pallavi
kANa vENDum ayyA karuNAkaranE nI kAlai tUkki ninru
Ananda tANDavam kanakasabhai tanil ADum azhaginai (kANa vENDum….)
nANam migavE nangai umai iNaindADa nAnA disai engilum
nandi mattaLam Onga navarasa bhAvamum tadumbiDum mugam (nANam migavE…)
I need/want (vENDum) to witness/see/behold (kANa) the beauty (azhaginai) of the Ananda tANDavam that you (nI) dance (ADum) with a leg (kAlai) raised (tUkki ninRu) in (tanil) the golden (kanaka) hall/assembly (sabhai), oh Lord (ayyA), the compassionate one (karuNAkaranE)!
As the lady (nangai) umA (umai), overcoming her extreme (migavE) shyness (nANam), dances (ADa) along with you (iNaindu), and the sounds from nandi’s drum (mattaLam) resound (Onga) in multiple/many/all (nAnA) directions (disai engilum), and your face (mukham/mugam) is filled/suffused (tadumbavE) with the expressions/emotions (bhAvamum) pertaining to the the nine (nava) rasas.
anupallavi
vAnavar vaNangiyE pArATTi varam tEDa pAr shaDai tanil
vaLar migu gangai vazhiya vaLarmatiyum tigazhndiDavE ADalai (vAnavar vaNangiyE…)
jnAnam aruLum mOna guru vaDivE eninum tAmadam dayai
purinduDan aruL tandiDa mAn mazhuvEndiya manam kavar naTanam (jnAnam…)
The celestial beings (vAnavar) praise (pArATTi) your dance (ADalai), worship you (vaNangiyE), and seek (tEDa) boons (varam), even as the gushing (vaLar migu) gangA (gangai) in (tanil) your heavily matted locks (pAr SaDai) spills a little (vazhiya), and the crescent moon (vaLarmatiyum) shines (tigazhndiDavE).
Even (eninum) if your form (vaDivE) is that of the silent (mOna) preceptor (guru) [1] who grants (aruLum) knowledge (jnAnam) you prevent delay (tAmadam) [2] by showering (purindu) compassion (dayai) and granting (tandiDa) your grace (aruL) in addition (uDan), through your dance (naTanam), holding (EndiyE) a deer (mAn) and a battle-axe (mazhu) in your hands, that captivates (kavar) the mind/heart (manam)!
muktAyi svara sAhityam
aravu pUNDa ayyan undan azhaginai nAn iravum pagalum eNNI eNNi EnginEn
un karam adil Endiya Damarukam takatajham takataNam enRu viNNum adira aNDamadu asaiya
pAdam taNDaiyADa kinikiNI shadaNgaiyum pongum kanal erindiDum maru karam taga tagaveNRu
dundubi nAdam tOm tOm tA yena adirndiDavE paNindu patanjali muni
vyAghrapAdar vAzhttiDave arum tANDavam tanai (kANa vENDum…)
Oh Lord (ayyan) who wears (pUNda) snakes (aravu), I (nAn) have yearned/languished (EnginEn), constantly thinking (eNNi eNNi) of your (undan) beauty (azhaginai) day (pagalum) and night (iravum).
Even as the skies (viNNum) quake (adira) and the universe (aNDamum) quivers (asaiya) when the drum (Damarukam) that you hold (Endiya) in your (un) hand (karam adil) makes sounds such as (enRu) ta ka ta jham and ta ka ta Nam, and anklets (taNDai, Sadangaiyum) [3] on your feet (pAdam) move (ADa) and make tinkling noises (kiNkiNi), and the raging (pongum) and burning (erindiDum) ball of fire (kanal) makes your other (maru) hand (karam) glow (taga taga venRu), and the sound (nAdam) from the dundubi resounds (adirdiDavE) to mnemonic syllables such as (yena) tOm, tOm, and tA, and the sages (muni) patanjali and vyAghrapAdar worship (paNindu) and praise you (vAzhtiDavE), (I need/want to see/behold) your unique/precious (arum) dance (tANDavam tanai).
caraNam
kanaka sabhApatiyE un pada malarE gatiyE umApatiyE karuNAnidhiyE
naTanAdhipatiyE manam iranguvAi taruNamidE dayai purivAi tillai (kanakasabhApatiyE...)
