Some historical snippets of BN – Part 13 – Three rare Javalis

Undated and Unknown dancers (Image courtesy: LIFE)

Undated and Unknown dancers (Image courtesy: LIFE)

In continuation to two previous posts on Javalis in the historical snippets series (part8, part9),  in this post we will see three Javalis, published in the Journal of Music Academy of Madras. Along with the lyrics and notations, the meanings are also given in this post.

Disclaimer: I have attached the link to the pdf of the lyrics with notations as part of this post. I am not really quite sure of the copyright, although the website had no mention of it anywhere. So, I will remove the document if anyone points to any copyright infringement.


Undated and Unknown dancers (Image courtesy: LIFE)

A little background before we see the Javalis. These were composed by the well-known Javali composers, Tirupati Narayanaswamy Naidu and Tirupanandal Pattabhiramayya. These lyrics with notation are edited by T. Sankaran, the musicologist who belonged to Veena Dhanammal family.

While the javali “baayarani paalice” (Kapi, Rupakam) is composed by Tirupati Narayanaswamy Naidu, the other two “mariyAdaTe mAninI” (Poorvikalyani, Desadi) and “nI lAlana cAlu” (Dhanyasi, Rupakam) are composed by Tirupanandal Pattabhiramayya. In the

With the absence of aspirated consonants in Tamil transliterating them in Telugu was the first and important step needed. This post wouldn’t have been possible without the help of people well-versed in Telugu. Thanks to members, (member id: lakshman, aaaaabbbbb, classicallover, vasanthakokilam) I was able to understand what the lyrics meant. If you want to access the entire thread of conversation and the pains taken while translating, please click on the links to in the references. [1 – 3]

Back to the lyrics. T. Sankaran mentions that the Pattabhiramayya’s javalis were took from Enadi Sister’s manuscripts. Enadi sisters were Lakshminarayani and Rangamma (or Rangiammal) were disciples of Patnam Subbramania Ayyar. In the book “Another Garland” by N. Rajagopalan published in 1992, it says [4]

…they were speed merchants in melody and a popular duo.

The sisters were however misers in hoarding their fabulous repetoire. They would put their tambura away the moment they heard of visitors.

In the same book, T. Sankaran says

…my mother Lakshmiratnammal tried very hard to learn a few from them. They did begin to teach her a song in Behag. After two lines the lesson ceased with “Come, next Sunday”. But that Sunday never came. They died penniless.

Now, I didn’t quote the above to make a judgement of them. I have no right to do that. Of course, plagiarism could have been the most probable reason for them not to spread their musicality. Unfortunately, practices like these led to no proper documentation of the artist’s creativity and some of them have been lost in the tracks of time!

I was unable to find more information about Enadi sisters, if any one has any info please let me know. Thanks!

While I was able to find the audio for one of the Javali, I was unable to find any audio for the other two Javalis. Here are the lyrics. For the swara notations, please look at the pdf attached in the link above.

Baayarani paalice” (Kapi, Rupakam) by Tirupati Narayanaswamy Naidu

P: bAyarAni bALicce bhAma *nambinarATE*
A: kAyajuni bAriki karigi cintanenditi bigi kaugili jErtuvani manasunandu dalaci dalaci
C: cinnanADE nanu kOrina celiyuDiTlu jEyunA
ennaDaina vAnimATakedurADi yuNTinA
sannutAnga tirupati venkaTEsha nannu brOva


Even if the maiden who is inseperable, affectionate trusts him he does not come
wasting away with the onslaught of manmatha,
she is musing that you will hold her in a tight embrace,

reflecting,thinking, in her mind[ap]
Can the companion who desired me in my childhood,do like this?

have I ever said anything, to oppose him?
The exalted figure of tirupati venkatesha, to protect me[c]

Audio: It is listed as the 3rd song in this album Click here to listen to this Javali

nI lAlana cAlu” (Dhanyasi, Rupakam) by Tirupanandal Pattabhiramayya

P : nI lAlana cAlu nilpArA SrI tALavana lOla | cAlavEDi nA iru kALlaku mrokkucu palkeDi ||

C1 : ninnarEtirADina mATalu manasAra nE viniyuNDaga mAninI nI kaTulanani nE mAnalEdani ||

C2 : kaTulAtma nIvaTu mArga kapaTI kuNTini nE ATupOvaga veNTavacci cNDukaTTu vippi canulNDEdi ||

C3 : matilEkanEnatIyAsatO ratikELiki batimAlaka nAdi vErEpani cEtulIDci nanu pilceDi ||


enough of this flattering, SrI tALavanalOla,stop it
entreating me in abundance, prostating to my feet [p]

yesternight, while I heard your words sincerely
I came to know that you did not feel ‘like that’ towards that lady
I did not abstain[c1]

obstinate man, when you went that way, I went this way,
the cunning procuress came behind opened her bodice
offered the bosom [to you][c2]

Perplexed, coveting intimacy I beseeched, you dragged
away my hands, [now] timidly calling [me] [c3]

mariyAdaTe mAninI” (Poorvikalyani, Desadi) by Tirupanandal Pattabhiramayya

P: mariyAdaTe mAninI nIkikanu
A: sarilEni vAnitO parihAsa mADuTa

mancivAni tIru naTinci valapinci baluvancakamu
yenci ninumunci mOdamandETi aa panchamaapaatakuni
vancanalanni jUci iCchinci yI vELayu smarinci chapalinchuTa (Mariya)

boTTugaTTina pati(ni) diTTamundiTTi sadA goTTiyADi roShTulachE kaShTapaDabeTTi
prEma kaDDu jEyuchu talagoTTimmanu krOdhamani aTTahaasamulapeTTi aTupOvuTa ||

niilavENi nii pratikuulambulatO vanchi nEkaalumbunu mElimitO chaalimpuchunE
vEganu taaLavanEshunitO kOlaahalmaiyuNDa tapOliilakuuDyaaDu duskiilu koniyaaDuTa || (Mariya)


O honorable lady,does it befit your stature any longer [P]

to sport with an odd man[A]

acting like a good man,he enamours,he intends to cheat you, he will plunge you in despair and rejoice.
knowing that, he has committed the five abominable sins and cheats,you always fancy him,remember him and
get fulfilled.[c1]

eversince he tied the tAli[tirumangalyam] he is abusive,fights viciously,he is annoying, he has ceased loving
he wants the sacrifice {of your head},he laughs in a frenzy and leaves.[c2]

O lady with the dark tresses,the time you spent in unfavourable circumstances,could have been spent in
excellence,cherishing and blooming in the company of tAlavanESha,rather than praising the felon who moves around with loafers [c3]


  4. Pg 34 and 121 from “Another Garland” by N. Rajagopalan, 1992

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