Padam Mogudoci explained by Smt.

Bragha Bessell
This padam is set in Ragam Sahana and Misra Chapu thalam. Composer of this padam is not known. There are
opinions that this Padam was composed by Sarangapani.

Lyrics and meaning

/
Pallavi
moguDocci pilacEDu pOyi vaddunA

My husband is calling me; shall I go?

prIti maravakuNDu nA sAmi

Please do not forget my love, my Lord.

Anuallavi
sogasugADa nAdu suguNa vENugOpAla

O Paramour, my virtuous vEnugOpAla!

bAlyamaNdu boTTu gaTTina sAmi

O Lord who married me (tied thAli) in my youth (or childhood)

Charanam
bhAnu padmamuvale dUramuNDina nEmi

Like sun and lotus, so what even if there is distance?

nI pAdamaNdE sharaNani

That I seek refuge in your feet,

nI dhyAnamu vErulEka nIvE daivamani

That nothing except your meditation, that You are the Lord,

dalaciyuNDi dhairyamu viDuvanu

I am remembering; I shall not let go courage.

Word by word meaning

Pallavi
moguDocci husband has come (mogudu = husband, etcci = has come)
pilacEDu is calling (me)
pOyi vaddunA I will take leave of you
prIti affection
maravakuNDu do not forget
nA sAmi my Lord
Anupallavi
sogasugADa handsome one, paramour, beau
nAdu my

suguNa with good qualities (suddha guna perfect qualities, perfections)

vENugOpAla literally, cowherd (gopala) playing flute (venu), one of the names or epithets of Krishna
bAlya childhood
maNdu time or age, also manduno emu that time or so
boTTu tali (marriage necklace)
gaTTina tied
sAmi or vadu man (i.e. that man who tied tali)
Charanam
bhAnu the sun
padmamu lotus flower
vale like
dUramuNDina if far apart
nEmi so what?
nI pAdamaNdE at your feet
sharaNani refuge or na cittamu my mind
nI dhyAnamu the thoughts other than about you
vErulEka will not be
nIvE you alone, only you, you only
daivamani or deivamu the God
dhyani like that
dalaci or dhalatehi thinking
yuNDi or yundume dani I will be
dhairyamu my confidance
viDuvanu or vidu padu I will not leave

Note about Padam

In Padam, the heroine expresses feelings which are beyond the words, i.e. what is hidden under evident meaning
of the lines of sahityam (lyrics).
Padam is enactment of a situation, relevant for both the lovers, i.e. some very important episode, turning point of
relationship.
Padam do not require any decorations and props. Usually, situation or story line of the Padam is of very intimate
nature, i.e. situation which takes place between the two. Padam is like an intimate conversation regarding very
sensitive subject matter.
Padam is the most emotionally charged item of the Margam. Analysis of characters, previous relationships between
them, the context (previous events which caused the current situation), and the current situation itself is of the
most importance here.
Padam, as an item, is presentation of one simple but very essential scene, which brings out emotional content
usually hidden inside. It is like confession, when the two open out feelings hidden in heart. Usually, such things are
denoted with a few simple words, thus lyrics of the padam is quite short. Through, emotional content hidden
behind the several words is immense. Thus, in Padam each line is presented many times, from different angles.

Meaning of each line is elaborated, extended from pada artha abhinaya (word by word presentation), to vachika
abhinaya (which includes direct and indirect meaning of the whole line), and Sancari (further elaboration of the
theme set in each line), when heroine uses association and additional stories to convey her feelings associated with
the message hidden in the line.
Let us see how it is done, step by step, in the Padam Mogudoci.

Bhakti and Sringara

This padam could be interpreted in two ways. The hero may be considered as a God, Venugopala, and the heroine
(Nayika) as Bhakta, who considers herself to be married to him since her childhood. Her family arranged her
marriage with some man, when she was a child. After she came out of age, she is supposed to go to her lawful
husband house and start her married life here. In such light, feelings of the heroine are of based on devotion and
her intention is to keep this spiritual bond with her God even in marriage.
Another interpretation is that the heroine, whose marriage was arranged when she was a child, falls in love with
some handsome fellow, quite real hero. Now she has to face difficult dilemma her lawful husband comes and
claims his wife, and she accepts this as part of tradition and order of life at the side, but her feelings to her beloved
and her desire to be with him make her really unhappy at the other side.
In Anupallavi she addresses her hero as Sogasuadu (a beau or paramour), which also could be interpreted in two
ways, as handsome man or the God, the source of eternal beauty and grace.
I would interpret this Padam in a second way, as the heroine meets her beloved in forest, night time, and the
meeting is guarded by her friend. So definitely, the physical presence of her beloved is very essential for her. And
this is a problem because this physical closeness, possibility to see him she will be deprived of after leaving
this place. In charanam the heroine brings out the only possible solution of her dilemma separated physically
from her beloved, she will never be separated from him in her mind and her heart. She will think of him all the time
and this unbreakable spiritual bind will give her confidence and power to live in separation from him.
The figure of the hero is hidden in twilight. In this Padam, the hero keeps silent and quiet. We do not hear his
voice, i.e. his reactions to the words and actions of the heroine, addressed to him, are unknown to us. His presence
is indiscrete. Feelings of the heroine are flowing out, hand by hand, undisturbed but left unanswered.
The story of relationship between the hero and the heroine is also hidden from us. Heroine gives no any reference
reactions or words of the hero. She relates the story of her child marriage, expresses her hesitation, affection, fear
that the hero would forget her. Her message is that she has to go and there is nothing to be done. She has to go.
She cannot disobey. But her feelings towards the hero cannot be changed as well. She promises to remember him
forever. She says that she will think of him every minute of her future life. Whatever it is, her love is her only
power and nobody can change it. She says that Venugopala will be her only object of devotion and love. The only
thing is, she has to accept circumstances and depart far away from him, so she has to hide and keep inside this
affection.