Oh lord of golden hall/assembly (kanaka sabhApatiyE) in cidambaram (tillai), your (un) flower (malarE)-like feet (pada) are my only refuge (gatiyE)! Oh husband (patiyE) of umA, repository of compassion (karuNAnidhiyE)! Oh leader/master (adhipatiyE) of dance (naTana), please let your heart/mind (manam) shower grace (iranguvAi), for this (idE) is the time (taruNam) for you to grant (purivAi) your compassion (dayai).
caraNa svara sAhityam 1
shenshaDai minna aDiyar tanjam tanjam enrE panca sahbhai engum
nenjam urugiDa isai pADa puliyuDaiyADa iyal isai kUDa iniduDan ADum (kanakasabhApatiyE…)
As your burnished locks (SenSadai) glitter (minna), your devotees (aDiyAr) sing (pADa) music (isai) that resounds everywhere (engum) and melts (urugiDa) the heart (nenjam) while seeking refuge (tanjam tandem enRE) in the five (panca) assemblies/halls (sabhai) [4], and as the tiger (puli) skin garments (uDai) sway (ADa), and as literature (iyal) and music (isai) unite (kUDa), (Oh lord of the golden assembly) who dances (ADum) pleasingly (iniduDan) (your flower-like feet are my only refuge)!
caraNa svara sAhityam 2
adisayAmAgavum ati sukhamAgavum amudamumAgavum aruL tarum
ANDavan nIrumAgi nilamumAgi neruppumAgi kATRumAgi vAnumAgi
engum nillAdu engum niRaindu pulittOlai uDaiyAkki sevittODu kuzhaindADa
saLikkAmal naTam ADum nAthan ni tAyumAgi endan tandaiyumAi ulagil
yAdumAna ayyA undan nAgarIgamAna ADal kANa vENDum
The lord (ANDavan) who grants (tarum) his grace (aruL) in a wondrous (adisayamAga), extremely (ati) blissful (sukhamAgavum), and nectarine (amudamAgavum) manner, who became (Agi) water (nIrum), earth (nilamum), fire (neruppum), wind (kATRum), and the skies (vAnum) [5], who doesn’t exist (nillAdu) anywhere (engum), yet is omnipresent (engum niRaindu), who made (Akki) the skin (tOlai) of a tiger (puli) into his garments (uDai), as his earring (sevittODu) sways to and fro (kuzhaindADa)! Oh Lord (nAthan) who dances (naTam ADum) tirelessly (saLikkAmal), you (nI) have become (Agi) my mother (tAyum) and my (endan) father (tandaiyum), and everything (yAdumAna) in this world (ulagil), I desire (vENDum) to witness (kANa) your sophisticated (nAgarIgamAna) dance (ADal), Oh lord (ayyA)!
FOOTNOTES
[1] as the universal guru, Siva, as dakshiNAmUrti preserves silence (maunam), and communicates purely through gestures – it is believed that the rich repertoire of hasta mudras in Indian classical dance comes from this
[2] I wonder if a word is missing – i.e., seyyAmal
[3] taNDai is a hollow anklet, while sadangai (salangai) is one with bells on it
[4] the five temples where the five sabhais where Siva (as naTarAja/ADavallAn/kUttan) is supposed to be dancing in are as follows:
tillai/cidambaram: sivakAmasundari-naTarAjar temple
The Golden Hall - pon ambalam/kanaka sabha
Madurai: mInAkshi-sundarESvarar temple
The Silver Hall - veLLi ambalam/rajata sabha (where the lord dances with his left foot plated and right one raised - kAl mAri ADiya sabhESar)
vaTa-araNyESvaram/tiruvAlankADU: bhramara alakAmbikA-vaTAraNyESvarar temple
The Gem-studded Hall - rattina ambalam/ratna sabha
tirunelveli: kAntimati-nellaiappar temple
The Copper Hall - tamira ambalam/tAmra sabha
The Hall of Pictures - cittira ambalam/citra sabha
kuTRAlam: kuzhalvAimozhi ammai-kuTRalanAthar temple
[5] the five elements (panca bhUtam) – Siva creates them, and becomes part of them as well – the five temples where Siva is worshipped in the form of these elements are as follows:
Earth – prithvI sthalam: kAncIpuram – EkAmranAthar/EkAmbarESvarar*
Fire – agni sthalam: tiruvaNNAmalai – apitakucAmbA/uNNAmulai samEta aruNAcalanAthar/aNNAmalai
Wind – vAyu sthalam: kALahasti – gnyAna prasUnAmbikA samEta kALahastISvarar
Water – appu sthalam: tiruvAnaikAval – akhilANDESvari samEta jambunAthar
Ether – AkASa sthalam: tillai/cidambaram – SivakAmasundari samEta kanakasabhApati
*Unique among the temples that there is no santum sanctorum (sannidhi) for pArvati in this temple - the lord is an single as the mango!
