Daily Archives: July 12, 2015

thiruvezhukURRirukkai – 13

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sARRuppAdal by kambar (Concluding pAsuram by poet kambar)

Poet kambar has sung a pAsuram on thirumangai AzhwAr, which we recite at the end of thiruvezhukURRirukkai.

idam koNda nenjaththu iNangik kidappana
enRum thadam koNda thAmarai sUzhum malarndha thaN pUnkudanthai
vidam koNda veN pal karum thuththi chenkaN thazhal umizh vAi
padam koNda pAmbaNaip paLLi koNdAn thiruppAdhankaLE

Word by word meaning:

kudanthai – In thirukkudanthai
sUzhum – that is surrounded
ponni – by kAvEri
thAmarai koNda thadam – and by the ponds having lotuses
thaN pU – full of cool/nice/pleasant flowers
malarndha – that have blossomed,

paLLi koNdAn – ArAvamudhAzhvAr is lying down
padam koNda pAmbu aNai – in the bed that is thiruvananthAzhwAn (Adhi sEshan) who has opened his hood,
vidam koNda – who is having venom
veN pal – and white teeth,
karum thuththi – dark dots (in the hood)
sem kaN – and reddish eyes,
thazhal umizh vAi – and with mouth spitting fire;

thiru pAdhangaLE – (such ArAvamudhAzhvAr’s) beautiful divine feet (only)
enRum iNangik kidappana – is always felt in
nenjaththu – (thirumangai AzhwAr’s) heart
idam koNda – (heart that is) wide and deep.

Simple meaning

In this section, we see kambar’s poem on thirumangai Azhwar, which is recited at the end of thiruvezhukURRirukkai.

Similar to thirumangai Azhwar who described thirukkudanthai in thiruvezhukURRirukkai, kambar describes thirukkudanthai, and AravamudhAzhwAr, and thiruvananthAzhvAn, and that emperumAn‘s thiruvadi (divine feet) is what is always present in thirumangai AzhwAr‘s wide and deep heart.

avathArikai (Introduction): This song that is said to be authored by the poet kambar is recited at the end of thiruvezhukURRirukkai. In this, kamba nAttAzhvAr describes the greatness of thirumangai AzhwAr.

vyAkyAnam

ponni – thAmarai koNda thadam sUzhum : Should read the meaning as: Surrounded by the river cauvery, and by ponds having lotus flowers, thaN pUnkudanthai – is thirukkudanthai which is full of pleasant and cool flowers; in that place, emperumAn is having sayanam.

Describes the bed in which He is lying down by saying: vidam koNda … pAmbaNai .

vidam koNda veNpal – Having venomous white teeth to bite the asuras and rAskshasas

karum thuththi – having black dots in the hood

sem kaN – As he is always alert to protect emperumAn, he is having reddish eyes due to fear/doubt.

thazhal umizh vAi – As said in “Angu AravAram adhu kEttu azhal umizhum pUnkAr aravaNai” [nAnmugan thiruvandhAdhi 10], due to fear/doubt (about enemies trying to harm emperumAn), he is having mouth that spit fire.

padam koNda pambaNaip paLLi koNdAn – As thirumangai AzhwAr himself sang in thiruvezhukURRirukkai “Adu aravu amaLiyil aRi thuyil amarndha parama”, starting from “veN pal” till here, kambar immerses in the beauty of ArAvamudhAzhvAr’s bed that is thiruvananthAzhwAn’s whiteness of teeth, blackness of the dots (in the hood), redness of the eyes, and the color of flames from the mouth, whiteness of the hood, bluish hue of the body – that is kambar is enjoying the beauty of mixture of colors of thiruvananthAzhvAn.

thiruppAdhangaLE – only the two beautiful divine feet,

idam koNda nenjaththu iNangik kidappana – As thirumangai AzhwAr himself graced the words “veLLaththAn vEnkataththAnElum kalikanRi uLLaththinuLLE uLan kaNdAi” [periya thirumozhi 11-5-10], as emperumAn loves the big and deep heart of thirumangai Azhwar, His two beautiful divine feet always reside in one part of his heart.

