Presented in this BLOG are some movie songs composed in the same RAGA, which will help getting an idea of how a raga sounds. It is aimed at providing an introduction to CARNATIC MUSIC.
பூ மேல் வளரும் அன்னையே!
ஒளி பொருந்தும் பொன்னே
இரட்சிப்பாய் என்னையே
செழுங்கமலப் பூ மேல் வளரும்
அனுபல்லவி
காமேவும் மலரினில்
தேமேவும் சுரைநகர்
காட்சியாய் வந்தருள்
மீனாட்சி மணம் பொருந்தும் (பூ மேல் வளரும் )
சரணங்கள்
1.மானே சொக்கேசர் பங்கில் தானே
வளரும் கிருபைவானே
மாமுகன் மயிலின் முருகோனே
தாயென்ன
வளர்மீனேர் விழியே
உன்னை நானே மிக வணங்கினேனே
சிதம்பரம் சொல் தேனே
பருகி நிதம் (பூ மேல் வளரும் )
2. வாணி புவி மகிழ் சர்வாணி
மதுரமலர் வேணி
மங்சுள வசன சுகபாணி
நித்யகல்யாணி ஐந்தொழிலும் த்ராணி
பெரும் சுந்தர ராணி வேதாகமப் புராணி
அனுதினமும்
பூ மேல் வளரும்
3. தாயே த்ரிவித குணமாயே
மலையரசன் சேயே
சந்ததம் எனக்கருள் செய்வாயே
அனைத்தும் நீயே
வஞ்சர் மனம் புகாயே
தெரிந்திடாயே நாயேன்
செய்பிழை பொறுப்பாயே
அன்பர் இதயப்
பூ மேல் வளரும்
Sivaji Ganesan, T. S. Balaiah, Lalitha, Padmini, Ragini, P. B. Rangachari, C. K. Saraswathi, M.S.S. Bhagyam and T. N. Sivathanu
Thookku Thookki was a popular folk tale and stage play. It was brought to the screen in 1935 by the famous Madurai-based Rayal Talkie Distributors with the movie pioneer R. Prakash directing it and handling the camera.
Noted star of that era C.V.V. Panthulu played the title role with K. T. Rukmini in the female lead. K. N. Kamalam and ‘Clown' Sundaram formed part of the cast. R. M. Krishnaswami (RMK), a young, talented camera assistant, was working with Prakash. This film was embedded in his mind. He turned producer in the 1950s with his Aruna Films and made his directorial debut with Rajambal. He took up Thookku Thookki as his next production, which turned out to be the biggest success of his career.
The tale was all about five maxims — 1. A father cares only for the riches earned by his son; 2. Only a mother stands by the son through thick and thin; 3. A sister values her brother only for the gifts he brings her; 4. A wife should never be relied on for she will even murder her husband; and 5. A friend in need is always a friend indeed. A prince (Sivaji Ganesan) listens to the maxims in a religious discourse and sets out to prove them wrong. He undergoes several adventures and finds more than a grain of truth in the maxims.
Sivaji as the hero came up with a fine performance, while T.S. Balaiah in the role of a North Indian Seth was superb. The scenes featuring Balaiah speaking Sowcarpet Tamil with his mistress (Lalitha, the hero's wife) were great.
What elevated this film to great success was its scintillating music composed by G. Ramanathan. The lyrics were by A. Marudhakasi, Thanjai Ramaiah Das and Udumalai Narayana Kavi.
An interesting back story about the song composing… Udumalai Narayana Kavi based in Coimbatore reached Madras by the Blue Mountain Express on the morning of the day scheduled for the song composing and recording. He was to leave by the same train from Central Station around eight in the night. In less than 12 hours, Narayana Kavi wrote five of the eight songs, which were composed immediately by G. Ramanathan, rehearsed by T. M. Soundararajan and others. An amazing feat of creativity, it vouches for the musical genius of G. Ramanathan, the poetic talent of Narayana Kavi and the captivating singing of TMS.
Many of the songs rendered by Soundararajan became popular and it was this film that laid the foundation for his glorious career. Female singers M. L. Vasanthakumari, M. S. Rajeswari, P. Leela and A. P. Komala also contributed to the richness of the music. Noted singer and actor V. N. Sundaram lent his voice to one of the songs along with TMS and others.
