Devasabhathalam - His Highness Abdullah

There are times when translating lyrics is simply futile. Devasabhathalam from the 1990 Malayalam film His Highness Abdullah is all music and context. The context I'll state because I could do only that. The song is one of the greatest creations ever in Malayalam cinema, or may I even suggest, all of cinema.

"His Highness" juxtaposed with "Abdullah" would have been a pleasent contradiction in erstwhile Kerala. Mohanlal plays the main protagonist Abdullah - a Muslim man who has inherited the talent and love for music from his late father, but who now lives in penury in Bombay earning a little money singing in brothels. In need of money he takes up a job in Kerala to kill a local Lord/King whose relatives want him eliminated for his property and money. During the course of the film, music brings the Lord and Abdullah close. Written by the gifted Lohitadas and directed by Sibi Malayil, the film was another popular success that showcased the Kerala film industry's ability to wow its audience with films that often grazed the edges of art films.

Building to the context of this song, one of the Lord's nephews grows jealous of Abdullah (now posing as Hindu Ananthan). He winds up a prominent singer (played by Kaithapram who in real life is a noted poet, lyricist, singer, ...) who had recently also won a national award, the Padma Shri. Instigated and enraged by the purported insults, he storms into the palace and demands a singing contest. The dialogues that lead up to the song go like this.

The Lord's daughter noticing a group of people coming in: Father ...
Lord: (Happily) Ha! Who all is this!
(Then turning to others to introduce the visitor): You know him right. This is Namboodhiri, who recently won the Padma Shri.
Abdullah/Ananthan: Oh, I recognize him now.
(He bends down towards the visitor's feet requesting his blessings)
Kaithapram: Don't!
Lord: (a little stunned) But ... he ... he is very close to me ...
Kaithapram: I know. Your name is Ananthan, right?
Abdullah/Ananthan: Yes. I have heard a lot about you.
Kaithapram: Yeah? What all have you heard? 'The crook who paid to get his Padma Shri'? 'The cheat who does cheap tricks with his voice'? Isn't that it?
Lord: Why are you talking like this?
Kaithapram: This man knows why. Listen fellow, self-confidence is acceptable, but not arrogance.
Abdullah/Ananthan: I don't understand what you are implying.
Kaithapram: I'll make you understand. Let us sing together!
Abdullah/Ananthan: I'm not going to compete with you. I have heard that music is a sea. I'm just a panic-stricken child on its shores, and you are a virtuoso who swims in the deepest parts of it. I don't even have the eligibility to sit on the same stage as you.
Kaithapram: I don't need your useless cheap words. (Turning to his musicians) Music ...!
(The Lord, having no option, signs to Abdullah/Ananthan to continue. He then pays his respects to the senior singer and sits down.)

[Before I go further, I would like to make a special note for Mukundan Master who is playing the Mridangam - the drum being played horizontally - next to the challenger, Kaithapram. He tried to teach me music at a time when I was more a wildling preferring running around in the sun playing games, climbing trees, or acting out made up adventures. Well, to his credit, he tried. This article is more from reading than my innate knowledge. So, as usual, all mistakes are my own.]

After a short Alapanam where the singers warm up and introduce the first Swara, the two singers start off with a stanza welcoming the very music that blesses the courts of the Gods. Then they go back and forth trading challenges to the other to sing a piece in the Swara (note) that they name while also using the name of the Swara (like Shadjam, Rishabham, Gandhaaram, Madhyamam, Panchamam, Nishaadham) in the lyrics.

The challenger, Kaithapram's, slowly changing expression starting with rage, then scrutiny, then appreciation, and then eventually acceptance is pretty much the entire context of the song subtly picturized.

The final stanza ends in a hair-raising crescendo praising music. Joy, extreme joy, universal joy, music. Music. Music.

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Dhevasabhaathalam raagilamaakuvaan
Naadhamayookhame swaagatham
Swagatham swaagatham(dheva-2)

Sarigamapa rigamapadha gamapadhani
Mapadhanisa sanidhapa magaarisa sa

Shadjam

Sarigamapadha sarigamapadhanisa sanidhapamapa
sanidhapamagarisa saa
mayoora naadham swaramaay vidarum
shadjam anaahadha manthram
mayoora nadanam layamaay theliyum
shadjam adhaara naadham

pama gamadha ni ni sarigamapadhanisari ree

Rishabham

Rishabha swarangalaay pourushamekum
Siva vaahaname nandhi
Hrudhayaanandamekum risheegagamaam
Swara sanjayame nandhi

Sariga pagarisari gapadhapagari sarigapa
Sadhapagari dhasariga padha sarigaa ga

Gaandhaaram

aaa..aaa..aaaa
Santhoshakaaraka swaram swaram swaram swaram
Ajarava gaandhaaram gaandhaaram gandhaaram
Aamodhakaaraka swaram
Sundhara gaandaaram gaandhaaram gaandhaaram

Sarigamapadhanisareeri rigama rigama

Madhyamam

Krouncham sruthiyilunarthum
niswanam madhyamam
sarigamapadhanisa garisanidhapadhani
maadhavam sruthiyilinangum
kaarunnyam madhyamam
mamama manidha papapa
magari ninini rigama paa

Panchamam

pa ma pa sa pa ni dha pa pa pa pa pa

panchamam vasantha kokila swanam
swanam kokila swanam
vasantha kokila swanam

dhanisa padhani mapadha gamapa
rigamapadhanisarigarisanidhapamagamapadhanisa
megharaagangale thottunaroonnatha
manjooosha manthram dhaivatham
aswaravanjangal aanjya
chakrathilunarthum swara roopam dhaivatham

sarigamapadhanisa dhanisa padhanisa
mapadhanisa gama padh ni ni

Nishaadham

aaa.aaa..aaaa..
gajamukhanaadham santhwana bhaavam
aagama japalaya nishaadha roopam
ni ni ni ni santhamaay pozhiyum
swarajala kanangal ekamaay ozhukum
gangaa pravaaham

dhidhidhi thadhi dhidhi kidadhi dhidhi
thadhi dhidhi kidadhi dhidhi thadhi dhidhi
thaka thaana nanana thiki thaka thaananana
thiki thaka thaananana

anuthathamudhatha swaritha prajayam
thandava mukharalaya prabhavam
pranavakaaram sangeetham

aa nomtha nomtha nomtha (repeat)

aanandam ananthaanandham
jagathaanandam sangeetham (aanandham)

marisanipa risaasa risanipama sa ni ni
sanipamari ri pa pa marisanipa ri sa
risanipama sa ni sanipamari ni pa
marisanipa ri risanipama sa
sanipamari ni marisanipa risanipama
sanipamapa risanipama sanipamari
nipamarima sanipamari nipamarisa sarimapani

aanandam ananthaanandham
jagathaanandam sangeetham (anandam)
samgeetham sangeetham sangeetham

Luck By Chance - Sapnon se bhare naina

I got to hear the music of Luck by Chance and watch the film only fairly recently. But since then I’ve been hooked to the songs and it has been playing repeatedly. Within the Akhtar family of Javed, Farhan, and Zoya, they have every part of intellectual filmmaking convincingly covered. For the one missing piece that the family doesn’t have, they have a very close dial-a-trio friend in musicians Shankar-Ehsaan-Loy. And they deliver home as consistently as the dhabawallahs.

