மாட்சி மிகுந்த தாயே---mATci mighunda tAyE

 

mATci mighunda tAyE --மாட்சி மிகுந்த தாயே

rAgm: hindOLam   tALam:  rUpakam

Composer:  daNDapANi dEsikar

Composer’s Bio: Please visit https://inikkumtamizhisai.blogspot.com/2017/01/thamizh-songs-in-carnatic-music13a.html

 

Acknowledgement: I thank Subramanian Krishnan for sending me the lyrics for this song.

பல்லவி:

மாட்சி மிகுந்த தாயே மீனாக்ஷி தெய்வம் நீயே அருள்

 

அனுபல்லவி:

காட்சியினால் உன்னைக் காண்பவர்க்கே                                                           

அகக்கண்ணில் நிறைந்து கருத்தில் உறையும்

 

சரணம்:

அல்லும் பகலும் உள்ளம் கனிந்து அன்போடு உன்னைப் பாடி நின்றேன்

எல்லையில்லா இன்பம் தந்து ஏழையேனை வாழச் செய்வாய்

 

Lyrics in Roman script

Pallavi:

mATci mighunda tAyE mInAkshi deyvam nIyE aruL

Anupallavi:

kATciyinAl unnaik kANbavarkkE kaNNil niRaindu karuttil uRaiyum

CaraNam:

allum paghalum uLLam kanindu anbODu unnaip pADi ninREn

ellaiyillA inbam tandu EzhaiyEnai vAzhac cheyvAy

 

Meaning

Pallavi: O, glorious mother goddess mInAkshi , please shower  your grace.

Anupallavi:  Whoever views your image, you fill their  eyes and stay in their thoughts.

CaraNam:  Day and night with deep devotion I sang your glory. Please give me your love and enliven me.

 

Audio links

Listen to K Gayathri   here

பித்தா பிறை சூடீ----PiththA piRai sUDi

         பித்தா பிறை சூடீ----PiththA piRai sUDi

Composer: SundaramUrthy nAyanAr

paN: indaLam     பண்:  இந்தளம்

tirumuRai 7.1 (tiruveNNai nallUr shrine)

The Carnatic rAgam “hindOLam” and the HindustAni rAgam MAlkauns, were  known in ancient times in Thamizh isai as a paN (பண்) or tune called indaLam (இந்தளம்). It was a designated melody for the land classified as marutam (வயல்) which is mostly cultivable farmland surrounded by ponds, and streams. Likewise the other landscapes such as mountains, forests, seashores, and deserts also had designated tunes characteristic of the landscape in question.

The so-called paN-isai (பண் இசை) has been in vogue for almost 2000 years. The sangam literature in the beginning of first millennium CE mentions the features of paN isai. One of the five epic poetries in Thamizh, Silappadikaram, gives extensive details of music and dance and the specific features. There is a total of 103 paNs known and 24 of them were handled in tEvAram songs. They all have been equated with modern Carnatic music rAgams. Please refer to  the references given at the end. To give some examples: paN takkEsi -à. KAmbOji, paN naTTapADai -à nATTai, paN kuRinji -à HarikAkambOji, paN kausikam---à Bhairavi, paN pazhampanchuram -à SankarAbharaNam, paN mEgarAgakuRinji -à nIlAmbari.

PaN isai also has what are known as swarams, kural, tuttam, kaikkiLai, uzhai, iLi, viLari, and tAram corresponding to the swarams in Carnatic music sa, ri, ga, ma, pa, da, ni, respectively. Let us look at the tEvAram songs of SundaramUrthy nAyanAr in the paN indaLam (rAgam: hindOLam) below. We select 3 songs out of the first patigam (decad) on the tiruveNNainallUr shrine. In all Sundarar sang a total of 1011 songs  on various Shiva shrines in Thamizh country. You can get all the song lyrics in Thamizh script here

