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thirunedunthANdakam – 15

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Introduction

Previous pAsuram talked about how she recovered consciousness as she heard the parrot saying the divine names , and thanked the parrot and appreciated it. In this pAsuram – improving from the stage of only listening to the divine names from the parrot, she herself said the divine names and sang them along with playing the veeNA instrument. As she touched the veeNA when singing, it reminded her about her singing about the nature of herself and of Himself using the veeNA, when they were together earlier. Through that veeNA she visualized His divine body, and imagining the veeNA to be Him, she did with veeNA what she would do when she is together with Him. Mother is getting afraid thinking ‘what is going to befall her when she realizes that this is only a veeNA and not Him’.

kalluyarndha nedu madhiL sUzh kachchi mEya
kaLirenRum kadaRkidantha kaniye! enRum
alliyampU malarp poygaip pazhana vEli
aNiyazhundhUr ninRugandha ammAn enRum
solluyarndha nedu veeNai mulai mEl thAngith
thUmuRuval nagai iRaiyE thOnRa nakku
mel viralgaL sivappeydhath thadavi AngE
menkiLi pOl miga mizhaRRum en pEdhaiyE.
15

Word by word meaning

kal uyarndha nedu madhiL sUzh – Constructed using rocks, and surrounded by big towering walls,

kachchi mEya – being present in such kAncheepuram’s thiruppAdagam
kaLiRu enRum – O emperumAn who is like a must elephant, and,
kadal kidandha kaniyE enRum – who is like a fruit sleeping in the divine ocean of milk, and,
ammAn enRum – who is the lord
ninRu ugandha – who is happy standing in
aNi azhundhUr – the beautiful dhivya dhESam thiruvazhundhUr
alli am pU malar poygai – that is having ponds with beautiful and fragrant flowers pregnant with pollen, and
pazhanam – agricultural fields,
vEli – as the surrounding fences, (saying these),
thAngi – propping
mulai mEl – upon her breast
veeNai – the veeNA instrument that is
sol uyarndha – high in tone
nedu – long in harmonic range,
thU muRuval – she with pure smile,
nagai – and with her well set teeth
iRaiyE thOnRa – being visible a little,
nakku – is laughing, and
thadavi – caressing the veeNA,
mel viralgaL – (that her) thin fingers,
sivappu eydha – become reddish,
AngE – and after that,
en pEdhai – my daughter,
men kiLi pOl – like a small parrot,
miga mizhaRRum – makes melodies in many ways.

vyAkyAnam

kal uyarndha, etc.- Divine name is helpful when in danger, it helps revive, and is also enjoyable. In pAsuram 13, she talked about it being helpful; in pAsuram 14 about how it is helping revive oneself. In this pAsuram she is talking about its enjoyability.

kal … – Qualities of the surrounding wall shows the greatness of the elephant being protected inside. Is it possible to be caring when in separation? It is not of concern whether she is with Him or separated. Her true nature is to care for Him. The ever-present greatness of a devotee is to create greatness for the master. The wall is having such height that it is not possible for the enemies to get in, and at the same time it is having enough space inside for the free movement of the elephant inside.

kachchi mEya kaLiRu – (elephant) is the lord pANdava thUdhan inside the dhivya dhESam of thiruppAdagam. He is sitting inside like a must elephant because like the elephant He too is ever-refreshing even if seeing Him all the time, and having the independence that cannot be controlled by anyone. Even though it is said that He is dictated by sEnai mudhaliyAr and periya thiruvadi, they are doing so based on His wishes and as a service to Him, and not as His masters.

He who is lovable by everyone is not showing His face to me who loves Him. He who does not have any one to control if He loves me, is One who is not showing His face to me – laments parakAla nAyaki.

kadal kidantha kaniyE enRum – This is talking about the place of incarnation of this elephant. She says – Oh You who are sweet like a ripe fruit lying down in the divine ocean of milk that is unreachable for the adversaries! Fruit is eagerly eatable, and gets destroyed when it does not find anyone to eat it. Likewise, He too searches for anyone who would enjoy Him, and He would be lost when not getting anyone to enjoy Him.

Oh He who looks for devotees to enjoy Him, is not showing His face to me!

alliyampU … – She is talking about the place where that elephant is standing, having roamed around independently. The place (thiruvazhundhUr) that is surrounded by ponds and water bodies having flowers that are pregnant with pollen, fragrant, and beautiful. Place that is hard for enemies to reach (as the ponds would attract such people towards themselves and prevent them going to emperumAn), and for the amicable ones it removes their fatigue.

ninRugandha – Standing so that the people of the world can surrender to Him, and if they get involved in the beauty of His standing there, and in His qualities that are the reason for that beauty, and so go to Him, then He would be the one happy about it. He becomes one who wished to reach them, and being happy for reaching them. Getting an AthmA to reach Him is His gain.

ninRugandha – As the reason for His standing becomes fruitful, He is being happy. Reason for that is the following.

ammAn enRum – Since He is the owner, He is the One who makes the efforts, and (after attaining the property), He is the one who becomes happy as well. The lordship of the lord got fulfilled in these dhivyadhESams (not in paramapadham, since He got them after coming here and standing). The jeevas who are subservient get their subservience fulfilled in these dhivya dhESams only, is how thirumangai AzhvAr thinks about this. The way thirumazhishaip pirAn enjoyed in ‘ninRadhu endhai Uragaththu irundhadhu endhai pAdagaththu anRu vehkaNaik kidandhadhu ennilAdha munnelAm [thiruchchandha viruththam – 64]’, this parakAla nAyaki is enjoying these three dhivya dhEsams in this thirunedunthANdakam.

solluyarndha nedu veeNai – volume being more, and music being lengthy in this compared to regular veeNA or flute; music being lengthy is about the individual letters of the song melting and only the music is present; Or,

nedu veeNai – being memorable for a long time for those who heard it and they would say ‘that, that song’.

veeNai mulai mEl thAngi – As she touched the veeNA, she saw in front of her eyes how the veeNA was played with the song that announced about the sweetness of herself and the sweetness of emperumAn when her hero that is emperumAn was with her earlier; and she saw directly in her mind the hand that caresses it, and saw the shoulder that holds that hand, and saw in her mind the divine body of that shoulder, and like embracing Him in her chest when together with Him, she embraced the veeNA by her chest.

Is it possible to think of this veeNA as emperumAn? As said in ‘gruheethvA prEkShamANA sA Bharthu: karaviBhUshaNam | BharthAramiva samprApthA jAnakee mudhithA Abhavath [SrI rAmAyaNam – sundhara kaNdam – 36-4]’ (seethA took (from hanuman) the ring that decorated her husband and became happy as if her husband himself came), seethA pirAtti enjoyed as if that ring itself is perumAL, and enjoyed like she saw perumAL Himself.

This SlOka is described now.

gRheethvA” – getting it, she started seeing it with great interest as if seeing relatives who had gone abroad; “prEkShamANA” – was seeing it without taking her eyes off of it. “sA” – she who was afraid upon seeing hanuman thinking that it is rAvaNan who has come, is now enjoying with interest; “Bharthu: kara viBhUshaNam” – (saw the) ring which pressed against her fingers when she had joined hands with Him; or, when He and She were together, due to excess of enjoyment would love-quarrel and not see each other’s face; the ring that got them back together then; that is –looking straight at each other and talking would be wished by them; but since there would be no body else there to get them back together, perumAL would remove the ring from His hand and let it fall on the floor; at that time He would instigate Her to say “oh, see you have let the ring fall down” and so create a conversation – it is that ring; so it is said as one that got them together; “BharthAramiva samprApthA” – as She got the divine ring from hanuman, She thought about perumAL; then about the shoulder that the ring belongs to, and the form that the shoulder belongs to; like embracing Him when He is present, she hugged the ring; “BharthAramiva” – she thought of it as perumAL Himself; seeing that in his mind, he (vAlmiki maharishi) says ‘like husband’. “jAnakee mudhithA aBhavath” – Divine daughter of king janaka got happiness; what would be the consequence (when she realizes it is just the ring [not SrI rAma himself]) – vAlmiki rishi is afraid so.

thAngi – instead of saying ‘kept’, it is saying ‘upheld’ the veeNA – because when together, as said in “apUrvavath vismayam AdhaDhAnaya [sthOthra rathnam – 38]” (She gives amazement like new), when He was immersed in her enjoyability and lost Himself, she took Him in her arms and held Him – thinking about that now, thinking of veeNa as Him, she is holding the veeNa close to her breasts.

thUmuRuval – This is talking about the smile that came due to the happiness of touching emperumAn, and due to the happiness of defeating Him (by her beauty);

nagai iRaiyE thOnRa nakku – laughing with just enough of the row of teeth be visible, and with the smile mentioned earlier, she could not stop with that, and so she laughed opening her mouth further. It is said too as “kAnthasmithA lakShmaNa jAthahAsA [SrI rAmAyaNam – AraNya kANdam – 63-12]” (Hey lakshmaNa, in this rock, together with me, seethA dhEvi being generous (in giving her body to me), having sweet smile, and sitting on all sides of the rock (by quickly changing her position), and getting a big laughter, she addressed you with a lot of words).

mel viralgaL sivappeydhath thadavi – talking about her thinking about putting nail marks in the back of her hero when enjoying together with Him, and so caressing the string of veeNA.

mel viralgaL – the fingers are so delicate , you see!

sivappeydhath thadavi – during the time of union, it would be tolerable when such fingers suffer due to putting nail marks on His back.

sivappeidha – fingers that are naturally red, became even more reddish due to caress.

AngE – meaning for this could be taken as ‘after that’, or ‘in that state’.

men kiLi pOl miga mizhaRRum – spoke very sweetly like a young parrot. Since she has heard the divine names from the mouth of the parrot, the mother is talking about the even better softness and youth of her daughter by saying miga.

miga mizhaRRum – even though she is of young age, is talking like a mature lady when together with Him, it cannot be described by me, says the mother. She laughing at perumAL who lost (in playing game with pirAtti), as said in ‘thvAmaha seethA bahuvAkyajAtham [SrI rAmAyaNam – AraNya kANdam – 63-12] (addressing you lakshmaNa, seethA spoke many words (when playing on top the big rock, like described the same SlOka earlier)), “aren’t we ladies, aren’t we delicate and not have any strength, aren’t you man”, and so on, there is no count of words she talked in this manner, says vAlmeeki maharishi. As said in “nayva mA kinchith abraveeth [SrI rAmAyaNam – ayOdhyA kANdam – 58-35]” (seethA who has never before undergone suffering, and who is a famous princess, did not say any word to me, but was crying due to the sorrow (that happened to Her husband) (says sumandhrA to dhaSarathA after leaving them in the forest), as she could only express Her feeling with tears at that time, now at this time of enjoying the sweetness of enjoyment, losing the state of holding together Her divine mind, showing Her victory, she talks like a mature lady.

en pEdhaiyE – Where did this little girl, who was born from my stomach, learn all these? At this young age, where did she learn the mature ways of exchanging loving words? Her age, and time are not enough to teach her these. It must be Him. emperumAn holding the big world in His small stomach is His smartness of doing the impossible (aGatithaGatanA sAmarThyam]. Another such smartness is being a vibhu (all-pervading), at the same time being present with His full form inside AthmA that is the smallest particle. This smartness of changing this girl like this is beyond those smartness! – says the surprised mother.

men kiLi – en pEdhaiyE – youth by age, and maturity by speech, how are these both present in the same person!

