Composer - for teruvil varano ?

rasikapriya21 · Post by **rasikapriya21** » 26 May 2007, 17:28

Namaste,

I would like to know whether this padam is a composition of Muttutandavar. Some say it is by Ghanam Krishna Ayyer. Also, is it usually set to raga khamas or kalyani ?
I have read somewhere [sruti?] that the great Balasaraswati used to perform this padam often ..

Pallavi
teruvil varano ennai shaTrE tirumbip-pArAnO

anupallavi
uruviliyoDu tripurattaiyum uDan eri sheida naTarAjan

caraNam 1
vAsal munnillAnO enakkoru vAcakam shollAnO nEsamAip-pullEnO kazhai vaitta
rajanai vellEnO dEshikan ambalavANa naTam puri dEvAdi dEvan cidambaranAthan

caraNam 2
pOdum pOdillaiyE enakkoru tUdu sholvArillaiyE IdarindEnillaiyE enmEl kuTramE
tOnrumillaiyE vEdanumAlu-muvAyira rudran viNNa varum tozhavADiya pAdan

I hope someone here can throw light on this controversial matter.
thank you
rasikapriya21

mahakavi · Post by **mahakavi** » 26 May 2007, 20:24

To the extent I know it was composed by Muttut tANDavar. The rAgam is normally kamAs.

meena · Post by **meena** » 26 May 2007, 22:26

rasikapriya

Teruvil varano ennai shatre tirumbi parano (p) in Kalyani is by Ghanam Krishna Iyer
Teruvil varano ennai shatre tirumbi parano (p) in Khamas is by Muttu Tandavar

The txt u have posted is ghanam's (?)

Late T balasaraswati used to dance to kamAs padam, acc. to this article:
http://www.geocities.com/m_v_ramana/pret_tamil.html

rasikapriya21 · Post by **rasikapriya21** » 26 May 2007, 23:08

Thank You both for the clarifications.
However, as the pallavi is the same in both songs, how do the padams differ?
I will look for the other text... and let you know
thank you
rasikapriya21

rshankar · Post by **rshankar** » 26 May 2007, 23:50

Rasikapriya,
Check this link: After the naTESa kauttuvam by her students, Srilata Vinod (student of the Dhananjayan's AFAIK - kalAkSEtra style) segues into teruvil vArAnO...is this what you are looking for? It is one of the pieces on Feb 17th.

http://www.chennaistream.com/kb/natyanjali07/#

Lakshman · Post by **Lakshman** » 27 May 2007, 06:27

The song is attributed to Ghanam Krisha Iyer by some and Muttu Tandavar by others. The rAgAs are: khamAs/kalyANi/saurASTra.

mahakavi · Post by **mahakavi** » 27 May 2007, 20:40

Song: teruvil vaaraanO (padam)

theruvil vAraanO (padham)
raagam: sowraashTram

17 sooryakaantam janya
Aa: S R1 G3 M1 P M1 D2 N3 S
Av: S N3 D2 N2 D2 P M1 G3 R1 S

taaLam: aadi
Composer: Muttu TaaNDavar
Language: Tamil

pallavi

teruvil vArAnO ennai shaTrE tirumbip-pArAnO

anupallavi

uruviliyoDu tripurattaiyum uDan eri sheida naTarAjan

caraNam 1

vAsal munnillAnO enakkoru vAcakam shollAnO nEsamAip-pullEnO kazhai vaitta
rajanai vellEnO dEshikan ambalavANa naTam puri dEvAdi dEvan cidambaranAthan

caraNam 2

pOdum pOdillaiyE enakkoru tUdu sholvArillaiyE IdarindEnillaiyE enmEl kuTramE
tOnrumillaiyE vEdanumAlu-muvAyira rudran viNNa varum tozhavADiya pAdan

Meaning:

Other information:
Lyrics contributed by Lakshman Ragde.

This is what I found in karnATik.com. As you see it was contributed by Lakshman.

Lakshman:
There is also a mention in karnatik.com under Ghanam Krishna Iyer bio a song starting with "teruvil vArAnO" in the rAgam kAmbhOji. I was confused by that. I still am. But there was no text posted. Can you pl clarify?

