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Isaimozhi
Lyrics & meaning

Thenooruthe Aasaiyo

From Vellai Pura Ondru · 1984

Lyricist
Na. Kamarasan
Singer
S. Janaki
Music director
Ilayaraja
Details
Vellai Pura Ondru1984

Lyrics & meaning

Tanglish lyrics English translation
Female
Thaenooruthae aasaiyo meeruthaeHoney drips as desire overflows.
Thegamthaanae poraadutheyThe body itself is struggling with longing.
Thaenooruthae aasaiyo meeruthaeHoney drips as desire overflows.
Thegamthaanae poraadutheyThe body itself is struggling with longing.
Naanae pudhu roja neeyae thodu rajaI am a fresh rose, touch me, my king.
Naanae pudhu roja neeyae thodu raja hae haeI am a fresh rose, touch me, my king, hey hey.
Female
Thaenooruthae aasaiyo meeruthaeHoney drips as desire overflows.
Thegamthaanae poraadutheyThe body itself is struggling with longing.
Female
Poovil vandai theda pudhu poovil vandaadaSeeking a bee in the flower, for the bee to dance on the fresh flower.
Thaenae kaalamaaga adhil thegam kondadaOh sweet one, let the body celebrate in it over time.
Arugae asainthathu mogam iravaellaam aasai veganInfatuation swayed nearby, with desire's speed all through the night.
Udaiyo kidanthathu paavam azhagaellaam kadhal thaagaamPoor clothes lay discarded, as all beauty thirsts for love.
Female
Kanavae…yae…azhako ival adimaiIs it a dream? Beauty is her slave.
Ilamai ival urimaiYouth is her right.
Annamenna meenai theduLike a swan searching for fish.
Enna enna inikkuthuHow sweet everything feels!
Thaenoorum….thaenoorumHoney oozes... honey oozes.
Thaenoorum thannananathannaanaHoney oozes, thannananathannaana.
Female
Thaenooruthae aasaiyo meeruthaeHoney drips as desire overflows.
Thegamthaanae poraadutheyThe body itself is struggling with longing.
Chorus
………………....
Female
Kadhal odai thaedi adhil neenthi vilaiyaadiSearching for the stream of love, swimming and playing within it.
Paavai koyil poojai oru jaamam nee thaediSeeking worship in the temple of the maiden for a part of the night.
Viralae padiththathu paadam vizhi moodum vaipogamFingers learned the lesson, as eyes close in supreme bliss.
Arugae izhuththu thegam adhu kadhal saamrajyamPulling the body close, that is the empire of love.
Female
Sugamae….ae…..ae…..Oh bliss...
Mudhumai thirai ezhuthuDraw the curtain on old age.
Ilamai kalai pazhaguMaster the art of youth.
Konji konji azhaikkuthuCoaxing and calling sweetly.
Konja konja mayanguthuSlowly swooning in ecstasy.
Thaenoorum….thaenoorumHoney oozes... honey oozes.
Thaenoorum thannananathannaanaHoney oozes, thannananathannaana.
Female
Thaenooruthae aasaiyo meeruthaeHoney drips as desire overflows.
Thegamthaanae poraadutheyThe body itself is struggling with longing.
Naanae pudhu roja neeyae thodu rajaI am a fresh rose, touch me, my king.
Chorus
………………………....

Beyond the translation

Song interpretation

Thaenooruthae is a highly sensual and poetic romantic track from the 1984 Tamil film Anbulla Rajinikanth, composed by Ilaiyaraaja and written by Na. Kamarasan. Sung with evocative expression by S. Janaki, the song captures a woman's intense romantic longing, physical warmth, and passionate devotion toward her lover. Using lush imagery of flowers, bees, stream waters, and nocturnal bliss, the lyrics paint an enchanting portrait of intimate surrender and youthful romance.

Writing craft

Poetic devices

Uruvagam (Metaphor)

Naanae pudhu roja neeyae thodu raja

The speaker compares herself to a fresh rose ('Naanae pudhu roja') awaiting her lover's touch.

Ethirai (Second-letter Rhyme)

Thaenooruthae aasaiyo meeruthae / Thegamthaanae poraaduthey

The second letters 'ee' in 'Thaenooruthae' and 'eg' / 'ee' structure in Tamil couplets create rhythmic harmony.

Sensual Imagery

Viralae padiththathu paadam vizhi moodum vaipogam

Vivid descriptions of touch, closed eyes in ecstasy, and physical closeness evoke intimacy and tender passion.

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Trivia

Composed by Maestro Ilaiyaraaja for the film Anbulla Rajinikanth (1984), 'Thaenooruthae' stands out for S. Janaki's delicate vocals and Na. Kamarasan's rich lyrical metaphors, making it one of the classic intimate melodies of 1980s Tamil cinema.

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