and set your foot in my fatalistic mind
come to blossom me with compassion in a lonely jungle
in tidal waves in sun light come and to enjoy me like another flute
should i have to wail and call? and you will enjoy with other women?
Is it proper? is it the method?
my mind sways like the dancing ear rings when you play the flute!
(hope my learned friends do not tear me apart! so help me Muralidhara!)
my mind sways standing like a stationary statue without realising lapse of time oh beautiful muralidhara!
clear moon burns like day
my eyebrows twist looking at all directions
your matured flute melody transcends through breeze
eyes become swollen causing uneasiness
come and set your foot in my fatalistic mind
come to blossom me with compassion in a lonely jungle
in tidal waves in sun light come and to enjoy me like another flute
should i have to wail and call? and you will enjoy with other women?
Is it proper? is it the method?
my mind sways like the dancing ear rings when you play the flute!
(hope my learned friends do not tear me apart! so help me Muralidhara!)
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rshankar
- Posts: 13754
- Joined: 02 Feb 2010, 22:26
Apsara,
Here is the padarthA as opposed to sarAmsha provided earlier:
I have some issues with interpretting the pallavI and anupallavI (both chalanATa's and the interprettation at the karnatik site) as being cheerful references to a joyful mood...if the last charaNam is linked back to the pallavi, to me it sounds like the nAyikA's mind is in tumoil...
DISCLAIMER: I am definitely not a scholar! This is just my interprettation. When I do not know the meaning of a word/pada, I have indicated it as 'NO CLUE' and where I am not certain of the meaning, I have placed a ? mark in parentheses.
alai = waves
pAyudE = (are) rushing/jumping (at)
kaNNA = Oh krishNA
en = my
manam = mind (could also imply heart
miga = very much/extreme
un = your
Ananda = joyful/joyous
mOhana = attractive
vENugAnam = music from your flute (vENu)
adil = in it
Oh krishNA, the sweet and attractive music from your flute has my mind/heart in a turmoil (like the churning waves of the ocean)....
(sounds oxymoronish for the joyous sounds to induce turmoil, but this sort of sentiment seems to be expressed in a lot of compositions - 'mIThA mITha dard' is the closest I can come to understanding it)
anupallavi
nilai peyarAdu = un-uprootable
Silai = statue
pOlavE = like
ninru = standing
nEram = time
Avada = (the) passing of
aRiyAmalE = without being conscious of
miga = extremely
vinOdamAna = entertaining
muraLIdharA = bearer of the flute (murLI)(alai)
Oh murLIdhara, I listen to your music like a statue that has taken root, unconscious of the passage of time, with my heart in a turmoil.
charaNam
theLinda = clear
nilavu = moon
paTTappagal = mid day
pOl = like
eriyudE = (is) burning bright
un = your
dikkai = direction
nOkki = towards
en = my
iru = two/both
puruvam = eyebrows
neLiyudE = (are) moving (towards)
kanindu = sweet (like the fruits - kani)
un = your
vENugAnam = music from your flute
kAtril = in the wind
varugudE = wafts along
kaNgal = (my) eye
sorugi = droop
oru = one/new
vidamAy = feeling
varugudE = comes (over me)
kadittha = NO CLUE
manatthil = (in my) mind/heart
uRutthi = firm
paDaittha = establish
enakku = for me
aLitthu = bestow upon
magizhttha = (make me) happy
vA = please come
In this night when the moonlight is as bright as the scorching sun, my eyebrows twist toward you (my eyes seek you) even as my eyelids droop with drowsiness. I am aware of a new feeling creeping over me, setting my senses on fire. Oh krishNA please come to me and establish your unswerving presence in my mind/heart and fill me with eternal bliss.
oru = one
thanittha = lonely/hidden
vanatthil = (in a) forrest
aNaitthu = embrace (me)
enakku = (for) me
uNarcchi = senses
koDutthu = give (me)
mugizhttha = NO CLUE
vA = please come
Oh krishNA please take me to an isolated groove/forrest and (re)ignite my senses as you embrace me.
kalai = NO CLUE
kaDal = ocean
alaiyinil = in the waves
kadiravan = sun
oLiyena = oLi + ena = light + like
iNaiyiru = unequalled (?)
kazhal = toe-ring (?)
enakku = (for) me
aLitthavA = one who bestowed upon me
Like the sun's rays dancing on the waves of the ocean, you gave me......
