Omane from Aadujeevitham

 

Note: the song is best experienced using headphones.

A disclaimer: I know it's a tad too late to write about the song, maybe, I am a year late. But given my confidence in its longevity, it's just delayed justice. It's a classic and needs no further explanation.

The song begins with a curious BGM and continues for most part of the song, guiding the song like the rail for the train. Through the entire song, it moves like water gently folding and making progression towards a destination it's sure of. And in just a few seconds, Chinmayi is almost speaking out the verses in monotone. She starts off singing like a person wandering in the woods, singing their favourite song so softly, and they are like a teaser or a precursor trying to convey about what's to come. 

In the background, you can faintly hear the santoor, cello, violin, and tabla playing shyly and humbly like they are being introduced to the audience who are to listen to an epic of a song. 

And then again, Chinmayi sings the same verses in a way that sounds like someone saying, ‘I repeat…’. By now, all the instruments are playing their notes in a beautiful flow.

Just when we think we are getting used to the song, Vijay Jesudas  comes in, with his first cameo act. He sings with so much emotion, a contrast to Chinmayi’s monotony in the beginning verses. Now the song is cruising ahead, like the train that's steadying and in full swing, on autopilot. And Chinmayi goes ahead with her part in full prowess. You cannot stop wondering about what to notice: her voice, inflections, or the way she effortlessly delivers the complex Malayalam lyrics. 

A note about the lyrics: I bet you cannot sing along, even after multiple attempts, and strategies such as listening to it a hundred times may help. I suppose you don't have to bother so much if your native language is Malayalam. This is in contrast to songs like Malare that have simpler and listener-friendly words. I've tried all means: to listen to it by paying full attention, sometimes by letting it play in the background, sometimes by understanding the lyrics, sometimes by reading it without the song, and trying to read the lyrics and sing along. Anyways, with respect to the sweetness of the song, somehow, I liked listening to the Telugu version best after the Malayalam version. Tamil, Kannada, and Hindi were ok.

So, back to Chinmayi. I've missed her so much since the likes of Kannathil, Enna Idhu, Zehanazeeb, and Titli, that now it's come to the point of not recognizing her voice. Of course, I was too preoccupied with my life. I must be… because even for me to be dazed in the voice of Kadhale from 96, it took quite a while! Obviously, Chinmayi is absolutely amazing. Add to the list of missing things in my life, and tending to the point of forgetting: the genius that Rahman is. This song compensates for everything.

Back to the song… by now, the first quarter of the song is done, which is almost like a teaser to the song. And, in the middle of the song comes a breather in the form of a chorus that sings carnatic, folk, and hindustani, followed by a qawwali. All blend together and one after the other in the middle portion of the song. The highlight of the qawwali is that it's sung not in the usual high-pitched rustic male voice, but in a cooing light-weight female voice, and that's something unusual yet amazing. The entire song sounds like it has a different structure because of this chorus. 

So, there's not a quiet moment in the song, like in most songs where the instruments play for a bit. The only time you can hear just the music is in the ending.

At this point, it's worth mentioning about the transitions: though there are a lot of times where the song changes hands, like Chinmayi handing it over to Vijay Yesudas, and back to her, and again from her to the chorus. Even until this point, there is no trace of transition elements, and yet the song goes on so smoothly. The best part comes when the song transitions from chorus to the qawwali bit. This is certainly the proof of inventiveness of ‘the’ Rahman: with just a half second of tabla playing, the song completely changes mood, with only the tabla and harmonium playing in the background. And the next transition is from qawwali to Chinmayi. Now the curious BGM comes to rescue, and we have no trouble getting back to square one with how Chinmayi started off. The penultimate transition is from Vijay Yesudas to Chinmayi, and that's rather abrupt: when he goes off on high-pitch, Chinmayi takes over the reins in a very unwelcome manner. But we can hardly think of it as rudeness. It is sweet, because she is on a mission: to safely steer, what started to look like a catamaran when the song started off, and that has now turned into a huge gigantic titanic.

