Meaning - pada varnam-sakhiye inthe jaalam

[NALINIn]

Can anyone share with me the meaning of the varnam "sakhiye inthe jaalam" ?
I have the lyrics but i need the meanings

thanks:|

Nalini

[shishya]

Please post lyrics

[rshankar]

From Lji:

sakhiyE inda (padavarNa). rAgA: shankarAbharaNa. Adi tALA.

P: sakhiyE inda jAlam EnaDi endan sAmiyai vara shollaDi idu samayam
paghalum iravum manattai urukkudaDi pAlum shOrum kaNDAl verukkudaDi
A: tigiri shankEndum tirumalai vAsanaDi tIra vinai aghaTrum en uyir nEshanaDi
akhilam azhindAlum avanai maravEnaDi aruL purivAn enru urudi koNDEnaDi
(ciTTasvara sAhitya)
kOTi kOTi sukham tEDi tEDip-padam pADi pADi aruL nADi anudinamum
ADi ADI uDal vADi vadangudaDi mODi sheyyalAgumODi pODi
C: mAdE idil ennaDi rahasiyam idu migha migha avashiyam
1: pAda sEvai Aghilum tara shollaDi
2: shUDik-koDuttavaLaik-kUDi maNamAlai shUDi magizhndiDum mAlavan tAnaDi
3: Adi mUlamena OlamiTTa mada Anai mun shenru aruL purindAnaDi
Alilai mEl tuyil koNDiruppAnaDi arumai perumaiyuDan azhaittODi vADi
4: panca pANDavarin kuraiyai tIrttavanaDi bAla gOpAlanaDi
anji naDungiya annai pAncAli avalam kETTu tughil tandAnaDi
vancaka minjiya rAvaNAdigaLai vIran anumanuDan venrAnaDi
tanjamenru tavan irundiDuvEnaDi tAnE vandu maNam purindiDuvAnaDi

[rshankar]

Rasikapriya999,
I will try my hand at providing the meaning. Since it is a padavarNam, I assume you are planning to choreograph it. I have given the padArtha followed by a running meaning (vAkyArtha) to help with choreography. I have also expanded on the myths alluded to for sanchArIs – forgive me for wasting your time if you already know them. And, since this has become as unwieldy as a thesis, so I think I will u/l in sections to make for easier reading.

To me the drama of this varNam unfolds thus:
In the pallavi the heroine is asking her friend sakhI (addressed as sakhI as well as mAdE) to bring her recalcitrant Lord to her. To a real or imagined querry from the sakhi, the nAyika explains who the Lord in question is, and how she is pining for him in the anupallavI. In the charaNams I see her trying to convince herself (or the friend), why He should accede to the request of the heroine, a mere mortal – she comes up with examples of situations where the Lord has come when beckoned by his devotees – and takes solace from those events.

[shishya]

Oh!I thought this was in Telugu. Sorry

[rshankar]

I have cut and pasted my previous translation of this varNam. I had explained some sancArIs for rasikapriya, so forgive the unnecessary details.
Arasi has helped to correct some of the mistakes I made first.

sakhiyE inda (padavarNa). rAgA: shankarAbharaNa. Adi tALA.??
P:
sakhiyE = Oh friend
inda = this
jAlam = shenanigans
EnaDi = why [is it necessary]
endan = my
sAmiyai = Lord
vara = [to] come [here]
shollaDi = please tell him
idu = this
samayam?= [is the appropriate] time
paghalum = day
iravum = [and] night
manadai = [my] mind [is]
urukkudaDi = [being] tormented
pAlum = milk and
shOrum = rice
kaNDAl = [when I] lay eyes on/see [them]
verukkudaDi?= disgust me

Oh Sakhi, please ask my Lord to come to me. Why does he torture me with these shenanigans? As I spend my days and nights tormented by my love for him ignoring the needs of normal human existence (like thirst and hunger), please let him know that this is the correct time for him to come to me…(she is saying ‘enough, already’!).

