Monthly Archives: July 2015

thiruvAimozhi – 1.4.2 – enseyya thAmaraikkaN

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Full series >> First Centum >> Fourth decad

Previous pAsuram

 pundarikakshanpuNdarikAkshan – thiruveLLaRai

Introduction for this pAsuram

Highlights from thirukkurukaippirAn piLLAn‘s introduction

No specific introduction.

Highlights from nanjIyar‘s introduction

In the second pAsuram, parAngusa nAyaki speaks about what some cuckoos would tell on her behalf to emperumAn.

Highlights from vAdhi kEsari azhagiya maNavALa jIyar‘s introduction

Subsequently, since there are lot more cuckoos (a group of them) which can accomplish her objective, she requests some of those to go to her puNdarikAkshan (lotus eyed lord) on her behalf as a messenger.

Highlights from periyavAchchAn piLLai‘s introduction

Similar to nampiLLai‘s introduction.

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

Previously, parAngusa nAyaki requested some cranes to go as her messenger. Now, she explains to cuckoos what to convey when they go there. She started with cranes but ended with cuckoos. This is how much bewildered she is. That is the greatness of bhagavAn from whom she is separated now. When someone who is separated from worldly matters/experience, they get quite upset and bewildered – if that is the case for normal matters, how much bewilderment one should have when separated from the most distinguished bhagavAn. If bhagavAn does not bewilder her like this, that would be an insult to his most auspicious qualities.

pAsuram

என் செய்ய தாமரைக் கண் பெருமானார்க்கு என் தூதாய்
என் செய்யும் உரைத்தக்கால் இனக்குயில்காள். நீரலிரே?
முன் செய்த முழு வினையால் திருவடிக்கீழ் குற்றேவல்
முன் செய்ய முயலாதேன் அகல்வதுவோ விதியினமே

en seyya thAmaraik kaN perumAnArkku en thUdhAy
en seyyum uraiththakkAl inakkuyilgAL nIralirE
mun seydha muzhu vinaiyAl thiruvadikkIzh kuRREval
mun seyya muyalAdhEn agalvadhuvO vidhiyinamE

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

inakkuyilgAL – Oh group of cuckoos!
nIr alirE – don’t you who have beautiful voice?
en – for me whom he became bound to
seyya – reddish
thAmarai – like a lotus
kaN – having eyes
perumAnArkku – one who is greater than every one else (unreachable for me)
en thUdhAy – being my messenger
uraiththakkAl – if you speak
en seyyum – what is wrong?
mun seydha – previously committed
muzhu vinaiyAl – complete sins
thiruvadik kIzh – at your divine feet
kuRREval – confidential service
seyya – to perform
mun – previous
muyalAdhEn – me who did not engage in any means
inam – still
agalvadhuvO vidhi – Is staying away the right thing to do?

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

Oh group of cuckoos! Isn’t it true that you who have beautiful voice!?When you speak on behalf of me (whom he is bound to) to the greatest lord who has beautiful reddish eyes, what is wrong with that? Due to my previously committed sins, I did not try to perform confidential service at the lotus feet through any means, but still should I stay away? Is that the right thing to do? Here the sweet speaking ability of the AchAryas and their presence in groups is indicated.

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.

bhattar was staying in thirukkOshtiyUr and there were two sishyas of his who were also present there at that time. They were named theRkAzhwAn and kOLariyAzhwAn. kOLariyAzhwAn is very focused on AchAram (following disciplined lifestyle according to vaidhika dharmam).  theRkAzhwAn is more lenient on the AchAram. Once on a festive day, when they both met, kOLariyAzhwAn asks theRkAzhwAn “Won’t you take a holy dip at least today?” theRkAzhwAn replies “my sins are so huge that such holy dips are not helpful. Only emperumAn‘s sudharsana chakra has the ability to destroy my sins. So, what is the use of such holy dip then?”. bhattar overheard this and thought “I underestimated theRkAzhwAn based on his AchAram, but he is really knowledgeable” and felt blissful.

