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: Śhankarābharaṇam
Thāḷa: Miśhrachāpu
Composer:
Language: Thamizh
Meanings - Word by word& Overall: Indhirā Kaḍāmbi
Alignment, Diacriticals & consequent spelling changes, Language & grammar editing, if any and necessary, of existing meaning: Team Ambalam

Pallavi
Yārikkāgilum Bhayamā Chumma Sollaṭṭum Idhu Yenna Rahasiyama

Anupallavi
Pōrukkuḷ Vijayan Mōḍiliṅga Dhōraiyin
Bhōgam Kiḍaitthadhendhan Yōgam Allavō Peṇṇé

Charaṇam 1
Nān Piḍitthadhu Muruṅgai Kombu Piḍiyō Naḍatthai Therindhavarke Oruthar Sonnapiḍiyō
Mānpōl Vizhiyōrkkellām Idhu Dhāne Nīdhiyō Vanjiye Idharke Nān Anjiya Kuḍiy
Maruvi Yennai Veghe Sarasa Vaghai Saidhān Maidhānaḍi Andha Perumai Uḷḷa Dhorai
Arumai Yennakkallō Theriyum Idhiloru Thiraimarai Yennaḍi

Charaṇam 2
Nāne Sammaditthāl Maṭravarkenna Nashṭam Rājāṅgamāgilum Ivar Sollathaṭṭi
Māné Madhayānai Mél Ériyum Thiṭṭi Vāsal Nuzhaiiyavémō Balégaṭṭi
Vasīkaramuḷḷa Puruśhanai Nān Sārndhén Sérndhén Adhil Pisir Yennaḍi Peṇṇé
Dhisaiyil Avaravar Gusu Gusu Yena Solla Asūyai Yennaḍi

Meanings:

Pallavi
Yārikkāgilum Bhayamā Chumma Sollaṭṭum Idhu Yenna Rahasiyama

Yārikkāgilum –for anyone;
Bhayamā – should I fear? ;
Chumma – just like that;
Sollaṭṭum – let them say;
Idhu –this;
Yenna-what (is this?)
Rahasiyama- is this a secret?;

Why should I fear for anyone? Let them talk whatever they want. Is this a secret?

Anupallavi
Pōrukkuḷ Vijayan Mōḍiliṅga Dhōraiyin
Bhōgam Kiḍaitthadendhan Yōgam Allavō Peṇṇé

Pōrukkuḷ– in war;
Vijayan – he is the winner;
Mōḍiliṅga– name of the king
Dhōraiyin - King;
Bhōgam – friendship;
Kiḍaitthadhu -having got it;
endhan –my;
Yōgam – good fortune;
Allavō – isn’t it?;
Peṇṇé –O girl!;

Isn’t it my fortune that I got this opportunity to have the friendship of this great - ever victorious king Mōḍiliṅga.

Charaṇam 1
Nān Piḍitthadhu Muruṅgai Kombu Piḍiyō Naḍatthai Therindhavarke Oruthar Sonnapiḍiyō
Mānpōl Vizhiyōrkkellām Idhu Dhāne Nīdhiyō Vanjiye Idharke Nān Anjiya Kuḍiy
Maruvi Yennai Veghe Sarasa Vaghai Saidhān Maidhānaḍi Andha Perumai Uḷḷa Dhorai
Arumai Yennakkallō Theriyum Idhiloru Thiraimarai Yennaḍi

Nān- I;
Piḍitthadhu –have held;
Muruṅgai- the Moringa tree;
Kombu –branch;
Piḍiyō –hold;
Naḍatthai –character;
Therindhavarke- those who know;
Oruthar – a person;
Sonnapiḍiyō – the words of such;
Mānpōl-like the deer;
Vizhiyōrkkellām-who has eyes like;
Idhu Dhāne - this is derfinitely;
Nidhiyō –the wealth;
Vanjiye O girl!;
Idharke -– for this;
Nān -I;
Anjiya -– scared;
Kuḍiyō-person;
Maruvi -embrace
Yennai – me;
Veghu-many;
Sarasa Vaghai –different types of love (making)
Saidhān –made;
Maidhānaḍi –truly;
Andha –that;
Perumai Uḷḷa – great honored;
Dhorai- King;
Arumai – goodness;
Yennakkallō– only I;
Theriyum– know;
Idhiloru – in this;
Thiraimarai -– screen(to hide);
Yennaḍi– what is there?

Is my hold of a brittle stick of the Moringa tree stronger or the words of the person with great character stronger? This deer like fickle - mind is the wealth of all these people. I am not a girl who will be scared of such people. At this time, only I know the goodness of that greatly respected king. What is there to hide? He has embraced me and made love to me in different ways.

Charaṇam 2
Nāne Sammadhitthāl Maṭravarkenna Nashṭam Rājāṅgamāgilum Ivar Sollathaṭṭi
Māné Madhayānai Mél Ériyum Thiṭṭi Vāsal Nuzhaiiyavémō Balégaṭṭi
Vasīkaramuḷḷa Puruśhanai Nān Sārndhén Sérndhén Adhil Pisir Yennaḍi Peṇṇé
Dhisaiyil Avaravar Gusu Gusu Yena Solla Asūyai Yennaḍi

Nāne– if I myself;
Sammaditthāl– agree;
Maṭravarkenna– others what;
Naṣhṭam – loss;
Rājāṅgamāgilum – even in the king’s rule ;
Ivar Sollathaṭṭi– his words are final;
Māné – O deer like girl!;
Madhayānai – mad elephant;
Mél Ériyum –having climbed upon;
Thiṭṭi Vāsal – half door (narrow space);
Nuzhaiyavémō- can we move in through?;
Balégaṭṭi- O clever girl!;
Vasīkaramuḷḷa-attractive;
Puruśhanai – a partner(husband);
Nān Sārndhén- I reached out to;
Sérndhén- joined;
Adhil – in that;
Pisir – mistake;
Yennaḍi- what is there?;
Peṇṇé-O girl!;
Dhisaiyil – in all directions;
Avaravar – each one;
Gusu Gusu- gossip;
Yena Solla-to say so;
Asūyai- jealousy;
Yennaḍi- why is it so?;

If I, myself have agreed to be with him, what loss does it bring for these people? O clever friend, Is it possible to sit on a big mad elephant and pass through half opened door? I approached that attractive man. I joined him. What’s wrong with that? Why these people are gossiping among themselves everywhere. Why are they jealous?