A:
tigiri = sudarshana cakra (discuss)
shankEndum = shankh(g)u + Endum = one who holds (Endum) the conch (shankhu)
tirumalai = Tirupati
vAsanaDi = resident of
tIrA = unending
vinai = problem
aghaTrum = [one who] removes
en = my
uyir nEshanaDi?= lover (nEshan) who is dearer than life (uyir) itself
akhilam = world
azhindAlum = even if [it is] destroyed
avanai = him
maravEnaDi = maravEn + aDI = will not forget (maravEn) ‘aDI’ is a familiar way of addressing a friend or a young(er) girl
aruL = grace
purivAn = [will] shower upon [me]
enru = believing this
urudi = reassurance/hope
koNDEnaDi = konDEn + aDI = acquired (konDEn)
(ciTTasvara sAhitya)?
kOTi kOTi = crores/hundred thousand/countless
sukham = happiness
tEDi tEDi= after searching [for]
padam = song
pADi pADi = singing [praises of] repeatedly
aruL = grace
nADi = seeking
anudinamum = daily
ADi ADI = dancing [with fervor]
uDal = body
vADi = withering
vadangudaDi = vadangudu + aDI = is being tortured (vadangudu)
mODi = [playing] hide and seek/hiding from [me]
sheyyalAgumODi = sheyyal + AgumO + aDI = doing (sheyyal) will it be appropriate/correct (AgumO)
pODi?= go

Oh bosom friend of mine, the person who has become dearer than life itself to me is none other than the resident of tirupatI who bears the conch (pAnchajanyam) and wields the discuss (sudarshan chakram). He is capable of destroying the never ending trials and tribulations of life. Even if the world were to end, I would not forget him. My very life dangles on the hope that he will bestow his grace upon me. Please let him know that I constantly sing his praises, seeking the unending happiness and fulfillment (of uniting with him). Inform him that my (youthful) body is wilting and withering from all the fervent dancing for his grace. Please tell him that it is not appropriate to play this game of hide-and-seek with me.

C:
mAdE = Oh young woman
idil = in this
ennaDi = enna [what is] + aDI
rahasiyam = [the] secret
idu = this [is]
migha migha = extreme(ly)
avashiyam = necessity

Oh damsel, there is no secret or shame in this (my feelings). In fact, it (union with my Lord) is essential (for me to continue living) – {EDITORIALIZING: this refrain is used in other padavarNams as well – like in PS’s nATTaikurinji one – sAmi nAn undan aDimai – where the object of the heroine’s affections in Lord Siva}

1:
pAda sEvai = serving (sEvai) at/to [His] feet (padam/pAdam)
Aghilum = at least
tara = [to] give [me]
shollaDi = tell (shollu) aDI

Please ask him to grant me the privilege of at least serving him (if he doesn’t feel that I am worthy of marrying him)… Now, if he thinks I am unworthy, let me remind him/you/reassure myself of who he really is:

2:
shUDik-koDuttavaLai = the one who adorned herself before offering the [garland] to ranganAthan
k-kUDi = become one
maNamAlai = wedding [maNa] garland [mAlai]
shUDi = adorn(ing)
magizhndiDum = one who appreciates (magizhndiDum)
mAlavan = vishNU
tAnaDi = he is none other than?

He is none other than my Lord ranganAthan, who not only accepted the garlands that ANDAL (gOdhai) had originally adorned herself with, but actually granted her wish and became one with her. (SANCHARI – vishNuchittar, a learned man, spends his life in service to Lord ranaganAtha of SrIrangam: one of his chores is to make the garlands for the Lord. One day, he finds a beautiful young baby girl in his garden whom he adopts – she is called gOdhA, but quickly begins to rule her father and his household, and is referred to as ANDAL – one who rules – affectionately. ANDAL grows up into a beautiful, accomplished, and erudite young girl, and takes over the job of weaving the garlands for the Lord. She falls in love with Lord ranganAtha and wears the garlands first before giving them to her dad to place around the deity’s neck. One day, vishNuchittar finds a LONG hair in the garland, and realizes that the practice of using unused flowers for the Lord has been breached. From the length of the hair, he knows who the culprit is. He asks her to stop making the garlands from the next day. The next night, ranganAtha appears in his dreams and lets him know that he prefers the ‘blemished’ garlands from gOdhA to the fresh/virginal ones – when vishNuchittar tells ANDAL this, she asks to be married to ranganAtha – and as she enters the sanctum sanctorum in her bridal finery, she becomes one with the Lord, and the garland that she was wearing appears on the Lord, symbolizing the union. That is why ANDAL/gOdhA is referred to as ‘s(c)hUDi koDutta shudarkoDi’ – the creeper (beautiful woman) who gave the Lord garlands that she had worn first. To this day, in many tamizh weddings (and possibly others as well), there is a ‘garland exchange ceremony’ – mAlai mATral – where the bride and the groom exchange garlands to the accompaniment of a song describing this episode – mAlai mAttinAl, kOdai mAlai shAttinAL - http://www.musicindiaonline.com/music/c … rtist.116/ has several versions – I prefer Sudha’s)

