- Lyricist
- Kannadasan
- Singer
- T. M. Soundararajan
- Music director
- M. S. Vishwanathan
- Movie name
- Ganga Gowri
- Movie release year
- 1973
- Lyrics added on
- 17 Aug 2021
Lyrics & meaning
Beyond the translation
Overall song meaning
This song from the mythological movie 'Ganga Gowri' (1973) portrays the Hindu myth of Lord Shiva in his 'Bhikshatana' (Pichandi) form—the cosmic beggar. After plucking off Lord Brahma's fifth head out of anger, Brahma's skull became stuck to Shiva's hand as a sign of Brahmahatya dosha (the sin of killing a Brahmin). Shiva is condemned to roam the earth as a mendicant, begging for alms until the skull is filled. In the lyrics penned by Kannadasan, Lord Shiva humbly pleads to the devotees for alms and compassion to rid him of the cursed skull stuck to his hand and the epithet 'Kabaali' (bearer of the skull). The song brilliantly highlights the tragic irony of the Almighty God—whose hands usually shower endless blessings—now holding a beggar's bowl due to a moment of uncontrolled anger.
Writing craft
Poetic devices
Contrast / Irony
“Aandavan endru silar ennai azhaippaar / Aandi ivan endrae bhramman azhaithaan”
Juxtaposition of Shiva's divinity ('Aandavan' / hands that bless devotees) against his fallen state as a beggar ('Aandi' / holding a begging bowl 'thiruvodu').
Monaai (Initial Rhyme / Alliteration)
“Pichandi thannai kandu pichai idungal”
Repetition of the initial 'Pi' sound in 'Pichandi' and 'pichai'.
Edukai (Second Letter Rhyme)
“Saathirathil vandhadhillai indha paavam / En aathirathil vandhadhu thaan indha saabam”
Matching of the second consonant sound 'th' in 'Saathirathil' and 'Aathirathil'.
Symbolism
“Kaiyil ottiyulla oduthanai thatti vidungal”
'Odu' (the skull bowl) symbolizes karma, ego, and the physical manifestation of a curse sticking to one's actions.
Did you know?
Trivia
In Hindu iconography, the Bhikshatana avatar represents Shiva as the supreme mendicant. The term 'Maadootti' in line 28 refers to Shiva as the rider of the sacred bull (Nandi). This song was soulfully rendered by T.M. Soundararajan and set to music by M.S. Vishwanathan, capturing both devotional reverence and emotional pathos.
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