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

  • en – mine. emperumAn was very subservient to parAngusa nAyaki that he makes her think that he belongs to her even in separation. Alternatively, to help her sustain herself during separation, while leaving her, he said “wherever I am, wherever I go, I am yours”; because of that, she considers “he is mine”.
  • en seyya thAmaraik kaN perumAnArkku – my lotus eyed lord. She has enjoyed his reddish eyes before. His eyes are red due to:
    • His svAbAvika aiswaryam (natural control over everything else)
    • His vAthsalyam (motherly forbearance) towards his subjects
    • Just like a drunken person’s eyes, after having enjoyed in union with parAngusa nAyaki
    • Due to suffering in separation from her
  • Where did she enjoy these aspects? In the first thiruvAimozhi, she experienced/explained  emperumAn‘s aiswaryam. In the third thiruvAimozhi, she experienced/explained his vAthsalyam. Here, union and separation are explained.
  • perumAnArkku – While leaving, he gave her a blissful glance and got her to become fully surrendered to him (in connection with the lotus eyes).
  • en thUdhAy – Like the rising and receding of a sea – it feels so empty. Going as a messenger for me who is so lonely/helpless.
  • en seyyum uraiththakkAl – when you speak on behalf of me, he may even gift you ubhaya vibhUthi (both spiritual and material realms).
  • inakkyuilgAL – you are in a group unlike me who is alone.
  • nIralirE – you are the embodiment of simplicity. Why are you not helping me now? You responded nicely when we were enjoying together.
  • mun – Is there a beginning for the time when I started committing sins? Its anAdhi (without a beginning).
  • seydha – Were those sins just planned but not committed? They were committed.
  • muzhu vinai – Were they incomplete in any manner? Can I eliminate?   An incident from the life of bhattar is cited by nampiLLai and is explained in detail by periyavAchchAn piLLai in his vyAkyAnam.
  • thiruvadikkIzh – Just like a brAhmaNa, even if he becomes retarded, will recite vEdham only, nammAzhwAr, even in the state of parAngusa nAyaki will only want to embrace emperumAn‘s lotus feet instead of his chest – serving the lotus feet is natural for nammAzhwAr.
  • kuRREval – desiring to perform confidential services to the lotus feet.
  • thiruvadikkIzh kuRREval mun seyya muyalAdhEn – I who did not try serving your lotus feet previously; It is also explained as said by lakshmaNa in srI rAmAyaNam “kriyathAm ithi mAm vadha” (do as I say), not serving even after hearing the orders.
  • agalvadhuvO vidhi – Even after not engaging in self-efforts, would I miss out on the goal? For AzhwArs, emperumAn is the only means. nammAzhwAr says in thiruvAimozhi 5.8.8 “kaLaigaN maRRilEn” (I have no other means”); kulasEkarAzhwAr says in perumAL thirumozhi 5.1 “un charaNallAl charaNillai” (there is no other means than your lotus feet) and in perumAL thirumozhi 5.7 “maiththezhundha mAmugilE pArththirukkum maRRavai” (Like the crops which only look up to the blackish-huge clouds), poigai AzhwAr says in mudhal thiruvanthAdhi 4 “neRivAsal thAnEyAy ninRAnai” (emperumAn who is the means and goal), periyAzhwAr says in periyAzhwAr thirumozhi 5.1.2 “vizhikkum kaNNilEn nin kaN maRRallAl” (I will not take any other refuge than your blessing vision) and thoNdaradippodi AzhwAr says in thirumAlai 38 “vAzhum sOmbar” (living lazy person – one who only depends on emperumAn for one’s protection and will not engage in self-efforts).
  • vidhiyinamE – there is no other way (from our side). piLLai thirunaRaiyUr araiyar says “parAngusa nAyaki says ‘even though we have nothing in our side to achieve our desires (service to you), why are you hesitating?'”

In the next article we will enjoy the next pAsuram.

adiyen sarathy ramanuja dasan

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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
pramANam (scriptures) – http://srivaishnavagranthams.wordpress.com
pramAthA (preceptors) – http://acharyas.koyil.org
srIvaishNava education/kids portal – http://pillai.koyil.org

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

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thiruvezhukURRirukkai – 11

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srI:
srImathE satakOpAya nama:
srImathE rAmAnujAya nama:
srImath varavaramunayE nama:

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1-2-3-4-5-6-7-] 6-5 – 4-3-2-1  (ends)

aRu vagaich chamayamum aRivaru nilaiyinai
aimpAl Odhiyai Agaththu iruththinai

aRamudhal nAngavaiyAy mUrththi mUnRAi
iruvagaip payanAi onRAi virindhu ninRanai

Word by word meaning

aRu vagai chamayamum – Six type of other philosophies
aRivu aru – cannot know/understand
nilaiyinai – You; such is your nature;
aimpAl Odhiyai – pirAtti whose hair is identification of five ways of hair;
Agaththu iruththinai – have placed her in your divine chest.
—-
aRam mudhal nAngu avai Ay – You are the one who grants the four goals – aRam (dharma), poruL (things/wealth), inbam (pleasure), vIdu (srIvaikuNtam)
mUrthy mUnRu Ay – as antharyAmi for the three mUrthys
iru vagai payan Ay – You are the one who creates happiness and sadness (based on karmAs)
onRu Ai virindhu ninRanai – just the self (in the beginning), and then expanded as the whole world.

Simple translation

These phrases talk about the aishwaryam (parathvam) of emperumAn.

It is impossible for those denying the emperumAn, that is those who believe in other six philosophies to reach/know emperumAn.

You have placed srIdhEvi pirAtti in your divine chest, where she stays at all times, to do purushakAram (recommendation).

You are the grantor of the four goals of beings; you are the antharyAmi of the three mUrthys; You are the one who controls the happiness and sadness of beings according to their karmas; You who was the only One existing during praLayam (annihilation), expanded into many, and gave names and shapes to things, and You are responsible for their being as the antharyAmi.

