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: Kāmboji

Thāḷa: Thripuṭa

Composer: Kṣhethragnya

Language: Thelugu

Meanings - Word by word:

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

Pallavi

Vadharaka pō pōvé! Vādéla vachhéne vaddhu ravaddhane

Anupallavi

"Ādhi okka yugamu! Vére janmamippuḍu!
Āthaḍevvarō! Nénevvarō! O cheliyā!

Charaṇam 1

Nithsa nithsaluneḍe vacchéni répaina vachhīnanuthsu madhilō

Nithsaga baluvédi niṭṭōrpula indhirō pedhavulenḍi

Hechhaina veṇṇilalō chichhula rāthrulu yennenō gadisithi ika Éṭi māṭla

Charaṇam 2

Valapu vāḍithe gadhā vacchīnanuthsu theruvulu jūchi

vésārithi nélalanchi alasithi niruparāni prema

nōmmadhi aḍuthsukōnṭi kalakanṭi sukhanādhamulu

madhumānasamulu gaḍisithi vaṭṭi mutthsathanikanéla

Charaṇam 3

Bhāmarō sakunamulaḍigithi muvvagōpaluḍu

Vacchinanuthsu kāminchinādhula kalayu chilulu jūchi

Karagi chintha nōndhithini rāma rāma ī ménithō

Vāni mōmu jūḍavaléna mōdhaṭikōndhe tsālu

Meanings :

Vadharaka pō pōvé! Vādhela vachhéne vaddhu ra vaddhane

Vadharaka– Don’t prattle;

 pō pōvé! – leave;

Vāḍu- he;

ela –why; 

vachhéne – has come;

vaddhu-no;

ra-come;

vaddhane-not;

Don’t prattle. Please leave ! Why has he come? Let him not come.

Anupallavi

"Adhiyokka yugamu! Vére janmamippuḍu!
Āthaḍevarō! Nānevarō! O cheliyā!

Adhi– those;

Okka– one;

yugamu! – Era;

Vére – different;

Janmamu – life;

ippuḍu! – now;
Āthaḍevarō! – He is someone;

Nénevarō! – I am someone;

O cheliyā! – O friend;

O friend! Those were different days. Now life is different. He is someone and I am someone.  

Note:

Those days were different when we used to live with each other. Now the days are different. We are strangers to each other.

Charaṇam 1

Nithsa nithsalumeḍe vacchéni répaina vachhīnanuthsu madhilō

Nitsaga baluveDi niṭṭōrpula indhirō pedhavulenḍi

Hechhaina veṇṇilalō chichhula rathrulu yennenō gadhisithi ika Éṭi māṭla

Nithsa Nithsalu– day after day;

meḍe– today; or Nede??

vacchéni -– may come;

répaina – tomorrow;

vachhīnanuthsu – thinking that he will come;

madhilō– in mind;

Nithsaga– every moment;

baluveḍi-– praying lots;

niṭṭōrpula -– hot breathe;

indhirō – O friend;

pedhavulenḍi– lips dry;

Hechhaina– bright;

veṇṇilalō– in the moon light;

chichhula – fire like;

rathrulu – night;

yennenō – somehow;

gadisithi – spent;

ika– now; 

Éṭi māṭla– why talk;

Day after day, every moment, I waited for his arrival thinking that he may come either today or tomorrow. Praying for that, my lips went dry due to the hot breath of mine. Even the nights with bright cool moon light seemed like fiery nights. Somehow I spent those nights. Why to talk about that now?

Charaṇam 2

Valapu vāḍithe gadhā vacchīnanuthsu theruvulu jūchi

vésārithi nélalanchi alasithi niruparani prema

nōmmadhi aḍuthsukōnṭi kalakanṭi sukhanādhamulu

madhumānasamulu gaḍisithi vaṭṭi muttsathanikanéla

Valapuvāḍu– my lover;

Ithe- now;

gadhā – isn’t it; 

vacchīni– he may come

anuthsu– thinking;

theruvulu – at road;

jūchi– looking;

vésārithi – got tired;

nélalanchi-– counting months;

alasithi– tired;

niruparani– couldn’t stop;

prema– love;

madhi – in my mind;

aḍuthsukōnṭi – hid it in; 

kalakanṭi– cuckoos;  

sukhanādhamulu – sweet / pleasant music;

madhumāsamulu – in spring season;

gaḍisithi– I spent;

vaṭṭi -– why;

muttsatha-– talk unnecessarily;

ika- now;

éla- why;

Thinking “My lover should be coming now. Isn’t it?”, I kept looking at the road. I got tired counting months. I hid my love and the desire for him deep in my heart. The sweet sound of the cuckoos was too much for my ears. Somehow I spent the spring season. Why talk about it now?

