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ఆర్తి ప్రబంధం – 28

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ఆర్తి ప్రబంధం

<< ఆర్తి ప్రబంధం – 27

srivaishna-guruparamparai

పరిచయము:

తాము ఎన్నడూ శ్రద్ధ చూపని వాటిపైన శ్రద్ధ కల్పించి ఆ కార్యములను సుసంపన్నం చేసేలా చేసిన శ్రీ రామానుజుల అనుగ్రహమును మణవాళ మామునులు అనుభవిస్తున్నారు. మణవాళ మామునులు వారి పూర్వ జీవితంలో అన్నీ సత్కార్యములే చేసినా కానీ వారికి పరమపదానికి వెళ్ళడంపై పెద్ద ఆసక్తి ఉండేది కాదు. శ్రీ రామానుజులు వారిని అనుగ్రహించి, పరమపదము చేరుకోవాలనే కోరికను ప్రేరేపించిన తరువాత మాత్రమే, మాత్రమే, వారు పరమపదము చేరుట పై దృష్టి సారించారు. అందుకని మణవాళ మామునులు ఈ పాశురములో శ్రీ రామానుజులు తనకి అనుగ్రహించిన ఈ అపురూపమయిన ఆశీర్వాదమును  ప్రశంసిస్తున్నారు.

 పాశురము:

పండు పలవారియరుం పరులగోరుయ్య
ప్పరివుడనే శెయ్దరుళుం పల్గలైగళ్ తమ్మై
క్కండదెల్లాం ఎళుది అవై కఱ్ఱిరుందుం పిఱర్ క్కు
క్కాదలుడన్ కఱ్పిత్తుం కాలత్తై క్కళిత్తేన్
పుండరీగై కేళ్వనుఱై పొన్నులగుదన్నిల్
పోగ నినైవొన్ఱుం ఇన్ఱి ప్పొరుంది ఇంగే ఇరుందేన్
ఎండిశైయొం ఏత్తుం ఎదిరాశన్ అరుళాలే
ఎళిల్ విశుమ్బైయన్ఱి ఇప్పోదెన్ మనం ఎణ్ణాదే

ప్రతి పద్ధార్ధం

పణ్డు – ముందు
కాలత్తై క్కళితేన్ – నేను నా జీవితాన్ని అలా గడిపాను
క్కాదలుడన్ – ప్రేమగా
కఱ్పిత్తుం – ప్రచారము చేస్తూ / శిక్షణ ఇస్తూ
పిఱర్కు –  ఇతరులకు
అవై కఱ్ఱిరుందుం – నా గురువుల వద్ద నేను నేర్చుకున్న
క్కండదెల్లాం – గ్రంధాలలో నేను చూసిన జ్ఞానం
ఎళుది – నేను నేర్చుకున్న దాని గురించి రాశాను
పల్గలైగళ్ తమ్మై – ఆ పుస్తకాల సంగ్రహము
శెయ్దరుళుం – ఉదారముగా ఇవ్వబడిన
పలవారియరుం – “ఆత్మ యొక్క అభ్యున్నతి, శ్రేయస్సు” గురించి ఎల్లప్పుడూ ధ్యానించి, సిద్ధాంతాల కొరకు నిలబడిన గురువులు
ప్పరివుడనే – ఈ చేతనుల పట్ల కరుణతో (ఆ పుస్తకాలను) ఇచ్చారు
పరులగోరుయ్య – ఈ లోకములోని చేతనులు ఉద్ధరింపబడాలని (బంధముక్తి)
ప్పొరుంది ఇంగే ఇరుందేన్ – ఈ విభూతిలో సంతోషముగా ఉండేవాడిని
పోగ నినైవొన్ఱుం ఇన్ఱి – వెళ్ళాలని అణువు మాత్రము కూడా కోరిక లేకుండా
పొన్నులగుదన్నిల్ – “నిత్య విభూతి” అని పిలువబడే పరమపదం
ఉఱై  – నివాస స్థానమైన
పుండరీగై కేళ్వన్ – దివ్య కమల పుష్పములో ఆసీనమై ఉన్న పెరియ పిరాట్టి యొక్క దివ్య పతి,  శ్రీమన్నారాయణ
ఇప్పోదెన్ మనం ఎణ్ణాదే – నా మనస్సు ఇక దేని గురించి ఆలోచించదు.
ఎళిల్ విశుమ్బైయన్ఱి – ఆహ్లాదభరితమైన పరమపదము తప్పా
ఎదిరాశన్ అరుళాలే – ఎంబెరుమానార్ల ఆశీర్వాదము (ఆ కారణంగా)
ఎండిశైయొం ఏత్తుం – అతను అష్థ దిక్కులలోని వాళ్ళ ప్రశంసలను  అందుకుంటున్న వ్యక్తి