kadaRi = full of lament
manamurugi = with my heart/mind melting
nAn = I (am)
azhaikkavO = calling (you)
idara = other
mAdaruDan = mAdar + uDan = women + with
nI = you
kaLikkavO = prancing around
idu = this
thaghumO = (is it) appropriate
idu = (Is) this
muRaiyO = the correct custom
idu = (Is) this
dharmam tAnO= righteous/correct
{NOW the nAyikA - rAdhA perhaps, gets upset with krishNA's antics} Oh krishNA! is it appropriate/customary/righteous of you to frolic with other women even as you hear my heartfelt pleas?
kuzhal = flute
UdiDum = blowing
pozhudu = time
ADiDum = dancing
kuzhaigaL = (your) ear-rings
pOlavE = like
manadu = (my) mind/heart
vEdanai = troubled
migavODu = extremely(alai)
Just like your ear-rings that sway all over when you play the flute, my emotions make my heart go topsy turvy and fill me with turmoil, like the churning waves of the ocean...
Ravi
yad akSara pada bhraSTam
mAtrA hInam cha yad bhavEt
tat sarvam kshamyatAm dEvi
prasIda paramEshwarI
Here is the padarthA as opposed to sarAmsha provided earlier:
I have some issues with interpretting the pallavI and anupallavI (both chalanATa's and the interprettation at the karnatik site) as being cheerful references to a joyful mood...if the last charaNam is linked back to the pallavi, to me it sounds like the nAyikA's mind is in tumoil...
DISCLAIMER: I am definitely not a scholar! This is just my interprettation. When I do not know the meaning of a word/pada, I have indicated it as 'NO CLUE' and where I am not certain of the meaning, I have placed a ? mark in parentheses.
alai = waves
pAyudE = (are) rushing/jumping (at)
kaNNA = Oh krishNA
en = my
manam = mind (could also imply heart
miga = very much/extreme
un = your
Ananda = joyful/joyous
mOhana = attractive
vENugAnam = music from your flute (vENu)
adil = in it
Oh krishNA, the sweet and attractive music from your flute has my mind/heart in a turmoil (like the churning waves of the ocean)....
(sounds oxymoronish for the joyous sounds to induce turmoil, but this sort of sentiment seems to be expressed in a lot of compositions - 'mIThA mITha dard' is the closest I can come to understanding it)
anupallavi
nilai peyarAdu = un-uprootable
Silai = statue
pOlavE = like
ninru = standing
nEram = time
Avada = (the) passing of
aRiyAmalE = without being conscious of
miga = extremely
vinOdamAna = entertaining
muraLIdharA = bearer of the flute (murLI)(alai)
Oh murLIdhara, I listen to your music like a statue that has taken root, unconscious of the passage of time, with my heart in a turmoil.
charaNam
theLinda = clear
nilavu = moon
paTTappagal = mid day
pOl = like
eriyudE = (is) burning bright
un = your
dikkai = direction
nOkki = towards
en = my
iru = two/both
puruvam = eyebrows
neLiyudE = (are) moving (towards)
kanindu = sweet (like the fruits - kani)
un = your
vENugAnam = music from your flute
kAtril = in the wind
varugudE = wafts along
kaNgal = (my) eye
sorugi = droop
oru = one/new
vidamAy = feeling
varugudE = comes (over me)
kadittha = NO CLUE
manatthil = (in my) mind/heart
uRutthi = firm
paDaittha = establish
enakku = for me
aLitthu = bestow upon
magizhttha = (make me) happy
vA = please come
In this night when the moonlight is as bright as the scorching sun, my eyebrows twist toward you (my eyes seek you) even as my eyelids droop with drowsiness. I am aware of a new feeling creeping over me, setting my senses on fire. Oh krishNA please come to me and establish your unswerving presence in my mind/heart and fill me with eternal bliss.
oru = one
thanittha = lonely/hidden
vanatthil = (in a) forrest
aNaitthu = embrace (me)
enakku = (for) me
uNarcchi = senses
koDutthu = give (me)
mugizhttha = NO CLUE
vA = please come
Oh krishNA please take me to an isolated groove/forrest and (re)ignite my senses as you embrace me.
kalai = NO CLUE
kaDal = ocean
alaiyinil = in the waves
kadiravan = sun
oLiyena = oLi + ena = light + like
iNaiyiru = unequalled (?)
kazhal = toe-ring (?)
enakku = (for) me
aLitthavA = one who bestowed upon me
Like the sun's rays dancing on the waves of the ocean, you gave me......
kadaRi = full of lament
manamurugi = with my heart/mind melting
nAn = I (am)
azhaikkavO = calling (you)
idara = other
mAdaruDan = mAdar + uDan = women + with
nI = you
kaLikkavO = prancing around
idu = this
thaghumO = (is it) appropriate
idu = (Is) this
muRaiyO = the correct custom
idu = (Is) this
dharmam tAnO= righteous/correct
{NOW the nAyikA - rAdhA perhaps, gets upset with krishNA's antics} Oh krishNA! is it appropriate/customary/righteous of you to frolic with other women even as you hear my heartfelt pleas?
kuzhal = flute
UdiDum = blowing
pozhudu = time
ADiDum = dancing
kuzhaigaL = (your) ear-rings
pOlavE = like
manadu = (my) mind/heart
vEdanai = troubled
migavODu = extremely(alai)
Just like your ear-rings that sway all over when you play the flute, my emotions make my heart go topsy turvy and fill me with turmoil, like the churning waves of the ocean...