3:
Adi mUlamena = The original one (Adi – beginning) mUlam – the origin
OlamiTTa = [one that] cried out
mada = proud
Anai = elephant
mun = before
shenru = [He] went [and]
aruL = grace
purindAnaDi = he showered/made true
Alilai = the leaf of a banyan
mEl = atop of
tuyil = sleeping posture/resting posture
koNDiruppAnaDi = konDu (assume) + iruppAn (will be) aDI
arumai = precious
perumaiyuDan = with (uDan) pride (perumai)
azhaittODi vADi= run (ODi) [to Him] and respectfully bring (azhaittuvA) [Him here]

When the (king of the) elephant(s) cried out ‘Adi mUlan’, my Lord appeared there instantly and blessed/rescued him. He is the none other than one who protects the world while lying atop a banyan leaf. Please bring him to me with all the pomp and glory that are his due.
(SANCHARI: this refers to gajEndra mOksham – salvation of the king of the elephants, an ardent devotee of vishNU – gajEndra goes to the river for his ritual bath, when an alligator clamps his teeth on one of his feet. Thinking that his end is near, the elephant cries out to vishNU – Adi mUlam – and hearing this cry from a true devotee, the Lord rushes to his help, and with his discuss, cuts the head of the alligator and frees the elephant) – this episode seems to be a favorite of many composers: for example, SrI mysUr vAsudEvAchAr refers to it very succinctly in his khamAs kritI, brOchEvAr(u) evaru rA? – Aturamuga karirAjuni brOchina vAsudEvuDavu nIvu kadA?

4:
panca pANDavarin = the five pAnDavAs
kuraiyai = [their] problems
tIrttavanaDi = [He is the One] who solved them
bAla gOpAlanaDi = he is the Divine cowherd (gOpAlan)?
anji = fearful
naDungiya = trembling
annai = mother
pAncAli = Draupadi
avalam = dire circumstances
kETTu = having heard
tughil = pallU (of saree)
tandAnaDi?= [He] gave [her]
vancakam = deceit
minjiya = replete with
rAvaNAdigaLai = rAvaN and his hordes
vIran = the brave
anumanuDan = with (uDan) hanuman
venrAnaDi?= [He] defeated
tanjamenru = seeking refuge (tanjam)
tavam = penance
irundiDuvEnaDi = perform/stay here [irundiDuEn]
tAnE = by himself
vandu = [He will] come [here] and
maNam purindiDuvAnaDi = will take my hand in marriage (maNam purindiDuvAn)

And finally, he is none other than vAsudEv krishNa, the divine cowherd of gOkul/brindAvan who remains the unwavering friend of his ‘cousins’ the pANDavAs, coming to their help in many, many situations. When Draupadi faces humiliation in the Kaurava court, he provided her with an unending, ever-lengthening pallU, and protected her honor. Along with help from the brave hanuman, as rAma, he defeated the evil rAvaNa and his hordes.
I am resolute in my intentions. If he doesn’t come to me, I will perform severe penance until he appears before me and accepts my hand in marriage.
(SANCHARI: When the hapless Yudhishtir pledges and loses his queen, draupadI, in a game to dice to his cousins, the evil kaurava princes, duryOdhan orders his brother duhshAsan to bring her to the court – when duhshAsan goes to her quarters, draupadI’s hand maidens have just helped her get dressed, and have yet to do her hair. She refuses to come to court with duhshAsan. Enraged, he grabs her by her undone tresses and drags her into court. There, he is ordered to disrobe her in front of everyone there. duhshAsan begins to do so by pulling at her pallU. When not one of the men present there is potent enough to come to her rescue and stop the atrocity, she appeals to krishNA, who comes to her aid, by making her pallU never-ending! duhshAsan abandons the effort out of sheer exhaustion, and draupadI’s honor is intact, thanks to krishNA)….

[rshankar]

If you want another padavarNam in Anandabhairavi, here is Rajani's translation.
http://www.rasikas.org/forums/viewtopic.php?id=783

[vgvindan]

Thus Draupadi cried in distress in the assembly, and casting a glance upon her
enraged husbands, inflamed their hearts further. The Pandavas were not so
distressed by the loss of there kingdom or wealth, as by that glance of
Draupadi that was filled with anger and helplessness. And seeing Draupadi
looking at her lords, Duhshasana dragged her more forcibly and addressed her,
"slave!, slave!" and laughed aloud. Duryodhana, Karna and Shakuni also laughed
to see Draupadi being pulled into the assembly.

