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திருப்பாவை – எளிய விளக்கவுரை – பாசுரங்கள் 1 – 5

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திருப்பாவை

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முதல் பாசுரம். ஆண்டாள் காலத்தையும், தன் க்ருஷ்ணானுபவத்தில் உதவும் கோப கோபிகைகளையும், உபாய (வழி) உபேயங்களான (லக்ஷ்யம்) எம்பெருமானையும் கொண்டாடி, க்ருஷ்ணானுபவதுக்காக மார்க்ழி நோன்பை நோற்பதாக ஸங்கல்பம் செய்து தொடங்குகிறாள்.

மார்கழித் திங்கள் மதி நிறைந்த நன்னாளால்
      நீராடப் போதுவீர் போதுமினோ நேரிழையீர்
சீர் மல்கும் ஆய்ப்பாடிச் செல்வச் சிறுமீர்காள்
      கூர் வேற்கொடுந்தொழிலன் நந்தகோபன் குமரன்
ஏர் ஆர்ந்த கண்ணி யசோதை இளஞ்சிங்கம்
      கார் மேனிச் செங்கண் கதிர்மதியம் போல் முகத்தான்
நாராயணனே நமக்கே பறை தருவான்
     பாரோர் புகழப் படிந்து ஏலோர் எம்பாவாய்

செல்வம் நிறைந்துள்ள திருவாய்ப்பாடியில் இருக்கும் க்ருஷ்ண கைங்கர்யம் என்னும் செல்வத்தை உடைய இளம் பெண்களே! சிறந்த ஆபரணங்களை அணிந்துள்ளவர்களே! மார்கழி பௌர்ணமி தினத்தில் நல்ல நாள் அமைந்துள்ளது. கூர்மையான வேலை உடையவரும் கண்ணனுக்குத் தீங்குபுரியும் ஜந்துக்களை அழிக்கும் கொடுஞ்செயலை உடையவருமான நந்தகோபருக்கு அடங்கிய பிள்ளையும் அழகு பொருந்திய கண்களையுடைய யசோதைப் பிராட்டியின் சிங்கக்குட்டி போன்றவனும் கறுத்த மேகத்தைப் போன்ற திருமேனியையும் சிவந்த கண்களையும் ஸூர்யனையும் சந்த்ரனையும் போன்ற முகத்தையும் உடையவனுமான கண்ணனான நாராயணன் எம்பெருமானே அடியார்களான நமக்கே கைங்கர்யத்தைக் கொடுப்பவன். ஆகையால், இவ்வுலகோர் எல்லோரும் புகழும்படி க்ருஷ்ணானுபவத்தில் நன்கு நீராட விருப்பம் உள்ளவர்களே! வாருங்கள்.

இரண்டாம் பாசுரம். க்ருஷ்ணானுபவத்தில் ஈடுபடும்போது நோன்புக்கு அங்கமாக எதைச் செய்யலாம் எதைச் செய்யக்கூடாது என்பதை அறிவிக்கிறாள். “மேலையார் செய்வனகள்” என்று பெரியோர்களான பூர்வாசார்யர்களின் நடத்தையே ப்ரபன்னர்களான நமக்கு வழி என்கிறாள்.

வையத்து வாழ்வீர்காள் நாமும் நம் பாவைக்குச்
       செய்யும் கிரிசைகள் கேளீரோ பாற்கடலுள்
பையத் துயின்ற பரமன் அடி பாடி
       நெய் உண்ணோம் பால் உண்ணோம் நாட்காலே நீராடி
மையிட்டு எழுதோம் மலர் இட்டு நாம் முடியோம்
       செய்யாதன செய்யோம் தீக்குறளை சென்று ஓதோம்
ஐயமும் பிச்சையும் ஆந்தனையும் கைகாட்டி
       உய்யுமாறு எண்ணி உகந்து ஏலோர் எம்பாவாய்

