Can someone please post the meanings for the Varnam Samiyai Azhaithuvadi Sakhiye . It's by Ponniah Pillai and in ragam Kamas.
Thank you very much....
Requesting meaning for Samiyai Azhaiththuvadi
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parimalphadke
- Posts: 138
- Joined: 25 Jan 2008, 21:07
I am just posting what Rshankar had already translated before on this -- As usual ravi has done an excellent job on this.
navarAgamAlikA varNa
vAggEyakAraka: KN daNDayudhapANi piLLai
tALa: Adi
rAga: tODi
p. sAmiyai azhaittODivA sakiyE endan
(rAga: mOhanam)
mAmadi mugamO kanalAy vIcudaDi
(rAga: vasanta)
a. tAmadam EnO vasantAmirta vELaiyaDi
(rAga: dEvamanOhari)
bUmi pugazhum dEva manOhari magizhum
(ciTTasvara sAhitya)
(rAga: dEvamanOhari) Adi maRaikkup poruL nItiyuDan uraitta
(rAga: vasanta) ARu muganap peRRa IShanaDi - oru
(rAga: mOhanam) nAdi illAdavan pOlalaivAnaDi
(rAga: tODi) pAdi vuDalil peNNai maRaittiruppAnaDi
(rAga: ShankarAbharaNa)
c. sadA ninaivu koNDu maiyal mIRudE ShankarAbharaNanai
(eTTugaDa sAhitya)
(rAga: sArangA)
1. sAranga nAdan pORRum mannavanai
(rAga: kAnaDA)
2. tEDit tEDi koDungkAnaDan tEnaDi - kODi manmadan pOlE ninRAnaDi
(rAga: Arabhi)
3. UraRiya maNam purivEn enRAnaDi uRudi pala connAnaDi
ArabimAnam koNDavaLenRu aRindiDAmal ennait tavikka viTTanaDi
(rAga:bhairavi)
4. gangai caDaimuDi tingaLamudu mADa - gaNangaLADA sabaitanil
mangala bairavi madiyizhandADa - mAlum ayanum laya tALangaL pODa
nangutO menRu nandiyum kUDa - nAradar yAzhiShai mITTiyum pADa
tunga vizhiyADa kuNDalamumADa - cengkamala pAdam tUkkiya nAdanai - (sadA)
saawariya,
Here goes. For some reason, when I saw kmrasika's post, I assumed the meaning was already posted!
That this is a pada varNam created by a dancer/dance maestro is so evident in every facet of this composition. The sAhitya is replete with opportunities for sancAris.
pallavi
(rAgam: tODi)
sAmiyai azhaittODivA sakiyE endan
Oh dear friend (sakhiyE) please bring (azhaittu) my (endan) Lord (sAmiyai) without delay/this very instant (ODi) [1]!
(rAgam: mOhanam)
mAmadi mugamO kanalAy vISudaDi
His face (mukhamO/mugamO) that is as handsome as the full (mA) moon (madi) is tormenting me because it seems to be emitting (vISudaDI) [2] fiery (kanalAy) rays [3].
anupalllavi
(rAga: vasanta)
tAmadam EnO vasantAmirta vELaiyaDi
Oh friend! I do not understand the reason (EnO) for this delay (tAmdam) in meeting with me, for after all, is this not the time/moment (vELaiyaDi) to enjoy the essence (amrita) of spring (vasanta), when every being is frolicking about in the joy of union?
(rAgam: dEvamanOhari)
bhUmi pugazhum dEva manOhari magizhum
My Lord is none other than the one who is prasied (pugazhum) by the entire world (bhUmi), and who delights (magizhum) none other than pArvati (dEvamanOhari) herself.
(ciTTasvara sAhityam)
(rAgam: dEvamanOhari)
Adi maRaikkup poruL nItiyuDan uraitta
And the one who expounded (uraitta) the essence (poruL) along with (uDan) the nature (nIti) of the primeval (Adi) texts and vedas (maRaikku)
(rAgam: vasantA)
ARumuganaip peRRa IShanaDi - oru
He is the Lord (ISanaDi) who gave birth to (peRRa) kArtikEya, the six (Aru) faced (muganai) one.
