Daily Archives: September 16, 2019

thiruvAimozhi – 9.9.9 – Udhum aththInguzhaRkE

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Full series >> Ninth 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 ninth pAsuram, parAnguSa nAyaki says “I cannot sustain myself” seeing how emperumAn stands amidst some cowherd girls and is playing flute, yet he is doing some strange acts highlighting his suffering in separation and singing some songs.

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

Udhum aththInguzhaRkE uyyEn nAn adhu mozhindhidai idaith than sey kOlath
thUdhu sey kaNgaL koNdonRu pEsith thUmozhi isaigaL koNdonRu nOkkip
pEdhuRum mugam seydhu nondhu nondhu pEdhai nenjarRavaRap pAdum pAttai
yAdhum onRaRigilam amma amma mAlaiyum vandhadhu mAyan vArAn

Listen

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

idai idai – in between
adhu – his words which indicate his humility to be known by them, which are only known to them
mozhindhu – telling
Udhum – playing
aththIm kuzhaRkE – for that sweet flute sound
nAn – I
uyyEn – am unable to sustain;
than – for them (eyes)
sey – did
kOlam – having beauty

(going ahead in that matter)
thUdhu sey – going as messenger
kaNgaL koNdu – with the eyes
onRu pEsi – revealing his opinion clearly
thUmozhi – (in his dishonesty) having very pure words
isaigaL koNdu – with music
onRu nOkki – glancing as per his desires
pEdhuRu mugam seydhu – (due to the liking in the sweetness of song) revealing that liking in his face
nondhu nondhu – becoming anguished further (thinking “what will happen to helpless girls who hear this song?”)
pEdhai – young girls’
nenjaRavu – the separation which happened due to the love-fight in their hearts
aRa – to be eliminated fully
pAdum pAttai – the song which he sang
Adhum onRu – in any manner
aRigilam – we are unable to comprehend;

(at this stage)
amma amma – Oh mother! Oh mother!
mAlaiyum vandhadhu – night has arrived;
mAyan – amazing emperumAn
vArAn – is not coming.

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

I am unable to sustain myself hearing the sweet flute sound which is revealing his words which indicate his humility to be known by them, which are only known to them, in between. His eyes which are beautiful on their own, are going as messenger, revealing his opinion clearly; his music which is having very pure words, is glancing as per his desires; his face is revealing his liking for the music and is becoming anguished further; we are unable to comprehend in any manner the song which he sang to have the separation which happened due to the love-fight in the young girls’ hearts, eliminated fully. Oh mother! Oh mother! The night has arrived; the amazing emperumAn is not coming. When recited as “adhu ozhindhu“, it implies, stopping that flute music. “than sey kOlam” indicates reddish beauty too.

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

  • Udhum aththIm kuzhaRkE uyyEn nAn – The flute music itself is harming so much that the others are superfluous.
  • idai idai adhu mozhindhu – He sings saying some lowly words in between such as “I separated from you; I cannot tolerate the separation”. Since she cannot say those lowly words and acts herself, she is saying “adhu” (that). embAr when explaining this sequence, mercifully said – As said in “mOr uLLadhanaiyum sOREyO” (As explained in thiruvAimozhi 4.6 – Can I feed you rice as long as you have curd? [A lady agrees to feed a man who comes to her residence. He says “I have curd and you give me as much rice as needed to finish this curd” and she agrees. He keeps diluting the curd (by repeatedly adding water) and tells the lady “I still have some curd left” and for that the lady replies “Can I feed you rice as long as you have curd?” – the principle explained here is – Previously AzhwAr experienced samSlEsham (togetherness) and viSlEsham (separation) with emperumAn. We could explain the connection all along. But how long can we do that? AzhwAr’s emotions are beyond our understanding/expression here]). When the dhESika (expert) himself [AzhwAr] is saying “adhu” without explaining it, how do we who are neutral [who are not seeing the inner emotions of AzhwAr] explain this? Alternative explanation – it is said as “adhuvozhindhu” – implying “leaving that” meaning “leaving the songs which are sung in between”.
  • than sey … – The divine eyes which are ornaments for themselves, and which can reveal their opinion to others. The eyes which will fall at the feet of the girls who think “we won’t go to him” due to anger. It will do everything which nambi mUththa pirAn (balarAma) can do [on behalf of krishNa]. Being engaged in playing flute, since the mouth cannot speak, the eyes will assume the activity of speaking. The clarity given by speech is given through glance.
  • thU mozhi isaigaL koNdu onRu nOkki – Since the music is mixed with beautiful speeches, engaging with the glance will be like engaging with the music. Though being engaged with music, he knows prose as well. This is how the activities of speech and sight have interchanged.
  • pEdhuRu mugam seydhu nondhu nondhu – Since his ears are closer to the music being played, he became distressed thinking “If we are ourselves are so immersed in this music, how will the helpless girls feel about it?” “If the music can torment a hard-hearted person like me, what suffering will the helpless girls undergo?”
  • pEdhai nenju aRavaRap pAdum pAttai – The song which will make the girls forget their love-fight and unite with him.
  • Adhum onRu aRigilam – I am not understanding the way it is harming me.
  • amma amma – Torment! Torment!
  • mAlaiyum vandhadhu – The evening time has arrived to harm me greatly. It feels that this evening time will finish me, without having to survive and suffer further.
  • mAyan vArAn – The amazing emperumAn, who would come and hold the feet of those who are separated from him to make them shy, is not coming now.