So, in the last quarter, the instruments play along with singers, with the assertive authority of someone who's got the hang of the song. What played very tentatively in the beginning, like seeking permission, now plays in a very sure-footed manner. Both the singers sing like they are traversing through a familiar terrain, a known territory with the support of the instruments. 

And in the end, when the mood changes to we bidding farewell, the music slows down like they are applying the brakes to a giant juggernaut, and ending on a rather melancholic note. By now, we experience that we've travelled through the life of a great long-winding epic.

~ 16Mar2025

A note about notes

I think I sold Rahman a little short in "Of Opera, Train Tracks, Rhapsody, and A Gentleman in Moscow" when I briefly touched upon his usage of Carnatic notes in his compositions. It brings such a ravishing feel to the songs, no denial about it. And yeah, the mention of Carnatic notes in a song tends one to slow down the conversation, sink into the current state of being with eyes closed, with swaying of heads and the four of your fingers count and group portions of the song by repeatedly contacting the thumb. But no, we are not anywhere closer to this state of being in most of the songs where Rahman uses the Carnatic notes. There is a lot of tempo that the notes bring to the songs.

I had mentioned about Yaakkai Thiri from Ayudha Ezhuthu, Mangta Hai Kya from Rangeela, Dil Se Re in Dil Se, Kannalane from Bombay, and Thee Thee from Thiruda Thiruda. Perhaps, it was a thoughtless list. So, here is some thought to it.

Like the 'seeing red cars' phenomenon, I could not help but pay attention to the ones that had Carnatic notes. Of songs in that category, I must not miss the titular song in Bombay Dreams (yr 2002). While the female chorus does have some notes, it is not until Rahman pitches in with his strained tone that the song picks a considerable pace, especially in the last minute. 

Well, the album was a bit of a let down for me, primarily because part of the album is a medley of songs from movies such as Taal, Mudhalvan, Dil Se, and Minsara Kanavu... the ones that came out in the last three years of the 90s. Be that as it may, a few of the original pieces do exhibit Rahman's genius. Take the How Many Stars song; it has such a beautiful stature, in both words and composition. Or, Salaam Bombay or The Journey Home for that matter. Through the Ganesh song, one cannot stop and wonder about the fact that the Ganesh Chathurthi festival in Bombay is nothing short of a celebration. And the second song in the Bombay Dreams album to exhibit the magic of notes is Wedding Qawwali. 

One more with notes is the Kariye Na song in Taal. It is a folk-themed song with more emphasis to the verses. And in his own style, Rahman would play down everything and keep it to a bare minimum. Add to it, the Noor-Un-Ala-Noor song from Meenaxi. While Taal was overrated and lived to its expectations, Meenaxi's songs are those that exhibit Rahman's passion and repertoire. Thankfully, I have listened to Meenaxi's songs over a thousand times in these 15 years and not seen the videos until today; even Mangta Hai Kya's video for that matter. Certain things (do not) happen for a reason! 

A few other notable songs with Carnatic notes are Luka Chuppi from Rang De Basanti and Tere Bina from Guru. 

Anyways, now to the closing notes: though my desperation to reach out to Rahman's new songs and familiarize them has died out, I still cannot stop being amazed by the fact that, by hook or crook, the songs end up reaching my ears.

Love sunk, again!

When I fell in love with a song, I always tried to translate it and quenched my thirst. If I loved it so dearly, I also wrote about it. And now, even though I have not written about this song as yet, and I am going to write about it now, I am not sure if the respect for this song is going to die down so easily… Honestly, I am so madly in love with this song that I am feeling so bad that I cannot translate it one more time!

Out of the blue, the thought to listen to it and make it fill my senses bloomed on a very tired night, when I was trying to keep a guard on myself and that is something that I am not going to talk about here, because it is going to be out of context. In fact, the song actually managed to hijack my concentration from a thing that has been holding my mind captive for days together now. However, without much digression, let me say the song that I am talking about. But before I plunge, I must say that music and writing has again come to my rescue.

The translation was dated Nov 23, 2011. The rediscovery is happening almost 5 years later. And I just discovered that I had written, ‘Childlike Joy’, when I had attempted to translate this song then. No wonder…! Well, I am talking about my fondness for this song.