(rAgam: mOhanam)
nAdi illAdavan pOl alaivAnaDi
Despite his omniscience, he roams around (alaivAnaDI) like (pOl) a wastrel without (illAdavan) any (oru) purpose/protection (nAdi) [4].
(rAgam: tODi)
pAdi vuDalil peNNai maRaittiruppAnaDi
He would have concealed (maraittiruppAnaDI) a woman (peNNai) in one half (pAdi) of his body (uDalil) [4].
caraNam
(rAgam: ShankarAbharaNam)
sadA ninaivu koNDu maiyal mIRudE ShankarAbharaNanai
Oh friend! My desire (mayyal) is become unbearably excessive (mIrudE) because my mind and heart are constantly (sadA) filled (koNDu) by thoughts (ninaivu) of him, Siva (SankarAbharaNanai) [5].
(eTTugaDa sAhitya)
(rAgam: sArangA)
1. sAranga nAdan pORRum mannavanai
(rAgam: kAnaDA)
2. tEDit tEDi koDungkAnaDan tEnaDi - kODi manmadan pOlE ninRAnaDi
Searching for (tEDi-tEDi) the Lord (mannavanai) who is praised/worshiped (pOTrum) by vishNu (sAranganAthan) [6], I walked (naDantEnaDi) for miles through the harsh (koDum) forest (kA), and at the very end, I found him (ninrAnaDI) [7] looking like (pOlE) an amalgam of countless (kODi/kOTi - a crore) manmathas (manmadan).
(rAgam: Arabhi)
3. UraRiya maNam purivEn enRAnaDi uRudi pala SonnAnaDi
ArabimAnam koNDavaLenRu aRindiDAmal ennait tavikka viTTanaDi
He told/informed (enrAnaDi) me and and gave (SonnAnaDI - literally 'spoke') me several (pala) reassurances (urudi) that he would wed me (maNam purivEn) in public (Ur ariya - to the cognizance - ariya - of the whole city - Ur). However, without understanding (arindiDAmal) that I am proud woman (ArabhimAnam koNDavaL enru) he has now left me (viTTAnaDI) languishing (tavikka)!
(rAgam:bhairavi)
4. gangai caDaimuDi tingaL amudumADa - gaNangaLADA sabhaitanil
mangala bhairavi madiyizhandADa - mAlum ayanum laya tALangaL pODa
nangutO menRu nandiyum kUDa - nAradar yAzhiShai mITTiyum pADa
tunga vizhiyADa kuNDalamumADa - cengkamala pAdam tUkkiya nAdanai - (sadA)
In this last eTTugaDa sAhityam, the heroine describes the scene that constantly inhabits her thoughts and sets her desires aflame. She says: The vision of my Lord (nAthanai) with a raised (tUkkiya) foot (pAdam) that looks like a red (Sen) lotus (kamala) dancing, with the ganges (gangai), his matted (CaDai/SaDai) locks (muDi), the moon (tingaL), and the nectar (amudum) [8] swaying (ADa); his gaNas (gaNangaL) dancing (ADa) along; the auspicious (mangaLa) pArvati (bhairavi) performing (ADa) in unison while clearly lost (madiyizhandu) [9] in the music and movement; vishNu (mAlum) and brahmA (ayanum) maintaining (pODa) rhythm (laya tALangaL); and nandi joining in (kUDa) on his maddaLam to the sorkaTTu 'nangutOm' (nagutOm enru); the celestial bard nArada struming (mITTiyum) his harp (yAzh) and singing along (pADa); and his pristinely pure (tunga) eyes (vizhi) and ear-rings (kunDalam) swaying (ADa) to his bodily movements {is constantly (sadA) in my thoughts, driving me insane with the desire to be united with him.}
FOOTNOTES
[1] ODi literally means 'to run' - symbolizes the need for haste here. (of course, it also contributes to the rAga mudra)
[2] aDi is a term of familiarity and endearment (like O rI sakhI)
[3] Another interpretation I have seen for this line is: 'The moonlight from the moon on his locks which is normally cool, is scorching, like burning fire, in my viraha'. However, I think the description is of Siva and his face, and not the moon. Others, please chime in.