సరళ అనువాదము:

మణవాళ మామునులు అంతకుముందు వారు తన జీవితాన్ని ఎలా గడిపినారో వివరిస్తున్నారు. ప్రేమపూర్వకంగా ఆచర్యులు ఈ ప్రపంచానికి అందించిన గ్రంధాలను వారు చదివేవారు. వారు వాటిని క్రమంగా చదివి, వాటిని అనుసరిస్తూ, అందులోని  రహస్యాల గురించి తెలియని వారికి బోధిస్తూ ఉండేవారు. మణవాళ మామునులకు పరమపదానికి వెళ్ళాలని  ఎటువంటి ఆలోచన లేదా ఆసక్తి ఉండేది కాదు. అయినను, ఉభయ దేవేరులతో దివ్య భక్తుల నిత్య నివాసమైన శ్రీమన్నారాయణుడు వేంచేసి ఉన్న పరమపదమును చేరుకోవాలనే కోరికను తనకనుగ్రహించిన ఎంబెరుమానార్ల కృపని వారు కీర్తిస్తున్నారు.

వివరణ:

“ఈ ప్రపంచములో అజ్ఞానులను ఉద్దరించాలనే ఏకైక ఉద్దేశ్యముతో అందించిన మన పూర్వాచర్యుల గ్రంధాలను ఇదివరలో నేను చదివాను” అని మణవాళ మామునులు తెలుయజేస్తున్నారు. ఆ గ్రంధాలను వేర్వేరు ఆచార్యులు రచించినప్పటికీ, అవన్నీ ఏక కంఠంతో పలికినట్లు అందులో ఒకే అభిప్రాయం ప్రతిధ్వనించింది. చేతనుల పట్ల కరుణతో మన ఆచార్యలు ఆ గ్రంధాలను మనకిచ్చారు. ఆ సమయంలో ఎంతో ఆసక్తితో చేతికి వచ్చిన ప్రతి గ్రంధాన్ని నేను అధ్యయనం చేసాను. “తెరిత్తు ఎళుది (నాన్ముగన్ తిరువందాది 63)”లో చెప్పినట్లుగా, నేను నా ఆచార్యుల నుండి వాటిని క్రమమైన పద్ధతిలో అధ్యయనము చేశాను.  వాటిని నేర్చుకోవడమే కాకుండా, ఆ గ్రంధాలలో పేర్కొన్న వాటికి అనుసరించాను కూడా. క్రమంగా ఈ గ్రంధాల గురించి తెలియని వారికి వాటిని బోధించడం ప్రారంభించాను. ఈ పుస్తకాల ఉద్దేశ్యాన్ని వారికి తెలిపడం, తద్వారా వారి ఆత్మ శ్రేయస్సుకి  ప్రయోజనకరంగా ఉంటుందని వారికి బోధించడం జరిగింది. ఈ రకంగా నేను నా సమయాన్ని గడిపే వాడిని.  శ్రీమన్నారాయణుడు నివాసముండే పరమపదానికి చేరుకోవాలనే ఆసక్తి నాకు ఎప్పుడూ ఉండేది కాదు. నేను ఈ ప్రపంచ సుఖాలను అనుభవిస్తూ, పెరియ పిరాట్టి యొక్క భర్త  శ్రీమన్నారాయణుడు  (ముదల్ తిరువందాది 67 లో “తామరైయాళ్ కేళ్వన్” అని వర్ణించినట్లు) ఉండే చోటు గురించి పట్టించుకోలేదు.  “పరమపదం” అని పిలువబడే ఆ అద్భుతమైన ప్రదేశానికి వెళ్లాలన్న కోరిక నాకు ఎప్పుడూ కలగలేదు.