So what is so special about this song? OK. So which song is it that is robbing me of much needed sleep… It is ‘Kadhal Vaithu’ from the movie, Deepavali.

First off, I think it is the verses, and the next two things that would go in hand would be the voice and the music. I am not really going to talk about the lyrics here because I think I have done justice to it. So, the next best thing is the voice. Vijay Yesudas literally dignifies this song despite a few shortcomings that exist in every song, which are a few necessary evil things, either to fill the time and space, and the void. He is so sincere, so matter of fact, so soaked in love, elated, so endearing and passionate, in that order from the moment he starts singing first word of the song. And then he goes off in the tone of a story teller, and then becomes a person who is so love sunk. And then, the music takes off…

The simple guitar chords that begin the song, the amazing violin in the early to the middle portion of the song, the sarangi in the later half, the brief and subtle piano at the end, and the closing violin that signs off the song epitomizes the way a composer can use the instruments so flawlessly.

Amazing!

Dated: Feb 16, 2016

Translation of Mazhai Vara Pogudhe from Yennai Arinthal

There she comes, the rain.
And now, she begins to shower.
Would it do to not get soaked?

The flower garden is closing in.
And now, the place is oozing with charm.
Would it do to not get lost?

My heart floats
like the cloud-like soft cotton,
What do I do to redeem it?
I wonder to whom would it listen!

With her sea-like eyes 
she tranced me.
I have already gone lost,
and yet, it is all for good.

A bit on the fire, 
a bit on the river,
unsure and still, stands my heart.

With her dark eyes, 
the doe-eyed keeps stabbing me,
and yet,
the pain has such sweetness.

She asks me to live in,
in her dimpled cheek.
What a priceless boon
for a lifetime!

She dropped by when the moon slept in the clouds, 
and I was drawn deep in my dreams.
And yet, when she left, 
she never bothered to caress me.

The eyes would not shut
and the sleep would not arrive.
She named it love,
and blessed me abundantly with it.

She nears, and my heart goes ahead.
She goes, and my heart goes behind...
My heart! You are so stuffed with her memories.

Keep the eyes of the butterfly shut,
and yet, it still reaches the flower.
What about the rain?
It does have to reach the earth.

Where you stand, 
there reaches my eyes.
I am so fixated that you walk back and forth, 
and my heart just keeps vacillating merrily.

You... 
are the swaying peacock,
with your tail on my shoulders...
I would watch it trail by, 
all my life.

Mazhai Vara Pogudhe from Yennai Arindhal

After quite a long time, a song has caught me unawares, made me get hooked to it for its casualness, coolness, the romance in it, verve, and for its amazing lyrical quality.

Thamarai never fails to amaze me with her brilliance. She is just amazing! The song has the feel that the Ennai Konjam song from Kaakha Kaakha gave. The structure of the song and the way Karthik has sung the song kind of reminds me of the Karka Karka song in Vettaiyadu Vilayadu. However, it still has some very unique elements like the part where the lady hums and the veenai bit plays the second fiddle, and yet, it is the veenai that you strain and yearn to hear more. The veenai kind of reminds you of the striking way in which it was used in the Uyirin Uyire song in Kaakha Kaakha. But then, the pleasing undertones in this one just draws you in... And, looks like Harris has still not forgotten the guitar background that features in the 'Love at First Sight' song by Kylie Minogue. Kinda the same guitar bit that appears in the Manjal Veyil song in Vettaiyadu Vilayadu.

All said, Mazhai Vara Pogudhe is a beautiful song from the team. And when I say 'team', how can I miss talking about the visual? It has a real charm to it--the way the couple starts off with an SMS and ends with a beautiful romance bit. None to beat Gautham Menon for the way he makes the visuals for his songs. Of course, should I even say about the pair... This one, for sure, is such a beauty and would stay etched in the memories for quite some time now.

Translation of Mazhai Vara Pogudhe from Yennai Arindhal... Coming soon!

After a long time!

Playing in loop: Just the way you are, by Bruno Mars.

Amazing is just not the word!