இவ்வுலகிலே வாழப்பிறந்தவர்களே! நாமும் உஜ்ஜீவனத்துக்கான வழியை உணர்ந்து நோன்புக்காக மகிழ்ச்சியுடன் செய்ய வேண்டிய செயல்களைக் கேளுங்கள். திருப்பாற்கடலில் பள்ளிகொள்கின்ற ஸர்வேச்வரனின் திருவடிகளைப் பாடுவோம். நெய்யும் பாலும் உண்ணமாட்டோம். அதிகாலையில் எழுந்து நீராடுவோம். ஆனால் கண்ணுக்கு மையும் தலையில் பூவும் அணிய மாட்டோம். நம் பெரியோர்கள் செய்யாதவைகளை நாமும் செய்ய மாட்டோம். மற்றவர்களைப் பற்றிக் கோள் சொல்ல மாட்டோம். தகுந்தவர்களுக்கு தானமும் தேவையுள்ளவர்களுக்கு பிக்ஷையும் அவர்கள் கொள்ளும் அளவுக்குக் கொடுப்போம்.

மூன்றாம் பாசுரம். வ்ருந்தாவனத்தில் இருப்பவர்கள் தன் க்ருஷ்ணானுபவத்துக்கு அனுமதி அளிப்பதால் அவர்கள் அனைவருக்கும் நன்மைகள் விளைய வேண்டும் என்று ப்ரார்த்திக்கிறாள். எல்லோருக்கும் க்ருஷ்ணானுபவம் கிடைக்க வேண்டும் என்பதே உள்ளர்த்தம்.

ஓங்கி உலகு அளந்த உத்தமன் பேர் பாடி
      நாங்கள் நம் பாவைக்குச் சாற்றி நீர் ஆடினால்
தீங்கு இன்றி நாடு எல்லாம் திங்கள் மும்மாரி பெய்து
      ஒங்கு பெருஞ்செந்நெல் ஊடு கயல் உகளப்
பூங்குவளைப் போதில் பொறிவண்டு கண்படுப்பத்
      தேங்காதே புக்கு இருந்து சீர்த்த முலை பற்றி
வாங்கக் குடம் நிறைக்கும் வள்ளல் பெரும் பசுக்கள்
      நீங்காத செல்வம் நிறைந்து ஏலோர் எம்பாவாய்

உயர வளர்ந்து திருவுலகளந்தருளின புருஷோத்தமனுடைய திருநாமங்களை நாங்கள் பாடி எங்கள் நோன்புக்காக என்ற காரணத்தைச்சொல்லி நீராடுவோம். அவ்வாறு செய்தால் தேசமெங்கும் ஒரு தீமையும் இல்லாமல் மாதந்தோறும் மூன்று முறை மழை பெய்திட, அதனாலே உயர்ந்து நன்றாக வளர்ந்திருக்கும் செந்நெற்பயிர்களின் நடுவே கயல் மீன்கள் துள்ள, அழகிய புள்ளிகளை உடைய வண்டுகள் அழகிய கருநெய்தல் பூக்களிலே உறங்க, அவ்வூரில் இருக்கும் வள்ளல் தன்மையை உடைய பெருத்திருக்கும் பசுக்களைத் தயங்காமல் சென்றடைந்து, நிலையாக இருந்து, அவற்றின் பருத்த முலைகளை அணைத்துக் கறக்க, குடங்கள் பாலாலே நிரம்பி வழியும். இப்படிப்பட்ட அழியாத செல்வம் நிறைந்து இருக்கும்.

நான்காம் பாசுரம். வ்ருந்தாவனத்தில் இருப்பவர்கள் செழிப்புடன் இருந்து க்ருஷ்ணானுபவம் செய்ய மழைக்கு தேவதையான பர்ஜந்யனை மாதம் மூன்று முறை (ப்ராஹ்மணர்களுக்காக, ராஜாவுக்காக, பத்தினிகளுக்காக) மழை பொழியுமாறு ஆணையிடுகிறாள்.