Remembered for: the impressive performance of Sivaji Ganesan and the songs rendered by TMS.
Anandavalli is sgmpns/snpmgs , a janya of simhendra madhyamam. but it sounds to me more like a janyam of dharmavathi. of course, as far as anandavalli is concerned both 57 and 59 has the same swaras.
M. K. Thyagaraja Bhagavathar, Serukalathur Sama, Thripuramba, T. R. Rajakumari, N. S. Krishnan, T. A. Mathuram
music, its highpoint Sivakavi
One of the biggest hits of the early 1940s, Sivakavi featured Thyagaraja Bhagavathar, who was then at the zenith of his fame and fortune, in the lead. It narrated the story of the well known Poyyamozhi Pulavar. The film, produced by S. M. Sreeramulu Naidu under his then popular Pakshiraja banner, was at first directed by the sadly neglected iconic personality of Indian cinema, Raja Sandow. Due to misunderstandings with Naidu, Raja Sandow was eased out and the producer took over the making of the movie.
Like in any MKT movie, music reigned supreme. Papanasam Sivan scored the music and penned the lyrics. G. Ramanathan, another underrated music director, took care of the orchestration. Elangovan, the first star writer of Tamil cinema, wrote the script. During those days, Bhagavathar insisted that the producers pay advance to Papanasam Sivan and Elangovan before they engaged him for a movie. Rajakumari played a supporting role as a court dancer who falls for the poet hero. The song and dance number featuring Bhagavathar and Rajakumari, and beautifully filmed by Raja Sandow, ‘Kavalayai theerpadhu…’ (Naatakurinji), rightly earned its place in the galaxy of immortal movie melodies of South India.
Another song which attained immortality was a duet by Bhagavathar and Jayalakshmi, ‘Vadanamey chandra bimbamo…’ (Sindhu Bhairavi). At first, Papanasam Sivan wrote the first line as ‘mugham (face) adhu chandra bimbamo’. After the song was recorded by MKT and its positive print projected on the screen, all, including Sivan, were stunned when the first line sounded like ‘Muhammadhu chandra bimbamo…’ Hurriedly, he rewrote the line as ‘Vadanamey…’ and the song was freshly recorded. In those days, there were no tape recording facilities and songs were recorded on sound negative which had to be developed and then projected on screen to check for impact and errors, if any. Everyone would eagerly wait till it came from the lab. Bhagavathar sang ‘Manam kaninthey…’ (Rathipathipriya) to bring a dead horse alive. During this period, M. M. Dhandapani Desikar was recording a song privately in the same raga and requested Bhagavathar not to bring out the gramophone record of the film song. Bhagavathar in a gracious gesture did not record the song. That song by Desikar, ‘Jagajanani…’, became a super hit. That was MKT.
Jayalakshmi, musician-painter S. Rajam’s sister, played the heroine and Rajam went along to Coimbatore as chaperone. To keep him busy, he was cast as a handsome Brahmin (Lord Muruga in disguise) whose cameo performance can still be watched with interest. Jaya was then married and the family insisted on Rajam tagging along.
Many other songs rendered by Bhagavathar also became hits. Those include ‘Soppana vaazhvil magizhndu…’ (Bhuvanaghandhari) and ‘Vallalai Paadum vayaal…’(Senjuritti). Sivakavi was a grand success and ran for a prolonged period even in non-Tamil speaking areas in the Madras Presidency. Those were the days when linguistic chauvinism had not yet reared its ugly head and people watched other language movies for the thematic content and particularly melodious music. Remembered for its scintillating songs mostly rendered by Thyagaraja Bhagavathar.
Nand is a raga which sporadically uses prathi madhyamam in the scale of shankarabharanam. 'Ma' is the difference between kalyani and shankarabharanam - scale wise, note scale wise.
Simply put, it sounds like a combination of yaman and maand. It is pronounced as 'Nandh' and not as 'naand' and it also has another name 'anandhi kalyan'.