Translation of Poo Avizhum Pozhudhil from Enakkul Oruvan

So, here is the translation of the song Poo Avizhum Pozhudhil from Enakkul Oruvan. By the way, the song takes the credit of being one of the very few songs that has filled my ears the maximum number of times in a loop, without interference from other songs, for days together. There we go...

As the flower unfurls,

my mind sees a thousand dreams.

I float through one dream

and see the same moon.

From her face's innocence,

emerged a radiant smile

and it sprinkled

a myriad lucent flowers.

Then, the skin gets to feel

like the floating cloud.

The clouds entwine

to give birth to the rain.

Your verse traverses through

the notes of my breath,

And there surfaces, the music of love

that warmly drench my inner depths.

Like the effulgent moon

seen in the sky's breadth,

She'd be seen

in this man's expanse.

She spread her stellar wings,

Locked my fingers into hers,

Turned a blind eye

and drew me in dreams.

This is the one state

that escapes the length of time.

No wonder...

I see a million flowers

bloom on my skin.

Poo Avizhum Pozhudhil from Enakkul Oruvan

An intriguing start to this mesmerizing song gives you a feeling that you are travelling hand in hand with your lover into a safe and dim-lit tunnel. Not that just this music bit lets you visualize things; everything in the song spreads your imagination. What more can the lyricist ask for, to get noticed, if the music has already started expressing what you are about to say? One might wonder if it is the composer’s way all through… No. It is a level-play over the entire 4 minutes or so of the song—all elements in the song are in a state of controlled domination. And everything flows so mellifluously—the flow from one tune to another, from one pitch to another, from one thought to another, from one modulation to another, from one emotion to another.

Well if you had noticed the title, good for you. I forget myself so much when I listen to this song that I feel it is not surprising to have forgotten to say which song I am talking about. It is the Poo Avizhum Pozhudil song from Enakkul Oruvan (2014). I am so awestruck by its simplicity. And... Just listen to the strings throughout the song! Such a beauty... either it is subdued and acts as a moral support like a parent behind a kid learning to ride the cycle; or at times a companion to the singer, like the better half with an equal voice; or at times, like the friend who shouts in a chorus, disapproving of the teacher's blames when you are caught in the middle of a mischief at school.

Though the lyricist, Vivek had spoken about the words in this song in a different context, I am still not convinced that he was referring to just that context. I will still leave it to the listener to interpret the unsaid. And yes, very beautiful lyrics that delivers the right imagination for the mood of the song.

Do I even have to talk about Santosh's brilliance? He is a treat to my musical senses.

Not in context to this song, but pertaining to his capabilities, he has got the capability to score for a range of situations so aptly—for a harmless kidnapper who walks coolly after closing a deal, as well as for the yearning lover boy who just got noticed by his girl. What a repertoire!

Though I did not want to translate this song, something made me attempt it. Let's see if I was able to capture the beauty of the words in the song...

Translation of Aavaram Poo from Poo

If there are a few movies that I respect, then the one certainly in that list would be the move 'Poo'. A landmark movie for so many reasons, it is a tale of social messages, tragedy, sacrifice, friendship, hardships faced by economically backward, and so much more. I am not qualified enough to appreciate its technical brilliance, but I suppose the level to which it keeps its viewers engaged is certainly a mark of its brilliance.

The movie is about a woman who has been in love with her cousin. It shows largely her viewpoint, but the way a few others feel about the relationship come about very subtly; the others include her cousin, her mom and her sibling, her friend, and at last her uncle. Though their views are shown subtly, only those are harshly pelted on to the flower, and its feelings.

And if there is one person who can be said to walk away with all the laurels, it is Parvathi Menon. She just leaves one wanting for more, because she was not seen in any Tamil movies, in spite of her amazing histrionics. And of course, the director for the characterization of Maari (played by Parvathi). He has shown Maari as a person who bestows unconditional love on her cousin. So much so that if one has to understand the meaning of 'unconditional love', it is from her. How can a person still love the other, even after they know that the person can no longer be part of their life again? I say unconditional because, it is not with a compromise made on her marital life; she adores her husband and yet wants to see her cousin happy, but just in vain. Just amazing characterization!