So it is not possible for me to lose you because of any lack of greatness/aishwaryam on Your part, says thirumangai AzhwAr.

vyAkyAnam

aRuvagaich chamayamum aRivaru nilaiyinai – It is not possible to know You by those who do not accept you, that is, chArvAkar, bouththar, samaNar, naiyAyika’vaishEshikar (thArkkikar), sAnkyar, pAshupadhar;   by this, Azhwar implies the meaning, “When you are beyond reach for those who do not accept you, you are beyond reach even for me who accepts you!”

aimpAl Odhiyai Agaththu iruththinai – You hold periya pirAtti in your divine chest; periya pirAtti having the five identifications of a good hair – being curled, shining, fragrant, dense, and soft.

Agaththu iruththinai – thiruvadi (hanuman) was corrected by pirAtti, “pApAnAm vA shuBhAnAm vA vaDhArhANAm plavangama | kAryam karuNamAryENa  na kashchith nAparADhyathi ||“ [rAmAyaNam yudhdha kANdam 116-44] (hey vAnara! whether one has done sins or good deeds, even if they are to be killed, even in their matters a just person should show kindness. There is no one (in this world) who has not done any mistakes!); such pirAtti is kept in Your divine chest such that she is always available for purushakAram (recommendation);

pApAnAm_vaWhen saying “mangaiyar iruvarum varuda”   in a previous phrase, it referred to both srIdhEvi and bhUdhevi as doing purushakAram, but here it mentions the importance of srIdhEvi who is always present in the divine chest of emperumAn; so this is not insignificant. Or, it can be taken as this referring to srIdhEvi here to imply that emperumAn gets His aishwarya, (parathva), soulabhyam, beauty etc., due to pirAtti only. This idea is used in the upcoming phrases.

To begin with it talks about His aishwaryam.

aRam mudhal nAngavaiyAy – You are the four goals (purushArtham) – that are, aRam (dharma/charity), poruL (things/wealth), inbam (pleasure/happiness) and vIdu (srI vaikuNtam); “chathurNAm purushArththAnAm dhAthA dhEva: chathurBhuja:” [nArAyaNan who has got four arms, is the one who grants the four purushArthas].

“dhEvEndhras thriBhuvanam arththamEkapinga:
sarvardhDhim thriBhuvanagAm cha kArththavIrya: |
vaidhEha: paramapadham prasAdhya vishNum
samprAptha: sakala pala pradhO hi vishNu: ||”   [vishNu dharmam 43-47]

[ By worshiping vishNu, dhevEndhra got three worlds, kubEran the wealth, kArththa vIryan the fame that spread to the three worlds, and janaka mahArAjan the paramapadham; such is vishNu bhagavAn who grants what one wishes.] – so since he is the one who can give the four goals, He himself is those goals, so says AzhwAr.

mUrthy mUnRAi – Three mUrthys, that are: brahmA, rudhra, and indhra; emperumAn is the antharyAmi in them; Or, if considering the three – brahmA, vishNu, rudhra, then it talks about how emperumAn stands between the two and does the protection himself, and does the creation and destruction as antharyAmi in brahmA and rudhra.

srushti sthithi anthakaraNIm brahma vishNu shivAthmikAm |
sa samjyAm yAthi BhagavAn Eka Eva janArthdhana: ||” [vishNu purANam 1-2-66]

[creation, protection, and destruction are the three activities for which janArthdhanan takes the three names (and forms) of brahmA, vishNu, and shiva], so said srI parasara rishi.

iruvagaip payanAi – happiness, sadness are the two types of states due to karmas – he is the one who controls them.

onRAi virindhu ninRanai – during praLayam (annihilation), all the things would be without any name or form and stick together with emperumAn, so he is said as ‘sadhEva” [chAndhokya upanishad 6-2-1], that is, He is the only one existing; then during creation, he decides “bahu syAm” [chAndhokya Upanishad 6-2-3] (I shall become many/multiply), and expands to many things that get name and form.

Or, instead of creation, and praLaya (annihilation) times, it can also mean that during all times, all the things are parts of Him, so we can say “sentient and non-sentient things are parts of the body of emperumAn; such emperumAn is the one truth” – he is such.

And it can be considered as follows. Even though He is having these things as his body, He is not affected by the blemishes of those things.

Starting from ‘aRamudhal” till current phrase, His aishwaryam (parathvam) has been mentioned. From this, AzhwAr has implied, “It is not possible for me to lose (You) because of any lack of aishwaryam on Your part”

Note: With this the phrases that follow a numbering pattern ends. In the next pAsuram of this prabandham, thirumangai AzhwAr surrenders to thirukkudandhai emperumAn.