Characters
The heroine of this padam is young woman. She is not child, she has reached the age when she can depart from
her house and start her married life. She also has some experience in love, as she has been in relationship with
Venugopala (the hero of this padam) for some time. She is also mature enough to understand that there is
necessity and duty, and life is not only pleasure. She is faithful, a bit romantic and idealistic, but at the same time
we can feel that she is strong and firm in her decisions.
Regarding her love situation and attitude, she is definitely the one who is faithful to her beloved. It is obvious, that
he loves her as well (as she makes reference to great happiness they shared together when she asks him to
remember her). In this padam, love situation is very interesting. This is definitely Sambhoga Sringara (mutual
love), which is going to be turned to Vipralambha Sringara (love in separation), but not because some personal
conflict of the lovers, but because of circumstances they are helpless to change.

Story Line of Padam Mogudoci

The story set by Bragha Akka runs as follows. The Nayika, young girl, and handsome young hero, Venugopala,
have been in close, intimate relationship for some time. The girl belongs to prosperous family (as her marriage was
celebrated with pomp, as mentioned in lyrics). She was married to a man of good standing, who resides in another
town (place), when she was a child. Now, she came out of age, and the time has come for her to depart from her
own house and start her married life.
Her secret meetings with Venugopala are not possible any more. They have to part. Thus, under the cover of the
night she comes to the place of their secret meetings to relate the news regarding her departure and say goodbye
to her beloved.
She relates him the news of her departure and pleads him, please, do not forget me and keep or love inside your
heart!
In Anupallavi she as if looks on him last time and expresses how she sees him so handsome, generous, good
hero of hers! She tells him (with a sigh) that she was married when she was too small to realize what was going
on.
In charanam she expresses her decision and her acceptance of the situation. She says that her love for him will be
even stronger, as separation in space cannot change her mind. She will be thinking of him continuously. She will be
praying to him as her only Lord. She will meditate on him and stay at his feet. She adds that nothing could change
her mind. She feels very confident in power of her love and attachment for him.
Progression of bhavas in this padam is quite picturesque.
First she expresses her hesitation, shyness and sadness (when she relates the news of her departure), then she
pleads the hero to remember her and gets some hope.
Then the heroine proceeds to happy reminiscences her affection to hero, her happy childhood, until she comes
back to this marriage and necessity to depart not. Then she assures the hero in her love and expresses her utmost,
elevated and pure love in charanam. Here she rises up their affection to level of devotion.
In Sancari she describes how she will think of the hero all the time, how she will miss him, so naturally she comes
back to the current situation and necessity to depart.
She repeats Pallavi and here the last bright scene takes place, which brings forth all the power of her affection.
While concluding the padam, she repeats the last line of Pallavi (my husband has come and I have to go now). Now
she has to say good bye. She takes blessings from hero, asks him once more: please, remember me. She looks up
at him, and at this moment she realizes that he will never forget her also - his love is strong as her own. And here
she brakes in tears. She will miss him and he will miss her. They will miss each other so much, each and every
minute of separation. She pegs him, please, do not cry. Somehow, maybe I will come back one day. But she is not
sure about it.
In this the very last scene, the very last minute before departure all power of love shines out. It is so natural. It
reminds to each and one of us we realize the value of things on the edge, when we realize the difference
how it was with and how it would be without.
So, this is progression of the story related in this padam. Let us see how it is unfolded line by line.

Hands of Padam Mogudoci

Interlude

Kumbakonam Bhanumati performing

Pallavi of Mogudoci Padam: "My"

The heroine enters the stage covered with a veil. It is dark, and she has come
accompanied by her friend who is on guard at some distance, to let the lovers to
talk last time without interference.

The heroine rises up her veil and looks round, afraid of being noticed by
accidental passer by. She removes the veil and looks round in search for her beloved. She looks here and there,
from behind the creepers. Suddenly she hears slight sound of flute. She follows the sound and finds her hero sitting
on the bank hidden behind a tree. She listens to the flute. After he stops playing, she hastens to him and her first

move is to take his hand. But she hesitates. Now things are different. She is not careless maiden anymore. She
stops and bows to him with due respect.
Pallavi
Hand 1. (The hero sits on right side).
The heroine addresses him in a few words:
"Husband"

My husband has come. He is calling me (to go with him).

(Here, the heroine is watching the first reaction of the hero for the news she has

related.) She proceeds:

I have to go. Shall I?
(She wants to understand, if he is upset by her departure or not.)
Hand 2.
She repeats her first words using the same gestures:
My husband has come and he is calling me. I have to go.
"Is calling (me)"

(Here she makes the accent on this point she has to follow her husband.)
And she adds the words which explain to us why she is here:

Please, do not forget my affection to you, o Venugopala!

Hand 3. (The hero is upset with her news. He gets up and moves to left side,
showing his hesitation.)
The heroine relates him the story of her marriage:
That day he (that man, whom she was married) took my hand and today he is
calling me (to go with him). I have to follow him step by step.
(She shows as good wife is supposed to follow her husband step by step,
without even rising up her eyes and looking round, i.e. without any doubts, in
true confidence that the way he has chosen is the only right one for him and for
her as well.)

"I have to go!"

Hand 4. (The hero is not quite comfortable with her words. He moves to
another side of stage, as if expressing: I do not want it be like that!)
The heroine continues her story:
He married me with so much pomp, all those pipes and drums playing! Today he
has come and calls me, Let us go! If I say, No, I will not come with you, go away!
Ayyo! I cannot say like that!
Then the heroine adds with different intonation (she asks him):

"O my paramour!"

But please, keep and save inside your heart all the joy and happiness with
shared together! Will you?
Hand 5. (Now the hero moves to opposite side again.)

The heroine describes how her marriage was celebrated. She is from well off family, thus all town was invited to
this function:
The whole town witnessed our marriage ceremony! He (that man) took me around sacred fire.