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Translation by raghurAm SrInivAsa dhAsan.

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thirunedunthANdakam – 14

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<< previous – 13 – kal eduththu

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.

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

thirunedunthANdakam – 13 – Part 2

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part 2:

villiRuththu etc. Oh You, who are having “breaking the bow” as a hindrance to attain Her, thus showing Your valor, and removing her womanliness of shying away, and got the union of Her who is of smooth body by nature.

Since SrI janaka chakravarthy had taken a vow ‘I shall give Her hand in marriage to the one who will break this bow”, He took the bow and as He tried to pull the string to tie it, the bow broke; at that time as the king tried to bring water in a golden bowl to use for giving his daughter to Him, He said, “Since we are princes, we came here to engage our strength; did we come here considering looking for a girl for wedding? (If that should happen) you may ask vaSishta et al., (AchAryas), and the father”; seeing His manliness of breaking the bow and the greatness of His words, seethA pirAtti melted (as water); to remove the tiredness of breaking the bow He (married Her and) immersed (in water) in her smooth shoulders;

thOL thOyndhAy ennum – The entity that is present everywhere was controlled in to one part (shoulder). The other parts of Her body, auspicious qualities of AthmA, and auspicious qualities of divine body got wasted by not getting this opportunity;

by this – When being separated from Her, who is known as always being with Him without getting separated (nithyAnapAyinee), due to incarnating as humans in separate families, there is a need to have someone (like SrI janaka) to use water, and to give Her hand to Him; even though the sentient (human beings) have the true nature of being there for emperumAn only like pirAtti (ananyArha Seshathvam), there is a need for surrendering to AchAryan, and for someone (thAyAr) to recommend to Him, in order for Him to accept sentient;

Oh, You, who removed the danger that came upon Her who was alone separated from You, is not removing the danger of me who is having loneliness!

vekhAvil thuyil etc. – (thiru vekhA) is the divine place where emperumAn has come to rest after marrying pirAtti (since AzhvAr talked about marriage in the previous phrase, AzhvAr is thinking about thiruvekhA as where He came to after that).

vEndhE enRum – (king/prince) – For everyone to know that a prince has come down and present in reclined position; He is present in reclining posture in thiruvekhA. (vekhA is related to speed (vEgam in thamizh) – {when brahmA performed yagya to get dharSan of SrIman nArAyaNan with four arms, his wife sarasvathi came flowing fast as a river in order to stop that yagya because he started it without inviting her; emperumAn stopped the river by lying down in its path, like a dam; so He was referred to as ‘vEga aNai’ (dam that stopped that speed), which got transformed into present day ‘thiruvekhA’; and the river is called ‘vEga’vathee.};

I wished to enjoy the togetherness of both of you, but am suffering due to not seeing that, so what is the use of that togetherness of both of you?

malladarththu mallarai etc. – When winning the wrestlers chANuran and mushtikan, He destroyed their strength first, and only then did He decimate them. (The ‘mal’ in the first word refers to strength). As said in ‘mRga maDhyE yaThA simhau garva-leelavalOkinau | pravishtau sumahArangam balaBhadhra-jarAndhanau [vishNu purANa – 5-20-43] ’ (Like two lions looking with pride amidst a herd of deer, kaNNan and balarAman entered the stage of celebration set up by kamsa), they killed the elephant kuvalayApeetam, pulled its trunk and held in their hands, without caring that it is the crowd of enemies, with droplets of sweat in their divine faces, with great pride entered the stage of celebration of bows; since it was like two lions entering amongst the herd of deer, the strength of wrestlers decimated just as they saw them. After that, He killed them.

Or, malladarththu – it talks about the way the wrestlers were destroyed. The first mal being the strength of shoulders of krishNan and balarAman, and that strength saying ‘Do I go waste? Show me matter to fully scratch my itch to fight’, and they gave enough food for that strength.

anRu attAy enRum – Danger is present today also like that day (anRu), you see. SrI vasudhEvar and dhEvaki pirAtti were sad thinking ‘We saw Him on the day He was born; is it possible to see Him at least near the end of our life?’; that danger of them being an example of her danger, she is saying anRu (that day). They could have gone and seen their parents first and then destroyed the enemies; not doing so is because – their thinking ‘What is the use of seeing them without destroying the enemies?’. Only after destroying the enemies would it be possible to get what is to be attained (prApyam).

mallarai anRu attAy enRum – Would you remove the danger for parents only? Is it not needed to remove the danger of lover? “The shoulders that the worst sinners chANUra mushtikas got, is being hard to get for me who does not wish for anything else than those shoulders!”, says she. “Instead of suffering like this as a lover, if I had come to fight Him like those wrestlers, then I would have got the enjoyment of those shoulders!’, she says. (Instead of having gyAnam, etc., as a disciple, if I had been a mute and deaf like that person, I would have got the divine feet of emperumAnAr in my head, opined kUraththAzhvAn).

mAkeeNda, etc. – (mA – animal) It talks about destroying the wild horse kEsi which was a hindrance for the five lakh household gOpikAs of AyppAdi, and then giving Himself to them. kEsi, instigated by kamsan, looked at His age and delicateness and thought ‘Is He even a matter? Shall take Him and swallow’, and came with his mouth open; small kids would put their hands in if they see a hole, so He put His hand inside the mouth of kEsi the horse; since it is the arm of the protector, as it saw the space for protecting, it grew big. kEsi was laying down split just like a cucumber split.

en myndhA enRum – She is saying ‘Oh You who attracted the gOpikAs in thiru AyppAdi by showing your youthfulness (myndhA), which You showed me too and made me Yours!’.

In these ways, she is prompting the parrot by saying the divine names that help during danger.

sol eduththu – Uttering these divine names itself is like lifting a mountain is how she feels – because of suffering due to separation. Thinking about His strength when He lifted the mountain, she said ‘kal eduththu’ as if he lifted a small stone. But when at the stage of saying what she taught the parrot, she is showing her lack of strength by saying ‘sol eduthu’ (lifting the word).

than kiLiyai – The parrot that she brought up with fondness. After understanding the enjoyability of Him, she was ignoring the pAvai toy she had enjoyed earlier. But since this parrot has learned His divine names, she is still fond of it. From this it is seen that there is no thing that is wanted or not wanted by just its nature; but when it is opposed to matters related to emperumAn then all such or unwanted; when amicable to Him then all such are wanted.

sollE enRu – She prompted the first words saying ‘Thou recite the divine name’. After that it started reciting.

thuNai mulai, etc. – With tears flowing over her two divine breasts, she is suffering. She is saying there is nobody to listen to the parrot (or) she became weak to listen to its words. ‘Isn’t he (thirumangai AzhvAr) just having the thought that he is a girl (parakAla nAyaki)? Did he lose his moustache and got breasts sprouting?’ – moustache represents independence; breasts represent subservience; so this phrase is about his losing independence and growing subservience; breasts of women contribute to the enjoyment of their husbands;  talking about breast for a devotee – it is about devotion.

Like how the breasts help in enjoyment for both the hero and his lover, devotion helps one enjoy emperumAn, and it also helps emperumAn enjoy the devotee. This is as said in ‘BhrAmyathAmathra samasArE narANAm karmadhurkgamE | hasthAvalambanO hyEkO BhakthikreethO janArththana: || [vishNu dharmam]’ (In this forest where the path is not clear due to karmAm, it is only janArdhanan, who is bought by devotion (bhakthi-kreetha:), is the guide who holds the hand and takes one in the right path), and so He is said as one bought by our devotion.

thuNai mulai – Breast (devotion) that helps when the lover emperumAn enjoys the sentient, that is, the devotee. Or, there is no parallel to one breast than the other breast. It is like how His divine feet are there for each other as equals. (Are there not equals in the form of breasts (devotion) of other AzhvArs too?) This thirumangai AzhvAr is unlike other AzhvArs since he is very delicate; like how some of those in kEraLA are capable of eating enough once to sustain for a month, and starve even for a month, other AzhvArs can sustain themselves during the time of union with Him, and can sustain themselves during separation also; but this AzhvAr’s delicateness is such that he cannot bear union as well as separation; he would not eat and he would not starve either; this is as he said in ‘num adiyArOdum okka eNNi irundheer adiyEnai [periya thirumozhi 4.9.6]’ (Did you think of me to be same as your other devotees (AzhvArs), oh the one in thiru indhaLUr?).

thuNai mulai mEl thuLi sOra – (tears dripping down from her eyes to her breasts); appears like the faculty (indhriyam) of touch (skin/breast), and the eyes that see, have lost their ability of touch of emperumAn and seeing of Him, and are weeping loud while hugging each other; since tears are flowing from her eyes to her breasts and not to any other part of her body, it can appear as if the eyes and breasts are crying loud while hugging each other.

sOrginRALE – The inner meaning for eyes is gyAnam; breasts imply devotion; their crying together implies loss of gyAnam and devotion (because not able to see or touch Him?); since gyAnam and devotion that help in enjoying emperumAn are lost, she became tired; seeing that earlier when (mother and diviner) saying His divine names got her to recover, she (parakAla nAyaki) thought ‘His divine would help her recover now also’, and so started prompting her parrot to say His divine names; thinking about the meanings of those divine names (which are about His removing the dangers of His devotees), my daughter fainted thinking “He who helps during the time of danger is not helping me now who is in danger too (due to separation)”, says her mother.

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Translation by raghurAm SrInivAsa dhAsan.

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thirunedunthANdakam – 13 – Part 1

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Introduction

The respected mother thought, “She (the daughter, parakAla nAyaki, that is, thirumangai AzhvAr), is able to say with her mouth the divine names (of Him); she is in a state of being able to tolerate singing His names”; furthermore, “If we brought and placed the parrot which is sad due to not hearing her words, and make it say the divine names, then that would bring solace to her” – thinking so she brought the parrot and placed it in front of her.

(Translator’s note: In the kAlakshEpams of both SrI u.vE. koil vidhvAn narasimhAchAriar swami and of SrI u.vE. vElukkudi krishNan swami that are available to adiyen, this is the meaning provided. In the ‘vivaraNam’ (detailed meanings) by SrI u.vE. S. krishNaswAmy iyengAr (sudarsanar) swamy, it is given as – [(If we brought and placed the parrot which is sad due to not hearing her words), then she (parakAla nAyaki) would teach the parrot the divine names, (and that would bring solace to her)]. End of Translator’s note).

But when the parrot stayed put without saying anything, the mother said ‘kindly say the divine name’ (addressing it in a respectable way as required to do for any one who recite divine names); since the parrot was sad due to seeing her state, and thinking “as her servant due to being her disciple, we shall not say it in front of her even though it is she who taught me”, it avoided saying any words. This shows the meaning of SAsthram “Even it is the words taught by AchAryan, one should not say those words in his presence [i.e.one should let the AchArya speak always and not boast one’s own oratory skills in front of the AchArya]”.