Ravi
yad akSara pada bhraSTam
mAtrA hInam cha yad bhavEt
tat sarvam kshamyatAm dEvi
prasIda paramEshwarI
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vasanthakokilam
- Posts: 10958
- Joined: 03 Feb 2010, 00:01
Ravi, Chalanata: I usually do not ponder over lyrics this much, but Ravi's different interpretation made me think about it a bit.
I think the difference between the two falls on this premise in the pallavi line: Is the vENugAnam the instigator of the pleasant memories of Krishna causing her mind to drift in pleasant thoughts or it reminds her of her separation from him. The way the song is setup initially, it seems to be more the former but as the song proceeds, it turns to anguish and the pallavi refrain from the last charanam is definitely one of anguish and dismay. Since the pallavi line can be interpreted in two ways, the 'pleasant' interpretation applies during the initial pallavi and the refrain from the anupallavi but the 'anguish' interpretation applies for the refrain after the charanam. IMO . ( anguish and dismay are not quite the right way to express it, but lack of anything else they will suffice )
Also, the choice of kAnaDa by the composer can give us some clues. Looking at it from scratch, she is definitely not boasting or being self confident, so it leaves the aTTAna, kuntalavarALi category of ragas out. She is definitely not so sad to be crying, so the other end of the spectrum is out. So it brings us to the rasA in the realm of kAnaDa and sahAna. Of the two, to me, kAnaDa is a bit more cheerful than sahAna ( so the last charanam and the refrain back to pallavi would be more apt in sahAna ). But the composer, by the choice use of the appropriate rhythmic syllables and upper sthayi swaras has managed to convey the anguish mood using kAnaDa itself, thus distinguishing between the cheerful mood in the beginning and the anguish mood at the end.
I think the difference between the two falls on this premise in the pallavi line: Is the vENugAnam the instigator of the pleasant memories of Krishna causing her mind to drift in pleasant thoughts or it reminds her of her separation from him. The way the song is setup initially, it seems to be more the former but as the song proceeds, it turns to anguish and the pallavi refrain from the last charanam is definitely one of anguish and dismay. Since the pallavi line can be interpreted in two ways, the 'pleasant' interpretation applies during the initial pallavi and the refrain from the anupallavi but the 'anguish' interpretation applies for the refrain after the charanam. IMO . ( anguish and dismay are not quite the right way to express it, but lack of anything else they will suffice )
Also, the choice of kAnaDa by the composer can give us some clues. Looking at it from scratch, she is definitely not boasting or being self confident, so it leaves the aTTAna, kuntalavarALi category of ragas out. She is definitely not so sad to be crying, so the other end of the spectrum is out. So it brings us to the rasA in the realm of kAnaDa and sahAna. Of the two, to me, kAnaDa is a bit more cheerful than sahAna ( so the last charanam and the refrain back to pallavi would be more apt in sahAna ). But the composer, by the choice use of the appropriate rhythmic syllables and upper sthayi swaras has managed to convey the anguish mood using kAnaDa itself, thus distinguishing between the cheerful mood in the beginning and the anguish mood at the end.
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arasi
- Posts: 16873
- Joined: 22 Jun 2006, 09:30
Excellent translation, Ravi.
kadiththa manam: mind in a highly emotional state
mugizththa: to make it blossom
kalai kaDal: sea of monstrous movement (pEyATTam)
kalai also means a shark or makarA fish
iNai iru kazhal: a pair of feet (krishnA's)
To me, the first line says it all. Radha (?) is in an agitated state all through.
Apsara, though Ravi had to work hard, I am glad you asked for the meaning and it gives me a new perspective on the piece.
VK, if I were a dancer, I would be fascinated by the way in which 'movement' becomes the theme of the song. Everything--emotions, Nature, and Radha's agitated expressions, all have their own movement. The breeze, the quizzical eyebrows (why he isn't here??). And her stupor as a foil--a bold contrast to her being all aflutter. Now, I appreciate the song even more...
kadiththa manam: mind in a highly emotional state
mugizththa: to make it blossom
kalai kaDal: sea of monstrous movement (pEyATTam)
kalai also means a shark or makarA fish
iNai iru kazhal: a pair of feet (krishnA's)
To me, the first line says it all. Radha (?) is in an agitated state all through.