ஆழி மழைக் கண்ணா ஒன்று நீ கை கரவேல்
    ஆழியுள் புக்கு முகந்துகொடு ஆர்த்து ஏறி
ஊழி முதல்வன் உருவம்போல் மெய் கறுத்து
    பாழியந்தோள் உடைப் பற்பநாபன் கையில்
ஆழிபோல் மின்னி வலம்புரிபோல் நின்று அதிர்ந்து
    தாழாதே சார்ங்கம் உதைத்த சரமழைபோல்
வாழ உலகினில் பெய்திடாய் நாங்களும்
    மார்கழி நீர் ஆட மகிழ்ந்து ஏலோர் எம்பாவாய்

கடல்போலே ஆழமான தன்மையை உடைய மழைக்குத் தலைவனான வருணனே! நீ சிறிதும் மறைக்கக்கூடாது. கடலில் புகுந்து அங்குள்ள நீரை எடுத்துக்கொண்டு இடி இடித்துக்கொண்டு, வானத்தில் ஏறி, காலம் முதலான எல்லாப் பதார்த்தங்களுக்கும் தலைவனான எம்பெருமானின் திருமேனிபோலே உடம்பு கறுத்து, பெருமையையும் அழகிய தோள்களையும் உடையவனும் திருநாபீகமலத்தை உடையவனுமான எம்பெருமானின் திருக்கையிலே இருக்கும் திருவாழியைப் போலே மின்னி, மற்றொரு கையில் இருக்கும் திருச்சங்கைப் போலே நிலைநின்று முழங்கி, கால தாமதம் செய்யாமல் ஸ்ரீ சார்ங்கம் என்னும் வில்லாலே ஏற்பட்ட அம்பு மழைபோல், இவ்வுலகில் உள்ளவர்கள் உஜ்ஜீவிக்கும்படியும், நோன்பை அனுஷ்டிக்கும் நாங்களும் ஸந்தோஷத்துடன் மார்கழி நீராடும்படியாகவும், மழையைப் பெய்வாயாக.

ஐந்தாம் பாசுரம். நாம ஸங்கீர்த்தனத்தில் தொடர்ந்து ஈடுபட்டால் கர்மங்கள் முழுமையாகத் தொலையும் என்று காண்பிக்கிறாள். முன் செய்த வினைகள் தீயினில் போட்ட பஞ்சு போலே அழியும், இனி வரும் வினைகள் தாமரையில் தண்ணீர் போலே ஒட்டாமல் விலகும். இங்கே முக்யமாகப் புரிந்து கொள்ள வேண்டியது – முன் செய்த வினைகளை எம்பெருமான் முழுமையாக விலக்குகிறான். ஆனால் வரும் காலத்தில் தெரியாமல் செய்யும் வினைகளை விலக்குகிறான், ஆனால் தெரிந்து செய்யும் வினைகளை அனுபவித்தே தீர்க்கும்படி செய்கிறான்.

மாயனை மன்னு வடமதுரை மைந்தனைத்
    தூய பெருநீர் யமுனைத் துறைவனை
ஆயர் குலத்தினில் தோன்றும் அணி விளக்கைத்
    தாயைக் குடல் விளக்கம் செய்த தாமோதரனை
தூயோமாய் வந்து நாம் தூமலர் தூவித் தொழுது
    வாயினால் பாடி மனத்தினால் சிந்திக்க
போய பிழையும் புகுதருவான் நின்றனவும்
    தீயினில் தூசு ஆகும் செப்பு ஏலோர் எம்பாவாய்

ஆச்சர்யமான செயல்களை உடையவனும், விளங்கிகொண்டிருக்கும் வட மதுரைக்கு மன்னனும், பரிசுத்தமானதும், ஆழம் மிக்கிருப்பதுமான நீரை உடைய யமுனைக்கரையிலே விளையாடுபவனும், இடையர் குலத்தில் அவதரித்த மங்கள தீபம் போன்றவனும், யசோதைப் பிராட்டியின் திருவயிற்றுக்குப் பெருமை சேர்த்தவனுமான தாமோதரனை, நாம் பரிசுத்தர்களாகக் கிட்டி, நல்ல மலர்களைத் தூவி வணங்கி, வாயாரப் பாடி, மனதாலே த்யானிக்க, முன் செய்த வினைகளும், பிற்காலத்தில் வரும் பாபங்களும் நெருப்பிலே பட்ட பஞ்சு போலே உருவழிந்து போகும். ஆகையால் அவனைப் பாடு.

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ఉత్తర దినచర్య శ్లోకం 7 – త్వం మే

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<< స్లోకం 6

శ్లోకము 

త్వం మే బన్దు: త్వమసి జనకః త్వం సఖా ,దేశికస్త్వం

విద్యా వృత్తం సుకృత మతులం విత్తమ ప్యుత్తమం త్వమ్ !

