Need meaning of Latangi varnam: Konjum Sellangai
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lathasubraman1
- Posts: 1
- Joined: 10 Nov 2013, 09:43
Need meaning of Latangi varnam: Konjum Sellangai
Need lyrics and meaning of Latangi ragam varnam: Konjum Sellangai
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Lakshman
- Posts: 14184
- Joined: 10 Feb 2010, 18:52
Re: Need meaning of Latangi varnam: Konjum Sellangai
konjum sadangai oli. rAgA: kAnaDA. Adi tALA.
P: konjum sadangai oli kETTu nenjil pongudammA pudiya pATTu
A: kAviyar pAvalar kaviyO isaiyO kalaiyAl nila perum yArO
C: pAvalar ADiDum bharatamum migavum manamE manam kavar mEl suvai nAda isai
singAra viriyODu jagamn yAvum uravADa maingada? ezhilADa manamADa
tamtOm tamtOm enru jatiyoDu malarADa
P: konjum sadangai oli kETTu nenjil pongudammA pudiya pATTu
A: kAviyar pAvalar kaviyO isaiyO kalaiyAl nila perum yArO
C: pAvalar ADiDum bharatamum migavum manamE manam kavar mEl suvai nAda isai
singAra viriyODu jagamn yAvum uravADa maingada? ezhilADa manamADa
tamtOm tamtOm enru jatiyoDu malarADa
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lsr
- Posts: 55
- Joined: 13 Apr 2011, 23:09
Re: Need meaning of Latangi varnam: Konjum Sellangai
Found this on the net.
pallavi
konjum sadangai tigazhum un tiruvaDi tanjam enr(u)unai paNindEn paramporuLE
Oh supreme (param) essence (poruLE) of this universe! Considering (enru) your (un) divine (tiruvaDi) feet (aDi) that shine (tigazhum) with anklets (sadangai) that seem to caress (konjum) them to be my only support/prop/succor (tanjam) in this world, I have bowed down (paNindEn) to you (unai).
anupallavi
nanjinai amudenavE umaiavaLin nenjamum anjiDa unD(u)aruL purindAi
You showered your grace (aruL purindAi) on us by consuming (unDu) poison (nanjinai) as it it were nectar (amudenavE), even as pAravtI's (umai avaLin) heart (nejamum) trembled/hesitated (anjiDa) in fear [1]!
[1] Once, when the Gods were losing their strength and vitality, they were told that deep in the ocean lay a pot containing the nectar of immortality. They managed to convince the serpent vAsuki to be the churning rope and the mount mandara to be the churn. Discovering that by themselves, they did not possess the wherewithal to churn the milky ocean, they decided to rope the demons in by promising them some of the nectar. When all was set, and they started to churn, to their dismay, mandara started to sink. vishNu then assumed the form of a tortoise (kUrma) and went under water and bore the mountain on his back preventing it from sinking. The churning now began in earnest, and the first to emerge were the poison, halAhalam. As the poisonous fumes spread, the very existence of all life forms was threatened. Everyone prayed to Siva for help. He appeared on the scene with pArvati, and scooped up the poison and swallowed it. The halAhalam was so potent that he started to sway under its influence. A scared and anxious pArvati holds his neck, preventing the poison from spreading any further. His neck however darkens from the poison, and he becomes nIlakaNThan forever. A tired Siva lies down on pArvatI's lap (a temple on the outskirts of Madras has a reclining Siva - hAlam unDa ISan - the lord who consumed poison - and pArvati is worshipped as sarva mangaLa - the dEvi who saves every woman's mAngalya, hers included). After Siva takes care of the poison, when the moon comes out of the sea, the gods offer it/him to Siva who places it/him on his matted locks. (The other things that come out include mahAlakshmI, several precious jewels, and ultimately, the nectar of immortality - the gods with the help of vishNu as mOhini, trick the demons and keep the nectar to themselves).