“ఎంబెరుమానార్ల ఆశీర్వాదాలతో తన కృపా వర్షాన్ని నాపై కురిపించే వరకు, పరమపదానికి వెళ్ళాలనే ఆసక్తి నాకు కలుగలేదు.” అని మణవాళ మామునులు కొనసాగిస్తున్నారు. వారి దయని ఖచ్చితంగా అష్ట దిక్కులలో అందరూ కీర్తించాల్సిన  విషయం. వారి ఆశీస్సులను పొందిన నేను ఎంత అదృష్టవంతుడిని. ఇక పరమపదానికి వెళ్లడం తప్ప మరే విషయము గురించి నా మనస్సు ఆలోచించుట లేదు. ఇది మన స్వామి అనుగ్రహముతో తప్ప మరిదేనితో సాధ్యము కానిది.  ఎంబెరుమానార్ల కృప గురించి నొక్కి చెప్పే “అరుళాలే” అన్న పదము “తేఱ్ఱత్తు ఏకారం” లోనిది.

 స్పష్ఠీకరణ :

“అరుళాలే” అనే పదంలో, రచయిత పిళ్ళైలోకం జీయర్ “తేఱ్ఱత్తు ఏకారం” గురించి ప్రస్తావించారు. ఇది తమిళ వ్యాకరణం, దీనికి కొంచెం వివరణ అవసరం. తమిళ వ్యాకరణంలో “ఏకారం” అనేది రెండు రకాలు. మొదటిది “తేఱ్ఱత్తు ఏకారం”. ఇది “ఉరుది” లేదా “నిశ్చయత” లేదా “ఏకగ్రీవత” ని సూచిస్తుంది. ఉదాహరణకి – తిరుప్పావై 1 వ పాశురములో ఆండాళ్ దానిని అందంగా వివరించింది. “నారాయణనే” లో, ఆండాల్ “ఏకారం” ను ఉపయోగించింది అంటే నారాయణుడు మాత్రమే పఱై (పర ప్రయోజనం) ఇవ్వగలడు మరెవరూ కాదు అని. మోక్షం ఎవరు ఇవ్వగలరో, మరెవరూ ఇవ్వలేరనే వాస్తవం గురించి ఖచ్చితంగా చెప్పడానికి ఇది ఉపయోగించబడుతుంది. ఇది “తేఱ్ఱత్తు ఏకారం”. “పిరినిలై ఏకారాం” రెండవ రకము. “అది కూడా” అని దాని అర్థం.  “నమక్కే” అనే ఉదాహరణలో , అంటే నారాయణుడు మనలాంటి వ్యక్తులకు పఱై ఇస్తారని ఆండాళ్ ఉపయోగించిందని అర్థం. మనమెవరు? మనము తిండి, నిద్ర, ఇతర ప్రాపంచిక సుఖాలను వెదుక్కుంటూ, అవే అలౌకిక సుఖాలనుకొని తిరిగే సాధారణ (అల్ప) మానవులము. అతి అల్పమైన, తెలివిలేని మానవులమైన మనలాంటి వాళ్ళకు కూడా (నమక్కే), నారాయణుడు అనుగ్రహిస్తాడు. ఈ అర్థాన్ని “పిరినిలై ఏకారాం” అని అంటారు. “ఎణ్ణాదే” అనే వాఖ్యములో, “తేఱ్ఱత్తు ఏకారం” ఉపయోగించబడింది.