This song is at a poignant situation in the movie. The male protagonist, a wannabe actor, has arrived to happily announce a call to audition for a film. The female protagonist (played with subdued and realistic elan by the talented Konkona Sen), meanwhile, has just seen her dream of many years of working in a film crushed by a crafty producer who lead her along.

“
What happened?
Chaudhary’s film …
It’s not being made …?
It is being made … but I’m not in it. Maybe it is not in my fate.
It is not written in your fate? What is this ‘fate’? That is for those people who don’t have the courage to create their own life.
I haven’t shown courage!? After three years he declares that I’ll never amount to anything.
He is a scoundrel! And will you allow a scoundrel to decide your future?
Tell me, did you come here to make Chaudhary’s film or to become an actor?
All these days you believed in somebody else. Now begin to believe in yourself.
Walk your path … tirelessly … determinantly … slowly the entire world will follow you.
“
Cue song ...

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bagiya bagiya bhaalak bhaage, titali phir bhi haath na laage

the child chases around in many a garden, but the butterfly refuses to be caught

iss pagale ko kaun bataaye, dhund raha hai jo tu jag mein

who is going to tell this mad man, that which you seek in this world

koi jo paaye toh mann mein hi paaye

if one is to ever find it, it will only be found in oneself

sapano se bhare naina, tu nind hai na chaina - (2)

these eyes filled with dreams, it gives neither rest nor peace

aisee dagar koi agar to apnaaye, har raah ke o ant pe rasta hi paaye

when one travels a path, at the end of it he will find another path

dhup ka rasta jo pair jalaaye, mod toh aaye chaanv na aaye

the heat of the road will burn your feet, there will be turns on the road but hardly some shade

raahi jo chalata hai, chalata hi jaaye

the traveler will forever journey

koi nahi hai jo kahi use samjhaaye

and there is nobody anywhere who could convince him (that he has reached a final destination)

sapano se bhare naina, tu nind hai na chaina - (2)

these eyes filled with dreams, it gives neither rest nor peace

naina re naina re naina re.... naina aa aa re

(these eyes ... these eyes ...)

dur hi se saagar jise har koi maane, paani hai woh ya ret hai ye kaun jaane

he who believe he sees a sea from a distance, is it really water or a mirage over sand

jaise ke din se rain alag hai, sukh hai alag aur chain alag hai

like the night is independent of the day, happiness and peace are independent

par jo yeh dekhe woh nain alag hai, chain toh hai apana sukh hai paraaye

he who sees this will have a vision of his own, peace is ours and happiness somebody else's

sapano se bhare naina, tu nind hai na chaina - (2)

naina re naina re naina re.... naina aa aa re

Thaiyya Thaiyya - Dil Se

Ok, accepted that Chaiyya Chaiyya is clearly the hit. But there is something that is so awesome in the passion of this song as opposed to the energy of chaiyya chaiyya. The song is lost somewhere in the film but it stands out in the album. Whenever I listen to chaiyya chaiyya I seem to automatically chest rock to the repetitive beat - you know that motion when your entire upper body sways back and forth with every beat. Though this one is supposed to be sibling song, it makes me move differently - mostly swaying the head and tapping the feet alone. I almost want to believe that Rahman had each of this planned!

There is very little by way of lyrics in the song. It works mostly through repetition of the few, but beautiful, lyrics.

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Eid Aaee Mera Yaar Ni Aaya

Eid is here, but not my lover

Eid Aaee Mera Yaar Ni Aaya

Tainu Vekhne Da Ja Paaya Ve Sajna

neither could I come see you, my love

Eid Aaee Mera Yaar Ni Aaya

Kar Thaiya Thaiya Thaiya Thaiya
Kar Thaiya Thaiya Thaiya Thaiya
Thaiya Thaiya Thaiya....

now dance, dance, dance, dance, …

Ho Tere Ishq Nachaya Kar Thaiya Thaiya

It’s this love for you that makes me dance

Tere Ishq Nachaya Kar Thaiya
Tere Ishq Nachaya Kar Thaiya
Thaiya Tere Ishq Nachaya Kar Thaiya
Thaiya Thaiya Thaiya Thaiya, Kar Thaiya ..

now dance, dance, dance, dance, …

Ishq Dera Mere Andar Keeta Parke Prem Payaala Peeta

this love resides deeply within me, and drinks heartily from the cup of passion

Aaja Sajna Aaja Sajna Naee Te Main Mar Gaiya Gaiya

come my love, come to me, or it will be death for me

Kar Thaiya Thaiya Thaiya, Thaiya Thaiya...

Meri Nazro Mein Mere Naino Mein, Meri Zulfo Mein Mere Balo Mein

in my sights, in my eyes, in my flowing locks, in my hair

Bas Pyaar Tere Di Lagan Lagan, Bas Agan Agan Bas Agan

there is only the devotion to your love, and the fire of passion, just the fire

Meri Dhadkan Mein Mere Dil Mein, Mere Jism Mein Mere Seene Mein

in my heartbeat, in my heart, in my body, in my chest

Bas Pyaar Tere Di Lagan Lagan, Ab Agan Agan Ab Agan Agan

there is only the devotion to your love, and the fire of passion, just the fire

Ishq Dera Mere Andar Keeta ..
Kar Thaiya Thaiya Thaiya ...

Raasathi En Usuru - Thiruda Thiruda

My cousin says that this song is Rahman's best ever. Rendered almost as an ‘a capella’ - a song of only vocals and no accompanying instruments - this bewitching song gives me goosebumps each time I hear it. Sung by the late Shahul Hameed, it reverabates with the folkishness of a village side singer at dusk singing for himself about his deep feelings for a separating love. Were I walking home through the fields at sunset and were I to hear a song over the orange evening and across the paddy and ponds, this would be it. Shahul Hameed, most famous for his folkish songs under Rahman, sings it passionately to perfection. And I would stop to listen again.