This one song that I have attempted to translate (Aavaram poo annalil irunthe...) depicts the movie's storyline briefly--it says about the yearnings of a woman, here the flower; the flower, and hence the title of the film, Poo. A very beautiful and simple composition by S S Kumaran is brought to life by Chinmayi, with the way she emotes the flower's yearnings, for the unrequited love in her life, and the way she is poised in her life. Not to mention Na. Muthukumar's beautiful yet uncomplicated lyrics that portrays a person's state of affairs--it is one reason that it is mostly his songs that I often attempt to translate; it is just that I realize this only after I am done with most of the translation work.

Here we go...

For whom has this flower been waiting,
so forlorn?
It has kept its bloom, bearing the dusk, 
the noon, the rain, and the scorching sun...
just for you.

Will not the root know,
this flower's love for its own root,
even if unsaid?

It sways in the wind and follows your way.
It keeps all its petals unfurled,
with all juvenile memories, to its dismay.
All the age-old sweet nothings,
would be just mine for me to assay.

Dearth and the dead leaves shout aloud,
about shortcomings and sufferings.
And all my words, hush up into the cloud.

For a lifetime, it upholds a penance
standing one-legged, to become a garland 
that decorates your firm chest, perchance.
It freezes in the chill, holding its life,
and would flourish at your one glance.

You are its colors and its fragrance,
and would perish, 
if you forsake it...

Will not the root know,
this flower's love for its own root,
even if unsaid?

For whom has this flower been waiting,
so forlorn?
It has kept its bloom, bearing the dusk, 
the noon, the rain, and the scorching sun...

It has been a long time since I wrote, leave alone translated any. I hope I have done justice... 

If we try - Don McLean

When I see you on the street, I lose my concentration.
Just the thought that we might meet, creates anticipation. 

Won’t you look my way once before you go
and my eyes will say what you ought to know?
Well, I've thinking about you day and night
and I don’t know if it'll work out right.
But somehow I think that it just might,
if we try... 

Faces come and faces go, in circular rotation.
But something yearns within to grow beyond infatuation.
Won’t you look my way once before you go,
and my eyes will say what you ought to know?
Well, you've got me standing deaf and blind
'cos I see love is just a state of mind,
and who knows what it is that me might find
if we try... 

You are walking in a different direction
from most people I've met.
You're giving me signs of affection
I don’t usually get.
I don't want you to pledge your future,
the future is not yours to give.
Just stand there a little longer
and let me watch while you live. 

‘Cos when I see you on the street, I lose my concentration.
And just the thought that we might meet, creates anticipation.

This song just caught me off guard when I was concentrating on my work (you know, something like the sour-sweet grapes). 

One of the aspects of a good song is when you realize that it has finished playing too soon. And this one certainly falls in that category. Simple, meaningful, interesting lyrics. And nothing really to talk about the composition. It just flows through! It has been a long time since I had listened to such a song with so much concordance! It is a short song and one can certainly quote this song as an example for 'short and sweet'.

Translation of Idhu Varai from Goa

The Mellifluous Love Song


Woman:
This is a never-before feeling.
It is the dream that shaped in my heart.
Do you hear the song about the splendid day?

A thing masked unintentionally
is now seen blooming all by itself,
exposing what was never explored ever before.

As I see happiness brimming over,
I wonder when I would realise my true state of affairs?
Days snail by with a heaving heart and sleepless nights...

The unceasing dream torments me without pain,
and teaches me about the teasing pleasures.

Come on! O dear! You must come along,
'Cos the journey of mine is far too long!

Man:
There... I see the cloud and moon waltzing.
Oh! Who would empathize my feelings?

My heart isn't as yours... I perceive a change,
and a parade of an esoteric portrayal of itself.

Woman:
My dear... calm down! I assure this will pass by.

Man:
My bosom abounds with a spirited feel.
I see dearer relationships blooming aplenty,
and the doors opening up to a roomful of hope!

My skin wakes up to myriad feelings,
the breeze blankets itself on me,
and the raging desire rushes ahead!

