Daily Archives: July 30, 2019

thiruvAimozhi thiruvAimozhi 9th centum

thiruvAimozhi – 9.5.9 – paNbudai vaNdodu

Published by:

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

Full series >> Ninth Centum >> Fifth decad

Previous pAsuram

Introduction for this pAsuram

Highlights from thirukkurukaippirAn piLLAn‘s introduction

No specific introduction.

Highlights from nanjIyar‘s introduction

In the ninth pAsuram, parAnguSa nAyaki says to some singing honey-drunken beetles and dragonflies “Your sounds are causing sorrow; don’t sing”.

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

paNbudai vaNdodu thumbigAL! paN mizhaRREnmin
puNpurai vEl kodu kuththAl okkum num in kural
thaN peru nIrth thadandhAmarai malarndhAl okkum
kaN perungaNNan nam AviyuNdezha naNNinAn

Listen

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

paNbudai – having the good quality tunes
vaNdodu thumbigAL – dragonflies which are with the beetles!
num in kural – your sweet voice
puN purai – in a wound
vEl kodu – with a spear
kuththAl okkum – feels like piercing;

(you)
paN mizhaRREnmin – don’t sing sweet tunes!
thaN – cool
peru – filled
nIr – having water
thadam – pond
thAmarai malarndhAl okkum – like a lotus blossoming
perum kaN – having greatness of eyes
kaNNan – krishNa
nam – our
Avi – prANa
uNdu – stealing
ezha naNNinAn – planning to leave.

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

Oh dragonflies which are with the beetles, having good quality tunes! Your sweet voice feels like a spear piercing in a wound; don’t sing sweet tunes! krishNa who is having the great eyes which look like a blossoming lotus in cool, water filled pond, is planning to steal our prANa and leave. When paNbudai is recited as paNburai, it implies “having natural sound”.

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

  • paNbudai vaNdodu thumbigAL – Oh dragonflies which are with beetles having good quality [simplicity]!
  • paN mizhaRREnmin – Don’t hum abundant tunes! When it is recited as “paNburai“, it indicates paNbAna urai (humming noble sounds); it could also mean, humming tunes.
  • puN purai vEl kodu kuththAl okkum num in kural – I am already hurt with the sounds of other birds etc; your humming feels like piercing a spear into that wound.
  • thaN peru nIr … – krishNa who has eyes which look greater than a blossoming lotus in a cool, water filled pond.
  • nam … – He showed his beauty to finish me off and left me.

In the next article we will enjoy the next pAsuram.

adiyen sarathy ramanuja dasan

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iyaRpA periya thirumadal

periya thirumadal

Published by:

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

thirunaRaiyUr nambi with nAchchiyAr

parakAla nAyaki (thirumangai AzhwAr in feminine mood)

There are two thirumadal prabandhams (sacred hymns relating to the love that the nAyaki (lady) has towards the nAyaka (the man loved by the lady)) composed mercifully by thirumangai AzhwAr – siRiya thirumadal which deals with matters relating to krishNa and periya thirumadal, which deals with matters relating to thirunaRaiyUr nambi (emperumAn who resides as archA mUrthy (deity form) in thirunaRaiyur (a dhivyadhEsam or divine abode, near kumbakONam). The term madalUrdhal refers to the courage exhibited by the nAyaki (or nayAka), who, after finding that the nAyaka (or nAyaki) is not responding to her (or his) love, abuses him (her) for the all the world to see, so that the people of the world would help her (him) in uniting with him (her). thirumangai AzhwAr, who attains the emotional build-up of a woman, manifests such courage in these two madals. This is one of the ways in which a lady displays her emotions when her love becomes irrepressible and she forgets her basic nature. Our pUrvAchAryas (preceptors) would say that this (composing madal) along with fasting and mangaLASAsanam (praising emperumAn) should be considered as great behaviour since it is born out of ignorance caused by excessive devotion towards emperumAn which is complimented by knowledge about him. thirukkuRaL (a composition in thamizh) says “kadalanna kAmaththarAyinum mAdhar madalUrAr maRRaiyAr mEl” (women will not engage with madal even if they have love which is as deep as the ocean, towards their beloved) and “kadalanna kAmam uzhandhum madalERAp peNNiR perundhakkadhil” (there is nothing greater than a lady who does not engage in madal on her beloved even if her love is as deep as the ocean). But thirumangai AzhwAr, not subscribing to this view, says in this periya thirumadal that he subscribes to the view of the culture of the northerners (north of vindhya mountain)  in which it is accepted that irrespective of a person being man or woman, if the love becomes irrepressible, one can engage in madal. It should be appreciated that when desire for a person breaks out of the banks, like the river kAvEri in spate, it will shatter all the boundaries of stated rules and regulations.

In siRiya thirumadal, this AzhwAr had attempted to engage with madal on emperumAn krishNa. Since krishNa lived in a different age and he himself was lacking in a sense of honour [he didn’t mind being tied to a mortar by his mother for stealing butter, he put up with all the abuses which the herds-women hurled at him when he indulged in such mischief etc], it did not fructify. Hence, he attempts to compose a madal on the archAvathArap perumAL (emperumAn in deity form) at thirunaRaiyUr, who was very much present during his time, as a symbol of simplicity. Just as nammAzhwAr said in thiruvAimozhi 5-3-9 “madal Urdhum” (I will engage with madal), this AzhwAr too frightens emperumAn that he is going to engage with madal in order to make emperumAn to come to him. But in essence, he only frightened emperumAn but did not engage with madal and hence it could be said that there was no harm to the AzhwAr’s basic nature of total dependence on emperumAn.

periyavAchchAn piLLai

The vyAkyAnam for this pAsuram has been composed by periyavAchchAn piLLai as well as by azhagiya maNavALap perumAL nAyanAr. We will follow the vyAkyAnam of periyavAchchAn piLLai and add significant features mercifully given by azhagiya maNavALap perumAL nAyanAr wherever required.

Note: This Introduction is based on puththUr u vE krishNaswAmy iyengAr’s introduction to periya thirumadal vyAkyAnam.

adiyEn krishNa rAmAnuja dhAsan

archived in http://divyaprabandham.koyil.org

pramEyam (goal) – http://koyil.org
pramANam (scriptures) – http://granthams.koyil.org
pramAthA (preceptors) – http://acharyas.koyil.org
SrIvaishNava education/kids portal – http://pillai.koyil.org