అడియేన్ శ్రీదేవి రామానుజదాసి

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periya thirumozhi – 2.3.6 – andhagan siRuvan

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periya thirumozhi >> Second centum >> Third decad

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Highlights from avathArikai (Introduction)

No specific introduction.

pAsuram

andhagan siRuvan arasar tham arasaRkiLaiyavan aNiyizhaiyaich chenRu
endhamakku urimai sey enath thariyAdhu emperumAn! aruL enna
sandhamal kuzhalAL alakkaN nURRuvar tham peNdirum eydhi nUl izhappa
indhiran siRuvan thEr mun ninRAnaith thiruvallikkENik kaNdEnE

Word-by-Word meanings

andhagan – dhritharAshtra, the blind man, his
siRuvan – being the son
arasar tham arasaRku – dhuryOdhana, the king of kings
iLaiyavan – brother dhuSSAsanan
aNi – decorated
izhaiyai – towards dhraupadhi who is having ornaments
senRu – went  (since they lost you as well, to us in gambling)
endhamakku – for us
urimai sey – serve us
ena – as he told
dhariyAdhu – being unable to bear (to have servitude towards others)
emperumAn! – “My lord!”
aruL – you should shower your mercy upon me and protect me
enna – as she prayed
al – dark
sandham – coloured
kuzhalAL – dhraupadhi who has hair, her
alakkaN – sorrow
nURRuvar tham – dhuryOdhanan’s brothers, totally hundred in number, their
peNdirum – wives
eydhi – attained
nUl – mangaLasUthram
izhappa – to lose
indhiran siRuvan – indhra’s son arjuna, his
thEr mun – in front of the chariot
ninRAnai – stood and donned the role of charioteer
thiruvallikkENik kaNdEnE – I saw in thiruvallikkENi

Simple translation

dhuSSAsana, the brother of dhuryOdhana, the king of kings who is the son of dhritharAshtra, the blind man went to dhraupadhi who is decorated with ornaments and told her “you serve us”; being unable to bear that, dhraupadhi who has dark coloured hair, prayed to emperumAn “My lord! You should shower your mercy upon me and protect me”. emperumAn stood in front of the chariot of indhra’s son arjuna and donned the role of charioteer, and made the wives of dhuryOdhana and his brothers to go through the same sorrow as dhraupadhi and lose their mangaLasUthram. I saw such emperumAn in thiruvallikkENi.

Highlights from vyAkyAnam (Commentary)

andhagan siRuvan – dhuryOdhana was the son of the blind dhritharAsthra. With this, it is said that the ignorance is carried forward. One who was raised independently instead of being raised under the fear for a good father.

arasar … – One who is born after dhuryOdhana, who is the kings of kings. That is dhuSSAsana. AzhwAr is highlighting the wicked nature of dhuSSAsana who was pampered by dhuryOdhana.

aNi izhaiyai – Since it is a great festive occasion, dhraupadhi was well decorated with ornaments. dhuSSAsana approached her.

endhamakku urimai seyyena – He said “pANdavas lost you as well in the gambling game. You should come and serve us”.

dhariyAdhu … – She cannot bear serving others. At that time, she prayed to emperumAn “You who are my lord, should shower your mercy upon me”. When embAr was asked “When the valorous husbands were present there, why is she calling upon the name of krishNa, who is far away?” He replied “We know the answer! Looks like she was given instructions previously as said in mahAbhAratham sabhA parvam 90.41 ‘mahathyApathi samprApthE smarthavyO bhagavAn hari:’ (when you are in great danger, remember lord hari)” When the same questions was asked to bhattar, he mercifully replied “Though a woman walks along with her husband holding his hands, if she slips, she will naturally cry out ‘ammE’ (mother)”.

Though she prayed for her protection, he was so eager to punish dhuryOdhana et al.

sandhamal kuzhalAL … – sandham – colour. al – darkness. One who has dark coloured hair.

Alternatively,

sandhamak kuzhalAL – One who has hair which always carries sandal flower. There is a sorrow which she endured. To make the wives of dhuryOdhana et al go through the same suffering. As an ultimatum, they lost their mangaLasUthram also. He ensured that they had permanent sorrow.

indhiran … –  Implies that emperumAn will reduce his stature and protect those who surrender unto him, though they may have strong support. dhraupadhi was not helped by her husbands; arjuna was not helped by indhra [emperumAn only helped both of them].