Seeing this, she said ‘It is okay for you to follow me and recite as I recite the divine name”. Since that is how it was taught by her in the beginning, the parrot agreed to this. As she said the divine name, it repeated; after it said the name, as the lady started thinking about the meaning of the divine name, rued – this emperumAn, who would help anyone in danger, is not helping me, and so became weak – says the divine mother in this pAsuram.

Is it possible for his divine name to help sustain life at one time, and the same name would weaken us at another state? At every different state, the divine name would influence a different effect. In one state the divine name would purify; in one state it would bring happiness; in one state it would remove the fear of living in this material world; in one state it would be the means for getting something; in one state it would help sustain the life in oneself; in one state it would be like a poison and make one lose one’s life (due to desperation of separation from Him),

We see this in the case of samsAris as related to food they eat. As said in ‘AhAra-SudhDhau saththva SudhDhi: saththva SudhDhau DhruvAsmRthi: | smRthi lamBhE sarvagranTheenAm vipramOksha: || [chAndhokyOpanishad 7-26-2] (mind is purified by pure food; if mind is purified then thoughtfulness will be established well; if that happens then all the knots like bad karmas would go away), food would make one pure, bring happiness, would be a means for some benefit as in the form of donating it etc., and if taken in excess that food would be poisonous as well. In the same manner, for one who is having the thought ‘This AthmA is a servant of emprumAn’, the divine name would be a purifier at first, then would give mOksham and save us, and since it is auspicious it would be a sweet one to be attainable;

This is as said in ‘pavithrANAm hi gOvindha: pavithram paramuchyathE | puNyAnAmapi puNyA(S)sau mangaLAnAncha mangaLam [mahAbhAratham – AraNya parvam – 86-23] ((Dhaumyar said to yuthishtra) – Among those that purify, gOvindha is said as the most purifier; He is the most virtuous among the virtues that elevate a human being; He is the most auspicious among all the auspiciousness);

As said in ‘yannAma sankeerthanathO mahABhayAth vimOkshamApnOthi na samSayam nara: | sa sarvalOkArththiharO nRukEsaree mamAsthu mAngaLya vivrudhDhayE hari: || [vishNu Dharmam 431-24] (Reciting the divine name of whom would let a person relieve from the fear of material world, that narasinga who removes sorrows of all the world shall grow auspiciousness for me), the divine name would help remove the sorrows of the material world. These are states talked about when it comes to the rishis.

Among the AzhvArs, the divine name is famously known as enjoyable, life sustaining, purifying, and, poisonous. They said about the divine name being sweet and enjoyable, in ‘achyuthA amararErE Ayar tham kozhundhE [thirumAlai – 2]’. They said about it being purifier in ‘nin nAmam kaRRa Avalippu [thirumAlai – 1]; they said about it as being life sustaining in ‘gOvindhan guNam pAdi Avi kAththiruppEnE [nAchchiyAr thirumozhi – 8.3]’; they also said about it being poisonous in ‘kaNNan nAmamE kuzhaRik konReer [thiruvAimozhi 9.5.8] and in ‘pizhaippil perum peyarE pEsi [iraNdAm thiruvanthAdhi – 50] (talking about the divine name which makes those who think about it be involved and then destroy them (due to separation))’.

kalleduththuk kalmAri kAththAy! enRum
kAmarupUngachchi UrakaththAy! enRum
villiRuththu melliyal thOL thOyndhAy! enRum
vehkAvil thuyilamarndha vEndhE! enRum
malladarththu mallarai anRattAy! enRum
mAkeeNda kaiththalaththu en myndhA enRum
solleduththuth than kiLiyaich chollE enRu
thuNai mulai mEl thuLi sOrach chOrkinRALE. 13

Word by word meaning

kAththAy – (This little girl is saying these -) Oh You who protected

kalmArifrom the rain that is hail (which was set to be poured by indhra)

kal eduththu – as you lifted and held a mountain

enRum – and,

kAmaru pU kachchi UrakaththAy enRum – Oh You who is having divine presence in thiru Uragam of kAncheepuram which is loveable and beautiful!, and,

vil iRuththu melliyal thOL thOyndhAy enRum – Oh You who broke the bow and got the hand of seethA pirAtti!, and,

vehkAvil thuyil amarndha vEndhE enRum – Oh You the King who is reclining in thiru vehkA!, and

anRu – that day (when you incarnated as kaNNan),

mal adarththu – restraining their strength

attAy you destroyed

mallarai – the wrestlers,

enRum – and

en myndhA – Oh! my lord

kaiththalaththu – having beautiful divine hands that

mA keeNda – destroyed by tearing kEsi who came as a horse!

enRum – and

than kiLiyai – looking at her parrot

sol eduththu – and prompting it so with the first word of divine name,

sol enRu – ‘you say (the rest of the name) yourself’, saying so, (and after it started saying the divine name),

thuLi sOra – with tears rolling down

thuNai mulai mEl – upon both the divine breasts,

sOrginRAL – she is suffering.

vyAkyAnam

kal eduththu, etc.- Since the girl is in the state of suffering due to separation from emperumAn, she prompts the divine names of emperumAn that would remove sufferings, and asks the parrot to recite those names.

kal etc. – This talks about how indhra, he who was placed to protect the worlds, himself became the harasser, and so those people of AyarpAdi the cows etc., who were to be protected by him had suffered in his hands, and were saved by Him who is a natural protector. As those in thiruvAyppAdi were set to worship indhra for rain, krishNan stopped that and said “Protection for us is the forest and the mountain; it would be appropriate to worship them”, and they followed suit and worshipped them, and He ate those food as the god in the form of the mountain.

He thought that those who were loved by Him doing this worship of someone else is like – giving own wife to someone else. That is how emperumAn (krishNAn) felt. At this point, indhra should have thought “He, instead of as antharyAmi, directly ate the food Himself which was offered to only me as part of worship; (He, with kindness, ate it) without thinking that the food was meant for me (lesser god)”, and so indhra should have given himself as a servant in writing; instead he was angry, and thought “These cowherds with the dependency towards krishNa nullified the festival meant for me!”, and called the group of clouds that can destroy the world and said “Destroy away this thiruvAyppAdi by pouring hail!”; and the people of thiruvAippAdi suffered due to the hail stones, as said in “thathasthath gOkulam sarvam gO gOpee jana sankulam | atheevArththam harir dhrushtvA maithrEyOchinthayath thadhA || [vishNu purANam 5-11-13] (Hey maithrEya! Then, krishNan saw the whole gOkulam filled with cows and gOpikAs was sad, and started thinking about it), at that time (after deciding to save them), emperumAn thought that they should not think ‘We worshipped the mountain (but) krishNan saved us’, and so he lifted the mountain itself that they worshipped, and saved them.

kalleduththu – As said in ‘sOlai sUzh kunRu eduththAy [mudhal thiruvanthAdhi – 69]’ (You lifted the mountain that is surrounded by gardens), it is such a mountain surrounded by gardens that he lifted, but she is using the simple word kal (rock) here, as if He lifted some insignificant piece – because she saw how playfully He lifted the SrI gOvardhana mountain, the strength of lifting such a mountain is what is deep seated in her heart. This girl is of the state ‘Getting Him to be near, enjoying Him, and getting Him is all due to the power of ESvaran’.

This (prapaththi/surrendering to Him) is for those not having strength; those having strength should reach Him through other means” – such words cannot be heard in the camp of our AchAryas; this group is of the conclusion that ‘there is no difference between those having and lacking strength; for achieving Him it is His strength that we depend on”.

As said in ‘yadhi kinchidhanukrOSa: thasya mayyasthi Dheematha: | yadhi vA BhAKhyaSEshA mE SathO Bhava hanUmatha: || [SrI rAmAyaNam – sundhara kANdam – 53-27] (If there is even a little bit of kindness towards me for the learned charkravarththi thirumagan, if there is some fruit of good deeds left in me, then you be cold and comforting to hanUman (said seethA pirAtti to fire when it was lit on the tail of hanUman); whereas such power was present in Her, and

whereas as a support hanUman was present there who said ‘na rAvaNam sahasram mE yudhDhE prathibalam BhavEth | SilAbiScha praharatha: pAdhapaiScha sahasraSa: || [SrI rAmAyaNam – sundhara kANdam – 42-35] (To me, who destroy enemies by using thousands of rocks and trees, even a thousand rAvANas are not equal (said hanUman)),

she still said ‘Saraisthu sangulAm kruthvA lankAm parabalArthdhana: | mAm nayEdh yadhi kAkuthsTha: thath thasya sadhruSam BhavEth || [SrI rAmAyaNam – sundhara kANdam 30-30]’ (If chakravarththi thirumagan who can destroy the strength of enemies would agitate lankA with arrows and rescue and take me, then that only would be appropriate for Him), such was how She, the first in the series of AchAryas, depended on the power of emperumAn only.

SrI parASara bhattar would divine regarding this as “Since it was a rain of hail stones, He lifted the stone (mountain) and saved; if it was a rain of water, then, you see, He would have lifted the ocean to protect”. By this, it is clear that there is no limitation for the omnipotent that He can do only such things with such items.

(why does She talk about His lifting the mountain?) – Is there a rule that it is required to protect from the dangers caused only by others? Could you not protect (me) from the danger caused by You? Is it required to save only those who got caught in the hail stone rain? Is it not required to save those who get caught in the rain of sorrow as said in ‘avivEka GhanAnDha dhingmuKhE bhahuDhA santhatha duHKha-varshiNi | Bhagavan! BhavadhurthdhinE padha:skhalitham mAm avalOkayAchyutha || [SrI AlavandhAr’s sthOthra rathnam – 49] (Oh Who is having full of higher knowledge and power! Oh Who does not abandon the devotees! Please notice me who missed the good path amidst the darkness of rainy days that is this material world which is having the directions darkened by clouds that is lack of wisdom, and which pours sorrows that are of multiple types and is continuous)?

Is it required to protect only if the whole town is sorrowful? Is it not required to protect me who is suffering at the same level as the whole town? Is it required to lift a mountain to save me? Is it not enough to just show the shoulder that lifted the mountain?

kamarupUm kachchi UrakaththAn

kAmaru pUm, etc. – Is it not for those who are present (now) after the time of Your lifting the mountain, that You have come to thiru Uragam so that you can fully show Yourself to them? Why is She talking that krishNan has come to thiru Uragam, when it is thrivikraman who is standing there with the pose of spanning the worlds? Touching everyone without thinking about any differences among them, doing actions for devotees as if it is He who is honoured by it – are unique qualities of both the incarnations. So this is how she considers both as one.

kAmaru pUm kachchi – place that is liked and beautiful. The meaning is that it is the kancheepuram that is prosperous in (1) having enjoyable things and (2) having those (people) of enjoyable disposition. Since it is prosperous in having several dhivya dhESams, it is said as place where there are many things that let you enjoy emperumAn; since it is a big city it is rich with things that are used for enjoying emperumAn; greatness of paramapadham is these two aspects as well. Those divine feet that were easily available (when spanning the worlds as thrivikraman) even to those who did not care for it, are not available to me who is longing for it, says she.

