lyrics needed for dharmavathi varnam

[cyberrekha]

I need lyrics and meaning for a varnam in Raga Dharmavathi composed by Madurai R Muralidharan.
beginning lyrics is Aadi Aadi Magizhndar . Thanks

[Lakshman]

ADi ADi magizhndAr (pv). rAgA: dharmavati. Adi tALA. Madurai Muralidharan.

P: ADi ADi magizhndAr aDiyavar munivarum tozhum Adi antamumillA Ananda naTarAjan
A: tEDi tEDi tirumAlum aDi tEDa tan Adi muDi tEDi nAnmukhan uzhalaikkaNDu
(muktAyisvara sAhitya)
pADi pADi padam sEra ODiyE bAlan vAzhavE kAlanai udai seida
vADi vADi azhaittOrin kural kETTu ODi uDanE vandu nallaruL tandiDum naTana sabhApati
(ciTTasvara sAhitya)
veN pirai tigazh amudam tanai magzhndu tendishai kaDambavanamadil sorindu
nannIr niraippon tAmara kuLamuDan endishai pOTriDum madurai tanai tandu
tannuDal padiyam mIn vizhi nAyaki viNNavar pADiDa aravE aruL seidu
maNNuyir vAzhndiDum mAniDar vaNamura kaNNenavE kAttaruLum paraman avan
C: Anandam pongum kAl mAri ADinAr veLLi ambalam tanil
1: kandan annai magizha undan konjum kazhal vindai kaNDiDa
2: bhUta gaNamADa nAda OmkAra muzhu mudar gaNapati vandu uDan ADa
3: nIDuyarnda malaigaL nIruraiyum paniyil tIrkamaram nirainda nIlakaNThan avan
nIL shaDai muDiyil nIrum pozhiya tirunIr aNinda uDalil nINDaravum neLiya

[rshankar]

I will psot a translation in a day or two.

[cyberrekha]

thank you. Looking forward for translation.

[rshankar]

Here you go...as always, input from others welcomed!

pallavi
ADi ADi magizhndAr aDiyavar munivarum tozhum Adi antamumillA Ananda naTarAjan
The blissful (Ananda) lord of the naTas (naTarAjan) [1] who doesn’t have (illA) a beginning (Adi) or even an end (antamum), and is worshipped (tozhum) by devotees (aDiyavar) and ascetics (munivarum), delighted (magizhndAr) in dancing continually (ADi ADi)!

anupallavi
tEDi tEDi tirumAlum aDi tEDa tan Adi muDi tEDi nAnmukhan uzhalaikkaNDu (ADi ADi magizhndAr…)
(naTarAja continued to dance and be delighted) as he saw/beheld (kaNDu) vishNu (tirumAlum) spending a lot of time searching (tEDi, tEDi) for his feet (aDi), and the four-faced one (nAnmukhan/nAnmugan), brahmA, toiling in vain (uzhalai) in search of (tEDi) of his (tan) head (Adi muDi) [2].

muktAyisvara sAhityam
pADi pADi padam sEra ODiyE bAlan vAzhavE kAlanai udai seida
vADi vADi azhaittOrin kural kETTu ODi uDanE vandu nallaruL tandiDum naTana sabhApati (ADi ADi magizhndAr…)
Even as the meaning (padam) is incorporated (sEra) as the music is sung (pADa pADa), he ran (ODiyE) in haste and kicked (udai seida) yama (kAlanai) so that the young boy (bAlan) could live (vAzhavE) [3]! He is the dancing (naTana) lord (pati) of the cit sabhA/ponnambalam (sabhA) who (continues to dance and be delighted), and runs (ODi vandu) immediately (uDanE) when he hears (kETTu) the voice (kural) of those that call out (azhittOrin) to him in grief (vADi vADi) and grants (tandiDum) his grace (nallaruL)!

