IRAYIMMAN TAMPI AND HIS ROYAL LULLABY

P . P . Narayanaswami

T here is hardly any home in Kerala, where the newborn baby is not put to sleep by the sooth-
ing melody of the ever-popular lullaby,

“ōmanattiṅkal. kit.āvō nalla kōmal.a-ttāmarappūvō”.

This is the famous “tārāt.t.u pāt.t.u” (cradle song) hummed by mothers in Kerala for generations. This
song was composed by the court poet and musician, irayimman tampi, for the sake of the ruling Queen
Rān
. i gaurı̄ laks.mı̄ bāy, to put to sleep none other that the newborn svāti tirunāl. mahārājā. (Well, that
was indeed a fitting introduction to music for the new born king!!). Originally set in kurañci rāgam,
ādi tāl.am, this song has been sung by people in navarōj, or nīlāmbari, or even as a rāgamālikā, and
using rūpaka tāl.am, or even in tiśra gati. Whatever be the choice of rāgam/tāl.am, it certainly has a
mesmerizing effect on every listener. The lyric of this song is so beautiful that it is a lullaby not only
for the king, but for the entire human generation. In this song, using appropriate phrases in sweet and
chaste malayāl.am, the baby (king) is compared to the most beautiful things in the world that one can
describe. It is to be noted that there is no mention of the word “sleep”anywhere in this lullaby.

The western musicologist, A. H. Fox Strangways, in his work “The Music of Hindoostan” (Oxford,
The Clarendon Press 1914, pages 62-63) gives the first two lines of this lullaby in western staff notation,
and renders a free style meaning of the complete song. He mentions that he got the song from ”an
enlightened women” in Trivandrum, with which His Highness the (present) mahārājā of Travancore is
said to have been put to sleep, as a child. He further adds a footnote, stating that the singer wanted to
accompany herself on the inevitable harmonium, but he pointed out that this additional sound might
prevent the baby from going to sleep.

The intense anxiety associated with the birth of svāti tirunāl. against the political conditions of
the time, and the immediate relief it was to provide are truly reflected in this song, The British had
already decided to take administrative control of those kingdoms, where there was no male ruler. The
arrival of this new baby — “ı̄śvaran tanna nidhiyō” (the treasure gifted by God) or “bhāgya drumattin
phalamō” (the fruits of the tree of fortune) – as irayimman tampi puts it in this lullaby — was a
welcome relief to the queen, as well as for everyone! The feeling of joy that prevailed in the kingdom
is beautifully portrayed in this song.

irayimman tampi ’s life history

There was a famous household (taRavād

. u) by name “kāramana ān
.d. iyiRakkat.t.u amma vı̄d
. u” in Trivan-
drum. Irayimman tampi was born in this family in the 1782 AD, that corresponds to the malayalam

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year (kolla vars.am) 958, and his birth star was pūrut.t.āti (pūrva bhādrapada). His father was kēral.a
varma (kēl.aru) tampān of śērttalai palace, and his mother was pārvati pil..la taṅgacci of putumana
amma vı̄d. u. As it was the prevailing custom to name the eldest son by the grandfather’s name, tampi’s
real name was ravi varman, which later became iravi varman, and finally irayimman, as he was affec-
tionately called. Tampi was brought up by his parents at their residence, kizhakkē mad . am near the
viRakuppurakōt.t.a, the house given to kēl.aru tampān by the illustrious king dharmarājā, śrı̄ kārtika
tirunāl.. The father himself gave tampi the basic education. Later mūttāt.t.u śaṅkaran il.ayatu gave him
higher learning in various branches of knowledge like grammar, linguistics and sanskrit literature.
Even as a young boy, tampi’s aptitude towards music and poetry was very deep and, the royal patron-
age was an appropriate setting where he could develop his various talents. He did not have any formal
“guru” for music, and his abilities were mostly self-cultivated. At the age of fourteen, he wrote a poem
and dedicated it to the mahārājā kārtika tirunāl.. The king was immensely pleased, and rewarded him
appropriately. Tampi has already become an important personality in the court, long before mahārājā
svāti tirunāl. was born. He continued to enjoy this enviable position even after svāti tirunāl.’s demise.