Looking in the direction of the Kuru elders, she addressed Bhishma in the
following words, "You are the residence of learning and morality. They say
there is none wiser that you. Can you tell me whether or not I am a slave?"

"I am, indeed, at a loss to give you a proper answer," Bhishma replied.
"Morality is very difficult to understand, and its laws are subtle. A man
cannot wager something once he has lost himself. Therefore, Yudhisthira had no
right to lose you. But then again a woman is always under the orders of her
husband in all circumstances. He can call her his property even after he has
lost himself. Accordingly, I can not surely say that you are free. Yudhisthira
knew that Shakuni was a pastmaster in the art of gambling, and yet he played
with him willingly enough. Though he was being defeated, Yudhisthira continued
to play, and he used you as the wager. I am not able, therefore, to answer your
question."

Draupadi's eyes were red with anger, and she angrily said to Shantanu's son,
"The King was ordered to come to this charlatan's assembly, and he was made to
play with this vicious, spineless Shakuni. How can it be said that he
voluntarily chose to play? The chief of the Pandavas was deprived of his wealth
by deceitful conduct. Here is this assembly are the elders of the Kurus. Let
them decide what is to be done in this connection."

Looking at Draupadi whose words were like fire, Duhshasana laughed loudly and
called her names. He bellowed, "You are the slave of Duryodhana; there is no
need to consider the laws of Dharma. Your Dharma is to please your master
Duryodhana."

Seeing the Pandavas in such a distraught condition, Vikarna, one of
Dhritarastra's sons, said to all assembled, "Why is it that no one can answer
Draupadi's question? If we do not judge the matter properly then we shall
surely go to hell for our wrongdoing. How is it that Bhishma and Dhritarastra,
who are the elders of the Kurus, do not say anything about this injustice? Why
is it that Kripa and the son of Bharadvaja, Drona, do not say anything? If you
will not say anything, then I will give my opinion in this regard. It is a well
known fact that there are four vices of kings. That is hunting, drinking,
gambling and too much attachment for women. The man that is addicted to these
lives a life forsaking virtue. And people do not respect a King who is attached
to sinful life. This son of Pandu, while forced to engage in one of these
sinful acts, made Draupadi a wager. The King, having lost himself first, made
Draupadi a wager, and the unscrupulous Shakuni with wicked intentions said that
she could be made a wager. Reflecting on all these circumstances, I regard
Draupadi a free woman and not a slave."

Extract of Sabhaparva - Mahabharata -

A question of dharma was asked by draupadi addressed to Bhishma who could not answer that question. But one of Duryodhana's brother had the courage to answer that question. Isn't 'pankaja' (born in mud) சேற்றில் தாமரை - a simile for this?

[mahakavi]

A question of dharma was asked by draupadi addressed to Bhishma who could not answer that question. But one of Duryodhana's brother had the courage to answer that question. Isn't 'pankaja' (born in mud) சேற்றில் தாமரை - a simile for this?

vgvindan:
Yes, vikarNan is described as the exception among the kauravAs in terms of virtue and integrity. Let us hear what Bharathi writes about what vikarNan says:

"....peNNarasi kELvikkup pATTan sonna pEccadanai nAn koLLEn, peNDir tammai
eNNamadil vilangenavE kaNavareNNi Edenilum seydiDalAm enRAn pATTan
vaNNamuyar vEdaneRi mARip pinnAL vazhanguvadi^n^neRi enRAn, vazhuvE sonnAn

endaiyar tAm manaiviyarai viRpaduNDO? idugARum arasiyaraic cUdiR tORRa
vindaiyai nIr kETTaduNDO? vilaimAdarkku vidittadaiyE piRkAla nIdikkArar
sondamenac cAttirattil puguttiviTTAr! sollaLavE tAnAlum vazhakkandannil
indavida~nj ceyvadillai; sUdar vITTil EvaRpeN paNayamillai enRum kETTom"