Lakshman · Post by **Lakshman** » 27 May 2007, 23:02

I think the reference to kAmbhOji is a typo.

Lakshman · Post by **Lakshman** » 27 May 2007, 23:13

I found a third stanza in Bhajana Ratnakaram (part II). The ragas given are khamAs and saurASTra:

3: mei enrirundEnE avaniDa sheigai arindEnE maiyal taNindEnE pasattiDu meyyum
kuLirndEnE vaiyagamuyyap-patanjali pOTriDa vAzhum kanakasabhai naTarAjan

By the way the reference to kalyani is in Gowri Kuppuswamy's book Tamizh PadangaL. She also gives the notation. The song is creditied to Ghanam Krishna Iyer.

rasikapriya21 · Post by **rasikapriya21** » 28 May 2007, 17:35

Thank you all for your postings. I have been listening again to the song
and the lyrics are more or less as in the text provided by mahakavi.
Only the last sentence of the 2nd charanam is a bit different:
2 Charanam :
pOdu pOghudillaiyE enakkoru tUdu sholvArillaiyE [4]
IdarindEnillaiyE enmEl kuTram yAdonrum illaiyE [2]
vEdanumAlu-muvAyirarum shUzha viNNa varum tozha ADiya pAdan [2]

rasikapriya21

rasikapriya21 · Post by **rasikapriya21** » 28 May 2007, 17:46

There is another song "Chidambaram Ena En Manam " attributed to Muttu Thandavar. In this case too the authorship seems to be controversial, as the song is also ascribed to Gopalakrishna Bharatyar as well as to Papanasam SIvan . Can anyone clarify this?

thank you
rasikapriya21

mahakavi · Post by **mahakavi** » 28 May 2007, 23:27

>>pOdu pOghudillaiyE enakkoru tUdu solvArillaiyE [4]
IdaRindEnillaiyE enmEl kuTram yAdonRum illaiyE [2]
vEdanumAlu-muvAyirarum sUzha viNNavarum tozha ADiya pAdan [2]<<

rasikapriya21:
What you rewrote above is literally correct. The meaning for this:

Time does not pass easily (pOdu pOgudillaiyE) nor is there someone who will carry my message (tUdu).
I did not know this (Idu); I am not to be blamed ( I did not commit any errors).
Brahma (vEdan), VishNu (mAl), and the 3000 folks (Dikshitars of Cidambaram) surround (sUzha) and the celestials (viNNavar) worship (tozha) the one who dances!

Lakshman · Post by **Lakshman** » 29 May 2007, 00:13

cidambaram ena manam kanindDum in kalyANi is by Papanasham Shivan.
cidambaram ena ninaivAi manamE in bangALa is by Shuddhananda Bharati
cidambaram enru orutaram (tODi/bEgaDa/pUrvikalyANi) is by Gopalakrishna Bharati

rasikapriya21 · Post by **rasikapriya21** » 29 May 2007, 00:47

mahakavi: thank you for the corrections and meaning provided.
Lakshman: thank you for the clarification. The song I meant was the one
by Papansham Shivan.

regards

rasikapriya21

rasikapriya21 · Post by **rasikapriya21** » 29 May 2007, 19:46

Now that it's clear what the lyrics are, would someone be so kind as to provide the meaning for the pallavi and 1st charana [ "teruvil varano"] ?

thank you so mcuh for the kind help...
rasikapriya21

rshankar · Post by **rshankar** » 29 May 2007, 22:47

teruvil = in the street
vArAnO = will he not come
yennai = me
shatrE = for even a second/little moment
tirumbi = turn around
pArAnO = will he not see me

In the pallavi, the heroine hears sounds of the lord's procession setting out from the temple, and wonders, 'will my street be on his route, and will he even deign to look at me?'

oruvizhioDu = with one glance
tiripurattai uDan eri sheida = burnt (eri sheida) the three worlds (tiripurattai)
naTarAjan = lord naTarAjan of cidambaram

In the AP, the heroine describes who she is waiting for: He is none other than the Lord of dances (naTarAjan) who burnt the 3 worlds with just one scorching glance from his third eye.