Irayimman Tampi was married to kāl.ipil..la taṅkacci, and a female child was born to that couple
in the year 1820. This child, kut.t.ikuñju taṅkacci by name, later became the successor to the artistic
tradition of her father. She was a versatile composer and poetess, whose contributions to classical
music and malayāl.am literature are substantial.

Mahārājā svt̄i tirunāl. was born when irayimman tampi was already 31 years old. As we mentioned
earlier, tampi wrote the lullaby “ōmanattiṅkal. kit.āvō” for this royal baby. Tampi lived at Trivandrum
throughout his life, and he had the privilege of enjoying the liberal patronage under four kings and two
queens — dharmarājā kārtika tirunāl., bālarāma varma, svāti tirunāl., utRam tirunāl., Rān
. i gauri pārvatı̄
bāy, and Rān
. i gauri laks.māı bāy. During this long period, tampi was able to witness many events in the
royal life, which later became themes for some of his compositions. The rulers, who always held him
in high esteem, decorated his hands with “vı̄ra śṙṅkhala” (golden chain for bravery), acknowledging his
poetical talents and musical scholarship. He was often known among the rulers as ‘kavi’(poet). Svāti
tirunāl. used to refer to him as tampi māman (uncle tampi).

The composer, who penned the monumental tot.t.il pāt.t.u (cradle lullaby) for svāti tirunāl., lived long
enough to write a “carama ślōkam” (elegy) also for the King, who died in 1846. Tampi lived another
16 years, and died in the year 1862 at the age of 80.

The Compositions of irayimman tampi

According to T. Lakshmanan Pillai, irayimman tampi has to his credit more that 500 compositions. But,
only few of those compositions have survived, which include 39 kı̄rtanams, 5 varn
. ams, 23 padams and
three āt.t.akkatha songs. Of the 39 kı̄rtanams, 29 are in sanskrit, and the remaining in malayāl.am. In
the work, “kēral.a saṅgı̄tam”, the author V. Madhavan Nair has listed 60 compositions attributed to
tampi (which include 33 kṙtis, among which 28 are in sanskrit).

Tampi has composed songs on several gods, and goddesses of nearby temples, namely Lord
padmānabha of Tiruvanantapuram, śrı̄ kṙs.n
. a (of guruvāyūr temple, ambalapuzha temple, and neyyāttin-

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kara), śiva, and dēvi (āttiṅgal tiruvāRāt.t.u bhagavati, pal..liyaRa bhagavati, and kollattu cuttumala śrı̄
pārvati). He has also sung in praise of the queens, vañcı̄śvari Rān . i gaurı̄ pārvatı̄ bāy, and Rān
. i rukmin
. ı̄
bāy (sister of svāti tirunāl.). Some of these compositions have been made available to us from a rare
manuscript of the famous malayāl.am poet, ul..lūr paramēśvara ayyer.

Among the compositions of irayimman tampi, the kṙti, “karun . a ceyvān entu tāmasam kṙs.n
. ā” on
Lord guruvāyūrappan is very popular, and is frequently heard in concerts. Though composed originally
in “śrı̄ rāgam””, the musician, Cembai vaidyanātha bhāgavathar used to sing it in yadukula kāmbhōji,
and it is equally pleasing. Among the many pada varn . ams tampi composed, one in punnāgavarāl.i
(“hāsālōkē dhanya jātā”) is a rare treasure, but unfortunately, it is not available in complete form due
to the absence of cit.t.a svarams and svara sāhityams.

Some popular compositions of irayimman tampi are :

1. tārāt.t.u:

ōmanattiṅkal.kkit.āvō kurañci/ādi lullaby

2. kummi:

śrı̄madantapurattil vāzhum folk dance tune

3. kı̄rtanam:

at.imalarin
. a tannē kṙs.n
.a mukhāri on guruvāyūr kṙs.n
.a
karun. a ceyvān entu tāmasam . ā
kṙs.n śrı̄/cempat.a on guruvāyūr kṙs.n
.a
candrakalādhara sAmba punnāgavarāl.i/cāpu on śiva
japata japata harināma tōd
. i/cempat.a on vis.n
.u
nı̄lavaRn
. a pāhi mām surat.t.i/cempat.a on neyyāttinkara kṙs.n
. a)
pārthasārathē māñji/ēkam on ambalappuzha kṙs.n .a
pāhi māṁ giritanayē sāvēri/cempat.a on kollattu cuttumala śrı̄
pārvati
pāhi nikhilajanani nāt.t.a/ādi on neyyāRRinkara bhagavati