ఆత్మా శేషీ భవసి భగవన్నాన్తర శ్శాసితా త్వం

యద్వా సర్వం వరవరమునే ! యద్య దాత్మానురూపమ్ !! 

ప్రతి పదార్థము:

హే వరవరమునే = స్వామి వరవరముని 

త్వం = తమరు దాసుడికి 

బన్దు అసి = ఆప్త బంధువు

త్వం జనక అసి = జ్ఞాన భిక్ష పెట్టినందువలన మీరే దాసుడికి తండ్రి 

త్వం సఖా అసి = 1. ఆపదలో ఆదుకునే మిత్రులు 2. భగవదనుభవ కాలంలో తోడూ కూడా మీరే 

త్వం దేశిక అసి = తెలియని విషయాలను తెలియజెప్పే ఆచార్యులు తమరే 

త్వం విద్యా అసి = ఆచార్యులు ప్రేమతో బోధించే విద్య కూడా తమరే

త్వం వృత్తం అసి = ఆచార్యులు బోధించిన విద్య వలన వచ్చిన నడత,నమత్ర  దాని వలన వచ్చే వృత్తం కూడా తమరే

త్వం అతులం సుకృతం అసి = ( స్నేహితులు బంధువుల వలన ధనము ,లాభము మాత్రమే లభిస్తుంది ) అసమానమైన పుణ్యము రావటానికి కారణం తమరే

త్వం వుత్తమం సిద్దం అసి = ఎన్నటికి తొలగి పోనీ ఉన్నతమైన సంపద మీరు .( లోకలోని సంపదలన్నీ కొంత కాలం ఉండి తరవాత పోతాయి. వాటి వలన దుఃఖం మాత్రమే ఏర్పడుతుంది.)

త్వం ఆత్మా అసి = పైన ఉదాహరించిన వాటినన్నిం టిని భరించే ఆత్మ మీరే

త్వం శేషీ భవసి = ఆత్మకు స్వామి కూడా మిరే 

హే భగవన్ = జ్ఞానం ప్రేమ కరుణ అన్నీ అపారంగా కలిగిఉన్న మామునులైన మీరు నాపాలిట భగవంతుడే  

త్వం అన్తర శ్శాసితా అసి = 1. నాలోకి ప్రవేశించి శాసించేది మీరే 2. అంతర అనబడే పరమాత్మను నియమించే అనంతరుడైన జ్ఞానీ కూడా మీరే  

యద్వా = ఇలా ఎన్నని చెప్పగలను?

ఆత్మానురూపమ్ = విరోధిని తొలగించి భగవత్ భాగవత ఆచార్య కైంకర్యములు చేసే భాగ్యమైన ఆత్మానురూపాన్ని  ఇచ్చేది మీరే 

యద్యత్ భవతి = జీవాత్మస్వరూపానికి కావలసినవి ఎమేమున్నాయో 

అసి = అవన్నీ తమరే

భావము; 

బద్నాతి ఇతి బన్దు…..మనల్ని ఎప్పుడూ వదలక మనతో పాటే మన సుఖ దుఖాలన్నీ అనుభవించే బంధువు, సఖుడు , స్నేహితుడు. మనకు కష్టం కలిగినప్పుడు దానిని పోగొట్టేవాడు, మనం భగవదనుభవంలో  ఉన్నప్పుడు ‘ బోధయంతం పరస్పరం’( భగవద్గీత-10-9 ) అన్నట్లు మంచిని బోధించేవాడు. ఇంకా “ తన్జమాగియ తన్దై తాయోడు  తానుమాయ్ “ (3-6-9)అని తిరువాయిమోళిలో అన్నట్లు కాపాడే తండ్రి, తల్లి మరియు స్వయంగా వారు తానే అయ్యారు. ఆళ్వార్లు ‘ నాన్ ‘ అని చెప్పాల్సిన చోట           ‘ తామ్ ‘ అని అంటున్నారు. త్వం ఆత్మా అసి ‘ ……అన్న ప్రయోగానికి ‘ తమరు ఆత్మాగా ఉన్నారు ‘ అని అర్థంగా చెప్పుకోవచ్చు . 