There is very little to be said about Rahman's composition for describing such beautiful simplicity in complex words would be ironical. But I would like to concur that this is one of Rahman's best. From what I understand, the bass guitar is used in the song and so it is not entirely without accompanying instruments, but you would be hard pressed to hear it yourself among the vocal melody.

Vairamuthu's lyrics are descriptive and evocative, justly putting the village side and yearning love in superb combination. And in this song, it is the words that is the centre of all attention. Maniratnam again has done justice with his picturisation. The situation for the song is when the female protagonist intends to leave her two male friends. One of them, the one singing the song, is the extrovert and has already expressed her love for her - but that love is unrequited. It is for the other, who also loves the girl, that she has reserved her affection. Unable to express her real love and yet unable to honestly turn down her other suitor, she makes the choice to leave both. At that point is this masterpiece …

Thanks to both Savitha for bringing this up and Kannal Achuthan for giving me very important parts of the translation. Again, I’ve taken the liberty to overwrite what she has given me just because I like it better my way - so as usual, if there are mistakes, they are mine.

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Raasathi yen usuru yennathu ille hmm…

Princess, this soul’s no more mine …

Raasathi is also the name of the female protagonist in the film

Poochoodi vazhkaatthu pora pulle hmm…

Adorned with flowers you leave for a new life

Nee poona yen udambu mannukulle hmm…

When you leave, my lifeless body will be buried in this very earth ...

Raavodu seithi varum vaadhi pulle hmm…

And this sad news will reach you in the morning
... so please don’t go, come back

Raasathi yen usuru yennathu ille hmm… Ah…ah…ah…ah…

Kaara veettu thinnayile karikku manjal araikayile

You were grinding sandalwood paste on the porch of your terraced house ...

Chorus:Manjale araikum munne manase arachavale

Chorus:... before you finished with that, you had ground my heart to a powder

Karisa kaatthu odayile kandaanggi thovaikayile

At the canal by the black soil, you were washing your clothes ...

Chorus:Thuniye nanaike vitthhu manase pulinjavale

Chorus:... you left the clothes to soak, but it was my heart you wrung

Nalla kalatthu mettil enna ilutthu mudinjukkittu poonavale…

Now you have tethered me to this plough alone, and you bid goodbye

Chorus:Porave porave than butthikketthu porave than

Chorus: She is going having lost her mind to her troubles

Kalyana chelayile kannire thodachikuttu pooravale…

She leaves, wiping her tears on her sari like a departing bride ...

Chorus: Porave porave than pothikkittu poravathan

Chorus: She leaves, all covered up, wrapping within her, her true feelings

Naan tantha malligaye nattathil potthu vitthu

Discarding my gift of jasmine flowers in the river …

Arali poochoodi aluthabadi poravale…

She leaves wearing /poisonous/ arali flowers

arali here denotes the poisonous quality of the arali plant

Chorus: Kadala kaatthu kulle kai adichu sonna pulle

Chorus: In the groundnut plantations, this girl, she slapped my open palm and made promises …

Chorus: Katthule yeluthanam ponbalingga sonna solla

Chorus: … these women’s words are as good as writings in the air.

Tottu tottu pottu vatche chuttu viral kaayaliye

The finger that dabbed the vermillion twice and dotted your forehead has still not lost its new color …

Chorus:Marikolunthu vatcha kaiyil vaasam innum pogaliye

Chorus: … The hand that laid the marigold in your hair has not lost its fragrance

Maruthayil vaanggi thantha valavi innum valayiliye

... the bangles that I bought her in Madurai remain as good as new

Chorus: Mallu vetti matthiyile manja kara marayiliye

Chorus: … The turmeric mark on the new dhoti still remains

Antha kaluthu themaliyum, kaathoram matchatiyum parthatu eppo…

When will I see the nape of that neck, and the beauty spot by the ear

Chorus: Parthathu parthathu eppo paurnamiyum maruthatu eppo

Chorus: When again, when again, when will the full moon dawn again?

Antha kolusu mani ciripum kumari ilam ciripum kertpathu eppo…

When again will I hear the music of your anklets and the soft laughter of this young girl

Chorus: Kertpathu kertpathu eppo kira thandu poopatheppo

Chorus: When will I hear it again, when again, when will the green crops bloom again?

Karuvelang kaatthu kulle karicang kuruvi onnu
Suthi maari katthuthamma thunai yettham kaanam innu

In the dry forests, there is this black sparrow
Who sings out of tune with sadness that his partner has gone missing

Chorus:Kadala kaatthu kulle kai adicu sonna pulle
Katthule yeluthanam ponbalingga sonna solla

Raasathi yen usuru yennathu ille hmm…
Poochoodi vaka patthu pora pulle hmm…
Nee pona yen udambu mannukulle hmm…
Raavodu seithi varum vaadhi pulle hmm…
Raasathi yen usuru yennathu ille hmm…

Saibo - Shor In the City

I have not seen this movie. I hadn’t seen this video until now. I don’t recognize most of the actors. But I’d heard the song a long time back and instantly fell in love with it. To help me translate this, I found somebody else who loved the song, my dear friend Sindhu. She helped translate all the heavier words and also helped me understand the nuances of some of the phrases. However, what I finally put up here was what I felt, even though she advised me that it wasn't the correct translation. :-) So, what is good is thanks to her, and what might not sound correct is the part where I was obstinate.

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Mann yeh sahib ji , Jane hai sab ji

This mind, my lord, knows everything

Phir bhi banaye bahane

Yet it makes excuses

Naina nawab ji, Dekhe hai sab ji

These eyes, my highness, see everything

Phir bhi na samjhe ishare

Yet they don't recognize the signs

Mann yeh sahib ji Haan karta bahane

this mind, it makes excuses

Naina nawabi ji Na samjhe ishare

these eyes, it refuses to acknowledge the signs

dheere dheere

little by little,

Naino ko dheere dheere

these eyes,

Jiya ko dheere dheere

this soul,

Bhaayo re saibo

is enchanted by you

Dheere dheere

little by little,

Begana dheere dheere

the stranger,

Apna sa dheere dheere,Lage re saibo

now feels like my own

Surkhiyan hai hawaon mein

Theres news in the air

Do dilon ke milne ki

about the union of two hearts

Arziya hai nazaron mein

There are yearnings in those glances

Lamha yeh tham jane ki

For this moment to stay forever

O kaise huzur ji yeh lab dikhlaye

O master, how do these lips tell you

Chupi laga ke bhi gazab hai yeh dhaaye

it looks to be silent, yet they conceal marvels

Dilon mein tum apni betaabiyaan - Zindagi na milega dobara

One of the (probably unintended) highlights of the movie was Javed Akthar’s poetry voiced by his son Farhan Akhtar. This one is on the final scene, and is thus a concluding piece for the entire philosophy of the movie.

