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Isaimozhi
Lyrics & meaning

Vellai Kalai Uduthum

From Iraivan Kodutha Varam · 1978

Lyricist
Kannadasan
Singer
M. S. Vishwanathan
Music director
M. S. Vishwanathan
Movie name
Iraivan Kodutha Varam
Movie release year
1978
Lyrics added on
22 Aug 2023

Lyrics & meaning

♫ Tanglish lyrics
↻ English translation
Vellai kalai uduththum kalaimagalae
Nee vithavaiyalla athai naan arivaen
Ival illa kamalam adhil uraiyum idam
Oruvarukko illai iruvarukko
Vellai kalai uduththum kalaimagalae
Nee vithavaiyalla athai naan arivaen
Ival illa kamalam adhil uraiyum idam
Oruvarukko illai iruvarukko
Oruvanukku maaliyittaal
Avaraial kandaal
Matoruvarukku maalaiyittaal
Izhanthuvittaal
Ival sumangaliyaa illai amangaliyaa
Sumangali enbatharkku ivan satchi
Amangali enbatharkku avan satchi
Kalanguthammaa ival manasatchi
Nee kaatividu oru katchi….
Vellai kalai uduththum kalaimagalae
Nee vithavaiyalla athai naan arivaen
Ival illa kamalam adhil uraiyum idam
Oruvarukko illai iruvarukko
Nangaiyar vaazhvil idhu pudhiya kadhai
Idhu nadaththinaaal ivalukku chithravathai
Kavalaiyil vaaduthammaa pachaikili
Nee kaatti vidu vaazhvil nalla vazhi
Vellai kalai uduththum kalaimagalae
Nee vithavaiyalla adhai naan arivaen
Ival ulla kamalam adhil uraiyum idam
Oruvarukko illai iruvarukko
Kattiyathumattumindri thottavarillai
Ival kanni kazhikka oru kaariyamillai
Palliyaraiyilae avanai kaana ninaiththaal
Indru palliyilae avanai landu pidiththaal
Kelvi piranthathammaa bathil illai
Oru kilarchchi ezhunthathammaa mudivu illai
Vaazhvu kalanguthammaa vazhiyillai
Vaai thiranthu solla mozhiyillai
Vellai kalai uduththum kalaimagalae
Nee vithavaiyalla adhai naan arivaen
Ival ulla kamalam adhil uraiyum idam
Oruvarukko illai iruvarukko
O Goddess of arts dressed in white robes,
I know well that you are not a widow.
The lotus of her home, the space to dwell in—
is it meant for one man, or for two?
O Goddess of arts dressed in white robes,
I know well that you are not a widow.
The lotus of her home, the space to dwell in—
is it meant for one man, or for two?
She placed a wedding garland on one man,
and faced her fate through him;
she garlanded another man,
and lost him completely.
Is she a wedded wife or a widow?
This man is proof that she is a wedded wife;
that man is proof that she is a widow.
Her conscience is in deep turmoil, O Mother;
show her a vision and guide her way...
O Goddess of arts dressed in white robes,
I know well that you are not a widow.
The lotus of her home, the space to dwell in—
is it meant for one man, or for two?
In the lives of women, this is a strange new tale;
if this goes on, it is pure torture for her.
Like an innocent green parrot, she withers in sorrow, O Mother;
show her a good path in life!
O Goddess of arts dressed in white robes,
I know well that you are not a widow.
The lotus of her heart, the space to dwell in—
is it meant for one man, or for two?
Besides tying the knot, he never touched her;
there was never a moment for her innocence to end.
When she hoped to meet him in the bedroom,
today she found him in a school and held him close.
A question has arisen, O Mother, with no answer;
an inner turmoil has stirred, with no end in sight.
Her life is in distress, with no way forward;
there are no words to open her mouth and speak.
O Goddess of arts dressed in white robes,
I know well that you are not a widow.
The lotus of her heart, the space to dwell in—
is it meant for one man, or for two?
Male
Male
Male
Male
Male
Male
Male
Male
Male
Male

Beyond the translation

Overall song meaning

This dramatic philosophical song from Iraivan Kodutha Varam (1978) addresses Saraswati (Kalaimagal), the Goddess of Knowledge and Arts who wears white garments yet represents eternal divine purity rather than widowhood. The song explores the tragic plight of a woman trapped in an unusual social and personal dilemma after marrying twice under tragic circumstances without ever experiencing marital intimacy. It questions traditional definitions of auspiciousness ('sumangali') and misfortune ('amangali') in society. Through poignant lyrical imagery by Kannadasan and expressive vocal delivery by M. S. Vishwanathan, the song pleads to the divine for clarity, justice, and a moral path forward for a woman suffering through no fault of her own.

Writing craft

Poetic devices

Metaphor (Uvamaani / Uruvagam)

“Vellai kalai uduththum kalaimagalae / Nee vithavaiyalla athai naan arivaen”

Saraswati dressed in white is invoked to metaphorically contrast divine purity with societal stigma around white garments associated with widowhood.

Emoni / Rhyme (Egbai / Anthaadhi-style end rhyme)

“Sumangali enbatharkku ivan satchi / Amangali enbatharkku avan satchi / Kalanguthammaa ival manasatchi”

Use of rhyming endings such as 'ivan satchi', 'avan satchi', 'manasatchi', and 'katchi' creates a powerful rhythmic resonance in expressing grief.

Metaphor (Pachaikili)

“Kavalaiyil vaaduthammaa pachaikili”

Comparing the innocent, fragile woman to a 'pachaikili' (green parrot) wilting in sorrow.

Contrast / Antithesis (Sileshai / Muran)

“Ival sumangaliyaa illai amangaliyaa”

Contrasting concepts of 'sumangali' (auspicious married woman) and 'amangali' (inauspicious/widow) to highlight her paradoxical societal status.

Did you know?

Trivia

Composed and sung by the legendary M. S. Vishwanathan himself, this track stands out for its theatrical, emotive rendition and philosophical lyrics written by Kannadasan. The song frames a crucial narrative conflict in the film regarding societal attitudes towards women's chastity, remarriage, and fate.

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