(According to Hindu custom, the couple makes seven circles round sacrificial fire as if calling the God of fire Agni to
witness and bless their marriage.)
Now he is calling me. This beautiful town I have to leave!
(She shows how she will go away, from her place, with tears in her eyes).
And I have to leave you too!
(She turns and looks at him, as her last and the only though is about him, as he is the most essential part of this
place for her.)
Then she stops moving, turns to hero, walks in faster step to him and pleas:
But please, do not through me out of your heart! O God, please do not do it! Promise me now!
(The hero walks to another side again. He is not agreed with this situation. But his protest is silent. He is not able
to change the situation. She is not able to change the situation. Both of them cope with this impossible dilemma in
a different way. She pours out her feelings, seeks his support and understanding as a cure. He bears this situation
silently. As the male character, he is not so easy to express feelings out. But he moves from one side to another, as
tiger in a cage. He cannot leave her, but he cannot keep her by his side.)
Hand 6. (Now the heroine feels how difficult it is for the hero accept the fact that she has to depart.)
She is trying to find some hope, something to save their relationship:
My man has come in his bullock cart. I will go with him, yeas, but very soon I will come back!
(The heroine is still very young girl. Her life experience is very limited, thus here she is trying to substitute her
dreams for reality.)
But that time (when I will come back), you mister, please do not say like: who are you? I do not know you! I do not
want you to do something like that!
(She is trying to put in some humor and release the tension she supposedly noticed on the face of her beloved. But
the hero is not concealed with such promise. He walks from her to another side again.)
Hand 7.
Maybe after hearing her own words, she realizes how childish they sound like. And she just repeats the words of
necessity. Now, her hesitation, hope and even humor are gone and give place for sadness of inevitable departure:
He (my man) is calling me. I should go.
Anupallavi First Line
In this line the heroine describes her beloved, how handsome and generous he is.
Hand 1. (She turns to the hero):
O, the most handsome fellow!
(She turns to center, as now she is describing him)
Such loving (the one who possesses all perfections, gunas) is my Krishna, whose face is like full moon! Such bright
it is. You bless everybody, o Krishna with peacock feather (the symbol of grace)!
Hand 2. (She turns to center, describing him.)
You put fine silk shawl on your shoulders and walk along the street. You give affection even to the cows, o Krishna,
leaning on the cow!
Anupallavi Second line
Here the heroine tells him that her marriage was done when she was a child, and did not understand what was
going on.
Hand 1.
When I was a child, that time I was married to that man.

Hand 2.
When I was playing on sand with my friends my mother took my hand and took me to a place where sacred thread
was tied around my right wrist. So I was married to that man.
Hand 3.
When I was playing catch and throw ball, my mom came and took me to place where I had to garland that man and
he garlanded me too. So I was married to that man.
Hand 4.
When I did not even know how to wear my sari! That time the end of my pallu was tied to the shawl of that man.
That man has come and he is calling me now.
Then she repeats first line of Pallavi:
My husband has come and he is calling me. Guess I do not go. Then my father and my mother would be so angry!
No, they would be so sad. I have to go.
(And she wipes away her tears.)
Charanam First line
Hand 1. (She turns towards the hero, he is on the left side of the stage now).
Like the sun and beautiful lotus separated far from each other we are. So what? The vision of your holy feet I will
keep in my heart (and mind) always.
Hand 2. (Hero stays on its place).
You are like a sun, and I am like a lotus. You will stay here and I will be far away. But by thinking of you my heart
will bloom! Yes, I am sure in that!
Charanam Second line
Hand 1. (The hero is still on the left. It seems that he was touched with her simple words of pure devotion. At
least, he found some point of rest and comfort in it.)
I will meditate on you, and nothing else I will do. You alone will be my God.
Hand 2. (The hero is still there, on her left.)
In that house, far away, do you know what I will be doing day by day?
(Here Sancari is performed. )
Sanchari
The heroine describes her day in her future new house, how she imagines it now:
She is asleep in her bed. She hears sound of Krishnas flute in her dream and wakes up. She rushes to small
window and opens it. She looks out in search of her Krishna. She hears voice of Kuku bird which sits nearby on a
branch. She heroine is disappointed and scolds the Kuku. She closes the window and starts her every day routine.
She takes kollampodi pot with rice powder to make kollam or decoration in front of door), walks to entrance and
puts kollam. Suddenly she hears sound of bells. It reminds her sound of Krishnas tiny ankle bells. She springs
up and runs to right side, removes aside branch of tree and sees the cow that is shaking her head and shakes her
neck bell. She thinks, ou, this is a cow with her neck bell dangling! It is not my Krishna. She walks away
disappointed. Puts kollampodi at its place.
She sits down and starts churning butter. She collects some butter from vessel and it reminds her of Krishna gain.
She smells butter and dwells into her memories of his pranks. She thinks, he likes fresh butter! She puts butter in
a pot and ties it by a rope in a loft.
She picks up a big water pot and walks out into the street. She looks up into the sky and sees thick dark clouds.
Their color reminds her color of Krishnas body. She keeps looking at clouds for some time. Then she walks
down to the river.
There she notices how beautiful peacock opens its tail and dances as if calling the rain to come. This dance of joy
reminds her of Krishna.

She comes close to river and sits down. She cleans water, that time the first rain drops fall on her face. Her eyes
are wet, she opens them and suddenly she sees her Krishna just in front of her! He splashes water on her! She
feels so happy! She splashes water on him as well, as they did when they were kids.
Suddenly, her eyes become clean, she turns again to Krishna, but he is not there! It was only her vision. She is
shocked and scared. She looks to sides to make sure that nobody watches her. She fills her water pot very fast and
rushes back to her house.
Here the heroine repeats the Hand 1 of Charanam second line (the hero is still on her left, as if stunned by her
vision):
I will meditate on you, and nothing else I will do. You alone will be my God.
Concluding lines - Charanam
Hand 1. (Now the hero slowly returns to his initial position, to right side.)
I will be thinking of you continuously. Not otherwise. I will not loss my confidence.
Hand 2. (The hero moves to right, he is restless again.)
I will be thinking of you and you only. Not otherwise. Do you think I will cry? No, no!
(She turns away and wipes her tears.)
Concluding lines - Pallavi
Now the final scene is coming.
Hand 1. (The hero stands still on her right, at his initial place.)
My husband has come and he is calling me.
(She comes close to the hero and touches his feet. She folds her palms in her last namaskaram to him.)
Please, do not forget me!
(She rises up her eyes and here is the climax of the whole Padam she realizes that he will never forget her. He
will miss her as strongly as she will miss him. All her sorrow and feelings suppressed inside suddenly flashes out.
He starts crying.)
Hand 2. (The friend of the heroine, who is on watch, is calling her. The heroine springs up, turns to that side and
then turns back to the hero.)
See, they are calling me. I have to go now.
(Suddenly she rushes to him, takes his hand and keeps on her eyes. Then she releases his hand and starts moving
away, very slowly, her hands folded together, as if she is holding herself.)
She turns to him:
Please, remember me!
She walks away slowly, but again turns to him:
Please, do not cry! Keep your confidence!
Again she moves away slowly, but again turns to him:
I will return soon and see you again! I do not know when it will be.
Now she covers her head with veil and runs away.

