Pronunciation and Phonetics

Learning proper pronunciation can be done without much knowledge of phonetics, actually. A basic knowledge, however, helps to make pronunciation clearer and thus facilitates the process of learning how to speak a foreign language properly.

eAmbalam introduces a phonetic chart which is based on Dhevanagari script. The sounds of vowels and consonants and other speech sounds in Sanskrit and the languages which have completely or mostly borrowed from it can be covered with the help of the chart. A few other sounds common to some languages in this group and outside are also put in. Unique sounds of some languages are specified too.

Diacritical marks are used to aid perfect pronunciation. World over, these marks have been created and propagated by scholars to make understanding of the differences in speech sounds in different languages better. Team eAmbalam also has created a phonetic chart which helps even first timers to pronounce words accurately.

Our Phonetic chart is unique, comprehensive, learner friendly and is divided into four columns wherein:
  • In the first column, the letter is written with the associated diacritical mark.
  • In the second column, an example is given in Dhevanagari language containing the letter.
  • In the third column, an example is given in English, which contains the sound closes to the letter or instructions in few cases, to facilitate better understanding.
  • In the fourth column, an audio button is placed with the help of which you can hear the actual pronunciation of the letter.
An open minded approach with the above introduction and guidelines will definitely enable the user to understand the speech sounds of any language and pronounce it like a native, which is eAmbalam’s aim in this exercise.

  VOWELS  
Syllable Usage in Sanskrit Usage in English
A or a Aḍavu Arise
Ā or ā Ānanda Vast
I or i Indhira Sing
Ī or ī Īśha Meal
U or u U ṣhā Good
Ū or ū Ū rdhhva Boost
R or r Riṣh i Try
Ṛ or ṛ Ni ṛ uti Grr!
Lr or lr   Pronounce L and R together.
E or e Eka Ate
AI or ai Aikya Sight
O or o Ojas Robe
AU or au Audh ā rya Now
A M or am Śhiva m Drum
A HA or aha R ā ma ha Aha!
Syllable Usage in Sanskrit Usage in English


CONSONANTS
Syllable Usage in Sanskrit Usage in English
KA or ka Kavi Car
KHA or kha Khalu Mark -Him
GA or ga Gamana Gut
GHA or gha Ghata Ugh!
Ṅ A or ṅa Tura ṅ ga Ring
CHA or ca Chakra Chart
CHHA or cha Chhandas Branch
JA or ja Jagath Jug
JHA or jha Jhallari Fudge
NYA or nya Gnyana Knew
Ṭ A or ṭ Ṭ anka Top
ṬHA or ṭha Pāṭha Pothole
ḌA or da Ḍ amaruka Dog
Ḍ HA or ḍ ha Mūḍ ha Madhouse
Ṇ A or ṇ a Ga ṇ a Wander
THA or tha Thanu Health
THHA or thha Athha Theater
DHA or dha Dha śha This
DHHA or dhha Dhhana m Dha with an additional H sound
NA or na Namask ā raha Nut
PA or pa   Path ā ka Past
PHA or pha Phala m P with a H sound
BA or ba Bandhhu Ball
BHA or bha Bhadra Abhor
MA or ma Manas Money
YA or ya Yama Yummy
RA or ra Rajas Rub
LA or la Lath ā Lust
VA or WA, va /wa A śh va or A śhwa Water/Valour
ŚHA or śha Śhakthi Shutter
ṢHA or ṣ ha Ṣh a ṇ mukha Shunt
SA or sa Sarasvatī Sun
HA or ha Hari Hum
Ḷ A or ḷ a Ar āḷ a Bold
KṢHA or k ṣ ha Ak ṣh i Try to pronounce Ka, Sa & Ha – all at one time.
Extra Vowels in Tamil, Telugu, Kannada & Malayalam Scripts    
É or é Éṇi Angel
Ō or ō Ō m Ō M
ZHA Exclusive to Tamil & Malayalam Fold the tip of your tongue backwards and try to pronounce it with the aid of the audio button.
Syllable Usage in Sanskrit Usage in English

Lyrics and Meanings (Devaranama)

Dhévaranāmas (names of the Lord/God) were the Bhakthi compositions that were the outcome of the Bhakthi movement in South India, especially Karnāṭaka during 13th century to 14th century CE, whose main objective was to promote Dvaitha philosophy of Madhvāchārya through literature.