Apsara, though Ravi had to work hard, I am glad you asked for the meaning and it gives me a new perspective on the piece.
VK, if I were a dancer, I would be fascinated by the way in which 'movement' becomes the theme of the song. Everything--emotions, Nature, and Radha's agitated expressions, all have their own movement. The breeze, the quizzical eyebrows (why he isn't here??). And her stupor as a foil--a bold contrast to her being all aflutter. Now, I appreciate the song even more...
Last edited by arasi on 04 Dec 2006, 22:03, edited 1 time in total.
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rshankar
- Posts: 13754
- Joined: 02 Feb 2010, 22:26
Arasi, thanks for filling in the gaps (for my CE credits!)...
And you are absolutely correct when you point out the contrasts: The contrast for me in this song is the stillness (of the night, the nAyikA's physical being - nilai peyarAda shilai), and the constant movement (the sea, her emotions, krishNA's feet, his ear-rings etc etc etc), but the contrast that VK suggests could also be one of these.
And you are absolutely correct when you point out the contrasts: The contrast for me in this song is the stillness (of the night, the nAyikA's physical being - nilai peyarAda shilai), and the constant movement (the sea, her emotions, krishNA's feet, his ear-rings etc etc etc), but the contrast that VK suggests could also be one of these.
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Rajani
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- Joined: 04 Feb 2010, 19:52
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arasi
- Posts: 16873
- Joined: 22 Jun 2006, 09:30
Not haphazard--it is pEyATTam ADum kaDal (agitated sea)
Not artistic (lending itself for an artist to paint it, perhaps, but not here). As I said before, it appeals to me to visualize it as a repository of various kinds of fish too since kalai also means fish. No herring, though:) I am not stretching my imagination to say it reflects chandra kalai (crescent moon) because the moon which shines like mid day sun (nilavu paTTappagal pOl eriyudE) refers to a full moon.
Tamizh, with its richness of meaning--myriad words for the same thing and many meanings for the same word, though confusing at times, is a joy to hear and read...
Not artistic (lending itself for an artist to paint it, perhaps, but not here). As I said before, it appeals to me to visualize it as a repository of various kinds of fish too since kalai also means fish. No herring, though:) I am not stretching my imagination to say it reflects chandra kalai (crescent moon) because the moon which shines like mid day sun (nilavu paTTappagal pOl eriyudE) refers to a full moon.
Tamizh, with its richness of meaning--myriad words for the same thing and many meanings for the same word, though confusing at times, is a joy to hear and read...
Last edited by arasi on 05 Dec 2006, 10:10, edited 1 time in total.
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vasanthakokilam
- Posts: 10958
- Joined: 03 Feb 2010, 00:01
Ravi, Arasi, I appreciate the point you two make about the contrast. That is a nice abstract and artisitic interpretation, going beyond the immediate meaning.
Pallavi can go either way, charanam definitely indicates the agitated state but I have a problem interpreting the anupallavi + pallavi as an expression of agitated state, though the contrast idea fits there the most. I always understood that as her 'mei marandu' while listening to the venugAnam. It is hard for me to relate, though anything is possible with women ( ouch!!
), the combined state of angst, anguish and being lost in the enjoyment of music. But the over all idea of this contrast is appealing though. As arasi said, it will be interesting how a dancer will interpret that.
Pallavi can go either way, charanam definitely indicates the agitated state but I have a problem interpreting the anupallavi + pallavi as an expression of agitated state, though the contrast idea fits there the most. I always understood that as her 'mei marandu' while listening to the venugAnam. It is hard for me to relate, though anything is possible with women ( ouch!!
), the combined state of angst, anguish and being lost in the enjoyment of music. But the over all idea of this contrast is appealing though. As arasi said, it will be interesting how a dancer will interpret that.ah, an example of vinaithokai other than UrukAi..kanaikadal is vinaithokai indicating roar of the sea at all times;past present and future.
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drshrikaanth
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chalanata
- Posts: 603
- Joined: 06 Feb 2010, 15:55
VGV,
when 'nilai peyarathu silai polave nindreramariyamale miha vinadhamana muralidhara' is pronounced 'nin' will come. 'nin' is actually one half of the combination of two words 'nindrariyamale'.