"....பெண்ணரசி கேள்விக்குப் பாட்டன் சொன்ன பேச்சதனை நான் கொள்ளேன், பெண்டிர் தம்மை
எண்ணமதில் விலங்கெனவே கணவரெண்ணி ஏதெனிலும் செய்திடலாம் என்றான் பாட்டன்
வண்ணமுயர் வேதனெறி மாறிப் பின்னாள் வழங்குவதிந்நெறி என்றான், வழுவே சொன்னான்

எந்தையர் தாம் மனைவியரை விற்பதுண்டோ? இதுகாறும் அரசியரைச் சூதிற் தோற்ற
விந்தையை நீர் கேட்டதுண்டோ? விலைமாதர்க்கு விதித்ததையே பிற்கால நீதிக்காரர்
சொந்தமெனச் சாத்திரத்தில் புகுத்திவிட்டார்! சொல்லளவே தானாலும் வழக்கந்தன்னில்
இந்தவிதஞ் செய்வதில்லை; சூதர் வீட்டில் ஏவற்பெண் பணயமில்லை என்றும் கேட்டோம்"

vikarNan takes exception to the pitamaha BhIshma's contention that codified rules have been changed in due course to accommodate custom. He says what BhIshma said was WRONG. Nobody else in the court had the guts to say so. He goes on to say what was the norm for harlots in earlier times has been incorporated in the code for women of upper echelons too. He also talks sense by citing that even though that has been in the modified code, it has not been in practice to bet women in gambling games. He insists that in the gambling house, even servant maids cannot be bet.

Yes, vikarNan is what you'd call "sERRil muLaitta sentAmarai" (the red lotus born out the mud). Bharathi recognized that in these lines.

[MaheshS]

Is there an MP3 available of this varnam? I have never heard it and it looks very nice varnam ....thanks.

[mahakavi]

This padavarNam composed by K N Dandayudapani Pillai was recorded by MLV for her daughter's (Srividya) dance performance. The audio is available as a commercial CD ( EMI CDNF 147790).

[MaheshS]

Thank you very much mahakavi.

[NALINIn]

Thank you so much Rshankar. You have been very helpful

[krishnaa]

is the audio of this varnam available?
krishnaa

[Umesh]

Krishnaa,

You will find it on an HMV cassette, "An Evening of Bharatanatyam," for which MLV has provided the vocals.

[krishnaa]

thank you Umesh

[madhan]

http://www.hummaa.com/music/album/26757 ... ratanatyam Smt.MLV vocals and shri dhandayudhapani pillai nattuvaangam.. PURE BLISS!

[madhan]

http://www.youtube.com/watch?v=L8imoNXu2V4

[shreelatasuresh]

I am curious to find out why you translate it as the lord torturing the nayika and not the sakhi showing attitude and shenanigens? Many dancers have depicted as the sakhi showing jaalam and not the way you have translated it... Shreelata

I have cut and pasted my previous translation of this varNam. I had explained some sancArIs for rasikapriya, so forgive the unnecessary details.
Arasi has helped to correct some of the mistakes I made first.

sakhiyE inda (padavarNa). rAgA: shankarAbharaNa. Adi tALA.??
P:
sakhiyE = Oh friend
inda = this
jAlam = shenanigans
EnaDi = why [is it necessary]
endan = my
sAmiyai = Lord
vara = [to] come [here]
shollaDi = please tell him
idu = this
samayam?= [is the appropriate] time
paghalum = day
iravum = [and] night
manadai = [my] mind [is]
urukkudaDi = [being] tormented
pAlum = milk and
shOrum = rice
kaNDAl = [when I] lay eyes on/see [them]
verukkudaDi?= disgust me

Oh Sakhi, please ask my Lord to come to me. Why does he torture me with these shenanigans? As I spend my days and nights tormented by my love for him ignoring the needs of normal human existence (like thirst and hunger), please let him know that this is the correct time for him to come to me…(she is saying ‘enough, already’!).