[4] I think this refers to the 'bhikshADanar' form of SIva, or his form as a kApAlik (the guy in charge of the crematorium)
[5] As I have already mentioned in my review of Smt. Ramya Ramnarayanan's performance, I think this is a very contrived attempt to fit in the rAga mudra - since SankarAbharaNan is AdisEsha. Rajani/any one else, can you please clarify if SankarAbharaNan can refer to Siva and, if so, how?
[6] As explained elsewhere by Rajani, this should, by rights be, 'SArnganAthan' and not sAranganAthan, but, again, the latter works for the weaving of the rAga mudra
[7] ninrAnaDI literally means 'he was standing'
[8] I am not aware how nectar got on to Siva's body. I only knew of the poison in his neck! Can someone please explain?
[9] madiyizhandu literally means 'having lost (izhandu) one's mind (madi)'. However, in the context of this passage, I think it means, 'lost in oblivion' or something to that effect
Re: Varnam - sAmiyai azhaithOdi vA endan - meaningRavi, my views:
1)-
[2] ADi is a term of familiarity and endearment (like O rI sakhI)
You must have meant 'aDi'.
2) tEDit tEDi koDungkAnaDan tEnaDi - kODi manmadan pOlE ninRAnaDi
my translation/interpretation will be
koDum+kAn+aDaindEnaDi--meaning I arrived (reached) at the harsh forest(meaning the burial ground-suDukADu)
Your interpretation was koDum+kA+naDantEnadi
3)Rajani/any one else, can you please clarify if SankarAbharaNan can refer to Siva and, if so, how?
There is the famous pallavi of yesteryears-
'sankarAbharaNanai azhaittODi vADi kalyANi darbArukku'.
navarAgamAlikA varNa
vAggEyakAraka: KN daNDayudhapANi piLLai
tALa: Adi
rAga: tODi
p. sAmiyai azhaittODivA sakiyE endan
(rAga: mOhanam)
mAmadi mugamO kanalAy vIcudaDi
(rAga: vasanta)
a. tAmadam EnO vasantAmirta vELaiyaDi
(rAga: dEvamanOhari)
bUmi pugazhum dEva manOhari magizhum
(ciTTasvara sAhitya)
(rAga: dEvamanOhari) Adi maRaikkup poruL nItiyuDan uraitta
(rAga: vasanta) ARu muganap peRRa IShanaDi - oru
(rAga: mOhanam) nAdi illAdavan pOlalaivAnaDi
(rAga: tODi) pAdi vuDalil peNNai maRaittiruppAnaDi
(rAga: ShankarAbharaNa)
c. sadA ninaivu koNDu maiyal mIRudE ShankarAbharaNanai
(eTTugaDa sAhitya)
(rAga: sArangA)
1. sAranga nAdan pORRum mannavanai
(rAga: kAnaDA)
2. tEDit tEDi koDungkAnaDan tEnaDi - kODi manmadan pOlE ninRAnaDi
(rAga: Arabhi)
3. UraRiya maNam purivEn enRAnaDi uRudi pala connAnaDi
ArabimAnam koNDavaLenRu aRindiDAmal ennait tavikka viTTanaDi
(rAga:bhairavi)
4. gangai caDaimuDi tingaLamudu mADa - gaNangaLADA sabaitanil
mangala bairavi madiyizhandADa - mAlum ayanum laya tALangaL pODa
nangutO menRu nandiyum kUDa - nAradar yAzhiShai mITTiyum pADa
tunga vizhiyADa kuNDalamumADa - cengkamala pAdam tUkkiya nAdanai - (sadA)
saawariya,
Here goes. For some reason, when I saw kmrasika's post, I assumed the meaning was already posted!
That this is a pada varNam created by a dancer/dance maestro is so evident in every facet of this composition. The sAhitya is replete with opportunities for sancAris.
pallavi
(rAgam: tODi)
sAmiyai azhaittODivA sakiyE endan
Oh dear friend (sakhiyE) please bring (azhaittu) my (endan) Lord (sAmiyai) without delay/this very instant (ODi) [1]!