As said in ubhaya vEdhanthas (samskrthm and thamizh): “vishvasya Ayathanam mahath” [nArAyaNa suktham] (it is the heart that is a big temple of sarvEshwaran), and “nenjamE neeL nagarAga irundha en thanjanE!” [thiruvAimozhi 3-8-2], the srIvaishNavas’ hearts are talked as grand temples and wide places for Him to reside.

thirukkudanthai_aravamudhazhvar_divine_feet

{
In srIvachana bhUshaNam, piLLai lokAchAriar says (with rough translation):

ankuththai vAsam sAdhanam, inkuththai vAsam sAdhyam – His stay in temples is the means; His stay in srIvaishNavas’ hearts is the goal.

… idhu sidhdhiththAl avaRRil Adharam mattamAi irukkum” – IF emperumAn gets a place here (heart), then he would try to neglect that place (temple).

iLam kOyil kai vidEl enRu ivan prArththikka vENdumpadiyAy irukkum” – the devotee would have to plead to emperumAn not to neglect so.

prApya prIthi vishayathvaththAlum, kruthagyathaiyAlum, pinbu avai abhimathangaLai irukkum” – Due to emperumAn’s love towards the srIvaishNavar, and due to emperumAn being grateful to the temple for getting Him these hearts, he would then continue to reside in the temples.

idam_koNda_nenjangaL_thiruvAli_thirunagai_uthsavam_2013 (Small)Hearts where emperumAn resides (photo from thiruvAli thirungari AzhwAr uthsavam 2013)

}

Conclusion of kambar’s sARRu pAsuram related to thiruvezhukURRirukkai.

Conclusion of translation of thiruvezhukURRirukkai

AzhwAr thiruvadigaLE charaNam
emperumAnAr thiruvadigaLE charaNam
periyavAchchAn piLLai thiruvadigaLE charaNam
jIyar thiruvadigaLE charaNam
puththUr ‘sudharsanam’ krishNamAcharya swamy thiruvadigaLE charaNam

– – – – – –

Translation by raghuram srInivAsa dAsan

archived in http://divyaprabandham.koyil.org

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thiruvezhukURRirukkai – 12

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pAsuram where thirumangai AzhwAr performs sharaNAgathi to thirukkudanthai ArAvamudhan.

kunRA madhumalarch chOlai vaNkodip padappai
varupunal ponni mAmaNi alaikkum
sennel oN kazhanith thigazhvanam uduththa
kaRpOr purisai kanaka mALigai
nimirkodi visumbil iLampiRai thuvakkum
selvam malgu then thiruk kudanthai
anthaNar manthira mozhiyudan vaNanga
Adaravu amaLiyil aRithuyil amarndha parama
nin adi iNai paNivan
varum idar agala mARRO vinaiyE.

Word by word meaning

kunRA madhu – having unlimited honey
malar chOlai – (from the) groves full of flowers,
vaN kodi padappai – and with gardens having beautiful creepers,
ponni – with cAuvEry river
varu punal – always having proliferating water,
mA maNi – and the best gems
alaikkum – great in number thrown by its waves,
sennel oN kazhani – having fields that are beautified by rice of yellowish hue,
thigazh vanam uduththa – surrounded in all the four sides by wilderness / grove / forest,
kaRpOr purisai – town inhabited by the learned,
kanakam mALigai nimir kodi – flags fluttering upward from the golden palaces/mansions
visumbil – in the sky
thuvakkum – touching/caressing
iLa piRai – the young moon,
selvam malgu – (it is the) wealthy and
then thiru kudanthai – beautiful thiruk kudanthai,
Adu aravu amaLiyil – (where you are leaning) in the bed of Adhi sEshan with its open hood
aRi thuyil amarndha – and involved in doing yOga nidhrai (meditating sleep),
anthaNar – (that is suitable for) brAhmaNas
manthiram mozhiyudan vaNanga – to recite vEdha sukthas;
parama – hey paramEshwara!
nin adi iNai paNivan – am surrendering to your two divine feet
varum idar agala – for the removal of hurdles that may come in the way (of reaching You);
mARRu vinai – please remove those hurdles by your mercy.