Now that we have discussed at length VJ’s songs for MSV in 1978, let us traverse this mile of the long and winding memory lane, ruminating with wistfulness, on her songs for Vijayabhaskar--
“Remember me when I am gone away, Gone far away into the silent land Only remember me; you understand It will be late to counsel then or pray. Yet if you should forget me for a while And afterwards remember, do not grieve: For if the darkness and corruption leave A vestige of the thoughts that once I had, Better by far you should forget and smile Than that you should remember and be sad”
It is now more than a year since Vijayabhaskar passed on, and he has been, without much ado, callously consigned to the dustbin of history. His contribution to tfm has gone largely unrecognised and unappreciated. It is a crying disgrace that the TN Government has not found it fit to honour him in any way while he was amidst us, or his memory after his demise. A small consolation is that he was posthumously conferred the K Subramaniam Award by the Cine Technicians Association of South India on 29.12.2002. Of course, while he alive, the Karnataka Government honoured him with its Dr. Rajkumar Award in the year 2000.
It is then left to us fans to remember him, with undying gratitude, for he bestowed upon Tamil film music some of its finest and defining moments in the latter half of the 70s. And this was no mean achievement, considering that he had no powerful promoter, no benevolent patron, no big-banner films. MSV was still going strong. Ilayaraja had made a dazzling entry and was composing wonderful songs in film after film. S-G were around to cater to the smaller banners.Talented composers like V Kumar, Shyam, Kunnakkudi Vaidhyanathan and a few others took the left-overs. Vijayabhaskar had to reckon with all these factors, and all he got in the years 1974-1980 were 22 films. Many of them were commercial disasters and two never saw the light of a silver screen. Yet, if today we remember most of these films, it is only for the eternally appealing musical score of Vijayabhaskar. Indeed his songs are gems of purest ray serene that the dark unfathom’d caves of those unremarkable films bear.
Vijayabhaskar was a born in a Tamil Mudaliar family. His ancestors hailed from Serkaadu, near Vellore. His father V A Krishnamoorthi had settled in Malleswaram in Bangalore. Even as a child, Vijayabhaskar learned Carnatic, Hindustani and Western music (He was a brilliant pianist). He started his career in Bombay, where he worked under great composers like Madan Mohan and Naushad. His first Kannada film was Sri Rama Pooja-1955. His first major hit was Santa Tukaram-1963, and there was no looking back since then. He came to Tamil through the dubbing route-this innings lasted 5 years, commencing from Anbe Deivam-1957, and ending with Arabu Naattu Azhagi-1961. Save Anbe Deibam, many of these films were dubbed from Hindi and Vijayabhaskar’s job was just to faithfully copy the original songs. However, the songs from those films like Jimbo (Kodaanakkodipperey- SJ, Nam aasai endra nalroja-PBS, En nenjam unnai-PS), Nagarathil Jimbo (Nenjil niraindha veera- Jamunarani, Pogappoga maarum- PBS- Jamunarani), Sathi Sulochana, Sri Rama Bhaktha Hanuman (Oru thirunaaley oru thirunaal-SJ, Maraiyaappuyalaai-AMR-Jikki),Veera Abhimanyu -not the 1965 one –(Ezhil oviyam-AMR-PS) and Arabu Naattu Azhagi (Un anbai thedukindra & Kanneer thuli-both AMR-PS) became popular and were repeatedly featured in Radio Ceylon.
Meanwhile, he rose to great heights in Kannada films. After a long wait, Vijayabhaskar got an opportunity to work for a straight Tamil film. Chitramahal Krishnamoorthi, who was impressed with Vijayabhaskar’s score in the Kannada film Nagara Haavu-1972, commissioned him to compose the music for his Kalyanamaam Kalyanam-1974 (Ironically, when Nagara Haavu was remade in Tamil as Raja Nagam-1974, the music was composed by V Kumar). With the wondrous ‘Ilamai naattiya saalai’ (TMS-SJ), Vijayabhaskar made a grand arrival in Tamil films.
He struck gold immediately and rapidly bagged a handful of films. In 1974 itself, Vijayabhaskar gave music for 4 films. In the next year, six films came out bedecked with Vijayabhaskar’s scintillating scores. Chitramahal Krishnamoorthi and Panju Arunachalam made repeated collaborations with him. However, Chitramahal Krishnamoorthi’s films weren’t great commercial successes. Panju Arunachalam discovered Ilayaraja in 1976. And Vijayabhaskar was left with a few films from small-time producers.