– – – –

Translation by raghuram srInivAsa dAsan

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thiruvezhukURRirukkai – 10

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srI:
srImathE satakOpAya nama:
srImathE rAmAnujAya nama:
srImath varavaramunayE nama:

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1-2-3 ] 4 – 5 – 6-7

neRi muRai nAl vagai varuNamum Ayinai

methagum aimperum pUthamum nIyE

aRupadham muralum kUndhal kAraNam
Ezhvidai adangach cheRRanai

7bullskaNNan fighting the seven bulls to get nappinnai pirAtti

Word by word meaning

nAl vagai varuNamum Ayinai – You control all four varNas (category of births)
neRi muRai – who conduct themselves according to sAsthra

mE thagum ai perum pUthamum nIyE – You are the antharyAmi of all the five elements (bhUthams) into which AthmAs can enter into and get set into them.

aRupadham muralum kUndhal kAraNam – For nappinnai pirAtti to whose hair the bees (six legs) come buzzing (for enjoying the honey),
Ezh vidai – the seven bulls
adanga cheRRanai – (which you) crushed them together

Simple meaning

After talking in the previous phrase about yOga nidhrA (aRi thuyil – meditation) for protecting, it now talks about how He protects us, lets us be.

He created the four varNas and required them to follow the ways set for them, for worshiping Him.  He does not like to be worshiped in other ways by the respective people of the varNas. The varNas can be said as He himself.

He let the AthmAs set into the body that is made of the five elements, and lets us think that we are human, dhEva, etc.  He is the antharyAmi in these elements. Thus He protects us as He lets us be, and helps worship Him.

The above is common to every being, and thirumangai Azhwar mentions a special and specific case next – as how He crushed the bulls that prevented Him from getting nappinnai pirAtti who is beautiful, that bees would buzz around her hair that is having honey, flowers;

Azhwar wishes that emperumAn would remove the hindrances that prevent Him from getting Azhwar too.

vyAkyAnam

After talking in the previous phrase about yOga nidhrA (aRi thuyil) for protecting, it now talks about how He protects us.

neRi muRai nAl vagai varuNamum Ayinai – You are the four varNas (brAhmaNa, kshathriya, vaishya, and shUdhra) who conduct themselves within the respective limits set by the sAsthras. Says that these four varNas are under your control. Since you gave these four varNas to the AthmAs, and since you are the target of the conduct/worship of these varNas according to their ways, it can be said that ‘You are the four varNas’, is the opinion.

aham hi sarva yagyAnAm bhOkthA cha praBhurEva cha’ [gIthA – 9-24] (I am the one who enjoys all the yagyas (that are performed for me); I am the benefactor who gives benefits for them), and

varNAshrama AchArvathA purushENa para: pumAn | vishNur ArADhayathE panthA nAnyas thaththOshakAraka: ||” [vishNu purANam 3-8-9] (vishNu is worshiped only by those men who live according to the dharma of their varNAshramam; He does not get happiness when done in other ways), and

“chAthur varNyam mayA srushtam” [gItha 4-13] (all the four varNas are created by me)

– these are the meanings of what sAsthras have provided, isn’t it?

——

mEthagum aimperum pUthamum nIyE – The elements of the body into which AthmAs enter and get set – earth, water, fire, air, space – all these grand elements are You only. That is, they are controlled by You.

mEthagu – enter and settled well into; that is, as said in ‘yAdhAnum Or Akkaiyil pukku angu AppuNdum” [thiruviruththam 95] – the AthmAs enter the bodies of dhEvas, humans, etc., and they get set into them to the extent of making them think “dhEvOham manushyOham” (I am a dhEva, I am a human), and they become eligible to follow the karmAs according to those bodies they entered into.

Saying “nAlvagai varuNamum Ayinai; aim perum pUthamum nIyE” , Azhwar shows the meaning, “for my body and its ways, the existence, being, and activities (saththA, sthithi, pravruththi) are under your control, so is there anyone to protect me other than You?”

—–

In yOga nidhrA, emperumAn thought of the protection of beings, and the previous phrase talked about the common aspects of creation, existence, etc. Now it talks about a special case of Him protecting nappinnai pirAtti.

aRupadha muralum kUndhal – bees, which have six legs, are buzzing around and settling into the hair of nappinnai pirAtti, for the sumptuous honey ; for the reason of getting such a nappinnai..

Ezh vidai adangach cheRRanai – without missing any of the sever bulls you crushed their necks and killed; the bulls which were preventing you from hugging such a pirAtti;

By this, “Like how you removed the hindrances for getting nappinnai pirAtti, please grace me and remove the hindrances that prevent You from getting me” is the idea that thirumangai AzhwAr shows in this phrase.

– – – – – – –

Translation by raghuram srInivAsa dAsan

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thiruvAimozhi – 1.4 – anjiRaiya

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srI:
srImathE satakOpAya nama:
srImathE rAmAnujAya nama:
srImadh varavaramunayE nama:

Full series >> First Centum

Previous Decad

ahzwar-message-to-paramapadanathanparAnkusa nAyaki (nammAzhwAr in feminine mood) sends messenger to paramapadhanAthan

Highlights from thirukkurugaippirAn piLLAn‘s introduction

After enjoying emperumAn through divine vision, AzhwAr developed the desire to experience and enjoy physically in front of him but that did not happen. Being distressed, AzhwAr meditates on emperumAn‘s qualities such as sarvAparaAdhasahathvam (forgiving all mistakes) etc., and consoling himself that emperumAn would never give up on him, he expresses his desire to emperumAn through a dhUtha (messenger). Here AzhwAr assumes a feminine mood and expresses his desires to emperumAn .