Javali Telise vaga lella explained by Smt. Bragha Bessell

This Javali composed by Pattabhiramanya, is set to Bilahari Ragam, Adi Thalam.

Lyrics and meaning

Pallavi
telise vaka lella pAgA yarA
palkEvu ElAku sahimthurA

I know all your crookedness very well.

How could I tolerate your words?

Charanam 1
nanne nee rAkarinji EvEla
You always ignored me and had nice time with other woman, intoxicated.
savathithO
ullAsa sallApa mOha mAta pAta Enough of those words and songs (of yours)!
cAlu
Charanam 2
sukkAla ravamula pikkAla kala
kala
Pleasing sound of kukus chopping even that sound I cannot bear! O Shyamaraja,
ravvAla nethAla chyamarAja ee those words of yours!
palUku

Word by word meaning

Pallavi
telise I know
vaka lella all your crookedness
pAgA yarA very well
palkEvu your words
ElAku how can I
sahimthurA tolerate
Charanam 1
nanne me
nee rAkarinji you ignored
EvEla always
savathithO with other woman
ullAsa sallApa having nice time
mOha intoxicated
mAta words
pAta songs
cAlu enough
Charanam 2
sukkAla pleasing
ravamula sound of
pikkAla kukus (small birds)
kala kala chopping (i.e. making funny noise)
ravvAla those sounds

nethAla I cannot bear

chyamarAja Shyamaraja (Shyama = dark, raja = Lord, one of epithets of Krishna, the Lord of dark complexion)
ee palUku your words
Melody (svaras and notation)
Note: This item is set to Bilahari ragam. Arohana: s r g p d S, Avarohana: S n d p m g r s
(Here capital letters denote svaras of Tara sthai, i.e. upper octave).
Bilahari ragam is Janya raga (derived from) Shankarabhanrana raga (Mela No. 29), thus includes the following
svaras:
r = chatusruti rishabam (upper ri), g - antara gandharam (upper ga), m - prati madhyama (lower ma), d chatusruti daivatam (upper da), n - kakali nishadam (upper ni).
Pallavi
R,
S,
te

li

p,

dS

pal

ke

,,
nd

S,

n,

d,

p,

d,

dR

S,

,,

se

va

ga

lel

la

pa

ga

p,

mg

gr

s,

r,

gm

gr

vu

la

ku

sa

him

sn

dn

p,

,,

,,

,,

ya

ra

d,

s,

thu

ra

,,

mg

pd

d,

p,

d ,

S ,

n,

la

sa

va

thi

tho

Charanam 1
p,

p,

nan

ne

G,

MG

ul

la

, m
R,

g,

r,

g,

p,

d,

S,

S,

ni

ra

ka

rin

ci

ve

R,

,S

,,

n,

d,

Sn

d,

p,

p,

d ,

p,

d ,

pa

mo

ha

ma

ta

pa

da

ca

lu

p,

d,

S,

S,

mul

la

pik

ka

,,

n,

d,

Sn

la

shya

ma

S,
sa

sal

, la

Charanam 2
p,
p,
, m

g,

r,

g,

suk

ka

, la

ra

va

,G

MG

R,

rav

va

S,
la

R,

,S

ne

, da

, n

, n

d,

p,

d ,

S ,

n,

, la

ka

la

ka

la

d,

p,

p,

d ,

p,

d ,

ra

ja

ee

pa

lu

ku

Characters and Situation

The hero in this Javali is referred to as Shyamaraja, i.e. he is associated with playful lover, who flirts with several
ladies. This is Satha Nayaka, the deceitful one, and Drishta Nayaka, i.e. the one who is unfaithful to his beloved. He
feels guilty and pleads to forgive him. Regarding his attitude towards females, he is Vaisika Nayaka, the one who
plays and enjoys women.
Here the heroine is definitely not very young girl, as she has some experience in love relationships (she could be
Pragalbha, the one matured in love).
Considering the current state of affairs between the hero and the heroine, the heroine is Khandida nayika, i.e. the
woman who learnt about infidelity of her beloved. She noticed many signs of his dalliance with other woman and
questioned him. He lied to her trying to cover his misdeeds. She also saw him visiting the house of that lady and
she heard how they enjoyed company of each other. She has got very angry with such shameful lies and games of
her beloved.