Idhu Varai from Goa

What a beautiful composition Yuvan has conceived and how wonderfully Andrea and Ajeesh have delivered! This is more of a what you see is a what you get song, the song featuring just the stage instruments that the video shows--the simple live drums arrangement, the guitar, something that sounds like a cross between harmonium and mouth organ. The flute rendition of the motif although short is nonpareil.

Otherwise, it is Andrea all the way—the initial opera-styled singing, the stylish overtones at some places and the soft and whispering overtones at some. And at times, an abated voice sung in short of breath. Ajeesh joins the party late and performs what was expected—giving a lover's intonation of being in dilemma. And at later stages, the growing strength in his voice expressing the realization of love and gives a feeling of flying.

The climbing ensemble of piano, cello, violin, and the voice gives a befitting finale for the climax of the song.

Coming soon, a translation / rendition of this song...

Translation of Kaatril Enthan Geetham from Johnny

The Pensive Song

My song in the wind searches for the invisible,
with my memories alike the swaying waves,
and the evening wind as chilly as never!

There is this teasing merriment all around,
and the words inside me searches for its music.
Won't it not find the loving heart?
Won't it not sing the song of joy?

The forlorn eyes escalate the heart's yearning.

It is just fine if my heart listens, 
if I ask it to stop, and just enough 
if the tormenting waves in it cease to arise...
Won't it hear the melody in stillness?
Won't it stitch up a rhythm from silence?

My soul would seek yours until its time of life.

Translation of Sota Sota from Engeyum Eppothum

Hail L O V E, the conqueror...!


You...
Soak me up beyond reason, 
Enrage me even without a word,
Make me fly far from reach.
You almost melted me, and 
Teased me with your elusion.
And
had to chide me to realize your love.


My heart always shudders
like the rail that runs the train.


One fine day, you fell into my eyes 
like a fertile seed,
And when I flicked my eyes,
there you were,
grown as a huge tree in my heart.


I wonder what would happen next?
The heart would sure 
fake what just happened.


Like a curious kitten, love peeks out,
And checks up on the limits of impulse.
Yes it does, it does, and defeats.


The God made the man's heart
out of cold wax and made it melt,
every second that it saw the beloved.


A menacing silence prevails.
And I am just loving it.


Your words and breath struck me, 
and left me helpless.
The memories that you left behind
sparked, and conquered me.


Yes it did, it did, and won me over.

Translation of Thendral Vandhu from Avatharam

Colour of Music

I wonder...
What's the colour in your heart,
when the breeze brushes your skin?
What's the colour in your thoughts,
when you see the shine of sky's akin?

As I see the resurgence of colours' splendor
In my mind, it occurs...
Indeed each thought has a different color.
Isn't it the truth, my sweet love?
(In truth, what is it that exists,
and what about its colour?)

Flowers spread fragrance, but without revelation.
Hearts speak consensus, devoid of a lawful union.
Cuckoos sing the melody, not for one man's whimsy.
My heart feels a mystic bliss, but nothing do I fancy.

This world is alike a stream
and time runs afloat
like the planks that afloat.

Inconstantly crosses my mind,
a thousand colours!

A sprinkle sweeps the earth, and lives spring alive.
Love leaps in my mind, and skin's million gets a high.
Wishes swing along, like the pendent banyan roots.
Beauty bestows magic, like the swaying tuft of waves.

The cuckoo's clan sings aloud
in music's own voice,
and a flock of parrots recount this story.

Neither does love fade like a forgotten story,
nor is it forgotten like an unworthy puzzle's mystery.

If I say Ilayaraja is the alchemist who brought alchemy between the verse and the music, I am certain that I am not overstating. And with that I do not have any other credits to give to the composer of this beautiful song. 'Thendral vandhu...' from the movie Avatharam has got beautiful lyrics. It is a perfect example of symmetry, and both music and the verses manage to display both grandeur and simplicity all at once. The song very beautifully captures the philosophy of life, vividness of colors, and the characters' love for each other. Ilayaraja's voice creates another dimension and the coherent chorus is certainly the forte of the song.