4. bhakti prabandham

kātyāyani dēvi sadā śaṅkarābharan

. am/cempat.a on āRRiṅṅal pal..liyaRa bhaga-
vati
paradēvatē nin pādabhajanam tōd
. i/cempat.a on āRRiṅṅal tiruvāRāt.t.ukāvil
bhagavati
5. pada varn
. am:

tava sābhimatā kāminı̄ bhairavi/ādi sanskrit

sāyaṁ kiṁ mē nikētamāga nı̄lāmbari/ādi sanskrit
hāsālōkē dhanya jātā punnāgavarāl.i/ādi sanskrit — incomplete
manasi mē paritāpam śaṅkarābharan
. am/ādi malayāl.am

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 6. tāna varn
. am

ambā gaurı̄ girikanyē ārabhi/triput.a stava varn.am (malayāl.am)

7. padam:

ārōt.u colvēn indı̄śa/jhampa malayāl.am

itupōlē saujanyam kāmbhōji/ādi malayāl.am
endahō vallabha asāvēri/ādi malayāl.am
entu ceyyēn.d
. u ñān saurās.t.ram/ēkam malayāl.am
entu ñāniha ceyvū nı̄lāmbari/ādi malayāl.am
en tōzhi gun . aśālini ānandabhairavi/ādi malayāl.am
orunāl. niśi ceyta lı̄lakal. saurās.t.ram/ādi malayāl.am
kan
. avaōt.entē kāmbhōji/miśra cāpu malayāl.am
kamalādikal.ām kāmbhōji/ādi malayāl.am
kāmākṙtē kānta yadukula kāmbhōji/miśra cāpu malayāl.am
kārun
. yam kuRavān tōd
. i/ādi malayāl.am
kulaśēkhara nṙpasōdari śaṅkarābharan
. am/cempat.a malayāl.am — on Rān . ı̄
. i rukmin
bāy
kul.iRmatitan kulamevit.ē huśēni/ādi malayāl.am
centāR sāyakarūpa khyāl mat.t.u/mat.hyam malayāl.am
dhanyā ñāninnu śaṅkarābharan
. am/ādi malayāl.am
pārit.aṅṅalileṅṅumiṅṅanē kāmbhōji/ādi malayāl.am
manasā karutunnatampot.u saurās.t.ram/ādi malayāl.am
mullasāyaka nin
. akku kāmbhōji/ādi malayāl.am
varanō smaranō nı̄lāmbari/ādi malayāl.am
virahāl vet.iyunna saurās.t.ram/ādi malayāl.am
sakhi hē sallāparasikē saurās.t.ram/ādi malayāl.am
sōmōpamukhi sudati sāveri/miśra cāpu malayāl.am

8. śṙṅgāra padam

prān
. anāthanenikku kāmbhōji/ādi malayāl.am

In addition, there are many ślōkams, folk tunes like kil.ippāt.t.u, tiruvātuirappāt.t.u, and a few āt.t.akkathā
compositions (songs intermixed with ślōkams, specifically composed for kathakal.i dance) to his credit.
Here is a partial list.

• navarātri prabandham, – a collection of songs describing the navarātri utsavam in Trivandrum, in

four khan
.d. ams (segments), each khan
.d. am starting with a padyam (poem) in drāvid
. a vṙttam (tamil
version of a poetical metre). The rāgams are pantuvarāl.i, yadukula kāṁbhōji, nādanāmakriya,
and punnāgavarāl.i.

• three āt.t.akkathas for kathakal.i —- (i) kı̄caka vadham, (ii) uttarā svayaṁvaram, and (iii) daks.a
yāgam.

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 • subhadrā haran
. am tiruvātirappāt.t.u (kaikot.t.ikkal.i ppāt.t.u).

• muRa japa pāna – a “pāna” (type of composition) describing the muRa japam in Trivandrum.

• vasis.t.ham kil.ippāt.t.u (cuckoo song).

• rāsakrı̄d
. a.

• rājasēvākraman man
. ipravāl.am.