Highlights from nanjIyar‘s introduction

emperumAn, desiring to cultivate AzhwAr‘s devotion fully to have the ability to enjoy him, delays fulfilling AzhwAr’s desires, just like a doctor would make a patient fast to develop hunger. Unable to handle that, AzhwAr becomes very distressed due to his ananyArha sEshathvam (being fully dependent on emperumAn only), having developed the taste for the experience of emperumAn‘s divine consorts. Due to AzhwAr being at par with emperumAn‘s divine consorts, since he was desirous of enjoying emperumAn only (being enjoyed by emperumAn only) and being unable to sustain oneself during separation from emperumAn, AzhwAr reveals her pains of separation in the mood of a beloved of emperumAn.

parAnkusa nAyaki (AzhwAr considering herself as a girl), while playing in her garden with her friends, due to divine intervention, gets separated from her friends, meets emperumAn and enjoys his union and becomes separated from emperumAn too which leads to great suffering. She starts thinking “emperumAn left me and is not returning to me due to some defects in my side and if I indicate his quality of aparAdha sahathvam, he will return to me”. Just like srI rAma and sIthA were sending birds as messengers to express their sufferings in separation of each other without comprehending that birds cannot really communicate their feelings, parAnkusa nAyaki too sends some birds as messengers to emperumAn.

Highlights from vAdhi kEsari azhagiya maNavALa jIyar‘s introduction

In this 4th decade – AzhwAr starts enjoying emperumAn who is easily approachable, beautiful and the master – through mind, words and deeds. But since he did not respond immediately, AzhwAr becomes distressed.

AzhwAr sees many qualities in emperumAn such as

  • emperumAn’s greatness in accepting/protecting everyone after removing his/her previously committed offenses.
  • his puNdarIkAkshathvam (lotus eyed nature) which can purify everyone
  • his nature of stealing everyone’s heart and making everyone fully dependent on him
  • the divine beauty which helps him steal everyone’s heart
  • friendly attitude towards protecting every one in all the worlds
  • having the entourage to quickly protect everyone
  • his limitless mercy which will destroy the defects of those who surrender unto him
  • the unlimited vAthsalyam (motherly forbearance) – considering the defects (of those who surrender) as enjoyable aspects
  • his eternal relationship with everyone which is the cause for the vAthsalyam
  • Being close to every one

Considering all of these qualities of emperumAn, AzhwAr thinks emperumAn delays the experience due to not knowing AzhwAr‘s intentions/state and tries to send a messenger. Here AzhwAr assumes a feminine mood (parAnkusa nAyaki) and sends a messenger to Iswara who is the nAyaka (husband/master).

AzhwAr‘s nature is ananyArha sEsham (being dependent on emperumAn only), ananya rakshyam (being protected by emperumAn only) and ananya bhOgyam (being enjoyed by emperumAn only) – just like a wife who is totally dependent on her husband. Based on Iswara‘s svAmithva (being the master), Athmathva (being the controlling soul), sEshithva (being the lord/primary), pumsathva (being the man), the chEthana has dhAsathva (being the servant), dhEhathva (being the controlled body), sEshathva (being subservient/secondary) and sthrIthva (being the woman) qualities. Due to the beloved girl having discord arising out of love with her man is matching in the case of AzhwAr with Iswara, there is nothing wrong in AzhwAr assuming a feminine mood to express his feelings. Since this is the mood of a beloved girl in separation, this is treated as kaikkiLai (a thamizh poetic style to reveal one-sided love).

Highlights from periyavAchchAn piLLai‘s introduction

Similar to nampiLLai‘s introduction.

Highlights from nampiLLai‘s introduction

In the previous decads, AzhwAr became delighted after enjoying emperumAn‘s parathvam (supremacy), bhajanIyathai (being worshippable) and saulabhyam (easily approachable) as himself. In this decad, AzhwAr transforms into a  beloved girl and speaks in desperation instead of delight. As explained in “ayam apara: kArakaniyama:” – this action (decad) is in a different norm and is most enjoyable.

Once, a (dry) scholar came to thiruvAimozhi lecture series (of nampiLLai) after hearing that “most detached and stable-minded persons pursue this thiruvAimozhi – it should be revealing great philosophy”. But when this decad was started, he said this looks like “romantic blabbering” and left the lecture. Since he was an unfortunate person, he did not understand that this is bhagavath kAmam (divine dealings of AthmA with bhagavan) as explained in bruhadhAraNyaka upanishath 4.5 “…nidhidhyAsithavya:” (to be constantly meditated upon).

AzhwAr delightfully said that he wanted to enjoy the lotus feet of thrivikraman (in the end of previous decad). But he realized that thrivikrama avathAram was in a different era and he can no more physically enjoy that and immediately assumes feminine mood and her delight becomes desperation in this decad.

