SrI: SrImathE SatakOpAya nama: SrImathE rAmAnujAya nama: SrImath varavaramunayE nama:
In the previous pAsuram, AzhwAr was reminiscing about krishNavathAram. He felt saddened that he had not been born in this world, during that time. Due to the pain of this separation, he returned to his earlier feminine mood (as nAyaki). Her mother says that the sounds of the ocean aggravated her distress of separation.
Let us go through the pAsuram and its meanings:
iRaiyO irakkinum IngOr peNpAl enavum irangAdhu
aRaiyO ena ninRu adhirum karungadal IngivaL than
niRaiyO ini un thiruvaruLAl anRik kApparidhAl
muRaiyO aravaNaimEl paLLi koNda mugil vaNNanE
karum kadal – ocean which has a dark complexion
irakkinum – even if beseeched
Or – without any support
peNpAl enavum – even if the person happens to be a lady
Ingu – in her matters
iRai – even a little bit
irangAdhu – is not taking pity
aRaiyO ena – like those who make a huge noise
ninRu – remaining firmly
adhirum – it is making a noise
O – Oh, how cruel!
aravaNai mEl – on top of the mattress, AdhiSEshan
paLLikoNda – one who has reclined
mugil vaNNanE – Oh lord, who has the complexion of cloud!
Ingu – at this place
ivaL than – her
niRaiyO – modesty
ini – henceforth
un thiruvaruLAl anRi – other than by your mercy (with any other entity)
kAppu aridhu – difficult to protect
muRaiyO – (is this) apt?
The dark ocean, despite being beseeched by her, is not taking any pity on her, even though she is without any support. The ocean is like those who are making a war-cry, being very firm. How cruel is this! Oh lord, who is having the complexion of cloud and who is reclining on the mattress, AdhiSEshan! Her situation is such that she cannot be protected by anything other than your mercy, henceforth. Is her condition proper?
irakkinum IngOr peNpAl enavum iRaiyO irangAdhu – this ocean is not taking even a little bit of pity on her despite her falling at its feet, saying “taking refuge is indeed a great act which manifests her state”, despite hinting “she is without any help and has no other refuge”. This is similar to revealing our weakness to those who harm us, thus giving them an opportunity to harm us even more. vyAkyAthA cites SrI rAmAyaNam yudhdha kANdam SlOkam 21-8 “adhya mE maraNam vAtha tharaNam sAgarasya vA” (Sri rAma says that today either he should cross the ocean or die). Even after SrI rAma performed SaraNAgathi (surrendered) to the king of ocean, he did not come. However, the moment he strung the arrow on his bow, he came helter-skelter. Thus, the ocean will not take pity for SaraNAgathi, but will, for the arrow. It will not consider SaraNAgathi but will take pity when faced with death.
aRaiyO ena ninRu adhirum kadal – the ocean behaved like sugrIva who sounded the war-cry on vAli saying “Will you come out of your hiding to fight with me?”
karum kadal – the ocean appears as if its anger inside is visible on its surface. Just as the saying goes “sivappum karuppum sinam” (red and black colours are manifestation of anger)
Ingu . . . – the modesty of this girl who is in such a distressed state.
un thiruvaruL anRik kApparidhAl – she has lost her senses due to her deep love for you; without your mercy, which is the manifestation of your true nature, she will not revive. She has crossed the stage when she could have corrected herself, due to fear of being ridiculed by the people of the town.
muRaiyO – SrI rAmAyaNam sundhara kANdam 39-30 says “thath thasya sadhruSam bhavEth” ((sIthAppirAtti tells hanuman) if SrI rAma comes here and takes me with him after destroying lankA, it will be appropriate for his valour). Instead of waiting like that for him, here, the nAyaki is calling out to him to protect her; this is her situation now.
aravaNai . . . – her beauty and the arrangement of the mattress are such that even if she had dressed herself in saffron robe (indicating renunciation) she should have been accepted.
aravaNai mEl – while she is lying on the hard floor, you are looking out for a soft mattress.
mugil vaNNanE – when a person was reading out this line, embAr (disciple and successor of ramAnujar) [sarcastically] told him “even after she has called out so much, if he is not going to turn in her direction, he should be a great sage. Hence, instead of saying mugil vaNNan, call him as mugil vaNNar (the end syllable ar in vaNNar is an honorific term, indicating respect while the end syllable an in vaNNan indicates someone who is of same status or lower status). Even if one gets hit with stick, the person who is hitting should be addressed respectfully” embAr is one who takes delight in the togetherness of perumAL and pirAtti; here, he takes the side of pirAtti when they are separated [and shows his anger on perumAL who is delaying in uniting with pirAtti].
svApadhESam (distinguished meaning): This pAsuram illustrates how the distress in separation makes one to destroy one’s svarUpam (true nature) to attain the end benefit, instead of waiting for the appropriate time, in line with one’s svarUpam.
adiyEn krishNa rAmAnuja dhAsan
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