Story line of this Javali

One day the hero comes to house of the heroine as if nothing has happened. That time she is very confident. She
wants to discontinue her relationship with him. She openly reproaches him and shows that now she is pretty well
aware of all his tricks and crookedness. She demands him to leave her house and herself.
The hero is trying to cool down the temper of his beloved. He gives different reasons and explanations, but she
cuts him off by saying that she has seen many times how she snaked into the house of another woman. This last
argument he cannot deny or explain.
The heroine complains and describes her sufferings and pitiful condition. The hero feels guilty. The heroine
demands him to keep silent and leave her house at once. He has to obey her wish. The heroine closes the door.
She is still in angry and indignant.
Let us see how this story is elaborated and presented in form of a conversation between the hero and the heroine.
Here, both the characters are supposed to be presented on the stage (so the dancer has to switch between the two
parts).
Interlude
The heroine is in her house. She plates her heir and puts flowers in front of the mirror. Supposedly, she thinks like,
"I will show him what he has lost!"
She hears somebody knocking her door. She comes to door and opens it. The hero is here, smiling as if nothing
happened. Her temper rises up, "How dares he come like that!"
She abruptly closes the door before his nose and comes back to the mirror.
She puts on earrings, necklace and bangles. She sees her reflection in the mirror and feels more confident, "Yes,
he has lost the best for nothing!"
Suddenly she sees him peeping into her window. He starts talking with her, but she comes to the window and
closes the shutters.
Now she puts on her makeup. The hero approaches her from behind and closes her eyes. She brushes his hands
off, steps aside and stares at him, "Why are you still here?"
He starts his usual explanations, which (as she knows) are not very reliable.
She is listening to his words. She still keeps silent, but inner protest starts blazing out through her eyes. Bit by bit
she becomes more and more irritated. She sizes the figure of the hero as if saying, "How you dare to lie and cheat
me in such shameless manner!"
We can see sarcasm and anger on her face. Still, she is controlling herself well. She is sarcastic and cold.
Pallavi
Hand 1. (Hero is on right side and the heroine is on the left side. She walks to him and reproaches him:)

I know all your ways very well! Please, note it! How can I tolerate your words?

(She turns away from the hero and walks aside from him.)
Hand 2.
(The hero follows her and stands in front of her he shows that he has no idea what she is talking about!)

All your cool deeds (actions), all your crookedness I know perfectly well! I have always known! You keep
talking (and giving reasons), but I cannot hear it anymore! Please, stop!
(She covers her ears with both palms and turns away from the hero again.)
Hand 3.
(But now she turns back to him to add the following:)

All those cunningness of yours!

(She turns to center, a bit aside from the hero as if thinking.)

Do you think I am not able to understand it?

(Then abruptly turns back to him:)

All those words of yours, sweet as honey dripping directly from your mouth, pierce my ears! Stay away from
me!
(She turns away and orders him to go out.)
Note: She uses suci mudra, but she directs it down, to the floor. She does not point into him, which would show
her total disregard for him, which is not the case as she is still in love. She also does not point her finger towards
the door, as if showing that she does not care where he is supposed to go.
It is also interesting to note, how Bragha Akka expressed irritation and anger of the heroine: she points finger
down and makes three fast steps, when feet beat the floor with strong sound, as if empowering the meaning of the
gesture.
Hand 4.
(The hero follows her. He stands in front of her with charming smile, in full confidence that his attractive
appearance and soft expression could help to cool her down. But the heroine gets even more sarcastic.)

O, I see how handsome your figure is! I know it very well. Bale, bale! (Bravo, bravo!)

(Now the hero calls her to come close, as he wants to tell her some secret, to her ear directly.)

What?

(She makes one step towards him and bents forward a bit to hear what he has to tell her. But his words make her
really indignant. She steps back and sizes him with fierce look of silent fury. He puts his hand on her shoulder to
bring her close, but she brushes his hand off, turns to another side and walks away from him.)
Hand 5.

This smile of yours I know perfectly well!

(The hero gets nervous. He jams his hands in hesitation and shows like: )

But I did not do anything (wrong)!

(The heroine expresses her disgust and helpless anger in one gesture):

Ayyo! I know you!

(She means that, how she could be so stupid! She knows his nature so well! What she has been dreaming about,
that he would change his nature for her sake? So stupid! She turns to another side. Now her anger is definitely not
pretended. She is close to loss her patience.)
Hand 6.
(The hero still follows the heroine and again appears in front of her, this time he makes distressed face and his
eyes are full of plea, as if please, mercy to me! The heroine continues in very cold and sarcastic way. Now she
wants to show how stupid and evident are all his lies. So she starts questioning him.)

Your beautiful eyes are so reddish like cherries! Sir did not sleep this night?

(The hero tries to turn things to his profit. He wants to put some romance in, to show how he values the heroine.
So he answers:)

It is because I have been thinking of you all the time! Sleep. I could not even close my eyes!

(The heroine knows that is lie, so she is even more irritated.)

A! Like that!

(She turns away in anger.)

Note: Here, Bragha Akka pointed out importance of eye contact. Even when the heroine mimes behavior of the
hero, she is still addresses him, talks with him and communicates her feelings, thus the eye contact in very
important point her. She should keep the hero in focus, as if asking Isnt it? after each sentenceor phrase she
presents.
Hand 7.
(The hero again follows her and stands in front of her. The heroine continues her investigation:)

O, all those kumkum marks are all over your cheeks and chin. How did it happen I wonder?

(The hero explains:)

I went to temple, prayed and received prasadam. I put it as tilak on my forehead, then I asked the Lord to
forgive me so many times (that his cheeks and chin got covered with red kumkum spots)! That is all!
(The heroine is shocked with such arrogant lie. Her covers her mouth with her hands. She cannot even answer
something!)
Hand 8.
(The heroine notices something in his hears. She comes closer and picks up small jasmine flower from his head.
She smells it it is fresh! She realizes that he has come to her directly from another woman. She takes his hand
and puts flower into it.)

O, wait a minute! What is this? A, flower! And how are you going to explain this?

(She puts flower into hand of hero. The hero takes the flower and is stunned for a moment. This time the hero
finds some safer reason, without bringing in such sacred things as temples. So he appeals to natural, very innocent
circumstances, to show how baseless her suspicions are:)

O, this is the breeze, it was so strong that all the flowers fell down. And some fell on my head too.

(The heroine is furious. This time she finds words very fast:)

How dare you!

(She stares at him with open anger.)

Hand 9.
(The heroine is tired to question him. Now, the final coda of Pallavi section in coming. She puts openly that she
knows about his infidelity and relationship with another woman:)

You embraced and enjoyed the company of another woman! All you have said is lie! Enough! Namaskaram (far
thee will)! Please, go away!
(This is final sentence of the conversation depicted in Pallavi. She makes namaskaram and orders him out and
empowers her gestures with a good powerful walk.)
Charanam 1.
(After telling the hero that she knows everything, the heroine feels like the dumb over flooded with feelings of
disappointment, jealousy, anger, regret, disdain, sadness and pain of forsaken and cheated female, and so on. She
feels insulted. He betrayed her. He left her for another woman and, what is even worse, he lied to her. She throws
all the facts into his face and do not allow him to speak and put forth his reasons any more.)
Hand 1.