vAsal munnillAnO = Will he not halt (nillAnO) in front (mun) of my door (vAsal)
enakkoru vAcakam shollAnO = will he not talk (shollAnO) some soothing words (oru vAcakam) to me (enakku)
nEsamAip-pullEnO = (I have heard this as nEsamAip-pOvEnO) which means will I not be overcome (pOvEnO) by love (nEsam)
kazhai vaitta rAjanai vellEnO = will I not win (vellEnO) the king (rAjanai) I have set my sights one (kazhai vaitta)
dEshikan ambalavANa = the lord of the theater (ambalam) (of the physical place of cidambaram, or the metaphysical place of one's consciousness)
naTam puri = one who dances (naTam puri) (in cidambaram)
dEvAdi dEvan cidambaranAthan = the Lord of lords (dEvAdi dEvan), the king (nAthan) of cidambaram

The heroine yearns: will the procession not halt at my door, and will he not speak lovingly to me (a maiden dying a slow death, tortured by my as yet unrequited love for him)? Will I not blossom in love, and win the heart of my lord who dances for ever in my consciousness and in the dancing halls of cidambaram?

rasikapriya21 · Post by **rasikapriya21** » 30 May 2007, 00:49

Ravi: I am truly grateful ... Once again, I cannot stress enough how valuable is your help to all the non-tamil-speaking dancers like myself.
thank you
rasikapriya21

rshankar · Post by **rshankar** » 30 May 2007, 00:57

Rasikapriya: You are welcome..my pleasure entirely!

arasi · Post by **arasi** » 30 May 2007, 03:12

Ravi,
Thanks. Your translations of dance-oriented kritis are a pleasure to read.

'kazhai' can mean his trident--since his being 'rAjan' follows. 'vellEnO?' makes it more so: won't I win over the trident bearing king?

mahakavi · Post by **mahakavi** » 30 May 2007, 03:56

meyyenRirundEnE avaniDa (avanadu?) seygai aRindEnE maiyal taNindEnE pasattiDu meyyum kuLirndEnE vaiyagamuyyap-patanjali pORRiDa vAzhum kanakasabhai naTarAjan

The above is the 3rd caraNam given by Lakshman. If this is truly part of the song, this verse describes the nAyaki's reversal to reality (from her imagination that the Lord would visit her). Here is the meaning:

meyyenRirundEnE = I thought it (my attempt at joining Him) was true
avaniDa (avanadu?) seygai = His action
aRindEnE = I learnt
maiyal = infatuation (in this context-- could also mean pride or craziness)
taNindEnE = got rid of
pasattiDum meyyum = (my) pale body complexion (due to love-sickness)
kuLirndEnE = got back to normal (from the excited state)
vaiyagamuyya = for the world to survive
patanjali pORRiDa = praised by the sage patanjali
vAzhum kanaka sabhai naTarAjan = exists the Lord of the golden hall (at Cidambaram)

This caraNam brings our nAyaki to realize that her dream of conquering her Lord and embracing him (nEsamAyp pullEnO) is perhaps far-fetched. She knows the Lord's doings. She got rid of her infatuation and her pale complexion returned to its original hue.

That is my take. Perhaps others have different views.

arasi · Post by **arasi** » 30 May 2007, 04:34

Yes, mahakavi.
'avanadu', 'avanuDai'--both are suitable; not avaniDa

If this verse is part of the song, so much the better. The denouement appears here in the final verse.

rshankar · Post by **rshankar** » 30 May 2007, 05:40

arasi wrote:Ravi,
Thanks. Your translations of dance-oriented kritis.