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Dilon mein tum apni betaabiyan leke chal rahe ho, Toh zinda ho tum

If you carry your restlessness in your heart, then you are alive

Nazar mein khwabon ki bijliyan leke chal rahe ho, Toh zinda ho tum

If you carry the flames of your dreams in your eyes, then you are alive

Hawa ke jhokon ke jaise aazad rehna sikho

Learn to live free like the gusts of wind

Tum ek dariya ke jaise lehron mein behna sikho

Learn to flow like the waves in a stream

Har ek lamhe se tum milo kholke apni bhaahein

Embrace every moment in life with open arms

Har ek pal ek naya samha dekhen yeh nigahaein

Each moment your eyes see is a new season

Jo apni aankhon mein hairaniyan leke chal rahe ho, toh zinda ho tum

If you carry wonder in your eyes, then you are alive

Dilon mein tum apni betaabiyan leke chal rahe ho, toh zinda ho tum

If you carry your restlessness in your heart, then you are alive

Udal Mannukku Uyir Thamizhukku - Iruvar

Within the movie Iruvar, this song is picturized as a movie within the movie. The lyrics and the music is an appropriate rendition of a battle cry. Shot in black and white and in a style appropriate to the period that the song is depicting, I should agree that it is, on the whole, befitting and well done even though it is not among the top list of picturizations by Maniratnam. He also tends to use the same shooting locations multiple times - I don’t exactly know where this stone structure is, but it has appeared in almost every movie of his and still he has made it appear different and fitting to the situation each time.

The lyrics and music are again very pertinent. Less of a rendition and more of a passive aggressive screaming my Aravind Swamy, the entire song is a rallying cry with ample touches of violence against the enemy.

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Udal Mannukku Uyir Thamizhukku

my body will be claimed by the earth, but my life I submit to my country

thamizhukku literally means for Tamil, which is the language of tamilnadu. I've seen a few states and countries that are very proud of their language that they refer to it synonymously with their country, the French being another. They tend to have a rich culture around their language and are willing to fight even political battles for it, resisting the imposition of other foreign languages and having a rich heritage of prose and poetry.

Ithai Urakka Solvoam Ulagukku

and I shall proudly and loudly shout that

Inam Ondraga Mozhi Vendraga

so that our races unite and our talk is of victory

Puthu Vaelai Eduppom Vidivukku

we shall do what it takes to get us our freedom

Nam Vetri Paathayil Narigal Vanthaal

if wolves appear on our path to victory

Virunthu Vaippom Vinnukku

we shall make a feast of them and serve them to the gods

in Hindu culture it is normal to conduct small rituals to feed and appease the gods and also ancestors who have the power to bless one. Here, the context is more violent and is proclaimed more as a sacrifice.

Pirantha Pillai Nadanthu Pazhaga

so that the new born learns to walk

Kaiyil Velai Koduppom

we shall hand him a sword
I.e. We shall make every child a warrior from the time of his birth

Pirantha Kuzhanthai Iranthu Piranthaal

and if a child dies

Vaalaal Keeri Puthaipoam

we shall bury him with a sword

Yutha Satham Kaettal Pothum

when we hear the call of battle

Mutha Satham Mudipoam

we shall end our lovemaking

Ratha Kulaththai Nirapi Nirapi

we shall wade in lakes of blood

Vetri Thaamarai Paripoam

and pick our victory flower

Engal Mannai Thottavan Kaalgal

the feet that touch our soil

Engal Nilathil Uramaagum

will be buried in our soil

Engal Pennai Thottavan Kaigal

the hands that touch our women

Engal Aduppil Viragaagum

will become firewood in our hearth

I liked the intensity of the challenge in this entire song. It is much more tangible than and hardcore than 'we are going to defeat you'.

Udal Mannukku Uyir Thamizhukku
Ithai Urakka Solvoam Ulagukku
Inam Ondraga Mozhi Vendraga
Puthu Vaelai Eduppom Vidivukku

Kanmani Anboodu - Guna

Guna is a mad love story. A mentally retarded man is fed the idea that there is a special girl for him. Guna is able to pick locks very well, and a crooked uncle needing to break into a temple treasury randomly points to a girl saying that is Guna’s Abiraami - a name that they have created. Following a botched robbery and chaos, Guna ends up taking away Abiraami/Rohini to a remote mountain top. Guna is ardently and honestly in love. Abiraami on the other hand reacts as a scared kidnapped person would. Over time though, Abiraami seems to understand Guna. To say that Abiraami loves Guna is a stretch, but she does begin to accept him.

Again, one of Kamal’s amazing power packed performances. Classic Ilayaraaja music. And a girl so pretty, that some of us when in school scaled the hostel walls and ran off to see the movie again for a second time with money we hardly had. ha ha. Ridiculous! But was fun then - a short term school kid obsession with a film actress.

In the context of this song, Guna has moved themselves to some hidden caves. There he is attempting to write a letter to her.

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Male: Ezhudhu, ezhudhu

Write, write …

Female:Enne ezhudhurathu

What to write?

Male: Letter
Female: Yaarukku

To whom?

Male: Unakku

To you?

Female: Enakka?

To me?

Male: Enakku ezhudha varaadhu? Ippodhaa kazhethu pooda kathikku...

I don’t know how to write. Only recently I learnt to put a sig...

Female: Wait, wait, Enakku nee ezhuthira letter, naan ezhuthi …

The letter that you are writing to me, I write it and ...

Male: … enakku padichu katteettu, nee padi.

… and you read it out for me, and then you read.

Female: I like it. Chollu.

Ok, tell me.

Male: Kanmani anboodu kaadhalan naan …
naan, ezhuthum, kaditham … illae … kadithaasi, chey kadithamae irukkattam. padi.

My dear, with love … this lover is writing to you … a letter, a note? no, just put letter. read.

Kanmani anboada kaadhalan, naan eludhum kadidhamae

Male: Paattaavae padichittiya? Appo naanum … mothale kanmani sonnele, inge ponmani poottukko. Ponmani un veettile soukyama? Naan ingae soukyam.

You made a tune of it! In that case, I too … first I said my dear no, now put my darling. My darling, are you fine at home? I’m fine here.

