thiruvAimozhi – 3.10.2 – kuRaivil thadam kadal

SrI:  SrImathE SatakOpAya nama:  SrImathE rAmAnujAya nama:  SrImath varavaramunayE nama:

Full series >> Third Centum >> Tenth decad

Previous pAsuram

vishnu-on-garuda

Introduction for this pAsuram

Highlights from thirukkurukaippirAn piLLAn‘s introduction

No specific introduction.

Highlights from nanjIyar‘s introduction

In second pAsuram – AzhwAr says “Since I am able to enjoy with great love, the glories of krishNa who incarnates as the divine son of SrI vasudhEva and eliminates the enemies of his devotees, after reclining in the thiruppARkadal (kshIrAbdhi – milk ocean) as the root for incarnations, I have no break/hurdle in such joy”.

Highlights from vAdhi kEsari azhagiya maNavALa jIyar‘s introduction

See nanjIyar‘s introduction.

Highlights from periyavAchchAn piLLai‘s introduction

See nanjIyar‘s introduction.

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

See nanjIyar‘s introduction.

pAsuram

kuRaivil thadam kadal kOL aravERith than kOlach chendhAmaraikkaN
uRaibavaan pOla Or yOgu  puNarndha oLi maNi vaNNan kaNNan
kaRai aNi mUkkudaip puLLaik kadAvi asuraraik kAyndha ammAn
niRai pugazh Eththiyum pAdiyum Adiyum yAnoru muttilanE

Listen

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

kuRaivu il – being complete in his togetherness
thadam kadal – in the ocean which is spacious (for reclining)
kOL aravu – on very strong thiruvananthAzhwAn (AdhiSEshan)
ERi – climb
than kOlam – having his beauty which highlights his supremacy
sem thAmaraik kaN uRaibavan pOla – pretending to sleep such that his reddish lotus like eyes blossom
Or yOgu puNarndha – meditating upon his own unparalleled divine nature and the protection of all
maNi – like a precious gem embossed on a gold plate
oLi – having great radiance
vaNNan – having a form
kaNNan – (giving up such reclining posture as said in Hari vamSam “AgathO mathurAm purIm” (arrived at the city of mathurA)) appeared as krishNa
kaRai aNi – having a stain as ornamental decoration (due to breaking of the egg prematurely)
mUkkudai – having divine beak
puLLai – periya thiruvadi (garudAzhwAr)
kadAvi – ride
asuraraik kAyndha – destroying the asuras with his power
ammAn – supreme person’s
niRai pugazh – complete victorious nature
Eththiyum – (with devotion) praise
pAdiyum – sing with music
Adiyum – (out of joy) dance
yAn – I
oru muttu ilan – have no break/hurdle

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

In the ocean which is spacious (for reclining) due to being complete in togetherness with emperumAn, he climbed and reclined on the very strong thiruvananthAzhwAn (AdhiSEshan) with his beauty which highlights his supremacy and pretending to sleep such that his reddish lotus like eyes blossom and meditating upon his own unparalleled divine nature and the protection of all; in this posture, his form resembled a precious gem having great radiance, embossed on a gold plate; (giving up such reclining posture as said in Hari vamSam “AgathO mathurAm purIm” (arrived at the city of mathurA)) appeared as krishNa and rode garudAzhwAr who is having a divine beak having the stain (due to breaking of the egg prematurely) which looks like ornamental decoration and  destroyed the asuras with his power; for me who is praising and singing with music the complete nature of such supreme person and dancing (out of joy), there is no break/hurdle [in such experience].

kaRai aNi mUkku – also indicates the [blood] stain on the beak due to severing of enemies with it.

vyAkyAnams (commentaries)

Highlights from thirukkurukaippirAn piLLAn‘s vyAkyAnam

See vAdhi kEsari azhagiya maNavALa jIyar‘s translation.

Highlights from nanjIyar‘s vyAkyAnam

See nampiLLai‘s vyAkyAnam.

Highlights from periyavAchchAn piLLai‘s vyAkyAnam

See nampiLLai‘s vyAkyAnam.

