song by Muthu Thandavar

[laya2]

Hi

Can somebody give me the lyrics and meaning of the song " Ayyanae Nathanam" by Muthu Thandavar.

I am not sure if I have spelled the song right but know for sure it is by Muthu Thandavar.

Thank you.

[Lakshman]

ayyanE naTanam. rAgA: gauLipantu / naTabhairavi. Eka tALA. Muttu Tandavar.

P: ayyanE naTanam ADiya porppAdA Anandak-kayilAyanE
A: tuyyanE tiru sabhai tanil tANDavam toku jhamtari tAku dhittimi dhimirtamenroru pAdam tUkkiya
C1: gangai shaDaikkaNinda karuNE sAdhavaLangA angaiyin mazhuvEndum haranE parama lingA
shenkai pArppadi panginALum vaLar prasangA joku jhamtari tAku dhittimi tikurtamenroru pAdam tUkkiya
2: vEzha mukhanaip-peTra vimalA namah-shivAyA Azhi taritta kaiyA vimalA namah-shivAyA
shOzhan kai veTTuNDa tUyA Anapar sakhAyA joku jhamtari tAku dhittimi tikurtamenroru pAdam tUkkiya
3: cittajanuDan purameritta pApanAshA uddaNda sarvEshvaA umai magizhdiDu nEsA
shakti mA kALi munralai kunindiDa vIshit-tAku jhamtari tAku dhittimi tikurmenroru pAdam tUkkiya

[laya2]

Dear Lakshman,

Thank you very much. Can somebody give me the meaning of this song.

[rshankar]

Sure
Give me a day or so.

[rshankar]

Is there an audio link? - I want to listen and confirm a few words before I translate. Thank you.

[Lakshman]

In the second caraNa, 2nd line, the words should read: tUyA anbar sahAyA ..... Sorry for the typo.

[laya2]

Dear Shankar,

I am sorry, that I don't have the audio immediately. do you think you can still find the meaning for me. I am sorry for troubling you.

[rshankar]

Please give me some more time to look at the lyrics more carefully.

[Lakshman]

Please check your email.

[rshankar]

Thank you!

[varsha]

[quote][/quote]I am sorry, that I don't have the audio immediately
http://www.mediafire.com/listen/w1qb91z ... __-_SR.mp3
http://www.mediafire.com/listen/39pkilr ... _-_dkp.mp3

[rshankar]

Thank you!

[Pratyaksham Bala]

https://www.youtube.com/watch?v=Y11oSRDLxQE

[rshankar]

Here you go: the original tamizh text that Lakshmanji shared was very useful. As always, comments and corrections on my interpretation are welcome!

pallavi
ayyanE naTanam ADiya poRppAdA Anandak-kayilai nAthA

My lord (ayyanE)! The one who danced (naTanam ADiya) with golden feet (poRpAdA), the blissful (Ananda) lord (nAthA/nAdA) of mount kailAs (kayilai)!

anupallavi
tuyyanE tiru sabhai tanil tANDavan
tOku jhEmtari tAku dhiddhimi dhikutamenRoru pAdantUkkiya (ayyanE…)

Oh pure and holy one (tuyyanE)! The one who raised (tUkkiya) his foot (oru pAdam) to the sorkaTTu/mnemonic syllables that go (enRu) ‘tOku jhEm tari tAku dhiddhimi dhikutam’ while dancing the tANDavam in (tanil) the divine (tiru) hall/assembly (sabhai) [1]!

caraNam 1
gangai SaDaikkaNinda karuNESA akaLankA
angaiyil mazhuvEndum aranE paramalingA
Senkai pArppadi pangil nALum vaLar pirasangA
jhEku jhEmtari tAku dhiddhimi dhikurtamenRoru pAdantUkkiya (ayyanE…)

