thiruvAimozhi – 5.9.3 – sUdu malark kuzhaleer

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

Full series >> Fifth Centum >> Ninth decad

Previous pAsuram

Introduction for this pAsuram

Highlights from thirukkurukaippirAn piLLAn‘s introduction

No specific introduction.

Highlights from nanjIyar‘s introduction

In the third pAsuram, parAnguSa nAyaki asks her friends “When will I see the divine feet of emperumAn who is mercifully standing in thiruvallavAzh?”.

Highlights from vAdhi kEsari azhagiya maNavALa jIyar‘s introduction

Subsequently, parAnguSa nAyaki asks “Will I be able to eternally enjoy the divine feet of emperumAn who is doing the eternal favour of permanently residing in thiruvallavAzh where the chants of vEdham and vaidhika activities are conducted constantly?”.

Highlights from periyavAchchAn piLLai‘s introduction

See nampiLLai‘s introduction.

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

Third pAsuram. parAnguSa nAyaki asks her friends “When will we get to enjoy him eternally?”.

pAsuram

sUdu malark kuzhaleer! thuyarAttiyEnai meliyap
pAdu nal vEdha oli paravaith thirai pOl muzhanga
mAduyarndhOmap pugai kamazhum thaN thiruvallavAzh
nIduRaiginRa pirAn kazhal kANdungol nichchalumE?

Listen

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

sUdu – worn
malar – having flower
kuzhaleer – oh those who are having hair!
thuyarAttiyEnai – me who is suffering in separation
meliya – to weaken
pAdu – being sung
nal – noble (as said in “sAmavEdhOsmi“, similar to the divine form for sarvESvavan who is residing there)
vEdha oli – the sound of the sAma vEdham chanting
paravai – the ocean’s
thirai pOl – like the rising of the tides
muzhanga – tumultous
mAdu – in the close vicinity
uyarndhu – rising from the yAgam (sacrificial fire)
Omap pugai – the smoke from the hOmam (sacrificial altar)
kamazhum – spreading the fragrance of the sacrificial offerings
thaN – invigorating
thiruvallavAzh – in thiruvallavAzh
nIduRaiginRa – eternally residing
pirAn – great benefactor
kazhal – divine feet
nichchalum kANdum kol – will I be able to eternally enjoy?

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

Oh those who are having hair which is decorated with flowers! In thiruvallavAzh the tumultous sound of the noble sAma vEdham is heard like the sound of rising tides in the ocean and in the close vicinity, the smoke from the hOmam in the yAgam is spreading the fragrance of the sacrificial offerings, both of which are occurring to weaken me; will I be able to eternally enjoy the divine feet of the great benefactor who is eternally residing in such invigorating thiruvallavAzh?

