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: Ānandha Bhairavi
Thāḷa: Ādhi
Composer: Pāpanāsam Sivan
Language - Thamizh
Meanings - Word by word & Overall: Mahākavi-www.rasikas.org
Alignment, Diacriticals & consequent spelling changes, Language & grammar editing, if any and necessary, of existing meaning: Team Ambalam

Pallavi
Siṅgāra Vélavan Vandhān Endhanai Āḷa

Anupallavi
Pongādharavōḍu Aḍaṅgāmagizhvōḍum
Peruṅkādhalōḍuṃ Ayyan Thaṅgamayiliniḍai Thuṅga Vaḍivinuḍu

Charanam:
Kandhan Paṇiyum Anbar Chondan Karuṇai Koḷ Mukundhan
Marugan Murugan Mundhen Vinai Payandha

Bandham Tholaitharuḷai Indhā Indhā Enrē
Ēzhai Kuḍimaganāi Vāzha Aruḷ Puriya

Meanings:

Pallavi
Siṅgāra Vélavan Vandhān Endhanai Āḷa

Siṅgāra– Handsome;
Vélavan - Muruga with spear;
Vandhān –came;
Endhanai – me;
Āḷa- to rule;

The handsome Murugan (with the spear) came to rule over me .

Anupallavi
Pongādharavōḍu Aḍaṅgāmagizhvōḍum
Peruṅkādhalōḍuṃ Ayyan ThaṅGamayiliniḍai ThuṅGa Vaḍivinuḍu

Pongum-overflowing;
ādharavōḍu – concern;
Aḍaṅgā - boundless;
Magizhvōḍum - happiness;
Perum-immense;
kādhalōḍuṃ – love,affection;
Ayyan– lord;
Thaṅga – golden;
Mayiliniḍai – peacock;
Thuṅga Vaḍivinōḍu- dignified splendor;

With overflowing concern, boundless happiness, and immense love He came riding the golden peacock in all dignified splendor.

Charanam
Kandhan Paṇiyum Anbar Chondan Karuṇai Koḷ Mukundhan
Marugan Murugan Mundhen Vinai Payandha

Bandham Tholaitharuḷai Indhā Indhā Enrē
Ēzhai Kuḍimaganāi Vāzha Aruḷ Puriya

Kandhan-another name for Muruga;
Paṇiyum –who bow;
Anbar – devotees;
Chondan- related to;
Karuṇai-mercy;
Koḷ – to have;
Mukundhan – Lord Viṣhṇu
Marugan-nephew;
Murugan –Lord Muruga
Mundhen - my previous
Vinai –deeds;
Payandha –deliver;
Bandham – the actions;
Tholaithu aruḷa-to eliminate and bless;
Indhā Indhā – here, take it!;
Enrē – thus;
Ēzhai –poor;
Kuḍimaganāi – person(simple folk);
Vāzha –to live;
Aruḷ Puriya- to bless;

Kandhan , the nephew of the compassionate Mukundhan, is close to the devotees who worship him. He came to eliminate the karma that followed me as a result of my past birth’s deeds. He offers his bountiful grace for all simple folks to prosper.

Note:

Here Ēzhai Kuḍimagan means all the folks who need hope and love beyond what fellow citizens can give.

In Kambarāmāyaṇam, Rāma refers to Guhan as" Ēzhai Véḍan" as not a "poor" hunter which he is not, but one who is simple