When spanning the worlds if the divine feet had not touched everyone but only a few, then I may be able to stay calm; it wasn’t so. When You have come as thrivikraman (in thiru Uragam) for those of later times to see You, am I staying calm that I am present in the later times?

(This AzhvAr) does not experience in a series of lines in a pAsuram the feel of emperumAn of either vibhavAvathAram (incarnations) or archAvathAram (emperumAn of temples) – he experiences these two in alternating lines within a pAsuram (like in this pAsuram, sixteenth and some others), such is his ways;

Reason for this is – kings/princes, who are very tender and pampered, would add ghee to each handful of food they eat. This AzhvAr too, when enjoying vibhavAvathAram would include in alternate lines the archAvathArams because he cannot be without enjoying archAvathArams.

(But then why not sing only about archAvathArams?) – it is because archAvathArams are like a little pool of water that stays after the floods that are vibhavAthrams have gone, he includes vibhavAvathArams also which are the sources for archAvathAram, when singing about archAvathArams.

This is the difference between other AzhvArs and this thirumangai AzhvAr – they would talk about paramapadhanAthan when talking about His greatness; and they would talk about vibhavAvathAram when talking about his simplicity (affability); and for directly seeing that simplicity they would enjoy archAvathAram; (But), thirumangai AzhvAr experiences greatness in archAvathAram itself; experiences simplicity in archAvathAram itself; sees that directly in archAvathAram itself.

Continued in part 2

– – – – – – – – – –

Translation by raghurAm SrInivAsa dhAsan.

archived in http://divyaprabandham.koyil.org

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thirunedunthANdakam – 12 – Part 2

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

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<< previous – 12 – part 1 -nenjurugi

bharathan getting pAdhukA of SrI rAma

vambAr pUm etc. This is talking about the place (vayal Ali) where the marriage ceremony took place, so that she could join Him in the bed that is AdhiSEsha.

vambAr pUm vayal – Field having flowers full of fragrance; like how His youth is ever-present, the field is also having flowers always like in spring season. Like the young age as said in ‘arumbinai alarai [periya thirumozhi – 7.10.1] (emperumAn who is of the age which is like a bud getting ready to blossom into a flower), this field is also ever like in spring season.

Or, Oh while the place I am in is not having water, flowers, or fragrance and is an empty dry floor, the place He is in, is having buds and sprouts! Since He is staying refreshed, that place is also prospering! Since my place would prosper if I am happy, it is dry now because I am suffering.

maindhA ennum – If He is trying to reject me now why did He show His young beauty and made me His? Earlier when I was interested in worldly matters, you showed your enjoyability and removed my interest in other matters and made me unable to survive without You, which made me say as in ‘vAdinEn [periya thirumozhi – 1.1.1]’ – was that done only to abandon me now?

anjiRaiya putkodiyE Adum pAdum – He is saying that garudAzhvAn (periya thiruvadi) brought emperumAn to her for accepting her, like sage viSvAmithra who brought SrI rAmA for marriage to seethA. She is imitating the move of the flag that is periya thiruvadi who is having beautiful wings. (Why imitate periya thiruvadi instead of emperumAn) – help of periya thiruvadi is such that instead of her gaining happiness only after Him coming closer to her, periya thiruvadi with emperumAn is visible from afar, so she can gain happiness sooner. She was thinking that periya thiruvadi would appear afar and give solace; since she did not see him coming, she started moving like him. Like how a thirsty person would ask for water by signalling with his hand, she started showing by the moves about her wish for seeing him coming.

putkodiyE Adum – (The presence of E (only) in this phrase) shows she is imitating the flag itself instead of periya thiruvadi with emperumAn on his back.

pAdum – Due to the strength born out of imitating him, she became able to open her mouth and speak, and she started calling Him showing her sadness; a song is such that – it is the sound of sorrow that is listened to with tearful eyes; in the same way she too sang loudly with sorrow, that others would hear it with overflowing tears as said in ‘marangaLum irangum vagai [thiruvAimozhi – 6.5.9]’ (such that even the trees would feel for it) – so this phrase uses the word pAdum. Like the taste of pleasantness, the taste of sorrow also would make others be involved in it, isn’t it?

aNi arangam, etc. – As her friend heard her sorrow-filled voice, she considered it and thought – ‘since her mother would advice her good while keeping some distance, she would not be a comforter; since I would speak to her at a closer level I may be able to talk to her and comfort her’, and so as said in ‘Ekam dhu:kam suKhancha nau’ [SrI rAmAyaNam – kishkindhA kaNdam – 5.17]’ (Since you are a very close friend of mine, and so since you have taken a place in my heart, we share our joy and sorrow (said sugreevan when establishing friendship with SrI rAma with fire as witness), since this friend shares the joy and sorrow with her, she with dry hair, lean body, and suffering face such that her sorrow is clearly visible from her form, came and stood in front of her. She sees her face says ‘Oh friend! Would we able to go and experience periya perumAL by going to thiruvarangam periya kOyil?’.

AdudhumO – As said in ‘Esha brahma pravishtoOsmi greeshmE SIthamiva hradham [mahAbhAratham – SAnthi parvam – 171.50] ((told by a saint named ‘mangi’) Like bathing in a cool pond during summer, I immerse in brahmam. I become serene due to that; and I enjoy bliss), since sarvESvaran is referred as a pond/tank, since it [pond and brahmam] calms down one who is having sorrow, and since it helps those who are suffering due to separation, she is asking ‘AdudhumO’ (shall we bathe?)

aNi arangam AdudhumO – Since AzhvArs are capable of saying ‘thollai vEnkatam Attavum sUzhkinRilar [thiruviruththam – 81] to imply the mountain as pond, it is no surprise that they would refer to (kAvEri) river as a pond/tank. It is only for those who are not after anyone other than emperumAn, and who do not enjoy anything other than emperumAn, would this place be of relief from sorrows when they enter it.

thOzhee ennum – Seeing the sorrowful face of her friend, she would say ‘Oh when would we see our face grow rich by going to kOyil (SrIrangam) and bathe in the pond that is emperumAn?’.

If asked ‘She being your daughter born from you, can’t you command and correct her when she performs acts against her proper nature?’ –

en siRagin keezh adangAp peNNaip peRREn – She is out of my control. During the stage of surrendering He Himself rushed to get to you surrendering to Him; so in the stage of enjoying Him too, isn’t it appropriate for you as a female to wait from Him to come to you so that you can enjoy Him?’ – even after I told her this as what I know, she has ignored my advice.

en siRagu – on my side; that is, inclined to my views; since she is now under His side, she has abandoned my views; she has not considered her true nature of being subservient; also she is neither following my advice not is she obedient towards me;

peRREn – (Her mother is) saying these as her own mistake as a mother, instead of making it her daughter’s mistake.

iru nilaththu Or pazhi padaiththEn – This is the use of giving birth to her! I got the huge blame that blankets the whole earth that is fifty crore [miles] wide; would think that instead of waiting for emperumAn to come to them, doing any act from their side to get Him would bring bad name to their clan – such is the greatness of this clan.

Or pazhi – blame with no parallel.

E pAvam – (The mother says) – it is not due to the daughter; nor due to Him; the reason for this blame is my sins only. As bharathAzhvAn said ‘na manTharAyA na cha mAthurasyA: dhOshO na rAjya: na cha rAGhavasya | vana pravESE raGhu-nandhanasya mathpApamEvAthra nimiththamAsIth [these words are not included in available publications of SrI rAmAyaNam] (Reason for SrI rAma going to the forest is not that of manthara, not of my mother kaikEyi, not of my father king, and not of SrI rAma; it is only due to my sins);

(Now the meaning of above SlOka is provided in detail):

na manTharAyA: (bharatha) thought that the reason for sad state of SrI rAma going to forest etc., is due to manTharA that is kUni; upon reflection, he decided that it was not her mistake, but it is of his mother kaikEyi who listened to her words;

na cha mAthurasyA: not his mother’s mistake also; it is that of chakravarthy’s (daSaratha’s) mistake who listened to her words.

dhOshO na rAjyA: – the king does not have any fault; it is only that of the Him who listened to the king and left for the forest even though having rights for the crown;

na cha rAGhavasya: what mistake can be of His? Whereas if He crowned then my honour was to be to serve Him, and my loss of that honour is due to my sins only; and so bharatha concluded that it is all due to his own sins.

vana pravESE raGhu-nandhanasya – The reason for the dear son of dhaSaratha, SrI rAma, who came for this clan to grow with glory, to have gone to the forest is due to my sins only, and there is no other reason – is how bharatha established it.

Likewise, this mother also says ‘it is my sins only that is the reason for this blame’.

(The above SlOkam is explained further more):

It is not required for kaikEyi to listen to kUni’s words; it is not required for chakravarthy to listen to kaikEyi; it is not required for perumAL to listen to chakravarthy;

reason for kaikEyi not needing to listen to kUni’s words is that she is a servant; reason for chakravarthy not needing to listen to her words is – is it required for husband to listen to the words that came due to her affection toward her son? Is it not required for perumAL (born to be an obedient son) to listen to the words of chakravarthy? – Since his words are due to his holding on to the apparently important righteousness of his promise to her earlier should not be violated, and is based on subservience to his love towards her, is it required for Him to listen to his words?

SrI rAma knows how much I (bharatha) would be happy when being with Him, and how much I would suffer if I am separated from Him, and also He knows that it is His right to become the king, so what stopped Him from tying up His father into a corner and ruling the kingdom? If He had ignored the words of the king and ruled the kingdom He could have protected me from dying due to separation; so the reason for all this is my sins only – is what bharathAzhvAn concluded.

– – – – – – – – – –

Translation by raghurAm SrInivAsa dhAsan.