thirukkudandhai_aravamudhAzhvArthirukkudanthai ArAvamudhAzhvAr

Simple meaning

In this concluding pAsuram, thirumangai AzhwAr surrenders to the lotus feet of thirukkudanthai emperumAn. He describes the wealth and nature of the place, how river cauvEry with its rich water base brings in gems and other valuables, how the learned ones living there – like thirumazhisai AzhwAr whose fame spread in all the eight directions – worship the emperumAn with their vEdhanthA sUkthis, and so on.

Like nammAzhwAr, here thirumangai AzhwAr also surrenders to ArAvamudhan’s divine feet, and pleads Him to get him rid of the samsAram.

vyAkyAnam

Now, “kidandhavARu ezhundhirundhu pEsu” (~ please get up and converse) [thirchchandha viruththam 61], (sung by thirumazhisai AzhwAr), that is, if devotees request/command, He would do as requested/commanded, so thirumangai AzhwAr considers the sowlabhyam (neermai / easiness of attainment) of, and where beauty resides, that is AravamudhAzhwAr, and surrenders to Him similar to nammAzhwAr surrendering to Him.

azhwar-thiruvadi-thozhal

kunRA madhu malarch chOlai – Having groves with ever increasing sumptuous honey, and the flowers that keep adding such honey; if they were fed with manure/fertilizer and water, then those flowers of honey might not grow – since these groves are growing by the flood of nectar that is the divine sight of aravamudhAzhvAr, they grow as during ever existing spring season.

vaNkodip padappai – Having beautiful aquatic lands (or gardens) of posts of creepers (or the creepers), and having straws (padappai) and such various creepers, such gardens; or it is talking about aquatic lands having beetel leave plants. ‘vaN’ refers to richness of it and the beauty that shows because of it.

varupunal ponni mAmaNi alaikkum – Description of the river Cauvery. Having overflowing richness of water, that brings along and accumulates precious gems; (and the river as described in various texts): “chanjchachchAmara chandra chandhana maHa mANikya mukthOthkarAn kAvErI laharIkarair vidhadhathI” [rangaraja sthavam 1-21] ( kAvEri that comes carrying attractive chAmaram (white hair from the yak tail – used in Fan/whisk), green camphor, sandal, best gems, pearls); “ALariyAl alaippuNda yAnai maruppum agilum aNimuththum veNsAmaraiyOdu ponni malaippaNdam maNdath thiraiyundhu” [periya thirumozhi 3-8-3]; chandhinOdu maNiyum kozhikkum punal kAviri” [periya thirumozhi 5-4-1], “vEyin muththum maNiyum koNarndhu Ar punal kAviri” [periya thirumozhi 5-4-9], “thisai vil vIsum sezhu mAmaNigaL sErum thirukkudanthai” [thiruvAimozhi 5-8-9]”  so made are the pAsurams on kAvEri, isn’t it?

sennel oN kazhaNi – due to kAviri the rice fields are growing in abundance and they prosper, and so they look beautiful; the place is having such beautiful fields;

thigazh vanam uduththa – due to the ever flowing water, abundant forests are surrounding the place;

kaRpOr purisai – In the place where it was said “thisai vil veesum sezhumAmaNigaL” [thiruvAimozhi 5-8-9], that talked about great personalities who lived in the city (thirukkudanthai), like thirumazhisai AzhwAr and others whose fame spread in all eight directions, “purisai” stands for puri – city/place. Or, when read as “puri sei” it implies the city that was made; Or, “purisai” as the protective wall”, like “kaRpu Or purisai” where the divine walls have nice designs made in them.

kanaka mALigai – in the palaces/mansions made of gold,

nimir kodi visumbil iLam piRai thuvakkum – the flags that are mast in such palaces, are long and tall and such that they, up in the sky, caress the young moon with their hoods – shows the greatness of the palaces; thuvakkum – can consider as touching it by surrounding the moon, or as stopping it.

selvam malgu then thirukkudanthai – In thiruk kudanthai that is of the best wealth and sweetness. ‘selvam malgu’ to show the greatness of wealth, ‘then’ to show its sweetness.

andhaNar manthira mozhiyudan vaNanga – brAhmaNas who consider only You as their desire, who are well versed in the vEdhas, go unto you and recite the vEdhAntha sUkthis which they safeguard from being heard by those not qualified/eligible, as said in “manthram yathnEna gOpayEth” [try hard and hide/safeguard the manthras].