muktAyisvara sAhityam
pancabhUta vaDivAga mA perum prapancam yAvilum nI niraindAi
Sen SaDai mIdinil candiran SUDiya cancalam tIrkum ponnambalavANanE
nari tanai noDiyinil pariyena mATriya kariyai urittu Siram maN sumandavanE
tiruvaDi nADinEn aruL mukham tEDinEn arum perum varam tarum guNanidhiyE
You (nI) are manifest/replete in (niraindAi) in every aspect (yAvilum) of this mighty (mA perum) universe/creation (prapancam) in the form (vaDivAga) of the five (panca) elements (bhUta) [2]. Oh Lord of the golden (pon) assembly (ambalavANanE) in cidambaram who destroys/removes (tIrkum) our anxieties (cancalam), you bear (SUDiya) the moon (candiran) on (mIdinil) your matted locks (Sen SaDai). Oh Lord who changed (mATriya) a leash of foxes (nari tanai) into a herd of horses (pariyena) [3], who skinned (uritta) the elephant (kari) you vanquished [4], and who carried (sumandavanE) bags of sand (maN) on his head (Siram) [5]! Oh pre-eminent (arum), great (perum) repository (nidhiyE) of character (guNa) and granter (tarum) of boons (varam) I have sought (nADinEn) your divine (tiru) feet (aDi) and have searched (tEDinEn) for your benevolent (aruL) face (mukham).
[2] panca bhUta - the five elements are fire, wind, water, earth, and ether/space. In various combinations, they are thought to make up the composition of all creation. These elements are all considered to be manifestations of Siva worshipped in the panca bhUta sthalams (appu/water in jambukESvaram, agni/fire in tiruvaNNAmalai, prithvi/earth in kAncIpuram, vAyu/wind in kALahasti, and AkASa/ether in cidambaram). The various iterations of this part of the sAhityam can be used to show the 5 elements.
[3] Refers to the legend of mANikkavAcakar, one of the 63 Saivaite saints/nAyanmArs. Before he became a renunciate, he was in royal service as a minister. Once, his king gave him money to procure a heard of Arabian horses from the coast. On his way to the horse traders, mANikkavAcakar gets side-tracked, and is initiated into Siva bhakti mArga, and forgets all about his royal command. He uses the money in his possession to build a large temple for Siva (AruDaiyAr kOvil). Soon, the king's men catch up with him, and in desperation, he turns to Siva for help – Siva comes to him in his dream and asks him to catch a leash of foxes. When mANikkavAcakar does that, Siva converts them into a herd of strong Arabian steeds which are lead to the king who is overjoyed. That night, the horses revert to their original forms (as foxes), and the king imprisons mANikkavAcakar, and when he learns the truth, he is impressed with his former minister's devotion and releases him.
[4] Siva kills an elephant-faced demon called gajamukhAsuran, who attacks him in the form of an elephant. After killing the demon, Siva skins the elephant, and uses the elephant skin to cover his bare chest (angavastram) – and he is referred to as 'gaja carmAmbara dhara' – one who wears elephant skin. (Siva is depicted wearing a tiger skin as his lower garment, around his waist, and elephant skin as his upper garment, over his chest)
[5] Once, when the levies broke and the waters from the river vaigai threatened to flood the city of madurai, the pANDya king commanded that every family/household should send one person to carry bags of sand to dam the breach. In the city lived a very devout devotee of Siva, an old woman with no children or family to send. Since she herself was too feeble and weak to work herself, she feared the wrath of the king. Siva comes to her as a strong young man, and offers to work in her place, in return for a handful of piTTu (made of rice flour and jaggery). After getting his payment in advance, he goes to work, but after carrying a couple of bags, he falls asleep. The king who walks by supervising the work, becomes enraged and lashes at the youth with his whip – as the whip flick's the young man's back he disappears, but every living creature experiences the stinging of that lash and the king realizes the youth's identity!
caraNam
naTanam ADiDum naTEsA latAngi iNaindu layamuDanE
Oh Lord (ISA) of dancers (naTa), who dances (naTanam AdiDum) with (uDanE) perfect time/rhythm (layam) in the company (iNaindu) of pArvati (latAngi) [6].
caraNasvara sAhityam 1
sAmagAnan tanil tanai marand(u)agam magizhnduDan varum
As his mind (agam) delights (magizhndu) even as he forgets (marandu) himself (tanai) in (tanil) the chanting of the sAma vEda (sAmagAnam), he is the Lord who will come (varum) along (uDan) to enjoy good music.