Source for the lyrics: http://www.thevaaram.org/thirumurai_1/onepage.php?thiru=7&Song_idField=7001

http://shaivam.org/siddhanta/thiru07u_1.htm#dt7001

Song #1 (7.1.1)

பித்தா பிறை சூடீ பெருமானே அருளாளா
எத்தான் மறவாதே நினைக்கின்றேன் மனத்து உன்னை
வைத்தாய் பெண்ணைத் தென்பால் வெண்ணெய்நல்லூர் அருள் துறையுள்
அத்தா உனக்கு ஆளாய் இனி அல்லேன் எனல் ஆமே.

pittA piRai sUDI perumAnE aruLALA
ettAn maRavAdE ninaikkinREn manattu unnai
vaittAy peNNait tenpAl veNNeynallUr aruL tuRaiyuL
attA unakku ALAy ini allEn enal AmE.

Meaning: Oh lord, who has the pride of being called a lunatic (by me), you wear the crescent moon on your head. You dwell in the sanctum called “aruL tuRai” in the village tiruveNNainallUr, on the southern banks of the river PeNNai. You have occupied my mind forever. So I shall never forget you. I became your slave long ago. It is not befitting for me now to argue that I am not your slave.

Song #7 (7.1.7)                                                                                                                                  ஊனாய்உயி ரானாய்உட லானாய்உல கானாய் 
வானாய்நில னானாய்கட லானாய்மலை யானாய் 
தேனார்பெண்ணைத் தென்பால்வெண்ணெய் நல்லூரருட் டுறையுள் 
ஆனாய்உனக் காளாய்இனி அல்லேன்என லாமே.

UnAyuyi rAnAyuDa lAnAyula kAnAy                                                                          vAnAynila  nAnAykaDa  lAnAymalai yAnAy                                                            tEnArpeNNait  tenpAlveNNey nallUraruT TuRaiyuL                                                     AnAyunak  kALAyini  allEnena  lAmE.

Meaning: Oh lord who dwells in the sanctum “aruL tuRai” on the southern banks of the river PeNNai, you pervade in the body and life of all beings, the sky, land, seas, and mountains. I became your slave long ago and it is not right to argue otherwise now.

Song #10 (7.1.10)                                                                                               

காரூர்புன லெய்திக்கரை கல்லித்திரைக் கையால் 
பாரூர்புக ழெய்தித்திகழ் பன்மாமணி யுந்திச் 
சீரூர்பெண்ணைத் தென்பால்வெண்ணெய் நல்லூரருட் டுறையுள் 
ஆரூரன்எம் பெருமாற்காள் அல்லேன்என லாமே.

kArUrpuna leydikkarai kallittiraik kaiyAl
pArUrpuga zheydittigazh panmAmaNi yundic
sIrUrbeNNait tenpAlveNNey nallUraruT TuRaiyuL                                                

ArUranem perumARkAL allEnena lAmE. 

Meaning:  The water that falls from the clouds pelts the earth and spreads all over the land to gain the reputation of being the source of fertility.  I became a slave to you lord, who dwells in the sanctum “aruL tuRai” on the southern banks of the river PeNNai. It is not right that I now argue that I am not your slave.

Composer’s Bio:  Sundarar was born in the town called tirunAvalUr  to SaDaiyanAr and isaignAniyAr in the community of devotees of lord Shiva. His given name was nambiyArUrAn. He got the name Sundarar as a result of his being extremely handsome. When, as a child, he was playing in the street the local king of the tirumunaippADi country (middle Thamizh country) saw him and requested his parents that he be brought up in his palace. Sundarar learnt all arts under the king’s guardianship.

