Daily Archives: October 7, 2018

thiruvAimozhi – 7.7.1 – Ezhaiyar Avi

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

Full series >> Seventh Centum >> Seventh decad

Introduction for this pAsuram

Highlights from thirukkurukaippirAn piLLAn‘s introduction

No specific introduction.

Highlights from nanjIyar‘s introduction

In the first pAsuram, parAnguSa nAyaki is speaking about how emperumAn‘s divine eyes oppress her.

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.


Ezhaiyar Avi uNNum iNaik kURRangolO aRiyEn
AzhiyangaNNa pirAn thirukkaNgaLkolO aRiyEn
sUzhavunthAmarai nANmalarpOl vandhu thOnRungaNdIr
thOzhiyargAL annaimIr! en seygEn thuyarAttiyEnE


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

Ezhaiyar – girls’ (who are desirous)
Avi – life
uNNum – consuming
iNai – pair (matching each other)
kURRam kolO – death personified?
aRiyEn – I am unable to determine (them as eyes due to their causing harm);

(unlike that)
Azhi – like ocean (which has hidden gems)
am – being distinguished (infinite)

(in the beginning, with me)
kaNNan – being obedient
pirAn – krishNa (who favoured by uniting)
thiru – distinguished
kaNgaL kolO – are they divine eyes?
aRiyEn – I am unable to determine (them as [agents of] death due to their attractive nature);
sUzhavum – surrounding (not to move away)
thAmarai – lotus’
nAL malar pOl – like fresh flower
vandhu – come
thOnRum – appeared;
kaNdIr – see;
thOzhiyargAL annaimIr – oh friends (who are close, but cannot see the internal anguish) and mothers (who gave birth to me, and raised me knowing my nature well), who are controlling me!
thuyarAttiyEn – I who am with anguish (which is only known to me)
en seygEn – what remedy will do (to eliminate the anguish)?

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

I am unable to determine if these are “a pair of death personified which consume the life of girls? or “the distinguished, divine eyes of obedient krishNa who resembles a distinguished ocean”. They came and appeared like fresh lotus flower which is surrounding everywhere; see them; oh friends and mothers who are controlling me! What remedy will I who am anguished, do? Implies, I will neither hide the divine eyes which appear in front of me, nor will I enjoy them by getting close.

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

  • Ezhaiyar Avi … – Are these two death personified which will finish the lives of those helpless girls who develop desire towards certain matters and are unable to sustain themselves? Will these death personified finish the helpless girls so that they can remain neither for emperumAn who caused the anguish by separating nor for the elderly mothers who try to redeem the girls by advising “this is not proper”? He is not aware of the beauty of his eyes! Would he not come, if they harmed him as well? Has he not seen them in the mirror?
  • Avi uNNum – Like SrI rAma’s arrows, while the decorations remain intact, they would take away the life.
  • iNaik kURRam kolO – The harm caused by the divine eyes is like two death personified which discussed between each other and arrived.
  • aRiyEn – Why is she saying arIyEn (I don’t know)? Even if two persons discuss between themselves and arrive, they need not kill helpless girls; she is doubting due to this reason.
  • Azhi am kaNNa pirAn thirukkaNgaL kolO aRiyEn – Alternatively – would they only torment the girls? One cannot escape thinking “only others (unfavourable ones) will torment”, were these divine eyes not the ones which established the initial relationship? This means – the ocean like eyes of krishNa, the benefactor; and also means – the divine eyes of krishNa, the benefactor who has ocean like invigorating form.
  • aRiyEn – Since she has not experienced separation previously, she does not realise that the eyes could torment. Have we not heard previously in periya thirumozhi 7.1.9 “uyirkkellAm thAyAy aLikkinRa thaN thAmaraik kaN” (the cool lotus eye which protects everyone like a mother)? The whole universe sustains by this merciful glance. Now, it is contrary to what we have heard.