You has thrown me out! Yes, it is like that only, rascal!

(She jams her feasts in helpless anger.)

All those games and lies! All those words! All those songs of yours! Enough!

Hand 2.
(Here the heroine mimes behavior of the hero how he secretly visited the house of that woman.)
(He has hesitating, go or not, but decided to go. Secretly, like a thief, he snaked to her house under cover of the
night! Before her door he stood so proud of his charms! He knocked the door and went in. There she played veena
for him and danced! And he, so full of affection to her, embraced her! So utterly disgusting behavior!)
(She puts all her power in that last gesture of aversion, as if she wants to throw all those memories out of her
mind.)
Hand 3.
(Now the heroine addresses the hero:)

That time I was standing at my door step. I saw him going and wondered why he is going that side? I
followed him and run to that house. I stand near the door and listened (what they do inside). They were so happy!
O my God! I was so upset, so disappointed!
Hand 4.

You have thrown out my love. Just like that you did it. For the sake of that fat woman! You enjoyed her, kissed
her! O God, I do not want to hear, whatever you say!
(She closes her ears with both palms.)
Charanam 2.
(Now, after discharging her insulted heart, the heroine feels sad and unhappy. She has been cheated by her
beloved. She describes how it was hard for her to realize his infidelity.)
Hand 1.

Pleasing sound of a parrot chopping has become horrible for my ears. I cannot bear it! O king Shyamaraja, all
those words of yours!
Hand 2.
(Now the heroine demonstrates how she was doing after getting know about all those lies.)

I opened the window and saw so admirable picture many birds sitting in pairs all round, chopping nicely. But
I was not able to listen to it! So I closed the window. O my Lord! All those lies of yours!
Hand 3.
(She went out of her house.)

I saw so many birds flying free in the sky and singing so beautifully! That sound pierced my ears like a needle!

(The heroine is so distressed, that she cannot control herself. She picks up a stone and throws it into the innocent
birds! At realizing what she has done, she falls on her knees, covers her face with both the palms and starts
crying.)
Concluding lines Pallavi
Hand 1.
(The hero feels awkward and guilty. He puts his hand on her shoulder, but the heroine is too distressed.)

Take away your hand! I know everything about you! How can I tolerate your words after that? Please, keep
silent! Do not say anything now!
(The heroine turns away from him. Her arms are folded on chest. She is very sure it is too much! It is
definitely enough for her.)
Hand 2.
(The hero tries to embrace her and sooth her temper by prizing her beauty, but again she brushes his hand off her
shoulder.)

O, this beautiful, cooling like fresh water, wards of yours! They are burning all my body like a fire!

Hand 3.
(The hero very quietly approaches her from behind and embraces with both his hands. She breaks his hug, takes
his right hand and drags him in front of her.)

Take off your hands! O, how handsome posture! See, all those evil lies are written all over your face! I can see
it clearly!
Hand 4.
(The heroine runs away from him. The hero blocks her on her way. She orders in anger:)

Do not even try to approach me! So many times I have told you! Cannot you hear my words?

Hand 5.
(Again the hero manages to catch her hand, and he is trying to pull her close to him.)

Leave my hand! Big Namaskaram (nice farewell) to you! Please, leave my place at once!

(The hero goes away from her house. She runs to the door and locks it from inside by very decisive gesture. She
turns her back to door and walks away in fast step, upright and indignant.)

upamugA

nE.

rAgA:

yadukulakAmbhOji.

jhampa

tALA.

Sarangapani.

P:
upamugA
nE
jEyu
upacAramulu
nIku
apacAramulugAnE
dOcenE
A:
vipula
sadguNa
sAndra
vijayAnanda
rangEndra
vindalAye
C:
niluvuTaddamu
tecci
niluvarinciti
gAni
palukarimpu
lEmani
aDigitinA
kalapamu mainiNDa naluvarincidi gAni nelavanka lEmani aDigitinA

nEDu
marEmi
bAgAye

The emperors new song the 18th century overhaul of the padam genre This paper revisits the
concept of authorship, by mining examples of a poetic-performative genre, from 18th century South
India. While our ideas of authorship are mostly derived from text-centric traditions, I look at how an
author emerges from his corpus of songs through the embedded significations of place, patron and
deity. Further the identity of the author is reified, formulated and kept current, through the performing
arts of music and dance; in a process involving the performers as well as the audiences. The pada(m)
is a musical-poetic genre, with an interesting provenance, and has always straddled the twin domains
of literature-poetry and music-dance, thereby offering itself to slightly different audiences. In its early
stages, the padam restricted itself to themes of love (shringara) and devotion (bhakti). In this article, I
discuss how Srangapi an 18th century padam poet from the principality of Krveinagaram in
South India innovated and expanded the scope of the padam, exploring themes that his predecessors
the Tapkkam poets (16th century) and Ketrayya (17th century) did not utilize. Srangapis
innovation is consonant with the sophisticated, syncretic and experientially rich humanism embodied
in the Tamil Bhakti literature, which reemerged albeit differently, in the literary and musical output of