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Lyrics and Meanings (Devaranama)

Dhévaranāmas (names of the Lord/God) were the Bhakthi compositions that were the outcome of the Bhakthi movement in South India, especially Karnāṭaka during 13th century to 14th century CE, whose main objective was to promote Dvaitha philosophy of Madhvāchārya through literature. The compositions were by Haridhāsas who were saints, philosophers or plain wandering bards and thus, this part or section of literature came to be known as "dhāsa sāhithya" or the literature of the servants of the Lord.  Though the compositions were mainly on the concept of Hari bhakthi and are about Hari or Kriṣhṇa, a few composers also composed Dhévaranāmas using social values, morals and virtues as a theme. There are Dhévaranāmas composed on goddesses too. These compositions took an important and prominent place not only in the world of literature, but also in the vast field of art, especially Bharathanātyam. 

Śhrī Pādharāja Thīrtha is well-known as the grandfather of Haridhāsas (Haridhāsa Pithāmaha). Śhrī Purandhhara Dhāsa and Śhrī Kanaka Dhāsa were the chief architects.

If we look at the entire Haridhāsa Literature, one can divide into three categories. They are; General compositions, Kāvya or poetic compositions, thatthva or philosophic compositions/literature.

General compositions include all types of compositions which are very special. This can be further divided into the following groups; Kīrthanas, Ūghabhōgas, SūĪādhis, others.

Kīrthanas are the most attractive compositions of Haridhāsas. This is also called Dhévaranāma. Kīrthanas or Dhévaranāmas are melody based on technical compositions like Gītha whose purpose is to elucidate Rāga forms and Thāḷa patterns.

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Posted By: Administrator

Rāga: Ārabhhi

Thāḷa: Ādhi

Composer: Purandhara Dhāsa

Language: Kannaḍa

Meaning – Word by word: Team Ambalam

Meaning - Overall: Meanings: www.tfmpage.com/hub

Alignment, Diacriticals & consequent spelling changes, Language & grammar editing, if any and necessary, of existing meaning: Team Ambalam

 

 

Pallavi

Āḍidhano Raṅga Adbhuthadhindhali

 

Anupallavi:

Pāḍidhavarige Beḍidha Varagaḷa Nīḍuthali Dhayamāḍuthali

Nalidhāḍuthali Beṇṇebéḍuthali Kriṣhṇa

 

Charaṇam 1:

Amburuhodhbhava Akhilasuraru Kūḍi
Ambaradhali Ninthu Avar Stuthise
Rambe Ūrvaśhī Ramaṇīyarellaru
Chandhadhim Bharatha Nāṭyava Natṭise
Jham Thatha Thaka Dhīm Thadhi Nini Thom Endhu
Jhampe Thaladhi Thumburannoppise

Dha Ma Pa Dha Sa Ri Endhu Dhvaniyindha Nāradha Thumburu Gāna Māḍalu Nandhiyu Maddhale Chendhadhi Hākalu  |1|

 

Charaṇam 2:

Phaṇava Meṭṭi Balava Kaiyali Piḍidhu Phala Phalisuttha Nātyavanāḍe

Chhandhra Manḍaladhanthe Poḷeyuva Mukhadolu

Chalisuva Nīla Keśhagaḷāḍe

Kālalandhuge Gejje Ghalu Ghalu Ghalurenutha Uḍi Gejje Kanegalade
Dhuṣṭa Kālingana Meṭṭi Bhāradhindha Puṭṭa Pādhava Iṭṭu Śhrī Kriṣhṇanu

Meṭṭidhanu Thaka Dhimi Tahdhikenutha -2-

 

Charaṇam 3:

Suraru Puṣhpavruṣhṭiya Kareyalu
Sudhathiyarellaru Pāḍalu
Nāgakannikeyaru Nāthana Béḍalu
Nānāvidhadhi Sthuthimāḍalu
Rakkasarellaru Kakkasavane Kanḍu
Dhikki Dhikkige Oḍalu

Chikkavanivanalla Purandhara Viṭṭhala
Venkataramana Bega Yashode
Binkadoletthii Muddhāḍe Śhrī Kriṣhṇa |3|

 

 

 

Pallavi:

Āḍidhano Raṅga Adbhuthadhindhali

 

Āḍidhano – played (danced)

Raṅga – Kriṣhṇa

 Adhbutadindali – in an incredible way


Raṅga played on the hood of the Kalinga incredibly (since he was a child then).

Anupallavi:

Pāḍidhavarige Beḍidha Varagaḷa Nīḍuthali Dhayamāḍuthali

Nalidhāḍuthali Beṇṇebéḍuthali Kriṣhṇa

 

Pāḍidhavarige – for those who sing

Beḍidha – the asked for

 Varagala  - boons
Nīḍuthali – having given

Dhayamāḍuthali  – having blessed

Nalidhāḍuthali – delightfully playing or dancing

Beṇṇe – butter;

Béḍuthali – asking  for


Kriṣhṇa,  was dancing on Kalinga  giving all the people their wants who prayed him, asking for butter.

Charaṇam 1:

Amburuhodhbhava Akhilasuraru Kūḍi
Ambaradhali Ninthu Avar Stuthise
Rambe Ūrvaśhī Ramaṇīyarellaru
Chandhadhim Bharatha Nāṭyava Natṭise
Jham Thatha Thaka Dhīm Thadhi Nini Thom Endhu
Jhampe Thaladhi Thumburannoppise

Dha Ma Pa Dha Sa Ri Endhu Dhvaniyindha Nāradha Thumburu Gāna Māḍalu Nandhiyu Maddhale Chendhadhi Hākalu  |1|



In the skies, all the Dhevathas together started praying him, Apsaras like Rambe, Ūrvaśhī
started dancing Bharathanāṭya playing the beats Jham Thatha…

 

Charaṇam 2:

Phaṇava Meṭṭi Balava Kaiyali Piḍidhu Phala Phalisuttha Nātyavanāḍe

Chhandhra Manḍaladhanthe Poḷeyuva Mukhadolu

Chalisuva Nīla Keśhagaḷāḍe

Kālalandhuge Gejje Ghalu Ghalu Ghalurenutha Uḍi Gejje Kanegalade
Dhuṣṭa Kālingana Meṭṭi Bhāradhindha Puṭṭa Pādhava Iṭṭu Śhrī Kriṣhṇanu

Meṭṭidhanu Thaka Dhimi Tahdhikenutha |2|

 

Stamping on the snake hood, holding the tail in one hand, he danced. His face shone as in the lunar region as his hairs danced. His anklets made sounds as he danced. He stamped the evil Kalinga with his tiny feet making Thaka Dhimi sound.



Charaṇam 3:

Suraru Puṣhpavruṣhṭiya Kareyalu
Sudhathiyarellaru Pāḍalu
Nāgakannikeyaru Nāthana Béḍalu
Nānāvidhadhi Sthuthimāḍalu
Rakkasarellaru Kakkasavane Kanḍu
Dhikki Dhikkige Oḍalu

Chikkavanivanalla Purandhara Viṭṭhala
Venkataramana Bega Yashode
Binkadoletthii Muddhāḍe Śhrī Kriṣhṇa |3|



Dhevathas showered flowers on him, all the Gopis’ sang in praise of the lord, Nāgakannikās begged for mercy in various forms, Asuras seeing the scene fled in all directions.

If this is done by (child) Kriṣhṇa, he cannot be a (mere) small kid, he is Purandhara Viṭṭhala , so, O Yashodhā, please come fast and caress him.

 

 

1 Āḍidhano Raṅga click here












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