When asked “but, is it possible to escape?”, parAnguSa nAyaki replies

  • sUzhavum … – On the final day when SrI rAma was fighting rAvaNa, just as wherever one saw, only SrI rAma was visible, it has become similar here; is it that only when rAkshasas could escape from SrI rAma’s arrow, could the helpless girls escape from the beauty of his eyes? It is said in thiruviruththam 39 “puNdarIka nedundhadangaLpOlap polindhemakkellA idaththavum” (for us, everywhere it appears that his expansive lotus ponds like eyes are shining). It is similar to one’s fear for snake. Wherever she tried to move away, there too she only saw his eyes. Why is she saying “thAmarai nAL malarpOl” (like fresh lotus flower)? She is talking about the freshness during the union. [Explains why they cannot be fresh, in separation] SrI rAmAyaNam sundhara kANdam 35.44 “mahathAjvalathA nithyamagni nEvAgni parvatha:” (Oh sIthAp pirAtti! As SrI rAma has not seen you, he is burning like fire garland which is surrounded by great fire), SrI rAmAyaNam sundhara kANdam 36.42 “naivathamSAn namaSakAn” – perumAL (SrI rAma) is not aware of what crawls over him and what bites him; when asked for the reason for that, it is said in same SlOkam “thvath gathEnAntharAthmanA” – as perumAL [his soul] has moved here [to lankA, near pirAtti], who will realise these there?  said hanumAn. His [emperumAn‘s] anguish in separation is not the same as her [AzhwAr as parAnguSa nAyaki] anguish. She is not realising that. She only knows how he fresh he was after having fully united with her and then separated; that is what is deep-rooted in her heart; she does not know how he felt afterwards; that is why she is saying “fresh flower like eyes”.
  • vandhu thOnRum – Just as in real, emperumAn will arrive on his own will, even in uruvu veLippAdu (visualisation), he appears on his own will.
  • kaNdIr – Are you not seeing this?
  • thOzhiyargAL annaimIr – Her state is not such that she can reveal this to some and hide it from others. She is not at the state where she can reveal it to her friends but cannot reveal it to mothers. That is the special state she was in.
  • en seygEn – Should I try to escape it or try to experience it – what shall I do?
  • thuyarAttiyEnE – While I should remain as said in thaiththirIya upanishath “Anandham brahmaNO vidhvAn nabhibhEthi kuthaSchana” (One who realised bhagavAn’s bliss, will not fear anything), I started going through previous state of sorrow as said in “avaSyam anubhOkthavyam” (must be experienced).

In the next article we will enjoy the next pAsuram.

adiyen sarathy ramanuja dasan

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periya thiruvandhAdhi – 1 – muyaRRi sumandhu

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

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As soon as AzhwAr told his heart that one should carry out vAchika kainkaryam (carrying out service to emperumAn through the faculty of speech), the heart set out alone, in search of emperumAn, without taking AzhwAr with it. AzhwAr tells his heart to take him along.

Let us go through the pAsuram and its meanings:

muyaRRi sumandhu ezhundhu mundhuRRa nenjE
iyaRRuvAy emmodo nI kUdi nayappudaiya
nAvIn thodaikkiLavi utpodhivOm naRpUvaip
pUvInRa vaNNan pugazh

Word by Word Meanings

muyaRRi sumandhu – being involved enthusiastically (in carrying out service to emperumAn)
ezhundhu – rising up intensely
mudhuRRa nenjE – Oh heart who has gone ahead (of me)!
nal – superior
pUvaip pU InRa – in the flower kAyAmbU (a type of flower which has indigo like colour)
vaNNan – sarvESvaran, who has that colour, his
pugazh – auspicious qualities
nayappudaiya – having grace
nA In – being created by tongue
thodaikkiLaviyuL – words with beautiful sounds, strung beautifully
podhivOm – we will keep constantly
emmodu – along with me
nI kUdi – you too join
iyaRRuvAy – praise


muyaRRi sumandhu – being involved enthusiastically in the kainkaryam to be carried out by the faculty of speech, which is being mentioned in the latter part of the pAsuram. The word muyaRRi indicates enthusiasm. The way AzhwAr’s heart is proceeding ahead of AzhwAr is analogous to the way iLaiya perumAL (lakshmaNa) proceeded ahead of perumAL (SrI rAma), as mentioned in SrI rAmAyaNam sundhara kANdam 33-28 “prAgEva thu mahAbAga: saumithrir mithra nandhana: I pUrvajasyAnuyAthrArthE dhrumasIrair alankrutha: II” (in order to go behind his elder brother, lakshmaNa, who is fortunate, who makes the favourable people happy and who is sumithrA’s son, dressed himself with the wooden barks, ahead of SrI rAma). Did not kaikEyi give the dress made of wooden bark to SrI rAma first and then only to lakshmaNa? How then can it be said that lakshmaNa wore the bark ahead of SrI rAma? SrI rAmAyaNam ayOdhyA kANdam 21-17 says “dhIpthamagnimaraNyam vA yadhi rAma: pravEkshayathi I pravishtam thathra mAm dhEvi thvam pUrvamadhAraya II” ((lakshmaNa tells his mother sumithrA) Oh mother! If SrI rAma enters a raging fire or a forest, know that I would have entered it ahead of him). Thus, knowing the basic nature of lakshmaNa, it is not a fault to say that lakshmaNa wore the dress made of wooden bark ahead of SrI rAma. The opinion here is that unlike SrI rAma, who was wearing the bark in order to fulfil the words of his father, lakshmaNa wore it because SrI rAma was going to wear it and hence this is more significant.