This work started on May 10, 2009 as an impromptu and brief attempt at translating the pallavi of the song and three years later, I remembered to work on the translation of this song to extinguish some anguish. Personally, this work is a success of the mind over mindlessness.

As an afterthought, I seem far more satisfied with the words written three years ago than of those written today. Not sure if it really is so...


P.S.: One important link: http://www.youtube.com/watch?v=563qJOreBqI

Translation of Kangal Neeye from Muppozhudhum Un Karpanaigal

A mellifluous melody 

You are my eyes and the zephyr as well.
You are the pillar and you are in every particle.
You are the colors and the sky's splendour.
You are my flesh and my soul.

A thousand night's dream and a dream come true.
You are the avenger of my sorrows.
I melted down myself to shape you up,
you are all me and nothing else. 

I held your face as my slate,
kissed it a thousand times
and wrote a beautiful sonnet.
You used your drool, the sacred water,
as a correction tool
to make improvements to it.

This minute, I wished you grew up and held me.
The very next moment, I wished you shrunk down
and remain an infant.

Like the robe swinging on my shoulders
you swing on your crib all day forever.

You are the first scholar
to speak in a multitude of languages.
Better than the musical genius, the king of Lanka,
you are my son, the maestro,
who makes music out of your gibberish.

Before I moved myself,
I saw my heavens in your dimpled cheeks.
Before i twitched myself, I gave my entire self
for that silken feel at my grip. 

When I see you have moved away from me,
I fret, and wish to get you back to my fetus. 

The life is a long path... Shelter your journey
with the cerulean sky as your shack. 

With those murals, you are my Ravi Varma.
During your hunger pangs,
you are mankind's mystery,
who takes refuge in a mother.
You are any mother's swelling pride.

Leap a bunch of seas, and hundreds of mounts,
'cos I bore you doing so.
Hope you live a thousand years, outlasting aches
and with resistance to pandemics,
and conquering boundless boundaries.

Started on: Jan 04, 2012
Closed on: Apr 06, 2012


This is the longest that I have ever taken to translate/render a song from Tamil to English. Term the song as mesmerizing, beautiful, simple yet strong, moving, fascinating--all  credit goes to G V Prakash Kumar, Thamarai, and the singer Sittara for their wonderful job! Every aspect of this song has held me back and has stunned me everytime I try to get to work on this.

Translation of Kannazhaga from 3

Music, Man and Woman, and Magic


Woman: 
I wonder what is beautiful...
Is it your eyes or toes?
You are my golden beauty,
and the man for the lady.


Is it your tiptoeing fingers 
that tread over?
Or your demeanour 
that weaves 
a myriad of magic together?


Man:
Oh my life, 
there isn't anything as you
that is dearer to me,
among the living.


Oh my beauty,
there isn't anything as you,
that is beautiful 
among the beautiful.


Woman:
You look somewhere 
and say the unsaid.
And your enrapturing magic 
makes me all set, 
to cross our limit.


Man:
All I do is 
to look into you, 
and say the truth.
Of course, I look for means 
to entwine my life with yours.


Woman:
Let's let our lips 
meet each other.
I am sure, 
this isn't a new curse... 


Man:
Close your eyes
and draw near me,
there isn't 
any better pleasure 
than this.


Woman:
Come look into me, 
let me hear the truth,
and
I would teach you 
to entwine our lives.


Man:
You are my doe-eyed, 
quintessence and epitome 
of beauty.
You are my life 
and
there isn't anything as you
that is dearer to me,
among the living.




Music aka Magic depicts the rest...

Translation of Kadhal Vaithu from Deepavali

Love Sunk

I awaited embracing all the love and desire,

trying to sieve your voice in the air…

In your mirth I realized music.

In your drift I realized direction.

I fell into the sea of love,

but remained afloat even after I was ashore.

Your moves made me move.

Alas! I vanished beautifully and seen nowhere.

Every time I heard the fairy tales,

I dismissed them to be farce.

But when my eyes met yours,

they fathomed it cannot be false.

My dainty mornings arise

with the sweet hope of seeing you.

My dusky evenings set

with the intoxication of having seen you.

The day I saw you

Mesmerizes me like the day of my dawn.