the extended Vijayanagara empire. He has deliberately embedded in his musical compositions,
information from disciplines such as alchemy, geography, botany, and medicine (Ayurveda). This has
interesting consequences for the circulation of certain streams of knowledge that were typically the
preserve of the literate elite. Further, Srangapi is an example of an author whose biographical
details are scarce, and therefore his identity is subtended by the textual, and more importantly the
recitative and performative circulation of his songs. The signification of the site, deity and patron in
his songs are equally worthy of attention, and are constitutive of the identity of the poet and his
songs; often serving as Srangapis signature, writing the poet into the song. Finally, I examine the
padam corpus of Srangapi as a metonym for the cultural universe of Krveinagaram, and by
extension, of a significant part of 18th century South India.
Padam Dharee jUcu cunnadi
set in Shankarabharanam ragam (Mela 29) and Misra Chapu thalam,
composed by Moovalur Sabhapati Ayyar and choreographed by Smt. Rukmini Devi Arundale
Pallavi:
dAri jUcucucunnadi nIdu priya taraLAkSiyau cinnadi
She is looking for you, your beloved young maiden.
Anupallavi:
vArijamukhi nIvu vaccu vELayanu koni kOrikatO rAjagOpAla sAmi nI
That lotus faced girl, thinking that it is almost time for you to come, with desire, Oh Rajagopala, (she is looking for
you, your beloved young maiden).
Caranam 1:
vennala gAyagA vEDkamIra manci sanna jAji virula sarulanu gandhamu
pannITi cembulu paDakiNTilOnunci vannelADi talavAkiTa nilici nI
As the moon shines, she kept strands of sanna jAji (a kind of tiny jasmine flower), sandalwood and containers of
rosewater in the bedroom. Waiting at the front doorstep for you to come (she is looking for you, your beloved young
maiden).
Caranam 2:
Evaga nainanu nendu jeppuDaina nIvOyani yanci tirigi tirigi jUci
Ivaga cittamu niccalu nilipinaTTi bhAvam evarikaina bhayalaina veravakani
Whenever there is a sound anywhere, she turns around and looks, thinking that it may be you!
Without caring that anyone might recognize her mind set on you, (she is looking for you, your beloved young
maiden).
Caranam 3:
pacci paccigAnu padamulu pADucu vacci rAjagOpAlasvAmi nIvu
muccaTa lADucu muddulu peTTucu grucci kaugilinci kUDuTa dalaci nI
As she sings songs in an unrefined way, she thinks that you will come to her, embrace and kiss her. (She is looking
for you, your beloved young maiden!)

Note: Carnam 3 is not included into dance choreography)

Note: I would like to express my sincere gratitude to [Link] for correcting translation of lyrics of this
padam.

Word by word meaning

Pallavi:
dAri way
jUcucunnadi is looking
needu your
priya beloved
taralAkShiyagu the girl with the tremulous eyes
cinnadi youngster, young maiden
Anupallavi:
varija mukhi (the girl) with face like a lotus (or water lily) flower, i.e. who has so fair skin as petals of lotus,
tender features as shapes of lotus bud, and so shining smile like blooming flower, which opens out its petals to sun
neevu your
vaccu arrival, coming
vElanu time
koni to see
korikatho with desire
rajAgOpala swami nee you, O Rajagopala swami!
Note: This is the reference to the deity of Mannargudi temple, Rajagopala, Krishna as young cowherd, who stands
in svastika pada and leans on his stick, in relaxed and natural posture, surrounded by cows.
Caranam 1:
vennela moonlight
kAyaga shines
vEDka mIra with boundless delight
manci best
sanna jAji virula flowers of small jasmine
sarula garlands
sugandamu fragrance
pannIru chembunu pot of rose water
paDakinTi bedroom (paDaka bed, inti house)
lOninchi from inside
paDakinTi lOninchi from inside the bedroom (i.e. she keeps things inside her bedroom)
vannelADi young maiden

talavAkiTa the main (front) door or entrance to the house

nilici standing
Caranam 2:
EvaganainA any reason
endu wherever
cappuDainA sound is
nIvOyani thinking that it may be you
tirigi cUci turning around watching
ivaga this way
cittamu the mind
nilipinadi stayed
bhavambu feeling
evarikainA anybody
bayalaina get to know, exposed
veravaka not scared

Context and situation depicted in this Padam

There are three characters in this Padam: (1) the heroine is young and inexperienced maiden, who is in love (and
this is her first love) with Rajagopala, (2) the hero, Rajagopala swami, who is not aware of heroines feelings, or
maybe he is not sure if she loves him, and (3) Sakhi, the intimate friend of the heroine, who is presumable a bit
elder and more experienced, as she is able to notice and interpret the feelings of the two lovers and she feels
confident enough to advise the hero what to do.
Thus, Sakhi in this padam is elder friend or relative of the heroine. The hero is identified with Rajagopala swami,
the deity of Mannargudi temple. This means, that the hero is a young fellow, handsome, attractive and affectionate
by nature. The heroine is a very young maiden (cinnadi, vannelAdi), whose face is like tender lotus flower (varija
mukhi) and whose eyes are like quick fishes (tarala akshi or tremulous eyes), and whose movements remind light
and speedy jumps of young deer. The heroine falls in love with the hero without realizing what love is. Her feelings,
strong and innocent, are growing inside. She is shy and thus scared to approach the hero herself or share her
secret with anybody. Her silent hope reveals itself only to the most intimate and attentive friend. The heroine is not
able to communicate her feelings herself she does not know how to do it. She thinks of the hero all the time,
she so eager to see him that every moment she keeps waiting for his arrival. The heroine stays inside her house.
This is also the symbol of her first, unspoken and innocent love, which is kept inside, waiting for the response from
the hero.
Sakhi, as more experienced person, notices small signs of this love sickness. She reads the heroines heart as an
open book. Filled with affection and sympathy to young lovers, Sakhi approaches the hero to tell him what the
heroine feels and how eagerly she is waiting for him. (I suppose, the heroine havent ask Sakhi to do so, as there
are only indirect indications of heroines longing, and no any definite reference to the words of love addressed to
the hero.)

Entrance of Sakhi

Entrance of Sakhi

So one day, Sakhi approaches the hero. Let him sit on the bank of the river, lost
in his own thoughts and contemplation. Sakhi enters the stage and addresses
the hero (only with her eyes):

Why are you sitting here alone? Dont you know that she is waiting for you to come? Why dont you go to your
beloved, Rajagopala?
Sakhi enters the stage and looks round in search for the hero. She notices him sitting nearby. She starts talking
with him via her eyes:
A, here you are! Why sitting here, alone? Dont you know that your beloved is there, waiting for you to come? Dont
you want to go? A, like that. You are not sure? Do you think that she doesnt care of you? Ou. Please, sit for a
moment and listen what I have to tell you now.
And Sakhi begins her story with the first line of Pallavi (refrain).