Adu aravu amaLiyil aRi thuyil amarndha parama – expanded due to the contact of emperumAn’s divine body, He lies down on that thiruvananthAzhwAn (AdhisEshan) as the bed, and thinks deep about helping the world; and due to that You appear apt to be said as “You are The sarvEshwaran”!

Adu aravu – snake that dances with its hood open. Also can say that as thiruvananthAzhwAn inhales and exhales, he is like a sleeping cradle as he shrinks and expands his body.

nin adiyiNai paNivan – am surrendering in your divine feet. Even if You shun me, those divine feet would accept me, and so am with determination have taken your divine feet as the means. {pirAttiyum avanum vidiul thiruvadigaL vidAdhu, thiN kazhalAi irukkum – mumukshuppadi}

varum idar agala – For the enemies that appear in this world which prevent me from enjoying your divine feet and also from enjoying your nature, appearance, and character (svarUpa rUpa guNam), which is ..

mARRO vinaiyE – the connection with the samsAram, You please rid me of that biggest sin/trouble.

adiyiNai paNivan … maRRO vinai – adiyEn surrendered to you as the means as per my (AthmA’s) nature; You please rid me of the sadness because of connection with the samsAram, as per Your nature. Like nammAzhwAr who said “thariyEn ini un charaNam thandhu en sanmam kaLaiyAyE” [thiruvAimozhi 5-8-7], thirumangai AzhwAr thus surrenders to Him with divine thiruvadi as the means for getting rid of unwanted and for achieving the wanted (anishta nivruththi, ishta prApthi).

thirumangai-azhwarNote: This section concludes the vyAkyAnam for thiruvezhukURRirukkai. One more thing.. there is a next section, which is about what poet kambar has written as a pAsuram about thirumangai AzhwAr; traditionally it is also included when reciting thiruvezhukURRirukkai.

– – – – – –

Translation by raghuram srInivAsa dAsan

archived in http://divyaprabandham.koyil.org

pramEyam (goal) – http://koyil.org
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thiruvAimozhi – 1.4.1 anjiRaiya madanArAy

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Full series >> First Centum >> Fourth decad

paramapadhanathan

Introduction for this pAsuram

Highlights from thirukkurukaippirAn piLLAn‘s introduction

No specific introduction.

Highlights from nanjIyar‘s introduction

This pirAtti (AzhwAr in feminine mood), seeing pairs of cranes having union in the garden, being a girl, approached a female crane and requests it to express her sufferings to emperumAn.

Highlights from vAdhi kEsari azhagiya maNavALa jIyar‘s introduction

parAnkusa nAyaki requests the female crane which is enjoying with the male crane in the pond in the garden to go as a messenger to garudadhvajan (srIman nArAyaNan who has garuda as his flag).

Highlights from periyavAchchAn piLLai‘s introduction

In this first pAsuram, parAnkusa nAyaki tells the female crane which is enjoying with her male crane to inform her state to emperumAn.