mundhuRRa nenjE – Just as lakshmaNa told SrI rAma as in the SrI rAmAyaNa SlOkam “yadhithvam prasthidhOdhurkam vanamadhyaiva rAghava I agrathasthE gamishyAmi mruthnathI kuSakaNtakAn II” (Oh rAghava! Even if you are proceeding to the difficult-to-go-to forest today itself, I will go ahead of you, stamping on the grass and thorns and destroying them [so that it will be easier for you to walk on the cleared path]), AzhwAr tells his heart “Oh heart, who is ahead of me!”

iyaRRuvAy emmodu nI kUdi – [AzhwAr tells his heart] Wasn’t it I who instructed you about service to emperumAn? Could you go, leaving me behind, forgetting that gratitude? It is indeed good that you are enthusiastic about carrying out service ahead of me. Take me too, along with you. What will the two of us do, together, asks the heart. AzhwAr states further “We are going to carry out kainkaryam to emperumAn, together”

nayappudaiya  – having superiority. Just as nammAzhwAr has mercifully mentioned in thiruvAimozhi 7-9-10 “ennAl thannaip padhaviya inkavi pAdiya” (he [emperumAn] composed beautiful songs on himself, using me as a tool), the poem will add superiority to the one about whom it speaks. Adding superiority to the lead character is creating greatness, which was not there earlier.

nAvIn – a poem created through the tongue. AzhwAr tells his heart “Oh heart! Neither you nor I would be needed to create this poem. Tongue itself is enough for this”. AzhwAr says that his heart and he are required only to retain this poem in the heart and to enjoy it. Is it possible to create a poem without the presence of heart? The meaning implied is that emperumAn will remain in the heart and make it to compose the poem. Didn’t AzhwAr say in thiruvAimozhi “ennAl thannaip pAdiya”! (emperumAn who sang about himself through me)

thodaikkiLavi – words which have been strung beautifully. The meaning implied here is that since the poem was not composed troubling the heart, there is no harshness in the words.

utpodhivOm – thaiththirIya upanishath Anandhavalli says “yathO vAchO nivarthanthE aprApya manasA saha I Anandham brahmaNO vidhvAn na bibhEthi kuthSchanEthi  II” (The heart, with the words, set out to measure the happiness of emperumAn and returned, being unable to accomplish the task. One who knows the happiness of emperumAn will not fear anything). vEdhAntha could not measure the happiness of emperumAn and returned empty handed. AzhwAr is full of zeal to contain the auspicious qualities of that emperumAn inside his words.

naRpUvai pUvInRa pugazhAzhwAr says that the subject matter [emperumAn] cannot be contained inside words.

naRpUvai – While the colour of the flower pUvaippU (indigo coloured flower) may, to an extent, match the complexion of  emperumAn’s divine form, his fragrance and gentleness, the simile would end just there as the flower will wither away in a while. Since the normal pUvaippU will not match the perennial greatness of emperumAn, AzhwAr is qualifying the flower by calling it as narpUvai  (good flower).

pUvInRa vaNNan – it could be taken as either the flower which manifests the bluish colour of emperumAn or emperumAn who reveals the colour of the flower.  This is similar to the saying “gO sadhruSO gavaya:  gavaya sadhruSO gau:” (the animal gavaya is looking like cow and the cow is looking like the animal gavaya) in which both the simile and the object have got interchanged.

pugazh – the qualities of emperumAn’s divine form, not made of primordial matter, and qualities of emperumAn’s basic nature, full of knowledge and happiness.

We will move on to the 2nd pAsuram, next.

adiyEn krishNa rAmAnuja dhAsan

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