శేషి భవసి,  అన్తర శ్శాసితా భవసి…అన్న మాటలకు నన్ను దాసుడిగా చేసుకున్న వారు,పరమాత్మలా నాలో ప్రవేశించి నియమించే వారు అన్నీ మీరే  అవుతున్నారు అని అంటున్నారు .

అన్తర శ్శాసితా…అన్న ప్రయోగానికి రెండు అర్థాలు చెప్పుకోవచ్చు 1. అన్తరః అంటే అన్తరే భవః మనసులో ఉన్న పరమాత్మ .2. ఆత్మానః అన్తరః…. బృ.ఉప . 5-7-22 లో అన్తరః.అన్న పదానికి ఆత్మకు లోపల ఉండే పరమాత్మ అని అర్థంచెప్పటం వలన . అన్తరస్య అయం …లోపల ఉన్న పరమాత్మ లోపల కూడా ఉండి ఆ  పరమాత్మను నియమించే జ్ఞాని  అని అర్థం. ‘ జ్ఞానీతు ఆత్మైవ మే మతం ‘ ( గీత-7-18) జ్ఞాని తనలో ఉండి తనను నియమించే వాడిగా పరమాత్మ గీతలో తనే చెపుతున్నారు. దీనికి ప్రమాణంగా ‘ యద్వా ..’  ఆత్మకు సమానమైనది మరొకటి ఏది ఉంది? ఏది లేదు. 

త్వం ఆత్మా అసి … తమరే దాసుడిగా మారుతున్నారు, అని వీరు తమకు మామునులతో చెప్పుకున్న సామ్యము  జీవాత్మలన్నింటికీ సామ్యము చెప్పటం కాదు. శేష శేషి భావముతోను నియంతృత్వ భావనతోను ‘ శేషి భవసి అన్తరః శ్శాసితా భవసి….’అని చెప్పటం వలన స్పష్ట మవుతుంది. ఈ ప్రేమ తమకు పరమాత్మతోఉన్న శాస్త్ర సిద్ద మైనది ‘ పీదకవాడై పిరానార్ పిరమ గురువాగి వందు ‘ (పెరియాల్వార్ల తిరుమొళి 5-2-8 )అన్నట్లు మాము నులు పరమాత్మయోక్క అవతారమైనందు వలన వీరు తమకు ఆ మామునులతో సామ్యమును చెప్పుకున్నారని భావించవచ్చు. 

అడియేన్ చూడామణి రామానుజ దాసి.

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siRiya thirumadal – 36 – kUrArAndha

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kUrArndha vALAl kodi mUkkum kAdhiraNdum

Word by Word Meanings

kUrArndha vALAl – with a sharp sword
kodi mUkkum kAdhu iraNdAm – nose which is like a creeper and the two ears

vyAkyAnam

kUrArndha vALAl kodi mUkkum kAdhiraNdum IrA viduththu – while it has been mentioned [in SrI rAmAyaNam] that it was lakshmaNa who disfigured sUrpaNakA, why is it mentioned here that SrI rAma had done that?   Since it has been mentioned in SrI rAmAyaNam AraNya KANdam 34-13 “rAmasya dhakshiNO bAhu:” (lakshmaNa is SrI rAma’s right hand), with lakshmaNa being SrI rAma’s right hand, there is nothing inappropriate in saying the he had done it when his right hand had done it. The meaning implied here is that to punish a person [sUrpaNakA] who had carried out asahyApachAram (deeply offending without a reason), instead of engaging another person, he did it with his right hand.

kUrArndha vALAl – with a sharp sword. While working on the rough body of sUrpaNakA [to disfigure her], to ensure that the bad blood of sUrpaNakA’s did not fall on him, he had used a sharpened sword.

kodi mUkkum kAdhu iraNdAm IrA viduththu – since she had come claiming that she was a match for sIthAppirAtti, she had changed her nose and ears through her magical powers to resemble those of sIthA. He cut those, which were the cause for her vanity.