In the next article we will enjoy the next pAsuram.

adiyen sarathy ramanuja dasan

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periya thirumadal – 42 – ponnnavilum Agam

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ponnavilum Agam puNarndhilaLE pUm gangai
munnam punal parakkum nannAdan minnAdum                                       55

Word by word meaning

pon navilum Agam – in the chest (of her beloved) which is like gold
puNarndhilaLE – did she not get embraced?
pU gangai punal munnam parakkum nal nAdan – the head of the great country where the beautiful waters of the river gangA had earlier increased its flow abundantly
min Adum – having radiance

vyAkyAnam

pon navailum Agam puNarndhilaLE – just as sIthAppirAtti had embraced SrI rAma as mentioned in SrI rAmAyaNam AraNya kANdam 30-39 “bharthAram parishasvajE” (tightly embraced her husband) after the annihilation of the demon kara, and healed the injuries caused by thousands of arrows with her bosom, (vEgavadhi) gave fomentation to the injuries on the chest of her beloved, which looked like reddish gold, who had drawn his bow in the battle for her sake, by falling over his chest and embracing him.

(pUm gangai . . . . kEttaRivadhillaiyE) thirumangai AzhwAr now recapitulates the story mentioned in the two hundred and thirty fourth chapter of Adhiparvam in mahAbhAratham which narrates how a nagakanni (a girl born in the clan of snakes) by name ulUpi saw arjuna when he was having a bath in the river gangA, during his pilgrimage, desired him lustfully, compelled him, pulled him to her place, expressed her desire for him without any shame and enjoyed him.

pUm gangai – did she (ulUpi) engage in madal for someone who was infamous? Was it not for the most famous arjuna who was born in a great, regal lineage!

pUm gangai – river gangA with orchards full of blossomed flowers on both banks. Did not periyAzhwAr divinely mention in periyAzhwAr thirumozhi 4-7-10 “kAn thadam pozhil sUzh gangai” (gangA surrounded by orchards with sweetly fragrant flowers) and in 4-7-9 “karai maram sAdik kaduththizhi gangai” (gangA striking against the trees on the banks with torrential force)!  Alternatively, as mentioned in periyAzhwAr thirumozhi 4-7-2 “nalandhigazh sadaiyAn mudikkonRai malarum nAraNan pAdhaththuzhAyum kalandhizhi punalAl pugar padu gangai” (the radiant gangA river which flows down with the reddish konRai (cassia) flower), which is worn by Siva who has matted hair purified by the SrIpAdha thIrtham (divine water from the divine feet) of SrIman nArAyaNa and the greenish thuLasi which decorates the divine feet of SrIman nArAyana), this could refer to gangA which comes down with the flowers from the head of Sankara (Siva) and the divine feet of chadhuppuyan (four divine shouldered SrIman nArAyaNa). Another interpretation – gangA  which is flowing with the kaRpaga flowers (kaRpaga is a celestial, wish-fulfilling tree) as mentioned in periyAzhwAr thirumozhi 4-7-7 “kaRpagamalarum kalandhizhi gangai”.

munnam punal parakkum – even if a small amount of water is formed in himAlayA mountains, the water flows first in his country (the country of nAgas).  Being the head-sluice (gate from which water flows first). This refers to the abundance (wealth) of water in his country.

nannAdan – this refers to the wealth of land.