(rAgam: mOhanam)
mAmadi mugamO kanalAy vISudaDi
His face (mukhamO/mugamO) that is as handsome as the full (mA) moon (madi) is tormenting me because it seems to be emitting (vISudaDI) [2] fiery (kanalAy) rays [3].
anupalllavi
(rAga: vasanta)
tAmadam EnO vasantAmirta vELaiyaDi
Oh friend! I do not understand the reason (EnO) for this delay (tAmdam) in meeting with me, for after all, is this not the time/moment (vELaiyaDi) to enjoy the essence (amrita) of spring (vasanta), when every being is frolicking about in the joy of union?
(rAgam: dEvamanOhari)
bhUmi pugazhum dEva manOhari magizhum
My Lord is none other than the one who is prasied (pugazhum) by the entire world (bhUmi), and who delights (magizhum) none other than pArvati (dEvamanOhari) herself.
(ciTTasvara sAhityam)
(rAgam: dEvamanOhari)
Adi maRaikkup poruL nItiyuDan uraitta
And the one who expounded (uraitta) the essence (poruL) along with (uDan) the nature (nIti) of the primeval (Adi) texts and vedas (maRaikku)
(rAgam: vasantA)
ARumuganaip peRRa IShanaDi - oru
He is the Lord (ISanaDi) who gave birth to (peRRa) kArtikEya, the six (Aru) faced (muganai) one.
(rAgam: mOhanam)
nAdi illAdavan pOl alaivAnaDi
Despite his omniscience, he roams around (alaivAnaDI) like (pOl) a wastrel without (illAdavan) any (oru) purpose/protection (nAdi) [4].
(rAgam: tODi)
pAdi vuDalil peNNai maRaittiruppAnaDi
He would have concealed (maraittiruppAnaDI) a woman (peNNai) in one half (pAdi) of his body (uDalil) [4].
caraNam
(rAgam: ShankarAbharaNam)
sadA ninaivu koNDu maiyal mIRudE ShankarAbharaNanai
Oh friend! My desire (mayyal) is become unbearably excessive (mIrudE) because my mind and heart are constantly (sadA) filled (koNDu) by thoughts (ninaivu) of him, Siva (SankarAbharaNanai) [5].
(eTTugaDa sAhitya)
(rAgam: sArangA)
1. sAranga nAdan pORRum mannavanai
(rAgam: kAnaDA)
2. tEDit tEDi koDungkAnaDan tEnaDi - kODi manmadan pOlE ninRAnaDi
Searching for (tEDi-tEDi) the Lord (mannavanai) who is praised/worshiped (pOTrum) by vishNu (sAranganAthan) [6], I walked (naDantEnaDi) for miles through the harsh (koDum) forest (kA), and at the very end, I found him (ninrAnaDI) [7] looking like (pOlE) an amalgam of countless (kODi/kOTi - a crore) manmathas (manmadan).
(rAgam: Arabhi)
3. UraRiya maNam purivEn enRAnaDi uRudi pala SonnAnaDi
ArabimAnam koNDavaLenRu aRindiDAmal ennait tavikka viTTanaDi
He told/informed (enrAnaDi) me and and gave (SonnAnaDI - literally 'spoke') me several (pala) reassurances (urudi) that he would wed me (maNam purivEn) in public (Ur ariya - to the cognizance - ariya - of the whole city - Ur). However, without understanding (arindiDAmal) that I am proud woman (ArabhimAnam koNDavaL enru) he has now left me (viTTAnaDI) languishing (tavikka)!