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

adiyEn krishNa rAmAnuja dhAsan

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thirunedunthANdakam – 14

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Introduction

The previous three pAsurams talked about her inability to hear His divine name (as she was in fainted state, and (as she gained a bit of consciousness) in the next pAsuram it was not clear whether she could take in His divine name, and in the previous pAsuram she herself started saying His divine names and as she recited those names, the parrot repeated it. But she thought ‘He who saves during times of danger has not helped us’ and fainted which is said as ‘sOrginRALE’ in previous pAsuram. Seeing this, the parrot, using its common sense, started saying His divine names in the same order, for her to recover from fainted state and sustain herself, the divine names which she taught earlier when she was able to sustain herself.

In this pAsuram, she, after hearing those names, recovers and sustains herself, and rejoices about her parrot by saying ‘vaLarththadhanAl payan peRREn varuga’ (Oh come to me dear parrot! I attained the goal of nurturing and raising you).

muLaikkadhirai kuRunkudiyuL mugilai,
mUvAmUvulagum kadandhappAl mudhAlAy ninRa
aLappariya Aramudhai arangam mEya
andhaNanai andhaNar tham sindhaiyAnai
viLakkoLiyai maradhakaththaith thiruththANkAvil
vehhAvil thirumAlai pAdakk kEttu<
vaLarththadhanAl payan peRREn varugavenRu
madakkiLiyaik kai kUppi vaNanginALE                             
14

parakAla nAyaki with madakkiLi

Word by word meaning

muLaikkadhirai – He who is like a young sun
kuRunkudiyuL mugilai – and bright in thirukkurunkudi as a rainy cloud
mUvA mUvulagum kadandhu – and ever present and beyond the three types of worlds
appAl – in paramapadham
mudhalAy ninRa – being present as the leader (for both the worlds (leelA and nithya vithi),
aLappariya – who is not measurable by number (of auspicious qualities of true nature and form)
Ar amudhai – who is like a specal nectar
arangame mEya andhaNanai – who is the ultimate purity, present in great city of thiruvarangam
andhaNar tham sindhaiyAnai – who is having His abode as the mind of vaidhikas (those who live based on the words of vEdhas),
thiruththaNkAvil viLakku oLiyai – who provides dharSan as the deity viLakkoLip perumAL in thiruththaNkA,
maradhakaththai – who is having a beautiful form like the green of gem of emerald,
vehhAvil thirumAlai – who the sarvESvaran, who is the husband of SrIdhEvI, who is in reclining resting pose in thiruvekhA,
pAdak kEttu – as the (parrot) sung (about Him), and she listened (to its pAsurams),
madak kiLiyai – looking at that beautiful parrot,
vaLarththadhanAl payan peRREn varuga enRu She called it, saying – ‘I got the fulfilment due to nurturing/raising you; come here’
kai kUppi vaNanginAL
– and joined her hands in anjali form, and prostrated to it.

vyAkyAnam

muLaikkathirai – This pAsuram includes the divine names in the order in which she had taught the parrot when she was able to sustain herself. Addressing the parrot, “Thou say ‘muLaik kadhir’, thou say ‘kuRungudiyuL mugil’ is how she had taught.

muLaikkathirai – He who is having divine and auspicious form (body) which can be devoured by eyes like the sun that rises in the morning. As said in ‘thathra gOvindhamAsInam prasannAdhithavarchasam | upAsAnchakrirE sarvE kurava: rAjaBhi: saha || (mahAbhAratham – udhyOga parva – 89-10] ( (kaNNan the messenger sat in a priceless seat in dhuryOdhana’s palace). All the kaurvas with other kings attended to krishNa who sat there with his brightness like a clear sun)), where the greatness of His divine body was told.

After emperumAn recovered this AzhvAr from worldly matters, and created interest in him towards Himself, were all done by showing His divine body only, so she taught that first to the parrot. In the first pAsuram too, she said ‘maNi uruvil bhUtham aindhAy’, referring to His divine body that reformed him first. There he talked about His black coloured divine body as ‘maNi uruvil’ – But, here, by saying ‘muLaik kadhirai’, would it not mean, like the rising sun His divine body is said to be reddish? How would that fit with the earlier pAsuram? In here, by ‘muLaik kadhirai’, it does not talk about reddish divine body. It is only talking about the brightness of His divine body like that of the rising sun. So, even though black, it shined like a rising sun, is the meaning.

kuRum kudiyuL mukilai – He did not show this divine body through SAsthrams. Nor did He show it through the advise of an AchAryan. He let me know this only through the divine body in thirukkuRunkudi. In the 2nd pAsuram, by ‘mukil uruvam’, he meant ‘divine body like a cloud’ by considering the nature of removing the suffering, and about his generosity. AzhvAr is meaning the same thing here too in ‘kuRunkudiyuL mukil’. Like saying that if the cloud sets on top of this particular mountain then it would definitely rain, if emperumAn stands in thirukkuRunkudi, then the whole world would benefit from it, is how He is present.

uL mukilai – It is unlike the clouds that come from some place, pour rain, and go away. This is a cloud that stays put firmly in thirukkuRunkudi.

