Greetings,
Can anyone assist with the lyrics & translation of the Krithi - Devi Neeye Thunai in the Raga Kirvani.
Thanks
MBK
Translation - Devi Neeye Thunai (Kirvani)
-
rajeshnat
- Posts: 10164
- Joined: 03 Feb 2010, 08:04
lyrics is here...
pallavi:
dhEvi neeyE thuNai-then madhurai
vaaz meena lOchani (dhEvi)
anupallavi:
dhEvaathi dhEvan SundharEsan
siththam kavar buvana Sundhari amba (dhEvi)
charaNam:
malayathvajan maadhavamE kaanchana
maalai pudhalvi maHaa raakNYa
alaimahaL kalaimahaL paNi keervaaNi
amudhanaiya iniya muththamiz vaLarththa (dhEvi)
pallavi:
dhEvi neeyE thuNai-then madhurai
vaaz meena lOchani (dhEvi)
anupallavi:
dhEvaathi dhEvan SundharEsan
siththam kavar buvana Sundhari amba (dhEvi)
charaNam:
malayathvajan maadhavamE kaanchana
maalai pudhalvi maHaa raakNYa
alaimahaL kalaimahaL paNi keervaaNi
amudhanaiya iniya muththamiz vaLarththa (dhEvi)
-
rshankar
- Posts: 13754
- Joined: 02 Feb 2010, 22:26
Here is my attempt at both correcting the layout of the lyrics to the standard transliteration scheme we use here, and a translation: I have put my editorial comments in [] at the end, with numbers in the text of the translation - so that the flow of the composition is not interfered with.
dEvI nIyE tuNai-ten madurai
vAzh mIna lOcani (dEvI)
anupallavi:
dEvAt(d)i dEvan sundarEsan
cittam kavazh bhuvana sundari amba (dEvI)
caraNam:
malayadhvajan mAtavamE kAncana
mAlai pudalvi mahA rAgnI
alaimagaL kalaimagaL paNi kIrvANi
amudanaiya iniya muttamizh vaLartta (dEvI)
Oh resident (vAzh) goddess (dEvI) of southern (ten) mathurA (madurai) with lovely long eyes (lOcani) like a fish (mIna)! You (nIyE) are my only companion (tuNai) in this journey of life.1
You are the beauty (bhuvana sundari – the most beautiful person in the world) that captured/enamored (kavazh) the mind/heart (cittam) of that Lord (dEvan) of Lords (dEvAti), the handsome sundarESwara (sundara – handsome, also called cokkanAthan in tamizh).
Oh product of the great (m(ah)A) penance (tavam) of the pANDya king maladhwajan!2 mahA rAgnI (a name of the dEvI) you are the daughter (pudalvi) of queen kAncanamAlA. You are the kIravANI (clever integration of the rAga mudra and a name of pArvatI – tattai mozhiyAL – one with the speech of parrots – kIram = parrot, vANI = speech – the speech of a parrot is considered to be auspicious as well as true – probably explains the profusion of 'kiLi jOsiyam' in TN!
) served/bowed to (paNi) by the daughter of the seas (alaimagaL – lakshmI) and the daughter of the arts (kalaimagaL – saraswatI). who protects and allows the sweet (iniya), nectar like (amudanaiya) muttamizh ( the three branches of tamizh literature – iyal, iSai and nATakam) to prosper/grow/flourish (vaLartta)
1: [the south Indian town of Madurai is supposed to the southern counterpart of mathurA – the brother (mAyan) who resides and presides over the territory in the north, and his sister (mAyE, mAyan sOdari) who protects the south – a lovely concept].