(rAgam:bhairavi)
4. gangai caDaimuDi tingaL amudumADa - gaNangaLADA sabhaitanil
mangala bhairavi madiyizhandADa - mAlum ayanum laya tALangaL pODa
nangutO menRu nandiyum kUDa - nAradar yAzhiShai mITTiyum pADa
tunga vizhiyADa kuNDalamumADa - cengkamala pAdam tUkkiya nAdanai - (sadA)
In this last eTTugaDa sAhityam, the heroine describes the scene that constantly inhabits her thoughts and sets her desires aflame. She says: The vision of my Lord (nAthanai) with a raised (tUkkiya) foot (pAdam) that looks like a red (Sen) lotus (kamala) dancing, with the ganges (gangai), his matted (CaDai/SaDai) locks (muDi), the moon (tingaL), and the nectar (amudum) [8] swaying (ADa); his gaNas (gaNangaL) dancing (ADa) along; the auspicious (mangaLa) pArvati (bhairavi) performing (ADa) in unison while clearly lost (madiyizhandu) [9] in the music and movement; vishNu (mAlum) and brahmA (ayanum) maintaining (pODa) rhythm (laya tALangaL); and nandi joining in (kUDa) on his maddaLam to the sorkaTTu 'nangutOm' (nagutOm enru); the celestial bard nArada struming (mITTiyum) his harp (yAzh) and singing along (pADa); and his pristinely pure (tunga) eyes (vizhi) and ear-rings (kunDalam) swaying (ADa) to his bodily movements {is constantly (sadA) in my thoughts, driving me insane with the desire to be united with him.}
FOOTNOTES
[1] ODi literally means 'to run' - symbolizes the need for haste here. (of course, it also contributes to the rAga mudra)
[2] aDi is a term of familiarity and endearment (like O rI sakhI)
[3] Another interpretation I have seen for this line is: 'The moonlight from the moon on his locks which is normally cool, is scorching, like burning fire, in my viraha'. However, I think the description is of Siva and his face, and not the moon. Others, please chime in.
[4] I think this refers to the 'bhikshADanar' form of SIva, or his form as a kApAlik (the guy in charge of the crematorium)
[5] As I have already mentioned in my review of Smt. Ramya Ramnarayanan's performance, I think this is a very contrived attempt to fit in the rAga mudra - since SankarAbharaNan is AdisEsha. Rajani/any one else, can you please clarify if SankarAbharaNan can refer to Siva and, if so, how?
[6] As explained elsewhere by Rajani, this should, by rights be, 'SArnganAthan' and not sAranganAthan, but, again, the latter works for the weaving of the rAga mudra
[7] ninrAnaDI literally means 'he was standing'
[8] I am not aware how nectar got on to Siva's body. I only knew of the poison in his neck! Can someone please explain?
[9] madiyizhandu literally means 'having lost (izhandu) one's mind (madi)'. However, in the context of this passage, I think it means, 'lost in oblivion' or something to that effect
Re: Varnam - sAmiyai azhaithOdi vA endan - meaningRavi, my views:
1)-
[2] ADi is a term of familiarity and endearment (like O rI sakhI)
You must have meant 'aDi'.
2) tEDit tEDi koDungkAnaDan tEnaDi - kODi manmadan pOlE ninRAnaDi
my translation/interpretation will be
koDum+kAn+aDaindEnaDi--meaning I arrived (reached) at the harsh forest(meaning the burial ground-suDukADu)
Your interpretation was koDum+kA+naDantEnadi
3)Rajani/any one else, can you please clarify if SankarAbharaNan can refer to Siva and, if so, how?
There is the famous pallavi of yesteryears-
'sankarAbharaNanai azhaittODi vADi kalyANi darbArukku'.
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rshankar
- Posts: 13754
- Joined: 02 Feb 2010, 22:26
Thanks Parimal - I did wonder if it was indeed sAmiyai azhaitt(u)ODi vA (http://rasikas.org/forums/viewtopic.php? ... aning.html), the navarAgamAlikA varNam that had been written wrongly, or yet another that goes sAmiyai azhaittuvADi. That is why I asked for the lyrics...
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Lakshman
- Posts: 14184
- Joined: 10 Feb 2010, 18:52
There is another varNa by Shivanandam but it is in kalyANi.
sAmiyai azhaittu vADi (padavarNa). rAgA: kalyANi. Adi tALA.
P: sAmiyai azhaittu vADi nI dayavuDan ippO tAmadam sheyyAmal salAm sheidAghilum
A: peruviDai mahAdEvan ponnaDi paNiyum shivAji mahipAlan
(muktAyi svara sAhityam)
shIrulAvu manOhara dhIra udAran tandiDum nAyakan mEl nidam
mOha lAhiri mIrudu en sheiguvEn salApa kulAva vilAsamAi
viraha mIra sohasumIra adaramvira kalaya nEram mAnE inda vELai
mayakki kulukki kaluki paluki nilavinil vidhamAi hitami sukhamAi aNaiya
C: nIyE en prANa nAthanukku shollu
1: nI daya ullAsamuDan
2: santatamu ennai bandhu mUlai mIdil sondamAi aNaiya sundaranE ippO
3: bhAvaiyE magizha pAshamE ishaigaL pADiyE adara pAnamE sheyyavum
pAvai vADuginrEn pAraDi dayavu bAdhaki idenna pAramO samayam
4: nI tanaduDanE nI enadarumai nI ariyavillaiyO nI ennuDamaiyil
nI duraikku shollu nI ennai maruva nI idu taruNam nI krpai sheyyaDi
sAmiyai azhaittu vADi (padavarNa). rAgA: kalyANi. Adi tALA.