When he got to marriageable age (15 years old), his biological parents arranged to get him married to a girl who was the daughter of a devotee of lord shiva. On the wedding day an old man showed up and stopped the wedding claiming that Sundarar was his slave and he should come with him. He produced a palm leaf document as evidence.  Sundarar ridiculed the old man as a lunatic and refused to go with the old man. However, the old man prevailed and took him to the temple in the next town. After Sundarar went into the temple sanctum following the old man, the old man disappeared. Then Sundarar realized that it was lord Shiva who came in the guise of the old man in order to guide him along. He then sang his very first song in praise of the lord, “pittA piRai sUDi…” (as a mark of calling the old man a lunatic. Pittan means lunatic in Thamizh). To read the full story subsequent to the old man episode please visit 

https://en.wikipedia.org/wiki/Sundarar  http://www.skandagurunatha.org/deities/siva/nayanars/63.asp

References for paN isai:  http://www.tamilisaisangam.in/araichigal.html

http://www.thevaaram.org/thirumurai_1/ani/pannisai.html

Some audio/video clips

Listen to M S Subbulakshmi here  (sings songs 1 and 7)

A female vocalist sings here  (sings songs 1 and 10)

              A rendition by a male vocalist here (all the 10 songs in the patigam)

Another here  (all the 10 songs in the patigam)

Listen to Manipallavam Sarangan here   (first song only)

Thamizh Songs in Carnatic Music—10-- கருணாலய நிதியே---karuNAlaya nidhiyE

 Thamizh Songs in Carnatic Music—10

கருணாலய நிதியே---karuNAlaya nidhiyE

rAgam: HindOLam(ஹிந்தோளம்)   tALam:Adi (ஆதி)

Composer:MAyuram VEdanayakam PiLLai

    மாயூரம் வேதநாயகம் பிள்ளை

20 naTabhairavi janyam
ArOhaNam: S G2 M1 D1 N2 S
avarOhaNam: S N2 D1 M1 G2 S  

General Comments: The composer, while being a Thamizh Christian and Thamizh scholar, was well-versed in colloquial Thamizh which at his time was heavily sprinkled with Sanskrit words in the literary and musical circles. Accordingly his kritis are replete with Sanskritized Thamizh words. One can make general sense out of them even if one is not familiar with the meaning of the words per se. As was his intent, the composer wrote his devotional poems addressed to a generic god without naming the religious denomination. The composer wrote his thoughts as expressions of poetry. Several musicians set them to carnatic tunes having seen the beauty of the thought expressed in them. The lyrics are given first in Thamizh and then Roman scripts (in red font) below each segment. The meaning for each segment is also given following the Roman script.

பல்லவி (Pallavi)

கருணாலய நிதியே – தினமும் உன் 
சரணாம்புயம் கதியே                       கருணா)

KaruNAlaya nidhiyE—dhinamum un caraNAmbujam gatiyE

Meaning: You are the treasure house of compassion. I seek your lotus feet everyday

--------------------------------

அநுபல்லவி (anupallavi)

சர்வ வேத  விநோத காரணா 
பரமசாதக  பவ நிவாரணா                (கருணா)

Sarva vEda vinOda kAraNA paramasAdaka bhava nivAraNA

Meaning: You are the origin of all scriptures and you prevent our incessant birth and death cycles.

---------------------------------

சரணங்கள்  (CaraNams)

நிதம் வெளுக்க வெளுக்க வெண் தூசு  நிமிஷந் தோறும்  நிறையுமே மாசு 
அதுபோல் என்தன்  அகமுறும் ஆசு  அகலவே உன் அருள் ஒளி வீச 
அகிலகோடி  விசால  கற்பித  சகலஜீவதயாள அற்புத                  கருணா

Nidam veLukka veLukka veNtUsu nimishandOrum niRaiyumE mAsu

adupOl enthan agamuRum Asu agalave un aruL oLi vEsa

akila kOTi viSala kaRpita sakalajIvadayALa aRputa

Meaning: In spite of washing everyday dirt gets into fabrics all the time. Like that my mind also gets contaminated with blemishes. I need the light of your grace to get rid of them.