[6] latAngI literally means a woman with limbs (angi) that are as slender and graceful as a creeper (latA) – this is also the rAga mudra in this composition. So, an alternate interpretation of the caraNa sAhityam could be - Oh Lord (ISA) of dancers (naTa), who dances (naTanam AdiDum) to the perfect union (uDanE) of music/rAga (latAngi) and tALa (layamuDan).
caraNa svara sAhityam 2
nAth(d)A un azhaginai kANum iru vizhiyum nALum un dariSanam kANa vizhaindiDum
malar padam ninaindiDum tavittu(u)Lam pagalum iravum uzhalum tavamirundu
Oh Lord (nAthA)! Even as both (iru) my eyes (vizhiyum) feast upon (kAnum) your (un) beauty (azhaginai), they long for/desire to (vizhaindiDum) behold (kANa) your (un) auspicious vision (dariSanam) at all times (nALum). My soul (uLam) which is steadfast in meditating (ninaindiDum) upon your lotus-like (malar) feet (padam) will suffer (tavittu) and swirl around (uzhalum) in penance (tavam irundu) continually (pagalum - during the day, and iravum - during the night).
caraNasvara sAhityam 3
nI viriSaDaiyn nI puliyuDaiyan nI hariharanum nI kali ulagil nI
karuNai kaDal nI patanjali muni tozhum paraman nI varam aruLvAi
My lord! You (nI) are the one with loose (viri), matted locks (SaDaiyan), draped in a tiger-skin (puli) garment (uDaiyan). You are both vishNu (hari) as well as Siva (haranum). In this kaliyug (kali ulagil), you (nI) are the repository/ocean (kaDal) of mercy and compassion (karuNai). You (nI) are the supreme one (paraman) whom the sage patanjali worships (tozhum). Please grant (aruLvAi) me the boons (varam) I seek!
caraNasvara sAhityam 4
tAm dhIm taka dhimi taka jana vena nAdam malai aruvi izhaindu vara
pADum aDiyargaL kaLittADa idadu pAdam tUkki anudinamum ADal palavidamum
valakkai uDukkai piDittE iSaikkum azhagil murali magizhndu vaNaNga
tattajham ga ri sa ni da tajam tarikiTa tom ri sa ni da pa tadhImi yena
Even as the strains of music (nAdam) that go (vena) 'tAm dhIm taka dhimi taka jana' come (vara) cascading (izhaindu vara) like a waterfall (aruvi) in the mountains (malai), my Lord, you lift (tUkki) up your left (idadu) foot (pAdam) to perform several different types (palavidamum) of dances (ADal) on a daily basis (anudinamum) so that the devotees (aDiyargaL) who sing your praises (pADum) can dance (ADa) in joy (kaLittu). Delighting (magizhndu) in your beauty (azhagil) as you dance and make music (iSaikkum) with the drum (uDukkai) that you hold (piDittE) in your right (vala) hand (kai), the composer, muraLi [7], bows (vaNaNga) down to you, my Lord, who dances to the jati svara sequence that goes (yena) 'tattajham ga ri sa ni da tajam tarikiTa tom ri sa ni da pa tadhImi'.
pallavi
konjum sadangai tigazhum un tiruvaDi tanjam enr(u)unai paNindEn paramporuLE
Oh supreme (param) essence (poruLE) of this universe! Considering (enru) your (un) divine (tiruvaDi) feet (aDi) that shine (tigazhum) with anklets (sadangai) that seem to caress (konjum) them to be my only support/prop/succor (tanjam) in this world, I have bowed down (paNindEn) to you (unai).
anupallavi
nanjinai amudenavE umaiavaLin nenjamum anjiDa unD(u)aruL purindAi
You showered your grace (aruL purindAi) on us by consuming (unDu) poison (nanjinai) as it it were nectar (amudenavE), even as pAravtI's (umai avaLin) heart (nejamum) trembled/hesitated (anjiDa) in fear [1]!