ciTTasvara sAhityam
veN pirai tigazh amudam tanai magizhndu tendishai kaDambavanamadil sorindu
nannIr niraip poTRAmarai kuLamuDan endishai pOTRiDum madurai tanai tandu
tannuDal padiyil mIn vizhi nAyaki viNNavar pADiDa aravE aruL seidu
maNNuyir vAzhndiDum mAniDar vaLamura kaNNenavE kAttaruLum paraman avan
By pouring (sorindu) the nectar (amudam tanai) contained (tigazh) in the white (veN) crescent moon (pirai) into (adil) the kadamba forest (kaDambavanam) located in the southern (ten) direction (diSai) in exultation (magizhndu), and creating/granting (tandu) the city of madurai, praised (pOTRiDum) in all (en) directions (diSai), complete with (uDan) the pond (kuLam) of the golden lotus (poTRAmarai) [4] that is filled (niRai) with water (nIr) of superior quality (nal); with the fish (mIn)-eyed (vizhi) lady (nAyaki) [5] in one half (pAdiyil) of his (tan) uDal (body), as the celestial beings (viNNavar) sing his praises (pADiDa), he (avan) is the Supreme Being (paraman) who protects (kAttaruLum) us like his eyes (kaNNenavE) [6], so that we humans (mAniDar) that live (uyir vAzhndiDum) on this earth (maN) may attain greatness (vaLamura), by satisfactorily (aravE) blessing (aruL seidu) us.

caraNa sAhityam
Anandam pongum kAl mAri ADinAr veLLi ambalam tanil
He danced (ADinAr) by alternating (mAri) his feet (kAl) [7] in (tanil) the silver (veLLi) hall/theater (ambalam), [8] overflowing (pongum) with joy (Anandam)

caraNa svara sAhityam 1
kandan annai magizha undan konjum kazhal vindai kaNDiDa (Anandam pongum…)
(You danced with alternating feet in the silver hall/theater, overflowing with joy) as the mother (annai) of murugan (kandan) delights (magizha), for us to behold (kaNDiDa) the wonder (vindai) of your (undan) caressing (konjum) feet (kazhal).

caraNa svara sAhityam 2
bhUta gaNamADa nAda OmkAra muzhu mudar gaNapati vandu uDan ADa (Anandam pongum…)
(You danced with alternating feet in the silver hall/theater, overflowing with joy) as your servitors (bhUta gaNam) dance (ADa), and gaNapati, the source (muzhu mudar) of the OmkAra (nAda OmkAra), comes (vandu) to join (uDan) you and dances (ADa) along.

caraNa svara sAhityam 3
nIDuyarnda malaigaL nIruraiyum paniyil dIrkam aRam niRainda nIlakaNThan avan
nIL shaDai muDiyil nIrum pozhiya tirunIr aNinda uDalil nINDaravum neLiya (Anandam pongum…)
He (avan) is the blue (nIla)-necked (kaNThan) one amidst ancient (nIDu) and tall (uyarnda) mountains (malaigaL) shrouded in damp (nIruraiyum) mist (paniyum), whose appearance is filled (niRainda) with majesty (dIrgam) and moral virtue (aRam) [9]. As the water (nIrum) gushes (pozhiya) from his long (nIL) matted (SaDai) locks (muDiyil), and long (nINDa) serpents (aravum) crawl (neLiya) on his body (uDalil) that is adorned (aNinda) with vibhUti (tirunIr), (he danced with alternating feet in the silver hall/theater, overflowing with joy).

FOOTNOTES
[1] If I understand this correctly, the name naTarAja for Siva comes from the fact that Siva, as the exemplary practitioner of the fifth vEda (the nATya vEda), became the leader or god of naTas and naTis (men and women who practiced the nATya vEda), and acquired the name naTarAja

[2] Refers to the story of how vishNu as a boar dug through the depths of the earth searching for Siva’s feel – and not finding it, he conceded defeat and accepted his inability to Siva. brahmA in the meantime undertook to fly up on his swan to locate Siva’s head – but even after flying up for ages, he was no nearer to the head – at that time, he crossed paths with a flower that had fallen down from Siva’s head, and asked the flower for details of Siva’s head – brahmA returns and pretends that he had actually seen Siva’s head. When the truth finally comes out, Siva pinches brahmA’s fifth head as punishment for lying

[3] Refers to the story of mArkaNDEya

[4] Siva, as the benefactor responsible for muttamizh (iyal, isai, nATakam – tamizh literature, music, and theater) to flourish, is credited with the creation of the pond in the mInAkshi-sundarESvara temple – a pond where a golden (pon) lotus (tAmarai) or poTRAmarai (pon+tAmarai) lay submerged – people would bring their creations (in literature, music, and theater) and drop it into the pond for judgment – those judged worthy would be brought out of the waters on the golden lotus – this process assured that only the best of the best ever saw the light of day (I am sorely tempted to compare and contrast this with the present day peer review process!)