Highlights from nampiLLai‘s introduction as documented by vadakkuth thiruvIdhip piLLai

First pAsuram. parAnkusa nAyaki looks at a female crane which stays nearby and knowing well “the male crane should be approached through the female crane” [arumpadham – Just like bhagavan is approached through srI mahAlakshmi who does purushakAram, AchArya too should be approached through other srIvaishNavas – here crane is considered as the AchArya who establishes the link between AzhwAr and bhagavan]- parAnkusa nAyaki requests the male crane through the female crane to inform her state to emperumAn.

pAsuram

அஞ்சிறைய மடனாராய் அளியத்தாய் நீயும் நின்
அஞ்சிறைய சேவலுமாய் ஆவா என்று எனக்கருளி
வெஞ்சிறைப் புள் உயர்த்தாக்கு என் விடு தூதாய்ச் சென்றக்கால்
வன் சிறையில் அவன் வைக்கில் வைப்புண்டால் என் செய்யுமோ

anjiRaiya madanArAy aLiyaththAy nIyum nin
anjiRaiya sEvalumAy AvA enRu enakkaruLi
venjiRaip puL uyarththAkku en vidu thUdhAych chenRakkAl
van siRaiyil avan vaikkil vaippuNdAl en seyyumO

Word-by-Word meanings (based on vAdhi kEsari azhagiya maNavALa jIyar‘s 12000 padi)

aLiyaththAy – one who has the characteristics to bless/give me
am siRaiya – having beautiful wings/feathers which will help fulfil my desire
mada nArAy – tender/shy female crane being lethargic after the union with the male crane
nIyum – you who are inseparable from your partner
nin am siRaiya sEvalumAy – your beautiful partner whose wings/feathers are shining due to the union with you
A A enRu – Feeling for my separation and crying out “alas! alas!”
enakku aruLi – blessing me
vem siRai – the wings which are dreaded by the enemies
puL – periya thiruvadi (garuda)
uyarththArkku – one who raised (garuda) as the flag to protect others
en vidu thUdhAych chenRakkAl – while going as a messenger sent by me
van siRaiyil – in a cruel prison (of ignoring your presence and words)
avan vaikkil – if he keeps you
vaippuNdAl – if agreed to that
en seyyum – what is wrong with that?
O – is it even possible?

Simple transalation (based on vAdhi kEsari azhagiya maNavALa jIyar‘s 12000 padi)

Oh nArAy (female crane) who has beautiful feathers that will help fulfil my desire and who is tender/shy after the union with your partner (male crane)! You and your beautiful partner who has shining wings after your union, feeling for my separation and crying out “alas! alas!”, blessing me, go as a messenger sent by me to emperumAn who has raised garuda flag to protect others. While going there, if he imprisons you and if you agreed to be imprisoned, there is nothing wrong with that (you will be seen as a great person for doing that).

Being imprisoned for others is considered as a noble attribute. “puL uyarththAr” is also explained as the one who is carried by garuda. dhUthu – message – the ability of the AchArya (gataka) to express the desire of jIvAthmA to bhagavan. Glorifying the wings/feathers is due to their representing gyAnam (knowledge) and prEmam (devotion). The combination of female and male crane indicates the mutual respect/servitude of gatakas (AchAryas) amongst themselves.

vyAkyAnams (commentaries)

Highlights from thirukkurukaippirAn piLLAn‘s vyAkyAnam

Similar to vAdhi kEsari azhagiya maNavALa jIyar‘s translation.

Highlights from nanjIyar‘s vyAkyAnam

Similar to nampiLLai‘s vyAkyAnam.

Highlights from periyavAchchAn piLLai‘s vyAkyAnam

Similar to nampiLLai‘s vyAkyAnam.

Highlights from nampiLLai‘s vyAkyAnam as documented by vadakkuth thiruvIdhip piLLai