• And a few stuti ślōkams (prayers) in malayāl.am, and sanskrit.

The poet, ul..lūr paramēśvara ayyar states that he has not seen the lyrics of vasis.t.ham kil.ippāt.t.u
and rāsakrı̄d
. ā.

tampi ’s poetic style

Tampi’s kṙtis contain numerous and lengthy caran. am lines. Perhaps, he meant these songs not only
to be sung in concert platforms, but as scholarly poems too, to be enjoyed by the readers. He has
employed rakti rāgams like kāmbhōji, kalyān
. i, huśēni, dhanyāśi, sāvēri, rı̄tigaul.a, mōhanam, bhairavi,
madhyamāvati, etc, as well as some rare rāgams like māñji, jiṅgal.a, kakubha, indı̄śa. The last two are
very rare. The song, “ surabās.a hara” by tampi is in kakubha, possibly a janyam of māyāmāl.avagaul.a
(??). The padam, ‘ārōd
. u colvān azhalul..latellām” is in indı̄śa rāgam, which was once a popular rāgam
for the tul..lal songs of kuñcan nambyār.

Tampi’s compositions convey various rasams (emotions). His padams abound in “vipralamba
śṙṅgāram” (separation), and “sambhōga śṙṅgāram” (consummation). Though he excelled in bhakti
and śṙṅgāra rasams, he has portrayed other emotions through many of his musical works. The lullaby
portrays motherly affection, the guruvāyūr kṙtis generate intense devotion (bhakti), and the various
padams, for instance, “prān. anāthanenikku nalkiya” are filled with erotic feelings of a love-lorn lady.
The structure of the kṙti, “japata japata harināma nanuja” on Lord mahā vis.n . u reminds us of the
advaita para kṙtis of saint sadāśiva brahmēndra.

We find the usage of dvitı̄yāks.ara prāsam (rhyming in the second letter of each line) in most of
irayimman tampi’s musical and poetical works. This practice is a “must” for poems in malayāl.am, as
the following ślōkam reminds us:

vāsantı̄ madhuvāRnna vākkinu dvitı̄yāks.ara -

prāsam cēRppatu kairal.ı̄mahil.a tan māṅngalyamān. ōRkkan
. am.

(mandatory usage of dvitı̄yāks.ara prāsam is an auspicious ornament to the sweet, nector-like

malayāl.am, the Lady of kēral.a)

In addition, sprinkled throughout his works, we find tantalizing alliterations (sound effects), which
add further beauty. Here is a typical illustration from the first caran
. am of his tōd
. i kı̄rtanam on
āRRiṅṅgal tiruvR̄āt.t.ukāvil bhagavati.

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 collāRnna nānmukhanum mallāri dēvan tānum
mallı̄śa vairiyumellānēravum dāvi !
cillı̄latāgramonnu mellē nı̄yil.akkı̄t.t.u
collum vēlakal. ceytu kalyān
. i vān
. ı̄t.uunnu
allal vividhamul..latiṅṅu viravot.u talli nı̄kki
nallatarul.uvān tava tellupōlumilla pan . i bhavad pada-
pallavaṅṅgalullasikka hṙdi mama

The following ślōkam, invoking the blessings of gan

. apati, gives a flavor of irayimman tampi’s
poetical competence in using rhymes and alliterations.

madasurabhilagan .d
. am mauliśōbhı̄ndukhan
. a.am
vihitavimatadan
.d. am vighnavicchēdaśhaun .d
. am |
varadamurupican .d. am vyāyatāpı̄naśun.d. am
natasuramuns.an
.d. am naumi vētan . atun.d. am k

Tampi used the mudra “padmanābha” in his compositions. This caused some confusion regarding
the authorship of some of his kṙtis! This song “bhōgı̄ndra śāyinam” is often attributed to svāti tirunāl.
due to the presence of the mudra “padmanābha”, but it was found in a hand-written manuscript of
tampi. The rāgam was dhanyāśi. In his work, “kēral.a saṅgı̄tam”, the author V. Madhavan Nair attributes
it to tampi. The kalyān
. i kṙti, “sēvē syānandūrēśa” by tampi is often credited to svāti tiruāl..

