lyrics and meaning of navarasa nilaye padam

[shegde]

Can any one provide the lyrics and meaning of navarasa nilaye padam of D pillai?
der z a youtude vid of dis padam: http://www.youtube.com/watch?v=G7km-XtlzNE

[Lakshman]

Some words may not be correct. Correction requested.


nvarasa nilaiyE. rAgAmAlikA. Adi tALA.

(rAgA: shankarAbharaNa)
P: navarasa nilaiyE nATTiya kalaiyE evaraiyum kavarndiDum rAmanin kathaiyE
(rAgA: kharaharapriyA)
A: koDumaiyin malai pOl tATakai vandAL aDavigaL naDungiDa AtparittAL
iDargaL seidavaLai rAghavan konrAn uDanE ezhundadu peru nagai suvaiyE
(rAgA: tODi)
C1: villainai Endi munivarin pinru selgaiyil rAman tiruvaDi paDavum
kalloru mAri peNNoruvANa sol vinai aghandadu arputa suvaiyE
(rAgA: kalyANi)
kanni mADam tanil kanniyAm sItayai aNNalum nOkinAr avanum nOkkinAL
kaNNODu kangaL kalanduravADiya nayam adil pirandadu kAdalin suvaiyE
(rAgA: Arabhi)
tUyavan rAman toDuttadOr bANam tODuttadilavuDal naDungiyE OdinAn
mAya mAn vaDivil maruNDa mArIcan mayangiya nilaiyE bhayamennum suvaiyE
(rAgA: shubhapantuvarALi)
tIyavan rAvaNan vanjagattAl annai sItayai kavarndu senradanAl
tAyinum pirandAl rAmanin mukhattil kanal ena sivandadu kOpattin suvaiyE
(rAgA: shahAnA)
paDukkaLattil pari nAgavAhattAl maDivadOr ilakkuman enavE rAmA
tuNiyAi tuDittEn tONura tanuviya iDattinil ezhundadu shOkattin suvaiyE
(rAgA: pUrvikalyANi)
tantiram izhandu taniyanAi ninru dashamukha rAvaNanin munnE senru
inru ponnADaivAi ena solliya rAmanin ANmaiyE vIrattin suvaiyE
(rAgA: nAtakuranji)
angaiya pOril venrunan peNNE aDiyavan vibhISaNan muDiyidil makuTam
anbuDan aruLiya rAmaninnEyil anbuli kaNDadu karuNaiyin suvaiyE
(rAgA: madhyamAvati)
karadiya kAraNa kAriyam muDinda pin kaLippinai nAmam AyOddhi mAnagarail
ariyanaiyEram makuTam shUDavum aDivarum sannattil shAntattin shuvaiyE
shrI ramanin shAntattin suvaiyE shrI rAmanin suvaiyE shrI rAmanin shAntattin suvaiyE

[rshankar]

Unfortunately, the singer is not the best enunciator of words. But based on what I hear, I have ade corrections to the sAhitya that Lji posted.

pallavi
(rAgA: shankarAbharaNa)
navarasa nilaiyE nATTiya kalaiyE evaraiyum kavarndiDum rAmanin kadaiyE
The art-form (kalaiyE) of dance is nothing but the state (nilaiyE) of (experiencing) the essence (rasa) of the nine (nava) emotions. The story (kadaiyE) of rAma (rAmanin) is bound to captivate/charm (kavarndiDum) anyone and everyone (evaraiyum).

anupallavi
(rAgA: kharaharapriyA)
koDumaiyin malai pOl tATakai vandAL aDavigaL naDungiDa ATparittAL
iDargaL seidavaLai rAghavan konrAn uDanE ezhundadu peru nagai suvaiyE
The demoness tATaka appeared (vandAL) like (pOl) a big mountain (malai) of torture (koDumayin), and as she plucked human beings (ATparittAL) (to torment them), the forrests (aDavigaL) trembled (naDungiDA) under her weight. As rAma (rAghavan) killed (konrAn) her, the person who caused (seidavaLai) all this trouble (iDargaL), immediately (uDanE) it created/gave rise to (ezhundadu) (a situation) that was filled with a lot (peru) mirth (nagaisuvaiyE).

caraNam
(rAgA: tODi)
villainai Endi munivarin pinnE selgaiyil rAman tiruvaDi paDavum
kalluru mAri peNNuruvAna tolvinai aganRadu arputa suvaiyE
Bearing (Endi) his bow (villinai), as he followed (pinnE selgaiyil) sage viSvAmitra (munivarin), the experience (suvaiyE) of wonder (arputa) came about when the curse/karma (tolvinai) was lifted/removed/destroyed (aganRadu) and the form (uru) of a stone (kal) was changed (mAri) to that of a woman (peNNuruvAna) as his foot (tiruvaDi) touched (paDavum) it.