--------------------------

இங்கென் செய்கைகள் யாவும் நிகிர்ஷ்டம்  எனக்குப் புண்ணியம் என்றும் அநிஷ்டம் 
பங்கம் தீர்க்கில் உனக்குண்டோ கஷ்டம்  பரமனேயருளாயோ உத்கிரிஷ்டம் 
பாரமாகவே பண்ணும் பாதகம்  தீரவே நீசெய்வை சாதகம்                         (கருணா

ingen seygaikaL yAvum nikirshTam enakkup puNNiyam enRum anishTam

pangam tIrkkil unakkuNDO utkirishTam paramanEyaruLAyO utkirishTam

bAramAgavE paNNum pAdakam tIravE nI seyvay sAdakam

Meaning: All my action is useless. I cannot earn any merit through my effort. Is it hard for you to get rid of my sin? Oh lord, be kind to me. Although I commit sins you should help me eliminate them.

------------------------------------
அமல பாஸ்கர கோடி ஸ்வரூபா  அனந்த  சச்சிதானந்த பிரதாபா 
நிமலவேத  வேதாந்த நிரூபா நிர்விகற்ப  நிரஞ்சன தீபா 
நீதபூரண நிலயமஞ்சித  வேதநாயகன்   இதயரஞ்சித                             கருணா

amala bAhskara kOTi swarUpA anantha sachidAnanda pratApA

nimalavEda vEdanta nirUPA  nirvkaRapa niranjana dIpA

nItapUraNa nilayamanchita vEdnAyakan idayaranjita 

Meaning: You have the radiance of million suns. You are the personification of truth and happiness  and you are the blemishless form of the vEdAs. You are free from all defects. You are dear to my (VEdanayakan’s) heart.
             

Composer’s Bio:                                                                                      

Mayuram Vedanayakam Pillai (1826-1889) was born to Savarimuthu Pillai and ArOgya Mariammal as a Thamizh Christian in a village called Kolaththur (Tiruchirapalli district). He was a precocious child while growing up and joined the court system after completing his education. He learnt several languages including Thamizh, English, French, Latin, and Sanskrit.  He became a district munsiff of Mayuram in 1860 and served there for 13 years. The name Mayuram got affiliated with him forever.

Besides his professional duties, MVP wrote 16 books, among which a highly acclaimed book of verses called “Neethi Nool” espousing ethical conduct, and the first Thamizh novel “Pratapa Mudaliar Charitram” figure prominently.  He was proficient in music and he played the Veena.  He was a poet, par excellence, referred to as the Oliver Goldsmith of the East. The eminent Thamizh music composer Gopalakrishna Bharathi was quite enamored of MVP’s songs. MVP counted the all-time great Thamizh vidwan Meenakshisundaram Pillai, and Ramalinga Vallalar among his friends.

MVP was a secular universalist but his poems expressed divinity in a religious mode which was not restrictive. He used the words, “ayyan”, “samayam” and other religious words without confining to a particular god of a particular religion. One can call him a secular religionist or an eclectic Unitarian.  In every poem MVP conveyed a special philosophical message. He rejected atheism and believed in the existence of a creator of the universe. He used Sanskrit words liberally in his Thamizh poems which added some luster and also a touch of realism. His adherence to the grammar structure of “etugai” and “mOnai” in his poems is phenomenal.

Other songs of MVP that are thought-provoking and melodious are: cittam eppadiyO (nAdanAmakkriyA), manamE nI (kuntalavarALi), ennai azhiya (dharbAr), paramE aDiyAr, and tiruttaNi vAzhum (kAmbhoji), UrukkellAm (kalyANi), and uyyum varai (sankarAbharaNam).

Audio links are given below:

Listen to GNB here

Listen to Unnikrishnan here
Listen to Sanjay Subrahmanyan here  (song #5 in the list)
Sanjay Subrahmanyan here   (without AlApanai)

Reference: http://www.hindu.com/thehindu/fr/2002/11/01/stories/2002110101570600.htm