dEvargaL arUl seida rAgangaLE.
The Ragas told
by the devas
rAgamAlikA. Adi. R.Suryaprakash.
Translation attempt by
P.R.Ramachander
Hear the Raga malika songsung by Sri R.Surya Prakash himself https://www.youtube.com/watch?v=-Xb4ceKwIQI
.
It was extremely difficult for me to translate and then I saw a translation in (https://www.rasikas.org/forums/viewtopic.php?t=28840
) and I tried to do my own translation,
which was slightly different from what was given there.I am only saying
that, this is yet another translation of a very difficult song.In that
translation , the composer had given his opinion.,I am reproducing it here, so
that any reader would Understand)
(rAgA: amrtavarSiNi)
P: dEvargaL aruL seida rAgangaLE
(rAgA: amrtavarSiNi)
P: dEvargaL aruL seida rAgangaLE
anda bhAvangaLil tOynda pADalgaLE
The ragas told by
the devas,
the songs that are
soaked in those emotions
C1: nATTai paripAlanam seyyum kalyANi unnaiyallAl yArE gati
bhairavi nin perumai puriyAdAr yArO ranjani rasikar manam nira(i)nja nI
(in this verse
ragas mentioned Nattai, Kalyani,
Bhairavi and Ranjani)
Oh Kalyani who is administering the country, except you , what
is the way out
You have filled up the mind of the fans of
Ranjani, who do not know the
greatness of Bhairavi
2: simhEndra surar pOTRum pannagEndra shayanan kaNNanai azhaittODi tAyE yashOdE (inda) darbArukkE vara En yOcanai anda shyAmalanai ninaindu manadu sancarikka
(In this verse Simhendra Madjhyamam, todi, Darbar, SAma)
Oh Yasoda , why
the hesitation to bring Krishna, who
sleeps on the king of snakes and who is
lauded ,
By the lion like Indra
and devas, Does your mind travel thinking of the Black Krishna
3: bhaktan yAsittu dhyAnamE seidAl oppilA hari aruLvAn enrum inbamE
kharaharapriyan vagutta rAja mArgam en vasham tAn meyyA mAyamAi
samayam rasikapriyam pera aruL seyya vENDinEn
(dhanyasi , Bilahari,Karaharapriya, Vasanta, Rasika
priya)
If devotee begs and
does meditation, the incomparable Hari will tell, “Happiness always”and
“The royal path
formed by the one dear to the one who defeated Khara is truly with me”
And I requeted to him to get me the blessings off thosefans who like it at the right
time
4: shankarAbharaNanAm sAmagAna lOlan SaNmukhapriyanukku
tandai tAi irundAl sArangan tEDuvanO aruNAcalanai adanAlE muDivu uraittAr
hariyum haranum onrE sAramadil teLindu mOkSamum aDainda
(sankarabharanam , Shanmuga priya, Saranga, Athana,
Saramathi)
If the Father and mother , who likes Shanmuga,who
decorates them and who like to hear chanting of Sama veda,
Are there, would lord Vishnu search for Lord of Arunachala and so the decision was told,
That Lord Shiva and
Lord Vishu are same and becoming clear, they got salvation
5: AbhOgikkEdum samAnamAgumA AbhEriyai kUrAmal viDuvadu tagumO
kAmbhOji kETka sevi kOTi vENDum varALiyE kaNakkillA ruciyE
PuraNamAi ati lAvaNyamAi
(Abhogi, Abheri, Kambhoji, Varali)
Can any thing be equal to Abhogi and is it proper to leave out without telling Abheri,
For hearing Khamboji
you need crores of ears and Varali
has inimitable taste
Fully with great
prettiness
6: kApi aLikkum inda saukhyattikk-IDEdu Arabhi rAgamadu sAdhittadE
sindhiubhairavi manadirkkugandadu vErEdu mOhana shuvaikk(u)appAlE
prakAsha sUryakAnta muttu mOhana vadani madhyamAvati pOTRum
shrI jAnakIpati rAmanAma sAra amsha nAdam muzhanga
(Kapi ,
arabhi,Sindhubhairavi, Mohanam, Madhyamavathi)
Where is the
comparison for pleasure given by raga Kapi and Raga Arabhi has succeeded,
Sindhu Bhairavi is
suitable to the mind and which one is there beyond the taste of mOhana,
Oh Rama husband
of sita, who has a shining pretty face with luster like
the sun
Who is praised
using Madhyamavathi so that the essence of name of Rama boomed
(After reading a
translation of his song the composer
wrote (https://www.rasikas.org/forums/viewtopic.php?t=28840
)
e:
Lyrics and Meaning of devargaL arul seida rAgangaLE - R. Suryaprakash
I
thought I could post some clarifications on my composition here.