In the next article we will enjoy the next pAsuram.

adiyen sarathy ramanuja dasan

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thirunedunthANdakam – 17

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Introduction

Upon seeing her wailing in loud voice, calling Him, and then falling down fainting, the mother thought – “I kept parrot and veeNA in front of her thinking that they would console her. Even these have become useless”, and setting them aside, thought “Would it be helpful if I told her a few good words?”, and so told her “Your calling Him loudly and fainting are not appropriate for your womanliness. This is a bad name for our clan, so it is only appropriate for you to stay patiently till He comes”. Daughter replied “Am I in a state to consider womanliness and bad names?”. To this the mother said, “Let the womanliness and bad name be set aside. Do you not have to make sure that He, who is loved by you, does not get any bad name? Would not the world accuse Him as – ‘He who is merciful to those having even a little love, is not being merciful to her who is not able to sustain her life without Him and so calling Him with sorrow’? Don’t you have to consider that He should not get such bad name?”. To that the daughter thinks, “Would the time come for me to see the face of Him who understands the sadness of those separated, and not see her (mother’s) face who is talking these words of advice without understanding my sorrow due to separation?”, and calls Him thinking about Him, in this pAsuram.

Mudhalazhvars with Idai kazhi aayan

pongAr melliLangkongai ponnE pUppa
porukayaRkaN neerarumbap pOndhu ninRu
sengAla madappuRAvap pedaikkup pEsum
siRukuraluk kudalrugich chindhiththu AngE
thaNkAlum thaNkudandhai nagarum pAdith
thaN kOvalUr pAdi Adak kEttu
nangAy! nam kudikkidhuvO nanmai? enna
naRaiyUrum pAduvAL navilginRALE. 17

Word by word meaning

pongu Ar mel iLa kongai – Bosom that is growing, delicate, and young

ponnE pUppa – losing colour,

poru kayal kaN – two eyes that are like two fish fighting

neer arumba – sprouting tears,

pOndhu ninRu – in the state of coming away separated from mother,

udal urugi – body melting

sem kAla madam puRavam pedaikkup pEsum siRu kuralukku – upon hearing the intellect-less doves having red legs, talking with their wives in low voice,

chindhiththu – thinking (about Him talking in personal ways?),

AngE – at that moment,

pAdi – (she started to) sing and

Ada – dance,

pAdi – by singing to her mouth’s content, about

thaNkAlum – thiruththaNkAl,

thaN kudandhai nagarum – and the place of thirukkudandhai,

thaN kOvalUr – (and about) the comforting thikkOvalUr too;

kEttu – As I heard that,

enna – and as I said

nangAy – ‘Oh girl!

nam kudikku – for our clan

idhu nanmaiyO’ enna – is it good (to call out openly loudly)’,

pAduvAL navilginRALE – she started for singing about

naRaiyUrum – thirunaRaiyUr too.

vyAkyAnam

pongAr mel iLamkongai ponnE pUppa Mother is saying, “This state of all the longing that she is going through is what He would go through due to her bosom, and now she is going through that state that would be His state usually”.

pongAr mel iLam kongai Having growth, soft, and young bosom. ‘Ar’ in ‘pongAr’ implies high/excess. Or, ‘Ar’ could also indicate spreading and widening, this phrase could mean bosom that is growing more and more and spreading out.

men kongaiWhen it is the nature of bosom to be hard, saying it as soft is to show that it is not able to bear the separation.

iLam kongaiidea is that it has just started to grow and not a matured one.

ponnE pUppa – For it to change its colour. Like a fertile land became a desert, the bosom that is instrumental to His experience, has changed its colour and lost itself, is the thought.

