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Isaimozhi
Lyrics & meaning

Paraseega Kavignaukkum

From Anbu Roja · 1975

Lyricist
Vaali
Singers
Vani Jairam, Chorus
Music director
Sankar Ganesh
Details
Anbu Roja1975

Lyrics & meaning

Tanglish lyrics English translation
Female
Aa…aa….aa….Vocalizing: Ah... ah... ah...
Haa…aaa…aa…aa…aa…Vocalizing: Ha... ah... ah... ah... ah...
Female
Paaraseega kavinjanukkumEven for Persian poets,
Pattezhudhi thandhaval naan…I am the one who wrote verse for them...
Baaghdhaadh nagarathilaeIn the city of Baghdad,
Bavaniyaai vanthaval naanI am the one who arrived like a grand procession.
Arabiya dhesathaiyae adimai konduEnslaving the entire land of Arabia,
Nindraval naa…aaa…aa…aa…aa.n…I am the one who stood triumphant...
Aayiram baadhushaavai azhagaalaeConquering a thousand emperors with beauty,
Vendraval naa…aa…aa…aa….anI am the one who won them over...
Male
Are wah wah wah wahBravo! Bravo! Bravo!
Female
Aadhabar mera salaam salaam haeiRespectful greetings, my salaam, salaam!
Aadhabar mera salaamRespectful greetings, my salaam!
Aadhabar mera salaam salaam haeiRespectful greetings, my salaam, salaam!
Aadhabar mera salaamRespectful greetings, my salaam!
Ennodu aadalaam ellorum paadalaamEveryone can dance with me, everyone can sing!
Ennodu aadalaam ellorum paadalaamEveryone can dance with me, everyone can sing!
Aadhabar aadhabar mera salaam salaam haeiRespectful greetings, respectful greetings, my salaam, salaam!
Aadhabar mera salaamRespectful greetings, my salaam!
Female
Golkonda sultan en kaal kandaanThe Sultan of Golconda saw my feet,
Kaal kandu en meedhu maal kondaanSeeing my feet, he fell deeply in love with me.
Per azhagi noorjahaan nee endraanHe praised me, calling me the great beauty Noorjahan,
En begamae beeviyae vaa endraan…aa…aa…aa..He said, 'Come, my Begum, my wife!'
Male
Kyaa majaa haiWhat delight this is!
Female
Aadhabar aadhabar mera salaam salaam haeiRespectful greetings, respectful greetings, my salaam, salaam!
Aadhabar mera salaamRespectful greetings, my salaam!
Female
Aththar manam veesumFragrant with the scent of attar perfume,
Haragajaam maeni idhuThis body is smooth like fine ivory/silk.
Akbar magan naadum anaarkali jaadhi idhuThis is of Anarkali's lineage, sought after by Akbar's son.
Fardhaa maraitha mugam badam paal kinnam idhuThe face hidden behind the veil is like a bowl of almond milk.
Panjanaiyil nee vandhaal konjugindra annam idhuIf you come to the bed of cushions, she is a caressing swan,
annam idhuShe is a swan.
Male
Waare waah mere bul bulBravo! Bravo, my nightingale!
Female
Aadhabar mera salaam salaam haeiRespectful greetings, my salaam, salaam!
Aadhabar mera salaamRespectful greetings, my salaam!
Ennodu aadalaam ellorum paadalaamEveryone can dance with me, everyone can sing!
Ennodu aadalaam ellorum paadalaamEveryone can dance with me, everyone can sing!
Aadhabar aadhabar mera salaam salaam haeiRespectful greetings, respectful greetings, my salaam, salaam!
Aadhabar mera salaamRespectful greetings, my salaam!
Female
Aadhabar mera salaam salaam haeiRespectful greetings, my salaam, salaam!
Aadhabar mera salaamRespectful greetings, my salaam!

Beyond the translation

Song interpretation

This song from the film 'Anbu Roja' (1975) is a lively courtesan dance song written by Vaali. The dancer vaunts her legendary beauty and irresistible charm, boasting that she has enchanted poets, emperors, and sultans across Arabia, Persia, Baghdad, and Golconda. She draws parallels between herself and iconic figures of royal romance like Noorjahan and Anarkali, inviting the audience to sing and dance along with her. Blending Tamil lyrics with Urdu/Hindustani phrases like 'Aadhabar mera salaam' and 'Kya majaa hai', the song evokes the opulent atmosphere of Mughal court dance performances (kotha/mujra). The imagery focuses on sensory delights, perfume, silk, and imperial adoration.

Writing craft

Poetic devices

Code-Switching / Cultural Allusion

Aadhabar mera salaam salaam haei

Blends Tamil with Urdu courtly greetings ('Aadhabar mera salaam') and historical figures ('Golkonda sultan', 'Noorjahan', 'Anarkali') to construct a Mujra/court dancer motif.

Metaphor (Uvamai / Uruvagaim)

Fardhaa maraitha mugam badam paal kinnam idhu

Compares her veiled face to a bowl of sweet almond milk ('badam paal kinnam idhu') and her presence on the bed to a loving swan ('konjugindra annam idhu').

Internal Rhyme / Iyaibu

Ennodu aadalaam ellorum paadalaam

Rhyming pair 'aadalaam' (dance) and 'paadalaam' (sing) creates rhythm suited for a dance performance.

Monai (Initial Consonant Alliteration)

Kaal kandu en meedhu maal kondaan

Repetition of the 'K' sound ('Kaal', 'Kandu') at the start of adjacent words/phrases.

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Trivia

The song incorporates authentic Urdu/Hindustani court terminology ('Aadaab', 'Mera Salaam', 'Begum', 'Beevi', 'Bulbul') seamlessly into Tamil lyrics, a signature technique of lyricist Vaali when writing club, cabaret, or Mujra songs in 1970s Tamil cinema.

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