In the next phrase he says where He, who is affable, came to thirukkuRunkudi and stood steadfast, had come from

mUvA muvulakum kadanthu appAl – By ‘mUvA mUvulagu’, he is divining about the eternal AthmAs of three categories (nithyar, mukthar, badhDhar).

kadanthu – He being of great stature than all the sentient and insentient.

appAl – in paramapadham.

mudhalAy ninRa – Being the reason for both (nithya, leela) worlds to exist. For nithyaSuris, based on His enjoyability He is the reason for their existence; for people of this world, He gives body and faculties to them such that they would exist (do actions).

aLappariya Aramudhai – Being immeasurable in each – His nature, form, and qualities (svarUpa, rUpa, guNam), like a sea of nectar, being enjoyable unlike anything that could equal or exceed it.

arangam mEya andhaNanai – It is like a bubble out of that sea of nectar coming up and getting setting in a pond – His state of being in the lying posture in SrIrangam. periya perumAL did not come from the divine milky ocean (as is generally said) but He is from SrIvaikuNtam itself – It is said as in ‘aNdarkOn aNi arangan [amalanAdhipirAn – 10]’ (periya perumAL from paramapadham).

arangam mEya – The way He is present in paramapadham is apt to lead to Him wishing to do incarnations; it would be apt for each of His incarnations (like SrI rAma, SrI krishNa) to end one day (and return to SrIvaikuNtam); His saying “Until all the people end their worldly affairs (and wish to go to His abode in paramapadham only) I will not leave and go’, is how He is present here (in SrIrangam, other dhivyadhEsams). Even at the end of a kalpam, when praLayam occurs, He returns only because there is no one here wait for.

andhaNanai – He who is having the purity of removing the impurities ahankAram (sense of independent self) and vishyAnthara prAvaNyam (interest in worldly affairs), by showing His beauty.

andhaNar tham sindhaiyAnai – He who would live in the heart of those who became pure. His presence in Srirangam periya kOyil is based on His consideration of the heart of someone who is not interested (in worldly affairs), and so not having hatred (due to not getting the object of his interest). This is as said (by thirumazhisai AzhvAr) in ‘anRu vekhaNaik kidanthadhu ennilAdha munnelAm [thiruchchandha viruththam – 64]’ (emperumAn being present in dhivyadhEsams in various postures, was when I was indifferent (now He is in my heart doing all these postures)).

viLakkOliyai – He who not just removes ahankAram and vishayAnthara prAvaNayam, but then enters their heart and shows their relationship with Him;

viLakkoLiyai – He who brought out the knowledge; that is – AthmA’s nature, His nature, hurdles in reaching Him, and the nature of means (Him) which helps overcome the hurdles to attain the benefit (Him).

thiruththaNkAvil maradhagaththai – Like how one would say ‘elephant of arumaNavan’ – this elephant is from arumaNavan (burmA/myanmAr) to imply its good quality, AzhvAr is sayingthe emerAld of thiruththaNkA’, to say that if it is the form of the One lying down in thiruththaNkA then it would be distinguished (periyavAchchAn piLLai would often say this). Having the form that is green in colour like that of emerald, as said in pachchai mAmalai pOl mEni [thirumAlai – 2]’. (periyavAchchAn piLLai would say) His being in the state of lying down here is to welcome and remove the tiredness of people coming from north.