ponnE pUppa – Instead of saying ‘colour changed’, the mother is saying ‘turned golden’, because it seems that for her this change of colour is like a karpaka tree sapling newly blossoming its flowers. When it was having its colour earlier, it was like an ornament worn during union with Him. Now changing its colour golden is like wearing it as an ornament for the separation, is the thought of the mother. If she is saying that it is like an ornament, would it befit for her to say the words of dislike about the state of her daughter? – It is only for those who came to inquire about her daughter that she hid her appreciation and talked as if she disliked it, but actually the mother finds it beautiful to see her daughter in this state due to separation.

poru kayal kaN neer arumba – by talking about tears rolling from the eyes, mother is saying that her daughter’s eyes that are supposed to keep looking at Him all the time are also lost.

poru kayal kaN – ‘poru’ – fight. This phrase may be understood to mean either that it is one that wins Him over, and the eyes that compete with each other in being beautiful.

kayal kaN – bright eyes like the kayal fish.

kaNNeer arumba – For her the tears are persistent. It would be tears overflowing out of joy when together with Him; tears overflowing out of sorrow when separated. Like how colourlessness entered her bosom, sorrowful tears entered into her eyes. Mother is saying, ‘The eyes that are supposed to be seeing Him are the ones that became the target of sorrowful tears”.

In the previous pAsuram, ‘thuNai mulai mEl thuLi sORa’, tears fell on her bosom, said the mother. Here, due the fire that is separation, internally her mind has become bone dry, so she is not saying ‘sOra’, but is saying ‘arumba’. That is, if boiling a quarter measure (kAl padi – uzhakku) of milk in a pot of size two marakkAl (padhakku), then even if the boiling milk comes up to the rim of the pot, there would not be wetness in the bottom of the pot – likewise, even when the mind has dried up, tears are welling up in her eyes.

pOndhu – When her mother advised, ‘You, who have got the beautiful bosom, and beautiful eyes which should make Him come and be with you, are engaging in Him – this does not match your womanliness”, she could not bear to hear it, she left outside from her mother’s house urgently like how one would rush out of a burning house.

Hearing the good words of SrI viBheeshaNAzhvAn, rAvaNAn replied, “yO(S)nyasthvavamviDham brUyAth vAkya mEthanniSAchara | asmin muhUrthE na BhavEth thvAm thu Dhik kulapAmsanam [SrI rAmAyaNam – yudhDha kANdam – 16-16]” (Oh giant! If anyone else had said these harsh words, they would not be alive. You, who have come here as a destroyer of our clan of giants, are a shame. (So, you should not be present here from this moment)), and so as said in “ithyukthvA parusham vAkyam rAvaNam rAvaNAnuja: | AjagAma muhUrthEna yathra rAma: salakShmaNa: || [SrI rAmAyaNAm – yudhDha kANdam – 17-1]” (viBheeshaNan, brother of rAvaNan, saying harsh phrases to rAvANan, came quickly to the place where there were rAmA and lakshmaNa), she left like how viBheeshanAzhvAn left quickly.

ninRu – after leaving from mother’s house, parakAla nAyaki stood sustaining herself.

As said in “thEshAm samBhAshamANAnAmanyOnyam sa viBheeshaNa: | uththaram theeramAsAdhya KasTha Eva vyathishTatha || [SrI rAmAyaNam – yudhDha kANdam – 17-10]” (That viBheeshaNan, while the vAnaras were talking to each other, reached the north shore (of the sea), stayed put above the land), as how viBheeshaNAzhvAn reached the north shore and stayed strongly in one place,

and as said in “vaDhyathAm Esha theevrENa dhaNdEna sachivai: saha | rAvaNasya nRuSamsasya BhrAthA hyEsha viBheeshaNa: || [SrI rAmAyaNam – yudhDha kANdam – 17-29]” (Let this viBheeshaNan be killed along with his ministers. (Because) he is a brother of the cruel rAvaNan. (sugreevan said this before he was accepted). (The oft-quoted phrase ‘vaDhayathAm paDhyathAm’ is not present in the text) – similarly, sugreevan and others said that we should punish viBheeshaNan. perumAL also did not accept him as soon as he arrived. Even then, viBheeshaNAzhvAn sustained himself and stood still, above the ground. Likewise, after she came out of her mother’s house, she sustained herself and stood well.

