Vil Veeranai
From Jayasimma · 1955
- Lyricist
- Thanjai N. Ramaiah Dass
- Singer
- Ghantasala
- Music director
- T. V. Raju
- Details
- Jayasimma1955
Lyrics & meaning
| ♫ Tanglish lyrics | ↻ English translation |
|---|---|
| Male | |
| {Vil veeranai sodhari | Subhadra, the sister of the divine Lord, |
| Manam virumbhiya hari | Whose heart deeply loved Hari's favorite, |
| Theertha yaathirai yeghiya naranai | Nara (Arjuna), who was on a holy pilgrimage, |
| Dhwarakkai munn maaya muni | Before Dwarka, Hari, the illusionary mystic, |
| Uruvaagha seidhaan | Transformed him into a holy sage, |
| Male | |
| Vaazhvil oru naal magizhavae | To bring joy on a special day in life. |
| Appadiyaagha vandhu | Having arrived in that disguise, |
| Kabada nilaiyil manadhai izhandhu | Losing her heart to his deceptive form, |
| Kadhiyena avan paadhamalaradi | Seeking sole refuge at his lotus feet, |
| Panindhaal subhathraiyum | Subhadra bowed down respectfully, |
| Karunaiyin uruvil mandraadinaal | And pleaded as the epitome of mercy, |
| Kanindhu nilaiyai marandhadhinaal | Melted in love and forgetting her royal status, |
| Komagan munbae} (Dialogue) | In front of the noble prince. |
{வில் வீரனை சோதரி
மனம் விரும்பிய ஹரி
தீர்த்த யாத்திரை ஏகிய நரனை
துவாரகை முன் மாயா முனி
உருவாக செய்தான்
Subhadra, the sister of the divine Lord,
Whose heart deeply loved Hari's favorite,
Nara (Arjuna), who was on a holy pilgrimage,
Before Dwarka, Hari, the illusionary mystic,
Transformed him into a holy sage,
வாழ்வில் ஒரு நாள் மகிழவே
அப்படியாக வந்து
கபட நிலையில் மனதை இழந்து
கதியென அவன் பாதமலரடி
பணிந்தாள் சுபத்திரையும்
கருணையின் உருவில்
மன்றாடினாள்
கனிந்து நிலையை மறந்ததினால்
கோமகன் முன்பே} (வசனம்)
To bring joy on a special day in life.
Having arrived in that disguise,
Losing her heart to his deceptive form,
Seeking sole refuge at his lotus feet,
Subhadra bowed down respectfully,
And pleaded as the epitome of mercy,
Melted in love and forgetting her royal status,
In front of the noble prince.
{Vil veeranai sodhari
Subhadra, the sister of the divine Lord,
Manam virumbhiya hari
Whose heart deeply loved Hari's favorite,
Theertha yaathirai yeghiya naranai
Nara (Arjuna), who was on a holy pilgrimage,
Dhwarakkai munn maaya muni
Before Dwarka, Hari, the illusionary mystic,
Uruvaagha seidhaan
Transformed him into a holy sage,
Vaazhvil oru naal magizhavae
To bring joy on a special day in life.
Appadiyaagha vandhu
Having arrived in that disguise,
Kabada nilaiyil manadhai izhandhu
Losing her heart to his deceptive form,
Kadhiyena avan paadhamalaradi
Seeking sole refuge at his lotus feet,
Panindhaal subhathraiyum
Subhadra bowed down respectfully,
Karunaiyin uruvil mandraadinaal
And pleaded as the epitome of mercy,
Kanindhu nilaiyai marandhadhinaal
Melted in love and forgetting her royal status,
Komagan munbae} (Dialogue)
In front of the noble prince.
Beyond the translation
Song interpretation
This poetic recitative verse from Jayasimma (1955) illustrates the famous epic story of Subhadra and Arjuna. Lord Krishna (Hari) cleverly disguises Arjuna (Nara) as an ascetic sage ('maaya muni') when he visits Dwarka during his pilgrimage. Unaware of the disguise yet deeply enamored by him, Subhadra surrenders her heart and humbles herself at his feet, forgetting her royal pride in pure love and devotion.
Writing craft
Poetic devices
Metaphor (Urvagathai)
“Kadhiyena avan paadhamalaradi”
Refers to the subject's feet as 'paadhamalaradi' (lotus-like feet), blending divine worship with poetic elegance.
Mythological Allusion (Purana Kurippu)
“Dhwarakkai munn maaya muni”
Alludes to the Mahabharata episode where Krishna transforms Arjuna into a hermit to facilitate his marriage with Subhadra in Dwarka.
Alliteration (Monai)
“Kanindhu nilaiyai marandhadhinaal”
Repetition of consonant sounds across 'Kanindhu' and 'Komagan' to enhance rhythmic oral recitation.
Did you know?
Trivia
Jayasimma (1955) was simultaneously shot in Telugu and Tamil, starring N. T. Rama Rao. The score by T. V. Raju relied heavily on legendary singer Ghantasala to deliver traditional verse recitations that mimicked classic theatrical 'Padyam' renditions popular in mid-20th-century South Indian cinema.
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