āt.t.akkathas of irayimman tampi

Besides composing several kı̄rtanams and padams, irayimman tampi has to his credit, some superb
āt.t.akkatha (kathakal.i dance music) compositions. They reveal his creative scholarship, and outstand-
ing musical abilities. Three of tampi’s āt.t.akkathas have survived. They are (i) kı̄caka vadham, (ii) uttarā
svayaṁvaram and (iii) daks.a yāgam. Tampi wrote “kı̄caka vadham” āt.t.akkatha at the request of the
prince, utRam tirunāl. yuvarājā. The story of “uttarā svayaṁvaram” is a continuation of the theme
dealt with in “kı̄caka vadham”. Both depict stories taken from the epic mahābhāratam. “Daks.a yāgam”
āt.t.akkatha is based on the story from the bhāgavata purān
. am.

“Kı̄caka vadham” consists of 15 acts, 25 ślōkams, one dan

.d. akam, and 28 padams; “uttarā svayaṁ-
varam” has 19 acts, 31 ślōkams, and 32 padams; and, “daks.a yāgam” has 18 acts, 36 ślōkams, and 30
padams. All these three āt.t.akathas have acquired a monumental status in the kathakal.i literature.

Many of the padams and ślōkams scattered in these āt.t.akkathas have won wide appreciation. In
the ślōkams, all in sanskrit and in a variety of metres, irayimman tampi has indulged in many form of
the yamaka alaṅkāram. Besides prathama and dvitı̄yāks.ara rhymes, we even find tṙtı̄yāks.ara prāsam
in one instance. The famous dan .d
. akam: “ks.ōn
. ı̄ndrapatniyut.ē vān
. ı̄m niśamya” (that appears in his
“kı̄caka vadham” āt.t.akkatha) is filled with lyrical beauties. Some of his padams find a right place in
mōhiniyāt.t.am dance. Many pieces, like the famous ’kummi’ – “vı̄ra virāt.a kumāra vibhō” from the

6
“uttarā svayaṁvaram”, are often used for the tiruvātirakkal.i, a festive female dance form, vogue in
Kēral.a.

Some anecdotes in tampi ’s life

While residing in an kizhakkē mad . am, an almost torn-down old house, irayimman tampi wrote the
following ślōkam (verse) in man
. ipravāl
. am, employing ślēs.ham (double meaning – comparing his old
house to the epic bhāgavatam), and submitted to maharājā svāti tirunāl..

mahı̄patē bhāgavatāpamānaṁ
mahāpurān
. am bhavanam madı̄yam |
nōkkunnavaRkkokke viraktiyun. t.āṁ
artthaṅṅal.illennoru bhēdamun
. t.u k

Meaning: Oh King! My house is very very old (purān

. am) just like the Epic bhāgavata purān
. am; those
who glance through it will have immediate detachment (virakti), just like the feeling you get when you
read the Epic; but there is one small difference – my house has no arttham (monetary value) whereas
the epic is deep in arttham (meaning).

The King was immensely pleased with this poem, and immediately ordered the renovation of the
house, to the fullest satisfaction of irayimman. On another occasion, there was a minor love-quarrel
(pran
. aya kalaham) between svāti tirunāl. and wife, and it lasted for a few days. Irayimman wrote an
appropriate love song, “prān
. anāthanenikku nalkiya”, an erotic śṙṅgāra padam in rāgam kāmbhōji for
the queen, and requested her to sung it loudly, when the King was passing through. On hearing the
song, the King understood everything, and there was complete reconciliation. This particular work of
tampi is one of the most beautiful śṙṅgāra padams available in malayāl.am.

There existed a healthy competition between tampi and svāti tirunāl. in composing songs. The
famous lyrics “pañcabān
. an thannude” of svāti tirunāl., and tampi’s “prān
. anāthanenikku nalkiya” were
the results of such competitions. The mahārājā loved to show his compositions to tampi for his
approval, and certainly valued his opinion and appreciation of them.

Line by line meaning of the Lullaby

We conclude, by providing a gist of irayimman tampi’s popular lullaby. The phrases in each line of
this beautiful lullaby, in deceptively simple malayāl.am, compare the newborn (royal) baby with the best
things in the world that one can imagine. Each phrase is an exclamation (in the form of a query) — Is
this (baby) · · · like this one?? Since some of these vernacular words do not admit precise translation
into English, we have provided only an approximation to the actual meaning. The exact meaning can
be fully enjoyed only with some experience in Malayāl.am language.