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

  • kuRaivil thadam kadal – Not just me – there are others who have no end [says the AzhwAr]. While saying “thadam kadal” itself is sufficient to explain the vastness of ocean, the usage of kuRaivil (endless) is not repetition, rather it is to indicate that the ocean is having endless bliss due to being in contact with bhagavAn as explained in mudhal thiruvanthAdhi 19 “thirumEni nI thINdap peRRu – mAlum karum kadalE en nORRAy” (To have the fortune of touching the divine form of emperumAn – Oh ocean who is dizzy (due to the overwhelming bliss in such contact), what penance did you perform [to achieve this]?). As mother yaSOdhA would place krishNa in her lap and be blissful by pampering him, the ocean is having sarvESvaran within itself and is blissful with endless joy.
  • thadam kadal – the vast ocean where emperumAn can rest in an expansive manner.
  • kOL aravu ERi – kOL means radiance. Reclining on thiruvananthAzhwAn (AdhiSEshan) who has great radiance due to being in contact with emperumAn; Alternatively – kOL means strong, that is, having the strength to behold sarvESvaran and sarvESvari together and handle their sports on him as said in sthOthra rathnam 39 “prakrushta vigyAna balaika dhAmani” (AdhiSEshan who is the abode of great knowledge and ability).
  • aravu – AdhiSEshan who has tenderness, coolness, fragrance as natural attributes [like a serpent has].
  • than … – emperumAn’s reddish divine eyes which naturally [without any additional decoration] deserve to be performed the ritual of warding off evil-eyes, highlighting his ownership of everything, highlighting the joy of uniting with periya pirAtti, which can be [vaguely] compared to fresh reddish lotus flower. kaN uRaigai means sleeping. In the guise of sleeping emperumAn is contemplating on the protection of all created beings [in this material realm].
  • Or yOgu puNarndhaemperumAn would be thinking “What is the means by which all creatures will cross-over the samsAram and reach me?”; when contemplating about their well-being, his tongue will become dry due to grief; at that time, like placing camphor on the tongue of a thirsty person, he thinks about himself as said in SrIvishNu purANam 6.4.7 “AthmAnam vAsudhEvAgyam chinthayan” (vAsudhEvan emperumAn meditates about himself). By contemplating about himself he will realize the means to protect everyone [which is the avathArams (incarnations)].
  • oLi maNi vaNNan kaNNan – One who appeared as krishNa to show his physical beauty and uplift those who are to be protected. periyAzhwAr thirumozhi 1.6.11 “AtkoLLath thOnRiya Ayar tham kO” (emperumAn appeared as the leader of cowherd clan to enslave them). krishNa who is having the form which resembles a radiant precious blue gem.
  • kaRai aNi … – Having a beak which is having blood stains after killing enemies and those stains looking like decoration; Alternative explanation – when garudAzhwAr was inside the egg before birth, vinathA, his mother, wanted to see his face sooner and performed an action which caused a scar in his beak and that remained as an identity for garudAzhwAr like emperumAn having the SrIvathsa mole in his chest as his identity. garudAzhwAr having that scar/mole as an ornament.
  • kadAvi – Like one would ride chariot etc. Due to the constant contact with emperumAn’s divine form, having extended shoulder muscles and being kicked by emperumAn [to speed up] while riding. sthOthra rathnam 41 “thvadhangri sammarthdha giNAnga SObhinA” (garudAzhwAr having beautiful scars caused by emperumAn’s kicks while riding him).
  • asuraraik kAyndha – Destroyed the demoniac people by riding the garudAzhwAr in this manner. It is explained here that the tool which pleases emperumAn’s devotees [garudAzhwAr), is the same tool which destroys the enemies of the devotees too.
  • ammAn – The unconditional lord who ensures that the weak are not tortured by the strong.
  • niRai pugazh … – I who out of great loving devotion praise and sing emperumAn having endless fame due to such protection of his devotees, and dance out of great bliss. AzhwAr says he has no break in enjoying bhagavAn. muttu – vilakku (break).

In the next article we will enjoy the next pAsuram.

adiyen sarathy ramanuja dasan

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