Ponmani unn veetil sowkiyamaa? Naan ingu sowkiyamae,

Male: aaha, unnae nenaichu paakkumboothu kavithae manasilae aruvi maathiri kottudhu. Aaana athe ezhuthanoonu okkaantha antha ezhuthu thaan, vaarthae

Lovely! When I think of you, poetry flows in my mind like a stream, but when I try to put it down in words … that writing … those words …

Unnai enni paarkkaiyil kavidhai kottuthu,
Adhai elutha ninaikkauyil vaarthai mootuthu,

Male: Athaan, athae thaan. Pramaadham. Kavithe, kavithe. Padi.

That’s it. Perfect. Poetry, poetry! Read.

Kanmani anboada kaadhalan, Naan eludhum kadidhamae,

My dear, this letter is written with affection by this lover

Ponmani unn veetil sowkiyamaa? Naan ingu sowkiyamae,

My darling, are you fine at home? I’m doing fine here.

Unnai enni paarkkaiyil kavidhai kottuthu,

When I think of you each time, verses flow in my mind

Adhai elutha ninaikkauyil vaarthai mootuthu,

But when I consider writing it down, I am stumped for words

Male: mmmm … enakku undaana kaayam athu thannaalae aaridum. athu ennamoo enru theriyila, enna maayamoo ennu theriyile, enakku onnum aavurathillae. ithuvum ezhuthukkae. nadu naduvile maanae, thenae, ponmaanae ellaam poottukkanum. intha paaru, enakku enna kaayam irundhalum athu yen odambu thaangidum. on odambu thaangumo? thaangaathu. abiraami. abiraami abiraami.

Wounds on me automatically heal. I don’t know what it is or what magic it is, but nothing happens to me. Write this also. And in between put my dear, my darling and all. See, whatever happens to me, my body will take it, but will yours? No, it won’t. Abiraami, [my] abiraami.

Female: athuvum ezhuthanuma.

Should I write that also?

Male: Heh heh. Ille … athu kaathal. yen kaathal yenna yennu sollaamae yenge yenge azhukeya varudhu. aana naan azhuthu yen soogam unnae thaakkudumo enru nenaikkum poothu, varuka azhugai koode ninnurathu.

Heh heh … no … that’s just my love. I’m unable to express my love, and because of that sadness hits me in waves. But when I think that if I cry then you will also feel sad, my sadness also stops.

Male: Manithan unarnthu kolla, ithu manitha kaathal allae. Atheyum thaandi, ithu punithamaanathu.

That man should be provoked by our love, this is not mortal love.
Way beyond that, this love is divine.

Undaana kaayam yaavum, Thannaalae aari poagum,
Maayam enna ponmaanae ponmaanae,

That my hurts heal automatically, I don’t know what magic that is

Enna kaayam aana podhum, Yen maeni thangi kollum,
Undhan maeni thaangaadhu senthaenae,

Whatever the wounds my body can handle it, but yours cannot

Enthan kaadhal ennavendru sollaamal, Aenga aenga alugai vanthathu,

Unable to express my love, I heave with approaching tears

Enthan soagam unnai thaakkum, Endrenumbothu vandha alugai nindrathu,

But thinking that my sadness will affect you, my tears stop

Manithar unarndha kolla, Idhu manitha kaadhal alla,
Adhaiyum thaandi punithamaanathu,

That man should be provoked by our love, this is not mortal love.
Way beyond that, this love is divine.

Abiraamiyae, thaalattum saamiyae, Naandhaanae theriyumaa?

Abiraami, I’m the lord that cradles you, do you know that?

Sivagaamiyae sivanil neeyum paadhiyae, Adhuvum oonakku puriyumaa?

Siva’s wife, half of siva is you, do you understand that?

From what I see there seems to be relationship between the name Abirami and the God Siva, but I don’t know what that is. Abirami is a common name Tamilnadu. An early search connected it to Lakshmi, which might not be right, as Lakshmi is lord Vishnu’s consort.

Suba laali laali laali laali,
Abiraami laali laali laali...

The context is wonderful, but you can skip to the start of the song picturisation at 4:00.

Elangaathu Veesudhey - Pitamagan

Hindu philosophy holds that man goes through a series of rebirths based on one’s karma until the time he transcends mortal life and becomes one with God. To aid this series of rebirths, Hindu culture requires the son to cremate his parents. Ancestors are one’s ‘pitr’ (pronounced pithr). But if a son does not do the funeral rites of his father, the dead soul cannot ascend to heaven or descend to hell, as his karma might be, so that the cycle of rebirths may continue. Instead, the soul is stuck for eternity in a state of ‘pit’ (pronounced pith) - the worst that could happen.

Pitamagan - means the son of such a soul. Vikram and Surya the main protagonists play one of their career best roles in Bala’s violently earthy film. Vikram is abandoned as a child in a graveyard and is brought up by a man who takes care of the graveyard. In order that the abandoned dead may continue their cycle or rebirths, Vikram performs the funeral rites and cremates them. He meets Surya, a petty conman, who befriends the unsociable, mentally unstable loner. He also meets Surya’s girlfriend and another rough and tumble woman, Sangeetha, who is selling hashish on the sly.

In the context of this song, the hostile, antisocial Vikram is slowly experiencing a new world, opening up to friendships for the first time ever, and receiving a somewhat pitied attraction from Sangeetha, which he also seems to respond to in his own oafish ways. Ilayaraja has been overshadowed by Rahman off late in the music scene, but pieces like this bring back his greatness.

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Elangaathu Veesudhey

A cool wind blows

Isai Poala Paesudhey

It speaks like music

Elangaathu Veesudhey

Isai Poala Paesudhey

Valaiyaadha Moongilil

On a path with no turns

Raagam Valainchu Oadudhey

This melody runs swaying

Maegham Muzhichu Kaetkudhey

The clouds look on wide-eyed, [while]

