Padhams

Padhams are scholarly compositions. The word, "Padha" was used to describe any "devotional song" in the olden days, but in recent times it is used to describe a particular type of musical form which belongs to dance repertoire. Though the padham belongs to the world of dance music, it is often sung in concerts (usually towards the end) because of its excellent musical quality. The sangītham(musicality) and Sāhithyam(lyrics) of the Padham are heavy. This form was perfected in the 17th Century by Kṣhethragna who is aptly called Father of the modern Padham.

The Padham has three sections: Pallavi, Anupallavi and Charaṇam, it is usually sung in a slower tempo. It may have three or more Charaṇams which are usually sung in the same tune, though they are textually different. The text deals with the concept of the "lover and beloved".

Padham brings out the relationship of Nāyaka-Nāyaki (hero and heroine) as well as thōzhi (close friend) explaining the joy, sorrow, and other feelings of love. They indirectly refer to god, since the Nāyaka is said to represent the “Paramāthma” (Great Soul, God), the Nāyikā(heroine) represents the Jīvāthma (human soul, man), and the thōzhi represents the guru (teacher), so the words of each is thought to help the audience reach mōkṣha (heaven).

In dance, Padhams give more importance to the Abhinaya part than footwork. But, unless the dancer inwardly feels the emotions, she cannot perform the Padham well. Each line of the song can be interpreted in many different ways. Karnātic music has hundreds of Padhams composed by poets and musicians and many of these have been rendered in dance. In Thelugu, padhams often have Lord Kriṣhṇa as the Nāyaka, while Tamil Padhams often have Lord Subramaṇya (Murugan) as their Nāyaka.

The first padhams in Sanskrit were composed by Vāsudheva Kavi who adorned the court of King Sarfoji of Tanjore. In the present days lyrics in Marāṭhi, Kannada and other languages are used for performing padham. However, in the olden days it was limited to Thelugu and Tamil only. And then there is the variety known as Kshethragna padham, which every artiste considers to be quite a challenge to execute. The verses of Kshethragna are set to slow rhythm but the emotions that are expressed in them are a bit too complex and a real challenge for the artiste to bring them out through sthāyi bhāva. If an artiste can perform to the verses of Kshethragna he or she can be considered to have mastered the art a great deal.

Most of the padhams are woven around God. Since the main theme of padham is the expression of feelings of the Nāyaki - estranged or otherwise - it can safely be concluded that the rasa would always be Śhrungāra and the God on whom the verse is written would always be in the male form.

Rāga: Sāveri
Thāḷa: Ādhi
Composer: Subbarāma Iyer.
Meanings - Word by word: Team Ambalam
Meanings – Overall; Alignment, Diacriticals & consequent spelling changes, Language & grammar editing, if any and necessary, of existing meaning: Team Ambalam

Pallavi
Etthanai Sonnālum Theriyādhavaruḍan Én Piṇakkik-Kolvāi Magaḷe

Anupallavi
Atthanaḷittha Kumarésar Vaidhālumenna Ātthirappaḍugirāi Peṇ
Buddhiyālé Anbuḷḷa Pōdhé Kōbamirukkumenmélé
Rātthiri Rāmāyaṇam Kéṭṭumappālé
Rāmarukku Sīthai Enna Murai Enradhu Pōlé

Charaṇam
Koṇḍavar Nayatthilum Bhayatthilum Solvār Kōdaiyai
Pottuk-Koṇḍu Pōnadhennaḍi Saṇḍai Un akkup-Pālum Pazhamumāḍi
Kuḍi Kéḍi Thāi Péreḍuppāi Veghu Nértthiyāgavé Thān
Mīna Vizhiyāḷé Unakkā Indhat-thuḍukku Virlatthanai Illai
Énindha Muḍukku Nānorutthi Idharkkellām Pōḍāviṭṭāl
Thaḍukku Nānum Oru Peṇṇenru Ni Kulukku Vāyākku

Meaning

This padham is a castigation of mother on her daughter's behavior.

Pallavi
Etthanai Sonnālum Theriyādhavaruḍan Én Piṇakkik-Kolvāi Magaḷe

Etthanai- how much ever?;
Sonnālum –having told;
Theriyādhavaruḍan- one whom you do not know or one who does not care;
Én Piṇakki-why do you entangle?;
Koḷvāi – do so;
Magaḷe- O daughter;

O daughter! Why are you entangling yourself with someone who is not quite responsive to you?