However, Vijayabhaskar was ‘too poor for a bribe, and too proud to importune; he had not the method of making a fortune’. He did a film each for K Balachandar and Sridhar. With an unforgettable swansong Soundaryame Varuga Varuga-1980, and with no regrets, he left the vicious portals of tfm forever. He continued making music of his own enchanting kind for Kannada films. He has left a lingering mark in a few Malayalam films as well. His songs in the Kannada film Neela won both critical acclaim and popular appeal. He had just completed the score for a film called Poorvapara, when he received a summons from the heavens above. Vijayabhaskar passed away peacefully on March 3rd 2002.
I miss you Sir, as all your fans sorely will- You will be in our hearts, though your baton is still---
Now let us look at Vani’s songs for Vijayabhaskar in 1978. Vani was truly fortunate- for she became Vijayabhaskar’s prima donna ever since she sang in Kesarina Kamala (1973) for him. I have listened to, with awe, the wonderful songs that Vani sang for Vijayabhaskar in Kannada films like Vasanthalakshmi, Subha Mangala, Upasana, Phalithaamsha, Makkala Bhagya, Bili Hendthi, Kasthuri Vijaya and Neela. In Tamil too, though Vijayabhaskar gave some memorable songs to SJ, PS, LRE and LR Anjali (who got most of her best ever songs from him), the dominant voice in his music was undoubtedly VJ. We too are fortunate, for whenever Vani and Vijayabhaskar worked together, the result was pure enchantment. We have witnessed the magic in the previous years, from ‘’Anbu megame ingu odi vaa’ to ‘Kudumbathin thalaivi kulavilakku’. Let us now look at the great songs that sprung from this partnership in 1978. I admit that I don’t know much about some of these films. I would be grateful for any inputs. The songs, however, remain fresh in memory---
146. Kalaimagal uravum Thirumagal varavum - Per Solla Oru Pillai- Vijayabhaskar
Vani Chitra’s Per Solla Oru Pillai starred Muthuraman, Srikanth, Vijayakumari, Sripriya and others. It was a tried and tested tale with Muthuraman in a dual role of father and son. Srikanth played the other son. Though Srikanth is a rascal, and Muthuraman the good son, the father thinks otherwise. Son Muthuraman leaves the house and starts life from scratch. Meanwhile Srikanth’s true colours emerge, and the father realizes how mistaken he was, but only after the family ends up in the streets. Son Muthuraman has made it big by the dint of his hard work and enterprise. Finally the family unites, but not before several heart-rending scenes and the mother Vijayakumari’s death.
The other songs in the film were ‘Paar pooppola meni’-SJ and ‘Muthu nagai sindhi’-PS.
A song of singular beauty, a timeless testament of the genius of Vijayabhasakar, a melody crafted for Vani’s voice alone—I would unhesiatatingly rate it among the best works of Vijayabhaskar with Vani. Vijayabhaskar here selects the veenai as the chief musical accompaniment to Vani. And the what a spellbinding accompaniment it is- the gentle plucking on the strings in the interesting interludes and the fluent movements on the frets at the end of the charanams fill the listener with a throb of ecstasy. VJ’s song, as always, is a mellifluous blend of raga and bhava, and a masterful harmony of lakshana (grammar) and lakshaya (artistry) that has enthralled listeners over the years. Kalaimagal uravo endrum avarkku Iravanin parisu. She sounds so deliciously coy in ‘Orumurai anaithu’ and gives a gentle chuckle whilst repeating ‘Orumurai sirithu’-- Could there ever be a more dignified portrayal of the joy and significance of cohabitation?