Next the pAsuram refers to the wealth of the head of the country.

 In the next article, we will discuss the next part of this prabandham.

adiyEn krishNa rAmAnuja dhAsan

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SrIvishNu sahasranAmam – 18 (Names 171 to 180)

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171) athIndhriya: (अतीन्द्रियः) (also repeated in 662)

Having elaborated thus about the core divine qualities of the various forms (para, vyUha and vibhava) of the sweet nectarine ocean – bhagavAn (till the 170th divine name), his divine nature is elucidated further – starting from this divine name.

He is called ‘athIndhriya:’, since he is inaccessible to the sense organs.

Etymology: He is called ‘athIndhriya:’, who transcends the reach of sense organs.

ज्ञानॊपकरणव्रातम् अतिक्रान्तॊ ह्यतीन्द्रियः |

172) mahAmAya: (महामायः)

How does bhagavAn transcend the reach of sense organs? He achieves this, since he is ‘mahAmAya:’ – the one who possesses the fascinating ‘mAyA’. bhagavAn possesses the supreme ‘mAyA’ (a mesmerizing blanket) like a magical veil, using which he hides himself from all entities which are distant to him.

The pAncharAthra Agama hails bhagavAn as the one who is flanked by the divine auspicious qualities on the one side, as well as the divine ‘mAyA’ on the other.

Etymology: He, who possesses a magical blanket/veil that deludes every non-devoted entity and hides him from their senses, is called ‘mahAmAya:’. This eight syllable manthra makes the chanter shine.

माया यस्याप्रपन्नानां सर्वॆषामस्ति मॊहिनी |
महामायः स विज्ञॆयॊ वस्वर्णॊ मनुरुज्वलः ||

173) mahOthsAha: (महॊत्साहः)

Although possessing the form of knowledge itself (ज्ञानमयः), bhagavAn is differentiated from the non-acting, dormant and complacent ‘ISvara’ that is projected by the sAnkhyas. Rather, bhagavAn is attributed with a ‘wealth’ of action, which shows his divine auspicious qualities. This is shown by this divine name ‘mahOthsAha:’ – the greatly enthused one.

This means he is greatly enthused to act. The word ‘uthsAhana’ (उत्साहन) – in this context – refers to the nature of doer. This ‘action’ itself is attributed as one of the greatest wealth of bhagavAn.

After all, is he not the one who creates all these worlds again and again for the well being of the individual souls? He is absolutely independent and is not controlled by anyone else. There is none who can appoint him to any task whatsoever. Yet, he – out of a fraction of his own free will – creates all these worlds for all the individual souls to use as a stepping stone to reach him. He creates all the variations in the worlds to accommodate the differences between the individual souls in terms of their prior karma. He creates all the entities complimentary to his divine creation of worlds (like the senses, five elements, et al), so as to enable the individual souls to use them as tools to reach him. Although possessed with complete free will and power to create the worlds differently in every cycle of creation, yet he follows his own creation patterns and creates the worlds just like how they were previously – and that too, exercising his total independence. A very small fraction of his powers are celebrated today as the great powers such as ‘aNimA’ (अणिमा), ‘mahimA’ (महिमा), etc. that the practitioners of yoga attain in their pursuits. 

Etymology: He is called ‘mahOthsAha:’, who possesses extreme enthusiasm in action (creation, sustenance and destruction of the worlds) itself as his wealth. This manthra grants wealth (of kainkaryam) upon the chanters.

महदुत्सहनं यस्य ह्यैश्वर्यं कर्तृलक्षणम् |
महॊत्साहः सविज्ञॆयॊ मनुरैश्वर्यदायकः ||

174) mahAbala: (महाबलः)

Since bhagavAn does not expect any external aid in all his endeavors, and since he is self sufficient in his prowess, he is called ‘mahAbala:’ – the one with herculean strength.

It is with this extraordinary strength that bhagavAn does all his actions of creation, sustenance and destruction. Although he carries out all these mighty actions, he is least fatigued, and is well established in his own greatness. He is the one who has shunned all other external aides in his work. Although performing the impossible tasks of creation, sustenance and destruction all alone, he exhibits immense enthusiasm and power in carrying out the tasks with ease and dexterity.

The maula samhithA hails bhagavAn as the one who further multiplies the creation, which is already multiple in number.

