Thamizh Songs in Carnatic Music—28a
என்னேரமும் ஒரு காலைத் தூக்கி--- ennEramum
oru kAlait tUkki
rAgam: tODi (தோடி) tALam: Adi (ஆதி)
Composer:
MArimuttA PiLLai
Raising
one leg forever …..
Composition: ennEramum
oru kAlait …..
Composer: mArimuttAp piLLai
mudrA: tillai
(signature):
rAgam: tODi ( hanumattODi, 8th
mELam)
tALam: Adi
ArOhaNam: SR1G2 M1PD1N2
S
AvarOhaNam: SN2D1PM1G2R1S
பல்லவி:
என்னேரமும் ஒரு காலைத் தூக்கிக்
கொண்டிருக்கிற வகை ஏதய்யா?
அனுபல்லவி:
பொன்னாடர் போற்றும் தொல்லை நன்னாடர்
ஏற்றும் தில்லை
பொன்னம்பல வாணரே இன்னும் தானும்
ஊன்றாமல் (என்னேரமும்)
சரணம்:
எக்கிய நெருப்பவிக்க தக்கன்
வீட்டில் நடந்தோ
யமனை உதைத்தபோது எதிர்ச் சுளுக்கேறி நொந்தோ
சிக்கெனெவே பிடித்து சந்திரனை
நிலத்தில் தேய்த்த போதினில் உறைந்தோ
உக்ர சாமுண்டியுடன் வாதுக்காடி
அசந்தோ
உண்ட நஞ்சுடம்பெங்கும் ஊறிக் கால்
வழி வந்தோ
தக்க புலி பாம்பிருவர்க்கும்
கூத்தாடி ஆடி
சலித்துத் தானோ பொற்பதம்
வலித்துத் தானோ தேவரீர்
(என்னேரமும்)
Lyrics in Roman script
Pallavi: ennEramum oru kAlait tUkkik koNDirukkiRa vagai EdayyA?
Anupallavi: PonnADar pOTRum tollai nannADar ETRum tillai
Ponnambala vANarE innum
tAnum UnRAmal
(ennEramum)
CaraNam: ekkiya
neruppavikka takkan vITTil naDandO
yamanai udaittapOdu
edirc cuLukkEri nondO
cikkenevE piDittu
candranai nilattil tEytta pOdinil uRaindO
(ennEramum)
ugra cAmuNDiyuDan vAdukkADi asandO
uNDa nanjuDambengum
URik kAl vazhi vandO
takka puli
pAmbiruvarkkum kUttADi ADi
salittut tAnO poRpadam valittut tAnO
dEvarIr (ennEramum)
Meaning:
Pallavi:
Oh, Lord,
what is the purpose of your keeping one leg raised all the time?
Anupallavi:
The people of the golden land praise the
antiquity of this city (Cidambaram) and the folks in the prosperous land sing
the glory of tillai Cidambaram). You are the resident
Lord of this golden hall and the city. You haven’t rested your leg yet.
CaraNam:
Is
it because you attempted to extinguish the fire (in which your consort PArvati immolated herself) in haughty
Dakshan’s palace?
Or
did you sprain your leg when you kicked yaman (the Lord of death) to save
Markandeyan?
Or
did your foot freeze when you picked the waning moon (due to the curse of his
father-in-law) and stomped on it in the ground to relieve the moon of the
malady?
Or
did you get tired upon competing with the ferocious Shakti (cAmuNDi) in dance?
Or
did the primordial poison (from the milky ocean) spread through your body and
exited through the leg?
Or
is it because you got tired after doing the cosmic dance at the request of the
sages vyAgrapAdA (puli, tiger’s foot)
and patanjali (pAmbu, the avatar of
AdisEshan) and your foot got hurt?
Is
it why you keep one leg raised all the time?
General
Comments:
This song belongs in the class of “nindAstuti”
or “vanjcappugazhchi aNi” (in Thamizh it is a figure of speech in which
apparent ridicule of the subject is skillfully implied to suggest the
opposite). The two composers who were well-versed in this style of writing were
MArimuttA PiLLai (MMP) and PApanAsa MudaliyAr.
This song contains references to several
episodes from shivapurANam or tiruviLaiyADal purANam, which deal with
the heroic and benevolent acts of Lord Shiva. It describes various praiseworthy
acts but camouflaged in a mock ridicule. Here the composer is asking Lord
Nataraja the reason for the raised left foot and in doing so narrates the various
heroic acts. It is interesting that Arunacala Kavi (a contemporary of MMP) also
adopted this style in his song, “En paLLi koNDIrayyA…” wherein he is asking
Lord Ranganatha of Srirangam the reason for his reclining posture---whether he
was tired after war activities against Ravana, walking through Mitilai to wed
Sita, or riding the boat with Guhan, or even killing the demoness tATakai.
The composer was so much dedicated to tillai and enamored of Lord Nataraja both
of which find adorable expression in this song.
Composer’s
Bio:
MArimuttA PiLLai (1712-1787) was born in Thillaividangan
near Cidambaram, also known as tillai.
tillai was named after a forest of
trees of that species, known by the botanical name Excoecaria agallocha, which grows wild in the marshy tidal shores.
Sekkizhzar, the medieval Thamizh poet wrote
his classic work Periya Puranam in
Cidambaram. He sang the glory of tillai thus:
AdiyAi naDuvum
Aki aLavilA aLavum Akic
cOdiyAi uNarvum
Akit tOnRiya poruLum Aki
bEdiyA EkamAkip peNNumAi ANum Aki
bOdiyA niRkum tillaip podunaTam pOTRi pOTRi
SEkkizhAr talks about Lord Shiva who
manifests as the beginning, the immeasurable, the effulgence, the meaning of
the inscrutable, the division as well as
the union of the male and the female, and the universal knowledge that
is represented by the cosmic dance---all represented by the cosmic dance
performed only at tillai.
MMP, who is inseparable from tillai, was born in a devout shaivaite
family. He was a great Thamizh composer well-known for writing prabhandham (a musical
composition). His very first composition
was the famous “puliyUr veNbA” in praise of the city of Cidambaram
MMP, Arunacala Kavi, and Muttut tANDavar are hailed
as members of the Thamizh trinity (Thamizh mUvar)
in recognition of their contributions to Thamizh music.
Not very many compositions of MMP have
survived the test of time. Some of his compositions that are sung in music
concerts are: kAlait tUkki ninRu (yadukula
khAmbhOji), orukAl sivacidambaram (Arabhi),
and Edukkittanai mODi tAn (suraTi).
Audio clips
Reference:
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