A:
tigiri = sudarshana cakra (discuss)
shankEndum = shankh(g)u + Endum = one who holds (Endum) the conch (shankhu)
tirumalai = Tirupati
vAsanaDi = resident of
tIrA = unending
vinai = problem
aghaTrum = [one who] removes
en = my
uyir nEshanaDi?= lover (nEshan) who is dearer than life (uyir) itself
akhilam = world
azhindAlum = even if [it is] destroyed
avanai = him
maravEnaDi = maravEn + aDI = will not forget (maravEn) ‘aDI’ is a familiar way of addressing a friend or a young(er) girl
aruL = grace
purivAn = [will] shower upon [me]
enru = believing this
urudi = reassurance/hope
koNDEnaDi = konDEn + aDI = acquired (konDEn)
(ciTTasvara sAhitya)?
kOTi kOTi = crores/hundred thousand/countless
sukham = happiness
tEDi tEDi= after searching [for]
padam = song
pADi pADi = singing [praises of] repeatedly
aruL = grace
nADi = seeking
anudinamum = daily
ADi ADI = dancing [with fervor]
uDal = body
vADi = withering
vadangudaDi = vadangudu + aDI = is being tortured (vadangudu)
mODi = [playing] hide and seek/hiding from [me]
sheyyalAgumODi = sheyyal + AgumO + aDI = doing (sheyyal) will it be appropriate/correct (AgumO)
pODi?= go

Oh bosom friend of mine, the person who has become dearer than life itself to me is none other than the resident of tirupatI who bears the conch (pAnchajanyam) and wields the discuss (sudarshan chakram). He is capable of destroying the never ending trials and tribulations of life. Even if the world were to end, I would not forget him. My very life dangles on the hope that he will bestow his grace upon me. Please let him know that I constantly sing his praises, seeking the unending happiness and fulfillment (of uniting with him). Inform him that my (youthful) body is wilting and withering from all the fervent dancing for his grace. Please tell him that it is not appropriate to play this game of hide-and-seek with me.

C:
mAdE = Oh young woman
idil = in this
ennaDi = enna [what is] + aDI
rahasiyam = [the] secret
idu = this [is]
migha migha = extreme(ly)
avashiyam = necessity

Oh damsel, there is no secret or shame in this (my feelings). In fact, it (union with my Lord) is essential (for me to continue living) – {EDITORIALIZING: this refrain is used in other padavarNams as well – like in PS’s nATTaikurinji one – sAmi nAn undan aDimai – where the object of the heroine’s affections in Lord Siva}

1:
pAda sEvai = serving (sEvai) at/to [His] feet (padam/pAdam)
Aghilum = at least
tara = [to] give [me]
shollaDi = tell (shollu) aDI

Please ask him to grant me the privilege of at least serving him (if he doesn’t feel that I am worthy of marrying him)… Now, if he thinks I am unworthy, let me remind him/you/reassure myself of who he really is:

2:
shUDik-koDuttavaLai = the one who adorned herself before offering the [garland] to ranganAthan
k-kUDi = become one
maNamAlai = wedding [maNa] garland [mAlai]
shUDi = adorn(ing)
magizhndiDum = one who appreciates (magizhndiDum)
mAlavan = vishNU
tAnaDi = he is none other than?

He is none other than my Lord ranganAthan, who not only accepted the garlands that ANDAL (gOdhai) had originally adorned herself with, but actually granted her wish and became one with her. (SANCHARI – vishNuchittar, a learned man, spends his life in service to Lord ranaganAtha of SrIrangam: one of his chores is to make the garlands for the Lord. One day, he finds a beautiful young baby girl in his garden whom he adopts – she is called gOdhA, but quickly begins to rule her father and his household, and is referred to as ANDAL – one who rules – affectionately. ANDAL grows up into a beautiful, accomplished, and erudite young girl, and takes over the job of weaving the garlands for the Lord. She falls in love with Lord ranganAtha and wears the garlands first before giving them to her dad to place around the deity’s neck. One day, vishNuchittar finds a LONG hair in the garland, and realizes that the practice of using unused flowers for the Lord has been breached. From the length of the hair, he knows who the culprit is. He asks her to stop making the garlands from the next day. The next night, ranganAtha appears in his dreams and lets him know that he prefers the ‘blemished’ garlands from gOdhA to the fresh/virginal ones – when vishNuchittar tells ANDAL this, she asks to be married to ranganAtha – and as she enters the sanctum sanctorum in her bridal finery, she becomes one with the Lord, and the garland that she was wearing appears on the Lord, symbolizing the union. That is why ANDAL/gOdhA is referred to as ‘s(c)hUDi koDutta shudarkoDi’ – the creeper (beautiful woman) who gave the Lord garlands that she had worn first. To this day, in many tamizh weddings (and possibly others as well), there is a ‘garland exchange ceremony’ – mAlai mATral – where the bride and the groom exchange garlands to the accompaniment of a song describing this episode – mAlai mAttinAl, kOdai mAlai shAttinAL - http://www.musicindiaonline.com/music/c … rtist.116/ has several versions – I prefer Sudha’s)