Karum Paarai Manasula

In a hardened, black heart …

Mayil Thoagai Virikkudhey

… a peacock spreads its tail

Mazhai Chaaral Thelikkudhey

… a light rain drizzles

Pul Veli Paadhai Virikkudhey

… a green grass lays a path

Vaanavil Kudaiyum Pudikkudhey

… a rainbow shelters us like an umbrella

Pul Veli Paadhai Virikkudhey

Vaanavil Kudaiyum Pudikkudhey

Maniyin Oasai Kaettu Mana Kadhavu Thirakkudhey

To the sound of bells this mind’s door opens

Puthiya Thaalam Poattu Udal Kaatril Midhakkudhey

To a new tune, this body walks on wind

Pinni Pinni Chinna Elaiyoadum

Like entwined dry leaves

Nenjai Allum Vanna Thuni Poala

Like a colored robe that hugs the chest

Onnukkonnu Dhaan Inanchi Irukku

There is one fated for each one

Uravu Yellaam Amanchi Irukku

All relationships are defined like that

Alli Alli Thandhu Uravaadum

To generously tear of one’s self

Annamadi Indha Nilam Poala

Like this ever giving land

Silarukku Dhaan Manasu Irukku

Very few have such a mind

Ulagam Adhil Nilaichu Irukku

And the rest of the world is dependent on them

Naethu Thanimaiyila Poachu, Yaarum Thunai Illai

Yesterday was spent alone, with no one to support

Yaaro Vazhi Thunaikku Vandhaal Yaedhum Inai Illai

If one came along on a journey, _tbd_

Ulagathil Edhuvum Thanichu Illaiyae

Nothing is alone in this world

Kuzhalil Raagam Malaril Vaasam Saerndhadhu Poala

The melody joins the flute, and the fragrance joins the flower

Manasula Enna Aagaayam

What is that hurt in your heart

Dhinam Dhinam Adhu Pudhir Poadum

That sows itself again everyday

Ragasiyathai Yaaru Arincha?

Who knows those secrets?

Adhisayathai Yaaru Purincha?

Who understands the surprising?

Vidhai Vidhaikkira Kai Dhaanae

The hand that spreads the seed

Malar Parikkudhu Dhinam Dhoarum

Is also the hand that plucks the bud

Malar Thodukka Naarai Eduthu

And then somebody takes the string

Yaar Thodutha Maalaiyaachu?

And who is that who made the garland?

Aalam Vizhudhilae Oonjal Aadum Kili Yellaam

The birds swinging on the falling roots of the banyan tree

Moodum Siragilae Mella Paesum Kadhaiyellaam

Its descending wings whispers all the stories of the day

Thaalaattu Kaettidaamalae, Thaayin Madiya Thaedi Oadum

Without need for a lullaby, a child finds its mothers lap …

Malai Nari Poalae.......

… and even the feared mountain lion

Vidai Kodu Engal Naade - Kannathil Muthamittaal

Set against the ethnic conflict between the Tamils and the Sinhalese in Tamilnadu, Kannathil Muthamittaal is a touching story of a little girl and her adoptive parents in search of the girl’s real mother. An idealistic father, a girl who has become increasingly distant from her adoptive parents after learning that she was adopted, and the mother who provides equal love are scripted in various dimensions by Maniratnam. Along with Vairamuthu and Rahman, they produce another relevant masterpiece.


The setting for this song is in Sri Lanka. The Tamils are being driven away again by conflict. The song is granted to a person with a coarse voice - a fitting choice that gives a certain authenticity. The singer is heartbroken in being separated from his homeland. He bids his farewell but distantly hopes that one day, maybe, he’ll be back again. The song is of two parallel stories - the separation of a child and her mother as much as the separation of a man and his motherland, both separated by conflict.

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vidai kodu engal naade

grant me farewell my land

kadal vaasal thelikkum veede

where the sea washes against our doorstep

Sri Lanka is an island, and within that the Tamils occupied mostly the northern region that hugged the coast

panai mara kaadae, paravaigal koode

you, the forests of palm and you pigeons

marumurai oru murai paarpoma?

will I ever see you again?

udhattil punnagai pudhaithom

as we part, let us spread a smile across our lips

uyirai udambukkuL pudhaithom

let us hide our soul in our bodies

verum koodugaL mattum oorvalam pogindrom

we are journeying from here only as empty shells

vidai kodu...

grant me farewell

kandhal aanaalum thaai madi pol
oru sugham varuma? varuma? (2)

even if our mother is dressed in rags, is there anything more comforting than her lap?

it is very common to personify the country as one's mother - motherland being an obvious portmanteau

sorgam sendralum sondha oor pol
oru sudhandhiram varuma? varuma?

even if we go to heaven, will it ever be as comfortable as our own village

kaN thirandha desam ange

in this country I opened my eyes

kaN moodum desam enge? (2)

but I know not where they will shut

pirivoam nadhighale pizhaithaal varugirom

let us break up now you rivers, and if errors are made I shall try to come back

meendum thaayagam azhaithaal varugirom

if my motherland weeps again, I shall come try to back

kanneer thiraiyil pirandha mannai
kadaisiyaaga paarkindrom

this land that was born on a floor of tears, is this the last time we shall see each other?

vidai kodu...

grant me farewell

engaL sangeetham piLLaiyin azhugaiyile tholaithom (2)

our music has been lost among the cries of our children

engaL iLam thingaL vedikuNdu pudhaiyile pudhaithom

our !tbd! Has been lost among the noise of bombs

mun nilavil malaril kidandhom,

we used to sleep in the moonlight on flowers

pin iravil mullil kizhindhom

now we spend the night on thorns

kadal neer paravai dhaan irundhaal sandhippom

you sea gulls, if you remain maybe we'll meet again

vaname malaigaLe vaazhndhaal sandhippom

you rivers and mountains, if you survive we'll meet again

thalaiyil konjam nenjil adhigam

with little in our hands, but much weight in our hearts

sumaigaL sumandhu pogindrom

we are leaving with our baggage

vidai kodu...

grant me farewell

Aareyum Bhaava Gaayakanaakkum - Nakhakshathangal

“You are so beautiful, that you make me sing”. Or maybe a few other different interpretations. Whatever it is, I doubt if English can ever do justice to this song. Director Hariharan and writer M.T. Vasudevan Nair have frequently handled light movies with a melancholy theme, and produced some of malayalam cinema’s all time classics. This story is about teenage love among two poor kids. The girl is working as a servant in a rich household. The boy comes there to be a servant too, but gains a little more respectable work with the family when they learn that he is educated. Set in the 1980s, there is a certain purity to the entire movie, the kind of feeling that makes you want to reach out to it, but really can’t.

The third point in the triangle is the rich family’s only daughter who is born deaf and dumb. In India, women, especially in times earlier, become less ‘valuable’ if they have ‘defects’. Knowing that the girl won’t find a suitable husband of their own level and class, and seeing this new mild mannered, well educated boy who has done well for himself, the elders decide to get them married. This song is as the deaf and dumb girl imagines - she assumes that the boy is in love with her.

p.s. this song is so simple and yet has stuck in my head for ever. I tried to translate it but I didn’t like what I had come up with. I didn’t want to ruin the song, so I was thinking of trashing the effort. Then I saw the video which had subtitles and I liked that better than mine. So I’ve pretty much put that now.

