Exploring a Tamil Connection of ancient Marathi Lullaby
- In rural Maharashtra, it has been a longstanding tradition for mothers to sing lullabies. Recently, a Marathi film incorporated certain lines of a lullaby in a song.
Dr. J Ravikumar Stephen G.
In rural Maharashtra, it has been a longstanding tradition for mothers to sing lullabies while applying a black dot to their babies’ faces—a practice believed to ward off the evil eye. One such lullaby, passed down through generations, contains words whose meanings have remained obscure, a characteristic often associated with ancient oral traditions. The lyrics of this lullaby are as follows:
Aḍagulaṁ maḍagulaṁ sōn’yācaṁ kaḍagulaṁ.
Rupyācā vāḷā. Tānhyā bāḷā. Tīṭa lāvū.
This song has brought joy to countless illiterate mothers and their infants for centuries. However, its cryptic words have puzzled lexicographers, as their meanings are not readily apparent. Recently, a Marathi film incorporated these lines as a “refrain” in one of its songs (please listen to the ‘refrain’ by watching the song video posted from the movie: ‘Baba’), reviving interest in their origins.
Unraveling the Linguistic Origins
Marathi is believed to have evolved from Sanskrit through the Maharashtri and Maharashtri-Prakrit stages. However, Sanskrit scholar and linguist Er Vishvanath Khaire asserts that words like ‘Adgu-Madgu’ are absent from Sanskrit and cannot be explained through Sanskritic traditions. Instead, he proposes that their meanings can be traced through Tamil. Let us examine the linguistic logic behind his claim.
In Tamil, the word ”Āṭṭa” (ஆடு) and its derivative “āṭṭam” (ஆட்டம்) signify motion, vibration, rocking, swinging, and rolling —actions commonly associated with an infant in a cradle _(Ref: ‘Tamil Lexicon, University of Madras’, 1936, p. 215). Meanwhile, the Tamil words “kuzhavi” (குழவி) and “kuzha” (குழ) refer to an infant, babe, or child (ibid, p. 1031). Additionally, the word “kuzha” (குழா) can also denote joy or happiness.
Thus, a combination of “āṭṭa” + “kuḻa” could reasonably transform into ‘Adagula’, meaning a “playful child.”
Similarly, Tamil literature provides clues to the term “Madagula”. In the ‘Kambaramayanam’, the poet Kambar describes a young woman using the phrase “Madak Kodiyahi Vanthu” (மடக் கொடியாகி வந்து – Agali 51), where ‘Mada’ denotes youthfulness (ibid, p. 3018). Likewise, in ‘Thevaram’, we find the phrase “Eilangkili Ciraiyaru Madakkili Ye Vaa” (இளங்கிளி சிறையாரு மடக்கிளியே யிங்கே வா), where ‘madakkiḷi’ (மடக்கிளி) is used to describe a young and charming parrot (ibid, p. 3017). Other Tamil references equate ‘Mada’ with beauty, innocence, and youthfulness, such as “maṭamayil” (மட-மயில்) referring to a peafowl (ibid, p. 3020).
From these references, ‘maṭa’ + ‘kuḻa’ (babe) = ‘Madakula’, which conveys the meaning of a young, charming, and innocent baby.
The Golden Bracelet and Silver Bangles
The lullaby also mentions “sōn’yācaṁ kaḍagulaṁ” (सोन्याचं कडगुलं), which translates to ‘golden bracelet’. This aligns with Tamil usage, where “Suvarnam” (சுவர்ணம்) means gold (Ref. ‘A Dravidian Etymological Dictionary’, 1984, p. 4651; ‘Tamil Lexicon University of Madras, 1936, p. 1537). Additionally, the Tamil word “Kadagam” (கடகம்) denotes a bracelet or bangle.
Similarly, the phrase “rupē vāḷā” (रुपे वाळा) refers to a “silver bangle”. The Tamil equivalent, “Valam” (வலம்) or “Valaiyal” (வளையல்), signifies a circular bangle. In modern Marathi, “rupē” (रुपे) means silver. However, Tamil phonetic rules do not allow words to begin with ‘ra’ (ர), ‘la’ (ள்), or ‘zha’ (ழ). Hence, a prefix such as ‘I’ (இ) or ‘u’ (உ) is required, transforming ‘rupē’ into ‘iruppu’ (இருப்பு) or ‘irumpu’ (இரும்பு – iron).
Interestingly, early Tamil speakers were known to have smelted iron as early as 3500 BC, and iron bangles were likely worn before silver replaced them. The ‘Tamil Lexicon’ (p. 1332) lists “Iruppūṟaṟpaṇam” (இருப்பூற்றபணம்) as an alloy of silver, reinforcing the idea that ‘iruppu’ (iron) later came to represent silver in poetic usage.
Thus, the second line of the lullaby suggests that the baby is adorned with jewelry made of gold and silver.
The Meaning of ‘Tānhē’ (तान्हे)
The Marathi word “tānhē” (तान्हे) is commonly linked to “stan’ya” (स्तन्य), meaning milk. However, a closer Tamil equivalent is “tāṉ” (தான்) or “taṉ” (தன்), which means “self” or “one’s own.” The entry (3047) in ‘A Dravidian Etymological Dictionary’ provides related words such as “Thani” (தணி – तणि), meaning to abound, grow, or increase in size, and “Thanicu” (தணிக்கு – तणिचु), meaning ‘to put on flesh’.