As a small boy, I have heard this exquisite song a few times on the radio in the late 70s, and it disappeared from air since then. Nevertheless, the bliss it gave me so many years back lingers—like the sepia tint on a fading photograph---
147. Paada chollum nenjam- Per Solla Oru Pillai- Vijayabhaskar
Another lovely VJ solo from the same film- another magnificent effort of Vijayabhaskar that went unappreciated--
A song with dainty phases and caressingly tender moments. VJ brings out with vibrant vivacity, the exuberance of a young girl in love--she entices one with the emphasised repetition of ‘Mogam’ and ‘Vegam’. The softened ‘Kaanatha sorgam indru’ and ‘thenaana vaazhvai endrum’ are inspired touches. She surprises one with the changed repetition of the pallavi, wherein she sings ‘Nenjam’ and ‘Konjam’ only once, and continues the pallavi in a saucy mien.
148. Sorgathai paarkkiren unnidam- Aval Oru Adhisayam- SPB- Vijayabhaskar
No clue about the starcast/ story line etc of Suchitra Films’ Aval Oru Adhisayam. Vijayabhaskar’s songs, however, keep reminding one that such a film did get released.
The other songs were the fun-filled ‘Naan summa thodavey maatten’ -Kovai Soundararajan, LR Anjali and the breezy ‘Adi kannmani vanna paingili’-SPB, PS, LRA.
An elegant Vijayabhaskar melody, with attractive romantic flourishes by the singers. The pallavi, with the strumming of the guitar as its backdrop, starts straight away, with no instrumental prelude. The humming by both singers in the middle of the charanam is refreshingly different each time. SPB’s gleeful response to VJ’s rebuke ‘Uththaravu illamal thoduvadhenna’ is a delight. His ‘Vaa—vaa-vaa’ is full of lusty pining. The second interlude has some arresting music. VJ pulls off, yet gain, her captivating coalesce of dignity and romance- hark at her ‘Nil—nil—nil’ –it will stop you in your tracks-
149. Azhagaana ila mangai- Thappu Thaalangal- Vijayabhaskar
Premalaya’s Thappu Thaalangal starred Rajnikanth, Saritha, Sundar, Pramila Joshi and Kamal (in a special appearance). It was produced by R Venkataraman and directed by K Balachandar. I had always wondered at KB’s choice of Vijayabhaskar for this film alone, in the midst of his unbroken innings with MSV. Why, in 1978 it self, as we have seen earlier, MSV gave two wonderful songs for KB’s Nizhal Nijamaagiradhu. So this sudden shift to Vijayabhaskar for a single film remains a mystery. The only probable reason could be that Thappu Thaalangal was made in Kannada as well, and considering that Kannada was Vijayabhaskar’s monarchy, KB went to him. But I am sure he must have had no regrets, for Vijayabhaskar, as usual, gave his best—
Thappida Thaala, the Kannada version was released earlier, on 6.10.1978. Thappu Thaalangal was released on 30.10.78. On the same day, Rajini had two other releases- Rudraiyah’s Aval Appadithaan and Devar’s Thaai Meedhu Sathiyam.
Thappu Thaalangal marked the debut in Tamil, of that awesome artiste called Saritha. (Of course, she made a special appearance as the girl whom Kamal marries in the end in Aval Appadithaan). Saritha’s first film, Maro Charithra smashed all hitherto held records in Telugu film history. Saritha was the name KB gave her- her real name eludes me at the moment. Kamal recalled later that when she was first introduced to him as his co-star, he was repulsed by her ungainly appearance, but at the end of the very first day of shooting, he was beginning to understand the reason for KB’s choice- at the end of the week, he developed a grudging admiration for her, and when the film was finally done, he couldn’t find enough words to praise her!
Saritha, with her large eyes and expressive voice, made up for the lack of a perfect figure or drop-dead good looks with her powerful performances. She brought to pulsating life KB’s characters in a series of memorable films- Noolveli-1979, Thanneer Thanneer-1981, Agnisaatchi-1982, Achamillai Achamillai-1984 and Kalyana Agathigal-1985. She made a mark in some other KB’s films –whether it was as the voice of Jayapradha in Ninaithaale Inikkum and in 47 Naatkal (in which, she also appears in a miniscule role) or even the dubbed Aval Oru Thamizhachi, or the forgettable Enga Oor Kannagi. Her tutelage in the Balachandar School served her in good stead even when she worked for other directors. Who can forget the triumphant way in which Saritha matched Sivaji Ganesan, scene after scene in Keezhvaanam Sivakkum? She essayed some brilliant roles opposite Sivakumar- apart from Agnisaatchi- Aaniver and Vandichakram come to mind. She acted with almost every actor in her time- Prathap(Amma), Thyagarajan(Malayur Mambattiyan), Bhagyaraj (Mouna Geethangal), Sudhakar (Ponnu Oorukku Pudhusu), Vijaybabu(Rusi Kanda Poonai), Mohan (Nalam, Nalamariya Aaval), Prabhu(Poo Poova Poothirukku), Vijayakanth (Oomai Vizhigal), Sreedhar (Poo Pootha Nandavanam), Sathyaraj (Saavi)—
Her last memorable role was in Vedham Pudhidhu-1987. She made a mark in movies of all 4 South Indian languages. She won the TN Government’s Best Actress Award thrice- 1979-80, 1982-83 and 1988. She is also the recipient of Kalaimamani Award.