(Some say that this is about the dhivya dhEsam famously named ‘pachchai vaNNar’ which is in the city of kAnchIpuram. This is only about thiruththaNkA viLakkoLip perumAL so says periyavAchchAn piLLai).

vekhAvil thirumAlai – Like how the greatness of form is shown in thiruththaNkAvil – maradhakam’, his nature of being the husband of periya pirAtti (SrI lakshmI) became meaningful after He came to thiruvekhA. That is how he divined earlier too – ‘villiRuththu melliyal thOL thOyndhAy enRum”, “vekhAvil thuyil amarndha vEndhE enRum” – emperumAn marrying pirAtti, and then both coming with their wedding decoration and staying put (in thiruvekhA). Whether it is the time of surrendering or the time enjoying, it is their togetherness is what is the shelter.

pAda as parakAla nAyaki is able to bear His divine names, thinking that I got the opportunity to help at the right time, with that happiness, (the parrot) said (the divine names); and when it said,

kEttu – as her love incited, she heard (the parrot’s words). Earlier, ‘sollE enRu – sOrginRAL’ – when the parrot recited the divine names she was unconscious so no one heard it; now since it is bearable for me to hear His names, the parrot got me to hear it, says she. Like ‘selvan nAraNan enRa sol kEttalum [thiruvAimozhi – 1.10.8]’ (nammAzhvAr melting at the hearing of His divine name selva nAraNan).

vaLarththadhanAl payan peRREn – Since the divine name that it said is life-sustaining for her, she is saying – I got the benefit of fostering you. She is saying ‘The one who is a friend during danger had gone away creating the danger; even in that state, I got you as a friend who helps during danger’.

varuga enRu – (asking the parrot to come near, or, welcoming the parrot) – the parrot in her forearm seemed like being at a thirty miles (due to her excessive happiness).

madak kiLiyai – parrot that is shy; parrot that is obedient.

(that is),

vaLarththadhanAl payan peRREn – meaning, the parrot thought – ‘Oh she is making her natural relationship to me as based on some reason!’, and “As I did little service to her as a disciple, she is talking as if I helped her!’, so it felt shy. As the disciple performed some service as suitable for his true nature (of subservience), the master said ‘dharmatha: parirakShithA: [SrI rAmAyaNam – yudhDha kANdam – 1-11]’ ((SrI rAman said to hanUman who performed the service as per his true nature) – “We got saved due to your noble deed (of finding seethA)”);

As she praised, the parrot stood with obedience as per its subservience, like how hanUman stood in front of seethA pirAtti when he went to inform her about SrI rAman, as said in ‘niBRtha: praNatha: prahva: [SrI rAmAyaNam – yudhDha kANdam – 113-4]’ (prostrated, humble and without movement, stooping).

kai kUppi vaNanginAL – Not satisfied with saying so to show her appreciation for its help, she also showed reverence by joining the palms of her hands (anjali). It got rid of its shyness (after seeing that). Reason for that is – it thought that it should not argue about proper etiquette when she did that out of affection.

vaNanginALE – Thinking that the parrot was able to tolerate her anjali, (she proceeded further and), she fell on its feet. When udaiyavar along with his disciples was going for taking bath, periya nambi prostrated due to affection of seeing the divine group – udaiyavar was thinking “If I stopped him to show my humility, then it would amount to accepting his prostration”, (and so, udaiyavar) proceeded without saying anything.

{valarththadhanAl payan peRREn varuga enRu -When some people complained to perumAL that piLLailOkAcharyar has written in SrIvachanabhUshaNam some things that are not as per SAsthram, perumAL called for him to inquire. At that time he had gone to cauvEry so his younger brother azhagiya maNavALap perumAL nAyanAr went to perumAL sannidhi, and explained the accuracy of his brother’s grantham. perumAL was very happy and honored him with prasAdham etc. When the elder brother came back to his thirumALigai and found out the details from his brother he was very happy with azhagiya maNavALap perumAL nAyanAr [and said] vaLarththadhanAL payan peRREn varuga.

Another incident – ananthAzhvAn had gone to thirumalai to do service of making and presenting garland of flowers to thiruvenkatamudaiyAn. This was based on emperumAnAr’s wish. ananthAzhvAn created a flower garden and named it as rAmAnusan, and used the flowers from there for his service. When emperumAnAr visted thirumalai later, he saw the garden and was very happy about ananthAzhvAn and said ‘vaLarththadhanAl payan perRREn varuga

}

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Translation by raghurAm SrInivAsa dhAsan.

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