2: [(refers to the fact that mInAkshi was born after the issueless king and his queen kAncanamAlA under took severe penance and austerities, and finally performed the putrakAmEshThi/putrEshThi yagnya – out of the fire appeared a beautiful baby girl with long eyes like a fish – the king and queen took the child and named her mInAkshi and showered her with affection and love and brought her up to be the heir to the pANDya throne – she was educated in all the necessary science and arts – appropriate for both a prince – archery, fighting, statesmanship, plotting war strategy etc., and a princess – iyal/iSai/nATakam etc. She was born with a supernumery nipple – a voice sans body – aSarIri – proclaimed that the extra nipple would disappear when she met the man she would marry – when mInAkshi becomes the 'king' after her dad, she decides to take on the mantle of a warrior princess much to her mother's dismay – she sets out and conquers every land that lies in her path, and reaches mount kailAS. There, she easily defeats the Siva gaNas that Siva sends first. When all of his army is defeated, he decides to appear himself to see who this mere woman who had decimated his mighty army was – when he does, and mInAkshi sets eyes on him, instead of feeling the thirst to do more battle, she is overcome with coy shyness, and discovers that her extra nipple has disappeared – she realizes that she has met her match literally and figuratively and retreats. SivA realizes that she is none other than pArvatI and comes to ten mathurA to ask kAncanamAla for mInAkshi's hand in marriage. kAncanamAla readily accepts and it is her joy at this much anticipated wedding of her daughter that is captured in the wedding song – kaNNUnjal ADi irundAL, kAncanamAlai manam magizhindAL…since mInAkshi was fatherless at that time, her brother, vishNu performs the kanyAdAnam – a picture that is captured in a frieze on the temple wall in Madurai).]
dEvI nIyE tuNai-ten madurai
vAzh mIna lOcani (dEvI)
anupallavi:
dEvAt(d)i dEvan sundarEsan
cittam kavazh bhuvana sundari amba (dEvI)
caraNam:
malayadhvajan mAtavamE kAncana
mAlai pudalvi mahA rAgnI
alaimagaL kalaimagaL paNi kIrvANi
amudanaiya iniya muttamizh vaLartta (dEvI)
Oh resident (vAzh) goddess (dEvI) of southern (ten) mathurA (madurai) with lovely long eyes (lOcani) like a fish (mIna)! You (nIyE) are my only companion (tuNai) in this journey of life.1
You are the beauty (bhuvana sundari – the most beautiful person in the world) that captured/enamored (kavazh) the mind/heart (cittam) of that Lord (dEvan) of Lords (dEvAti), the handsome sundarESwara (sundara – handsome, also called cokkanAthan in tamizh).
Oh product of the great (m(ah)A) penance (tavam) of the pANDya king maladhwajan!2 mahA rAgnI (a name of the dEvI) you are the daughter (pudalvi) of queen kAncanamAlA. You are the kIravANI (clever integration of the rAga mudra and a name of pArvatI – tattai mozhiyAL – one with the speech of parrots – kIram = parrot, vANI = speech – the speech of a parrot is considered to be auspicious as well as true – probably explains the profusion of 'kiLi jOsiyam' in TN!
) served/bowed to (paNi) by the daughter of the seas (alaimagaL – lakshmI) and the daughter of the arts (kalaimagaL – saraswatI). who protects and allows the sweet (iniya), nectar like (amudanaiya) muttamizh ( the three branches of tamizh literature – iyal, iSai and nATakam) to prosper/grow/flourish (vaLartta)1: [the south Indian town of Madurai is supposed to the southern counterpart of mathurA – the brother (mAyan) who resides and presides over the territory in the north, and his sister (mAyE, mAyan sOdari) who protects the south – a lovely concept].
2: [(refers to the fact that mInAkshi was born after the issueless king and his queen kAncanamAlA under took severe penance and austerities, and finally performed the putrakAmEshThi/putrEshThi yagnya – out of the fire appeared a beautiful baby girl with long eyes like a fish – the king and queen took the child and named her mInAkshi and showered her with affection and love and brought her up to be the heir to the pANDya throne – she was educated in all the necessary science and arts – appropriate for both a prince – archery, fighting, statesmanship, plotting war strategy etc., and a princess – iyal/iSai/nATakam etc. She was born with a supernumery nipple – a voice sans body – aSarIri – proclaimed that the extra nipple would disappear when she met the man she would marry – when mInAkshi becomes the 'king' after her dad, she decides to take on the mantle of a warrior princess much to her mother's dismay – she sets out and conquers every land that lies in her path, and reaches mount kailAS. There, she easily defeats the Siva gaNas that Siva sends first. When all of his army is defeated, he decides to appear himself to see who this mere woman who had decimated his mighty army was – when he does, and mInAkshi sets eyes on him, instead of feeling the thirst to do more battle, she is overcome with coy shyness, and discovers that her extra nipple has disappeared – she realizes that she has met her match literally and figuratively and retreats. SivA realizes that she is none other than pArvatI and comes to ten mathurA to ask kAncanamAla for mInAkshi's hand in marriage. kAncanamAla readily accepts and it is her joy at this much anticipated wedding of her daughter that is captured in the wedding song – kaNNUnjal ADi irundAL, kAncanamAlai manam magizhindAL…since mInAkshi was fatherless at that time, her brother, vishNu performs the kanyAdAnam – a picture that is captured in a frieze on the temple wall in Madurai).]