'kanai kadal' as far as i see suits the verse best. any authentic clarifications?
kalaik kadal is incorrect pronounciation because the extra syllable 'k' gives an unnecessary stress and the 'otrezhuthu' is incorrect in the context as per Tamil grammer.
when 'nilai peyarathu silai polave nindreramariyamale miha vinadhamana muralidhara' is pronounced 'nin' will come. 'nin' is actually one half of the combination of two words 'nindrariyamale'.
'kanai kadal' as far as i see suits the verse best. any authentic clarifications?
kalaik kadal is incorrect pronounciation because the extra syllable 'k' gives an unnecessary stress and the 'otrezhuthu' is incorrect in the context as per Tamil grammer.
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vgvindan
- Posts: 1430
- Joined: 13 Aug 2006, 10:51
chalanata,
Regarding 'kalaik kaDal' - Sudha sings as 'kalai kaDal'. Grammatically 'kalaik kaDal' is correct taking 'kalai' meaning 'art' as adjective. When joined to the word 'kaDal', the intervening 'k' will come. However, in spoken language, and may be in poetry too, there may be privilege to omit this - I am not aware.
I never said 'kalaik kaDal' or 'kalai kaDal' or 'alai kaDal' or 'kanai kaDal' is the correct word. There was a discussion as what 'kalai' would mean - that is what I responded.
Regarding the authenticity of the words, I have no knowledge and I do not quote Sudha as authority. I just brought it to the notice of the forum. It is for the viewers to judge for themselves what is right and what is not.
This is how it is given in the initial posting. Sudha sings clearly as 'ninRa nEramAvadariyAmalE'. I do not say which one is correct. But what you have givennilai peyarAdu Silai pOlavE nin
nEramAvadaRiyAmalE miga vinOdamAna muraLIdharA
is not correct.nindreramariyamale
Regarding 'kalaik kaDal' - Sudha sings as 'kalai kaDal'. Grammatically 'kalaik kaDal' is correct taking 'kalai' meaning 'art' as adjective. When joined to the word 'kaDal', the intervening 'k' will come. However, in spoken language, and may be in poetry too, there may be privilege to omit this - I am not aware.
I never said 'kalaik kaDal' or 'kalai kaDal' or 'alai kaDal' or 'kanai kaDal' is the correct word. There was a discussion as what 'kalai' would mean - that is what I responded.
Regarding the authenticity of the words, I have no knowledge and I do not quote Sudha as authority. I just brought it to the notice of the forum. It is for the viewers to judge for themselves what is right and what is not.
Last edited by vgvindan on 05 Dec 2006, 22:15, edited 1 time in total.
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rshankar
- Posts: 13754
- Joined: 02 Feb 2010, 22:26
Govindan,
You of all people should know that what singers enunciate can be miles away from what was composed! Anyway, you are correct - I was translating to the song as I know it (and it is is not nin or ninru, it is 'ninradu ariyAmalE' = 'ninradariyAmalE'. As to kalai kaDal or kanai kaDal, I think that the published lyrics in SrI krishNa gAnam (Volume l) may have the details. Unfortunately, I only have vols ll and lll!
However, even with the published lyrics of OVK's compositions, there maybe problems (similar to the now famous issue with tAyE yaSOdA).
You of all people should know that what singers enunciate can be miles away from what was composed! Anyway, you are correct - I was translating to the song as I know it (and it is is not nin or ninru, it is 'ninradu ariyAmalE' = 'ninradariyAmalE'. As to kalai kaDal or kanai kaDal, I think that the published lyrics in SrI krishNa gAnam (Volume l) may have the details. Unfortunately, I only have vols ll and lll!
However, even with the published lyrics of OVK's compositions, there maybe problems (similar to the now famous issue with tAyE yaSOdA).
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arasi
- Posts: 16873
- Joined: 22 Jun 2006, 09:30
Ravi,
Knowing and loving th kavi as you do, you do understood that all the words that we threw around would fit the context--taking into considration the time period, poetic license and one other thing. Composers themselves may interchange words knowingly or unknowingly as time goes by. We do not have to blame the printed word for it all the time. So long as the meaning fits, it is acceptable. Of course, if we know exactly what the composer had in mind, it would be ideal. As you say, some singers don't pay much attention to words and sometimes, the meaning can be lost entirely!
Knowing and loving th kavi as you do, you do understood that all the words that we threw around would fit the context--taking into considration the time period, poetic license and one other thing. Composers themselves may interchange words knowingly or unknowingly as time goes by. We do not have to blame the printed word for it all the time. So long as the meaning fits, it is acceptable. Of course, if we know exactly what the composer had in mind, it would be ideal. As you say, some singers don't pay much attention to words and sometimes, the meaning can be lost entirely!