[1] Once, when the Gods were losing their strength and vitality, they were told that deep in the ocean lay a pot containing the nectar of immortality. They managed to convince the serpent vAsuki to be the churning rope and the mount mandara to be the churn. Discovering that by themselves, they did not possess the wherewithal to churn the milky ocean, they decided to rope the demons in by promising them some of the nectar. When all was set, and they started to churn, to their dismay, mandara started to sink. vishNu then assumed the form of a tortoise (kUrma) and went under water and bore the mountain on his back preventing it from sinking. The churning now began in earnest, and the first to emerge were the poison, halAhalam. As the poisonous fumes spread, the very existence of all life forms was threatened. Everyone prayed to Siva for help. He appeared on the scene with pArvati, and scooped up the poison and swallowed it. The halAhalam was so potent that he started to sway under its influence. A scared and anxious pArvati holds his neck, preventing the poison from spreading any further. His neck however darkens from the poison, and he becomes nIlakaNThan forever. A tired Siva lies down on pArvatI's lap (a temple on the outskirts of Madras has a reclining Siva - hAlam unDa ISan - the lord who consumed poison - and pArvati is worshipped as sarva mangaLa - the dEvi who saves every woman's mAngalya, hers included). After Siva takes care of the poison, when the moon comes out of the sea, the gods offer it/him to Siva who places it/him on his matted locks. (The other things that come out include mahAlakshmI, several precious jewels, and ultimately, the nectar of immortality - the gods with the help of vishNu as mOhini, trick the demons and keep the nectar to themselves).
muktAyisvara sAhityam
pancabhUta vaDivAga mA perum prapancam yAvilum nI niraindAi
Sen SaDai mIdinil candiran SUDiya cancalam tIrkum ponnambalavANanE
nari tanai noDiyinil pariyena mATriya kariyai urittu Siram maN sumandavanE
tiruvaDi nADinEn aruL mukham tEDinEn arum perum varam tarum guNanidhiyE
You (nI) are manifest/replete in (niraindAi) in every aspect (yAvilum) of this mighty (mA perum) universe/creation (prapancam) in the form (vaDivAga) of the five (panca) elements (bhUta) [2]. Oh Lord of the golden (pon) assembly (ambalavANanE) in cidambaram who destroys/removes (tIrkum) our anxieties (cancalam), you bear (SUDiya) the moon (candiran) on (mIdinil) your matted locks (Sen SaDai). Oh Lord who changed (mATriya) a leash of foxes (nari tanai) into a herd of horses (pariyena) [3], who skinned (uritta) the elephant (kari) you vanquished [4], and who carried (sumandavanE) bags of sand (maN) on his head (Siram) [5]! Oh pre-eminent (arum), great (perum) repository (nidhiyE) of character (guNa) and granter (tarum) of boons (varam) I have sought (nADinEn) your divine (tiru) feet (aDi) and have searched (tEDinEn) for your benevolent (aruL) face (mukham).
[2] panca bhUta - the five elements are fire, wind, water, earth, and ether/space. In various combinations, they are thought to make up the composition of all creation. These elements are all considered to be manifestations of Siva worshipped in the panca bhUta sthalams (appu/water in jambukESvaram, agni/fire in tiruvaNNAmalai, prithvi/earth in kAncIpuram, vAyu/wind in kALahasti, and AkASa/ether in cidambaram). The various iterations of this part of the sAhityam can be used to show the 5 elements.
[3] Refers to the legend of mANikkavAcakar, one of the 63 Saivaite saints/nAyanmArs. Before he became a renunciate, he was in royal service as a minister. Once, his king gave him money to procure a heard of Arabian horses from the coast. On his way to the horse traders, mANikkavAcakar gets side-tracked, and is initiated into Siva bhakti mArga, and forgets all about his royal command. He uses the money in his possession to build a large temple for Siva (AruDaiyAr kOvil). Soon, the king's men catch up with him, and in desperation, he turns to Siva for help – Siva comes to him in his dream and asks him to catch a leash of foxes. When mANikkavAcakar does that, Siva converts them into a herd of strong Arabian steeds which are lead to the king who is overjoyed. That night, the horses revert to their original forms (as foxes), and the king imprisons mANikkavAcakar, and when he learns the truth, he is impressed with his former minister's devotion and releases him.