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Aareyum bhaava gaayakanaakkum, Aathma soundaryamaanu nee

You have that inner beauty that makes a poet of anybody

Aathma/aathmaavu means soul in a literal translation - so a soulful beauty could word as well. ‘Gaayakan’ is actually a singer, but poet works well too in the context of the movie.

Namra sheersharaay nilppoo nin munnil, Thamra nakshatra kanyakal }2

the stars stand before you, their heads bowed in humility

Aareyum bhaava gaayakanaakkum, Aathma soundaryamaanu nee

Aa..aa..aa..aa.

Kinnara mani thamburu meetti, ninne vaazhthunnu vaanavum}2

the skies sing your praise to the sound of heavenly bells

Thamburu/Tanpura is Indian stringed instrument, but the translation has skipped the name for smoothness. However, isn’t the tanpura more of an accompanying instrument and not necessarily a lead instrument like maybe the veena or the sitar? It ought to be fairly rare to find a song being played for a lover on an accompanying instrument.

Mannile kilippaithalum, mulam thandil moolunna thennalum

even the fledgling on earth, and the breeze that hums in the bamboos

Innithaa nin prakeerthanam ..
Aa..aa..aa..aa.
Ee prapancha hridaya veenayil

Today we hear your praise
In the heartstrings of the universe

’Hridaya veena’ is a veena of the heart - these are the kind of things that make no sense when you translate, but it sounds so right in its original language. Definitely better to completely skip it in the translation and put a phrase that would be somewhere in that same zipcode.

Aa..aa..aa..aa.
aaaaaa..aaaa..aaaaa…aaaaaa..aaaa
(Aareyum bhaava...nee)
(Music)

Aa..aa..aa..aa.}3

Ninte shaleena mounamaakumee ponmanicheppinullilaaay}2

Hidden in the bejeweled box of your serene silence

Moodi vacha nigooda bhaavangal, pookkalaay shalabhangalaay

Those unfathomable fields have today become flowers and butterflies

Innithaaa.. nrithalolaraay …

Today they are dancing

Aa..aa..aa..aa.

Ee prapancha nadana vedhiyil

In the dance hall of the universe

Aa..aa..aa..aa.
aaaaa…aaaaa…aaaaaa.aaaaaa.aaaaa
(Aaareyum bhaava....kanyakal)
(Aareyum bhaava...nee)

Bombay - Malarodu Malar Ingu

This song from the movie Bombay is hardly of note in the movie and I don’t think it pictured in the official soundtrack. But it’s simple and relevant. The setting is after the riots in Mumbai, following the Babri Masjid demolition, have subsided. Arvind Swamy the Hindu husband and Manisha Koirala playing his Muslim wife, already having found out a little earlier that both their fathers died during the riots, have been searching for their missing sons Kabir and Kamal. The song starts at the point where they catch sight of each other across the street after a frantic search. At the same time there is a spontaneous outpouring of people of different religions onto the street forming a human chain of solidarity. For a scene like that, I could have gone “pffft, what over-the-top-jingoistic-feel-good-drama” … but somehow that didn’t happen. I still continue to be moved by this song. The father wails in relief on seeing his children, while the mother rushes forward to gather them. And in that meeting of different religions and families … that union is what is depicted and yearned for in this song.

The tune of this song is however super famous as the theme music for the movie. I was also pleasantly surprised to see it being used in the Nicolas Cage movie, Lord of War.

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மலரோடு மலர் இங்கு மகிழ்ந்தாடும் போது

Malarodu malar ingu magizhnthaadum pothu

When flowers here dance happily with each other

மனதோடு மனம் இங்கு பகை கொள்வதேனோ

Manathodu manam ingu pagai kolvatheno

Why must a heart here hold vengeance against another?

மதம் என்னும் மதம் ஓயட்டும்

Madham ennum madham oayattum

May now the separation of religions disappear

தேசம் மலர் மீது துயில் கொள்ளட்டும்

Dhesam malar meethu thuyil kollattum

May the nation now sleep on a bed of flowers

வழிகின்ற கண்ணீரில் இனம் இல்லையே

Vazhigindra kaneeril inam illaiye

Shed tears are not separated by caste

உதிரத்தின் நிறம் இங்கு வேறில்லையே

Udhiraththin niram ingu vaerillaiye

The blood in our veins is not different in color

காற்றுக்கு திசை இல்லை தேசம் இல்லை

Kaattrukku dhisai illai dhesam illai

The wind has no direction, nor a country

i.e. The wind does not blow in a particular direction for one particular group, nor for a particular region

மனதோடு மனம் சேரட்டும்

Manathodu manam serattum

So allow one’s heart to connect with another’s

மலரோடு மலர் இங்கு...

Malarodu malar ingu...

துளி எல்லாம் கை கோர்த்து கடல் ஆகட்டும்

Thuli ellaam kai korthu kadal aagattum

May little drops join hands and become a sea

கடலோடு கடல் சேரட்டும்

Kadalodu kadal serattum

May the seas themselves join with each other

துகள் எல்லாம் ஒன்றாகி மலை ஆகட்டும்

Thugal ellaam ondraagi malai aagattum

Let the pebbles unite and become a mountain

விண்ணோடு வின் சேரட்டும்

Vinnodu vin serattum

Let the skies join with the heavens

விடியாத இரவொன்றும் வானில் இல்லை

Vidiyaatha iravondrum vaanil illai

There is no night sky that will not become dawn

ஒளியோடு ஒளி சேரட்டும்

Oliyodu oli serattum

May song join song

Pinneyum pinneyum - Krishnagudiyil Oru Pranayakaalathu

Girish Puthencherry’s award winning lyrics are set to charming music by Vidyasagar and sung by Yesudas. The song is sung by a lover who is eagerly but patiently awaiting the coming of the girl of his affections. The actor, Jayaram, plays a station master at a railway post in a hill station. And that’s why there is also the theme of a train running through the song as she will be coming by it.