P: sAmiyai azhaittu vADi nI dayavuDan ippO tAmadam sheyyAmal salAm sheidAghilum
A: peruviDai mahAdEvan ponnaDi paNiyum shivAji mahipAlan
(muktAyi svara sAhityam)
shIrulAvu manOhara dhIra udAran tandiDum nAyakan mEl nidam
mOha lAhiri mIrudu en sheiguvEn salApa kulAva vilAsamAi
viraha mIra sohasumIra adaramvira kalaya nEram mAnE inda vELai
mayakki kulukki kaluki paluki nilavinil vidhamAi hitami sukhamAi aNaiya
C: nIyE en prANa nAthanukku shollu
1: nI daya ullAsamuDan
2: santatamu ennai bandhu mUlai mIdil sondamAi aNaiya sundaranE ippO
3: bhAvaiyE magizha pAshamE ishaigaL pADiyE adara pAnamE sheyyavum
pAvai vADuginrEn pAraDi dayavu bAdhaki idenna pAramO samayam
4: nI tanaduDanE nI enadarumai nI ariyavillaiyO nI ennuDamaiyil
nI duraikku shollu nI ennai maruva nI idu taruNam nI krpai sheyyaDi
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dnayar
- Posts: 67
- Joined: 29 Jan 2007, 19:55
rshankar ji and Lakshman ji,
This is the beginning verse of the varnam:
SAmiyayi Azhaiththuvadi Sakhiye Endan..
sAmanya durai alla di sakhiye endan....
here is the audio clip
http://www.hummaa.com/music/album/23317/Nritya+Maadhuri
This is the beginning verse of the varnam:
SAmiyayi Azhaiththuvadi Sakhiye Endan..
sAmanya durai alla di sakhiye endan....
here is the audio clip
http://www.hummaa.com/music/album/23317/Nritya+Maadhuri
Last edited by dnayar on 19 May 2009, 17:32, edited 1 time in total.
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Lakshman
- Posts: 14184
- Joined: 10 Feb 2010, 18:52
Some corrections may be needed:
sAmiyai azhaittu vADi sakhiyE (pv). rAgA: khamAs. Adi tALA.
P: sAmiyai azhaittu vADi sakhiyE endan sAmAnya durai allaDi
bhUmi pugazh srI madurApuri sundarEshvararai
A: kAmitArthangaL tandu kanavi sheyya samayamE sambhOganavan
pAdamE tozhudu mA kurum samayam iduvena sallApamatennIr
malar mEddaiyile ati mOha kAmi enaiTaN taniyE vandu madanAgama
murai tanil mEnai avar nazhuvavum samarasikkisaiyavum
C: vA vA en mozhi kETka
1: mAran idO varugirAn
2: malar bANam en edaiyam tanil viDuvadinAl enadu maDandaiyE sakhiyE
3: sA vari vaNDugaL mEvuvadAl kuyilgaLum kUvuvudu idukkAl kiLigaLum galagalavena tAn olittiDa madi padarudu pAr
sAmiyai azhaittu vADi sakhiyE (pv). rAgA: khamAs. Adi tALA.
