Ananda Natamidum Padam- Raaga Kedargowla
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Here are the lyrics so that someone can provide the translation.
Ananda naTamiDum pAdan. rAgA: kEdAragauLa. Adi tALA.
P: Ananda naTamiDum pAdan ponnambala vANan cidambara nAthan
A: gAnam tanait-toDarndu jnAnam tarum pErinba
mOnam tazhaikkum yOga vAnam tanil magizhndu
C: mAnum mazhuvum Damarugamum aravum tiru varadAbhaya karamum caraNAmbujamum puli tAnum patanjaliyum paNiya ayanum mAlum tALam maddaLam koTTa shilambum kulunga inbat-tattai mozhi shivakAmi maNALan satva guNan padinAngula kALan
tatvamasip-poruLAya dayALan sadA nija anbar vaNangu tALan
tattari kiTa dhimi jhaNuta jhaNuta dhIm taka tadhingiNa tOm jhaNa jhaNa jhaNavena bhakthargaL munivargaL imaiyOrgaLum pugazh
pADavum punal shEr shaDai mati Adavum
Ananda naTamiDum pAdan. rAgA: kEdAragauLa. Adi tALA.
P: Ananda naTamiDum pAdan ponnambala vANan cidambara nAthan
A: gAnam tanait-toDarndu jnAnam tarum pErinba
mOnam tazhaikkum yOga vAnam tanil magizhndu
C: mAnum mazhuvum Damarugamum aravum tiru varadAbhaya karamum caraNAmbujamum puli tAnum patanjaliyum paNiya ayanum mAlum tALam maddaLam koTTa shilambum kulunga inbat-tattai mozhi shivakAmi maNALan satva guNan padinAngula kALan
tatvamasip-poruLAya dayALan sadA nija anbar vaNangu tALan
tattari kiTa dhimi jhaNuta jhaNuta dhIm taka tadhingiNa tOm jhaNa jhaNa jhaNavena bhakthargaL munivargaL imaiyOrgaLum pugazh
pADavum punal shEr shaDai mati Adavum
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I could have sworn that I translated this earlier, but there seems to be no trace of it whatsoever, so here goes again:
P: Ananda naTamiDum pAdan ponnambala vANan cidambara nAthan"¨
The lord (nAthan) of cidambaram, the resident (vANan) of the golden (pon) hall/sabha (ambala) is the one with feet (pAdan) that dances (naTaiDum) the Ananda tANDavam.
A: gAnam tanait-toDarndu jnAnam tarum pErinba"¨mOnam tazhaikkum yOga vAnam tanil magizhndu"¨
When meditative and exhilarating (pErinba) silence (mOnam) that grants (tarum) knowledge (gnyAnam) follows melodious music (gAnam tanai), my Lord will dance in the yogic stance (yoga vAnam) that will flourish (tazhaikkum) in that trance.
C: mAnum mazhuvum Damarugamum aravum tiru varadAbhaya karamum caraNAmbujamum puli tAnum patanjaliyum paNiya ayanum mAlum tALam maddaLam koTTa shilambum kulunga inbat-tattai mozhi shivakAmi maNALan satva guNan padinAngula kALan"¨tatvamasip-poruLAya dayALan sadA nija anbar vaNangu tALan"¨tattari kiTa dhimi jhaNuta jhaNuta dhIm taka tadhingiNa tOm jhaNa jhaNa jhaNavena bhakthargaL munivargaL imaiyOrgaLum pugazh"¨pADavum punal shEr shaDai mati Adavum
As vyAghrapAda (puli tAnum) and patanjali bow down (paNiyum) to the lotus-like (ambujam) feet (caraNam) of the Lord, as brahmA (ayyanum) wields the cymbals (tALam) and vishNu (mAlum) plays (koTTa) the maddaLam, holding a deer (mAnum), a battle-axe (mazhuvum) and a small drum (damrukamum) in his hands, a snake (aravum) around his neck, and his divine (tiru) hands (karamum) blessing us with the boon (varada) of fearlessness (abhaya), and his anklets (Silambum) shake (kulunga), the Lord, who is the husband (maNALan) of SivakAmi whose speech (mozhi) is as sweet (inba) as that of parrots (tattai), whose character (guNan) is virtuous (satva), who is the ruler (ALan) of the fourteen (padinAngu) worlds (ulaga), who is the compassionate (dayALan) essence (poruLAya) of the principle of ‘tat tvam asi’ [1], and who is always (sadA) the one whose feet (tAL-an) true (nija) devotees (anbar) offer worship (vaNangum) dances to the SolkaTTu (ena) tattari kiTa dhimi jhaNuta jhaNuta dhIm taka tadhingiNa tOm jhaNa jhaNa jhaNa. And witnessing this, devotees (bhaktargaL), sages (munivargaL), and the gods (imaiyOrgaLum) sing (pADavum) his praises (pugazh), as his matted locks (SaDai) where the river (punal) and the moon (mati) meet (SEr) sway (ADavum) to his rhythm.