3:
Adi mUlamena = The original one (Adi – beginning) mUlam – the origin
OlamiTTa = [one that] cried out
mada = proud
Anai = elephant
mun = before
shenru = [He] went [and]
aruL = grace
purindAnaDi = he showered/made true
Alilai = the leaf of a banyan
mEl = atop of
tuyil = sleeping posture/resting posture
koNDiruppAnaDi = konDu (assume) + iruppAn (will be) aDI
arumai = precious
perumaiyuDan = with (uDan) pride (perumai)
azhaittODi vADi= run (ODi) [to Him] and respectfully bring (azhaittuvA) [Him here]

When the (king of the) elephant(s) cried out ‘Adi mUlan’, my Lord appeared there instantly and blessed/rescued him. He is the none other than one who protects the world while lying atop a banyan leaf. Please bring him to me with all the pomp and glory that are his due.
(SANCHARI: this refers to gajEndra mOksham – salvation of the king of the elephants, an ardent devotee of vishNU – gajEndra goes to the river for his ritual bath, when an alligator clamps his teeth on one of his feet. Thinking that his end is near, the elephant cries out to vishNU – Adi mUlam – and hearing this cry from a true devotee, the Lord rushes to his help, and with his discuss, cuts the head of the alligator and frees the elephant) – this episode seems to be a favorite of many composers: for example, SrI mysUr vAsudEvAchAr refers to it very succinctly in his khamAs kritI, brOchEvAr(u) evaru rA? – Aturamuga karirAjuni brOchina vAsudEvuDavu nIvu kadA?

4:
panca pANDavarin = the five pAnDavAs
kuraiyai = [their] problems
tIrttavanaDi = [He is the One] who solved them
bAla gOpAlanaDi = he is the Divine cowherd (gOpAlan)?
anji = fearful
naDungiya = trembling
annai = mother
pAncAli = Draupadi
avalam = dire circumstances
kETTu = having heard
tughil = pallU (of saree)
tandAnaDi?= [He] gave [her]
vancakam = deceit
minjiya = replete with
rAvaNAdigaLai = rAvaN and his hordes
vIran = the brave
anumanuDan = with (uDan) hanuman
venrAnaDi?= [He] defeated
tanjamenru = seeking refuge (tanjam)
tavam = penance
irundiDuvEnaDi = perform/stay here [irundiDuEn]
tAnE = by himself
vandu = [He will] come [here] and
maNam purindiDuvAnaDi = will take my hand in marriage (maNam purindiDuvAn)

And finally, he is none other than vAsudEv krishNa, the divine cowherd of gOkul/brindAvan who remains the unwavering friend of his ‘cousins’ the pANDavAs, coming to their help in many, many situations. When Draupadi faces humiliation in the Kaurava court, he provided her with an unending, ever-lengthening pallU, and protected her honor. Along with help from the brave hanuman, as rAma, he defeated the evil rAvaNa and his hordes.
I am resolute in my intentions. If he doesn’t come to me, I will perform severe penance until he appears before me and accepts my hand in marriage.
(SANCHARI: When the hapless Yudhishtir pledges and loses his queen, draupadI, in a game to dice to his cousins, the evil kaurava princes, duryOdhan orders his brother duhshAsan to bring her to the court – when duhshAsan goes to her quarters, draupadI’s hand maidens have just helped her get dressed, and have yet to do her hair. She refuses to come to court with duhshAsan. Enraged, he grabs her by her undone tresses and drags her into court. There, he is ordered to disrobe her in front of everyone there. duhshAsan begins to do so by pulling at her pallU. When not one of the men present there is potent enough to come to her rescue and stop the atrocity, she appeals to krishNA, who comes to her aid, by making her pallU never-ending! duhshAsan abandons the effort out of sheer exhaustion, and draupadI’s honor is intact, thanks to krishNA)….

[rshankar]

That is certainly an equally valid interpretation, and I have seen that performed as well.

I felt that the lord torturing the nAyikA to be appealing as well (and allows for the nAyikA and her female companion to have a bond, instead of being at odds with each other), and I think the lyrics support that as well.

As always, since the composer is not available to query, interpretations can vary, and IMO allow for new 'blood/genetic material' to enter in.

[hemaflute]

Lakshman Sir,

Can you please email me the notation for this Varnam if available .. Many Thanks. Hema

[Lakshman]

Please check your email.