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പിന്നെയും പിന്നെയും ആരോ കിനാവിന്റെ പടി കടന്നെത്തുന്ന പദനിസ്വനം

pinneyum pinneyum aaro kinaavinte padi kadannethunna padha nishwanam

over and over again, i hear the footsteps of somebody stepping over the threshold of my dreams

പിന്നെയും പിന്നെയും ആരോ നിലാവത്ത് പൊന്‍വേണുവൂതുന്ന മൃദുമന്ത്രണം

pinneyum pinneyum aaro nilaavathu pon venu oothunnu mridhu mandranam

over and over again, i hear the music from somebody playing the golden flute in the moonlight

പിന്നെയും പിന്നെയും ആരോ

pinneyum pinneyum aaro

over and over again, i hear somebody

പുലര്‍ നിലാ ചില്ലയില്‍ കുളിരിടും മഞ്ഞിന്റെ പൂവിതള്‍ തുള്ളികള്‍ പെയ്തതാകാം

pular nila chillayi kuliridum manjinte poovithal thullikal peythathaavam

it could be the sound of the cool morning dew drizzling droplets of mist on the leaves

അലയുമീ തെന്നലെന്‍ കരളിന്റെ തന്ത്രിയില്‍ അലസമായ് കൈ വിരല്‍ ചേര്‍ത്തതാകാം

alayumee thennalen karalile thanthriyil alasamai kai viral cherthathaavam

it could be the sound of the wandering breeze lazily clasping the fingers of my soul

മിഴികളില്‍ കുറുകുന്ന പ്രണയമാം പ്രാവിന്റെ ചിറകുകള്‍ മെല്ലെ പിടഞ്ഞതാകാം

mizhikalil kurukunna pranyamam praavinte chirakukal melle pidanjathaavam

or it could be the sound of the fluttering wings of love on my eyelids

In kerala, when your eye twitches, it is said that somebody who loves you is thinking of you. I think the writer has here personified it, or rather pigeon-ified it and likens it the twitching to a fluttering bird.

താനേ തുറക്കുന്ന ജാലക ചില്ലില്‍ തെളി നിഴല്‍ചിത്രം തെളിഞ്ഞതാകാം

thane thurakkunna jalaka chillil theli nizhal chithram thelinjathavam

or it could be from the appearance of a clear beautiful face in a magically opening window

over and over again, i hear somebody

തരളമാം സന്ധ്യകള്‍ നറുമലര്‍ തിങ്കളിന്‍ നെറുകയില്‍ ചന്ദനം തൊട്ടതാകാം

tharalamam sandhyakal narumalar thinkalin nerukayil chandanam thottathaavaam

it may have been from the _tbd_ twilight putting a touch of sandalwood on the forehead of _tbd_

കുയിലുകള്‍ പാടുന്ന തൊടിയിലെ തുമ്പികള്‍ കുസൃതിയാല്‍ മൂളി പറന്നതാകാം

kuyilukal padunna thodiyile thumpikal kusrithiyal mooli parannathaavam

it may have been the mischievous butterflies humming while darting away from the _tbd_ where the mynas sing

അണിനിലാ തിരിയിട്ട മണിവിളക്കായ് മനം അഴകോടെ മിന്നി തുടിച്ചതാകാം

aninila thiriyitta mani vilakkai manam azhakode minni thudichathaavaam

it may have been my heart, like a lamp wick, shuddering and sparkling joyfully

ആരും കൊതിക്കുന്നോരാള്‍ വന്നു ചേരുമെന്നാരോ സ്വകാര്യം പറഞ്ഞതാകാം

arum kothikkunnoraal vannu cherumennaaro swakaryam paranjathavam

or it may have been somebody secretly whispering that somebody you are anxiously awaiting is about to join you

Unnodu Naan Iruntha - Iruvar

Iruvar, loosely translated to 'Duo' in English, narrates critical periods of Tamilnadu's political history accounted around a friendship that became and later broke. It is based on the relationship between the late actor MG Ramachandran who became the most popular political leader and chief minister of Tamilnadu, and the writer/poet Karunanidhi who has been the chief minister of Tamilnadu often. Technically the film is more than just the lead pair; it is about an ensemble of brilliant people: Maniratnam's direction, Rahman's music, Vairamuthu's lyrics, Mohanlal's acting - one among a line of outstanding actors, Santosh Sivan's camera work. I remember watching it for the first time, loving it for everything. I must admit that the heavy set, literary Tamil spoken in sections of the film was above my head and I probably didn't understand quite a bit of the nuances. Though I was overall enthralled by the movie, I was hoping against hope that it would be a huge commercial success too. That it probably wasn't, but almost every person I've ever discussed this film with has described it with much respect. Oh well, it's one of those things. :-)

This song - more a recital than a song - is in the setting of a poet who is passionately in love within an extra marital affair. The rendition itself is by Arvind Swamy in a voice shaking with passion against a rising crescendo of Rahman's music. Maniratnam chooses an austere, single scene shot, and yet the setting is raw and sensuous. So much in two minutes.

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unnoadu naan irundha ovvoru maNi thuLiyum
maraNa padukkaiyilum maRakkaadhu kaNmaNiyae

every moment that i have spent with you, i will not forget even in my death bed

thonnooRu nimidangaL thottaNaitha kaalam dhaan
ennooRu aaNdugaLaai idhayathil kalangudhadi

the ninety minutes that we spent together, pounds around in my chest like it was eight hundred years

paarvaiyilae sila nimidam

the few minutes we spent gazing at each other

bayathoadu sila nimidam

the few minutes we spent in fear

katti aNaithabadi kaNNeeril sila nimidam

the few minutes we spent in tears, knowing that we were chained by mores

ilakkaNamae paaraamal
ella idangaLilum muththangaL vidhaitha moahathil sila nimidam

without concern for appropriateness, the few minutes we spent laying kisses all over each other

ilakkanam is grammar, and i've loosely translated it to appropriateness in context

unnoadu naan irundha ovvoru maNi thuLiyum
maraNa padukkaiyilum maRakkaadhu kaNmaNiyae

every moment that i have spent with you, i will not forget even in my death bed

edhu jnayam edhu bhaavam iruvarukkum thoandravillai

which is acceptable and which is our personal feeling, neither of us considered it

adhu irava adhu pagala adhai patri aRiyavillai

had the day dawned, had the night set, neither of us knew it

yaar thodanga? yaar mudikka? oru vazhiyum thoandravillai

who started this, who's going to end this. neither of us saw a way

iruvarumae thodangivittoam idhu varaikkum kaeLvi illai

we started it together, and now there exists no questions

acham kaLaindhaen aasaiyinai nee aNaithaay

my fear disappeared, when you ignited my lust

aadai kaLaindhaen vetkathai nee aNaithaay

your robes were shed, and your modesty disappeared

kaNda thirukoalam kanavaaga maRaindhaal

even if i recall that captivating face as nothing but a dream

kadaisiyil azhudha kaNNeer kaiyil innum ottudhadi

I will still feel that last tear you shed as a wetness on my palm

unnoadu naan irundha ovvoru maNi thuLiyum
maraNa padukkaiyilum maRakkaadhu kaNmaNiyae (2)

every moment that i have spent with you, i will not forget even in my death bed