Firstly, the focus of the composition is not any particular God head, but the ragas which were created by devas and the BhavA filled compositions in the respective ragas. Just a listing out of the above. In the listing out there are a few digressions to God heads and their descriptions but the endeavour is to establish completeness in the story/description at the end of every stanza and connection to the raga,deva,padal theme of the pallavi.
A beautiful translation and identification of ragas vis a vis the songs - kudos.
Let me chip in with the connections for charanams.
Charanam 1
nATTai paripAlanam seyyum kalyANi unnaiyallAl yArE gati
bhairavi nin perumai puriyAdAr yArO ranjani rasikar manam nira(i)nja nI
Description about Ambal but the end is '..Ranjani ! Rasigar Manam niranja (nirainda) nin (your) devargal arul seyda raagangale! '
caraNam 2
simhEndra surar pOTRum pannagEndrashayanan kaNNanai azhaittODi tAyE yashOdE (inda)
darbArukkE vara En yOcanai anda shyAmalanai ninaindu manadu sancarikka
(Addressed to yashoda as a poetic digression but at the end of the verse the focus shifts back to 'andha shyaamalanai ninaindu manasu sancharikka devargal arul seyda raagangale')
caraNam 3
bhaktan yAsittu dhyAnamE seidAl oppilA hari aruLvAn enRum inbamE
kharaharapriyan vagutta rAja mArgam en vasham tAn meyyA
mAyamAi samayam rasikapriyam peRa aruL seyya vENDinEn
(A conversation with ragas and padalgal on the greatness of Oppilaa Hari who is also Hara Priyan. 'Even if the Raja maargam of Hari is not within my reach (en vasam meyya, maayama?(just a phonetic allusion to Seethamma mayamma)) atleast lend me rasikas' affection for the time being, o divine ragas and paadalgal)
caraNam 4
shankarAbharaNanAm sAmagAna lOlan SaNmukhapriyanukku
tandai tAi irundAl sArangan tEDuvanO aruNAcalanai adanAlE muDivuraittAr
hariyum haranum onrE sAramadil teLindu mOkSamum aDainda
(This charanam and the philosophy has already been explained vividly by rshankar. The ending says ..Hariyum haranum onre (ennum) sAram adil thelindu mOkshamum adainda devargal arul seyda raagangale. So describes Shiva but all the time addressing the divine rAgas)
caraNam 5
AbhOgikkEdum samAnamAgumA AbhEriyai kUrAmal viDuvadu tagumO
kAmbhOji kETka sevi kOTi vENDum varALiyE kaNakkillA ruciyE
pUraNamAi ati lAvaNyamAi
(Describing the greatness of the ragas to the ragas themselves, addressing them as 'puranamaai ati laavanyamaai devargal arul seyda raagangale)
caraNam 6
kApi aLikkum inda saukhyattikk-IDEdu Arabhi rAgamadu sAdhittadE
sindhiubhairavi manadirkkugandadu vErEdu mOhana shuvaikk(u)appAlE
prakAsha sUryakAnta muttu mOhana vadani madhyamAvati pOTRum
shrI jAnakIpati rAma nAma sAra amsha nAdam muzhanga
( List out of the ragas and their descriptions , but addressing the divine ragas as 'prakaasha suryakaantha muthu mohana vadani madhyamavathi (all refers to Sri Janaki) pathi Raman namaththin Saraamsa naadam muzhanga devargal arul seyda raagangale!!' which connects back to the pallavi in hamsanadam after alluding to 'Rama Nama' in Thyagaraja's Bantureethi.
The composition was intended for janaranjakam using word play, to invoke a rasam which could me a mix of hAsyam, spirituality and puzzle solving amongst the audience. No way it can even be compared with monumental ragamalikas like Arabhi maanam, nee thaan thunai or Ranjani mala, but if it is a tasty 'kichadi' it would have served the purpose.
The song just happened in the course of a game, a discussion on a train journey with my mother, that went like Nattai paripalanam - Swaminatha paripalaya, bhairavi perumai ariyaadaar yaaro etc. entirely composed by your truly but I have to give credit to my mother for participating animatedly in the discussion and even suggesting to include some ragas. It was not contrived or did not happen under any pressure.