Arasi,
Like I said, it is my pleasure...I enjoy music 'visually' almost always, so every thing becomes dance oriented...that is why Bala's statement to Jon Higgins resonantes so well with me...

vgvindan · Post by **vgvindan** » 30 May 2007, 08:47

IMHO - avaniDa saigai seems to be more appropriate. Lord Nataraja's left hand points downwards towards His feet. This is what probably meant - the signal (saigai) of His (avan) left hand (iDa) - 'surrender at My feet'.

arasi · Post by **arasi** » 30 May 2007, 09:24

Govindan,
That seems more like it!

rasikapriya21 · Post by **rasikapriya21** » 31 May 2007, 12:46

Mahakavi: thank you for adding the translation of the third charanam. It is nice to imagine the nayaki coming back to her senses [for a change] . Would be interesting to know if this charanam has ever been performed in dance...

thank you all for the comments posted..
rasikapriya21

rshankar · Post by **rshankar** » 31 May 2007, 21:14

I have never seen it performed, for it may be anticlimactic...

rshankar · Post by **rshankar** » 02 Aug 2009, 06:16

In this potpourri from the dancer's performance at the nAtyAnjali in cidambaram, this composition was featured for a few minutes - I was captivated by the imaginative sancAri from around 2:30 to 3:15 - the nAyikA sends the moon as a messenger, only to see the moon settle itself on the Lord's locks; she then sends a deer, which is then held by the Lord in one of his hands - and this sancAri precedes the lines - 'yenakkoru tUdu SolvAr illayE' (there is no one to take a message for me): http://www.youtube.com/watch?v=wJTSXyxtUCw

rshankar · Post by **rshankar** » 09 Jan 2010, 22:12

This was my take on the third caraNam based on Sri VGV's suggestion (on a request from a friend):

caraNam 3
mei enrirundEnE avaniDa Seigai arindEnE
maiyal taNindEnE paSattiDum meyyum kuLirndEnE
vaiyagamuyyap-patanjali pOTriDa vAzhum kanakasabhai naTarAjan (teruvil vArAnO...)

In this final caraNam, the heroine's SringAra turns into bhakti. She says, "I used to think that (enru irundEnE) truthfully (mei), I would unite with him, but I have now understood (arindEnE) the meaning behind the gesture (Seigai) of his (avan) left (iDa) hand [1]. My infatuation (mayyal) for him has abated (taNindEnE), and my body (meyyum), which had become pale (paSaittiDum) in my love for him, is now consoled (kuLirndEnE). Will the lord who resides (vAzhum) in the golden (kanaka) hall (sabhai), the Lord naTarAjan not come by my street, so that the world (vaiyyagam) may benefit/survive (uyya) and and the sage patanjali can praise (pOTRiDa) him?"

FOOTNOTE
[1] When he dances, the lord's left hand is held such that his index finger points to the demon-child, muyalakan, on whose back he is dancing. This demon represents ignorance, and one purpose of the cosmic dance of Siva is to destroy ignorance, and foster enlightenment in his devotees. In this composition, the reference is that as soon as the nAyika understands this, her ignorance (her infatuation for him is a manifestation of her ignorance) is destroyed, and her SringAra transforms into bhakti

cmlover · Post by **cmlover** » 09 Jan 2010, 22:18

Thanks Shankar that clarifies the issue. Apparently Mutthu ThADavar composed it for a dAsi to perform but towards the end was overcome by bhakti to naTarAjar...

rshankar · Post by **rshankar** » 16 Jan 2010, 02:23

S-P posted this link in the nandanAr caritam link where it has gotten buried amidst all that discussion there, so I thought I would post it again in this topic.

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

A few points...This is Sri Sankar Kandaswamy's choreography - while very elegant, I have a couple of issues (mainly because his standards are so very high):

1) The sancAri for the lament 'enaku oru tUdu SolvAr illayE' was choreographed way more imaginatively in the link that I posted in post #27
2) The final interlude (where 'a little bird' tells the nAyikA that Siva will come to her) is at variance with how the song is intended to end with the third caraNam - where the nAyikA comes to her senses.
3) Between 2:44 and 3:04, the line 'oru vizhiyAlE muppuran eri Seida' is repeated at least 3 times and each time, I think I heard it as oru 'viLiAlE'....

mahakavi · Post by **mahakavi** » 16 Jan 2010, 03:52

>>oruvizhioDu = with one glance<<

This phrase with the given meaning in post #16 was left unrevised.
The word in the anupallavi line is "uruviliyoDu" and not "oruvizhiyoDu"
uruvili = uru illAdavan------> that is Cupid (manmadan). He was incinerated by Shiva.
The anupallavi line talks about the incineration of manmadan and the three cities (tripuram)

Sundar Krishnan · Post by **Sundar Krishnan** » 25 Oct 2011, 10:44

25/10/11

I would like to know the alternate Ragam(s) of this song.