Anupallavi:
Atthanaḷittha Kumarésar Vaidhālumenna Ātthirappaḍugirāi Peṇ
Buddhiyālé Anbuḷḷa Pōdhé Kōbamirukkumenmélé
Rātthiri Rāmāyaṇam Kéṭṭumappālé
Rāmarukku Sīthai Enna Murai Enradhu Pōlé

Atthan-another name for Śhiva
aḷittha- gave ;
Kumarésar – another name for Lord Muruga;
Vaidhālumenna- even if he scolds;
Ātthirappaḍugirāi – you get angry;
Peṇ Buddhiyālé- having a woman’s mind;
Anbuḷḷa- affection, love;
Pōdhé –when there is;
Kōbamirukkum- there shall be anger;
enmélé – since it is so;
Rātthiri – night;
Rāmāyaṇam- the epic Rāmāyaṇa;
Kéṭṭum-having heard;
appālé –after;
Rāmarukku-to Rāma;
Sīthai – Sīthā;
Enna –what;
Murai –relationship;
Enradhu-having said;
Pōlé- as if;

Even if Lord Muruga, son of Śhiva scolds you why should you get angry out of your girlish ignorance? Where there is love there is bound to be anger. Despite hearing the story of Rāmāyaṇam the whole night you are asking what is the relationship of Sīthā to Rāma .

Charaṇam
Koṇḍavar Nayatthilum Bhayatthilum Solvār Kōdaiyai Pottuk-Koṇḍu Pōnadhennaḍi
Saṇḍai Unakkup-Pālum Pazhamumāḍi Kuḍi Kéḍi Thāi Péreḍuppāi Veghu Nértthiyāgavé Thān
Mīna Vizhiyāḷé Unakkā Indhat-Thuḍukku Virlatthanai Illai Énindha Muḍukku Nānorutthi
Idharkkellām Pōḍāviṭṭāl Thaḍukku Nānum Oru Peṇṇenru Ni Kulukku Vāyākku

Koṇḍavar – relatives;
Nayatthilum – nicely;
Bhayatthilum- in a threatening way;
Solvār – will say;
Kōdaiyai
Pōṭṭu- worn;
Koṇḍu- having
Pōnadhennaḍi- the way you went;
Saṇḍai- the fight;
Unakku- for you;
Pālum –milk;
Pazhamumāḍi –is it fruit?;
Kuḍi Kéḍi – one who destroys the family name & relationship;
Thāi –mother;
Péreḍuppāi-will get a name;
Veghu –very;
Nértthiyāgavé –good way(here – sarcastic)
Thān –as is;
Mīna Vizhiyāḷé –the fish-eyed one;
Unakkā –is it for you?;
Indha-this;
Thuḍukku –arrogance;
Virlatthanai-as much as the finger is;
Illai – not there;
Énindha – why this?;
Muḍukku – snobbish behavior;
Nānorutthi – for I;
Idharkkellām- for all this;
Pōḍāviṭṭāl –do not place;
Thaḍukku –restrictions;
Nānum – me also;
Oru Peṇṇenru – as a woman;
Ni Kulukku-you claim;
Vāyāḍakku- control your tongue;

One who is close to you will say things nicely as well as threateningly. Why should it bother you? Is fighting like milk and fruit for you? O Girl with a destructive behavior! You will indeed earn the name for a good mother in a glorious way!! Oh, fish-eyed one, why do you have such recalcitrance? If I do not obstruct all these (there is going to be a problem).You call yourself a girl/woman, control your tongue!

Rāga: Yadhukulakāmbhoji.

Thāḷa: Ādhi

Composer: Kṣhethragnya

Language: Thelugu

Meanings - Word by word & Overall;Alignment, Diacriticals & consequent spelling changes, Language & grammar editing, if any and necessary, of existing meaning: Team Ambalam

Pallavi:

Entha Chakkani Vāḍé Nā Sāmi Vīḍentha Chakkani Vāḍé

Anupallavi:

Inṭi Muvvagōpāluḍu Santhathamu Nā Madhiki Santhōśhamu Chésené

Charaṇam1:

Molaka Navvula Vāḍe Muddhu Māṭala Vāḍe Thaļukāru Chekkutaddamula Vāḍé
Thaļirāku Jigidhegaḍadhagu Mōvi Gala Vāḍé Thelidhammi Réku Kannula Namaru Vāḍé

Charaṇam 2:

Chirutha Prāyamu Vāḍé Cheluvondhu Vidiya Candhuru Géru Nosalaché Merayu Vāḍé
Cheruku Vilthuni Ganna Dhoravale Nunnāḍé Merugu Chāmana Chāya Mé Namaruvāḍé

Charaṇam 3:

podhalu chendhāmarala vempodavu padhamula vāḍé kodama singapu naḍumu koma ramaru vāḍé
madhakari karamula maruvu chéthula vāḍé sudhati muvvagōpāluḍentha sogasu galavāḍé

Meanings:

Pallavi:

Entha Chakkani Vāḍé Nā Sāmi Vīḍentha Chakkani Vāḍé

Entha - how;

Chakkani Vāḍé – charming;

Nā –my;

Sāmi-lord;

Vīḍentha - what a person! ;

Chakkani Vāḍé – charming;

How charming is my beloved! Indeed! My Lord is a charming person!

Anupallavi:

Inṭi Muvvagōpāluḍu Santhathamu Nā Madhiki Santhōśhamu Chésené

Inṭi - o girl;

Muvvagōpāluḍu- the name of the Lord Kriṣhṇa

Santhathamu - always;

Nā Madhiki- to my mind;

Santhōśhamu – happiness;

Chésené - he gives;

O girl, Muvvagōpāla always gives me lot of happiness.

Charaṇam1:

Molaka Navvula Vāḍe Muddhu Māṭala Vāḍe Thaḷukāru Chekkutaddamula Vāḍé
Thalirāku Jigi Dhegaḍa Dhagu Mōvi Gala Vāḍé Theli Dhammi Réku Kannula Namaru Vāḍé

Molaka- often;

Navvula Vāḍe– he smiles;

Muddhu– sweet;

Māṭala- words;

 Vāḍe – he who speaks;

Thaḷukāru- – shines;

Chekkutaddamula Vāḍé – mirror like cheeks;
Thalirāku -– tender;

Jigidhegaḍa dhagu – leaf buds;

Mōvi - lips;

Gala - unwavering;

Vāḍé – he who has;

Theli Dhammi- lotus petals;

Réku- white; 

Kannula Namaru - eye lids; 

Vāḍé - he who has;

He very often smiles and speaks good words always. He has mirror like cheeks; His lips are tender like leaf buds. His white eyelids are unwavering and as beautiful as lotus petals.

Charaṇam 2:

Chirutha Prāyamu Vāḍé Cheluvondu Vidiya Candhuru Géru Nosalaché Merayu Vāḍé
Cheruku Vilthuni Ganna Dhoravale Nunnāḍé Merugu Chāmana Chāya Mé Namaruvāḍé

Chirutha Prāyamu– young age; 

Vāḍé-he who has;

Cheluvondhu- nice;

Vidiya - forehead; 

Chandhuru Géru- crescent moon;

Nosalaché Merayu – shining forehead; 

Vāḍé -he who has;

Cheruku – sugarcane; 

Vilthuni - bow-wielder, archer,( here Cupid); (Villu – bow);

Kanna-father (of Cupid);

Dhoravale- looks like a king;

unnāḍé– he is; 

Merugu -– shine, lustre;

Chāmana Chāya Mé - - not dark not bright, medium complexion, “wheatish” ;  

Namaruvāḍé – he who is shining;

This young charming guy has a beautiful shining crescent moon like forehead. He looks like Manmatha, holding the sugarcane bow; He has a lustrous wheatish complexion.

Charaṇam 3:

podhalu chendhāmarala vempodavu padhamula vāḍé kodama singapu naḍumu komaramaru vāḍé
madhakari karamula maruvu chéthula vāḍé sudhati muvvagōpāluḍentha sogasu galavāḍé

podhalu – delicate;

chendhāmarala- – red lotus;

vempodavu- red;

padhamula- feet;

vāḍé – he who has;

kodama – young;

singapu- lion;

naḍumu - – his waist;

komaramaru– beautiful;

vāḍé– he who has;
madha– rogue/ wild;

kari-elephant;

karamulamaruvu-- trunk;

chéthula – hands;

vāḍé– he who has;
sudhati– O woman;  

muvvagōpāluḍentha – how is muvvagōpāla;

sogasugala- beautiful and charming;

vāḍé - he who is;

O woman! How charming my muvvagōpāla is! His feet are as delicate as red lotuses; His waist is like that of a young Lion’s waist; His hands are like the trunk of the rogue-elephant.