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 A free-style translation of the song is attempted here. At the end of the article, we provide the
lyrics of this lullaby, both in Malayāl.am and diacritical English, in separate pages.

IS THIS (baby) · · · · · · ? –
The bright crescent moon? Or the charming lotus flower? The honey filled in a flower?
Or the luster of the full moon? The fresh coral gem (could mean the fresh creeper of
the pavizha malli flower)? Or the pleasant chatter of the baby parrots? A joyously dancing
peacock? Or a bird singing the soft pañcamam? A bouncing young deer? Or a bright shining
swan? A treasure gifted by God? Or the parrot in the hands of ı̄svari (goddess)? The tender
leaf of the pārijāta tree? Or the fruits of my tree of fortune? A golden casket to enclose the
jewel of my affectionate love? Nectar in my sight? Or a light to dispel darkness? The seed
for the creeper of my climbing fame? Or a never-fading bright pearl? The brilliance of the
sun — to dispel the shields of misery? The essence of knowledge in the vēdas? or the very
minute sounds of the vı̄n
. a? The lovely blossom put forth by the stout branch of my tree
of enjoyment? A cluster of piccaka flower buds? Or sugar candy that sweetens the tongue?
The fragrance of musk? Or the quality of all good deeds? A breeze laden with the fresh
scent of flowers? Or the essence of purest gold? A bowl of fresh boiled milk? Or the sweet
smelling rose water? The field that grows all virtues? Or the abode of all dhrama? A bowl
of thirst-quenching water? Or the shade that provides shelter for the weary? A ever-fresh
mallika flower? Or the wealth stored by me? The auspicious objects of my gaze? Or my
most precious jewel? A stream of virtuous beauty? Or playfulness of the youthful kṙs.n . a?
The bright forehead mark of goddess laks.mi? Is it an incarnation of kṙs.n
. a himself in this
beautiful form in this world? Or is it the mercy of Lord padmanābha? Or is it the source of
all future happiness?

Bibliography

1. “Irayimman tampiyut.ē āt.t.akkathakal.”, Kerala Sahitya Academy, Trissur (1964) — gives complete
text with meaning in malayalam of three āt.t.kkatha (kı̄caka vadham, uttarā svayaṁvaram, daks.a
yāgam), and concludes with a small appendix giving lyrics of 12 kı̄rtanams.

2. “abhinaya saṅgı̄tam” compiled by Lila Omcēri, Kēral.a Bhās.ā Institute (1982) — includes 23 padams,
4 pada varn
. ams (three in sanskrit), one tāna vard̄ nam, the lullaby, a kummi, and two bhakti pra-
bandhams.

3. “karn
. āt.aka saṅgı̄ta caritram”, K. T. Ravindranath (in malayāl.am), National Book Stall, Kottayam
(1984) — contains a nice write-up irayimman tampi’s life and works.

4. The Music of Hindoostan”, A.H. Fox Strangways, Oxford, The Clarendon Press, (1914)

 In the PDF files accompanying this write-up, we have provided the lyrics of 40 compositions,
and seven dhyāna ślōkams of irayimman tampi in malayāl.am (in both old and new lipis), as well
as in diacritical English.