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thirunedunthANdakam – 12 – Part 1

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<< previous – 11 – pattudukkum

Introduction

Due to kattuvichchi (diviner) saying the divine name ‘kadal vaNNar’, and due to mother repeating that, and saying that phrase to those who came to inquire, and mother saying again ‘emperumAn thiruvarangam engE’ that was said by the daughter before fainting, she got a little bit of consciousness compared to earlier state of previous pAsuram; but as her lover did not show up even then, it became the cause for sadness, and she started calling Him without break; (in this pAsuram) mother is saying this to those who came to inquire, and feels sad. ‘This is the state of her suffering; (since she is calling many of His names due to separation instead of remaining calm, this is the state of damage to the true nature (svarUpam) of her; this is the state of her not listening to my words; reason for all these is my bad-karma’ saying so to them she is sad. Mother is saying so to them only to avoid censure by people; internally for her this immersed state of her daughter is not undesirable (similar to previous pAsuram).

nenjurugik kaNpanippa niRkum sOrum
nedidhuyirkkum uNdaRiyAL uRakkam pENAL
nanjaravil thuyil amarndha nambee ennum
vambArpUm vayalAli maindhA ennum
anjiRaiya putkodiyE Adum pAdum
aNiryarangam AdudhumO thOzhee ennum
ensiRagin keezh adangAp peNNaip peRREn
irunilaththOr pazhi padaiththEn EpAvame! 12

Word by word meaning

kaNpanippa niRkum – She stands with tears overflowing

nenju – with mind

urugi melting like water;

sOrum – she faints;

nedidhu uyirkkum – she sighs;

uNdu aRiyAL – she does not know about eating;

uRakkam pENAL – she does not like to sleep;

nanju aravil thuyil amarndha nambee ennum – she says ‘Oh nambee! who is doing yOga nidhrA lying down on thiru ananthAzhvAr who spits poison’;

vambu Ar pU vayal Ali maindhA ennum – she says – Oh the youthful one who is present in thiruvAli that is surrounded by fields having flowers full of fragrance;

am siRaiya puL kodiyE Adum – she is dancing like garudan who is having beautiful wings  (beautiful because it serves to transport emperumAn) who is like the flag;

pAdum – and sings;

thOzhee aNi arangam AdudhumO ennum – Oh friend! Would (we) get to bathe and dance in thiruvarangam?, says she.

peNNaip peRREn – I who have got such a girl child

en siRagin keezh adangA – who does not stay under my control

Or pazhi padaiththEn – have earned unparalleled sin

iru nilaththu – in this huge land;

E pAvamE! – Oh how sad!

vyAkyAnam

nenju … thOzhee! – The details of ways in which she is experiencing sadness that was said as ‘irangum’ in the previous pAsuram.

nenjurugi – The limbless mind has melted like water; like a candle near the fire, her mind melted like a substance, due to separation; if (mind) won’t melt for the general fire of the world, would it stay put without melting for the fire that is separation? If it won’t melt due to separation then it cannot be an outlet for the higher knowledge from AthmA;

kaN panippa – and as it could not be contained inside, it came out through the eyes as an outpouring; the mind that is inside the body melted and is coming out through eyes that is outside of the body;

niRkum sOrum – due to that dual act (melting of mind, and watering of eyes) these other two acts happen (standing and fainting). (mind) would stay motionless since it is not able to distinguish what can be done or not done; as the mind that can make this distinction has melted and she is not engaging in any action; it is said too as ‘SathrughnO(S)nantharasThitha: [Sri rAmAyaNam – ayOdhyA kANdam – 87-5]’ (In SrungibErapuram, guhan showed the location where SrI rAma had slept; bharathan fell down fainting upon seeing that; Sathrugnan who was standing motionless near him saw bharathan’s state of losing his mind became too sad and wailed loudly); while his lord bharathan has fainted it is not appropriate to say that his servant Sathrugnan was able to bear it and stood without moving; he could not move because his mind lost the ways to understand what needs to be done and not done, upon seeing the condition of his master; he is not able to stop the cry of bharathan; he is not able to bring SrI rAma who could stop his crying either; so he stood motionless, is the meaning;

sOrum – Only if she gets something to hold on to, would she be able to stand; since it is not there she fainted; even if she is unable to distinguish what could be done and not done, if mind is proper one could engage in some action; since mind is lost, she fainted;

nedidhuyirkkum – She sighed due to the force of sadness inside her; like the fire that started in the hollow (hole) of a tree, not stopping after melting the mind inside of her, it came out as a big sigh; It is said as ‘dhahantheemiva niSvasai: vRukshAn pallavaDhAriNa: [Sri rAmAyaNam – sundhara kANdam – 17.29]’ (seethA with the air of her breath burning the trees having sprouts (in aSOka vana)); thiruvadi (hanuman) burned the place with fire of this world; she burned the tree of the aSOka vana with the fire that is sadness due to separation;

uNdaRiyAL uRakkam pENAL – (she does not know sleeping, does not eat) – state of how her effort/duty as a mother has worked; in my upbringing this is how she is; as a mother, she would prefer her daughter eats and sleeps;

uNdaRiyAL – Instead of saying she is not eating, she says she forgot that there is something called eating; when together with emperumAn, it is like ‘uNNA nAL pasiyAvadhu onRillai [periyAzhvAr thirumozhi 5.1.6]’ (There is no hunger when not eating food (but when not involving in services to you, that is actually my being without food)), and ‘uNNum sORu parugu neer thinnum veRRilaiyum ellAm kaNNan [thiruvAimozhi 6.7.1]’ (Rice for sustenance,  Water nourishment, betel leaves for pleasure, all objects (which give sustenance, nourishment and enjoyment) are krishNa, the son of vasudhEva as said in SrI bhagavath gIthA 7.19vAsudhEva sarvam” (Everything is krishNa)), — being so, so there is no eating; when separated from Him, becomes thin due to fasting, so no eating.

uRakkam pENAL – She is not respecting sleep. “You started wearing that cloth only by thinking that it is the one that He liked, as said in ‘pattudukkum [1]’, isn’t it? Likewise this body of yours is also the one that He liked, isn’t it? If He shows up and sees that this body he loves has lost its luster for enjoyment then He would be sad; to avoid that, matching your softness, try even if it is difficult, and sleep, dear” – I said to her, but she ignored that also. pENAL – implies mother telling her to sleep even by trying hard. As said in ‘anAdhimAyayA suptha: [mAndUkya kArikA – 2-21] (due to eternal connection with prakruthi (material world) a jeevAthmA sleeps (does not get true knowledge), and when he wakes up (due to His grace), then he reaches the unparalleled paramAthmA where there is no birth, sleep, or dream), like how one does not know being awake (knowledgeable) before knowing emperumAn, one would not know sleep after knowing Him.

nanju, etc Well she is not getting her benefit (emperumAn), and I am not getting my benefit (Her eating and sleeping), but should she not at least be concerned about her nature of being a girl who should stay calm instead of calling Him and thus destroying her true nature? – asks the mother. Even while her heart is getting destroyed due to separation from her loved One, she should control that within herself, and be such that those who see her would think ‘she is keeping her control’, and make Him lose His heart to her – isn’t that the identity of a girl? Instead of doing so, she started calling Him out with her mouth. (In the previous pAsuram), when she asked ‘emperumAn thiruvarangam engE [1]’, I thought that she was just talking aimlessly out of sadness; now instead of that she is calling Him (as ‘nambee’) continuously by mouth. Earlier she said as ‘thiruvarangam [1]’, His town; diviner said about periya perumAL, by saying ‘kadal vaNNar’; now my daughter is saying about His bed (nanjaravil thuyil amarndha nambee’ (O nambee who is lying down in the bed of poisonous snake)); from this it can be understood that the first time she was in bed with Him was in periya kOyil.

nanjaravil thuyil amarndha nambee ennum – Instead of He losing His state by seeing her,  she is being in this state, and is talking highlighting His greatness; nanjaravu – the bed that is not approachable to the enemies; aravu – the bed which is naturally having qualities of a good bed; softness, coolness, fragrant – the qualities that should be present in a bed are present naturally for a snake; as said in ‘prakrushta vigyAna balaika DhAmani [sthOthra rathnam – 39]’ (emperumAn present in the divine body of thiruvananthAzhvAn (Adhi SEshan), with his sentience, strength, having middle part glowing due to the scales..), as required by His lying positions he caves down or springs up, such is the bed we have got; thuyil amarndha – due to the ways of that bed, one would not think about getting up from it even if one were to throw arrows at Him from a bow; such is the comfort of that bed; (because it is poisonous), got to sleep without worrying (about enemies); (since it is soft), able to sleep with enjoyment; amarndha – able to sleep well settled and comfortably in that bed.

nambee ennum – After lying down on thiruvananthAzhvAn, it looks complete due to beauty, like a gem pressed well in gold; one has to remove the cast of evil eye looking at this beauty of sleeping posture, as said in ‘sa mayA boDhithaS SrImAn suKhasuptha: paranthapa [SrI rAmAyaNam – sundhara kANdam – 38-23,24]’ (after that He who was sleeping comfortably (and so) beautifully, who (even while sleeping) troubles the enemies, was woken up by me who was troubled by kAkAsuran (said seethA pirAtti to hanuman as one of the identifying information to be conveyed to SrI rAman));

Or,

nanju etc., – It can also mean that she called His name by mouth, to show her feigned dislike;

nanjaravu – I thought that it spits poison to prevent enemies from coming near Him; but in reality, it appears just as a front, but the nature of His bed is actually preventing those who cannot survive without Him, from going near Him! Why complain about His bed instead of complaining about Him? Reason for complaining about Him is the ever-present connection and due to being able to enjoy Him; since there is ever-present connection and enjoyableness with His devotees also, so here it is acceptable to be angry toward the bed also. The ways of being devoted only to Him  includes the ways of being devoted to His devotees too. In the ways of His being enjoyable, it includes the ways of His devotees being enjoyable; so it is apt to complain about Adhi SEshan, His bed; thuyil amarndha – He who is sleeping well set in His bed; the bed that is meant for two people is being comfortable and well set for just One! While for me my mother’s lap (bed) is not comfortable (en kudankAl irukka killAL), His bed is being comfortable for Him! Here is my salute to your love which is said as parama praNayi (He is called so because He is the best in showing His love to His lovers). nambee ennum – (nambee – complete in all respects) while here it is just empty and have lost everything, there it is all complete in all aspects;

Continued in part 2

– – – – – – – – – –

Translation by raghurAm SrInivAsa dhAsan.

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thirunedunthANdakam – 11 – Part 3 and Conclusion

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                                                     krupAmAthra prasannAcharyAr

mattuvikki, etc – She having such hair of head that would attract and trouble Him, Oh now it is she who is suffering instead of Him. Only in righteous war (Her beauty getting felt in His heart) would He suffer; she got caught in deceitful war (His beauty reaching her heart), says the mother; (Since it was natural union (gAndharva type wedding) He made His beauty reach her heart without letting her beauty get into His heart).

mattu vikki – mattu – honey. It talks about how with great eagerness the beautiful bees got into drinking honey (from the flowers in her hair), and they got hiccup due to great desire for it; it talks about how even after drinking up to the neck its desire for it did not reduce and since there was not enough time for honey to be digested they got hiccup; it talks about how they are having hiccup due to the great taste of that honey; it talks about how the bees are neither able to drink what is in mouth nor spit it out because of its great taste, and so they are keeping it under its tongue; for humans both food and water help sustain life so if they get hiccup due to food they could relieve from it by drinking water; but since bees are named “madhuvratham” as their only food is honey, if they get hiccup due to honey, it can be rectified only with honey or by avoiding honey;

Since it says ‘pathim viSvasya’ (He is the lord for all the worlds), a danger that fell upon a devoted wife can only be rectified by the lord and not by other worldly interests.

maNi vaNdu – (Beautiful bee) Like those who have consumed medicine that protects the body, the bee is being without gray hair, wrinkles, or ageing. It reminds us about Him who is described as ‘arumbinai alarai [periya thirumozhi – 7.10.1]’ (bud, blossoming flower (how emperumAn is described as always being young)). As said in ‘thUviyam puLLudaith theiva vaNdu [thiruvAimozhi – 9.9.4]’ (the divine bee that is having the beautiful garuda bird) the bee that is emperumAn suffers upon seeing her hair in the head – this bee is suffering due to drinking excessive honey from her hair reminds about that;

muralum – As it was excessively happy to drink the honey up to its neck, it is not able to stay in one place and since it cannot call with its mouth, it is buzzing;

mada mAnai – She who was submissive to me is now not submissive. Or it means, by mada (madappam) representing quality of a female, she having such natural quality of women. Even if there is excessive sadness due to separation, she would control that unbeknownst to anyone, and not show any change but make Him change – such a girl is now asking openly, ‘Where is emperumAn’s thiruvarangam?’.

