Thamizh Songs in Carnatic Music—31-- -naTamADit tirinda ---:நடமாடித் திரிந்த

Thamizh Songs in Carnatic Music—31

naTamADit  tirinda  ---:நடமாடித் திரிந்த

Composer: PApavinAsha MudaliyAr

Whatever happened to your left leg …..

Composition:  naTamADit tirinda  umadu iDadu…..

Composer:     pApavinAsa mudaliyAr

mudrA:           pApanAsa

(signature):   

rAgam:           kAmbhOji (janyam of harikAmbhoji, 28^th mELam)

tALam:           jhampa

ArOhaNam:   SR2G3M1PD2 S

avarOhaNam: SN2D2PM1G3R2SN3PD2S

பல்லவி:           

 நடமாடித் திரிந்த உமதிடது கால் உதவாமல்

 முடமானதேனென்று சொல்வீரய்யா

அனுபல்லவி:    

திடமேவும் தில்லை நகர் மருவும் பேரானந்தத்  தாண்டவரே

நிதமும் எனதாண்டவரே சபையறிய

சரணம்1:     

திருநீறைச்** சுமந்தீரோ நெருப்பான மேனி தனில்

சீதத்தினால் மிகுந்த வாத குணமோ

ஒருமையுடன் மார்க்கண்டர்க் குதவியாய் மறலி விழ

உதைக்க சுளுக்கேறிக்கொண்ட பேத குணமோ

பரவைதனின் தெருவாசற்படி இடரிற்றோ எந்தன் பாபமோ          

என் சிவனே மூவர்க்கும் முதல்வரென்று                        (நடமாடித்)

** variation: திருநீரைச்:   This would mean that because he carried the river Ganga (meaning water ---நீர்--- on his head  his body got extremely cold which resulted in the leg being paralyzed

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சரணம்2:    

பக்தி செய்யும் பெரியோர்கள் பாபனாசமாகும்

பரமபதம் இதுவென்று தூக்கி நின்றதுவோ

சக்தி சிவகாம வல்லி தன் பாகம் நொகுமென்றே

தரையில் அடி வைக்க தயங்கி நின்றதுவோ

சத்யலோகாதிபதித் தாளத்திற்கேற்ப நடம் தாங்கியே                         

ஒரு காலைத் தூக்கி நின்றதுவோ                                       (நடமாடித்)

Lyrics in Roman script

Pallavi:            naTamADit tirinda umadiDadu kAl udavAmal

                        muDamAnadEnenRu solvIrayyA

Anupallavi:    diDamEvum tillai nagar maruvum pErAnandattANDavarE

                        nidamum enadANDavarE sabhaiyariya

CaraNam1:     tirunIRaic** cumandIrO neruppAna mEni tanil

                                    sItattinAl migunda vAda guNamO

                        orumaiyuDan mArkkaNDark kudaviyAi maRali vizha

                                    udaikka suLukkErRiyuNDa bEda guNamO

                        paravaitanin teruvAsarppaDi iDariRRO endan pApamO

                     en sivanE mUvarkkum mudalvarenRu                                                                                                                                          (naDamADit)

Variation: tirunIraic-- This would mean that because he carried the river Ganga on his head his body got extremely cold which resulted in the leg being paralyzed

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CaraNam2:     bhakti seyyum periyOrgaL pApanAsamAgum

                                    paramapadam iduvenRu tUkki ninRaduvO

                        shakti sivakAma valli tan bhAgam nogumenRE

                                    taraiyil aDi vaikka tayangi ninRaduvO

                        satyalOkAdipatit tALattiRkERpa naTam tAngiyE                                                                              oru kAlait tUkki ninRaduvO                      (naDamADit)

                                                                                                                                   

Lyrics:            The lyrics in Roman script were kindly provided by Mr. Lakshman Ragde.

Meaning:

Pallavi:          

You have been moving ( or dancing) around well. Will you please, Oh Lord, tell me           how your left leg is of no use to you any more—now that it is lame?

Anupallavi:   

You dwell in the great city of tillai (Cidambaram) dancing away blissfully everyday for all devotees to witness.

CaraNam1:    

Did you smear the sacred ash on your fiery body to cool it off and in the resulting excessive cold, did you encounter the ailment in your leg?