Charaṇam 3

Bhāmarō sakhunamulaḍigithi muvvagōpaluḍu

Vacchinanuthsu kāminchinādhula kalayu chilulu jūchi

Karagi chintha nōndhithini rāma rāma e ménithō

Vāni mōmu jūḍavaléna mōdhaṭikōndhe tsālu

Bhāmarō- O – friend; 

Sakhunamula– horoscope;

aḍigithi- when I show; 

muvvagōpaluḍu-that muvvagōpala;

Vacchini– he will come;

anuthsu -thinking thus

Kāminchinādhula– with desire, husband; 

kalayu– join me; 

chilulu – girls;

jūchi– on seeing;

Karagi– melt;  

chintha– worry; 

nōndhithini– I suffer; 

rāma rāma– oh god!; 

Ī- this;

ménithō– body;

Vāni– his;

Mōmu- face;

jūḍavaléna– should see;

mōdhaṭikōndhe– first love; 

tsālu– enough;

O friend! My horoscope says he would come and I would join my husband. But when I see the other girls, my desire and hopes melt. I worry and I suffer. O god! Should I look at him with this face? My first love is enough!

Rāga: Varāḷi

Thāḷa:Thriputa

Composer: Kṣhethragnya

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

Pallavi

Valapudhācha Nérané ō Bhāma Vārivīri Valéné

Anupallavi

Thalapuna Thanamīdhi Bhāsalicchi Chāla Tharithīpu Chévasināḍé O Bhāmā

Charaṇam1

Idhigō Vāḍu Vākiṭa Vacchénani Viṇṭé  Éduruga Né Pōthuné
Chadaraka Chélāgosagi Thōḍithecchi Pānupu Painuntuné
Mudhamuna Vāni Rommuna Gubbalālinci Muddhu Péṭṭukonduné
Athanuga Nuthi Chési Bāgā Vidhigōyani Yākumapuḍulitthuné O Bhāmā

Charaṇam 2

Thilakamu Andhamu Mīra Nā Konagoḍa Dhiddhi Véḍuka Jūthuné
Balimi Sugandhamu Panīṭa Mardhinhci Bāguga Naladhuduné
Solapuna Vānipai Padhamu Pāḍi Vīṇa Solapuga Mīṭuḍuné
Palumāru Nāmīda Dayayunchamani Vāni Pādhamulotthuduné O  Bhāmā

Charaṇam 3

Mōsa Bucchi Nannu Muvvagōpāluḍu Mōmu Jūpakunnāḍé
Vāsidhānani Thelisi Theliyaléka Yāsalūraga Jéséné
Rōsamu Niluvadéṭulah Nā Dāosakārini Gūḍéné
Mīsamugala Magavāni Valéné Vacchi Mīsaramuna Nélané O  Bhāmā

Meanings

Valapudācha Nérané ō Bhāma Vāri Vīri Valéné

Valapudācha – hide my love;

Nérané - is it possible?; 

ō Bhāma- O’ friend;  

Vāri Vīri – like this or that person;

Valéné– like;

Is it possible to hide my love for him like others?

Anupallavi

Thalapuna Thanamīdhi Bhāṣalicchi Chāla Tharithīpu Chévasināḍé O Bhāmā

Thalapuna– intentionally; 

Thanamīdhi – on me;

Bhāṣalu- promises;

icchi – having given;

Chāla - too much;

Tharithīpu – neglect;

Chévasināḍé– he has given me;

O Bhāmā– O friend! ;

O friend! Intentionally, he promises lot of things, neglects me and gives me lot of pain.