Last edited by rshankar on 17 Oct 2007, 19:24, edited 1 time in total.
-
rshankar
- Posts: 13754
- Joined: 02 Feb 2010, 22:26
A few more points on madurai:
1. Courtesy Smt. Revati Shankaran:
ma du rai - three syllables that have SO much in them
drop the first syllable, you get a king (durai ALuvar)
drop the second syllable, you get a prancing animal (marai tuLLum)
and drop the last syllable, and you can get intoxicated (madu mayakkum)
2. The temple of mInAkshi and sundarESwara has the poTrAmarai kuLam - this is where literary works were taken to be judged - legend has it that in the sangam period, the whole set of palm leaves (on which the work was transcribed) would be dropped into the pond - if it was judged worthy, it would float to the top on a golden lotus (pon tAmari). Maybe that is why the dEvi is credited with being the patron of mUnru tamizh/muttamizh. ANDavan piccai/picci describes sundarESwarar as
'oru mannanAi ninru oppaTra maduraiyilE
ONgoLir sangam vaittu ontamizhai vaLarttAn'
3. madurai/ten mathurA is also known as the 'oDiyANa pITham' because the waist of the dEvI's vigraham is supposed to become smaller with each passing year, and the legend is that kaliyugam will end when it snaps.
1. Courtesy Smt. Revati Shankaran:
ma du rai - three syllables that have SO much in them
drop the first syllable, you get a king (durai ALuvar)
drop the second syllable, you get a prancing animal (marai tuLLum)
and drop the last syllable, and you can get intoxicated (madu mayakkum)
2. The temple of mInAkshi and sundarESwara has the poTrAmarai kuLam - this is where literary works were taken to be judged - legend has it that in the sangam period, the whole set of palm leaves (on which the work was transcribed) would be dropped into the pond - if it was judged worthy, it would float to the top on a golden lotus (pon tAmari). Maybe that is why the dEvi is credited with being the patron of mUnru tamizh/muttamizh. ANDavan piccai/picci describes sundarESwarar as
'oru mannanAi ninru oppaTra maduraiyilE
ONgoLir sangam vaittu ontamizhai vaLarttAn'
3. madurai/ten mathurA is also known as the 'oDiyANa pITham' because the waist of the dEvI's vigraham is supposed to become smaller with each passing year, and the legend is that kaliyugam will end when it snaps.
Last edited by rshankar on 19 Oct 2007, 06:30, edited 1 time in total.
-
vgvindan
- Posts: 1430
- Joined: 13 Aug 2006, 10:51
I was wondering about the word 'oDyAna'. In LalitA Sahasra Nama, mother is called 'ODyANa pITha nilayA' (379).
But this word is not available in the Monier's Sanskrit Dictionary. The Tamil Dictionary gives the word to have originated from Telugu. The actual Telugu word is 'oDDANamu' - derived from 'oDi' for 'lap'.
From my websearch, I understand 'AjnA cakra' situated between eyebrows is considered as 'ODyANa pItha'. Elsewhere, it is stated Kanchi is 'ODyAna pITha'.
Can someone throw more light on the subject?
But this word is not available in the Monier's Sanskrit Dictionary. The Tamil Dictionary gives the word to have originated from Telugu. The actual Telugu word is 'oDDANamu' - derived from 'oDi' for 'lap'.
From my websearch, I understand 'AjnA cakra' situated between eyebrows is considered as 'ODyANa pItha'. Elsewhere, it is stated Kanchi is 'ODyAna pITha'.
Can someone throw more light on the subject?