FOOTNOTE
[1] tat tvam asi - that (tat) thou (tvam) art (asi) - is a vendantic pronouncement which means that the individual soul in its purest form is fully or partially identifiable with the supreme reality (para brahman)
P: Ananda naTamiDum pAdan ponnambala vANan cidambara nAthan"¨
The lord (nAthan) of cidambaram, the resident (vANan) of the golden (pon) hall/sabha (ambala) is the one with feet (pAdan) that dances (naTaiDum) the Ananda tANDavam.
A: gAnam tanait-toDarndu jnAnam tarum pErinba"¨mOnam tazhaikkum yOga vAnam tanil magizhndu"¨
When meditative and exhilarating (pErinba) silence (mOnam) that grants (tarum) knowledge (gnyAnam) follows melodious music (gAnam tanai), my Lord will dance in the yogic stance (yoga vAnam) that will flourish (tazhaikkum) in that trance.
C: mAnum mazhuvum Damarugamum aravum tiru varadAbhaya karamum caraNAmbujamum puli tAnum patanjaliyum paNiya ayanum mAlum tALam maddaLam koTTa shilambum kulunga inbat-tattai mozhi shivakAmi maNALan satva guNan padinAngula kALan"¨tatvamasip-poruLAya dayALan sadA nija anbar vaNangu tALan"¨tattari kiTa dhimi jhaNuta jhaNuta dhIm taka tadhingiNa tOm jhaNa jhaNa jhaNavena bhakthargaL munivargaL imaiyOrgaLum pugazh"¨pADavum punal shEr shaDai mati Adavum
As vyAghrapAda (puli tAnum) and patanjali bow down (paNiyum) to the lotus-like (ambujam) feet (caraNam) of the Lord, as brahmA (ayyanum) wields the cymbals (tALam) and vishNu (mAlum) plays (koTTa) the maddaLam, holding a deer (mAnum), a battle-axe (mazhuvum) and a small drum (damrukamum) in his hands, a snake (aravum) around his neck, and his divine (tiru) hands (karamum) blessing us with the boon (varada) of fearlessness (abhaya), and his anklets (Silambum) shake (kulunga), the Lord, who is the husband (maNALan) of SivakAmi whose speech (mozhi) is as sweet (inba) as that of parrots (tattai), whose character (guNan) is virtuous (satva), who is the ruler (ALan) of the fourteen (padinAngu) worlds (ulaga), who is the compassionate (dayALan) essence (poruLAya) of the principle of ‘tat tvam asi’ [1], and who is always (sadA) the one whose feet (tAL-an) true (nija) devotees (anbar) offer worship (vaNangum) dances to the SolkaTTu (ena) tattari kiTa dhimi jhaNuta jhaNuta dhIm taka tadhingiNa tOm jhaNa jhaNa jhaNa. And witnessing this, devotees (bhaktargaL), sages (munivargaL), and the gods (imaiyOrgaLum) sing (pADavum) his praises (pugazh), as his matted locks (SaDai) where the river (punal) and the moon (mati) meet (SEr) sway (ADavum) to his rhythm.
FOOTNOTE
[1] tat tvam asi - that (tat) thou (tvam) art (asi) - is a vendantic pronouncement which means that the individual soul in its purest form is fully or partially identifiable with the supreme reality (para brahman)
Last edited by rshankar on 03 Dec 2008, 05:20, edited 1 time in total.
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Here is the audio in case you are interested
http://www.musicindiaonline.com/p/x/R4v ... As1NMvHdW/
http://www.musicindiaonline.com/p/x/R4v ... As1NMvHdW/
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Re: Ananda Natamidum Padam- Raaga Kedargowla
I saw that most of the renditions for dance on youtube has charanam like this:
"mAnum Damarugamum kaigalil Ada mathiyum aravum thirumudi Ada....."
Is this also a part of the song? What is the full lyrics of this version?
"mAnum Damarugamum kaigalil Ada mathiyum aravum thirumudi Ada....."
Is this also a part of the song? What is the full lyrics of this version?
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Re: Ananda Natamidum Padam- Raaga Kedargowla
The lyrics in post #2 are from the printed book 2nd edition, in 1980
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Re: Ananda Natamidum Padam- Raaga Kedargowla
I have the same doubt. The charanam is different in many dance performances. Why is it like that? It will be helpful if anyone clarifies this.
Thank you
Thank you
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Re: Ananda Natamidum Padam- Raaga Kedargowla
I checked in the 1949 edition of the book and the caraNa words are the same as seen in post #2.