Furthermore, he bears all of his creation as his own body (He resides as the indweller of the entire creation, and bears the whole creation as his body). Just a very small fraction of his power is manifested in this creation in various forms today.

Etymology: The one who doesn’t expect any external aide in his tasks of creation (and hence, sustenance and destruction, and solely depends on his own power) is called ‘mahAbala:’.

कर्तृन्तरानपॆक्षॊ यः सृष्टॆ स स्यात् महाबलः |

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महाबुद्धिर्महावीर्यॊ महाशक्तिर्महाद्युतिः ।
अनिर्दॆश्यवपुः श्रीमानमॆयात्मा महाद्रिधृत्॥ १९ ॥
==============================

175) mahAbudhdhi: (महाबुद्धिः)

Contradicting the school of philosophy that says that an insentient entity is the cause of creation, it is being shown here that a highly knowledgeable entity is the original cause – with this divine name ‘mahAbudhdhi:’ – the omniscient one.

bhagavAn’s divine knowledge is highly pervasive, and is not restricted by space, time or nature. Neither is his divine and expansive knowledge limited by distance (of the ‘known’ object), nor by delusions. Rather, bhagavAn possesses very accurate knowledge about each and every entity at all times. It is inherent in bhagavAn, and not newly attributed. It is also eternal, and doesn’t need the aid of external senses (such as eyes, nose, ears, etc) to identify objects. On the contrary, bhagavAn actually uses his senses like eyes, ears et al. all by his own free will, as shown in the previous divine names ‘puNdarIkAksha:’, ‘SuchiSravA:’ et al.

bhagavAn doesn’t require the use of any senses for knowing any object, since he is capable of knowing anything from any of his senses (ex: he doesn’t necessarily require eyes to see; rather, he can see through any other sense organ just as much as he can see with his eyes, and so on). When it is well known that even an ordinary snake doesn’t necessarily require ears to hear, what – then – can be spoken of that omnipotent supreme brahman?

The jaya samhithA says thus: “bhagavAn is capable of listening with all of his senses, just like a snake listens with its eyes itself”.

Each and every entity is known by bhagavAn lucidly, just as much as one can know a gooseberry placed on his own palm. This is as shown in the scriptures:

  • “…the one who has eyes everywhere, and who has his face all around the world…”
  • “He sees even without eyes, he hears even without ears”
  • “He has his eyes, head and face all around this world…” etc

Sriman nAthamuni hails bhagavAn thus in his nyAya thathva: “The one who knows everything very clearly all by himself, and knows  all entities at the same time”

Some miscreants mock at bhagavAn’s omniscience, considering such omniscience as merely an ‘exaggeration’. They say, “if someone can know all objects with just one faculty (knowledge, in this case), then he can surely taste, smell and hear with his eyes as well” (which is next to impossible in this visible world). This mockery is just a baseless argument in line with the budhdhist philosophy about omniscience (contextually).

If it is true that statements about the eternity of an entity are just ‘exaggeration’s, doesn’t it imply that such entities are not eternal in reality? Similarly, bhagavAn’s omniscience is not an exaggeration either. The mockery at ‘omniscience’ itself is actually in a different context altogether, and cannot be applied to bhagavAn (the statement that ‘omniscience’ is an exaggeration applies to lower mortals like us, and not bhagavAn).

When a mere crow, owl and an eagle can use their senses of sight, hearing, et al to different degrees and in different ways, and when the same sense organs namely eyes, ears, etc. can be used very differently by men advanced in their pursuit of manthrasidhdhi, thapas, et al (in comparison with the use of senses by ordinary men), wouldn’t it prove that it is wrong to speak lowly about bhagavAn’s capability of using his senses differently than what we can perceive? Rather, bhagavAn is omnipotent and he can use any of his senses for any purpose equally.

Just a very small fraction of this whole ‘knowledge’ of bhagavAn is seen as the seat of knowledge in all sentient entities – namely badhdha, muktha and nithya (bound, liberated and ever liberated souls).

Etymology: The one unto whom great knowledge (or omniscience) is an inherent trait is called ‘mahAbudhdhi:’.

महाबुद्धिर्महज्ज्ञानं स्वरूपं यस्य सॊच्यतॆ |

176) mahAvIrya: (महावीर्यः)

We see in our daily life that the causes such as milk undergo transformations while curdling. Similarly, is bhagavAn also undergoing transformations while creating these worlds? NO! bhagavAn is called ‘mahAvIrya:’ – the cause who has no transformation, since he is not affected the least bit while creating all these worlds.