The words I spoke to you

echoes deep down inside my heart.

You made me

speak to the sea,

and

sham the concept of time.

You made me

bathe with the rain

and

celebrate the sun.

Translation of Un Perai Sonnale from Dum Dum Dum

What is in Name?

All I say is your name, and sweetness takes over me.
Please do not depart me.
All I do is walk with you, and new blooms brim my path.
Would you not go with me?

Countless thoughts of you lurk in my mind,
ready and waiting to devour my life.

I shatter down, fleck by fleck, on the floor.
Oh dear, where are you?

I forget the consonants and the alphabets too.
And sooner, I turn dumb.

Like the child that is aware but yet teases the fire,
I hark back to think of you...
And the pain creeps through.

I tremble like the base and throb like a drum.

How can life and flesh be apart?

Is this fate or a way out?
Why throw thunder on a plant?
Don’t go away. Don’t go away…

My love!
Do you say this is not the reality, or that you do not remember?
Would you say who you are—my friend forever, or just a passer?
Utter the answer, my sweeter part.

Oh sanguine sun!
Why do you torment the moon?
Won't you tell me all your pain?
Why did you stir a storm, inside this red screw pine?
Won’t you tell me, oh divine?

Disclaimer: I hope that except for ‘I tremble like the base and throb like a drum,’ I have done justice to the rest of the words. If not, do let me know!

___

I am yet again on translations... This time it is my long-lost love—‘Un Perai Sonnale’ from ‘Dumm Dumm Dumm’. I wonder why and how I had missed this beautiful song? And even more of a wonder is why and how Karthik Raja has been missing his trains so much after such beauties in the movie. A real sparkle, this one and the song ‘Ragasiyamai’ is! And of course, both Sadhana Sargam and Unnikrishnan's parts and versions (in the same song) are on par and brimming with the right emotions. My only complaint is that, in the movie, the song is not visually complete. If it were, then I am sure we would at least get to see the song more often on air.

More wonderings…

Like asking ‘How can life and flesh be apart,’ I think I must also ask ‘How can music and words be apart?’

My love and thirst for the song was quenched when I was able to translate the words; but what do I do to the music. Alas, I cannot translate or render it!

Translation of Nee Korinaal from 180

The five-minute wonder!

Nee Korinaal is yet another beauty! Alright, in terms of what this time? A lyrical beauty, a visual beauty, and a musical treat. The format of the song just swept me off my feet: each line standing on its own, with absolutely no connection between its siblings and still making it a great song. The song has the male and female voices repeating a verse, each in a normal pitch and the second time, in a high and longish pitch. Seems like someone reads a secret the first time and the next time, revives it with their vocals. This happens for all the verses, expect the opening verse. A great song structure put in action by the music director, Sharreth. It is a wonder in so many senses--you must listen to appreciate the nuances of the song. In fact, the music arrangement compliments the lyrics as well as the voice, taking the lead only where required.

And Karthik and Swetha Mohan have just made this song scintillate, in terms of the way it has been sung. Especially the brilliant Swetha for the way she emotes, playing it low and high wherever and whenever required. Though Karthik gives a great opening with his endearing questions, Swetha has the last laugh. She is relentless even in places where she has to go on a low but steady and a breathless pitch, and gradually has to flight up for the re-opening verse that she sings after that. A perfect 10, like Nadia Comaneci, I would say.

So here is me gratifying my impulse--I dont know why, I often feel I want to devour the song, everytime I listen to this chirpy song--the translation of Nee Korinal from the movie 180 (Nootrenbadhu).


If you ask for, my sweetheart,
won't the sky change, forever?
won't the clouds patter, incessantly?

You seared my soul, my sunshine,
yet I see no fire around...

Now, don't shut your windows, oh ladylove,
and shy away from me.

You run away, oh poetry in motion,
from me, steadfast yet still...

Am I of the recluse clan to not caress you,
oh beautiful,
even after I set my eyes on you?

You are my reflecting self, oh silken flower,
I pray, do not wither away.

Your intoxicating lips invite me, oh alluring!
Come, let me have a sip of you.