Ненджам Уругида Исай Пада Пулиюдайяда Иял Исай Куда Инидудан Адум (Канакасабхапатия…)
Как ваши полированные замки (Sensadai) блеск (Minna), ваши преданные (Adiyar) поют (PADA) музыку (ISAI), которая разворачивается повсюду (Экологи) (Уругида) Сердце (Ненджам), ища пять (панка) собрания/залы ( Сабхай) [4], и как тигровая (пули) кожная одежда (udai) Sway (ada) и как литература (iyal) и объединить (куда), (Ох) Господь Золотой Ассамблеи), который танцует (Адум) приятно (Инидудан)
Карана Svara Sahityam 2
Adisayamagavum ati Sukhamagavum amudamumagavum arul tarum
Андаван Нирумаги Ниламумаги Неруппумаги Катрумаги Ванумаги
Engum nilladu Engum niraindu pulittolai udaiyakki sevittododu kuzhaindada
Salikkamal Natam Adum Nathan Ni Tayumagi Endan Tandaiyumai Ulagil
Ядумана Айя Ундан Нагаригамана Адал Кана Вендум
Господь (Андаван), который предоставляет (тарум) свою милость (Арул) в чудесном (адисаямага) ниламуме), огне (неруппум), ветре (катрум) и небе (ванум) [5] кожа (толай) тигров (Пули) в свою одежду (Удай) О, Господь (Натам Адум), неутомимый (Саликкамал), у тебя (ни) (аги) моя мать (Таюм) и моя (тандайюм)), я желаю (вендум) свидетельствовать (Кана) твой изощренный (Нагаригамана) танец (Адал) танец (Адал) О, Господь (Айя)!
Сноски
[1] Как универсальный гуру, Шива, как Дакшинамурти сохраняет молчание (Маунам)
[2] Интересно, отсутствует ли слово - то есть, сейамал
[3] Тандай - пустого брака, в то время как Садангай (Салангай)
[4] Пять храмов, где пять Сабхайс (как Натараджа/Адаваллан/Куттан) поддерживаются танцами следующим образом:
Tillai/Cidambaram: храм Sivakamasundari-Natarajar
Золотой зал - Пон Амбалам/Канака Сабха
Мадурай: храм Минакши-Сандрушварар
Серебряный зал - Велеи Амбалам/Раджата Сабха (где Господь танцует со своим письмом, а один - - Кал Мария Адия Сабесар)
Вата-Аанесварам/Тируваланкаду: Бхрамара Алакамбика-Ватараниесвари-Храм
Зал Gem -Studded - Rattina Ambalam/Ratna Sabha
Тирунелвели: храм Кантимати-Неллиаппар
Медный зал - Тамира Амбалам/Тамра Сабха
Зал картин - Cittira Ambalam/Citra Sabha
Kutralam: Kuzhalvaimozhi Amma-Kutralanathar храм
[5] Пять элементов (Panca Bhutam) - Шива создает их и становится частью их - пять храмов, где Шива - Шива
Земля - Притхви Стхалам: Канчипурам - Экамранаатар/Экамбаресварир*
Огонь - Агни Стхалам: Тируваннамалай - Апитакукамба/Унмулай Самета Арунакаланатар/Аннамалай
Ветер - Вайю Стхалам: Калахасти - Гняна Прасунамбика Самета Калахастисварар
Вода - Appu Sthalam: Tiruvanaikaval - Ахиландесвари Самта Джамбунатар
Эфир - Акаса Стхалам: Тиллай/Сидамбарам - Сивакамасундари Самета Канакасабхапати
*Уникальный среди храмов, который не является Santum Sanctorum (Sannidhi) для Парвати в этом храме - Господь - сингл как манго!