Just as agar, musk, flower etc radiate fragrance by their mere presence, so also bhagavAn accomplishes all these creations just by his mere presence. This is as per the scriptural statement: “The fragrant items radiate their fragrance just by their presence. There is nothing more needed (no transformations) in order to feel the fragrance. Similarly, bhagavAn also creates all these worlds just by his mere presence, and needs no other transformation”. Just a very small fraction of such energy is seen in the yOgis in this world, which keeps them from agitations.

(NOTE: In this divine name, it is to be understood that bhagavAn’s role of material cause for this creation (‘upAdhAna kAraNathvam’) is being said; because, only the material cause undergoes transformations while resulting in a certain effect. Whereas, bhagavAn doesn’t undergo any kind of transformations whatsoever, although being the material cause for the whole creation.)

Etymology: Although it is common to see transformations in the cause while resulting in a certain effect, the one who shows such immense energy that he undergoes no such transformations while creating these worlds is called ‘mahAvIrya:’.

हॆतौ सति विकारित्वॆsप्यविकारिश्च लक्षणम् |
महद्धि वीर्यं यस्यॆति महावीर्यः स च स्मृतः ||

177) mahASakthi: (महाशक्तिः)

In refutation of the pASupathya school of thought that denies bhagavAn’s disposition of being the material cause for this creation, this divine name shows the glorious powers of bhagavAn. He is called ‘mahASakthi:’ – the most powerful one, since he transforms the primordial nature to create these worlds.

That power of bhagavAn only acts as the material and instrumental causes. It is not attained by any effort. Rather, it is inherently present in bhagavAn. bhagavAn, with this immense power, transforms the primordial nature (prakruthi प्रकृति:), which is just a part of his divine body, into the various effects namely the twenty four taththvas constituting the entire creation.

Do we not see a spider being both the material cause as well as the instrumental cause? (It creates its web out of its own saliva. So it is both the instrumental cause (it only creates) as well as the material cause (using its own saliva)).

If this is true and non-debatable in case of an ordinary spider, then what is to be debated about the omniscient and omnipotent bhagavAn?

A very small scale illustration of such transformations of bhagavAn’s divine body can be seen in our daily life in phenomena such as curdling of milk and the like.

(Note: bhagavAn is indeed all three causes of creation – instrumental, material and ancillary. Since he only decides to create all worlds, he is the instrumental cause. Since he uses his own divine body for creation, he is the material cause. Since he creates all these with a mere thought, he is the ancillary cause as well. Even while his own divine body (prakruthi प्रकृति:) transforms during all these creations, he is unaffected in his own nature (parama-Athma-svarUpam परमात्मस्वरूपं). This is how we saw that he has no transformations in the previous divine name, and yet understand that his divine body only undergoes all changes in this divine name).

Etymology: He who possesses great power is called ‘mahASakthi:’.

शक्तिश्च महती यस्य महाशक्तिः स कीर्तितः |

178) mahAdhyuthi: (महाद्युतिः)

Differentiating bhagavAn from other entities that expect an ancillary aid, this divine name shows that bhagavAn is the one who doesn’t expect any ancillary aid in any of his endeavors. This name shows that his divine effulgence is immense, and does not need any external agency to induce this.

bhagavAn’s effulgence repels all darkness – both internal and external, and appears to be pleasing to his devotees while being fierce to his opponents at the same time. Just a very small fraction of his effulgence is seen in the lustrous bodies such as precious gems and the sun.

In all the preceding six names (including this one) – starting from 173 to 178 (mahOthsAha:, mahAbala:, mahAbudhdhi:, mahAvIrya:, mahASakthi: and mahAdhyuthi:), the greatness of each of bhagavAn’s divine qualities is shown, a very small fraction of which can perform all worldly actions that we comprehend. Thus, there is no good opportunity for bhagavAn to show all these qualities to the fullest anytime. This is just like the small tides on a vast ocean, which can never show all the water in the ocean while rising, but just fall off into the same ocean knowing this failure.