Though AzhwAr clearly understands that emperumAn will protect him, the reason for his desperation here is – since food during indigestion is not good, learned doctor will make the patient fast to cultivate hunger so that the food can be consumed satisfactorily, emperumAn being “maruththuvanAi ninRa mAmaNivaNNan” (emperumAn who is the real doctor – periyAzhwAr thirumozhi 5.3.6), delays the experience by disappearing for a little while from AzhwAr’s vision so that he can mature and fully experience the anubhavams which are to follow in the rest of thiruvAimozhi.

Subsequently, AzhwAr becomes disturbed. One who was blessed with “mayarvaRa madhinalam” (blemishless knowledge) becomes disturbed. emperumAn‘s greatness is such that, even the knowledge blessed by him will not be useful in separation.  Even sIthA pirAtti who said in srI rAmAyaNam yudhdha kANdam 9.30 “thath thasya sadhrusam bhavEth” (his coming over to lankA and rescuing me (without any of my efforts) is the suitable action for srI rAma’s greatness), attempted to kill herself moments earlier (before meeting hanumAn) – that is because of the unbearable pain in separation from such great emperumAn – sIthA pirAtti who knows everything herself acted like that in pain of separation. Both srI rAma and sIthA pirAtti also requested birds to convey their feelings to each other [Note: Our pUrvAchAryas often quote from srI rAmAyaNam and other sAsthrams to prove the validity of AzhwArs’ actions/expressions to vaidhikas who accepted vaidhika sAsthram faithfully in those days].

nampiLLai establishes that AzhwAr is like pirAtti (divine consort of emperumAn) – this can be seen in the last para of vAdhi kEsari azhagiya maNavALa jIyar’s introduction. Just like emperumAn‘s feet are at times said as lotus (due to the close similarity), here AzhwAr too is spoken as pirAtti herself. This is called “muRRuvamai” (fully matching example) in thamizh grammar. bhagavAn’s beauty/manliness is such that even other men would give up their (bodily) manliness and be attracted towards him.

nampiLLai explains the principle of parAnkusa nAyaki meeting emperumAn in the garden (as explained in nanjIyar’s introduction). He further explains it here. parAnkusa nAyaki looks around to send a messenger to emperumAn to reveal her feelings. She understands that her friends are in even-more non-consolable state. So, she observes the birds (considered as AchArya who would link the jIvAthmA with paramAthmA) which have wings (gyAnam and anushtAnam) and sends them as messengers to emperumAn. bhattar often said that just like the monkey clan became glorified after srI rAma’s birth, the birds became glorified after the birth of AzhwArs.

Here, samslEsham (union) for AzhwAr is – emperumAn blessing him “mayarvaRa mathinalam” (blemishless knowledge) at a particular time when he did not show any hatred towards emperumAn. vislEsham (separation) for AzhwAr is – having realised fully, not reaching emperumAn immediately. The reason for sending messenger is – emperumAn did not see his greatness and instead accepted me seeing my insignificance. But on coming near me, he saw the defects in me and gave up on me considering such defects. AzhwAr wanted to inform/remind emperumAn that he [emperumAn] has a quality called “aparAdha sahathvam”. AzhwAr (in feminine mood) sends a messenger to remind him about that quality so that he will come and accept AzhwAr again.

Each pAsuram is discussed subsequently.

adiyen sarathy ramanuja dasan

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thiruvezhukURRirukkai – 9

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srImathE satakOpAya nama:
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1-2-3-4-5-6-7-6-5-4-3 ] 2-1 – 1-2-3

nin Iradi onRiya manaththAl
oru madhi mugaththu mangaiyar iruvarum malar(a/e)na
am kaiyin muppozhudhum varuda
aRi thuyil amarndhanai

thirumagaL_maNmagaL_kUsi_pidikkum_melladi_aRi_thuyil

Word by word meaning

oru madhi mugaththu mangaiyar iruvarum – the two pirAttis, srIdhEvi and bHUdhEvi (thirumadanthai, maNmadanthai) with unparalleled divine face like the moon,
onRiya manaththAl – (with their) mind immersed in
nin Ir adi – your two divine feet
muppozhudhum – (they) always
varuda – press/caress (your divine feet)
malar ena am kaiyin – using their beautiful hands that can be said as flowers
aRi thuyil amarndhanai – while you are immersed in meditating sleep (yOga nidhrA).