idhu seydhAr thammai – Since it is not possible to describe with words the trouble she is undergoing, she is showing by her arm pointing to her situation as ‘this’, like showing an ocean.

idhu seydhAr – Earlier if I set her hair plait, she would come back without any change to it; now who has made her hairdo to look without any shape or form?, she asks. Or, who is it that made the bees go empty stomach by drying the flowers in her hair?

thammai – She is establishing His greatness based on seeing the state of her misery; Oh can there be someone having such greatness of putting her into this misery?

thammai – Oh what a greatness this is! What kind of great honey from the hair of noble women (SrI, bhUmi, neeLA) He has drunk and grown so!

thammai – Oh one who is the big lover who has made her a great role model in being a lover?

thammai – If it is undesirable for her to see her daughter in this position, she would have used normal words like ‘he’ when asking who has done this to her. Since the mother likes this result even though it is hard on her daughter, she uses a more respectful word ‘thammai’.

meyyE kattuvichchi sol – Tell the truth (oh diviner!). While the diviner (kattuvichchi) is well known to be truthful, why say – tell the truth? She says to the diviner – you do not think that it is better to avoid mentioning the person directly since it was a natural union (gAndharva type marriage); it is liked by me; so say it as is. When giving treatment one should know about the disease as is, isn’t it?

sol ennach chonnAL – (I asked her to say and she said) – The words which have to be asked after serving (an AchAryan) for a long time, I prompted her to say and she said. Like the greatness of emperumAnAr and of gIthOpanishadhAchAryan, is the greatness of this diviner! udaiyavar (out of his kindness) would say the meanings to whoever gave their ears with wish to learn (sevi thAzhththArkkellAm vArththai sollip pOndhAr udaiyavar); gIthOpanishadhAchAryan created interest in him (arjuna) (through the 18 chapters) and told him the meaning (charma SlOkam).

sonnAL – Like (the pleasantness of) breeze and dew drops, is there a need for any meaning to what she said? Just her saying words were great that they suffice.

sonnAL – Like how it was needed for me to hear, she told like it was needed for her to say. For an AchAryan there is a need for someone (disciple) to hear his words that come out due to overflowing experience after enjoying about emperumAn; disciple shall sustain his life by listening; AchAryan shall sustain his life by saying; the disciple hearing is the reason for his revival; for AchAryan, saying is the reason for his experience.

nangAy – (mother addressing a woman who came to inquire) – You are having the completeness of not considering other gods and wordly matters, so I am able to tell you the words that she (diviner) told me. Like how I was needed for her (diviner), you are needed for me, says mother. What is it that she (diviner) said?

kadal vaNNar idhu seydhAr – She (daughter) askedemperumAn thiruvarangam engE’ (where is SrIrangam of emperumAn?). She (diviner) is giving reply referring to periya perumAL (kadal vaNNar (one like the ocean)). Here it (the word vANNam) is not about the nature of the sea; it is about the colour. She did not get involved in His nature (svarUpam), not His qualities; just upon seeing His beauty in front of her eyes, she fell for it. It seems He saw her once and embraced her; she got caught in that beauty; if one is involved in His nature, they would have to be involved in His qualities also which are inseparable from His nature; for those involved in His divine form that highlights both His true nature and His qualities, there is no need to go somewhere else. It is His divine form that creates interest; it is His divine form that is suitable for seeking shelter; what is enjoyable is also His divine form.

idhu seydhAr – ‘theerA nOi seydhAn [siriya thirumadal – 52](He created incurable disease (of love)).

idhu – (this) – Like how one can identify easily that it was due to drowning in water when seeing a fainted person, her love disease is clear from looking at her. This is ‘dheiva nannOy [thiruviruththam – 53]’ (disease (of love) due to emperumAn). Since this disease occurred due to love towards emperumAn, this is a distinguished great disease. What the learned people yearn as the ultimate benefit (purushArtham), she got this disease of love by the grace of emperumAn without any effort from her side. As said in ‘janmAnthara sahasrEshu [laghu – vishNu smruthi]’, etc., (For those who have gotten rid of their sins by doing gyAna and bhakthi yOga in thousand earlier births, love towards krishNan is born), the devotion reached by those after trying other means for thousands of years, she has got that love by the grace of emperumAn without expecting any effort from her. (Doesn’t a prapannan also need bhakthi?) Whereas bhakthi is the ultimate reach for those who use other means like karma and gyAna yOgams, for a prapannan bhakthi is the first step of the attainments.

kadal vaNNan idhu seydhAr – He showed His form and stole her form. (If it is one for the other, why be sad?) He showed His form that is like ‘Urdhvam mAsAnna jeevishyE [Sri rAmAyaNam – sundhara kANdam – 38-65]’ (I would not live after one month (if He does not come and save me before that)), and stole her form which is like ‘na jeevEyam kshaNamapi [Sri rAmAyaNam – sundhara kANdam – 66-10]’ (I will not live even for a moment when separated from her (said rAmA)). (Her form is greater than His).

kAppAr ArE – Is it even possible to remove this love disease given by Him using your medicinal roots and magic words? (asks mother). (It is He who is the medicine and manthram (words)). The disease due to involving in worldly matters could be rectified by showing emperumAn related matters; the love disease due to emperumAn is congruent to the true nature of AthmA, so it would be incurable till there is AthmA (for ever).

kadal vaNNar idhu seydhAr kAppAr ArE – (Considering this whole phrase as that of the diviner instead) (kadal – ocean) Do we have another option than to leave it for the ocean, what the ocean has taken in?

kAppAr ArE (another meaning for kAppu – prevent; ArE – who can) Is it possible for her (parakAla nAyaki) to prevent from taken in? Is it possible for you (mother)? Is it possible for anybody else? (No). If the fence itself destroys the paddy field, it is the fence that would have to save the field; is it possible for the field to save itself?

(In siriya thirumadal too periyavAchchAn piLLai shows this meaning for ‘kArAr kadal vaNNan pin pOna nenjamum vArAdhE ennai marandhadhu thAn’ (my mind that went behind the One having the colour of ocean has forgotten me and not returned (from the sea)).

By this, the inner meaning shown are the following – (1) emperumAn got AzhvAr without expecting anything on AzhvAr’s side; (2) Due to that, great devotion (parama bhakthi) was born in AzhvAr; (3) because of that, AzhvAr lost interest in other matters; (4) One would get true knowledge based on AchAryan’s teachings (‘through diviner’).

Translation by raghuram SrInivAsa dAsan

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thirunedunthANdakam – 11 – Part 2

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thirumangai AzhvAr as parakAla nAyaki

vyAkyAnam

pattudukkum – She started to wear a saree. (How could she do that while being unconscious?) Similar to many actions that are going to be described, this is also one of many contradicting actions of someone who has fainted due to separation. When He is with her, more than the beauty of individual parts of her body, and more than the overall beauty of her, He enjoys the beauty of her dressing saying ‘Oh! Is it possible to have such beauty in clothing!’. Seeing that He is well attracted so, she thinks that if we dress with silk saree then He will come and see her, and so uses wearing of it as sAdhana anushtAnam (a means to get Him). She started to wear the saree; she thought that if she wore it He will come thinking ‘We should not miss this’, and so started wearing the saree.

udukkum – (this word is in present tense because) she keeps wearing and removing the saree till He comes. (Is it appropriate for one to decorate one’s own body, whereas He should have dressed her with that?) It is befitting the true nature of oneself to decorate for the lover. When the lord is longing for it, wearing it by one’s own effort is preferred.

ayarththu – She was happy thinking that if she wore it then He will come. She fainted (due to disappointment of separation) when He did not come even after that. She decorated herself for Him to come; since she did not see Him coming even after that, her effort fell into the trap of svArtham (doing for own pleasure); since it is a damage to svarUpam (true nature of subservience), she fainted. Fainting due to separation is not same as (is at lower level) than fainting due to damage to svarUpam.

IrangumAs said in ‘pralApasththA sammOha:’ (after getting tears, would get fainted), whereas it is seen in general that the fainting comes after sadness, it is said in reverse order here – such is the greatness of the matter from whom the separation is, and the greatness of the depth of her sadness due to separation is. Sadness is – tears that come based on sadness due to the urge to get and hug Him. Since there would be less sadness when fainted, this state of longing brings more sadness.

Or, (the phrase also means – )

pattudukkum – Implies that she has crossed the stage of a very small girl who was not shy to move around without clothes, and now that she has grown to the next stage of being shy to do so, she wears the clothes.

pattu – The word ‘pattu’ implies just an ordinary cloth too. Or, as aforementioned it could imply silk cloth too as said in ‘poththip puliyugirp pattu’.

udukkum – (This is in present tense because as she is a small girl,) the cloth keeps slipping down, so she keeps pulling it up and wearing it. (As she is of age where cloth does not stay put in her hip, can she be expert in love towards emperumAn? Is there another example of that?) The other mother (of parAnkusa nAyaki (nammAzhvAr)) also said the same thing about that girl as ‘mulaiyO muzhu muRRum pOndhila, moipUnkuzhalkuRiya kalaiyO araiyillai – ivaL paramE [ thiruviruththam – 60](.. cloth does not stay in her waist .. (to show that she is a small girl)).

ayarththu – Even at this (adolescent) age, she is a fine example of love towards emperumAn that she would faint due to separation.

irangum – During this state of longing (compared to the stage of fainting when there is no sadness felt so it is comfortable) she got the conscious knowledge and so there is sadness due to thinking about Him. Since there is no conscious knowledge in the state of unconsciousness, there would not be sadness.

pAvai pENAL – Seeing her current state, and thinking ‘What could be a way to keep her alive?’, as she had seen earlier (before she got involved in bhagavath vishayam) that she used to play with the wooden woman doll all the time without food or sleep, she brought that doll and showed it. It was like a poison to her eyes (so she ignored it). She who would not be without those dolls is now (due to love towards Him) is rejecting the dolls. Her love is such that she has rejected the connections to her play things that matched her age. By this, AzhvAr shows the meaning that for those who are immersed in the matter of emperumAn, other matters would be poisonous to the eyes even upon just seeing them. Like how love towards Him happens due to His grace, disinterest in other matters also happens by His grace.

pani nedum kaN, etc. – Sleep also has left her completely.

pani nedum kaN neer thathumba – Oh! One who was having tears of joy (when with Him), is now having tears of sorrow! Like a well grown paddy field getting floods, the eyes that are enjoyable to Him are suffering like this!(says mother)

pani nedum kaN – As said in ‘AhlAdhaSeethanEthrambu: [SrI vishNu thathvam]’ (Having cool drops of tears due to joy), during the time of union the happy tears would be cold.