Rāga: Navroz

Thāḷa: Thripuṭa

Composer: Kṣhethragnya

Language: Thelugu
Msanings - Word by word & Overall; Alignment, Diacriticals & consequent spelling changes, Language & grammar editing, if any and necessary, of existing meaning: Team Ambalam

Pallavi

Elā Vacchithivé Swāmineḍabāsi Elāgu Kālāḍane Ō Lalanārō

Anupallavi

Bālarō Muvvagōpāluḍu Ninu Dhalachi Paluvarinchunuņḍané Ō Lalanārō

Charaṇam 1

Usurani Thaleyūchūné Saiyyapainuņḍi Yuliki Diggunaléchuné

Kasari Dikkulu Jūchuné Kaṇṇeruninchi Kaṇṇuleraga Jésuné Ō Lalanārō

Charaṇam 2

Thalavākiṭane Chéruné Nīḍu Kémmōvi Thalachuka Nōrūruné

Thanalō Thānu Véladhi Vidini Dhūruné Vérri Kōrika Gōruné Ō Lalanārō

Charaṇam 3

Ninu chāla Lālinchuné Muvvagōpāluḍu Yenasina Vagalénchuné

Sanuvicchi Karuņinchuné Indhirilō Nī Sāṭi Lédhani Yenchuṇe Ō Lalanārō

Meanings:

Elā Vacchithivé Swāmineḍabāsi Elāgu Kālāḍane Ō Lalanārō

Elā – why;

Vacchithivé – u came away;

Swāmineḍabāsi– leaving the lord;

Elāgu – how did;

Kālāḍane –(your)feet move away;

Ō Lalanārō– O girl!

O girl! Why did you leave your lord and come? How did your feet move away from him?

Bālarō Muvvagōpāluḍu Ninu Dhalachi Paluvarinchununḍané Ō Lalanārō

Bālarō – O Girl;

Muvvagōpāluḍu – the lord Muvvagōpāla;

Ninu– you;

Dalachi– thinking of;

Paluvarinchu– unsteady;

unḍané– he is;

Ō Lalanārō– O girl!

O girl! Your Muvvagōpāla’s mind is so unsteady thinking about you all the time.

Usurani Thaleyūchūné Saiyyapainunḍi Yuliki Dhiggunaléchuné

Kasari Dikkulu Jūchuné Kaṇṇīruninchi Kaṇṇuleraga Jésuné Ō Lalanārō

Usurani – breathe;

Thaleyūchūné – shake head;

Saiyyapainunḍi-– lying on bed;

Yuliki – suddenly;

Diggunaléchuné-

Kasari– in anger;

Dhikkulu - everywhere;

Jūchuné – he looks for u;

Kaṇṇīruninchi – with tears;

Kaṇṇuleraga – red eyed;

Jésuné – have become;

Ō Lalanārō- O girl!

O girl! He shakes his head and breathes heavily lying on his bed. He suddenly wakes up from his bed and looks for you everywhere. His eyes have turned red as tears roll down from them.

Charaṇam 2

Thalavākiṭane Chéruné Nīḍhu Kémmōvi Thalachuka Nōrūruné

Thanalō Thānu Véladhi Vidhini Dhūruné Vérri Kōrika Gōruné Ō Lalanārō

Thalavākiṭane – at door step;

Chéruné – he comes;

Nīḍhu – your;

Kémmōvi –red lips;

Thalachuka– thinking;   

Nōrūruné-salivates;

Thanalō thānu – for himself;

Véladhi -– friend;

Vidhini – fate;

Dhūruné– blames;

Vérri Kōrika – desires wild things;

Gōruné– he wants;

Ō Lalanārō- O girl!

He comes to his door step, stands; think of your red lips and salivates; He blames his fate; he desires and harbors wild desires within him.

Charaṇam 3

Ninu chāla Lālinchuné Muvvagōpāluḍu Yenasina Vagalénchuné

Sanuvicchi Karuņinchuné Indhirilō Nī Sāṭi Lédhani Yenchune Ō Lalanārō

Ninu –you;

chāla-lots;

Lālinchuné-loves;

Muvvagōpāluḍu -– the lord Muvvagōpāla;

Yenasina– thinks of;

Vagalénchuné – all good qualities;

Sanuvicchi– in intimacy;

Karuņinchuné – would show compassion;

Indhirilō - in these things;

Nī Sāṭi – your equal;

Lédhani– no one;

Yenchuṇe– he thinks;

Ō Lalanārō- O girl!

Muvvagōpāla loves you lots; he thinks of all the good qualities you show while in intimacy and shows compassion. He thinks there is no one equal to you in all these things.