After her marriage with actor Mukesh, Saritha settled down to domestic bliss and a flourishing career in dubbing. She has dubbed for actresses ranging from Vijayashanthi to Sushmita Sen. She has two sons- Shravan and Tejas.
Saritha is back in the news- her performance in the title role of a psychopath in Julie Ganapathi shows that she cannot be written off yet—
Thappu Thaalangal was a bold and brutal look at the ills pervading our society- what makes a man rebel and resort to unlawful activities- what forces a woman into the world’s oldest profession- is there any deliverance from the vicious circle-- the film had some stark moments- and when the turn of circumstances show a ray of hope- the climax shatters such dreams into smithereens.
Rajinikanth gave a brilliant performance and you could never guess that Saritha was a newcomer. Rajini and Saritha would work together in films like Netrikkan, Pudhu Kavithai and Sivappu Sooriyan.
Lyrics were by Kannadasan and the other two songs were ‘Thappu thaalangal, vazhi thavariya paadhangal’ and ‘Ennada polladha vaazhkkai’-both SPB. The latter was very popular with school children, with its punch line-‘Idhukku poi alatikkalaama’! (I remember being sternly rebuked at home for innocently singing the first few lines : ))
Kanavugal ellaam oruvadivaagi- kai kaal mulaithu valarndhadhu pillai; Maladiyin vayitru maindhanaippoley- Mandalam aalum arasanumillai Annai naan---- Annaiyaaga aasaikondeney- Nee sirithaai- Kai koduthaai- Vaazha vaithaai-
This song features Saritha- she is eagerly awaiting the birth of her child- though she is not married to Rajini yet, she is grateful to him for freeing her from her wretched living, and hopes that they will marry soon-meaningful lyrics by Kannadasan- he always maintained that motherhood is a prize awarded by the man to the woman- remember the lines ‘Naan kaadhalennum kavithai sonnen kaatilin meley, andha karunaikku naan parisu thandhen thottilin meley’ ? Similar thoughts are expressed in this song as well.
Vani Jairam brings characteristic understanding in her song- the various hopes, the fervent prayers to the God, the deep gratitude to the saviour- all these emotions tantalisingly find feeling in her voice- the short aalaap after ‘Deivamey’ and ‘Annai naan’ is the enchanting highpoint of the song. Another winner from Vijayabhaskar and VJ!
150. Ammadi Ponnu ennamma kannu- Rajavukketha Rani- SPB- Vijayabhaskar
If I remember right, Velan Movies’ Rajavukketha Rani starred Jaishankar and Sridevi. Sridevi was well on her way to becoming the most popular star – in 1978 alone, she had 11 Tamil films, and 5 of them were with with Jaishankar.
Another song in the film is ‘Raja vandhaar, Rani vandhaal, Raajangam illamaley’- SPB-SJ.
She is masquerading as a vamp, in order to bring some villain(s) to book- Perhaps she was victimised by them in the past and now she is waiting to take revenge—Kaalai pozhudhu oorukku vidiyum, kanni nainaikkum kaariyam mudiyum--
Vijayabhaskar shifts to exclusively trumpets, guitar and drums here, as befits a song of this genre- but the usage of these instruments is dexterous and imaginative- winningly bringing out an air of suspense, especially at the end.