P: sAmiyai azhaittu vADi sakhiyE endan sAmAnya durai allaDi
bhUmi pugazh srI madurApuri sundarEshvararai
A: kAmitArthangaL tandu kanavi sheyya samayamE sambhOganavan
pAdamE tozhudu mA kurum samayam iduvena sallApamatennIr
malar mEddaiyile ati mOha kAmi enaiTaN taniyE vandu madanAgama
murai tanil mEnai avar nazhuvavum samarasikkisaiyavum
C: vA vA en mozhi kETka
1: mAran idO varugirAn
2: malar bANam en edaiyam tanil viDuvadinAl enadu maDandaiyE sakhiyE
3: sA vari vaNDugaL mEvuvadAl kuyilgaLum kUvuvudu idukkAl kiLigaLum galagalavena tAn olittiDa madi padarudu pAr
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parimalphadke
- Posts: 138
- Joined: 25 Jan 2008, 21:07
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rshankar
- Posts: 13754
- Joined: 02 Feb 2010, 22:26
Lji - please note minor corrections based on how Sri Rajaratnam Pillai has sung this....
Divya - this thread escaped me completely, but when Smt. Jayakamala had posted her dad's rendering of this padavarNam I searched for it on the forum and discovered that you'd requested the meaning as well, so here goes:
pallavi
sAmiyai azhaittu vADi sakhiyE endan
sAmAnya durai allaDi sakhiyE endan
Dear friend (sakhiyE)! Please bring (azhaittu) my (endan) Lord (sAmiyai) and come (vADi) to me. He is not (allaDi) an ordinary (sAmAnya) gentleman (durai), this Lord of mine!
anupallavi
bhUmi pugazh shrI madurApuri sundarEshvaranai
kAmitArthangaL tandu kalavi sheivadarkku samayam idE
(Bring my Lord), who is none other than the world (bhUmi)-famed (pugazh), handsome (sundara) Lord (ISvaranai) of the divine (SrI) city (puri) of Madurai (madhurA). Please tell him that this (idE) is the appropriate time (samayam) for him to grant (tandu) me the wishes (arthangaL) that I seek/desire (kAmita) and unite (Seivadarku) sexually (kalavi) with me.
muktAyisvara sAhityam
sambhOgan avan pAdamE tozhudu mAd(u)urugum samayam iduvE
sallApamad(u)eNNi malar mEttai mEl ati mOha kAmini ennaittAn taniyE vandu madanAgama muRai tarind(u)enai avar maruvavum samaradi iSaiyavum
Please pay obeisance (tozhudu) at the feet (pAdamE) of this dallier (sambhOgan) [1], and tell him that at this very instance (iduvE), there is a woman (mAdu) who is wasting away in unrequited love (urugum) [2] for him. Ask him to think (eNNi) of the (adu) the amorous talk (sallApam) we’ve engaged in, and tell him (avar) to come (vandu) to me alone (taniyE) and embrace (maruvavum) me (ennaittAn), this extremely (ati) attractive (mOha) damsel (kAmini) as I recline on a mattress (mettai) strewn with flowers (malar), and, after following (tarindu) the mores (muRai) laid down in the scripture (Agama) of love and courtship (madana), to indulge in sexual (samaradi) union (iSaiyavum) with me (enai) as well.
caraNam
vA vA en mozhi kETka vA
Please come (vA vA) to listen (kETka) to my (en) [3] words (mozhi)!
caraNasvara sAhityam 1
mAran idO varugirAn
Look, here (idO) comes (varugirAn) Cupid (mAran)!
caraNasvara sAhityam 2
malar bAnam idayam tanil viDuvadinAl
yenadu maDandaiyE ini sahiyEn
Because of the flowery (malar) arrows (bAnam) being shot (viDuvadinAl) at (tanil) my heart (idayam), I can not tolerate (sahiyEn) this distress anymore (ini), my (yenadu) dear woman (maDandaiyE)!