Charaṇam1

Idhigō Vāḍu Vākiṭa Vacchénani Viṇṭé  Edhuruga Né Pōthuné
Chadharaka Célāgosagi Thōḍi Thecci Pānupu Painunṭuné
Mudamuna Vāni Rommuna Gubba Lālinci Muddu Peṭṭukonḍuné
Athanuga Nuṭi Chési Bāgā Viḍigōyani Yākumapuḍu Litthuné O Bhāmā

Idhigō – just now;

Vāḍu-he;

 Vākiṭa – at the door;

Vacchénani – will come thus;

Viṇṭé  - alone;

Edhuruga- in front of;

Né Pōthuné – I go;
Chadharaka –unruffled;

Chélāgosagi –giving him my hand;

Thōḍi –go;

Thecchi –bring him;

Pānupu –the bed;

Painunṭuné-– make him sit;
Mudhamuna –with pleasure;

Vāni Rommuna-chest;

Gubba –bosom;

Lālinci-fondle;

Muddhu Peṭṭukonḍuné– kiss him;
Athanuga - appropriately; 

Nuṭhi – praise;

Chési –having done (said)

Bāgālu-nicely;

Idhigō – take this;

Yani- I say;

Yākumapuḍulu- folded betel leaves;

itthuné –I gave;

O Bhāmā- O friend! ;

O friend, on hearing that he is coming any time soon, I run to the door unruffled to receive him; I welcome him with a great hand shake, bring him in and make him sit on my bed. His chest fondles my breasts and with pleasure, I kiss him. I shower him with lot of praises; I offer him folded betel leaves.

Charaṇam 2

Thilakamu Andhamu Mīra Nā Konagoḍa Dhiddhi Véḍuka Jūtuné
Balimi Sugandhamu Panīṭa Mardhinhci Bāguga Naladuduné
Solapuna Vānipai Padamu Pāḍi Vīṇa Solapuga Mīṭuḍuné
Palumāru Nāmīda Dayayuncamani Vāni Pādamulottuduné O  Bhāmā

Thilakamu– vermilion;

Andhamu-beauty;

Mīra –enhanced;

Nā Konagoḍa- my eyebrows;

Dhiddhi – drawn;

Véḍuka-with fun;

Jūtuné –seeing;
Balimi –strong;

Sugandhamu-fragrant;

Pannīṭa-rose water;

Mardhinhci –having mixed;

Bāguga –properly;

Naladuduné –apply;
Solapuna-sing songs;

Vānipai-on him

Padhamu-the song;

Pāḍi –to sing;

Vīṇa –the stringed instrument of Vīṇa;

Solapuga –beautifully;

Mīṭuḍuné –play;
Palumāru –many times;

Nāmīdha –on me;

Dhayayunchanu-compassionate;

Ani-thus;

Vāni-he;

Pādhamulu-feet;

Otthudhuné – presses;

O Bhāmā- O friend! ;

The vermilion that I keep on his forehead enhances his beauty. He watches the fun as I apply on him the sandal paste mixed with rose water. I play and sing songs on him; Out of compassion on me, He presses my feet.

Charaṇam 3

Mōsa Bucchi Nannu Muvvagōpāluḍu Mōmu Jūpa Kunnāḍé
Vāsidhānanani Thelisi Theliyaléka Yāsalūraga Jéséné
Rōsamu Niluvadéṭulah Nā Dāosakārini Gūḍéné
Mīsamugala Magavāni Valéné Vacchi Mīsaramuna Nélané O  Bhāmā

Mōsa –chetaing;

Bucchi-done;

Nannu –me;

Muvvagōpāluḍu – the lord Muvvagōpāla;

Mōmu-face;

Jūpa –show;

Kunnāḍé –does not;
Vāsidāna-making me unhappy;

Ani-thus;

Thelisi –with knowing;

Theliyaléka – without knowing;

Yāsalūraga-??

Jéséné-he has done;
Rōsamu – anger;

Niluvadéṭula-how to control?

Thāḷudu-cannot bear;

Nā-I;

Dāosakārini – the other girl;

Gūḍéné-he has joined;
Mīsamugala-a big hero;

Magavāni –he, as if;

Valéné – himself;

Vacchi-comes;

Mīsaramuna -– shows off;

Élané-does so;

O  Bhāmā- O Friend!;

Having deceived me, he refuses to show me his face. Knowingly, he makes me unhappy; How can I control my anger? How can I bear when he has gone with another girl like a big hero and comes to me and acts like one?