sem kAla, etc – Since the words of her mother was not acceptable to her, she left from her mother’s house. All the places outside looked poisonous. So none outside were any shelter to her. From this it is clear that the worldly life is sorrowful whether within or outside the house, and that it is only paramapadham that is of happy experience.

sem kAla mada puravam – Male dove having reddish feet, and which does not have wisdom. Its red legs made her suffer as it reminded her of His reddish feet which she keeps in her head when together with Him, as said in “adichchiyOm thalai misai nee aNiyAy AzhiyankaNNA! un kOlap pAdham [thiruvAimozhi – 10.3.6]”.

mada puravam – Here ‘madam’ implies lack of wisdom. When in union with Him He would converse out of losing His sense due to enjoyment of that union – so the bird reminds her of that and makes her suffer now.

pedaikkup pEsum siRu kuralukku – Male dove talking to its female birds in low voices – reminds her of the loving talks of Him to her, and so she suffers now.

siRu kural – Can take the meaning of this phrase as – words that were said out of tiredness, or the words only that He and She know. Since the words of man talking love to the woman should not be known to others, he would talk close to her ears. She is indicating that as ‘siRu kural’.

udal urugi – Seeing His physical form her heart melted. Hearing His talks, her body melted, is the thought.

sindhiththu – Thinking about His deeds when talking together with Him. That is, thinking about mix up of their clothes, doing salutations, etc. – such deeds of contrary ways.

AngE – Since the personal talk of male dove of red legs to her female lover is making her suffer, it is better to listen to the good words of her mother even in such state. The acts of her even while in that state, which she did while not listening to her mother, is told by the mother – starting with ‘thaN kAlum’.

The places thaNkAl, thaN kudandhai nagar, thaN kOvalUr are those that are already discussed for a meet with Him. Mother is saying that her daughter is calling out the names of such places.

thaNkAlum – This dhivyadhESam is referred as thiru thaNkAl to indicate the comforting nature of the One living in thaNkAl. Another meaning of thaN-kAl – breeze of air (kAl) that removes tiredness. Like the breeze, He who is having sweet touch and having form that removes any tiredness, is living there – so this dhivyadhESam is getting the divine name of thiruththaNkAl. She is calling Him ‘thaNkAl’ because it removes her tiredness when He hugs her when together, and is sweet.

thaN kudandhai nagarum pAdi – thirukkudandhai is the place where He mingled with the devotees without considering the norms.

As said in “thvadheeya BhukthOjjithaSEsha BhOjinA – thvayA nisRushtAthmaBharENa yadhyaThA | priyENa sEnApathinA nyavEdhi thath – thaThA(S)nujAnantham udhAraveekShaNai: || [sthOthra rathnam – 42]” (vishvaksEnar consumes the prasAdham first consumed by You, he manages both the worlds as his responsibility as given to him by You. Whatever deed is requested by Him for You to consider, You would go along with it and decide that it be done that way),

while it is the norm for the svAmi to eat first and then the devotees to eat the remaining, thirukkudandhai ArAvamudhAzhvAr first makes thirumazhisaip pirAn eat the prasadham made for Him, and then only does He consume it. thirumazhisaip pirAn would not complain about this because this is done by emperumAn out of overflowing fondness towards him.

The idea behind parakAla nAyaki saying this is – it indicates that the fortune of her friends (AzhvArs) is considered as her fortune.

thaN kOvalUr pAdi – If devotees approached Him first, it is customary for Him to mingle with them. Unlike so, it is He who went to where they were and jostled among mudhalAzhvArs out of love – such is this place called thirukkOvalUr. As they took shelter from rain in idai kazhi (small verandah) at thirukkOvalUr, He want to that place out of His own volition, and jostled with them, and mingled in this way. After the three AzhvArs left that place, He keeps thinking about them and so standing in that place itself – that is thirukkOvalUr Ayan. This is sung by poigai AzhvAr, “vAsal kadai kazhiyA uL pugA kAmar pUnkOval idaikazhiyE paRRi ini [mudhal thiruvanthAdhi – 86]”.

pAdi – She sang out of love, as she forgot her earlier sorrow as she thought of thaNkAl that was sweet for her like a cool breeze, and of thirukkudandhai and thirukkOvalUr where He mingled with other AzhvArs like her.