nedum kaN – Cannot measure the limit of beauty of these eyes, so ‘nedum’. The beauty of her eyes is such that one would immerse in it more than other parts of her body. As said in ‘EkaikaguNAvadheepsayA sadhA sthithA: [sthOthra rathnam – 19]’ (Due to wishing to know the boundary of each of your divine qualities, the ever-present words of vEdhas have not crossed the beginning stage to the next parts), like how it is not possible to know the boundary of even one of the auspicious qualities of emperumAn, for sarvESvaran who is present everywhere, who knows everything, and who is able to do anything, it is not being possible to know the boundary of beauty of her eyes. Since He is vibhu (present everywhere) His true nature cannot be measured; she by her enjoyability cannot be measured;

Or, nedum kaN Her eyes can control into a corner the emperumAn who owns both the worlds. Beauty of eyes relate to the greatness of gyAnam (true knowledge).

neer thathumba – because (eyes are) brimming with tears of separation.

paLLi koLLAL – She does not sleep. During the time of union she would not sleep due to joyful tears; during the time of separation she would not sleep due to sorrowful tears. During union He won’t let sleep. During separation, its sadness won’t let her sleep. Instead of using the colloquial word for ‘sleep’ to describe the state of one born from her stomach, why is the mother using more respectful word for it? (why say ‘paLLi koLLAL’ instead of ‘uRangAL’?) – Even if one is born from her stomach if she becomes wife of a king, the mother would call her using more respectful words like ‘AzhvAr, nAchchiyAr’. This way of addressing by thirumangai AzhvAr is the reason for the decree and following by pUrvAchAryas (preceptors) as the meaning of SAsthram that one shall address someone who is having relationship with emperumAn, be it even a son or a disciple, with more respectful words that reflect their greatness. Considering her tenderness, she is worrying ‘Oh she is not sleeping!’.

ettuNaipodhu en kudangAl irukkakillAL – Seeing her not sleeping, based on the habit of seeing her sleep in her lap, she gave her lap. Since it is like hugging a fire, she got up from the lap startled.

ettuNaippOdhu – For one who would not be without staying in her lap, it is now not fit.

en kudankAl – Oh who is it that has given her bad advice that she cannot stay put in my lap? – she says. How she has lost the relation with both the doll she protects and the mother who protects her. How she has lost the relation with both her beloved doll and worshipped mother.

irukka killAL – There is no need for her to sleep, let her just be awake while being in my lap – with this interest she tried to take her hugging and keep her in her lap; even that did not work.

killAL – she is not having strength to do that. (not able to do that). She is not able to sit even if she tries after seeing the despondence in my face. She is not thinking this as a complaint against her daughter but saying ‘she is not able to’. Even if she is liking to sit in the lap, she is in the state that it may be possible to sit in fire but not in lap.

By this – Loss of interest in worldly ones like doll and mother is not due to knowledge of considering them as lowly. It was being there naturally for her. Like how love towards emperumAn is present naturally, disinterest in other matters is also present naturally.

(Mother continues to say – ) Is that all that she does? She also does this – emperumAn thiruvarangam engE ennum – She is asking where is the temple of the one who made me be for Him only. She is asking – where is the temple of the one who cut the connection with other things whether it is doll or the lap of mother? Instead of asking where is the temple of such and such by using His name, why is she using the word ‘emperumAn’? Since it was natural way of union (gAndharva type wedding), they united based on femaleness and maleness only; only if there were others to remind them about each other would she know the name; how did she come to know that His place is kOyil (thiruvarangam)? During union, realizing that there would come a time of separation, He was saying ‘I won’t leave you; I won’t survive if I leave you’, for her to tolerate the separation He said ‘my place is kOyil (thiruvarangam)’, and thus mentioned His place. By that, she is saying ‘place is kOyil’.

emperumAn – One who gave Himself to me in writing, thereby got me to Him in writing.

thiruvarangam engE ennum – She would know that the kOyil (SrIrangam) is in the west side (from thiruvAli thirunagari) . Why is she asking where is it? If she is not able to see and not able to see any direction due to sadness of separation, then it is given that she would have to search for direction.

Continued in part 3.

Translation by raghuram SrInivAsa dAsan

archived in http://divyaprabandham.koyil.org

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thirunedunthANdakam – 11 – Part 1

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Introduction

In the previous pAsuram he said with sadness ‘mudhal AnAyE’. With that fear, he reached the state of a female; that too she (as parakAla nAyaki) is unconscious and so not in a position to call on here own (mood); she is talking through someone else, as the prabandham proceeds further from here.

That is – as she (as pirAtti) united using the natural method (gAndharva type of wedding) [a type of wedding in which the man and his lady love get married without the consent of elders] and then got separated; due to that sadness – it kept happening that she would go into alternating states of consciousness and unconsciousness, and that too in incorrect ways (instead of feeling sad and fainting, she would faint and feel sad (ayarththu irangum)); her groups of relatives were not able to figure out that such and such could be done for this, or not done for this; not knowing the reason behind this disease, those with expertise in medicine and magic entered the scene and started their attempts to cure this disease; at that point, a diviner (kattuvichchi) who is devoted to emperumAn said ‘You are not understanding the reason for her disease; she got this disease due to emperumAn; it can be removed only by Him’.

AzhvAr divines about his state through this pAsuram as the words of the mother saying about the actions of her daughter and about the words of the diviner that she heard, to those who came to inquire.

If one objects – ‘But AzhvAr reaching the state of pirAtti is not fit’ – actually – it would fit very well; since for the pirAttis (divine consorts of emperumAn) and for AzhvAr there is a proper match of ananyArha SEshathvam (not belonging to anyone else but only to emperumAn), and since as said in ‘namakkum pUvin misai nangaikkum [thiruvAimozhi – 4.5.8]’, the enjoyment of Him are same for them, and since as said in ‘muhUrthamapi jeevAvO jalAn mathsyAvivOdhDhRuthou [SrI rAmAyaNam – ayOdhyA kANdam – 53-31](like how a fish separated from water would live only for a short time (till the time there is some supporting water in its body), seethA and I too would live only for a short time (till the time it takes to realize that Your mind is thinking of separation)), like what iLaiya perumAL (lakshmaNan) said about seethAp pirAtti while including himself (being a male) about their inability to survive His separation, it is matching for this AzhvAr also; so there is no problem in AzhvAr reaching the state of a female;

If asking – even then, is it possible for the perception of being a female to be born for AzhvAr (who is a male)? As said ‘svAmithva Athmathva SEshithva pumsvAdhyA: svAminO guNA:| svEbHyO dhAsathva dhEhathva SEshathva sthreethva dhAyina:’ (Lordship, being AthmA, getting benefits, being a male are emperumAn’s characteristics; these give to jIvAthmas, respectively, the characteristics of subservience, being the body (with emperumAn as AthmA), and being of help/giving to others, and being a female), since the maleness of emperumAn is of the nature of giving femaleness to others, it is acceptable to get the mindset that ‘I am a female’. Getting to the mindset of femaleness is not based on him having characteristics of a female body; it is based on love that female would get toward male.

If asking – where have we seen those of same gender getting the mindset of opposite gender? As said in ‘pAnchAlyA: padhmapathrAkShyA: snAyanthyA: jagHanam gHanam| yA: sthriyO dRushtavathyasthA: pumbhAvam manasA yayu:’ (When dhraupadhi, one with eyes like petals of lotus, was taking bath, the other women on seeing the big and beautiful backside of hers thought in their minds that they should become men), due to the greatness of her beauty, the passion that arises for men when seeing such women arose for these of same gender. Likewise, it is acceptable for passion to arise for AzhvAr also in the matter of purushOththaman (emperumAn) that which arises for women. It is the special quality in someone that brings the mindset of opposite gender in others. So he is getting into the state of a pirAtti (female consort).

Furthermore, what is the thought behind saying that AzhvAr fornicated with emperumAn based on natural ways (gAndharva type of marriage)? What it implies is – only based on the relationship that sarvESvaran is having towards the sentient, He takes them under His wings without any attempts from their side (nirhEthuka vishayeekAram). If asking How? – (thamizh texts explain fornication based on wedding in natural way (gAndharva wedding) in this way) – when a girl goes outside to a grove and is plucking flowers, her lover, in the name of going hunting, comes there, and her friends are also separated from her due to other activities, and now, only due to the reason of Him being a male and Her being a female, even though there is no one to remind them or join them, they fornicate; this is the natural way of fornication. Femininity is – the state being there fully for a male. Masculinity of the other party is – being the lord that befits the true nature of others (as servitors), and being the protector in all ways; so, this natural way is talking about His taking us without expecting any action from us.

But, when emperumAn is taking us up, (if saying nirhEthukam), why is there a need for some AchAryas who remind Him, and why is there is a need for ones like pirAtti who help in joining/recommending us? AchAryan reminding at that time is to highlight the relationship of ‘owner – property’ between emperumAn and jIvAthmAs. In jIvAthmAs, AchAryan removes the thought of considering body as AthmA, and the thought ‘I am independent’ which arises due to the connection of AthmA with body. pirAtti unites them to Him by making Him forgive their mistakes by reminding Him about His relationship with them and about the qualities like vAthsalayam in Him that arise based on such relationship.

Furthermore, what is the thought behind the words of this pAsuram that says there are people with medicine and magic that are trying to cure her disease without realizing her state, and there is a diviner (kattuvichchi) who tries to stop their activities? Disease that comes due to interest in worldly matters may be curable by other means (like medicine, magic); in case of disease due to interest in Him, it is He, who is the reason behind the disease, who has to come and cure it. (Since) the togetherness with Him will be there till the time there is AthmA (forever), and since this love is as per the true nature of them, it cannot be cured (if separated, or, by other means).

AzhvAr is speaking as Himself first (in first 10 pAsurams), and then is speaking as a mother in the next 10 pAsurams). How does this fit? When a river is flowing, when its water level increases, in addition to staying within its shores it would fill branching canals as well, all the while being full by itself and merge into the sea. Likewise, due to his overflowing love, when the words of mother also happens without any deficit, it would be fitting that his own words also happen in parallel without any deficit.Furthermore, when parakAla nAyaki (female name of thirumangai AzhvAr when he is in that state), is in fainted state, as said in ‘bHruSam bHavathi dhu:kHitha: [SrI rAmAyaNam – ayOdhyA kAndam – 2-40]’ (if seeing His people’s suffering, SrI rAman becomes sad (more than them)), when her mother is supposed to be even more sad, does it fit that she is saying the words with clarity in these pAsurams? When chakravarththy thirumagan was having sadness upon separation of (seethAp) pirAtti, iLaiyaperumAL’s sadness would have been double due to sadness of perumAL and due to the tiredness of performing services in the forest, iLaiya perumAL tolerated that based on understanding that it is time to do so, and spoke clearly to perumAL and consoled Him; likewise, it is appropriate for the mother here to speak clearly considering the survival of her daughter; while the one to be protected is sad, the protector though having equal sadness would need to do the hard task of tolerating it and speaking clearly.