With regards
(your)
Surya
Firstly, the focus of the composition is not any particular God head, but the ragas which were created by devas and the BhavA filled compositions in the respective ragas. Just a listing out of the above. In the listing out there are a few digressions to God heads and their descriptions but the endeavour is to establish completeness in the story/description at the end of every stanza and connection to the raga,deva,padal theme of the pallavi.
A beautiful translation and identification of ragas vis a vis the songs - kudos.
Let me chip in with the connections for charanams.
Charanam 1
nATTai paripAlanam seyyum kalyANi unnaiyallAl yArE gati
bhairavi nin perumai puriyAdAr yArO ranjani rasikar manam nira(i)nja nI
Description about Ambal but the end is '..Ranjani ! Rasigar Manam niranja (nirainda) nin (your) devargal arul seyda raagangale! '
caraNam 2
simhEndra surar pOTRum pannagEndrashayanan kaNNanai azhaittODi tAyE yashOdE (inda)
darbArukkE vara En yOcanai anda shyAmalanai ninaindu manadu sancarikka
(Addressed to yashoda as a poetic digression but at the end of the verse the focus shifts back to 'andha shyaamalanai ninaindu manasu sancharikka devargal arul seyda raagangale')
caraNam 3
bhaktan yAsittu dhyAnamE seidAl oppilA hari aruLvAn enRum inbamE
kharaharapriyan vagutta rAja mArgam en vasham tAn meyyA
mAyamAi samayam rasikapriyam peRa aruL seyya vENDinEn
(A conversation with ragas and padalgal on the greatness of Oppilaa Hari who is also Hara Priyan. 'Even if the Raja maargam of Hari is not within my reach (en vasam meyya, maayama?(just a phonetic allusion to Seethamma mayamma)) atleast lend me rasikas' affection for the time being, o divine ragas and paadalgal)
caraNam 4
shankarAbharaNanAm sAmagAna lOlan SaNmukhapriyanukku
tandai tAi irundAl sArangan tEDuvanO aruNAcalanai adanAlE muDivuraittAr
hariyum haranum onrE sAramadil teLindu mOkSamum aDainda
(This charanam and the philosophy has already been explained vividly by rshankar. The ending says ..Hariyum haranum onre (ennum) sAram adil thelindu mOkshamum adainda devargal arul seyda raagangale. So describes Shiva but all the time addressing the divine rAgas)
caraNam 5
AbhOgikkEdum samAnamAgumA AbhEriyai kUrAmal viDuvadu tagumO
kAmbhOji kETka sevi kOTi vENDum varALiyE kaNakkillA ruciyE
pUraNamAi ati lAvaNyamAi
(Describing the greatness of the ragas to the ragas themselves, addressing them as 'puranamaai ati laavanyamaai devargal arul seyda raagangale)
caraNam 6
kApi aLikkum inda saukhyattikk-IDEdu Arabhi rAgamadu sAdhittadE
sindhiubhairavi manadirkkugandadu vErEdu mOhana shuvaikk(u)appAlE
prakAsha sUryakAnta muttu mOhana vadani madhyamAvati pOTRum
shrI jAnakIpati rAma nAma sAra amsha nAdam muzhanga
( List out of the ragas and their descriptions , but addressing the divine ragas as 'prakaasha suryakaantha muthu mohana vadani madhyamavathi (all refers to Sri Janaki) pathi Raman namaththin Saraamsa naadam muzhanga devargal arul seyda raagangale!!' which connects back to the pallavi in hamsanadam after alluding to 'Rama Nama' in Thyagaraja's Bantureethi.
The composition was intended for janaranjakam using word play, to invoke a rasam which could me a mix of hAsyam, spirituality and puzzle solving amongst the audience. No way it can even be compared with monumental ragamalikas like Arabhi maanam, nee thaan thunai or Ranjani mala, but if it is a tasty 'kichadi' it would have served the purpose.
The song just happened in the course of a game, a discussion on a train journey with my mother, that went like Nattai paripalanam - Swaminatha paripalaya, bhairavi perumai ariyaadaar yaaro etc. entirely composed by your truly but I have to give credit to my mother for participating animatedly in the discussion and even suggesting to include some ragas. It was not contrived or did not happen under any pressure.
With regards
(your)
Surya
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