These meanings align with the idea of a growing infant, making ‘tānhē’ (तान्हे) semantically closer to Tamil ‘Thani’ (தணி) rather than Sanskrit ‘stan’ya’ (स्तन्य). The mother, referring to her growing baby, may have used ‘Than’ to express the joy of nurturing and bonding with her child.
The Black Dot and Its Linguistic Roots
The practice of applying a black dot on a baby’s face is linked to protection from the evil eye. In Tamil, “Thi” (தீ) means fire or something ominous, while “Thittu” (தீட்டு) refers to smearing, anointing, drawing, or even defect and evil. The word “Titu” (தீட்டு) also carries connotations of warding off bad luck.
Interestingly, the word “Thittu” (தீட்டு) remains in Marathi as “Tīṭa” (तीट), meaning “mark.” While this term has faded from common Tamil usage, its root meaning persists in expressions such as ‘oviyam thittuthal’ (வண்ணம் தீட்டுதல் – painting) and ‘kattiyai thittuthal’ (கத்தியைத் தீட்டுதல் – sharpening a knife). Thus, the lullaby’s reference to ‘tīṭa’ reflects the protective intent behind applying a black dot to a child’s face.
Conclusion: Solving the Riddle of ‘Aḍagula Madagula’
Through this etymological exploration, the meaning of this ancient lullaby emerges:
A playful and innocent child, adorned with a golden bracelet and a silver bangle, nurtured in love, whose presence fulfills the mother’s joy. To protect this precious bond, let me place a black dot on my baby’s face.”
This analysis highlights the deep linguistic and cultural ties between Marathi and Tamil, uncovering the rich heritage woven into a simple lullaby. Furthermore, it suggests that Tamil has been in use for at least two thousand years in the northwestern regions of South Asia. Scholars like *Dr. B R Ambedkar* have even proposed that Tamil-speaking communities once inhabited a vast expanse of India.
The Mystery of “Anan Ta Pad Chaye”: A Linguistic and Cultural Exploration
Origins and Popularity
The phrase “Anan Ta Pad Chaye” originates from a traditional Thai incantation, often associated with love spells or charms. It gained popularity through the Thai song “ต้องเป่ากระหม่อม” (‘Tong Bao Krahmom’) by Noi Chernyim, where these phrases were used humorously.
More recently, the song “Anan Ta Pad Chaye” by Indonesian singer Silvy Kumalasari has gained widespread attention, particularly on social media. Its rhythmic, chant-like lyrics, filled with expressions of longing and affection, have captivated audiences.
In India, the song has been enthusiastically embraced, inspiring remixes, dance covers, and reaction videos—demonstrating music’s ability to transcend language barriers.
Lyrics of ‘Anan Ta Pad Chaye’
> “Anan Ta Pad Chaye,
> Apad Ti Te Tena,
> Apad Ti Ya,
> Apad Ti Te Teku,
> Apad Ti To,
> Apad Ti Kud Kud Kud,
> Apad Cha Ye,
> Annana Pathiya.
> Apad Ti Te Tena,
> Apad Ti Ya,
> Apad Ti Te Teku,
> Apad Ti,
> Apad Ti Kud Kud Kud,
> Apad Cha Ye.”
A Possible Tamil Connection?
Tamil listeners, upon hearing this song, might instinctively assume it to be a Tamil song. A linguistic exploration by scholars like Er. Vishvanath Khaire could potentially reveal deeper connections between this Thai language lyrics and Tamil.
The cultural and historical ties between Tamil and Thai civilizations further support such an inquiry. Tamil has influenced Thai, particularly through centuries of trade and cultural exchange.
Tamil Influence on Thai Culture
Tamil traders, especially during the Chola period (9th–13th century AD), were active in Southeast Asia, including present-day Thailand. South Indian traditions significantly shaped Southeast Asian temple architecture and Hindu worship practices.
The reverence for deities like Shiva and Murugan in Thailand reflects Tamil cultural influence, and even Thai royal ceremonies bear elements rooted in South Indian customs.
Deciphering the Linguistic Puzzle
At first glance, these lyrics may seem nonsensical, especially considering that Thai evolved under Sanskrit and Pali influence. However, if a Thai language scholar well-versed in Sanskrit, Pali, and Tamil were to analyze ‘Anan Ta Pad Chaye’ and similar Thai expressions, they might uncover fascinating linguistic connections between Tamil and Thai.
Until this linguistic mystery is unraveled, any hypothesis remains speculative. Hopefully, one day, this puzzle will be solved.
Read: Debunking Myths: The Truth about Dravidian Identity and Aryan Invasion
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Dr. J Ravikumar Stephen G., is the Founder, Dravidianism Revival Centre, Peace Coalition of the People of South Asia, and Sages of the New Covenant. He is also the Presiding Bishop of General Convention of the Episcopal Churches in Southern and South Eastern Asia. The Dravidianism Revival Centre is located in Badlapur, Greater Thane Maharashtra, India. Emal: Peace.Evangelist@gmail.com