[4] Siva kills an elephant-faced demon called gajamukhAsuran, who attacks him in the form of an elephant. After killing the demon, Siva skins the elephant, and uses the elephant skin to cover his bare chest (angavastram) – and he is referred to as 'gaja carmAmbara dhara' – one who wears elephant skin. (Siva is depicted wearing a tiger skin as his lower garment, around his waist, and elephant skin as his upper garment, over his chest)
[5] Once, when the levies broke and the waters from the river vaigai threatened to flood the city of madurai, the pANDya king commanded that every family/household should send one person to carry bags of sand to dam the breach. In the city lived a very devout devotee of Siva, an old woman with no children or family to send. Since she herself was too feeble and weak to work herself, she feared the wrath of the king. Siva comes to her as a strong young man, and offers to work in her place, in return for a handful of piTTu (made of rice flour and jaggery). After getting his payment in advance, he goes to work, but after carrying a couple of bags, he falls asleep. The king who walks by supervising the work, becomes enraged and lashes at the youth with his whip – as the whip flick's the young man's back he disappears, but every living creature experiences the stinging of that lash and the king realizes the youth's identity!
caraNam
naTanam ADiDum naTEsA latAngi iNaindu layamuDanE
Oh Lord (ISA) of dancers (naTa), who dances (naTanam AdiDum) with (uDanE) perfect time/rhythm (layam) in the company (iNaindu) of pArvati (latAngi) [6].
caraNasvara sAhityam 1
sAmagAnan tanil tanai marand(u)agam magizhnduDan varum
As his mind (agam) delights (magizhndu) even as he forgets (marandu) himself (tanai) in (tanil) the chanting of the sAma vEda (sAmagAnam), he is the Lord who will come (varum) along (uDan) to enjoy good music.
[6] latAngI literally means a woman with limbs (angi) that are as slender and graceful as a creeper (latA) – this is also the rAga mudra in this composition. So, an alternate interpretation of the caraNa sAhityam could be - Oh Lord (ISA) of dancers (naTa), who dances (naTanam AdiDum) to the perfect union (uDanE) of music/rAga (latAngi) and tALa (layamuDan).
caraNa svara sAhityam 2
nAth(d)A un azhaginai kANum iru vizhiyum nALum un dariSanam kANa vizhaindiDum
malar padam ninaindiDum tavittu(u)Lam pagalum iravum uzhalum tavamirundu
Oh Lord (nAthA)! Even as both (iru) my eyes (vizhiyum) feast upon (kAnum) your (un) beauty (azhaginai), they long for/desire to (vizhaindiDum) behold (kANa) your (un) auspicious vision (dariSanam) at all times (nALum). My soul (uLam) which is steadfast in meditating (ninaindiDum) upon your lotus-like (malar) feet (padam) will suffer (tavittu) and swirl around (uzhalum) in penance (tavam irundu) continually (pagalum - during the day, and iravum - during the night).
caraNasvara sAhityam 3
nI viriSaDaiyn nI puliyuDaiyan nI hariharanum nI kali ulagil nI
karuNai kaDal nI patanjali muni tozhum paraman nI varam aruLvAi
My lord! You (nI) are the one with loose (viri), matted locks (SaDaiyan), draped in a tiger-skin (puli) garment (uDaiyan). You are both vishNu (hari) as well as Siva (haranum). In this kaliyug (kali ulagil), you (nI) are the repository/ocean (kaDal) of mercy and compassion (karuNai). You (nI) are the supreme one (paraman) whom the sage patanjali worships (tozhum). Please grant (aruLvAi) me the boons (varam) I seek!
caraNasvara sAhityam 4
tAm dhIm taka dhimi taka jana vena nAdam malai aruvi izhaindu vara
pADum aDiyargaL kaLittADa idadu pAdam tUkki anudinamum ADal palavidamum
valakkai uDukkai piDittE iSaikkum azhagil murali magizhndu vaNaNga
tattajham ga ri sa ni da tajam tarikiTa tom ri sa ni da pa tadhImi yena
Even as the strains of music (nAdam) that go (vena) 'tAm dhIm taka dhimi taka jana' come (vara) cascading (izhaindu vara) like a waterfall (aruvi) in the mountains (malai), my Lord, you lift (tUkki) up your left (idadu) foot (pAdam) to perform several different types (palavidamum) of dances (ADal) on a daily basis (anudinamum) so that the devotees (aDiyargaL) who sing your praises (pADum) can dance (ADa) in joy (kaLittu). Delighting (magizhndu) in your beauty (azhagil) as you dance and make music (iSaikkum) with the drum (uDukkai) that you hold (piDittE) in your right (vala) hand (kai), the composer, muraLi [7], bows (vaNaNga) down to you, my Lord, who dances to the jati svara sequence that goes (yena) 'tattajham ga ri sa ni da tajam tarikiTa tom ri sa ni da pa tadhImi'.