(rAgA: kalyANi)
kannimADam tanil kanniyAm sItayai aNNalum nOkinAn avaLum nOkkinAL
kaNNODu kaNgaL kalanduravADiDa kaNam adil pirandadu kAdalin suvaiyE
At (tanil) the residence of unmarried princesses (kannimADam), my lofty lord (aNNalum) beheld (nokkinAn) the maiden (kanniyAm) sItA (sItaiyai) and she in turn (avaLum) glanced (nOkkinAL) at him; in that (adil) second (kaNam) when one set of eyes (kaNgaL) met (kalandu) another (kaNNODu) and intimacies were exchanged (uravADiDa) was born (pirandadu) the experience (suvaiyE) of love (kAdalin)!

(rAgA: Arabhi)
tUyavan rAman toDuttadOr bANam turatti sellavE uDal naDungiyE ODinAn
mAya mAn vaDivil maruNDa mArIcan mayangiya nilaiyE bhayamennum suvaiyE
As the (Or) arrow (bANam) shot (toDuttadu) by the pure (tUyavan) rAma chased (turatti sellavE) him, (mArIca) ran (ODinAn) with his whole body (uDal) trembling (nadungiDa). The bewildered (mayangiya) state (nilaiyE) in which the wounded (maruNDa) mArIca, in the form (vaDivinil) of the magical (mAya) deer (mAn), found himself is called (ennum) the experience (suvaiyE) of fear (bhayam).

(rAgA: shubhapantuvarALi)
tIyavan rAvaNan vanjagattAl annai sItayai kavarndu senradanAl
tAyinum siranda rAmanin mugattil kanal ena sivandadu kOpattin suvaiyE
As the evil (tIyavan) rAvaNa abducted (kavarndu senradanAl) mother (annai) sItA (sItaiyai), the experience (suvaiyE) that reddended (sivandadu) the face (mugattil) of rAma (rAmanin) that was usually better (siranda) than that of a mother (tAyinum) [1] like (ena) a flame of fire (kanal) is anger (kOpattin).

(rAgA: shahAnA)
paDukkaLattil pari nAgapAshattAl maDivadOr ilakkuman enavE rAmA
tuDiyAi tuDittu tOLura tazhuviya iDattinil ezhundadu shOkattin suvaiyE
In the terrible battlefield (paDukkaLattil), at the time/place (iDattinil) when rAma suffered agonizingly (tuDiyAi tuDittu) as he realized that (enavE) that lakshmaNa (ilakkuman) had died (maDivadOr) due to the deceptive (pari) bonds (pASattAl) of the snake-weapon (nAga), and embraced (tazhuviya) him to his chest/shoulders (tOLura), the experience (suvaiyE) of sorrow (SOkattin) arose (ezhundadu).

(rAgA: pUrvikalyANi)
tantiram izhandu taniyanAi ninra dashamukha rAvaNanin munnE senru
inru pOi nALai vA ena solliya rAmanin ANmaiyE vIrattin suvaiyE
The virility (ANmayE) of rAma (rAmanin) as he went (senru) and faced (munnE) the ten-headed (daSamukha) rAvaNa (rAvaNin) who was standing (ninru) alone (taniyanAi) in the battlefield, berfert (izhandu) of his chicanery and schemes (tantiram), and spoke (solliya) to him thus (ena): "return (pOi) home today (inRu), and come back (vA) tomorrow (nALai) (to resume hostilities)" is the very epitome/experience (suvaiyE) of valor (vIrattin).

(rAgA: nAtakuranji)
anRaiya pOril venranan pinnE aDiyavan vibhISaNan muDiyinil makuTam
anbuDan aruLiya rAmanin ezhil ambudhi kaNDadu karuNaiyin suvaiyE
In the battle (pOril) of that next day (anRaiya) he (rAmA) won (venranan). As everyone beheld (kaNDadu) rAma's (rAmanin) limitless (ambudhi)[2] grace (ezhil) as he then (pinnE) lovingly (anbuDan) placed (aruLiya) the crown (makuTam) of lankA on his devotee (aDiyavan) vibhIshaNa's (vibhIshaNan) head (mudiyinil), they experienced (suvaiyE) his compassion (karuNaiyin).

(rAgA: madhyamAvati)
karudiya kAraNa kAriyam muDindapin kaLippinAl rAman AyOddhi mAnagarail
ariyaNaiyErum makuTam shUDavum anaivarum kaNDadu shAntattin suvaiyE
shrI ramanin shAntattin suvaiyE shrI rAmanin suvaiyE shrI rAmanin shAntattin suvaiyE
What everyone (anaivarum) felt (kaNDadu) as rAma, out of the joy (kaLippinAl) he felt after the completion (muDindapin) of the intended (kAraNa) job (kAriyam) he had set his mind to (karudiya), ascended (Erum) the throne (ariyaNai) of the mighty city (mAnagaril) of ayodhyA (ayoddhi) and was crowned (makuTam sUDavum), is the experience (suvaiyE) of peace (SAntattin)[3].

FOOTNOTES
[1] These words (in red font) are not clear...
[2] ambudhi is the ocean
[3] Purists do not consider SAntam to be one of the stand-alone 9 emotions - it is thought to be a composite emotion

[Lakshman]

Thanks rshankar for the corrections.

[shegde]

thank u so much Lakshman and rshankar