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Isaimozhi
Lyrics & meaning

Jimkaana Jimkaana

From Thedi Vantha Lakshmi · 1973

Lyricist
Kannadasan
Singer
L. R. Eswari
Music director
M. S. Sanjay
Movie name
Thedi Vantha Lakshmi
Movie release year
1973
Lyrics added on
18 May 2023

Lyrics & meaning

♫ Tanglish lyrics
↻ English translation
Jimkhana jimkhana enakkul undu
Dham meraa thamellaam enakkum undu
Jimkhana jimkhana enakkul undu
Dham meraa thamellaam enakkum undu
Ingu aangal ketppadhu sorgam
Idhil penmai yen kollum vetkam
Jimkhana jimkhana enakkul undu
Dham meraa thamellaam enakkum undu
Thottu thottu suvai paarpadhil
thukkam illai
Katti katti sugam serpadhil vetkamillai
Thottu thottu suvai paarpadhil
thukkam illai
Katti katti sugam serpadhil vetkamillai
Madhuvenbadhum mangai enbadhum
Madhuvenbadhum mangai enbadhum
Iraivan padaippu
Vidiya vidiya kadhaiyai padikkava
Jimkhana jimkhana enakkul undu
Dham meraa thamellaam enakkum undu
Kottum thaenae kudithaal adhil mogam thullum
Konjam pennai anaithaal adhu yedho sollum
Kottum thaenae kudithaal adhil
mogam thullum
Konjam pennai anaithaal adhu yedho sollum
Manam vellalaam ahaaa ahaa
Udal vellumaa ooho ooho
Manam vellalaam udal velluma
Virundhu arundhu
Kudikka kudikka inikkum rasathai thaa
Jimkhana jimkhana enakkul undu
Dham meraa thamellaam enakkum undu
Ingu aangal ketppadhu sorgam
Idhil penmai yen kollum vetkam
There is a gymkhana inside me
All that intoxicating fire is in me too
There is a gymkhana inside me
All that intoxicating fire is in me too
What men ask for here is heaven
Why should womanhood feel shy about it?
There is a gymkhana inside me
All that intoxicating fire is in me too
In touching and tasting
There is no sorrow
In embracing close and sharing pleasure, there is no shame
In touching and tasting
There is no sorrow
In embracing close and sharing pleasure, there is no shame
Both wine and a woman
Both wine and a woman
Are creations of God
Shall we read this story until dawn?
There is a gymkhana inside me
All that intoxicating fire is in me too
If you drink flowing honey, desire leaps up inside
If you hold a woman close, it whispers something sweet
If you drink flowing honey
Desire leaps up inside
If you hold a woman close, it whispers something sweet
The mind might conquer, aha, aha
Can the body conquer? Oho, oho
The mind might conquer, but can the body conquer?
Enjoy the feast
Give me that nectar that turns sweeter with every sip
There is a gymkhana inside me
All that intoxicating fire is in me too
What men ask for here is heaven
Why should womanhood feel shy about it?
Female
Female
Female
Female
Female
Female

Beyond the translation

Overall song meaning

This classic Tamil cabaret dance track expresses bold, seductive themes of pleasure, romance, and untamed energy. The singer invites the listener into a world of carefree enjoyment, questioning traditional notions of female modesty when it comes to expressing love and sensory bliss. She equates liquor and femininity to divine creations intended to bring joy to humanity. Throughout the track, the lyrics compare affection and physical intimacy to tasting honey and celebrating a feast that lasts until dawn. It highlights the playful struggle between mind and body, ultimately celebrating passionate romance and lively entertainment without hesitation or sorrow.

Writing craft

Poetic devices

Adukkut Thodar (Repetition for Emphasis)

Thottu thottu suvai paarpadhil

The words 'Thottu thottu' and 'Katti katti' repeat identical root words to intensify the tactile action and emotion.

Emon / Monai (Initial Rhyme / Alliteration)

Madhuvenbadhum mangai enbadhum

The lines use matching starting consonants across segments such as 'Madhuvenbadhum' and 'Mangai' to create rhythmic flow.

Metaphor (Uruvagim)

Kottum thaenae kudithaal adhil mogam thullum

Comparing a woman's love and sweetness directly to overflowing honey ('Kottum thaenae').

Did you know?

Trivia

This track features playback singer L.R. Eswari, famous for her high-energy club and cabaret numbers in South Indian cinema during the 1960s and 1970s. The song incorporates Hindi-influenced club slang ('Dham mera') to fit the modern club dancer persona popular in the film aesthetic of that era.

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