8

¨a\¿o¹³·oSnuen?
¨a\¿o¹³·oSnuen? \È
uInaj¿nac0uen ?
"eo² \ol¼ a¿uen ? ]co -
"±uWÛ Xt \odnuen ?
!¿° ]eokt·nSoubn ? tNc -
X¿I³ tInÖw tankoubn ?
NnÕnSobnâw aboudn ? ±¢ -
]Õaw ]nâw !boudn ?
H=aojan° IoSnuen? ufnõ -
tIn=uÁncÁt·nSoubn?
¤f|c° XÁ \o[oubn? ]c -
uaf|coubÑw Iojoubn ?
]ncoPnX¿o° Xjoucn ? FtÂ
õnKy½a¿o° ^duan ?
enedycUt¿ ebmÃn° aa
enu»nç InÕ\t»uÃn ?
¤wo% teu»nc±uXn ? "cp -
ç½K te» eoju·n?
Ip±¿odXbm%É eou¿n? Fèw
uIâ ecnHÉ ®u¿n?
B±¿o Xoaocw Ijen° DÉ
an±¿n7 uZe 5õubn ?
¼2obo² I¾ t]nçujn ? AXo -
¼Kanw epWnceuan ?
eÄo» huÐngeÈo XtÂ
tInÄK "¿ "eÈo?
9
]o»I¿o° ad± tNu¾n ? \neo -
Áo± \²IqÁ I²·u¾n ?
IÔco Xt aWuan ? u]±Kw
hKI³·qÉ YWuan ?
"aWuauÊnç InuÊn ? GÊw
t]nÁo² Id±uÁnç anuÊn ?
In»o%c·ob ]nudn ? \È
Káta?w ]\o\pucn ?
\î eojÆw \oduan ? _* -
[±Åº³ en?w [iuan ?
Zniw IjÆw Pduan ? an±\ -
uJZw IjÆw XWudn ?
enSn¿ aÈoI0uen ? RnÌw
uXSote®É [\uan ?
IBoè \È IWoubn ? aa
ttIeÁ NoÐnaWoubn ?
dneWy!Wy \Zoubn ? DBo
·n±e±B° Xt Ijoubn ?
dKpõKeXo Xt Xoç -
t\Êo uado½ !loubn ?
FèBo#£° P\ou»n ]nco -
doºt\ uegw [cou»n ?
]Zma\nõ° X° #]ubn ? ®ew
õnKyw eçÁ ekoubn ?
CcboÅ° XÄo
z z z z z z z z

ōmanattiṅkal.kkit.āvō?
ōmanattiṅkal.kkit.āvō? nalla
kōmal.attāmarappūvō?
pūvil niRañña madhuvō? pari -
pūRn.ēndu tanRe nilāvō?
puttan pavizhakkot.iyō? ceRu -
tattakal. koñcum mozhiyō?
cāñcāt.iyāt.um mayilō? mṙdu -
pañcamam pāt.um kuyilō?
tul.l.umil.amān kit.āvō? śōbha -
kol.l.unnōrannakkot.iyō?
ı̄śvaran tanna nidhiyō? para -
mēśvariyēntum kil.iyō?
pārijātattin tal.irō? enRe
bhāgyadrumattin phalamō?
vātsalyaratnatte vayppān mama
vāccōru kāñcanacceppō?
dṙs.t.ikku veccōramṙtō? kūrı̄ -
rut.t.attu vecca vil.akkō?
kı̄Rttilataykkul.l.a vittō? ennum
kēt.u varātul.l.a muttō?
āRtti timiram kal.avān ul.l.a
māRttān.d.a dēva prabhayō?
sūktiyil kan.t.a porul.ō? ati -
sūks.mamām vı̄n.āravamō?
vampicca santōs.avalli tanRe
kompattu pūtta pūvalli?
10
piccakattin malaR cen.t.ō? nāvi -
nniccha nalkunna kalkkan.t.ō?
kastūri tanRe man.amō? pēRttuṁ
sattukal.kkul.l.a gun.amō?
pūman.amēRRōru kāRRō? ēRRam
ponnil kalaRnnōru māRRō?
kāccikkuRukkiya pālō? nalla
gandhamezhum paninı̄rō?
nanma vil.ayum nilamō? bahu -
dhaRmmaṅṅal. vāzhum gṙhamō?
dāham kal.ayum jalamō? māRgga -
khēdam kal.ayum tan.alō?
vāt.ātta mallikappūvō? ñānum
tēt.iveccul.l.a dhanamō?
kan.n.innu nalla kan.iyō? mama
kaivanna cintāman.iyō?
lāvan.yapun.ya nadiyō? un.n.i
kkāRvaRn.n.an tanRe kal.iyō?
laks.mı̄bhagavati tanRe tiru -
neRRi mēlit.t.a kuRiyō?
ennun.n.ikṙs.n.an janiccō pāri -
liṅṅane vēs.am dhariccō?
padmanābhan tan kṙpayō? muRRuṁ
bhāgyam varunna vazhiyō?
irayimman tampi
Ë Ë Ë Ë Ë Ë Ë Ë