  • am siRaiya – Just like an infant will focus on the bosom of the mother (which is the source of nutrition), AzhwAr focusses on the wings which are the means to reach emperumAn. The beauty glows due to mutual bliss out of the union of the cranes. Just like sishya will focus on AchArya’s gyAnam and serve him, parAnkusa nAyaki focusses on the wings of the crane.
  • mada – humble; being ready to serve; due to the union, feeling lethargic and thus ready to obey the orders; nANam (shyness), madam (humility) and achcham (fear) are considered as very basic characteristics of women. parAnkusa nAyaki calls out for the help of the female crane who will understand what she is going through in separation from emperumAn.
  • nArAy – like calling ammA (mother), ammE!, she is calling nArai as nArAy!
  • aLiyaththAy – bless me, help me. Your presence is so glorious – just coming here to help me.
  • nIyum – As seen in srI rAmAyaNam ayOdhyA kANdam 31.12 “sa brAthus charaNau gAdam  nipIdya raghunandhana: sIthAmuvAcha” (iLaiyaperumAL/lakshmaNa held on tightly the lotus feet of his brother srI rAma, speaking at sIthA pirAtti first) – While srI rAma decided to go to the forest, lakshmaNa prayed to him to go along with him as well – at that time he approached srI rAma through sIthA pirAtt. So, parAnkusa nAyaki too first calls out for the female crane.
  • nin am siRaiya sEvalumAy – Like “sriya:pathi“, our indulgence towards bhagavan is due to his connection with srI mahAlakshmi. You both are made for each other.
  • A A enRu – cranes being together is to remove my suffering
  • enakku – Like the rishis complained to srI rAma showing their wounded bodies in srI rAmAyaNam ayOdhyA kANdam 6.16 “Ehi pasya sarIrANi” (You come and see our wounded bodies), parAnkusa nAyaki shows her body which is severely affected by the separation from emperumAn.
  • aruLi – Instead of helping me just because I asked, you should do this as your goal. In bhagavath vishayam (spiritual matters), AchAryas do not help in expectation of something in return; it is purely out of their compassion; when they help us attain bhagavan who is the owner of both spiritual/material worlds, the sishya has nothing to offer the AchArya in return which will match that. parAnkusa nAyaki glorifies the cranes greatly. Seeing that, the cranes ask “He left you like this. Is he going to listen to us? Also, when we go there (parampadham), everyone will look similar as stated in muNdaka upanishath 3.1.3 “niranjana: paramam sAmyamupaithi” (becoming pure, attains same qualities as bhagavan). How to distinguish bhagavan from nithyasUris and mukthas?”.
  • vem siRaip puL uyarththArkku – one who has the garuda dhvaja (flag) – this is the distinguishing aspect between bhagavan and others.  Here garuda’s wings are having adjective of “cruel” for two reasons – a) he is capable of eliminating our enemies and help us reach there; b) he is the one who helped emperumAn leave us by carrying him – so he himself is described as cruel – just like AkrUra was accused as cruel by the gOpis due to his taking krishNa away from them.
  • en vidu thUdhAy – it is actually his duty to send someone to me to protect me, but now I have to send a messenger to him. You are going on my request – I am not so strong/able like pANdavas who sent krishNa as a messenger.  I am such a helpless girl. Going as a messenger for others’ benefit is a rare opportunity.
  • senRakkAl – You are going to see emperumAn before I could see him. Is that not great?
  • van siRaiyilbhagavan will not imprison a messenger from parAnkusa nAyaki. But ignoring the messenger itself is considered as imprisonment. Like princes need to be pampered regularly – if they are not given betel leaves on time, they will become upset.
  • en vidu thUdhAy senRakkAl van siRaiyil avan vaikkil – When someone goes as a messenger of emperumAn, he may be imprisoned, tortured (by setting fire on the tail etc) – like hanumAn went through. When you go as my messenger, he will embrace you as explained in srI rAmAyaNam yudhdha kANdam 1.13  “parishvangO hanUmatha:” (that hanumAn was embraced by me – on carrying the return message from sIthA pirAtti to srI rAma). You will be embraced by the chest I would like to embrace.
  • avan vaikkil – would he imprison you? As explained in srI rAmAyaNam ayOdhyA kANdam 2.42 “vyasanEshu manushyANAm” (He feels the pain of the suffering of the lowest of humans), he would never trouble you. In fact, he will hold your feet on his head.
  • vaippuNdAl en seyyumO – Even if he imprisons you, is it not something noble? Like sIthA pirAtti who herself allowed to be imprisoned by rAvaNa to release the dhEva sthrIs (celestial women) from the prison of rAvaNa – this will be greatly glorified as a noble gesture.

In the next article we will enjoy the next pAsuram.

adiyen sarathy ramanuja dasan

archived in http://divyaprabandham.koyil.org

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