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

  • sUdu malark kuzhaleerpiLLAn explains this as [parAnguSa nAyaki asking her friends] “When will I see you all with your hair decorated with flowers?”. That is, when she is longing for the flowers, they would not be wearing flowers [so it should be seen as something in future]. Alternative explanation – since emperumAn celebrates his relationship with her by celebrating with her friends, they would be retaining those flowers which were given by him long ago [when emperumAn and parAnguSa nAyaki were together] even though they have lost their freshness. This is similar to those SrIvaishNavas who would fold their lower/upper garments (dhoties and angavasthrams) which were worn during periya thirunAL (adhyayana uthsavam) and hang them on the cloth liner without washing them even if they were dirty and cherish them for a long time; seeing those flowers, she became tormented being reminded with his memories. Even if she escapes the torture of the southerly breeze, she cannot escape the torture of this sight. She is being tormented by the breeze on one side and the hair on the other side. Even if he comes, he desires for those who are dear to her more than desiring for her. SrI rAmAyaNam ayOdhyA kANdam 16.3. thathra kAshAyina: – since they don’t care for themselves, they remain with dirty body and clothes. vruththAn – In the antha:puram (private quarters), those who are older than ninety five years and are free from likes/dislikes will be employed. vEthra pANIn – Just as perumAL (SrI rAma) is holding the bow, they are holding the stick. See the one who guards using his bow and the others who guard using their stick. svalankruthAn – If they are not caring for their own clothes and are elderly, what is their decoration? perumAL goes to the palace of dhaSaratha to bathe and eat and will return to the private quarters. At that time, since these elderly guards are as old as dhaSaratha and have same affection towards perumAL, they will place him on their laps and affectionately smell his head; due to that their clothes will always be stained with the saffron paste and sandalwood paste which were applied on perumAL. Their decoration is unlike the [fresh] decoration of perumAL and pirAtti. In this manner, they [her friends] remain as said in “sUdu malark kuzhaleer“.
  • thuyarAttiyEnai meliyap pAdu nal vEdha oli – The brAhmaNas are not doing these yAgams for any purpose other than to cause anguish to me. If they are brAmhaNas, should they not be righteous? Why are they torturing the women?
  • thuyarAttiyEnai – For those who torture others, don’t they need some target? Is the breeze not sufficient to torture [me]?  When thiruvadi (hanuman) met sIthAp pirAtti in the middle of the night and spoke a few words to her, without realizing who he is [and assuming that it was rAvaNa who has come as a monkey], she said “previously you assumed the form of an ascetic and separated me from SrI rAma; now you are torturing me by assuming the form of a monkey and tormenting me with your words; this is not good for you”. SrI rAmAyaNam sundhara kANdam 34.15 and 34.16. “santhAbam thanna SObhanam” (it is not fair to torment me) – Come on! you will also suffer in separation from those who are dear to you.
  • meliyap pAdum – Even if it is karthavyam (ordained duty [for brAhmaNas to engage in yAgam etc]), should they not avoid it if it hurts others? In all the states [whether singing as self, or with the mood of a pirAtti] AzhwAr has the same attachment for vEdham. Right in the beginning he said in thiruvAimozhi 1.1.7uLan sudarmigu surudhiyuL” (bhagavAn is present in the radiant vEdham). That is [irrespective of karma kANdam (vEdham) or gyAna kANdam (vEdhAntham), everywhere only emperumAn is mentioned] – “sarvE vEdha yath padhamAmananthi” (the one whose nature is spoken about in all of vEdham), “sarvE vEdha yathraikam bhavanthi” (the one on whom all the vEdham is singularly focussed upon), SrI bhagavath gIthA 15.15 “vEdhaiScha sarvair ahamEva vEdhya:” (I am known from all of vEdham).
  • meliyap pAdum – [The present tense in pAdum is explained] Unless they [the students] complete their studies, they wont leave their gurukulam (traditional resident school) [so the chanting is going on]; for her, when she hears the loud chants of vEdham, it is undesirable since it speaks about the glories of her lord. When this should be heard in their togetherness, hearing them when being in separation is undesirable. Even if he is glorified, the epic is glorified as “sIthAyAm charitham mahath” (this [SrI rAmAyaNam] is the glorious history of sIthA). And he joyfully hears those passages of vEdham which glorify her as in purusha sUktham “hrISchathE lakshmIScha pathnyau” (he is having SrI mahAlakshmi and SrI bhUmi dhEvi as his consorts), SrI sUktham “ISvarIm sarvabhUthAnAm” (she is the lord of all creatures) and yajur vEdham 4.4.37 “asyESAnAjagathO vishNu pathnI” (she is the lord of the universe and the consort of vishNu).
  • nal vEdham – As said in thiruvAimozhi 1.1.7uLan sudarmigu surudhiyuL” (bhagavAn is present in the radiant vEdham), the greatness of vEdham over other pramANams (authentic texts); or it is the greatness explained in SrI bhagavath gIthA 10.22 “vEdhAnAm sAma vEdhOsmi” (I am sAma vEdham amongst the four vEdhams). Unless the svaram (tone) is not good, or not singing sAma vEdham which is sweetest, she may remain relaxed.
  • vEdha oli paravaith thirai pOl muzhanga – The loud chant of the sAma vEdham resembles the tumultous sound of rising tides.
  • muzhanga – On days other than amAvAsyai, paurNami etc or in the morning, she can remain relaxed [that is, on the days of amAvAsyai, paurNami etc and in the nights the tides will be louder].
  • mAdu uyarndhu Omap pugai kamazhum – Where there is no loud chants of vEdham, they will be engaged in vaidhika rituals.
  • uyarndhu Omap pugai kamazhum – The smoke rose up to the sky, filling it and made it difficult to enjoy the faces of those travelling in celestial vehicles in the sky.
  • uyarndhu Omap pugai kamazhum – These persons are the best among those who have knowledge in vaidhika principles as said in SrI bhagavath gIthA 3.20karmaNaiva hi samsidhdhim AsthithA janakAdhaya:” (Have janaka et al not attained the result of self-realization through karma yOga (and not gyAna yOga) only?); so, they will not practice these acts to attain a result and will stop on attaining the result [present tense in kamazhum is explained].
  • kamazhum – The fragrance of the smoke from the hOmam and the sandalwood paste which is applied by emperumAn who has arrived to accept the havis (sacrifice).
  • thiruvallavAzh nIduRaiginRa pirAn – Unlike incarnations where emperumAn returns to paramapadham after a while, archAvathAra emperumAn who is the benefactor eternally residing in the invigorating thiruvallavAzh.
  • kazhal kANdum kol nichchalumE – If he is eternally residing here, we too can attain the same result [right here in thiruvallavAzh] which is attained in paramapadham where he is eternally residing. There too, the result is explained as in vishNu sUktham “sadhA paSyanthi” (always seeing him).

In the next article we will enjoy the next pAsuram.

adiyen sarathy ramanuja dasan

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