Simple meaning
thirumangai Azhwar next says that it would be possible for him to enjoy the beauty of emperumAn because of the purushakAram (recommendation) of pirAttis (divine consorts) who because of their beauty are able to make emperumAn listen to their words.
The phrase describes the beauty of the hands of srIdhEvi and bhUdhEvi who at all times carefully caress the lotus feet of emperumAn; emperumAn being in the state of deep thinking, for figuring out how to help the worlds, especially His adiyArs (devotees);
Azhwar concludes that it would not be possible for emperumAn to not help him enjoy emperumAn when there are pirAttis who would make sure of that, with their beauty, age, and service to emperumAn.

vyAkyAnam

nin Iradi . . .thirumangai AzhwAr shows that for getting the benefit of enjoying his beauty, there is also support of able mediation (purushakAra balam).

nin Iradi onRiya manaththAl – with their mind focused on dhEvarIr’s divine feet; by this it shows their ananya bhOgyathvam (not enjoying anything other than emperumAn);

oru madhi mugaththu – unlike the moon seen in this world, their faces are like a complete moon without any blemish, and their faces are pleasant and show how they are drinking the beauty that is emperumAn.

mangaiyar iruvarum – Like said by “thulyasheelavayO vruththAm” [rAmAyaNam – sundhara kANdam 16-5] [she possesses equivalent character, age, and actions (as emperumAn)], and by “yuvathishcha kumAriNI” [she is near the end of young girlhood and near the beginning of womanhood ], they with their suitable age can make emperumAn their bhaktha and a mad lover (like said in “pAr vaNNa mada mangai paththar piththar pani malar mEl pAvaikku” [thirunedunthANdakam 18] ) – such are the two pirAttis – srIdhEvi and bhUdhEvi (thirumadanthai and maNmadanthai).

malar ana am kaiyin – with beautiful hands, as if they touch with flowers; phrase is recited differently too as ‘malar ena am kaiyin’ ; if we try to compare with flowers, their hands are even softer and more beautiful than the flowers; since their hands are soft, colorful and fragrant, it is not possible to provide a comparison for them, is the concept here. //  Like said by: “chandhra kAnthAnanam rAmam athIva priyadharshanam” [rAmAyaNam ayOdhyA kANdam 3-29] [sweet like the moon, appearing sweeter than the moon, that is rAman]

muppozhudhum varuda – During all the three times – future, current, and past (edhir, nigazh, kazhivu), they caress emperumAn’s divine feet with so much hesitation (to avoid disturbing the delicate and beautiful lotus feet) as said in “vadivu iNai illA malar magaL maRRai nila magaL pidikkum mel adi” [thiruvAimozhi 9-2-10].

aRi thuyil amarndhanai – As You keep thinking while lying down, “how to save the whole world, especially how to save his devotees?”,  you are in such a state that you would not get up even if arrows are thrown at You!

nin Iradi … mangaiyar iruvarum … adi varuda” – by this it implies thirumangai AzhwAr saying, “It is not possible for adiyEn to not get the benefit (You) due to any lack of mediators/recommendation (purushakAram) (since both pirAttis are there).”

aRi thuyil amarndhanai” – “It is not possible for adiyEn to not get the benefit (You) because of any lack in Your part of thinking of saving your devotee (since you are always thinking about saving everyone)”.

– – – – – – – –

Translation by raghuram srInivAsa dAsan

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thiruvezhukURRirukkai – 8

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1-2-3-4-5-6-7 ] – 6 – 5-4-3 [2-1

kURiya aRu suvaip payanum Ayinai

sudar vidum aimpadai ankaiyuL amarndhanai
sundhara nAL thOL munnIr vaNNa
 

Word by word meaning

kURiya aRu suvaip payanum Ayinai – six types of tastes (mentioned in the sAsthras) is You who is all such tastes for me.
—-
am kaiyuL – In your beautiful divine hands
amarndhanai – you hold
sudar vidum ai padai – the five weapons that are bright;
sundhara nAl thOL – having four beautiful shoulders
munnIr vaNNa – Oh emperumAn, having the beauty like an ocean.

panchayudham

Simple translation

thirumangai AzhwAr considers emperumAn as all the tastes specified in the shasthrAs;

Azhwar enjoys the beauty of emperumAn’s four shoulders, which define the word beauty, and which give beauty to the ornaments worn; Azhwar asks emperumAn to let him fully enjoy such beauty.

 

vyAkyAnam

kURiya aRu suvaipp payanum Ayinai – sAsthras talk about six tastes that the people in this world use – salty, sour, saline/astringent, sweet, hot, and bitter (uppu, puLippu, thuvarppu, inippu, kArppu, kaippu (kasappu); You are these tastes for us. nammAzhwAr too sang “aRu suvai adisil enkO” [thiruvAimozhi 3-4-5]. You become the six tastes for the people and benefit them, you please be the six tastes – shad’rasAnnam (aRusuvai adisil – food with all six tastes) and give Yourself to us. This is the meaning thirumangai Azhwar shows in this phrase.