 (If the alternate phrase of “carrying Ganga on the head” is applied then the cold water could have caused the partial paralysis of the left leg)

In order to help mArkaNDan (to be an immortal) you kicked Yama,  the lord of death. Is the lameness (sprain) encountered on account of that?

Did you get tripped at the doorway of Paravai nAcciyAr (wife of SundaramUrty nAyanAr) when you entered her house?

Is it a consequence of my sin? My Lord, you are the first among the Trinity and you were dancing around in bliss.

CaraNam2:

Did you lift the leg to eliminate the sins of your devotees?

Did you lift it so that your consort (Sivakama valli) may not feel the pain (as she occupies your left side), which would result if you rest it on the ground?

Did you want to dance to the rhythm of Brahma (the head of satyalokham) and in the process raised your left leg forever?

                       

General Comments:

Readers should bear with us here for the third song in a row on Lord Nataraja. In the past three weeks we featured MArimuttA Pillai (kAlait tUkki…) and Muttut Tandavar ( ADik koNDAr anda vEDikkai..). These two songs were also on lord Nataraja.

There is another version of the pallavi line wherein the starting word is “naTamADi” meaning “dancing around”. However, we feel that the word should be “naDamADi” meaning “moving around” in keeping with proper grammatical construction. In Thamizh poetry most writers conform to “ethugai” (wherein the second letter of the starting words in different lines is the same) and “mOnai” (where the first letter of the starting words is the same). In order to rhyme with the “dhiDamEvum” in the Anupallavi line, the starting word of the pallavi line must accordingly be “naDamAdi”. Experts may have a different interpretation if the “naTamADi” version is also correct.

We mentioned earlier that Paapavinaasa Mudaliyaar (PM) was a specialist in the “nindAstuti” style of writing. He used Sanskrit words mixed with Thamizh words in order to have an uninterrupted flow of verse.

In this song, PM dwells on the dancing posture of Nataraja of Cidambaram and imagines the various possibilities that could have triggered the “ailment” in the left leg. The usual episode of kicking the lord of death to save MaarkkaNdEyan (who is considered an immortal along with VibhIshaNan, and HanumAn in the religious folklore) is referred to here in addition to the episode of Lord Siva helping to mediate the reconciliation between Sundaramurty nAyanAr and his wife Paravai NAcciyAr.

The Lord entered Paravai nacciyAr’s house at midnight to argue with her to take back her erring husband (SundaramUrthy, who is a devotee of lord Shiva). The veiled reference here is that the Lord tripped upon entering nAcciyAr’s house in the darkness of the night. It is a case of praising the Lord’s act through a veiled ridicule.

When it comes to singing the praise of Nataraja, most of the composers have used either the episodes from periyapurANam or other religious works. A few like Gopalakrishna Bharathi (sabhApatikku vERu deivam… in AbhOgi ragam) dwelt simply on the greatness and kindness of the Lord and the grace that one would obtain in worshipping Him.

Composer’s Bio:

Paapavinaasa Mudaliyaar (1650-1725) lived in Kumbakonam and Tiruvarur. His birthplace is not known. It is understood that he was well-versed in music and aspects of dance. The language he used in his compositions is what is known as maNippravALam (a mixture of Thamizh and Sanskrit).

It appears he was under the patronage of king Tulaja II of Thanjavur. He has composed most of his kritis in the “nindAstuti” style. He wrote an opera, titled “Kumbheswarar Kuravanjci” on the presiding deity of Kumbakonam, Kumbeswarar.

Some of PM’s compositions that are sung in music concerts are: pErum nalla (pUrvi kalyANi), and mukhattaik kATTiyE (bhairavi). These two songs are on Tyagaraja, the presiding deity of Tiruvarur. Some other songs by PM include: adaRkuLLE (kAmavardani/pantUvarALi), azhaittuvADi mAnE, and sollaDi mAdE (both in kalyANi).

Some audio links:

Ariyakkudi Ramanuja IyengAr sings here

Charumathi Ramachandran sings here

                                                                                   Listen to Rajeswari Satish here

Listen to Bangalore Thayi  here             Listen to Subashree Ramachandran here

Megha Ranganathan’s bharathanATyam part 1    here      and part 2  here

Listen to Subhashini Parthasarathy here