I would like to know the Ragam and Taalam of this song in the foll UTube Link by OS Arun :
http://www.raaga.com/channels/carnatic/ ... id=cl01349

Is it Behag ?
Taalam ?

TIA

...

vasanthakokilam · Post by **vasanthakokilam** » 26 Oct 2011, 07:15

Khamas, Roopakam

Sundar Krishnan · Post by **Sundar Krishnan** » 26 Oct 2011, 22:59

Thanks for Khamas, Rpkm.

...

Anuradha Ramkumar · Post by **Anuradha Ramkumar** » 01 Jun 2020, 23:02

Can anyone give me the notation for Theruvil varaano in khamas

Lakshman · Post by **Lakshman** » 02 Jun 2020, 00:30

Please check your mailbox.

kaartiganesh · Post by **kaartiganesh** » 25 Aug 2022, 22:09

Can anyone please send me the notation of Theruvil Varano to ganeshkaarti22@gmail.com?

Thank you again,

Lakshman · Post by **Lakshman** » 26 Aug 2022, 06:02

It is sent.

sankark · Post by **sankark** » 25 Feb 2024, 22:30

rshankar wrote: ↑29 May 2007, 22:47 teruvil = in the street
vArAnO = will he not come
yennai = me
shatrE = for even a second/little moment
tirumbi = turn around
pArAnO = will he not see me

In the pallavi, the heroine hears sounds of the lord's procession setting out from the temple, and wonders, 'will my street be on his route, and will he even deign to look at me?'

oruvizhioDu = with one glance
tiripurattai uDan eri sheida = burnt (eri sheida) the three worlds (tiripurattai)
naTarAjan = lord naTarAjan of cidambaram

In the AP, the heroine describes who she is waiting for: He is none other than the Lord of dances (naTarAjan) who burnt the 3 worlds with just one scorching glance from his third eye.

vAsal munnillAnO = Will he not halt (nillAnO) in front (mun) of my door (vAsal)
enakkoru vAcakam shollAnO = will he not talk (shollAnO) some soothing words (oru vAcakam) to me (enakku)
nEsamAip-pullEnO = (I have heard this as nEsamAip-pOvEnO) which means will I not be overcome (pOvEnO) by love (nEsam)
kazhai vaitta rAjanai vellEnO = will I not win (vellEnO) the king (rAjanai) I have set my sights one (kazhai vaitta)
dEshikan ambalavANa = the lord of the theater (ambalam) (of the physical place of cidambaram, or the metaphysical place of one's consciousness)
naTam puri = one who dances (naTam puri) (in cidambaram)
dEvAdi dEvan cidambaranAthan = the Lord of lords (dEvAdi dEvan), the king (nAthan) of cidambaram

The heroine yearns: will the procession not halt at my door, and will he not speak lovingly to me (a maiden dying a slow death, tortured by my as yet unrequited love for him)? Will I not blossom in love, and win the heart of my lord who dances for ever in my consciousness and in the dancing halls of cidambaram?

first ever time I got to listen to this padam, thx to Seetha Rajan https://youtu.be/J8jmAR35yIQ?t=8590

kazhai vaiththa rAjanai -> is 'the one I have set my sight on' correct for 'kazhai vaiththa/கழை வைத்த"

https://ta.wiktionary.org/wiki/%E0%AE%9 ... 4%E0%AF%88
https://agarathi.com/word/%E0%AE%95%E0%AE%B4%E0%AF%88

neither gives that as a meaning - is kazhai vaiththa being treated as kaNvaiththa?

http://periscope-narada.blogspot.com/20 ... padam.html in here the author seem to treat kazhai vaiththa as one who holds trident (thandu, a bit of a stretch)? wont i win over siva, and then the rest of the epithets for siva follows.

if one were to take kazhai vaiththa as karumbu (sugarcane) vaiththa - that would be manmadhan (karumbu vil/pushpa bAnam) - sivan as manmadha (kOti manmadha rUpudE)?

rasikas.org

Composer - for teruvil varano ?

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