—–

For him, it is the five divine weapons that emperumAn holds, and the beautiful hands that holds them, are the food of six tastes – is what thirumangai AzhwAr shows in the next phrase.

sudar vidum aimpadai ankaiyuL amarndhanai – having wonderful appearance of shankam (conch), chakram (sudarsana wheel), gadhai (mace), sArngam (bow), nAndhakam (sword); even if they are not present, your hands are so beautiful, which require removing the casting of others’ (evil) eyes; with such beautiful hands you provided your grace to us by holding those weapons, like they are ornaments for such beautiful hands.

sundhara nAl thOL munnIr vaNNa – Shoulders that define the word beauty; that word beauty split in to four parts, that are your four shoulders; Like it is said “sarva bhUshaNa bhUshArhA: bhAhava:” [ramAyanam – kishkintha kAndam? 3-15], [shoulders fit for decorating all the ornaments], without having to use any ornaments to add beauty, the shoulders themselves are so beautiful; they create beauty; in reality they give beauty to the ornaments; One having such shoulders; river water, spring (URRu) water, and rain water – all the three get mixed (munnIr) in to oceans, and when people look at the ocean it their fatigue would be removed and feel fresh; in the same way you remove our fatigue by your beautiful form; AzhwAr implies that He should make him fully enjoy this beauty.

– – – – – – – –

Translation by raghuram srInivAsa dAsan

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thiruvezhukURRirukkai – 7

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1-2] 3-4-5-6 – 7

mukkaN nAl thOL aivAi aravOdu
ARupodhi sadaiyOn
aRivarunthanmaip perumaiyuL ninRanai

Ezhulagu eyiRRinil koNdanai

 

Word by word meaning

mukkaN – (rudhran who is) having three eyes
nAl thOL – four shoulders
aivAi aravOdu – having the snake which has got five mouths
ARu podhi sadaiyOn – and having river gangA in the plaits of his hair
aRivu aru – cannot know you
thanmai – you are of that nature
perumaiyuL ninRanai – you are having such a greatness

eyiRRinil koNdanai – (by srI varaham) lifted into your trunk (dhantham)
Ezhulagu – all the worlds
Simple translation

There are two phrases covered in this article.

In the first part, Azhwar says that when it is not possible even for rudhran who possesses excess knowledge and strength, it is impossible for regular ones like adiyen to know/reach you using such knowledge and strength; so it is You who has to help us by your causeless mercy.

It describes rudhran having additional eyes (knowledge), and four shoulders, with a snake having five eyes, and having gangA in his matted hair (additional strength).

Gods_prayed_Vishnu

In the 2nd part, it describes how emperumAn as srI varaham (wild boar/pig) lifted the world and saved it from the praLayam (annihilation) when others like rudhran also were affected (let alone help us) by the praLayam.

 

vyAkyAnam

Now, in the previous phrase thirumangai AzhwAr said that upAsakars are able to understand emperumAn, but it is only to the extent that they see based on what they meditate on, and not that they can fully comprehend His guNams/characteristics.

To show this, AzhwAr points out that perumAn is such, that even rudhran who is greater in knowledge and strength cannot identify emperumAn’s guNams fully well.

mukkaN …. – the phrase says that rudhran who has got additional eyes (eyes holding the inner meaning to imply knowledge/gyAnam), and who is mentioned as “IshvarAth gyAnamanvichchEth” [should wish to get knowledge from sivan], is proud of such knowledge; and with that if he tries to fully determine about emperumAn, even such a rudhran cannot achieve that – such is the nature of emperumAn.

mukkAN – one having three eyes; having more eyes implies having more knowledge.

nAl thOL – seeing sarvEshvaran having four shoulders, he (rudhran) is also having four shoulders; also implies having more strength (shakthi); As said by “onRiraNdu kaNNinAnum unnai Eththa vallanE” [thiruchchandha viruththam 7], thus holding excess knowledge and strength he still cannot understand emperumAn, so there is no chance for others to know emperumAn is what Azhwar is letting us know.

ai vAi aravOdu Aru podhi sadaiyOn – he is holding the snake that has got five mouths, and holding gangA in one part in his hair plaits; this also shows his excess of strength. By saying “aravOdu ARu podhi” it is saying that both are in his hair; or, by ‘aravOdu’ it implies that the snake is in his body;

aRivarum thanmaip perumaiyuL ninRanai – Even with all these knowledge and strength, You are unreachable – such is your grand nature; by this, “If this is the situation for rudhran who has got such great knowledge and strength, it goes without saying that for those with negligible knowledge and strength, like adiyEn (this humble servant), it is impossible to use such things to know/reach You; (so) It is You who has to help us with your causeless mercy” – this is what thirumangai AzhwAr shows with this phrase.

varaha_avathar

Ezhulagu eyiRRinil koNdanai – when there was danger to this world due to praLayam, such rudhra, etc., did not help, but only You helped.

When the praLayam caught everyone including rudhran who possess knowledge and strength, and us the opposite (who lacks knowledge and strength); You took the form of mahA varAham that does not hesitate about water or mud, when all the worlds were stuck to the walls of the spheres of the universe; and You entered into and pried out and kept the world shining in the tip of your white tusks – like a bee in a lotus; like a blue diamond fixed in a silver ornament;   by this, AzhwAr is letting emperumAn know that “like you saved the earth that got into the praLayam, please have mercy save me from the praLayam that is this samsAram”. By “Ezhulagu” it is implied the seven worlds above and the seven below, that is, all the worlds.

– – – –

Translation by raghuram srInivAsa dAsan

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