How is the mother’s speech the reason for the daughter’s survival? Since kattuvichchi’s words are about emperumAn (which the mother tells others), and since her activities are based on detachment, and since the mother also talks about Him as ‘Oh this girl is suffering the suffering that He is supposed to undergo by seeing this girl’s beauty’, it is proper that these words will help the girl survive. Also, since this kattuvichchi is unlike the kattuvichchi in ‘theerppArai yAm ini [thiruvAimozhi – 4.6]’, but is like the kattuvichchi of siriya thirumadal who is devoted only to emperumAn, parakAla nAyaki thinks ‘even if my disease is not cured, it would be enough to get the touch of such kattuvichchi’, and so since the talk is about such kattuvichi, it would help in parakAla nAyaki’s survival.

Furthermore, the first ten pAsurams are his own words as AzhvAr; second ten pAsurams are mother’s words; third ten pAsurams are the words of pirAtti (AzhvAr as parakAla nAyaki). As said in ‘machchiththA: madhgathaprANA: bOdHayantha: parasparam [SrI bhagavath gIthA – 10.9]’ ((1) (they are having life) with their mind directed towards me, (2) having the life that is about me, and (3) and discuss among each other (about whatever characteristics they each enjoyed in me), these three phrases are the meanings for three Tens respectively (this is established by preceptors (pUrvAchAryas)).

machchiththA: is madhEkachiththA: (they have directed their mind Only toward me); without mixing of interest in other things, being there only for Him (ananyArha:), not having anything else as enjoyable (ananyabhOgya🙂 AzhvAr speaks as himself about emperumAn only, so the first ten is based on gyAnam (clear knowledge about facts). Second ten – due to the gyAnam came vairAgyam (no interest in other matters, staunchness in Him), through which it talks about the greatness of love of parakAla nAyaki towards emperumAn; Third ten – since the love is ebbing this way, it talks about spending time with other devotees while living here until the time of reaching Him.

madhgathaprANA: (them having their survival based on me)is the meaning shown by second ten pAsurams, since it is not being her words but she has fainted, and it is based on the words from the mouth of the mother.

bOdhayantha: parasparam – Third ten pAsurams are set as the discussion between parakala nAyaki and her female friend (thOzhi) about their experience towards emperumAn.

In this second ten pAsurams, first pAsuram, the mother is explaining to those who came inquiring, about the daughter’s lack of interest in other matters, and about the words of kattuvichchi (diviner). This pAsuram is having one phrase here telling the inquirers, and another phrase there expressing her wonder. ‘Oh what a deep lover she is towards emperumAn that she becomes so sad when separated from Him!’ is the internally running happiness in the mother.

If (the mother is) so happy in her heart, why does she not convey that to those who came inquiring? Since it is the natural union (gAndharva type wedding), she is unable to talk about that to them. She can say it only if the wedding happened through the recommendation of others; we can celebrate one’s relationship with emperumAn only if it happened through AchAryan’s advice.

(Isn’t the perturbation/fainting (parakAla nAyaki’s state) to be avoided?) – The perturbation, when he was one among the samsAris (people interested in worldly matters), was due to ignorance; after getting the true knowledge (through emperumAn’s thiruvashtAksharam), that got cleared; the perturbation that is present now is due to true knowledge, and it cannot be cleared till the time there is AthmA – is the meaning highlighted in this pAsuram.

pattudukkum ayarththirangum pAvai pENAL
pani nedunkaN neer thathumbap paLLi koLLAL
ettuNaipOdhu en kudankAL irukkakillAL
  emperumAn thiruvarangam engE? ennum
mattuvikki maNi vaNdu muralum kUndhal
  mada mAnai idhu seydhAr thammai, meyyE
kattuvichchi sol ennach chonnAL nangAy
  kadal vaNNar idhu seydhAr kAppAr ArE?                       11

Word by word meaning

pattu udukkum – She wears herself the silk saree;
ayarththu irangum – faints and feels sad;
pAvai pENAL – does not like (to play with) her wooden human toy (marappAchhi);
pani nedu kaN neer thathumba – with tears brimming in her long cool eyes,
paLLi koLLAL – she does not sleep;
en kudankAL irukka killAL – she is not able to stay put in my lap
eL thuNaip pOdhu – even for a second;
ennum – she asks –
enge – where is
thiru arangamthe divine place SrIrangam
emperumAn – of emperumAn;
kUndhal – she having hair
maNi vaNdu – with beautiful bees
muralum – buzzing
mattu vikki – with drunk honey choking them,
mada mAnai – this girl child who is like a beautiful deer,
kattuvhichchi ! – “Oh the (female) diviner!
idhu seydhAr thammai – who brought her to this state?
meyyE sol enna – Tell me the truth.”, as I asked her this,
kadal vaNNar idhu seydhAr (enRu) sonnAL – ‘The one having the color like that of the sea, perumAL, has created this state” – she said.
nangAy – Oh dear women (friends)! (If He, the protector has done this),
kAppAr ArE – who else is there who could remove this danger?

vyAkyAnam

Started in part 2.

==========

Translation by raghuram SrInivAsa dAsan

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

thirunedunthANdakam – 10 – Part 2

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<< thirunedunthANdakam – 10 – Part 1

emperumAn in thirumUzhikkaLam

ulagam, etc. (up to guNapAla madhayAnAy) – it is about how AzhvAr has built the ‘elephants’ in the four directions.

ulagam Eththum then AnAy – Oh You who have come and stood in the divine mountain of the south (thirumAlirunchOlai) for both the worlds (leelA and nithya vibhUthi) to come and take shelter!  You came and are providing divine presence not just for those who are based around this mountain to be living/surviving, but even for nithyasUris to come and have the great feast  that are your auspicious qualities such as simplicity, as said in ‘valam seyyum vAnOr mAlirunchOlai [thiruvAimozhi 2.10.8]’ (nithyasUris, the residents of paramapadham, do favourable acts towards thirumalai).  Oh You who is like an elephant, in the direction of South!  – is the meaning.

vadavAnAy – In the same way is how You have divined your presence in the north direction.

As said in ‘vAnavar vAnavar kOnodum sindhu pU magizhum thiruvEnkatam [thiruvAimozhi 3.3.2]’ (nithyasUris along with (their leader) sEnai mudhaliyAr (vishvaksEnar, their leader) would spread out flowers which blossom due to residing in thirumalA),  and in

vAnavar vAnavar kOnodum namanRezhum thiruvEnkatam [thiruvAimozhi 3.3.7]’ (nithyasUris with sEnai mudhaliyAr would bow (which highlights their total dependence) feeling accomplished (having realized their true nature), in the abode having the name thiruvEnkatam), and in

‘ellA ulagum thozhum Adhi mUrththi  [thiruvAimozhi 3.3.5]’ (being approachable by everyone (without any discrimination in greatness, etc.), being the cause of everything, sarvESvaran (supreme lord)), that is, thiruvEnkatamudaiyAn is standing there without discriminating between nithyasUris, brahmA etc., and humans too, for them all to live/survive.

kudapAl AnAy – Unlike the aforementioned elephants, there in the direction of west, periya perumAL has come and is lying down with closed eyes, like an elephant with madness (madham), reclining. As said in ‘vanperuvAnagam uyya, amarar uyya, maN uyya, maNNulagil manisar uyya [perumAL thirumozhi 1.10]’, He has come to the kOyil (SrI rangam) and reclining with closed eyes, for all the worlds to experience Him and live/survive.

kuNapAla madha yAnAy – Oh who is like a mad elephant, being present in the east direction! (thirukkaNNapuram).

Due to his love towards nAthamunigaL (and ALavandhAr), emperumAnAr would call the emperumAn mannanAr (of kAttumannArkudi) as kuNapAla madha yAnAy, considering mannanAr’s beautiful form, great pride, beauty of His aspects. (kAttumannAr kOyil is not included as part of 108 dhivya dhEsams).

‘thrutheeyam krishNa nagaram’ (Third among the five abodes of krishNa, viz., kaNNankudi, kaNNamangai, kaNNapuram, kOvalUr, kaNNan kaviththalam), it is read in the puraNas as the third abode among the 5 places of krishNa, and as said in ‘karuvarai pOl ninRAnaik kaNNapuraththu ammAnaik kaNdAL kolO [periya thirumozhi – 8.1.2]’, and ’kaNNapuram onRu udaiyAnukku adiyEn, oruvarkku uriyEnO [periya thirumozhi – 8.9.3]’, and ‘kaRRAr sEr kaNNapuram [periya thirumozhi – 8.10.5]’, thirumangai AzhvAr being ever fond of that dhivya dhEsam, it can be considered that he is divining about thirukkaNNapuram.

The phrase ‘ulagam Eththum’  (divine abodes praised by the world),  (that appears before the first of the aforementioned four directions), is applicable to all the four.

imaiyOr, etc. – By this phrase AzhvAr is talking about Him (paramapadha nAthan) who is present as the means and the destiny.

imaiyOrkku enRum mun AnAy – Oh who is present for the nithyasUris to see You always directly. Oh who is being the object of vision forever (as said in ‘sadhA paSyanthi [rig ashtakam 1.2.7]’).

pin AnAr, etc. – even for the people of malai nAdu (kerala) to know the place which is filled with those who do not know any about paramapadham, divine milky ocean, incarnations, or the archA forms (statue) of emperumAn, You are present in thirumUzhikkaLam! You are ever present in the western ocean for becoming the target of surrender even for those in malai nAdu that is filled with nasthikas.

Or,

By ‘pin AnAr’ (lowly) it could imply those whose state does not have any more comparable lowliness, who are even lower than brAhmaNa, kshatrhiya, vaiSya, and also even lower than the fourth varNam – even for them to attain Him, He is present in thirumUzhikkaLam.

pin AnAr vaNangum – He being attainable at the same level for those who are considered lowly based on place, time, or birth.

sOdhi – Like a light in pitch darkness, since He stands as the target of surrendering even for lowly ones, it talks about Him as having the brightness/light due to being attainable for everyone.  This is also said in ‘thirumUzhikkaLaththu uRaiyum oN sudarai [thiruvAimozhi – 9.7.11]’ (the light that is residing at thirumUzhikkaLam), and in ‘en kaN pAsam vaiththa param sudar sOdhi [thiruvAimozhi – 3.3.4]’ (To the One who has place infinite attachment towards me (who is directly opposite to Him who is the abode of auspicious qualities only and Him who is also being opposite of all blemishes), who is (due to that) having perfect radiance in fully radiant form);

 mudhal AnAyE – Oh You being the first root of goodness for all – for them to know that emperumAn Himself is the means and destiny, and for them to experience Him at divine abodes (dhivyadhESams), and for all the other greatness of Him!  This is said too in ‘thvath pAdha kamalAdhanyath na mE janmAntharEshvapi | nimiththam kuSalasyAsthi yEna gachchAmi sadhgathim || [jithanthE sthOthram – 1.10]’ (There is nothing in any birth other than Your divine lotus feet  that is the first goodness  (root) which is the cause of means which would get me to attain You).

Or, it is talking about Him being the root cause of creation of worlds.

Or, mudhal AnAyE – it is talking about ‘Oh You who created me in such a beautiful way that I suffer (as described in earlier pAsurams, that is, being separated from Him, not able to see Him, etc), and so AzhvAr completes the first ten pAsurams with such sadness.

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Translation by raghuram SrInivAsa dAsan

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