caraNasvara sAhityam 3
tAmarai vaNDugaL mEvuvadAl
kuyilgaLum kUvavum adu tAn kiLigaLum
khalakhalavena tAl olittiDa mati padarudu
My mind (mati) is agitated (padarudu) because of beholding the following happy scenes of union:
a) a lotus flower (tAmarai) swarmed (mevuvadAl) by bees (vaNDugaL)
b) cuckoos (kuyilgaLum) cooing (kUvavum); that’s (adu) it (tAn)
c) parrots (kiLigaLum) chattering (tAl olittiDa) [4] away loudly (khalakalavena)
FOOTNOTES
[1] sambhOgan, IIRC specifically refers to a man who enjoys sexual dalliance
[2] urugudal, literally means to melt
[3] Sri Rajaratnam Pillai in some of the iterations, sings this as ‘in-mozhi kETka vA’ - in-mozhi will mean ‘sweet (in) words (mozhi)’
[4] tAl is tongue, and olittiDa is sounding - so, tAl olittiDa is ‘chattering’
Divya - this thread escaped me completely, but when Smt. Jayakamala had posted her dad's rendering of this padavarNam I searched for it on the forum and discovered that you'd requested the meaning as well, so here goes:
pallavi
sAmiyai azhaittu vADi sakhiyE endan
sAmAnya durai allaDi sakhiyE endan
Dear friend (sakhiyE)! Please bring (azhaittu) my (endan) Lord (sAmiyai) and come (vADi) to me. He is not (allaDi) an ordinary (sAmAnya) gentleman (durai), this Lord of mine!
anupallavi
bhUmi pugazh shrI madurApuri sundarEshvaranai
kAmitArthangaL tandu kalavi sheivadarkku samayam idE
(Bring my Lord), who is none other than the world (bhUmi)-famed (pugazh), handsome (sundara) Lord (ISvaranai) of the divine (SrI) city (puri) of Madurai (madhurA). Please tell him that this (idE) is the appropriate time (samayam) for him to grant (tandu) me the wishes (arthangaL) that I seek/desire (kAmita) and unite (Seivadarku) sexually (kalavi) with me.
muktAyisvara sAhityam
sambhOgan avan pAdamE tozhudu mAd(u)urugum samayam iduvE
sallApamad(u)eNNi malar mEttai mEl ati mOha kAmini ennaittAn taniyE vandu madanAgama muRai tarind(u)enai avar maruvavum samaradi iSaiyavum
Please pay obeisance (tozhudu) at the feet (pAdamE) of this dallier (sambhOgan) [1], and tell him that at this very instance (iduvE), there is a woman (mAdu) who is wasting away in unrequited love (urugum) [2] for him. Ask him to think (eNNi) of the (adu) the amorous talk (sallApam) we’ve engaged in, and tell him (avar) to come (vandu) to me alone (taniyE) and embrace (maruvavum) me (ennaittAn), this extremely (ati) attractive (mOha) damsel (kAmini) as I recline on a mattress (mettai) strewn with flowers (malar), and, after following (tarindu) the mores (muRai) laid down in the scripture (Agama) of love and courtship (madana), to indulge in sexual (samaradi) union (iSaiyavum) with me (enai) as well.
caraNam
vA vA en mozhi kETka vA
Please come (vA vA) to listen (kETka) to my (en) [3] words (mozhi)!
caraNasvara sAhityam 1
mAran idO varugirAn
Look, here (idO) comes (varugirAn) Cupid (mAran)!
caraNasvara sAhityam 2
malar bAnam idayam tanil viDuvadinAl
yenadu maDandaiyE ini sahiyEn
Because of the flowery (malar) arrows (bAnam) being shot (viDuvadinAl) at (tanil) my heart (idayam), I can not tolerate (sahiyEn) this distress anymore (ini), my (yenadu) dear woman (maDandaiyE)!
caraNasvara sAhityam 3
tAmarai vaNDugaL mEvuvadAl
kuyilgaLum kUvavum adu tAn kiLigaLum
khalakhalavena tAl olittiDa mati padarudu
My mind (mati) is agitated (padarudu) because of beholding the following happy scenes of union:
a) a lotus flower (tAmarai) swarmed (mevuvadAl) by bees (vaNDugaL)
b) cuckoos (kuyilgaLum) cooing (kUvavum); that’s (adu) it (tAn)
c) parrots (kiLigaLum) chattering (tAl olittiDa) [4] away loudly (khalakalavena)
FOOTNOTES
[1] sambhOgan, IIRC specifically refers to a man who enjoys sexual dalliance
[2] urugudal, literally means to melt
[3] Sri Rajaratnam Pillai in some of the iterations, sings this as ‘in-mozhi kETka vA’ - in-mozhi will mean ‘sweet (in) words (mozhi)’
[4] tAl is tongue, and olittiDa is sounding - so, tAl olittiDa is ‘chattering’
Last edited by rshankar on 20 Sep 2009, 19:30, edited 1 time in total.