This is elaborated further in the scriptures thus:

  • “bhagavAn’s powers are supreme, and are varied. All the knowledge, support and actions of bhagavAn are inherent and natural to him”
  • “bhagavAn is a concentrated cluster of effulgence, support, mastership, wealth, knowledge, valor, strength, and many other divine qualities”
  • “Unlimited reserve of knowledge, strength, power, wealth, valor, and effulgence is represented by the word ‘bhaga:’ (भगः). The one who possess all these auspicious qualities and is free from all inauspicious ones is called ‘bhagavAn’ (भगवान्)”, etc

All the scriptures hailing bhagavAn’s supremacy echo the same thoughts.

In these six names (173 to 178) only do bhagavAn’s other innumerable auspicious qualities such as impartiality, affection etc merge for some or the other purpose.

Etymology: The one who naturally possesses supreme effulgence without any external aid is called ‘mahAdhyuthi:’.

तॆजॊsनपॆक्षरूपं स्वं महद्यस्य महाद्युतिः |

179) anirdhESyavapu: (अनिर्दॆश्यवपुः) (also repeated in 662)

bhagavAn is called ‘anirdhESyavapu:’ – the one whose divine body cannot be described, since he is a complete embodiment of all the six auspicious qualities. As the scriptures hail bhagavAn, they say: “…that bhagavAn, who shines like blazing fire, is an embodiment of all six qualities together”, et al.

The same thought is echoed in the maula samhithA: “Those who possess intellect, mind, and the external limbs is said to have a body made of seven elements (the five principal elements earth, air, water, fire and space, and additionally the mahath and ahankAra). Such bodies are said to be made of primordial nature.”

Having said this, it continues to analyze bhagavAn’s divine body thus: “How is bhagavAn’s divine body? What is it made of? bhagavAn’s body is like that of bhagavAn only (no other simile to it). his divine body is completely made of the same element which bhagavAn himself is (eternal sense, knowledge and bliss सत्यम् ज्ञानम् अनन्तम्)! bhagavAn is full of knowledge, wealth and strength – to the extent that he can be said to have been made of these elements only! Just as coal, metals etc. turns into fire itself from all sides when burnt (just as they seem to be verily the fire itself while burning), just as honey is an embodiment of sweet in all ways when drunk, just as a broken piece of gold is fully golden from all sides, just as a beautiful palace is a ‘form’ of beauty itself from all sides when seen, so also bhagavAn is completely of the form of knowledge from all sides; he is completely of the form of wealth from all sides; he is completely of the form of strength itself from all sides. He becomes what he desires”, et al

The scriptures have described the pancha-upanishath (पञ्चॊपनिषत्) form of bhagavAn thus.

This means that bhagavAn’s divine body made of the six qualities is like the gems and precious stones (the six qualities) impregnated on a wonderful golden leaf (Sudhdha sathva SarIram (शुद्धसत्त्वशरीरम्)). It is NOT like the hidden gems in a body made of the three guNas (body made of primordial nature, such as ours). Even the vishNu purAna accepts that bhagavAn’s divine forms, colors, etc cannot be confined by mere words; rather, they are all beyond description. They all lack similes. Thus, bhagavAn’s divine body is very unique and is beyond the sense of description.

(Many people say that bhagavAn has no body at all, and that he is just pure consciousness. This divine name clearly refutes this, and shows that bhagavAn does possess a divine body, but just beyond our comprehension)

Etymology: bhagavAn possesses a divine body made of the six qualities – gyAna, bala, aiSvarya, vIrya, Sakthi and thEjas, and is completely unique in the sense that it has no simile whatsoever. It is full of effulgence. Thus, bhagavAn is only called as ‘anirdhESyavapu:’.

ज्ञानादि षाड्गुण्यमयम् उपमानविवर्जितम् |
वपुरस्यास्ति तॆजिष्ठम् अनिर्दॆश्यवपुर्हि सः ||

180) SrImAn (श्रीमान्) (also repeated in 22, 222)

The one who is always bedecked with divine ornaments befitting his divine form is called ‘SrImAn’ – the wealthy one.

Etymology: The one who always possesses the wealth of divine ornaments – befitting his divine forms – is called ‘SrImAn’.

दिव्यभूषणसम्पद्भिर्युक्तः श्रीमान् सदा स्मृतः |

adiyen srinivasa raja ramanuja dasan

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thiruvAimozhi – 9.9.8 – pudhumaNam mugandhu

Published by:

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

Full series >> Ninth 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 eighth pAsuram, parAnguSa nAyaki says “Those entities which were harming me individually and together, are now competing with each other to hurt me”.