Pallavi
She is waiting for you, your beloved, still so young maiden, every moment, her tremulous (quick) eyes being
restless.
Hand 1.
Continuously watching the road, this young maiden with quickly moving eyes is, your beloved.
Sakhi portrays how the heroine is standing nearby her house and watching the
road continuously, without withdrawing her yeas aside even for a minute. This
Your beloved
road (supposedly) leads from her house to the place the hero lives in or may be
is running in direction, from which he used to come near by the heroines place.
The heroine is afraid to miss this precious moment, when his siluette appears far
away, on this road running to her house.
Sakhi says, your beloved she is, I do know. So keen and quick her looks are when she is waiting for you! She is still
a small girl, your beloved.
Note: in this hand, the beloved one is indicated using alapadma hastas of both the hands, as if radiant feelings of
love and affection flow directly from the heart of one lover to the heart of another one.
Hand 2.
Looking attentively along the river (which is wide and flows slowly nearby her house), she is waiting for you, your
beloved (utmost joy and pleasure of your heart), whose eyes are like fishes, quickly sliding inside the flow, she is
still very young, your beloved!

She is still very small girl

Here Sakhi portrays how the heroine is standing on the bank and watching
attentively if the hero is coming down the river. In this hand, Sakhi compares
the beloved one with the source of utmost joy and pleasure hidden inside the
heart of the hero. Sakhi compares the eyes of the heroine with small fishes,
which hasten gracefully along the flow of the river.

Hand 3.
Standing on the doorstep (like that only), she is waiting for you, your beloved one, the one with whom you are
connected by tender relationship. Her eyes are sharp like a spear, and her looks are fast and flying spear.

Standing on door step

Sakhi shows how the heroine is standing on doorstep of her house and looks far
away, waiting for the hero. Sakhi uses kilaka mudra to denote tender
relationship between two lovers. She compares the eyes of the heroine with the
end point of the spear, so sharp they are! And her looks are as fast as the flying
spear.

Hand 4.
Thinking that nobody sees her, she hides behind the curtain and looks out on the street, waiting for you to come.
She is your beloved, your joy and happiness. She is like a small scared deer jumping lightly, looking from side to
side, your beloved, who is still in so tender age.

Like a deer

Here Sakhi depicts secret ways which the shy young girl uses to keep her eyes
on the street waiting for her beloved to come. She hides inside, behind the
curtain (she is shy and afraid of showing her feelings openly) and looks out from
behind the curtain thinking that nobody notices it.

Here Sakhi denotes beloved as the one radiant with love, who fills heros world with pure happiness. Sakhi
compares the heroine with young deer, who is scared of being seen, who hides behind the bush. She is like tender
and beautiful deer with wide open, restless eyes.
Note: In Pallavi Sakhi describes the current condition of the heroine. Further on, she proceeds to Anupallavi and
shares some observations with the hero. She tells him what the heroine used to do inside her house, how she is
preparing herself for every meeting with him.

Anupallavi
Hand 1.
She, whose face is like tender lotus flower, is waiting impatiently for your arrival to her place. O Rajagopala, you are
the only object of her (secret) affection. Her thoughts are filled with you, O Rajagopala, the one who protects the
cows; she is suffering (of separation).
Here, Sakhi refers the heroine as the one whose face is like lotus flower, tender and fair. She shows how
impatiently the girl waits for somebody to come, and tells that this person is the hero only (it is you and only you!),
the one who protects the cows. The heroine is looking here and there. Her love is hidden deeply inside her heart.
She is suffering in silence, thinking of the hero only.
Hand 2.
She whose face is like full moon rising from the clean waves of the ocean, is constantly searching for the one with
the flute. Her heart is blooming with love for you, o Rajagopala, whose pranks (like breaking pots with curd and
making mess) are very well known!
Here Sakhi compares freshness, fairness and brightness of heroines face with
full moon, rising from the ocean. She portrays how eagerly the heroine is
Tremulous eyes
searching for the one cowherd, who is famous flute player. Sakhi shows how love
radiates from the bottom of heroines heart, like aroma of blooming flowers.
Sakhi adds that the object of heroines affection is the one who did all those
messy things like breaking pots, she says, this is you, isnt it?
Note: In Pallavi sthayi bhava (Sringara) is mixed up with drop of Karuna, sympathy for the poor girl, who is
waiting for a long time, and who is too young and shy to express her feelings. In Anupallavi the shade of Sringara
is a bit different. Here Sakhi describes shining prettiness of heroine and humorously gives the hero a hint regarding
the object of heroines desires. Thus, Sringara in Anupallavi is decorated with drop of Hasya.

Caranam 1.
When full moon illuminates the earth with its bright shining light, she (the heroine) is overfilled with love. She picks
up tiny petals of jasmine flowers, makes garland and decorates small image (supposedly, this is the image of the
hero). She prepares sandalwood paste, takes vessel filled with aromatic rose water and keeps it in her bedroom,
near by the bed she sleeps in. She put on her best fine silk sari. She covers her face with pallu and stands on
doorstep, looking from behind the veil out, waiting for you.

Here Sakhi is describing how the heroine decorates her bedroom and herself
waiting for her beloved to come. Evening time, on a fool moon (vennela gayaka)
night, when silver moonlight creates the most romantic atmosphere, that time,
overfilled with boundless delight (vedka meera manci), the heroine collects the
most delightful things, flower garlands (sanna jaji virula), cooling sandal paste
(gandhamu) and rose essence (panniru) and keeps in her bed room. Dressed in
the finest silk sari, draped so gracefully, she covers her head with veil and still,
stand and looks for the hero to come, every moment.

Waiting

Note: This Caranam conveys very romantic and even playful atmosphere of
expectation, when so many beautiful things giving pleasure, are put together by
the heroine and just one step is the distance the hero should over to get this
pleasure and fulfil his love. Bhava in this Caranam I would call as Playful and

romantic Sringara.

Caranam 2.
She is always alert. She set your mind on you very firmly. Any slightest sound she notices carefully, thinking that it
is you (coming). She does not care (she is not scared) if somebody gets to know how strongly (firmly) her mind is
set on you.