[5] mIn vizhi nAyaki – mInAkshi/angayarkaNNi

[6] As sight is considered to be one of the most precious of the five senses, people are thought to protect their eyes at all costs, giving rise to the figure of speech in tamizh – kaNNena kAppadu – to describe a level of protection that is very high

[7] kAl mAri ADiya sabhEsan – in Madurai, there was a pANDyan king, a devout Siva bhakta, who became very concerned that Siva (as naTarAja) was standing on his right foot (with the left one raised, as in cidambaram and other naTarAja temples) for eternity, and that his right foot would consequently be in severe pain – moved and amused by this concern, Siva, in Madurai appeared before the king with his left foot down, and the right raised – hence, the concept of kAl mAri ADiya sabhEsan

[8] There are 5 halls/theaters (ambalams or sabhAs) in South India where Siva, as naTarAja is supposed to have danced to delight his devotees:
o ponambalam – golden hall – in cidambaram (temple of sivakAmi samEta kanaka sabhApati)
o veLLiambalam – silver hall – in madurai (temple of mInAkshi samEta sundarESvarar)
o rattinasabha – ruby hall – in tiruvAlankADu (temple of vaNDArkuzhali samEta vaDAraNyESvarar)
o tAmira sabhai – the copper hall – in tirunelveli (temple of kAntimati samEta nellaiappar)
o cittira sabhai – hall of pictures – in kuTRAlam (temple of kuzhalvAimozhi ammai samEta kuTRAlanAthar)

[9] I have resplit tIrkamaram in Lakshmanji's version to dIrgam and aRam - not sure if this is correct, but it seems to make overall sense

[rshankar]

Lakshmanji - I have a couple of questions about this varNam - I see both muktAyi svara and ciTTasvara sAhitya:
1) how does one differentiate ciTtasvara from muktAyisvara?
2) how common is it to have both in a varNam?

[Lakshman]

Sorry, I have no idea. I just guessed about the structure of the song. I don't know if muktAyisvara text and ciTTasvarA text are the norm in dance pieces or if this is an exception.
It is impossible to get information about the compositions of Madurai Muralidharan. Perhaps people who are dancers may be able to answer the questions you have asked.

[cyberrekha]

Thank you so much for such elaborate translation. This will help me a lot in dance choreography.

[KKishore]

Few changes in lyrics as i heard it differently:
The line : pADi pADi padam sEra ODiyE bAlan vAzhavE kAlanai udai seida
could be as follows:
pAdi pAdi padham sEra Odiya bAlan vAzhavE kAlanai udhai seithu
(The story is same as Markandeya but here it means the devotee who sang in praise of Lord Shiva and ran to him seeking refuge in Lords feet for protection from kAla/Yama. Lord Shiva then kicked Yama to protect his devotee. Infact i had read Markandeya sang/composed Chandrasekhara Ashtakam in gratitude later.)

Also last 2 lines the wording could be:
nIduyarntha malaigal nIr uraiyum paniyum "nIkkamara"(unseparable/omnipresent) niraintha nILaKandan avan
nIls(ch)adaimudiyinil nIrum pOzhiya thiruNIr anindha udalil nIL aravam neliya

(Overall meaning does not change to what is beautifully given already)

Another fact/article (not so important for someone looking for lyrics&meaning perspective from a dancers need/view)
https://www.newindianexpress.com/cities ... 73867.html
(Its said that Indra got relief from his curse by worshipping the shiva lingam he found amidst Kadamba trees in a place (Kadambavanam) now Madurai, established a shrine there thanking Shiva for his atonement)