Oh compassionate (karuNESA) and spotless/blemishless one (akaLankA) who bears (aNinda) the gangA (gangai) on his locks (SaDaikku)! Oh supreme symbol (paramalingA), Siva (aranE) who wields (Endum) a battle-axe (mazhu) in the palm of his hand (angaiyil/ankayil)! Oh lord who preaches (prasangA/pirasangA) continually (nALum vaLar) using the beautiful hand (Senkai) that belongs to pAravti’s (pArppadi) portion (pangil) of his body [2]. [Oh lord (ayyanE) with the golden feet (poRpAdA)] who raised (tUkkiya) his foot (oru pAdam) to the sorkaTTu/mnemonic syllables that go (enRu) ‘tOku jhEm tari tAku dhiddhimi dhikutam’ while dancing.

caraNam 2
vEzha mukhanaip-peTRa vimalA namah-SivAyA
Azhi dharitta kaiyanAna mukundan nEyA
sOzhan kai veTTuNDa tUyA Anabar sahAyA
jOku jhEmtari tAku dhiddhimi dhikurtamenRoru pAdantUkkiya (ayyanE…)

Oh lord who is invoked by the five syllabic mantra (namah-SivAyA), the immaculate one (vimalA) who gave birth to (peTRa) the elephant (vEzha)-faced one (mukhanai/muganai)! Oh lord who loves (nEyA) vishNu (mukundan), who bears (dharitta) a discuss (Azhi)! Oh clean one (tUyA) who was responsible for cutting (veTTuNDa) the hand (kai) of a member of the Chola dynasty (cOzhan) [3]! One who helps (sahAyA) his devotees (anbar)! [Oh lord (ayyanE) with the golden feet (poRpAdA)] who raised (tUkkiya) his foot (oru pAdam) to the sorkaTTu/mnemonic syllables that go (enRu) ‘tOku jhEm tari tAku dhiddhimi dhikutam’ while dancing.

caraNam 3
cittajanuDan purameritta pApanASA
uddaNda sarvESA umai magizhndiDunEsA
shatti mA kALi mun talai kunindiDa vIshit-
tAku jhEmtari tAku dhiddhimi dhikutamenRoru pAdantUkkiya (ayyanE…)

Oh destroyer (nAsA) of sins (pApa), who burnt (eritta) the three cities (puram) [4] along with (uDan) manmatha (cittajan) [5]! The fierce (uddaNDa) and Supreme Being (sarvESA), the lover (nESA) in whom pArvati (umai) delights in (magizhndiDum)! [Oh lord (ayyanE) with the golden feet (poRpAdA)] who stretched (vISi) and raised (tUkkiya) his foot (oru pAdam) to the sorkaTTu/mnemonic syllables that go (enRu) ‘tAku jhEm tari tAku dhiddhimi dhikutam’ as kALi (Satti mA kALi) bowed (kunindiDa) her head (talai) in front of you (mun) [5]!

FOOTNOTES
[1] this refers to citsabhai – or cidambaram
[2] this is an absolutely moving and powerful description of Siva’s left hand – since pArvati is Siva-vAma bhAga nilaya – the resident of the left portion of Siva’s body, his left hand is referred to by the composer as belonging to her – and Siva uses it to preach the destruction of ignorance – the index finger of his left hand is slightly separated from the others and points to the evil muyalagan on whom he dances the tANDava – symbolizing the destruction of ignorance – in the padam, teruvil vArAnO, the same composer refers to this as ‘avan iDa seigai’
[3] I think this refers to the story of Kolutunga Chola II who accidentally cut an image of Siva – to expiate that sin, he cut his own hand off – Siva appears and forgives him and restores his hand
[4] refers to the three areal cities of the demons vIryavana, tArakAksha, and vidyunmAli that Siva destroys - as 'muppuram eri seida, in teruvil vArAnO
[5] manmatha was the mind-born son of vishnu - hence citta (mind) ja (born) or cittajan, aka, manasijan - aka uruvili - one without a physical form
[6] this refers to the dance competition between Siva and kALi – as kALi matched Siva move for move, to win, Siva resorts to lifting his leg up in the air with his foot above his head– a move that kALi could not match, due to feminine modesty, and Siva is declared the winner – in the padam ‘Edukittani mODi tAn’ the same composer refers to this as ‘ATTukAl eDuttambalattil ninrIr’

[laya2]

Dear Shankar,

thank you very much.