VJ sets the mood of seduction in the intoxicating ‘Aah’ before she commences with the whispered ‘Aalaippaar, azhagaippaar’. Her ‘Vaa Arugey’ sounds so inviting, but beware- it is akin to ‘Will you walk into my parlour’ said the spider to the fly!
With this song, we come to the end of the Vijayabhaskar chronicle for 1978- Mortal man, who created immortal melodies—
1978, to continue, with Vani’s songs for other Music Directors---
song : thenralil Adum koondhalai
film : Maduraiyai meeta sundara pandian
singers : KJY, Vani Jayaram
music :
lyric :
Thenralil Adum koondhalai kandaen mazhai konda mEgam
en dEvadhai amudham sindhidum nEram ini enna nANam
ini enna nANAm..
mannavan ungaL ponnudal anRo indira lOgam
andhi mAlaiyil andha mAranin kaNaiyil yEnindha vEgam
yEn indha Vegam..
(thenralil)
pAvai udal pARkadalil paLLi koLLa nAn varavO
pani sindhum kani konjum poovidhazhil thEn peravO
mAlai varum nEramellAm mannan vara kAthirunthEn
vazhi engum vizhi vaithu pArthu vizhi poothirunthEn
தென்றலில் ஆடும் கூந்தலில் கண்டேன்
மழை கொண்ட மேகம்
தென்றலில் ஆடும் கூந்தலில் கண்டேன்
மழை கொண்ட மேகம்
என் தேவதை அமுதம் சிந்திடும் நேரம்
இனியென்ன நாணம்
என் தேவதை அமுதம் சிந்திடும் நேரம்
இனியென்ன நாணம்...இனி என்ன நாணம்
மன்னவன் உங்கள் பொன்னுடல் அன்றோ இந்திர லோகம்
மன்னவன் உங்கள் பொன்னுடல் அன்றோ இந்திர லோகம்
அந்தி மாலையில் அந்த மாரனின் கனையில்
ஏனிந்த வேகம்...ஏன் இந்த வேகம்
தென்றலில் ஆடும் கூந்தலில் கண்டேன்
மழை கொண்ட மேகம்
பாவையுடல் பார்க்கடலில் பள்ளிகொள்ள நான் வரவோ
பாவையுடல் பார்க்கடலில் பள்ளிகொள்ள நான் வரவோ
பனி சிந்தும் கனி கொஞ்சும் பூவிதழில் தேன் பெறவோ
மாலை வரும் நேரமெல்லாம் மன்னன் வர பார்த்திருந்தேன்
மாலை வரும் நேரமெல்லாம் மன்னன் வர பார்த்திருந்தேன்
வழியெங்கும் விழி வைத்து பார்த்த விழி பூத்திருந்தேன்
தென்றலில் ஆடும் கூந்தலில் கண்டேன்
மழை கொண்ட மேகம்
ஆலிலையின் ஓரத்திலே மேகலையின் நாதத்திலே
ஆலிலையின் ஓரத்திலே மேகலையின் நாதத்திலே
இரவென்றும் பகலென்றும் காதல்மனம் பார்ப்பதுண்டோ
கள்ளவிழி மோகத்திலே துள்ளி வந்த வேகத்திலே
கள்ளவிழி மோகத்திலே துள்ளி வந்த வேகத்திலே
இதழ் சிந்தும் கவி வண்ணம் காலைவரை கேட்பதுண்டோ
காலை வரை கேட்பதுண்டோ
கற்பகத்து சோலையிலே பூத்த மலர் நீயல்லவோ
கற்பகத்து சோலையிலே பூத்த மலர் நீயல்லவோ
விழியென்னும் கருவண்டு பாட வந்த பாட்டென்னவோ
காவியத்து நாயகனின் கட்டழகு மார்பினிலே
காவியத்து நாயகனின் கட்டழகு மார்பினிலே
சுகமென்ன சுகம் என்று மோஹனப்பன் பாடியதோ
தென்றலில் ஆடும் கூந்தலில் கண்டேன்
மழை கொண்ட மேகம்
என் தேவதை அமுதம் சிந்திடும் நேரம்
இனியென்ன நாணம்...இனி என்ன நாணம்
Last edited by priya32 on Wed Feb 25, 2009 7:50 pm, edited 1 time in total.
priya32