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

pudhu maNam mugandhu koNdeRiyumAlO pongiLa vAdai pun sekkarAlO
adhu maNandhaganRa nangaNNan kaLvam kaNNanil kodidhini adhanilumbar
madhu maNa malligai mandhak kOvai vaN pasum sAndhinil panjamam vaiththu
adhu maNandhinnaruL AychchiyarkkE Udhum aththInguzhaRkE uyyEn nAn

Listen

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

pongu – rising up
iLa – softened
vAdai – northerly breeze
pudhu maNmam – fresh fragrance
mugandhu koNdu – fetching and carrying
eRiyum – blowing at me;

(after evening time)
pun – having weakened
sekkar – being reddish sky;

(at this time)
adhu – having greatness which is beyond words
maNandhu – united
aganRa – separated
nam kaNNan – krishNa who was humble towards us
kaLvam – mischievous acts

(while tormenting us by being in our thoughts)
kaNNanil – more than he
kodidhu – are being cruel;
ini – further
adhanil umbar – more than that
madhu – honey
maNam – having fragrance
malligai – jasmine’s
mandham – without losing freshness
kOvai – in garland
vaN pasum sAndhinil – more than distinguished cool sandalwood paste
panjamam vaiththu – with the tune named panchama
adhu maNandhu – engaging in union which is difficult to comprehend
in aruL – being the target of his sweet mercy
AychchiyarkkE – for the gOpikAs
Udhum – playing (to be known on its own)
ath thIm kuzhaRkE – for the sweet sound of the flute which reveals the beautiful sight at that time
nAn – I
uyyEn – will not survive.

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

The softened northerly breeze is rising up, fetching and carrying fresh fragrance and blowing at me; the reddish sky has weakened; the mischievous acts of union and separation of krishNa who is having greatness which is beyond words, are more cruel than he; further, there is jasmine garland having freshness and flower with honey and fragrance; more than that, there is the distinguished cool sandalwood paste and the tune named panchama; beyond all of these, I will not survive the sweet sound of the flute which reveals the beautiful sight at that time which is being played by krishNa for the gOpikAs who are target of his sweet mercy by engaging in union with them, which is difficult to comprehend.

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

  • pudhu maNam mugandhu koNdu eRiyumAlO pongu iLa vAdai – The northerly breeze which is generally soft, rose up and blew the fresh fragrance as it understood about my having femininity.
  • pun sekkarAlO – Even the reddish sky has weakened; looking at the inferior [cruel] nature of the subsequent times [night], just as day time, evening has also become desirable.
  • adhu maNandhu … – He united in a manner which is beyond words. Even vAlmeeki bhagavAn who compiled twenty four thousand SlOkams on the sad aspect [as SrI rAmAyaNam started with the sad incident of birds getting killed], did not say anything about the union, since it is beyond words; as said in SrI rAmAyaNam bAla kANdam 2.40 “SOka: SlOkathvam Agatha:” (that which started with SOkam (sadness) beautifully fell in place as SlOkams), it is mainly focussed on the SOkam [Though vAlmeeki bhagavAn has explained some aspects of union between perumAL and pirAtti, since it started with SOkam, there is more importance for that]. The mischievous acts such as sweet talks and interactions during the union, of such obedient krishNa.
  • kaNNanil kodidhu – The interactions of krishNa who remained as our property during union, are more harmful than he is. Looking at those acts, he look nobler than they are.
  • ini adhanil umbar – further, more than that.
  • madhu maNa malligai mandhak kOvai … – Garland which was densely prepared with jasmine which is having honey and fragrance, beautiful fresh sandalwood paste are also tormenting me; further, the flute sound is coming along with the tune named panchama and tormenting us; alternative explanation – all of these are carrying the tune named panchama and tormenting us.
  • adhu maNandhu – To unite with us; alternative explanation –  for the gOpikAs with whom he united in this manner.
  • in aruL AychchiyarkkE – The cowherd girls who became target of his mercy.
    • AychchiyarkkE Udhum – That is, this flute sound will put those [elders], who are guarding, to sleep and will pull the young girls by their hair. It is like saying “the arrow shot at this person” [aimed at and hitting the target]. Even if I survived the other harmful entities, I will not survive this flute sound. If the torments of all of those together are at one level, the torment of the flute sound alone is at a higher level.

In the next article we will enjoy the next pAsuram.

adiyen sarathy ramanuja dasan

archived in http://divyaprabandham.koyil.org

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