Ada – She is dancing also, and not stopping with just singing.

kEttu – hearing; this also includes ‘seeing’. Seeing the way she is dancing, and hearing the way she is singing – is the meaning.

pAdi Ada kEttu – Mother is wondering, ‘what blessing has she gained for her to sing and dance!’?

nangAy – Earlier AchAryas gave the meaning to this word as – she who is important – ‘muKhari’. That is – as you are very important for Him, it is He who has to come to you and undergo these sufferings. So should you go through such pains to attain Him? – was their thought. Bhattar gave the meaning for ‘nangAy’ to mean ‘Oh who is complete in qualities!’. In the eighth pAsuram, as per the SrI rAmAyaNa SlOkam – sundara kANdam – 30-30, which was discussed for the word ‘perumAn’, bhattar gives the meaning as “The mother asks – You are one who is having the completeness of the thinking as – let Him do whatever He wants to do to me as I am subservient to Him. – So is it appropriate for such a person with this quality to sing and dance for Him to come to you?”. Or, the word could also mean – we thought that our clan would flourish based on your completeness of such quality. That completeness is getting destroyed due to your efforts to make Him come”.

nangudi – nam kudi – The clan of prapannas is of higher greatness compared to all other clans of the world.

nangAy – third meaning for this word follows – You are having the beautiful form that He would wish to see always. You possess the helpers for enjoyment, like the red-footed dove, etc. You also possess the inability to bear the separation; like seethAp pirAtti you also have the sense that it is better to wait and look forward to His coming to you. When that is the case, is it appropriate for you to call our to Him like one who is not having the completeness of qualities?

idhuvO nanmai – Is calling Him out loud the favour you are doing to the clan that wishes to survive based on completeness of your qualities? You who have born to bring greatness to this clan could make this blemish to the clan?

enna – As the mother said this; instead of pulling back, she started calling Him out more, says the mother.

naRaiyUrum pAduvAL navilginRALE – She started singing about the place from where it is impossible to get her back – thiru naRaiyUr. Daughter was like asking – are you still spending your life talking about greatness of clans? The daughter is trying to get hold of aasu – 1) singing the type of poetry called aasu kavi – continuing to sing. 2) aasu : weapon – it is like touching the handle of weapon (with intention to pull it out and use it) for destroying her clan. (such is her starting to sing about thirunaRaiyUr).

naRaiyUrum pAduvAL navilginRALE – Daughter is wondering, ‘Instead of looking at the mother who is giving words of advice without understanding my suffering due to separation and longing to reach Him, when would I see the divine face of thirunaRaiyUr vanjuLavallith thAyAr the natural mother, who knows the sadness that occupies me due to separation?’. Since thAyAr is of the state “agalakillEn iRaiyum [thiruvAimozhi 6.10.10]”, she is the one who can understand my state due to separation.

Another meaning for the phrase – calling out thinking about thirunaRaiyUr nambi. He who had roamed around all of the forest looking for seethAp pirAtti and finally found her, would be able to understand my sad state of separation. When would I see the mother and father who understand my sad state of separation – asks nAyaki.

pAduvaL navilginRALE – Starting to sing, she is introducing its rAgam/tune. Is it wrong to sing? – Her own efforts of singing is wrong for her true nature of subservience – wrong like doing madal (announcing her love publicly to gain support from people).

navilginRALE – She is engaging in starting with elaboration of rAga of the song. If she completes singing then the pride of our clan would be like getting drowned in the sea. From this we can understand the expertise of mother on the SAsthram of music (this too is thirumangai AzhvAr!), since she is understanding the direction the song is going, just from listening to the beginning of her picking up the rAga for singing.

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Translation by raghurAm SrInivAsa dhAsan.

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